音乐中的浪漫主义
(2023-02-16 17:46:42)
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浪漫主义音乐百科全书翻译 |
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ROMANTICISM, in music, a comprehensive term defying strict chronological assignment. Throughout history, Classicism and Romanticism, despite incompatible philosophies, have alternated, overlapped, and coexisted. Romanticism, however, unlike Classicism, is neither an ideology nor a school. Other eras are identified by elements and characteristics that constitute style, but the Romantic period cannot properly be identified as a style or an isolated movement. Although it possesses certain easily determined characteristics, these are found in the music of other eras as well.
在音乐中,浪漫主义是一个反抗严格时间顺序分配的综合性术语。纵观历史,尽管古典主义和浪漫主义的哲学体系是不相容的,但已产生了交替、重叠和共存。然而,不像古典主义,浪漫主义既不是一种意识形态,也不是一种学派。其它的时代是由构成风格的一些元素和特征所确定的,但人们却无法适当地将浪漫主义时期确定为一种风格或单独的运动。尽管它拥有某些容易确定的特征,但这些特征在其它时代的音乐中也能找到。
The Romanticist demands maximal and optimal involvement of self. He resolutely affirms the validity of personal experience, feeling, imagination, introspection, and judgment. He exalts the senses and emotions. His outpourings vary from gentle lyricism to overwhelming passion. He enjoys the celebration of nature, rhapsodizes freedom of spirit and actions, and delights in the whimsical, improbable, fabulous, and allegorical. He is fascinated by legend, folklore, mythology, medievalism, and demonology. He is absorbed with heroism, idealism, fate, agony, ecstasy, damnation, redemption, and apotheosis. He identifies more readily with the sentimental than with the rational.
浪漫主义者需要最大限度的和最佳的自我参与。他坚决地肯定个人经历、感觉、想象力、内省和判断力的有效性。他赞扬感觉和情感。他流露的温柔抒情和势不可挡的激情各不相同。他享受赞美大自然,讴歌精神与行动的自由,而且因异想天开、不可能、虚构和寓言而感到快乐。他着迷于传奇故事、民间传说、神话、中世纪精神和鬼神学。他被英雄主义、理想主义、命运、苦难、陶醉、诅咒、救赎和崇拜所吸引。他更容易认同多愁善感,而不是理性。
Refusing to subordinate content and feeling to classical forms or to formal method, the Romantic composer embraces free EXPRESSION and originality. He experiments with form, rebels against strict adherence to additional rules, and applauds irregularity and diversity of treatment. Above all, he champions personalism—the ultimate value and reality of the individual. Finally, the Romantic composer reveals his—or the performing artist’s—own personality.
拒绝从属于古典形式的内容和感觉或正式的方法,浪漫主义作曲家信奉自由表达和独创性。他对形式进行实验,反对严格遵循附加的规则,并且称赞无规律和多样性的处理。尤其是,他拥护人格主义---个人的终极价值和现实。总之,浪漫主义作曲家揭示了他的—或者表演艺术家的---自己的个性。
History.
历史。到18世纪末,浪漫主义在欧洲开始成为一场运动,并在19世纪第二个25年期间得以加强。在19世纪,建立音乐学院为的是改进受训音乐家的质量和数量。制造技术的改进导致以更低的成本生产更多的乐器。管弦乐资源因加入了非传统乐器得以增强,创新的管弦乐编曲,装有阀的黄铜乐器的发展使以前不可能演奏的段落得以演奏。
No achievement of the era was of greater significance to composers, performers, and audiences than the advancement of the piano to preeminence among solo instruments. By 1830 the piano had reached substantially its present state. Pedals added new sonority and harmonic richness. With increased volume and the capability of delivering delicate contrasts in color and shading, the piano could meet every challenge to musicianship and virtuosity in the literature. Knowledgeable audiences clamored for firsthand contact with renowned personalities communicating an increasing repertoire of Romantic concert music through this versatile, personal instrument.
对于作曲家、演奏者和观众而言,那个时代的成就没有比钢琴在独奏乐器中卓越的进步更大的意义了。到1830年,钢琴基本上达到了它现在的状态。踏板增加了新的响亮程度与和声的丰富。伴随音量的增加,以及能够在音色和细微差别上传达微妙的对比,钢琴已能满足在作品中对音乐技巧和精湛技艺的每个挑战。有见识的观众强烈要求与著名人物直接接触,通过这种多用途、个人乐器,交流了越来越多的浪漫主义音乐会的曲目。
By the 1880’s, Romantic music had reached almost a point of surfeit, though a number of post-Romantics continued to compose well into the 20 century. By 1915, however, Romanticism as movement was exhausted and decadent, though it remains a continuing influence.
