“那是我一辈子也忘不了的。我父亲给我买了一把真正的大提琴，他每个星期都会到巴塞罗那来看我，我们便一起跑遍全城所有的琴行，搜寻古曲乐谱。有一天，我在一家琴行里偶然发现了巴赫的这份六首大提琴独奏组曲，多么令人惊奇！我简直不敢相信世间有这些珍品存在。”——卡萨尔斯
©本文选自纽约时报1974年4月14日
By Richard Eder
“Play the rests,” my piano teacher would say. The silences in music are part of the music: the lifting of the bow to release the phrase, the taking of breath to shape the plume. A player does not just count as he pauses; he listens.
我的钢琴老师总告诉我：“演奏要举重若轻。”音乐中的沉默是音乐的一部分。举起弓来让乐句自然流露，呼吸宛若浮羽。在音乐的休止之中，演奏者要做的并非仅仅是数节拍，更多的而是倾听。
There were many things that marked Pablo Cases. The great, grave pull of his bow not only on the strings, but on the chairs, the hairs and the stomachs of his listeners. His stumpy, broad‐beamed figure and Carpenter's face that declared music to be as serious an affair as the proper set of a wooden cabinet. His resurrection of Bach's Unaccompanied Cello Suites, a kind of breviary that he recited daily for his own health and everyone else's.帕博罗·卡萨尔斯有许多特别之处。他那庄严的琴弓不仅在琴弦上演奏，更飘然入座，在听众发丝和腹部发生共鸣。他那矮胖的、宽宽的身材和木匠般的面庞表明，音乐就像一套大小合意的木柜般严肃。他复兴了巴赫的《无伴奏大提琴组曲》，并每日演奏为自己和他人的健康咏颂祈祷。And there was his silence. When I was growing up before I had ever heard any of his records, I had heard of the musician who was both the greatest cellist in the world and the man who would not play because of Franco. In fact, his decision not to play in public, taken in 1947 after it became clear that the Allied governments were not going to overthrow the Spanish dictator, lasted only three years in its pure form. The public went to him in Prades, in 1950; and from then on he could always be heard, in one way or another.他是如此沉默的一个人。在我长大之前，我从未听说过他的唱片，我听说过这位音乐家，他既是世界上最伟大的大提琴手，又是因为弗朗哥政权而停止演奏的人。实际上，他的决定不公开露面，是在1947年明确表明盟国政府不会推翻这位西班牙独裁者之后做出的，并兢兢业业地将这个决定坚守了三年。1950年，公众前往普拉德（法国南部城市）寻找他。从那时起，他总是可以以一种或另一种方式被聆听到。Casals was too deeply committed to music and to life to withstand very long the people who came to him and asked to listen. But the silence was itself a genuine commitment to life: more profound than that of an artist who performs to entertain the troops or to raise money for a cause. Silence was his form of total warfare; and, as this engrossing biography suggests, the fact that it did not budge Franco an inch was not the point.卡萨尔斯对音乐和生活太投入了太多的精力，以至于不能忍受那些来找他，要求听他演奏的人。但沉默本身就是一种对生活真挚的承诺：比起一个为劳军或为事业筹款的艺术家要深刻得多。沉默是他的全面抗争的形式，正如这本引人入胜的传记所暗示的那样，它丝毫没有使弗朗哥政权让步，但这并不是重点。“My build is more that of Sancho Panza,” he told a French friend, “but my outlook is Quixote's.”H. L. Kirk, who met Casals in Puerto Rico in 1960 and spent a great deal of time with him since then, has written an authorized, not a critical biography. It has its awkwardnesses: the exhaustive detailing of the concert engagements in a career three quarters of a century long and a tendency to over‐embellish with historical cross‐references.卡萨尔斯对一位法国朋友说：“我的身材比桑丘潘沙（堂吉诃德的侍者）大得多，但我的仍对堂吉诃德心向往之。”柯克于1960年在波多黎各遇见卡萨尔斯，自此他被授权为卡萨尔斯写传记，但这部传记并没有取得重要地位。它具有尴尬之处：在卡萨尔斯长达约75年的职业生涯中，本书对其音乐会活动的描述过于详尽，对历史交叉性文献的引用过于频繁。Mr. Kirk's treatment of Casals's musicianship is adequate though not especially penetrating. He is writing not about a musician but about a man who is a musician. And yet, with someone like Casals, whose character and music are so closely related, this is not a serious limitation. 柯克先生对卡萨尔斯音乐才能记叙的十分全面，尽管并非特别精辟。柯克写的不是一个音乐家，而是作为音乐家的一个人。然而，像卡萨尔斯这样的人物，他的性格和音乐是如此紧密地联系在一起，两者并不矛盾。
