寫在前面??！非英語專業(yè)生手工翻譯??！會(huì)有一些不準(zhǔn)確的地方?。?huì)有一些完全不會(huì)翻譯的地方??！純粹為愛發(fā)電??！不要打我??！不要打我！！不要打我！！原文在中文后面！！謝謝看官們的厚愛?。。ǚg不易如果覺得這還算是人話的話麻煩支持一下）我會(huì)密切關(guān)注網(wǎng)站的更新（因?yàn)楠?jiǎng)項(xiàng)可能會(huì)有些許變化）原文來自網(wǎng)絡(luò)，侵刪。?

文章發(fā)表日期：2016年12月9日

盡管有著驚人的技術(shù)，俄羅斯鋼琴家丹尼爾·特里福諾夫似乎需要消耗他所有的青春活力才能完成周三在卡內(nèi)基音樂廳舉行的令人心生敬畏的獨(dú)奏會(huì)。在演奏斯特拉文斯基難度極高的最后一部作品《三樂章彼得魯什卡》時(shí)，25歲的苗條、男孩一樣的特里福諾夫先生用手臂發(fā)力奏響了最強(qiáng)的和弦中，以至于他的身體從琴凳上跳起了約6英寸。

但是巡演包括了另一種耐力，尤其是當(dāng)你想特里福諾夫先生一樣成為新生代最受歡迎的鋼琴家之一：這是生理的耐力和精神專注的耐力。我在周一下午目睹了他為這次獨(dú)奏會(huì)做出的艱苦準(zhǔn)備，當(dāng)時(shí)他在卡內(nèi)基音樂廳試琴（最后他選了一臺(tái)德國制造的斯坦威）然后練了幾個(gè)小時(shí)。他剛剛從加利福尼亞抵達(dá)紐約，在周日他在那里與洛杉磯愛樂樂團(tuán)合作演出了拉赫瑪尼諾夫令人生畏第三鋼琴協(xié)奏曲四場演出中的最后一場。在周日晚上，他乘坐了一架紅眼航班前往紐約，于周一早上到達(dá)了與他從事出版業(yè)的未婚妻一起居住的在炮臺(tái)公園的公寓。

那天下午，他在卡內(nèi)基音樂廳獨(dú)自練習(xí)了兩個(gè)小時(shí)。在完成了他獨(dú)奏會(huì)的曲目，包括了舒曼，肖斯塔科維奇和斯特拉文斯基的作品，他在一個(gè)街區(qū)外的Petrossian咖啡館接受了我的采訪，他在那里點(diǎn)了一份不加調(diào)料的沙拉，卻也只吃了一半。隨后，在和他的恩師謝爾蓋·巴巴揚(yáng)于茱莉亞音樂學(xué)院進(jìn)行晚間輔導(dǎo)之前，他坐地鐵回到他的公寓繼續(xù)練琴。

這就是所謂的36小時(shí)工作。

但是特里福諾夫先生告訴我，他打算減少自己的演出規(guī)劃，不僅僅是為了有更多的閑暇時(shí)光，而且是為了重拾他另一個(gè)愛好：作曲?！拔椰F(xiàn)在還有幾首曲子的公演被擱置著?！彼f。上個(gè)月，他與堪薩斯交響樂團(tuán)合作演出了自己創(chuàng)作的鋼琴協(xié)奏曲。他正在為小提琴和鋼琴創(chuàng)作一部協(xié)奏曲，弦樂和參與進(jìn)來，他將和小提琴家吉頓·克萊默以及波羅的海室內(nèi)樂團(tuán)合作演出。（上一個(gè)樂季，他和克萊默先生在卡內(nèi)基音樂廳獻(xiàn)上了一首絕妙的雙人獨(dú)奏會(huì)。）

