 I see God in Bach！ 我在巴赫的音乐中看到了上帝！ ——卡萨尔斯 Interview with Pablo Casals 采访帕布罗·卡萨尔斯  1、我竟想翻译巴赫，翻译成什么？是文字、是画、是音乐还是数学方程式？ 2、午夜巴赫丨他的音乐令我的精神振奋、坚定，并使我的灵魂充满尊严！3、席夫谈巴赫丨“我从来不把录音当作是在创造永恒，只有作品才是永恒的，演奏家没有那么重要。” 4、巴赫依然是天堂丨那种能使你内心安宁的音乐，亦是你的灵魂之乐！5、张卜天丨格伦·古尔德随想丨他在瞬间使你完全沉浸于他的世界中！6、你说过巴赫小时候难过，也会像我一样爬上屋顶看月光；7、“你想演奏什么吗，小家伙，你拉巴赫吗”丨我的浪漫的巴赫（一）；8、“咱本来就是学音乐的，现在才明白好久没真正听过音乐了”丨我的浪漫的巴赫（二）；9、巴赫的音乐之爱，超越了中世纪沉淀下来的神人对立与宿命似的悲哀无助丨我的浪漫的巴赫（三）;10、巴赫的音乐在释放情感时所仍未失去优雅与淡定丨我的浪漫的巴赫（四）；11、他把巴赫作为自己生命中这一段历程的寄托与写照丨我的浪漫的巴赫（完）；12、怎么从来没有听说过巴赫有这样一部作品丨卡萨尔斯生命的六个瞬间（一）；13、十二年，他才把全本无伴奏大提琴搬上舞台丨卡萨尔斯生命的六个瞬间（二）；14、“巴赫对我而言是质朴而自然的，因为朴素和自然一旦重归音乐之中，音乐便会迸射出它的光彩”丨卡萨尔斯生命的六个瞬间（三）；15、“大提琴家卡萨尔斯罢演，我们只好临时取消演奏会了”丨卡萨尔斯生命的六个瞬间（四）；16、十六岁的安娜如何劝服六十岁的卡萨尔斯娶自己丨卡萨尔斯生命的六个瞬间（五）；17、第一个音符响起，所有人心中都轻轻呼唤：巴赫丨卡萨尔斯生命的六个瞬间（六） The occasion was a memorable one. We had met Casals a number of times before, but here on this lovely day at the Marlboro Festival in Vermont, we were accompanied by a perceptive and close friend, Alan Branigan, music critic of the Newark (New Jersey) News. Alan later described the auspicious event by writing: 那是一次令人难忘的会面。虽然我们之前与卡萨尔斯见过几次，但在这美好的一天，在佛蒙特州（Vermont）的万宝路音乐节（Marlboro Festival）上，在我机敏而亲近的朋友，纽瓦克报乐评人Alan Branigan的随同下，我们结伴同行。Alan后来用文字记述了这段值得庆幸的宝贵经历：  'The scene was a large, knotty-pine paneled hall in a grove of trees. On the informal stage was an orchestra with some of the world's finest musicians as its members. Attention was centered on the conductor, a short-stooped man who leaned over the score and beat time infrequently. On occasion he would rise in a tremendous surge of imperious musicality. The music that emerged was sumptuous, highly eloquent and very moving. The little man on the podium was the giant of today's musical world, the Catalonian cellist-conductor, Pablo Casals.' 那是在一片小树林里，一个用节疤松木装点的大厅。稀松平常的舞台上，是由世界上最好的音乐家们组成的管弦乐团。全场的注意力都集中在指挥身上，这位短小驼背的男人，正俯首于乐谱上，偶尔打几下拍子，只在音乐的急剧大高潮中他才会挺身奋起。台上浮现的音乐是华丽、毋庸置疑而格外动人的。指挥台上的这位小个子正是当世的音乐巨人，加泰罗尼亚大提琴家-指挥家，帕布罗·卡萨尔斯。  To be there, to be part of this commanding scene, was to experience a living, dynamic music lesson. Casals' concepts, rather than specifics; his connection of the specific to the large idea, was an extraordinary thing to witness. 在那儿，亲自在现场经历指挥现场的一部分，就是经历了一堂活灵活现的音乐课。卡萨尔斯对音乐的理解是概念性的，并非拘泥于细节性的处理——他指挥时能够把技巧与音乐上的宏大构想结合起来，这实在是一个意义非凡值得见证的时刻。  Later we discussed with him the principles of interpretation. 'One has to be sensitive to the relative importance of one note to another, such as the second note of the measure, the fourth note, or the last note. One must make a profound study of crescendos and diminuendos; yes, of small bits of crescendos and small bits of diminuendos within the measure.' 演奏结束以后，我们与他讨论了作品诠释的原则。“首先，演奏者必须敏锐发掘音符之间的关联，比如一个小节里的第二个音符、第四个或者最后一个，他们互相之间都是什么关系。然后，必须对渐强和减弱进行深刻的研习；是的，小节里面再微小的渐强和减弱都不能忽视。”  