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| 伊夫利·吉特里斯(Ivry Gitlis，1922-2020） | ||||||||||||||||||||||||
伊夫利·吉特里斯(Ivry Gitlis)帕格尼尼《钟》 |
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| 伊夫利·吉特里斯(Ivry Gitlis)，以色列小提琴家。第二次世界大战时困居英国，战后在英国各地演奏赢得声誉。1951年参加在巴黎举行的“蒂博国际小提琴竞赛会”荣获首奖，以后经常在巴黎演出，并先后将帕格尼尼、柴可夫斯基、贝尔格、欣德米特、斯特拉文斯基的小提琴协奏曲录了唱片。Gitlis一向以其幽默博得不少Fans，目前，市面上他的录音不多，每张都被Fans视为珍宝。 | ||||||||||||||||||||||||
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音乐历史上的今天
1922年8月22日,以色列小提琴家：吉特利斯(Gitlis，Lvry)诞生于海法。
1933年，他与母亲一起到达巴黎。 不久之后，他被介绍给法国的小提琴界的两个大牌人物乔治·埃内斯库和雅克·蒂博。
他于1935年毕业于巴黎音乐学院。1938年至1940年间，他与另一位伟大的教育家小提琴家卡尔·弗莱希（Carl Flesch）一起学习。
伊夫利·吉特里斯（Ivry Gitlis）2020年12月24日，于巴黎的家中去世，享年98岁。 |
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| 童年的伊夫利·吉特里斯(Ivry Gitlis，1922-） | ||||||||||||||||||||||||
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伊夫利·吉特里斯(Ivry
Gitlis)，以色列小提琴家。第二次世界大战时困居英国，战后在英国各地演奏赢得声誉。1951年参加在巴黎举行的“蒂博国际小提琴竞赛会”荣获首奖，以后经常在巴黎演出，并先后将帕格尼尼、柴可夫斯基、贝尔格、欣德米特、斯特拉文斯基的小提琴协奏曲录了唱片。Gitlis一向以其幽默博得不少Fans，目前，市面上他的录音不多，每张都被Fans视为珍宝。 1922年8月22日生于海法。5岁开始学琴，早年的教师是卡密。10岁时得到胡贝尔曼的赏识和帮助，去巴黎音乐学院从步彻列学习，13岁毕业获第一奖；以后又曾先后从埃内斯库、蒂博、弗莱什诸名家进修。1939年，17岁的Gitlis开始演奏家的生涯。60岁至今定居法国。 |
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| 伊夫利·吉特里斯(Ivry Gitlis，1922-） | ||||||||||||||||||||||||
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Jenny
(Lind 1820-1887) was a Swedish opera singer, often referred to
as the Swedish Nightingale.One of the most acclaimed female
singers of the 19th century, she was a soprano in opera in
Sweden and throughout Europe, and in 1850 began her concert tour
in the United States to great effect.She has been a member of
the Royal Swedish Academy of Music since 1840. Linde rose to fame after performing in DerFreischutz, Sweden, in 1838.Within a few years, her voice was damaged, but singing teacher ManuelGarcia helped him recover it.In the 1840s, she was highly respected in Sweden and throughout Northern Europe in opera, and was closely associated with Felix Mendelssohn.After two famous seasons in London, she announced her retirement from opera at the age of 29. In 1850, Lind went to the United States at the invitation of the entertainer P. T. Barnum.She gave 93 major concerts and then went on tour under her own management.She earned more than $350,000 from the concerts, which she donated to charities, mainly free schools in Sweden.In 1852, she returned to Europe with her new husband, Otto Goldschmidt, where she had three children, gave occasional concerts for the next two decades, and settled in England in 1855.From 1882, she was a professor of vocal music at the Royal College of Music in London for several years. Today we can hear pavarotti, Callas and others wonderful singing, fully benefit from the rapid development of science and technology, we thank God for the food, but also thank God for the new technology of human beings, otherwise we would only enter the treasure mountain and return empty-handed.In the mid-19th century, when Jenny Lind's career was at its best, there was no recording or video technology, so today we have belica Ferguson's video of the Swedish Nightingale, in which belica's natural voice completely takes the place of my own. |
