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John Adams (b. 1947) dedicated Naive and Sentimental Music to Esa-Pekka Salonen, who conducted the first performance, with the Los Angeles Philharmonic, on 19 February 1999 at the Dorothy Chandler Pavilion of the Music Center of Los Angeles County. Written for a large orchestra including six percussionists, keyboard sampler, and amplified steel-string guitar, the piece was co-commissioned by the Ensemble Modern Orchestra, Vancouver Symphony Orchestra, and Sydney Symphony Orchestra. The dedication to Salonen, who also conducted the work’s first recording (made for Nonesuch in 2002), was significant: Adams felt that Salonen led a ‘bipolar’ musical life, since as both conductor and composer he ‘experiences daily the jarring collisions ofpublic and private, of extrovert and introvert, and the harsh divisions between one’s inner and outer lives’. Such contrasts and clashes lie at the very heart of Adams’s sweepingly symphonic piece, which has also been used as the basis for a ballet (staged by New York City Ballet in 2009, with choreography by Peter Martins).丰满女人裸体婬交视频
收录三首海登生前最喜爱的钢琴协奏曲钢琴装饰奏(Cadenzas)部分由作曲 Daniel Schnyder以现代风格全新编写瑞士钢琴家许奈德毕业自苏黎士音乐院，师从Emmy Henz-Diemand以及Homero Francesc门下，后来到美国曾与传奇钢琴家佛莱雪(Leon Fleisher)习琴。海登是继巴赫之后，最致力于键盘乐器创作的作曲家，他创作了大量的钢琴奏鸣曲，奠定了古典时期奏鸣曲式的基础与型式，充分发挥了键盘技巧与可能性。他总共创作了10首钢琴协奏曲，本片收录的是他近来最常被人演奏录音的三首协奏曲。这三首作品的创作年代无法确认，F大调的草稿记录是1771年，但或许更早；G大调大约是在1968-1971年之间， D大调则在1780年之间，这首有别于他其他早期只有弦乐伴奏编制的协奏曲，海登还加了两个双簧管与两个法国号，被认为是他的协奏曲中演奏最多次的作品。海登处于大键琴、古钢琴两种乐器交接的时候，当他第一次接触到古钢琴这个乐器时，立即爱上了这个”特别轻盈以及有着愉悦触感”的乐器，从此他再也没有回头为大键琴创作了。可以大胆臆测的是: F大调与G大调是为大键琴所创作，而D大调则是为古钢琴所创作。奥力佛．许奈德(Oliver Schnyder) 毕业自苏黎士音乐院，师从Emmy Henz-Diemand以及Homero Francesc门下，后来到美国后曾与传奇钢琴家佛莱雪(Leon Fleisher)习琴。获得琵琶第音乐院的演奏家文凭。凭着精湛的琴艺和诠释而受到乐坛的注目，她的演出行程遍及欧美各城市。更与戴维．辛曼带领的苏黎士音乐厅管弦乐团经常巡回世界各地合作。值得一提的是，此次他所录制的装饰奏特别采用了丹尼尔．许奈德(Daniel Schnyder)的全新创作，丹尼尔以古典时期的细致和声与旋律，贴近融入当代的风格，带领听众进入洛可可的风华。
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