前一阵子我把贝姆的口述自传翻译出来了 这篇英文是original master中手册的英文摘要 不过我并不是逐句翻译, 而有经过一点润饰, 改的比较像口语中文的形式 因为中文句子里, 如果英文文法太多读起来会很累 不过究竟翻得好不好那就是另外一回事了, 所以也把原文附上来 给大家参考参考吧 ------------------------------------------------------------------------- Erzahltes Leben (A Life Retold) Karl Bohm, A Narrated Autobiography Recording: Salzburg, July 1960 Summary prepared by Alan Newcombe, translated by Hannyi Chao Early years in Graz I am now at the age when one questions whether an interpretation is correct or not. I am convinced that it is most satisfying for an artist when the name Bohm – and not any title or professorship – has become synonymous with a certain quality in that respect. 人到了某个年龄之後，就可以大致上论断他的一生是否活得有价值，以音乐的 术语来讲，就是他对自己的人生，是否有一个正确的诠释、是否有一个完美的 演出。现在的我，差不多已经到了这种年龄了。我深信，一个艺术家的荣耀， 非来自於任何头衔。若我能具备某种值得世人尊敬的特质，而使贝姆这个名字 成为某种典范之代名词，这才是一个艺术家所能得到的最高殊荣。 According to my mother’s diary, the first world I uttered was “min”, by which I meant “music”. Every day at 11 o’clock I heard a military band on its way to the nearby barracks. 根据我母亲日记的记载：襁褓中的我，呀呀而出的第一个字是 “min” ，这 个字所指的就是「音乐」。当时，每天早上11点，我总会听到军乐队在行军时 的演奏。 My father was a lawyer endowed with a beautiful baritone voice – he was the legal counselor of the Graz opera house. I receive piano lessons, notably from the harpist of the Graz opera orchestra, Franz Weiss, and was able to attend all the rehearsals for Der Rosenkavalier with him. I have been haunted ever since by the sounds of the “presentation of the Silver Rose”. 父亲是一位律师，有着一口美妙的男中音嗓音，他是Graz歌剧院的法律顾问。 我开始学习钢琴时，特别受到了Franz Weiss的指导。他是Graz歌剧院的竖琴 手，也因此我能跟随着他参加所有《玫瑰骑士》的采排。当时，那 presentation of the Silver Rose的乐音，一直萦绕在我的心头。 It was clear to me that I wanted to become a musician, so in 1913 I went to study harmony, counterpoint and composition with Eusebius Mandyczewski, the archivist of the in Wien. He had been Johannes Brahms’s best friend and showed me some of the composer’s manuscripts. 我很清楚地知道，我想成为一个音乐家。所以在1913年，我开始向Eusebius Mandyczewski学习和声学、对位法与作曲。Eusebius Mandyczewski当时是维也 纳Gesellschaft der Musikfreunde的档案管理者，他是布拉姆斯最要好的朋友 之一，我从他那儿看到了许多这位伟大作曲家的手稿。 First Conducting Experiences When the First World War broke out in 1914 I was immediately drafted into the army. As a gifted horse-rider I could have made a brilliant military career, but an accidental blow from a horse’s hoof put an end to that. 1914年第一次世界大战爆发了，很快我被军队徵召。在军中，我是一个优异的 骑士，以当时的情况，我很有希望会建立起一番伟大的勳业。但因为一场我从 马背上摔了下来的意外，为这段未竟全功的潜在勳业，提前划上了句点。 In 1916 I became a repetiteur at Graz opera house and on my second day there had to conduct backstage at short notice during a performance of Aida. The musicians rebelled because I did not even know which way to beat 4/4 time. But I learned quickly and was soon conducting operettas. I remember one amusing occasion when an actress wanted a song transposed down a third but some of the orchestral musicians claimed they could only transpose down a tone. After eight to ten bars we all finally agreed on the key. It was awful – h heard one member of the audience saying that communism had broken out in the theatre! I soon progressed to conducting operas such as [Victor Ernst Nessler’s] Der Trompeter von Sackingen and Weber’s Der Freischutz, while s timultaneously studying for my law doctorate. 在1916年我成为了Graz歌剧院的提词员。在我到剧院的第二天，有一场Aida的 幕後桥段需要指挥，於是我客串上场了。