连载 | 聆听贝多芬的最佳入门曲目之一

此前，音乐之友已经为大家分享了《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》《F大调第6号奏鸣曲》《D大调第7号奏鸣曲》《C小调第8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小调第19号奏鸣曲》《C大调第21号奏鸣曲》（详情见文末链接）继上个月连载至《C小调第19号“简易”奏鸣曲》之后，今天继续为大家分享贝多芬的《G大调第20号奏鸣曲》（Op49. No.2）。以下是《G大调第20号奏鸣曲》的详细中英文文本对照以及视频。13:40译者 | 郭建英第一乐章The sister work, or brother work, is even more modest.  It’s a beautiful classical piece in two movements, a normal Allegro movement and a Minuet, both in the key of G major.  I play you the exposition...Then repeat of the exposition.  This is very beautiful, quite predictably classical music, but again if you compare this to the rather silly Sonatinas of Clementi or Haslinger, this is pure gold.  Again I would encourage young children to play this, because it's very beautiful, it also enables them to get an introduction to classical style and classical way of playing.它的姊妹篇或者兄弟篇是一部更加质朴的作品。这是一首两个乐章的美丽的古典乐派作品，两个乐章分别是通常的快板和小步舞曲，调性都是G大调。我现在为大家演奏第一乐章呈示部......呈示部有反复。这是非常美丽、又十分符合预期的古典乐派音乐，但是如果对比克列门蒂和哈斯林格的那些相当幼稚的小奏鸣曲，这部作品就完全是真金了。这又是我要鼓励少年儿童弹奏的曲目，它不仅非常美丽，还可以作为孩子们接受古典风格与古典演奏方式的入门。 In this Sonata, there are almost no instructions by Beethoven. There are no dynamics--in this movement none at all, in the second movement only twice pianissimo, but that doesn't mean one should play this music in one color, and the performer has to be the second composer here, and we have to compose dynamics.  This is also wonderful because it gives us certain liberty. Obviously I would start this movement with a healthy poco forte...and continue piano...And the chord again underlined with forte, etc.  Each performer has the freedom here to create something different.  The main thing is that it should never be black and white, there should be some greens, reds and yellows.  However, again let’s keep it in mind that this is a very modest Sonata, we are not dealing here with the dynamic world of Opus 106 or Opus 111. 在这首奏鸣曲中，贝多芬几乎没有留下任何指示。没有力度要求，在第一乐章里完全没有，在第二乐章中只有两处标明很弱。但是这不意味着这首作品要弹奏成通篇一种色调，演奏者在这里要充当第二作曲家，我们要做的是给出力度。这也是一件很好的事情，因为这给予我们一定的自由度。显然我愿意在乐章开始处运用很健康的中强力度......接续用弱力度......到下一个和弦再用强力度去支撑，等等。每一位演奏者都可以自由创作不同处理。要点在于这首音乐不应该是黑白的，而应该有色泽，诸如绿、红、黄。当然，我们也应该记住这是一首非常质朴的奏鸣曲，我们不是在面对像作品第106号或者作品第111号那样的动态世界。 It’s also beautiful here the juxtapositions of quavers and triplets...These are the triplets, always three notes.  That’s a triplet.  I am sorry, I am sure most of you know this, but maybe not everybody.  The development section starts quite dramatically, in the key of D minor...then A minor...A minor, E minor, B minor, all go in the sequence of fifth, then comes again something new...Quite chamber music like or orchestral with this knocking quavers in the bass...Just four bars of a bridge--a transition--and we are back in G major and back in the recapitulation, which is then quite predictable and quite usual if I may say so. 这里出现八分音符转接三连音很美......这是三连音，总是三个音一组。对不起，我当然肯定你们多数人都知道三连音，但恐怕还是有人不知道。展开部的开始相当具有戏剧性，调性在D小调......然后转A小调......A小调，E小调，B小调，都是在五度关系上转换，接下去出现新的成分......八分音符在低音反复敲击很具有室内乐或者乐队效果......然后是四个小节搭桥过渡，我们回到G大调，进入再现部，再现部的构成不出意料，或者也可以说符合常规写法。第二乐章Now let’s go to the second movement, which you will recognize immediately...Most of you would know the Septet of Beethoven, Opus 20, where he uses the same theme in the Minuet, obviously in another key.  But to me that is quite significant, because in the Septet I always have the image of a village band--you have the double bass, you have the cello and viola, they are playing accompaniment...which is a rustic, village dance.  In the Piano Sonata, there is no indication for the articulation, he just writes detached quavers in the left hand.  Most of the time you hear pianists play this, they play…I don’t know why he really doesn’t write legato but everybody plays it legato.  