事业 · 创业者自述
爱德华·博克:爱德华·博克自传·补录 625
爱德华·博克《爱德华·博克自传》· The Americanization of Edward Bok · 领导
One day Josef Hofmann gave Bok an entirely new point of view. The artist was rehearsing in Philadelphia for an appearance with the orchestra, and the pianist was telling Bok and his wife of the desire of Leopold Stokowski, who had recently become conductor of the Philadelphia Orchestra, to eliminate encores from his symphonic programmes; he wanted to begin the experiment with Hofmann's appearance that week. This was a novel thought to Bok: why eliminate encores from any concert? If he liked the way any performer played, he had always done his share to secure an encore. Why should not the public have an encore if it desired it, and why should a conductor or a performer object? Hofmann explained to him the entity of a symphonic programme; that it was made up with one composition in relation to the others as a sympathetic unit, and that an encore was an intrusion, disturbing the harmony of the whole.
出处:
https://www.gutenberg.org/ebooks/3538
定位:Additional excerpt 625 · 核对日期:2026-10-19 · 核验:短摘录
白话
钢琴家霍夫曼告诉博克,交响乐演出通常不安排返场,因为一套曲目是精心搭配的整体,各乐章之间相互呼应,返场会破坏这种和谐。博克原本认为,观众喜欢就该有返场,指挥或演奏者不应反对。霍夫曼解释后,他明白了:返场不是观众福利问题,而是艺术完整性问题。这提醒我们,面对看似不合理的规则,先别急着用常识反驳,而要了解背后的设计逻辑。可执行的做法是:遇到不理解的规定,先问“这个安排要保护什么”,再判断是否值得改变。
上下文
爱德华·博克是美国《妇女家庭杂志》主编,回忆录记录了他与音乐家霍夫曼、指挥斯托科夫斯基推动费城交响乐团取消返场的经历。
今日一问
你最近是否因为不了解某个规则背后的整体设计,而想当然地反对它?
公版传记;原文逐字取自 Project Gutenberg,仅摘录段落并附全书链接。
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