“我不想听伊莎贝拉·福斯特以外任何人演奏的协奏曲。”
Faust,LSO,Gardiner,Barbican review
—Schumann as never before
福斯特、伦敦交响乐团、加德纳巴比肯中心音乐会评论
——前所未有的舒曼
By David Nice Friday 16 March 2018
2018年3月16日,星期五,大卫·尼斯报道
An elusive violin concerto reassessed in victory for a misunderstood orchestral master
一部难以诠释的小提琴作品因为一位曾被误解的管弦乐大师的完美诠释而被重新定义
When a great musician pulls out of a concerto appearance, you're usually lucky if a relative unknown creates a replacement sensation. In this case not one but two star pianists withdrew – Maria João Pires, scheduling early retirement, succeeded by an unwell Piotr Anderzewski – and instead we had that most musicianly and collaborative of violinists Isabelle Faust in Schumann, not the scheduled Mozart.
Given the superlative credentials already laid down by John Eliot Gardiner in the first concert of his Schumann project with the London Symphony Orchestra on Sunday, the argument for the Violin Concerto, generally perceived as a late problem piece in the composer's canon, was even more of the essence – an historic victory, in short.
当一个伟大的音乐家退出一场协奏曲的演出,你通常是幸运的,因为一个相对陌生的人的替演将会创造一种全新的感觉。而这次的演奏家更替中离开的不只一人,而是两个明星钢琴家–其中就有皮尔斯(Maria João Pires)被安排提前退休,由不太闻名的皮奥特·安德索夫斯基(Piotr Anderzewski)接替,另一个取而代之的是我们的小提琴家中最有音乐天赋和合作精神的人伊莎贝尔·福斯特(Isabelle Faust),她将来演绎舒曼而不是莫扎特的作品。
鉴于约翰·艾略特·加德纳(John Eliot Gardiner)已经在周日与伦敦交响乐团(London Symphony Orchestra)合作演绎舒曼计划(Schumann project)的首次音乐会上被授予了最高级别的证书(the superlative credentials),这部舒曼的小提琴协奏曲,被普遍认为是作曲家作品集中的晚期曲目,这场音乐会的成功甚至更具有本质含义–简而言之这是一个历史性的胜利。
Following on the heels of Gardiner's personable chat between works on Sunday about why the LSO violins, violas, wind and brass stand for Schumann (pictured below in 1850) – the proof has been in the brilliant sound they make – he appeared on the platform at the start in charming conversation with Faust about the nature of the strange beast they were about to play, the late arrival of timpanist John Chimes lending an extra improvisational edge to their insights on the Violin Concerto. Faust's avowal that "I never want to touch the ground" was borne out by her intimate meditation, especially in the quiet treatment of the first movement's utterly personal lyrical melody as the development winds down and the supernatural levitating of the central B flat major Langsam.
加德纳在周日音乐会的演出间隙亲切交谈中他谈到为什么伦敦交响乐团小提琴、中提琴、管风和铜管为舒曼(见下图1850年)的作品调整编制–这张照片是他们在舞台上发出的辉煌的声音见证–接着他和福斯特又开始了一段引人入胜的谈话,谈论他们即将演奏的音乐中奇异而原始粗放的特质,他们的小提琴演奏的最后时刻,约翰·查姆斯(John Chimes,英国古典打击手和定音鼓手)以一段额外即兴演奏来为整段小提琴协奏曲的诠释增光添彩。福斯特宣称“我永远不想从音乐沾染尘埃”,这一点可以从她的中得到证实,特别是随着第一乐章的发展逐渐平息,以及缓慢的降B大调的超自然的飘浮感,这段音乐完全带有个人特色对抒情旋律的平静处理。
The heart of introspective transcendence, it was over too soon, only to yield to one of the strangest finales, a Polonaise which used to be taken at a faster speed than Schumann's seemingly puzzling metronome marking; Faust had no trouble filling the dream-like dance with vivacity, slow-motion grandjetés hovering in mid-air. With equally haunting colours from the LSO, making capital of what can sound in the wrong hands like thick, uninteresting orchestration, this was an interpretation as unforgettable as Ann Hallenberg's Sunday performance of Berlioz's Les nuits d'été. After this, I won't want to hear the concerto performed by anyone other than Faust.
