|
|
小贴士：看帖回帖，那是一种美德！
Reviews
评论
"When you often go to great concerts it is inevitable to be a critical listener. Steidl`s concert astonished me with his preeminent play. The whole audience rose to its feet. It (the concert) was outstanding. His playing style is similar to John Williams but not in the way of John`s 'harmonie preetablie' and balance. His (Steidl`s) performance seemed to catch the audience`s mood of the moment consciously, included feints and could not be anticipated. He plays with a vivid expression as if he composes the music/pieces."
(Gendai Guitar No. 427 August 2000)
“如果你经常去看大师的音乐会，你就不可避免地成为一个挑剔的倾听者（评论家）。Steidl在音乐会上卓越的演奏着实让我惊讶！全体观众为之起立。它（音乐会）非常出色。他的演奏风格类似于约翰威廉斯但又不是约翰威廉斯式的`预先设定的和谐'和平衡。他（Steidl）的表演似乎能有意识地抓住观众当时的心情，表演中还包括一些假动作，他的表演真是无法预料。他演奏的时候表情生动，仿佛他本人也是音乐的组成部分（或翻为“他自己在创作音乐”）。
（刊载于《Gendai吉他》，2000年8月第427号）
"Pavel Steidl played this time with a wonderful Staufer instead of the no less wonderful The Staufer is of a quality to destroy all reservations about old instruments-if they all be like this, and if the people who play them could all be as sensitive as Steidl, we all revise our preconceptions................."
(Classical Guitar 1996)
“帕维尔这次演奏用的是完美的Staufer吉他来代替与之相媲美的Fisher-Rubio吉他。Staufer具有摧毁旧吉他所有保留特色的品质。如果他们都像这样，如果弹奏这个乐器的人都能像Steidl一样敏感（地演奏此琴），我们就会改变我们的成见......." （这段楞是没看懂）
（古典吉他1996）
"This is the artist suitable to play Caprices by Legnani and the Bardenkl?nge by Mertz. He provides the extra's that are suitable for these works, to make sure that the greatest moments become: good taste, generosity, imagination, the moving emotion of a vibrato that touches the heart of melody in the right way, and always that legato that interchanges all the time, but does so coherently. Pavel Steidl provides the repertoire for guitar with his incomparable solemn fashion: In his own manner he is able to pick this dissonance and to give us the opportunity to breathe it, to make us able to experience all the life that is there in this manner of playing the harmony that welcomes us, the firm melodies, the original and stimulating rhythm, this tempestuous and and enthusiastic virtuosity, that joy and humour that are part of him and make him so lively in his extra's: un r`egal !"
(Les Cahires de LA GUITARE 1995)
“他是一个适合演奏雷尼亚尼的随想曲和默茨作品Bardenklänge的艺术家。他提供了一些作品之外的、适合于这些作品的东西，以确保最伟大的时刻变为：高品位、慷慨、想像力。他那感人的颤音以合适的方式来触动内心的旋律，那不断变化的连奏也同样扣人心弦，那一串串连奏是如此的连贯统一！帕维尔以无以能比的、庄严的方式演绎了他的吉他保留曲目。用他自己的方式，他能够控制那些不和谐，并让我们有机会去随之呼吸；使我们能够体验到所有的生命力。他的演奏让我们感到如此的和谐：坚实的旋律，原味的、激动人心的节奏，暴风骤雨而热情的精湛技艺。欢乐和幽默是他的一部分，这使他的演奏外的东西变得如此栩栩如生！
（Les Cahires de LA 吉他 1995）
"Here was a guitarist who knew how to laugh with the music and share the joke with his audience. But behind the entertainer lies a serious artiet, whose extended composition in memory of Jana Obrovska proved fully capable of stirring emotions at the other end of the scale. Never was a standing ovation more richly deserved. Pavel Steidl had won the hearts and minds of a capacity crowd."
