 ''Mahler touches the core of the 20th century'' “马勒触及了20世纪的核心 ”马勒的灵魂预示了人生可能何等悲惨 By Imogen Tilden 伊莫根·蒂尔登 Some of today''s best composers have been asked to write pieces to be paired with each Mahler symphony in the Manchester celebration. Here, they consider what the composer means to them today 在曼彻斯特的纪念马勒（2010年，150周年诞辰系列）音乐会上，我们邀请了当下最好的作曲家们，为马勒的每一部交响曲原创一首作品相唱和。在这（篇文章里），他们将思考马勒对今日的作曲家而言意味着什么？ 编者按：欢迎文末留言，谈谈您对马勒的看法，以及对本文作曲家们对马勒看法的看法！您将可以申请加入马勒小分队！  Detlev Glanert 德特勒夫·格兰内特 The rediscovery of Mahler''s music in the 60s and 70s was a breath of fresh air for modern music. On the one hand it provoked a welcome critique of the closed, self-reflective aesthetic stances of the postwar New Music; on the other hand, it was a declaration of the sources of modernity; he wanted the world in his symphonies, and composed an extrapolation of the 19th century, opening possibilities for Schönberg, Berg and Webern. I had an immediate and deep emotional relationship with Mahler''s music – it seemed as if he was my older brother, taking me in hand and showing me the way to go. He touches the core of the 20th century: he knew everything about its catastrophes, thoughts and beauties. 六七十年代，对马勒音乐的重新挖掘，之于现代音乐可谓一股清风。一方面，（马勒音乐的重现）对于战后新音乐那封闭的、内省的美学立场，引发了一阵友好的风评；另一方面，这也宣誓着它（马勒的音乐）是（当下音乐中）现代性的源泉；马勒希望他的交响曲里包含（整个）世界，因此他在19世纪谱下了预言，而这（预言）为勋伯格，贝尔格和韦伯恩开启了（无限的）可能性。我与马勒的音乐之间有一种深刻而紧密的联系——看上去，他就像是我的哥哥，他牵着我，告诉我前路将去往何方。他触及了20世纪的核心：对于它（20世纪）的灾难、思辨与美丽，马勒无所不知。  Kurt Schwertsik 库尔特·施威茨克 In everything I write, Mahler is looking over my shoulder. He''s a composer whose range we are only just beginning to grasp. But in Nachtmusiken, the companion piece I have composed, I didn''t want to refer to his style or quote his material – its relation to Mahler''s music is oblique. I''ve attempted to create the atmosphere of Vienna around 1900 with its transition from historicism to art nouveau, Musikverein to Konzerthaus, Makart to Klimt, and relate this to memories of my own, living in the darkened city during and immediately after the second world war. 在我所写的每一部作品里，马勒似乎都立于我身后，督导辅正。他是这样一位作曲家，对于马勒的一切我们只是刚刚有所了解。但是在《夜之乐》中，这是我为这次音乐会所谱的相和曲，我并不想借鉴他的风格或是引用他的音乐素材——这部作品和马勒音乐间的关系是间接的。我力图塑造的是1900年前后维也纳的风貌，适时它（这座城市）正从历史决定论（传统崇拜）转向着新艺术运动、从维也纳音乐协会音乐厅（即金色大厅所在）转向维也纳音乐厅（建造于1900年前后），从马卡特转向克里姆特（前者是十九世纪上半叶历史题材画家，后者是新艺术运动画家，前者因其对后者的影响而闻名），若将（这种转变）与我的个人经历相联系的话，那就是生活在二战时昏暗的维也纳与战后顷刻间的转变。 Colin Matthews 科林·马修斯 Mahler has been the most important composer in my life for nearly 50 years, although his influence is rarely on the surface of what I write. Crossing the Alps is a case in point: not a homage to Mahler so much as a humanist response to the Second Symphony, a setting of words from Wordsworth''s The Prelude for unaccompanied chorus. 近50年来，马勒就是我生命中最重要的作曲家，尽管在我的作品中，他的影响很少流于表面。在这一点上《翻越阿尔卑斯》就可为一例：若论对马勒的致敬，这部作品绝对比不上人本主义者对马勒《第二交响曲》的反应，（《翻越阿尔卑斯》）是以（英国浪漫主义诗人）华兹华斯的（自传体抒情长诗）《序曲》为词，写给无伴奏合唱团的作品。 Bushra El Turk 布沙拉·埃尔·特克 Mahler''s music speaks to me. His portrayal of naivity and his use of irony are elements I relate to in my own music. He still has a lot to say to today''s world – his explorations mirror the eternal human condition. Mosaic uses Das Lied von der Erde''s signature chords, but it is mostly the concepts of both the Beethoven and the Mahler compositions – concepts of otherness and rootlessness – that I''ve adopted. Mosaic expresses the same sense of otherness and rootlessness that Mahler found in ancient Chinese poetry. I reflect on how borders can be blurred, yet still differences can be immense. 马勒的音乐和我对话。他对纯真的描摹以及他对讽刺的运用，这些元素让我联系上了自己的音乐。对于今天的世界，马勒仍有很多话可说——他的探索映照着人类永恒的际遇。《马赛克》运用了《大地之歌》中标志性的和弦，但最主要的还是它对贝多芬与马勒作品里共有概念的继承——即遗世独立与漂泊无依的概念。《马赛克》中展现出的孤立感和漂泊感与马勒在中国古诗词中寻到的是何其相似。我（以上）的思考更多在于（《马赛克》与马勒作品间的）边界可以是何等的模糊，但（二者间的）差异也仍是巨大的。 Uri Caine 尤瑞·肯恩 I have always loved Mahler''s music for its kaleidoscopic quality; it is full of contrasts and beautiful contradictions. It encompasses a love of the great classical tradition, but also includes references to folk music, military marches, and dance forms like the waltz and ländler. He often juxtaposes the simple with the complex. When the Halle Orchestra suggested I compose a piece that included the Hallé Youth Choir, I immediately thought of Mahler''s songs and their connection with children and the nostalgia for youth. 因那万花筒一般的品质，我一直很喜欢马勒的音乐；它充满了对比与美丽的矛盾。它包含着对伟大古典传统的爱，却也有取自民间音乐，军队进行曲，以及诸如华尔兹、兰德勒舞曲等舞蹈音乐中的内容。他经常将简单与复杂并置。当哈雷交响乐团建议我写一首可以让哈雷青年合唱团参与进来的作品时，我当即想到了马勒的歌曲、歌曲与孩子间的联系还有歌曲中对青春的追忆。
