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RPC系列缺：11-18-20-29-31-32-44

英國廣播電臺蘇格蘭交響樂團BBC Scottish Symphony Orchestra，簡稱BBC交響樂團

杰濟·麥克錫繆Jerzy Maksymiuk

http://www.verycd.com/topics/306973/

http://www.ed2000.com/ShowFile.asp?FileID=158592

浪漫小提琴協(xié)奏曲-The Romantic Violin Concerto-RVC-10CD-Hyperion-DDD

《浪漫小提琴協(xié)奏曲》系列是Hyperion唱片公司1999年8月-2011年2月間陸續(xù)發(fā)行的一套10CD小提琴協(xié)奏曲唱片集。該系列目前主要收錄一些非特別著名作曲家如圣桑、斯坦福、胡拜、莫什科夫斯基、卡爾維茨、柯爾瑞基-泰勒、索莫威爾、塔涅耶夫、阿連斯基、維厄當?shù)葍?yōu)秀小提琴協(xié)奏曲作品。

01 CDA67074 1999年8月 Philippe Graffin Saint-Saens-圣桑-法國

02 CDA67208 2000年11月 Anthony Marwood Stanford-斯坦福-愛爾蘭

03 CDA67367 2003年4月 Hagai Shaham Hubay 3 & 4-胡拜-匈牙利

04 CDA67389 2004年4月 Tasmin Little Moszkowski & Karlowicz-莫什科夫斯基 & 卡爾維茨-波蘭

05 CDA67420 2005年2月 Anthony Marwood Coleridge-Taylor & Somervell-柯爾瑞基-泰勒 & 索莫威爾-英國

06 CDA67498 2006年2月 Hagai Shaham Hubay 1 & 2-胡拜-匈牙利

07 CDA67642 2009年2月 Ilya Gringolts Taneyev & Arensky-塔涅耶夫 & 阿連斯基-俄羅斯

08 CDA67798 2010年3月 Viviane Hagner Vieuxtemps-維厄當-比利時

09 CDA67804 2010年10月 Hagai Shaham David-戴維

10 CDA67838 2011年2月 Philippe Graffin Cliffe & Erlanger-柯利夫 & 德朗惹-英國

演奏樂團 指揮

01-06、09-BBC Scottish Symphony Orchestra Martyn Brabbins

07 BBC Scottish Symphony Orchestra Ilan Volkov

08 Royal Flemish Philharmonic Martyn Brabbins

10 BBC National Orchestra of Wales David Lloyd-Jones

RVC01-CDA67074，Philippe Graffin-violin, BBC Scottish Symphony Orchestra, Martyn Brabbins-指揮-錄音時間與地點: November 1998, Greyfriars Church, Edinburgh, United Kingdom，發(fā)行時間: August 1999

圣桑-Violin Concerto No 1 in A major-1.Allegro-2.Andante espressivo-3.Reprise★Violin Concerto No 2 in C major-1.Allegro moderato e maestoso-Cadenza-A tempo più allegro-2.Andante espressivo-3.Allegro scherzando quasi allegretto★Violin Concerto No 3 in B minor, Op 61-1.Allegro non troppo-2.Andantino quasi allegretto-3.Molto moderato e maestoso-Allegro non troppo

RVC02-CDA67208-Anthony Marwood-violin-BBC Scottish Symphony Orchestra, Martyn Brabbins指揮-錄音時間與地點: June 2000, Greyfriars Church, Edinburgh, United Kingdom，發(fā)行時間: November 2000-Sir Charles Villiers Stanford (1852-1924)-Suite for violin and orchestra, Op 32-1.Ouverture-2.Allemande-3.Ballade-4.Tambourin-5.Rondo Finale★Violin Concerto in D major, Op 74 -1.Allegro-2.Canzona-Andante-3.Allegro moderato

RVC03-CDA67367，Hagai Shaham (violin), BBC Scottish Symphony Orchestra, Martyn Brabbins (指揮)，錄音時間與地點: December 2002, Greyfriars Church, Edinburgh, United Kingdom，發(fā)行時間: April 2003

Jeno Hubay (1858-1937)-Violin Concerto No 3 in G minor, Op 99-1.Introduction quasi fantasia. Moderato-2.Scherzo. Presto-3.Adagio (Moderato)-4.Allegro con fuoco★Variations sur un thème hongrois, Op 72-1.Introduction. Molto moderato-2.Theme. Adagio-3.Variation 1. Un poco più vivo-4.Variation 2. Animato-5.Variation 3. Allegro-6.Variation 4. Moderato-7.Variation 5. Adagio non troppo-8.Variation 6. Poco animato-9.Variation 7. Moderato-10.Variation 8. Andante con moto-11: Variation 9. Allegro moderato-12: Variation 10. Allegro molto-13: Variation 11. L'istesso tempo-14: Cadenza-15: Theme. Grave★Violin Concerto No 4 in A minor-All'antica, Op 101-1.Preludio. Largo-2.Corrente e musette. Presto-3.Larghetto (Adagio)-4.Finale e capriccio. Allegro

RVC04-CDA67389，Tasmin Little (violin), BBC Scottish Symphony Orchestra, Martyn Brabbins (指揮)，錄音時間與地點: September 2003, Caird Hall, Dundee, Scotland, United Kingdom，發(fā)行時間: April 2004

Mieczyslaw Karlowicz：Violin Concerto in A major, Op 8-1.Allegro moderato-2.Romanza. Andante-3.Vivace assai-4. Ballade in G minor, Op 16 No 1★Moritz Moszkowski (1854-1925) -Violin Concerto in C major, Op 30 Moritz Moszkowski-1.Allegro comodo-2.Andante-3.Vivace"

RVC05-CDA67420，Anthony Marwood (violin), BBC Scottish Symphony Orchestra, Martyn Brabbins (指揮)，錄音時間與地點: February 2004, Greyfriars Church, Edinburgh, United Kingdom，發(fā)行時間: February 2005

Samuel Coleridge-Taylor (1875-1912)-Violin Concerto in G minor, Op 80-1.Allegro maestoso-Vivace-Allegro molto-2.Andante semplice--3.Allegro molto-Moderato★Sir Arthur Somervell (1863-1937)-Violin Concerto in G minor-1.Allegro moderato e con grazia-2.Adagio-3.Allegro giocoso

RVC06-CDA67498，Hagai Shaham (violin), BBC Scottish Symphony Orchestra, Martyn Brabbins (指揮)，錄音時間與地點: December 2004, Caird Hall, Dundee, Scotland, United Kingdom，發(fā)行時間: February 2006

Hubay：Violin Concerto No 1 in A minor-Dramatique, Op 21-1.Allegro appassionato-2.Andante ma non tanto-3.Allegro con brio-Un poco più vivo★Suite for violin and orchestra, Op 5-1.Gavotte. Moderato-2.Idylle. Andantino-3.Intermezzo. Allegro assai ma non troppo-4.Finale. Mouvement du premier morceau-Allegro vivace★Violin Concerto No 2 in E major, Op 90-1.Allegro con fuoco-2.Larghetto-3.Allegro non troppo

RVC07-CDA67642，Ilya Gringolts (violin), BBC Scottish Symphony Orchestra, Ilan Volkov (指揮)，錄音時間與地點: September 2008, City Halls, Candleriggs, Glasgow, United Kingdom，發(fā)行時間: February 2009

Anton Arensky (1861-1906)-Violin Concerto in A minor, Op 54-1: Allegro- 2: Adagio non troppo-Allegro-3: Tempo di valse- 4: Poco meno mosso-Tempo I-Cadenza-Tempo I★Sergei Ivanovich Taneyev (1856-1915)-Suite de concert, Op 28-1.Prelude. Grave-2.Gavotte. Allegro moderato-3.M?rchen-Tale. Andantino-4. Theme: Andantino-Variation 1: Allegro moderato-Variation 2: Allegro energico-Variation 3: Tempo di valse-Variation 4: Fuga doppia. Allegro molto-Variation 5: Presto scherzando-Variation 6: Tempo di mazurka. Allegro con fuoco-Variazione finale e coda: Andante- 5.Tarantella. Presto-Più presto

RVC09-Ferdinand David費迪南德·戴維-第4、5小提琴協(xié)奏曲-CDA67804
★大衛(wèi)·哈蓋·沙哈姆David Hagai Shaham小提琴-馬汀·布拉賓斯Martyn Brabbins指揮-BBC蘇格蘭交響樂團Scottish Symphony Orchestra-December 2009，City Halls，Candleriggs，Glasgow，United Kingdom-發(fā)行時間：2010年
★浪漫小提琴協(xié)奏曲系列是Hyperion唱片公司陸續(xù)發(fā)行的一套小提琴協(xié)奏曲唱片集。1999年8月第1張，2011年2月第10張。主要收錄一些非著名作曲家，如圣桑、斯坦福、胡拜、莫什科夫斯基、卡爾維茨、柯爾瑞基-泰勒、索莫威爾、塔涅耶夫、阿連斯基、維厄當?shù)鹊膬?yōu)秀小提琴協(xié)奏曲作品。
★費迪南德·戴維Ferdinand David(1810-1873)，德國漢堡的小提琴家、作曲家。13歲跟隨Spohr學(xué)習(xí)小提琴，17歲那年便和妹妹Louise一起巡回演出。他和密友門德爾松常常一起演奏室內(nèi)樂。1836年起擔任萊比錫布商大廈管弦樂團Gewandhaus Orchestra的首席。1843年任新建萊比錫音樂院第一任弦樂組主任，門德爾松介紹姚阿幸Joachim成為戴維的學(xué)生。門德爾松的《E小調(diào)小提琴協(xié)奏曲》聽過他許多建議，1845年戴維首演。1847年門德爾松過世對他的打擊相當大，葬禮時他還是抬棺者。1851年應(yīng)邀來到科隆，但仍保留在萊比錫布商大廈管弦樂團的職位，1861年布商大廈管弦樂團慶祝建團25周年時，他的學(xué)生及朋友一起慶祝他就任25周年！晚年時神經(jīng)系統(tǒng)的痛楚和肺部的呼吸不順常常導(dǎo)致他無法演奏，但他說：若要我不拉琴，那倒不如讓我死了吧！他最后一次公開演出是在1873年的一場室內(nèi)樂演出。1873年他與家人去度假時因心臟病突發(fā)而辭世。
★戴維不是炫技的獨奏家，但他絕對是位非常成功的音樂家、老師及樂團首席。萊比錫音樂院因為他而成為音樂學(xué)習(xí)的一個重鎮(zhèn)，許多小提琴的練習(xí)曲，例如：克羅采Kreutzer、羅得Rode、Fiorillo、Gavinies、帕格尼尼Paganini，及Kreutzer、Rode小提琴的協(xié)奏曲都因他的很好詮釋而受到后代的采信與沿用。他也是第一位公開演出巴赫的小提琴無伴奏。
★E大調(diào)第4小提琴協(xié)奏曲Violin Concerto No 4 in E major, Op 23-1.Allegro-2.Adagio cantabile, non troppo lento-3.Allegretto grazioso
★D小調(diào)第5小提琴協(xié)奏曲Violin Concerto No 5 in D minor, Op 35-1.Allegro serioso-2.Adagio-3.Vivace
★行板與諧謔隨想曲Andante and Scherzo capriccioso, Op 16

RVC10-弗雷德里克·德·厄蘭格男爵Frederic D Erlanger-德國-弗雷德里克·克利夫Frederic Cliffe-英國
★弗雷德里克·德·厄蘭格男爵Frederic D Erlanger，1868年5月29日生于巴黎，1943年4月23日死于倫敦，父親是德國人，母親是美國人。他在巴黎師從唯一的老師安瑟倫Ehmant。他的作品包括：歌劇Jehan DE Saintré，苔絲于1906年4月10日在那不勒斯圣卡洛劇院首演，諾埃爾于1910年12月28日在巴黎歌劇院Comique首演。其他作品：弦樂四重奏、小提琴和鋼琴奏鳴曲、為大提琴和管弦樂、鋼琴和字符串的五重奏“行板交響樂團”，套房交響樂團樂團-1895年，小提琴協(xié)奏曲-作品17號首演于克萊斯勒在1903年3月12日愛樂樂團音樂會，1921年的鋼琴和樂隊-交響樂團協(xié)奏曲。
★弗雷德里克·克利夫Frederic Cliffe(1857-1931)，英國作曲家、鋼琴家。青年時表現(xiàn)出一種很有前途的音樂性向，受教于皇家音樂學(xué)院……
★RVC10-CDA67838-Erlanger& Cliffe厄蘭格與克利夫《小提琴協(xié)奏曲》-Philippe Graffin D.Lloyd-Jones-BBC National Orchestra
★D小調(diào)小提琴協(xié)奏曲Violin Concerto In D Minor Op.17-1.Andantino con moto-Cadenza-2.Andante -Cadenza -Adagio-3.Allegro molto-Allegro poco più moderato-Vivo
★D大調(diào)音詩Poeme-Poeme in D Major
★Cliffe：Violin Concerto in D minor-1.Allegro moderato-Cadenza-Molto tranquillo-Molto allegro-2.Andante-poco lento-3.Lento-recitativo-Allegro energico-Poco andante-tranquillo-Allegro

