 4 Winners of the Chopin Competition Who Became Superstars 成为超级明星的四位肖邦国际钢琴比赛优胜者 By Wojciech Oleksiak  The International Chopin Piano competition is known for its incredible power to turn unknown prodigies into pianists of global standing. Other than the actual prize, these young artists win a schedule packed with concerts in the most prestigious halls in the world and an unparalleled opportunity to bask in the spotlight for decades. 肖邦国际钢琴比赛以其令人不可思议的力量将不知名的天才变成拥有全球地位的钢琴家而闻名于世。除了实际的奖励，这些年轻的艺术家们还赢得了在世界上最负盛名的音乐厅里进行一系列音乐演出的安排，以及赢得梦寐以求的机会，可以沐浴几十年公众的关注。 Every five years the jury faces an almost impossible task. They have to select the best pianist out of over 80 outstandingly gifted and perfectly trained contestants. Keep in mind that this is a competition where it all comes down to the subtlest nuances; no easily measurable values are judged, and the verdict is final and non-negotiable. This is why the competition’s history has been full of controversy and heated debates but it is a fact that almost every winner sooner or later proves to be an absolutely distinguished artist and one of the world’s leading pianists. （肖邦国际钢琴比赛）评委会每五年都要面对一项几乎不可能完成的任务。他们不得不从80多位才华出众、训练有素的选手中挑选出最优秀的钢琴家。请记住，这场竞赛将一切（结果）都归结于最微妙的细微差别;没有容易衡量的评判标准，裁定是最终的，没有任何商量余地。这就是为什么这个竞赛的历史充满了争议和激烈的争论，但有一个事实是，几乎每位获奖者迟早都会被证明是一名绝对卓越的艺术家和世界一流钢琴家之一。 But who are the most memorable and accomplished winners of the competition? 但究竟谁是比赛中最令人难忘和最有成就的赢家呢?  Maurizio Pollini 毛里奇奥.波利尼 He was only 18 – the youngest of 89 competitors – when he won the 6th edition of the competition in 1960. Arthur Rubinstein, a prominent pianist and jury member, said of him:that boy plays better than any of us jurors. 1960年，他在第六届肖邦国际钢琴比赛中获胜时只有18岁，是89名参赛选手中最年轻的一位。著名的钢琴家和评委会成员阿瑟·鲁宾斯坦(Arthur Rubinstein)说他:那个男孩比我们所有的评委弹得都好。 Unlike the other winners who often immediately embark on endless tours Maurizio withdrew from the spotlight and didn’t resurface until the late 1960s.(After the competition)I wanted to explore other arts and other things. So I stayed away from concerts for about a year and a half, and when I returned I didn't take on too many. But I always enjoyed performing and I made my debut in London in 1963. By the end of the 60s my performance schedule had extended itself to a more normal rhythm. 与其他获奖者不同，那些人往往立刻开始没完没了的巡演，毛里齐奥（波利尼）离开了公众的视野，直到20世纪60年代末才重出江湖。(赛后)我想钻研其他艺术和事物。所以我有一年半的时间远离音乐会，当我回来的时候，我也没很频繁地参加音乐会。但我一直非常热爱表演， 1963年在伦敦（复出后）首次登台。到60年代末，我表演的时间表已扩展为一个更为正常的节奏。  Nevertheless Pollini was never interested in just capitalising on his fame as a Chopin Competition winner and in the years to come he became strongly involved in promoting contemporary music as well as supporting left-wing political movements in Italy. He devoted many years of his career to popularising the music of composers such as Boulez, Stockhausen, Berio, Ligeti, and Nono because he believed that although they were established and recognized, their works appeared in concert programmes far too rarely. He shared the same political views as Nono and they collaborated closely on projects which blended musical education and social criticism.Maurizio Pollini is an icon today and his recordings of Chopin and Schumann are widely recognized as elementary for every classical music lover. 然而，波里尼从来没有兴趣仅仅利用他作为肖邦比赛冠军的名声。在接下来的几年里，他积极参与了当代音乐的推广，并支持意大利的左翼政治运动。他花费很许多年的时间推广作曲家如布列兹（Boulez）、施托克豪森（Stockhausen）、贝里奥（Berio）、里盖蒂（Ligeti）和诺诺（Nono）等人的音乐，因为他相信，尽管他们已被接受和承认，但他们的作品实在是太少出现在音乐会曲目中。他和诺诺的政治观点一致，他们在音乐教育与社会批评相结合的项目上密切合作。