传记
Rudolf Buchbinder is one of the legendary performers of our time. The authority of a career spanning more than 60 years is uniquely combined with esprit and spontaneity in his piano playing. Tradition and innovation, faithfulness and freedom, authenticity and open-mindedness merge in his reading of the great piano literature.
His interpretations of the works of Ludwig van Beethoven in particular are regarded as setting standards. He has performed the 32 piano sonatas in cycles all over the world more than 60 times to date and has continued to develop the history of interpretation of these works over the decades.
With the edition BUCHBINDER:BEETHOVEN, Deutsche Grammophon presents a complete recording of the 32 piano sonatas and the five piano concertos in the run-up to Buchbinder's 75th birthday in December 2021, thus creating a sounding monument to two outstanding Buchbinder-Beethoven cycles of recent times. Buchbinder was the first pianist to play all of Ludwig van Beethoven's piano sonatas within one festival summer at the 2014 Salzburg Festival. The Salzburg cycle was recorded live for DVD (Unitel) and is now also available on nine CDs.
The sensational cycle of Ludwig van Beethoven's five piano concertos came about during the 2019/20 concert season at the Vienna Musikverein. In celebration of its 150th anniversary, the Vienna Musikverein, for the first time in its history, gave a single pianist, Rudolf Buchbinder, the honor of performing all five piano concertos by Ludwig van Beethoven in a specially created series. Buchbinder's partners in this unprecedented constellation were the Leipzig Gewandhaus Orchestra under Gewandhauskapellmeister Andris Nelsons, the Vienna Philharmonic under Riccardo Muti and the Bavarian Radio Symphony Orchestra, the Munich Philharmonic and the Sächsische Staatskapelle Dresden under their principal conductors Mariss Jansons, Valery Gergiev and Christian Thielemann. All concerts were recorded live. The Musikverein cycle, released on three CDs in September 2021 on Deutsche Grammophon, is a historic document of these artistic summits and a tribute to Buchbinder as one of the most profound Beethoven interpreters of our time.
As a contribution to the celebrations marking the 250th anniversary of Ludwig van Beethoven's birth, Rudolf Buchbinder initiated a cycle of new Diabelli Variations. Following the genesis of Beethoven's epochal Diabelli Variations op. 120, Buchbinder succeeded in enlisting eleven leading contemporary composers of different generations and origins - Lera Auerbach, Brett Dean, Toshio Hosokawa, Christian Jost, Brad Lubman, Philippe Manoury, Max Richter, Rodion Schtschedrin, Johannes Maria Staud, Tan Dun and Jörg Widmann - to write their personal variations on the same waltz theme as Beethoven once did. The New Diabelli Variations were commissioned by eleven concert promoters worldwide with the support of the Ernst von Siemens Music Foundation and received their world premiere by Rudolf Buchbinder at the Vienna Musikverein before becoming a part of his touring programs in Europe, Asia and the United States. The project reflects Beethoven's work into the 21st century and impressively underlines the universality of his language across all borders.
Under the title "The Diabelli Project", Deutsche Grammophon released the world premiere recording of the New Diabelli Variations in March 2020 alongside a new reading of Beethoven's Diabelli Variations, which Buchbinder last recorded before in 1976. The double album marked the beginning of his exclusive partnership with Deutsche Grammophon. Also in 2020, a live recording of Beethoven's 1st Piano Concerto with Christian Thielemann and the Berlin Philharmonic followed.
Rudolf Buchbinder is an honorary member of the Vienna Philharmonic Orchestra, the Gesellschaft der Musikfreunde in Wien, the Wiener Konzerthausgesellschaft, the Vienna Symphony Orchestra and the Israel Philharmonic Orchestra. He is the first soloist to be awarded the Golden Badge of Honor by the Staatskapelle Dresden.
