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| http://www.canada.com/ottawacitizen/news/arts/story.html?id=07964dea-616f-4e6e-8334-9b7627151f2b&p=1 Stolen: One Mephisto Waltz Janina Fialkowska's 'glorious' recording received raves, but for another pianist, writes Steven Mazey. Steven Mazey, The Ottawa Citizen Published: Thursday, May 15, 2008 Canadian pianist Janina Fialkowska had her Mephisto Waltz stolen, and though she doesn't recommend the experience, she says she consoles herself that she's in good company. Fialkowska, the Montreal-born pianist who returns to Ottawa for a concert Sunday with the Chamber Players of Canada, is among dozens of pianists, including fellow Canadian Marc-André Hamelin, Yefim Bronfman and Vladimir Ashkenazy, who had their recordings passed off in recent years as the work of little-known British pianist Joyce Hatto. Hatto, who died in 2006 at 77, had a modest career and had been away from the stage for 30 years when she died. In the last few years of her life, her husband, William Barrington-Coupe, issued more than 100 recordings he claimed she had made, through his own label. There were rave reviews, and critics said she was a major discovery, unfairly neglected by the establishment. Early in the saga, one reason for the excitement over Hatto was a 2002 Liszt CD that included the Mephisto Waltz No. 1. In music forums, piano buffs talked about an exciting performance by a pianist who should be better known. Rave reviews of other Hatto CDs appeared in Gramophone and other publications. A Boston Globe critic called Hatto "the greatest living pianist almost no one has heard of." The scam was revealed early last year, after musicologists and sound engineers used computer software and classical recording databases to match the Hatto discs with the pianists who actually made the recordings. There were headlines around the world about the hoax. After the news broke, British newspapers reported Barrington-Coupe had run recording companies in the 1950s and '60s that specialized in taking recordings by established artists and re-releasing them as budget releases, under fictitious names. A feature about the story in The New Yorker last September listed some of the pianists who had been the sources for the Hatto fakes, but said musical detectives had not yet identified the pianist "in the glorious recording of the Mephisto Waltz." Fialkowska received an e-mail a few days later from one of the piano experts investigating the fraud. He informed her that it was her recording from the early 1990s, a disc that had received enthusiastic reviews, that was the source for the Hatto disc. From her home in Connecticut, Fialkowska, 57, says she's appalled by the whole story. She says she had heard about the case before she knew she was involved, "and I thought it was horribly distasteful, sort of a sick thing, though I suppose he's too old to be thrown into jail. He was just a small-time crook. I think it's all rather sad." But she says she tried to find humour in the incident. "Half of me was saying, 'Well, they were saying such nice things about it in The New Yorker,' but the other half was saying yuck. But I'm in fantastic company," she laughs. Fialkowska said she and her husband, concert presenter Harry Oesterle, were also amused over what the Hatto story revealed about music critics' whims. One critic who raved about "Hatto's version" of a Rachmaninov concerto had been decidedly unenthusiastic 15 years earlier when he reviewed the recording by Yefim Bronfman that, it turns out, was used for the Hatto disc. "We had a terrific chuckle over that," Fialkowska says. Fialkowska has been receiving glowing reviews in BBC Music Magazine and elewhere for her most recent recording with the Chamber Players of Canada, the group she will join Sunday at St. Andrew's Church. Their CD for the ATMA label features Mozart's chamber arrangements of his Piano Concertos No. 11 and 12, performed by Fialkowska with violinists Manuela Milani and Jonathan Crow, bassist Murielle Bruneau, violist Guylaine Lemaire and cellist Julian Armour. Their concert Sunday, presented by the Celebridée program of the Canadian Tulip Festival, will include Mozart's arrangement of the Concerto No. 13 in C major, K. 415. She describes that concerto as "a little jewel that is rarely played," and says performing the chamber versions of the concertos offers more time for rehearsal and more freedom in performance. "When you play with orchestra, you're lucky if you get two rehearsals. It's nobody's fault. It's just the money. With our group, we can rehearse for four or five hours. "And secondly, there's a transparency. Because I'm not against an orchestra, I can use far more colours and the string players all become soloists. Things that maybe get hidden with a full orchestra come out much clearer when the string players are soloists." Fialkowska will also join the group for Schumann's Quintet for Piano and Strings, which she says "is the perfect balance to the Mozart. It's something big and rRomantic. What I love about the quintet is that it's a real group thing. With so many quintets it's almost like a piano concerto. This quintet is a wonderful blending of everyone." The concert will also include the string players in music by Sir Ernest MacMillan and Godfrey Ridout. Next season, Fialkowska returns to Ottawa to perform Mozart's Concerto No. 24 with the National Arts Centre Orchestra. "That one is quite a different thing. You just couldn't do that one with just strings. You need the power of an orchestra. I just love playing that piece. It was one of my warhorses, forever, one of the greatest pieces ever written. It's operatic, it's dramatic, it's everything." In a free event tomorrow at 3p.m. in the Tulip Festival Mirror Tent in Major's Hill Park, Fialkowska will chat with Eric Friesen, host of CBC Radio's Studio Sparks. Among the topics they're likely to discuss will be Fialkowska's successful return to the stage in 2004 after the removal of a tumour in her left arm, a muscle transplant, and extensive physiotherapy. Fialkowska says she tries to limit her rehearsal time to about three hours these days but can go longer with breaks. "But my arm is holding out extraordinarily well," she says. Critics have said Fialkowska sounds better than ever, and she says long after doctors said her arm would stop making progress, it continues to improve and enable her to tackle increasingly demanding pieces. "I'm playing the second Scherzo of Chopin this year, which I couldn't do last year. So it means I'm learning how to compromise with things, or the new muscle is actually strengthening." She says she's cut back on the number of concerts she presents each year, not because of her arm, but as a natural part of getting older and wanting more of a home life. "My illness made me rethink things. I'm doing about 30 concerts a year now, and that's plenty. That's just fine," she says. "I only play stuff that I love, the stuff I really want to play. I want every concert to be a special occasion." Janina Fialkowska and the Chamber Players of Canada perform Sunday at 7:30 p.m. at St. Andrew's Church. Tickets and times: 613-599-3267 or www.capitaltickets.ca |
