导言：肖邦是终生献身于一种乐器的第一个作曲家。肖邦现存的绝大多数作品都是为钢琴所作，然而，出人意料的是，作曲家只留下了两首钢琴协奏曲和一些其他的钢琴和管弦乐作品。比如莫扎特《唐·璜》中的选段，他为钢琴和管弦乐队重新改写的交响曲版本，青出于蓝胜于蓝。但肖邦并没有试图在钢琴上模仿管弦乐队。相对于使用别的乐器，钢琴才能够更好地表现音乐。本文内容均出自波兰裔加拿大钢琴家扬·利西茨基(Jan Lisiecki)本人论述，点击文末阅读原文查看文章出处。

Why are Chopin's orchestral compositions so rare?
为什么肖邦的管弦乐作品少之又少？
By Stephen Raskauskas 
Why Chopin Composed Fewer Works for Piano and Orchestra Than You Can Count on Your Two Hands？The majority of Chopin’s surviving works are for the piano. Surprisingly, however, the composer only left us with two piano concertos and a handful of other works for piano and orchestra.
为什么肖邦创作的钢琴和管弦乐作品，两只手都能数的过来？肖邦现存的绝大多数作品都是为钢琴所作，然而，出人意料的是，肖邦只留下了两首钢琴协奏曲和一些其他的钢琴和管弦乐作品。
Polish-Canadian pianist Jan Lisiecki, who recorded Chopin: Works for Piano and Orchestra for Deutsche Grammophon, reflected on these works and why Chopin didn’t write more of them.
波兰裔加拿大钢琴家扬·利西茨基(Jan Lisiecki)为德意志唱片公司(Deutsche Grammophon)录制了《肖邦:钢琴与管弦乐作品》(Chopin: Works for Piano and Orchestra for Deutsche Grammophon)，他对这些作品进行了反思，并解释了为什么肖邦没有更多地创作这类作品。
Expanding the piano’s color palette
丰富了钢琴的色彩变化
“I think Chopin felt the most comfortable writing for the piano, though it was not necessarily his favorite instrument. He was simply able to use it to its full potential and to express everything that he imagined in his mind. In many ways his writing for piano and orchestra is just an extension of that. It’s not symphonic writing. It’s not writing that uses the full potential of the orchestra. It’s his imagination for the piano enlarged by the writing with orchestra.
“我认为肖邦写作钢琴作品时是最舒坦的，虽然钢琴不一定是他最爱的乐器。他仅仅是充分利用了钢琴的所有可能，然后把脑海中的想法表达出来。在许多方面，他的钢琴管弦乐作品只是个调味品，因为这并不是交响乐创作，不会发挥出管弦乐的所有可能，这只是他在钢琴上的幻想罢了，通过管弦乐的形式加以放大。”
“It adds colors to the piano. We are given endless possibilities already at our instrument. But Chopin uses the capabilities of the winds and the strings, their richness, their sound quality to add to the piano’s possibilities and the color palette. It’s a gift that he gave us with these orchestral pieces.”
“这类作品增加了钢琴的色彩性，我们手上的乐器已经给予了我们无限的潜能，但是肖邦却利用了管乐器和弦乐器，他们的丰富性，他们的音质，都增加了钢琴的潜能并且丰富了色彩性。这是他用管弦乐作品赐予我们的礼物。”
“In a Mozart or Beethoven piano concerto if you removed the orchestra and told the pianist to play their part alone you’d be left with a bare bones structure. There would be some beautiful themes, some beautiful moments, and then there would be these very dull and uninspiring passages because you would be missing the core of the work. 
“如果你听莫扎特或者贝多芬的钢琴协奏曲，你把弦乐部分拿掉并告诉钢琴手单独弹钢琴部分，你会发现只剩下光秃秃的骨架，因为错过了作品的核心部分，所以尽管会有些美丽的主题，一些美好的时刻，但一些段落会显得有些枯燥和乏味。
Now in Chopin if you take away the orchestra for the most part you would still end up with a fully-fledged and well-developed work.  When the orchestra comes in it adds something – another layer – not instead of the piano, not in place of one of the piano themes or capabilities, but yet another layer, and more beauty.”
但是在肖邦的作品中，你把弦乐的绝大部分拿走，你还是会听到一个完满以及良好发展的作品。当管弦乐部分进入时，会增加些东西——另一种感觉——并不会取代钢琴的位置，也不会取代任何一个钢琴主题或者能力，就是另一种感觉，更美。”
Challenges for modern musicians
对现代音乐家的挑战
“I think Chopin also had an interesting vision of how the orchestra instruments sounded which didn’t always translate well into reality. He’d write small details that were very important but could never be heard in the modern concert hall and are even difficult and challenging to register on a recording.”
“我觉得肖邦对管弦乐器的音响有些有趣的见解，虽然并不总是能转化成现实。他很多细小的细节处理都很重要，但是在现代音乐厅是不可能听到的，就算是通过录音记录也是个困难和挑战。”
“For example, there are solos by woodwind instruments that don’t have the power to project and don’t have the power to actually be louder than the piano, especially the modern pianos. We’re dealing with writing that sometimes is very thin. As a pianist that just requires you to adjust to find also the color of the orchestra and gather inspiration from what those musicians are doing and how they’re shaping the phrases.”
