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
by 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
Beethoven was a revolutionary and idealist,
柏辽兹则生性叛逆 且极富远见
Berlioz 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
but 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
Beethoven 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
Now this was completely original.
只有贝多芬一人 敢于缔造如此前卫的风格
Nobody 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
Berlioz 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
new 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
piano 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
But how must it have sounded to that original audience?
贝多芬呈现的是纯粹的音乐
Beethoven presented it as pure music.
并未指出其中的深意
No 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
Born 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
surely the cruellest of tragedies for a musician.
然而贝多芬具有钢铁般的意志
But 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
builds 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
Now 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
Now he does this by making the orchestra
在演奏这一段时 要尽可能轻柔
play 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
Beethoven was a teenager,
因母亲早亡 他只得为养家糊口而奔忙
struggling 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
badly 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
But 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
Beethoven 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
no longer measured in terms of wealth or social status,
每个人都得以在自然中
but 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
by 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
but 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
sends 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
Not 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
scene 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...
Normally, 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
but 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
Napoleon invades Austria and occupies Vienna.
贝多芬藏身于哥哥家的地下室内
Beethoven hides in his brother's cellar,
法军炮声震天 为了保护听觉
protecting his ears from the sound of French cannon
他只得将脑袋深埋于枕头之中
by 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
Such 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
Sadly, 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
Now 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
Now 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
Blimey, 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
Beethoven'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
but 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
but 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
So 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
but 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
so he was about 20 or 21.
为这首诗谱曲的想法
So 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
before 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
seemed 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
performed 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
because you can always say we need to come together
因为我们本身很排斥
because 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
so the piece can be read two ways.
但乐曲本身的含义毫不含糊
But the music isn't ambiguous at all, is it?
对 是赞扬欢乐的
No, 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
Something 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
Beethoven 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
Beethoven 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
but 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
But 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
Schubert acquired a reputation for his songs and piano pieces,
但事实上 他也创作了多部交响乐
but 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
none 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
But 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
by 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
but 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
but 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
Schubert'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
But 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
Beethoven, 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
Berlioz 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
but 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
Berlioz, 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
named 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
But 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
Berlioz 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
Berlioz'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
Pushed 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
but 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
Berlioz was profoundly influenced by Beethoven's music,
但他从贝多芬的范本中
but 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
but 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
So 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
but 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
Berlioz 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
Berlioz 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
Berlioz 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
Berlioz'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
Bizarre 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
Berlioz 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
she was, of course, playing Juliet.
柏辽兹疯狂地爱上了她
Berlioz 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
be 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.
So 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
Now, 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
so 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
so he could follow her movements to and from the theatre.
所以其实他在跟踪她
So 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
she attends a concert, which she doesn't normally do.
她并不十分热衷于古典乐
She'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
But she didn't.
但那天晚上 他们终于认识了彼此
But 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
Being 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
But 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
Berlioz 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
Shakespeare, 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
Now, 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
So 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
Because 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
Neither, 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
She 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
Berlioz 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
Star 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
Berlioz'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
But 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》
Beethoven 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
philosophical thought in the middle of the 19th century.
但其实是另一位魅力超凡的大师
But 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
by 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
But 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
Perhaps 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
now 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
not symphonies, but symphonic poems,
这是种单乐章曲目 利用整个管弦乐团
single
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
but 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
So 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 a visceral, emotional reaction.
理解李斯特交响诗的最好方法之一
One of the best ways to look at a Liszt symphonic poem
就是将它与默片时代的音乐进行对比
is to compare it with that period, you know, the silent film era,
当时的钢琴家们会根据情况
where the pianists were dished out with certain quotations
选择表现不同情绪的乐曲进行演奏
from various pieces of music that had moods and things.
例如 要表现危急或忧伤的情景时
So you had, you know, crisis or melancholy
你会这样弹
and you'd go like this...
或是伤感或悲哀之时...
Or something sentimental or pathetic...
我随便编的
Just making that up.
李斯特使用的正是这些手法
Because Liszt is using all of these types,
将它们拼凑在一起 组成了一系列画面
putting them together as a series of pictures.
交响曲中的三个乐章
Each of the symphony's three movements
分别描绘了剧中的三个关键人物
depicts one of the drama's three key characters,
从浮士德自己开始
starting with Faust himself.
李斯特直接带领我们进入这位悲情人物
And Liszt plunges us straight into the maelstrom
困惑而又焦躁不安的思想漩涡之中
of this unfortunate soul's troubled, restless thoughts.
