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艺术家：塞普里安·卡察里斯（Cyprien Katsaris）、李允国（Yoon Kuk Lee）、萨尔茨堡室内爱乐乐团（Salzburger Kammerphilharmonie）
标题：萨尔茨堡室内爱乐乐团莫扎特：钢琴协奏曲全集，第7卷（现场版 - K. 449、450 & 451）
发行年份：2020年
厂牌：Piano 21
类型：古典音乐
音质：FLAC无损 / 24位 - 48.0kHz FLAC
总时长：01:10:39
总大小：294兆字节 / 658兆字节
网站：专辑预览
曲目列表
1. 降E大调第14号钢琴协奏曲，K. 449：I. 活泼的快板（现场版-华彩乐段K. 624/626a，第18号）
2. 降E大调第14号钢琴协奏曲，K. 449：II. 小行板（现场版）
3. 降E大调第14号钢琴协奏曲，K. 449：III. 不过分的快板（现场版-卡察里斯在第268小节引入）
4. 降B大调第15号钢琴协奏曲，K. 450：I. 快板（现场版-华彩乐段K. 624/626a，第19号）
5. 降B大调第15号钢琴协奏曲，K. 450：II. 行板（现场版）
6. 降B大调第15号钢琴协奏曲，K. 450：III. 快板（现场版-第112小节引入，K. 624/626a，第21号-华彩乐段，K. 624/626a，第20号）
7. D大调第16号钢琴协奏曲，K. 451：I. 很快的快板（现场版-华彩乐段K. 624/626a，第21a/32号）
8. D大调第16号钢琴协奏曲，K. 451：II. （无速度标记）（现场版）
9. D大调第16号钢琴协奏曲，K. 451：III. 回旋曲，很快的快板（现场版-华彩乐段K. 624/626a，第21b/33号）
后记
在为各大主流厂牌录音超过二十年后，我决定创立自己的厂牌。这家企业于2001年1月——21世纪初——正式成立，因此我选择“PIANO 21”作为恰当的名称。这里承载着我的录音作品，其中一些是现场演出录音，既包括全新录制的曲目，也有来自不同国家私人档案和广播存档的片段，以及重新发行的版本。PIANO 21不仅表达了我分享主流曲目的热情——这是理所当然的——也希望借此发掘那些稀有且鲜为人知的作品。
在塞普里安·卡察里斯与萨尔茨堡室内爱乐乐团合作、由韩国指挥家李允国执棒的莫扎特协奏曲全集第七卷现场录音中，包含两部特别的作品。第一部是降B大调第27号钢琴与管弦乐队协奏曲，K. 595，它从两方面成为乐迷的特别珍藏：不仅因为这是莫扎特的最后一部协奏曲（于1791年1月5日完成），更因为它是莫扎特最后一次以独奏家身份在公众面前演奏的作品——1791年3月4日，于维也纳著名的伊格纳西·雅恩大厅。而D大调协奏曲K. 175虽被视为他的第五号协奏曲，实则是这位17岁青年作曲家为羽管键琴与管弦乐队创作的首部原创作品。此前的协奏曲多为卡尔·菲利普·伊曼纽尔·巴赫和约翰·克里斯蒂安·巴赫等作曲家的羽管键琴奏鸣曲改编版。这两部作品在专辑中并置呈现，勾勒出莫扎特协奏曲创作史上一条独特的轨迹。D大调钢琴与管弦乐队回旋曲K. 382实际上是K. 175协奏曲终乐章的替代版本，莫扎特曾多次演奏该版本。1781年定居维也纳后，这位年轻作曲家希望以一首轻盈俏皮、贴合时代审美的作品吸引听众。
Artist: Cyprien Katsaris, Yoon Kuk Lee, Salzburger Kammerphilharmonie
Title: Mozart: Complete Piano Concertos, Vol. 7 (Live - K. 449, 450 & 451)
Year Of Release: 2020
Label: Piano 21
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz
Total Time: 01:10:39
Total Size: 294 mb / 658 mb
WebSite: Album Preview
Tracklist
01. Piano Concerto No. 14 in E-Flat Major, K. 449: I. Allegro vivace (Live-Cadenza K. 624/626a, No. 18)
02. Piano Concerto No. 14 in E-Flat Major, K. 449: II. Andantino (Live)
03. Piano Concerto No. 14 in E-Flat Major, K. 449: III. Allegro ma non troppo (Live-Lead-in at Bar 268 by Katsaris)
04. Piano Concerto No. 15 in B-Flat Major, K. 450: I. Allegro (Live-Cadenza K. 624/626a, No. 19)
05. Piano Concerto No. 15 in B-Flat Major, K. 450: II. Andante (Live)
06. Piano Concerto No. 15 in B-Flat Major, K. 450: III. Allegro (Live-Lead-in at Bar 112, K. 624/626a, No. 21-Cadenza, K. 624/626a, No. 20)
07. Piano Concerto No. 16 in D Major, K. 451: I. Allegro assai (Live-Cadenza K. 624/626a, No. 21a/32)
08. Piano Concerto No. 16 in D Major, K. 451: II. (Without Tempo indication) (Live)
09. Piano Concerto No. 16 in D Major, K. 451: III. Rondeau. Allegro di molto (Live-Cadenza K. 624/626a, No. 21b/33)
After more than twenty years of recording for the major labels, I decided to create my own. The venture was launched in January 2001, at the dawn of the 21st century; hence my choice of PIANO 21 as an appropriate title. This is the vehicle for my own recordings, some of them of live performances. They comprise both new recordings and tracks from private and radiophonic archives from various countries as well as re-issues. PIANO 21 gives expression to my twofold passion to share not only music from the major repertoire – naturally – but also the discovery of rare and less well known works.
In this seventh volume dedicated to concert recordings of the complete concertos of Mozart by Cyprien Katsaris and the Salzburger Kammerphilharmonie under the baton of the Korean conductor Yoon K. Lee features two special works. The first is the Concerto for piano and orchestra no. 27 in B flat major, K. 595, a particular treat for music lovers, on two counts: not only is it Mozart’s last Concerto, completed on 5 January 1791, but also it was to prove to be the last he ever played in public as a soloist, in the prestigious Ignaz Jahn Hall in Vienna on the following 4th of March. The Concerto in D major, K. 175, considered to be his fifth, was actually the first original piece for harpsichord and orchestra of a young composer of seventeen. Concertos previously had been arrangements of harpsichord sonatas by various composers including Carl Philipp Emmanuel and Johann Christian Bach. Offered alongside one another in this album, these two works trace a unique trajectory in the history of Mozart concertos. The Rondo for piano and orchestra in D major, K. 382 is actually an alternative version of the finale of Concerto K. 175, which Mozart often played. Settled in Vienna for good in 1781, the young composer wanted to woo his public with a light, playful piece very much attuned to the taste of the times.
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发表于 2025-5-17 07:43:09