The Art of Arrau

阿勞的演奏藝術(shù)

by W.L.Taitte Texas Monthly/October 1983

翻譯者：趙一/2018年1月

針對(duì)本文的翻譯，歡迎文末指正、賜教！

At eighty, the brilliant pianist Claudio Arrau plays passionately on, but successors in the Romantic tradition are hard to find.

步入八十歲的杰出鋼琴家——克勞德·阿勞（1903年2月6日-1991年6月9日）——依然活躍在演奏舞臺(tái)上。而如今，這樣的浪漫傳統(tǒng)的傳承者們已經(jīng)屈指可數(shù)。    

Is Claudio Arrau the greatest pianist in the world? He turned eighty this year, and the occasion is being marked with much rejoicing. Born in Chile, trained in Germany, and now residing in the U.S., Arrau has been giving celebratory concerts in America and Europe. Knopf has published a biography, Conversations With Arrau, by Joseph Horowitz, that is one of the most illuminating books ever written about a living musician. His many recordings are being re-released in boxes of the sort more often used to memorialize centenaries of composers than birthdays of performers. The best among them comes from Philips Records, which has been the pianist's label for the last two decades. The Arrau Edition (6768 350 through 357) is eight boxed sets devoted to individual composers, remastered and offered at bargain prices. The 58 records comprise works by Beethoven (concertos on 6 discs and sonatas and variations on 14 discs), Schubert (4 discs), Schumann (10 discs), Chopin (9 discs), Liszt (7 discs), Brahms (5 discs), and Debussy (3 discs). The selections represent the heart of the piano repertoire, and the performances substantiate the claim that Claudio Arrau is the dean and master of Romantic pianists.

克勞德·阿勞是世界上最偉大的鋼琴家嗎？今年，他步入八十歲，正是一個(gè)值得慶祝的時(shí)刻。阿勞，出生于智利，學(xué)成于德國(guó)，現(xiàn)居住在美國(guó)。他的演奏足跡遍布?xì)W洲和美洲。Knopf（編者按：應(yīng)該是一家出版社）出版過(guò)一部傳記，約瑟夫·霍洛維茨所著的《阿勞談藝錄》（編者按：有中文版，洛陽(yáng)紙貴），在描寫(xiě)在世的音樂(lè)家中只是一份很有啟示性的書(shū)。阿勞有很多專輯都是為作曲家的百年紀(jì)念而出版的。其中最優(yōu)秀的錄音，由過(guò)去二十年間象征鋼琴家們的標(biāo)志的Philips唱片公司出版。阿勞的版本（6768 350-357）是八部作品合輯，其中包括老版本的重新灌錄，以特價(jià)出售。這58個(gè)錄音，包含了貝多芬作品（六張交響曲CD，十四張奏鳴曲和變奏曲CD），舒伯特作品（四張CD），舒曼（十張CD），肖邦（九張CD），李斯特（七張CD），勃拉姆斯（五張CD），德彪西（三張CD）。選曲涵蓋了鋼琴作品中的核心作品。而超高的錄音質(zhì)量也證明了克勞德·阿勞作為浪漫時(shí)期作品權(quán)威演奏家的地位。

The significant thing about these records is that the most recent performances are the best. Of how many other octogenarian instrumentalists is that true? Certainly it is not the case for Arrau's contemporaries and rivals, Vladimir Horowitz and Rudolf Serkin. Both have overshadowed Arrau for most of their careers, but in their latest recordings their technical proficiency has fallen off noticeably. During the last two years, the notorious Horowitz played highly publicized recitals at the Metropolitan Opera House and at London's Royal Festival Hall, and the records of those performances (Horowitz at the Met, RCA ATC1-4260, and Horowitz in London, RCA ARCl4572) are sad documents. The Chopin Polonaise-Fantaisie, Opus 61, on the latter displays neither the transcendent technique nor the volatile excitement of Horowitz's 1966 recording (Horowitz Plays Chopin, Columbia M 30643). Similarly, Serkin's recent recordings on Telarc and Deutsche Grammophon show the ravages of time on the pianist's dexterity.

