The Secret Piano读后感1000字
《The Secret Piano》是一本由Zhu Xiao-Mei著作，AmazonCrossing出版的Paperback图书，本书定价：USD 14.95，页数：256，特精心从网络上整理的一些读者的读后感，希望对大家能有帮助。
《The Secret Piano》精选点评：
●为了音乐会读完了。她坚持不懈的精神真的非常让人敬佩。目标一直很清晰，并且坚决的行动派。
●顺着音乐找到的自传，听着朱奶奶的弹奏的Goldberg Variations读完最后一部分，很奇妙的经历。虽然是苦难居多的故事，但朱奶奶要比大多数人都幸运，幸运得多。
●哭着读完的，写妈妈和外婆还有那架陪自己颠沛流离的旧钢琴的段落让人难过得只能不时放下书缓一缓。和许多同年代的人相比，朱晓玫是幸运的，在那样的年代里长大却始终保持一颗如此纯真的灵魂，实在难得。对后来在美国和法国经历的挫折，居然还有很多幽默的描写。
●传奇人物
●作为一个破落贵族家庭的傲娇小公主，朱刻意的强调了文革的苦难，其实她家也没有什么特别的苦难，按书开头写得，朱家的确是有对待亲戚的间谍行为的暧昧，政治立场不鲜明的问题，也就造成了后面的那种“苦难”，但觉得这种刻意多少有些傲娇。
●弹琴时力量来自呼吸（生命与精神的源头）；要从键盘吸取力量，而不是一味输出力量；灵巧的手法实际却让人更有力。跟江青是中央音乐学院的同学，后者是给毛写信反映学校情况而认识毛的；学校创建人郑huabin跟印尼总统和蒋介石的一个部长是亲戚，舍弃舒适生活来中国办学，很照顾学生，文革中自縊；黄河颂是抄肖邦的段子。1980年还有很多人游泳跨海峡逃至香港。人性是音乐的真谛。我一直比较费解的一点：父亲是深谙文言文的医学生，母亲来自西式家庭很懂西方艺术，她三十岁还没听说过老子。
●“When you play music, you give of yourself unconditionally—and that’s my definition of love.”
●英文翻译很好，不难读又好看。但一开始就觉得这是写给外国人看的书，感觉有点刻意强调她的文革经历，但作者在前言提过她写书的原因之一是西方人很少知道文革。后半部分精彩些，特别是第二十章。即使作者去国多年，滋养她的还是中国文化。她很推崇老子。我也要开始看《道德经》了。我觉得她还是幸运的。
●看哭了的自传
●能如此执着 很佩服 很庆幸能看她的现场
《The Secret Piano》读后感(一)：哪里能买到这本书？
请问各位哪里能买到这本书 想送朋友生日礼物 谢谢大家
。 。
《The Secret Piano》读后感(二)：“你只能听到你所知道的东西”
这几天美亚推荐朱晓玫的《秘密钢琴：从毛的劳教所到巴赫的哥德堡变奏曲》（The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations）。该书是仿照《哥德堡变奏曲》的曲体来写的：2次Aria主题与30段变奏，首尾呼应，章节与曲式结构形成隐喻。英文版译自法文版，原标题是《河流和它的秘密》（2007），书名中的政治卖点跟汉堡王的街头广告一样露骨。编辑内涵尽失！
全书第一部分回忆文化革命，色调压抑而孤独（美国亚马逊上的读者纷纷表示很喜欢）；第二部分更多论述艺术方面（美国读者纷纷表示没兴趣），甚至有读者对朱晓枚所写经历提出真实性的质疑。个人的经历，其实永远只有对自己是真正有意义的。真实与否可权当艺术虚构需要，或留给日后音乐史学家做论著的注脚。书中提到劳教所，提到藏匿的钢琴，提到“从莫扎特到毛”，又提到斯特恩的“从毛到莫扎特”，提到1984年来到美国，提到定居巴黎，提到“权宜婚姻”……这些似曾相识的“情节”让我联想到以下经典制作——《曼哈顿的中国女人》、《巴尔扎克和小裁缝》，《弯而不折》。
了解她的哥德堡变奏曲也有几年了，无论多远，听她弹钢琴时，我会觉得与她似乎是面对面地交谈。但必须承认的是，“你只能听到你所知道的东西”，事实上，我们听到的唯有想象而已。
附亚马逊三星评论：http://www.amazon.com/The-Secret-Piano-Goldberg-Variations-ebook/dp/B0076PGFYW/ref=cm_cr_pr_product_top？ie=UTF8
这个亚马逊评论针对的是《秘密钢琴》这本钢琴自传，从自传的角度，或许不算无聊。因为自传这种问题本身必然充满了各种八卦。也正因如此，我觉得，很难把一个表演家的个人经历与她的演奏彻底分开，但有时为了审美的目的，又不得不分开。这就成了一种两难的情结。
演奏家展现在我们面前的是一个独立的个体，但实际上他们背后还有一个商业用作团队。有时候，个体的意志并不是全由自己的，也不是一直统一的。光靠她自己有限的能力，我们也听不到她的演奏了。比如，再看她的一段话，“复调音乐揭示了一种生活观。要倾听每个人的声音，强者不能垄断话语权。在《哥德堡变奏曲》中，最重要的主题在低音部，很少有人能听到。政治不是我要说的话题，但我知道，艺术家应站在弱者和被损害的人的一边”。——朱晓玫
再结合这本书，政治真的不是她要说的话题？或许作为演奏家的朱晓玫是不想说这个话题，但是，可能这是她的团队要她说的，书也可能是她的团队要写的。这是一张苦情牌，只是可能这张牌打偏了，假如朱晓玫不是半推半就的话。
67 of 70 people found the following review helpful
3.0 out of 5 stars Better pianist than author October 23, 2012
y Readz Alot VINE VOICE
Format:Paperback
The basic story here is indeed moving and powerful -- talented pianist growing up in communist China finds her education derailed by the cultural revolution. After 5 years in various labor camps, she is finally able to leave China and emigrate to the U.S., where she completes her music education, moves to France and becomes a musician of great renown.
