【古殿唱片音樂故事】約瑟夫·金格（Josef Gingold,1909-1995），他的名字你可能沒聽過，但他的琴聲教出了全世界最頂尖：兩張罕見黑膠裡的宗師底氣
古殿殿主
被遺忘的偉大名字
貝爾(Joshua Bell)、夏漢(Gil Shaham)、卡瓦科斯(Leonidas Kavakos)、胡乃元……這些活躍於當今國際舞台的頂尖小提琴家，都曾跟隨同一位老師學習。這位老師的名字，對一般樂迷來說或許陌生，對職業小提琴家而言卻意義深遠——他叫約瑟夫·金格(Josef Gingold,1909-1995)。
金格不是那種以個人名氣征服世界的獨奏明星。他的偉大，藏在他學生的手指裡，藏在他們的音色裡，藏在他們面對音樂時的態度裡。大提琴家史塔克(Janos Starker,1924–2013)曾這樣評述這位老友：
「我認為金格是我所見過最偉大的小提琴教師。他幾乎做了一個弦樂演奏家在音樂中可以做的一切。他是我所知道的唯一一位同等有資格教授樂器本身、獨奏曲目、管絃樂曲目和室內樂的教師。他也恰好是我所見過的最真誠的人之一。」
然而金格留下的商業錄音極為稀少。正因如此，他晚年出版的兩張黑膠唱片——1976年的《Josef Gingold Plays Fritz Kreisler》（Fidelio Records F-001）與1984年的《Seventyfive》（RedBud Records RB1017，雙張 LP）——在今日顯得格外珍貴。這兩張唱片不只是一位演奏家的個人紀念，更是一條從十九世紀延伸至二十一世紀的音樂傳承鏈，留下的聲音印記。
從俄羅斯到印第安納：金格的一生
金格於1909年出生於俄羅斯帝國境內（今白俄羅斯），1920年隨家人移民美國，在紐約師從小提琴家葛拉夫曼(Vladimir Graffman,1891–1976）(鋼琴家葛拉夫曼(Gary Graffman,1928-2025)的父親)習琴。然而真正奠定他藝術基礎的，是隨後遠赴比利時布魯塞爾、在傳奇大師意沙易(Eugène Ysaÿe,1858–1931)門下求學的歲月。
1927年，年僅十八歲的金格隻身渡海，前往布魯塞爾求見意沙易。他自信滿滿地準備了布拉姆斯小提琴協奏曲第一樂章——那是他心目中足以展現功力的曲目。然而意沙易聽完開場白後，只是平靜地說：「請先為我拉一個G大調三個八度音階。」年輕的金格頓時愣住，但仍照做，接著是各種弓法的音階練習，「彷彿過了一輩子」。最後終於被允許拉布拉姆斯，意沙易在給予幾句鼓勵之後，接受了他為學生。
意沙易是十九世紀末歐洲最偉大的小提琴家之一，以濃烈的歌唱性和深厚的人文氣質著稱。他對學生有一個出名的要求：第一兩堂課可以用英語上，此後一律只說法語。金格就這樣被迫在琴聲與法語之間同時成長。他在意沙易門下學習至1929年，前後約兩年，是這位大師晚年最後幾位入門弟子之一。
金格後來說，從比利時回到美國時，他不僅成為了更好的音樂家，也成為了更好的人——從意沙易身上，他學到了在音樂和人際關係中追求美的重要性。「從不粗暴對待小提琴」，他如此總結老師留給他最深的精神。師生情誼之深，令他日後在首演中親自演奏意沙易第三號無伴奏小提琴奏鳴曲，以此向老師致敬。
在比利時首演後，金格舉行了貫穿比利時、法國和荷蘭的四十場巡迴音樂會。回到美國後，1937年他通過試奏，成為指揮大師托斯卡尼尼(Arturo Toscanini,1867–1957)親手創建的NBC交響樂團的創團元老，這段合作長達七年。此後他先後出任底特律交響樂團首席，1947年應指揮家賽爾(George Szell,1897–1970)之邀，轉至克里夫蘭管絃樂團擔任首席達十三年之久。他後來說，塞爾對他作為音樂家與教師的影響，在所有共事者中最為深遠。
1960年，金格離開樂團生涯，加入印第安納大學音樂學院任教。此後三十餘年，他在美國中部的小城布盧明頓，打造了一個令全世界小提琴學子嚮往的學習聖地。來自日本、韓國、以色列、歐洲各國的頂尖年輕人才，都不遠千里來到這裡，只為跟隨這位老人學琴。他的學生後來遍布全球各大樂團的首席席位，以及世界最重要的獨奏舞台。
金格拉一把1683年製造的史特拉底瓦里名琴，琴名「Martinelli」。這把琴伴隨他直至 1995年辭世，如今由印第安納波利斯小提琴大賽典藏，歷屆金牌得主——包括當今活躍的哈德利希(Augustin Hadelich)——都曾藉此琴登台演出。
第一張唱片：向克萊斯勒致敬
Fidelio Records F-001｜1976年
說起克萊斯勒(Fritz Kreisler,1875-1962)，許多人或許只是隱約有印象：那是一位拉小提琴的維也納紳士，寫過很多輕盈可愛的小品，音樂會結束後常當安可曲演奏。但對金格而言，克萊斯勒是他一生中最重要的精神偶像之一。
