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郎朗归来:钢琴神童走向成熟

更新时间:2019/8/2 16:22:27 来源:纽约时报中文网 作者:佚名

Lang Lang Is Back: A Piano Superstar Grows Up
郎朗归来:钢琴神童走向成熟

It was late one afternoon this spring, and Madison Square Garden’s 19,000 seats were empty as Billy Joel and Lang Lang began jamming onstage.

那是今春的一个下午,接近傍晚的时候,麦迪逊广场花园(Madison Square Garden)的1.9万个座位空无一人,比利·乔(Billy Joel)和郎朗开始在台上即兴弹奏。

Pop’s piano man had invited the superstar classical pianist to make a guest appearance at his sold-out April show at the Garden, and they were rehearsing a duet of Mr. Joel’s “Root Beer Rag” during the soundcheck, taking it from fast to blisteringly fast.

流行音乐的“钢琴手”邀请了这位古典钢琴巨星作演出嘉宾,参加他在4月的一场满座演出,在试音期间,他们排练了乔的《根啤拉格》(Root Beer Rag),曲子的速度从快变成了极速。

Then they started goofing around. Suddenly they were trading riffs from Beethoven’s “Emperor” Concerto. They teamed up on some Bach. Finally, with Mr. Joel’s band looking on in surprise, the two launched into the thunderous opening of Tchaikovsky’s Piano Concerto No. 1.

接着他们开始随意玩了起来。突然间,他们开始对弹贝多芬“皇帝”协奏曲中的重复乐段。他们合弹了一些巴赫。最后,在比利·乔的乐队吃惊的注视下,两人弹起了柴可夫斯基《第一钢琴协奏曲》雷鸣般的开头部分。

It was as good a sign as any that Mr. Lang — the world’s most famous, and bankable, concert pianist — still has his chops, after a career-threatening injury to his left arm in 2017 sidelined him for over a year.

这是个再好不过的迹象,表明郎朗这位世界最著名、最叫座的古典钢琴家依然技艺超群,虽然此前2017年一次危及职业生涯的左臂受伤让他休整了一年多。

After rebuilding his strength and technique, he is returning in earnest this fall. He is again appearing with the world’s leading orchestras. He is again promoting a new album — his first in several years — as few other classical musicians can, with appearances on “The Tonight Show Starring Jimmy Fallon” and “Good Morning America.” And he is again arousing the suspicion, if not outright hostility, of the classical field by applying lessons from the pop world to his career, trying to navigate a delicate balance between popularization and artistic integrity.

在力量和技术恢复之后,他将于今年秋季正式复出。他将再度与世界各地的一流交响乐团同台。他将再度以很少有古典音乐家能做到的方式推广一张新专辑——他几年来的首张专辑——在《吉米·法伦今夜秀》(The Tonight Show Starring Jimmy Fallon)和《早安美国》(Good Morning America)露面。他也将再度引起古典音乐界的怀疑,甚至彻头彻尾的敌视,即通过把流行乐界的经验教训运用到自身的职业生涯中,试图在大众化与艺术尊严之间取得微妙的平衡。

But he insists he is not the same man, or musician. Mr. Lang — who long maintained that his greatest fear was an injury that would leave him unable to play the piano, and therefore, as he once put it, “render me useless for life” — spent his forced sabbatical taking stock.

但他坚称,无论作为人还是音乐家,他跟以前不一样了。他一直以来都认为,自己最大的恐惧是因为受伤而无法弹琴,进而如他所说,成了个“毫无用处的人”,利用这段休整期,他重新审视了自己。

“I used the time,” Mr. Lang said in an interview, “to rethink everything I do.”

“我利用这段时间,”郎朗在接受采访时说,“重新思考了我所做的一切。”

His health crisis hit at a pivotal moment. Mr. Lang, who recently turned 37, is at an age when he must navigate the next leg of the journey from wunderkind to mature — even veteran — artist. Such transitions are not easy, noted the conductor and pianist Daniel Barenboim, a mentor of Mr. Lang’s and a former child prodigy himself.

