Zbigniew Preisner歌迷最喜歡的歌曲
| 序號 | 歌曲 | 播放 收藏 歌詞 下載 鈴聲 |
| 01 | A Tune a Day | |
| 02 | The Party on the Wisla | |
| 03 | Apokalipsa: Ascende Huc- Wstap Tutaj | |
| 04 | Farm | |
| 05 | A Good Morning Melody | |
| 06 | Meditation | |
| 07 | To See More | |
| 08 | Talking to Myself | |
| 09 | The Art of Flying | |
| 10 | About Passing |
Zbigniew Preisner的精選專輯
Zbigniew Preisner的個人檔案
小簡介
普瑞斯納（Zbigniew Preisner，1955-）出生于波蘭的Bielsko-Biaka，第一部電影配樂是在1978年，由Antoni Krauze導演的《The Weather Forecast》。從此，普瑞斯納與電影配樂結下不解之緣，尤其是與波蘭大導演奇士勞斯基（Krzysztof Kieslowski）的合作，更讓普瑞斯納一躍而成國際知名配樂大師。
1980年畢業于Krakow的Jabielonian大學的普瑞斯納，是一位學習力相當強的人，他認為“每件事都可能被學習”。中學時代玩搖滾樂并在小酒館駐唱，大學時代則決定要當作曲家，因此開始看著交響曲的總譜分析樂曲，并從室內樂創作開始著手。
從《烈火情人》的暗潮洶涌、《愛麗莎的情人》的豐富多元、《十誡》的隱喻警世、《雙面維若妮卡》的神秘精準、《秘密花園》的異國情調、《當男人愛上女人》的浪漫深情、《紅白藍三部曲》的高度藝術性、《去年九月》的矛盾沖突、到《亞伯丁》的心靈釋放，普瑞斯納有別于好萊塢電影配樂家的「唯物」手法，以「唯心真誠」擄獲愛樂者的耳朵，彰顯了純粹地欣賞電影音樂的價值.
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.
普瑞斯納（Zbigniew Preisner，1955-）出生于波蘭的Bielsko-Biaka，第一部電影配樂是在1978年，由Antoni Krauze導演的《The Weather Forecast》。從此，普瑞斯納與電影配樂結下不解之緣，尤其是與波蘭大導演奇士勞斯基（Krzysztof Kieslowski）的合作，更讓普瑞斯納一躍而成國際知名配樂大師。
1980年畢業于Krakow的Jabielonian大學的普瑞斯納，是一位學習力相當強的人，他認為“每件事都可能被學習”。中學時代玩搖滾樂并在小酒館駐唱，大學時代則決定要當作曲家，因此開始看著交響曲的總譜分析樂曲，并從室內樂創作開始著手。
從《烈火情人》的暗潮洶涌、《愛麗莎的情人》的豐富多元、《十誡》的隱喻警世、《雙面維若妮卡》的神秘精準、《秘密花園》的異國情調、《當男人愛上女人》的浪漫深情、《紅白藍三部曲》的高度藝術性、《去年九月》的矛盾沖突、到《亞伯丁》的心靈釋放，普瑞斯納有別于好萊塢電影配樂家的「唯物」手法，以「唯心真誠」擄獲愛樂者的耳朵，彰顯了純粹地欣賞電影音樂的價值.
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.