“奥伊斯特拉赫经常鼓励我，去寻找属于自己的声音”丨“当代怪杰”吉顿·克莱默访谈
BWW Interview
Gidon Kremer Pairs the Fantastic with the Contemporary
BWW专访丨当代怪杰吉顿·克莱默
Gidon Kremer's name is instantly recognizable as one of the most formidable and venerated violinists of our time.On Jan. 15, 2015, he and young Russian pianist Daniil Trifonov (First Prize winner at the Tchaikovsky and Rubinstein competitions) will perform in recital for the La Jolla Music Society in San Diego
作为我们时代最令人惊叹和尊敬的小提琴家之一，吉顿·克莱默的名字迅速被人们所熟知。在2015年1月15日，他和年轻的俄罗斯钢琴家丹尼尔.特里福诺夫（Daniil Trifonov，柴可夫斯基钢琴比赛和鲁宾斯坦钢琴比赛第一名获得者）将会在圣地亚哥的拉霍亚音乐厅举办音乐会。——推荐：钢琴家特里福诺夫专访丨“我在游泳池里练琴”
Their lineup of much-loved works from the classic violin repertoire will include Mozart's Fantasy in D Minor, K.397, Schubert's Fantasy for Violin and Piano in C Major, D. 934, and Rachmaninoff's "Trio élégiaque" in G Minor (in which they will be joined by guest cellist Giedre Dirvanauskaite), coupled with an addition to the original program of a contemporary work, Weinberg's Solo Violin Sonata No.2.
他们的曲目含括了许多深受观众喜爱的作品，从古典时期莫扎特的《d小调幻想曲》（Fantasy in d Minor K.397） 到舒伯特为小提琴和钢琴所作的《C大调幻想曲》（Violin and Piano in C Major,D. 934）,以及拉赫玛尼诺夫的《g小调悲歌三重奏》（Trio élégiaque" in G Minor，大提琴部分将由季德蕾・迪尔娃纳斯克德演奏）同时再加上一首现代作品，魏因伯格的《第二号小提琴独奏奏鸣曲》（Solo Violin Sonata No. 2, Op. 95）。
In this interview, the refreshingly candid Kremer shares some of his insights and experiences with his devoted fans.
EM: David Oistrakh was one of the great twentieth century icons of the violin, and was my own personal idol growing up as a young violinist. You began your own studies with him as a teenager, having entered the Riga Music School at the tender age of seven, and after winning First Prize of the Latvian Republic. What was it like to study with this grand master, Oistrakh? How did he influence your development as a violinist?
GK: His main quality towards students as probably towards literally everybody was GENEROSITY, not so often seen among musicians and especially teachers. David Oistrakh encouraged me a lot to search (for) my own voice.
在这次采访中，克莱默很坦率的与他忠实的粉丝们分享了他的一些见解和经验。
EM：大卫·奥伊斯特拉赫是二十世纪时期最伟大的小提琴家之一，也是我在成长为一个年轻小提琴家时的偶像。您在七岁时进入里加音乐学校，并在获得拉脱维亚共和国小提琴比赛的一等奖之后，从十几岁的时候开始和他学习。和奥伊斯特拉赫这样一位伟大的大师一起学习是什么感觉？他是如何影响您作为小提琴家的发展？
吉顿·克莱默：他对学生最重要的能力, 可能从字面上说，那就是“慷慨无私”，这在音乐家和一些老师中并不常见。大卫·奥伊斯特拉赫经常鼓励我，要我去寻找属于自己的声音。——纪念奥伊斯特拉赫丨“他演奏、他教学、他指挥，没有一样不是拼死拼活的！”
EM: Your biography describes you as having "perhaps had the most unconventional career" of leading violinists worldwide. Would you agree or disagree with that statement?
GK: This is one of the labels often "invented" by publicists. In this respect I can quote another "punch-line" once used in the English-speaking press:" Gidon Kremer is so much out, that he is already in". I disagree with both of them.
EM：您的传记上写着您是在这世界上有着“或许最不寻常职业生涯”的小提琴家 "。您是否认同这一说法？
吉顿·克莱默：这是评论家经常 "发明" 的标签之一。在这方面，我可以引用在英文媒体上使用过的另一个“梗”：“吉顿·克莱默在这方面已经太出名了。” 我并不同意这两个说法。
EM: Having become known for performing works by numerous major contemporary composers, you added a contemporary piece to your original program of all standard classics for your La Jolla Music Society recital？
GK: I am very grateful to the promoter to have accepted my latest proposal - a small addition/change to the program. This gives me a possibility to introduce to the audience the second solo sonata by Mieczyslaw Weinberg, a close friend and colleague whom I recently discovered for myself to be one of the greatest contemporary composers.
EM:您向来以演奏当代主要作曲家们的作品而闻名,又为什么会在拉霍亚音乐会上全是古典曲目的基础上添加一首现代作品？
吉顿·克莱默:我非常感谢承办方能接受了我的建议-在曲目上一个小小的补充/变动。这使我有机会可以向观众介绍米奇斯瓦夫·魏因贝格的《第二号小提琴独奏奏鸣曲》（Solo Violin Sonata No. 2, Op. 95），他是我最近发现当代最伟大的作曲家之一，同时也是我的好朋友和同事。
EM: Do you prefer performing as a soloist with orchestra or in recitals?
GK: I do prefer to serve music with whomever: good conductor or orchestra, great partners in chamber music, youngsters, who just begin their path in chamber music and on stage and - of course - with Kremerata Baltica (http://www.kremeratabaltica.com, the chamber orchestra comprised of outstanding young musicians from Estonia, Latvia and Lithuania that he founded in 1997).
