Concert Review: Ning Feng 寧峰 Recital

Concert Review: Ning Feng 寧峰 Recital

October 5, 2010, CH
Ning Feng/Zhang Weicong 寧峰/張薇聰

粒粒皆清楚
三月的時候不幸地錯過了寧峰與小交的 Brahms, 這次終於趕上了, 洗耳之餘當是恨晚。他的琴音每一粒都異常飽滿, 不像一般小提琴家在琴絃上下之間會有意無意地突出，減弱，甚至僅僅帶過某些音符。加上有非凡連貫性的造句 ，這晚令人一路匯神聆聽， 且聼得無比舒服。琴是 2007 年德國的 Stefan-Peter Greiner， 音色不及意大利名琴華麗，但表現極爲乾淨，平均。

開場的 Mozart K454 雖然拘緊， 仍然顯示了寧峰的内涵。張薇聰的鋼琴不過不失，低音過分收斂；最大的問題是二人之間欠缺默契， 沒能營造一種來囘對話的感覺。

下來的 Grieg Op 8 大家都放鬆了點，張力大增, 而寧峰精湛的技藝也有了更大的發揮空間， 強音的爆發力與精凖度令人折服。這首曲子不容易掌握， 容易流於平面，二人的演繹雖然還是過於工整，欠缺了點溫馨，卻沒有冷場， 不容易了。整體來講， 上半場是寧峰一個反炫耀的嘗試， 不能說完全成功，卻是個好的開始。

下半場的三首 Kreisler (Liebesfreud, Liebersleid, Tambourin Chinois) 跟我以往聼的都不太一樣。超細膩的演繹遠離煽情， 幽幽地滲出一種回憶， 極具品味。

下來兩首中國作品，沙漢昆之牧歌與李自立之豐收漁歌當然是手到拿來， 友人說, 到這裡琴音才完全釋放出來， 我也贊成。最後是耳熟能詳的 Sarasate Zigeunerweisen。技驚全場不在話下，像之前的 Kreisler 一樣，其中的音樂表達更能為我帶來一些新的體會。

他的造詣， 我覺得不在任何一位現代小提琴家之下。既然他是 Mr Paganini, 就跟先前聼過最好的 Paganini 詮譯者 Ryu Goto 一比。我覺得 Goto 更炫目醒神， 但寧峰更耐聼， 更具潛力。

好一個音樂家！以他的造詣， 本應大紅大紫，可惜他樸素的造型可能不太適合這個浮華的世界。以他的毅力， 我堅信默默地耕耘也能“成功”。我只是覺得他的髮型， 還有那套有紅裏子的衣服， 都應該更新了。話説回來，他以後無論穿什麽，拉什麽我都會趕去捧場的。

寧峰百度百科資料
Ning Feng Biography at Maxima (Agent)
西安音樂會（曲目同）

這裡要謝謝主辦單位 “飛越演奏香港”。 他們還有好幾場好的音樂會， 值得大力支持。

Attending this recital made me regret all the more having missed Ning Feng's performance of the Brahms Violin Concerto in March, for here is a virtuoso who uses everything to empower the music, and there's no higher accolade.

Ning Feng's beautiful and fulsome tone stood out from the start. Under his fingers, every note retains its full value, a quality rare as hen's teeth today. Add to this phrasing as natural as breathing and a wonderful evening was garanteed. I fact I had rarely felt so relaxed and satisfied at a concert.

The partnership with pianist Zhang Weicong in Mozart K454 was nice but too restrained and failed to convey a sense of dialogue. The Grieg Op 8 fared better. IMHO this sonata is difficult to bring off. Ning Feng really dug hard into the big moments though the duo again was a little too cautious in the more cantabile passages. However, the overall flow and sense of structure was first-rate.

The second half yielded to virtuosic or violinistic pieces. The Kreisler (Liebesfreud, Liebersleid, Tambourin Chinois) pieces were superbly refined. Ning Feng did not milk these for their juices; instead he presented them as moments of inner reflection, which they do represent. Consequently, he found more in these miniatures than most violinists. With the two Chinese miniatures that followed, his tone further blossomed, culminating in a superbly musical Sarasate Zigeunerweisen, where his technical wizardry was given full reign.

In my book, the unassuming Ning Feng catapults to the top of the heap, and needs to yield to none. Other favorites that I like to watch are Augustin Hadelich, Ryu Goto and Hilary Hahn.

Thanks are due to the presenter, Premiere Performances, who has a few more wonderful young artists in an upcoming series. I urge you to attend.