[转帖]Ayke Agus 介绍 Jascha Heifetz 的生平

雨田

Ayke Agus on Documenting the Life of Jascha Heifetz April 14, 2011 at 10:30 PM http://www.violinist.com/blog/laurie/20114/12240 While an awe-struck public believed that the 19th-century violinist Nicolo Paganini was in league with the devil, the prevailing sentiment about the phenomenal violinist Jascha Heifetz seemed to be that he was appointed by God. Heifetz' life (1901-1987) spanned nearly the entire 20th century, starting at the dawn of the age of recording technology -- when most people still traveled by horse and buggy -- and ending as the world was accelerating into the digital age. Heifetz started playing at the age of 3, gave his public debut at age 7, and devoted his entire life to the violin. He studied with Leopold Auer, recorded for RCA Victor and Decca, traveled the world (by boat), played for troops during World War II, played numerous benefits, championed new works and raised the bar very high, for the art of violin-playing. How does one document such a person's life? Filmmaker Peter Rosen has endeavored to do so, with a feature-length documentary called Jascha Heifetz: God's Fiddler, which premiers at 5 p.m. Saturday at the Colburn School's Zipper Hall in Los Angeles. The film includes interviews with former students, Heifetz biographers, and musicians such as Itzhak Perlman and Ivry Gitlis. A panel discussion afterwards will include Ayke Agus; scholars Dario Sarlo and Arthur Vered and Colburn faculty member Robert Lipsett. I'll be there as well, to let you know how it goes. (The event has sold out, but if you'd like to see the film, there will be a second screening at 8 p.m. the same night. Call 213-621-1050 or go to www.colburnschool.edu for tickets.) As with all celebrities (and Heifetz was certainly a celebrity), Heifetz had a public life and a private one. Violinist Ayke Agus spoke with me over the phone last week in Los Angeles about the new documentary, which makes use of Ayke's many contacts, including former students and colleagues of Heifetz. In her 2001 book Heifetz As I Knew Him, Ayke Agus writes, "Jascha Heifetz didn't seem to be as proud of his artistic achievements as of the fact that he was a difficult person. The ultimate paradox was that this person who could not live without company eventually did everything in his power to get rid of people." He never did get rid of Ayke, his student, then piano accompanist, and then creative collaborator, who was closest to him during the last 15 years of his life. She certainly witnessed the full range of his complicated, unpredictable nature; in fact, the more salient question might be, why she didn't get rid of him? "Probably because of the music," Ayke said. "Every time, when things would get very difficult and challenging, and when I was just about to quit, I would always look at him and say to myself, 'Who am I? He has sacrificed so much to make millions and millions of people happy.' This was a very small price to pay, compared to the happiness, the joy, the incredible artistry, the music…The contribution he made to this world is humongous compared to whatever little horrible thing that he was telling me. As I said to Mr. Heifetz, quitting was not one of my options." "We played through the whole violin literature, composers from A to Z," Ayke at the piano, she said. "We would go through sonatas, then through concertos, and then through small pieces. Then we'd go through his transcriptions. That's the routine that we went through every day…Practicing on a daily basis for all those years, it stays with you. What I'm so happy about is I am able to pass it down." Though people still compare violinists to Heifetz, "I feel sad that the world of violin has sort of stopped being interested in listening a little more closely and more seriously to what it is about this music that made it so extraordinary, so exceptional and so …ultimate," Ayke said. Heifetz took violin music to a level that people never thought was possible to achieve -- that is, before Heifetz came along and did it. "As teachers and violinists, we should study the music, look at the score a little bit more." For example, "appreciating what it is that made his little showpieces," Ayke said. "None of us really does that any more; we don't play the small, short pieces. It would be really great -- and less boring for the audience -- if we would keep to the tradition where the second half of a recital program would include these little short pieces – kind of dessert." Heifetz arranged everything from Jeanie with the Light Brown Hair to Gershwin's Porgy and Bess. "Basically I think people sort of stay away from (these pieces) because they know that they cannot make them speak and they cannot make sense out of them because they don't know how to do it," Ayke said. "That's probably where I learned the most, about how to make things work in small pieces, short little encore pieces." Starting while he was living and then continuing after Heifetz died, Ayke worked to finish and assemble his many transcriptions, which were published recently by Carl Fischer as The Heifetz Collection, in three volumes. The collection includes Arrangements & Transcriptions, Transcriptions and Cadenzas, and Heifetz plays Gershwin. "Before I was asked to complete the transcriptions...he never said, 'Oh yeah, since you can play the piano, you can play the violin, sure you can help me with the transcriptions,' it wasn't that easy. He had to double-check, triple-check, be sure I could write music," Ayke said. After having her make her own transcription, to prove that she could do so, Heifetz discovered that her musical manuscript handwriting matched his own "to the point that he thought I was from another planet." "I made a four-hand transcription from a Rachmaninov Suite for Two Pianos, so that my daughter and I could play together. When he saw the finished product, he said, 'Okay, play it.' We played it, and he was impressed, he said, 'Very nice, very nice.' But then he looked at the music -- he was looking at it and looking at it. He said, 'Did you write this?' It was all by hand, not computer. And so I said, 'Yes, I did it, by hand.' He said, 'Are you sure, nobody helped you?' I said, 'No, nobody helped.' To be sure, he turned the same page around and made me write something, so he could witness it himself." "When I was a little child, I had no access to any music, so my mother used to borrow music from people, from Germany, from Holland, when they came over. My job was to copy them all by hand. It was horrible! It was how I spent my leisurely time when I had nothing to do. So I was very good at it. I did not need the ruler, I did not need anything, my stems were all straight up, and all the flags, all 16th notes all 8th notes," Ayke said. "I was fast, so when I did that in front of Heifetz, he could not believe his eyes. Then, when he showed me his own handwriting, I realized, it does look the same. Funny, isn't it?"