'You know,' he spoke feelingly, 'a 'double' piano must be as beautiful and as moving as a double 'forte.' We want clarity of pronunciation. I like precision in performance and neatness. I like freedom to hold certain notes a bit longer than others even if they are printed as the same length. Of course,' and Casals looked at us impressively, 'this freedom must be within great order. “你知道”，他衷心地说，“一个“很弱”（double p），要跟“很强”（double f）一样美丽动人。我们想要发出清晰的乐音。我喜爱精准而整洁的演奏。我喜欢把一些特定的音符拉得比其他长一些，即便它们在谱上印的一样长，我喜爱这种自由。当然了，”卡萨尔斯令人印象深刻地看了我们一眼，“这类自由必须服从于整体的秩序之下”。
 'As for dynamics, a passage in forte does not mean that all the notes are to be played forte. An eight bar phrase in forte can include little diminuendos and crescendos. The important thing,' he streesed, 'is to find the note which has the magic power. The note or notes which precede this magnetic note must be played as though they are leading into the magnetic note. However, they should not be permitted special emphasis. “至于力度标记，一个乐段标了“强”并不意味着其中的每个音符都必须用“强”来演奏。一段八小节的“强”乐句，里面也包含着减弱和渐强。重要的是，”他加重语气，“是去寻找那些有着奇妙力量的音符。处于这些具有引力的磁性音符之前的音符，必须处理得就像他们是被引往这些磁性音符的。不过呢，它们不应允特别强调。” 'The notes which follow the magnetic note must be played in such a way that the listener is aware you are leaving a note with magnetic power,' Casals added. “那些跟在磁性音符后边的音符，则必须演奏得让观众清楚地意识到，你正借助磁力离开这个音符，”卡萨尔斯补充说。
'A diminuendo,' he continued, 'must be carefully analyzed and subdivided, even if the diminuendo is on one note. If a note or notes lead to a point where a crescendo begins, be very careful to subdivide this diminuendo in a logical way.' “一个渐弱，”他继续说，“必须经过细心的分析和划分，即便是单独一个音符上的减弱。同时如果这个音符指向一段高潮的起点，则必须理性地仔细分别这个减弱了。”
'What about long notes that are not specifically marked?' “那么那些没有特别标记的长音符呢？” 'All long notes,' he urged, 'should be played interestingly. They should have a small crescendo or a diminuendo and these must be played as though you are leading to a note, or going away from a particular note. And here again,' he advised, 'sudivide the long note in order to guide you in the rise and fall of that note. Even the vibrato, must help you in making crescendos by becoming much more intense. In diminuendo, less intense.' “所有的长音符，”他强调，“应当处理得有趣一些。长音符应当有一个略微的渐强或减弱，而且必须处理的像是被领向另一个音符，或者正渐渐离开某一个特定的音符。那么，”他建议，“对长音符进行细分，是为了引导你在这个长音符上做出起伏，即便是颤音，也必须通过增减张力来做出强弱起伏。”
Casals is adamant about intonation. He has had his pupils repeat passages until there is absolute accuracy of intonation. To a pupil playing a sonata with piano, he recommends, 'do not be afraid to be out of tune with the piano. It is the piano that is out of tune. The piano with its tempered scale is a compromise in intonation.' 卡萨尔斯对音准（intonation）有着坚定不移的追求。他的学生在音准上必须反复练习以达到完全的精确，否则不允许翻到下一页。而对一名正在用钢琴弹奏鸣曲的学生，他劝其：“不要害怕钢琴发不出精确的绝对音高，是这台钢琴不准不是你不准，接受钢琴自身存在一定的误差，是一种音准上的妥协。”（译者注：不像弦乐器通过手动按弦控制音高，钢琴的音准是没法苛求的，即便是一台事先调音的琴，一场演出后都会产生绝对音高的失准，况且是每日频繁使用而欠缺调音的教学用琴）
