埃米尔.吉列尔斯（Emil Grigoryevich Gilels ）又译埃米尔.格里戈里耶维奇.吉列尔斯。苏联钢琴家，6岁时在敖德萨音乐戏剧学院师从特卡奇和林戈尔德学琴，1929年转入敖德萨音乐学院莱因巴尔德班上继续学习，1933年参加莫斯科音乐家协会举办的比赛获一等奖，1935年考取莫斯科音乐学院研究生，成为涅高兹的学生，1936年参加维也纳国际比赛获二等奖，1938年参加伊萨伊国际比赛获一等奖，1946年获斯大林奖，1955年成为战后第一位到美国演奏的苏联钢琴家，获一致好评，1961年获苏联列宁勋章，1967年法国授予他巴黎文化勋章。 个人简介 埃米尔.吉列尔斯，苏联钢琴家。1916年10月19日出生于乌克兰的奥德萨（Odessa）。6岁开始学习钢琴，13岁首次举行钢琴独奏会。1933年获全苏音乐比赛一等奖。1935年毕业于奥德萨音乐学院，随即考取莫斯科音乐学院研究生，在涅高兹（HeinrichNeuhaus）指导下继续深造。1938年获布鲁塞尔国际钢琴比赛一等奖，同年毕业并留任莫斯科音乐学院教授。1947年起在欧洲各地巡回演出，1955年成为战后第一位访问美国演出的苏联钢琴家。1959年访问伦敦演出，俱获得很高的赞誉。他还曾与小提琴家科甘（他的妹妹是科甘的妻子）、大提琴家罗斯特罗波维奇组成三重奏，进行广泛演出。1985年10月14日逝世于莫斯科。 生平轶事 吉列尔斯的天资不同于那些"普通的"国际独奏家，他是非常幸运的艺术家之一。应该说，吉莱尔斯的天资是不可逾越的。 许多年前，在BBC的一场广播音乐会上，阿图尔.鲁宾斯坦曾谈到一些钢琴家，无论他们的国籍、受训情况和气质有多么的不同，他们都是一流的。这个名单不长，也是可以预料的。其中有他自己、霍洛维茨、米凯兰杰利、李帕蒂、吉泽金、里希特和吉列尔斯。当然还会有其他的著名钢琴家，尽管这些名字能够写到一起，但他们的个性大不相同。 鲁宾斯坦认为，在这些艺术家与其他人之间有一条不可逾越的鸿沟。他曾回忆起1931年在俄罗斯音乐会巡演中，他被邀请聆听一个15岁名叫埃米尔.吉列尔斯少年的演奏。"我还记得他的演奏，好像就发生在昨天 我无法描述他的表现，我只能说，如果他去了美国，我只好卷铺盖走人。"吉列尔斯在那次幸运的场合演奏的是贝多芬的《热情奏鸣曲》和拉威尔的《水之游戏》。 鲁宾斯坦不愧是个很好的预言家，他的预言在25年之后有了结果。在50年代，这个神童就已经成为羽翼丰满的艺术家。苏联钢琴家埃米尔.吉列尔斯在美国引起了轰动，他与奥曼蒂、随后与伯恩斯坦合作，演奏的柴克夫斯基的《第一钢琴协奏曲》被《芝加哥论坛》评论员Claudia Cassidy生动地描述成"令人陶醉的俄罗斯原汁原味风格 像飞弹发射般令人惊异，如燃烧的火炬般炽热。" 哈罗尔德.勋伯格认为吉列尔斯是一位"强壮而有条理、相当真实的演奏家"。事实上，吉列尔斯也像所有的大艺术家一样，拥有许多不同面。他可能有些固执，常常很忙乱，易走极端。但他那卓越的演奏技巧令观众心动不已，给人留下的印象是镇定而内向。他的音乐处理相当富有魅力。在正式大赛上屡屡获奖的那些年中，苏联钢琴家埃米尔.吉列尔斯演奏的作品大多集中在浪漫派作曲家肖邦、舒曼和李斯特，以及柴克夫斯基、斯克里亚宾和拉赫马尼诺夫。除了他后来从维也纳古典大师的作品中吸取精华以外，他从未丧失对那些技巧艰深而令人心悸的艺术佳作的热爱，他定期演奏诸如斯美塔纳的《波尔卡》、肖邦的《变奏曲》、李斯特的《费加罗幻想曲》、阿尔贝尼斯的《Malaguena》，以及普朗克的《田园音乐会》等作品，所有的演奏都是充满热情，令不少钢琴家落下激动的眼泪。 对吉列尔斯来说，没有一件事情比音乐更重要。音乐，无论是巴赫还是拉赫马尼诺夫，莫扎特或是圣桑，他们的音乐都相当质朴。那种高傲的投机行为有违他的天性；他把音乐看成为人类不可分割的富有内涵的情感体验。作为琴键上的大师，他曾有过许多惊人之举。他会轻易地把表面上的偏执和专横化为幽默。他早期录制的圣桑的《第二协奏曲》就显示出他机警与迷人的情致，当然这张唱片中的《谐谑曲》有点混乱，终曲的进入不够准确。 在录音棚中，吉列尔斯也并不像勋伯格评价的那样，他常常出现演奏上的错误和突然的记忆空白。 Dmitri Alexeev曾说过："我们在俄罗斯的演奏有许多错误，这也算是一种特色。"错误通常无关紧要，因为它们都会在吉列尔斯迷人的演奏之下为着迷的听众而忘却。吉列尔斯演奏斯克里亚宾《第四奏鸣曲》的现场录音令人感觉他在键盘上上窜下跳，着魔般地寻找出路。还记得一次在皇家节日大厅演奏舒曼协奏曲的情景，一个淘气的小孩在终曲时的喧闹令吉列尔斯、乐队和指挥陷入困境，观众也很无奈。这两场演出令人难忘还有其他的原因。正如匈牙利小提琴家S ndor V gh所言："我宁愿欣赏大音乐家的错音，也不喜欢平庸音乐家的正确无误。" 作品评价 钢琴家吉列尔斯那富有俄罗斯风格的天衣无缝的连奏相当与众不同。从不会忘记50年代他在Bradford圣乔治大厅举办的音乐会上演奏布拉姆斯《七首钢琴作品》时发出的那种华美亮丽的声音。演出场所座无虚席，好像也有些共鸣，他的声音总是很优美，从没有粗糙过。他是在演奏而不是在敲击琴键。那么怎么样才能创造出那种"优美的雷声"？那种能引起音乐喧嚣的爆发？在一本书中，吉列尔斯多年的导师Heinrich Neuhaus称之为"高超技巧的自然之力"和"24K黄金的丰满以及从大歌唱家的声音"。吉列尔斯是最为高雅且最为抒情的演奏大师。 以下把苏联钢琴家吉列尔斯与他的同胞斯维亚托斯拉夫.里希特相提并论只是为了增加趣味性，而非像传记写作般严肃，望体谅。吉列尔斯在音乐方面很诚实、很谦虚，认为应该"把掌声留给里希特"，他把里希特称作"钢琴家警察"，觉得自己的国际声誉永远赶不上里希特。他也知道，他的老师Heinrich Neuhaus极偏爱里希特。如同霍洛维茨与鲁宾斯坦一样，吉列尔斯与里希特也是竞争对手，同时也是完全不同的艺术家，但他们两位都值得人们深深的敬重。 里希特在音乐表现方面常常由突然的狂热而进入朦胧世界，他在速度上的疯狂或是在慢乐章中的冗长沉闷，对吉列尔斯来说都是相当奇异的。从这个方面来说，吉列尔斯是比较正统的演奏家，但他绝不是中间人。音乐上的真诚就是他的特色。