event photos: Chung Cheng event photos: Xu XiaoPei

Feng Ning 寧峰,  violin solo
https://www.ning-feng.com/

Ning Feng is recognized internationally as an artist of great lyricism,innate musicality and stunning virtuosity. He performs across the globe with major orchestras and conductors,and in recital and chamber concerts in some of the most important international series and festivals. In 2019 the Washington Post described him as "a wonderful player with a creamy,easy tone and an emotional honesty" and BBC Music Magazine said of a recent recording "His silvery tonal purity,immaculate intonation and gently beguiling musicality have a way of making most other players sound decidedly effortful by comparison."

Ning Feng has toured Europe,Asia and Australia with the Hong Kong Philharmonic Orchestra and van Zweden,he has toured China with the Budapest Festival Orchestra with Iván Fischer,with whom he has also performed several times in Budapest,with the Berlin Konzerthaus Orchester and Lawrence Foster,and with the Royal Liverpool Philharmonic Orchestra with whom he has also worked many times. Other career highlights to date include performances with the Royal Philharmonic Orchestra,City of Birmingham Symphony,BBC Philharmonic,BBC Scottish,LA Philharmonic,National Symphony (Washington),Helsinki Philharmonic,Bavarian Radio Symphony,Frankfurt Radio Symphony,Russian National Symphony orchestras amongst others. He has worked with many eminent conductors including Gianandrea Noseda,Marin Alsop,Yu Long,Tugan Sokhiev,Vladimir Spivakov and Vassily Petrenko

In chamber music Ning Feng works regularly with Igor Levit and together they have performed at the Schubertiade Festival,and across Germany and London,including both Wigmore Hall and Barbican Centre. He has performed many times at Kissinger Sommer Festival,and has collaborated with artists including Edgar Moreau,Daniel Müller-Schott and Nicholas Angelich

Ning Feng records for Channel Classics and his most recent disc ‘Paganini Caprices 24+1' was released in Jan 2021,which Gramophone reviews as "his ability to make the music palatable for listeners… The more you listen the more you want to listen",and it's been Recommended by the Strad magazine. His earlier recording of Bach's complete solo works for violin was hailed by Gramophone as "unlike anyone else's… it's the illusion of a freewheeling conversation projected from within that held me captive." His discography also includes concerti by Elgar,Finzi,Tchaikovsky,Paganini,Vieuxtemps,Bruch (Scottish Fantasy),works for violin and orchestra by Sarasate,Lalo,Ravel and Bizet/Waxman,and with the Dragon Quartet works by Schubert,Dvořák,Borodin,Shostakovich and Weinberg.

Born in Chengdu,China,Ning Feng studied at the Sichuan Conservatory of Music with Prof. Weimin Hu,the Hanns Eisler School of Music (Berlin)with Prof. Antje Weithaas and the Royal Academy of Music (London)with Prof. Hu Kun,where he was the first student ever to be awarded 100% for his final recital. The recipient of prizes at the Hanover International,Queen Elisabeth and Yehudi Menuhin International violin competitions,Ning Feng was First Prize winner of the 2005 Michael Hill International Violin Competition (New Zealand),and in 2006 won first prize in the International Paganini Competition.

Ning Feng plays the 1710 Stradivari violin known as the ‘Vieuxtemps Hauser',by kind arrangement with Premiere Performances of Hong Kong,and plays on strings by Thomastik-Infeld,Vienna.

(2020/21 season / 553 words. Not to be altered without permission.)
 

