Paderewski and Liszt
帕德雷夫斯基与李斯特
By The Nation
▲ 帕德雷夫斯基
波兰钢琴家/作曲家/政治家/外交家
♚
帕德雷夫斯基是19世纪末20世纪初杰出的世界级钢琴大师之一，1919年曾出任波兰总理，并兼任外交部长。他生于波多利亚一个叫做库雷卢弗卡的小村庄（今属乌克兰），他从小热爱音乐，后来考入华沙音乐学院学习，1879年至1883年在该校任教。第一次世界大战时期，帕德雷夫斯基开始成为一名活跃的政治家，为波兰的独立事业贡献良多，他发表的激动人心的演说，曾为波兰的独立运动赢得了不少国际支持。一战结束后，波兰获得独立，他曾在新生的波兰政权中担任总理和外交部长，并代表波兰出席了巴黎和会。
“音乐文献编译组”近期将集中推送一批具有重要价值的钢琴史料。帮助大家通过阅读了解早期钢琴艺术的成就，本文写于1893年7月，当时帕德雷斯基还未涉足政坛也没出任波兰总理。所以在阅读时我们要努力回到当年的视角，来体味作者将李斯特同帕德雷斯基相比较的用意。在过去一百多年来，钢琴艺术发生了巨大的变化，无论是普通乐迷还是专业钢琴演奏者——都十分有必要了解自钢琴诞生以来，钢琴艺术的演变过程，这对于我们理解钢琴艺术的美有直接的帮助作用，只有从心灵深处理解钢琴艺术美的特质是什么，理解钢琴艺术在不同时代演奏审美的差异，才能够真正演奏好钢琴。我们的编译工作也是帮助大家回顾历史，这也是“音乐文献编译组”责任所在，欢迎加入我们推荐这类好文章。
The question of nationality plays a curious rôle in the history of pianoforte playing. For a long time most of the great pianoforte composers and players the Bachs, Mozart, Beethoven, Weber, Schubert, Mendelssohn, Schumann were Germans. But with Schumann the list of Germans great in this department practically came to an end (unless we except Bülow and Brahms), and the field was left open for Slavic and Hungarian competitors. Russia gave us Rubinstein and Pachmann; Hungary, Liszt and Joseffy; Scotland,Eugen d'Albert; but the land preëminent for pianists is Poland. 
国籍问题在钢琴演奏史上扮演着一个奇怪的角色。在很长一段时间里，大多数伟大的钢琴作曲家和演奏家——巴赫、莫扎特、贝多芬、韦伯、舒伯特、门德尔松、舒曼——都是德国人。但是随着舒曼的加入，这个系列的德国伟人的名单几乎已经走到了尽头( 除了布洛和勃拉姆斯)，并且这个领域开始向斯拉夫和匈牙利的竞争者敞开。俄罗斯诞生了鲁宾斯坦（Rubinstein）和帕赫曼（Pachmann）; 匈牙利有李斯特和约瑟菲（Joseffy）;苏格兰有D 'Albert; 但对钢琴家来说最重要的地方是波兰。
Chopin was a Pole, and so was the brilliant young Tausig, who, had he not died at the age of thirty, would, in the opinion of his pupil, Mr. Joseffy, and many others, have surpassed even his master, Liszt. Rubinstein, too, was half a Pole by descent. Little Josef Hoffman is a Pole, and now, to cap the climax, Mr. Paderewski has appeared; so that musically speaking, at any rate, it is safe to say, “Noch ist Polen nicht verloren.”
肖邦是一个波兰人，才华横溢的年轻陶斯格也是一个波兰人。在他的学生约瑟夫先生和许多人看来，如果陶斯格没有在三十岁时去世，他甚至会超过他的老师李斯特。鲁宾斯坦的血统也有一半是波兰人。小约瑟夫·霍夫曼是波兰人，而现在，帕德雷夫斯基出现在了巅峰; 所以从音乐的角度看，无论如何都可以说，“波兰还没有沦陷。”
Poland will some day honor Paderewski as it now honors Chopin; but in order to win the great fame and wealth which have fallen to his lot at the early age of thirty-two, he was of course obliged, like Chopin, to leave his native country and seek the great musical centres of the world. Three years ago he played in London to a $50 audience. To-day he often makes $5,000 in two hours, with $7,000 for the high-water mark. This profitableness of his art is a phenomenon worth mentioning, because he never resorts to clap-trap, trickiness, or sensationalism in order to win success and applause. 
