弗兰克·齐默尔曼演奏舒曼《d小调小提琴协奏曲》 
Faust，LSO，Gardiner，Barbican review
—Schumann as never before
福斯特、伦敦交响乐团、加德纳巴比肯中心音乐会评论
——前所未有的舒曼
By David Nice Friday 16 March 2018
2018年3月16日，星期五，大卫·尼斯报道
An elusive violin concerto reassessed in victory for a misunderstood orchestral master
一部难以诠释的小提琴作品因为一位曾被误解的管弦乐大师的完美诠释而被重新定义
When a great musician pulls out of a concerto appearance, you're usually lucky if a relative unknown creates a replacement sensation. In this case not one but two star pianists withdrew – Maria João Pires, scheduling early retirement, succeeded by an unwell Piotr Anderzewski – and instead we had that most musicianly and collaborative of violinists Isabelle Faust in Schumann, not the scheduled Mozart. 
Given the superlative credentials already laid down by John Eliot Gardiner in the first concert of his Schumann project with the London Symphony Orchestra on Sunday, the argument for the Violin Concerto, generally perceived as a late problem piece in the composer's canon, was even more of the essence – an historic victory, in short.
当一个伟大的音乐家退出一场协奏曲的演出，你通常是幸运的，因为一个相对陌生的人的替演将会创造一种全新的感觉。而这次的演奏家更替中离开的不只一人，而是两个明星钢琴家–其中就有皮尔斯（Maria João Pires）被安排提前退休，由不太闻名的皮奥特·安德索夫斯基（Piotr Anderzewski）接替，另一个取而代之的是我们的小提琴家中最有音乐天赋和合作精神的人伊莎贝尔·福斯特（Isabelle Faust），她将来演绎舒曼而不是莫扎特的作品。
鉴于约翰·艾略特·加德纳（John Eliot Gardiner）已经在周日与伦敦交响乐团(London Symphony Orchestra)合作演绎舒曼计划（Schumann project）的首次音乐会上被授予了最高级别的证书（the superlative credentials），这部舒曼的小提琴协奏曲，被普遍认为是作曲家作品集中的晚期曲目，这场音乐会的成功甚至更具有本质含义–简而言之这是一个历史性的胜利。
Following on the heels of Gardiner's personable chat between works on Sunday about why the LSO violins, violas, wind and brass stand for Schumann (pictured below in 1850) – the proof has been in the brilliant sound they make – he appeared on the platform at the start in charming conversation with Faust about the nature of the strange beast they were about to play, the late arrival of timpanist John Chimes lending an extra improvisational edge to their insights on the Violin Concerto. Faust's avowal that "I never want to touch the ground" was borne out by her intimate meditation, especially in the quiet treatment of the first movement's utterly personal lyrical melody as the development winds down and the supernatural levitating of the central B flat major Langsam.
加德纳在周日音乐会的演出间隙亲切交谈中他谈到为什么伦敦交响乐团小提琴、中提琴、管风和铜管为舒曼（见下图1850年）的作品调整编制–这张照片是他们在舞台上发出的辉煌的声音见证–接着他和福斯特又开始了一段引人入胜的谈话，谈论他们即将演奏的音乐中奇异而原始粗放的特质，他们的小提琴演奏的最后时刻，约翰·查姆斯（John Chimes，英国古典打击手和定音鼓手）以一段额外即兴演奏来为整段小提琴协奏曲的诠释增光添彩。福斯特宣称“我永远不想从音乐沾染尘埃”，这一点可以从她的中得到证实，特别是随着第一乐章的发展逐渐平息，以及缓慢的降B大调的超自然的飘浮感，这段音乐完全带有个人特色对抒情旋律的平静处理。
The heart of introspective transcendence, it was over too soon, only to yield to one of the strangest finales, a Polonaise which used to be taken at a faster speed than Schumann's seemingly puzzling metronome marking; Faust had no trouble filling the dream-like dance with vivacity, slow-motion grandjetés hovering in mid-air. With equally haunting colours from the LSO, making capital of what can sound in the wrong hands like thick, uninteresting orchestration, this was an interpretation as unforgettable as Ann Hallenberg's Sunday performance of Berlioz's Les nuits d'été. After this, I won't want to hear the concerto performed by anyone other than Faust.
