史上最「懶」的小提琴家，憑什麼錄下永垂不朽的經典之作？
古殿殿主
今天想跟你們聊聊一個有趣的對比。若對於被李斯特譽為蕭邦專家的神經質鋼琴大師帕赫曼(Pachmann,1848-1933)，錄音製作人蓋斯柏格(Fred Gaisberg,1873-1951)對他簡直像在「哄小孩」；但當場景換到這位克萊斯勒這位小提大師身上時，畫風一轉，完全變成了「哥倆好」。
在蓋斯柏格的回憶中，「克萊斯勒」是他最喜愛、評價最高，也最讓人感到溫暖的藝術家。
這週五的活動，我們就要來聽克萊斯勒的錄音。但在活動開始之前，我想先給你們一份「幕後花絮」。當你聽著那些永垂不朽的神級演奏時，請想像一下：錄音室的玻璃窗後，有一位製作人正微笑著，看著這位天才如何優雅地「偷懶」。
錄音室裡的「反骨」與「默契」
蓋斯柏格跟克萊斯勒的關係，與其說是工作夥伴，不如說是幫助克萊斯勒「偷懶」的「共犯」。
蓋斯柏格太了解克萊斯勒了，他知道這位大師有個著名的毛病：極度討厭練琴！
絕大多數提琴家在錄音前會瘋狂練習，把手指練到僵硬、把神經繃到最緊。但克萊斯勒絕不幹這種事。他喜歡去散步、去賭馬、去酒吧喝酒、去跟朋友聊天，就是不愛摸琴。
蓋斯柏格在回憶裡說到：
「Fritz（克萊斯勒）從來不練琴，他的手指彷彿天生就有記憶。他走進錄音室時總是輕鬆自在，好像只是剛好路過進來拉兩下。」
對於蓋斯柏格來說，他的工作不是拿著鞭子「監督」克萊斯勒練琴，而是盡全力「保護」他的這種「鬆弛感」。
對你沒聽錯，關鍵就是：「鬆弛感」！
因為蓋斯柏格知道，只要克萊斯勒心情好、身體放鬆，那種獨一無二的「維也納黃金音色」就會自然流淌出來。
這跟之前殿主曾經提過的米爾斯坦對克萊斯勒崇拜的無以復加的原因，就是這股全身心的「鬆弛感」！
1926年的奇蹟：貝多芬與「被聽見」的嘆息
時間回到 1926 年底的柏林。這是一場名留青史的錄音馬拉松，對於克萊斯勒和蓋斯柏格來說，這是一場「奇蹟的豐收」。這也正是德國在希特勒的納粹上台之前的威瑪共和的自由黃金時代。
當時「電氣錄音」（Electrical Recording，用麥克風錄音）技術才剛發明不久。蓋斯柏格興奮得不得了，因為舊式的聲學錄音（對著喇叭吼）根本捕捉不到克萊斯勒那種細膩的運弓。
錄製著名的《貝多芬小提琴協奏曲》當天，其實氣氛是很緊張的（畢竟新技術電氣錄音非常燒錢）。據說樂團都排練好了，克萊斯勒才優雅地出現，沒看譜，甚至很久沒拉這首曲子了。
結果呢？琴一架起來，那個著名的開場八度音準完美無瑕，隨後的旋律溫暖得像融化的奶油。蓋斯柏格說，這張唱片之所以偉大，是因為麥克風不再是「考官」，而是變成了克萊斯勒的「聽眾」。他在裡面不是在演奏音符，而是在：訴說人生。
殿主私心推薦：其實他更愛孟德爾頌？
雖然貝多芬那張名氣響亮，製作人蓋斯伯格可能私心其實更偏愛同一時期錄下的《孟德爾頌小提琴協奏曲》。
為什麼？
因為孟德爾頌的氣質跟克萊斯勒實在太像了——優雅、甜蜜、不用力但直擊人心。這也是史上第一套完整的孟德爾頌協奏曲電氣錄音版。（另外一套的貝多芬協奏曲則是史上第二份全本錄音版本）
關於這張唱片，有幾個小故事一定要跟你們說：
1. 指揮家的神救援（貓捉老鼠的遊戲）：
幫克萊斯勒伴奏是一件「非常恐怖的工作」。因為他太隨興了！他會看當下心情，這小節突然變快，下一小節又極慢地拖長。當時的指揮家里奧·布萊奇 (Leo Blech) 簡直像是克萊斯勒肚子裡的蛔蟲。 特別是在第三樂章，克萊斯勒興致來了越拉越快，樂團差點翻車。蓋斯柏格在控制室嚇出一身冷汗，但布萊奇竟然能用一種「預知能力」，讓柏林國立歌劇院管弦樂團緊緊咬住克萊斯勒的腳後跟。這張唱片，聽的就是這兩個人在懸崖邊緣的完美默契。
2. 麥克風捕捉到的「酥麻感」：
之前的聲學錄音設備太笨重，反應也太慢，小提琴家得像「鋸木頭」一樣用力拉才有聲音。但1926年有了電氣麥克風後，蓋斯柏格終於捕捉到了克萊斯勒招牌的「維也納式黃金滑音」。 第二樂章，你甚至能感覺到克萊斯勒的弓毛輕輕「掛」在琴弦上的那種酥麻感，像一聲溫柔的嘆息。
～～這是人類錄音史上，第一次能把小提琴的「溫柔」記錄下來。
3. 「我要去吃飯了」的鬆弛感 ：
通常大牌音樂家錄完音，都要反覆聽試壓片挑錯。但克萊斯勒錄完孟德爾頌後，只問了蓋斯柏格一句：
「Fred，你覺得好聽嗎？如果好聽那就發行吧，我要去吃飯了。」
他不糾結與在意細節，這種鬆弛的心態造就了唱片裡無可取代的「鬆弛感」。這不是顯微鏡下修整出來的產品，這是一個天才在一個愉快的下午，隨手送給世界的禮物。
賭徒與慷慨慈善家：聲音裡的「人味」
最後，我想分享一個蓋斯柏格眼中克萊斯勒最動人的細節。
克萊斯勒雖很愛賭馬，但他卻對錢一點都不在乎。
蓋斯柏格常看到他把錄音賺來的巨額支票，轉手就捐給了需要幫助的同行、朋友，甚至是路邊的陌生人。
蓋斯柏格說：
「他拉琴時的那種慷慨（Generosity），跟他做人是一樣的。他毫無保留地把心掏出來給你。」
我們依然需要聽克萊斯勒。他的音樂裡沒有「我要炫技嚇死你」的壓迫感，只有滿滿的溫暖與愛。
也因為克萊斯勒充滿的這種溫暖與愛，蓋斯伯格還補充提到的一件這兩份1926年的柏林協奏曲錄音，為何能大成功的原因：
他說柏林國立歌劇院管弦樂團（Berlin State Opera Orchestra）當時是歐洲頂尖樂團，這群樂手平時眼高於頂，姿態非常高。
但蓋斯柏格發現，只要克萊斯勒一走進錄音室，這群德國樂手就會變成「小粉絲」。
而在錄製孟德爾頌協奏曲的空檔，樂手們不是去休息，而是圍在克萊斯勒身邊聽他講笑話、看他變魔術（克萊斯勒很愛玩小把戲）。
這種「充滿愛的氣場」也被錄進了唱片裡。蓋斯柏格認為：這張唱片裡的管弦樂伴奏之所以聽起來那麼溫暖、包容，是因為樂團真心的「愛著」這位獨奏家。
