阿劳演奏莫扎特K.310
How Claudio Arrau Nearly Became Glenn Gould
克劳狄奥·阿劳如何差点成为格伦·古尔德？往期内容：1、八十岁时论阿劳丨论阿劳的演奏艺术；2、八十五岁论阿劳丨他的演奏何以伟大？3、喜悦，古尔德《哥德堡变奏曲》的精神所在！
纽约，1942年初。钢琴家克劳狄奥.阿劳39岁，借由一次南美巡演的机会来到美国。早年在家乡智利度过7年的神童岁月，后又在德国历经22年的锻炼打磨风格渐成。已踏上明星之路的阿劳，正朝着二十世纪钢琴巨擎的方向迈进。那时他在德国已然功成名就，然而“既不想放弃取得的成就，又无法忍受那里的恐怖，我纠结不已”（见约瑟夫.霍洛维茨《阿劳谈音乐和演奏》），他在德国一直呆到1940年才终于离开。美国吸引着阿劳，当然，在美国获取成功对他就更具有无比的吸引力了。
NEW YORK, early 1942. The pianist Claudio Arrau was thirty-nine and after seven early wunderkind years in his native Chile and twenty-two formative years in Germany, he had just arrived in the United States via a South American tour. He was already on the verge of stardom, on his way to becoming one of the piano titans of the twentieth century. Having made quite a name for himself in Germany, he remained there until 1940, “torn between the satisfaction of being recognized in Germany, and the horrors that were happening there” (as quoted in Joseph Horowitz’s Arrau on Music and Performance). The United States fascinated Arrau, and even more fascinating to him was success in the United States.
那么，如果阿劳当年就录下《哥德堡变奏曲》（BWV988）：即1942年，首开用钢琴来演奏这首曲子的先河，比格伦.古尔德及其改变巴赫钢琴作品以致巴赫所有作品演奏方向的1955年录音还要早13年，那么会发生什么呢？那次录音对古尔德事业的影响众所周知；这位加拿大籍钢琴怪才随即迅若流星般地崛起。也是自那时候起，《哥德堡变奏曲》从相对默默无闻的状态一跃而成当今演奏会和录音的热门。
Now what if Claudio Arrau had recorded the Goldberg Variations that year, 1942, the first to do so on the piano, thirteen years before Glenn Gould and his 1955 recording that changed the course of the Bach-on-Piano and Bach in general? We know what that recording did to Gould’s career, of course, given the ensuing meteoric rise of the Canadian weirdo–genius. We also know what happened to the Goldberg Variations, which moved out of relative obscurity to become the recital and recording favorites they are today.
“那个时代，毋庸置疑，用钢琴演奏巴赫是正确的选择。是唯一的选择。”
‘In those days, of course, there was no doubt that it was correct to play Bach on the piano. It was the only way.’
这个‘what if？’的假设并非空穴来风。总是把自己打扮得整齐漂亮的阿劳，被《时代杂志，1942年》形容为钢琴界的“阿道夫.门吉欧和安东尼.艾顿”的合体。尽管如今被公认为贝多芬/李斯特/舒曼/甚或肖邦，舒伯特的权威，：弗雷德里希.格恩希海姆，阿道夫.冯.亨赛尔特，斯蒂芬.海勒，约阿希姆.拉夫，费力克斯.韦恩加特及赫尔曼.格茨。这些都是他的独奏曲目。不仅如此，阿劳录制了理查德.斯特劳斯“戏谑曲”的首张美国录音（此亦格伦.古尔德的最爱）；在墨西哥首演了卡洛斯.查韦斯的钢琴协奏曲，也聆听并演奏了众多勋伯格作品，而且相当敏锐地指出：齐默尔曼的〈士兵们〉是二十世纪最伟大的歌剧之一。
It is not a far-fetched “what if.” Although Arrau, the dapper “blend between Adolphe Menjou and Anthony Eden” (Time magazine, 1942) of the piano, is now known as an interpreter of Beethoven, Liszt, Schumann, probably Chopin and — maybe — Schubert, his repertoire in the early years of his career and his taste in music throughout his life was impressively catholic: Friedrich Gernsheim, Adolf von Henselt, Stephen Heller, Joachim Raff, Felix Weingartner and Hermann Goetz were all part of his recitals. Arrau had made the first American recording of Richard Strauss’s Burleske (also a Glenn Gould favorite); he gave the Mexican premiere of Carlos Chávez’s Piano Concerto, listened to and played a good deal of Schoenberg, and considered — astutely — Zimmermann’s Die Soldaten to be one of the great operas of the twentieth century.
