德國男中音費雪狄斯考可以說是德語藝術歌曲的忠實僕人，他一生所錄的藝術歌曲唱片，總數可達數百，從巴哈、莫札特、舒伯特、貝多芬、布拉姆斯、舒曼、李斯特、到理查史特勞斯、馬勒，幾乎每一人的每一首男中音藝術歌曲都至少錄過一遍，其數量之豐、著墨之深，可以說是德意志古藝匠精神的具體呈現。他用毫不荒廢時日的刻苦精神，在藝術中尋找到一片自給自足的天地，完全不受現代大眾娛樂的誘惑：日復一日、年復一年、沈浸在自己所選擇、專擅的藝術耕耘，換來的是自己手中藝術的精緻和完美呈現，以及年長後樂界同仁的尊重和對後世的啟發。像費雪狄斯考這樣的詮釋者，既要有歌德的文學素養、又要有舒伯特的音樂內涵、再加上工程技師的孜孜不倦與現代科學家的求真、求實精神，同時還要有一副天生的好歌喉與後天專業學校的培養、與時代契機的相結合，從二十世紀唱片工業開始的第一天以來，註定就只能出現一人。而這份唯一的重擔和榮耀就選擇落在費雪狄斯考的身上。 費雪狄斯考一生共錄有五份舒伯特的「 天鵝之歌」，這份錄音是最早完成的一份，也最特別，因為這是唯一的一份單音錄音，也是他第一次和鋼琴家摩爾的合作 ; 同時，這份錄音是從他一九五一到一九五八，七年間多次進錄音室灌錄的作品中集結起來，而不是一次錄成的。之所以會有這樣的情形出現，是因為五0年代多半學者不認為天鵝之歌是一闕聯篇歌曲集，所以並沒有歌唱家進行全冊的演唱和錄音。而以費雪狄斯考當時二十六歲之齡，演唱這套歌集敘述年輕男子失戀心情的寫照，他在熱情中透露出一種對他演唱技藝的尊重與圓熟掌握，讓整份演唱益發值得珍藏。

BBC Music Magazine 4 stars

LUDWIG VAN BEETHOVEN 4 Lieder Zärtliche Liebe · Adelaide Resignation · Der Kuß Fritz Wunderlich Hubert Giesen CD |A|D|D| 000289 449 7472 0 |G|OR| + Schumann: Dichterliebe Schubert: 9 Lieder The Originals Int. Release 06 Jan. 1997 Robert Schumann (1810 - 1856) Dichterliebe, Op.48 1. Im wunderschönen Monat Mai [1:33] 2. Aus meinen Tränen sprießen [0:52] 3. Die Rose, die Lilie, die Taube, die Sonne [0:32] 4. Wenn ich in deine Augen seh' [1:23] 5. Ich will meine Seele tauchen [0:55] 6. Im Rhein, im heiligen Strome [1:45] 7. Ich grolle nicht [1:19] 8. Und wüßten's die Blumen, die kleinen [1:17] 9 9. Das ist ein Flöten und Geigen [1:31] 10. Hör' ich das Liedchen klingen [1:55] 11. Ein Jüngling liebt ein Mädchen [1:02] 12. Am leuchtenden Sommermorgen [2:37] 13. Ich hab' im Traum geweinet [2:32] 14. Allnächtlich im Traume seh' ich dich [1:28] 15. Aus alten Märchen winkt es [2:31] 16. Die alten, bösen Lieder [4:08] Ludwig van Beethoven (1770 - 1827) 17 Zärtliche Liebe, WoO 123 "Ich liebe dich" [2:08] 18 Adelaïde, Op.46 [5:56] 19 Resignation, WoO149 [2:26] 20 Der Kuss, Op.128 [1:59] Franz Schubert (1797 - 1828) 21 An Sylvia, D.891 (Op.106/4) [3:00] 22 Lied eines Schiffers an die Dioskuren, D360 [2:46] 23 Liebhaber in allen Gestalten, D.558 [1:17] 24 Der Einsame, D.800 [4:23] 25 Im Abendrot, D.799 [3:26] Schwanengesang, D.957 26 Ständchen "Leise flehen meine Lieder" [3:46] 27 An die Laute, D. 905 (Op.81/2) [1:56] 28 Der Musensohn, D.764 (Op.92/1) [2:16] 29 An die Musik, D.547 (Op.88/4) [2:24] Fritz Wunderlich, Hubert Giesen Total Playing Time[1:05:03]