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| Has somebody name been purposely phased out? Or is it just a memory slip? My guess could be the former. :-) *************************************** http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/05/12/DDN310KTMP.DTL&hw=Kosman+Ulrich+Ching+Chang&sn=001&sc=1000 Chopin is never far from the center of the piano world, but he seems to be picking up some unusually eloquent champions lately. To a list that includes the Argentine pianist Ingrid Fliter, who makes Chopin a specialty, we can now add Rafal Blechacz, the young Polish virtuoso who gave a powerhouse debut recital in Herbst Theatre Sunday night. Blechacz has fingers of steel and plenty of stamina, but more rewardingly, he has a distinctive point of view. His Chopin is a far cry from the droopy, speculative rhapsodist that so many pianists give us; in Blechacz's world, Chopin is a vigorous, forthright presence, so crisply plainspoken as to be scarcely recognizable as a Romantic artist. This is a slightly offbeat take on a familiar composer, and some listeners may find the shortage of gauzy colors and emotional insinuation to be a loss. But the compensatory rewards are striking. Certainly Blechacz has not wanted for acclaim. In 2005, at 20, he had a triumph at the international Chopin competition in Warsaw, becoming the first Polish pianist to win the competition since Krystian Zimerman 30 years earlier. His recently released debut recording on Deutsche Grammophon offers a wonderfully transparent account of the Op. 28 Preludes, and that encyclopedic set was the high point of Blechacz's recital, presented by Chamber Music San Francisco. If many pianists take a magician's approach to Chopin, full of elusive misdirection and surprising effects, Blechacz is more like a purveyor of vintage watches. He has these ingenious, almost miraculous devices in his case, and his technique is to crack each one open and show you how the gears and wheels operate. The method is to play the preludes quickly and cleanly, with sharp edges, a minimum of pedal and a dazzling profusion of keyboard technique. To listen to Blechacz play - romping through the most intricate textures without breaking a sweat - you would scarcely suspect how difficult this music is. It isn't as though his interpretations are devoid of emotion, either. He brought a winningly sentimental lilt to the B-Minor Prelude and delivered the C-Minor Prelude with a cunning mix of grandeur and intimacy. But his strongest showings were in Chopin's more Classical constructions. In the G-Major Prelude, Blechacz raced through the brilliant left-hand accompaniment so effortlessly that the right-hand melody registered with unusual charm and clarity. The big chords of the E-Major Prelude sounded warm and robust, and even the D-Flat Prelude, the famous "Raindrop," shook off its usual dreaminess to emerge as a much sunnier confection than we ever suspected. Occasionally, Blechacz might even have benefited from a little higher definition. The thunderous passagework of the Preludes in G-Sharp Minor and B-Flat Minor tended to blur a bit - a particular loss, given how precisely he played them. Blechacz's vivid, deftly analytic approach paid similar dividends in a variety of repertoire during the first half. Mozart's D Major Sonata, K. 311, got off to a somewhat chilly start but was soon warmed by a lovely account of the slow movement. Debussy's "Estampes," like the Chopin, showed up in a far brighter light than most pianists shine on it, and still came through without revealing any hidden flaws. Szymanowski's Variations in B-Flat Minor, Op. 3, served as a stylistic appetizer to the Chopin that followed after intermission. The encores were Chopin's Waltz in C-Sharp Minor, Op. 64, No. 2, and Moszkowski's brilliant showpiece "Sparks." |
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| These two are on his bay area Steinway society recital one week earlier. http://www.mercurynews.com/opinion/ci_9184049 Concert review: Young Polish pianist Rafal Blechacz dazzles technically But Chopin compeition winner falls short interpretively in San Jose recital By Richard Scheinin Mercury News Article Launched: 05/07/2008 03:09:20 PM PDT Rafal Blechacz is a 22-year-old virtuoso from Poland and big news in the piano world. In 2005, barely out of his teens, he won the 15th Frederic Chopin Piano Competition in Warsaw, one of the majors. Now he tours the world. He has an impressive new CD on Deutsche Grammophon ("Chopin: The Complete Preludes") and has just given his Bay Area recital debut. His performance May 4 at Le Petit Trianon in San Jose, which concluded with the Preludes, the full two dozen, was very, very good: Blechacz has an awesome command of the keyboard, plays with a stunning ease. But he also seems to realize - I'm projecting here - that he needs to transcend his mechanics, to plumb the depths. So, at least on Sunday, amid the stream of jaw-dropping technique, he kept making these stabs at introspection. They didn't exactly seem premeditated; in fact, they were charming. But they didn't reach their marks. He needs seasoning, in other words. And it will be interesting to follow him the next few years, to see where his huge gifts and his intuition lead him. The recital began with Mozart's Sonata in D major, K. 311, written when Mozart was 21. Blechacz neatly decimated those rows of rapid sixteenth notes in the opening Allegro. The reflective second movement was an interpretive misfire, with weird martial chording. He was all over the finale, but those notes seemed like nothing but notes. His Debussy was lots better. "Estampes" ("Woodcuts"), from 1903, mirrors the pentatonic scales and percussiveness of the Indonesian gamelan in "Pagodes" ("Pagodas"), its first movement; sends a flamenco postcard from Spain in "Soirée dans Grenade" ("Evening in Grenada"), the second; and drifts through the misty "Jardins sous la pluie" ("Gardens in the Rain"), the finale. Blechacz's trills and arpeggios are beautiful things, but he kept them in check in "Pagodes," which requires solid architecture, not just lovely ripplings. His "Soirée" contained giant Spanish "guitar" chords, a little loud, fiery. "Jardins" got the atmospherics right; Blechacz was relaxed amid all its technical demands. The first half ended with Szymanowski's Variations in B flat minor, Opus 3, which harbors gusts of Brahms, Rachmaninoff and Scriabin. Completed, like "Estampes," in 1903, the year Szymanowski, a Pole inspired by Debussy, turned 21, this beauty of a piece was a good setup for the Chopin Preludes because of its steady alternation, from one variation to the next, of mood and key, texture and tempo. Blechacz brooded through shadows, colorized a late-night waltz, grew frenzied at the conclusion. There was loud over-pedaling in the heat of battle, but that was OK; Blechacz, in a good way, was lost in the music. After intermission came Chopin's Preludes, exquisite and familiar. In the first dozen, comprising Book I, Blechacz didn't get past what we already know about them. For instance, No. 4, the famous E minor "Largo," was all cliche: earnest melancholy. But before beginning Book II, he drew out a handkerchief and wiped off the keys. It wasn't meant as a symbolic gesture, yet, from that point on, his performance gained traction: pointillist bursts in No. 18, the F minor; anvil chords and brokenhearted lyricism in No. 20, the C minor; scary agitation in No. 22, the G minor. No. 24 in D minor, the closer, ran out of drama; Blechacz seemed tired. But he recovered for the last encore, Moszkowski's "La Jongleuse" ("The Lady Juggler"), a crazily difficult piece through which he flew with the greatest of ease. The amazing young man may as well have been pulling taffy. Blechacz performs May 11 at 7 p.m. at the Herbst Theatre, 401 Van Ness Ave., San Francisco: www.chambermusicsf.org, (415) 392-4400. *********************************** http://classicalmusicguide.com/viewtopic.php?t=21713 The Wand of Youth by Gary Lemco Concluding the 2007-2008 series of Steinway Society the Bay Area concerts, the youthful Polish pianist Rafal Blechacz (b. 1985) performed at Le Petit Trianon Theatre Sunday, May 4, presenting a large program that included music by Mozart, Debussy, Szymanowski, and Chopin. The major work, Chopin’s Op. 28 Preludes, revealed a true exponent of the poet-virtuoso, a technician and colorist of high ideals and often quicksilver textures who brought an enraptured audience to its collective feet several times, enough to warrant two encores, the last of which, Moszkowski’s effervescent “Etincelles,” might have stood for the éclat that marked the entire evening’s music-making. Looking every lean inch the hot-blooded Polish youth, virtuoso Rafal Blechacz plays the piano with what his countrymen call zal, enthusiastic energy and verve, tempered by a classical poise more evocative of Lipatti than Cortot. Blechasz opened with Mozart’s relatively rare Sonata in D Major, K. 311 (1777), a sunny, experimental piece in three movements, whose Allegro requires light, graceful trills and passing notes, a whirling filigree Blechacz executed with lithe finesse. His aggressively bright attacks provided motor power while Mozart’s codetta became a development section unto itself, moving to a recap of the themes in reverse order. The slow movement, a kind of French rondeau, had taste and direct, vocal appeal. The last movement, a full-fledged Italian rondo, elicited a more concertante effect, even adding a cadenza to suggest a concerto for solo piano. If the Mozart engaged Blechacz’s capacity for bold, classic lines, Debussy’s three Estampes (1903) or portrait-lacquers, smeared their colors in a way that both illuminated this composer’s unique style as well as shed light on Blechacz’s approach to Chopin. The exoticism of Pagodes shimmered with a pungent, olfactory sensuality; even the chords seemed tiered as they unfolded their oriental languor. If Evening in Granada was to have evoked a Moorish garden, its rills passed by too quickly under Blechacz’s etude-like treatment, the tempo having turned a modal, habanera-borne paradise into a blur of guitars. Gardens in the Rain, however, succumbed to the “study” effects gratefully, the arpegggios’ quivering velocity ripe with plastic, hypnotic colors. To conclude the first half of his recital, Blechacz proffered the Variations in B-flat Minor, Op. 3 of Karol Szymanowski (1903), a virtuoso set of twelve variations on a theme solidly based on the example of the Brahms Paganini Variations, Op. 35. The modal theme itself is all Poland, perhaps touched by the sentimental spirit of Paderewski. What follows is a series of learned, often contrapuntal dialogues and exercises in massive filigree and spans, the octaves and runs thoroughly in the bravura, Lisztian style. In passing, we might discern ostinato allusions to Handel’s Chaconne in G Minor and the block chords that conclude Moussorgsky’s Pictures at an Exhibition. Often titanic in scope and scale, the Szymanowski proved Blechacz capable of fire and poetry in a national style whose syntax remains indisputably unique, often lost in “export. Chopin’s set of 24 Preludes, Op. 28 (1838) remains the Rosetta Stone for Romantic keyboard rhetoric: in no “set” form, they comprise a sequence of tonal responses arranged around the circle of fifths in every key of the chromatic scale. Often abbreviated, they can be nocturnes, mazurkas, waltzes, etudes, or truncated sonata-movements. Their interdependence in key, texture, ornamentation, vocalism, fermata, and delay of the tonic still compel us through the entirely idiomatic style of the keyboard writing. Each of us has his favorites: Blechacz accented the weird asymmetry of the A Minor; he propelled the E Major as a fateful ascent; the vocal A-flat Major became a kind of de profundis; the F Major the calm eye of the storm that erupts volcanically in the D Minor, No. 24. Having swept us away in the throes of Chopin’s mercurial convulsions to George Sand, Blechacz graced us with his first encore. Chopin’s perennial Waltz in C-sharp Minor, the wand of eternal youth, of that feminine impulse which the poet says leads us onward, higher toward Parnassus. |
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| http://www.canada.com/vancouversun/news/story.html?id=14947f44-ba8b-4b13-9454-37526750f320&k=25518 Review: Rafal Blechacz, Vancouver Chopin Society Lloyd Dykk, Vancouver Sun Published: Saturday, May 03, 2008 Rafal Blechacz Vancouver Chopin Society Chan Centre, Friday May 2nd VANCOUVER - Friday was a big jump into prominence for the Vancouver Chopin Society, which has been steadily climbing with the quality of pianists it's attracted to its series over recent years. For one thing, the concert was at the Chan Centre, not the new Kerrisdale high school auditorium that it regularly uses, which, though pleasant enough, feels sort of anonymous. From the wings of the Chan came the remarkable winner of the 2005 International Chopin Competition in Warsaw, the 23-year-old Rafal Blechacz, who placed first in all five categories and was so superior to the other contestants that the judges decided not to award a second place, which is really saying something. This was Blechacz's