他的健康危机发生在一个关键时刻。前不久刚过了37岁生日的郎朗,已经到了必须探索从神童到成熟——甚至老艺人——的下一段旅程的时候了。指挥家、钢琴家丹尼尔·巴伦博伊姆(Daniel Barenboim)指出,这样的转变并非易事,他是郎朗的导师,自己也曾经是神童。

“Either the child goes and the prodigy remains,’’ Mr. Barenboim said, “or the prodigy goes and the child remains.”

“要么儿童离开,神童留下,”巴伦博伊姆说,“要么神童离开,儿童留下。”

That Mr. Lang has taken the first course is evident to the conductor Franz Welser-Möst, the music director of the Cleveland Orchestra, who has known the pianist since Mr. Lang was a teenager.

对克利夫兰交响乐团音乐总监弗朗茨·韦尔泽-默斯特(Franz Welser-Möst)而言,郎朗显然已经走完了第一段旅程,他自郎朗少年时代便认识这位钢琴家。

“We all go through phases, and I think there was a time when success sort of started to have a negative influence on him,” Mr. Welser-Möst said. “Then he was out of the business for health reasons for quite some time, which was a shock for him. Since then he has changed as a musician. Before he would sort of go for the show-off, virtuoso stuff — he was looking in the music for the virtuosic side of a lot of these pieces. Now he has matured. A lot.”

“我们都会经历不同阶段,我认为曾经有一段时间,成功多少开始给他带来负面影响,”韦尔泽-默斯特说。“然后他因为健康原因,退出了相当长一段时间,这对他是一种冲击。他作为音乐家的一面有了变化。之前他有些偏好花哨的、炫技的东西——他一直在很多这类作品的音乐中寻找炫技的一面。现在他成熟了。成熟多了。”

His pounding bit of soundcheck Tchaikovsky with Mr. Joel aside, Mr. Lang is taking a break from the crowd-pleasing Romantic war horses he made his name with. Critics sometimes complained that those pieces brought out a hammy side to his playing; now he is winning praise with a reduced schedule of more refined works by Mozart and Beethoven. Next season he will concentrate on Bach. In June, he married Gina Alice Redlinger, a pianist he met in Berlin after one of his concerts a few years ago, and is thinking about starting a family.

除了试音时跟比利·乔大弹柴可夫斯基,现在的郎朗已经暂时放下观众所乐见的浪漫派战马,也就是那些让他成名的曲目。批评人士有时会不满于这些曲目让他的演奏展现出过火的一面;如今他开始因减少场次、更多呈现莫扎特和贝多芬的精练作品而受到赞誉。下一季,他将专注于巴赫。6月份,他与几年前在柏林一次音乐会后认识的钢琴家吉娜·爱丽斯·雷德林格尔(Gina Alice Redlinger)结婚,并在考虑生儿育女。

“We went through some difficult times already,” he said, adding that Ms. Redlinger had been a support when he was injured. “And she helped me along.”

“我们已经经历了一些困难时期,”他说,而在他受伤期间,雷德林格尔是他的后援。“她一直都在帮我。”

After spending more than half his life as a touring musician, he has decided to give fewer concerts. He plans to cut back to 70 or 80 a year, down from the 130 or so he had been doing before his injury — because he wants more time to, well, live his life, as well as to devote himself to educational projects.

在他此前的人生当中,有超过一半的时间在各地巡演,如今他决定减少音乐会的数量。他计划从受伤前一直保持的每年130场,减少到每年70到80场——因为他想要更多的时间,去过他自己的生活,并致力于教育项目。

“I need those extra days, because otherwise you can’t really focus on everything you do,” he said.

“我需要有些额外的时间,因为否则你无法真正专心面对你所做的所有事情,”他说。

It’s not that the old Lang Lang — which is to say the young, flamboyant Lang Lang — has disappeared completely.