毛里奇奥·波利尼(Maurizio Pollini)是当今的偶像，他录制的肖邦(Chopin)和舒曼(Schumann)的作品是所有古典音乐爱好者公认的必备收藏。  Martha Argerich 玛尔塔.阿格里奇 Marta Argerich is not only one of the most celebrated living artists but also one of the most complicated and rebellious ones. She's notorious for cancelling her shows at the last moment, for changing the programme without notice, and for delaying her appearance on stage and making the audience wait. At the same time she is appreciated for her passionate performances, for never falling into routine, for her great honesty and for constantly pushing against the boundaries of how the greatest compositions are interpreted. The apparent ease with which she plays and her seemingly unforced virtuosity are known to have been achieved at the cost of the highest mental burden and struggles with contradictory moods before her every performance. 玛尔塔.阿格里奇（Marta Argerich）不仅是当今依然健在的最具声望的艺术家之一，也是最令人困惑、最叛逆的艺术家之一。她因在最后关头取消演出，也因她在毫无征兆的情况下更改曲目，以及观众苦苦等待、她却迟迟不出场而声名狼藉。与此同时，她也因热情的表演、不落俗套、最大限度的真诚和不断突破伟大作品的诠释边界而受到赞赏。众所周知，她演奏中表现出来的轻松和的并非刻意的炫技是以最高的精神负担为代价的，每次演出前她都要与矛盾的情绪作斗争。 A vortex of emotional trouble seems to swirl around this woman. Yet once she sits at the piano, disorder and doubt fall away. She plays piano the way a gazelle leaps from one crag to another, with mesmerising natural mastery. – Ivan Hewett, The Daily Telegraph. 似乎有一股感情纷扰的漩涡围绕着这个女人。然而，一旦她坐在钢琴旁，混乱和怀疑就会烟消云散。她弹钢琴的方式就像瞪羚从一块岩石跳到另一块岩石上一样，有着令人意乱神迷的天生的舞台掌控力。——《每日电讯报》伊万·赫威特（Ivan Hewett）。 In 1965 Martha Argerich won the competition at the age of 24, when she stunned the audience and the jury with her defiant interpretations, perfect articulation and, last but not least, outstanding appearance. Fifty years later she is undisputedly one of the greatest pianists of the 20th century as well as an experienced member of the competition’s jury. This year’s competition will commence with a concert by Argerich, the tickets for which sold out a long time ago. 1965年，24岁的玛尔塔·阿格里奇(Martha Argerich)以其唯我独尊的大胆诠释、完美清晰的发音，以及（最后但不是很重要的一点）出众的外表，令观众和评委惊叹不已。50年后，她毫无争议地成为20世纪最伟大的钢琴家之一，同时也是（肖邦国际钢琴）比赛评委会的资深评委。今年的比赛（指肖邦国际钢琴比赛）将以阿格里奇的演奏会开始，门票早已售罄。
 Krystian Zimerman 克里斯蒂安.齐默尔曼 He won the competition in 1975 and was the youngest pianist to be awarded the first prize along with all of the special awards (for the best performance of polonaise and mazurkas). Like Marta Argerich, his present day status goes beyond any scale of prestige, respect and admiration. 他于1975年赢得了比赛，是最年轻的获得一等奖的钢琴家，同时还获得了所有的特别奖(最佳波兰舞曲和最佳马祖卡)。与玛尔塔.阿格里奇一样，如今他的地位任何程度的声望、尊重和赞美都无法比拟和形容。The specific aura that he creates around himself as well as his unusual ability to create his own magnificent musical world, where every sound that he plays is extremely significant, are foundations of his phenomenon. – Jacek Marczyński, Rzeczpospolita.他在自己周围所创造出的特殊光环，以及他创造自己的壮丽的音乐世界的非凡能力——（在这一世界中）他演奏出的每一种声音都极具重要意义——都是他非凡天赋的基础。——《波兰金融日报》亚采克.马金斯基（Jacek Marczyński）。 After starting his career like this it should have been a challenge to even meet the world's expectations, but Krystian Zimerman has miraculously gone even further and exceeded them. He is not only an absolutely outstanding artist but also an original, old-fashioned and good-natured character. He releases a very limited number of albums, plays a few concerts every year, does everything not to let unauthorised recordings of his performances leak to the Internet, and closely guards his private life. He devotes a lot of time to his studies of acoustics and always travels with his own piano. He rarely speaks in public or gives interviews but when he does he presents his views in a very determined way. It has led to a few controversies, such as him publicly vowing to never perform in the US again in protest against the country’s foreign policy, or halting his performance when a stubborn audience member continued recording him despite his request to stop. 