Introduction by Krystian Zimmerman.

He began to learn piano at the age of five, and later entered the Katowice Conservatory of Music, where he studied under Professor Jesinski. Zimmermann won the first prize in the Chopin International Piano Competition in Warsaw from 65438 to 0975, which laid the foundation for his future performance in the international music scene. 1976 cooperated with karajan and his subordinate Berlin Philharmonic, and 1979 cooperated with New York Philharmonic to perform in the United States for the first time. He performed and recorded some records in many parts of the world. /kloc-from 0/996 to 2004, he taught piano at the Basel Conservatory of Music in Switzerland.

Zimmermann is good at performing romantic music, but his performances are wide and support the development of modern music. Such as Ruto Slavski (Polish: Witold Lutos? Awski) once made a piano concerto for him, and Zimmerman also played and recorded this work. The most famous recordings are: the piano concerto by Grieg and Schumann in cooperation with karajan; Brahms Piano Concerto and Beethoven and Bernstein Piano Concerto; Chopin's two piano concertos (two versions of Giulini conducting zimmermann to play the piano and his self-direction); Liszt's and Seiji Ozawa's Piano Concertos and Rachmaninov's Piano Concertos No.1 and No.2, as well as some romantic and impressionist works.

Zimmermann rarely announces his performance schedule in advance. At the beginning of July 2006, he gave two concerts in Hong Kong, and the response was very good. Performances around the world. From 65438 to 0976, Artu Rubinstein invited zimmermann to his apartment in Paris for valuable personal guidance, which greatly influenced Merman's future career. Zimmermann started to learn piano in his early years, not long after working with Enzimmermann, who was born in Zabulg, Poland in 1956. 1963 studied under Janzinski at Katowitz Conservatory of Music (he is also the only teacher in zimmermann). 1975 won the first prize in Chopin International Piano Competition (he was the youngest among 1 18 contestants), and began to cooperate with Berlin Philharmonic and Amsterdam City Hall Orchestra. 1977 premiered in London, and 1978 first appeared in Pohris, Minneapolis, USA. In the same year, Zimmerman was compared with young josef hofmann by local music critics after playing Chopin's Piano Concerto No.2 in Los Angeles. Zimmermann left many records in DG, including solos and concertos. Conductors he has worked with include karajan and Bernstein. Zimmerman is most praised for his interpretation of classical and romantic works. He is good at playing Schubert, Beethoven, Chopin, Grieg, Brahms and Liszt. However, in recent years, zimmermann has also expanded his repertoire to the works of 20th century composers such as Debussy, Stravinsky, Qi Manovski and Ruto Slavski. There are many noteworthy stages in Christine Zimmerman's music career, from which we can see how a young artist gropes his own way. Judging from the recording in the early studio and even the actual situation of 1975 Warsaw Chopin Competition, zimmermann's early music interpretation was based on pure piano language, pursuing precise skills and clear and flawless timbre. This situation can easily create the impression that only skills are emphasized and connotations are ignored (although zimmermann's music is not entirely based on superman's skills). If there is no problem with the point of view, a little knowledge or blind pursuit of timbre is not worth encouraging. It's not easy to see the changes in different stages of Merman from the recording, but it's meaningful.

Constantly pushing herself is the main reason why Christine Zimmerman has the opportunity to perform and record records all over the world. His actions have been carefully planned in advance, and under strict self-requirements, he has extensively dabbled in artistic styles in various fields. In principle, zimmermann is different from those pianists who claim that they can get 30 concertos and 15 recitals at any time. On the contrary, no matter what happens, Christine Zimmerman has a certain degree of restraint in the number of performances every year. He demanded that every performance be of the highest standard, and every piece of music was carefully prepared, although the scope of the repertoire would inevitably narrow. Christine Zimmerman, who pursues perfection, often monitors herself (including video and sound) with a camera when practicing piano in her studio. He helps himself with modern science and technology, makes his art more perfect through self-reflection and introspection, and enables himself to master the interpretation of music more accurately through his own spontaneous artistic goals.

In the two Brahms piano concertos recorded live at the Vienna concert, Christine Zimmerman's interpretation was very cautious and the timbre was crystal clear. On the premise of shaping the solid structure of music, he carefully devoted himself to solemn vitality. Before playing and recording these two concertos, Christine Zimmerman had just recorded Beethoven's piano concertos No.3, No.4 and No.5 with Bernstein (also recorded live). Unfortunately, Bernstein died suddenly in 1990, and they couldn't finish recording Beethoven's piano concerto, so the friendship between two artists who appreciated each other was forced to end. Krystian Zimmerman has never tried conducting before, but it seems that influenced by Bernstein's death, he decided to conduct and solo himself, and completed the recording of Beethoven's five piano concertos with the Vienna Philharmonic Orchestra. In the first and second piano concertos conducted by zimmermann himself, he mastered the piano playing skills skillfully and showed amazing talent (19965438+ 1 February, zimmermann was thirty-five years old). These two concertos were recorded in memory of Lenny (Bernstein's nickname "Leonard"). In conducting, Christine Zimmerman intends to continue Bernstein's consistent style, showing the same enthusiasm and tension as the later three concertos, and intends to add more flexibility and improvisation between phrases.

Under the guidance of Bernstein, Christian Zimmerman's Brahms Piano Concerto No.2 has the same effect. This song was recorded in Vienna in June of 1984 and June of 10, and it was also recorded live. This recording can provide evidence for zimmermann's playing skills. Krystian Zimmerman's palm is extremely wide. He can not only play the complicated notes required by the score without hindrance, but also make the notes sing gracefully, which is what he is best at. What's even more surprising is that Christine Zimmerman can also handle fast diatonic phrases well when playing. From this recording, zimmermann's accurate response to the French horn shows that Christine zimmermann is a Brahms interpreter who can integrate with the orchestra and has the ability to lead the singer. This supreme performance realm has never appeared in the piano concerto before, especially in front of the live audience.