Mahler Interview for Universal Edition
巴伦博伊姆谈马勒（三）
往期内容推荐：1、巴伦博伊姆访谈丨“柏林墙倒塌以来，世界一直处于缺乏领导的困境中。” 2、巴伦博伊姆遇见阿格里奇丨“当音乐家们沉浸在自己的音乐世界中时，他们的表情传递出自然和精神力量。" 温度古典音乐往期内容：1、生与死的关系就如声音与寂静的关系丨读巴伦博伊姆的《生活在音乐中》①；2、巴伦博伊姆的爸爸是如何教他学钢琴的丨读《生活在音乐中》②；3、钢琴是中性的，而正是这一点使它具备了极为丰富的表现力丨巴伦博伊姆《生活在音乐中》摘录（一）；4、聆听巴伦博伊姆的“肺腑箴言”丨“艺术家与听众间的最佳交流方式是什么？” 5、巴伦博伊姆谈杜普蕾丨她有其他音乐家所没有的对于声音的想象力；6、巴伦博伊姆的爸爸如何教他弹钢琴？7、“我们要从象牙塔中取出音乐”丨巴伦博伊姆访谈
往期内容：1、巴伦博伊姆论马勒丨“瓦格纳对马勒的影响经常被忽略。” ；2、巴伦博伊姆谈马勒丨“他的音乐如何被发掘出价值的过程是一回事，它的流行程度的提升是另一回事。”
-Coming back to the music, what’s the most important thing a conductor has to avoid when conducting this music? Can it be conducted too emotionally?
-我们回到音乐上来，对于一个指挥来说，什么是在指挥音乐中最应该避免的？可以很感性的指挥音乐吗？
-Barenboim: I don’t believe that music is either emotional or rational. As I’ve said, all this terminology only speaks about our reaction to it. If there’s only emotion, you cannot really make music, because music is a combination of things; music is larger than all of this. And the difficulty in talking about music is that music definitely has a very strong content, but that content can only be expressed in sound. If you try to express it in words, you only reduce it. The greatness of music is precisely that it can laugh and cry at the same time, that it can be mathematical and sensual at the same time, that it can be all extremes and opposites put together. Music, in that sense, is a whole creation, it’s a creation of a world where everything is expressed through sound. And therefore whatever you say about it is not a description of the thing itself, but a description of your perception of it at that moment. Therefore you are not speaking about Mahler, and if I say to you, yes you can conduct Mahler 2 emotionally, it doesn’t say anything about the music. I think that in Mahler you need a combination of everything, like in all music, like you need in Mozart, though it’s a completely different style. Or, like you would need in the works of Pierre Boulez, although again it’s a completely different style. You need the structure; you need to fill the structure with emotional content and you have to give the emotional content a structure, because music happens in time. You play so many bars, and after so much time you go into another area, and in order to do that the time has passed, and you really need that. And when you talk about music in terms of emotional or rational, you take each section by itself, and you lose the fluidity of it. [Pauses] I am being very negative with all your questions.
-巴伦博伊姆：我不认为音乐除了感性的就是理性的。就像我之前说过的，所有的这些术语只是表现出了我们对它的反应。如果只有情感，你就不可能好好的创作音乐，因为音乐是事物的组合，比这一切都重要。而在谈论音乐的难点就在于，音乐肯定有非常强烈的内容，但这个内容只能用声音来表达。如果你试图用语言来表达它，你只会减少它。音乐的伟大之处，就在于它既能笑又能哭，既能理性化又能感性化，它可以是所有的极端和对立的结合。从这个意义上说，音乐是一个整体的创造，是一个世界的创造。在这个世界中，万物都是通过声音来表达的。因此，无论你说什么，它都不是对事物本身的描述，而是对你在那一刻对它的感知的描述。因此，你不是在说马勒。如果我告诉你，是的，你可以很感性的指挥马勒《第二交响曲》，它不会表现出任何关于音乐的事情。我想在马勒的作品里，你需要把所有的东西组合起来，就像所有的音乐一样，就像你需要演奏莫扎特那样，尽管这是个完全不同的风格。或者，就像你演奏皮埃尔·布列兹（Pierre Boulez）的作品中所需要的一样，尽管这又是一种完全不同的风格。你需要这个结构，而你又需要用情感的内容填充这个结构，你必须给情感的内容一个结构，因为音乐是即时发生的。你演奏了这么多个小节，在这么长的时间里，你进入了另一个领域，为了做到这一点，时间已经过去了，你的确需要这样做。当你从情感和理性的角度来谈论音乐时，你会把每个部分都单独拿出来，这样你就失去了音乐的流动性。[停顿]我好像否定了你所有的问题了。
-Well, we are talking on Mahler and he was a very bad yes-sayer, – a quote from Adorno.
