Grigory Sokolov

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风格: #协奏曲　#键盘音乐　#独奏　#西方古典　#奏鸣曲
地区: Russia 俄罗斯

艺人介绍

对于喜爱钢琴演奏的古典乐迷来说，Sokolov至今还是一位尚未被包装美化过的中坚份子。《渥太华市民报》以「完美的技巧表现、完美的洞察力与完美的控制力」来形容Sokolov在协奏曲的表现，说得一点不错。

Sokolov对音乐会与唱片录音的想法，与我们认识的个性钢琴家如出一辙，甚至更为极端。他向来在一年的演出行程里以准备一、两套新曲目为主──2002年前半年巡回演出的曲目为海登的三首钢琴奏鸣曲、Gomidas Vartabad Komitas的六首钢琴舞曲、普罗高菲夫的第七号钢琴奏鸣曲，外加贝多芬的第一号钢琴协奏曲──，他总是花上好一段时间揣摩这些作品，此外也在现场音乐会的过程中与作品本身做更紧密的接触与心神领会，等到他自己满意了之后，才会打算将其中的一场音乐会录音做公开发行（他坚决不进录音室，而且近来有放弃发行CD的打算）。所以Sokolov虽然是OPUS111唱片公司的旗下钢琴家，但他近乎洁癖的录音态度，使得能够在市场上买得到的Sokolov录音始终就只有那几张。不擅造势的Sokolov，现今在欧陆内行人眼中绝对当代最有想法、实力也最为坚强的钢琴家之一，不过他的演出活动目前仍然活跃于欧美地区，未来两年的行程表也都以欧洲的独奏会为主，想要盼到他来台湾的一天，我们可能要有相当的耐心。

比赛成名

严格说来，Sokolov也算属于美苏在冷战时期，在「铁幕」(Iron Curtain)当中「保存良好」的秘密武器之一，一直到了八○年代晚期苏联解体之际，Sokolov才真正寻得向全世界展示他琴艺的机会。 1950年4月18日出生于圣彼得堡的Sokolov，四岁起就有搭台子拿指挥棒的经验，但父母亲则倾向让他走向钢琴这条路，五岁起开始学习钢琴，七岁时进入莫斯科音乐院特别设置的资优班上课，师承著名钢琴家Leah Zelikhman与Moise Khalfin，12岁首度举行公开的演奏会，技惊全场，所有听众都被Sokolov诠释作品的巨大幅度与力度掌握之自然，只需要加上一点点踏板，Sokolov就以他高超无比的十指神技弹奏超出平台钢琴界限的无限音色变化，好像一位拿着调色盘的画家，自发地挥洒各式想象。这个时候全部的听众都注意到Sokolov已经定型的风格，他的诠释有着强烈的诗意，而且相当个人化，他对旋律的自由挥展与乐句的弹性速度控制，已可以带给他的师辈相当大的威胁。

学院方面自然不会忽略这号人物，早早就将他列名为「重点培育」的对象之一。当时美苏在各方面都有争锋之势，文化交流上则以「柴可夫斯基国际大赛」为指标，Van Cliburn因为此赛而一战成名，硬生生在俄国的土地上夺走首届的金牌大奖，成为美国的「民族英雄」，可以想象俄国有多么难堪！以致往后几年俄国钢琴家精锐尽出，誓言要争回面子，其中Sokolov以16岁之龄，在1966年的第三届大赛中抢得第一名与金质奖章，当时以Emil Gilels为主席的评审团无异议一致给予首奖的光荣，也算是替祖国报了一箭之仇。比赛成名进而往外发展，本是顺理成章，不过由于当时与Sokolov商洽演出的美国经纪人去世，加上过不久后阿富汗战争爆发，美苏关系再度转趋恶劣，Sokolov往西方发展的脐带就此被切断许久，直至政治僵局解冻，才又有了一线生机。

