第二乐章——一缕阳光照进你的灵魂

大家好。

Hi, everyone.

我是亚伦·科恩。

It's Aaron Cohen.

我们终于发布了第四季。

We've finally released our fourth season.

不知道你们是否注意到了。

I don't know if you noticed.

前三季之间都间隔了一年。

There was a year between each of the first three seasons.

而这第四季花了两年半时间。

This new fourth season took two and a half years.

为什么呢？

Why?

因为资金出现了缺口。

Because of gaps in funding.

我们希望能以创纪录的速度推出第五季。

We'd love to get out season five in record time.

希望您能加入Patreon上的'拥抱一切'社区，支持我们探索马勒交响曲的奇妙世界。

I hope you'll join the Embrace Everything community on Patreon to support our exploration into the wonderful world of Mahler symphonies.

从5美元到5000美元，每一份捐赠都意义重大。

From $5 to $5,000, every gift counts.

请访问theworldofgustubhmahler.org并点击支持加入我们。

Please join us at theworldofgustubhmahler.org and click on support.

节目说明中也有链接，谢谢您。

There's also a link in the show notes, and thank you.

'拥抱一切'第二季《古斯塔夫·马勒的世界》得以实现，要感谢卡普兰基金会的慷慨资助。

Season two of Embrace Everything, The World of Gustave Mahler was made possible by a generous grant from the Kaplan Foundation.

您可以在我们的网站theworldofgustavemahler.org上找到本集所有曲目和演奏者的完整列表。

You can find a complete list of pieces and performers featured in this episode on our website, theworldofgustavemahler.org.

请在X和Blue Sky上关注'world of mahler'，在Facebook和Instagram上关注'the world of Gustave Mahler'。

Please follow us on x and blue sky at world of mahler and on Facebook and Instagram at the world of Gustave Mahler.

在马勒第二交响曲第一乐章那震撼灵魂的强烈情感之后，作曲家觉得观众——或许连乐团也需要——喘口气。

After the soul stirring intensity of the first movement of Mahler's second symphony, the composer felt the audience, and perhaps the orchestra too, could use a breather.

事实上，他认为第二乐章开始前应有整整五分钟的停顿，因为这与前章形成了绝对转变。

In fact, he felt there should be a full five minute pause before the second movement began because it was such an absolute change from what preceded it.

但在我们深入探讨第二乐章前，我们将花几分钟聊聊音乐的灵活性与趣味性，这将帮助我们理解他在下一乐章中的意图，特别是马勒用来取悦听众、营造更轻松氛围的那些音乐手法。

But before we delve into that second movement, we're going to spend a few minutes talking about musical flexibility and playfulness, which will help us understand what he's up to in this next movement, specifically the musical tools that Mahler uses to charm us and create a much more lighthearted atmosphere.

我是亚伦·科恩。

I'm Aaron Cohen.

希望你喜欢。

I hope you enjoy it.

在第二乐章中，马勒转向了他许多作品中的一个重要特征——舞曲音乐，特别是他在摩拉维亚和维也纳成长过程中听到的旋律类型、节奏和音乐效果。

In the second movement, Mahler turns to an important feature that occurs in many of his works, dance music, and specifically the types of melodies, rhythms, and musical effects he heard growing up in Moravia and Vienna.

作曲家兼指挥家马托·科因。

Composer and conductor Mato Coyne.

维也纳是西欧与东欧音乐形式的交汇点，拥有所有这些绝妙的舞蹈形式。

Vienna is this crossroads between Western and Eastern European musical forms, and it has all these fantastic dance forms.

这正是一种丰富而杂糅的音乐文化。

And it's just this rich, messy musical culture.

我认为马勒之所以能将所有这些舞曲形式和民间形式——连德勒舞曲、圆舞曲等等——融入他的音乐中，正是因为他确信乐手们完全理解这些音乐的灵魂。

And I think Mahler was able to assume that by writing all these these dance forms and folk forms into his into his music, Landlers and Waltzes and whatever, he was able to assume that the musicians knew exactly what that felt like.

他们参加过演奏这些舞曲的舞会，自己也跳过这些舞蹈。

They had been to a dance where those dances had been played and they had danced them themselves.

