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《F小调第1号奏鸣曲》 《A大调第2号奏鸣曲》 《C大调第3号奏鸣曲》 《降E大调第4号奏鸣曲》 《降A大调第12号奏鸣曲》 《降E大调第13号奏鸣曲》 《升C小调第14号奏鸣曲》 《D大调第15号奏鸣曲》 《C大调第21号奏鸣曲》 （详情见文末链接） 继上周连载了《降E大调第4号奏鸣曲》之后，今天继续为大家分享贝多芬最著名的钢琴奏鸣曲之一《C小调第五号奏鸣曲》（Op10.No.1）“悲怆”的第一乐章详解。
（从头收听至31分35秒，下周更新后半部分）
译者 | 郭建英
Good afternoon, ladies and gentlemen. Thank you very much for coming. Today we are here to talk about four Beethoven Sonatas, the three works of Opus 10, and Opus 13, the so-called famous Pathétique Sonata. Probably many of you are here a few months ago when we talked about the first four Sonatas, Opus 2, numbers 1, 2, and 3, and the E-flat major Sonata, Opus 7. 女士们先生们你们好！谢谢各位光临。今天我们要讲四首贝多芬奏鸣曲，它们是作品第10号包含的三首，还有著名的作品第13号《悲怆奏鸣曲》。大概你们中有很多人几个月前就已经参加了我们谈论贝多芬的最初四首奏鸣曲，上次我们谈了作品第2号中的三首，和作品第7号《降E大调奏鸣曲》。It is no coincidence that I am trying to present the Beethoven Sonatas in chronological order. Some people may agree with this, some people don’t, I couldn’t care less, because I really believe in this presentation. Among the 32 Beethoven Sonatas there is really not one weak piece. Certainly, if you do a cycle of the Mozart Sonatas, or especially of the wonderful Schubert Sonatas, then a chronological order is not entirely convincing or logical. Schubert’s Sonatas, at the early stage especially, are rather similar, because he was fighting with the form, he was fighting with the idiom of the piano sonata and especially the way he tries to solve the represe or the recapitulation of the Sonata Form. It takes a while. Therefore--this is no criticism because I don’t think anybody loves Schubert more than I do--with Schubert, certainly, and with Mozart, it makes sense to mix the early, the middle and the late Sonatas. You can certainly do that also with Beethoven, but to me it’s much more interesting and fascinating to observe the development, the evolution of this great genius, and one of the greatest pianists of all times and the greatest writers for the piano. 我介绍贝多芬奏鸣曲是按照时间先后顺序，这不是一个偶然的选择。有些人会同意这样的安排，有些人可能不同意，这对我都不会有影响，因为我确认这样做有道理。贝多芬的32首奏鸣曲不存在哪怕是一首薄弱作品。可以肯定地说，如果是演绎全套莫扎特奏鸣曲，或者尤其是美丽的全套舒伯特奏鸣曲，那么按照时间先后顺序就未必很有说服力，或者说很有逻辑性。我们看到特别是舒伯特的早期奏鸣曲有相当大的雷同，因为他还在努力驾驭那种形式，努力驾驭钢琴奏鸣曲的表达规范，而特别是他在尝试解决奏鸣曲式再现部的处理。这花了一些时间。所以对于舒伯特—首先这不是一种非难，因为我肯定没有人像我那样热爱舒伯特—而且对于莫扎特，将早期、中期、晚期作品混合编排的作法是有道理的。当然有人也对贝多芬做同样处理，但是我认为，对于这位有史以来最伟大的钢琴家之一、最伟大的钢琴音乐作曲家之一，观察他的发展，观察这位天才的演进，远为更有趣，会更有启发。I started with the exposition of the C minor Sonata, Opus 10. As with the first piece of Opus 2, which I remind you of, or of course most of you know it very well...You have this so-called Mannheimer Rocket...It’s a triad, an ascending triad. It’s called Mannheimer because Mannheim, this wonderful residential town in central Germany, had been the home of many important composers, contemporaries of Haydn, Mozart and Beethoven, such as Carl Stamitz and Carl von Dittersdorf. This kind of ascending motif is their invention. It is like a rocket because it shoots up into the sky. Today we think of weapons of mass destruction, but this is not destructive. We can also think of Mozart's themes which are very similar. To go towards the tonality of C minor because that is what Beethoven will be using, here is the beginning of Mozart’s great C minor Sonata...I could cite several other examples.