这并不是说,曾经的郎朗——那个年轻、张扬的郎朗——已经完全消失了。

What other classical soloist, after all, would be making a cameo at a Billy Joel concert? Who else could get Steinway to name a new line of grand pianos for him this year, the way guitar makers have long named instruments for stars like Eric Clapton and Les Paul? Or work with the director Ron Howard, who is developing a biopic based on Mr. Lang’s rags-to-riches upbringing in China? Or hold his wedding at Versailles with a party Marie Antoinette might have envied, and several columns’ worth of boldfaced names as guests?

毕竟,还有哪位古典乐独奏者会在比利·乔的演唱会上客串演出?还有谁能让施坦威(Steinway)用自己的名字命名全新的三角钢琴系列,就像吉他制造商长期以来用埃里克·克莱普顿(Eric Clapton)和莱斯·保罗(Les Paul)这些明星的名字为吉他命名一样?还有谁能跟导演罗恩·霍华德(Ron Howard)合作(他正在根据郎朗在中国的成名经历制作一部传记电影)?或者在凡尔赛宫举行婚礼,举办一场连玛丽·安托瓦内特(Marie Antoinette)都会嫉妒的派对,嘉宾名单里列着好几栏如雷贯耳的名字?

But much has changed — down to his practice routine.

但是很多东西都改变了——包括他的日常惯例。

Mr. Lang attributed his injury to overwork: He had been touring with several demanding pieces as he taught himself Ravel’s Piano Concerto for the Left Hand, written for Paul Wittgenstein, who lost his right arm in World War I. Mr. Lang wound up with tendinitis, as dangerous for a pianist as it is for a pitcher. It got bad enough that in April 2017, he decided to cancel a few months of concerts to recover; in the end, he took more than a year off.

郎朗认为他的受伤是过度劳累导致的:在用几首最受欢迎的曲目巡演期间,他自学了拉威尔的左手钢琴协奏曲,那是写给在第一次世界大战中失去右臂的保罗·维特根斯坦(Paul Wittgenstein)的。结果他患上了肌腱炎,这种伤病对于钢琴家就像对棒球投手一样危险。2017年4月伤情恶化,他决定取消几个月的音乐会,好好恢复一下,最后他休息了一年多。

These days, he is more careful. “I’m going back to basics more,” he said of his new approach to practicing, which he does for an hour each morning and evening. “It’s healthier.”

近来他更加小心了。“我要多做基本练习,”他谈到自己的新练习方法,他每天早晚都要练习一个小时。“这样健康一点。”

On a recent morning in midtown Manhattan, he strode into a studio and carefully went through major and minor scales in every key. But now he stopped from time to time to stretch, pausing to slowly rotate his head over his shoulders, or to cross his arms over one another in front of his chest.

前不久的一个早晨,在曼哈顿中城,他大步走进一间录音室,仔细弹出每一个调的大调和小调音阶。但现在他时不时停下来伸展一下身体,慢慢在双肩范围内转动头部,或者把双臂交叉放在胸前。

“I want to build more muscles,” he said, “but without hurting.”

“我想多练点肌肉,”他说,“但是不能受伤。”

A black S.U.V. eventually picked him up to take him to Newark for a ribbon-cutting ceremony at a new piano lab that the Lang Lang International Music Foundation had donated to First Avenue School — which has also received several dozen Roland digital pianos, along with Lang Lang Piano Method instruction books — as part of the foundation’s multimillion dollar commitment to expanding access to music education in underserved communities.

后来一辆黑色SUV载着他到纽瓦克参加一个新的钢琴工作室的剪彩仪式,那是郎朗国际音乐基金会捐赠给第一大道学校的——该校还收到几十台罗兰(Roland)电钢琴和郎朗的钢琴指导书——这是意在发展受忽视社区音乐教育的数百万美元捐赠的一部分。

As the car snaked through traffic, he spoke about his new album, “Piano Book,” his first release since he returned to the Deutsche Grammophon label — in part to take advantage of the better promotional opportunities available from being part of the Universal Music Group juggernaut — after several years with Sony Classical.