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Ayke是记录日的雅沙海飞兹二零一一年四月十四日的生活，而阿古斯一个充满敬畏公众认为，19世纪的小提琴演奏家帕格尼尼龙华民在与恶魔，关于非凡的小提琴家雅沙海飞兹似乎是，他是上帝任命当时的情绪联赛。海菲兹的生活（1901年至87年），跨越了将近整个20世纪，在科技时代的来临记录开始 - 当大多数人仍然由马和马车旅行 - 和结束，世界是进入数字化时代加速。海菲兹开始于3岁打球，给7岁首次公开亮相，并倾注毕生心血的小提琴。曾师从奥尔利奥波德为RCA Victor和Decca的记录，走遍世界（乘船），二战期间发挥的部队，打了很多好处，倡导新的作品，并提出了非常高的酒吧的小提琴演奏艺术， 。如何做一个文件，例如一个人的生活吗？制片人彼得罗森一直努力这样做了长篇纪录片，名为雅沙海飞兹：上帝的提琴手，这在5时星期六总理在科尔伯恩学校的拉链厅在洛杉矶。这部影片包括与以前的学生，海菲兹传记，如帕尔曼和伊夫里吉特利斯音乐家采访。随后的小组讨论将包括Ayke阿古斯;学者达里奥Sarlo和阿瑟Vered和科尔伯恩教员罗伯特利普斯特。我会在那里为好，让你知道如何去。 （事件已经卖完了，但如果你想去看电影，会有第二个晚上八时于当晚放映。致电213-621-1050或到门票www.colburnschool.edu。）由于所有的名人（和海菲兹肯定是一个名人），海菲兹有了公共生活和私人的。阿古斯以小提琴家Ayke通过电话与我在洛杉矶上周关于新的纪录片，这使得Ayke的多次接触，包括以前的学生和同事用的海菲兹。在她2001年的书海菲兹正如我认识他，Ayke阿古斯写道，“雅沙海飞兹似乎并不为他的艺术成就感到自豪，作为一个事实，即他是个难对付的人。最终有趣的是，这个人谁不能生活在没有公司最终没有在他的一切力量摆脱的人。“他从来没有摆脱Ayke，他的学生，然后钢琴伴奏，然后创造性的合作者，谁是在过去15年的生命离他最近的。她肯定目睹了他的复杂性，全方位的不可预测性，事实上，较为突出的问题可能是，她为什么不干掉他？ “可能是因为音乐，”Ayke说。 “每次，当事情将变得非常困难和挑战，当我正要离开，我会一直看着他对自己说，'我是谁吗？他牺牲那么多，使亿万人高兴。这是一个非常小的代价相比，幸福，欢乐，令人难以置信的艺术，音乐...的贡献，他向这个世界上，堆积如山的小相比，无论是可怕的事，他告诉我。正如我刚才所说。海菲兹，戒烟是不是我的选择之一。

