中国旅美年轻钢琴家：徐洪

Any Chinese pianist has to weather the popularity of Lang Lang and Yundi, but Hong Xu has more taste and insight than those two put together. A recent London recital identified a real talent for bringing music to life, coupled with genuine passion and sensibility.

徐洪相较之于朗朗和李云迪，有着更高的艺术鉴赏品位。他对于作品的细致入微的洞察力，是在年轻一代钢琴家中所罕见的。作为一个在钢琴表演上造诣匪浅的青年艺术家，他献给了伦敦一场绝妙的听觉盛宴。徐洪以他独有的热情和细腻，把艺术真正的带到了人们的生活中。

-- 摘自《 伦敦旗帜晚报》 2010 年 3 月 24 日：《．．．the pianists you have to listen》

http://www.thisislondon.co.uk/music/article-23818342-yevgeny-sudbin-is-the-pianist-you-have-to-hear.do

被纽约时报评为 “ 拥有辉煌技巧，敏锐的音乐洞察力，并似有无限潜力 ” 的中国钢琴家徐洪由于在与国际著名钢琴家，指挥家弗拉基米尔 - 阿什肯那齐 (Vladimir Ashkenazy) 成功的合作演出了拉赫玛尼诺夫第三钢琴协奏曲后，已一跃成为当今令人注目的年轻钢琴家之一。 BBC 音乐杂志和国际钢琴杂志（ IPQ ）毫不吝啬的对他大加赞赏，称其为 “ 一颗正在冉冉升起的明日巨星 ” 。
近几年来， 徐洪在赫尼兹（ Honens) ，基娜 - 巴考尔（ Gina Bachauer) ，希尔顿 - 海德 (Hilton Head) 等重要国际比赛中的获奖。他的演出足迹遍及亚，欧，美等洲的许多重要城市， 如纽约、伦敦、柏林、多伦多、华盛顿、北京等等。他也凭着自己出色的音乐技巧与修养，与许多交响乐团有过成功的合作。如英国哈雷交响乐团、美国罗切斯特爱乐、犹他交响乐团、伊斯曼交响乐团、朱丽亚交响乐团、马其顿国家交响乐团、加拿大卡尔加里爱乐，蒙特利尔都市交响乐团等等。其演奏录音通过美国国家广播电台、加拿大国家广播电台、英国国家广播电台、纽约广播电台等等国际知名的电台广播世界各地。他的首张专辑已于 2008 年 9 月由加拿大的 Honens 所属的公司发行。
徐洪在美国肯尼迪中心和卡内基音乐厅的独奏会获得圆满成功后， 2008 年 11 月首次在伦敦享有盛誉的威格摩厅举办了独奏会，著名作曲大师弗雷德里克，谢夫斯基 (Frederic Rzewski) 为徐洪谱曲，让徐洪来担任其世界首演者。 2009 年徐洪的日程除了在北美各地举办独奏会外，还受荷兰鹿特丹爱乐乐团的总监雅尼克 - 奈塞 - 塞刚 （ Yannick Nezet-Seguin) 的邀请，与其指挥的蒙特利尔都市交响乐团一起在魁北克省巡回演出巴托克第三钢琴协奏曲。 2010 年，他和哈雷在英国巡演格里格钢琴协奏曲，并收到威格摩的邀请而在伦敦举办第二次个人演奏会，获得了巨大的成功。应主办方之邀，他将于 2012 年再一次在伦敦演出，届时，威格摩音乐中心将会把其精彩的演出录制成 CD 发行。

