标题：原创翻译-------Sviatoslav Richter

Sviatoslav Richter, widely regarded as one of the finest Russian pianists of the twentieth century, was born in Zhitomir, in the Ukraine, on March 20, 1915. His father, Theophile, was an organist and gave the young Sviatoslav his early musical training. Richter’s mother, Anna, was a talented artist who loved music and was related to the Swedish soprano Jenny Lind. The young Richter was essentially self-taught and developed his exceptional technique by playing whatever music he liked. By the age of eight he was playing opera scores, including the music of Richard Wagner. He had the ability to memorize any music at sight. Richter grew up in Odessa, where his father taught at the Conservatory. Also growing up in Odessa at the same time were Emil Gilels and David Oistrakh, who would later become Richter’s chamber-music partner. During these years he was a “repetiteur,” or rehearsal pianist, in Odessa. His debut as a soloist came on February 19, 1934, at the Odessa House of Engineers. The program included the Chopin Ballade no. 4, Polonaise-fantaisie, and E Major Scherzo, as well as a selection of Nocturnes, Etudes, and Preludes, all difficult pieces. The recital was a great success and Richter’s career as virtuoso was under way. In 1937 Richter left Odessa for Moscow to study with the great pianist and pedagogue Heinrich Neuhaus. Richter did not take the entrance exam at the Conservatory. He simply asked Neuhaus to teach him. Neuhaus listened to his playing and said, "Here is the pupil for whom I have waited all my life. In my opinion, he is a genius." Neuhaus declared that he had nothing to teach Richter but accepted him as a pupil anyway. On November 26, 1940, while still a student at Moscow Conservatory, Richter made his Moscow debut. Here he gave the first public performance of the Prokofiev Sonata No. 6 and made a highly favorable impression on both the audience and the composer. When Prokofiev completed his Seventh Sonata in 1942, he gave it to Richter for the premiere. Richter learned the piece in only four days, and performed it the following January. Richter also gave the first performances of Prokofiev’s Eighth and Ninth Sonatas, the last of which was dedicated to Richter. Richter’s first competition victory came in 1945, in the All-Union Contest of Performers. The jury was headed by Dmitri Shostakovich and included Gilels. Richter took first prize. Shostakovich later wrote: "Richter is an extraordinary phenomenon. The enormity of his talent staggers and enraptures. All the phenomena of musical art are accessible to him." Richter went on the win the Stalin Prize in 1949, as well as every kind of official and unofficial recognition from the Soviet government. In 1945 Richter was accompanist to the Russian soprano Nina Dorliak in a program that included songs by Rimsky-Korsakov and Prokofiev. This was the first meeting in an association that would last the rest of their lives. Richter and Dorliak were never officially married, but they were constant companions. She was the practical counterbalance to his impulsive nature. She would wind his watch for him, remind him of appointments, and manage his professional commitments. While a juror at the First Tchaikovsky Competition in 1958 in Moscow, Richter was so impressed with Van Cliburn’s playing that he awarded Cliburn one hundred points out of a possible ten. Cliburn won, but Richter was never asked to sit on a jury again. Listeners in the West had their first opportunity to hear Richter through recordings in the 1950s, and his reputation among the cognoscenti grew quickly. When Gilels toured the U.S. in 1955 his response to critics who praised his performances was: "Wait until you hear Richter!" The great impresario Sol Hurok tried to arrange a tour, but it was a few more years before the Soviet government would permit it. During the 1950s Richter toured the Communist countries of Eastern Europe, but it was not until May 1960 that he was allowed to travel to the West, and then only as far as Helsinki. Five months later he made his U.S. debut in Chicago. He played the Brahms Second Concerto, with Erich Leinsdorf conducting. A recording was made the following day, which remains in the catalog. His New York debut consisted of a series of seven recitals in ten days at Carnegie Hall in October 1960. The leading piano teacher at the Juilliard School, Rosina Lhevinne, praised it: "Richter is an inspired poet of music … an exceptional phenomenon of the twentieth century." Richter quickly was established in the first rank of performers and was very much in demand for recitals and recordings. He toured the world and performed with major orchestras, but soon decided that he did not want to continue this life style. It was against his nature to make so many commitments years in advance. He preferred to follow his impulse and explore new repertoire. In 1964 Richter and EMI recording producer Jacques Leiser established an annual festival, the Fetes Musicales en Touraine at Meslay, near Tours. Richter would spend every summer in the French countryside and give many concerts with fellow musicians, including Benjamin Britten, David Oistrakh, and Pierre Fournier. Richter loved France and spent thirty summers there. In addition to his career as pianist, Richter pursued painting. He produced many splendid watercolors. He also made one appearance as conductor, in 1952. This was the result of a minor injury to a finger. Richter was afraid that he would never play piano again and studied conducting for some weeks. The finger recovered quickly, and after one performance, the Prokofiev Symphony-Concerto with Mstislav Rostropovich, Richter returned to the keyboard. He loved the operas of Wagner, Tchaikovsky, and Verdi, and often played them on the piano for friends. He disliked the telephone because he could not see the person he was talking to. He also disliked airplanes and preferred to travel by rail or car. But he loved to travel, and in 1986 he set out by car from Moscow to Vladivostok, on the Pacific, and gave concerts in many small towns along the way. During his later years he acquired a reputation for canceling engagements at the last minute, and for playing on very short notice, almost on a whim. In fact, Richter followed his muse and lived a precarious life style. When he needed money he would give a concert. For most of his life, Richter was an excellent sight-reader and could immediately play pieces he had never seen or heard. After 1980, following an embarrassing memory lapse, he almost always played from the score. In his last years he would go so far as to have all the lights in the recital hall turned off, except for a small lamp on the music stand, so the audience would be completely in the dark. This served to concentrate the listener’s mind on the music. Richter’s last concert was in Lubeck, Germany, at the end of March 1995. He was eighty years old and in poor health. On the program were three Haydn Sonatas and the Beethoven Variations of Max Reger. Richter died in Moscow on August 1, 1997.

