連雲港一生琴行編輯轉發----金斯波格鋼琴在美國的盲測評論翻譯（KG158，KF133，KG125）

連雲港一生琴行編輯轉發----金斯波格鋼琴在美國的盲測評論翻譯（KG158，KF133，KG125）

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近期美國《pianobuyer》在官網上發布了2016年秋季刊特色文章《金斯波格三款琴測評報告》。

pianobuyer 一般會選一些品質好的，達到主編larry認可的才會進行測評

官網地址：Acoustic & Digital Piano Buyer a€」 HOME

該試琴評測由美國高級調律師larry先生以及他的學生2016年共同在美國的「德國鋼琴城」完成。本文為對原文評測的複製以及翻譯。

本文的翻譯由Lisa和 Malinda提供。

AT A TIME when the price of a new, qualitygrand piano is often beyond the means of the typical family, a primary focusfor me in my work as a piano teacher is to find pianos that are suitable forstudents looking to upgrade from entry-level uprights, used pianos, or digitalkeyboards to higher-quality instruments. It was particularly interesting,therefore, to be asked to write this review of lower-cost models fromKingsburg, a brand that I hadnt played before, made inYantai,China.Three pianos — two verticals and one grand —were prepared for sampling at the nearest Kingsburg dealer,GermanPianoCity, in theLos Angelessuburb ofTemple City. For this review, in addition to tryingscales, chord progressions, and some improvisation on each piano, I broughtwith me several pieces of music with which to test each instrument: ScarlattisSonata in D Minor, K.141; Handels Chaconne in G Major; Haydns Sonata in FMajor, Hob. XVI: 23; Granadoss TheMaiden and the Nightingale; Chaminades Concert étude "Autumn,"Op.35 No.2; and Bolcoms GracefulGhost Rag. One of my adult students, Mary, joined me to offer herperspective.

在一台嶄新的，高質量三角琴的價格往往高於普通家庭的消費能力，我作為一名鋼琴老師而言，首要的責任是選擇一台適合學生的鋼琴，要從入門級的，二手的鋼琴或者是電子鍵盤升級到高質量的鋼琴。非常有趣的是，我需要寫一份我本人以前從來沒有彈過的產自中國煙台的金斯波格鋼琴的樂評，是金斯波格鋼琴的幾個價格適中的鋼琴。三個型號的鋼琴----兩台立式的和一台三角的----作為樣品琴放到洛杉磯郊區天普市的金斯波格在美國的代理商-德國鋼琴城。為了寫這篇樂評，我除了在測試音源、和弦進行和即興演奏，我還帶了幾首曲子來進行測試，譬如斯卡拉蒂的D小調奏鳴曲，K141,亨德爾的G大調恰空舞曲，海頓F大調奏鳴曲XVI: 23，格拉納多斯的少女與夜鶯；查米納德的作品35第2號：音樂會練習曲「秋」，博爾科姆的Graceful Ghost Rag。我的一個成年學生-瑪麗，和我一起並給出了她的想法。

Grand Model KG-158 (5 3")

This instrument has an attractiveexterior look, its polished-ebony finish enhanced by an elegant, mahoganyveneer on the inner rim and a decorative, gold, braided-rope lining surroundingthe soundboard. The slow-close fallboard descends gently over the keys. I wasinitially impressed by the pianos clean, round sound quality — not overlybright or metallic. The instrument had been carefully prepped by thetechnician, so the touch was even across the keyboard.

這台鋼琴有著非常吸引人的外觀，高貴典雅的亮光黑色表面，內圈鑲嵌優雅的桃花心木飾邊，金色裝飾線條環繞音板，緩降裝置使得琴蓋輕柔地蓋在鍵盤上。清澈飽滿圓潤的音質音色給我留下了深刻的印象，不過亮或者感覺有金屬音。這台琴經過技術人員精心的調整，整個鍵盤的觸感非常均勻一致。

Damper-pedal changes were executed withpinpoint precision, augmenting the instruments already good sustain. As thebrand-new hammers had yet to be broken in, the soft pedal had minimal effect inlowering the volume. The sostenuto pedal — an important feature of grand pianosnot available in most uprights — functioned well; students who study advancedrepertoire eventually need to use this pedal.

