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1、8. The authentic1 outsiderIts surely a joke. Nikolaus Harnoncourt is to conduct the New Years day concert at the Vienna Musikverein.Yes,Harnoncourt-pioneer of “ period” performance, a musician of the utmost seriousness, the antithesis2 of the star conductor who usually leads the Vienna Philharmonic3
2、 on its new year whirl4. But no, its not a joke. Conducting Johann Strauss is a serious business, and we can lay a safe bet that Harnoncourt will overturn5 our preconceptions of the Viennese waltz. Austrian by parentage if not by birth, he studied in Vienna, spent 17 years of his early professional
3、life as a cellist6 in the Vienna Symphony Orchestra, and knows the citys musical traditions as well as any. But tradition, for Harnoncourt, means schmutz7(dirt). Harnoncourt is a man who searches after musical truth, who refuses to fall back on received wisdom, who can be guaranteed to bring a fresh
4、 dimension8 to the most familiar tune. Then came his revolutionary Beethoven and the start of a trail blazing9 relationship with the Chamber Orchestra of Europe, to whom he remains a spiritual father. When he finally made his Salzburg festival debut with the Missa Solemnis in 1991, the stage seemed
5、set for Harnoncourt to assume the throne vacated by Herbert von Karajan. It was not to be. Harnoncourt has never been interested in power.Harnoncourt is a musical idealist: he has powerful views and strong arguments to support them. Most of all, Harnoncourt wants to be accepted by the Viennese estab
6、lishment10, to whom he has always been a bit of an outsider. The New Years day concert will be the ultimate test of how far it has taken him to its heart11. Many expressed surprise when the Vienna Philharmonic decided to invite him-less because of his media-shy12 personality, more because this arch-
7、traditional orchestra has always been suspicious of his radicalism13. Perhaps the musicians finally recognised the time had come to question their assumptions about Strauss, to subject The Blue Danube to the same stylistic14 re- appraisal that has illuminated15 our understanding of other 19th-centur
8、y composers. No one is better qualified to do so than Harnoncourt. For his part, Harnoncourt rejects the notion16 that he will be teaching his fellow Viennese how to shape a waltz. “ I will have in front of me 80 musicians with enormous experience. Many of them play in smaller groups devoted only to
9、 Viennese music. Im ready to take inspiration from them, just as I hope they will be ready to accept what I offer them.” Harnoncourt is a passionate believer17 in Strauss. He says its a mistake to see Strauss as a composer of light music18. “ Strauss has something in common with Schubert: both mix h
10、umour with sadness. Its just that the proportions are different. In every piece of Schubert I find death, but behind it I see a heavenly19 smile. In Johann Strauss its similar, only with more of a smile, fewer tears. I cannot hear any polka20 without sensing a farewell. Its a great feast21, but your
11、e always aware that its finite, it has to come to an end. Thats part of the message.” A CD of the 2001 New Years day concert was released by Teldec on January 22. 真实的维也纳“”这肯定是在开玩笑，在维也纳音乐大厅举行的2001年新年音乐会将由尼古劳斯哈农考特指挥。是的，哈农考特是演艺界的“一代”先锋，一位极严肃的音乐家，还是在一年一度纷繁的新年演出中通常率领维也纳爱乐乐团的明星指挥的对立面。不，可这又不是开玩笑，因为指挥约翰施特劳斯
12、的音乐是一件非常严肃的工作。我们坚信：哈农考特肯定会打破我们对维也纳华尔兹固有的观念。他不是出生在奥地利，但他曾在维也纳读书；还作为一名大提琴手在维也纳交响乐团度过了17年的早期职业音乐家生涯。他很了解维也纳这座城市的音乐传统。但是，对于哈农考特来说，传统就意味着腐朽。他是一位追寻音乐真谛的人，反对固守陈规，他保证能够把人们最熟悉的音律处理出新意来。然后他革命性地诠释了贝多芬的音乐，并开始与欧洲室内乐团结成史无前例的亲密关系。对他们来说，他是一位精神之父。1991年，当他完成萨尔茨堡节日首演庄严的大弥撒之后，音乐舞台上能够填补赫伯特冯卡拉扬空下的宝座的人似乎非他莫属。但事实并非如此，因为哈农考
13、特对权力从来不感兴趣。他是一位音乐理想主义者：他的观点坚强有力，并有不可动摇的论据支持他的观点。哈农考特最希望能被维也纳音乐界权势集团所接受。对维也纳人来说，他始终有点像是外人。维也纳新年音乐会将是最终检验他是否被真正接受的试金石。当维也纳爱乐乐团决定邀请他指挥2001年新年音乐会时，许多人都大为惊讶。这倒不是由于他不愿在公众场合露面的性格，而是由于这个最传统的交响乐团一直对他的激进主义观点抱有疑虑。这也许表明，维也纳音乐家们最终认识到他们对施特劳斯的自以为是的理解该受到质疑的时间已经到来，就像我们对19世纪其他作曲家的理解得到启发一样，蓝色多瑙河的艺术风格也应被重新评价。在这一工作中，哈农考
14、特是最有资格的了。不过，在哈农考特方面，他却拒绝接受这种看法，即去教他的维也纳同行如何塑造华尔兹。他说，“在我面前有80位音乐家，他们都有很丰富的经验。他们中有许多人在比较小的乐团中只演奏维也纳音乐。我已准备从他们那里汲取灵感，正如我希望他们会愿意接受我向他们提供的东西。”哈农考特是施特劳斯的狂热崇拜者。他说，把施特劳斯当作轻音乐作曲家，是错误的。“施特劳斯与舒伯特的音乐有某种相同之处：两者都是幽默加忧伤的混合体。两者的不同在于幽默与忧伤比例上的差异。在舒伯特的每一部作品中我都能发现死亡，但是在死亡的背后，我却可以看到超凡的微笑。在约翰施特劳斯的作品里，可以发现同样的情形，只不过笑声多一点，泪
15、水少一点。我在任何一首波尔卡中都能听到告别的声音。每一首波尔卡都是一个大宴。但是你总是可以意识到曲终人散的信息。这是部分信息。”2001年新年音乐会的CD在1月22日公开发行，由Teldec公司录制。1.authenticC:5Wentikadj.真实的，真正的2.antithesisAn5tiWisisn.对立面3.PhilharmonicfilB:5mCnikn.口爱乐团体4.whirlw:ln.接连不断的活动5.overturn7EuvE5tE:nvt.打破，推翻6.cellist tFelIst n.大提琴手7.schmutzFmB:ltsn.俚垃圾，废物8.dimensiondi5m
16、enFEnn.特点，特性9.trail-blazingadj.开拓者的，先驱的10.establishmentis5tAbliFmEntn.权势集团11.taketoonesheart非常喜爱12.media-shy5mi: Faiadj.避开媒介的13.radicalism5rAdikEln.激进主义14.stylisticstaI5lIstIkadj.(艺术)风格上的15.illuminatei5lju:mineitvt.启发，启迪，阐明16.notion5nEuFEnn.见解，看法17.believerbi5li:vEn.信徒18.lightmusic轻音乐19.heavenly5hevEnliadj.在天堂的，超凡的
