吳迎享受音樂最重要

吳迎享受音樂最重要

吳迎從出生那天起，便與中央音樂學院結下了不解之緣。他所出生的這個大院，曾經是清朝王府，后來被用作學院的音樂廳。這里不僅是他的出生地、母校，更是他愿意付出心血實現教育理想的地方。

In one of the classrooms of CCOM's Piano Department, Prof. Wu Ying is teaching his postgraduate student.

中央音樂學院鋼琴系的其中一間教室里，吳迎正在給他的研究生學生上課。這位從事鋼琴教育逾30年的鋼琴家，留著貝多芬式的卷發。演奏和教學的時候，那一頭卷發便似小澤征爾的指揮棒一般在空中帶有韻律地晃動。他那雙鋼琴家的大手，時而握拳引導力量，時而舒展表示舒緩；而他那雙炯炯有神的眼睛，更是時刻向學生傳達著智慧和能量。這樣的一對一專家課堂，無疑是一場精彩絕倫的音樂對話。

5歲那年，吳迎在作曲家父親吳祖強、鋼琴家母親鄭麗琴的指導下開始了學琴之旅。1976年從中央音樂學院畢業后，他獲碩士學位后留學奧地利，師從鋼琴大師巴杜拉·史科達。回到國內后，他選擇返回母校執教。成長、游學、回歸，吳迎的生命與中央音樂學院緊緊聯結。從此，培育出頂尖的鋼琴演奏家成了他最大的心愿。

國內的鋼琴教育從1920年代起開始發展，近百年得到了極快的提升。然而，每年從音樂學院畢業的學生中，依然只有極少數能夠最終成為職業鋼琴演奏家。如果將鋼琴系的學生比喻成為金字塔底部，那么成為鋼琴家的只占金字塔尖的比例。

“其實國內外都是如此。古典音樂的舞臺就這么大，而每年都有新人嶄露頭角。”吳迎說道。

國內的職業鋼琴家不多，主要原因是國內古典音樂市場還未完成開拓，尚未形成成熟的演奏經紀人制度。相比流行音樂，古典音樂的聽眾仍處于培育階段，因此，古典音樂的演出商也不多。在國外，有演奏經紀人的職業鋼琴演奏家基本能夠以自己的演奏收入生存。而國內的職業鋼琴演奏家較少，大多數一邊從事鋼琴教學一邊進行鋼琴演奏。

吳迎說，職業鋼琴演奏家的職業征途充滿艱辛，但是從音樂中獲益，每個人都能做到。

一個人在琴房里的時候，吳迎也愛彈奏起身前的鋼琴，沉浸在純粹的音樂世界里。

WU YING PROFESSIONAL PIANISTS ARE A FEW ATOP THE PYRAMID

N=NIHAO

Z=WU YING

N: Over the last decade, a piano mania has swept China, however, the emphasis is often placed on piano exams. What's your take on this?

W: I think interest should play a key role in deciding whether or not a kid should learn to play piano. There is no point in forcing a kid to do so if he or she is not interested. For those who do enjoy it and have already started learning piano, it is by no means necessary to go through graded piano exams or to aspire to become professional pianists, for it takes enormous hard work to pursue this profession. You've got to practice for long hours almost every day. So when we admire a pianist performing beautifully in the spotlight, we'd better keep in mind what he or she may have been through on the way to the stage. There is no way that one can carry on without real interest.

I can understand the mindset that Chinese parents have when they are so keen on having their children do piano exams. Though exams do help assess the level of a learner's piano skills, I feel that the whole idea of learning piano has somehow changed when many learners take grades as their sole pursuit. Kids may easily get fed up with repeating the same pieces. When they can't feel the joy of playing the piano, their interest may die. In fact, the grade is only one of a set of standards on which conservatories of music to choose candidates. After all, a happy childhood is what we all wish for our children. From an artistic point of view, we start the pursuit of any form of art with our discovery or perception of its beauty.

N: What would you like to say to learners aspiring to become professional pianists?

W: Like any other profession, the piano-playing profession has no shortcuts. You've got to do it hard and to go through many diffi culties. Anyway, who don't encounter diffi culties of one kind or another throughout his lifetime? We all do. I'd say that those who do love music have a head start in the pursuit of music as a profession.

Learners should go to concert as much as possible. It is immensely helpful for them to have exposure to virtuoso pianists. We fi nd that all our students will benefi t, more or less, from superb piano performances. For example, they will try to play the piano the way that a professional pianist plays. Almost all learners start with imitation as their skills develop.

N: What is unique about the piano festival recently held at the Central Conservatory of Music?

