   Celibidache:The Berlin Recordings 切利比达凯在柏林 1945-1957 By John Quinn CD 4 —The fourth— Disc 4 is devoted to Russian music. The performance of the ‘Little Russian’ Symphony is a good, lively one and it’s interesting to find Celibidache giving an outing to what was then a far from standard repertoire piece. Much of Romeo and Juliet is dramatic and passionate. However, I’m unpersuaded by the love music which is taken pretty deliberately with the horn part surprisingly prominent both times this music is heard - and I don’t think this is just a question of recorded balance. 第四张唱片专注于俄罗斯音乐。《“小俄罗斯”交响曲》(Symphony No. 2 in C Minor, Op. 17)的演绎出色生动，听到切利演出这首在当时远远算不上经典曲目的作品也十分有趣。《罗密欧与朱丽叶》(Fantasy-Overture ‘Romeo and Juliet’ 3rd version 1880)中的大部分段落都既有戏剧性又慷慨激昂。然而，我并未被其中被十分刻意地奏出的爱情音乐所说服，特别是当它两次出现时，圆号的部分都惊人的突出——我并不认为这只是录音平衡性的问题。 Overall, I find these sections of the piece somewhat mannered. Then the closing pages are taken very broadly and, to compound matters, the chordal passage for horns and woodwind is not well played, the tuning imprecise. Overall, this is something of a disappointment. The Rimsky piece is one of those which has something of a slow-burn start, well-shaped here. When the music gets cracking, so does Celibidache though his way with this very colourful score is slightly hampered by the limitations of the sound. 总的来说，我认为这些部分有些矫揉造作。之后的结尾部被处理的很宽广迟缓，而且问题不仅仅只有这一个，为圆号与木管所写的和声篇幅演奏的并不好，音准并不精确。这有点令人失望。这首里姆斯基的曲子属于那种开篇如缓慢燃烧般的作品，在这里被处理的十分规整。尽管他对这首色彩斑斓的曲子的精彩处理被录音质量所限，当音乐变得激动之时，切利也不负众望，表现出色。 CD 5 —The fifth— Much of Disc 5 is devoted to a performance of Dvo?ák’s great Cello Concerto. Here the soloist is the Hungarian, Tibor de Machula (1912-1982). At this time he was principal cellist of the BPO, a post to which he’d been appointed by Furtw?ngler in 1936. He was to leave the BPO in 1947, two years after this performance, to spend thirty years as principal cellist with the Royal Concertgebouw Orchestra. The tone produced by de Machula in the first movement is somewhat gritty and also his intonation is not always infallible. 第五张唱片主要收录了德沃夏克著名的《大提琴协奏曲》(Cello Concerto in B Minor, Op. 104)。这里的独奏由匈牙利大提琴家Tibor de Machula (1912-1982)担任。当时他是柏林爱乐的大提琴首席，这个职位是在1936年由富特文格勒任命的。这场演出的两年后，在1947年，他离开了柏林爱乐，并在阿姆斯特丹皇家音乐厅管弦乐团(Royal Concertgebouw Orchestra)担任了30年大提琴首席。Tibor de Machula在第一乐章里奏出的声音有一些沙哑，而且他的音准也并不一直很可靠。 