The problem is, that much in the narrative is jumpy or poorly explained. I'm not saying that she's lying but, like another reviewer I would LOVE to know how she smuggled a piano into a labor camp (a camp clearly stated to be 'a prison') .. and then journeyed to dozens of near-by wire factories (how convenient!) to replace the broken strings. And how the piano stayed even remotely in tune.
he writes about her mother being diagnosed with cancer and given a year to live ... but her mother is still alive several decades later.
he writes about how she struggled for admission to university in China, and then never mentions anything about her time there except that she was able to meet some Chinese intellectuals. It isnt' even clear that she attended the university.
he writes about how she moved to the U.S. to attend music school in California, then changes her mind and attends in Boston, but makes no mention of how she filled the 9 months in between, and how she supported herself after quitting her first job, or what she had to do to get her scholarship.
he writes about her 'marriage of convenience' to a man who was presumably, but never stated in so-many-words as being in a gay relationship -- and then her husband is never mentioned again. (Did this 'marriage' cause her NO difficulties when she applied for a French visa and then French citizenship？)
he writes about being diagnosed with cancer and refusing chemo -- but a few pages later she is recovered.
An editor to help smooth out these awkward sections would have been very welcome.
《The Secret Piano》读后感(三)：笔记
原书是用法文写作，后翻译成英文。刚开始读的时候，感觉文笔一般，不知道是原文的原因，还是翻译的原因。细读之下，字里行间，与作者一起经历那段非人的岁月后，看作者对音乐，特别是《哥德堡变奏曲》的感悟，对过去的内省，感受每当命运变换时作者心中的波澜与决心。三日两夜，两口气读完。静候今年朱晓玫广州站的《哥德堡变奏曲》......
以下为书中摘抄：
The Goldberg Variations completely took over my existence. This music contained everything: it had all one needed to live. The first variation gave me courage. I smiled when I rehearsed the tenth, which is playful; I sang to the thirteenth, whose musical line soothes me like no other work. The polonaise rhythm of the twenty-fourth had me dancing, and I meditated during the fifteenth and twenty-fifth, two of the three variations in minor keys: they moved me to tears. Then there is the thirtieth, the famous Quodlibet that I understand as a sort of hymn to the glory of the world. The more I practiced it, the more it amazed me. By blending two popular songs from the period in the bass line that provides the backbone of the variations, Bach is at the height of his powers; the profane gives birth to the sacred, the most learned counterpoint gives way to the greatest simplicity.
Zhu Xiao-Mei, The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations, loc. 2857-63
Finally, the initial aria returns, for me the most moving passage of all. Throughout the thirty variations, the tension mounts. Bach has drawn upon every possible human emotion. Then, suddenly, all that remains is a serene, comforting music, the exact opposite of the great crescendos that end so many classical works. Gently, the aria sinks into oblivion: a void that is not an expression of want, or death, but rather of well-being and light. As the music subsides, the spirit ascends.
Zhu Xiao-Mei, The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations, loc. 2867-71
First, I emptied my mind before playing. Then came the search for a tempo that simultaneously allowed the piece to breathe, brought out all of the splendors of the score, and also allowed thought to develop as naturally as possible. Incidentally, the search for a proper tempo is not confined to the world of music—one must seek it in life as well. Then I tried to uncover the thrust and the truth of the score. Finally, I disappeared behind the music, as though my study of Laozi and Zhuangzi had finally showed me that the best pianists—like the best rulers—are those of whom one is barely aware, and that this was a worthy goal.