值得注意的是，這些錄音之中最優(yōu)秀的是最近的錄音。有多少八九十歲的演奏家身上會(huì)發(fā)生這樣的事呢？這種情況并沒(méi)有同樣發(fā)生在阿勞的同代人和競(jìng)爭(zhēng)者霍洛維茨和魯?shù)婪颉と麪柦鹕砩?。他們?cè)谄浯蟛糠盅葑嗌闹卸嫉玫搅吮劝诟嗟馁澴u(yù)，但技術(shù)的退步還是在他們最近的錄音中顯現(xiàn)出來(lái)。最近兩年，霍洛維茨在美國(guó)林肯中心和倫敦皇家音樂(lè)廳的音樂(lè)會(huì)受到高度宣傳，錄音并不盡如人意。在后者的演出中，肖邦《幻想波蘭舞曲》（Op.61），并沒(méi)有表現(xiàn)出與其1966年錄音（霍洛維茨演奏肖邦，Columbia M 30643）一樣卓越的技巧，以及同樣多變的色彩。塞爾金最近在Telarc公司和德國(guó)留聲機(jī)公司的錄音，也體現(xiàn)了鋼琴家手指靈活性的倒退。

But Arrau goes on, playing better than ever. His tempos have slowed down over the years - there are drastic differences between his performances of any piece he has recorded more than once - but there can be no doubt that the changes result from conviction rather than physical necessity. He plays Liszt's frighteningly demanding Transcendental Etudes with commanding technique. His newest release, a Liszt potpourri (Philips 6514 273), displays Arrau's blazing emotional fervor and sincerity. It makes the most convincing case on records for Liszt as a major composer.

阿勞的演奏卻越來(lái)越出色。近年，他演奏的速度減慢了——他的重錄版本和最初的版本之間，幾乎都有很大的不同——但是毋庸置疑，這樣的變化出于其音樂(lè)上的專業(yè)判斷而非其手指技術(shù)的局限性。他以無(wú)以倫比的技巧完美詮釋了李斯特的超技練習(xí)曲。他最近的錄音，李斯特合輯（Philips 6514 273），顯示了阿勞真摯熱烈的感性表達(dá)。他使之成為李斯特作品的最權(quán)威錄音。

The deepening of Arrau's insight as he has aged may perhaps best be seen in the Schubert box, which contains many recent recordings. One, that of the A Major Sonata, D. 959, was previously unavailable in America. Arrau believes that Schubert's late sonatas reveal a preoccupation with death, which the composer knew was upon him. The A Major Sonata, published posthumously, is the most cheerful and aggressive of Schubert's last three sonatas, yet Arrau molds it to his conception without sounding arbitrary or injudicious. The first movement, though rather slow, has plenty of momentum and bounce, and the third and fourth movements swing with rhythmic definition. Arrau gives the slow second movement its most haunted and moving treatment ever - he tears into the violent central section passionately and brings forth pity and terror. He shades the reflective passages of the fourth, and last, movement to recall the emotions of the second movement, bringing a profound unity to the performance.

阿勞隨著年齡的增長(zhǎng)而深刻的理解力，體現(xiàn)在收錄了很多近期錄音的舒伯特專輯之中。其中的《A大調(diào)奏鳴曲》（D. 959），之前不曾在美國(guó)發(fā)行過(guò)。阿勞認(rèn)為舒伯特的晚期奏鳴曲表達(dá)了作曲家預(yù)感到的即將到來(lái)的死亡。這首作曲家去世后出版的《A大調(diào)奏鳴曲》，是舒伯特晚期三首奏鳴曲中最歡快和有活力的，阿勞作出了慎重，明智的處理。第一樂(lè)章中，雖然相對(duì)速度較慢，動(dòng)力則是不間斷的。在第三第四樂(lè)章抓住了節(jié)奏的脈搏。阿勞的第二樂(lè)章充滿了懸疑和動(dòng)人的色彩-猛烈熱情的樂(lè)曲中心部分之后，演奏又回到了悲憫和恐怖的氣氛之中。末樂(lè)章回應(yīng)了二樂(lè)章的音樂(lè)元素，及其音樂(lè)色彩，使演奏得到了完整的統(tǒng)一。 