要知道，这就是伴随每个人成长的流行音乐。

And, you know, it was the pop music that everyone had grown up with.

因此可以有很大的自由度。

And so a a great deal of freedom can be taken.

这种音乐自由的主要表现之一被称为"弹性速度"。

One of the main staples of that musical freedom is called rubato.

我请纽约爱乐乐团的首席大提琴手卡特·布雷为我解释一下什么是弹性速度。

I asked Carter Bray, principal cello of the New York Philharmonic, if he could explain rubato for me.

嗯，你很幸运能和一个刚从意大利回来的人交谈。

Well, you're fortunate enough to be speaking to someone who just came back from Italy.

我可以告诉你，rubare是动词原形，意思是抢劫，而rubato是过去分词，表示被抢劫的。

So I can tell you that rubare is the infinitive to rob, and rubato is the past participle robbed.

所以基本上，它的意思就是你拆东墙补西墙。

So, basically, it just means that you're you're robbing Peter to pay Paul.

你从节拍的一部分偷走一些时间，然后可能在后续的节拍或小节中再补回来。

You take some time away from one part of the meter, and you restore it, possibly in a subsequent part of the of the meter or the bar.

马勒的作品很大程度上依赖Rubato，因为他的很多音乐都借鉴了民间音乐或流行音乐。

Much of Mahler depends on Rubato because a lot of his music is referential to folk music or popular music.

我们在许多流行音乐中都能发现自由速度的运用，尽管我们不一定称之为自由速度。

We find rubato in many kinds of popular music, although we don't necessarily call it rubato.

我们可能会称其为轻快的节奏，或是摇摆的韵律。

We might call it a lilt, mato coin.

是的。

Yeah.

用'轻快'这个词来描述一种微妙的自由速度很贴切。

A lilt is a good word for a kind of subtle rubato.

而轻快的节奏就像是，你知道的，别人向你快速露出的一个微笑。

And a lilt is kind of a, you know, a quick smile that somebody gives you.

你知道，他们只是稍作停顿，给你一个小小的微笑，然后继续前行。

You know, they just pause and give you a little smile and then continue on their way.

所以通常在好的自由速度处理中，会有那种非常微妙的俏皮感。

So there is that very subtle playfulness in good rubato usually.

我曾问过爵士钢琴家兼作曲家迪迪·杰克逊，他是如何定义轻快节奏的。

I asked jazz pianist and composer Didi Jackson how he defines a lilt.

很多人会说，嗯，它意味着，你知道，它源自某种凯尔特风格，或者当应用于爵士乐时，它暗示的就是摇摆的感觉，哒哒哒哒哒。

A lot of people will say, well, it's it means, you know, it comes from a kind of a Celtic thing or you know, when it applies to jazz, it implies just the idea of swing and da da da da da.

我也不知道。

And I don't know.

对我来说，我一直认为轻快感是指每首曲子都有其独特的表达方式，在重复的模式背景下，你知道，就像一种持续不断的时间挪用方式，不断延续并服务于，你知道，曲子本身的氛围。

For me, I always thought of lilt as the idea that every piece has its unique characteristic way of kind of phrasing and and in the context of a recurring pattern, you know, like a recurring way of robbing time that just kinda keeps going and serves the, you know, the vibe of whatever the piece happens to be.

你知道，就像肖邦的前奏曲那样，

You know, like the Chopin prelude like,

对

right

我的意思是，整首曲子中除了你想要的些许弹性处理外，每个部分都像是对那两小节乐句重复着相同的轻快韵律。

I mean every every part of it is like the same lilt over that two bar phrase for the entire piece other than whatever you want to do to give it a little bit more give and take beyond that.

你知道，它更多是一种华尔兹的感觉，但由于并非实际用于舞蹈，常常可以被灵活诠释。

And you know it's more of a waltz feel but often can be interpreted since it's not an actual, you know, dance that people are dancing to.

这是一首古典乐曲，所以你可以稍微拉长些节奏，但在诠释时仍能赋予它那种循环往复的轻快特质。

It's a classical piece so you can kind of stretch it out a little bit, but you can still kind of imbue it with that recurring lilting quality as you interpret it.

