基辛演奏舒曼/李斯特《献词》
A servant of music
音乐的仆人
by Maxim Reider, January 7, 2011；马克西姆.里德，2011年1月7日 
Russian pianist Evgeny Kissin launches a world tour with a concert in Jerusalem.
俄罗斯钢琴家叶甫根尼.基辛（Evgeny Kissin）将在耶路撒冷举办一场音乐会。
Accomplished pianist Evgeny Kissin will perform a solo recital on January 8, for the first time in Jerusalem. 
富有才华的钢琴家叶甫根尼.基辛将于1月8日在耶路撒冷首次进行独奏演出。
The recital will be devoted entirely to works by Franz Liszt, to mark the 200th anniversary of the composer’s birth. The concert launches Kissin’s world tour with this special program, which he will perform in the most distinguished venues in the world, including La Scala, Concertgebouw and Carnegie Hall.
这场演奏会将全部演出弗朗兹·李斯特的作品，以纪念这位作曲家诞辰200周年。这场音乐会将以这个特别的节目形式开启基辛的世界巡演，他将在全世界最著名的场所演出，包括斯卡拉剧院、阿姆斯特丹音乐厅和卡内基音乐厅。
基辛演奏李斯特《爱之梦》
This special event was initiated by Kissin, together with the president of the Jerusalem Music Center Murray Perahia, Lady Annabelle Weidenfeld, a member of the center’s advisory board, and the Jerusalem Foundation. Their main objective is to raise funds for the encouragement and nurturing of outstanding young pianists at the Jerusalem Music Center.
这个特别的活动是由基辛发起的，与耶路撒冷音乐中心的主席默里.佩拉西亚（Murray Perahia）, 安娜贝尔.魏登费尔德（Annabelle Weidenfeld）女士、中心顾问委员会成员，以及耶路撒冷基金会一起发起。他们的主要目的是为在耶路撒冷音乐中心鼓励和培养杰出的年轻钢琴家筹集资金。
Born in Moscow in 1971, Kissin began playing the piano at the age of two. He entered the Moscow Gnessin School of Music when he was six and came to international recognition at the age of 12, performing Chopin’s piano concertos in the Great Hall of the Moscow Conservatory with the Moscow State Philharmonic, under the baton of Dmitri Kitaenko.
基辛1971年出生于莫斯科，两岁时开始弹钢琴。他六岁时进入莫斯科格涅辛音乐学院，十二岁时获得国际承认，由迪米特里.契达申科(Dmitri Kitaenko)指挥，在莫斯科音乐学院大厅与莫斯科爱乐乐团合作演奏肖邦的钢琴协奏曲。
基辛演奏李斯特《鬼火》


Since his first appearance outside Russia in 1985, Kissin has played with leading orchestras and conductors, performing in the world’s greatest concert halls and winning numerous awards for his contribution to classical music.
自1985年首次在俄罗斯境外露面以来，基辛一直在世界上最伟大的音乐厅演出，并因对古典音乐的贡献而获奖无数。
A few days before the concert in Jerusalem, Kissin, who prefers written interviews to those done over the phone, responded to some questions posed by The Jerusalem Post.

在耶路撒冷举行音乐会的前几天，基辛（K），他更喜欢通过电话采访，回答了《耶路撒冷邮报》（J）提出的一些问题。
J：You delved into the world of professional music at a very young age. How did it feel as a child to suddenly have a lot of adults around you, reacting excitedly to your performance?
J:你在很小的时候就涉足了专业音乐领域。当一个小孩儿突然被很多成年人围绕在身边、对你的演出表现得异常兴奋时，你会有什么感觉?
K：It felt completely natural because playing music was my favorite activity since early childhood. I don’t think I cared much about the “excited reaction”of my listeners, but I always loved playing for other people. At my very first solo recital, which I gave at the Composers’House in Moscow when I was 11 and a half years old, lots of seats had to be put on stage because there were only 600 seats in the hall, and many more people came. When my piano teacher, Anna Kantor, asked me afterwards whether the audience members who were sitting on stage around me were disturbing me, I immediately expressed the way I felt: “No, they were helping me!”A few years ago, when I started reflecting upon those things, I realized that my love for playing in public was caused by a natural desire to share with other people things I loved, things that were important and dear to me.
K:这种感觉非常自然，因为音乐是我从小就喜欢的活动。我不太在乎听众的“兴奋反应”，但我总是喜欢为别人演奏。在我11岁半的时候，我第一次在莫斯科作曲家之家音乐厅举行独奏音乐会，因为大厅里只有600个座位，多来了很多人。我的钢琴老师安娜·坎托尔(Anna Kantor)在我后面问我，坐在舞台上围绕着我的听众是否会打扰我时，我立刻表达了我的感受：“不，他们在帮助我！”“几年前，当我开始反思这些事情的时候，我意识到，我对在公众场合演奏的热爱是出于一种自然的愿望，那就是和别人分享我喜欢的东西，那些对我来说非常重要的东西。”

