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| 金·本索里（Bomsori Kim 19） | |||||||||||||||||||||
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The winner of the 62nd ARD International Music Competition in Munich,
Bomsori Kim’s most recent accolades include prizes at the 15th
Tchaikovsky International Competition (fifth prize) and the Queen
Elisabeth Competition (laureate). She made her international debut at
the Fourth Sendai International Music Competition in 2010, where she
became the youngest prizewinner and also received the audience prize. |
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在慕尼黑举行的第62届阿德国际音乐比赛中，金伯乐最近获得的奖项包括第15届柴可夫斯基国际比赛(第五名)和伊丽莎白皇后比赛(桂冠)。2010年，她在第四届仙台国际音乐比赛中首次亮相，成为最年轻的得奖者，并获得了观众奖。
同年，她获得了第十届国际让·西贝柳斯小提琴比赛的桂冠。2011年在青岛获得第三届中国国际小提琴大赛一等奖，并获得三项特等奖。2012年，她在第八届约瑟夫·约阿希姆国际小提琴比赛中获得第五名。2013年，她在慕尼黑举行的第62届国际音乐比赛中获得了最高奖项和两项特别奖项。
Kim表现作为一个独奏者等杰出的场馆在维也纳,维也纳金色大厅,柴可夫斯基大厅在莫斯科,圣彼得堡爱乐厅,斯洛伐克广播音乐厅在布拉迪斯拉发,Finlandia霍尔在赫尔辛基,Herkulessaal和Prinzregententheater在慕尼黑,柏林爱乐乐团室大厅,首尔艺术中心音乐厅。她曾与许多指挥人员合作过，包括Andrey Boreyko, Marin Alsop, h, Xincao Li, SakariOramo, John Storgards, Yuri Simonov, ValentinUryupin, Pascal Verrot, Heonjeong Lim, Nanse Gum, Ja-Kyung Year，和Christopher James Lee。
她与众多知名乐队出现在世界各地,包括BayerischerRundfunk交响乐团,莫斯科交响乐团、比利时的国家交响乐团,汉诺威的NDR交响乐团,芬兰广播交响乐团、赫尔辛基爱乐乐团,瓦隆尼亚皇家室内管弦乐队,慕尼黑室内管弦乐队,慕尼黑广播交响乐团,仙台爱乐乐团,神户城市室内管弦乐队,青岛交响乐团、西曼爱乐乐团、北京广播交响乐团、KBS交响乐团、布赫管弦乐团、釜山爱乐乐团、仁川爱乐乐团等。
金女士毕业于首尔国立大学，在那里她与YoungUck Kim一起学习。目前，她正攻读西尔维娅·罗森伯格(Sylvia Rosenberg)和罗纳德·科斯(Ronald Copes)在茱莉亚学院(Juilliard School)的硕士学位，该学院目前正受到艾琳•戴蒙德(Irene Diamond)研究生奖学金和珍妮•M (Jeanne M)的支持。班尼特小提琴奖学金。在Kumho Asiana仪器银行的支持下，她现在在1774年由Joannes Baptista Guadagnini在都灵制作的小提琴上表演。 |
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【KBS交响乐团】勃拉姆斯 D大调小提琴协奏曲Op. 77丨Kim Bomsori |
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Obituary: Szymon Goldberg SzymonGoldberg, violinist and conductor: born Wloclawek, Poland 1 June 1909; Concertmaster, Dresden Philharmonic Orchestra 1925-29; Concertmaster, Berlin Philharmonic Orchestra 1929-34; Music Director, Netherlands Chamber Orchestra 1955-77; Conductor, New Japan Philharmonic Orchestra 1990-93; married; died Toyama, Japan 19 July 1993. SZYMON GOLDBERG had the rare distinction of being internationally acclaimed both as a virtuoso violinist and conductor. His teacher, Carl Flesch, considered him one of the violinists who had come closest to achieving the perfect balance between technique and interpretation. Szymon Goldberg was born in 1909 in Wloclawek, in central Poland, and had his first lessons at the age of seven with Mieczyslaw Mihalowicz in Warsaw. The following year, his family moved to Berlin, where he became a pupil of Flesch. He made his debut in Warsaw in 1921, when he was only 12, but acting on Flesch's advice he waited until he was 15 before attempting a debut with the Berlin Philharmonic Orchestra. Here, he distinguished himself by playing - in one evening - three of the most demanding concertos in the repertoire, the Bach E major, Joachim's Hungarian, and the Paganini No 1. Although, following this accomplishment, Goldberg made several successful solo concert tours, Flesch considered it important for him to gain some orchestral experience; so at 16, he became leader of the Dresden Philharmonic. As a result he was noticed