干嘛要译出这些乐评让人看，既然所评的演奏会我们并没有亲耳听过，其中的不少钢琴家我们甚至连姓名也不知道，原因很简单。因为即便这样也还是值得读。这些乐评总是在探讨一些有趣的钢琴演奏问题，并且总要与被评论者进行交流，甚至交锋。我并不认为要赞同乐评中的所有观点为。但正因为它们提出的一些观点，对钢琴演奏家（而且不仅仅钢琴专业）、教师学生、甚至乐评人都很具启发性，有开拓思路的作用，因而，即使没有亲耳听过这些演奏也不妨读读，定会有所裨益的。茨平的来头我暂时还不甚了解，只知道他曾应邀在美国某个钢琴比赛担任过评委，在俄罗斯的音乐刊物上每期都有他的乐评专栏。此次只从中选择了部分对钢琴演奏会所的评论。 Why do you want to translate these reviews so that we can see that since we did not hear about the recitals, many of the pianists did not even know their name, for the simple reason. Because even then it is still worth reading. These reviews are always in the discussion of some interesting piano performance issues, and always have to be commented on the exchange, or even confrontation. I do not think that I agree with all the points in my assessment. But precisely because of some of their points of view, pianists (and not just piano major), teachers and even music critics are instructive and pioneering, so that even without listening to them Also may wish to read, will be of some benefit. Cippen come I temporarily do not understand, only know that he was invited to serve as a judge at a piano competition in the United States, each period in Russia’s music publications have his music column. This time only from the selected part of the piano recital club comments.