在这样的职业生涯开始后，想要满足全世界的期望本应该是一个挑战，但克里斯汀·齐默尔曼却奇迹般地走得更远，超越了他们。他不仅是一个绝对优秀的艺术家，而且是一个具有独创性、遵循传统和天性善良的人。他不仅是一位非常杰出的艺术家，而且还是一位原始的、老派的、和善的角色。他发行的专辑的数量非常有限，每年举办几场音乐会，他竭尽全力不让未经授权的演奏录音泄露给互联网，并严密保护自己的私生活。他花了很多时间研究声学，而且总是带着自己的钢琴旅行。他很少在公共场合演讲或者接受采访，但一旦他这么做，他会以一种非常坚定的方式表达自己的观点。这引发了一些争议，比如他公开发誓再也不会在美国演出，以抗议美国的外交政策;或者，在一名顽固的观众不顾他的要求继续录制他的表演的情况下，他终止了演出。
然而，他以不断追求完美和拓展人们对名作的认知而著称。举例来说，1999年，他创立了波兰节日管弦乐队，该乐团由年轻的音乐家组成，他与乐手们一起工作了很长时间，从一个全新的角度展示肖邦的钢琴协奏曲。不像平时专注于钢琴声部，齐默尔曼决定展示一下他的乐队才能（他不仅演奏，而且还指挥）。他甚至对管弦乐的编曲做了小小的修改，在《E小调第一钢琴协奏曲》(op. 11)中的庄严的快板增加了八小节。无论(或者也许多亏了?)这些极具争议性的行为，他与波兰节日管弦乐队的巡演取得了圆满的成功，并引发了很多有关古典音乐诠释边界的讨论。
Rafa? Blechacz 拉法尔·布雷查兹 Even though Dang Thai Son (1980’s winner), Stanislav Bunin (1985) and Yundi Li (2000) experienced a great deal of success after winning the competition none of them managed to come close to achieving the superstar status of the three winners presented above. Both subsequent competitions in the 1990s went down in history as no first prize was awarded (the jury believed that nobody deserved it) so at the beginning of the 21st century discussion about the crisis of the competition was more intense than ever. 尽管邓泰山(1980年的获胜者)、斯坦尼斯拉夫·布宁(1985年)和李云迪(2000年)在赢得比赛（指肖赛）后都取得了巨大的成功，但他们之中没有一个人成功接近前文提到的三位获胜者所取得的超级巨星地位。随后20世纪90年代的两场比赛都因没有人获得一等奖而被载入史册(评委会认为没人配得上获得一等奖)。所以，21世纪初，关于这场比赛危机的讨论比以往任何时候都更加激烈。 Luckily for the competition, the audience and the jury in 2005, Rafa? Blechacz took part and not only did he walk away with all the prizes but the judges were so taken with him that no one was awarded second place. It was a stunning, unprecedented and undisputed victory, the first of its kind since 1975. Krystian Zimerman wrote him a letter of congratulations ending with a comment very unusual for the overly elegant world of classical music. 对于2005年的比赛、观众和评委会来说幸运的是拉法尔·布雷查兹（Rafa? Blechacz）的参赛,他不仅拿走所有的奖项，还有评委们对他的着迷,以至于第二名空缺。这是一场令人惊叹的、史无前例的、无可争议的胜利，自1975年以来这还是第一次。克里斯蒂安.齐默尔曼给他写了一封贺信，结尾的评论对于过于优雅的古典音乐世界来说是极不寻常的。
Bro, you smashed it! 兄弟，你打破了它的记录（指两届未产生一等奖）！ The world’s most prestigious classical music record label – Deutsche Grammophon – immediately signed him and Blechacz continues to release great albums with the music of Chopin, Debussy, Szymanowski, Haydn, Mozart, and Beethoven. 世界上最著名的古典音乐唱片公司——德国留声机公司——立即签下了他，布雷查兹连续发行了肖邦、德彪西、席曼诺夫斯基、海顿、莫扎特和贝多芬重要的专辑 Ten years after his victory Rafa? Blechacz shows no signs of slowing down. On 8 January, 2014, he was awarded the prestigious Gilmore Artist Award, which made him the second artist from Poland (after pianist Piotr Anderszewski) to win the prestigious award. Blechacz was given a prize of $300,000, most of which ($250,000) he was expected to spend on his career development. He keeps touring worldwide and broadening his repertoire and seems to be on the right path to becoming one of the greatest artists of his generation. 获胜后十年，拉法尔·布雷查兹丝毫没有放慢速度的迹象。2014年1月8日，他获得了久负盛名的吉尔摩艺术家奖（Gilmore Artist Award），使他成为来自波兰的第二位获得该奖项的艺术家(在钢琴家皮奥特.安德谢夫斯基（Piotr Anderszewski）之后)。布雷查兹获得了30万美元奖金，他希望将其中大部分(25万美元)用于其职业生涯发展。他不断地在世界各地巡回演出，并拓展他的曲目，似乎依然在成为他这一代中最伟大的艺术家之一的正确道路上前行。
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