▽拉赫玛尼诺夫《第三钢琴协奏曲》第一乐章▽
斯特拉文斯基与拉赫玛尼诺夫（一）
《春之祭》
斯特拉文斯基《春之祭》
A major difference between the composers could be observed in regards to their reaction to disappointment. This notion could be described best ,through examples. Rachmaninoff’s first symphony had a very disappointing premiere. This caused a great deal of post-facto suffering for the young composer. Similarly , stravinsky’s the rite of spring had a disappointing premiere. the details of these two events will be discussed in the following. However, in order to analyze the significance of these two events, the attitude of each composer toward music must be discussed. Stravinsky and rachmaninoff viewed music in entirely different manners.
二位作曲家主要的区别是他们对于失望的反应。这可以举例详述。拉赫玛尼诺夫的首部交响曲首演凄惨，这给年轻的作曲家带来了很大伤痛。与之相似，斯特拉文斯基的“春之祭”首演也遭遇滑铁卢。这两件事的细节将在后文详解。但为了分析这两个事件的重要性，两位作曲家对音乐的态度必须被提及。他们在检视音乐表达时有各自独特的方法论。
They both had their own unique methodology in inspecting what music conveys. This was mostly due to their methods of training. Their music education had great effects on their views of music. Stravinsky’s view of music is relatively well defined in a series of lectures(six in total) he gave at harvard university between 1939 and 1940. Stravinsky states clearly at the beginning of the lecture series that he “shall talk about making in the field of music”(Stravinsky 5). These six lectures appear in one volume called poetic of music.
而他们所受的音乐教育对他们的音乐视角产生了很大影响。斯特拉文斯基的音乐视角基本上是1939-1940年他在哈佛大学的一系列讲座中提到的。他在讲座的开头明确表示他“讲的是关于音乐领域的制作”。这六场讲座皆收在“音乐诗学”卷中。
In his poetic of music stravinsky defines his attitude toward music and composition in general. He expresses his thoughts on how his compositions come to life. Stravinsky manages to make a distinct disclaimer and clarification here: he says that he will provide “an explanation of music as I conceive it”(stravinsky 7). He also makes the clarification that the previous fact does not reduce the objectivity of the explanation. He states that the explanation will not “be any the less objective for being the fruit of my own experience and my personal observation”(stravinsky7). This is quite a unique characteristic in an individual. Individuals have difficulty in maintaining objectivity when personal opinion is concerned.
在《音乐诗学》中，斯特拉文斯基定义了自己对音乐与作品的一般态度。他展示了他的作品如何来源于生活的思路。他试图做一个明晰的澄清说明: 他说他会举出一个他构思的音乐案例。他表示这个例子不会因他个人经历和观察而丧失客观性。这在个体中算是非常特殊的性质——当个人意见被考虑在内时客观性总是难以维持的。
This idea of objectivity is a central theme in stravinsky’s life and composition. He maintained an untainted view of music. Stravinsky never allowed himself to taint the autonomous beauty of a composition with his emotions. Nothing could keep Stravinsky from jeopardizing this autonomy (routh 12) on the same note , Stravinsky would risk anything for the sake of keeping personal feelings out of a matter(music ).
客观性思维是斯特拉文斯基生活与作品的永恒主题。他始终保持着对音乐的纯粹视角。他从不允许自己的情绪玷污了音乐作品中的自律之美。没有什么能让他对其产生威胁。同样地，斯特拉文斯基也会为了保持个人情绪与作品的分离的目的而冒险。
The rite of spring is a representative example of this thought. In his sketchbook , Stravinsky has the piece set up with a thematic continuity among the movements. The harmony and the chordal structure follow closely as noted in his sketchbook. For instance , ‘augurs of spring’ appears before ‘khorovod’(round dance). If inspected more closely ,one even finds a smooth transition from ‘augurs of spring’ to ‘korovod’(tauruskin).
