人生的关是过不完的，等到过得差不多的时候，又要离开世界了。
我从来没爱你像现在这样爱得深切，而正在这爱得最深切的关头，偏偏来了离别！（我很幸运，当克雷需要妈的时候，我当了妈，等他不需要，我坦然可以放手）
园丁以血泪灌溉出来的花果迟早得送到人间去让别人享受 （我巴不得他出去经风雨，我好歇息，缓一下）
幸亏你得天独厚，任凭如何打击都摧毁不了你 ( 幸亏克雷天赋异禀， 性格好，外柔内刚, 那么多不顺和苦难都没耽误他当万人迷)
好像克利斯朵夫的母亲独自守在家里 （让克雷和我再看克里斯朵夫）
你这个年纪是一切向前往的，不愿意回顾的；我们噜哩噜苏的抖出你尿布时代的往事，会引起你的憎厌。
我高兴的是我又多了一个朋友；儿子变了朋友，世界上有什么事可以和这种幸福相比的！
Hindmith[亨德密特]④ 的乐理明日即寄出。
要叫克雷开始读诗词，
牛听贤郎妙奏
处处都要靠你个人的毅力、信念与意志——实践的意志。
“盛名之下，其实难副”
我想你心目中的上帝一定也是Bach[巴哈]①，Beethoven[贝多芬]②，Chopin[萧邦]等等第一，爱人第二。既然如此，你目前所能支配的精力与时间，只能贡献给你第一个偶像，还轮不到第二个神明。
我以前常和你说的，只有事实才能证明你的心意，只有行动才能表明你的心迹。待朋友不能如此马虎。生性并非“薄情”的人，在行动上做得跟“薄情”一样，是最冤枉的，犯不着的。正如一个并不调皮的人耍调皮而结果反吃亏，一个道理。
一切做人的道理，你心里无不明白，吃亏的是没有事实表现；希望你从今以后，一辈于记住这一点。大小事都要对人家有交代！
。不能充分掌握时间与区别事情的缓急先后，你的一切都会打折扣。
人生的苦难，theme[主题]不过是这几个，其余只是variations[变奏曲]而已。
痛苦的经验，大概又使你灵智的长成进了一步。你对艺术的领会又可深入一步。我祝贺你有跟自己斗争的勇气。一个又一个的筋斗栽过去，只要爬得起来，一定会逐渐攀上高峰，超脱在小我之上。辛酸的眼泪是培养你心灵的酒浆。不经历尖锐的痛苦的人，不会有深厚博大的同情心。
多用理智，少用感情，当然，那是要靠你坚强的信心，克制一切的烦恼，不是件容易的事，但是非克服不可。
“你车上的信写得很有趣，可见只要有实情、实事，不会写不好信。你说到李、杜的分别，的确如此。写实正如其他的宗派一样，有长处也有短处。短处就是雕琢太甚，缺少天然和灵动的韵致。但杜也有极浑成的诗，例如“风急天高猿啸哀，诸清沙白鸟飞回，无边落木萧萧下，不尽长江滚滚来……”那首，胸襟意境都与李白相仿佛。还有《梦李白》、《天末怀李白》几首，也是缠绵悱恻，至情至性，非常动人的。但比起苏、李的离别诗来，似乎还缺少一些浑厚古朴。这是时代使然，无法可想的。汉魏人的胸怀比较更近原始，味道浓，苍茫一片，千古之下，犹令人缅想不已。杜甫有许多田园诗，虽然受渊明影响，但比较之下，似乎也“隔”（王国维语）了一层。回过来说：写实可学，浪漫底克不可学；故杜可学，李不可学；国人谈诗的尊杜的多于尊李的，也是这个缘故。而且究竟像太白那样的天纵之才不多，共鸣的人也少。所谓曲高和寡也。同时，积雪的高峰也令人有“琼楼玉宇，高处不胜寒”之感，平常人也不敢随便瞻仰。
词人中苏、辛确是宋代两大家，也是我最喜欢的。苏的词颇有些咏田园的，那就比杜的田园诗洒脱自然了。此外，欧阳永叔的温厚蕴藉也极可喜，五代的冯延已也极多佳句，但因人品关系，我不免对他有些成见。“
（琴和诗词的关系： 都是玩意境， 玩创意， 让克雷做到人琴合一，不跟钢琴较劲，
《贝多芬传》
。把自己的思想写下来（不管在信中或是用别的方式），比着光在脑中空想是大不同的。写下来需要正确精密的思想，所以写在纸上的自我检讨，格外深刻，对自己也印象深刻。你觉得我这段话对不对？ （对，我总是头脑风暴，却懒于下笔）
你的感受性极强，极快。这是你的特长，也是你的缺点。你去年一到波兰，弹Chopin[萧邦]的style[风格]立刻变了；回国后却保持不住；这一回一到波兰又变了。这证明你的感受力快极。但是天下事有利必有弊，有长必有短，往往感受快的，不能沉浸得深，不能保持得久。去年时期短促，固然不足为定论。但你至少得承认，你的不容易“牢固执着”是事实。我现在特别提醒你，希望你时时警惕，对于你新感受的东西不要让它浮在感觉的表面；而要仔细分析，究意新感受的东西，和你原来的观念、情绪、表达方式有何不同。这是需要冷静而强有力的智力，才能分析清楚的。希望你常常用这个步骤来“巩固”你很快得来的新东西（不管是技术是表达）。长此做去，不但你的演奏风格可以趋于稳定、成熟（当然所谓稳定不是刻板化、公式化）；而且你一般的智力也可大大提高，受到锻炼。孩子！记住这些！深深的记住！还要实地做去！这些话我相信只有我能告诉你。
