美酒，女人和钢琴丨钢琴家鲁宾斯坦的三原色
Arthur Rubinstein：wine, women and the piano
美酒，女人和钢琴丨钢琴家鲁宾斯坦的三原色
本文作者布莱斯•莫里森（Bryce Morrison）；往期鲁宾斯坦：1、九十岁的鲁宾斯坦访谈丨“我二十岁的时候想到自杀”；2、九十岁的鲁宾斯坦访谈丨“我不会去怕任何东西，不顺心、没有钱，或是没有得到女人的爱情；我总会给自己勇气！”3、鲁宾斯坦谈听钢琴大师演奏的经验丨青年钢琴家如何才能取得成功？4、鲁宾斯坦谈教学丨“钢琴家要不断重读乐谱，从中发现新的宝藏。” 5、鲁宾斯坦说：“大师，就是每天练琴的学生。” 6、鲁宾斯坦何以被称作肖邦演奏史上的里程碑人物？7、感受鲁宾斯坦的钢琴大师课；9、纪念鲁宾斯坦丨谈钢琴教学及一些著名钢琴家的演奏；10、鲁宾斯坦问毕加索：“为什么总画相同的内容？”丨关于音乐的重复；11、风格即人丨霍洛维茨与鲁宾斯坦丨浪漫钢琴的两大旗手丨从不伪装自己没有的感情
For professional pianists and amateurs alike, Arthur Rubinstein's artistry was a thing of wonder, a touch that combined exquisite control with a feeling of tremendous ease, says Bryce Morrison
布莱斯·莫里森说，无论是对职业钢琴演奏家，还是钢琴业余爱好者而言， 阿图尔·鲁宾斯坦的艺术造诣堪称奇迹；他对琴键的抚触恰如其分且张弛有度，又有一派浑然天成不加矫饰的自然气度，正是配极了一个巧字。
Few musicians achieve household recognition, but Arthur Rubinstein appears on virtually everyone's shortlist of great and enriching artists. True, he was a public relations or image-maker's dream, his professional and personal life the stuff of legend. Generous, tireless, an inveterate socialite, bon viveur and a true child of La belle époque, he courted high society and was equally at ease with European royalty or Hollywood's ersatz equivalent, pausing only to lament the relative dourness of later generations.
尽管很少有音乐家能得到大家一致认可，但是阿图尔·鲁宾斯坦几乎是每个人心目中伟大且造诣日益深厚的艺术家之一。的确，他成了公共关系或形象制造者的梦想；他的职业生涯和个人生活都是传奇。他是一位慷慨、不知疲倦、经验十足的社会名流，一位真正的上流社会人士。他追求上流社会，与欧洲皇室或好莱坞名流相处时同样轻松自如；只是偶尔会停下来，哀叹年轻一代的生活多么平庸乏味。
'When I was young we enjoyed ourselves. Why are today's young people so serious, so lacking in joie de vivre?' Anxious to tell journalists and admirers that he was 'the happiest man I have ever met...You see, I just adore life' (a useful catch-phrase later used as Arthur Rubinstein, ou l'amour de la vie, the title of the 1970 Academy Award-winning film), he also acknowledged after his early Spanish triumph: 'I love Spain as one loves a woman...with tenderness.' Indeed, wine, women and song were his natural and unapologetic milieu; he even confessed to finding Chopin's Barcarolle a handy aphrodisiac, easily turning the heads and hearts of women held spellbound by his matchless elegance and charisma.
“我们年轻的时候都在享受生活。为什么现在的年轻人这么严肃，这么缺乏生活情趣？”他迫不及待地告诉记者和仰慕者们他是“我见过的最快乐的人……你看，我就是热爱生活”（这是一段经典引用，后来被用作1970年奥斯卡金像奖电影的片名--》《热爱生命‘ou l'amour de la vie’ 》）。他早期在西班牙获得成功后还承认：“我爱西班牙，就像爱一个女人……如此如醉地爱她。”确实如此，美酒、女人和音乐都是他与生俱来且理所当然的东西；他甚至还坦白：他发现肖邦的《船歌》是一种唾手可得的催情剂，很容易让女人彻头彻尾地被他那无与伦比的优雅和魅力迷住。
All this and more appears in the two-volume autobiography My Young Years and My Many Years (Jonathan Cape: 1973 and 1980), ghosted by Annabelle Whitestone, the companion and amanuensis of his old age. Such writing, with its disappointing crudity and superficiality, evaded a darker side of Rubinstein's personality.
