波利尼演奏贝多芬《第五钢琴协奏曲》，伯姆指挥
Maurizio Pollini: a life in music
波利尼的音乐人生
波利尼主题阅读：1、从物质得到满足的时代已经过去？钢琴家波利尼说：“艺术的存在是人类最伟大的天赋，即使它表面看起来没有带来任何物质上的回报！” 2、波利尼谈钢琴艺术丨肖邦的曲子“是为了比当时的钢琴更加出色的钢琴而作的。” 3、周广仁丨傅聪从没停止过做学问丨波利尼夺冠后又下了10年功夫；4、波利尼谈贝多芬、肖邦与诺诺丨“我觉得音乐家在一生中应该演奏不同的曲目，各种作曲家的作品都要尽可能去尝试。” 5、波利尼访谈丨他为何在肖邦奖后“人间失踪”丨“今天起，我‘死’了”丨老师米开朗杰利要求他：“十年不许公开演出，十年不许灌唱片”！6、波利尼谈阿劳丨“阿劳是非常伟大的钢琴家，他那杰出的演奏我至今还清楚的记着。我是受到了强烈震动的。” 7、波利尼的贝多芬晚期奏鸣曲音乐会丨他对贝多芬的刻画契入灵魂 ！
'It doesn't matter if you play these pieces all the time, or go for years without playing them at all. They are always there in your mind.'
“你总是演奏这些作品也好，
把它们丢在一旁好几年也罢，
这都没啥关系，
他们会在你脑海烙下永恒的记忆。”
——波利尼
It was 50 years ago that the then 18-year-old Maurizio Pollini won the International Chopin Piano Competition in Warsaw. Held once every five years, the competition's stature is evidenced not only by its winners –Martha Argerich and Krystian Zimerman followed Pollini –but by its losers: both Vladimir Ashkenazya nd Mitsuko Uchidawere runners-up. In 1960 Pollini was the youngest of the 89 entrants. The judges included Nadia Boulangerand chair Artur Rubinstein, who declared: "that boy plays better than any of us jurors." Pollini's triumph confirmed the scale of his emerging talent, but it was his response to winning that proved to be one of the defining facetsof his subsequent career. It is has become part of the Pollini myth that after his victory he became something of a recluse, prone to nerves and cancellations, who didn't properly re-emerge until the late 1960s, by which time his youthful verve and engagement had been transformed into a dauntingly icy professionalism.
50年前，18岁的毛里奇奥·波利尼在华沙摘下了肖邦国际钢琴大赛桂冠。以玛塔·阿赫里奇（Martha Argerich）、克里斯蒂安·齐默尔曼（Krystian Zimerman）和波利尼为代表的获奖者们，还有以弗拉基米尔·阿什肯纳齐（Vladimir Ashkenazy，第五届第二名，傅聪是第三名）、内田光子（Mitsuko Uchida，第八届第二名）等为代表的失意者们，他们的参与共同烘托出这项每五年举办一届比赛的重要分量。1960年的比赛中，虽然波利尼是89名参赛选手中年龄最小的人，但娜迪亚·布朗热（Nadia Boulanger）和亚瑟·鲁宾斯坦（Artur Rubinstein）等评委们都称：“这孩子要比我们所有评委都弹得好。”获奖的波利尼向人们展现出其异稟的天赋，但他在获奖后的选择才真正奠定了他日后艺术生涯的成功。随后他开始了隐居生活，整个人变得容易紧张，害怕露面，在60年代末前都没有正式复出。那段时间里青年波利尼的热情和激情无处释放，造就了他职业生涯中的低潮时期，而这也成为了他众多未解谜团之一。
波利尼演奏莫扎特《第23钢琴协奏曲》，伯姆指挥维也纳爱乐
Pollini's restrained on-stage demeanour and dapperly conservative off-stage appearance indeed promote a strong sense ofdetached accomplishment. But he is by no means a "musical adding machine", as he was once described. His distinguished silver hair, aquiline profile and line in smart greysuits may have prompted the observation that he resembled a typical Fiat factory executive, but in reality his political history reveals him as closer to a typical Fiat factory union organiser. He continually fishes in the pockets of those expensive jackets for an apparently never-ending supply of cigarettes, smoking no more than a quarter before stubbing one out and lighting another. Speaking in his London hotel suite–theconnecting suiteused purely for his practice mini-grand piano –he is in fact sociable, relaxed and eager to trade industry news and word of his fellow travellers on the global merry-go-round of top-level classical music.
