埃德温费舍尔-二十世纪为大钢琴家内页及翻译

INTREGRITY OF MIND AND PURITY OF STYLE

Born on 6 October 1886 in Basle, Edwin Fischer was a member of thatPremarkable generation of pianists that included Artur Schnabel (18821951), Alfred Cortot (1877-1962), Walter Gieseking (1895-1956) and WilhelmKempff (1895-1991). Coincidentally, Fischer's close friend and colleague, Wilhelm Furtwängler, was also born in 1886. They first performed together in 1920 at a Berlin Philharmonic concert, and the two friends' careers also ended in the same year - Fischer made his last public appearance in 1954, the year of Furtwängler's death."Howeasy it would have been to make him into a musical wunderkind, but I didn'twant to," Frau Fischer often recalled. Her son's talent became apparent very early on;while his parents were playing four-hand music, little Edwin, still a toddler, came over, listened, struck a key, and announced "this is G." For the first year, Fischer's mother super vised the musical education of her son, who was only four years old when he began to study the piano; she was unrelenting in her criticism of his technique. In 1896, Fischer entered the Basle Conservatory, where he studied with Hans Huber. After the death of his father in 1904, his mother took him to Berlin for further study. There Fischer studied at the Stern Conservatory with Martin Krause, one of the last pupils of Franz Liszt.Early in his teaching career, Fischer had an experience he never forgot: "One day a youngster from Chile came tous. He wanted to play for me. I asked what he could play.He replied with a youthful candour, 'What do you want to hear? I know all of Bach.' After hearing him play for a few minutes, I was highly impressed by the unique talent of this seven-year-old. Later this wunderkind became a world famous pianist- Claudio Arrau."

Ferruccio Busoni was the pianist who made the greatest impression on Fischer. When Fischer asked him about his tone production, Busoni answered: "I have a single secret: When I play mezzoforte, others have to pound." Fischer was probably the only pianist wliu developed a similar tone quality - a seamless legato wedded to an atmospheric pianissimo. The first concerto that Edwin Fischer played in public was Eugen d'Albert's second (Op. 12 in E). D'Albert was so impressed that he asked Fischer to replace him as accompanist for his second wife, the singer Hermine Finck. This led to a close relationship with the d'Albert family and a rewarding experience accompanying Mme d'Albert on a concert tour.By1916, Fischer had gained considerable prominence; he had given many recitals and wasengaged as soloist by Nikisch, Weingartner, Beecham, Walter, Mengelberg and, of course, Furtwängler. Fischer, however, also devoted a substantial part of his career to conducting, including concerti from the keyboard. Late in her career, the pianist Elly Ney (1882-1968).remarked that, "When I play these days in Lübeck, I am reminded of the time in this historic town when Furtwängler, Hermann Abendroth, and Edwin Fischer performed in brilliant fashion. Under Fischer's direction I played the Brahms B flat concerto; later, Fischer and I played Bach's two piano concerto - an unforgettable experience."Phere were several notable chamber orchestras in the 1930s, but Edwin Fischer's exhibited a unique and particularly outstanding brand of musicianship. He continued his practice of conducting concerti from the keyboard and made recordings of Mozart and Bach concerti that are still in print. Rudolf Nel, the principal violist of Fischer's orchestra, recalled with much amusement a particularly telling anecdote which showed the close-knit relationship between Fischer and his orchestra: "During that tour, several Mozart concerti were scheduled which were alternated in different concerts. One time Edwin Fischer played a second theme from a different concerto. He was startled when he realised his mistake, and his fate was in God's hands. Then his blue eyes twinkled when he heard the orchestra enter with the same 'false' theme.In the cadenza, Fischer wallowed around in such a complicated way that even the sharpest critic couldn't tell what was going on."

We can sample Edwin Fischer's authoritative playing and conducting in his performance of Mozart's Concerto in D minor, K. 466. The fact that Mozart was overworked during the early months of 1785 may account for his omitting to write out cadenzas for this concerto. Beethoven wrote cadenzas for the first and last movements, but in this recording, Edwin Fischer plays his own cadenzas; these are relatively restrained, Fischer confining himself to fantasies on the various themes.

