亚历山大•马洛费耶夫乐评（下）
演绎肖邦/李斯特/柴可夫斯基/斯特拉文斯基
钢琴家亚历山大•马洛费耶夫的天才之道（上）
亚历山大·马洛菲耶夫将许多乐章演绎得很完美。如忧郁的开场，让我想起费里尼的电影《大路》，或者许多动感十足节奏持续的小节（尽管听上去比较浅显）。另外，马洛菲耶夫的演奏也非常具有钢琴特色。要说他试图展现音乐会上管弦乐的音景，我是不赞同的。
Pjotr Ilyich Tchaikovsky(1840 –1893) completed his ballet “The Nutcracker”1892. The compositionpremiered at theMariinsky Theater in SaintPetersburgthat year, but wasn’t that much of a success initially. The composer also wrote a 20-minute Suite from that music. That was far more successful, and it has remained popular to this day.
柴可夫斯基在1892年完成了他的芭蕾舞剧《胡桃夹子》(The Nutcracker)”。该作品于当年在圣彼得堡的马林斯基剧院首演，起初并没有那么轰动。作曲家又用这首音乐写了一个20分钟的组曲。
The popularity of the suite, and likely also the music itself, motivatedMikhail Pletnev(*1957) to transcribe selected parts of the suite into aConcert Suite for solo piano.This isan excellent, if not brilliant piano score. Pletnev took seven pieces from Tchaikovsky’s suite and arranged them in the following sequence:
这个组曲更为成功，至今仍然很受欢迎。由于这个组曲和原本的音乐太深入人心，米哈伊尔·普列特涅夫(Mikhail Pletnev）因此将该组曲的部分改编为一系列钢琴独奏曲。这些曲目，如果用辉煌形容太过，那么说优秀绝对当之无愧。普列特涅夫根据柴可夫斯基的组曲改编的7首曲目如下：
1.进行曲
March — Marche: Tempo di marcia viva
2.糖梅仙女舞曲
Dance of the Sugar Plum Fairy — Danse de la Fée Dragée: Andante non troppo
3.塔兰泰拉舞曲
Tarantella
4.间奏曲(穿越雪地之旅)
Intermezzo (Journey through the Snow)
5.俄罗斯舞曲
Russian Trepak — Danse russe Trepak: Tempo di Trepak, molto vivace
6.中国舞曲
Chinese Dance — Danse chinoise: Allegro moderato
7.终幕圆舞曲
Andante maestoso (Pas de Deux)
柴可夫斯基
Particularly in this first section of the “Russian part” of the program, I found segmentsquite successful, to me representing the “Russian atmosphere”. One example isthe openingMarch, or the more vivid / virtuosic parts among III – VII. The dance-like pieces such as I (March), II (Dance of the Sugar Plum Fairy), and VI (Chinese Dance) were maybe a little too handsome, not playful enough.
“俄罗斯乐章”包含相当出彩的、在我眼中体现了“俄罗斯气氛”的章节。比如首曲进行曲，或更生动以及更具艺术性的第三首和第七首。如舞蹈般的第一首（进行曲），第二首（糖梅仙女舞曲）和第六首（中国舞曲）壮阔有余，俏皮不足。
On the other hand, virtuosic parts, such as III (Tarantella) were eruptive and rhythmically firm. A particular highlight to me was IV (Intermezzo) with its nicely singing melodies and the long phrases. On the other hand V (Russian Trepak) was clearly focusing on tempo and virtuosity. The suite ended with thePas de Deuxas another highlight in this performance.
第三首（塔兰泰拉舞曲）艺术爆发力强，而且节奏稳定。我觉得比较突出的是第四首（间奏曲），它有优美的歌唱旋律和长长的乐句。另外，第五首（俄罗斯舞曲）显然关注节奏和技艺表现。终幕曲也是此次演奏的一大亮点。
马洛菲耶夫演奏杜卡姆
TheDumka, Russian rustic scene in C minor for piano, op.59by the same composer was originally announced as preceding the “Nutcracker” suite. It’s another piece that I found well-played by Alexander Malofeev, particularly its second, more virtuosic part.
