席夫丨为何我的《哥德堡变奏曲》宛如与魔鬼跳舞？
András Schiff:why my Goldberg Variations
do a dance with the devil
安德拉斯·席夫丨为什么我演奏的哥德堡变奏曲宛如与魔鬼共舞
He is due to perform JS Bach’s Goldberg Variations at the Proms, but is András Schiff playing the wrong instrument in the wrong hall to the wrong audience? Here he argues against his most infernal critic
安德拉斯·席夫将在BBC逍遥音乐节上演奏巴赫的《哥德堡变奏曲》 （Goldberg Variations ，BWV988)，但他是否如一些苛刻的乐评家所说，在错误的音乐厅里、错误的观众面前用错误的乐器演奏呢？他在本文中给出了回应。
The devil’s advocate: On 22 August you will be performing JS Bach’s Goldberg Variations at the BBC Proms at the Royal Albert Hall. Have you lost your wits?
“魔鬼”代表：你将于8月22日在阿尔伯特皇家音乐厅举办的逍遥音乐节上表演巴赫的《哥德堡变奏曲》，这恐怕不是个明智的选择吧？
András Schiff: No, I certainly haven’t. The Albert Hall is a magnificent auditorium, very large but full of character, history and tradition. The atmosphere at the Proms is absolutely unique, thanks to the quality and concentration of the audience.
安德拉斯·席夫（以下简称席夫）：这当然是个明智的选择。阿尔伯特音乐厅是一座宏伟的礼堂，地方宽敞，富有个性、历史和传统。届时音乐节上的气氛定将无与伦比，当然这与富涵音乐素养的观众们对音乐会的聚精会神的聆听是分不开的。
TDA: But really, wouldn’t it be better to use a smaller, more intimate venue such as the Wigmore Hall?
“魔鬼”代表：但是说实话，选择威格莫音乐厅不是更好吗？它面积更小，能拉近与观众的距离。
AS: No one loves the Wigmore more than I do, and I’ve played this work there several times. However, this is an extraordinary composition that can work equally well in a huge space. Initially it may sound small and distant but the listeners’ ears will gradually become attuned to it. One of my great musical experiences was a recital by Andrés Segovia at Avery Fisher Hall in New York. At the beginning, the public was so noisy it sounded like Grand Central Station during rush hour. After a few seconds, though, you could have heard a pin drop: he tamed them in the way that Tamino entrances the beasts in The Magic Flute.
安德拉斯·席夫：我想没人要比我更钟爱 Wigmore音乐厅了，我也在那里演奏过好几次这部作品。然而，我认为这部非凡的杰作能够在更宽敞的场所里取得同样的成功。刚开始观众们听到的声音会比较小，比较远，但他们会逐渐适应的。我有一次很棒的音乐会经历，发生在纽约Avery Fisher音乐厅里举办的安德烈斯·赛戈维亚（Andrés Segovia）独奏会上。演奏开始时音乐厅里吵极了，像是高峰时期纽约中央车站里的场景。但过了一会，你几乎能听到针落在地上的声音。塞戈维亚仿佛化身成《魔笛》里的塔米诺（译者注：《魔笛》为莫扎特的歌剧作品，主人公塔米诺奏出的笛声令野兽们为之陶醉），将躁动的观众们的注意力牢牢吸引了。
小资料：2015年9月，在美国音乐巨头大卫·格芬（David Geffen）以一亿美元最高价中标后，林肯中心正式将艾弗里·费舍音乐厅（Avery Fisher Hall）更名为大卫·格芬音乐厅（David Geffen Hall）。自从费舍为乐团捐赠了一千多万美元之后，爱乐厅就从1973年开始以艾弗里·费舍（Avery Fisher）的名字命名。费舍的慷慨保证了即使在他去世很久后，观众们仍能有机会体验乐团带来的美妙音乐。费舍毕生心愿就是希望将音乐带给普罗大众，除了这个举世闻名的音乐厅，他还为音乐技术的革新做出了深远而重大的贡献。艾弗里·费舍（Avery Fisher）这个名字，第一次被世人所认识就是缘起于他革命性地研究出了他的第一个晶体管放大器和第一台立体声无线电留声机，并重新定义了人们所聆听的声音。
TDA: That’s all very nice, but this is not a guitar recital. You will be using a modern piano, which is the wrong instrument for Bach, and for this work in particular.
