“准备好了”丨回忆海菲兹小提琴大师班
“准备好了”——这句话对于海菲兹先生来说，是某种层面上对音乐、一种风格、一段韵律、一条信息和一种情绪的理解，但并不一定需要做到完美的演奏。正是为了这个目标，他是如此不知疲倦地将自己奉献给音乐，是的，有时候当他听了一些“还没有准备好”的音符后会唐突地中断下来。——题记
Studying the violin with Jascha Heifetz
与亚沙·海菲兹一起学习小提琴
Sherry Kloss, Heifetz's assistant at the University of Southern California, and the recipient of his Tononi violin, shares some memories of her teacher and mentor
雪莉·克鲁斯作为海菲兹在南加州大学的助理，以及海菲兹的托诺尼名琴的接受者，分享了她对于她的教师和精神导师的一些回忆。
My association with the Master began in 1974 in Palm Springs California, where I had just been chosen a winner of a major competition. The Dean of the Uni 33 44816 33 14939 0 0 2677 0 0:00:16 0:00:05 0:00:11 2773versity of Southern California asked me if I would be 'interested in meeting Jascha Heifetz'. With great excitement, I answered 'Yes!'. One week later I arrived in Los Angeles, and was driven to the beach home of Mr Heifetz for an audition for the Heifetz Master Class.
我与大师的联结起始于1974年，在加州的棕榈泉地区，当时我在那儿刚刚被选为一场主要比赛的得胜者。南加州大学的院长问我，是否会对“会见亚沙·海菲兹感兴趣”。怀着极大的激动心情，我回答“是！”。一周之后，我抵达了洛杉矶，被驱车带往海菲兹先生在海滩的家，去参加一场海菲兹大师课的演奏面试。
For five years as a member of the Heifetz Class, I was able to observe and absorb the workings of a truly devoted teacher, whose own personal values became the required repertoire of the class. Commitment, respect, integrity, honesty discipline, wit and hard work were but a few ingredients that made up the priorities of this man.
成为海菲兹大师课的一员已经长达五年之久，这使得在此期间我能够观察学习一位真正献身于音乐的教师的工作和并汲取其中的精华，他自己的个人价值的体现已然成为课堂上的保留节目。
There was a formality to the class. Mr Heifetz sat at his desk and greeted each one of us individually as we entered the room. 'Good morning Mr Heifefz.' Mr Heifetz looked deeply into our eyes and responded, 'Good morning'.
课堂中有一种正式的礼节。海菲兹先生在他的课桌上坐着，在我们每个人进入房间时向我们逐一致意。“早上好，海菲兹先生。”海菲兹先生深深地凝望着我们的眼睛，回应道，“早上好。”
At this point he knew what to expect from each one of us for that day. His uncanny intuitive knowledge of his students kept us honest and constantly striving.
这一刻他就能了解到在那一天能够从我们每个人身上期待收获些什么。他的非同寻常的直觉的对于他的学生的了解使我们保持诚实和始终力争上游。
We would place our violins on a special table, and settle into our seats, anxiously awaiting the next words: 'Who is ready?' Not an easy question to respond to in the presence of Jascha Heifetz.
我们需要将我们的小提琴放置在一张专用的桌子上，然后坐下来妥当后，就焦虑不安地等待着大师接下来的话语：“哪一位准备好了？”
'Ready' to Mr Heifetz was a level of understanding of the music, a style, a lilt, a message, a mood, but not necessarily perfect playing. It was to this end that he devoted himself tirelessly, and yes, sometimes abruptly, as when 'not ready' was heard after a few notes.
“准备好了”——这句话对于海菲兹先生来说，是某种层面上对音乐、一种风格、一段韵律、一条信息和一种情绪的理解，但并不一定需要做到完美的演奏。正是为了这个目标，他是如此不知疲倦地将自己奉献给音乐，是的，有时候当他听了一些“还没有准备好”的音符后会唐突地中断下来。
It was his musical greatness and personal sincerity that inspired us. Special moments in the class occurred when verbal instructions did not produce the result he hoped for. Mr Heifetz rose from behind the desk and walked regally to the piano, upon which his violin rested.
正是他的非凡的音乐和真诚的个人品质激励鼓舞着我们。课堂上的特别时刻会在当口头上的指导并未得到他所预期的效果时发生。海菲兹先生会从课桌前起身，并庄严地走向钢琴，在那里他放置着他的小提琴。
There was a charged energy in the room as we waited to hear the sounds and suggestions of our teacher. Only to demonstrate a point or style would he play, never to command us as an audience. He wanted us to discover for ourselves the essence of our own individuality.
于是当我们等待聆听我们老师将要奏出的音响和指导建议的时候，屋内会充满一种高度紧张的气氛。除了当他要示范某一要点或风格以外，他从不演奏，从不命令我们充当听众。他希望我们为自己探索我们自身独特的精髓所在。
With energy and understanding, he would jump into the middle of the passage being presented. He was totally aware of what each individual student needed to be shown. I sometimes lost my breath while experiencing these interactions. Musical sounds, rather than words, were the means of communication.
