EVERY GOOD BOY DOES FINE
Book ID/图书代码： 06580013B66904
English Summary/英文概要： I feel incredibly honored to have been asked to write this piece on piano lessons for The New Yorker, and hopefully I used the honor honorably. It caused me some stress. Assembling a narrative out of your past is dangerous, especially when your life is still frantically ongoing. It was complicated (to say the least) to write about the vulnerability of performing while I was preparing for my Carnegie Hall recital.
In the essay, many sins of omission. I elide stupidly over the Oberlin years, Joseph Schwartz, and all the other great teachers I had there, in order to make space for the appearance of Sebok. There is no mention of my wonderful Juilliard teacher, either, Herbert Stessin, who was so different from Sebok and wise in a completely different, often more practical, way.
Anyway, I hope all those other teachers and coaches out there forgive me for organizing the piece around this moment when Old Europe landed on top of me, and neglecting all their crucial interventions. I am so delighted that the magazine put together a little web video, which includes a peek inside the piano lesson journal, and some beautiful footage of Sebok. I must admit, my absolute favorite recorded bit of Sebok is his performance of the Mendelssohn Variations Concertantes with Janos Starker. There is something about the way he plays the formidable technical passages of this piece, with a bit of amusement, as if it were complicated child’s play, always turning the corners eloquently and cleverly…and then after Mendelssohn’s stormy mini-climax, the way Sebok plays the return of the theme, with just the tiniest loving pauses on the meaningful notes—it calls back to me all the amazing time I spent with him. (The whole album, of course, is worth many many listens.)
There’s also a YouTube of his studio recording of the Brahms Handel Variations, which I think captures some of the purity and simplicity of his musical thinking (he was very dismissive of his own recordings), and a video of him playing the “Aeolian Harp” Etude, showing his hands, a miracle of ease, efficiency, fluidity.
Somewhere in the Oberlin archives, also, I believe there is a recording of Sebok’s recital in early 1990, with the life-changing Bach encore I mention in the essay. I am too afraid to go listen to it.
Chinese Summary/中文概要： 能够受《纽约客》委托，创作这部有关于钢琴的书籍，我感到万分荣幸，并希望能够不失众望的完成这份光荣的任务。当然这让我略感压力。
对自己的过去种种进行回忆与叙述是十分危险的，尤其是当你的人生还在疯狂地旋转中时。记录下关于自己登台表演时的种种脆弱之处是十分复杂的（如果可以这样形容的话），尤其是当我正在为自己的卡内基音乐厅的演奏会进行准备时。
在本书中，我将略去许多过往的罪恶。我将愚蠢地跳过奥柏林学艺的时光，包括我在那里遇到的诸如约瑟夫•施瓦茨等许多伟大的导师，我做出这样的选择都是为了能有更多的篇幅和空间来描绘另一个人：西波克。当然书中也不会提及我再茱莉亚德的老师，不会提及赫伯特•斯泰兴，他和西波克是如此的不同，他的智慧与西波克是完全迥异的，常常更为实际。
无论如何，我希望所有的这些导师和教练们能够原谅我，在这样的一个时刻没有能够将你们写进这片文章中来，因为此时此刻旧欧洲的种种已经深深攫取了我，使得我不由得略去了你们对我的种种其他同样至关重要的影响。令我倍感兴奋的是这杂志还制作出了一个网络视频，其中既有对于钢琴课的一瞥，同样还剪切了一些西波克的精彩演出。我不得不承认，我最爱的西波克的演出莫过于他和加拿斯•斯塔克的门德尔松的 Variations Concertantes。当他用一种毫无畏惧的技巧演绎着这一篇章时，其中透露出一种欢愉和孩童般的玩耍之气，他总是在转折之处掷地有声却又不失巧妙。。。。。。随后，在门德尔松暴风雨般的小小高潮后，西波克又回到原来的主题，伴随其间的是在一些重要音符上极其微小却令人喜爱的小小停顿---令我不由得仿佛回到了那些与他一同度过的美妙时光。（当然，这整张专辑都是极为直翻反复回味的）
youtube上还有他这张专辑的录音室版本，我认为这一版本捕获住了其对于音乐演奏的某种纯净和简单之心（他本人是非常不屑于自己所录制的这张专辑的），此外youtube上还有一段他用风弦琴演奏练习曲的视频，其中你可以清楚的看到他那副神奇的双手是如何优美而流畅的弹奏的。
我相信在奥柏林的档案馆中，一定还存有西波克在20世纪90年代早期演奏的记录，即我在这篇文章中所提及的那个对生命造成重大转变的再演。我是如此的畏惧，使得我再不敢再次聆听。（DC）
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