目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Cello Sonata No. 1 in F Major, Op. 5 No. 1: I. Adagio sostenuto | 00:03:00 |
| 2 | Cello Sonata No. 1 in F Major, Op. 5 No. 1: II. Allegro | 00:15:25 |
| 3 | Cello Sonata No. 1 in F Major, Op. 5 No. 1: III. Allegro vivace | 00:07:08 |
| 4 | Cello Sonata No. 2 in G Major, Op. 5 No. 2: I. Adagio sostenuto ed espressivo | 00:05:37 |
| 5 | Cello Sonata No. 2 in G Major, Op. 5 No. 2: II. Allegro molto più tosto presto | 00:15:07 |
| 6 | Cello Sonata No. 2 in G Major, Op. 5 No. 2: III. Rondo. Allegro | 00:09:03 |
| 7 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Theme. Allegretto | 00:00:51 |
| 8 | 12 Variations on Handel’s “See the Conqu’ring Hero Comes”, WoO 45: Var. 1 | 00:00:44 |
| 9 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 2 | 00:00:44 |
| 10 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 3 | 00:00:45 |
| 11 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 4 | 00:00:57 |
| 12 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 5 | 00:00:56 |
| 13 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 6 | 00:00:45 |
| 14 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 7 | 00:00:42 |
| 15 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 8 | 00:00:47 |
| 16 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 9 | 00:00:51 |
| 17 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 10, Allegro | 00:00:42 |
| 18 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 11, Adagio | 00:03:24 |
| 19 | 12 Variations on “See the Conqu’ring Hero Comes”, WoO 45 (After Handel): Var. 12, Allegro | 00:01:08 |
| 20 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Theme. Allegretto | 00:00:33 |
| 21 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66 (After Mozart): Var. 1 | 00:00:32 |
| 22 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 2 | 00:00:35 |
| 23 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66 (After Mozart): Var. 3 | 00:00:31 |
| 24 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 4 | 00:00:40 |
| 25 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 5 | 00:00:33 |
| 26 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66 (After Mozart): Var. 6 | 00:00:32 |
| 27 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66 (After Mozart): Var. 7 | 00:00:48 |
| 28 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 8 | 00:00:31 |
| 29 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 9 | 00:00:38 |
| 30 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 10, Adagio | 00:01:17 |
| 31 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 11, Poco adagio, quasi andante | 00:01:03 |
| 32 | 12 Variations on “Ein Mädchen oder Weibchen”, Op. 66: Var. 12, Allegro | 00:02:02 |
专辑简介
Pierre Fournier’s 1965 collaboration with Wilhelm Kempff yielded one of the greatest complete recordings of the Beethoven cello sonatas. Their account of Op. 69 epitomises the nobility and eloquence of these unparalleled interpretations, and CD transfers are remarkably spacious and detailed. Anthony Pleeth’s cycle, with fortepianist Melvyn Tan, was the first to employ modern reproductions of instruments of the Beethovenian epoch. These artists make the historical concessions without minimising the drama and passion of the music; the sound is warm, but insufficiently focused. Michael Jameson