可是当时的我，并不清楚如何比划4/4 拍子，乱比的结果引发严重的抗议，使我几乎被轰下指挥台。但我很快就学会 了，也开始指挥轻歌剧。我记得一个趣事：有次某个女歌手想要降三音来演唱 ，可是乐团中的音乐家坚持只能降一个音。结果在演出八到十个小节以後，我 们彼此的调才终於对了起来。这实在是很恐怖。我还听到有观众说道：「难道 说共产主义们也在歌剧院里面暴动了吗？」不久我开始指挥歌剧，如Victor Ernst Nessler的Der Trompeter von Sackingen与韦伯(Weber)的Der Freischutz。在此同时，我仍然在进行着我的法学博士学程。 Soon I embarked on my first Wagner Opera, Lohengrin. Karl Muck, one of the most famous Bayreuth conductors of the older generation, was in the audience and told me: “even though you conducted the Bridal Chorus like a polka, you have great talent. I would like to go through some Wagner scores with you.” From him I learned much about the authentic tradition of performing Wagner’s works. In the Beethoven Year [1920] I took charge of a new production of Fidelio, following which I was elected chief conductor and directed many concerts and all the great operas, including my beloved Tristan und Isolde. 很快地开始了我第一场的华格纳歌剧演出，演出的是《罗恩格林》。当时Karl Muck也在听众席，他是非常着名的一位前辈级的拜鲁特指挥家。他告诉我：「 虽然你所演出的Bridal Chorus像是一场polka，但可以看出你有天分。我愿意 带你走一遍华格纳的总谱。」从他那里，我学到了许多的华格纳演出传统。接 着，在贝多芬年(1920)，我负责上演全新制作的《费德里奥》，随後获选为歌 剧院的首席指挥，并且演出了很多场的音乐会与所有的歌剧。其中，也包括了 我心爱的《崔斯坦与依索德》。 Munich, Darmstadt and Alban Berg Soon I received a request from Bruno Walter to conduct opera in Munich, so I accepted an engagement at the National Theatre. In the year we were there together I was able to learn a great deal from him. 不久，华尔特(Bruno Walter)邀请我去慕尼黑指挥歌剧。我接受了这家国立歌 剧院的任职。在我们一起共事的那些日子里，我从他的身上学到很大的成长。 After six successful years in Munich I went to Darmstadt as director of music, where I encountered Carl Ebert as Intendant and Rudolf Bing, later general manager of the Metropolitan Opera in New York, as artists’ manager. We put on modern work such as Hindemith’s Neues vom Tage, all the Richard Strauss operas to date and last but not least Berg’s Wozzeck. Berg’s human qualities were just as remarkable as his artistic gifts. I was able to repay his friendship by premiering Wozzeck in Salzburg, Vienna, Naples (after 30 orchestra rehearsals!), Buenos Aires – where it was such a success that all the performances over two seasons were sold out – and at the Met. 在慕尼黑度过六个成功的寒暑之後，我到了Darmstadt指挥。在那儿我遇到了两 位先生：一位是剧院的监督Carl Ebert，以及时任经理的Rudolf Bing。Rudolf Bing後来成为纽约大都会剧院总经理。当时我们一起上演最新的现代音乐制作， 包括亨德密特(Hindemith)的Neues vom Tage、史特劳斯(Richard Strauss)当 时所有的歌剧、以及贝尔格(Alban Berg)最新的(但不是最後的)歌剧—《伍采 克》(Wozzeck)。贝尔格人性的特质，与他优异的音乐天赋相称。我只能在世界 各地首演这部作品，作为我对他情谊的回报。我把这部作品带到了萨尔斯堡、 维也纳、纳普勒斯(Naples)、布宜诺赛利斯(Buenos Aires)、以及大都会。在 纳普勒斯我们排练了超过三十次以上，在布宜诺赛利斯更引起轰动，连续两个乐 季的票都抢购一空。 After Darmstadt I went to Hamburg, where I met Richard Strauss at a performance of his Arabella. Meeting this genius changed my life. 离开Darmstadt之後，我前往汉堡(Hamburg)工作，在那儿我遇到了理查史特劳 斯，当时我正在上演他的歌剧Arabella。与这位天才的相遇改变了我的一生。 Dresden, Richard Strauss and Mozart In 1934 I became opera director in Dresden, where I remined for the next nine years. At the first rehearsal the musicians said “At least we don’t have to learn the dialect”, because one of my most distinguished predecessors there, Ernst von Schuch, also came from Graz. In Dresden I directed two Richard Strauss premieres: Die Schweigsame Frau and Daphne, which is dedicated to me. I went for l ong walks with Strauss during which we talked a lot about Mozart, whom Strauss revered. Once he said: “Do you recall the two adagio bars in the first-act finale of Don Giovanni? I would give up three of my operas to have composed those two bars.” 