#artist: 斯卡蒂

[animepopheart]

★ 【幽木MIX】 「 斯卡蒂 」 ☆ ✔ republished w/permission ⊳ ⊳ follow me on twitter

[harvardwang]

王羽佳

H：王羽佳是中國鋼琴家，「歷史上第一次有人在一個晚上，完成拉赫曼尼諾夫（Sergei Rachmaninoff）五部作品的演出，可謂空前絕後。」。202304

網路報導：

「中國鋼琴家王羽佳一戰成名　踩5吋高跟鞋演奏4個半鐘　指揮也拜服」這是歷史上第一次有人在一個晚上，完成拉赫曼尼諾夫（Sergei Rachmaninoff）五部作品的演出，可謂空前絕後。美國卡內基音樂廳（Carnegie Hall）內。

維基百科介紹：

王羽佳，女，北京人，中國鋼琴家。 維基百科

出生資訊： 1987 年 2 月 10 日（36歲），中國北京

父母： 翟傑明， 王建國

居住地： 美國紐約

演奏樂器： 鋼琴

王羽佳

中国钢琴家

王羽佳（英語：Yuja Wang，1987年2月10日—），女，北京人，中國鋼琴家。

快速預覽 王羽佳, 音樂家 ...



王羽佳在2021年西班牙聖塞巴斯蒂安音樂雙周（西班牙語：Quincena Musical de San Sebastián）上

生平

1987年生於中國北京的一個音樂家庭，父親王建國是打擊樂演奏家，母親翟傑明是舞蹈老師。她自六歲起習琴，後在中央音樂學院學習[1]。1999年，王羽佳作為晨間音樂橋國際音樂節（英語：Morningside Music Bridge International Music Festival）的交流生來到加拿大卡加利的皇家山學院，並隨後就讀於皇家山音樂學院，她於2001年獲首屆仙台國際音樂大賽（英語：Sendai International Music Competition）鋼琴組季軍及評委會特別獎[2]，2002年被美國柯蒂斯音樂學院錄取，師從鋼琴教育家加里·格拉夫曼。

2003年王羽佳在瑞士蘇黎世舉行了歐洲首演，和指揮大衛·辛曼與蘇黎世音樂廳管弦樂團合作演奏了貝多芬《第四鋼琴協奏曲》。2005年在加拿大渥太華，王羽佳受指揮平夏斯·祖克曼邀請，頂替臨時缺席的鋼琴家拉杜·魯普，與加拿大國家藝術中心樂團合作完成她在北美的首次演出。

2005年9月11日，王羽佳獲得2006年吉爾默年輕藝術家大獎（英語：Gilmore Artist Award）（Gilmore Young Artist Award）。該獎頒給二十三歲以下的優秀鋼琴家，獎金一萬五千美元。獲獎者可在吉爾默音樂節上演出，並會有作曲家專門為之創作一首作品。

2009年1月與德意志留聲機公司（DG）簽下五張唱片的合約。同年4月20日推出的首張個人專輯《奏鳴曲與練習曲》（Sonatas & Etudes）獲提名第52屆格林美獎古典樂最佳器樂獨奏（無管弦樂伴奏）[3]。該專輯中收錄了炫技版的莫札特「土耳其進行曲」，是為亮點。

王羽佳現居紐約，但大部分時間均於全球各地巡迴演出。自2010年以來每年演出超過一百場。

特色

王羽佳在新一代華人鋼琴家中以技巧高超著稱，演奏風格大氣而硬朗。她亦擁有與眾不同的性格，曾在其私人Facebook頁面上自稱「an egocentric, shameless prima donna...have the possibility of turning to a geisha」（自我中心、不知廉恥的傲嬌女王……有成為藝伎的潛質）。2010年5月30日在德國巴登-巴登演出結束後的記者會上，有人問「古典音樂家以外，誰對你影響最大？」王羽佳回答：「Lady Gaga」[4]。

專輯

2009年1月，王羽佳與德意志留聲機公司（DG）簽訂錄音合同。[5]

雖然有報道稱王羽佳在1995年發行了第一張CD，[6][7][8]但具體不詳。

2009：奏鳴曲與練習曲（Sonatas & Etudes）[9]

2009：門德爾松：第一鋼琴協奏曲；韋爾比耶音樂節管弦樂團（日語：ヴェルビエ祝祭管弦楽団）（庫爾特·馬蘇爾指揮） - 韋爾比耶音樂節現場錄音， 瑞士[10]

2009：普羅科菲耶夫：第三鋼琴協奏曲；琉森音樂節管弦樂團（克勞迪奧·阿巴多指揮） - 琉森音樂節現場錄音， 瑞士[11]

2010：羽化[12]（Transformation），含史特拉汶斯基、斯卡拉蒂、布拉姆斯、拉威爾等人的鋼琴作品[13]

2010：舒伯特、 舒曼、 斯克里亞賓、 普羅科菲耶夫 - 韋爾比耶音樂節現場錄音，瑞士[14]

