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馮大維 ｜ 鋼琴
澳大利亞華裔鋼琴家馮大維，素以優雅精緻的技巧及深度詩意的詮釋聞名樂壇。紐約時報樂評稱他的演奏「別具風格、表達清晰」，洛杉磯時報則讚譽他擁有「無庸置疑的天份」。近年來，馮大維合作的對象，除了澳洲本地的主要樂團，如墨爾本、昆士蘭、雪梨交響樂團之外，亦受邀擔任以色列室內樂團、以色列愛樂、洛杉磯室內樂團、比利時國家管弦樂團、瓦隆尼亞皇家室內樂團、聖地牙哥交響、舊金山交響、廈門愛樂等樂團的客席音樂家。
馮大維的演奏行程繁忙，受邀於亞斯本音樂節、愛丁堡藝術節、拉維尼亞音樂節、大西洋音樂節、義大利巴里音樂節、加州梅洛室內樂音樂節演出，並於紐約卡內基音樂廳、林肯中心莫肯音樂廳、洛杉磯迪士尼音樂廳、UCLA萊斯音樂廳、倫敦威格摩音樂廳、蘇格蘭女王廳、比利時皇家鑄幣局劇院、多倫多加拿大廣播公司顧爾德廳、雪梨歌劇院、布魯塞爾藝術博物館、台灣國家音樂廳、以色列曼恩音樂廳等著名音樂廳舉行獨奏會。馮大維首度於愛丁堡國際藝術節的演出，技驚四座，《愛丁堡指南》曾為文讚其「才華出眾、神乎其技……，想必在每日早餐前，他就完成十種不可能的事情。」
馮大維2013/14樂季的重點演出，包括與比利時國家交響樂團合作布拉姆斯第二號鋼琴協奏曲(艾索普指揮)、比利時皇家室內樂團合作莫札特C大調第二十一號鋼琴協奏曲(霍夫史泰特指揮)、舊金山交響樂團合作陳其鋼《二黃》鋼琴協奏曲(水藍指揮、美西首演)；再次返回拉維尼亞和大西洋兩大國際音樂節演出，並於巴里國際音樂節彈奏數場音樂會。
馮大維自2010年起，參與南義大利巴里國際音樂節的演出，今年是他第三年出任該音樂節的藝術總監一職。他精心策劃的節目，場場賣座。演出場地是在巴里市的千年古蹟瓦莉莎教堂，當地媒體《午郵報》讚揚音樂節使得「巴里全城都熱愛古典音樂」並且「吸引大批年輕族群走入音樂廳」。
馮大維的首張專輯交由美國雅魯唱片公司(Yarlung Records)發行，收錄鋼琴超技名曲，如李斯特B小調奏鳴曲、〈艾斯特山莊的噴泉〉，和拉威爾〈水之嬉戲〉、〈圓舞曲〉等。第二張專輯《靜夜傾談》(“Evening Conversations”，雅魯發行)，收錄了從莫札特到譚盾的作品，以鋼琴獨奏呈現作曲家的私密心境。《美國唱片指南》樂評詹姆斯‧哈林頓將這張專輯評為「整體表現最佳」唱片，並登上蘇格蘭Linn唱片「2011年十大佳片」榜單。在室內樂方面，馮大維和小提琴家丹妮爾‧貝倫錄製美國作曲家勞倫斯‧狄龍的鋼琴和小提琴作品全集（Naxos發行），和加拿大大提琴家愛莉諾‧弗雷合作錄製《對話》專輯(”Dialoghi”，雅魯發行）。
馮大維在許多國際音樂大賽中奪獎，包括伊麗莎白女皇國際音樂大賽(2013)，魯賓斯坦國際鋼琴大賽（2008，榮獲最佳莫札特協奏曲演奏、最佳室內樂演奏雙料獎項），引起樂壇關注。2002年，馮大維在澳洲最重要的音樂比賽-澳大利亞傑出青年演奏家獎（ABC Symphony Australia Young Performer of the Year Award）摘下桂冠。
馮大維是洛杉磯柯爾本音樂學院的首位鋼琴畢業生，現為史坦威國際藝術家。
媒體報導摘錄
《時代報》(澳大利亞)THE AGE
墨爾本交響樂團，雪梨麥雅露天音樂劇場
馮大維擁有堅實可靠的技巧，在拉赫瑪尼諾夫〈帕格尼尼主題狂想曲〉中，他從絲緞般的浪漫風轉而爆出狂野敲擊的樂段；這位年輕藝術家全然掌控了這首不容片刻輕忽的曠世鉅作，令人刮目相看；他的爆發力以及收放自如的情緒，是這一系列音樂會之中最優異的演出。(克萊夫․歐康納 )
《漸強雜誌》CRESCENDO MAGAZINE
比利時國家管弦樂團，布魯塞爾美藝廳
布拉姆斯降B大調第二號鋼琴協奏曲，作品83，音符稠密、充滿技巧、篇幅長大，對鋼琴家來說非常具有挑戰性。第一樂章中，獨奏家從容地與整個樂團音量相抗衡；他的琴音渾圓飽滿，力度恰到好處，音色變化寬廣，輕鬆地演奏困難段落。第二樂章，馮大維展現了高度自制力，抓住了整體性；他跟隨樂團，聆聽團員的詮釋，彼此配合甚佳。富有感情且節奏精準的大提琴獨奏開啟了神聖的第三樂章，馮大維接續引領聽眾進入一個典雅精緻的世界。第四樂章是歡欣、開朗和活力十足的。馮大維在彈奏整首協奏曲時，始終保持專注和微笑，出手乾脆，從未猶豫，一分鐘的留白都沒有。(法蘭索․馬帝羅湘)
《愛丁堡指南》THE EDINBURGH GUIDE
愛丁堡國際藝術節，女王廳
