楼上各位大大，别就推荐个人呀~ 一并推荐张代表作什么的....
王羽佳的拉二，拉三，帕格尼尼主题狂想，弹的不错，陈萨的肖邦一和二钢协，图展，弹的都可以的，个人觉得:lol
原帖由 brainless 于 2013-4-7 09:31 发表 http://bbs.headphoneclub.com/images/common/back.gifnelson freire很感兴趣！有谁讲讲？ 这人也胡子一大把了。。直观上不太算吧
原帖由 brainless 于 2013-4-7 09:31 发表 http://bbs.headphoneclub.com/images/common/back.gif
nelson freire很感兴趣！有谁讲讲？
都将近70了还新生代啊……
原帖由 Phase 于 2013-4-8 09:21 发表 http://bbs.headphoneclub.com/images/common/back.gif盲人：Nobuyuki Tsujii
既然讲到Nobu,那当年范.克莱本并列第一的张昊辰算一个吧。看过YouTube 上他的一些视频，买过他半决赛时现场的一张CD(以后有空分享），去年在大剧院还看过他的一场独奏。
Valentina Lisitsa这个如何？
原帖由 clairdelune 于 2013-4-8 19:23 发表 http://bbs.headphoneclub.com/images/common/back.gif
既然讲到Nobu,那当年范.克莱本并列第一的张昊辰算一个吧。看过YouTube 上他的一些视频，买过他半决赛时现场的一张CD(以后有空分享），去年在大剧院还看过他的一场独奏。
我觉得Nobuyuki Tsujii无论是音色还是乐句都很纯净，舒展，听起来特别舒服.....找机会我也准备去看看他和Ingolf Wunder（肖邦大赛第二名）的现场。
华裔了解的不多~~
反面意见：
All that said, this remarkable artist is 21, and has much studying to do before his interpretations probe more than the obvious musical layers of his repertoire. Of still greater concern is the shakiness of his musical pulse, the absence of natural phrasing (even a simple metrical feel) and the tendency to rush. Even in a piece he otherwise handled poetically, the Chopin Nocturne in D-flat, the music was like a river -- in a bad way. Inflections were like afterthoughts, if they were even perceptible.
Sadly, most of this is probably tied to his disability. Tsujii learns music not through Braille (which is available), but by listening to custom-made recordings of the notes for each hand, played slowly, by his teacher. This means he does not absorb bar lines, time signatures, note values, complex phrasing indications and the variety of accents carefully set out by the composer. In order to judge distances around the keyboard, he has to keep his torso absolutely still, which prevents him from moving in any natural way, feeling the underlying pulse. Lastly, the most amazing feature of his technique is how he handles large leaps. When there's time, he takes an instant to check his position, which adds an extra maneuver to what should be a free, organic ballet of the hands. All of these issues add up to music-making that never sounds completely comfortable or sure of what it's about. Still, he is a remarkable, inspiring person.
[ 本帖最后由 Phase 于 2013-4-8 20:40 编辑 ]
Cascioli的小品不错~~百度音乐有
张还没从柯蒂斯毕业，柯蒂斯的老师里面似乎也有新生代的钢琴家。
http://musicaltoronto.org/2012/06/05/interview-the-steady-thoughtful-rise-of-american-pianist-jonathan-biss/#more-4286
Interview: The steady, thoughtful rise of American pianist Jonathan Biss
— June 5, 2012
“I love music so much,” escapes from Jonathan Biss mouth so many times over the course of a half-hour interview that he begins to apologise for repeating himself.
But there’s no need to say sorry for the most noble sort of love, filled with passion, yet tempered with respect and realism.
Torontonians get their third opportunity to witness Biss’s fine artistry on Wednesday and Thursday night, as he joins the Toronto Symphony Orchestra and music director Peter Oundjian for a performance of Robert Schumann’s much-loved Piano Concerto at Roy Thomson Hall (you’ll find all the details here).
Biss has Schumann on the brain these days, as he puts the finishing touches on a series of four recital programmes he has created to honour the Romantic composer next season.
“I’m a fanatic for every note Schumann wrote,” Biss says, plainly. He believes that too many of the composer’s works aren’t heard often enough. He also thinks that Schumann, who was entirely self-taught, sometimes doesn’t get enough respect. So he’s setting out to do something about it.
The four concerts he has pulled together are called Schumann Under the Influence, he explains with a chuckle. It is a purely musical offering that surveys key works that influenced the composer, mixes in Schumann’s own music, and then moves forward in time to show how it, in turn, influenced later artists.
Among the key influences Biss has chosen are Beethoven’s song cycle An die ferne Geliebte (To a Distant Loved One) and Henry Purcell’s Fantasias. In the 20th century, he hears echoes in Leos Janácek’s On the Overgrown Path and Alban Berg’s Op. 1 Piano Sonata.
Biss returns to Toronto on March 24, 2013 for his first solo recital here — at Koerner Hall. That programme is a condensed version of his Schumann adventure (all the details are here).
As a third-generation professional musician, the classical canon is in Biss’s blood. He says he began playing through the Mozart violin sonatas around age 10, accompanying his mother, Miriam Fried — and quickly learning the joys of making music with others.
Which is why, unlike many star soloists, Biss makes time to teach as well as perform chamber music.
“There’s something that can happen in those concerts, when you play with the right people. There are moments where your experience of the music is completely united, and there is nothing that feels like that. It’s a kind of exhilaration,” he says.