所有这些以及更多类似的故事都在鲁宾斯坦的两本自传里有出现《我的青年时代》和《我的这些年》（乔纳森•凯普，Jonathan Cape：1973和1980年）,由他晚年的伴侣兼文书助理安娜贝拉·怀特斯通（Annabelle Whitestone）代笔。这些令人失望的拙劣且肤浅的写作避开了鲁宾斯坦其个性的阴暗面。
For this we turn to Harvey Sachs's Rubinstein: A Life (Weidenfeld & Nicolson: 1996) which tells of Rubinstein's easily aroused personal jealousy. Here we find sympathy for a fellow pianist – in this case Horowitz - quickly turning to a sniping and sustained attack ('he was the world's greatest pianist, I the finer musician').
正是这个原因，我们转而查阅哈维•萨克斯笔下的鲁宾斯坦——《一生》（韦登菲尔德和尼科尔森：1996年），这本书记录了鲁宾斯坦令人羡慕嫉妒恨的一生。这里我们同情地介绍一位同时代的钢琴家——霍洛维茨——在那种情况下，迫不及待地见风使舵诽谤和持续攻击鲁宾斯坦（‘他曾经是世上最好的钢琴家，而我是更出色的音乐家’）。
The Paris music critic Bernard Gavoty complained that My Many Years consisted of 'nothing but dinner, bedroom scenes, travels, lobsters, caviar, champagne', before 'an unpardonable frying of all your colleagues in a spicy sauce. Be their names Schnabel, Hofmann, Gieseking, Heifetz, Horowitz - each one is described as having small virtues, entirely unequal to yours! This is fully-fledged megalomania.'
巴黎音乐评论家伯纳德•加伏蒂(Bernard Gavoty)抱怨说，《我的这些年》由在‘你所有的同事只能吃到油炸食品蘸辣酱’的情况下，而鲁宾斯坦‘除了晚餐，还有女人、旅行、鱼子酱和香槟’类似的描写构成。而在评价鲁宾斯坦的同事们，比如施纳贝尔（Schnabel）、霍夫曼（Hofmann）、吉泽金（Gieseking）、海菲兹（Heifetz）、霍罗威茨（Horowitz）时——加伏蒂形容他们每个人有很多小优点，但评价鲁宾斯坦却截然相反，说他简直是个不折不扣的自大狂。
But then, there is Rubinstein the pianist. Reading My Young Years for review purposes, and returning from an interview with Rubinstein, I recall how a feeling of disappointment (those tirelessly related anecdotes had somehow lost their edge and sparkle) was transformed into sheer magic by the quality of Rubinstein's playing. Listening to that instantly recognizable nobility of 'line', nuance and cantabile in his 1970 recording of the Bach/Busoni Chaconne returned me to a reality above and beyond petty rivalries, disputes and a catalogue of amorous conquests. Once more I could cherish a figure central, both live and in the studio, to my musical experience.
但直到真正和钢琴家鲁宾斯坦接触后。我带着审视的目的重新阅读《我的年轻岁月》，从鲁宾斯坦的采访回来后，往日那种厌倦的感觉（那些无休止的奇闻八卦不知怎么地失去了它们的棱角和光芒）被他的音乐演奏转化成了纯粹的魔法。听到他1970年录制的巴赫《恰空舞曲》的那一瞬间，那充满高贵的气质音乐线条，细致微妙处如歌的旋律，一下子就带我回到现实，回到了一个超越琐碎的竞争、争论和一系列桃色新闻的现实中。我再一次庆幸，我的音乐体验上，无论在生活还是工作室里，有这样一个核心人物。
Even as a child, as I idly flipped through the pages of a newly and proudly acquired Children's Encyclopaedia, delighted by facts and figures concerning the highest mountains and longest rivers, I stopped to wonder over a picture of Rubinstein bearing the caption, 'When Rubinstein plays Chopin you are carried into another world'. That world, magically apprehended at first, became a certainty as I listened to record after record, every one alive with Rubinstein's alchemy and allure.