对于单个演奏者（比如钢琴家）来说，按照个人喜好不断调整节奏是一回事。

It's one thing for a single performer, a pianist, to continually adjust the tempo to his or her liking.

而对于一个由众多演奏者组成的乐团来说，要共同做到这一点则是另一回事。

It's another thing for an ensemble of many performers to do it together.

卡特·布雷。

Carter Bray.

这操作起来非常棘手，因为指挥家可以给出指示。

And that's very tricky to do, because the conductor can indicate it.

但当60多位弦乐演奏者试图模仿维也纳咖啡馆里一位小提琴手的独奏效果时，这极具挑战性。

But when you have 60 plus string players trying to sound exactly like one single violinist in a Viennese cafe, it's very challenging.

因此需要大量准备才能让演奏听起来自然流畅。

So it takes a lot of preparation in order for it to sound spontaneous.

除了自由速度外，马勒运用的另一音乐技巧叫做滑音。

In addition to rubato, another musical technique Mahler used is called glissando.

滑音意味着音高的滑动过渡。

It means gliding, glissando.

这是指音乐家从一个音符滑向另一个音符的演奏技法。

This is when a musician slides from one note to the next.

马勒实际上在其第二交响曲第一乐章中就运用了滑音技巧。

Mahler actually used glissandi in the first movement of his second symphony.

请仔细聆听这里的小提琴声部。

Listen closely to the violins here.

令我感到有趣的是，如果你听那些出生于19世纪的弦乐演奏者的早期录音，会发现他们使用滑音的频率远高于现代演奏。

It's interesting to me because if you listen to old early acoustic recordings of string players who were born in the nineteenth century, they do a lot of sliding around, a good deal more than you might hear today.

这是1910年著名小提琴家弗里茨·克莱斯勒演奏自己作品的录音。

Here's a recording of the great violinist Fritz Kreisler playing one of his own compositions in 1910.

马托币。

Mato coin.

你知道维也纳乐团的滑奏方式就像是他们从一个音符过渡到另一个音符的常规路径吗？

The Vienna Orchestra's the glissando highway is kind of just how they get from one note to the next, you know?

而对许多其他乐团来说，这只是偶尔使用的特殊调味剂。

Whereas for a lot of other orchestras, it's a very, occasionally used special sauce.

但这其中蕴含着非常浓郁的维也纳特色。

But, there's something very, very Viennese about that.

你想，为什么要干净利落地从一个音符跳到另一个呢？

You know, why why, make a clean jump from one note to the next?

滑过去不是更有趣吗？

Isn't it more fun to kind of slide your way there?

接下来这个著名的滑奏你或许很熟悉。

Here's a famous glissando you probably know.

格什温《蓝色狂想曲》开场的单簧管独奏。

The opening clarinet solo from Gershwin's Rhapsody in Blue.

马勒在他的乐谱中非常明确地标注了滑音。

Mahler very clearly indicated the glissandi in his scores.

他可不想听天由命。

He wasn't going to leave it up to chance.

卡特·布雷。

Carter Bray.

所以当你看到这样的标记时，你会真正投入其中，演奏出非常明显的重音效果——如果没有特别标注，你可能不会这样处理。

So when you see something like that, you really you really lean into it, and you really produce a very noticeable accento that you might not play if it hadn't otherwise been notated.

当然，作为交响曲第二乐章的兰德勒舞曲，正需要这种灵活性。

Certainly, a Lendler, that is the second movement of the symphony, requires that kind of flexibility.

马勒十分钟爱兰德勒舞曲，这种他在成长过程中耳濡目染的奥地利乡村民间舞蹈。

Mahler was fond of the Lendler, a rural Austrian folk dance which he heard growing up.

现在我们转向第二乐章本身，会听到他五年前在1888年完成交响曲第一乐章时，随手记在纸片上的兰德勒旋律。

Now that we turn to the second movement itself, we hear a Lendler he had originally jotted down on a scrap of paper five years earlier in 1888 when he finished the symphony's first movement.

这个旋律片段成为了

This melodic fragment became the theme of the

第二乐章的主题，他于1893年用一周时间完成了创作。

second movement, which he finished in one week in the 1893.

