claymom
clay
人生的關是過不完的，等到過得差不多的時候，又要離開世界了。
我從來沒愛你像現在這樣愛得深切，而正在這愛得最深切的關頭，偏偏來了離別！（我很幸運，當克雷需要媽的時候，我當了媽，等他不需要，我坦然可以放手）
園丁以血淚灌溉出來的花果遲早得送到人間去讓別人享受 （我巴不得他出去經風雨，我好歇息，緩一下）
幸虧你得天獨厚，任憑如何打擊都摧毀不了你 ( 幸虧克雷天賦異稟， 性格好，外柔內剛, 那麽多不順和苦難都沒耽誤他當萬人迷)
好像克利斯朵夫的母親獨自守在家裏 （讓克雷和我再看克裏斯朵夫）
你這個年紀是一切向前往的，不願意回顧的；我們嚕哩嚕蘇的抖出你尿布時代的往事，會引起你的憎厭。
我高興的是我又多了一個朋友；兒子變了朋友，世界上有什麽事可以和這種幸福相比的！
Hindmith[亨德密特]④ 的樂理明日即寄出。
要叫克雷開始讀詩詞，
牛聽賢郎妙奏
處處都要靠你個人的毅力、信念與意誌——實踐的意誌。
“盛名之下，其實難副”
我想你心目中的上帝一定也是Bach[巴哈]①，Beethoven[貝多芬]②，Chopin[蕭邦]等等第一，愛人第二。既然如此，你目前所能支配的精力與時間，隻能貢獻給你第一個偶像，還輪不到第二個神明。
我以前常和你說的，隻有事實才能證明你的心意，隻有行動才能表明你的心跡。待朋友不能如此馬虎。生性並非“薄情”的人，在行動上做得跟“薄情”一樣，是最冤枉的，犯不著的。正如一個並不調皮的人耍調皮而結果反吃虧，一個道理。
一切做人的道理，你心裏無不明白，吃虧的是沒有事實表現；希望你從今以後，一輩於記住這一點。大小事都要對人家有交代！
。不能充分掌握時間與區別事情的緩急先後，你的一切都會打折扣。
人生的苦難，theme[主題]不過是這幾個，其餘隻是variations[變奏曲]而已。
痛苦的經驗，大概又使你靈智的長成進了一步。你對藝術的領會又可深入一步。我祝賀你有跟自己鬥爭的勇氣。一個又一個的筋鬥栽過去，隻要爬得起來，一定會逐漸攀上高峰，超脫在小我之上。辛酸的眼淚是培養你心靈的酒漿。不經曆尖銳的痛苦的人，不會有深厚博大的同情心。
多用理智，少用感情，當然，那是要靠你堅強的信心，克製一切的煩惱，不是件容易的事，但是非克服不可。
“你車上的信寫得很有趣，可見隻要有實情、實事，不會寫不好信。你說到李、杜的分別，的確如此。寫實正如其他的宗派一樣，有長處也有短處。短處就是雕琢太甚，缺少天然和靈動的韻致。但杜也有極渾成的詩，例如“風急天高猿嘯哀，諸清沙白鳥飛回，無邊落木蕭蕭下，不盡長江滾滾來……”那首，胸襟意境都與李白相仿佛。還有《夢李白》、《天末懷李白》幾首，也是纏綿悱惻，至情至性，非常動人的。但比起蘇、李的離別詩來，似乎還缺少一些渾厚古樸。這是時代使然，無法可想的。漢魏人的胸懷比較更近原始，味道濃，蒼茫一片，千古之下，猶令人緬想不已。杜甫有許多田園詩，雖然受淵明影響，但比較之下，似乎也“隔”（王國維語）了一層。回過來說：寫實可學，浪漫底克不可學；故杜可學，李不可學；國人談詩的尊杜的多於尊李的，也是這個緣故。而且究竟像太白那樣的天縱之才不多，共鳴的人也少。所謂曲高和寡也。同時，積雪的高峰也令人有“瓊樓玉宇，高處不勝寒”之感，平常人也不敢隨便瞻仰。
詞人中蘇、辛確是宋代兩大家，也是我最喜歡的。蘇的詞頗有些詠田園的，那就比杜的田園詩灑脫自然了。此外，歐陽永叔的溫厚蘊藉也極可喜，五代的馮延已也極多佳句，但因人品關係，我不免對他有些成見。“
（琴和詩詞的關係： 都是玩意境， 玩創意， 讓克雷做到人琴合一，不跟鋼琴較勁，
《貝多芬傳》
。把自己的思想寫下來（不管在信中或是用別的方式），比著光在腦中空想是大不同的。寫下來需要正確精密的思想，所以寫在紙上的自我檢討，格外深刻，對自己也印象深刻。你覺得我這段話對不對？ （對，我總是頭腦風暴，卻懶於下筆）
你的感受性極強，極快。這是你的特長，也是你的缺點。你去年一到波蘭，彈Chopin[蕭邦]的style[風格]立刻變了；回國後卻保持不住；這一回一到波蘭又變了。這證明你的感受力快極。但是天下事有利必有弊，有長必有短，往往感受快的，不能沉浸得深，不能保持得久。去年時期短促，固然不足為定論。但你至少得承認，你的不容易“牢固執著”是事實。我現在特別提醒你，希望你時時警惕，對於你新感受的東西不要讓它浮在感覺的表麵；而要仔細分析，究意新感受的東西，和你原來的觀念、情緒、表達方式有何不同。這是需要冷靜而強有力的智力，才能分析清楚的。希望你常常用這個步驟來“鞏固”你很快得來的新東西（不管是技術是表達）。長此做去，不但你的演奏風格可以趨於穩定、成熟（當然所謂穩定不是刻板化、公式化）；而且你一般的智力也可大大提高，受到鍛煉。孩子！記住這些！深深的記住！還要實地做去！這些話我相信隻有我能告訴你。
