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| 内田光子（Mitsuko UchidaDavid Oistrakh1948-） | ||||||||||||||||||||||||||||||||||||||||||||||
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莫扎特专家--内田光子Mitsuko Uchida
1948年出生于东京，1961年到68年师从豪瑟，1969年得到维也纳贝多芬钢琴大赛第一名后，曾经短暂跟随肯普夫与阿斯肯纳瑟学习。1970年得到华沙肖邦钢琴大赛首奖，1975年获得利兹国际钢琴大赛首奖，1972年起定居伦敦。内光田子于1982年在东京演出莫扎特钢琴奏曲全集，1984年首度与柏林爱乐合作，1985年第一次在纽约演出。1985年到86年乐季，内田光子自任指挥与独奏，与英国室内乐团合作莫扎特钢琴协奏曲全集，1994年到95年在伦敦、纽约、东京、阿姆斯特丹、维也维与萨尔兹堡等地的音乐会焦点则放在舒伯特与荀白克。1996年，内田光子在英国作曲家中担任独奏，由布列兹指挥洛杉爱乐。内田光子的音乐性深刻而又有明晰的理智，她以诠释莫扎特及舒舒伯特闻名，但是对于贝多芬、舒曼、贝尔格与梅湘的作品也同样拿手。 |
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| 内田光子演奏莫扎特第二十号钢琴协奏曲 | ||||||||||||||||||||||||||||||||||||||||||||||
Mozart: Concerto for piano and Orchestra (d-minor) K.466, Uchida |
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1982年，内田光子决定从伦敦，也就是1972年起定居的城市举办一系列莫扎特作品音乐会，而她在威格摩厅也的确造成震撼，飞利浦古典制作人史密斯当下决定邀请内田光子录下莫扎特钢琴奏鸣曲全集。计划从1983年开始，内田光子以两年的时间录完奏鸣曲全集，接下来又和泰特与英国室内乐团录下钢琴协奏曲全集。这两套唱片为内田光子赢得运来的国际声誉与「莫扎特专家」的共识。接下来的几年里，内田光子在世界各地弹奏莫扎特，甚至在「我父母的国家」-这位四海为家的钢琴家喜欢这么称呼日本。内田光子于1991年5月在日本大阪与东京的独奏会实况录音就收录在这套唱片当中。她的诠释相当精彩，就连第一首取材自葛路克歌唱剧的《我们愚蠢民认为》主题变奏都别具特色。内田光子流畅轻快的弹出主题，旋律线活泼而且发音清晰，没有一丝一毫的含糊与虚饰，乐曲细节则以不妨碍音乐性流动的书法般手法展开，完美的保持声音与乐曲结构间的平衡。 内田光子的风格强烈但是又不曾矫枉过正，也没有忽略莫扎特乐里的浪漫精神，《狩猎》奏鸣曲就是最好的例子。在这首奏鸣曲中，内田光子重视主题发音清晰的程度远超过柔美的音色或技巧表现，《B小调慢板》也不会过份沉重与严肃。内田光子与晚年的阿劳一样，他们都在不减损丰富表情的前题下，让音乐平顺流畅而且单纯的歌唱着。不过，这套专辑最受瞩目的应该是莫扎特在1787年完成的A小调轮旋曲。内田光子的演出严谨清晰而且结构精确，甚至一开始稍嫌平庸的乐段都很有说服力。内田光子在每一小节都弹奏出适合钢琴的灿烂音色，让听过的人永远难以忘怀。这首轮旋曲或许可说是从许纳贝尔1946年的录音以来最动人的演出。 《朱侬》钢琴协奏曲是莫扎特二十一岁(1777年1月)为法国女钢琴家拜访萨尔兹堡而写作品，也是内田光子1990年莫扎特系列最后几首协奏曲的录音。协奏曲的录音效果确实与独奏曲一样令人神魂颠倒而且具说服力。它的色彩与气氛相当丰富，独奏部份有如空气般的轻盈飘逸，演出精湛完美而且有一统性。在泰特充份配合内田光子演奏内涵的指挥陪衬下，这些特色都得以确实发挥。 几年前，《法兰克福公共报》谈到内田光子诠释的莫扎特时表示，内田光子最宝贵的一点是能「在技巧与主观、活泼与感性这矛盾的两者间取得最有利的平衡」，当然还有「情感全部融入音乐与谨慎的抑制」。内田光子和葡萄牙的皮耶丝与匈牙利的席夫年纪相仿，三人努力的目标与理念也非常相似，她成功的为诠释莫扎特带来新的刺激与观点。 其它作曲家方面，内田光子最辉煌的成果或许该算是1989年录制的德布西十二首练习曲。这十二首练习曲平均分成上下两册，根据训练目的而冠上《为五只手指》、《为第三只手指》、《为和弦》等标题，曲风接近彻尔尼、肖邦的练习曲。内田光子对乐曲的理解几乎是个奇迹。阿劳曾说，任何诠释最基本的是要赋予乐曲的结构意义，然后再根据这个架构来发挥。就我所刊，这十二首练习曲从来没有被弹得像内田光子的诠释般高超精确而且易如反掌。随着表面上轻松自如的音乐，内田光子以她独一无二的见解，带出作品每一个主题、乐句的「内在价值」。这部德布西成熟时期的作品常被弹得过度「抽象」、吃力与笨拙，甚至许多著名钢琴家的录音都是如此。在内田光子手中，她以自然雅致的变化为作品带来新生命。 内田光子常被认为最擅长莫扎特到印象派作品。现在她的演出重点放在舒伯特奏鸣曲与贝多芬钢琴协奏曲(库特．桑德林指挥)，而她演奏的肖邦、舒曼作品已经可以在市面看到。这些曲目都很适合内田光子的风格。内田光子对于现代音乐也很有兴趣，就像比尔威斯特的钢琴协奏曲。多年来，她对二十世纪早期作曲家荀白克的作品特别有兴趣，她喜欢在音乐会中同时安排舒伯特与荀白克的作品。这三首小品是内田光子在1998年特地为这套全集录制。 |
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| 内田光子演奏莫扎特第九钢琴协奏曲 | ||||||||||||||||||||||||||||||||||||||||||||||
Mitsuko Uchida - Mozart Piano Concerto K.271 |
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Mitsuko Uchida
is a Japanese naturalized British classical
pianist.Mitsuko Uchida's playing tempts the listener
to imagine that the piano may be an extension of her
personality. The idea sounds absurd, since we know
that pianists, and performing artists in general,