弗雷德里克·克利夫的老師是英國作曲家阿瑟·沙利文Arthur Sullivan（1842年5月13日-1900年11月22日）。1884年-1931年在皇家音樂學(xué)院任鋼琴教授，學(xué)生有約翰·愛爾蘭和亞瑟·本杰明。

他的主要作品是兩首交響曲，第一首1889年在水晶宮愛樂樂團音樂會上首演深受好評，它的第一樂章是來自克利夫到挪威訪問的感受。他的第二交響曲首演于1892年利茲節(jié)，此交響曲克利夫標注有副標題-At Sunset在日落-Night夜-Fairy Revels仙女陶醉-Morning早上。

VMC10-CDA67838-Erlanger & Cliffe厄蘭格與克利夫《小提琴協(xié)奏曲》-小提琴：菲利普·格拉芬Philippe Graffin-指揮：大衛(wèi)·勞埃德·瓊斯D.Lloyd-Jones-BBC威爾士國家交響樂團BBC National Orchestra

RVC10-弗雷德里克·德·厄蘭格Frederic D Erlanger-德國-弗雷德里克·克利夫Frederic Cliffe-英國RVC10-CDA67838，Philippe Graffin (violin), BBC National Orchestra of Wales, David Lloyd-Jones (指揮) ，錄音時間與地點: April 2010, BBC Hoddinott Hall, Cardiff, Wales，發(fā)行時間: February 2011，Produced by Adrian Peacock，Engineered by David Hinitt，DISCID: 68105707

Frédéric d' Erlanger (1868-1943) -Violin Concerto in D minor, Op 17 -1.Allegro moderato e maestoso-Andantino con moto-Cadenza-2.Andante-Cadenza-Adagio-3.Allegro molto-Allegro poco più moderato-Vivo★Po?me in D major★Frederic Cliffe (1857-1931)-Violin Concerto in D minor-1.Allegro moderato-Cadenza-Molto tranquillo-Molto allegro-2.Andante (poco lento)-3.Lento (recitativo)-Allegro energico-Poco andante (tranquillo)-Allegro

RPC01- CDA66452：莫什科夫斯基＆帕德雷夫斯基Moszkowski & Paderewski）
鋼琴：Piers Lane（皮爾斯·拉里）；BBC交響樂團；指揮：杰濟·麥克錫繆，錄音時間與地點：June 1991, City Halls, Candleriggs, Glasgow, United Kingdom發(fā)行時間：October 1991
★Moritz Moszkowski (1854-1925) ：Piano Concerto in E major, Op.59（E大調(diào)鋼琴協(xié)奏曲）-1.Moderato -2.Andante-3.Scherzo. Vivace-4.Allegro deciso
★Moritz Moszkowski (1854-1925) ：Piano Concerto in A minor, Op.17（a小調(diào)鋼琴協(xié)奏曲） -1.Allegro -2.Romanza. Andante - 3.Allegro molto vivace

 http://www.hyperion-records.co.uk/al.asp?al=CDA66452

RPC02 - CDA66580-梅特納Nikolai Medtner (1880-1951) 
鋼琴：Nikolai Demidenko（尼可萊·戴米丹柯）；BBC交響樂團；指揮：杰濟·麥克錫繆
錄音時間與地點：November 1991, Greyfriars Church, Edinburgh, United Kingdom
發(fā)行時間：January 1992，注：1992年度留聲機雜志最佳唱片
★Medtner：Piano Concerto No.2 in C minor, Op.50（c小調(diào)No.2鋼琴協(xié)奏曲）-1.Toccata. Allegro risoluto-2.Romanza. Andante con moto -3.Divertimento. Allegro risoluto e molto vivace
★Medtner：Piano Concerto No.3 in E minor, Op.60（e小調(diào)No.3鋼琴協(xié)奏曲）-1.Con moto largamente -2.Interludium. Allegro, molto sostenuto, misterioso-3.Finale. Allegro molto, Svegliando, eroico
http://www.hyperion-records.co.uk/al.asp?al=CDA66580

RPC03 - CDA66567-門德爾松Felix Mendelssohn：雙鋼琴協(xié)奏曲（Double Concertos）
鋼琴：Stephen Coombs（斯蒂芬-庫姆斯）＆Ian Munro（艾恩·曼羅）；BBC交響樂團；指揮：杰濟·麥克錫繆
錄音時間與地點：September 1991, City Halls, Candleriggs, Glasgow, United Kingdom
發(fā)行時間：May 1992
★降A大調(diào)鋼琴協(xié)奏曲Concerto in A flat major for two pianos-1.Allegro vivace- 2.Andante -3.Allegro vivace
★E大調(diào)鋼琴協(xié)奏曲Concerto in E major for two pianos-1.Allegro vivace - Poco piu Allegro -2.Adagio non troppo -3.Allegro
http://www.hyperion-records.co.uk/al.asp?al=CDA66567

RPC04- CDA66624 ：阿倫斯基＆波爾特克葉維茨
鋼琴：Stephen Coombs（斯蒂芬-庫姆斯），BBC交響樂團指揮：杰濟·麥克錫繆
錄音時間與地點：August 1992, Henry Wood Hall, Glasgow, Scotland, United Kingdom 發(fā)行時間：January 1993
★ Arensky：Piano Concerto in F minor, Op.2（f小調(diào)鋼琴協(xié)奏曲）-1.Allegro maestoso-2.Andante con moto -3.Scherzo-Finale. Allegro molto
★ Arensky：Fantasia on Russian Folksongs, Op.48
★Bortkiewicz：Piano Concerto No.1 in B flat major, Op.16（降B大調(diào)No.1鋼琴協(xié)奏曲）-1.Lento - Allegro deciso -2.Andante sostenuto-3.Molto vivace e con brio
安東·斯捷潘諾維奇·阿連斯基（Anton Stepanovich Arensky, 1861-1906）（又譯“亞倫斯基”），俄羅斯作曲家、鋼琴家和指揮家，1861年生于諾夫哥羅德，出生于音樂世家，1906年卒于芬蘭泰里約基。阿連斯基9歲時即開始作曲，后進入圣彼得堡音樂學(xué)院，跟隨里姆斯基-科薩科夫?qū)W習(xí)作曲，并跟隨約翰森學(xué)習(xí)對位和賦格。在這期間，里姆斯基-科薩科夫?qū)Π⑦B斯基的天才留下了十分深刻的印象，并委約阿連斯基與他一起創(chuàng)作歌劇《雪少女》的聲樂縮編譜。畢業(yè)后，阿連斯基直接進入莫斯科音樂學(xué)院任和聲和復(fù)調(diào)教授，他的學(xué)生有拉赫瑪尼諾夫、斯克里亞賓和格里埃爾等。1894年，巴拉基列夫推薦阿連斯基去圣彼得堡的皇家大教堂接替他的主管職位。于是，1895年，阿連斯基辭去莫斯科音樂學(xué)院教授的工作，回到了圣彼得堡。1901年，他離開了皇家大教堂。從此,阿連斯基把余生都貢獻給了自己最喜愛的作曲事業(yè)，并以聲名顯赫的鋼琴家和指揮家的身份出現(xiàn)在俄羅斯和國外音樂會的舞臺上。根據(jù)里姆斯基-科薩科夫的敘述，由于阿連斯基早年沉迷于酗酒和賭博，所以他的生活變得非常糟糕，健康也每況愈下，直到晚年患肺結(jié)核逝世逝于芬蘭的療養(yǎng)院，享年僅四十五歲。 
阿連斯基的創(chuàng)作以室內(nèi)樂和歌曲著稱。雖師承里姆斯基-柯薩科夫，但其創(chuàng)作風(fēng)格更接近柴可夫斯基。作品多表現(xiàn)抒情與哀悼情緒。作品有歌劇三部（其中一部根據(jù)奧斯特羅夫斯基的《伏爾加河上的夢》寫成），芭蕾舞劇一部(《埃及之夜》)，莎士比亞戲劇《暴風(fēng)雨》的配樂，交響曲兩部，小提琴協(xié)奏曲一部，康塔塔多部，教堂音樂，室內(nèi)樂，鋼琴獨奏曲和歌曲。在英國，他最出名的作品是《d小調(diào)鋼琴三重奏》Op.32 和《a小調(diào)第二弦樂四重奏》中根據(jù)柴科夫斯基的《傳奇》寫成的變奏曲 Op.35。他的作品應(yīng)用了一些民間曲調(diào)，但就總體而論，與其說接近俄國民族樂派的理想，不如說接近西歐音樂的主流。鋼琴作品超過百首，其中包括由兩架鋼琴演奏的四首組曲等。
http://www.hyperion-records.co.uk/al.asp?al=CDA66624

RPC05  - CDA66640里姆斯基-柯薩科夫＆巴拉基列夫
鋼琴：Malcolm Binns（馬爾肯·賓斯）；樂團：English Northern Philharmonia（英國北愛爾管弦樂團）；指揮：David Lloyd-Jones（勞埃德-瓊斯）
錄音時間與地點：October 1992, Huddersfield Town Hall, United Kingdom
發(fā)行時間：March 1993
★Rimsky-Korsakov：Piano Concerto No.1 in F sharp minor, Op.30（升f小調(diào)No.1鋼琴協(xié)奏曲）-1.Moderato. Allegretto quasi polacca-2.Andante mosso-3. Allegro
★Balakirev：Piano Concerto No.1 in F sharp minor, Op.10（升f小調(diào)No.1鋼琴協(xié)奏曲）
★Balakirev＆Mikhailovich：Piano Concerto No.2 in E flat major, Op.posth（降E大調(diào)No.2鋼琴協(xié)奏曲）-1.Allegro non troppo -2.Adagio-3.Allegro risoluto
http://www.hyperion-records.co.uk/al.asp?al=CDA66640