徐洪 3 岁学琴， 12 岁就读于武汉音乐学院附中，他的老师包括蒋立平、卞善艺，许忠等。 18 岁被美国伊斯曼音乐学院授予全额奖学金，并师从道格拉斯－翰弗雷斯 （ Douglas Humpherys) 教授。 2006 年获学士学位及演奏家文凭。 2006 年考入著名美国的朱丽亚音乐学院，师从国际著名钢琴大师杰罗米－罗文泰尔 （ Jerome Lowenthal) 教授，并获全额奖学金。 2008 年 5 月荣获朱丽亚音乐学院钢琴最高奖－亚瑟 - 鲁宾斯坦大奖 （ Arthur Rubinstein Prize) ，同时获取硕士学位，并成为该年唯一一位考取难度极高的朱丽亚音乐学院艺术家文凭（ Artist Diploma) 课程的钢琴家，师从杰罗米－罗文泰尔教授和罗伯特－麦克唐纳 （ Robert McDonald) 教授。 2010 年 5 月，通过不懈努力，徐洪已经获得了艺术家文凭（演奏博士）。

http://www.whsjqh.com/starof.asp


其他报摘：

作为 2006 年 honens 国际钢琴比赛的获奖者，徐洪在对其乐器的控制上，又上了一个全新的台阶。

徐洪在舒伯特的《流浪者》幻想曲的演绎中证明了他可以胜任在技术上与音乐上的所有要求，我们完全有理由相信他是一个值得看好的钢琴家，一个有着雄厚实力的和良好音乐品味的，没有被过分宣传吹嘘的青年艺术家。

-- 英国伦敦《每日快讯报》

2010 年 3 月 28 日

“ 徐洪的演奏好似数码电视般的清晰，又有行家斟酒般的高雅 ”

－－－蒙特丽尔 le devoir 报

Hong had found a completely different kind of poetry. That ’ s the great thing about Beethoven: with him, there ’ s never a last word, or a definitive way.

徐洪在贝多芬的月光奏鸣曲的演绎上开拓了一种截然不同的诗意的演绎方法。这在诠释贝多芬作品中是很了不起的一件事情，因为对他（贝多芬）而言，一切都没有定论，或者说是“绝对不可改变的”方法。

-- 摘自英国《独立报》

2010 年 3 月 19 日

Hong Xu, Replacement for Paul Lewis Due to the Volcanic Ash

Paul Lewis was due to give a recital here at Middlebury College (and play, among other things, the Schumann Fantasy). But he wasn't able to get out of Europe due to the volcanic ash disruption of air travel. He was replaced by a fellow artist from the Ingpen and Williams agency of London, Hong Xu. Hong is a doctoral student at Juilliard but an already concertizing pianist of great talent. I'd never heard of him before and had no idea what to expect. Here are my thoughts about his recital last night.

Hong Xu played last night and did not disappoint. In fact, this was one of the best 'first' recitals by any artist that I've ever heard. Hong is a slight young man whose appearance is that of an 18-year-old, although I gather he is in his mid-twenties. His Mozart Fantasy in D Minor made me sit up from the first chord and was as nuanced as I've ever heard and entirely convincing. The Moonlight Sonata's first movement was indeed moonlit. He played the work's final movement extremely fast and yet there was very clear delineation of its lines. The Scriabin Fantasy in B Minor, Op. 28 calls for virtuosity and a wide range of tone color, all neatly provided by Hong. This is a loud piece and Hong was equal to the muscle power required. In fact, I noted that the area a couple of octaves above middle C seemed to go slightly out of tune because of the power of Hong's playing. The hall's technician put that to rights during the intermission.

After intermission we heard John Corigliano's Fantasy on an Ostinato (the one written for the 1985 Cliburn Competition), with its heartfelt homage to the Allegretto of Beethoven's Seventh Symphony. It was followed attacca by the beginning of Schubert's Wanderer Fantasie, an entirely apt move because the Wanderer has a very similar Johnny-one-note ostinato through much of its course. This was, I must say, an extremely convincing Wanderer which not only hung together formally (not always the case in performance), it displayed such a range of colors as I've never heard before.

I spoke with the presenter of our Performing Arts Series immediately after the recital and urged him to re-engage this young man. He told me I was already the fourth person to have made that same recommendation.》

http://www.classicalmusicguide.com/viewtopic.php?f=3&t=35067