"merely" connect the listener with musical works. In Uchida's case, however, mere interpretation is not only artistry of the highest rank but also a mysterious, even supernatural, transformation that rewards the listener with unforgettable spiritual experiences. For example, when Uchida plays Mozart, even the experienced (and perhaps a little jaded) Mozart aficionado hears the familiar music of this great composer as a breathtaking revelation. Only a powerful and original artistic personality can effect this magical transformation of a familiar work into a resplendent vision. Perhaps it is better to say--since spatial terms poorly describe the essence of music--that the piano is thoroughly dominated by Uchida's personality. As a performer, Uchida has been described as reticent, discreet, even reserved. If so, this is the reticence of an artist who knows that the lightest touch, as evidenced, for example, in her magisterial reading of Claude Debussy's Etudes, can reveal entire worlds of untold splendor, that the softest voice can reach the core of a person's being. The obvious paradox notwithstanding, Uchida demonstrates that listening to music is not a physical act. Indeed, as Alex Ross remarked in the New Yorker, anyone with the appropriate training can play the right notes. "It is another thing," Ross continued, "to play the thoughts within the notes, the light around them, the darkness behind them, the silence at the end of the phrase. That is what inspires awe." Thus, the smallest gesture, the almost imperceptible turn of phrase, or the slightest hesitation reveal unfathomable feelings that no intellectual faculties can either measure or translate into words. Indeed, Uchida never lacks the courage to face the mysterious, even disconcerting, infinity of thought, feeling, energy, and inspiration in a great work of musical art. Born near Tokyo, into a not particularly musical family, Mitsuko Uchida nevertheless received piano lessons as a young child. In 1961, when she was twelve, her father became Japan's ambassador to Austria, and the family moved to Vienna, the city of Mozart and Beethoven. The piano lessons continued, but this time at the venerable Hochschule für Musik (Vienna Academy of Music) with Richard Hauser. Her Viennese teacher must have recognized her immense talent immediately, for she gave her first concert at the Vienna Musikverein (concert hall) when she was only fourteen. In 1965 her father was transferred back to Japan, but she stayed in Vienna to continue her musical studies. Recognition came in 1969 when she won first prize at the Beethoven Competition. The following year brought her a second prize at the Chopin Competition in Warsaw. According to some critics, this may have reflected the jury's perception that Uchida was a pianist destined to conquer the world. In 1973, deciding that she was a mature and independent artist, and no longer willing to conform to the extreme and exclusive traditionalism of Vienna's musical establishment, Uchida took control of her career. She moved to London, leaving Vienna and piano lessons behind. After Uchida walked away from the 1975 Leeds Competition with a second prize, she turned her focus from the pursuit of a traditional concert career, including the struggle for recognition, to a dialogue with a great musical genius--Mozart. She spent years studying his music, intentionally ignoring received wisdom, pianistic tradition, and the established ways of playing Mozart "correctly." She went to the source, playing the music and studying the cultural context of Mozart's creative life. Finally, in 1982, she performed the composer's complete piano sonatas in series of recitals in London and Tokyo to immense critical and popular acclaim. Immediately approached by the Philips label, Uchida eventually recorded the sonatas, as well as his piano concertos, establishing what many claim is the unsurpassed standard for Mozart's piano works. While, for Uchida, Mozart remained a reference point and a constant source of inspiration (evidenced by the fact she is always involved in once Mozart project or another), critics and audiences quickly realized that her artistic vision transcended particular traditions: she was inspired by genius. Thus, for example, when she ventured outside the Viennese tradition, which many deemed her natural domain, she produced, in 1990, a magnificent disc of Debussy's Etudes, which were hailed as one of the greatest recordings of Debussy's music. During the 1990s, Uchida offered extraordinarily original and suggestive readings, in recitals and recordings of Schubert's piano sonatas. Unlike Mozart and Beethoven, whose piano music in many ways defines their repertoire, Schubert is known primarily for his songs and piano miniatures, in which he displays his exquisite charm, dramatic intensity, and supreme melodic inventiveness. Once again approaching Schubert's music directly, without any preconceptions, Uchida successfully tapped into the spiritual vastness and metaphysical power of this great composer's piano sonatas. "Uchida," wrote Alex Ross, "is a great Schubertian because she takes the music at face value, discarding stereotypes of the composer as a twee [overly dainty] melodist or a doleful martyr." In an effort to demonstrate that modern music--even in its desire to establish a sonic universe in which tonality (the consistent and predicable presence of clearly defined keys) gives way to an atonal musical language devoid of keys--never completely repudiates its sources, Uchida began to juxtapose Schubert and Schoenberg in her recitals. While critics questioned her truly unorthodox, even unsettling, programming, audiences, without analyzing her decision, appreciated her ability to illuminate the inner worlds of two profoundly different representatives of the Viennese tradition. Uchida's busy schedule and varied performances also include chamber music, and it is hardly surprising that one such engagement was the performance of Mozart's violin sonatas with violinist Mark Steinberg. The duo performed the complete cyle at London's Wigmore Hall, followed by smaller performances throughout Europe. During the 2002-2003 season she participated in a Japanese chamber music project along with Yo-Yo Ma, Steinberg, and Maria Picinini. In 2003, after becoming artist in residence with the Cleveland Orchestra, Uchida undertook yet another long-term project: she decided to perform all of Mozart's piano concertos the way Mozart performed them--conducting the orchestra while she played the piano. She featured Mozart and other Viennese composers at Carnegie Hall in April 2004, as part