He is very exciting rhythmically. 'The rhythmic passage must always have vitality,' he insists. 他舞起手来打着节拍“那些富于节律的段落必须永远生机勃勃，”他坚称。 The cellist dislikes notes that are slightly shortened. Probably his most salient asset as a teacher is his ability to involve the pupil completely in the message of a phrase and a composition as a whole. 'Portamentos must come from the heart! They are not with the fingers!' He referred us to the protamento at the begining of measure twelve in the Andante of Bach's D major Gamba Sonata. 这位大提琴家不喜欢那些略微缩短而没拉到位的的音符。也许作为老师他最显著的优势便是帮他的学生理解一个乐句中暗含的信息和整首作品的创作思路的能力。“滑音必须从心里发出！而不是手指！”他援引巴赫的D大调古大提琴奏鸣曲（Bach’s D major Gamba Sonata）里行板第十二小节的表情滑音。
As a performer Casals is breathtakingly superlative. Theodore Strongin of The New York Times wrote the following concerning the performance of the Bach Suites: 卡萨尔斯在演奏方面具备着令人窒息的超顶尖水准。听了他演奏的巴赫《大提琴无伴奏组曲》（6 Cello Suite，BWV1007-1012），纽约时报的Theodore Strongin写下了这样的评论： 'Casals has created a full-blooded complete universe of his own and his love of Bach bursts through like the sun. All four Suites are juicy, lively, robust, energetic, and colorful performances.' “丰润、鲜活、有力，充满着能量与色彩，卡萨尔斯创造了一个栩栩如生的宇宙，他对巴赫的热爱就像这宇宙中心炽烈燃烧的太阳。”
Casals reiterates, 'Variety is the law of nature. Nothing in nature is repeated in exactly the same way. Nothing. And so with music. 卡萨尔斯重申，“多样性是自然的法则。自然万物没有什么是往复不变的，音乐也是一样的道理。” 'Furthermore, I would like to say that forte means dynamic changes within a forte or in the range of expression and sonority in keeping with a forte. The same can be said of a piano or of a fortissimo and pianissimo.' “再者我想说，强弱的处理是动态的，在一个f或者ff、p或者pp里面，都暗含着表情与音响化的强调范围。”
'What general rule applies for notes that descend or ascend?' “在演奏上行或下行的音型时有什么普遍通行的法则吗？” 'I like to put it this way,' replied Casals. 'When we have a group of descending notes we have a diminuendo. It is not always so, but most always. However, there is one thing we must get away from,' and Casals looked at us fully, 'That is literally following the marking in the music. What is not written in the music, oh yea, that is of the greatest importance!' “这么讲吧，”卡萨尔斯回应道。“当我们拿到一组下行的音符时，我们就有了一个渐弱。这虽然不绝对，但绝大多数情况上是这样的。不过呢，有一点我们一定要避免，”卡萨尔斯正经地看着我们，“那就是死板地照搬谱面上的标记。那些音乐中没‘写’出来的，哟嚯，才是最最重要的！”
As a teacher he requests rainbows of a student playing the Minuet No. 2 of the Bach G Major Suite. 'I want rainbows!' he demanded and eloquently gestured with his hands to outline rainbows of varying sizes. His gestures corresponded to short and long ascending and descending phrases. 'So much music is like that. When we think this way we have already created a guide for ourselves.'