自1934年起的九年间，我成为德勒斯登(Dresden)歌剧院的指挥。在我第一次排 练时，那儿的音乐家们跟我说：「幸好我们至少不用再学习如何对话了。」因 为Ernst von Schuch也是Graz人，他是我前几任的前辈，是个优秀的音乐家。 在德勒斯登，我为两部史特劳斯的歌剧举行世界首演：《沈默的女人》(Die Schweigsame Frau)与《达芬妮》(Daphne)。其中《达芬尼》是史特劳斯提赠给 我的。我常常与史特劳斯一同散步，一边散步、一边闲聊莫札特。史特劳斯是 敬爱莫札特的。有一次他对我说：「你记不记得《唐乔凡尼》第一幕终曲前， 有两小节慢版？我愿意用我三部歌剧，来交换这两个小节！」 He meant that the transition from the pure joy of the preceding minuet to the tragedy of the following trio, achieved in only two bars, was an example of unsurpassable mastery. 他说这个桥段是从一个纯粹欢愉的小步舞曲，转折到深具悲剧性格的中段，而 这麽戏剧性的转折，竟然用两个小节就完成了。这是莫札特无可比拟之天才的 一个例证。 Another time he told me: “Mozart is the inventor of endless melody. Look at the second Cherubino aria. The melody finishes only when the aria is over. Unfortunately I can only invent little themes, but I do everything a musician can with them.” 另外有一次他告诉我：「莫札特他能创作无止境般绵长的旋律。看看凯鲁碧诺 (Cherubino)的第二咏叹调，整个旋律一直绵延到咏叹调终止才结束。我很不 幸的只能创造有限长度的旋律，但对这些旋律，我做了一切作曲家所能做的工 作。」 Strauss as Conductor and Composer Strauss was also a master of the baton. He was an incomparable interpreter of Mozart and of his own works. I remember a rehearsal of Elektra where he laid down his baton and said: “Gentleman, please play quietly this evening, the composition is so loud!” from Strauss and Muck I learned economy of gesture. Both put it similarly: “The time-beating right hand is to tell the musicians where they are, all the rest comes from the spirit”, meaning that the conductor must identify himself with the score and project it to those around him. This does not succeed very often, and the conductor, as a true artist, is rarely satisfied either with himself or with the orchestra. 史特劳斯也是个指挥专家。在莫札特与他自己的作品方面，他是个无可比拟的 诠释者。我记得有一次，在他排练Elektra时，他放下指挥棒，说：「各位， 今天晚上请大家安静地演奏。这个作品写得实在太吵了。」从史特劳斯与Muck 那儿，我学到了小动作的原则。他们两人都对此抱持着相似的态度：「打拍子 的右手，只是要告诉大家说『我们现在进行到这里。』如此而已。除此之外， 真正带领乐曲的是大家的精神的力量。」这是说指挥者应当以总谱为标准，扮 演中介者的角色，将总谱的理念投射到那些在他四周的演奏者身上。这不是一 件容易的事。事实上身为一个艺术工作者，指挥家很少对他的工作成果满意 ——通常他对乐团、以及指挥乐团的自己，都抱有恨铁不成钢的心理。 A photographer once wanted Strauss to raise both hands in the air while conducting. Strauss refused, saying: “I’ve always said that one should do practically nothing with the left hand, and now you’re forcing me to! No, I’ll put my left hand in my trouser pocket.” Then he conducted Die Frau ohne Schatten, standing up at the climax of the quarter in the last act. Afterwards he asked me what I thought and I said, “Very good, but I thought Dr. Strauss said that one must never stand up and never raise one’s left hand. Today you did both.” Strauss muttered something and changed the subject. Four days later he conducted the work again, and I saw how he was about to stand up at the same climax, but at the last moment he restrained himself and gripped the desk with his left hand. He then waved up to me in my box, a sign both of his control and his sense of humour. Once he said with smile, “I’m not the one who should sweat when I conduct, but the audience.” 有一次，一位摄影师要求史特劳斯做出在指挥时高举双手的动作。史特劳斯一 口回绝，说道：「我曾经讲过，指挥的时候左手最好什麽都不要做，现在你竟 然想强迫我做出使用左手这种事情！不。我要把左手插在裤子的口袋里。」然 後有一次他指挥《没有影子的女人》，在进行到最後一幕四分之一的高潮处， 他从椅子上站了起来。演出结束之後，他问我对於这场演出有没有什麽想法， 我说：「很好。