校對： Echoes
Top 10 Greatest Piano Concerti
By FlameHorse
A piano concerto is a composition in which a solo piano (orharpsichord) is accompanied by a large ensemble of other instruments (usually a full orchestra but not always). This list looks at 10 of the greatest (with anadditional bonus entry from JFrater). The criteria for inclusion and ranking of entries are musical artistry, technical artistry, pianistic power, balance between piano and orchestra, and historical influence.
鋼琴協奏曲是由鋼琴（或羽管鍵琴）獨奏，其他樂器組成的大合奏組伴奏（通常但不總是一整支樂團）的一種體裁。這份榜單著眼於最偉大的十部鋼琴協奏曲（以及一條JFrater提供的附贈曲目）。甄選、評判這些曲目的標準基於音樂與技巧的藝術性、鋼琴演奏的力量、鋼琴與管弦樂的平衡及其歷史影響力。
C小調第二鋼琴協奏曲，第18號
謝爾蓋·拉赫瑪尼諾夫
Possibly Rachmaninoff’s most famous piece, along with his Prelude in C# minor (which he actually got tired of performing in public). Rachmaninoff is one of the few classical composers in history who was a genuine triple threat: world-class composer, performer, and conductor. Thus, when it came to composing for his own instrument, he didn’t pull any punches. He knew what a classically-trained pianist should be able to do, and with gigantic hands that could stretch a 13th on the keyboard (the average man’s hand can barely manage a 10th), he incorporated a lot of equally gigantic chords in his music. This concerto begins with a driving, very atmospheric, almost dirge-like melody. As is typical of his works, the last movement winds up with a pulse-pounding moment of elation.
這部協奏曲同他的《升C小調前奏曲》（這首他其實早已厭倦公開彈奏了）稱得上是拉赫瑪尼諾夫最出名的作品之一。細數歷史，沒有幾位古典作曲家和拉赫瑪尼諾夫一樣，是個集世界一流作曲家、演奏家和指揮家為一身的天才。所以當他為自己的樂器創作時，他毫不手下留情。他很清楚受過正統古典音樂教育的鋼琴家能彈什麼，用這雙能跨十三度的大手（常人只能勉強跨到十度），他在音樂中引入了同樣龐大的和弦。這首協奏曲開頭是一段行進式的、極富感染力的、輓歌般的旋律。作為拉赫最經典的作品，最後一個樂章帶著一番血脈賁張的狂喜收尾。
These 10-fingered chords are one of the primary calling cards of his music, one of the reasons you can recognize his music after only a few measures. His 2nd concerto was his first outstanding work in a long time, after a series of mediocre efforts, and this mediocrity was driving him to depression because he knew he was much better than the critics would have him believe. They lambasted his 1st concerto. His 1st symphony was notably derided by Cesar Cui, of the Russian 「Big Five,」 who claimed it could only be enjoyed by terrible musicians who died and went to Hell where they would have to listento it forever.
