德穆斯音乐会
本来没打算来听这场音乐会，在大剧院官网上查席夫六月份的音乐会是否开始售票，意外看到德穆斯（Demus）的音乐会。见最便宜的票只需八十，再一看，发现德穆斯是可与古尔达并称之人，我虽之前并不知德穆斯，但于古尔达，还是“久仰大名，如雷贯耳”，这一看，竟有“物美价廉”之感，抱着买促销产品的心态，买了张票。
之前看到曲目单，第一首巴赫的半音阶幻想曲和下半场舒曼的童年情景还比较熟。有时总觉古典音乐不像是一种艺术休闲，而更像是学术活动，没做一段准备，没有“基础知识”，即演奏作品不熟悉、无了解，则听音乐会的效果会大打折扣，上次去听波利尼的音乐会就有此感，夹在“黎明”与“热情”之间的那首颇为清丽迷人的奏鸣曲感觉是头一次听过（虽曾听过贝多芬奏鸣曲全集），大部分是不懂的（不过听多了也不见得能懂，感觉听“懂”音乐是极难的）。这次本打算把这几首曲子都听一下，至少有些初步直观了解，但打算虽好，实际却也没去执行。觉这种事情便如课前预习，总打算去做，但总没认真做过。
不知是由于刚开始演奏家未进入演奏的状态，还是我作为听众没做好听的准备，抑或是这两者都有，总觉每次听音乐会，第一首总不尽人意，总是从上半场最后开始渐入佳境，这次亦如此。第一首，巴赫D小调半音阶幻想曲与赋格，一首华丽的不像巴赫的作品。不似巴赫，但听来却处处又是巴赫。开始踏板踩的很浑浊，尤其是在类似音阶跑动之处，含混不清，本以为是德穆斯刻意要模仿管风琴的声响，但越到后面越浑，越乱，最后竟有种左右手对不上的感觉。而且竟时而恭敬虔诚，时而却过于挥洒自如的浪漫，便如在圣女与荡妇（比喻不当）之间不断转换，虽如此说的确夸张，虽然节奏弹性过大可以视为德穆斯有意为之，虽然中间有部分也弹的极好，深沉、细腻，每个音都控制的极其到位，但这开场的第一首，还是由于过重的踏板、自由的节奏和不在状态的我自己，而感觉略失水准。
第二首莫扎特C小调幻想曲，莫扎特弹的像海顿。海顿是一位世故的老乡绅，而莫扎特是不谙人情世故的孩子。第三首贝多芬奏鸣曲Op.111的第一乐章，也感觉一般。
我虽说德穆斯前面的演奏“一般”，实是过于苛刻挑剔，每次写某某钢琴家弹得哪里哪里不好，总十分矛盾。一来我自觉欣赏水平有限，弹得更差，没资格去议论别人演奏的好坏，但于这些演奏中的瑕疵我确又感觉到了，依着感觉写出来，却又有种鸡蛋里挑骨头的感觉。
德穆斯的演奏，雕琢细节强于烘托气势，弱比强弹的精彩，慢的单音比快速的跑动有韵味得多。作为德奥学派的代表，他的演奏不像俄国人那般，以如火的热情将人淹没，使人丧失思考的能力，完全沦为感性的俘虏，而是于精微处展示大师的风采。细听来，每一个音，都似经过深思熟虑，钻研过，思索过，都是认真“弹”出来的，拿捏得秒到巅毫，对音色有近乎完美的把握与控制。他弹弱，可以一个p，两个p，三个p，弹弱并不难，难的是能更弱，再弱，在不同的弱中分出层次，显出差别，贝多芬的奏鸣曲中（印象中是）有一段竟然弱得几不可闻，但声音依旧清晰。
他的演奏，细腻，醇厚。他的细腻，不是年轻人的剔透玲珑的细致，没有夺目的光彩，是经过岁月积淀，沉到骨子里的美，所谓大巧若拙或许便是这种境界。不似构思奇特设计精巧的宝石，而似玉石般温润。德穆斯如今已是老人，八十五岁高龄，听他的演奏，确如一位略温吞的老人用含混的嗓音在细细讲述。他的演奏给人感觉便是“老人”的演奏。我并不单指年龄，八九十岁仍活跃在世界各地音乐厅的钢琴家绝不占少数，但有些人的演奏却不“老”，霍洛维茨在晚年出现孩子般的童心，返璞归真，如老顽童，波利尼现已七十岁，但仍感觉犀利无比，便如高校一些老教授，思维迅捷不减当年，他去年演奏的贝多芬依旧精准的让人难以置信。德穆斯确与他们不同，他不紧不慢、不急不躁，给人感觉极有耐心，便如磨了一辈子玉器的工匠，慢慢拿起玉石，慢慢放到陀子边，慢慢打磨，他已无需通过这件作品获得钱财，赢取声誉，他只是顺着自己的心意，为自己，为自己的心，完成这件绝世珍品。
从贝多芬奏鸣曲第二乐章开始，渐入佳境。
下半场的舒曼，绝好。童年情景，第一个音弹下，就足以摄人心魄。
霍老在82年重回莫斯科，在莫斯科音乐厅弹舒曼的童年情景，无数老人，满面泪流。
童年，虽是属于小孩子的时光，但为何只有老人才能品出其中滋味？是因孩子都渴盼长大，并不曾珍惜这段时光，还是年少的他们不识愁滋味？人在年轻时，总爱向前看，有梦想，盼未来，而俯仰之间，却忽然发现前面已到尽头，此时只能被迫转身，去回味逝去是流年。童年是快乐的，是喜，老来经过诸多痛苦坎坷，是悲。当时处在快乐中的孩子，反不知何为快乐，如今再忆起儿时的快乐，于苦痛之中方觉快乐之可贵，悲中含喜，喜中觉悲。留恋、叹惋、不舍、无奈，最终都付于一笑，看似表面豁达，然骨子里仍是沉痛严肃的。只有历经世事的老人才能如此，也只有他们能将童年演绎的如此深沉且美。
德穆斯用他的阅历，用柔和的音色，用细腻的控制，将人浸润式的，一步一步的吸引，让人不自主的随着的音乐呼吸，音乐厅已消失，钢琴已隐去，观众已不见，最终演奏者也不知所踪，周围只弥散着絮语般的琴声，不知由何处来，不知于何处止，在这一片梦幻般的迷雾中，连自己也迷失了。
直到掌声响起，竟觉恍如隔世。
最后一首舒曼也极好，加演为肖邦夜曲。
2013-4-12夜（应为13日了）
======================================================================
Program
Bach: Chromatic Fantasia and Fugue in D minor, BWV 903
Mozart: Fantasia in C minor, K. 475
Beethoven: Piano Sonata in C minor, Op. 111
Schumann: Kinderszenen, Op. 15
Schumann: Fantasia in C major, Op.17
