进口CD:完整的Decca的录音Complete Decca Recordings(CD)4783577C
点此进入淘宝搜索页搜索分類: 音乐,古典,
品牌: Rostropovich MstislavBenjamin BrittenFranz Peter SchubertRobert SchumannJoseph Haydn
商品描述Mstislav Rostropovich is regarded as the greatest cellist of the second half of the 20th century, and one of the greatest of all time To celebrate the 85th anniversary of the Russian maestro's birth on 27 March 2012, Decca have collated all the recordings he made for Decca and Philips into one stunning 5CD box set A must not only for students of the cello, but also for all who appreciate exemplary musicianship The set includes all the recordings he made with the English composer Benjamin Britten - recordings of Britten's own works, all of which were dedicated to the cellist - alongside classic recordings of chamber music by Schubert, Schumann, Debussy and Britten's teacher, Frank Bridge Also included is Rostropovich's masterful 1964 recording of the then recently discovered Cello Concerto in C by Haydn, with Britten conducting, which Gramophone described as "perfect", praising the cellist for his "extreme poise"
Disc 1
1 Sonata for Arpeggione and Piano in A minor, D.821 - 1 Allegro moderato 13:30
2 Sonata for Arpeggione and Piano in A minor, D.821 - 2 Adagio 4:34
3 Sonata for Arpeggione and Piano in A minor, D.821 - 3 Allegretto 10:29
4 5 Stücke im Volkston, Op.102 - 1 Vanitas vanitatum (Mit Humor) 3:27
5 5 Stücke im Volkston, Op.102 - 2 Langsam 3:30
6 5 Stücke im Volkston, Op.102 - 3 Nicht schnell, mit viel Ton zu spielen 5:36
7 5 Stücke im Volkston, Op.102 - 4 Nicht zu rasch 2:30
8 5 Stücke im Volkston, Op.102 - 5 Stark und markiert 3:07
9 Cello Concerto in C, H.VIIb, No.1 - 1 Moderato 9:46
10 Cello Concerto in C, H.VIIb, No.1 - 2 Adagio 9:33
11 Cello Concerto in C, H.VIIb, No.1 - 3 Finale (Allegro molto) 6:40
Disc 2
1 Suite for cello No.1, Op.72 - 1 Canto primo (sostenuto e largamente) 2:22
2 Suite for cello No.1, Op.72 - Fuga: Andante moderato 3:51
3 Suite for cello No.1, Op.72 - Lamento: Lento rubato 2:46
4 Suite for cello No.1, Op.72 - 2 Canto secondo (Sostenuto) 1:04
5 Suite for cello No.1, Op.72 - Serenata: Allegretto: pizzicato 2:28
6 Suite for cello No.1, Op.72 - Marcia: Alla marcia moderato 3:22
7 Suite for cello No.1, Op.72 - 3 Canto terzo (Sostenuto) 2:08
8 Suite for cello No.1, Op.72 - Bordone: Moderato quasi recitativo 3:05
9 Suite for cello No.1, Op.72 - Moto perpetuo e canto quarto: Presto 2:58
10 Suite for cello No.2, Op.80 - Declamato: Largo 4:28
11 Suite for cello No.2, Op.80 - Fuga: Andante 4:36
12 Suite for cello No.2, Op.80 - Scherzo: Allegro molto 1:53
13 Suite for cello No.2, Op.80 - Andante lento 5:25
14 Suite for cello No.2, Op.80 - Ciaconna: Allegro 7:16
15 Sonata in C for Cello and Piano Op.65 - 1 Dialogo 6:51
16 Sonata in C for Cello and Piano Op.65 - 2 Scherzo - pizzicato 2:28
17 Sonata in C for Cello and Piano Op.65 - 3 Elegia 5:58
18 Sonata in C for Cello and Piano Op.65 - 4 Marcia 2:09
19 Sonata in C for Cello and Piano Op.65 - 5 Moto perpetuo 2:38
Disc 3
1 Symphony for Cello and Orchestra, Op.68 - Allegro maestoso 12:31
2 Symphony for Cello and Orchestra, Op.68 - Presto inquieto 3:40
3 Symphony for Cello and Orchestra, Op.68 - Adagio 10:33
4 Symphony for Cello and Orchestra, Op.68 - Passacaglia 7:24
5 Sonata for cello & piano - 1 Allegro ben moderato 10:24
6 Sonata for cello & piano - 2 Allegro ma non troppo - Molto allegro e agitato 12:51
7 Sonata for Cello and Piano in D minor - 1 Prologue (lent) 5:04
8 Sonata for Cello and Piano in D minor - 2 Sérénade (Modérément animé) 3:26
9 Sonata for Cello and Piano in D minor - 3 Finale (Animé) 3:53
Disc 4
1 Sonata for Cello and Piano No.1 in F, Op.5 No.1 - 1 Adagio sostenuto - Allegro 16:34
2 Sonata for Cello and Piano No.1 in F, Op.5 No.1 - 2 Rondo (Allegro vivace) 6:37
3 Sonata for Cello and Piano No.4 in C, Op.102 No.1 - 1 Andante - Allegro vivace 7:39
4 Sonata for Cello and Piano No.4 in C, Op.102 No.1 - 2 Adagio - Tempo d'andante - Allegro vivace 6:48
5 Sonata for Cello and Piano No.5 in D, Op.102 No.2 - 1 Allegro con brio 6:20
6 Sonata for Cello and Piano No.5 in D, Op.102 No.2 - 2 Adagio con molto sentimento d'affetto
7 Sonata for Cello and Piano No.5 in D, Op.102 No.2 - 3 Allegro - Allegro fugato 4:03
Disc 5
1 Sonata for Cello and Piano No.2 in G minor, Op.5 No.2 - Adagio sostenuto ed espressivo/ Allegro molto più tosto presto 19:56
2 Sonata for Cello and Piano No.2 in G minor, Op.5 No.2 - 3 Rondo (Allegro) 7:09