即使是一个小孩，在我漫无目的地翻阅崭新的儿童百科全书时，书里关于最高山脉和最长河流的事实和数字也会让我很开心。我在一张鲁宾斯坦的照片前停下来，对照片边上的文字感到惊讶， “当听到鲁宾斯坦演奏肖邦的时候，他会将你带入另一个世界”。我从一开始对这个世界感到不可思议，伴随着聆听鲁宾斯坦一张又一张专辑，我开始逐渐确信信事实如此，每个人都沉浸在鲁宾斯坦无可抵挡的魔力和魅力中。
Chief among them were the early 1928-39 sets of the Mazurkas, Nocturnes, Polonaises and Scherzos. These I treasured as timeless marvels of stylistic consistency, as remarkable for their richness as their simplicity, for their haunting poetic candour and sophistication.
那些唱片中最主要的是1928-39早期系列的《马祖卡》、《夜曲》、《波兰舞曲》与《谐謔曲》。这些我珍视的是永恒奇迹风格一致，它们的丰富性和它们的简约风格一样，带有令人难以忘怀的诗意的率真而深邃。
Here was a wholly modern but timeless Chopin, cleansed of self-serving idiosyncrasy and preening mannerisms, restored, like some great painting, to its pristine state. Remarkably, these performances, like all playing of true vintage, have increased rather than diminished in stature over the years, their presence a reminder of a calibre or standard rarely found in later generations.
这是一种完全现代化但永不过时的肖邦， 去除了自夸自耀和矫揉造作的言谈举止，就像一些伟大的油画恢复到了它的初始状态。值得注意的是，这些演奏就像所有真正的古董一样，在过去的岁月里，它们的地位在不断提高而不是下降， 它们的存在提供了后世很难达到的水平或标准。
But what, more precisely, are the cardinal qualities that make Chopin and Rubinstein synonymous? Comments such as Rudolf Serkin's on Horowitz, 'his Chopin was like a fire-ball exploding', or 'if people understood what Horowitz's tone meant he'd be banned from the keyboard' (William Kapell), seem oddly alien to Rubinstein's more imperturbable vision.
但是，更准确地说，让肖邦和鲁宾斯坦成为同义词的主要特质是什么?比如鲁道夫·瑟金（Rudolf Serkin）的对霍洛维茨的评论，“他的肖邦就像火球爆炸”，或者“如果人们懂得霍洛维茨的演奏基调，那么意味着他将被禁止弹钢琴”（威廉·卡佩尔，William Kapell），这些似乎与鲁宾斯坦更为冷静的视角格格不入。——1、此音乐不在你心外丨塞尔金演奏贝多芬最后三首奏鸣曲；2、为何只有塞尔金的莫扎特令我感动？3、聆听钢琴大师（八）丨威廉·卡佩尔丨他是一个技巧夺目的演奏家，其演出以灿烂光芒和戏剧性著称。
Arnold Steinhardt, leader of the Guarneri Quartet, comes close to defining an elixir when he says, 'Rubinstein could mould a phrase with great freedom, but it was never excessive or in bad taste. It was magical, because you never knew how he did it; he'd do those little rubatos but with an eye-dropper - a little bit with a note here or there. You got an overwhelming feeling of fluidity and elasticity, and it was always aristocratic.'
瓜奈里弦乐四重奏乐队（Guarneri Quartet）的领袖阿诺德·斯坦哈特（Arnold Steinhardt）在谈及鲁宾斯坦时几乎将其奉为神人，他说:“鲁宾斯坦能够轻松自如地重塑一个乐句，但从来不会过分或落于俗套。”这很神奇，因为你永远不知道他是怎么做到的;他能完成那些精巧的细节的处理，像是手握一只滴管，在这里或那里随意挤一挤滴管，滴上几点。这样你会有一种强烈的流动感和弹性感，而且一直都是贵族式的。
Writing more recently, I described his rubato as being 'as natural as it was personal, a true sense of nuance and musical breathing, a subtle bending of the phrase, an ebb and flow, a robbing and giving back of time. Virtually every bar of Rubinstein's Chopin declares his mastery over this most vexed of questions regarding Chopin style, affecting his listeners like some great singer in his arching of a phrase, his momentary hesitation, like some emotional catch in the voice. Above all, there was a sovereign ease and naturalness. Audiences felt transported...'
最近，我把他的自由节奏描述为 “自然流畅得如同人一般 ，能感知到细微的差别和韵律般的呼吸，一次精妙的乐句转折，一波潮起潮落，一阵嘈嘈切切错杂弹。”几乎所有的鲁宾斯坦演奏的肖邦曲目都宣示着他精通关于肖邦风格的最棘手的问题，这也感染了他的听众，就像一些伟大的歌手的一句歌词与乐迷们产生的共鸣，他那短暂的犹豫，像是在乐声里进行某种情感捕捉。最重要的是，有一种至高无上的自在和浑然天成。听众们仿佛身临其境……”
Yet if it is right and significant that Philips devoted the first of its 'Great Pianists' tributes to Rubinstein exclusively to his Chopin, it is necessary to add that such richness came from the widest knowledge and catholicity.
