朗帕爾說：我從來不做“長笛匠”——像“鋼琴匠”一樣,。我認(rèn)為這是可怕的。有些人——他們只想著他們的樂器,。我并非那樣喜愛長笛,。我演奏它——好，我用它投入地表達(dá)我自己——但我可以拉小提琴來表達(dá),。對我來說,，長笛不是終點(diǎn)。從來不是,。借著今天的文章,，給大家出幾道題，歡迎文末留言作答：1,、世界三大長笛大師都有誰？歡迎不同答案,；2,、1947年朗帕爾在哪個國際比賽獲大獎？3,、日本長笛演奏家誰,，是朗帕爾的得意門生？4,、你最喜歡的長笛演奏家是誰,？最喜歡的作品是什么,？

Jean-Pierre Rampal, interview by Stephen Johnson 

史蒂芬.約翰遜采訪讓-皮埃爾.朗帕爾令人心醉的三大長笛大師丨格拉夫、朗帕爾與尼克萊

Gramophone, February 1992

（《留聲機(jī)》1992年2月）

'As you know, I always get stuck when I have to write for the same instrument (one I cannot stand) all the time...' Those words of Mozart to his father, written while he was struggling to complete a series of pieces for the Dutch flautist Dejean, have been taken time and again as his final judgement on the flute –a fact that makes Jean-Pierre Rampal see deepest red. He pours out his indignation in wonderfully French English. 'No, no, no! Mozart was –how do you say –volatile. He didn't like this amateur flautist, and he had to turn out all these pieces for money. In the middle of this he tells his father that he hates the flute! But if you look at the music you can see that he understood it, technically, expressively. And then you listen to those last piano concertos –the flute parts so beautiful, so full of humour and love. This man hated the flute? Impossible.'

“如您所知,，當(dāng)我不得不總是為同一件樂器(一件我無法認(rèn)同的樂器)寫作時,，我總是卡殼……”莫扎特對他的父親這樣說，當(dāng)時他正在為荷蘭長笛演奏家德甘公爵（Dejean）父女完成一系列作品,，這已經(jīng)是他最后一次評判長笛,，在此之前他不止一次發(fā)表過此類言論——這使讓-皮埃爾·朗帕爾(Jean-Pierre Rampal)極其不滿。他用極流利的法式英語表達(dá)了他的憤慨,?！安?不,不!莫扎特是——怎么說呢——不能就此定論。他不喜歡這個業(yè)余的長笛手,，可他又不得不把所有這些作品換成錢,。這期間，他告訴他的父親自己討厭長笛!但如果你看看音樂,，你就會發(fā)現(xiàn)他在技術(shù)上,、表現(xiàn)上都了如指掌。然后你聽聽他晚期的鋼琴協(xié)奏曲——長笛聲部如此美麗,，充滿幽默和愛,。這個人討厭長笛嗎?絕無可能?！?/span>

Point taken, but isn't there just a hint of defensiveness here –the champion protecting the honour of his beloved instrument? 'Again no. I never make 'flutism' –like 'pianism'. I think it's horrible. Some people –they think only about their instrument. I'm not so in love with the flute. I play it –OK, I express myself musically with it –but I could play the violin. Flute is not an end for me. It never was.' 

有一點(diǎn)需要注意,，這里就沒有一點(diǎn)防御的跡象嗎?冠軍維護(hù)他心愛的樂器的榮譽(yù)?“仍然是不。我從來不做“長笛匠”——像“鋼琴匠”一樣,。我認(rèn)為這是可怕的,。有些人——他們只想著他們的樂器。我并非那樣喜愛長笛,。我演奏它——好,，我用它投入地表達(dá)我自己——但我可以拉小提琴來表達(dá)。對我來說,，長笛不是終點(diǎn),。從來不是。

So why then was he drawn to play it if not by some special magnetism? 'It was my father. He was my teacher and my hero. I wanted to do like him. He was still playing the flute at 85 –until a year before his death. In our holidays in Corsica we would play together. But he didn't force me to play the flute. No, I had to force him to teach me. Perhaps if he had tried to make me play flute it would have been different. Also I admired very much the great flautist Marcel Moyse. He and my father had the same teacher. This was the man who opened the door for so many of my generation. Still at first I only wanted to be a musician –and even to decide this took some time. For a while I thought that I could be a doctor.' 

那么,，如果沒有什么特殊的吸引力,，他為什么會被吸引來演奏長笛呢?“我的父親就是這樣的人。他是我的老師和英雄,。我真想做得和他一樣,。他八十五歲時仍然在演奏長笛，直到他去世前一年。在科西嘉度假時,，我們一起演奏,。但他沒有強(qiáng)迫我演奏長笛。相反,，我不得不強(qiáng)迫他教我演奏長笛,。或許假如他設(shè)法讓我演奏長笛,，情況可能會不一樣,。

我也很欽佩偉大的長笛演奏家馬薩爾·莫伊斯（Marcel Moyse，法國長笛一代宗師,，上圖）,。他和我父親的老師是相同的。這就是為這么多我們這一代的人打開大門的人,。起初,，我只是想成為一名音樂家，甚至還花了一段時間才作出決定,。有一段時間,，我覺得我可以成為一名醫(yī)生。

Surely though the personality of the instrument he chose can't have been irrelevant. For many the flute has a strongly defined character –or at least the overwhelming proportion of flute music has. Some would say that it's a very restricted character –that there are certain things that the flute does very well and plenty more that it can't do at all. 'It's true. But it can be a very deep character –not just impressionism, delicacy, painting moods of antiquity, but also it can be very serious and tragic. Verdi sometimes uses the flute in a very significant, dramatic way. The flute can show you everything of humanity, from death to love –to sex. Look at Mozart!' 