波利尼在台上的拘谨表演以及台下衣冠楚楚的保守外形愈发加深了人们对他淡泊名利的印象，但他绝非人们口中的“音乐计算器”。他标志的银发，鹰一般的侧脸，一身整齐灰色西装会让人产生别的印象，误以为他是某个菲亚特（编者按，意大利著名汽车制造公司）工厂的经理，但实际上他的政治经历显示他倒更有可能变成一名菲亚特工厂工会主席。他不断朝身上那件名贵夹克的口袋里掏烟，像永远拿不完似的，每根烟没抽足十五分钟便摁灭烟头，紧接着点上另一根。波利尼在伦敦有一间专门放置平时练习用三角钢琴的酒店套房，他在那里演讲时开始展现出善于社交的一面，表现得体自然，也乐于分享业内新闻以及同行们辗转于世界各地举办顶级古典音乐演出的消息。
As for the aftermath of Warsaw, he acknowledges that "the natural thing for me to have done having won was to play concert after concert after concert. It's true that I wasn't willing to become a Chopin specialist, but the idea that I was a recluse really has been overstated. I was very young and thought I needed more time to develop my musical interests and a bigger repertoire. I wanted to explore other arts and other things. So I stayed away from concerts for about a year and a half, and when I returned I didn't take on too many. But I always enjoyed performingand I made my debut in London in 1963. By the end of the 60s my performance schedule had extended itself to a more normal rhythm. As for my progression as a performer, I'll leave it to others to say, but some development and change at that stage of your career is hardly unusual."
至于肖赛获奖后准备干什么，他坦承：“自然是在拿奖后举办一场又一场的音乐会啦，事实上我并不打算一辈子只演奏肖邦的作品，但人们以为我会从此隐居也似乎有些夸张了。我觉得自己还很年轻，需要更多时间激发音乐兴趣和精进技艺。我想接触别的艺术别的事物，于是有一年半的时间我没开音乐会，所以复出的时候有些不习惯，但我一直非常享受表演的感觉。1963年我在伦敦举办了自己的首场音乐会，到了60年代末我的演出安排日渐稳定下来。至于说我的演奏有没有进步，我希望留给别人评价，但我在演奏生涯的那个阶段确实有一定的成长和改变。”
波利尼演奏贝多芬最后三首奏鸣曲
There will be opportunities to assess a very large part of Pollini's career in London this year as he embarks on a five-concert Royal Festival Hallseason spread over five months that is both a history of piano music and a statement of his relationship to it. Starting with a Bach concert on 28 January, he will then play the late sonatas of both Beethoven and Schubert before a "French" programme of Chopin, Debussy and Boulez and a concluding concert in May featuring Schumann, Liszt and Stockhausen. "I have played a recital in London more or less every year throughout my career and have a very strong relationship with the London public," he explains. "I like their way of listening and their deep interest in music, and so I thought it was possible to do something larger and different. I have played these works many times and they are all extraordinarily important works for the piano. Put together, they form something of a line, something of a story of piano music. But it is not a rigorous or strict line. They are closely connected to me and my overall musical interests, so it is also my personal line and, in a way, my personal story."
