 荧幕中的杰奎琳·杜普蕾 Jacqueline du Pré in Portrait By Christopher Nupen 纪录片《杰奎琳·杜普蕾和埃尔加大提琴协奏曲》由获奖电影制作人克里斯托弗·努彭创作。在这部影片中，克里斯托弗·努彭探讨了这位20世纪最杰出的演奏家的艺术个性，以及她与埃尔加这首忧郁的大提琴协奏曲之间的特殊关系。电影一开始就讲述了她因病无法公开表演后所做的事情。这部影片讲述了杜普蕾的童年和她的音乐天赋，以及她与丹尼尔·巴伦博伊姆的婚姻。这部纪录片还收录了努彭拍摄的贝多芬《钢琴三重奏》影像。 《荧幕中的杜普蕾》 What is it that makes some artists live longer and brighter in the memory? In Jacqueline du Pré's case, she not only surprised and delighted us with her music, she had ways of touching the heart that are given to very, very few but there is even more to it than that. 为什么艺术家们值得被我们永久铭记，并且在我们记忆中熠熠生辉？提起杰奎琳·杜普蕾（Jacqueline du Pré），让我们惊讶和欣喜的不仅是她的音乐，还有她珍贵的、能触动他人心灵的能力。而她的品质还远不止于此。 Nobody really knows the answer to that question, but while you cannot explain it you can feel it and you can film it. That is what we have done. Our DVD contains both a portrait film of Jacqueline du Pré and complete performances of the Elgar cello concerto with the Philharmonia Orchestra, conducted by Daniel Barenboim (a performance that has already passed into legend) 没有人真正知道这个问题的答案，你虽然无法回答，但你却可以去感受并去拍摄它，这就是我们所做的。我们的DVD既包含杰奎琳·杜普蕾的肖像影片，也包含全套由丹尼尔·巴伦博伊姆（Daniel Barenboim）执棒爱乐乐团上演埃尔加大提琴协奏曲的传奇演出。    And Beethoven's Ghost Trio which she plays with Daniel Barenboim and Pinchas Zukerman.THE GHOST was described by the French opera and film director Jean-Pierre Ponnelle as the most successful translation of musical performance onto the screen that he had ever seen. 影片中还包括她与巴伦博伊姆、皮恩卡斯·祖克曼（Pinchas Zukerman）一起演奏的贝多芬“鬼魂”三重奏。法国歌剧和电影导演让-皮埃尔·庞内尔（Jean-Pierre Ponnelle）这样描述影片《鬼魂》，他说这是他所见过的将音乐演奏搬上荧幕最成功的作品。 Jacqueline du Pré caught the public imagination when she was still in her teens, partly because she had a very unusual and elevated relationship with the Elgar cello Concerto. For critics and public alike, her performances focused new attention on the inherent pathos in Elgar's melancholy masterpiece and had an emotional quality that has never been matched by anyone else. 杰奎琳·杜普蕾在她年轻时就吸引了公众的注意，一部分是因为她和埃尔加大提琴协奏曲那不凡而又高贵的关系。对于音乐评论家和听众们来说，她的演奏将注意力集中在埃尔加这首作品里固有的悲伤品质之中，她表现出的情感无人可比。   A swan-song of rare and vanishing beauty —— The Guardian 一首绝无仅有的天鹅赞歌——卫报 She played it first at the Royal Festival Hall in London on 21 March 1962 when she was just seventeen years old. On the following morning, Neville Cardus, one of England's most distinguished writers on music, described the work in The Guardian as, 'A swan-song of rare and vanishing beauty', and he reviewed her performance of it in such strong and poetic terms as any seventeen year old has ever received from a senior critic. 1962年3月21日，她在伦敦的皇家音乐厅首次演奏了这首曲子，此时她仅仅17岁。转天早上，英国最杰出的音乐作家之一内维尔·卡杜斯（Neville Cardus），在“卫报”上将这部作品描述为“一首绝无仅有的天鹅赞歌”，他赋以了杜普蕾极其高度且富有诗意的评价，没有任何一名年仅17岁的演奏家能收获资深评论家这样的评价。 He concluded his review with these words:'Those actually present were witness, on the first day of spring, to an early blossoming in Miss du Pré’s playing, and such a beautiful blossoming as this year, or any other year, is likely to know for a long time to come.' 他这样总结他的评论： “那些真正在场的人，见证、聆听了杜普蕾小姐在初春的绽放。她会是今年里，也会是任何时候里那最美的那一朵花。”
