陳銳 (Ray Chen) 生於台灣，在澳洲成長，目前就讀於美國寇蒂斯音樂學院，師從亞倫"羅桑德、林昭亮和保羅"坎特。
陳銳從小就展現驚人的音樂天分，四歲開始學小提琴，八歲與昆士蘭管弦樂團舉行自己生平首次音樂會，十三歲便獲得澳洲國家青年協奏曲大賽獎。 2008年他在英國曼紐因青少年小提琴比賽獲得首獎， 2009年比利時伊麗莎白女王小提琴國際大賽上，陳銳更以優異沉穩的技巧和音樂性獲得首獎。陳銳還曾與馬林斯基交響樂團和亞塞拜然國家交響樂團等合作演出。(網上資料）
[說兩句] 知道Ray Chen的名字還是前幾個月在一本古典音樂雜誌上簡介了這位在台灣出生在澳大利亞長大的年輕小提琴家， 記得文章說到：大家注意了，這位來自澳大利亞的小提琴家非常不同凡響的，一直記住這個名字，想著去youtube去聽聽他的演奏，一直都沒去，這一期的雜誌有提到他， 還介紹他的最新唱片。還沒去過他的音樂會，當我在youtube上聽到Ray Chen演奏的琴聲，琴聲是這麽古典，純美，浪漫，微笑，富有歌唱性， 我的心不由自主地顫抖起來，他拉的這些曲子都是經典曲目，可好像卻非常清新，彈掉古典曲目上蒙上的灰塵， 出來的聲音不帶一絲灰塵雜質。
Ray Chen說他四歲時父母給他買了一把吉他，他就把吉他放在肩膀上，當小提琴拉，就與小提琴結下了不解之緣， 聽他的琴聲好像也聽到不同的元素，也有不同大師影子，我自己感覺他有些像Maxim Vengerov， 但又不完全是， 他自己也說希望吸收眾家之長， 有位音樂家說過（記不得名字了）：如果別人說你的演奏很像誰，那是一種失敗（大意是這樣），Ray Chen 就是Ray Chen， 他不是 Maxim Vengerov， 但是Maxim Vengerov對他的評價非常高，Maxim Vengerov是比利時伊麗莎白女王小提琴國際大賽的評委，賽後立即安排與Ray Chen合作，Maxim Vengerov說. "Ray has proven himself to be a very pure musician with great qualities as a beautiful youthful tone, vitality and lightness. He has all the skills of a truly musical interpreter."
俺作為樂迷，也是音盲，聽音樂是靠感覺和嗅覺的（眼睛也幫忙的），不過最近我怎麽有這個感悟？不知道對不對 ：優秀的演奏家光靠琴技，藝術想象表達能力還是不夠，他她還需要有一個創造美好感情的內心世界， 後者有天生的成分，也受信仰，生活練曆，知識背景等等影響。有的演奏家的琴技很高超，看上去也很會表達的樣子，聽上去也很好，但音樂卻打動不了觀眾的心，就算是大牌的演奏家的也不能保證每次演出都很成功吧，有一個美好的內心世界是不容易每天都能做到的，需要修煉，我們作為音樂聽眾是不是也得不斷修理才能音樂共鳴呢？
我很高興樂壇有這麽一顆新星，不僅僅是他因為是華裔， 而是他的才華，他那感人至深的琴聲， 喜歡他那張放在小提琴箱子裏的那張小卡片：Smile From Heart ! 希望Ray Chen的琴聲能永遠讓我們樂迷的心微笑！
接受訪談
獲獎儀式上
Interview with Queen Elisabeth winner Ray Chen （ZT)
http://www.violinist.com/blog/hugodepril/20096/10191/
Who is your current violin teacher? Are you currently in school, and if so, where? Who have been your most influential teachers, and in what way?
I currently study with Aaron Rosand at the Curtis Institute of Music in Philadelphia. I have also had many other influential teachers and supporters in my life such as David Cerone and Maxim Vengerov.
Is this your first competition? and Have you played/placed in or won any other competitions?
I have have attended many competitions some I have not been so fortunate in others more so, (like the 2008 International Menuhin Competition and more recently the 2009 International Young Concert Artists Management Auditions) however regardless of winning or losing they have all been great learning experiences in which have helped me become a better musician.
What made you decide to enter the Queen Elisabeth Competition?
I think it is safe to say that this is the biggest violin competition in the world and so around a year ago (May 2008), I decided I wanted to give it a shot, not knowing or expecting anything of course.
What was unique about this competition?
This competition is probably the most unique as well in the part where the 12 finalists are moved into isolation for a week with no outside communication (say goodbye to your cellphones, laptops, and radios) for a peaceful environment to learn a completely new piece of music that has never been seen by the public.
How did you prepare for this competition? Is it any different from preparing for a regular performance? Did you do anything special to prepare? What part of your preparation helped you the most in the end?
In preparing for this competition I was helped by my management and friends who gave me many opportunities for run-out recitals. I think it is important not to treat it differently from any "regular" performance (which should be treated with just the same amount of preparation and dedication!) because you don't want to create more pressure than you need. There is enough of that already here!
What were you thinking when you were in solitary confinement? How did you keep your focus?
At first I was quite unnerved by the thought of spending a week in solitude but as soon as I stepped into the hallway of the Chappelle all feelings of unease vanished as I was warmly greeted by my fellow competitors. We had so much fun over the weekend and it was very sad as the days went on where 2 more people left every day.
For example, what was the most challenging thing about the new piece? Technique? Musicality? (CHO Eun-Hwa: "Agens" - work for Violin and Orchestra (Grand Prize Queen Elisabeth International Music Competition for Composition 2008 - Sabam Prize)
I will talk about the new piece that was given to us in the final round:
My first impression of "Agens" was that it was impossible. How could somebody write such technically difficult music and expect one to learn it in a week? Perhaps due to a combination of determination and fear of making a fool of myself on the stage I hurriedly set to work on the piece and for 3-4 days did not practice anything else. By day 5 I had finally completed learning the notes and was ready to add some personal interpretation to the piece. Day 6 was the rehearsal with orchestra and though the first time through was a bit shakey, I was able to do much better the 2nd time through (with much encouragement from the composer!)
Did you learn anything from the other contestants?
The other contestants were really friendly and helpful. We worked together in groups for "Agens" which was the new comissioned piece we needed to learn during the week. Although we worked on the piece together it was great to see 12 different interpretations of the piece in the performances.
What was your favorite and most memorable part of the competition?
My favorite memory of the competition was definitely the week at the Chappelle. It was a very special time, full of fun and games such as ping-pong, badminton, and soccer. More importantly it was the people that made it so enjoyable.
Now that the competition is over: if you could play any piece you wanted to, at this point, just for fun and the love of the violin, what would you play? Why?
There are still many pieces I would like to add to my repertoire such as Shostakovich Violin Concerto. I also would love to get into a few more Edgar Meyer duos!
What are your ambitions for the future? Has being in, and winning, this competition, influenced the way you are thinking about what you want to do in the future?
I want to continue working hard to attain even higher levels because I believe that as long as you have the mentality to find the "best way possible" to do everything then you will always improve. That isn't to say that you shouldn't be happy however! Heifetz was never satisfied with a single one of his performances, yet he is as close to perfection as there ever was.
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