還要補充幾句：彈琴不能徒恃sensation[感覺]，sensibility[感受，敏感]。那些心理作用太容易變。從這兩方麵得來的，必要經過理性的整理、歸納，才能深深的化入自己的心靈，成為你個性的一部分，人格的一部分。當然，你在波蘭幾年住下來，熏陶的結果，多少也（自然而然的）會把握住精華。但倘若你事前有了思想準備，特別在智力方麵多下功夫，那末你將來的收獲一定更大更豐富，基礎也更穩固。再說得明白些：藝術家天生敏感，換一個地方，換一批群眾，換一種精神氣氛，不知不覺會改變自己的氣質與表達方式。但主要的是你心靈中最優秀最特出的部分，從人家那兒學來的精華，都要緊緊抓住，深深的種在自己性格裏，無論何時何地這一部分始終不變。這樣你才能把獨有的特點培養得厚實。
一到波蘭，遇到一個如此嚴格、冷靜、著重小節和分析曲體的老師，真是太幸運了。經過他的鍛煉，你除了熱情澎湃以外，更有個鋼鐵般的骨骼，使人覺得又熱烈又莊嚴，又有感情又有理智，給人家的力量更深更強！我祝賀你，孩子，我相信你早晚會走到這條路上：過了幾年，你的修養一定能夠使你的brain[理智]與heart[感情]保持平衡。你的性靈越發掘越深厚、越豐富，你的技巧越磨越細，兩樣湊在一處，必有更廣大的聽眾與批評家會欣賞你。
你此次上台緊張，據我分析，還不在於場麵太嚴肅，——去年在羅京比賽不是一樣嚴肅得可怕嗎？主要是沒先試琴，一上去聽見tone[聲音]大，已自嚇了一跳，touch[觸鍵]不平均，又嚇了一跳，pedal[踏板]不好，再嚇了一跳。這三個刺激是你二十日上台緊張的最大原因。你說是不是？所以今後你切須牢記，除非是上台比賽，誰也不能先去摸琴，否則無論在私人家或在同學演奏會中，都得先試試touch[觸鍵]與pedal[踏板]。
：隻要是真理，是真切的教訓，不管出之於父母或朋友之口，出之於熟人生人，都得接受。別因為是聽膩了的，無動於衷，當作耳邊風！你別忘了：你從小到現在的家庭背景，不但在中國獨一無二，便是在世界上也很少很少。哪個人教育一個年輕的藝術學生，除了藝術以外，再加上這麽多的道德的？我完全信任你，我多少年來播的種子，必有一日在你身上開花結果——我指的是一個德藝俱備，人格卓越的藝術家！
藝術家特別需要冥思默想。老在人堆裏（你自己已經心煩了），會缺少反省的機會；思想、感覺、感情，也不能好好的整理、歸納。
Krakow[克拉可夫]①是一個古城，古色古香的街道，教堂，橋，都是耐人尋味的。清早，黃昏，深夜，在這種地方徘徊必另有一番感觸，足以做你詩情畫意的材料。我從前住在法國內地一個古城裏，叫做Peitier[貝底埃]，十三世紀的古城，那種古文化的氣息至今不忘，而且常常夢見在那兒躑躅。北歐獲特式（Gothique）建築，Krakow[克拉可夫]一定不少，也是有特殊風格的
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Amid conflict with musicians’ union, Cliburn 2022 finals will not be broadcast on WRR
Dallas’ classical radio station has been broadcasting the final two concerts of the Cliburn since 2009.
Pianist Clayton Stephenson performed with the Fort Worth Symphony Orchestra and guest conductor Nicholas McGegan in the semifinal round of the 2022 Van Cliburn International Piano Competition on June 11, 2022 at Bass Performance Hall in Fort Worth.(Richard Rodriguez / Richard Rodriguez/The Cliburn)
By Tim Diovanni
4:29 PM on Jun 14, 2022 CDT
WRR-FM (101.1), Dallas’ classical radio station, will not broadcast the finals of the 2022 Van Cliburn International Piano Competition from Bass Performance Hall in Fort Worth this week, barring some last-minute resolution. The station has broadcast the final two Cliburn concerts and the awards ceremony since 2009.