RPC06：多納伊Dohnányi-鋼琴：Martin Roscoe（羅斯科）；BBC交響樂團;指揮：Fedor Glushchenko（格魯森科）
錄音時間與地點：June 1993, Henry Wood Hall, Glasgow, Scotland, United Kingdom
發(fā)行時間：October 1993；唱片時長: 74 分 40 秒
★Piano Concerto No.1 in E minor, Op.5（e小調(diào)No.1鋼琴協(xié)奏曲）-1.Adagio maestoso. Allegro. Adagio-2.Andante （David Flack (horn)）-3.Vivace. Cadenza con orchestra. Vivace
★Piano Concerto No.2 in B minor, Op.42（b小調(diào)No.2鋼琴協(xié)奏曲）-1.Allegro-2.Adagio, poco rubato-3.Allegro vivace

http://www.hyperion-records.co.uk/al.asp?al=CDA66684
Produced by Andrew Keener；Engineered by Philip Hobbs
The name of Ernest Dohnanyi (born Hungary, 1877, died USA, 1960) hardly rings a bell today except in Hungary. Even those who remember him are likely to be familiar with only one of his works, his Variations on a Nursery Song for piano and orchestra (1914). His stage works, orchestral compositions including symphonies, concerti etc., vocal compositions such as the Stabat Mater (1953), as well as his numerous chamber music and piano compositions are now seldom played. One would search long to find his music in any concert programme. Yet at his peak he was one of the most versatile and influential musicians of his time. His youthful Piano Quintet (1895) was so highly esteemed by Brahms at its first performance that he personally made arrangements for it to be performed in the Vienna Tonkunstlerverein.
It was his cellist father and Karoly Forstner, a cathedral organist, who gave Dohnanyi his first lessons in piano and theory. Having completed his secondary education he went to Budapest from his native town Pozsony (now Bratislava) in order to study at the Budapest Academy. (His school friend Béla Bartók followed suit.) There he studied piano with Thoman and composition with Koessler. After receiving his diploma in 1897 he spent the summer of the same year with composer and pianist Eugen d’Albert (Glasgow-born but of German-French-Italian origins) to whom, in 1898, Dohnanyi eventually dedicated his First Piano Concerto, a work which received the Bosendorfer Prize.
It was in 1898 that Hans Richter, one of the leading conductors of the time, asked Dohnanyi to join him in London as the soloist in Beethoven’s Fourth Piano Concerto. This tour, during which he gave 32 concerts in two months, established him as a concert pianist of the first rank. His interpretative power in the Austro-German classics, above all Mozart, Beethoven and Schubert, as well as his dedicated involvement in chamber music playing, made him one of the most sought-after performers of his time. His pianistic ability combined with improvisational panache was such that when later his memory deserted him from time to time it was a popular pleasure among connoisseurs to hear how he wriggled out of trouble by stylishly improvising passages that led back to the original notes. It was Richter, too, who in 1902 introduced Dohnanyi’s Symphony No 1 in D minor, in Manchester.
The great violinist Joachim, friend of Brahms, was also friend to Dohnanyi whom he invited to Berlin where the composer was offered a professorship at the Hochshule in 1905. Ten years there were paralleled and followed by various prestigious appointments not only at the Budapest Academy but also as chief conductor of the Philharmonic Orchestra, a position which he held for the best part of 25 years from 1919. In 1931 he became the musical director of Hungarian Radio where he worked until 1944. With all these involvements he found time not only for composition but also for selecting concert repertoire with the aim of raising musical standards in Hungary. He gave as many as 120 performances there in one year. No wonder that Bartók saw in him a leading provider of Hungarian musical life. For four decades Dohnanyi dominated the musical scene in his home country and beyond. It is to Dohnanyi’s credit that although his musical temperament and outlook were very different from Bartók’s and Kodaly’s he put his phenomenal performing ability to their service. In fact he recognised Bartók’s genius well before others and gave him practical support while his own countrymen were predominantly hostile. His long-standing relationship with America made him a welcome refugee when, after a few years stay in Austria (1944-1948), he decided to leave Europe for the New World. There he indefatigably continued his musical activities, not only in his capacity as pianist/composer-in- residence at Florida State University, but also as a touring performer. One of his last concerts was in 1956 at the Edinburgh Festival. Working to the very end of his life, he died during a recording session at the age of 83.
In this series featuring 'The Romantic Piano Concerto’, Dohnanyi’s two works in this form are fitting examples of the genre because he was throughout his life a romantic both at heart and in his musical language. Although he died as late as 1960 he had little to do with the musical developments of the twentieth century. The two Concertos on this recording evoke a world which belongs to the nineteenth century. Dohnanyi continued to compose in a style deeply rooted in the Austro-German classical tradition exemplified by Brahms. His merit as a composer is that he was able to prolong meaningfully the classico/romantic past, of which he was one of the last practitioners, well into this century, both in his chamber and orchestral music. This he did with elegance, wit, and stylish virtuosity. The two Piano Concertos are fine examples of his fluent mastery of form and instrumentation.
The Piano Concerto No 1 in E minor, from the years of 1897–8, follows the traditional three-movement structure: fast-slow-fast. However, the first movement Allegro is preceded by an introductory 'Adagio maestoso’ whose main theme is picked up, albeit in a modified way, by the first Allegro subject proper. It is characterised by a diminished 5th drop resolving upwards a minor second (E-A#-B). The structural importance of the introductory Adagio maestoso gains marked significance as it is reiterated at the end of the movement. There is nothing in the musical language—that is, in the rhythm, melody, harmony and musical structure as well as in the traditional orchestration—which Brahms would have found unfamiliar.
The second movement, with its largely pizzicato orchestral accompaniment, is in A minor. Its melodic contour is also derived in a subtle way from the 'Adagio maestoso’. The last twenty-eight bars, during which the piano plays the opening theme originally introduced by the orchestra with broad arpeggio chords finally establishing the key of A major (known as 'tierce de Picardi’), is an old trick, but it works superbly.
The third movement, Vivace, brings to its dramatic conclusion the opening Adagio maestoso theme which, motto-like, gives unity to the whole composition. Of the three movements this is perhaps the most Brahmsian in style with its lush sixths and thirds. A chorale-like theme played by the orchestra interrupts the flow of the cadenza. Then a frenetic coda in 6/8 is approached via a series of trills. Finally the time signature changes again, now to 2/4 Presto, leading the composition to its conclusion—not in E minor, but in the triumphant E major.
The Piano Concerto No 2 in B minor belongs to the post-World War II years, 1946–7. Thus nearly fifty years separate the two Concertos on this CD. The composer’s compositional style, however, shows little change. It is amazing to think that Bartók’s Third Piano Concerto was written two years before this one. The first Allegro movement of this Concerto also opens with a quasi-motto theme. There is something Hungarian to it both melodically and rhythmically. Among several striking passages the one which stands out is the 'Poco meno mosso’ entry of a theme which more or less dominates the second half of the movement.
The second movement, 'Adagio poco rubato’, again evokes Hungarian, or rather a stylised Hungarian gipsy style in G minor. It ends in G major with a gradually speeded-up repetition of the note G in the orchestra, leading directly without a break to the third movement, Allegro vivace. The ostinato G is spiced by a minor second clash which gives backing to the entry of the energetic main theme. The motto theme of the first movement reappears, albeit en passant, over a long held E in the bass. This gives way to a spirited unfolding of the material and the eventual conclusion of the Concerto.
It is incorrect to suggest, as some do, that Dohnanyi bridged the gap in Hungarian music between Liszt and Bartók. This is not so, since he did not share their innovating and pioneering compositional genius. He got stuck in a style somewhere between Brahms and Saint-Saens. What he offers, however, is an unfailing romantic spirit which to this day can evoke the musical values of yesterday, which he served and defended with such inspired dedication.
Otto Karolyi, 1993
Comments:
BBC MUSIC MAGAZINE BEST OF THE YEAR 
'Roscoe's superbly authoritative performances are majestic and glittering as required' (Gramophone)
'Both soloist and orchestra, not to mention the recording itself, rise gloriously to the music's challenges' (Soundscapes, Australia)

RPC07：亨賽爾特＆阿爾坎Henselt & Alkan）
鋼琴：Marc-André Hamelin（哈默林）；BBC交響樂團；指揮：Martyn Brabbins（馬汀·布拉賓斯）
錄音時間與地點：December 1993, Govan Town Hall, Glasgow, United Kingdom
發(fā)行時間：April 1994
★Henselt：Piano Concerto in F minor, Op.16（f小調(diào)鋼琴協(xié)奏曲）-1.Allegro patetico-Religioso-Reprise-2.Larghetto-3.Allegro agitato
★Henselt：Variations de concert, Op.11（鋼琴變奏曲）-Part 1.Introduzione (Larghetto ma non troppo)-Part 2.Theme (Moderato)-Part 3.Variation 1. Grazioso assai-Part 4.Variation 2. Un poco più lento e sostenuto-Part 5: Variation 3. Scherzando-Part 6: Variation 4. Con fuoco e pomposo-Part 7: Variation 5. Vivace ma non troppo-Part 8: Adagio-Cadenza-Part 9: Finale. Allegro vivace
★Alkan：Concerto da camera in C sharp minor, Op.10 No.2（升c小調(diào)No.2室內(nèi)協(xié)奏曲）-1.Allegro moderato-2.Adagio-3.Tempo I
★Alkan：Concerto da camera in A minor, Op.10 No.1（a小調(diào)No.1室內(nèi)協(xié)奏曲）-1.Allegro moderato-2.Adagio-3.Rondo. Allegro

RPC08：梅特納Medtner-鋼琴：Dmitri Alexeev（阿里謝耶夫）；演奏：New Budapest Quartet（新布達佩斯四重奏團），BBC交響樂團；指揮：Alexander Lazarev（拉瑟瑞夫）
錄音時間與地點：March 1994, Various recording venues
發(fā)行時間：September 1994
★Piano Concerto No.1 in C minor, Op.33（c小調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro-2.Theme and Variations-3.Recapitulation-4.Coda. Allegro molto
★Piano Quintet in C major, Op.posth（鋼琴五重奏）-1.Molto Placido-2.Andantino con moto-3. Finale. Allegro vivace

RPC09：阿爾貝d'Albert-鋼琴：Piers Lane（皮爾斯·拉里）；BBC交響樂團；指揮：Alun Francis（艾倫·法蘭西斯）
錄音時間與地點：May 1994, Govan Town Hall, Glasgow, United Kingdom
發(fā)行時間：November 1994
★Piano Concerto No.1 in B minor, Op.2 （b小調(diào)No.1鋼琴協(xié)奏曲）-1.Massig-2.Langsam, mit Empfindung-3.Erstes Zeitmass-4.Cadenza-5.Dasselbe Zeitmass
★Piano Concerto No.2 in E major, Op.12（E大調(diào)No.2鋼琴協(xié)奏曲）-1.Massig bewegt-2.Langsam-3.Sehr lebhaft-4.'Wie vorther' (crotchet-dotted crochet)

Chopin Nocturne Op9 No3 in B major-http://www.tudou.com/programs/view/d6UIxRNbIRU/
RPC09-CDA66747-Eugène Francois Charles d'Albert★Piers Lane-piano-BBC Scottish Symphony Orchestra-指揮Alun Francis-May 1994, Govan Town Hall, Glasgow, United Kingdom-發(fā)行時間: 1994

★Piano Concerto No.1 in B minor, Op.2-1.Massig-2.Langsam, mit Empfindung-3.Erstes Zeitmass-4.Cadenza-5.Dasselbe Zeitmass

★Piano Concerto No.2 in E major, Op.12-1.Massig bewegt-2.Langsam-3.Sehr lebhaft-4.Wie vorther' (crotchet - dotted crochet)

RPC10：韋伯Weber-鋼琴：Nikolai Demidenko（尼克萊·德米登科）；蘇格蘭室內(nèi)樂團Scottish Chamber Orchestra；指揮：Charles Mackerras（查爾斯·馬克拉斯）
錄音時間與地點：April 1994, Usher Hall, Edinburgh, United Kingdom
發(fā)行時間：March 1995
★Weber：Piano Concerto No.1 in C major, J98 Op.11（C大調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro-2.Adagio-3.Presto 
★Weber：Piano Concerto No.2 in E flat, J155 Op.32（降E大調(diào)No.2鋼琴協(xié)奏曲）-1.Allegro maestoso-2.Adagio-6.Rondo. Presto
★Weber：Konzertstück in F minor, J282 Op.79（f小調(diào)鋼琴小協(xié)奏曲）-1.Larghetto affettuoso-2.Allegro passionato-3.Tempo di Marcia-4.Piu mosso-Presto giojoso

RPC12：帕里＆斯坦夫Parry & Stanford
鋼琴：Piers Lane（皮爾斯·拉里）；BBC交響樂團；指揮：Martyn Brabbins（馬汀·布拉賓斯）
錄音時間與地點：September 1995, Govan Town Hall, Glasgow, United Kingdom
發(fā)行時間：November 1995
★Parry：升F大調(diào)鋼琴協(xié)奏曲Piano Concerto in F sharp major-1.Allegro maestoso-2.Maestoso-3.Allegro vivace 
★Stanford：G大調(diào)No.1鋼琴協(xié)奏曲Piano Concerto No.1 in G major, Op.59-1.Allegro comodo-2.Adagio molto-3.Allegro e giocoso