悠长缓慢的第二乐章
The long, slow second movement
描写的是女主角 格雷琴
is a portrait of Gretchen, the heroine.
在这里 管弦乐团的两个部分
Here, two sections of the orchestra,
小提琴和木管乐器
the violins and the woodwind,
交织在一起 描绘了一个单纯少女
interweave to evoke a simple girl
一边摘下花瓣 一边想念心上人的情景
thinking about her lover whilst plucking at the petals of a flower,
他爱我 他不爱我
he loves me, he loves me not.
第三乐章代表了梅菲斯托费勒斯
The third movement represents Mephistopheles.
李斯特并没为梅菲斯托费勒斯写新的主旋律
Liszt doesn't give Mephistopheles any original themes.
歌德宣称邪恶并不能创造出新事物
Goethe maintained that evil couldn't create anything,
只懂得毁灭
it could only destroy.
所以第一乐章里的浮士德主旋律
And so Faust's themes from the first movement
被扭曲破坏成了梅菲斯托费勒斯的音乐
are warped, mutilated, distorted by Mephistopheles' music,
正如主人翁自己屈服于恶魔一样
just as the hero himself succumbed to the devil.
这段音乐并不悦耳
This was difficult music,
有些部分听起来焦躁不安 难以入耳
sometimes violent and uncomfortable to listen to
很多人认为其不能算作音乐
and many would reject it as unmusical.
年纪轻轻就尝尽成功和奉承的钢琴巨星李斯特
Liszt, who'd tasted success and adulation as a young piano superstar,
似乎已不在乎失去那些平庸的听众了
now seemed happy to alienate casual listeners if necessary.
但他通过乐旨来刻画
But his ability to portray characters
人物以及其情感生活的能力
and their emotional lives through musical motifs
深刻地影响了许多与他同时代的音乐家
was to influence, profoundly, many of his contemporaries.
理查德·瓦格纳前往魏玛 拜访了李斯特
Richard Wagner visited Liszt in Weimar.
他称交响诗为未来的音乐
He called symphonic poetry the music of the future,
并且大方地承认
and freely admitted that
他的歌剧大量地借鉴了李斯特的音乐
he'd borrowed heavily from Liszt in his operas.
除了他自己的原创作曲之外
Aside from his actual compositions,
李斯特在交响乐历史里其它的伟大贡献
Liszt's other great contribution to the history of the symphony
还包括贝多芬和柏辽兹
is his clever keyboard transcriptions
多部交响曲的钢琴改编曲
of music by Beethoven and Berlioz.
在还没有录音技术的时代
In an age before recording,
这些可以让人们在自家钢琴上
these elegant versions of orchestral music
弹出的优雅版管弦乐曲
that you could play at home on your own piano
对于传播和普及交响曲
were essential in the disseminating
起到了关键作用
and popularising of the symphony.
到19世纪中期
By the middle of the 19th century,
交响乐被视为作曲家艺术修养的最高表现
the symphony was seen as the supreme expression of a composer's art
而它的创作者被奉为时代的英雄
and its creators enshrined as heroes of the age.
在中央公墓 维也纳的主要陵园
Here in the Zentralfriedhof, Vienna's main cemetery,
两位伟大的交响乐作曲家找到了最终归宿
two of our great symphonists found their final resting place.
贝多芬在逝世数年后被搬移至此
Beethoven, who was moved here some years after his death
与其同时重新安葬于此的 还有舒伯特
and Schubert, re
正如舒伯特所希望的那样
and lying, as he wished apparently,
他的陵墓距自己伟大的前辈 只有几步之遥
just a few steps from his great predecessor.
然而 有个很严重的问题
However, there was a serious problem.
李斯特和柏辽兹已将
Now that Liszt and Berlioz had
运用文学文本支持的叙事型
perfected the form's ability to tell stories,
音乐模式完善化了
if supported by a literary text,
那么原先抽象化的纯音乐
had the abstract, pure music model
那种单纯通过乐器声描绘故事的手法
storytelling by instrumental sounds alone,
已随着贝多芬和舒伯特的逝世而消失了吗
died along with Beethoven and Schubert?
但也有一些人
But there were those
虽然承认问题所在
who while admitting there was a problem,
但拒绝向难题低头
refused to accept that it was insurmountable
他们追求着一条不同的途径
and pursued a different path,
带领交响乐史迈入一个新的阶段
a new step forward in the history of the symphony.
下一集 我们将追随
In the next episode, we trace
约翰内斯·勃拉姆斯的步伐进入纯音乐的世界
Johannes Brahms' journey into the realm of pure music.