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| 伊夫利·吉特里斯(Ivry Gitlis，） | ||||||||||||||||||||||||
| 他应著名约翰·列侬（John Lennon）的同伴小野洋子（Yoko Ono）的邀请参加音乐会/电影《滚石摇滚马戏团》。 与John Lennon和滚石乐队的成员一起私人存在。 | ||||||||||||||||||||||||
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| 从这款DVD中，我们欣赏到的是吉特利斯演录的“纯古典”作品选，包含了1962年至1973年间的几次演录。开篇之作是柴科夫斯基的《D大调小提琴协奏曲》，时间是1965年6月13日，地点在巴黎。吉特利斯给人的第一印象是风度翩翩，整个演奏中，不时闭着眼睛、面带微笑，非常大度、自信，其仪容和风度，有点像米尔斯坦。碟中时常有特写镜头捕捉到他手指和运弓的画面，让我们对这位小提琴家精湛的琴技和极佳的乐感有了很直观的的感受。碟中最早的演录是1962年6月5日在巴黎演出，包括勃拉姆斯的《D小调第三小提琴奏鸣曲》（Op.108）、巴托克的《小提琴奏鸣曲》（Sz117）、埃尔加的小品《随想》和维尼亚夫斯基的《D大调第一号华丽波罗乃兹舞曲》（即“光辉波罗乃兹”）。由于时隔久远，这几部作品的画质效果在总体上只能说差强人意，图像较模糊，即使近镜头也没有令人满意的清晰度，令人遗憾。好在，1971年演录的圣桑《引子与回旋随想曲》、1973年8月21日演录的莫什科夫斯基／萨拉萨蒂的《吉他》、阿尔贝尼兹／克莱斯勒的《马拉奎纳》，整个影音效果还算过得去。另外，影碟附加节目是伊夫里·吉特利斯最拿手的帕格尼尼《B小调第二小提琴协奏曲》。吉特利斯与斯坦尼斯拉夫·维斯沃茨基（Stanislaw Wislocki）棒下的华沙国家爱乐乐团配合默契，立体声音效更是将演录现场气氛烘托得热烈火爆。此曲画面上隐去了乐团，只露出吉特利斯的近距离“献艺”，更突显出这位演奏家的独特风采。 | ||||||||||||||||||||||||
| Giuseppe From this DVD, we can enjoy a selection of Gitellis' "Pure Classic" recordings, which include several performances recorded between 1962 and 1973.It opens with Tchaikovsky's Violin Concerto in D Major in Paris on June 13, 1965.The first impression of Gitellis was one of grace. Throughout the performance he kept his eyes closed and smiled. He was very generous and confident, a little like Milstein in appearance and manner.Close-up shots often capture his fingers and bow, giving us an intuitive sense of the violinist's exquisite skill and musical sense.Dish is one of the earliest recorded in the June 5, 1962 in Paris, including the Brahms violin sonata in D minor third "(Op. 108), bartok violin sonata (Sz117), elgar's essay" thoughts "and Slovenia, the no. 1 in D major, luxuriant and polonaises" (that is, the "glorious polonaise").Due to the distance, the picture quality of these works in general can only be said to be unsatisfactory, the image is blurry, even the close-up lens does not have satisfactory clarity, which is regrettable.Fortunately, the audio and video effects of The 1971 recording of SAN SAN's "The Introduction and the Rondo", on August 21, 1973 recording of Mosshkowski/Salasati's "Guitar" and Albeniz/Chrysler's "Malaquina" are still fairly good.In addition, the DVD add-on is The paganini Violin Concerto No. 2 in B Minor, by Ivrey Gitellis.Kitelis worked well with The Warsaw National Philharmonic under Stanislaw Wislocki, and the stereo sound set the scene alightfully.In this music, the orchestra is hidden from the scene, only showing gitellis' close "performance", which highlights the unique style of the performer. | ||||||||||||||||||||||||
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| 已经步入老年的伊夫利·吉特里斯(Ivry Gitlis，） 终于抱得美人归。 | ||||||||||||||||||||||||
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Today in the
