推 publius:推一下這篇 :) 08/21 10:10
推 prc:辛苦啦~ 08/21 18:13
推 Wolfram:我喜歡這篇 08/22 12:02
前一陣子我把貝姆的口述自傳翻譯出來了
這篇英文是original master中手冊的英文摘要
不過我並不是逐句翻譯, 而有經過一點潤飾,
改的比較像口語中文的形式
因為中文句子裡, 如果英文文法太多讀起來會很累
不過究竟翻得好不好那就是另外一回事了, 所以也把原文附上來
給大家參考參考吧
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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.
人到了某個年齡之後，就可以大致上論斷他的一生是否活得有價值，以音樂的
術語來講，就是他對自己的人生，是否有一個正確的詮釋、是否有一個完美的
演出。現在的我，差不多已經到了這種年齡了。我深信，一個藝術家的榮耀，
非來自於任何頭銜。若我能具備某種值得世人尊敬的特質，而使貝姆這個名字
成為某種典範之代名詞，這才是一個藝術家所能得到的最高殊榮。
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.
根據我母親日記的記載：襁褓中的我，呀呀而出的第一個字是 “min” ，這
個字所指的就是「音樂」。當時，每天早上11點，我總會聽到軍樂隊在行軍時
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”.
父親是一位律師，有著一口美妙的男中音嗓音，他是Graz歌劇院的法律顧問。
我開始學習鋼琴時，特別受到了Franz Weiss的指導。他是Graz歌劇院的豎琴
手，也因此我能跟隨著他參加所有《玫瑰騎士》的採排。當時，那
presentation of the Silver Rose的樂音，一直縈繞在我的心頭。
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，我想成為一個音樂家。所以在1913年，我開始向Eusebius
Mandyczewski學習和聲學、對位法與作曲。Eusebius Mandyczewski當時是維也
納Gesellschaft der Musikfreunde的檔案管理者，他是布拉姆斯最要好的朋友
之一，我從他那兒看到了許多這位偉大作曲家的手稿。
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年第一次世界大戰爆發了，很快我被軍隊徵召。在軍中，我是一個優異的
騎士，以當時的情況，我很有希望會建立起一番偉大的勳業。但因為一場我從
馬背上摔了下來的意外，為這段未竟全功的潛在勳業，提前劃上了句點。
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年我成為了Graz歌劇院的提詞員。在我到劇院的第二天，有一場Aida的
幕後橋段需要指揮，於是我客串上場了。可是當時的我，並不清楚如何比劃4/4
拍子，亂比的結果引發嚴重的抗議，使我幾乎被轟下指揮臺。但我很快就學會
了，也開始指揮輕歌劇。我記得一個趣事：有次某個女歌手想要降三音來演唱
，可是樂團中的音樂家堅持只能降一個音。結果在演出八到十個小節以後，我
們彼此的調才終於對了起來。這實在是很恐怖。我還聽到有觀眾說道：「難道
說共產主義們也在歌劇院裡面暴動了嗎？」不久我開始指揮歌劇，如Victor
Ernst Nessler的Der Trompeter von Sackingen與韋伯(Weber)的Der
Freischutz。在此同時，我仍然在進行著我的法學博士學程。
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.
很快地開始了我第一場的華格納歌劇演出，演出的是《羅恩格林》。當時Karl
Muck也在聽眾席，他是非常著名的一位前輩級的拜魯特指揮家。他告訴我：「
雖然你所演出的Bridal Chorus像是一場polka，但可以看出你有天分。我願意
帶你走一遍華格納的總譜。」從他那裡，我學到了許多的華格納演出傳統。接
著，在貝多芬年(1920)，我負責上演全新製作的《費德里奧》，隨後獲選為歌
劇院的首席指揮，並且演出了很多場的音樂會與所有的歌劇。其中，也包括了
我心愛的《崔斯坦與依索德》。
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，華爾特(Bruno Walter)邀請我去慕尼黑指揮歌劇。我接受了這家國立歌
劇院的任職。在我們一起共事的那些日子裡，我從他的身上學到很大的成長。
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.