到19世纪80年代,浪漫主义音乐几乎达到了一个过量点,尽管一些后浪漫主义者一直不懈地创作到20世纪。然而,到1915年,浪漫主义作为运动已疲惫和颓废,虽然它依然有持续的影响力。
Program
Music.
标题音乐。在浪漫主义时代,一个重大发展是与乐器有关的标题音乐的演变。其中,作曲家通过文字或图像的关联,暗示额外的音乐想法、想象、印象或情感状态。19世纪产生了四类标题音乐。
(1) The program symphony, retaining the multi-movement form of the classical symphony, employs a unifying idea throughout the work. Beethoven in his hymn to nature the Sixth Symphony (1808; Pastoral), provided intimations of a new genre by describing each of the five movements according to the scene it portrays. The program symphony reached its consummate EXPRESSION in Hector Berlioz’ Symphonie fantastique (1830), in which he initiated an extended melodic theme he called the idée fixe (“fixed idea”). Berlioz, perhaps the most daringly original composer of all time, developed the modern symphony orchestra and was the first of the virtuoso conductors.
(1)标题交响曲,保留了古典交响曲的多乐章形式,采用一种贯穿作品的统一理念。贝多芬在其赞美大自然的《第六交响曲》(1808年;《田园》中根据它描绘的景色,通过对五个乐章的每个乐章进行了描述。这种标题交响曲在艾克托尔·柏辽兹的《幻想交响曲》(1830年)中达到其完美表现,其中他开创了一种他称为idée fixe(固定想法)的延伸旋律主题。柏辽兹,也许是所有时代最大胆的原创作曲家,发展了现代的交响乐团,是第一位指挥大家。
(2) The concert overture, derived from the opera overture, is a descriptive work in one movement employing the classical sonata-allegro design. The best-known examples are two overtures by Felix Mendelssohn—A Midsummer Night’s Dream (1826) and The Hebrides (1832)—and Peter Hyich Tchaikovsky’s overture-fantasy Romeo and Juliet (1869), revised 1881).
(2)音乐会序曲,源自歌剧序曲,是一种在单一乐章中采用古典快板奏鸣曲式设计的描述性作品。最好的例子是费利克斯·门德尔松的两个序曲--《仲夏夜之梦》(1826年)和《赫布里底群岛》1832年)以及彼得·伊里奇·柴可夫斯基的序曲-幻想《罗密欧与朱丽叶》(1869年),1881年修订)。
(3) incidental music, usually an overture and a succession of shorter segments, is designed to accompany various scenes of a play or to serve as entr’actes. If the overture is in sonata-allegro form and suitable for performance as a concert piece apart from the play, it may be classified also as a concert overture. Beethoven’s music after Goethe’s Egmont (1810) is a pioneer of incidental music. Mendelssohn’s A Midsummer Night’s Dream, which includes the overture mentioned above and 12 segments added in 1842, is a prime example of incidental music. Others include Edvard Grieg’s two suites from the music for Ibsen’s drama Peer Gynt (1876).
(3)附带音乐,通常是序曲和一连串较短的片段,目的是配合戏剧各个场景或作为开场音乐。如果序曲是快板奏鸣曲形式,并且适合作为戏剧之外的音乐会曲目,它也可归为音乐会序曲。贝多芬的音乐在歌德的《埃格蒙特》(1810年)之后,是附带音乐的先驱。门德尔松的《仲夏夜之梦》,包含了上述提到的序曲和1842年增加的12个片断,是附带音乐最典型的例子。其它的作品包括爱德华·格里格为易卜生的戏剧《培尔·金特》(1876年)配乐的两部组曲。
(4) The symphonic poem, or tone poem, conceived by Franz Liszt, is the 19th century’s only original contribution to the large musical forms. Like the concert overture it is a one-movement work, but its form is freer, and its flexibility permits its being shaped according to the literary idea that inspired it. Liszt called the short, incisive themes “germ-motives.” Modified by transformation, the germ-motives supply the unifying element of the story. The best known of Liszt’s 13 symphonic poems is Les Preludes (1850). Other celebrated examples are Claude Debussy’s Prelude a l’apres-midi d’un faune (1894) and Paul Dukas’ L’Apprenti Sorcier (1897). The half-dozen masterpieces of Richard Strauss, such as Also sprach Zarathustra (1896), represent the full maturity of this genre.