The indispensable boxes of the Arrau Edition are the Liszt, the Schubert, and the Brahms, which is full of near-perfect performances. The more I listen, though, to the rest of the edition, the less I want to be without any of Arrau's interpretations and their sometimes quirky insights. Another major commemorative recording is Claudio Arrau: A Retrospective (CBS M3 37866), which contains performances of Liszt, Schumann, Chopin, Debussy, and Ravel from the late forties and early fifties. Comparing the CBS and Philips versions of Schumann's Kreisleriana shows the earlier Arrau to be a mainstream interpreter and the later Arrau to be more individual, even slightly eccentric, but tantalizing. Perhaps the real asset of the CBS box is the sample of five of Liszt's Hungarian Rhapsodies. Both the music and the playing are far less solemn and imposing than in the Philips box; it is refreshing to hear the earlier Arrau indulge in a romp.

阿勞版本音樂(lè)專輯中，李斯特，舒伯特，勃拉姆斯的作品不容錯(cuò)過(guò)，這些演奏幾乎無(wú)可挑剔。其他版本，有的包含一些讓人難以琢磨的詮釋，聽(tīng)的越多，就越讓人無(wú)法忽視阿勞的演繹。另一個(gè)主要的紀(jì)念專輯是，克勞德·阿勞：曲目回顧（CBS M337866），包含了他四十歲后期及五十歲前期演奏的李斯特，舒曼，肖邦，德彪西和拉威爾作品。比較CBS公司和Philips公司版本的舒曼《克萊斯勒偶記》，早期的阿勞的演繹趨于主流，而后期的阿勞逐漸形成了個(gè)人風(fēng)格，略顯古怪，但很吸引人。CBS專輯中最值得注意的是五首李斯特《匈牙利狂想曲》。比較來(lái)看，音樂(lè)性和演奏遠(yuǎn)不如Philips公司專輯的莊重，也并不讓人印象深刻；早期的阿勞的演繹風(fēng)格稍顯隨意（indulge in a romp）。

Still, it is to the Philips Arrau Edition that I will return again and again when I want to hear the central Romantic repertoire played with passion and insight. Nobody else plays the Chopin waltzes like Arrau - often very slowly and with alarming rhythmic liberties but also with unparalleled drama and sweetness. Nobody else plays the Brahms Piano Concerto No. 1 in D Minor with such majestic weight and power. Nobody else plays Schubert's last piano sonata, in B-flat Major, with such poignancy - the end of the development section of the first movement can always wring a tear. Looking for a successor to Arrau can be a depressing business. The last thirty years have seen the disappearance of many gifted pianists who would now be reaching their prime in their fifties and sixties. Dinu Lipatti and William Kapell died young, Van Cliburn has virtually retired, and Leon Fleisher, because of a crippled right hand, has been concentrating on music for the left hand. They were the natural heirs of the nineteenthcentury repertoire.

浪漫主義時(shí)期核心作品，筆者會(huì)選擇Philips公司發(fā)行的，充沛的感情和深刻的思想性并存的阿勞版本。阿勞演奏的肖邦圓舞曲獨(dú)一無(wú)二——通常以十分慢的速度，有自由度的節(jié)奏，兼具絕妙的戲劇性和甜美的舞曲風(fēng)格。任何人的勃拉姆斯《第一鋼琴協(xié)奏曲》都不能彈出像他一樣的宏偉與氣勢(shì)。任何人都不能像他一樣強(qiáng)烈地演奏出舒伯特最后一首奏鳴曲——第一樂(lè)章展開(kāi)部的末尾那么令人動(dòng)容。想找到一名阿勞的傳承者是很困難的。過(guò)去三十年間，很多本該到達(dá)五六十歲巔峰時(shí)期的頗有才華的鋼琴家們，淡出了我們的視野。迪努·李帕蒂，威廉·卡佩爾英年早逝，范·克萊本退休，萊昂·弗萊舍由于受傷的右手，已經(jīng)專注于左手演奏的音樂(lè)。他們也是十九世紀(jì)作品的傳承者們。

