 斯特拉文斯基与拉赫玛尼诺夫（一） 背景研究 Stravinsky and rachmaninoff were two composers with relatively similar backgrounds. They both came from musical families; both their families were considered to be in the upper echelon of the tsar’s russia; they both trained with the best composers/teachers. Regardless of the preceding facts, their music drastically diverged from one another. Rachmaninoff chose to follow the foolproof methodology of the romantic era composers, whereas stravinsky chose to create his own methods of composition. In the following , I will analyze the development of musical ideals in the two composers. Then, the course of their two ideologies will be discussed. 斯特拉文斯基与拉赫玛尼诺夫是两位有着相似背景的作曲家。他们都有着被视作沙皇俄国顶尖水平的音乐世家背景；他们都受训于最优秀的作曲家/音乐教师。尽管如此，二者的音乐却大相径庭：拉赫玛尼诺夫选择发展完备的浪漫主义作曲技法，而斯特拉文斯基选择自己另辟蹊径。接下来，我会分析两位作曲家音乐思维的发展，之后对二者的音乐观展开讨论。 This comparison will concentrate on the composition aspect of these two composers’ lives. It is well known that both composers were capable of both conducting and playing the piano( although to different degrees). Their respective musical compositions are a concrete method of assessing their body of work. It is also important to emphasize the fact that this will not be a complete comparative study of these two composers. There are limitations in time, resources ,and space for that undertaking. The following is a highlight of the major points of interest(at the discretion of this writer). 比较将聚焦于二人的作曲生涯。众所周知他们都胜任指挥与钢琴演奏（虽程度多有不同）。二人各自的音乐作品也是评估他们的方式。应当重视并强调的是，本文并不能算作对两位作曲家的完整比较研究，它受到了时空与资源的限制。接下来是基于作者判断下的主要兴趣要素的亮点部分。 The backgrounds of these two composers were remarkably similar. The most obvious similarity between the two is the time of their birth. Rachmanninoff and stravinsky were both composers of the same time period in music history. Rachmaninoff was born on april 1 ,1873, whereas stravinsky was born on june 18 , 1882. Another similarity between the two composers is the fact that both came from families with extensive musical backgrounds. Stravinsky’s father , feodor stravinsky, was an influential operatic singer. 两人的背景非常相似。最明显的相似点就是生辰。拉赫玛尼诺夫和斯特拉文斯基都出生在音乐史概念上的同一时期。拉赫玛尼诺夫生于1873年4月1日，斯特拉文斯基的生日是1882年6月18日。另一相似点就是二人的家庭都有着深厚的音乐背景。斯特拉文斯基的父亲，费奥多尔·斯特拉文斯基就是一位有影响力的歌剧歌唱家，关于父亲对他影响后文将详细论述。 The significance of his father’s role will be discussed in further detail later. In rachmaninoff’s family, the most prominent(contemporary) musician was his cousin, alexander siloti. Siloti was a highly successful former student of franz liszt. He taught at the moscow conservatory, and was considered to be one of most prominent virtuosos of his time(norris 4). He even had the good fortune of knowing tchaikovsky in person(piggott 18). Siolti , however, was not the first musical talent in the family. 而在拉赫玛尼诺夫家族，最突出（同时代）的要数他的堂弟亚历山大·西洛蒂——他正是弗朗兹·李斯特成就颇丰的学生之一。西洛蒂任教于莫斯科音乐学院，被认为是他那个时代最杰出的艺术大师之一,甚至他还有幸与柴可夫斯基私交颇深。然而西洛蒂并非家族首位音乐天才。 Rachmaninoff’s great father was an accomplished violinist , and his grandfather was a great pianist. Rachmaninoff’s grandfather was said to have composed a bit as well. Rachmanninoff’s father was also a capable piano player, but he never pursued music as a career(piggott12). This wealth of musical heritage was certainly an effective means to inspire the young rachmaninoff to develop his musical abilities. 拉赫玛尼诺夫的曾祖父就曾是一位成功的小提琴家，拉赫玛尼诺夫的高曾祖父也曾是一位伟大的钢琴家。拉赫玛尼诺夫的父亲则是一位资深的钢琴演奏者，却并未将其作为职业追求——这份音乐遗产理所当然地对年幼的拉赫玛尼诺夫开发音乐能力有所触动。 As stated before, stravinsky’s father was a famous bass singer (in kiev and later in st. petersburg) at the time of stravinsky’s intellectual maturation. Feodor’s repertoire included the works of contemporary russian composers. Feodor’s contributions to styravinsky’s development were not only of a musical nature. He helped stravinsky’s social and intellectual mind through other means as well as music. A representative example of this phenomenon was feodor’s collection of current and classic russian ,as well as traditional european authors and poets. 如上所言，斯特拉文斯基的父亲在斯特拉文斯基心智成熟的时候，是位著名的男低音（先在基辅后转至圣彼得堡）。费奥多尔的曲目包含了当代俄罗斯作曲家的多部作品，他对斯特拉文斯基发展的贡献不仅限于音乐天资，还通过其他方式帮助斯特拉文斯基塑造公德、知识与音乐意识——一个典型案例就是费奥多尔当今与经典的俄罗斯收藏品，还有传统欧洲作家与诗集。 Stravinsky’s father owned firs edition volumes by pushkin, gogal, and thostoy. Stravinsky did not hesitate to take advantage of this impressive resource. He voraciously(and indiscriminately) read through as many books as he could. It has been said that he particularly enjoyed sophocles’ oediqus rex(routh 2). These works were to provide the material for much of stravinsky’s body of work. 