RPC13-CDA66877 -Glazunov & Goedicke
鋼琴：Stephen Coombs（斯蒂芬-庫姆斯）；BBC交響樂團；指揮：Martyn Brabbins（馬汀·布拉賓斯）
錄音時間與地點：January 1996, Govan Town Hall, Glasgow, United Kingdom
發(fā)行時間：August 1996
Alexander Glazunov-92-Piano Concerto No 1 in F minor-1.Allegro moderato-2.Tema con variazioni-Tema  Andantino tranquillo-V1 -V2.Chromatica  Andantino-V3.Eroica  Allegro moderato-V4.Lyrica  Adagio-V5.Intermezzo  Allegro-V6.Quasi una fantasia  Lento-V7.Mazurka  Allegretto-V8.Scherzo Allegro ma non troppo-V9.Finale Allegro moderato
100-Piano Concerto No.2 in B major-1.Andante sostenuto Allegro Piu moderato-2.Andante Moderato tranquillo-3.Allegro-Allegretto scherzando-Allegro moderato Con moto
Alexander Goedicke (1877-1957)-Concertstuck in D major, Op.11 
http://www.hyperion-records.co.uk/al.asp?al=CDA66877

RPC14：里托爾夫：No.2＆4交響協(xié)奏曲Litolff Concertos Symphoniques 2 & 4）
鋼琴：Peter Donohoe（彼得·多諾霍）；樂團：Bournemouth Symphony Orchestra（伯恩茅斯交響樂團）；指揮：Andrew Litton（安德雷·里頓）
錄音時間與地點：October 1996, Poole Arts Centre, United Kingdom
發(fā)行時間：January 1997
★Litolff-22-b小調(diào)No.2交響協(xié)奏曲Concerto Symphonique No.2 in B minor-1.Maestoso-2.Scherzo-3.Andante-4.Rondo. Allegretto
★Litolff-102-d小調(diào)No.4交響協(xié)奏曲Concerto Symphonique No.4 in D minor-1.Allegro con fuoco-2.Scherzo. Presto-3.Adagio religioso-4.Allegro impetuoso 

RPC15：馬斯內(nèi)＆哈恩Massenet & Hahn
鋼琴：Stephen Coombs（斯蒂芬-庫姆斯）；BBC交響樂團；指揮：Jean-Yves Ossonce（歐頌斯）
錄音時間與地點：June 1996, Henry Wood Hall, Glasgow, Scotland, United Kingdom
發(fā)行時間：April 1997
★Massenet：Piano Concerto in E flat major（降e小調(diào)鋼琴協(xié)奏曲）-1.Andante moderato-Allegro non troppo-2.Largo-3.Airs slovaques. Allegro
★Hahn：Piano Concerto in E major（E大調(diào)鋼琴協(xié)奏曲）-1.Improvisation. Modere tres librement-2.Danse. Vif-3.Reverie, Toccata et Finale. Lent-Gai, fortement rythme, pas trop vite-Allegro

RPC16：赫斯＆謝林Huss & Schelling）
鋼琴：Ian Hobson（霍布森）；BBC交響樂團；指揮：Martyn Brabbins（馬汀·布拉賓斯）
錄音時間與地點：January 1997, Henry Wood Hall, Glasgow, Scotland, United Kingdom
發(fā)行時間：October 1997，唱片時長：59 分 58 秒
★Huss：Concerto for piano and orchestra in B major, Op.10（b小調(diào)鋼琴協(xié)奏曲）-1.Allegro maestoso-2.Andante tranquillo-3.Finale. Allegro vivace
★Schelling：Suite Fantastique for piano and orchestra, Op.7（幻想組曲）-1.Allegro marziale-2.Scherzo. Molto vivace, scherzando e molto leggiero-3.Intermezzo-4.Virginia Reel. Molto vivace

RPC17：門德爾松Mendelssohn）
鋼琴：Stephen Hough（斯蒂芬·霍夫）；樂團：City of Birmingham Symphony Orchestra（伯明翰市交響樂團）；指揮：Lawrence Foster（勞倫斯·福斯特）
錄音時間與地點：January 1997, Dudley Town Hall, Warwickshire, United Kingdom
發(fā)行時間：August 1997
01. 華麗奇想曲Capriccio Brillant in B minor, Op.22
★g小調(diào)No.1鋼琴協(xié)奏曲Piano Concerto No.1 in G minor, Op.25-1.Molto Allegro con fuoco-2.Andante-3.Presto-Molto Allegro e vivace 
05. 華麗輪旋曲Rondo Brillant in E flat major, Op.29
★d小調(diào)No.2鋼琴協(xié)奏曲Piano Concerto No.2 in D minor, Op.40-1.Allegro appassionato-2.Adagio. Molto sostenuto-3.Finale. Presto scherzando
09. Serenade and Allegro giocoso in B minor, Op.43（b小調(diào)夜曲快板）

RPC18-Marc-Andre Hamelin; Osmo Vanska; BBC Scottish Sympony Orchestra
★科恩戈爾德Erich Wolfgang Korngold(1897-1957)：奧地利裔的美國籍作曲家。生于莫拉維亞，父親曾是維也納《自由新報》的著名樂評家。科恩戈爾德幼時就會作曲，且被驚為天賦才華可能僅次于莫扎特的音樂神童。其作品倍受馬勒和施納貝爾Artur Schnabel)的贊賞，以杰出歌劇《死城》奠定名聲。1934年赴美國發(fā)展并于38年定居下來，憑他下筆有如神助的奇才創(chuàng)作電影音樂在好萊塢大獲成功。科恩戈爾德與好萊塢電影有著不解之緣，其無拘無束的浪漫主義風(fēng)格證明非常適合如《風(fēng)流世家》(Anthony Adverse, 1936年獲奧斯卡獎)、《俠盜羅賓漢》(Robin Hood , 1938年獲奧斯卡獎)這類神氣活現(xiàn)的故事，其它十七部電影也是如此：1939年的《江山美人》(The Private Lives of Elizabeth and Esse，又名“伊麗莎白女皇和埃塞克斯的私生活”)和1940年的《海鷹The Sea Hawk》分別獲奧斯卡最佳原創(chuàng)電影音樂金像獎提名等等。近年來重新出現(xiàn)了科恩戈爾德音樂熱，他的小提琴協(xié)奏曲和《升F大調(diào)交響曲》獲得了新的成功。
★Joseph Rupert Rudolf Marx (1882.5.11-1964.9.3) ，奧地利重要作曲家，Ped & shy; a­ gogue, and critic.Austria*s leading contemporary composers。一生生活在Graz。

RPC19：托維＆麥肯芝Tovey & Mackenzie）
鋼琴：Steven Osborne（斯蒂芬·奧斯本）；BBC交響樂團；指揮：Martyn Brabbins（馬汀·布拉賓斯） 
錄音時間與地點：January 1998, City Halls, Candleriggs, Glasgow, United Kingdom
發(fā)行時間：August 1998
★Tovey：Piano Concerto in A major, Op.15（A大調(diào)鋼琴協(xié)奏曲）-1.Energico-2.Adagio ma non troppo-3.Alla marcia, non presto-Presto
★Mackenzie：Scottish Concerto, Op.55（蘇格蘭鋼琴協(xié)奏曲）-1.Allegro maestoso-Allegretto-Andantino-Allegretto-Andantino-Maestoso-Cadenza-2.Molto lento-3.Allegro vivace (ma non presto all' principio)-Andante tranquillo, quasi dolente-Tempo I-Molto più mosso-Più mosso ancora

RPC20-布魯Ignaz Brull-CDA67069-奧地利
http://www.hyperion-records.co.uk/al.asp?al=CDA67069
Ignaz Brull (1846-1907) （The Romantic Piano Concerto：Brull）
鋼琴：羅斯科Martin Roscoe
樂團：英國廣播電臺蘇格蘭交響樂團-BBC交響樂團-BBC Scottish Symphony Orchestra
指揮：馬汀·布拉賓斯Martyn Brabbins
錄音時間與地點：May 1998, Caird A18Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：February 1999；Produced by Andrew Keener；Engineered by John Timperley
1、Piano Concerto No.1 in F major, Op.1-1.Allegro moderato - Cadenza - Tempo I-2.Andante. Molto espressivo-3.Finale. Presto--15歲時創(chuàng)作
2、Andante and Allegro, Op.88-急速行板--1.Andante moderato, con moto-2.Allegro vivace
3、Piano Concerto No.2 in C major, Op.24-1.Allegro moderato-2.Andante ma non troppo-3.Allegro --22歲時創(chuàng)作

RPC21：庫拉克＆德萊索克Kullak & Dreyschock）
鋼琴：Piers Lane（皮爾斯·拉里）；BBC交響樂團；指揮：Niklas Willen （尼克拉斯·威廉）
錄音時間與地點：March 1999, Caird Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：July 1999
★Kullak：Piano Concerto in C minor, Op.55（c小調(diào)鋼琴協(xié)奏曲）-1.Allegro-2.Adagio-3.Allegro moderato ma con fuoco
★Dreyschock：Piano Concerto in D minor, Op.137（d小調(diào)鋼琴協(xié)奏曲）-1.Allegro ma non troppo-2.Andante con moto-3.Allegro vivace

RPC23：霍爾布魯克＆伍德Holbrooke & Wood）
鋼琴：Hamish Milne（哈米施·麥恩）；BBC交響樂團；指揮：Martyn Brabbins （馬汀·布拉賓斯）
錄音時間與地點：June 1999, Caird Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：February 2000
Holbrooke：Piano Concerto No.1 'The Song of Gwyn ap Nudd', Op.52（No.1鋼琴協(xié)奏曲）-Part 1.Maestoso Allegro 'Open the gates of mirrored horn!'-Part 2.Animato 'Ye guards of my hold whom wanderers fear'-Part 3.A tempo 'Harness a steed from the gnomes dark fields'-Part 4.A tempo 'Vapour of night be thou my shield'-Part 5: 'Swift through the dell where the young bats wake'-Part 6: A tempo 'The armies of night are abroad'-Part 7: Tempo primo 'Here lies the field that was laid to our hand'-Part 8: 'Deep in the mould lies the golden helmed all'-Part 9: Più mosso al fine 'No.spectre of them will answer my call'-B、Part 1.Poco adagio con sentimento 'Faint as the faith of our people long dying'-Part 2.Tempo poco Allegretto Poco Scherzando 'Clotted of shadows he comes to my hest'-Part 3.Tempo I 'Daughter of Lear'-2 Part 4.'O God of our torment lean down and decide that we shall never meet again'-C、 Part 1.Allegro, molto fuoco 'Blade that meets blade with never a sound'-Part 2.'Face me afresh though the night hour fails'-Part 3.Tempo poco Larghetto 'Back to your grave'-Part 4.Tempo primo 'Break back from the battle'-Part 5: 'Away from this land, Fairy folk all'-Part 6: Poco lento 'Flit ye away while the shadows mate Branch and blest earth'-Part 7: L'istesso tempo (Doppio) 'For scorn follows fast on the Fairy King's fate'-Part 8: Cadenza-Part 9: Grandioso-brillante 'She was the most splendid maiden' 
★Wood：Piano Concerto in D minor（d小調(diào)鋼琴協(xié)奏曲）-1.Maestoso e moderato-Tranquillo-cadenza-Allegro-2.Andante-3.Finale. Vivace

RPC24：摩塔Vianna da Motta
鋼琴：Artur Pizarro（阿圖·皮薩羅）；樂團：Orquestra Gulbenkian（里斯本古本加管弦樂團）；指揮：Martyn Brabbins（馬汀·布拉賓斯）
錄音時間與地點：July 1999, Grande Auditorio, Museu Calouste Gulbenkian, Lisbon, Portugal
發(fā)行時間：October 2000
★Piano Concerto in A major（A大調(diào)鋼琴協(xié)奏曲）-1.Moderato-2.Largo-3.Variation 1-4.Variation 2-Variation 3-Vivace-Tranquillo-6.Variation 4-Lento-7: Variation 5-Coda (molto vivace)
★Ballada, for solo piano, Op.16（敘事曲）
★Fantasia Dramatica, for piano and orchestra（戲劇風(fēng)幻想曲）-1.Allegro moderato-2.Andante-3.Animato-Maestoso

RPC25：麥克道威爾MacDowell
鋼琴：Seta Tanyel（賽塔·譚耶兒）；BBC交響樂團；指揮：Martyn Brabbins （馬汀·布拉賓斯）
錄音時間與地點：December 2000, Caird Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：March 2001
★Piano Concerto No.1 in A minor, Op.15（a小調(diào)No.1鋼琴協(xié)奏曲）-1.Maestoso-Allegro con fuoco-2.Andante tranquillo-3.Presto
★14-第2號摩登組曲Second Modern Suite-1.Praeludium-Andante maestoso-2.Fugato-3.Rhapsodie-4.Scherzino-5.Marsch-6.Phantasie-Tanz
★Piano Concerto No.2 in D minor, Op.23（d小調(diào)No.2鋼琴協(xié)奏曲）-1.Larghetto calmato-Poco passione-2.Presto giocoso-3.Largo-Molto allegro