Again he stated his favorite principle; 'Two notes should never be played in the same way.' Here he cited as an illustration, Beethoven's Opus 102 Sonata No. 1, second measure. 'The second note should be played a bit stronger than the first.' 再一次，他重申他最爱的原则：“两个音符永远都不应该处理成一个样。”这里他引用一个例子，贝多芬的第四号大提琴奏鸣曲（Cello Sonata No.4, Op.102 No.1）的第二小节。“这里第二个音应当比第一个拉的稍稍微强壮一些。” 'How do you feel about notes that are held for a length of time?' we asked. “你怎样理解那些要保持一段时间的音符的？”我们问。 'You must always do something. I feel very strongly about notes which are held. If a long note follows a forte or is in a foret, we must make a dinimuendo. If a long note follows a piano or is within a piano, try making a crescendo.' “关键是你必须总是做点什么。我对保持音有非常强烈的感觉，如果一个长音符跟随一个f或者本身有一个f，我们必须做一个减弱。如果一个长音符跟在一个p后边或者本身在p里面，那么试着做一个渐强。”
While discussing vibrato we learned that Casals feels, 'There should be, first of all, a great deal of variety, and there are times when we should not use any vibrato. This occurs in the soft passages in the Adagio in Beethoven's Opus 102 No. 1. These are subtle skills. In forte passages it is good to use a great deal of vibrato. In diminuendos to a piano it would be very effective not to use any vibrato at all.' 在探讨颤音（揉弦）的时候我们领悟了卡萨尔斯的感想，“首先，颤音要揉得变幻多样，在有些时候我们不应当用到揉弦，这种情况在贝多芬第四大提琴奏鸣曲慢板里那些柔软的段落就有出现。这是非常微妙的技巧，在f的段落大量地使用揉弦是好的，在渐弱到p的段落一点揉弦也不使用则是非常非常有效的。”
On tempo: 'One has to learn the art of not playing in tempo. I might be so general as to say we must learn the act of not playing the notes precisely as they are written.' 对于速度：“一个人必须学会不全照拍子演奏的艺术，我可能大体这么说吧，我们必须学会不要每个音符都完全照搬谱子上写的来拉。” Pablo Casals makes his home in Puerto Rico, in Santurce. Recently he mused, 'I used to think that eighty was a very old age. Now I am ninety. I do not think this any more. As long as you are able to admire and to love, you are young. And so much to admire and love! Look at the sky, the trees, and flowers. 帕布罗·卡萨尔斯在波多黎各的桑图尔塞安了家。最近他开玩笑说，“先前我以为80岁已经很老，现在我90了，却不这样想了，只要你还有能力去欣赏、去爱，你就还很年轻。看看天空，树木还有花朵，这世上有那么多事物值得你去欣赏和喜爱呢！”
'Nature is what has inspired me. It is my teacher and the source of my meditations. Nature has helped me, not the philosophies of the study. “大自然激发我的灵感，是我沉思和冥想时候的老师与源泉。是自然，而非学到的哲理，给了我力量。” 'I see God in Bach. Every morning of my life, first nature, then Bach. I treat music as something divine, as I treat every human being. No two grains of sand are the same, and no two humans are the same. It is God's miracle.' “我在巴赫当中看到上帝，我人生中的每一个早晨，醒来先面对自然，接着就是巴赫。没有两粒相同的沙子，也没有两个完全一样的人，这是上帝的神迹。音乐与人类在我眼里同样都是神的造物，我对待音乐的态度就像对待人一样。”