Those who love the piano and pianists are probably becoming apoplectic because I have not considered the claims of Sviatoslav Richter, who is certainly one of the world's most talented pianists. But Richter, who will be seventy next year, has long suffered from ill health. His appearances in the West have been infrequent, and his recordings grow rare. The most recent solo performance to be released here, in late 1982 (Vox Cum Laude D-VCL 9027), dates from his appearances in Japan almost five years ago. It contains two Schubert sonatas; the one in A Major, Opus 120 (an earlier, shorter. gentler piece than the one discussed above) has long been a Richter specialty. His performance from the early sixties (now available on Angel RL-32078) is an old favorite of mine, flowery, delicate, and joyful. The newer version is dirgelike and suffocating - one of the least appealing performances of Schubert I have heard. It's unlikely that Richter's future performances of Romantic pieces will match those he has given us in the past.

那些喜歡鋼琴的人可能會(huì)覺(jué)得意外。筆者還沒(méi)有提到斯維亞托斯拉夫·里赫特，當(dāng)之無(wú)愧世界上最有才華的鋼琴家之一。明年就七十歲的里赫特，如今長(zhǎng)期經(jīng)受著病痛折磨。他已經(jīng)很少在西方國(guó)家演出，錄音也非常罕見(jiàn)。最近的獨(dú)奏錄音是在1982年末Vox Cum Laude（D-VCL 9027），五年前日本演出的錄音。包括兩首舒伯特奏鳴曲；一首《A大調(diào)奏鳴曲》（Op.120）（早期，篇幅小，更溫和的一首音樂(lè)作品）里赫特的代表作。他六十歲前期的作品now available on Angel （RL-32078）筆者之前就十分欣賞，演奏得華麗，精巧又歡快。最近的版如同挽歌一般，充滿了壓抑的氣氛。筆者認(rèn)為，里赫特未來(lái)的演奏不太可能會(huì)達(dá)到他之前的完成度了。 

There are other pianists who might succeed Arrau, except that they are not comfortable with nineteenth-century music. Typically, they play Beethoven and modern composers fabulously but seem lost in Chopin and Liszt (if they play them at all). Maurizio Pollini, for all his Chopin credentials, seems to be one of these, and he has not been active in the recording studio lately. Charles Rosen, the most important middle-aged American pianist now performing regularly, is in the same category. His newest record, on the small Dutch label Etcetera (ETC 1008), contains two staggering performances of works by American composer Elliott Carter: the 1946 Piano Sonata and the 1980 Night Fantasies. Surprisingly, since American compositions are so scarce on records, Paul Jacobs' performance of both works (Nonesuch 79047) was released at the same time, and it is just about as good as Rosen's - less impetuous and overwhelming but still brilliant. 

有的鋼琴家比阿勞更有成就，只是他們并不十分適合十九世紀(jì)音樂(lè)。比如，他們可以優(yōu)秀地詮釋貝多芬和現(xiàn)代作曲家作品，但對(duì)于肖邦和李斯特的作品并不能準(zhǔn)確演繹。莫里奇奧·波利尼，他的肖邦作品，就屬于這種情況，最近他很少錄音了。查爾斯·羅森，最重要的定期演出中的中年美國(guó)鋼琴家，也是這種情況。他最新的錄音，他的新唱片，由荷蘭小唱片公司 Etcetera發(fā)行（ETC 1008），包含了兩場(chǎng)難以置信的美國(guó)作曲家艾略特·卡特的作品演出：《1946年鋼琴奏鳴曲》和《1980年夜幻曲》。少有的美國(guó)作曲家作品，保羅·雅各布的演奏版本（Nonesuch 79047）也同時(shí)發(fā)行，質(zhì)量與羅森的版本相當(dāng)——沖擊力和氣勢(shì)稍遜，不過(guò)依舊出色。

