解读《德意志安魂曲》（二）

解读德意志安魂曲

Ein deutsches Requiem

1

对弥撒的理解和误解

解读《德意志安魂曲》（一）

中篇

阿巴多指挥《德意志安魂曲》☝ 

《德意志安魂曲》是一部伟大的杰作，具有非同寻常的重要意义。对我们来说，它吸取了贝多芬晚期教会音乐的养分和精华，最终瓜熟蒂落。回顾古典作曲家的追思弥撒和圣乐，很少有音乐如此有力地表现了死亡的阴影和悲伤。从巴赫那里学到的和声和对位艺术被勃拉姆斯赋予了现代的生命气息……

The German Requiem saw its first performance in a semi-private concert in Vienna on December 1, 1867. The program was an evening concert given by the Gesellschaft der Musikfreunde, and dedicated to the memory of Franz Schubert. 

1867年12月1日在维也纳的一个半公开的音乐会上举行了《德意志安魂曲》的首演，这个晚间音乐会是为了纪念舒伯特，由维也纳音乐之友协会（Gesellschaft der Musikfreunde）举办的。

Johann von Herbeck, the conductor, had known of Brahms' composition and urged him to allow its early performance; somewhat reluctantly -- for he had his sights set on the Protestant Bremen for the true premiere -- Brahms agreed to the concert. 

音乐会的指挥约翰·冯·赫伯克早就知道勃拉姆斯创作了这部作品，并且催促他尽早上演，但勃拉姆斯有点不太情愿，因为他已经说好把正式的首演安排在不来梅的路德教堂。

At this point in time, Brahms was known to the Viennese concert-goers chiefly as a producer of Baroque choral works with the Wiener Singverein; as such, Herbeck believed that the program would draw only a limited and somewhat dedicated audience, and convinced Brahms to perform only the first three movements of the piece. 

当时，在维也纳音乐会听众的眼里，勃拉姆斯主要是为维也纳歌唱协会合唱团创作巴洛克风格的合唱作品。因为这个原因，赫伯克以为音乐会的节目只会吸引那些为数不多的忠实听众，所以劝说勃拉姆斯只演奏作品的前三个乐章。

Despite these obstacles, the concert was very well-attended and immediately, according to all critics, made Brahms a widely recognized force in Vienna musical life. Although not a scandal, the performance was nonetheless the subject of hefty critical debate, and played a decisive role in the division of critics into the 'Brahms vs. Wagner' camps that were becoming so fatefully significant.

尽管有这些不利因素，还是有大批听众出席了音乐会，并且用评论家的话来说，勃拉姆斯立即获得大众的认可，在维也纳音乐生活里占据了一席之地。尽管如此，这场演出仍然引起了激烈的争论，并且左右了重要性日益增加的分裂为“勃拉姆斯与瓦格纳”的评论家阵营。

Perhaps the most vociferous complaints against the piece arose not from its inherent musical structure or composition, but from an unfortunate series of problems with the evening's performance. The first two movements, Kalbeck and others report, were accepted with little hesitation; the third (and for Vienna, final) movement, however, became immediately notorious because of a percussionist's misunderstanding of the score: in the pedal fugue section of the third movement, his repeated D's were played not as the written pf, but instead as f or even ff: the effect was to completely drown out the rest of the orchestra and the vocal soloists. 

可能是当天晚上的演出中发生了一系列不幸事件，使人们对安魂曲颇有怨言，而不是音乐的结构和作曲本身。根据卡尔贝克和他人回忆，头两个乐章立即受到听众的欢迎；但是，由于鼓手对乐谱的误解，第三乐章（对维也纳的听众来说就是最后一个乐章）却砸了锅：第三乐章的踏板赋格部分，重复D被演奏成强音（f）和极强音（ff）,而不是乐谱本来的稍强（pf）：乐队的其它演奏和独唱完全被淹没了。第三乐章一结束，部分听众（尤其据那些保守的和墨守成规的、汉斯立克等人的回忆）一片嘘声，非常粗野。

Upon the conclusion of the movement, audience members (particularly from the conservative, old-school camp, Hanslick and others report) hissed and booed and behaved quite boorishly. Reviewers, both friend and foe alike, were quick to note this catastrophe: some, such as the Wagner supporter Hirsch, snubbed the entire work and dismissed the 'heathenish noise of the percussion,' [8] while Brahms' supporters such as Hanslick, although forced to admit to the performance's imperfections, attempted to defend the work's positive qualities. 