Fischer's performance of the "Emperor" is full of vitality, with an excitement that can only be explained by his complete commitment to Beethoven's ideals. He believed that a pianist's physical makeup and a predilection for particular kinds of music were related: As he stated, "Players of a particular constitution are best suited for works of composers of a similar constitution. For example, thickset hands are predestined for composers of a similar frame, while tall, long-fingered, sinewy players are, likewise, the best interpreters of the works of similarly constituted composers...Thus, Beethoven and Brahms players, Rubinstein and d'Albert, were the thickset type, while Liszt and Cortot were Chopin players par excellence. (Fundamentally it is a matter of touch; composers with soft, flabby hands and thick finger pads compose 'thick' music. Composers compose, as it were, for themselves. They unconsciously exploit their own qualities and need kindred spirits to interpret their work). The piano technique of Liszt came from long-fingered hands capable of wide stretches. It was for this reason that Busoni and Sauer were great interpreters of Liszt. Beethoven belonged more to the thickset type, and his music requires a broad, full, singing tone.But he was not only a broad type. When one examines the plaster cast of Beethoven's hand in the Beethovenhaus in Bonn, one is amazed at the tapered fingers."

Edwin Fischer was one of those "thickset types." A photograph of him at the piano shows himto have fleshy hands and thick fingers. In some general observations about the performance of Beethoven's sonatas, Fischer reveals his commitment to this philosophy: "There are two dangerous paths open to the interpreter: one consists of using Beethoven's language to express his own passions.The other is for the player to reproduce slavishly the notes and directions in the score... the most helpful counsel one can give is this: Love him and his work and you will inevitably become his servant and interpreter, and yet remain yourself. Your energy, your warmth and your love will kindle his energy, his spirit and his love in the hearts of men, and make them shine therein."

思想的完整性和风格的纯粹性

埃德温-费舍尔于1886年10月6日出生在巴塞尔，是引人注目的那一代钢琴家中的一员，其中包括阿图尔-施纳贝尔（1882-51）、阿尔弗雷德-科托（1877-1962）、沃尔特-吉赛金（1895-1956）和威廉-肯普夫（1895-1991）。巧合的是，费舍尔的亲密朋友和同事威廉-富特文格勒也出生于1886年。他们于1920年在柏林爱乐乐团的音乐会上首次同台演出，两位朋友的职业生涯也在同一年结束--费舍尔最后一次公开露面是在1954年，也就是富特文格勒去世的那一年。"把他培养成一个音乐天才是多么容易，但我并不想这样，"费舍尔夫人经常回忆说。她儿子的天赋很早就显现出来了；当他的父母在演奏四手联弹时，还在蹒跚学步的小埃德温走过来，听着，敲着一个键，并宣布 "这是G"。在第一年里，费舍尔的母亲超级关注她儿子的音乐教育，他开始学习钢琴时只有四岁；她对他的技术进行了毫不留情的批评。1896年，费舍尔进入巴塞尔音乐学院，在那里他跟随汉斯-胡贝尔学习。1904年他的父亲去世后，他的母亲带他到柏林进一步学习。在那里，费舍尔在斯特恩音乐学院跟随马丁-克劳斯学习，他是李斯特最后的学生之一。在他教学生涯的早期，费舍尔有一个经历，他永远不会忘记："有一天，一个来自智利的年轻人来到这里。他想为我演奏。我问他能弹什么。他用年轻的坦率回答说：'你想听什么？我知道所有的巴赫作品'。在听了他几分钟的演奏后，我对这个七岁孩子的独特才能留下了深刻印象。后来，这个奇才成为世界著名的钢琴家--克劳迪奥-阿劳。"