制音踏板的運行非常精準，極大的提升了已經非常優越的延音效果。因為嶄新的榔頭需要適應，弱音踏板有效的降低音量，選擇性延音踏板-三角琴非常重要的特徵（大多數立式琴中不存在）運行非常好，學生在學習高級別曲目時總會用到這個踏板

My primary reservations were with theinstruments narrow dynamic range and overly light touch, both of which addedto the effort required to produce a wide palette of tonal colors. It took quitea bit of strength to coax a fortissimo fromthis piano; I can imagine that the average student might struggle to project abig sound. After playing the instrument, my adult student, Mary, arrived at asimilar conclusion. Furthermore, while the bass remained rich at the louderdynamic levels, as I played harder, the treble grew more brittle and tinny. Iexpect, however, that as the hammers become harder with use, it will be easierto produce a bigger sound.

我對這台琴的唯一保留意見是它的動態範圍有點窄，整體觸感有點輕，需要加強力度一些才能演繹寬廣豐富的音調色彩，我覺得可能一般化的學生可能比較費力一點。彈奏完這台鋼琴後，我的成年學生-瑪麗-得出了相似的結論。另外，當低音還在較高音量時，越用力高音顯得薄一些，我想隨著彈奏使用，榔頭變得更硬，會更容易發出大點厚點的聲音。

The Granados piece requires a wide dynamicrange and finesse in its many dream-like passages. As I played through it,though I found the tonal colors acceptably complex, it took intense listeningand experimentation with different touches to achieve the necessary gradationsof volume and tone. Nevertheless, I was able to satisfactorily bring out the differentmusical voices in its chords.Chaminades "Autumn" is also a studyin dynamic contrast. The opening and closing sections are lyrical and tranquil;the intense middle section depicts an autumn storm. While I found ampleprojection for the virtuoso middle sections fast chords, it was harder tocontrol the softer ranges between mezzopiano and pianissimo inthe opening and closing sections. The pianos touch was so light to begin withthat it left little physical or interpretive space in which to go from light tolighter to lightest.

格拉納多斯的曲子在其許多夢幻般的章節需要較寬的音量動態範圍和技巧，在我彈奏這些曲目時，我發現雖然音色綜合可以接受，但需要集中精力並嘗試不同的觸鍵方法來達到音量和聲音的漸變，但是我還是能夠令我非常滿意地從其和弦中展現出不同的有音樂性的聲音。查米納德的「秋天」也是一個對力度對比的研究，開頭和結束的部分是抒情和寧靜的，強烈的中間的部分描述了秋的暴風雨。我發現藝術家中間部分的快速和弦的展現很豐富，但是在該曲的開頭和結尾部分中，稍弱和最弱音的柔和部分比較難以控制。鋼琴的觸感太輕，所以在開始後沒有足夠的空間去詮釋從輕到更輕到最輕。

The Haydn and Scarlatti pieces require cleanpassage work and fast runs. I was able to produce the desired Classical claritywith the Haydn — runs came fluently and effortlessly — but the fast repeatednotes of the Scarlatti posed a technical difficulty with this piano. For mytaste, the keys didnt seem to return quickly enough.

海頓和斯卡拉蒂的曲子需要乾淨的中間段和快速跑動，我能夠使用該琴演繹想要的的古典清晰度-海頓曲子的跑動流暢毫不費力---但是斯卡拉蒂快速重複的音給這台鋼琴提出了技術難題，我的感覺是這台琴的回鍵還是不夠快。

I had only enough time to try the first page ofthe Bolcom rag, which is filled with big chords and octaves. Once again, thepiano satisfactorily responded to my chord voicings; however, even with precisepedaling, the overall effect lacked the tonal complexity and richness suggestedby Bolcoms textured writing.

我的時間只能夠彈博爾科姆的第一頁，這裡邊充斥了大和弦和八度，這台琴再一次完美地表現出了我的和弦聲音；不過儘管有精準的踏板，整體效果上還是無法完全體現出波爾卡姆曲譜要求的音調複雜性和多樣性

My overall assessment of the KG-158 is that,priced in the same range as many Japanese uprights, it offers terrific value.With a true sostenuto pedal and grand-piano action, it would be a dramaticupgrade for the typical student currently playing an upright piano. My advice,however, is to have the hammers voiced, and the action adjusted for a heaviertouch, to make available to the player both a wider dynamic range and more subtlegradations of dynamics within that range.

