目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Get along – (TVアニメ「スレイヤーズ」) | 04:08 |
| 2 | KUJIKENAIKARAI – (TVアニメ「スレイヤーズ」) | 04:35 |
| 3 | Going History – (动画《秀逗魔导士EX》片头曲/… | 04:34 |
| 4 | 灼熱の恋 – (动画《秀逗魔导士EX》片尾曲) | 04:01 |
| 5 | Give a reason – (TV动画《秀逗魔导士NEXT》O… | 04:27 |
| 6 | 邪魔はさせない – (我不会让你打扰我的) | 04:42 |
| 7 | naked mind – (naked mind) | 04:15 |
| 8 | 虹のように – (像彩虹一样) | 04:36 |
| 9 | Breeze – (TVアニメ「スレイヤーズTRY」OPテ… | 04:25 |
| 10 | don’t be discouraged – (TV动画《秀逗魔导士Try》E… | 04:12 |
| 11 | somewhere – (TVアニメ「スレイヤーズTRY」E… | 03:50 |
| 12 | FAIR WIND | 05:47 |
| 13 | BRAVE SOULS〜give a reason – (BRAVE SOUL… | 06:54 |
| 14 | Power of ∞ – (Power of Infinity) | 04:40 |
| 15 | IN THIS ARM | 04:31 |
| 16 | だって恋したら・・When I’m in love – (因为恋… | 04:12 |
| 17 | process | 04:55 |
| 18 | 戦場のマドンナ – (战场上的玛多娜) | 04:34 |
| 19 | 眠れない夜は・・・[REMIX] – (无法入睡的夜晚… | 05:11 |
| 20 | EXIT→RUNNING[REMIX] – (EXIT-RUNNING[RE… | 04:26 |
| 21 | 嘘の無いゲーム—SET ME FREE[REMIX] – (Uso … | 05:55 |
| 22 | more than words[REMIX] | 05:59 |
| 23 | Stand up![REMIX] | 04:57 |
| 24 | 乙女の祈り[REMIX] – (Otome no Inori[REMIX]) | 02:23 |
| 25 | 雨のFar away[REMIX] – (Ame no Far away[REMIX]) | 05:12 |
| 26 | Secret〜誰かのメッセージ〜[REMIX] – (Secret… | 04:58 |
| 27 | WARU-Bad blood-[REMIX] | 04:15 |
| 28 | この世界のどこかで[REMIX] – (Kono Sekai no D… | 03:49 |
| 29 | alone[REMIX] | 05:46 |
| 30 | SLAYERS 4 the future | 04:14 |
专辑简介
幅広いメディア・ミックスで知られる『スレイヤーズ』シリーズ。そのテレビ版とラジオ・ドラマで使用されたヴォーカル曲をまとめたベスト盤がコレだ。元気印魔導士リナのイメージそのまま,エネルギッシュな林原めぐみのナンバーが最高。豪華共演者の曲もなかなかだ。 delivers a powerful performance of Gustav Mahler’s Symphony No. 5 in C sharp minor that commemorates the premiere performance on October 18, 1904, when Mahler conducted the Gürzenich Orchestra of Cologne. This orchestra now has Roth as its general music director, and under his care it plays passionately, as if it is channeling the spirit of its past membership, though the instrumentation sounds modern and lacks the qualities of late 19th and early 20th century instruments. For most listeners, this is probably a small matter, because Roth draws out clear sonorities and effects that are close enough to satisfy even the most demanding Mahler scholar. Roth’s interpretation is convincing overall, though he takes the famous Adagietto a little slower than Mahler intended, as ascertained from recordings by his friend and contemporary Willem Mengelberg. Even so, this is an admirable modern performance that does justice to the symphony and the traditions of the Gürzenich Orchestra, and it promises great things to come under Roth’s leadership.























