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Nobuyuki Tsujii in Cliburn Competition – May 23, 2009

Chopin Etudes Concerts

Written by: Klavier (Yuan Huang)

Nobuyuki Tsujii – Preliminary Round Recital at The 13th Van Cliburn International Piano Competition


        The 13th Van Cliburn International Piano Competition finished with a somewhat controversial result. The two youngest in the competition shared the first place.  Haochen Zhang from China who celebrated his 19th birthday during the concours set himself as the youngest winner ever and also the first Chinese winner in the history. 20-Year-Old Noboyuki Tsujii from Japan, was the first Japanese winner and more importantly the first BLIND winner ever in one of the highest standard piano competitions in the world. Haochen’s solid technique and self-prossessed performance through out the competition was a guarantee to one of the top prizes。His maturity in musical thoughts did not reflect his young age but it was certainly one of the best.  However, the real topic today is Nobuyuki.

         Blind since birth, Nobuyuki was probably the most beloved competitor among all, opened his first recital at 7:30pm May 23, at the Bass Performance Hall with an ultimate program including the 12 Chopin Etudes from Op.10 and the most famous etude by Liszt, the Paganini Etude No.3 "la Campanlla".  These etudes are no wonder among of the most difficult and elegant etudes ever written for piano. Nobuyuki swept the 12 Chopin Etudes with such immense energy and extraordinary accuracy that not even a normal pianist could easily bring out on stage with their eyes opened. His visually impaired appearance with open-mouthed performance astonished the whole concert hall that night and somehow shadowed many of other outstanding competitors’ sparkle.

         Nobuyuki’s Chopin Etudes was to me really amazingly finished. I deeply admired him for his efford, courage, patience and his attitude through his tough way toward such great success. Not only because of his limitation in learning the sheet music and his unlikelihood of seeing the keyboard, but he did play the music with his heart and expressed his own art.  Most of his performances in the competition were exceptionally well, and besides his Chopin Etudes, I perticularly loved his romantic expression of the Chopin 1st Piano Concerto and the electrified "Appassionata" by Beethoven, they all deserve a "Bravo". To Nobuyuki probably the major problem fell into the Chamber Music part and the sometimes in his Rachmaninoff Piano Concerto No.2 which revealed the drawback of communication with other people.  While others were also marvelous in this competition, I do not want to say he made an overwhelming victory(over other competitors), but clearly he spoke out loud his belief to the world: "There are no barriers in the field of music"

         Nobuyuki Tsujii’s Personal Website: http://www.nobupiano1988.com/english/index.html 

Jun.14, 2009 





Nobuyuki Tsujii(辻井伸行) – 第13届范·克莱本国际钢琴比赛初赛独奏音乐会


       第13届范·克莱本国际钢琴比赛带着备受争议的结果拉下帷幕。其中最年轻的两个选手分享了冠军的宝座。来自中国的张昊辰在比赛期间度过了19岁的生日而成为该比赛历史上最年轻的选手, 同时也是首位获得冠军的中国钢琴家。 而20岁来自日本的辻井伸行则是首位获得冠军的日本钢琴家,而更重要的是, 他是首位在世界最高规格的钢琴比赛中获得冠军的盲人钢琴家。整个比赛过程中,张昊辰拥有超凡而稳定的技巧, 并一直冷静沉着地演出, 这无形中为其争取最高的奖赏铺上稳固的台阶。他的音乐风格之成熟与其年级极不相称,但却是当中最优秀的一个。不过这次的话题并不在他,而是辻井伸行。

        自出生就失明的辻井伸行,可以说是大赛中最被宠爱的人,于5月23日晚上7点半在Bass Performance Hall揭开他比赛的序幕。独奏会曲目中包括了12首肖邦练习曲作品10,还有李斯特最著名的一首练习曲, 帕格尼尼练习曲第3首“钟”。而这些练习曲无论在技巧的难度上或者艺术造诣上毫无疑问都属于钢琴练习曲中巅峰之作。辻井伸行的演绎充满活力同时也保证了高度的准确性, 即使是一个双目健全的钢琴家也不是轻易就能在台上演绎出来的。他以视力障碍的姿态出现在舞台上,却演奏出令人目瞪口呆的水准,不但震惊了整个演奏厅的观众也同时盖过了不少优秀参赛者的锋芒。

