《交响乐的故事》观后感10篇
《交响乐的故事》是一部由西蒙·拉塞尔·比尔执导，历史 / 纪录片 / 音乐主演的一部英国类型的电影，文章吧小编精心整理的一些观众的观后感，希望对大家能有帮助。
《交响乐的故事》观后感(一)：【未完结】【文本】第一集：横空出世
根据片中翻译整理 ================================================================
imon Russell Beale 命运在敲门，V代表胜利。音乐界最为著名的这串音符就来自贝多芬的《第五交响曲》。
在这个系列节目里，我们将要探讨交响乐如何起源于贵族的特权世界，如何随民族与帝国而兴衰起伏，如何成为自由的象征，又如何成为极权政治的工具，如何让管弦乐团表达音乐理念，如何成为作曲家。
终极的自我表达方式，从少数乐师的宫廷献艺，到多于百人的管弦乐团在大型音乐厅的表演，这是一个史诗般的伟大历程。不过，当交响乐呈现给公众时，它如何最终成为表达最深刻的思想和情绪的载体，以至于我们听众能感知它们，并与当今世界相联系？
首先，我们要讲述伟大作曲家的故事。这一集，我们将认识路德维希·范·贝多芬，他是伟大的作曲家，英雄的艺术家。
Mark Elder - Conductor 他觉得自己有一种创世者的超凡能力，能把音乐带到前人不曾想象的高度。
imon 还有沃尔夫冈•阿玛德乌斯•莫扎特，这位在八岁就创作出第一首交响曲的旷世天才；还有约瑟夫·海顿，这位18世纪的音乐巨人，他被尊为交响乐之父。
imon 在1791年的元旦这天，年届58岁却依然健壮的奥地利作曲家约瑟夫•海顿，从法国加莱乘船前往英国多佛，这次航行花费了整整十个小时。他在一个月之前就已经踏上征程，那是他第一次走出他那位于庞大奥匈帝国一个小角落的故乡。他曾经是艾斯特哈奇家族的御用作曲家，如今他放弃了30年职业生涯带来的保障。他乘着马车长途跋涉800多英里，餐风露宿，道路颠簸，吃着粗砺的食物；而此刻的欧洲大地上，法国大革命隆隆的枪炮声还清晰可闻。
海顿一贯活跃多动，但此刻也很兴奋，他说：“我一直站在甲板上，注视着像巨怪一样的海洋。当狂风掀起巨浪，我有些害怕，但我克服了恐惧，抵达海岸时，原谅我言辞不雅，我并未呕吐。”
他带着成箱的乐谱，不幸的是，在行李转运的混乱中，他丢失了一部极重要的交响曲手稿。不过，具有历史意义的旅行就快结束了。两天之后，他就受到欢迎进入伦敦，岂止是欢迎，简直就是有史以来第一位真正的超级音乐巨星。
按照合同，他要在前六个月马不停蹄地发表六部交响曲，尽管其中的一部已经丢失，但海顿决非等闲之辈，他是一位不同凡响的凡人。
imon 这就是海顿，这是海顿1791年抵达英国时的画像，是平民画家约翰·霍普勒奉乔治三世之命所作，以彰显给予海顿的荣耀。虽然海顿出身卑微，但在这里，他却获得了极大的自信。你看他是否流露出好奇而敏锐的眼光？对周遭世界，海顿始终保持着探求的热情。
如今，他的名字尤其与交响乐及曲式密不可分，正是他，而非别人，在18世纪确立并发展了交响乐的曲式。在他手中，交响曲具有了现代词典中的如下定义：“大型音乐作品，通常为四个部分、或称乐章，被视为作曲家最高表达层次的音乐体裁。”他的12首伦敦交响曲，即将把自己的天才之作呈献给最广泛的听众。
Elder 海顿创作的乐曲能迅速让听众心领神会，最重要的是，他的作品让人耳目一新。
imon 伦敦是当时世界上最繁华、发展最迅速的城市。18世纪的大部分时间，占据上流社会主流品味的歌剧在90年代逐渐式微，而新兴的中产阶级主张通过拼搏而不是继承财产来获取财富，他们渴望有什么新生事物能够体现自己的远见卓识和文化涵养。
海顿对英国生活的方方面面有着强烈的兴趣，他参观王宫，造访海军船厂；他因街头酩酊大醉的人感到惊骇；他详细地记述所遇见的民众，记下他们所听的音乐，除了中途短暂回国，他在此地逗留了四年。
imon 赴英的邀请来自一位小提琴家、作曲家，兼音乐会主办者，名叫约翰·彼得·萨洛蒙。他出生在德国，在商业界的才干颇具名气。萨洛蒙召集了城内最好的演奏家，租下一间新开的高雅乐厅，它位于上流的梅菲尔社区汉诺威广场的一角。两个人将联袂举办一系列音乐会。海顿负责作曲，萨洛蒙负责管理乐团，把交响乐置于方兴未艾的伦敦社会文化生活的中心地位。
1791年，当海顿初来乍到时，音乐厅占据着汉诺威广场的有利位置。萨洛蒙在这个音乐季投下了精明的商业赌注，而所得的回报何止是金钱，他写道，“整个时尚界似乎心无旁骛，天哪，追赶时髦的人们追捧着一周多达16场的音乐会”。
imon 这就是18世纪90年代早期，在汉诺威音乐厅所能见到的管弦乐团。乐器的这种组合与布局，确立了此后一百多年交响乐演出现场的蓝图。乐团后面，分别是木管组、铜管组以及打击乐器组，它们地势较高，这在海顿时代是一种创新，这无疑能够形成视觉冲击，也有利于平衡音效。再往前是弦乐组，依次是低音提琴、大提琴、中提琴、小提琴，他将小提琴组又分为两部分，即第二、第一小提琴组。最前面是首席小提琴，此刻是迈姬，而海顿的音乐会上，多是萨洛蒙本人，居中就是作曲家本人，指挥着整个乐队。他挥动指挥棒的情形，并非现在我们所熟知的那样。
Elder 交响乐团如此布局，意在使听众和乐师分享相同的音效，增加了观赏性。观赏性，正是戏剧的特点。“海顿先生为何如此布局？”、“我们会有什么惊喜？”……
imon 《第98交响曲》是最杰出的伦敦交响曲之一，事实上它作于伦敦，用来取代穿越海峡时遗失的那一部，它包含了典型的“海顿式惊喜”，他借鉴了英国国歌《天佑吾皇》的旋律。
在第二乐章，他采用了这一旋律，加以变化和发展，这在海顿的交响乐手法中是很关键的一点。他可能在旅途中偶得灵感，而当旅行结束，一切都变了模样。
海顿如此信手拈来，在《第98交响曲》中非常明显。
Elder 而且他还能够根据现场情况即兴发挥。
他的作品激发了不可思议的愉悦和新奇感受。不过我们今天很难想象，因为那个年代的听众正襟危坐，安静异常，连咳嗽都会召来指责；但他们喜爱海顿的交响乐，人人都抛开礼仪，鼓掌欢呼。
imon 海顿和萨洛蒙的音乐会获得了空前的成功，可是不久以后，海顿需要另作打算了。
他在英国的住所位于赫特福德郡的“李谷”深处。1791年夏，他在此地逗留消暑。
海顿四年来在英国生活和工作过的地方，唯有这座叫“洛克斯福德”的保存至今，就是在这里他创作了《第98号交响曲》。
uzanne Aspden - Music Historian 在伦敦他忙于应酬，应接不暇，而在这里，他可以解脱，过一种田园风光的日子，这原本就是他在奥地利最熟悉的生活。在这里，他退居一隅，思索遇到的人们，思索他们对音乐的意趣，从而创作出他们喜欢的作品。
imon 他曾致信友人，“我兢兢业业地创作，却不经意生出一些乡愁。每天清晨，我攥着语法书，在树林里踽踽独行，开始怀念我信奉的主，怀念曾经置诸脑后的家人和朋友们”。
imon 尽管他乡愁连连，但在《第98号交响曲》的末章却充满了谐谑与生趣，充满了令人惊异的乐思和音效。
Elder 第四乐章非常轻快、活泼，速度标示为急板，快到几乎不能再快。节奏仿佛永不停息的马达，不断向前推进，当你正期待着再次听到主旋律时，你就已经听到了，让你颇觉惊异。顷刻之间，主旋律又以稍慢的速度再次重复。
而他有自己的拿手好戏，他自己在一旁演奏钢琴，轻灵曼妙，仿佛从心底流淌而出，伴随小提琴做最后的倾诉。它是如此动人心弦，所有的听众都为之心旌摇荡，想象他们会说，“噢，这个夜晚，伟大的海顿博士为我们奉献了精彩绝伦的钢琴演奏”。
imon 一开始，琴声几乎轻不可闻，你一定在想，噢，天哪…
Elder 对，仿佛来自心底，对吗？它简直就是音乐的血红蛋白，让整部作品鲜活起来。
imon 海顿的天资从何而来？究其根本，海顿的交响乐从何而来？让我们追溯他在奥地利乡村的早期生活和艺术生涯。这样的探索之旅，能让我们领略18世纪交响乐的发展历程。
1732年春，海顿出生在离奥匈边境不远的村庄，在家里的十七个孩子中排行第二。父亲是马车工匠，夫妻俩闲暇时都喜欢一展歌喉。在本地公学，海顿学会了阅读、写作和歌唱。他曾说：“尽管挨打受罚是家常便饭，但他们向我传授了诸多学识”。
有一天，维也纳圣斯蒂芬大教堂唱诗班的指挥造访了这所学校，年仅八岁的约瑟夫作了试唱表演，于是这位乡下的天才歌童，进入了维也纳庄严的斯蒂芬大教堂唱诗班。我们可以想见，一个相貌平平的小男孩，即使只有九岁，也要戴着假发。后来，他的嗓音开始变声，神父建议将他变成阉人，保住他那美妙绝伦的高音，多亏父亲出面干预，小海顿才幸免于难。有一次他剪掉一个男孩的辫子，意外地被人撞见，最后很不体面地被唱诗班扫地出门了。
接下来的几年，他食不果腹，艰难度日，目睹周围富裕的城市生活，倍感煎熬。但是约瑟夫·海顿的才华救了他自己，一时间，他的处女作开始流传于维也纳的沙龙和露天啤酒店，竞相演奏。不久他便脱颖而出，到了25岁，饥肠辘辘的日子便一去不复返。
imon 一般来说，18世纪的艺术家，要么受雇于教堂，要么受雇于宫廷，或者成为贵族的家庭一员。王室也好贵族也罢，但凡鲜衣华盖之辈无不拥有自己的家庭乐队。海顿很幸运，他的东家就是全欧洲最为显赫而富有的家族之一，艾斯特哈奇家族，这个家族的宫殿位于偏远的奥地利东部艾森斯塔特。海顿现在有了乐队以供差遣，算得上称心如意了，如今他可以安守作曲家的本分，专注于教堂音乐和歌剧。除此之外，他能够进行器乐的创新。海顿1761年加入这个家族，那时尼科拉欧斯一世刚刚世袭了艾斯特哈奇亲王的称号。这位新晋的亲王富有而奢华，重要的是，他的宫殿音乐厅极为考究。
这就是音乐厅，也是海顿的实验室。不，叫实验室还不够，简直就是高能强子对撞机。
在30年内，海顿创作了70部交响曲。尼科拉欧斯亲王沉迷于音乐，为了满足他的狂热爱好，海顿需要一种新的形式来展示乐队的所有潜能，无论是广度，还是精湛的技巧。起初他们只有区区14人的一小群乐师，但他们精湛的技艺和音乐厅出色的音效激发了海顿的灵感，从而创作出不同凡响的交响乐，其中之一是《早晨》，拉丁语即 Le Matin。
Elder 开始部分描绘冉冉升起的太阳，手法细致入微，自是一件短小精致的杰作。在这部小型的杰作里，小型乐队的每件主奏乐器都发挥出独特个性。
imon 海顿的室内乐队与现代大型交响乐团差异巨大，不仅仅因为它的规模，而且在于它拥有的乐器本身。早期的铜管和木管乐器比较原始，技巧难以掌握，但是海顿为它们所作的独奏曲显示他善于借鉴演奏者的精湛技巧。
imon 交响乐在海顿之前已经存在，但准确讲，什么叫交响乐？望文生义“交响乐”一词，意味着演奏时“同时发声”。早期这种称谓，是为了区别于教堂的声乐，或许可以称作天使的声音；同时也是区别于教堂乐师们在礼拜时的器乐演奏。虽是尘世间的音乐，却让我们在此时此地沉醉入定，任凭唱诗班将我们的灵魂与想象力交给上帝，聆听上帝的声音。
海顿受命为各种不同场合创作交响曲，在艾森斯塔特早期，他最伟大作品之一就是为教堂而作的《第22交响曲》就是专为弥撒演奏。它后来得到了《哲学交响曲》的别称，也许是因为它的第一乐章格外地庄重肃穆。它显示了在海顿笔下，交响乐在表达人们内心情感方面能够达到的深度。
Elder 早期交响乐的形式来源于歌剧院，晚间歌剧的开始部分是器乐套曲，当时它们在艺术上并非一个整体，只是为了引领观众进入后面的演出。如今海顿意识到，他应该以此为基础将这些相互对比的乐章，扩展为四乐章的整体。通常，第一乐章较快，接着是长而缓慢的第二乐章让人感受到整个剧情的庄重，第三乐章是小步舞曲，驱散紧张的气氛，最后进入快速的第四乐章。
imon 艾斯特哈齐的亲王宫殿真可谓海顿的实验室。他的交响乐糅合了教堂音乐和歌剧艺术，留待天才的作曲家去创作发挥。具备了所有这些元素，他便可以着手完善交响曲的各个乐章了。除此之外，他还尝试加入其他因素：出人意料的情绪并列、不同寻常的配器法、戏剧性效果、惊喜意外，甚至恶作剧，交响乐成了各种力量的精心交织，每一种力量都具备独一无二的魅力。
作为交响乐作曲家，海顿在很多方面就像一位主厨，将各种原料综合起来，推出新的饕餮大餐。他在艾森斯塔特的菜园，种上自选的草药。我在这里遇见了西格里德·薇丝，她是巴洛克厨艺的专家。
遇见你真好，这里真是琳琅满目。
早年饥饿贫困的经历，使海顿养成了对食物的偏执。往来信件中，他不是赞美食物，就是抱怨食物。
igrid Weiss 巴洛克时期，肉食中常常加入气味强烈的草药。当然，也是因为那时没有冰箱，肉类通常难保新鲜。
imon 园艺家海顿，美食家海顿，用这些称号来描述技艺大师海顿，可谓窥豹一斑。
我们可以针对交响曲的展开打个比方：海顿交响曲的第一乐章很像是烹制一道营养均衡的菜肴，这也是作曲家喜欢做的事。在乐曲的开始，所有的主题都混合在一起，正如我们备齐所有配料，做一道简单的开胃菜。这个是所谓的呈示部，好像爽口的开胃菜，激起你的食欲，让你充满期待。
下一个阶段，是展开部，混合，变形，将各种配料一起烹煮，产生新的味道。最后是再现部，所有的主题回归，和弦形成解决，就像一道出炉的主菜。
这是海顿特别喜爱的一道菜：肉馅樱桃红焖兔。美极了！看起来都香！
imon 18世纪60年代，尼科拉欧斯亲王决定新建一座行宫，它位于艾森斯塔特以东50公里的匈牙利边境处。每年夏季，所有的宫廷成员，包括海顿和他的乐队，都会到仙境般的艾斯特哈奇行宫消暑避夏。不过，尽管行宫里有音乐厅、大舞厅、宴会厅及大型歌剧院，但为乐师们提供的住处却非常有限，家眷们只好留在艾森斯塔特。无妻子相伴，无情人相邀，也见不到孩子们，可以想象，乐师们苦不堪言，但是机智的海顿想出了一个巧妙的罢工方法。
《第45交响曲》是海顿在艾斯特哈奇行宫创作的36首交响曲之一，它总体严谨，局部却有些狂躁不安，在尾声出现了海顿独有的抗议手段，乐师们的举动为它赢得了《告别交响曲》的昵称。当焦躁不安的第四乐章接近尾声时，音乐突然放慢了速度，乐师们先后奏完，一个个依次离开舞台，离开前捻灭了各自谱架上的蜡烛，最后只剩下两把小提琴以柔板的速度微弱地吟唱，音乐渐渐消失归于寂静。亲王领会了这层暗示，于是，第二天所有宫廷成员打道回府，回到舒适的艾森斯塔特。
《交响乐的故事》观后感(二)：Note
1
(Haydn) 18s
In his hand, the symphony became what the dictionary now defines it as: a large-scale work , usually in four sections or movements.
London symphonies ( Symphony 98)were to bring the works of his genius
He takes this tune, varies it, transforms it, and this is the key to the symphony in Haydn’s hands.
The priest suggests castrating him in order to preserve his beautiful treble.
In the 18th century, artists were employed by the Church, a royal court or a member of the aristocracy.
Le Matin, morning
ymphony 45, the farewell
ymphony’s earliest use was to distinguish between vocal church music. The form of early symphonies came from the opera house originally.
icknames: The philosopher(22), the farewell(45), the Surprise(94), the Minitary(100)
Haydn had escaped from the aristocratic bubble of Eisenstadt, the London symphonies reflect both his new experiences of the world and his encounters with a wider audience. .
o faced
on the wane
enthralling journey
evaporate into silence
Mozart
aris Symphony
the noble No. 39; the dark No. 40; the bright No.41( the Jupiter)
eethoven ( died in 56)
tudent of Haydn born in Bonn Germany
In 1800,Beethoven's first symphony in C major(29 year old),which much to their surprise, began with a discord. At this point, the symphony was seen primarily as a means of entertainment, not as the vehicle for the exploration of political, social and moral ideas.
He broke the rules.
He lived in Vienna for 35 years.
He lived in a time of Frech revolution.
He is a domoract.
Eroica Symphony ：No.3 Symphony
Does He regard himself as a hero: I feel sure that he knew he had the capacity in him that was given very few to other creators and that he owed it to himself to find the extent of the depth of his talent, which is why he kept pushing the boundaries further and further to create more emotional truth.I think he felt that he had an heroic capacity as a creator,to take music to a place that nobody thought it could ever go.
eethoven was after something epic. The idea that an orchestra could portray a journey from darkness, into a blaze of what one might call victory.
ature is meat and drink to Beethoven. To walk in the country was a kind of political act,Beethoven was a romantic in the strictest sense.As you walk away from the urban society, you became a natural being, no longer measured in terms of wealth or social status, but able to find your place as part of the natural order of things. This creates a wonderful myth about the transformation, almost the redemption of the artist in the urban situation by going into the countryside.
o.6 symphony: countryside, 5 movements with title in each movement(special), the first programmatic symphony with subtitles.
o.9 symphony: The last and the most important piece, and the inspiration behind which is Schiller's the ode to joy. The first symphony to bring the voice.
Hector Berlioz, the french composer after Beethoven
He seems to think of orchestra as an instrument in itself, as a virtuoso instrument.
Franz Shubert (died in30)
The unfinished symphony
《交响乐的故事》观后感(三)：第四章 Revolution.and.Rebirth
1876年的维也纳
Vienna 1876.
这里曾是一片建筑工地
The place was a building site.
也是帝国与交响乐的中心
The hub of an empire and the symphony.
弗朗茨·约瑟夫国王
The Emperor Franz Joseph
决定拆除当时的城墙
had decided the city walls should come down
取而代之的是一条豪华的城市大道
to be replaced by a prestigious urban boulevard,
环城大道[又名戒指路]
The Ringstrasse.
另外一枚戒指 瓦格纳的大型歌剧
Another Ring, Wagner's massive music drama
《女武神的骑行》
with its Ride of the Valkyries,
也同时开始进行创作
was being created at the same time.
这是两个里程碑般的时刻
Two ground
而两枚戒指都花费了近三十年才完成
and both Rings took about 30 years to construct.
奥地利作家卡尔·克劳斯曾说道
The Austrian writer Karl Kraus said,
维也纳被活生生地打造成了大都市
Vienna was being demolished into a great city.
古典式的议会大厦
With a classical Parliament building,
雅典娜肃立在前
Athena presiding at the front,
哥特式的市政厅 文艺复兴式的大学
a Gothic style town hall, and a Renaissance
但在这些建筑出现之前
ut constructed before any of these,
最壮观的实属1868年建成的歌剧院
in 1868, was the Opera House.
音乐在维也纳人心中
Music remained of course
仍是永不改变的爱好
an abiding interest for the Viennese public
当时舆论滔天
and at the time debate was fierce
人人都争论新音乐应该是具象还是抽象
about whether new music should be deｓｃｒｉｐｔive or abstract
这就是瓦格纳与勃拉姆斯之争
Wagner versus Brahms.
交响乐被推上了风口浪尖
The symphony was at the centre of this controversy.
这期节目中将会讲述 交响乐如何取得胜利
In this programme we'll see how it emerged triumphant.
如何表现民族乐派激荡的情怀
How it became a vehicle for nationalist sentiment
并真正地为大众所接受
and gained genuine popular appeal.
如何表现艺术家心中最强烈的情感
And how it became the means of intense artistic self expression.
我们也将看到德沃夏克 柴可夫斯基
We'll also see how composers like Dvorak, Tchaikovsky
以及西贝柳斯等人来到维也纳
and Sibelius came to the expanding city of Vienna
并将交响乐带入新的国家和新的世界
and exported the symphony to new nations and new worlds.
为什么这部关于交响乐的纪录片
Why does a film about the symphony
要以歌剧开场
tart with an opera,
尤其是瓦格纳创作的歌剧
and in particular an opera by Wagner,
他曾断言道 交响乐已死
who once declared emphatically that the symphony was dead？
问题在于 贝多芬去世后 交响乐将何去何从
The problem was how to follow a composer like Beethoven,
他于1842年创作的《第九交响曲》
who in his 9th Symphony in 1824
其末乐章所采用的合唱形式
eemed to have taken the classical four
似乎已将交响乐推向极致
as far as it could go with its ground
后人的尝试皆无突破
Despite the attempts of his successors,
贝多芬是否代表了交响乐的绝响呢
was Beethoven the final word in symphonic writing？
理查德·瓦格纳显然就是这样认为的
Richard Wagner certainly thought so,
当他第一次在拜罗伊特的特制剧院
and when he held the first performance of The Ring,
为《指环》这一部宏大的歌剧
his massive music drama
举行公演时
at his specially
他选用了贝多芬的《第九交响曲》作为开场
he began it with Beethoven's 9th,
仿佛宣告道
as if to say
告别贝多芬吧 我的时代来临了
Roll over Beethoven, now it's my turn.
瓦格纳的四联歌剧《指环》 连演四晚
Wagner's Ring is a cycle of four operas over four evenings.
长达15小时
15 hours of music
讲述着人性从始到终的故事
telling the story of humanity from dawn to dusk.
1876年的首演不仅是音乐的盛会
The premiere in 1876 wasn't just a musical event,
更是一起政治事件
ut a political event,
参与者包括欧洲各皇室成员
attended by crowned heads of Europe.
权极一时者都参与其中
Everybody who was anybody was there.
面对《指环》的流行之势
ut all the drama over The Ring
终有一人为交响乐挺身而出
made someone want to stand up for the symphony.
比瓦格纳年轻20岁的约翰内斯·勃拉姆斯
Johannes Brahms, 20 years Wagner's junior,
已准备好为纯粹的交响乐而战
was a classicist who was ready to fight for pure symphonic music.
这场战争的交锋之处
The arena for this particular contest
在维也纳的新音乐厅 金色大厅
was Vienna's new concert hall, the Musikverein.
建筑地由国王弗兰茨·约瑟夫划定捐献
The land was donated by the Emperor Franz Joseph.
在奥地利皇家音乐之友协会的监督下完工
It was built by the Gesellshaft der Musik Freunde,
于1870年正式对外营业
the Society of Friends of Music, and opened in 1870.
勃拉姆斯来自德国北部城市汉堡
rahms was from Hamburg in northern Germany,
成长于一个新教路德派家庭
rought up in the protestant Lutheran tradition,
但他并非一位虔诚的信徒
although he didn't stay a believer.
他的第一部交响乐花了整整14年的时间
He'd been working on his first symphony for 14 years,
那段时间他一直待在维也纳
all the time he'd been in Vienna.
勃拉姆斯早就声称
rahms had already made it clear that
继贝多芬的《第九交响曲》后再出新作并非易事
writing a symphony after Beethoven's 9th was no joke.
他说 你完全不知道
You've no idea, he said,
能够追随贝多芬等人的脚步是多么荣幸
How it feels to hear behind you the tramp of a giant like Beethoven.
尽管这时他已年过四十
Although he was over 40 at this stage
却仍安然有度 不慌不忙
and had certainly taken his time,
瓦格纳的《指环》造成的轰动
the fuss over Wagner's Ring
更使他下定决心
had made him determined to finish
完成要在1876年进行首演的交响曲
the symphony ready for a premiere in 1876.
在德国进行首演之后
After initial performances in Germany,
勃拉姆斯于同年的12月17日
rahms himself conducted his 1st symphony here
在金色大厅指挥了这部交响曲的演奏
at the Musikverein on 17th December of that year
作为对贝多芬诞辰的庆祝
as part of celebrations for Beethoven's birthday.
音乐厅里人头攒动 但参与者
The hall was packed, but not with the heads of state,
却并非如瓦格纳在拜罗伊特首演时的名流
who went to Wagner's premiere in Bayreuth.
厅内装饰豪华
The decor may be opulent,
但金色大厅却不是贵族王室的产物
ut the Musikverein wasn't built for the aristocracy,
而是为维也纳的中产阶级所建
ut for the Viennese middle
当音乐厅建成对外开放时
When the hall was opened,
这是维也纳的第一座音乐厅
it was the first concert hall in Vienna,
一座货真价实 宏伟华丽的音乐厅
real, definite great concert hall.
在这里 每一部新作都会广受追捧
And every new work was welcomed highly.
观众们都乐意听到当代的音乐
The audience was very much interested in hearing contemporary music
因为在那时 只有新奇才算有趣
ecause at that time the only interesting things were new things.
勃拉姆斯的新交响曲
rahms' new symphony
是为现代的交响乐团而写
was written for what is now the modern symphony orchestra.
担任本片音乐演奏的
The music for this programme
是BBC交响乐团 由马克·埃尔德指挥
is played by the BBC Symphony Orchestra, conducted by Mark Elder.
当他开始创作自己最宏大的作品时
y the time he started writing his greatest pieces,
勃拉姆斯已经掌握了贝多芬的精华
rahms had mastered the legacy of Beethoven
并且将其转变为
and turned it into something
比贝多芬音乐更为宏大的篇章
even more muscular than Beethoven's music.
他意识到 伟大的交响乐作品
ut he had the vision of how great symphonic masterpieces
可以使听众达到情感的巅峰
could aim at the highest emotional planes.
每一位伟大的交响乐作曲家
Every great symphonic writer
都会在其作品中 将观众带上情感的旅程
takes an audience on an emotional narrative journey through the piece.
在我看来 这是定义伟大交响曲的方法之一
For me, that's one of the definitions of a great symphony.
圆号象征着浪漫的力量
The French horn ,such a symbol of romantic energy,
同时也带有英雄般的气概
has an heroic feel to it as well.
这可能就是
And this is something that
勃拉姆斯从贝多芬身上继承来的气息
ossibly Brahms could have taken from Beethoven.
但在圆号的声音下 弦乐微微伴奏
ut underneath it, the strings shimmer
而这就是他不同于贝多芬的地方
and that's something I think that Beethoven wouldn't have done in that same way.
那种自然的气息扑面而来
That sense of contacting nature,
就好像浪漫主义画家
just like the romantic paintings
卡斯帕·大卫·弗里德里希的作品
of Caspar David Friedrich,
栩栩如生 悦耳动听 让人难以忘怀
is very vivid, memorable, and superbly well done.
随即这股自然之风
That contact with nature is then
突然被长号的合奏打断
urprisingly interrupted by a chorale on the trombones
这样的新教...
and this protestant,
也可能是路德派赞美诗形式
erhaps Lutheran chorale,
反映了勃拉姆斯的音乐记忆
recalling Brahms' musical past,
也可能反映了他童年的记忆
ut also perhaps his own childhood,
令人心神安宁
calms the soul.
从这种静默的感觉之中
And from that sense of stillness
最后一个乐章的主旋律出现了
ings the last movement's main tune.
主旋律是C大调的 最基本的调性
ow this tune in C major, the primary key,
令人回想起贝多芬《第九交响曲》末乐章中
has a whiff of the great tune of the last movement of Beethoven's choral symphony
《欢乐颂》出现时的气息
that introduces the Ode to Joy.
每当有人跟勃拉姆斯谈起这点的时候
And when somebody pointed that out to Brahms he said,
他就会说 随便一个蠢蛋都能听得出来
Oh, any silly ass can see that!
勃拉姆斯的作品获得了巨大的成功
rahms' symphony was a great success
乐评人的力推 使得民众的热情更为高涨
and the enthusiasm was further promoted by music critics.
其中的关键人物就是爱德华·汉斯力克
The most important was Edward Hanslick,
他煽起了勃拉姆斯与瓦格纳之争
who also fanned the flames of the Brahms/Wagner debate.
维也纳乐评界的兴起也是一个重大事件
The rise of the critic here in Vienna was very important.
这放在今天是无法想象的
It's inconceivable now, I think,
汉斯力克撰写的长篇乐评
to think of a major critic like Hanslick writing a long article
出现在《新自由报》的头版上
on the front page of the Neue Freie Presse,
这张报纸同《泰晤士报》的地位相当
which is the equivalent of the London Times,
第二三版上依然是这篇乐评
going on to page two and page three,
介绍勃拉姆斯《第一交响曲》
about the first performance
在维也纳首演的盛况
in Vienna of Brahms' 1st Symphony.
事实便是如此 人们早上一边享用早餐
Which he did. And people would read that at breakfast
一边看着国际新闻边上的乐评
alongside international news on the front page of the paper.
在他的头版文章中
In his front page article,
此前此文并未译成英文
which surprisingly hasn't been translated into English before,
汉斯力克写道 无论是敌是友
Hanslick wrote It must be recognised by
都必须认识到 任何一个作曲家
friend and foe alike, that no other composer
都没能像勃拉姆斯在其交响曲的结尾处
has come as close to the greatest creations of Beethoven
那样接近贝多芬的巨作
as Brahms has in the finale of his symphony.
当然 汉斯力克
Hanslick, of course,
是勃拉姆斯的支持者
was very much a friend of Brahms
热爱纯音乐 也是瓦格纳的反对者
and pure music and a foe of Wagner whom
他觉得瓦格纳只求表现哲理
he felt was destroying melody and form
而牺牲了音乐的旋律与形式
in favour of philosophising.
瓦格纳则认为纯粹的音乐是不存在的
Wagner's argument was that music is not pure.
音乐可以影射政治
One can use music politically
也可以从美学的观点上
as well as aesthetically to raise all
提出社会上各种各样的问题
orts of questions about society,
譬如音乐如何影响人们的心理
about people's psychology, what music does to them,
音乐如何在这有限的空间内 影响观众的情绪
what music can have an effect on an audience in this space.
只需想象一下《诸神的黄昏》
Just imagine the Gotterdammerung music
在这里奏响 同古典风格的内饰形成反差
ounding in this space against all these classical things.
