罗斯特罗波维奇访谈（上）丨“在我演奏时，我不是在听大提琴的声音，而是在听一个管弦乐团。”
https://v.qq.com/txp/iframe/player.html?vid=y0153vmf4uj&width=500&height=375&auto=0罗斯特罗波维奇演奏海顿《第一号大提琴协奏曲》
Conversation with Mstislav Rostropovich
罗斯特罗波维奇访谈（上）
By Tim Janof（作者：蒂姆·加诺夫）；延伸阅读：1、他就是灵魂丨朱亦兵、林应荣、谢光禹谈罗斯特罗波维奇；2、弟子回忆罗斯特罗波维奇丨钢琴家神经质，小提琴家自负，而大提琴家则和蔼、坦率；3、王健、秦立巍、赵静谈罗斯特罗波维奇丨“他热爱一切，热爱他遇到的所有人！” 4、“他的伟大却在音乐中”丨这本传记把罗斯特罗波维奇写活了！5、巴赫是最能创造奇迹的作曲家丨罗斯特罗波维奇解说巴赫无伴奏大提琴组曲（中文字幕）；6、你可以偶尔练习一下指挥，这样有助于明晰正在学习的作品丨罗斯特罗波维奇演奏肖斯塔科维奇《第一号大提琴协奏曲》；7、尊重老的传统或大师，但要带着一颗温暖的心去对待新生事物或人丨罗斯特罗波维奇指挥圣桑《第一大提琴协奏曲》；8、大提琴的音色刚强、温暖而富有力度丨罗斯特罗波维奇演奏海顿两首大提琴协奏曲；编者按：限于篇幅，我们分成多个部分推送。
Mstislav Rostropovich is internationally acclaimed and acknowledged as one of the world's greatest living cellists. He has given countless memorable performances and has inspired the world's leading composers to enlarge and enrich the standard cello repertoire with works specially composed for and dedicated to him. These include works by Britten, Bliss, Khachaturian, Lutoslawski, Prokofiev and Shostakovich. Rostropovich was soloist in the premieres of Prokofiev's second Cello Concerto in 1952, Shostakovich's two Cello Concertos in 1959 and 1966, Britten's Cello Symphony in 1964 and Bliss's Cello Concerto in 1970. Many other works have been written for him and today his repertoire includes more than 50 concertos, ranging from the baroque, through the classical and romantic periods, to the avant-garde. As a cellist, Rostropovich is noted for his commanding technique and intense, visionary playing.
罗斯特罗波维奇（Mstislav Rostropovich）是举世公认的最伟大的在世大提琴家之一（编者按：2007年过世）。他留下了无数让人回味的演奏。与此同时，一流的作曲家们还受他鼓舞，为他写作，向他题献作品，由此充实了大提琴曲目的宝库；这些作曲家包括布里顿，布利斯（Bliss），哈恰图良（Khachaturian），卢托斯拉夫斯基（Lutoslawski），普罗科菲耶夫，以及肖斯塔科维奇。罗斯特罗波维奇首演了普罗科菲耶夫《第二大提琴协奏曲》（译者注：实为改编自《大提琴协奏曲》Op.58的《e小调交响协奏曲》Symphony-Concerto for Cello and Orchestra, Op.125，首演于1952时被误称为《第二大提琴协奏曲》），肖斯塔科维奇的两部大提琴协奏曲（译者注：《第一大提琴协奏曲》，降E大调，Op.107，创作并首演于1959年；《第二大提琴协奏曲》，Op.126，创作并首演于1966年），布里顿的《大提琴交响曲》（译者注：Symphony for Cello and Orchestra 或 Cello Symphony, Op.68，创作于1963年，翌年首演），以及布利斯的《大提琴协奏曲》（F.107, 1970）等作品，此外还有许多其它的作品因他而作。罗斯特罗波维奇目前的保留曲目包括50首以上的协奏曲，横跨巴洛克，古典，浪漫和先锋派。作为大提琴家，罗斯特罗波维奇以气势强劲的技术以及热情、独到的演绎著称。
Rostropovich was born in Baku, Azerbaijan in 1927. At the age of four he started piano lessons with his mother and shortly afterwards began to study the cello with his father. He continued under his father's tuition at the Central Music School in Moscow and then went on to the Moscow Conservatoire, where in addition to his cello and piano studies he began to conduct. He made his public debut as a cellist in 1942 at the age of 15 and was immediately recognized as a potentially great artist. When the war ended his reputation soon spread outside the USSR, principally through his recordings, and when he began touring in the West it was soon apparent that in Rostropovich the world had a natural successor to the great Pablo Casals, who had reigned as the supreme cellist for more than half a century.
