愛樂線索VS拒絕拉赫瑪..." />
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ps臨摹字幕
2024-09-15 17:39:36
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劇情簡(jiǎn)介
ps臨摹字幕劇情介紹:
愛樂線索VS拒絕拉赫瑪尼諾夫和肖邦的鋼琴家
在聽一張來(lái)自?shī)W地利的“旅行歲月”的褐灰色的“錄音暗盒”，事實(shí)上如同你喜歡的肖邦或拉赫瑪尼諾夫，每天早上醒來(lái)時(shí)，你基本上不知道你該聽什么唱片，哪一張仍然肯將你的鄉(xiāng)愁留在夢(mèng)里的唱片，如同這位75歲的鋼琴家不知道他今天早晨會(huì)彈奏哪一首鋼琴奏鳴曲，或者，來(lái)自故鄉(xiāng)奧地利的錄音師不知道在奔往音樂會(huì)現(xiàn)場(chǎng)的路上該攜帶哪一款數(shù)碼照相機(jī)，在閃爍著異國(guó)冷光的路口該上哪一輛出租汽車，每一個(gè)路人擦肩而過(guò)的流亡口音都如同不被許可運(yùn)帶的“波利尼大提琴”。
關(guān)于阿爾弗雷德·布倫德爾的鋼琴知識(shí)分子的“莫扎特孩子”，你昨天寫在家具提貨單上的一句詩(shī)已經(jīng)使他的鋼琴鏡像模糊不清，“由春入夏的繁盛命令大地已經(jīng)藏起了她的凋零”。所以在這張你從來(lái)不聽的唱片前，在被那位鋼琴家一直“視為畏途”的勃拉姆斯面前，你的“流亡記憶”找到了那藏在歐洲知識(shí)分子鋼琴主張里的“學(xué)術(shù)殺機(jī)”：在這位叫阿爾弗雷德·布倫德爾的75歲老人面前，這位“被人認(rèn)出”的“拒絕拉赫瑪尼諾夫和肖邦的鋼琴家”，其實(shí)無(wú)時(shí)無(wú)刻不在“拉赫瑪尼諾夫和肖邦”。在他早上醒來(lái)練琴時(shí)，他在每一秒不經(jīng)意的獨(dú)奏聲音書寫中，每一曲加入的都是他理解之中的舒伯特，和他理解之上的“拉赫瑪尼諾夫和肖邦”。在他“拒絕”拉赫瑪尼諾夫和肖邦的進(jìn)程中，其實(shí)他的每一曲都是他彈出的不為人知甚至不為己知的拉赫瑪尼諾夫和肖邦。他是每一曲的肖邦、夜夜的肖邦。只有在拉赫瑪尼諾夫和肖邦的“異聲”里，他才找到了他的流亡的鋼琴家的新身份。
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