我刚刚弹奏了作品第10号中的《C小调奏鸣曲》的呈示部。我想提醒大家，当然你们都很熟悉，这与作品第2号中的第一首有相似之处......我们有这一被称为曼海姆火箭的成分......这是一个三和弦，上行分解三和弦。它因曼海姆得名，曼海姆是德国中部一座美丽的居民城市，那里居住着好几位与海顿、莫扎特、贝多芬同时代的重要作曲家，例如卡尔·施塔米兹和卡尔·冯·迪特斯多夫。这样的上行动机便是他们的发明。它确实好像是火箭跃上天空。今天有人可能去联想大规模杀伤武器，但是这里的火箭绝无破坏力。莫扎特也写过类似的主题。既然贝多芬现在用到的调性是C小调，那么我们就以它为例。莫扎特的伟大的《C小调奏鸣曲》是这样开始的......类似的例子我们还可以举出若干。This F minor Sonata that I first played of Opus 2, this is a simpler form of the Mannheimer Rocket...With the C minor, Opus 10, Beethoven starts with a very thick chord, seven voices. Look at how Mozart starts the C minor Sonata...in unison. Mozart’s writing for the piano is always very transparent. Beethoven has a different approach to the piano. He writes for the fist, for two fists really. This kind of...is unimaginable in Mozart. Later, Schubert...Schubert pays homage to Beethoven here. So we have a heavy chord, and we have very dramatic dotted rhythms...He could write just as well...but with the dotted rhythm it’s more dramatic...then comes a great contrast, a sighing motif, sospiro.作品第2号中我最先弹奏的《F小调奏鸣曲》，它的曼海姆火箭动机属于简洁格式......而在作品第10 号的《C小调奏鸣曲》，贝多芬以一个厚重的和弦开始，一个七音和弦。对比莫扎特的《C小调奏鸣曲》......起始只是同声齐奏。莫扎特的钢琴写作总是有透明感，贝多芬对钢琴的处理则不同， 他是为拳头写作，准确说是两个拳头。这样的东西......在于莫扎特是不能想象的。而后来的舒伯特......舒伯特是在向贝多芬表示敬意。所以这里我们有一个厚重的和弦，再加上非常戏剧性的符点节奏型......他完全可以这样写......但是符点节奏型加剧了戏剧性......接下来是一个重大对比，一个叹息般的动机。The sonata form is to me one of mankind's greatest inventions, certainly in music. It’s a wonderful way to express drama, different characters, different sonorities and contrasts. It’s very very dramatic. I don’t think that anything similar had been invented in music. I hope that composers don’t think today that the sonata form is finished. Certainly people are still writing pieces called sonatas, so there is still some hope.奏鸣曲式在我看来属于人类最伟大的发明之一，在音乐领域中就更为肯定。奏鸣曲式对于表达戏剧性，表现不同性格，展现不同音响效果并造成它们的对比，都是绝好的途径。我不知道音乐领域还有其他发明与之近似。我希望作曲家不要认为在今天奏鸣曲式已经终结了。有人确实仍然在创作被称为是奏鸣曲的作品，所以我们仍然存有希望。These Opus 10 Sonatas have been written almost immediately after the preceding ones. There is only a gap of one or two years in between. What has Beethoven done between Opus 7, or between Opus 2 and Opus 10? Not very much. I could really think the Opus 5 Cello Sonatas--two wonderful masterpieces and very different, and certainly the String Trios, Opus 9, three of those. These are the towering masterpieces of this period. The piano remains his instrument and his means of expression. He had been a wonderful pianist, just arrived to Vienna from his native Bonn, and he wanted to make an impression in the Vienese salons and house concerts, etc.作品第10号的三首奏鸣曲是紧跟在前面一首之后完成的，时间间隔仅一至二年。贝多芬在作品第7号，或者我们来看他在作品第2号到作品第10号之间完成了什么呢？没有很多东西。我能想到的是作品第5号《大提琴奏鸣曲》，其中包括两首出色的杰作，而且毫不雷同。当然还有作品第9号《弦乐三重奏》，其中包含三首作品。这些就是这一时期的特别突出的杰作了。钢琴仍然是他的主要乐器，是他的表达手段。他是一个出色的钢琴家，从故乡波恩来到维也纳不久，他要在维也纳的沙龙和家庭音乐会之类的场所给人留下印象。