直接改变了我以往对俄罗斯钢琴学派的刻板印象的,可以说是一场钢琴独奏音乐会。那次是我们去柴可夫斯基音乐厅,欣赏俄罗斯人民演员、柴院教授——那乌姆·施达克曼(伊顾姆诺夫最后的学生)先生的音乐会,时年78岁的他身体状况已经很不好了,音乐会上他还是坚持演奏了贝多芬、舒曼、肖邦等多位作曲家的作品。那场音乐会他弹奏得非常投入和出色,美妙的声音和优美的旋律,让人们忘记了他的年龄和身体状况。在弹奏贝多芬《月光》奏鸣曲时,我邻座的一位上了年纪的俄罗斯女士在轻轻地抽泣,这样的情绪也感染了我们这些中国留学生。我们感到大师不是用手指、不是用技术在演奏,而是用生命在弹琴,而钢琴自己在歌唱。在中场休息时,那位女士静静地走到舞台边,把一枝花放在琴凳上。我当时在想,有这样的演奏家和观众是多么幸福啊。 Directly changed my previous stereotypes of the Russian piano school, can be said to be a piano solo concert. That was a concert where we went to Tchaikovsky Concert Hall and admired the performers of Russian people, professor Chai Yat-Naum Shtacakman (the last student of Ichernoff), at the age of 78 His physical condition is already very bad, and at the concert he still insisted on performances by Beethoven, Schumann, Chopin and many other composers. At that concert, he played very well and was brilliant, wonderful voice and beautiful melody, letting people forget his age and health. While playing the Beethoven “Moonlight” sonata, an elderly Russian lady near me sits gently sobbing, and this emotion has also infected some of our Chinese students. We feel that the master does not use his fingers, not playing with technology, but playing the piano with his life and the piano himself singing. During the intermission, the lady walked quietly to the stage and put a flower on the bench. I was wondering how happy it was to be such a performer and audience.