(4)交响诗,或叫诗曲,由弗朗兹·李斯特构想,是19世纪对大型音乐形式唯一的原创贡献。像音乐会的序曲一样,它是一种单一乐章形式,但它的形式更为自由,而且其灵活性允许根据激发它的文学想法来完成。李斯特称这种短的,深刻主题为“起源-动机”。通过转变,修改,起源-动机对故事提供了统一元素。李斯特的13首交响诗中最著名的是《前奏曲》(1850年)。其它著名例子是克劳德·德彪西的《牧神午后前奏曲》(1894年)和保罗·杜卡斯的《魔法师的弟子》(1897年)。理查德·施特劳斯的六部杰作,比如《查拉图斯特拉如是说》(1896年),代表了这一体裁的完全成熟。
Composers.
作曲家。路德维希·凡·贝多芬,他构建了古典与浪漫时代的桥梁,在他的几首钢琴奏鸣曲中提供了浪漫主义早期的榜样。他并未暗示过识别它们的所有称谓,但它们浪漫的副标题显示了第一次听到它们的人在一定程度上对标题的反应。
Pathos, passion, and love of nature became personal revelation and communication in Beethoven’s Pathetique (1799), Moonlight (1800), Pastoral (1801), Appassionata (1804), andFarewell, Absence, and Return (1809). In addition to the Pastoral Symphony and Egmont Overture, Beethoven explored Romanticism in such other overtures as Prometheus (1801), the two Leonore overtures for his only opera, Fidelio (1805, 1806), and Coriolan (1807).
在贝多芬的《悲怆》(1799年),《月光》(1800年),《田园》(1801年),《热情》和《告别、离别和归来》(1809年)中,伤感、激情和对大自然的热爱成为了个人的启示和交流。除了《田园交响曲》和《埃格蒙特序曲》外,贝多芬还在其它的序曲中探索了浪漫主义,比如《普罗米修斯》(1801年),他唯一的歌剧《费德里奥》(1805年,1806年)和《科里奥兰》(1807年)的两首莱奥诺拉序曲。
Franz Schubert’s luminous Romanticism is reflected in his instrumental music—in the lyrical flow of unsurpassed melodies, radian orchestral colorings and sonorities, unique orchestration of woodwinds and brasses, and ability to make the instruments sing. His noblest contribution is the elevation and transformation of song, especially the folk song, into a great vehicle of musical EXPRESSION, the art song. This music was nurtured by lyric poetry, a distinguishing mark of German Romanticism, beginning with Goethe.
弗朗茨·舒伯特灿烂的浪漫主义体现在他的器乐中—抒情的,无与伦比的旋律流动,管弦乐队弧度的色彩与音量,木管乐器和铜管乐器的独特配器,以及使乐器歌唱的能力。他最杰出的贡献是将歌曲,尤其是民歌,提升并转变为一种重要的音乐表达工具。这种音乐受到抒情诗的滋养,从歌德开始,是德国浪漫主义的一个显著标志。
Although many of Schubert’s songs follow traditional strophic form (employing the same music for several stanzas), he introduced a style called durchkomponiert (“through-composed”), in which the music changes according to the story line, seeking EXPRESSION of every shade of meaning in the text. The piano accompaniment, far exceeding its traditional role of melodic and harmonic support, establishes the mood in the introduction and then paints a vivid background in close conjunction with the word. The result is perfect balance, coherence, and unity in the wedding of music and poetry.
尽管舒伯特的许多歌曲都遵循传统的分节歌形式(在几个小节中采用相同的音乐),但他引入了一种称为durchkomponiert(“贯穿全曲”)的风格,其中音乐随故事情节而变化,寻求对主题含义中每个差异的表达。钢琴伴奏,已远远超出了其传统的旋律与和声支持的作用,在前奏中建立情绪,然后描绘一幅与文字紧密结合的生动背景。结果是完美的平衡、连贯以及音乐与诗歌结合的统一。
After Schubert the most important composers of songs were Robert Schumann, Johannes Brahms, Grieg, Hugo Wolf (whose works stand as possibly the high-water mark in song literature), and Gustav Mahler. Richard Strauss’ best songs, the product of his earlier years, rank among the greatest in art-song literature.