在今年（译者按，本文写于2011年）的伦敦皇家节日大厅音乐节上，波利尼将于五个月内举办五场音乐会，这一系列音乐会既重现了钢琴音乐史的发展历程，也呈现出他与音乐的关系，我们亦得以借此对他的钢琴演奏生涯做出大致评价。1月28号巴赫音乐会之后，波利尼将陆续演奏贝多芬及舒伯特的晚期奏鸣曲，随后演奏肖邦、德彪西和布列兹等“法国派”音乐家的作品，最后在五月份以舒曼、李斯特和斯托克豪森（Stockhausen）等人作品的音乐会结束。“在我的演奏生涯里，我几乎每年都会到伦敦开一场独奏会，我感觉和伦敦观众们的关系很亲密，”波利尼说道。“我喜欢他们聆听音乐的方式和对音乐的热爱，所以我想我也许能在这里做些更棒更特别的事情。这些作品我已经演奏过许多遍了，他们在钢琴历史上占据着非常重要的位置。结合起来看，这些作品连成了一条线，记载了与钢琴音乐相关的故事。但它并不是一条严格意义上的线，我和这些作品间也有着紧密的联系，我对音乐的兴趣也受到了很深的影响，所以这条故事线也与我本人相关。”
Pollini was born in Milan in 1942. His father, Gino Pollini, was a well-known architect–"one of the first people in Italy to introduce modern architecture in the 1930s" –who was also a keen amateur musician. His mother had trained as a pianist and singer, and his uncle, Fausto Melotti, was a leading Italian modernist sculptor. "I grew up in a house with art and artists. Old works and modern works co-existed together as part of life. It went without saying."
波利尼出生于1942年的米兰，他的父亲吉诺·波利尼是著名的建筑师，被视为“上世纪30年代将现代建筑引入意大利的先驱者之一”，同时也是位热情的业余音乐家。波利尼的母亲曾为成为钢琴家和歌手而努力练习，他的叔叔福斯托·梅洛蒂（Fausto Melotti）曾是顶级的意大利现代雕塑家。“我在艺术和艺术家的环绕下成长，古典艺术与现代艺术在我的生活中交相辉映，默默影响着我。”
His musical talent was recognised early and he was sent to a piano teacher at the age of six. Later he remembers being given a recording of the Brandenburg Concertos when he had his tonsils removed and attending a Toscanini rehearsal at La Scala. By the age of 15 his Milan recital of Chopin's Etudes had been well reviewed in the Italian press. Despite attending the Milan conservatoire, Pollini carried on with normal school studies alongside music. "I was interested in many things, and it wasn't until I was relatively old that I worked purely on the piano. It was not that I wasn't dedicated to the music, which I was, it was just that I wasn't really thinking that much about my future. Of course, in hindsight, there was never any other life that I realistically could have taken."
波利尼的音乐天赋很早便显露了出来，在六岁时他开始跟钢琴老师上课。后来他回忆到，当自己成长到开始有喉结时，他参演了托斯卡尼尼（Toscanini）在斯卡拉歌剧院的排练，并获赠了一张布兰登堡协奏曲唱片。15岁前的他已经开始在米兰的独奏会上演奏肖邦练习曲，并受到意大利媒体的好评。除了在米兰的艺术学校上课外，波利尼还在普通学校学习音乐之外的课程。“我对许多事情感兴趣，直到我年纪不小了我才开始完全专注于钢琴。并非我不想全心全意学习音乐，不是的，只是我还对未来没有太多想法。当然，现在看来，我也永远不会选择音乐之外的另一种生活。”
Despite his protestations, his immediate post-Warsaw career was not plain sailing. An American tour was postponed, and his 1963 London debut, playing Beethoven's third piano concerto with the LSO under Colin Davis, was dismissed as "rushed" by the Times, which claimed that "his only concern seemed to be getting the notes over and done with".
他前半段在华沙的职业生涯并非一帆风顺，尽管他本人不这么认为。他的一场美国巡演被推迟。在1963年的伦敦首演上，他与柯林斯·戴维斯（Colin Davis）指挥的伦敦交响乐团合作的贝多芬第三钢琴协奏曲被《时代》杂志批评为“演奏仓促”、“似乎他只顾着快点把所有音符弹完。”
Pollini studied briefly with Arturo Benedetti Michelangeli and, as his repertoire developed back into the classical and romantic canon, he also began a deep engagement with the music of his own time. In the 60s he started his relationship with the music of both Stockhausen and Boulez, whose second piano sonata has become one of his signature pieces –he will play it at his April concert at the Royal Festival Hall. "It is a piece of music that has everything. A masterpiece. The so-called emotional aspect that is so valued in the great works of the past is very evident here. It should be appreciated and understood by the general public far better than it is."