在慕尼黑度過六個成功的寒暑之後，我到了Darmstadt指揮。在那兒我遇到了兩
位先生：一位是劇院的監督Carl Ebert，以及時任經理的Rudolf Bing。Rudolf
Bing後來成為紐約大都會劇院總經理。當時我們一起上演最新的現代音樂製作，
包括亨德密特(Hindemith)的Neues vom Tage、史特勞斯(Richard Strauss)當
時所有的歌劇、以及貝爾格(Alban Berg)最新的(但不是最後的)歌劇—《伍采
克》(Wozzeck)。貝爾格人性的特質，與他優異的音樂天賦相稱。我只能在世界
各地首演這部作品，作為我對他情誼的回報。我把這部作品帶到了薩爾斯堡、
維也納、納普勒斯(Naples)、布宜諾賽利斯(Buenos Aires)、以及大都會。在
納普勒斯我們排練了超過三十次以上，在布宜諾賽利斯更引起轟動，連續兩個樂
季的票都搶購一空。
After Darmstadt I went to Hamburg, where I met Richard Strauss at a
performance of his Arabella. Meeting this genius changed my life.
離開Darmstadt之後，我前往漢堡(Hamburg)工作，在那兒我遇到了理查史特勞
斯，當時我正在上演他的歌劇Arabella。與這位天才的相遇改變了我的一生。
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年起的九年間，我成為德勒斯登(Dresden)歌劇院的指揮。在我第一次排
練時，那兒的音樂家們跟我說：「幸好我們至少不用再學習如何對話了。」因
為Ernst von Schuch也是Graz人，他是我前幾任的前輩，是個優秀的音樂家。
在德勒斯登，我為兩部史特勞斯的歌劇舉行世界首演：《沈默的女人》(Die
Schweigsame Frau)與《達芬妮》(Daphne)。其中《達芬尼》是史特勞斯提贈給
我的。我常常與史特勞斯一同散步，一邊散步、一邊閒聊莫札特。史特勞斯是
敬愛莫札特的。有一次他對我說：「你記不記得《唐喬凡尼》第一幕終曲前，
有兩小節慢版？我願意用我三部歌劇，來交換這兩個小節！」
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.
他說這個橋段是從一個純粹歡愉的小步舞曲，轉折到深具悲劇性格的中段，而
這麼戲劇性的轉折，竟然用兩個小節就完成了。這是莫札特無可比擬之天才的
一個例證。
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.”
另外有一次他告訴我：「莫札特他能創作無止境般綿長的旋律。看看凱魯碧諾
(Cherubino)的第二詠歎調，整個旋律一直綿延到詠歎調終止才結束。我很不
幸的只能創造有限長度的旋律，但對這些旋律，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.
史特勞斯也是個指揮專家。在莫札特與他自己的作品方面，他是個無可比擬的
詮釋者。我記得有一次，在他排練Elektra時，他放下指揮棒，說：「各位，
今天晚上請大家安靜地演奏。這個作品寫得實在太吵了。」從史特勞斯與Muck
那兒，我學到了小動作的原則。他們兩人都對此抱持著相似的態度：「打拍子
的右手，只是要告訴大家說『我們現在進行到這裡。』如此而已。除此之外，
真正帶領樂曲的是大家的精神的力量。」這是說指揮者應當以總譜為標準，扮
演中介者的角色，將總譜的理念投射到那些在他四周的演奏者身上。這不是一
件容易的事。事實上身為一個藝術工作者，指揮家很少對他的工作成果滿意
——通常他對樂團、以及指揮樂團的自己，都抱有恨鐵不成鋼的心理。
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，一位攝影師要求史特勞斯做出在指揮時高舉雙手的動作。史特勞斯一
口回絕，說道：「我曾經講過，指揮的時候左手最好什麼都不要做，現在你竟
然想強迫我做出使用左手這種事情！不。我要把左手插在褲子的口袋裡。」然
後有一次他指揮《沒有影子的女人》，在進行到最後一幕四分之一的高潮處，
他從椅子上站了起來。演出結束之後，他問我對於這場演出有沒有什麼想法，
我說：「很好。不過我想到史特勞斯博士曾經講過的：指揮家在演出時絕對不
應該從座椅上站起來，而且也絕不應該揚起他的左手；這兩項你今天都做了。
」史特勞斯喃喃自語了幾聲，就把話題帶開了。四天之後他又指揮了同一部作
品，在同一個高潮處，我看見他又作勢準備要站起來了，但最後他壓制了自己
，並用左手緊抓著桌子。接著他向我的包廂招了招手，這個小動作一方面展現
了他的自我控制力，也顯現了他的幽默感。有一次，他微笑道：「我在指揮時
絕不流汗，汗流浹背是觀眾的事。」
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，我在史特勞斯Garmisch的家中作客，《達芬妮》的作詞者Joseph Gregor
也在座。Gregor在樓上的房間裡面作詞，每寫完一頁，稿件就在我們間傳閱，
最後才遞到史特勞斯的手上。史特勞斯旋即在其上註明，應採何種旋律、何種
調性。我常常感到自己跟不上他的創作速度。另外一次，他一面從草稿中謄抄
校正本的總譜，同時又跟我聊著莫札特。我覺得這樣不妥，說你不能一面作曲
，又同時分心聊其他東西。他回應道：「繼續聊啦，親愛的貝姆，這是我唯一
放下工作的時刻啊。否則創作會一直在我腦海中自動進行著。」有一次他實在
生氣了，說：「有人說我是個被遺棄在過去的人。可是，看看Elektra裡面
Klytemnestra那一段，有誰能找出比這段更現代的作品！」
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.
