Angela Hewitt 演奏 Brahms Intermezzo 117 No.1&2
Angela Hewitt in conversation with Melanie Spanswick
安吉拉·休伊特和梅勒妮·斯潘威克的对话（下）
1、休伊特访谈丨“你花时间学习巴赫，他必然回报你很多”；2、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。” 3、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。” 4、Angela Hewitt讲解演奏巴赫（上）；5、Angela Hewitt讲解演奏巴赫（下）
MELANIE:  You won many prizes both national and international, what, impact do you think this had on your career? Do you think it was crucial or not so important?
梅兰妮:你赢得了很多国内和国际奖项，你认为这对你的职业生涯有什么影响?你认为这是关键还是不那么重要?
ANGELA:  It was important and I was one of the pianists of my generation at least of my age and those years who did the most competitions. I started international competitions I guess when I was 17, with the Bach competition in Washington D.C. where the Goldberg Variations was the test piece. It was all done behind a curtain so the judges had no idea who was playing and that gave me my American debut at the Kennedy Centre. Anyway, but I started doing them early on and I looked at them … I was successful in some, I was kicked out in the first round in many others. But I always look at it as a chance to, first of all, prepare repertoire, to perform it and especially to listen to others because I remember my first international competition in Europe was in 1976. I went to the Bach competition in Leipzig. And so I played I think I’ve drawn an early number so, and then I listened to everyone. And it was good because no matter what the result was in the end what the jury thought, I could form my own opinions and hear the Russians, and hear the Germans, and hear the Americans and then every nationality possible. And just sort of feel where I felt I was situated or just feel that yes, maybe I do have a chance at this. So, that was good. And so I tried to look on it positively. But then, when I finally won, I had won several but when it was Bach in competition in Toronto that they held in memory of Glenn Gould, and where Messiaen was on a jury with Yvonne Loriod and Leon Fleisher. That was in 1985. And when I saw the programme I thought that’s really my programme,  a combination of a lot Bach and on choice stuff and Classical sonatas, so when I did win that my first thought was great I don’t have to do anymore. Because that gave me enough of a launch but then, that was it. But it was more necessary perhaps in those days you couldn’t make a career on YouTube in those days.
安吉拉：这非常重要，至少在我这个年龄段和那些参加过很多比赛的人里，我是我这一代的众多钢琴家之一。我在17岁的时候开始参加国际比赛，在华盛顿的巴赫音乐比赛中，《哥德堡变奏曲》的变化就是测试的一部分。这一切都是在幕布后面完成的，所以评委们不知道是谁在演奏，这让我在肯尼迪中心进行了在美国的首演。不管怎样，我很早就开始这么做了，我看着他们（评委），某种程度上我获得了成功，在很多人中，我在第一轮被淘汰。但我总是把它看作是一个机会，首先，准备好表演的曲目，表演它，特别是听别人的演奏，因为我记得我在欧洲的第一次国际比赛是在1976年，我参加莱比锡的巴赫国际音乐比赛。我按我自己在脑海中勾画的想法演奏，然后我聆听每个人的演奏。这非常不错，因为不管最终结果如何，不管最终评委会怎么想，我可以构建我自己的想法，听取俄罗斯人的意见，听取德国人的意见，听取美国人的意见，每个可能的国家的都有。只是把这些想法加以分类，感觉哪些对自己适用，或者只是觉得某个意见是对的，也许我确实有机会。所以,这样很好。因此我试着积极地看待它。但后来，当我最终赢得比赛时，我赢了好几次，在多伦多的巴赫音乐比赛中，他们为纪念格伦.古尔德(Glenn Gould)举办了一场比赛，梅西安（Messiaen）和伊冯·洛里奥德(Yvonne Loriod)和利奥·弗莱舍(Leon Fleisher)一起担任评委，那是在1985年。当我看到这个赛程时，我认为这就是我的赛程，很多巴赫的音乐，然后选择一些素材和古典奏鸣曲的组合，所以当我赢得比赛，我的第一个想法就是，太棒了！我不用再做其他的了。因为赛程给了我足够的启动时间而不是其他，就是这样。但在当年，这是非常必要的，因为你不可能在YouTube上发迹。
MELANIE:  Well, that was my next question, do you think it’s still valid, it’s still important for young  pianists to take part in competitions? 
