評(píng)論
打印
When the young American composer Daniel Gregory Mason came to Boston to interview the great pianist and composer Ignacy Jan Paderewski , there was trouble from the start.
年輕的美國(guó)作曲家丹尼爾•格里格利•梅森來(lái)到波士頓，當(dāng)他拜見(jiàn)偉大的鋼琴家和作曲家伊格納奇•揚(yáng)•帕岱萊夫斯基時(shí)，一開(kāi)始就遇到了麻煩。
Because of a misunderstanding Mason was two-and-a-half hours late for his meeting with the great pianist. Mason was waiting in the hotel lobby while Paderewski was upstairs, getting more and more aggravated by Mason’s tardiness. Finally Mason went up to see Paderewski and found him cordial enough, but Paderewski’s wife was cold and standoffish. Mason felt awkward and self-conscious. He complimented Paderewski on his “Variations and Fugue on an Original Theme.” Then he added: “Just so you don’t think that’s empty flattery, I’ll tell you frankly that I do not care so much for some of your early pieces.”
因?yàn)橐粋€(gè)誤會(huì)，梅森和這位偉大的鋼琴家會(huì)面延遲了兩個(gè)半小時(shí)。當(dāng)梅森在旅館大廳里傻等時(shí)，帕岱萊夫斯基卻在樓上房間里為他的拖拉而越來(lái)越惱火。最后梅森上樓見(jiàn)到帕岱萊夫斯基，他還是很熱情，但他的夫人卻冷言冷語(yǔ)。梅森感到尷尬和羞愧。他贊美帕岱萊夫斯基的《原主旋律上的變奏曲和賦格曲》，然后他補(bǔ)充道，“為了不讓您覺(jué)得這是我的空洞奉承，我得坦誠(chéng)地告訴您，我不太喜歡您早期的一些樂(lè)曲。”
Paderewski’s wife gave Mason a stony look. “What pieces? What do you not care for?”
帕岱萊夫斯基夫人拉下臉來(lái)，問(wèn)他：“什么樂(lè)曲？你不喜歡什么樂(lè)曲？”
Mason got in deeper. “Well, for example, I do not care so much for the ‘A Minor Concerto’.”
梅森說(shuō)：“好吧，比如說(shuō)《a小調(diào)協(xié)奏曲》，我就不太喜歡。”
Her gaze was unwavering . “The concerto is one of my favorites among my husband’s compositions. I love it more and more.”
她目不轉(zhuǎn)睛地說(shuō)：“在我丈夫的作品中，這首協(xié)奏曲是我最喜歡的曲子之一。我越來(lái)越喜歡了。”
Valiantly , Mason complimented Paderewski’s use of French impressionism.
梅森又冒昧地奉承帕帕岱萊夫斯基對(duì)法國(guó)印象主義的運(yùn)用如何美妙。
Now Paderewski himself spoke. “I utterly repudiate any debt to French impressionism. I do not believe in the modern French school, because it is not founded in tradition. It is erratic, bizarre, wayward. ”
這次帕岱萊夫斯基自己說(shuō)話了：“我和法國(guó)印象主義一點(diǎn)關(guān)系也沒(méi)有。我不相信法國(guó)現(xiàn)代派，因?yàn)樗鼪](méi)有傳統(tǒng)根基，太怪異了，旁門左道，莫名其妙。”
At last Mason ventured to show Paderewski a movement of his new violin sonata. Paderewski shook hands with him about eight times as he read through the sonata, singing the melody and exclaiming “beautiful!” Finally, with his music, Daniel Gregory Mason had won over the master.
最后，梅森斗膽地拿出了自己寫的小提琴奏鳴曲的一個(gè)樂(lè)章，讓帕岱萊夫斯基過(guò)目。帕岱萊夫斯基看奏鳴曲時(shí)，一邊哼唱著，一邊叫著：“太棒了！”這過(guò)程中居然和梅森握了八次手。丹尼爾•格里格利•梅森終于憑著他的音樂(lè)，贏得了大師的尊重。