(Encore) Chopin Nocturne in F-sharp, Op. 15, No.2 (??)
Jorg Demus
Born: December 2, 1028 – St.Polten (Lower Austria), Austria
The Austrian pianist, Jorg (Wolfgang) Demus, was born to received his first piano lessons at the age of six. His mother was a concert violinist and his father, Prof. Otto Demus, a universally known art historian. At the age of 11, he was allowed to enter the Vienna Academy of Music, where he studied piano and conducting, graduating in 1945. When Jorg Demus was 14 years old, while still a student at the Conservatory, he made his debut as a pianist at the famous Brahms-Seal for the prestigious Gesellschaft der Musikfreunde in Vienna. Besides the regular high school he studied piano with Walter Kerschbaumer, organ with Karl Walter, conducting with Hans Swarowsky and Joseph Krips and composition with Joseph Marx. After completing these studies in Vienna, he went abroad to study with Yves Nat in Paris from 1951 to 1953, he attended master-classes with Walter Gieseking at the Saarbrucken Conservatory. He studied interpretation further with Wilhelm Kempff, Arturo Benedetti Michelangeli, and Edwin Fisher.
In 1950 Jorg Demus gave first concerts in Zurich and London and in 1951 he went on his first extended tour to South America. His debut in Paris in 1953 at the Salle Gaveau turned into a regular sensation. The star critic, Ckarendon, wrote an enthusiastic review under the title “Jorg Demus joue et gagne.” The same year he made his debut in Vienna as a mature artist. In 1956 he won the important “Premio Busoni” at the International Piano Competition in Bolzano, Italy. Since that time he has performed in all the important music concerts of the Old and New World. His New York debut was followed by annual tours to the USA since 1961 regularly tour to Asia, Australia and Japan. For many years he has been a regular guest performer at international festivals. He has often played under the bation of Herber von Karajan, Joseph Krips, Carlo Zecchi, Andre Cluytens, Wolfgang Sawallisch, Seiji Ozawa and many others.
Jorg Demus maintained a notable solo career, noted for combining a basically Romantic sound and line with an interest in historic keyboard interpretation and early model pianos. He was especially noted for personal interpretation of Bach and flexible, colorful renditions of Debussy. He also was well regarded for the main line of German piano music form Mozart to Schumann, and for his performances of the piano music of Cesar Franck.