Tibor de Machula There are also one or two moments of tape distortion. However, matters improve in the second movement which receives a good performance, though I don’t care for the aggressive way the orchestral tutti comes crashing in at 2:51 after the tranquil music we’ve been hearing. The performance of the finale is spirited and the poetic end is well achieved. The first 20 bars of the Glazunov overture are missing. 这首曲目还有一两处母带失真。然而，尽管我对在2分51秒时出现的那段突然以一种咄咄逼人的方式进入、同时打破了之前宁静音乐的乐队齐奏并不感冒，第二乐章的情况还是好了很多，演奏十分尽如人意。终乐章的演绎富有激情，结尾处的诗歌性也得到了很好的体现。接下来的格拉祖诺夫序曲缺少了前20小节(原因是母带缺失，译者注)。 This is by no means a front rank piece though the conductor clearly thought it merited an airing. The six-movement suite by Cui was completely new to me. I suppose the music is slight but it’s most attractive and Celibidache does it well and with no little warmth and affection. 尽管切利清楚地认为这首曲子物有所值，它依旧不能被称为一首一流的作品。居伊的这部六乐章组曲对我来说是一部新作品。我认为这部作品本身的音乐地位并不重要，但在这张唱片里是最吸引我的，在切利棒下，这部作品充斥着温暖与情感。 CD 6 —The sixth— There’s a good deal of French music on Disc 6. Margarete Klose sings the Saint-Sa?ns aria ‘Mon coeur s’ouvre à ta voix’ but it loses a good deal of seductiveness in this German translation and her big voice is rather too large for the music. 第六张唱片里收录了大量的法国作品。Margarete Klose演唱了圣桑的咏叹调《你的歌声敞开了我的心扉》(Samson and Dalilah. Opera in three acts, Op. 47: Act II - 'Sieh, mein Herz erschlie?et sich', 选自歌剧《参孙与达莉拉》，译者注)，但是在这个德语版本中，原版(法语)的魅力有些减少，而且她的嗓音对于这首咏叹调来说有些过于宽厚了。 A rather better-suited matching finds Erna Berger (1900-1990) in Glière’s Concerto for coloratura soprano and orchestra. The pity is that the music isn’t more interesting but Berger makes a good job of it; her gleaming soprano is used to good effect both in the long, soaring lines of the first part and in the vocal acrobatics that follow. 接下来由Erna Berger(1900-1990)演唱的格里埃尔(Reinhold Glière, 1875-1956)《F小调为花腔女高音和乐队所作的协奏曲》(Concerto for coloratura soprano and orchestra in F Minor, Op. 82) 则不失为一个出色的搭配。 Otherwise it’s the music of Debussy that fills the disc. There’s only one of the Three Nocturnes: Fêtes. The outer sections are urgent and gay but the middle section, the approaching march, is much less satisfactory for Celibidache adopts a ponderous speed. The rather thin, one-dimensional sound doesn’t help, either. 尽管这首作品本身的趣味性并不强，但Berger还是完成的很出色。她那熠熠生辉的嗓音无论是在曲目第一部分里悠长、高亢的线条中，还是在接下来的声乐炫技部分，都唱的精彩绝伦。此外，德彪西的音乐填满了这张唱片的空余部分。他的三首夜曲只有其中名为《祭典》(Nocturnes. Triptyque symphonique - II. Fêtes)的一首得以录制。开头与结尾部分演奏的迅速而欢快，但乐曲中段循序渐进的进行曲却因切利选择了一个较为沉重的速度从而听起来并不让人满意。单薄的单声道录音更是雪上加霜。
