 Yoyoma Bach CD Reviews:You Gotta Have Faith 马友友巴赫专辑乐评：人要有信仰 By Tony Frankel Last night at The Wallis Performing Arts Center in Beverly Hills, I was privileged to witness MacArthur “Genius” Alisa Weilerstein perform all six of Bach’s Unaccompanied Cello Suites. It felt almost surreal to do this after driving through horrendous L.A. traffic listening to updates on the mass murder in nearby Thousand Oaks, reports that were interrupted by more news: That same community’s rankled citizens had just been evacuated as fires engulfed swaths of Ventura and L.A. counties. 昨晚，在比弗利山庄的瓦利斯表演艺术中心，我有幸亲历了麦克阿瑟“天才”奖得主艾莉萨·魏勒斯坦完整演奏的六首巴赫无伴奏大提琴组曲。参加这场音乐会，有种近乎玄幻的感觉，因为此前刚刚驱车穿过交通可怖的洛杉矶街道，听着最新的，关于附近千橡市屠杀案的报道，而报道随时又在被更新的消息所打断：由于文图拉和洛杉矶的大片地区大火肆虐，事发区的民众刚刚已被疏散。  With smoke filling the skies above the theater, I sat watching people prior to the concert arguing at the foot of the stage about seat assignments (with mid-term elections proving just how divided Americans are, who isn’t weary of finger-pointing?). Once Weilerstein began, someone’s phone began to go off low-but-incessantly throughout the first two suites — turns out an older woman was getting alerts about the fire but she didn’t turn down the volume properly and had poor hearing (so did that man with the watch alarm). 剧场上空，浓烟弥漫，演出开始前，我坐在那儿，观赏着舞台脚下因座位安排而起了争执的观众 。（鉴于中期选举已经证实，美国人是何其分裂，谁不厌倦指责？）魏勒斯坦的演奏一开始，有人的手机就低声响起，声音不高但坚持不懈地伴随了前两组乐曲，后来发现是一位年长的女士，听力很差，在收到火警时，没有适当地调低音量，另有一位腕表响铃的男士，情况类似。 （译者注:原文的A-LEE-sah WYE-ler-steen：应是作者以大写和拖音强调演奏者的腕儿大，以示兴奋）  What’s a person to do? Well, Bach already created the medicine, now it just needs to be taken. And to do that, one must actively listen, a lost art in this information- and noise-filled world. If you don’t do that, the Suites can be more of an endurance test for the listener than they are for the player . 什么才是一个人必须要做的？巴赫早已经开出了药方，而今照办即可。要做到，我们就必须主动、积极地去聆听，在这个充满信息和噪音的世界里，这是一门遗失的艺术；做不到，那这套组曲就成了对忍耐力的考验，相对演奏者，于听众而言尤其如此。 (which explains why quite a few people left after the first break, more during the second, and a few between the fifth and sixth Suite). I focused my eyes between the bridge and tailpiece of the cello, and let Bach’s magisterial, mathematical, mesmerizing, meditative, mythical, magical, miraculous, mysterious music cast its spell. Even that cell phone stopped bugging me. 这也解释了为什么很多人在第一次休息时离去，在第二次休息时离开的更多，而在第五和第六组曲之间却很少。我将注意力集中在大提琴的琴桥和弦板之间，任巴赫那威严、精确、迷魅、深邃、雄奇、美妙、魔幻、神秘非凡的音乐统摄身心。连那部手机都不再烦我了。  So when you buy Yo-Yo Ma’s new release of the Cello Suites from Sony Classical (which you must), it shouldn’t be used as background music. It is your opportunity to get involved by participating with your senses, not just your ears. While the 36-year-old Weilerstein did a remarkable job yesterday (the memorization of two and one half hours of music alone boggles the mind), Yo-Yo Ma’s new rendition is less practical and more emotional and precise, more worldly and magical, more solid and wise. 因此，当你购得索尼古典新发行的马友友大提琴组曲时（必须的），它不应被用作背景音乐。你有机会将全部知觉投入其中，而非仅凭双耳去听。尽管36岁的韦勒斯坦昨天的演奏非常出色（单是记住两个半小时的乐谱就足够惊人），而马友友新的演绎更加挥洒自如，更富于情感、更精准、更入世、更奇妙、更坚实和睿智。 This isn’t to dish Weilerstein, as her interpretation was truly valid and improved as the night wore on, but this — Ma’s third go-around recording the Suites — is also, shall we say, more mature and insightful than his own previous releases. Very little is spelled out by Bach as far as tempo and mood, so there is great room for interpretation. 这并不意味着贬抑魏勒斯坦，她的演绎无疑是令人信服的，且在昨晚，随着时间的逝去愈显优秀。但这个，是马友友第三次重新录制这套组曲，也可以说，它相较于此前的版本更成熟、更具洞察力。在乐曲基调和行进速度方面，巴赫的阐述极少，为演奏者留下了极大的发挥余地。  Recorded at Mechanics Hall in Worcester, MA, recording engineer Richard King has ensured the tiniest bit of reverb, as if we were sitting with Ma in the apse of a church, which aids in the spiritual journey, or for some, a religious experience. “Transcending even Bach’s profound devoutness。” 该唱片是在马萨诸塞州伍斯特的迈坎尼克音乐厅（Mechanics Hall）录制的，录音工程师理查德·金在录制时，确保了能够还原哪怕是最微小的混响。这样，在欣赏唱片时，我们就如同和马友友一起坐在教堂的凹形大殿中似的，这对精神体验有助益，亦或对某些人而言，是宗教体验。 Ma’s lifelong friend Michael Stern writes in the liner notes, “these works are statements of faith pared down to their purest essence.” And unlike music for meditation, which can be sleep-inducing, Bach’s suites — each with seven short movements — go from dissonant to dance to probing to reflective. 马友友的终生好友迈克尔·斯特恩（Michael Stern）在唱片说明中写道：“这甚至超越了巴赫的深邃和虔诚，这是对信仰最纯粹、最本质的呈现。”与那些可能会引人入睡的冥想音乐不同，巴赫组曲中每组都有七个短章，从不协和到舞曲、到探究、再到沉思。
 I woke up this morning to lingering smoke and devastating news from my own friends who have been evacuated, so the first thing was to pop in this CD, put on headphones, and allow all 133 minutes to wash over me like a tonic. With profundity, Ma’s version makes it easier to listen; it just draws you in. 今早，在烟雾缭绕中醒来时，听着被疏散了的朋友们传来的颓丧消息，继而要做的第一件事就是放入这张CD，戴上耳机，让这133分钟的音乐如琼露般涤清身心。马友友的版本，因其深刻精到，更易入耳，它只是吸引着你入乎其中。这可能是自伟大的西班牙大提琴演奏家帕布罗·卡萨尔斯（Pablo Casals）以来，最好的巴赫大提琴组曲录音。 This may be the best recording of the Cello Suites since the great Pablo Casals, the young Spanish cellist who found a copy in the music store he worked in over a century ago, ultimately recording them from 1936-39 after two decades of study. In Ma’s beautifully written notes, he asks us to share it with people seeking equilibrium and solace at a moment of unprecedented change. Which is most of us, yes? You gotta have faith. This will help. 一个多世纪前，年轻的西班牙大提琴手在其工作的音乐商店里找到了一份乐稿，经过20年的研究，最终在1936至1939年间录制下来。在马友友所写的精彩题记中，他请求我们，将巴赫分享给那些身处空前变化时刻，正在寻求内心平衡和慰藉的人们。这说的不正是我们大部分人么？人要有信念，信者得救助。 |
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