RPC26：里托爾夫：No.3＆5交響協(xié)奏曲Litolff Concertos Symphoniques 3 & 5）
鋼琴：Peter Donohoe（彼得·多諾霍）；BBC交響樂團；指揮：Andrew Litton（安德雷·里頓）
錄音時間與地點：October 2000, Caird Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：July 2001
★Concerto Symphonique-National Hollandais-No.3 in E flat, Op.45（降E調(diào)No.3交響協(xié)奏曲）-1.Maestoso-2.Presto-3.Andante-4.Allegro vivace
★Concerto Symphonique No.5 in C minor, Op.123（c小調(diào)No.5交響協(xié)奏曲）-1.Allegro maestoso-2.Largo-3.Intermede (Scherzo). Vivace-4.Allegro

RPC27：圣桑Saint-Saens
鋼琴：Stephen Hough（斯蒂芬·霍夫）；樂團：City of Birmingham Symphony Orchestra（伯明翰市交響樂團）；指揮：Sakari Oramo（歐拉莫）
錄音時間與地點：September 2000, Various recording venues
發(fā)行時間：September 2001
注：2002年度留聲機雜志最佳唱片；留聲機雜志30年大獎(金唱片獎)（2008年評）
★Piano Concerto No.1 in D major, Op.17（D大調(diào)No.1鋼琴協(xié)奏曲）-1.Andante. Allegro assai-2.Andante sostenuto quasi adagio-3.Allegro con fuoco
★Piano Concerto No.2 in G minor, Op.22（g小調(diào)No.2鋼琴協(xié)奏曲）-1.Andante sostenuto-2.Allegro scherzando-3.Presto
★Piano Concerto No.3 in E flat major, Op.29（降E大調(diào)No.3鋼琴協(xié)奏曲）-1.Moderato assai-Più mosso (Allegro maestoso)-2.Andante-3.Allegro non troppo
10. Wedding Cake. Valse-Caprice for piano and strings, Op.76（鋼琴與樂隊的華爾茲）
Disc 2：
★Piano Concerto No.4 in C minor, Op.44（c小調(diào)No.4鋼琴協(xié)奏曲）-1.Allegro moderato-2.Allegro vivace
★Piano Concerto No.5 in F major, Op.103（F大調(diào)No.5鋼琴協(xié)奏曲）-1.Allegro animato-2.Andante-Allegretto tranquillo quasi andantino-Andante-3.Molto allegro
★Rapsodie d'Auvergne for piano and orchestra, Op.73（奧弗涅狂想曲）
★Allegro appassionato for piano and orchestra, Op.70（熱情的快板）
★Africa. Fantasie for piano and orchestra, Op.89（阿非利加）

RPC28：斯托霍夫斯基Stojowski
鋼琴：Jonathan Plowright（喬納森·普洛萊特）；BBC交響樂團；指揮：Martyn Brabbins（馬汀·布拉賓斯）
錄音時間與地點：June 2001, Caird Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：February 2002
★Piano Concerto No.1 in F sharp minor, Op.3（升f小調(diào)No.1鋼琴協(xié)奏曲）-1.Andante poco mosso-Allegro un poco maestoso-2.Andante sostenuto e molto cantabile-3.Allegro con fuoco-Presto-Piu presto
★Piano Concerto No.2 in A flat major 'Prologue, Scherzo and Variations', Op.32（降A大調(diào)No.2鋼琴協(xié)奏曲）-Part 1.Prologue. Andante con moto-Part 2.Scherzo. Presto-Part 3a: Tema. Maestoso e moderato molto-Part 3b: Variation I. Molto sostenuto-Part 3c: Variation II. Con espressione poco rubato-Part 3d: Variation III. Piu mosso-Part 3e: Variation IV. Allegretto-Part 3f: Variation V. Molto vivace-Part 3g: Variation VI. Con fuoco, agitato-Part 3h: Variation VII. Con moto, energico-Part 3i: Variation VIII. Andante sostenuto-Part 3j: Variation IX. Andantino ben moderato-Part 3k: Variation X. Finale. Allegro molto

RPC30：萊帕努Lyapunov
鋼琴：Hamish Milne（哈米施·麥恩）；BBC交響樂團；指揮：Martyn Brabbins（馬汀·布拉賓斯）
錄音時間與地點：June 2002, City Halls, Candleriggs, Glasgow, United Kingdom
發(fā)行時間：October 2002
★Piano Concerto No.1 in E flat major, Op.4（降E大調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro con brio-2.Adagio non tanto-3.Allegro moderato e maestoso-4.Adagio non tanto-5.Allegro con brio
★Rhapsody on Ukranian Themes, Op.28（烏克蘭主題狂想曲）-1.Andantino pastorale-2.Allegretto scherzando-3.Andantino pastorale-4.Allegro giocoso
★Piano Concerto No.2 in E major, Op.38（E大調(diào)No.2鋼琴協(xié)奏曲）-1.Lento ma non troppo-2.Allegro molto ed appassionato-3.Allegro moderato-4.Allegro molto-5. Lento ma non troppo-6. Allegro molto 

★RPC31-福赫斯＆基爾：浪漫鋼琴協(xié)奏曲-CDA67354-奧地利
Robert Fuchs-Piano Concerto in Bb minor op.27
Kiel-Piano Concerto in Bb major
★培養(yǎng)的學(xué)生如：Scriabin，亨德爾，Brahms也是他的仰慕者。作品有鋼協(xié)、交響曲、小夜曲、鋼琴三重奏。
★羅伯特·福赫斯Robert Fuchs-奧地利作曲家和音樂教育家。(15 February 1847-19 February 1927) was an Austrian composer and music teacher. As Professor of music theory at the Vienna Conservatory, Fuchs taught many notable composers, while he was himself a highly regarded composer in his lifetime.
Friedrich Kiel(8 October 1821-13 September 1885) was a German composer and music teacher. Writing of the chamber music of Friedrich Kiel, the famous scholar and critic Wilhelm Altmann notes that it was Kiel’s extreme modesty which kept him and his exceptional works from receiving the consideration they deserved. After mentioning Johannes Brahms and others, Altmann writes, “He produced a number of chamber works, which……need fear no comparison.”

RPC33：沙爾文卡：No.2＆3浪漫鋼琴協(xié)奏曲Scharwenka 2 & 3）
鋼琴：Seta Tanyel（賽塔·譚耶兒）；樂團：Radio Philharmonie Hannover des NDR（北德漢諾威交響廣播樂團）；指揮：Tadeusz Strugala（斯特魯加拉）
錄音時間與地點：December 1996, Groβer Sendesaal, Funkhaus, Hannover des NDR, Germany
發(fā)行時間：July 2003
★c小調(diào)No.2鋼琴協(xié)奏曲Piano Concerto No.2 in C minor-1.Allegro-2.Adagio-3.Allegro non troppo 
★80-升c小調(diào)No.3鋼琴協(xié)奏曲Piano Concerto No.3 in C sharp minor, -1.Maestoso-2.Adagio-3.Allegro non troppo

RPC34：皮爾奈Pierne；鋼琴：Stephen Coombs（斯蒂芬-庫姆斯）；BBC交響樂團；指揮：Ronald Corp（科普）
錄音時間與地點：May 2002, Caird Hall, Dundee, Scotland, United Kingdom；發(fā)行時間：October 2003
★Piano Concerto in C minor, Op.12（c小調(diào)鋼琴協(xié)奏曲）-1.Allegro-2.Scherzando-3.Final 
★Poeme symphonique in D minor, Op.37（詩歌交響樂）
★Fantaisie-Ballet in B flat major, Op.6（法國-芭蕾）
★Scherzo-Caprice in D major, Op.25（諧謔隨想曲）

RPC35：赫爾茨Herz；鋼琴+指揮：Howard Shelley；樂團：Tasmanian Symphony Orchestra（塔斯馬尼亞交響樂團）；錄音時間與地點：September 2003, Federation Concert Hall, Hobart, Tasmania, Australia;；發(fā)行時間：June 2004

★Piano Concerto No.1 in A major, Op.34（A大調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro moderato-2.Larghetto-3.Allegro moderato
★Piano Concerto No.7 in B minor, Op.207（b小調(diào)No.7鋼琴協(xié)奏曲）-1.Allegro moderato-2.Romance. Larghetto senza tempo-Andantino cantabile-3.Rondo espagnol. Allegretto 
★Piano Concerto No.8 in A flat major, Op.218（降A大調(diào)No.8鋼琴協(xié)奏曲）-1.Allegro molto moderato-2.Andantino-3.Polonaise

RPC36：莫謝萊斯Moscheles
鋼琴+指揮：Howard Shelley；樂團：Tasmanian Symphony Orchestra（塔斯馬尼亞交響樂團）；錄音時間與地點：Various dates, Federation Concert Hall, Hobart, Tasmania, Australia;；發(fā)行時間：March 2005
★Piano Concerto No.4 in E major, Op.64（E大調(diào)No.4鋼琴協(xié)奏曲）-1.Allegro maestoso-2.Adagio-3.Rondo. Allegretto-Tempo di marcia
★Piano Concerto No.5 in C major, Op.87（C大調(diào)No.5鋼琴協(xié)奏曲）-1.Allegro moderato-2.Adagio non troppo-3.Allegro vivace
★Recollections of Ireland, Op.69（'愛爾蘭往事’幻想曲）-1.Fantasia. Allegro moderato-2.The Groves of Blarney. Andante sostenuto espressivo-3.Garry Owen. Allegro-4.St Patrick's Day

RPC37：納普納夫尼克＆布魯門費爾德Napravnik & Blumenfeld
鋼琴：Evgeny Soifertis（葉夫根尼·索伊弗蒂斯）；BBC交響樂團；指揮：Alexander Titov（亞歷山大·提多夫）
錄音時間與地點：September 2004, Caird Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：July 2005
★Napravnik：Concerto symphonique in A minor, Op.27（a小調(diào)交響協(xié)奏曲）-1.Allegro energico 
2.Larghetto-3.Allegro vivace-
★Blumenfeld：Allegro de concert in A major, Op.7（布魯門費爾德：A大調(diào)音樂會快板）
★Napravnik：Fantaisie russe in B minor, Op.39（納普納夫尼克：b小調(diào)俄羅斯幻想曲）

RPC38：沙爾文卡＆魯賓斯坦Scharwenka & Rubinstein
鋼琴：Marc-Andre Hamelin（哈姆林）；BBC交響樂團；指揮：Michael Stern（邁克爾·斯特恩）
錄音時間與地點：February 2005, Caird Hall, Dundee, Scotland, United Kingdom
發(fā)行時間：October 2005
★Scharwenka：Piano Concerto No.1 in B flat minor, Op.32（降b小調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro patetico-2.Allegro assai-3.Allegro non tanto-Allegro patetico, come prima
★Rubinstein：Piano Concerto No.4 in D minor, Op.70（d小調(diào)No.4鋼琴協(xié)奏曲）-1.Moderato assai-2.Andante-3.Allegro

RPC39：戴留斯＆艾爾蘭Delius & Ireland-鋼琴：Piers Lane（皮爾斯·拉里）；樂團：Ulster Orchestra（奧斯特樂團）；指揮：David Lloyd-Jones（戴維·勞依德-瓊斯）
錄音時間與地點：March 2005, Ulster Hall, Belfast, United Kingdom
發(fā)行時間：January 2006
★Delius：Piano Concerto in C minor（c小調(diào)鋼琴協(xié)奏曲）-1.Allegro ma non troppo-2.Largo-3.Maestoso con moto moderato 
★Ireland：Legend（神話）
★Ireland：Piano Concerto in E flat major（降E大調(diào)鋼琴協(xié)奏曲）-1.In tempo moderato-2a: Lento espressivo-Allegro-Cadenza-2b: Allegretto giocoso