重点是 要用音乐传达一种想法
ut the idea is to convey ideas with the music
而瓦格纳就是一名充满想法的作曲家
and Wagner is a composer of ideas.
1875年 瓦格纳在金色大厅
In 1875, Wagner himself had conducted
指挥演奏了《指环》的节选部分
excerpts from The Ring here in the Musikverein
以便为拜罗伊特的首演做好充分准备
to build up an appetite for the premiere at Bayreuth.
马克·埃尔德提出一个颇有争议的看法
Mark Elder is demonstrating,perhaps controversially,
即瓦格纳在创作神话歌剧时
that while Wagner was writing mythological music dramas for the opera house,
采用的也是交响乐的创作手段
he was also composing symphonically.
在我看来
In my view,
瓦格纳是最伟大的交响乐作曲家之一
Wagner was one of the greatest symphonic composers,
他创作了很多
y that I mean he invented a number,
旋律和主题
a large number of little themes,
来对应每一个人物
motifs associated with the characters,
动作 事件 地点 布景
the actions, the events, even places, objects.
他精心撰写歌剧 巧妙用语
And he wrote the opera, he set his words,
并将其融合于精巧的管弦乐织体之中
accompanied them with this enormously elaborate orchestral texture.
你能举个例子吗
Can you give me an example of a theme he might use？
可以 我们就齐格弗里德和布伦希尔德来说
Yes, let's look at Siegfried and Brunhilde,
本剧的男女主角
the heroine and the hero.
人物第一次出场时
When we first see them,
代表他们的音乐十分不同
their music is very, very different
每一个人物的所属旋律都清晰明了
and it's quite clear which pieces belongs to which character.
这是代表布伦希尔德的
Here's one for Brunhilde...
温柔且充满爱意
Tender, loving, affectionate, gentle,
较大的音程表现出强烈的情感
ig intervals expressing big emotions
但力度很轻
ut in a small dynamic.
现在他需要的
ow another one that he needs,
是表现男主角齐格弗里德的形象
of course, is to portray his hero Siegfried.
仔细听好
Listen to this...
总体来说节奏强烈 充满阳刚之气
All together grander, heroic, masculine in its strong rhythm
并且表意明确
and its clear cut idea.
这一旋律尽管短小
That little tune, short as it is,
在他们之后互诉衷肠
can then later on appear even shorter
讲述彼此如何坠入爱河时
when she speaks of their love,
会更加短小昂扬
the things that draw them together
他依照情景将其改编
and he changes it to suit the occasion.
这个人物主题旋律的发展过程
ow this process of developing the characters of the themes
我称之为和音过程
is what I would call the symphonic process
他一直在研究这个
that he was engaged in.
当他完成《尼伯龙根的指环》后
And by the time he'd finished the Ring
已经能熟练应用这种机制了
he'd got the full flow of it
他对于使用短小的主题旋律
and his attitude towards how he used these little themes
和乐思表现剧情的态度
and musical ideas to suit the drama,
变得很松散 很自由
ecame really loose became very free
有时我们会疑惑
and sometime we can't quite understand
为什么那个音乐构思
why that particular little musical idea
会存在于这样华丽的篇幅中
is embedded in the jewellery of the texture.
他的旋律已经不受故事情节约束了吗
o he released the themes from the story？
有点... 是这样的
A bit, yes he did.
这样可以谱写出更华美的交响乐
In order to draw out gorgeous symphonic music,
将主题旋律层层构建 成为一部杰作
to build up the themes into great architectural masses of sound.
确实非常好听
I mean really beautiful.
现在很难领会
It's hard to appreciate now,
当时欧洲的音乐思想分歧有多大
just how divided musical opinion across Europe was
两大阵营之间的观点冲突有多激烈
and how polarised it became between two warring camps.
瓦格纳不仅有乐迷 还有信徒
Wagner didn't just have fans, he had worshippers.
其中最重要的一位
One of the most important
是名年轻的管风琴手兼作曲家
was a young organist and composer
安东·布鲁克纳
called Anton Bruckner.
布鲁克纳是个乡村男孩 出生于林茨附近
ruckner was a provincial boy, born near Linz.
他曾是唱诗班少年 后任管风琴师
He became a choirboy and organist
就职于圣弗洛里安的奥古斯丁修道院
in the Augustinian monastery of St Florian.
他是虔诚的天主教徒
He was a very devout Catholic.
马勒形容他是半傻半神
Mahler described him as half simpleton, half God.
他的《第三交响曲》是献给瓦格纳的
His 3rd Symphony was dedicated to Wagner
并于1877年12月 在金色大厅首演
and premiered here in the Musikverein in December 1877,
仅比勃拉姆斯的《第一交响曲》晚一年
just one year after Brahms' 1st.
瓦格纳的影响是不可忽视的
The effect of Wagner is huge,
并不是说布鲁克纳的音乐听起来像瓦格纳的作品
ot that Bruckner's music sounds like Wagner
一点都不像
it doesn't.
他在和声方面的运用更为大胆
It's much more bold harmonically,
但瓦格纳教会了他
ut Wagner showed him
如何组织音程跨度很大的乐曲
how you can organise huge spaces of music.
如何运用和声与表现力
How you could use harmony and expressiveness
去填补音乐中巨大的时间跨度
to fill out large spaces of time in music.
这是前所未有的
It hadn't been done before.
他的交响乐 就像一块块巨石
His symphonies were built with huge blocks of stone,
逐渐构建成一座大教堂
gradually being built up like a cathedral,
而不仅是教区教堂
ot a parish church.
当然 对大众来说
And of course for many people,
这种音乐让他们离上帝更近了
that music takes them closer to their God.
他作为人所拥有的最伟大的精神维度
The great spiritual dimension that he as a man had
就反映在了这些宏伟的音乐建筑上
is reflected in these enormous edifices, musically.
布鲁克纳的《第三交响曲》
The scale of Bruckner 3
长达一个多小时
it lasts for well over an hour
也折射出了维也纳的城市扩张
is reflected in the urban expansion of Vienna itself.
从1860年到1900年这座城市扩大了一倍
etween 1860 and 1900 the city trebled in size
居民数从50万人增至150万人
from half a million to 1.5 million inhabitants.
交响曲更多地反映出对未来的恐惧感
The symphonies reflected more the fears of what was going on
而非胜利感
rather than the triumph,
我想 这也是为什么 布鲁克纳的交响乐
which is why, I think, Bruckner symphonies
很长时间后才在维也纳立足
took a long time to get a foothold in Vienna.
勃拉姆斯把布鲁克纳的交响乐
rahms had described the typical Bruckner symphonies
比作一条巨大的蟒蛇
like a massive boa constrictor
在这里
and the concert,
金色大厅 举行的那场音乐会
here at the Musikverein,
简直糟透了
was a disaster
音乐会还没完 大批大批的观众就离开了
with much of the audience walking out before the end.
布鲁克纳虽显古怪 却意义重大的交响曲
ruckner's eccentric, monumental symphonies
最终还是被维也纳接受了
were eventually accepted in Vienna, of course,
但布鲁克纳和马勒
ut both Bruckner and Mahler
直到二十世纪六七十年代
didn't really enter the international repertoire
才为国际听众所熟知
until the 1960s and '70s.
他们的作品 篇幅很长
Their symphonies are long,
创意独特 充满雄心 也蕴含焦虑
ground
正如作曲家们居住的这座城市
Like the city in which the composers lived.
这是弗朗茨·约瑟夫
This is Franz Joseph,
被雕塑成了凯撒的样子
depicted as Caesar
矗立在维也纳议会大厦前
on the front of the Parliament building in Vienna.
弗朗茨·约瑟夫的哈布斯堡王朝帝国
Franz Joseph ruled over 17 distinct nationalities
治下有17个不同的民族
within the Hapsburg Empire.
但很多民族并不愿意
ut many of these weren't that happy about being included
成为这个大熔炉中的一部分
in such a vast conglomerate
并于1848年起义
and rose up in revolt in 1848.
在这段动乱之后
It was after this difficult time
年仅18岁的弗朗茨·约瑟夫 登上了王位
that Franz Joseph, then only 18, was placed on the throne
开始了他长达68年的统治
and began his long reign of 68 years.
但是来自诸民族的压力并未减弱
ut nationalist pressure wouldn't go away
由于许多要求未能满足
- many demands went un-met
民族仇恨加深
and nationalist resentment intensified,
尤其在波西米亚
articularly in Bohemia.
一年前 1880年莱比锡的一家报纸写道
A year ago, wrote a Leipzig newspaper in 1880,
德国音乐界中传言
ews flashed across the German music world
布拉格有位奇才
Of a miraculous talent residing in Prague.
日益尖锐的民族关系
What heightens the charm of Dvorak's compositions
给德沃夏克作品的增添了许多魅力
Is the sharply etched nationality that accompanies them.
无论是在交响乐的世界 还是在政坛
In the symphonic world, as in the political arena,
民族情感都在逐渐成为一股强大的力量
ationalism was becoming a potent force.
德沃夏克的父亲是一名屠夫
Dvorak's father was a butcher,
在当地还经营了一家旅店
ut he also ran the local inn.
因此这个男孩
o the boy must have grown up
一定是在欢乐的歌舞声中长大的
with the sounds of celebratory singing and dancing.
他的《第六交响曲》是写给维也纳爱乐乐团的
His Sixth Symphony was written for the Vienna Philharmonic,
但实际上它是于1881年在这里 布拉格
ut in fact it was premiered here in Prague
进行首演的
in 1881.
维也纳爱乐乐团直到1942年
The Vienna Philharmonic didn't get around to playing it
才演奏了这部作品
until 1942.
德沃夏克以勃拉姆斯的交响曲为典范
Dvorak used Brahms' symphonies as his model,
但他并未采用典型的诙谐曲和间奏曲形式
ut instead of the typical scherzo or intermezzo movement,
而是选用了富瑞安舞曲
he wrote a furiant,
一种波西米亚民间舞曲
a Bohemian folkdance
这使他独树一帜
that became his distinctive calling card.
富瑞安舞曲的特点是其节奏
What gives the furiant its bounce is the way it shifts
在两拍子和三拍子间来回转换
etween two
eat and three
eat rhythms,
这源于该舞蹈的本质
which stems from the nature of the dance.
这个男人是在展示他的男子气概
The man here is performing his masculinity
他充分利用这种四二拍的节奏
and he takes advantage of this 2/4 measure
来展现自己多么强壮
to show how he is strong,
多么骄傲
how he is proud,
多么聪明
how he is clever.
这样的四三拍节奏
And it's always during this 3/4 measure
通常是用在双人舞上
that it's the dancing in the couple
或者女子跳的舞蹈
and about the dancing of the woman also.
德沃夏克深谙这种舞蹈的本质
Dvorak understood very well the nature of the dance,
及其所要表现的精神
what was the spirit of the dance,
在我看来 在这方面他把握得很准确
o I think, in this way, he was very accurate.
我注意到这支舞有些慢
I notice that the dance was a bit slower.
德沃夏克把节奏加快了很多 是吗
Dvorak speeded it up quite a lot, didn't he？
的确 因为他想表现精湛的技艺
Yes, because it was virtuosity that he wanted to show.
但他的曲子并不适合跳舞
ut it was not written for a dance.
所以你要是想跟着跳舞
o when you need to dance
就得把音乐的节拍放慢
the music has to be slower.
为什么他的交响曲中要加入这个舞蹈呢
Why did he include this dance in this symphony？
因为这其中包含着民族情感
ecause it had the meaning of the national feeling,
我认为 对他们来说
o I think this was important for them
在音乐中显示民族特征 是非常重要的
to show the national identity in the music.
德沃夏克所做的正是把交响乐
What Dvorak is trying to do is to take the symphony
从上流社会推广给更多普通听众
away from the elite audience to a much wider audience.
正因如此 他是一位极富现代性的作曲家
And, in this, he is a very modern composer
虽然如今大家并不这样认为
although he's not regarded as that today.
这里是维索卡山
This is Vysoka,
位于布拉格西南60公里的地方
60km southwest of Prague,
德沃夏克在此有一间避暑小屋
where Dvorak had a summerhouse.
为了作曲 夏天他会在这住几个月
He came here during the summer months to compose,
躲避城市的压力与喧嚣
to escape the pressures of a busy life in the city.
这座房子一直为德沃夏克家族所有
The house remains in the Dvorak family
基本保持着德沃夏克于1904年去世时的原状
and has been left very much as it was when Dvorak died in 1904.
这是我的祖母 德沃夏克的妻子
This is my grandmother, Dvorak's wife.
画于她结婚时
when she married.
那时她才十八岁
he was 18 years old in this time.
已有三个月的身孕
he was three months pregnant.
这在当时可不多见
It was unusual in this time
但事实就是这样的
ut it was the reality.
他就是在这张桌子上作曲的吗
This desk, is this where he wrote？
就在这张小桌前
itting at this little table,
德沃夏克写出了很多伟大的作品
Dvorak wrote many great opuses.
很袖珍 真的很小啊
没错
《第八交响曲》就是在这里写成的
The Eighth Symphony was written here in Vysoka.
这张德沃夏克的全家照很有意思
Very interesting is this picture of Dvorak's family
纽约市东街17号的台阶上
on the steps on the 17th East Street in New York.
这是我的祖父 和他的两个儿子
Here is my grandfather and here are two boys.
其中一个是我爸爸
One of these boys is my father.
你没见过祖父吗
You didn't know your grandfather？
我出生时他已去世25年了
I was born 25 years after his death.
这照片拍得很好
That's a wonderful picture.
这张是德沃夏克坐在长凳上
This picture is Dvorak sitting on a bench
喂鸽子
and feeding his pigeons here.
是这儿吗 就在那边
Is that here？ Here. It's down there.
对 对 就在这儿
Yes. Yes, this is here.
这边有很多乐谱
This has various scores on it.
手稿之类的 没错
Manuｓｃｒｉｐｔs and other, yes.
继勃拉姆斯因匈牙利舞曲成名后
Dvorak came to popularity through his Slavonic Dances,
德沃夏克也因斯拉夫舞曲而家喻户晓
following the success of Brahms with his Hungarian Dances.
当然 勃拉姆斯
rahms, of course,
是在模仿自己于维也纳听到的
was imitating Hungarian Gypsies
匈牙利吉普赛舞曲
he'd heard in Vienna,
但德沃夏克写出的富瑞安舞曲
ut Dvorak penned his furiants
和其他斯拉夫舞曲都富有民族情怀
and other Slavic dances with national pride.
这是家里的餐厅
This room was the dining room of the family.
最特别的是这张照片
Very special is this picture.
德沃夏克和他的两个朋友
Dvorak and his two friends
柴可夫斯基和约翰内斯·勃拉姆斯
Tchaikovsky and Johannes Brahms.
尤其是约翰内斯·勃拉姆斯
Especially Johannes Brahms
是我祖父非常要好的朋友
was a very good friend of my grandfather
但勃拉姆斯不信上帝
and Brahms don't believe in God
有一次德沃夏克说起他
and Dvorak said once about him
勃拉姆斯连上帝都不信 怎么可能
How it is possible that Brahms composed such nice music
作出如此美妙的音乐呢
when he don't believe？!
勃拉姆斯很欣赏德沃夏克的音乐
rahms admired Dvorak's music
也给了这位作曲家很大的帮助
and did a great deal to help the composer.
但是 总体来说
ut, in general,
他对维也纳的正统音乐
the attitude of the Viennese musical establishment
一向不屑一顾
was condescending if not downright dismissive.
对奥地利人来说
For the Austrians,
像柴可夫斯基和德沃夏克这样的民族作曲家
ationalist composers like Tchaikovsky and Dvorak
虽极富色彩 却有失严肃
were colourful, but not serious.
曾经有人表达了自己对德沃夏克
Once, when someone expressed his admiration for
熟练而杰出的配器才华的钦佩
Dvorak's skillful and brilliant orchestration,
布鲁克纳却说
ruckner said,
你可以给一对香肠涂上蓝色或绿色
You can paint a pair of sausages blue and green,
但它们始终还是一对香肠
ut they're still a pair of sausages.
In 1890 a young composer came from much farther afield
奔赴维也纳进行深造
to continue his studies in Vienna.
让·西贝柳斯来自芬兰
Jean Sibelius came from Finland
那是远离奥匈帝国统治的地方
way beyond the reach of the Austro
Hungarian Empire,
但维也纳却是最适合学习交响乐的地方
ut Vienna was the place properly to study the symphonic tradition.
他是瓦格纳的超级粉丝
He was a huge fan of Wagner,
也很欣赏贝多芬的《第九交响曲》
ut also admired Beethoven's Ninth and
和布鲁克纳的《第三交响曲》
ruckner's Third
这里是交响乐的天堂
and here, in this symphonic hothouse,
他当然要在这里开始交响曲的创作
it was inevitable that he should set about to write a symphony.
同德沃夏克一样
And, as with Dvorak,
他的交响曲也带有民族特色
it took on national overtones.
西贝柳斯从芬兰史诗《卡勒瓦拉》中寻找灵感
ibelius looked for inspiration to the Finnish national epic, the Kalevala.
埃利亚斯·伦洛特 他编撰了《卡勒瓦拉》
Elias Lonnrot, who compiled the Kalevala,
并于1849年出版了最终版
ublished his final version in 1849.
他奔波于卡累利亚的偏远地区
He'd travelled extensively into remote parts of Karelia
即芬俄交界之处
an area that covers parts of eastern Finland and Russia
他在那里 从农民吟游诗人中收集民歌和诗作
将其整理成
and reworked these
长达22000多行的叙事史诗
into a long rambling tale of over 22,000 verses.
其核心为吟游诗人莫依宁
With the figure of the bard Vainamoinen,
类似于芬兰的俄耳甫斯
a sort of Finnish Orpheus, at its heart,
《卡勒瓦拉》激励了一代又一代的
the Kalevala became a major inspiration
芬兰艺术家 音乐家
for artists, musicians
以及芬兰精神的倡导者
and advocates of a Finnish national identity.
这是让·西贝柳斯亲手写就的乐谱
This is the autograph score of Kullervo by Jean Sibelius.
《卡勒瓦拉》中有着浩如烟海的传奇故事
From the mass of different stories
以及无数神话人物
and mythological characters in the Kalevala,
而西贝柳斯在其合唱交响曲中着重描写了
ibelius focused on the tragic, anti
hero Kullervo
颇具悲剧色彩的反面英雄 库莱尔沃
in his choral symphony.
这是《卡勒瓦拉》乐谱中的节目单部分
Here you can see the programme text, the Kalevala, in the score.
到了
Here we go.
到了 这是第一页
Here we go, here is the first.
见到真迹总是这么令人激动
It's always so exciting.
这就是曲谱了
Music page.
《卡勒瓦拉》究竟为何能够激起
ow, why was the Kalevala so important
芬兰人的民族认同感呢
to Finnish national aspirations？
首先 这是一部芬兰语的著作
First of all because it was in Finnish
书中内容又是芬兰的民间诗歌
and it was Finnish folk poetry.
《卡勒瓦拉》的出现令芬兰人恍然大悟
It has been said that Kalevala showed to us Finns
原来这片土地远在基督教会统治时代
that Finland had its own history
瑞典统治时代和俄国统治时代之前
already before the Christian era,
便早已拥有了悠久的历史
or the Swedish or the Russian era.
在瑞典的统治下度过了六个世纪之后
After six centuries of Swedish domination,
芬兰大公国
the Grand Duchy of Finland
于1809年成为了俄罗斯帝国的附属国
ecame part of the Russian Empire in 1809
而赫尔辛基则成为了沙皇亚历山大一世
and Helsinki became something of a showcase
用来耀武扬威的展览厅
for the Russian emperor Alexander I.
赫尔辛基市中心的市政厅广场
The central Senate Square of the city
与圣彼得堡的建筑风格十分相似
is very much in the St Petersburg style.
1894年 这里树起了亚历山大二世的塑像
This statue of Alexander II was built in 1894.
芬兰人称他为英明的沙皇
He was remembered as The good tsar,
他是名改革者
a reformer.
与俄罗斯帝国的其他大多数附属国不同
Unlike most nationalities within the Russian Empire,
芬兰人拥有一定的自治权
the Finns enjoyed a degree of autonomy,
但自19世纪90年代起
ut during the 1890s,
俄国政府开始逐步限制芬兰的自治权
the Russians began to limit this
这自然激发了芬兰人民的民族独立运动
and this inevitably fuelled the Finnish nationalist movement.
西贝柳斯于1892年完成了《库莱尔沃》
With Kullervo written in 1892,
随后于1899年创作了其惊世名作
and, of course, Finlandia, his patriotic piece par excellence,
极富爱国主义色彩的《芬兰颂》
which was composed in 1899,
此时的西贝柳斯已成为芬兰的民族英雄
ibelius found himself a national,
甚至是民族主义者中的代表人物
even nationalist figure.
这幅名为《讨论会》的画 描绘了
This painting, called Symposium,
彼时芬兰画家与音乐家齐集一堂的场面
depicts a gathering of artists and musicians of the time.
画面右侧的是西贝柳斯
It shows Sibelius on the right,
他的身旁坐着罗伯特·卡亚努斯
Robert Kajanus,
是《库莱尔沃》交响诗首演时的指挥
who conducted the premiere of the Kullervo Symphony, next to him.
那位醉卧会场的是名乐评人
The figure worse for wear is a music critic,
玩世不恭 无所用心
oblivious to everything,
而画面上的第四位人物正是画家自己
and the fourth character is the artist himself,
西贝柳斯的好友
Akseli Gallen-Kallela,
阿克塞利·加伦-卡雷拉
a good friend of Sibelius.
这位画家因其以《卡勒瓦拉》为主题的画作而著名
He is famous for his Kalevala paintings
我赶往芬兰国家美术馆一睹他的其余画作
and I went to the Ateneum Gallery to find out more.
有人对《卡勒瓦拉》中各个传说
There are statistics about
为人知晓的程度进行了统计
the popularity of Kalevala stories
无论其表现形式是民族艺术 绘画
in Finnish art, and visual art
抑或其他形式
and culture in general,
多少年来 库莱尔沃的悲剧故事
and through all times, Kullervo, his very tragic story,
一直是《卡勒瓦拉》中流传最广的传说与主题
has been the most popular story and motif from Kalevala.
而库莱尔沃的故事最广为人知之时
And thinking about the times when Kullervo has been most popular
正是西贝柳斯与加伦
卡雷拉风华正茂的年代
was exactly the time of young Sibelius, young Gallen
Kallela,
即19与20世纪之交 19世纪90年代
the turn of the 19th century, 1890s.
因此这个故事之所以在当时广为流传
o there is a strong link to the times
是与芬兰民族认同感遭到打压紧密相关的
when Finnish national identity was being threatened.
西贝柳斯的《库莱尔沃》
ibelius' Kullervo Symphony
讲述了一个悲剧
tells the tragic story
库莱尔沃勾引了他邂逅的一名女子
of Kullervo seducing a woman he meets,
日后却发现 那正是他的妹妹
who he finds out later is his sister.
作曲家谱曲时选取了具有进攻色彩的铜管乐器
ut Sibelius' depiction of this, with its aggressive brass,
这震惊了19世纪的乐坛
is remarkable in 19th century music,
使得库莱尔沃的行为更像强奸 而非勾引
and makes it sound more like rape than seduction.
这就是第三乐章的高潮部分了
Here we arrive at the climax of the third movement,
达到了这一乐章中极具感染力的巅峰之处
the very powerful culmination of the movement.
是的 所有铜管乐器齐鸣
Ah, yes, all the brass here.
奏出了十分响亮的乐曲
是的
西贝柳斯创作这部交响曲的时候
ibelius arrived just at the right time
恰逢芬兰人民拼尽全力地
as the Finns were really dying
想摆脱俄罗斯帝国的魔爪
to get out from underneath the yoke
从俄国的统治与掌控中解放出来
of being dominated and run by Russia.
而这样一位极度粗犷 狂野
And there was this extraordinary rough, wild,
不羁而又捉摸不透的人在此时应运而生
undisciplined, unreliable individual.
终其漫长的一生 他逐渐领悟到
And he found, through his long life,
可以用激昂的乐曲来抒发芬兰人民内心情感
a way to express the feeling in his people
来表达自己对祖国深沉的热爱
and in his love for his country.
然而他却拒绝人们将他塑造成
ut he never wanted to be thought of
一位民族主义作曲家
as a nationalist composer,
他从未想过用作品向公众施加政治影响
he never wanted to have a political message.
他的音乐源自他的良苦用心与一丝不苟
His music came from his own rigour inside himself,
源自他的钻研精神与领悟能力
that he eventually worked at and found,
源自他匠心独运的音乐叙事方式
and through his own natural gifts of drama in music.
西贝柳斯希望自己的音乐既有民族主义色彩
ibelius wanted his music to express a nationalism,
又能在国际上声名远播
ut also be internationally well-known as well.
英格兰人和美国人都很欣赏他的作品
And he was so popular in England and America,
因为 与德国不同
ecause, unlike Germany,
这两个国家的历史传统中
these two countries also did not have
缺失了深厚而系统的音乐文化
a great institutional musical culture behind them.
几乎每个德国城市中都建有歌剧院
When you think about Germany, an opera house in every city,
都拥有自己的交响乐团或是其他音乐组织
a symphony orchestra and so forth,
但英格兰却非如此
it's not the case in England,
对美国人来说 这更是奢望
and it's certainly not the case in America.
西贝柳斯的雄心堪与贝多芬相媲美
o you have someone with Beethovenian ambitions,
他希望能在交响乐中 于德国传统之外
trying to establish something meaningful in the symphony
开辟出一片新的领域
that is an alternative to the German tradition.
In 1907, Gustav Mahler came to Helsinki
为一场音乐会担任指挥
to conduct a concert,
他在这里会见了画家加伦-卡雷拉
and he met the painter Gallen
Kallela,
他们相识于一场在维也纳举办的展览会
whom he knew from an exhibition in Vienna,
通过他 马勒结识了西贝柳斯
and he met Sibelius.
某天散步时
Taking a walk one day,
两位作曲家探讨了交响乐这种形式
the two composers discussed symphonic form.
西贝柳斯说他崇尚其严整而富有逻辑的构架
ibelius said that he admired the severity and logic of the form
正是这一点 串联起了曲中的各个乐旨
that created inner connections between the motifs.
马勒却不敢苟同
Mahler replied that his opinion was very different.
他说 交响乐应如大千世界一般
A symphony should be like the world, He said.
它理应包罗万象
It should embrace everything.
我现在身处维也纳的分离派会馆
This is the Secession building in Vienna,
它是青年风格这一艺术运动中
one of the finest examples of an artistic movement
诞生的最杰出的作品之一
known as jugendstil, the Young Style.
图上的古斯塔夫·马勒被描绘成
And here is Gustav Mahler
英气逼人的骑士 身披锃光瓦亮的盔甲
as a heroic knight in shining armour,
其作者便是他的好友古斯塔夫·克里姆特
ainted by his friend Gustav Klimt.
它以绘画的形式 展现了瓦格纳眼中的
This frieze, which pictures Beethoven's 9th Symphony
贝多芬《第九交响曲》
as seen through Wagner's eyes,
这些壁画是为1902年的贝多芬展而作
was painted for a great Beethoven exhibition in 1902
马勒在这届展会上
at which Mahler conducted
为《第九交响曲》的改编版担任了指挥
an arrangement of the 9th Symphony.
马勒在创作《第三交响曲》时
Mahler's 3rd symphony picks up on the idea
受到了贝多芬所作《欢乐颂》的启发
of Beethoven's Ode to Joy.
然而 在老调重提的同时
ut as well as harking back to that,
这首乐曲势不可挡地将交响乐引向了新世界
it looks out with ferocious energy onto a new world.
克里姆特与马勒一样
Klimt's vision, like Mahler's,
善于从私人化的角度进行创作
is a very personal one.
第一张壁画表现的是英雄人物的雄心壮志
The first wall represents heroic ambition.
马勒是其中的人物之一
Featuring Mahler, of course.
第二张壁画表现的则是
The second wall represents the obstacles
人类需要克服的障碍
that mankind has to overcome,
包括我们的动物本能
including animal instincts.
而最后一部分壁画
And the final section,
以席勒的抒情诗《欢乐颂》为蓝本
taking its cue from Schiller's lyrics in the Ode to Joy,
展现了对整个世界的热爱
hows the kiss to the whole world
这也是贝多芬《第九交响曲》结尾的主旨
that comes at the end of Beethoven's 9th.
马勒的《第三交响曲》
Mahler's 3rd is a symphony
几近颠覆了交响乐的构架
that pushed the form to its limits.
它包含六个乐章 时长近100分钟
It has six movements and at nearly 100 minutes in length,
是耗时最长的交响曲之一
it's one of the longest symphonies in the repertoire.
第一乐章展现的是自然界不可抗拒的神力
The first movement represents the unstoppable forces of nature.
正值盛夏 周遭生意盎然 生机勃勃
ummer is the victor amidst all that is blooming and growing.
乐曲充分表达了造物的神圣
It's about the holy of creation.
马勒细数天地间的花草 动物
Mahler moves on to flowers, animals,
人类 直至天使
mankind and the angels.
当然 他所描绘的只是自己内心的感受
ut, of course, it's really about Mahler himself.
弗洛伊德的理论当时在维也纳很流行
This, after all, is the Vienna of Freud
交响乐可以表现作曲家的内心世界
and the symphony has become a vehicle for self expression
也可描绘其对周遭世界的看法
as well as a picture of the artist's vision of the world around him.
马勒因自己有机会去开发
Mahler was fascinated at the opportunity
管弦乐团的潜力而欣喜若狂
of stretching the orchestra,
他让管弦乐团作出的改变是无人胆敢尝试的
making it do things that no one else had dared go to.
他热衷于在乐曲中 加入各种极端化的声音
And his interest in these very, very extreme sound worlds
这要归因于他异常丰富而复杂的个性
came from everything that he was, a very complex personality.
他放弃了犹太教的信仰 转信基督教
A man who gave up his Jewish faith to become a Christian,
以便在维也纳立足 进而管理歌剧院
to help himself do better in Vienna and run the opera.
他成长于一个小山村
A man who was brought up in a tiny village,
位于偏僻的乡下
way out in the countryside
村中还驻扎着大批士兵
that had a very substantial barracks in it.
因此 他的童年充斥着军队的进行曲
And so his childhood was full of military marching music
以及荒腔走板的军号声
and strange, out of tune fanfares.
大家来看 这个词很少见吧
ow this is pretty rare, isn't it, everybody？
这个小小的标注 roh
This little word
这并非是皇家歌剧院的缩写
It does not stand for Royal Opera House.
它的含义是 未经雕琢
It stands for the word which means unrefined.
粗犷的
Raw, yeah？
粗厉的
trident.
并不是说演奏出的声音一定要很大
It's not so much that it needs to be very loud,
而是要表现出极端化 边缘化的感觉
it just needs to have a particular bite or edge to it, doesn't it？
甚至可以摒弃旋律性 再试一遍
ot wholly musical. Can I hear it？
二 三 四...
Two, three, four...
很好 这次好多了
OK, good. That's better.
圆号请再轻柔一些 更尖锐一点
If the horns are a bit softer and a little bit edgier,
可能效果会更好
I think it would be better.