“魔鬼”代表：那听起来很有意思，但那可是吉他独奏会啊。你要用的是现代钢琴，那并不适合演奏巴赫的作品，尤其是这部作品。
AS: You are absolutely right. Bach states it clearly on the title page of the first edition (alas the manuscript has not survived): Aria with 30 variations for a harpsichord with two keyboards. Purists should only listen to it on that instrument. And not at the Albert Hall.
席夫：说得没错，巴赫在第一版（可惜的是手稿没有保留下来）的扉页就清楚写着：这首由咏叹调和30个变奏组成的作品应该在装有两副键盘的大键琴上演奏。那就让那些固执的纯粹主义者们埋头去听大键琴的版本吧，他们大可不必来 Albert音乐厅捧场。
According to Johann Nikolas Forkel’s biography (1802), Bach had written this work for Count Keyserling, formerly Russian ambassador to Saxony. The count was suffering from insomnia and on sleepless nights would summon his court harpsichordist, Johann Gottlieb Goldberg, a pupil of JS Bach, to “play me one of my variations” to soothe his agony.
约翰·尼克拉斯·弗科尔在1802年的自传里提到，巴赫为前沙俄驻萨克森大使凯泽林伯爵写下了这部作品。凯泽林伯爵曾受失眠症困扰，当他难以入睡时，便会召见J.S.巴赫一位名为约翰·戈特林布·哥德堡的大键琴师学生为他演奏“变奏曲的某一处”，为他拂去失眠的苦闷。
Historically speaking, then, the ideal venue for this piece is a drawing room, with one player and one listener.
回溯历史，这部作品最理想的演奏场所其实是在客厅里，有一名演奏者和一名听众便足够了。
TDA: Your arguments fail to convince me. You are using the wrong instrument in the wrong venue. Aren’t you playing a transcription of the original work?
“魔鬼”代表：我无法认同你的观点，你在错误的场所用错误的乐器演奏，难道不会觉得自己演奏的是改版后的作品吗？
AS: No, absolutely not. You have to be true to the musical score. I’m not changing a single note. The main difference is in the timbre and in the dynamics. Also, the modern piano has only the one keyboard, so you need intelligent fingering in order to stop your hands from colliding.
席夫：当然不会，我严格忠于原谱，一个音符也不改变。其实主要的差别体现在音色和强弱上。另外，现代钢琴只有一副键盘，所以我需要在指法上处理得聪明点，避免让自己的双手磕磕碰碰互相干扰。
There are countless transcriptions of this piece – each worse than the next – for string trio, string orchestra, brass quintet, etc. It is understandable that all instrumentalists would like to play this unique masterpiece, but that doesn’t give them the licence to change Bach’s typically keyboard-inspired writing to suit the requirements of their own instruments. This is not an ensemble piece, it is for a single instrument, and for one player alone. That fact is fundamental.
这部作品有着数不清的改版，包括小提琴、管弦乐队、铜管五重奏等版本，但一版比一版还要糟（编者按：今晚的中山音乐堂，还上演了竖琴版）。可以理解所有乐器演奏者都希望演绎这部杰作，但如果他们想改变巴赫专门从键盘乐器上构思出的乐谱，并用自己的乐器演奏出来，恐怕是行不通的。这并非一部合奏作品，而只适合由一名表演者用一门乐器演奏。这是基础性的事实。
TDA: Are you going to use the sustaining pedal?