柴可夫斯基的另外一首，《C小调杜姆卡》（Op.59）俄罗斯乡村风景，作曲家原本将其定为《胡桃夹子组曲》的前曲。亚历山大·马洛菲耶夫发挥得很好，尤其是极有艺术性的第二部分。
Overall, I found Malofeev’s Tchaikovsky interpretations the best, most atmospheric, and most valid and rewarding ones within this program. WhETHer the “Russian atmosphere” was based on the young artist’s own world of experience, or whether thiswas “injected” bythe artist’s teacher, is an open question.
总而言之，马洛菲耶夫对柴可夫斯基的作品诠释得最好，其气氛、其效果、其价值在整场演奏会中无出其右。不过，这种“俄罗斯氛围”究竟是基于年轻艺术家自己的经验来源，还是由他老师的悉心教导，我们不得而知。
斯特拉文斯基
Igor Stravinsky(1882 – 1971) composed his ballet musicThe Rite of Spring (Le Sacre du Printemps), or “Весна священная” in1913, forSergei Diaghilev‘s “Ballets russes”. The music was causing an immediate scandal already at the premiere. Meanwhile, however, this has becomequite popular on the concert stage., It is considered one of the most influential pieces of the last century.
伊戈尔·斯特拉文斯基在1913年为谢尔盖•达基列夫的“俄罗斯芭蕾舞团”创作了他的芭蕾舞音乐《春之祭》（Le Sa cre du Printemps）。音乐在首演时惨败，却在音乐会舞台上风靡一时。它被认为是上个世纪最具影响力的作品之一。
Alexey Kurbatov transcribed parts of the ballet music for the piano (two hands). From what I heard in this concert, this isa pianistic monster. It isthe result of condensing Stravinsky’s complex, polyrhythmic and polytonal texture into a score for piano and ten fingers!
Alexey Kurbatov则将部分芭蕾舞音乐改编成为钢琴（双手）曲。就我所听而言，马洛菲耶夫化身钢琴怪咖，十指跳跃于钢琴之上，演绎出斯特拉文斯基旋律复杂、节奏多变、色调繁多的特色。
Also here, I found that Alexander Malofeev mastered many sections really well. Examples are the somewhat melancholic introduction (reminding me ofFellini’s film “La Strada”), or many of the motoric / rhythmically persistent passages (though these appeared to be played somewhat superficially). On the other hand,I found Malofeev’s interpretation to be predominantly pianistic. I would not callit an attempt to reproduce the orchestral soundscape on the concert grand.
亚历山大·马洛菲耶夫将许多乐章演绎得很完美。如忧郁的开场，让我想起费里尼的电影《大路》，或者许多动感十足节奏持续的小节（尽管听上去比较浅显）。另外，马洛菲耶夫的演奏也非常具有钢琴特色。要说他试图展现音乐会上管弦乐的音景，我是不同意的。
Some of the martial sections are rhythmically extremely complex. They aremulti-layeredandalso involve frequent rhythmic “switches” / alterations. That’s where I found the interpretation to reach limitations: I missed the dynamicdifferentiation of the various, stacked components / voices. The listening impression was lacking clarity. As a listener, I found it to be difficult to follow the rhythmic flow.
一些与战争有关的乐章在节奏上非常复杂，织体层次丰富，旋律频繁地“切换”和改变。演奏家对这一部分的诠释受到限制：我没有听出各种元素或者声音的动态差异；听觉印象缺乏清晰度；我很难顺着节奏倾听。
I suspect that Alexander Malofeev was predominantlybusy with the technical aspects. This may have prevented him fromkeeping the necessary overview (like observing himself from a distance), in order to offer tothe listener clarity and insight at all times. In the final bars, the pianist impressed the audience with the almost monstrous volume, with masses of sound in the last chords. It was almost miraculous that he was able to do this, from a merephysical point-of-view!
我怀疑亚历山大·马洛菲耶夫太过醉心于演奏技术，忽略了整体效果（比如从旁观者的角度观察自己），难以随时为听众提供清晰有洞察力的演奏。在最后的几个小节里，钢琴家用强大的音量和大量的和弦给听众留下了深刻的印象。从物理的角度来看，他能够做到这一点几乎是奇迹！
But before ending this posting, let me for a moment return to the questions raised in the introduction. It is quite foreseeablethat within a short time (1 – 3 years?), Alexander Malofeev will not be able to acquire more technical knowledge / abilities. And then, what? From a mere physiological point-of-view, this concert required huge forces / physical resources.
