李赫特——访谈与笔记

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2016-05-07 看过
【太幽默了!看他的访谈和音乐笔记已经快笑尿!把以前记录的一些梗放在这里和大家共享吧】
  He=Richter Me=Bruno (传记编写者,同名纪录片导演)

  In bed on the eve of his departure, his eyes shining with enthusiasm, he told me his latest idea:' Music must be given to those who love it. I want to give free concerts; that's the answer.'
  I gave him an amused nod of approval. 'Do you know who'll resist the idea?' he asked. 'The promoters. They don't like that sort of thing.' Innocence and clear-sightedness. We'll place a large black hat on the stage, and those who want to contribute can do so.'

  Nothing could have touched me more than this laconic response of his. He raised no objections and radiated a sort of inner satisfaction. We returned to his hotel and I remained with him until well into the night. His active and conscious involvement was finally and joyously established.
  'When will you come to Moscow?' he wanted to know. 'There are so many things I'd like to show you there. And we've still a lot to do.'
  I told him that on this occasion I'd come with a proper film crew and that we would film specific sequences that I would write in advance and that would fill the gaps in our film. If he liked, I could some to Moscow as soon as next week.
  'No,not next week, I'm flying, and so I'll need time to recover.'
  He hated flying. Only a few years earlier he had driven all the way from Moscow to Japan and back, giving nearly one hundred concerts within the space of only a few months while crossing the Urals and Siberia. He was altogether exceptional as a person.
  'What about the end of August?' I suggested.
  'Budyet posdno!'-' That would be late.' I was dismayed by this idea of the ineluctible that had now raised for the first time. He had said these words in such a plaintive voice, but with a sense of mischief in his eyes. It could not be a premonition, as he immediately went on, as though still making up his mind:' Po tomu shto, mozhet byt' konzerty'-'Because, who knows, there may be concerts.' Only a few days earlier he had started to play the piano again for real and was thinking of returning to the concert hall.
  I suggested arriving four weeks later, on 2 August.
  'That will be perfect; we'll work together for a whole week,' he replied.
  He died on 1 August.

[Introduction]
Bruno正在想办法劝李赫特怎么能接受拍电影而不仅仅是录音:
  Then, with that characteristic and melancholic pout of his:' It's not really very interesting, is it, what I'm telling you?'
    'But Maestro...'
    For nearly two months I had been looking for an opportunity to tell him, unambiguously, that i wanted to make a film of him. And on this particular day he was so happy that I added:' Not only is it very interesting, but it would be even better if it were filmed.' I had jumped in at the deep end. It was as though a blinding light had suddenly set me free.
    His reaction was incredible:' Da nyet potom.' Literally,' Yes,no,later...' Effectively, it meant 'We'll see.'
    This was the first time that I had mentioned it, and I could hardly have expected a better response than 'We'll see.'
    At that very moment Nina(Richter's partner) came into the room. Realizing what we were discussing and believing that this was a good time to back me up and force him to take a dicision, she insisted:' Look, Slava (Richter), Bruno will come with a friend and very little equipment, it'll be nothing.' It was like talking to a child as you lift him into the dentist's chair, increasing his fears while thinking that you are reassuring him by telling him that he will feel nothing. The hapless Richter felt caught in a trap.
    'No!No!' he groaned. He thought there was a kind of conspiracy between Nina and me. I understand his exasperation. Faced with so violent a reaction, Nina had gone very quiet. I felt and immense confusion, but Richter himself, his expression impenetrable, at least confirmed that he wanted to see me the next day.

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p169. Recording-Brahms 2nd Concerto in B flat(S.R.Orchestre de Paris conducted by Lorin Maazel)
"What hard work this recording was for the marvellous musician that Maazel is and for the third-rate orchestra that the Orchestre de Paris is! They all fancy themselves as soloists and constantly press ahead without paying the least attention to the conductor.

p242. 1977/ An evening at the home of Artur Rubinstein Paris
          Chopin-Fantasia on Polish Airs
          Mozart-Trios in E flat K 498
An extremely interesting and enjoyable evening at Artur Rubinstein's, where he played me some of his favourite records. In fact I've always felt at ease in his company. He has such a positive outlook on life, he's happy, uncomplicated and full of good humour and charm. I remember that each time he told us a story, he did so with such talent that we almost died laughing.
His wife, Nella, has managed to impose her own style on the house where they live- simple and elegant. This, I think, is a typically Polish feature. Our conversation was lively and witty. I've always felt relaxed with them.
Besides, the programme that he played for me was made up of some really quite unique recordings. Artur is a particular fan of Gabriella Besanzoni, whom he considers the best Carmen he's ever heard and who was also, it seems, a great beauty. His recording of the mazurkas is in the good old concert tradition, with no trace of sickly flabbiness, I find it very convincing.
He's almost blind, but behaves as if it didn't bother him.Quite the opposite, it even becomes a subject for his shafts of wit.

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p.176
1981
Recording-Prokofiev 6th Sonata-Ivo Pogorelich
Some time ago we received a visit from a ‘lady’ from Tailisi. She brought with her a photograph of Paradzhanov with Lili Brik, and a recording made by her husband, Ivo Pogorelich. On the cover of the record is his photography, a young and pretty little face with curly hair. The ‘lay’ is his teacher; she claims to be Liszt’s great-granddaughter. In fact, she looks rather like a costermonger.
I’ve listened to the recording- again, a total misunderstanding of Prokofiev. An exhibitionist temperament and a sloppy use of the pedal.

p.188
1972
Recording Stravinsky Petrushka Conductor: Seiji Ozawa
I am not really taken by Ozawa in this work, which is so clearly Russian. Of course, he’s very gifted, but his gift is rather that of the mimic, and he lacks some of the depth for this kind of music. He certainly knows how to create an effect. From that point of view, his success is assured.
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