纪念李帕蒂丨他坚称乐谱是“我们的圣经”，但对作品内在精神的解读更重要！
“Music is a serious matter”
——Dinu Lipatti （1917-1950）
“音乐是一件严肃的事情”
——李帕蒂（1917-1950）
Dinu Lipatti: Remembering a Legend
李帕蒂丨追忆一个传奇
往期李帕蒂：1、格里格和他的钢琴协奏曲丨评李帕蒂、李赫特的演奏；2、李帕蒂最后的备课稿丨“音乐存在于我们的指间，它生活在我们所能赋予的一切之中。” 3、在弹完这首肖邦圆舞曲后，李帕蒂倒在了钢琴上…… 4、哈斯姬尔：我和李帕蒂不得不说的故事（上）；5、哈斯姬尔：李帕蒂尘世生活的最后时光（下）；6、李帕蒂在瑞士电台的三次采访；7、触摸着巴赫生前演奏的管风琴，离开时李帕蒂已经热泪盈眶…… 8、音乐译文丨聆听李帕蒂，“这是只有真正的艺术家在关注诗意和深沉的感情”；9、比较李帕蒂、布伦德尔演奏的莫扎特《a小调第八钢琴奏鸣曲》K.310
Dinu Lipatti was born in Bucharest on 19th March 1917, a hundred years ago this week. His life and career shone with a brightness that helped illuminate the piano’s “golden age”, leaving an indelible hue on our cultural heritage. That blazing light was tragically extinguished on 2nd December 1950, when Lipatti died of Hodgkin’s Disease.Book Review
李帕蒂出生于1917年3月19日的布加勒斯特，即本周（编者按：本文写于2017年）的一百年前。 他的生活和事业明亮如光照，照亮了钢琴的“黄金时代”，为我们的文化传统留下了不可磨灭的音乐。那炙热的光亮于1950年12月2日悲剧性的熄灭了，他那时早逝于白血病。
But Lipatti’s legacy lives on, and such was the precision, luminosity and spirituality of his playing that, these many decades later, many of his recordings (mostly from the 1940s) are still regarded as milestones in the history of music.
As you read on, listen to this quintessential recording of Bach from the last year of Lipatti’s life:
但是李帕蒂的遗产在继续传承，这遗产就是他演奏的精准，光辉，灵性，以致这几十年后他的许多唱片（多数起自1940年代）仍被认作音乐史上的里程碑。
当你看下去时，倾听李帕蒂生前最后一年那精准的巴赫唱片。
The Musical Biography
For those who want to dig deeper and learn more about this extraordinary pianist and composer, I have huge pleasure in warmly commending the only biography available in English.
‘Lipatti’ was written by Dragos Tanasescu and Grigori Bargauanu, and first published in Romania in 1971.
音乐传记
对于那些想要挖掘更深，了解更多这位超常的钢琴家和作曲家的人们，我非常乐意热烈推荐这本唯一能买到的英文版传记《李帕蒂》。
这本书由德拉戈·塔纳瑟库（Dragos Tanasescu） 和 格里戈里（Grigori Barguanu)合写，于1971年出版于罗马尼亚。其英文版由卡罗拉（Carola Grindea） ,安妮·古森斯（Anne Goossens） 翻译，由卡恩（Kahn Averill）付之印制，于1988年出版。
The english version was translated byCarola Grindea and Anne Goossens, appearing in 1988 published by Kahn & Averill, who recently brought the title back into print.
It is essentially a book of two halves – the first, a detailed musical biography of Lipatti’s short life – the second, an evaluation of his legacy as an interpreter, composer and teacher, with detailed supplementary appendices.
The book is handsomely presented and includes many rare black and white photos, which are liberally distributed throughout.
这本书基本上由两部分组成——第一部分是李帕蒂的短暂生命里的详细的音乐传记；第二部分是对他作为演奏者，作曲家和老师所留下的遗产的评价，并有详细的充足的附录。这本书装帧精美，内含稀有的发布于各处的黑白照片。
Dinu Lipatti & his family
The Life of Lipatti
The story of Lipatti’s short life takes up the first 130 pages of the book, and is divided into four chapters.
Chapter 1, First Steps charts young Dinu’s childhood in Bucharest, and the early signs of his genius. His parents were both musicians – Theodor an accomplished violinist who had studied with Sarasate, and mother Anna a pianist who gave Dinu his first informal lessons. By the age of four, Dinu could play a growing number of piano pieces, as well as composing and improvising his own music daily. Of special interest to piano teachers, the authors here note:
“As might have been expected Dinu’s first steps at the piano started intuitively, by ear. He was not hampered by having to follow the page of a score; instead, a sonorous inner world was free to grow, stimulated by the impressions received through his sensitivity and imagination.”