Jorg Demus was a sensitive accompanist, and worked with singers of the highest caliber, including Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau and Elly Ameling. His versin of Schubert’s Winterreise, with Dietrich Fischer-Dieskau, is perhaps the most critically acclaimed of all recordings og this great song cycle. He also accompanied violinists (Josef Suk, for instance) and cellists (Antonio Janigro). He sometimes appears in piano duet and two-piano concerts with Paul Badura-Skoda, who shares Demus’ interest in older keyboard instruments. Demus acquired several notable examples of early instruments, including harpsichords and piano by Broadwood, Clements, and Conrad Graf, and has recorded appropriate music on them. In honor of L.v. Beethoven’s 200th birthday, Jorg Demus played on L.v. Beethoven’s Bbroadwood and Graf pianos at the Beethoven Festival in Bonn. Near Salzburg the Jorg Demus Museo Cristofori, where visitors can appreciate the history of the piano, is growing and in master-classes in Europe (ILMA Vienna, etc.), USA and Japan he is and appreciated pedagogue.
Many of his recordings have won international awards. Up to now Jorg Demus has achieved a repertory of more than 350 LP’s, compact discs and video-recordings. He has recorded the complete piano works of Robert Schumann and Claude Debussy, J.S. Bach’s Well-Tempered-Clavier and Clavierubung, piano concerti of J.S. Bach, Haydn, Mozart, L.v. Beethoven and Schumann, as well as important works of chamber music with the Wiener Philharmonisches Kammerensember and Lieder, Mainly with Dietrivh Fischer-Dieskau, Elisabeth Schwarzkopf, Elly Ameling and Peter Schreier. Several of Jorg Demus’ recordings were inspired by his passion of collecting old historic keyboard instruments.
Jorg Demus has also authored several essays, many of which were published including, Abenteur der Interpretation (Adventures in Interpretation) (Brockhaus Edition, 1967), and co author with Badura-Skoda of an analysis of the L.v. Beethoven piano sonatas (1970). He also composes-sonatas for violin and piano, violonvello and piano, trios, pieces for piano solo and several songs were created.
In 1977, Jorg Demus was awarded the Beethoven-Ring of the Vienna Beethoven society, and in 1979 the Mozart Medal of the Vienna Mozart Society; in 1981 he received Honorary Doctor degree of Amherst, and in 1986 the Schumann Award of Zwickau.
