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| Fou Ts’ong, a Chinese-born pianist known for his sensitive interpretations of Chopin, Debussy and Mozart, and whose letters from his father, a noted translator and writer, influenced a generation of Chinese readers, died on Monday at a hospital in London, where he had lived for many years. He was 86. | 出生于中国的钢琴家傅聪以对肖邦、德彪西和莫扎特的细腻诠释闻名，其父是著名翻译家及作家，他写给傅聪的信影响了一代中国读者。周一，在生活多年的伦敦，傅聪于一家医院去世，享年86岁。 |
| The cause was the coronavirus, said Patsy Toh, a pianist, who had been married to Mr. Fou since 1987. | 1987年与傅聪结婚的钢琴家卓一龙(Patsy Toh)说，死因是新冠病毒。 |
| Mr. Fou became one of the first Chinese pianists to achieve global prominence when he took third place in the International Chopin Piano Competition in Warsaw in 1955. He also won a special prize for his performance of Chopin’s mazurkas. | 1955年，傅聪在华沙的肖邦国际钢琴比赛中获得第三名，成为第一批获得世界性声誉的中国钢琴家之一。他对肖邦马祖卡舞曲的演绎还获得了一个特别奖。 |
| Almost overnight, he became a national hero. To China’s nascent Communist-led government, Mr. Fou’s recognition in a well-known international competition was proof that the country could stand on its own artistically in the West. Chinese reporters flocked to interview Mr. Fou, while many others sought out his father, Fu Lei, a translator of French literature, for advice on child-rearing. | 几乎一夜之间，他成了民族英雄。对中国共产党领导下的新生政府来说，傅聪在著名国际比赛中获得认可，证明中国在艺术方面可以同西方分庭抗礼。采访傅聪的中国记者蜂拥而至，还有很多记者向他的父亲、法语文学翻译家傅雷请教儿童教育方面的建议。 |
| But the authorities’ good will did not last long. | 但官方的友好并没有持续太久。 |
| Two years later, Mao Zedong initiated the Anti-Rightist Campaign, in which hundreds of thousands of Chinese intellectuals, including Mr. Fu, were persecuted. Many were tortured and banished to labor camps. Mr. Fou, then studying at the Warsaw Conservatory in Poland, was made to return to China to undergo “rectification” for several months. | 两年后，毛泽东发起了反右运动，包括傅雷在内的数十万中国知识分子受到迫害。许多人遭受折磨、被流放到劳改营。当时在波兰华沙音乐学院(Warsaw Conservatory)学习的傅聪被要求回国接受几个月的“改造”。 |
| Not long after going back to Warsaw, he found himself in a quandary. Having witnessed the increasingly tumultuous political climate back home, he knew that if he returned to China upon graduation — as the government expected him to do — he would be expected to denounce his father, an unimaginable situation. | 回到华沙后不久，他发现自己陷入两难境地。目睹国内日益动荡的政治气候，他知道，如果毕业后他像政府期望的那样回到中国，他会被要求谴责自己的父亲，这样的事令人难以想象。 |
| So in December 1958, Mr. Fou fled Communist Poland for London, where he requested political asylum. | 因此，1958年12月，傅聪逃离共产主义波兰，来到伦敦请求政治避难。 |
| “About my leaving, I always felt full of regret and anguish,” he recalled in an interview. So many intellectuals in China had suffered, he said, but he had escaped. “I felt uneasy, as if I owed something to all my friends,” he said. | “关于我的离开，我总是感到遗憾和痛苦，”他在采访中回忆。他说，中国有那么多知识分子遭受苦难，但他却逃跑了。“我很不安，好像亏欠了所有的朋友，”他说。 |
| After his defection, Mr. Fou maintained a written correspondence with his father in Shanghai — a special privilege that was said to have been approved by Zhou Enlai, the Chinese premier. | 叛逃后，傅聪与在上海的父亲保持着书信往来——这项特权据说是经中国总理周恩来的批准。 |
| Then, in 1966, Mao launched the Cultural Revolution, a decade of chaos that upended Chinese society. Militant Red Guards accused Mr. Fu, a translator of writers like Balzac and Voltaire, of having “capitalistic” artistic taste, among other crimes. They humiliated and tortured him and his wife for days until the couple, like many other Chinese, were driven to suicide. Mr. Fou, still in London, did not learn of his parents’ deaths until months later. | 然后，在1966年，毛泽东发动了文化大革命，这是一场颠覆中国社会的十年动乱。激进的红卫兵指控巴尔扎克和伏尔泰等作家的译者傅雷有“资本主义”的艺术品味等各种罪行，对他们夫妇进行了数天的羞辱和折磨，最终这对夫妇像当时许多中国人一样被迫自杀。当时仍在伦敦的傅聪直到几个月后才得知父母的死讯。 |
