Freunde, nicht diese To:ne! 啊！朋友，何必老调重弹！
Sondern lasst uns angenehmere 还是让我们的歌声
Anstimmen, und freudenvollere. 汇合成欢乐的合唱吧！

Freude, scho:ner Go:tterfunken, 欢乐，欢乐，欢乐女神圣洁美丽
Tochter aus Elysium, 灿烂光芒照大地！
Wir betreten feuertrunken, 我们心中充满热情
Himmlische, dein Heiligtum! 来到你的圣殿里！
Deine Zauber binden wieder, 你的力量能使人们
Was die Mode streng geteilt; 消除一切分歧，
Alle Menschen werden Bru:der, 在你光辉照耀下
Wo dein sanfter Flu:gel weilt. 四海之内皆成兄弟。

Wem der grosse Wurf gelungen, 谁能作个忠实朋友，
Eines Freundes Freund zu sein, 献出高贵友谊，
Wer ein holdes Weib errungen, 谁能得到幸福爱情，
Mische seinen Jubel ein! 就和大家来欢聚。
Ja, wer auch nur eines Seele 真心诚意相亲相爱
Sein nennt auf dem Erdenrund! 才能找到知己！
Und wer's nie gekonnt, der stehle 假如没有这种心意
Weinend sich aus diesem Bund! 只好让他去哭泣。

Freude trinken alle Wesen 在这美丽大地上
An den Bru:sten der Natur; 普世众生共欢乐；
Alle Guten, alle Bo:sen 一切人们不论善恶
Folgen ihrer Rosenspur, 都蒙自然赐恩泽。
Ku:sse gab sie uns und Reben, 它给我们爱情美酒，
Einen Freund, gepru:ft im Tod; 同生共死好朋友；
Wollust ward dem Wurm gegeben, 它让众生共享欢乐
Und der Cherub steht vor Gott. 天使也高声同唱歌。

Froh, wie seine Sonnen fliegen 欢乐，好象太阳运行
Durch des Himmels pra:cht'gen Plan, 在那壮丽的天空。
Laufet, Bru:der, eure Bahn, 朋友，勇敢的前进，
Freudig, wie ein Held zum Siegen. 欢乐，好象英雄上战场。

Seid umschlungen, Millionen! 亿万人民团结起来！
Diesen Kuss der ganzen Welt! 大家相亲又相爱！
Bru:der! u:berm Sternenzelt 朋友们，在那天空上，
Muss ein lieber Vater wohnen. 仁爱的上帝看顾我们。
Ihr stu:rzt nieder, Millionen? 亿万人民虔诚礼拜，
Ahnest du den Scho:pfer, Welt? 敬拜慈爱的上帝。
Such ihm u:berm sternenzelt! 啊，越过星空寻找他，
U:ber Sternen muss er wohnen. 上帝就在那天空上。

第一乐章，木管、单簧管的长奏奠定了本乐章的情感基调：contemplation（沉思），渐渐地，由一把小提琴引领，大提琴和低音提琴的音色做铺垫进行了一场爆发，沉重而有力，我认为这依然象征了斗争精神。斗争之后又回到了沉思，沉默之后又走向爆发。第二次的爆发比第一次更持久，更有力。接下来音量渐渐缩小，管乐器演奏旋律，进入一个稍微美妙的地方。其中三个弦乐组的重音之后分别的长笛独奏、小提琴中提琴合奏都表达了贝多芬在无数次抗争后的希望与坚持，或者对美好生活的向往抑或对曾经美好的回忆（追溯到田园交响曲的时代）。伯恩斯坦版第一乐章很慢，因而显得很沉重。此处突然的愉悦、宁静竟然很多次把我感动得掉眼泪。而且再听卡尔伯姆卡拉扬等的版本到此处都不会动感情，唯独到伯恩斯坦1989视频的此处鼻子就酸酸的。接下来一个主题好像是一个对第一主题的重复、变奏，这些个下面的会反复说。结尾似乎有点邋遢。其实单簧管和长笛的一唱一和，到小调上结束就可以了，但偏要在末尾“首尾呼应”地把场面搞宏大。两个乐句的衔接部分不够自然，因此不够妥帖。本乐章的精神力和《命运交响曲》极其类似，抗争、沉思、向往、希望等等一应俱全，是对“命运”的又一诠释。