而這也是這兩首協奏曲錄音之所以會在後世永垂不朽的原因之一。
1月16日（週五）晚上，歡迎來到古殿，我們不談技巧，只談這份被封存在蟲膠唱片裡，跨越百年的永垂不朽的「鬆弛感」與「人味」。
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殿主給這週五活動的「聽覺導聆」小抄：
當我們播放 1926 年孟德爾頌這張唱片時，請大家閉上眼睛留意這兩個瞬間：
- 第一樂章的進入： 那個聲音不是「演奏」出來的，是像呼吸一樣自然「流」出來的。
- 第二樂章的結尾： 聲音輕得像羽毛。在舊時代這會消失在雜訊裡，但蓋斯柏格幫我們把它接住了。
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How Did History's "Laziest" Violinist Record an Immortal Masterpiece?
From the Curator of Gu Dian (古殿殿主)
Today, I want to chat with you about an interesting contrast. When the legendary recording producer Fred Gaisberg (1873-1951) worked with the neurotic pianist Vladimir de Pachmann—whom Liszt once called the "Chopin Specialist"—he had to treat him like he was "coaxing a child." But when the scene shifted to the violin master Fritz Kreisler, the vibe changed completely. They were simply "best buddies."
In Gaisberg’s memoirs, Kreisler was his favorite, most highly regarded, and the warmest artist he ever worked with.
For this Friday’s event, we will be listening to Kreisler’s recordings. But before we start, I want to give you some "behind-the-scenes footage." When you listen to these immortal, god-tier performances, I want you to imagine this: behind the glass of the recording studio sits a producer, smiling as he watches this genius gracefully "slack off."
The "Rebel" and the "Chemistry" in the Studio
The relationship between Gaisberg and Kreisler wasn't just that of business partners; Gaisberg was more like an "accomplice" in helping Kreisler "be lazy."
Gaisberg knew Kreisler too well. He knew this maestro had a famous quirk: He absolutely hated practicing!
Most violinists would practice frantically before a recording session, stiffening their fingers and stretching their nerves to the breaking point. But Kreisler? Never. He preferred to take walks, bet on horse races, drink at bars, or chat with friends. He just didn't like touching the violin.
Gaisberg recalled:
"Fritz never practiced. His fingers seemed to have an innate memory. He always walked into the studio looking relaxed and at ease, as if he just happened to be passing by and decided to play a few notes."
For Gaisberg, his job wasn't to hold a whip and "supervise" Kreisler's practice, but to do everything possible to "protect" this sense of "relaxation" (鬆弛感).
Yes, you heard that right. The key word is "Relaxation."