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“ “我们在整个??文学小提琴演奏，从A到Z的作曲家，”在钢琴Ayke，她说。 “我们将通过奏鸣曲，然后通过协奏曲，然后通过小片。然后我们会去通过他的改编曲。这是例行的，我们每天都经历过...在所有这些年来每天练习，它仍与你。我很高兴的是我能够通过它。“虽然人们还是比较小提琴家海菲兹到，“我觉得悲哀的是，世界上有小提琴不再是在听一个小更密切，更严重的是什么音乐，这使它十分特殊，所以特殊，所以有兴趣的排序...最终，“Ayke说。海菲兹了小提琴音乐的水平，人们从来没有想过有可能实现 - 就是在海菲兹的出现，做到了。 “作为教师，小提琴家，我们应该学习音乐，在得分多一点吧。”例如，“欣赏它是什么，使他的小showpieces，”Ayke说。 “我们没有人真的这样做了;。我们不玩的小，短片这将是真正伟大的 - 观众也减少了枯燥的 - 如果我们将在那里对传统的演奏下半年方案将包括这些小短文 - 。甜品的种类“海菲兹安排从浅棕色的头发与珍妮一切格什温的波基与贝丝。 “基本上我认为人们远离（这件）进行排序，因为他们知道他们不能让他们发言，他们不能把他们都感觉，因为他们不知道怎么做，”Ayke说。 “这可能是在那里我学到了如何使事情小块，短一点安可件最多。”开始时他的生活，然后继续海菲兹去世后，Ayke努力完成他的许多转录和组装，这是由卡尔菲舍尔最近发表的海菲兹集三册。收集包括交通安排及抄录转录和表演起了独奏，和海菲兹次格什温。 “以前我被要求完成的转录...他从来没有说过，'噢，因为你会弹钢琴，拉小提琴，你可以玩，当然你可以帮助的转录我，这不是那么容易。他不得不仔细检查，三检查，确保我可以写音乐，“Ayke说。之后她让她自己的转录，以证明自己能做到这一点，海菲兹发现，她的音乐手稿笔迹符合自己的“到如此地步，他以为我来自另一个星球。” “我为双钢琴组曲从拉赫曼尼诺夫四手转录，使我和我的女儿们玩在一起。当他看到成品，他说，'好吧，玩它。'我们玩了，他留下了深刻印象，他说：'非常好，非常好。'但是后来他看了看音乐 - 他是看着它，看着它，他说，'你写的吗？'。这完全是手工，而不是电脑。所以我说，'是的，我没有亲自去做。'他说，'你肯定的是，没有人帮你吗？我说：'不，没有任何帮助。'可以肯定的是，他把同一页左右，使我写的东西，这样他就可以看到它自己。“ “当我还是个小孩子的时候，我没有任何音乐访问，所以我的母亲曾经借用人的音乐，来自德国从荷兰，当他们走了过来。我的工作是用手工复制它们。这太可怕了！它是我花了我悠闲的时候，我没有任何关系。因此，我在这非常好。我并不需要统治者，我不需要什么，我的茎都直线上升，和所有的标志，所有16日所有笔记第八指出，“Ayke说。 “我快，所以当我这样做，在海菲兹面前，他简直不敢相信自己的眼睛。然后，当他向我展示他自己的笔迹，我意识到，它看起来是一样的。可笑，是不是？”