全文翻译如下： Sviatoslav Richter，1915年3月20日生于乌克兰，Zhitomir，被广泛誉为20世纪最伟大的俄罗斯钢琴家之一。他的父亲，Theophile，作为一个手风琴师，给予了年幼的李赫特早期的音乐教育。他的母亲安娜，是个热爱音乐的天才艺术家，她与瑞典女高音艺术家Jenny Lind是亲戚。年轻的李赫特通过自学其喜爱的音乐发展其演奏技巧。八岁时，他即开始演奏包括瓦格纳歌剧在内的歌剧乐谱。他拥有记住仅仅见过一次的乐谱的非凡能力。 李赫特在奥德萨长大。同时，其父亲在那里的音乐学校教学。与李赫特同时代在奥德萨的Emil Gilels和David Oistrakh，后来成为其室内乐的合作伙伴。这些年中在奥德萨，李赫特是一个歌剧合唱团的声乐教师或者陪练钢琴师。他第一次作为一个独奏钢琴师出现是在1934年2月19日举行的奥德萨工程师协会的聚会上。他的演奏包括：肖邦叙事曲op4，幻想波兰舞曲，E大调谐谑曲，还有一些夜曲、练习曲、前奏曲中所有难的片断。演奏会获得了空前的成功，李赫特作为一名著名钢琴演奏家的道路也就这样开始了。 1937年，李赫特离开奥德萨，到了莫斯科，在伟大的钢琴家和教育家Heinrich Neuhaus门下学习。李赫特免试进入大学，只是要求在Neuhaus门下学习。Neuhaus在听了李赫特的演奏之后，大发感慨：“这正是我毕生所等待的学生啊。我认为，他是个天才。”Neuhaus宣称没有什么可以教给李赫特的，但是仍然把他收在门下。1940年11月26日，李赫特还是莫斯科音乐学院在校学生的时候，他就完成了他在莫斯科的首场演出。在这里，他第一次公开演奏了普罗科菲耶夫的奏鸣曲no.6,并且给作曲家和所有听众留下了深刻印象。当普罗科菲耶夫在1942年完成他的第七奏鸣曲的时候，他把乐曲交给李赫特首演。李赫特在短短四天之内掌握了这支曲子，并在第二年的一月份演出。李赫特也首演了普洛克菲耶夫的第八、第九奏鸣曲，其中第九奏鸣曲是专门献给李赫特的。 李赫特在1945年的全苏演奏家比赛上获得他的初次比赛成功，并获得头奖。评审团成员包括Gilels，并由Dmitri Shostakovich担任主席.肖斯塔克维奇后来写道：李赫特是一个极其非凡的人，他的才能使人吃惊并且狂喜，所有的音乐艺术中的技巧他都可以轻易掌握。李赫特继续在1949年赢得斯大林奖，并且从苏联政府获得每一个官方和非官方比赛的奖项。 在1945年，李赫特为一个演唱里姆斯基-克萨科夫、普洛克菲耶夫作品的女高音歌唱家Nina Dorliak进行伴奏。这是他们的第一次会面，这一次见面使他们的亲密关系持续了一生。李赫特和Dorliak从没有正式的结婚，但是他们是最忠实的的朋友。她老练的实践经验是对李赫特冲动天性的有效弥补。她会为他调整时间、提醒他约会，并且处理他的专业方面的事务。 李赫特作为评审团成员之一出现在1958年莫斯科的第一届柴科夫斯基比赛中。他被Cliburn的演奏深深的打动，并且违反常规（10分为满分）的给他100分。Cliburn最终赢得比赛，但是李赫特再也没有被邀请出现在评委席上。 （未完，待续） 翻译者：styx_sean choison 水平有限，不当之处，恳请指正。Thanks. 译文版权所有：东北师范大学音乐学院音院论坛 转载请注明出处，否则后果自负。

不错，支持！！！不过似乎译文和原文同步就好了，你觉的呢？

"他的演奏包括：肖邦叙事曲op4，幻想波兰舞曲，E大调谐谑曲，还有一些夜曲、练习曲、前奏曲中所有难的片断"

没详细看完， 不过这句加横线处翻译欠妥：应翻译作“他的演奏包括：肖邦叙事曲op4，幻想波兰舞曲，E大调谐谑曲，还有一些夜曲、练习曲、前奏曲， 全都是艰辛的曲目”

"肖邦叙事曲op4"也是一个错误，应为“第4叙事曲”。

oh, i didnt notice that. emmm, that's an error

不好意思！呵呵！太仓促了~多谢！

恩 本站第一篇翻译 支持！希望经常来翻译一些文章！

还是很好的，继续努力，你是最棒的，你知道吗？

好呀~我也開始認識他了...