         辻井伸行的肖邦练习曲在我看来是很优秀的一次演出。我深深佩服着他在这条艰苦迈向成功的路程上所付出的努力,勇气,耐心和态度。 不仅仅因为他在学习乐谱上充满着障碍和难度以及他不能看到键盘的位置, 更因为他确实用了他的心去表演着他的艺术。在这次比赛中,他大部分的演出都非常的成功,除了肖邦练习曲之外,我特别喜欢他那浪漫的的肖邦第2钢琴协奏曲以及震撼人心贝多芬“热情”奏鸣曲,为此而高呼Bravo也实在不为过。对辻井伸行来说, 可能最主要的问题是在他室内乐的演出, 以及拉赫玛尼诺夫第2钢琴协奏曲的某些段落, 这是他跟合作伙伴之间在沟通上的障碍。其实其他参赛者在这次比赛中也相当出色, 所以我并不认为辻井伸行获得压倒性的胜利,不过他倒是向所有人证明了他的信念:"音乐的世界并没有界限"

         辻井伸行的个人网站: http://www.nobupiano1988.com/english/index.html 



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Eun Mi Ko in Concert – April 29, 2009

Chopin Etudes Concerts

Written by: Klavier (Yuan Huang)

Eun Mi Ko, Recital in Eastman School of Music


        EunMi Ko, a current Doctor of Musical Arts Degree student at Eastman School of Music, gave a recital on April 29, 2009 at Kilbourn Hall at school containing the complete 24 Etudes by Chopin. She had been doing the same program in March and April which should be praised and encouraged as they are one of the biggest challenge for pianists to put them all together in one recital.  Her main instructor Rebecca Penneys is also an excellent pianist and had recorded the complete Chopin Etudes commercially.

        She is so generous to send me a private CD copy of this concert and I do found sparkles in her energetic performance. Her nice pick of an encore piece was the 12th Section/Piece from Schumann’s Op.9 "Carnival", entitled “Chopin“.

        Eun Mi Ko’s Personal Website: http://www.eunmiko.com/

May.24, 2009 





Eun Mi Ko(高银美), 伊士曼音乐学院独奏音乐会

        Eun Mi Ko(高银美), 目前修读纽约伊士曼音乐学院音乐艺术博士生学位,于2009年4月29日在学校的Kilboun音乐厅举行了一次独奏音乐会, 内容为24首肖邦练习曲。 她自三月开始到现在就一直以这个曲目作为音乐会曲目,这是十分值得赞赏并值得鼓励的,因为这套作品是钢琴家们最大的挑战之一, 尤其是要在现场中挑战全部24首。她主要的老师Rebecca Penneys也是一位出色的钢琴家并且录制过全套肖邦练习曲的录音。

        她很大方寄了一张这次音乐会的CD给我, 她的演奏相当有爆发力,也有不少精彩的地方。 最后她挑了一首很不错的返场曲, 来自舒曼的作品9,《狂欢节》中的第12段,标题:肖邦。 

       Eun Mi Ko的个人网站:http://www.eunmiko.com/


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(009) Darre, Jeanne-Marié (1952 Toshiba-EMI/Yamano Music)

Chopin Etudes Recordings

Written by: Klavier (Yuan Huang)

(009) Jeanne-Marie Darré


Original Released by Pathe in two 10" LPs

Recording Company: Toshiba-EMI

Catalogue Number:YMCD-1065

Recording Date:1952

       Just finished the review of Backhaus, then immediately reviewed another Chopin Etudes for my friend’s Magazine (a recording, by a thirteen-year-old girl of chinese origin, which I will post it later) and now again one more review. Considering a couple versions, I settled down to Darre’s. For three reasons, First, this recording is very rare, besides the original LP, then only this reissue in CD. Second, there are only limited reference on Darre which is not fare to her achievement. Third, this year is the 10th Anneversary of her death.