Whereas Opus 2 were dedicated to his master Joseph Haydn--not a very fancy dedication, only 'Joseph Haydn Gewidmet,' not very polite actually. Beethoven very naughtily said that from Haydn he hadn’t learned a thing. This is simply not true, and I don’t think he would have said that later. It’s quite obvious, even at the superficial look at Beethoven’s works, we can all see Haydn’s influence. Already Opus 7 is dedicated to the Gräfin, to the Countess Babette Keglević. Gradually most of these Beethoven Sonatas are dedicated to patrons and supporters. Today we would call them sponsors of the art. This is very important in Vienna, and Beethoven depended on them. Some of them were his pupils and they were great music lovers and great connoisseurs of music. Let’s not forget that amateur, amatore, means somebody who actually loves music. That is not always the case with professionals. I wish professionals were also dilettante and amatore della musica. The fact is that Beethoven dedicated these to the patrons and he thinks very much pragmatically practically in terms of publishing. That’s why you have three Sonatas together. There is the very ugly word today “marketing”. Even those days there was a certain sense of marketing--you had to sell these works. Publishers were very practical people. They also asked Beethoven and Beethoven knew that to cater for the connoisseurs, for Kenner und Liebhaber, amateurs of music, you have to present works that are somewhat more accessible and a little easier to play. Opus 10 is by no means easy to play but Opus 2 is extraordinarily difficult. If you think especially of the second Sonata...or the third one...Even today they present extraordinary pianistic and technical difficulties. They are way beyond the possibilities of most amateurs. So Beethoven, first of all, changes the structure of the sonata, because for the first time he presents us with three movement works. All the four Sonatas preceding Opus 10 consisted of four movement sonatas and they were gigantic, enormous compositions.说到题献，作品第2号是献给了他的导师约瑟夫·海顿。献词不加修饰，只写了“献给海顿”，实在不够礼貌。贝多芬很不客气地说过从海顿那里他没有学到任何东西。讲这样的话根本不属实，而且我不认为贝多芬后来还会这样讲。事实很明显，即使只是从表面上了解贝多芬的作品，我们都可以看到海顿的影响。作品第7号已经是题献给凯格勒维茨伯爵之女芭芭拉。大多数贝多芬奏鸣曲都陆续献给了他的资助人和支持者。今天我们称这批人为艺术赞助者。这在维也纳是一种重要存在，贝多芬要依靠他们。他们中的一些人是贝多芬的学生，他们都是非常热爱音乐的人，是非常内行的音乐鉴赏家。我们不应该忘记，“业余”这个词，amateur或者amatore，意指真心喜爱音乐的人。这话对于专业人士就未必总能适用了。我当然希望专业人士也都称得上广为涉猎、喜爱音乐的。事实上贝多芬将这些作品献给他的资助人，同时他对于出版有着非常务实非常实际的考虑。这就是为什么有三首奏鸣曲收在一起的原因。今天我们知道一个很讨厌的词“营销”，那个时候也有类似的营销意识--这些作品必须卖钱。出版商都是非常务实的人。他们向贝多芬诉说，而贝多芬也明白这一点，为了适应鉴赏家、业余爱好者的需求，拿给他们的作品必须稍稍便于上手，稍稍容易弹奏。作品第10号并不能说容易弹奏，但是作品第2号是困难之极。我们可以举出其中第二首为例......第三首也是......即使在今天它们仍然提出极其巨大的钢琴技巧上的挑战，远远超出绝大多数业余音乐家的力所能及。对此，贝多芬首先改变了奏鸣曲的构成，这里是他第一次写作三个乐章的作品，而先于作品第10号的四首作品都是四个乐章的奏鸣曲，而且是规模庞大的巨型作品。A little more accessible to the amateurs, also easier to sell for the publisher, but no compromises. Beethoven never compromises, not musically. To me, evolution shows itself in the economy of composition. In the earlier works, we have a lot of enthusiasm, a lot of exaggeration, a lot of repetition. He cannot get enough of the materials. It’s all very very beautiful, to me it’s not a minute, not a second too long--There is no such thing to me like music that is too long, only certain people’s patience is too short. Understand what I mean. There are ways of evolution. To me, economy is one of the criteria of development in a composer’s output. These Sonatas are much more concentrated, much more connected in the thematic materials. Let’s play a little more, and I don’t want to talk too much because it is a little boring to you…让业余音乐家稍稍容易上手，同时让出版商便于销售，但绝没有折衷。