only Canadian stop on a current five-city first tour of North America. A Pole, he seems to have found a way of restoring simplicity and emotional clarity to a birthright composer who is too often tortured out of recognition and made to seem more complicated than he really is, though the difficulties of playing him are often fearsome. Blechacz found a way of making him sound natural in a way that reminded me of Christopher Columbus's solution to making an egg stand on end: he just chipped it slightly. That doesn't mean Blechacz cheated on the music in any way; he just made it look easy. He started with a first half that was made up of Mozart, Debussy and Szymanowski. The other half was what the audience came to hear and is typical of these concerts in the series: Chopin. But his Mozart, the Sonata No. 9 in D, was a wonder for the ebullience he brought to this most extrovert of sonatas. It was more than just fast playing; it was speed as a metaphor. The Debussy Estampes were lovely, showing a real taste for pedal colours. But what impressed me most was hearing the rarely played Szymanowski Variations in B flat minor -- an early work, obviously influenced by Chopin, highly chromatic and strikingly beautiful. The whole second half was given to the 24 Preludes by Chopin. These small miracles, the shortest of them only about half a minute long, were described as "eagle's feathers" by Schumann and one can't speak too highly of them. Every one of them held you rapt under Blechacz's spell. The 16th, which is already perilous for the right hand, was taken at an extreme speed and not a note was lost. The bass tones of the fourth rang out, dense with pure piano tone and in beautiful balance. The 14th was very, very dark and the shockingly dissonant second tolled its despair. He made the whole set seem like a stroll through an art gallery, aphorisms that ranged from "a gleam of pure Chopin sunshine," as a writer characterized one of them, to the darkest morbidity, and this modest young man, who looked surprised by the standing ovation and long cheers, played the whole program from memory. He's already booked four years in advance. We were lucky to have heard this concert. Chopin needs him. |
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| http://blog.mlive.com/kalamazoo_gazette_extra/2008/04/pianist_rafal_blechacz_display.html Pianist Rafal Blechacz displays grace, versatility in thrilling Gilmore recital Posted by C.J. Gianakaris | Special to the Gazette April 28, 2008 06:50AM Categories: Gilmore International Keyboard Festival KALAMAZOO -- Because many in the audience at each Gilmore International Keyboard Festival have played the piano, few Festival programs give as much pleasure as solo piano recitals performed by exceptionally gifted players. Sunday afternoon's Gilmore concert by 22-year old Rafal Blechacz, born and raised in Poland, provided precisely such an occasion. In a program of works demanding radically differing musical styles, Blechacz dazzled a large audience at Western Michigan University's Dalton Center Recital Hall with consummate artistry. Every note struck radiated musical understanding, expressed through flawless keyboard technique. Starting with Mozart's engaging Sonata in D Major, K. 311 (1777), Blechacz used swift tempos, but also displayed articulate crispness and, as a bonus, playfulness. Quick runs were unbelievably even, and trills and ornaments crystalline. Repeats sounded fresh, never stale. Notes pranced gracefully under Blechacz's touch. Debussy's "Estampes" (Stamps) had Blechacz shifting gears entirely. In "Pagodes" (Pagodas) blunted, plush sounds conveyed Debussy's aura of "orientalism," as did oriental scales and harmonies. The pianist's lithe hands let the notes flow easily in a far cry from the classical designs of Mozart's score. In "Soiree dans Granade" (Evening in Granada) Blechacz's keen replication of Hispanic rhythms captured the composer's intentions well. Brisk staccatos in upward scurrying phrases mimicked the third impression, "Jardins sous la pluie" (Gardens in the rain). Still another approach was called for in Karol Szymanowski's magical Variations in B-Flat Minor, Op. 3 (1901-1903). For those not familiar with Szymanowski's work, Blechacz's decision to program this piece was a boon, because Szymanowski offers extraordinary romantic writing containing dashes of Rachmaninoff (Variations 3 and 11 especially), the Russian Romantics generally (in Variation 8) and Chopin, of course (in the terrific last, exciting variation, No. 12). But a Polish pianist is expected most to have natural affinity with Chopin's music. This proved true with Blechacz performing all 24 of Chopin's Preludes, Op. 28 (1836-1839) -- a "tour de force." The artist elicited totally unique, individual "personality" from each short piece. No. 4 in E Minor was the epitome of sadness, for example, as Blechacz wrung every ounce of wistfulness from the score. Everyone in the audience had his favorites, and mine included the utterly charming No. 9 in E Major, featuring the pianist's stunning left hand trills, a glorious No. 15 in D-Flat Major and a highly dramatic, affecting last prelude in D Minor, with blistering left-hand playing and dramatic chromatic runs in the right hand. A genuine surge of approval came afterwards from the audience, leading to a brilliant rendition of a Moszkowski showcase jewel. Clearly, Blechacz had won the hearts of his discerning Gilmore audience. |
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| To these ears, he is little bit too heavy handed, and yet, his tone never sounded overly harsh. He played with his foot(feet) on the pedal constantly, while using them only occasionally and changes were often very subtle, unlike his predecessor, whose stop and go hard break approach makes one wonder where the heck he learned this stuffs from. In terms of phrasing, he plays like a man with a brain, and a feeling too not to mention wit and humor. He never sounded mechanical, and yet, has plenty virtuosity mechanism under his sleeve whenever it's called for. Often to my surprise, as the music progresses, his play and my expectations on how the music should go often met an identical match. Up to now, I still haven't quite figured out whether my expectation was built up by his que during the play or we really share the same view on those specific music shaping and phrasing. Since I don't have his CD yet, I guess I might go out and get one to check this weired perception one more time. If it is because I was taking his que, then, his play might sound rather predictable, an undesirable feature considering I am more in favor of freshness. I hope it is not. |