金格曾說，只要有機會他幾乎未曾錯過任何一場克萊斯勒的音樂會。克萊斯勒登台時，甚至在拉出第一個音符之前，他莊嚴的儀態便已吸引了所有人的目光；然而一旦把琴放到下巴之下，他就完全變了一個人——「顯而易見的一種謙遜和虛懷若谷，彷彿在說：我很樂意為你們演奏。我覺得克萊斯勒是為台下每一位聽眾單獨演奏的。」
1975年，克萊斯勒百年誕辰，印第安納大學舉辦了一場紀念音樂會，金格在台上發表了一篇情深意切的致辭。隔年，他將這份情感化為行動，錄製了這張《Josef Gingold Plays Fritz Kreisler》，由剛剛創立的 Fidelio Records 出版——目錄號 F-001，是這家小廠牌的第一張唱片。那篇百年誕辰致辭的全文，就印在唱片的封底。
唱片在布盧明頓的Gilfoy Sound Studios錄製，鋼琴由印第安納大學音樂學院院長 Charles H. Webb 擔任，兩面共十二首克萊斯勒相關作品，從《斯拉夫幻想曲》、《愛之悲》、《愛之喜》，到《貝多芬主題迴旋曲》，幾乎涵蓋了克萊斯勒最受人喜愛的曲目精華。
這張唱片的特別之處，在於金格不只是在「演奏」克萊斯勒的音符，而是在重現一種已經消逝的音樂氛圍。有樂評人聆聽後寫道，在他輕盈的維也納舞曲外表之下，藏著一種出人意料的深沉——那不只是小品，那是一個時代的溫度。另有樂迷形容：「比克萊斯勒本人更像克萊斯勒。」這句話或許誇張，卻道出了金格詮釋的核心：他不是模仿，而是理解。
金格還有幸獲得克萊斯勒本人的直接指點，使他的詮釋不只來自研究，更來自口耳相傳的親身傳授。這種師承關係，讓這張唱片的歷史分量，遠超出一般小品合輯的範疇。
這張黑膠後來獲得葛萊美獎提名，對一家印第安納小鎮的獨立小廠牌而言，是莫大的肯定。1989年，它被收錄進CD合輯《The Art of Josef Gingold》流傳後世，2007 年又再度復刻。然而原版黑膠F-001如今在二手市場上已十分罕見，是需要緣分才能尋得的珍品。
第二張唱片：七十五歲的回望
RedBud Records RB1017｜雙張LP｜1984年
八年後，1984年，另一張唱片出現了。這次是雙張黑膠，四面，封面是一幀棕褐色調的特寫照片：白髮蒼蒼的老人，低垂著頭，雙手輕抱著小提琴，神情專注而安詳。標題只有一個英文字：SEV
ENTYFIVE。
這是為了紀念金格七十五歲生日而出版的致敬專輯。發行這張唱片的RedBud Records，同樣是一家位於布盧明頓的小廠牌，特別標明「由印第安納大學音樂學院協助發行」。這不是一張商業製作，而是一群朋友、學生與同僚，為一位摯愛的老人所獻上的聲音禮物。
這套雙LP收錄的幾乎全是現場廣播錄音，橫跨三十四年（1942–1976），其中絕大多數取自現場廣播，僅《維也納小進行曲》與蕭邦-克萊斯勒《A 小調馬祖卡》兩曲借自 Fidelio 唱片的 1976 年錄音室錄音。四面的內容各有側重，拼合出金格藝術生涯最完整的聲音面貌。
第一面收錄佛瑞 A 大調小提琴奏鳴曲（1966 年現場錄音），這是法國室內樂中最動人的作品之一，旋律如歌，情感細膩。金格以他從意沙易一脈傳承而來的法比演奏風格詮釋此曲，師承的重量清晰可感。第二面則是英國作曲家威廉·華爾頓的小提琴奏鳴曲（1964 年現場錄音），這是一部在當時並不普及的二十世紀作品，金格是在美國校園積極推廣此曲的早期旗手之一。
第三面與第四面是跨越年代的小品集合，從1942年的廣播錄音到1968年的音樂會實況，曲目涵蓋布洛赫、馬斯奈、維尼奧夫斯基、克萊斯勒等人的作品。其中最珍稀的一首，是普羅科菲耶夫《亞歷山大·涅夫斯基》中詠嘆調的小提琴獨奏版——這個改編版本正是金格本人親手寫成的，後來收入他編輯出版的小提琴曲集。在這裡聽到的1968年現場演奏，很可能是這份改編版最早留存於世的錄音。
唱片說明書由兩位重要人物執筆。著名音樂廣播人 Karl Haas 以摯友身份寫道，他與金格相識逾四十年，稱這份錄音是對「喜悅、崇高、真誠，以及天賦特權」的永恆提醒。印第安納大學音樂學院院長 Charles Webb 則特別強調，全世界最頂尖的小提琴才華都被送往布盧明頓繼續隨金格學習——這本身便是對一位教育家最高的肯定。
兩張唱片，一條傳承之線
將這兩張唱片並置來看，便能看到一條清晰的傳承之線：從十九世紀的意沙易、克萊斯勒，到金格，再到今日活躍的 Bell、Shaham、Kavakos、胡乃元……
音樂的傳承，從來不只是技術的複製。金格的學生貝爾曾回憶，跟隨老師學習期間，聆聽歷代傳奇小提琴家的錄音是課程的重要組成部分。老師會一邊在那把 Stradivari 上示範「舊世界」的音色，一邊講述他與意沙易、克萊斯勒、托斯卡尼尼、賽爾共事的往事，讓年輕的貝爾感到自己與小提琴遙遠的過去相連。這種「連結感」，正是金格窮畢生之力所傳遞的核心。