2011：拉赫瑪尼諾夫：第二鋼琴協奏曲 & 帕格尼尼主題狂想曲；馬勒室內樂團（英語：Mahler Chamber Orchestra）（克勞迪奧·阿巴多指揮） - 費拉拉， 意大利[15]

2011：拉赫瑪尼諾夫 第二鋼琴協奏曲；韋爾比耶音樂節管弦樂團，尤里·捷米爾卡諾夫指揮 - 韋爾比耶音樂節現場錄音， 瑞士[16]

2012：幻想曲（Fantasia），含拉赫曼尼諾夫、斯卡拉蒂、舒伯特、蕭邦等人作品[17]

2014：拉赫瑪尼諾夫：第三鋼琴協奏曲 & 普羅科菲耶夫：第二鋼琴協奏曲；西蒙·玻利瓦交響樂團（古斯塔沃·杜達美指揮） - 卡拉卡斯現場錄音， 委內瑞拉[18]

2014：勃拉姆斯：小提琴奏鳴曲；小提琴：列奧尼達斯·卡瓦科斯[19]

2015：莫里斯·拉威爾：管弦樂全集；蘇黎世音樂廳管弦樂團（利昂內爾·布蘭吉耶（英語：Lionel Bringuier）指揮）[20]

2017：亞洲演出；柏林愛樂樂團，（西蒙·拉特爾指揮） - 武漢現場錄音， 中國[21]

2018：柏林獨奏會（The Berlin Recital） - 柏林，德國[22]

2018：凡爾賽宮和平音樂會；維也納愛樂樂團（弗朗茲·威爾瑟-莫斯特指揮） - 凡爾賽宮現場錄音， 法國[23]

2019：藍色時光（Blue Hour），單簧管：安德烈亞斯·奧滕塞姆（英語：Andreas Ottensamer）[24]

2019：夏夜音樂會（英語：Summer Night Concert Schönbrunn） - 格什溫：藍色狂想曲；維也納愛樂樂團（古斯塔沃·杜達美指揮） - 美泉宮夏夜音樂會現場錄音，奧地利[25]

2019：弗蘭克、 肖邦，大提琴：葛替耶爾·卡普頌[26]

2020：亞當斯：魔鬼必歌妙音耶？；洛杉磯愛樂樂團（古斯塔沃·杜達美指揮）[27]

2020：拉赫瑪尼諾夫：大提琴奏鳴曲， Op. 19（英語：Cello Sonata (Rachmaninoff)）；大提琴：林恩·哈瑞爾 - 韋爾比耶音樂節現場錄音， 瑞士，2008[28]

獎項

2006：吉爾默青年藝術家（英語：Gilmore Artist Award）

2009：留聲機年度青年藝術家

2009，2011，2018，2019：格林美獎提名[3]

2010：艾弗里·費舍職業獎（英語：Avery Fisher Career Grant）[29][30]

2011：回聲音樂古典獎青年藝術家[31]

2017：《音樂美國（英語：Musical America）》藝術家[32]

2019：留聲機獎樂器獎[33]

參考資料

[cruli]