他没有为了迎合观众而视演奏如儿戏。 埃米尔.吉列尔斯录制的唱片非常广泛，现存的、脱销的、再版的，简直不计其数。特别要感谢Philips公司，在《20世纪大钢琴家》系列中选择了吉列尔斯的最佳作品。在这里你能够发现巴赫的《G大调法国组曲》，拉威尔精致的《托卡塔》，李斯特的《西班牙狂想曲》，被吉列尔斯扩展成5个乐章的斯特拉文斯基的《彼德鲁什卡》是Kniga的唱片（MK417072，4，93）。Music & Arts也是值得称道的公司，录制技巧和事业心都值得称赞。他们的两张唱片的内容是吉列尔斯在50年代事业顶峰时期在莫斯科举办音乐会的现场录音，展示出演奏家独特的艺术魅力。除了吉列尔斯，还没有哪位演奏家能够把舒曼演奏极少的Op.32的终曲段落作为音乐会中间的插曲。他演奏的拉赫马尼诺夫《降B大调前奏曲》中，每个音符都非常清晰。圣桑的《第二钢琴协奏曲》和拉赫马尼诺夫的《第三钢琴协奏曲》（由Testament再版）是那些把西方世界的注意力引向吉列尔斯的唱片之一，还有DG公司录制的布拉姆斯Op.116的现场演奏录音，堪与录音棚的沉着冷静相媲美。 吉列尔斯音乐迷们能够欣赏到他为RCA录制的柴可夫斯基《第一钢琴协奏曲》和布拉姆斯的《第二钢琴协奏曲》，这两部作品尽管不是最重要的录音，但很有趣味。舒伯特的《D大调奏鸣曲》D850（RCA）也是被称作"权威演奏"的第一批在美国录制的作品之一，展现出吉列尔斯高超的技艺。Olympia再版的卡巴列夫斯基的《第三钢琴协奏曲》中，吉列尔斯在演奏中展示了超绝技巧，融才智与魅力与一体。 吉列尔斯晚期的录音包括大部分的贝多芬奏鸣曲（他去世时没有完成全部作品的录制）。正如一位作家所言，他的情绪非常平和，有时接近冷静。总之，他取得了许多辉煌的成就，最著名的是《楔槌琴奏鸣曲》的演奏，他的天资与能力使他有机会登顶钢琴的最高峰--在皇家节日大厅举办的独奏音乐会。 吉列尔斯为DG公司录制的格里格的《抒情小品》表现出他对"新世界的亲切感受"，为DG录制的肖邦的《第三奏鸣曲》中的第二主题展示了两个旋律间的冲突与和谐，肖斯塔克维奇《第二奏鸣曲》（RCA）与《前奏曲与赋格》的选曲（Testament）也包括在他最优秀的录音之列。近期BBC发行了1959年吉列尔斯演奏舒曼《第一奏鸣曲》的广播录音，这样的曲目还有不少。 个人评价 要讨论吉列尔斯的演奏艺术不可能不涉及到他最喜欢的作品《巴赫-西罗蒂B小调前奏曲》。吉列尔斯是为艺术而生活着的。像许多俄罗斯人一样，他比较喜欢巴赫的作品，他把《前奏曲》演奏得"像是浪漫主义的告别词"，成为他与耶稣基督联系的纽带。他的观众寄希望于他，而他也极少令他们失望，他创造出了一个富有个性与热情的俄罗斯人的形象（其中的西罗蒂要多于巴赫）。 吉列尔斯在1985年69岁时因心脏病发作突然去世，人类丧失了一位杰出的有思想且做出很大贡献的音乐家。很少有钢琴家像他那样坚定地忠诚于自己的艺术并取得了如此迷人的成果。 艺术风格 吉列尔斯的演奏柔和明亮、表情细致，与里希特并誉为俄罗斯钢琴学派的传人。吉列尔斯的演奏特色是"钢铁般的触键"，由此而形成幅度与力度。吉列尔斯演奏的贝多芬钢琴奏鸣曲在力度变化上被认为是施纳贝尔之后的最好选择，他与约夫姆和柏林爱乐乐团合作的布拉姆斯两首协奏曲也已成为该曲目的首选经典。可惜他的贝多芬协奏曲与柴科夫斯基协奏曲没有留下很出色的录音。 (百度百科) ==================================== Emil Grigoryevich Gilels (Ukrainian: Еміль Григорович Гілельс, Russian: Эмиль Григорьевич Гилельс, Emiľ Grigoriević Gileľs; October 19, 1916 – October 14, 1985) was a Soviet pianist. He is widely considered one of the greatest pianists of the twentieth century. His last name is sometimes transliterated as "Hilels". Biography Gilels was born in Odessa, Russian Empire (now part of Ukraine) to a Jewish family with no direct musical background that nevertheless owned a piano. He began studying the piano at the age of five under Yakov Tkach, who was a student of the French pianists Raoul Pugno and Alexander Villoing. Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Fr d ric Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique. Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann. In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence. Also in Odessa Conservatory Gilels studied special harmony and polyphony with professor Mykola Vilinsky. After graduating from the Odessa Conservatory in 1935, he moved to Moscow where he studied under Heinrich Neuhaus until 1937. Neuhaus was a student of Leopold Godowsky and had had lessons