殷當時的功夫還是挺高的。為人嗎，怎麽說呢？
文中提及的許斐平是在文革中彈《黃河》幾百場後毀了手指。去年車禍而死，他的拉二鋼很棒。
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September 25, 1983
A CHINESE PIANIST RESUMES AN INTERRUPTED CAREER
By HAROLD C. SCHONBERG
Cheng-Zong Yin will give a Carnegie Hall piano recital on Wednesday. He comes from the People's Republic of China, and was briefly in the news in 1973, when the Philadelphia Orchestra - the first American orchestra ever to appear on the Chinese mainland - gave concerts in Beijing and Shanghai. Eugene Ormandy wanted to put come Chinese music on his program. But Chairman Mao was alive, the Cultural Revolution was still in progress, and there was not much to choose from. So faute de mieux the ''Yellow River'' Concerto was selected.
Remember the ''Yellow River'' Concerto? It did have a brief vogue ten years ago. It was one of those awful ideologically-approved pieces of Socialist-realism propaganda, but it was so bad it actually had kitsch value, and it did have a glittering and rather difficult piano part. Mr. Yin was the pianist selected by Mr. Ormandy to play it. That was only right, for Mr. Yin was one of the committee of composers who had written it. Another musician took care of the orchestration, a third of the ideological content, and there was a fourth mysterious presence who contributed something or other.
Anyway it was clear, at the rehearsals that Mr. Yin was no ordinary pianist. He blazed through the piano part with utter abandon and virtuosity. Too much abandon at times. Mr. Ormandy kept trying to hold him to a steady rhythm. ''Look at me! Look at me!'' he kept pleading. ''Follow my beat! Don't jump ahead!'' Mr. Yin would say yes, then get excited and forge ahead. After the last rehearsal Mr. Yin soulfully gave Mr. Ormandy a promise. ''I will look at you. I will look at you.'' Which he did, and the performances went splendidly.
It turned out that Mr. Yin had been a child prodigy, had studied in China with Russian teachers, had been sent to Leningrad for intensive study, had won a competition in Vienna and come in second at the 1962 Tchaikovsky Competition in Moscow, had done a bit of concertizing. No wonder this handsome, affable, confident, rather heavy-set young man was able to get over the keyboard as he did.
Now Mr. Yin is in New York, practising six or seven hours a day for his recital, which will consist of Scarlatti, the Mozart Sonata in C (K. 330), Beethoven's ''Appassionata'' and the Liszt B minor. What happened was that Mr. Ormandy told the concert manager Harold Shaw about Mr. Yin. Mr. Shaw flew to San Francisco, where Mr. Yin was staying with relatives, heard him play, and signed him to a three-year contract. For Mr. Shaw, Mr. Yin wrote a little autobiographical sketch, the first paragraph of which is certainly arresting enough:
''I was born in 1941 in Fukien, a southern province of China. My home town was a very small island called Goolangsu in the East China Sea. It belongs to the big city of Amoy. It is famous as a 'musical island.' My parents were not musical, but all my sisters and brothers liked music very much. My father, according to Chinese custom at that time, had two wives. My mother had ten children. The other wife had five. I am the eighth child of my mother.''
Mr. Yin goes on to tell about his half-brothers and half-sisters. All studied in America about 50 years ago. The youngest half-brother, who is 77, now lives in California. But Mr. Yin's mother, now 76, still lives in her home town. Several of Mr. Yin's half-brothers and half-sisters became professional musicians. As a child, Mr. Yin sang in churches, started piano around the age of 6 and sought competent teachers.
''In our home,'' he writes, ''there were too many children and not enough money for me to be able to study piano. But I wanted so much to study that I helped the other mother set out her shoes, and she gave me two U.S. dollars, and I took one dollar and went to have my first lesson with the wife of the pastor.''
Set out her shoes?
