Jacqueline du Pré interview
'You must have spontaneityand too much study destroys that'
杰奎琳·杜普蕾訪(fǎng)談
——“你必須有自發(fā)性，過(guò)度的學(xué)習會(huì )破壞它?！?/span>
延伸閱讀：1、“我不演奏大提琴的時(shí)候，我到底是誰(shuí)？”丨《杜普蕾傳》 （一）、（二）、杜普蕾說(shuō)：“我要制造這個(gè)聲音”丨《杜普蕾傳》 （三）、 （四）、杜普蕾的童年十歲就結束了丨《杜普蕾傳》 （五）；2、巴倫博伊姆眼中的杜普蕾丨“她對虛偽做作的東西有種恐懼”；3、《杰奎琳的眼淚》是杜·普蕾流下的嗎？4、你聽(tīng)過(guò)大提琴家杜普蕾彈鋼琴嗎丨演奏庫勞《鋼琴奏鳴曲》；5、紀念杜普蕾丨她被上帝恩寵，卻被人間拋棄；6、她比煙花燦爛丨《杜普蕾的音樂(lè )傳奇》紀錄片（上、下）；7、紀念杜普蕾丨她為大提琴而生，為大提琴而死！
本文作者艾倫·布萊斯（Alan Blyth)，
采訪(fǎng)與1969年，刊登于《留聲機》雜志
Jacqueline du Pré with her then-husband Daniel Barenboim
杰奎琳·杜普蕾和當時(shí)的丈夫丹尼爾·巴倫博伊姆（Daniel Barenboim）：
All the world loves a lover and since Jacqueline du Pré loves both her cello and Daniel Barenboim the musical world has found reason doubly to adore her. To meet, she conveys an absolute naturalness of manner, somehow reticent and exuberant at the same time. Reputedly shy before interviewers, she seemed to me the easiest person in the world to talk to when we met in between rehearsals at the Royal Festival Hall green room.
全世界都愛(ài)一個(gè)有愛(ài)好的人。自從杰奎琳·杜普蕾同時(shí)愛(ài)著(zhù)她的大提琴和丹尼爾·巴倫博伊姆，音樂(lè )界就有了雙倍的理由來(lái)崇拜她。見(jiàn)面會(huì )上，她的表現絕對是自然而然流露的，忽而內向同時(shí)又神采飛揚。據說(shuō)她在采訪(fǎng)者面前很羞澀。而當我們在皇家音樂(lè )廳（Royal Festival Hall）綠色室彩排遇見(jiàn)時(shí)，我覺(jué)得她是這個(gè)世界上最容易交談的人。
She has lived music all her life and yet is in no way cut off from the everyday world; it just seems the only way for her to express herself fully. And that she has been doing since the age of four when, after hearing a cello on the radio, her mother gave her one to play. 'My mother was a tremendous inspiration', Jacqueline told me. 'She guided my first steps, wrote tunes for me to play, and drew pictorial descriptions of the melodies. These were quite beautiful and I used to find them tucked under my pillow in the morning so that I couldn't wait to get my hands on the cello again every day. My mother also taught me composition.
她的一生都生活在音樂(lè )中，從不中斷。這就像是表達她自己的唯一方式。這一切從她四歲時(shí)就開(kāi)始了。那時(shí)她在電臺接聽(tīng)到大提琴的聲音，她媽媽就拿出一把大提琴給她演奏?！拔覌寢尭挥徐`感”，杰奎琳告訴我。她是我最初的引導人，她寫(xiě)調子供我演奏，把旋律用圖片的形式展現出來(lái)，這些都很漂亮，我過(guò)去常常每天早上發(fā)現它們被藏在我的枕頭底下，然后我就迫不及待地用我的手在大提琴上演奏，每天如此。我媽媽也會(huì )教我作曲。
'When I was six, I went to the London Cello School and studied with Herbert Whalen and Alison Dalrymple, who was wonderful with children. There was never any compulsion from anybody. If I wanted to climb a tree, I did that instead. When I was 10, I went to William Pleeth, who has been my 'cello Daddy' ever since.
當我六歲時(shí)，我進(jìn)入倫敦大提琴學(xué)校（London Cello School），師從赫伯特·惠倫（Herbert Whalen）和艾莉森·達林普（Alison Dalrymple）。他們和孩子們玩得很好，沒(méi)有任何人會(huì )強迫你。如果我想去爬樹(shù)，我就去爬。當我10歲時(shí)，我來(lái)到了威廉·普列茲（William Pleeth）這兒學(xué)習，從那以后他就成了我的“大提琴爸爸” 。
'My schooling proper stopped at that time and I started to have a private tutor. I remember I was envious of my sister and her GCE success. She was — still is — a good flautist, also encouraged by my mother but she has little chance to play now that she is married and has four children.