這些十指和弦是他音樂的一大招牌，也是你聽幾個小節就能辨認出拉赫作品的一個原因。第二鋼協是他長久以來首部傑出的作品，他曾付出無數的努力，這一平庸感把他拖入了抑鬱的深淵，因為他明白他遠好於評論所說的那般。評論家們對他的第一鋼協大肆抨擊。拜俄國「強力集團」的成員，策扎爾·居伊（Cesar Cui）所賜，他的第一號交響曲遭到嘲諷，居伊把他的交響曲評價成「只有那些下地獄的死音樂家才欣賞得來的東西，因為他們永世都得聽這支曲子。」
Rachmaninoff was sensitive to criticism, and such comments, echoed by Leo Tolstoy (who also considered Beethoven horrible), coupled with the sudden suicide of Rachmaninoff’s mentor and friend, Tchaikovsky, drove him into 3 years of clinical depression and writer’s block. He finally overcame it with the help of Nicolai Dahl, who hypnotized him and repeated over and over, 「You are a great composer. You will compose great music.」
拉赫瑪尼諾夫對音樂評論極其敏感，這些評論，還有列夫·託爾斯泰相仿的觀點（他認為貝多芬的作品糟糕透頂），再加上拉赫的導師兼朋友——柴可夫斯基的自殺，讓他患上了三年的抑鬱症，同時這期間也沒有產出其他作品。在尼古拉·達利的幫助下，他最終渡過了難關。達利一遍一遍地催眠著他：「你是個偉大的作曲家，你會寫出偉大的作品。」
Harpsicord Concerto No. 1
第一號羽管鍵琴協奏曲，BWV 1052
約翰·塞巴斯蒂安·巴赫
It is not a bit of a cheat to include this one, since although Bach wrote it for the harpsichord (because the piano had only recently been invented and was not yet a very good instrument), it is today played at least as frequently on piano. That is one of the most amazing aspects of Bach’s music, and a brilliancy no other composer can claim: his music can be played just as effectively on any instrument combination; no musicality is lost; his is, thus, the purest music anyone has ever written, and if the percussive quality of the piano were not taken into account, this one would top the list.
把這部作品放進來一點也不過分，因為即便說巴赫是寫給羽管鍵琴的（當時鋼琴才發明不久，作為樂器還不是很成熟），它如今卻同樣頻繁地在鋼琴上演奏。這就是巴赫的音樂最讓人稱奇的一面，他的天才之處無人能及：在任何一種樂器組合下，他的作品都行之有效，而又不失任何音樂性；由此，他的音樂是世上最純粹的音樂，如果不考慮鋼琴的敲擊特質的話，這首協奏曲當居榜單之首。
Bach originally scored it for solo violin, and later re-scored it for keyboard. As is typical of his music, it is extremely complex, with polyphonic harmony of the highest order, and severe technical demands, which Bach could dash off with polished artistry. It also deserves a spot on the list because it is the first truly solo concerto, at least in the spirit of the soloist being able to show off.
這首協奏曲最初是為小提琴獨奏而作的，後來才被改編為羽管鍵琴版本。作為巴赫音樂的代表作，它十分複雜，既包含著結構龐大的復調和聲，又對技巧有著極高的要求，就好像巴赫用華麗的藝術技巧拼接出來的一樣。它之所以入選，還因為這是第一部真正的獨奏協奏曲，至少說，獨奏者終於可以炫技了。
Concerto in A minor, Op. 16
This one has the distinction of being first played by Franz Liszt himself. Not in public, but when Grieg brought it to him for his approval. Liszt and he met in 1870 in Rome, and Liszt asked him to play it, but Grieg said that he had not yet practiced it, so Liszt sightread the entire thing, even playing the orchestral parts.
說它不同凡響，是因為弗朗茨·李斯特是第一個演奏它的人。不是在公開場合，而是在格裡格把它拿給李斯特看的時候。1870年，李斯特和格裡格在羅馬相遇，李斯特讓他彈奏，可格裡格還沒有練過這部作品，所以李斯特視奏了整部曲子，甚至還彈了管弦樂的部分。
Liszt immediately complimented him highly, especially for the g-sharp in the final scale run at the end of the 1st movement. It is one of the most popular concerti today, being fairly easy to perform compared to the others on this list, and in the relative minor of C Major. This key enables the music to make excellent use of the lowest note on the piano. The 2nd movement is one of the most beautiful ever written, and a piece of which Grieg was particularly proud. He intended it to remind the listener of a verdant waterfall.
李斯特彈罷對他大加讚賞，尤其是首樂章末最後的音階進行裡出現的升G音（譯註：首樂章第184-186小節）。這是當今最受歡迎的協奏曲之一，相對於榜單上的其他曲目，它對演奏技巧的要求不高，而且還是C大調的關係小調，這個調讓音樂最大程度地利用了琴鍵上的最低音。第二樂章是有史以來最優美的樂章，格裡格也引以為豪。他有意喚起觀眾，讓他們想起青翠的山壁間，跌落下一汪晶瑩的瀑布的畫面。
G大調第四鍵琴協奏曲，第58號
路德維希·凡·貝多芬
Even today, there are quite a few critics and musicologists, as well as performers, who consider this Beethoven’s finest concerto. This lister is not so convinced, but what Beethoven does brilliantly in this one is pristine balance of melody, development, technique, musicality, and balance between soloist and orchestra.