Erna Berger It’s a surprise to read in the notes that after the 1948 performance of Jeux that’s preserved here Celibidache never returned to the score. I wonder why, for on the evidence of this often light-footed reading he seems to have had the measure of this elusive score. Interpretatively, La Mer is something of a mixed bag. 我惊讶的从小册子里的资料发现，切利在1948年演完德彪西的《游戏》(Jeux. Poème dansé)，也就是本张唱片收录的版本之后，再也没有演出过此曲。我并不知道他这么做的原因是什么，因为这份录音里流露出的那轻盈无比的声音证明了切利似乎抓住了这份难以琢磨的乐谱中的关键所在。 In ‘De l’aube à midi sur la mer’ one can discern the conductor’s famed care for textures and balance despite the limitations of the sound. The movement is taken very expansively - Celibidache takes 10:20 to play it whereas most versions that I know play for between 8:30 and about 9:00. 而切利关于《大海》(La mer. Trois esquisses symphoniques)的解读却好坏参半。在“在海上——从黎明到中午”(De l’aube à midi sur la mer)这个乐章里，尽管受音质所限，聆听者还是可以感受到切利最广为人知的那种对声音质感与平衡的高要求。这个乐章被演奏的非常慢，时长为10分20秒，而我所知道的大部分版本却都在8分30秒到9分钟之间。
However, despite the slow speed there’s no denying that there’s poetry in the reading. When the climax arrives (9:45), the conductor’s shouts are clearly audible. ‘Jeux de vagues’ is well done: the music flickers, darts and sometimes blazes. 然而，尽管速度缓慢，但不可否认的是切利对此曲的解读诗意盎然。当全曲高潮在9分45秒来临的时候，甚至可以清楚的听到从指挥口中发出的声音。“波浪的游戏”(Jeux de vagues)这个乐章完成的也很不错，音乐时而闪烁跳跃，时而熊熊燃烧。 ‘Dialogue du vent et de la mer’ is more problematic: parts of it are turbulent and elemental but Celibidache is prone to linger too much for my taste at times. All that said, it’s a most interesting reading of Debussy’s great score although the orchestral playing is not always as sophisticated as I’m sure the maestro would have wished. “风和海的对话”这个乐章却问题不断：部分乐段演奏的激荡自然，但切利在这个乐章里表现出的那种对慢速的追求在很多时候实在不符合我的口味。综上所述，尽管乐手们的演奏并不总是像切利大师所希望的那样出色，这依旧是一份对德彪西伟大的乐谱最有趣的解读。
切利比达凯的指挥艺术 作为一个佛教徒,切利比达凯（以下简称切利）相信现实存在于事物之间的关系中,因此他更多的是突出声音内在结构,尤其是他对布鲁克纳作品诠释呈现出耀眼夺目的色调,而不仅仅是依附于紧密和声实体上的旋律。同时，禅宗也是通过沉思寻求精神上的领悟以及直接的彻察,而非个人主观的臆断。因此，切利演奏前总要进行反复的排练,他演绎的布鲁克纳作品相对趋向于远离外在的戏剧张力或者夸夸其谈的表现力。 切利也自诩为科学家,探索声音与音响空间的关系。或许由于这个原因,他录制的唱片中掌声在每部作品演奏前后都会出现,以及乐章间漫长的停顿。诸多要素营造出音响的氛围,音乐充斥其间。为了让听众更好的欣赏音乐,切利意识到,当作品织体变得浓郁厚重的时候,速度的处理得相应的放慢。 因此他演绎的莫扎特和海顿的作品就采取较为传统的方式,他对每部浪漫派作品保留曲目的演绎都开创了“熟思”的新纪录。他演绎的德彪西的大海耗时33分,而通常演奏只需23分钟左右；罗密欧与朱丽叶从18分延长至28分；切利对布鲁克纳8的演绎拖延了将近半个小时。（虽然如此,按切利的处理方法也很难解释得清楚,为何通常只需16分钟的瓦格纳小作品齐格菲的田园诗,他却需要24分钟） 最后,切利是一个对传统和音乐主流没有丝毫兴趣的神秘主义者。他省略了所有标准的重复,以连续流畅的方式处理音乐。(具有讽刺意味的是,切利的习惯被他所鄙视的电子录音设备所证实,作品中重复段落产生于1700年左右,使听众能更为熟悉一生中仅有几次机会能有幸欣赏到的音乐,当然如今我们只需要按一下按钮)。为音乐更好的交融,他不太注重紧张感,同时通过对乐曲动力性的调节,减轻情绪对感官冲击使乐句的起伏变得平顺。 遗憾的是,对高潮的抑制,切利的乐曲结尾的处理有些令人失望,听众没有得到期待中的情绪宣泄。因此,通常对于舒伯特的“伟大”交响曲终曲荣耀光辉般的处理(德沃夏克的交响曲新大陆采用相同的处理方式),切利的诠释取而代之以最后一个和弦的缓慢游移直至最终淡出。
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