Amazon.com essential recording Jessye Norman has what they call in the operatic business an "ample" figure. Judging from this disc, she must be completely hollow inside because she sings the Four Last Songs in what seems like a single breath, and at half the normal speeds. In fact, as sheer sound, this is the most sensual, voluptuous, totally gorgeous vocal record that I have ever heard. Play it for people who think they hate opera singing and they'll be hooked. Words really can't describe the almost decadent richness of Norman's voice, or the way it seems to swell from the speakers and saturate the room with velvety sound. --David Hurwitz Amazon.com Lovers of the Four Last Songs have come to take good recordings of the set for granted. Jessye Norman's early digital account with Kurt Masur and the Leipzigers is one of the best--powerful, sensuous, and very well recorded. Strauss may have conceived the songs with an ideal voice in mind, but he made a point of asking that Kirsten Flagstad give the first performance of the set. Since then, no comparably endowed soprano, in possession of both the tonal richness and the extraordinary amplitude that were Flagstad's, has recorded the Four Last Songs, save for Norman. The tessitura of the cycle is perfect for her--not too high, with almost every phrase lying in the warm, lustrous middle part of the voice--and Norman shapes the words with consummate skill and sensitivity. To hear her soar out over the orchestra, carrying the most demanding phrases with long-breathed splendor, is to enjoy, for a moment, the return of a golden age. --Ted Libbey

伊莲·格里莫，法国女钢琴家；1969年生于法国普罗旺斯地区的艾克斯。13岁即被巴黎的法国音乐学院接收为学生，在此她获得了1985年度的雅克 鲁维耶古典音乐比赛首奖。后又随桑多尔和弗莱舍尔深造。 1987年，她参加了戛纳国际音像博览会和拉罗克－当特朗国际钢琴节，还在巴黎举办了她的第一次钢琴独奏音乐会，由巴伦勃伊姆指挥的法国乐团伴奏。 此后她曾与许多知名的乐团有过合作，如柏林爱乐乐团、伦敦交响乐团、莱比锡布业大厦乐团、欧洲室内乐团、皇家爱乐乐团、哥德堡交响乐团、圣彼德堡爱乐乐团、东京NHK 交响乐团，以及北美的波士顿、旧金山、多伦多、纽约等交响乐团。曾经合作过的指挥家，除巴伦勃伊姆外，还有阿巴多、布卢姆斯泰特、贝奇科夫、康伦、迪图瓦、贾维、津曼等。 《Reflection》是法国女钢琴家Helene Grimaud （海伦 格里莫）在DG发行的第二张专辑。演奏的6部钢琴作品分别是罗伯特．舒曼的A小调钢琴协奏曲、勃拉姆斯的第一和第二钢琴狂想曲、第一大提琴奏鸣曲，以及两首舒曼妻子克拉拉．舒曼的艺术歌曲。 唱片中请来和格里莫一起演奏第一大提琴奏鸣曲的是著名的大提琴演奏家Truls Mork，他获得过第44届格莱美奖最佳室内乐表演奖。负责演唱克拉拉两首艺术歌曲的是Anne Sofie Von Otter，她是一位蜚声国际音乐界的瑞典藉次女高音歌唱家。这张唱片的音乐主题都是围绕舒曼及其妻子以及他们的朋友勃拉姆斯之间的浪漫亲情与友情，其中的《A小调钢琴协奏曲》就是舒曼作品中最辉煌的一部，是舒曼向妻子克拉拉表达无限爱意的作品，格里莫的演奏理性中不失抒情和激情，声音生动而细腻，让人感受到女性的温柔气质的同时，也体会男性的力量和刚毅。还有值得一提的是唱片的录音非常出色，是DG的一流水平。