寧峰,小提琴家   https://www.ning-feng.com/

身為享譽全球的小提琴家,寧峰以其音樂中飽滿的抒情性,深刻的音樂性和令人嘆服的演奏技巧受到國際樂壇的廣泛認可。他有著無可挑剔的技術和絲綢一樣質感的音色,琴聲既能做到柔和細膩到極致,又富有十足的音樂張力。寧峰定居柏林,在全世界各地與著名的交響樂團及指揮家合作演出,也經常舉行獨奏及室內樂音樂會演出。

寧峰近期的重要演出包括再次與指揮大師伊凡·費舍爾領銜的布達佩斯節日樂團合作進行中國巡演並擔任迪蒂耶小提琴協奏曲《夢想之樹》的獨奏,與指揮大師梵志登領銜的香港管弦樂團進行了歐洲、亞洲以及澳大利亞巡演,與柏林音樂廳管弦樂團和指揮大師勞倫斯·福斯特的中國巡演。此外還有包括與洛杉磯愛樂樂團及指揮家張弦、美國國家交響樂團和指揮大師賈南德拉.諾塞達、BBC愛樂樂團和指揮家西蒙妮·揚的首次演出。在獨奏及室內樂領域,寧峰定期與Igor Levit等著名音樂家 合作,在世界級的音樂節和劇場演出。

寧峰2019/20樂季令人矚目的演出包括與布達佩斯節慶管弦樂團和指揮大師伊凡·費雪、伯明罕市立交響樂團及奧斯莫·萬斯卡、新澤西交響樂團與張弦、香港管弦樂團和余隆等著名樂團和指揮大師合作。他也將首次與赫爾辛基愛樂樂團、BBC威爾斯國家交響樂團以及阿姆斯特丹小交響樂團等樂團合作,其中與阿姆斯特丹小交響樂團的演出曲目為亨策第二小提琴協奏曲。在這個音樂季寧峰將先後與指揮家餘隆合作,攜手英國皇家愛樂樂團、中國愛樂樂團、上海交響樂團演奏戈德馬克的小提琴協奏曲。在室內樂領域,寧峰將再次登台舒伯特音樂節,與Igor Levit合作演繹 舒伯特的完整小提琴與鋼琴作品,他也將在科隆愛樂大廳、倫敦巴比肯藝術中心等重要場館上演室內樂音樂會。 值得一提的是,2020年是巴赫無伴奏小提琴奏鳴曲 與組曲問世300週年,寧峰將在這一年在香港藝術節及其他城市進行一系列巴赫無伴奏小提琴奏鳴曲與組曲音樂會演出。

荷蘭Channel Classics唱片公司為寧峰錄製了多張備受好評的唱片,他的最新專輯《Paganini Caprices 24+1》收錄了著名的帕格尼尼24首無伴奏隨想曲,新專輯於2021年1月 正式發布。留聲機雜誌評論「寧峰的樂感與演奏技巧讓眾多小提琴家為之折服,而更重要的是,他的音樂演繹讓人愉悅」. 著名弦樂雜誌「Strad」即將此唱片標註為「推薦唱片」。先前該唱片公司為寧峰發行的巴赫《小提琴無伴奏奏鳴曲與組曲》唱片被英國著名的《留聲機》雜誌稱讚為「與眾不同的錄音,這是一場充滿了想像力的音樂對話,觀眾也深深為之吸引」。其他發行的唱片還包括與利物浦皇家愛樂樂團合作的埃爾加以及芬濟小提琴協奏曲,與德國柏林德意志交響樂團合作錄製的柴可夫斯基小提琴協奏曲和布魯克《蘇格蘭幻想曲》專輯,與阿斯圖裡亞交響樂團合作的專輯囊括了帕格尼尼、維奧當、薩拉薩蒂、拉羅、拉威爾等作曲家作品,他作為龍四重奏成員錄製的舒伯特、德沃夏克、鮑羅丁、蕭斯塔科維奇和魏音伯格四重奏作品集,以及兩張小提琴無伴奏獨奏唱片。

寧峰出生於中國成都,曾就讀於四川音樂學院附中跟隨胡惟民教授學習,並在柏林漢斯·艾斯勒音樂學院和英國皇家音樂學院追隨Antje Weithaas 教授和胡坤教授深造 ,寧峰是英國皇家音樂學院近兩百年歷史上首位在畢業獨奏音樂會上拿到滿分的學生。寧峰曾多次在國際舞台上獲獎,包括漢諾威國際小提琴比賽、伊莉莎白女皇國際小提琴比賽和耶胡迪.梅紐因國際小提琴比賽等重要賽事。在2005年麥克.希爾國際小提琴比賽(紐西蘭)中寧峰獲得第一名,在2006年,寧峰在帕格尼尼國際小提琴比賽這項小提琴領域的最高賽事中獲得了冠軍。