然而，菲利浦（Philips）将其第一个“伟大钢琴家”的颂赞特意献给鲁宾斯坦，尤其是他演奏的肖邦作品，如果这是正确且意义重大的，那么有必要补充一下，如此华美的荣誉是出于普遍的认同。
Once described as more of a dandy than a serious artist, Rubinstein fought tirelessly to achieve performances of a transcendant grace and translucence. As he himself put it, 'I didn't want my children to grow up and think their father was a second-rater; someone who could have been a great pianist.'
鲁宾斯坦曾经更多时候被形容为一个花花公子而不是一位庄重的艺术家，他不懈地努力实现了卓越而清澈的表演效果。就像他自己说的，“我不想让我的孩子长大以后认为，他们的父亲是一个本可成为一位伟大钢琴家的二流货色。”
As a corollary, Rubinstein saw Chopin within the context of other composers. His repertoire was immense and although even his most ardent devotees would hardly turn to him for a blinding insight into, say, late Beethoven (his remark that such music was more for private than public consumption, and that audiences secretly preferred early- and middle-period Beethoven, is surely telling) they heard him in superb performances of much modern and contemporary work by Szymanowski, Stravinsky, Villa-Lobos and so on, whose music he joyfully premiered in the face of often fierce and uncomprehending hostility.
可以说，鲁宾斯坦在其他作曲家的作品中看到了肖邦的影子。尽管作曲家的作品极为丰富，然而即使是他最虔诚的崇拜者也不会盲目的全都喜欢，比如贝多芬晚期的作品（鲁宾斯坦认为这种音乐更适合独自倾听而不是大众消费，而且观众私底下更喜欢贝多芬早期和中期的作品，这是可以看出来的），他们在更加现代化和当代化的华美演出中听到的贝多芬，比如由席曼诺夫斯基、斯特拉文斯基、维拉罗伯斯等所演绎的作品，往往是在面对强烈的和不予理解的反对声中进行首演的。
Playing Ravel's Valses nobles et sentimentales to a Spanish audience, he was booed and hissed for his enterprise. So much so that when he returned to the platform for an encore, he played the entire work again, provoking a major scandal. Albeniz's Iberia which, like Stravinsky's Petrushka and Falla's Ritual Fire and Terror Dances, he shrewdly and mischievously 'arranged' for maximum effect, velocity and brio, was among his headiest successes. Iberia and Petrushka, therefore, as well as Szymanowski's daunting Second Sonata, are among the most regrettable omissions from Rubinstein's discography.
在演奏《拉威尔高贵而忧伤圆舞曲》时，一个西班牙观众对他的演艺生涯发出了嘘声，以至于等他演奏返场曲目时，他重新完整地演奏了该曲目，这件事引起了公愤。阿尔贝尼兹的《伊比利亚》，与斯特拉文斯基《彼得鲁什卡》和法雅的《火祭舞》一样高难度的作品，他都巧妙灵活的编排演绎出最极致的节奏和激情效果，这是他最成功的地方之一。因此，《伊比利亚》、《彼得鲁什卡》以及令人生畏的《席曼诺夫斯基第二奏鸣曲》都未出现在鲁宾斯坦的录制唱片中，这是非常遗憾的。
Yet to speak of such omissions or of Rubinstein's decision to wait for a less fiercely competitive environment before learning Rachmaninov's Third Concerto is, in sense, unrealistic. Rubinstein's largesse, his cornucopia of offerings, is perhaps hardly surprising from a man who, unlike so many of his fellow artists, exclaimed, 'I adore making records...it thrills me. I have a feeling of perpetuation.'
然而，说到这些遗漏或是鲁宾斯坦自己决定在练习拉赫玛尼诺夫《第三钢琴协奏曲》之前，等待一个不那么激烈的竞争环境，从某种意义上说，这是不现实的。鲁宾斯坦的慷慨以及他的巨大奉献，也许并不令人惊讶，因为他和其他许多同行艺术家们不一样，他感叹道：“我喜欢录唱片……它刺激着我，让我有一种不朽的感觉。”
He also saw recording as his greatest teacher, the studio the opposite of Schnabel's dreaded 'torture chamber' and a place where he could hone his art, balancing exploration and spontaneity with an ever-increasing sense of musical perspective and refinement.