另外 起音早一点 刚才比拍子慢了
And also earlier. It's late.
二 三 四...
Two, three, four...
下面我来说一下双簧管演奏的要领
Let me just address what the oboes are going to do.
请吹奏一下极强音的那部分
Could I just hear it, the three Fs？
曲谱上标注的那个词是尖锐的意思
It says Grell. Well, that just means shrill.
双簧管刚才演奏得很大声
This sounds like loud oboe playing.
声音的确很好听 很细腻
It sounds great, it sounds quality.
可问题是 这里不该这么细腻
It shouldn't sound quality,
而是应该刺耳一些 夸张一些
it should sound strident and exaggerated.
要达到这种音效 最好的办法
And it's been suggested that the best way to do it
就是将簧片含入口腔的更深处
is to actually put the reed further in the mouth.
多含住一点簧片 试试看吧
Just put it all further in. Would you try that？
奏出的声音会有些失真 但没关系
Don't worry if it sounds distorted,
那就是马勒想达到的效果
that's what he wants.
一 二 三...
One, two, three...
就是这样 好多了
That's it, that's better.
一 二 三...
One, two, three...
他一直在不断尝试着
What he was trying to do was experiment with
对管弦乐团的潜力进行着挖掘
how far the orchestra could be taken,
就这点而言 他可谓继承了柏辽兹的衣钵
and in this way, of course, he was a great successor to Berlioz
因为柏辽兹生前也在做着同样的尝试
who wanted to do the same thing in his time.
这也在某种程度上 令马勒成为了
And in a way, that makes Mahler the first
20世纪第一位伟大的作曲家
of the great 20th century composers.
马勒只在假期进行作曲
Mahler composed during his holidays.
他平日在这里工作
His day job was here,
在这个歌剧院担任指挥和导演
as conductor and director of the Court Opera.
在波希米亚出生 在犹太家庭长大
orn in Bohemia and raised as a Jew,
这使得马勒总是与所处社会格格不入
Mahler was always the outsider.
他曾说 身为犹太人
eing a Jew, he said,
仿佛像是生来就长了一双短臂
was like being born with a short arm
因此游泳时必须付出常人两倍的力气
and having to swim twice as hard.
的确 尽管他天赋异禀
Indeed, despite his obvious talents,
却遭到反犹太主义的打压
he came up against anti-Semitism.
不过他马上就能脱离苦海了
ut salvation was at hand.
交响乐文化已传播到了几千英里之外
ymphonic culture had become all the rage a thousand miles away,
马勒等民族乐派作曲家
and Mahler, along with nationalist composers
包括德沃夏克 柴可夫斯基
Dvorak, Tchaikovsky
还有西贝柳斯 一同
and Sibelius, was imported
成为了新生音乐文化的奠基人
to plant the seed of a new musical culture.
美国 以纽约为首
America, and particularly New York,
为欧洲音乐文化开辟了新的市场
rovided a new and highly lucrative market
利润相当丰厚
for European musical culture.
1891年 柴可夫斯基应邀指挥
Tchaikovsky was invited to attend
卡耐基音乐厅的开幕音乐会
the opening of the Carnegie Hall in 1891,
马勒担任了纽约爱乐乐团
Mahler came to conduct the New York Symphony Orchestra
和大都会歌剧院的指挥
and The Metropolitan Opera,
德沃夏克则成为了国家音乐学院的院长
and Dvorak was asked to head The National Conservatory
年薪一万五千美金
where his annual salary of $15,000
是他在布拉格音乐学院任教时薪水的近三十倍
was nearly 30 times more than he was earning at the conservatoire in Prague.
更为重要的是
Most significantly however,
正是在纽约 德沃夏克
it was here in New York that Dvorak
创作了《第九交响曲自新大陆》
composed his symphony No 9, from the New World
并于1893年进行首演
which was premiered in 1893.
克莱夫 1893年12月16日
Clive, on Dec 16, 1893,
《第九交响曲自新大陆》在这里首演
the New World Symphony was premiered here at Carnegie Hall.
首先 您能向我介绍一下卡耐基先生吗
First of all, can you tell me something about Mr Carnegie？
他可以说是当时最成功的企业家了
He was possibly the most successful industrialist of his age.
他一度被誉为世界首富
At one time, he was reckoned to be the richest man in the world.
他是钢铁制造商 更是伟大的慈善家
He was a steelmaker, but also an unbelievable philanthropist
当然 他也是卡耐基音乐大厅的创始人
and, of course, he created Carnegie Hall.
但音乐厅却是为他在合唱团的妻子建的
ut that came about because his wife sang in a chorus
当时纽约没有音乐厅 所以
and there was no concert hall. So, as you do,
她就叫丈夫为自己建了一座音乐厅
he asked him to build a concert hall for her.
但他并没有去找当时最知名的建筑师
Instead of going to the greatest architect of the day,
而是找了合唱团的财务总管
he went to the guy who was treasurer of the choral society.
他是个会拉大提琴的乐师
He was a cellist, he was a musician,
但并不出名
ut he, he wasn't well known.
卡耐基让他建一座音乐厅
He asked him to build a concert hall.
可他从来也没有建过音乐厅
He'd never built one in his life before.
卡耐基把他送到欧洲去观摩各式的音乐厅
He sent him to Europe to look at all the concert halls
他回来后便修建了一座前所未有的音乐厅
and he came back and built something unlike anything he'd seen.
那场音乐会是由安东·塞都指挥的
ow the concert itself, it was conducted by Anton Seidl
他可是国际知名的指挥家
- who was a big international figure unlike. - Absolutely.
他是汉斯·李希特的助手
He was assistant to Hans Richter,
曾协助其在拜罗伊特
assisted with conducting
指挥《尼伯龙根的指环》
the Ring Cycle in Bayreuth.
事实上他是一个忠实的瓦格纳拥护者
He came here, in fact he was a great Wagnerian,
所以他在这里也指挥了许多瓦格纳的作品
o he conducted a lot of Wagner here as well.
安东·塞都影响巨大
o he made a huge impact here.
他可以说是纽约最举足轻重的音乐家
He was the most important musician in New York.
卡耐基音乐大厅虽由新手建造
Despite being built by a novice,
其音响效果却备受称赞 很快
Carnegie Hall was praised for its acoustics and it soon became
它便成为了美国文化生活的标志性符号
the landmark in American cultural life that it remains today.
全美国上下的城市
All across America,
如波士顿和芝加哥 纷纷建起了音乐厅
in Boston and Chicago, for instance, symphony halls were built.
新兴企业家们和中产阶级
The new entrepreneurial and middle class
纷纷来到交响音乐厅听交响乐
went to the symphony to hear symphonies.
德沃夏克则在这里帮助他们
And Dvorak was there to help them
将欧洲音乐文化美国化
Americanise a European musical culture.
德沃夏克发挥了重要的作用
Dvorak was important
身为一个捷克人 他通过
ecause, as a Czech, he had created Czech culture,
把捷克音乐国际化 来发扬捷克文化
y, in a sense, taking international culture,
当时德国曲风独占鳌头
which was really German,
他减少了其风格的应用 发扬捷克曲风
taking out the Germanisms and putting in Czechisms.
人们希望他能来到美国
It was hoped that he would come to the United States,
在捷克曲风中融入更多美国的音乐风格
take out the Czechisms, put into Americanisms
并为美国作曲家树立一个典范
and be a kind of object lesson for American composers
告诉他们应该怎样发扬本土音乐文化
about how one makes national music that belongs to them,
而不是异域的音乐文化
rather than to some other distant culture.
德沃夏克在美国待了两年半
Dvorak stayed in America for two and a half years.
其间参加了水牛比尔的《西部狂野秀》
He was taken to Buffalo Bill's Wild West Show,
节目还请来了几位印第安音乐家
which also included native American musicians.
他在音乐学院的学生中
And amongst his pupils at the conservatory
有几名是非裔美国人
were several African Americans,
包括歌手亨利·撒克·伯莱
otably the singer Henry T Burleigh
和作曲家威尔·马里昂·库克
and composer Will Marion Cook,
艾灵顿公爵的老师
who went on to teach Duke Ellington.
德沃夏克说 在黑人音乐的旋律中
In the negro melodies of America, Dvorak said,
我发现了伟大音乐流派所需具备的一切元素
I discover all that is needed for a great and noble school of music.
德沃夏克到达美国后
When he arrived in America,
便搜集了一些与音乐相关的文章和材料
Dvorak was given articles and musical material
作为创作的参考
that he might use in his compositions.
其中一本知名的杂志叫《黑人音乐》
One of the most famous was a journal called Negro Music,
上面刊登了一篇文章 文章作者
with an article by somebody with the improbable name
以约翰·汤索尔为名介绍了六例黑人音乐
of Johann Tonsor, that had six examples of black music.
德沃夏克显然吸取了这些元素
And it seems that Dvorak certainly drew on these
作为《自新大陆》的创作素材
for the composition of the New World Symphony.
这是《马车轻摇载我回家》中的一句旋律
Here's one fragment of Swing Low Sweet Chariot...
和《自新大陆》中的旋律非常相似
which is very much like the New World Symphony.
您对作者约翰·汤索尔有哪些了解呢
And do we know anything about the author, this Johann Tonsor？
约翰·汤索尔这个人并不存在
Johann Tonsor doesn't exist.
这个名字由是一位很了不起的女士起的
Johann Tonsor was a name made up by a wonderful woman,
她叫缪德莉·希尔 来自肯塔基
who was an ethnographer of Afro-American music from Kentucky
是一位研究黑人音乐的人种学家
amed Mildred Hill,
我个人认为 她是德沃夏克认识的人中
who was, I think, the only person Dvorak came into contact
唯一一位作品知名度高过德沃夏克之人
with whose music was more famous than Dvorak's
《生日快乐歌》是她的作品
ecause she wrote Happy Birthday.
吸引德沃夏克的
The other American culture
另一文化元素便是印第安文化
that attracted Dvorak's interest was that of the Native Americans.
他没有怎么听他们的音乐
He didn't hear much of their music,
却被海华沙的传说深深吸引
ut was captivated by the Hiawatha story.
德沃夏克对朗费罗的
Dvorak became deeply involved
《海华沙之歌》着迷不已
with Longfellow's Song of Hiawatha.
他年轻的时候就知道这个故事了
He'd known it as a young man
故事的翻译者是他的朋友
the Czech translator was a friend of his.
德沃夏克告诉评论家亨利·克雷比尔
Dvorak told the critic Henry Krehbiel
那段广板是根据《海华沙的求婚》这个章节所写
that the Largo was based on a chapter called Hiawatha's Wooing,
它描绘了海华沙和米妮哈哈
and I believe it represents Hiawatha and Minnehaha's journey
在原始广阔的美洲大陆上跋涉的场景
through primeval American spaces.
原版的节奏要快一些
It was originally faster,
但是在安东·塞都瓦格纳式风格的演绎下
ut under the influence of the Wagnerian conductor Anton Seidl,
演奏速度由行板变为小广板
it turned from probably an andante to a larghetto.
在指挥家的手稿上我们可以见到
Then we see it crossed out on the manuｓｃｒｉｐｔ.
小广板的标识被划去
Larghetto crossed out,
演奏速度最终定为极舒缓的广板
largo finally appearing there as the speed,
缓慢的旋律与音乐极强的叙事性
with some equation between the slowness
形成了一种极其和谐的状态
and the deep expressivity of the passage.
这是德沃夏克当年的坐席
We've arrived up here, in fact where Dvorak sat.
十号包厢 是的
- In Box 10. - Absolutely.
观众反响怎么样 反响很热烈
- So how was it received？ - It was received incredibly.
观众十分喜爱演奏的曲目
Everybody loved the music.
很重要的原因是音乐元素与他们相关
I think what was important was it related to them as well.
乐曲凸显了美国主题
There were American themes.
是在美国为美国而作的属于美国人的音乐
It was a piece for America, and of America, in America.
詹姆斯·吉本斯·亨内克
Writing about the premier, James Gibbons Huneker,
这位给德沃夏克推荐
the journalist who'd given Dvorak
《黑人旋律》文章的评论家
the article with Negro Tunes,
在首演评论中向德沃夏克为美国音乐
acknowledged the new hybrid soil
注入了新的文化元素致敬
in which this musical culture was taking root.
德沃夏克的交响乐充满了美国风味
Dvorak's symphony is American, is it？
一个捷克人用美国的黑人旋律作了曲
Themes from negro melodies composed by a Bohemian,
然后由匈牙利人指挥
Conducted by a Hungarian
德国的乐团在苏格兰人建的音乐厅里演奏
and played by Germans in a hall built by a Scotchman.
几年内都不会再有一场音乐会
It will probably be many years
能像这场一样受到如此高的关注
efore a concert will be talked and written about as was this one.
纽约音乐学院
The New York Conservatory
在上世纪30年代的大萧条时期关闭
folded during the depression in the 1930s.
德沃夏克创作《自新大陆》的住所
The house where Dvorak lived and composed the New World Symphony
也已于1991年被毁
was demolished in 1991.
但他对美国音乐产生的影响是久远的
ut his influence on American music was lasting.
他的慢板旋律与黑人的灵歌旋律极为相似
His famous largo sounds so much like a negro spiritual
因此他的一位学生
that it was given words
威廉·阿姆斯·费舍尔为此曲填了词
y one of his pupils, William Arms Fisher,
由著名黑人歌手保罗·罗伯逊录音演唱
and famously recorded by African American singer Paul Robeson.
从此便成为了一首美国家喻户晓的歌曲
It's become a piece of American popular music.
在当时 拥有交响乐传统
At this time, having a symphonic tradition
是证明一个国家是否正统的标志
roved you were a proper nation.
所以美国人希望德沃夏克创作美式交响乐
That's why America wanted Dvorak to create one.
沙皇俄国在此前也是这样
Just as the powerful Russian Empire
融入本民族的音乐元素
had done a generation earlier
创造出独树一帜的交响曲风
using elements of their folk music.
在圣彼得堡 能够把民族音乐灵魂
Here in St Petersburg, most successful
与传统德国音乐融为一体的集大成者
at combining the national soul with
《交响乐的故事》观后感(四)：一個交響樂的故事牽起一堆事
C所製作的《交響樂的故事》紀錄片，第一集的主角是交響樂之父~海頓，配角則是莫札特及貝多芬(他和莫札特是好朋友，貝多芬則是他的徒弟)。主要透過海頓在58歲時離開他工作30年的位置(事實上他是被解聘的)後，受倫敦的邀請到倫敦工作四年開始講起。其中還穿插了英國、法國、奧地利在18、19世紀的歷史。紀錄片還呈現了當時交響樂團的排列方式，以及仿造了當時使用的樂器，進行這三位大師重要的作品演奏。信息量之大，會讓精神不濟的人不小心就迷路了。 #巴洛克時期因為沒有冷藏觀念所以肉的品質不佳才會大量使用香料去除腥味 #當海頓決定在58歲“高齡”前往倫敦時，莫扎特勸他別去還說:你和他們語言不通會很辛苦的。海頓則說我的“語言”全世界都聽的懂 #主持人一一走訪三位大師曾經住過的房子，演奏過的地方以及待過的咖啡廳讓我忌妒羨慕恨
《交响乐的故事》观后感(五)：第一章 Genesis.and.Genius
人人影视
YYeTs.com
命运叩响大门 V代表胜利
Fate knocking at the door. V for victory.
这是音乐史上最著名的乐句
The most famous sequence of notes in the whole of music
来自贝多芬的《第五交响曲》
From Beethoven's Fifth Symphony.
在本系列中 我们将了解交响乐
In this series we'll discover how the symphony emerged
如何从贵族特权世界中浮出于世
from the world of aristocratic privilege
如何伴随着国家的崛起与帝国的衰落
How it accompanied the rise of nations and the fall of empires
如何成为自由的象征和极权主义的利器
How it became a symbol of freedom and a tool of totalitarianism
如何教会管弦乐队表达自己的感情
How the symphony taught the orchestra how to speak
以及它如何逐渐成为作曲家
And how it established itself as
表达艺术思想的终极方式
the ultimate expression of the composer as an artist
这次史诗般的旅程将带我们
It's an epic journey that takes us
从御前表演的小乐队
from small bands of musicians playing in the palaces of princes
到在巨型音乐厅里表演的
to orchestras of well over 100
上百人的大型管弦乐团
erforming in vast concert halls
一直作为公共宣言的交响乐
ut how ultimately alongside these public statements
又是怎样成为
it became the vehicle
个人思想与情感最亲密的载体
for the most profound expression of private thoughts and emotions
直至今日
that we the audience
仍能使观众心生共鸣
can understand and relate to today
这是一个关于伟大作曲家的故事
Above all it's the story of great composers
第一集中 我们将认识路德维希·凡·贝多芬
In this first episode we'll meet Ludwig van Beethoven
伟大作曲家的典范
the epitome of the great composer
英雄般的艺术家
the artist as hero
我认为他意识到自己
I think he felt that he had
拥有英雄般的创造力
an heroic capacity as a creator
能带领音乐进入一个
to take music to a place
前人认为无法达到的高度
that nobody thought it could ever go
沃尔夫冈·阿玛迪乌斯·莫扎特
Wolfgang Amadeus Mozart
八岁便写出自己第一部交响曲的天才
the genius who wrote his first symphony at the age of eight
约瑟夫·海顿 18世纪的音乐巨人
And Joseph Haydn the giant of 18th century music
被誉为交响乐之父
who was dubbed the Father of the Symphony
1791年1月1日
It's New Year's Day 1791.
奥地利作曲家 约瑟夫·海顿
The Austrian composer Joseph Haydn,
58岁高龄 不顾病痛
58 years old, in rude health,
毅然从加来航行至多佛
is sailing from Calais to Dover.
此次航程将耗费十个小时
It's a voyage that will take a full ten hours.
他一个月前从家乡出发
He'd left home a month earlier.
这是他首次跨越国界
This is his first trip beyond the borders of his home
走出奥匈帝国里的小小一隅
in a small corner of the vast Austro
放弃了三十年来在艾斯特哈齐家族
Leaving the security of three decades of service
作为宫廷乐师的安逸生活
as a court musician for the aristocratic Esterhazy family,
他在马车上颠簸了1280多公里
he's jolted over 800 miles in a horse
天气恶劣 路况糟糕 伙食欠佳
ad weather, bad roads, probably bad food,
欧洲大陆上
and across Europe,
法国大革命余波未尽
the rumblings from the aftermath of the French Revolution are still being heard.
海顿虽一向讲究实干
Haydn was, as ever, pragmatic,
却仍兴奋不已
ut he was also very excited.
他说道 我站在甲板上
I remained on deck, He said,
以便久久地凝望大海这一巨兽
o as to gaze my fill of that mighty monster, the ocean.
当大风掀起滔天巨浪时
Then when the highest waves were whipped up by the wind,
我有点害怕
I became a little frightened,
但我很快克服了
ut I overcame it all and
一路上没有呕吐
arrived on shore without, excuse me, vomiting.
他随身带来了大量作品
He's come with a large trunk of scores
不幸的是 在混乱的行李转运过程中
ut unfortunately, during the chaos of the luggage transfer
他遗失了一部重要的交响乐手稿
he's lost one vital symphonic manuｓｃｒｉｐｔ.
但这段恶劣的旅途即将告终
ut this epic journey was nearly over.
仅仅两天之内
In just two days' time,
他便受到伦敦居民的热烈欢迎
he'd be welcomed into London,
不仅如此
more than welcomed.
他是史上首位享受到音乐巨星待遇的人
He'd be received as the first ever bona
前六个月他根本无法歇息
His first six months will be non
他签过约要带来六部交响曲
contracted to deliver six symphonies
却已意外遗失一部
and already missing one score,
但海顿绝非平庸之才
ut Haydn is no ordinary composer.
他是人中蛟龙
He is the most extraordinary of ordinary men.
这就是他
And here he is.
约瑟夫·海顿
Joseph Haydn,
画于1791年 即海顿到达英格兰的那年
ainted in the year of his arrival in England in 1791
由协会肖像画家约翰·霍普纳
y the society portraitist John Hoppner
奉英王乔治三世之命创作
on the orders of King George III himself,
以示海顿的名望
as a sign of the man's celebrity.
海顿虽出身贫寒
Haydn came from a humble background,
但其言行间却透出一股强大的自信
ut here he holds himself with immense self
看他的眼中是不是充满了求知的光芒
Is there the sharp light of curiosity in his eyes？
海顿总是热衷于探索周围的世界
Haydn was always enthusiastic about exploring the world around him.
如今 他的名字与交响乐密不可分
Today, his name is associated above all with the symphony,
他为其发展作出的努力 他人无法比拟
the form he more than anybody in the 18th century worked to develop.
在他的带动下 交响乐
In his hands, the symphony
成为了现今字典中定义的形式
ecame what the dictionary now defines it as:
一部大型作品 通常由四个乐章组成
a large
被认作最崇高的音乐体裁
and regarded as the most exalted form a composer can use.
他的伦敦交响曲系列将他的才华
And his London symphonies were to bring the works of his genius
一览无遗地呈现给了听众
to the widest possible audience.
海顿写出的乐曲
Haydn had this capacity to write music
能直接与听众进行对话
that would speak immediately to all hearers.
其作品最重要的意义
What comes out more than anything else
就是开辟了一片崭新的音乐世界
is a sense of a new sound world.
伦敦当时是世界上最繁华
London was the most prosperous
也是发展最迅速的城市
and fastest growing city in the world.
18世纪90年代
y the 1790s,
上流社会对于歌剧的喜爱
the fashion for opera that had dominated upper class taste
在持续了近一个世纪之后 逐渐衰落
for most of the 18th century was now on the wane
而新中产阶级
and the new middle class,
深知自己是通过自食其力
who felt that they'd earned their wealth
而非继承家财得以致富
rather than inherited it,
他们急需一些新鲜事物
was keen for something new
来体现他们别具一格的审美品位
that would reflect their sense of themselves as discerning and cultured.
海顿对英伦生活的各个方面很感兴趣
Haydn was intensely interested in all aspects of British life.
他参观了宫殿及海军造船厂
He visited palaces and naval dockyards.
并对伦敦人的嗜酒程度感到震惊
He was horrified by the levels of public drunkenness he witnessed
他详细地记录下他所见过的人
and he kept detailed notes about the people that he met
和这些人听的音乐
and the music that they listened to.
他在伦敦待了四年 其中只离开了一小段时间
He stayed with one short interval for four years.
邀他到伦敦来的是一位小提琴家 作曲家
The invitation had come from the violinist composer
兼音乐会组织者约翰·皮特·萨洛蒙
and concert organiser Johann Peter Salomon,
他出生于德国
a German by birth
在商界信誉卓著
and a man known to be highly efficient in business matters.
萨洛蒙召集了伦敦最出色的音乐家
alomon had assembled the finest musicians in the city,
买下了位于最时尚的梅费尔区
and hired a recently
汉诺威广场一角的一所新开业的音乐厅
on the corner of Hanover Square in fashionable Mayfair.
两人在此举办的一系列音乐会
The series of concerts the two men would now promote here,
海顿作曲 萨洛蒙担任首席小提琴手
with Haydn as composer and Salomon as orchestra leader,
使交响乐
would position the symphony
成为了伦敦新生代社交文化生活的中心
at the centre of London's rapidly growing social and cultural life.
This site occupies the exact footprint of
第一次见到了汉诺威广场乐室
the Hanover Square Rooms when Haydn first saw them in 1791.
萨洛蒙在这次音乐季的演出上
alomon had taken a canny commercial gamble
投下巨资
with this concert season,
他赚回的不仅是本钱
ut it would more than pay off.
时尚阶层的人都不再热衷其他的事了
All the modish world appear fond of nothing else, my dear.
时尚人士一周看上16场音乐会
Folks of fashion eager seek 16 concerts in a week.
And this is the kind of orchestra that you might have found
大概就是这样
in the Hanover Rooms in the early 1790s,
其乐器的编排与组合
and this combination and arrangement of instruments
对后世交响乐团编制的影响达百年之久
established a blueprint for the symphonic repertoire for the next 100 years or so.
乐团后方 是木管组
At the back, we have the woodwind,
铜管组 打击组
the brass, the percussion sections.
他们处在一个稍高的平台上
They were raised on a platform,
这是海顿时代的创新
which was a novelty in Haydn's time,
此举增加了音乐会的视觉观赏性
o doubt enhanced the visual excitement for the concert
也有助于声音的均衡性
as well as helped with the balance of sound.
乐团前方 是弦乐组
In front, we have the string section,
低音提琴 大提琴 中提琴和小提琴
double basses, cellos, violas, violins.
他将小提琴分为两个部分
He would divide them into two sections,
第二组和第一组
the seconds and the firsts.
坐在最前面的是第一小提琴 玛吉
In the front sat the leader, who on this occasion is Maggie,
在海顿本人的音乐会上
ut for many of Haydn's concerts
这里坐的则是萨洛蒙本人
would have been Salomon himself.
坐在最中央的 是作曲家海顿本人
And in the centre was Haydn the composer,
指挥全场
leading the operation,
但其指挥方式 与当今的指挥有所不同
ut not conducting in the way we might understand it today.
这些交响曲旨在使观众同乐手
These symphonies were designed to be shared
视觉上的享受 在于观众
To be seen, the drama inherents,
对海顿如何运用乐团的揣测
in How will Mr Haydn treat his orchestra in this one？
他会带来怎样的惊喜
What surprises will we get？
《第98号交响曲》为伦敦交响曲中的精品之一
ymphony 98 is one of the greatest London symphonies.
这部作品的创作是为了弥补
Actually written in England to replace
海顿旅途中遗失的那部手稿
the one he'd lost crossing the channel,
海顿在其中加入了一个典型的海顿式惊喜
it contains a typical Haydn surprise.
对于英国国歌的运用
His take on the British National Anthem.
在四个乐章的第二乐章中
In the second of four movements,
他将原有的旋律加以变化 幻化出新的形态
he takes this tune, varies it, transforms it,
这就是海顿交响乐的精妙所在
and this is the key to the symphony in Haydn's hands.
他将一个音乐主题带上旅程
He takes a musical idea on a journey,
而这一路上 一切随之改变
and through the course of that journey, everything changes.
海顿对于音乐的把玩
Haydn's sense of playing around
在《第98号交响曲》中非常明显 对吗
is very evident in the 98th Symphony, isn't it？
是的
Oh yes.
他还知道如何随机应变
And he knew how to respond to the occasion too, didn't he？
他的音乐给当时的听众
And his music produced such
带来了极度的欢乐与惊喜
incredible reactions of joy and delight and surprise.
这在今天是很难想象的
It's difficult to imagine nowadays, isn't it,
现在的观众总是正襟危坐 悄无声息
the way audiences always behave very po
谁要咳嗽一下都是罪过
And anybody who coughs is criticised.
当年的观众如果喜欢海顿的交响曲
If you liked something in a Haydn symphony,
每个人都会欢呼鼓掌
everybody exclaimed and clapped.
海顿与萨洛蒙的交响音乐会
Haydn and Salomon's symphony concerts
取得了空前的成功
were an unprecedented success,
然而不久之后
ut it wasn't long before
海顿便急需一些独处的时间
the composer needed some time to himself.
位于赫特福德郡李谷的这所房屋
And this house deep in the Lee Valley in Hertfordshire
就是海顿在1791年夏天的住所
was where he stayed for the summer of 1791.
海顿这四年间住过以及工作过的地方
Of all the places Haydn lived and worked during his four
只有洛克斯福德这一处 留存至今
this one, Roxford, is the only survivor,
就在这里 他创作了《第98号交响曲》
and it was here that he composed Symphony 98.
他希望待在这里
It was a retreat from the social whirl
远离之前在伦敦的社交漩涡
that he was very much caught up in London
这里的乡村生活
to a sort of countryside life
与他之前在奥地利的生活非常相似
that he would have been familiar with from Austria,
在这里 他能够安静地思考他所见到的人
ack to a place where he could think about people he'd met,
考虑人们喜爱何种音乐
he could think about musical interests of people
并且可以创作人们感兴趣的音乐
and he could write the kindof compositions that they were interested in.
我努力地工作着
I work industriously,
他在与朋友的通信中写道
He wrote to a friend,
同时也感受到些许思乡之情
and then added with a touch of homesickness,
每天清晨 我在森林里
Early every morning when I walk alone
抱着英文语法书独自散步
in the wood with my English grammar,
我就会想起上帝
I think of my creator
以及我抛下的家人与朋友们
and of my family and friends left behind.
尽管他思乡心切
Despite his homesickness,
《第98号交响曲》的末乐章中
the last movement of Symphony 98
仍充满了喜悦与欢欣
is full of playfulness and joy
充满了令人振奋的创意与效果
with a whole series of startling ideas and effects.
第四乐章十分欢快活泼
The last movement is very fast and lively,
标注的是急板 即以最快的速度演奏
resto, it's marked, which is as fast as you can get.
感觉就像永不停息的引擎声
It's like a motor rhythm that never wants to stop,
不停地驱动自己前进
it powers its way forward
当你期待着听到主题旋律的重复时
and it's just when you're expecting a repeat of the theme,
因为你之前已听到了主题旋律
ecause you've already heard it,
他会给你一个惊喜
he then takes you by surprise.
让乐队以较慢的速度重复一遍主题旋律
And they start again with the theme a bit slower.
但他仍然藏着手里的王牌
ut he's got... he's got the ace up his sleeve.
他自己在钢琴前演奏
He makes himself play on the forte piano.
非常弱 像是内心独白一般
A little, very trivial, little sort of inner voice
与此同时 小提琴最后一次奏响主题
as the violins play the tune for the last time.
如此地生动可爱 观众为之欣喜不已
And it's so lovely that it would have delighted the audience.
试着想象 今晚
You can imagine, Oh, tonight,
伟大的海顿博士
You know The great Doctor Haydn
在钢琴前 为我们展示其高超的技艺
gave us a little virtuoso display on the forte piano
刚开始几乎听不到
You almost don't hear it at first do you
你心想 天哪
You think oh, my gosh...
对 就像内心发出的声音一样
Yes, it's like it's inside, isn't it？
好比是音乐这一躯体的血红蛋白
It's the sort of haemoglobin of the music,
让整个躯体得以生存
keeping the whole thing alive.
海顿的天才从何而来
o where did Haydn's genius spring from？
交响乐本身又是从何而来呢
Indeed, where did the symphony itself come from？
我要回到过去
I'm going to travel back in time
探求海顿早年在奥地利乡间的生活
to Haydn's early life and career in rural Austria.
这趟旅程将使我们认识到
A journey that will allow us to understand
交响乐在18世纪 是如何发展起来的
the development of the symphony in the 18th century.
1732年春
He was born
海顿出生于靠近奥匈边境的地方
ot far from the Hungarian border in the spring of 1732,
他是家里17个孩子中的老二
the second eldest of 17 children.
父亲是个车匠
His father was a wheelwright,
父母平时都以唱歌为乐
and both his parents sang for pleasure.
在当地的学校
ent to a local school,
他学会了读写及唱歌
he learned to read and write and to sing.
他们教给我许多东西 他说
They taught me so much, he said,
虽然我挨的鞭子比吃的饭还多
although I received more thrashings than food.