罗斯特罗波维奇于1927年出生于阿塞拜疆（苏联共和国之一）的巴库。他四岁开始随母亲学习钢琴，紧接着又随父亲学习大提琴，并在莫斯科中央音乐学校继续接受父亲的指导。之后，他进入莫斯科音乐学院。在这座学府中，罗斯特罗波维奇不仅学习大提琴和钢琴，而且开始指挥。1942年，15岁的罗斯特罗波维奇，作为大提琴演奏者进行了公开首演，并立即被视为颇具潜力的大艺术家。战后伊始，他便以录音为主要媒介，在苏联之外的地区迅速积累起名望，而在开启西方巡回演出之后，罗斯特罗波维奇已然被视作伟大的巴勃罗·卡萨尔斯（Casals）的当仁不让的继承人；后者在半个多世纪的时间里，一直是一位统治级的大提琴大师。
Rostropovich has also won outstanding acclaim as a conductor, appearing with most of the world's leading orchestras, as well as conducting and recording many operas, including Queen of Spades, Eugene Onegin, Lady Macbeth of Mtsensk and Tosca. Since 1977 he has been Music Director of the National Symphony Orchestra of Washington. He appears regularly in the UK with the London Symphony Orchestra (he made his UK conducting debut in 1974) and with other leading British orchestras. The London Symphony Orchestra have forged close links with Rostropovich through major festivals which have made an enormous impact on London's musical life. Rostropovich was a close friend of Sergei Prokofiev and was the inspiration behind the LSO's Sergei Prokofiev: The Centenary Festival 1991, featuring orchestral and chamber music, and the world premiere of a cello fugue dedicated to Rostropovich. In 1993 Rostropovich led the Festival of Britten with the LSO, appearing both as conductor and soloist. Other events with the LSO have included Rostropovich's 60th Birthday series in 1987 and Shostakovich: Music from the Flames in 1988. Both on the cello and on the conductor's rostrum, Rostropovich is considered one of the leading interpreters of the music of Shostakovich (with whom he studied composition), Britten, and Prokofiev.
罗斯特罗波维奇还以指挥家的身份赢得盛赞。他和大部分世界一流乐团进行合作，指挥并灌录了许多歌剧，包括《黑桃皇后》（柴可夫斯基，Queen of Spades，Op.68），《尤金·奥涅金》（柴可夫斯基，Eugene Onegin，Op.24），《姆钦斯克县的麦克白夫人》（肖斯塔科维奇，Lady Macbeth of the Mtsensk District，Op.29）以及《托斯卡》（普契尼，Tosca）。自1977年起，他担任华盛顿国家交响乐团（National Symphony Orchestra of Washington）的音乐总监。他于1974年完成在英国的指挥首秀，此后和伦敦交响乐团等英国名团保持常规合作。基于一些对伦敦的音乐生活产生巨大影响的音乐节，伦敦交响乐团和罗斯特罗波维奇建立了紧密的联系。罗斯特罗波维奇是谢尔盖·普罗科菲耶夫的亲密朋友，并且激励和促成了1991年伦敦交响乐团的“普罗科菲耶夫百年诞辰音乐节”。在这场包含管弦乐和室内乐的音乐盛宴上，首演了一首题献给罗斯特罗波维奇的大提琴赋格曲。1993年，罗斯特罗波维奇作为指挥家和独奏家，领导了伦敦交响乐团的布里顿音乐节。他和伦敦交响乐团的其它合作还包括1987年的“罗斯特罗波维奇六十华诞系列”，以及1988年的“肖斯塔科维奇：烈火中的音乐”等。无论在大提琴演奏方面，还是在指挥台上，罗斯特罗波维奇都是肖斯塔科维奇（曾是罗斯特罗波维奇的作曲教师）、布里顿和普罗科菲耶夫的作品的顶尖诠释者之一。
Mstislav Rostropovich is one of the world's most outspoken defenders of human and artistic freedoms. In 1974, after a period of four years during which the writer Solzhenitsyn resided in their home, Rostropovich and Vishnevskaya left the Soviet Union at their own request. Since then he has devoted much time and has given numerous performances to support humanitarian efforts around the world. In 1990, after an absence of 16 years, he made a triumphant return to the Soviet Union with the National Symphony Orchestra of Washington, giving concerts in Washington and Leningrad to enormous acclaim.