即便是今天，仍有些評論家、音樂學家以及演奏家，認為這部作品是貝多芬最好的協奏曲。本人並不這麼覺得，但貝多芬實際上巧妙地掌控了旋律、展開、技巧與音樂性之間的平衡，以及獨奏和管弦樂之間的關係。
Beethoven is known for short motif-like themes, which he could develop into the highest form of music better than just about anyone. He made much out of little. But now and then, as with his 「Ode to Joy,」 he could dream up a melody just as lyrical as those of Mozart. The same is true of this concerto, and yet proper development of such lyrical melodies is extremely difficult for composers to muster, as the history of music bears out. Mozart was of the opinion that if you can compose a good melody, the hard part is over. Whenever excellent melody and excellent development meet, it’s a masterpiece, and that is precisely why this concerto is one.
貝多芬很擅長寫一些動機般短小的主題，他可以將其發展為龐大的曲式，這一方面他做的比任何人都好——是他把小樂思變成了大部頭；但就像「歡樂頌」一樣，有時他也能寫出跟莫扎特作品一樣抒情的旋律。這部協奏曲亦然，然而要把如此抒情的旋律再進行適當的展開，對作曲家來說就太難了，音樂史可以證明這一點。對莫扎特而言，能寫出一段優美的旋律，就已經完成最難的部分了。所以當一段悅耳的旋律和巧妙的展開結合在一起時，它必然是一部傑作，這也就是這部作品獨一無二的原因。
The most notable moment in it is in the cadenza at the end of the 2nd movement. Beethoven wrote this one himself, but left the cadenza of the 1st movement to be improvised by the performer. He marked the 2nd movement’s cadenza 「una corda.」 On today’s pianos, we call this the soft pedal, which shifts the hammers from all three strings of each note to just one of each. But in Beethoven’s day, this pedal actually shifted the hammers to one or two of each note’s three strings, at the composer’s discretion, and he indicated the cadenza to make full use of this ability, 「due e poi the corde (two and then three strings)」 during the opening trill, and 「due poi una corda (two then one string)」 during the end. Today, it can only be done on a period piano of Beethoven’s time.
不得不提的是第二樂章末尾華彩的一小段旋律。貝多芬自己完成了這段華彩，但第一樂章的部分就留給音樂家們即興了。他給第二樂章的華彩標註了「una corda」。在如今的鋼琴上，我們叫做柔音踏板，它把每個音都要敲擊三根弦的琴槌推移，使其只敲擊其中的一根弦。但在貝多芬的時代，這個踏板實際上可以按作曲家的意願推移至一或兩根弦，所以貝多芬明確指示了這段華彩，以充分發揮這一能力，在開頭震音的部分「due e poi the corde（兩根弦，隨後三根）」，結束的地方「due poi una corda（兩根弦，隨後一根）」。而現在，這樣的彈法只有在貝多芬時代的鋼琴上才能完成了。
No. 1, B-flat Major, Op. 23
降B小調第一鍵琴協奏曲，第23號
彼得·伊裡奇·柴可夫斯基
Today, this may possibly be the most famous concerto on this list, ever since Liberace practically used it as his theme song for years, even playing the opening overture on giant piano keys around the side of his swimming pool. Tchaikovsky could play the piano, but was not well-practiced enough to perform this piece. For a supreme composer, this is no crutch. Like all the greats, Tchaikovsky wrote at a writing desk, not seated at a piano.
