Schumann: Piano Concerto 舒曼：钢琴协奏曲
- 艺人
- Sviatoslav Richter / Arturo Benedetti Michelangeli
- 语种
- 其他
- 厂牌
- Deutsche Grammophon
- 发行时间
- 1995年07月14日
- 专辑类别
- 录音室专辑
专辑介绍
If you want to judge a pianist's versatility, listen to his or her recording of the Schumann Piano Concerto. It requires virtually everything a pianist should have to offer: poetry, virtuosity, expansive expression alternating with poised restraint. What a glorious test piece this is. Richter, who was famous for his Schumann playing, passes every test here. His meltingly beautiful delivery of Schumann's melodies touches the heart, and his execution of the most difficult passages is so smooth and effortless that it never calls a bit of attention to itself. In this piece and the Introduction and Allegro, the excellent orchestra also covers itself with glory. The solo pieces are no less wonderful. The way Richter plays the difficult Toccata is almost scary in its combination of power and velocity. The Forest Scenes is a slightly older recording (1956) than the others (1958), but it still sounds lovely. Catch Richter's whirlwind playing of "Traumes-Wirren" and you'll understand right away why other pianists had such respect for his technique. Listen to his "Prophet Bird" and he'll touch your heart.
最新简评（共22条）
- @蓝*蝶恋花(室有兰香)：欢
- @天使angel(我还没想好要写什么...)：Schumann : Piano Concerto
- @大喵(不要自我设限.....)：✔️✔️✔️
- @糊蘿卜：封面帅爆了
- @Dicky777Wang( 㐂...)：♡
- @白色郁金香：留名
- @姜英明：⭐️
- @小学生不要谈恋爱(我还没想好要写什么...)：Richter的演奏给人一种deep water still runs的感觉
- @hippoboy：时而痛苦唉叹，时而幻想联翩；时而冥思苦索，时而激昂慷慨，从各个侧面表现坚韧不拔的的斗争精神。第二乐章写得十分精巧优美，内心的抒情与外观的幻想融为一体。中段由大提琴奏出一段妩媚动人的旋律，钢琴独奏与之相映生辉，情绪极为舒展。有人认为全曲是表现作者为克拉拉而斗争的思想，而这里则是描写克拉拉的动人形象。第三乐章紧接第二乐章，用回旋奏鸣曲式写成。第一主题的舞蹈性旋律棱角分明，有着正面形象向一切庸俗势力发动的攻势。两种势力的交织斗争形成一个惊心动魄的高潮。结尾时，作者用钢琴的绚丽音色表现了胜利的景象。整部作品充满热情和信心，被誉为贝多芬以后最优秀的钢琴协奏曲之一。
- @hippoboy：《音乐欣赏手册》：a小调钢琴协奏曲（作品54） 1841年，舒曼写作此曲时，曾试图改变传统的钢琴协奏曲写法，用单乐章的形式概括整部作品的思想内容。但交付出版后，出版商却认为不伦不类而将原稿退回。几年后，作者不得不另写第二、三乐章，成为现在人们看到的版本。该曲是舒曼在一生中最幸福的年代写的。那时，他与克拉拉的爱情冲破重重阻力而取得成功，创作也随之出现高潮。乐曲主题思想鲜明，表现了作者的生活理想以及为之而斗争的信念。第一乐章，奏鸣曲式。第一主题在a小调，显得压抑、痛苦，其中也有反抗的力量；第二乐章则在明亮的C大调上，更富有光明的幻想色彩。由于这两个主题的素材非常相似，乐曲的发展就像同一主题的变奏，