实际上年轻阿劳是因演奏巴赫扬名的，最耀眼最成功的一次就是1935-36季在柏林一系列十二场演奏会几乎囊括了巴赫所有键盘作品。当17岁的阿劳在“风神音乐厅”作伦敦首演时，他弹的也是哥德堡和几首斯卡拉第奏鸣曲。他（唯一）的老师马丁.克劳斯是李斯特的学生，把巴赫作为其教学的重要基础之一，要求阿劳可以用任何调性弹奏〈钢琴平均律〉中所有的前奏曲和赋格。“在那个时代，毋庸置疑，用钢琴演奏巴赫是正确的选择。唯一的选择。 兰朵芙斯卡还未出现呢。”
Young Arrau actually made his name with Bach, most notably and remarkably when he played practically all of Bach’s keyboard works in a cycle of twelve concerts in Berlin in the 1935–36 season. When the seventeen-year-old Arrau gave his London debut in 1920 at Aeolian Hall, he performed the Goldberg Variations and several Scarlatti Sonatas. His (sole) teacher Martin Krause, himself a student of Liszt’s, believed in Bach as one of the bases of his teachings, and he ensured that Arrau could play all the preludes and fugues of The Well-Tempered Clavier in any key. “In those days, of course, there was no doubt that it was correct to play Bach on the piano. It was the only way. Landowska hadn’t appeared yet.”
因此，假如（what if）是这个风度翩翩的小个子智利人带我们认识了哥德堡变奏曲，那又会发生什么呢？他总是留着修得一丝不苟的胡子，穿着笔挺的西装，提着手提包，“毫不克制对珠宝的热爱”（时代杂志，1942年）。
So what if we had gotten to know the Goldberg Variations through this diminutive and debonair Chilean, with his perfectly trimmed mustache, well-tailored suits, pochettes, and an “irrepressible love for jewelry”? (Time, 1942).
其实阿劳早在1942年就为RCA录制了哥德堡变奏曲，比任何人都早（兰朵芙斯卡在1933年为HMV/EMI录的那次除外）。那为何我们却不知晓，阿劳曾经是个巴赫先锋，甚至可能成为震醒大众或至少是打破陈规的人物？这张唱片直到1988年才发行，晚了整整半个世纪。那么问题来了：到底发生了什么？
As it turns out, Arrau did record the Goldberg Variations before anyone else (except Landowska, who recorded it for HMV/EMI in 1933). He recorded it in 1942, for RCA. So why do we not know Arrau as a Bach pioneer, perhaps even as a rabble-rouser or at least a boundary-pusher? The recording did not get released until 1988, almost half a century later. Which begs the question: what happened?
众多原因铸成了这场延误。1945年阿劳在纽约维克多1号录音室还录过巴赫，那次他录的是半音阶幻想曲和D小调赋格，两声部创意曲和三声部交响曲，然而自那以后他渐渐地不再弹巴赫了；部分是受他所崇拜的兰朵芙斯卡的影响。这其中也包括阿劳“觉得自己是个钢琴家；应该只弹为钢琴及钢琴音色所写的作品。”据说，他甚至想要开始用大键琴，以便能够理直气壮地回归巴赫。
Numerous causes contributed to the delay. Although in 1945 Arrau recorded Bach one more time at New York’s Victor Studio 1, where he put down the Chromatic Fantasy and Fugue in D minor and the Two-Part Inventions and Three-Part Sinfonias, he slowly stopped playing Bach altogether, partly under the influence of Landowska, whom he worshiped. Into it came also Arrau “[having] the idea that I should be a pianist; that I should only play things that were conceived for the piano and the piano sound.” Allegedly, he was even thinking about taking up the harpsichord, just to get back to Bach but feel legitimate about it.