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,
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
by 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
Beethoven was a revolutionary and idealist,
柏辽兹则生性叛逆 且极富远见
Berlioz 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
but 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
Beethoven 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
Now this was completely original.
只有贝多芬一人 敢于缔造如此前卫的风格
Nobody 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
Berlioz 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
new 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
piano 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
But how must it have sounded to that original audience?
贝多芬呈现的是纯粹的音乐
Beethoven presented it as pure music.
并未指出其中的深意
No 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
Born 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
surely the cruellest of tragedies for a musician.
然而贝多芬具有钢铁般的意志
But 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
builds 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
Now 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
Now he does this by making the orchestra
在演奏这一段时 要尽可能轻柔
play 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
Beethoven was a teenager,
因母亲早亡 他只得为养家糊口而奔忙
struggling 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
badly 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
But 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
Beethoven 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
no longer measured in terms of wealth or social status,
每个人都得以在自然中
but 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
by 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
but 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
sends 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
Not 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
scene 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...
Normally, 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
but 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
Napoleon invades Austria and occupies Vienna.
贝多芬藏身于哥哥家的地下室内
Beethoven hides in his brother's cellar,
法军炮声震天 为了保护听觉
protecting his ears from the sound of French cannon
他只得将脑袋深埋于枕头之中
by 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
Such 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
Sadly, 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
Now 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
Now 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
Blimey, 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
Beethoven'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
but 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
but 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
So 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
but 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
so he was about 20 or 21.
为这首诗谱曲的想法
So 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
before 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
seemed 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
performed 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
because you can always say we need to come together
因为我们本身很排斥
because 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
so the piece can be read two ways.
但乐曲本身的含义毫不含糊
But the music isn't ambiguous at all, is it?
对 是赞扬欢乐的
No, 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
Something 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
Beethoven 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
Beethoven 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
but 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
But 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
Schubert acquired a reputation for his songs and piano pieces,
但事实上 他也创作了多部交响乐
but 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
none 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
But 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
by 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
but 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
but 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
Schubert'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
But 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
Beethoven, 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
Berlioz 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
but 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
Berlioz, 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
named 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
But 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
Berlioz 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
Berlioz'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
Pushed 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
but 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
Berlioz was profoundly influenced by Beethoven's music,
但他从贝多芬的范本中
but 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
but 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
So 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
but 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
Berlioz 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
Berlioz 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
Berlioz 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
Berlioz'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
Bizarre 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
Berlioz 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
she was, of course, playing Juliet.
柏辽兹疯狂地爱上了她
Berlioz 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
be 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.
So 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
Now, 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
so 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
so he could follow her movements to and from the theatre.
所以其实他在跟踪她
So 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
she attends a concert, which she doesn't normally do.
她并不十分热衷于古典乐
She'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
But she didn't.
但那天晚上 他们终于认识了彼此
But 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
Being 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
But 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
Berlioz 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
Shakespeare, 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
Now, 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
So 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
Because 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
Neither, 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
She 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
Berlioz 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
Star 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
Berlioz'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
But 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》
Beethoven 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
philosophical thought in the middle of the 19th century.
但其实是另一位魅力超凡的大师
But 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
by 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
But 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
Perhaps 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
now 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
not symphonies, but symphonic poems,
这是种单乐章曲目 利用整个管弦乐团
single
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
but 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
So 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 a visceral, emotional reaction.
理解李斯特交响诗的最好方法之一
One of the best ways to look at a Liszt symphonic poem
就是将它与默片时代的音乐进行对比
is to compare it with that period, you know, the silent film era,
当时的钢琴家们会根据情况
where the pianists were dished out with certain quotations
选择表现不同情绪的乐曲进行演奏
from various pieces of music that had moods and things.
例如 要表现危急或忧伤的情景时
So you had, you know, crisis or melancholy
你会这样弹
and you'd go like this...
或是伤感或悲哀之时...
Or something sentimental or pathetic...
我随便编的
Just making that up.
李斯特使用的正是这些手法
Because Liszt is using all of these types,
将它们拼凑在一起 组成了一系列画面
putting them together as a series of pictures.
交响曲中的三个乐章
Each of the symphony's three movements
分别描绘了剧中的三个关键人物
depicts one of the drama's three key characters,
从浮士德自己开始
starting with Faust himself.
李斯特直接带领我们进入这位悲情人物
And Liszt plunges us straight into the maelstrom
困惑而又焦躁不安的思想漩涡之中
of this unfortunate soul's troubled, restless thoughts.