Buchbinder attaches great importance to source research. His private collection of sheet music includes 39 different editions of Beethoven's complete piano sonatas as well as an extensive archive of first printings, original editions and copies of the autograph piano parts of both piano concertos by Johannes Brahms.
As Artistic Director, he is responsible for the Grafenegg Festival, which has been one of the most influential orchestral festivals in Europe since its founding 15 years ago.
Rudolf Buchbinder has published an autobiography entitled "Da Capo" as well as the book "My Beethoven - Life with the Master." His latest book, "The Last Waltz," was published to coincide with the premiere of the New Diabelli Variations in March 2020 and tells 33 stories about Beethoven, Diabelli and piano playing.
人物写真
“最大的钢琴天才”——约阿希姆·凯撒（Joachim Kaiser）的写真
他兴致勃勃地讲述这个故事：当鲁道夫·布赫宾德有一次在慕尼黑的“四季饭店”遇见弗里德里希·古尔达（Friedrich Gulda）时，两位艺术家——作为受到高度赞赏的钢琴巨匠——进行了一场充满个性的对话。古尔达问他去哪儿，布赫宾德如实地回应：“去我的贝多芬全套奏鸣曲音乐会。”古尔达继而又问：“说说，你不觉得贝多芬对你已经平淡无奇了吗？”布赫宾德答道：“恕我直言，这个问题对我来说非常的不可理解，因为我在这些大师的作品中时时能够发现新的东西......”持过分怀疑态度的读者可能会认为这只是唇间表白而已，尽管布赫宾德在他的回忆录中多次以这种方式表明他的态度。他曾经说: “一个人可能会因过度沉迷某种菜肴而对之厌倦。但一个人在演奏钢琴文学的杰作时，永远不会发生这种情况，即使他已演奏过上百次”。布赫宾德的表白听起来感人至深、充满理想化色彩：“我追求在我生命的尽头体验我钢琴职业生涯的巅峰。当然，我不知道那会是什么时候......其实很遗憾！在我的职业生涯中，事实上还从未取得过什么成就——总是还有提高的可能。”
认识很久并近距离接触过布赫宾德的人知道，所有这些论断都是实实在在的坦诚之言！我和我的朋友“鲁迪”主持他的贝多芬全套奏鸣曲多年，在石勒苏益格-荷尔斯泰因音乐节、在多特蒙德/波鸿、在纽伦堡......也就是说，我初步分析每个奏鸣曲，并请他给予多种多样的引证。最后由他连带表现。这样，我切实直接经历了奏鸣曲是如何在布赫宾德的灵魂深处不断发展、丰富、变化。虽然并非但也关系到钢琴家的手法技巧，但要看深度和内涵。我几乎没有意识到我对他的苛求。有一次是关于“槌子键钢琴奏鸣曲” op. 106，我谈了将近50分钟。但他不能静静地坐在那里依照他的思绪幻想，而是必须悉心地注意聆听，因为我总要请他立刻给出引证，以便能够在紧张的讨论之后，可以最终完整地展现这部钢琴文学中难度最高的奏鸣曲。
