 Mitsuko Uchida Discusses Mozart 内田光子论莫扎特 In a musical world studded with fine Mozartians, no one is rated more highly than Mitsuko Uchida. Born in a seaside town near Tokyo, she was 12 when her diplomat father was posted to Vienna. There, she studied at the city’s Hochschule für Musik, thriving on what she later came to see as the fruitful tension between traditional Viennese teaching and her own independent-mindedness. 在如今这个充斥着优秀莫扎特演奏大师的音乐世界里，没有人比内田光子（Mitsuko Uchida）所受到的赞誉更高。她出生在东京附近的一个海滨小镇，当她跟从作为外交官的父亲被指派到维也纳工作时，她只有12岁。她进入维也纳音乐学院学习，也就是在那里，她学会将维也纳传统教学理念与她自己的独立思想有机结合运用到演奏中，并因此受益终身。  In her early twenties she settled in London and made a name for herself with a complete cycle of Mozart’s solo piano sonatas at the Wigmore Hall, soon following these up with performances of his piano concertos. These remain central to a sizeable repertory that ranges from Beethoven and Schubert to Debussy and Schoenberg. 在她二十多岁的时候，她来到伦敦定居，并在威格莫尔大厅完整地演奏了莫扎特的全部独奏钢琴奏鸣曲，从此声名鹊起。不久之后，她又开始演奏莫扎特的钢琴协奏曲了。这些莫扎特的音乐构成了她数量庞大的保留曲目库的核心，而这个曲目库也涵盖了从贝多芬、舒伯特到德彪西和勋伯格各类音乐作品。 When faced with the question of whether Mozart’s uniquely individual balance of naturalness and finesse works best on period instruments or on their sophisticated modern counterparts, the finest exponents of his music seem to handle the problem as if it doesn’t exist – witness Uchida’s blend of serenity and verve, poise and incisiveness, adventure and simplicity. She sees the broader questions in the same way. 当面对无论是具有时代背景的乐器（period instruments）还是那些复杂的现代对位，在面对如何展现莫扎特富有独特个性的自然平衡和技巧的问题时，莫扎特音乐最好的阐释者似乎都是视而不见地去解决，这见证了内田将宁静和活力，均衡和敏锐,冒险和质朴协调统一。她以同样的方式看待更广泛的问题。  ‘If you keep the balance right,’ she says, ‘nothing is better than a musician’s life.’ “如果你保持良好的平衡，”她说，“你会发现没有什么比音乐家的生活更美好。” What then, for her, are the key issues of Mozartian style? Here, Mitsuko Uchida reveals all… 那么，对她来讲，莫扎特风格的关键问题是什么呢?这里，内田光子揭示了一切…… Classicalfm（C）：Do you have a favourite Mozart concerto? 古典频率数字收音机网（古）：你有最喜欢的莫扎特钢琴协奏曲吗? Mitsuko Uchida （U）：It’s not possible to say this, absolutely not! But I do feel that something remarkable happened to his music between the B flat Concerto, K456 (No.18), which is so lovely, and the D minor Concerto, K466 (No.20). This one, and K467 in C (No.21), the one we now call ‘Elvira Madigan’… everything is suddenly in a different dimension. Mozart has made this astonishing leap. There’s an immensity about this music, and in the great concertos that followed. And then in the last one, K595 in B flat (No.27), his style becomes simpler again. This too is something very special. You’ve often directed Mozart’s piano concertos from the keyboard, as he himself did. 内田光子（内）：这可真是难以取舍，我真的做不到！但我确实觉得他的音乐在非常可爱的《降B大调第十八钢琴协奏曲》（K456）和《D小调第二十钢琴协奏曲》（K466）之间发生了显著的变化。这一首，《C大调第二十一钢琴协奏曲》（K467），我们现在称之为“今生今世”（1967年瑞典电影《今生今世（Elvira Madigan）》以其第二乐章作为电影主题曲）…所有的东西都突然处在不同的维度。莫扎特取得了惊人的飞跃。这段音乐有很大的不同，在他随后的伟大的协奏曲中也是如此。然后在最后一首，《降B大调第二十七钢琴协奏曲》（K595）中，他的风格再次变得更为单纯。这也是非常特别的。你会常常从键盘上指挥莫扎特的钢琴协奏曲（指一边弹着钢琴一边指挥乐队），就像他自己所做的那样。  C：What is it about his music that suits this approach? 古：是什么使他的音乐适合于这种方法呢? U：I think it’s to do with Mozart’s idea of how the concerto form works. From Beethoven onwards, composers saw the concerto as a kind of contest between the soloist and the orchestra. But with Mozart, they’re very much partners. The music is like an ongoing conversation between the piano and the orchestra. Either one might take a different line on this idea or that one, but the general mood is one of mutual agreement. 内田光子：我认为这与莫扎特个人对协奏曲应如何演绎的看法有关。从贝多芬开始，作曲家将协奏曲视为独奏和交响乐队之间的一种较量。但是在莫扎特看来，他们是很好的伙伴。音乐就像是钢琴和管弦乐队之间正在进行的对话。也许有人会对此持有这样或那样不同的看法，但总体感觉是相互认同的。   