Fidelio F-001是一份深情的致敬：金格通過演奏克萊斯勒，向那個他親歷的舊世界音樂會文化道別——那種從容、即興與歌唱性，在今日已難以復現。RedBud RB1017 則是一份跨越歲月的回望：從青壯年時期的廣播實況，到晚年錄音室裡的從容吐納，讓我們看到一位藝術家在不同時期、面對不同曲目時，始終如一的音樂人格。
這兩張唱片都不是商業考量的產物。一張是小廠牌的創辦首作，一張是友人獻給老人的壽禮。它們記錄的，不只是一位小提琴家的聲音，更是一種信念：音樂不是技術的展示，而是人與人之間、世代與世代之間，對美的共同尋求。
最後：黑膠之上的人味
當我們拿起 Fidelio F-001 那張淡藍色標籤的唱片，或者打開 RedBud RB1017 那套黑色封套的雙 LP，聽到第一個音符從針尖升起時，我們聽到的不只是一把三百多年前製造的名琴。
我們聽到的，是意沙易在布魯塞爾的教室裡所傳授的某種東西；是托斯卡尼尼排練台上那種對完美的執著要求；是金格在布盧明頓的課堂上，對幾代年輕人所說的每一句話。這些聲音和這些人，早已不在了，但它們曾真實地存在過。而這兩張黑膠，以最誠實的方式，把它們留了下來。
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【Old Palace Music Stories】 Josef Gingold (1909-1995): A Name You Might Not Know, But His Sound Shaped the World's Best. The Master's Soul in Two Rare Vinyl Records
A Forgotten, Yet Truly Great Name
Joshua Bell, Gil Shaham, Leonidas Kavakos, Nai-Yuan Hu... whenever you hear these top-tier violinists lighting up the world stage today, they all share one special connection: they studied under the exact same teacher.
His name might be unfamiliar to most casual listeners, but to professional violinists, it carries an unbelievable weight. His name is Josef Gingold (1909-1995).
Gingold wasn't the kind of superstar soloist who conquered the world with his own fame. His greatness is hidden—tucked away in his students' fingers, in their tone, and in the very attitude they bring to their music. His old friend, the legendary cellist Janos Starker, once said of him:
"I think Gingold is the greatest violin teacher I have ever met. He did practically everything a string player can do in music... He also happens to be one of the most genuine human beings I have ever known."
Because he never chased the spotlight, commercial recordings of Gingold are incredibly rare. And that’s exactly why the two vinyl records he released in his later years—Josef Gingold Plays Fritz Kreisler (1976, Fidelio Records F-001) and Seventyfive (1984, RedBud Records RB1017, Double LP)—feel so precious to us today. These records aren't just a personal souvenir; they are a living, breathing chain of musical heritage connecting the 19th century straight into the 21st.