梅兰妮:嗯，那就是我的下一个问题，你认为比赛仍然有效吗?对于年轻的钢琴家来说，参加比赛仍然很重要吗?
ANGELA: Well, I think they can be but I think there’s so many of them now that even winners of big competitions tend to get lost. That’s one problem I think another problem is that too often winners of competitions are taken and pushed beyond all you know, what they should be by agents and record companies in too an early an age. And that I’m very much against. You know, I won my prize when I was 26 I guess but I’d already made my New York debut, my London debut at Wigmore Hall. But I already had a huge repertoire and a lot of concert experience but still it was another … I would say another, what even 10 years after that before I got in my contract with Hyperion and so … and I don’t regret at all those years of still working hard. There is your repertoire and living a life.
安吉拉：嗯，我认为他们能，但我认为现在有很多这样的人，即使是大型比赛的获胜者也会迷失。这是一个问题，我认为另一个问题是，比赛的获胜者太频繁的获奖和超乎想象地被推出，他们应该是被代理人和唱片公司在早期过早地介入了。我极其反对。你知道，我在26岁的时候获得了我的奖项，但是我已经在纽约进行过首演，我在伦敦威尔莫尔大厅有过处女秀。而且我已经有一个巨大的音乐会曲目库,很多音乐会经验,但仍只是另一个……我想说另一个,甚至十年后我才取得与“海伯利安”（Hyperion）的合同，所以…我仍然不后悔这么多年的持续努力工作。这儿有你的曲目和生活。
MELANIE:  Yes that’s right!
梅兰妮:是的,没错!
ANGELA:  Other than on the road.
安吉拉：不只是在路上。
MELANIE:  Yes, very few pianists play Bach convincingly, you’re one of the few, what draws you to this music so much?
梅兰妮:是的，很少有钢琴家能令人信服地演奏巴赫的曲子，你是少数中的一员，是什么这么吸引你投入到这种音乐中?
ANGELA: Well, I’ve mentioned my background already so having heard all those great organ works, you know, as a child and wonderfully played so that they weren’t boring and they were fascinating. And I heard the structure and love that. I love the strength of the themes and what Bach did to them. You know, I think I always had it in my nature to take something complicated and then unravel it and make it simple, which I think that’s why I enjoyed just now working on the Art of Fugue ,the last sort of big project I’ve been … Bach project that I’ve done and, yeah, there’s for sure, something in my nature that enjoys taking the complicated and making it easy and that should be for Bach because of course there’s nothing written in the score so you have to know the style, you have to see how you can translate that to yourself using a modern instrument. But and also I love the dance aspect of it because of course, most of Bach is dance music whether it has the title of Minuet and Bourrée or a Prelude and Fugue could be dance music. So, a lot of the spirit in it that wonderful joy comes from the dance and that I feel inside me. And then just the great beauty of it. I mean, it’s simply beautiful music no matter on which level you appreciate it. It is, you know, beautiful melodies, and harmonies, and … but yeah, and also because you can keep playing it and never get tired of it in a way that you would in some other pieces.
