德彪西《月光》
Angela Hewitt in conversation with Melanie Spanswick
安吉拉·休伊特和梅勒妮·斯潘威克的对话
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。”
This is the Twentieth Classical Conversation in my Series, and I’m delighted to welcome celebrated British Canadian concert pianist Angela Hewitt to mark the occasion.
这是我古典对话系列中的第二十期，我很高兴地欢迎著名的英国、加拿大（双重国籍）音乐会钢琴演奏家安吉拉·休伊特在此纪念这一时刻。
Angela Hewitt is a phenomenal artist who has established herself at the highest level over the last few years not least through her superb, award-winning recordings for Hyperion. Completed in 2005, her eleven-year project to record all the major keyboard works of Bach has been described as “one of the record glories of our age” (The Sunday Times) and has won her a huge following. She has been hailed as “the pre-eminent Bach pianist of our time” (The Guardian) and “nothing less than the pianist who will define Bach performance on the piano for years to come” (Stereophile). She has a vast repertoire ranging from Couperin to the contemporary. Her discography also includes CDs of Granados, Beethoven, Schumann, Rameau, Chabrier, Olivier Messiaen, the complete solo works of Ravel, the complete Chopin Nocturnes and Impromptus, a Handel/Haydn album, and three discs devoted to the music of Couperin. Her recordings of the complete solo keyboard concertos of J.S. Bach with the Australian Chamber Orchestra entered the billboard charts in the U.S.A. only weeks after their release, and were named Record of the Month in Gramophone magazine. A cycle of Mozart Concertos has begun, the first of which features the Orchestra da Camera di Mantova. In 2012 Hyperion will release her recording of solo works of Debussy, as well as the works for piano and orchestra by Robert Schumann in which she is partnered by the Deutsche-Sinfonie-Orchestra conducted by Hannu Lintu.
安吉拉·休伊特（Angela Hewitt）是一位非凡的艺术家，在过去的几年里，尤其是凭借精湛的、屡获殊荣的在“海伯利安”(Hyperion)的录音，她确立了自己的最高水准。她在2005年完成了她的11年项目，录制了巴赫的所有主要键盘作品，被描述为“我们这个时代荣耀的录音之一”(《星期日泰晤士报》)，并为她赢得了大批粉丝。她被誉为“我们时代最杰出的巴赫钢琴家”(《卫报》)，“在未来的岁月里，她将在钢琴上定义巴赫作品的表演”(《立体声爱好者》)。她拥有从库普兰（Couperin）到当代的大量曲目。她的唱片还包括了格拉纳多斯的CD、贝多芬、舒曼、拉莫、夏布里埃、奥利弗·梅西安、完整的拉威尔的独奏作品、完整的肖邦夜曲和即兴曲、亨德尔/海顿的专辑，还有三张唱片，专门致力于库普兰的音乐。她与澳大利亚室内乐团合作录制的J·S·巴赫(J.S. Bach)的全套独奏键盘协奏曲，发行几周后就登上了在美国的公告牌(billboard )唱片排行榜。莫扎特协奏曲的周期已经开始，第一个特色是乐团为来自意大利的曼托瓦室内管弦乐乐团（Orchestrada Camera di Mantova）。2012年，“海伯利安”（Hyperion）将会发行她录制的德彪西（Debussy）的独奏作品，以及罗伯特.舒曼（Robert Schumann）的钢琴和管弦乐队的作品，由汉奴.林图（Hannu Lintu）指挥的德意志交响乐团（deutsche – sinfonie-Orchestra）与其合作。
Angela has performed throughout North America and Europe as well as in Japan, Australia, Singapore, New Zealand, Israel, China, Mexico, Turkey and the former Soviet Union. Highlights of recent seasons include her debuts in Carnegie Hall, the Concertgebouw and with the Cleveland Orchestra, as well as a North American tour with the Australian Chamber Orchestra. Her recitals have taken her to the festivals of Edinburgh, Osaka, Prague, Hong Kong, Schleswig-Holstein, Brescia/Bergamo, and Oslo to name but a few. Her frequent Wigmore Hall and Royal Festival Hall recitals in London sell out months in advance.  As a chamber musician she has joined international artists at Lincoln Center in New York and in the Queen Elizabeth Hall, London.  With cellist Daniel Mueller-Schott she recorded the Bach Gamba Sonatas for Orfeo, and the complete works of Beethoven for Hyperion. With flautist Andrea Oliva, she recently recorded the Bach Flute Sonatas for Hyperion.