當(dāng)然,，他所選擇的樂器的個性也不可能是無關(guān)痛癢的,。對許多人來說，長笛具有強(qiáng)烈而清晰的特征——或至少長笛音樂中絕大多數(shù)是這樣,。有些人或許會說,，這是一個非常受限制的角色——有長笛做得很好的確定的事情，還有很多事情它根本無法做到,?！斑@是事實(shí)。但長笛可以成為一個非常深刻的角色——不只是印象派,、美食,、古色古香的油畫，也可能是非常嚴(yán)肅的和悲劇性的,。威爾第（Verdi）有時以非常意味深長地,、戲劇性的方式使用長笛。長笛可以向你展示人類的一切,，從死亡到愛甚至性,。看看莫扎特!”

There is an interesting opportunity to do just that in Rampal's latest disc, where Mozart's Concertone for two violins, K190, is played in an arrangement for two flutes and orchestra –the other soloist is the Japanese flautist Shigenori Kudo. Mozart may not have made the transcription himself but, says Rampal, it's legitimate 18th-century practice, and the solo writing –not particularly violinistic in the first place –transfers well. He's also rather proud of his discovery of the Double Concerto by Domenico Cimarosa. 'He didn't write so much only instrumental music, but this concerto is really a very good piece. All the themes you remember. Lots of music in the 18th century is written to formulas, but this is imaginative and full of fine melodies.' 

在朗帕爾的最新唱片中，他有一個有趣的機(jī)會去嘗試,，即按兩支長笛和管弦樂隊的編排來演奏莫扎特的雙小提琴協(xié)奏曲（K190）——另一位獨(dú)奏家是日本長笛演奏家工藤重典（Shigenori Kudo，朗帕爾的得意門生，下圖）,。

朗帕爾說,，莫扎特可能沒有自己抄寫自己的樂譜，但是這是18世紀(jì)的傳統(tǒng)做法,，獨(dú)奏者——第一位抄寫的不見得是為小提琴的——抄錄的得很好,。他還為自己在多美尼科·奇馬羅薩的雙重協(xié)奏曲中的發(fā)現(xiàn)而感到相當(dāng)驕傲?！八麤]有寫那么多器樂作品,，但這首協(xié)奏曲的確是一首非常棒的曲子。所有主題都令人回味,。18世紀(jì)的很多音樂都是用固定套路寫的,，但這首卻富有想象力，充滿了美妙的旋律,?！?/span>

Formulaic or otherwise, 18th-century music is what Rampal's latest disc is all about: apart from the Mozart and Cimarosa works there are concertos for two flutes by Vivaldi and Anton Stamitz. Is he at all interested in the 18th-century flute itself'? 'In the music yes, but I belong to those people who at that time were fighting to get a better instrument. That's what they wanted and I don't think it's fair to try to destroy what has been achieved. I don't believe you will play with better style or better feeling on a baroque or classical flute. Yes, it is wonderful to hear again instruments like the harpsichord, the viola da gamba, the recorder –they were never replaced. But the transverse flute –it was improved. Again you look at Mozart. He spent a fortune because every time there was a new fortepiano on the market he was buying it –he thought that it would be better than the last one. For many flautists it was the same.' So is there nothing to be learned from a period instrument? 'Maybe there are some things to be learned-but I will not make my life of this.' 

拘泥一格或者截然相反，18世紀(jì)的音樂是朗帕爾最新唱片的全部內(nèi)容:除莫扎特和奇馬羅薩的作品之外,，還有維瓦爾第（Vivaldi）和安東.斯塔米茨（Anton Stamitz）為兩支長笛而作的協(xié)奏曲,。他完全是對18世紀(jì)的長笛本身感興趣嗎?“在音樂中是這樣的，但我屬于當(dāng)時那些為獲得更好的樂器而奮斗的人,。這就是他們想要的,，我不認(rèn)為試圖摧毀業(yè)已獲得的成果是公平的。我不相信你用巴洛克或古典長笛可以演奏出更好的風(fēng)格或更好的感覺,。是的,，再次聽到像羽管鍵琴、低音維奧爾琴,、豎笛這些樂器的聲音施美妙的,，它們無可替代。但是橫笛——它已經(jīng)被改進(jìn)了,。再來看看莫扎特,。他花費(fèi)了一大筆錢，因?yàn)槊慨?dāng)市場上有一架新的古鋼琴,，他就會買來——他認(rèn)為會比上一架要好,。對許長笛手來說是一樣的?！蹦敲?，在時代樂器里，難道沒有什么可學(xué)的嗎? “也許有些可學(xué)的——但我不會讓我的生活變成這樣,?！?/span>