悠长缓慢的第二乐章
The long, slow second movement
描写的是女主角 格雷琴
is a portrait of Gretchen, the heroine.
在这里 管弦乐团的两个部分
Here, two sections of the orchestra,
小提琴和木管乐器
the violins and the woodwind,
交织在一起 描绘了一个单纯少女
interweave to evoke a simple girl
一边摘下花瓣 一边想念心上人的情景
thinking about her lover whilst plucking at the petals of a flower,
他爱我 他不爱我
he loves me, he loves me not.
第三乐章代表了梅菲斯托费勒斯
The third movement represents Mephistopheles.
李斯特并没为梅菲斯托费勒斯写新的主旋律
Liszt doesn't give Mephistopheles any original themes.
歌德宣称邪恶并不能创造出新事物
Goethe maintained that evil couldn't create anything,
只懂得毁灭
it could only destroy.
所以第一乐章里的浮士德主旋律
And so Faust's themes from the first movement
被扭曲破坏成了梅菲斯托费勒斯的音乐
are warped, mutilated, distorted by Mephistopheles' music,
正如主人翁自己屈服于恶魔一样
just as the hero himself succumbed to the devil.
这段音乐并不悦耳
This was difficult music,
有些部分听起来焦躁不安 难以入耳
sometimes violent and uncomfortable to listen to
很多人认为其不能算作音乐
and many would reject it as unmusical.
年纪轻轻就尝尽成功和奉承的钢琴巨星李斯特
Liszt, who'd tasted success and adulation as a young piano superstar,
似乎已不在乎失去那些平庸的听众了
now seemed happy to alienate casual listeners if necessary.
但他通过乐旨来刻画
But his ability to portray characters
人物以及其情感生活的能力
and their emotional lives through musical motifs
深刻地影响了许多与他同时代的音乐家
was to influence, profoundly, many of his contemporaries.
理查德·瓦格纳前往魏玛 拜访了李斯特
Richard Wagner visited Liszt in Weimar.
他称交响诗为未来的音乐
He called symphonic poetry the music of the future,
并且大方地承认
and freely admitted that
他的歌剧大量地借鉴了李斯特的音乐
he'd borrowed heavily from Liszt in his operas.
除了他自己的原创作曲之外
Aside from his actual compositions,
李斯特在交响乐历史里其它的伟大贡献
Liszt's other great contribution to the history of the symphony
还包括贝多芬和柏辽兹
is his clever keyboard transcriptions
多部交响曲的钢琴改编曲
of music by Beethoven and Berlioz.
在还没有录音技术的时代
In an age before recording,
这些可以让人们在自家钢琴上
these elegant versions of orchestral music
弹出的优雅版管弦乐曲
that you could play at home on your own piano
对于传播和普及交响曲
were essential in the disseminating
起到了关键作用
and popularising of the symphony.
到19世纪中期
By the middle of the 19th century,
交响乐被视为作曲家艺术修养的最高表现
the symphony was seen as the supreme expression of a composer's art
而它的创作者被奉为时代的英雄
and its creators enshrined as heroes of the age.
在中央公墓 维也纳的主要陵园
Here in the Zentralfriedhof, Vienna's main cemetery,
两位伟大的交响乐作曲家找到了最终归宿
two of our great symphonists found their final resting place.
贝多芬在逝世数年后被搬移至此
Beethoven, who was moved here some years after his death
与其同时重新安葬于此的 还有舒伯特
and Schubert, re
正如舒伯特所希望的那样
and lying, as he wished apparently,
他的陵墓距自己伟大的前辈 只有几步之遥
just a few steps from his great predecessor.
然而 有个很严重的问题
However, there was a serious problem.
李斯特和柏辽兹已将
Now that Liszt and Berlioz had
运用文学文本支持的叙事型
perfected the form's ability to tell stories,
音乐模式完善化了
if supported by a literary text,
那么原先抽象化的纯音乐
had the abstract, pure music model
那种单纯通过乐器声描绘故事的手法
storytelling by instrumental sounds alone,
已随着贝多芬和舒伯特的逝世而消失了吗
died along with Beethoven and Schubert?
但也有一些人
But there were those
虽然承认问题所在
who while admitting there was a problem,
但拒绝向难题低头
refused to accept that it was insurmountable
他们追求着一条不同的途径
and pursued a different path,
带领交响乐史迈入一个新的阶段
a new step forward in the history of the symphony.
下一集 我们将追随
In the next episode, we trace
约翰内斯·勃拉姆斯的步伐进入纯音乐的世界
Johannes Brahms' journey into the realm of pure music.
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,
这篇影评有剧透