在音乐上，贝多芬从来不会搞折衷。在我看来，演进反映在作曲手法的干练。在此前的作品中，我们有满溢的热情，有大量夸张、很多重复。他总觉得素材还没有充分利用。它们无疑都非常非常美丽，绝没有一分钟甚至是一秒钟过长。音乐过长的问题根本不存在，问题只在于有些人的耐力过短。请理解我的意思。演进有不同形式。在我看来，干练是作曲家的成就有所发展的衡量标准之一。现在这几首奏鸣曲更加凝练了，主题素材之间关联更加紧凑了。我们还是再弹奏，不应该讲得太多，不然太枯燥了。He has these very dramatic silences. These are not fermatas, so they are not ad libitum--you cannot wait as long as you wish, you have to count time. It’s very important. Unfortunately we don’t have recordings by Beethoven, I wish we had them, but there are many witnesses, some good witnesses and some false witnesses, like in the Bible. Some of the good witnesses, like Ferdinand Ries. He describes often Beethoven’s inimitable master of performance and improvisation. He always played with a very strong sense of rhythm and of time, of tempo, but never mechanically. He would vary the tempo according to his impeccable taste, but not in a way or not in a manner that would be anarchistic. There has to be always order, like this moment…他写了这些非常戏剧性的静寂。这里没有延长记号，不存在任意休止，不是等多久都随意，必须数拍子。这件事非常重要。很不幸我们没有贝多芬演奏的录音，真是求之不得，但是我们有很多见证人。有些见证很好而有些见证并不真实，这和《圣经》是一样的。好的见证可以举出费迪南德·里斯为例。里斯几次述及贝多芬对演奏与即兴的无可比拟的驾驭。他的演奏总是具有很强的律动感，或者说时间感、节奏感，但又绝不是机械的。他会随着他的无懈可击的品味改变节奏，但这绝不沦为无章可循的悸动。秩序一定是有的，就像现在这个地方......Another sign of dramatic tension are intervals, not intervals in a concert when you go and have a drink, but the distance between two notes like...it’s tenth at that seam. This is very dramatic...Then comes a new material...It’s very important to follow Beethoven’s text. He is the first composer who is quite meticulous in his notation. We do possess the manuscripts to about 14 of the Sonatas, if I am not mistaken. Unfortunately none of these. We are left to first editions and contemporary copies, but even these are quite trustworthy. Beethoven was very very careful to control the print and the engraving, so he was in constant touch with the publisher. For example, this note here...the E-flat, marked fortepiano, and it is like a horn. Horn can blow into the instrument and take back the tone. Already we can see that this wonderful pianist Beethoven seldom thinks in terms of the piano, he imitates the orchestra, different instruments of the orchestra. He is already beyond his String Trios but he had not yet written his first string quartet--that will come in a few years’ time with the wonderful six pieces of Opus 18, and the String Quartet will become the other major genre of Beethoven’s output next to the Piano Sonata, but already in these Piano Sonatas, we have textures of string quartet. It could be played by a string quartet like this passage...beautiful four part writing. It happens to be on the piano, I certainly don’t think of the piano here. 戏剧性张力还借助这些音程表现出来。音程与中场休息在英文中是同一个词，我们这里说的是两个音的间隔距离......这里的间隔是十度音。这极富戏剧性......接下去出现新的素材......遵从贝多芬写下的标记极为重要。贝多芬是作出十分详尽的指示标记的第一位作曲家。我们掌握有14首贝多芬奏鸣曲的手稿，如果我没有记错的话。遗憾的是今天讲到的这几首我们没有手稿。我们可以依赖的就是最早的印刷版和当时的抄本。即使它们也是非常值得信赖的。贝多芬对制版付印的过程非常关注，他与出版商保持着不断的联系。举例来说，这里的音符......这个降E音（第一乐章第32小节），标注了强后突弱，这就让它像是圆号。圆号这一乐器可以吹响之后减小音量。我们由此看到贝多芬这位神奇的钢琴家极少从钢琴出发考虑问题，他在模仿乐队，模仿乐队中的不同乐器。这时的贝多芬已经写成了他的《弦乐三重奏》，但是还没有写出第一首弦乐四重奏，那还要再等几年时间，到作品第18号的六首优秀作品问世，而自那时起弦乐四重奏就成为贝多芬的又一项重要体裁，与钢琴奏鸣曲交相辉映。但是我们现在看到的奏鸣曲已经具有了弦乐四重奏的织体。