Zhu Xiao-Mei, The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations, loc. 2873-77
The range of musical climates and moods in the Goldberg Variations reminds me of the concept of the “golden mean,” which Professor Pan first told me about. Through this work, I think I now understand what he meant. The point is not to take a middle path that is a type of compromise resulting from a refusal to choose extremes. Rather, it is about finding a point of equilibrium that allows one to bring out every dimension of the work. What is special about the Goldberg Variations is that it calls on every human emotion, every feeling. This is what makes it one of humanity’s greatest masterpieces, and why it speaks volumes to an audience. In this work, Bach has put life itself to music—life in all of its infinite variety. Buddhists always depict Buddha smiling. There are always two aspects to everything, to every being. There is no single truth—everything depends on the way in which one wants to see reality. That is life, and that is the Goldberg Variations. Through it, I also now understand why polyphony, Bach’s in particular, affects me more deeply than any other type of music. By means of its various voices, it alone is capable of simultaneously expressing multiple and contradictory emotions, without one necessarily taking precedence over another.
Zhu Xiao-Mei, The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations, loc. 2904-13
And then, of course, there is the mystery of the aria that introduces and closes the Variations. Western musical masterpieces that employ such a structure are rare indeed. And none of them are as essentially Taoist as Bach’s composition. It reminds me of what Laozi said about the Tao, that endless, universal movement infused with the breath of life: “Returning is the movement of the Tao.” The water of the initial aria gives birth to the river of variations; it flows, evaporates, and returns as a shower of fine rain. Water is present in Bach’s very name—Bach in German means “brook.” The water of the closing aria is that of the opening aria, and yet it is not the same. We are witness not to an eternal return, but to a transformation. The end has joined the beginning, but it is different.
Zhu Xiao-Mei, The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations, loc. 2913-19
Even worse than our loss of freedom and the misery of our living conditions was that we were denied an education. The absence of books, scores, and even dictionaries—this was a torture far worse than the physical deprivation we endured: it creates a void capable of extinguishing the future and rendering death preferable to life. What good is an existence without the hope of growth—an existence that can only imagine before it the darkness of ignorance—and submission, which is ignorance’s hand-maiden？
Zhu Xiao-Mei, The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations, loc. 3548-51
《The Secret Piano》读后感(四)：Goldberg Variations
在第24变奏中读完了。
从大二时开始喜欢上Goldberg，之后就搜集各种版本来听。第一次见到朱晓玫的名字就是在一个各种版本的Goldberg的大包里，但可能因为当时觉得是个并不熟悉的中国人演奏的，也没有理会。后来大四的时候在人人上看到了她在Thomaskirche的演出视频，接连听了好几天，后来也时常拿出来听。不敢说她演出是最好的，但是至少她的演奏正是我心中Goldberg的样子，假如我有能力的话，我也希望弹出这种感觉。这种感觉我后来在书中找到了最贴切的描述“……to disappear behind the composer. In doing so, I feel as though I no longer exist, and therefore cannot willfully place myself between the composer and the music. All I can do is to show the composer's genius.”
最喜欢的曲子，遇到了同样喜欢它的钢琴家，诠释得恰到好处。于是便去看各种与她有关的资料，常常被感动。前段时间发现她的这本自传在亚马逊中国文学类畅销榜居然排到第三（前两名分别是三体1和三体2。。），便买了下来。到了假期，每天像是仪式一样，早上起来打开电脑，播放她在Thomaskirche的演出，然后读一节。其间去了趟Boston，刚回来第二天读到第16章，发现她竟然在Boston的New England Conservatory学习过三四年，一个我经过了至少4次却没留意的地方。
刚开始看时我很困惑这本书译成了多种语言却为何一直没有中文版，甚至有给它翻译个中文版的冲动。读到后来我才晓得了其中的原因，这可能也是为何她在国内的名气远远小于国际。抛开这些政治因素（其中包含了太多作为亲历者的愤怒与嘲讽），书中饱含了太多的爱：与父母的爱，对帮助过她的人的感恩，对伤害过的人的忏悔，对钢琴艺术的执着……很多地方都以前后呼应的方式让人更觉感伤（梦幻曲，揉面，香水，建学校……），这正如Goldberg变奏曲因呼应而动人有异曲同工之妙（尤其是前后两个Aria），我不清楚本书与Goldberg变奏曲之间是否还有更深层次的对应关系。
与父母的爱始终以家里那架老Robinson钢琴贯穿。一开始家里拮据时卖掉了所有值钱的东西，最后考虑到钢琴时，母亲因为晓玫要弹而留下了。晓玫在张家口时母亲冒着种种危险，克服很多困难把琴偷渡了过去。晓玫要去美国时母亲不肯卖掉钢琴买机票，因为那样对她来说是两次离别。母亲给晓玫弹的第一首曲子是梦幻曲，到最后母亲让晓玫谈给她听，“How is it that you play so well”，这已不简简单单地是句赞美。
对逝者的追悼：Mama Zheng；对帮助过她的人的感恩：潘一鸣，Aizhen……；对共同患难的人的惦念：Cunzhi，Huang Anlun，Teng Wenji……对伤害过人的忏悔：Shaohua。
最后是她对钢琴艺术的心得与感悟，摘录几段：
关于技术：
“Which is the finger that controls all the others？” he asked me.