第二乐章，活泼的快板，弦乐组和鼓打头，感觉有点像第八交响曲的某某处。之后一大串三连音，管乐组伴奏，气势在圆号的衬托下越来越强烈，有点《英雄交响曲》的感觉在里头。这一章旋律很轻快、优美、活泼，让人感到“胜利在望”，其中并不缺乏战斗精神，只不过这里的这种精神明朗了许多。

第三乐章，有人说这是世界上最美的乐章，我第一次听伯姆那版的时候也感到了这个乐章的美妙。确实，细听起来这个乐章很令人感动，好像描绘的是——美丽的过往（大概这是我自己的想法），美丽得如梦如幻，纯真得催人泪下，我现在听着听着居然鼻子也酸起来了。旋律极端流畅，流畅得像莱茵河的河水，似乎有雾气从河面上上升，令我们走到一个如梦如幻的境地里。也就是因为这个流畅，听者会变得无比容易分神。伯恩斯坦的这个地方指挥得也不够到位，显得过分迟缓了。一个古典音乐分享群的朋友说她将“世界上最美的第三乐章”刻成光盘送给了她的一位很喜爱古典音乐的朋友，但是这位朋友听着听着睡着了。我现在在听着伯姆的版本赏析，这个版本太令我感动了。伯姆的这一章好极了，秉承了他在《田园》中的pictorial（有画面感的）、poetical（诗意）和ravishing（令人陶醉）（不好意思最近读傅雷的音乐评论，他就是爱这么英汉胡用我也就学会了，就当积累单词了）。听着听着，我不由自主地深呼吸了，就像听《田园》第二乐章那般陶醉。到本乐章四分之三处，管乐组的出现打破了这片安详，而不久又回归了云淡风轻的生活。结尾是如此的自然，如此的美妙，几个管弦的合奏却也为后面埋下了伏笔。

第四乐章，伯恩斯坦的第四乐章紧接着第三乐章。好像只是隔了两三个空小节，没把我吓一跳。也是因为太急，管弦乐组没准备好，开头出现了配合失误的现象。管弦乐合奏又展开了一幅宏大的场面，低音弦乐组的“歌唱”，低沉的调子，又预示着沉思。之后，第一乐章主题再现，被低音弦乐组打断；第二乐章主题再现，再被低音弦乐组打断；第三乐章主题亦复如是。似乎是作者对过往的回首及告别，或者在其中汲取着力量和经验，之后，管乐组奏出了“欢乐颂”的旋律，和低音弦乐组打成一片。长号等和鼓又打断。接着由低音弦乐组奏“欢乐颂”主旋律。之后，中音弦乐组在木管的伴奏下重复此主旋律。然后是高音弦乐组（小提琴）在中音弦乐组、管乐的伴奏下重复。最后管弦合奏“欢乐颂”。一片欢乐祥和的气氛。突然，休止了一个小节，合奏变成了独奏，进行缓冲。而突然，又开始了宏大的合奏。到了合唱部分，先是同第四乐章开头一样的管弦乐合奏，男中音开场“啊，朋友，何必老调重弹……”开唱了。（歌词见下面的P.S.）

男中音第一段歌词唱完之后，合唱反复最后一句。短暂间奏之后，男中音、女中音首先开始第二段，之后男高音女高音跟上。按照现代的审美眼光那个女高音的鬼哭狼嚎着实很可怕。完毕之后又是合唱重复最后一句。第三段歌词也是，只不过是男高音先行，男女中音跟上，鬼哭狼嚎最后。“vor Gott…………”之后是一段活泼的伴奏，短笛的出现表示这是军乐（《土耳其进行曲》时候知道的）。男高音开唱了。唱完之后又是伴奏，渐渐由宏大归于寂静，三个“mi mi fa sol”的原调和变调，之后又是大合唱“Freude, schoner guttenfunken tochter aus Elysium...”就是小学生都熟悉的旋律。然后合唱部分唱起了新的旋律，音调越来越高，女合唱组表达出了一种对于天空的向往之情，看到了歌词里的Sternezelt（星空）。歌词依然是三大唱段中的，旋律是新的。然后，女声和管弦乐组打成一片，更加构成了一种星空的迷离景象。接着，又是“欢乐颂”主旋律的变奏。感人至深，是强有力的呼吁。本句结束后，是一连串疑问的声音——是贝多芬对人类共同理想的质疑吗？德语歌词里有问号，译文里没有。之后，四个主唱又出现了“Freude , tochter aus Elysium,Deine zauber ......”，然后是一连串Toretch（听写出来的词儿），不知道什么意思。最后一点根本在打印的歌词里找不到了，德语原文都没有。最后，欢乐的人群涌向一起，高唱欢乐颂。终曲急促，流畅，活泼，全曲在欢乐的交织里结束。