李帕蒂的生平
李帕蒂的生平故事占据了此书的前130页，并且分成四章。
在第一章，第一步先是记述了小迪努在布加勒斯特的童年，以及他的天才的早期迹象。他的父母都是音乐家，父亲西奥多（Theodor） 是一名曾跟萨拉萨特（Sarasate, ）学习的小提琴家，母亲安娜是一位钢琴家，她给迪努上了非正式的钢琴课。到了四岁，他能够演奏大量的钢琴片段，及每天谱曲和即兴演奏他自己的音乐。对钢琴老师的特别感兴趣，作者在此注意到：
正如人们所料到的，迪努最初是靠直觉学习钢琴。他没有被必须遵循谱子的页数而束缚； 相反，能够发出声响的（sonorous）内心世界得以自由成长，他的敏感力和想象力被接收到的印象（impressions）激发。
Dinu Lipatti as a young boy
Lipatti’s formal music lessons did not begin until he was eight, at which point he joined the classes of Mihail Jora and soon afterwards Florica Musicescu, both of who became important lifelong mentors.
Chapter 2, Years of Apprenticeship tell this story in much detail, charting Dinu’s subsequent years studying at the Conservatoire in Paris, where his teachers included the legendary pianist Alfred Cortot, composers Paul Dukasand Nadia Boulanger, and conductor Charles Munch.
By the late 1930s Lipatti was making a name for himself as a performer with an extraordinary gift. Chapter 3, Fame, charts the astonishing development of his glittering career as concert pianist, composer and recording artist. Throughout the war years which followed, Lipatti continued touring as widely as possible (though mostly limited to the Nazi-occupied territories), and often overcame considerable challenges to do so.
他的正规音乐课直到8岁才开始，他加入了Mihail Jora 的班级，不久之后，师从弗洛瑞卡·穆西塞斯库（Florica Musicescu）, 他成了他终身重要的导师。学徒岁月详尽讲述了这个故事，并以图表形式说明了他随后几年在巴黎公立音乐学校的学习经历，他的老师包括传奇式钢琴家阿尔弗雷德·科尔托（Alfred Cortot）, 作曲家保罗·杜卡（Paul Dukas）以及 娜迪亚·布朗热（Nadia Boulanger）以及指挥查理·明希（Charles Munch）。——推荐阅读：1、科尔托对肖邦24首前奏曲的诠释；2、朱伟丨纪念科尔托丨大师课视频丨新书预告丨“他的肖邦几乎确定了演奏标准，后人都遵循他的分句，咀嚼他表情中的诗意，很难挣脱其结构。”
到了二十世纪三十年代后期，李帕蒂作为具有超常天赋的表演者一举成名。第三章《名声》，图解了他作为音乐会钢琴家，作曲家和唱片艺术家辉煌事业的惊人发展。在随后的战争岁月，李帕蒂继续尽可能大范围的短途旅行（尽管大多只限于纳粹占领区），并且经常克服要面临的相当多的挑战。
Here, and throughout the book, excerpts from Lipatti’s private correspondence give a unique insight into the character that drove him to such pianistic heights. We are also treated to lengthy extracts from concert reviews from the time.
By the end of the war, Lipatti had found a haven in Switzerland, where his final years were occupied as a teacher at the Geneva Conservatoire alongside his ongoing touring and recording engagements.
At the end of Chapter 3 we read of Lipatti’s personal life:
“Madeleine was, at last, free to marry Dinu after the death in Romania of her husband who had refused, all these years, to give her a divorce. The marriage took place unobtrusively; it was only mentioned at the end of a letter to Florica Musicescu (10 January 1949): ‘Love to you from Madeleine and myself – married at last.’”
The romance leading to this moment is barely mentioned in the book; this intriguing snippet certainly hints at an engaging personal story that remains largely (and presumably deliberately) untold here.
Throughout the 1940s, Lipatti’s health had deteriorated; the ongoing account of his professional career is cut with that of his inexorable physical decline. Subject to many experimental treatments, and suffering side-effects such as “X-Ray sickness”, it was only in 1947 that Hodgkin’s Disease was finally diagnosed.