of a chamber music series entitled "Mitsuko Uchida: Vienna Revisited." A laureate of numerous recording awards, Uchida is featured in the Great Pianists of the Twentieth Century CD series. In 2010, she is artist-in-residence for the Berlin Philharmonic. She is an Artistic Director of the Marlboro Music School and Festival, along with fellow pianist Richard Goode. She is also a trustee of the Borletti-Buitoni Trust, an organization established to help young artists develop and sustain international careers. In April 2008, BBC Music Magazine presented her its Instrumentalist of the Year and Disc of the Year awards.She was promoted to Dame Commander of the Order of the British Empire (DBE) in the 2009 Queen's Birthday Honours. On this occasion, the award was substantive as she is now a British citizen. In June 2009 she was awarded an honorary Doctor of Music (DMus) degree by the University of Oxford during Encaenia 2009.In 2011, her recording of Mozart's Piano Concerti No. 23 K. 488 and No. 24 K. 491 with the Cleveland Orchestra, which she conducted from the piano, won a Grammy award for Best Instrumental Soloist(s) Performance (with orchestra). |
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| Violin Sonata No. 3 in D Minor, Op. 108: IV. Presto agitato | ||||||||||||||||||||||||||||||||||||||||||||||
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内田光子是日本籍的英国古典钢琴家。她的演奏吸引着听众想象，而钢琴可能是她个性的延伸。这个想法听起来很荒谬，因为我们知道钢琴家和一般表演艺术家“仅仅”将听众与音乐作品联系在一起。 然而，在内田的手下流淌的，单纯的演释不仅是最高级别的艺术性，而且是一种神秘的，甚至是超自然的转变，它给听众带来令人难忘的精神体验。例如，当内田演奏莫扎特时，即使是经验丰富（也许有点疲惫）的莫扎特 迷听到这位伟大作曲家熟悉的音乐，这是一种惊人的启示。只有一个强大的和原创的艺术个性才能将这个熟悉的作品的神奇转化变成一个辉煌的愿景。也许 更好的说法是——因为空间术语很难描述音乐的本质 - 钢琴完全由内田的个性所主宰。 作为一名表演者，内田被形容为沉默，谨慎，甚至保留。如果是这样，这是一个艺术家的沉默，一个艺术家谁知道最轻松的触摸，例如，在她的权威读物克劳德.德彪西的 作品中，可以揭示整个世界无尽的辉煌，最柔软的声音可以达到一个核心人的存在。尽管存在明显的矛盾，内田证明听音乐不是一种身体行为。事实上，正如亚历克斯·罗斯在纽约人中所说的，任何接受过适当训练的人都可以演奏正确的音符。 “另一件事是，”罗斯继续说道，“在音符中发挥思想，在他们周围发光，在他们背后的黑暗，在短语结尾处的沉默，这是激发敬畏的原因。”因此，最小的姿态，几乎察觉不到的短语转变或丝毫的犹豫表现出无法衡量的感觉，即任何智力都无法衡量或翻译成文字。事实上，内田从未缺乏勇气去面对音乐艺术的伟大工作中的神秘，甚至令人不安的思想，感觉，能量和灵感的无限。 出生在东京附近的一个不是特别音乐家庭的内田光子，虽然年幼的孩子接受钢琴课。 1961年，当她十二岁时，她的父亲成为日本驻奥地利大使，全家搬到维也纳，莫扎特和贝多芬。钢琴课继续进行，但这次是与Richard Hauser在古老的HochschulefürMusik（维也纳音乐学院）合作。她的维也纳老师必须马上认出她的天赋，因为她仅在14岁时在维也纳音乐厅（音乐厅）举行了第一场音乐会。 1965年，她的父亲被调回日本，但她留在维也纳继续她的音乐学习。 1969年，她获得了贝多芬比赛一等奖。 第二年，她在华沙的肖邦比赛中获得了二等奖。据一些评论家称，这可能反映了陪审团认为内田是注定要征服世界的钢琴家。 1973年，内田决定她是一个成熟和独立的艺术家，不再愿意遵守维也纳音乐剧的极端和独特的传统主义，内田控制了她的职业生涯。她搬到了伦敦，离开了维也纳和钢琴课。 在内田离开1975年的利兹大赛并获得二等奖之后，她把注意力从追求传统音乐生涯（包括为表彰而奋斗）转变为与伟大音乐天才莫扎特的对话。她花了好几年时间研究他的音乐，故意忽视已经获得的智慧，钢琴传统以及“正确地”演奏莫扎特的既定方式。她前往资料来源，播放音乐，研究莫扎特创作生活的文化背景。最后，在1982年，她在伦敦和东京的一系列演奏会上演奏了作曲家的完整钢琴奏鸣曲，受到了极大的批评和广受好评。立即与飞利浦唱片公司接触，Uchida最终录制了奏鸣曲以及他的钢琴协奏曲，确定了许多声称是莫扎特钢琴作品无与伦比的标准。 而对于内田而言，莫扎特始终是一个参考点和不断的灵感来源（这一点从她一直参与莫扎特项目的事实可以证明），评论家和观众很快意识到她的艺术视野超越了特定的传统：她的灵感来自于天才。因此，例如，当她在维也纳传统之外冒险时，许多人认为她是天生的领域，她于1990年制作了德彪西的练习曲的一张宏伟的光盘，被誉为德彪西音乐的最伟大录音之一。 在20世纪90年代，内田在舒伯特的钢琴奏鸣曲的独奏和录音中提供了非常原创和暗示的读物。与莫扎特和贝多芬不同，他的钢琴音乐在很多方面都确定了他们的演奏曲目， |
例如，在克劳德·德彪西的情歌中，她的权威解读就证明了这一点，作为一个表演者，田田被描述为沉默、谨慎、甚至保留。如果是这样，这是一个艺术家的沉默，他知道，最轻的触摸，例如，在她克劳德德彪西的作品的的权威阅读中，可以揭示整个世界的无限辉煌，最柔和的声音可以达到一个人的存在的核心。显而易见，悖论表明，听音乐不是一种物理行为。事实上，正如亚力克斯.罗斯在《纽约客》中所言，任何受过适当训练的人都能演奏出正确的音符。
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