连载 | 贝多芬“最神奇的乐章”之一，究竟如何？
《F小调第1号奏鸣曲》
《A大调第2号奏鸣曲》
《C大调第3号奏鸣曲》
《降E大调第4号奏鸣曲》
《C小调第5号奏鸣曲》
《降A大调第12号奏鸣曲》
《降E大调第13号奏鸣曲》
《升C小调第14号奏鸣曲》
《D大调第15号奏鸣曲》
《C大调第21号奏鸣曲》
（详情见文末链接）
好！我们开始下一首，作品第10号之2，F大调......
第一乐章
This is a delightful composition. Couldn’t be more different from the previous one. It is lyrical, it is witty, it is charming, it is full of humor, full of expectations and surprises. F major, again, let’s think of other pieces...or...This is a pastoral, spring-like tonality. It starts with an upbeat, Auftakt. Seven voices, very thick sonority. Piano. It’s like a bird’s song, like an echo. We had something vertical, now comes something very horizontal, a huge melody...Arsis and thesis, so rising and falling, eight bars together. This is a beautiful construction...now sing...back to the bird’s motif. This is the crux of the matter, which way is he going?...because on the piano, D-sharp and E-flat are enharmonic, so you could hear it ambiguously, but in this case definitely D-sharp...Sounds very strange, next to each other. Then without any preparation, he is very unconventional here...C major...comes a very beautiful, singing horizontal theme, again very thick chords in the accompaniment…
这是一首爽朗清新的作品，与前面一首迥然不同。它抒情、俏皮、妩媚、充满幽默，接连引人期待，再返送给你惊诧。F大调，我们也来看一看其他作品（贝多芬《春天奏鸣曲》）......还有（贝多芬《田园交响曲》）......说明这是田园风、春意盎然的调性。开始是弱起拍，七音和弦，音响厚实。力度为轻。就像鸟语，还有回声。先是纵向走势，接下去来了一个非常横向的丰满的旋律（第一乐章第5至12小节）。它强弱起伏相间，总长八小节，是一个非常美丽的构造......现在要歌唱......再回到鸟语动机。这里到了一个岔路口，他要去往何方？......因为在钢琴上，升D与降E同音异名，所以听起来好像模棱两可，但是在现在的情况他肯定是升D......它们挨在一起听起来很怪。接着毫无预示，完全打破常规......转C大调......出现了一个非常美丽、高歌的横向主题，而伴奏基于很厚实的和弦......
Imitations over this little forzandi...We are on the dominant...in the minor...This is what should come. Musical humor, as Haydn told us and as he told Beethoven, is based on expectation and surprise. It only works in a situation where the composer and performer and the audience share the same language...This is what should come, instead...this is quite incredible...a correction...it’s incredibly funny.
在这个突强带出来的乐句上重复模仿......现在走到属调......转小调......这个和弦是照理应该出现的音乐。音乐幽默，如海顿教导我们、也是他教给贝多芬的，全在于期待与惊诧，而它能够起作用的前提是作曲家、演奏家，还有听众都熟悉一种共通语言......我先弹的是理应出现的，而实际上出现的是（第一乐章第45小节）......非常不可想象......接着又来一个更正（第一乐章第46小节）......滑稽无比。
I am glad that you laugh, because if nobody laughs here, then it’s like--all of you must have had this experience in a company--when you are telling a very good joke and nobody laughs. I must tell this story, I hope it doesn’t offend anybody. In a lunatic asylum, the patients are telling jokes, and they are all numbered. When somebody says “number 17,” ha ha ha ha ha, everybody laughs. Next one says “29,” ha ha ha ha ha. “218,” great laughter. The doctor is observing this, he gives it a try and he says “73.” Silence. “Is there no joke number 73?” “Yes there is, but you told it so badly”...
你们都笑起来让我很高兴，因为如果没有人笑，那就变成我们每个人都会经历过的尴尬场面--你和别人在一起，讲了一个特别好的笑话，所有的人却都不笑。我必须讲下面的故事，希望不要冒犯任何人。有一所疯人院，病人聚在一起说笑话，笑话都是编号的。第一个人说“17号”，所有的人都哈哈大笑。接下去一个人说“29”，所有的人又都哈哈大笑。“218”，笑得更是前仰后合。大夫在一旁观察，决定亲自一试，就说“73”。大家毫无反应。“没有73号笑话吗？”“有是有，但是你太不会讲，一点都不可笑。”
What follows is also comical, because it is sort of out of a circus...the two hands are deliberately not together...It is again funny, because it is something very naive, the two registers...are like somebody is very short and the other one is very long, very thin and very fat, Laurel and Hardy…It ends with these three--Tonic, dominant, tonic...The last one is a crotchet. After that of course we need to repeat the exposition, but now I go into the development...Like echoing these three final notes, in the parallel minor key. Then like hommage to Johann Sebastian Bach, he takes this like a theme of a fugue...with a little counterpoint of triplets...then continuing with fortissimo, but always secco, dry and short...to show the difference with the C minor Sonata, which had an extremely short development, this sonata has a very long development section...Now comes...something new, we have not heard it before. It’s a modulating material, I would call it like a bridge, something that connects two sections...Again fugue...Counterpoint...
