一百年前的钢琴家如何选择钢琴琴凳？

?本文选自ETUDE杂志1902年11月

The average pupil sits too close to the keyboard, and as a consequence plays from the elbows in a cramped manner. Such playing always sounds "stuffy" to me, the phrasing is narrow and constrained, and there is a general lack of breadth, freedom, and freshness.

很多学生坐得离钢琴键盘过近，导致演奏时手肘只能小幅移动。我总觉得这样的演奏听起来很“僵硬”，乐句划分碎而拘束，还普遍缺少宽度，自由感和新鲜感。

I advise sitting far enough from the keyboard to necessitate an easy and unconstrained reach for the keyboard, so that the elbows instead of poking out behind the back are even with (or a little beyond) the frocy. 

我建议坐得足够远以给出手臂能自由且轻松地伸展的空间，也就是将手肘与身体前部齐平（或稍超出身体前部），而不是置于背部后面。

Do not permit the shoulders to droop, although a slight tip of the body from the waist forward from an exact perpendicular is best. Swaying the body to and fro is inartistic and unsightly; besides, such motions detract from the playing by squandering energy and power that should be used directly for musical purposes.

不要让肩膀太塌，腰部以上部分比完全垂直再前倾一点最好。身体随意晃动既不艺术也不雅观；另外，这个动作浪费了应该用在音乐上的精力和能力，使演奏变糟。

I have little use for the revolving stool. One can get no purchase on it. The bench is better if low enough; but the polished surface is objectionable. I have found an ordinary bentwood, cane-seated chair the best, although keyboards differ so in height that such a statement is indefinite.

我很少用转椅。大家不用买它。长凳如果够低的话比它会好点；但抛光的表面有争议。我发现普通曲木制成的藤编椅是最好的，虽然钢琴键盘高低不一让这个陈述显得模糊。

At any rate I prefer to practice with the inside of the elbow-joint just below the level of the keyboard, by which I gain an advantage when seated at a normal height for public playing. 

无论如何，我倾向于将肘关节内侧置于键盘的稍下方练习，这样当在正常高度下公开演奏时便能获得一定优势。

This manner of practice is excellent for many purposes, chief of which is to permanently shift the center of gravity of the playing apparatus from the forearm to the upper arm. Unless this is accomplished there can be no freedom of motion or breadth and nobility of interpretation.

这种练习姿态能满足各种目标，重点在于永久地将手臂的重心从从前臂转移到上臂。如若不这样做，就会在演出时失掉动作的自由度、广度和高贵感。

Some teachers make it a point to have pupils sit low. The elbows should be a trifle above the keyboard rather than below it, so that the performer may have a position of command over his instrument.

有些老师强调要让学生们坐低点。其实手肘应稍高于键盘而非低于它，这样演奏者会呈现一个对他的乐器有掌控的姿态。

The revolving stool is objectionable on account of its instability. Usually, too, it is so loosely made that it "wabbles." Whether a chair or bench is preferable depends upon the robustness of the student. 

转椅因它的不稳定性被排除。平常也是，它被过于随意地制造出来以至于经常‘颤抖’。

Personally, I prefer a bench. No one whose physique will not admit of sitting upright without support should undertake a task so arduous as the playing of the piano. 

椅子或长凳可基于学生是否好动来选择。个人来说我比较喜欢长凳。没人会否认弹钢琴时无支撑地坐直是件很困难的事情。

I do not think it wise to call a pupil's attention to his position, unless he shows a tendency to make awkward motions or to assume absurd postures. 

The objections to the revolving stool are: 1. It soons (sic) becomes shaky, and sometimes noisy. Some pupils acquire the habit of sitting in a stiff, constrained position on account of a shaky stool. 2. The child turns it up and down, and almost always sits too high.

不提倡使用转椅的原因有：1. 它很容易变得易晃，而且有时候很吵。有些学生由于使用摇晃的座椅形成了坐姿僵硬不自然的习惯。2. 孩子们反复将它调高调低，而且大多坐得过高。

The chair (not revolving) with a back and no side- arms is firm and gives a feeling of stability and confidence, and it usually has a more capacious seat. Its general aspect is more inviting and comfortable. The same advantages are apparent in the case of the bench.

带靠背无扶手的椅子（不可调整）坚固且给予一种自信、稳定的感觉，而且坐的空间一般会宽敞一些。它整体上更加舒适、讨人喜欢。长凳显然有一样的优势。

Paderewski uses the chair. Hofmann and Macdowell used a bench.

帕德雷夫斯基（Paderewski，波兰钢琴家，政治家）使用椅子。约瑟夫·霍夫曼（Hofmann，波兰钢琴家）和爱德华·亚历山大·麦克道威尔（Macdowell，美国作曲家，钢琴家）使用长凳。

As to the height,—as a general statement it seems best to have the elbow a bit below the level of the keys. Yet in the case of younger pupils it is liable to lead to the habit of playing with the finger lengthened out flat upon the key. This is particulary (sic) true of the little finger. And it rather emphasizes the tendency to droop the hand upon the frame in front of the keyboard.

至于高度的问题——有个共识是手肘稍低于琴键为佳。但也有出现较小的学生易跑偏成手指伸平敲击琴键的问题。尤其是小指。这加重了键盘上手形塌掉的倾向。

The height on a chair or bench can be regulated by using a firm cushion.

凳子或长椅的高度可用较为结实的垫子来调整。

As to reach and power, it seems best to sit back far enough to allow a free relaxed condition of the whole arm, the elbows coming a little further front than the shoulders.

至于触键和力度，最好是往后坐到能够给整个手臂留出自由空间的地方，两个手肘略前于肩膀。 

As to erectness, inclination, etc. Make only necessary motions, but with sufficient latitude to be graceful. .—William Benbow.

以及身体直立或倾斜等等的问题。请只做必要的移动，但要给出足够的活动范围以显得优雅。