《春之祭》就是这一思想的典型代表。在他的随笔中，斯特拉文斯基在乐章中设计了一个主题延续的乐段。它的和声，和弦结构与随笔中记录的非常相似。例如，“春之预兆”出现在“轮舞”之前；如果仔细观察，还会发现二者之间的平稳过渡。另外一个更清晰的例子出现在“大地崇拜”与“部落对抗”中。
A clearer example appears in the cases of ‘games of abduction’ and ‘games of rival tribes’. In stravinsky’s rite of spring sketchbook, ‘game of rival tribes’ appears before ‘game of abduction’. In addition to the chronology in the sketchbook, there is a thematic evolution between the two pieces as well. The opening theme of the ‘game of rival tribes’(2 measures after figure 57) is a primitive version of one of the melodies heard in the ‘game of abduction’(figure 43). The evolution of thought is evident in the method of notation. In the ‘game of rival tribes’, the melody consists of a measure in common time and a succeeding measure in 3/4 time:
斯特拉文斯基的随笔中写道：“部落对抗要出现在大地崇拜之前”。除此之外随笔记录，在这两个片段之间还有着一个主题演变。“部落对抗”乐段的开放性主题是“大地崇拜”旋律的原始音乐动机之一。在记谱中这一思想展现得淋漓尽致。在“部落冲突”乐段中，旋律从6/8拍延伸到3/4 拍中：（图）
In the ‘game of abduction’ a similar melody is expressed in a more expanded fashion. Here , two 6/8 measures are followed by a 7/8 measure ,which is finally followed by a 3/4 measure:
在“大地崇拜”中，相似的旋律在更夸张的趋势中出现。两个6/8拍后紧随着一个7/8拍，最后又接上一个3/4拍：（图）
This evolution of thought and theme clearly expresses a chronological connectivity between the two movements. They were composed at different times, and originally Stravinsky meant to notate a different order for the movements(walsh 47) . this piece of information about the change in the order of movements appears to be a rather unlikely act for a composer, who understood music as well as Stravinsky.
这一思路与主题的演进清晰的展现在两个乐章之间的时间连续性上。这两个乐章创作于不同的时期且斯特拉文斯基意图给他们不同标记。乐章标记中的改变乐段显得不太像作曲家的手法，而重作这一片段显然会破坏大量的主题效应，这些正是作曲家费心费力创作而成的。
Rearranging this piece certainly destroyed a great deal of thematic effects, which were created carefully by the composer, however , when this act of destruction by Stravinsky is put in the context of the piece itself, the strangeness diminishes. Stravinsky chose to destroy the piece’s thematic integrity in order to convey the pagan nature of the composition. He voluntarily detached connected movements in order to effectively portray the lack of development in the piece, had he chosen to use the classical methodology of notation and thematic development, he would have been pointlessly trying to portray something primitive through modern means.
然而，当斯特拉文斯基的破坏举动被放置到这一片段中，这一尴尬减弱了。他选择了破坏作品的主题完整度以传达作品的异质性。他愿意打散连续乐章以有效描绘作品中发展部的缺陷。一旦他选择使用古典记谱法与主题发展，他就得试图用现代手法去做原始内容的描述。
However when he chose to destroy the piece’s connectivity , he truly iterated the message of loss and destruction. Stravinsky chose to destroy his thematic continuity in order to finalize the rough nature of this pagan rite. It is certainly true that stravinksy personally cared for the thematic attachment among the movements. However , he approached the outcome with a solemn sense of “sovereign disregard”. He chose to “write with an ax” in order to convey the primitiveness of the pagan ritural of celebrating the arrival of spring(taruskin). stravinsky never allowed his sentimentality to interfere with the objective nature of his music. On a very subjective level , the composer wanted to maintain the integrity of the piece. However , stravinsky’s objectivity managed to triumph for the resultant composition. Here, Stravinsky willingly surrendered his valued subjectivity , in order to objectively portray an event.