之前看到曲目单，第一首巴赫的半音阶幻想曲和下半场舒曼的童年情景还比较熟。有时总觉古典音乐不像是一种艺术休闲，而更像是学术活动，没做一段准备，没有“基础知识”，即演奏作品不熟悉、无了解，则听音乐会的效果会大打折扣，上次去听波利尼的音乐会就有此感，夹在“黎明”与“热情”之间的那首颇为清丽迷人的奏鸣曲感觉是头一次听过（虽曾听过贝多芬奏鸣曲全集），大部分是不懂的（不过听多了也不见得能懂，感觉听“懂”音乐是极难的）。这次本打算把这几首曲子都听一下，至少有些初步直观了解，但打算虽好，实际却也没去执行。觉这种事情便如课前预习，总打算去做，但总没认真做过。
不知是由于刚开始演奏家未进入演奏的状态，还是我作为听众没做好听的准备，抑或是这两者都有，总觉每次听音乐会，第一首总不尽人意，总是从上半场最后开始渐入佳境，这次亦如此。第一首，巴赫D小调半音阶幻想曲与赋格，一首华丽的不像巴赫的作品。不似巴赫，但听来却处处又是巴赫。开始踏板踩的很浑浊，尤其是在类似音阶跑动之处，含混不清，本以为是德穆斯刻意要模仿管风琴的声响，但越到后面越浑，越乱，最后竟有种左右手对不上的感觉。而且竟时而恭敬虔诚，时而却过于挥洒自如的浪漫，便如在圣女与荡妇（比喻不当）之间不断转换，虽如此说的确夸张，虽然节奏弹性过大可以视为德穆斯有意为之，虽然中间有部分也弹的极好，深沉、细腻，每个音都控制的极其到位，但这开场的第一首，还是由于过重的踏板、自由的节奏和不在状态的我自己，而感觉略失水准。
第二首莫扎特C小调幻想曲，莫扎特弹的像海顿。海顿是一位世故的老乡绅，而莫扎特是不谙人情世故的孩子。第三首贝多芬奏鸣曲Op.111的第一乐章，也感觉一般。
我虽说德穆斯前面的演奏“一般”，实是过于苛刻挑剔，每次写某某钢琴家弹得哪里哪里不好，总十分矛盾。一来我自觉欣赏水平有限，弹得更差，没资格去议论别人演奏的好坏，但于这些演奏中的瑕疵我确又感觉到了，依着感觉写出来，却又有种鸡蛋里挑骨头的感觉。
德穆斯的演奏，雕琢细节强于烘托气势，弱比强弹的精彩，慢的单音比快速的跑动有韵味得多。作为德奥学派的代表，他的演奏不像俄国人那般，以如火的热情将人淹没，使人丧失思考的能力，完全沦为感性的俘虏，而是于精微处展示大师的风采。细听来，每一个音，都似经过深思熟虑，钻研过，思索过，都是认真“弹”出来的，拿捏得秒到巅毫，对音色有近乎完美的把握与控制。他弹弱，可以一个p，两个p，三个p，弹弱并不难，难的是能更弱，再弱，在不同的弱中分出层次，显出差别，贝多芬的奏鸣曲中（印象中是）有一段竟然弱得几不可闻，但声音依旧清晰。
他的演奏，细腻，醇厚。他的细腻，不是年轻人的剔透玲珑的细致，没有夺目的光彩，是经过岁月积淀，沉到骨子里的美，所谓大巧若拙或许便是这种境界。不似构思奇特设计精巧的宝石，而似玉石般温润。德穆斯如今已是老人，八十五岁高龄，听他的演奏，确如一位略温吞的老人用含混的嗓音在细细讲述。他的演奏给人感觉便是“老人”的演奏。我并不单指年龄，八九十岁仍活跃在世界各地音乐厅的钢琴家绝不占少数，但有些人的演奏却不“老”，霍洛维茨在晚年出现孩子般的童心，返璞归真，如老顽童，波利尼现已七十岁，但仍感觉犀利无比，便如高校一些老教授，思维迅捷不减当年，他去年演奏的贝多芬依旧精准的让人难以置信。德穆斯确与他们不同，他不紧不慢、不急不躁，给人感觉极有耐心，便如磨了一辈子玉器的工匠，慢慢拿起玉石，慢慢放到陀子边，慢慢打磨，他已无需通过这件作品获得钱财，赢取声誉，他只是顺着自己的心意，为自己，为自己的心，完成这件绝世珍品。
从贝多芬奏鸣曲第二乐章开始，渐入佳境。
下半场的舒曼，绝好。童年情景，第一个音弹下，就足以摄人心魄。
霍老在82年重回莫斯科，在莫斯科音乐厅弹舒曼的童年情景，无数老人，满面泪流。
童年，虽是属于小孩子的时光，但为何只有老人才能品出其中滋味？是因孩子都渴盼长大，并不曾珍惜这段时光，还是年少的他们不识愁滋味？人在年轻时，总爱向前看，有梦想，盼未来，而俯仰之间，却忽然发现前面已到尽头，此时只能被迫转身，去回味逝去是流年。童年是快乐的，是喜，老来经过诸多痛苦坎坷，是悲。当时处在快乐中的孩子，反不知何为快乐，如今再忆起儿时的快乐，于苦痛之中方觉快乐之可贵，悲中含喜，喜中觉悲。留恋、叹惋、不舍、无奈，最终都付于一笑，看似表面豁达，然骨子里仍是沉痛严肃的。只有历经世事的老人才能如此，也只有他们能将童年演绎的如此深沉且美。
德穆斯用他的阅历，用柔和的音色，用细腻的控制，将人浸润式的，一步一步的吸引，让人不自主的随着的音乐呼吸，音乐厅已消失，钢琴已隐去，观众已不见，最终演奏者也不知所踪，周围只弥散着絮语般的琴声，不知由何处来，不知于何处止，在这一片梦幻般的迷雾中，连自己也迷失了。
直到掌声响起，竟觉恍如隔世。
最后一首舒曼也极好，加演为肖邦夜曲。
2013-4-12夜（应为13日了）
======================================================================
Program
Bach: Chromatic Fantasia and Fugue in D minor, BWV 903
Mozart: Fantasia in C minor, K. 475
Beethoven: Piano Sonata in C minor, Op. 111
Schumann: Kinderszenen, Op. 15
Schumann: Fantasia in C major, Op.17
(Encore) Chopin Nocturne in F-sharp, Op. 15, No.2 (??)