Pablo Casals was born December 29, 1876 near Barcelona, Spain. His musical successes, his indomitable moral strength through bleak vicissitudes; his self exile in anguish from his beloved homeland; his world inspiring Festivals of music, which are more than performances, relate the history of our revolutionary times. Casals' background creates a true homage to a master human being. 帕布罗·卡萨尔斯于1876年12月29日出生在西班牙巴塞罗那附近。他音乐上的成功，他跨越沧桑的坚韧意志，他带着痛苦背井离乡的无奈，以及他那意义远远超过表演本身的音乐节鼓舞了全世界。是卡萨尔斯，使我们与曾经剧变的时代还保有联系，他是一位真正值得崇敬的大师。
We have talked with Casals about Trio Opus 38 of Brahms. 'How monotonous it would be,' he declared, 'if all these eight notes were played with equal length. So here we need to present variety, not in dynamics alone, but in the amount of time we go to notes which are equal in length. Notes that are more important than others are to be held a bit longer, but the audience must still be aware of the fact that eighth notes are being played. When we take liberties, there must be great order!' 我们与卡萨尔斯谈起了勃拉姆斯《e小调第一号大提琴奏鸣曲》（Cello Sonata No.1, Op.38）。“要多单调有多单调，”他称，“如果把这八个音的时值全弹成一个样的话。所以我们在这块要提供一些变化，不只是力度要有变化，时值也是；重音要保持的比其他长一点点，但同时也不能让观众把其中某个音听掉了。” （译注：原文写的是勃拉姆斯三重奏作品38号，但是勃拉姆斯的Op.38是一首大提琴奏鸣曲，倒是Op.40是一首钢琴、小提琴与圆号或大提琴的三重奏，有兴趣的朋友可以求证一下） Concerning the cadenza to the Boccherini Concerto, again the reiteration, 'There must be liberty with order. Where there is fantasy there must be logic and order.' 至于博凯里尼协奏曲中的华彩乐段（Cello Concerto G.474,477-482）,他再次重申“自由必须是秩序下的自由，哪有有幻想，哪里就有逻辑和次序。” （注：路易吉·博凯里尼，Luigi Boccherini，1743-1805意大利作曲家、大提琴家）
While participating in the presentation of a master class, it is impossible not to take note of Casals' exactitude regarding intonation. 'Intonation is a life long job. In the first position the stretch of the hand is not natural and so we have to make a special effort to play in tune. Frequently, the second finger will be too high in the first positon. Trills are particularly vulnerable. The upper finger must be sure to reach high enough or the trill will be out of tune.' 到了大师班的演示环节，谁都会注意到卡萨尔斯对音准（Intonation）的严格态度。“音准是一生的追求，第一把位我们的手的伸张不自然，所以我们得付出一些特别的努力来把这里的音弹准。常见的，在第一把位我们的二指容易抬得过高，而颤音经常会拉的很脆弱，颤音时在上边的手指必须够得到很高才行，否则就走调了。” Regarding fingering Casals has many definite ideas to offer us. 'As a general rule I like to avoid jumps. I prefer extensions. You are in a better position then to measure the distance between notes and jump only when you need to. For solidity I prefer to use the third finger when possible instead of the fourth. I find it strontger and I am sure to hit the note in tune.' 至于指法，卡萨尔斯有很多有效的办法。“普遍的情况下，我基本杜绝换手位，我更喜欢扩张手的开度，永远找到更合适的手型，然后测量要拉的音符的距离，除非必要否则绝不抬手换位。为求稳定，如果可能我更喜欢使用三指而非四指，三指要更加强壮用起来更加舒服。”
