So much of what happens in performance is mental.
So if I play a bar too fast, I try to figure out why I did it.
演奏中所表現(xiàn)出來(lái)的很多都是內(nèi)心感受，
所以當(dāng)我把一個(gè)小節(jié)演奏的太快，
我總會(huì)想找出為什么我會(huì)這么做。
——題記
Interview: Russian pianist Daniil Trifonov
俄羅斯鋼琴家丹尼爾·特里福諾夫?qū)ＴL(fǎng)
往期閱讀：1、“天生贏(yíng)家”丹尼爾·特里福諾夫 | 一顆新星的升起；2、阿格里奇說(shuō)他有“魔鬼元素”，又有一種獨(dú)特的柔情將之化解丨特里福諾夫身上承載著俄羅斯音樂(lè)的血脈，這是一切的基本原則！3、聽(tīng)特里福諾夫如何用指尖的柔情和魔性致敬肖邦！
Hannah Nepil
AUGUST 19, 2016
漢娜內(nèi)皮爾 2016年8月19日
Onstage he comes across like a veteran: someone who never fails to hypnotise his audience, who unearths more colours in one bar than many pianists find in an entire piece. Five years on from winning the Tchaikovsky and Rubinstein International Piano competitions back to back, Daniil Trifonov, 25, plays like someone twice his age.
在舞臺(tái)上，他給人的印象就像個(gè)舞臺(tái)經(jīng)驗(yàn)豐富的演奏家——他的音樂(lè)總是讓人沉醉，他在一個(gè)小節(jié)里展現(xiàn)出的色彩比許多鋼琴家在整首樂(lè)曲中所表現(xiàn)得還要豐富。在贏(yíng)得柴可夫斯基和魯賓斯坦國(guó)際鋼琴比賽的五年后，25歲的丹尼爾·特里福諾夫表現(xiàn)出超出他的年齡的一倍的成熟度來(lái)詮釋音樂(lè)。
In person, however, he seems very much his age. So much about this pale Russian pianist smacks of youthful bashfulness, from his delicate handshake to his knack for avoiding direct eye contact. Many of his mumbled responses are primarily directed at the floor, often followed by an endearingly shy smile. Only when discussing his musical projects does he really seem comfortable.
So the conversation quickly turns to his next UK appearance: a performance of Mozart’s Piano Concerto No 21 in C major with the Staatskapelle Dresden and conductor Christian Thielemann at the BBC Proms on September 7. To some, it may seem an interesting choice of repertoire for Trifonov, whose fire-throwing musical temperament is arguably at odds with classical restraint. And he is quick to comment on the challenges of playing Mozart: “You are completely naked in this music; there is so much transparency and it is very easy to notice when something emotionally fake happens.”
但他本人的言行舉止卻十分符合他的年齡。這位面色蒼白的俄羅斯鋼琴家，他習(xí)慣性避免眼神接觸的巧妙的握手方式，帶有一種年輕人青澀稚嫩的感覺(jué)。他的許多含糊其詞的回答大多都是面向地板在說(shuō)話(huà)，話(huà)音一落，往往伴隨的是一個(gè)可愛(ài)而羞澀的微笑。只有在我們討論他的音樂(lè)話(huà)題時(shí)，他才能表現(xiàn)得很自在。
所以話(huà)題迅速轉(zhuǎn)移到了他將在英國(guó)舉辦的下一場(chǎng)演出上：莫扎特的鋼琴協(xié)奏曲9月7日，在BBC逍遙音樂(lè)節(jié)上，與德累斯頓交響樂(lè)團(tuán)和指揮家克里斯蒂安·蒂勒曼合作莫扎特《C大調(diào)第21號(hào)鋼琴協(xié)奏曲》。對(duì)一些人來(lái)說(shuō)，對(duì)于特里福諾夫來(lái)說(shuō)，這似乎是一個(gè)有趣的選擇，他的熾熱如火的音樂(lè)氣質(zhì)可以說(shuō)與古典的矜持與克制感格格不入。他對(duì)關(guān)于他挑戰(zhàn)演奏莫扎特的評(píng)論迅速做出了回應(yīng)：“演奏者的內(nèi)在情感將完全暴露在這音樂(lè)中，莫扎特的音樂(lè)如此透明而純潔，任何一點(diǎn)感情上的虛假都會(huì)暴露無(wú)遺?！?nbsp;——莫扎特具有英雄氣概的《C大調(diào)鋼琴二十五協(xié)奏曲》丨協(xié)奏曲賞析系列（22）
But he rejects the notion that classical and Romantic styles are somehow incompatible. In fact, he argues, they can complement each other: “As Vladimir Horowitz once said, Chopin needs the classical timing of Mozart, and Mozart needs the melodic cantabile of Chopin.” Nonetheless, it is in Romantic repertoire that Trifonov has chiefly made his name.
His Proms performance last summer saw him take part in a thrilling Prokofiev concerto marathon, and he has recently played a lot of Rachmaninoff. His latest, widely acclaimed CD reveals an uncanny flair for this no-holds-barred composer.
