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演出简介
一、组合简介
“一两”双钢琴组合
“Doppio Solo” Piano Duet
“一两”双钢琴组合（“Doppio Solo” Piano Duet）由青年指挥、钢琴家田光浩与旅英钢琴家赵芳纬联合创立。
田光浩与赵芳纬的合作基于他们对音乐的共同热爱与对艺术的严谨追求。作为新一代的音乐探索者，他们致力于在古典与现代之间、东西方文化之间架起桥梁。他们不仅赋予经典作品新的生命，也勇于尝试融合现代音乐与跨界艺术，展现出鲜明的艺术个性与创新精神。
无论是庄严典雅的古典作品，还是节奏强烈、充满激情的现代曲目，他们都能以高度默契与深厚技艺打动人心。通过多元的曲目选择与富有创造力的诠释，他们不断拓展双钢琴演奏的表现边界，呈现出兼具深度与新意的音乐体验。
田光浩
青年指挥、钢琴家田光浩现任福建交响乐团与福州海峡交响乐团的常任指挥，并受聘于北京大学歌剧研究院和华中科技大学艺术学院任教。他在指挥与钢琴演奏上的跨界成就使他成为当今中国最具影响力的青年指挥家之一。
自19岁起，田光浩便活跃在中国的音乐舞台，曾指挥过众多知名乐团，并与“中国交响乐团”、“中央歌剧院”、“北京交响乐团”等顶级院团合作。他不仅擅长指挥歌剧作品，还在各类音乐会中表现出色，获得了诸多奖项与荣誉。
作为钢琴家，田光浩也有着出色的表现，他曾多次获奖，并在全球范围内进行巡演，演奏足迹遍布五大洲。他策划的“沉浸式歌剧”演出和《音乐脱口秀》系列巡演，大大丰富了古典音乐的呈现方式。
赵芳纬
旅英青年钢琴家赵芳纬，毕业于英国皇家音乐学院（RCM）。她是活跃在世界舞台上的新锐钢琴家，凭借卓越的钢琴技艺与深厚的音乐底蕴，赢得了国际音乐界的高度评价。赵芳纬在柏林爱乐大厅、维也纳金色大厅等知名音乐厅演出，与柏林交响乐团、温莎爱乐乐团等乐团合作。
她的演奏被欧洲媒体高度评价为“抒情且精巧，专注且充满结构感”。赵芳纬不仅在独奏与协奏曲领域取得了显著成绩，还在室内乐方面展现了非凡才华。她参与了众多现代作曲家的首演，如巴赫《哥德堡变奏曲》的爵士改编、原创钢琴协奏曲《Under the Sun》等，并且深受观众和评论家的好评。
Doppio Solo Piano Duet
The Doppio Solo Piano Duet was co-founded by conductor-pianist Guanghao Tian and UK-based pianist Fangwei Zhao. Their collaboration is built upon a shared passion for music and a disciplined pursuit of artistic excellence. As a new generation of musical explorers, they aim to bridge the classical and the contemporary, the East and the West. They not only bring fresh life to classical repertoire but also boldly integrate modern music and interdisciplinary arts, demonstrating a distinct artistic voice and spirit of innovation.
Whether interpreting grand classical masterworks or rhythmically charged contemporary compositions, their deep synergy and superb technical command resonate powerfully with audiences. Through diverse programming and imaginative interpretation, they continually expand the expressive possibilities of piano duo performance, crafting musical experiences that are both profound and inventive.
Guanghao Tian
Guanghao Tian is a rising Chinese conductor and pianist, currently Principal Conductor of the Fujian Symphony Orchestra and Fuzhou Straits Symphony Orchestra. He also teaches at the Opera Research Institute of Peking University and the School of Art at Huazhong University of Science and Technology. With achievements spanning both conducting and piano performance, Tian is widely regarded as one of the most influential young conductors in China today.
Since the age of 19, he has been an active presence on Chinese concert stages, having conducted numerous acclaimed orchestras including the China National Symphony Orchestra, Central Opera House, and Beijing Symphony Orchestra. He is equally at home with opera and symphonic repertoire, and has received numerous awards and distinctions for his work.
As a pianist, Tian has earned accolades at major competitions and toured extensively across five continents. His recent artistic ventures—such as immersive opera productions and the popular “Musical Talk Show” tour—have brought new vitality and audience engagement to classical music presentation.
