为拯救拉赫玛尼诺夫与时间赛跑_林清玄与时间赛跑

为拯救拉赫玛尼诺夫与时间赛跑由刀豆文库小编整理，希望给你工作、学习、生活带来方便，猜你可能喜欢“林清玄与时间赛跑”。

/A Round-the-Clock Race to Save the Rach Dazzvid Stabler The Oregonian October 6, 2004 William Ryberg, the Oregon Symphony’s president, was looking acro a linen tablecloth at Seldy Cramer, manager of the prize-winning international pianist Louis Lortie.The night before the Canadian musician had delivered on one of the most difficult pieces in the repertoire, Sergei Rachmaninoff’s Third Piano Concerto.The notorious “Rach 3.” Around them dinner guests filled Portland’s South Park restaurant with preconcert buzz.In 90 minutes Lortie was scheduled to do it again—the second of his three Arlene Schnitzer Concert Hall performances of the diabolical concerto.Cramer got the news first as she raised her cell phone to her ear.Then, without explanation, she got up and left the restaurant.Ryberg picked at his salad.Then his phone rang.Cramer, at the Heathman Hotel with her client, sounded grim.Lortie was in tears.Crippling pain in his right hand made it impoible for him to play.俄勒冈交响乐团的主席威廉赖伯格，正望着与他隔着一张铺着亚麻桌布的桌子距离远的国际钢琴家奖得主路易斯洛蒂的经理桑迪卡尔玛。前天晚上，这位加拿大籍音乐家交付了谢尔盖拉赫曼尼诺夫的第三钢琴协奏曲中最难的一曲段——臭名昭著的“瑞秋3”

在他们周围吃饭的客人们预定的歌曲发出嗡嗡的声音充斥着整个波特兰南方公园餐厅。按照规定，在90分钟之内，洛蒂要在Schnitzer音乐厅第二次演奏“恶魔协奏曲”——他一共需要演奏三场。

当卡尔玛将手机靠近耳朵接听电话时，她立即得知了这个消息，她没有解释什么就起身离开了饭店。

赖伯格刚夹起沙拉准备吃的时候，他的电话响了起来。在希斯曼酒店克里，与客户在一起的卡尔玛听到这个消息觉得相当残酷。洛蒂泪流满面，右手伤残处的疼痛让他无法弹奏。

So began a race to save not one, but two, concerts.With an hour to go before the concert, finding a replacement was out of the question.The Rach 3 is the ogre of the music world.It drove David Helfgott, the Australian prodigy portrayed in the movie “Shine,” to a nervous breakdown.Its enormous chords and explosive octaves create a rolling thunder of sound as the pianist competes against 90 instrumentalists for supremacy.Few of the world’s pianists have large enough hands or strong enough nerves to take it on.于是，为了拯救音乐会，与时间的赛跑开始了，不是一场而是两场。

在音乐会开始之前，用一个小时赶到，并找到能替代洛蒂的演奏者这是根本不可能的事。瑞秋3被视为“音乐世界的怪物”，在电影Shine的描绘中，它曾让有着“澳大利亚天才”之称的戴维Helfgott紧张到精神崩溃。它巨大的和弦和音阶制造出了一种雷鸣般的爆炸性声音，就像钢琴家演奏家在与90个鼓手一争高下似的。

Their only choice that night was to substitute something to fill Lortie’s portion of the concert.Carlos Kalmar, the symphony’s conductor, heard about the crisis when he wrapped up his preconcert talk 30 minutes before curtain.Cramer, Ryberg and artistic administrator Charles Calmer were waiting.As they discued options, orchestra musicians joined them in the hallway outside Kalmar’s dreing room.They called out suggestions: “The Flying Dutchman” Overture.The “1812” Overture, minus cannons.Beethoven’s Fifth.他们当天晚上唯一的出路就是找到某个替代者，完成音乐会演奏上属于洛蒂的部分。交响乐团的指挥卡洛斯卡尔马听说这个危机时他正在音乐会开始前做致辞讲话，那时离音乐会开幕还有30分钟。

卡尔玛，赖伯格和艺术管理员查尔斯都在等待中。在他们讨论可选方案时，就在卡尔马的更衣室外的走廊里的交响乐的音乐家们加入了他们的讨论，所有人都积极建言，有的建议说“飞翔的荷兰人”序曲，“1812”序曲减去炮,有的则说贝多芬第五。

How about Tchaikovsky’s Fourth? Heads nodded.The players knew the music, and Tchaikovsky fit the evening’s Ruian theme.With 10 minutes to go, librarian Peter Moore disappeared up the stairs to gather the music scores.Schnitzer Hall had filled with 2,300 eager patrons, many of them there especially to hear the Rach 3.One of them, Henry Welch of Portland, had flown back from a Sacramento busine trip to hear his favorite piece.“柴可夫斯基的第四序曲”如何？所有的人点了点头。演奏家们了解这首曲子，它很符合当天晚上俄罗斯主题的音乐会。离音乐会开始还有10分钟的时候，馆员彼得穆尔从楼梯上走下来收集乐谱。

