So much of what happens in performance is mental.
So if I play a bar too fast, I try to figure out why I did it.
演奏中所表现出来的很多都是内心感受，
所以当我把一个小节演奏的太快，
我总会想找出为什么我会这么做。
——题记
Interview: Russian pianist Daniil Trifonov
俄罗斯钢琴家丹尼尔·特里福诺夫专访
往期阅读：1、“天生赢家”丹尼尔·特里福诺夫 | 一颗新星的升起；2、阿格里奇说他有“魔鬼元素”，又有一种独特的柔情将之化解丨特里福诺夫身上承载着俄罗斯音乐的血脉，这是一切的基本原则！3、听特里福诺夫如何用指尖的柔情和魔性致敬肖邦！
Hannah Nepil
AUGUST 19, 2016
汉娜内皮尔 2016年8月19日
Onstage he comes across like a veteran: someone who never fails to hypnotise his audience, who unearths more colours in one bar than many pianists find in an entire piece. Five years on from winning the Tchaikovsky and Rubinstein International Piano competitions back to back, Daniil Trifonov, 25, plays like someone twice his age.
在舞台上，他给人的印象就像个舞台经验丰富的演奏家——他的音乐总是让人沉醉，他在一个小节里展现出的色彩比许多钢琴家在整首乐曲中所表现得还要丰富。在赢得柴可夫斯基和鲁宾斯坦国际钢琴比赛的五年后，25岁的丹尼尔·特里福诺夫表现出超出他的年龄的一倍的成熟度来诠释音乐。
In person, however, he seems very much his age. So much about this pale Russian pianist smacks of youthful bashfulness, from his delicate handshake to his knack for avoiding direct eye contact. Many of his mumbled responses are primarily directed at the floor, often followed by an endearingly shy smile. Only when discussing his musical projects does he really seem comfortable.
So the conversation quickly turns to his next UK appearance: a performance of Mozart’s Piano Concerto No 21 in C major with the Staatskapelle Dresden and conductor Christian Thielemann at the BBC Proms on September 7. To some, it may seem an interesting choice of repertoire for Trifonov, whose fire-throwing musical temperament is arguably at odds with classical restraint. And he is quick to comment on the challenges of playing Mozart: “You are completely naked in this music; there is so much transparency and it is very easy to notice when something emotionally fake happens.”
但他本人的言行举止却十分符合他的年龄。这位面色苍白的俄罗斯钢琴家，他习惯性避免眼神接触的巧妙的握手方式，带有一种年轻人青涩稚嫩的感觉。他的许多含糊其词的回答大多都是面向地板在说话，话音一落，往往伴随的是一个可爱而羞涩的微笑。只有在我们讨论他的音乐话题时，他才能表现得很自在。
所以话题迅速转移到了他将在英国举办的下一场演出上：莫扎特的钢琴协奏曲9月7日，在BBC逍遥音乐节上，与德累斯顿交响乐团和指挥家克里斯蒂安·蒂勒曼合作莫扎特《C大调第21号钢琴协奏曲》。对一些人来说，对于特里福诺夫来说，这似乎是一个有趣的选择，他的炽热如火的音乐气质可以说与古典的矜持与克制感格格不入。他对关于他挑战演奏莫扎特的评论迅速做出了回应：“演奏者的内在情感将完全暴露在这音乐中，莫扎特的音乐如此透明而纯洁，任何一点感情上的虚假都会暴露无遗。” ——莫扎特具有英雄气概的《C大调钢琴二十五协奏曲》丨协奏曲赏析系列（22）
But he rejects the notion that classical and Romantic styles are somehow incompatible. In fact, he argues, they can complement each other: “As Vladimir Horowitz once said, Chopin needs the classical timing of Mozart, and Mozart needs the melodic cantabile of Chopin.” Nonetheless, it is in Romantic repertoire that Trifonov has chiefly made his name.
