乐评丨“席夫的演奏条分缕析，深沉内敛又柔中带刚。”

Review: András Schiff, Sydney

席夫悉尼音乐会乐评

From MENAFN

On top of its usual, high quality series of chamber music concerts, Musica Viva presented its audiences with a special event this week. After an absence of more than 20 years, pianist András Schiff gave two gala concerts with different programs in Melbourne and Sydney.

除了通常的、高质量的室内乐系列音乐会之外，Musica Viva（澳大利亚古典音乐机构）本周还为观众们举办了一个特别的活动。在缺席了20多年之后，钢琴家安德雷·席夫(András Schiff)在墨尔本和悉尼举办了两场不同节目的音乐会。

Schiff's solo concerts always follow a carefully designed plan. For example, in recent years, he was touring the world with a program that consisted of the last sonatas by Haydn, Mozart, Beethoven and Schubert. After the success of this program, he created a similar one of the second-last sonatas by the same Viennese masters.

席夫的独奏音乐总是依照他本人的精心设计而成。例如最近几年，海顿、莫扎特、贝多芬和舒伯特等人创作的最后一首奏鸣曲组成了席夫巡回演出的曲目单。在这一组巡演计划取得成功后，他又将这些维也纳音乐巨匠所创作的倒数第二首奏鸣曲，列入自己新一组巡演计划的曲目库中。

The Sydney recital paid homage to the late piano pieces of Johannes Brahms, complemented with compositions by other composers, whom Brahms held in high esteem, such as Bach, Mozart and Schumann. Appealingly, there was also a tonal relationship between the individual works; the last movement of one piece was in the same or closely related key as the first one of the next.

席夫在悉尼独奏会是向约翰内斯·勃拉姆斯晚期的钢琴作品致敬，并辅以巴赫、莫扎特和舒曼等受到高度尊重的作曲家的作品。最引人入胜的是，各个作品的调性也存在着联系，每首作品的最后乐章和下一首作品的第一乐章，两者之间的调性或相同或相关。

In order to appreciate these harmonic connections, Schiff politely but emphatically asked his audience in a short speech before he sat at the piano, that they hold their applause until he, the artist, indicated the appropriate time.

为了欣赏乐章间和声的关联性，席夫在入座演奏前会简洁而礼貌地向听众强调，在他指出合适的时间前尽量不要鼓掌。

Random, tentative clapping between movements has often disturbed the atmosphere of a performance at the Opera House's Concert Hall. By explaining his attempt to achieve the intimacy of a recital in a living room, Schiff persuaded his near-capacity audience to remain completely silent until the very end of each half of the program – a major coup in itself.

在歌剧院的音乐厅里，偶有乐章之间的随意、试探性的掌声扰乱演出的气氛。席夫对此解释道，他想让音乐厅里的聆听感受像在客厅里欣赏音乐一样，想要让几近饱和的音乐厅里的听众完全保持沉默，直到中场休息为止——这本身就是一次重大的尝试。

He didn't stand or take any break between the various compositions, forming a majestic arch of sixteen continuous movements in the first half of the concert, lasting over an hour, and only marginally less in the second. While this created an ethereal atmosphere and the intimacy of the recital was almost tangible, at the same time, the unremitting focus on music, and the music alone, demanded an extreme level of concentration from the audience, one that few music lovers are ever exposed to.

音乐会的前半部分包括16个连续不断的乐章，在这期间席夫既没有站起来也没有稍作休整。而在音乐会下半场，曲目数量则略为减少。这种设计为音乐会营造出一种空灵的气氛，使音乐萦绕四周仿佛伸手可触，但与此同时，对音乐持续的专注以及音乐本身，都要求听众注意力高度集中，很少有音乐爱好者能有机会接触到这种音乐会。

The sense of intimacy was both appropriate and palpable in the opening item of the concert, the seldom performed Theme and Variations in E-flat major , 'Ghost Variations', the very last composition of Robert Schumann. The composer attempted suicide after writing the first few variations, then completed the work the following day, before he was admitted to an asylum for the mentally disturbed, never to write music again.

音乐会的开场曲恰如其分又显而易辨，很少演出的《幽灵变奏曲》（降E大调主题与变奏，WoO24）是罗伯特·舒曼的最后一部作品。舒曼在尝试最初的几首变奏曲后曾企图自杀，在自杀未遂的翌日完成了这套组曲，在他被收进精神病院之前，他再也没有写过音乐了。

Schiff's reading of this poignant work was indeed 'quiet and inward', as the theme's description suggests (leise, innig). It was as if the audience was witnessing a simple, private conversation with a close friend. The atmosphere of the recital was immediately established, with every note clear, a perfect balance between various parts, when dynamics were treated not so much as levels of volume but as sound qualities.

席夫对这部感人至深的作品的解读，正如主题标题文字所写的那样（leise, innig），确实是“安静而内省”。这就好像观众正在目睹一场作曲家与密友间的一次简单私密的对谈。独奏的气氛也应运而生，席夫所演奏每一个音符都很清晰，不同音乐层次间也达到了完美的平衡，并且席夫对声音强弱的控制也不是通过调整音量的大小来实现的，而是通过改变声音的质量。

The gentle murmur of the last variation led with no more break than a second, maybe two, into the first of Three intermezzi by Johannes Brahms. This cycle is headed by an epigraph, taken from Johann Gottfried Herder 's folksongs, starting with 'Sleep softly, my child, sleep softly and sweetly!' This, coming immediately after the heartbreaking circumstances around the composition of the Schumann variations, and Beethoven's 'Farewell' (Lebewohl) sonata following later, suggested a possible second connecting thread for the evening: the feeling of departure, dreaming, otherworldliness, an underlying theme of the sublime and surreal.

