  他和约阿希姆一样，完全沉浸在音乐之中，这两位伟大的音乐家有许多相似之处！他们有很强的音乐个性，但没有任何的傲慢态度，他们宣扬自己的风格，这根植于他们对音乐的深度研究和热爱。——题记 Interview Isabelle Faust: “Music must be enjoyed without prejudice” 伊莎贝拉·福斯特访谈（三） ——“享受音乐，必要摒弃偏见” 1、“我不想听伊莎贝拉·福斯特以外任何人演奏的协奏曲”；2、“现代作曲家对于小提琴技术能力和演奏极限知之甚少”丨 小提琴家伊莎贝拉·福斯特访谈（一）；3、如何演绎勃拉姆斯《D大调小提琴协奏曲》丨伊莎贝拉·福斯特访谈（二） The score itself should never be subjected to daily routine. 问：乐谱本身不应该受到刻板印象的影响。 One of the things going so easily, so smoothly is the music settling down in our brain. All those so familiar sounds and every bar we know by heart! This can be so tricky; as if it cannot be heard or understood in any other way. A few years back a new edition of the Mendelssohn Concerto appeared. I was excited to see a copy but there were not that many changes in there after all. Still, I realised how tempting it can be to play just all those familiar notes, phrases and dynamics without questioning them, just playing on the automatic pilot. I try to avoid the common pitfalls by trying to get as close as possible to the ancient texts. Otherwise, when following routine there will be no discoveries or adventures. But finally you need to forget all the ‘paperwork’ and seriously go back to your own interpretation knowing that nothing stands out there forever. How many second thoughts could refurbish your previous analysis, traditions et al! 福斯特：音乐在我们的大脑中沉淀下来非常容易，所有那些熟悉的声音和小节都会熟记于心，但是这样也会很棘手，因为它不能以其他方式被听到或者被理解。几年前，有一个新版本的门德尔松协奏曲发行了，我很兴奋地拿到一份音响，但是听后却没有感觉到新的变化。即便如此，也还会觉得演奏这些熟悉的音符是那么的诱人，毫无疑问的乐句和力度处理，就像汽车自动驾驶一样。我会试图将演奏尽可能地接近原始乐谱，以避免最常见的处理方式，否则，按照惯例来演奏，将不会有任何新意和挑战。最后，你要忘记所有的“谱面工作”，认真地回归到自己的解释当中，因为没有任何东西会永远存在，很多的再次思考会翻新之前的分析，传统等等。 
Ignaz Schuppanzigh (20 July 1776 – 2 March 1830) was an Austrian violinist, friend and teacher of Beethoven, and leader of Count Razumovsky's private string quartet. Schuppanzigh and his quartet premiered many of Beethoven's string quartets, and in particular, the late string quartets. The Razumovsky quartet, which Schuppanzigh founded in late 1808, is considered to be the first professional string quartet. Until the founding of this quartet, quartet music was played primarily by amateurs or by professional musicians who joined together on an ad hoc basis.
How great would it be when we would have a Schuppanzigh-recording? 问：当有了舒潘齐格（Schuppanzigh）录音的时候是多棒呀！ Our recording of for instance the Beethoven Violin Sonatas could only go back to what was firmly documented in the nineteenth century. These were our main sources and they will remain so. We could come pretty close by studying correspondence, sketchbooks, autograph manuscripts, corrections made for first prints as well as reviews from that period in magazines and newspapers. The more we get to know the more questions need to be raised., but when we listen to performances by great musicians from the beginning of the twentieth century onwards we realise that they also struggled with what was no longer there, even if they were in a way closer to those ancient times. They also had to find their way to achieve what they thought was to get the very best out of the score. These great historical performances bring us new insights, and mainly because it is all about integrity, not about age. 福斯特：现存的最早录音只能追溯到19世纪，比如贝多芬小提琴奏鸣曲。这些是我们的主要录音资源，并且会一直保持这样。我们可以通过研究书信、随笔集、签名手稿、初稿修订以及杂志报纸评论来向那个年代靠近，了解越多，就会产生更多的问题。但是，当我们聆听伟大音乐家们在20世纪初的表演时，虽然也在慢慢变成历史，但还是能够感受得到，他们也曾与那些已经不复存在的事物斗争着，他们也在寻找着自己的方式来获取乐谱之外的最好效果。这些伟大的历史性表演带给我们新的见解，不是因为岁月久远，而是因为真诚正直。  Great playing bound to the period? 问：这段时间演奏得很尽兴？ We characterise the music with our own personal stamp, and it should not be in any other way. We must focus on finding the real ground of the music. Coming back to Joachim, this is what I instantly felt when I heard him play and when I read about his ideas of interpretation; and let us not forget that he was a composer as well!. 福斯特：我们用自己的“邮票”来贴满音乐地图，音乐不应该以任何其他方式存在，我们必须集中精力，寻找音乐的真正根基。回到约阿希姆，当我听到他演奏音乐的时候，当我读到他关于解释的想法，立即能够感觉到了这一点，不要忘记，他也是一位作曲家。  Adolf Georg Wilhelm Busch (8 August 1891 – 9 June 1952) was a German-Swiss violinist, conductor, and composer. Adolf Busch... 