拉赫玛尼诺夫D小调第3钢琴协奏曲,Op.30/圣-桑：G小调第2钢琴协奏曲,Op.22/肖斯塔科维奇24首前奏曲与赋格 Rachmaninov: Piano Concerto No. 3; Saint-Saëns: Piano Concerto No. 2 艺术家：吉列尔斯 (Emil Gilels) 音乐院音乐会协会管弦乐团 (Orchestre de la Société des Concerts du Conservatoire) 克利唐 (Andre Cluytens)

01 Piano Concerto No. 3 in D minor Op. 30 (2006 Digital Remaster): I. Allegro ma non tanto
02 Piano Concerto No. 3 in D minor Op. 30 (2006 Digital Remaster): II. Intermezzo (Adagio)
03 Piano Concerto No. 3 in D minor Op. 30 (2006 Digital Remaster): III. Finale (Alla breve)
04 Piano Concerto No. 2 in G minor Op. 22 (2006 Digital Remaster): I. Andante sostenuto
05 Piano Concerto No. 2 in G minor Op. 22 (2006 Digital Remaster): II. Allegro scherzando
06 Piano Concerto No. 2 in G minor Op. 22 (2006 Digital Remaster): III. Presto
07 24 Preludes & Fugues Op. 87 (2003 Digital Remaster): No. 5 in D (Allegretto)
08 Twenty-Four Preludes & Fugues, Op.87 (2003 Digital Remaster): No.24 in D minor (Andante - Moderato)

法国印象派作曲家的最杰出代表之一MAURICE RAVEL（莫里斯·拉威尔）(1875-1937)的《夜之幽灵》被认为是二十世纪早期的钢琴音乐代表作之一，是拉威尔著名的作品之一。二十世纪上半叶世界最杰出的音乐家之一SERGE PROKOFIEV（谢尔盖·普罗科菲耶夫）(1891-1935)的十首钢琴奏鸣曲，在20世纪的钢琴文献中举足轻重。
现代钢琴怪才Ivo Pogorelich（伊沃.波格雷利奇）以演奏巴赫、斯卡拉蒂、贝多芬、肖邦、莫扎特等作曲家的作品见长。此碟是波格雷利奇技艺如日中天时期的精品。
拉威尔的《夜之幽灵》富有强烈的个人色彩，音色被波格雷利奇处理得十分细腻，整部作品充满了具有戏剧感的张力，在他的手下，作品呈现出来一种神秘的气氛。
普罗科菲耶夫《第六钢琴奏鸣曲》的强烈音响效果，使听众对这部作品产生了深刻的印象。《企鹅唱片指南》评论这首乐曲可以说是迄今为止最优秀的版本，也是演奏家最辉煌的录音作品，并给予此碟三星带花的最高评价，同时《唱片评论》和《留声机杂志》对此碟亦有不俗的赞誉。
波格雷利奇在DG唱片公司录制的作品当中，此碟是最新的唱片目录中惟一保留的钢琴奏鸣曲作品专辑。

This recording completes Pierre Boulez's highly acclaimed survey of Bartók's major orchestral works on Deutsche Grammophon. Boulez has once again gathered an extraordinary team of musicians: Yuri Bashmet, Gidon Kremer, Pierre-Laurent Aimard--with his long-term recital partner Tamara Stefanovich--and two of the world's most esteemed ensembles: the Berliner Philharmoniker and London Symphony Orchestra. These all-new recordings present less well-known works by the Hungarian composer in riveting performances that will surely become benchmarks. DG exclusive artist Aimard teams up with Boulez in an intensely powerful and thoughtful performance.

This recording was nominated for the 2000 Grammy Awards for "Best Classical Album" and "Best Instrumental Solosist(s) Performance (with Orchestra)."
The Chicago Symphony Orchestra, Pierre Boulez, and Béla Bartók have become a winning combination. Three of the Chicago/Boulez Bartók recordings which preceded this one received Grammy Awards. Boulez has developed his relationship with the Chicago over Bartók's music, through countless rehearsals and performances. The results are stunning, time and time again. Here, young violinist Gil Shaham is added to the mix for performances which strike directly to the works' cores.
The Second Concerto comes from the early days of World War II and is a delicious blend of modal touches, Hungarian flavors, and crunchy not-quite-diatonic harmonies. The two Rhapsodies were written almost ten years earlier--originally for violin and piano, but orchestrated soon after--and evoke Hungarian and Romanian dances and tunes. Shaham tears into the solo parts with tremendous energy, and their virtuosic passages fairly fly off the page. Boulez and Chicago back him with power and sensitivity, their command of the music (or, perhaps, the music's command of them) complete. The recordings were made following a series of highly acclaimed concerts in late 1998, and DG would seem to have produced another winner.