最后一个变奏曲结束的余音使约翰·勃拉姆斯的三首间奏曲中的第一首（也许是两首）没有中断。这套组曲以约翰·戈特弗雷德·赫尔德的民歌为题词，以“温柔地睡吧，我的孩子，睡个好觉！”为题。这是继舒曼《幽灵变奏曲》和贝多芬的《告别》奏鸣曲之后，音乐会中令人心碎桥段，暗示了音乐会中可潜在的第二个隐藏线索：离别的感觉，梦幻的感觉，超现实的感觉，崇高和超现实的潜在主题。

（译者注：第一条线索是这些作品选自作曲家们创造的倒数第二首奏鸣曲）

One of the most appealing features of Schiff's artistry is the clarity of texture. In these Intermezzi, soft dynamics prevail. (In the first one of them, extraordinarily, the composer's dynamic instructions oscillate between the softest sounds, 'piano' and 'pianissimo' in musical notation, and never go louder.) In this performance, every voice was audible and had its own significance, without ever becoming overly strong.

条分缕析是席夫是最动人的演奏特点之一。在这些间奏曲中强弱变化大多十分柔和。（在第一首乐曲中，特别的是，最轻柔的乐声在作曲家所标记的强弱记号间来回波动，而且声音永远不会变大。）在这次演出中，每一个音符都可以被听到的，都有它自己的意义，而不是单纯过度的增加音量。

Wolfgang Amadeus Mozart's Rondo in A minor followed, in a similarly introverted performance; polished and presented as if behind a veil. By now, it was clear to everyone in the hall that Schiff's appearance on stage may have looked subdued with something bordering on insouciance, but in fact, his utmost focus was on effectuating his singularly unique sense of musical style.

接着席夫以同样内敛的风格来诠释沃尔夫冈·阿马德乌斯·莫扎特的《A小调回旋曲》；作品仿佛被隐藏在面纱后散发着若隐若现的光芒。音乐厅里每一名观众都能感受到，虽然席夫在舞台上的似乎表现得漫不经心，但实际上他在展现自成一派的音乐风格。

It was not until the first and third of Brahms's Six Pieces for piano , the last item before the interval, when the audience was exposed to the first outbursts of energy and louder dynamics. They were much needed amongst the regal poise surrounding them.

直到中场休息前的最后一部作品，即勃拉姆斯的《六首钢琴曲》的第一和第三首，才第一次让人感受到厚积薄发的力量，观众们被扑面而来的帝王风姿所环绕。

Johann Sebastian Bach's final Prelude and Fugue no 24 in B minor from the first volume of his collection The Well-tempered Clavier opened the second half, exposing Schiff's esoteric, almost meditative approach at its best. Governed more by a gentle and irreversible flow than a direction towards a musical climactic moment, it was as pleasing as Four pieces for piano , the last compositions written by Brahms for piano.

席夫将《B小调第24号前奏曲与赋格》作为下半场的开局曲目，他对这首曲目的诠释表现出他深沉内敛且几近冥思的演奏状态。在勃拉姆斯为钢琴所作的《四首小品》（Op.110）中，音乐与其说是朝着高潮的方向流动，不如说是被一股柔中带刚的力量所牵动

With Ludwig van Beethoven's Piano Sonata in E-flat major , 'Les adieux', Schiff demonstrated that his virtuosity is not burdened by technical difficulties. The turmoils of the work brought out a far greater range of dynamic contrast than ever before in this concert. Even these dynamics were less than sufficient in the enormous cavity of the Concert Hall, serving as a warning that, economic considerations aside, it is an unsatisfactory venue for solo recitals.

席夫在贝多芬《降E大调钢琴奏鸣曲》（“告别”奏鸣曲）进行诠释时，他高超的技艺并没有被其中技术困难片段所负累。这首作品中席夫对音乐强弱变化的处理比以往任何时候都更为强烈。但即使如此，这种程度的强弱变化与悉尼音乐厅巨大的共鸣腔相比却是如此微不足道，同时这也说明，除了考虑经济层面的问题，这所音乐厅也不是一个令人满意的独奏会场所。

The structure of Schiff's programs, the combination of music and silence, his measured walk onto stage, the careful planning of his playing, his unique sonic world and its faultless execution make his musical personality hugely compelling and an almost cultic one.

席夫的节目结构，音乐与沉默的结合，他踏入舞台的步履，他演奏的精心策划，他所营造的独一无二的音响世界和完美无缺的演奏，使他的音乐个性变得非常吸引人，几乎令人顶礼膜拜。

However, while fully respecting his artistry, I was rarely touched by emotional upheavals, volatility and an element of surprise during the concert, surely an integral part of great compositions. The pianist's artistic personality often appeared to be more prominent than that of the composers.Four encores finished the evening, including truly authentic and touchingly simple readings of two smaller compositions by Schiff's compatriot, Béla Bartók .

然而，虽然我十分尊重席夫的艺术风格，但我却很少被其中音乐情感上的剧变、波动和音乐会上的惊喜所触动，但这些要素无疑是这部伟大作品中不可或缺的一部分。（译者注：这里乐评人委婉批评席夫的演奏缺乏内在情感，不够动人。）只能说这位钢琴家的艺术个性往往比作曲家的更突出。当晚音乐会以四次返场作结，希夫的同胞巴托克·贝拉（Béla Bartók）还对其中两首小曲的作了一个真挚动人的简要导赏。