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| It seems that a teacher can be more critical to his former student. ************************************* http://www.sfcv.org/2008/05/13/pedal-to-the-metal/ Pedal to the Metal By Anatole Leikin Even before Polish piano virtuoso Rafal Blechacz struck the first chord in his San Francisco debut recital Sunday at Herbst Theatre, the hall was brimming with anticipation. A former student of mine, a Polish-born young woman, came up to me with her mother, who said excitedly, “We are so proud of him!” Polish was spoken everywhere, of course. Then Daniel Levenstein, director of Chamber Music San Francisco, came onstage and thanked the concert sponsors, James and Arlene Sullivan. After that the Honorary Consul of Poland, Christopher Kerosky, greeted the audience and introduced the pianist. The celebratory mood carried over into the opening of the program, with Mozart’s early Sonata in D Major, K. 311. The collaboration between the 21-year-old composer and the 22-year-old pianist was imbued with youthful enthusiasm and sparkling wit. Mozart’s incessant, abrupt shifts in dynamics may now seem to be over the top, but we have to keep in mind how fresh the fortepiano was at the time. It was a new and exciting toy, capable of wondrous dynamic changes, and the young Mozart delighted in the newly found special effects. Regrettably, many pianists today smooth over these sharp contrasts, probably because it is, indeed, difficult to justify most of these effects. To his credit, Blechacz made this tug-of-war between the tender and the rambunctious sound natural and utterly charming. Another highly successful part of the program was Karol Szymanowski’s Variations in B-flat Minor, Op. 3. Written in 1903, the Variations contain a wide scope of moods and stylistic references. Blechacz was entirely at ease, moving deftly from a somber chorale to an elegant mazurka, from poignant lyricism to powerful climaxes. Debussy’s Estampes, which preceded the Szymanowski, were not as effective. This group of three pieces, conceived as a set of picturesque prints, requires more tonal opulence than Blechacz was able to extract from the Steinway. The opening number, “Pagodes” (Pagodas), was rendered clearly, but blandly, while in the last number, “Jardins sous la Pluie” (Gardens in the rain), the tone was too substantive, too material. Debussy’s call for “an instrument without hammers” should certainly apply here. “La Soirée dans Grenade” (An evening in Granada), by contrast, came out irresistibly passionate, even sexy. This mishmash of contrasting fragments is difficult to assemble in a performance, and Debussy never found this piece played as he wanted it. Despite all odds, Blechacz convincingly strung this rhapsodic whimsy together. A Wild Motley Chopin’s 24 Preludes, Op. 28, were featured in the second half of the program. When the preludes appeared in 1839, many of the composer’s contemporaries did not quite know what to make of them. In some respects, Op. 28 still remains an enigma. It was not the lack of fugues or any other subsequent pieces in Chopin’s set that made a perplexed Schumann call the Preludes “strange pieces,” “sketches,” and “ruins,” “a wild motley” containing “the morbid, the feverish, the repellent.” André Gide’s famous bafflement is a much later development: “I admit that I do not wholly understand the title that Chopin chose to give these short pieces; Preludes. Preludes to what? Each of Bach’s preludes is followed by its fugue; it is an integral part of it.” In this 20th-century view, Chopin was a trendsetter who dropped the main dish (the fugue) and kept only the appetizer, establishing a precedent for the sets of preludes by Scriabin, Rachmaninov, Debussy, Shostakovich, and others. Chopin’s contemporaries, however, were not at all bothered by the absence of fugues or any other larger compositions in Op. 28 that would follow every prelude. They knew perfectly well that Chopin’s book of preludes had been preceded by dozens of prelude collections by various composers. These earlier preludes, however, were not supposed to be performed as independent works. Their function was different. At that time, musicians were expected to improvise before practically every piece they performed in concerts. Not all of them could. In that case, they would just pick a prelude from one of the numerous prelude collections and play it with an improvisational flair, as if made up on the spot. The cardinal difference between the preludes of Chopin and those of his predecessors was that, as Liszt put it, “Chopin’s Preludes are compositions of an order entirely apart; they are not merely, as the title would indicate, introductions to other morceaux.” Chopin’s preludes turned out to be independent, self-contained pieces rather than introductions to something else. After Chopin the term prelude began to indicate a short character piece. Knuckle-Busters The difficulty of playing Chopin’s preludes is not so much technical, even though some of them are real finger-breakers. It is a conceptual complexity that makes the performance of these “strange pieces” so challenging. Blechacz is a brilliant pianist, with a beautiful tone, infectious expressivity, and an innate musical sense. Some preludes (Nos. 1, 3, 5, 8, 9, 10, 11, 12, 14, 15, 23, and 24) were delivered with a fluid rubato, sheer poetry, and, at times, an enthralling, white-hot intensity. A few others, however, sounded fairly conventional. There are many things that performers can discover in Op. 28. Even such a seemingly minor point as pedaling often plays a significant role. Chopin was extremely meticulous in indicating the pedal, correcting the pedal markings in his manuscripts and published scores again and again. But hardly any pianist, including Blechacz, follows the unusual pedal indications in Preludes 2, 6, 13, and 21. Anyone, however, trying to re-create the original pedaling may be rewarded with remarkable and unexpected artistic results. The second prelude would have sounded much more bleak and otherworldly without the pedal through most of the piece. And the conclusion of the last prelude would have sounded much more horrifying if Blechacz had heeded Chopin’s wish and held the sustaining pedal down for the last five bars. The concert ended on a high note. A girl in a gorgeous Polish national dress presented Blechacz with flowers. Then he played two marvelous encores: Chopin’s Waltz in C-sharp Minor and Moszkowski’s Étincelles (Sparks). |
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| TO:网站管理员 由于我不专业的提问和对专家的不满意,引出一连串的尖酸刻薄,能否请删除相关的贴子,以恢复论坛安静. 处于对某些真正的专业人士的尊重,作为惹起事端的陌生过客,我选择自行消失. 如若有所触犯, 很抱歉. 谢谢. |
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| 呵呵，梦之旅你也太娇气脆弱了吧？真没必要这么往心里去。你看看我，在这个坛子里遭受的围攻比你多好多倍，我不是也一样安之若素吗？坛子欢迎你，坛子不能没有不同的声音。你可千万不要自行消失啊！ |
