灵巧的手指和红眼航班：成为钢琴家是对毅力的淬炼

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文章发表日期：2016年12月9日

尽管有着惊人的技术，俄罗斯钢琴家丹尼尔·特里福诺夫似乎需要消耗他所有的青春活力才能完成周三在卡内基音乐厅举行的令人心生敬畏的独奏会。在演奏斯特拉文斯基难度极高的最后一部作品《三乐章彼得鲁什卡》时，25岁的苗条、男孩一样的特里福诺夫先生用手臂发力奏响了最强的和弦中，以至于他的身体从琴凳上跳起了约6英寸。

但是巡演包括了另一种耐力，尤其是当你想特里福诺夫先生一样成为新生代最受欢迎的钢琴家之一：这是生理的耐力和精神专注的耐力。我在周一下午目睹了他为这次独奏会做出的艰苦准备，当时他在卡内基音乐厅试琴（最后他选了一台德国制造的斯坦威）然后练了几个小时。他刚刚从加利福尼亚抵达纽约，在周日他在那里与洛杉矶爱乐乐团合作演出了拉赫玛尼诺夫令人生畏第三钢琴协奏曲四场演出中的最后一场。在周日晚上，他乘坐了一架红眼航班前往纽约，于周一早上到达了与他从事出版业的未婚妻一起居住的在炮台公园的公寓。

那天下午，他在卡内基音乐厅独自练习了两个小时。在完成了他独奏会的曲目，包括了舒曼，肖斯塔科维奇和斯特拉文斯基的作品，他在一个街区外的Petrossian咖啡馆接受了我的采访，他在那里点了一份不加调料的沙拉，却也只吃了一半。随后，在和他的恩师谢尔盖·巴巴扬于茱莉亚音乐学院进行晚间辅导之前，他坐地铁回到他的公寓继续练琴。

这就是所谓的36小时工作。

但是特里福诺夫先生告诉我，他打算减少自己的演出规划，不仅仅是为了有更多的闲暇时光，而且是为了重拾他另一个爱好：作曲。“我现在还有几首曲子的公演被搁置着。”他说。上个月，他与堪萨斯交响乐团合作演出了自己创作的钢琴协奏曲。他正在为小提琴和钢琴创作一部协奏曲，弦乐和参与进来，他将和小提琴家吉顿·克莱默以及波罗的海室内乐团合作演出。（上一个乐季，他和克莱默先生在卡内基音乐厅献上了一首绝妙的双人独奏会。）

他在卡内基音乐厅练琴的时候，特里福诺夫先生有些时候会停下来活动一下肩膀放松一下。他经常会做些伸展运动和瑜伽，但是今天下午他说坐飞机的时候“弯腰驼背的久坐”让他感到难受。他还发现游泳对于练琴十分有益处。“我实际上会在泳池里练琴”他说，“水的阻力有利于放松上臂。”

看他弹奏舒曼组曲《克莱斯勒偶记》真的会很着迷，这是一首30分钟的杰作。特里福诺夫先生会反复练习速度快的部分——并不是为了在技术上掌握他，这显而易见，是为了突出内心的声音或者使之在和声时呈现出完美的音色，这就是他所谓的“让声音连贯的方法”。

特里福诺夫先生演奏斯特拉文斯基所作的《彼得鲁什卡》的《俄罗斯舞曲》这一乐章时，这个乐章从一大串令人眩晕的双手平行和弦开始，他不断的重复这一段，即使它听上去已经完美无瑕了。他后来解释说，他试图让这些强硬的和弦听上去清脆和轻盈一些，他在咖啡桌上敲着这些琴弦来演示。

这些和弦的确在那场座无虚席的独奏会上面听上去清脆而轻盈。在演奏斯特拉文斯基之前，他对于肖斯塔科维奇的24首前奏曲和赋格做出了一些精彩的描述，这是艺术收到巴赫启发的不朽的作品。特里福诺夫先生说他花了整整一个夏天才学会这些多变的复杂的作品。大部分钢琴家会说，只在一个夏天内学习并背诵出肖斯塔科维奇大量的乐谱算是学的很快的了。

他以舒曼温柔的组曲《童年情景》开始了这场独奏会，他的演绎细腻且富有诗意。有时，他轻柔的琴声使卡内基的空气都软了下来，尽管medici.tv的直播生动地展现了演出的精妙之处，网站上还有在三个月内可用的录音。

年纪轻轻就征服钢琴的特里福诺夫凭借一段舒曼欢乐的托卡塔展示了自己，托卡塔因为复杂的指法广为人知。在他对《克莱斯勒偶记》的处理上，这首曲子的华丽性和诗意性实现了理想的平衡。

在弹奏俄罗斯作曲家尼古拉·梅特纳的两次返场之后，特里福诺夫先生合上了钢琴盖，表示他已经表演完今天的所有曲目。随后许多乐迷来到一个休息区，特里福诺夫先生在那里为《超技练习曲》专辑签名，这是他最近录制的李斯特全套练习曲。

录制这张专辑的这五天让他心力交瘁。之后的一个星期里，他告诉我，“我根本没办法练琴。”

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.