Jorg Demus
Born: December 2, 1028 – St.Polten (Lower Austria), Austria
The Austrian pianist, Jorg (Wolfgang) Demus, was born to received his first piano lessons at the age of six. His mother was a concert violinist and his father, Prof. Otto Demus, a universally known art historian. At the age of 11, he was allowed to enter the Vienna Academy of Music, where he studied piano and conducting, graduating in 1945. When Jorg Demus was 14 years old, while still a student at the Conservatory, he made his debut as a pianist at the famous Brahms-Seal for the prestigious Gesellschaft der Musikfreunde in Vienna. Besides the regular high school he studied piano with Walter Kerschbaumer, organ with Karl Walter, conducting with Hans Swarowsky and Joseph Krips and composition with Joseph Marx. After completing these studies in Vienna, he went abroad to study with Yves Nat in Paris from 1951 to 1953, he attended master-classes with Walter Gieseking at the Saarbrucken Conservatory. He studied interpretation further with Wilhelm Kempff, Arturo Benedetti Michelangeli, and Edwin Fisher.
In 1950 Jorg Demus gave first concerts in Zurich and London and in 1951 he went on his first extended tour to South America. His debut in Paris in 1953 at the Salle Gaveau turned into a regular sensation. The star critic, Ckarendon, wrote an enthusiastic review under the title “Jorg Demus joue et gagne.” The same year he made his debut in Vienna as a mature artist. In 1956 he won the important “Premio Busoni” at the International Piano Competition in Bolzano, Italy. Since that time he has performed in all the important music concerts of the Old and New World. His New York debut was followed by annual tours to the USA since 1961 regularly tour to Asia, Australia and Japan. For many years he has been a regular guest performer at international festivals. He has often played under the bation of Herber von Karajan, Joseph Krips, Carlo Zecchi, Andre Cluytens, Wolfgang Sawallisch, Seiji Ozawa and many others.
Jorg Demus maintained a notable solo career, noted for combining a basically Romantic sound and line with an interest in historic keyboard interpretation and early model pianos. He was especially noted for personal interpretation of Bach and flexible, colorful renditions of Debussy. He also was well regarded for the main line of German piano music form Mozart to Schumann, and for his performances of the piano music of Cesar Franck.
Jorg Demus was a sensitive accompanist, and worked with singers of the highest caliber, including Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau and Elly Ameling. His versin of Schubert’s Winterreise, with Dietrich Fischer-Dieskau, is perhaps the most critically acclaimed of all recordings og this great song cycle. He also accompanied violinists (Josef Suk, for instance) and cellists (Antonio Janigro). He sometimes appears in piano duet and two-piano concerts with Paul Badura-Skoda, who shares Demus’ interest in older keyboard instruments. Demus acquired several notable examples of early instruments, including harpsichords and piano by Broadwood, Clements, and Conrad Graf, and has recorded appropriate music on them. In honor of L.v. Beethoven’s 200th birthday, Jorg Demus played on L.v. Beethoven’s Bbroadwood and Graf pianos at the Beethoven Festival in Bonn. Near Salzburg the Jorg Demus Museo Cristofori, where visitors can appreciate the history of the piano, is growing and in master-classes in Europe (ILMA Vienna, etc.), USA and Japan he is and appreciated pedagogue.
Many of his recordings have won international awards. Up to now Jorg Demus has achieved a repertory of more than 350 LP’s, compact discs and video-recordings. He has recorded the complete piano works of Robert Schumann and Claude Debussy, J.S. Bach’s Well-Tempered-Clavier and Clavierubung, piano concerti of J.S. Bach, Haydn, Mozart, L.v. Beethoven and Schumann, as well as important works of chamber music with the Wiener Philharmonisches Kammerensember and Lieder, Mainly with Dietrivh Fischer-Dieskau, Elisabeth Schwarzkopf, Elly Ameling and Peter Schreier. Several of Jorg Demus’ recordings were inspired by his passion of collecting old historic keyboard instruments.
Jorg Demus has also authored several essays, many of which were published including, Abenteur der Interpretation (Adventures in Interpretation) (Brockhaus Edition, 1967), and co author with Badura-Skoda of an analysis of the L.v. Beethoven piano sonatas (1970). He also composes-sonatas for violin and piano, violonvello and piano, trios, pieces for piano solo and several songs were created.
In 1977, Jorg Demus was awarded the Beethoven-Ring of the Vienna Beethoven society, and in 1979 the Mozart Medal of the Vienna Mozart Society; in 1981 he received Honorary Doctor degree of Amherst, and in 1986 the Schumann Award of Zwickau.
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