It’s due to a conflict over pay between the Cliburn and the local chapter of the American Federation of Musicians. The union represents the musicians of the Fort Worth Symphony Orchestra, which is performing concertos with Cliburn competitors in the semifinal and final rounds.
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The orchestra musicians play a grueling schedule of wide-ranging repertoire, with limited rehearsal time. The Cliburn and the union negotiated an agreement last week that covered national and local radio broadcasts as well as livestreams.
Jacques Marquis, president and CEO of the Cliburn, said the union rates for the livestreams were higher than anticipated. The Cliburn then asked the union for a new clause specifically for the WRR broadcasts at a lower rate. The union denied the request because it had already agreed on a contract.
“Then money was left on the table because we had a decent proposal, I think,” Marquis said. “But at the end of the day, we have to run this business.”
Stewart Williams, president of the local American Federation of Musicians chapter, said the broadcast rate is about the same as it was at the 2017 Cliburn. But this year’s Cliburn has added a third concerto, in the semifinal round, to the traditional two in the finals.
“They’ve obviously prioritized streaming over radio broadcast,” he said, “and made this change at the last minute. Which has shocked us all.”
WRR has been in the news lately. Last week, the Dallas City Council voted unanimously to transfer management of the city-owned station to public television and radio operator KERA, ending a tumultuous yearlong process that saw the station face a possible sale.
WRR will remain a classical music station, but switch from a commercial to noncommercial format. KERA expects to assume management of WRR by December.
Related:Cliburn 2022 competition finals: Day 4 is a wrap, with the last three concertos
Details
The Cliburn performances will be livestreamed for free at cliburn.org, cliburn.medici.tv and youtube.com/thecliburn. 4K HDR video and surround-sound audio are available via subscription at hyfi.live/vancliburn.
For performance tickets and information on livestreams, call 817-738-6536 or go to cliburn.org.
Related:Cliburn 2022 announces six finalists after Saturday recitals
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Tim Diovanni, Staff Writer. Tim Diovanni is reporting on classical music in a fellowship supported in part by the Rubin Institute for Music Criticism, the San Francisco Conservatory of Music and the Ann and Gordon Getty Foundation. The News makes all editorial decisions.
tim.diovanni@dallasnews.com @howeyehearit
How do Cliburn finalists pick which piano to play in Fort Worth’s Bass Hall?
The six finalists are playing concertos with the Fort Worth Symphony Orchestra this week.
Clayton Stephenson from the United States plays the Gershwin Piano Concerto in F Major on a Steinway Hamburg piano with guest conductor Marin Alsop and the Fort Worth Symphony Orchestra on June 14, 2022 for the finals of the Sixteenth Van Cliburn International Piano Competition in Bass Performance Hall in Fort Worth, Texas.(Ralph Lauer / Ralph Lauer/The Cliburn)
By Tim Diovanni
9:00 AM on Jun 17, 2022 CDT
Unlike most musicians, pianists can’t easily bring their instruments with them when they travel. They must play whatever piano is available, and adjust accordingly.
In the final round of this year’s Van Cliburn International Piano Competition, at Bass Performance Hall in Fort Worth, competitors are selecting from two Steinways: a Hamburg and a New York. Most favor the German-made instrument, but some are in the New York camp.
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For Clayton Stephenson, the sole American in the finals, repertoire plays an important role in his decisions. He chose the Hamburg for both Gershwin’s Piano Concerto in F Major and Mozart’s Piano Concerto No. 21, he said, because it’s brighter and better suited for those works. If he had more time to prepare, he would have picked the New York for Rachmaninoff’s Third Piano Concerto, but is going with the Hamburg because he has more experience with that instrument.
Dmytro Choni, a Ukrainian pianist, chose the New York for all his performances in the semifinal and final rounds because he believes it projects better in the 2,000-seat Bass Performance Hall.
“I didn’t expect to choose the American one because I’m much more used to the European one,” he said. “But on this particular piano, I felt much more comfortable.”
Pianist Dmytro Choni performs Prokofiev's Third Piano Concerto on a Steinway New York piano with the Fort Worth Symphony Orchestra and guest conductor Marin Alsop in the final round of the 2022 Van Cliburn International Piano Competition, on June 15, 2022 at Bass Performance Hall. (Ralph Lauer/The Cliburn)(Ralph Lauer / Ralph Lauer/The Cliburn)
For the preliminary and quarterfinal rounds at Texas Christian University’s new Van Cliburn Concert Hall, though, Choni picked a Hamburg piano because he thought it was more suitable for a hall with just a third of the seating capacity of Bass.
Russian pianist Ilya Shmukler, on the other hand, picked the Hamburg for all of his Bass Hall performances because he thought that one projected better than the New York.
“The New York is so colorful and can produce a very beautiful sound,” he said. “But when we’re talking about a hall with 2,000 seats, we need something real big. That’s why I chose the Hamburg for all my semifinal and final rounds. I think I made the right choice.”
Picking the right piano, then, isn’t an exact science, and comes down to personal preference.