当汽车艰难地穿过堵塞的街道时,他谈到自己的新专辑《钢琴书》(Piano Book),这是他在索尼经典(Sony Classical)旗下数年后回归德意志留声机(Deutsche Grammophon)厂牌发行的第一张唱片——部分是因为该厂牌隶属于庞大的环球音乐集团(Universal Music Group),可以提供更好的推广机会。

His choice of repertoire on the album is almost a taunt to those who have found his artistic choices overly safe: “Piano Book” is a collection of short, mostly greatest-hits pieces, like Beethoven’s “Für Elise” and Debussy’s “Clair de Lune.”

对于那些认为他的艺术选择过于安全的人来说,他在这张专辑中选择的曲目几乎是一种嘲讽:《钢琴书》收录了一些短小的作品,大部分都是最热门的杰作,比如贝多芬的《致爱丽丝》(Für Elise)和德彪西的《月光》(Clair de Lune)。

“A lot of people were like: ‘Are you serious? You’re playing ‘Fur Elise?’” Mr. Lang said.

“很多人都说:‘你开玩笑吗?你弹《致爱丽丝》?’”郎朗说。

But, he added, he recorded them because, quite simply, he likes them — and because, even though such chestnuts are played by students all over the world, it is not always easy to find quality recordings.

但是,他补充说,很简单,他录制这些曲子是因为他喜欢它们——而且,即使全世界的学生都在演奏这些老掉牙的曲子,要找到高质量的录音并不总是那么容易。

The album was also engineered for music’s streaming age. Since big streaming services generate revenue each time a track is played, they reward albums with many short tracks over those with fewer long ones, as with most symphonies and concertos. Within four months of its release in March, Mr. Lang’s “Für Elise” recording had been streamed 5.1 million times on Spotify.

这张专辑也是为音乐的流媒体时代而设计的。由于大型流媒体服务每次播放一首曲子都能带来收入,所以与大多数交响乐和协奏曲一样,流媒体服务有利于收录多首短曲的专辑,而不是收录几首长曲的专辑。在今年3月发布后的四个月内,郎朗版的《致爱丽丝》在Spotify上播放了510万次。

Mr. Lang was born in 1982 on a military barracks in Shenyang, China, where his father, who played the erhu, a bowed Chinese instrument, had a job as an Air Force musician. His parents got him a piano when he was still a toddler, and he often cites a Tom and Jerry cartoon, “The Cat Concerto,” in which cat and mouse fight through Tom’s attempt to perform Liszt, as an early influence.

郎朗于1982年出生在中国沈阳一个军营里,他的父亲曾在空军演奏二胡,一种用琴弓拉奏的中国乐器。郎朗还在蹒跚学步的时候,父母就给他买了一台钢琴,他经常说卡通片《猫和老鼠》(Tom and Jerry)中的猫鼠大战时,汤姆试图弹出李斯特的《猫协奏曲》(The Cat Concerto),是他早年受到的一个影响。

But his parents struggled to pay for his musical education. When Mr. Lang was 9, his father left his job — he was a police officer by then — and moved with him to Beijing so that Mr. Lang could study piano more seriously. His mother stayed behind in Shenyang and worked so she could send them $150 a month, which they had to stretch to pay for rent, lessons and food.

但他的音乐教育费用让父母焦头烂额。郎朗9岁时,父亲辞掉了当时的警官工作,和他一起搬到了北京,让郎朗可以专心学钢琴。母亲留在沈阳工作,这样就可以每月给他们寄150美元,他们得把这笔钱花在房租、学费和伙食费上。

His father pushed him relentlessly, Mr. Lang wrote in his 2008 memoir, “Journey of a Thousand Miles” — and even urged Mr. Lang to kill himself after he was dropped by his first teacher in Beijing. “Die now rather than live in shame,” Mr. Lang recalled his father saying. Mr. Lang’s father thrust a bottle of pills at him and told him to swallow them all before ordering him to jump off their balcony.