不过我想到史特劳斯博士曾经讲过的：指挥家在演出时绝对不 应该从座椅上站起来，而且也绝不应该扬起他的左手；这两项你今天都做了。 」史特劳斯喃喃自语了几声，就把话题带开了。四天之後他又指挥了同一部作 品，在同一个高潮处，我看见他又作势准备要站起来了，但最後他压制了自己 ，并用左手紧抓着桌子。接着他向我的包厢招了招手，这个小动作一方面展现 了他的自我控制力，也显现了他的幽默感。有一次，他微笑道：「我在指挥时 绝不流汗，汗流浃背是观众的事。」 One day I was with Richard Strauss at his home in Garmisch, with the librettist of Daphne, Joseph Gregor, also present. As Gregor wrote down the text in an upstairs room, the sheets were passed one by one to the composer, who immediately made remarks about rhythm and key. I could hardly keep up with him. Another time he was making a fair copy from some short score sketches and talking to me about Mozart at the same time. I protested that he could not simultaneously compose and talk about other things. He said “Just keep on talking, dear Bohm, that it is the only time when I do not work. Otherwise, the creative process is continuous.” Once he got angry and said, “People call me a renegade. But look at the Klytemnestra scene in Elektra – you can’t get any more modern than that.” 有一天，我在史特劳斯Garmisch的家中作客，《达芬妮》的作词者Joseph Gregor 也在座。Gregor在楼上的房间里面作词，每写完一页，稿件就在我们间传阅， 最後才递到史特劳斯的手上。史特劳斯旋即在其上注明，应采何种旋律、何种 调性。我常常感到自己跟不上他的创作速度。另外一次，他一面从草稿中誊抄 校正本的总谱，同时又跟我聊着莫札特。我觉得这样不妥，说你不能一面作曲 ，又同时分心聊其他东西。他回应道：「继续聊啦，亲爱的贝姆，这是我唯一 放下工作的时刻啊。否则创作会一直在我脑海中自动进行着。」有一次他实在 生气了，说：「有人说我是个被遗弃在过去的人。可是，看看Elektra里面 Klytemnestra那一段，有谁能找出比这段更现代的作品！」 Like all great composers, Strauss was influenced at the beginning of his career, notably by Wagner. But in Till Eulenspiegel he is already completely his own man. His works do sound good not merely because they are well orchestrated; that is surely one reason, but the main one is their exemplary counterpoint and unbelievable sense of form, a quality he has in common with Mozart. 就像所有伟大的作曲家一样，史特劳斯早期也受到其他人的影响，作品中出现 了前人的影子，特别是华格纳。但是到了《狄尔恶作剧》的时候，他已经从别 人的影响下走出来了。他的作品之所以好听，不单单是因为他的配器成功，这 只是原因之一；但他那典范一般的旋律对位技法、以及对於曲式展现令人难以 置信敏锐度，这才是更主要的原因。在这点上，他与莫札特展现了相似的特质。 I have been told that twelve hours before his death, Strauss suddenly awoke from a coma and said that if he were given his life again he would do nothing differently. 在史特劳斯去世的12个小时前，他曾经突然地清醒过来，并对我说了一段话。 他说如果上帝再次赋予他一次全新的生命，他还是会做与此生同样的事。 Interlude in Wien The years in Dresden were immensely satisfying, especially since our phenomenal ensemble, which was the envy of all other opera houses, was always available. I believe that ensemble theatre would still be possible today if only a way can be found. 在德勒斯登的那段日子，令人感到非常满意，特别是那异常杰出的合奏效果。 在那儿，我们总轻易就做出能令别的剧院感到妒忌的效果。我相信如果今日的 人们能花心思去探索，他们还是可以做出以前我们剧院那般的优异合奏。 Having conducted concerts in Wien including many with the Philharmoniker Orchestra, I was asked to take over as director of the Vienna State Opera (Wiener Staatsoper) from 1 January 1943, starting with a production of Wagner’s Die Meistersinger. In 1944 all the theatres were closed by edict. I did not want my staff to have to work in munitions factories, so I put on concert performances of Mozart and Wagner operas. It is strange: even the first act of Wagner’s Die Walkure, apparently so suited to concert performance, demands the stage, whereas it was different with excerpts from Figaro and Cosi fan tutte: the impact of Mozart’s work was not in the least affected. With or without scenery the music is eternally valid. 