Two of today's most passionate and inspirational artists join forces in the recital programme that brought audiences to their feet at the Menuhin Festival in Gstaad in Summer 2011. The chemistry between Hélène Grimaud and Sol Gabetta left critics and audiences nothing short of euphoric and this first duo recording captures the revelatory magic of their collaboration The album reprises the same programme the duo performed in Gstaad: Robert Schumann’s Fantasiestücke, Claude Debussy’s Sonata for Cello and Piano in D minor, Johannes Brahms Sonata for Cello and Piano No.1 in E minor and Dmitri Shostakovich’s Sonata for Cello and Piano. Hélène’s recordings have been best-sellers on the Yellow Label with more than 800,000 units sold altogether to date. Sol is also a best-selling, chart-storming artist, who is regarded as one of the great cellists of our day.

《门德尔松无词歌》巴伦伯伊姆钢琴演奏。门德尔松是浪漫主义时期德奥音乐中最重要作曲家之一，抒情性段落尤为出色。无词歌是其首创的一种器乐演奏形式，具有极其强烈的歌唱性和抒情性。这个版本，获得企鹅三星级高度评价！

理查·施特劳斯的创作生涯自艺术歌曲始，也至艺术歌曲终。6岁时，施特劳斯写出了第一首圣诞歌曲，到1948年，即他逝世的前一年，理查·施特劳斯又以著名的《最后四首歌》作为他的终笔之作。 施特劳斯一生钟情于艺术歌曲的创作，总共写出了由乐队或钢琴伴奏的歌曲200多首。究其原因，大概一方面是出于他对人声，特写是女高音与大型乐队相配合的喜爱，另一方面或许因为他的夫人就是一位歌唱家的缘故。他的艺术歌曲保有了他在歌剧和一些器乐作品创作中的特点，能非常和谐地把高雅情调与瓦格纳式的丰富多彩结合在一起，通过旋律赋予歌词以生命，从而尽显庄严、平和之色。 四首歌曲创作于作曲家与夫人移居瑞士期间，二战结束后，理查·施特劳斯由于与纳粹的密切关系而离开德国，也许是由于对漂泊生活的失望，他根据艾兴多夫的诗句写成歌曲《黄昏》，歌中明确表达出了告别幸福生活之感，管弦配乐也引用了早期交响诗《死亡与净化》中的旋律，听来令人非常动情。随后，一本新出版的赫尔曼·黑塞诗集激起了作曲家的创作欲望，他为其中三首诗谱曲写成《春天》、《九月》和《入睡》，就此完成了自己一生的创作。由女高音与乐队配合演唱的《最后四首歌》既是施特劳斯毕生辛勤劳动的一个光辉而动人的总结，也是后期浪漫派在音乐艺术风格上的完美体现。

This is the eagerly awaited final instalment of András Schiff's acclaimed complete Beethoven cycle. Collectors can now finally explore the extraordinary interpretative and editorial qualities of this cycle in full.Schiff's much-admired art of musical characterisation is particularly evident in these last six sonatas that combine dramatic and symphonic grandeur with intimate beauty. As Schiff completed his Beethoven performances at the Tonhalle in Zurich where all 8 volumes have been recorded live, a journalist wrote "This was a Beethoven which transfixed the audience with its Apollonian balance, its subtly hued sonic and dynamic differentiation, depth of thought and technical command...The three sonatas sounded like a quintessence of pure late style, otherworldly as if made from precious marble" Schiff's reading of the musical texts is personal and charismatic, yet extremely thorough, offering many revealing new insights.

For more than four years, fans have been waiting for a new Bach recording from the extraordinary Austrian pianist Till Fellner. His interpretation of the first book of the Well-tempered piano for ECM was released in 2004 to great critical acclaim. “The articulation and the shaping of line are always clean, with meticulous but subtle attention given to the underlining of fugue subjects. There is just the right amount of flexibility in his shaping of phrase, and the sheer beauty of his sound helps lend the cerebral an enticing touch of the sensual”, wrote Stephen Pettitt in the Evening Standard. With the two-part Inventions and three-part Sinfonias Fellner now illuminates the magic of Bach’s allegedly just didactic piano pieces from 1722/23, in which he offered a method of polyphonic playing and composing. Interspersed is a vividly swinging account of Bach’s fifth French Suite in G-major.