2008年,郎朗在他的回忆录《千里之行》中写道,父亲的逼迫是非常严酷的,在被他在北京的第一个老师放弃后,父亲甚至劝他自杀。“与其丢人现眼地活着,不如去死,”郎朗回忆起父亲说过的话。父亲扔了一瓶药给他,让他吞下去,然后命令他跳下阳台。

Mr. Lang wrote that he almost gave up the piano then and there — punching the wall to hurt his hands, and giving up playing for months. But the moment of madness passed; father and son reconciled; and Mr. Lang returned to the piano, going on to study at the Central Conservatory of Music in Beijing and eventually earn a place at the Curtis Institute of Music in Philadelphia, where he studied with its director, Gary Graffman.

郎朗写道,当时他几乎要放弃钢琴了——他用拳头击打墙壁弄伤自己的手,几个月没有弹琴。但疯狂的时期过去了;父子和解;郎朗重返钢琴,继续在北京的中央音乐学院学习,最终在费城的柯蒂斯音乐学院(Curtis Institute of Music)获得一席之地,他在那里师从院长加里·格拉夫曼(Gary Graffman)。

“Technically, he was incredible,” Mr. Graffman recalled of Mr. Lang’s audition. “He had this communication thing. Yes, his hands went up to the ceiling and that sort of thing, but even if you closed your eyes, there was really this communication.”

“他的技术不可思议,”格拉夫曼回忆郎朗的面试。“他有一种沟通的方式。是的,他会把手抬得高高的,但即使你闭上眼睛,也能感受到那种沟通。”

When he was 17, his big break arrived as he filled in at the last minute for André Watts with the Chicago Symphony Orchestra. He was an overnight sensation.

17岁那年,他取得了重大突破,最后关头填补了安德烈·沃茨(André Watts)的空缺,与芝加哥交响乐团(Chicago Symphony Orchestra)合作。他一夜成名。

His career took off just as China was emerging as a powerhouse of classical music: an important new market for recordings, a required stop on orchestra tours, and a major source of new artists.

他的事业起步之时,中国正成为一股古典音乐的强大力量:重要的唱片新市场、乐团巡演的必经之路,以及新艺术家的重要来源。

But as the new generation of Asian musicians began to make inroads, they sometimes faced bias. In comedy sketches, Yuja Wang, another star pianist from China, has mocked the trope that Asian players have strong technique but play like soulless automatons. Mr. Lang said that his emotional, expressive style may have been in part a reaction to the stereotypes.

但随着新一代亚洲音乐家开始崭露头角,他们有时会面临偏见。在喜剧小品中,另一位来自中国的钢琴明星王羽佳嘲笑了一种认知,即亚洲演奏者技术高超,但演奏起来就像没有灵魂的机器人。郎朗说,他那种情绪化、善于表达的风格可能在一定程度上是对这些刻板印象的反应。

“They were saying that Asians were kind of cold, that they were reserved,” he recalled. “From the very beginning, I always tried to do more.”

“他们说,亚洲人有点冷漠,他们很保守,”他回忆。“从一开始,我就一直在努力做得更多。”

He did. And with dazzling technique, exuberant showmanship, canny marketing — and by making the most of opportunities such as playing at the opening of the Beijing Olympics in 2008 — he became a superstar. Like other classical artists, he endorsed a Swiss watch. Far more unusual? He had a line from Adidas named for him, and played with Metallica.

他做到了。凭借炫目的技术、精彩的表演、精明的营销——以及充分利用2008年北京奥运会开幕式等机会——他成了超级巨星。和其他古典艺人一样,他代言了一个瑞士手表品牌。还有更不寻常的吗?有一条阿迪达斯的产品线以他的名字命名,他还与“金属”(Metallica)乐队合作。

But prominent critics, many of whom had initially been impressed by his talent, began regularly decrying what they perceived as tastelessness in his playing. Anthony Tommasini, the chief classical music critic of The New York Times, skewered Mr. Lang’s 2003 Carnegie Hall recital, writing that his playing was “often incoherent, self-indulgent and slam-bang crass.” In 2015, John Allison complained in The Telegraph that Mr. Lang played Chopin with “a vulgarity seldom, if ever, heard on the London concert platform.”

