Sviatoslav Richter Kirill Kondrashin -李斯特：第一、二钢琴协奏曲 Liszt: Piano Concerto Nos.

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资源信息： 专辑英文名: Liszt: Piano Concerto Nos. 1 and 2, etc. 专辑中文名: 李斯特：第一、二钢琴协奏曲 别名: BBCL4301-2 艺术家: Sviatoslav Richter Kirill Kondrashin 资源格式: APE 版本: BBC Legends 发行时间: 1961年 地区: 英国 概述:

发行公司： BBC Music CD编号： BBCL4301-2 专辑介绍： 李斯特(1811~1886)是当时最有魅力的演奏家，也是最复杂、最世故的人物，被当代人士视为浮士德与魔鬼的化身。他终其一生未婚，但曾与许多女人同居，包括达古尔特伯爵夫人(Countess Marie d’Agoult)、莎恩薇根丝坦公主、杜普蕾西丝(Marie Duplessis)。他终身信仰天主教，在1865年接受教会的四项圣职，从此便被众人称为李斯特神父。 李斯特的【降E大调第一钢琴协奏曲】和他许多作品一样，都经过一段漫长时日的酝酿发展，才告定型。这首作品从1830年开始动笔，李斯特当时还不到20岁，1839年至1840年，李斯特为乐曲添加了一些素材，然而直到1849年，李斯特从公开演奏生涯隐退后，此曲初稿才化成一部形式宛然的作品；在这之后，他又将此曲搁置了四年，到 1853年才动手修订，又再过两年才首演，1856年总谱付印之前，李斯特又作了进一步的修订。 意外的是：李斯特如此不厌其烦地惨淡经营，却成就了一部惊世骇俗之作。独奏部分出色之处，不仅在于它热力四射、纵横于八度音程与旋风似的分解和弦之中，也在于较不炫技的片段的特色与表情变化里。此曲空前独创的结构，值得大书特写，李斯特一定是经过一番苦功才琢磨出来的。 首先，李斯特将四乐章的设计压缩成三乐章的格局。谐谑曲直接连结慢板乐章(并且师法贝多芬【第五交响曲】直贯终乐章)，其间处处有主题上的连贯。谐谑曲与终乐章都回顾前面乐章的素材，因此整部作品看起来像首大规模的奏鸣曲，表现出单一乐章主题上的统一。李斯特对形式革命性的循环式处理，最淋漓尽致的表现是在【b小调钢琴奏鸣曲】。第一钢琴协奏曲虽然没有那么严丝合缝，但作为钢琴炫技曲的典范，在主题的探索上，以及在大规模结构上，此曲都很成功。 原文: http://lib.VeryCD.com/2005/10/31/0000072263.html Intellect, Imagination and Nobility "... The hottest news in the arts at this time, certainly in England, was the first visit of Sviatoslav Richter. Until his spectacular American tour in the latter part of 1960 he had not appeared in the West. Yet his reputation preceded him. During their Russian visit in 1958 the Philadelphia Orchestra had accompanied him in Prokofiev's Fifth Concerto, and they had returned with stories of his prowess. His fame had also spread thanks to a number of sensational recordings. He had played in Paris in March 1960 but had cried off his London concerts scheduled for that month, apparently on doctors' orders (this just hours before booking opened, to the mixed chagrin and relief of impressario Victor Hochhauser). That cancellation only increased the sense of anticipation. In the veteran pianist and pedagogue Harold Craxton observed, "Nothing I can remember during the lasty fifty years is in any way comparable. Such intense anticipation and anxious awaiting for the new artist -- queues through the night and day at the box-office, and all seats sold at prices far higher than usual." Richter's July 1961 London appearances were sold out on the day booking opened, and programme books hailed him as the greatest living pianist..." -- David Fanning (booklet notes) Sviatoslav Richter at his most energetic and thrilling in a live recording from the Albert Hall, let down only by less than perfect BBC sound For all sorts of reasons Richter's London debut concerts in July 1961 were the sensation of the season - a season in which the Liszt piano concertos at the Royal Albert Hall were the climax. It's possible to understand why reviewers found Richter's sculpted Chopin two days earlier not entirely to their taste, accustomed as they were to more heart-on-sleeve poetic approaches. Yet today his Andante spianato seems a marvel of sustained singing line, and the Grande polonaise concludes in a flourish of noble phrasing, greeted by torrents of applause. It's immediately obvious why the Liszt concertos had the critics reaching for their superlatives. The vehemence of the opening bars of the E flat is already enough to set most spines tingling, and by the end of the A major the adrenalin count is off the scale. Hardly a phrase in either concerto is not delivered at white heat, and some are right at the edge of Richter's grasp, if not fractionally beyond it. Nothing is ever predictable, yet somehow there's a sense of inevitability about the whole thing. 'One might well believe that Liszt had written his piano concertos with Richter in mind, 'was Donald Mitchell's spot-on assessment in The Daily Telegraph. And Kondrashin is the joint hero, constantly goading his soloist and orchestra on to new heights. The Hungarian Fantasia makes the perfect encore, not least because it is one of the few concertante pieces which actually sound better with a slightly detuned piano. The quasi-cimbalom effects combine with fabulous rhythmic poise to produce irresistible excitement. Allowances have to be made for the recorded sound. The soft piano treble has a satisfying bloom to it, but the bass growls somewhat, and there's not much depth or breadth to the orchestral panorama. Solos are miked very close by today's standards. Only in this respect, however, do the Liszt concertos yield to the famous Philips studio versions, made a little later during the same London visit, and the atmosphere of the live event more than compensates. The BBC booklet-note is mine, but in case anyone is wondering, I get no percentage on sales.' -- David Fanning (Gramophone 4/2000) 本资源源自demonoid网，特此鸣谢macropus！ 专辑曲目: 1. Chopin - Op. 22, I in G major. Andante spianato. Tranquillo - 2. II in E major. Polonaise. Allegro molto 3. Liszt - Piano Concerto No. 1 in E-flat major, S. 124, I Allegro maestoso 4. II Quasi adagio - Allegretto vivace - Allegro animato 5. III Allegro marziale animato - Presto 6. Liszt - Piano Concerto No. 2 in A major, S. 125, Adagio sostenuto assai - Allegro agitato assai - 7. - Allegro moderato - Allegro deciso - 8. - Marziale un poco meno allegro - 9. - Allegro animato - Stretto (molto accelerando) 10. Liszt - Hungarian Fantasia, S. 123