荷洛维兹对演奏评论的看法，十分精彩。另外有他弟子janis对他的... [复制链接]

Horowitz自己对音乐评论的看法。我有他亲口口述的一段mp3，可惜不能上传。(版主专利）

音乐演奏是很难被评头品足的。那些评价家什么都不知道。他们不知道巴赫是怎么弹的，却在那乱拍砖和吐口水。
Bach的一首作品，由贝多芬天天演绎，又由肖邦天天演绎。他们两位之间的演绎的差异大家都想象得到了吧。但是贝多芬与肖邦都可以将那件作品弹得美轮美奂。于是有一些品论家就拍砖贝多芬，有一些评论家就对肖邦吐口水。他们根本就没有办法知道究竟谁的阐释才是对的。但是贝多芬与肖邦都是伟大的艺术家，而且他们都是天才。


下面是《伟大钢琴家》对荷老的叙述，有关他的技巧问题。我翻译一下有关horowitz的手平姿势问题。

Horowitz was sometimes criticized for his highly mannered style in his performances, with magnificent double-fortissimos suddenly followed by pianissimos. Indeed, he was able to produce an extraordinary volume of sound from his piano, without ever banging, unique in the history of the instrument. Another unique aspect of his pianism was his taut, precise, and exciting attack, which was ever-present, noticeable even in his renditions of pieces that were not particularly technically demanding (e.g. his magnificent performances of miniatures, such as the Chopin Mazurkas). He is also famous for his octave technique; his scales in octaves were extraordinarily fast without sacrificing any precision whatsoever, his hands moving so rapidly as to appear blurred. When asked by the pianist Tedd Joselson how he practiced octaves, Joselson reports, "He practiced them exactly as we were all taught to do." (Schonberg). His hand-position was very unusual, playing with flat fingers. Rachmaninoff once commented upon it, saying that Horowitz plays contrary to what they had been taught, yet somehow with Horowitz it works. The little finger of his right hand was always curled tight until it needed to play a note; as music critic Harold Schonberg put it, "it was like a strike of a cobra" (The Great Pianists 436).

他的手形十分独特，手指是放平的。rachmaninogg就曾经讲过，horowitz的弹法与传统的钢琴教学背道而驰，但是在他身上那种弹法是可行的。他的右手的尾指总是弯的，除非要用到它来弹一个音符，schonberg就说过，那就象是响美蛇的突袭。





再有一段由janis写的评论
A Tribute  

Frederic Chopin once claimed that he never played a piece twice in the same way.  Creative and recreative artistry of this kind is given only to a select few.
When it is combined with an all round mastery of the keyboard, one is confronted with a force that is very special indeed.
Vladimir Horowitz, surely one of the greatest and most fascinating artists in the entire history of piano playing - was such a force.
肖邦讲过，同一件作品，他不会去用同一种方式演绎两次（荷老多次讲过者句话）。创新和再创新的艺术演绎只是一小部分人的专利。当这种专利与对键盘的全面掌握合而为一，我们可以感受到那种独特的威力。Horowtiz，钢琴历史上最伟大，最引人如胜的钢琴家之一，就是这种威力的代表。


In the fifty years I knew him, I had the good fortune to hear many of his performances, both public and in private.  During the four years I studied with him as a teenager, and indeed, long afterwards, I enjoyed the privilege of hearing a large part of the piano repertoire played for me in the privacy of his living room.  What a thrilling unforgettable experience!

I remember from those sessions even more than any of their manifold incidental beauties, the special ‘divine inconsistency’ I have mentioned – that mysterious ever changing freedom is the very heart of creativity.  But, as great painters and composers have their ‘periods,’  so do great performing musicians - stretches of time, whatever differences of detail there may be between individual performances, the overall interpretative approach remains the same.
正如一些伟大的画家与作曲家一样，音乐家也有他们的低潮。随着他们的年纪渐大，即使演奏不能在维持在高峰水准，他们对作品的处理手法也还是顶尖的。



Listening to these magnificent recordings, one soon realises that Horowitz was passing through a very special ‘period’ in his career, very different from when he had last appeared before the public in 1953.  Since then, everything had been re-thought, re-felt, re-lived.
听着这些录音，大家都会察觉到horowitz是处于那种低潮时期，与他在1953年前的演奏大为不同。自那时候起，所有东西都被推翻了。

What I hear in these performances is a purity, a kind of innocence that gives such a natural beauty to his singing phrases.  Dynamic gradations are handled with such evenness.  Everything is spun out with such an air of simplicity.  It is as though this great musician had taken his huge arsenal of pianistic gifts, not to mention his artistry and imagination - and addressed them thus -  “You shall not dominate me – I am aware of you, but you are at my command.”


Yet nothing has been sacrificed.  Vladimir Horowitz is still true to himself.  The extraordinary technique, the beautiful singing tone and sense of color, the huge sonority which required the story-telling imagination – all are still present, but his playing seems to come from a different part of his being.
Every ‘period’ of this pianist’s extraordinary career helps to define his identity, but these recordings were a particular revelation to me in highlighting the unique greatness that is Vladimir Horowitz.
但是一切如旧。Horowitz还是Horowitz.  那超人的技巧， 歌唱搬的琴声（horowitz经常讲他要piano发出唱歌的声音）与音色，那种只能由充满想象力的叙述才能产生的巨响，统统都健在。虽然他的演奏方式仿佛从来自他的另一种性格。
任何一个钢琴家的的每一个低潮时期的演奏都是对他们那杰出的演奏生涯的一个精彩节选，但是荷老的这些录音于我来说，是一种独一无二的伟大的呈现。而那个伟大，就是霍洛维兹。

1993  Byron Janis