声音简介
I stood up and walked into the living room, leaving the large French windows open so that he might hear me play it on the piano. He followed me halfway and, leaning on the windows’ wooden frame, listened for a while. “You changed it. It’s not the same. What did you do to it?” “I just played it the way Liszt would have played it had he jimmied around with it.” “Just play it again, please!” I liked the way he feigned exasperation. So I started playing the piece again. After a while: “I can’t believe you changed it again.” “Well, not by much. This is just how Busoni would have played it if he had altered Liszt’s version.” “Can’t you just play the Bach the way Bach wrote it?” “But Bach never wrote it for guitar. He may not even have written it for the harpsichord. In fact, we’re not even sure it’s by Bach at all.” “Forget I asked.” “Okay, okay. No need to get so worked up,” I said. It was my turn to feign grudging acquiescence. “This is the Bach as transcribed by me without Busoni and Liszt. It’s a very young Bach and it’s dedicated to his brother.”
我起身走进客厅，打开大落地窗，好让他听见我在钢琴上弹同一首曲子。他跟我走到半途，然后倚着木窗框听了一阵儿。“你改了。这不是同一首。你做了什么？”“我只是用李斯特的即兴风格来弹。”“再弹一次就是了，拜托！”我喜欢他假装恼怒的样子，所以我又重新开始弹这首曲子。过了一会儿。“我不敢相信你又改了。”“恩，一点点。这是类似布索尼改写李斯特版本的弹法。”“你就不能照巴赫写的来弹吗？”“可是巴赫从来没写过吉他的版本啊。说不定他根本不是写给大键琴的。事实上，我们甚至不确定这曲子究竟是不是巴赫写的。”“当我没求你。”“好啦好啦，不必这么激动啊。”轮到我假装勉强同意。“这是我改编的巴赫，没有布索尼和李斯特的成分。是年轻时的巴赫献给兄弟的作品。”
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