Mr. Yin explained the other week. The other mother had money. Indeed, she was rich. She owned many shoes. So young Cheng-Zong would carefully arrange the footwear, for which he got $2. Of that, $1 went for four lessons a month. The other half of the money was spent for music. Things progressed. At 9, Cheng-Zong gave his first recital. ''I played well, selecting Schubert's 'Marche Militaire' and Serenade, a Chopin waltz, Paderewski's Minuet and also my own compositions. The high school auditorium was sold out. I earned money toward the tuition of my brothers and sisters.''
The boy clearly was talented, and was admitted to the Shanghai Conservatory, where he not only studied piano but also sang Schubert songs to his own accompaniments. He worked with a Russian teacher, and in 1959 won first prize at the World Youth Festival in Vienna. In 1960 he graduated from the Shanghai Conservatory and was sent to Leningrad. After taking second prize at the 1962 Tchaikovsky Competition he played all over the Soviet Union. In 1963 he returned to China, joined the Central Philharmonic Society as soloist, and has held that position ever since.
Some Chinese musicians had a terrible time during the Cultural Revolution. Mr. Yin was one of the lucky ones. He was not sent to a rehabilitation or labor camp. Instead he played in many Chinese cities. But it was not Western music that he played. Three or four ideologically-approved works - the ''Yellow River'' Concerto was one - and some tranions of Chinese music that he himself composed were all that he was allowed to play. He met a pianist and married her in 1976. They have a daughter. Wife and child are currently with Mr. Yin in New York. Mrs. Yin is studying with Robert Goldsand at the Manhattan School of Music.
But she got here before Mr. Yin, arriving in 1980. Under the present Chinese administration, some talented young people are permitted to leave the country for study abroad. It was not until last March that Mr. Yin reached California. He secured a working permit that allows him to stay in the United States for three years. Naturally he would like to give as many concerts as possible, and he realizes how much is hanging on his Wednesday debut. But if he is nervous, he does not show it. Physically he has changed very little in the last ten years. A trifle heavier, perhaps, but otherwise calm, easy to break into a smile, relaxed, an intent listener, a voluble talker.
He got here late in the season and thus was not able to hear many concerts. But he did hear Alicia de Larrocha at a Mostly Mozart concert, and loved every note of it. Then he heard Magda Tagliaferro, the venerable Brazilian-French pianist, and was so impressed by the elegance of her style that he sought her out, played for her and got a few lessons.
He is not entirely unsophisticated musically, even though a good chunk of his professional life was removed during the Cultural Revolution. In Russia he went to some kind of musical event every night - the opera, concerts, chamber music and symphony. He heard the greatest of Soviet artists and was especially impressed - as who is not? - by Emil Gilels and Sviatoslav Richter. He collected all of the Horowitz records he could get his hands on. He heard Arturo Benedetti Michelangeli, whom he regards as one of the world's supreme pianists.
His own style he describes as basically Russian, and that could not be otherwise considering his training. But, he says, he also brings to his Russian style ''a background of 5,000 years of Chinese history,'' and he thinks that that must have some bearing on his musical philosophy.
Basically, of course, he recognizes himself as a Western pianist who has a good deal of catching-up to do. For about 10 years during the Cultural Revolution he had to play the same silly pieces over and over again, trying to sneak a few hours here and there to practice his own repertory. He had studied the standard repertory of solo works and concertos, but a professional pianist has to keep working at them, day in and day out, and Mr. Yin had no chance at all to do that. Not until 1980 was he allowed to brush up, and he did play a few concertos in China and, later, in Japan - the Rachmaninoff Second and Third, the Liszt Second and other virtuoso fingerbreakers.
The curious thing is that for a well- built man, Mr. Yin has a surprisingly small hand. But the spread between thumb and index finger is wide, and he has unusually long little fingers. Thus he can squeeze out a tenth when he has to. ''My hand seems to be growing,'' he grinned. ''Only a few years ago I had a very small stretch. Now I can play all sections of the Rachmaninoff Third.'' If his Carnegie Hall recital comes off as well as he hopes, perhaps the United States will be hearing how he handles the Rachmaninoff and the other music he so dearly wants to play.