by Wilhelm Furtwangler, who offered him the leadership of the Berlin Philharmonic, a post he held from 1929 to 1934. During this time, Goldberg continued his solo appearances and also played in a trio with Paul Hindemith and Emanuel Feuermann, as a replacement for Joseph Wolfsthal who had died suddenly at the age of 31 from the effects of influenza. Absecon, New Jersey: This Unbelievable, Tiny…EverQuote Insurance Quotes The Surprising Reason June Cleaver Always Wore Heels…Trendchaser Avoid Cleaning Gutters For Life! See How This Revoluti…LeafFilter™ by Taboola Sponsored Links Independent - Daily Highlights Watch Full Screen When the Nazis came to power, the Berlin Philharmonic was obliged to dismiss all its Jewish members, and although Furtwangler tried hard to intercede on his behalf, Goldberg was given no choice but to concentrate on a solo career abroad. With the pianist Lili Kraus as his partner in sonata recitals, he played all over Europe, Japan, China and the Dutch East Indies, and in 1938 he made a highly successful American debut. In 1942, when appearing in Java, he was taken prisoner and interned by the Japanese until 1945, after which he resumed his career and extended his touring to Australia, South Africa and the Americas. For 15 years he was a faculty member of the Aspen Festival, where he formed the Festival Quartet with the pianist Victor Babin, the viola player William Primrose and the cellist Nikolai Graudan and, as such, they made a number of fine recordings and concert appearances. In 1955, Goldberg took up a new challenge as a conductor, when he was appointed Music Director of the newly founded Netherlands Chamber Orchestra. Here, he achieved international success as a soloist-conductor in violin concertos and concerti grossi and included not only the symphonies of Haydn and Mozart but also orchestral works by modern composers, particularly Bartok and Hindemith. He later appeared as guest conductor with the BBC Symphony Orchestra, the London Symphony Orchestra and the orchestras of Boston, Chicago and Cleveland. In his Great Masters of the Violin (1984), Boris Schwarz wrote: 'Goldberg is a masterful violinist whose sole concern is the interpretation of great music, to the exclusion of all virtuoso frills. His technique is flawless, his tone warm and pure, his sense of style and his musical taste exquisite. His peformance style stresses refinement, intimacy and noble intensity equally evident in the classical repertoire and modern works.' Goldberg made some fine recordings, the most memorable being the Mozart Violin sonatas with the Romanian pianist Radu Lupu. Goldberg also found time for teaching and held important posts in the Juilliard School, Yale University and the Curtis Institute, Pennsylvania, and in 1953 became an American citizen. He also lived for some time in London and in 1987 finally settled in Japan. As a man he was well liked and greatly respected by his fellow musicians. Professor Yfrah Neaman told me: 'He was never a man for small talk. If he gave an opinion it was only after he had given considerable thought to the matter, and as a result his judgement was never questioned.' (Photograph omitted) |
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| 胡贝尔曼在演奏中 | |||||||||||||||||||||