His Proms performance last summer saw him take part in a thrilling Prokofiev concerto marathon, and he has recently played a lot of Rachmaninoff. His latest, widely acclaimed CD reveals an uncanny flair for this no-holds-barred composer.
但他不同意古典风格和浪漫主义风格有些矛盾这一观点。事实上，他认为，它们可以互通有无：“正如弗拉基米尔·霍洛维茨曾经说过的，肖邦需要古典时期的莫扎特，而莫扎特需要肖邦的如歌般优美的旋律。”尽管如此，特里福诺夫的名字还是会出现在浪漫派的曲目中。去年夏天的毕业舞会上，他参加了一场激动人心的普罗科菲耶夫协奏曲马拉松演奏会，最近他还演奏了很多拉赫玛尼诺夫的作品。他最新的广受好评的CD，也充分表现了这个不受拘束的作曲家不可思议的天赋。——那年花开月正圆，霍洛维茨在莫斯科
So it is surprising that Trifonov did not play any Rachmaninov before the age of 21; he was too busy focusing on the music of Alexander Scriabin, who was and still remains Trifonov’s idol: “One thing I love about Scriabin’s music . . . is that there is never really any sense of rest. Even in the most tender moments there is still a lot of forward-going tension.”
Trifonov could almost be describing his own character. This, after all, is a pianist who, from his earliest years, has been something of a slave to his talent. He was eight when he gave his first performance with an orchestra, losing one of his milk teeth during the concert. Soon afterwards he moved with his musician parents from his home town of Nizhny Novgorod to Moscow so that he could study at the celebrated Gnessin School of Music.
特里福诺夫在21岁之前就没有演奏过拉赫玛尼诺夫的曲子，这实在令人惊讶。他忙于专攻学习亚历山大·斯克里亚宾的音乐，斯克里亚宾过去是，现在依旧还是特里沃诺夫的偶像：“我喜欢斯克里亚宾的音乐的一个原因，是因为它的音乐里根本没有任何松懈的感觉。即使在最温柔的时刻，仍然存在着大量的不断向前推进的紧张感。”——在生命的最后日子里，据说斯克里亚宾常常一个人坐在窗前，孤独地演奏自己的十首钢琴奏鸣曲……
特里福诺夫的这一描述几乎可以说是在形容他自己的性格。毕竟，这是一个钢琴家，从他的早年起，他一直是他的天赋的奴隶。他8岁的时候第一次在管弦乐队演出，在音乐会上掉了一颗乳牙。不久，他和他的音乐家父母从家乡诺夫哥罗德搬到了莫斯科，这样他就可以在著名的格涅辛音乐学校学习了。
“As well as being a specialised music school, we also had normal subjects, so there was a double lot of work,” he recalls. But he seemed to enjoy the challenge. “My favourite subject was physics,” he says, “especially 20th-century physics. I liked to challenge my imagination and visualise what I read in books, and it probably helped me with my inventions of new ways to practise the piano.”
Such as? “Well, sometimes I practised [piano fingering] in a swimming pool.” He blushes and explains hurriedly, “Once in water there is much higher resistance so half an hour of such practising really makes the upper back much more flexible and that improves sound quality when you play.”
“除了专业的音乐学校，我们也有普通的课程，所以有很多的工作要做，”他回忆说。但他似乎很享受挑战。“我最喜欢的科目是物理，”他说，“尤其是20世纪的物理学。我喜欢挑战自己的想象力，想象自己在书中读到的东西，这可能有助于我发明新的钢琴练习方法。”
例如？“嗯，有时我在游泳池里练习弹琴（钢琴练习指法）。”他脸红了，急忙解释说：“一旦有了水就会有更高的阻力，所以半小时的练习确实会使上背更加灵活并且在你演奏时提高声音的质量”。
In between schooling came a string of competitions, not all of them victories. So it was all the more satisfying when Trifonov, at 20, won the Rubinstein and Tchaikovsky prizes within only a few weeks of each other. “One good thing about competitions is that they teach you how to concentrate,” he says, “because you have only one shot.”