In the next few years, Jacqueline du Pré won an enthusiastic audience for the concerto, not only in the United Kingdom but in the rest of Europe, in the United States and in the Soviet Union. 在接下来的几年里，杰奎琳·杜普蕾不仅在英国，还在欧洲各国、美国和苏联为这首协奏曲赢得了一批热情的听众。 She played the work for the last time in 1973, when her brilliant career as one of the finest musicians that Britain has ever produced, was cut short by multiple sclerosis. 她最后一次演奏这首曲子是在1973年，当时她是英国有史以来最优秀的音乐家之一，但她辉煌的职业生涯却因多发性硬化症而中断。
After 1973, she could no longer play the cello, but she remained a brave and adventurous spirit, her passion for music undimmed and her attitude in coming to terms with her illness as touching as it was courageous. 1973年以后，她不能再拉大提琴了，但她仍拥有勇敢和冒险的精神，她对音乐的热情没有减弱。她对待疾病的态度也令人感动，极为勇敢。 This film begins with an account of her activities after the onset of her illness. It ends, at Jacqueline du Pré's request, with a re-edited version of the film which we made with her in 1967, a film which sketches her childhood and the development of her musical talent, her meeting with Daniel Barenboim and their marriage in 1967, her relationship with the Elgar Concerto and, finally, a complete performance of the work with the Philharmonia Orchestra conducted by Daniel Barenboim - a performance that is remarkable by any standards and, for many, quite unforgettable. 这部影片以她生病后的活动开篇。应杜普蕾的要求，1967年我们与她一起重新剪辑并制作了一部修订版影片，以此结束。这部电影描绘了她的童年以及她音乐天赋的发展；她与丹尼尔·巴伦博伊姆相识和他们在1967年的婚姻；她与埃尔加协奏曲的故事；以及她与巴伦博伊姆执棒的爱乐乐团合作的完整演出，这场演出以任何标准衡量都是非凡的，而且对许多人来说都是难以忘怀的。
There are contributions by Daniel Barenboim, Sir John Barbirolli, Charles Beare (who looked after her cellos throughout her career), William Pleeth, Iris and Derek du Pré (Jacqueline du Pré’s parents) and with music by Camille Saint-Sa?ns, Iris du Pré , Fran?ois Couperin, Enrique Granados, Max Bruch, Johannes Brahms and Edward Elgar. 为这部影片做出贡献的有丹尼尔·巴伦博伊姆（Daniel Barenboim）、约翰·巴比罗利爵士（Sir John Barbirolli）、一直为杜普蕾保养大提琴的查尔斯·贝尔（Charles Beare）、威廉·普利斯（William Pleeth）、杜普蕾的父母——艾瑞斯·杜普蕾和德瑞克·杜普蕾（Iris & Derek du Pré）。影片中涉及的音乐包括圣桑（Camille Saint-sa?ns）、艾瑞斯·杜普蕾（Iris du Pré）、库佩兰（Fran?ois Couperin）、恩里克·格拉纳多斯（Enrique Granados）、布鲁赫（Max Bruch）、勃拉姆斯和埃尔加的作品。
The Ghost 《鬼魂》 This is almost certainly the finest performance ever filmed of this great work - Beethoven’s Piano Trio Opus 70 No. 1, known as The Ghost. 《贝多芬第五钢琴三重奏》（“鬼魂”）这次的录制几乎是这个作品有史以来最好的版本。 The work is a masterpiece, the performance spellbinding and the filming, in the words of the French film and opera director Jean-Pierre Ponnelle, the most successful translation of musical performance onto the screen that he had ever seen. 这部影片是一部杰作，是一部令人着迷的演出，用法国电影和歌剧导演让-皮埃尔·庞内尔（Jean-Pierre Ponnelle）的话说，是他所见过的将音乐演奏搬上荧幕最成功的作品。 The Ghost is the most successful translation of musical performance onto the screen that I have ever seen.——Jean-Pierre Ponelle 《鬼魂》是我所见过的将音乐演奏搬上荧幕最成功的作品。——让-皮埃尔·庞内尔 The filming took place in St John’s Smith Square, London on the 12th of May 1970, before the onset of Jacqueline du Pré’s illness and in the early days of the Barenboim/du Pré/Zukerman Trio, which promised to become one of the great Piano Trios of all time. 这部电影于1970年5月12日摄于伦敦的圣约翰史密斯广场，当时的杜普蕾还未受疾病困扰，此时刚组建的巴伦博伊姆/杜普雷/祖克曼三重奏被认为会成为史上最伟大的钢琴三重奏之一。 