'Violinists certainly understand this,' we agreed. “小提琴家都懂的。”我们附和。 'I like to feel that what I can do with the third finger I do not permit myself to do with the fourth finger. To make certain that I get perfect fifths I frequently tune the G string just a shade higher to make a perfect fifth with the D string.' “我喜欢弄明白都有哪些是我能用三指就不必用四指做的。而为了确保五指的效果，我常把G弦调的略高一点以确保小拇指可以在D弦上取得完美的效果”。 Returning to trills, he 'objects to trills that are too fast in a slow movement. I never like to start them in full speed. When we have a trill on a long note we first play the note, or we might say first comes the presentation of the note, then the trill, then the continuation of the sound with a crescendo or a diminuendo. Frequently a trill will have two accent.' 说回颤音，他说“颤音对于一些缓慢的乐章来说太快了，在处理这种情况的时候我很反感一上来就全速揉弦。当我们拿到一个长音符上的颤音时，我们首先要把这个音符拉出来，或者这么说吧，首先要呈现这个音符，然后颤音，再然后接一个渐强或减弱。通常情况下一个颤音会有两个重音（accent）。”
'Does the same principle apply when a note is preceded by the same note as the one with which the trill begins?' “如果有两个同样的音符，后一个是颤音，对于前面音符来说这个诀窍适用吗？” 'In that case do not start the trill with the higher note. An example of this would be the 20th measure of the Adagio in Bach's Gamba Sonata in D major.' “这种情况下颤音要从原音开始，举个例子比如巴赫古大提琴奏鸣（Sonata for Viola da Gamba in D major, BWV 1028）慢板里面的第20小节。” 'When the accent is not pertaining to a trill, how would you recommend it be handled?' “如何处理一个没有颤音的重音。” 'Herein,' replied Casals. 'lies much skill and thought. A salient point I wish to make is that the accent must be on the beginning of a note and must be followed by a diminuendo. Do not start the note and then create the accent. The diminuendo which follows the accent,' he advised, 'must be carefully planned. If it is to be diminuendos, I should like to add that frequently a diminuendo should replace a ritardando. Many times it is best not to have a diminuendo plus a ritardando.' “这种情况呢”，卡萨尔斯回应，“要投入更多的技巧还有思考。留白，当一个重音出现在音符的开头，并且这个音符后面跟着一个渐弱的话，我会考虑在重音前留白。重音不是先出来音符然后再加上去的，如果在重音后面跟着一个渐弱”，他指出，“这种情况必须小心谨慎地规划，如果需要的是渐弱，我就会用渐弱代替渐慢，大部分情况下最好不要让渐弱和减慢同时出现。”
'Could we discuss the bowings in general?' we asked him. “可以跟我们大体地讲一下弓法吗？”我们向他发问。 'As a general rule I feel that young musicians should try to avoid enslaving themselves to the bowings which are marked. Rather than this, change them frequently to create a quality and sonority of tone that you conceive in your mind.' “普遍来讲我觉得，年轻的音乐家们应该试着挣脱谱面上标记的弓法对他们的束缚，倒不如多试着呈现出你脑海里所构想的音质和声效。” 'But what about long notes?' “但是，长音符怎么办？” 