From Russia to Indiana: A Life Lived for Music
Born in the Russian Empire in 1909, Gingold immigrated to the US with his family in 1920. While he started his studies in New York, the real turning point that built his artistic soul happened when he crossed the ocean to Brussels to study under the legendary master, Eugène Ysaÿe.
Picture this: It's 1927. An 18-year-old Gingold confidently walks into Ysaÿe's studio, fully prepared to play the Brahms Violin Concerto—a piece he was sure would show off his skills. But Ysaÿe simply listened to his introduction and calmly said, "Please, play a three-octave G major scale for me first."
The young Gingold froze, but did as he was told. What followed was a grueling session of various bowing and scale exercises that felt "like it lasted a lifetime." Finally, he was allowed to play his Brahms. With a few words of encouragement, the master accepted him as a student.
Ysaÿe was known for his intensely lyrical playing and deep humanistic spirit. He had a famous rule for his students: You can speak English for the first lesson or two, but after that, it’s French only. So, Gingold was forced to grow both his violin skills and his French simultaneously.
Gingold later shared that when he returned to America, he wasn't just a better musician; he was a better human being. From Ysaÿe, he learned the absolute importance of seeking beauty, both in music and in how we treat each other. "Never treat the violin harshly," he said, summarizing the deepest lesson his teacher left him.
After returning to the US, Gingold became a founding member of the NBC Symphony Orchestra under the legendary Arturo Toscanini, and later served as the concertmaster for the Cleveland Orchestra under George Szell for 13 years. In 1960, he left his orchestra career behind and moved to a small Midwestern town—Bloomington, Indiana. There, he spent over thirty years turning Indiana University into a sanctuary for young violinists. Kids from Japan, Europe, Israel, and beyond traveled thousands of miles just to learn from this gentle old man.
The First Record: A Loving Nod to Kreisler
(Fidelio Records F-001 | 1976)
When we talk about Fritz Kreisler, many people just vaguely picture a classy Viennese gentleman who wrote light, charming little encores. But to Gingold, Kreisler was a lifelong spiritual idol.
Gingold once said that whenever Kreisler walked onto a stage, even before playing a single note, his graceful presence captivated everyone. But the moment the violin touched his chin, a profound humility took over. Gingold felt that Kreisler wasn't just playing for a crowd; he was playing for every single person in the room individually.
In 1976, Gingold poured this deep affection into a record: Josef Gingold Plays Fritz Kreisler. This wasn't just about playing the right notes. When you listen to it, he is reviving an atmosphere that has long vanished. One listener beautifully described it: "He sounds more like Kreisler than Kreisler himself." That might sound like an exaggeration, but it perfectly captures Gingold's secret—he wasn't mimicking; he completely understood.
Because Gingold actually received personal guidance from Kreisler himself, the historical weight of this record goes far beyond a simple collection of short pieces. It's a genuine oral history passed down through sound.
The Second Record: Looking Back at Seventy-Five
(RedBud Records RB1017 | Double LP | 1984)
Eight years later, another record appeared. The cover is a warm, sepia-toned close-up: a white-haired elder, head bowed, gently holding his violin with a look of pure, focused peace. The title is just one word: SEVENTYFIVE.
This wasn't some commercial cash-grab. It was a birthday gift from a group of friends, students, and colleagues to an old man they deeply loved. Spanning 34 years of live broadcasts and performances, these four sides of vinyl piece together the most complete audio portrait of Gingold’s life.
It features everything from a deeply moving Fauré Violin Sonata (carrying the heavy, beautiful influence of Ysaÿe) to rare arrangements Gingold penned himself. As Karl Haas, a famous music broadcaster and Gingold's friend of 40 years, wrote in the liner notes: this recording is an eternal reminder of "joy, nobility, sincerity, and the privilege of talent."
The "Human Touch" Above the Vinyl
When we hold these records in our hands and drop the needle into the groove, the first note that rises into the air isn't just the sound of a 300-year-old Stradivarius.
What we're really hearing is that afternoon in Ysaÿe's Brussels classroom. We're feeling Toscanini's relentless passion on the rehearsal stage. We're catching the gentle words Gingold shared with generations of young people in Bloomington.
These people and their voices might be gone from the physical world, but they were real. And these two vinyl records, in the most honest, unpretentious way possible, have kept that reality alive for us. Whenever we listen, we get to step out of our fast-paced lives, take a deep breath, and plug back into a true, unchanging human warmth.