不拘泥于传统

除了师门的栽培，Sokolov认为某些钢琴家的音乐与他的音乐想法产生了强烈的共鸣，包括Gilels、Glenn Gould、Vladimir Sofronitsky、Solomon、Dinu Lipatti、Sergei Rachmaninov、Vladimir Horowitz等人（Sokolov于14岁时与Gilels相识，并且两人一直维持亦师亦友的关系，一直到Gilels去世为止）。因此我们似乎很难将Sokolov的演奏界定于那个钢琴流派，不过在技巧上，他曾接受过俄式严格的钢琴训练。强而有力的八度、多变的音色……，这是无庸置疑的，然而在聆听他所灌录的巴哈「赋格的艺术」之后，你又不得不为他对于「对位旋律」演奏，有异于俄国演奏传统的灵动性而感到讶异。的确，即使是聆听他那有限的录音，也可以充份感受到他的读谱与理解，是有他自己独特的一套，而不拘泥于传统的包袱。喜好现场音乐会录音整体而言，Sokolov弹琴的吸引人之处在于他的演奏能够完全呈现出浑然天成的自然流畅感，这也是他最重要的艺术信念，但由于演奏的角度与风格都是经过琢磨过的独特，所以即使掺杂前代大师的影响，每首曲子在他手中就是有办法让听者有全新的体验，彷佛接触到一首全新的曲子。这点您可以从他的有限录音中明显听出端倪，就以大家就熟知的贝多芬、布拉姆斯与舒伯特来说，Sokolov处理乐句的层次感常常多得令人难以相信，处处皆是搭满华丽坚实的建筑，每次笔者听着他的录音，就会很羡慕能够在现场聆听他演奏的听众，我相信在现场很难不陷入他所营造的氛围里，这些人真的是大饱耳福。

此外，Sokolov弹奏的音乐表情也相当丰富，听得出来他彷佛借着钢琴在抒发个人情感，用黑白键表达他所有的喜怒哀乐，完完全全超脱曲子而成为独奏者的私密告白。要能够感受到听众的气息与互动，同时又得专注地将自己的情感投射在音符身上而不受干扰，只有硬底子的钢琴家才有这番能耐。

能够有这些效果，最大的关键在于Sokolov对于乐器本身的挑剔，他对于一架史坦威的认知，不输给许多钢琴调音师，面对一架全新的钢琴，Sokolov做的第一件事就是弄懂其中的结构、材质等，接着才会去弹奏它，「不断地检查是一场完美音乐会的关键」，Sokolov如是说。有时候在音乐会之前的整个下午，Sokolov并不把时间花在研读总谱上，而是「搞懂」他晚上即将要演奏的那架钢琴，Sokolov对乐器事前检查的挑剔程度，在同业中可谓无敌（或许如Zimerman这种音色派钢琴家才足以力拼），他必须确保上台之前，钢琴的每个音符所发出来的音色都要让自己满意才行。

前置作业如此「龟毛」，我们也应该不难想象Sokolov坚持将现场音乐会拿来发行录音的原因，毕竟很多感觉都是在一场真实的、活生生的音乐会里才能迸发出来，录音室里的独语实在太过僵化。或许您会有「现场录音难免会发生一些临场的录音或其它方面的失误，所以还是听录音室录音比较安全」的相法，但是当您听过他许多现场收音的唱片之后，就会觉得那股唯美而精致的音色变化，可都要让许多录音室唱片感到汗颜呢！不过与许多网络上的乐友一样，笔者对于Sokolov可能放弃录音活动这件事也想表达一些不满，因为并不是每个人都有精神与心力，千里迢迢企盼着他的完美演出，所以好歹还是留下一些痕迹吧！ Sokolov一直以举办现场音乐会为扩展演奏生涯的主要途径，这刚好与他所崇敬的Gould大相径庭，OPUS111目前所发行所有Sokolov的演奏，几乎清一色是现场音乐会（当然这并不代表Sokolov只对这些发行过的曲目在行而已）。身为一个职业钢琴家，Sokolov严格挑选上台演奏的曲目，务必要让这些曲目了然于心之后才会介绍给世人。约略来说，虽然已经拥有和世界上最顶尖的指挥与乐团合作过的经验，但Sokolov还是比较喜欢钢琴独奏会（完美主义的必然特质），其中协奏曲的部分，以贝多芬其中几首、拉赫曼尼诺夫（《帕格尼尼主题变奏曲》除外）、一首普罗高菲夫、柴可夫斯基等人的为主，而独奏曲的部分就广泛得多，整体而言，巴哈与贝多芬、俄系作曲家是他挑选曲目的两条主轴（近几年来的曲目安排比较多样化）。

