2018年8月6日 星期一

BEETHOVEN BY ROMAIN ROLLAND《貝多芬傳》 


 BEETHOVEN BY ROMAIN ROLLAND 中文譯本《貝多芬傳》數個，傅雷的很有名。





                               BEETHOVEN

                                  BY
                            ROMAIN ROLLAND

                             TRANSLATED BY
                           B. CONSTANCE HULL


               WITH A BRIEF ANALYSIS OF THE SONATAS, THE
                    SYMPHONIES, AND THE QUARTETS BY

                          A. EAGLEFIELD HULL
                           MUS. DOC. (OXON).


              WITH 24 MUSICAL ILLUSTRATIONS AND 4 PLATES
               and an Introduction by EDWARD CARPENTER,

                  Author of _Towards Democracy_, &c.

                            [Illustration]

                               NEW YORK
                        HENRY HOLT AND COMPANY
                                 1917



http://www.gutenberg.org/files/55941/55941-0.txt

序言

    1902年，在我寫這本短小的《貝多芬傳》以前（這已經是四分之一個世紀之前的事情了），我並沒想過要寫一部關於音樂學方面的著作。當時，我正處在一個苦難騷亂的時期，深陷那場既可毀滅又能更新一切的暴風雨之中。無奈之下我逃了出來，離開了巴黎。

    我來到童年夥伴的身邊，暫避了十天。而這個可以庇護我的人，就是那個在人生的戰鬥中，曾多次給我力量，支持過我的人——貝多芬。當我來到貝多芬的故鄉波恩時，我在那裡重新尋覓到了他的影子，以及他往日的老朋友們。在科布倫茲，我從韋格勒夫婦孫子的身上，似乎又見到了他們夫妻倆的影子。在美因茲，我聽了一場由維恩加特納[　　菲利克斯·維恩加特納（1863—1942），也譯作菲利克斯·韋恩加特納。奧地利著名指揮家、作曲家、作家。

    ]指揮的貝多芬交響樂演奏會，後來我有機會與他單獨相對。我們在潮濕灰暗的四月，漫步於霧氣瀰漫的萊茵河畔。我們傾訴心曲，而我竟完完全全地被他那種痛苦、勇氣、歡樂與悲哀所感染。我跪倒在地，他卻用他那強有力的手將我扶起，並且為我的新作《約翰·克利斯朵夫》洗禮。在他的祝福下，我又勇敢地踏上返回巴黎的路。此時的我深受鼓舞、信心倍增；我與人生重新締約，並為上帝演唱了一首痊癒者的感恩曲。而這支感恩曲正是這本短小的書。它最初由《巴黎雜誌》發表，後由貝璣[　　貝璣（1873—1914），法國詩人、作家。本書中的《貝多芬傳》曾在他所主編的《半月刊》上刊載。

    ]再版。我絲毫沒想到這本小書會從一個狹小的友人圈裡傳出來。然而，「每個人都有自己的命運……」

    很抱歉，我在這裡贅述了這些枝節。可是現在有一些人會從這支頌歌中尋找按照嚴格的史學方法創作的著作，所以我應該對此給予回答。有些時候，我會充當一個史學家。我在幾部書中對音樂學盡到了一定的義務，諸如在《亨德爾》和有關歌劇的一些研究著作中。但是，《貝多芬傳》絕非是為了學術研究而創作的，它是唱給受傷的心靈、窒息的心靈的一支鼓勵的歌。它復甦了，它振作了，而且它感謝救世主。有一點我很清楚，這個救世主被我改頭換面了，但所有的信仰與愛情的行為都是如此。我的《貝多芬傳》就是這種行為。

    本書出版以後，人們爭相購買，使它交上了好運，這是出人意料的。因為那時候的法國，有數百萬理想主義者被壓迫，他們急切盼望著一個解放的吶喊。而他們卻從貝多芬的音樂裡聽到了它，於是紛紛找到他，懇求他。所有在那個時代倖存下來的人們，誰不記得那些四重奏音樂會？這些音樂會就像是彌撒禱告時演唱著「天主羔羊」[　　「天主羔羊」，天主教彌撒曲的開頭。

    ]的教堂那樣受歡迎。沒有人會忘記那些注視著祭獻，並被啟示之光芒照耀著的痛苦不堪的臉龐！今天活著的人們與昨日的人們相距甚遠。（但他們是否會與明日的人們靠得更近一些？）在二十世紀頭幾年的這一代人中，不知有多少隊列被一掃而光：戰爭就是一個深淵，他們和他們最優秀的兒子都消失在這個深淵之中了。只有我這本短小的《貝多芬傳》依稀保存著他們的形象。它出自一個孤獨者之手，竟毫無知覺地與他們相仿。而他們已從中認出了自己。