J：Is the audience important for you now?
J:现在的听众对你很重要吗?
K：Yes, they are of vital importance for me. It is for them that I do what I do. I can’t understand it when some journalists ask me, ‘When you start playing a concert, do you try to forget about the audience?’How could I possibly and why on earth should I try to forget about the audience when it is for them that I go on stage and play?!
K:是的，他们对我来说非常重要。我所做的一切都是为了他们。一些记者问我:“你开始演奏一场音乐会时，你会试图忘记观众吗?”。这怎么可能？当我在舞台上表演的时候，我为什么要试着忘掉观众?!”
J:Has your attitude toward the audience changed over the years?
J:这些年以来，你对观众的态度有变化吗?
K:No, I haven’t noticed any changes in myself in that respect.
K:不，我没有发现自己在这方面有任何变化。
J:Was there any transition from the state of being a child prodigy to that of a mature musician?
J:是否有从神童到成熟音乐家的转变?
K:You know, when I was a child, many of my listeners, professional musicians, used to say that the term ‘child prodigy’didn’t fit me because I played like a mature musician.
K:你知道，当我还是个孩子的时候，我的很多听众，专业的音乐家，常说“神童”这个词不适合我，因为我演奏得像一个成熟的音乐家。
Anna Pavlovna Kantor

J:You’ve been studying for your entire life with the same teacher, Anna Pavlovna Kantor.What is her secret?
J:你整个人生都在向同一个老师安娜·帕夫洛夫娜·坎特尔（Anna Pavlovna Kantor）学习。她的秘密是什么?
K:Besides her natural talent and skills, she is a person of truly amazing integrity who has devoted her whole life to teaching piano. She never had a family of her own, but she rightly calls herself ‘a mother of many children.’
K:除了她的天赋和技能外，她是一个非常正直的人，她把一生都致力于钢琴教学。她从来没有自己的家庭，但她理所当然地称自己为“许多孩子的母亲”。
J:What is that thing she knows as a teacher that attracts you?
J:她作为老师的学识有什么吸引你的方面?
K:It’s not something she knows; it goes far beyond that. I think that our personalities simply matched extremely well. Thinking back, I realize how lucky I was in that respect because this is extremely important.
K:不只是她的学识;远远不止这些。我认为我们的个性非常匹配。回想起来，我意识到我是多么幸运，因为这是极其重要的。

J:Aside from your teacher, what is the driving force behind your advancement in music?
J:除了你的老师，你在音乐方面进步的动力是什么?
K:Music itself.
K:音乐本身。
J:Has there been any advancement or development in music?
J:音乐方面有进步或发展吗?
K:Music, like all arts, is developing all the time. And this applies not only to art: If there is no development, there is no life.
K:音乐，就像所有的艺术一样，一直在发展。这不仅适用于艺术:如果没有发展，就没有生活。

J:How has your understanding of music, of its drama, changed since you were a child?
J:从你还是个孩子的时候起，你对音乐的理解、音乐的戏剧性方面都有什么变化?
K:When I was a child, it was not really understanding but rather feeling of music –or one could say: intuitive understanding. Of course, it’s impossible to play well without the natural feeling of music at any age; but as a child grows older, feeling alone can no longer be enough.
K:当我还是个孩子的时候，并不能真正地理解音乐，而是凭着对音乐的感觉来诠释演绎——或者可以说:凭着直觉理解音乐。当然，在任何年龄如果没有对音乐的自然感觉是不可能演奏好的;但是，当一个孩子长大了，单单凭感觉是不够的。
J:How do your preferences in repertoire change over the years?
J:这些年以来，你对曲目的偏好有何变化?
K:I don’t think they do. My tastes have always been very broad, for as long as I remember, and I have always been trying to expand my repertoire in all possible directions. On the other hand, I never bring a piece to the public unless I feel that I am able to play it well.
K:我不认为存在这个情况。我的口味一直很广，在我的记忆中，我一直就是试着在所有可能的方向上扩展我的曲目。另一方面，除非我觉得我能把它演奏得很好，否则我从不把作品带给听众。