他在卡內(nèi)基音樂廳練琴的時(shí)候，特里福諾夫先生有些時(shí)候會(huì)停下來活動(dòng)一下肩膀放松一下。他經(jīng)常會(huì)做些伸展運(yùn)動(dòng)和瑜伽，但是今天下午他說坐飛機(jī)的時(shí)候“彎腰駝背的久坐”讓他感到難受。他還發(fā)現(xiàn)游泳對于練琴十分有益處。“我實(shí)際上會(huì)在泳池里練琴”他說，“水的阻力有利于放松上臂。”

看他彈奏舒曼組曲《克萊斯勒偶記》真的會(huì)很著迷，這是一首30分鐘的杰作。特里福諾夫先生會(huì)反復(fù)練習(xí)速度快的部分——并不是為了在技術(shù)上掌握他，這顯而易見，是為了突出內(nèi)心的聲音或者使之在和聲時(shí)呈現(xiàn)出完美的音色，這就是他所謂的“讓聲音連貫的方法”。

特里福諾夫先生演奏斯特拉文斯基所作的《彼得魯什卡》的《俄羅斯舞曲》這一樂章時(shí)，這個(gè)樂章從一大串令人眩暈的雙手平行和弦開始，他不斷的重復(fù)這一段，即使它聽上去已經(jīng)完美無瑕了。他后來解釋說，他試圖讓這些強(qiáng)硬的和弦聽上去清脆和輕盈一些，他在咖啡桌上敲著這些琴弦來演示。

這些和弦的確在那場座無虛席的獨(dú)奏會(huì)上面聽上去清脆而輕盈。在演奏斯特拉文斯基之前，他對于肖斯塔科維奇的24首前奏曲和賦格做出了一些精彩的描述，這是藝術(shù)收到巴赫啟發(fā)的不朽的作品。特里福諾夫先生說他花了整整一個(gè)夏天才學(xué)會(huì)這些多變的復(fù)雜的作品。大部分鋼琴家會(huì)說，只在一個(gè)夏天內(nèi)學(xué)習(xí)并背誦出肖斯塔科維奇大量的樂譜算是學(xué)的很快的了。

他以舒曼溫柔的組曲《童年情景》開始了這場獨(dú)奏會(huì)，他的演繹細(xì)膩且富有詩意。有時(shí)，他輕柔的琴聲使卡內(nèi)基的空氣都軟了下來，盡管medici.tv的直播生動(dòng)地展現(xiàn)了演出的精妙之處，網(wǎng)站上還有在三個(gè)月內(nèi)可用的錄音。

年紀(jì)輕輕就征服鋼琴的特里福諾夫憑借一段舒曼歡樂的托卡塔展示了自己，托卡塔因?yàn)閺?fù)雜的指法廣為人知。在他對《克萊斯勒偶記》的處理上，這首曲子的華麗性和詩意性實(shí)現(xiàn)了理想的平衡。

在彈奏俄羅斯作曲家尼古拉·梅特納的兩次返場之后，特里福諾夫先生合上了鋼琴蓋，表示他已經(jīng)表演完今天的所有曲目。隨后許多樂迷來到一個(gè)休息區(qū)，特里福諾夫先生在那里為《超技練習(xí)曲》專輯簽名，這是他最近錄制的李斯特全套練習(xí)曲。

錄制這張專輯的這五天讓他心力交瘁。之后的一個(gè)星期里，他告訴我，“我根本沒辦法練琴。”

我并不感到意外。

Fleet Fingers and Red-Eye Flights: A Pianist Is a Study in Stamina

Even with his astonishing technique, the Russian pianist Daniil Trifonov looked as if he needed all his youthful energy to get through his formidable recital program at Carnegie Hall on Wednesday. During the fiendishly difficult final work, Stravinsky’s Three Movements From “Petrouchka,” there were fleeting moments when the slender, boyish Mr. Trifonov, 25, threw his arms so forcefully into pummeling fortissimo chords that his body lifted maybe six inches off the piano bench.

