导言：波利尼计划于9月28日在国家大剧院举办音乐会，因为身体原因取消，这是自16年以后的再次取消。为了弥补大家的聆听遗憾，我们为大家选译了这今年3月14日在伦敦演出的乐评，曲目同波利尼北京音乐会一模一样：上半场舒曼、下半场肖邦。一代宗师手中流淌出的音乐温润细腻，闪烁微光。听不成波利尼，不妨通过乐评感受一下大师的音乐：何谓“所思甚柔，所感甚深”。
演出曲目
（点击文中图片下方音频链接也可聆听）
阿拉伯风曲，作品18 舒曼 曲
Arabeske in C Major, Op. 18
快板，作品8 舒曼 曲 
Allegro in B minor, Op.8
无乐队版钢琴协奏曲，三个乐章，1836年版 舒曼 曲 
Piano Sonata no.3 (First edition (1836)
——中场休息——
2首夜曲，作品55 肖邦 曲 
Nocturne No.15 In F Minor, Op.55 No.1
Nocturne No.16 In F Minor, Op.55 No.2
第三钢琴奏鸣曲，作品58 肖邦 曲 
Piano Sonata No.3 In B Minor, Op.58
Balancing head and heart:
 Pollini reveals intimacy and exuberance in Schumann and Chopin
理智与心智之平衡：
听波利尼在舒曼和肖邦中展露亲密和活力
 By Mark Thomas
Seeing Maurizio Pollini walk calmly and affably onto the stage at the Royal Festival Hall to play Schumann and Chopin makes you feel that everything’s right with the world. But then there’s that anxious wait to see which Pollini you’ll get. The conflict between head and heart seems to have followed Pollini throughout his career, detractors suggesting that precision and technique can sometimes outweigh emotion. But my experience has been that whenever I hear a piano piece, I usually find myself wanting to hear how Pollini does it. So there must be more to it than mere mechanical perfection. Schumann reconciled the two qualities: “Only when the form grows clear to you, will the spirit become so too.” And when Pollini speaks of the music he plays, he clearly admires the way that pieces are constructed, but also goes on to express the emotions that emerge. Maybe he is following Schumann’s logic. Chopin builds on it, focusing on the performance and saying that you should “Put all your soul into it, play the way you feel.”
看着毛里齐奥·波利尼淡定而又从容地走上皇家节日音乐厅的舞台去演奏舒曼和肖邦，那一刻会让你觉得现世静好。可是一霎那又有那么一种焦虑，迫不及待想知道将会听到哪种波利尼。理智与心智之间的冲突似乎一直在波利尼整个职业生涯中如影随行，批评者认为他的精确度和技术时不时会多过情感。但我的体验是，每当我听钢琴曲时，我通常会想要去听波利尼如何去诠释。所以不仅仅是完美的技术，他一定有着更多的东西。舒曼调和了两种品质：“只有形式上达到足够的清晰明确，精神上才能抵达同样的高度。”当波利尼阐释他所演奏的音乐，他不仅清晰地遵从作品构造的方式，同时还表达出隐现的情绪。或许他遵循着舒曼的逻辑。专注演奏，并“投入你的灵魂，弹出你的内心感受”，肖邦如是说。
Pollini certainly did that in this programme of early Schumann and late Chopin, capturing both their philosophies and providing interpretations full of passion, intimacy and exuberance, but with a certain degree of introspection. These performances were more about how Pollini personally relates to the music than showmanship for the punter, and the impact was no less for it.
在这次有关早期舒曼和晚期肖邦作品的演出中，波利尼准确无误地捕捉到他们的哲思，同时完美地诠释了激情，亲密和活力，还带着某种程度的内省。演奏更多的是关于波利尼个人与音乐，而不仅仅是对观众们的炫技，其效果自然不同凡响。
The first half had Pollini weaving through Schumann’s Arabeske in C major, Op.18 with a gentle playfulness and revealing rolling and rippling textures, delicately flavoured. The Allegro in B minor, Op.8, however, lost its flow slightly in the middle section but still had plenty of drama and a wonderfully fluid momentum in the final section. Schumann’s Concert sans Orchestre, Op.14 (the first version of the Piano Sonata no. 3 in F minor) was more convincing. Originally in five movements, the piece was first published in three movements, with both scherzos removed and with a central slow movement, Quasi Variazioni, being a set of variations on a theme by Clara Wieck, later to become his wife.