有一天
Then one day,
维也纳圣斯蒂芬大教堂的唱诗班指挥
the school was visited by the choirmaster
来到他们学校访问
from Vienna's main cathedral, St. Stephens,
八岁大的约瑟夫参加了试唱选拔
and eight
这名来自外省的天才小男孩
o the small, talented boy from the provinces
加入了著名的维也纳斯蒂芬唱诗班
joined the mighty Stephansdom Choir in Vienna.
我们可以想象
We can picture him,
这个看上去很不起眼的小家伙
an undistinguished looking little fellow,
九岁时就戴着假发唱歌的样子
even at the age of nine wearing a wig.
当他步入青春期 开始变声时
When his voice begins to break,
神父建议他阉割去势
the priest suggests castrating him
以便保留他悦耳的高音
in order to preserve his beautiful treble.
幸运的是 小约瑟夫的父亲介入干涉了
ut luckily for little Joseph, his father intervenes.
最后 他因为剪掉了另一个小男孩的辫子
Finally, he's dishonourably discharged from the choir after an incident
而被惩戒开除出唱诗班
which sees him cutting off another boy's pigtail.
接下来的几年 他生活窘迫
For the next few years he struggles,
几乎快到饿死的地步
hungry to the point of starvation,
看到身边城里人的富庶生活 他备受折磨
and tormented by the affluent city life he sees around him.
约瑟夫·海顿的天赋拯救了他的人生
Joseph Haydn's life was saved by his talent.
当他的头几部作品开始在维也纳的
Once his first compositions began to be played
沙龙和露天啤酒店演奏时
around Vienna's salons and beer gardens,
大家很快就注意到了他的天赋
it didn't take long for him to be singled out as someone special,
25岁之时 饥饿的日子已离他远去
and by the time he was 25, his hungry years were over.
在十八世纪
In the 18th century,
艺术家们一般都受雇于教会
artists generally were employed by the Church,
皇家宫廷或是贵族成员
a royal court or a member of the aristocracy.
国王 王子和贵族都有自己的私家乐队
o king, prince or nobleman worth his salt
以彰显自己的声誉
was without his house band.
海顿很幸运地受雇于
And Haydn was fortunate in that he was asked to work for
欧洲当时最富有 最尊贵的家族之一
one of the most noble and wealthiest families in Europe,
艾斯特哈齐家族
the Esterhazys.
家族宫殿坐落于奥地利东部
The family palace was in the remote location
艾森施塔特城的偏远之处
of Eisenstadt in Eastern Austria,
但拥有属于自己的乐团正合海顿之意
ut having his own orchestra gave Haydn exactly what he needed.
除了完成作为作曲家本分的任务
As well as being able to fulfil all the normal duties of a composer,
例如宗教音乐和歌剧之外
uch as church music and opera,
他开始尝试新颖的器乐体裁
he was able to experiment with new instrumental forms.
他于1761年来到这里
He arrived in 1761,
正当尼古拉一世继承艾斯特哈齐王位之时
just as Nikolaus I inherited the Esterhazy title.
新任亲王富裕奢侈 最重要的是
The new prince was rich, extravagant and, crucially,
他的宫殿里有一间非常精致的音乐厅
his palace had a particularly fine music room.
这里就是海顿实验室里的炼丹炉
o here it is, the crucible of Haydn's laboratory.
不 不只是炼丹炉
o, not just the crucible,
简直就是大型强子对撞机
the Large Hadron Collider.
三十多年来 尼古拉亲王沉迷于
Over 70 symphonies and 30 years,
海顿创作的七十多首交响曲之中
rince Nikolaus was obsessed with music,
为了满足他贪婪的音乐欲望
and in order to feed his veracious appetite,
海顿需要找出一种
Haydn needed to find a form
可以全方位展示亲王乐团
that would show off the full range and virtuosity
精湛技艺的曲式
of the prince's orchestra.
刚起步时 乐团的规模非常小
At the beginning, they were only a tiny group of musicians,
只有14位乐师
o more than 14 of them,
但海顿在乐师们高超的演奏质量
and yet Haydn was inspired by both the quality of their playing
和美丽音乐厅的启发之下
and the beauty of the music room
创作出了非凡的交响曲
to produce extraordinary symphonies.
《早晨》是他的头几部作品之一
One of the first is 'Le Matin'
乐曲从描绘日出开始
It starts with a sunrise
其中精致的细节
that in its detailed tiny way
本身就是一部杰作
is a little masterpiece in its own right.
在这曲杰作的进程中
In the course of this little masterpiece,
乐队的各位成员都有主奏的机会
various members of this little ensemble get moments of glory.
海顿的宫廷乐队不仅在规模上
It wasn't just the size of Haydn's house band
与现代交响乐团有不同之处
that was so different from a modern symphony orchestra,
使用的乐器上也很不同
it was the instruments as well.
早期的铜管和木管乐器
The early brass and woodwind
设计原始 难以演奏
were primitive and hard to play,
但海顿谱写的独奏证明
ut Haydn's solo writing demonstrates
他很信赖乐队成员的高超技艺
that he could count on some real virtuosity from his players
在海顿之前 交响乐当然已经存在
efore Haydn, the symphony certainly existed,
但它到底是什么样的
ut what precisely was it？
交响乐一词的字面意思是
The word symphony literally means
将声音合在一起 变成音乐
ounding together, making music.
这个词最初是为了区分开
Its earliest use was to distinguish between
属于天使声音的教堂声乐
vocal church music, the sound of angels perhaps,
和乐师们作为服务教会
and the music that instrumentalists might play by themselves
而自己演奏出的音乐
as their contribution to a church service.
尘世音乐 让我们能脚踏实地
Earthly music, music that grounds us
感受现实世界的音乐
in the world of the here and now,
而不是那些将我们的灵魂
efore the choir claims our souls,
想象和听觉引至上帝的合唱
imaginations and our ears for God.
海顿应各类场合的需求 创作了多种交响乐
Haydn wrote symphonies on demand for a variety of occasions.
他在艾森施塔特的早期杰作之一
One of his greatest early Eisenstadt works
《第22号交响曲》
is a church symphony, No. 22,
是为教会弥撒而作的
written to be performed during Mass.
该曲日后获得了哲学家的别称
It later acquired the nickname of The Philosopher,
可能是因为其第一乐章格外庄严
ossibly because its first movement is exceptionally solemn,
展示了海顿的妙手
demonstrating the emotional depths
可以赋予交响乐如此之深度
of which the symphony was going to be capable in Haydn's hands.
早期的交响乐曲式
The form of early symphonies also
最初源于歌剧院
came from the opera house originally,
表演开场的器乐乐章
when the instrumental movements at the beginning of an evening
构成了一支组曲
constituted a suite,
它并非一部完整的艺术作品
ot designed to be an artistic whole,
而是为了引领观众进入状态
ut a way to lead the audience in to the entertainment.
而从那些开场乐章
ow, from those beginnings,
海顿意识到他可以将这种器乐形式
Haydn realised that he could extend the contrasts
延展为包含四个乐章的完整作品
into making a four
很多时候是用快板乐章开场
Very often, this could be fast,
接着是一个长而缓慢的乐章
then a long, slow movement
赋予整首曲目一种庄严的感觉
that gave a sense of gravitas to the whole event.
然后再用一支小步舞曲来调节气氛
Then a dancing minuet to sort of clear the air,
最后再用一个快节奏乐章结尾
and then a final fast movement.
位于艾森施塔特的艾斯特哈齐宫殿
The Esterhazy Palace in Eisenstadt
确实是海顿的实验室
truly was Haydn's laboratory.
他所研发的交响乐
The symphony as he developed it
吸取了宗教音乐和歌剧的精髓
draws from a combination of church music, the world of opera
并由技艺高超的乐师加以演绎
and having talented musicians to write for.
所有这些因素
With all these factors in place,
使他得以完善这种四乐章交响乐的体裁
he was able to perfect the four
除此之外 他还尝试了其他元素
And beyond that he experimented with other elements,
不同音乐情绪的并存
the unexpected juxtaposition of mood,
配器上的创新
unusual instrumentation,
戏剧效果 惊喜和玩笑
theatrical effects, surprises, jokes.
交响乐将这多种力量交织起来
The symphony became a finely wrought interplay of forces,
每部都是一次独特而迷人的旅程
each one a unique and enthralling journey.
作为交响乐作曲家
As a symphonist,
从各种角度来看 海顿都像一位
Haydn is in many ways like a master chef
结合不同食材来创作新菜式的烹饪大师
who combines different ingredients to create new dishes.
在艾森施塔特的厨房花园里
In his kitchen garden in Eisenstadt,
他种植了自己所选的一些芳草
he planted out his own selection of herbs,
我在这里会见了西格丽德·维斯
and here I met Sigrid Weiss,
一位巴洛克式烹饪专家
who is an expert on Baroque cookery.
很高兴见到你 这里太漂亮了
How lovely to meet you. This is gorgeous.
让我带你走走
Let me walk you around a little.
这些都是什么
o what do we have here？
这些是百里香
Here we have thyme...
海顿青少年时期清贫的生活
The lean and hungry years of his youth
使他迷上了饮食
gave Haydn an obsession with food.
他在信中
In his letters
总是在赞扬或抱怨他的饮食
he's always either praising or complaining about his diet
在巴洛克时代 他们喜欢在肉里面
They liked to use these strong smelling herbs
放些强烈气味的芳草
on the meat in the Baroque,
因为那时候还没有冰箱
ecause of course they had no refrigerators,
所以他们吃的肉并不总是很新鲜
o their meat was not always as fresh.
这些是薄荷
Mint here.
园丁海顿和美食家海顿
Haydn the gardener and Haydn the gourmet
都是手艺大师海顿的一部分
are all part of the complete picture of Haydn the master craftsman.
这个呢
And this one？
罗马酢浆草
Roman sorrel.
可以直接吃吗
Can we eat it？
我们可以将海顿一首交响曲
We could liken symphonic development
开场乐章的结构
in one of Haydn's opening movements
比作他最钟爱的
to the preparation of a carefully balanced meal
那种均衡美味的菜式
of the sort which the composer often enjoyed.
所有主题都汇聚在曲子的开场
All the themes are gathered together at the beginning of the piece
正如烹饪开胃菜之前
in the same way one might gather and prepare ingredients
需将所有原料收集在一起
then cook a simple starter.
这段被称为呈示部
This is what's called the exposition,
一道撩拨食欲的开胃菜
a tasty first course that whets your appetite for what's to come.
非常感谢
Thank you very much.
祝你好胃口
Guten appetit!
下一阶段 展开部
The next stage, the development
将原料混在一起 进行烹饪
lends together, reshapes and cooks up all these ingredients,
全新的口味由此产生
allowing new flavours to emerge.
最后 在再现部中
Finally, in the recapitulation,
所有主题连同和声交融到一起
all the themes and harmonies are brought together and resolved
正如结尾的主菜
just like the finished main course.
这道是海顿最喜爱的主菜之一
This is one of Haydn's particular favourites,
炖兔肉配水果布丁和樱桃
raised rabbit with dumplings and cherries.
-太棒了 -看起来太美味了
- Fantastic! - That looks totally delicious!
18世纪60年代
In the 1760s,
尼古拉亲王决定在艾森施塔特以东
rince Nikolaus decided to build an elaborate new pleasure palace
50公里的奥匈边境之处
50 kilometres east from Eisenstadt,
新建一座游乐宫
over the Hungarian border.
以后每个夏天 宫廷里所有人
o every summer the entire court,
包括海顿和他的乐团
including Haydn and his orchestra,
都会搬来这座童话般的艾斯特哈泽宫
decamped to the fairytale palace of Esterhaza.
然而 虽然那里有音乐厅 大舞厅
However, although there were music rooms, ball rooms,
宴会凉亭和一个完整规模的歌剧院
anqueting pavilions and a full scale opera house,
乐师的住宿空间却非常有限
there was only very limited accommodation for the many musicians.
他们的家人必须留在艾森施塔特
Families had to stay in Eisenstadt.
没有妻子 没有女友 没有家人
o wives, no girlfriends, no families.
可以理解 乐师相当苦恼
The musicians were understandably miserable.
但海顿想出了
ut Haydn came up with his own
一种机智的劳工运动
rather witty version of industrial action.
《第45号交响曲》是海顿为了艾斯特哈泽宫的
ymphony 45 was one of the three dozen symphonies
夏季庆典所谱写的36首交响曲之一
written for the summer festivities at Esterhaza.
曲风严肃 甚至有些激烈
It's a serious, sometimes stormy work,
其结尾隐含了海顿的抗议
ut at the end comes Haydn's protest,
因而赋予了这部作品
a gesture that gives the work
更为人熟知的别称 告别
its familiar nickname, The Farewell.
在急促的结尾乐章即将结束时
As the last restless movement comes to a close,
音乐突然缓和了下来
the music suddenly slows down
演奏者开始一位接一位地离开舞台
and the players begin to leave the stage, one by one,
每位离开之时 都将曲谱架上的蜡烛熄灭
each snuffing out the candle on his music stand as he goes.
最后 只剩下两把小提琴以极弱音演奏
Finally, there are just two violins left playing pianissimo,
直到音乐化为寂静
and the music evaporates into silence.
亲王理解了其中深意
The prince took the hint.
第二天 整宫人员返回了艾森施塔特
The following day, the court returned home
在舒适的家中和家人团聚
to the domestic comforts of Eisenstadt.
海顿在艾斯特哈齐家族留任了将近30年
Haydn was to stay in Esterhazy for nearly 30 years,
这种情况并不多见
ut this was very unusual.
大部分作曲家都过着流浪的生活
Most composers of the time led a much more nomadic existence,
四处迁徙
moving from place to place,
这正是音乐灵感的传播方式
and this was of course how musical ideas were moved around.
其中一位
One of these travelling musicians
就是沃尔夫冈·阿玛迪乌斯·莫扎特
was Wolfgang Amadeus Mozart,
在1764年
and in 1764,
海顿移居艾森施塔特之后不久
ot long after Haydn had arrived in Eisenstadt,
他访问了伦敦
he visited London.
莫扎特的童年绝大部分是
Mozart spent a large part of his childhood
同父亲和姐姐在无休止的
on an interminable tour of Europe
欧洲巡回演出中度过的
accompanied by his father and his older sister.
这家人到达伦敦之后
The family arrived here in London
搬入一家理发店楼上的寓所居住
and moved into lodgings above a barber's shop,
令人欣慰的是
which now, delightfully,
如今变成了一家专营古籍音乐的书店
is an antiquarian booksellers specialising in music.
此次旅行肯定是一次痛苦的经历
The whole thing must have been a bit of an ordeal.
据称 他们三人前前后后
There were reports of all three of them being ill
都曾患病
at one time or another.
但也得到了一个意想不到的收获
ut it did produce at least one unexpected benefit.
在他父亲病得卧床不起之时
Whilst his father was bedridden
八岁的莫扎特写出了自己的第一首交响曲
the eight
要记得 他当时才八岁
ow remember, he was eight.
这部作品曾被批评为毫无新意
This symphony has been criticised as being derivative,
还有些人说是他父亲谱的曲
and some have said it was written by his father,
而我也相信他父亲给予了他很多帮助
and I'm sure his father helped him a great deal.
但最重要的一点是
ut the important point, surely,
这是一首八岁小孩谱写的交响曲
is that it's a symphony written by an eight
结构完美
and it's structurally perfect,
配器均衡
exquisitely balanced,
旋律极其优美
and very, very nice to listen to.
莫扎特十几岁时游历了整个欧洲
In his teens, Mozart criss
从不同地方获得创作灵感
icking up ideas wherever he went.
而位于德国西南部的曼海姆就是关键之一
One of the key centres was Mannheim in South West Germany,
这里的宫廷乐队是一个大师级的乐团
where the court orchestra was a finely tuned, virtuoso ensemble.
宫廷乐队的作曲家是约翰·斯塔米茨
The court composer was Johann Stamitz,
他为乐团创作的60首交响曲都是典范之作
who wrote 60 prototype symphonies for them.
风格新颖而充满活力
They became well known for their novel, dynamic effects,
曲目开头的弓法
an opening coups d'archet,
在乐章伊始 通过一声巨响
a loud bang at the beginning of a piece of music
来吸引观众的注意力 使其进入状态
that would wake the audience up and grab their attention.
曼海姆火箭 一系列激动人心
The Mannheim Rocket, a cluster of notes
一路攀升的音符组合
that soared thrillingly heavenwards,
乐团营造的渐强效果出人意料
and a big orchestral crescendo that was so unexpected
据说每到此刻
that apparently ladies in the audience
女士们往往会因激动而晕倒
used to faint with excitement.
在和启蒙时代管弦乐团合作排练时
In preparing the music with the Orchestra of the Age of Enlightenment
马克·埃尔德非常期待
Mark Elder was keen to work
亲自实践交响乐先驱们缔造的种种奇妙效果
on some of the effects achieved by these symphonic pioneers.
很明显 我们在演奏这段激动人心的乐曲时
Obviously what we've got to try and show in this,
要着重表现的 是其风格
this very exciting music, is the style.
他们都是弓法高超的专家
And they were specialists in a sort of bravura attack.
来一遍
Here it is.
这首曲子中 弓法的特色在于
And the coups d'archet was the way
所有人用同样的手法拉奏 就像这样
everybody attacked the bow in the same way, as they all did there.
我们再来一遍好吗
Can we just try that once again？
很好 非常好
ravo, well done.
我们对从弱到强
The idea of getting louder from playing very soft
直到最强音的演奏手法并不陌生
and going to very loud is something we're all so familiar with.
这种手法很常见
We do it all the time.
其创新之处在于 让所有的乐师一起
ut the idea that this was a new way of musicians together
表现同样的力度 同样的情感
expressing the same energy and the same emotion
这一点为音乐注入了一股新的活力
gave the music a new excitement and a new daring.
1777年 22岁的沃尔夫冈·莫扎特
o celebrated did Mannheim become that in 1777,
慕名前往曼海姆拜访该乐团
the 22
随身带着他最新的交响乐作品
ringing with him the score of his latest symphony.
当莫扎特决定在这间乐室里同乐团合作
When Mozart decided to premiere this symphony, his 31st,
进行《第31号交响曲》的首演时
with them in this very room,
他是在测试自己的作品
he was test
这部作品中不乏广受欢迎的曼海姆特效
which included several of the crowd
在人生的这个阶段 莫扎特急需一次胜利
At this stage in his life Mozart really needed a success.
巴黎有许多富裕而品味高雅的音乐爱好者
In Paris there were many wealthy, sophisticated music lovers
他精心创作的乐曲
and his carefully crafted symphony
或许能收获一笔酬金 甚至一份工作
might land him a commission or even a job.
aris in the middle of the 18th century was very different from the modern city.
埃菲尔铁塔和香榭丽舍大道都建于19世纪
The Eiffel Tower and the famous boulevards weren't built until the 19th century.
And in 1778, when Mozart arrived,
这附近都被一座巨大的
the area around here was dominated
文艺复兴宫殿占据着
y a vast Renaissance palace
这就是杜伊勒里宫 时髦的贵族们
the Tuileries where the fashionable and cultured aristocracy
聚集于此欣赏音乐 此时大革命尚未发生
this was before the Revolution remember, flocked to hear music.
莫扎特的交响曲于1778年6月在这里首演
Mozart's symphony, later to become known as the Paris Symphony,
此曲日后被称作《巴黎交响曲》
was first heard here in June 1778.
所有细节都根据当时巴黎人的审美精心打磨
Every detail was honed to accord with contemporary Parisian taste
我知道第一乐章的中间部分
In the middle of the first movement
会让他们激动不已
is a section I knew would excite them,
他在事后给父亲的信中说道
He later wrote to his father.
的确 观众简直入了迷
ure enough, the audience was carried away by it.
我作曲的时候
ince I knew when I wrote it
就知道它会有这种效果
that it would have this sort of effect,
所以在结尾部分我又用了一遍
I used it again at the end.
这首交响曲获得了不大不小的成功
The symphony was a mild success.
可能是因为他一味迎合当地审美
erhaps he'd so conformed to local taste
这首曲子并非特别出众
that the work didn't particularly stand out.
音乐会之后 他写道
After the concert, he wrote,
我高兴极了 音乐会一结束
I was happy, so as soon as the concert was over
我就冲到皇家宫殿
I rushed over to the Palais-Royal,
犒赏自己一个大冰激凌
ordered myself a large ice cream,
诵经祈祷 然后回家了
aid my rosary and went home.
莫扎特并非唯一一位
Mozart wasn't the only symphonist
想征服挑剔的巴黎听众的作曲家
keen to conquer the discerning audiences of Paris.
五年之后 约瑟夫·海顿的六首新交响曲
Five years later, half a dozen new symphonies by Joseph Haydn
在巴黎得到巨大成功
arrived to great acclaim.
尽管艾斯特哈齐亲王不允许他的作曲家旅行
Although Prince Esterhazy didn't allow his composer to travel,
还是很高兴海顿的乐曲能使他名满天下
he was happy for Haydn's scores to spread his fame.
当身处维也纳的莫扎特
And when Mozart, now living in Vienna,
听到这些巴黎的交响曲时
heard these Paris Symphonies,
他终于从中得到了源源不断的伟大灵感
they were to inspire his final great symphonic outpouring.
1788年
In 1788
距法国和整个欧洲卷入革命的洪流还有一年
a year before revolution convulsed France and indeed Europe
莫扎特在维也纳的这家咖啡馆演出
Mozart preformed here in this Viennese cafe,
但更重要的是
ut perhaps more significantly
他几周之内 便写出了三部交响曲
he also wrote three symphonies in a matter of weeks
即宏伟的《第39号交响曲》
the noble No. 39,
阴郁狂暴的《第40号交响曲》
the dark, turbulent No. 40,
少见的以小调写成的交响曲
unusually in a minor key,
以及感情外露的《第41号交响曲》
and the extrovert No. 41
也被称为朱庇特
later nicknamed The Jupiter,
其技艺之华丽几乎到了夸张的地步
a piece of almost extravagant technical virtuosity.
可以说 莫扎特生命中的最后几年是个谜
Mozart's final years are something of a mystery.
我们知道很多微小的细节
We have lots of small details,
比如他更换住处有多么频繁
how frequently he changed apartment, for instance,
但对他生活的整体状况我们一无所知
ut about the bigger picture there's nothing at all.
他对自己作品的想法
What he thought about the music he was writing,
他的雄心 希望和恐惧
his ambitions, his hopes and his fears,
以及最后几首交响曲的信息 完全不知
and about the last few symphonies, no information.
在这些交响曲诞生后三年
These symphonies were completed three years
他就突然英年早逝
efore his sudden and tragic early death.
我们无从知道 这些曲目灵感来自哪里
ut we have no idea what occasioned them
也没有任何记录表明
and there is no record of them
在他有生之年 这些曲目是否上演过
ever having been actually performed in his lifetime.
这几首最后的交响曲情感丰富
These last symphonies are emotionally rich
充满了悲伤 令人措手不及
and full of sadness, just when you least expect it.
其强烈的情感表现得淋漓尽致
The palate of emotional intensity is very, very marked.
给人的感觉就是
And one feels that,
即使他还能创作更多交响曲
whether or not he could have written any more symphonies
这几部也是他在交响乐这种形式中的巅峰之作
that these were a summation for him of what he could achieve in the form.
而且 每部作品都特点鲜明
And each of them has such a different character.
我认为 音乐的特点是由曲调的选择表现的
ow, to me, the character comes from the choice of key.
我们知道 在他创作这些曲目前
And we know, before he wrote them, that he received a new score
收到了三首海顿的新交响曲
of three of Haydn's symphonies
也是使用了同样的三个曲调
and that they were in these same three keys
降E g小调和C大调
E flat, G minor and C major
莫扎特的最后三首交响曲也采用了这些曲调
which are the keys of Mozart's last three symphonies.
他受到了启发 希望能够进一步发展
He was inspired and wanted to give something
这种他尚未完全驾驭的形式
to the form that he hadn't hitherto managed.
莫扎特显然十分欣赏
Mozart clearly admired the symphonic innovations
海顿在艾森施塔特对交响乐的创新
that Haydn had discovered in his laboratory in Eisenstadt,
当这两位作曲家
and when the two composers met
在18世纪80年代末期首次会面时
for the first time in the late 1780s,
海顿答谢了他的欣赏
Haydn repaid the compliment.
也许有人觉得我有点天赋 他说道
ome have said that I might have some genius, He remarked,
但莫扎特永远比我技高一筹
ut Mozart is always my superior.
1790年 风云突变
uddenly in 1790 everything changed.
尼古拉亲王意外离世
rince Nikolaus died unexpectedly
他的儿子安东成为新的亲王
and the next prince, his son Anton,
并立刻着手解散其父
immediately began to dismantle his father's
庞大而奢侈的音乐设施
extravagant and expensive musical establishment.
尽管收到了一笔丰厚的退休金
Despite a generous pension,
海顿一定也感到了对未来的迷茫
Haydn must have wondered what the future would bring.
一天晚上 他坐在家中
And then one night as he was sitting at home,
前门忽然响起敲门声
there was a loud knock on the front door.
一位陌生人走进来 大声宣布
A stranger was let in and declared boldly,
我是伦敦的萨洛蒙 我来接你
I am Salomon of London and I have come to fetch you.
对海顿和交响乐的历史来说
It was a decisive moment in Haydn's life
这是一个决定性的时刻
and in the history of the symphony.
在踏上他史诗般的旅程之前
Just before setting off on his epic journey,
海顿 萨洛蒙和莫扎特共进告别聚餐
Haydn joined Salomon and Mozart for a farewell meal.
萨洛蒙很想鼓动莫扎特前往英国旅行
alomon was keen to sign Wolfgang up for a British tour,
但莫扎特仿佛更在意海顿的安危
ut the young composer seemed more concerned about his colleague's welfare.
你已经不再年轻了 他说
You're not young any more, He said.
但我身体还不错 海顿回答
ut I'm still in good health, Haydn replied.
你不善交际 会的语言也太少 莫扎特说
You're too unworldly and speak too few languages, Mozart said.
不 海顿坚定地答道
o, Haydn replied firmly,
我的语言 全世界都能听懂
My language is understood all over the world.
现在 我们回到了本片的起点
And now we're back where we started
in the last decade of the 18th century
海顿在伦敦大获成功
with Haydn's triumphal arrival in London.
在奥地利当了30年乐师后
After 30 years as a sort of musical servant in Austria,
他在这里
he's welcomed here
以当代最伟大作曲家的身份受到接待
as the greatest composer of his age.
As the Sun newspaper of 1794 put it,
他的音乐高雅 丰富
His music is exquisite, rich,
富有想象力 大胆而感人
fanciful, bold and impressive.
约瑟夫·海顿在伦敦开始了新生活
London gave Joseph Haydn a new lease of life.
接连四年广受欢迎的音乐会
Four years of wildly successful concerts,
12首新交响乐首演 最后一首在1795年
twelve new symphonies premiered, the last in 1795
就在坐落于干草市场的皇家乐室
here at the Theatre Royal Music Rooms in the Haymarket.
一位批评家赞叹道
As one enamoured critic gushed,
海顿的天才到底有没有止境
Would Haydn ever get to the bottom of his genius box？
答案显然是没有
Well, the answer to that surely must be no.
尽管在漫长的职业生涯中
Although he would write over 100 symphonies
他一共创作了一百多部交响曲
over the course of a long working life,
海顿既记不住他的作品
Haydn himself would have recognised
飞速增长的编号
either the dizzying upward spiral of numbers
从1759年的《D大调第一交响曲》
from his first Symphony in D Major written in 1759
到40年后的《第104号交响曲》
to his 104th written some 40 years later
也不知道其中一些曲目获得的别称
or the affectionate nicknames that some of the pieces acquired
哲学家 告别 惊喜 军队
The Philosopher, The Farewell, The Surprise, The Military.
生平第一次
For the first time in his life,
海顿逃离了艾森施塔特贵族化的泡沫
Haydn had escaped the aristocratic bubble of Eisenstadt.
伦敦交响曲系列反映出了
The London symphonies reflect
他对世界的新体验
oth his new experiences of the world
和他与更广泛听众群的接触
and his encounters with a wider audience.
在伦敦 人们对音乐的渴求
In London there was hunger for music
也反映出法国大革命
that spoke to the tensions
带来的紧张情绪
around the French Revolution
以及在其他国家的革命转化成恶意攻击时
and the anxieties that the British had
英国民众所感受到的不安
when revolution turned into attack on other countries.
现在 交响曲不再仅仅是面向公众的演出
ow symphonies were not only being played in public,
其本身也成为了一种公开的宣言
ut becoming public statements in themselves.
《军队交响曲》是伦敦交响曲系列的第八部
The Military Symphony, the eighth of the London symphonies,
完成于1794年 是一部杰作
written in 1794 and a masterpiece.
它是海顿访问英格兰期间最大的成功
It was Haydn's greatest success during his visit to England.
听众们认为带有战争色彩的音乐极具话题性
It's war music that the audience regarded as acutely topical.
现代人很难感知到
It's difficult with our modern ears
这首曲目对当时英国民众产生的影响
to grasp the impact this work had on the British public.
其中 海顿对土耳其打击乐器的使用
Amongst other things, Haydn shocked them with his use for the first time
震惊了观众
of Turkish percussion.
再来一个 再来一个 所有人都在喊
Encore, encore, encore, Resounded from every seat,
连矜持的女士们也不例外
the ladies themselves could not forbear.
战争的开展 将士的行军
It is the advance into battle and the march of men.
冲锋的呐喊 攻击的轰鸣
The sounding of the charge, the thundering of the onset.
兵器的碰撞 伤者的呻吟
The clash of arms, the groans of the wounded
以及战争那地狱般的咆哮声
and what may be called the hellish roar of war
一同将乐曲引向令人毛骨悚然的高潮
increases to a climax of horrid sublimity.
18世纪90年代的伦敦听众
Haydn writing for London audiences in the 1790s was very much aware
认为他们的社会是阳刚的 军事化的
that they saw themselves as a manly, military society
海顿捕捉到了这一点
and Haydn absolutely captured that.
海顿离开伦敦 返回奥地利的故乡途中
When Haydn left London to return home to Austria
顺路简短拜访了偏远的德国小镇波恩
he made a brief stop along the way in the provincial German town of Bonn.
在那里 他第一次见到了
Here he was to meet for the first time
那位将把交响乐带入新世纪的作曲家
the composer who would carry the symphony forward into the next century
路德维希·凡·贝多芬
Ludwig van Beethoven.
海顿时年60岁
Haydn was 60
而那位阴沉的年轻中提琴手
and the sullen young viola player
伯恩选民管弦乐队的成员 只有22岁
he was a member of the Elector Of Bonn's Orchestra
他已经表现出成为作曲家的某些天赋
He was already showing some promise as a composer.
他已经完成了两部值得注意的皇家清唱剧
He'd written two attention-grabbing Imperial Cantatas
海顿答应收他为徒
and Haydn agreed to take him on as a student.
这段关系并不轻松
It was never an easy relationship.
你将拥有史无前例的思想 海顿说
You will have thoughts that no
还遭受着耳聋的折磨
and tormented by my deafness,
我发现与别人一起只有痛苦
I find only suffering in the company of others.
他承认自己已经失聪
He's acknowledged to himself he's deaf
艺术的奇迹之处在于
and the great miracle of art is
从他承认自己失聪之时起
that the moment he's acknowledged it,
我们进入了所谓的英雄时代
we enter what's cornily called the heroic period.