| In 1981, after China’s post-Mao government posthumously restored the reputations of Mr. Fou’s parents, a volume of letters written by his father, primarily to Mr. Fou, was published in China. Full of advice, encouragement, life teachings and stern paternal love, the book, “Fu Lei’s Family Letters,” became a best seller in China. | 1981年，毛泽东统治结束后的中国政府为傅聪的父母恢复了名誉，傅雷写给以傅聪为主的家人的书信在中国出版。《傅雷家书》中充满忠告、鼓励、人生教诲和严厉的父爱，成了中国的畅销书。 |
| For many, Mr. Fu’s disquisitions on music, art and life offered a welcome contrast to the propaganda of Cultural Revolution, in which sons turned against fathers, students against teachers and neighbors against neighbors all in the name of politics. | 对很多人来说，傅雷关于音乐、艺术和生活的论述，与文化大革命的宣传形成了一种乐见的对比。在文化大革命中，儿子反对父亲，学生反对老师，邻里反目，一切都是为了政治。 |
| “If you imagine the environment we grew up with, it was very rigid,” said Xibai Xu, a political analyst who first read Mr. Fu’s letters in middle school in Beijing. He added, “So when you read ‘Fu Lei’s Family Letters,’ you realized how a decent human life could be — a life that is very delicate and artistic, with real human emotions and not just ideology.” | “你想象一下我们成长的环境，那是非常刻板的，”政治分析人士徐曦白说，他在北京上中学时第一次读了傅雷的信。他还说：“所以读《傅雷家书》的时候，你就会意识到人可以过得多么体面——一种非常细腻和艺术的生活，有真实的人类情感，而不仅仅是意识形态。” |
| Besides influencing a generation of Chinese, Mr. Fu’s words resonated long after his death with the person for whom they were intended. | 傅雷的话影响了一代中国人，在他去世后，这些话依然在收信者心中产生长久的共鸣。 |
| “My father had a saying that ‘First you must be a person, then an artist, and then a musician, and only then can you be a pianist,’” Mr. Fou once recalled in an interview. “Even now, I believe in this order — that it should be this way and that I am this way.” | “我爸爸的名言就是，‘第一做人，第二是艺术家，第三是音乐家，最后才是钢琴家，’”傅聪在采访中回忆。“这个次序，我现在认为就是这样，应该这样。我就是这样的。” |
| Fou Ts’ong was born on March 10, 1934, in Shanghai. His father, in addition to being a translator, was an art critic and a curator. His mother, Zhu Meifu, was a secretary to her husband. | 傅聪于1934年3月10日出生于上海。父亲除了从事翻译工作，还是一位艺术评论家和策展人。母亲朱梅馥是丈夫的秘书。 |
| Under the strict supervision of their father, Mr. Fou and his brother, Fu Min, were educated in the classical Chinese tradition and grew up surrounded by both Western and Chinese cultural influences. As a child, Mr. Fou studied art, philosophy and music, frequently making use of his father’s phonograph and laarge record collection. | 在父亲的严格监督下，傅聪和弟弟傅敏接受了中国古典传统的教育，并且在中西文化的熏陶下长大。傅聪从小学习艺术、哲学和音乐，经常利用父亲的留声机和大量唱片收藏。 |
| A lover of classical music from a young age, Mr. Fou began taking piano lessons when he was 7. One of his later teachers was Mario Paci, the Italian conductor of the Shanghai Municipal Orchestra. | 傅聪从小就喜欢古典音乐，7岁时开始学习钢琴。他后来的老师之一是上海交响乐团的意大利指挥梅百器(Mario Paci)。 |
| But the chaos of wartime China prevented him from receiving a systematic musical education. In 1948, Mr. Fou, then in his teens, moved with his family to the southwestern province of Yunnan, where he went through what he described as a rebellious period. It was only after returning to Shanghai several years later that he began to dedicate himself in earnest to the piano. | 但战时中国的混乱使他无法接受系统的音乐教育。1948年，少年傅聪随家人迁往中国西南部的云南省，在那里度过了一段据他说十分叛逆的时光。回上海几年后，他才开始全心投入到钢琴上。 |
| Mr. Fou made his first stage appearance in 1952, playing Beethoven’s “Emperor” Concerto with the Shanghai Symphony Orchestra. The concert caught the attention of officials in Beijing, who selected him to compete and tour in Eastern Europe. | 傅聪第一次登台是在1952年与上海交响乐团合作演奏贝多芬的《皇帝协奏曲》。这场音乐会引起了北京官员的注意，于是选派他去东欧比赛和巡演。 |
| Mr. Fou moved soon to Poland, where he studied at the Warsaw Conservatory on a scholarship. To prepare for the fifth Chopin Competition in Warsaw in 1955, he practiced so diligently that he hurt his fingers and was nearly cut from the first round of competition. | 傅聪很快搬到波兰，得到奖学金，在华沙音乐学院学习。1955年，为了准备在华沙举行的第五届肖邦比赛，他刻苦练习，结果在第一轮比赛中伤了手指，险些被淘汰。 |