馮大維才華出眾，神乎其技，是位優異的演奏家；無論展現華麗技巧的曲目或是背譜演出對他而言皆易如反掌。我們從演出者介紹中得知，僅僅二十出頭的他，原本就讀醫學院，小提琴及中提琴演奏技術也達到職業級的水準；這位青年才俊，想必在每日早餐前，就完成十種不可能的事情。他將拉赫瑪尼諾夫的〈柯賴里主題變奏〉二十個變奏彈得乾淨、完整，音樂詮釋各有千秋。馮大維刻意凸顯了拉赫瑪尼諾夫的半音階寫作技法，傳達出作曲家晚期的現代主義風格，也表現作品中由精緻到暴力的各種面向。
拉威爾的〈圓舞曲〉(雖然明知此曲的背景沉鬱，馮大維卻覺得是『一首好玩的曲子』)，是展現艱難技巧的鋼琴名作。一開頭，馮大維奏出有如交響樂團般繽紛的音色，接著是如旋風般的快速滑音，繁複的和弦音群，他曾經警告過我、將有如「炸彈開花」，果真見識到了!
李斯特的B小調奏鳴曲，馮大維從寂靜開始，經由燦爛的八度樂句、如歌的曲調、妝點優雅的行板、戲劇性的發展部、觸鍵剔透的賦格詼諧曲、一直到回復寂靜的尾奏為止，他使聽眾全部的注意力都集中在他身上。馮大維重視音樂更甚於表現技巧，保持了作品的全貌。最後，馮大維為極度熱情的聽眾加奏了兩首安可曲。(約拿斯․格林)
《自由報》(比利時)LE LIBRE
皇家室內樂團，弗拉究廳
準備彈奏莫札特第21號鋼琴協奏曲的澳大利亞鋼琴家馮大維，輕鬆走上舞台就像一位明星，他似乎與樂團成員熟識，並與指揮相視而笑。他的詮釋和觸鍵流於誇張，但他的琴音乾淨扎實，美麗而不緊繃。在快板樂章，馮大維彈奏得果決又輝煌，原版的裝飾奏帶著貝多芬風格。在抒情和富於表情的行板樂章中，他的處理適中，毫不濫情。終曲樂章則開展獨奏與樂團間的激烈交流，鋼琴表現大膽，裝飾奏彈得高傲，樂曲在激動中結束。( 瑪婷․莫基 )
《洛杉磯時報》THE LOS ANGELES TIMES
洛杉磯室內樂團，萊斯音樂廳
馮大維彈奏得極好，很少年輕鋼琴家能像馮大維一樣，兼具謙遜的個性、迷人的丰采及過人的天賦；洛杉磯的樂迷必定歡迎他再度回來演奏。(克里斯․巴斯樂)
《晚禱報》(以色列)MAARIV
以色列愛樂，曼恩音樂廳
馮大維很會講故事，他讓聽眾仔仔細細地從第一個音聽到最後一個音。他最特殊的能力，在於他指尖下的音色變幻莫測，韻味十足，是一位傑出的藝術家；馮大維將會造成轟動。(歐拉․賓諾爾 )
《紐約時報》THE NEW YORK TIMES
卡內基音樂廳的懷爾演奏廳
許多普羅高菲夫的作品都相當現代，不時帶有新古典主義那種原始野蠻的形式，像是在調性音樂中大量採用不和諧的和聲……(那種張力)貫穿了第五號奏鳴曲；作曲家曾經表示這部作品是他「用了最多半音階的作品」。馮大維演奏的這首奏鳴曲，表達清晰，別具風格。(安東尼․托馬西尼)
David Fung ｜ Piano
Described as “stylish and articulate” in the New York Times and praised as having “undoubted talent” by the Los Angeles Times, pianist David Fung is widely recognized for playing that is elegant and refined, yet deeply poetic and intensely expressive. In recent seasons, Mr. Fung has appeared as guest soloist with all the major orchestras in his native Australia, including the Melbourne Symphony, Queensland Symphony, and Sydney Symphony Orchestras, and internationally with orchestras including the Israel Camerata Orchestra, Israel Philharmonic Orchestra, the Los Angeles Chamber Orchestra, the National Orchestra of Belgium, the Royal Chamber Orchestra of Wallonia, the San Diego Symphony Orchestra, the San Francisco Symphony, and the Xiamen Philharmonic Orchestra.