安吉拉：嗯，我已经提过我的背景了，你知道，当我还是个孩子的时候，我已经听过所有那些伟大的管风琴作品了，而且演奏得很好，所以它们一点儿也不无聊，反而很吸引人。我听到了结构和爱的声音。我喜欢主题的力量和巴赫对他们的创作。你知道,我认为我一直在我的本性中拥有对一些复杂事物的能力，然后加以解决,让它变得很简单,我认为这就是为什么我喜欢最近在《赋格的艺术》（BWV1080）中的工作, 我一直在做的大项目中最后一部分……（这个大项目也就是）我所做的巴赫的录音项目,是的,这是毫无疑问的,我自然喜欢把复杂的东西简单化,当然应该是巴赫,因为乐谱上没有写上，所以你必须知道这种风格,你必须知道借助现代的手段如何阐释。但我也喜欢它的舞蹈性，因为理所当然，巴赫的大部分作品都是舞蹈性音乐，不管标题是小步舞曲还是布雷舞曲，亦或是序曲或者赋格曲，都可以是舞蹈性音乐。所以，这些音乐中很大一部分精髓，就是我在我的内心感觉到来自于舞蹈的、美妙的欢乐。然后就是感受到音乐中伟大的美。我的意思是，无论你欣赏水平如何，都可以感受到这单纯美妙的音乐。你知道，它是美妙的旋律、和声，还有…但，是的，还因为你可以一直演奏它，而且无论如何、永远也不会厌倦，这不同于你在其他某些作品中的感受。
MELANIE:  You played a lot of French music as well from Couperin, Rameau, right through to Messiaen, so what acttracts you to this country’s great music.
梅兰妮:你演奏了很多法国音乐，从库普兰、拉莫一直到梅西安，是什么让你对这个国家的伟大音乐这么感兴趣？
ANGELA:  Yeah. Well, I guess it was beginning my study with Jean Paul there when I was 15 and all the way I’d already played some Ravel and Debussy but he was the one who first gave me Messiaen and Faure and Chabrier, and right in those early years and I just loved it. I think again it was, well I had a wonderful teachers before because, you know, he was really steeped in the tradition and knew how this music should be played and we … you know, when I learned Faure, I didn’t just play the piece that was put in front of me, I listened to all the songs which I loved. I was learning French at the same time so the combination of the language and the music and when you’re playing French music, even when you’re playing music without words, it’s very important. The poetry in Ravel. The colours that one could get at the keyboard, the challenges of playing things like Gaspard de la Nuit. But it was just … the French wit, going to their country, living there because I lived in Paris from the age of 20 for seven years. So, yeah, it was … I don’t know, in Canada of course, we have French and I was taught it at school from an early age but I always did more than I needed to because it fascinated me so much.
安吉拉：没错,我估计这种兴趣始于我向让-保罗学习期间，当时我15岁,一直以来，我已经可以演奏一些拉威尔和德彪西的作品，但他是第一个教我梅西安和福雷，还有夏布里埃的,正是在那个早期岁月中我喜欢上了法国音乐。我再想想,我有一个很棒的老师,因为你知道,他确实是沉浸在传统之中,知道应该如何演奏这类音乐,我们……你知道,当我学习福雷时,我不只是弹放在我面前的音乐作品，而是听我喜欢的他的所有歌曲。我当时在学法语，所以当你演奏法国音乐的时候，即使你演奏的是没有文字的音乐，语言和音乐的结合也是非常重要的。拉威尔的诗歌，在键盘上可以看到其颜色，就像《夜之幽灵》（Gaspard de la Nuit.，M.55）这样的挑战。但那只是…法国人的智慧，去他们的国家，住在那里，因为我从20岁开始在巴黎住了7年。所以，是这时候开始，当然在加拿大，我们也有法语，我从小就在学校里学过，但我总是做得比我需要的多，因为这让我很着迷。
MELANIE:   Who other composers do you really love to play?
梅兰妮:还有谁是你最喜欢的作曲家?
ANGELA:  Well, I love Schumann, and then Mozart, Beethoven, of course. I’m recording at the moment all Beethoven sonatas and all the Mozart concerti but Schumann is another great love again I think through Jean Paul and Catherine Collard. When you are 15, 16, 17 those are big influences that hit you. But Schumann it was the Sonata in G minor Op. 22, that was my first big solo romantic piece. And Jean-Paul gave it to me and I came back a week later playing with the notes but then he sat down and showed me what could be done with it and I went “Wow!” And I never realized all the passion and everything that could go into an interpretation at the piano and so, I took it away and sort of imitated him a bit and found my own way and then that was it, that really got me going. So, yeah, I love Schumann for the combination of rigor and yet total fantasy, improvisation and quick changes of mood and craziness. Just what one can really give of oneself.