A much likelier candidate for elderstatesman status is Ivan Moravec. He is a Czech pianist, now in his fifties, who made a notable series of Chopin and Beethoven records back in the sixties for a small American company - the aptly named Connoisseur Society. Only occasional recordings have come forth since, but in the last year two companies have released American performances by Moravec. Neither is of Romantic works, but both display an aristocratically Romantic temperament. On Ivan Moravec Plays Debussy (Vox Cum Laude D-VCL 9037), he performs Images and Estampes with uncannily liquid tone and rhythm. The other album contains Sonata I. X. 1905, In the Mist, and excerpts from On an Overgrown Path, by Leos Janacek (Nonesuch Digital 79041). They are fascinating to compare with the versions by Rudolf Firkusny, just re-released by Deutsche Grammophon (2721 251). In Firkusny's hands, Janacek's music sounds classic - and Firkusny's interpretations are considered just that - while in Moravec's it sounds mystical, dreamy, misty. Moravec has a lushly individualistic sensibility, though his idiosyncracies are subtle and tasteful. His playing is unlike any other pianist's, and I hope these releases mark the beginning of a new round of recordings.

同樣的狀況發(fā)生在伊萬(wàn)·莫拉維奇身上?，F(xiàn)年五十歲的捷克鋼琴家，在六十年代美國(guó)一家小公司——鑒賞家社會(huì)，發(fā)行了一系列肖邦和貝多芬的唱片作品，之后的錄音并不多，直到去年另外兩家公司發(fā)行了莫拉維奇的美國(guó)作品專輯。發(fā)表的并不是浪漫主義時(shí)期作品，不過(guò)其中表現(xiàn)了浪漫主義的貴族氣質(zhì)。伊萬(wàn)·莫拉維奇在德彪西Vox Cum Laude（D-VCL 9037）這張唱片里，展現(xiàn)了他令人驚嘆的流暢的音色控制和節(jié)奏感，演奏了意象集和版畫(huà)集。另一張唱片收錄了《奏鳴曲 I. X. 1905》、《在迷霧中》和選自于萊奧實(shí)·雅納切克的《在荒草蔓延的小徑上》的片段。與魯?shù)婪颉し茙?kù)斯尼剛在德國(guó)留聲機(jī)公司發(fā)行的唱片相比較來(lái)聽(tīng)是很有趣的。在菲庫(kù)斯尼的演繹中，雅納切克的音樂(lè)聽(tīng)起來(lái)很傳統(tǒng)——而在莫拉維奇的版本里，音樂(lè)聽(tīng)起來(lái)很神秘、夢(mèng)幻，似迷霧一般。莫拉維奇擁有豐富敏感的情感，他的氣質(zhì)很微妙而典雅。這種詮釋風(fēng)格不同于任何一位鋼琴家，筆者盼望著這些唱片的發(fā)行能標(biāo)志著新一代唱片的開(kāi)始。

Among the pianists whose names are better known, I have the highest hopes for Vladimir Ashkenazy. He has spent a lot of time playing and recording Mozart and Beethoven - with only middling success. But in a series of the complete piano music of Chopin, Ashkenazy takes a unique and most rewarding approach by recording Chopin's works in roughly chronological groupings rather than by genres. A single disc might include a mix of waltzes, nocturnes, mazurkas, and polonaises - much more attractive than the hour or two of one type of work usually presented. The latest volume, number thirteen (London LDR 71084), contains wonderful performances of some of Chopin's early music. (The fifteen volume series is arranged in reverse chronological order.) Volume two (London CS 7022), released several years back, contains Chopin's last compositions -including the best Polonaise-Fantaisie of the dozens I have heard. The eight volumes released to date mark the project as one of the most important series of records now in progress. It promises to be the basic set of Chopin for every library, and it is already proof that Ashkenazy has great talent for the Romantic piano repertoire.