'By all means, change bows even in the middle of a long note. To develop good bow technic we should learn to hold long notes that are even on all dynamic levels. In public performance,' he assured us, 'feel free however, to change bows on long notes. “任何情况下，即便在长音符的中间也要换弓。要形成好的运弓技术，我们必须学会在所有力度里面都能保持长音符。在公众演出之中，”他向我们保证，“听上去有点随意不过呢，一定要在长音符上面换弓。” 'In the past musicians have felt that they should use all of the bow always. I disagree. We want to use only as much bow as we need, and only in that part of the bow we wish to play. As for chords,' he said, 'I am not always happy by following the tradition of playing chords with two strings at a time. It is not always the most musical way to play chords. Many times I do not like to use all the bow in chord playing. I like to concentrate on the bass note, making sure it has a rich sound and there is no harm in ending on the highest note and holding it.' “过去的音乐家们认为总是应该用上整支琴弓。我并不同意这一点，我们应该化繁为简，只取我们需要的部分。至于和弦，”他说，“我并不完全同意任何情况都用两根弦演奏和弦的传统，这并不总是表现和弦的最具音乐性的方法，我特别反感拉和弦的时候用上整支弓，对我来讲更重要的是表现和弦里面的低音，当低音呈现出足够丰富的声音，对于和弦在高音上结束或是保持，都是毫无坏处的。” 这篇文章能翻译成这样，真不容易啊，有收获，记得赞赏译者！ 【音乐编译小组公众号】：1、八十岁时论阿劳丨论阿劳的演奏艺术；2、八十五岁论阿劳丨他的演奏何以伟大？3、钢琴家特里福诺夫专访丨“我在游泳池里练琴”；4、十五问王羽佳丨“演出”对你意味着什么？5、王羽佳访谈丨“穿长裙？待我四十岁！”6、王羽佳专访丨她赢得了没有参加的“比赛”！7、采访阿格里奇丨“音乐必须是自然流露的事情！” 8、帕尔曼追忆海菲兹丨“这么多小提琴家都试图模仿他，但他们的演奏却成了活生生的讽刺。”；9、肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。” 10、韩国钢琴家赵成珍访谈丨“如果我遇见肖邦……”；11、憨豆先生采访郎朗丨谈肖邦以及古典音乐普及；12、古稀之年克莱默访谈丨谈《克莱默版贝多芬协奏曲》（亨勒出版社）；13、“奥伊斯特拉赫经常鼓励我，去寻找属于自己的声音”丨“当代怪杰”吉顿·克莱默访谈；14、“指挥家”李云迪访谈丨“音乐源自内心，这就是为什么即便我们一遍遍地弹奏相同的曲子，表演依然不是机械化的原因。” 15、郎朗弟子马克西姆·朗多访谈丨“郎朗对所有事物的热情深深感染着我，当我们在一起演奏时，可以感受到创造出的音乐竟然如此欢乐！” 16、肖邦“迷妹”阿格里奇论肖邦《第一钢琴协奏曲》丨“我多么渴望去亲眼看到肖邦怎样弹琴！”；17、纽爱新总监梵志登访谈丨“我并不想被公众看作对某位作曲家有特殊癖好，演的最多或最为喜欢。” 18、埃格纳钢琴三重奏访谈丨你有父亲、母亲和孩子，等我们长大了，孩子就会成为父亲和母亲，这就是室内乐想要阐明的观点！19、华裔小提琴家侯以嘉访谈丨“没有技巧就没有表达的自由；但只关注技术，很快会变得无聊或疲劳，并失去练习专注度。” 20、郎朗访谈丨“有时候父亲把我逼得太紧了，可他是爱我的！” 21、哈农库特访谈丨“我所探寻的始终是作曲家为什么要这样写”；22、面对批评，郎朗很委屈丨“我想让古典音乐表现得酷炫一点，这有什么不好么？”；23、“准备好了”丨回忆海菲兹小提琴大师班；24、美酒，女人和钢琴丨钢琴家鲁宾斯坦的三原色；25、纪念李帕蒂丨他坚称乐谱是“我们的圣经”，但对作品内在精神的解读更重要！26、周善祥访谈丨不想当钢琴家的作曲家不是好数学家；27、席夫丨为何我的《哥德堡变奏曲》宛如与魔鬼跳舞？【古典音乐译文公众号】1、作曲家拉威尔1928年演讲丨“真正的艺术作品是不可能靠分析鉴定的”；2、你怎么看音乐家找工作越来越难丨大提琴家斯塔克访谈（上篇）；3、他曾声明永远不在器乐演奏比赛中担任评委丨大提琴家斯塔克访谈（下篇）；4、布伦德尔谈莫扎特丨到底什么让他的音乐如此奇妙? 5、被遗忘的克莱门第丨他的键盘音乐文献如何影响海顿、莫扎特、贝多芬以及浪漫时期？6、弓在弦上，揉转成美丨与梅纽因对谈小提琴艺术；7、MTT谈马勒丨“他的音乐已经进入了我的心灵，永不磨灭。” 8、盛原采访米科夫斯基丨“我对钢琴大师班没有太大的信任”；9、富特文格勒丨如何理解贝多芬交响曲；10、从钢琴生产数量看，中国有多少万琴童？11、肖邦大赛后的齐默尔曼丨他不想只做肖邦专家；11、科尔曼丨面对贝多芬，便好似在和我们的灵魂对话；贝多芬的伟大，就在于他的平凡；12、富特文格勒丨巴赫为何重要？13、阿巴多丨音乐没有妥协可言
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来自： 昵称25649097 > 《大提琴》