但他不同意古典風(fēng)格和浪漫主義風(fēng)格有些矛盾這一觀(guān)點(diǎn)。事實(shí)上，他認(rèn)為，它們可以互通有無(wú)：“正如弗拉基米爾·霍洛維茨曾經(jīng)說(shuō)過(guò)的，肖邦需要古典時(shí)期的莫扎特，而莫扎特需要肖邦的如歌般優(yōu)美的旋律?！?/span>盡管如此，特里福諾夫的名字還是會(huì)出現(xiàn)在浪漫派的曲目中。去年夏天的畢業(yè)舞會(huì)上，他參加了一場(chǎng)激動(dòng)人心的普羅科菲耶夫協(xié)奏曲馬拉松演奏會(huì)，最近他還演奏了很多拉赫瑪尼諾夫的作品。他最新的廣受好評(píng)的CD，也充分表現(xiàn)了這個(gè)不受拘束的作曲家不可思議的天賦?！?a target='_blank'>那年花開(kāi)月正圓，霍洛維茨在莫斯科
So it is surprising that Trifonov did not play any Rachmaninov before the age of 21; he was too busy focusing on the music of Alexander Scriabin, who was and still remains Trifonov’s idol: “One thing I love about Scriabin’s music?.?.?.?is that there is never really any sense of rest. Even in the most tender moments there is still a lot of forward-going tension.”
Trifonov could almost be describing his own character. This, after all, is a pianist who, from his earliest years, has been something of a slave to his talent. He was eight when he gave his first performance with an orchestra, losing one of his milk teeth during the concert. Soon afterwards he moved with his musician parents from his home town of Nizhny Novgorod to Moscow so that he could study at the celebrated Gnessin School of Music.
特里福諾夫在21歲之前就沒(méi)有演奏過(guò)拉赫瑪尼諾夫的曲子，這實(shí)在令人驚訝。他忙于專(zhuān)攻學(xué)習(xí)亞歷山大·斯克里亞賓的音樂(lè)，斯克里亞賓過(guò)去是，現(xiàn)在依舊還是特里沃諾夫的偶像：“我喜歡斯克里亞賓的音樂(lè)的一個(gè)原因，是因?yàn)樗囊魳?lè)里根本沒(méi)有任何松懈的感覺(jué)。即使在最溫柔的時(shí)刻，仍然存在著大量的不斷向前推進(jìn)的緊張感?！?/span>——在生命的最后日子里，據(jù)說(shuō)斯克里亞賓常常一個(gè)人坐在窗前，孤獨(dú)地演奏自己的十首鋼琴奏鳴曲……
特里福諾夫的這一描述幾乎可以說(shuō)是在形容他自己的性格。畢竟，這是一個(gè)鋼琴家，從他的早年起，他一直是他的天賦的奴隸。他8歲的時(shí)候第一次在管弦樂(lè)隊(duì)演出，在音樂(lè)會(huì)上掉了一顆乳牙。不久，他和他的音樂(lè)家父母從家鄉(xiāng)諾夫哥羅德搬到了莫斯科，這樣他就可以在著名的格涅辛音樂(lè)學(xué)校學(xué)習(xí)了。
“As well as being a specialised music school, we also had normal subjects, so there was a double lot of work,” he recalls. But he seemed to enjoy the challenge. “My favourite subject was physics,” he says, “especially 20th-century physics. I liked to challenge my imagination and visualise what I read in books, and it probably helped me with my inventions of new ways to practise the piano.”
Such as? “Well, sometimes I practised [piano fingering] in a swimming pool.” He blushes and explains hurriedly, “Once in water there is much higher resistance so half an hour of such practising really makes the upper back much more flexible and that improves sound quality when you play.”
“除了專(zhuān)業(yè)的音樂(lè)學(xué)校，我們也有普通的課程，所以有很多的工作要做，”他回憶說(shuō)。但他似乎很享受挑戰(zhàn)。“我最喜歡的科目是物理，”他說(shuō)，“尤其是20世紀(jì)的物理學(xué)。我喜歡挑戰(zhàn)自己的想象力，想象自己在書(shū)中讀到的東西，這可能有助于我發(fā)明新的鋼琴練習(xí)方法。”
例如？“嗯，有時(shí)我在游泳池里練習(xí)彈琴（鋼琴練習(xí)指法）?！?/span>他臉紅了，急忙解釋說(shuō)：“一旦有了水就會(huì)有更高的阻力，所以半小時(shí)的練習(xí)確實(shí)會(huì)使上背更加靈活并且在你演奏時(shí)提高聲音的質(zhì)量”。
In between schooling came a string of competitions, not all of them victories. So it was all the more satisfying when Trifonov, at 20, won the Rubinstein and Tchaikovsky prizes within only a few weeks of each other. “One good thing about competitions is that they teach you how to concentrate,” he says, “because you have only one shot.”
Judging from Trifonov’s performances, he has taken that lesson to heart. Shoulders hunched, nose inches from the keyboard, he plays as though he were dreaming up the music on the spot.
