ALICE SARA OTT, a German-Japanese pianist, has been impressing audiences and musicexecutives since 2002, when, at the age of 14, she was named the most promising artist inJapans Hamamatsu International Piano Academy competition. On August 8th she choseEdvard Griegs concerto in A minor for her Proms debut at Londons Royal Albert Hall.

　　愛麗絲.紗良.奧特,德國日籍鋼琴家， 自2002年，14歲的奧特在日本賓松國際鋼琴專業(yè)比賽上，被譽(yù)為最有潛力的鋼琴家之后，她一直受到觀眾和音樂專家的好評(píng)。今年的8月8日，奧特選擇了愛德華-格里格的A小調(diào)協(xié)奏曲，拉開了在倫敦皇家埃爾伯特音樂廳夏季鋼琴音樂會(huì)的序幕。

　　At 23, Ms Ott is just a year younger than Grieg, a 19th-century Norwegian composer, waswhen he penned his iconicand onlypiano concerto in 1868. Hugely popular, the piece hasbeen recorded by pianists as well known as Arthur Rubinstein and, more recently, Leif OveAndsnes. Ms Ott is used to comparisons with high-profile performers. Last November shereplaced an ailing Lang Lang at a days notice and performed Liszts first piano concerto withthe London Symphony Orchestra to critical acclaim. Even so, the Grieg was a brave choice.

　　奧特今年23歲，只比1868年的格里格小一歲，這位19世紀(jì)的挪威作曲家在當(dāng)時(shí)寫下了他的代表作也是唯一的鋼琴協(xié)奏曲。這首曲子隨即帶來很大反響，之后分別被著名的鋼琴家，例如阿瑟.魯賓斯坦，以及更近代一些的，利夫?奧韋?安茲涅斯重新錄制。人們把奧特和這些著名的演奏家們相比較。去年11月，她代替生病的朗朗，在演出前一天通知的情況下，與倫敦交響樂團(tuán)合作了李斯特的第一鋼琴協(xié)奏曲并獲得了好評(píng)。即便如此，選擇格里格的鋼琴曲也是一個(gè)勇敢之舉。

　　His concerto is performed so often that itsemotional depth can easily be overlooked. Yet theNorwegian was, above all, a master of the miniaturewith a particular ability to convey emotionalsubtlety within the confines of a single phrase orchord progression. Ms Ott, who always plays in barefeet, marked these nuances with an unusuallightness and a tenderness that is more oftenassociated with the intimacy of chamber music orsolo performances.

　　格里格的這首協(xié)奏曲被演奏了很多次，所以人們很容易忽視它的情感深度。但是這位挪威作曲家，卻擁有著特殊的才能，即使在單一樂句與和弦行進(jìn)的局限下，也能將細(xì)膩的情感濃縮到樂曲當(dāng)中。奧特一如既往赤腳上陣，輕盈而又柔和的詮釋著這些微妙的情感，這種演奏方式更容易讓人聯(lián)想到細(xì)膩的室內(nèi)音樂還有獨(dú)奏表演。

　　The slow theme of the third movement, first by the flute, then echoed in the piano part, laidbare the simple, tremolo harmonies of the string section and emphasised the delicate lyricismof the melody. Ms Ott was at her best in these moments, employing a lucid technique, warmtouch and close ensemble with the orchestra.

　　樂曲的第三樂章慢板，首先由長笛演奏旋律，然后加入鋼琴與長笛形成輪奏，平鋪直敘琴弦部分簡單的顫音和聲，著重刻畫柔和的抒情旋律。運(yùn)用嫻熟的技術(shù)，溫和的彈奏還有與樂隊(duì)緊湊的配合，奧特最擅長彈奏這種風(fēng)格的音樂。

　　A product of the late Romantic period, the concerto also has its heroic symphonic sections.Ms Ott delivered cascading double octaves, arresting chords and keyboard-sweeping arpeggioswith great control. The Royal Stockholm Philharmonic Orchestra also gave an impressiveperformance under Sakari Oramo.

　　作為浪漫晚期的作品，格里格的協(xié)奏曲也有英雄交響曲式的部分。為了詮釋這部分的音樂，奧特準(zhǔn)確地控制著和弦和琴鍵，如瀑布傾瀉一樣向下琶音彈奏兩個(gè)八度。皇家斯德哥爾摩愛樂管弦樂隊(duì)，在沙卡里.歐拉莫的指揮下，也為大家呈現(xiàn)了一場印象深刻的演出。

　　Ms Ott chose as her encore another popular concert-hall piece, Liszts Grandes ?tudes dePaganini No. 3, nicknamed La Campanella. Liszt, himself a piano prodigy, also adored Griegsconcerto. When he visited the Norwegian in Rome in 1870, he purportedly sight-read theconcerto in its entirety, leapt up in delight and exclaimed to Grieg, You carry on, my friend;you have the real stuff in you. And dont ever let them frighten you! These words could alsobe valid for the precocious Ms Ott. Her performance established her once again as an artistto watch.

　　奧特的返場曲目同樣是一首著名的音樂會(huì)演奏曲目。李斯特的主題大練習(xí)曲第三首諢名鐘。李斯特，作為一位鋼琴天才，也十分喜愛格里格的協(xié)奏曲。據(jù)說，他于1870年拜訪格里格時(shí)，就完整地試奏了這首奏鳴曲曲，彈完之后，他高興滴跳起來對(duì)格里格說：繼續(xù)寫下去，我的朋友，你有真材實(shí)料，盡情施展你的才華吧!這些話對(duì)天才奧特也同樣適用，她這次的演出使她再一次成為眾人矚目的藝術(shù)家。

　　ALICE SARA OTT, a German-Japanese pianist, has been impressing audiences and musicexecutives since 2002, when, at the age of 14, she was named the most promising artist inJapans Hamamatsu International Piano Academy competition. On August 8th she choseEdvard Griegs concerto in A minor for her Proms debut at Londons Royal Albert Hall.

