简介
An Interview with Madeline Bruser
钢琴家梅德林·布鲁瑟访谈
By Mindful Staff
钢琴家梅德琳·布鲁瑟
<trans oldtip="Ms. Bruser" s="" mindfulness="" training="" began="" at="" 29,="" after="" she="" had="" won="" many="" awards="" and="" prizes="" as="" a="" young="" artist="" but="" was="" still="" dissatisfied="" with="" how="" felt="" onstage.="" in="" search="" of="" greater="" relaxation="" confidence="" performance,="" practicing="" meditation,="" which="" transformed="" her="" playing="" teaching.="" book,="" published="" 1997,="" presents="" an="" approach="" to="" that="" combines="" traditional="" conservatory="" techniques="" help="" musicians="" release="" tension="" unleash="" their="" full="" potential.'="" newtip="布吕瑟在29岁开始接受专注力训练，当时她在年轻艺术家时曾多次获奖，但仍对自己在舞台上的感受感到不满。为了寻求更大的放松和对表演的信心，她开始练习正念冥想，这改变了她的演奏和教学。她的书于1997年出版，介绍了一种将传统音乐训练与正念技术相结合的练习方法，以帮助音乐家释放紧张情绪，释放出他们的全部潜能。">她在29岁开始接受专注力训练，当时她在年轻艺术家时曾多次获奖，但仍对自己在舞台上的感受感到不满。为了寻求更大的放松和对表演的信心，她开始练习正念冥想，这改变了她的演奏和教学。她的书于1997年出版，介绍了一种将传统音乐训练与正念冥想相结合的练习方法，以帮助音乐家释放紧张情绪，释放出他们的全部潜能。著有《练琴的艺术》一书。
简介
「梅德琳·布鲁瑟在练琴实践中做出了很多贡献，其中干货满满、涉及心理学和精神等角度。当练琴经常被人们认为是苦修时，本书可以作为一种令人振奋和有益的勉励。我热切欢迎这本书问世。——小提琴家梅纽因」
Who are the people who have meant the most to you in your musical education?
在您接受音乐教育时，谁对您的影响最大？
The first person I think of is Menahem Pressler, whom I studied with for two years at Indiana University. He has amazing ears for color and sound – an extraordinary sensitivity to musical poetry and nuance. He got me to listen like I had never listened before, and he also taught me how to touch the piano keys; he transmitted that by his example. The piano is a living thing in his hands, and he transmitted his exceptional passion for piano sound. Listening became an active practice for me when I was studying with him.
我首先想到的是莫奈姆·普莱斯勒，我曾在印第安纳大学跟他学习两年。他对于声音及其特性着有惊人的耳力，对音乐的诗意及个中微妙有着出色的敏感，他使我以一种全新的方式去聆听音乐，教我在弹奏时如何触键，且亲身示范。钢琴在他的手中有了生命，琴声中，融入了他超凡的热情。
He kept pointing out nuances I had missed. He also pointed me toward creativity as a performer toward spontaneity. He had the ability to wait for the right moment to play a certain note, to tune into one sound right through to the moment when the next one should come in and to know when that moment had come. Sound was like living magic to him.
在我跟他学习时，聆听成为一种主动的练习，他总能点出我在细微之处的缺失，指引我如何更具创造性，成为一名自发的演奏者。他能在最佳的时机弹奏最恰切的音符，清楚何时转调，并在进入下一乐段前，恰好完成过渡。于他而言，音乐有着迷人的生命力。
点击图片查看往期译文《普莱斯勒回忆录》
「我的祖父，伯父，姨妈，堂兄弟都在奥斯威辛丧生。只有我的直系亲属从大屠杀中逃生。我们在远离故土在遥远的地方遭受这场沉重的苦难，甚至没有错过其中的一枝半节，但我们却受到了人们的欢迎和保护，我们活了下来——用敏感而独特的感知看待每天的生活。——普莱斯勒」
While studying with Pressler I felt like I went from being a student to being an artist, who could discover magic in music on her own. I developed an intense relationship with sound and with the instrument. Pressler modeled artistic engagement with music and brought it out in me, so I discovered my own imagination and artistic responses. By the time I transferred to Juilliard, I felt I knew who I was as an artist.
