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LARROCHA, Alicia de (pianist)
The Art of Alicia de Larrocha
Decca (ADD) 473 813-2 (7)
Alicia de Larrocha was one of the great pianists of the twentieth century and her long career began in 1929, when she gave her first public concert at the age of six. While being especially famous for her performances of the Spanish repertoire, she was far from a specialist pianist, but embraced a wide repertoire and many of her classic recordings are found in this box set.
CD 1 includes her Bach recordings, and in this repertoire she is strikingly characterful. She does not apologize for using the piano by attempting to imitate harpsichord tone; she performs such a work as the Italian Concerto in pianistic terms. Her 14-minute Busoni arrangement of the Chaconne in D minor is especially impressive. In the Bach F minor Concerto Zinman’s robust accompaniments, rhythmically strong and alert, are matched by de Larrocha with her firm, clean articulation, and their partnership is eminently satisfying, particularly in the famous and beautiful slow movement, which is shaped with a cool, moving simplicity. In the recording of the Haydn Concerto which follows, she seeks to evoke the fortepiano in her crisp articulation. The outer movements are strongly characterized, and the rhythmic snap of the ‘gypsy’ finale is a joy. David Zinman’s accompaniment is excellent and the scale of the recording highly effective, the resonance giving breadth to the orchestral group.
CD 2 is devoted to recordings of the classical repertoire, and here we have a very stylish account of Mozart’s Sonata No. 11 in A major with some impressively characterized variations, and finishing with the famous Alla turca movement. The F minor Variations of Haydn are thoughtfully played and sensitively recorded, as is the rest of this CD, which includes a stylish account of Mozart’s Sonata No. 18, K.576, in which the slow movement is beautifully poised, memorable in every way, and the finale sparkles. In the Beethoven Bagatelles, de Larrocha displays her usual finesse, and her articulation in the faster pieces is exhilaratingly crisp and clean. Her playing is consistently polished and sympathetic, and each of these miniatures is surely characterized. If her performance of Mendelssohn’s Variations sérieuses isn’t quite on this level of inspiration, it is still enjoyably stylish, and the lively passages come off splendidly (though the 1970s sound isn’t quite of Decca’s vintage quality, unlike the rest of this CD).
CD 3 comprises her 1974 recording of Chopin’s 24 Preludes. Her highly poetic way with Chopin is also evident in the recording of the Second Piano Concerto, which is winningly played, with stylish accompaniments and in excellent sound.
The heart of de Larrocha’s performance of Schubert’s B flat major Sonata, which opens CD 4, lies in the slow movement, played introspectively and with great poetic feeling. Her poise and crisp articulation in the final two movements give much pleasure. Beautiful articulation is again the hallmark of the Impromptu which follows. The Liszt Piano Sonata receives a strong performance with many perceptive touches. Yet some might find her view just a little too idiosyncratic to be placed in the first flight.
Again, in the Schumann Fantasy which begins CD 5, some may find the performance rather too personal for a top recommendation, but there are so many good things in it, not least the excellent recording. Her bold approach works well in the Allegro and Romance, which again are beautifully played and recorded. In the Schumann Piano Concerto, both soloist and conductor are very relaxed indeed. It also has touches of wilfulness, as in the ritenuto before the recapitulation of the first movement. Poetry is certainly not absent: the exchanges between the piano and the woodwind soloists are beautifully done, but the lack of overall vitality becomes enervating in the finale, where the approach is spacious, but the basic tempo is too lazy to be convincing.
CD 6 is a delightful collection of lightweight Spanish keyboard music, played with such skill that even the slightest music never becomes chocolate-boxy. The eighteenth-century classicism of the Sonatas by Soler makes a splendid foil for the warmer romanticism of Isaac Albéniz and the vivid colours of Granados and Turina (all of them in classic recordings). The short Mompou piece is delightful and the Montsalvatge Sonatina para Yvette is no masterpiece but is entertaining and full of colour.
The final CD in the collection boasts one of the very finest of all recorded performances of Falla’s Nights in the Gardens of Spain. De Larrocha was on top form for this 1970 recording, to which she brought her customary poetry and vitality in this evocative score, and she received admirable support from Comissiona and the engineers. The Khachaturian Piano Concerto is a bit slack in the rhythm department in the first movement, but the slow movement, as interpreted by a Spanish pianist and conductor, sounds evocatively like Falla, and the finale too is infectiously idiomatic. The Ravel Piano Concerto for the Left Hand, which concludes CD 7, receives a memorable performance in every way, with the Decca engineers bringing out all the sparkle and drama of the playing of this highly individual score. All in all, this boxed set is a fine tribute to a musician who died only recently (in 2010).
