他是德慕斯的老师丨法国钢琴家伊夫斯·奈特（Yves Nat）

1990年代前後， 法國鋼琴家奈特（Yves Nat，1890-1956）的首張CD，出現在EMI Reference系列當中，正式向CD時代的樂迷引薦這位名家。後來他的貝多芬鋼琴奏鳴曲全集以及舒曼作品選集也陸續推出CD，不過，礙於他的知名度，這些名盤僅侷限於一些識貨者當珍品收藏，其中有部分已絕版。可喜的是，為了紀念奈特逝世50週年，EMI以15張CD盡收他1929-1956年灌錄的所有唱片，它提供樂迷一次典藏奈特所有錄音的機會，也是認識這位名家最便捷的途徑。有人認為奈特的錄音當中，以舒曼作品的詮釋最為傑出、最具說服力，不過，他在1951-1955年間灌錄的貝多芬鋼琴奏鳴曲全集，更可視為他最偉大的錄音遺產。奈特的觸鍵明晰，具有表現貝多芬鋼琴作品應有的力道和精神力，進行這些錄音時，已經年屆60歲，但對音樂的洞察力卻有增無減，32首奏鳴曲裡，以中期作品的詮釋最讓人印象深刻。儘管這套紀念專輯過去多以CD形式出版過，但據稱製作方面特別挖出原始母帶重新復刻，並收錄一段奈特的專訪，在解說書裡，也附上罕見的奈特珍貴照片，搭配低廉的價格，相當值得收藏。

法国钢琴家奈特

　　对奈特介绍中文世界不多，这篇英文简介不算难，介绍了奈特的师承、弟子、录音状况以及演奏特点等等。

Yves Nat (29 December 1890 – 31 August 1956，伊夫斯·奈特，或者译作南特) was a French pianist and composer.

Yves Nat was born in Béziers and showed an early aptitude for both piano and composition. By the age of seven he was allowed to improvise each Sunday at the organ of Béziers' cathedral during mass. At the age of ten he conducted his own Fantasie for orchestra.

Both Gabriel Fauré（弗雷） and Camille Saint-Saëns（圣桑） encouraged him to pursue his studies at the Conservatoire de Paris in the master class of the pianist Louis Diémer（迪耶梅）, receiving the class first prize in 1907. He dedicated himself to chamber music, undertook concert tours with the violinist Jacques Thibaud and George Enescu and appeared frequently in a duo with Eugène Ysaÿe. In 1911 he made the first of a number of tours of the United States. He was mobilised in the course of the First World War, around which time he produced the first of his published compositions, the Six Préludes pour Piano and the Six chansons à Païney.

In the years which followed, Nat toured and performed extensively. However, he retired from concert life in 1937 to devote himself to teaching in the Paris Conservatoire and composing. He emerged from this retirement in 1953 to play a small number of highly successful concerts. The last of these, on 4 February 1954 was the première of his own Piano Concerto, with the Orchestre National de la Radio-diffusion Française under the conductorship of Pierre Dervaux, at the Théâtre des Champs-Élysées in Paris. His most notable pupils include Fabienne Jacquinot, Jacqueline Eymar, Reine Gianoli, Santos Ojeda, Jean Martin, Jörg Demus（德慕斯高中毕业后巴黎，在1951至1953年与钢琴大师奈特学习了3年，之后又得到了包括吉泽金、肯普夫、菲舍尔以及米开朗杰利等大师们的悉心指导）, Geneviève Joy, Lucette Descaves, Jean-Bernard Pommier, Pierre Sancan and Jean-Marie Beaudet（这里还少了一位不错的钢琴家Jacques Loussier）。

His repertoire particularly covered the works of Schubert, Schumann and Brahms. Between 1951 and 1955, he recorded all 32 of the Beethoven piano sonatas. For a French pianist of his age, this recorded repertoire was unusual. Most French pianists who developed artistically in the years during and after the First World War tended to champion French composers and to avoid the staple German repertoire. No recordings survive of Nat's extensive French repertoire.

Nat's strong technique and rich sonority suited the larger-scale Beethoven sonatas admirably. However, he was far from a bravura pianist - indeed, although his concerto has some formidable technical difficulties, it avoids the classic virtuoso approach, and instead tries to be what Nat himself described in a radio interview as a concerto for piano within the orchestra. He summed up his approach as Tout pour la musique; rien pour le piano, which might be translated as "it's not at all for the piano, it's all for the music'.

His compositions reveal a composer who has a talent for framing simple melodic lines in imaginative harmonies, best illustrated by the slow movement of his piano concerto. His orchestral style is reminiscent of the style of Ravel, with a notable fondness for percussion instruments.

Beside the concerto and solo piano works, he composed chamber music and an oratorio.