在这里，及这本书从始至终，节选自李帕蒂私人信件，对驱动他达到这样钢琴家高度的性格给与独一无二的洞察。我们也可享受到他当代音乐会评论的长篇节选。
到战争结束时，李帕蒂在瑞士找到了避风港，他最后几年在日内瓦公立音乐学校做教师，伴随着他不间断的短途旅行和唱片事业。
在第三章结尾我们看到了李帕蒂的个人生活：
“马德琳的丈夫在罗马尼亚去世，给了马德琳自由身，最后终于嫁给了曾经几年拒绝她的迪努。婚礼不动声色暗中的进行了；再给弗洛瑞卡·穆西塞斯库（Florica Musicescu）的一封信中只提到：‘马德琳对你的爱和对我自己的爱”————终于结婚了。’”(1949年一月十日)
引起这个时刻的浪漫故事很少在书中提及；这个有趣的片段无疑暗示了一个引人入胜的个人故事。（也许是有意略过）
从二十世纪四十年代期间，李帕蒂的健康一直恶化；关于他的职业生涯的持续描述随着他的身体状况的恶化而被削减。经过大量的实验治疗，以及诸如“X射线病”等痛苦的副作用，他的霍奇金病才在1947年被确诊。
Chapter 4, Finis Tragoediae offers a moving account of the last months of Lipatti’s all-too-short life, culminating in his extraordinary final performance: the legendary Besançon Recital of 16th September 1950, the recording of which remains on the catalogue both as a CD and via subscription streaming sites Apple Music and Spotify. The authors note:
“The Besançon Recital – Dinu Lipatti’s last concert – could be compared to an ancient rite of sacrifice on the altar of the gods.”
Throughout the suffering of those last years, Lipatti’s ongoing commitment to his audience can only be described as heroic, and I am bound to wonder which of today’s artists could claim to be his equal in this regard… certainly his decision to go ahead with the Besançon recital was not made for the sake of fame or fortune, but in the service of a higher love of music and a keen sense of duty to his art.
As Lipatti himself famously observed:
“Music must not be used, it must be served!”
书中对他过于短暂的生命中最后几个月做了感人描述，他最后演出达到异乎寻常巅峰水平： 1950年9月16日传奇式贝桑松独奏音乐会（这个唱片一直在CD目录，也可通过订阅苹果音乐线上站点访问。作者注解：
贝桑松独奏音乐会是迪努最后一场音乐会——可以比作一场献身神坛的古老仪式。
在过去几年的苦难中，里帕蒂对听众的始终如一的献身精神只能说是一种英雄主义，我不禁要问，在这方面，当今的艺术家中，哪一位能与他平起平坐？当然他决定开办贝桑松独奏会不是为了名声和财富，而是为了服务于音乐的更高级别的热爱和对热心艺术的责任感。
正如李帕蒂自己著名的观察：
“音乐一定不是被利用的，他必须是被服务的！”The Legacy
The second part of this fascinating book looks more closely at the three enduring areas of Lipatti’s achievement: his interpretations preserved in recorded form, his compositions, and his teaching.Finis Tragaediae
Chapter 5, The Interpreter begins with the following observation:
“The development of recording techniques led to musical interpretations being treated as subject-matter, like composition or aesthetics. Dinu Lipatti’s interpretations do not share the fate of Bach, Mozart, Liszt or the great performers of the last century – which remain legends based on hearsay or written testimonials, often arbitrary or vague – but survive today thanks to the micro-grooves of records.”
The detailed discussion of Lipatti’s recordings which follows is later supported by an exhaustive 16-page discography, which details all the known recordings made catalogued via their original matrix numbers.
Appendix 1 considers the famous recording of Chopin’s E minor Concerto, the provenance of which has been the subject of much discussion and interest. And Appendix 2 includes details of two recordings discovered since the 1971 publication of the book.
李帕蒂遗产
这本迷人的书的第二部分主要关注李帕蒂成就的三个耐人寻味的方面：以唱片形式保存的演奏，他的曲谱和教学。
第五章，这位译者开始于下列的观察：
“录音技术的发展带来被看作题材的音乐演奏， 比如作曲、美学”。迪努·李帕蒂的演奏没有享受和巴赫、莫扎特、李斯特或者最后一世纪伟大的表演家们同样的命运，而是以道听途说和书面证据为基础，常常是随意的或模糊的传说留存至今，多亏了唱片上（被留声机记录下的）微小纹路他的音乐价值才最终得以体现。
关于李帕蒂的唱片的随后详细讨论后来由一份详尽的按照其原始的唱片模板号制成的16页目录为依据，它记载了所有已知的唱片。
附录1关注了肖邦的E小调协奏曲的著名唱片，其出处一直是人们讨论和关注的话题。附录2包括自1971年本书出版以来发现的两张唱片的细节。
Chapter 6, The Composer considers an aspect of Lipatti’s legacy that is less celebrated than his recorded achievement as a pianist: his considerable output as a composer. Romania’s most famous composer Georges Enesco(who was Lipatti’s god-father) is quoted as saying:
“I shall always maintain that his renown as an interpreter should not overshadow his image as a composer.”
Composing was a fundamental part of Lipatti’s musical life from those early childhood days improvising, and throughout his adult career.
