历经坎坷而高贵优雅的英国钢琴家莫拉 林帕尼（Moura Lympany），拥有六十五年多的演奏生涯，这张《Best Loved Piano Classics》收录有她弹奏的肖邦（Chopin）、莫扎特（Mozart）、舒曼（Schumann）、贝多芬（Beethoven）、李斯特（Liszt）、德彪西（Debussy）等作曲家的钢琴名曲，她以不同寻常的才华带听者进入浪漫的钢琴音乐世界。
Dame Moura Lympany DBE (18 August 1916 – 28 March 2005) was an English concert pianist.
She was born as Mary Gertrude Johnstone at Saltash, Cornwall. Her father was an army officer who had served in World War I and her mother originally taught her the piano. Mary was sent to a convent school in Belgium, where her musical talent was encouraged, and she went on to study at Liège, later winning a scholarship to the Royal Academy of Music in London.
After auditioning for the conductor, Basil Cameron, she made her concert debut with him at Harrogate in 1929, aged twelve, playing the G minor Concerto of Felix Mendelssohn, the only concerto she had memorised up to that point. It was Cameron who suggested that she adopt a stage name for the concert and an old spelling of her mother's maiden name, Limpenny, was chosen.
Dame Moura (née Mary Gertrude Johnstone) was born in 1916 in Cornwall and made her début playing a Saint-Sa?ns piano concerto at Harrogate (England) at age 12 after early studies in Belgium, first at a convent school then at the Liège Conservatory. [Her professional name was created for the début by uniting a variant form of "Mary" with a reworking of her mother's maiden name "Limpenny," thus giving this native Brit a foreign-sounding monicker at a time when continental European musicians enjoyed higher status around the world.] Fluent in French from an early age, she traveled Europe freely to study and to perform, eventually settling in southern France, where she died in 2005.
Unlike many artists she did not choose to specialize in any composer or stylistic period, playing whatever music she liked and her audiences enjoyed. She did, however, gain special recognition for her performances of the Russian composers Rachmaninov, Prokofiev, and Khatchaturian. (In 1940 she gave the British première of Khatchaturian's dashing and colorful Piano Concerto No. 1.)
The breadth of her repertoire makes her especially suited to record a CD such as the present one, and the results accord with the expectation: all of the performances here are of a pretty high caliber, nearly flawlessly executed and persuasively interpreted. It comes as no surprise, then, that two years later (1990) EMI recorded a second CD to cover works which could not be included on the first. (Between the two, some 150,000 copies were sold.)
01. Fantasy-Impromptu for piano in C sharp minor, Op. 66, CT. 46
02. Waltzes (16) for piano, 4 hands (or piano), Op. 39: Waltz in A flat, Op 39 No 15
03. Piano Sonata No. 11 in A major ('Alla Turca') K. 331 (K. 300i): 03 Alla turca
04. Work(s): Minuet in C
05. Kinderszenen (Scenes from Childhood) for piano, Op. 15: No 07 Tr?umerei
06. Un sospiro, for piano in D flat major (Grande études de concert No. 3), S. 144/3 (LW A118/3)
07. Etude for piano No. 4 in C sharp minor, Op. 10/4, CT. 17
08. Etude for piano No. 5 in G flat major, Op. 10/5, CT. 18
09. Humoresque No. 7 for piano in G flat major, B. 187/7 (Op. 101/7)
10. Woodland Sketches (10) for piano, Op. 51: No 01,To a Wild Rose
11. Automne, concert etude for piano, Op. 35/2
12. Bagatelle for piano in A minor ('Für Elise'), WoO 59
13. Clair de lune, for piano (Suite Bergamasque No. 3), L. 75/3
14. Children's Corner, suite for piano (or orchestra), L. 113: Golliwogg's Cakewalk
15. Prelude for piano No.1 in C sharp minor ('The Bells of Moscow'), Op. 3/2
16. Melodies (2) for piano, Op. 3: Melody in F, Op 03 No 01
17. Goyescas (Dandies in Love), pieces (6) in 2 books for piano, H. 64, DLR 2:4: Maiden and the Nightingale
18. Ritual Fire Dance, for orchestra (from 'El Amor brujo')
19. Espana, album leaves (6) for piano, Op. 165, B. 37: Tango, Op 165 No 02