history of music On August 22, 1922, Israeli violinist Gitlis (Lvry) was born in Haifa. Among the world's most famous violinists, there is one whose name may not be too loud or even familiar to the Chinese Philharmonic.He was Ivry Gitlis, born in Haifa, Israel, in 1922. His parents were Russian-Jewish, his mother was a vocalist, and his grandfather was a conductor, so music was in his blood.At the age of 10, he was highly praised by the master Hubermann on a performance occasion, so he recommended him to the Paris Conservatory of Music for further study.But Gitellis, by nature a very competitive man, chose the "shortcut" approach of being a direct disciple of the master.He successively learned the violin from masters such as Enescu, Tebow and Fleish, and his skills doubled, which is rare in the history of violin masters and their inheritance.During World War II, Gitellis gave many concerts in the army.In 1951 he finished fifth in the Long Tibbo in France, but he was still popular.Gittallis had the amazing skill of the Jewish players, and in addition to the classical works, he also played the works of the modern masters, such as Sibelius, Bartok and Berg's concerto.But Not content with the classical music genre, Mr. Gittelis even appeared in films by the French director Francois Truffaut, in rock concerts by the likes of Rolling Stone and John Lennon, and in television shows, suggesting that he was open-minded and unafraid to explore. In 1933, he arrived in Paris with his mother.Soon after, he was introduced to two of France's biggest violinists, Georges Enescu and Jacques Thibault.He graduated from the Paris Conservatory in 1935.From 1938 to 1940, he studied with Carl Flesch, another great educator and violinist. During The Second World War, he went to London, first working in a war material factory.Later, it was incorporated into the British Army's Artists Corps.He gave many concerts at the factory for allied soldiers.After the war, he began his career as a violinist in concerts with the London Philharmonic.He later played with the BBC orchestra and all the major British orchestras. Six years after the fall of Hitler, The Jews still turned their back on France, but in 1951, Ivry Gitlis made his Paris debut at the iconic Salle Gaveau recital. A year later, he moved to the United States to live with Jascha Heifetz, one of the greatest violinists of all time.In the United States, he toured several times with some of the most prestigious orchestras, including the Philadelphia Orchestra and the New York Philharmonic. He returned to Europe in 1954.He recorded major concerts for the violin and orchestra: Berg, Tchaikovsky, Mendelssohn, Stravinsky, Bruch, Bartok and Sibelius.His recording of "The Alban Berg Concert" was one of the greatest achievements of the recording industry that year, the Disque Grand Prix.In 1955, recordings of his second concert at Bartok were named album of the Year by the New York Herald Tribune. During his career, he used the 1737 Stradivari 'Chant du Cygne' (swan song), 'Ysaye' Guarnerius del Gesu '(Isai of Jesus Guannelli), and now owns a 1713 Stradivari violin called' Sancy '. Today's videos: 1. The Clock by Ivry Gitlis;2. 19 Greatest Skits of all time [Ivry Gitlis] |
