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古典音乐最大的作用就在于能够引人向上，给予灵魂平静和美好。
而且古典音乐还有着深刻思想的内容，无与伦比精致的技术结构，最经得起时间考验的华丽与高雅。
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古典音乐不但可以开发你的想象力，古典音乐还能提升你的艺术修养，最重要的是在当今浮躁的世界里，
唯有古典音乐能还你一颗平静的心。当你内心真正平静下来了以后，才能从容不迫的面对世间一切纷扰，实现自我突破。
DG吉列尔斯(1916-1985) 西雅图音乐会
Emil Gilels - The Seattle Recital (2016)
吉列尔斯 - 1964年西雅图音乐会
Composers: Beethoven, Chopin, Debussy, Ravel, Prokofiev, Stravinsky and J.S. Bach.
Artist: Emil Gilels piano 埃米尔·吉列尔斯(1916-1985)
Genre: Classical
19 Aug. 2016
首次发行的吉列尔斯1964年西雅图音乐会录音。
This release features a previously-unreleased recording of pianist Emil Gilels, captured live in an acclaimed 1964 Seattle recital. With the exception of a single work, this recital has never before been made available to the general public and is now being released for the first time. Released in time to celebrate the pianist’s 100th anniversary, the recital includes works by Beethoven, Chopin, Debussy, Prokofiev, Stravinsky and more.
Emil Gilels was one of the first Soviet musicians to be allowed to perform regularly in the west after the second world war, and made the first of 15 tours of the US in 1955. This recital was given in the Seattle Opera House in December 1964. It was recorded privately and is now released in full on disc for the first time, marking the centenary of the pianist’s birth later this month. The programme is a typical cross-section of Gilels’ vast repertoire, moving from Beethoven’s Waldstein Sonata, Op 53, to Ravel’s Alborada del Gracioso via Chopin, Prokofiev and Debussy, with party pieces by Stravinsky and Bach (in a Siloti arrangement) added as encores.
The performances take a while to settle down. Anyone who knows Gilels’ later studio recording of the Waldstein might find this one rather stiff and driven, while the early Chopin that follows – the Variations on La Ci Darem la Mano from Mozart’s Marriage of Figaro – is a bit perfunctory. It’s with a fiercely concentrated performance of Prokofiev’s Third Sonata that the intensity begins to rise; after that, the first set of Debussy’s Images has real backbone and rhythmic focus, and more Prokofiev, a selection of the Visions Fugitives, become searingly vivid snapshots. The recording is decent enough, and the sense of occasion palpable, although the piano is beginning to sound a bit the worse for wear by the end.
Review by Andrew Clements, The Guardian
During the course of 28 years beginning in 1955, the great Soviet pianist Emil Gilels toured North America 12 times. We now have a previously unreleased live recording of his recital at the Seattle Opera House in 1964 that provides a vivid snapshot of his unique, ever-evolving artistry.
Gilels tended to be a big-picture player, objective, not given to lingering over details and generally preferring very quick tempi. Few pianists would risk opening a recital with the Waldstein, and Gilels’s performance suffers from such a daring gesture. It takes a few measures for the recording engineer to adjust for a more focused sound, but essentially nothing is lost. Tempi throughout tend to be pressured. Notes are dropped and occasionally automatic pilot takes over. The prevailing overdrive weakens the emotional contrast between the Rondo’s moderate allegretto and the prestissimo coda, which could scarcely go faster and remain audible. But this is the weakest element of an otherwise intriguing programme.
Chopin’s ‘Là ci darem la mano’ Variations are both virtuoso and beguiling. Gilels captures the whimsy of the introduction, exploiting its mercurial mood shifts to make arrival at Mozart’s duet like stepping into the sunshine. Each of the five variations is imbued with a distinct character, building to a polonaise finale of extraordinary brilliance. It is a perfect showcase for Gilel’s justly admired pianistic finesse.
The transition from young Chopin’s Warsaw to Prokofiev’s St Petersburg in 1917 is abrupt, surely as Gilels intended. Here speed has a salutary effect, pointing up the Third Sonata’s larger shapes and overall structure to fine advantage while rendering the lyricism of more moderate sections all the more poignant. Following this surge of burgeoning energy, the first book of Debussy’s Images looms like an oasis. The guileless simplicity of ‘Hommage à Rameau’ achieves a touching eloquence. A return to Prokofiev, with six of the Visions fugitives, serves as a palate-cleanser. A bracingly piquant ‘Alborada del gracioso’ concludes the formal programme. Decidedly more Russian than French, the vibrant colours of Benois and Bakst nevertheless suit the piece well.
If posterity has favoured Richter over Gilels, that doesn’t diminish the pleasure of revisiting the unique strengths and versatility of this impressive pianist.
Review by Patrick Rucker, Gramophone
Emil Gilels - The Seattle Recital (2016)
Tracklist:
Ludwig van Beethoven (1770-1827) - Piano Sonata No.21 In C Major, Op. 53 - 'Waldstein'
01. I. Allegro con brio (10:32)
02. II. Introduzione. Adagio molto (03:20)
03. III. Rondo. Allegretto moderato … (09:01)
04. Frederic Chopin (1810-1849) - Variations on 'La ci darem la mano' from Mozart's Don Giovanni (15:07)
05. Sergei Prokofiev (1891-1953) - Piano Sonata No.3 In A Minor, Op.28 (06:53)
Allegretto tempestoso - Moderato - Allegro tempestoso- Moderato - Più lento - Più animato - Tempo I - Poco più mosso
Claude Debussy (1862-1918) - Images - Book 1, L. 110
06. I. Reflets dans l'eau. Andantino molto (04:13)
07. II. Hommage a Rameau. Lent et grave (05:12)
08. III. Mouvement. Anime (03:18)
Sergei Prokofiev - Visions fugitives, Op.22
09. I. Lentamente (01:02)
10. III. Allegretto (00:53)
11. V. Molto giocoso (00:19)
12. XI. Con vivacita (00:59)
13. X. Ridicolosamente (00:46)
14. XVII. Poetico (01:28)
15. Maurice Ravel (1875-1937) - Miroirs M.43 - IV. Alborada del gracioso (05:47)
16. Igor Stravinsky (1882-1971) - Trois mouvements de 'Petrouchka' - I. Danse russe (02:37)
17. J.S. Bach - (1685-1750)/Siloti - Prelude In E Minor, BWV 855a (Arranged And Transposed To B Minor) (03:09)
Time: 74'46
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