Gaisberg knew that as long as Kreisler was in a good mood and physically relaxed, that unique "Golden Viennese Tone" would flow out naturally.
This is exactly why Nathan Milstein worshiped Kreisler, as the Curator has mentioned before: it was this total, whole-hearted "sense of ease."
The Miracle of 1926: Beethoven and a Sigh "Heard Around the World"
Let's go back to late 1926 in Berlin. This was a recording marathon that went down in history, and for Kreisler and Gaisberg, it was a "miraculous harvest." This was also during the Golden Age of the Weimar Republic, before the rise of the Nazis.
At that time, "Electrical Recording" (using microphones) had just been invented. Gaisberg was incredibly excited because the old acoustic recording method (shouting into a horn) could never capture the subtle nuances of Kreisler’s bowing.
On the day they recorded the famous Beethoven Violin Concerto, the atmosphere was actually quite tense (after all, the new electrical technology was incredibly expensive). Rumor has it that the orchestra was all set and rehearsed, and then Kreisler appeared elegantly—without looking at the score, having not played the piece in a long time.
The result? The moment he lifted his violin, those famous opening octaves were flawless, and the melody that followed was as warm as melted butter. Gaisberg said that what makes this record great is that the microphone was no longer an "examiner," but became Kreisler’s "listener." He wasn't playing notes; he was telling the story of a life.
The Curator’s Personal Pick: Did He Actually Prefer Mendelssohn?
Although the Beethoven recording is more famous, producer Gaisberg might have privately favored the Mendelssohn Violin Concerto recorded during the same period.
Why?
Because Mendelssohn’s temperament was so similar to Kreisler’s—elegant, sweet, effortless, yet striking straight to the heart. This was also the first complete electrical recording of the Mendelssohn concerto in history. (The Beethoven set was the second complete recording ever made).
There are a few little stories about this record that I must tell you:
1. The Conductor’s "God-Tier" Save (A Game of Cat and Mouse): Accompanying Kreisler was a "terrifying job." Why? Because he was too spontaneous! Depending on his mood in the moment, he might suddenly speed up in one measure and drag the next one out extremely slowly. The conductor at the time, Leo Blech, was practically a mind reader. Especially in the third movement, Kreisler got excited and played faster and faster; the orchestra nearly crashed. Gaisberg was sweating bullets in the control room, but Blech used a kind of "precognition" to keep the Berlin State Opera Orchestra clinging tight to Kreisler’s heels. When you listen to this record, you are hearing the perfect chemistry of two men dancing on the edge of a cliff.
2. The "Tingling Sensation" Captured by the Microphone: Previous acoustic recording equipment was too clumsy and slow; violinists had to play forcefully, like "sawing wood," just to make a sound. But with the electrical microphone in 1926, Gaisberg finally captured Kreisler’s signature "Viennese Golden Slide" (Portamento). In the second movement, you can practically feel the "tingling sensation" of Kreisler’s bow hair lightly "hanging" on the strings, like a gentle sigh. This was the first time in human recording history that the "tenderness" of a violin could be documented.
3. The "I'm Going to Lunch" Attitude: Usually, big-name musicians would listen to test pressings repeatedly to pick out mistakes after recording. But after finishing the Mendelssohn, Kreisler simply asked Gaisberg:
"Fred, do you think it's good? If it's good, then release it. I'm going to eat."
He didn't obsess over details. This relaxed mindset created the irreplaceable "sense of ease" in the record. This isn't a product fixed under a microscope; it is a gift casually given to the world by a genius on a pleasant afternoon.
The Gambler and the Generous Philanthropist: The "Humanity" in the Sound
Finally, I want to share the most moving detail about Kreisler in Gaisberg's eyes.
Although Kreisler loved betting on horses, he didn't care about money at all. Gaisberg often saw him take the huge checks earned from recordings and immediately sign them over to colleagues in need, friends, or even strangers on the street.
Gaisberg said:
"The generosity in his playing was the same as his generosity as a person. He would take out his heart and give it to you without reservation."
We still need to listen to Kreisler today. His music has no oppressive feeling of "I'm going to scare you to death with my technique." There is only overflowing warmth and love.
Because of this warmth and love, Gaisberg added one more reason why these two 1926 Berlin concerto recordings were such a massive success:
He noted that the Berlin State Opera Orchestra was one of Europe's top ensembles at the time. These musicians were usually arrogant and held their heads high. But Gaisberg discovered that as soon as Kreisler walked into the studio, these German musicians turned into "fanboys."
During breaks in the Mendelssohn recording, the musicians didn't go rest. Instead, they gathered around Kreisler to hear him tell jokes and watch him perform magic tricks (Kreisler loved playing little tricks).
This "aura of love" was recorded right onto the disc. Gaisberg believed that the reason the orchestral accompaniment sounds so warm and embracing is that the orchestra truly "loved" the soloist.
And this is one of the reasons why these two concerto recordings remain immortal.
On the evening of January 16th (Friday), welcome to Gu Dian. We won't talk about technique. We will only talk about this "sense of ease" and "human touch" that has been sealed in shellac records, crossing a century to reach us.