如今，柴一鋼協可能是榜單上最流行的協奏曲，當年李伯拉斯（Liberace）就拿它做了很多年的主題曲，甚至還在其泳池旁巨大的琴鍵上「彈奏」這首協奏曲的引子。柴可夫斯基是會彈鋼琴的，但還不足以駕馭這部作品。對於一位作曲大師來說，這毫不足惜。就像所有的大家一樣，柴可夫斯基不是坐在琴旁，而是伏案完成了創作。
This concerto was very daring for its day, especially since Tchaikovsky dedicated it to his friend and magnificent piano legend Nikolai Rubinstein, the brother of an even greater pianist, Anton. Nikolai was an absolute master of Mozart’s piano music, and his playing style could not have been more perfectly suited to such cheerful, technically refined works. Anton was the one who broke strings when he practiced.
這部協奏曲在當時非常的大膽，尤其是因為柴可夫斯基把它獻給了自己的朋友及偉大的鋼琴家，尼古拉·魯賓斯坦，他是那位更傑出的鋼琴家安東·魯賓斯坦的兄弟。尼古拉在詮釋莫扎特鋼琴音樂上是個不折不扣的大師，他的演奏風格恰恰就適合這種歡愉的、技巧凝練的作品。安東·魯賓斯坦，則是那個練琴能把弦砸斷的人。
This concerto would have been perfect, therefore, for Anton to premiere, but Tchaikovsky was closer to Nikolai and Nikolai almost always premiered his new works. Unfortunately, when he read the score, he threw it down in disgust and proceeded to criticize Tchaikovsky harshly for what he termed 「a concerto against the piano.」 It was far too bombastic for his taste. Tchaikovsky was, of course, offended by this, but years later Nikolai approached him and asked for forgiveness, explaining that it had taken him that long to warm up to it. After that, he performed it all the time.
若是安東來首演的話，這部協奏曲就該是完美的了，可柴可夫斯基與尼古拉關係更好，他幾乎首演柴可夫斯基的每一部作品。可惜的是，當尼古拉讀過譜子之後，他厭惡地丟下譜子，厲聲斥責柴可夫斯基，說他寫了一首「跟鋼琴造反的協奏曲」。這對他的口味而言實在太浮誇了。當然，柴可夫斯基受此冒犯不少，但經年累月，尼古拉找上門來道歉，解釋道自己花了相當長的時間接受這部曲子。從那之後，尼古拉就從未中斷過這部作品的上演。
It has the single most famous passage of octaves in the piano repertoire, in the 1st movement. It takes a true musician to play them correctly but not to show off by rushing through them. There is a second octave passage in the 3rd movement. The most famous part of the entire piece, though, is the opening, an ecstatic revelry of ultra-romantic music from one of the most romantic of the Romantic era. And this overture doesn’t even have the 1st melody in it. It leads to the 1st melody. The 1st movement also ends extravagantly with one of the very few instances of a 1-4-1 cadence, when 1 chords (tonic) and 5 chords (dominant) are almost all you ever hear at the end of a piece of music. The 4 chord is called the subdominant.
