郎朗和李云迪的唱片

大饼

交易区新帖推荐

郎朗的柴科夫斯基第一协奏曲，对比是卡拉扬与贝尔曼版

大饼

门德尔松第一协奏曲，对比是马苏尔和卡扎利斯合作的版本

大饼

郎朗和李云迪

医学生

您对朗朗这张专辑里的柴一做何评价？
我买了盗版的听，听得不多，感觉是霍洛维兹（六七成功力）的力度，加上鲁宾斯坦的速度，我不是很喜欢，感觉太慢了，而且慢得也不凝重（我一向喜欢快一点的柴一）。看到书城上刘雪枫的评价“演奏和录音都称得上是绝对辉煌”“催情要素悉数具备”“技巧的展示令人激赏”。不太理解，可能还是听得少了，也年轻了点：）

大饼

非常同意您的评价，我也感觉如此，似乎是抒情的比较多，较贝尔曼的力度和激情还有差距
门德尔松也是如此，卡扎利斯要流畅许多

电视

月末得演出你们去不去听呀。

大饼

不听，本来那天要去广州，计划变了，更不幸是唱针断了，还没煲出来呀……

电视

不好玩LP呀，断啦，怕怕。

mmyxlt

削一根竹的呀！

医学生

我本来是想去的，但180的票卖光了，加上听了cd，实在是提不起兴趣了

iLLogiCo

现在还剩下 4xx 6xx  1xxx 的票，我可不去了，CD都买好几张了:mad:

Viking

大饼兄还听LP！！我只能满足于听听CD了。朗朗的这张新DG唱片，被刘雪枫吹到天上去了，像是到了录音、演绎双丰收的地步，我还无缘听过，不知道大饼兄听后感觉如何？对刘雪枫们的生花妙笔一直心存疑惑，出于对他们往死里吹捧切利比达奇、舒尔肯到了言辞不留余地的地步，所以他们说的话，谈的唱片，我往往要打折扣去吸收，甚至要准备好斥之为一派胡言。不过，刘雪枫这一席话，还真的勾起我的好奇，想要听听这张柴可夫斯基协奏曲。现在神童新秀蜂出，很多执意走大师路线的爱乐朋友颇不以为然，嗤之以鼻，以为技艺和商业代替了贵族气质和艺术，其实，凡事过犹不及，一味这样看待问题，也有矫枉过正之嫌，况且也不尽客观。朗朗李云迪我听得少，青年才俊如钢琴家Fazil Say、Helene Grimaud、指挥家daniele Gatti、Daniel Harding等都少年老成，粲然可观，想当年，Gould、Horowitz、Arrau等等哪个不是风华正茂，一举成名，奠定了日后大师事业的基础的。现在年轻音乐家，在技艺上肯定是优于当年的大师们的，假以时日，能够专注于艺术和人文，谁能说就不会是新的音乐神话的先声呢？！这个时代平庸而浮躁，但金钱和商业、时尚和潮流并非能够侵蚀一切。为这个，我除了那些传奇般的历史录音以外，也非常有兴趣听这些新人的新录音，须知，这些新人尽管现在不如故去的大师们，也可能缺乏那种人文情怀和精神贵族的气质，但音乐的演奏艺术，断无无能之辈可以侥幸暴得大名之理，有过人之长，方得鹤立鸡群，成其声业。所以，抛开刘雪枫们那些过分热情洋溢的文字不谈，我还是很期待聆听朗朗的柴可夫斯基的，前此，Fazil Say的柴可夫斯基已经给了我一次惊喜！

医学生

有道理，打算今晚夜深人静重新温习：）希望还能听出点不同的感受
不过现在感觉即使他牛，也不是我喜欢的诠释风格。
关于Fazil Say  Viking能再多说点吗？完全没有听说过，有机会希望能淘到原盘

Viking

最初由 医学生 发表
[B]关于Fazil Say  Viking能再多说点吗？完全没有听说过，有机会希望能淘到原盘 [/B]

Fazil Say是1970年出生的土耳其钢琴家，后来入安卡拉国家音乐学院学习作曲和钢琴，随后获得奖学金至杜塞尔多夫的Robert Schumann Institute随David Levine深造，1995年获得了the Young Concert Artists International Audition ，三年后，移居纽约。在这期间，他举行的音乐会已经使他声名鹊起，法国的费加罗报甚至盛誉他说“He is not merely a pianist of genius; undoubtedly he will be one of the great artists of the 21st century ”。Fazil Say不仅是一位崭露头角的钢琴家，而且还是一位颇为活跃的作曲家，他的作品曾经由Thoppe Note Recordings出版过CD，由他自己演奏，Scott Yoo指挥Metamorphosen Chamber Orchestra协奏，作品包括：第二钢琴协奏曲（“丝路”）、Four Dances of Nasreddin Hodja 、室内交响曲、幻想片段和两首叙事曲。