“魔鬼”代表：你会使用延音踏板吗？
AS: One of my teachers was George Malcolm. He was a marvellous musician and a great harpsichordist. He told me: “You don’t have to play this music on the harpsichord, do it on the piano but do it well!” He taught me to achieve clear articulation, part-playing and legato with the hands alone, and without using the feet. In recent years, I have set out to prove that I could play Bach without touching the pedal, and it is possible. After all, the sustaining pedal was not available to Bach on any of his instruments. On the modern piano it is a great asset, but it can do irreparable damage when used indiscriminately. Today I feel confident about adding a discreet amount of pedal – it doesn’t matter, as long as it all sounds good.
席夫：我其中一位老师叫乔治·马尔科姆（George Malcolm），是一名了不起的音乐家和大键琴师。他曾对我说：“你不必局限于在大键琴上弹这部作品，可以试着在钢琴上演奏，可不能弹砸了！”他教我如何摆脱踏板，仅靠双手清楚地弹出接续音，局部演奏和连奏。近几年，我在尝试证明自己能够摆脱踏板弹奏巴赫的作品，这是可以做到的。毕竟，在巴赫那个时期任何乐器上都没有装延音踏板。这个部件在现代钢琴上很重要，但要是被滥用，将会产生无法挽回的后果。今天我对谨慎地增加一个的踏板很有信心——没关系，只要听起来悦耳，别的也不那么重要了。
TDA: Are you going to play all the repeats?
“魔鬼”代表：你会弹奏所有的反复段落吗？
AS: Yes.
席夫：是的。
TDA: Why? It’s going to be terribly long and boring.
“魔鬼”代表：为什么？这样会把曲子弄得冗长又乏味吧。
AS: I beg to differ. Bach has specifically asked for the repeats, and this is a must. It is not a matter of choice. The structure is symmetrical, the Aria is in two halves, both 16 bars long, and each half is to be repeated. All the variations follow this pattern. The music is of such complexity that a second hearing is required; it gives the listener a second opportunity to hear the material again, and the player another chance to correct certain shortcomings. In tennis terms this is our “second service”.
席夫：我会努力做出区分的。巴赫专门设置了这些反复段落，所以我必须得表现出来，无关选择与否。乐曲结构是对称的，咏叹调被分成每份16小节长的两等份，都需要反复演奏，而后所有变奏曲均遵循这种方式。音乐充满了复杂性，第二遍演绎时必须呈现另一种风貌。它给予听众再次聆听作品的机会，也给了演奏者修正瑕疵的机会。在网球术语里我们管这叫“第二次发球”。
Needless to say, a repeat should never be the same as the first time, it should be varied by means of dynamics, phrasing, articulation and imaginative ornamentation.
毋庸置疑，反复的部分不能与初次演奏时如出一辙，必须在强弱、段落、接续音和引人遐想的装饰音上寻求变化。
Claudio Arrau said that the greatest danger for a performer is to want to be interesting and original. We should never be afraid to be “boring”.
克劳迪奥·阿劳（Claudio Arrau）说过，对表演者而言最大的危险就是尝试使音乐变得有趣、原汁原味。我们永远都不应该羞于变得“索然无味”。——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？
What’s boring to you might be interesting to others.
对你而言索然无味的部分也许对他人而言是有趣的。
TDA: Will you play from memory?
“魔鬼”代表：你会凭记忆弹奏吗？
AS: Yes.
席夫：是的。
TDA: Showing off?
“魔鬼”代表：恐怕是想炫技吧？
AS: No. A good memory is a God-given gift, not a merit. However, it’s not something to be ashamed of. It is not exactly a matter of choice. When I play a recital or a piano concerto, it is essential for me to get rid of the score, so that I can communicate the composer’s ideas to the listeners. Some people feel better with the music in front of them; I don’t. Playing from memory allows me to close my eyes and use my ears: it completely liberates me.