A frequent guest artist of concert series and festivals throughout the world, Mr. Fung has performed at the Aspen Music Festival, Edinburgh International Festival, Ravinia Festival, Atlantic Music Festival, Bari International Music Festival in Italy, Music at Menlo in California, New York's Carnegie Hall and Merkin Hall, Los Angeles' Walt Disney Concert Hall and Royce Hall, Wigmore Hall in London, Scotland's Queen’s Hall, Belgium's La Monnaie, Toronto's Glenn Gould Studio, the Sydney Opera House, the Palais des Beaux-Arts in Brussels, the National Concert Hall in Taiwan, and Israel's Mann Auditorium. Following his Edinburgh International Festival debut, Jonas Green of the Edinburgh Guide described Mr. Fung as being “impossibly virtuosic, prodigiously talented... and probably [doing] ten more impossible things daily before breakfast.”
Highlights of the 13/14 season include performances of Brahms Second Piano Concerto with Marin Alsop and the National Orchestra of Belgium, Mozart Piano Concerto No. 21 in C Major with Michael Hofstetter and the Royal Chamber Orchestra, and the West Coast Premiere of Chen Qigang’s Piano Concerto “Er Huang” with Lan Shui and the San Francisco Symphony. Other highlights include return invitations to perform solo recitals at the Ravinia Festival, the Atlantic Music Festival, and multiple concerts at the Bari International Music Festival in Italy where he returns as Artistic Director for the third year.
Mr. Fung is the Artistic Director of the Bari International Music Festival (Italy), which is one of the most important music events of its kind in the south of Italy. Since joining the festival in 2010, his innovative programming has led to sold-out performances in the festival series, which takes place in the one thousand year-old Vallisa. The Corriere del Mezzogiorno has praised the festival for “spreading an infectious love of classical music throughout the city of Bari” while “attracting large numbers of younger audiences to its concert series.”
Mr. Fung’s debut album with Yarlung Records linked the virtuosity in the piano music of Liszt and Ravel: Liszt’s Sonata in B minor and Les jeux d’eau à la villa d’Este, with Ravel’s Jeux d’Eau and La Valse. His second album with Yarlung, Evening Conversations, featured a solo recital of intimate works by composers ranging from Mozart to Tan Dun. Evening Conversations was praised as “an overall favorite” by James Harrington in the American Record Guide and was named one of the Top 10 Recordings of 2011 by Linn Records. As a chamber musician, Mr. Fung has recorded the complete violin and piano works of American composer Lawrence Dillon with violinist Danielle Belen (Naxos) and partnered with Canadian ‘cellist Elinor Frey in her album Dialoghi (Yarlung).
A winner of the most prestigious national and international awards, Mr. Fung garnered international attention as a laureate of the Queen Elisabeth International Music Competition in Brussels and the Arthur Rubinstein Piano International Masters Competition in Tel Aviv, where he was further distinguished by prizes for Best Mozart Concerto and Best Performance of Chamber Music. Mr. Fung was the Grand Prize winner of Australia’s most important music prize, the ABC Symphony Australia Young Performer of the Year Award.
Mr. Fung was the first pianist to graduate from the Colburn Conservatory in Los Angeles and is an official Steinway Artist.