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| 伊夫利·吉特里斯2017年的北京之旅 | ||||||||||||||||||||||||
| 风和日丽的北京迎来了一个绒绒银发，飘然欲仙般的伟大的小提琴家，他就是我们非常熟悉的、上个世纪和海菲茨、梅纽因、奥伊斯拉赫同时代的小提琴家伊弗利·吉特里斯（Ivry Gitlis），2017年6月3日，现年95岁高龄的吉特里斯先生，在中央音乐学院举办了一场别开生面的大师课，虽然课已过数日，但直至今日，吉特里斯效应一直在发酵，越来越多的信息和图片从四面八方滚滚而来，令人耳目一新。在所有老一辈小提琴演奏大师们纷纷作古的今天，吉特里斯也许是现今仅存的世界音乐文化的珍宝级别的财富了，没有之一！用吉特里斯的话来说：我可能是今天和那个时代唯一的纽带！吉特里斯先生不辞辛苦不远万里来到中国，来到北京，其 意义之重大不亚于当年斯特恩先生的破冰之旅，刚刚看过斯特恩先生拥抱坐在轮椅上的李大爷的照片，怀仁之心意犹未尽，吉特里斯先生就来到了北京，正所谓斯特恩为中国的改革开放的文化交流open the window开个好头，吉特里斯作为最后一位大师收个好尾，但我们的使命远远没有结束，一带一路正方兴未艾。包括去年95岁高龄的勋菲尔德国际弦乐比赛创始人爱丽丝.勋菲尔德先生来到哈尔滨参加在哈尔滨举办的2016勋菲尔德国际弦乐比赛，这些为艺术献身的大艺术家们在有生之年的造访中国，如此牛逼的大艺术家都频频造访中国是为什么？芸芸众生为财而来，难道他们也是为钱吗？NO!他们都是看中了中国下一代英年才俊，正如当年梅纽因先生预言的那样，下个世纪世界小提琴音乐的未来属于中国 。前天，俞潞-小泽征尔最得意的门生，中国28岁以下最著名的指挥家指挥中国少交成功地演奏了马勒第一交响乐后说，当今你们是整个地球上16岁以下天才少年（中央音乐学院附中少年交响乐团平均年龄是16岁）首屈一指的最棒的。他们的造访都将成为一段美好的回忆载入国际文化交流的史册。今天吉特里斯先生为我们授业解惑，我们不仅有幸能看到耳聪目明、慈爱的世界钻石级的人物，并且还能不断的聆听他和我们之间的亲切交流，这完全是我辈之幸运。看过《小提琴艺术》纪录片的朋友，都应该不会忘记一个年轻的吉特里斯演奏的风采，也不会忘记一个老态龙钟但精神矍铄的老人在滔滔不绝地叙述着他的心得，没想到20多年后我们又在中国首都北京见到了他的身影，在小提琴艺术中他侃侃而谈的形象给我留下了极深刻的印象，如果没有切身的体验怎能如此投入如此陶醉。今天先生老当益壮还不厌其烦地给我们传递着大量有价值的东西，令人感动之极。在大师课上，一个学生演奏了贝多芬小提琴协奏曲，他没有说教、没有评头品足，而是让学生坐下来，我们好好谈谈人生！是的，贝多芬的音乐就是人生的感悟，贝多芬所写的每一个音符都是心灵的歌唱。说的多好啊！然而，先生所奏所言每一个音符每一句话，无一例外都是人生的感悟和心灵的歌唱，令人思绪万千、辗转反侧。可见先生头脑是多么的清晰，他的身体是多么健硕，这完全是上帝的旨意，让我们感谢上帝吧 ！因为文化交流的使命远远没有结束，愿吉特里斯明年再次造访中国，愿吉特里斯先生福如东海寿比南山！阿门！ | ||||||||||||||||||||||||
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下面把吉特里斯先生在大师课以及下面搜集的豪言壮语和图片发在这里，供大家交流和赏析： 我可能是今天和那个时代唯一的纽带！ 一天从早到晚，太阳升起到落下，没有一秒的光是一样的。 力度的变化不是一个量的问题。 我有一个很好的朋友，听说还挺有名，他叫海菲兹。他对我非常的好，我们一起拉五重奏，我还记得最后与他见面的两个下午，告别的时候他拍拍我的肩膀。我现在想起来都想哭。 你会教吗？哦，你不会教，你真的明白为什么你能拉这么好吗？ 我们那个年代世界上只有两三个大的比赛，真的是非同一般的。今天比赛泛滥，很多人只能靠比赛来打开自己的事业。这对于今天的音乐世界真的是一个灾难。 有一次大卫•奥伊斯特拉赫来巴黎，我在家为他举行了一个欢迎party。结束后我送他回酒店，他突然说: 伊弗利，我能开车吗？我说当然啊。于是他开着车，你知道60年代的老式汽车，嘟嘟嘟，他一边按着喇叭，开的很慢，灯光下我近处看他，哦，天哪，他胖的像个孩子。 米尔斯坦什么性格？Dorable！以前在巴黎，我们晚上经常在一块拉琴，互相拉给对方听，他从来不用同样的指法。 |
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Always surprise ourself. 天壤之别，只在一瞬之间。 你，音乐，贝多芬(作曲家)，小提琴，足够了。 最好的风格就是，一听——这就是你。 我们生活在的世界是不自由的，只有音乐可以自由的表达任何你想表达的一切。 巴赫也是人，我们经常把他当做神一样来看待，你能想象他一个人座在那里写出了所有的音。但他有23个孩子，还离过两次婚，他也是凡人。所以演奏巴赫也需要浪漫。内在的浪漫。 中国没有意识到这些年轻音乐家的意义，你们生活在这里，你们意识不到，我从外面的世界来，我告诉你他们可以是有代表性的。二战以后，西方都以为苏联每个人都是大鼻子红头发的怪物，当奥伊斯特拉赫和里赫特两位第一批访问西方的音乐家在美国演出后，改变了整个美国人对苏联认识的氛围。今天中国突然一下各个方面都非常成功，成为下一个supper power。但你们没有意识到这些年轻音乐家的意义和代表性。 当你在演奏一首作品的时候，你要允许自己爱上这部作品。而且每一次爱的感觉是不一样的。 不是我去找节奏，是节奏找我。 你演奏一个作品，要尽可能的感觉这部作品就是专门为你写的。 |
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我们很幸运，我们是音乐家。，音乐帮我们打开了一扇门，这一扇门或许是一些不了解音乐的人到生命终结也打不开的。 在台上容易着急往往是因为运弓的分配不恰当。 我们今天演奏的音乐是过去的延续，不是创造一个突然从天而降的东西。当你在演奏贝多芬的音乐的时候，甚至也不是贝多芬，而是来自宇宙，你知道有很多的宇宙。就像一个孩子的诞生，在他出生前，生命已经开始了。 每一个音符都有它的生命，不管长与短，都是它的终生。我们要给予它呼吸，和共鸣。 ——伊弗利•吉特里斯 Ivry Gitlis |
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史上最伟大的19个小品 【伊夫利·吉特里斯】 Ivry Gitlis |
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由伊夫利·吉特里斯，小提琴和奇哥·奈力基，钢琴演奏的著名和罕见的古典作品。记录于日本东京荒川厅(1985年7月) |
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