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VC WEB BLOG | VC Artist Bomsori Kim – “My 2013 ARD Violin Competition Experience” [BLOG] “After getting a chance to perform with amazing orchestras such as Finnish Radio Philharmonic, Helsinki Philharmonic, NDR Radiophilhamonie with Maestro Sakari Oramo, John Storgårds and Hannu Lintu, I was very much hoping to work more with such great musicians as I strongly believed that these experiences will make me grow into a more mature musician. Symphonieorchester des Bayerischen Runsfunks was (and is still) definitely my dream orchestra to work with and that was one of the biggest inspirations for me to apply to the 62nd ARD competition in 2013 as I found that there will be a chance to play with them if I pass through the final stage in this historical competition. So, I did not hesitate at all to go to ARD competition. The procedure to get ready for ARD competition was challenging because of the repertoires. Not just because of the large number of works that we had to prepare as there were four rounds (while most of the international competitions have three), but the contemporary works that they required us to perform were one of the most challenging ones. Back then, I was studying in Seoul National University with Young Uck Kim and he recommended me to choose Berio without doubt as he found Berio a great, interesting and unique composer. So, I chose Luciano Berio’s Sequenza Vlll among the list that they gave us in addition to the commissioned piece, Ulrich Leyendecker’s Sonata for solo violin. It took me a long time to just figure out the fingerings and bowings to make the millions of notes. The third stage required us to play one concerto by Mozart or Haydn with Munich Chamber Orchestra and the newly commissioned piece and they select only three people to perform in the final round with BRSO. Somehow, I felt the most pressure in this round and I recall that the pressure was coming from the hope that it will be the round that could lead me to perform with BRSO. The rehearsal for the final stage was like being in a dream. I really enjoyed the sound of this amazing orchestra and Maestro Antonio Méndez making Brahms Concerto. Especially Brahms Concerto is like symphonic music so I was the one who was privileged to play the most beautiful symphony with one of the greatest orchestras in the world. On the final stage, I was able to forget that I was in a competition. I was deeply moved by the orchestra’s sound and truly happy to make music together with them. This ecstatic experience gave me a new vision of being a musician and since then it still gives me enormous energy and I am sure that this memory will be constantly inspiring me for my entire life. When the winner was announced, they announced first in German so I did not understand right away about what was going on. Since there were just two second prize winners, me and Christel Lee, and neither first prize awarded nor third prize winner. It was a great joy to hear that I won the competition and I was even happier when they awarded me special prize for the best contemporary music performance which I struggled with for a long time to prepare. The other special thing about this competition is that participants get to broaden their