安吉拉：嗯，我喜欢舒曼，然后是莫扎特，当然还有贝多芬。我现在录制的就是贝多芬的奏鸣曲和莫扎特得协奏曲，但我想通过让-保罗和凯瑟琳·科拉德得传授，舒曼是另一个我也特别喜爱的作曲家。当你15岁、16岁、17岁时，这些都是影响你的重要因素。我第一次独奏浪漫主义时期的钢琴作品就是舒曼的G小调奏鸣曲。让-保罗把它交给我，我一周后回来按照这些注释演奏，然后他坐下来，告诉我可以用它做什么，然后我就说:“哇!“我从来没有意识到所有的激情和所有能在钢琴上演绎的东西，所以我把谱子拿走，模仿了他一点，找到了我自己的方式，就是这个方式，这真的让我进步了。”所以，是的，我喜欢舒曼，因为他严谨的织体和彻底的幻想性，即兴创作和快速变化的情绪以及疯狂。这就是一个人能真正给予自己的东西。
MELANIE:   Yes. Do you have a particular practice regime?
梅兰妮:是的。你有什么独特的训练规则吗?
ANGELA:  Nothing set, but I usually start with Bach because I usually have some to play and so it’s good to get going in the morning get the brain alert and the fingers warmed up. The older you get, I think the more you have to sort of, you know, not start with the Liszt Sonata. It’s very important to warm up the muscles, actually, somehow before you begin to play more complicated things. But I work hard at practice now as much as I did when I was kid. There’s no slacking off at all. In fact I work probably much more attentively and carefully now. I work just as much on memory in fact, even more and more consciously, as well because you have to when you’re older and that’s a good thing. I study a lot away from the piano too when I’m in airplanes as if I have a new piece to memorize then I find that’s a very good to do that away from the piano….
安吉拉：没有固定的模式，但我通常从巴赫开始，因为我通常有一些要弹奏，所以早上去做会让大脑清醒，手指变暖。年纪越大，我认为你越需要，你知道，不要从李斯特的奏鸣曲开始。在你开始弹更复杂的曲子之前，热身运动是非常重要的。但我现在工作很努力，就像我小时候一样。根本没有懈怠。事实上，我现在工作起来可能更专注、更仔细。事实上我在记忆方面甚至越来越自觉地投入同样的精力，因为随着你年龄的增长，这是有益的。我也脱离钢琴来钻研很多，我坐飞机时如果有一个新曲子需要记忆，我发现这是一件脱离钢琴后非常好的可做的事情....
MELANIE:  …away from the piano..
梅兰妮：……脱离钢琴……
ANGELA:  … and just visualizing yourself playing in and memorizing and fingering. But, yeah, I do a lot of slow practice also but again with the phrasing already in there, I’m very careful with my fingering especially in Bach..
安吉拉：……只是想象你自己在弹奏、记忆和指法。但，确实，我也做了很多缓慢的练习，但再次练就是有分句的，我对我的指法非常小心，尤其是弹巴赫的时候。
MELANIE:  Especially in Bach.
梅兰妮:特别是巴赫。
ANGELA:  99% of it is fingering. It’s all linked to articulation, to phrasing, to the clarity between the voices. Yeah. So, I’ve worked very carefully looking at everything in the score, the articulation mark. Because you know, so often, things like that are forgotten and if you all do is listen to 10 great pianists playing  Beethoven sonata then just, you know, sort of imitate them all and that’s probably the worst thing you can do.