Editorial Reviews

Amazon.com essential recording
Since its release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured. Even after all these years, the recording remains just as convincing and authoritative. Reiner's superb control of his orchestra and of Bartók's rhythms and textures is still unsurpassed, even by dozens of subsequent conductors in the digital age. Likewise, the Music for Strings, Percussion, and Celesta shows just what an incredible ensemble the Chicago Symphony was under Reiner's direction. This umpteenth reissue, in RCA's Living Stereo series, promises to be the one to have, its sonics noticeably improved over the earlier CD release in 1989. --David Vernier

乍看上去，将毛里奇奥·卡格尔（Mauricio Kagel）和阿尔弗雷德·施尼特凯（Alfred Schnittke）的作品辑录在同一张唱片上的想法有点匪夷所思，但实际上有可取之处。卡格尔是一位阿根廷出生、在科隆发展其事业的作曲家，具有健康的幽默感，而施尼特凯出生于苏联，是一位具有多元风格的作曲大师，他们之间应该没有什么共同之处。然而，两人创作的音乐都在其与古典主义传统的辩证关系上形成了一种有力的反讽。他们两人都从事过后勋伯格十二音体系的多种试验，而且正是在卡格尔的音乐中，达姆施塔特先锋派的构成主义留下了最有力的遗产。他的第一钢琴三重奏具有舒伯特式的姿态，这在他其他的作品中几乎不曾出现，他解构了古典主义模式的语法，转调和终止式不再发生作用。他对音乐材料的安排仿佛是使之不断地自我消解，李斯特三重奏团对此颇得心会，保持了一种超然的态度，这更增添了音乐的冷淡之感。
卡格尔在2001年9月11号那天完成了他的第二号三重奏，当他听到从纽约传来的悲剧消息时，断然抛弃了乐曲中段的旋律。勋伯格合奏团的版本和这个新录音相比，显得更加特立独行，但这两个版本的处理方式都值得推荐。唱片由施尼特凯的钢琴三重奏（改编自他1985年的弦乐三重奏）结束，与卡格尔对于规则的颠覆性拆解相比，施尼特凯的作品以强烈的半音阶冲突反抗着自信的音调，意在达到一种特别的效果——事实上这几部作品之间存在着一种真实的协调之感，而李斯特三重奏团则毫无保留地传达出了这一点。（Philip Clark/郭志刚 译）
AEON是法国的新生代唱片厂牌，该品牌主要制作方向为古典音乐。同时，他们正在努力制作一份完整的、涵盖旗下所有艺术家的唱片目录，力求通过介绍令乐迷对每一张唱片能充分了解。尽管音乐的发行是该公司的主要任务，然而他们在艺术上的精益求精更应成为同业者学习的典范。他们创造了一个让表演者与作曲家沟通的平台，让艺术火花迸发，使音乐作品愈臻完美！
目前，AEON还朝着另外两个方向发展；其一，是由上世纪与本世纪作品组成的当代音乐；其二，搜集并推广具有鲜明特色的当代音乐作品。
——引自2008年4月《人民音乐留声机》

01 Piano Concerto in G - 1 Allegramente
02 Piano Concerto in G - 2 Adagio assai
03 Piano Concerto in G - 3 Presto
04 Valses nobles et sentimentales - 1 Modéré - très franc
05 Valses nobles et sentimentales - 2 Assez lent - avec une expression intense
06 Valses nobles et sentimentales - 3 Modéré
07 Valses nobles et sentimentales - 4 Assez animé
08 Valses nobles et sentimentales - 5 Presque lent - dans un sentiment intime
09 Valses nobles et sentimentales - 6 Assez vif
10 Valses nobles et sentimentales - 7 Moins vif
11 Valses nobles et sentimentales - 8 Epilogue (Lent)
12 Piano Concerto for the left hand in D

The recent string of new Berlioz recordings by Sir Colin Davis and the London Symphony Orchestra has proven irresitable for collectors. The LSO has formed it's own label for these recordings, and priced them at mid-price. This recording shows why Davis has no peer among contemporary interpreters of Berlioz' music. This Symphonie Fantastique is irresistible. Don't hesitate.
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