钢琴家马加洛夫回忆他第一次听到李帕蒂演奏
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Pianist Nikita Magaloff remembers the first time he heard Lipatti
In the preface to Dinu Lipatti (Lausanne: Payot, 1991)
马加洛夫回忆他第一次听到李帕蒂演奏
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本文收录于《迪农·李帕蒂》的序言;详见:帕约特,作于1991年;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;10、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!
“The first chance I had to listen to Lipatti playing was in 1943, in the small town of Martigny. There was war going on, and a car was impossible to find, so I had to go there riding the local train; this meant I could only hear a part of his recital, as I had to catch the last train back. Still, this half recital was enough to make me realise I was sitting in the same room with a great pianist; the first comment I made to my wife expressed the certainty I had that this young man could face any public whatsoever, because he belonged to the international class of great performers.”
“我第一次有机会去听李帕蒂演奏是在1943年,在一个小镇马蒂尼。战争正在进行,一辆车也不可能找到,所以我只好坐当地的火车去那里;这意味着我只能听到他的独奏会的一部分,因为我必须赶最后一班火车回来。不过,这半段独奏会还是足以让我意识到我和一位伟大的钢琴家坐在同一个房间里(是一件多么意义非凡的事情);回家我见到妻子说的第一句话就是,我确信这个年轻人(前景不可估量)未来的他在舞台上可以面对任何公众,因为他属于国际级的伟大演奏家。”
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The career that followed, during which Lipatti instantly made a name for himself, proved me right, even if the cruel illness that prematurely took him away from us didn’t allow us to know how much his art could have evolved. Luckily his discography at Columbia – and we have to thank Walter Legge, his competency and enthusiasm, for that – leaves us a precious testimony of this art.
“紧接着李帕蒂的事业便蒸蒸日上,在这期间,李帕蒂名声鹊起,证明了我的预判是对的。虽然残酷的疾病过早地将他从我们身边带走的,使我们不能亲眼目睹他在艺术上造诣能够达到多高的水平。幸运的是,他的唱片在哥伦比亚(出版发行了),我们必须感谢华尔特·李格(Walter Legge,哥伦比亚唱片公司音乐总监、英国爱乐乐团创办人)他凭借他的能力和热情,为我们留下了来证明李帕蒂音乐艺术价值宝贵的证据。”
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Our friendship, our personal relationship developed quickly; today I still re-read with great emotion the countless letters and messages impregnated by his lively and full of humour temper. When he had to give up his position at the Geneva Music Conservatory he asked me to replace him, and this sign of trust moved me so that during all the many years spent there I always took pains not to betray that trust.
His last touching gesture of friendship towards me was to ask me to be the one who plays his transcription of Bach’s Pastorale in F major for organ. I still experience a strong emotion each time I perform this wonderful piece bringing back so many unforgettable moments.”
“我同李帕蒂的友谊和私人关系进展很快;今天,我仍然热情难耐地重读他那充满着活泼幽默的无数信件和短讯。当他不得不放弃他在日内瓦音乐学院的职位时,他要求我代替他,这种信任的举动感动了我,使我在那里度过了许多年,我总是尽力不辜负他的信任。
- 他(临终前)最后一个向我表达友情的行为是请我演奏他所改编的巴赫《F大调田园曲》(Bach’s Pastorale in F major,原本为管风琴所作)。每次演奏这个精彩的作品,我的脑海中就会重新浮现许许多多难忘的瞬间,我仍然心潮起伏激情澎湃。”
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