例如这一段落就完全可以由弦乐四重奏来演奏......优美的四声部写作。虽然是在钢琴上弹出，但我在这里肯定想到的不是钢琴。Then it modulates….We started in C minor...in Viennese classical music we have the main harmonic functions, we have the tonic, in C minor, we have the dominant, this one, and then the subdominant...back to the tonic. When we reach the second subject, it will be in the parallel key. Beethoven experiments always with different solutions of the sonata form. He does not have one scheme. This is what later confused Schubert so much, who revered Beethoven. Beethoven is his god, but he didn’t want to imitate him, he was looking for these solutions. Beethoven has this unique ability that sometimes he gives us the second theme in the dominant key, sometimes he gives us in the mediant, and sometimes in the parallel key. Here...This is the parallel key, E-flat major, this was the tonic, and now comes the second subject...It’s very agitato, the whole movement is agitated. C minor has this tendency, especially with Beethoven, inner tension, very very dramatic. He has three Piano Sonatas in C minor, so he loves this key. Other works in C minor--the Coriolan Overture, the Fifth Symphony, the Third Piano Concerto--They all share something similar in character. What happens now?...Again this huge leap...very operatic...When Beethoven writes in unison, it’s never mechanical, but it has a rhetoric element...again this very heavy, thick chord...The dotted rhythm from the main subject, you remember it...The first and the third subjects are united, rhythmically...This is a closing subject, like an epilogue. Again I find this quite agitato...because of this chromatic line in the baritone…接下去开始转调......我们是从C小调开始......维也纳古典音乐中有着这样的和声功能，我们有主和弦，在此为C小调；我们有属和弦，这一个；还有下属和弦......回到主和弦。第二主题出现，是在平行调性上。贝多芬总是尝试奏鸣曲式的不同解决方案，从不拘泥于某个单一法则。这是后来让舒伯特困惑的地方。舒伯特像上帝一样崇拜贝多芬，但又不要模仿他，舒伯特在自己寻找这些解决方案。贝多芬有这样的独到本领，他写第二主题有时是在属调上，有时是在中音调上，又有时是在平行调上。在这里......他用到的是平行调性降E大调，对应于这一主调，现在第二主题出现了（第一乐章第56小节）......非常焦灼，整个这一乐章都充满焦灼感。C小调具有这一特征，尤其经贝多芬运用，富有内在张力、强烈的戏剧性。他写了三首C小调钢琴奏鸣曲，表明他对这一调性的偏爱。还有其他C小调作品，例如《科里奥兰序曲》、《第五交响曲》、《第三钢琴协奏曲》，在性格上都有相通之处。现在出现什么了？......再次是大跳......非常歌剧化......贝多芬写同声齐奏从来不会是机械的，而总是有着雄辩的因素......再出现这一非常厚重的和弦......你们都记得伴随主要出题的符点节奏......现在第一主题与第三主题从节奏特征上结合起来了......现在是收尾主题，像是结语，这里我再次感到十分焦灼......是中音区这一半音走线的效果......End of exposition, then repeat sign. I am quite dogmatic on this, I'm sorry. Many pianists feel that they can pick and choose between repeats. With Beethoven, he’s really so consistent, especially from now on, from Opus 10 on, he repeats certain sections and omits others. I think really as an interpreter, you must trust the composer. It’s not your choice; you are too small for that. Anyway these movements are extremely short. You owe it to the composer, because he has a perfect sense of balance. Like in this movement, the exposition is repeated and then the development section and the recapitulation are not repeated. Therefore you have the equilibrium of the two halves. If you don’t repeat the first half, then suddenly there is no balance. And obviously this is not what Beethoven wanted. If a performer wants to do it differently, he or she should write his or her sonata, not this one.呈示部结束，这里是反复标记。对不起，我在这个问题上坚持己见，不做让步。很多钢琴家觉得对于反复可以灵活掌握，可弹可不弹。