3 Sonata for Cello and Piano No.3 in A, Op.69 - 1 Allegro ma non tanto 11:59
4 Sonata for Cello and Piano No.3 in A, Op.69 - 2 Scherzo (Allegro molto) 5:31
5 Sonata for Cello and Piano No.3 in A, Op.69 - 3 Adagio cantabile - Allegro vivace 8:31
Born in Baku into a family of musicians in 1927, Mstislav Rostropovich showed ex-traordinary musical talent from earliest childhood Encouraged and taught by his cellist father, he played his debut aged thirteen Three years later he entered the Moscow Con-servatoire to study cello with Semyon Kozolupov and composition with Vissarion Shebalin and Dmitri Shostakovich His professional career began at the age of eighteen, when he won the prestigious All Union competition From the start, Rostropovich had a visionary approach to music and set himself two specific goals: to popularise and raise the stature of the cello as a concert instrument, and to create a significant new repertoire for it He carried out these aims with characteristic energy and, in the process, was to revolutionise cello playing His proselytising streak was in evidence when he chose to play Nikolai Myaskovsky's recent Cello Concerto in the final round of the All Union competition It was a risky choice, but one that paid off In 1948 Myaskovsky decided to write a cello sonata for Rostropovich and invited his close friend Prokofiev to attend the first performance Pro-kofiev was duly impressed, and in turn decided to write his own Cello Sonata for the young player, which was premiered in March 1950 It was specifically at Prokofiev's request that Rostropovich formed a duo with the re-markable pianist Sviatoslav Richter in order to perform the new work During the 1950s and 1960s the Richter-Rostropovich duo played regular recitals in Moscow and Leningrad, but only rarely performed outside the Soviet Union The high point of their partnership was their Beethoven sonata cycle, which was recorded by Philips in Vienna in 1961-63 and subsequently caught on video when BBC TV recorded their 1964 Edinburgh Festival performance Richter and Rostropovich last appeared together on stage in 1970, the year after they recorded Beethoven's Triple Concerto with David Oistrakh under Herbert von Karajan's direction Interestingly, Richter made his only appearance as conductor with Rostropovich as his soloist when he directed the first performance of Prokofiev's Sinfonia concertante -- which at that stage bore the title Cello Concerto No 2 -- in 1952 The work, a rewriting of an earlier cello concerto, was dedicated to Rostropovich, who collaborated closely with Prokofiev, living for two years at the composer's dacha outside Moscow Further revised in the months before Prokofiev's death, the Sinfonia concertante stretched the virtuosic possibilities of the cello to their limits and was for some time considered unplayable by other cellists Rostropovich often talked of the "troika" of composers who radically changed his life -- Prokofiev, Shostakovich and Britten -- and how one led to another Shostakovich had been deeply impressed by his former pupil's interpretation of Prokofiev's Sinfonia con-certante, and in turn was inspired to write his own First Cello Concerto in 1959 Rostro-povich learnt the new work from memory in a record four days Shostakovich's concerto was certainly ideally suited to his exuberant, outgoing temperament, but equally made demands on his deep understanding of compositional structure At the London premiere of the concerto, Shostakovich sat next to Benjamin Britten, who could not hide his excitement on hearing such extraordinary cello playing Rostropovich's account of his first backstage meeting with the English composer was both hilarious and self-deprecating: the only piece of Britten's music that he had hitherto heard was The Young Person's Guide to the Orchestra Based as it is on a theme of Purcell's, he assumed that Britten must be a later contemporary of Purcell When Shostakovich started to introduce Britten, Slava muttered in a horrified whisper: "But surely he is dead!" Shostakovich could only laugh, saying, "No, here he is in person." Within twenty-four hours, Rostropovich had arranged a private meeting with Britten and achieved the promise of a new cello sonata, on the single condition that the first perfor-mance would take place at the Aldeburgh Festival From 1961, Rostropovich was a frequent