回憶大提琴家亞諾什·斯塔克
ON CELLI JANOS STARKER
上篇
本文作者約翰·塞洛爾
斯塔克演繹《柯達伊大提琴奏鳴曲》第一樂章
The following article is an autobiographical description of study with the world- renowned cellist and pedagogue Janos Starker. Currently in his eighty-fourth year, Professor Starker still maintains a full a full studio at the world-renowned Indiana University's Jacobs School of Music, teaching both fall and spring semesters as well as through the summer sessions.
這篇文章帶有自傳性質，是關於我與世界著名的大提琴家、教育家亞諾什·斯塔克學習的敘述。現在斯塔克教授84歲，他仍然在世界著名的印第安納大學雅各布斯音樂學院維持著一個十分完整的工作室的運轉，秋季學期和春季學期以及暑期班也都去授課。
Even though he proclaimed a concert at the 2005 World Cello Congress as being his final public performance, he still continues to circumnavigate the globe teaching master classes in cello and chamber music, initiating and supporting foundations, honoring colleagues for their contributions, and standing as a bastion of strength and support for any and all who are driven to strive for knowledge, improvement and perfection. His litany of former students includes instrumentalists in many of the major orchestras and institutions of higher learning throughout the world.
儘管他聲明，其在2005年世界大提琴大會上的那次音樂會是他最後一次公開演出，他還是遊遍世界各地，去教授大提琴和室內樂的大師班、創辦和支持基金會、為在事業發展中做出貢獻的他那些同事們授予榮譽稱號，作為最強有力的堡壘佇立在所有那些備受鼓舞而對知識、自我的提高和完善如飢似渴之人的身旁。
He is also acknowledged and respected by generations of colleagues as being one of the few artists of all time equally gifted and successful at both performing and teaching. One would, in fact, be hard-pressed to find a classically trained musician anywhere for which his name would not elicit a strong response.
他之前的眾多學生包括許多世界著名的管弦樂團和高等教育機構裡的演奏者，他也被一代又一代的同事們尊稱為為數不多的、在演奏和教學方面同樣有天賦且十分成功的藝術家之一。實際上，人們應該很難找到一個對斯塔克評價不高的古典音樂家了。
Much of Starker's teaching career has been centered in Bloomington, Indiana. Indeed, the school's musical infrastructure is due in large part to his, and a few of his closest colleagues, influence. Along with such artists as Josef Gingold and György Sebok, Starker worked tirelessly to build an environment where young musicians, whether their interests be solo, collaborative or orchestral, could amass the most complete body of information and experiences for every possible aspect of music making.
斯塔克的大部分教學生涯都集中在印第安納州的布魯明頓。的確，學校裡的音樂設施有很大一部分都源自他和他一些關係親密的同事們的影響。與像約瑟夫·金戈德和喬治·塞伯克這樣藝術家們一起，斯塔克教授不知疲倦地工作著，為年輕的音樂家們打造這樣一個環境——無論他們的興趣點是在於獨奏、協奏、管弦樂團合奏，抑或在音樂製作等任何一個方面上，都可以在此次學習過程中積累到儘可能多的知識和經驗。
Students who recognized and took advantage of the unique possibilities found three distinctly different artists and personalities, coming from three completely different directions, who were united in their determination that the celebration of these collective differences would produce students that…"not only could do but would know" (Starker, personal communication, 2006).
意識到並抓住這此難得的機會的學生們，將能夠體會到這三位來自不同專業方向的、個性迥然不同的藝術家的不同之處，在斯塔克看來正是這種差異性將使學生“知其然並知其所以然”（斯塔克的個人談話，2006）。在斯塔克教授八十歲出頭時，我也成為了那些學生中的一員，體驗到了這種絕妙的學習機會。
In the early 80's I became one of these students and for me the recognition of this extraordinary opportunity was almost immediate and completely total. Along with hundreds of like-minded string players and pianists, my week consisted of long hours in the practice room interspersed with the Monday night chamber class of Sebok, the Tuesday night violin class of Gingold, the Saturday afternoon cello class of Starker, my individual lessons, and numerous chamber ensemble rehearsals. This intensity and immersion led to a body of information.
與數以百計的志趣相投的絃樂演奏者和鋼琴家一起，我的一週大部分時間都在練習室度過，中間還點綴著週一晚上塞伯克的室內樂課、週二晚上金戈德的小提琴課、週六下午斯塔克的大提琴課、我的個人課程以及大量的室內樂合練。這樣的強度和沉浸使我獲得了大量的信息資源、經驗和知識。
The inspiration and motivation for this article was in fact born during my graduate study at Indiana. I had chosen Indiana after taking auditions at what was a litany of the best schools on the East Coast and with some of the most prominent artist/teachers known. At each school I had asked the artist/teacher for a lesson after the audition and, with one exception, all were eager to comply.