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| You think you know Chopin? Well, Michael Church felt the other way. *********************** http://www.independent.co.uk/arts-entertainment/music/features/chopin-genius-or-monster-817909.html Chopin: Genius or monster? As Radio 3 prepares to broadcast the composer's complete works, Michael Church says that he's been woefully misunderstood Wednesday, 30 April 2008 Everyone knows Chopin, yet of all the great composers he's the least well-known. This is thanks partly to the myths that have accrued about him, and partly to the paradoxes in his music and character. The stock images are of the staunch Polish patriot, and of the hypersensitive aesthete coughing his heart out as he pens his romantic melodies. Yet in truth Chopin was a political arch-conservative, an artistic and social snob, and a dandy who hated contact with the rest of the human race. Moreover, though his music may have been revolutionary, he was a stern Classicist, despising the Romanticism of his friends Liszt, Schumann and Mendelssohn. Meanwhile, his phenomenal reputation as a virtuoso rested on a mere 30 concerts. None of this fits the stereotype. Chopin's character still troubles even his most ardent champions. "A very strange person, very hard to like," is the verdict of Andras Schiff, who plays his music with rare insight and sensitivity. Anti-Semitism was only one of Schiff's charges: after researching him in depth for a biographical film, he found he didn't like the man at all. This feeling would have been echoed by the 19th-century Polish poet Adam Mickiewicz, for whom Chopin was a "moral vampire". Mickiewicz was one of two Polish exiles who called on Chopin at the height of his fame, and he didn't even answer the door to them. Chopin's heart had bled for his native Poland in 1831 as the Russians advanced on Warsaw, but all thoughts of revolution, indeed of any kind of political instability, horrified him. As an exile, he desperately needed the reassurance of a fixed social order. Chopin's Polish childhood had been very happy: he was feted as a prodigy, and loved by his family and friends. But ever since his talented elder sister Emily died when he was 14, tuberculosis had burdened him with the guilt of the survivor. His addiction to solitude went hand-in-hand with a fanatical dandyism, but his need for exquisitely tailored waistcoats, gloves, and boots was probably dictated by something deeper and darker than mere vanity. In her brilliant book Chopin's Funeral, Benita Eisler argues that this dandyism was a flight from rage and melancholy. For Schiff, the freshly laundered white gloves that Chopin put on each day signalled his horror of human contact. And Chopin's treatment of Schumann, who eulogised him, was sadistic: when Schumann sent him one of his own works, Chopin contemptuously dismissed it as "no music at all". Liszt had been Chopin's flatmate but Chopin's envy of Liszt's success, and his open contempt for the "vulgar" cadenzas Liszt inserted into Chopin's concerti, put an end to their relationship. Though Chopin had droves of fainting female fans, little is known about his sex life before his fateful relationship with the writer George Sand. So it's no surprise that attempts should have been made to embellish the myth, most notably by the "discovery" in 1945 of some scatological letters allegedly sent by Chopin to the Polish singer Delphina Potocka. Though these are now generally regarded as fake, a number of biographers have been taken in by them. Sand seems to have given Chopin the stability and maternal love he needed: their ill-starred sojourn on Majorca resulted in a rich crop of compositions. Sand may have been heroically supportive in the early years of their relationship, but her eventual dismissal of him, after robbing him of his dignity, was breathtakingly callous. And his end had terrible pathos: dying destitute at the smartest address in town, publicly shunned by a lover to whom his devotion had never wavered. Since much of Chopin's oeuvre is largely unknown today, Radio 3's Chopin Experience is going to be at least as interesting as the BBC's wall-to-wall efforts with Beethoven, Bach, and Tchaikovsky. Chopin's commodification by advertisers will here get a comprehensive riposte. If his music has an exhilarating freshness and irresistible charm, that's just his genius: phobic in front of crowds, he was happiest performing for intimate gatherings of friends, and this crucially shaped his art. His style of playing was by all accounts infinitely subtle, masking huge technical difficulties with a beguilingly velvet touch. The sound-world he created in his nocturnes paralleled the visual world of Whistler and the poetic miasmas of Baudelaire; the heroism he evoked in his polonaises, the epigrammatic poetry of his preludes, the operatic eloquence of his concertos – all this was completely new, and still startles today. |
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| 带孩子听音乐会,需要做些什么准备工作? |
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| 教他们学会收声，看舞台，听所有舞台发出的声音 |
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| 楼上的,没有爱孩子的心,听不到美妙的声音. |
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| 让她吃饱睡好穿戴合礼,开场前搞定大小二便,按停所有响闹装置. 还有,音乐会前几天留意天气预报,添衣加被,别让她染了风寒,一来有可能影响听觉,二来音乐会中打个喷涕或咳嗽几下,既影响演奏者又影响其他听众,那就太失礼了. 耳朵是孩子自己的,在音乐会里听什么是她的事,不是大人的事.她能耐着性子呆在音乐厅里,您就权当她把该听的都听到了. |
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| 什么叫没有爱孩子的心？你有你别叫他学钢琴阿！ |
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| 谢谢LITTLE GRASS,你说的很对,不过不是我想问的, 我没有表达清楚,对不起. 那些是基本礼仪,不仅仅是听音乐会,不同的场合做恰当的事情,是大人从小就要教育孩子的. 曾经看到有些文章建议,把当晚音乐会的曲目做个研究,除了基本的常识, 也要把曲目的历史背景,所表达的思想感情都提前解释给孩子? 有些人也建议顺其自然,想听听过来人的意见,对于一个有一定欣赏能力的孩子,怎么做才不会让孩子困惑? |
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| TO 乌鸦: 我很不喜欢你用"收声"这个词来谈论孩子的问题, 如果你已为人父母,希望你不要用这样的态度对待自己的孩子. 小孩子学钢琴是对还是错,与孩子的童年是该放养还是教养一样,到现在也没有人能科学论证谁是谁非,你又凭什么断定不学钢琴就是爱孩子呢. 但是语言态度温和却绝对是对孩子有益的,就此而言你是否有一颗爱孩子,不太肯定. |
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| 我这样回答您的问题,自然是知道您想问什么. 让孩子把去音乐会当成一种娱乐,别动不动搞"再教育",烦死了. 您要相信您的孩子在音乐上比您,甚至比很多专家学者都有天份,有鉴赏能力,让她听她耳朵受用的,犯不着让她受这些"历史背景","思想感情"之类的"知识"干扰,这些东西待她到了时候有兴趣她自己会去研究的. |
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| 楼主不要多心了，我理解4楼说的意思是学钢琴是非常辛苦的事情。 琴童无童年，确实如此。 |
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| 曾经看到有些文章建议,把当晚音乐会的曲目做个研究,除了基本的常识, 也要把曲目的历史背景,所表达的思想感情都提前解释给孩子 ------------------------------------------------------------------------------------------ 我不知道是不是所有的琴童父母都是爱或者不爱或者畸形的爱，但是如果带着你这样的方法观念，音乐会还没听呢，孩子已经反感透了（极大可能）音乐会将要得到的东西和耗费的脑子，就你这样的也能叫爱孩子？也能觉得自己这样做的对懂得教育孩子？ 楼上这位家长很明白么，至少没有看破红尘看穿了一小块乌云也不错。 收声怎么了？我又没说闭嘴！收声是很文明很书面的词汇，您见它见得少所以觉得不好不喜欢？ |
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| TO: 乌鸦 如果你认为收声不是闭嘴, 仅仅是收起声音, 那我向你道歉,因为粤语的收声就是闭嘴SHUT UP的意思, 通常是在愤怒状态下说出来的, 所以我误会你对那句话是充满对孩子出现在音乐厅的厌恶,很抱歉. TO: LITTLE GRASS 我不懂教育也不懂音乐,所以不用跟我说天份,更不要用那种口气提孩子,据说你也是个母亲. 我发贴在这里就是看到这里有专家, 尊重这里的某些专业人士的专业意见, 你很热情地发贴, 我谢谢你,但是如果你不懂的东西也请不要假扮专家,我期待专业人士的意见,如果我的"再教育"让你不快了,对不起,给你电脑里装个插件,屏蔽我的发贴,对不起. 作为母亲,你是否告诉过孩子,不了解的人和事,不要随便发表意见?建议你注意. 我很困惑知道音乐熏陶到你哪里了? |