文中提及的許斐平是在文革中彈《黃河》幾百場後毀了手指。去年車禍而死，他的拉二鋼很棒。
-------------
September 25, 1983
A CHINESE PIANIST RESUMES AN INTERRUPTED CAREER
By HAROLD C. SCHONBERG
Cheng-Zong Yin will give a Carnegie Hall piano recital on Wednesday. He comes from the People's Republic of China, and was briefly in the news in 1973, when the Philadelphia Orchestra - the first American orchestra ever to appear on the Chinese mainland - gave concerts in Beijing and Shanghai. Eugene Ormandy wanted to put come Chinese music on his program. But Chairman Mao was alive, the Cultural Revolution was still in progress, and there was not much to choose from. So faute de mieux the ''Yellow River'' Concerto was selected.
Remember the ''Yellow River'' Concerto? It did have a brief vogue ten years ago. It was one of those awful ideologically-approved pieces of Socialist-realism propaganda, but it was so bad it actually had kitsch value, and it did have a glittering and rather difficult piano part. Mr. Yin was the pianist selected by Mr. Ormandy to play it. That was only right, for Mr. Yin was one of the committee of composers who had written it. Another musician took care of the orchestration, a third of the ideological content, and there was a fourth mysterious presence who contributed something or other.
Anyway it was clear, at the rehearsals that Mr. Yin was no ordinary pianist. He blazed through the piano part with utter abandon and virtuosity. Too much abandon at times. Mr. Ormandy kept trying to hold him to a steady rhythm. ''Look at me! Look at me!'' he kept pleading. ''Follow my beat! Don't jump ahead!'' Mr. Yin would say yes, then get excited and forge ahead. After the last rehearsal Mr. Yin soulfully gave Mr. Ormandy a promise. ''I will look at you. I will look at you.'' Which he did, and the performances went splendidly.
It turned out that Mr. Yin had been a child prodigy, had studied in China with Russian teachers, had been sent to Leningrad for intensive study, had won a competition in Vienna and come in second at the 1962 Tchaikovsky Competition in Moscow, had done a bit of concertizing. No wonder this handsome, affable, confident, rather heavy-set young man was able to get over the keyboard as he did.
Now Mr. Yin is in New York, practising six or seven hours a day for his recital, which will consist of Scarlatti, the Mozart Sonata in C (K. 330), Beethoven's ''Appassionata'' and the Liszt B minor. What happened was that Mr. Ormandy told the concert manager Harold Shaw about Mr. Yin. Mr. Shaw flew to San Francisco, where Mr. Yin was staying with relatives, heard him play, and signed him to a three-year contract. For Mr. Shaw, Mr. Yin wrote a little autobiographical sketch, the first paragraph of which is certainly arresting enough:
''I was born in 1941 in Fukien, a southern province of China. My home town was a very small island called Goolangsu in the East China Sea. It belongs to the big city of Amoy. It is famous as a 'musical island.' My parents were not musical, but all my sisters and brothers liked music very much. My father, according to Chinese custom at that time, had two wives. My mother had ten children. The other wife had five. I am the eighth child of my mother.''
Mr. Yin goes on to tell about his half-brothers and half-sisters. All studied in America about 50 years ago. The youngest half-brother, who is 77, now lives in California. But Mr. Yin's mother, now 76, still lives in her home town. Several of Mr. Yin's half-brothers and half-sisters became professional musicians. As a child, Mr. Yin sang in churches, started piano around the age of 6 and sought competent teachers.
''In our home,'' he writes, ''there were too many children and not enough money for me to be able to study piano. But I wanted so much to study that I helped the other mother set out her shoes, and she gave me two U.S. dollars, and I took one dollar and went to have my first lesson with the wife of the pastor.''
Set out her shoes?