斯特拉文斯基的父亲拥有大量托尔斯泰、莎士比亚、但丁的藏书；他还收藏了普希金，果戈里，托尔斯泰的第一版书卷。斯特拉文斯基毫无疑问发挥了这些深刻资源的优势。他孜孜不倦的尽其所能通读了许多书籍。据说他特别欣赏索福克勒斯（古希腊悲剧诗人）的《俄狄浦斯王》。 This applies to oedipus rex best. In 1927 stravinsky composed a choral piece according to this story. The poems of pushkin are also represented well in stravinsky’s body of work. For instance, the song-suite the faun and the shepherdess(1906) was written based on pushkin poem (paruskin). 这些作品也为他的作曲提供了很多的材料，其中以《俄狄浦斯王》最甚。1927年斯特拉文斯基就根据这段故事创作了一部合唱作品。普希金的诗集也在斯特拉文斯基的作品中多有描绘。例如，1906年创作的声乐套曲《牧神与牧羊女》就是基于普希金的诗作《塔鲁西金》谱写的。 The influences of stravinsky’s father ectended to include direct musical thoughts also. The strictly musical influences of his father were in the form of stravinsky’s attendence of numerous performances of the greatest contemporary russian pieces. 斯特拉文斯基父亲也直接影响到了他的音乐思维。他以出席了大量俄罗斯当代宏伟作品的演出的形式受到了来自父亲的严肃音乐的影响。这些作品与文学作品中得到灵感的方式相似，对他之后作曲生涯中重大作品有启迪作用。 These works inspired important compositions later on in stravinsky’s career, in a similar manner to the inspirations gained from the literary pieces he studied. It has been recorded that stravinsky attended performances of such great pieces as glinka’s russlan and ludmilla. Tchaikovsky’s the sleeping beauty, and rimsky-korsakov’s prince tgor(rough 3). 据记载，斯特拉文斯基参加了诸如《鲁斯兰与柳德米拉》（俄国作曲家格林卡创作的5幕歌剧），《睡美人》（俄国作曲家 音乐教育家柴可夫斯基创作的芭蕾舞剧），《伊戈尔王子》（俄国作曲家科萨科夫创作的4幕歌剧）的演出。 There is direct evidence for the influence of these pieces on stravinsky’s future works. This type scenario is more evident in the early stages of stravinsky’s composition career. For instance ,stravinsky chose to use rimsky-dorsakov’s material from the opera the legend of the invisible city of kitezh in his op.6, which was simply called two molodies. This composition was a pair of songs, which rimsky-korsakov chose to call “uninspired” and “too modern”(harrington). 这些作品对斯特拉文斯基未来创作的影响有直接证据，脚本类型对斯特拉文斯基早期的作曲生涯的影响更能说明问题：斯特拉文斯基在他的作品6中——选用了科萨科夫歌剧《隐城基捷日的传奇》中的材料——被简称为“双旋律”；这部作品包括两首歌，被科萨科夫称作“毫无灵感”且“过分现代化”。 Another more representative example of this notion is present in the ballent the firebird. Here, stravinsky chose to quote past composers directly (musical passages) as well as methods of portrayal. There are passages, where stravinsky pays direct tribute to his predecessors. The structure and the material of the pieces are also dirived from the methodology of past/contemporary composers. 能说明这一理念的另一更具代表性的例子就是芭蕾舞剧《火鸟》。斯特拉文斯基直接引用了以往作曲家的乐段与描述法。斯特拉文斯基直接在这些段落中向先人致敬，作品的结构和音乐材料也分别源于今昔作曲法。 For instance, in composing the firebird, stravinsky took full advantage of rimsky-korsakov’s idea of representing good (human ) characters with folkloric tunes ,which evil (magical) characters are represented by “structured harmonies”. 例如在《火鸟》中，他将科萨科夫的理念发挥到极致：将人类“善”的一方用民间曲调展示；而用结构化和声代表“恶”的一方。 Stravinsky freely borrowed from other russian composers as well ,in order to construct the spirit of the firebird. He used harmonies similar to those of sciabin. He also used the same folkloric spirit ,seen so often in borodin’s music (grove). The notion of borrowing from his predecessors is a multi faceted concept in stravinsky’s pieces. This notion applies also to the firebird. While stravinsky borrowed freely from his predecessors, the method in which he culminated these thoughts is completely unique. 为建构《火鸟》的精神内涵，斯特拉文斯基也自由借鉴了其他俄罗斯作曲家。他使用了与斯克里亚宾类似的和声，也引用了在鲍罗丁音乐中常见的民谣内涵——从先人身上借鉴的观念展现了斯特里亚宾作品中的多面思维。这一观念也贯彻在《火鸟》中。 The elegant method, by which he scuplted the firebird, is the genius in the piece. This notion applies anytime stravinsky is seemingly copying his predecessors. It is also important to note that he chose to set his first major work in the from of a ballet: a form , which was absolutely despised by rimsky-korsakov and his circle of colleagues. This choice clearly distinguishes stravinsky’s stylistic impetus from those of his previous generation. Stravinsky’s style may have been heavily infused with the spirit of the russian past, but it remained distinctively unique throughout his career. 在此方法下他积累的这些思想就完全不同了。他通过这一精湛技法刻画了《火鸟》，而这技法正是整部作品的灵魂所在。值得一提的是他将芭蕾舞剧定为他的首要工作，这一选择就明显将其风格动机与先辈区分开。斯特拉文斯基的风格或许受到了很多俄罗斯先贤的影响，但其独特特色贯穿他的职业生涯始终。 未完待续 |
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