寧峰演奏的是一把由飛躍演奏香港有限公司提供的1710年斯特拉迪瓦里小提琴 "維奧當",他所使用的琴弦由維也納Thomastik-Infeld提供。
 

NOTES ON THE PROGRAM
By Dr. Jannie Burdeti

Johann Sebastian Bach (1685-1750):
Partita No.2 in D Minor,BWV 1004 (31')

Living in the digital age where files are often automatically backed up—from emails to drafts to forgotten notes—it may sound incredulous that the surviving manuscripts of Bach's Solo Violin Sonatas and Partitas were nearly disposed of as butcher paper at one point. These initially overlooked works suffered a delayed reception of true appreciation that persisted for many decades after the composer's passing. The sonatas and partitas survived only through the performance of individual movements, often as technical studies or bravura pieces. To make matters worse, they suffered additional indignities when Schumann and Mendelssohn published accompaniments to "clarify" their harmony. It was not until 1802 that these pieces would be given proper treatment and published in their entirety. The first violinist to undertake the monumental task of recording the complete set was Yehudi Menuhin in 1936, followed by his own mentor, George Enescu, in 1940. Today, no violinist can imagine their life without these pieces as constant companions.

Bach himself was a highly accomplished violinist. The violin was most likely one of the first instruments he studied with his father, Johann Ambrosius, and his first musical post at age seventeen was as a violinist. His pupil, Johann Friedrich Agricola, recounts that these pieces were personally so meaningful to Bach that he would often sit at the harpsichord and play for himself keyboard versions of the works.

The six Sonatas and Partitas, BWV 1001–1006, are dated 1720 on the manuscript. That same year, Bach suddenly found himself alone: having gone on a short business trip, he returned to find that his wife, Maria Barbara, had not only died unexpectedly but had  already been buried. Whether or not the works were conceived in response to his loss, they stand as some of the most profound music ever written for a solo instrument.

The first four movements of Bach's Partita No. 2—Allemande, Courante, Sarabande, and Gigue—follow the order of the traditional Baroque dance suite. Each movement unfolds in binary form, displaying both remarkable technical economy and concision. This then sets the stage for the monumental and expansive fifth movement: the Chaconne.

The Chaconne is a work of such emotional, compositional, and spiritual scope, that volumes have been written on this movement alone. Performing it is a tremendous and reverent experience in itself, testing both the technical and expressive limits of the performer. Although it has inspired countless transcriptions—for piano, solo guitar, orchestra, and beyond—the original violin work remains uniquely direct and intimate, balancing structural grandeur with its profound inner journey.

Built over a ground bass repeated sixty-four times, the Chaconne delivers a series of variations in Sarabande rhythm, reaching far beyond the scale of the preceding dances. These variations traverse a kaleidoscope of human emotion: confidence, desolation, divine consolation, and exaltation. As such, Bach utilizes the whole gamut of techniques available on hand: chords, arpeggiation, scales, transposition, inversion, and retrograde are but a few examples. The journey he brings the listener on, can be divided into three primary sections: the longest one is in D minor, followed by an otherworldly and luminous D major, and concluding with the shortest final section which returns to D minor. Not only is the architecture of these three sections in accordance with the Golden Ratio, but astonishingly, considering all the movements of the six Sonatas and Partitas set as a whole (with the B-minor Sonata Doubles considered as the same movement as its correlating dance), the Chaconne falls at the Golden Ratio within the entire Sei Solo cycle.

In the words of Brahms, writing to Clara Schumann, "The Chaconne is for me one of the most wonderful, incomprehensible pieces of music. On one staff, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived, the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind."

