“许多有天赋的年轻音乐家觉得他们的目标是成为一个‘名人’，所以他们完全在遵照市场的需求和规则。我并不是要阻止这种倾向，但它令我觉得遗憾和难过，因为我看到很多有才华的艺术家成为了受害者，所以我想提醒大家一定要寻找自己的道路，生活给予我们的不仅仅是名望和财富意义上的‘成功’。忠于你的理想和初心，不要轻言放弃。”——克莱默对中国乃至世界范围内的年轻艺术家提出了自己的期望！
Gidon Kremer onthe occasion of his 70th birthday
在吉顿·克莱默的70岁生日之际
Posted on May 8，2017 by Norbert Müllemann；纽波特·米伦霍夫于2017年5月8日发表；往期克莱默：往期克莱默：1、小提琴家克莱默丨艺术和名气从来不是一回事丨跨界就像毒药丨演奏家们都应投身室内乐丨真爱音乐，就该远离媒体宣传攻势丨谈挑选曲目的原则；2、每晚古典音乐会丨克莱默演绎巴赫《无伴奏小提琴奏鸣曲和帕蒂塔舞曲》；3、那些珍贵的录音会告诉我们什么是真材实料，什么是炒作包装丨克莱默与阿格里奇演奏克莱斯勒《爱的忧伤》；4、“最出色的唱片不一定是销量最好的唱片”丨吉东•克莱默的巴赫《无伴奏小提琴奏鸣曲和组曲》；5、他把小提琴上的每一个音符都掌控在自己手中，不让它们沾染上乐曲之外的任何多余情绪丨吉东•克莱默的贝多芬小提琴作品；6、吉东·克莱默丨我为何拒绝韦尔比耶音乐节？7、年轻艺术家大多技巧高超，但言之无物丨吉东·克莱默与麦斯基演奏勃拉姆斯《弦乐二重奏协奏曲》；8、每晚古典音乐会丨克莱默演奏肖斯塔科维奇《第一小提琴协奏曲》；9、真正的音乐，远离尘嚣和商业，才是我们灵感的源泉丨吉东·克莱默演奏莫扎特《第五小提琴协奏曲》；10、魔鬼同上帝在进行斗争，而斗争的战场就是人心丨克莱默演奏肖斯塔科维奇《第一小提琴协奏曲》；11、聆听“锯木头的怪老头”吉顿·克莱默丨“我们从事音乐是为了与他人分享音乐，是为了释放音乐的激情！”
As early as September 2015 Dr Wolf-Dieter Seiffert, CEO of the G. Henle publishers, and Professor Friedemann Eichhorn, Director of the Kronberg Academy Mastersprogramme, made plans to honour Gidon Kremer with a special edition on his 70thbirthday. Both wished to celebrate the outstanding musician with a Henle Urtextedition that would reflect Gidon Kremer’s artistic ambitions, thereforesomething simultaneously special, in line with the classical profile of ourcatalogue.
早在2015年9月，亨勒（G. Henle）出版公司的首席执行官塞弗特博士（Dr Wolf-Dieter Seiffert）以及克隆伯格学院硕士课程负责人艾希霍恩教授（Professor Friedemann Eichhorn）就计划在吉顿·克莱默70岁生日时发行一个特别版。他们二人都希望以亨勒原作版来致敬这位杰出的音乐家，它将充分展现吉顿·克莱默的艺术理想，因此相比原来的经典版，这次会在新版本中做一些特殊的安排。
FriedemannEichhorn was successful in getting Kremer on board and available for theproject about a year ago: It was to be an edition of Ludwig van Beethoven’sviolin concerto, based on the Henle Urtext edition, but becoming the GidonKremer Edition by way of the violinist’s personal touch. Kremer contributedfingerings and bowings for the violin part, provided an essay on Beethoveninterpretation and selected cadenzas especially close to his heart.
