黑人古典钢琴家安德烈·瓦茨 | 经济学人讣告
1
Vicky，少儿英语老师+笔译新人
人的一生，会遇到形形色色的人。大多数与你短暂相交，然后渐行渐远。只有极少数能与你走在同一轨道。我们寻找的是这个极少数同频同轨的小伙伴。
长期招募
catti一笔的校对
（此贴永久有效，翻译组内现在有catti一笔20+，博士8人）
具体要求大家可以仔细阅读下推文 我们招人啦！（超链，点击进入） 满足条件再加小编微信396196827，设置严格的条件，只是希望保证译文质量，对50w+读者负责！
02 新手必读
2
安德烈·瓦茨
英文部分选自经济学人20230729期讣告板块
André Watts
安德烈·瓦茨
The last Romantic
浪漫终曲
André Watts, a black star of classical piano, died on July 12th, aged 77
著名黑人古典钢琴家安德烈·瓦茨于7月12日去世，享年77岁
The concert piece, Franz Liszt’s E-flat Concerto, opened with a bracing call and response: a seven-note motif from the strings, answered by a rousing clarion from the horns and woodwinds. Then the same again, the strings pitched a bit lower and the winds higher: a call to action. The pianist took it up. The orchestra responded, and a chase began: for the next 20 minutes the pianist played sweeping flights that sounded like improvisations, using almost the entire keyboard. The orchestra doing the chasing on January 12th 1963 was the New York Philharmonic under Leonard Bernstein, then perhaps the most celebrated conductor in the world. The pianist was André Watts. Blade-thin and straight-backed, he played with burning-eyed fluency, every inch the Romantic hero. He was 16.
弗朗茨·李斯特的音乐会曲目《降E大调第一钢琴协奏曲》以振奋人心的呼唤和回应开篇：弦乐器奏出七个音符的音乐动机，随后以圆号和木管乐器承接，演奏出令人心潮澎湃的号角。旋即乐曲重复，弦乐音调稍低，管乐音调升高，合奏正式铺开。钢琴演奏者弹出旋律，管弦乐与之呼应，二者相互交织，此后的20分钟钢琴演奏者指尖翻飞，横扫键盘，好似即兴演奏出一段段恢弘的乐章。负责1963年1月12日音乐会的是纽约爱乐乐团（New York Philharmonic），由伦纳德·伯恩斯坦（Leonard Bernstein）担任指挥，当时他或是世界上最享盛名的指挥家。钢琴演奏者是安德烈·瓦茨。他身材瘦削，腰板笔挺，演奏时目光灼灼，技法娴熟，每一处都尽显浪漫主义色彩。当时安德烈年仅16岁。
注释
1.弗朗茨·李斯特（Franz Liszt），著名的匈牙利作曲家、钢琴家、指挥家，伟大的浪漫主义大师，是浪漫主义前期最杰出的代表人物之一。
2.motif，音乐术语，称做“动机”，指音乐中使用的最小音乐单位。由两个或多个音所组成，结构简短，并透过重复、变奏或对立动机的对比，使音乐流动起来。
3.Chase music: music that provides a feeling of chaos and action and common instruments typically include synths, drums and orchestral strings.
The call had come to his parents’ house in Philadelphia only two days before. The pianist who was billed to play, Glenn Gould, was ill. Could André replace him? Of course he could. He surmised later that the manager and conductor had said to each other, “Remember that kid?” The one who had already won an audition to play for Bernstein’s nationally televised Young People’s Concerts, even though his practice had been on a rickety old piano with 26 strings missing.
直到演出前两天，安德烈的父母才在位于费城的家中接到邀请安德烈演出的电话。原定的钢琴演奏者格伦·古尔德（Glenn Gould）因病无法出席，安德烈能替代他吗？答复是肯定的。后来安德烈想，大概是因为演出经理和指挥对彼此都推荐了自己：“还记得那个孩子吗？”那个赢得了试镜机会，能够在指挥大师伯恩斯坦指挥、在全国电视转播的“青少年音乐会”中演出的孩子？尽管当时安德烈用来练习的钢琴老旧不堪，摇摇晃晃，甚至缺了26条琴弦，他仍然脱颖而出。
The effect of that January concert was electric. He went from having no concerts booked, to 75 in a year. At 17 he won his first Grammy, for most promising new classical recording artist. Young as he was, he was now firmly launched on a career largely devoted to the Romantic repertoire. He emerged onto the world stage as one of the very few African-American classical-music headliners.