(Classical guitar magazine)
“他是一位知道如何用他的音乐来笑并与他的观众分享这种（玩）笑的吉他演奏家。这种谈笑皆音乐的表演的背后却展现了一位严肃的艺术家。他对作品《纪念Jana Obrovska》的创作延伸证明了他那激起音乐另一端强烈感情的能力。从来没有哪一位演奏家的演出比帕维尔更（有资格）当之无愧地接受观众的起立鼓掌了。帕维尔Steidl赢得了满场观众的心。
（古典吉他杂志）
"Legnani's 36 Caprices are uniquely adventurous, varied and technically demanding nineteeth-century repertory, hence their neglect by today's recording (and even concert) players. The two movement Fantasia is on a comparable level. It is impossible to overpraise Steidl's recording on a copy of a period guitar, one to be treasured. J.D."
(GRAMOPHONE November 1998)
“雷尼亚尼的36首随想曲是无比冒险的、风格多样的、技术要求高的十九世纪作品，因此现在几乎没有演奏家敢录音或在音乐会演奏（费尔南德斯录过一些—译者）。他那两乐章的幻想曲就是这样水平的乐曲。帕维尔的录音对于这个时期的作品无论怎么赞扬也不为过！真是太宝贵了！J.D.
（《留声机》1998年11月）
"By great artist I mean on this occasion Pavel Steidl. I choose my words carefully. I have listened to too many great violinists and great pianists not to know a great guitarist when I hear one. The fact that Pavel Steidl is modest, cheerful, friendly and likable and the perfect guest at a festival should not blind anyone to his true value. Sooner or later the world is going to find him out, and his fees will rise to impossible levels. Buy this record and listen to it. If you can learn to phrase like that, you will have made a real contribution to the guitar. It shouldn't be beyond a normal musical intelligence. But no one can make anyone play like Steidl. It is enough that Steidl Plays like Steidl."
Colin Cooper (about N. Coste recording 2000)
“伟大的艺术家，我的意思是在这个场合的帕维尔。我很小心地选择我的用语。我听过许多伟大的小提琴家和钢琴家的演奏，没想到却能听到一位伟大的吉他演奏家。事实上，帕维尔很温和，开朗，友好，可爱。在艺术节上，他是一个完美的客人，所有人都能意识到他的真正艺术价值。世界迟早会发现他，并且他的出场费会上升到不可思议的高位。购买这个录音听一听。在正常的音乐智慧范围内，如果你能学会用正确的分句来表演作品，就是你对吉他作出的真正贡献。但没有人能使任何人像Steidl一样地演奏。Steidl的演奏像Steidl自己就足够了。
科林.库珀（关于N.考斯特录音，2000）
"Steidl plays with a quasi-improvisational flexibility in all of the works here and emphasizes the showy aspects of Mertz's style over its lyrical introspection (though the latter is not neglected). He varies his tempos to an extraordinary degree, taking risks that most conservatory-trained players of modern instruments would be too cautious to try. There are rhetorically exaggerated grand pauses, impetuous accelerandos, hushed turns inward, and even some unnotated special effects (like the rubbed strings). The result is invigorating, breathing life into works that can easily become tedious. There is not a single dull moment on the program - a remarkable achievement with this repertory."
(American Record Guide 2004)
“Steidl演奏所有的作品都具有准即兴的灵活性。与抒情、内省相比，他更强调Mertz风格炫耀的一面（当然，他不会忽略作品的抒情、内省特征）。他的节奏变化程度非凡，这样做的风险很大，绝大多数音乐学院训练有素的现代乐器演奏家都不敢如此尝试。修辞上夸张的大停顿、激烈冲动的渐快、平静的内敛转换、甚至一些无法表达的特殊效果（如擦弦声等）。结果真是令人振奋，给庸长乏味的作品注入了生命。整套节目没有沉闷的片刻，这对全部剧目来说是巨大的成功！
（美国唱片指南2004） |
|
楼主
发表于 2010-10-18 10:14