His compositions include more than 40 works, which as expected are listed in detail at the rear of the book. Predominantly chamber works, concertante and solo piano music, his compositions are mostly in a neo-classical style, while referencing the folk music of his native Romania.
An interesting addition to this book is the notation for two cadenzas that Lipatti composed for Mozart’s C major Piano Concerto K467.
第六章，作曲家认为李帕蒂作为作曲家的大量作品比他作为钢琴家所记录的成就更需要庆祝。罗马尼亚最著名的作曲家乔治埃斯科（Georges Enesco，李帕蒂的教父）的引言如下：
“我将始终认为，他作为一名演奏者的名声不应该超过他作为作曲家的形象”作曲是李帕蒂音乐生涯的一个基本组成部分，从童年时期的即兴创作，一直到他的成年职业生涯。
他的作曲包括40多部作品，这些作品在书的后面详细列出。作品主要以室内乐，协奏曲，钢琴独奏曲为主，并大多是新古典主义风格，同时引用了他的家乡罗马尼亚的民间音乐。
这本书的一个有趣之处是增加了李帕蒂为莫扎特《C大调钢琴协奏曲》 （Mozart’s C major Piano Concerto K.467）作的两段华彩乐章的注释。
For those keen to hear Lipatti’s original music, there is a lovely recording which I would like to recommend in passing – Luiza Borac’s Piano Music of Dinu Lipatti from Avie Records – find out more here.
The short Chapter 7, Dinu Lipatti – the Teacher is contributed by Jacques Chapuis, a former student who gives a glowing tribute to his professor at the Geneva Conservatoire, recalling those last years of Lipatti’s short life and the values he sought to transmit. Here we learn more about Lipatti’s philosophy of balancing textual fidelity with personal insight:
“Lipatti – the Teacher – tried to pass on to us everything he knew, everything he believed in. He insisted that the musical score should always be ‘our Bible’. But, which score? He often remarked: ‘Urtext? Yes, it is very important. But the Urspirit is even more important for a true interpretation.”
这是个有趣的唱片，由AVIE唱片公司出版的李帕蒂钢琴音乐（Luiza Borac监制），在这家公司，你可以找到更多。
简短的第七章，迪努·李帕蒂是我的老师，此章由一位前学生撰稿，对他在日内瓦音乐学院的教授表示热情洋溢的敬意，回顾了李帕蒂短暂生命的最后几年以及他努力传递的价值观。在此我们更多地了解了李帕蒂关于平衡文本忠实与个人洞察力的哲学：
李帕蒂作为老师，努力把他所知道的一切、他所相信的一切传授给我们。他坚称乐谱应该是“我们的圣经”。但哪个乐谱呢？他常说：“原始乐谱（Urtext）？是的， 它很重要。但对作品内在精神（Urspirit ，原文如此，疑为拼写错误）的解读更重要。”
Why should you read this book?
Perhaps this last quotation neatly sums up the importance of reading a book such as this. There is indeed an Urspirit in the world of classical music, and it is not merely individual, but is rather transmitted between one generation of players and the next.
为什么要阅读这本书？
也许这最后一句引言简明总结了看这样一本书的重要性。事实上在古典音乐的世界中存在着一种颂扬神的精神，这不仅仅是个人的，而且是一代代演奏者们传承的精神。
If we truly want to understand any journey, we must look to the origin and trace the route we have so far taken.
For the contemporary pianist, understanding and exposing ourselves to the legacy of the great pianists of yesteryear is not simply a matter of interest, but in my view a priority. Classical music and its history are inextricably entwined; I don’t believe we can fully appreciate, let alone perform this music without a willingness to engage with the background and traditions of the art.
For all these reasons, Tanaswescu and Barhauanu’s Lipatti is a unique resource, and an important one. There is a story here that deserves a place in our hearts, and a testimony that should inspire every one of us who loves the piano and it’s music.
如果我们真正想要探索任何一条旅途，我们必须寻找源头，追寻迄今为止所走的路线。对于当代的钢琴家来说， 理解并与过去的伟大钢琴家的精神遗产进行心灵上的碰撞，不仅仅是兴趣的问题，而且是在我看来是优先要做的事情。古典音乐和它的历史有千丝万缕的关系； 我虽不认为我们不能全部理解，但如果连这门艺术的背景和传统都不愿意了解，就更别提演奏音乐了。
由于以上所有这些原因，Tanaswescu和Barhauanude合著 的《李帕蒂传》这本书， 是一个独一无二且重要的资源。里面的故事值得我们在心中留一席之地，并应该作为激励我们每个热爱钢琴和音乐的人的见证。
【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；24、美酒，女人和钢琴丨钢琴家鲁宾斯坦的三原色【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