波利尼曾跟随阿尔图罗·贝内代托·米凯兰杰利（Arturo Benedetti Michelangeli）短暂学习过，当他能够弹奏古典和浪漫时期的卡农时，他也开始深入接触自己那个时代的音乐。他在60年代与斯托克豪森和布列兹（Boulez）的音乐结缘，其中布列兹的作品《第二钢琴奏鸣曲》成为了波利尼的代表作之一，他每年四月都会在皇家节日音乐厅演奏它。“这首曲子包罗万象，可以说是份杰作了。在过去的经典作品中，人们重视的那些动情部分在这里表现得淋漓尽致，这首曲子理应获得大众们更多的理解与欣赏。”
He says that while Stockhausen and Boulez are "completely established, they are still not that often performed. For me they are wonderful and classic pieces of the repertoire. We now see Stravinsky and Debussy and Ravel and Bartok as part of the normal repertoire. I would add Berg to that list and say that Schoenberg and Webern are almost on it. The great masters of the second half of the 20th century –Boulez, Stockhausen, Berio, Nono, Ligeti –still appear to be a little further away from the general public as everyday music for a normal concert."
波利尼说：“当我可以完全把握斯托克豪森和布列兹的作品时，我并没有经常演奏它们，尽管我演奏曲目中的这些作品确实很优秀很经典。目前，我一般会演奏斯特拉文斯基，德彪西，拉威尔和巴托克的作品，也会经常弹贝尔格，勋伯格和韦伯恩的作品。但布列兹，斯托克豪森，贝里奥，诺诺和利盖蒂，这些20世纪后半段诞生的音乐巨匠们，他们的音乐和音乐会上大众喜闻乐见的经典音乐还有着相当的距离。”
Pollini's relationship with the Marxist avant garde composer Luigi Nono, whom he first encountered in the mid-60s, has been one of the most important of his career. "I became a great enthusiast for his music and asked him to compose something for the piano. That took quite a lot of courage because it seemed that the piano was completely outside of his interests at that time." Nono, who had already written work condemning American involvement in Vietnam, composed two pieces for Pollini, including one for piano, voice and tapes, that commemorated a murdered Chilean revolutionary.
波利尼与马克思主义先锋作曲家路易吉·诺诺（Luigi Nono）在上世纪60年代中期初遇，两人的关系是波利尼音乐生涯中最重要的关系之一。“我对他的音乐推崇备至，曾请求他谱一些钢琴曲。但他那时对钢琴似乎丝毫不感兴趣，我费了很大功夫才让他答应。”诺诺谱写作品谴责过美国挑起的越南战争，他为了纪念被镇压的智利革命，给波利尼谱了两首作品，其中一首是钢琴曲、声乐和录音带的版本。
And Pollini's involvement in new music went hand in hand with the polarised politics of the time. He, Nono and their friend, the conductor Claudio Abbado (under Abbado's baton Pollini has since gone on to play with some of the great orchestras of the world), performed radical work all over Italy and encouraged new audiences to attend traditional concert halls, "The starting point was that art should be for everybody," Pollini says. "At La Scala there was someone who had contact with the local factory councils, which were not trade unions but directly run by workers. So with Abbado at La Scala we gave a cycle of concerts for students and workers. As an attempt to build a new public it was very positive and interesting, but the ideas were not really taken forward or developed further."