Sokolov赋予这些曲目崭新的面貌，至少脱去了俄国传统大师的沉重外衣，采用更轻盈的结构，呈现焕然一新的形象。Sokolov的音粒触键相当具有「亮丽的完美感」，很多弱音的旋律演奏得相当梦幻，与李希特等权威相比毫不逊色，不过接受俄式训练的Sokolov，在乐曲情感的宣泄上也是毫不保留，国外许多现场乐评对他最深刻的印象莫过于强烈的爆发力，因而有评论家认为他的演奏「融合了冰与火」。

其它音乐观

Sokolov对现场演出的看重，不仅由台上演奏者的角度出发，也从台下聆听者的角度出发，且听他如何诠释：「这种『因为我今天感到疲倦，所以到音乐厅休息一下』的想法是绝对错误的，听音乐会是一种要花强烈心思去感受的活动，所以一场音乐会对台上的演奏者与台下的欣赏者而言，都同样是件艰难的任务。」另外，他不因为是钢琴家，就偏颇对整体音乐的思察：「当我回圣彼得堡的家时，大多播放的CD都不是钢琴演奏，因为我们必须将音乐视为『一个整体』去欣赏。」虽然小时候做过指挥家的梦，然而现在的Sokolov却没有跨行去掌舵乐团的打算，因为他认为现在的指挥家比较少有尽情去演奏的机会。细察一下曲目，他对于现代音乐几乎完全没有着墨。对此他慧黠地回应：「对我而言，当代音乐就是现今还存活的音乐，Byrd的音乐也是当代音乐，巴哈的音乐同样也是。有谁会在昨天写了首曲子，今天就让它亡佚呢？」您认为呢？

后记

Sokolov最近的演奏行程集中在欧陆各个大大小小的音乐节，独奏会的曲目为舒伯特的钢琴奏鸣曲D664、舒曼的《阿拉贝斯克》与《短篇小品》选集、肖邦的十首马厝卡舞曲，以乐迷的角度来看，笔者还是希望Sokolov能够早日恢复发行现场录音的计划。《纽约时报》以「古典音乐界的当代伟大人物」来赞扬Sokolov的演奏，在现今古典市场逐渐走上庸俗化、机械化的道路上，我们应该很庆幸，多了这位「重质不重量」音乐家，能够让我们在其演奏风格中重新思考作曲家的意念。

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Grigory Lipmanovich Sokolov (Russian: Григорий Липманович Соколов; born April 18, 1950 in Leningrad) is a Russian concert pianist, often considered one of the greatest living pianists.

Biography

Sokolov began studying the piano at the age of five, entering the Leningrad Conservatory at age seven to study with Leah Zelikhman, later studying there with Moisey Khalfin. At 12, he gave his first major recital in Moscow, in a concert of works by Bach, Beethoven, Schumann, Chopin, Mendelssohn, Rachmaninoff, Scriabin, Liszt, Debussy, and Shostakovich at the Philharmonic Society. At age 16, he came to international attention when the jury at the 1966 International Tchaikovsky Piano Competition, headed by Emil Gilels, unanimously awarded him the Gold Medal. It seems this may have also been a surprising result: "16-year old Grisha Sokolov who finally became the winner of that competition was not taken seriously by anyone at that time."