Eugène Ysaÿe (1858-1931}:
Sonata No.2 in A Minor,Op.27 (12')
Sonata No.6 in E Major,Op.27 (7")

"[Eugène Ysaÿe] was a giant of a man, but a graceful giant, who moved with effortless ease—he reminded me of a lion with his majestic head and wonderful eyes. I have never known an artist with a more imposing stage presence. And he had a heart to match his body. He was a man of embracing warmth and magnanimity, with an unquenchable zest for life." -Pablo Casals

Eugène-Auguste Ysaÿe, widely regarded as the father of modern violin playing, was born in Liège (present-day Belgium) on July 16, 1858. After beginning his violin studies with his father, Ysaÿe became a protégé of two venerable violinists: Henri Vieuxtemps and Henryk Wieniawski. He later furthered his studies in Paris, forging connections with luminaries such as Saint-Saëns, Franck, and Fauré. A violin virtuoso of the highest caliber, Ysaÿe became the most well-respected violinist after Niccolò Paganini.

At the age of sixty-five, in 1923, he composed his groundbreaking and audacious Six Sonatas for Unaccompanied Violin, Op. 27. The inspiration of Johann Sebastian Bach runs throughout the cycle. In fact, he originally conceived the drafts for this set after hearing Joseph Szigeti perform solo Bach—after which he immediately locked himself in his room, instructing that he was not to be disturbed the next twenty-four hours. Additionally, each sonata was written in honor of a distinguished violin virtuoso friend, whose artistic style and character is reflected in the music.

Ysaÿe's Sonata No. 2 in A minor was written for his good friend Jacques Thibaud, a leading French violinist of the Franco-Belgian violin school. The "Obsession" of the first movement (of which it is titled) is most obviously for the music of Bach, whose quotation from the Preludio of his solo Partita No. 3, opens the work. Thibaud was reportedly said to warm up daily with it. In an interview, violinist Hilary Hahn observed how the movement reflected Thibaud's practice habits—moving freely from a "little bit of this, [to] a little bit of that." Ysaÿe captures this spirit through his fragmentary gestures.

Juxtaposing the fragments of Bach are rhapsodic outbursts of the Gregorian Chant theme Dies Irae—historically a musical epithet symbolizing "Judgement Day" or "The Day of Wrath" from the Requiem Mass liturgy. This theme becomes an idée fixe throughout the Sonata. The second movement, Malinconia (Melancholy), is a profoundly expressive lament in two voices in the most sonorous tessitura of the violin. It ends with a lonely and stark presentation of the Dies Irae theme in its totality. The Danse des ombres (Dance of the Shadows), as the next movement is named, begins as if it is indeed the ghost of a seventeenth-century Sarabande (a stately dance with emphasis on the second beat)—it is presented plucked on the violin. The Dies Irae theme remains camouflaged in the melody. A set of six variations ensue: dolce e semplice (sweetly and simply), musette (with a sustained drone), minore, tranquillo, and eventually, the music increases in speed and intensity until the return of the opening Sarabande—this time bowed rather than plucked. The final movement, "Les Furies," is an impressive depiction of the Furies of Greek Mythology—avenging spirits who punished crimes by driving their perpetrators to insanity. The music is wild, relentless, and intense, complete with eerie ponticello effects that evoke infernal vapors.

The sixth and final sonata in this set was dedicated to the great Spanish violinist Manuel Quiroga, widely regarded as the successor to Pablo Sarasate. Ysaÿe focuses on two traits of this dedicatee: his reputation as a virtuoso and his Spanish origins. Written in a single movement, unlike the preceding sonatas, it is the most virtuosic of the sonatas. Both rhapsodic flair and Iberian folk rhythms permeate the work, and the Spanish habanera is central in the middle Allegretto poco scherzando section. Brilliant, dazzling, and rhythmically charged, the sonata serves as a thrilling conclusion to the cycle, finishing his set of six sonatas in E major—in the same key as Bach's conclusion to his six solo Partitas and Sonatas.