这首曲子是贝多芬精神的最高表现：第一乐章：命运的抗争，影射到《第五交响曲“命运”》；第二乐章：英雄主义的乐观情绪，影射到《第三交响曲“英雄”》《第八交响曲》第三乐章：对宁静生活和自然主义的向往，影射到《第六交响曲》；第四乐章，是全人类共同的人生力量，和所有坚毅的人经过各种磨难后的最终结果——欢乐。这首曲子是贝多芬的音乐最高成就，因为它所代表的是贝多芬一生的contemplations和personal philosophies（思想和人生哲学），是写给众生当中不畏艰险、磨难，意志坚定的英雄的赞歌。我认为这首史诗不仅是贝多芬本人的自传，也是所有如贝多芬一样的英雄的精神体现。这首交响曲也是古典主义音乐的巅峰作品，是前无古人、后无来者的。我想，每一个人都能从中获得或多或少的激励，或者说找到或多或少的共鸣，它将永远支持着我们将这种精神传承下去，直到永远。

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今天继续谈Furtwangler和贝九。这个方向的资料是在很多，说明了Furtwangler的演绎在所有的贝九录音中占据了重要的地位。另外附上一篇英文的资料以供参考。
  
声明：所有转载文章均只代表原作者和原译者的观点，我亦不对文中的史料和音乐知识的正确性负责。
  
贝多芬<第九交响乐>
柏林爱乐乐团
富尔特文格勒（指挥）  
  
　这是1951年富特文格勒拜罗伊特音乐节上演出的一个实况录音。
　对于这位本世纪最伟大的指挥家来说，他关注的是那些乐曲的“弦外之音”，是深入在作品当中的精神内涵，相比之下它的精确性也许就不再是头等重要。他是九方皋相马。职其神而忘其形。环视当今，把“贝九”做得精纯圆熟者自然不少，但仍是唯有富氏这张唱片最能够感动人，使人从一个不拘于世、超然物象之外的角度来认识“贝九”。
　理解富特文格勒这版“贝九”，也许首先应该认识到这里不仅仅是在讲述普天同庆、欢呼人类之爱的故事。贝多芬为何要在这末乐章之前加上如此庞大的三个乐章？这就因为这部作品已无法用他一贯的“主题浓缩、然后极尽拓展变化之能事”来创造出令人印象深刻的艺术效果那种手法了，他要说的是另一番话语。通常听到的“贝九”唱片。大多遵循“通过斗争和思索，最后取得胜利，赢得了欢乐”的模式，听那一路的唱片。卡拉扬指挥柏林爱乐乐团的DG版，自是一个较好的选择。即以1962年版的那个录音来说。开首那投向混沌的一个个巨大询问就使人耸然动容，而贝多芬那种毋容置疑的勇于开创精神，也早已无暇顾及答案何在，已然奋发而行，冲决波澜激起滔天巨浪－－这股堂皇气概。谁不动心？卡拉扬是先声夺人，他的“贝九”自然有不可一世之风。当然，清新喜人的诠释要数马舒尔的PHILIPS版录音 （莱比锡格万特豪斯乐团，1974），这款录音，正是像一阵新鲜的清风激活了那些关键性部位，演绎出肌理健实、骨肉匀称的形象，因而使得他的“贝九”成为当今少有的几张极其耐听的唱片之一。富特文格勒的“贝九”，当第一乐章那种凿开浑沌之初，精神就像是由于受到某种使命的召唤而不能不有所行动，然而在这里有着那种带有回顾一生意味的表述，已无复当年《英雄》以及《命运》中那股跌宕之势，而令人明显感到是孤单的寂寞行进，唯有内心的充 实是他决意前行而无意旁骛的真正理由。有几次，他似乎也有停顿下来歇息的念头，然而召唤声重又响起，在这种召唤声中，我们听到了那种令人不安甚至吃惊和惶惑的东西，然而它毕竟是唯一可能有的召唤。对此，人也似乎是别无选择。只是在第一乐章 结束时，我们方才发觉，某种不期然而至的疑惑像是有些拖住了精神的脚步，于是，当那个召唤重又晌起时，似乎任何人都感到如此而行已经难 以再有什么结果，于是霍然而止。第一乐章应该是理解“贝九”的一个首要环节。也许在富特文格勒看来，第二乐章中贝多芬决然投入生活漩流，是出于对第一乐章中那个召唤的某种承允，因此需要有整整一章的篇幅加以展开。但是不久我们就发现似乎碰到了些问题，虽然当时很快就因为胜利的欢乐而忽略不计，但是某种声音一再被提起，这意味着有些根本性的问题不是生活中那些暂时的胜利所能解决得了的。于是在精神的视野中，生活之漩涡也就随之狰然中止。当第三乐章于黄昏天际的原野中的沉思达到高潮之后，仍然感到有某种失落之时贝多芬似乎是再无什么作为可言了。不过他却由此而在末乐章引入了来自天上的声音，富特文格勒很恰当地没有把它们表述为人世之声，虽然此中有许多内容正是对于人世思考的一个结果。这种非人间所能得闻之声的飘幻往来，并非意味着现世的胜利，而是精神得以翱翔于天地间的一个条件－或者我们可以这么说。对于此时的贝多芬而言，世间的荣辱沉浮还有什么意义呢？在尘世间，他能有多少胜利可言？而他也真的明白了自己所有一切原来都是回归于精神中的国度。回归那无处不散发着光芒的世界。由此，他再一次证明了自己能够从失败中奋起。在此，前三乐章 的所有疑虑才得到了贝多芬式的解答：召唤、投入、思考，原来无一不是这种来自天国之声的投射，而最后这个乐章无比壮丽景象，原来就是人的 精神的最终归宿。当富特文格勒给予我们这么一个“贝九”时，人们还值得为世间浅簿的胜利或失败而动情吗？  
  