-哈哈，引用阿多诺（Theodor W. Adorno）的一句话，我们说到马勒的时候，他就是个很糟糕的、唯唯诺诺的人（yes-sayer）。
-Barenboim: And you know, Richard Strauss, who God knows was a great composer, was the master of orchestration, the master of opera, the master of all these things – if you think about it, Richard Strauss’ most innovative works were written in his youth. The early tone poems: Don Juan, Till Eulenspiegel, Tod und Verklärung, and also Elektra andSalome, are more interesting than Daphne, Frau ohne Schatten, Capriccio, the Oboe Concerto and the Four Last Songs. So, it’s not an example of how to deal with the passage of time. If you want to deal with the passage of time, you have to pick on composers who kept changing, and who kept developing, like Beethoven. Beethoven started as a completely classical composer, out of Haydn and Mozart, developed in his middle period into larger forms, virtuoso writing for the piano, very strong, expression-filled symphonies, and then went into his late periods where he tore everything apart. There is this convention of saying that when you get older you get milder. This is not true; Beethoven is exactly the opposite. Strauss got milder, Beethoven was a fury, and he didn’t feel the necessity anymore for these things, everything was extreme and cut into small pieces. Therefore, Strauss’ opinion about Mahler is, to me, not that important.
-巴伦博伊姆：你知道，理查德·施特劳斯，上帝都知道他是一位伟大的作曲家，是一位管弦乐大师、歌剧大师，所有这些领域的大师。但如果你仔细想想，理查德·施特劳斯最有创意的作品都是在他年轻的时候写的。早期的交响诗：《唐璜》（Don Juan），《蒂尔恶作剧》（Till Eulenspiegel,），《死与净化》（Tod und Verklärung），还有《厄勒克特拉》（Elektra ）和《莎乐美》（Salome），比《达佛捏》（Daphne）, 《没有影子的女人》（Die Frau ohne Schatten）, 《随想曲》（Capriccio）,《双簧管协奏曲》(the Oboe Concerto)和《最后四首歌》（Four Last Songs）更有趣。所以，这不是一个如何处理时间流逝的例子。如果你想处理时间的流逝，你必须挑选那些不断变化、不断发展的作曲家，比如贝多芬。贝多芬作为一个完全古典的作曲家，从海顿和莫扎特开始，在他的中期发展成为更大型的形式，钢琴演奏家，非常强烈，充满表现力的交响乐，然后进入他的晚期，他撕开了一切。有这样一个传统，当你变老的时候，你会变得更温和，这其实是不正确的。与贝多芬正好相反，施特劳斯变得温和了。贝多芬狂怒了，他不再觉得有必要再做这些事情了，一切都是极端的，被切成小块。因此，施特劳斯对马勒的看法对我来说并不那么重要。
-You’re conducting Mahler’s 9th Symphony. I quote: ‘It has no muscles, only nerves’ at the end, in the last movement. Can it be compared with Beethoven, Opus 111?
-你指挥了马勒第九交响曲。你说最后一个乐章，原话是“曲子里没有肌肉，只有神经”。这一乐章能与贝多芬的作品111相比吗？
-Barenboim: Well, of course you can compare it in the sense that both end with slow movements, both end very quietly, that both have peaceful conclusions, but I think that’s where the comparison ends. I remember Bernstein talking very eloquently, because he was extraordinarily eloquent, about the beginning of Mahler’s 9th, saying that this was his arrhythmic heart – the cellos and the 4th horns syncopated. Maybe, maybe. But in the end the expression is the evocation of a world where there is a pianissimo A that keeps being repeated with syncopations – in other words, with a feeling of instability in the rhythm between the low strings – the cellos and the 4th horn playing the same thing, totally out of context for two bars. And then you get the harp that comes in forte, and you hear for the first time another note, other than the A, the F sharp, and little by little, it takes a few bars, and then you know that you are in D major. And I’d rather think of music in these terms: that it is a search for tonality, that it is a search for rhythmic stability, and a search for a melody which is also constantly interrupted. I prefer this to talking about it in terms of nerves, muscles or flesh.