Allegedly, he was even thinking about taking up the harpsichord, just to get back to Bach but feel legitimate about it.
阿劳的终身经纪人兼朋友弗里德.罗特，1988年曾说道：“自1941年2月那场在卡内基音乐厅的辉煌胜利为他在美国赢得巨大声誉以后，他为RCA录制的首批主要作品之一就是哥德堡变奏曲。这很自然，阿劳原本就以诠释巴赫闻名......RCA也需要在其目录中收入这首作品。然而命运的安排就是这样，这张唱片始终未被发行。万达.兰朵芙斯卡(Landowska)作为难民投奔纽约正是二次世界大战如火如荼的时候。为了重拾她1924年在美国建立的声望，也因为急需用钱，她在纽约开了哥德堡变奏曲专场音乐会，并想（再次）录制这首作品。RCA征求阿劳同意是否可以暂缓出他的哥德堡，而让兰朵芙斯卡的大键琴版先出。阿劳很情愿地同意了，不仅因为他崇敬兰朵芙斯卡的巴赫，也因为他那时正开始相信巴赫的键盘作品属于大键琴。几年后，他又和CBS签订了长期合同；那么RCA因为已有了兰朵芙斯卡的成功在先，也就没必要再出他的版本。就这样这张唱片一直躺在档案里至到今日。”
His lifelong manager and friend, Friede Rothe, had this to say in 1988: “One of the first major works Claudio Arrau recorded for RCA following the Carnegie Hall triumph in February 1941 that brought him his great American acclaim was the Bach Goldberg Variations. It was a natural choice. Arrau had won fame as a Bach exponent . . . and RCA needed the Variations in the catalog. But as fate would have it, it was never released. World War II was raging when Wanda Landowska arrived in New York as a refugee. To reestablish the reputation she had gained in America in 1924 and for much-needed funds, she gave a New York concert devoted to the Goldberg Variations. She then wanted to [re-]record the work. RCA asked Arrau if he would postpone his Goldbergs in favor of Landowska’s on the harpsichord. He readily consented, not only because he admired Landowska’s Bach enormously but also because at the time he was beginning to think that Bach’s keyboard works really belonged to the harpsichord. A few years later Arrau signed a long-term contract at CBS; RCA, having the Landowska success on its hands, saw no reason for the release of his recording, so it lay in the archives until now.”
原来如此。音乐史从此改变。阿劳，这个狂野而不失威严的演奏家，对哥德堡变奏曲的拯救（好比卡萨尔斯对巴赫大提琴组曲的拯救）终于没有发生。反之，阿劳成为了那个时代首屈一指的李斯特专家，更是贝多芬的象征，他的名声在于——其实被局限于——德国浪漫派核心曲目。而且作为这样一位李斯特大家，他最终录下的李斯特作品却不多。一半是因为人家让他不要弹很多李斯特—至少等他累积了足够名声以后—李斯特被认为是票房毒药。因此他专注在贝多芬，舒曼和勃拉姆斯身上。这可真是遗憾，他现存的李斯特录音（当然数量还算不少）中有一些令人印象非常深刻。例如〈超技练习曲〉（这还是阿劳11 岁时跟马丁.克劳斯学的），特别是由Pentatone公司重新发行的那些，凸显阿劳标志性的王者风范，与新生代中的佼佼者媲美毫不逊色，如基里尔.格尔斯坦（Myrios唱片公司），丹尼尔.特里福诺夫（DG公司）。
Voilà. Music history changed. Arrau, that wild-yet-regal pianist who rescued the Goldberg Variations like Pablo Casals had the Bach Cello Suites didn’t happen. Instead, Arrau became the premiere Lisztian of his time, and even more so a Beethoven icon, known — indeed almost reduced to — the core German Romantic repertoire. Of course, for being such a premiere Lisztian, he ultimately programmed and recorded relatively little Liszt. That was in part because Arrau was told not to play so much Liszt — at least until he was better established — because the composer was considered box-office poison. So he focused on Beethoven, Schumann and Brahms. It’s a shame, because the Liszt that we do have from him (still a generous amount) includes some impressive recordings. The Transcendental Études (Arrau had first studied them with Martin Krause at the age of eleven), especially as reissued on Pentatone, still hold their own against the very best of the latest generation — namely Kirill Gerstein (Myrios) and Daniil Trifonov (Deutsche Grammophon) — and underscore the magisterial way of playing that makes Arrau so special.