罗斯特罗波维奇是最耿直坦率的人权与艺术自由的捍卫者。1974年是罗斯特罗波维奇和夫人维什涅夫斯卡娅（Vishnevskaya）收留作家索尔仁尼琴（Solzhenitsyn）的第四年；这一年，罗斯特罗波维奇夫妇自愿要求离开了苏联。此后，他不辞辛劳地为全球范围的人道主义事业进行大量演出。直到1990年，在16年的空白期后，他荣归祖国，携华盛顿国家交响乐团在华盛顿和列宁格勒举行音乐会，收获了无数喝彩。
During the coup of August 1991 the strength of his attachment to his native Russia compelled him to fly, without a visa, to Moscow, to spend those momentous days in the Russian Parliament building and on the streets, where he was hailed as a national hero.
苏联政变期间，罗斯特罗波维因为对故土的深情依恋，在没有签证的情况下飞回莫斯科。在那些意义重大的日子里，他把身影留在了俄罗斯议会大楼以及街道上；此刻，罗斯特罗波维奇被视作民族英雄。
Mstislav Rostropovich holds over 40 honorary degrees and over 30 different nations have bestowed more than 130 major awards and decorations upon him. These include the German Order of Merit, the Gold Medal of the Royal Philharmonic Society, the Lenin Prize, the Annual Award of the League of Human Rights, the ÆPreamium Imperiale from the Japan Arts Association and the Knight Commander of the Most Excellent Order of the British Empire.
罗斯特罗波维奇拥有40个荣誉学位，并被三十多个国家授予总计超过130项的奖项或勋章，其中包括德意志最高勋章，皇家爱乐协会金质奖章，列宁奖章，人权联盟年度奖，日本艺术协会大奖，以及大英帝国骑士指挥官勋章等等。
https://v.qq.com/txp/iframe/player.html?vid=k0363ct3tg8&width=500&height=375&auto=0罗斯特罗波维奇演奏海顿《第二号大提琴协奏曲》
Tim Janof（TJ）: When you burst onto the music scene, people were struck by your white hot performances. Your sound was strong and your vibrato was wide, which was a striking contrast to your predecessors. Where did your unique concept of sound come from?
蒂姆·加诺夫（以下简称“加”）：记得你在音乐界一炮而红的时候，人们对你炽烈的演奏感到震惊。你的声音强劲有力，揉弦饱满宽阔，和前辈们形成了鲜明反差。这种独特的音响理念来自于何处？
Mstislav Rostropovich（MR）: Let me give you a little background first. My family lived in two-room apartment in Baku until I was seven years old. My mother was a pianist and my father was a cellist who had worked with Casals. There is a picture of me sleeping inside my father's cello case when I was four months old.
姆斯蒂斯拉夫·罗斯特罗波维奇（以下简称“罗”）：让我先谈一些背景。在我七岁之前，我和家人生活在巴库的一套两房公寓里。我母亲是一位钢琴家，父亲是一位曾和卡萨尔斯合作过的大提琴家。有一张照片，拍的是我四个月大的时候睡在我父亲的大提琴琴盒里。
My first instrument was the piano, which was my first love. To this day, when I am learning a new cello work, I always start at the piano instead of the cello. One of my father's favorite games was to have me play a melody on the piano starting on a key that he chose at random. I became so proficient at this that at four or five years old he had me do it for friends. My parents never thought that I might have a special talent for the cello.
我最先接触和喜欢上的其实是钢琴。那些日子里，每当我学习一首新的大提琴作品，我总是先在钢琴上开始。我父亲最喜欢玩的游戏之一，就是由他随机挑选一个调性，让我在钢琴上弹奏一条旋律；我变得如此熟练，以至于在我四、五岁的时候，父亲就会让我在朋友面前表演这种游戏。我的父母从没想过我或许在大提琴上有特殊的天分。
After my family moved to Moscow, my father played in orchestras that performed in small towns, such as Zaporozh'e. He did this to make some extra money in the summer months. I remember going with my godmother to open air concerts of my father's when I was seven or eight years old. I'd cry when I listened to Tchaikovsky or some other sentimental music, and my godmother would give me a piece of chocolate to soothe me. I soon learned the trick to getting chocolate.