In 1808, the composer and violinist Louis Spohr was invited to a rehearsal in Beethoven’s house of the D major Piano Trio Opus 70 No. 1, known as the The Ghost, and wrote of the occasion: 1808年，作曲家、小提琴家路易斯·斯波尔（Louis Spohr）受邀参加贝多芬《D大调钢琴三重奏》“鬼魂”的排练，他记录下这样的场景： “It was not an enjoyable experience. First of all the piano was dreadfully out of tune, which did not trouble Beethoven in the least, since he could not hear it. Little or nothing remained of the brilliant technique which had been so much admired. In loud passages the poor deaf man hammered away at the notes crashing through whole groups of them so that without the score one lost all sense of the melody. I was deeply moved by the tragedy of it all. Beethoven’s almost continual melancholy was no longer a mystery to me.” “这曲子不是那种愉快的经历。首先钢琴是严重跑调的[1]，不过因为贝多芬听力受损，这倒不会使他感到烦恼。但这种令人赞叹的绝技已一去不复返了。在强段落中，那个可怜的聋人不断地敲击着，敲打着整组音符，人们要是没有乐谱就会跟丢旋律。我为贝多芬身上的这种悲剧所深深地触动。他那几乎无止境的忧郁，对我来说已不再是一个谜了。” （译者注：该部分提到贝多芬所用钢琴状态不佳，以及因为耳聋导致的大力演奏。此时期对应钢琴属Broadwood制作，可见参考链接。）https://www./composers/beethoven/broadwood-piano/’ .2018
Background 幕后 Early in May 1970, I booked a converted church in London, known as St John's Smith Square, to film a recital with Andrés Segovia. When we were already very close to the filming date, the American impressario Sol Hurok threw a spanner in the works. He advised Segovia against doing the recital with us because he believed that he could arrange something “better”, meaning more lucrative, in the United States. 1970年5月初，我在伦敦预定了一处改建教堂——“圣约翰·史密斯广场音乐厅”，打算与安德烈·塞戈维亚（Andrés Segovia）一起拍摄一场独奏会。当我们即将开拍时，美国经理人索尔·胡洛克（Sol Hurok）作梗。他建议塞戈维亚不要和我们一起拍独奏会，他说他可以在美国安排一些“更好的”，意思是说一些更赚钱的项目。 In fact he did us a favour because without his intervention neither our film of THE GHOST with Jacqueline du Pré, Pinchas Zukerman and Daniel Barenboim nor our film Andrés Segovia: THE SONG OF THE GUITAR, which was eventually shot in the Palaces of the Alhambra, in Granada, would exist. 其实这反倒帮了我们一个忙，因为如果没有他的干扰，我们与杜普蕾、祖克曼、巴伦博伊姆拍摄的影片《鬼魂》，以及我们和塞戈维亚最终在格拉纳达的阿罕布拉宫拍摄的《吉他之歌》，这两部影片都将不复存在。
In the end, Sol Hurok's project never flew and so, six years later, in 1976, we went with Segovia to Granada and filmed him in the Palaces of the Alhambra, a rather better location which, to use Segovia’s own words, was “the Leitmotif of his life and the place where he opened his eyes to beauty and was born for the second time - and the most important.' 索尔·胡洛克说的那个项目到最后也没能实现，六年后的1976年，我们和塞戈维亚一起去格拉纳达，和他在阿罕布拉宫进行了拍摄。这个地方更理想一些，用塞戈维亚自己的话来说，阿罕布拉宫是他生命中的主旋律，在这里睁开双眼就能发现美丽，就如同重获宝贵的新生命。 Finding myself with a booking at St John's and nothing to shoot, I called Daniel Barenboim and Jacqueline du Pré in Brighton. I had just heard them play Beethoven's Ghost Trio at concerts in Oxford and Brighton. The Oxford concert in particular had left an impression on me that was indescribable, one of those things that music can sometimes do, and which cannot be explained - something extraordinarily elevated which seems to remain forever in the memory. 不过我意识到我虽然预定了圣约翰音乐厅，却面临无人可拍的局面。我给在布莱顿（Brighton）的丹尼尔·巴伦博伊姆和杰奎琳·杜普蕾打电话。我刚刚在牛津和布莱顿的音乐会上听到他们演奏贝多芬的“鬼魂”三重奏。特别是在牛津的那场音乐会给我留下了难以名状的印象。有时候音乐能做很多事情，其中有些可能无法解释，其中之一是音乐能在我们记忆之中留下一些深刻浓重的一笔。