大约一年之前，艾希霍恩已成功地让克莱默加入董事会并开始筹划这个项目：它是以亨勒原作版为基础来演奏贝多芬的小提琴协奏曲作品，但融合了小提琴家个人的心得体会，最终成为真正的吉顿·克莱默版本。克莱默为小提琴部分标注了指法和弓法，提供了贝多芬的原版注释并用心摘选了他心爱的华彩乐段。
The result is aunique edition, enabling every violinist to come to grips with this perhapsmost magnificent of violin concertos in music history from Gidon Kremer’spersonal perspective. On this personal note, which – and here Kremer attachesgreat importance to this – is always to be at the service of the work,Friedemann Eichhorn could do a brief interview with Gidon Kremer:
这是一个独一无二的版本，使每一位小提琴家都能从吉顿·克莱默的个人观念中了解到这也许是音乐史上最伟大的小提琴协奏曲。在个人笔记中，克莱默重点提及到—在工作中应该时常站在服务的角度上。。
Friedemann Eichhorn (FE): Dear Gidon, what does Beethoven signify for you?
FE：亲爱的吉顿，贝多芬对你而言意味着什么？
Gidon Kremer (GK):A virtually unattainable height of the human spirit. Aside from that, hisviolin concerto is the most important, most beautiful, most difficult concertoin the whole violin literature.
克莱默：他是一个人类精神无法企及的高度。除此之外，他的小提琴协奏曲是整个小提琴领域中最核心、最优美、难度系数最高的协奏曲。
FE: What role doesthe violin concerto play in your life story?
FE：小提琴协奏曲在你的生活故事中扮演着什么角色呢？
GK: I started itin 1974 when I was after all 27 years old, rather “late” compared with many ofthe young virtuoso violinists of our time. I was always aware of what anenormous challenge it was to play this work (like, for instance, also Bach’ssonatas and partitas) and still feel that way to this very day. And yet I havesucceeded within the last 40 years, together with important orchestras, inarriving at several “readings” that not only inspired me (here I think aboveall of Nikolaus Harnoncourt), but also served as evidence that it is still“playable”.
克莱默：在1974年的时候我开始学习，那时我已经27岁了，比起我们这个时代的许多年轻的演奏小提琴家来说，这个年纪已经算“晚了”。我始终认为演奏这些作品（比如巴赫的奏鸣曲和组曲）会是一个巨大的挑战，并且至今仍然如此。但在过去的40年里，我与一些杰出的管弦乐团合作并取得了成功。对谱面的多次“研读”不仅让我多有启发，同时也证明了它仍然有“演奏价值”。
FE: What is yourobjective in your bowing and fingering directions?
FE：你标注弓法和指法的目的是什么？
GK: As presentedto me, the project was a commission that I could not resist. Certainly not inorder “to vindicate” myself or to disseminate my form of access. Rather, I seethis edition in a similar light to my concerts, recordings and other suchprojects. Underlying is always the desire to share my experiences and feelingswith others. All should be encouraged to draw their own conclusions from it.What would rather disappoint me would be a direct “takeover” of my suggestions.All violinists – like everyone else – have to find their own way.
克莱默：在我看来，这个项目是一个我无法拒绝的委托。当然这不是为了“出名”或是自我宣传。当然了，我认为这个版本与我的音乐会、录音唱片和一些其他的音乐形式确有相似之处。内心里我一直渴望与他人分享我的经验和感受。更应当鼓励所有人从中得出自己的结论，让我失望的是直接原封不动的“全盘接受”我的想法。所有的小提琴手——其他演奏家——必须找到他们自己的演奏方法。
FE: You havechosen very special cadenzas, what are your thoughts behind this?
FE：你挑选了一些很特别的华彩乐段，有什么用意吗？
GK: In my life Ihave played many cadenzas (classical and modern) and have myself more than oncetried to adapt for the violin Beethoven’s original cadenzas composed for thepiano version of the concerto. For certainly one can hardly design a cadenzabetter than Beethoven himself.
克莱默：在我的职业生涯中我曾经演奏过很过华彩乐段（有古典有现代）同时我不断尝试将贝多芬的小提琴独奏曲进行改编用来创作钢琴版的协奏曲。当然了，贝多芬创作的华彩乐段几乎没人能与之比拟。
But one exceptionalso further convinced me: I mean Alfred Schnittke’s cadenza that I oftenperform. Alfred has admirably succeeded in composing at one and the same timean artistic homage to Beethoven and to the history since the work’s genesis.
但也有让我非常信服的创作：就是我经常演奏·施尼特凯的华彩。。
But Beethoven’soriginal cadenzas never leave me alone, and so I asked my dear friend Victor Kissine – an outstanding composer of our time – to adapt the 1st-movement pianocadenza for the violin and hence to venture a new rendering of the Beethoventext. I think he has succeeded brilliantly! I am happy that his work (that Irecently played in Zurich and on an Asian tour of the Tonhalle orchestra underDavid Zinman) will now have its first publication in the G. Henle edition.