舒伯特之后,最重要的歌曲作曲家是罗伯特·舒曼,约翰内斯·勃拉姆斯,葛里格,胡戈·沃尔夫(他们的作品或许是歌曲文学的巅峰),还有古斯塔夫·马勒。理查德·施特劳斯早期作品中最优秀的歌曲,也跻身于最重要的艺术-歌曲文学中。
The instrumental counterpart of the art song is the short lyric character piece for the piano. Beethoven’s bagatelles (1782-1802) are among the earliest examples. Programmatic titles used by various Romantic composers include romance, nocturne, impromptu, intermezzo, capriccio, moment musical, album leaf, song without words, waltz, polonaise, mazurka, prelude, novelette, march, polka, country dance, and (of larger proportion) ballade and rhapsody. Masters of such character pieces are Schubert, Mendelssohn, Frederic Chopin, Schumann, Liszt, and Brahms. Chopin is the greatest composer for a single instrument—the piano.
艺术歌曲对应的器乐歌曲是为钢琴而作的简短抒情特性小品。贝多芬的《钢琴小品》(1782年至1802年)是最早的例子。不同的浪漫主义作曲家使用的标题音乐名称包括浪漫曲、夜曲、即兴曲、间奏曲、随想曲、瞬间音乐、册页、无言曲、华尔兹、波罗乃兹、马祖卡、序曲、新事曲、进行曲、波尔卡、乡村舞曲和(程度较大的)叙事曲和狂想曲。舒伯特,门德尔松,弗雷德里希·肖邦,舒曼,李斯特和勃拉姆斯都是这种特性小品的大师。而肖邦是单一乐器—钢琴最重要的作曲家。
Brahms’ transcendent choral and chamber music and his works in the larger forms—symphonies, concertos and choral-orchestral master-pieces, including Ein deutsches Requiem (1857-1868)—place him in the vanguard.
勃拉姆斯卓越的合唱和室内乐以及他在较大形式中的作品—交响乐,协奏曲和合唱-管弦乐杰作,包括《德意志安魂曲》(1857年—1868年)--将他处于了先锋的地位。
Anton Bruckner was a religious mystic whose profound sacred works and symphonies reflect Austrian Catholic traditions. Camille Saint-Saens is best known for the C Minor Symphony for organ (1886); the fanciful Carnaval des animaux (1886), featuring two pianos; and the grand opera Samson et Delilah (1868—1877). Charles Gounod’s Faust, a French lyric opera is said to be performed more than any other opera.
安东·布鲁克纳是一位宗教神秘主义者,他深刻的神圣作品和交响乐反映了奥地利的天主教传统。《卡米尔·圣桑》因C小调管风琴交响曲(1886年)而著名;奇幻的《动物狂欢节》(1886年),由两架钢琴演奏;以及大歌剧《参孙与黛利拉》(1868年—1877年)。查尔斯·古诺的《浮士德》,一部法国抒情歌剧,据说是比其它任何歌剧都上演得多。
Bedrich Smetana was the founder of Czech nationalism in music. His most celebrated work, the symphonic poem Vltava (1874; The Moldau), epitomizes love of country. All his music is programmatic, and some of it is autobiographical.
贝德日赫·斯梅塔那是捷克民族主义音乐的创立者。他最著名的作品,交响诗《伏尔塔瓦》(1874;《莫尔多瓦河》),成为了爱国的典范。他所有的音乐都是标题性的,而有些是自传体的。
Opera composers of signal importance include Carl Maria von Weber, who wrote the first Romantic opera, Der Freischutz (1821), and Giacomo Meyerbeer, who helped stabilize the grand opera format. The foremost Italian opera composers of the early Romantic era were Gaetano Donizetti, Vincenzo Bellini, and Gioacchino Rossini. Rossini’s Il Barbiere di Siviglia (1816) remains one of the most popular comic operas.
非常重要的歌剧作曲家包括卡尔·马利亚·冯·韦伯,他创作了第一部浪漫主义的歌剧《自由射手》(1821年),以及贾科莫·梅耶贝尔,他帮助稳定了大歌剧的格式。早期浪漫主义时代最重要的意大利歌剧作曲家是葛塔塔·多尼采蒂,温琴佐·贝利尼和焦阿基诺·罗西尼。罗西尼的《塞维利亚的理发师》(1816年)至今依然是最受欢迎的喜歌剧之一。
Mikhail Glinka headed the movement toward Russian nationalistic music with his opera Ruslan and Lyudmila (1842). He laid the foundation for a later group of Russian composers, the “Mighty Five”—Aleksandr Borodin, Cesar Cui, Miri Balakirev, Modest Mussorgsky, and Nikolai Rimsky-Korsakov. Mussorgsky’s Boris Godunov, first performed in 1874, is a masterpiece of musical theater.
