  朗帕尔说：我从来不做“长笛匠”——像“钢琴匠”一样。我认为这是可怕的。有些人——他们只想着他们的乐器。我并非那样喜爱长笛。我演奏它——好，我用它投入地表达我自己——但我可以拉小提琴来表达。对我来说，长笛不是终点。从来不是。借着今天的文章，给大家出几道题，欢迎文末留言作答：1、世界三大长笛大师都有谁？欢迎不同答案；2、1947年朗帕尔在哪个国际比赛获大奖？3、日本长笛演奏家谁，是朗帕尔的得意门生？4、你最喜欢的长笛演奏家是谁？最喜欢的作品是什么？ Jean-Pierre Rampal, interview by Stephen Johnson 史蒂芬.约翰逊采访让-皮埃尔.朗帕尔令人心醉的三大长笛大师丨格拉夫、朗帕尔与尼克莱 Gramophone, February 1992 （《留声机》1992年2月） 'As you know, I always get stuck when I have to write for the same instrument (one I cannot stand) all the time...' Those words of Mozart to his father, written while he was struggling to complete a series of pieces for the Dutch flautist Dejean, have been taken time and again as his final judgement on the flute –a fact that makes Jean-Pierre Rampal see deepest red. He pours out his indignation in wonderfully French English. 'No, no, no! Mozart was –how do you say –volatile. He didn't like this amateur flautist, and he had to turn out all these pieces for money. In the middle of this he tells his father that he hates the flute! But if you look at the music you can see that he understood it, technically, expressively. And then you listen to those last piano concertos –the flute parts so beautiful, so full of humour and love. This man hated the flute? Impossible.' “如您所知，当我不得不总是为同一件乐器(一件我无法认同的乐器)写作时，我总是卡壳……”莫扎特对他的父亲这样说，当时他正在为荷兰长笛演奏家德甘公爵（Dejean）父女完成一系列作品，这已经是他最后一次评判长笛，在此之前他不止一次发表过此类言论——这使让-皮埃尔·朗帕尔(Jean-Pierre Rampal)极其不满。他用极流利的法式英语表达了他的愤慨。“不,不,不!莫扎特是——怎么说呢——不能就此定论。他不喜欢这个业余的长笛手，可他又不得不把所有这些作品换成钱。这期间，他告诉他的父亲自己讨厌长笛!但如果你看看音乐，你就会发现他在技术上、表现上都了如指掌。然后你听听他晚期的钢琴协奏曲——长笛声部如此美丽，充满幽默和爱。这个人讨厌长笛吗?绝无可能。”  Point taken, but isn't there just a hint of defensiveness here –the champion protecting the honour of his beloved instrument? 'Again no. I never make 'flutism' –like 'pianism'. I think it's horrible. Some people –they think only about their instrument. I'm not so in love with the flute. I play it –OK, I express myself musically with it –but I could play the violin. Flute is not an end for me. It never was.' 有一点需要注意，这里就没有一点防御的迹象吗?冠军维护他心爱的乐器的荣誉?“仍然是不。我从来不做“长笛匠”——像“钢琴匠”一样。我认为这是可怕的。有些人——他们只想着他们的乐器。我并非那样喜爱长笛。我演奏它——好，我用它投入地表达我自己——但我可以拉小提琴来表达。对我来说，长笛不是终点。从来不是。  So why then was he drawn to play it if not by some special magnetism? 'It was my father. He was my teacher and my hero. I wanted to do like him. He was still playing the flute at 85 –until a year before his death. In our holidays in Corsica we would play together. But he didn't force me to play the flute. No, I had to force him to teach me. Perhaps if he had tried to make me play flute it would have been different. Also I admired very much the great flautist Marcel Moyse. He and my father had the same teacher. This was the man who opened the door for so many of my generation. Still at first I only wanted to be a musician –and even to decide this took some time. For a while I thought that I could be a doctor.' 那么，如果没有什么特殊的吸引力，他为什么会被吸引来演奏长笛呢?“我的父亲就是这样的人。他是我的老师和英雄。我真想做得和他一样。他八十五岁时仍然在演奏长笛，直到他去世前一年。在科西嘉度假时，我们一起演奏。但他没有强迫我演奏长笛。相反，我不得不强迫他教我演奏长笛。或许假如他设法让我演奏长笛，情况可能会不一样。  我也很钦佩伟大的长笛演奏家马萨尔·莫伊斯（Marcel Moyse，法国长笛一代宗师，上图）。他和我父亲的老师是相同的。这就是为这么多我们这一代的人打开大门的人。起初，我只是想成为一名音乐家，甚至还花了一段时间才作出决定。有一段时间，我觉得我可以成为一名医生。  Surely though the personality of the instrument he chose can't have been irrelevant. For many the flute has a strongly defined character –or at least the overwhelming proportion of flute music has. Some would say that it's a very restricted character –that there are certain things that the flute does very well and plenty more that it can't do at all. 'It's true. But it can be a very deep character –not just impressionism, delicacy, painting moods of antiquity, but also it can be very serious and tragic. Verdi sometimes uses the flute in a very significant, dramatic way. The flute can show you everything of humanity, from death to love –to sex. Look at Mozart!' 当然，他所选择的乐器的个性也不可能是无关痛痒的。对许多人来说，长笛具有强烈而清晰的特征——或至少长笛音乐中绝大多数是这样。有些人或许会说，这是一个非常受限制的角色——有长笛做得很好的确定的事情，还有很多事情它根本无法做到。“这是事实。但长笛可以成为一个非常深刻的角色——不只是印象派、美食、古色古香的油画，也可能是非常严肃的和悲剧性的。威尔第（Verdi）有时以非常意味深长地、戏剧性的方式使用长笛。长笛可以向你展示人类的一切，从死亡到爱甚至性。看看莫扎特!”