在第一樂章中，它有著鋼琴史冊上最出名的八度段落。真正的音樂家才懂得如何正確演奏，而又不過於炫技，彈得太快。第二個八度段落出現在第三樂章裡。然而，整部作品最出名的地方在它的開頭，這段流光溢彩、歡喜若狂的旋律出自浪漫主義時期最浪漫的音樂家之手，極具浪漫主義風格。這一序章甚至還沒有呈示主題，它導向了第一主題。第一樂章的結尾同樣非凡，它採用了極少使用的I-IV-I終止式，這和我們平常聽到的I級和弦（主和弦）、V級和弦（屬和弦）結尾的音樂不同。四和弦又稱為下屬和弦。
C大調第21號鍵琴協奏曲，K. 467
沃爾夫岡·阿馬德烏斯·莫扎特
In terms of musicality, this one would rank second on this list behind #9, but we are equally examining all aspects of the piano concerto, and in terms of pianistic power, this concerto is quite a sweetheart. Mozart is not known for bombastic music, though he certainly wrote some. The phrase often thrown around (if you』ll forgive the God reference) is, 「Bach gave us God’s Word. Mozart gave us God’s laughter. Beethoven gave us God’s fire.」
從音樂性上來講，這部作品可以排到第二名，位居9號之後（巴赫，第一號羽管鍵琴協奏曲），但平等地從鋼琴協奏曲的各個方面來評判，它在鋼琴演奏的力量上就有些薄弱了。莫扎特並不因那些誇張的音樂出名，雖然他確實寫過一些。有句話總是這麼說的（請原諒我提及上帝），「巴赫給了我們上帝的福音。莫扎特給了我們上帝的歡笑。貝多芬給了我們上帝的怒火。」
This concerto is typical of that carefree, happy quality for which Mozart is legendary. Nevertheless, the technicality and musicality of this one require a pianist with a finished technique, especially in presto legato fingering. The 2nd movement is used to great effect in the film 「Elvira Madigan,」 and now the concerto is sometimes nicknamed that. Beethoven, Haydn, and Hummel were in attendance for one or more of Mozart’s own performances of this piece, and all agreed that his technique, especially in the right hand, was faultless, with the running passages in the 3rd movement as unbroken as a river.
這首協奏曲有著莫扎特那種出了名的無憂無慮、快樂的天性。不僅如此，它的技巧和音樂性都對鋼琴家有著盡善盡美的要求，尤其是快速連奏時的指法。第二樂章因在電影《今生今世（Elvira Madigan）》中使用而廣為傳頌，現在也時以電影名相稱。貝多芬、海頓以及胡梅爾曾出席過幾場莫扎特親自演奏的音樂會，並且都對他毫無瑕疵的演奏技巧，尤其是右手彈奏的部分而表示認同，他第三樂章的跑動段落就如同湍流不息的河流一樣連貫而流暢。
D小調第三鍵琴協奏曲，第30號
謝爾蓋·拉赫瑪尼諾夫
By far the most technically difficult concerto ever written for any instrument, requiring extreme pianistic power. Vladimir Horowitz, one of its finest recorded performers, called it 「elephantine.」 Just as in his 2nd Concerto, the music in this one reflects his hands, with many of the chords great big and fat.
迄今為止，這部作品是為任何樂器所作的協奏曲中技巧最為艱深的一部，要求著極強的鋼琴演奏力量。弗拉基米爾·霍洛維茨，一位最佳錄音版本的演奏家，把它稱作是「龐然大物」。正如同他的第二協奏曲，這部作品的音樂也反映了他的雙手之大，有許多龐大而厚重的和弦。
His original cadenza for the 1st movement is filled with these massive chords and the pianist must bang the piano to death to deliver it with the proper leonine character. One of the best recordings of it is that of Lazar Berman, who did not shy away from its demands. The 1st movement builds to multiple climaxes, then dies away quietly to a lush, windy 2nd movement. Then, per his reputation, Rachmaninoff revs it up for astorming finish at the end of the 3rd movement.
他最早為第一樂章所作的華彩充滿了這些巨大的和弦，而且鋼琴家必須使勁地「砸」琴才能傳達出那種獅子的特徵。這部分最好的錄音版本當屬拉扎爾·貝爾曼（Lazar Berman），他對這一要求並不迴避。第一樂章高潮迭起，隨後輕輕地過渡到了蔥鬱多風的第二樂章。在第三樂章，為了他的名聲，拉赫瑪尼諾夫把音樂推向了猛烈的結尾。
Concerto in A minor, Op. 54
One of the most finely polished of this list’s entries, and the quintessential work of the Romantic piano concerto repertoire. The entire work is based on a 4-note theme. It descends in minor as the main theme of the 1st movement. In the 2nd, it ascends in major. Schumann further varies it in the third. It is, thus, something of a cyclic work, intending to explore fully all the possibilities of a melody. The most monumental cyclic work ever composed is the Art of the Fugue, by Bach, who heavily influenced Schumann.