　　愛麗絲.紗良.奧特,德國日籍鋼琴家， 自2002年，14歲的奧特在日本賓松國際鋼琴專業(yè)比賽上，被譽(yù)為最有潛力的鋼琴家之后，她一直受到觀眾和音樂專家的好評(píng)。今年的8月8日，奧特選擇了愛德華-格里格的A小調(diào)協(xié)奏曲，拉開了在倫敦皇家埃爾伯特音樂廳夏季鋼琴音樂會(huì)的序幕。

　　At 23, Ms Ott is just a year younger than Grieg, a 19th-century Norwegian composer, waswhen he penned his iconicand onlypiano concerto in 1868. Hugely popular, the piece hasbeen recorded by pianists as well known as Arthur Rubinstein and, more recently, Leif OveAndsnes. Ms Ott is used to comparisons with high-profile performers. Last November shereplaced an ailing Lang Lang at a days notice and performed Liszts first piano concerto withthe London Symphony Orchestra to critical acclaim. Even so, the Grieg was a brave choice.

　　奧特今年23歲，只比1868年的格里格小一歲，這位19世紀(jì)的挪威作曲家在當(dāng)時(shí)寫下了他的代表作也是唯一的鋼琴協(xié)奏曲。這首曲子隨即帶來很大反響，之后分別被著名的鋼琴家，例如阿瑟.魯賓斯坦，以及更近代一些的，利夫?奧韋?安茲涅斯重新錄制。人們把奧特和這些著名的演奏家們相比較。去年11月，她代替生病的朗朗，在演出前一天通知的情況下，與倫敦交響樂團(tuán)合作了李斯特的第一鋼琴協(xié)奏曲并獲得了好評(píng)。即便如此，選擇格里格的鋼琴曲也是一個(gè)勇敢之舉。

　　His concerto is performed so often that itsemotional depth can easily be overlooked. Yet theNorwegian was, above all, a master of the miniaturewith a particular ability to convey emotionalsubtlety within the confines of a single phrase orchord progression. Ms Ott, who always plays in barefeet, marked these nuances with an unusuallightness and a tenderness that is more oftenassociated with the intimacy of chamber music orsolo performances.

　　格里格的這首協(xié)奏曲被演奏了很多次，所以人們很容易忽視它的情感深度。但是這位挪威作曲家，卻擁有著特殊的才能，即使在單一樂句與和弦行進(jìn)的局限下，也能將細(xì)膩的情感濃縮到樂曲當(dāng)中。奧特一如既往赤腳上陣，輕盈而又柔和的詮釋著這些微妙的情感，這種演奏方式更容易讓人聯(lián)想到細(xì)膩的室內(nèi)音樂還有獨(dú)奏表演。

　　The slow theme of the third movement, first by the flute, then echoed in the piano part, laidbare the simple, tremolo harmonies of the string section and emphasised the delicate lyricismof the melody. Ms Ott was at her best in these moments, employing a lucid technique, warmtouch and close ensemble with the orchestra.

　　樂曲的第三樂章慢板，首先由長笛演奏旋律，然后加入鋼琴與長笛形成輪奏，平鋪直敘琴弦部分簡單的顫音和聲，著重刻畫柔和的抒情旋律。運(yùn)用嫻熟的技術(shù)，溫和的彈奏還有與樂隊(duì)緊湊的配合，奧特最擅長彈奏這種風(fēng)格的音樂。

　　A product of the late Romantic period, the concerto also has its heroic symphonic sections.Ms Ott delivered cascading double octaves, arresting chords and keyboard-sweeping arpeggioswith great control. The Royal Stockholm Philharmonic Orchestra also gave an impressiveperformance under Sakari Oramo.

　　作為浪漫晚期的作品，格里格的協(xié)奏曲也有英雄交響曲式的部分。為了詮釋這部分的音樂，奧特準(zhǔn)確地控制著和弦和琴鍵，如瀑布傾瀉一樣向下琶音彈奏兩個(gè)八度。皇家斯德哥爾摩愛樂管弦樂隊(duì)，在沙卡里.歐拉莫的指揮下，也為大家呈現(xiàn)了一場印象深刻的演出。

　　Ms Ott chose as her encore another popular concert-hall piece, Liszts Grandes ?tudes dePaganini No. 3, nicknamed La Campanella. Liszt, himself a piano prodigy, also adored Griegsconcerto. When he visited the Norwegian in Rome in 1870, he purportedly sight-read theconcerto in its entirety, leapt up in delight and exclaimed to Grieg, You carry on, my friend;you have the real stuff in you. And dont ever let them frighten you! These words could alsobe valid for the precocious Ms Ott. Her performance established her once again as an artistto watch.

　　奧特的返場曲目同樣是一首著名的音樂會(huì)演奏曲目。李斯特的主題大練習(xí)曲第三首諢名鐘。李斯特，作為一位鋼琴天才，也十分喜愛格里格的協(xié)奏曲。據(jù)說，他于1870年拜訪格里格時(shí)，就完整地試奏了這首奏鳴曲曲，彈完之后，他高興滴跳起來對(duì)格里格說：繼續(xù)寫下去，我的朋友，你有真材實(shí)料，盡情施展你的才華吧!這些話對(duì)天才奧特也同樣適用，她這次的演出使她再一次成為眾人矚目的藝術(shù)家。