with Aleksander Michałowski, who had studied with Carl Mikuli, Chopin's student, assistant and editor. A year later he was awarded first prize at the 1938 Ysa e International Festival in Brussels by a distinguished jury whose members included Arthur Rubinstein, Samuil Feinberg, Emil von Sauer, Ignaz Friedman, Walter Gieseking, Robert Casadesus, and Arthur Bliss. His winning performances were of both volumes of the Brahms Paganini Variations, and the Liszt-Busoni Fantasie on Two Motives from Mozart's "Marriage of Figaro". The other competitors included Moura Lympany in second place, and Arturo Benedetti Michelangeli in seventh place. Following his triumph at Brussels, a scheduled American debut at the 1939 New York World's Fair was aborted because of the outbreak of the Second World War. During the War, Gilels entertained Soviet troops with morale-boosting open-air recitals on the frontline, of which film archive footage exists. In 1945, he formed a chamber music trio with the violinist Leonid Kogan (his brother-in-law) and the cellist Mstislav Rostropovich. Gilels was awarded the Stalin Prize in 1946. Gilels had a stable and happy family life, marrying Fariset (Lala) Hutsistova, a graduate of Moscow Conservatoire, in 1947 and he lived with her all his life. They had a daughter, Elena, a pianist who graduated from Flier's class at the Moscow Conservatoire, and who performed and recorded with her father. After the war, he toured the Soviet Bloc countries of Eastern Europe as a soloist. He also gave two-piano recitals with Yakov Flier, as well as concerts with his violinist sister, Elizaveta. Gilels was one of the first Soviet artists, along with David Oistrakh, allowed to travel and concertize in the West. His delayed American debut in 1955 playing Tchaikovsky's Piano Concerto No. 1 in Philadelphia with Eugene Ormandy was a great success. His British debut in 1959 met with similar acclaim. In 1952, he became a professor at the Moscow Conservatory, where his students included Valery Afanassiev, Marina Goglidze-Mdivani and Felix Gottlieb. As chair of the jury of the International Tchaikovsky Competition at the sensational inaugural event in 1958, he awarded first prize to Van Cliburn. He presided over the competition for many years. Gilels made his Salzburg Festival debut in 1969 with a piano recital of Weber, Prokofiev and Beethoven at the Mozarteum, followed by a performance of Beethoven's Third Piano Concerto with George Szell and the Vienna Philharmonic Orchestra. Although paraded the world over as a Soviet loyalist, Gilels would occasionally confide