葛莉茉今年四十岁，生涯初期因受到钢琴名家巴伦波因、佛莱雪的讚誉而崭露头角。尤其她精湛的琴技、模特儿的外型，让她的录音遍及四大厂牌，并担任精品代言人。葛莉茉二~~四年出版的自传《野性的变奏》（Variation Sauvages）出版，内容让乐迷大吃一惊。原来这位天之骄女，因为童年时就有过动与强迫症，被同儕视为怪物。《野性的变奏》中文版目前在台发行。
葛莉茉出生法国南部的艾克斯普罗旺斯（Aix-en-provence），这里充满艺术气息，不但是印象派画家塞尚的故乡，每年的音乐节也吸引各地爱乐者。不过，葛莉茉七岁开始学钢琴，单纯是她的过动，父母希望藉此释放她的能量。
在小学课堂上，葛莉茉无法乖乖坐在椅子上，还会不停发问干扰上课。她还患有强迫症，书桌的两边摆的笔一定要一样多，衣橱里的衣服，一定要依颜色、大小、材料分门排列。
父母认为她的过动是精力过盛，透过学琴让她有发泄管道。「现代医学经常提出注意力不足过动症，我虽然过动，但不是注意力不足，而是专注过度。这样的特质，反而在我学琴的道路上有所帮助。」
因为专注，加上先天的好听力和节奏感，葛莉茉进步神速，十一岁就进入艾克斯音乐学院学习，十三岁获巴黎音乐学院破格录取。
除了过动、强迫症，葛莉茉还拥有少见的天赋异能─感觉相连症（ synaesthesia）。这代表著她的不同感官存在联通感觉，像是葛莉茉弹奏音符时，视觉上也会同步出现色彩。「我弹奏巴赫平均律，看到红和橘色，弹贝多芬《暴风雨》奏鸣曲看到黑和蓝，ｃ小调的音乐对我来说是黑色的。」
葛莉茉在廿多岁时人生又发生变化，从一位钢琴家成为保育狼群的先锋。一次她在美国佛罗里达，有天她出门遛朋友的狗，竟然遇上一位遛狼人士。她不知怎地被这隻狼吸引，更令她惊讶的是，这隻狼竟然开心地投入她的怀抱。那刻起，她自觉对狼有使命感，开始详读狼的书籍和文学，从此成为一位「狼女」。
她四处宣导狼群在生态平衡上的重要性，制止扑杀狼的暴行。葛莉茉更在纽约促成「狼群保护中心」成立，一九九七年开始，每年还邀请数千名美国儿童前来参观园区。
她用钢琴写诗，用狼的步伐奔驰世界
法国畅销160,000册，版权售出9种语言！
令人惊艳的自传，比本年度大部分的小说都还具故事性！——法国权威书评家Bernard Pivot
一本令人难以放下手的著作。——《狼图腾》作者姜戎
本书获法国在台协会「胡品清出版计画」支持出版
「我对童年没有任何怀念。」从第一个句子，伊莲．葛莉茉就为她令人惊讶的文字定了基调。这位当今国际乐坛最具有个人魅力和特质的法国钢琴家，小时候有过动与强迫症、自残倾向，父母为了让她发泄过剩精力而开始学钢琴。她一路走来千迴百转，经过展现惊人天赋的青少年阶段、和巴黎音乐界的决裂、自我放逐美国、在纽约的孤独与疑虑－－直到那天深夜和阿拉瓦相遇，那隻让她重生的母狼，唤醒她孤独和野性的本能，找到了内心的和谐。
葛莉茉拥有绝佳条件，不但技艺精湛、拥有好机运，还有惊为天人的美貌；成名过程相当传奇，十五岁灌录的第一张拉赫曼尼诺夫作品专辑，就夺得了法国年度唱片大奖。儘管是天之骄子，她却从不服从体制，坚持走出自己的路，现在是国际最受瞩目的女钢琴家，并在纽约设立了「狼群保护中心」，每年招待许多儿童参观。
这本以小说体裁写成的自传，穿插许多与动物、狼有关的神话、传说、文学典故等等，回顾了狼这物种被不公平地妖魔化的历史。文笔优美且具故事性，展现葛莉茉的广泛涉猎以及对於生命的省思。虚幻的动物，神祕的传说，艺术家、音乐家们少为人知的面目，各个不同的面相最后勾勒出一个叛逆者独一无二的影像。
《野性的变奏》是一曲对音乐、对自由的讚歌，一篇为狼、为保护大自然的捍卫书，也是一则给所有心里住著一个不听话小孩的人看的美丽故事。