安吉拉：99%都是指法。这一切都与发音、分句和呼吸的清晰度有关。因此，我仔细研究了乐谱上的所有细节，声音记号。因为你知道，很多时候，如果忘记这些事情被，你所做的全是聆听十位伟大的钢琴家所演奏得贝多芬的奏鸣曲，然后完全去模仿他们，你知道，这可能是你所做的最糟糕的事情。
MELANIE:   Yes. You set up the Trasimeno Music festival in Perugia in Italy in 2005. Lots of pianists are setting up their own music festival, what’s the catalyst behind yours?
梅兰妮:是的。你2005年在意大利佩鲁贾创立了特拉西梅诺音乐节。很多钢琴家都在筹备自己的音乐节，是什么因素触发了你?
ANGELA:   Well, I bought this piece of land, rather unexpectedly, in Umbria on Lake Trasimeno. Friends of mine at that time were fixing up a house near there and I thought that it wouldn’t be bad to have a place in a country where I didn’t have neighbours, you know, where I could practice as much as I wanted. And so I looked on the map and found this lake, Trasimeno. I’m a Canadian I need to see water, and never had a cottage as a kid so, and to make a long story short, I found this piece of land for sale and I built a house. And I knew that there was the  Castle of the Knights of Malta, just a few minutes away in Magione and … the following summer after my house was ready, I went and saw … saw the inside of it. I saw this 15th century courtyard with a stunning acoustic. And thought ‘Wow, I have to have a festival here’ and the next summer in 2005, I already did. And so, it’s grown over the years and in 2014, we’re having our 10th festival already. And people come all over the world and I, we present seven concerts in seven days and I play in six of those had people said, “why do you play in so many concerts”
安吉拉：嗯，我在特拉西梅诺湖的翁布里亚买了块地。那时我的朋友们正在附近修缮一所房子，我想在一个我没有邻居的国家里有个住所也不错，你知道的，在那里我可以随心所欲地练习。于是我看了看地图，发现了这个湖，特拉西梅诺。我是加拿大人，我需要看到水，我小时候从未有过一栋小屋，长话短说吧，我发现这块地在出售，我就买下来盖了一座房子。我知道就在距离这几分钟的马焦内有一个马耳他骑士城堡，在我的房子准备好之后的那个夏天，我去了那，看到了里面的东西。我看到这个15世纪的庭院，有着令人惊叹的声音。我想，“哇，我必须在这里过一个节日”，而在第二年，就是2005年的夏天，我已经实现了这个愿望。因此，它是在这些年里成长起来的，在2014年，我们已经有了第10个节日。人们从世界各地来到这儿，我在7天内举办了7场音乐会，我参加了其中的6场，有人说，“你为什么要参加这么多的音乐会?”
MELANIE:  That’s a lot….
梅兰妮:确实不少....
ANGELA:  It is a lot but then, that’s the big pleasure from me. I don’t think I will do all the work for this festival. It’s simply too much all year round. Fund-raising and putting programmes together and, you know, I see every reservation that comes in, I mean, I work so hard at it, but I don’t think I will do that unless then I have the pleasure of playing with people like Anne Sofie Von Otter or, you know, that’s only one name, but all wonderful instrumentalists we’ve had and orchestras and conductors that … Yeah, so when they come rehearse at my house and we perform that’s really the pleasure for me. And also to see all my friends and fans all over the world get together in one place and they form friendships and that’s also wonderful.
安吉拉：是很多，但那是我最大的乐趣。我想我不会为这个节日大包大揽。一年到头实在太多了。筹集资金并分配给演出项目,你知道的,我接待每一个前来预约的人,我的意思是,我可以努力地为此工作,但我不认为我将要那么做,除非我有可以玩得开心的人，比如安妮-索菲·冯·奥特（Anne Sofie Von Otter，瑞典次女高音歌唱家）,或者你知道的,这只其中一个人,但是所有我们已经合作过的美妙的演奏家、管弦乐队和指挥…是的,所以当他们在我家排练,我们一起表演，这对我才是真正的快乐。同时也能看到我所有的朋友和粉丝们聚集在一起，他们建立起友谊，这也很棒。
MELANIE:   Sounds fun.