就像所有偉大的作曲家一樣，史特勞斯早期也受到其他人的影響，作品中出現
了前人的影子，特別是華格納。但是到了《狄爾惡作劇》的時候，他已經從別
人的影響下走出來了。他的作品之所以好聽，不單單是因為他的配器成功，這
只是原因之一；但他那典範一般的旋律對位技法、以及對於曲式展現令人難以
置信敏銳度，這才是更主要的原因。在這點上，他與莫札特展現了相似的特質。
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.
在史特勞斯去世的12個小時前，他曾經突然地清醒過來，並對我說了一段話。
他說如果上帝再次賦予他一次全新的生命，他還是會做與此生同樣的事。
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，令人感到非常滿意，特別是那異常傑出的合奏效果。
在那兒，我們總輕易就做出能令別的劇院感到妒忌的效果。我相信如果今日的
人們能花心思去探索，他們還是可以做出以前我們劇院那般的優異合奏。
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.
由於我曾經在維也納演出，特別是曾與愛樂共演過許多音樂會，維也納國家歌
劇院(Wiener Staatsoper)邀請我接任他們的總監職務。我在1943年的1月1日到
職，上演華格納的《名歌手》(Die Meistersinger)。在1944年，所有的歌劇院
都被勒令關閉了。我不希望我們歌劇院的伙伴們淪落到軍火工廠工作，所以採
用了音樂會的形式，來上演莫札特與華格納的歌劇作品。這樣是一個很奇妙的
體驗：儘管上半場的華格納《女武神》第一幕也很適合音樂會形式演出，但是
總感受到舞台的必要性；然而上演《費加洛》或《女人皆如此》的節選本時，
卻完全感受不到任何缺陷感。不管有沒有舞台背景，音樂都同樣地活靈活現、
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.
我深深愛著莫札特。但是我很晚才接觸他的音樂，這是受了我父親他們的影響。
父親是一個徹頭徹尾的華格納主義者，他們一貫的論調是：「為什麼莫札特的
音樂聽起來都一樣，簡直就像是同一首一直在反覆一般。」直後後來，我才了
解這種「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，如何才能做出保證一流的莫札特詮釋。我得到了一個結論：莫札
特他能用音樂來表達人類所有的情感，可是他從未露出過於感傷的多愁善感。所
以我總是避免著用感傷的手法來詮釋莫札特。我曾反覆琢磨他展現的天才，最後
使我相信：他是造物主所創造的一個完美個體，打從他呱呱墜地之際，就已經是
個完美的存在。這種完美的存在，並不屬於這個世界。人們很難解釋：一個和弦
，某些作曲家用起來顯的平凡無奇；而一旦落入莫札特手中，立時展現奇蹟般美
妙的效果，猶似上帝賜與之恩典。曾經有個朋友問他是如何作曲的，他回答：「
很簡單啊，只要我有時間，我就能作曲了。曲子都在我的頭腦裡面，早就已經完
成了，只是我得簡單整理一下就好了。」只有舒伯特(Franz Schubert)的創作力
能與他相比。舒伯特也是能在一年內，寫出幾百首不朽歌曲的偉大作曲家。
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，這個數字，彷彿代表命中註定似的，維也納國家歌劇院被炸毀
了。很多維也納人和我一樣，只能在焦黑的廢墟之前，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一段時間之後，我開始旅行演奏，並開始建立我的國際性事業。後來
奧地利政府邀請我接手國家歌劇院的重建工作，我很高興地接受了，在1955年11
月，我指揮了《費德里奧》。雖然那時我的國際性旅行演奏已經增加了。
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.
我父親是Egerland人，我母親是亞爾薩斯(Alsace)人。我在老式的奧地利傳統文
化中成長，現在人們所期盼的是文明之間的對話，當我在指揮莫札特以及史特勞
斯之時，聽眾應該可以聽到那來自古老的奧地利傳統的聲音。
--
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.
--
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