罗曼罗兰说：「音乐家们总是比音乐本身有趣。」
在音乐的世界里，很少有人敢自己写传记，顶多是回忆录（经常是别人代笔），除非本身文采惊人，像法国的作曲家白辽士他的自传简直就是一本十九世纪的法国文化史，而他说为何要自己来写传记：因为别人对他有太多误解，乾脆自己来动笔，没有人能反驳，白辽士，真是一绝。然而当代的女钢琴家伊莲．葛莉茉，人生的旅程都还未过半（今年三十九岁），她亲自撰写的自传之阅读率可能与她音乐会的观眾出席率相提并论，而她可是目前全世界屈指可数仍然能有爆满观眾的演奏家呢！
艺术家的生活对一般人来说永远是一个谜。其实，就现实层面来说，是没有什么太特别，而不同的是，他们的心，一个像无尽大海般的世界，你不知道它有多深，也不知道里面藏了多少的宝藏？
葛莉茉就像你心目中法国女子的模样，一双湛蓝的眸子，自然的棕色头髮，瘦小的身躯，然而她指尖散发出的是像俄罗斯寒冬中最炙热的感人音符，她在传记中写到十几岁的她为了体验这个她最嚮往的文化，在母亲的陪同之下去莫斯科参加比赛，她诚实的道出一位年轻音乐家在找寻自我的挣扎，回到巴黎音乐院得到名师的赏识，与日本唱片公司签约，然而录音的过程，又让她痛苦不已，后来又在国际名家的推荐与保护之下，到美国演奏，却遇到影响她这一生最大的生命：一隻母狼。他们就像两个失散已久的熟悉灵魂团圆似的，彼此毫无恐惧的接纳对方，从那刻，葛莉茉似乎找到她从小一直在寻觅的答案，因为每个小孩的身体里都藏著一隻狼，它充满野性与热情，等待一个可以接纳它的世界。在书中，您会不停阅读到伊莲诉说人类与狼的故事，也许会觉得与那架黑色的大钢琴关联不大，然而一架钢琴，没有被演奏，是没有生命的，而伊莲要表达的是心里的那份与狼的和谐乐曲啊！而巧的是，这本书的英文版书名就称为《野性的和谐》。
葛莉茉从未得过任何一个国际性的钢琴大赛奖项，父母也是慈祥和蔼，出生在世人嚮往的渡假之地，拥有地中海型气候的法国南部，然而这些外在的环境，都没有牵绊一位等待翱翔的天才艺术家，她阅读的书籍从圣经到所有的古典文学名著，而且，她不是只有「读」，她融会贯通到钢琴的演奏里，这些看似理所当然的文化教育，其实应该就是让她成为今天能演奏，又能将心中的世界与外界以文字来沟通的全方面艺术家。最重要的，她拥有极佳的品味，这是在训练音乐家的过程中极容易被疏忽的一点，而葛莉茉因为从小奇特个性的使然，引导她走向内心的世界，成为一位早熟的艺术家，像世界顶尖的音乐家，指挥巴伦波音，钢琴家阿格丽希，小提琴家克莱曼等人，都待她为己出，就是因为他们都嗅到了她有与他们相同的特质，也就是所谓「只有天才，才能了解另一位天才」的最佳例子。
书的最后，葛莉茉语重心长的要小朋友们接触艺术，因为透过艺术，我们始能与大自然，整个宇宙相通，进而学会「感动」。
很喜欢她在前几年录制的专辑里引用诗人里尔克（R. M. Rilke）的话：「爱，是让他自由的飞翔。」而这本《野性的变奏》被法国最权威的书评家毕佛（Bernard Pivot）称为「一本令人惊豔的自传」，对於一位学音乐的人来说，也许里面多少也说著你的故事；而对於所有人来说，葛莉茉将会是你期待聆听的音乐家。因为她的故事就像海中美人鱼的歌声，你将会被它深深吸引住！
COMPOSER: Ludwig van Beethoven
TRACKS: Piano Concerto No.4 in G major op.58. Piano Sonata No.30 in E major op.109. Piano Sonata No.31 in A minor op.110.