安吉拉在北美、欧洲、日本、澳大利亚、新加坡、新西兰、以色列、中国、墨西哥、土耳其和前苏联都演出过。最近几季的亮点包括她在卡内基音乐厅、阿姆斯特丹皇家音乐厅以及和克利夫兰交响乐团的首次演出，以及与澳大利亚室内乐团的北美巡演。她的演奏会将先后在爱丁堡、大阪、布拉格、香港、石勒苏益格-荷尔斯泰因、布雷西亚/贝加莫、奥斯陆等地举行。她经常光顾的位于伦敦的威格摩尔大厅（Wigmore Hall）和皇家节日大厅的独奏音乐会的演出票早在几个月前就已售罄。作为一名室内音乐家，她还在纽约林肯中心和伦敦伊丽莎白女王大厅加入到国际艺术家之中。她与大提琴演奏家丹尼尔·缪勒-斯科特（Daniel Mueller-Schott）合作录制了巴赫的《为奥菲欧作的维奥尔琴奏鸣曲》（维奥尔琴是一种放在两腿之间演奏的低音乐器），以及为“海伯利安”Hyperion录制贝多芬全集。与长笛演奏家安德利亚.奥利瓦（Andrea Oliva）合作，她最近还为“海伯利安”（Hyperion）录制了巴赫的长笛奏鸣曲。
Angela’s entire 2007-2008 season was devoted to performances of the complete Bach Well-Tempered Clavier in major cities all over the world, including London (Royal Festival Hall), New York (Carnegie Hall), Los Angeles, Berkeley, Portland, Vancouver, Denver, Ottawa, Toronto,  Mexico City, Bogota, Singapore, Tokyo, Seoul, Macao, Sydney, Melbourne, Warsaw, Milan, Lisbon, Venice, Bilbao, Zurich, Stuttgart, Glasgow, Pretoria, and Hong Kong.  A special DVD lecture-recital entitled “Bach Performance on the Piano” was released by Hyperion to co-incide with the tour. Before the end of the tour, she re-recorded the work which was released by Hyperion in 2009 to great critical acclaim from around the world. 
整个2007 – 2008演出季，安吉拉完全投入到巴赫的《平均律键盘曲集》（Well-Tempered Clavier，BWV 846-893）的演出中，演出范围涵盖世界各主要城市,包括伦敦皇家节日音乐厅、纽约卡内基音乐厅、洛杉矶加州大学伯克利分校、波特兰、丹佛、温哥华、渥太华、多伦多、墨西哥城、波哥大、新加坡、东京、首尔、澳门、悉尼、墨尔本、华沙、米兰、威尼斯、里斯本、毕尔巴鄂、苏黎世、斯图加特、格拉斯哥、比勒陀利亚和香港。“海伯利安”（Hyperion）配合巡演同时推出了一套名为“钢琴演奏的巴赫”的特别的演奏会DVD。在巡演结束前，她重新录制了这部作品，并由“海伯利安”（Hyperion）在2009年发行的，并获得了来自世界各地的好评。
In July 2005, Angela launched her own Trasimeno Music Festival in the heart of Umbria near Perugia. Now an annual event, it draws an international audience to the Castle of the Knights of Malta in Magione, on the shores of Lake Trasimeno. Seven concerts in seven days feature Hewitt as a recitalist, chamber musician, song accompanist, and conductor, working with both established and young artists of her choosing.