visitor at Aldeburgh and fell in love not just with Britten, but with the festival itself The two men embarked on the closest and most productive association, which was only terminated by the composer's death Not only did Britten write five major works for Rostropovich, but he formed a remarkable duo with the cellist Their recital programmes and recordings reflected Britten's very personal choice of repertoire, from Schubert and Schumann to Debussy and Janáček It was Britten who insisted on Rostropovich learning Schubert's Arpeggione Sonata and who introduced him to Frank Bridge's sonata For his part, Rostropovich asked Britten to write cadenzas for the then newly discovered Haydn C major Concerto, and also requested that Britten play Shostakovich's Cello Sonata with him.
The inimitable rapport between these superb musicians was captured in the Decca re-cordings made in the wake of their performances at Aldeburgh The first LP to be issued in 1962 consisted of Britten's own newly written sonata and two other works of equal poetic refinement and delicacy, Debussy's sonata and Schumann's 5 Stücke im Volkston, played with a freshness and depth of understanding that remain impressive after many hearings The second work Britten wrote for the Russian cellist was the magnificent Cello Symphony of 1963, which was pre¬miered in Moscow But more was to come The two artists also played concerts within Britain, and once, on the way north to perform at the Sekers Theatre in Rosehill, Rostropovich achieved a coup, gaining a promise from Britten of three more compositions The story has become legendary, illustrating not only Rostropovich's sense of mischief but his canny perception of the playful streak in Britten's nature Learning that he was going to be introduced to the Princess Royal during a visit to Harewood House, Rostropovich decided that at this first meeting with royalty he would demonstrate romantic chivalry and throw himself on his knees in front of the princess with elaborate flourishes Britten was horrified and did all he could to dissuade him Here Rostropovich saw an opportunity, and ended up negotiating a contract (on a restaurant menu!) whereby he renounced his bows and flourishes in return for three new works Amazingly enough, Britten kept his word and went on to produce three magnificent suites for solo cello between 1964 and 1971 Naturally, the works were first and foremost inspired by Rostropovich's brilliant artistry, but they also called on his philosophical and inner spiritual reserves Interestingly enough, Britten was initially dismayed by Rostropovich's spacious interpretation of the Second Suite, but later was to thank him "for making a mountain from my molehill" The Third Suite occupies a special place in both men's biography Based on Russian themes, it was written as a tribute to Rostropovich's patriotic courage at a time when he had incurred the displeasure of the Soviet authorities for his support for the persecuted writer Alexander Solzhenitsyn Events precipitated, and in the next four years the authorities, engaged in a sadistic form of punishment, curtailed the cellist's concert activity Unable to play or conduct, Rostro-povich was forced to apply to leave the Soviet Union with his family Permission was granted ostensibly for a two-year sabbatical, which turned into a sixteen-year period of exile By the time of Rostropovich's arrival in the West in 1974, Britten was severely ailing, and their artistic partnership sadly was at an end Rostropovich, of course went on to make a brilliant career worldwide, now dividing his time between conducting and cello playing He returned in triumph to Russia in 1990 At the age of seventy-eight he played his last concert as a cellist in Vienna, where he premiered the Largo for cello and orchestra by Krzysztof Penderecki, thereby clocking up a hundred and eight first performances of works for his beloved instrument, the majority of which were written for and dedicated to him This surely is a unique achievement It certainly was a vindication of Rostropovich's initial dream to change our perceptions of the cello and to enlarge its repertoire with significant new works.
发行日期：2012年5月13日基本信息外文名:The Complete Decca Recordings乐团:English Chamber Orchestra作曲:Benjamin Britten,Franz Peter Schubert,Robert Schumann,Joseph Haydn,等CD碟数:5格式:套装版权提供:DeccaISBN:0028947835776条形码:0028947835776ASIN:B008LSBXHM