欣赏到了极伟大的艺术作品
We get the great, great works of art,
因为他战胜了病魔
ecause he's overcome it.
要讲述下面的故事
To tell the next part of the story,
我们先要回到巴黎
we need to return to Paris
去瞻仰一位英雄的陵墓
and to a hero's grave.
正当贝多芬奠定了他在音乐界的地位时
Just as Beethoven defined his era in music,
拿破仑·波拿巴在政治领域开创了自己的时代
o Napoleon Bonaparte towered over his era in world politics
虽然他只是一个小个子男人
although, of course, he himself was quite a small man.
拿破仑这个名字强大有力
The name of Napoleon was so potent,
他领导的军事力量令人生畏
his military prowess was so fearsome,
在短短的十二年里他横扫了欧洲
that he dominated and terrorised Europe for over a dozen years.
1799年 他在成功政变后
After his successful coups d'etat in 1799,
任命自己为第一执政
he appointed himself First Consul,
他亲近法国民众
a man of the French people,
致力于恢复共和国
devoted to restoring the republican virtues of
自由 平等和博爱的美德
liberty, equality and fraternity
此前的十年 法国内政混乱
after a decade of gross mismanagement
恐怖蔓延
and institutionalised terror so widespread
断头台甚至获得了国民剃刀的别称
that the guillotine earned the nickname The national razor.
贝多芬以这个题材为基础
eethoven had found the subject
创作了他的第三部 也是最激进的一部交响曲
for his third and most radical symphony yet.
此曲篇幅巨大 其第一乐章的长度
A work so massive, that its first movement alone
基本等同于海顿早期的整部交响曲
is as long as many of Haydn's early symphonies.
《英雄》 是英雄的交响曲
Eroica, the heroic symphony.
《英雄》所富有的革新精神
The Eroica is an extraordinary huge advance
是之前任何一部作品都无法比拟的
on anything anyone had done before.
他来源于大众 并为大众创作
He was a man of the people, creating art for the people
他觉得这也是拿破仑代表的精神
and he thought that was what Napoleon represented.
作曲家希望通过交响乐作达到一定的效果
The Eroica comes to stand or what symphonic composers
《英雄》则是这一方面的典范之作
want to achieve through their musical works.
《英雄》是一部颠覆传统的作品
The Eroica was a revolutionary piece of work.
贝多芬需要开发新的技巧
eethoven needed new techniques
以便表现他对于拿破仑的想法
if he was to express adequately his thoughts about Napoleon,
这个男人对欧洲的影响迅速而彻底
a man who was affecting such rapid and sweeping changes across Europe
人们相信 他会给这片多灾多难的土地
a man who many believed would bring peace,
带来和平 安定和自由
ecurity and liberty to a troubled continent.
欧洲永远无法重回
There was no way that Europe could possibly return
1789年之前的太平之日
to life as it was in the days before 1789
贝多芬也决不能重回前人之路
and there was no looking back to old models for Beethoven.
这部新作的激进无法避免
The new work just had to be radical,
它的首次亮相无比震撼
its first performance explosive,
这间屋子见证了这一时刻
and this is the room where it all happened.
贝多芬的朋友 费迪南德·里斯说道
eethoven's friend, Ferdinand Ries,
这位作曲家的这部作品
aid the composer wrote his symphony
是为拿破仑·波拿巴所作
with Napoleon Bonaparte in mind,
只为第一执政拿破仑而作
ut Napoleon as First Consul.
贝多芬无比崇敬拿破仑
He held him in great esteem
并将其比作古罗马最伟大的执政官
and compared him to the greatest consuls of ancient Rome.
费迪南德·里斯亲眼见到
Ferdinand Ries himself saw
这部交响曲精美的手稿副本
a beautifully copied manuｓｃｒｉｐｔ of the symphony
静静地躺在贝多芬的书桌上
lying on Beethoven's table and, on the front page,
封面的顶部 写着拿破仑的名字
were inscribed the names Napoleon At the top
下面写着贝多芬的名字
and Beethoven At the bottom.
但当贝多芬得知
ut when Beethoven was told
拿破仑称帝时
that Napoleon had crowned himself Emperor
他暴跳如雷 并吼道
he flew into a rage and screamed,
他也不过是一介凡夫俗子
o now he is no more than a common mortal.
现在他也要践踏人权
ow he will tread on all the rights of man,
以逞其个人的野心了
Indulge only his ambition,
他将骑在众人头上
think himself superior to all men,
成为一个暴君了
ecome a tyrant.
他说着走向桌子 拿起手稿
He went to the table, picked up the manuｓｃｒｉｐｔ,
把封面撕成两半 扔到了地板上
ripped the front page in half and threw it on the floor.
拿破仑一世 法国皇帝
apoleon I, Emperor of the French,
离他1821年病逝尚有十六年
till had 16 more years to live.
但对于贝多芬来说 他已经死了
ut, for Beethoven, it was clear,
他的伟大在他加冕那天消亡殆尽
his greatness had died on the day of his coronation.
《英雄》的第二乐章是葬礼进行曲
The second movement of the Eroica is a funeral march,
也许是为英雄的逝去而悲号
erhaps mourning the loss of a hero.
当这部交响曲的乐谱于三年后出版时
When the symphony was published three years later
上面有一段铭文
it bore an inｓｃｒｉｐｔion
纪念一位逝去的伟人
to celebrate the memory of a great man.
贝多芬在维也纳的35年中
eethoven lived in more than 60 different places
曾在60多个地方生活过
during his 35 years in Vienna.
我与音乐学家
I joined musicologist
约翰·德斯里奇教授一同参观了这里
rofessor John Deathridge to visit this one
这里空间狭窄 地处偏僻
which is typically cramped and out of the way.
但是不管这位作曲家在哪里落脚
ut wherever the composer lodged,
这个地方总要有两样东西
there were always two inevitable objects
一架钢琴和一副珍贵的肖像
a piano and a treasured portrait.
贝多芬的这幅肖像
This is a picture of Beethoven
大约画于他创作《第三交响乐英雄》之时
at about the time he wrote his third symphony, the Eroica.
对吗
Is that right？
没错
That's correct.
这画出自他的一个朋友
ainted by a friend of his called
韦力伯德·马勒之手
Willibrord Mahler,
他向这位朋友演奏了第四乐章
he played the last movement to the painter
之后又即兴表演了两个小时
and then he continued on improvising for two hours.
让马勒感兴趣的是
What Mahler was interested in
他捕捉到了
was capturing something
《英雄》这部作品的神话元素
of the mythological side of the Eroica.
很尴尬的姿势
是的
有点像《蒙娜丽莎》
A little bit like the Mona Lisa,
背景是乡村景色
in a sort of country landscape.
目光斜视
And the eyes are looking askance.
我一直觉得这只手
I often think that this hand here,
是非常有力的一只手
it's a very strong hand,
一定是贝多芬在演奏《英雄》第四乐章时
has something to do with his impression of Beethoven
给画者留下的印象
laying the last movement of the Eroica.
很明显这幅画对贝多芬来说非常重要
It was clearly a very important painting for Beethoven
因为他走到哪儿都带着它
ecause he took it with him everywhere.
为什么他这么喜欢这幅画
Why did he like it？
我觉得可能是虚荣心
I'm tempted to say vanity.
因为这幅画中的他十分帅气
He looks rather good in this.
我觉得 这幅画体现了
It represents for him, I think,
他作为交响乐作曲家的特质
omething very important about his role as a symphonic composer.
我以一名作曲家的身份 活于世上
I am here in the world as a composer
我的交响曲应该是这样的
and this is what my symphonies are going to be.
我感觉《第三交响曲》
I feel that the third symphony
像是另一个时代的开端
is like on the threshold of another age.
他写这部作品 是为了表现
It's written because he wanted to answer
他印象中 拿破仑的辉煌成就
what he felt was the scale of Napoleon's achievements
而一般的交响曲达不到这种目的
and the normal symphony wouldn't have been enough.
你觉得他把自己也当作英雄吗
Do you think he saw himself as a hero？
这个问题不好回答
That's a very difficult question to answer.
我觉得 他知道自己有这种能力
I feel sure that he knew he had the capacity in him
其他作曲家少有的能力
that was given to very few other creators
他要凭借一己之力
and that he owed it to himself
去发掘自己的天赋
to find the extent of the depth of his talent,
这也使他不断地突破极限
which is why he kept pushing the boundaries further and further
创作出了更有真情实感的作品
to create more emotional truth.
我认为他意识到自己
I think he felt that he had
拥有英雄般的创造力
an heroic capacity as a creator
能带领音乐进入一个
to take
《交响乐的故事》观后感(六)：Louise的囫囵吞枣版交响乐史笔记
Chapter 1 Genesis and Genius
1. 被誉为“交响乐之父”的奥地利作曲家约瑟夫·海顿（Joseph Haydn）生于1732年春。他是家里17个孩子中的老二，父亲是个车匠，父母平时都以唱歌为乐。维也纳圣斯蒂芬大教堂的唱诗班指挥曾来到海顿的学校访问，八岁的他就此加入了唱诗班。后来神父建议海顿阉割以保留悦耳的高音，幸运的是，他的父亲介入干涉了。最后，海顿因剪掉了另一个男孩的辫子而被逐出唱诗班。
2. 虽出身贫寒，生活窘迫到快饿死的地步，海顿的天赋却拯救了他。1761年，他受雇于艾斯特哈齐家族（尼古拉一世），担任了近30年宫廷乐师。《早晨》是海顿的早期作品，在这部作品中，乐队的每位成员都有主奏的机会。另一早期作品《第22号交响曲》是为教会弥撒所作，日后获得了“哲学家”（The Philosopher）的别称。《第45号交响曲》（The Farewell）则是为了艾斯特哈泽宫的夏季庆典所谱写的36首交响曲之一，曲风严肃甚至有些激烈，其结尾隐含了海顿的抗议，即演奏者陆续离开舞台，吹灭曲谱架上的蜡烛，最后只剩两把小提琴以极弱音演奏，直至化为寂静。
3. 早期交响乐源于歌剧院，表演开场的乐章，并非一部完整的艺术作品。海顿将其延展为包含四个乐章的完整作品，通常以快板乐章开场（呈示部The Exposition），接着是一个长而缓慢的乐章赋予庄严感，然后再用一支小步舞曲调节气氛（展开部The Development），最后再用一个快节奏乐章结尾（再现部The Recapitulation）。
4. 1764年，莫扎特（Wolfgang Amadeus Mozart）访问了伦敦。他的童年绝大部分是同父亲与姐姐在无休止的欧洲巡回演出中度过的。在莫扎特的父亲卧病在床期间，8岁的他写出了自己的第一部交响曲。
5. 1777年，22岁的莫扎提前往德国西南部的曼海姆（Mannheim）拜访约翰·斯塔米茨（Johann Stamitz）的乐队，学习曼海姆火箭效果（The Mannheim Rocket）。1778年6月，莫扎特的《第31号交响曲》（日后被称为《巴黎交响曲》）在杜伊勒里宫首演，获得了不大不小的成功。
6. 1780s，莫扎特和海顿首次会面，海顿答谢了他的欣赏：“也许有人觉得我有点天赋，但莫扎特永远技高一筹。”1788年，莫扎特从海顿的六首交响曲中获得灵感，在几周内写出了三部交响曲——宏伟的《第39号交响曲》、阴郁狂暴的《第40号交响曲》（少见的以小调写成的交响曲）以及情感外露技艺华丽的《第41号交响曲》（也被称为The Jupiter）。三年后，莫扎特突然英年早逝。
7. 1790年，尼古拉亲王意外去世，他的儿子安东即位，立刻着手解散其父亲庞大而奢侈的音乐设施。打算启程前往英国前夜，海顿和Salomon与莫扎特共进告别聚餐，莫扎特十分担心海顿的身体健康。
8. 1791年，58岁高龄的海顿应小提琴家、作曲家和音乐会组织者Johann Peter Salomon之邀，不顾病痛从加来航行至多佛，签约带来六部交响曲。不幸的是，在混乱的行李转运过程中，他遗失了一部重要的音乐手稿。在伦敦，海顿受到热烈欢迎，他是史上首位享受到音乐巨星待遇的人。
9. 海顿定义了交响乐的形式：一部大型作品，通常由四个乐章组成，被认为是最崇高的音乐体裁。同时，汉诺威广场乐室的乐器编排与组合对后世交响乐团编制的影响也很大——乐团后方是木管组（Woodwind）、铜管组（Brass）和打击组（Percussion）（他们处在一个稍高的平台上），乐团前方是弦乐组（低音提琴Bass、大提琴Cello、中提琴Viola和小提琴Violin）。海顿将小提琴分为两个部分，第二组（The Seconds）和第一组（The Firsts）。在他本人的音乐会上，Salomon担任第一小提琴，而海顿则担任指挥。
10. 海顿的作品能直接与听众对话，其最重要的意义就是开辟了一片崭新的音乐世界。他在伦敦停留了4年，写下了伦敦交响曲系列。《第98号交响曲》是其中的精品之一，这部作品是为了弥补旅途中遗失的手稿。海顿在其中加入了一个典型的海顿式惊喜——英国国歌的运用。《军队交响曲》（The Military）则是伦敦交响曲系列的第八部，完成于1794年，被认为是海顿访问英国期间的最大成功。
11. 时年60岁的海顿在离开伦敦返回奥地利途中，顺路拜访了德国小镇波恩（Bonn），在那里遇见了波恩选民管弦乐队的中提琴手，22岁的贝多芬（Ludwig van Beethoven）。此时贝多芬已经完成了两部值得注意的皇家清唱剧，海顿答应收他为徒：“你将拥有史无前例的思想。”
12. 正当贝多芬奠定了自己在音乐界的地位时，拿破仑（Napoleon Bonaparte）在12年里横扫欧洲。1799年，他在成功政变后任命自己为第一执政，致力于恢复共和国。贝多芬以该题材为基础，创作了《第三交响曲》（又称《英雄交响曲》，The Eroica）。贝多芬无比崇敬拿破仑，并将其比作古罗马最伟大的执政官。然而，当他得知拿破仑称帝时，他暴跳如雷：“他也不过是一介凡夫俗子！现在他也要践踏人权以逞其个人野心了！他将骑在众人头上，成为一个暴君了！”对于贝多芬来说，拿破仑的伟大在他加冕那天消失殆尽。
Chapter 2 Beethoven and Beyond
1. 贝多芬出生于德国波恩市，家境贫寒。幼年的他饱受酒鬼父亲的打骂，20多岁时听觉便逐渐退化。法国大革命时，贝多芬还是个懵懂少年，因母亲早亡而不得不为养家糊口奔忙。他加入了共和主义者阵营，同时认为要想做一位不依附权贵的作曲家，就必须为人类争取自由和人权。童年的艰辛困苦使其个性捉摸不透又不讨人喜欢，他一生都在努力寻求个性的解放，以及对命运的誓死抗争。
2. 1808年，一场音乐会在维恩河畔剧院拉开帷幕。时年38岁的贝多芬通过这场音乐会确立了自己的地位。在该演出中，两部新作品《第五交响曲》（又称《命运交响曲》）和《第六交响曲》（又称《田园交响曲》）首次与观众见面。《第五交响曲》描绘的是誓死不屈从于命运摆布，最终赢得光辉胜利的传奇。《第六交响曲》则是贝多芬在早期音乐会血本无归后，为了排解忧愁在郊外散步时所作。一般的交响曲只有四个乐章，该交响曲却有五个乐章，而且是贝多芬所有作品中唯一一部每个乐章都有小标题的作品，这是标题音乐（Programmatic Music）的前身。在第二乐章《溪畔小景》（《Scene By A Brook》）结尾处，贝多芬用音乐忠实再现了夜莺、鹌鹑和布谷鸟的叫声。
3. 《第五交响曲》和《第六交响曲》首演完毕不久，拿破仑率兵入侵奥地利，占领了维也纳。贝多芬藏身于哥哥家的地下室。为了保护听觉，他只得把头深埋在枕头里。时年77岁的海顿则比较幸运，拿破仑出于崇敬甚至派兵来保护他。海顿是一位坚定的反共和主义者，他以自创的颂歌《上帝保佑吾皇弗朗茨》（又名《德意志高于一切》）来抒发观点。不幸的是，在法国入侵几周后，海顿便在沉睡中平静离世了。
4. 自此，贝多芬成为了维也纳音乐界毫无争议的翘楚。1813年，他的《第七交响曲》（又称《胜利交响曲》）首演，恰逢拿破仑遭遇战败。第二年，《第八交响曲》以机智幽默的曲风为他赢得了新的听众。1824年，贝多芬的最后一部交响曲《第九交响曲》在康顿剧院（如今这里是萨赫大酒店）首演。该作品的灵感来自席勒（Friedrich Schiller）的《欢乐颂》（《The Ode To Joy》），贝多芬在20岁出头时就曾为这首诗谱曲。他在这部交响曲中首次加入了人声。三年后的1827年3月26日，贝多芬与世长辞，享年56岁。
5. 贝多芬希望他的作品能够让人一听即懂，但其创作目的绝不仅仅是娱乐大众，而是想给人们醍醐灌顶般的感受，他的音乐就像演讲一般。他希望自己的音乐能在演奏结束后，依然久久回荡在人们心田。在他有生之年，所有交响曲皆得以出版，也有机会在欧洲各大城市公演。
6. 两万名哀悼者（维也纳人口的十分之一）参加了贝多芬的葬礼，其中包括作曲家舒伯特（Franz Schubert）。他陪伴遗体来到北维也纳墓园，不幸的是，两年后他也被葬在了这里。直到1839年，舒伯特的两部交响曲才吸引了人们的注意。《未完成交响曲》在1860s才首次公演。事实上，舒伯特除了艺术歌曲和钢琴曲，也创作了多部交响乐，但在他生前没有一部得到公演，最著名的一部则只完成了一半。《第九交响曲》体现了他宏伟的计划。
7. 舒伯特的父亲是一所学校的校长，他和朋友们常在父亲的学校里演奏。舒伯特的作品很重要的一点就是，他对音乐的处理更加轻松随意。他的杰出之处在于，他可以在交响乐中按照自己的兴趣来演绎声音，不用总是担心整个作品的脉络，虽然其中也包含了贝多芬式的创作逻辑。舒伯特的音乐中有留白，听众可以自行插入想象，这正是他音乐的包容之处。舒伯特带领听众开展一段旅行，那种模棱两可的感觉令人感觉妙不可言，音乐的表达方式十分大胆。
8. 然而，舒伯特说完“我想写交响乐”后就遗憾而终了。1888年，他的遗体被转移到中央墓园，与贝多芬毗邻。据说舒伯特的兄弟Ferdinand Schubert是贝多芬新墓碑的设计者。
9. 1825年，法国的一名医学生柏辽兹（Hector Berlioz）不顾父亲反对弃医从乐，进入了巴黎音乐学院学习。在开始学习后不久，他聆听了前一年辞世的贝多芬的《第五交响曲》在法国的首演。法国正统音乐家认为其作品古怪、不和谐、刺耳又聒噪，听上去毫无旋律性可言，演奏起来又极其费劲，但柏辽兹认为该曲简直不可思议，同时他声称自己将开辟一条新的道路。
10. 1830年，基于一场因争议重重的选举引发的巷战，柏辽兹创作了《一位艺术家的生活片段》。故事内容是男主角爱上了一位高不可攀的女子，单恋的痛苦使他疯狂，他试图通过过量吸食鸦片来自杀，但毒品却使他陷入了一系列前所未有的奇异幻觉中。柏辽兹称这部作品为《幻想交响曲》。实际上，该作品的创作与1827年9月柏辽兹来到奥德翁剧院观看由爱尔兰女演员Harriet Smithson主演的《哈姆雷特》和《罗密欧与朱丽叶》有关。他疯狂地爱上了她，因此决定写出一部宏伟的交响乐，成为一位公认的伟大作曲家，从而能够以对等的身份接近心上人。1832年末，Harriet意外出席了一场音乐会，这才意识到一切皆因她而起。当晚两人终于认识了彼此，柏辽兹当场求婚，而Harriet也接受了。1833年10月3日，两人在英国驻法大使馆结婚。
11. 柏辽兹在音乐形式上的创新之一就是固定乐思（Idee Fixe），一段象征着一种强迫观念的旋律。贝多芬这样的作曲家会选取一段旋律作为主旨，将其逐步分解展开。反之，柏辽兹的固定乐思基本保持不变，每次以不同的形式出现，但都极富辨识度。同时，柏辽兹不会弹钢琴，只会演奏长笛与吉他，因此他比较习惯于悠长且极富民歌特色的旋律。
12. 柏辽兹出生于工业革命年代，1820s阀门的发明意味着新型铜管乐器的出现。在他的交响曲首演后不到五年，大号（Tuba）获得了专利。此前从没有作曲家像他一样明确地标注出每一部分演奏乐器的数量，在他眼中，整个乐团仿佛就是一件大师级的乐器。
13. 柏辽兹在巴黎的12年间创作了四部交响曲——《幻想交响曲》、一部基于拜伦诗作的交响曲、一部雄伟的葬礼交响曲和《罗密欧与朱丽叶交响曲》。36岁的柏辽兹用这部作品向Harriet表达爱意，同时不仅用音乐讲述了故事，还让乐器成为了剧中的演员，比如长笛和木管乐器代表朱丽叶，大提琴则代表罗密欧。可惜的是，该作品公演三年后，两人的婚姻破裂，Harriet在十年后逝世。年过六旬、健康欠佳又无人陪伴的柏辽兹在临死前回到了他的出生地格勒诺布尔（Grenoble），在这里遇见了自己少年时期的心上人Estelle并向她表白。
14. 交响乐史上的下一步发展来自一个以德国小镇魏玛（Weimar）为中心的思想流派，代表人物是歌德（Johann Wolfgang von Goethe）和席勒。李斯特（Franz Liszt）改编的钢琴版贝多芬《第九交响曲》使魏玛在音乐界众所周知。李斯特是当时欧洲最著名的钢琴演奏家，被人们崇拜和赞美了20年。与贝多芬和柏辽兹不同，他一直过着富裕又舒适的生活，因此他接受了魏玛大公爵的资助，担任魏玛宫廷的特别宫廷乐长。
15. 来到魏玛的头十年，李斯特谱写了12首交响诗——这是一种单乐章曲目，利用整个管弦乐团来尝试新的叙事方式，它们都是标题音乐，且极富文学色彩。李斯特的首部完整规模交响曲，为歌德的《浮士德》（《Faust》，三位主人公分别是男主角Faust，女主角Gretchen和恶魔Mephistopheles）配上了深刻有力而令人不安的音乐。歌德认为，追求卓越和高品位能够将强调均衡的古典主义思想与强调个人情感的浪漫主义思想相结合。李斯特同意该观点，并且希望自己的作品能将听众的现有知性思维转化为发自内心的感性反应。
16. 除了原创作品外，李斯特的伟大贡献还包括贝多芬和柏辽兹多部交响曲的钢琴改编曲，这对于传播和普及交响曲起到了关键作用。
17. 李斯特通过乐旨来刻画人物及其情感的能力深刻影响了同时代的许多音乐家。瓦格纳（Richard Wagner）前往魏玛拜访了李斯特，并且大方承认自己的歌剧大量借鉴了他的音乐。
Chapter 3 New Nations and New Worlds
1. 1876年，弗朗茨·约瑟夫（Franz Joseph）国王下令拆除维也纳城墙，用一条豪华的环城大道（又名戒指路）取而代之。与此同时，瓦格纳的大型歌剧《女武神的骑行》也开始进行创作。瓦格纳曾断言“交响乐已死”，当他在拜罗伊特的特制剧院里首演《尼伯龙根的指环》时，他选用了贝九作为开场，仿佛在宣告：“告别贝多芬吧，我的时代来临了。”
2. 1870年，维也纳的新音乐厅金色大厅正式对外营业，这里也将成为瓦格纳与勃拉姆斯（Johannes Brahms）的交锋之地。勃拉姆斯来自德国汉堡，成长于一个新教路德派家庭，但他本人并非信徒。1876年，他耗时14年完成的第一部交响曲在德国首演，同年12月17日在金色大厅演出，作为对贝多芬诞辰的庆祝。勃拉姆斯的作品获得了巨大成功，乐评人的力推使民众热情更为高涨，其中的关键人物就是勃拉姆斯的好友和支持者Edward Hanslick，他煽起了勃拉姆斯与瓦格纳之争。Hanslick热爱纯粹抽象的音乐，认为瓦格纳只求表现哲理，而牺牲了音乐的旋律与形式。瓦格纳则认为，纯粹的音乐是不存在的，音乐可以影射政治也可以指出社会问题，重点是要用音乐传达一种想法。
3. 瓦格纳不仅有乐迷，还有信徒。其中最重要的一位就是年轻的管风琴手兼作曲家布鲁克纳（Anton Bruckner）。布鲁克纳出生于林茨（Linz）附近，曾是唱诗班少年，后任管风琴师，就职于圣弗洛里安的奥古斯丁修道院。他是一位虔诚的天主教徒，马勒形容他半傻半神。布鲁克纳的《第三交响曲》是献给瓦格纳的，并于1877年12月在金色大厅首演，仅比勃拉姆斯的《第一交响曲》晚一年，可惜以惨败告终。瓦格纳教会了他如何组织音程跨度很大的乐曲，如何使用和声和表现力去填补音乐中巨大的时间跨度。勃拉姆斯把布鲁克纳的交响乐比作一条巨大的蟒蛇，但他古怪的交响曲最终还是被维也纳接受了。只不过布鲁克纳和马勒的作品由于篇幅很长、创意独特、充满野心而蕴含焦虑，因此直到1960s-70s才为国际听众所熟知。
4. 哈布斯堡王朝治下有17个不同的民族，但很多民族并不愿意成为这个熔炉中的一部分，并于1848年起义。动乱后，18岁的弗朗茨登基，开始了长达68年的统治。然而由于许多要求未能满足，民族仇恨日益加深，尤其是在波西米亚。1880年，莱比锡一家报纸报道了布拉格的音乐奇才德沃夏克（Dvorak），日益尖锐的民族关系为他的作品增添了许多魅力。
5. 德沃夏克的父亲是一位屠夫兼旅馆老板，因此他在欢乐的歌舞声中长大。他的《第六交响曲》是写给维也纳爱乐乐团的，但实际上该作品在1881年于布拉格首演，直到1942年才被维也纳爱乐乐团演奏。德沃夏克以勃拉姆斯的交响曲为典范，但他并无采用典型的诙谐曲（Scherzo）和间奏曲（Intermezzo）形式，而是选用了波西米亚的民间舞曲富瑞安舞曲（Furiant）。
6. 德沃夏克在音乐中显示民族特征，他所做的正是把交响乐从上流社会推广给更多普通听众。继勃拉姆斯因匈牙利舞曲成名后，德沃夏克也因斯拉夫舞曲而家喻户晓。当然，勃拉姆斯是在模仿自己在维也纳听到的匈牙利吉普赛舞曲，但德沃夏克写出的富瑞安舞曲和斯拉夫舞曲都富有民族情怀。
7. 德沃夏克与柴可夫斯基以及勃拉姆斯是好友，但勃拉姆斯不信上帝。德沃夏克曾经感叹：“勃拉姆斯连上帝都不信，怎么可能作出如此美妙的音乐呢？”勃拉姆斯也很欣赏德沃夏克的音乐，同时给予了他很大帮助。但总体来说，勃拉姆斯对维也纳的正统音乐是不屑一顾的。像柴可夫斯基和德沃夏克这样的民族作曲家虽极富色彩，却有失严肃，布鲁克纳评价：“你可以给一对香肠涂上蓝色或绿色，但它们终究还是一对香肠。”
8. 1890年，一位年轻的芬兰作曲家西贝柳斯（Jean Sibelius）来到维也纳学习。他是瓦格纳的超级粉丝，但也很欣赏贝九和布鲁克纳的《第三交响曲》。同德沃夏克一样，他的交响曲也富有民族特色。西贝柳斯从芬兰史诗《卡勒瓦拉》（《Kalevala》）中寻找灵感，着重描写了其中颇具悲剧色彩的反面英雄库莱尔沃（Kullervo）。他于1892年完成了《库莱尔沃》，随后于1899年创作了惊世名作《芬兰颂》。
9. 《卡勒瓦拉》的出现令芬兰人恍然大悟，原来这片土地在基督教会统治时代、瑞典统治时代和俄国统治时代之前便早已拥有了悠久的历史。在瑞典统治下度过六个世纪后，芬兰大公国于1809年成为了俄国的附属国。1894年，赫尔辛基市政厅广场树起了亚历山大二世的雕像，芬兰人称他为英明的沙皇。与其他附属国不同，芬兰人拥有一定自治权，但从1890s开始，俄国政府逐渐限制芬兰的自治权，这激起了芬兰人的民族独立运动。
10. 西贝柳斯的好友，画家加伦-卡雷拉（Akseli Gallen-Kallela）因其以《卡勒瓦拉》为主题的画作而著名。而《卡勒瓦拉》中流传最广的就是库莱尔沃的故事，它讲述了一个悲剧，库莱尔沃勾引了他邂逅的一名女子，日后才发现那正是自己的妹妹。西贝柳斯谱曲时选取了具有进攻色彩的铜管乐器，震惊了当时的乐坛。
11. 西贝柳斯拒绝人们将他塑造成一位民族主义作曲家，他希望自己的音乐既有民族主义色彩，又能在国际上声名远播。英国人和美国人很欣赏他的作品，因为与德国不同，这两个国家的历史传统中缺失了深厚而系统的音乐文化。
12. 1907年，马勒（Gustav Mahler）前往赫尔辛基的一场音乐会担任指挥，并会见了加伦-卡雷拉，通过他结识了西贝柳斯。某天散步时，两人讨论了交响乐这种形式。西贝柳斯崇尚严整而富有逻辑的构架，马勒却认为交响乐应如大千世界一般包罗万象。马勒成长于一个偏僻的小山村，村中还驻扎着大量士兵，因此他的童年充斥着军队进行曲以及军号声。他放弃了犹太教的信仰，改信基督教，以便在维也纳立足。
13. 马勒的好友克里姆特（Gustav Klimt）为1902年的贝多芬展绘制了一幅壁画，图中的马勒被描绘出英气逼人的骑士。它以绘画的形式展现了瓦格纳眼中的贝九。马勒在这届展会上担任改编版贝九的指挥。他在创作《第三交响曲》时，受到了贝多芬所作《欢乐颂》的启发。马勒和克里姆特一样，善于从私人化的角度进行创作。他的《第三交响曲》几乎颠覆了交响乐的构架，包含六个乐章，时长近100分钟，是耗时最长的交响曲之一。
14. 马勒因自己有机会去开发管弦乐团的潜力而欣喜若狂，他让管弦乐团做出的改变是无人胆敢尝试的，就这点而言，他可谓继承了柏辽兹的衣钵。马勒热衷于在乐曲中加入各种极端化声音，这也在某种程度上令他成为了20世纪第一位伟大的作曲家。
15. 马勒平日在歌剧院担任指挥和导演，只在假期作曲。然而由于出生于波西米亚，在犹太家庭长大，马勒总是与社会格格不入。尽管他天赋异禀，却遭到反犹主义的打压。不过，马勒、德沃夏克、柴可夫斯基和西贝柳斯等民族乐派作曲家，即将成为新生音乐文化的奠基人。
16. 1891年，柴可夫斯基应邀指挥卡耐基音乐厅的开幕音乐会。马勒担任了纽约爱乐乐团和大都会歌剧院的指挥。德沃夏克则成为了国家音乐学院的院长，年薪15000美金。同时，他在纽约创作了《第九交响曲》（《自新大陆》），并与1893年12月16日在卡耐基音乐厅首演。这场演出由安东·塞都（Anton Seidl）指挥，他是汉斯·李希特（Hans Richter）的助手，曾协助其在拜罗伊特指挥《尼伯龙根的指环》，事实上他是一位忠实的瓦格纳拥护者。
17. 德沃夏克在美国待了两年半，他在音乐学院的学生中有几个非裔美国人，包括艾灵顿公爵的老师。德沃夏克曾说过：“在黑人音乐的旋律中，我发现了伟大音乐流派所需具备的一切元素。”他刚到美国时就搜集了一些与音乐相关的材料，其中有一本知名杂志《黑人音乐》，上面刊登了一篇Johann Tonsor所著的文章，介绍了六例黑人音乐。其中《马车轻摇载我回家》中的一段旋律被德沃夏克用作《自新大陆》的创作素材。事实上Johann Tonsor并不存在，这个名字是来自肯塔基州的一位研究黑人音乐的人种学家Mildred Hill取的，而《生日快乐歌》正是她的作品。
18. 吸引德沃夏克的另一元素是印第安文化，他对Longfellow的《Song of Hiawatha》着迷不已。给德沃夏克推荐《黑人旋律》文章的评论家James Gibbons Huneker在首演评论中向德沃夏克为美国音乐注入了新的文化元素致敬。
19. 在当时，拥有交响乐传统是证明一个国家是否正统的标志，所以美国人希望德沃夏克创作美式交响乐。沙皇俄国也是如此。在圣彼得堡，能够把民族音乐灵魂与德国传统融为一体的集大成者便是柴可夫斯基（Tchaikovsky）。1893年10月，他的新作《第六交响曲》（又称《悲怆交响曲》）在金色大厅首演，由本人亲自担任指挥。由于他的作品非常流行，柴可夫斯基的音乐总被认为缺乏深度，但该交响曲却是一首纯粹抒发个人情感的作品。首演后9天，柴可夫斯基就与世长辞。
Chapter 4 Revolution and Rebirth
1. 1912年，马勒的最后一部交响曲在维也纳首演。
2. 肖斯塔科维奇（Dmitri Shostakovich）是一位音乐神童，1919年，年仅13岁的他就进入了音乐专科学院学习。16岁时，肖斯塔科维奇的父亲去世，为了养家糊口他开始为默片配乐。他19岁时的毕业习作《第一交响曲》是苏维埃政权下诞生的第一部音乐杰作，仅一年内就在柏林、维也纳、费城和布宜诺斯艾利斯举行了公演，广受赞誉。《第一交响曲》就像是默片的配乐，诙谐而充满黑色幽默，不幸的是，肖斯塔科维奇的幽默感在斯大林的迫害下消失殆尽。
3. 1920s，苏联的艺术家进行了一系列大胆激进而富有新意的创作。然而好景不长，1932年，在斯大林的统治，社会主义成为了苏联的国策，政府要求作曲家的作品为社会服务，并极尽正面地反映周遭生活场景。为了纪念卫国战争，肖斯塔科维奇创作了《列宁格勒交响曲》。苏联人把乐谱拍摄在微缩胶片上，然后用美国军舰送往美国，这正是同盟国想要的公开表态。
4. 战争胜利后，人们翘首以待肖斯塔科维奇的《第九交响曲》。但该作品却与官方的期待完全不同，肖斯塔科维奇回归了海顿的风格，表面上看起来轻松愉悦，实际上却十分悲伤，而巴松管（Bassoon）比其他所有乐器都更能表现这种讽刺和惆怅。
5. 美国著名作曲家科普兰（Aaron Copland）被《列宁格勒交响曲》的魅力折服，自己也创作了一部交响曲来庆祝盟军的胜利。《普通人的号角华彩》改编后被用于他的《第三交响曲》末乐章，充分反映了他的平等主义思想，因为他深知正是那些普通士兵将去承载战争所赋予的责任。科普兰是一位很俭朴的人，他一生的大部分时间都在纽约市搬来搬去，并且追求简洁与实用。他的《第三交响曲》成为了在美国演出最多的交响作品。
6. 艾夫斯（Charles Ives）1874年10月20日生于新英格兰，他是作曲家中的另类——一位纯粹的美国本土音乐家。他受过系统的音乐教育，将经常听到的民谣、通俗音乐和宗教音乐以崭新方式重新整合，创作出诸如《假日交响曲》之类的作品。艾夫斯的父亲George Ives是一名音乐教师兼任乐队指挥，他的乐队经常为游行队伍、节日庆祝以及追悼会提供演奏服务，被认为是丹伯里（Danbury）最好的铜管乐队。年少的肖斯塔科维奇曾为革命中丧失的人们创作了葬礼进行曲，艾夫斯的哀乐却是为他的宠物猫所作。这首哀乐大受褒赞，于是他又为邻居家死去的宠物作了哀乐。
7. 17岁时，艾夫斯创作了早期作品《假日快步舞曲》。直到1909年，35岁左右的他才创作出《第二交响曲》，但该作品直到1951年才进行了首演。之后的10年中他完成了更具激情的《假日交响曲》。艾夫斯很有远见，他不断尝试，希望能找到一种能代表美国的风格。他在创作生涯初期模仿了欧洲式交响乐，但绝非被动接受。艾夫斯想创作一部欧洲式的交响曲，但其中的素材却是美国式旋律。
8. 艾夫斯不想依靠音乐谋生，因为如果需要用音乐挣钱，作品就必须能卖出去，而他无意于迎合任何人的口味。因此艾夫斯成为了保险推销员，并且靠卖保险成为了百万富翁。艾夫斯的实验主义部分来自于他的父亲会同时用两种不同曲调演奏，以此训练他。至少在美国，艾夫斯是第一个写出在同一时刻出现两支曲调的人，这在他的作品中随处可见。而当父亲告诉艾夫斯，交响曲的起止音符往往一致时，他回答：“这简直愚蠢之极，就跟人必须死在自己出生的那栋房子里一样蠢。”
9. 曾被德国人称为“音乐荒漠”的英国涌现了埃尔加（Edward Elgar）这样的作曲家，他的《第一交响曲》广受欢迎，即使在德国也是如此。威廉姆斯（Ralph Vaughan Williams）则迫切希望创造出一种国家风格。他对民谣很感兴趣，这个特点贯穿了他的音乐，也为他的一些作品诸如《田园交响曲》招来了地方主义的骂名。
10. 在过去的250年间，我们见证了交响乐的演奏者从宫廷中的一小部分乐师到如今超过100人的交响乐团。作品既有表达个人情感的，也有公开宣言。交响乐对于音乐的意义正如莎士比亚之于文学。
《交响乐的故事》观后感(七)：第三章 New.Nations.and.New.Worlds
人人影视
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1912年，维也纳
Vienna, 1912.