Niccolò Paganini (1782-1840):
24 Caprices for Solo Violin,Op.1 (Excerpts)

Niccolò Paganini's name has become synonymous with virtuosity. Just as one might call a prodigious young athlete "the Mozart of baseball," so too does one speak in colloquialisms such as, "Can you play a Paganini riff on the guitar?" His name alone evokes technical superlatives.

Born in Genoa, Italy, on February 18, 1784, Paganini demonstrated great talents on the violin as a child. His parents were extremely strict: his father would force him to practice ten to fifteen hours a day, sometimes starving him until he finished practicing. Mythology surrounding his life abounded: that God appeared to his mother promising that her wish for Niccolò to be a great violinist would be granted; that his violin sound was so beautiful that one of its strings was created out of the intensities of his mistress, whom he had killed himself; that consequently, he lived twenty years in jail with the violin as his only companion. Although none of these stories are likely true, Paganini actively encouraged this aura of diabolical mystery in his public persona.

He often was dressed in all black. His gaunt appearance—due to his syphilis, which ate away at his body, the loss of his teeth (and purposefully not wearing dentures to enhance his diabolic appearance), and his probable Marfan Syndrome (which make one's joints extremely flexible), only increased his popularity. He defied all known limits of violin-playing, his long fingers executing technical feats hitherto unknown or very rarely attempted. He even refrained from publishing many works to ensure that people would not know how he accomplished such wizardry on the violin.

Published in 1820 but most likely completed by 1805, Paganini's Twenty Four Caprices for Solo Violin were dedicated to Agli Artisti ("to the artists"), an unusual, and perhaps a subtly satirical dedication. The set was inspired by that of Pietro Locatelli's L'Arte del Violono, a set of twelve violin concertos, each containing a pair of unaccompanied cadenzas marked capricci ad libitum. Just as Locatelli's twenty-four caprices expanded the limits of violin playing during his time a century earlier, Paganini's continue to be a test of true violin mastery to this day, exploring the very limits of violin technique—not to mention, new techniques he introduced.

Caprice No. 1 opens with shimmering ricochet arpeggios, immediately paying homage to Locatelli by quoting his seventh caprice. Caprice No. 9 is nicknamed "La chasse" ("The Hunt,") evoking the hunting calls of horns used by many composers. "Le rire du diable," or "The Devil's Chuckle," is Caprice No. 13—one can hear the chilling allure of the devil at the beginning and end with its descending chromaticism. The rapid string crossings and unexpected accents create a "chuckle" effect. Caprice No. 24 is the most celebrated of the caprices, having inspired at least twenty sets of variations to have been based on this same theme, including those by Franz Liszt, Johannes Brahms, Ferruccio Busoni, and Sergei Rachmaninov, to name just a few. Indeed, Paganini's theme is straightforward and has a clear harmonic structure—an ideal theme for variations. In his variations, he proceeds through a labyrinth of dazzling techniques: from octaves, astonishing bowing feats, lightening shifts, and more. In his variation nine, Paganini introduces his very own innovation of left-hand pizzicato (plucking). This caprice's bravura is irresistible and captivating—an electrifying finish to his twenty-four Caprices, a monumental span of almost eighty minutes of violinistic fireworks when performed in its entirety.

  
Post-Concert Chinese Press:
    
小提琴家寧峰音樂會後新聞稿
Violinist Ning Feng at NEC’s Jordan Hall, Feb 28, 2026

中華表演藝術基金會第37屆音樂季第3場音樂會，於週六2月28日晚上八時, 邀請帕格尼尼大賽一等獎得主、小提琴家寧峰 (Ning Feng) 演出名為《終極無伴奏》(The Ultimate Solo Violin）的獨奏音樂會。演奏巴赫、伊薩伊和帕格尼尼的獨奏作品。

