郑京和演奏巴赫《G弦上的咏叹调》
The Return of Kyung Wha Chung
郑京和的回归
By Inge Kjemtrup，AUGUST 30, 2016；推荐阅读：1、资深表情帝郑京和也有“中国梦”丨要与自己的灵魂对话丨让最温柔的音符到达最后一个观众；2、女王登顶丨震颤京师丨郑京和与巴赫同在丨郑京和访谈；3、韦尔比耶音乐节在线视频丨郑京和演绎勃拉姆斯《D大调小提琴协奏曲》（Op.77）；4、愿你的回忆就像音乐，音乐里一切痛苦都是美好的丨郑京和演绎布鲁赫《第一小提琴协奏曲》；5、“只有音乐能对人们说出同一的东西，唤起同样的感情”丨郑京和演奏门德尔松《e小调小提琴协奏曲》
The powerhouse violinist reclaims the international solo stage after a decade away.
多年以后，这位精力旺盛的小提琴家宣布重返国际演出舞台……
Kyung Wha Chung is back in the spotlight, and very happy to be there, too. You could be forgiven for not knowing that the famous Korean violinist had ever been away, yet following a finger injury in 2005, she retired from public performance for five years. It’s only in the past few years that she has returned to the public arena in a substantial way.
郑京和重返聚光灯下，而且也乐于至此。如果在你不曾知道这位著名的韩国小提琴家郑京和，是可以被原谅的，因为在2005年手指受伤后，她曾退出公众视野长达5年。她是在最近几年才真正意义上的重返公众舞台。

勃拉姆斯《D大调小提琴协奏曲》（普列文指挥）
“Coming back to playing is a wonderful, ongoing experience, and it doesn’t seem real,” she tells me. “It is quite miraculous.”
“再次开始演奏是一种令人难以置信且行且珍惜的美妙经历”，她告诉我，“真是一种奇迹”。
In person, Kyung Wha Chung exudes enthusiasm, vibrancy, and warmth—qualities that come across to an audience. As the Verbier Festival Orchestra played the opening of the Brahms Violin Concerto for her festival debut in July, for instance, she seemed completely engaged with the music, her facial expressions telegraphing her emotions.
郑京和浑身上下流露出的狂热、活力以及热情——这些特质都能亲身传递给听众。在2006年7月韦尔比耶（瑞士）音乐节上，郑京和以开场演奏的勃拉姆斯的小提琴协奏曲作为她复出的见面礼。她看起来完全沉浸在音乐里，全身上下无不一一在讲述着她的情感。
郑京和演奏门德尔松《e小调小提琴协奏曲》
The difficult stages in life are the best ones; they develop you and make you think. 
生活中最不如意的阶段也许是最好的，它使你思考并进步。
A landmark in her return to the international concert world will be the release in October of her first CD in 15 years, made for her new label, Warner Classics. The disc features all six Bach solo sonatas and partitas. She will also perform all of the works in a single evening at several venues around the world (one of these is London’s Barbican Hall on October 26).
她在国际乐坛上复出的一个里程碑应该是10月份发行了15年来第一张CD，有了新的标签，华纳古典。这张碟包含了全部6首巴赫独奏奏鸣曲和组曲。她也将在全世界范围内巡演这些曲目（其中之一将是伦敦巴比肯中心在10月26日）
There’s also a recital disc in the works with her pianist collaborator Kevin Kenner. It features Fauré’s Sonata No. 1, Op. 13; Prokofiev’s Sonata No. 1, Op. 80; and César Franck’s sonata, which has been identified with her since she made a recording with Radu Lupu. Chung played these three pieces in a recital at Verbier, and she’ll be bringing them to Carnegie Hall on May 18, 2017.
同样也会有音乐会光碟来自郑京和与她的钢伴凯文·肯纳（Kevin Kenner）。包含法国作曲家弗雷（Fauré）的奏鸣曲（Op. 13 No. 1）；普罗科菲耶夫的奏鸣曲（No. 1, Op. 80），以及在和鲁普（Radu Lupu）一同录音后确定下来的弗朗克（César Franck）的奏鸣曲。郑京和曾在韦尔比耶的音乐会上演奏过这三首曲子，且将于2017年5月18日在卡内基音乐厅再次演奏。
郑京和与凯文·肯纳
“It will be 50 years since I won the Leventritt there,” she muses about the Carnegie concert. Sharing first prize at the Leventritt Competition in 1967 with Pinchas Zukerman launched her North American career at age 19. In 1970, stepping in for Itzhak Perlman in the Tchaikovsky Violin Concerto with André Previn and the London Symphony Orchestra put her into the international spotlight. 