波兰总有一天会像现在尊敬肖邦一样尊敬帕德雷夫斯基,但是，为了赢得他在32岁时就注定了的名声和财富，他当然不得不像肖邦一样离开祖国，去寻找世界上最伟大的音乐中心。三年前，他在伦敦为观众50美元的门票演出。如今，他经常在两小时内赚到5000美元，最高纪录是7000美元。他靠艺术获得的收但益值得一提是因为他从不靠讨好观众、诡计多谋或哗众取宠来获得成功和掌声。
In this respect he is superior to Liszt, who, in his early period, did sometimes resort to sensationalism, which, however, was less a sign of immature taste than the wild exuberance of technical mastery bent on a frolic, and therefore not to be judged more severely than young Mozart’s feat of playing on a piano the keys of which were covered with a cloth. 
在这方面他是优于李斯特的。 在早期, 李斯特有时哗众取宠, 然而，与其说这是一种不成熟的品味，倒不如说这是一种狂热的、狂热的、专注于嬉戏的技艺。因此，人们对他的评价不会比年轻的莫扎特在盖着布的琴键上弹奏的技艺更苛刻。
The conditions in those days were not the same as at present. How eager the world was for Liszt’s show pieces may be inferred from the fact that when, in the pressure of concert-giving and traveling, he sometimes kept his operatic arrangements in his head a few months before writing them down, the publishers pursued him from town to town urging him to put them into shape for the printer.
那时的情况和现在不一样，世界是多么急切地希望李斯特的作品问世时, 在音乐会和旅行的压力下, 他把歌剧的编排在脑子里几个月后再写下来，出版商们从一个城镇追到另一个城镇，督促他为印刷做好准备。
To offset this early sensationalism, Liszt did more than any other musician to popularize the best music by playing his later splendid and thoroughly artistic arrangements all over Europe. To us it seems strange that he should have played Beethoven’s symphonies on the piano at Viennese concerts; but the truth is that the orchestras and conductors of that time were unable to interpret those symphonies satisfactorily, and many persons exclaimed, after hearing Liszt’s inspired performance, that now for the first time was Beethoven’s genius fully revealed to them. 
为了抵消这种早期的轰动效应，李斯特比其他任何一位音乐家都更努力地在欧洲各地演奏他晚期辉煌的艺术作品，以推广最好的音乐。在大家看来很不可思议的是，他竟然在维也纳音乐会上用钢琴演奏贝多芬的交响曲; 但事实是，当时的管弦乐队和指挥家无法令人满意地诠释这些交响曲，许多人在听了李斯特鼓舞人心的演奏后惊呼，现在贝多芬的天赋才第一次完全展现在他们面前。
Mr. Paderewski would never imitate Liszt’s example of playing a Beethoven symphony on the piano, for the simple reason that such a thing is no longer necessary. Our instrumentalists have improved immeasurably since the time—not much more than a century ago—when the leading orchestra in Vienna put aside Schubert’s ninth symphony as too difficult to be played. But Mr. Paderewski does play, and most properly, Liszt’s superb arrangements of songs and operatic melodies. Schumann once said of Thalberg that he had the gift of dressing up commonplace ideas in such a way as to make them interesting. 
帕德雷夫斯基先生永远不会模仿李斯特的样子在钢琴上演奏贝多芬交响曲，原因很简单，同样的事情已经没有必要了。一个多世纪以前，维也纳的主要管弦乐队认为舒伯特的第九交响曲太难演奏，把它搁置一旁。自那以后，乐器演奏家取得了不可估量的进步。但帕德雷夫斯基 （Paderewski） 的确演奏过，而且是极恰当地演奏过李斯特对歌曲和歌剧旋律的高超编排。
Liszt had the higher gift of taking the ideas of the greatest composers and transcribing them for the piano in such a way as to make them even superior to the original. Thus he succeeded in doing with music what no poet has ever succeeded in doing with poetry—translate it successfully into another language.
舒曼曾经这样评价撒尔伯格（Thalberg）: 他有一种天赋，能把普通的想法处理得很有趣。李斯特有一种更高的天赋，他能把最伟大的作曲家思想以一种比原作更高级的方式改编成钢琴曲。因此，他成功地把音乐译成另一种语言，这是任何诗人都无法做到的。
 His happiest translations were the Magyar melodies, with their Asiatic gypsy ornaments, which he welded into his Hungarian rhapsodies for the delight of all whose musical enjoyment does not consist in the pedantic analyzing of sonatas, but who take pleasure in the spontaneous melodies in which the naïve populace, in its moments of poetic emotion, has embodied its joys and sorrows. Mr. Paderewski has revealed to us the true spirit of this delightful Hungarian folk-music as no pianist or gypsy band has ever done.
