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Zbigniew Preisner泽贝纽·普瑞斯纳

地区: Poland 波兰
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小简介
普瑞斯纳(Zbigniew Preisner,1955-)出生于波兰的Bielsko-Biaka,第一部电影配乐是在1978年,由Antoni Krauze导演的《The Weather Forecast》。从此,普瑞斯纳与电影配乐结下不解之缘,尤其是与波兰大导演奇士劳斯基(Krzysztof Kieslowski)的合作,更让普瑞斯纳一跃而成国际知名配乐大师。
1980年毕业于Krakow的Jabielonian大学的普瑞斯纳,是一位学习力相当强的人,他认为“每件事都可能被学习”。中学时代玩摇滚乐并在小酒馆驻唱,大学时代则决定要当作曲家,因此开始看着交响曲的总谱分析乐曲,并从室内乐创作开始着手。
从《烈火情人》的暗潮汹涌、《爱丽莎的情人》的丰富多元、《十诫》的隐喻警世、《双面维若妮卡》的神秘精准、《秘密花园》的异国情调、《当男人爱上女人》的浪漫深情、《红白蓝三部曲》的高度艺术性、《去年九月》的矛盾冲突、到《亚伯丁》的心灵释放,普瑞斯纳有别于好莱坞电影配乐家的「唯物」手法,以「唯心真诚」掳获爱乐者的耳朵,彰显了纯粹地欣赏电影音乐的价值.
Poland's preeminent contemporary film composer, Zbigniew Preisner was born May 20, 1955 in Bielsko-Biala; while studying history and philosophy at the University of Cracow he began writing music, and in 1981 scored his first picture, Antoni Krauze's Prognoza pogody. Krauze introduced Preisner to filmmaker Krzystof Kieslowski, with whom he enjoyed his most fruitful collaboration; beginning with 1985's Bez konca, the two worked together on a series of projects including the 1987 television miniseries Dekalog and the 1991 feature La Double vie de Véronique which brought them both international acclaim. The latter picture introduced Preisner's musical alter ego Van den Budenmayer, a fictitious Dutch composer whose "work" surfaced in subsequent projects. 1991 also saw Preisner step outside Eastern Europe to work with Brazil's Hector Babenco on At Play in the Fields of the Lord; he subsequently worked with filmmakers including Louis Malle (Damage) and Agnieszka Holland (Olivier, Olivier and The Secret Garden. In 1993 he reunited with Kieslowski for Bleu, the first chapter in the director's celebrated "Trois Coleurs" trilogy; Preisner's score for the concluding chapter, 1994's Rouge, earned a Cesar, the French equivalent of an Academy Award. He and Kieslowski were scheduled to begin work on a trilogy exploring themes of Heaven, Hell and Purgatory when the director died on March 13, 1996; Preisner later celebrated Kieslowski's life and work with the release of Requiem for My Friend.
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  • 惊情四百年

    惊情四百年2013-09-04 10:08 赞(30) 弱(1)
    终于明白比诺什的笑容为何像山茶绽放了。看Preisner 配乐的电影,好几部是比诺什主演。Preisner 音乐的节奏——清冷琴音之后直击心灵的爆发——和比诺什骤然绽放的甜美笑容太相协了。《烈火情人》和《蓝色》都是比诺什最美时候的电影,她的面容算不得是美人,但却有一种奇异的皎洁——像月光也似山茶,各种气质交织:清冷、甜美、绝望、专注、遗世独立。她的面容可以写进电影史,而《蓝色》里有她最好的时光。

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