还要补充几句：弹琴不能徒恃sensation[感觉]，sensibility[感受，敏感]。那些心理作用太容易变。从这两方面得来的，必要经过理性的整理、归纳，才能深深的化入自己的心灵，成为你个性的一部分，人格的一部分。当然，你在波兰几年住下来，熏陶的结果，多少也（自然而然的）会把握住精华。但倘若你事前有了思想准备，特别在智力方面多下功夫，那末你将来的收获一定更大更丰富，基础也更稳固。再说得明白些：艺术家天生敏感，换一个地方，换一批群众，换一种精神气氛，不知不觉会改变自己的气质与表达方式。但主要的是你心灵中最优秀最特出的部分，从人家那儿学来的精华，都要紧紧抓住，深深的种在自己性格里，无论何时何地这一部分始终不变。这样你才能把独有的特点培养得厚实。
一到波兰，遇到一个如此严格、冷静、着重小节和分析曲体的老师，真是太幸运了。经过他的锻炼，你除了热情澎湃以外，更有个钢铁般的骨骼，使人觉得又热烈又庄严，又有感情又有理智，给人家的力量更深更强！我祝贺你，孩子，我相信你早晚会走到这条路上：过了几年，你的修养一定能够使你的brain[理智]与heart[感情]保持平衡。你的性灵越发掘越深厚、越丰富，你的技巧越磨越细，两样凑在一处，必有更广大的听众与批评家会欣赏你。
你此次上台紧张，据我分析，还不在于场面太严肃，——去年在罗京比赛不是一样严肃得可怕吗？主要是没先试琴，一上去听见tone[声音]大，已自吓了一跳，touch[触键]不平均，又吓了一跳，pedal[踏板]不好，再吓了一跳。这三个刺激是你二十日上台紧张的最大原因。你说是不是？所以今后你切须牢记，除非是上台比赛，谁也不能先去摸琴，否则无论在私人家或在同学演奏会中，都得先试试touch[触键]与pedal[踏板]。
：只要是真理，是真切的教训，不管出之于父母或朋友之口，出之于熟人生人，都得接受。别因为是听腻了的，无动于衷，当作耳边风！你别忘了：你从小到现在的家庭背景，不但在中国独一无二，便是在世界上也很少很少。哪个人教育一个年轻的艺术学生，除了艺术以外，再加上这么多的道德的？我完全信任你，我多少年来播的种子，必有一日在你身上开花结果——我指的是一个德艺俱备，人格卓越的艺术家！
艺术家特别需要冥思默想。老在人堆里（你自己已经心烦了），会缺少反省的机会；思想、感觉、感情，也不能好好的整理、归纳。
Krakow[克拉可夫]①是一个古城，古色古香的街道，教堂，桥，都是耐人寻味的。清早，黄昏，深夜，在这种地方徘徊必另有一番感触，足以做你诗情画意的材料。我从前住在法国内地一个古城里，叫做Peitier[贝底埃]，十三世纪的古城，那种古文化的气息至今不忘，而且常常梦见在那儿踯躅。北欧获特式（Gothique）建筑，Krakow[克拉可夫]一定不少，也是有特殊风格的
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Amid conflict with musicians’ union, Cliburn 2022 finals will not be broadcast on WRR
Dallas’ classical radio station has been broadcasting the final two concerts of the Cliburn since 2009.
Pianist Clayton Stephenson performed with the Fort Worth Symphony Orchestra and guest conductor Nicholas McGegan in the semifinal round of the 2022 Van Cliburn International Piano Competition on June 11, 2022 at Bass Performance Hall in Fort Worth.(Richard Rodriguez / Richard Rodriguez/The Cliburn)
By Tim Diovanni
4:29 PM on Jun 14, 2022 CDT
WRR-FM (101.1), Dallas’ classical radio station, will not broadcast the finals of the 2022 Van Cliburn International Piano Competition from Bass Performance Hall in Fort Worth this week, barring some last-minute resolution. The station has broadcast the final two Cliburn concerts and the awards ceremony since 2009.