這一部是榜單中序曲最為華麗的協奏曲，也是浪漫派鋼協曲目中最精華的部分。整部作品基於四音符組成的主題。它在第一樂章主題出現時降為小調。第二樂章中，它升為大調，舒曼隨後又在第三樂章中將它不斷地變奏。所以它很有套曲作品的意味，旨在探索旋律全部的可能性。套曲作品中裡程碑式的著作是巴赫的《賦格的藝術》，這部作品對舒曼有著無比深遠的影響。
His wife, Clara, the greatest female pianist in history, premiered this one on 1 January 1846. Grieg may have been influenced directly by it in composing his own piece, #8. Both are in the same opening key, and both begin with an orchestral chord, followed by the descending soloist. This one ranks at #3 because of its pure Romantic character, the archetype of all the 1800s, and extreme musical complexity. Combine the two and you require, as Artur Rubinstein once said, 「No one younger than 40,」 if you want it played effectively.
舒曼的妻子克拉拉是歷史上最傑出的女性鋼琴家，她於1846年1月1日首演了這部作品。格裡格可能就是受它影響，創作了自己的第8號作品（註：應當為作品第16號）。兩部作品的起始調性相同，以一個弦樂和弦開場，並且都跟隨著獨奏的下行段落。這部作品排到了第三，是因為它有著19世紀初所有作品的精華——純粹的浪漫主義色彩，與音樂的極度複雜性。如果你想演奏好它的話，比較這兩部作品，而且記住阿圖爾·魯賓斯坦所言：「沒有一個人是不到40歲的。」
No. 2, B-flat Major, Op. 83
降B小調第二鍵琴協奏曲，第83號
約翰內斯·勃拉姆斯
Unfortunately, Brahms himself was never recorded playing this one, but his mighty performances always brought the house down. He was short, but he was brawny and could easily impart his ample body weight into the strong passages. This concerto is today considered possibly as difficult as Rachmaninoff’s 3rd, not because of technique so much as because a diminutive pianist is at a severe disadvantage in overcoming the full orchestra.
遺憾的是，勃拉姆斯自己從來沒有錄製過這一部作品，但他非凡的演奏總是博得全場喝彩。他身材矮小，但他壯實又可以輕鬆的把足夠的身體重量施加到那些有力的樂段中去。這部協奏曲如今被認為和拉赫瑪尼諾夫第三號鋼協一樣難，不是那麼多技巧上的原因，而是一個小小的鋼琴家在和整支樂團抗衡時，是處於嚴重的劣勢的。
It’s a thunderous piece all the way, in 4 movements, not 3. The 1st movement has a passage in it that sounds a lot like the Battle Hymn of the Republic, which is a total coincidence, and then it ends with a double trill flourish, in which the pianist adds another finger, then another, louder and louder as the orchestra swells, and the piano must be heard over it the whole time.
整部作品威風凜凜，以四個樂章，而非三個樂章組成。第一樂章有一個樂段聽起來很像《共和國戰歌》，當然這純粹是一個巧合。樂章以鋼琴雙手顫音的華彩結束，鋼琴先是加入一根手指（顫音），再接著加入另一根手指（震音），隨著樂隊變響鋼琴也越來越強，而且必須要蓋住整個樂團。
No. 5, E-flat Major, Op. 73
降E小調第五鍵琴協奏曲，第73號
路德維希·凡·貝多芬
There are two stories of how it got its nickname, 「Emperor.」 One is that during its Vienna premiere, a French army officer remarked in the audience, 「C』est l』empereur de concerti!」 or 「This is the emperor of concerti!」 The other story, and likely the correct one, is that Beethoven’s London publicist, Johann Cramer, gave it the name.
