(分享)勃拉姆斯：钢琴协奏曲 & 钢琴独奏曲 - 斯蒂芬·科瓦谢维奇

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Composer: Johannes Brahms
Soloist: Sephen Kovacevich (piano)
Orchestra: London Symphony Orchestra
Conductor: Sir Colin Davis
Recorded: 1968-83
Label: Philips
Release: 2005
Format: FLACx4+booklet
JOHANNES BRAHMS
(1833-1897)
CD 1
Piano Concerto No.1 in D minor, Op.15
I. Maestoso - Poco piu moderato
II. Adagio
III. Rondo. Allegro non troppo
Scherzo in E flat minor, Op. 4
4 Ballades, Op.10
No.1 in D minor
No.2 in D major
No.3 in B minor
No.4 in B major
CD 2
Piano Concerto No.2 in B flat major, Op.83
I. Allegro non troppo
II. Allegro appassionato
III. Andante - Più adagio
IV. Allegretto grazioso - Un poco più presto
Klavierstucke, Op.76
1. Capriccio in F sharp minor
2. Capriccio in B minor
3. Intermezzo in A flat major
4. Intermezzo in B flat major
5. Capriccio in C sharp minor
6. Intermezzo in A major
7. Intermezzo in A minor
8. Capriccio in C major
CD 3
Fantasias, Op.116
1. Capriccio in D minor - Presto energico
2. Intermezzo in A minor - Andante
3. Capriccio in G minor - Allegro passionato
4. Intermezzo in E major
5. Intermezzo in E minor - Andante con grazia ed intimissimo sentimento
6. Intermezzo in E major - Andantino teneramente
7. Capriccio in D minor - Allegro agitato
Intermezzos, Op.117
1. E flat major - Andante moderato
2. B flat minor - Andante non troppo e con molto espressione
3. C sharp minor - Andante con moto
Piano Pieces, Op.118
1. Intermezzo in A minor - Allegro non assai, ma molto appassionato
2. Intermezzo in A major - Andante teneramente
3. Ballade in G minor - Allegro energico
4. Intermezzo in F minor - Allegretto un poco agitato
5. Romanze in F major - Andante
6. Intermezzo in E flat minor - Andante, largo e mesto
Piano Pieces, Op.119
1. Intermezzo in B minor - Adagio
2. Intermezzo in E minor - Andantino un poco agitato - Andantino grazioso
3. Intermezzo in C major - Grazioso e giocoso
4. Rhapsody in E flat major - Allegro risoluto
CD 4
2 Rhapsodies, Op.79
1. B minor - Agitato
2. G minor - Molto passionato, ma non troppo allegro
16 Waltzes, Op.39
1. B major
2. E major
3. G sharp minor
4. E minor
5. E major
6. C sharp major
7. C sharp minor
8. B flat major
9. D minor
10. G major
11. B minor
12. E major
13. B major
14. G sharp minor
15. A flat major
16. C sharp minor
Variations and Fugue on a Theme by Handel, Op.24

Let me say straight away that the performance is extremely fine; indeed, such is its eloquence that I put aside the score and notepad and just listened for pleasure the first time round. Stephen Kovacevich brings much greater tenderness and lyrical feeling to it than does, say, Pollini with the Vienna Philharmonic Orchestra and 13Ohm (DG) and he is more poetic and imaginative than Garrick Ohlsson (HMV). In the slow movement there is an inwardness of feeling that recalls Arrau, Curzon (Decca) or - unless my memory much deceives me, Rudolf Firkusny (Capitol mono P8356, 9/57 - nla). There is no attention-seeking expressive point-making and no attempt either to over- or understate the leonine, combative side of the solo part. In this sense he has judged this as finely as did Radu Lupu in his recording with the London Philharmonic Orchestra under Edo de Waart (Decca). Sir Colin Davis and the London Symphony Orchestra give him sympathetic support and my only reservation concerns wind intonation which worried me in one or two places. (There is some gentle vocalize from the soloist that might have justified a retake, though it is hardly worth making a fuss about.) - Gramophone
This new version (of Piano Concerto No. 2) from Stephen Kovacevich and the LSO under Sir Cohn Davis must be numbered among the very finest of recent years, and the recording is far more successful than his recent D minor Concerto (9500 871, 6/81) which I found opaque. This is every bit as well balanced as its companion but detail is infinitely more transparent. The performance combines poetic feeling and intellectual strength in no small measure, and it is one to which I am sure I will want to return. There is an unforced, natural eloquence that I much admire; the first movement unfolds without any false urgency and momentum; it is spacious, autumnal, reflective as well as majestic. One terribly small point: I did not care for the slight hesitation the soloist makes at bar 89, though in fairness it must be said that both in the concert hall and on record, I have heard far greater agogic distortion in this phrase. The second movement is sparkling and fresh, and I can't remember having heard a more beautiful account of the slow movement since Gilels played it in London a year or two ago with the Philharmonia and Maazel. In the Piü adagio section (bar 59 onwards) Kovacevich is quite magical: and in the bars that precede this, he is rapt and poetic without going over the top as did Barenboim (HMV ASD2413, 12/68 - nla). There is wit, delicacy and poetry in the finale, too. Some may feel that it is almost too relaxed and smiling but he is no more so than Gilels, and like the Russian master, and for that matter Richter in his 1961 version (RCA GLI 1267, 10/78), captures the lambent qualities of texture. One feels unhurried yet the tempo is exactly right (crochet= 104, as in the score). Sir Cohn provides wholly sympathetic support throughout and the unnamed cellist in the slow movement plays with both tenderness and nobility. This is the best version since the Gilels/Jochum (DG), and can be recommended alongside it. R.L.; Gramophone

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勃拉姆斯：第1钢琴协奏曲 - 第1乐章（科瓦谢维奇+戴维斯）