       First time I  came across the name Jeanne-Marie Darre was about 10-11 years ago. Although her last days already, Darre was still new to me as I just became a member in Classical Music. I have to devote my appreciation to the late Pianist and Teacher Mr. Shigui Hong, his 《Dictionary of Famous Foreign Pianists》in the 80′s introduced to me many great names in the history, including Darre. Darre receive instruction from two of the great figures in Paris Conservatory, Isidor Philipp and Marguerite Long and graduated with excellence. Since then, she had been toured around as one of the greatest female pianist. Darre inheritted the tradition of Franch Pianism, beautiful voicing and formidable passion. Her young recording was brilliant, almost all of her 78rpm records are included in VAI’s CD: "Darre Early Recordings", which included several etudes by Chopin and Liszt. My first Darre recording was her Saint-Saens’s Concertos in EMI. She made herself famous with these concertos since young, as early as 21 years old she had already done something phenomenal with all five Saint-Saens Piano Concertos in one concert. Meanwhile, her Chopin was also impressive and it was not a challenge for her to play the complete etudes in the concert. However, many of the CD issues of her recordings were 60′s or even 70′s and sort of lacking in passion and power.

       This rare Chopin Etudes recording measured Darre’s ability at her peak, and it was one of the most important solo works she did after the 78rpm era. The record was released by Pathe in two separate album in 10" LP format.  I had no idea what was the feedback at that time, but its never been reissued in 12" format was such a lost,  and not to mention in CD format. Now this set of albums was still hard to find in the internet 2nd hand record stores, and once it was bidded to an unexpected price on ebay and a much higer price could be set with her signatures. Undoubetly, her greatness is still recognized by many music lovers. During the years 1998-99, Yamano Music Co. in Japan joined hands with Toshiba-EMI and released a 10-CD series of "Great Female Pianist of Angel", which included Marguerite Long, Lili Kraus, Eileen Joyce, Jeanne-Marie Darre, Harriet Cohen, Gina Bachauer, Moura Lympany and Marcelle Meyer’s great recordings. These CDs were out-of-stock soon after and became a hot collectable.  It seems the number of copies made was too small that even reissued in the years 2000-2001 they were still out-of-print immediately.  Even the local Japanese collectors are still consider these are great albums today. Due to its limited offer and only locally available, at the time of unpopular/undevelopped internet services around the world, most of the foreign collectors or music lovers do not even know the existance of these CDs, and when they know about these recordings later on there is no way to get a single copy anymore.  Thanks to Yamano Music, Darre’s Chopin Etudes was finally realized on CD. I had been looking for this CD for years without any result and was finally got it from Japan. It was not cheap but for such an unusual recording, it is worth.  Well, not if I know somebody in Japan would I be able to encounter this copy.

        Now back to the recording itself, Darre did not play in a fast speed which did disappoint me at the first place since I was really expecting her playing with super virtuosity. On the other hand, Darre’s clarity, purity and solidity in her performance shows her qualification. When I replayed these etudes again, I told myself, brilliance does not require showing off.  I do realize sometimes studio recordings are more or less conservative and do not reflect one’s real musical characteristic in a live concert , and thus I will not doubt that Darre will play with higher glory in concert, and I will not question if Darre have the ability to show off. Same here, you can actually tell, from some of the etudes, that Darre is equipted with marvelous technique to conquer the most demanded pieces. Fast arpeggio, Chromatic scale on weak fingers, rapid double thirds, powerful chromatic parallel octaves etc, all of these are amazingly finished. However with one big exception, the Winter Wind Etude, that is not my taste at all. I can tell this CD remastering did take a good effort, it eliminated most of the surface noice from the source however this usually sacrificed some details in the recording and could result in a rather cold or rough sound. Have to point out that, during the editing process, there is a significant sound quality changing at bar 49 of Op.10 No.1 which affected the consistancy and continuity between bar 48 and bar 49.


Apr. 29, 2009 






(009) Jeanne-Marie Darré/简妮-玛丽·达雷






        刚刚写完了巴克豪斯,紧跟着帮朋友的杂志写了另一篇肖邦练习曲的碟评(13岁华裔女孩的录音,出完了杂志再放上来好了),然后现在马不停蹄开始了新的一篇。 不知道最近什么刺激,那么有欲望写东西,就当是弥补这荒废了1年多的光阴吧,看着自己这么久没有更新了,自己都觉得内疚。考虑了很久,把拿在手上的几个版本思前想后, 最终还是把这次的位置给了Darre。选择Darre, 有几个原因。 其一,该录音十分罕见,除了原LP外,就只出过这唯一一次CD,其二,Darre太少被介绍了,这对她的艺术成就来说有点不公平, 其三,今年刚好是Darre逝世10周年的时间,仅以此文悼念。