But there is another kind of stamina involved in a touring career, especially when you are, like Mr. Trifonov, one of the most in-demand pianists of the new generation: the stamina of physical endurance and mental focus.

I observed some of his arduous preparation for this recital on Monday afternoon, when he tried out pianos at Carnegie Hall (eventually picking a German-made Steinway) and practiced for a couple of hours. He had just arrived from California, where, on Sunday afternoon, he played the last of four performances of Rachmaninoff’s daunting Third Piano Concerto with the Los Angeles Philharmonic. On Sunday night, he took a red-eye flight to New York, arriving on Monday morning at the Battery Park City apartment he shares with his fiancée, who works in publishing.

He had Carnegie to himself for two hours in the afternoon. After going through his program — works by Schumann and Shostakovich, in addition to the Stravinsky — he sat for an interview with me a block away at Petrossian Cafe, where he ordered a salad (no dressing) and ate only half. Then he took the subway to his apartment to get in more practice before meeting?Sergei Babayan, his former teacher, at the Juilliard School for an evening coaching session.

That’s what you call a work-filled 36 hours.

But Mr. Trifonov told me he was planning to cut back his performing schedule, not just to have more leisure but also to resume his other love: composing. “I have several projects now which are on hold,” he said. Last month, he played his own piano concerto with the Kansas City Symphony. He is writing a double concerto for violin and piano, joined by strings, that he will play with the violinist?Gidon Kremer?and the Kremerata Baltica chamber orchestra. (Last season, he and Mr. Kremer gave a splendid?duo recital?at Carnegie Hall.)

During his practice session at Carnegie, Mr. Trifonov sometimes stopped to rotate his shoulders and loosen up. He usually takes more care to do stretching and yoga, but this afternoon he felt, he said, “hunched from excessive sitting” on his flight. He also finds swimming beneficial. “I actually practice in the swimming pool,” he said. “The resistance helps to release the upper arms.”

It was especially fascinating to watch him practice Schumann’s suite “Kreisleriana,” a teeming 30-minute masterpiece. Mr. Trifonov would repeat a rhapsodic flight — not to nail it technically, it seemed clear, but rather to highlight inner voices or bring out a milky coloring as harmonies mingled, what he described as paying “attention to resolutions,” “the way sounds connect.”

Playing through the “Russian Dance” movement from Stravinsky’s “Petrouchka,” which begins with a giddy riot of propulsive parallel chords for both hands, Mr. Trifonov kept repeating passages, even though they sounded flawless. He explained later that he was trying to keep these steely chords crisp and light, demonstrating by playing the passage on the tabletop at the cafe.

Those chords sure sounded crisp and light during the sold-out recital. Before the Stravinsky, he gave somberly compelling accounts of five of Shostakovich’s set of 24 Preludes and Fugues, a monumental work inspired by Bach. Mr. Trifonov said it took him a whole summer to learn these mercurial, complex pieces. Most pianists would say learning, and memorizing, Shostakovich’s enormous score in a single summer seems quick work.

He began the recital with Schumann’s tender “Scenes of Childhood” suite, played with delicacy and poetic refinement. At times his sound was almost too intimate for a hall the size of Carnegie, though the subtleties of the performance come though vividly on the medici.tv video, which was broadcast live; a recording is available on the?site?for three more months.

Trifonov the young conqueror of the keyboard revealed himself with a breathless account of Schumann’s joyous Toccata, a notorious finger-twister. The brilliant and poetic components of his artistry found ideal balance in his magnificent performance of “Kreisleriana.”

After two encores by the Russian composer Nikolai Medtner, Mr. Trifonov closed the keyboard’s lid to indicate that he had played his last piece. Many fans then went to a lounge area, where Mr. Trifonov signed copies of?“Transcendental,”?his stunning recent recording of Liszt’s complete?études.

It took five grueling days to record this two-disc set. For a week afterward, he told me, “I couldn’t practice at all.”

I don’t wonder.