寫這篇文章的靈感和動機應該說是在我在印第安納大學的進行研究生學習時誕生的。當我在東海岸時曾在許多名校向著名藝術家或教師們試奏過，最終我選擇了印第安納大學。在每所學校，我都會在試奏後請求那位藝術家/老師為我上一節課，除了一次例外，其餘時候他們都會欣然應允。
The consensus after my auditions seemed to be what those of us in the profession have come to know as the standard selling pitch of every artist eager to attract a full and diverse studio. I was collectively told that I was talented, accomplished, and well on my way to a successful performing career.
我的試演引起的老師們一致的反饋，正如在我們做這行的人都知曉的那樣，每一位藝術家總期望能收穫一個全面而多樣化的演奏工作室，我每次都被告知說，我很有天賦且技巧嫻熟，正處於通向成功的表演生涯的大路上。
My study with them at their respective schools would inevitably be the impetus toward achieving my goals. At all of the schools, I received substantial scholarships and was somewhat gratified by the words of encouragement and acknowledgment that I had heard.
在其各自的學校裡與他們一起的學習無疑會成為我實現目標的動力。在所有那些學校裡，我都收到了大量的獎學金，併為我聽到的那些鼓勵和認可感到一絲滿意。
My audition at Indiana was the last in my circuit and took place on a Saturday in March of 1980 in Janos Starker's studio at the School of Music, MA-155. In a prior telephone conversation when I inquired about the possibility of receiving a lesson, Starker had informed me that there would be a cello class during the afternoon of my audition. According to him, I could observe his teaching there and, after the cello class, we "could talk." Four other faculty members were present during my audition.
在印第安納大學的試奏是我在東海岸試奏的最後一站，那是在1980年一個三月的星期六，於音樂學院亞諾什·斯塔克教授的工作室裡，房間是MA-155。在先前的一個電話交談中，我問到上一節課的可能性，斯塔克就告訴我說，在下午的試奏過程中就會有一節大提琴課。按他的話說，我可以在那裡觀察他授課，下課後，我們 “可以交流”。在我試奏時，還有四個其他教職工也在現場。
I later came to know that they were Fritz Magg, Helga Winold, Gary Hoffman, and Walter Gödde, who was at that time Starker's assistant. I played portions of the first movement of the Dvorak Concerto, the second movement of the Haydn D Major Concerto, Bach's d minor Suite for Solo Cello and Boccherini's A Major Sonata.
後來我知道他們是Fritz Magg， Helga Winold，Gary Hoffman和Walter Gödde，當時是斯塔克工作室的助手。我拉了德沃夏克《大提琴協奏曲》第一樂章的一部分，海頓《D大調大提琴協奏曲》的第二樂章，巴赫《d小調大提琴無伴奏組曲》和波凱里尼的《A大調大提琴奏鳴曲》。
Starker asked briefly about my undergraduate study, the repertoire I had worked on, and asked me to play excerpts from this repertoire. After giving me directions to the room where the cello class would occur, he dismissed me by saying, "You are done."
斯塔克簡潔地問了我本科學業情況以及我準備的保留曲目，並讓我演奏這份保留曲目的節選。在給我指明要上大提琴課教室的方向後，他說：“你結束了”，就讓我離開了。
The master class took place in MA-405, a room designed to seat a maximum of seventy-five persons and, by the time I arrived, there was standing room only. It remained so for the first two hours of the four-hour class yet I do not remember being tired of standing, even after the intensity of the audition. It was not until the third hour that I managed to find a seat.
大師班的課在房間MA-405上，那是一間有75個座位的教室，然後當我到時，只剩站著的地方了。就這樣持續了兩個小時——也就是課的一半時間，我一點都不覺得累，即使那是在緊張的試奏之後。
What followed was eight thirty-minute lessons whereby each student played either one movement of a concerto, one movement of a duo sonata, etudes, or movements of solo suites or sonatas. The final lesson was the first movement of Schubert's B flat piano trio. Although the language spoken throughout the class was primarily English, much of what was discussed was completely unfamiliar to me.
在第三個小時我終於找到了一個座位。接下來同樣是四小時的課，每位學生都要從這裡面選一樣進行演奏：協奏曲的一個樂章、二重奏奏鳴曲的一個樂章、練習曲或是無伴奏組曲或奏鳴曲。
It was also obvious to me that everyone else seemed completely familiar and at ease with the information being given. What remains imprinted on my brain however, was the fact that I could clearly see and hear the distinct improvement of each and every student, even though my comprehension of exactly why they improved remained elusive.