“举个例子吧，有些木管乐器的独奏，力度太弱了，没办法表达，而且不可能比钢琴声音更大，更别说现代钢琴了，我们时常要进行微弱的处理。作为个钢琴家，我们仅仅需要调整下，找到管弦乐的色彩，然后汲取作曲家到底想要表达什么以及如何塑造乐句的灵感就可以了。”
Rondo à la Krakowiak in F Major, Op. 14
《Op.14 F大调克拉克维亚克回旋曲》
“The Rondo has the most beautiful opening. The French horns playing an F and a C and then the strings coming in with a cushion of sound – so warm, so rich and the piano plays this piercing lonely melody that’s somehow positive. You have the dance-like elements and a lot of passagework for the pianist side by side with the melodies spun in the orchestra. 
“回旋曲的开头是最美的，法国号奏出F和C音，接着弦乐缓慢的进入——如此温暖，如此饱满，钢琴演奏着孤独感入骨的旋律，不知怎么反而有些乐观的感觉。舞曲元素，大量钢琴经过句，与管弦乐的旋律糅合在一起，迷人的低音时不时冒出来。
There’s a fascinating bass that leads in places. But the soaring melodies are played by the woodwinds. And considering that I’m playing a thousand notes at once and it’s incredible passagework, I think it takes a high level of collaboration between the pianist and the conductor and orchestra to make it balanced and well-rounded.”
但是木管奏出的是高亢的旋律。鉴于我要同时弹出上千个音符，这是段很令人难以置信的经过句，我认为这需要钢琴家、指挥、管弦乐队的高度合作，这样才能达到平衡和全面。”
Variations on “Là ci darem la mano” From Mozart
《让我们携手同行》Op.2变奏曲
“A good set of variations starts with an excellent melody, and Chopin made a very wise choice with this one. The way he approaches it is quite fascinating. There’s an introduction that not only hints, alludes to the theme. He presents the theme very simply, very beautifully, elegantly. Between every variation, the orchestra plays an interlude, almost to welcome in the next round of the variation. 
“一套好的变奏曲会用一段优美的旋律开头，肖邦就作了一个非常明智的选择。他的方式非常吸引人，有一个引子，不仅是提示，而且是暗示了主题。他的主题呈现非常简单，非常美丽，非常优雅。在每一个变奏之间，管弦乐都会演奏一段插曲，像是在欢迎下一段变奏。
Chopin’s approach to the variations themselves is also fascinating because to me it almost alludes to the etudes that he wrote in that every variation presents a different technical challenge. It’s very interesting how he shapes that and creates this work from a very simple melody.
肖邦本身写作变奏曲的方式也非常有吸引力，因为在我看来，每一个变奏曲都与他写的练习曲相对应，因为每一个变奏都呈现出了不同的技术挑战，有趣的是肖邦如何通过一段简单的旋律来塑造和创造这部作品。”
“You have the variations, for example, where there’s a dexterous passagework where the melody is hidden in scales. Basically where I don’t really have solo notes that would show the melody at all – it’s just hidden in a continuous stream of notes. There’s a very dark variation where Chopin turns Mozart’s theme into something dramatic, something painful. 
“比如，你拿到这首变奏曲，有一段非常灵巧的走句，旋律隐藏在音阶之下，基本上，我没有任何独立的音符去展示旋律——因为旋律就隐藏在持续不断地音符流中。有一个阴暗的变化就是肖邦把莫扎特主题变得戏剧化，带点痛苦的味道。
There’s also the ones where I feel almost like I’m playing one of the Preludes, where it’s just the thoughts – a very simple thought, a very quick, complete thought, but one that passes by very quickly.”
还有一种感觉就是我觉得自己好像在弹一首前奏曲，有些乐思很像——很简单、非常快、完整的乐思，但是过得非常快。”
Fantasy on Polish Airs, Op. 13
《Op.13波兰风情幻想曲》
“The themes that Chopin uses as a basis for the fantasy were, at the time at least, very well-known in Poland. They have an interesting history but what is more interesting is that they’re concrete and they’re very separate. Yet Chopin is able to weave them into one continuous work. It doesn’t have sections. It is one idea. He links these melodies that have nothing in common other than being Polish into one fantasy which is a skill. And I think he does it remarkably well.
“肖邦使用的幻想曲主题，至少在当时的波兰是非常有名的。这些主题有一个非常有趣的历史，但更有趣的是这些主题本身都是具体而且独立的，然而肖邦将这些主题聚集在一起形成一部连续的作品，没有任何断的地方。有一种想法就是，他把波兰没有任何关联的旋律糅合在一起形成一部幻想曲，这是他技巧性的体现，我觉得他做的非常好。”
“Chopin had the incredible capability to always include Polish elements in his music and I think he wanted to. Most of his life he spent longing and yearning for his country after he left and could never return. 
“肖邦有一种惊人的能力，他总是能将波兰元素融入进自己的音乐中，我觉得他自己也想这么去做。在他离开波兰以后，他一生的大部分时间都在对他的国家的渴望和向往中度过，但是他一直都没有回去。
His music is quintessentially Polish in many ways. But the fact that he was very internationally educated and also became an international citizen influenced the way he wrote. It wasn’t purely Polish music. It was music that had many different facets and was written for many different reasons, not only to celebrate Polish events.”
他的音乐在许多方面都是典型的波兰风，但实际上，他受到的是国际教育，也成为了名国际公民，这影响到了他的写作方式，他的音乐并不是纯粹的波兰音乐。肖邦的音乐包含了许多不同的方面，而且创作原因也是各种各样的，并不仅仅是为了庆祝波兰的节日。”
继续阅读
阅读原文