W: The second edition of the piano festival held by CCOM is an opportunity to pay homage to the great composer and pianist Ludwig van Beethoven upon the 190th anniversary of his death. This piano festival was held under very high academic standards to showcase excellent examples of piano teaching and performance both inside and outside of China, and to explore the latest developments in the professional teaching of piano. This year's event brought together a host of internationally-renowned musicians such as pianists Dina Yoffe-Vaiman and Roberto Prosseda, Beethoven expert William Kinderman, period instrument enthusiast Viviana Sofronitsky, piano educator Dan Zhaoyi, violinist Lu Siqing and cellist Qin Liwei as well as our newly-created symphony orchestra led by Prof. Yu Feng, a conductor and president of our conservatory. Members of the audience, including our students, music scholars and music enthusiasts, were taken by surprise when they found out how wonderfully the performers performed.

吳迎：職業演奏家是金字塔尖的少數人

N：你怎么看待國內以考級為目的的“學琴熱”？

W：我理解父母望子成龍的心態，音樂考級本身的確具有一定技能鑒定的意義，但整個事情在后面開始變味了，很多人學音樂只是為了獲得一張證書，將一首曲子翻來覆去地學習。這樣的學習很枯燥，且完全享受不到音樂的樂趣，只有反作用。

小朋友學琴一定要以興趣為主，家長千萬別強求。觀眾看到的是在臺上風光的一面，但臺下的苦練每天都不能松懈。如果不是真正喜歡，很難堅持下來。童年的首要主題是快樂成長。家長應該引導孩子享受音樂，因為任何一種藝術形式都是從感受藝術之美開始的；隨著時間的推移，逐漸知味、體會，感悟生活。

N：對于立志成為職業鋼琴家的學琴者，你有什么建議？

W：能夠成為職業鋼琴演奏家畢竟是少數人。需要個人的天賦，也要有個人際遇。個人天賦包括身體外部條件，如手指、身材、身體協調性、樂感、思維能力等。

要成為專業人士，職業鋼琴家與其他職業一樣，是非常辛苦的事情。學樂器沒有捷徑。人生在世，不碰到這樣的困難，也會遇到其他的困難。如果有條件，學琴者應該多進演奏廳欣賞名家的演奏，這會讓他們受益無窮。從教學經驗中，我們發現學生聽了高水平的演奏后，他們自己的水平也會有提升。

N：中央音樂學院近期舉辦的鋼琴音樂節有什么特色？

W：中央音樂學院第二屆鋼琴音樂節是向對貝多芬逝世190周年的崇高獻禮。從第一屆鋼琴音樂節起，我們就堅持有高度的學術標準，以展示國內外鋼琴教學與表演藝術，探索鋼琴專業教學的新發展。本屆音樂節邀請了國際鋼琴家Dina Yoffe-Vaiman，踏板鋼琴演奏家Roberto Prosseda、貝多芬專家William Kinderman以及早期鋼琴演奏家Viviana Sofronitsky、鋼琴教育家但昭義、小提琴演奏家呂思清及多大提琴家秦立巍等，以及中央音樂學院院長指揮家俞峰親率新近成立的學院交響樂團協奏助陣。前來欣賞的本校師生、音樂界的學者及愛好者都很為這次的演奏水平之高感到吃驚。音樂節的成功也印證了我們最初的設想：雅俗共賞，向導樂迷時尚；平臺優秀，開闊專業眼界；訪秘搜奇，探索趣味學術。

吳迎大事錄

1976年 畢業于中央音樂學院鋼琴系

1980年 獲全國鋼琴選拔賽第一名

1982年 畢業于中央音樂學院朱工一教授研究生班，獲碩士學位；在英國BBC廣播電臺舉行實況轉播音樂會

1984年 畢業于維也納國立音樂學院，師從鋼琴大師巴杜拉—斯科達教授；回國后在母校任教

1985年在埃涅斯庫音樂節，肖邦音樂節舉辦獨奏音樂會，并應波蘭肖邦協會邀請在華沙肖邦公園舉行音樂會

1991年～1992年 國務院、國家教委授予“做出突出貢獻的中國碩士學位獲得者”稱號；獲瑞士歌德基金會頒發的“巴杜拉—斯科達獎”

1999年～2004年 在上海音樂學院任教，被授予“文化部優秀專家”稱號，任上海音樂學院鋼琴系教授、系主任

2005年起擔任中央音樂學院鋼琴系系主任，被學院推薦為“文化部專家委員會委員”；被評為北京市德育先進工作者、獲寶鋼優秀教師獎