his torments under the system to sympathetic fellow-artists . In 1981, he suffered a heart attack after a recital at the Concertgebouw in Amsterdam, and suffered declining health thereafter. He died unexpectedly during a medical checkup in Moscow on 14 October 1985, only a few days before his 69th birthday. Sviatoslav Richter, who knew Gilels well and was a fellow-student in the class of Heinrich Neuhaus at the Moscow Conservatory, believed that Gilels was killed accidentally when a drug was wrongly injected during a routine checkup, at the Kremlin hospital. However, Danish composer and writer Karl Aage Rasmussen, in his biography of Richter, denies this possibility and contends that it was just a false rumour. Notable repertoire and assessment Gilels is universally admired for his superb technical control and burnished tone. He had an extensive repertoire, from baroque to late Romantic and 20th century classical composers. His interpretations of the central German-Austrian classics formed the core of his repertoire, in particular Beethoven, Brahms, and Schumann; but he was equally illuminative with Scarlatti and 20th-century composers such as Debussy, Rachmaninoff, and Prokofiev. His Liszt was also first-class, and his recordings of the Hungarian Rhapsody No. 9 and the Sonata in B minor have acquired classic status in some circles. Gilels premiered Prokofiev's 8th Piano Sonata, dedicated to Mira Mendelssohn, on December 30, 1944, in the Great Hall of the Moscow Conservatory. He was in the midst of completing a recording cycle of Beethoven's piano sonatas for the German record company Deutsche Grammophon when he died. His recording of the "Hammerklavier" Sonata received a Gramophone Award in 1984. Gilels recorded with his daughter Elena Gilels, including Mozart's double piano concerto with Karl B hm and the Vienna Philharmonic and Schubert's Fantasie in F minor for piano duet. He also made some outstanding chamber recordings with the violinist Leonid Kogan and the cellist Mstislav Rostropovich. Prizes, awards and honors Soviet Union ■ 1st Prize, All-Soviet Union Piano Competition, 1933 ■ 2nd Prize, Vienna International Piano Competition, 1936 ■ 1st Prize, Concours Eug ne Ysa e, Brussels, 1938 ■ Stalin Prize, USSR, 1946 ■ People's Artist of the USSR, 1954 ■ Three Orders of Lenin, USSR, including 1961 ■ Lenin Prize, 1962 ■ Hero of Socialist Labour ■ Order of the Red Banner of Labour ■ Order of the Friendship of Peoples ■ Order of the Badge of Honour Foreign ■ Order of Commandeur M rite Culturel et Artistique de Paris, 1967 ■ Gold Medal of the City