2016-04-15 07:11:16orangebach
李希特與卡拉揚不合的證據
最近新書入袋。
這是李希特親身說法的對話和筆記(筆記指的是他對錄音的看法)。感謝同學從美國幫我帶回來。
昨天下午隨手一翻，讀到他與卡拉揚相處的回憶。他們二位合不來並不是秘密，在書裡讀到李希特對卡拉揚的負面評價，有種主角大方承認、確認事實的快感。
雖說聽音樂樂趣無窮，捕捉這個圈子裡的蜚語流言，也是樂趣之一。
以下節錄李希特對卡拉揚評價，以饗讀者：
David Oistrakh and Rostropovich, Rostropovich and me, Oistrakh and me--we'd all played together on frequent occasions, but never all three of us at once.
The first time we found ourselves sharing the same platform was Moscow, for Beethoven's Triple concerto. It was a good concert. And it was clearly an attractive billing, as we were then invited to record the work with Karajan, with whom each of us had already worked on his own.
It was a dreadful recording and I disown it utterly. As for the actual recording sessions, I remember them only as a total nightmare.
Battle lines were drawn up with Karajan and Rostropovich on the one side and Oistrakh and me on the other. Rostropovich was falling over himself in his attempts to do everything Karajan wanted, whereas Karajan had a superficial and clearly wrong-headed view of a work that never had a good press but of which I'm personally very fond.
Among other things, the second movement was taken too far too slowly. He held back the natural flow of music. He was faking it, and neither Oistrakh nor I had any time for this. But Rostropovich had gone over to the enemy, trying to push himself forward, whereas what he has to play here is no more than figurations.
Karajan could see I wasn't happy and that Oistrakh was sulking. He asked why. I was intentionally remaining in the background, not so much to annoy him, but because I found Rostropovich so exasperating.
Suddenly Karajan decided that everything was fine and that the recording was finished. Idemanded an extra take.
'No, no', he replied, 'we haven't got time, we've still got to do the photographs'.
To him, this was more important than the recording. And what a nauseating photograph it is, with him posing artfully and the rest of us grinning like idiots.
On the whole, Karajan's behavior was not particularly attractive. One day, while we were talking, I happened to say' Ich bin ein Deutscher' (I'm a German), to which he replied: ' Also, ich bin ein Chineser.' (In that case, I'm a Chinaman).
But there are other things for which I can't forgive him. In our recording of Tchaikovsky Concerto, there's a disgraceful mistake that's due entirely to his pig-headedness. It's in the second movement, when the main theme retuens after the cadenza. He stopped conducting, although I'd specifically asked him to give me the upbeat. He obstnately refused to do what I want, which was no more than rhythmic percision. The result was this mistake, an absolute abomination.
上一篇：天后降臨
下一篇：0428齊瑪諾斯基四重奏演奏會
以前看過別人引述這段，但從沒看過完整原文。節錄版不管是中文或英文，都很微妙地增加了更多的偏見。我從前的解讀是：「明明還有時間把音樂做好，但是卡拉揚寧願把時間花在宣傳照片，也不願意再錄一次。」但從字裡行間透露的不同可能性來看，如果成果已經達到滿意，自然也無須浪費時間多錄一次。
當然「做好做滿」的標準完全是主觀的，就如同我們是決定站在李希特那一邊，還是卡拉揚那一邊。我是自認聽不出來三重協奏曲第二樂章的速度有何不妥，也聽不出Tchaikovsky協奏曲二樂章的不準確。大人吵架，小孩一邊看戲就好了。
最近剛看了動畫Rideback，開頭和結尾的舞都是用鋼琴版「基輔城門」配的，出乎意料的熱血，想起李希特的展覽會之畫。
我不能再同意你更多，的確如此。
真的是非常真實，比那具有同照片為封面的DVD，更為真實。
他實在非常直接，讚美很直接，批評也很直接，毫不掩飾。對自己的缺陷、沮喪、失落也誠實面對。
與其說他是音樂家，不如說他是音樂人。
我查了一下Rideback，劇情讓我有點聯想到最後兵器少女。但最後兵器少女裡面沒用古典音樂配樂吧~~~
李希特的書裡也有提到展覽會之畫，一個並不直接但同樣有趣的言論：
I disapprove of transcriptions, unless they are by the composer, the original always strikes me as better. Much as I Love Ravel’s music, I find his orchestral transcription of Mussorgsky’s Pictures at an Exhibition an abomination, a terrible, decorative travesty of the most profound masterpiece of Russian piano music.
There was a time, unfortunately not entirely past, when pianists—and audiences—were fond of this sort of attack on art. I’ve never allowed myself to inflict anything like this on my audiences, with three exceptions: Rachmaninov’s transcription of Kreisler’s Liebesfreud(愛之喜); and Liszt’s transcriptions of Wagner’s Liebestod(崔斯坦和伊索德的詠嘆調—愛之死) and Schubert’s Erlkönig(魔王).
In "Erlkönig, Schubert’s original accompaniment is already testing enough, but in Liszt’s version the difficulties are practically insurmountable. I’ve always been afraid of it, even if I sometimes emerged from performances unscathed, so I didn’t risk it for long. Technical difficulties of this order are harmful to your health, I decided.