-巴伦博伊姆：当然，你可以比较一下，两者都是以慢板乐章结束，都是很安静的结束全曲，而且都有很平稳的终止式，但我认为比较到此也就结束了。我记得伯恩斯坦是个非常健谈的人，他总是滔滔不绝地讲话，说马勒《第九交响曲》最开头部分，那是马勒心律失常的心跳——一个大提琴与第四法国号形成的切分。也许，大概是吧。但在这个富有表现力的乐段末尾，承接了一个以最弱音以及不断重复切分节奏型演奏的A音。换句话说，在低音弦乐器声部有个不稳定的节奏型——大提琴与第四法国号演奏同样的，两个完全脱离全曲的小节。然后你让竖琴演奏强，第一次听到其他的音，除了A调、#F调，一点一点转调，持续几个小节后你就知道你到了d小调上了。我更愿意用这些术语来思考音乐：它是对音调的探索，是对节奏稳定性的探索，是对同时不断被打断的旋律的探索。我更喜欢从神经、肌肉或肌肉的角度来讨论这个问题。
马勒第九交响曲（罗杰·诺林顿/斯图加特广播交响乐团）
-Bernstein said of the first movement of the Ninth Symphony, it’s a composed farewell [sings motif to the word ‘farewell’]. Would you agree?
-伯恩斯坦说《第九交响曲》的第一乐章是用来告别的[为‘告别’而作的主题曲]。你同意这个观点吗？——伯恩斯坦谈马勒的左脚与右脚
-Barenboim: It’s F sharp, E. [Laughs]. I believe in the absoluteness of music. I think this is why we are still, in 2009, interested in music that was written in 1700. This is why this music is something that is part of our existence today, in the same way that music that is being written today, by Elliot Carter or Pierre Boulez or whoever it may be, is also part of our existence. There are some things in music that are so essential to the human being, and that apply to the qualities of the human being, that, throughout the centuries, are the things that interest, amuse and persecute the human being: the themes of existence. And it is very absolute in that. And the minute you start dissecting it, you only reduce the absoluteness of music.
-巴伦博伊姆：这是首#F调的，E调的[大笑]。我相信音乐的绝对性。我认为这就是为什么我们在现在，在2009年，依旧会对1700年创作的音乐依旧感兴趣的原因。这就是为什么音乐是我们今天生活的一部分，就像今天艾略特·卡特（Elliot Carter）或皮埃尔·布列兹所写的音乐一样，也是我们生活的一部分。音乐中有一些东西对人来说很重要，适应着人的品质，在经过了几个世纪以后，有些东西引起人们的兴趣、娱乐和困扰：存在主题。这个主题很绝对。一旦你开始剖析它，就只会减少音乐的绝对性。
-Coming back to your biography, you conducted a lot of Mahler in America, in Chicago and with other orchestras, and in Europe. Is there a different approach, is there a different Mahler style in America, or would you say it’s quite similar?
-就你的人生经历来说，你在美国指挥了这么多次马勒作品，在芝加哥还有其他乐团合作，还有在欧洲的合作。有没有接触过什么不同的风格，或是美国的其他马勒演奏风格让你觉得很熟悉的？
-Barenboim: I don’t think one can speak about America in one ‘garb’ like this, you know. The Mahler of Chicago, to name an orchestra that has been very closely connected with Mahler for so many years, through its music directors – before me, Solti conducted a lot of Mahler too, even Reiner did – and the Mahler of the Cleveland Orchestra is completely different. The Chicago Symphony Orchestra – like with so much of the repertoire – brings a perfection and a weight of sound, naturally, to his music, which is unique. But I don’t think one can talk about a clear transatlantic difference.