但在结束此文之前，让我暂时回到引言中提出的问题。可以预见，在短时间内（1-3年？），亚历山大·马洛菲耶夫将很难在技术知识和能力方面取得长足进步。然后呢？从单纯的生理角度来看，类似这样的音乐会需要极大的能量和体力资源。
Yet, even though he hasn’t finished his education, he is already in high demand. He is makingconcert appearancesall over the world, exclusively with a repertoire of high/highest virtuosity. It is more than likely that after the completion of his formal education, the “concert circus” will keep him completely busy all year.
尽管他还没有完成学业，他已然面临巨大的需求。他正在世界各地举办音乐会，专门演奏技艺高度精湛的曲目。他的学业结束后，“音乐会巡演”很可能会让他整年都忙碌起来。
In my opinion, this entails the danger of physical exhaustion,. At the same time, there is also the dangerof psychic and emotional strain. And almost inevitably, Malofeev may facethe irreversible loss of achildhood. On top of that,the artist may not getthe opportunity to mature emotionally and mentally. An artist who has notlivedwill not be in a position to draw fromemotional and mental experience in his interpretations. Conclusion: I’m more than a little worried here!
在我看来，这会带来巨大的体力消耗，以及精神和情绪紧张。同时，马洛菲耶夫也会无可避免地面临童年不再的损失。最严重的是，他可能会缺失获得情感和精神成熟的机会。没有生活过的艺术家很难获得情感和心理经验并体现在演奏诠释之中。结论：我非常担心！
Despite these open questions: this was a very interesting concert experience, to say the least.It is hard not to be fascinated by Alexander Malofeev as a pianistic phenomenon!
尽管有这些悬而未决的问题，这场演奏会不失为一次有趣的音乐体验。亚历山大•马洛菲耶夫的钢琴演奏很难不让人为之倾倒。
完结
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1、采访阿格里奇丨“音乐必须是自然流露的事情！”2、帕尔曼追忆海菲兹丨“这么多小提琴家都试图模仿他，但他们的演奏却成了活生生的讽刺。”3、钢琴家迪巴格访谈丨“对于演奏，我仍然负有强烈的义务感。”4、钢琴家迪巴格访谈丨“我不爱钢琴，我爱的是通过钢琴我能达到的某种东西！”5、钢琴家迪巴格访谈丨“当音乐会结束后，我就知道我为什么想要这样的生活了，因为它赋予我意义。”6、王羽佳专访丨她赢得了没有参加的“比赛”！
7、王羽佳访谈丨“穿长裙？待我四十岁！”8、十五问王羽佳丨“演出”对你意味着什么？9、钢琴家特里福诺夫专访丨“我在游泳池里练琴”10、作曲家亨德尔回答了我几个私人问题11、八十五岁论阿劳丨他的演奏何以伟大？12、八十岁时论阿劳丨论阿劳的演奏艺术13、肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。”14、韩国钢琴家赵成珍访谈丨“如果我遇见肖邦……”15、憨豆先生采访郎朗丨谈肖邦以及古典音乐普及
16、古稀之年克莱默访谈丨谈《克莱默版贝多芬协奏曲》（亨勒出版社）17、“奥伊斯特拉赫经常鼓励我，去寻找属于自己的声音”丨“当代怪杰”吉顿·克莱默访谈18、“指挥家”李云迪访谈丨“音乐源自内心，这就是为什么即便我们一遍遍地弹奏相同的曲子，表演依然不是机械化的原因。”19、郎朗弟子马克西姆·朗多访谈丨“郎朗对所有事物的热情深深感染着我，当我们在一起演奏时，可以感受到创造出的音乐竟然如此欢乐！”20、肖邦“迷妹”阿格里奇论肖邦《第一钢琴协奏曲》丨“我多么渴望去亲眼看到肖邦怎样弹琴！”
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