梅兰妮:听起来挺有趣。
ANGELA:  Yeah. 
安吉拉：是啊。
MELANIE:  What exciting plans have you got for the future?
梅兰妮:你对未来有什么令人兴奋的计划?
ANGELA:  Well, lots and lots of concert all over the world, that’s for sure. I’m about to go to Australia and Japan for 6 weeks. On the recording front I have a Faure disc just now coming out. I have a fourth album of Beethoven. I’ll be recording a fifth in January. I just recorded the Art of Fugue that will be out and I’ll be doing a video also explaining it, I think. I’m going to start Scarlatti before too long not all of it not all 555 sonatas but some, you know, a good selection and Mozart concerti continue with the third volume, I just recorded it in Ottawa, So, Turangalîla recording in Helsinki in the new hall next January – Messiaen, which is a big thing. So, yeah, lots of things to learn, lots or repertoire that still interests me which is good, lots of concertos that I still want to play,  Brahms Concerto in D minor, and Ravel Left Hand Concerto, which is the only piece of Ravel I’ve never performed. So, always lots to keep me going, which is good.
安吉拉：嗯，世界各地有很多音乐会，这是肯定的。我打算去澳大利亚和日本呆6个星期。在录音方面，我有一张福雷的唱片发行了。还有一张贝多芬的第四张专辑。我将在一月份录制第五辑。我刚刚录了《赋格的艺术》（BWV1080），我想我还会做一个视频解说。不久之后，我要开始斯卡拉蒂的录音，不是全部所有555首奏鸣曲,只是一部分。你知道,莫扎特的协奏曲继续到第三卷也是一个不错的选择,我只是在渥太华录,所以,明年一月，梅西安《图兰加利拉》交响曲（Turangalila）在赫尔辛基新大厅录制,这是一个很重大的事件。所以，是的，有很多东西需要学习，很多好曲目仍然让我感兴趣，我仍然有很多协奏曲想演奏，勃拉姆斯《D小调第一钢琴协奏曲》（op.15），以及拉威尔的《D大调左手钢琴协奏曲》，这是我唯一从未演奏过的拉威尔作品。所以，总是有很多事情让我去做，这很好。
MELANIE:  Yes. Good. What does playing the piano mean to you?
梅兰妮:是的，好。弹钢琴对你来说意味着什么?
ANGELA:   Well, it’s my life. It’s what I do to express myself. It’s what I do to … I mean, I’m very lucky in the way that I get to earn my living by doing something that gives me and so many people a lot of pleasure. But, yes, if on a day I don’t play, unless I’m sick or something, I don’t feel quite right you know, you physically get quite restless.
安吉拉：嗯，这是我的生活。这是我表达自己的方式。这就是我所做的，我的意思是，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。但也有例外，如果有一天我不演奏，除非我病了或者别的什么原因，我不会感觉舒服，你知道，你的身体都会变得很焦虑。
MELANIE:   Yes.
梅兰妮：确实如此。
ANGELA:  And … this week I have a few days off but then there’s so much business to do that I am still busy but, yeah, it’s my life and it has been since when I was a tiny child and it will be I hope   always. But, I think, music is the greatest way to communicate with people, to build bridges, to builds friendships, to spread something happy and meaningful.
安吉拉:这星期我有几天的假期，但是还有很多事情要做，我仍然很忙，但是，这是我的生活，从我很小的时候就开始了，我希望永远都是如此。但是，我认为，音乐是与人们交流的最好方式，搭建桥梁，建立友谊，传播快乐和有意义的事务。
MELANIE:  Thank you so much for joining me today Angela. 
梅兰妮:谢谢你今天和我进行这次访谈，安吉拉。
ANGELA:  Thank you, Melanie
安吉拉：谢谢你,梅兰妮。
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
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