在學(xué)校教育的間隙，他參加了一連串的比賽，但并非所有的比賽都取得了勝利。所以，當(dāng)20歲的特里福諾夫在幾周內(nèi)贏(yíng)得魯賓斯坦和柴可夫斯基獎(jiǎng)時(shí)，就更讓人滿(mǎn)意了。他說(shuō)：“鋼琴比賽的一個(gè)好處是，它教你如何集中精力，因?yàn)槟阒挥幸淮螜C(jī)會(huì)。”
從特里福諾夫的表現(xiàn)來(lái)看，他把這個(gè)教訓(xùn)牢記在心。肩膀弓著，鼻子離鍵盤(pán)只有幾英寸，他演奏時(shí)就像在現(xiàn)場(chǎng)幻想著音樂(lè)。
In his view, that ability to be fully immersed in the moment is crucial to serving particular composers’ interests. “As Artur Schnabel said, Beethoven should not be performed but ‘recomposed’,” he recalls, “and you can apply the [same philosophy] to many composers. A lot of Chopin’s music, for example, was created during improvisation, so here a sense of in-the-moment spontaneity is very important.”
And Mozart? “There too,” he insists, “at least in terms of its colours and emotional shifts, if not its timing.
Offstage, however, Trifonov’s approach to music-making is strikingly introspective. He admits that he has long been curious about the way his brain works during a concert, “because so much of what happens in performance is mental. So if I play a bar too fast, rather than thinking ‘I shouldn’t play so fast,’ I try to figure out the reasons why I did it, for example, the fact that I was not paying enough attention to a specific voice.”
在他看來(lái)，完全沉浸在當(dāng)下的能力對(duì)于淋漓盡致表現(xiàn)一個(gè)指定作曲家的音樂(lè)至關(guān)重要的。“正如施納貝爾所說(shuō)，貝多芬不應(yīng)被演奏，而應(yīng)該被重塑”，他回憶道，“而且你可以將[同樣的哲理]應(yīng)用于許多作曲家。例如，肖邦的許多音樂(lè)都是在即興創(chuàng)作的過(guò)程中創(chuàng)作出來(lái)的，所以這里的即興感是非常重要的?！?/span>莫扎特呢？““至少就顏色和情感變化而言，”他堅(jiān)持說(shuō)，“如果不是時(shí)機(jī)的話(huà)，也是如此?！薄由扉喿x：施納貝爾論鋼琴家天職丨他如何為自己的錯(cuò)音辯護(hù)丨他如何確立20世紀(jì)演奏理念丨他如何賦予音樂(lè)生命，并喚醒沉睡學(xué)生心中的潛在素質(zhì)
然而，在舞臺(tái)下，特里福諾夫的音樂(lè)創(chuàng)作方法卻有著驚人的內(nèi)省性。他承認(rèn)很久以來(lái)他一直對(duì)自己的大腦在音樂(lè)會(huì)上的運(yùn)轉(zhuǎn)方式感到好奇。“因?yàn)樵诒硌葜邪l(fā)生的很多事情都是心理上的。所以，如果我每一小節(jié)的演奏速度太快，我不會(huì)認(rèn)為‘我不應(yīng)該演奏得那么快’，我試著找出我為什么要以這種方式演奏的原因，例如，我沒(méi)有對(duì)某一特定的音效給予足夠多的關(guān)注?！?/span>
Evidently, detaching himself from such thoughts does not come easily to Trifonov. Even in his free time he finds it difficult to stop thinking about the piano. And, by his own admission, he constantly hears music in his head: “Sometimes I notice it, sometimes I try not to. Sometimes it’s something I’ve already heard, or played or composed, sometimes it can be difficult to discern what it is.”
He has even been known to “practise” in his sleep (“I’ve been told by my girlfriend,” he mutters). Does he remember, on waking, what he has been practising? Apparently not. “Often in the morning on a tour you wake up and you have to immediately rush to the airport,” he says, “so there is not much chance for remembering.”
顯然，特里福諾夫不容易擺脫這種想法。即使在業(yè)余時(shí)間，他也很難停止思考鋼琴。而且，他自己也承認(rèn)，他腦海里經(jīng)常有樂(lè)聲回蕩：“有時(shí)候這個(gè)現(xiàn)象我注意到了，有時(shí)候我試著不那么去做。有時(shí)候這些樂(lè)聲是我聽(tīng)過(guò)、演奏過(guò)、譜寫(xiě)過(guò)的東西，但有時(shí)候我也很難分辨出這些樂(lè)聲究竟是什么?！?/span>
他甚至在睡覺(jué)的時(shí)候會(huì)“練習(xí)”（“我女朋友告訴過(guò)我，”他喃喃自語(yǔ)）。他還記得醒著的時(shí)候練習(xí)過(guò)什么嗎？顯然不是?！八f(shuō)：“我經(jīng)常在一個(gè)將要啟程旅行的清晨醒來(lái)，必須立即趕往機(jī)場(chǎng)，所以沒(méi)有多少機(jī)會(huì)去回憶?！?/span>
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