在师从普莱斯勒期间，我感觉自己由一个学生转变为一名可以自发觉悟音乐魅力的艺术家，培养出了与乐器及声音间的密切联系。普莱斯勒呈现给我的是人与音乐如何艺术化地融合的典范，于是我有了自己的想象力和艺术感悟。
My Juilliard experience was mostly about discovering a whole world of young musicians like myself. I felt I'd found my musical family colleagues I could share music with. That was an extremely important time in my life. It gave me a sense of belonging in the world.
在茱莉亚学院的经历，主要是像我这样一名年轻的艺术家开眼界，长见识的过程。我感觉找到了可以与之分享音乐的，如同家人般的同伴。那是我生命中极其重要的一段时间，它使我在这世界上找到了一种归属感。
Previous teachers got me ready for my conservatory study by giving me a solid foundation in technique and musical taste and style. They encouraged my natural rhythm and expressiveness and showed me shapes and architecture in music, cultivating my intelligence. Especially Alexander Libermann, whom I studied with in my teens, gave me a very strong foundation in technique and musicianship.
早期的老师们使我在音乐技巧、品味和风格方面打下了坚实的基础，为以后艺术学校的学习做好了准备。他们启发了我内在的节奏感和表现力，为我呈现出音乐的形态与结构，启迪了我的智慧。尤其是亚历山大·利伯曼，我在十几岁时随他学习，在技巧和乐感方面奠定了稳固的基础。
Of course, the first people who made an impact were my parents. They played music at home and took me to concerts, so from a very young age I was introduced to music as a basic part of life, like books or food. My father was actually an amazing amateur pianist, almost entirely self-taught. I remember him playing every morning and evening, while I was eating breakfast or falling asleep. He had a very gentle touch, which made a deep impression on me.
当然，影响最大的还是父母。他们在家中演奏音乐，还会带我去音乐会，所以我在很小时就把音乐视为生活的一部分，就像书籍和食物一样。我父亲是个很棒的业余钢琴师，完全自学成才。我记得他每天早晚，在我吃早餐和入睡时，都会弹琴。他触键很柔和，我对此印象极深。
I also feel very indebted to teachers I studied with later on John Crown at the University of Southern California, Jeanne Stark-Iochmans in Berkeley, and Paul Hersh at the San Francisco Conservatory. I only had five lessons with John Crown before he developed a fatal disease. But in that short time he taught me something very important, which was to take my time and to put comfort first in learning a piece, before trying to achieve the full range of dynamics, as well as before trying to achieve speed.
我对后来南加州大学的约翰·克劳，伯克利的珍妮·斯塔克·奥特曼，以及旧金山的保罗·赫什也非常感恩。在约翰·克劳身患重病前，我只跟他上了五次课，时间很短，但他教了我些很重要的东西，那就是: 在学一件作品时，要先花时间，让自己进入舒适的学习状态，而非直接努力达到全面的兴奋，努力去追求速度。
And Jeanne Stark-Iochmans and Paul Hersh, both of whom are tremendous musicians, gave me an understanding of crucial aspects of rhythm, things that make all the difference in creating a vital, cohesive performance of a piece.All of these teachers were very warm and nurturing, which was so important to me as a young musician.
珍妮·斯塔克·奥特曼和保罗·赫什两位都是杰出的音乐家，他们使我理解了节奏的关键性，而这种理解使得对作品的创造性演绎与众不同，富于生命力和凝聚力。这些老师都非常热情且学养深厚，对于像我那样的年轻音乐家，这非常重要。
You've practiced mindfulness meditation since completing your masters degree studies in 1977. What exactly led you to meditation, and how has it changed you as a musician?
自1977年硕士毕业后，您练习了正念冥想，是什么机缘，使您开始练习冥想？就一名音乐家而言，它对您有哪些影响？
In my late twenties I felt something was missing from my playing, and I wanted to feel more relaxed and confident onstage. I remembered that meditation, which I had tried once for a couple of days, had had a relaxing effect, so I tried it again.
在我快30岁时，我感到自己的演奏中缺少了一些东西，我希望自己在台上时能更加放松和自信。想起以前曾经练习过几天冥想，起到了放松的作用，就再次尝试。不过这次我坚持下来了。
And this time I stuck with it. It changed my whole life as a musician. It's slowed down my mind and cleared it of a lot of extraneous thoughts so that I can be more open and receptive.