马勒曾这样说道。

Mahler said this.

第二乐章是一段回忆，是英雄生命中一道纯净无云的阳光。

The second movement is a memory, a ray of sunlight, pure and cloudless out of that hero's life.

下面请听它的旋律。

Here's what it sounds like.

注意聆听那轻快的节奏。

Listen for the lilt.

对马勒而言，这段音乐有着非常特殊的联想。

For Mahler, this music had a very specific association.

想必你也有过埋葬至亲之人的经历。

You must surely have had the experience of burying someone dear to you.

然后在归途中，或许某个早已遗忘的共度欢乐时光突然浮现在你的心眼前，如同一缕阳光射入你的灵魂，未被任何阴影遮蔽，你几乎忘却了刚刚发生的事。

And then perhaps on the way back, some long forgotten hour of shared happiness suddenly rose before your inner eye, sending as it were a sunbeam into your soul, not overcast by any shadow, and you almost forgot what had just taken place.

卡特·布雷说，马勒的滑音演奏起来令人愉悦。

Carter Bray says Mahler's Glissandi are delightful to play.

这几乎就像他在给我们弦乐演奏者许可，去做这件我们一直渴望做的事。

It's almost like he's providing us as string players with permission to do this thing that we're always dying to do.

马勒将暂时离开这段迷人的开场音乐，但之后会多次回归。

Mahler will move away from this charming opening music and return several times.

每当旋律偏离时，就被称为三重奏段落。

Each time he moves away, it's called a trio section.

哥伦比亚大学音乐教授玛丽莲·麦考伊。

Music professor Marilyn McCoy of Columbia University.

传统上，三重奏的功能本应是一个对比段落。

Formerly, function of a trio is supposed to be a contrasting section.

因此它会有对比鲜明的配器。

So it's gonna be contrasting orchestration.

这次不是整个管弦乐团，只有弦乐部分在演奏。

Instead of the whole orchestra, we have only the strings playing.

而且它应该使用某种对比性的调式。

And it's supposed to be in some kind of contrasting key.

兰德梅尔主题是大调的。

The Lend Meer theme was in major.

这个是小调的。

This is in minor.

它的性格发生了变化。

The character of it changes.

这里出现了三连音。

You have triplets.

三连音将成为这个乐段的标志性特征之一，即使当更长的旋律开始回归时，它们仍会在背景中持续。

Triplets will be one of the defining features of this section, continuing in the background, even when lengthier melodies begin to return.

乐段之间的过渡非常富有戏谑性。

Transitions between the sections are very playful.

马勒正逐步回归开篇乐章，尽管路径并非直截了当。

Mahler is making his way back to the opening music, although it's not so straightforward.

每一次重复本身已是谎言。

Each repetition is already a lie.

艺术作品如同生命本身，必须持续向前演化。

A work of art, like life itself, must continually evolve further.

马勒通过在主旋律之上叠加对位旋律，丰富了开篇乐章。

Mahler enriches the opening music by adding a countermelody on top of the main melody.

对位旋律由大提琴声部呈现。

The countermelody is in the cellos.

它们仿佛走向舞台前方，随后开篇旋律便退为背景。

They kind of walk to the front of the stage, and then the the opening melody becomes background.

两条旋律被毫不费力地交织在一起，马勒尤其钟爱这段大提琴旋律线。

The two melodies are woven together effortlessly, and Mahler especially loved the cello line.

此刻旋律如宽广洪流般倾泻而出，颇有舒伯特式的风格。

The melody pours forth here in a full broad stream, rather in Schubertian fashion.

术语'舒伯特风格'指的是

The term Schubertian refers

作曲家弗朗茨·舒伯特，他比马勒早出生约半个世纪。

to the composer Franz Schubert, who lived a good half century before Mahler.

卡特·布雷认为将这部分称为舒伯特风格是正确的。

Carter Bray says it's correct to call this part Schubertian.

这正是舒伯特典型的创作手法——在已确立的旋律线上添加高音抒情旋律。

That's something that Schubert typically would have done, to add a high cantalena to an already established melodic line.

术语'cantalena'意为抒情旋律。

The term cantalena means a lyrical melody.