超然存在发人深省的核心乐段并没有持续多久就让位于一个最奇特的结束部旋律，一个波兰舞曲，它的速度过去比舒曼看似令人费解的节拍器快得多；福斯特毫不费力地以轻巧灵活的琴声填满了梦幻般的舞蹈旋律，慢动作的大抛弓发出乐声在半空中回荡。伦敦交响乐团同样摄人心魄的音乐色彩，令听起来原本粗笨乏味的管弦乐变得像安·哈伦贝格（Ann Hallenberg，次女高音）在《夏夜之歌》（Les nuits d'été）上的表演一样令人难忘。在这之后，我不想听除了福斯特以外的任何人演奏的协奏曲。
The purely orchestral works on the programme underwent a vital transfiguration, too. In addition to repeating Sunday's intepretation of the Genoveva Overture with even more fire and depth, Gardiner also gave us two masterpieces from 1841 which have never had quite the success of the First ("Spring") Symphony as outpourings of Schumann's happiness in his new married life with Clara. The Overture, Scherzo and Finale, which Schumann dubbed a "Symphonette", makes up for the absence of a slow movement with what seems like a flare of personal distress in the oboe wails of the introduction, quickly brushed aside by rhythmic exuberance. Gardiner made the Scherzo – Schumann, like his friend and supporter Mendelssohn, never composed one less than first-rate – sound like an intimate, chamber-musical play on Beethoven's massive equivalents; the Finale seemed over before it had started.
曲目中的纯管弦乐作品也经历了一次关键的改编。除了重复星期日对Genoveva序曲的演绎之外更融合了如火的热情和深度。加德纳还给了我们两部1841年的杰作，它们都没有像《第一交响曲“春天”》（"Spring"）那样成功过，舒曼把他与克拉拉的新婚生活中的幸福在音乐中倾泻而出。序曲，谐谑曲和终曲，舒曼称之为“交响曲”，弥补了缓慢的乐章，在序曲的双簧管哀号中似乎闪现出的个人痛苦，很快被节奏的丰富性冲淡了。Gardiner made the Scherzo – Schumann, like his friend and supporter Mendelssohn, never composed one less than first-rate – sound like an intimate, chamber-musical play on Beethoven's massive equivalents; the Finale seemed over before it had started.（编者按：这一段实在太难，欢迎大家文末指正！）
Gardiner (pictured below) chose the original version of the Fourth – actually the real second – Symphony, the one which Brahms preferred in opposition to Clara's championship of the more conventionally symphonic 1851 revision. Textures still sounded surprisingly beefy here, with a headlong, almost manic approach that would have been too hyper in the outer movements without the profound contrasts of the intimate miracles which take place in between.
加德纳选择了第四版本即原始版本，实际上是真正的《第二交响曲》，勃拉姆斯在反对克拉拉的1851年修订版的魁首时却更偏爱喜欢这个版本。这里的音乐织体仍然听起来令人惊讶地雄浑，一往无前，近乎狂躁，如果没有发生在两者之间的内在出神入化的深刻对比，外在的乐章就会显得过于亢奋。
The Romanza's startlingly spare unisons of oboe and cello were exquisitely rendered by key LSO player Oliver Stankiewicz, virtually leading the standing woodwind, and principal cellist Rebecca Gilliver; leader of the Schumann evenings so far Carmine Lauri brought the voice from another planet – Clara descending to console Schumann in bleak mood? – which makes a longer stay in the heart of the Scherzo (the reappearance still seems radical).
双簧管乐手奥利弗·斯坦基维茨令人惊叹地完美演绎出浪漫曲中双簧管与大提琴音声相和的精妙绝伦，他几乎可以称得上木管乐器的领军人物，而首席大提琴演奏家丽贝卡·吉列佛（Rebecca Gilliver）也是如此。卡迈·劳里（Carmine Lauri，小提琴首席）则是正舒曼之夜的领军人物，他为这段音乐带来了仿佛另一个星球的声音–克拉拉下楼安慰舒曼的心情？–使得谐谑曲的在核心旋律停留时间更长而重现部分似乎仍然很激进。
*没有福斯特的舒曼小提琴协奏曲音频，我们随意选了一版
In its outer portions and throughout a dancing Finale with startling first-trombone blasts, Gardiner won playing from his orchestra which felt like a bouncing ball wielded with supreme sportsmanship. In obvious high spirits, so good to watch, they dashed off the last part of the Second Symphony's Scherzo for an encore, as they had on Sunday night; it was just as welcome here. Immersed in Schumann's orchestral world, those of us at both concerts want the final two instalments right now. Good to know, though, that the First and Third Symphonies are bound to be highlights of 2019 just as these have already been of 2018 so far – and nothing is going to knock them off that pedestal.
在整首乐曲音乐织体外部，即整个舞曲的最后一段，音乐的发展伴随着震撼人心的长号强奏，加德纳成功的把他的管弦乐队指挥的感觉就像一个具有极限运动精神的弹力球。他们兴高采烈，热情洋溢，急匆匆完成了《第二交响曲》的谐谑曲的最后部分，就像他们在周日晚上所做的那样；在这里也同样受欢迎。沉浸在舒曼的管弦乐世界里，我们这两个音乐会上的人现在都想看最后的两期。很高兴知道，第一和第三交响乐一定会成为2019年的亮点，就像迄今为止的2018年一样–没有什么能把它们从这个宝座上推下去。
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
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