奥匈帝国的迷梦逐渐瓦解
The certainties of Empire were falling away
残酷战争的阴霾日益迫近
and cataclysmic wars were looming.
20世纪这一百年间
Through the course of the 20th century
世界变化的速度超乎历史上的任何时代
the world would change faster than ever before.
世事变幻 自然也触动了作曲家的心弦
And composers responded to those changes, too.
交响乐成为了联结各大洲的纽带
The symphony now connected continents,
吸引了大批听众
reached vast new audiences
但也不可避免地被推向了时代的风口浪尖
and inevitably ended up in the front line.
《第九交响曲》是马勒的最后一部交响曲
Mahler's 9th Symphony, his last,
于1912年在维也纳首次公演
was given its first performance here in Vienna in 1912,
此时马勒已去世一年有余
a year after the composer's death.
这部交响曲具有激进而新颖的音乐视角
In part, a radical new musical vision,
却又极富对过往的缅怀与渴望
in part, a nostalgic yearning for the past.
乐曲的最后几小节余音渐弱 归于平静
The last bars of the piece fade away gently into silence.
如贝多芬《第九交响曲》那般狂欢与神圣的
The time for the triumphant apotheosis at the end of symphony,
乐曲结尾已悄然消失
as in Beethoven's 9th, was over.
但何时又将卷土重来呢
ut for how long？
进入20世纪后的第一个十年
In the first decades of the 20th century,
俄国的局势动荡不安
Russia was in turmoil.
在圣彼得堡 即当时的彼得格勒
Here in St Petersburg, then called Petrograd,
革命者推翻了沙皇的统治
revolutionaries deposed the Tsar
满怀希望 想创造一个崭新的世界
with the hope of creating a new world.
作曲家迪米特里·肖斯塔科维奇说过
The composer Dmitri Shostakovich claimed that
as a boy he was here at the Finland railway station
曾在芬兰火车站见到列宁回俄国来领导革命
when Lenin returned to Russia in 1917 to lead the revolution.
肖斯塔科维奇记得自己曾走上聂夫斯基大道
hostakovich remembered walking on Nevsky Prospekt
为在革命中牺牲的烈士送葬
in a funeral procession for victims of the revolution
他还为这些烈士谱写了一部葬礼进行曲
and he composed a funeral march for them.
他是位音乐神童
He was a musical prodigy,
1919年 年仅13岁的他
enrolling at the music conservatoire
便进入了音乐专科学院学习
aged only 13 in 1919.
他的《第一交响曲》就是他的毕业习作
His 1st Symphony was his graduation piece
也是苏维埃政权下诞生的第一部音乐杰作
and the first significant music of the Soviet regime.
我在圣彼得堡的肖斯塔科维奇故居
At Shostakovich's old apartment in St Petersburg,
见到了欧佳·迪贡斯卡娅
I met Olga Digonskaya,
她负责管理肖斯塔科维奇的作品资料库
who looks after the archive of his music.
肖斯塔科维奇16岁时 他的父亲故去了
When Shostakovich was 16 his father died,
为了养家糊口
and to earn money for the family
他便开始为无声电影演奏背景音乐
he started playing the piano for silent movies
他的工作地点就在离家不远的
at this cinema just around the corner
这家电影院
from the Shostakovich apartment.
盖瑞斯 起头悠扬一点 轻柔一点
Gareth, try a little softer at the beginning, sweeter,
随后我引入第二小节
and then as we go, I broaden out in the second bar for you,
你再把音量加大
o you fill out the sound.
马克·埃尔德正在指导BBC交响乐团
Mark Elder is working with the BBC Symphony Orchestra
如何将该曲中对比强烈的感觉表现出来
on the highly contrasted music of this symphony.
好吗 再来一次
OK？ Let's have another go.
大家听好 只演奏四小节就好
Just play four, everybody.
在我看来 《第一交响曲》
This first symphony seems to me
就像是无声电影的背景音乐
to be the soundtrack for a silent movie.
电影具体的故事情节无人知晓
I don't know what the story is,
但他的乐曲却令交响乐团化作了众位演员
ut he uses the orchestra as a cast of characters.
这部作品很诙谐 他很擅长使用黑色幽默
It's very funny. He had such a wicked sense of humour,
但斯大林日后对他的迫害
omething, of course, Stalin knocked out of him completely
却令他的幽默感完全泯灭
later on in his life.
再来一次 二 三 四 一
Just once again. Two, three, four, one.
他深受其他艺术形式的影响
And a man so influenced by the other art forms,
比如戏剧和电影
in the theatre and in cinema.
这些都在他的《第一交响曲》中有所体现
And all that comes together in this first symphony.
革命年代初期
In these early years of the revolution,
艺术是宣传革命精神的必要手段
art was integral to the message.
鼓动性极强的海报遍布各个村庄
Agit
而在彼得格勒
And in Petrograd,
音乐厅 歌厅以及电影院中的观众
the concert halls, music halls and cinemas
则是刚刚当家做主的无产阶级
layed to a new proletarian audience.
如今的人们可能早已忘却
I think it's easy to forget now
先锋派艺术在20世纪20年代席卷了全球
that the avant
苏联自然也不例外
that also reached the Soviet Union.
莫斯科和圣彼得堡的剧院内
eople in the theatre were still doing radical things
艺术家们仍在大胆地进行尝试
in Moscow and St Petersburg.
人们通常会认为
There was also a feeling
20世纪20年代是一段特殊的时期
that the 1920s were the beginning and the end of an era,
而这个时代的上空
o there was this kind of dark cloud
总是乌云密布
hanging over the era as well.
肖斯塔科维奇的《第一交响曲》
o you have in Shostakovich's 1st Symphony
便是以上时代元素的集大成者
oth of these things together.
20世纪20年代 苏联的艺术家
Artists in Russia during the 1920s
进行了一系列大胆激进而富有新意的创作
were experimenting with the radical and the innovative.
然而好景不长
ut it wasn't to last.
1932年 在斯大林的统治下
Under Stalin, Socialist Realism
社会主义现实主义成为了苏联的国策
ecame state policy in 1932,
政府要求作曲家的作品为社会服务
and composers were expected to serve society
并极尽正面地反映周遭的生活场景
and reflect the life around them in the most optimistic light.
这一要求
It was a requirement
让肖斯塔科维奇惹上了不少麻烦
that was to cause Shostakovich problems on several occasions.
《第一交响曲》的第四乐章
In the fourth movement,
向世人展示了19岁的肖斯塔科维奇
hostakovich shows himself to be the master of,
对恐惧的描画已达炉火纯青的程度
already at the age of 19, 'the portrayal of terror'.
他有一项冠绝20世纪所有作曲家的能力
More than any other 20th
即他可以在音乐中
he is able to put into sound
融入人们从噩梦中惊醒后
the feelings that we all have after a nightmare,
以及被突发状况惊吓之后的感受
after being frightened by some unexpected event in our lives.
必须承认
And let's face it,
苏联人民确实生活在恐惧的阴影之中
the Soviets knew a lot about living under terror.
尽管只是19岁少年的毕业习作
Although it was a 19
肖斯塔科维奇的《第一交响曲》却广受赞誉
hostakovich's First Symphony was a huge success.
仅仅一年之内便在柏林 维也纳
Within a year it was performed in Berlin, Vienna,
费城和布宜诺斯艾利斯举行了公演
hiladelphia and Buenos Aires.
乐曲首演时的指挥是尼古拉·马尔科
ikolai Malko, who conducted the premiere,
他在日记中写道
wrote in his diary,
交响乐的历史似乎因为这部交响曲
I feel as if we have started a new page
而翻开了崭新的一页
In the history of symphonic music.
正当肖斯塔科维奇在共产主义苏联
Whilst Shostakovich was quickly picked up
声名鹊起 成为著名音乐家之时
as the musical face of Communist Russia,
身处资本主义美国的查尔斯·艾夫斯
Charles Ives, a composer in capitalist America,
远远地超越了时代
was so ahead of his time,
因此 他的音乐至今仍十分小众
his music still isn't well
艾夫斯生于新英格兰
orn in New England,
他将经常回荡于耳边的
Ives drew on the folk, popular
民谣 通俗音乐 宗教音乐
and church music he heard around him,
以崭新的形式重新整合
utting them together in a new way
创作出诸如《假日交响曲》之类的作品
in pieces like his Holiday Symphony.
这座房子位于康涅狄格州的丹伯里市
This is the house in Danbury, Connecticut,
查尔斯·艾夫斯于1874年在此出生
where Charles Ives was born in 1874.
艾夫斯是作曲家中的另类
Ives is one of history's more eccentric composers.
他是纯粹的美国本土音乐家
A true American original.
年少时的肖斯塔科维奇
While Shostakovich, as a boy,
曾为革命中丧生的人们创作了葬礼进行曲
composed a funeral elegy for victims of the revolution,
艾夫斯的哀乐却是为他的宠物猫所作
Ives composed a funeral elegy for his pet cat,
这首哀乐大受褒赞
and after popular acclamation,
于是他又为邻居家死去的宠物创作了哀乐
wrote other elegies for his neighbours' animals.
查尔斯·艾夫斯就是在这张床上出生的
This is the bed where Charles Ives was born
那天是1874年10月20日
October 20th, 1874.
那把摇椅应该是流传下来的真品
That rocking chair I know is original.
这个物件很特别
And this is very special.
小艾夫斯就曾睡在这个摇篮之内
This is the cradle, and he was laid in that cradle.
我们喜爱的查尔斯·艾夫斯的人生
And that was the beginning of the Charles Ives
就是从这里开始的
that we all know and many of us love.
查尔斯·艾夫斯接受了非常系统的音乐教育
Charles Ives received an impeccable musical education.
他的父亲 乔治·艾夫斯
His father, George Ives,
是一名音乐教师 兼任乐队指挥
was a music teacher and band leader.
乔治·艾夫斯的乐队经常为游行队伍
George Ives' band would play for marches
节日庆祝以及追悼会提供演奏服务
and for holidays, memorial services.
他的乐队被认作丹伯里最好的铜管乐队
He was considered Danbury's brass band.
这是艾夫斯故居的客厅
We're sitting in the parlour
窗外就是这个城市的主干道
and surrounding us is Main Street.
查尔斯·艾夫斯的父亲乔治
And Charles Ives' father, George,
曾是内战中北方联邦军内
who had been the youngest band director
最年轻的乐团指挥
in the Union Army in the Civil War,
那时他经常召集在社区乐团中演奏的
he used to rehearse the kids and the adults
孩子与成人进行排练
who played in these community bands,
在小山丘来来回回 上上下下地行进
and they would march back and forth up and down the hill.
这条大街上的发生的一切 事无巨细
And Charles Ives absolutely absorbed everything
都对查尔斯·艾夫斯产生了深远影响
that happened on Main Street.
今晚我们演奏的曲目叫作《假日快步舞曲》
The piece we're playing tonight is called Holiday Quickstep,
这是查尔斯·艾夫斯的早期作品之一
one of the very first things that Charles Ives wrote.
他创作这首乐曲时 年仅17岁
He was 17 years
这么年轻就写出如此高水平的作品实属不易
It's quite well constructed for somebody that young.
这部乐曲还是相当优秀的
It's a nice piece of music.
直到35岁左右
Charles Ives was in his mid
艾夫斯才创作了他的《第二交响曲》
when he composed his Second Symphony,
而之后的十年中
a decade before
他完成了更具激情的《假日交响曲》
his more radical Holiday Symphony.
《第二交响曲》完成于1909年
Completed in 1909,
但直至1951年才进行了首演
it didn't get its first performance until 1951,
由伦纳德·伯恩斯坦指挥
with Leonard Bernstein conducting.
他很有远见
He was an incredible visionary.
他不断尝试 找寻具有美国特色的美感
He wanted to try and find a sort of American beauty,
希望能找到一种
one that would represent to him
能够代表他的祖国和人民的风格
the voice of his people and his land.
他想创作一部欧洲式的交响曲
He wanted to write a European symphony
其中各个乐章的规模 比例及色彩
with the movements corresponding roughly
都大致仿照欧洲典型的交响曲
to the scale and proportions and colours of a European model,
但其中的素材 却全是美国式的旋律
ut he wanted all the material to be American tunes...
他想向世人证明 美国在这方面也能有所成就
To prove that America could hold its head high
且创作出的作品能与贝多芬 勃拉姆斯
and do something that was worthy of Beethoven and Brahms
以及其他交响乐前辈们相媲美
and all the others that had come before.
他在创作生涯初期模仿了欧洲式交响乐
Although he took the European symphony as his starting point,
但艾夫斯绝非完全被动地
Ives certainly wasn't slavish
膜拜与套用欧洲的传统
in his admiration for that tradition.
他曾说 在堪萨斯州的麦田中度过一天
You can learn more from a day in a Kansas wheat field,
胜过在欧洲待上三年
he once said, Than three years in Europe.
而当他的父亲告诉他
And when told by his father
交响曲的起止音符往往一致时
that a symphony generally finished in the same key it started in,
他答道 这简直愚蠢至极
he replied that was just as silly
就跟人必须死在自己出生的那栋房子里一样蠢
as having to die in the same house you were born in.
他不想依靠音乐谋生
He didn't want to make his living with music because
因为如果他需要用音乐挣钱
if he had to make a living in music,
作品就必须能卖出去
he had to be able to sell what he wrote.
而他并无意用自己的创作迎合你我
And he had no intention of having to write to cater to your taste
或任何其他人的品味
or to my taste or anybody's taste.
对他而言 更重要的是
It was more important to him
创作出有朝一日或许会受欢迎的音乐
to write music that maybe people would like someday.
没错 人人都想受欢迎
ure, everybody likes to be liked.
但他并不十分在意
ut he didn't really care.
所以他做了什么呢 他去卖保险了
o what did he do instead？ He went and he sold insurance.
事实上 他靠着卖保险成为百万富翁
As a matter of fact, he became a millionaire selling insurance,
从而彻底无需为推销自己的音乐担心
and in doing that, he didn't have to worry about selling his music.
艾夫斯的试验主义有很大一部分源自其父
Much of Ives' experimentalism came directly from his father,
他训练艾夫斯时 会同时用两个不同的曲调
who, amongst other things, got him to sing and play the piano
唱歌和弹钢琴
in two different keys at the same time.
他父亲的另一项试验
One of his father's experiments
也令查尔斯·艾夫斯兴趣十足
that I know Charles Ives was really interested in,
这是有文件可考的
ecause it's well documented.
他父亲安排一支乐队
His dad had one band
从圣彼得教堂出发 沿着主干道演奏
march out of St Peter Church on Main Street.
另一支乐队则从里奇菲尔德出发
And then he had another band coming from Richfield
两支乐队相向而行
and they were marching the opposite direction
演奏两首不同的乐曲
laying two different pieces of music.
在查尔斯·艾夫斯的作品中
And the effect of the two different pieces of music,
两首不同乐曲同时演奏的影响处处可见
you can hear it in almost everything Charles Ives later wrote.
至少在美国 他是第一个
He was the first person, certainly in America,
写出在同一时刻出现两支曲调的人
to write two different things going on at the same time.
我发现 有一两部他的作品
One or two of his pieces, I find,
在两位指挥同时工作的时候效果最好
work best when you have two conductors
你必须告诉乐队的一部分
and you say to part of the orchestra,
别看我 看另外那个人
Don't follow me, follow the other guy.
然后你们试着在中点会和
And you somehow try and meet in the middle.
受他让音乐事件重叠
ecause he had this idea of overlapping musical events
最终合为一体的思路影响
then finally coming together.
他最喜欢的一些进行曲 流行歌曲
ome of his favourite march tunes, popular songs
以及他最喜欢的
and above all, one of his favourites,
《哥伦比亚海洋之珍》
Columbia Gem Of The Ocean.
这首曲子在交响曲末尾
which comes at the end of the symphony
在所有长号齐奏下 磅礴而出
roaring out on all the trombones.
他需要把所有这些引向尾声
o he needs to bring all this to a finale
到高潮处 乐队的不同部分同时演奏
and there's this great moment when three or four tunes are played
三种或四种曲调
y different parts of the orchestra all at the same time.
而所有这些都止于一声轻叹
The farewell gesture is a raspberry.
此处的精髓是
ow the thing about this is
他只写了短短的一个音符 啪
that he wrote a short note Bah
这不和谐的响动就如同一记清脆的耳光
as if it was a slap across the face, with this strange dissonant chord.
在聆听了兰尼·伯恩斯坦
And then I listened to Lennie Bernstein's performance
精彩而富有启发的演出后
which is so wonderful and so inspiring
我被彻底折服了 他将尾音延长
and blow me down, he extended it.
不再是啪 而是啪啦啦
It was like a Bluurgh rather than a Bah
我觉得效果再好不过了
and I think it works best that way.
太棒了
That's great!
回到欧洲 奥匈帝国在一战后走向灭亡
ack in Europe, the Austro-Hungarian empire had imploded in the First World War
维也纳不再是昔日的音乐之都
and Vienna was no longer the musical centre it had been.
交响乐被新的国家继承
The symphony had been taken up by new national voices.
在英国
In Britain,
这片曾被德国人称作音乐荒漠的土地上
the Land without music as the Germans dubbed it,
音乐界在爱德华·埃尔加的作品中迎来新生
the musical world received a new lease of life through the work of Edward Elgar,
他的《第一交响曲》广受欢迎
whose First Symphony was extremely well received,
即使在德国也是如此
even in Germany.
一批新的作曲家如雨后春笋般涌现
A new generation of composers sprang up,
其中就有拉尔夫·沃恩·威廉斯
among them Ralph Vaughan Williams,
他曾就读于我身后的皇家音乐学院
who studied here at the Royal College of Music.
他迫切希望创造出一种国家风格
He felt strongly the need to create a National style,
无论这意味着什么
whatever that might mean.
我们这些英国作曲家
We English composers,
他说 总是在说
he said, Are always saying,
听听瓦格纳 勃拉姆斯
here are Wagner and Brahms,
格里格和柴可夫斯基的作品
And Grieg and Tchaikovsky,
他们多么伟大
what fine fellows they are.
我们也应该回家写几部这样的作品
Let us try and do something like this at home.
他们总是忘记 一旦离开故土
Always forgetting that it will not sound at all
这些音乐就将面目全非
like this when transplanted from its native soil.
当然 他对民谣非常感兴趣
He was passionately interested in folk song, of course,
这个特点贯穿他的音乐
and this permeates his music.
当然 这也为他的一些作品
Although it also, of course,
例如《田园交响曲》 招来地方主义的骂名
led to accusations of parochialism in some of his pieces like the Pastoral Symphony.
很多人都瞧不起20世纪上半叶的一批
Many people dismiss a lot of the romantic English music
英国浪漫主义音乐作品
written in the first half of the 20th century
认为那些都是放牛小调
with the unfortunate label of Cow
我们并不是很理解
we didn't quite understand？'
他会说 去听吧 你会明白的
He would say, Oh, just listen, you'll hear it,
或者 对于能听懂的人再明白不过了
or For those who can hear, I think it's clear.
不管肖斯塔科维奇用意如何
Whatever Shostakovich's intention,
《列宁格勒交响曲》都是令人震撼的
the Leningrad Symphony had an astonishing impact,
不仅仅在俄罗斯
and not just in Russia.
战事越发惨烈
As war raged on,
苏联人把乐谱拍摄在微缩胶片上
the Soviets microfilmed the score
途经德黑兰 然后用美国军舰
and sent it via Tehran and an American naval ship
送往盟友美国
to the US, their ally.
由托斯卡尼尼在纽约无线电城音乐厅指挥
It was conducted by Toscanini at Radio City in New York,
是1942年在美国六十场演出中的首演
the first of 60 performances in America in 1942.
这正是同盟国想要的公开表态
It was just the sort of public gesture the allies wanted.
这是为加利福尼亚州
This is a presentation for
沙漠空军基地的将士们进行的表演
oldiers at a desert airbase in California.
有请贵宾艾薇· 李维诺夫夫人
苏联驻美大使的夫人
我明白你们对我如此热情
I understand that you give me this wonderful welcome
是因为你们要向苏联红军中
ecause you greet the brave and gallant men and women
英勇的人民致敬
and soldiers of the Red Army in the Soviet Union.
下面有请艾德华·G·罗宾逊
'Also on hand is Edward G Robinson.'
这部作品是一名士兵写的
ow this music was written by a soldier,
一名苏联士兵
a Russian soldier,
他参加过列宁格勒保卫战
one who fought the Siege of Leningrad.
现在他仍在战斗中
And Dmitri Shostakovich is still in it.
这是每年在圣彼得堡涅夫斯基大街
This is the annual veterans parade
举行的老兵游行
along Nevsky Prospekt in St Petersburg,
人们在这里一起纪念并庆祝
when people gather to remember and celebrate
在二战中阵亡士兵的
the heroism and sacrifice
英雄主义和牺牲精神
of those who died in the Second World War.
肖斯塔科维奇在其《列宁格勒交响曲》
hostakovich's Leningrad Symphony ended, of course,
辉煌的末乐章中
with a triumphant finale
描绘了俄国人民在伟大的卫国战争中
depicting the victory of the people of Russia
所取得的胜利
in the great patriotic war.
我从未像现在这样
As at no time before,
意识到我的作品对于公众的意义
I realised the public significance of my work,
肖斯塔科维奇写道
wrote Shostakovich,
我的努力也没有白费
And my work was not in vain.
音乐为正义贡献了力量
The music helped the struggle for justice.
列宁格勒
Leningrad!
美国著名作曲家阿隆·科普兰
In the US, America's leading composer, Aaron Copland,
被《列宁格勒交响曲》的魅力所吸引
had been impressed by the mass appeal of the Leningrad Symphony,
自己也创作了一部 来庆祝盟军的胜利
and wrote a symphony of his own to celebrate the Allied victory.
《普通人的号角华彩》改编后用于
Copland's Third Symphony incorporates
科普兰《第三交响曲》的末乐章
his Fanfare For The Common Man
他受邀创作这部作品时
which had been commissioned
美国刚刚卷入这场战争
when America first became involved in the war.
这是《普通人的号角华彩》总谱的第一页
Here is the first page of Copland's Fanfare For The Common Man.
即使你不懂音乐 也看得出
Even if you can't read music you see
整页并没有太多音符
there aren't very many notes on the page at all.
而吸引我的地方正是这种对比
And the thing that I love about it is this real juxtaposition,
虽然音符不多
kind of magic, between the austerity on the one hand
但音乐却如施了魔法般宏伟壮观
and the magnificence of the music.
为什么起《普通人的号角华彩》这个名字
Why the title？ Why Fanfare For The Common Man？
《普通人的号角华彩》
充分反映了他的平等主义思想
他深知正是那些普通的士兵
将去承载战争所赋予的责任
这是科普兰1960年
This is the house outside New York
在纽约郊外买的住所
that Copland bought in 1960
在这里他度过了人生中最后三十年
and where he spent the last 30 years of his life.
他是个很俭朴的人
He was a man who lived very frugally
一生大部分的时间
and he spent much of his life
都是在纽约市里搬来搬去
moving from apartment to apartment back in the big city.
但他也喜爱这里的安宁
ut he was also someone who appreciated the serenity,
与世隔绝以及和大自然的亲密接触
isolation and closeness to nature that he found here.
这套房子很舒适
As comfortable as this house is,
却朴素平凡
it's very unassuming and unpretentious.
它完全不会惹人注意
It's completely unostentatious.
包含了现代主义元素
It has certain modernist touches,
朴素 简洁 实用
kind of frugal, simple, practical.
他的办公桌居于一边
We have his work desk off to the side which is just
桌子是当地农民用谷仓木做成的
wide plank barn wood made by a local farmer.
那就是科普兰工作的地方
And that's where Copland worked.
他一向追求简洁与实用
He was looking for simplicity and practicality
我想这就是他要的
and I think this was it.
科普兰《第三交响曲》成为
Copland's Third Symphony has become
在美国演出最多的交响作品
the most performed of all American symphonies.
可能因为它与《阿巴拉契亚的春天》和
erhaps because, like his ballets Appalachian Spring
《牧区竞技》一样
and Rodeo,
都富有浓厚的美国风情
it has a distinctly American sound.
这是科普兰发自内心想要的东西
20世纪20年代中期
他意识到美国音乐
when he felt that there was no such thing
并没有自己鲜明的风格
as a recognisably American musical idiom.
他的音乐思维是开放而犀利的
There is something very open and spare about his textures.