EM：您更喜欢独奏还是和管弦乐队一起演奏？
吉顿·克莱默：我更倾向于和其它的音乐家一起演奏音乐：好的指挥或管弦乐队，室内乐的搭档，以及他们在室内乐和舞台道路上刚起步的年轻人，当然还有波罗的海弦乐团（由爱沙尼亚，拉脱维亚和立陶宛优秀青年音乐家们在1997年创立的室内乐团）。
EM: Of your countless performances, do any particular ones stand out in your memory?
GK: I wouldn't be able to name one. Usually even a good performance becomes "history" on the next day, when you are obliged to focus on the upcoming concert. Nevertheless - the partnership with Leonard Bernstein on Brahms (the violin concerto) and his own "Serenade" or Mozart, Beethoven and Berg Concertos (with) Harnoncourt remain unforgettable. Besides that I cherish my cooperation with great partners like Martha Argerich, YoYo Ma and Kremerata Baltica. Let's hope the concerts with Daniil Trifonov will add up to the "collection" of those nicest experiences.
EM：在您无数的演奏中，哪一次您记忆比较深刻？
吉顿·克莱默：我没法具体指出是哪一场。通常当你不得不专注于即将到来的音乐会时，即使是好的表演也会在第二天变成“历史”。然而与莱纳德.伯恩斯坦在《勃拉姆斯D大调小提琴协奏曲》（Violin Concerto in D major,Op.77）和《小夜曲》或莫扎特，贝多芬和伯格协奏曲（与哈农库特）的合作仍然令人难忘。除此之外，我还非常怀念与玛尔塔·阿格里奇，马友友和波罗的海弦乐团等杰出音乐家们的合作。让我们期待与丹尼尔.特里夫诺夫合作的音乐会也能加入那些美好经历的“收藏”中。——推荐阅读：1、伯恩斯坦指挥海顿《D大调第104号“伦敦”交响曲》（Hob.1.104）；2、哈农库特指挥《G大调第九十四交响曲》（Hob.1.94）
EM: What inspired and/or motivated you to start writing books and become "Virtuose de la plume comme de l'archet"?
GK: I do not consider myself - despite having published numerous books - to be a "writer". Sharing experiences and thoughts in my own words is just equal to my wish to share valuable sounds (old and new ones) written by others.
EM：什么启发和激励你开始写书并成为“ 弓与笔的大师”？
吉顿·克莱默：尽管发表了许多书 ，但我并不认为自己- 是一个“作家”。这只不过是通过我的语言去分享了一些我觉得别人写的有价值（旧的和新的）的经验和想法。
EM: Would you ever consider hanging up your "archet" and conducting full time？
GK: Never would I allow myself such a thing. After having been privileged to play with many great conductors of our time, it would be ridiculous - to become a "dilettante".
EM：您有时候会考虑把您的（良）“弓”藏起来并开始指挥？
吉顿·克莱默：我永远不会去考虑这件事。在和我们这个时代许多伟大的指挥家一起演奏后，对我来说成为一个这样的“业余爱好者”这是件很荒缪的事。
EM: Is there anything, musical or otherwise, you haven't yet done that you would like to do?
GK: I would love to find the "recipe " for being relaxed and put my worries and insatiable desire to expand aside. In my imagination it would mean - to allow myself the luxury of having unlimited time to share my feelings with friends and loved ones.
EM：有没有什么事情，在音乐或其他方面上，您想做却没有做的？
吉顿·克莱默：我很想找到一种“方法”，能使我放松并把我的担忧和永远无法满足的热情放在一边。在我想象中这意味着——允许我自己奢侈的拥有无限时间去与朋友和亲人分享我的感受。
往期克莱默：往期克莱默：1、小提琴家克莱默丨艺术和名气从来不是一回事丨跨界就像毒药丨演奏家们都应投身室内乐丨真爱音乐，就该远离媒体宣传攻势丨谈挑选曲目的原则；2、每晚古典音乐会丨克莱默演绎巴赫《无伴奏小提琴奏鸣曲和帕蒂塔舞曲》；3、那些珍贵的录音会告诉我们什么是真材实料，什么是炒作包装丨克莱默与阿格里奇演奏克莱斯勒《爱的忧伤》；4、“最出色的唱片不一定是销量最好的唱片”丨吉东•克莱默的巴赫《无伴奏小提琴奏鸣曲和组曲》；5、他把小提琴上的每一个音符都掌控在自己手中，不让它们沾染上乐曲之外的任何多余情绪丨吉东•克莱默的贝多芬小提琴作品；6、吉东·克莱默丨我为何拒绝韦尔比耶音乐节？7、年轻艺术家大多技巧高超，但言之无物丨吉东·克莱默与麦斯基演奏勃拉姆斯《弦乐二重奏协奏曲》；8、每晚古典音乐会丨克莱默演奏肖斯塔科维奇《第一小提琴协奏曲》；9、真正的音乐，远离尘嚣和商业，才是我们灵感的源泉丨吉东·克莱默演奏莫扎特《第五小提琴协奏曲》；10、魔鬼同上帝在进行斗争，而斗争的战场就是人心丨克莱默演奏肖斯塔科维奇《第一小提琴协奏曲》；11、聆听“锯木头的怪老头”吉顿·克莱默丨“我们从事音乐是为了与他人分享音乐，是为了释放音乐的激情！” 12、吉顿·克莱默丨“在我没法拉琴的时候，我去种种花椰菜。”