雙語(yǔ)對(duì)照8真實(shí)的維也納外人

2024.01.30 陜西

8. The authentic¹ outsider

It's surely a joke. Nikolaus Harnoncourt is to conduct the New Year's day concert at the Vienna Musikverein.Yes,Harnoncourt--pioneer of “ period” performance, a musician of the utmost seriousness, the antithesis² of the star conductor who usually leads the Vienna Philharmonic³ on its new year whirl⁴.

　　But no, it's not a joke. Conducting Johann Strauss is a serious business, and we can lay a safe bet that Harnoncourt will overturn⁵ our preconceptions of the Viennese waltz. Austrian by parentage if not by birth, he studied in Vienna, spent 17 years of his early professional life as a cellist⁶ in the Vienna Symphony Orchestra, and knows the city's musical traditions as well as any.

　　But tradition, for Harnoncourt, means schmutz⁷(dirt). Harnoncourt is a man who searches after musical truth, who refuses to fall back on received wisdom, who can be guaranteed to bring a fresh dimension⁸ to the most familiar tune.

　　Then came his revolutionary Beethoven and the start of a trail blazing⁹ relationship with the Chamber Orchestra of Europe, to whom he remains a spiritual father. When he finally made his Salzburg festival debut with the Missa Solemnis in 1991, the stage seemed set for Harnoncourt to assume the throne vacated by Herbert von Karajan.

　　It was not to be. Harnoncourt has never been interested in power...Harnoncourt is a musical idealist: he has powerful views and strong arguments to support them.

　　Most of all, Harnoncourt wants to be accepted by the Viennese establishment¹⁰, to whom he has always been a bit of an outsider. The New Year's day concert will be the ultimate test of how far it has taken him to its heart¹¹. Many expressed surprise when the Vienna Philharmonic decided to invite him--less because of his media-shy¹² personality, more because this arch-traditional orchestra has always been suspicious of his radicalism¹³. Perhaps the musicians finally recognised the time had come to question their assumptions about Strauss, to subject The Blue Danube to the same stylistic¹⁴ re- appraisal that has illuminated¹⁵ our understanding of other 19^th-century composers. No one is better qualified to do so than Harnoncourt.

　　For his part, Harnoncourt rejects the notion¹⁶ that he will be teaching his fellow Viennese how to shape a waltz. “ I will have in front of me 80 musicians with enormous experience. Many of them play in smaller groups devoted only to Viennese music. I'm ready to take inspiration from them, just as I hope they will be ready to accept what I offer them.”

　　Harnoncourt is a passionate believer¹⁷ in Strauss. He says it's a mistake to see Strauss as a composer of light music¹⁸. “ Strauss has something in common with Schubert: both mix humour with sadness. It's just that the proportions are different. In every piece of Schubert I find death, but behind it I see a heavenly¹⁹ smile. In Johann Strauss it's similar, only with more of a smile, fewer tears. I cannot hear any polka²⁰without sensing a farewell. It's a great feast²¹, but you're always aware that it's finite, it has to come to an end. That's part of the message.”

　　A CD of the 2001 New Year's day concert was released by Teldec on January 22.

真實(shí)的維也納“”

這肯定是在開(kāi)玩笑，在維也納音樂(lè)大廳舉行的2001年新年音樂(lè)會(huì)將由尼古勞斯·哈農(nóng)考特指揮。是的，哈農(nóng)考特是演藝界的“一代”先鋒，一位極嚴(yán)肅的音樂(lè)家，還是在一年一度紛繁的新年演出中通常率領(lǐng)維也納愛(ài)樂(lè)樂(lè)團(tuán)的明星指揮的對(duì)立面。

　　不，可這又不是開(kāi)玩笑，因?yàn)橹笓]約翰·施特勞斯的音樂(lè)是一件非常嚴(yán)肅的工作。我們堅(jiān)信：哈農(nóng)考特肯定會(huì)打破我們對(duì)維也納華爾茲固有的觀念。他不是出生在奧地利，但他曾在維也納讀書(shū)；還作為一名大提琴手在維也納交響樂(lè)團(tuán)度過(guò)了17年的早期職業(yè)音樂(lè)家生涯。他很了解維也納這座城市的音樂(lè)傳統(tǒng)。

　　但是，對(duì)于哈農(nóng)考特來(lái)說(shuō)，傳統(tǒng)就意味著腐朽。他是一位追尋音樂(lè)真諦的人，反對(duì)固守陳規(guī)，他保證能夠把人們最熟悉的音律處理出新意來(lái)。

