国人讲英语（九） 幸运儿王健
王健，著名的大提琴演奏家，他是Isaac Stern（艾萨克.斯特恩）在１９７９年那次著名的音乐之旅中发现的少年天才。
当时，中美关系刚刚开始正常，为了增进两国间的文化交流，时任外交部长的黄华邀请小提琴演奏家Isaac Stern到中国访问三个星期，Isaac Stern的这次访问，后来被制作成了记录片，叫＜从毛到莫扎特＞（From Mao to Mozart），这部片子 ８１年还获得了奥斯卡最佳纪录片奖。
当时１０岁的王健在片中有一段１分多钟的演奏，给人留下了极其深刻的印象，也许是导演对他的才华也十分珍爱，在片尾，王健的演奏再次出现，整部影片在他的琴声中结束。
王健也许是Isaac Stern中国之旅的最大发现，这个极具才华的孩子在１９８５年１７岁的时候终于在热心华侨林寿荣的资助下，远赴美国，先后在耶鲁和茱丽亚音乐学校深造，之后经过多年的打拼，王健终于成为了一位非常有影响力的演奏家。
下面的这段视频就是王健到美国以后拍摄的，从当时王健的模样上看，他应该是２０出头的样子。与他一起讨论问题是Isaac Stern本人，还有一位就是马友友，他其实也是Isaac Stern发现的。
视频中王健１０岁时的那段著名的演奏出现在２分钟左右，之后就是马友友和王健之间的一段对话。
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听罢之后，再次相信，天才是有的。
对比朗郎，音乐才华姑且不讲，但是这语言能力上，朗郎远远的不如当年的王健。
下面贴几段王健说过的一些话，感觉这个人非常的深：
"That's a very good analysis," Wang replies. "In England or the United States, youngsters can do so many things because they have so many choices. But I was born in a country where life was difficult, where music was one of the few things you could study. When people leave China to study somewhere, they don't back off or say, 'I don't feel like doing this any more; it's becoming too difficult,' because usually that's not an option. We have to succeed. So I think you can say that the disadvantages of being born in a country where life is difficult become an advantage. We're driven because we have no choice."
"However, I'm still afraid of doing something I don't believe in. If I did everything on stage that I liked and felt was good, and the public didn't like it, I'd be upset, but I could live with that. However, if I went up there and did something I didn't believe in, simply because my teacher had told me to do it, I'd feel terrible because it wouldn't be me that the public disliked. I've never wanted to do anything that's not mine."
"If I had the choice between playing as if I were coming out and hitting you over the head with a big club to impress you, or just sitting there quietly as if to say, 'Maybe you'd like to hear this story . . . ,' I'd go for the latter. But of course Mr. Parisot taught me well, so I could come out and hit you over the head if I wanted to."
How, I ask, would he summarize the influence of his Chinese background on his playing of Western music? "It's funny," he smiles, "because when I'm in China I feel more American than anything. When I'm in America I feel more European. And when I'm in Europe I feel Chinese! It's very complicated. But let me answer your question this way.
"Chinese people are very moved to see somebody who has a difficult life but keeps a smile on his face. That touches us much more than somebody who's suffering but complaining about it to everybody. So I'd say that I prefer to speak to people through music in a very quiet way. Western culture is a bit more dramatic—look at paintings, for example. In the West, they're full of color and drama and battles, and they always show people. The majority of Chinese paintings are watercolors, and most of them are black and white. And they're about nature, not people. For me, that's the difference.
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＜从毛到莫扎特＞是我最喜欢的纪录片，没有之一。
常常，在寂静的周末夜晚，戴上耳机，一个人看这部片子：李德伦对莫扎特的阶级分析，谭舒真对文革经历的自述，充满灵气的孩子们...不敢相信这些曾经发生在自己生活的年代里。
三十年过去了，虽然中国的经典音乐演奏水平进步不大，但是今天拥有王健那般才华的孩子们再也不需要他当年传奇般的幸运了，这本身就是很幸运的事情。
下面就是＜从毛到莫扎特＞的连接，没看过的建议一定不要错过。
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