I asked whether they could come to London to play THE GHOST for our cameras in St John's Smith Square. They came up on the first train in the morning and went back on the last train that night. At the end of it all, we had THE GHOST on film. I am profoundly grateful for having had that opportunity. 我问他们是否可以来伦敦，在圣约翰广场音乐厅为我们的影片录制“鬼魂”。他们早上了坐了头班火车，晚上又坐上了末班车。我们最终将《鬼魂》搬上了荧幕，能拥有这种机会，我深表感激。 Some months later, as soon as we had finished putting the film together, I invited the three of them see it in a London theatre. Before the screening I said that I regretted that film could never capture the extraordinary spirit which they had generated at their concerts in Oxford and Brighton. When the screening ended Jacqueline du Pré, without any prompting and before anyone else had uttered a word, suddenly said, 'I don't agree with you. It's much better on the film.'. 几个月后，这部影片一拍完，我就邀请他们三人到伦敦一家剧院去看。在放映之前我对他们说，我很遗憾影片里没能反映出他们在牛津和布莱顿的音乐会上的那种非凡的感觉。放映结束后，杜普蕾突然抢在所有人之前说：“我不同意你的看法，在电影里看要好得多”。 We were all taken aback and I asked why it was better on the film. She replied 'Because you can see what's going on and it adds another dimension'. 我们都大吃一惊，我问她为什么说在影片里效果会更好。她回答说：“因为在影片里你可以看到正在发生的事情，增加了另一个维度的视角”。
I disagreed with her because I had been in the hall at those concerts and I had seen, felt and heard what effect they had had on those audiences. I felt that she had been too busily engaged on the stage at the time to know what effect she was having. She insisted nevertheless and it is a measure both of her generosity and of her perception of what film can do that she spoke those words. And so we agreed to disagree. 但我不同意她的意见，因为我在音乐厅里听过他们的音乐会，我亲眼所见、亲耳所听、亲身体会到他们对听众的那种影响。我觉得当时她在舞台上精神都集中在音乐上了，她根本不知道她的演出带来了什么效果。尽管如此，她还是坚持说出了她的想法，这既是她慷慨的溢美之词，也是她衡量电影能做什么的一种标准，所以我们也表示要求同存异。 Twelve years later, I was having supper with her in London when she was already very ill and Daniel Barenboim called from Paris. 'What are you doing?' he asked. 'Having supper with Kitty' (her nickname for me). 'Well tell Kitty that I showed THE GHOST to Jean-Pierre Ponnelle last night and he said that he thinks it is the most successful translation of music onto the screen that he has ever seen'. Within two seconds Jackie fired at me. 'You see. I told you so'. 十二年后，我和杜普蕾在伦敦吃晚饭，这时她已经病得很厉害了，巴伦博伊姆从巴黎打来电话问道“你在干什么？”，杜普蕾说：“我在和凯蒂(杜普蕾对我的昵称)吃晚饭”。“好，那告诉凯蒂，我昨晚给让-皮埃尔·庞内尔看了《鬼魂》，他说他认为这是他所见过的将音乐演奏搬上荧幕最成功的作品”。杜普蕾马上就朝我喊道，“你看，我早就跟你说”。
Nobody, not even her closest friends, would have expected her to remember that after twelve years, but it says something important about what kind of person she really was. She was a blithe spirit, that's for sure, she was definitely otherworldly, but she was not as fay as most people thought. She really was not interested in the daily trivia, but, on music and the things that really matter to the human heart Jackie was a virtuoso. She was also rock solid in her perceptions which ran extremely deep. 即使是她最亲密的朋友，也不会料到她在12年后还能记住这件事，但这恰恰说明了她是什么样的人。她肯定是一个快乐的灵魂，她是超凡脱俗的，但她并不像大多数人想的那样不食人间烟火。她对日常琐事不感兴趣，但是在音乐和对人类心灵真正重要的事情上，她是一位大师。她的洞察力也是极其深刻的。 It took me some years to realise fully what she was telling me, and it was one of the most important lessons in my professional life. I know now that she was right and that something of the magic which those three wondrous artists created on the stage has, after all, been caught in the camera, remains there for the future, and comes across to the perceptive viewer. 我花了几年时间才完全理解到她对我说的话，这是我职业生涯中最重要的一课。我现在知道她是对的，毕竟相机记录下了这三位在舞台上创造的奇迹的艺术家。至于后事如何，则留给未来，等待它们与有洞察力的观众碰撞出新的火花。
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