“I don’t know.”
“It’s your thumb. If it is tense, all the other fingers will be tense, too. If it’s relaxed, the others will follow.”
Then he added:
“Stroke the keyboard, never strike it. It’s not hard, as you seem to think. You don’t have to fight it. In reality, the keyboard is soft and supple. Search out that softness, that flexibility, at the end of your fingers. Try to draw energy from the keyboard, not just transmit energy to it. Imagine you are kneading dough. Ask your mother to knead some, to give you a better idea. It’s the same movement of the hands and wrists. You’ll see, this will entirely change your relationship to the instrument.”
Then he asked me:
“Where do you think the energy comes from when you play？”
“From the shoulders？”
“No.”
“From the whole body？”
“No. It comes from the breath, the place from which life and the spirit originate. Try to breathe correctly, and take care that your feet are placed solidly on the ground and that your diaphragm is steady. You’ll see that you are much less tense. If you are more flexible, in reality you will be stronger.”
rofessor Pan had just given me a lesson for life.
关于表现：
It was also Professor Pan who, to help me concentrate, made me play with my eyes closed, which I still do today in concert.
He believed that it is through exhaustive exploration of a single piece of music that you deepen your knowledge of both the piano and of music, rather than by studying a range of different works. Many renowned scholars know that the most important discoveries are the result of long and in-depth study of a very specific topic. By doing so, you develop a method that can be applied to any subject.
Discovering the universal in the particular, and striving to reach the infinite by patient exploration of the finite—these are lessons worthy of reflection.
If, however, in Chinese philosophy, the truth can be attained as much through committed practice as through explanation, why should it be any different when dealing with the truth of music？
Unconsciously, these reflections brought about a change in how I approach a musical work. Once I have analyzed the entire piece, I play it evenly and attentively; I never force it or try to grasp its meaning too quickly. I do this until I experience love for each passage and note, until I reach a state of natural and intuitive understanding.
One day, completely naturally, a tempo emerges, one that feels organically right. If you deviate from this revealed truth, you feel uncomfortable.
The reason is clear: the right tempo is not merely the one with which you breathe naturally, it is also the pace that allows thought to encompass both the forest and the trees.
If a run of sixteenth notes needs to be played very quickly, obviously there are some notes that matter more than others. When you have identified them, you know how to play the run.
ut it is the bass that forms the pulse of the work.
Increasingly, I understand that it is precisely by following this path of self-effacement and emptiness that one attains the truth of a musical work. Without attempting to impose one’s will, without forcing something on the listener. Without struggling with the self. By disappearing behind the composer.
Incidentally, the search for a proper tempo is not confined to the world of music—one must seek it in life as well. Then I tried to uncover the thrust and the truth of the score. Finally, I disappeared behind the music, as though my study of Laozi and Zhuangzi had finally showed me that the best pianists—like the best rulers—are those of whom one is barely aware, and that this was a worthy goal.
关于乐曲：
He was right. Even today, I find that a slow movement by Beethoven is the ultimate test.
y blending two popular songs from the period in the bass line that provides the backbone of the variations, Bach is at the height of his powers.
And yet, the Goldberg Variations provides an unsurpassed example of how this horizontal motion needs to be underpinned by the throbbing pulse of the bass—isn’t the theme of the variations made up of the bass notes of the thirty-two measures of the initial theme？ In the Goldberg Variations, it is the bass that is the giver of life.
What is special about the Goldberg Variations is that it calls on every human emotion, every feeling. This is what makes it one of humanity’s greatest masterpieces, and why it speaks volumes to an audience. In this work, Bach has put life itself to music—life in all of its infinite variety.
uddhists always depict Buddha smiling. There are always two aspects to everything, to every being. There is no single truth--everything depends on the way in which one wants to see reality. That is life, and that is the Goldberg Variations. Through it, I also now understand why polyphony, Bach's in particular, affects me more deeply than any other type of music. By means of its various voices, it alone is capable of simultaneously expressing multiple and contradictory emotions, without one necessarily taking precedence over another.
The piece that expresses this best for me is Beethoven’s final sonata, Opus 111. It was the favorite piece of both of my masters, though one lived in the East and the other in the West.
再吐槽下这个英译本的书名，我觉得不如原著La rivière et son secret更接近朱晓玫的想法。河流暗指书中反复出现的道教强调的“水”，同时又双关Bach。