       初次知道Darre,大概也正是10-11年前,当然了,尽管那时已是Darre的垂暮之年, 但对于当时只是一个接触古典音乐不深的我来说,这位钢琴家还是很陌生的。这不能不感谢已故著名的著名钢琴教育家洪士銈先生,正是他在80年代编写的《外国著名钢琴家词典》让我认识了Darre还有很多其他伟大的名字。Darre曾受教于巴黎音乐学院最著名的两个教授Isidor Philipp和Marguerite Long, 并以优秀的成绩毕业。 自毕业后,Darre已经作为出色的演奏家在各地巡回演出, 她继承了法国学派优秀的发声特点, 演奏中既能激情洋溢, 也可抒情如歌。  她年轻时候的录音精彩华丽, 她几乎全部的78转唱片录音都收录在VAI出版的CD《Darre Early Recordings》里面, 当中也不乏肖邦和李斯特的练习曲。 我最早接触Darre的录音应该是EMI出版的圣-桑协奏曲,而Darre的圣-桑协奏曲也的确闻名,早在她21岁时候,就不可思议地在一场音乐会当中演奏了全部圣-桑协奏曲, 并获得巨大的成功。 然而Darre的肖邦也不是泛泛之辈,以全套肖邦练习曲作为演奏会曲目对她来说并没有什么难度。可惜的是,她的不少CD录音都已经60年代后的甚至70年代的, 纵然仍有着她的音色, 但却欠缺了一份年轻的激情和冲劲。

        这套鲜为人知的肖邦练习曲全集是纪录着Darre盛年时期的录音之一,也是Darre在脱离78转唱片之后的重要独奏录音, 是在当年百代唱片公司以10寸密纹唱片的形式分两张唱片独立出版。当年出版后的反应如何我不得而知, 不过这个版本后来并没有再版为12寸密纹唱片始终是一个遗憾,更不用说再版成CD了。现在这套密纹唱片即使在网络二手唱片市场上都十分罕见,在ebay网上曾几何时一度追捧至极高的价格, 而有着Darre签名的唱片更是天价, 可见Darre还是深受一部分乐迷的宠爱的。 1998-99年间, 日本的山野乐器公司联同东芝EMI发行了10 CD的《天使唱片中的伟大女钢琴家》系列, 当中收录了Marguerite Long,  Lili Kraus, Eileen Joyce, Jeanne-Marie Darre, Harriet Cohen, Gina Bachauer, Moura Lympany以及Marcelle Meyer的优秀演绎,此系列一出版即备受追捧, 被奉为日本收藏者争相拥有的对象。 而当年出版数量好像供不应求,以致在2000-2001年再版后依然很快绝版,即使是日本本土的收藏家到现在依然十分重视这套录音。 由于录音产量不多而且仅在当地发行,在网络信息技术并不完全普及的当年, 海外的乐迷很多并不知道该套录音的存在, 而在后期得知该唱片的资料后, 已经无从入手。 Darre的肖邦练习曲的首次CD化, 实在不能不感谢山野乐器的慧眼识英雄。为此录音  寻觅多年不果, 最后还是在日本的二手市场购得,价格来说并不便宜, 然而对于这样弥足珍贵的录音来说,这样的价格对得住它了, 只是感慨,要不是幸运认识在日本居住的朋友, 我又如何能得偿所愿呢。

        说回录音, Darre并没有弹得很快, 说实在当我第一次听的时候, 对她的演奏速度是有那么一点失望的, 因为我确实很期待Darre的这套录音会激情洋溢,会令我有技惊四座的感觉。 不过其实法国派本身就不是炫技派,而Darre的演绎晶莹剔透,扎实的声音,均匀的节奏其实正正体现着她技术的稳健,当我再品味这些练习曲的时候,我告诉自己, 其实精彩并不需要炫耀。 当然了,录音室的录音偏保守的情况也不是没有遇到过,我不会怀疑Darre的现场演绎会更精彩, 也并不怀疑Darre有着炫耀技术的本钱。 正如某些技术型练习曲,还是能听到Darre过人的能力,流畅的琶音,均匀的半音阶,整齐的双三度,扎实的平行八度,都相当精彩。不过像冬风练习曲那样,就有点令我失望了。CD版本制作应该花了不少功夫, 降噪效果很显著,但却容易因此削弱了演奏中的细节位置, 会令Darre的音色显得稍微粗糙。  但需要指出的是, 在编辑处理过程中,Op.10 No.1的主题再现(第49小节)部, 有着明显的剪接问题导致第48小节和第49小节之间承接出现不小的败笔。