席夫：并非如此，拥有强大的记忆能力是上天的恩赐，不存在炫耀一说。不过这也不是什么让人好羞愧的事，跟选不选择脱离乐谱演奏也完全无关。对我而言，在表演独奏曲目或钢琴协奏曲时脱离乐谱至关重要，这样我便能将作曲家的想法和听众们串联起来。有些人觉得把谱子放在面前更好，而我不是。凭借记忆演奏允许我从容闭上眼睛，用耳朵倾听，完全释放自我。
TDA: Can you tell me more about the structure and the character of the Goldberg Variations?
“魔鬼”代表：你能多说说哥德堡变奏曲的乐曲结构和特点吗？
AS: I didn’t expect such a relevant and positive question from you, Sir. With great pleasure. First of all, the theme. In the Aria we must follow the bass line, that is the foundation of the whole structure, all the variations are based on it. Second, there is the magic number of three. There are 30 variations, 10 groups of three. Each group contains a brilliant virtuoso piece, a gentle character piece and a strictly polyphonic canon. The canons are presented in a sequence of increasing intervals, starting with a canon in unison and ending in a canon in ninths. In place of a canon at the tenth (Variation 30) Bach gives us a quodlibet (what pleases), combining fragments of rustic folk songs with the ground bass. Thus the three main elements are physical, emotional and intellectual.
席夫：先生，想不到竟能从你这听到与音乐本身相关的好问题😲，我很乐意解答。从主题开始说起吧。在咏叹调中，我们必须由低音部作为引导，这是整个乐曲结构的基础，所有的变奏曲都是这样。其次，3这个数字很奇妙。全曲共有30个变奏，被每3个编排成一组。每组包含了辉煌炫技段，优雅个性段和严谨的复调卡农这3部分。卡农随着变奏的行进不断呈现，以合奏为始，至第九组卡农结束为止。
在（30个变奏内的）第十组卡农处，巴赫作了段结合乡村民间音乐和基础低音的混合曲。可以说，这三种主要元素代表了作品立体、激昂、智慧的特点。
The tonality is consistently G major, with the exception of G minor in three variations (Nos 15, 21, 25). There are several dance-inspired movements: minuet, passepied, polonaise, gigue. G major is a sunny key. Bach gives us the sensation of the joy of life, the joy of movement. We performers have to transmit this to the listeners. In the great 25th variation, which Wanda Landowska has called “The Black Pearl”, we are suddenly in the world of the Saint Matthew Passion.
作品几乎全程以G大调呈现，仅在3个变奏（第15、21、25处）处出现了G小调。里面有几处与舞蹈相关的乐章，包括小步舞曲、帕斯比叶舞曲、波罗乃兹舞曲和吉格舞曲。在散发出明媚阳光的G大调里，巴赫让我们体会到生活的欢乐，乐章带来的快乐，我们身为表演者必须将这种情愫传达给听众。
第25处变奏被旺达·兰多芙斯卡称为“黑珍珠”，它仿佛将听众带入了马太受难曲的世界中。
After the last variation the opening Aria returns, unchanged. However we are hearing it with new ears because of the experiences of the past 70 minutes.
最后一个变调结束后，开场的咏叹调以原样重现。这对听众而言其实是种崭新的体验，因为大家上一次听到这段旋律还是在70分钟以前。
Bach was a deeply religious man, and this spirituality is ubiquitous, even in his secular music. This is obviously bad news for you and your master.
巴赫是名虔诚的教徒，他的精神性体现在他作品的各个角落，甚至在他的世俗作品里也有相关的影子。这对你和你的主人来说明显不是什么好消息。
TDA: Hmm. Yes, we actually prefer Carmina Burana.
“魔鬼”代表：好吧，其实我们更喜欢《布兰诗歌》（Carmina Burana，德国作曲家奥尔夫最著名的代表作，又称 《博伊伦之歌》。）
AS: A chacun son goût.
席夫：萝卜青菜各有所爱。
【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；25、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！26、周善祥访谈丨不想当钢琴家的作曲家不是好数学家【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；11、科尔曼丨面对贝多芬，便好似在和我们的灵魂对话；贝多芬的伟大，就在于他的平凡；12、富特文格勒丨巴赫为何重要？