夏季音乐会上的钢琴天才

　　Going for Grieg

　　诠释格里格

　　A talent for the Romantics

　　浪漫时期作品的演奏天才

　　Aug 13th 2011 | from the print edition

　　Playing from the sole

　　独一无二的演奏

　　ALICE SARA OTT, a German-Japanese pianist, has been impressing audiences and music executives since 2002, when, at the age of 14, she was named the most promising artist in Japan’s Hamamatsu International Piano Academy competition. On August 8th she chose Edvard Grieg’s concerto in A minor for her Proms debut at London’s Royal Albert Hall.

　　爱丽丝.纱良.奥特,德国日籍钢琴家， 自2002年，14岁的奥特在日本宾松国际钢琴专业比赛上，被誉为最有潜力的钢琴家之后，她一直受到观众和音乐专家的好评。今年的8月8日，奥特选择了爱德华-格里格的A小调协奏曲，拉开了在伦敦皇家埃尔伯特音乐厅夏季钢琴音乐会的序幕。

　　At 23, Ms Ott is just a year younger than Grieg, a 19th-century Norwegian composer, was when he penned his iconic—and only—piano concerto in 1868. Hugely popular, the piece has been recorded by pianists as well known as Arthur Rubinstein and, more recently, Leif Ove Andsnes. Ms Ott is used to comparisons with high-profile performers. Last November she replaced an ailing Lang Lang at a day’s notice and performed Liszt’s first piano concerto with the London Symphony Orchestra to critical acclaim. Even so, the Grieg was a brave choice.

　　奥特今年23岁，只比1868年的格里格小一岁，这位19世纪的挪威作曲家在当时写下了他的代表作——也是唯一的——钢琴协奏曲。这首曲子随即带来很大反响，之后分别被著名的钢琴家，例如阿瑟.鲁宾斯坦，以及更近代一些的，利夫?奥韦?安兹涅斯重新录制。人们把奥特和这些著名的演奏家们相比较。去年11月，她代替生病的朗朗，在演出前一天通知的情况下，与伦敦交响乐团合作了李斯特的第一钢琴协奏曲并获得了好评。即便如此，选择格里格的钢琴曲也是一个勇敢之举。

　　His concerto is performed so often that its emotional depth can easily be overlooked. Yet the Norwegian was, above all, a master of the miniature with a particular ability to convey emotional subtlety within the confines of a single phrase or chord progression. Ms Ott, who always plays in bare feet, marked these nuances with an unusual lightness and a tenderness that is more often associated with the intimacy of chamber music or solo performances.

　　格里格的这首协奏曲被演奏了很多次，所以人们很容易忽视它的情感深度。但是这位挪威作曲家，却拥有着特殊的才能，即使在单一乐句与和弦行进的局限下，也能将细腻的情感浓缩到乐曲当中。奥特一如既往赤脚上阵，轻盈而又柔和的诠释着这些微妙的情感，这种演奏方式更容易让人联想到细腻的室内音乐还有独奏表演。

　　The slow theme of the third movement, first by the flute, then echoed in the piano part, laid bare the simple, tremolo harmonies of the string section and emphasised the delicate lyricism of the melody. Ms Ott was at her best in these moments, employing a lucid technique, warm touch and close ensemble with the orchestra.

　　乐曲的第三乐章慢板，首先由长笛演奏旋律，然后加入钢琴与长笛形成轮奏，平铺直叙琴弦部分简单的颤音和声，着重刻画柔和的抒情旋律。运用娴熟的技术，温和的弹奏还有与乐队紧凑的配合，奥特最擅长弹奏这种风格的音乐。

　　A product of the late Romantic period, the concerto also has its heroic symphonic sections. Ms Ott delivered cascading double octaves, arresting chords and keyboard-sweeping arpeggios with great control. The Royal Stockholm Philharmonic Orchestra also gave an impressive performance under Sakari Oramo.

　　作为浪漫晚期的作品，格里格的协奏曲也有英雄交响曲式的部分。为了诠释这部分的音乐，奥特准确地控制着和弦和琴键，如瀑布倾泻一样向下琶音弹奏两个八度。皇家斯德哥尔摩爱乐管弦乐队，在沙卡里．歐拉莫的指挥下，也为大家呈现了一场印象深刻的演出。

　　Ms Ott chose as her encore another popular concert-hall piece, Liszt’s “Grandes ?tudes de Paganini No. 3”, nicknamed “La Campanella”. Liszt, himself a piano prodigy, also adored Grieg’s concerto. When he visited the Norwegian in Rome in 1870, he purportedly sight-read the concerto in its entirety, leapt up in delight and exclaimed to Grieg, “You carry on, my friend; you have the real stuff in you. And don’t ever let them frighten you!” These words could also be valid for the precocious Ms Ott. Her performance established her once again as an artist to watch.

　　奥特的返场曲目同样是一首著名的音乐会演奏曲目。李斯特的“主题大练习曲第三首”诨名“钟”。李斯特，作为一位钢琴天才，也十分喜爱格里格的协奏曲。据说，他于1870年拜访格里格时，就完整地试奏了这首奏鸣曲曲，弹完之后，他高兴滴跳起来对格里格说：“继续写下去，我的朋友，你有真材实料，尽情施展你的才华吧！”这些话对天才奥特也同样适用，她这次的演出使她再一次成为众人瞩目的艺术家。