接下去仍然很喜剧化，就像是马戏团所见......左右两只手故意错开弹......这里又很滑稽，因为感觉很幼稚，两个音区交替......就像一个人很矮而另一个人很高，瘦对胖，好比劳雷尔和哈迪那一对活宝......它结束在这三个音上，主、属、主，注意第三个音是四分音符。这之后呈示部反复是一定的，我现在开始展开部......前面的最后三个音在平行小调上出现，好像回声（第一乐章第67到第68小节），接下去是向约翰·塞巴斯蒂安·巴赫致敬，贝多芬将这一素材处理成像是赋格主题......三连音的一小段对位......在很强力度上继续行进，但是一直保持干硬，声音干而短......这里又看到与前面C小调奏鸣曲的不同，那里的展开部很短，但是现在这首奏鸣曲的展开部很长......这里出现一个新成分，前面没有听到过。这是一个转调素材，也可以称之为搭桥，起两个部分的连接作用......又是赋格......对位......
It sounds familiar. It’s wonderful that it sounds really familiar but it is in the wrong key. That is his joke, he pretends he lost his way--he doesn’t know where the exit is. So he misleads us into a false reprise, false recapitulation, and it’s very beautiful. It continues...It’s beautiful but we are not at home so he has to keep looking...a little more similar...Ah yes...Like this bird song motif, it's more reassuring, yes you are near home now...Now this is home…Then it’s identical with the exposition, just in the home key.
这里听起来很熟悉。很奇妙，听起来非常熟悉，但是调性却是错位的（第一乐章第118小节）。这是他在开玩笑，他假装迷失方向，不知道出口在哪里。把我们误导到一个假回归，假再现部，而且继续向前走......虽然很美丽但是我们并没有回到家中......所以他还要继续找......现在更靠近了......啊对......像这个鸟语动机，越来越肯定，已经离家很近了......现在回到家中了（第一乐章第138小节）......接下去和前面呈示部一样，只是换到了主调。
第二乐章
This Sonata would be sunny and cheerful to the very end, were it not for its middle movement, Allegretto, which is like a dark cloud above it. It’s in F minor…it starts with this mysterious unison in the lower region of the keyboard. It’s beautiful when the unison turns into a four part texture, we have suddenly a little bit of light, a little bit of sunshine...now...Two upper voices imitating each other, always forzando on the third beat, three one two three one...Fermata...It’s not tragic, but it’s a melancholic movement. Not even a slow movement, it’s Allegretto, it stands there like an intermezzo...You feel the pain on this harmony, it’s forzando, and dissonant…
假如没有下面的中间乐章，这首奏鸣曲就要晴朗明快自始至终了。这首小快板乐章就像是这首作品上面笼罩的阴云。调性是F小调......它从键盘低音区的同声齐奏开始。同声齐奏转为四声部织体时很美丽，我们忽然看到一丝光亮，见到了一点点太阳......就是这里（第二乐章第6小节）......高音区两个声部互相模仿（第二乐章第9到第15小节），在第三拍上总是有一个突强，三一二三一......延长记号（第二乐章第16小节）......这一乐章不能说是悲剧性的，但是是忧伤的音乐。它甚至不是一个慢乐章，而是小快板，在所处位置上可以说起到间奏曲的作用......你会在这样的和声中感到它的痛楚，突强、不协和......
Then comes the Trio…what a contrast between this mysterious unison and this very solemn beautiful D-flat major chorale...second part of it…Now back to the main part...Now variation...syncopation…It was Beethoven, even the repeat is never mechanical because he changes the phrasing, he makes variations, and the dynamics are different.
三声中部（第二乐章第39到第124小节）......与刚才神秘的同声齐奏相对，这里的庄严美丽的降D大调圣咏形成何等反差......后半部分......返回主要部分（第二乐章第125小节）......变奏......切分......这就是贝多芬，即使重复也绝不会是机械的，他会改变分句，运用变奏，让力度也变得不同。
第三乐章
Now comes one of the most wonderful Beethoven movements--the finale of this Sonata, which is a tour de force. I don’t know why some people don’t like this--they have a funny taste…All of you know a piece like this...It’s a Bachean invention...it's rustic, and it’s like a peasant dance...it's like a false fugue because there are three distinct fugal entries then if anybody should be worried that a fugue would come then there are no more entries…
At this point Beethoven writes for the first time forte...therefore I am sure that until here the dynamics have to be piano. Everybody starts this movement forte, hammering it out, then it is not very funny…
接下去就是贝多芬最神奇的乐章之一了——这首奏鸣曲的终曲，这是酣畅淋漓的音乐。有人不喜欢这样，我不懂为什么，他们的品味真是很怪。你们都知道这首音乐（巴赫《F大调二声部创意曲》）......所以这是巴赫风格的创意曲......乡土气息，像是农民舞......这好像是要写赋格，其实不是，有人准备好马上会有第三次进入，但是没有再进入了......到这里贝多芬第一次写明力度为强（第三乐章第21小节）......由此我肯定此前的力度都应该是弱。所有的人开始这一乐章的力度都是强，一上来就弹得很响，但是那样就欠缺滑稽了......
Extremely short exposition, now comes the development section. Listen to this key change...this was this very Bachean fugato-like development section. Now comes the recapitulation, this time really in fortissimo......Forzando on each of the last beats. It's quite irresistible, this movement. This is one of those movements which are perpetuum mobile--continuous movement and really these are the movements that have to be in a strict tempo......Both halves have to be repeated. Again, this is not a question of choice, it’s a must. So that was the second Sonata.
呈示部很短（第三乐章第1至第32小节），接下来是展开部。注意听这里的调性改变......到此就是非常具有巴赫风格的赋格似的展开部。下面是再现部，现在力度真是很强了......每个末拍都有突强。这一乐章真可谓势不可挡。这就是所谓无穷动乐章之一，不断运动，而这类乐章一定要求恒定的节拍......前后两部分都有反复。再重申一遍，这不是做与不做皆可的事情，是不容选择必须要做。以上就是作品第10号的第二首奏鸣曲。
2021年4月2日