米哈伊尔·格林卡以他的《鲁斯兰与柳得米拉》(1842年)引领了俄罗斯民族主义音乐的发展。他为后来的一群俄罗斯作曲家奠定了基础,像“俄罗斯五强”—亚历山大·鲍罗丁,凯撒·居伊,米里·巴拉基列夫,莫杰斯特·穆索尔斯基和尼古拉·里姆斯基-科萨克夫。穆索尔斯基的《鲍里斯·戈都诺夫》于1874年首演,是音乐剧的一部杰作。
Richard Wagner was the greatest compose of symphonic opera. His innovations include continuous narrative; the use of leitmotiv, a concise musical figure symbolizing an object, character, place, or idea; making the orchestra the unifying element in the opera; and taking chromatic harmony to its highest point.
理查德·瓦格纳是最重要的交响乐歌剧作曲家。他的创新包括连续的叙述;主导动机的运用,象征对象的简洁音乐形象,性格,地点或想法;使管弦乐队在歌剧中成为一个统一元素;以及将半音和声提升到它的最高点。
Giuseppe Verdi, the most prolific of the later Italian opera composers, opposed Wagner’s concept of orchestral supremacy, holding fast to the Italian ideal of the singer’s opera. Though most of his operas are tragedies in the grand manner, his masterpiece and last work is the comic opera Falstaff (1893).
朱塞佩·威尔第,晚期最多产的意大利歌剧作曲家,反对瓦格纳管弦乐队至上的概念,坚守歌唱者歌剧的意大利理想。尽管他的大多数歌剧都是宏大方式的悲剧,但他的代表作和最后的作品是喜歌剧《福斯塔夫》(1893年)。
Other Romantic composers include Cesar Franck, the greatest composer of French instrumental music in the last half of the 19th century, and Georg Bizet, who wrote the masterpiece of French lyric drama, Carmen (1875), with its exotic Spanish rhythms and idioms. Tchaikovsky was the greatest of the Russian symphonists.
其他浪漫主义作曲家包括19世纪后半叶的法国器乐最重要的作曲家凯撒·弗兰克和格奥尔格·比才,他写创作了带有异域风情西班牙节奏和习语的法国抒情戏剧杰作《卡门》(1875年)。柴可夫斯基是最重要的俄罗斯交响乐作曲家。
Antonin Dvorak, the Bohemian nationalist, observed the forms and traditions of Beethoven, Schubert, and their disciple Brahms, while filling his compositions with the melody, rhythm, and color of Czech folk music. He is best known for the symphony From the New World (1893).
安东尼·德沃夏克,波希米亚民族主义者,吸收了贝多芬,舒伯特和他们的弟子勃拉姆斯的形式和传统,同时用捷克民间音乐旋律、节奏和色彩填充了他的作品。他最出名的交响曲是《自新大陆》(1893年)。
Post-Romantic Era
Romantics.
后浪漫主义时代的浪漫主义者。威尔第的继承者吉亚卡摩·普契尼的音乐,流动着抒情的魅力和温暖情感。他最重要的歌剧包括《波西米亚人》(1896年),《蝴蝶夫人》(1904年),独幕喜歌剧《贾尼·斯基基》,以及在他于1924年去世时尚未完成润色的,他最优美配乐的《图兰朵》。
Debussy, the great IMPRESSIONIST composer, achieved exquisite effects through subtle, exotic harmonies, rhythms, and haunting melodies. He established the French song as a national art form. The early works of Finland’s Jean Sibelius are in the Romantic tradition. The Swan of Tuonela (1893), inspired by the Finnish epic the Kalevala, and the symphonic poem Finlandia (1899) breathe the spirit of Finnish nationalism. The Russian-born Sergei Rachmaninoff wrote music of rich emotional content, as in the C Minor Piano Concerto (1901), echoing in the 20th century the melancholy Russian soul.
德彪西,重要的印象派作曲家,通过微妙、奇异的和声、节奏和萦绕于心头的旋律达到了精美的效果。他将法国歌曲确立为一种民族的艺术形式。芬兰的让·西贝柳斯的早期作品都属于浪漫主义传统。《图内拉的天鹅》(1893年)受到芬兰史诗《凯莱维拉》的启发,而交响诗《芬兰颂》(1899年)体现了芬兰的民族主义精神。生于俄罗斯的谢尔盖·拉赫玛尼诺夫创作了丰富情感内容的音乐,如在《C小调钢琴协奏曲》(1901年)中的那样,一直回响在20世纪忧郁的俄罗斯灵魂之中。
(译者注:该词条位列《大美百科全书》1985年版,第23卷,第683页至684页)