大师绝对的名盘之一，是他经典中最为璀璨夺目的。在我看来，李赫特的拉二是完美的。虽然很多乐友说不喜欢他手中的拉二，原因是认为他弹得拖沓而自以为是，过于刻板，尤其是第一乐章的开头部分。但是每次聆听这段，我都会感觉像是阳光穿过碧蓝的海水一般，呼吸凝重、大气广博，深得俄罗斯广袤大地之精髓。如果要是推荐拉二的版本的话，大师的这段演绎在我心目中必在前列。

Two of Karajan's bestselling recordings with great soloists. Karajan's rare collaborations with Soviet musicians in the 1960s resulted in exceptional recordings that have become classics - including the ones presented here: "a performance of astonishing intimacy and refinement" from Richter in Tchaikovsky's First Piano Concerto (October 1962), and "a deft and stylish account" of the Rococo Variations with Rostropovich (September 1968) Citations from R. Osborne, Herbert von Karajan: A Life in Music (London, 1998)

01 L'arlÉSienne Suite No.1 - PrÉLude 02 L'arlÉSienne Suite No.1 - Minuetto 03 L'arlÉSienne Suite No.1 - Adagietto 04 L'arlÉSienne Suite No.1 - Carillon 05 L'arlÉSienne Suite No.2 - Pastorale 06 L'arlÉSienne Suite No.2 - Intermezzo 07 L'arlÉSienne Suite No.2 - Menuet 08 L'arlÉSienne Suite No.2 - Farandole 09 Carmen - Act 1 - PrÉLude 10 Carmen - Act 1 - Entr'acte 11 Carmen - Act 2 - Entr'acte 12 Carmen - Act 3 - Entr'acte

专辑介绍： 巴赫最后一部作品《赋格的艺术》被誉为音乐家的“哲学著作”，他以音乐思维中的高度逻辑性和结构的严密性来反映音乐所包含的数理与宇宙的和谐之美。运用对位法的顶峰可从这部作品中见到,他把超越人类脑力极 妙技,处理得极为简单而鲜明,其中的对位技巧极为复杂精致,绝非仅靠耳力所能理解.其中很多以c小调开头，到后来则像最棒的魔术师的戏法一样，以d小调结束。而这些，却只有最留心的听众的耳朵才能识破产生变化的那一瞬。借助调性的跳跃，可以无限重复音乐作品，直到他被所有音阶的音符都变形过为止。巴赫解释说：“只有这样才能使国王的荣耀在转调的同时不断升高。”最后一首赋格曲没有完成，在以他的名字“B-A-C-H”。因为在德语里，B就是降B音，H是B音……这是他第一次用自己的名字去谱曲。非常有意思，因为它是这么容易拼写，他是第一次写这样的赋格曲。人们认为这是4声部的赋格，作品最后的切入点，重新诠释了赋格的艺术。但他去世了，没有完成。所以，他留下了这个忽然结束的让人惊讶的结尾…… 专辑曲目: 01 contrapunctus 1 02 contrapunctus 2 03 contrapunctus 3 04 contrapunctus 4 05 canon alla ottava 06 contrapunctus 5 07 contrapunctus 6, a 4, in stylo francese 08 contrapunctus 7, a 4, per augmentationem et diminutionem 09 canon alla decima, in contrapunto alla terza 10 contrapunctus 9, a 4, alla duodecima 11 contrapunctus 10, a 4, alla decima 12 contrapunctus 8, a 3 13 contrapunctus 11, a 4 14 canon alla duodecima in contrapunto alla quinta 15 contrapunctus 12, a 4. rectus 16 contrapunctus 12, a 4. inversus 17 contrapunctus 13, a 3. rectus 18 contrapunctus 13, a 3. inversus 19 fuga a 2 clav. 20 alio modo. fuga a 2 clav. 21 canon per augmentationem in contrario motu 22 fuga a 3 soggetti

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Amazon.com Editorial Reviews: In 1932, Menuhin was just 16 and at the very beginning of his international career when Elgar--then a grand old man in his 70s--asked the young virtuoso to record his Violin Concerto. Elgar himself conducted, and the rehearsals went so well that the composer reportedly canceled the last of them and took the young violinist out for a day at the races. The recording that resulted from this remarkable collaboration has remained a classic from the day it was issued. Elgar's conducting is typically direct and unfussy, while Menuhin really does play the pants off of what is without a doubt the longest and most tiring concerto in the romantic repertoire. Of course, the recorded sound is rather limited and no amount of audio restoration can change that, but fans of great violin playing will still find plenty to enthuse about. --David Hurwitz

Perlman also presents a personality performance, one which naturally brings out the individuality of his artistry. The LPO strings play with great refinement, and with a rather more intimate acoustic than in other versions, the result is both in scale and sharply defined'. Gramophone Magazine Itzhak Perlman, violin virtuoso, conductor, and master-instructor is widely considered as one of the preeminent violin virtuosi of the 20th century. He made his debut at Carnegie Hall in 1963 and won the prestigious Leventritt Competition in 1964. Soon afterward he began to tour extensively. In addition to an extensive recording career, he has made occasional guest appearances on American television, starting in the 1970s on shows such as The Tonight Show and Sesame Street, as well as playing at a number of functions at the White House. While primarily a solo artist, Perlman has performed with a number of other notable musicians, including Yo-Yo Ma, Jessye Norman, Isaac Stern, and Yuri Temirkanov at the 150th anniversary celebration of Tchaikovsky in Leningrad in December 1990. He has also performed (and recorded) with good friend and fellow Israeli violinist Pinchas Zukerman on numerous occasions over the years. The Four Seasons is Vivaldi's best-known work, and is among the most popular pieces of Baroque music. The texture of each concerto is varied, each resembling its respective season. "Winter" is peppered with silvery staccato notes from the high strings, calling to mind icy rain, whereas "Summer" evokes a thunderstorm in its final movement, which is why said movement is often dubbed Storm. The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi's Op. 8, entitled Il cimento dell'armonia e dell'inventione (The Contest between Harmony and Invention). EMI MASTERS celebrates the full glory of the greatest performances from the world's greatest catalogue of recorded music. Digitally remastered at Abbey Road Studios direct from the original master tapes, these classic recordings emerge with unparalleled immediacy. You will be left in no doubt that you are in the presence of legendary musicians and ageless interpretations.

Review by Blair Sanderson Antonio Vivaldi's Le Quattro Stagioni is one of the most beloved works in Baroque music, and even the most casual listener can recognize certain passages of "Spring" or "Winter" from frequent use in television commercials and films. Yet if these concertos have grown a little too familiar to experienced classical fans, Max Richter has disassembled them and fashioned a new composition from the deconstructed pieces. Using post-minimalist procedures to extract fertile fragments and reshape the materials into new music, Richter has created an album that speaks to a generation familiar with remixes, sampling, and sound collages, though his method transcends the manipulation of prerecorded music. Richter has actually rescored the Four Seasons and given the movements of Spring, Summer, Autumn, and Winter thorough makeovers that vary substantially from the originals. The new material is suggestive of a dream state, where drifting phrases and recombined textures blur into walls of sound, only to re-emerge with stark clarity and poignant immediacy. Violinist Daniel Hope is the brilliant soloist in these freshly elaborated pieces, and the Konzerthaus Kammerorchester Berlin is conducted with control and assurance by André de Ridder, so Richter's carefully calculated effects are handled with precision and subtlety. Deutsche Grammophon's stellar reproduction captures the music with great depth, breadth, and spaciousness, so everything that Richter and de Ridder intended to be heard comes across.