network as ARD competition hold competitions for different instruments at the same time. In 2013, there were competitions for violin, viola, bassoon and piano trio. I met some of the winners of the other instruments from different places all over the world and I am always very happy to reunite with them. It gave us such a strong feeling of connection through the competition. In 2016, when I participated in the Wieniawski International Violin Competition, I had to play Mozart’s Sinfonia Concertante for violin and viola with orchestra and the official violist was Katarzyna Budnik-Gałazka who was the 3rd prize winner of the 62nd ARD competition for the viola section. I figured this out when I went to rehearse with them and it was a huge surprise to reunite with her in such an unexpected situation. We had a truly great time together on the stage. This remained as a memorable and happy gift from ARD competition. After winning the competition in 2013, it opened up a new chapter of my life. I started to get concerts throughout Europe and Asia including large amount of local media in my native country, Korea. Also, so many people who watched the competition not only in the concert hall but also on TV broadcasted by BR broadcasting company sent me encouraging messages and emails. I was very grateful to realize that even though we have a huge diversity of things to entertain people nowadays, people still need and enjoy classical music. I wish the best of luck to all of this year’s participants. -Bomsori” |
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| VC WEB BLOG | VC Artist Bomsori Kim - “我的2013 ARD小提琴比赛经验”[博客] | |||||||||||||||||||||
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“在与芬兰广播爱乐乐团，赫尔辛基爱乐乐团，NDR Radiophilhamonie和Maestro
Sakari Oramo，JohnStorgårds和Hannu
Lintu等乐团合作演出后，我非常希望能够与这些优秀音乐家一起工作，因为我坚信这些乐团经验会让我成长为一个更成熟的音乐家。 Symphonieorchester des Bayerischen Runsfunks曾经（现在仍然）是我的合作梦想乐队，这是我在2013年第62届ARD竞赛中最大的灵感之一，因为我发现如果我有机会与他们一起玩，我经历了这场历史性比赛的最后阶段。所以，我毫不犹豫地去参加ARD比赛。 由于演奏曲目，准备参加ARD比赛的过程非常具有挑战性。不仅仅是因为我们需要准备的大量作品有四轮（而大多数国际比赛有三个），但他们要求我们执行的当代作品是最具挑战性的作品之一。当时我和Young Uck Kim一起在首尔国立大学学习，他建议我毫无疑问地选择Berio，因为他发现Berio是一位伟大，有趣和独特的作曲家。所以，我选择了Luciano Berio的Sequenza Vlll作为他们给予我们的名单，除了委托作品Ulrich Leyendecker的独奏小提琴奏鸣曲之外。我花了很长时间才弄清楚指法和弯曲来制作数百万个音符。 第三阶段要求我们演奏莫扎特或海顿与慕尼黑室内乐团和新委托乐曲的一首协奏曲，他们在BRSO的最后一轮中只选出三个人演奏。不知何故，我觉得这轮压力最大，我记得压力来自希望，这将是一个可能导致我与BRSO进行的一轮。 最后阶段的排练就像是在梦中。我非常喜欢这个惊人的管弦乐队和Maestro AntonioMéndez制作勃拉姆斯协奏曲的声音。特别是勃拉姆斯协奏曲就像交响音乐一样，所以我有幸与世界上最伟大的交响乐团之一一起演奏最美丽的交响乐。在最后阶段，我能够忘记我参加了比赛。我被乐团的声音深深感动，并且非常乐意与他们一起制作音乐。这种欣喜若狂的经历给了我一个成为音乐家的新愿景，从那时起，它仍然给了我巨大的能量，我相信这段记忆将永远激励着我一生。 获胜者宣布时，他们首先用德语宣布，所以我不知道发生了什么。由于只有两位二等奖获得者，我和李斯特尔，既没有一等奖也没有三等奖。听说我赢得了比赛，我感到非常高兴，当他们为我赢得特别奖时，我感到非常高兴，因为我为长期奋斗的最佳当代音乐表演而准备。 关于这场比赛的另一件特别的事情是参赛者可以扩大他们的网络，因为ARD比赛同时举办不同仪器的比赛。 2013年，有小提琴，中提琴，巴松管和钢琴三重奏的比赛。我遇到了来自世界各地的其他乐器的一些获奖者，我总是很乐意与他们重聚。它通过竞争给了我们如此强烈的联系感。 2016年，当我参加Wieniawski国际小提琴比赛时，我不得不与乐团一起演奏小提琴和中提琴的莫扎特Sinfonia Concertante，并且官方提琴手是Katarzyna Budnik-Gałazka，他是第62届ARD中提琴比赛的第三名获奖者。当我和他们一起排练时，我想到了这一点，在这种意想不到的情况下与她重聚令人惊讶。我们在舞台上共度了一段非常美好的时光。这仍然是来自ARD竞赛的令人难忘和快乐的礼物。 在2013年赢得比赛后，它开启了我人生的新篇章。我开始在整个欧洲和亚洲举办音乐会，包括我的祖国韩国的大量当地媒体。另外，不仅在音乐厅观看比赛，还有在BR广播公司播放的电视上观看比赛的人很多，都给我发送了令人鼓舞的信息和电子邮件。我非常感激我们意识到，即使我们现在有很多不同的东西来娱乐人们，但人们仍然需要并欣赏古典音乐。 我祝愿今年的所有参与者都好运。 |
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