由於我曾经在维也纳演出，特别是曾与爱乐共演过许多音乐会，维也纳国家歌 剧院(Wiener Staatsoper)邀请我接任他们的总监职务。我在1943年的1月1日到 职，上演华格纳的《名歌手》(Die Meistersinger)。在1944年，所有的歌剧院 都被勒令关闭了。我不希望我们歌剧院的伙伴们沦落到军火工厂工作，所以采 用了音乐会的形式，来上演莫札特与华格纳的歌剧作品。这样是一个很奇妙的 体验：尽管上半场的华格纳《女武神》第一幕也很适合音乐会形式演出，但是 总感受到舞台的必要性；然而上演《费加洛》或《女人皆如此》的节选本时， 却完全感受不到任何缺陷感。不管有没有舞台背景，音乐都同样地活灵活现、 栩栩如生。 Mozart's Genius I love Mozart beyond all measure. I came late to his music because my father was a dyed- in-the-wool Wagnerian and I accepted their typical objections: “why all those text repetitions in Mozart?” only later did I come to understand the importance of those repetitions. 我深深爱着莫札特。但是我很晚才接触他的音乐，这是受了我父亲他们的影响。 父亲是一个彻头彻尾的华格纳主义者，他们一贯的论调是：「为什麽莫札特的 音乐听起来都一样，简直就像是同一首一直在反覆一般。」直後後来，我才了 解这种「反覆」的必要性。 Wondering how to achieve the best interpretation of Mozart, I reached the conclusion that he could express the whole gamut of human passions in his music except one: he is never sentimental. So I try never to interpret him sentimentally. I have thought long and hard about this genius and believe that he was a finished being while still in the cradle. He was not of this world. Why is it that a chord that is trivial when used by another composer becomes a revelation in Mozart's hands? It can only be the divine in him. When a friend asked him how he composed, he said: “Composing would be so easy if only I had the time. It’s all complete in my head, I simply need to distil it.” His creativity is comparable only with that of Franz Schubert, who was able to write a hundred immortal songs in a single year. 我一直在探索，如何才能做出保证一流的莫札特诠释。我得到了一个结论：莫札 特他能用音乐来表达人类所有的情感，可是他从未露出过於感伤的多愁善感。所 以我总是避免着用感伤的手法来诠释莫札特。我曾反覆琢磨他展现的天才，最後 使我相信：他是造物主所创造的一个完美个体，打从他呱呱坠地之际，就已经是 个完美的存在。这种完美的存在，并不属於这个世界。人们很难解释：一个和弦 ，某些作曲家用起来显的平凡无奇；而一旦落入莫札特手中，立时展现奇蹟般美 妙的效果，犹似上帝赐与之恩典。曾经有个朋友问他是如何作曲的，他回答：「 很简单啊，只要我有时间，我就能作曲了。曲子都在我的头脑里面，早就已经完 成了，只是我得简单整理一下就好了。」只有舒伯特(Franz Schubert)的创作力 能与他相比。舒伯特也是能在一年内，写出几百首不朽歌曲的伟大作曲家。 The Wiener Staatsoper destroyed and rebuilt The Wiener Staatsoper house was destroyed on the numerologically portentous date of 12.3.45. Like many Viennese, I stood helpless before the burning building. 在12.3.45那天，这个数字，彷佛代表命中注定似的，维也纳国家歌剧院被炸毁 了。很多维也纳人和我一样，只能在焦黑的废墟之前，悄然站立。 Having returned to Graz for a while, I began touring again and building my international career. The Austrian government then asked me to assume the direction of the rebuilt Staatsoper, which in November 1955 I was delighted to do, conducting a performance of Fidelio. Since then my touring has increased. 在回到Graz一段时间之後，我开始旅行演奏，并开始建立我的国际性事业。後来 奥地利政府邀请我接手国家歌剧院的重建工作，我很高兴地接受了，在1955年11 月，我指挥了《费德里奥》。虽然那时我的国际性旅行演奏已经增加了。 My father came from the Egerland, my mother from Alsace. I grew up against the background of old Austrian culture, and the communication of that culture is what audiences expect of me when I conduct Mozart and Strauss today. 我父亲是Egerland人，我母亲是亚尔萨斯(Alsace)人。我在老式的奥地利传统文 化中成长，现在人们所期盼的是文明之间的对话，当我在指挥莫札特以及史特劳 斯之时，听众应该可以听到那来自古老的奥地利传统的声音。 -- I have no idea to this day what those two Italian ladies were singing about. Truth is, I don't want to know. Some things are best left unsaid. I like to think they were singing about something so beautiful... It can't be expressed in words... and makes your heart ache because of it. --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 140.112.114.188