但如果他选择了摧毁作品的连贯性，他才真正重复了丧失与摧毁的内容。斯特拉文斯基选择放弃它的主题连续性而完成异质性。这显然就是斯特拉文斯基在乐章间对主题依附的个人顾虑。然而他碰到了一个带有主权漠视的庄严感的后果。他选择了“大刀阔斧”以传达迎接春的到来的异质仪式的重要性。斯特拉文斯基绝不允许自己多愁善感干扰到他音乐的客观性。从非常主观的角度来看，作曲家想要维持作品的完整性。但斯特兰文斯基的客观性为这一合成作曲谋得了胜利。在这里，斯特拉文斯基为了客观的实现放弃自己的主观价值。
Yet another facet of autonomous music is present in the rite of spring. The rite of spring was written as a ballet. Traditionally , ballet music has been written to accompany the dancers. This is not how Stravinsky meant his rite to be performed. Stravinsky wanted the dancers to be an accompaniment to the music. with this notion , Stravinsky , once again asserts his notion of autonomy in composition. Stravinsky did not write an accompaniment for dancers. He wrote a piece , which did not need accessories to be completed. Dancers in the rite of spring were meant to make “explicit what is already implicit in the score”(routh 12 )
然而还有在《春之祭》中还有另一个独立音乐的方面——它是一部芭蕾舞剧。以往芭蕾音乐是为舞者伴奏而作的，但斯特拉文斯基的《春之祭》显然不是这样的。斯特拉文斯基想让舞者成为音乐的陪衬。于是他在这部作品中再次宣示了他音乐的自律观念。他不是在为舞者写伴奏曲，这不是一首需要陪衬而作的作品。舞者在《春之祭》中的作用在于让隐含的内容显露出来。
As the rite of spring was written as a ballet , the premiere required a choreographer in order to put accompany the music with dance. However , this notion of autonomous music is quite foreign to most choreographers. Choreographers focus on the technical aspects of dance. Thus they assume the dance as the most important aspect of the performance ,since it is communicated through the visual sense. According to Stravinsky , this was the case in the 1914 premiere of the rite of spring. The choreographer at that time of the premiere was vaslav Nijinsky. Nijinsky was a great dancer of his time , but Stravinsky did not think that he accomplished the task of choreographing properly for a piece of such high caliber.
由于《春之祭》是一部芭蕾舞剧音乐，放在首位考虑的就是需要一位编舞家为音乐配舞。然而，独立音乐的观念对大多数编舞家而言非常陌生。因此他们假定舞蹈是整个演出中最重要的部分，因为它能通过视觉交流。对斯拉瓦文斯基而言，1913年的首演就是这样。编舞家是当时最优秀的舞蹈家尼金斯基，但斯特拉文斯基觉得他并没有高水准地完成编舞任务。
Stravinsky did not think that Nijinsky respected the autonomy of the rite. Despite the fact that nijinsky’s choreography was described as “almost bestial”, Stravinsky did not think that his music was properly accompanied. Thus , Stravinsky put all the blame for the disastrous premiere upon Nijinsky. According to spectators, this premiere was “paris’s most cherished theatrical riot”. Stravinsky ‘s own account of the event describes the mayhem, which ensued:
他没有对《春之祭》的自律加以足够的尊重。尽管尼金斯基的编舞被描述为“近乎残忍”，斯特拉文斯基也不觉得自己的音乐得到了好的陪衬。因此，他将灾难般的首演的责任全部归咎于尼金斯基。据观众所言，这场首演是“稀有的剧场暴乱”。斯特拉文斯基将其描述为“重伤”：
The premiere of le sacre du printemps was given on may 28 at the evening performance. The complexity of my score had demanded a great number of rehearsals, which Monteux had conducted with his usual skill and attention. As for the actual performance , I am not in a position to judge ,as I left the auditorium [to stand in the wings]at the first bars of the prelude, which had at once evoked derisive laughter. I was disgusted. These demonstrations , at first isolated ,soon became general, provoking counter-demonstrations and very quickly developing into a terrific uproar. During the whole performance I was at nijinsky’s side in the wings.
《春之祭》的首演是在五月28日的晚上。标记的复杂性导致需要很多次排练，蒙特勒一如既往地指导，以至于正式演出的时，我没有站在审视的立场上，而我在招致嘲笑的序曲第一小节处离场。我对此感到厌恶。这些说法在开始时平平无奇，却很快普及并引发相互论证然后很快发展成糟糕的骚动。整场演出里我站在尼金斯基一边。
He was standing on a chair, screaming”sixteen, eighteen”_they had their own method of counting to keep time. Naturally , the poor dancers could hear nothing by reason of the row in the auditorium and the sound of their own dance steps. I had to hold Nijinsky by his clothes. For he was furious ,and ready to dash on stage at any moment and create a candal. Diaghilev[the impresario]kept ordering the electricians to turn the lights on or off, hoping in that way to put a stop to the noise. That is all I can remember about that first performance.(quoted in Harrington)
他站在椅子上，高喊“16 17 18 ，”-他们有自己的方式去合拍。当然差劲的舞者也会因为观众席的行行列列与自己的舞步而听不到乐音。尼金斯基非常愤懑我不得不拽着他的衣服以拖住他——他似乎准备好要冲上舞台制造一起丑闻了。佳吉列夫不断要求灯光师开关灯光以期制止噪声。这就是我对于首演的全部记忆。（取自哈林顿）
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