02-弗朗茨·李斯特 - 死之舞 第一与第二钢琴协奏曲(2007) Hi-Res

海伦姐姐

艺术家：阿尔纳尔多·科恩（Arnaldo Cohen）、圣保罗交响乐团（São Paulo Symphony Orchestra）、约翰·内斯克林（John Neschling）  
标题：弗朗茨·李斯特 - 死之舞 / 第一与第二钢琴协奏曲  
发行年份：2007年  
厂牌：BIS  
类型：古典音乐  
音质：24位-44.1kHz FLAC格式 / 分轨FLAC格式  
总时长：57分08秒  
总大小：510兆字节 / 233兆字节  
网站：专辑预览  

曲目列表  
弗朗茨·李斯特（1811–1886）  
[1]-[10] 死之舞（1849/59）  
基于“末日经”的钢琴与管弦乐改编曲  
[11]-[14] 降E大调第一钢琴协奏曲（1839/1849–56）  
[15]-[20] A大调第二钢琴协奏曲（1839/1849–61）  

演奏者：  
阿尔纳尔多·科恩（钢琴）  
圣保罗交响乐团（OSESP）  
约翰·内斯克林（指挥）  

巴西出生的钢琴家阿尔纳尔多·科恩的大部分唱片都专注于弗朗茨·李斯特的音乐，这并非偶然——他的技巧和对乐器的处理方式似乎特别适合李斯特对钢琴家的要求，从极致的细腻与内省到华彩炫目的力量和技巧展示。科恩以非凡的清晰度呈现了这一切。这张以SACD环绕声录制的专辑收录了钢琴与管弦乐作品，开篇即为充满魔性的《死之舞》。在这部配器简洁的作品中，科恩充沛的技巧清晰闪耀：他以不可估量的力量演奏，却从不显得生硬敲击，无论速度多快或织体多密，每个音符都清晰可辨。科恩在协奏曲中的演奏同样引人入胜，他在快速乐章中耀眼的炫技与慢乐章中温暖浓郁的抒情之间无缝切换。尽管圣保罗交响乐团显然是一支有才华的乐团，但与科恩相比显得有些沉闷和迟缓，节奏处理不够精准或充满活力，导致独奏家与乐团之间存在明显的配合差异。不过，这仍不足以破坏这些演绎，寻求聆听李斯特最佳作品的听众绝对应考虑这张专辑。

Artist: Arnaldo Cohen, São Paulo Symphony Orchestra, John Neschling
Title: Franz Liszt - Totentanz / Piano Concertos Nos. 1 & 2
Year Of Release: 2007
Label: BIS
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (tracks)
Total Time: 57:08
Total Size: 510 mb / 233 mb
WebSite: Album Preview

Tracklist:

Ferenc [Franz] Liszt (1811–1886)

[1]-[10] Totentanz (1849/59)
Paraphrase on ‘Dies iræ’ for piano and orchestra
[11]-[14] Piano Concerto No. 1 in E flat major (1839/1849–56)
[15]-[20] Piano Concerto No. 2 in A major (1839/1849–61)

Performers:
Arnaldo Cohen, piano
São Paulo Symphony Orchestra (OSESP)
John Neschling, conductor

The vast majority of Brazilian-born pianist Arnaldo Cohen's discography is devoted to the music of Franz Liszt. There is good reason for this; his technique and approach to the instrument seem especially suited for the demands Liszt makes of pianists, from extreme subtlety and introspection to the bravura, ostentatious displays of power and virtuosity. Cohen delivers all of this with remarkable clarity. This album, propitiously recorded in SACD surround sound, features the works for piano and orchestra. It opens with the demonic and fiendish Totentanz. Cohen's ample technique clearly shines through in this sparsely orchestrated work; he plays with immeasurable force and power while never appearing to bang. Every note is always clearly audible, no matter the speed or density of texture. Cohen's playing in the concertos is equally captivating, and he switches seamlessly between dazzling pyrotechnics in the fast movements to warm, lush sentimentality in the slower, inner movements. The São Paulo Symphony Orchestra, while clearly a talented ensemble, seems a bit dull and sluggish compared to Cohen, however. Articulations are not quite as precise or energetic, leading to an apparent mismatch between soloist and orchestra. Even this is not sufficient to mar these performances, though, and listeners seeking to hear Liszt at his best should absolutely consider this album.

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