最後一節課是舒伯特《降B大調鋼琴三重奏》的第一樂章。雖然主要是英語授課，在課上討論的許多東西我卻完全不熟悉。並且我知道，顯然這以及在課上給出的許多知識對其他人來說似乎都是小菜一碟。但也有深深印在我腦海裡的東西，那就是我可以清楚地看見並聽到屬於每位學生自己的獨特樂章，還有即使是對他們每人進步原因的理解，現在也能在我眼前清晰浮現。
Although I had performed in and attended master many classes throughout my student career, I had never witnessed anything even remotely comparable to the information that was disseminated. The overriding thought that I remember from the experience was the sobering realization that I could never possibly consider myself a professional musician without understanding the concepts being discussed. This fact somewhat overwhelmed me.
儘管我在學生時代已經參加了許多大師班，並且在裡面演奏過，但我從未見證過如此特別的教授方法，哪怕與之類似的情況都沒有出現過。這次經歷令我記憶最深刻的，就是清楚認識到，如果我沒有理解課上討論的那些概念，我將永遠不能成為一名職業音樂家。這個事實在某些程度上擊垮了我。
After the class, I and at least a dozen others followed Starker back to his studio where he proceeded to schedule lessons for the next week. After everyone had left, Starker turned to me and, in words that due to his inimitably precise and calculated brevity are still imprinted on my brain, he said, "Look. You obviously feel the music and you have good hands but you are basically fighting the instrument. It is the type of playing I detest because it is so unnecessary.
課後，我和至少12個人跟隨著斯塔克去了他的工作室，他安排下週課程的地方。當所有人離開後，斯塔克轉向我，用獨特的一絲不苟和簡潔而足以深深烙印在我腦海中的話說道：“你看，你顯然已經很好地感受了音樂，並且有很優秀的一雙手，然而你實際上在與樂器對抗。這是我討厭的類型，因為它是如此多餘。”
You are accepted to study at Indiana but you would be better off if you went some place where they would make you feel good about yourself. Here you will have to start over with the basics……from scratch. I should tell you though, if you do not start over, you will never know what you don't know. You will also never be successful. Do you have any questions?"
“你被印第安納大學錄取了，但是如果你去一些能讓你對自己感覺良好的地方，你會有更好的發展。在這裡你必須從基礎開始，從頭做起。雖然我得告訴你，如果你不從頭開始，你將永遠不會知道你未知的那些東西，你也不會成功。你還有任何問題嗎？”
Even though my head was awash with questions from the class, my embarrassment at my ignorance and the shock of his words effectively rendered me speechless and I simply shook my head negatively. He then said, "No? Then good-bye and good luck."
縱然我腦袋裡充滿著關於課上的各種問題，無知帶來的羞慚和對於教授話語的震驚成功地使我啞口無言，我僅是消極地搖搖頭。他說：“沒有？那就再見吧，祝你好運。”
The next month was spent trying to reach a decision regarding my future study. More than twenty-five years later, these deliberations are still palpable. At that time, I had so needed and wanted to believe the positive attestations and affirmations that I had received from the other artist/teachers.
接下來的一個月我一直在考慮我未來學習的問題。25年多以後，我仍然記得那些反覆深入的思考。那時，我如此需要和渴望去相信別的音樂家或老師們給予我的積極的肯定，與之相對的，則是在觀察了大師課的基礎上。
In contrast to this was Starker's terse assessment paralleling my own realization of my lack of knowledge, awareness, and experience upon observing the master class. With the discrepancy between Starker and all the others, I had to acknowledge the possibility that these other artist/teachers simply needed to strengthen their respective studios.
斯塔克簡潔的評價讓我意識到自己知識、意識以及經驗的匱乏。在斯塔克與其他人的差異下，我不得不承認，其他人都很可能只是需要提高他們自己演奏工作室的質量罷了，因此他們對我說的話都是經過謹慎加工的。
Consequently, their words to me might be somewhat circumspect. On the other hand, from the number of students in the class and around him, Starker obviously neither needed nor wanted more students. He therefore had no apparent logical reason to so directly address me other than honest appraisal. Especially after watching the class, I felt instinctively that he was correct in his assessment. Consequently, after much thought, I decided to attend Indiana University and study with Starker.
反之，斯塔克教授的班級和周圍都已經有太多學生了，他顯然不需要也不想擁有更多學生，所以他沒有明顯且合理的理由不去對我做誠實的評價。尤其是在觀摩了他的課後，直覺上我認為他的評價是對的。於是在深思熟慮後，我決定上印第安納大學跟著斯塔克學習。
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