| After the deaths of his parents in 1966, Mr. Fou stayed abroad and became a renowned concert pianist on the international circuit, best known for his interpretations of Chopin but also winning acclaim in performing works by Haydn, Mozart, Schubert and Debussy. Reviewing a 1987 recital in New York, Bernard Holland of The New York Times wrote of Mr. Fou’s “sensitive ear for color” and “elusive gift of melody.” | 1966年父母去世后，傅聪留在国外，成为国际著名钢琴演奏家，以演绎肖邦而闻名，但他对海顿、莫扎特、舒伯特和德彪西作品的诠释也赢得了赞誉。《纽约时报》的伯纳德·霍兰德(Bernard Holland)在评论他于1987年在纽约的一场独奏会时写道，傅聪有着“对色彩的敏感听觉”和“难以捉摸的旋律天赋”。 |
| “We should hear Mr. Fou more often,” Mr. Holland wrote. “He is an artist who uses his considerable pianistic gifts in pursuit of musical goals and not for show.” | “我们应该多听傅聪的演奏，”霍兰写道。“他是一位艺术家，他把自己极高的钢琴天赋用来追求音乐目标，而不是用来表演。” |
| In 1979, after Mao’s death and the end of the Cultural Revolution, Mr. Fou was granted permission to return to China for the first time in more than two decades, reuniting with his brother to hold a memorial service for their parents. | 毛泽东去世后，文化大革命也随之结束，1979年，傅聪在时隔20年后首次获准回国，与弟弟重聚，为父母举行追悼会。 |
| On subsequent visits he performed and lectured, becoming known as the “Piano Poet” for his lyrical musical interpretations. Later editions of “Fu Lei’s Family Letters” were updated to include some of Mr. Fou’s letters to his father. | 在随后的访问中，他做了表演和演讲，因其对音乐的抒情演绎被誉为“钢琴诗人”。后来的新版《傅雷家书》中收录了傅聪写给父亲的部分书信。 |
| Mr. Fou’s death came at a time of resurgent nationalism in China. On Chinese social media, some ultranationalist commentators called him a traitor to the country for defecting decades ago, echoing accusations that Mr. Fou faced in the 1950s after settling in London. | 傅聪去世之际，中国的民族主义正在抬头。在中国社交媒体上，一些极端民族主义评论人士因为他在几十年前的叛逃，称他是中国的叛徒。1950年代，傅聪定居伦敦后也面临类似的指控。 |
| “What would I tell them? There was nothing to say,” Mr. Fou said of such critics in an interview. “It’s not that I was longing for the West.” | “我跟他们说什么呀，没有什么可说，”傅聪在接受采访时谈到这些批评人士时说。“并不是我是真的向往西方。” |
| “I was choosing freedom,” he added. “It was not an easy situation. There was no other choice.” | “我选择自由，”他还说。“没有那么简单的事，那是没办法的事情。” |
| Many other Chinese honored his memory, including well-known pianists like Li Yundi and Lang Lang, who called Mr. Fou “a clear stream in the world of classical music and a beacon of light in our spirit.” | 许多中国人都怀念他，包括著名的钢琴家李云迪和郎朗，他们称傅聪为“古典音乐里的一股清流，我们精神的灯塔”。 |
| “Fou Ts’ong’s legacy was to show people and musicians the importance of integrity, character and music beyond technique,” said Jindong Cai, a conductor and the director of the U.S.-China Music Institute at the Bard College Conservatory of Music. | “傅聪的遗产向人们和音乐家展示了正直、品格和音乐的重要性，而不仅仅是技术，”巴德音乐学院美中音乐研学院的指挥兼院长蔡金东说。 |
| Mr. Fou’s first marriage, to Zamira Menuhin, a daughter of the prominent violinist Yehudi Menuhin, ended in divorce, as did a brief marriage to Hijong Hyun. In addition to his wife, Ms. Toh, Mr. Fou is survived by a son from his first marriage, Lin Xiao; a son from his marriage to Ms. Toh, Lin Yun; and his brother, Mr. Fu. | 傅聪的第一任妻子是著名小提琴家耶胡迪·梅纽因(Yehudi Menuhin)的女儿扎米拉·梅纽因(Zamira Menuhin)，两人的婚姻以离婚告终，他与玄禧晶(Hijong Hyun)的短暂婚姻也是如此。傅聪的遗属除了妻子卓一龙，还有第一段婚姻所生的儿子傅凌霄，与卓一龙的儿子傅凌云，以及弟弟傅敏。 |
| Mr. Fou remained devoted to music in his later years, playing piano for hours every day even as his fingers grew frail. It was a love that he invoked in interviews, alongside nuggets of wisdom from his father. | 傅雷在晚年仍然热衷音乐，每天都要弹几个小时钢琴，即使手指日渐衰弱。他在采访中一再提到这种热爱，以及从父亲那里得到的智慧。 |
| “When I was very young, I wrote to my father from Poland that I was sad and lonely,” he once recalled. “He wrote back: ‘You could never be lonely. Don’t you think you are living with the greatest souls of the history of mankind all the time?’” | “小时候，我在波兰给父亲写信，说我感到悲伤和孤独，”他回忆。“他回信说：‘你永远不会孤独。古今的名著，时时刻刻给你精神上的养料！’” |
| “Now that’s how I feel, always,” Mr. Fou said. | “这就是我的感觉，一直都是，”傅聪说。 |
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