他谱写的和弦有一种气势
His chords seem to have a lot of air in them
能表现出
which does convey
美国的幅源辽阔
omething of the size and scope of the country.
我常常认为末乐章
I often feel that last movement
不仅是形容大地的
is really about not just the landscape,
而是更强调大地上的建设
ut what you build on the landscape.
就像是建设一座前沿都市
It's like building a frontier town.
就如同《西部往事》一样
Like Once Upon A Time In The West.
你在大地上创造的东西才是最重要的
It's what you build on the landscape that matters.
这也是关乎民主的
And it's also about democracy,
德沃夏克很早就提出
it's the old Dvorak idea
要把交响乐大众化
of bringing the symphony to the common man.
把如此粗犷的《普通人的号角华彩》
o it's not for nothing that this Fanfare,
融入末乐章
which has this ruggedness about it,
不是没有意义的
hould be built into the last movement.
他用艺术表现平等主义思想
He translated this notion of egalitarianism into his art
一方面用大众化的音乐
y consciously trying to reach a wider audience
吸收更广泛的观众
with works that might be more popular on the one hand,
使其易于接受
more accessible on the one hand,
另一方面
ut on the other would still allow him
又使其不失艺术性
to do the kinds of things he wanted to do artistically.
这是在圣彼得堡胜利广场前
This is the monument to the Defenders of Leningrad
为列宁格勒保卫战士兵立的纪念碑
in Victory Square in St Petersburg.
当然 在苏联
Of course, it was in Soviet Russia
交响乐的一大重要职责 便是用来宣扬胜利
that a big victory symphony was expected, indeed required.
人们翘首以待肖斯塔科维奇的
Many people awaited Shostakovich's
《第九交响曲》
inth Symphony with eager anticipation
在他们的脑海中 贝多芬《第九交响曲》
and with the fearsome precedent of Beethoven's 9th
是无法超越的
in their minds
他们一定在期待
they must have been looking for something
另一部旷世之作
equally ground-breaking and heroic.
但肖斯塔科维奇《第九交响曲》
ut Shostakovich's Ninth Symphony
完全不是官方想要的那种作品
wasn't what the authorities wanted at all.
我想这也是肖斯塔科维奇性格中的一部分
It was part of Shostakovich's personality, I get the feeling,
他觉得自己在人们面前是个小丑
that he was a clown for his people.
或者认为是自己为人们打开了真理大门
Or that he was the person who could open up truths
就像《李尔王》中的愚人
like the fool in King Lear.
他觉得自己
That he saw himself in a way,
一边哭泣 一边说笑
crying and joking at the same time.
巴松管比其它乐器
ow the bassoon is the instrument, better than any other,
更能表现这种讽刺与悲怅
that can express satire and pathos.
这是任何一种管乐器都无法比拟的
o other wind instrument particularly has the ability to change so quickly.
我无法断定这代表什么
可我知道这是哀嚎 是痛哭
当一切言语皆已耗尽
And when this has been exhausted and said,
乐声中止了一段时间
there is a moment of suspension
随后突然间进入末乐章
and we suddenly start the last movement.
这是完全不同的意境
It's in a completely different mood,
完全不同的速度
in a completely different tempo,
好像在说
as if to say,
我只是在开玩笑 事实上一切都好
I was only joking. Actually, everything's fine!
巴松管讽刺的小调
And the sardonic, ironic character of the bassoon little tune,
感觉十分轻佻
which seems so trivial and
好像让我们忘却之前的悲怅
o like trying to banish all the tragedy that we've just shared,
这手法太棒了
is very remarkable.
显然 这与贝多芬《第九交响曲》
And of course it's nothing like
末乐章的宏伟壮观完全不同
the spectacular, grandiose finale of Beethoven's Ninth.
他作出了伟大的尝试 即回归海顿的风格
He did something quite different which was to really go back to Haydn.
表面上看起来轻松愉悦
He wanted to write something that is seemingly light-hearted,
实际上却是非常悲伤的
ut really very tragic underneath.
那他想向观众和官方传达什么呢
And what was he trying to say both to his audience and the authorities？
我想从某种意义上讲
I think it's in a way a goodbye
他是在告别德国伟大的交响乐传统
to the great musical symphonic tradition in Germany
那个时代已经终结了
and the feeling that this has now come to an end.
二战结束后
At the end of the Second World War,
德国 曾经的交响乐圣地
Germany, the country which had seen itself as the guardian of the symphonic tradition,
现在却一片废墟
was in ruins.
而肖斯塔科维奇
And here was Shostakovich
正以讽刺的眼光同它告别
looking back at it in a sardonic farewell.
这场战争似乎是最后一个
Certainly the war is virtually the last event
需要用交响乐去演绎的事件
that seems to have demanded a symphonic response.
就在这里 古老的维也纳城
It was here, in the heart of the old imperial city of Vienna,
诞生了辉煌的交响乐
that the notion of a cycle of symphonies,
《第九交响曲》便是典范之作
often ending with that fateful number 9, was born.
但二战之后的维也纳 像柏林一样
ut after the Second World War, Vienna, like Berlin,
被划分成四个军事占领区
was divided into four zones of military occupation.
这是位于苏联红军占领区的纪念碑
This is the memorial in the city to the Red Army
这也可能预示着
and this perhaps foreshadows
之后音乐的民主化
the subsequent democratisation of music
及其多元化的发展趋势
and its diversification into many new forms.
在过去的250年
Over 250 years,
我们见证了这段非凡的旅程
we've made an incredible journey,
从宫廷中的一小部分乐师
from small groups of musicians in the palaces of princes
到如今声势浩大的交响乐团
to orchestras more than 100 strong,
作品既有表达个人情感的 也有公共宣言
through works that are both personal and public.
交响乐对于音乐的意义就像
And the symphony has become to music
莎士比亚对于文学的意义
what Shakespeare is to literature,
是一种文化的丰碑
a cultural monument
在新的观念中不断前进
that is continually redeveloped through new interpretations.
时至今日 它仍能使我感到愉悦
It still has the power to enchant,
挑战 和感动
challenge, move me,
在二十一世纪
and, in the 21st century,
它将会影响更广阔的观众
a larger and wider audience than ever before.
想要进一步了解交响乐
To go deeper into the music
并解开其中的奥秘
and unravel the secrets of the symphony,
《交响乐的故事》观后感(八)：第二章 Beethoven.and.Beyond
人人影视
YYeTs.com
19世纪伊始的欧洲大陆
Europe at the beginning of the 19th century,
列国间战乱频仍
a continent at war with itself.
交响乐在仅仅三十年间
The symphony is revolutionised,
经历了翻天覆地的变化 这一切要归功于
changed beyond all recognition in the space of just 30 years
两位音乐巨匠
y two titanic men,
一位来自德意志 一位来自法兰西
one German and one French.
贝多芬与柏辽兹的乐风及其理念
The music and ideas of Beethoven and Berlioz
深受法国大革命及其余波的影响
were profoundly influenced by the French Revolution and its aftermath.
他们创作的曲目将帮助听众
And their symphonies would offer audiences
以崭新的视角来理解
a new understanding of the world
那个极度动荡不安 人心惶惶的年代
in a time of great change and anxiety.
贝多芬既富革命色彩 又具理想主义
eethoven was a revolutionary and idealist,
柏辽兹则生性叛逆 且极富远见
erlioz an iconoclast and visionary
两位巨匠的个性太过丰满
and both men had personalities almost too big
几乎不见容于他们所处的社会
for the world that they inhabited.
路德维希·凡·贝多芬
Ludwig van Beethoven,
这位德国人虽饱受耳聋折磨
the German who struggled with his deafness,
但他创作的九部交响曲
ut whose nine symphonies
可谓人类艺术成就之中的瑰宝
are one the wonders of human achievement.
贝多芬致力于创作史诗般的作品
eethoven was after something epic.
他认为管弦乐团
The idea that an orchestra
能表现出从黑暗走向光明的这一旅程
could portray a journey from darkness into the blaze
即我们所谓的胜利
of what one might call victory.
这完全是贝多芬独创的风格
ow this was completely original.
只有贝多芬一人 敢于缔造如此前卫的风格
obody had dared to do something as modern as this.
艾克托尔·柏辽兹在贝多芬之后崭露头角
Hector Berlioz, the French composer who came after him,
他近乎痴狂地将内心的狂放与浪漫
driven by obsession to give the symphony
融入自己的交响乐作品之中
his own wild and romantic voice.
柏辽兹有些桀骜不驯
erlioz was a bit of a maverick.
他对管弦乐团的使用达到了登峰造极的地步
It's quite extraordinary the use of the orchestra.
在他眼中 整个乐团仿佛就是一件乐器
He seems to think of it as an instrument in itself, I think,
一件大师级的乐器
as a virtuoso instrument.
我们将了解作曲家们是怎样
We'll see how composers became artists
毅然成为与命运抗争的艺术家
determined to control their own destinies,
他们如何通过管弦乐的形式
how they gave orchestral music,
不着一字 却能讲述动人的故事
without words, great stories to tell,
李斯特与舒伯特这两位风格迥异的作曲家
and how composers as different as Liszt and Schubert
在贝多芬去世后 又是怎样将交响乐
were inspired to take this symphony to
发展到一个崭新的 超乎想象的层面
ew and undreamt of places after Beethoven's death.
故事开始于奥地利的帝都维也纳
Our story starts in the imperial Austrian city of Vienna
200年前
where 200 years ago,
一场非凡的音乐会改变了音乐发展的轨迹
an extraordinary concert would change the course of music.
1808年 临近圣诞节的一天
It was here at the Theater an der Wien
音乐会的大幕
just before Christmas 1808
在维恩河畔剧院徐徐拉开
that the curtain was raised.
时年38岁的路德维希·凡·贝多芬
This was the 38
通过这场音乐会确立了自己的地位
declaration of his status as an independent artist
成为了一位掌控自己命运的独立艺术家
in control of his own destiny.
他一人身兼作曲 指挥
He was the composer, conductor,
钢琴独奏 音乐会主办者等数职
iano soloist and concert promoter
整场演出持续了四个小时
and this performance would last four hours.
当晚的演出中
It was an evening that
有两部交响曲首次与观众见面
featured not just one new symphony but two,
它们不仅不同于前人之作
each as different from the other
而且彼此之间也迥然相异
as they were from any music that had preceded them.
在这场波澜壮阔的音乐会中
It was during this mammoth concert
台下的听众无不为之屏息凝神
it really does take your breath away
乐队演奏了贝多芬的六部作品 新老皆有
there were half a dozen other pieces by Beethoven on the programme, both old and new,
而他的《第五交响曲》和《第六交响曲》
that the Fifth and Sixth Symphony
则是第一次与观众见面
were heard for the first time.
音乐史上最著名的四音符乐句
The most famous four
直至今日 我们一听到这段旋律
instantly recognisable to us today
就知道是贝多芬的《第五交响曲》
as Beethoven's Fifth
且其中蕴含着诸多弦外之音
and full of associations.
命运叩响大门
Fate knocking at the door,
V代表胜利
V For victory.
首场演奏时 听众的感受如何呢
ut how must it have sounded to that original audience？
贝多芬呈现的是纯粹的音乐
eethoven presented it as pure music.
并未指出其中的深意
o clue to its significance or meaning.
贝多芬的个性
Well, Beethoven, as a personality,
既让人捉摸不透 又不讨人喜欢
was so tricky and so uncouth in so many ways,
他的童年十分艰辛困苦
and had such a difficult, troubled childhood,
可谓一生都与所处的时代格格不入
that the adult that gave us some of these pieces
而这恰恰成就了他的音乐风格
was a man so often at odds with the world around him.
贝多芬出生于德国波恩市 家境贫寒
orn in poverty in the German town of Bonn,
幼年的他饱受酒鬼父亲的打骂
he was bullied as a child by his alcoholic father
20多岁的时候 他的听觉逐渐退化
and in his 20s realised he was going deaf,
这对于音乐家来说 显然悲惨至极
urely the cruellest of tragedies for a musician.
然而贝多芬具有钢铁般的意志
ut Beethoven was a man with a will of iron,
他的《第五交响乐》调动了管弦乐团的潜能
and, in the Fifth, he harnesses the power of the orchestra
演奏出一段连绵不绝 催人奋进的旋律
to an insistent propulsive rhythm,
让这部交响乐阐释出
forcing the symphony to articulate
他内心最深处的矛盾与冲突
the profoundest personal drama.
贝多芬描绘的是一段誓死不屈从于命运摆布
The story of a soul struggling against implacable fate
最终赢得光辉胜利的传奇
and emerging incandescently victorious.
作曲家所能运用的元素中
One of the great contrasts available to a composer
最具差异性的便是黑暗与光明
are the contrasts of darkness and lightness.
而贝多芬的《第五交响曲》
And in his Fifth Symphony,
恰恰是酝酿于黑暗中的踟蹰与徘徊
uilds up from hesitant darkness
最终进入乐观与自信的明丽色彩
into the radiant blaze of optimism, confidence, whatever.
而他采取的技法其实非常简单
ow he does this through the simplest of means.
第三乐章的结尾处
At the end of the third movement,
这一乐章是黯淡的谐谑曲
which is the rather shadowy, dark scherzo,
贝多芬希望不加停顿 直接让听众进入光明
his plan is to burst us into the light without stopping.
于是 他便明确要求管弦乐队
ow he does this by making the orchestra
在演奏这一段时 要尽可能轻柔
lay as quietly as it can,
弦乐声部全都采用拨弦的技法 轻轻弹拨
all the strings just plucking very, very quietly.
而后 如心跳般的鼓声响起
Then comes the heartbeat of the drum,
非常沉郁 非常悠远
very, very quiet and distant
弦乐声部的演奏者随之忽上忽下地运弓
and the strings just moving up and down,
似乎找不到前行的方向
uncertain about which way they're going to go.
突然 管弦乐团全体成员
And then suddenly, very quickly,
以迅雷不及掩耳之势投入演奏
the whole orchestra comes in,
毫不停歇地直接冲向最后的乐章
and, without stopping, we burst into the final movement.
这段旋律采用的是大调
This is in the major key.
在暗无天日之后 迎来了明晃晃的阳光
Lights full on, after lights hardly on at all.
交响乐用音符讲述故事 是无字的巨著
The symphony is a masterpiece of storytelling without words.
法国大革命爆发之时
When the French Revolution erupted,
贝多芬还是个懵懂少年
eethoven was a teenager,
因母亲早亡 他只得为养家糊口而奔忙
truggling to support his family after the death of their mother,
终其一生 他都在努力寻求个性的解放
and the concept of individual liberty became a lifelong issue.
而我们这些听众
And we, the listeners,
也不禁对他与命运的抗争感同身受
are compelled to share his battle against fate.
尽管贝多芬希望他的作品
Although Beethoven wanted to write something
能够让人们一听即懂
that was comprehensible at first hearing,
但他的创作目的绝不仅仅是娱乐大众
he wasn't writing simply to give pleasure.
而是想带给人们如醍醐灌顶般的感受
He wanted it to be a potentially life
他希望自己创作的音乐能够在演奏结束后
music that would resonate in the mind
依然久久回荡在人们的心田
long after the last note had sounded.
这场音乐会中演奏的另一部交响曲
The other symphony in that epic programme
与极富戏剧性的《第五交响曲》大相径庭
couldn't have been more different from the dramatic Fifth,
这说明他没有将交响乐限制在条条框框中
demonstrating the breadth of Beethoven's extraordinary vision
而是拥有开放的眼界
of what the symphony could be.
然而 靠当独立职业作曲家来谋生
However, making a living as an independent professional composer
在当时 尚属罕见
was something very new,
贝多芬早期的音乐会 皆因缺乏排练
and his early concerts were invariably under
以及组织混乱而血本无归
adly organised financial disasters.
为了排忧解愁 他常去郊外散步
To escape his troubles, he loved to walk in the country,
聆听《第六交响曲》时 我们将与他一同
and in the Sixth symphony we join him on
徜徉于他所钟爱的奥地利乡间小道
one of his walks through his beloved Austrian countryside.
贝多芬的朋友说 大自然就是他的精神食粮
A friend said nature was almost meat and drink to him.
似乎只有大自然才能维系他的生命
'He seemed positively to exist upon it.'
然而他亲近自然并不只是为了放松身心
ut this was more than recreation.
去乡间漫步 也是一种政治宣言
To walk in the country was a kind of political act.
贝多芬是最纯粹的浪漫主义者
eethoven was a romantic in the strictest sense.
当你走出城市
As you walked away from urban society,
便投入了自然的怀抱
you became a natural being,
金钱在这里变得无关紧要
o longer measured in terms of wealth or social status,
每个人都得以在自然中
ut able to find your place
找到属于自己的位置
as part of the natural order of things.
大自然可以开阔人们的视野 激发其想象力
It's actually opening spaces for people's imagination
而不会主宰他们的行动
rather than telling them what to think.
一条金科玉律因此流行开来
And this creates a wonderful myth
即生活在城市中的艺术家
about the transformation, almost the redemption
需要走入田野乡间
of the artist in the urban situation
去寻求转变 甚至是救赎
y going into the countryside
这个模式对后世的作曲家产生了深远影响
that became a very influential model for composers later.
其重点并不在于乡村
It's not really about the countryside,
而是生活在城市中的人们
it's really about someone in the city
对乡间寄予了美好的愿望
thinking about the countryside
从而赋予其神奇的力量
and creating a myth about it.
一般的交响曲只有四个乐章
This symphony has five distinct movements
而这部交响曲却分为五个乐章
rather than the standard four,
在贝多芬的所有交响曲中 这是唯一一部
and for the first and only time in a Beethoven symphony,
每个乐章都有小标题的作品
each one had a title that was printed in the programme.
这是标题音乐的前身
This is programmatic music.
第一乐章叫作
The first movement is
初到乡村时的愉快感受
The Awakening Of Cheerful Feelings upon Arrival In The Country
而第二乐章则是 溪畔小景
and he called the second Scene By A Brook.
这样的乐章标题
The programme headings
似乎与贝多芬的一贯风格不符
were uncharacteristic for Beethoven,
但这却预示着标题交响乐的到来
ut they looked forward to the literary symphonies to come.
法国作曲家艾克托尔·柏辽兹
The French composer Hector Berlioz,
继贝多芬之后
who, as we shall see, later took up the idea
将标题音乐发扬光大
of programmatic music with grand elan,
他这样评价第二乐章 溪畔小景
wrote of this second movement Scene By A Brook,
作曲者创作这首曲目时
I think here the composer actually created the music
大概是仰卧在绿草茵茵的小溪岸边
whilst lying on his back on a grassy bank.
双眸凝望着苍穹 观察着 谛听着
His eyes turn towards heaven, he's observing and listening,
汩汩溪流 令水面泛起了涟漪
enthralled by the countless reflections of sound and light
他听着永无止息的潺潺水声
as the current of the brook
望着变化万千的粼粼波光 不由得出了神
ends ripples across the surface of the water.
这就是贝多芬的那条小溪
This is the actual brook.
如今它已失却了不少田园色彩
ot quite so pastoral nowadays.
这部交响曲表现了人与自然的数次邂逅
The symphony is a sequence of encounters with nature,
在自然的怀抱中 激发出情思与感想
cene painting which stimulates thoughts and feelings,
贝多芬很少像这样展现出
and Beethoven rarely allowed himself
自己轻快迷人而又写实的一面
to be so light and charming or so literal.
这一乐章的结尾处
This movement ends with
贝多芬用音乐忠实地再现了鸟儿的歌声
a faithful music reproduction of birdsong.
有趣之处在于他选取的这几种鸟类
And what's so funny about it is the birds that he chose.
曲谱这里标注着 夜莺
It says in the score here, the nightingale...
然后是鹌鹑的叫声
And then you hear the quail!
不晓得你最后一次听鹌鹑歌唱是何时...
I don't know when you last heard a quail...
我没怎么听过鹌鹑唱歌
I haven't heard many in my life.
一般来说...
ormally, there...
没有留意
Well, not consciously.
接下来出现了布谷鸟 经典的布谷鸟叫声
And then there's a cuckoo, isn't there？ A famous cuckoo.
能不能请你来弹...
Would you want to play...if you play the...
这段乐曲弹起来难度很大
We struggled to play it,
但旋律听来十分清新 十分诙谐
ut it's a work of great freshness, full of humour,
给人以舞动的快感 极大的美感
of dancing exhilaration, of great beauty,
而且曲调的整体构架也堪称精妙
and a masterpiece of form.
夜莺 鹌鹑与布谷鸟的吟唱中
The songs of the nightingale, quail and cuckoo
带有一丝苦涩
gain an extra poignancy
此时作曲家的耳聋日渐严重
if you bear in mind the composer's growing deafness.
《田园交响曲》与《第五交响曲》
In its own way, the Pastoral is a work
皆为极富远见之作
just as visionary as the Fifth,
为当时饱受战火摧残 生灵涂炭的欧洲
offering a utopian vision of peace, harmony and fulfilment
带来了乌托邦中和平 和睦与满足的意象
against the contemporary backdrop of war
When Beethoven was a young man
贝多芬还是个年轻的小伙子
in the late 1780s and early 1790s,
离奥地利不远的法国爆发了革命
he was fascinated by what was happening
这深深地感染了贝多芬
across the border in France.
贝多芬加入了共和主义者的阵营
He was a member of republican circles
他认为要想做一位不依附权贵的作曲家
and for him the notion of being an independent composer
就必须为人类争取自由 争取人权
was linked to ideas of liberty and the rights of man.
有人问他
Once when someone asked him
路德维希·凡·贝多芬这个名字中的凡
whether the van in his name, Ludwig van Beethoven,
是否表示他有贵族血统
denoted aristocratic origins,
他断然回答道
he snapped back,
我没有封地 但我拥有才华
I am not a landowner, I'm a brain owner.
《第五交响曲》和《第六交响曲》首演完毕之后
After the premiere of the Fifth and Sixth symphonies,
拿破仑率兵入侵奥地利 占领了维也纳
apoleon invades Austria and occupies Vienna.
贝多芬藏身于哥哥家的地下室内
eethoven hides in his brother's cellar,
法军炮声震天 为了保护听觉
rotecting his ears from the sound of French cannon
他只得将脑袋深埋于枕头之中
y burying his head in pillows.
他曾经的恩师
His former teacher,
时年77岁高龄的约瑟夫·海顿比较幸运
the 77
由于拿破仑对这位交响乐之父十分崇敬
uch is Napoleon's respect for the father of the symphony
甚至派兵来保护他
that he orders guards to protect him.
海顿是一个坚定的反共和主义者
Haydn, a firm anti
他以自创的颂歌
makes a point of taking up his hymn,
《上帝保佑吾皇弗朗茨》
Gott Erhalte Franz Den Kaiser,
又名《德意志高于一切》来抒发观点
otherwise known as the tune of Deutschland Uber Alles,
每天早上都会大声演奏此曲 以示抗议
and playing it loudly in protest every morning.
不幸的是 在法国入侵几周后
adly, within weeks of the French invasion,
海顿便在沉睡中平静地离世了
Haydn is gone, dying peacefully in his sleep.
自此 贝多芬毫无争议地
ow Beethoven became
成为了维也纳音乐界的翘楚
Vienna's indisputable musical hero.
他的《第七交响曲》于1813年首演
The premiere of his Seventh Symphony in 1813
恰逢拿破仑遭遇战败
coincided with Napoleon's defeat
因而又被誉为胜利交响曲
and was hailed as a victory symphony.
第二年 《第八交响曲》以机智幽默的曲风
The following year, his Eighth won new admirers
为他赢得了新的听众
with its wit and humour.
他的音乐会成为了当地的音乐盛事
ow his concerts had become major musical events.
维也纳听众的耳朵
The audiences of Vienna
是全欧洲最挑剔的
were the most musically sophisticated in Europe.
他们深知失去海顿和莫扎特的巨大损失
They knew what they had lost with Haydn and Mozart
当又一名音乐巨匠诞生时 他们惊叹
and when another one came along they went,
太好了 可你听过他的作品吗
limey, but have you heard him？
人们会说
And people would say
贝多芬要开音乐会了 快去听吧
eethoven's giving a concert. Let's go.
你永远不知道会发生什么
You never quite know what's going to happen.
Finally, in 1824, at the most prestigious venue in Vienna,
在当时极富盛名的康顿剧院
the Karntnertor Theatre,
聆听贝多芬
Viennese audiences would hear
最后一部 也是最具里程碑意义的交响曲
his final and most groundbreaking symphony yet.
当年的康顿剧院早已不复存在
The Karntnertor Theatre is long gone,
其遗址如今矗立着一座伟大辉煌的
ut on its site stands one of Vienna's great
维也纳标志性建筑 萨克尔酒店
and most glorious institutions, The Hotel Sacher,
一款世界知名的蛋糕就产自这里
home to one of the world's most famous cakes,
那就是萨克尔大蛋糕
the Sacher torte.
聆听开篇的旋律
Right from the opening notes
整个乐团仿佛悬荡在
where the orchestra seem to be suspended
无垠的宇宙中
in the cosmic vastness of space,
无疑 贝多芬的《第九交响曲》
it was clear that Beethoven's Ninth
又将成为音乐史上的一次飞跃
was going to be another leap forward.
我在思考
I've been trying to think
如何把《第九交响曲》比作巧克力蛋糕
how to compare the Ninth Symphony with a chocolate cake,
但除了两者都醇厚且令人愉悦外
ut beyond the fact that both are rich and satisfying,
我想不出别的了
I can't do it.
事实上《第九交响曲》
The fact of the matter is that the Ninth Symphony
并不只是一部普通的乐作
is not just any old piece of music,
而是一部伟大的杰作
it's a colossal achievement,
包罗万象 带领人们经历了
a comprehensive if unpredictable tour
前所未有的音乐之旅
through the human condition.
或许可以把它比作
It would be better to compare it
西斯廷大教堂的穹顶
to the ceiling of the Sistine Chapel
或者中国的长城
or the Great Wall Of China.
它实在太庞大了
In fact it's so big.
你甚至可以在外太空看见它
It probably can be seen from space.
它的旋律也极其伟大
And it has great tunes.
此时的贝多芬正处在最叛逆的时期
This is Beethoven at his most iconoclastic.
他已经好几年没有创作交响曲了
He hadn't written a symphony for a dozen years
现在的他已经是
and he really was now
享誉世界的名作曲家了
the most celebrated composer in the world.
所以忠实的乐迷
o his devoted supporters
纷纷赶来 见证他是如何打破常规
flocked to see how he no longer just broke the rules,
并且藐视常规的
ut barely acknowledged that they existed.
《第九交响曲》的创作灵感
The inspiration behind the Ninth Symphony
来自弗里德里希·席勒的《欢乐颂》
was Friedrich Schiller's poem An Die Freude, the Ode To Joy
一首庆祝
a stirring celebration of
人类幸福美好 天下一家的欢乐抒情诗
human happiness and universal brotherhood.
贝多芬第一次读《欢乐颂》时还是个学生
He first read Schiller's An Die Freude when he was a student.
在读后的一两年里
And he wrote a setting of it
便为此诗谱了曲
only a year or two after he first read it,
那时他只有二十出头
o he was about 20 or 21.
为这首诗谱曲的想法
o the idea to set that poem
此后一直存在于他的脑海里
had been in his mind all his adult life.
贝多芬生活在法国大革命时期
Remember, Beethoven lived through the French Revolution
诗中有一句话很关键
and there's a crucial line,
一切人类皆为兄弟
Alles menschen werden bruder, All mankind will be brothers.
这句诗吸引了他 因为尽管贝多芬自己
And that line appealed to him because Beethoven was,
从来没有公开表示过
although he never spelled it out as such,
但他的确是一位伟大的民主人士
the great democrat.
我总感觉肯定有那么一刻
I just get this feeling there must be a moment
他会想 只有乐器演奏是不够的
he thought, I can't go further with just instruments.
他第一次在交响乐中加入了人声
Well, he brought voices in for the first time in a symphony.
他为此纠结了许久
He struggled over that.
他想不出怎样能合理地引入歌声
He could not work out a way to bring them in.
男低音的突然插入
And the sudden idea of the solo bass singer singing...
啊 朋友
O freunde.
虽然在我们听来像呼吸一样自然
Which to us again is as natural as breathing,
但在他决定正式方案之前
was about his fourth or fifth idea
这只是他的第四个或第五个想法
efore he got what he wanted.
从一开始
Right from the beginning,
《第九交响曲》的末乐章
this final section of the Ninth Symphony
就被单独拿出来 独自焕发了生命
eemed to take on an independent life of its own.
它似乎能在德语的使用者中产生强烈共鸣
There's always been a particular resonance for German speakers
在上世纪三四十年代
and in the 1930s and '40s,
该乐章就作为造势的工具
it was used as a propaganda tool by the Nazi Party,
被纳粹党用来庆贺希特勒的生日
erformed to mark such events as Hitler's birthday.
人们对这段旋律十分熟悉 这就是其价值所在
Well, it had such incredible familiarity value, didn't it？
这部交响曲的主旋律最棒的一点
I mean, it's one of the great things about the main tune of the symphony
在于你只需听过一遍 就会记住它
is that once you've heard it once
可以一直跟着哼下去
You could always hum along with it.
这部作品表达了天下一家的思想
The work is about brotherhood
其问题在于
and the trouble with it is
它号召人们团结起来 强调的是统一与一致
that it's asking you to come together in one uniformed mass
这同我们现在看到的画面十分吻合
which suits the kind of pictures we're seeing at the moment.
但你也不必刻意朝那个方向诠释
You don't have to interpret it that way, however,
因为强调团结一致也是没有错的
ecause you can always say we need to come together
因为我们本身很排斥
ecause we're reacting
这种打着正义口号的专制思想
against an authoritarian idea of normality,
这部作品可以从两个角度来解读
o the piece can be read two ways.
但乐曲本身的含义毫不含糊
ut the music isn't ambiguous at all, is it？
对 是赞扬欢乐的
o, it's about joy.
赞扬活力 这部作品是一种宣言
Yeah, and energy and the realisation that it's a statement
美好的东西
omething better.
在1989年的圣诞节
On Christmas Day in 1989,
全世界一亿名观众
a global audience of a hundred million
观看了由伦纳德·伯恩斯坦
watched Leonard Bernstein
在柏林指挥的这一乐章
conduct the work in Berlin.
演出时间就在
A month after the wall
柏林墙倒塌的一个月之后
that had divided the communist East from the West came down.
很奇怪 起初这是一首赞美欢乐的诗
Very odd, though, that if it starts a poem about joy
却变成了追求自由的象征
that it has so transmogrified into music about freedom.
音乐本身积蓄着无穷的力量
The musical quality is so inspired
使人倍受鼓舞
in its accumulative power
我个人认为 正是因此
that it seems, and this to me is one of the reasons
它才成为纪念国际重大事件的必奏曲目
why it's such an important piece for very epic global occasions,
这部作品本身的伟大
that it seems that the music is so much bigger
是其演奏者和歌唱者无法比拟的
than anybody who's taking part in it.
2001年9月 911事件四天后
In September 2001, just four days after 9/11,
莱奥纳德·斯拉特金在逍遥音乐会的终场演出中
Leonard Slatkin conducted the choral finale
指挥合唱团演唱了《欢乐颂》
at the last night of The Proms
以追悼恐怖事件中的遇难者
as a tribute to the victims of terror.