上半场波利尼通过轻柔地弹奏舒曼的《C大调阿拉伯风格曲》（Op.18），呈现出起伏、涟漪般的纹理，精致细腻。然而，《b小调快板》（Op.8），在中段稍微有点不畅，但结尾部分颇具戏剧效果，并激情四溢。舒曼《无乐队版钢琴协奏曲》，（Op.14）（初版的《f小调第三钢琴奏鸣曲》）令人叹服。通常是五个乐章，初次发布只有三个乐章，除去了两首谐谑曲；只有主要的慢乐章，变奏式的行板（Quasi Variazioni），这是由后来成为他妻子的克拉拉·维克为主题的一组变奏曲。
This larger scale work was beautifully shaped, with understated changes of pace and mood and a subtlety of touch that comes with experience, although contrasts in dynamics were not as pronounced as they might have been. Nevertheless, Pollini’s hammer blows and delicacy gave much to enjoy, and the intensity and melancholy of the slow movement was a masterclass in how to present variations, Pollini clearly feeling each contrasting episode of Clara’s theme, while strong melodies coursing over intricate figurations snowballed through the forward propulsion of a passionate and turbulent prestissimo possibile finale.
节奏和情绪的微妙变化、以及经验丰富的敏锐触键巧妙地塑造这宏大的作品，尽管力度对比不如它们本身应有的那么明显。然而，波利尼触键的精致让人无限回味，慢乐章呈现的强度和忧思简直就是展示变奏曲的大师课；波利尼的演绎让人在迥然不同的各乐章中清楚地感受到克拉拉主题；强劲的旋律追着复杂的音型如滚雪球般向前推进到一个激烈、汹涌的急板尾声（Prestissimo Possibile）。
For all of Pollini’s affinity with Schumann, there is no greater homecoming than in Chopin. The Op.55 Nocturnes satisfied Pollini’s desire to contrast the contemplative nature of the F minor Nocturne with the bright openness of the E flat major Nocturne, showing just how a natural rubato should feel, while exuding brooding introspection in the former and heart-warming expansiveness in the latter. 
相对于波利尼与舒曼之间的亲密，肖邦于他而言是更重要的归宿。在《f小调夜曲》的冥想特质和《降E大调夜曲》（Op.55）明亮开头的对比下，《降E大调夜曲》无疑是最切合波利尼心愿的；前者流露出的沉思内省和后者温暖人心的热情，呈现着最本真的伸缩处理。
Chopin’s Piano Sonata no. 3 in B minor had Pollini filling the hall with grandeur and the full range of Romantic expressiveness. The key was Pollini’s skill in giving coherence to the extensive first movement, each phrase immaculately turned while keeping a sense of the whole. The Scherzo was pure spritz, while the Largo induced a hypnotic gentle pulsing, full of restraint and longing. Pollini’s powerful drive and drama in the Finale was immersed in cascading waterfalls and sprinkling fountains, with the exuberant coda given unabashed freedom.
在肖邦的《b小调第三钢琴奏鸣曲》中，他用宏大和全方位的浪漫填满了整个音乐厅。他精湛的技艺使广阔的第一乐章始终保持一致性：在整体乐思下每个乐句完美地转换。第二乐章的诙谐曲是纯粹的自然流露，而第三乐章的广板则诱发了催眠般的轻柔脉动，充满着克制和渴望。在生机勃勃的尾声中，波利尼指尖毫不矫饰地释放出强劲驱动和戏剧张力，让听众如同沉浸在飞流的瀑布，或四射的喷泉之中。
This was a mellow Pollini, still playing passionately and thoughtfully, and, notwithstanding a few missed notes and a slight lack of sharpness in the first half, giving an object lesson in how to shape these complex pieces into a meaningful and absorbing performance.
虽然在上半场有几个错音，也稍欠锐利，但这是个老练的波利尼。他的演奏依然不失热情和周到，现场示范如何去把这些复杂的作品精雕细琢成一个趣味无限而又引人入胜的精彩演出。

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