但一些著名乐评人开始经常批评他,认为他的演奏毫无品味,其中许多人最初对他的才华印象深刻。《纽约时报》首席古典音乐评论家安瑟尼·托马西尼(Anthony Tommasini)猛烈抨击郎朗2003年在卡内基音乐厅的演奏,郎朗的演奏“时显散乱,自我陶醉,有种张牙舞爪的粗俗”,他写道。2015年,约翰·艾利森(John Allison)在《每日电讯报》(The Telegraph)上抱怨说,郎朗演奏的肖邦“有着鲜见于伦敦音乐会舞台的庸俗”。

But audiences — and, as important, leading maestros — continued to be impressed. Mr. Welser-Möst recalled that when Mr. Lang came to Cleveland several years ago to play Bartok’s demanding Second Piano Concerto, the pianist asked him for help with some Mozart.

但听众们——同样重要的是,顶尖的古典乐大师们——仍被郎朗打动。韦尔泽-默斯特回忆说,几年前郎朗来到克利夫兰,演奏巴托克高难度的第二钢琴协奏曲时,曾请他指导一些莫扎特的作品。

Mr. Welser-Möst said that he responded by testing Mr. Lang, saying that he would coach him in Mozart sonatas if Mr. Lang would come to the stage an hour and a half before the Bartok concert.

韦尔泽-默斯特说,他的回应是对郎朗进行了一次试探,说如果他在巴托克音乐会前一个半小时到舞台来,就会给他莫扎特奏鸣曲的指导。

“And he was there,” Mr. Welser-Möst said. “That shows what kind of discipline he has. He was already an enormous star. I don’t know many people who would have that kind of humility.”

“然后他真在那里,”韦尔泽-默斯特说。“这表明他多么自律。他已经是巨星了。我所认识的人当中,那么谦卑的不多。”

Mr. Lang has tried to balance that humility and curiosity with Metallica, Mr. Joel and “Für Elise.” It’s not always easy. Classical music may lament its increasing marginalization from the broader culture, but it is often also wary of popularizing efforts. Even Mr. Lang admitted to occasional doubts.

郎朗曾通过与金属乐队、比利·乔的合作以及弹奏《致爱丽丝》,设法取得谦卑与好奇心的平衡。这并非易事。古典音乐或许会哀叹日益被整体的文化所边缘化,但也时常警惕大众化的尝试。甚至郎朗也承认偶尔心存疑虑。

“I really want to carry classical music into some new areas,” he said. “But sometimes I think, maybe it’s too far? Maybe I should pull back a little bit?”

“我真的很想把古典音乐带入某些新地带,”他说。“但有时我想,也许走得太远了?也许该拉回来一点?”

The violinist Itzhak Perlman — whom Mr. Lang cited as an inspiration for his balance of populism and artistry, along with Luciano Pavarotti and Yo-Yo Ma — said that he always thought hard when deciding to dip his toe in something outside the core repertoire, like klezmer.

小提琴家伊扎克·帕尔曼(Itzhak Perlman)——连同朗鲁契亚诺·帕瓦罗蒂和马友友——在大众化和艺术性之间实现的平衡,被郎朗视为一种启发。帕尔曼说他总是会仔细考虑,以决定要不要尝试核心曲目之外的作品,比如犹太乐曲。

“Some people will say, ‘That’s cute,’ and some people will say, ‘Oh, how can you do something like that, you’re a classical musician,’” Mr. Perlman said. “Personally, I always remember what my day job is.”