There is Casals's childhood as the son of a provincial Catalan musician who gave the boy all the training he could, found him teachers to provide what he could not, and yet objected persistently to the idea that Pablo should make a career out of something as impractical as music. His mother, strong‐willed, was not musical but never doubted that Pablo was a musical genius. 卡萨尔斯出生于迦太罗尼亚地区，是当地一名音乐家的儿子。卡萨尔斯的父亲竭尽所能为他提供全面的训练，帮助他寻找合适的老师，但父亲却坚决反对儿子把音乐这样不切实际的东西作为自己的事业。 卡萨尔斯的母亲却意志坚定，她虽不是音乐家，但从未质疑过儿子的音乐天赋。She left home and took him to Barcelona to study, where he supported them both by playing in cafes. She obtained an introduction to a member of the Royal household and they went to Madrid. Pablo was taken in by the Queen‐Regent, widow of Alfonso XII, continued his studies and acted as a kind of companion and older brother—with no diminution of his sturdy republicanism —to Alfonso XIII, the last King of Spain. 母亲离开家，带卡萨尔斯去巴塞罗那学习，在那里，他通过在咖啡馆里演奏来维持经济收入。后来母亲经由一名皇室成员的介绍，带着儿子去了马德里。卡萨尔斯被摄政太后阿方索十二世的遗孀收养，从而得以继续他的学业，并成为了西班牙末代帝王阿方索十三世的伙伴和哥哥，但这毫不减损他坚定的共和主义。Mr. Kirk tells innumerable anecdotes showing Casals's special relation to music. Henri Bergson asked him what he felt when he played Bach or Beethoven. Casals explained that when he was playing well he felt a physical sensation as if he were carrying a lump of gold inside.柯克先生讲述了无数关于卡萨尔斯与音乐特殊关系的轶事。亨利·柏格森问他演奏巴赫或贝多芬时的感受。卡萨尔斯解释说，当他演奏得很好的时候，他感到身上有种特别的感觉，就好像他身体里蕴藏着一块金子。But his musical conscience never displaced his civic conscience. He did not distinguish between them. Art was for life's sake. When the Spanish Republic was proclaimed in 1931,Casals returned to Barcelona and almost single‐handedly set up what was to become the country's finest orcheetra. It was‐, supported in an unusual fashion: through a network of workers' groups. Three hundred thousand members were enrolled, with the right to attend concerts at a nominal charge.
但他的音乐良知从未取代他的公民良知。他对这两种道德不加分辨。对他来言，艺术是为了生活。1931年宣布成立西班牙共和国时，卡萨尔斯回到巴塞罗那，几乎是单枪匹马建立起西班牙最好的监狱。它以不同寻常的方式得到支持：通过工人团体网络。30万名成员注册，有权以象征性的费用参加音乐会。The Civil War drove him across the frontier and he settled in Prades, where he remained through the war, grimly refusing all recognition of the German occupiers. When the war ended, he saw the fading of his hopes that the Allies would move against Franco. He, began the series of protests that was to end in his total refusal to play. They were feeble but grand.内战迫使他越过边境，他在普拉德定居下来，在那里度过了战争时期，并且冷酷地拒绝承认德国占领者。战争结束后，他感受到协约国将对佛朗哥采取行动的希望之渺茫。他开始了一系列的抗议活动，最终以他完全拒绝演奏而告终，虽败犹荣。He went, for example, with a group of Catalan exiles to visit the grave of the Provencal poet, Frédéric Mistral. Clutching his cello, he leaned over the grave: “Mistral,” he called out, “we Catalans have come to pay you homage.” 他曾和一群迦太罗尼亚流亡者一起前往普罗旺斯诗人弗雷德里克·米斯特拉尔的墓地。他紧握着大提琴，俯身在墓前，唤道：“米斯特拉尔，我们迦太罗尼亚人是来向您致敬的。”Kirk continues: “then he played a Bach suite and The Song of the Birds' while the people stood silent in the solemn twilight. He‐rose and left, followed by the still‐silent crowd. Later in the car, Casals said to [his poet friend] Juan Alavedra, Someone must show the way.” 柯克在书中继续写道：“然后他演奏了巴赫大提琴无伴奏组曲和《鸟之歌》，人们在庄严的暮色中沉默肃立，他起身远行，身后追随者沉默的人群。之后在回程的车中，卡萨尔斯对他的诗人朋友胡安·阿尔维德拉说：“必须要有人，给我们指明前路。”本文选自NEW YORK TIME
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