2005年7月，安吉拉在佩鲁贾附近的翁布里亚中心举办了自己的特拉西梅诺（Trasimeno，意大利翁布里亚的一个风景优美的湖泊）音乐节。现在一年一度的盛会吸引了来自国际的观众们前往位于特拉西梅诺湖畔的马焦雷马耳他骑士城堡。休伊特作为独奏、室内乐音乐家、歌曲伴奏者和指挥，与她所选择的知名艺术家和年轻艺术家一起在七天内举办七场音乐会，。
Born into a musical family (her father was the Cathedral organist in Ottawa, Canada) Angela began her piano studies aged three, performing in public at four and a year later winning her first scholarship. During her formative years, she also studied violin, recorder, and classical ballet. At nine she gave her first recital at Toronto’s Royal Conservatory of Music where she later studied. She then went on to learn with French pianist, Jean-Paul Sévilla, at the University of Ottawa. She won First Prize in Italy’s Viotti Competition (1978) and was a top prizewinner in the International Bach competitions of Leipzig and Washington D.C. as well as the Schumann Competition in Zwickau, the Casadesus Competition in Cleveland and the Dino Ciani Competition at La Scala, Milan. In 1985 she won the Toronto International Bach Piano Competition.
安吉拉出生于一个音乐世家（她的父亲是加拿大渥太华的教堂管风琴手)，她三岁开始学习钢琴，四岁时在公共场合表演，一年后获得了第一笔奖学金。在她的成长过程中，她还学习了小提琴、录音和古典芭蕾。9岁时，她在多伦多皇家音乐学院举行了第一次演奏会。之后，她又在渥太华大学与法国钢琴家让-保罗·塞维利亚（Jean-Paul Sévilla）学习。她在意大利的维奥蒂国际音乐比赛中获得了一等奖(1978年)，并在莱比锡和华盛顿的巴赫国际音乐比赛中获得了最高奖项，此外，她还赢得了茨威考的舒曼音乐比赛、克利夫兰的卡萨德絮音乐比赛和米兰斯卡拉的迪诺·齐安尼音乐比赛。1985年，她获得多伦多巴赫国际钢琴比赛冠军。
Angela Hewitt was named Gramophone Artist of the Year in 2006.  She was awarded the first ever BBC Radio 3 Listener’s Award (Royal Philharmonic Society Awards) in 2003. She was made an Officer of the Order of Canada in 2000, and is a fellow of the Royal Society of Canada.  She was awarded an OBE in the Queen’s Birthday Honours in 2006. She has lived in London since 1985 but also has homes in Ottawa, Canada and Umbria, Italy.
安吉拉·休伊特在2006年被评为留声机年度艺术家。2003年，她获得了英国广播公司(BBC)第3电台听众奖(皇家爱乐协会奖)。2000年她被任命为一名加拿大的官员，加拿大皇家学会的成员。2006年，她被授予女王诞辰日勋章。她自1985年以来一直住在伦敦，但在加拿大渥太华和意大利的翁布里亚也有住所。
Angela in action…
安吉拉在行动……
The transcript for those who prefer to read interviews…..
以下是为那些喜欢阅读采访的人准备的文字…
MELANIE:  Celebrated British-Canadian concert pianist Angela Hewitt gives recitals and concerto performances in major concert halls all around the world. She’s renowned for her interpretation of the works of J.S. Bach and was awarded the OBE in 2006. So, I’m thrilled that she’s joined me here today at Jacques Samuel Pianos in London for a Classical Conversation. Welcome.
梅兰妮：著名的英国-加拿大音乐会钢琴家安吉拉·休伊特在世界各地主要的音乐厅演出了钢琴独奏和协奏曲音乐会。她以对J.S.巴赫（J.S. Bach）作品的诠释而闻名，并于2006年被授予女王勋章。所以，我很高兴她今天和我一起在伦敦的雅克·塞缪尔钢琴店（Jacques Samuel Pianos in London，是伦敦最大的钢琴店）进行一次古典音乐访谈。欢迎。
ANGELA:  Hi Melanie.
安吉拉：你好，梅兰妮。
MELANIE:  Lovely to meet you.
梅兰妮：很高兴见到你。
ANGELA:  It’s nice to be here.
安吉拉：很高兴来到这里。
MELANIE:   I want to start by asking you all about your musical education, how old you were when you started, what was the catalyst and whether you come from a musical family?
