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发信人: lanslot (衰衰网虫─→颓废书生·转型中......), 信区: ClassicMusic
标  题: Hasijier(转载)
发信站: 哈工大紫丁香 (2001年05月16日10:23:05 星期三), 转信

【以下文字转载自 Music 讨论区】
【原文由 ignorance 所发表】
CLARA HASKIL
                       7 January 1895, Bucharest
                       7 December 1960, Brussels

                       Clara Haskil was considered the best Mozart
                       pianist of her time. In 1959, a critic aptly
                       summed up her virtues: "Her feeling was of the
                       truest kind, deep down below the surface, while
                       her piano playing was a marvel of limpid clarity."
                       Clara抯 gift was discovered when she was three,
and nurtured first by her mother, later at the conservatoire and finally
with a royal scholarship. Moving to Vienna with her uncle in 1902, she
studied with Richard Robert, who also taught Rudolf Serkin. When she
was eight, she thrilled audience and critics at her first public
appearance in 1903; the Viennese papers were already calling Clara a
wunderkind. She was certainly well endowed with talent: large, supple
hands, a sure musical instinct and a phenomenal memory. Alfred
Cortot, her teacher at the Paris Conservatoire from 1907 to 1910,
relates that she took only three months to master a year抯 worth of
pieces. Sadly, the student had to pay a high price for her talent: a
concert career taking her to Europe抯 great cities was painfully
interrupted in 1913 by four years of progressive spinal curvature. This
illness heralded a series of serious health problems which dogged
Haskil all her life and were overcome only by the application of an iron
will and almost superhuman powers. On her return to the concert
platform in December 1918 she amazingly picked up where she had left
off, but did not attain true world fame until the 1950s. She was an
active international performer with a repertoire from Bach to Ravel,
being a celebrated concert pianist and a respected chamber musician.
Though Clara Haskil never taught, her clear, sensitive style that
avoided extremes has had a lasting influence on many pianists. When
she sat at the keyboard, she seemed incapable of doing anything
which might have displeased the composer � as if there was no barrier
between him and the listener. And, despite her lifelong stage fright,
she needed the dialogue with her audience to give full rein to her
artistic mastery. The sterile silence of the recording studio was not her
environment. And so it is the live recordings that stand out in her
impressive discography.

--

               Yesterday, all my trouble seemed so far away
                     Now, it looks as though they are here to stay
                          Oh, I believe in yesterday !


※ 来源:．紫丁香 bbs.hit.edu.cn．[FROM: music.hit.edu.cn]
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※ 转载:．哈工大紫丁香 bbs.hit.edu.cn．[FROM: lanslot.hit.edu.cn]

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