“高贵”是另一个阿劳评论中出现频率很高的词。尽管年轻时他也像一把火，弹什么都速度极快，必须有意识地把自己慢下来以期表达音乐中的深层意味，而非停留在表面那些令人眼花缭乱的方面。
“Aristocratic” is another word that always sneaks into reviews of Arrau’s performances or recordings, although he was quite the firebrand as a young man, playing everything fast and having to deliberately slow himself down to get at the expressive rather than superficially exciting qualities of the music.
钢琴家齐蒙.巴托回忆起他初次—及随后—听阿劳音乐的感受：“我听过他一次现场，在卡内基，但我所能记得的就是一个优雅矮小的男人走上舞台，开始弹奏贝多芬。他弹起琴来就好像坐在棋盘边下棋一样。我那时还是个愣头小伙，所以觉得一点也不好。我觉得他把什么都弹得太慢了，唱片里也是。但其实是我那时弹得太快了！近来我留意听了李斯特〈彼得拉克三首十四行诗〉里的所有歌曲—我认为那是十九世纪最动听的音乐——我找来所有版本，而阿劳的版本最精致细腻！他弹出了美声唱法的真意，还赋予音乐一切的想象空间。
Pianist Tzimon Barto remembers his first — and subsequent — exposures to Arrau: “I saw him live once, at Carnegie, but all I remember is an elegant, small man, stepping on stage to play Beethoven and he played like he sat at a backgammon board. Impetuous youth I was, it didn’t impress me at all. I didn’t like it at all because I thought he was playing everything too slow, on record, too, but really, that was because I was playing everything too fast! More recently, I sought out to listen to all of Liszt’s Tre Sonetti di Petrarca — the most beautiful pieces of the nineteenth century to my ears — that I could get my hands on, and his were the most exquisite of them all! He played it with a real sense of bel canto and he gave it all the space it needed to develop.”
钢琴家帕瓦利.琼帕纳最近发行了他自己全套贝多芬奏鸣曲中的最后一批（Ondine公司制作）。他对阿劳音乐性的描述很到位：“听阿劳演奏的时候，他的演奏和呈现出音乐之间诞生神秘张力仿佛将我攫入其中。这种感觉很难确切的描述阿劳的演奏方式，他弹奏时仿佛着重于创造音色，而非机械地操纵乐器。”这种张力，不仅来自于阿劳激情四溢的肢体语言，即用全身来弹琴而不仅用手或腕，也来自于他的独特指法。他不避讳高难度技巧，他认为技巧本身就蕴含深义。
Pianist Paavali Jumppanen, who has just released the last installment of a Beethoven sonata cycle himself (Ondine), describes the quality of Arrau’s playing wonderfully: “When listening to Arrau play, I’m drawn to a mysterious tension between him and the music he plays. It is difficult to explain it exactly but the way he approaches the instrument puts a unique emphasis on the process of creating the sound, rather that maneuvering through the music.” The tension stems, in part, from the extraordinary physicality of Arrau’s technique, which was based on playing with the whole body, not just the hands or wrists — and also from his fingering, which was unusual and never avoided difficulties, because he was convinced that physical difficulty itself has expressive value.