超然存在发人深省的核心乐段并没有持续多久就让位于一个最奇特的结束部旋律,一个波兰舞曲,它的速度过去比舒曼看似令人费解的节拍器快得多;福斯特毫不费力地以轻巧灵活的琴声填满了梦幻般的舞蹈旋律,慢动作的大抛弓发出乐声在半空中回荡。伦敦交响乐团同样摄人心魄的音乐色彩,令听起来原本粗笨乏味的管弦乐变得像安·哈伦贝格(Ann Hallenberg,次女高音)在《夏夜之歌》(Les nuits d'été)上的表演一样令人难忘。在这之后,我不想听除了福斯特以外的任何人演奏的协奏曲。
The purely orchestral works on the programme underwent a vital transfiguration, too. In addition to repeating Sunday's intepretation of the Genoveva Overture with even more fire and depth, Gardiner also gave us two masterpieces from 1841 which have never had quite the success of the First ("Spring") Symphony as outpourings of Schumann's happiness in his new married life with Clara. The Overture, Scherzo and Finale, which Schumann dubbed a "Symphonette", makes up for the absence of a slow movement with what seems like a flare of personal distress in the oboe wails of the introduction, quickly brushed aside by rhythmic exuberance. Gardiner made the Scherzo – Schumann, like his friend and supporter Mendelssohn, never composed one less than first-rate – sound like an intimate, chamber-musical play on Beethoven's massive equivalents; the Finale seemed over before it had started.
曲目中的纯管弦乐作品也经历了一次关键的改编。除了重复星期日对Genoveva序曲的演绎之外更融合了如火的热情和深度。加德纳还给了我们两部1841年的杰作,它们都没有像《第一交响曲“春天”》("Spring")那样成功过,舒曼把他与克拉拉的新婚生活中的幸福在音乐中倾泻而出。序曲,谐谑曲和终曲,舒曼称之为“交响曲”,弥补了缓慢的乐章,在序曲的双簧管哀号中似乎闪现出的个人痛苦,很快被节奏的丰富性冲淡了。Gardiner made the Scherzo – Schumann, like his friend and supporter Mendelssohn, never composed one less than first-rate – sound like an intimate, chamber-musical play on Beethoven's massive equivalents; the Finale seemed over before it had started.(编者按:这一段实在太难,欢迎大家文末指正!)
Gardiner (pictured below) chose the original version of the Fourth – actually the real second – Symphony, the one which Brahms preferred in opposition to Clara's championship of the more conventionally symphonic 1851 revision. Textures still sounded surprisingly beefy here, with a headlong, almost manic approach that would have been too hyper in the outer movements without the profound contrasts of the intimate miracles which take place in between.
加德纳选择了第四版本即原始版本,实际上是真正的《第二交响曲》,勃拉姆斯在反对克拉拉的1851年修订版的魁首时却更偏爱喜欢这个版本。这里的音乐织体仍然听起来令人惊讶地雄浑,一往无前,近乎狂躁,如果没有发生在两者之间的内在出神入化的深刻对比,外在的乐章就会显得过于亢奋。
The Romanza's startlingly spare unisons of oboe and cello were exquisitely rendered by key LSO player Oliver Stankiewicz, virtually leading the standing woodwind, and principal cellist Rebecca Gilliver; leader of the Schumann evenings so far Carmine Lauri brought the voice from another planet – Clara descending to console Schumann in bleak mood? – which makes a longer stay in the heart of the Scherzo (the reappearance still seems radical).
双簧管乐手奥利弗·斯坦基维茨令人惊叹地完美演绎出浪漫曲中双簧管与大提琴音声相和的精妙绝伦,他几乎可以称得上木管乐器的领军人物,而首席大提琴演奏家丽贝卡·吉列佛(Rebecca Gilliver)也是如此。卡迈·劳里(Carmine Lauri,小提琴首席)则是正舒曼之夜的领军人物,他为这段音乐带来了仿佛另一个星球的声音–克拉拉下楼安慰舒曼的心情?–使得谐谑曲的在核心旋律停留时间更长而重现部分似乎仍然很激进。
In its outer portions and throughout a dancing Finale with startling first-trombone blasts, Gardiner won playing from his orchestra which felt like a bouncing ball wielded with supreme sportsmanship. In obvious high spirits, so good to watch, they dashed off the last part of the Second Symphony's Scherzo for an encore, as they had on Sunday night; it was just as welcome here. Immersed in Schumann's orchestral world, those of us at both concerts want the final two instalments right now. Good to know, though, that the First and Third Symphonies are bound to be highlights of 2019 just as these have already been of 2018 so far – and nothing is going to knock them off that pedestal.
在整首乐曲音乐织体外部,即整个舞曲的最后一段,音乐的发展伴随着震撼人心的长号强奏,加德纳成功的把他的管弦乐队指挥的感觉就像一个具有极限运动精神的弹力球。他们兴高采烈,热情洋溢,急匆匆完成了《第二交响曲》的谐谑曲的最后部分,就像他们在周日晚上所做的那样;在这里也同样受欢迎。沉浸在舒曼的管弦乐世界里,我们这两个音乐会上的人现在都想看最后的两期。很高兴知道,第一和第三交响乐一定会成为2019年的亮点,就像迄今为止的2018年一样–没有什么能把它们从这个宝座上推下去。