C：So it comes naturally to direct this kind of friendly dialogue from the keyboard, because you start with this sense of togetherness. And you also perform Mozart with a conductor... 古：所以很自然地，因为你从这种亲密无间的感觉出发，从键盘上指挥这种对话就非常自然了。你还作为一位指挥家表演莫扎特的音乐…… U：Yes, I like to do this too. Of course it’s very important to feel on a wavelength with the conductor about the concerto you’re performing, for the same reason: it’s a dialogue of togetherness. I find I work very well with Charles Mackerras, and Colin Davis too. Colin has really deepened my appreciation of the ‘Coronation’ Concerto in D, K537 (No.26). He thinks it’s an underrated masterpiece. Increasingly I think he’s right. Some of the concertos are still neglected in this way – such as K450 in B flat (No.15) or K451 in D (No.16). 内田光子：是的，我也喜欢这么做。当然，感受乐队指挥与你正在演奏的协奏曲之间的融合是非常重要的，正是由于这个原因:这是一场亲密无间的对话。我发现我和查尔斯·麦克拉斯(Charles Mackerras)和科林·戴维斯(Colin Davis)合作得很好。科林真的加深了我对《D大调第二十六钢琴协奏曲“加冕”》的理解。他认为这是一部被低估的杰作。我越来越觉得他是对的。有些协奏曲仍然被忽略，比如《降B大调第十五钢琴协奏曲》（K450）或《D大调第十六钢琴协奏曲》（K451）。
C：Why do you think this is so? It can’t be the musical quality as such… 古：你为什么会这么认为?这些曲目不太可能是这样的音乐品质…… U：No! They’re wonderful. Are they very difficult technically? I wouldn’t say so. K451 sounds harder than it actually is: there are a lot of notes but they lie beautifully under the hand. Perhaps these works are…just a bit lighter. And maybe people think this doesn’t come across as well in today’s big concert halls. 内：不！它们是美妙的。你认为这些曲目技术上很难吗?我不会这么说。K451听起来比实际要难:有很多音符，但它们在手底下美极了。也许这些作品……要稍微轻柔一点演奏。也许人们认为这在如今的大型音乐厅里表现不出出莫扎特应有的效果。
C：You always play Mozart on a modern concert grand, not on a period instrument. 古：你总是在现代音乐会大三角钢琴上演奏莫扎特，而不是在具有时代背景的乐器上演奏。 U：For me this is not too much of an issue for the same reason: the size of our concert halls today. I don’t believe an early piano can make enough sound to fill them. The halls that Mozart played in were a lot smaller. I’ve played his music on a period instrument in that kind of listening space, and it works well. Also I have a square piano, one of the really early kind, in my home in London, and I play it there. But only at home! 内田光子：对我来说，这并不是一个大问题，原因是相同的：以我们今天音乐厅的规模，我不相信早期的钢琴能发出足够的声音来填充它们。莫扎特时代演出的音乐厅要小得多。我曾经在莫扎特时代的乐器上、在那种倾听空间里演奏他的音乐，效果很好。我还有一架方形钢琴，这是很早期的一种钢琴，在我伦敦的家中，我在那里演奏，但只是在家里!
C：We know that Mozart used to improvise his own ornamentation when he performed his concertos. What’s your own approach? 古：我们知道莫扎特在演奏协奏曲时，常常即兴发挥自己的装饰音。你的方法是什么? U：You have to find your own solution. Really search for it. It depends on the actual moment in performance, the relationship with the orchestra –things like that. And there are clues. In his Rondo finale movements, when the repeated section comes along, Mozart sometimes writes in the ornamentation. It’s so beautifully done – decorative, but never too much. And his own written-out solo cadenzas have survived for some of the concertos, but not for others. 内田光子：你必须找到自己的解决办法，真真切切地找到。这取决于演出的实际时间和管弦乐队的关系，诸如此类。我们可以找到一些线索。在他的回旋曲终乐章中，当反复的部分出现时，莫扎特有时会写出装饰音，做得非常漂亮——装饰性的，但不会太多。而他自己写的独奏华彩乐段在一些协奏曲中幸存了下来，但其他协奏曲中却没有。
C：In those situations, do you play your own? 古：在这种情况下，你自己弹奏吗? U：Yes, I think you must. There are exceptions, like Beethoven’s cadenza for the K466 Concerto in D minor (No.20): this is so impressive that it would be ridiculous not to use it. In the others, I think it’s like the ornamentation question. A cadenza should develop the music further, but in a style that connects with Mozart’s own. Not something quite different. 内田光子：是的，我认为你必须这样做。当然也有例外，比如贝多芬为莫扎特的《D小调第二十协奏曲》(K466):所写的华彩，令人印象太深刻了，不去使用这个华彩是非常荒谬的。在其他方面，我认为这就像装饰音问题一样，一段华彩应该进一步发展、深化音乐，但风格应与莫扎特的音乐相联系，而不是非常不同。 |
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