-巴伦博伊姆：其实我觉得一个人不能用一个这样的“特定眼光”来看待美国。用芝加哥马勒来命名一个多年来与马勒紧密联系的乐团——在我之前，乐团的音乐总监索尔蒂（Solti）也指挥了很多马勒的作品，甚至莱纳（Reiner）也是，而他们指挥的与克利夫兰演奏的马勒作品完全不同。芝加哥交响乐团很多的曲目，都很完美也很有力，自然，演奏马勒的音乐也会很独特。但我认为人们不能明确指出明大西洋两岸的不同演绎有何明显的差别。
-You started in ‘73 with the 5th. How did you proceed?
-你是在73年的时候开始接触《第五交响曲》的。你是如何进行音乐处理的？
-Barenboim: I conducted the 5th because I was a very stubborn child, and then a stubborn young man, and I went to a concert of Mahler’s 7th Symphony in London, which Klemperer conducted, and I hated the piece, and I told him: ‘I can’t stand it’. And it was on Yom Kippur, the Day of Atonement, and Klemperer said to me, he said, “You are so terrible that you even preferred the 7th Mahler to going to the synagogue.” And then he gave me a whole lecture, saying: ”You are so limited; this is the Furtwängler influence.” Furtwängler didn’t like this because Mahler was Jewish, and all of these very exaggerated, unnecessary remarks. And he said to me, basically, “the only Mahler Symphony that is not good is the 5th.” So, of course, that is the symphony that I conducted. Aus Trotz [out of spite].
-巴伦博伊姆：我指挥第五交响曲的时候还是个很固执的孩子，后来有成为了一个固执的年轻人。我去听了伦敦的马勒第七交响乐团的音乐会，克伦佩勒指挥的这首曲子，我当时讨厌这首曲子，我告诉他：‘我受不了’。那时是在Yom Kippur，也就是赎罪日。克伦佩勒说我：“你太可怕了，宁愿听马勒《第七交响曲》也不愿意去教堂。”然后他给我上了一整节课，说：“你太局限了，你这是受富特文格勒的影响才这样的。”富特文格勒不喜欢马勒，是因为马勒是犹太人，这些都太夸张，没必要评论。他对我说，按道理说，“马勒交响曲中唯一不太好的是《第五交响曲》。”所以，当然，这才是我指挥的交响乐。出于恶意。
-And which came later?
-后来发生什么了？
-Barenboim: I didn’t conduct another Mahler Symphony for over 20 years. And it was Fischer-Dieskau who taught me a lot about Mahler, precisely about the nervousness, if you like, about the disquieting atmosphere that there is in his music. There is always something that is not at face value. There is always something behind it that creates a certain nervousness, also in the sound he looked for. And I remember doing an all-Mahler recital with him on piano – it must have been some time in the ‘70s – and I thought, my God, this is really quite extraordinary. And then I conducted a lot of songs, and I conducted Lied von der Erde after that. I cannot tell you an exact date, but it was only in the mid-90s that I conducted more Mahler symphonies: the 7th, the 9th, and then the 1st. And I conducted the Adagio of the Mahler 10th two months ago for the first time, so I’m anything but a Mahler specialist.
-巴伦博伊姆：我已经有20多年没有指挥过马勒交响乐了。费舍尔-迪斯考（Fischer-Dieskau）教给了我很多关于马勒的知识，确切的说，是马勒的神经质，如果你接受的话，关于他的音乐中，有着很令人不安的气氛。总有一些东西是看上去没有价值的，它背后总是有某种东西，在他寻找的声音中制造出某种紧张感。我还记得和费舍尔-迪索合作了一场钢琴独奏会–那一定是70年代的事了我想，天哪，那真的很特别。然后我指挥了很多歌曲，还有《大地之歌》（Lied von der Erde）。我没法告诉你确切的日期，但直到90年代中期，我才指挥了更多的马勒交响乐：第七，第九，然后是第一。两个月前，我首次指挥了马勒的慢板，所以我绝不是马勒的专家。
马勒第七交响曲（雅尼克/巴伐利亚交响乐团）
-You’ve conducted the 9th Symphony. It’s the only Symphony Mahler never heard, and he never revised it. Do you think he would have revised some parts, or is the balance perfect?