我有过一次类似的豁然开朗的体验。阿劳有本半自传，主要是和约瑟夫.霍洛维茨的谈话。我一面读书一面放着他的录音，一张接一张，好似配乐。正读到第218页，我抬起头，耳边传来一阵天籁之音。哇！这简直是阿劳最经典/最纯熟的境界呀！那是一套意大利Decca出的李斯特独奏作品集第四张，封面上有一只毛茸茸灰猫的那张。我匆匆在页脚记下“孤独中天主的祝福”以便后查。又读了11页以后书中写道：钢琴家加里克.奥尔森—他是阿劳的仰慕者也听过他几次课—当被问起最喜欢阿劳哪个作品或演出时，他说：“我总是想起阿劳弹的那首李斯特〈孤独中天主的祝福〉。有人竟然可以让录音室里一架琴弦中插着麦克风的现代斯坦威平台钢琴发出完全不像敲击而生的，如此清澈流畅的声音；波涛汹涌中保持清晰，色形体俱备……我觉得那真是神了！”
I experienced a similar epiphany while reading Arrau’s semi-autobiography, essentially recorded conversations with Joseph Horowitz. I listened to Arrau recordings, one disc after another, alongside, as a soundtrack. On page 218 I looked up and listened with rapture. Wow! What an example of Arrau at his typical, mature best! It was disc four of an Italian Decca set of his Liszt solo performances with a fuzzy gray cat on the cover. I scribbled down “Bénédiction de Dieu dans la solitude” into the corner of the book for future reference. Eleven pages later this: Pianist Garrick Ohlsson, who admired Arrau and had several lessons with him, is asked about his favorite Arrau performance or interpretation: “I always think of his recording of Liszt’s Bénédiction de Dieu dans la solitude. That anyone can get such a liquid, non-percussive sound out of a modern Steinway concert grand in a recording studio with the microphones practically inside the strings; that he can still make a wash of sound which is yet specific, has not just color but also structure and shape . . . I think it’s colossal!”
琼帕纳的最爱是阿劳最具代表性的作品：贝多芬最后三首奏鸣曲和“锤子键琴奏鸣曲”。对贝多芬奏鸣曲阿劳早有涉及，1938年便首次在墨西哥城演出整套曲目；1952年为BBC录了全套，1947 到1960年间又开始为HMV/EMI录全套却不料半途而废。60年代中期当他开始为菲利普公司录制全套时（此时相同的全套只出过6种），阿劳的风格正好符合当时大众的口味：忠实于乐谱，慢热型激情，不趋附于原先风靡钢琴界的炫技风潮--特别是美国，RCA的公关机器不遗余力地吹捧那些更富情绪化的键盘明星：拉赫马尼诺夫/鲁宾斯坦/霍洛维茨。阿劳达到的是一种别人模仿不来的“新客观主义”和老派技巧大师的综合体。“这些贝多芬奏鸣曲深深烙刻在我的记忆里，”评论家克劳斯.卡施密特说道，“就像我初次听到时一样，哦不，像我亲眼所见一样，因为那感觉就好像有真人在我面前弹奏：朴实无华，自然独特，技巧完美。它们是超越时间的。”
Jumppanen’s favorite recordings of Arrau’s are also the most representative of his career: the last three Beethoven Sonatas and the Hammerklavier Sonata. Arrau began early with the sonatas, playing a complete cycle for the first time in Mexico City in 1938; he played another for the BBC in 1952 and got started on an early but aborted cycle for HMV/EMI between 1947 and 1960. When he recorded them for Philips in the mid–Sixties (only the seventh such cycle to appear at the time), the world was ready for Arrau’s combination of fidelity to the score and slow-burn intensity, his avoidance of anything that smacked of the virtuosity that had previously been en vogue in pianism — especially in the United States, where RCA’s relentless PR machine promoted its more obviously emotive ivory stars: Rachmaninoff, Rubinstein, Horowitz. Arrau arrived as an inimitable blend of “New Objectivity” and old-school virtuosity. “These Beethoven performances are still burned into my memory,” relates critic Klaus Kalchschmid, “the way I heard, nay, witnessed them, because it felt like someone was performing them live for me. Their unpretentious and natural and distinct, technically excellent ways are timeless.”
‘The way he approaches the instrument puts a unique emphasis on the process of creating the sound, rather that maneuvering through the music.’
