In short, he was not to be tied down, not even to success. His most famous and popular song was a number called “Spain”, from 1973. It had come to him in the usual random way, as he was trying out the second movement of Rodrigo’s “Concierto de Aranjuez”.
简而言之，他不受束缚，甚至不受成功的束缚。1973年以来，他最著名、流行的歌曲是《西班牙》。当他在演奏罗德里戈的《阿兰胡埃斯协奏曲》第二乐章时，往常一样，他灵感突现谱出了这首曲子。
He added this and that, put in other rhythms, and the piece rolled out from there. Yet its very popularity, once it was recorded, froze it in place. Anxiously he rearranged, reinvented, and in 1999 scored it for the London Philharmonic Orchestra. But in the end it was not a piece for free adventuring any more.
他不断地加工和润色，又添加了其他的节奏，这首名曲就这样诞生了。然而，这首曲子立刻流行开来，被录制成曲后，就再无更改。他焦急地重新编排，重新创作，并在1999年为伦敦爱乐乐团重新配乐。但最终，这首曲子不再是适合自由冒险的作品了。
That was the vital thing.
而不断冒险是一件至关重要的事情。
As late as 2014 he astonished one critic by saying, as he strolled onstage for a two-hour solo concert, that he had no plan. That was usually the case. No plan or, if he was with a band, only last-minute rehearsals.
直到2014年，在没有任何计划的前提下，他在舞台上进行了一场两小时的个人演唱会，这句话让一位评论家感到惊讶。而科瑞亚对此已经习以为常。没有事先计划，如果需要和乐队配合演奏，也只有临场的排练。
He wanted to be surprised by what would happen if, say, he started improvising from the hesitant first bars of Chopin’s Mazurka in A minor. Even if he felt at home with the venue and the crowd, he wanted to approach with his sharp, searching fingers a world he had never visited before. And with his first note, like that first note on the Fender Rhodes, spring over any doubt, and take the audience with him.
他想让接下来发生的事情充满惊喜，比如说，如果他从肖邦A小调玛祖尔卡舞曲的第一小节开始即兴演奏。即使他觉得这样能自在地应付陌生场馆和观众，他还是想用自己敏锐的、探索的指尖去探索一个从未到过的世界。随着他弹出的第一个音符，一如当年Fender Rhode钢琴上的第一个音符一样，抛开一切疑虑，让观众享受身临其境般的体验。