  
  
  
Furtwangler's Beethoven No.9(版本介绍)  
  
Ninth Symphony  
  
May 1, 1937 Berger, Pitzinger, W. Ludwig, Watzke, Berlin Philharmonic  
(recorded in London).  
(Available on a good Music & Arts Transfer-CD-818). Of interest mainly  
for Furtwangler collectors/specialists. A good performance, but not as  
intense and dramatic as most of the others,this rather sober reading  
also suffers from a somewhat dull recorded sounding comparison to some  
of the others.  
  
  
March 22-24, 1942 Briem, Hongen, Anders, Watzke, Berlin Philharmonic.  
(Decent transfers include M&A CD-653; Tahra FURT 1004-07;  
Hunt CDWFE 357). This is the famed "wartime" Beethoven 9th that some  
will love and otherswill recoil from. I love it, but would not want it  
as my only 9th, not even my only Furtwangler 9th. It is extraordinarily  
intense slashing accents, furious rhythms, heart-pounding timpani, a  
heart-breakingly agonized slow movement, and a pounding home of the  
big moments in the finale. Fast tempi are very fast; slow ones very  
slow. Contrasts abound -dynamic contrasts, tempo contrasts, textural  
contrasts everything is done for heightened drama.Everyone was clearly  
"on" in this performance,and the white heat is most effective when not  
listened to too frequently.  
I don't find a significant difference between the Music & Arts and the  
Grammofono 2000 discs. The absolute best is on Tahra FURT 1004/7 (but  
that's a 4 disc set). Music & Arts is CD-653. Grammofono 2000 is AB  
78581. The Grammofono sound is a bit less strident and shrill than the  
Music & Arts, but that has been accomplished at the expense of cutting  
the highs perhaps too much, and adding an artificial tubbiness to the  
orchestral sound. There is also, in my opinion, a tad too much  
artificial reverb added to the Grammofono. It isn't terrible and I can  
imagine some will find its smoother sonority preferable to the M&A,  
but I think the M&A might be more honest and for me, at least, it is a  
bit more satisfying.  
  