敌对双方的评论家马上就注意到了这次灾难：有些人，比如瓦格纳的支持者赫希，不提打击乐器产生的噪音，只是攻击整部作品，而勃拉姆斯的支持者如汉斯立克，虽然不极不情愿地承认演出不是非常完美，但仍然试图为作品的积极方面做出辩解。

Hanslick in particular praised the Requiem's innovative quality and impressive construction, although he conceded that it was difficult for the listener to grasp, and was probably not destined for widespread popularity.  Still, he insisted on placing the Requiem in a broad and distinguished historical perspective:

尽管认为很难为听众完全理解，而且可能得不到广泛的接受，汉斯立克还是特别称赞了《安魂曲》的独创性及其令人印象深刻的结构。他坚持应该把《安魂曲》置放在一个广阔而独特的历史视角中：

 The German Requiem is a work of unusual significance and great mastery. It seems to us one of the ripest fruits to have emerged from the style of the late Beethoven in the field of sacred music. Since the masses for the dead and mourning cantatas of our classical composers the shadow of death and the seriousness of loss have scarcely been presented in music with such power. The harmonic and contrapuntal art which Brahms learnt in the school of Bach is inspired by him with the living breath of the present……

《德意志安魂曲》是一部伟大的杰作，具有非同寻常的重要意义。对我们来说，它吸取了贝多芬晚期教会音乐的养分和精华，最终瓜熟蒂落。回顾古典作曲家的追思弥撒和圣乐，很少有音乐如此有力地表现了死亡的阴影和悲伤。从巴赫那里学到的和声和对位艺术被勃拉姆斯赋予了现代的生命气息…

Beginning a trend which later critics were to follow to extremes, Hanslick also expressed his reservations about the Requiem's suitability for the concert-room, implying instead that its religious nature required a less secular venue. Several other critics also focused on the religious aspects of the work -- a topic which, as we shall see, was to become increasingly important in the work's reception. 

汉斯立克开启了一个新的潮流，受到后来的评论家的严格遵循，他也对《安魂曲》是否适合在音乐厅演出持保留态度，这意味着它的宗教特性需要一个不那么世俗化的场所。另有几位评论家也在关注这部作品的宗教特意义。正如我们将要看到的那样，这个问题对大众是否接受这部作品变得越来越重要。

Theodor Billroth, for example, frankly accepted the work's avoidance of excess emotionalism, and explained that, while many critics faulted the lack of sensuality, 'I think it is as much as intentional avoidance of everything sensuous as it is a fault. His Requiem is nobly spiritual and so Protestant-Bachish that it was difficult to make it go down here.' 

比如，西奥多·比尔罗斯非常理解这部作品避免了过度的情绪表达，并且解释说，虽然很多评论家批评作品缺乏感性，但“我认为与其说是错误，不如说是有意避免一切感性的因素。他的《安魂曲》具有崇高的精神力量，完全是新教和巴赫的风格，所以很难让它过于情绪化。”

Perhaps due to the religious scene in Bremen -- in the overwhelmingly Protestant northern Germany and also due to the composer's own connections to this region, Brahms had been in correspondence with Carl Reinthaler there, attempting to set up the Requiem's premiere as a complete work. After several delays, Reinthaler was eventually able to provide a venue, and rehearsed the orchestra himself before Brahms' arrival. 

也许是由于不来梅的宗教因素，新教教徒在德国北部占绝大多数，以及作曲家自己和这个地区的联系，勃拉姆斯一直通过写信和那里的卡尔·林塔勒商量安排完整的《安魂曲》的首演。延期了几次之后，林塔勒终于提供了场地，并在勃拉姆斯到来之前和乐团进行了排练。

The concert, given on April 10, 1868, Good Friday of that year, was in the town cathedral, and conducted by Brahms himself, with Joseph Joachim, Amalie Weiss and Clara Schumann all in attendance. The concert was extremely well-publicized and a matter of great anticipation, as Brahms' position in the Bremen musical world had consistently been highly respected; as a result, the turnout was an astounding 2500 listeners, and by all accounts a fabulous success.