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Fangwei Zhao
Fangwei Zhao is a London-based concert pianist and graduate of the Royal College of Music (RCM). Recognized as one of the most promising young pianists of her generation, she has received acclaim for both her refined technique and musical depth. She has performed in prestigious venues including the Berlin Philharmonie and Vienna Musikverein, and collaborated with orchestras such as the Berlin Symphony Orchestra and the Windsor Philharmonic.
Her playing has been praised by European critics as “lyrical and delicate, yet structurally assured.” In addition to her accomplishments as a soloist and concerto performer, Zhao is also a dedicated chamber musician. She has been involved in several premieres of contemporary works, including a jazz adaptation of Bach’s Goldberg Variations and the original piano concerto Under the Sun, receiving both critical and audience acclaim.
二、曲目单
上半场｜旧世界的倒影|四手联弹 40分钟
1. 加布里埃尔·福雷：洋娃娃组曲，Op.56
Gabriel Fauré — Dolly Suite, Op.56
I. Berceuse（摇篮曲）
II. Mi-a-ou（小猫咪）
III. Le jardin de Dolly（多莉的花园）
IV. Kitty-valse（小猫圆舞曲）
V. Tendresse（温柔）
VI. Le pas espagnol（西班牙舞步）
2. 弗朗西斯·普朗克：四手联弹奏鸣曲，FP 8
Francis Poulenc — Sonata for Piano Four Hands, FP 8
I. Prélude – Modéré（前奏，适中速度）
II. Rustique – Naïf et lent（乡村风格，天真而缓慢）
III. Final – Très vite（终章，非常快速）
3. 约翰内斯·勃拉姆斯：匈牙利舞曲Nos。1（No.1–No.7）
Johannes Brahms — Hungarian Dances Nos。1（No.1–7）
No. 1 in G minor (Allegro molto)
No. 2 in D minor (Allegro non assai)
No. 3 in F major (Allegretto)
No. 4 in F minor (Poco sostenuto)
No. 5 in F-sharp minor (Allegro)
No. 6 in D-flat major (Vivace)
No. 7 in A major (Allegretto)
下半场 | 新世界的律动｜双钢琴 | 约 40分钟
1. 达里厄斯·米约：斯卡拉穆什组曲
Darius Milhaud — Scaramouche Suite
I. Vif（快速）
II. Modéré（适中速度）
III. Brazileira（巴西风情）
2. 阿斯托尔·皮亚佐拉：再见，诺尼诺
Astor Piazzolla — Adiós Nonino
3.阿斯托尔·皮亚佐拉《自由探戈》
Astor Piazzolla — Libertango（5’）
4. 莫里斯·拉威尔：大圆舞曲
Maurice Ravel — La Valse
三、曲目介绍｜《舞影浮光》Shadow & Waltz
从童话到探戈：双钢琴的舞蹈之旅A Journey of Dances: From Fairy Tales to Tangos
本场音乐会围绕“舞曲”这一核心意象展开，通过四手联弹与双钢琴两种形式，构建出一幅从旧世界到新世界、从童年梦境到都市狂想的音乐画卷。上半场以欧洲浪漫主义与民间舞蹈为基础，充满诗意与情感；下半场则转向20世纪的现代语言与节奏张力，展现音乐在时空转折中的多样风貌。
上半场｜旧世界的倒影｜ 四手联弹
音乐会在**福雷的《洋娃娃组曲》**中温柔启程。这组为好友之女创作的六首小品，以简洁而富有性格的旋律，勾勒出一个关于童年、玩偶与幻想的梦境世界。从《摇篮曲》的安详、《小猫咪》的调皮，到《西班牙舞步》的热情洋溢，作品展现了法国音乐特有的透明质感与亲密氛围，是极富画面感与诗意的开场之选。
紧随其后，**普朗克的《四手联弹奏鸣曲》**以简洁理性的笔触，呈现出20世纪早期的新古典主义风格。全曲三乐章篇幅短小却结构清晰，从适中节奏的前奏、天真缓慢的乡村风格，到极具动感的终章，展现出作曲家机智、简约而富有想象力的音乐语言。
上半场的高潮由勃拉姆斯的《匈牙利舞曲》第一至第七首构成。这些作品改编自民间旋律，充满异国色彩与舞蹈律动。从略带忧郁的慢板到炽热奔放的快板，每一首都散发出吉普赛式的自由精神与生命张力，成为浪漫主义晚期民族风格舞曲的代表之作。
下半场｜新世界的律动｜双钢琴
下半场以**米约的《斯卡拉穆什组曲》**揭开帷幕。这部作品是米约最广为人知的代表作之一，三乐章风格鲜明，各具特色。从灵动快速的开篇《Vif》，到带有法式抒情的《Modéré》，最终以热烈奔放的《Brazileira》——一首融合巴西桑巴节奏的炫技之作——将音乐推向高潮。
随后，**皮亚佐拉的《再见，诺尼诺》**为舞曲加入了拉丁世界的深情维度。这首献给作曲家父亲的探戈乐章，融合了古典与爵士语言，旋律哀而不伤、情感深沉，是新世界音乐中最富人性温度的声音之一。
紧接着的**《自由探戈》（Libertango）**则将皮亚佐拉“新探戈”风格展现得淋漓尽致。其鲜明的节奏、浓烈的张力与自由解放的姿态，不仅象征了探戈从传统到现代的蜕变，也让观众在强烈的舞动感中感受到音乐的火焰与自由的精神。
音乐会的尾声由**拉威尔的《圆舞曲》**压轴呈现。这部原本作为对维也纳圆舞曲的致敬之作，却逐步演变为一场结构与情绪的解构之旅。在逐渐加速的旋律与不断旋转的动机中，华丽与混沌交织，仿佛置身于一场文明盛宴的终场舞会。