我對這台KG-158鋼琴的整體評價是在與同價位的很多日本琴同等相比，這個琴體現了很高的價值。配備了真正的選擇性延音踏板和三角琴專業擊弦機，這將是現在學生普遍彈奏的立式琴的戲劇化的提升。我的建議是，對榔頭在進行整音，擊弦機再進行調整，從而達到更重些的觸感，從而給彈奏者一個更寬的音量動態範圍，並在這個範圍內有一個更敏銳的力度的漸變。

Upright Model KF-133 (52")In contrast to the grand, my immediate reactionto Kingsburgs top upright model was to its powerful sound — so powerful that Ihad to close the lid to gain some control over the sound quality. The tone wassolid but never shrill. I was pleasantly surprised by the soft pedal, as itsubstantially lowered the dynamic level without compromising the richness ofsound. With this instrument, I was able to play scales and chord progressionsclearly.

與三角琴相比，我對金斯波格鋼琴頂級的立式琴的第一反應是聲音強勁有力---如此強勁以至於我不得不把頂蓋合上來控制音量，聲音厚實但是不會刺耳。我對那個弱音踏板很滿意，因為它可以大大降低力度水平而不影響聲音的豐富性。藉助這台琴，我可以清晰地演繹它音階和和弦行進。

The Haydn sounded great on this upright, whosestout tone suited Classical sonatas to a T — and its clarity was stunning. Theability of the Scarlattis repeated notes to repeat fast enough was a littlesuspect, but the keys responded with more consistency and reliability than onthe KG-158. The quiet moments of the Granados sounded lovely on the KF-133, andthe dynamic range was amazing. What a magnificent instrument!！

海頓的曲子在這台立式琴上演繹的很好，它結實的聲音很適合古典奏鳴曲，恰到好處--它聲音清晰度驚人。演繹斯卡拉蒂的重複音，是否有能力足夠快，我有些遲疑，但是它的琴鍵反應快速性、一致性和可靠性比KG-158要好。在KF-133上彈奏格拉納多斯的安靜時刻聽起來很動聽，它的動態力度範圍很讓人驚奇，這是一台多麼讓人驚嘆的鋼琴！！

This piano sang nicely. The Handel Chaconne isa set of variations on a chord progression, each variation projecting adifferent character and requiring various levels of cantabileplaying and polyphony. In the KF-133, I found plenty oftonal richness without having to sacrifice clarity. Its damper pedal gave notesa gorgeous sustain and executed changes with precision, the latter a blessingwhen playing Baroque music.

這架鋼琴歌唱性很好，The HandelChaconne是一組和弦行進的變奏，每一個變奏都彰顯不同的特點，顯示出如歌的演奏及不同層次的復調。在KF-133上，我能發現很大程度音調音色的豐富性而又不需要犧牲它的清晰性。它的制音踏瓣使音符華麗地延展且有精準的變化，是演奏巴洛克音樂的福音。

I asked Mary to play a piece so that I couldwalk around the showroom and listen to the piano from different angles anddistances. The sound was spectacular from anywhere in the room. This muscularinstrument could instantly make a student sound larger than life. In any piano,I typically look for consistency of touch — very important for developingpianists studying at the intermediate level. For an upright, the KF-133 had adecent touch and offered an acceptable level of finger control.我讓瑪麗彈奏一首曲子，這樣我就可以在展廳周圍從不同的角度和距離來聽，這種來自房間里的任何一個地方的聲音真的很動人。這種強勁的樂器可以讓學生一直感覺到比生命更強的聲音。在任何一架鋼琴中，我都試圖找尋觸鍵感的一致性，這對於鋼琴中級水平的學習者來說真的很重要。對於立式琴，KF-133有適中的觸鍵感且手指非常容易控制。

The KF133 has a lot to offer, musically andartistically. My two biggest concerns were with its overall loudness and thedesign of its music rack. The loudness could be a problem in a small room, orin attached housing, where neighbors might be disturbed. The music rack isunusual for an upright: substantially higher than most, its placed about wherea grand pianos music rack would be, and, like a grands, it can be movedforward and back. However, the design of the KF-133s music rack sets books atan awkward angle, and could prevent thicker books from lying flat when open. Inaddition, a lip at the front of the shelf, undoubtedly designed to preventsingle sheets of music from slipping off, could interfere with turning the pagesof thicker books.