作为音乐家，它完全改变了我的生涯，它使我的脑筋舒缓，清除了大量无关的思绪，这样我就更加开放和虚心，我对声音的质量和情感及其对自身发生的影响，对演奏时体内的能量，手臂的动作，脑中的感受都有了更清晰的觉察。
I notice everything more clearly the quality of sounds and sensations and how they affect me, the energy in my body while I'm playing, how my hands and arms are moving, my thoughts and feelings. And this increased openness also means I can be more creative because there's more space in my mind, more exchange can take place between me and the music, and between me and the listener as well.
所谓更加开放，也意味着我能更富创造力。因为思想的空间更加开阔，我与音乐及听众间有了更多的交流，在精神和情感上都更在状态。
I'm more mentally and emotionally available and more ready to express myself and the composer's intentions. I can go deeper into a piece, and music can flow through me more freely.
在表达自我和传达作曲家的意图时，也有了更加充分的准备。我能更深的进入作品，而音乐可以更加自由地，经由我的演奏而流淌出来。
To begin that whole process I had to give in to my need for relaxation I was tired of joyless, compulsive work at the piano, meeting deadlines for auditions and concerts I needed freedom to find my natural inclinations, to discover who I really was as a pianist, artist, and person. At first I relaxed so much that I didn't practice the piano at all.
要完全进入那种状态，必须放松下来。我已经厌倦了在琴边紧张无趣的工作——一直在为试音和音乐会赶日程。我需要闲暇，以找到自己本然的意愿，作为一名钢琴家、艺术家、甚至一个人，需要找回自我。
It took me two months to want to come back to it, and when I did I found myself working in a totally different way really engaged in details, enjoying them very much, going slowly and absorbing the music much more deeply, responding more to every sound. I began teaching my students to do that too.
起初，我很放松，根本不练琴，直到两个月后，才想要弹琴。那时，我发现自己在以完全不同的方式工作，专注于细节且乐在其中；行进舒缓，并能更深刻地体悟音乐，对每个乐音都有更丰富的感应。于是，我开始教学生也这样去练习。
I also became more receptive to my students. Actually, Carl Rogers's bookFreedom to Learnhad helped me do that a year or so earlier. That book taught me to dialogue with my students and to encourage them to develop their own intelligence, rather than just feeding them information and ideas. Reading it was part of my moving toward a more enjoyable experience with music as a teacher first, and then as a performer. I was wearing out a narrow way of life as a musician.
作为一名教师，进而一位演奏者，阅读这本书是迈向愉悦地体验音乐的过程中的一部分。我对身为职业音乐家的那种狭隘的生活方式感到倦怠了。
People who come to me for lessons or workshops are generally looking for the same thing more enjoyment and a deeper connection to music and to themselves. They know that the extreme demands on us as musicians to be high-level athletes at our instruments and coordinate body, mind, ears, and emotions to an extreme degree can easily make us lose the joy that drew us to music in the first place. It's similar to other highly demanding activities raising a child, for instance.
来参加我的课程和研讨会的人，大多有同样的期待，即对音乐及自身更深的感触和更多的快乐。他们知道，对音乐家的极限要求，很容易会使人失去当初吸引我们投身音乐的那种乐趣；高水平的乐器演练，极限的调动身体、思想、听力和情感与其他有高度需求的事情类似，比如带小孩。
You have to pay attention to the child's needs, not neglect your own needs, and balance out keeping the house stocked with food, maintaining a sane environment by resolving family conflicts and keeping clutter at bay, provide both the comfort of routine and the freedom of breaking routine at times, all the while making a living and keeping up with essential reading and social ties outside of the home.
你要关注小孩儿的需求，还要留意自身的需求，家里要存够吃的，要理智的解决家庭矛盾，要把杂物收好，要保持规律生活的舒适度，还要有不时打破规律的自由度，同时要赚钱养家，要保持必要的阅读及社交。
How does anyone do all this? You have to relax. That's what makes it possible to focus on what needs to be done and on what needs your attention at any given moment.
怎样才能全部做到，必须放松下来，这样才能聚焦于什么是必须做的事，又随时能关注那些需要留意的事。
未完待续
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