梅兰妮：我想先从关于你的音乐教育方面的问题开始，你从什么时候开始学习的，催化剂是什么，你是否来自音乐世家?
ANGELA:   Yes, I do come from a very musical family. My father was organist and choirmaster at the Christ Church Cathedral in Ottawa, Canada. He’d come from England and had gone out to Canada as a young man and so he was a really marvellous musician. And I heard him play from probably before I was born. And my mother was his student but was a pianist in her own right and had a girls’ choir at high school where she taught Music and English. And so music was very much a part of everyday life at home. And I think even before my 3rd birthday, my mother started me at the piano which I took to naturally and by evidently I asked for a lesson every day or twice a day. But I didn’t just do piano. I did violin from age of 6, also recorder very seriously. I did the Classical Ballet. I did Highland Dancing. I sang. So I did really have an all-around artistic education.
安吉拉：是的，我来自一个非常典型的音乐家庭。我父亲是加拿大渥太华基督教堂的管风琴师和唱诗班老师。他来自英国，年轻时到了加拿大，他是一个非常了不起的音乐家。在我出生之前，我就听到了他的演奏。我的母亲是他的学生，不过她自己是一名钢琴家，有一所高中里有一个女子唱诗班，她在那里教授音乐和英语。所以音乐是我们家庭日常生活的一部分。我认为，甚至在我三岁生日之前，我的母亲就开始了我的钢琴课，我很自然地开始学习，显然，我每天都要上一节课，或者每天两次。但我不仅仅弹钢琴。我从6岁开始学小提琴，也很认真。我学习了古典芭蕾。我学习了高地舞蹈。我还学习唱歌。所以我确实接受了全方位的艺术教育。
MELANIE:   Which teachers were most influential on your development as a pianist?
梅兰妮：作为钢琴家，哪些老师对你作为钢琴家的发展影响最大?
ANGELA:    Well, besides my parents who taught me up until the age of 5 or 6, I guess I was 6 when I started going to The Royal Conservatory of Music in Toronto. We never lived in Toronto but I would make the trip there, first by train and then by bus and then by plane every 2nd week for lessons. And there I have some very good teachers. Earle Moss when I was very young who’s great with children and a wonderful pianist himself and then Myrtle Guerrero, who had been the wife of Alberto Guerrero, who was the only teacher of Glenn Gould but she wasn’t a pianist herself but had benefited from her husband’s teaching. And then, I decided to stay in Ottawa because a pianist who had come from France, Jean-Paul Sévilla, to teach at the University of Ottawa and I had heard his students and heard what progress they have made and was amazed. And so when I was just 15, I started with Jean Paul at the University of Ottawa, first as a special student and then enrolled in the national music programme in performance and he was fabulous. He had such a wide repertoire he could sit-down play anything; the Goldberg Variations, the Brahms-Handel, the Liszt Sonata, the complete works of Ravel, of Faure and gave us much more than piano teaching. He really taught us all about art and opera and took us to France every summer and had a wonderful joie de vivre and all of his students were friends. And it was a really terrific to have him in Ottawa. And then I went to study in Paris in 1978, he was back in there on Sabbatical that year so I finished up a lot of French music with him. I took some private lessons from Catherine Collard, a wonderful pianist, now dead, but who was a great Schumann player, especially. And Vlado Perlemuter who had studied with Ravel, but I really, by then, wanted to study by myself because Jean Paul had given me such a good beginning and I needed to find my own way. And so that’s what I did.