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Kemal Gekic in Concert – March 15, 2009

 Chopin Etudes Concerts

Written by: Klavier (Yuan Huang)

Kinda Crazy


        On March 15th, 2009, Kemal Gekic gave two recitals in the USA, and I could only say "Kinda Crazy".  Although I could not attend it myself, the programs are already breath taking:

1st Recital:
Time:        March 15th, 2009, 3pm
Location:  Amaturo Theater of Broward Center for the Performing Arts, Fort Lauderdale, Florida, USA
Program:  Chopin 27 Etudes
                Chopin 4 Ballades

2nd Recital:
Time:        March 15th, 2009, 8pm
Location:  Amaturo Theater of Broward Center for the Performing Arts, Fort Lauderdale, Florida, USA

Program:  Liszt 12 Transcendental Etudes
                Liszt b Minor Piano Sonata

        He played such big works in the same day, what else could I comment besides "Kinda Crazy"? 

       Official Website of Kemal Gekic:http://www.kemalgekic.com/

Mar. 20, 2009 









      2009年3月15日, Kemal Gekic在美国演出了两场音乐会,而这两场音乐会的内容,我只能用“疯子”来形容, 尽管我没有机会亲临其境, 但光看曲目已经足以让我目瞪口呆:

时间: 2009年3月15日 下午3点
地点: 美国佛罗里达州,劳德尔堡,Amaturo Theater of Broward Center for the Performing Arts

曲目: 肖邦27首练习曲

时间: 2005年月15日 晚上8点
地点: 美国佛罗里达州,劳德尔堡,Amaturo Theater of Broward Center for the Performing Arts
曲目: 李斯特12首超级技巧练习曲

        同一天内, 6-7个小时内,演出了如此庞大而艰深的曲目, 我觉得仅仅能用两个字形容, 就是“疯子”

        Kemal Gekic的官方网站:http://www.kemalgekic.com/


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(008) Backhaus, Wilhelm (1928 MonoPoly)

Chopin Etudes Recordings

Written by: Klavier (Yuan Huang)

(008) Wilhelm Backhaus

Recording Company: MonoPoly

Catalogue Number: GI-2026

Recording Date:Jan. 1928 (Op.10), Jun. & Jul. 1928 (Op.25)

       When naming the most important Chopin specialists, Cortot and products of Liszt and Leschetizky would be considered with the highest priority.  However, it was Backhaus, a Beethoven expert, who officially recorded the first ever set of Chopin’s 24 Etudes in the history. 

      God, a title of supreme adoration. If this has to be conferred on the legenary pianists, Bakchaus, with no doubt, will be honored one position. Backhaus’ achievement should mainly refer to his contribution on compositions of German-Austrian tradition.  His gorgeous technique, his in-depth thought of compositions is the very foundation of his distinguish accomplishment. In 1928, our God, at age 44, introduced the 24 Etudes first time in the recording history, and such interpretation is still considered a competitive version nowaday.  These etudes have been reissued several times back in the LP era and it is now still remained an important figure in CD reproduction.  The long famous Pearl Label should be the first one to make the CD available, which did caused a sensation among us: OMG~~Finally!!

      Pearl did several great jobs in reproducing CD versions of historical recordings and the transfer was decently done. While on the other hand, their preparation in text material is handicapped.  At lease, most people think it will be better if more details are provided, even only for their historical importance. With regard to their production of this Backhaus Chopin Etudes, Pearl provided 1927 as the recording year which was incorrect information.  I have no idea where they got this number, but I would rather believe the more accurate one in later reissues by other companys.  I would also assume that because of Pearl’s release was too famous and nobody else reissued in almost a decade, and as a result, many articles now still state that Backhaus recorded them in 1927, which is clearly a reference from Pearl’s CD.  Since year 2000, some other smaller labels resurfaced this version on CD again, among them including The Piano Library company which is now closed down due to their large amount of unauthorized releases of historical music, and the relatively new label MonoPoly from Korea. They were probably the most important ones at a time. Not known to many, there was actually another rare issue with higher authority: The 12CD set of 《Legendary of Wilhelm Backhaus》released in 1998, co-produced by EMI-Toshiba and Shinseido, limited to 1000 sets and available in Japan only.  EMI-Toshiba inidcated Jan. Jun & July in 1928 as the recording date. That was the first and the only time a CD version by EMI itself, besides these Etudes, some other selections were also the first time on CD. Too bad it was not an international reissue and without wide circulation, they became extremely hard to find since then and were mainly kept within the circle of Japan collectors.  People sigh and envy but what really can we do? That’s what japanese always like to do with the reissues of historical music material: Charity begins at home.