曲目包括：

• 巴赫：D小調第二号帕蒂塔, BWV 1004

• 伊薩伊：A小調第二号奏鳴曲, 作品27, 以及E大調第六号奏鳴曲, 作品27

• 帕格尼尼：24首小提琴随想曲, 作品1(選段)

這是一場難忘的音樂盛宴, 盛大而成功。寧峰以詩意與獨特的藝術魅力，深深打動人心。當晚近300多位熱情的觀眾，對這場高水準的演出，都報以熱烈的掌聲和歡呼。在謝幕時，全場 3 次起立鼓掌，久久不散。寧峰加演了2首作品，感謝熱情的觀眾。

《波士頓音樂情報》(The Boston Musical Intelligencer）的音樂評論家 Julie Ingelfinger 在一篇題為《寧峰：一位瑰寶》(Ning Feng: A Treasure) 的評論中，高度讚揚了寧峰上週六在喬丹音樂廳的精彩演出。她表示，寧峰的表演令人驚嘆，演奏曲目細膩豐富、詮釋精湛。她寫道，他的音樂有十足的音樂張力,音色寬廣而富有感染力, 情感表達慷慨自然，技巧高超, 超出了所有人的期待。她也說，他的獨奏音樂會《終極小提琴獨奏》令人讚嘆、著迷。即使獨自站在舞台上，他也能讓觀眾全神貫注，沉浸在音樂之中。

荷蘭 Channel Classics 唱片公司為寧峰錄製了多張備受好評的唱片，他的最新專輯《Paganini Caprices 24+1》收錄了著名的帕格尼尼24首無伴奏隨想曲，新專輯於2021年1月正式發布。留聲機 (Gramophone)雜誌評論「寧峰的樂感與演奏技巧讓眾多小提琴家為之折服，而更重要的是，他的音樂演繹讓人愉悅」。著名弦樂雜誌「Strad」即將此唱片標註為「推薦唱片」。先前該唱片公司為寧峰發行的巴赫《小提琴無伴奏奏鳴曲與組曲》唱片被英國著名的《留聲機》Gramophone雜誌稱讚為「與眾不同的錄音，這是一場充滿了想像力的音樂對話，觀眾也深深為之吸引」。

寧峰出生於中國成都，定居柏林，寧峰是2006年享負盛名的帕格尼尼國際小提琴大賽得主。出席音樂會的還有1975年同一項比賽首獎得主張萬鈞(Lynn Chang），比寧峰早了三十多年。除了知名中提琴家 Kim Kashkashian, 與大提琴家 Mark Churchill 之外，還有許多備受敬重的音樂家出席，向寧峰表示祝賀。例如 Landmark 管弦樂團的指揮 Christopher Wilkins 亦曾在寧峰於紐西蘭贏得2005年 Michael Hill 國際小提琴大賽時擔任指揮。

寧峰演奏的是一把由飛躍演奏香港有限公司提供的1710年斯特拉迪瓦里 (Stradivari) 小提琴 ‘Vieuxtemps Hauser’ ，他所使用的琴弦由維也納 Thomastik-Infeld 提供。在音樂會後的慶祝酒會上，超過 30 位跨代知名音樂家齊聚一堂，向他表示祝賀。整個氣氛真誠、溫暖而愉悅。

該音樂會的現場錄音視頻將放上中華表演藝術基金會 YouTube. 免費供大家欣賞。

下一場音樂會將於 2026 年 4 月 10 日由上海四重奏 (Shanghai Quartet) 演奏, 詳情請見中華表演藝術基金會官方網站 也請關注中華表演藝術基金會的 Instagram

Paganini first prize winner, violinist Ning Feng 寧峰, returns to Jordan Hall
plays solo works by Bach, Ysaÿe, and Paganini
on Saturday, February 28, 2026, 8pm