It’s due to a conflict over pay between the Cliburn and the local chapter of the American Federation of Musicians. The union represents the musicians of the Fort Worth Symphony Orchestra, which is performing concertos with Cliburn competitors in the semifinal and final rounds.
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The orchestra musicians play a grueling schedule of wide-ranging repertoire, with limited rehearsal time. The Cliburn and the union negotiated an agreement last week that covered national and local radio broadcasts as well as livestreams.
Jacques Marquis, president and CEO of the Cliburn, said the union rates for the livestreams were higher than anticipated. The Cliburn then asked the union for a new clause specifically for the WRR broadcasts at a lower rate. The union denied the request because it had already agreed on a contract.
“Then money was left on the table because we had a decent proposal, I think,” Marquis said. “But at the end of the day, we have to run this business.”
Stewart Williams, president of the local American Federation of Musicians chapter, said the broadcast rate is about the same as it was at the 2017 Cliburn. But this year’s Cliburn has added a third concerto, in the semifinal round, to the traditional two in the finals.
“They’ve obviously prioritized streaming over radio broadcast,” he said, “and made this change at the last minute. Which has shocked us all.”
WRR has been in the news lately. Last week, the Dallas City Council voted unanimously to transfer management of the city-owned station to public television and radio operator KERA, ending a tumultuous yearlong process that saw the station face a possible sale.
WRR will remain a classical music station, but switch from a commercial to noncommercial format. KERA expects to assume management of WRR by December.
Related:Cliburn 2022 competition finals: Day 4 is a wrap, with the last three concertos
Details
The Cliburn performances will be livestreamed for free at cliburn.org, cliburn.medici.tv and youtube.com/thecliburn. 4K HDR video and surround-sound audio are available via subscription at hyfi.live/vancliburn.
For performance tickets and information on livestreams, call 817-738-6536 or go to cliburn.org.
Related:Cliburn 2022 announces six finalists after Saturday recitals
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Tim Diovanni, Staff Writer. Tim Diovanni is reporting on classical music in a fellowship supported in part by the Rubin Institute for Music Criticism, the San Francisco Conservatory of Music and the Ann and Gordon Getty Foundation. The News makes all editorial decisions.
tim.diovanni@dallasnews.com @howeyehearit
How do Cliburn finalists pick which piano to play in Fort Worth’s Bass Hall?
The six finalists are playing concertos with the Fort Worth Symphony Orchestra this week.
Clayton Stephenson from the United States plays the Gershwin Piano Concerto in F Major on a Steinway Hamburg piano with guest conductor Marin Alsop and the Fort Worth Symphony Orchestra on June 14, 2022 for the finals of the Sixteenth Van Cliburn International Piano Competition in Bass Performance Hall in Fort Worth, Texas.(Ralph Lauer / Ralph Lauer/The Cliburn)
By Tim Diovanni
9:00 AM on Jun 17, 2022 CDT
Unlike most musicians, pianists can’t easily bring their instruments with them when they travel. They must play whatever piano is available, and adjust accordingly.
In the final round of this year’s Van Cliburn International Piano Competition, at Bass Performance Hall in Fort Worth, competitors are selecting from two Steinways: a Hamburg and a New York. Most favor the German-made instrument, but some are in the New York camp.
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For Clayton Stephenson, the sole American in the finals, repertoire plays an important role in his decisions. He chose the Hamburg for both Gershwin’s Piano Concerto in F Major and Mozart’s Piano Concerto No. 21, he said, because it’s brighter and better suited for those works. If he had more time to prepare, he would have picked the New York for Rachmaninoff’s Third Piano Concerto, but is going with the Hamburg because he has more experience with that instrument.
Dmytro Choni, a Ukrainian pianist, chose the New York for all his performances in the semifinal and final rounds because he believes it projects better in the 2,000-seat Bass Performance Hall.
“I didn’t expect to choose the American one because I’m much more used to the European one,” he said. “But on this particular piano, I felt much more comfortable.”
Pianist Dmytro Choni performs Prokofiev's Third Piano Concerto on a Steinway New York piano with the Fort Worth Symphony Orchestra and guest conductor Marin Alsop in the final round of the 2022 Van Cliburn International Piano Competition, on June 15, 2022 at Bass Performance Hall. (Ralph Lauer/The Cliburn)(Ralph Lauer / Ralph Lauer/The Cliburn)
For the preliminary and quarterfinal rounds at Texas Christian University’s new Van Cliburn Concert Hall, though, Choni picked a Hamburg piano because he thought it was more suitable for a hall with just a third of the seating capacity of Bass.
Russian pianist Ilya Shmukler, on the other hand, picked the Hamburg for all of his Bass Hall performances because he thought that one projected better than the New York.
“The New York is so colorful and can produce a very beautiful sound,” he said. “But when we’re talking about a hall with 2,000 seats, we need something real big. That’s why I chose the Hamburg for all my semifinal and final rounds. I think I made the right choice.”
Picking the right piano, then, isn’t an exact science, and comes down to personal preference.