它的綽號「皇帝」得名的原因有二，一個是在維也納首演時，法國的一個軍隊長官在觀眾席中評論道，「C』est l』empereur de concerti!」，即「這是協奏曲中的皇帝！」。另一個說法看起來比較正確，是貝多芬在倫敦的出版商，約翰·克萊默（Johann Cramer）給它起的名字。
It was premiered first on 28 November 1811 at the Gewandhaus in Leipzig with Friedrich Schneider at the keyboard. By this point, Beethoven was too deaf to perform it himself, but he certainly wanted to. He tended to play too fast from excitement. A few months later, 12-year-old Carl Czerny, pupil of Beethoven and later teacher of Franz Liszt, premiered it in Vienna. Czerny is reported to have played magnificently, and this is supported by the fact that Beethoven would not have allowed him to butcher it.
它於1811年11月28日在萊比錫布商大廈首演，鋼琴家為弗裡德裡希·施耐德（Friedrich Schneider）。這時，貝多芬的耳聾已嚴重到無法親自演奏的程度，但他當然是想去的。他總是因為興奮而演奏得太快。幾個月後，12歲大的卡爾·車爾尼（Carl Czerny），他是貝多芬的學生，後來成為弗朗茨·李斯特的老師，在維也納舉行了首演。據說車爾尼當時演奏地無比出色，貝多芬從來不允許他彈錯，也從側面證實了這一點。
To play such a supremely difficult work of art at 12 years old is, today, almost unheard of. This was one of the first concerti, along with Beethoven’s 4th, to break with the Classical tradition of a long orchestral introduction preceding the soloist. Instead, it begins with the orchestra declaring the key and the piano fearlessly joining in with cadenza scale runs and trills.
12歲時就演奏如此巨難無比的作品，在當今是聞所未聞的。這部作品和貝多芬第四鋼協是第一部打破了古典樂傳統的協奏曲之一，在此之前，獨奏都有很長的管弦樂引子引導。這首曲子以樂隊開頭，表明了調性之後，鋼琴就無畏地加入，演奏華彩的音階跑動和顫音。
The 3rd movement is, of course, just as fantastic as the 1st, but the 2nd is one of the most beautiful, poetic pieces of music ever written, unadulterated romance, the piano and orchestra as lovers, and by far the finest slow movement of all concerti. Rudolf Serkin has, under Leonard Bernstein’s conducting, a claim to the finest recording of it.
毫無疑問，第三樂章同第一樂章一樣精妙，而第二樂章則是迄今作品中最美麗、最富詩意的段落，毋庸置疑的浪漫主義色彩，鋼琴與樂隊如同戀人一般。到目前為止，它是所有協奏曲中最妙的慢樂章。魯道夫·塞爾金（Rudolf Serkin）在倫納德·伯恩斯坦（Leonard Bernstein）指揮下的演繹，可以稱得上是最佳版本。
Concerto for Piano and String Orchestra
為鍵琴和弦樂而作的協奏曲（1979）
阿爾弗雷德·施尼特凱
As a lover of contemporary and modern classical music I felt it only fitting that I add to Flamehorse’s list of concerti by including a piano concerto by my favorite composer, Alfred Schnittke. Schnittke composed in a very eclectic manner – using quotes from other great composers from the past but always adding his own flair. This concerto demonstrates that the art of concerto composing is far from dead. It is an incredibly moving and emotional piece of music. If you like this you will love everything by Schnittke. I definitely recommend you listen to more of his music.
作為一個現當代古典音樂的愛好者，我覺得只有把我最喜愛的作曲家——阿爾弗雷德·施尼特凱（Alfred Schnittke）的一部協奏曲品加入到FlameHorse（註：自由撰稿組織）榜單中才夠合適。施尼特凱創作的方式強調兼收並蓄——引述過去其他偉大作曲家的同時，又充分發揮自己的天賦。這部作品證實了協奏曲的創作遠未死亡。它是一首無比動人、激動人心的音樂。如果你喜愛這一首，你會愛上施尼特凱的全部。我強烈建議你多欣賞一些他的音樂。
譯者介紹
音樂愛好者，目前在法國交流，業餘時間做一些音樂、繪畫等方面的英語、法語翻譯
如翻譯有不妥之處，望讀者及時指出，感謝大家的閱讀！
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