施尼策尔厅里坐满了2300个急切的主顾，他们中的许多人就是专门奔着瑞秋3来的。其中有一个来自波特兰的观众韦尔奇，在萨克拉门托出差就飞了回来，就是为了能听到他最爱的曲子。

At 7:30 Kalmar walked onstage and announced the program change.Welch and others groaned.Tchaikovsky fans applauded.Ryberg stood in the lobby to handle refund demands.There were none.But he still had Monday night to worry about.At lot was at stake.Any dip in ticket sales threatened the symphony’s already-precarious financial position.So the symphony needed to find a substitute of Lortie’s stature.But top-rank pianists typically book years—not 24 hours—in advance.7:30的时候，卡尔马上台宣布了节目的变化。韦尔奇和其他人抱怨不满，而柴可夫斯基的乐迷们却欢欣鼓掌。赖伯格站在门厅里处理退款要求，但是一个都没有接到。不过还有星期一的晚上需要他去操心。

大势依然危在旦夕。售出的票有任何的下降就会让财政方面已经岌岌可危的交响乐团雪上加霜。但是顶级的钢琴家通常是需要提前几年预约的，而不是一天。

While the orchestra launched into the two works previously scheduled for the first half of the concert, Charles Calmer strode to his symphony office and began rousing East Coast managers and pianists at 11 p.m.their time.Could anybody, he asked, come to Portland and play the Rach 3 Monday night?

Back in the hall, intermiion ended.The orchestra launched into the Tchaikovsky.Half a dozen players, new to the symphony, faced a score with unfamiliar bowings.But halfway through the first movement, the players clicked.They ended 45 minutes later to a standing ovation.One down.One to go.当管弦乐团表演事先安排在音乐会前半场的两个作品时，查尔斯大踏步地走进他的交响乐团办公室，并将东海岸经理和钢琴家从睡梦中唤醒，在他们那里那时的时间正是晚上十一点。查尔斯问道：“有没有谁今晚能去波特兰演奏瑞秋三？”

回到大厅，中场休息结束了。乐队开始演奏柴可夫斯基序曲。有一半的管弦乐演奏家们不熟悉交响乐演奏，摆在他们面前的是布满了小提琴运弓法的乐谱。但在第一乐章演奏到一半的时候，管弦乐演奏家们开始弹奏。45分钟之后演奏完毕时，全场起立鼓掌。掌声一波未平一波又起。

At noon Monday, Yakov Kasman’s phone rang in Birmingham, Ala.Calmer was on the line, asking if the 37-year-old Ruian could play the Rachmaninoff concerto in Portland that night.Kasman, who won the silver medal in the 1997 Van Cliburn International Piano Competition, was just about to begin a day of teaching at the University of Alabama.He’d never been to Portland, had never met Kalmar and had never played a concerto without a rehearsal.And this was Rach 3.He hadn’t played a note of it since March.One seat remained on a plane to Portland.It left in 90 minutes.星期一的中午，在伯明翰的雅科夫卡斯曼的电话响了，打电话来的是阿拉巴马，他问这个37岁的俄罗斯人能不能在当天晚上去波特兰演奏拉赫曼尼诺夫协奏曲。卡斯曼正准备开始在阿拉巴马大学的一天教学生活，他曾获得过1997届范克莱本国际钢琴大赛银牌。他从没去过波特兰，从没见过卡尔玛，从来没在不经彩排的情况下就弹奏协奏曲。并且要弹奏的这个曲子是瑞秋三啊，自从三月份之后他就没有弹奏过一个音符了。飞往波特兰的飞机只还剩一个位子了，它将在90分钟之内起飞。

Despite medaling at the world’s most prestigious piano competition, Kasman has struggled to maintain a concert career.His repertoire is fairly narrow—he plays mostly Ruian music—which limits his appeal to concert presenters.He could use the chance to play a major concerto with an orchestra of the Oregon Symphony’s caliber.Kasman didn’t hesitate.He would take the risk.Within minutes of hearing that Kasman had agreed, the Oregon Symphony’s communications department began sending e-mail meages to 10,000 symphony friends, started calling 1,000 Monday ticket holders and began preparing pre releases for five radio stations, four TV stations and local newspapers.尽管在全球最负盛名的钢琴比赛得了奖，但是卡斯曼需要费很大的劲才能保持自己的音乐事业地位。他演奏曲目的范围相当的窄——他弹奏的曲子大多都是俄罗斯音乐——这使得他对于音乐会观众来说吸引力不那么大。他可以利用此次机会和俄勒冈交响乐团的口径管弦乐队一起演奏大协奏曲。卡斯曼毫不犹豫地答应了，他愿意冒这个险。

