超過25年,法佐.賽依用他不凡的鋼琴才華,感動了許多聽眾和評論家。在這趨於唯物主義和過度裝飾的古典音樂界無疑是不可多得的一股清流。每一場演奏會,都因著他的加入而顯得不同。他表現出來的音樂更直接敞開也更使人振奮,甚至可以說,是直接觸摸了聽眾的心。在1986年,作曲家阿里伯特•萊曼便在安卡拉有了這樣的感受;因著一次的機遇下,或著可以說是一次的偶然,他欣賞了這位鋼琴家當年16歲時的演奏。萊曼立刻詢問當時陪他旅行的美國鋼琴家大衛.列文到市立音樂學院來,當時他是這麼說的"你一定要來聽他彈琴,他的音樂充滿魔性",這句話現在依然常被引用來介紹這位音樂家。
法佐.賽依的最開始師事Mithat Fenmen,這位在巴黎與鋼琴家阿爾弗雷德•德尼•科爾托學習過的鋼琴家,或許看出了這位學生的天賦,便要求他每天在基本的鋼琴練習中,加入跟日常生活貼近的即興演奏。這種自由形式的創作練習過程,造就他極大的即興演奏能力和獨特審美觀,更塑造了今日的名鋼琴家、作曲家。他也曾受邀為薩爾茲堡音樂節、WDR(西德廣播公司)、德國多特蒙德音樂廳、德國石荷州音樂節、梅克倫堡-前波莫瑞音樂節來譜曲。他的作品包括鍵盤獨奏和室內樂,以及獨奏協奏曲和大型管弦樂曲。
從1987年開始,法佐.賽依追隨大衛.列文先後在德國的杜塞道夫羅伯特-舒曼音樂學院及柏林學習,並在他的技巧上做了些細微的調整。這樣的學習經歷,特別形塑了他在詮釋莫札特和舒伯特的樂曲有獨樹一格的美感。他卓越的技巧使他很快就能掌握彈奏的能力,甚至能輕鬆的完成被稱為「戰馬」的艱深曲目。正是因為融合了巴哈、海頓和莫札特這些精細的彈奏技巧,又擁有李斯特樂曲中那種美學的光彩,使他在1994年於紐約贏得了美國青年音樂會藝術家國際比賽。法佐.賽依也從那時開始便開始與各著名的歐美管弦樂團、眾多先鋒指揮家合作;從巴哈、維也納古典樂派(海頓、莫札特及貝多芬)、浪漫樂派、當代音樂甚至是他自己的鋼琴奏鳴曲,合作演奏了多元的曲目。
法佐.賽依常以嘉賓身分出席無數國家的音樂會,法國報紙Le Figaro更稱他為「天才」。他也持續的和小提琴家柏翠西亞合作室內樂的演奏,並且亦和知名的俄國小提琴神童馬克西姆.凡格羅夫、伊斯坦堡的Borusan Quartet和大提琴家尼古拉斯.阿爾斯達德合作過。
從2005年到2010年,法佐.賽依是德國多特蒙德音樂廳的駐留音樂家,在2010/11樂季,他也擔任柏林音樂廳的駐留音樂家。他更是2011年夏天德國石荷州音樂節的一大焦點,並且在巴黎、日本、梅拉諾、漢堡及伊斯坦堡駐留過。其駐留經歷有:2012/13樂季,德國黑森廣播公司的法蘭克福廣播交響樂團駐留、2013萊茵高音樂節駐留並獲得Preis獎。2014年他駐住波登湖音樂節並演奏了14場之多的音樂會。2015年4月,他與奧菲斯室內樂團在紐約的卡內基音樂廳合作了十分成功的音樂會,隨後也到歐洲各地去舉行音樂會。2015/16樂季則受邀到法蘭克福歌劇院及蘇黎世Zürcher Kammerorchester音樂廳駐留。
他所錄製的巴哈、莫札特、貝多芬、蓋希文及斯特拉文斯基的樂曲也獲得樂評高度的評價並贏得多項獎項,其中甚至包含三次ECHO回聲古典唱片大獎。2014年,他發行了CD《Say plays Say》,演出貝多芬第三鋼琴協奏曲(與黑森州立廣播交響樂團及指揮家迦南德里亞合作)以及貝多芬的鋼琴奏鳴曲Op.111和Op.27/2 月光及他自己的鋼琴奏鳴曲。自2016年起,法佐.賽依也擔任華納古典的專屬音樂家。
Fazil Say
Piano
With his extraordinary pianistic talents, Fazil Say has been touching audiences and critics alike for more than twenty-five years, in a way that has become rare in the increasingly materialistic and elaborately organised classical music world. Concerts with this artist are something different. They are more direct, more open, more exciting; in short, they go straight to the heart. Which is exactly what the composer Aribert Reimann thought in 1986 when, during a visit to Ankara, he had the opportunity, more or less by chance, to appreciate the playing of the sixteen-year-old pianist. He immediately asked the American pianist David Levine, who was accompanying him on the trip, to come to the city’s conservatory, using the now much-quoted words: “You absolutely must hear him, this boy plays like a devil.”
Fazıl Say had his first piano lessons from Mithat Fenmen, who had himself studied with Alfred Cortot in Paris. Perhaps sensing just how talented his pupil was, Fenmen asked the boy to improvise every day on themes to do with his daily life before going on to complete his essential piano exercises and studies. This contact with free creative processes and forms is seen as the source of the immense improvisatory talent and the aesthetic outlook that make Fazıl Say the pianist and composer he is today. He has been commissioned to write music for, among others, the Salzburg Festival, the WDR, the Dortmund Konzerthaus and the Schleswig-Holstein and Mecklenburg-Vorpommern festivals. His work includes compositions for solo keyboard and chamber music, as well as solo concertos and large-scale orchestral works.
From 1987 onwards, Fazıl Say fine-tuned his skills as a classical pianist with David Levine, first at the Musikhochschule Robert Schumann in Düsseldorf and later in Berlin. This formed the aesthetic basis for his Mozart and Schubert interpretations, in particular. His outstanding technique very quickly enabled him to master the so-called warhorses of the repertoire with masterful ease. It is precisely this blend of refinement (in Bach, Haydn, and Mozart) and virtuoso brilliance in the works of Liszt, Mussorgsky and Beethoven that gained him victory at the Young Concert Artists international competition in New York in 1994. Since then he has played with all of the renowned American and European orchestras and numerous leading conductors, building up a multifaceted repertoire ranging from Bach, through the Viennese Classics (Haydn, Mozart and Beethoven) and the Romantics, right up to contemporary music, including his own piano compositions.