仅以交响曲目为例，第九交响曲《伟大C大调交响曲》的引子就是绝佳范例。

Just sticking to the symphonic repertoire for a second, a very good example would be the introduction to the ninth symphony, the great c major symphony.

舒伯特在十九世纪二十年代创作了他的第九交响曲。

Schubert wrote his ninth symphony in the eighteen twenties.

乐曲开始时由圆弓奏出主旋律主题。

It begins with the main theme presented by the French horns.

顺便说，这是一个不应使用弹性速度处理的音乐范例。

And there's a good example, by the way, of some music that should not be subjected to rubato.

它应当被演奏得十分规整。

It should be played very squarely.

但在舒伯特呈现完那段素材后，他做了什么？他引入了分部的大提琴和中提琴，那一刻就像突然拉开帷幕，眼前是一桌精心布置的美味佳肴，令人叹为观止。

But then after Schubert has presented that material, what does he do but bring in divided cellos and violas for the most it it's like suddenly he lifts a curtain, and there's a beautifully set table with the most delicious meal you've ever seen.

开场的圆号主题已转化为大提琴的抒情旋律线，大提琴声部与中提琴声部交织缠绕。

The opening French horn theme has been transformed into a Cantalena cello line, And the cello lines weave around the viola lines.

这非常具有舒伯特风格，而且这两位音乐家都来自地球的同一地区并非偶然。

That's very Schubertian, and it's no accident that both those dudes were, you know, from the same part of the planet.

马勒和舒伯特都与维也纳有关联，同时也都有波西米亚的血统。

Mahler and Schubert are both associated with Vienna but also have bohemian roots.

回到马勒第二交响曲的第二乐章，让我们再次聆听那段带有华丽大提琴旋律的舒伯特风格部分。

Getting back to the second movement of Mahler's second symphony, let's listen to the Schubertian part again with the glorious cello line.

马勒对他创作的旋律非常讲究，坚持它们听起来要浑然天成，仿佛一个旋律从另一个旋律中自然生长出来。

Mahler was very particular about the melodies he put together and insisted they sound organic as if one melody grows out of the other.

唯有如此才能一气呵成地创作。

And that's the only way to create in one grand sweep.

玩弄一个可怜的小主题片段毫无意义——变奏它、为之谱写赋格曲，用尽手段只为撑满一个乐章。

It's no use playing around with some poor little scrap of a theme, varying it, and writing fugues on it, anything to make it last out a movement.

我无法忍受这种精打细算的创作方式。

I can't stand the economical way of going about things.

若要使作品有价值，一切都必须如泉涌般持续迸发。

Everything must be overflowing, gushing forth continually if the work is to amount to anything.

我们即将进入第二三重奏，这是另一个对比段落。

We're almost ready for the second trio, another contrasting section.

不过这次有所不同。

However, this one is different.

玛丽莲·麦考伊。

Marilyn McCoy.

第二三重奏骤然爆发。

The second trio explodes.

这是即将到来的复活。

This is the coming resurrection.

这是第一乐章残留的愤怒。

This is the leftover anger from the first movement.

它极具威胁性。

It's very threatening.

铜管乐器爆发出巨大的轰鸣。

There's a huge sort of brass explosion.

气氛变得非常、非常紧张，然后马勒必须化解它。

It gets very, very tense, and then Mahler has to diffuse it.

他通过釜底抽薪的方式化解了这种紧张。

And he diffuses it by pulling the rug out from under it.

这听起来差不多就是这样的感觉。

That's kind of exactly how it sounds.

就像第一乐章那样，在戏剧性时刻之后，音乐展开为更宁静的篇章。

Just as in the first movement, after the dramatic moments, the music opens out to something more serene.

如同第一乐章那样，这份宁静并未持久。

Again, as in the first movement, that serenity doesn't last.

三连音再次占据主导，逐渐回归到开篇音乐。

Once more, the triplets dominate, building towards a return to the opening music.

我们的下一站是回归兰德勒主题。

Our next destination is a return to the main Landler theme.

不过这次是用拨奏的方式。

Although this time, it's pizzicato.

意味着弦乐器是用拨弦而非拉弓演奏。

Meaning the string instruments are plucked instead of bowed.