-你已经指挥过了《第九交响曲》。这是马勒自己从未听过，也从未修改过的唯一一首交响曲。你认为马勒是会修改一部分呢，还是觉得这首曲子已经很完美了？
-Barenboim: You know, the Mahler revisions are a very complex subject. If you take the 5thSymphony, and you take the first version and the revised version, there are some things which are obviously changed with a clear idea of what he wanted to change. But there are other changes which I feel were a result of the insufficiency of the technical qualities of the orchestras of the time. There are doublings in the 5th Symphony, between the violas and the 2nd violins, but he felt the violas would not be able to play some passages, and so he took them out. And other things like this. This is why, to this day, with the 5th symphony I conduct a mixture of the revised versions, which, I have to say, nobody who actually heard the Symphony, all the critics all over the world – and I have conducted the 5th Symphony many, many, many times – ever noticed. So I think that this is very much a theoretical subject; it’s not something that is so obvious to the ear.
-巴伦博伊姆：你知道，马勒改正版的曲子是一个很复杂的版本。第五交响曲来做个例子吧，原版本和修正版有一些明显的改变，可以看出他想改变的是什么。但我觉得，还有一些变化是由于当时管弦乐队的技术素质不足所造成的。在第五交响曲中，中提琴和第二小提琴之间有段合奏，但他可能觉得中提琴能力不够不能演奏这个乐段，所以马勒就删除了这个乐段。还有很多这样类似的事情。这也就是为什么，我把《第五交响曲》编辑了一个（改正前后的）混合版本，我不得不说，直到今天，没有人真正听到了这首交响曲。我指挥了这么多这么多场第五交响曲，全世界所有的评论家都注意到了。所以我认为这是个非常理论化的问题，而并非仅凭耳朵去听就能解释清楚的。
So, in the 9th Symphony, I don’t know whether he would have made some changes technically. Except for a few passages, it’s not of the difficulty of the 5th, the 6th and the 7th.
所以在第九交响曲中，我不知道他是否会在技术上做出一些改变。除了里面的几个小段，在第五、第六和第七交响曲里也并不算难点。
The difficulties are other than technical. The most wonderful thing, I think, about the Mahler Symphonies – and this is why Pierre Boulez and I decided to do this cycle in one go – is that it is as if Mahler looked for and found a different idiom for each Symphony. Very few composers did that; Beethoven did. If you don’t know too much about music and you hear Beethoven’s 5th Symphony, and then you hear the ‘Pastoral’, you think it’s by a different composer, which you cannot say about Brahms, which you cannot say about Bruckner, and you cannot say about Schumann; but you can certainly say it about Mahler. Yes, there are the early Symphonies, 1–4; and then you have 5, 6, 7, 8; and then the end. But basically, in each Symphony, even between the 2nd and the 3rd and the 3rd and the 4th, it is like it is a different creator, a different composer. And this is the most fascinating thing. And when we did this cycle for the first time complete, in one go like this – two years ago – it was a fascinating experience: for us, for the two conductors, because we both heard each other’s concerts, so we lived the cycle in chronological order.