在得知卡斯曼已经同意这一消息的几分钟之内，俄勒冈交响乐团的宣传部就开始给一万个喜爱交响乐的朋友发送电子邮件，给一千个周一门票的持有者打电话，并开始准备要发给五家广播电台、四家电视台和一家当地报纸的新闻稿。

Eight hours before the concert, Kasman’s wife drove him to the airport.He wolfed down chicken and pasta in the car—the last food he’d have for 10 hours.During the long hours in the air, Kasman went over the Rachmaninoff score in his mind.He had trouble remembering even which octave the main theme started in.He gave up in frustration.离音乐会开始还有八小时，卡斯曼的妻子开车送他去机场。卡斯曼在车里狼吞虎咽地吃了鸡肉和面食——这是他过去10个小时里本来就应该吃的最后一餐。

在漫长的飞行途中，卡斯曼将卡斯曼拉赫曼尼诺夫的乐谱在自己的脑海里认真地想了一下。他记不太清了，甚至连主题是从哪个音阶开始他都不记得。他放弃了，心灰意冷。

Kasman’s plane touched down in Portland at 7 p.m.Curtain was an hour away.Calmer drove him straight to Schnitzer Hall.Immediately, Kasman went to the piano, sitting in the dark backstage.He seemed utterly focused.He talked to no one.He avoided eye contact.He played for seven minutes, then huddled with Kalmar to go over tempos and transitions.下午7点的时候，卡斯曼的飞机抵达波特兰。音乐会的帷幕还有一个小时即将开启。卡玛径直将卡斯曼送到了尼策尔厅。卡斯曼立马走向钢琴，坐在黑暗的后台。他似乎全神贯注，不跟任何人说话，他避免目光接触。

他弹奏了7分钟，随即催促卡尔玛仔细检查一下他演奏中的节奏和转换。

At 8 p.m., Welch, one of 2,354 expectant listeners, sat in row L of the balcony, mopping his brow.His friend had called him at work that afternoon, saying the symphony had found a soloist.Welch was skeptical.He’d never heard of Kasman, and he knew the Rach.Nonethele, he dashed home, showered and changed.It was crunch time.The stage manager gave the cue.Kalmar patted Kasman on the back and gave him a hug.Kasman, a small, compact man with a neatly trimmed beard, walked toward the Steinway concert grand piano.The audience, aware that the pianist had just landed in Portland, greeted him with a surge of applause.Kalmar raised his baton and the orchestra entered.Kasman, keeping his eyes fixed on the conductor, lowered his hands to the keys.What followed defies explanation.晚上八点，作为2354个满怀期待的听众之一的韦尔奇坐在音乐厅楼座的L排，擦着他的额头。他的朋友叫他那天晚上还是去工作，说是交响乐团找到了一个独奏者。韦尔奇似信非信。他知道瑞秋，但他从来没听说过卡斯曼。然而他还是冲回了家，洗了个澡，他改变了主意还是决定来听音乐会。

这是决定性的时刻。当舞台监督发出信号后，卡尔玛拍了拍卡斯曼的后背，给了他一个拥抱。瘦小、有着修剪整齐胡子的卡斯曼走向了施坦威音乐会配置的钢琴。台下的观众得知这个钢琴家刚刚抵达波特兰，大家送给他一阵掌声表示欢迎。

卡尔马举着指挥棒和乐团一起进场。卡斯曼目不转睛地看着指挥家，将手放在钢琴键盘上。对于接下来发生的一切任何解释都是多余的。

From the first notes, Kasman sailed through the music, playing the maive chords with voluptuous tone and even inserting a playful quip now and then.He mied a few notes at the top of some breakneck leaps, but nothing that disturbed the music’s texture.Most extraordinary, his playing transcended the notes, difficult as they were, and took on the natural, aured quality of a storyteller enjoying his tale.The final, thundering chords had him standing straight up off the bench.Welch rocketed out of his seat, shouting with joy.Around him, the audience erupted with cheers.从第一个音符开始，卡斯曼便徜徉于音乐之中，弹奏出曲调艳美的大量和弦，甚至会不时插入一段俏皮的弹奏。他弹奏一些高潮曲段时弄错了几个音符，但是那一点也不影响整个曲子的品质。他的演奏演绎出了那些有难度的乐谱，最特别的是他带着一种故事讲述者自然、安心的心境陶醉在自己的童话故事里。到最后，他直接从座椅上站了起来，弹奏出雷鸣般的和弦。

演奏终了，韦尔奇从座位上窜出来，高兴地大叫起来；他周围的观众爆发出阵阵欢呼。