“从我在这里赢了利文特里特（Leventritt）后，已经过去了50年”， 在卡内基音乐会后她自言自语。1967年与 皮恩卡斯·祖克曼（Pinchas Zukerman）  一起获得第一名时，19岁的郑京和开启了她在北美的职业生涯。1970年，帕尔曼（Itzhak Perlman）通过郑京和与安德列·普列文（André Previn）和伦敦交响乐团合作的柴可夫斯基小提琴协奏曲的契机将郑京和推入了国际乐坛的视野中。
Her subsequent career was starry, and many regard her as the first Asian classical superstar, paving the way for the likes of Lang Lang and Yuja Wang. It’s hard to believe that her concert performances have been so few lately, especially after she reminds me several times, “Basically, I’m a performer; being a performer is in my blood.”
她后来的路途上星光璀璨，许多人将她视为第一位亚洲古典音乐巨星，也是她为郎朗以及王羽佳开拓了道路。很难相信，近期她的演出这样少，特别是她还曾这样和我说：“演奏者的血液，已然深入我骨髓。”
Being a performer might be well a genetic trait, in which case it’s one that she shares with several of her seven siblings, including her brother, conductor/pianist Myung-Whun Chung, and her sister, cellist Myung-Wha Chung Kyung (the three performed together as a piano trio).
成为演奏家可能是家族遗传使然，因此，郑京和与她的七个兄弟姐妹包括她的兄弟——指挥家/钢琴家郑明勋（Myung-Whun Chung），和她的姐姐大提琴家郑明河（Myung-Wha Chung Kyung，三人一起演奏钢琴三重奏）。
Or it might have more to do with her mother, who was ambitious for her children, but encouraging and understanding, too.
或者这应该更归功于她的母亲，煞费苦心同时给予孩子鼓励和理解。
Chung began the violin at the age of six, after a false start on the piano. (She’s said that she was partly motivated by the way beautiful violin playing makes people cry). She made her debut playing a Mozart concerto at the age of nine, and by 13, she was headed to New York City to study at the Juilliard School with Ivan Galamian, whom she credits for building her technique.
郑京和6岁习小提琴，在此之前曾错误的习钢琴。她曾说很大程度上是因为小提琴令人潸然泪下的演奏方式。她9岁第一次登台，演奏的是莫扎特协奏曲，随后在13岁时进入茱莉亚音乐学院学习师从加拉米安（Ivan Galamian），她认为是加拉米安给了她很好的基础。
The relationship with Galamian, though close, was not without its bumps. He was sometimes less than sympathetic when his pupil didn’t make progress. Chung did a hilarious imitation of Galamian at a public interview in Verbier. She lowers her voice and says, “‘Cookie,’—that’s what he called me—‘if only you would practice.’ The difficult stages in life are the best ones; they develop you and make you think,” she adds. She would experience another difficult stage in her life in 2005, when she suffered an injury in her left index finger, though it was not the first crisis in her life. Answering a question at the Verbier public interview, she spoke movingly about a crisis of confidence in 1989 that her Christian faith helped her to get through. Her faith continues to support her. “I walk onstage and God is with me,” she says.
虽然与加拉米安关系不错，但也并非没有波澜，当学生进步不足时加拉米安便会有点不近人情。郑京和曾在韦尔比耶的一次会面上很滑稽的模加拉米安，她压低了声音说：“‘Cookie‘——他就是这么喊我的——’如果你只埋头苦练‘”。“生活最难的那段其实是最好的，他使你思考并进步”。她补充道。在2005年的时候她遇到了另一个困难时期，左手食指受伤，这不是她生命中第一个危难时刻。在韦比耶一次公开座谈上，她感人地描述了自己曾在1989年经历的信心危机，基督教的信仰帮助她走过了这个难关。她的信仰在之后的路上一直支持她。“当我在舞台上时，上帝与我同在。”
The finger injury came at an especially busy time in her career. “I was given a massive dosage of cortisone [for it]. It settled down after a week and I went on playing. I had a project to record four Bach concertos and a tour in fall 2005. I was about to perform two concertos with [conductor Valery] Gergiev and my finger just collapsed.”
手指受伤正是在她职业生涯中特别繁忙的时候。 “为此我服用了大剂量的可的松。它在一周后安顿下来，我坚持演奏。 当时是准备在2005年秋季录制四首巴赫协奏曲和巡回演出。我正准备与捷杰耶夫指挥演出两首协奏曲，那时我的手指刚刚崩溃。”
In the five years away from playing, she used her energies in teaching (at the Juilliard School and Ewha University in Seoul), a festival she founded with her sister (the PyeongChang Music Festival & School in South Korea), and charity projects.
在停下演出的五年后，她开始投身教学（在茱莉亚音乐学院以及首尔的Ewha大学），且与她的姐妹创立了韩国平昌音乐节与学校以及慈善项目。
Looking back over that time, she says, “In retrospect I think it was all a very helpful learning experience for me.” She’s subsequently had microsurgery on her thumb in 2014, only months before her return to the London concert stage.