KF133琴無論在音樂上，還是在藝術上都能給我們帶來很多。我最關心的兩點是它的整體音量和譜架的設計，它的音量在小房間或附屬房屋中可能會是個問題，可能會打擾鄰居。譜架對於立式鋼琴來說，不同尋常。比大部分都高，位於三角琴譜架應該在的位置，和三角琴類似，可以前後移動。但是這個琴的譜架設計將樂譜置不便的角度，在較厚的譜子打開時會影響平整。另外，譜架前邊的舌頭，毫無疑問可以避免單張譜子滑落，但另一方面也阻礙了其它厚的譜子的翻頁。

Upright Model KG-125 (50")A smaller member of Kingsburgs KG series, theKG-125 had a comparatively mellow tone.The pianos medium touch is ideal for Haydn andother Classical repertoire, and perfect for students just starting to learnsonatinas and Czerny exercises. I could play through fast passages withouthindrance.

稍小點的金斯波格鋼琴的KG系列中的「成員」，KG-125擁有相對柔和的音色，鋼琴的適中的觸鍵感對海頓以及其它古典曲目來說是非常理想的，並且對於學生來說，特別是剛開始學習的小奏鳴曲和車爾尼練習曲來說，是不錯的選擇，我用金斯波格鋼琴演奏快的章節沒有任何阻礙。

Unlike the music rack on the KF-133, theKG-125s rack is on the middle of the fallboard. The fallboards top rail foldsdown, creating a continuous flat surface for books to lean against. With thisconstruction, its easy to write comments on music during practice or teaching.

不同於KF-133的譜架，KG-125的譜架在搖蓋的中間。搖蓋可以摺疊的功能造就了譜子可以倚在一個連續的平面上。由於這種構造，使我很容易在教學和彈奏中寫樂評。

Even with its many big chords, Bolcoms ragsounded modest on this piano, with a nice level of control and depth of colors.I had to work a little harder to achieve the balance of voices in the lyricalsection of the Chaminade — it took a few attempts to find the softest touch atwhich sound could be produced on this piano without notes dropping out. I alsofound the repeated notes in the Scarlatti difficult to produce: there wasalmost a slight lag in the keys response. Similarly, I had to work hard tofind the right touch for the Handel, as how to bring out on this piano theChaconnes simultaneous musical lines was not immediately obvious. However,with more practice, I found myself able to adjust to the instruments touch.

即使是擁有許多較大的和弦音，博爾科姆的曲子在金斯波格鋼琴的彈奏保持了適中的聲音，控制和色彩深度良好。我努力嘗試Chaminade抒情部分的聲音效果，嘗試了數種方法從而找到最柔和的觸感從而在這台琴上演繹出來但又不脫音。我也發現Scarlatti曲子中的重複音部分難以演繹，鍵的反應稍微有點滯後，我需要費點力氣找到合適的觸鍵感來演繹亨德爾的曲子，同樣，花費點功夫找到查米納德的音樂線條。再經過稍多點的練習，我發現自己能找到這台琴的演奏感覺了。

Mary mentioned that the damper pedal didntwork efficiently. On closer inspection, I found that the KG-125 produced a lotof echoes, especially in the treble section. The higher the register, the moreechoes I heard. The highest octave of notes sounded like tiny bells ringinginside a hollow box.Overall, the KG-125 worked as an entry-levelinstrument for the serious beginner. It delivered an acceptable range ofdynamics with a touch that was neither too stiff nor too light. The pianosatisfied the demands of repertoire up to and including the intermediate levelof difficulty.

瑪麗認為制音踏板不是很好，在進一步的觀察檢測後，我發現KG-125產生很多共鳴，特別是在高音區，高音區越高越明顯，最高八度的音符聽起來像一個空盒子里的小鈴聲。總體上，KG-125對於初學者來說是一個相當級別的樂器。它提供了良好的觸鍵感力度，不太重也不太輕；KG-125可以滿足全部曲目的演奏，包括中級難度的曲目。
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