I studied piano at the age of five, and later I entered the Katowitz Conservatory of Music, where I was taught by Jasinski. Zimmermann won the first prize in the Chopin International Piano Competition in Warsaw in 1975, which laid the foundation for his future performance in the international music scene. In 1976, he cooperated with karajan and his subordinate Berlin Philharmonic, and in 1979, he cooperated with New York Philharmonic to perform in the United States for the first time. He has performed and recorded some records in many parts of the world. From 1996 to 24, he taught piano at the Basel Conservatory of Music in Switzerland.

zimmermann is good at interpreting romantic music, but he has a wide range of performances and is very supportive of the development of modern music. For example, Ruto Slavski (Polish: Witold Lutos? Awski) once made a piano concerto for him, and zimmermann also played and recorded this work. Among them, the most famous recordings are: Grieg and Schumann's piano concerto in cooperation with karajan; Brahms Piano Concerto and Beethoven Piano Concerto with Bernstein; Chopin's two piano concertos (two versions of Giulini conducting zimmermann to play the piano and his self-pointing); Liszt Piano Concerto with Seiji Ozawa and rachmaninoff's Piano Concertos No.1 and No.2.. There are also some romantic and impressionist works.

zimmermann rarely announces his playing schedule in advance. In early July 26, he gave two concerts in Hong Kong, and the response was very good. Performances all over the world. In 1976, Artu Rubinstein invited zimmermann to his apartment in Paris to give valuable personal guidance, which had a great influence on zimmermann's future career. It wasn't long before zimmermann got the opportunity to cooperate with nZimerman, who was born in Zabulge, Poland in 1956. He was inspired by his father and began to learn piano in his early years. In 1963, he studied under Janzinski (he was also the only teacher in zimmermann). After winning the first prize in Chopin International Piano Competition in 1975 (he was the youngest among the 118 contestants), he began to work with the Berlin Philharmonic and the Amsterdam City Hall Orchestra. He made his debut in London in 1977. After zimmermann performed Chopin's Piano Concerto No.2 in Los Angeles in the same year, he was compared with young josef hofmann by local music critics. Zimmermann has left many recordings in DG, including solos and concertos. The conductors he has worked with include karajan and Bernstein. Zimmermann is most praised for his interpretation of classical and romantic works. He is good at playing Schubert, Beethoven, Chopin, Grieg, Brahms and Liszt. However, in recent years, zimmermann has also extended his repertoire to the works of 2th century composers such as Debussy, Stravinsky, Zimanovsky and Ruto Slavski. There are many noteworthy stages in krystian zimerman's music career, from which we can see how a young artist gropes for his own path. Judging from the recording in the early studio and even the scene of the Chopin Competition in Warsaw in 1975, zimmermann's music interpretation in his early years was based on pure piano language, pursuing precise skills and clear and flawless timbre. This kind of situation can easily create the impression that only skills are emphasized and connotations are ignored (although zimmermann's music is not entirely based on superman's skills). If there is nothing wrong with the view, a little knowledge or blind pursuit of timbre is not worth encouraging. It's not easy to look at the changes of zimmermann in different stages from the recording, but it's very meaningful.

Constant self-motivation is the main reason why krystian zimerman has the opportunity to perform and record records all over the world. His actions have been carefully planned in advance, and under strict self-requirements, he has extensively dabbled in artistic styles in various fields. In principle, zimmermann is different from those pianists who claim to be able to get 3 concertos and 15 recitals at any time. On the contrary, no matter what the situation, krystian zimerman has a certain degree of restraint in the number of performances every year. He demands that every performance is the highest level, and every piece of music has been carefully prepared, although the scope of the repertoire will inevitably become narrower. When practicing piano in his studio, krystian zimerman, who pursues perfection, often uses cameras to supervise himself (including video and sound). He helps himself with modern science and technology, makes his art more perfect through self-reflection and self-examination, and enables himself to master the interpretation of music more accurately through his spontaneous artistic goals.

In the two Brahms piano concertos recorded live at the Vienna Concert, krystian zimerman's interpretation is very cautious, and the timbre is crystal clear. On the premise of shaping the solid structure of the music, he carefully puts into solemn vitality. Before performing and recording these two concertos, krystian zimerman had just collaborated with Bernstein to record Beethoven's Piano Concertos No.3, No.4 and No.5 (also live recordings). Unfortunately, Bernstein died suddenly in 199, so they couldn't complete the recording of Beethoven's piano concerto, and the friendship between the two artists, appreciate each other, was forced to end. Krystian zimerman didn't try conducting before, but it seems that influenced by Bernstein's death, he decided to conduct and solo by himself and complete the recording of Beethoven's five piano concertos with the Vienna Philharmonic. In zimmermann's piano concertos No.1 and No.2, he mastered the piano playing skills skillfully and showed his amazing talent (zimmermann was thirty-five years old in December 1991). These two concertos were recorded in memory of Lenny (nickname of Bernstein's name "Leonard"). In conducting, krystian zimerman intends to continue Bernstein's consistent style, presenting the same enthusiasm and tension as the three later concertos, and deliberately adding more flexibility and improvisation between phrases.

under the direction of Bernstein, krystian zimerman's Brahms Piano Concerto No.2 has the same effect. The song was recorded in Vienna in October 1984, and it was also a live recording. This recording can provide evidence for zimmermann's playing skills. Krystian zimerman's palm is extremely wide, and he can not only play the complicated notes required by the score without hindrance, but also make the notes sing in an elegant way, which is what he is best at. What's even more amazing is that krystian zimerman can also handle fast diatonic phrases well when he plays them. From the beginning of this recording, zimmermann's accurate response to the French horn shows that krystian zimerman is a Brahms interpreter who can integrate with the orchestra and has the leading ability; This supreme performance realm has never appeared in piano concertos before, especially in front of live audiences.