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　　These free-wheeling, often exhilarating dialogues—which grew

out of the acclaimed Carnegie Hall Talks—are an exchange between

two of the most prominent figures in contemporary culture: Daniel

Barenboim, internationally renowned conductor and pianist, and

Edward W. Said, eminent literary critic and impassioned commentator

on the Middle East. Barenboim is an Argentinian-Israeli and Said a

Palestinian-American; they are also close friends.

As they range across music, literature, and society, they open

up many fields of inquiry: the importance of a sense of place;

music as a defiance of silence; the legacies of artists from Mozart

and Beethoven to Dickens and Adorno; Wagner’s anti-Semitism; and

the need for “artistic solutions” to the predicament of the Middle

East—something they both witnessed when they brought young Arab and

Israeli musicians together. Erudite, intimate, thoughtful and

spontaneous, Parallels and Paradoxes is a virtuosic

collaboration.

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　　Daniel Barenboim is Music Director of the Chicago Symphony

Orchestra and General Music Director of the Deutsche Staatsoper

Berlin. He gave his first public performance as pianist at the age

of seven. He celebrated the fiftieth anniversary of that milestone

in the year 2000 with a series of concerts throughout the world,

culminating in a complete cycle of Beethoven piano concertos and

symphonies at Carnegie Hall in New York City. He has been

associated with the Bayreuth Festival since 1981.

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巴：政客和艺术家究竟有什么区别？如果掌握了妥协的艺术，发现各方能够妥协的领域，尽量使他们彼此靠近，并希望依靠正确的协议和正好的时间，使他们化解争端。能够这样做，政客就会做得很好，并且给人们带来好处。而艺术家的表现力正好在于他拒绝任何妥协——他需要有勇气。

萨：政客是修补者。比起漫长的过程，他们对结果更感兴趣。他们想做的就是跨到下一个位置，并且说：“看看我们都做了些什么”；然而对一个知识分子或者艺术家来说，最重要的是让事情达到理想，没有任何妥协。你有想做的事情，你所关心的并不是取得了一点点的进步来获取少许的安慰，而这是政客们所需要的。问题是：有可能缩小两者的差距吗？这是个难题：政客的方法是否可以向艺术家和知识分子敞开呢？

巴：“政治正确”这个词同时地意味着哲学上的不正确，因为它意味首妥协……

萨：意味着妥协和服从。

让你兴奋的不是你可以在公众面前演出，不是演出前后获得的掌声，更不是你可以穿着特殊的衣服走上舞台。让你兴奋的完完全全是因为你可以置身于一个曲目中，不受打扰，心无旁骛地将她从头到尾演奏完毕。对我来说，生命中再没有可与之相比的了。

你如果想诉说些很个人的东西，肯定会有人赞同你，有人反对你。我想，只有那些很平庸的东西才能够得到一致的反馈。今天，有争议竟然成为一句骂人的话，你知道，“他是个有争议的人。”

每个社会内部都有公平与不公平，无知与博学，自由与压迫的矛盾。关键是，对一方或者另一方的支持，不能因为别人告诉你要这么做，而是要自己谨慎地选择，对问题的所有方面进性公平且公允的判断。教育的目的不在于积累事实，或者记住“正确”的答案，而在于学会自己独立地用批评的眼光去思考。

一方面，音乐为人们提供了逃避生活的可能性，而另一方面，音乐能够比其他学科更使人们了解人生。音乐说：“对不起。这就是人生。”

很多德国人对移民的敌意，在我看来，是因为他们以前的两三代德国人并没有充分理解移民的意义。他们并没有理解到人是可以同时拥有两种以上的身份的，有着异国背景、异国习惯和异国文化的人，可以成为这个国家的一部分，而并不威胁到他们作为德国人的身份。

书籍介绍

These free-wheeling, often exhilarating dialogues—which grew out of the acclaimed Carnegie Hall Talks—are an exchange between two of the most prominent figures in contemporary culture: Daniel Barenboim, internationally renowned conductor and pianist, and Edward W. Said, eminent literary critic and impassioned commentator on the Middle East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are also close friends.

As they range across music, literature, and society, they open up many fields of inquiry: the importance of a sense of place; music as a defiance of silence; the legacies of artists from Mozart and Beethoven to Dickens and Adorno; Wagner’s anti-Semitism; and the need for “artistic solutions” to the predicament of the Middle East—something they both witnessed when they brought young Arab and Israeli musicians together. Erudite, intimate, thoughtful and spontaneous, Parallels and Paradoxes is a virtuosic collaboration.