为什么伟大的音乐能够迷住演奏家的一生，不用施以暴力，“只有”忠实于原作、生动地描写音乐作品？——对这一问题可以这样做出回答：在富有意义的古典作品中蕴藏着细腻的、灵魂性的人物、独白、经历和看法等财富，这是不懂艺术的同时代人很难感知的。这种音乐如同情感体验的无穷宝库！她教导我们，总要感知更微妙、更错综复杂、更具差异的事物。门德尔松说的对，音乐不是没有概念模糊的国家语言。音调中有无限多的中级阶段，塑造情感，作为语句存在，命名所有这些细微差别。这就是一位伟大钢琴家所能够以此体现的。
布赫宾德具备一些突出的艺术家和人格特质，使他能够胜任传统艺术与“经典现代”之作品提出的任务。首先：他是我有生以来遇到的最大的钢琴天才。他从来不须记录指法，也不记录指法，即使是最棘手的难度！手指自然可以找到自己的位置。他完全相信这一点，令人羡慕。他说：“有三种指法：一种是要学习的，一种是向同事建议的，一种是在音乐会上获取的。” “获取”一词令人惊叹地透露出布赫宾德天赋的自然特质。这种天赋可能会招致草率。但音乐作品对他来说过于神圣，可爱。第二个特点：布赫宾德恭敬并过于准确地研习原始文稿发行版本，寻找并发现错误，不把任何事情看作理所当然。他的第三个特点，也许是最重要的，但绝对不是最引起轰动的特点：他风格自然，没有矫揉造作。几乎不可能培养他具有某种“风度”。有种非常有益的怪癖或者诀窍将艺术家的个性推到作品面前。他以如歌真挚的乐音演绎莫扎特钢琴协奏曲；在演奏贝多芬G大调钢琴协奏曲行板中戏剧性对白时，他似乎使钢琴动人心弦、痛苦的回答踌躇百分之一秒，这里隐含着如此多的不安、恐惧与痛苦——总是因事而异。他的演奏充满自然力，富于内心热情和音乐感，毫无矫揉造作之风。这使他对于一些同事细微或粗俗的夸大非常敏感。现在就是这样，斯维亚托斯拉夫李希特（Swjatoslaw Richter）曾经演奏舒伯特的B大调奏鸣曲。他的滑稽、富于表现力并且缓慢的表演几乎成为时尚，将舒伯特悲怆的行板乐章作为柔板亦或甚至作为广板表现，以明白地表达他们的抑郁情绪。但是，以此没有清晰体现钢琴家的柔板教主，很不适合舒伯特特有的事实。在他那里有着懦弱的行板漫步，这正是举足轻重的柔板葬礼进行曲、感伤的广板所不应该有的——并且在他飘荡的绝望之中异常难以给予正确表达。他应是在这种抑郁闲散的气息中开始了“冬之旅”的第一个曲调创作，C大调交响曲第二乐章(“Andante con moto”)应该提升A大调奏鸣曲(DV 959)和神秘的降B大调奏鸣曲(DV 960)的中间乐章。舒伯特有意暗指贝多芬的c小调奏鸣曲(DV 958)的唯一缓慢乐章，确实是如同贝多芬年轻时很愿意创作的降A大调柔板之类的曲子。
在述说布赫宾德突出的特质时，我——或许最少——忘记一点：就是他的质朴，他的质朴完美无瑕。为此，他无需“强迫”自己。这不是要求好感的谦逊姿态，而是他就是这样一个人。他不会喝彩傲慢自大，不会怪诞意味的装腔作势。他对这些非常反感。他给出的回答客观、友好。当然，他也乐意争论是否确实恰当，将同时代的轻音乐、流行音乐和传统的古典音乐作为同类的娱乐形式并列在一起。自然可以有令人喜爱的轻音乐和非常无聊的交响乐。但它们各自的质量或弱点相互之间没有任何关系。伟大的传统音乐承载着几百年来与众不同的古典音乐语言独一无二的历史。巴赫的h小调弥撒曲中保留着教堂音乐宏伟的历史，贝多芬的奏鸣曲op. 110 则以宣叙调和“约翰受难”咏叹调予以悠远追溯，瓦格纳的“名歌手”和他的“帕西法尔”也是如此。再成功的表现、充满效果的电影音乐或流行歌曲制作，他们具有完全不同的品质。或者不是这样吗？我也愿意讨论布赫宾德的看法，站在斯坦韦演奏巴赫的人绝对不要尝试站在一台现代的钢琴上进行历史性演奏。
最后的问题：布赫宾德根本不能再听、不想听他自己的录音。这种胆怯的背后隐藏着什么？是他近乎超常的质朴、不图虚荣吗？还是担心，如果他在听觉这面镜子中遇到他们，会夺走他自由涌流的
艺术？
约阿希姆·凯撒（2004）