我觉得难点并不在于技术上。我认为，马勒交响曲最美好的事情之一，也是皮埃尔·布列兹（Pierre Boulez）和我决定一气呵成演奏完所有交响乐的原因，就是马勒好像为每一首交响曲都找到了一个不同的演奏方式。很少有作曲家能做到这样的，贝多芬算是一个。如果你对音乐知之甚少，听了贝多芬的《第五交响曲，》然后又听了《田园》（the ‘Pastoral’），你会认为它是由另一位作曲家写的，你不会说是勃拉姆斯的作品，不会说是布鲁克纳的作品，也不会是舒曼的作品，但你当然可以说舒曼的作品。是的，有早期的交响乐，第1–4交响曲，然后是5，6，7，8，然后是结尾。但基本上，在每一部交响乐中，即使是第二和第三，第三和第四交响曲之间，它就像是不同的创作者，不同的作曲家。这是最有趣的事情。当我们第一次完成像这样的一个演奏循环，是在两年前，那是一次迷人的经历：对我们来说，对于两位指挥家来说，因为我们都听了彼此的音乐会，所以我们按照相同的演奏顺序来过这个循环。（未完待续）
音乐编译组公众号往期推送：1、八十岁时论阿劳丨论阿劳的演奏艺术；2、八十五岁论阿劳丨他的演奏何以伟大？3、钢琴家特里福诺夫专访丨“我在游泳池里练琴”；4、十五问王羽佳丨“演出”对你意味着什么？5、王羽佳访谈丨“穿长裙？待我四十岁！”6、王羽佳专访丨她赢得了没有参加的“比赛”！7、采访阿格里奇丨“音乐必须是自然流露的事情！” 8、帕尔曼追忆海菲兹丨“这么多小提琴家都试图模仿他，但他们的演奏却成了活生生的讽刺。”；9、肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。” 10、韩国钢琴家赵成珍访谈丨“如果我遇见肖邦……”；11、憨豆先生采访郎朗丨谈肖邦以及古典音乐普及；12、古稀之年克莱默访谈丨谈《克莱默版贝多芬协奏曲》（亨勒出版社）；13、“奥伊斯特拉赫经常鼓励我，去寻找属于自己的声音”丨“当代怪杰”吉顿·克莱默访谈；14、“指挥家”李云迪访谈丨“音乐源自内心，这就是为什么即便我们一遍遍地弹奏相同的曲子，表演依然不是机械化的原因。” 15、郎朗弟子马克西姆·朗多访谈丨“郎朗对所有事物的热情深深感染着我，当我们在一起演奏时，可以感受到创造出的音乐竟然如此欢乐！” 16、肖邦“迷妹”阿格里奇论肖邦《第一钢琴协奏曲》丨“我多么渴望去亲眼看到肖邦怎样弹琴！”；17、纽爱新总监梵志登访谈丨“我并不想被公众看作对某位作曲家有特殊癖好，演的最多或最为喜欢。” 18、埃格纳钢琴三重奏访谈丨你有父亲、母亲和孩子，等我们长大了，孩子就会成为父亲和母亲，这就是室内乐想要阐明的观点！19、华裔小提琴家侯以嘉访谈丨“没有技巧就没有表达的自由；但只关注技术，很快会变得无聊或疲劳，并失去练习专注度。”
20、郎朗访谈丨“有时候父亲把我逼得太紧了，可他是爱我的！” 21、哈农库特访谈丨“我所探寻的始终是作曲家为什么要这样写”；22、面对批评，郎朗很委屈丨“我想让古典音乐表现得酷炫一点，这有什么不好么？”；23、“准备好了”丨回忆海菲兹小提琴大师班；24、美酒，女人和钢琴丨钢琴家鲁宾斯坦的三原色；25、纪念李帕蒂丨他坚称乐谱是“我们的”，但对作品内在精神的解读更重要！26、周善祥访谈丨不想当钢琴家的作曲家不是好数学家；27、席夫丨为何我的《哥德堡变奏曲》宛如与魔鬼跳舞？28、卡萨尔斯论演奏丨“我们必须学会不要每个音符都完全照搬谱子上写的拉。” 29、钢琴家李斯蒂莎访谈丨我为何“在YouTube创建自己的频道”？30、席夫访谈丨“我们必须努力向公众解释如何聆听美妙的音乐。” 31、托斯卡尼尼与川普丨作为权力工具的古典音乐；32、论托斯卡尼尼丨热爱自由并勇于行动；33、布伦德尔谈周善祥丨“你可以雇一个登山向导来教一个小孩儿怎么走路。” 