新聞稿: 帕格尼尼大賽一等獎得主、小提琴家寧峰將於2026年2月28日(星期六)晚8點
重返喬丹音樂廳, 演奏巴赫、伊薩伊和帕格尼尼的獨奏作品。

中華表演藝術基金會第37屆音樂季第3場音樂會, 將於 2026 年2月28日週六晚上八時, 邀請小提琴家寧峰(Ning Feng)重返新英格蘭音樂學院的喬丹音樂廳 (Jordan Hall), 舉辦名為《終極無伴奏》(The Ultimate Solo Violin)的獨奏音樂會。演奏巴赫、伊薩伊和帕格尼尼的獨奏作品。這將是一場不容錯過的音樂會。

身為享譽全球的小提琴家, 寧峰以其音樂中飽滿的抒情性, 深刻的音樂性和令人嘆服的演奏技巧受到國際樂壇的廣泛認可。他有著無可挑剔的技術和絲綢一樣質感的音色, 琴聲既能做到柔和細膩到極致, 又富有十足的音樂張力。

寧峰出生於中國成都, 曾就讀於四川音樂學院附中, 並在柏林漢斯·艾斯勒音樂學院和英國皇家音樂學院深造, 寧峰是英國皇家音樂學院近兩百年歷史上首位在畢業獨奏音樂會上拿到滿分的學生。寧峰曾多次在國際舞台上獲獎, 包括漢諾威國際小提琴比賽、伊莉莎白女皇國際小提琴比賽和耶胡迪•梅紐因國際小提琴比賽等重要賽事。在2005年麥克•希爾國際小提琴比賽(紐西蘭)中寧峰獲得第一名, 在2006年, 寧峰在帕格尼尼國際小提琴比賽, 這項小提琴領域的最高賽事,中獲得了冠軍。

寧峰定居柏林, 在全世界各地與著名的交響樂團及指揮家合作演出, 例如柏林音樂廳管弦樂團, 洛杉磯愛樂, BBC 愛樂,英國皇家愛樂、中國愛樂、上海交響樂團,美國國家交響樂團, 阿姆斯特丹小交響樂團, 等等。他也在科隆愛樂大廳、倫敦巴比肯藝術中心等重要場館上演室內樂音樂會。

值得一提的是, 2020年是巴赫無伴奏小提琴奏鳴曲與組曲問世300週年, 寧峰將在這一年在香港藝術節及其他城市進行一系列巴赫無伴奏小提琴奏鳴曲與組曲音樂會演出。荷蘭 Channel Classics 唱片公司為寧峰錄製了多張備受好評的唱片, 他的最新專輯《Paganini Caprices 24+1》收錄了著名的帕格尼尼24首無伴奏隨想曲, 新專輯於2021年1月正式發布。留聲機 (Gramophone)雜誌評論「寧峰的樂感與演奏技巧讓眾多小提琴家為之折服,而更重要的是,他的音樂演繹讓人愉悅」。 著名弦樂雜誌「Strad」即將此唱片標註為「推薦唱片」。先前該唱片公司為寧峰發行的巴赫《小提琴無伴奏奏鳴曲與組曲》唱片被英國著名的《留聲機》Gramophone 雜誌稱讚為「與眾不同的錄音, 這是一場充滿了想像力的音樂對話, 觀眾也深深為之吸引」。

寧峰演奏的是一把由飛躍演奏香港有限公司提供的1710年斯特拉迪瓦里 (Stradivari)小提琴'Vieuxtemps Hauser', 他所使用的琴弦由維也納 Thomastik-Infeld 提供。

2026 年 2 月 28 日演出曲目包括：

• 巴赫：D小調第二号帕蒂塔, BWV 1004

• 伊薩伊：A小調第二号奏鳴曲, 作品27, 以及E大調第六号奏鳴曲, 作品27

• 帕格尼尼：24首小提琴随想曲, 作品1(選段)

音樂會票價為 $20 (7- 13 歲)、$40、$60。提供14歲以上學生免費票, 及非學生贈送卷。需事前預訂。6歲以下兒童請勿入場。詳情請在中華表演藝術基金會的官網查詢.

線上售票2月28日下午3時將關閉。現場沒有免費票贈送。門票為10美元, 僅限現金支付。