of Paris, France ■ Order of Leopold (Belgium) ■ Honorary Member, Accademia Nazionale di Santa Cecilia, Rome ■ Honorary Member, Royal Academy of Music, London ■ Honorary Professor, Franz Liszt Academy of Music, Budapest Discography highlights ■ 1935 - Liszt: Fantasia on Themes from Mozart's Marriage of Figaro. ■ 1951 - Liszt: Hungarian Rhapsody No. 9. ■ 1954 - Saint-Sa ns: Piano Concerto No. 2 in G minor, Op. 22 (cond. Cluytens) (Live). ■ 1954 - Medtner: Piano Sonata No. 5 in G Minor, Op. 22. ■ 1955 - Rachmaninoff: Piano Concerto No. 3 in D minor, Op. 30 (cond. Cluytens). ■ 1958 - Brahms: Piano Concerto No. 2 in B flat major, Op. 83 (cond. Reiner). ■ 1957 - Beethoven: Piano Concerto No. 4 (cond. Ludwig). ■ 1957 - Scriabin: Piano Sonata No. 4 in F sharp major, Op. 30 (Live). ■ 1957 - Weinberg: Piano Sonata No. 4 in B Minor. ■ 1961 - Prelude in B minor (J. S. Bach, arranged Siloti) (Live) (Moscow) ■ 1968 - Medtner: Piano Sonata No. 10 in A minor, Op. 38 No. 1. ("Sonata Reminiscenza") (Live) (Moscow) ■ 1968 - Liszt: Rhapsodie espagnole (Live) (Leningrad) ■ 1971 - Brahms: Piano Concerto No. 2 in B flat major, Op. 83 (cond. Mario Rossi) (K ln) (Live). ■ 1972 - Tchaikovsky: Piano Concerto No. 2 in G major, Op. 44 (cond. Maazel). ■ 1972 - Brahms: Piano Concerto No. 1 in D minor, Op. 15 and Piano Concerto No. 2 in B flat major, Op. 83 (cond. Jochum). ■ 1973 - Beethoven: Piano Sonata No. 23 in F minor, Op. 57 Appassionata. ■ 1973 - Debussy: Images, Book 1 (Live). ■ 1973 - Mozart: Piano Concerto No. 27 in B flat major, K595 (cond. Boehm). ■ 1974 - Grieg: Lyric Pieces. ■ 1974 - Prokofiev: Sonata No. 3 in a minor, Op. 28 (K ln) (Live). ■ 1974 - Prokofiev: Sonata No. 8 in B flat major, Op. 84. ■ 1976 - Schubert: Forellenquintett ("Trout Quintet") Quintet for Piano, Violin, Violoncello, and Contrabass in A major D667 (with Amadeus Quartet) ■ 1977 - Rachmaninoff, Prelude in C-sharp minor Op. 3 No. 2 (Live) (Moscow) ■ 1978 - Chopin: Piano Sonata No. 3 in B minor, Op. 58. ■ 1982 - Beethoven: Piano Sonata No. 29 in B flat major, Op. 106 Hammerklavier (Berlin) ■ 1984 - Beethoven: Piano Sonata No. 29 in B flat major, Op. 106 Hammerklavier (Live) (Moscow) ■ 1984 - Scriabin: Third Sonata (Live) (Moscow) ==================================== by Joseph Stevenson Emil Gilels was one of the great pianists of history. He was a master of a wide repertory from the time of Bach to his own era, and one of the first pianists to adopt a modern, more objective style of playing and interpreting music. His family was musical; his sister Elizaveta had a national reputation as a solo and