RPC40：赫爾茨Herz-鋼琴：霍華德·雪利；樂團：Tasmanian Symphony Orchestra（塔斯馬尼亞交響樂團）；霍華德·雪利
錄音時間與地點：September 2004, Federation Concert Hall, Hobart, Tasmania, Australia
發(fā)行時間：April 2006
★Piano Concerto No.3 in D minor, Op.87（d小調(diào)No.3鋼琴協(xié)奏曲）-1.Allegro moderato-2.Andantino sostenuto-3.Finale. Allegro (con fuoco ed appassionato)
★Piano Concerto No.4 in E major, Op.131（E大調(diào)No.4鋼琴協(xié)奏曲）-1.Allegro moderato-2.Andante cantabile-3.Rondo russe. Allegro vivace
★Piano Concerto No.5 in F minor, Op.180（f小調(diào)No.5鋼琴協(xié)奏曲）-1.Allegro moderato-2.Andantino-3.Finale. Allegro agitato

RPC41：卡克布蘭納：No.1＆4浪漫鋼琴協(xié)奏曲Kalkbrenner 1 & 4）
鋼琴：霍華德·雪利；樂團：Tasmanian Symphony Orchestra（塔斯馬尼亞交響樂團）
錄音時間與地點：May 2005, Federation Concert Hall, Hobart, Tasmania, Australia
發(fā)行時間：September 2006
★Piano Concerto No.1 in D minor, Op.61（d小調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro maestoso-2.Adagio di molto-3.Rondo. Vivace
★Piano Concerto No.4 in A flat major, Op.127（降A大調(diào)No.4鋼琴協(xié)奏曲）-1.Maestoso brillante-2.Adagio-3.Rondo. Allegro non troppo

RPC41-弗里德里希·威爾海姆·卡爾克布雷納Friedrich Kalkbrenner-RPC41-CDA67535★指揮、鋼琴Howard Shelley★Tasmanian Symphony Orchestra★錄音時間與地點: May 2005, Federation Concert Hall, Hobart, Tasmania, Australia★發(fā)行時間: September 2006
Piano Concerto No 1 in D minor, Op 61-1.Allegro maestoso-2.Adagio di molto-3.Rondo. Vivace
Piano Concerto No 4 in A flat major, Op 127 -1.Maestoso brillante-2.Adagio-3.Rondo. Allegro non troppo

RPC42：阿奈斯＆辛丁Alnaes & Sinding）
鋼琴：Piers Lane（皮爾斯·拉里）；樂團：Bergen Philharmonic Orchestra（卑爾根愛樂管弦樂團）；指揮：Andrew Litton（安德雷·里頓）
錄音時間與地點：September 2006, Grieghallen, Bergen, Norway
發(fā)行時間：April 2007
★Aln(ae)s：Piano Concerto in D major, Op.27（D大調(diào)鋼琴協(xié)奏曲）-1.Allegro moderato-2.Lento-3.Allegro assai, tempo di valse
★Sinding：Piano Concerto in D flat major, Op.6（降D大調(diào)鋼琴協(xié)奏曲）-1.Allegro non troppo-2.Andante-3.Allegro non assai 

RPC43：貝內(nèi)特＆巴奇Sterndale Bennett & Bache-鋼琴-指揮：霍華德·雪利；BBC交響樂團；
錄音時間與地點：December 2006, City Halls, Candleriggs, Glasgow, United Kingdom
發(fā)行時間：October 2007
★Bennett：Piano Concerto No.4 in F minor, Op.19（f小調(diào)No.4鋼琴協(xié)奏曲）-1.Allegro con maesta-2.Barcarole. Andante cantabile e con moto-3.Presto. Agitato
★Bache：Piano Concerto in E major, Op.18（E大調(diào)鋼琴協(xié)奏曲）-1.Allegro non troppo-2.Andante-3.Allegro non assai 
★Bennett：Caprice in E major, Op.22（E大調(diào)狂想曲）

RPC44-梅爾瑟Henryk Melcer-Szczawiński-波蘭作曲家
★梅爾瑟Henryk Melcer-Szczawiński (September 21, 1869-April 18, 1928) was a Polish composer, pianist, conductor, and teacher，Plowright, Konig; BBC Scottish SO
Piano Concerto #1 in E minor-1.Maestoso-2.Andantino-3.Vivo ma non troppo e poi molto accelerando
Piano Concerto #2 in C minor-1.Allegro moderato-2.Andante non troppo lento-3.Allegro con fuoco

RPC45：希勒Hiller;鋼琴+指揮：Howard Shelley；樂團：Tasmanian Symphony Orchestra（塔斯馬尼亞交響樂團）；錄音時間與地點：May 2007, Government House, Hobart, Tasmania, Australia；發(fā)行時間：April 2008
★Piano Concerto No.1 in F minor, Op.5（f小調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro moderato-2.Adagio-3.Allegro moderato e con grazia
★Piano Concerto No.2 in F sharp minor, Op.69（升f小調(diào)No.2鋼琴協(xié)奏曲）-1.Moderato, ma con energia e con fuoco-2.Andante espressivo-3.Allegro con fuoco
★Piano Concerto No.3 in A flat major 'Concerto espressivo', Op.170（降A大調(diào)No.3鋼琴協(xié)奏曲）-1.Allegro con anima-2.Andante quasi adagio-3.Allegro con spirito 

RPC45-CDA67655-塔斯馬尼亞交響樂團Tasmanian Symphony Orchestra-指揮、鋼琴霍華德雪萊Howard Shelley-錄音時間與地點: May 2007, Government House, Hobart, Tasmania, Australia-發(fā)行時間: April 2008★費迪南 希勒Ferdinand Hiller-德國作曲家

★Piano Concerto No 1 in F minor, Op 5-1.Allegro moderato-2.Adagio-3.Allegro moderato e con grazia
★Piano Concerto No 2 in F sharp minor, Op 69-1.Moderato, ma con energia e con fuoco-1.Andante espressivo-2.Allegro con fuoco
★Piano Concerto No 3 in A flat major-Concerto espressivo, Op 170-1.Allegro con anima-2.Andante quasi adagio-3.Allegro con spirito

RPC47：雅達松＆布魯門菲德Jadassohn & Draeseke
鋼琴：Markus Becker（馬庫斯·貝克爾）；樂團：Rundfunk-Sinfonieorchester Berlin（柏林廣播交響樂團）；指揮：Michael Sanderling（桑德林）
錄音時間與地點：January 2008, Jesus-Christus-Kirche, Berlin, Germany
發(fā)行時間：March 2009
★Jadassohn：Piano Concerto No.1 in C minor, Op.89（c小調(diào)No.1鋼琴協(xié)奏曲）-1.Introduction quasi recitativo. Allegro appassionato-Andante-2.Adagio sostenuto-3.Ballade. Allegro patetico-Molto piu mosso
★Jadassohn：Piano Concerto No.2 in F minor, Op.90（f小調(diào)No.2鋼琴協(xié)奏曲）-1.Allegro energico e passionato-2.Andantino quasi allegretto-Agitato-Allegro deciso-Andantino-3.Allegro appassionato
★Draeseke：Piano Concerto in E flat major, Op.36（降F大調(diào)鋼琴協(xié)奏曲）-1.Allegro moderato-2.Adagio-3.Allegro molto vivace

Salomon Jadassohn-Felix Draeseke-RPC47-CDA67636★Markus Becker (piano)★Rundfunk-Sinfonieorchester Berlin★Michael Sanderling指揮★錄音時間與地點: January 2008, Jesus-Christus-Kirche, Berlin, Germany★發(fā)行時間: March 2009, Salomon Jadassohn-Piano Concerto No 1 in C minor, Op 89-1.Introduction quasi recitativo. Allegro appassionato-Andante-2.Adagio sostenuto-3.Ballade. Allegro patetico-Molto piu mosso
Piano Concerto No 2 in F minor, Op 90-1.Allegro energico e passionato-2.Andantino quasi allegretto-Agitato-Allegro deciso-Andantino-3.Allegro appassionato
Felix Draeseke-Piano Concerto in E flat major, Op 36-1.Allegro moderato-2.Adagio-3.Allegro molto vivace

RPC48：本尼迪克特＆麥克法倫Benedict & Macfarren；鋼琴+指揮：Howard Shelley；樂團：Tasmanian Symphony Orchestra（塔斯馬尼亞交響樂團）；霍華德·雪利
錄音時間與地點：April 2008, Federation Concert Hall, Hobart, Tasmania, Australia
發(fā)行時間：July 2009
★Benedict：Piano Concerto in C minor, Op.45（c小調(diào)鋼琴協(xié)奏曲）-1.Allegro maestoso-2.Andante pastorale-Allegro-Tempo I-3.Allegro con spirito 
★Benedict：Piano Concerto in E flat major, Op.89（降E大調(diào)鋼琴協(xié)奏曲）-1.Allegro moderato-2.Andante-3.Rondo brillante. Allegro con spirito
★Macfarren：Concertstuck in E minor（e小調(diào)鋼琴小協(xié)奏曲）

RPC49：斯丹哈默Stenhammar；鋼琴：Seta Tanyel（賽塔·譚耶兒）；樂團：Helsingborg Symphony Orchestra（赫爾辛堡交響樂團）；指揮：Andrew Manze（安德魯·曼茲）
錄音時間與地點：November 2008, Helsingborg Concert Hall, Sweden
發(fā)行時間：November 2009
★Piano Concerto No.1 in B flat minor, Op.1（降b小調(diào)No.1鋼琴協(xié)奏曲）-1.Molto moderato e maestoso-Sostenuto e tranquillo-Agitato-2.Vivacissimo-3.Andante-4.Allegro commodo-Andante con moto
★Piano Concerto No.2 in D minor, Op.23（d小調(diào)No.2鋼琴協(xié)奏曲）-1.Moderato-Allegro molto energico-Piu tranquillo-2.Molto vivace-Allegretto-Adagio-Molto vivace-3.Adagio-4.Tempo moderato-Animato-Piu animato

RPC50：柴科夫斯基Tchaikovsky (2CDs)
鋼琴：Stephen Hough（斯蒂芬·霍夫）；樂團：Minnesota Orchestra（明尼蘇達管弦樂團）
指揮：Osmo Vanska（奧斯莫·萬斯卡） 
錄音時間與地點：Various dates, Orchestra Hall, Minneapolis, Minnesota, USA
發(fā)行時間：April 2010
★Piano Concerto No.1 in B flat minor, Op.23（降b小調(diào)No.1鋼琴協(xié)奏曲）-1.Allegro non troppo e molto maestoso-Allegro con spirito-2.Andantino semplice-Prestissimo-Andantino semplice-3.Allegro con fuoco-Molto meno mosso-Allegro vivo 
★Concert Fantasia in G major, Op.56（G大調(diào)音樂會幻想曲）-1.Quasi Rondo. Andante mosso-2.Contrastes. Andante cantabile
★Solitude, Op.73 No.6（浪漫曲，霍夫改編）
★None but the lonely heart, Op.6 No.6（只有那孤獨的心，霍夫改編）
★Piano Concerto No.2 in G major, Op.44（G大調(diào)No.2鋼琴協(xié)奏曲）-1.Allegro brillante-2.Andante non troppo-3.Allegro con fuoco
★Piano Concerto No.3 in E flat major, Op.75（降E大調(diào)No.3鋼琴協(xié)奏曲）
★Piano Concerto No.2 in G major, Op.44（G大調(diào)No.2鋼琴協(xié)奏曲，西洛蒂改編）-2.Andante non troppo 
★Piano Concerto No.2 in G major, Op.44（G大調(diào)No.2鋼琴協(xié)奏曲，霍夫改編）-2.Andante non troppo 

The very speed and relentless nature of the famous opening of the First Concerto may surprise some, but it sets out Stephen Hough’s wares. This is a revisionist take on repertoire that is all too familiar. Hough seems to have gone out and deliberately shorn his reading of received wisdoms, of interpretative quirks that have accrued over the decades since the work was premiered. Integration between soloist and orchestra is tight, too, in a work where received thought might pit soloist continuously against the orchestra. Dialogues between piano and orchestral soloists are ultra-tight, and sound as if much rehearsal was lavished on this aspect.