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“ “我们在整个??文学小提琴演奏，从A到Z的作曲家，”在钢琴Ayke，她说。 “我们将通过奏鸣曲，然后通过协奏曲，然后通过小片。然后我们会去通过他的改编曲。这是例行的，我们每天都经历过...在所有这些年来每天练习，它仍与你。我很高兴的是我能够通过它。“虽然人们还是比较小提琴家海菲兹到，“我觉得悲哀的是，世界上有小提琴不再是在听一个小更密切，更严重的是什么音乐，这使它十分特殊，所以特殊，所以有兴趣的排序...最终，“Ayke说。海菲兹了小提琴音乐的水平，人们从来没有想过有可能实现 - 就是在海菲兹的出现，做到了。 “作为教师，小提琴家，我们应该学习音乐，在得分多一点吧。”例如，“欣赏它是什么，使他的小showpieces，”Ayke说。 “我们没有人真的这样做了;。我们不玩的小，短片这将是真正伟大的 - 观众也减少了枯燥的 - 如果我们将在那里对传统的演奏下半年方案将包括这些小短文 - 。甜品的种类“海菲兹安排从浅棕色的头发与珍妮一切格什温的波基与贝丝。 “基本上我认为人们远离（这件）进行排序，因为他们知道他们不能让他们发言，他们不能把他们都感觉，因为他们不知道怎么做，”Ayke说。 “这可能是在那里我学到了如何使事情小块，短一点安可件最多。”开始时他的生活，然后继续海菲兹去世后，Ayke努力完成他的许多转录和组装，这是由卡尔菲舍尔最近发表的海菲兹集三册。收集包括交通安排及抄录转录和表演起了独奏，和海菲兹次格什温。 “以前我被要求完成的转录...他从来没有说过，'噢，因为你会弹钢琴，拉小提琴，你可以玩，当然你可以帮助的转录我，这不是那么容易。他不得不仔细检查，三检查，确保我可以写音乐，“Ayke说。之后她让她自己的转录，以证明自己能做到这一点，海菲兹发现，她的音乐手稿笔迹符合自己的“到如此地步，他以为我来自另一个星球。” “我为双钢琴组曲从拉赫曼尼诺夫四手转录，使我和我的女儿们玩在一起。当他看到成品，他说，'好吧，玩它。'我们玩了，他留下了深刻印象，他说：'非常好，非常好。'但是后来他看了看音乐 - 他是看着它，看着它，他说，'你写的吗？'。这完全是手工，而不是电脑。所以我说，'是的，我没有亲自去做。'他说，'你肯定的是，没有人帮你吗？我说：'不，没有任何帮助。'可以肯定的是，他把同一页左右，使我写的东西，这样他就可以看到它自己。“ “当我还是个小孩子的时候，我没有任何音乐访问，所以我的母亲曾经借用人的音乐，来自德国从荷兰，当他们走了过来。我的工作是用手工复制它们。这太可怕了！它是我花了我悠闲的时候，我没有任何关系。因此，我在这非常好。我并不需要统治者，我不需要什么，我的茎都直线上升，和所有的标志，所有16日所有笔记第八指出，“Ayke说。 “我快，所以当我这样做，在海菲兹面前，他简直不敢相信自己的眼睛。然后，当他向我展示他自己的笔迹，我意识到，它看起来是一样的。可笑，是不是？”

雨田

请问zh_e_mail：你在用电脑翻译吗？真是乱弹琴！

cqdgs007

哇~好东西~~~~

cqdgs007

收益了~~~

zh_e_mail

以下是引用雨田在2011-4-22 23:09:00的发言：
请问zh_e_mail：你在用电脑翻译吗？真是乱弹琴！

是google在线翻译的，反映软件只能如此了，就是一通乱弹琴。为不懂英文的，看个大概，参照一下吧。对于懂英文的，就直接看吧。