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| TO: OUYANGZG, 谢谢你的提醒,我已经向乌鸦道歉了. |
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| TO 乌鸦 谢谢你的耐心解释. 不是全世界的琴童父母都象朗朗父亲那样希望孩子奉献给钢琴,但是如果孩子确实喜欢弹钢琴,没有父母不希望尽力给孩子提供方便. 就是因为我自己不懂,才担心孩子走弯路,坦白地说吧,我想这么多就是想给孩子找捷径,她绝不是天才,至于她喜欢弹琴是因为爱好音乐还是爱好表演,还是因为可以被人夸奖,这都不重要,重要的是她在享受目前的过程,看到她辛苦练琴之后的小小进步都快乐不已的时候,作为母亲我恨不得是魔法师,挥动一下魔棒就让她做到所有老师的要求.我知道这样培养不出钢琴家,但是我们目的本来就不是培养钢琴家, 只是想她能享受多一点就多一点, 我们不需要她象钢琴家那样奉献.我知道又会让很多人愤怒了,对不起,你们也知道做钢琴家的痛苦. 按照您的说法,应该是让孩子自然放松地去享受音乐会的一切,其实我一直是这么做的,不过最近看了一些相关文章和听到一些不同声音,才担心是否自己又做错了在浪费孩子的时间,希望你理解不懂音乐的家长的困惑. |
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| Little Grass不是不懂，而是很懂，不仅懂音乐，也懂教育。 “让孩子把去音乐会当成一种娱乐,别动不动搞"再教育",烦死了.”，这个“烦死了”正是孩子的真实感受。 |
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| TO 余超 我原来也以为她(他)懂,现在觉她(他)是懂点不懂点,权且不说其他,谁确保每个孩子都会有烦死了的感觉? 不知道她(他)是什么人,作为父母那样的回贴无聊; 作为教育工作者,那样的回答不专业. |
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| 经常在音乐会上看到一些小孩因为“不安分”而遭到周围人的白眼，觉得他们很无辜。因为错不在小孩，事实上那是小孩的天性。“没教养“的是他们的家长，是他们的家长应该去接受教育和再教育。 |
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| to 梦之旅 你可以看看这个论坛原来的帖子，Little Grass应该是非常专业的了。如果凭一两句话误解别人，那就是错怪别人了。 谈到对小孩是否会错过机会，我也许可以说两句，作为参考，因为我就是一个家长，对钢琴的理解是小孩学了钢琴以后才慢慢知道一点点的，这个论坛水很深，懂钢琴的人多的去了。 可以肯定，家长对于小孩的帮助有时候是决定性的。我觉得CD的作用也许大于音乐会的作用，熏陶小孩，家长首先自己要知道一些作品或者作曲家背景的东西。 好老师是最最重要的一个因素，没有好老师的话，只有一种情况，小孩也可以成功，那就是，你的小孩是天才。天才不需要教的，天才你没有办法压制她。 音乐学科和理工科学科不一样，理工科是用逻辑推理来构建的。音乐除了逻辑以外，更多的是感觉。 耳朵和内心是很重要的东西，要提醒小孩这些方面。 小孩如果小的话，弹琴基本都是凭天性，有些小孩天生触键就好，声音就好，但是有些老师可以把这些天生好的东西教的没有了，也就是说方法又是很重要了。 有时候理工科的知识对于钢琴练习是有帮助的。比如上行音阶一般在高音区是渐强的，物理上很好理解，音高的时候，频率也高，频率高传输的距离不远，振幅容易衰减。左右手弹奏的音符都很近的时候，力量就要控制了，比如相隔3度，都是16分音符。物理上，两个声波的频率一致的时候，会产生共振，这个时候与振幅没有关系，只和频率有关。 如果你有条件，找一个好老师，这是最好的选择。 |
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| 每人难免会做一回刘姥姥的，但令人纳闷的是怎么会有人来学做悟戒呢？:-) little grass，个人以为禅宗精在只点而不破。他人领悟全靠他人自身的造化。我们做旁人的最好还是多给他们白眼好了。:-) |
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| 所谓的专家不是曾断言过YUNDI LI不适合搞专业的路吗？所谓的专家不是也断言过LANG LANG不是块料吗？ 专家的意见真的那么重要吗？ |
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| 来这里询问问题,不是想挑战谁的专业权威, 用这里某人喜欢的话来说,我根本不够资格. 即使你够资格,但是又不能给出专业的意见,也请不必要太过尖酸刻薄. 也许我上面有些话说的太直接,很抱歉我并不知道某些人是什么来历,如果真是专家,也请尽量作出专家的样子回贴,很多时候态度代表的是内心深处不被人知的本质. 非常感谢能够耐心给出建设意见的几位有心人. |
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| 开始怀疑某人是写手，什么帖子都要往那个不适合搞专业的LYD身上扯，吃饱了撑的 |
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| 真想要认真做准备的话，如，先把音乐会的曲目的几个录音版本听了。当然孩子不想听别勉强（决意要走专业的孩子，估计肯认真听）。 以后养成一个习惯，家长就不需要帮着筹划了。 [开始怀疑某人是写手]——这话有点耳熟！ |
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| 梦之旅才知道学钢琴不易了吧？所谓不易是很难碰到好老师，自以为是的，给你白眼的老师估计你不会要的，何必呢？郎朗能否成为世界级大师那是以后的事情，但是他童年的时候不是也受到中央音乐学院某些老师的白眼吗？白眼就白眼吧，把家长都当刘姥姥其实对他自身的一个显派，这样显得非常的专家。但是你可以查查这个论坛的旧帖子，除了WS说了一些自己的东西以外，其他专家们基本都是 copy and paste。要知道，这种方式是悟戒的最高形式，禅宗精在只点而不破，也是当今“专家”的最高职业道德而已。 总的来说，走到哪一步就是哪一步。平凡心对小孩足以了。全家快乐才是最重要的了。 |
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| 本来是无需搞得太玄（什么点而不破，禅宗怎么是点而不破？大棒子打下来，一定打破头的），但是不玄又如何炫？本来可以一清二白说的。我的一个看法估计弹钢琴的不乐意，发现弹钢琴的最善于把缺陷说成优点的了。 |
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| 严重抗议什么其他专家copy&paste说法。本人虽不是专家，但是也弄出自己的一套，不需要抄别人的。实际上，可以以非常明确，非常实用，不需要爬山顶不需要搞玄秘。自己是活人，自己可以体验观察思考，关键是要老老实实。 |
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| 简单一个问题，到后来专家打起来了。 如果以前没参加过音乐会，小草的回答最好了。不过说实话，很难碰上好的音乐会。不要抱太大希望。对这些烂音乐会，孩子吵闹说话咳嗽都是应该的。李斯特音乐会还有人聊天嗑瓜子，何况现在的这帮人。你要是有声音，不愁没人听，没声音，石油硬逼观众看耍严肃猴了。 |
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| 还有一个要切记的是不要让孩子以为破音乐会就是他将来要追求的，本来枯燥无味的东西，反而要成为刻苦追求的，估计会严重损害孩子学琴的积极性。当然如果孩子喜欢台上出风头，这个另当别论。 |
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| 总之应该抱这样的态度：不能让我小孩喜欢享受，那就是弹琴的失败。 |
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| Sign, I knew I have made a mistake yesterday, too lazy to corrected it immediately. But, it doesn't mean you have to make the same one by copying and pasting mine, or doest it? What "悟戒"? I mean to say "悟能"! Obviously my Chinese memory is too rusty! :-) By the way, who said attending a concert has to be piano related? And you expect these kind of well frogs can bear a polliwog who might become a successful artists someday in the future? I wouldn't bet on it. :-) |
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| Typo again. Sigh! |
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| 哈哈镜,shrek,ouyangzg: 谢谢你们的意见. donjuan,我来这里就是想获得意见,如果你不屑于回答或者不懂回答, 拜托你..绕路,好吗?记得你也是个琴童父亲,如果你孩子堪比郎郎(差点都没关系),我尊重音乐家的父亲(虽然很不喜欢朗朗父亲的教育方式,但是我尊重他,毕竟朗朗终于还是做了钢琴家),如果你孩子还不是,对不起,你没资格在这里指责别人. 我很困惑,这里到底是公共论坛还是某几人的私人会所? 我以为是个公共论坛,所以来寻求帮助, 我最多一过客, 你们是这里的长客而其中有几个ID似乎非常需要在这里表现自己,请不要一句不合口味,就含沙射影尖酸刻薄, 维护一下论坛和你们自己的专业形象吧. |
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| 谢谢梦之旅的批评和指教. 限于水平,little grass未说您想听到的话,帮不上忙,委屈您了,抱歉! 您的风度涵养及文采在此坛数年来难得一遇,吾深感欣佩,受益菲浅之余唯再次感谢! 在您的身上,母爱的神圣与伟大散发着无比的光芒,little grass借此母亲节将临之际,衷心祝福您母亲节快乐! |
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| 小草MM,自从做了妈妈,大部分女人就开始理解每个生命都是平等的,我从不在任何人面前趾高气扬, 但这与我表达我的不满并不矛盾, 傻瓜也看得出来我的回贴充满对你的不满, 而且很不满意你回我贴时无聊和自以为是. 如果你想证明你比全世界所有母亲更懂得教育孩子,比所有钢琴家更懂的音乐,比所有"内地"来的本科生(不好意思引用你的原话)更懂得音乐之美,那也不代表我需要你的指导,不要对我的问题指手画脚,我不希望你再跟我的贴. 即使装模作样的吵架也是很丑陋的, 我想你应该在孩子面前是一个美丽大方的母亲,你也不想变成一个丑陋的母亲吧! |
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| 梦之旅的老公是个大官吧？哦，表误会，我不是本坛的领导阶层，我也只是一个“过客”，我只是有些好奇，要怎样的男性才配得上您这样“从不在任何人面前趾高气扬”，眼光独到，又对小孩充满关爱的女性呢？ |
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| haidenver: 我在等网主来删除这贴,你若有何不对,可以直接说出来,文字的伎俩就不要再玩了. 想为某人报答不平,我可以理解,但请注意你的方式. |
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| 冤枉啊……俺真的是好奇啊，当然，您可以不说，可以吊俺的胃口，但是，您不能冤枉俺哪…… |
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| TO 梦之旅: 我倒是很好奇,您家小朋友的学琴经历,介意写上来让大家分享一下吗?或许等大家多了解您家小朋友的学琴情况后,会对您的问题有更专业的解答. TO 楼上不是乌鸭: 如果本人是某写手的话,现在就不会在这里浇水了。YDL和LL现在已经成为中国琴童的坐标式人物，估计他们的成长故事大家耳熟能详，引用他们的例子是最自然不过的。 |
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| 梦之旅的问题其实问得很好，这是个有普遍意义的问题。 我的看法： 1、一定要视音乐会的曲目来决定带不带孩子去。我就绝不会带儿子去听瓦格纳。 千万不要什么音乐会都让孩子去听，特别是，千万不要孩子学哪种乐器，就让孩子去听那种音乐会，不一定的，那有时反而可能引起孩子的反感，也不能让孩子只听那种乐器。我儿子学小提琴，既不是凡小提琴音乐会都是听，也不是只听小提琴，而是要看曲目是不是适合孩子，我的“适合”的标准就是看曲子的旋律是不是好听、上口，只要符合这个，那么，交响乐、钢琴、声乐………都可以听。有一次，来了一位小提琴家，拉西贝柳斯和老肖的小提琴协奏曲，我就自己去听，绝不带孩子。 2、一旦决定了带孩子听某场音乐会，就要把将要演出的曲目，让孩子反复听唱片，听到主要的旋律都能哼唱出来。我亲自检查，我哼个上句，他能立即接个下句，这样才行。老话说，熟戏生书，听曲艺要听新段子，听戏曲要听熟悉的段子，音乐也是这样，要听熟悉的曲子，尤其是对孩子这很重要。有一次带孩子听一场暑假为青少年举办的音乐会，演出了《彼得与狼》，中场休息的时候，电视台记者采访，从一堆孩子里不知为什么一下挑中了我儿子，问他听过这曲子么？他说，我四岁就听熟了。 3、不必给孩子讲什么作品的历史背景、思想感情、乐曲结构、作法技法之类的东西，这会让孩子反感。他如果真正喜欢上了某个曲子，自然而然地就会向你问有关的问题，或者，他会自己上网去查找，或者到你的书橱里去找书查。我带儿子有一次要听一场音乐会，里边有帕赫贝尔的《卡农》，照例先在家里听唱片，听得来劲儿，他自己上网去搜到了有关的资料，还下载了谱子，自己把一提和二提声部全拉下来了，这就是对音乐的兴趣。 4、不要给孩子一种印象：让你听音乐会是为了给你立个榜样，你要把琴弹到人家那个程度。这是错的。听音乐就是听音乐，首先是一种享受，和你下周回课什么的没有一点关系。这个一定要强调，让他以一种非常轻松的心态去听。 |
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| 钢琴是要表达一百件乐器的音响性，必须什么乐器都得听。歌剧也更少不了。 同意shrek的说法，学会一种挑剔的耳朵。 |