In fact, despite the international prestige of his Tchaikovsky Competition success, Sokolov's international career began to take off only towards the end of the 1980s. It has been said that his not defecting, and the limited travelling allowed under the Soviet Regime were to blame. This is contradicted by the fact that Sokolov gave US tours in 1969, 1971, 1975, and 1979, as well as numerous recitals elsewhere in the world such as Finland and Japan. "Sokolov's life as a touring soloist is quite overcrowded. He tours a great deal in both his motherland and abroad."

The 1980s seem to have proved something of a stumbling-block to Sokolov's career in the US. "In the beginning, I played a lot of single concerts in America, in 1969, '71 and, I think, 1975. After that there was a break in relationships between the U.S. and the Soviet Union--they were disconnected by the Afghanistan War. One tour in the U.S. was canceled in 1980. Then all cultural agreements between the two countries were cancelled." In addition, during the breakup of the former Soviet Union, Sokolov played no concerts outside Russia. He is now a well-known figure in concert halls around Europe, but much less so in the U.S. Sokolov produces very few recordings; his last CD was released in 1995.

In March 2009, it was reported that Sokolov cancelled a planned concert in London because of British visa requirements demanding that all non-EU workers provide fingerprints and eye prints with every visa application (he also cancelled his 2008 concert on seemingly similar grounds). Sokolov protested that such requirements had echoes of Soviet oppression.

Influences

When asked, Sokolov cited the following pianists as having inspired him in his years of studies: "Of those whom I heard on the stage I'd like to name first of all Emil Gilels. Judging by the records, it was Rachmaninoff, Sofronitsky, Glenn Gould, Solomon [and] Lipatti. As to esthetics, I feel most close to Anton Rubinstein."

(wiki)

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by Robert Cummings

Grigory Sokolov is among the most important Russian pianists to have emerged from the latter half of the twentieth century. His career has both suffered and thrived from restraints foisted on him by Soviet authorities: like other iconic Russian keyboard giants of the past, in particular Sviatoslav Richter and Lazar Berman, he was prohibited from appearance in the West for a time, but when he finally debuted in western Europe and the United States, his career took a meteoric upswing, with Sokolov suddenly in heavy demand in the world's major concert halls. Another aspect to Sokolov's career that has added to his charismatic though eccentric persona has been his general avoidance of the recording studio. Most of his recordings are drawn from live concerts, and they attest to his virtuosity and interpretive genius in unusual but generally conservative fare: while his repertory takes in Bach, Mozart, Beethoven, Schumann, Chopin, Brahms, Rachmaninov, and Prokofiev, it also includes Byrd, Couperin, Rameau, and Froberger. Sokolov has recorded for several labels, including Melodiya, Opus 111, and Naïve Classics.

Sokolov was born in Leningrad, Russia, on April 18, 1950. At five he was playing the piano and two years later began studies with Liya Zelikhman. At 15, as a student at the Leningrad Conservatory under Moisey Khalfin, he captured first prize in the prestigious Russian National Competition. More impressive, he won the Tchaikovsky International Competition in 1966, at 16, still the youngest pianist ever given that most coveted of competition medals.

In the wake of his victory Sokolov became an instant celebrity in his homeland, appearing as soloist with the major orchestras and as recitalist in the most important concert halls. But he was not allowed to concertize in the West by Soviet authorities until the late '80s. In the meantime he taught piano at the Leningrad Conservatory from 1975 as an adjunct to his concert and recording activity. In 1990 his Paris debut was a sensation, and he became an overnight celebrity in the United States as well. Sokolov continued to impress his admirers in the new century: his November 2006 concerts in Paris and Dusseldorf, playing the same program of Bach, Beethoven, and Scriabin works in each city, drew rave reviews. His recordings include the Naïve Classics DVD of his live Paris concert from November 2002 containing works of Beethoven, Komitas, and Prokofiev.

Grigory Sokolov　Григорий Липманович Соколов / 格里戈里·索科洛夫

艺人介绍

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最新简评（共67条）

Grigory Sokolov Григорий Липманович Соколов / 格里戈里·索科洛夫

艺人介绍

热门评论

最新简评（共67条）

Grigory Sokolov　Григорий Липманович Соколов / 格里戈里·索科洛夫