波利尼与新式音乐结缘时，正值政治两极分化的时期。他和诺诺以及他们的朋友克劳迪奥·阿巴多（Claudio Abbado）（波利尼与许多阿巴多指挥的世界著名交响乐团合作过）在意大利各地演奏了许多风格激进的作品，并鼓励新观众们去传统的音乐厅里听音乐。“我们的初衷是，艺术应该属于所有人”，波利尼说道。“在斯卡拉歌剧里，有人联系了当地工厂的委员会，那里由工人直接运营，不受工会管辖。后来我们在斯卡拉歌剧院为学生们和工人们演奏了好几场音乐会，这是培养崭新音乐受众群体的一次积极有趣的尝试，但这种方式没有贯彻下来，就此止步。”
Pollini married in 1968 and has one son. Although on the radical left in the 1970s, he says he had no time for that decade's violent revolutionaries in Italy. "The centre and right parties were totally corrupt, but the so-called revolutionary left had a terrible influence and actually allowed the right to get more power. There were bombs and murders. There is a lot of suspicion to this day as to right-wing conspiracies and who actually did what and who knew what. But in the end these 'awful people of the left' proved very useful for the right."
波利尼在1968年结婚，生有一子。70年代的意大利处于政治极左统治时期，但波利尼称自己完全没有时间掺和这场历经数十年的暴力革命。“中央与右翼政党腐败不堪，所谓的暴力极左分子声名狼藉不说，竟还让右翼分子掌握了更多权力。爆炸事件与谋杀事件不绝于耳，人们纷纷猜疑右翼分子的阴谋，而后者确实有图谋不轨的举动。最终事实证明，那些‘糟糕的左翼分子’被右翼分子给充分利用了。”
He remains a man of the left and despairs of Silvio Berlusconi's continuing grip on power. "It is a different situation to the 70s, but it is still a terrible state of affairs. Berlusconi is taking one step after another to become a dictator in passing laws which are in conflict with democracy. What is happening is a farce and in one sense it is obviously comical and embarrassing, but it is also very dangerous, and the left seems too weak to provide effective opposition. And in artistic terms the situation is deplorable. Obviously there is a financial crisis, but this government is actually against culture, and their cuts are making life for musical institutions almost impossible, which is an unnecessary disaster."
作为左翼党派的长期支持者，波利尼对西尔维奥·贝卢斯科尼（Silvio Berlusconi）的长期掌权感到失望至极。“这和70年代的情况有点出路，但也是一团糟。贝卢斯科尼出台了一系列与民主原则相悖的法律，在通往独裁的路上越走越远。这是场滑稽、令人尴尬的闹剧，同时又危机四伏，孱弱的左翼派似乎无法做出有力的反抗。在艺术术语里，这种情况可以说是‘可悲可叹’的。金融危机已经迫在眉睫，可政府似乎存心要跟文化界作对。他们削减艺术财政支出，让音乐事业的发展举步维艰，这本是场可以避免的灾难。”
His strong belief in the social benefits of art remains undimmed. "I think great art has entirely progressive aspects within it, elements that are somehow outside the detail of the text or even the political opinions of the person who made it. Art itself, if it is really great, has a progressive aspect that is needed by a society, even if it seems absolutely useless in strictly practical terms. In a way art is a little like the dreams of a society. They seem to contribute little, but sleeping and dreaming are vitally important in that a human couldn't live without them, in the same way a society cannot live without art."
波利尼一直坚信艺术对社会有着巨大益处。“我认为伟大的艺术本身是不断进步的，它包含的元素不拘束于表面的内容或细节，也游离于艺术创造者本人的政治观念外。若一门艺术足够伟大，它包含的进步要素会与社会需求相适应，尽管在实用性上它完全起不了作用。从某种角度来看，艺术如同整个社会的梦境，他们能起的作用有限，可是就像人们离不开睡眠、做梦一样，社会是离不开艺术的。”
He says he is in some ways disappointed that work he has been championing since the mid-60s has yet to break through to general acceptance. "It was always a difficult task. In the 1970s there was a movement that could well have propelled this music more into the mainstream. If that movement had succeeded then you wouldn't have to make any special case to play Stockhausen's Klavierstücke. But somehow it didn't happen, and since then there has been a tendency not to push forward the contemporary boundaries of the core repertoire. And so we have to go on making the case."