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| 韩韩, if possible, give your kid more chance to attend live concerts. I know others might feel it quite a financial burden, but, as a media worker, you should be able to get a free ticket for yourself. hopefully the payback from a commentary article can cover the another one. If those concert organizers don't know this common practice, just tell them so is done in the West. Besides, no publicity is worsen than none-publicity at all. :-) By the way, don't under estimate kids' understanding of music in their own. You should encourage them to form their own opinions in term of performance. Remember your son's comment on Starker's Bach Suites? And Little Grass' son's fondness of Gould's Mozart Sonata? Those are all nice signs of their own musical taste formation. You should let them to develop, instead of being a chauffeur to drive them where you want them to be, it's better to let them feel their way there. Of course, it all depends on whether the kids have the interest in music or not, whether they can sit through over an hour fully attentive without disturbing nearby audiences, is a big, big question mark. If they can't, I think it's better leave them home watching DVD's. If the parent not quite sure, or first timers, I would suggest them to buy the side box seats where less people will be impacted just in case. Otherwise, getting a 白眼 is well deserved, and I am the very one who will 白眼 others if I got annoyed during a concert. Not just kids, adults too. Couple of months ago, in a concert with the young Belcea Quartet, couple of music major college aged (possibly graduate students) sat besides me. From the very beginning of the Haydn G Major Opus 77, No.1, the guy beside me started flipping back and forth, causing constant annoy noises, very distractive. During the intermission I told him frankly that how annoy he was, and how I felt that he might not have been to concert often and might not even love the music. Besides, I don't think he could follow the score either. If he really want to study that piece, he should have done it before the concert, not during it. After that speech, I find myself a vacant seat several rows in the front, and enjoy myself the second peacefully. WHen the concert was over, guess what, I just realized that they have long left the building. Maybe went for a romantic dinner, or off to the bar to have a nice drink. Good for them. Of course, not all concerts are equally memorable. Not every artists can get you so absorbed in the play so that you didn't even realize that I just left your cell phone in the hall, only to retrieve it back at the place you normally sit several days later during a different event (Silly me!). But, unlike those heavily opinionated bottle-half-full, a good, sensitive, seasoned regular concert goer often can find some interesting spots out of a otherwise rather ordinary one. A few days ago, there was a recital by a young Romanian pianist, the whole programed pieces made me wondering why I had to take the torture driving up for a hour after a long day of work empty stomached, then there came the encores, all of a sudden, the mood been changed. Finally, she can play after all. And her some what unauthentic way of slightly off beat approach, make one ultra familiar Chopin work sound fresh again. See, that's how one approaches the live performances. It also about the attitude. After two consecutive visiting concerts, those who are more keen to look at the dark side, probably would say, "Gee, how come the brass section of the Philharmonia Orchestra sounds this amateurish, raw, rough, rustic, bloody loud and harsh? Who made them top ten orchestra in the Europe? Are they deaf?" Well, for those who tend to see the silver lining, might answer this way: "Well, although one way fit all approach for Mahler, Schumann, Beethoven and Schubert probably is not optimal, but didn't they just achieve the poignant impact what Harnoncourt had to rely on his valveless horns? Now, you could have an HIP's urgency blended with a modern string luster. Why can't this be a nice change for once? Yes, they are bloody loud, but at least Dohnanyi this time had managed to wake up the Titan, unlike the depleted one from Benjamin Zender." See, it's all about the angle and attitude. A while ago, one guy at the RMCR asked for some recommendations on certain Mahler symphony. Soon, advices, and opinions poured in, plenty of them. I happened that one fellow mentioned a famous online critic who has done piles of comparison, one against another. So I chipped in, and made fun of this critic's penchant to throw dirt into the music, as many of his recommendations are rather murky sounding and occasionally poorly executed. Then I went on to suggest that we shouldn't give this guy (who's asking for an album pick) any recommendations, since to me, the best is to try them all. If you like it, you like it. If not, just move on to the next one. Bloody honest, don't you think? At least those who have been through feel the same. But I also know some newbies may not like it. Still, I'd like to say the same regarding to live concert, try as many as you can afford, if you like it, you like it; if not, just move on to the next one. Most important of all, is to keep a good spirit and enjoy the music. :-) |
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| 呵呵，谢谢唐·璜兄的建议，对于孩子的音乐兴趣取向，我对其影响肯定是有一些的，但肯定不会去限制和约束他的。尽量多听音乐会，这当然是个理想状态，但很难实现，费用倒是次要问题，最主要的，是国内中小学生的课业负担，唉。。。就别提了。 |
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| With Sokolov been denied of Visa, Boris Berezovsky refuse to come to the US, will Krystian Zimerman also follow the suit? According to Jessica Duchen, Zimerman made a point of mentioning the U.S. prison at Guantanamo Bay during his last recital in the area. Jessica Duchen says the Zimerman told her he would not be returning to the United States "until the Iraq situation is sorted." A cult figure like he is, I guess his next season's ticket could be a hot ticket to get, as there might not be a next one. And yet, how much he still has to offer remains to be seen. Brendel called it quit after this season, Guarneri Quartet disbanded, so going to be the Beaux Arts Trio. Even the original member of the Borodin Quartet Valentin Berlinsky was forced to quit too, who was badly over matched by his younger partners last time I heard their play couple of years ago. So, it's a changing era. Considering Zimerman himself is still quite young, even so, with his rather "limited" repertoire, it's hard to believe he could have sold out every concert as he did right now, had he played in the same city two, three times a year every year. So, "King Krystian the Glorious", still has his limits. A short term of hiatus, actually does him good. :-) http://www.jessicaduchen.co.uk/pdfs/other_pdfs/zimerman-april2008.pdf |
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| 16岁就获得老柴第一，真是天才 |
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| http://www.hngqw.com/ |