      Backhaus was name The Lion on Keyboard, and his superb mechanism and powerful style also impress us in the Chopin Etudes. Swift speed, solid tempo, well equiped technical skill are all beyond your expectation. You will be shocked from the very beginning of the album, it was a breathtaking performance of the Op.10 No.1.  I do not mean it was perfect and you will ocationally hear his finger visited the neighbor key,  but more to discover is his balance on both hands which brought out the beauty from the lower melody. It was more musical than many others. Those like Op.10 No.2 and Op.25 No.6, which require more delicate fingerwork, seemed effortless to him. His incredible speed did not generate an excitement of technically showing off but rather a natural tempo impression, yet he did work out within a shorter time. Op.10 No.3, was not much special probably due to its extreme popularity. No.11 was the same, too solid and I would say it is tonal elegancy and rhythm variation. While on the book of Op.25,  they are performed with consistent manner. He brought out the colorful sound, the musical refinement, and the brilliance of melodies, his spontaneous and masterly expression walked me through all of them till the last note of the c minor etudes. Better to point out, Backhaus add extra notes at the end of some etudes to link up the following pieces more smoothly. There are people consider that superfluous, while to me they sounded as lovely as a friend giving a casual private performance.

      Backhaus did not disappoint me with his Chopin Etudes(like most of his other recordings), the only letdown might just be his lionlike style sometimes weakened certain interesting point in the music. But so what?  Who told you the God never wrong? Too perfect leaves only cold in manner.

Feb. 19, 2009 






(008) Wilhelm Backhaus/威廉·巴克豪斯




录音时间:1928年1月4日-5日 (Op.10), 1928年6-7月(Op.25)

      当所有人把肖邦专家的名头挂在Cortot,以及Liszt和Leschetizky的传人身上的时候, 以演奏贝多芬作品最为著名的Backhaus竟然出人意料地作为历史第一人录制了这套殿堂级的钢琴作品。   

      神,一个令人顶礼膜拜的称谓。如果要将其冠于历史钢琴家们身上,Backhaus无疑要分享一个席位, 而绝不应备受争议。 巴克豪斯的成就主要体现在他对德奥体系作品上的贡献, 其精湛的技术, 对作品深层次的理解, 正是他伟大成就的重要支柱。 1928年我们这位年近半百的神,为录音史册上添上了24首肖邦练习曲的标题, 这是一次至今仍该被承认为不朽的演绎。 不朽并非随便加冕的, 在LP的年代, 就已经被多次发行, 直到今天,其CD再版也一直被重视。老资格的Pearl应该是首个发行CD版本的公司,可以想象当年此举为乐迷们带来的无限惊喜: Backhaus,肖邦练习曲,CD版本终于三为一体了。

      Pearl公司在发行CD版本历史录音的贡献是不可多得的, 在转录的过程上, Pearl做的已经不错了, 不过在曲目介绍和录音资料方面, Pearl的制作并算不上一流, 至少在很多人认为,对于发行这类重要的历史录音来说,提供专业详尽的资料介绍是理所当然的,然而Pearl没有做得够好。在Backhaus的这个肖练录音上, Pearl也没有做足功夫,录音年份为1927,我不知道此根据是从何而来, 但至少我更相信后来发行的其他CD版本所列的更详细的录音时间。而正因为Pearl的版本在91年出版之后风靡一时,近10年间,几乎没有别的公司再版, 因此到目前为止还是不少资料说Backhaus的这个是1927年时候的录音,估计也就是参考了Pearl的资料所致。 到2000年之后,另外一些小型公司开始再度出版此重要录音,中断了Pearl的“垄断”, 当中包括了因未获授权而出版大量历史录音的The Piano Library公司(已关闭),以及当时初涉古典音乐界的韩国公司MonoPoly, 这两个版本都是当时比较重要的版本之一。 不太为人所知的是,在此之前,其实还有一个更加权威而值得珍藏的出版:1998年来自日本的东芝EMI(EMI-Toshiba)和新星堂(Shinseido)合作并限量1000套发行的12 CD 《The Legendary of Wilhelm Backhaus》。EMI-Toshiba所写的录音时间,就是1928年1月,6月和7月。这是自1928年以来,首次(也是至今唯一一次)以母公司名义发行的CD版本,除了肖邦练习曲收录在内,并有不少其他录音首次CD化,可惜没有海外发行也没有广泛流传, 估计大部分成为了日本本土收藏者的挚爱,外地人只能望洋兴叹,不过这也是日本人对再版历史录音的一贯作风:肥水不流外人田。 