令波利尼沮丧的是，他从60年代中期以来推崇的作品一直没有被大众接受。“这件工作并不容易。70年代发生了一场运动，本可以将这些音乐带入主流视野。如果那场运动成功了，我也不必费尽心思演奏推广斯托克豪森的音乐小品了。可是事与愿违，自那开始人们就疲于推动发展现代主流音乐。所以我们还得继续这项工作。”
And whether the work is old or comparatively new, he says the real interest comes from the fact that it is composed in "a strong and vibrant new language, which Chopin's and Beethoven's were in their time, just as Boulez's and Nono's have been in theirs. And contemporary music has within it both a link to the past, from the older music it developed out of, and, if it is of the highest quality, a life of its own in which it matures and develops over time."
至于说这类作品的风格到底是更老旧还是更新颖，波利尼认为其真正价值在于它们是由“个性鲜明、富有活力的语言编写的，就像肖邦和贝多芬呈现的是各自时期的音乐语言，布列兹和诺诺亦是如此。现代音乐本身联系着过去，从古典音乐中诞生，如果作品质量足够高，这些作品自身的生命会日渐成熟，随时间推移不断发展。”
His relationship with the music to be played in his London season goes back 40 or 50 years. "And over that time it becomes better and more rewarding. It doesn't matter if you play these pieces all the time, or go for years without playing them at all, which often happens to me. They are always there in your mind. You think about them and refer to them all the time. You also entertain the hope, although it is sometimes an illusion, that you will understand them a little better over time. These are relationships that go on forever, and so long as you keep playing the piano they will never be concluded."
波利尼最近一次在伦敦音乐季上表演音乐得追溯到4、50年前。“那段时间里，演奏音乐变得更美妙更令人向往。你总是演奏这些作品也好，把他们丢在一旁好几年也罢，都没有关系，我有太多这样的经历了。他们会烙在你的脑海里，你不由自主便会念想着他们，会情不自禁地拿出来琢磨琢磨。你心怀希望，尽管希望有时候只是幻象，但随时间推移你对这些作品会有更深刻的理解。你们间的纽带一直都在，只要你坚持弹钢琴，这些纽带就永远没有尽头。”
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。” 40、郑京和的回归丨“当我在舞台上时，上帝与我同在！”41、巴伦博伊姆遇见阿格里奇丨“当音乐家们沉浸在自己的音乐世界中时，他们的表情传递出自然和精神力量。” 42、爸爸巴赫到底有多少小崽子？ 43、我问郑京和，经历了这么多事情，重新站上舞台是什么感觉？44、基辛访谈丨“我们钢琴家非常幸运：钢琴曲目如此之多，我只希望活得足够长，能学到我想演奏的一切。” 45、他差点成为“古尔德”丨阿劳与巴赫的故事；46、基辛访谈丨“我们钢琴家非常幸运：钢琴曲目如此之多，我只希望活得足够长，能学到我想演奏的一切。” 47、他是钢琴家，却说自己“的目标是尽量少练习”丨迪巴格访谈；48、“我们要从象牙塔中取出音乐”丨巴伦博伊姆访谈；49、“我不想听伊莎贝拉·福斯特以外任何人演奏的协奏曲。” 50、“我不是唯一戴眼镜的钢琴家”丨迪巴格访谈；51、休伊特访谈丨“你花时间学习巴赫，他必然回报你很多”；52、休伊特访谈丨“要成为优秀的巴赫演奏者，也一定是一位学者。” 53、对话休伊特丨“每只手的每一根手指都可以通过巴赫的音乐的训练而变得有力。” 54、对话休伊特丨“我很幸运，通过做一些能给我和很多人带来乐趣的事情谋生。” 55、男高音阿兰尼亚专访（上）丨“我正在寻求的声音极其简单。” 56、一位世界级男高音的互联网思维丨阿兰尼亚专访（下）
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