在这个乐章的早期演出中，马勒要求小提琴和中提琴手像持吉他那样用拇指拨奏。

In early performances of this movement, Mahler asked the violins and violas to hold their instruments like guitars and strum with their thumbs.

卡特·布雷。

Carter Bray.

这绝对是马勒在玩音乐。

It's definitely, Mahler being playful.

柴可夫斯基在他的第四交响曲中也采用了类似手法，整个谐谑曲乐章都使用弦乐拨奏。

Tchaikovsky does the same sort of thing in the fourth symphony in his, scherzo music with the strings playing pizzicato throughout.

柴可夫斯基创作第四交响曲是在十九世纪七十年代末期。

Tchaikovsky wrote his fourth symphony in the late eighteen seventies.

在那部交响曲中，柴可夫斯基的整个第三乐章都采用拨奏技法。

In that symphony, Tchaikovsky's entire third movement is pizzicato.

马勒仅在其第二乐章的一个段落中运用了拨奏。

Mato uses pizzicato in only one section of his second movement.

这是以变奏形式呈现的。

It's presented as a variant.

这是他让你从刚听过的相同旋律中获得另一种愉悦的方式。

It's a way for him to give you a different kind of pleasure from the same music that you've just heard.

这个段落并不简单。

And this section isn't easy.

要整齐合奏非常困难。

It's very difficult to play together.

舞台上这么多人用自由速度演奏拨弦，

There are so many of you on stage in a rubato style with pizzicato.

这很危险。

It's dangerous.

马勒运用这一手法将我们再次带回连德勒舞曲段落，第三次丰富这一部分。

Mahler uses this to return us to the Lendler section again, enriching the section for a third time.

玛丽莲·麦考伊。

Marilyn McCoy.

这三个段落是平行的，但每次都有不同的旋律成为主角。

The three sections are parallel, but each time, like there's a different melody that's a star.

这次主旋律转到管乐组，新的主角旋律由小提琴演奏。

This time, the main melody moves to the wind section, and the new star melody is played by the violins.

这段音乐再次让人想起舒伯特——指挥家迈克尔·蒂尔森·托马斯。

This music again recalls Schubert, conductor Michael Tilson Thomas.

我认为马勒堪称是用瓦格纳的管弦乐手法实现了舒伯特交响乐抱负的人。

Mahler, I think, can be credited for the being the guy who achieved Schubert's symphonic ambitions using the orchestral means of Wagner.

瓦格纳扩大了管弦乐队的规模并增加了和声的可能性，这些音乐发展令马勒十分欣喜。

Wagner expanded the size of the orchestra and increased the harmonic possibilities, musical developments that Mahler relished.

他能够将所有这些与歌曲形式的联系、简单舞蹈形式的联系相结合，这些根植于所谓'民间音乐'的元素，使其具有深刻的个人意义。

And he's able to use all of this coupled with this idea of the tie in to song forms, the tie in to simple dance forms, things rooted in the world of quote music of the people unquote in a way that makes it have great personal significance.

马勒曾说所有这些旋律都是彼此的变奏。

Mahler said all these melodies are variations on each other.

它们更像是装饰、改写和交织，而非对同一音符循环的微妙追求和重构。

They are more like ornamentations, paraphrases, and entwinements rather than a subtle pursuit and reworking of the same cycle of notes.

玛丽莲·麦考伊。

Marilyn McCoy.

我是说，

I mean,

另一个真正著名的穆勒式特点就是他某种程度上说过，音乐就是持续的变奏。

is another really famous Mullerian thing is he just sort of said, you know, music is continual variation.

如果要重复某个部分，就不应该用同样的方式重复两次。

If something's gonna return, it shouldn't be the same way twice.

但在这个搅拌器中，它做得尤为精妙。

But in this in this blender, it's especially masterfully done.

有机的音乐创作。

Organic musical composition.

一个理念与另一个交织，不断分支出无穷无尽的变奏。

One idea is interwoven with the other, constantly branching out in an inexhaustible wealth of variations.

而这个自我生成过程的最终产物是多么精选而精致。

And how choice and delicate the end product of this process of self generation.