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Being the eldest of five children, the girl was brought up in a comfortable and quiet environment of the small town. Her parents, a supervisor in an insurance company and an amateur painter sent her to Girl’s High school. However, at the age of 15 Hannah had to quit studying for the long six years to take care of her newborn sister. Only in 1912 she continued her education with Harold Bengen in School of Applied Arts, mastering glass design. As the World War I broke up Hannah returned to the native town to work in the Red Cross. The first years after war the young woman recommenced her studying, getting to know graphic arts. 1915 was highlighted by an acquaintance with an Austrian artist Raoul Hausmann, which grew into the long-lasting romantic relationship and involvement in Berlin Dada movement. For ten years till 1926 Hoch worked in Berlin’s major publisher of newspapers and magazines. Her task was to design embroidering, knitting and crocheting patterns for the booklets. Being on vacation with her beloved in 1918, Hannah discovered ‘the principle of photomontage in cut-and-paste images that soldiers sent to their families’ (National gallery of Art). This find affected greatly on her artistic production, and she created mass-media photographs comprising the elements of photomontage and handwork patterns, thus combining traditional and modern culture. Her prior preoccupation was to represent the ‘new woman’ of the Weimar Republic with new social role and The Owners freedoms. Hoch was the only woman in Berlin Dada, who took part in all kinds of events and exhibitions showcasing her socially critical works of art. Till 1931 she participated in exhibitions but with the rise of National Social regime was forbidden to present her creative work. Till her last breath in 1978 Hannah Hoch lived and worked in the outskirts of Berlin-Heiligensee. The piece of art which is going to be analyzed in this research is ‘The beautiful girl’ designed in 1919–1920. It combines the elements of technology and females. In the middle of the picture one can clearly see a woman dressed in a modern bathing suit with a light bulb on her head which probably serves as a sun umbrella. In the background a large advertisement with a woman’s hair-do on top is presented. Maud Lavin describes strange human as ‘she is part human, part machine, part commodity’ (Lavin). The woman is surrounded by the images of industrialization as tires, gears, signals and BMW logos. A woman’s profile with the cat eyes, untrusting and skeptical, in the upper right corner is eye-catching as well. This unusually large eye symbolizes DADA movement — a monocle, which is present in almost every Hoch’s work. The colour scheme does not offer rich palette of tints, including mostly black, white, orange and red pieces. The photo is surrounded by the BMW circles which add the spots of blue. An apt description of the piece is The Owners in the book ‘Cut with the Kitchen Knife’ and states that it is ‘a portrait of a modern woman defined by signs of femininity, technology, media and advertising’ (Lavin). In other words Hannah Hoch focused on the woman of the new age, free and keeping up with the fast-moving world. The artist promoted feministic ideas and from her point of view urbanization and modern technologies were meant to give hope to woman to gain equality of genders. With this photomontage she commented on how the woman was expected to combine the role of a wife and mother with the role of a worker in the industrialized world. The light bulb instead of a face shows that women were perceived as unthinking machines which do not question their position and can be turned on or off at any time at man’s will. But at the same time they were to remain attractive to satisfy men’s needs. The watch is viewed as the representation of how quickly women are to adapt to the changes. In a nutshell, Hoch concentrated on two opposite visions of the modern woman: the one from the television screens — smoking, working, wearing sexy clothes, voting and the real one who remained being a housewife. The beautiful girl’ is an example of the art within the DADA movement. An artistic and literal current began in 1916 as the reaction to World War I and spread throughout Northern America and Europe. Every single convention was challenged and bourgeois society was scandalized. The Dadaists stated that over-valuing conformity, classism and nationalism among modern cultures led to horrors of the World War I. In other words, they rejected logic and reason and turned to irrationality, chaos and nonsense. The first DADA international Fair was organized in Berlin in 1920 exposing a shocking discontentment with military and German nationalism (Dada. A five minute history). Hannah Hoch was introduced to the world of DADA by Raoul Hausman who together with Kurt Schwitters, Piet Mondrian and Hans Richter was one of the influential artists in the movement. Hoch became the only German woman who referred to DADA. She managed to follow the general Dadaist aesthetic, but at the same time she surely and steadily incorporated a feminist philosophy. Her aim was to submit female equality within the canvass of other DADA’s conceptions. Though Hannah Hoch officially was a member of the movement, she never became the true one, because men saw her only as ‘a charming and gifted amateur artist’ (Lavin). Hans Richter, an unofficial spokesperson shared his opinion about the only woman in their community in the following words: ‘the girl who produced sandwiches, beer and coffee on a limited budget’ forgetting that she was among the few members with stable income. In spite of the gender oppressions, Hannah’s desire to convey her idea was never weakened. Difficulties only strengthened her and made her an outstanding artist. A note with these return words was found among her possessions: ‘None of these men were satisfied with just an ordinary woman. But neither were they included to abandon the (conventional) male/masculine morality toward the woman. Enlightened by Freud, in protest against the older generation. . . they all desired this ‘New Woman’ and her groundbreaking will to freedom. But — they more or less brutally rejected the notion that they, too, had to adopt new attitudes. . . This led to these truly Strinbergian dramas that typified the private lives of these men’ (Maloney). Hoch’s technique was characterized by fusing male and female parts of the body or bodies of females from different epochs — a ‘traditional’ woman and ‘modern’, liberated and free of sexual stereotypes one. What’s more, combining male and female parts, the female ones were always more distinctive and vibrant, while the male ones took their place in the background. Hannah created unique works of art experimenting with paintings, collages, graphic and photography. Her women were made from bits and pieces from dolls, mannequins of brides or children as these members of the society were not considered as valuable. Today Hannah Hoch is most associated with her famous photomontage ‘Cut with the kitchen knife DADA through the last Weimer Beer-Belly Cultural epoch of Germany’ (1919–1920). This piece of art highlights social confusion during the era of Weimar Republic, oppositionists and government radicals (Grabner). In spite of never being truly accepted by the rest of her society, this woman with a quiet voice managed to speak out loud her feministic message. Looking at Hannah Hoch’s art for the first time I found it confusing, because couldn’t comprehend the meaning. It was quite obvious that every single piece and structure is a symbol of the era, its ideas and beliefs. However, after having learned about her life and constant endeavors to declare about female’s right, little by little I started to realize what’s what. As an object for research I chose ‘The beautiful girl’ as, to my mind, its theme and message intersects with the modern tendency: a successful, clever, beautiful and free woman has to become one in no time, cause the world is moving faster and faster. I enjoyed working with this artist as her example is inspiring and is worth following

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「千夜QYS3」 「@QYSThree」 「斯卡蒂~~~害羞」 「Source」

※ Not for commercial purposes. ※ Please support the artist’s artwork. ※ Date: March 5, 2020.