J:How do you choose new pieces?
J:你如何选择新的作品?
K:That is very easy: from the pieces I love –of which there many! We pianists are extremely lucky: The piano repertoire is so vast, that I only hope to live long enough to learn everything I want to play.
K:这很容易:从我喜欢的作品——其中有很多!我们钢琴家是非常幸运的:钢琴演奏的曲目是如此之多，我只希望活得足够长，能学到我想演奏的一切。
J:How do you prepare a new work?
J:你如何准备一份新作品?
K:There is no special method. I just sit down and start working –and then the music itself tells me what to do. Then, at a certain stage, after I have formed my own conception and am able to execute it, I start listening to other people’s performances of the piece and learn from them. Even if I don’t like someone else’s performance, that also helps because then I know even better what I want to do.
K:没有特别的方法。我只是坐下来开始工作，然后音乐本身告诉我该做什么。然后，在一个特定的阶段，在我形成自己的想法并能够完成它之后，我开始倾听他人对这部作品的演出，并从中学习。即使我不喜欢别人的表演，这也会有所帮助，因为这样我就能更清楚自己想要做什么。

J:Are the circumstances of a composer’s life a factor when you work on a new piece?
J:当你演绎一部新作品时，作曲家的生活环境是一个影响因素吗?
K:For certain pieces they are. If they had a direct influence on the piece–like Beethoven’s ‘Moonlight Sonata,’for example. However, the most important thing is the music itself.
K:对于特定的作品是一个因素，如果它们对乐曲有直接的影响，比如贝多芬的《月光奏鸣曲》（Beethoven: Piano Sonata No.14, Op.27 No.2）。然而，最重要的是音乐本身。
J:What is important for you to consider in a performance?
J:在表演中，你认为什么对你是重要的?
K:To approach the level of the music performed as closely as possible. Of course, only the greatest performance can reach it sometimes; but nevertheless, we should all try to approach it as closely as our modest capabilities allow us.
K:尽可能接近演奏的音乐的水平。当然，有时候只有最伟大的表演才能达到;但无论如何，我们都应该尽我们所能、竭尽全力去达到。

J:What are your interests outside music?
J:除了音乐，你对什么感兴趣?
K:Life itself. Different aspects of it. Of course, some of those don’t interest me at all. As Socrates said, ‘There are so many things in the world that I don’t need.’In my free time, I like reading, sightseeing and spending time with other people: with my friends or with people whom I may not necessarily be able to call friends but whom I like and find interesting.
K:生活本身。生活的不同方面。当然，有些人根本不感兴趣。就像苏格拉底说的，世界上有太多我不需要的东西。“在我闲暇的时候，我喜欢阅读、观光、与他人共度时光:和我的朋友或我不一定能称之为朋友的人在一起，但我喜欢并觉得有趣。”

K:Once I went to an astrologer who, having made my natal chart, said to me, ‘Of the 10 planets, you’ve got seven in the air and none on earth. That’s why you don’t care about material things at all, but you are interested in ideas and you like spending time with people who provide you with interesting ideas.’I could not describe myself better.
K:有一次，我去找一个占星家，他画了我的本命盘，对我说:“在10个行星中，你有7个在空中，而没有一个在地球上。”这就是为什么你不关心物质方面的东西，但是你对思想感兴趣，你喜欢花时间和那些给你提供有趣想法的人在一起。——这种说法形容我再恰当不过了。”