    不幾天工夫，這本由一個無名者寫的小冊子，已經從一家名不見經傳的小書店裡走了出來，在讀者手中流傳開來。於是，它就不再是屬於我的了。

    我把這本小書重新讀了一遍。儘管它還有一些不足之處，但是我也不想再做什麼改動了。因為它應該保留它的原始模樣，以及偉大一代的神聖形象。在貝多芬百年祭之際，我不僅要緬懷這一代，也要頌揚這位偉大的同伴，正直與真誠的大師——貝多芬，紀念這位教會我們如何生、如何死的人。

    羅曼·羅蘭

    1927年3月



                _Frontispiece._




                               BEETHOVEN

                                  Woltuen, wo man kann
                                  Freiheit über alles lieben,
                                  Wahrheit nie, auch sogar am
                                  Throne nicht verleugnen.

                                               _Beethoven_
                                           (Album-leaf, 1792)

                                  To do all the good one can,
                                  To love liberty above everything,
                                  And even if it be for a kingdom,
                                  Never to betray truth.

                               HIS LIFE




    「一心向善，愛自由高於一切。哪怕是為了御座，也絕不能背叛真理。」[此語出自貝多芬1792年《手記》。

    ——貝多芬


***
翻譯評論：

         PREFACE

                    "_I want to prove that whoever acts rightly and
                    nobly, can by that alone bear misfortune."_
                                                          BEETHOVEN.

                          (To the Municipality of Vienna, Feb. 1, 1819.)

某一譯本：

****比較liberty vs freedom

Schindler, the friend who knew him best during
the last period of his life, said, "He was an upholder of unlimited
liberty and of national independence ... 


Helena catastrophe in 1821, he remarked: "I
composed the music suitable for this sad event some seventeen years
ago." It pleased him to recognise in the Funeral March of his Symphony
a presentiment of the conqueror's tragic end. There was then probably
in the _Eroica Symphony_ and especially in the first movement, a kind
of portrait of Bonaparte in Beethoven's mind, doubtless very different
from the real man, and rather what he imagined him to be or would have
liked him to be--the genius of the Revolution. Beethoven, in the Finale
of the Eroica Symphony, used again one of the chief phrases of the work
he had already written on the revolutionary hero par excellence, the
god of liberty, Prometheus, 1801.






 Thus the definite theme of Joy was put down in
notes in 1822; also all the other airs of the _Symphony_, except the
Trio, which came a little after, then the _andante moderato_, and
later the _adagio_, which appeared last of all. For references to
Schiller's poem and the false interpretation which is given now-a-days
by substituting for the word _Joy_ the word _Liberty_, see an article
by Charles Andler in _Pages Libres_ (July 8, 1905).






[71] The subject is the legend of a horseman who is loved and captured
by a fairy, and who suffers from nostalgia and lack of liberty.
There are analogies between this poem and that of _Tannhäuser_.
Beethoven worked at it between 1823 and 1826. (See A. Ehrhard _Franz
Grillparzer_, 1900).






I would already have liked to take the liberty of forwarding to you the
enclosed document in the name of our Beethoven as his dying request;
but after the passing away of our friend, there was so much business
to attend to that I found it impossible. Unfortunately, it was not
possible to get the document legalised, for that Beethoven would
have had to sign it at the law court, which was utterly impossible.






"Liberty and progress are the goals of art just as of life in
general. If we are not as solid as the old masters, the refinement of
civilization has at least enlarged our out-look."

                        (To Archduke Rudolph.)




----




Dr. Spiker, who saw him in 1826, said that his face had become
smiling and jovial. The same year when Grillparzer spoke to him
for the last time, it was Beethoven who had more energy than the
worn-out poet: "Ah!" said the latter, "if I had a thousandth part of
your strength and determination." Times were hard; the monarchial
reaction oppressed their spirits. "The censors have killed me,"
groaned Grillparzer. "One must go to North America if one wishes to
speak freely." But no power could put a stop to Beethoven's thoughts.
"Words are bound in chains, but, happily, sounds are still free," he
wrote to the poet Kuffner. Beethoven's is the great voice of freedom,
perhaps the only one then of the whole of German thought.








