拉赫你就是我的一个幻觉！
最早接触拉赫都是音协的考级，
意大利波尔卡、野蜂飞舞。
再来听了很多他的作品，心潮澎湃，喜欢他就像喜欢斯特拉文斯基一样，崇拜他能写出这么特别的作品，然后就没有其他的了。
直到今年我搞到了拉赫自己的录音后沦为了他的追随者，近期自己练习他的曲目再细听录音算是彻底折服了。真是inhuman啊！！手底下干净的晶莹剔透，线条饱满声部清晰可辨之外还是活的！（虽然也有例外，他自己录的拉二线条有些模糊）
我笔拙，看wiki上写得就非常妙：
http://en.wikipedia.org/wiki/Sergei_Rachmaninoff
“Tone：
Rachmaninoff at the pianoFrom those barely moving fingers came an unforced, bronzelike sonority and an accuracy bordering on infallibility. Correct notes seemed to be built into his constitution, and a wrong note at a Rachmaninoff recital was an exceedingly rare event.
Arthur Rubinstein wrote:
‘He had the secret of the golden, living tone which comes from the heart ... I was always under the spell of his glorious and inimitable tone which could make me forget my uneasiness about his too rapidly fleeting fingers and his exaggerated rubatos. There was always the irresistible sensuous charm, not unlike Kreisler's.’
Coupled to this tone was a vocal quality not unlike that attributed to Chopin's playing. With Rachmaninoff's extensive operatic experience, he was a great admirer of fine singing. As his records demonstrate, he possessed a tremendous ability to make a musical line sing, no matter how long the notes or how complex the supporting texture, with most of his interpretations taking on a narrative quality. With the stories he told at the keyboard came multiple voices—a polyphonic dialogue, not the least in terms of dynamics. His 1940 recording of his transcription of the song "Daisies" captures this quality extremely well. On the recording, separate musical strands enter as if from various human voices in eloquent conversation. This ability came from an exceptional independence of fingers and hands. ”
多声部的对话，毫无错音的演绎，还有我得不到的能按出他作品中的和弦的大手……
我是先学会唱歌再学着用手指（更喜欢叫他们触手哈哈哈）触摸表达歌声的，
所以个人对钢琴音乐的歌唱的感觉非常看重，
要从快速的旋律中细细品味才能感觉到这个伟大的人竟然像幻影一般存在。
无论是作为作曲家还是钢琴家，都非常喜欢他的风格。
曾经人家问我你最喜欢的演奏家是谁……
真的不知道从哪个说起，
现在可能会第一个提起拉赫的名字。
“Rachmaninoff possessed extremely large hands, with which he could easily maneuver through the most complex chordal configurations. His left hand technique was unusually powerful. His playing was marked by definition—where other pianists' playing became blurry-sounding from overuse of the pedal or deficiencies in finger technique, Rachmaninoff's textures were always crystal clear. ”
真想冲回家练琴……
意大利波尔卡、野蜂飞舞。
再来听了很多他的作品，心潮澎湃，喜欢他就像喜欢斯特拉文斯基一样，崇拜他能写出这么特别的作品，然后就没有其他的了。
直到今年我搞到了拉赫自己的录音后沦为了他的追随者，近期自己练习他的曲目再细听录音算是彻底折服了。真是inhuman啊！！手底下干净的晶莹剔透，线条饱满声部清晰可辨之外还是活的！（虽然也有例外，他自己录的拉二线条有些模糊）
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我笔拙，看wiki上写得就非常妙：
http://en.wikipedia.org/wiki/Sergei_Rachmaninoff
“Tone：
Rachmaninoff at the pianoFrom those barely moving fingers came an unforced, bronzelike sonority and an accuracy bordering on infallibility. Correct notes seemed to be built into his constitution, and a wrong note at a Rachmaninoff recital was an exceedingly rare event.
Arthur Rubinstein wrote:
‘He had the secret of the golden, living tone which comes from the heart ... I was always under the spell of his glorious and inimitable tone which could make me forget my uneasiness about his too rapidly fleeting fingers and his exaggerated rubatos. There was always the irresistible sensuous charm, not unlike Kreisler's.’
Coupled to this tone was a vocal quality not unlike that attributed to Chopin's playing. With Rachmaninoff's extensive operatic experience, he was a great admirer of fine singing. As his records demonstrate, he possessed a tremendous ability to make a musical line sing, no matter how long the notes or how complex the supporting texture, with most of his interpretations taking on a narrative quality. With the stories he told at the keyboard came multiple voices—a polyphonic dialogue, not the least in terms of dynamics. His 1940 recording of his transcription of the song "Daisies" captures this quality extremely well. On the recording, separate musical strands enter as if from various human voices in eloquent conversation. This ability came from an exceptional independence of fingers and hands. ”
多声部的对话，毫无错音的演绎，还有我得不到的能按出他作品中的和弦的大手……
我是先学会唱歌再学着用手指（更喜欢叫他们触手哈哈哈）触摸表达歌声的，
所以个人对钢琴音乐的歌唱的感觉非常看重，
要从快速的旋律中细细品味才能感觉到这个伟大的人竟然像幻影一般存在。
无论是作为作曲家还是钢琴家，都非常喜欢他的风格。
曾经人家问我你最喜欢的演奏家是谁……
真的不知道从哪个说起，
现在可能会第一个提起拉赫的名字。
“Rachmaninoff possessed extremely large hands, with which he could easily maneuver through the most complex chordal configurations. His left hand technique was unusually powerful. His playing was marked by definition—where other pianists' playing became blurry-sounding from overuse of the pedal or deficiencies in finger technique, Rachmaninoff's textures were always crystal clear. ”
真想冲回家练琴……
还没人赞这篇日记