音乐会于1868年4月10日在该城的大教堂举行，当天是耶稣受难日，由布拉姆斯亲自指挥，约瑟夫·约阿希姆，阿玛莉·韦斯和克拉拉·舒曼都在观众席上。由于勃拉姆斯在不来梅音乐界的崇高地位一直倍受尊重，音乐会广为人知并且倍受期待；最终共有2500名听众出席了音乐会，并且从任何方面来说都取得了惊人的成功。

The program included all six of the then-composed movements (as stated, the fifth movement was added in the months following); in addition, Joachim performed excerpts of works by Bach and Schumann, and Amalie sang parts of Bach's St. Matthew Passion and Handel's Messiah, making not only for a rather lengthy concert, but also not at all coincidentally -- reinforcing the religious nature of the Requiem itself.

演出包括了所有当时的六个乐章（如上所述，第五乐章是在随后的几个月增加的）；此外，约阿希姆演奏了巴赫和舒曼的作品片段，艾米丽则演唱了巴赫的《马太受难曲》和亨德尔的《弥赛亚》中的咏叹调，所有的节目不仅组作了一台篇幅宏大的音乐会，而且 根本不是巧合加强了《安魂曲》本身的宗教特性。

The Bremen performance was not marred by any such mistakes as had clouded the Vienna premiere, and the critical response was one of resounding approval and appreciation. Nearly all critics recognized the extraordinarily complex nature of the composition, stressing in particular the incorporation of traditional elements such as counterpoint together with a modern-sounding modulation and rhythmic structure. Even the few negative comments, usually minor, were expressed with a respect for the composer's achievements, which had been completely lacking in the Viennese diatribes. 

不莱梅的演出没有出现维也纳首演的那些失误，所以得到了评论家的一致称赞和好评。几乎所有评论家都承认了作曲的复杂特性，特别强调作品结合了对位一类的传统元素与转调和节奏组合一类的现代音效。即使那些微不足道和无足轻重的负面评论，也表达了对作曲家所取得的成就的尊重，而维也纳的抨击中恰恰缺少这样的尊重。

One critic remarked on a 'somewhat notable unease in modulation,'  while another lamented Brahms' 'ascetic Greco-German composition' and hoped 'that he will withdraw himself from this subjectivity in the course of time.'  

有位评论家这样说“转调让人感到有些不够自然”，而另一位评论家则为勃拉姆斯的“苦行僧式的德国作曲” 发出感叹，并希望“他随着时间的推进脱离这种主观性。”

Just as the regional preferences of Vienna played a role in the Requiem's reception there, so too in Bremen were the responses at least in part due to the city's Protestant heritage; telling is also the criticism of the second movement, which, with its slow tempo set in 3/4 time, was seen as a rather ridiculous-sounding Ländler waltz,  so beloved in Austria; one critic even considered this movement an 'undeniable lapse.' 

正如维也纳地区的偏好影响了当地民众接受《安魂曲》，不来梅的反响至少部分归因于该城市的新教传统；还是来说对第二乐章的评论，3/4的节拍的第二乐章听起来像是一段深受奥地利喜爱的、滑稽的兰德勒华尔兹；有位评论家甚至认为这个乐章是“无可否认的失误”。

In general, however, critical and public acclaim was so positive that a second performance had to be immediately scheduled in Bremen, only two weeks later on April 28. Brahms had found his success; although Vienna would still present its own resistance, performances throughout Germany began immediately, and reception was, with a few notable exceptions, overwhelmingly respectful.

然而，总的来说，评论家和公众是如此地赞誉有加，必须立即在不来梅安排第二场演出，第二场演出被安排在仅仅两周之后的4月28日。勃拉姆斯已经获得了成功; 虽然在维也纳仍然不会一帆风顺，但《安魂曲》的演出已经席卷了整个德国，除了一些明显的例外，大多数人对这部作品充满敬意。