在已經(jīng)被人熟知的鋼琴家之中，筆者對(duì)于弗拉基米爾·阿什肯納齊寄予最高的期望。他曾花了很多時(shí)間來(lái)練習(xí)和錄制貝多芬和莫扎特——但只取得了一般的成功。但在一系列包含肖邦全部作品的錄音中，阿什肯納齊用了獨(dú)特，有效的年代順序法進(jìn)行錄制，取而不是一般所采用的作品題材分類方法。一張唱片可能同時(shí)包含了圓舞曲，夜曲，瑪祖卡，和波蘭舞曲——這樣的編排比連續(xù)一兩個(gè)小時(shí)的同題材作品更吸引人。最后一輯，第十三號(hào)專輯（London LDR 71084），收錄了其對(duì)于肖邦早期音樂(lè)的優(yōu)秀詮釋。（這十五張專輯是按照時(shí)間倒敘來(lái)編排的。）第二號(hào)專輯（London CS 7022），幾年前發(fā)行，收錄了肖邦的晚期作品——其中有筆者最為推崇的《幻想波蘭舞曲 》演繹版本。迄今為止發(fā)行的八張專輯，預(yù)示著它已經(jīng)成為了最重要的錄制中專輯之一。它可能會(huì)成為每個(gè)圖書(shū)館有關(guān)肖邦作品的基本收藏。這已經(jīng)證明了阿什肯納齊擁有對(duì)于浪漫主義時(shí)期作品演繹的杰出才華。

Ashkenazy's Chopin is beautifully balanced between repose and abandon. Two other musicians, both in their forties, split those qualities right down the middle. The pianist of abandon is Martha Argerich, a favorite of mine; I am sorry that she has not released a recording recently, and I hope the lack is remedied soon. Her temperamental opposite is Stephen Bishop Kovacevich. While Argerich excels in Liszt, Schumann, and the wilder Chopin, Bishop Kovacevich's forte is Beethoven, Brahms, and Schubert. His new Brahms recital (Philips 6514 229) is autumnal and memorable, but even more satisfying is his new Schubert B-flat Sonata (Hyperion A66004). It is similar to Arrau's in its slow tempos and its depth, but it is far less weighty.

阿什肯納齊演奏的肖邦，優(yōu)美地平衡了寧?kù)o與狂熱。另外兩位音樂(lè)家，都在四十幾歲的時(shí)候，將這兩種特質(zhì)分別開(kāi)來(lái)?？駸崤傻匿撉偌沂枪P者最欣賞的瑪莎·阿格里奇；十分遺憾的是她最近沒(méi)有發(fā)行專輯，但相信這個(gè)缺失很快會(huì)得到填補(bǔ)。與她氣質(zhì)相反的是斯蒂芬·畢肖普·科瓦塞維奇。當(dāng)阿格里奇擅長(zhǎng)于勃拉姆斯、舒伯特，以及狂野版的肖邦，畢肖普·科瓦塞維奇的專長(zhǎng)則是貝多芬，勃拉姆斯和舒伯特。他最近的勃拉姆斯音樂(lè)會(huì)（Philips 6514 229）唱片，是成熟并讓人難忘的，更讓人信服的還有他最近的舒伯特《降b小調(diào)奏鳴曲》（Hyperion A66004）. 這與阿勞的慢速度與深刻的思想性相近，但并沒(méi)有那樣深遂的內(nèi)涵。

The most logical successors to Arrau are the two pianists who are in many ways most like him, Alfred Brendel and Daniel Barenboim. Their Germanic styles (though Barenboim is an Argentine-born Israeli), their repertoires centering on Beethoven, Liszt, and Brahms, and above all their passionate, sometimes dogged seriousness put them in the same tradition from which the Chilean master has grown. Brendel has recently recorded the B-Minor Sonata (Philips 6514 147), the one piece by Liszt that almost everybody takes seriously, but he has also dug up some obscure Liszt, on Philips 9500 775. He is more like the younger Arrau at times, preferring somewhat quicker tempos, though he can lack the young Arrau's gracefulness. Barenboim plays with an unpredictability akin to the more recent Arrau, and he is almost the only younger pianist about whom Arrau has something nice to say in Horowitz's book. Comparisons of Arrau and Barenboim in Chopin's nocturnes, which Barenboim recently released on DG 2741 012, show how similar the two can be in tempo and rubato but how different in effect. Arrau's crystalline tone produces a starry night sky, while Barenboim's nocturnal scenes are foggy, even murky. Neither Barenboim nor Brendel can compete with the aging Arrau, on balance, but then neither can the Arrau of thirty or forty years ago.