I think it is much more interesting to give it a village band character...of course it is much more modest...And the melodies legato of course, then you have a juxtaposition of legato melody and staccato accompaniment.  It’s much more interesting.  Then the middle part of this...then you will hear he repeats it in an octave higher...Then comes the first episode or Couplet, which I would score for woodwinds maybe...You can hear this music on clarinets and bassoons and flutes.  Then a little transition and the minuet returns. 我们现在开始第二乐章，这里的音乐大家马上可以辨识......你们很多人都知道贝多芬的《七重奏》，作品第20号，在该作品的小步舞曲中他采用了同样的主题，当然调性和这里不一样。但是这一共同之处在我看来是一个重要的启示，因为《七重奏》让我看到乡村小乐队的形象，其中有倍大提琴，有大提琴还有中提琴，他们在拉伴奏......音乐是乡土气息的乡村舞曲。在钢琴奏鸣曲中，他没有给出奏法指示，只为左手写了各个孤立的八分音符。多数情况下你们听钢琴家演奏这首音乐，他们会弹（连奏）......我不懂为什么，他并没有写连奏，但是所有人都在这里弹连奏。我认为在这里塑造出乡村乐队的特征远为更有意趣......不用说这也让它更为质朴......旋律当然要弹成连奏，那么你就做到了旋律连奏与伴奏断奏的并进，远为更有意趣。接下去是它的中段......然后我们听到他升高一个八度重复（小步舞曲）......现在到了第一插段（第二乐章第21至47小节），如果是我来配器，我会将它写给木管......你们会感觉这段音乐是在黑管、巴松、长笛上吹出来的。接着一个小小的过渡，小步舞曲再度重现。 I do take the liberty here of adding little ornaments.  The other day, a professor in Rome came to me and said,“What edition you are using?”“Using, using the Henle edition.”“But you are playing ornaments.”“Yes sir, I am playing ornaments.”“But they are not in the score!”“Yes but you know this is an occasional piece of Beethoven and he was a great improviser.  I just don’t believe Beethoven would have played this minuet theme six times exactly the same.”  He was looking like that, and said.  “Well, I’ve heard you are allowed to use ornamentation in Haydn and Mozart, but in Beethoven!”I don’t know, I cannot take the telephone and call Beethoven now, I wish I could.  But really improvisation is a very important part of all music of the classical style.  We live in very poor times today that this is even an issue today.  Of course, it’s very much a matter of taste.  Tastes are different. Some people consider something of a good taste, and others can be of different opinion and see the same thing as a sign of a terrible taste.  Really works are different, and I would never add an ornament in a great later Sonata of Beethoven.  But here if I take a motif for example...Always add a little more because it should really not be six times the same, but this was my modest opinion, you may like or hate it, your choice. 我要说明我自作主张开放了一些自由度，演奏时加了一些装饰音。前些天在罗马有一位教授过来问我，“您用的是哪一个版本？”“我用的？我用的是亨乐啊。”“但是您弹了装饰音。”“是的，阁下，我弹了装饰音。”“谱子上没有啊！”“我知道，但是您看这是贝多芬为特殊场合写的曲子，他又是一位伟大的即兴演奏家。我不相信他会让这个小步舞曲主题重复六次，每次都一样。”你看他脸上的样子，然后他说，“可是我知道弹海顿、莫扎特加装饰音是许可的，但是没听说过贝多芬！”我真不知该怎样向他解释，但愿能给贝多芬打个电话，可惜办不到。但是认真说，即兴是古典风格一切音乐作品的重要组成成分。我们今天生活在这样一个贫瘠的环境中，连这种理解也都成了问题。当然，在很大程度上这也事关鉴赏力，这是因人而异的。在有些人眼中的优良品味，另一些人会不那样看，同样的东西反而会被认做低劣品味。作品与作品也要区别对待，我绝不会在贝多芬后来的伟大奏鸣曲中加装饰音的。但是在这里，我来用一个动机做例子......可以是这样或者那样，总要稍稍添加一些东西，因为确实不应该六次出现，次次一样。这只是我的一点小小的建议，采纳或是舍弃，请大家自行决定。 Now comes a second episode.  It’s in C major, I would score it for trumpets, horns and timpani...And the strings...Back to the trumpets…This is one the two times he writes pianissimo, those are only two places.  Then the minuet returns for a final time and there is a little coda or epilogue.  And here again I take the liberty to play the only time legato on the accompaniment...Because it is the different.  That is the end.  Again even these last two chords you have the choice of playing them piano or pianissimo or you may choose to play them forte and with an exclamation mark.  I think in such a modest movement it is more appropriate...Not a big deal, really.  So that was Opus 49. 接着而来的是第二插段，是在C大调上（第二乐章第68至85小节）。我想象这里的配器是小号、圆号和定音鼓......这里是弦乐......回到小号......现在是被他标明更弱的仅有的两个地方之一（第二乐章第86小节）。小步舞曲最后一次返回，后面有一个短小的尾声。在这里我再次开放一些自由度，在这个乐章唯一一处将伴奏弹成连奏......为的是要形成对比。这样就结尾了。即使最后两个和声，你仍然可以选择弹成弱或者很弱力度，也可以选择弹成强、画出惊叹号。我认为对于这样一首质朴的乐章，像这样（用弱力度）更为恰当......真的不必小题大做。这就是作品第49号。  2021年6月2日