“有人会说,‘这挺可爱,’有人会说,‘喔,你怎么能做这样的事情,你是个古典音乐家,’”帕尔曼说。“就个人而言,我始终记得我的正职是什么。”

And so, a few weeks after his cameo at the Garden, Mr. Lang was back at his day job, playing Beethoven’s Second Piano Concerto at the Easter Festival in Baden-Baden, Germany, with the Berlin Philharmonic and its incoming chief conductor, Kirill Petrenko. He said that he and Mr. Petrenko spent nearly two hours going over the piece together “almost note by note.”

于是,在广场花园的客串露面几星期后,郎朗回归了正职,在德国巴登巴登与柏林爱乐乐团及当时即将上任的首席指挥基利尔·佩钦科(Kirill Petrenko)合作,演奏贝多芬《第二钢琴协奏曲》。他说他和佩钦科一起花了近两小时,“几乎是逐个音符”重温这个作品。

Shortly after, in May, he played the same work in Los Angeles with Gustavo Dudamel. There, it was part of a cycle of Beethoven’s five piano concertos; Mr. Lang was originally scheduled for the full cycle, but withdrew from all but the Second as his recovery continued.

在不久后的5月,他在洛杉矶与古斯塔夫·杜达梅尔(Gustavo Dudamel)合作了同一首曲目,属于五首贝多芬钢琴协奏曲联演的一部分;起初的安排是郎朗弹完整轮演出,但由于尚在恢复中,他只演奏了第二。

Any doubts those cancellations raised about his abilities were dispelled by his nuanced, delicate performance. Mark Swed, the classical music critic of The Los Angeles Times, wrote in his review that it was “something people may well be talking about for years.”

他精细、微妙的演奏,让取消其他曲目可能引起的能力质疑一扫而空。《洛杉矶时报》(Los Angeles Times)古典音乐乐评人马克·斯威德(Mark Swed)在评论中写道,这属于“那种人们很可能会谈论多年的演出。”

“This was not so much Lang Lang returning,” he added, “as Lang Lang arriving.”

“这与其说是郎朗的回归,”他还写道,“不如说是郎朗的到来。”

Mr. Lang said he was already making plans to return to the Romantic repertoire. But first he is spending a season focused on Bach’s “Goldberg” Variations, one of the most intellectually demanding, austerely unfussy works in the canon — an immersion planned before he got hurt.

郎朗说,他已经在计划回归浪漫派曲目。但首先他将会有一季专注于巴赫的《哥德堡变奏曲》,这是音乐正典中最考验智识和古朴严苛的曲目之一,他受伤之前曾打算潜心加以研究。

And he has other dreams, beyond big-statement virtuosity: to accompany a singer in Schubert’s song cycle of heartache, “Winterreise”; to revisit Brahms; to play new music if he can find the right fit; and perhaps to try and compose something himself.

此外,除了非同凡响的精湛技巧,他还有其他梦想:为令人心痛的舒伯特《冬之旅》(Winterreise)声乐套曲伴奏;重温勃拉姆斯;能找到合适曲目的话,弹奏一些新音乐;以及或许会尝试自己创作一些。

“Maybe I will start with some children’s songs,” he said, laughing. “Easier! Safer!”

“也许我会从一些儿童歌曲入手,”他笑着说。“更简单!更安全!”

For now, though, Mr. Lang is happy just to be playing again. He said that he had been frightened right up to the opening bars of his comeback concert last year at Tanglewood, the Boston Symphony Orchestra’s summer home in the Berkshires.

不过目前,能再次弹奏已让郎朗很满足。去年在波士顿交响乐团的伯克希尔丘陵夏季驻地唐格尔伍德的复出音乐会上,他说一开始弹前几小节时他很害怕。

“It was really a little weird to play the first eight bars — the most weird eight bars in my life,” he said. “I was like, Am I going forward? And then after eight bars, it was: Let’s go!”

“弹奏前八小节感觉真的有点怪异——我一生中最怪异的八小节,”他说。“就像是,我是在往前走吗?然后过了八小节后,就变成了:冲啊!”

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