PRESS
THE AGE (AUSTRALIA)
Melbourne Symphony Orchestra, Sidney Myer Music Bowl
Fung has a sterling technique and displayed full control of [Rachmaninov Paganini Rhapsody’s] abrupt shifts from silky romanticism to percussive bursts of energy, remarkable for a young artist handling this taxing score that gives no shelter for the occasional awkwardness or indecisiveness.
The pianist's welding of dynamic attack with expertly considered emotional reactiveness made this the outstanding performance of the series. Clive O'Connell
CRESCENDO MAGAZINE
National Orchestra of Belgium, Palais des Beaux-Arts
Brahms’ Concerto in B-flat Major Op. 83 is overtly demanding, dense and particularly challenging because of its length. In the first movement, Fung demonstrated his ability to rival the orchestra in terms of sound and sonority. His sound was round and full, but never excessive. He featured a wide range of colors and played all the technically difficult passages with ease. In the second movement, Fung had simplicity in his expression, free of pathos that is inconsistent with the movement. He followed the orchestra, listening to the offerings from its members, without conflicting with the overall orchestral mass. The third movement was simply divine, aided by an inspired and measured cellist. Fung enticed us into a world of delicacy and finesse. The last movement was cheerful, playful and very energetic. Fung never stopped being "inside" the concerto for one minute: not a single moment of hesitation. Neither his smile nor his concentration eluded him for a moment. François Mardirossian
THE EDINBURGH GUIDE
Edinburgh International Festival, Queen’s Hall
David Fung is prodigiously talented. As a pianist he is clearly drawn to the extrovert and fantastic in the virtuoso repertoire, which he plays without apparent difficulty, and from memory of course; according to the programme notes he originally studied medicine; he also plays violin and viola to concert standard - yet he is still in his early twenties. He probably does ten more impossible things daily before breakfast.
Each of the twenty [Rachmaninov Corelli] variations was strongly characterized and the way in which they often link was neatly accomplished. David Fung particularly brought out Rachmaninov's chromatic tricks, which give a modernist feel to his later works. He demonstrated the variety of texture and mood that Rachmaninov could conjure, ranging from exquisite to violent.
Ravel's original solo-piano version of La Valse (which David Fung described as 'a fun piece' though acknowledging its darker aspect) was even more impossibly virtuosic. After an opening which he made sound orchestrally colourful, we were treated to a whirlwind of glissandi, great clusters of chords, and - as he had warned us - 'bombs going off'.
David Fung made [Liszt’s B-minor Sonata] spell-binding, from the hushed opening, through splendid double-octave passages, the singing tone and graceful decoration of Andante sections, the drama of the long Development, and the crystal-clear fingering of the fugal scherzo - to a perfectly paced conclusion which quietly recalls the opening. In all this he subordinated his great technical skills to give prominence to the work's overall shape.
He then quickly and nonchalantly gave two encores to a wildly enthusiastic audience. Jonas Green
LE LIBRE (BELGIUM)
Royal Chamber Orchestra, Flagey
Australian David Fung, arrived on stage like a star, relaxed and laughing with the conductor, acknowledging the musicians of the orchestra before his performance of the Concerto No. 21 in C major [by Mozart]. While his playing was hyper-articulated and hypertonic, he produced clear and beautiful sounds without harshness. In the Allegro, Fung was committed, risk-taking and brilliant, featuring an original cadenza in the style of Beethoven. The Andante was lyrical and expressive, and for once, without an excessive ounce of sentimentality. Carrying out an intense dialogue with the orchestra, the finale was feverish, and once again marked by audacity, some insolence (in the cadenza) and harmless excitement. Martine D. Mergeay
THE LOS ANGELES TIMES
Los Angeles Chamber Orchestra, Royce Hall
Fung, on the other hand, was startlingly good... There are few young pianists that have the unassuming charisma, charm and natural talent of Fung, and he will certainly be welcomed back by his audience in Los Angeles. Chris Pasles
MAARIV (ISRAEL)
Israel Philharmonic Orchestra, Mann Auditorium
Fung is a special breed of storyteller who keeps the public spellbound from the first note to the last. His ability to summon extraordinary colors and nuances from the piano reveals his status as a remarkable artist. David Fung was sensational. Ora Binur
THE NEW YORK TIMES
Weill Hall, Carnegie Hall
Many Prokofiev scores try to contain modernist, sometimes barbaric impulses within New-Classical forms, in a harmonic language that for all its dissonance is essentially tonal... [That tension] came through in the Sonata No. 5, which Prokofiev called the “most chromatic of all his compositions” and which was here given an articulate and stylish performance by David Fung. Anthony Tommasini
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