chamber violinist, and married fellow violinist Leonid Kogan. Emil entered the Odessa Institute of Music and Drama in 1922 to study with Yakov Tkatch and Berthe Ringold. Following a successful debut as a child prodigy in 1929, he transferred to study with Reingbald at Odessa Conservatory. (Some biographies confuse Ringold and Reingbald.) In 1933 he won the first All Union Musicians' Contests, initiating its rapid rise to become the leading musical performance competition in the U.S.S.R. Even with this success, he carefully continued his education, remaining at Odessa Conservatory until he graduated in 1935. After that he continued his studies as a graduate student at the Moscow Conservatory with Heinrich Neuhaus. In 1938 he took another prestigious first prize at the Ysa e International Festival in Brussels. In the same year he was engaged as a teacher at Moscow Conservatory. He planned to launch his international career in 1939, beginning with a visit to the New York World's Fair, but the outbreak of World War II in Europe prevented his travel. During the war he was evacuated to the East in 1941 when the German armies reached the outskirts of Moscow. He resumed his career in 1946, and soon won the Stalin Prize. He finally made his first appearance outside the Soviet Union in 1947, when he visited several European cities, but frigid diplomatic relations between Washington and Moscow prevented his appearance in the United States until 1955, when he became the first prominent Soviet performing artist to play a concert there on October 3, with the Tchaikovsky First Piano Concerto in Philadelphia, Eugene Ormandy conducting. The resulting storm of acclaim led to his returning to the U.S. 13 more times. He debuted in England in 1959 to similar success. He became known for his refined yet powerful performances of great concentration and attention to the inner logic of the music. He was noted for his performances of Bach, Beethoven, Schubert, Schumann, Chopin, Liszt, Tchaikovsky, Brahms, and Shostakovich. He made numerous recordings, both for the Soviet state recording agencies (many of which are reappearing in improved sound on compact disc) and on Western labels. He was a two-time recipient the Order of Lenin. (更多)
| 中文名 | emil gilels |
|---|---|
| 出生日期 | 1916-10-19 |
| 原始名称 | Emil Gilels |
| 名称 | emil gilels |
| 唱片公司 | archipel cd |
| 国籍 | 俄罗斯 |
| 地区 | 欧美 |
| 外文名 | 演员1916-10-19 |
| 年龄 | 68 |
| 所属公司 | archipel cd |
| 星座 | 天秤 |
| 类似歌手 | 相似艺人 |
| 身份 | 演员 |
| 逝世日期 | 1985-10-14 |
johannes brahms:piano concerto no.2 in b flat, op.83 - 3. andante - più adagio