English Original
I started winning competitions. We still had very little money — my father had to borrow $5,000 for my trip to the International Young Pianists Competition in Germany in 1994, when I was twelve. Watching the footage later, I realized the immense pressure he was under. Tears streamed down his face when my victory was announced — the prize money was enough to repay our loan.
It became clear that to become a world-class musician, I needed to be on the world's stage. So, in 1997, my father and I moved to Philadelphia for me to attend The Curtis Institute of Music. Our financial worries eased; the school provided an apartment and even lent me a Steinway. At night, I would sneak into the living room just to touch the keys.
In America, I was eager for fame, but my teachers reminded me I had much to learn. After two years of dedicated practice, fortune intervened in 1999. The Chicago Symphony Orchestra heard me play and was impressed, but their schedule was full for years ahead.
The very next morning, I received a call. The renowned pianist Andre Watts had fallen ill and could not perform at Chicago's Ravinia Festival. I was asked to substitute. That performance was my defining moment. Introduced by violinist Isaac Stern, I played Tchaikovsky's Piano Concerto No. 1. My father watched, awestruck, his mouth agape throughout.
Afterward, in a celebratory mood, the audience requested Bach's Goldberg Variations. I played until 3:30 a.m., sensing a shift. Indeed, engagements soon poured in: Lincoln Center, Carnegie Hall. Yet, my father continually urged, "You'd better practice!" Life in America began to relax him. In Beijing, he had been thin ensuring I ate well, while I was chubby. Now, the roles were subtly reversing.
Wishing to honor my father's sacrifices, I included Chinese music in my Carnegie Hall solo debut in 2003 at age 21, aiming to revive our family's musical tradition from Shenyang. My father and I often practiced "Horses," a lively duet for piano and erhu. That night, after performing Chopin and Liszt, I invited him on stage. We played our duet. The audience was enthralled. My father was elated for days, too happy to sleep.
Many concerts have graced Carnegie Hall, but for me, playing there was profoundly sweet, remembering our humble beginnings in Beijing. Together, my father and I strived to reach that fortunate place where luck finds you and lets you shine.
中文翻译
我开始在比赛中获胜。我们仍然非常贫穷——1994年，我十二岁时，父亲不得不借了5000美元供我去德国参加国际青年钢琴家比赛。后来观看比赛录像时，我才意识到他承受了多大的压力。宣布我获胜时，他泪流满面——奖金足以偿还我们的贷款。
显然，要成为世界级的音乐家，我必须登上世界的舞台。于是，1997年，我和父亲搬到了费城，以便我进入柯蒂斯音乐学院学习。我们的经济压力终于减轻了；学校提供了一套公寓，甚至借给我一架斯坦威钢琴。夜里，我常溜进客厅，只为触摸琴键。
到了美国，我渴望成名，但新老师们提醒我还有很多要学。经过两年刻苦练习，1999年，幸运降临了。芝加哥交响乐团听了我演奏并很欣赏我，但他们的演出日程早已排满多年。
就在第二天早上，我接到了一个电话。著名钢琴家安德烈·瓦茨生病了，无法在芝加哥拉维尼亚音乐节的“慈善晚会”上演出。我被邀请顶替。那场演出对我来说是决定性时刻。在小提琴家艾萨克·斯特恩的介绍后，我演奏了柴可夫斯基的《第一钢琴协奏曲》。父亲全程张着嘴，惊呆了。
之后，兴致高涨的人们——或许有点醉了——请我演奏巴赫的《哥德堡变奏曲》。我一直弹到凌晨三点半，感觉到某种变化正在发生。果然，演出邀请开始大量涌来：林肯中心、卡内基音乐厅。尽管如此，父亲仍不断告诫我：“你最好继续练习！”但和我在美国的生活开始让他放松下来。在北京时，我很胖——他确保我吃得好——而他很瘦。现在，我变瘦了。而他则不然。
我想为父亲所做的一切做些特别的事。因此，在2003年我21岁于卡内基音乐厅举行个人独奏首演时，我加入了中国曲目。我想重振我们家在沈阳一起演奏的传统。父亲和我经常练习一首叫《赛马》的曲子，一个钢琴和二胡的有趣合奏版本。那晚在卡内基，演奏完肖邦和李斯特的作品后，我把父亲请上舞台，我们一起演奏了我们的二重奏。观众疯狂了——他们非常喜欢。父亲好几天睡不着觉。他高兴得无法入睡。
卡内基音乐厅举办过许多音乐会，但对我来说，在那里演奏格外甜蜜，尤其是当我回想起在北京那些寒冷的日子。我和父亲共同努力，才抵达了那个幸运眷顾你、让你闪耀的地方。