He is also fortunate enough to be able to limit his concert appearances to 80 a year, to help keep him fresh. Not that he would abandon his profession if the gigs dried up.
“I would continue to play even if no one were interesting in listening to me and no one paid for it,” Biss insists.
But he does set boundaries: “The main rule is I have to look at the concert date in my calendar and know immediately why I’m doing it,” he explains. “I always play music that I love — that’s a rule I’ve had for a long time. And I play with people who love making music.”
Biss was one of the lucky young pianists to get a big-label contract early in his career, with EMI. The first album, released in 2004, featured the music of Robert Schumann, as well as some Beethoven. The fourth and final one began a recording love affair with Beethoven’s Piano Sonatas — one that continues with his new label, Onyx.
Biss expects it to take nine years to finish recording all 32 Sonatas.
The level of the writing is so high for each Beethoven sonata that, as the pianist explains, “for the player and the listener, any one of them requires a great deal of concentration, a great deal of psychic energy.” Doing too many at once becomes a blur.
“I was 13 years old when I heard nearly all of them in one day, and it was amazing in one way,” Biss recalls. “Is there some sort of overall takeaway for the whole thing? I’m not sure. I don’t have specific memories of individual pieces and the impact that they had. I only have memories of moments. I think that many got washed away in the volume.”
Biss understands how great art needs room to breathe — as does he.
John Terauds
****************************
Biss, a concert pianist is on Curtis faculty list. It's not a token post to attract more quality students, he actually teaches.
原帖由 张花花 于 2013-4-8 20:29 发表 http://bbs.headphoneclub.com/images/common/back.gif
Valentina Lisitsa这个如何？
personally 不喜欢，尤其不喜欢她的肖邦。。
她在 youtube 上有自己的频道，专门录了大把的视频搞网络营销，但。。。
不过喜欢她的人挺多的。
新生代的女钢琴家里，还是王羽佳～
原帖由 M_Furtwangler 于 2013-4-8 11:32 发表 http://bbs.headphoneclub.com/images/common/back.gif
前段时间在广州听了Fray的现场贝三钢协感觉一般，Encore倒是相当精彩，人也挺帅;P
没去成这场让我那个遗憾。我没听过Fray弹贝多芬，不知道这个气质合不合适他。他弹舒伯特，弹巴赫，弹莫扎特都是非常非常棒的。
Rafal Blechacz，这个呢，我听过他的肖邦前奏曲
话说新生代的钢琴家一个个都是奶油小帅哥或者都是学究气很重的，没看到几个霸气一点的家伙啊。
说到体态....
http://www.khatiabuniatishvili.com/sites/khatia/files/7.jpg
http://www.myclassicalnotes.com/wp-content/uploads/2012/10/Khatia2.jpg
昨天听基辛的肖邦，技术真的好，有种火星四射的激情，而且能感觉到那种年少轻狂却少年得志的绝顶高手所才有的洒脱和淡定。不知为什么，让我想起古龙笔下的西门吹雪。
[ 本帖最后由 kevinsh 于 2013-4-11 12:53 编辑 ]
叶普盖尼·基辛（Yevgeny Kissin,1971-）
当代著名钢琴家，1971年10月10日生于莫斯科市南，与父母住在一套三居室的房子里。十一个月大就会哼唱出大人弹给他听的巴赫赋格，两岁开始学琴，四岁可以凭记忆弹出整首协奏曲（基辛十岁在学校弹奏莫扎特D小调第二十号钢琴协奏曲，十二岁在全莫斯科爱乐者面前演奏肖邦两首钢琴协奏曲），五岁在格涅辛音乐学校师从他第一个，也是唯一的老师安娜·帕弗洛芙娜·坎特尔，十岁首度在莫斯科与管弦乐团合作，1983年与莫斯科爱乐巡回演出肖邦两首钢琴协奏曲。基辛从来没有参加过大型国际钢琴比赛，但是1983年却应邀在莫斯科柴科夫斯基大赛开幕音乐会中演出。1986年到日本与西欧等地演出并广受好评，1989年开始在DG等唱片公司录制专辑。基辛经常应邀在世界各地举办独奏会并与知名的交响乐团合作，演奏曲目相当广泛，包括从海顿与肖斯塔柯维奇等人的作品。他的音乐以高超的技巧及微妙的情感变化让人留下深刻的印象。
演奏风格
基辛属于风格华丽的年轻一代，是俄罗斯浪漫钢琴家。他技艺超群，对音乐作品的演绎具有权威性，体现出俄罗斯钢琴学派的传统，那是一种感受青春中体验成熟的激情。如同其他俄罗斯钢琴家一样，他也擅长演奏俄罗斯本民族作曲家的协奏曲，从柴科夫斯基到拉赫玛尼诺夫和普罗科菲耶夫的作品都是他经常演出的曲目，并且都已出版了唱片。此外，他的曲目还涵盖了德奥作曲家的大量作品，其中包括舒曼、舒伯特、莫扎特和贝多芬。他演奏的肖邦作品独具一格，在诗意中透出淡淡的忧郁，尤其为世人称道。在群星璀璨的俄罗斯钢琴家中，基辛是为数不多的几个没有在国际比赛中获过奖的人之一。然而，他的影响不在同代人、甚至老一辈音乐家之下，这一方面说明他继承了良好的音乐传统，另一方面也说明他以独特的风格开创新的演奏风格。