 Edward Gregson 爱德华·格雷森 I came across Mahler as an undergraduate. It knocked me out, but now – and only occasionally it must be said – some of his longeurs rather dull the impact. Nevertheless, in his finest symphonies – for instance, the Sixth – he embraces memorable melodic ideas, impressive contrapuntal control, adventurous harmony and vivid orchestration, within a tightly organised structure: no mean feat for works that last anything from just under an hour to close on two. 我与马勒（的音乐）初遇在本科时。他把我听懵了，不过如今——必须要说，这也只是偶发事件——他作品里一些冗长的部分会让这种效果打折。不过，在他最棒的交响作品里——比如，第六交响曲——难忘的旋律乐思，惊人的对位控制，大胆的和声写作与生动的交响配器都被他拥入怀中，（而这一切都发生）在那紧密组织的音乐结构中：在任何短不足一小时，长不到两小时的作品里，这都绝非易事。
David Matthews 大卫·马修斯 Mahler and Sibelius are the two greatest 20th-century symphonists. Mahler powerfully dramatised the existential problem of modern man: alone in the universe, searching for meaning. He is still very much our contemporary. 马勒和西贝柳斯是二十世纪两位最伟大的交响乐作曲家。马勒有力的加剧了当代人类存在性问题的戏剧性：只身寰宇间，求索（存在的）意义。他至今仍是我们的同道中人。
Luke Bedford 卢克·贝德福德 Mahler was one of the first composers I fell in love with. He showed me what a powerful and magical thing the orchestra is. I remember, at the age of 12 or so, secretly listening to Mahler – and being overwhelmed. But when I came to writing my piece, I actually tried not to think about Mahler too much. I didn''t want him breathing over me as I wrote. It''s hard enough dealing with the ghosts from musical history without having one in the room as you work. 马勒是我最早爱上的作曲家之一。他向我展示了交响乐队的力量与魔力。我记得，在差不多12岁的时候，我悄悄地听马勒——而后便被他征服了。但当我写作自己的音乐时，实际上，我试图不总去想马勒。我不希望自己在创作时，仰他人鼻息。音乐史上的幽灵们已经够难对付的了，更别提在你创作时房间里还飘着一只。
Anthony Payne 安东尼·佩恩 My composition has more to do with Sibelius than Mahler: if anything, I was thinking of the former''s terrifying and phenomenal Tapiola while I was composing, rather than of a Mahler work. The two are seen as the opposite poles of 20th-century symphonic writing. For Sibelius, the symphony was the peak of pure musical thought, existing on its own pure level of logic, while for Mahler it was the whole world, and everything goes into it, ragbag style. As a student in the 60s, it was really difficult to hear Mahler played in concerts, but that changed quite profoundly in the 70s and 80s – which was when I was working as a critic. One year, I remember going to three performances of a particular Mahler symphony in one week. I was quite a Mahlerite in my early days, but once you know these pieces you don''t want to hear them too often. You get the feeling he''s dragging you by the lapels saying: ''Listen to my pain!'' 我的作品与西贝柳斯间的联系大过与马勒间的：相较于马勒的作品，如果我在创作时会想到任何音乐的话，那也是前者惊人又可怖的《塔皮奥拉Tapiola》。这两位被视作20世纪交响音乐创作上相对的两级；对西贝柳斯而言，交响乐是纯粹音乐思想的巅峰，它存在于自有的、纯粹的逻辑上；而交响乐之于马勒则是整个世界，所有的一切都可以参与其中，破布口袋啥都装的风格。作为一名求学于60年代的学生，那时很难在音乐会上听到马勒的作品，但在七八十年代这种情况发生了天翻地覆的变化——而在那时，我正从事着音乐评论的工作。记得有一年，我一周听了马勒同一部交响曲的三次演出。早些年，我是个马勒忠粉，但你一旦熟悉了他的那些作品，你是不会想太过频繁的反复聆听的。（一周听了三遍）给我一种感觉，就像马勒在扯着你的衣领对你说：“听听我的痛苦！” These nine composers are writing works to be paired with each Mahler symphony in the Manchester Mahler celebrations. The cycle begins on 16 January with the world premiere of Kurt Schwertsik''s Nachtmusiken and Mahler''s Symphony No 1, performed by the BBC Philharmonic and Gianandrea Noseda. 在曼彻斯特的马勒纪念音乐会上，这九位作曲家将为马勒的每一部交响曲原创一首作品相唱和。这套作品将始于1月16日，库尔特《夜之乐》的世界首演以及马勒的第一交响曲，两部作品将由BBC爱乐乐团和贾南德雷亚·诺塞达合作演出。
|
|
|