几年后 艾克托尔·柏辽兹如是写道
Many years later, Hector Berlioz would write
《第九交响曲》
that with the Ninth,
是贝多芬为自己树立的一座丰碑
eethoven had built himself a magnificent monument
想象这位作曲家对自己说
and imagined the composer saying to himself,
让死亡降临吧 我已了无遗憾
Let death come now, my work is done.
贝多芬于1827年3月26日与世长辞
eethoven died on the 26th of March 1827,
就在完成《第九交响曲》的三年后
three years after completing his Ninth Symphony.
享年56岁
He was 56.
两万名哀悼者参加了他的葬礼
20,000 mourners attended his funeral
是当时维也纳人口的十分之一
one in ten of the Viennese population.
其中有一位作曲家 弗朗茨·舒伯特
Among them was another symphonist, Franz Schubert.
他陪伴着遗体来到北维也纳墓园
He accompanied the body to this graveyard in North Vienna,
不幸的是 两年之后 刚过三十岁的他
ut tragically, within two years, barely into his 30s,
也被葬在了这里
he would himself be buried here,
距离贝多芬仅有几米之远
just a few metres from his great hero.
这是舒伯特于1828年最初下葬的地方
This is where Schubert was first put to rest in 1828.
这墓碑上说什么
What's this part of the funeral...
音乐瑰宝在此安息
It says, Music has laid to rest a rich treasure
寄望后人光荣绽放
and still greater hopes for the future.
讽刺的是舒伯特最著名的两部交响曲
ut ironically his two best symphonies
的确是在未来才绽放光芒的
were of course in the future.
直到1839年才有人注意到它们
They weren't actually discovered until, um, 1839
《未完成交响曲》直到
and the Unfinished wasn't first performed
19世纪60年代才首次公演
until the 1860s here in Vienna.
在他短暂的一生中
During his short lifetime,
舒伯特凭借其艺术歌曲和钢琴曲而闻名
chubert acquired a reputation for his songs and piano pieces,
但事实上 他也创作了多部交响乐
ut he'd actually composed over half a dozen symphonies.
但这些作品由于并非奉命而作
However, because they were not specially commissioned,
在他生前 一部也没有公演过
one had a public performance in his lifetime,
最著名的一部只完成了一半
and the most famous was left half completed,
即《未完成交响曲》
the Unfinished Symphony.
在他去世前 他很想写几部交响乐
Just before he died, he wanted to write symphonies
并且非常专注于表达一些博大的思想
and really concentrate on big ideas,
从他的《第九交响曲》
which is why the Ninth Symphony
就可以看出他宏大的计划
of his has this huge grand plan.
他想让那部作品成为...
I think he was intending that to be something...
启蒙时代交响乐团
The Orchestra of the Age of Enlightenment
演奏的是《C大调第九交响曲》
are performing the Great C Major symphony
版本为古乐版
on authentic period instruments.
但是舒伯特自己
ut Schubert himself only
只在1828年的排练上
ever heard an orchestra play this symphony
听乐团演奏过这部作品
in a rehearsal in 1828
从未有机会举办音乐会
for a concert that was never given.
他时常为朋友演奏自己的作品
His music was invariably performed
朋友们也常演奏他的作品
y and for his friends,
地点通常都在这所这优雅舒适的学校
often in the comfortable surroundings of this school
舒伯特的父亲是这里的校长
where his father was the headmaster.
舒伯特的作品很重要的一点就是
The importance of Schubert is that you see
他对音乐的处理更加轻松随意
a much more relaxed attitude to the musical material.
他的杰出之处就在于他可以在交响乐中
He was really a superb composer because he could play with
演绎音乐 按自己的兴趣来演绎声音
the music in his symphonies, playing with sound for its own sake
不用总是担心整个乐曲的脉络
and not worrying too much about where it's going all the time,
虽然其中包含了贝多芬式的创作逻辑
although there is that sort of Beethoven logic as well.
他的音乐中有留白
He leaves spaces in the music
听众可以插入自己的想象
for anybody with any ideas whatever to enter.
这正是舒伯特音乐的包容之处
That's part of the generosity.
音乐中包含着非常积极的元素
There's something very positive about the music,
但也正是其冒险之处
ut also something very daring at the same time.
舒伯特的音乐会带听众开展一段旅行
There's something about Schubert's music which takes the listener
有时人们身在其中
on a journey and sometimes the listener
并不清楚路在何方
doesn't know quite where it's going
而舒伯特就是要让听众自己去探寻
and Schubert leaves the listener deliberately asking which way.
那种模棱两可的感觉简直妙不可言
The ambiguity is wonderful.
音乐的表达方式非常大胆
It is hugely confident music,
对比这一切 他的结局让人倍感凄凉
which makes it all the more tragic that
当他说完我想写交响乐 便遗憾而终了
he would say I want to write symphonies and then died.
之后他的遗体被运走了
And later he was moved from here？
他的遗体在1888年被运走
He was exhumed in 1888.
这座墓就被弃用了 他的遗体被转移到
The cemetery was decommissioned and his body was moved to
中央墓园与贝多芬毗邻
the central cemetery along with Beethoven,
贝多芬的墓就在他旁边
who is almost next to him here.
这是原来的墓址
This is where he was originally put to rest.
这个墓被重新翻修过
This is a modern replacement of the original graveside,
但保留了最初的设计
ut it's still basically the same design.
墓碑要比舒伯特的庄严许多
It looks much austere, doesn't it, than Schubert？
-对 而且更雄伟 -斐迪南·舒伯特
Yes, and there was grander. Ferdinand Schubert,
舒伯特的兄弟 据说是设计人
chubert's brother, claimed to have designed this.
我们可以看见阿波罗的七弦竖琴
Here we have Apollo's Lyre
在最顶端有一条奥罗波若蛇
and at the very top we have an ouroboros,
在古埃及文化中象征博大
this is an old Egyptian symbol for universality,
一条衔着尾巴的蛇
a snake consuming its own tail,
环绕着一只蝴蝶
and in the middle a butterfly,
这意味着他不朽的名望
that's meant to represent immortality.
在贝多芬有生之年
All Beethoven's symphonies
他所有的交响曲皆得以出版
had already been published during his lifetime
也有机会在欧洲各大城市进行公演
and began to receive public performances in major cities across Europe.
现在我们跟随着故事的脚步来到巴黎
Our story now takes us to Paris.
1825年
In 1825,
尽管遭到其父亲
despite fierce opposition
一名当地医生的强烈反对
from his father, a provincial doctor,
年轻的医学生 艾克托尔·柏辽兹
a young medical student called Hector Berlioz
决定放弃学业 弃下了他的解剖刀
quit his studies, leaving the dissection of corpses
去追求自己成为一名伟大作曲家的梦想
to pursue his all
为此他义无返顾
a great composer.
他进入了巴黎音乐学院学习
He enrolled here at the Conservatoire of Music
在这里 他发奋苦学
and threw himself into his work.
在他的学习开始不久后
ut not long into his studies,
便经历了一场改变他一生的事件
he had a life
一次启发
a revelation.
柏辽兹相当容易被启发
Hector was rather prone to revelations.
他聆听了贝多芬的作品
He heard the symphonies of Beethoven
而那恰巧是贝多芬的《第五交响曲》
and in particular the first performances in France
在法国的首次演出
of Beethoven's Fifth.
前一年辞世的贝多芬
eethoven, who had died just the previous year,
在法国的正统音乐家看来
was regarded by the French establishment
其作品古怪 不和谐 刺耳又聒噪
as a German who wrote bizarre, incoherent, harsh and noisy music
毫无旋律性可言
with no melody to speak of,
听上去不讨喜 演奏起来又极其费劲
disagreeable to listen to and horribly difficult to play.
但在柏辽兹看来 它简直不可思议
erlioz thought it was wonderful.
他说道 《第五交响曲》
The Fifth, He said,
不仅承载了贝多芬的绝望
Gave wings to Beethoven's despair,
还体现出他灵魂中的高尚品格
ut also to his nobility of soul,
这种风格 超越了迄今为止
this style of writing is far above and beyond
所有的管弦乐作品
anything ever written in orchestral music until now.
他声称自己将开辟另一条道路
He himself, in his own words, would fire along another path.
柏辽兹是个淘气的男孩
erlioz, of course, was a naughty boy.
他对音乐学院的校规向来置若罔闻
He never obeyed the rules when he was at the Conservatoire
他最早站出来大胆宣称
and he was one of the first to say so unashamedly
音乐能够表达艺术家个人的浪漫理想
that music can express the self, the romantic ideal of the creative artist
无视周围环境的阻挠
at loggerheads with his environment,
只为艺术而生
living solely for his art.
我热爱他的音乐
I love his music
也热爱他所代表的一切
and I love everything about him, what he stood for.
这里是巴士底广场
This is the Place de la Bastille,
以法国大革命中最关键的结点之一
amed after one of the key events of the French Revolution
1789年攻占巴士底狱事件为名
the storming of the Bastille Prison in 1789.
而1830年也是具有革命性的一年
ut 1830 was also a revolutionary year
这根柱子的树立是为了悼念
and this column commemorates
因一场争议重重的选举
the death of 18,000 Parisians
而引发的三天激烈巷战中
who died during three days
所牺牲的一万八千名巴黎民众
of bitter street fighting following a disputed election.
柏辽兹为之感到兴奋
erlioz was excited.
他恨不得马上完成当日手头的音乐作品
It was as if he would finish his musical work for the day and then
手持枪弹 冲出门外
dash outside, pistol in hand,
加入到暴动与巷战中
to join the riots and the street fighting.
他的交响乐有了故事内容
His symphony was to have a story,
《一位艺术家的生活片段》 分为五部分
an episode in the life of an artist in five parts.
柏辽兹的小故事 即将融入他的作品之中
erlioz's short story was to be printed in the concert programme
男主角爱上了一位高不可攀的女子
Our hero falls in love with an unattainable woman.
单恋的痛苦使他疯狂
ushed towards madness by unrequited passion,
他试图通过过量吸食鸦片来自杀
He attempts to kill himself with an overdose of opium,
但毒品却使其陷入
ut the drug causes him to suffer
一系列前所未有的奇异幻觉中
a sequence of ever more grotesque hallucinations.
柏辽兹深受贝多芬音乐的影响
erlioz was profoundly influenced by Beethoven's music,
但他从贝多芬的范本中
ut he twisted the Beethoven model
演绎出了新的形式
into startling new forms -
贝多芬的《第五交响曲》中
the journey from darkness into light that we see
由黑暗走向光明的旅程
in Beethoven's Fifth Symphony
变成了由毒品引致的堕落
into a drug
他把自己的新作品称为
He called his new work
《幻想交响曲》
the Symphonie Fantastique, the Fantastic Symphony,
幻想意为离奇的 梦一般虚幻的
Fantastic meaning uncanny or unreal as in a dream,
也是不可思议 难以置信的
ut also Incroyable, unbelievable,
骇人的 非凡的
terrifying, extraordinary.
这同样是一项非凡的音乐成就
And it is an extraordinary musical achievement.
他在形式上的创新之一 就是固定乐思
One of his formal innovations was the use of an idee fixe,
一段象征着一种强迫观念的旋律
a tune that symbolises an obsessive idea.
这段奇异且超自然的旋律 持续了近四十秒
This strange, unearthly melody lasts nearly 40 seconds
并不停地在整首交响曲中重现
and keeps recurring throughout the symphony.
为了了解其中玄机
To gain an insight into how this actually works
我拜访了家住伦敦南部的
I visited the composer Robert Saxton
作曲家罗伯特·萨克斯顿
at his home in South London.
他是让这段旋律
o he keeps the tune the same
一丝不变地贯穿始终吗
right the way through the whole piece？
它以不同的形式出现
It appears in different guises,
但每次都极富辨识度
ut it's always very recognisable.
旋律所在的背景在变
The landscape changes around it
而旋律本身不变
rather than the tune itself changing.
像贝多芬这样的作曲家
A composer like Beethoven
会选取一段旋律 作为主旨
will take something that's more like a motif
将其逐步分解并展开
and gradually take parts out of it and develop it,
反之柏辽兹的固定乐思
whereas with Berlioz the idee fixe remains
基本保持不变
more or less intact.
开场是《梦幻与热情》 他处于梦境中
The opening is revelry and passions and he's dreaming
固定乐思代表他的爱人
and the idee fixe is the beloved.
这段旋律在这里 丝毫没有伴奏
He then here introduces the tune totally unaccompanied
当伴奏出现的时候
and when he does put the accompaniment in,
多数作曲家会使用连贯的伴奏
where most composers would have had a running accompaniment,
他用的则是这种不平稳的跃动
he's got this jerky badum
值得一提的是 柏辽兹不会弹钢琴
erlioz couldn't play the piano, which is significant.
他会演奏长笛与吉他
He played the flute and the guitar.
我觉得 他比较习惯于这种悠长
And I think he thought in these great, long,
且极富民歌特色的旋律
almost folk
在柏辽兹看来 19世纪30年代早期的
For Berlioz, the conventional orchestra, as it existed
传统管弦乐团
in the early 1830s,
演奏方式过于文雅
was too polite and genteel sounding
不适合演奏《幻想交响曲》
for his vision of Symphonie Fantastique.
为了迎合他那狂野浪漫的想象力
For all his wild, romantic imagination,
他以类似于科学研究的方法 进行作曲
he approached actually writing the score as if he was a scientist.
他是如何得到他想要的效果的呢
How could he get exactly the sound that he wanted？
你这婴孩
You big baby,
他为一支假想的管弦乐团写下致辞
He wrote addressing an imaginary orchestra,
我将教会你如何得体地说话
It's time you learned to speak properly and I am the one to teach you.
他考察了各个乐器的潜能
He examined the potential of the instruments
无畏于挣脱前人的窠臼
and fearlessly felt unconstrained by what had come before him.
柏辽兹出生于工业革命年代
erlioz was a child of the Industrial Revolution.
重工业极大地改变了欧洲的面貌
Heavy industry was transforming Europe
19世纪20年代 阀门的发明意味着
and the invention of the valve in the 1820s meant
新型铜管乐器的出现
that there were new brass instruments.
在他的交响曲首次公演后
The tuba was patented within five years
不到五年的时间 大号获得专利
of the premiere of his symphony
柏辽兹在曲谱中加入了这一音色深沉柔和的乐器
and the score was revised to include its deep, smooth tones.
柏辽兹痴迷于乐器的设计
Obsessively interested in the design of instruments
及其演奏技巧
and the techniques used to play them,
他开创了一种新型乐团
he began to create a new type of orchestra,
以便演奏出他脑海中的音乐
one that could play the music he heard in his head.
我非常喜欢《幻想交响曲》
I adore this Symphonie Fantastique.
从作曲的角度来说吗
As a composer？
是 它有着无边的魅力
Yes, it's endless, endlessly fascinating.
这部作品的非凡之处 在于他对乐团的使用
It's quite extraordinary, the use of the orchestra,
对音色的调和
the blending of the tone colours that he uses,
以及对配器的选择
the extraordinary orchestration.
在他眼中
He seems to think of
整个乐团仿佛就是一件大师级的乐器
the orchestra as a virtuoso instrument in itself.
此前没有作曲家像他这样
He's the first composer really
明确地标注出每一部分
to specify how many instruments
演奏乐器的数量
he wants in each section.
他的要求很详尽
He's very specific
第一小提琴组十五人
that it's got to be 15 first violins,
第二小提琴组十五人
15 second violins.
他甚至明确要求了六十人的弦乐部
And, indeed, he asks for a 60
无论是放在彼时或是现今都极具规格
very large by those standards and by our standards.
他将乐团的演奏技法延伸至极限
He extends the technique of them.
指示他们演奏一些颤音
He gives them tremolo to play
就是弦乐演奏出这种效果
which is when they go Drr
在当时看来非同寻常
which was quite unusual for those days.
倾其一生
Throughout his life,
柏辽兹不断构思着他理想中的乐团
erlioz continued to speculate about his ideal orchestra,
一支能够表现出
an ensemble that would
卓绝的韵律与旋律力量的合奏团
have unsurpassed rhythmic and melodic power.
最终他计算出了能够达到天作之合的
Eventually he was to calculate the exact number of players,
最准确的乐手数量 467人
this ideal would require
是现代管弦乐团人数的四倍之多
That's more than four times the number of players in a modern orchestra.
哪怕仅由80人参与演出
Even with a mere 80 or so players,
《幻想交响曲》也是一场视听盛宴
the Symphonie Fantastique is an overwhelming experience
其中种种文学性细节
and the detailed literary programme
加强了故事的张力
only adds to the intensity.
哈雷管弦乐团演奏的是《赴刑进行曲》
The Halle Orchestra are playing the March To The Scaffold.
柏辽兹那多情的男主角
erlioz's romantic hero
在幻境中看到他谋杀了所爱之人
has a vision that he's murdered his beloved
为了所犯的罪行 他将被斩首
and that he is to be guillotined for the crime.
当他的头被固定在石块上时
His head will be laid on the block
我们再次听到固定乐思
and we will hear the idee fixe
穿过他的意识 正如对挚爱最后的缅怀
run through his mind like a final thought of his beloved,
在刀刃落下的瞬间 一切消失殆尽
only to be literally chopped off by the fall of the blade.
虽然《幻想进行曲》的故事情节略显诡异
izarre though the storyline of the Symphonie Fantastique might be,
创作背后的故事
the story behind the composition
却更令人称奇
of the work is stranger yet.
One September in 1827,
柏辽兹到这里 奥德翁剧院
erlioz came here to the theatre de l'Odeon
观看两出莎士比亚的英文戏剧
to see two performances of Shakespeare in English,
《哈姆雷特》以及《罗密欧与朱丽叶》
Hamlet and Romeo and Juliet.
担任主角的是一名爱尔兰女演员
The star of the show was an Irish actress
名叫哈里特·史密森
called Harriet Smithson.
她在《哈姆雷特》中饰演了奥菲莉娅
In Hamlet she was Ophelia
而在《罗密欧与朱丽叶》中
and in Romeo and Juliet,
显而易见 她饰演的是朱丽叶
he was, of course, playing Juliet.
柏辽兹疯狂地爱上了她
erlioz fell madly in love.
一位地位低下的音乐学生
How could he, a humble music student,
要如何去赢得一位莎翁剧女主演的芳心
ever hope to win the heart of this great Shakespearean actress？
这种渴望为他创作《幻想交响曲》埋下了种子
This desire was the seed for the Symphonie Fantastique.
他要谱写一出宏伟的交响乐
He would write a grand symphony,
成为一位公认的伟大作曲家
e recognised as a great composer
他便能以对等的身份接近哈里特了
and then he could approach the beloved Harriet as an equal.
为更全面地讲述这段罕见的罗曼史
To help tell the story of their peculiar romance
我邀请了演员爱玛·菲尔丁
I've asked my fellow actor, Emma Fielding,
到英国驻法大使馆同我会面
to meet me at the British ambassador's residence in Paris.
o 1827...
是柏辽兹在剧院初识
was when Berlioz first saw
出演奥菲莉娅以及朱丽叶的哈里特
Harriet in the theatre playing Ophelia and then Juliet
并疯狂地爱上她的那年
and fell madly in love with her.
而三年以后
ow, it was three years later
基于对她的爱恋
that he wrote the Symphonie Fantastique,
他创作了《幻想交响曲》
which is based on his thoughts about her
那是1830年
and that's 1830,
这其中过了相当长的一段时间
o there's quite a long time.
整整三年 不过在那期间
Three years, but during that time
他对她的追随可谓欲罢不能
he pursued her quite voraciously.
他刻意避开了她
He avoided her.
他避开了与她见面的机会
He avoided meeting her
是的 但他在剧院拐角处租了一间公寓
Yes, but he took a flat round the corner
以便跟踪她进出剧院的动态
o he could follow her movements to and from the theatre.
所以其实他在跟踪她
o basically he was stalking her？
他在跟踪她
He was stalking her.
And at the end of 1832,
她偶然出席了一场音乐会
he attends a concert, which she doesn't normally do.
她并不十分热衷于古典乐
he's not a great classical music lover.
她阅读了《幻想交响曲》的作品简介
And she reads the programme notes for the Symphonie Fantastique
才意识到这一切皆因她而起
and realises it's all about her.
更不可思议的是 整个巴黎都知道
Which is extraordinary, because all of Paris society
他对她的迷恋 只有她被蒙在鼓里
knew about his infatuation but she didn't.
只有她不知道
ut she didn't.
但那天晚上 他们终于认识了彼此
ut that evening they are introduced to each other,
他当场求婚 而她接受了
he proposes and she accepts.
十个月后 他们在这里结了婚
And then ten months later, they were married here
on 3rd October 1833
在巴黎的英国大使馆
in the British Embassy in Paris.
我同平庸 传统和死亡斗争的三十年
My 30
柏辽兹如是描述自己在巴黎的事业
That was Berlioz's own deｓｃｒｉｐｔion of his career in Paris
十二年间 他创作了四部交响曲
during which time he composed four symphonies in 12 years,
《幻想交响曲》
the Symphonie Fantastique,
一部基于拜伦勋爵诗作的交响曲
a second symphony based on a Lord Byron poem,
一部雄伟的葬礼交响曲
a massive funeral symphony,
还有这部莎翁的代表作
and this Shakespearian masterpiece.
36岁的柏辽兹通过《罗密欧与朱丽叶交响曲》
The Romeo and Juliet Symphony is the 36
以音乐的方式 表达了他对哈里特的爱意
musical expression of his love for both Harriet
和对将他们联系在一起的剧作家的喜爱
and for the works of the playwright who first brought them together.
这部交响曲的情节尤为复杂
The symphony is his most sophisticated storytelling yet.
他不仅要用音乐讲述故事
The orchestra here doesn't simply evoke the story,
还要让乐器成为剧中的演员
he wants the instruments to become the actors in the play
并且读出莎士比亚的台词
and actually deliver Shakespeare's lines.
长笛和木管乐器代表朱丽叶的声音
The flute and woodwinds are the voice of Juliet.
好的 妙极了
Yeah, lovely.
之后我们听到大提琴
Then we hear the cellos,
代表着罗密欧的话语
representing Romeo's speech.
接着是她的担忧
Then her fear.
柏辽兹的这一想法极具新意
He had this idea that no one else had done before,
他无需用语句描绘
that he didn't need the words,
而是让听众们感觉到
if he could get the listener
台词就蕴含于乐团的演奏之中
to think that the words might be somewhere in the orchestra.
作为演员
eing actors,
爱玛和我忍不住想作个尝试
Emma and I couldn't resist trying an experiment here
看看柏辽兹的谱曲到底跟莎士比亚的台词
just how closely does Berlioz parallel Shakespeare's lines
和阳台场景的表演有多么相似
and the action from the balcony scene with his music？
轻声 那边窗子里亮起来的是什么光
ut soft! what light through yonder window breaks？
那就是东方 朱丽叶就是太阳
It is the east and Juliet is the sun.
你可以从大提琴激动的乐句攀升之中
You can clearly hear Romeo's climb to the balcony
听出罗密欧爬上了花园阳台
in the cellos' ardent ascending phrase
还有随后喜悦的音乐声中听出
and Romeo and Juliet's blossoming love
罗密欧和朱丽叶的炽热爱意
in the radiant music that follows.
柏辽兹努力地通过音乐
erlioz strives to give the audience
将他自己所感受到的莎士比亚诗词里的
all the nuance and drama of Shakespeare's poetry
剧情和微妙细节表达出来
as he himself experienced it.
他说 莎士比亚犹如一阵雷击
hakespeare, he said, hit me like a thunder bolt,
电闪雷鸣间 为我照亮了整个艺术天堂
and revealed in a flash of lightning the whole heaven of art.
当他首次见到哈里特在台上饰演朱丽叶时
When he'd first seen Harriet portray Juliet on stage,
他还不会说英语
he spoke no English.
而现在 仅十年之后
ow, ten years later,
他不但精通了这门语言
he'd mastered the language
还能将它转化为音乐
and could translate it into music.
你是什么人 在黑夜里躲躲闪闪地
What man art thou that thus bescreen'd in night
偷听人家的话
o stumblest on my counsel？
我没法告诉你我叫什么名字
I know not how to tell thee who I am.
敬爱的神明 我痛恨我自己的名字
My name, dear saint, is hateful to myself,
因为它是你的仇敌
ecause it is an enemy to thee;
我的耳朵里
My ears
还没有灌进从你嘴里吐出来的一百个字
have not yet drunk a hundred words of that tongue's uttering,
可是我认识你的声音
yet I know the sound:
你不是罗密欧 蒙太古家里的人吗
Art thou not Romeo and a Montague？
不是 美人 要是你不喜欢这两个名字
either, fair saint, if either thee displease.
《罗密欧与朱丽叶》公演三年之后
Three years after the premiere of Romeo and Juliet,
他和哈里特的婚姻破裂了 两人分手
he and Harriet's marriage failed and they separated.
她于十年之后逝世
he died a decade later.
而在柏辽兹临死之前
Then, shortly before his own death,
他回到了他的出生地
erlioz returned to Grenoble in provincial France,
法国城市格勒诺布尔
where he'd been born.
年过六旬 健康欠佳又无人陪伴
Over 60, lonely and in failing health,
他心中充满了童年回忆
he was overcome by childhood memories.
他青少年时期
As a teenager,
曾迷恋过一位名叫爱斯特尔的女孩
he'd been infatuated by a girl called Estelle.
他在故乡又找到了她
He now tracked her down
即使她已是一位70岁的寡妇
and though she was a widow of 70,
但在他心中 她一点也没变
in his imagination, she seemed unchanged.
点亮我人生初期的星星 他向她表白
tar who brightened the morning of my life, he declared to her,
我应当写一首交响曲送你
I should write you a symphony.
只有乐曲 才能表达出我对你的情感
Only with the orchestra can I express what I feel for you.
柏辽兹的标题交响曲
erlioz's literary symphonies
实现了贝多芬在《田园交响曲》中
realised the potential for storytelling
所尝试的利用音乐叙述故事的潜力
that Beethoven had first explored with his Pastoral Symphony.
交响乐史上的下一步发展
ut the next step forward for symphonic writing
来自一个以德国小镇魏玛为中心的思想流派
was to come from a school of thought centred on a small town in Germany called Weimar.
主要由这两位思想家统领
It was dominated by these two intellectual giants.
左边的这位 是约翰·沃尔夫冈·冯·歌德
The first, on the left, Johann Wolfgang von Goethe,
而右边的这位是弗里德里希·席勒
and on the right, Friedrich Schiller,
他的《欢乐颂》
whose Ode To Joy,
被贝多芬谱入了《第九交响曲》
eethoven had set in his Ninth Symphony.
魏玛是19世纪中期
Weimar was a powerhouse of political and
德国的政治和哲学的思想中心
hilosophical thought in the middle of the 19th century.
但其实是另一位魅力超凡的大师
ut it was one charismatic individual
使魏玛在音乐世界里众所周知
who was to put it on the musical map.
这就是他改编的钢琴版贝多芬《第九交响曲》
And this is his distinctive piano arrangement of Beethoven's Ninth.
他就是伟大的弗朗茨·李斯特
He was the great Franz Liszt.
当魏玛宫廷向李斯特发出
When Liszt was offered the post of artist
入住艺术家的职位邀请时
y the court here in Weimar,
许多人都感到惊讶
many people were surprised.
他当时是欧洲最有名的钢琴演奏家
He was the most famous piano virtuoso in Europe,
他的个性和天赋早已像个摇滚明星一般
a personality and a talent that had been adored and celebrated
被人们崇拜和赞美了二十年
like a rock star for 20 years.
但他在指挥方面基本没什么经验
ut he had little experience of conducting
而他谱写的大部分曲子都是钢琴曲
and most of his compositions were for the piano.
这位耀眼的男子到底为什么
Why on earth would this flamboyant man
愿意担负起作为特别宫廷乐长
take on the unfamiliar responsibilities
所需要做的乐团管理和指挥
of executive manager and conductor
这些不熟悉的职责呢
that his role as Kapellmeister extraordinaire required？
或许答案就在这里
erhaps this was part of the appeal.
与贝多芬和柏辽兹不同
Unlike Beethoven and Berlioz,
他们作为自由音乐家几乎没挣到什么钱
who never made much money from their careers as freelance musicians,
李斯特却一直过着富裕又舒适的生活
Liszt was used to an affluent and comfortable lifestyle.
接受来自于魏玛大公爵的资助
Accepting the patronage of the Grand Duke of Weimar
意味着他可以继续在他所熟悉的
ow guaranteed that he could continue to live and work
奢侈环境中生活和工作
in the lavish style to which he'd become accustomed.
在他来到魏玛的头十年里 他谱写了
In his first decade here, he wrote a dozen,
12首交响诗 而不是交响曲
ot symphonies, but symphonic poems,
这是种单乐章曲目 利用整个管弦乐团
ingle
来尝试新的音乐叙事方式
to explore new ways of pursuing a musical narrative.
它们都是标题音乐 并且极富文学色彩
They were all programmatic and highly literate.
他的灵感来源包括席勒和莎士比亚
His sources include Schiller and Shakespeare,
但这些交响诗并不是线性的故事叙述
ut they refrain from any kind of linear story.
其中对于情绪和性格的刻画
In their concentration on mood and character,
是一种深入的阐述 而非简单的转述
they were more like illustrations than translations.
他的想法是 这种新音乐
The idea was that this new music,
这种前卫的交响乐
this symphonic avant
能够跟一群有文化底蕴
would speak to an educated audience
已了解文学背景的观众沟通
that already knew the literature behind the work.
他作曲中的想法反映出了
His compositional ideas reflected
他的性格 他的浮夸
his own individuality, his own flamboyance,
甚至可以说是 他以自我为中心的个性
his own egocentric personality, perhaps one could say.
而他决定走一条非常黑暗又骇人的路
And he decided to go down a very dark and macabre path.
所以自然而然地
o it was natural
他会被这部伟大的德国戏剧所吸引
that he would be drawn to the great German play
歌德的《浮士德》
Goethe's Faust.
李斯特的首部完整规模交响曲
Liszt's first full
为歌德的诗剧 配上了深刻有力
is a powerful and disturbing orchestral companion piece
而又令人不安的音乐
to Goethe's poetic drama
讲述浮士德将灵魂出卖给魔鬼的故事
about a man who sells his soul to the devil,
此曲是为一尊于1857年在魏玛镇广场
written for the inauguration of a statue
落成的雕像而谱写的
in Weimar town square in 1857.
李斯特钟爱于《浮士德》的故事
Liszt was genuinely thrilled by both the Faust story
和歌德提出的 关于艺术和美的激进想法
and by the radical ideas about art and beauty that Goethe had developed.
歌德认为追求卓越和高品位
Goethe believed that excellence and good taste
能够将强调均衡的古典主义思想
could unite the polarities of classicism with its concern for balance and proportion,
与强调个人情感的浪漫主义思想
and the wilder philosophy of romanticism, which put the individual and his concerns
结合在一起
at the centre of the universe.
李斯特认为他饱读诗书的观众们
Liszt assumed that his educated audience
已熟知歌德的《浮士德》
were familiar with both Goethe's Faust
和其背后的理念
and with the philosophy behind it.
他希望自己的交响诗
His ambition for his symphonic poetry
能够将听众的现有知性思维
was that it would convert the listener's existing intellectual thoughts
转化为发自内心的感性反应
into