       Backhaus被誉为键盘上的狮王,他刚劲浑厚的风格同样被运用在肖邦练习曲上, 凌厉的速度,稳健的节奏,扎实的技巧已经让你佩服不已,从Op.10 No.1开始, Backhaus就能把你的注意力吸引过来。我并不认为这是完美无瑕的一曲,你会听到他碰到旁边的键,但你更能听到左右手均衡的力度,以勾勒低音部分的旋律线, 这比很多毫无技术瑕疵的录音更具音乐感。对手指独立性要求极高的Op.10 No.2,Op.25 No.6,在Backhaus手上,毫无难度,然而其不可思议的演奏速度却没有让你感到丝毫的炫技感,很自然的速度感觉,实际上却只用了比一般人少的时间演奏完毕。 Op.10 No.3我觉得倒是好坏参,或者是因为听得太多煽情的版本了。   No.11也是如此, 比No.3更硬朗, 以至让人觉得忽略了音色和节奏的变化效果。 然而在Op.25的演绎中,他合理地分配出如歌的段落,精致的乐句以及华丽的旋律, 行云流水般的演绎, 把我一直带到最后的c小调《大海》练习曲而终结。 略为一提, Bakhaus在某些练习曲的结尾略加了一些装饰音, 令前后曲更有衔接感,当然有人会不以为然认为是画蛇添足, 然则我倒觉得更有一份亲切感, 难道这不像是一个朋友在为你私人演奏般的随意么?

      Backhaus的这套录音没有让我失望(就如他大部分录音一样), 或者让你失望的或者只能是狮王般的作风有时让某些趣味的旋律显得生硬, 然而这又是什么很至关重要问题么? 即使是神, 谁说不可以有瑕疵?过于完美,难道不会多了一分冷峻么?


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The Ultimate Chopin Etudes Discography (Last Update: Dec.12, 2007)

 The Ultimate Chopin Etudes Discography

Copyright 2007 by Klavier(Yuan Huang)

(Last Update: Dec.12, 2007)

** Comercial Recordings of 24 Etudes Op.10&Op.25 **
All are original copies unless indicated as MP3 copy

Total Count: 156 Sets (Own 146 Sets), Pseudonym Sets are not counted here 

Please click on the following links to open the Listing
1, 2, 3, 4, 5

RED:  I do not own these copies, some copies MAY release in the future
BLUE: Two versions released with Pseudonym(Taken from existing version)
I omitted Joyce Hatto’s versions here, since they involved serveral pianist’s work
Please check Farhan Malik’s Joyce Hatto Website for more information
Joyce Hatto Chopin Etudes CACD 9035-2: http://www.farhanmalik.com/hatto/chopin1.html
Joyce Hatto Chopin Etudes(75th Anniversary Edition) CACD 9160-2: http://www.farhanmalik.com/hatto/chopinetudes.html

 ** Non-Comercial Recordings of 24 Etudes Op.10&Op.25 **
Total Count: 21 Set (Own 13 Sets)

Please click on the following links to open the Listing

Original Copy means it is an Original Production by some Organizations/Individuals but not considerred as a Commercial Release.
RED:  I do not own these copies

** Comercial & Non-Commercial Recordings of 12 Etudes Op.10 ONLY**
Total Count: 17 Commercial  Sets (Own 15 Sets)
                         7 Non-Commercial Sets (Own 4 Sets)

Please click on the following links to open the Listing
Page: 1

RED:  I do not own these copies

** Comercial Recordings of 12 Etudes Op.25 ONY **
Total Count: 23 Set (Own 23 Sets)

Please click on the following links to open the Listing
Page: 1

 I do not own these copies

** Non-Comercial Recordings of 12 Etudes Op.25 ONY **
Total Count: 35 Set (Own 15 Sets)

Please click on the following links to open the Listing
Page: 1, 2

 I do not own these copies

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