06-[2025] 陈臻 莫扎特：d小调第20钢琴协奏曲，K.466与c小调第24钢琴协奏曲，K.491 [24B-48kHz]
艺术家：陈臻，普法尔茨室内乐团，保罗·迈耶
标题：陈臻 莫扎特：d小调第20钢琴协奏曲，K.466与c小调第24钢琴协奏曲，K.491
发行年份：2025年
厂牌：Solo Musica唱片公司
流派：古典音乐
音质：FLAC（音轨）/24位-48千赫兹FLAC（音轨）
总时长：57分11秒
总大小：198/528兆字节
网站：专辑预览
曲目列表
1. d小调第20钢琴协奏曲，K.466：I. 快板（13:55）
2. d小调第20钢琴协奏曲，K.466：II. 浪漫曲（8:05）
3. d小调第20钢琴协奏曲，K.466：III. 很快的快板（7:52）
4. c小调第24钢琴协奏曲，K.491：I. 快板（12:59）
5. c小调第24钢琴协奏曲，K.491：II. 广板（6:06）
6. c小调第24钢琴协奏曲，K.491：III. 小快板（8:14）
这张莫扎特第20与第24钢琴协奏曲的录音，旨在作为2024年Solo Musica唱片公司发行的第15与第21钢琴协奏曲首张录音的对比双项目。两套录音宛如“阴”与“阳”、月亮与太阳，展现了莫扎特创作的多面性。作为钢琴家，陈臻希望通过此举展示自己驾驭不同艺术风格作品的能力。此外，由于两套录音中钢琴家与乐团保持不变，仅指挥更换——从奥地利指挥家托马斯·勒斯纳换为法国指挥家保罗·迈耶——这两套录音形成了有趣的对照，让听众得以品味两位指挥在艺术导向中的差异。在他看来，第15与第21钢琴协奏曲是莫扎特大调钢琴协奏曲的典型代表，充满愉悦、幽默与振奋之感，而第20与第24钢琴协奏曲则是莫扎特多乐章钢琴作品中罕见的小调珍品。在其总共27首钢琴协奏曲中，仅两首为小调，它们是莫扎特作品中少数以不安与阴郁基调为主的创作。
Artist: Zhen Chen, Kurpfälzisches Kammerorchester, Paul Meyer
Title: Mozart: Piano Concerto No. 20 in D Minor, K. 466 & Piano Concerto No. 24 in C Minor, K. 491
Year Of Release: 2025
Label: Solo Musica
Genre: Classical
Quality: FLAC (tracks) / 24bit-48kHz FLAC (tracks)
Total Time: 57:11
Total Size: 198 / 528 MB
WebSite: Album Preview
Tracklist:
1. Piano Concerto No. 20 in D Minor, K. 466: I. Allegro (13:55)
2. Piano Concerto No. 20 in D Minor, K. 466: II. Romance (8:05)
3. Piano Concerto No. 20 in D Minor, K. 466: III. Allegro assai (7:52)
4. Piano Concerto No. 24 in C Minor, K. 491: I. Allegro (12:59)
5. Piano Concerto No. 24 in C Minor, K. 491: II. Larghetto (6:06)
6. Piano Concerto No. 24 in C Minor, K. 491: III. Allegretto (8:14)
The recording of Mozart’s Piano Concertos No. 20 and 24 is intended as a contrasting twin project to the first recording of No. 15 and 21 released on the Solo Musica label in 2024. The two recordings are like the “yin” and the “yang,” the moon and the sun, demonstrating the multifaceted nature of Mozart’s creativity. As a pianist, Zhen Chen wants to demonstrate his ability to develop and perform works of different artistic modes. Furthermore, since the pianist and the orchestra remain the same in the two recordings and only the baton has been changed–from the hand of the Austrian conductor Thomas Rösner to the French conductor Paul Meyer–these two recordings are an interesting pair, allowing listeners to savor the difference in the artistic direction of the two conductors. No. 15 and 21 are, in his opinion, the quintessential Mozart piano concertos in major key. They are gleeful, humorous, and uplifting, while No. 20 and 24 are the rare gems of Mozart’s multi-movement piano works in minor keys. Out of a total of 27, he composed only two piano concertos in minor keys. They are among the few works by Mozart dominated by an unsettling and gloomy sense.
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