费鲁基奥-布索尼是给费舍尔留下最深刻印象的钢琴家。当费舍尔问他关于他的音色制作时，布索尼回答说。"我有一个秘诀：当我弹奏中强时，其他必须要敲击（？ When I play mezzoforte, others have to pound.）。菲舍尔可能是唯一一位发展出类似音质的钢琴家--无缝的连奏和有感染力的极弱音融为一体。埃德温-费舍尔在公开场合演奏的第一首协奏曲是欧根-德-阿尔伯特的第二首协奏曲（作品12，E调）。D'Albert对他留下了深刻的印象，他要求费舍尔代替他为他的第二任妻子，歌手Hermine Finck做伴奏。到1916年，费舍尔已经获得了相当大的知名度；他举办了许多独奏会，并被尼基什、魏因加特纳、比彻姆、瓦尔特、门格尔伯格，当然还有富特文格勒聘为合作独奏家。然而，费舍尔也将其职业生涯的很大一部分时间用于指挥，包括从键盘上演奏协奏曲。钢琴家Elly Ney（1882-1968）在其职业生涯晚期曾说："当我这些天在吕贝克演奏时，我想起了在这个历史悠久的小镇上，富特文格勒、赫尔曼-阿本德洛特和埃德温-费舍尔的精彩演出。在费舍尔的指导下，我演奏了勃拉姆斯第二钢琴协奏曲；后来，费舍尔和我一起演奏了巴赫的两首钢琴协奏曲--这是一次难忘的经历。"20世纪30年代有几个著名的室内乐团，但埃德温-费舍尔的室内乐团表现出一种独特和特别出色的音乐风格。他继续着从键盘上指挥协奏曲的做法，并录制了莫扎特和巴赫协奏曲的唱片，至今仍在印刷。费舍尔乐团的首席中提琴手鲁道夫-内尔（Rudolf Nel）饶有兴致地回忆起一件特别有说服力的轶事，它显示了费舍尔和他的乐团之间的密切关系："在那次巡演中，安排了几首莫扎特协奏曲，在不同的音乐会上交替进行。有一次，埃德温-费舍尔演奏了不同协奏曲的第二主题。当他意识到自己的错误时，他吓了一跳，他的命运掌握在上帝手中。然后，当他听到乐队以同样的'假'主题进入时，他的蓝眼睛闪闪发光。在快板中，费舍尔以如此复杂的方式沉湎于此，即使是最敏锐的评论家也无法分辨到底发生了什么。"

我们可以从埃德温-菲舍尔演奏的莫扎特D小调协奏曲K.466中感受到他的权威性演奏和指挥。莫扎特在1785年的最初几个月里工作过度，这可能是他没有为这首协奏曲写华彩的原因。贝多芬为第一和最后一个乐章写了伴奏，但在这张唱片中，埃德温-费舍尔演奏了他自己的伴奏；这些伴奏相对克制，费舍尔只限于对各种主题的幻想。

菲舍尔对 "皇帝 "的演奏充满了活力，其兴奋程度只能用他对贝多芬的理想的完全投入来解释。他认为，钢琴家的身体构成和对特定种类音乐的偏爱是相关的。正如他所说："具有某种特殊体质的演奏家最适合演奏具有类似体质的作曲家的作品。例如，手指粗大的人注定要演奏类似体格的作曲家的作品，而高大、长指、有筋骨的演奏者同样是类似体格的作曲家作品的最佳诠释者......因此，贝多芬和勃拉姆斯的演奏者，鲁宾斯坦和德阿尔贝，是手指粗大的类型，而李斯特和科尔托是肖邦的卓越演奏者。(从根本上说，这是一个触觉问题；拥有柔软、松弛的手和厚厚的指垫的作曲家创作出 "厚重 "的音乐。作曲家是为自己而创作的。他们不自觉地利用自己的特质，需要同类的精神来解释他们的作品）。李斯特的钢琴技术来自于能够广泛伸展的长指之手。正是由于这个原因，布索尼和绍尔是李斯特的伟大诠释者。贝多芬更多的是属于粗壮型，他的音乐需要宽广、饱满、歌唱性的音色。但他不仅是宽广型。当人们在波恩的贝多芬故居检查贝多芬手的石膏模型时，人们会对其手指的细长感到惊讶。"