Hough’s reading is perhaps lighter than most. This is not to play down the strength of his fortes, nor his double-octave displays, which remain as high-octane as any. But it does make the concerto more multifaceted than usual. No mere warhorse anymore, the concerto here rises in integrity while Hough time and time again reminds us that this is his carefully considered take on the score. Voice-leading, not something one always takes into account in Tchaikovsky, is notable here. V?nsk? is a fine accompanist. A musician who himself revels in rethinking scores (listen to his Beethoven symphony cycle on BIS), it is as if Hough has met his dream soul mate. If cadenza passages are not as incendiary as, say, Argerich is wont to be, this is more a
response to Hough’s conception than any failing. In keeping, then, the slow movement represents the height of sophistication and delicacy. Hough presents at times some surprising, and remarkable, washes of sound; the finale dances at a hectic speed.
The fire comes from Hough’s determination; his conductor sticks with him all the way. The build-up to the final octave perorations is as effective as any other, and it is here that Hough finally lets it rip. The audience’s enthusiastic reaction says it all.
The bipartite Concert Fantasy follows. Hough is a powerful advocate. At 28:24 this is an extended work, and Hough’s infinite variety of tone and pearly filigree ensure concentration does not wander, especially throughout the long (15:31) Andante mosso. A special word or two is warranted for cellist Anthony Ross’s impassioned contribution here.
The fillers to the first disc are two Hough arrangements. They are the perfect sign-offs. This is precisely the sort of repertoire in which Hough excels. Both are magnificently memorable in their sense of yearning.
Fascinating to compare Hough’s Second with the Tatiana Nikolayeva account on APR (5666, with the USSR State SO under Nikolai Anosov). Hough, entirely consistent with his view of the First Concerto, is lighter, more sparkly in his filigree,
whereas Nikolayeva conveys an echt-Russian heaviness and unsmiling delivery. The two interpretations could hardly be more different; they are complementary rather than adversarial, though, and should co-exist on every collector’s shelf. The achievement of both is to consistently cause one to wonder why this concerto still sits in the shadow of the First so much.
Hough’s soloists in the Andante non troppo are violinist Jorja Fleezanis and cellist Ross again. Both play beautifully, perhaps especially so Ross’s soaring cello. Hough certainly matches Ross in terms of tenderness of utterance. The inclusion of the Hough version of this movement as the very final track on the twofer is interesting; interesting also to compare the timings between the original slow movement (13:27) and the Siloti edition (a mere 7:06). The finale is hugely entertaining, a helterskelter ride that includes some phenomenal fingerwork from Hough. The orchestra plays pointedly and, it has to be said,
magnificently throughout. Modern CD players, of course, enable one to program the Hough or Siloti slow movements in for curiosity’s sake.
I remain unconvinced about the Third Concerto as a piece in itself. It seems rather weak of invention, although Hough here makes the most powerful case imaginable. In his hands, it is almost worth it just for the infectious quality he brings to the theme with the rapid repeated notes. V?nsk? has the strings positively swooning at one point, a nice touch and one that seems to hearken back to a bygone era of expression.
The recorded sound is vivid and involving throughout. A fitting 50th volume celebration to a series of major importance.
Colin Clarke
This article originally appeared in Issue 33:5 (May/June 2010) of Fanfare Magazine.

I51-Q020-00596-RPC51-CDA67765-塔斯馬尼亞交響樂團Tasmanian Symphony Orchestra-指揮、鋼琴-霍華德雪萊Howard Shelley
★威廉·塔伯特-E調(diào)第一鋼琴協(xié)奏曲Piano Concerto No. 1 in E major op.18-1.Allegro vivace-2.Andante con moto-3.Allegro molto vivace
★A大調(diào)第二鋼琴協(xié)奏曲Piano Concerto No. 2 in A major op.189-1.Andante cantabile-Allegro marcato-2.Andantino-3.Allegro vivace e leggiero
★雅各布·羅森海因-D小調(diào)鋼琴協(xié)奏曲Piano Concerto in D minor op.73-1.Allegro non troppo-2.Andante-3.Presto spirituoso
★威廉·塔伯特Wilhelm Taubert（1811年3月23日-1891年1月7日），
★雅各布·羅森海因Jakob Rosenhain（1813年-1894年）

★我現(xiàn)在特別鐘意于早期浪漫主義的輕快雅致和不裝腔作勢。這三部鋼協(xié)的慢板都非常迷人。

★威廉·塔伯特Wilhelm Taubert是門德爾松同門師兄弟?？蓯鄣匿撉偌一羧A德雪萊充分展示的靈敏性和愉內(nèi)在的優(yōu)雅與愉悅。塔伯特的音樂表達非常平易近人，令人愉快且充滿活力。第二鋼琴協(xié)奏曲（1874年，第一是1833年創(chuàng)作）第一樂章開始于秋季，一個相當美麗的抒情引子，似乎有點懷舊，而不是一個小Chopinesque，但舞蹈節(jié)奏非常陽光。慢板的開頭富有戲劇性，如歌般愉快輕佻，有一個溫柔的插曲和結(jié)尾。塔伯特的風(fēng)格與門德爾松非常接近，其中的一鋼E大調(diào)與門德爾松的一鋼G小調(diào)在結(jié)構(gòu)上類似，A大調(diào)二鋼則有一個別致創(chuàng)新的慢板首樂章，相當有吸引力。

★雅各布·羅森海因Jakob Rosenhain出生于法蘭克福。深得舒曼賞識，和門德爾松也是好友。在巴黎旅居30年。他的D小調(diào)鋼琴協(xié)奏曲比塔伯特的嚴肅，但其中的一些美妙的浪漫材料（僻靜的樹林等）沒有任何違和，莊嚴的墳?zāi)购途徛倪\動提供了很多美麗和壓軸skitters沿愉快，沒有一些機密的旁白。羅森海因的D小調(diào)首樂章的第二主題使用的是第一主題的素材，只是移到了關(guān)系大調(diào)F大調(diào)上，所以有一種單主題的意思。但我覺得第二主題還是相對獨立的，并且再現(xiàn)部倒置的方式（先再現(xiàn)第二主題、后再現(xiàn)第一主題）在某種程度上說明了這點。http://www.tudou.com/programs/view/Qh6qLtp9gXc/

RPC52-CDA67791-鋼琴：哈米斯·麥恩Hamish Milne-BBC Scottish Symphony Orchestra-指揮Michal Dworzynski
★赫爾曼·格茨Piano Concerto in B flat major, Op 18-1.Massig bewegt-2.Massig langsam-3.Langsam-Belebter-Lebhaft-Ein wenig ruhiger-Tempo I
★約瑟夫·維尼亞夫斯基Piano Concerto in G minor, Op 20-1.Allegro moderato-2.Andante-3.Allegro molto vivace
★德國作曲家赫爾曼·格茨Hermann Goetz（1840-1876)，如果不是只活了36歲，很難想象會達到一個什么樣的高度。他的風(fēng)格似乎既不是李斯特、瓦格納派，也不是勃拉姆斯派，應(yīng)該說更接近傳統(tǒng)派，卻不是以對比性的主題的戲劇性沖突取勝，而是以內(nèi)在的邏輯結(jié)構(gòu)和平衡性取勝，從這個意義上說，他是最正宗的莫扎特的繼承者，兼有門德爾松在雅致中抒情的風(fēng)格，他的降B大調(diào)第二鋼協(xié)是個最好的例子。此曲創(chuàng)作于1867年，距離他的習(xí)作降E大調(diào)第一鋼協(xié)有六年的時間。
★赫爾曼·格茨的降E大調(diào)第一鋼琴協(xié)奏曲，生前沒發(fā)表也沒標號，結(jié)構(gòu)上是個篇幅較小的單樂章協(xié)奏曲，卻比降B大調(diào)更顯動感。在一個鋼琴的華彩引子之后，2分36秒才出現(xiàn)降E大調(diào)的第一主題，而G大調(diào)的第二主題首先由鋼琴在4分02秒奏出，隨后的樂隊重復(fù)主題帶出激情。從第一部分來看，引子的樂隊部分表現(xiàn)了一種沉重的情緒，第一主題則是向上的，這之間有些情緒上的對比。但第二主題和第一主題并不形成對比，而是同質(zhì)的。中段的慢板（錄音第二部分的前面一段）的素材與第一部分的兩個主題并無關(guān)聯(lián)，如果從奏鳴曲式的角度來看，這個靜謐的慢板雖然很美，和兩個主要的主題多少有些脫節(jié)。第三部分（6分01秒開始）可以看成是奏鳴曲式的再現(xiàn)部，第一部分的兩個主題依次再現(xiàn)（第二主題在7分45秒出現(xiàn)在主調(diào)上）。
★評價一部交響樂或協(xié)奏曲作品是不是偉大，似乎有個“潛規(guī)則”：強烈的主題情緒對比與戲劇沖突是必不可少的，對于業(yè)余愛好者而言尤其如此。隨著樂歷的豐富，我越來越體會到這是個巨大的誤區(qū)。產(chǎn)生原因在于對音樂的哲學(xué)化文學(xué)化的解讀，人們想當然地認為，音樂沒有沖突就無法深刻，而不能表達成某種哲學(xué)思想的藝術(shù)就不能言其偉大。對于文學(xué)作品也許是這樣，繪畫是不是這樣，我不懂不敢亂說，但音樂可以肯定不是這樣，這其中最好的例子就是莫扎特。莫扎特的音樂反映了音樂美的本質(zhì)：內(nèi)在的協(xié)調(diào)性與形式結(jié)構(gòu)的平衡性。其實不獨莫扎特，巴赫更是如此，只是宗教的外衣遮蔽了很多人的眼睛。就算是最有戲劇張力的貝多芬和馬勒，仔細推敲下來，他們的偉大也絕不在（或較少在）通過戲劇性的對比表現(xiàn)出的思想性上（如果音樂真可以表達某種思想的話），更重要的是他們對音樂在形式和結(jié)構(gòu)上的貢獻，并以此形成他們獨有的個性的音樂語言。
★赫爾曼·格茨的降E大調(diào)第一鋼協(xié)的確沒有很強的戲劇沖突，但在形式上卻是自平衡的，也是Goetz風(fēng)格形成初期的寫照。

★降B大調(diào)第二鋼協(xié)在結(jié)構(gòu)上要宏大得多，但偏偏比第一更少所謂的戲劇性，自始至終在突出貫穿到底的抒情性。由于作品長達40多分鐘，每個樂章的不同主題又是同質(zhì)的，不僅不形成沖突，反而連音型都區(qū)別不大，兩個主題甚至可以連貫成上下兩個樂句。在這種情況下，如果你不能“讀透”它的結(jié)構(gòu)，就會覺得它沉悶冗長。關(guān)鍵在于你要對音樂的調(diào)性有足夠的感知，這樣才能區(qū)別不同的主題。降B大調(diào)以三次號角開篇，鋼琴每次的響應(yīng)都往上提高了一度，以此確立了一個向上的基調(diào)。第一主題由鋼琴奏出，平和舒緩；F大調(diào)的第二主題同樣由鋼琴奏出，與第一主題一樣的祥和，隨后弦樂與鋼琴的相互呼應(yīng)延展和提升了一些情緒，但不過度，相反到6分29秒弦樂再奏出第一主題時情緒更加平穩(wěn)，而且很絕妙地與第二主題形成了天衣無縫的前后連接，讓人忘記了它們原來是兩個不同主題。隨著號聲又一次響起，音樂進入發(fā)展部，使用的全部是第一主題的素材。雖然第一樂章很長，有近17分鐘，但發(fā)展部卻是短小的，由樂隊的齊奏再現(xiàn)第一主題，鋼琴再現(xiàn)第二主題（在降B大調(diào)上），音樂比呈示部更顯悠長。鋼琴的華彩部分，直至第一樂章的結(jié)束。
★為了保持整部作品抒情的連續(xù)性，第一第二樂章間并不停頓。慢板的第二樂章還是一個奏鳴曲式，在木管為主的引子之后的第一主題（降E大調(diào)）先由鋼琴奏出，木管伴奏響應(yīng)。第一主題的呈示很綿長，如歌的主題獨自得到伸展。第二主題出現(xiàn)在鋼琴上，其旋律純樸美麗，很有些像勃拉姆斯的搖籃曲。發(fā)展部與第一樂章很類似，也是以第一主題為素材，不同在于單簧管和圓號奏出變化的主題，而鋼琴多數(shù)時候是伴奏與裝飾的音型。圓號再現(xiàn)第一主題，以后獨奏鋼琴再次強調(diào)。最精彩的是獨奏鋼琴再現(xiàn)第二主題時樂隊以第一主題予以伴奏，兩個主題如魚遇水，相得益彰。
★第三樂章與其說是回旋曲，不如說又是一個奏鳴曲式。也許是整部作品沒有一絲一毫的沉重感，第三樂章的開始有個較長的深沉的引子，這是唯一的一次情緒上的對比。主要的回旋的主題（奏鳴曲式的第一主題）出現(xiàn)，而第一個插部的主題也就是奏鳴曲式的第二主題則出現(xiàn)在（F大調(diào)）。以后第一主題回來，但形式上有諸多變化，加上中間的插部，相當于奏鳴曲式的發(fā)展部。主要的主題再次在木管上再現(xiàn)，爾后雙簧管在主調(diào)上再現(xiàn)第二主題。進入尾聲，先是鋼琴在弦樂的伴奏下輕聲而又深情的吟唱，之后換成弦樂為主鋼琴裝飾，最后雙簧管唱主角，而引出全體樂隊的加入，音樂在自然且毫不過分的歡快中結(jié)束。
★可以說降B大調(diào)第二鋼協(xié)是另一種極致的浪漫主義，它從形式和結(jié)構(gòu)全面展示了音樂的美，任何思想性的語言描述都套用不上去，而且肯定顯得多余。
★約瑟夫·維尼亞夫斯基Jozef Wieniawski（1837-1912）波蘭鋼琴家、作曲家。是波蘭小提琴家、作曲家亨里克·維尼亞夫斯基（1835－1880）的弟弟。

