目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Shéhérazade, ouverture de féerie, M. 17 | 00:12:52 |
| 2 | Tzigane, rapsodie de concert, M. 76 | 00:10:03 |
| 3 | Le tombeau de Couperin, M. 68a: I. Prélude | 00:03:14 |
| 4 | Le tombeau de Couperin, M. 68a: II. Forlane | 00:05:28 |
| 5 | Le tombeau de Couperin, M. 68a: III. Menuet | 00:04:49 |
| 6 | Le tombeau de Couperin, M. 68a: IV. Rigaudon | 00:03:09 |
| 7 | Boléro, M. 81 | 00:15:23 |
| 8 | Piano Concerto in G Major, M. 83: I. Allegramente | 00:08:19 |
| 9 | Piano Concerto in G Major, M. 83: II. Adagio assai | 00:08:15 |
| 10 | Piano Concerto in G Major, M. 83: III. Presto | 00:03:59 |
| 11 | Valses nobles et sentimentales, M. 61: I. Modéré – très franc | 00:01:24 |
| 12 | Valses nobles et sentimentales, M. 61: II. Assez lent – avec une expression intense | 00:02:17 |
| 13 | Valses nobles et sentimentales, M. 61: III. Modéré | 00:01:53 |
| 14 | Valses nobles et sentimentales, M. 61: IV. Assez animé | 00:01:09 |
| 15 | Valses nobles et sentimentales, M. 61: V. Presque lent – dans un sentiment intime | 00:01:06 |
| 16 | Valses nobles et sentimentales, M. 61: VI. Assez vif | 00:00:58 |
| 17 | Valses nobles et sentimentales, M. 61: VII. Moins vif | 00:02:37 |
| 18 | Valses nobles et sentimentales, M. 61: VIII. Epilogue (Lent) | 00:03:12 |
| 19 | Ma mère l’oye, M. 62: Prélude | 00:03:02 |
| 20 | Ma mère l’oye, M. 62: Tableau I. Danse du rouet et scène | 00:03:07 |
| 21 | Ma mère l’oye, M. 62: Tableau II. Pavane de la Belle au bois dormant | 00:02:27 |
| 22 | Ma mère l’oye, M. 62: Tableau III. Les entretiens de la Belle et de la Bête | 00:04:32 |
| 23 | Ma mère l’oye, M. 62: Tableau IV. Petit poucet | 00:05:02 |
| 24 | Ma mère l’oye, M. 62: Tableau V. Laideronnette, impératrice des Pagodes | 00:04:34 |
| 25 | Ma mère l’oye, M. 62: Apothéose. Le jardin féerique | 00:04:08 |
| 26 | Fanfare from “L’eventail de Jeanne”, M. 80 | 00:01:29 |
| 27 | Pavane pour une infante défunte, M. 19 | 00:06:26 |
| 28 | Menuet antique, M. 7 | 00:06:09 |
| 29 | Miroirs, M. 43: III. Une barque sur l’océan | 00:06:46 |
| 30 | Piano Concerto for the Left Hand in D Major, M. 82: I. Lento | 00:07:42 |
| 31 | Piano Concerto for the Left Hand in D Major, M. 82: II. Allegro | 00:04:51 |
| 32 | Piano Concerto for the Left Hand in D Major, M. 82: III. Tempo I | 00:05:01 |
| 33 | Rapsodie espagnole, M. 54: I. Prélude à la nuit | 00:04:33 |
| 34 | Rapsodie espagnole, M. 54: II. Malagueña | 00:01:57 |
| 35 | Rapsodie espagnole, M. 54: III. Habanera | 00:02:31 |
| 36 | Rapsodie espagnole, M. 54: IV. Feria | 00:05:49 |
| 37 | Miroirs, M. 43: IV. Alborada del gracioso | 00:07:46 |
| 38 | La valse, M. 72 | 00:11:14 |
| 39 | Daphnis et Chloé, M. 57, Tableau I: I. Introduction et danse religieuse | 00:10:08 |
| 40 | Daphnis et Chloé, M. 57, Tableau I: II. Danse générale | 00:01:13 |
| 41 | Daphnis et Chloé, M. 57, Tableau I: III. Danse grotesque de Dorcon | 00:01:43 |
| 42 | Daphnis et Chloé, M. 57, Tableau I: IV. Danse légére et gracieuse de Daphnis | 00:04:12 |
| 43 | Daphnis et Chloé, M. 57, Tableau I: V. Danse de Lycéion | 00:02:46 |
| 44 | Daphnis et Chloé, M. 57, Tableau I: VI. Nocturne. Danse lente et mystérieuse des Nymphes | 00:04:49 |
| 45 | Daphnis et Chloé, M. 57, Tableau II: VII. Introduction | 00:02:46 |
| 46 | Daphnis et Chloé, M. 57, Tableau II: VIII. Danse guerrière | 00:04:31 |
| 47 | Daphnis et Chloé, M. 57, Tableau II: IX. Danse suppliante de Chloé | 00:05:30 |
| 48 | Daphnis et Chloé, M. 57, Tableau III: X. Lever du jour | 00:05:28 |
| 49 | Daphnis et Chloé, M. 57, Tableau III: XI. Pantomime (Les amours de Pan et Syrinx) | 00:05:25 |
| 50 | Daphnis et Chloé, M. 57, Tableau III: XII. Danse générale (Bacchanale) | 00:04:43 |
专辑简介
雖然德布西與拉威爾這兩名法國作曲家突破獨霸歐洲樂壇已久的德奧系統浪漫派音樂，後人也常以「印象派」來形容德布西與拉威爾的音樂，但是，這兩個人的樂風其實完全不一樣。拉威爾的音樂非常著重細節變化，再加上他以身上的巴斯克血統為榮，所以音樂裡常常可以聽到西班牙的影子。而到了晚期，拉威爾因為美國黑人爵士樂等其他音樂元素的影響，作品風格已經明顯脫離印象派，以客觀規律的樂句結構、勇往直前的節奏性質、以及與十八世紀音樂風格相似的明晰情緒，取代了印象派特有的朦朧、飄忽的氣氛、及主觀自由的曲式。ht new songs that complete the journey that duo Jennifer Fielder and Trey Smith began with Part 1. Together, the two installments showcase Smithfield’s signature harmonies and feature songs that celebrate the people, places, and experiences that have shaped the duo throughout their 14-year career.
“This record is more than a collection of songs. It’s a snapshot of our 14-year journey in music and a reflection of the values that have guided us from the very beginning,” shares Smithfield. “When we say Country With Heart, we mean music that tells our truth and makes you feel something deep in your soul. Music that celebrates love, family, resilience, faith, friendship, and the moments that shape who we are all told through our two perspectives.
“At the heart of every song is what makes Smithfield special: the signature harmony that has connected us with our fans since day one,” they continue. “This album is our most authentic representation of who we are as artists and what country music means to us. We believe country music is at its best when it makes people feel seen, understood, and a little less alone.”
The new album follows the duo’s recent release of “All Over Nashville,” which arrived alongside a video in June in celebration of 615 Day and was co-written with Karen Kosowski and Emma-Lee. Fans can also pre-order Smithfield’s first-ever vinyl release, a deluxe collector’s two-LP edition bringing together Country With Heart, Part 1 and Part 2 in one complete package. Featuring exclusive bonus tracks, the special release allows listeners to experience the full Country With Heart project as one cohesive body of work.
The duo is preparing for their first European headline run this August and September, with performances at The British Country Music Festival, Nashville Nights Festival Denmark, The Long Road Festival, and additional headline dates throughout the UK.