埃德温-费舍尔是那种 "粗大型"。他在钢琴前的一张照片显示他有一双肉乎乎的手，手指很粗。在关于演奏贝多芬奏鸣曲的一些一般性意见中，菲舍尔透露了他对这一哲学的承诺。解释者有两条危险的道路：一条是用贝多芬的语言来表达自己的激情；另一条是演奏者一味地复制乐谱上的音符和指示......人们可以给出的最有用的建议是："爱他和他的作品，你就会得到他的帮助。爱他和他的作品，你将不可避免地成为他的仆人和解释者，但仍然是你自己。你的能量、你的温暖和你的爱将在人们的心中点燃他的能量、他的精神和他的爱，并使他们在其中发光。"

菲舍尔的舒伯特即兴曲的无以伦比的录音之所以存在，是因为当时HMV指定的舒伯特专家阿图尔-施纳贝尔不在身边；施纳贝尔在1937-38年间在美国进行了巡回演出。1938年3月12日，在费舍尔完成录制《即兴曲》的三天后，希特勒吞并了奥地利。施纳贝尔留在了美国，直到二战结束后才回到欧洲。在第二首即兴曲（降E调）中，埃德温-菲舍尔实现了惊人的连音，以及对中间部分的戏剧性处理。

莫扎特C小调幻想曲，K.475（1785）为我们展现了莫扎特强大的即兴创作能力。埃德温-费舍尔对结构元素的把握随处可见，他拥有将这一音乐带入生活所需的敏感触觉和精致的乐句。

出版商Cranz给贝多芬的学生车尔尼在1838年为这首四手联弹奏鸣曲所作的改编起了一个标题："热情"。菲舍尔的评论再次为演奏者提供了宝贵的建议。“热情"是奏鸣曲历史上的一个高峰......找到正确的节奏是很重要的。每一个音符都很重要，因此与整体相关；任何不明确的地方都会导致最严重的解释错误。节奏不应成为演奏者有时被标题所引导的那种竞赛......" 菲舍尔自己的演奏充满了戏剧性的强度和情感的狂热。

贝多芬的降A大调奏鸣曲，作品110，是他最亲密的冥想曲之一，（完成于1821年12月25日）是他后期三部曲的中间作品，其中还包括E大调作品109和C小调作品111。贝多芬在他最后的岁月里广泛地运用了赋格和变奏形式。第一乐章的温柔抒情之后，是晚期小品风格的乐章。据阿尔弗雷德-布伦德尔说："它的反复无常很古怪，重音变化频繁，开始和停止很突然。”第三乐章是受难曲式的音乐——一个巴洛克形式的综合体，其中咏叹调和赋格曲交织在一起"。(各部分安排如下：（1）宣叙调，（2）悲叹之歌，（3）赋格，（4）悲叹之歌的再现（"疲惫地哀叹"），（5）赋格的倒置，（6）降A大调的同音结尾）。[有趣的是，"悲叹之歌 "与巴赫的《约翰受难曲》中的咏叹调 "结束了 "有相似之处。］ 菲舍尔在这一乐章中发挥了他巨大的内省能力。乔治-凯勒是巨著《音乐会上的钢琴》（稻草人出版社，1982年）的作者，曾在萨尔茨堡与费舍尔一起学习；他在关于费舍尔的独奏会的章节中写道。"埃德温-菲舍尔是巴赫、莫扎特和贝多芬钢琴音乐的最佳演奏者之一。他的解释的特点是对文本的深刻尊重，他有能力将自己淹没在他所演奏的作品中，以及他的表达的深度和纯度。除了他的演奏和作曲之外，没有什么能比他的《音乐感言（Thoughts on Music）》中的这段话更清楚地揭示他的态度了："但是，如果一个人的整个生命不是为了调和伟大的思想和高尚的情感，那么最艰苦的研究、最真实的天赋、最艰苦的努力都是不够的。每一个行动，甚至每一个思想，都会在人格上留下印记。每一个行动，甚至是最微不足道的行动，都必须注入正直的力量。