赫爾曼·格茨的降B大調(diào)第二鋼琴協(xié)奏曲，作品18號，在結(jié)構(gòu)上要宏大得多，更少所謂的戲劇性，自始至終在突出貫穿到底的抒情性。由于整部作品長達40多分鐘，每個樂章的不同主題又是同質(zhì)的，不僅不形成沖突，反而連音型都區(qū)別不大，兩個主題甚至可以連貫成上下兩個樂句。在這種情況下，如果你不能“讀透”它的結(jié)構(gòu)，就會覺得它沉悶冗長。關(guān)鍵在于你要對音樂的調(diào)性有足夠的感知，這樣才能區(qū)別不同的主題。降B大調(diào)以三次號角開篇，鋼琴每次的響應(yīng)都往上提高了一度，以此確立了一個向上的基調(diào)。第一主題由鋼琴奏出，平和舒緩；F大調(diào)的第二主題同樣由鋼琴奏出，與第一主題一樣的祥和，隨后弦樂與鋼琴的相互呼應(yīng)延展和提升了一些情緒，但不過度，相反到6分29秒弦樂再奏出第一主題時情緒更加平穩(wěn)，而且很絕妙地與第二主題形成了天衣無縫的前后連接，讓人忘記了它們原來是兩個不同主題。隨著號聲又一次響起，音樂進入發(fā)展部，使用的全部是第一主題的素材。雖然第一樂章很長，有近17分鐘，但發(fā)展部卻是短小的，由樂隊的齊奏再現(xiàn)第一主題，鋼琴再現(xiàn)第二主題（在降B大調(diào)上），音樂比呈示部更顯悠長。鋼琴的華彩部分，直至第一樂章的結(jié)束。★為了保持整部作品抒情的連續(xù)性，第一第二樂章間并不停頓。慢板的第二樂章還是一個奏鳴曲式，在木管為主的引子之后的第一主題（降E大調(diào)）先由鋼琴奏出，木管伴奏響應(yīng)。第一主題的呈示很綿長，如歌的主題獨自得到伸展。第二主題出現(xiàn)在鋼琴上，其旋律純樸美麗，很有些像勃拉姆斯的搖籃曲。發(fā)展部與第一樂章很類似，也是以第一主題為素材，不同在于單簧管和圓號奏出變化的主題，而鋼琴多數(shù)時候是伴奏與裝飾的音型。圓號再現(xiàn)第一主題，以后獨奏鋼琴再次強調(diào)。最精彩的是獨奏鋼琴再現(xiàn)第二主題時樂隊以第一主題予以伴奏，兩個主題如魚遇水，相得益彰。★第三樂章與其說是回旋曲，不如說又是一個奏鳴曲式。也許是整部作品沒有一絲一毫的沉重感，第三樂章的開始有個較長的深沉的引子，這是唯一的一次情緒上的對比。主要的回旋的主題（奏鳴曲式的第一主題）出現(xiàn)，而第一個插部的主題也就是奏鳴曲式的第二主題則出現(xiàn)在（F大調(diào)）。以后第一主題回來，但形式上有諸多變化，加上中間的插部，相當于奏鳴曲式的發(fā)展部。主要的主題再次在木管上再現(xiàn)，爾后雙簧管在主調(diào)上再現(xiàn)第二主題。進入尾聲，先是鋼琴在弦樂的伴奏下輕聲而又深情的吟唱，之后換成弦樂為主鋼琴裝飾，最后雙簧管唱主角，而引出全體樂隊的加入，音樂在自然且毫不過分的歡快中結(jié)束。★可以說降B大調(diào)第二鋼協(xié)是另一種極致的浪漫主義，它從形式和結(jié)構(gòu)全面展示了音樂的美，任何思想性的語言描述都顯得多余。

RPC53-CDA67635-Marc-鋼琴：馬克-安德烈.哈梅林André Hamelin-Rundfunk-指揮：沃爾科夫Ilan Volkov-柏林廣播交響樂Sinfonieorchester Berlin
★馬克斯·雷格爾-f小調(diào)鋼琴協(xié)奏曲Piano Concerto in F minor, Op 114-1.Allegro moderato Allegro moderato-2.Largo con gran espressione-3.Allegretto con spirito
★理查·斯特勞斯-鋼琴與樂隊-D小調(diào)滑稽曲Burleske in D minor
★馬克斯·雷格爾Max Reger（1873-1916），德國作曲家。1873年3月19日出生于巴伐利亞的布蘭德Brand。15歲在拜羅伊特音樂節(jié)Bayreuth Festival上聽到瓦格納的《帕西法爾》和《紐倫堡名歌手》，留下深刻印象。1890年至威斯巴登Wiesbaden隨里曼Hugo Riemann學(xué)習(xí)作曲。次年開始創(chuàng)作，寫下了兩部小提琴奏鳴曲。1895年結(jié)識了意大利作曲家布索尼。1897年加入德軍預(yù)備隊。1899年，理查·施特勞斯幫助他在慕尼黑出版作品。1903年寫出了關(guān)于轉(zhuǎn)調(diào)的理論著作《Beitrage zur Modulationslehre》。1905年擔任波格斯合唱團Porges Chorale Society指揮。同年開始在慕尼黑音樂學(xué)院任教，教授對位法、作曲和管風(fēng)琴。1907年擔任萊比錫大學(xué)音樂學(xué)院的教授。1908年獲耶拿大學(xué)文學(xué)與社會學(xué)系榮譽博士，榮獲萊比錫音樂學(xué)院皇家撒克遜教授Royal Saxon Professor的榮譽稱號，他的作品在科隆首演獲得巨大的成功。1909年至英國作了一次成功的巡回演出。1910-1914年擔任邁寧根樂團指揮。1916年5月11日逝世于萊比錫。雷格的創(chuàng)作注重技巧的追求，音樂素材多數(shù)來源于經(jīng)典的德國巴洛克音樂，在鍵盤樂器復(fù)調(diào)音樂方面作了開拓性的努力，取得了非常重要的成就，是繼巴赫、勃拉姆斯之后，純正的德國鍵盤樂器變奏曲主線上的繼承。相當一個時期以來，人們把他歸為保守派音樂家，缺少音樂精神的追求，認為“那些即便相當成功的作品由于缺乏浪漫派音樂的那種文學(xué)價值，雖然能夠感染人的神經(jīng)卻無法打動人的心靈”，代表了“行將結(jié)束的19世紀的精神”。但2000年以來，雷格的價值又重新受到人們的重視。
★理查·斯特勞斯Richard Strauss，德國作曲家、指揮家。1864年6月11日出生于慕尼黑。五歲開始作曲，十歲前就寫了《節(jié)日進行曲》和《木管小夜曲》。后入慕尼黑大學(xué)學(xué)習(xí)，中途輟學(xué)，至曼寧根樂隊擔任著名指揮家比羅的副指揮，后任正指揮。他受第二小提琴手、音樂哲學(xué)家里特的影響，以李斯特、柏遼茲及瓦格納的作品為榜樣來表達音樂。創(chuàng)作有唐璜、堂·吉訶德、死與變形、英雄生涯以及家庭交響曲等九部交響詩及其他管弦樂曲。1900年后專心于歌劇創(chuàng)作，寫了《莎樂美》、《埃萊克特拉》、《玫瑰騎士》等十四部歌劇。
★他的創(chuàng)作以色彩艷麗、形象生動、手法新穎而著稱，常以音樂手段表現(xiàn)文學(xué)故事的內(nèi)容和抽象事物。他采用象征性的主題和變奏手法對事物進行寫實性的描寫，與柏遼茲的“固定樂思”和瓦格納的“主導(dǎo)動機”相類似，但更為新穎和細致入微。他被視為晚期浪漫主義音樂的代表性人物。
★施特勞斯還是世界上最卓越的歌劇和交響樂指揮之一，先后擔任過慕尼黑歌劇院、柏林愛樂樂團、柏林皇家歌劇院、維也納國家歌劇院等著名音樂團體的指揮，并且是瓦格納作品的權(quán)威注釋者。
★1949年9月8日，施特勞斯逝世于德國的加米施－帕滕基興Garmisch-Partenkirchen。
D小調(diào)滑稽曲Burleske in d Minor ，為鋼琴與樂隊而作，是施特勞斯的早期作品，作于1885-1886年，原標題是D小調(diào)諧謔曲Scherzo in d Minor ，為漢斯·封·彪羅Hans von Bulow而作。但封·彪羅看過樂譜后，認為這是一部不知所謂無法演奏的作品而拒絕上演。施特勞斯在排練中亦發(fā)現(xiàn)自己不能勝任鋼琴部分。直到1889年認識了于爾根·艾爾伯特Eugen d'Albert，艾爾伯特非常喜歡這首作品。理查德刪節(jié)和修改了其中部分鋼琴演奏段落，將其更名為滑稽曲，題獻給于爾根·艾爾伯特，艾爾伯特于1890年6月21日首演。封·彪羅亦在1891年和艾爾伯特合作，指揮上演了這部作品。該作樂譜于1894年出版，無作品號。
★作品為d小調(diào)，單樂章，先由定音鼓用活潑的快板速度奏出諧謔的節(jié)奏，樂隊作出強有力的回應(yīng)。反復(fù)后，鋼琴以切分節(jié)奏插入，展示主要主題。樂隊發(fā)展后，鋼琴奏出經(jīng)過句，再引出鋼琴演奏的抒情第二主題，小提琴以更優(yōu)美的姿態(tài)發(fā)展。隨后，定音鼓與鋼琴的對話邁向再現(xiàn)部。再現(xiàn)兩個主題后，經(jīng)過華彩段，幽默地趨于平靜，以弦樂撥奏結(jié)束全曲。這首作品于近年來日益受到鋼琴家的青睞。

RPC57-阿道爾夫·維克倫德-鋼琴協(xié)奏曲-瑞典-歐洲-專輯缺
★阿道爾夫·維克倫德為瑞典作曲家和指揮家。他的父親是個管風(fēng)琴師。于斯德哥爾摩皇家學(xué)院畢業(yè)后擔任管風(fēng)琴師和音樂教師，后在巴黎繼續(xù)深造。1902年演奏了自己的鋼琴與樂隊協(xié)奏曲。1911年-1924年擔任瑞典皇家樂隊指揮。他的作品是浪漫派的，晚期作品受到印象派風(fēng)格的影響。主要作品包括兩部鋼琴協(xié)奏曲、一部交響詩、一部交響曲和一首小提琴奏鳴曲。這次Hyperion推出的并不是首錄。他的第一鋼琴協(xié)奏曲寫的很大氣，不像其他作品先有一個很大的樂隊引子作為開始，而是鋼琴直接進入，主題很鮮明，很好聽。
Piano Concerto No 1 in E minor Op 10-1.Allegro energico-2.Andante ma non troppo-3.Allegro vivace
Konsertstycke in C major Op 1
Piano Concerto No 2 in B minor Op 17-1.Allegro moderato-2.Andante sostenuto-3.Allegro non troppo