不过贝多芬所作的华彩乐段始终伴随着我，我向我的好朋友维克多·基辛——这个时代非常出众的作曲家——请教如何将第一乐章的钢琴华彩改变为小提琴版本，将贝多芬的作品做一个新的冒险尝试。我觉得他非常成功！我很高兴他的作品（我最近在苏黎世演出并参加由大卫·津曼带领的管弦乐团的亚洲巡演）将首次出版在亨勒原作版中。
FE: You havewritten an essay on Beethoven interpretation that is reprinted in the editionin connection with “your” violin part. What is most important to you when youare dealing with a musical composition?
FE：你写过一篇关于贝多芬解析的文章，它被重新印刷并与“你的”小提琴部分一起出现在这个版本中。当你在研究一部音乐作品时，你最注重的是什么？
GE: I’m alwaysmoved by one thing – recognising the spirit of a work and serving it.
克莱默：我总是执着于一件事——对工匠精神和服务精神的认可。
For the Beethovenconcerto, there are (and this will never change) endless possibilities forlistening to and illuminating the mystery of the composition. My modest attemptis only one of the many attempts at a possible “approach”.
就贝多芬的协奏曲而言，会有（并且永远不会改变）无数种倾听体会并从中感受作曲的奥秘。我所作的小小尝试仅是众多“处理方式”中的一种。
This “approach” of Gidon Kremer’s to the Beethoven concerto is now available for everyone in theedition also specially designed, optically. Wolf-Dieter Seiffert will formallypresent it on 11 May in Kronberg on the occasion of the birthday celebration.With it the G. Henle publishers most warmly congratulate Maestro Kremer on his 70th birthday!
吉顿·克莱默对贝多芬协奏曲的这种“尝试”是一种现代的处理方式，为这版书的读者提供了独特的思维和视角。塞弗特将于5月11日（编者按：2017年）在克隆伯格举行的生日庆典上正式推出该版书。与亨勒出版商们一道热烈庆贺克莱默大师的70岁!
In conclusion, ourthanks go to: Gidon Kremer for his splendid collaboration and the provision ofhis contributions; Victor Kissine for his superlative cadenza, FriedemannEichhorn for his help and untiring commitment, together with the KronbergAcademy, in support of the project.
最后，我们非常感谢：吉顿·克莱默的积极合作和他的杰出贡献；维克多·基辛创作了出色的华彩乐段，，与克隆伯格学院一起支持这个项目。
今天推荐的CD注释：阿格里奇与克莱默于1984年开始了贝多芬钢琴与小提琴奏鸣曲全集的录制。由于种种原因，全集经过了十年时间才最终告罄。经过十年的磨砺，他们之间的配合已经炉火纯青。小提琴的声音比较靠前，使得克莱默细腻多变的音色有清晰的表现；钢琴的音场有一定的宽度和纵深感，与小提琴形成两个清晰的层次，交相辉映。克莱默和阿格里奇都是个性极强的演奏家，但在合作中，克莱默充分发挥了他那极其细腻优美的音色变化，在乐段之间的对比上有较大的起伏，在一些旋律段落中又尽力突出音乐的抒情性。阿格里奇则对钢琴的分量的把握非常准确，她并没有更多地突出钢琴，而把大部分表现空间留给了小提琴，但是在结构性和弦支撑上则给旋律以坚实的支持。这就使得作品整体的平衡感极佳，两人的合作在旋律流畅性和乐段交接点上的转换则真正显示出他们的默契（转自田艺苗的田公众号）。
【本公号原创翻译】：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、钢琴家特里福诺夫专访丨“我在游泳池里练琴”；4、十五问王羽佳丨“演出”对你意味着什么？5、王羽佳访谈丨“穿长裙？待我四十岁！”6、王羽佳专访丨她赢得了没有参加的“比赛”！7、采访阿格里奇丨“音乐必须是自然流露的事情！” 8、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。”；9、肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。” 10、韩国钢琴家赵成珍访谈丨“如果我遇见肖邦……”；11、憨豆先生采访郎朗丨谈肖邦以及古典音乐普及。