李帕蒂最后的备课稿
应明耀 编译
在生命的最后几个月，罗马尼亚钢琴家李帕蒂为计划中的一次大师班准备了备课稿。钢琴之外的李帕蒂，文笔同样是那么热情挥洒。从中，我们可以领略到这位天才对于音乐人角色和职责的独到见解。
有一种错误的观点认为：表演某一时代的音乐必须保留它的特征甚至于其中的谬误。抱有这种想法的人有着一颗和善的心，他们保护音乐不受危险的变形。为了探寻那些古老的尘埃，人们竭尽所能，但是最终他们被迫停滞于太多的曲解和谬误之中。我们不应忘记，真实的和伟大的音乐能够超越它所属的时代：巴赫想要新式的管风琴，以此来运用他无数的音栓配合法；莫扎特想要钢琴而非羽管键琴；贝多芬想要我们现在所用的三角钢琴──肖邦率先发展了这种乐器的音乐；德彪西在他的《前奏曲》中留下了马特诺电琴（莫里斯·马特诺发明的电子乐器，1922年获专利）的瞬间。由此可见，把音乐回复到原先的样式，这种愿望就如同给成年人套上青春期的装束。如果是为了重演历史，这种作法或许还有些吸引力，否则，除了某些崇尚怀旧的人，谁也不会对此产生兴趣。这些想法源于我对往事的回忆，那时我在欧洲的一个著名音乐节上演奏莫扎特的D小调协奏曲[K.466]，中间用到了贝多芬所写的华采段。虽然相同的主题在莫扎特和贝多芬手中肯定有所不同，但是将贝多芬的华采段用到莫扎特的协奏曲中，两种音乐性格之间的对峙给我带来了麻烦。除了一些开明的观众，许多人都因为无法接受这种带有历史错误的华采段而归咎于我。
斯特拉文斯基曾说“音乐就是现在”，这话真对。音乐存在于我们的指间，我们的眼中，我们的心灵和思想中，它生活在我们所能赋予的一切之中。我不想有意带入混乱的表现手法，对那些能够产生协调而正确的诠释的基本法则，我也不敢轻视。但我发现，若是人们一味追求那些无意义的细枝末节，比如：莫扎特曾经用过的某个颤音或是装饰音，那么就可能犯大错。那些原来很出色的版本被加入了繁复的标记，这迫使我下决心追求一种简化和综合的途径。演奏时，我始终不渝地保留着一些基本的准则，这些准则你们也能够注意到。至于其余的部分，我依靠直觉（最终，这会比智慧更宝贵）和对作品的深刻洞察。总有一天，人们会意识到这些作品的精髓。决不要带着僵化的眼光或是过时的头脑来接触音乐，艾尔弗雷多·卡塞拉曾说：我们永远不需要尊敬一部杰作而是要热爱它，因为人们只会尊敬那些死去的东西，然而杰作是永存的。
A few months before his death, Lipatti sketched out some notes which he intended to use for a projected master class. As a writer Lipatti was both warm and articulate. His probing interest focused on a musician's role and responsibilities.
Lipatti's Final Essay
"It is unjustly believed that the music from one epoch or another must preserve the characteristics and even the mistakes in use at the moment when it came to light. Whoever thinks this way has a peaceful conscience and finds protection from any dangerous deformation. Despite all the effort in reaching this objective, for all the research done on the past's dust, for all the useless waverings in front of the sole object of our attention, one will always end up drowning it in an abundance of prejudices and false facts. We must never forget that true and great music goes beyond its time: Bach desires the modern organ, with its innumerable registrations, Mozart asks for the pianoforte and decisively distances himself from the harpsichord, Beethoven demands our concert grand piano, of which Chopin is the first to develop its colors, while Debussy leaves in his Preludes glimpses of the Ondes Martinot. Therefore the wish to restore to music its earlier framework means the same as wanting to dress an adult in adolescent attire. This act might have some charm if one proposes a historical reconstruction, otherwise it is of no interest to those other than lovers of dead leaves and old drivel. These reflections came to mind while recalling the sensation experienced once when I played Mozart's D minor Concerto [K. 466] at a prominent European music festival, with Beethoven's magnificent cadenza. True, the same themes appear differently in the hand of Mozart than that of Beethoven, but the main fact was precisely such a confrontation between two rather differing personalities. I must tell you that, aside from the most enlightened minds, many accused me of having composed this unacceptable and anachronistic cadenza.
"How right Stravinsky was when he said 'Music is the present'. Music has to live under our fingers, under our eyes, in our heart and mind with all that we can offer them. Far from me is the thought of rendering predictable the anarchy and disdain for the primary laws which guide, along general lines, the coordination of any valid and just interpretation. But I find that one would commit a grave mistake by searching for useless details regarding the way in which Mozart might have played a certain trill or grupetto. On the contrary, these diverse markings, interpolated into editions which are for the most part excellent compel me to decisively take the path to simplification and synthesis. I immutably preserve these few basic principles which I think you are aware of, and for the rest I rely on intuition (this last is as precious as intelligence) and to in-depth penetration of the work which, sooner or later, will end up by confessing the secrets of its soul. Never approach a score with dead eyes or the spirit of the past because you might find yourselves only with Yorick's skull. Alfredo Casella said, rightfully, that we must never respect masterpieces but love them, because one only respects dead things while a masterpiece lives forever."
© Allan Evans, 1996