安吉拉：嗯，除了我五、六岁的时候我父母教我，我想我6岁时就开始去多伦多皇家音乐学院学习了。我们从来没有住在多伦多，但我会去那里旅行，先坐火车，然后坐公共汽车，然后每两周乘飞机去上课。我有一些很好的老师。在我很小的时候，厄尔·莫斯（Earle Moss）就和孩子们相处得很好，他是一位出色的钢琴家，后来是麦尔特.格雷罗（Myrtle Guerrero），阿尔贝托.格雷罗（Alberto Guerrero）的妻子，阿尔贝托.格雷罗是格伦·古尔德（Glenn Gould）的唯一的老师，但她自己不是钢琴家，而是从她丈夫的教学中受益。然后，我决定留在渥太华，因为一位来自法国的钢琴家让-保罗·塞维利亚(Jean-Paul Sevilla)来到渥太华大学(University of Ottawa)任教，我听到了他的学生们的声音，以及他们的进步，为此感到非常惊叹。所以15岁的时候，我开始师从渥太华大学的让-保罗，先是作为一个特殊的学生，然后参加了全国的音乐演出的表演，他非常棒。他有如此广泛的曲目，他可以坐下来演奏任何东西;《哥德堡变奏曲》（巴赫作曲，BWV988），勃拉姆斯-亨德尔，李斯特的奏鸣曲，拉威尔和弗雷的全部作品，他给我们的不仅仅是钢琴教学。他其实教了我们所有关于艺术和歌剧的知识，每年夏天带我们去法国，他有很好的生活情趣，他所有的学生都是朋友。在渥太华有他真是太棒了。1978年，我去巴黎学习，那年他休假回来，所以我和他一起完成了很多法国音乐。我从凯瑟琳.科拉德（Catherine Collard）那里学了一些私人的课程，她是一位很棒的钢琴家，现在已经去世了，但他一位伟大的钢琴家，特别是以为伟大的舒曼诠释者。和弗拉多.佩勒穆特（Vlado Perlemuter）一起学习拉威尔，但那时我真的想自学，因为让-保罗给了我一个很好的开始，我需要找到我自己的方式。这就是我所做的。
MELANIE:    So, how did you develop your technique?
梅兰妮:那么，你如何发展你的技术?
ANGELA:    Well, technique, of course when I was young, I did my scales, my arpeggios, my broken chords, my Hanons. I mean, we have to do that for the Conservatory exams. That’s a good thing because I think it’s too often neglected but I always got technique more through the music. First of all, Bach is the best thing for developing your technique, and I always did love Bach, for developing your 4th and 5th fingers, you know. Every finger of every hand has to be strong in Bach. And even playing things like the Liszt Sonata which I did when I was 17, in all the octave passages, okay, you practice them with just the thumb only da … da … da … da …
安吉拉：嗯，技术，当然在我年轻的时候，我完成了我的音阶训练、琶音训练、分解和弦、还有《哈农》（钢琴指法练习）。我的意思是，我们必须在音乐学院的考试中完成。这是一件好事，因为我认为它经常会被忽视，但我总是通过音乐获得更多的技术。首先，巴赫是发展你的技巧的最好的途径，你知道，我一直都很喜欢通过巴赫（的音乐）来发展第四和第五根手指。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。甚至像我17岁时弹的李斯特得奏鸣曲一样，在所有八度的经过句里，你只要用拇指就可以练习。——为何分手练习对于学习巴赫的曲子极为重要？
MELANIE:   Yes. 
梅兰妮:是的。
ANGELA:   You know but still I always practice hard bits musically with the phrasing already in place, never purely mechanically. So the two were always very much linked with me. And I was had a good technique but I really had to build up the strength and my technique. I was never one to rattle off all the Chopin Etudes when I was 13, I still can’t rattle them off, but it doesn’t matter. I could rattle off all the complete Bach.
安吉拉：你知道，但我一直都在用大量的音乐来练习，而不是单纯地机械地练习。所以这两者一直和我联系在一起。我有很好的技术，但我真的必须增强我的力量和技术。我13岁的时候，我仍然不能把所有的肖邦练习曲中的任何一首背下来，我仍然不能把它们背诵下来，但我可以一口气、毫无问题地背诵出全部的巴赫。
MELANIE:   That’s right.
梅兰妮：没错。
ANGELA:   And octaves always suited me more than double thirds, for sure. But I think, it was this thing that I always developed technique through repertoire and not just, you know, thinking notes.
安吉拉：当然，八度音总是比三度双音更适合我。但我认为，这就是我一直通过完整曲目发展技术，你知道，而不仅仅只是通过思考单音来发展。
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?
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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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