從嚴格意義上來(lái)說(shuō)，我的學(xué)業(yè)在那時(shí)就停止了，我開(kāi)始有了一位私教。我記得我很羨慕我的姐姐取得了GCE（通用教育證書(shū)），她曾經(jīng)是——現在仍然是——一位優(yōu)秀的長(cháng)笛手，同時(shí)她也受到媽媽的鼓勵，但是她幾乎沒(méi)有機會(huì )去演奏了，因為她結婚了，還有四個(gè)孩子。
'I would like to emphasize just how much I owe to Pleeth. He taught me for seven years, got me over a difficult and uncertain time during my adolescence, and by his articulate approach made music really exciting for me. From the minute I first saw him, I admired his warmth. Our paths seldom cross now but when they do we always find time to compare notes.'
“我想強調一下，我有多么感激普列茲。他教了我七年，幫我度過(guò)了那段艱難不安的青春期，通過(guò)他清晰的處理方式使我對音樂(lè )感到非常興奮。從我第一次見(jiàn)到他，我就欣賞他的熱情。我們現在很少有見(jiàn)面有交集，但是一旦有交集時(shí)，我們總會(huì )找出時(shí)間來(lái)切磋?！?nbsp;
Her first success in public was her Wigmore Hall concert when she was 16, since when her career has not looked back. She had spells studyingwith Tortelier — 'a great musician and inspiration' — when she was 17 and with Rostropovich when she was 21. 'Tortelier was a different sort of teacher from Pleeth. He is a very analytical man and in my first private lessons with him I learnt a lot about the fingers and joints. When I went to the Paris Conservatoire in a masterclass, it wasn't quite the same. There was an audience and I felt I did not gain as much. Rostro is like a volcano and it was exciting to work with him. But all my interpretations stem from Pleeth's grounding — the other two just added their wonderful personalities'.
杰奎琳首次成功公開(kāi)演奏是她16歲時(shí)在威格莫爾音樂(lè )廳（Wigmore Hall）的音樂(lè )會(huì )上，那時(shí)開(kāi)始，她的職業(yè)生涯就再也沒(méi)有回頭過(guò)。她17歲和托爾特利耶（Tortelier，一位偉大的富有靈感的音樂(lè )家）學(xué)習技能，21歲時(shí)和羅斯托波維奇（Rostropovich）學(xué)習。“托爾特利耶是和普列茲不同類(lèi)型的老師，他是一個(gè)非常擅長(cháng)分析的人。我第一次上他的私授課時(shí)，學(xué)到了很多關(guān)于手指和關(guān)節運用的知識。當我在巴黎音樂(lè )學(xué)院（Paris Conservatoire）的大師班課上，情形就不一樣了。這兒有一名觀(guān)眾，而我覺(jué)得收獲并不多。托爾特利耶就像一座火山，和他在一起工作很有激情。但是我所有的理解都來(lái)自于普列茲的基礎——而另外兩個(gè)只是展示了他們各自的特色?！?nbsp;
Jacqueline met Daniel Barenboim at Christmas 1966, at the pianist Fou Ts'ong's house. 'We sat down and made music together — and from then on things developed very fast. We were married soon after the Arab-Israeli war — June 15th, 1967 — between old and new Jerusalem. The whole visit to Israel was a shattering experience, especially playing music to people whose husbands and sons were away fighting. One felt really needed and it was a privilege to help them in some way. We were carried along on a big, emotional wave for three extraordinary weeks.'
1966年，杰奎琳在鋼琴家傅聰（Fou Ts'ong）的家里遇見(jiàn)了丹尼爾·巴倫博伊姆。“我們一起坐下來(lái)演奏音樂(lè )。從那時(shí)開(kāi)始事情進(jìn)展得很快，我們在1967年6月15日阿拉伯-以色列戰爭后不久就結婚了，在新舊耶路撒冷之間。整個(gè)以色列之行是個(gè)讓人心碎的過(guò)程，特別是對著(zhù)一群在戰爭中失去丈夫和兒子的人們演奏音樂(lè )。他們特別需要這樣一種感覺(jué)，就是有一種特權可以在某種程度上幫助他們。我們背負著(zhù)一種巨大的感情沖擊度過(guò)了特別的三個(gè)星期?！?/span>
Her views on recording are now very 'pro' whereas they were once 'con'. 'At 17, it seemed to me the very opposite of what music-making was about but I've gradually grown to enjoy recording. I find I have to tone things down a bit for the mike. Then it can be very lonely in the studio. There, Suvi Grubb has been an enormous help — he's so musical and a real joy to work with. I like to record the whole of a work at once and then use that as a basis to improve on.'
她對于錄音持“贊成”態(tài)度，而之前是“反對”的?！?7歲時(shí)，我對“制作音樂(lè )”的意義存在完全不同的理解，但是我逐漸喜歡上了錄音。我發(fā)現，在使用麥克風(fēng)時(shí)我需要降低一點(diǎn)音調。而且在錄音室里會(huì )感覺(jué)非常孤單，在那里，吉格拉布（Suvi Raj Grubb)，在20世紀中期為EMI工作的印度南部的唱片制作人）給了我很大的幫助。他富有樂(lè )感，和他在一起工作很開(kāi)心。我喜歡馬上錄完整部作品然后在此基礎上進(jìn)行改進(jìn)?！?/span>
She has recorded the Schumann Concerto with her husband conducting and more recently the Beethoven and Brahms sonatas with him as pianist. 'We're so lucky that we play so well together as musicians. It's not always that a husband and wife get on well together on the platform and off it.'
