泡网俱乐部

我一直都在说了，齐默曼从不依赖铁锤猛砸来表现力量，也从不用忽上忽下、一惊一乍来体现戏剧性，但是我觉得他音乐里的张力和高潮，却比大多“外向型”的钢琴家还要强烈的多，也自然的多。

 

齐默曼的妙处可能没有别人的那么显而易见，直白明了，需要慢慢体会。

这里有一个人对齐默曼的叙事曲的总结，可以参考一下：

“...My first impression of Zimerman's ballades was of quiet beauty, the drama almost understated. With repeated listenings I realized that the climaxes are indeed quite powerful, but that they grow out of the calm serenity of the context so organically that they do not jar. Zimerman never plays an ugly note: his tone never becomes brittle or clangy. Comparing these performances to others, I found that Zimerman invariably uses slower overall tempos. In the 4th Ballade he takes almost 12 minutes, Moiseiwitch and Perahia about 10, and Solomon 9 and a half. At the very beginning Zimerman seems to lack forward momentum in comparison, but his approach soon weaves a spell that is totally absorbing. Zimerman is a storyteller rather than an actor: the passions are not missing, they are simply put into context. I do not find Zimerman's playing lacking in shading. He uses a variety of pedal techniques and touches, and his rubato is very natural. If he lacks anything that Rubinstein has, it might be characterized as a sense of humor. These are very sober readings. But very beautiful -- I expect I will go back to them more often than most others. The sound of this disk is indeed close. On headphones it is fascinating to listen to the voices so spacially separated: the countrapuntal effects become so much more apparent. In my living room it sounds as if there is a gorgeous piano in the room with me -- I actually prefer this to a more reverberant acoustic that tries to con me into thinking I am in a concert hall (Perahia on Sony)..."

http://www.amazon.com/gp/pdp/profile/A3CVZXFLZRUHM1/ref=cm_cr_dp_pdp