There is an interesting opportunity to do just that in Rampal's latest disc, where Mozart's Concertone for two violins, K190, is played in an arrangement for two flutes and orchestra –the other soloist is the Japanese flautist Shigenori Kudo. Mozart may not have made the transcription himself but, says Rampal, it's legitimate 18th-century practice, and the solo writing –not particularly violinistic in the first place –transfers well. He's also rather proud of his discovery of the Double Concerto by Domenico Cimarosa. 'He didn't write so much only instrumental music, but this concerto is really a very good piece. All the themes you remember. Lots of music in the 18th century is written to formulas, but this is imaginative and full of fine melodies.' 在朗帕尔的最新唱片中，他有一个有趣的机会去尝试，即按两支长笛和管弦乐队的编排来演奏莫扎特的双小提琴协奏曲（K190）——另一位独奏家是日本长笛演奏家工藤重典（Shigenori Kudo，朗帕尔的得意门生，下图）。
朗帕尔说，莫扎特可能没有自己抄写自己的乐谱，但是这是18世纪的传统做法，独奏者——第一位抄写的不见得是为小提琴的——抄录的得很好。他还为自己在多美尼科·奇马罗萨的双重协奏曲中的发现而感到相当骄傲。“他没有写那么多器乐作品，但这首协奏曲的确是一首非常棒的曲子。所有主题都令人回味。18世纪的很多音乐都是用固定套路写的，但这首却富有想象力，充满了美妙的旋律。”
Formulaic or otherwise, 18th-century music is what Rampal's latest disc is all about: apart from the Mozart and Cimarosa works there are concertos for two flutes by Vivaldi and Anton Stamitz. Is he at all interested in the 18th-century flute itself'? 'In the music yes, but I belong to those people who at that time were fighting to get a better instrument. That's what they wanted and I don't think it's fair to try to destroy what has been achieved. I don't believe you will play with better style or better feeling on a baroque or classical flute. Yes, it is wonderful to hear again instruments like the harpsichord, the viola da gamba, the recorder –they were never replaced. But the transverse flute –it was improved. Again you look at Mozart. He spent a fortune because every time there was a new fortepiano on the market he was buying it –he thought that it would be better than the last one. For many flautists it was the same.' So is there nothing to be learned from a period instrument? 'Maybe there are some things to be learned-but I will not make my life of this.' 拘泥一格或者截然相反，18世纪的音乐是朗帕尔最新唱片的全部内容:除莫扎特和奇马罗萨的作品之外，还有维瓦尔第（Vivaldi）和安东.斯塔米茨（Anton Stamitz）为两支长笛而作的协奏曲。他完全是对18世纪的长笛本身感兴趣吗?“在音乐中是这样的，但我属于当时那些为获得更好的乐器而奋斗的人。这就是他们想要的，我不认为试图摧毁业已获得的成果是公平的。我不相信你用巴洛克或古典长笛可以演奏出更好的风格或更好的感觉。是的，再次听到像羽管键琴、低音维奥尔琴、竖笛这些乐器的声音施美妙的，它们无可替代。但是横笛——它已经被改进了。再来看看莫扎特。他花费了一大笔钱，因为每当市场上有一架新的古钢琴，他就会买来——他认为会比上一架要好。对许长笛手来说是一样的。”那么，在时代乐器里，难道没有什么可学的吗? “也许有些可学的——但我不会让我的生活变成这样。”
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