阿勞還有兩位最順理成章的繼任者，阿爾弗雷德·布倫德?tīng)栆约暗つ釥枴ぐ蛡惒┮聊?。他們的德式風(fēng)格（盡管巴倫博伊姆是阿根廷出生的以色列人），他們對(duì)于貝多芬，李斯特和勃拉姆斯的作品的專注，尤其是他們的熱情，有時(shí)固執(zhí)的嚴(yán)謹(jǐn)性，讓他們擁有b小調(diào)奏鳴曲》（Philips 6514 147）， 以及李斯特的小眾曲目（Philips 9500 775）。他有時(shí)像是年輕時(shí)期的阿勞，偏愛(ài)稍快的速度，盡管他可能缺少了年輕阿勞的優(yōu)美處理。巴倫博伊姆的演奏則是很豐富的，更像是近期的阿勞，同時(shí)他幾乎是唯一一位在霍洛維茨書(shū)中得到阿勞積極評(píng)價(jià)的青年演奏家。比較阿勞和巴倫博伊姆最近發(fā)行在DG唱片公司的的《肖邦夜曲》（DG 2741 012），兩者在原速和彈性速度上處理十分相似，但在效果上又很不同。阿勞透明水晶般地音色處理，營(yíng)造出了一片繁星閃爍的夜晚，而巴倫博伊姆的夜曲氛圍是朦朧，甚至昏暗的。然而，無(wú)論是巴倫博伊姆還是布倫德?tīng)柖紵o(wú)法與成熟時(shí)期的阿勞相提并論。并且，總的來(lái)說(shuō)，三十歲時(shí)或四十歲時(shí)期的阿勞也同樣無(wú)法與之相提并論。

What Arrau's career demonstrates is that no artistic pathway can be fully assessed until it has been fully traversed - who could have predicted when Arrau was forty or even sixty what his playing was going to be like when he was approaching eighty? That is why I do not even bother to bring up the names of the pianists still in their youth, some of whom even seem to have a touch of the everrarer Romantic spirit. We can only hope that some will grow, as Arrau has, into a magnificent old age.

阿勞的職業(yè)歷程驗(yàn)證了只有完整的藝術(shù)之路才有可能得到公正評(píng)價(jià)——誰(shuí)曾預(yù)想出阿勞四十歲甚至六十歲的時(shí)候的演奏水平，和他八十歲的時(shí)候達(dá)到的演奏高度呢？這也是筆者沒(méi)有提及一些青年鋼琴家名字的原因，盡管他們中的一些幾乎抓住了浪漫主義音樂(lè)的精髓。我們只能期望他們會(huì)像阿勞一樣，隨著年齡的增長(zhǎng)，步入鋼琴演奏的成熟時(shí)期。

It's possible that with the extension of the piano repertoire into the twentieth century and beyond, the Romantic pieces will become an outdated specialty. Already there is a movement afoot to treat them with the same antiquarian historicism - rebuilding or rehabilitating pianos of the sort Chopin actually played on, and so forth - that now is necessary for a respectable performance of eighteenth-century music. The farther away, temporally and spiritually, the nineteenth century becomes, the more important a document the Arrau Edition will be. Even if Claudio Arrau is indeed the last great Romantic pianist, his performances will live forever.

也許在20世紀(jì)及其以后的鋼琴作品陸續(xù)出現(xiàn)之后，浪漫時(shí)期作品會(huì)被認(rèn)為是過(guò)時(shí)的風(fēng)格了。但如今，歷史主義的古文物研究者在進(jìn)行著這樣的活動(dòng)，他們重新建造或者修復(fù)了肖邦曾實(shí)際演奏過(guò)的鋼琴。這已經(jīng)成為對(duì)十八世紀(jì)音樂(lè)權(quán)威演奏的一種必須。隨著十九世紀(jì)離我們漸行漸遠(yuǎn)，阿勞對(duì)該時(shí)期作品的權(quán)威詮釋對(duì)我們?cè)絹?lái)越有深刻意義。雖然克勞德·阿勞是最后的偉大浪漫主義的鋼琴大師，他的演奏是不朽的！