December 8, 1943 - Schymberg, Tunnell, Backelin, S. Bjoerling;  
Stockholm Philharmonic. (Available on Music & Arts CD-2002).  
This is truly only for the person who must have every Furtwangler  
record.Performance is erratic, the Stockholm Phil clearly isn't used  
to the conductor, the sound is poor, and there is no reason to  
recommend it.  
  
January 7, 1951 - Seefried, Anday, Patzak, Edelmann; Vienna Philharmonic.  
(Only transfer I know of on CD is Fonit Cetra CDC 1).  
Dimly recorded, and a somewhat uneven performance with some  
unconvincing tempo changes.  
  
July 29, 1951 - Schwarzkopf, Hongen, Hopf, Edelmann; Bayreuth Festival.  
(Has been issued on a number of LP and CD transfers by EMI, all of  
them fairly good and little difference between them: EMI CDH 769 0812;  
CHS 7636062; CDC 7 47081 2 are just three of the numbers).  
This remains the one I recommend as the "basic" Furtwangler 9th.  
Marking the re-opening of the Bayreuth Festival after the War, it is  
an emotion-filled reading, but somewhat less wild than the War time one.  
Save for a serious horn bobble in the slow movement this is beautifully  
played, decently recorded, and combines the nobility and breadth of  
the later recordings (see below) with the fire of the 1942, with those  
elements in a good balance.  
  
February 3, 1952 - Gueden, Anday, Patzak, Poell, VPO.Issued only by  
Japanese Refrain (DR910003),  
This is one recording I do not know, so I cannot comment on it.  
  
May 31, 1953 - Seefried, Anday, Dermota, Schoeffler, VPO  
(Good transfers on Hunt CD 532 and Virtuoso 269.7202, DGG as 150th  
anniversary CDs, which is 435 325-2. It is also reissued by M&A CD-942.)  
This reading is fairly good, but its qualities are similar to the final  
1954 version (see below), which I find even more satisfying in terms  
of recorded sound and in terms of the performance maintaining tension.  
Symphony No. 9 of Beethoven in  
  
August 9, 1954 - Brouwenstijn, Malaniuk, Weber, Windgassen - Bayreuth  
Festival. (Issued only by Japanese Refrain 910016).  
This is a moderately dim recording and a decent performance that is  
outclassed by many of the others here; as with some others this is for  
the completist only.  
  
August 22, 1954 - Schwarzkopf, Cavelti, Haefliger, Edelmann;  
Philharmonia Orchestra; Lucerne Fesival Chorus.  
This performance, three months beforeFurtwangler died, is his last ever  
of this work. Best transfer is Tahra FURT 1003; Acceptable is M&A CD  
790. Slightly better is Hunt CDLSMH 34006. This performance, especially  
when heard on Tahra's excellent transfer, is interesting because it is  
less fiery, less wild, than the earlier ones. The words that come to  
mind here are "nobility", "profundity," "breadth." Don't take this too  
much to heart; the basic interpretive profile of Furtwangler's Ninth is  
still present; the final coda is still quick (but not nearly as quick  
as 1942, nor even as quick as 1951), the rhythmic drive is still there,  
the drama is still there.But there is a sense of peace over this  
performance quite different from its predecessors (thoughyou can hear  
him moving in that direction through the other 1953 and 54 performances).  
I love this performance, though find myself responding more to the  
drama of Bayreuth 1951. My own order of recommendation would be 1951  
Bayreuth; 1942 Berlin; and 1954 Lucerne.) .  
  
Also on? Fonovox Vox-7808-2 - a transciption of a CBC broadcast.  
  
Prof Lowell Cross says:  
  
I do not wish to be accused of advertising for Music & Arts, but would  
simply like to report that F's 1954 "Lucerne 9th" with the Philharmonia  
Orchestra has now been reissued on M&A CD-790 with a different sound  
quality than the previous version. Also, a momentary pitch drop in the  
fourth movement (probably the result of a stretched analog tape used  
to make the DAT from which I worked) has now been repaired. Some  
individuals may consider my methods of digital processing of historical  
recordings to be controversial, so by saying that, perhaps I am NOT  
advertising for Music & Arts.  
  