杰奎琳已經(jīng)錄完了由她的丈夫指揮的舒曼協(xié)奏曲，最近又開(kāi)始錄制了貝多芬和勃拉姆斯的奏鳴曲，由她丈夫擔任鋼琴演奏?！拔覀兒苄疫\，我們作為音樂(lè )家一起演奏得很好，但是一個(gè)妻子和丈夫在臺上與臺下并不總是能相處得很好?！?/span>
She is full of admiration for his organizational powers. 'He has arranged our itinerary so that we spend nearly all our time together. Sometimes we are parted for two days, seldom for more. Then he knows exactly how to manage his own career, spacing all his engagements properly so that he doesn't get over-worked. Of course, I think he's a wonderful conductor and orchestras seem to like him too'.
她很佩服他的統籌安排能力?！八麜?huì )安排好我們的預定行程，這樣我們幾乎所有的時(shí)間都在一起度過(guò)。有時(shí)候我們會(huì )開(kāi)分兩天，幾乎不會(huì )超過(guò)兩天。他知道如何精確的安排他的事務(wù)，恰當地支配會(huì )面等事宜，這樣他就不會(huì )過(guò)度工作了。當然了，我認為他是一位非常棒的指揮家，而且管弦樂(lè )隊的成員似乎也很喜歡他?！?nbsp;
Jacqueline is very eager to expand her repertory and is delighted that Alexander Goehr, for instance, has written such a grateful work — his Romanze — for the instrument, but she doesn't like playing works that are unsympathetic to her — and these include Shostakovich's First Cello Concerto. She admits that she is slow to appreciate most modern music — 'Bartók is really about as far as I go'. In consequence, as the cello solo repertory is comparatively small, she is turning more and more to chamber music. 'And for this we are lucky to have such a wonderful group of friends and this was the basis for our Summer Music on the South Bank.'
杰奎琳非?？释麛U展的她的保留曲目庫，比如說(shuō)，她很高興亞歷山大·戈爾（Alexander Goehr）為某個(gè)樂(lè )器譜寫(xiě)了一部偉大的作品——他的浪漫曲。但是她不喜歡演奏對她來(lái)說(shuō)沒(méi)有感情的作品?！ㄐに顾凭S奇（Shostakovich）的“第一大提琴協(xié)奏曲”，她承認她對大多數的當代音樂(lè )很難欣賞起來(lái)?！鞍屯锌耍?Bartók，匈牙利作曲家）音樂(lè )對我而言就是如此”。由于大提琴獨奏曲目相對較少，因此她越來(lái)越多地轉向室內樂(lè )?！昂苄疫\的，我們擁有一群很不錯的隊友，這是我們在倫敦南岸（South Bank）舉行夏季音樂(lè )會(huì )的基礎?！?/span>
She is no believer in excessive practice, and prefers to leave the cello altogether during the days between concerts. 'That makes the rest beneficial and you come back all the fresher for the next concert. You must have spontaneity and too much study destroys that.'
她不熱衷于過(guò)度練琴，她寧愿在沒(méi)有音樂(lè )會(huì )的日子里離開(kāi)大提琴?！斑@樣的空隙很有益處，它會(huì )讓你在下一場(chǎng)音樂(lè )會(huì )上重新充滿(mǎn)活力。你必須有自發(fā)性，而過(guò)度的練習會(huì )破壞這個(gè)?！?nbsp;
When she undertakes a work new，to her, she says she 'charges at it and sends everything flying. I like to make a big impact and not tackle it at first bar by bar. Then I come down to the ground and look at it more carefully, or perhaps you could say that out of the chaos I put the bits together again.'
當她著(zhù)手進(jìn)行一項新的任務(wù)時(shí)，她就會(huì )放飛一切全身心地投入。我喜歡一開(kāi)始就獲得一個(gè)事物總體上的印象，而不是從細枝末節開(kāi)始一條一條地處理。當我回到地面時(shí)，我會(huì )更仔細地審查，也可以這么說(shuō)我從一片混亂中把這些碎片又拼起來(lái)了。
Off the platform, she likes films — 'nothing too tragic' — and looking at paintings. 'I used to paint myself but I've hidden my attempts bashfully away'. Then she has suddenly discovered she loves cooking. 'Sometimes when Danny wants me to run through a piece, I now say 'no, I want to cook'.'
演出之外，她喜歡電影— 《沒(méi)什么可悲慘的》（'nothing too tragic'）—也喜歡看油畫(huà)?！拔以?jīng)給自己畫(huà)畫(huà)，但我已經(jīng)很羞怯地隱藏了我的企圖?！比缓竽?，她突然發(fā)現自己喜歡烹飪?！坝袝r(shí)候，丹尼爾想讓我去翻閱一部音樂(lè )作品，我說(shuō)：’不，我想去煮點(diǎn)兒東西?！?nbsp;
Although she would like to have several children, she could never stop playing for any length of time. 'I could never live without it'.
盡管她想要幾個(gè)孩子，但是她的生命中不能停止演奏，“沒(méi)有它我活不下去”。
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