向《音响二十要》开炮！ [复制链接]

不耍嘴皮子，有本事把福尔曼的音色还原出来，给个链接：
http://item.taobao.com/item.htm?id=15885416505

Both of Feuermann's parents were amateur musicians. Feuermann's father, who played the violin and cello, was his first teacher. Feuermann's older brother Sigmund was also musically talented and their father decided to move the family to Vienna in 1907 so that Sigmund could launch a career. At the age of nine, Feuermann received lessons from Friedrich Buxbaum, principal cello of the Vienna Philharmonic, and then studied with Anton Walter at the Music Academy in Vienna. In February 1914, at age eleven, he made his concert debut, playing Joseph Haydn's Cello Concerto in D major with the Vienna Philharmonic conducted by Felix Weingartner.
In 1917, Feuermann went to Leipzig where he studied with the legendary cellist Julius Klengel. In 1919 cellist Friedrich Wilhelm Ludwig Grützmacher (1866–1919), the nephew of Friedrich Wilhelm Grützmacher, died, and Klengel recommended Feuermann for Grützmacher's position at the Gürzenich Conservatory in Cologne. Feuermann also became principal cellist of the Gürzenich Orchestra, by appointment of its conductor (who was also the conservatory director) Hermann Abendroth. Feuermann also, as part of the position, became cellist of the Bram Elderling Quartet. At this time, he also joined a short-lived piano trio with his brother and Bruno Walter, the latter on piano.
In 1929, Feuermann became professor at the Musikhochschule in Berlin where he taught for the next four years. His musical collaborations during this time included violinists Carl Flesch, Szymon Goldberg, Joseph Wolfsthal and Paul Hindemith, who played the viola in a string trio with Feuermann and Wolfsthal. Other collaborators included Jascha Heifetz, William Primrose, and Arthur Rubinstein.
On April 3, 1933, the rise of Nazism led to his being dismissed from his position at the Berlin Conservatory because of his Jewish background. He moved to London, along with Goldberg and Hindemith. He toured Japan and the United States (New York City). He then returned to Europe, where he married Eva Reifenberg in 1935. He played the solo part in the premiere of Arnold Schoenberg's Cello Concerto with Thomas Beecham conducting. He moved for some time to Zürich, but happened to be in Vienna at the time of the Anschluss. Bronislaw Huberman helped Feuermann and his family escape to British Palestine. From there they moved to the United States in 1937.
He taught privately and at the Curtis Institute of Music until his death. Among his notable pupils were Bernard Greenhouse, Suzette Forgues Halasz, Aldo Parisot, Alan Shulman, David Soyer, and August Wenzinger.
In the US, he made numerous legendary chamber-music recordings with Jascha Heifetz, Arthur Rubinstein and others. His relationship with Paul Hindemith suffered when Hindemith chose Gregor Piatigorsky to premiere his Cello Concerto.[1]
Feuermann died in 1942 due to complications in a surgical operation for haemorrhoids.[2]

先生，我辛苦找资料回答你前半部分问题，希望我们在此基础上，共同学习、领会，福尔曼的大提琴艺术，并根据前人的可靠资料记载在音响器材中寻回他富有魔力般磁性而浪漫的歌声。

保罗 卡萨尔斯说：“福尔曼是一位伟大的艺术家！他的早亡是音乐界巨大损失。“
克伦格如此评价福尔曼：“所有那些被托付给我的可爱年亲人和倍受赞赏的艺术家中，从未有过（像他那样）这样的天才。”
请稍等，我继续给你翻译。

（福尔曼去世后）他的荣誉护柩者行列包括的一些伟大音乐家，其中钢琴家有：鲁道夫 塞尔金、阿图尔 施纳贝尔，小提琴家有：米沙 埃尔曼、布罗尼斯拉夫•胡伯曼，指挥家有：乔治 赛尔、尤金 奥曼迪、阿图罗 托斯卡尼尼；在游行中，托斯卡尼尼跪倒并哭道：这是谋杀！

呵呵，听说过这些故事吗？通过这些吊念者名单，你难道没有发现其中的规律和某种艺术风格的相通性？

本来把福尔曼短暂一生使用过的大提琴都翻译好了，看你根本没有虚心学习的愿望，算了；如同楼上先生所言，告诉你关于他左手非凡的指法（均匀的揉弦发音突出歌唱性）以及灵活的右手弓法（渐强和高难度时技巧性的加速，营造戏剧效果）又有何意？你还是去把二十要背熟再来吧！

老兄，请你不要再提喇叭花了，上海的代理商你知道是谁嘛？你知道我与他关系嘛？来，请你把复刻那一型号报出来，你怎么搭配的告知我们一下？不要总是我展示，你也亮一下。

没想到你总是咬牙跟着我，请你把其中的“指法”在这个链接中下载下来。

不要再废话了，拔出家伙就知有没有货了。

没关系，那位还在英文堆里抓耳挠腮般的找呢，我有耐性等你介绍喇叭花搭配与使用心得，请福尔曼抽着雪茄烟陪我们。

知道我什么给你提喇叭花吗？因为你的“家伙”频响范围做不到，它的强项不在听大部头古典音乐，以弱对强怎么能行呢，呵呵。

真的，你这次又在不恰当的时机，又不在“氛围”中，又不在有利地形中，莽撞地进来，文学、艺术类的英语不同于理、工科类别，要做到“信、达、雅”是不易滴，长句中的语法结构和一词多义，比比皆是，是否需要我将前帖中某一词语译成中文的文字推敲举例告诉你？

等待我们灰飞烟灭之时，文物挖掘者偶然的用放大镜看见你我对话，并传播天下，那时会怎么评价我俩？

说什么？看不见，顶一句。

回先生，您的话某种意义上讲就像我老师教诲的：我不知道你在168里情况怎样，但从言语中能显示自信和骄傲，不过话再反过来说，你有了锻炼和摧折才会更上一楼，到时你就会成为观众和聆听者。

不管先生对我本人有何看法，但是我看问题就是爱把不动听的话转为反思，先生说我“现学现卖”确实一针见血；我想人无困惑就会缺乏学习、思考的动力，我每次购买唱片总要查找资料，二十几年下来200页的手抄本到是积攒了20本，做功课就是预习过程，打开新唱片就是聆听老师的传授，长此以往有何不好呢，至于先生说我别的问题，那就有则改之无则加勉吧；谢谢。

其实就我本人在168里的作用，仅是呼吁和倡导一种学习和思考的精神，可能我的观点是不符合潮流的，但是翻开历史长卷，它有黑暗、倒退的时期；人贵在坚持，哪怕是殉道者也能唤醒人们的觉醒。

先生，我们应该携起手来，用一种健康、进取的价值观向年轻人提出建议，168论坛举办了10年之久在发烧界有一定影响力，后生们的生活压力同比于我们年轻时更大，既然有此爱好，我们在物质上不能提供帮助，但可在精神、思想领域给予指导；购房、生孩子、买车子、物价飞涨，这些国家都处于失控状态，再加上音箱市场中出现不良循环都易使他们进入误区，如果我们给出正确的听音方式将使他们在音乐爱好之路上走得更有价值；诚如先生所言，人生苦短，如果片面的在器材上折腾而失去有限时间在音乐聆听、感悟上，待到老年时才明白此理将追悔一生；财力不够可以根据自身能力，选择聆听所需，将有限的资金用于长处，明白与好声的差距，等以后有经历条件时再调整，岂不双收。音响发烧群体需要引导，我们将前辈的知识学到并传承下来，将是善事啊。

顶一下。