In any event, I admit to a self-serving motivation: as a musician, I  
prefer to hear great performances such as this one presented in a  
recorded sound that is not constricted, harsh, strident, boomy, noisy,  
etc., or otherwise fatiguing for the listerer. I do not receive  
personal remuneration for this work; proceeds from M&A and other CD  
labels are deposited in our operating account for the UI Recording  
Studios. THIS IS A GREAT PERFORMANCE right up there with the 1951  
Bayreuth 9th especially compelling and poignant because it is  
Furtwaengler's final performance of the work, on August 22, 1954.  
He died the following November 30. With best wishes for listening to  
great performances,  
  
(Lowell Cross Prof. of Music & Director, Recording Studios The  
University of Iowa)  
  
... and Herny Fogel comments:  
  
I have written a review for an up coming Fanfare of this release, but  
let me assure r.m.c readers that Mr. Cross is not unduly boasting  
about his work. Some will object because he creates a false  
stereophonic effect by dividing frequencies between the channels  
(and other, subtler means as well), but I personally find that he does  
it with taste. The point is that the sound on this new Music & Arts  
release is far better than the sound on the earlier one. Mr. Cross  
fails to mention that one main flaw in the earlier release is that two  
of the movements are at the wrong pitch entirely! The sound here is  
far more open, natural, and undistorted.  
  
To be totally honest, I still prefer the Tahra monaural release of  
this performance, but it is hard to find. What is remarkably stupid of  
M&A, however, is that the catalogue number of this release, CD-790, is  
exactly the same as the catalogue number of the prior, inferior release.  
That's right, folks; M&A vastly improved the sound, but gave this new  
release the same number! Please look for the year 1995 on the back of  
the box, and for Lowell Cross' name ("Digital remastering by Lowell  
Cross") to be sure you're getting the right one.  
  
(The evaluation of "ninths" was quoted from a posting by Henry Fogel)  
Re :Bayreuth 1951 and Lucerne 1954 performances:  
"There is more than one significant flub, and some major problems with  
synchronization in the Bayreuth performances, and recent EMI CD  
transfers that I've heard have screwed around in some way with the  
final chord, which sounds truly bizarre in unedited (LP) form. That  
4th horn is a fairly painful experience in what is otherwise an utterly  
sublime slow movement, and the choir sounds (to my mind) at best like  
it was recorded in the intimate acoustic of, say, Shea Stadium. I still  
do prize this performance above all the others, though, because of the  
balance of the intense and the transcendental that WF achieves here.  
Furtwaengler said to his wife that he had one foot in the other world  
after the Lucerne Festival performance of 1954".  
  
"Yes, it's (Lucerne, 1954) a relatively restrained performance, perhaps  
the work of a man saying farewell. But to my mind, the slacking of the  
tension is compensated for by the superior execution of the  
Philharmonia Orchestra (would that be Dennis Brain on 4th horn here?)  
and a somewhat more responsive choir.Problem is that there is something  
missing in the tension level here.I have a hard timedeciding which one  
I like more.Right now, I'd not be without either, but for those with  
smaller CD budgets, I think in final summing up that I'd agree with  
Henry's (Fogel) present recommendation list (1951 Bayreuth; 1942 Berlin;  
1954 Lucerne). What about the 31 May 1953 VPO performance with Seefried,  
Anday,Dermota and Scoffler? It fits between the sublimeness of the  
Bayreuth and restraint of the Lucerne."  
  
Symphony #9 - I continue to think that the safest recommendation  
is the 1951 Bayreuth performance - a great statement that balances  
passion and inner spirit perhaps as well as any of his readings,  
and available in many different EMI pressings. But there is of  
course much to be said for the 1954 Lucerne performance (his  
last of this work, 3 months before his death) -- a very broad,  
deeply felt, poetic reading, heard wonderfully on Tahra FURT 1003.  
And, one must mention the wartime reading (1942) on Music & Arts  
CD 653 -- a performance on fire from the first notes. This is  
white heat defined, and one cannot listen to it too often, which  
is why I never recommend it as a first choice, but it makes a  
remarkable impact if heard on occasion.  
  
As for the complete EMI set, I don't recommend it - not that any  
performance in it is bad (some of the above are included), but  
because some of the performances of EMI studio recordings are not  
at the most incisive or dramatic level.  
  
by Henry Fogel