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如果要评选当今国际乐坛10位最伟大的钢琴家，毛里奇奥·波利尼（Maurizio Pollini）一定榜上有名。父亲是意大利著名建筑师，也是一位音乐素养颇高的出色小提琴手；母亲是一位业余歌唱家。
波利尼5岁起跟随卡罗·罗纳蒂学习钢琴，9岁在米兰举行了第一场个人独奏音乐会，被誉为音乐神童。进入米兰音乐学院之后，拜著名教授卡罗·维德索为师。
波利尼1957年在米兰举办的一场音乐会上演奏肖邦的练习曲，引起关注。翌年，15岁的波利尼参加日内瓦国际钢琴比赛，获得了第二名，当年第一名是马塔阿格里奇。1959年波利尼以优异的成绩毕业，1960年参加了第六届肖邦国际钢琴大赛，在参赛的89名选手中，波利尼年龄最小。面对高手云集的肖邦大赛，波利尼以其出类拔萃的演奏荣获第一名。对此，比赛评委主席——钢琴大师阿瑟·鲁宾斯坦无比感慨地说道：“如果论技术，真不知我们在座的评委中有谁能弹得比他还好。”
波利尼籍此声名鹊起，世界各地的邀约纷至沓来，获奖同一年，他开始在欧美各国巡演。巡演中结识了一些世界著名的音乐大师，如卡尔·伯姆、卡拉扬、科林·戴维斯等，在与意大利指挥家克劳迪奥·阿巴多的合作中，阿巴多对他的演奏进行了深入的分析，使其受益匪浅。随即波利尼决定要淡出舞台、潜心苦练——退隐8年，多方求教，并拜在著名钢琴大师米凯朗基利门下重新学习手指触键等技法
重返舞台的波利尼，演奏技艺达到了一个更高的层次，演奏曲目大大拓宽。1968年在伦敦伊丽莎白音乐厅演奏肖邦《24首前奏曲》轰动英国，大有中国武侠重出江湖、扫平天下之势。《经济时报》评论家说：“这是我平生听到的最伟大的演出。波利尼在隐退8年的刻苦训练中，技巧已炉火纯青。他的音乐不再是一面体现个性的镜子，而是一把能击中人心的利剑。”波利尼从此跻身于国际顶尖钢琴演奏家的行列之中。此次参加北京国际音乐节是他首度来华。
According to Carl Czerny’s memoirs, in 1803 (or, more probably, 1802) Beethoven supposedly said, “I am only a little satisfied with my works so far. From now on, I want to take a new path.” Czerny noted that the results of this resolution were at least “partially” discernible in the three sonatas that make up the composer’s Opus 31, written in 1802 and published a year later. Although there is already considerable evidence of a new path in the Sonatas opp. 26 and 27, the origins of Op. 31 lie in a period of personal distress (the “Heiligenstadt Testament” dates from October 1802) and intense musical experimentation. It is interesting nevertheless that Czerny should make specific reference to the Op. 31 sonatas as a group, and not just to the second and most famous of the three, the D minor. This was the last time Beethoven would publish a set of three sonatas, and the persity within Op. 31 is even more noticeable than had been the case with Op. 2 or Op. 10. The opening bars of each sonata contain some kind of surprise, alerting us to the fact that we are being led into new worlds, each different from the one before. Of the three works, only the second corresponds to the popular image of Beethoven, and yet even the scale and extraordinary originality of the D minor Sonata do not eclipse the other aspects of his genius revealed by the first and third sonatas of Op. 31. In the Sonata in G major op. 31 no. 1 Beethoven’s creativity makes an instant impact, full of inspiration and energy, as he catches listeners off-guard with an upbeat to the chord in the left hand – this creates a syncopated effect that goes on to play a prominent role shortly afterwards. An eleven-bar theme is launched, beginning almost like a straightforward conclusive formula, but continuing with syncopated chords. The eleven bars are repeated immediately one tone lower, in the key of F major. A rapid crescendo leads us back into G major, and then into the second theme, in B major (a third higher, an unusual tonal relationship for sonata form). This breaks in with a playful and carefree attitude: note the syncopation at the start and the rapid switch into the minor. The development is built on materials borrowed from the first theme and powerfully intensifies the tension that characterizes this ingenious first movement, right up to its surprising coda.
曲目列表：
Piano Sonata No. 16 in G major op. 31 no. 1 G-dur · en sol majeur · in sol maggiore
A 1. Allegro vivace 5:51
B 2. Adagio grazioso 8:52
C 3. Rondo. Allegretto 5:21
Piano Sonata No. 17 in D minor op. 31 no. 2 d-moll · en ré mineur · in re minore
D 1. Largo – Allegro 7:59
E 2. Adagio 7:12
F 3. Allegretto 5:55
Piano Sonata No. 18 in E flat major op. 31 no. 3 Es-dur · en mi bémol majeur · in mi bemolle maggiore
G 1. Allegro 7:18
H 2. Scherzo. Allegretto vivace 4:41
I 3. Menuetto. Moderato e grazioso 3:45
J 4. Presto con fuoco 4:14
Piano Sonata No. 19 in G minor op. 49 no. 1 g-moll · en sol mineur · in sol minore
K 1. Andante 3:56
L 2. Rondo. Allegro 3:00
Piano Sonata No. 20 in G major op. 49 no. 2 G-dur · en sol majeur · in sol maggiore
M 1. Allegro, ma non troppo 4:05
N 2. Tempo di Menuetto 3:03
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发表于 2020-1-19 16:58:47
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