在于贝多芬，他是很一致的，尤其是从这里开始，从作品第10号向后，有些段落他要反复而有些段落他省去反复。我认为作为一个演绎者，你只有信任作曲家，这不是你的选择，你的地位不配。首先这些乐章已经非常精简。这一决定你要留给作曲家，他有最佳平衡感。例如这一乐章，呈示部有反复，展开部与再现部没有反复，由此就有了前半部分与后半部分的均衡。如果前半部分不弹反复，这一平衡就突然之间不复存在，这当然不是贝多芬所要的。如果哪位演奏家要另辟蹊径，就请他或者她写自己的奏鸣曲，放过这一首。So we finished the exposition...then comes a huge exclamation mark, back to the major tonic, but this is a big shock...Again huge leaps of tenth. Now comes something very beautiful, for the first time in the subdominant, F-minor...A new theme...this is completely new material, we have never heard of it before and it will never return. It’s extremely important to follow Beethoven’s dynamics and phrasing and where he puts a crescendo and diminuendo and where there is no crescendo. Lots of performances--I'm really not a schoolmaster here--people don't follow these. They approximately play what is there, because here...no crescendo...crescendo...diminuendo...big crescendo...diminuendo...no crescendo...It's very intricate. Two phrases that are symmetrical but they are different because of the dynamics, and the crescendi and diminuendi are completely different. Then comes...We have reached D-flat major, Neapolitan tonality. If you go up a minor second from the main tonality, this is C minor...It’s very strange...He knows this strangeness so he writes pianissimo and this sort of sansa colore, without color, very distance…呈示部结束......接着出现一个重大惊叹号， 调性上回归主调，但是同时有一个巨大震撼......再次是十度音程的大跳。接着出现一句非常美丽的音乐，这是它第一次出现，在下属音上的F小调......一个新主题......这是全新成分，在此之前没有听到过，此后也没有重现。一件极端重要的事就是遵从贝多芬的力度和分句，写了渐强渐弱就要有，没有写渐强就不能有。很多演奏--我真是无意充当小学校长的角色--他们不顾及这些，只是弹出大约近似的东西。因为像这里......没有渐强......渐强......渐弱......大渐强......渐弱......没有渐强......非常细致入微。两个乐句是对称的，只是因为力度还有渐强与减弱完全不同，让它们变为不同。接下去......我们到达降D大调，是那不勒斯调性。是从主调的C小调升高半音......这是狠怪的......他知道有些怪，所以他写了很弱，并且是黑白无色，没有颜色，非常遥远......Now he is looking for the exit--He always finds the exit, that is the good thing…We are already back to C minor, but not a final arrival...Here we are...We feel that we are at the threshold of coming home, the dominant, he is repeating this dominant--prolongation of dominant...Secco, very dry, softer and softer and softer...this is the return, there is just no pardon here, everybody knows. This is a language. Music is a language that must be spoken by somebody to a community with whom he has a common language. This was the case in Vienna at the end of the 18th century. That’s the problem today--We have no language. Babylon--Everybody speaks something but. When I hear contemporary piece today, sometimes I like it and sometimes I don’t like it, but I have no idea that I have come home. I love this feeling of here-we-are...etc. so I don’t want to explain every note or every measure. Then comes the recapitulation, then after the...Final two to say No very firmly. It’s not a Yes, but No, No!现在他在找出口--他总可以找到出口，这不必担心......我们已经回到C小调，但还不是最后正式到达......这里就是......我们感到我们马上就要回到家中，属音，他在重复这一属音，可以称为拖延属音......非常枯干，声音减弱减弱减弱......这里是回归，无需任何解释，任人皆知。这是一种语言。音乐是一种语言，我们在一个群体中运用它，而它正是这一群体和我们之间的共同语言。在18世纪末的维也纳正是如此，但是这就是我们今天的问题，我们没有了语言，变成巴比伦，各说各的话。我听当代音乐，有些我喜欢，有些我不喜欢，但是无论如何不再有回到家中的意识。我非常珍爱这种“我们到了”的感受......我不再逐一解释每个音符每个小节。现在是再现部，在这一段之后......出现最后两个和弦，非常坚定地说“不”。不是“对”，而是“不！不！”
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