以下是发表在CULTURE KIOSQUE上的Fazil Say的访谈，有兴趣可以看看。

Interview: Fazil Say
 
By Patricia Boccadoro

PARIS, 19 May 2003—Sucking in his lower lip, a dark frown of concentration on his face, Fazil Say carefully raised and lifted off the top of the Steinway as muffled giggles in the audience gave way to a sudden air of expectancy. After shuffling around on his seat awhile, arms swinging nonchalantly from his powerful shoulders, he finally reached over and into the piano, plucking the chords with his left hand while playing on the keyboard with his other. The sounds of this forceful, impromptu encore following a programme of Schubert and Richard Strauss, were extraordinary, and the ensuing melody, "Black Earth", one of his own compositions, was received with rapturous applause by the normally sedate Parisian audience.

"Composing helps me in my interpretation of the great classical works", Say told me after an earlier rehearsal at the Théatre des Champs Elysées. "It&#39s complementary because it gives me a better overall view of the pieces I interpret. I put myself into a composer- playing- another- composer situation, and it gives me the freedom and confidence to go ahead with my very subjective reading of other scores, and to break accepted conventions. "



This unique, highly original musician, whose own pieces already include three concertos for piano and orchestra, two oratorios, and countless solo piano works as well as chamber music, has created music for as long as he can remember.

"I compose all the time", he shrugged, "whether at the airport, in the car, at night or in the morning. I follow my compositions and they follow me. It&#39s like an hallucination sometimes. I suddenly hear something going on in my head, you know, music playing, and then from that twenty seconds of melody, an entire piano concerto can develop. When I was a child of three or four , "he added. "I used to make my own music on a toy flute and small xylophone before I even thought of playing the piano."

Fazil Say was born in Ankara on January 14th, 1970. His father was a writer and consequently the young boy, who also enjoyed reading and writing himself, was brought up in a creative environment. At the age of eleven, he began studying piano and composition at the Ankara State Conservatory under the watchful eye of Kamuran Gundemir, and after winning a scholarship six years later, left for the Robert Schumann Institute in Dusseldorf.



"Apart from the fact I was obliged to take a four month language course in German, being in Dusseldorf was not so very different from my life in Turkey", Say assured me. "I simply changed one conservatory for another, and they are all very much the same. Ankara is a modern city, a centre for the arts open to Western influence, so there was little change of atmosphere."

After studying for five years with David Levine, Say moved to Berlin to teach at the Academy there, but left for New York three years later after winning the Young Concert Artists International Audition in 1995. Each year, his newest recording seems to make a clean sweep of all the critics awards, but that is a subject he is reluctant to develop.

"What matters most to me is how I play", he said. " Whether in Carnegie Hall or a little Turkish village it&#39s the quality of the music which counts; my wish is to bring the score to life, and whereas my Ottoman heritage certainly influences my own compositions, I sincerely hope I don&#39t play Schumann&#39s trout with overtones of traditional Turkish music! But since I left Turkey many years ago, I don&#39t really know whether I&#39m a Western musician trying to go from West to East, or a Turkish interpreter trying to make a bridge to Western music. What is important however, is to understand the mind of the composer I&#39m playing."

"Bach, for instance, is sacred to me. I love all his works and find there&#39s always something to learn from them. He&#39s got so much to teach us. I&#39m very attached to Mozart whose music has been part of my repertory for ten years now, but for a long time I was afraid to attempt Beethoven . Now, however, I&#39ve finally grasped the way I want to play Beethoven&#39s music, and we&#39ve become friends".

"With Stravinsky, I have a very special relationship, for while much of his music doesn&#39t really interest me as an interpreter, I heard his Rite of Spring when I was 19 and had not been able to play the piano for a year because I was so depressed. Listening to it brought me back to life. I went straight out and bought myself a four-hand version of the score which I played immediately, although I&#39d scarcely moved my fingers for so long ."




Photo: Patricia Boccadoro


Not only did his extraordinarily moving interpretation recorded ten years later win many awards, including the Prix Classique Echo and the German Critics&#39 annual prize, it also opened the doors of New York City Ballet to him. At the end of July this year, Say will be making a special appearance on stage at the La Guardia Festival, seated at his computer piano.



"I want to create for dance", he told me, " and my long-term plan is to write the libretto and music of a complete ballet, and then give it to a choreographer. I&#39m also in contact with the Ballet of Munich, where Jiri Kylian is guest artist. But there&#39s no rush. The Festival of La Guardia in New York is just a beginning."