伴随着活力与理解力，他会省略跳过开头直接进入当时呈现的乐章中段开始演奏。他完完全全地意识到每一个个别的学生所需要被展示出的是什么。我有时在体验这些互动时会感到无法呼吸。音乐性的声响，而非言语，才是沟通的方式。
At any time we were responsible for major and minor scales in all combinations of thirds, sixths, octaves, fingered octaves, tenths, beginning from any part of the scale, along with arpeggios in staccato. In addition to the repertoire we had prepared, we had to be ready at all times to play the Bach Solo Sonatas and Partitas and chosen Paganini n from memory. Each of us had to study the piano and occasionally we were asked to accompany another student at the keyboard without preparation. Chamber music was a regular activity, and only cellists were invited to join the class: we were expected to play the viola and we had a resident pianist.
在任何时刻，我们都需要对演奏好各种组合形式：三度、六度、八度、换指八度、十度的大小调音阶有所保证。也需要能从任意部分的音阶开始演奏，同样的要求也应用于断奏形式的琶音。除了我们已经准备的保留曲目以外，我们还要随时准备着要能背谱演奏出巴赫的小提琴独奏奏鸣曲和帕蒂塔，以及部分选出的帕格尼尼狂想曲。我们每个人都需要学习钢琴，偶尔地我们会被要求在没有准备的情况下为另一位学生作钢琴伴奏。室内乐演奏是一种常规活动，并且只有提琴演奏家被邀请来参加课程：我们被期望能够演奏中提琴，我们同时也拥有一位常驻钢琴家。
Although the classes were charged mentally and emotionally, there were occasional lighter moments when we would discover the quiet, subtle humour of our teacher. One St Patrick's Day, class began as usual. But as Mr Heifetz walked across the room to his violin we noticed that his socks were embroidered with a little insignia of the Irish shamrock in the most garish shade of green imaginable! A matching handkerchief completed the colourful outfit. We all enjoyed the mutual recognition of this fun without words.
尽管课堂氛围在精神上和情感上都常常充满了张力，偶尔地，当我们发现我们老师的平静而又微妙的幽默感时，课堂上也会出现更轻松的时刻。在一个圣帕特里克节里，课堂照常开始。但是当海菲兹先生穿过房间走向他的小提琴时，我们注意到他的袜子上刺绣着一个所能够想象得到的最为俗艳的绿色阴影的爱尔兰三叶草的小徽章！一块相应配套的手帕完成了这幅色彩鲜明的全套造型。我们都沉浸在这份共同辨别出来的无需言语的乐趣之中。
On another occasion, the class wanted to surprise Mr Heiletz with a 2 February birthday celebration. As we never met on this date, it was a surprise for him on the last day of the class before his birthday to be greeted by a class of students playing the most unexpected instruments.
在另一个场合中，整个班级想要给海菲兹先生2月2日的生日庆祝会来一个惊喜。由于我们从不在这一天聚会，因此在他生日前的最后一天的课堂上，由一整个班级的学生来演奏最未曾预料过的乐器来迎接他，对海菲兹先生会是一个惊喜。
Most of us had no idea how to operate our chosen vehicles of sound, but the spirit was there in our rendition of a Brazilian Tango. I can still remember the twinkle in his eye as we segued into our original interpretation of Happy Birthday to You.
我们绝大多数人都不知道该如何将我们所选的嘈杂的噪音混合好，但是我们的精神就在那首所选的巴西探戈的演绎之中。我仍然能够回忆起当我们依次演绎我们原创的《祝你生日快乐》的诠释时，他眼中闪烁的泪光。
He truly appreciated our silly but well intentioned gesture. However, once the teaching began, the intensity of the class was undiminished.
他真诚地感激了我们有点儿傻气却出于一片好心的致意。然而，一旦课程开始了，那股弥漫在课堂的紧张感又重现了回来。
In 1980, while I was artist in residence at the College of Arts and Education in Adelaide, Australia, I received a telephone call requesting that I return to the USA to take up the position of assistant to Mr Heifetz at the University of Southern California. In this new role, my situation changed from 'member of the class' to 'assistant professor', and a higher standard of performance was now expected of me in every area.
在1980年，当时我是澳大利亚阿德莱德艺术教育学院的一位常驻艺术家，我收到了一通电话，要求我返回美国，来接管一个海菲兹先生在南加州大学的助手的职位。在这个新的角色中，我的地位由一个“课堂中的学员”转变为“助教”，并且，在每一个场所里对我的演奏标准的期待也变得更高了。
My duties included screening all potential candidates for the class. If I thought Mr Heifetz would be interested in a student, an audition with him would be arranged. And if the student was accepted, it was my responsibility to prepare them for the class. A professional relationship was always maintained. The students' work must be prepared in the right way, and all the personal requirements I knew so well had to be observed. Punctuality, good grooming, respectful attitudes and seriousness of purpose were a must for 'survival' in the class.
