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Krystian zimmermann (1956 ~)195612.5 was born in Zabulger. I studied piano with my father since I was a child. 1973 won the first prize in the Polish National Piano Competition and the gold medal in the Polish Proch Piano Competition the following year. 1975, 19-year-old Zimmerman won the first prize in the 9th Chopin International Piano Competition, thus officially entering the world playing career. 1976 signed a contract with DG to become the exclusive performer of the company. In Chopin's works, due to the long-term in-depth study of Polish music and cultural history and Chopin's background, zimmermann's interpretation has integrated the rational thinking and lyrical nature of a middle-aged talent while maintaining the elements of Polish folk music in his works. Among other works, Debussy's Complete Prelude recorded by zimmermann won the Gramophone Excellent Record Award 1994 and the Instrumental Solo Award 1995.

Personal profile

Krystianzimerman (195612.5) was born in a musical family in Lanza Bourgaie, Apollo. 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. Like WitoldLutos? Awski once wrote a piano concerto for him, and krystian zimerman also played and recorded it. 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. Krystian Zimmerman 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.

Personal life (KrystianZimerman)

1956 Born in Lanza Bourgaie, Apollo, he began to learn piano at an early age under the enlightenment of his father. 1963 studied under Jan kinski at Katowice Conservatory of Music (he was also the only teacher in zimmermann), 1975 won the first prize of Chopin International Piano Competition (he was the youngest among 1 18 contestants) and began to perform all over 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. Before long, zimmermann got the opportunity to cooperate with Berlin Philharmonic and Amsterdam City Hall Orchestra. 1977 made its debut in London, and 1978 performed Chopin's Piano Concerto No.1 in Pohris, Minneapolis, USA for the first time. In the same year, after zimmermann performed Chopin's Piano Concerto No.2 in Los Angeles, he was compared to young josef hofmann by local music critics. 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.

The work of Krystian Zimmerman

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.

Evaluation of works

We can compare Christine Zimmerman's piano skills with those of Italian pianist Michelangeli, whether from the single note, the delicate balance between harmony or even the precise tone control. Both of them have extremely sensitive personalities and have many similarities in the selection and interpretation of tracks. For example, Debussy's Twenty-four Preludes, Chopin's Fantasia in F minor and Liszt's Dance of Death reveal energy and temperament. Krystian Zimmerman's Chopin Fantasia in F minor seems to want to create an immediate overall impression in terms of musical details and overall performance mode. Liszt's "Dance of Death" and Debussy's "Prelude" (two-volume works) are perfect in playing timbre, vividly showing all the details of music and touching every audience.

Krystian Zimerman

By nature and temperament, when Christine Zimmerman plays the theme of Dies irae with Liszt's brilliant skills, she will not please the listener's senses with dazzling passion like Cziffra. Krystian Zimmerman interprets Liszt's Variations as a series of philosophical reflections, describing the cold and heat of the world, the light and darkness of history and the doomed fate of mankind, and shaping these elements into a powerful musical tension.

Iconicity, breath and temperature in music are all neutralized by Christine Zimmerman's musical logic, but removing the fiery temperament in music does not reduce the persuasiveness of music. Almost every record of his is a typical interpretation of his works, such as all Beethoven's piano concertos, Chopin's piano concertos (2000 edition), Brahms' Piano Concerto No.1 (2005 edition) and Rachmaninov's works. Zheng Jinghe collaborated with pianist Christine Zimmerman to record a landmark chamber music work: sonatas by Otellino ottorino respighi and Richard Strauss. This record won the Gramophone Award of 1990 and was republished by DG Company as a "Gallery" series.

A similar situation can be observed in Debussy's prelude. Krystian Zimmerman was not dazzled by the naughty dances of Delphi dancers or elves, nor by the last "Fireworks". Zimmerman's clear philosophy when playing is also popular when playing impressionist music. Zimmerman's performance art tells people how to turn efforts into immortal artistic achievements. In contrast, his peers, who are gifted with mediocrity, yearned for the unrealistic supreme state from the beginning, but only stayed at the mediocrity level in the end. When talking about Christine Zimmerman's Brahms Piano Concerto, we must also mention his early flawless, intelligent and youthful scherzo Op.4 in E flat minor. DG started a huge recording project of Brahms works at 1982. Zimmerman, then 26, was entrusted to play Brahms' three piano sonatas, the ballad op10, the left-handed Xia Kang, and the piano version of the second movement of Brahms' own string sextet op18. Obviously, Christine Zimmerman did not compromise or deliberately exaggerate when interpreting this expressive, sharp and intense scherzo. When Christian Zimmerman played Chopin, the characteristics of youth and rigor also spread in this work.

Krystian Zimmerman-Personal Evaluation

1975, Christian Zimmerman finally got a real breakthrough in his music career by playing Chopin, that is, he won the first prize in the Chopin Piano Competition in Warsaw, although he was widely regarded before the competition. His brilliant skills, convincing persuasiveness and naturalness, and his clear and amiable personality on the stage are all excellent. But he is always modest and confident, emitting extraordinary wisdom and brilliance. Almost every recording by Christine Zimmerman is a typical interpretation of her works, such as all Beethoven's piano concertos, Chopin's piano concertos (2000 edition), Brahms' Piano Concerto No.1 (2005 edition) and Rachmaninov's works.

References:

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