一月的音乐会反响热烈，如一石激起千层浪。原本无人问津的安德烈一年内演出了75场。17岁时，他便获得了“最有前途的新古典唱片艺术家”称号，将人生首个格莱美奖收入囊中。尽管他当时年纪轻轻，但已经决心要从事演奏浪漫主义乐曲的职业。安德烈在世界舞台崭露头角，成为为数不多的非裔美国古典音乐演奏家之一。
Inevitably his colour was noted. At that famous concert Bernstein told the audience he looked rather like a young Persian prince, and commented on his “mixed-up name”. The allusion was to his mixed-race parentage: his father was an African-American soldier stationed in West Germany after the second world war, his mother a Hungarian refugee. In 1971 the New York Times described him as “capable of appearing as variously as an austere mulatto…a wistful pa’san surveying some Mediterranean terrace, or a bookish adolescent confronting his bar mitzvah”. People kept asking whether he played jazz.
他的肤色不可避免地引起了人们的注意。在那场著名的音乐会上，伯恩斯坦告诉观众，安德烈看起来酷似一位年轻的波斯王子，并就其“混杂的名字”评论二三，暗指安德烈的混血出身：其父亲是二战后驻扎西德的非裔美国士兵，其母亲则是匈牙利难民。1971年《纽约时报》曾形容他“能够表现出各种不同的形象，可以是神情严肃的穆拉托人，可以是凝视地中海露台的忧郁农民，也可以是即将举办犹太教成人礼的书生气少年”。人们不断问他是否演奏爵士乐。
注释：
Mulatto：a person with one black parent and one white parent，穆拉托人，为一血统分类上的习惯名称，指黑人及白人的混血，主要分布于北美洲和南美洲。
All this he took in his stride. Colour was just a physical description that could soon be dismissed. The simple fact was that he was half-black and half-white, a position he liked: it meant he could take potshots at both sides. His formative influences, in any case, were European. After his parents divorced when he was 13, his mother brought him up. His earliest memory was of her playing Strauss waltzes on the piano in their apartment in Ulm, in Baden Württemberg. In Philadelphia, his home from the age of eight, she was the one who insisted that he should learn to play music, just as he should learn to read and write.
安德烈对这一切泰然处之。肤色只不过是一种体貌特征，很快就不会被提及。他是黑白混血，事实就是这么简单。他喜欢这种身份，因为这样他就可以对双方都大加抨击。但不管怎么说，欧洲对他的成长产生了深远的影响。13 岁父母离异之后，安德烈由母亲养大成人。在他最早的记忆里，母亲会在巴登符腾堡州乌尔姆的公寓里用钢琴弹奏《施特劳斯圆舞曲》。八岁之后他们搬家到费城，从那时起，他母亲就坚持让他学习音乐演奏，认为这就和学习读写一样重要。
Violin was his first instrument, but whenever he played the family dog would sit beside him, baying at the moon. So he switched to piano, and for a year did just what he liked on it. He would hold down the pedal for pages, feeling the immense sounds mushrooming all round him. Love of that sound lasted. When he started proper lessons his mother encouraged him to practise, which he disliked, and she travelled to concerts with him until he was 21. He, in turn, was solicitous of her: dining out with her when he was 25, he graciously accepted a bottle of champagne from the restaurant, explaining that she only drank Taittinger.
他一开始学习的是小提琴，但是每次演奏的时候，家里的狗就会坐他旁边，冲着月亮吠叫。于是，他改学弹钢琴，随心所欲地弹奏了一年。他会踩住钢琴踏板一连弹上好几页乐谱，感受震耳欲聋的音乐声在自己周身萦绕。这种对声音的痴爱一如既往。安德烈开始正式学弹钢琴时，母亲鼓励他多加练习，但他对此很反感。母亲总是陪着他去音乐会演奏，直到他21岁。反过来，他也对母亲很是上心：25 岁那年，他与母亲一起外出就餐，他热忱地接受了餐厅赠送的一瓶香槟，并解释道自己的母亲只喝泰亭哲香槟。
He stayed devoted all his life to the drive and showmanship of Liszt, revelling in the way the great composer wore his virtuosity with a bit of a smile, as if saying, “Isn’t it interesting to see me on this high wire?” All the same, he disapproved of the way some pianists played him, slamming their feet down, clipping the corners. The Hungarian Rhapsodies had to be approached as respectfully as a Mozart concerto; stripped of cliché and sloppiness, it was amazing what you could hear in them.
终其一生，安德烈都在追求李斯特那样的内驱力和演出技艺，沉醉于这位伟大作曲家面带微笑展示精湛技艺的演奏方式，仿佛在说："看我走高空钢丝有趣吧？" 。然而，他不赞成一些钢琴家对李斯特曲子的演绎，这些钢琴家，猛踩踏板，把角落踩得 "啪啪 "作响。对待《匈牙利狂想曲》必须要像对待莫扎特协奏曲一样恭敬；不能老调重弹或者敷衍了事，这样才能从中聆听到令人惊叹的音乐。
In these explorations, he needed to feel an audience was with him. Though he made many recordings, playing music without live listeners had a chilly sort of sterility. He wanted to transmit his personal response to the music readily and freely, without hiding anything of himself. The composer he felt closest to was Franz Schubert, because of his clarity and openness. ”Guileless” was the word that struck him—all feelings exposed in a sacred space.