在全家搬至莫斯科后，我的父亲在那些走街串巷（比如在扎波罗热）的乐团里演奏。暑期里他就靠这个办法来贴补家用。我仍记得我曾随教母一起去参加我父亲的露天音乐会，那是我七、八岁的时候。在听到柴可夫斯基或其它一些伤感的音乐时，我会流下眼泪。这时候，教母就会给我一片巧克力进行安抚。我很快就学会了这种获得巧克力的把戏。
It was around this time that my father said he wanted to teach me how to play the cello. I told him that I didn't want to be a cellist because I wanted to become a conductor instead. He replied, "First you must try the cello. If you are successful with the cello, you can do what you want after that."
正是在这段时间，我的父亲说他想教我拉大提琴。我和他说，我想当指挥家，而不是大提琴家。他回答道：“首先你得试试大提琴，如果你能拉好大提琴，那么之后你就可以去做你喜欢的事”。
My mind, even at that age, was geared towards Romantic symphonic music, not cello music. My interest has always been in the large scale repertoire and that's the sound I've always had in my head, not the cello sound. My "big sound" concept on the cello therefore came from my desire for a more orchestral scale projection. I don't hear a cello sound when I play, I hear an orchestra. I never tried to copy another cellist's sound.
即使在那个年纪，我的内心也向往着浪漫主义的交响音乐，而不是大提琴音乐。我的兴趣始终是大型曲目，这才是我内心一贯的声音，这不是大提琴的声音。所以，我有关大提琴的“宏声”理念来自于我对大规模交响性特质的渴望。在我演奏时，我不是在听大提琴的声音，而是在听一个管弦乐团。我绝不尝试去模仿复制别的大提琴家的琴声。
https://v.qq.com/txp/iframe/player.html?vid=t0168p29azq&width=500&height=375&auto=0罗斯特罗波维奇指挥圣桑《第一大提琴协奏曲》
My concept of sound also comes from my experience of playing works with many composers, including Shostakovich, Prokofiev, Britten, Penderecki, and Lutoslawski, to name a few. I also studied orchestration for three years with Shostakovich and I wrote two piano concerti. I am therefore very sensitive to the different orchestrations and timbres of different composers and I learned to vary my sound depending on whose music I was playing. I don't think of myself as having a single sound.
我的声音概念还来源于有作曲家相伴的演奏经历；这些人物包括肖斯塔科维奇，普罗科菲耶夫，布里顿，潘德列茨基（Penderecki）和卢托斯拉夫斯基等等。我曾和肖斯塔科维奇学习了三年的配器法，还写过两部钢琴协奏曲。由此，我对不同作曲家展现出来的不同配器手法以及音色十分敏感，我学着去根据具体的作品来调整我的声音。我不认为我只有一种声音。
I think some cellists have sounds that are best in certain types of music. My friend Janos Starker's sound is absolutely fantastic for solo pieces like the Kodály Sonata or other more intimate works, but I prefer a different sound when I hear a piece like the Prokofiev Sinfonia Concertante. I believe the Prokofiev needs to have a very strong and full sound.
我认为，有一些大提琴家的琴声很适合于特定类型的作品。对于柯达伊的奏鸣曲或者其它一些基调亲密的作品，我的朋友杰诺斯·史塔克（Starker）的琴声是极好的，然而在听普罗科菲耶夫的《交响协奏曲》等作品的时候，我会期望一种不同的声音。我相信，普罗科菲耶夫需要的是一种非常强劲饱满的音响。
TJ: Were you familiar with the recordings of cellists like Feuermann?
加：你是否熟悉例如福尔曼（Feuermann）这样的大提琴家的录音？
MR: Of course, I was familiar with the playing of many cellists. Feuermann was a phenomenal cellist, but his sound in pieces like the Dvorak Concerto didn't have enough meat for me. Please understand that I greatly respect my colleagues, whether I'm talking about Starker, Feuermann, or others. It's just that I have a different concept of how certain types of music should be played.
罗：当然了，我熟悉很多大提琴家的演奏。福尔曼是一位非凡的大提琴家，但对我来说，他在德沃夏克协奏曲等作品中的声音显得不够。请不要误解，我对我的同行，不管是史塔克，还是福尔曼，我都是充满敬意的。只是说，对于特定种类的音乐应该如何演奏，我有个人的理念。（未完待续，明晚继续更新）