我的职责包括了要面试所有大师课潜在的学员。如果我认为海菲兹先生会对一位学生感兴趣，那么就会安排一场包括他的面试。并且，如果这位学生被录取了，安排学生入学的准备工作是由我全权负责的。一种职业化的关系始终持续地保持着。与学生们有关的工作必须以正确的方式准备妥当，而我所如此熟悉了解的个人化需求也需要被一一觉察到。守时、着装得体、令人尊敬的态度以及严肃的使命感是得以在课堂上“存活”的必须品。
I remained Mr Heifetz's teaching assistant until the Heifetz Class formally ended some five years later. During this time I came to appreciate more fully the commitment and responsibility he assumed as a teacher. It was important to him that his students had the right environment to accomplish their work. If needed, he would find ways to 'quietly' help, whether it be rent money, a new case, a bow, a violin, a 'scholarship', an invitation to dinner at his home, or thanksgiving day at the beach for the class. No-one was t.
我一直留在海菲兹先生的大师班上，直到五年后的某一时间它正式地终止为止。在这段时间内，我得以更加完全地感激他对教师这一使命和职责所做的担当。对于他来说，他的学生拥有合适的环境来完成他们的工作是十分重要的事。如果需要，他会寻找到一种“不动声色”的帮助方式，无论是借给上课的学生钱、送一个新手提箱、一支弓、一把小提琴、一份“奖学金”，还是一封赴往他家共进晚餐或前往海滩共庆感恩节的邀请函。没有人会被单独遗漏。
The Heifetz Class was an elite collection of a chosen few. Jascha Heifetz, the violinist renowned as the greatest of them all, recognised his responsibility to pass on his legacy to the next generations. He was teaching for all of the right reasons, and his devotion to this end was his gift to us all.
海菲兹的课堂是一种从极少数中选中的精英人才集合。亚沙·海菲兹，这位举世闻名的小提琴家作为这群人中最为伟大的一位，认为他的责任是将他的遗产传承给下一代。他以全部的正确理由来教课，并且他的直到最后一刻的献身精神是他给我们所有人的礼物。
Shortly before his death, I had occasion to be in Los Angeles, and had a short reunion with Mr Heifetz. I was grateful for the opportunity to see him alone and to share my feelings about the impact of his association on my life. I said, 'You know Mr Heifetz, every time I take out my violin, and every time I teach a lesson, I realise just how much you have given to me. Thank you.' There was a long, long silence as he considered my words. He looked deeply into my eyes and said knowingly, 'Good'.
在他去世前不久，我正巧身处于洛杉矶，得以有一个与海菲兹先生的短暂重聚。能够再次单独见到他，并且能够分享我对于他与我人生联结的深刻影响的满腔情感，我心存感激。我说：“您知道，海菲兹先生，每一次我拿出我的小提琴，还有每一次我教课时，我都意识到您给予了我如此、如此之多。谢谢您。”他把我的话想了有很长很长的一段时间的静默。而后他深深地看着我的双眼，理解地说到，“很好”。
Before his death, Mr Heifetz made a gift to me of a J.B. Vuillaume, tortoiseshell and gold mounted 'picture' bow. I discovered that I had been willed his 1736 Carlo Tononi violin and 'one of [his] four good bows' in a Los Angeles Times article (I chose the François Tourte). His desire that I be heir to these treasures was never discussed with me in his lifetime.
在他去世前，海菲兹先生送给我一把让-巴蒂斯特·维尧姆小提琴、一支龟甲和金制“图像”的弓。我在洛杉矶时报的一篇文章中，发现自己继承了他的1736年的卡罗·托诺尼名琴及“他最好的四支弓之一”（我选择了弗朗索瓦·图特）。他坚持要我作为这些珍宝的继承人，却从未在他还在世时与我相讨论过。
August 1974, when I joined the Heifetz Class, was the beginning of a life experience that has enriched not only my own life, but the lives of hundreds of students and audiences who have shared with me the power of his legacy.
1974年的8月，当我加入海菲兹的课程时，正是这一段人生经历的开端，它不仅只是丰富了我自己的生命，更是丰富了数以百计的学生和听众的人生，他们与我共同享有了他的精神遗产的力量。
Violinist Sherry Kloss is an active performer and teacher with a number of recordings and the book 'Jascha Heifetz Through My Eyes' to her name. She is founder and artistic director of the Music Institute for the Development of Personal Style and co-founder of Jascha Heifetz Society.
小提琴家雪莉·克鲁斯是一位活跃的演奏家和老师，录有相当多数量的唱片录音及著有《我眼中的亚沙·海菲兹》的署名著作。她是个人风格发展音乐学院（the Music Institute for the Development of Personal Style）的奠基者和艺术指导，以及亚沙·海菲兹协会的合作奠基人。
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