Mr. Yin explained the other week. The other mother had money. Indeed, she was rich. She owned many shoes. So young Cheng-Zong would carefully arrange the footwear, for which he got $2. Of that, $1 went for four lessons a month. The other half of the money was spent for music. Things progressed. At 9, Cheng-Zong gave his first recital. ''I played well, selecting Schubert's 'Marche Militaire' and Serenade, a Chopin waltz, Paderewski's Minuet and also my own compositions. The high school auditorium was sold out. I earned money toward the tuition of my brothers and sisters.''
The boy clearly was talented, and was admitted to the Shanghai Conservatory, where he not only studied piano but also sang Schubert songs to his own accompaniments. He worked with a Russian teacher, and in 1959 won first prize at the World Youth Festival in Vienna. In 1960 he graduated from the Shanghai Conservatory and was sent to Leningrad. After taking second prize at the 1962 Tchaikovsky Competition he played all over the Soviet Union. In 1963 he returned to China, joined the Central Philharmonic Society as soloist, and has held that position ever since.
Some Chinese musicians had a terrible time during the Cultural Revolution. Mr. Yin was one of the lucky ones. He was not sent to a rehabilitation or labor camp. Instead he played in many Chinese cities. But it was not Western music that he played. Three or four ideologically-approved works - the ''Yellow River'' Concerto was one - and some tranions of Chinese music that he himself composed were all that he was allowed to play. He met a pianist and married her in 1976. They have a daughter. Wife and child are currently with Mr. Yin in New York. Mrs. Yin is studying with Robert Goldsand at the Manhattan School of Music.
But she got here before Mr. Yin, arriving in 1980. Under the present Chinese administration, some talented young people are permitted to leave the country for study abroad. It was not until last March that Mr. Yin reached California. He secured a working permit that allows him to stay in the United States for three years. Naturally he would like to give as many concerts as possible, and he realizes how much is hanging on his Wednesday debut. But if he is nervous, he does not show it. Physically he has changed very little in the last ten years. A trifle heavier, perhaps, but otherwise calm, easy to break into a smile, relaxed, an intent listener, a voluble talker.
He got here late in the season and thus was not able to hear many concerts. But he did hear Alicia de Larrocha at a Mostly Mozart concert, and loved every note of it. Then he heard Magda Tagliaferro, the venerable Brazilian-French pianist, and was so impressed by the elegance of her style that he sought her out, played for her and got a few lessons.
He is not entirely unsophisticated musically, even though a good chunk of his professional life was removed during the Cultural Revolution. In Russia he went to some kind of musical event every night - the opera, concerts, chamber music and symphony. He heard the greatest of Soviet artists and was especially impressed - as who is not? - by Emil Gilels and Sviatoslav Richter. He collected all of the Horowitz records he could get his hands on. He heard Arturo Benedetti Michelangeli, whom he regards as one of the world's supreme pianists.
His own style he describes as basically Russian, and that could not be otherwise considering his training. But, he says, he also brings to his Russian style ''a background of 5,000 years of Chinese history,'' and he thinks that that must have some bearing on his musical philosophy.
Basically, of course, he recognizes himself as a Western pianist who has a good deal of catching-up to do. For about 10 years during the Cultural Revolution he had to play the same silly pieces over and over again, trying to sneak a few hours here and there to practice his own repertory. He had studied the standard repertory of solo works and concertos, but a professional pianist has to keep working at them, day in and day out, and Mr. Yin had no chance at all to do that. Not until 1980 was he allowed to brush up, and he did play a few concertos in China and, later, in Japan - the Rachmaninoff Second and Third, the Liszt Second and other virtuoso fingerbreakers.
The curious thing is that for a well- built man, Mr. Yin has a surprisingly small hand. But the spread between thumb and index finger is wide, and he has unusually long little fingers. Thus he can squeeze out a tenth when he has to. ''My hand seems to be growing,'' he grinned. ''Only a few years ago I had a very small stretch. Now I can play all sections of the Rachmaninoff Third.'' If his Carnegie Hall recital comes off as well as he hopes, perhaps the United States will be hearing how he handles the Rachmaninoff and the other music he so dearly wants to play.
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