菲利普公司的录音技术日臻完美，阿劳的唱片效果几乎等同于现场。待到出版舒曼和舒伯特唱片时已达炉火纯青（舒曼的那些录音一直作为卡施密特写评论的参照）。难怪本来不怎么热衷听自己唱片，连留声机和唱片机都不懂怎么使用且对一切技术方面的东西都笨手笨脚的阿劳，尤其喜欢那张舒曼的〈大卫同盟舞曲〉（“这一张我完全满意”），以及舒伯特《C小调奏鸣曲》（Schubert Sonata in C minor, D. 958）。这是阿劳职业生涯的顶峰，每年举办150场演奏会，唱片鱼贯而出，彼得斯出版社还出了‘净版’的贝多芬奏鸣曲全集。那个怪癖，喜欢花朵和贝多芬的智利小神童；那个长着大头，每次摔跤必头朝下栽在地上的小孩子（他姐姐语）——他怀揣渴望，坚持不懈——如今终于取得了辉煌的成功。
阿劳演奏贝多芬《第五钢琴协奏曲》
Philips grew increasingly adept at giving Arrau the sound that resembled him in concert, and by the time of his Schumann and Schubert recordings (the former remains Kalchschmid’s reference recording), the label had it down pat. Little wonder that Arrau himself, otherwise not keen on listening to his own recordings and so technologically inept that he couldn’t operate a phonograph or record player, especially liked his Schumann’s Davidsbündlertänze (“that’s one time I was completely satisfied”) and Schubert Sonata in C minor, D. 958.
This was the heyday of Arrau’s career, with one hundred and fifty recitals and concerts every year, new records streaming out, and Peters issuing his ‘Urtext’ edition of the Beethoven sonatas. The success he so craved and which he had come such a long way to achieve — from the oddball Chilean whiz-kid who loved flowers and Beethoven, and had a head so big that whenever he fell, according to his sister, he landed on it — was now firmly established.
所有这些成功，都是艰辛换来的。1918年当唯一的老师，如同父亲般的马丁.克劳斯去世之时，生命跌入低谷。老师打点他生活中的一切，包括除了早饭以外的所有饮食，私教（阿劳从未上过学），应该参加的音乐会等等。那时他完全失去了方向。搞砸的北美巡演更是雪上加霜。阿劳陷入了绝望，以至于好几年中每天都想着死亡—即使在此期间接连两次赢得李斯特大奖也无济于事。1924年他尝试了心理分析治疗（这显示出他对这类理论的开放心态，也表明当时的抑郁已到了相当严重的程度）。于是成为荣格派精神分析的忠实信徒，也让他在生活中找到了另一个可以充当父亲的人：胡伯特.。
It had been a bumpy road, for all his successes. The low point had come after the 1918 death of his ersatz father and only teacher, Martin Krause, who oversaw everything from Arrau’s meals, save breakfast, tutors (Arrau never went to school), and the concerts he would attend — which left Arrau disoriented. The bungled North American tour did the rest and Arrau fell into a dark place in which, for years, he thought about death every day — even as he won, en passant, the Liszt competition twice in a row. He sought out psychoanalysis in 1924 (signifying intellectual openness, but also considerable desperation), which left Arrau forever a fan of Jungian analysis and brought another needed father figure, Dr. Hubert Abrahamson, into his life.
生命晚期，在经历了从把巴赫视为拿手到完全放弃巴赫的转变后，阿劳再次改变。在瑞士拉绍德封为菲利普录了四首帕蒂塔（最后一次录音），并打算录制更多。然而这已经不可能了：他赶去奥地利米尔次楚拉格参加一场演奏会，那是自1989年4月夫人去世后举办的第一次演奏会，为庆祝重建的勃拉姆斯纪念馆开馆。然而到达目的地后，却不得不由于急性肠梗阻而动手术，因并发症于6月9日去世。——终成一代贝多芬泰斗；也终于没做成巴赫的背叛者。
At the end of his life, after Arrau had gone from having made Bach his thing to playing no Bach at all, he changed his mind again. He recorded four Partitas for Philips in La Chaux-de-Fonds, Switzerland, which was in fact his last recording, and expressed the desire to record still more. Again it wasn’t to be: He traveled to what would have been his first recital since his wife had died in April of 1989. But after arriving in Mürzzuschlag, Austria, where his recital was to mark the reopening ceremony of the renovated Brahms Museum, he had to have emergency surgery for an intestinal blockage and died of complications on June 9 — a Beethoven titan, but not a Bach rebel.
This article originally appeared in Listen: Life with Music & Culture, Steinway & Sons’ award-winning magazine.