　　然后他革命性地詮釋了貝多芬的音樂(lè)，并開(kāi)始與歐洲室內(nèi)樂(lè)團(tuán)結(jié)成史無(wú)前例的親密關(guān)系。對(duì)他們來(lái)說(shuō)，他是一位精神之父。1991年，當(dāng)他完成薩爾茨堡節(jié)日首演《莊嚴(yán)的大彌撒》之后，音樂(lè)舞臺(tái)上能夠填補(bǔ)赫伯特·馮·卡拉揚(yáng)空下的寶座的人似乎非他莫屬。

　　但事實(shí)并非如此，因?yàn)楣r(nóng)考特對(duì)權(quán)力從來(lái)不感興趣。他是一位音樂(lè)理想主義者：他的觀點(diǎn)堅(jiān)強(qiáng)有力，并有不可動(dòng)搖的論據(jù)支持他的觀點(diǎn)。

　　哈農(nóng)考特最希望能被維也納音樂(lè)界權(quán)勢(shì)集團(tuán)所接受。對(duì)維也納人來(lái)說(shuō)，他始終有點(diǎn)像是外人。維也納新年音樂(lè)會(huì)將是最終檢驗(yàn)他是否被真正接受的試金石。當(dāng)維也納愛(ài)樂(lè)樂(lè)團(tuán)決定邀請(qǐng)他指揮2001年新年音樂(lè)會(huì)時(shí)，許多人都大為驚訝。這倒不是由于他不愿在公眾場(chǎng)合露面的性格，而是由于這個(gè)最傳統(tǒng)的交響樂(lè)團(tuán)一直對(duì)他的激進(jìn)主義觀點(diǎn)抱有疑慮。這也許表明，維也納音樂(lè)家們最終認(rèn)識(shí)到他們對(duì)施特勞斯的自以為是的理解該受到質(zhì)疑的時(shí)間已經(jīng)到來(lái)，就像我們對(duì)19世紀(jì)其他作曲家的理解得到啟發(fā)一樣，《藍(lán)色多瑙河》的藝術(shù)風(fēng)格也應(yīng)被重新評(píng)價(jià)。在這一工作中，哈農(nóng)考特是最有資格的了。

　　不過(guò)，在哈農(nóng)考特方面，他卻拒絕接受這種看法，即去教他的維也納同行如何塑造華爾茲。他說(shuō)，“在我面前有80位音樂(lè)家，他們都有很豐富的經(jīng)驗(yàn)。他們中有許多人在比較小的樂(lè)團(tuán)中只演奏維也納音樂(lè)。我已準(zhǔn)備從他們那里汲取靈感，正如我希望他們會(huì)愿意接受我向他們提供的東西?！?/p>

　　哈農(nóng)考特是施特勞斯的狂熱崇拜者。他說(shuō)，把施特勞斯當(dāng)作輕音樂(lè)作曲家，是錯(cuò)誤的。“施特勞斯與舒伯特的音樂(lè)有某種相同之處：兩者都是幽默加憂傷的混合體。兩者的不同在于幽默與憂傷比例上的差異。在舒伯特的每一部作品中我都能發(fā)現(xiàn)死亡，但是在死亡的背后，我卻可以看到超凡的微笑。在約翰·施特勞斯的作品里，可以發(fā)現(xiàn)同樣的情形，只不過(guò)笑聲多一點(diǎn)，淚水少一點(diǎn)。我在任何一首波爾卡中都能聽(tīng)到告別的聲音。每一首波爾卡都是一個(gè)大宴。但是你總是可以意識(shí)到曲終人散的信息。這是部分信息?！?/p>

　　2001年新年音樂(lè)會(huì)的CD在1月22日公開(kāi)發(fā)行，由Teldec公司錄制。

1.authentic[C:5Wentik]adj.真實(shí)的，真正的

2.antithesis[An5tiWisis]n.對(duì)立面

3.Philharmonic[filB:5mCnik]n.[口]愛(ài)樂(lè)團(tuán)體

4.whirl[w\:l]n.接連不斷的活動(dòng)

5.overturn[7EuvE5tE:n]vt.打破，推翻

6.cellist[ `tFelIst ]n.大提琴手

7.schmutz[FmB:lts]n.[俚]垃圾，廢物

8.dimension[di5menFEn]n.特點(diǎn)，特性

9.trail-blazingadj.開(kāi)拓者的，先驅(qū)的

10.establishment[is5tAbliFmEnt]n.權(quán)勢(shì)集團(tuán)

11.taketoone’sheart非常喜愛(ài)