ORCHESTRA: New York Philharmonic
CONDUCTOR: Kurt Masur
ARTISTS: Helene Grimaud
3984268692
Beethoven : Piano Concerto No.4, Piano Sonatas Opp190 & 110 / Helene Grimaud / Masur
贝多芬：第四号钢琴协奏曲、钢琴奏鸣曲 作品 119 & 110 / 葛莉茉(钢琴)、马舒(指挥)纽约爱乐
发行公司：warner music
演出者：贝多芬 Ludwig Van Beethoven、马舒 Kurt Masur、纽约爱乐管弦乐团 New York Philharmonic Orchestra
1-3 Beethoven : Piano Concerto No.4 in G major, op.58
4-6 Beethoven : Piano Sonata in E major, op.109
7-9 Beethoven : Piano Sonata in A flat major, op.110
Helene Grimaud
Kurt Masur / New York Philharmonic Orchestra
Performer: Hélène Grimaud
Orchestra: New York Philharmonic Orchestra
Conductor: Kurt Masur
Composer: Ludwig van Beethoven
Audio CD (September 17, 1999)
SPARS Code: DDD
Number of Discs: 1
Format: Import
Label: Teldec Classics
ASIN: B00001SIBN
Average Customer Review: 4.4 out of 5 stars
Grimaud Beethoven
Review by: Jed Distler
Artistic Quality: 8
Sound Quality: 8
Beethoven’s Fourth Concerto gets top billing on Hélène Grimaud’s first CD devoted to this composer’s music. The two late sonatas, however, wind up commanding our primary attention. Grimaud’s measured yet flowing tempos are perfectly suited to both opening movements’ improvisational intimacy. At the same time, the pianist calmly unravels the contrapuntal strands in the fugue of Op. 110, while maintaining the melodic fabric with the cloudy trills enveloping the final variation in Op. 109’s third movement. Given Grimaud’s stylish flair and digital assurance in these pieces, it’s surprising how she labors through some of the G major concerto’s upward runs in the first movement, and overpedals the quicksilver soloist/orchestra exchanges in the Rondo. Here Kurt Masur’s mainstream support comes to life, tapping into the music’s frolicking sensibility with crisp, pointed rhythms. In sum, this disc is worth investigating for the sonatas. For the concerto, stick with Fleisher/Szell (Sony), Gilels/Ludwig (Testament), or the miraculously detailed and ravishingly engineered Moravec/Turnowsky version (VAI).
Release Date September 21, 1999
Duration 01:13:22
Genre Classical
Styles Concerto Keyboard
Beethoven: Piano Concerto No. 4, Op. 58 Pianist – Hélène Grimaud
One of the great things about the internet, it seems to me, is the way it can lead you to discoveries that you might otherwise never have made. Much of the music and many of the musicians I have featured on this blog were just such discoveries. This video of Beethoven’s 4th concerto is another, and therein lies a story…
A little over a week ago, I was listening to Marc-Andre Hamelin’s performance of the Berg Sonata that I featured last month. When the video ended, there appeared on my screen a link to a performance of the same sonata by French pianist Hélène Grimaud. I clicked on it, and while listening, happened to see another link, this one to a documentary about Ms. Grimaud entitled “Living with Wolves”. Who could resist that? I clicked again, and watched the entire video, all 55 minutes of it. (That documentary, which is fascinating, can be seen here: http://www.youtube.com/watch?v=O23tQPJ9ZbY.)
A short segment of “Living with Wolves” made an especially strong impression on me. At 28:16 there is an excerpt from the second movement of Beethoven’s 4th piano concerto. I was struck immediately by the intimacy of Ms. Grimaud’s conception. I have heard many pianists perform this movement, but I have never heard the dialog between piano and orchestra rendered so movingly. The pleading of the piano, set against the stern remonstrations of the orchestra, is particularly memorable. I knew right away that I had made a great discovery, one that I wanted to share with readers of this blog.
In “Living with Wolves”, Ms. Grimaud comments about this concerto as follows:
The Beethoven 4th Concerto for me is just one of the most beautiful things ever written for piano and orchestra, and I really believe to this day is still one of the most original ones. I mean, if you think about how the concerto starts, which for the time was a revolution, with the piano beginning the piece, and then of course the format of the second movement, and this dialog, it really remains one of the most incredible things ever written. And it has a special place in my heart amongst the five concerti. It’s for me the most – this is going to sound bizarre – the most different. They’re all different, of course, but this one really stands aside in the quality of expression and the sort of philosophical quality to the concerto. For me, it’s a concerto that takes place already beyond the basic human emotions, unlike the other four.
I can add only that Ms. Grimaud’s feelings about this concerto are captured beautifully in this video. And to think I might never have heard it, or of Hélène Grimaud for that matter, if not for YouTube and the internet. Truly, these are great days we live in!
In this performance, Christoph Eschenbach conducts the Orchestre de Paris in 2001 at the Royal Albert Hall in London.
专辑曲目:
1. Piano Concerto No.4 in G major Op.58 : I Allegro moderato
2. Piano Concerto No.4 in G major Op.58 : II Andante con moto
3. Piano Concerto No. 4 in G Major, Op. 58: III. Rondo - Vivace
4. Piano Sonata No.30 in E major Op.109 : I Vivace, ma non troppo
5. Piano Sonata No.30 in E major Op.109 : II Prestissimo
6. Piano Sonata No.30 in E major Op.109 : III Andante molto cantabile ed espressivo
7. Piano Sonata No.31 in A flat major Op.110 : I Moderato cantabile, molto espressivo
8. Piano Sonata No.31 in A flat major Op.110 : II Allegro molto
9. Piano Sonata No.31 in A flat major Op.110 : III Adagio, ma non troppo
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