肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。”
2010 Chopin Competition Interview: Fou Ts'ong
2010年肖邦国际钢琴比赛采访傅聪
推荐阅读本公号原创翻译：1、八十岁时论阿劳丨论阿劳的演奏艺术；2、八十五岁论阿劳丨他的演奏何以伟大？3、钢琴家特里福诺夫专访丨“我在游泳池里练琴”；4、十五问王羽佳丨“演出”对你意味着什么？5、王羽佳访谈丨“穿长裙？待我四十岁！”6、王羽佳专访丨她赢得了没有参加的“比赛”！7、采访阿格里奇丨“音乐必须是自然流露的事情！” 8、帕尔曼追忆海菲兹丨“这么多小提琴家都试图模仿他，但他们的演奏却成了活生生的讽刺。”
Klaudia Baranowska: What are your impressions? How do you evaluate this competition?
克拉洛伊德·巴拉诺娃卡：你对这次钢琴比赛印象如何？你如何评价这次国际肖邦钢琴大赛？
Fou Ts’ong: I have been to various competitions throughout the world, but have never seen one like this. You can feel the spirit of Chopin here and appreciate the huge possibilities for interpretation his music offers. I feel that we have a new generation of excellent pianists. Each of the finalists plays in a different way. I cannot point to my favourite and say he or she is perfect because Chopin’s music is so multidimensional; everyone can find and demonstrate something different in it. But truth is the most important thing. In music, there’s no place for insincerity and lies, and unfortunately some pianists (I did not vote for them) are technically perfect, their playing seems wonderful, but it is insincere. My father used to say that it is the person first, then the artist, later the musician, and only finally comes the pianist. If someone is lying, they are neither a person nor an artist, but merely a pianist. I have learned a lot here, collected many good and bad experiences.
傅聪：我参加过世界各地的各种比赛，但从来没有见过任何比赛像这样令人难忘。你可以在这次比赛中里感受肖邦的精神，欣赏他的音乐诠释的巨大可能性。我觉得新一代的优秀钢琴家诞生了。每一个进入决赛的选手都有不同的表现方式。我不能指着我最喜欢的说他或者她是完美的，因为肖邦的音乐是如此的多维度，每个人都可以在其中找到和展示一些不同的东西。但音乐的真谛是至关重要的。在音乐中，虚伪和谎言无处容身，不幸的是，一些钢琴家（我没有给他们投票）技术上完美，他们的演奏看起来很棒，但并不真诚。我父亲过去常说，先做人，然后是做艺术家，后来是做音乐家，最后才是做钢琴家。如果一个人在撒谎，他既做不好人，也做不好艺术家，而仅仅是一位钢琴家。我在这里学到了很多，无论好坏，都收获了很多经验。
»»Are those your main evaluation criteria?
To be a member of the jury, you have to fulfil three conditions. First, you must be an expert in music. Second, you have to be able to stand in another person’s shoes, show understanding to the performer. The third condition, also very important, is the way you perceive. You cannot evaluate participants only according to your own preferences. Of course, at a concert or competition, I try to understand what a pianist is presenting, and follow his or her narrative. Each artist follows their own logic and intuition.
»»这些是你的主要评分标准吗？
要成为陪审团的成员，你必须满足三个条件。首先，你必须是音乐方面的专家。第二，你必须能够站在另一个人的立场上，向表演者表示理解。第三个条件，也是非常重要的，就是你感知音乐的方式。您不能只根据您自己的偏好来评估参与者。当然，在音乐会或比赛中，我试图去理解钢琴家的对音乐的诠释，并遵循他或她的对音乐的表达方式。每个艺术家都要遵循自己的逻辑和直觉。
»»What do you remember about when you took part in the Chopin Competition in 1955?
Then, just as this year, the Jury consisted of numerous acclaimed artists. I have many wonderful memories from that time. But I also remember that I did something wrong by practicing a little too much before the Competition and my fingers hurt really badly, which is why I did not do so well in the first round. In addition, I did not have enough time to warm up, as it turned out I had to play at 10am instead of at noon, because two people before me withdrew.
»»你还记得1955年你参加肖邦比赛时的情景吗？
就像今年一样，评审团由众多享有盛誉的艺术家组成。那场比赛令我拥有许多美好的记忆。但我也记得，比赛前我练习的太多了，手指伤得很厉害，这也是为什么我在第一轮比赛中表现不佳的原因。此外，我没有足够的时间热身，因为我之前的两个人退出了比赛，结果我不得不在上午10点比赛而不是中午上场。
»»You received an award for the mazurkas. Where did you learn them, where did you find your inspiration?
I can still remember the recordings of Ignacy Friedman. In China, I listened to the mazurkas he performed – my father had many records. But before I came to Poland, I actually did not play any of Chopin’s mazurkas. I began playing them while studying with Zbigniew Drzewiecki. Polish professors were surprised that a Chinese pianist could thoroughly understand the rhythm so characteristic to mazurkas. I actually still do not understand it. Now, young pianists come to me and want to learn from me, but that is not possible, you cannot imitate someone’s playing. You cannot teach someone what they do not have in their heart. To me, there has not been a perfect mazurka at this Competition. However, the award must be given; it is a majority decision. Still, I wouldn’t want to say that the winner of the mazurka prize does not feel the genre.
你获得了玛祖卡奖。你从哪里学来的，从哪里找到灵感的？
我还记得伊格尼西·弗里德曼的唱片。在中国的时候我父亲有很多唱片，我听了他表演的马祖卡。但在我来到波兰之前，我并没有演奏肖邦的玛祖卡舞曲。当我和兹比格涅夫·杰维茨基一起学习的时候，我就开始演奏了。波兰的教授们对中国钢琴家能完全理解马祖卡斯的节奏感到惊讶。其实我还是不明白。现在，年轻的钢琴家来找我，要向我学习，但这是不可能的，你不能模仿别人的演奏。你不能教一个人学习他们内心中没有的东西。对我来说，在这个比赛中并没有一个可以称之为完美的玛祖卡。然而，裁决必须给出，这是一个少数服从多数的评奖方法。尽管如此，我不得不说马祖卡奖的获奖者并没有真正感受到这种音乐风格的精髓所在。——波兰钢琴家弗里德曼丨他永远将Rubato用于音乐最必要的节骨眼上丨唱片文献里的肖邦演奏大师（四）