Martha Argerich -《萧邦:前奏曲集》(Frédéric Chopin - 24 Préludes Op.28)[FLAC]

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  • 时间: 2012/09/06 12:35:21 发布 | 2012/09/06 17:31:22 更新
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专辑英文名Frédéric Chopin - 24 Préludes Op.28
艺术家Martha Argerich

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★ 钢琴女狮王阿格丽希70年代中期经典录音

★ 萧邦的「前奏曲集」终极詮释版本之一!


Performer: Martha Argerich
Composer: Frederic Chopin
Audio CD (June 14, 1991)
Number of Discs: 1
Label: Deutsche Grammophon
ASIN: B000001GEC

Label:Deutsche Grammophon – 00289 477 8380

23 of 23 people found the following review helpful
5.0 out of 5 stars The Preludes as a Lightning Bolt April 16, 2005
By Jeffrey G. Jones VINE™ VOICE
Format:Audio CD|Amazon Verified Purchase
Every pianist knows the Chopin Preludes, which stand even among his rich output as a cycle of unusually outstanding beauty, variety and mastery of chromaticism. They are played badly by so many novices, and indifferently by so many aspirants, that it is easy to make them sound stale. But Argerich's version has stood aside from all of that hubbub. It has been controversial since the beginning, with her most ardent admirers balanced by some equally militant detractors.

Is Argerich really defiling Chopin, as so many might suggest? I don't think so. Actually, I think that she succeeds brilliantly in making these pieces seem like just what they were in their time - groundbreaking.

Chopin experienced the thrill of treading into unknown waters, exploring obscure and uncharted parts of the human psyche, and bringing it all up to the surface with the utmost concision. I cannot imagine how proud Chopin must have felt to have produced such a creation from his own pen. And it is extreme music - extremely rich, extremely stark, extremely happy, extremely sad, extremely advanced, extremely conservative. To Chopin's contemporaries, they seemed to come from nowhere, like a bolt of lightning. A soundscape as blindingly intense as the F-sharp minor Prelude still seems more like the music of another planet (to borrow a comment from Arrau about Debussy). Is it not appropriate, then, for Argerich to play them with the appropriate extremes of volume, of tempo, of warmth and coolness?

Yes, I'm biased. Yes, there are some wrong notes in the B-flat minor Prelude (which certainly don't detract from the seemingly infinite power displayed) and there a few other places where newer editions, the Jan Ekier in particular, have made Chopin's intentions more clear. But the combination of burning, passionate music and burning, passionate pianist is unmatched. When it stops thrilling me, then I'll know I'm dead.

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Frédéric Chopin (1810 - 1849)

24 Préludes, Op.28
01. 1. in C major [0:30]
02. 2. in A minor [2:10]
03. 3. in G major [0:51]
04. 4. in E minor [1:52]
05. 5. in D major [0:31]
06. 6. in B minor [1:47]
07. 7. in A major [0:44]
08. 8. in F sharp minor [1:29]
09. 9. in E major [1:30]
10. 10. in C sharp minor [0:25]
11. 11. in B major [0:33]
12. 12. in G sharp minor [0:57]
13. 13. in F sharp major [2:45]
14. 14. in E flat minor [0:28]
15. 15. in D flat major ("Raindrop") [4:51]
16. 16. in B flat minor [0:59]
17. 17. in A flat major [2:50]
18. 18. in F minor [0:47]
19. 19. in E flat major [1:04]
20. 20. in C minor [1:32]
21. 21. in B flat major [1:34]
22. 22. in G minor [0:35]
23. 23. in F major [0:43]
24. 24. in D minor [2:12]

Prélude No.25 in C sharp minor, Op.45
25. Sostenuto [4:02]

Prélude No.26 in A flat, Op.posth.
26. Presto con leggierezza [0:40]

Piano Sonata No.2 in B flat minor, Op.35
27. 1. Grave - Doppio movimento [6:40]
28. 2. Scherzo - Più lento - Tempo I [6:04]
29. 3. Marche funèbre (Lento) [8:34]
30. 4. Finale (Presto) [1:26]

Martha Argerich






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