[74] In 1819 he was followed by the police for having said aloud "That,
after all, Christ was only a crucified Jew." He was then writing the
_Mass in D_. That work alone is enough to show the freedom of his
religious inspirations. (








The autograph is dated December 25th, 1821, and the work appeared for
the first time in August, 1822. Here we find Beethoven in his most
exalted mood, and it is significant that whilst the main outlines of
the Sonata-form are at the foundation of the piece, he has gone still
a step farther in the direction of welding the whole sonata into one
piece. The first, the movement of development, is on the usual lines
but is handled with great freedom. 







****

In 1812, a 12-year-old pianist wrote to her idol, Ludwig van Beethoven. Here's his response.





WQXR.ORG

Beethoven's Amazing Response to a 12-Year-Old's Fan Mail

































In 1812, a young pianist named Emilie wrote to her idol, Ludwig van Beethoven. The composer, whose lionlike mane of hair and fiery eyes might lead some to think he’d best be left alone, replied with a surprisingly sweet answer. Writer Maria Popova highlighted Beethoven’s response on her blog, Brainpickings, along with some musings on artistry, the creative mind and humanity. You should definitely take some time to read her poston the matter, but before you go, take a look at the Beethoven’s response which was included in the Michael Hamburger's documentary book Beethoven: Letters, Journals and Conversations. 





My dear good Emilie, my dear Friend!



Do not only practice art, but get at the very heart of it; this it deserves, for only art and science raise men to the God-head. If, my dear Emilie, you at any time wish to know something, write without hesitation to me. The true artist is not proud, he unfortunately sees that art has no limits; he feels darkly how far he is from the goal; and though he may be admired by others, he is sad not to have reached that point to which his better genius only appears as a distant, guiding sun.



I would, perhaps, rather come to you and your people, than to many rich folk who display inward poverty. If one day I should come to [your town], I will come to you, to your house; I know no other excellencies in man than those which causes him to rank among better men; where I find this, there is my home.



If you wish, dear Emilie, to write to me, only address straight here where I shall be still for the next four weeks, or to Vienna; it is all one. Look upon me as your friend, and as the friend of your family.





Immortal Beloved Full Movies

https://www.youtube.com/watch?v=Qkng51d-hXE
































會寫字的文人不要輕易招惹，遇到有些看似清純的文青少女，也不要掉以輕心。
在閱讀貝多芬生平傳記的時候，一定會看到貝蒂娜．馮．阿寧（Bettina von Arnim）這個名字，這位貝蒂娜娘家姓布倫塔諾，小貝多芬六歲，有些後代流傳甚廣關於貝多芬的故事，來源就是貝蒂娜。這些故事美則美矣，可惜未必為真。
在《不朽的戀人》電影中，有一幕是貝多芬（蓋瑞歐德曼飾演）獨自彈奏《月光》，這時他已經半聾，所以把頭靠在琴蓋上。在隔壁偷聽的Giulietta Guicciardi忍不住現身，從後面拍了貝多芬的肩膀，結果貝多芬勃然大怒。
這個情節安排應該是從貝蒂娜的敘述而來，只是照貝蒂娜的說法，貝多芬看到她，不但沒有生氣，還把他根據歌德的詩所譜寫的《你可知道》（Kennst du das Land）唱給貝蒂娜聽。貝蒂娜也認識歌德，兩人相差了三十多歲，不過，從歌德的情史來看，他到了老年，對於仰慕他的年輕女性從來是來者不拒的。歌德跟貝蒂娜就是大文豪與女粉絲的關係，但是當女粉絲開始對大文豪的太太說三道四之後，大文豪也就不跟女粉絲往來了。
但是，這並無礙於女粉絲運用與大文豪交往所獲得的資本。貝蒂娜後來把她寫給歌德信函出版，在另一件事情上，看來也報了歌德與她斷絕往來之仇。
歌德與貝多芬見過一次面，在那次見面，兩人在路上碰到皇室成員。歌德脫下帽子，垂手立於路旁，貝多芬也不屑，大步向前，結果包括女王在內，大家都跟貝多芬打招呼，只有歌德還站在路旁。
這個故事顯出貝多芬睥睨權威的個性，拿的是歌德來墊背。讓大文豪像個小官僚一樣站在路旁，的確很不堪。當我讀到這件事是貝蒂娜說貝多芬寫信給她說的，而這件事又被證明是貝蒂娜捏造的時候，我想，這大概是貝蒂娜藉此炫耀了她跟貝多芬的交情，也順便往歌德身上打了一耙。即使證明此事為假，這個故事已經深入人心，歌德面對權威的媚態，很難洗刷。即使文字功力高如歌德，有時候也要著了小粉絲的道。









































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