34、指挥家圣克莱尔论布鲁克纳《第八交响曲》丨“他并不浪漫，你在他的音乐中并不能得到像柴科夫斯基或者马勒交响曲中所得到的感受。” 35、“音乐绝对不是知识”丨钢琴家白建宇访谈；36、鲁宾斯坦访谈丨“我告诉家人，如果我坚持钢琴事业太久就开枪打死我。” 37、罗斯特罗波维奇访谈（上）丨“在我演奏时，我不是在听大提琴的声音，而是在听一个管弦乐团。” 38、罗斯特罗波维奇访谈（下）丨“我从50年代开始指挥，这大大拓宽了我塑造音乐的视野。” 39、巴伦博伊姆访谈丨“柏林墙倒塌以来，世界一直处于缺乏领导的困境中。” 40、郑京和的回归丨“当我在舞台上时，上帝与我同在！”
41、巴伦博伊姆遇见阿格里奇丨“当音乐家们沉浸在自己的音乐世界中时，他们的表情传递出自然和精神力量。” 42、爸爸巴赫到底有多少小崽子？ 43、我问郑京和，经历了这么多事情，重新站上舞台是什么感觉？44、基辛访谈丨“我们钢琴家非常幸运：钢琴曲目如此之多，我只希望活得足够长，能学到我想演奏的一切。” 45、他差点成为“古尔德”丨阿劳与巴赫的故事；46、基辛访谈丨“我们钢琴家非常幸运：钢琴曲目如此之多，我只希望活得足够长，能学到我想演奏的一切。” 47、他是钢琴家，却说自己“的目标是尽量少练习”丨迪巴格访谈；48、“我们要从象牙塔中取出音乐”丨巴伦博伊姆访谈；49、“我不想听伊莎贝拉·福斯特以外任何人演奏的协奏曲。” 50、“我不是唯一戴眼镜的钢琴家”丨迪巴格访谈；51、，他必然回报你很多”；52、，也一定是一位学者。” 53、。” 54、，通过做一些能给我和很多人带来乐趣的事情谋生。” 55、男高音阿兰尼亚专访（上）丨“我正在寻求的声音极其简单。” 56、一位世界级男高音的互联网思维丨阿兰尼亚专访（下）；57、钢琴家波利尼丨“我永远不选音乐之外的另一种生活！”；58、巴伦博伊姆访谈丨“我相信有很多以色列人梦想有一天醒来，发现巴勒斯坦人不见了。”
59、钢琴家马加洛夫回忆他第一次听到李帕蒂演奏；60、乔治乌访谈丨“在我之前歌剧演唱家不需要美貌。” 61、内田光子论莫扎特丨“没有什么比音乐家的生活更美好。” 62、捷杰耶夫访谈丨他要把古典音乐传播到世界各地，哪怕是最不可能的地方丨捷杰耶夫访谈；63、谷宇飞专访祖克曼丨“你必须与坐在音乐厅最后一排的观众积极传达你所演奏或指挥的曲目的意义。” 64、对话祖克曼丨小提琴家为何要学中提琴？65、对话祖克曼丨为何演奏家要学习指挥？以及多大开始学习指挥？66、对话祖克曼丨“伟大的指挥家看上去话不多，糟糕的指挥家却总是喋喋不休！” 67、对话祖克曼丨“古典音乐究竟要向中国传达什么？” 68、对话祖克曼丨“加拉米安去世后，小提琴教育走下坡路了。” 69、对话祖克曼丨切利比达奇告诉我：“平庸有毒，要远离平庸！” 70、对话祖克曼丨“我从中国人身上学到了很多！” 71、“贝多芬音乐中最鼓舞您的是什么？ ”丨杜塞贝尔谈贝多芬与塔卡契弦乐四重奏；72、音乐家提问阿巴多（上）丨“我们应该做些什么来完善我们的艺术？ ”；73、音乐家提问阿巴多（下）丨王羽佳问的是什么？74、男高音歌唱家佛瑞兹访谈丨“意大利歌曲常常是男高音全部曲目中的一部分” ；75、钢琴家迪巴格访谈丨“我们所需的所有关于演奏的东西都存在于音符之中。” 76、小提琴家丹尼尔·霍普访谈丨“我从来不是一个‘传统’的人”；77、杜普蕾访谈丨她曾想要几个孩子，但是生命中不能停止演奏！78、采访小号大师巴尔松丨谈爵士风格新专辑《传奇》（Légende）；79、西蒙·拉特爵士论贝多芬丨这篇没翻译好，我们会重新翻译一遍；80、大提琴家麦斯基父女访谈丨“我认为一个人最重要的是要清楚了解自己的优势和劣势。” 81、长笛大师朗帕尔访谈丨“长笛可以向你展示人类的一切，从死亡到爱甚至性。” 82、他的音乐触及了20世纪的核心丨作曲家们眼中的马勒