J:I imagine that coming from an assimilated Russian-Jewish background, being Jewish was not at the center of your universe.
J:我想，来自一个被同化的俄罗斯犹太人的背景，成为犹太人并不是你的宇宙的中心。
K:Yes, it was –since an early age, in spite of the fact that I, indeed, grew up in an assimilated family and knew nothing about Jewish history, let alone religion. When I was a child, I wrote a will (yes!) the content of which, I believe, reveals a lot. It read as follows:‘When I die, bury me in a forest outside Moscow so that the stone under which my ashes will be lying would hardly be seen in the grass and look like this ...’–and I drew a rectangle with five lines and a G clef on them and the following inscription: ‘Here lies Evgeny Kissin, a son of the Jewish people, a servant of music’–and my life years. See, that’s how I identified myself already as a child. At that time I couldn’t imagine that I would live anywhere else than Moscow, and I didn’t know any Jewish symbols, only musical ones!
K:是的，从很小的时候起，尽管事实上我的确是在一个被同化的家庭中长大，对犹太历史也一无所知，更不用说宗教了。当我还是个孩子的时候,我就写了遗嘱(是的!)，我相信其 内容揭示了很多。遗嘱的内容是:“我死后,把我埋在莫斯科郊外森林里，我的尸骨长眠在一座石碑下，在草丛中难以被发现,就像这样……”——我画了一个长方形，上面有五条线，线上画一个高音谱号，写着:“这里趟一个犹太民族的儿子，一个名叫叶甫根尼.基辛的人，一个音乐的仆人，还有我的生命岁月。看，这就是我小时候自己所确定的身份。那时，我无法想象我会在莫斯科以外的任何地方生活，我也不知道任何犹太符号，只有音乐符号!
J:But this upcoming concert is clearly a statement. Does it mean that now you feel more identified with the Jewish people than in the past? What has caused this change?
J:但这场即将到来的音乐会显然是一种声明。这是否意味着现在你对犹太人的认同比过去更多了?是什么导致了这种变化?
K:The only thing that has changed is that I started speaking about my Jewish identity in public. I never did before. Not because I, God forbid, was ashamed of it in any way, but on the contrary, for the simple reason that it was always something extremely special for me and therefore not to be talked about in public –like love, for example (that’s, by the way, why I hate talking about music as well). But about a little over a year ago, I felt that I had to do it in order to counter the raging anti-Israel hysteria in much of the world. Since I was well known and hundreds of thousands of people all over the world were coming to my concerts and buying my recordings, I felt that I had to tell them: “If you like my art, this is who I am, who I represent and what I stand for.”
K:唯一改变的是我开始在公共场合谈论我的犹太身份。我以前从来没有。上帝保佑, 不是因为我以任何方式感到羞耻,恰恰相反,原因很简单,对我来说，这种身份总是非常特别的东西,因此没有在公共场合谈论——就像爱情(顺便说一下,这也是为什么我讨厌谈论音乐的原因。)。但大约一年多以前，我觉得我必须这样做，以对抗世界上大部分地区的反以色列情绪。因为我是广为人们所熟知的（公众人物），全世界成千上万的人都来参加我的演奏会并购买我的唱片，我觉得我必须告诉他们:“如果你喜欢我的艺术，这就是我，我代表的是谁，我代表的是什么。”

J:What can you, as a person, do to advance the Israeli cause?
J:作为一个人，你能做什么来推动以色列的事业?
K:I am trying to do what I can: putting pro- Israel material (whose authors are mainly non- Jews, many of them are Arabs) on my fan club site, giving interviews in support of Israel.
K:我正试图尽我所能:把“亲以色列”的材料(他们的作者主要是非犹太人，很多是阿拉伯人)放在我的粉丝俱乐部网站上，接受以色列的采访。
J:Do you believe that an individual has the power to change things in the world order?
J:你相信一个人有能力改变世界秩序吗?
K:Each one of us can only do so much. So the more good people who are active, the better.
K:我们每个个体的能力有限，但集体的力量是无穷的。所以我希望热衷此项事业的人们多多益善。
The concert takes place February 16 at 8:30 p.m. in Jerusalem at the International Convention Center. The program features the following pieces by Franz Liszt: Ricordanza (Etude d’Execution Transcendante No. 9), Sonata in B-Minor, Funerailles, Vallee d’Obermann, Venezia e Napoli.
音乐会将于2011年2月16日下午8点30分在耶路撒冷的国际会议中心举行。特点是所有曲目的都由弗朗兹·李斯特创作：《十二首超技练习曲》（S.139）第九首“回忆””， 《b小调钢琴奏鸣曲》（S.178），《诗与宗教的和谐》（S.173）第七首“葬礼”，《巡礼之年之瑞士》（S.160）第六首“奥伯曼山谷”，《巡礼之年之威尼斯和拿波里》（S.162）（包括船歌、坎佐那和塔兰泰拉舞曲）。
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？
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