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| 2018/12/20 05:56:41瀏覽305｜回應0｜推薦9 | |
| 【書摘】女囚—凡德伊的樂曲 (the phrase of Vinteuil) 1-2 Chaque timbre se soulignait d’une couleur que toutes les règles du monde, apprises par les musiciens les plus savants, ne pourraient pas imiter, en sorte que Vinteuil, quoique venu à son heure et fixé à son rang dans l’évolution musicale, le quitterait toujours pour venir prendre la tête dès qu’on jouerait une de ses productions, qui devrait de paraître éclose après celle de musiciens plus récents, à ce caractère, en apparence contradictoire et en effet trompeur, de durable nouveauté. Une page symphonique de Vinteuil, connue déjà au piano et qu’on entendait à l’orchestre, comme un rayon de jour d’été que le prisme de la fenêtre décompose avant son entrée dans une salle à manger obscure, dévoilait comme un trésor insoupçonné et multicolore toutes les pierreries des Mille et une Nuits. (l’édition Gallimard, Paris, 1946-47) 每一個音色都是匠心獨運，令世上任何通曉樂理、博才多學的音樂家都無法模擬。因此凡德伊儘管登峰造極，確立了自己在音樂發展史中的地位，已經到了激流勇退的時候，但一旦有人演奏他的某一作品，他總是重返樂壇，領導潮流。他的作品之所以不為時人所淘汰，仍能綻開新花。這應當歸之於那種看似矛盾，實又欺人的特性，即永恆的標新。凡德伊每譜一首交響曲，都是先有鋼琴曲為基礎的，配了樂器以後再聽，其效果就像夏日的陽光經過窗戶的折射和分解以後才照進幽暗的餐室，就如同打開《天方夜譚》的所有寶藏以後，出乎我們的意料，眼前仍是一片琳琅滿目的珠光寶氣。 (p.267 追憶似水年華 V 女囚 聯經版 1992) 凡特伊筆下的每個音色，都被賦予一種鮮明的色彩，這世上最博學的作曲家，即便精通了所有的作曲規律，也無從模仿這樣的音色，因此，他儘管只屬於某個特定的時代，在音樂史上只具有某個相應的位置，但每當人們演奏他的一首曲子時，他總會離開這個位置，出現在潮流的前頭，因為他的曲子聽上去總給人一種印象，覺得它的寫作年代晚於那些更時新的作曲家們，其中自有一種看似矛盾、實則迷人的常聽常新的魅力。凡特伊的交響曲中的一些段落，當初我們聽過它們的鋼琴曲雛形，如今聽到的配器後由整個樂隊演奏的樂聲，猶如夏日的陽光，經過窗玻璃的折射後，照進幽暗的餐室，讓我們出乎意料地彷彿看到了一座《一千零一夜》中光彩奪目的寶庫。 (p.258 追尋逝去的時光 第五卷‧女囚 周克希譯 2012) Each note underlined itself in a colour which all the rules in the world could not have taught the most learned composers to imitate, with the result that Vinteuil, albeit he had appeared at his hour and was fixed in his place in the evolution of music, would always leave that place to stand in the forefront, whenever any of his compositions was performed, which would owe its appearance of having blossomed after the works of other more recent composers to this quality, apparently paradoxical and actually deceiving, of permanent novelty. A page of symphonic music by Vinteuil, familiar already on the piano, when one heard it rendered by an orchestra, like a ray of summer sunlight which the prism of the window disintegrates before it enters a dark dining-room, revealed like an unsuspected, myriad-hued treasure all the jewels of the Arabian Nights. (Translated by C. K. Scott Moncrieff) Each timbre was underlined by a colour which all the rules in the world, learned by the best-educated musicians, could never imitate, so that Vinteuil, even though he had appeared at the appropriate moment to fill his assigned place in the evolution of music, would always break ranks and appear in the vanguard when one of his pieces was played, a piece which would give the impression of having been written after those of more recent musicians, because of its apparently contradictory and in fact deceptive character of enduring novelty. A passage of Vinteuil’s symphonic work, first encountered in piano reduction and then heard in full score, was like a ray of sunshine broken up by a prism as it enters a dark dining-room; it unfolded an unsuspected, multicoloured treasure like all the jewels of the Thousand and One Nights. (Translated by Carol Clark) |
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| ( 知識學習｜隨堂筆記 ) |