艾丽西亚·德·拉罗查是二十世纪最伟大的钢琴家之一，其漫长的艺术生涯始于1929年——年仅六岁的她举办了首场公开音乐会。虽然以诠释西班牙曲目闻名遐迩，她却绝非局限型的演奏家。这套合辑收录的众多经典录音，展现了她宽广的曲目涉猎。
第一张CD收录的巴赫作品录音彰显其鲜明个性。她毫不刻意模仿羽管键琴音色来弱化钢琴特质，而是以纯粹的钢琴语言呈现《意大利协奏曲》等作品。尤为惊艳的是她演奏布索尼改编的《D小调恰空》，十四分钟的演绎令人叹服。在巴赫《F小调协奏曲》中，津曼指挥的伴奏雄浑有力、节奏精准，与拉罗查干净利落的触键相得益彰，尤其在著名慢板乐章里，二人以冷静克制的处理营造出感人至深的艺术效果。随后的海顿协奏曲录音中，她通过清脆的触键试图再现古钢琴神韵，末乐章吉普赛风格的节奏跃动令人陶醉。大卫·津曼的协奏堪称典范，录音的空间感赋予乐队层次分明的共鸣。
第二张CD聚焦古典时期作品。莫扎特《A大调第十一钢琴奏鸣曲》的演绎极具风范，变奏乐章刻画入微，终曲《土耳其进行曲》更是精彩绝伦。海顿《F小调变奏曲》的演奏与录音皆显深思熟虑，同碟收录的莫扎特《K.576第十八钢琴奏鸣曲》中，舒缓的慢板乐章令人过耳难忘，末乐章则闪耀着灵动光彩。在贝多芬《小品集》里，拉罗查展露其一贯的细腻技艺，快板乐章中那振奋人心的清晰触键尤为突出。尽管门德尔松《庄严变奏曲》的演绎稍逊灵感，但活泼段落仍显其优雅本色（虽1970年代的录音质量未达Decca黄金标准）。
第三张CD收录她1974年录制的肖邦《24首前奏曲》。其充满诗意的诠释风格在《第二钢琴协奏曲》录音中同样体现得淋漓尽致，搭配精致的协奏与出色的录音效果。
第四张CD开篇的舒伯特《降B大调奏鸣曲》核心在于慢板乐章——拉罗查以深邃内省的诗意呈现。末两个乐章中稳健的节奏把控与清脆的触键同样赏心悦目。随后的《即兴曲》再次展现其标志性的完美触键。李斯特《奏鸣曲》的演绎虽见解独到，但某些处理或许过于个人化而难称顶尖。
第五张CD中舒曼《幻想曲》的诠释同样存在争议，其高度个人化的风格可能影响权威推荐度，但精妙的录音效果与《快板》《浪漫曲》中大胆而优美的演奏仍具极高价值。在《钢琴协奏曲》中，独奏家与指挥家都显得过分松弛，第一乐章再现部前的突慢处理稍显任性。虽然钢琴与木管声部的对话充满诗意，但末乐章因整体活力不足而显得拖沓，宽松的速度处理欠缺说服力。
第六张CD汇集了轻快的西班牙键盘音乐精品。索勒奏鸣曲的十八世纪古典风格，与阿尔贝尼斯的热烈浪漫、格拉纳多斯与图里纳的绚烂色彩（均为经典录音版本）形成绝妙映衬。蒙波的短篇作品妙趣横生，蒙萨尔瓦特赫《伊薇特小奏鸣曲》虽非杰作，却充满缤纷色彩。
最后一张CD收录了史上最杰出的《西班牙花园之夜》录音之一。1970年录制时正值巅峰的拉罗查，为这部意境深远的作品注入标志性的诗意与活力，科米西奥纳指挥的协奏与录音工程同样出色。哈恰图良《钢琴协奏曲》第一乐章节奏稍显松散，但在西班牙艺术家演绎下，慢板乐章竟神奇地浮现出法雅式的韵味，末乐章也充满地道感染力。拉威尔《左手钢琴协奏曲》的演绎堪称典范，Decca录音团队完美捕捉了这部独特作品中的所有光彩与戏剧性。这套合辑，是对这位2010年辞世的音乐大师最好的致敬。（源于DeepSeek翻译）
https://115cdn.com/s/swwygcx3hq9?password=3377&#
Larroc, Alicia de - The Art of Alicia de Larrocha [DECCA 7CD]等2个文件(夹)
原来的下载工具不能用以后，虽然找到了新的办法，但是不能自动获取完整的曲名，如果增加上去，整理起来实在太费时间和精力，没办法处理，只能自己想办法一一对照了。
顺带发一下Alicia de Larrocha的DECCA和EMI合集大包
通过网盘分享的文件：Alicia de Larrocha - Complete Decca Recordings 41CDs等2个文件
链接: https://***.com/s/1URh30YCwW3bcAn8g-lAMsA?pwd=3377 提取码: 3377
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