在对音乐的探索中，安德烈需要感受到听众与自己同在。虽然他录制了很多唱片，但是没有现场听众的音乐会有一种冷冰冰的感觉。他希望无拘无束地传递出自己对音乐的解读，不加任何遮掩。他觉得自己跟作曲家弗朗茨·舒伯特最接近，因为舒伯特的音乐同样明净而率真。"朴实无华 "这个词打动了他，所有的情感都展露在神圣的空间里。
Before music, he was always humble. He wanted to compose his own, but put no notes on paper. Perhaps, he thought, he did not really have anything to say. He found interviews awkward, because he was so intent on his search for the precise word. And he disliked vaunting himself. Even as a child, when at nine he performed with the Philadelphia Orchestra, he did not suppose he was better than any of the other children who played. And, as a perfectionist, he feared he might get too frustrated with composition. In a musical career, there was always another level to strive for. But as soon as you reached that, there was yet another.
面对音乐，他总是很谦虚。他想自己作曲，却从未落笔写下音符。他想，可能自己真的没什么想要表达的。他觉得接受采访很尴尬，因为他太专注于字斟句酌，又不喜欢自我吹嘘。即便在孩童时，九岁的他便已经和费城管弦乐队合作演出，他也没觉得自己比其他学音乐的小孩更优秀。而且，作为一个完美主义者，他担心自己可能会因为作曲而产生过强的挫败感。在音乐的职业生涯中，永远有更高处要去企及，一山更比一山高。
Instead he preferred to settle into learning from the masters, especially from Leon Fleischer, his chief teacher. The hardest part of playing music, he thought, was to preserve a balance between being the star who strode onstage, proclaiming to the audience that he would give them something worthwhile, and the man who felt he was nothing but an idiot who didn’t know what he was doing. Fleischer taught him how to manage that. He also learned how to defy the tendonitis that assailed him as he got older. When nerve damage limited the use of his left hand, he simply transcribed Ravel’s “Concerto for the Left Hand” for the right one.
相反，安德烈更愿意静下心来向大师学习，尤其是他的首席教师莱昂·弗莱舍（Leon Fleischer）。他认为，演奏音乐最难的部分是在以下两个身份之间保持平衡，一个是明星，大步走上舞台，向观众宣布将要带来音乐盛宴，另一个像个白痴，觉得自己不过是个不知道自己在做什么的人。弗莱舍教会了他如何处理这个问题。年岁渐长，他还懂得了如何对抗困扰他的肌腱炎。因为神经损伤导致左手使用受限时，他干脆把拉威尔的《左手钢琴协奏曲》改编成适用右手弹奏的曲子。
That entailed more than just sliding a bit to the left on a piano bench; it involved re-engineering a hugely challenging piece. But his version worked, and he was surprised by its power, which seemed to come from learning it so late in life. When he came to play it, with the Detroit and Atlanta orchestras, it was an act of daring; and no less so than playing Liszt on national television, with the world’s most famous conductor, when he was just a boy.
这点带来的挑战不仅仅是在钢琴凳上向左滑动一点，而是要重新设计一首极具挑战性的乐曲。但他的版本是成功的。这首曲子的力量让他惊讶，不过他似乎到晚年才感受到。他与底特律和亚特兰大交响乐团一起演奏这首曲子，就是一次大胆的尝试；正如年少时勇敢的他，与世界上最著名的指挥家一起在全国性电视节目上演奏李斯特的曲子一样。
翻译组：
Yvonne，慢慢理解世界、更新自己
Benjiamin，MTIto be, 初学翻译的翻译小学生
Octavia, 键盘手和古风爵士，逃离舒适圈，有只英短叫八爷
校对组：
Shulin，女，热咖啡+保温杯，慢慢来er
Mosy，绘本、演讲、戏剧英文教育践行者
Claire，进进退退，摇摇摆摆，探索世界ing
3
观点|评论|思考
本周感想
Lee，爱骑行的妇女之友+新手奶爸
大师是如何炼成的
4
愿景
01 第十七期翻译打卡营
3位剑桥硕士3位博士在读（剑桥，杜伦，港理工）
5位雅思8分（其中两位写作8分，3位写作7.5分）
雅思、学术英语写作，不知如何下笔如有神？
写作精品课带你谋篇布局直播课+批改作文，
带你预习-精读-写作-答疑从输入到输出写出高质量英语作文
点击下图，即可了解写作课详情！
03 早起打卡营
微信扫码关注该文公众号作者