A Journey of Dances: From Fairy Tales to Tangos
This concert is centered around the imagery of “dance,” presented through both four-hand piano and two-piano formats. The program paints a vivid musical tableau spanning from the Old World to the New, from childhood dreams to urban fantasies.
The first half is rooted in European Romanticism and folk dance, full of poetic sentiment. The second half shifts toward the modern musical language and rhythmic intensity of the 20th century, revealing the many transformations of music through time and space.
First Half｜Reflections of the Old World｜Four Hands Piano
The concert begins with Gabriel Fauré’s Dolly Suite, a gentle and intimate opening. This charming collection of six short pieces was written for the daughter of a friend, each movement sketching a dreamlike world of childhood, dolls, and imagination. From the peaceful Berceuse and the mischievous Mi-a-ou to the vibrant Le pas espagnol, the suite radiates the clarity and refinement typical of French music, making it a highly visual and poetic introduction.
Next comes Francis Poulenc’s Sonata for Piano Four Hands, a compact yet brilliantly structured piece that embodies early 20th-century neoclassicism. Across its three movements—moderate, naïve and slow, then very fast—Poulenc’s witty, concise, and imaginative musical language shines with clarity and charm.
The first half culminates with Johannes Brahms’ Hungarian Dances Nos. 1–7. Adapted from folk melodies, these pieces are full of exotic flair and vibrant dance rhythms. Ranging from slow, melancholic sections to passionate, fiery fast dances, each number pulses with the free-spirited vitality of the Romani tradition and stands as a hallmark of nationalist Romanticism.
Second Half｜Rhythms of the New World｜Two Pianos
The second half opens with Darius Milhaud’s Scaramouche Suite, one of the composer’s most beloved works. Each of the three movements presents a distinct mood: from the lively and agile Vif, through the elegant lyricism of Modéré, to the fiery finale Braziliera—a dazzling samba-inspired showcase that propels the music into rhythmic overdrive.
Following that, Astor Piazzolla’s Adiós Nonino brings a deeply emotional dimension from the Latin world. Composed in memory of his father, this tango blends classical and jazz elements, its melody mournful yet dignified. It’s one of the most profoundly human voices in New World music.
Immediately after, Piazzolla’s iconic Libertango bursts forth with rhythmic vitality and dramatic flair. A manifesto of his “nuevo tango,” it embodies freedom, tension, and modern transformation, igniting the stage with fiery momentum and the spirit of liberation.
The concert reaches its climax with Maurice Ravel’s La Valse. Originally conceived as a tribute to the Viennese waltz, the piece evolves into a sweeping, almost apocalyptic deconstruction. Amid whirling motifs and accelerating tempos, beauty dissolves into chaos—like the final waltz of a glittering yet crumbling empire.