Judging from Trifonov’s performances, he has taken that lesson to heart. Shoulders hunched, nose inches from the keyboard, he plays as though he were dreaming up the music on the spot.
在学校教育的间隙，他参加了一连串的比赛，但并非所有的比赛都取得了胜利。所以，当20岁的特里福诺夫在几周内赢得鲁宾斯坦和柴可夫斯基奖时，就更让人满意了。他说：“钢琴比赛的一个好处是，它教你如何集中精力，因为你只有一次机会。”
从特里福诺夫的表现来看，他把这个教训牢记在心。肩膀弓着，鼻子离键盘只有几英寸，他演奏时就像在现场幻想着音乐。
In his view, that ability to be fully immersed in the moment is crucial to serving particular composers’ interests. “As Artur Schnabel said, Beethoven should not be performed but ‘recomposed’,” he recalls, “and you can apply the [same philosophy] to many composers. A lot of Chopin’s music, for example, was created during improvisation, so here a sense of in-the-moment spontaneity is very important.”
And Mozart? “There too,” he insists, “at least in terms of its colours and emotional shifts, if not its timing.
Offstage, however, Trifonov’s approach to music-making is strikingly introspective. He admits that he has long been curious about the way his brain works during a concert, “because so much of what happens in performance is mental. So if I play a bar too fast, rather than thinking ‘I shouldn’t play so fast,’ I try to figure out the reasons why I did it, for example, the fact that I was not paying enough attention to a specific voice.”
在他看来，完全沉浸在当下的能力对于淋漓尽致表现一个指定作曲家的音乐至关重要的。“正如施纳贝尔所说，贝多芬不应被演奏，而应该被重塑”，他回忆道，“而且你可以将[同样的哲理]应用于许多作曲家。例如，肖邦的许多音乐都是在即兴创作的过程中创作出来的，所以这里的即兴感是非常重要的。”莫扎特呢？““至少就颜色和情感变化而言，”他坚持说，“如果不是时机的话，也是如此。”——延伸阅读：施纳贝尔论钢琴家天职丨他如何为自己的错音辩护丨他如何确立20世纪演奏理念丨他如何赋予音乐生命，并唤醒沉睡学生心中的潜在素质
然而，在舞台下，特里福诺夫的音乐创作方法却有着惊人的内省性。他承认很久以来他一直对自己的大脑在音乐会上的运转方式感到好奇。“因为在表演中发生的很多事情都是心理上的。所以，如果我每一小节的演奏速度太快，我不会认为‘我不应该演奏得那么快’，我试着找出我为什么要以这种方式演奏的原因，例如，我没有对某一特定的音效给予足够多的关注。”
Evidently, detaching himself from such thoughts does not come easily to Trifonov. Even in his free time he finds it difficult to stop thinking about the piano. And, by his own admission, he constantly hears music in his head: “Sometimes I notice it, sometimes I try not to. Sometimes it’s something I’ve already heard, or played or composed, sometimes it can be difficult to discern what it is.”
He has even been known to “practise” in his sleep (“I’ve been told by my girlfriend,” he mutters). Does he remember, on waking, what he has been practising? Apparently not. “Often in the morning on a tour you wake up and you have to immediately rush to the airport,” he says, “so there is not much chance for remembering.”
显然，特里福诺夫不容易摆脱这种想法。即使在业余时间，他也很难停止思考钢琴。而且，他自己也承认，他脑海里经常有乐声回荡：“有时候这个现象我注意到了，有时候我试着不那么去做。有时候这些乐声是我听过、演奏过、谱写过的东西，但有时候我也很难分辨出这些乐声究竟是什么。”
他甚至在睡觉的时候会“练习”（“我女朋友告诉过我，”他喃喃自语）。他还记得醒着的时候练习过什么吗？显然不是。“他说：“我经常在一个将要启程旅行的清晨醒来，必须立即赶往机场，所以没有多少机会去回忆。”
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