他还把录音看作是他最好的老师。他的工作室与令人生畏的施纳贝尔审讯室（torture chamber）相反，在那里他可以磨练自己的艺术，以不断增长的音乐视角和凝练感平衡音乐的探索性与自发性。
Rubinstein was as aware as other 'first-raters' (he rightly included himself among such an elite) that his quality derived from a gift beyond definition. And while he was aware that talent unsupported by the fiercest and most single-minded application can be both fragile and illusory, he also knew that such talent, a mysterious gift from the gods, came first. As he himself put it, 'I have always thought of myself as a musical instrument - neither violin nor piano - but "essence" of music. I never walk or dream or go to sleep without having music in my head. Music is my form.'
鲁宾斯坦和其他一流的音乐家 (他应该把自己列入其中了) 一样清楚，他的才华源于无与伦比的天赋。他也知道不能过于依赖天赋，因为那是一份上帝赐予的神秘礼物，是虚无缥缈的。正如他自己所说，“我一直把自己视作一件乐器，但既不是钢琴也不是小提琴，而是音乐的精髓。我走路睡觉的时候脑海里都是想的音乐。音乐就是我的形态！”
This article originally appeared in the Awards 1999 issue of Gramophone. To find out more about subscribing to Gramophone, visit: gramophone.co.uk/subscribe
这篇文章最早出现在1999年的留声机（Gramophone）杂志上。想了解更多信息欢迎登陆网址http://gramophone.co.uk/subscribe订阅。
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【音乐编译小组公众号】：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。”；9、肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。” 10、韩国钢琴家赵成珍访谈丨“如果我遇见肖邦……”；11、憨豆先生采访郎朗丨谈肖邦以及古典音乐普及；12、古稀之年克莱默访谈丨谈《克莱默版贝多芬协奏曲》（亨勒出版社）；13、“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；14、“指挥家”李云迪访谈丨“音乐源自内心，这就是为什么即便我们一遍遍地弹奏相同的曲子，表演依然不是机械化的原因。” 15、郎朗弟子马克西姆·朗多访谈丨“郎朗对所有事物的热情深深感染着我，当我们在一起演奏时，可以感受到创造出的音乐竟然如此欢乐！” 16、肖邦“迷妹”阿格里奇论肖邦《第一钢琴协奏曲》丨“我多么渴望去亲眼看到肖邦怎样弹琴！”；17、纽爱新总监梵志登访谈丨“我并不想被公众看作对某位作曲家有特殊癖好，演的最多或最为喜欢。” 18、埃格纳钢琴三重奏访谈丨你有父亲、母亲和孩子，等我们长大了，孩子就会成为父亲和母亲，这就是室内乐想要阐明的观点！19、华裔小提琴家侯以嘉访谈丨“没有技巧就没有表达的自由；但只关注技术，很快会变得无聊或疲劳，并失去练习专注度。” 20、郎朗访谈丨“有时候父亲把我逼得太紧了，可他是爱我的！” 21、哈农库特访谈丨“我所探寻的始终是作曲家为什么要这样写”；22、面对批评，郎朗很委屈丨“我想让古典音乐表现得酷炫一点，这有什么不好么？”；23、“准备好了”丨回忆海菲兹小提琴大师班【古典音乐译文公众号】1、作曲家拉威尔1928年演讲丨“真正的艺术作品是不可能靠分析鉴定的”；2、你怎么看音乐家找工作越来越难丨大提琴家斯塔克访谈（上篇）；3、他曾声明永远不在器乐演奏比赛中担任评委丨大提琴家斯塔克访谈（下篇）；4、布伦德尔谈莫扎特丨到底什么让他的音乐如此奇妙? 5、被遗忘的克莱门第丨他的键盘音乐文献如何影响海顿、莫扎特、贝多芬以及浪漫时期？6、弓在弦上，揉转成美丨与梅纽因对谈小提琴艺术；7、MTT谈马勒丨“他的音乐已经进入了我的心灵，永不磨灭。” 8、盛原采访米科夫斯基丨“我对钢琴大师班没有太大的信任”；9、富特文格勒丨如何理解贝多芬交响曲；10、从钢琴生产数量看，中国有多少万琴童？11、肖邦大赛后的齐默尔曼丨他不想只做肖邦专家