回顾过去，她说：“回想起来，我认为这对我来说都是非常有帮助的学习经历。”在2014年后郑京和在她的手指上做了显微外科手术，仅在几个月后她就重返伦敦音乐会。
While she doesn’t have time to teach now, she still coaches and advises young players. For Chung, commitment to music is essential. She’s impressed by the “absolutely superb” technical mastery she finds in young players but she’s worried about other aspects. 
虽然她现在没有时间投身教学，但还是会指导年轻的演奏者。对郑京和来说，音乐的本质是投入。这些年轻演奏者们精湛的技术使她印象深刻，但她担心其他方面。
“My message to them is: Do you love what you do? All these young players are so driven, I wonder if they will ask that question or they’re able to face that question. They have so much pressure now.”
“我给他们的提示是：你是否喜欢现在所做的事情？他们都以此为动力，我好奇他们是否会对自己问出这样的问题或是去面对这个问题。他们现在压力过大了。”
At the Verbier Festival, I spoke with many young musicians who regard Chung highly, admiring what they see as her risk-taking approach. One admirer is Paul Rah, a Munich-based freelance cellist, member of the Verbier Festival Chamber Orchestra, and the administrator of Chung’s Facebook page. Rah says that pianist Stephen Kovacevich once told him he had never met any artist who searched more and worked harder to get to the truth of the music than Chung.
在韦尔比耶音乐节上，我与一些非常尊敬郑的年轻音乐家交谈过，对于郑京和这种很冒险的方式表示钦佩。一位仰慕者是Paul Rah，他是慕尼黑的自由大提琴家，Verbier室内乐团的成员，以及郑的Facebook页面管理员。Rah说，钢琴家科瓦塞维奇（Stephen Kovacevich）曾告诉他：他从未遇到过比郑京和更深入、更努力去探索音乐真谛的艺术家。
Deciding to record the Bach sonatas and partitas, one of the mountains of the repertoire, seems like another example of risk-taking. Chung had recorded the D minor partita and the C major sonata for Decca years ago, but decided not to continue the series, something she regretted later. 
决定录制的曲目巴赫奏鸣曲和部分曲目，似乎是另一个冒险的典型。 郑在多年前为Decca唱片公司录制了D小调部分（BWV 1004 – Partita No. 2 in D minor）和C大调奏鸣曲（BWV 1005 – Sonata No. 3 in C major）但最终决定不继续这个系列，尽管这个决定后来她后悔了。
Earlier this year in Beijing she gave her first performance of all six pieces. “I had no idea I could handle it, but the music carried me. People were so generous.”
今年的早些时候她在北京演出了这全部的6部作品。“我不认为我能做到这些，但音乐成就了我。人们也非常慷慨。”
Chung performs the pieces in order, taking a break after playing two of them. Was it exhausting? “To play the three fugues takes tremendous physical energy, but it’s not just physical—it’s as much mental and emotional energy.” Her recital program, with two 19th-century works, the Fauré and the Franck.
郑京和依次演奏这些作品，在两个之后会片刻休息。精疲力竭了吗？“三个赋格下来，耗掉了极多的身体能量，但消耗掉更多的是内心以及情感上的精神。“她的音乐会曲目是两首19世纪作品，弗雷《c小调钢琴四重奏》（Fauré Klavierquartett No.1 c-Moll）和弗兰克《D大调弦乐四重奏》（Franck Streichquartett D-Dur） 
The Prokofiev, written over ten years, is dark and foreboding, and Chung brought a chill to a warm summer day with her playing, especially the spooky, breathy scales at the end of the first and final movements, often referred to as “whispering in the graveyard.” She sees it as “not a graveyard but a lifting up of souls.”
普罗科菲耶夫写了近乎10年的象征黑暗与不祥之兆的音乐，郑京和的诠释使得温暖的日子徒增了一丝寒意与恐怖，特别是在她演奏的开头和结尾时幽灵一样惊人的音阶，常被称作：“在坟墓窃窃私语”。她认为它不是坟墓，而是灵魂的升华。
“The Fauré was written when the composer was young and the Franck when the composer was old,” Chung explains. “But they are of the same subject, a whole portrait of life itself. There is expression and passion, with respect to fantasy.”
“Fauré是作曲家年轻时候写的，Franck是作曲家年纪大的时候写的，“郑解释道“但他们是同一种东西，都仿佛是生命本身的肖像画。那是激情的表达和幻想。”
Chung stressed that bringing out color is vital in both the Fauré and the Franck. “You know, Monet painted the same scene at the pond with lilies 3,000 times. It is because the reflection of light has endless possibility. The same thing with the texture and the sound when you’re playing. There are millions of sounds.