Would he then return to America to live? No. After six years in the U.S., it was time to go home he says, home at the moment being the romantic city of Istanbul. He&#39s happy living there, although from a musical and intellectual point of view, Berlin and Munich would rank high on his list of favourite cities. He also pointed out that he felt very much at home in Prague, Vienna, and Amsterdam, while Montpellier, where he was invited to play in 1995 after winning the Beracasa Foundation Prize, topped the list in France.

"I&#39ve given over thirty performances at the Festival International de Radio France - Montpellier*," he commented. " I like the audience, and they know and like me. I feel very free there."

With his intensely personal style, and larger than life personality, freedom to improvise and the importance of spontaneity frequently crop up in conversation, and it was no surprise to learn that Say often felt blocked by the perfectionism which comes from recording in a studio, as he enjoyed audience reaction and the excitement of a live recording.

"Most of the new release of my own music, a combination of solo piano pieces, concertos and jazz was recorded live", he commented, "and I&#39m very happy with it. I play how I want, just once and that&#39s it. That&#39s how I am; mistakes and all!"

After this recording, available in June, a second disc of ethnic jazz in collaboration with Kudsi Erguner, featuring the Turkish pianist&#39s own jazz quartet will follow.

Before leaving the theatre, Say inevitably commented on the world situation, believing it would be a step forward to world peace if Turkey, an Islamic country, did officially become part of the European community. He could only express regret it was not already happening, and hopefully, his words will prove as convincing as the energy and optimism which spills out of his music.

Viking

在网上查到了更为详尽的有关Fazil Say的介绍，一并贴到这里：

http://www.warnermusic.com.tw/ar ... amp;amp;lang=gb2312


法佐·赛依 Fazil Say

个人资料∶
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法佐·赛依的背景毫无徵兆预示这名年轻艺术家将成为同辈中最具独创性的钢琴家。

1970年生於土耳其、父母皆非音乐家的他，先在安卡拉国立音乐院修习钢琴与作曲。十七岁时，他离开土耳其前往杜塞朵夫，靠著国家奖学金在舒曼学院（Robert Schumann Institute）与大卫·李文（David Levine）进修五年。

1992至1995年间他於柏林音乐学院（Berlin Academy）任教。二十五岁的赛伊赢得纽约年轻演奏艺术家国际试演头奖（Young Concert Artists International Auditions），立即为他打开乐坛之门。他曾在纽约的92nd Street Y和华府的甘乃迪艺术中心（Kennedy Center）独奏演出，并且与波士顿的蜕变室内乐团（Metamorphosen）和纽约市内交响乐团（於林肯中心）同台。

同样於1995年，他赢得Beracasa基金会大奖，因而得以在蒙佩里耶法国广播的国际音乐节首次举办独奏会（Festival International de Radio France-Montpellier）。从那之後，赛依奏遍全世界。他同时也是活跃的室内乐家，曾与中提琴家巴许梅特（Yuri Bashmet）和小提琴家明兹（Shlomo Mintz）等合作。

演奏者也是作曲家的法佐·赛依，已经有数部作品问世，包括他十六岁时写来纪念柏林创市750周年的Black Hymns，以及一首由柏林交响乐团委托的小提琴与钢琴双协奏曲。1996年他於波士顿首演自己的第二号钢琴协奏曲「丝路」。

他的一些作品似乎引用他最喜欢的曲目∶例如他的「土耳其舞曲」钢琴独奏曲、「帕格尼尼变奏曲」，和「莫札特的土耳其风格回旋曲之变奏」。

最近几年，法佐·赛依定期於纽约、巴黎、阿姆斯特丹、伊斯坦堡、布达佩斯、苏黎世等地献艺，并与纽约爱乐、法国国家管弦乐团、捷克爱乐、英国室内乐团、布达佩斯室内乐团、莫斯科室内乐团，和里昂国家管弦乐团等合作。欧洲许多重要的音乐节都可见到他的身影，包括La Roque d&#39Anthéron、Menton、Toulouse、Saint Denis、Montpellier、Montreux，和Schleswig Holstein。

赛依於1997年与华纳古典(Warner Classics International)以法国地方演奏家的身份签约，後於1999年改投入Teldec Classics International旗下。他至今发行过的录音包括巴哈作品辑、与库特马舒和纽约爱乐合作的盖希文作品辑，以及改编成钢琴四手联弹的史特拉文斯基「春之祭」。2000年赛依首次在东京登台，虽然演出仅有一场，却大为成功，也使专辑立即飙上销售排行榜前几名。赛依将於2002年重返东京。

Teldec为赛依发行的最新录音是柴可夫斯基的第一号钢琴协奏曲，由提米尔卡诺夫指挥圣彼得堡爱乐伴奏，同辑还收录李斯特的独奏作品。