问：阿道夫·布许... Another great violinist! He, like Joachim, totally immersed himself in the music. There are so many similarities between these two great musicians! They both had a very strong musical personality and they both could do without any arrogance whatsoever. They propagated their own style that was rooted in the deep studies and love of the music they interpreted. 福斯特：另一位伟大的小提琴家！他和约阿希姆一样，完全沉浸在音乐之中，这两位伟大的音乐家有许多相似之处！他们有很强的音乐个性，但没有任何的傲慢态度，他们宣扬自己的风格，这根植于他们对音乐的深度研究和热爱。  Talking about strong personalities from the past. The famous Busch Quartet, or the Hungarian String Quartet… 问：谈谈关于过去的坚强个性，著名的布许弦乐四重奏乐团，或匈牙利弦乐四重奏乐团。 Their playing goes to the heart of all matters. The violinist, the violin, they seem to have become irrelevant. Equal spirits and goals combined with great individuality create the most wonderful chamber music. This is why I love to play with just a small group of equally spirited and minded musicians. But there are more benefits from playing chamber music: I can bring my experience to the great concertos with great orchestras and conductors, actually also making chamber music with the orchestra. Strictly speaking, I see no substantial difference between playing a concerto and playing chamber music. This was another reason to mix the Concerto with the Sextet on the CD. And wouldn’t you agree that the Sextet has symphonic lines? 福斯特：演奏是他们所有事情的核心，小提琴家、小提琴，他们好似得鱼忘筌，平等的精神目标与伟大的个性特点相结合，创造出最美妙的室内乐音乐，这就是为什么我喜欢和一小群有着同样精神观念的音乐家一起演奏的原因。演奏室内乐有很多的好处，演奏经验可以帮助我和伟大的管弦乐队、指挥家一起演奏，甚至还可以和乐队一起创作室内乐音乐。严格地说，演奏协奏曲和室内乐并没有实质性的差别，这也是我把协奏曲和六重奏放在同一张CD的另一个原因，难道你不觉得六重奏也具有交响性吗?
One of your other favourite composers, Robert Schumann? 问：您最喜欢的作曲家之一，罗伯特·舒曼。 Recently I had this strong experience together with my colleagues Alexander Melnikov and Jean-Guihen Queyras. We were to play Schumann’s Second Piano Trio in the Beethovenhaus in Bonn. The day before the concert we asked for a suitable rehearsal room. Yes, they said, that had already been arranged. Actually, we ended up in the small village of…Endenich, and to be more precise, in the mental clinic where Schumann had died. We rehearsed practically in his room! To me, this was very moving, to work on the Schumann piece in a place like this. They have photographs on the wall, documents on display, etc., a quite amazing and moving site.
Alexander Melnikov 福斯特：最近，我和我的同事亚历山大·梅尔尼科夫（Alexander Melnikov）、尚-古汉·奎拉斯（Jean-Guihen Queyras）有过一次很好的经历，我们在波恩的贝多芬故居（Beethovenhaus）演奏了舒曼的第二钢琴三重奏。音乐会前一天，我们请求一个合适的排练室，工作人员说已经安排好了，当我们抵达时，发现来到了……Endenich，更确切地说，是舒曼去世之前所在的心理诊疗所，就是在当时他的房间里进行了排练!在这样的地方排练舒曼的作品，对我来说简直是太感人了！墙上挂着照片，展示文件等等，这里真是一个非常令人惊叹、感动的地方。
You have played Schumann’s Violin Concerto in D minor with the Berlin Philharmonic. 问：您与柏林爱乐乐团演奏了舒曼的《d小调小提琴协奏曲》。 It is such a peculiar piece. I went through the manuscript and the ‘Klavierauszug’. The Concerto was edited by the German musicologist Georg Schünemann and partly transcribed by Paul Hindemith, who got secretly involved by its first performer, Georg Kulenkampff. The Nazi’s intended to replace Mendelssohn's concerto with this Schumann Concerto. Jewish music was forbidden at the time. 福斯特：这是一首非常奇特的作品，我翻阅了手稿和“Klavierauszug”，这首协奏曲是由德国音乐学家格奥尔格·施恩曼（Georg Schunemann）编辑，部分是由保罗·欣德米特（Paul Hindemith）改编，小提琴家乔治·库伦坎普夫（Georg Kulenkampff）秘密参与了这场音乐会的首演，当时，纳粹故意用这首舒曼协奏曲来代替门德尔松协奏曲，因为犹太音乐是被禁止的。（库伦坎普夫、门德尔松是犹太人）
Its first performance was in Berlin on 26 November 1937, by the Berlin Philharmonic and recorded on 20 December. The solo part was indeed played by Georg Kulenkampff. 问：舒曼协奏曲的首次演出是1937年11月26日在柏林，由柏林爱乐乐团于12月20日录制，小提琴独奏由乔治·库伦坎普夫担任。 It is strange that Joachim actually first liked the piece, but later he found it less convincing. Maybe he was also influenced by the circle around Clara Schumann and Brahms who had refused to publish Robert’s last works. As we know now his mental illness played a big part in all of this. It is a masterpiece full of problems, but at the same token the most touching music ever written. It revised my whole picture of Schumann. 福斯特：很奇怪，约阿希姆最初喜欢这部作品，后来认为它不那么令人信服，也许是受到了克拉拉·舒曼和勃拉姆斯的影响，他们不肯出版舒曼的最后一部作品，现在我们知道，舒曼的精神疾病对这一切有着很大的影响，这是一部充满问题的杰作，但同时也是非常感人的音乐，让我重新定义了舒曼。 （明天连载最后一期） |
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