郑京和强调，在弗雷和弗兰克中都要及其注重色彩。“你知道，莫奈在池塘里用百合花画了同样的场景，画了3000次。这是因为光的反射具有无穷的可能性。当你演奏的时候，结构和声音都是一样的有数以百万计的声音。”
Franck wrote his sonata as a wedding gift for the Belgian violinist Eugène Ysaÿe. I’m surprised to learn that Chung only discovered this fact when she was teaching at Juilliard, well after she made her famous recording.
弗兰克将他的奏鸣曲作为结婚礼物送给小提琴家伊萨依（Eugène Ysaÿe）。令我惊讶的是，当她在茱莉亚音乐学院教学后才发现了这件事，随后录了那很有名的录音。
The Fauré, however, is entirely new to her and she delved into it for the first time with pianist Kevin Kenner. She spoke enthusiastically of working with Kenner, “after five years of partnership, the kind of exchange of color and the breathing is now so incorporated.” She and Kenner are building repertoire together that includes Schubert, Beethoven, Schumann, Prokofiev, and the Bach sonatas, the latter perhaps with harpsichord. She even played with a jazz singer and guitarist at a festival in February, and said she’d be up for exploring more of that.
然而弗雷对郑来说是全新的，她首次与钢琴家凯文·肯纳（Kevin Kenner）一起深入的研究。她也热衷于与他合作，“经过五年的合作，这种色彩交换和呼吸便能如此融合。”她和肯纳一起演奏了包括舒伯特、贝多芬、舒曼、普罗科菲耶夫和巴赫奏鸣曲，后者也许还有大键琴。她甚至在二月的一场音乐节上与以为爵士歌手和吉他手一起演出，并表示回味探索更多诸如此类的事情而努力。
 “Look, I’ve been playing the Brahms concerto for 50 years. It is more fresh, more exciting, more amazing every time I tackle it.” It was the first concerto she played on her return to the Asian concert stage in 2010 and it remains a touchstone, as does Brahms himself.
“看，从我第一次演奏勃拉姆斯协奏曲已经过去50年了。但当我每次再重温时，它都会更新鲜更刺激更神奇。”这是她在2010年重返亚洲音乐会舞台时演奏的第一首协奏曲，它仍然是一个试金石，就像勃拉姆斯本人也是如此。
“I named my dogs Johannes and Clara,” she tells me over the phone. When we meet in Verbier, she shows me photos of them. Johannes always takes tender care of Clara, his sister. No Robert, then? “We don’t want that old triangle again,” she says with a laugh.
“我给我的狗取名Johannes（编者按：勃拉姆斯的名字）和Clara（克拉拉·舒曼的名字）“，我们在通电话是郑告诉我。在Verbier见面时她给我看了狗狗们的照片。Johannes总是对它的妹妹Clara温柔的照顾着。那么没有Robert（舒曼的名字）吗？”我们不会再想看一次俗套的三角恋“（这里指勃拉姆斯、克拉拉和舒曼的三角恋）她笑着说。
I asked Chung what is different for her about performing in public these days. “What is different is when I’m on the stage now, I feel freer.
我问郑她现如今再公开演出有什么不同。“不同的是，如今在舞台的感觉更自如。“
“Life is full of surprises,” Chung says. “It is like a gift, completely. I take one day at a time.”
“生活处处有惊喜”，郑京和说。“就像礼物一样，每一天都是唯一的。”
音乐编译组公众号往期推送：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；27、席夫丨为何我的《哥德堡变奏曲》宛如与魔鬼跳舞？28、卡萨尔斯论演奏丨“我们必须学会不要每个音符都完全照搬谱子上写的拉。” 29、钢琴家李斯蒂莎访谈丨我为何“在YouTube创建自己的频道”？30、席夫访谈丨“我们必须努力向公众解释如何聆听美妙的音乐。” 31、托斯卡尼尼与川普丨作为权力工具的古典音乐；32、论托斯卡尼尼丨热爱自由并勇于行动；33、布伦德尔谈周善祥丨“你可以雇一个登山向导来教一个小孩儿怎么走路。” 34、指挥家圣克莱尔论布鲁克纳《第八交响曲》丨“他并不浪漫，你在他的音乐中并不能得到像柴科夫斯基或者马勒交响曲中所得到的感受。” 35、“音乐绝对不是知识”丨钢琴家白建宇访谈；36、鲁宾斯坦访谈丨“我告诉家人，如果我坚持钢琴事业太久就开枪打死我。” 37、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。” 38、罗斯特罗波维奇访谈（下）丨“我从50年代开始指挥，这大大拓宽了我塑造音乐的视野。” 39、巴伦博伊姆访谈丨“柏林墙倒塌以来，世界一直处于缺乏领导的困境中。”
继续阅读
阅读原文