他最热衷于改编匈牙利人的旋律,并配以带有亚洲吉普赛特色的装饰音,他把这些音乐元素融入他的《匈牙利狂想曲》中，而他对奏鸣曲的迂腐分析并不感兴趣，他享受民间淳朴自然的旋律,沉浸在诗意情感瞬间展现出音乐的喜怒哀乐。帕德雷夫斯基（Paderewski）先生向我们揭示了这一令人愉快的匈牙利民间音乐的真正精神，这是钢琴家或吉普赛乐队从未做到的。
Liszt had the mocking-bird gift of imitating the style of all the great pianists, and generally surpassed them on their own ground. Mr. Paderewski has inherited this trait, as well as Liszt’s amazing and unobtrusive technic and the art of getting orchestral effects from the piano, while in the magic of producing exquisite tone colors he even surpasses Liszt. In regard to their early career these great pianists present a considerable contrast. Mr. Paderewski was almost thirty before he won universal fame, while Liszt was the pet of all Europe as a boy.
李斯特有模仿所有伟大钢琴家的知更鸟天赋，而且通常在超越他们自己的所在领域。帕德雷夫斯基（Paderewski）先生继承了李斯特的这一特点，以及李斯特惊人而低调的技巧和在钢琴上呈现的管弦乐效果的艺术，同时，他在创造优美音色的魔力上甚至超越了李斯特。关于他们早期的职业生涯，这些伟大的钢琴家表现出相当大的反差。帕德雷夫斯基先生几乎三十岁时就赢得了全世界的赞誉，而李斯特小时候是全欧洲的宠儿。
 At nine, if he was asked to play a Bachfugue, he would boldly ask, “In what key?” At sixteen he had earned $20,000. But at present Mr. Paderewski is undergoing the same experiences that Liszt did, in the way of artistic, pecuniary, and social successes. That some foolish persons participate in the new “cult” is not his fault, nor is it gallant or just to sneer at it as a feminine fad. Were it not for the women, music in America and England would soon come to an end. 
九岁时，如果让他演奏巴赫赋格曲，他会大胆地问:“ 用什么调?” 十六岁时，他赚了两万美元。但是现在帕德雷夫斯基先生正在经历李斯特曾经有过的经历，在艺术、金钱和社会成就方面。一些愚蠢的人加入新的“邪教”己过，他们也没有非凡的胆量，只是将嘲弄视为一种“娘娘腔”行为。（此句可能有疑误，可留言指正）
Wagner understood this when he wrote: “With women’s hearts it has always gone well with my art; and probably because, amid the prevailing vulgarity, it is always most difficult for women to let their souls become as thoroughly hardened as has been so completely the case with our political men-folk.”
如果不是因为女性，美国和英国的音乐将很快衰败。瓦格纳明白这一点，他写道:“ 女性的心总是与我的艺术相契合; 也许是因为，在当前的粗俗风气中，女性总是很难让自己的灵魂变得像我们的政治人物那样彻底硬化。”
In local musical annals the season of 1892-1893 will go down as the Paderewski year. The Polish pianist will take his farewell of New York next Saturday, not to be heard again for several years, as he intends to devote his time to composition. No doubt it is more important for the cause of music that he should do so than that he should continue playing ;
在当地音乐史上，1892-1893年的这个时期被称为帕德雷夫斯基年。这位波兰钢琴家下一个星期六（本文写作于1893年7月）将告别纽约，好几年都不会再听到他的演奏了，因为他打算把时间用在作曲上。毫无疑问，对于音乐事业来说，他这样做比继续演奏更重要; 
 Yet it would be an incalculable loss if he should present one more parallel to Liszt by abandoning public playing altogether while he is the greatest living interpreter of the genius of the great masters. It is to be hoped that he will combine the functions of composer and pianist, giving concerts when his brain needs time for the maturing of new ideas.
然而，如果他在成为在世最伟大的天才大师的诠释者的同时，展现出另一个李斯特完全放弃在公众场合演奏，那将是一个无法估量的损失。希望他能将作曲家和钢琴家的功能结合起来，在大脑需要时间来成熟新思想的时候举办音乐会。
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