1945-1957

By John Quinn

At the end of World War II the Romanian conductor, Sergiu Celibidache (1912-1996) enjoyed a meteoric rise to fame. Having studied composition and conducting at the Hochschule für Musik in Berlin from 1936 onwards he was propelled, almost from nowhere, to conduct the Rundfunk-Sinfonieorchester Berlin in 1945. Later that same year, he rose even higher and faster when he was named Chief Conductor of the Berliner Philharmoniker (BPO).

在第二次世界大戰(zhàn)結(jié)束時，羅馬尼亞指揮家塞爾吉烏·切利比達(dá)凱(Sergiu Celibidache, 1912-1996，下簡稱切利)聲名鵲起。從1936年起，他在柏林音樂學(xué)院(Hochschule für Musik Berlin, 現(xiàn)柏林藝術(shù)大學(xué)，譯者注)學(xué)習(xí)作曲和指揮，并在1945年從一名無名小卒變成了柏林廣播交響樂團(tuán)(Rundfunk-Sinfonieorchester Berlin)的指揮。同年晚些時候，當(dāng)他被任命為柏林愛樂(Berliner Philharmoniker)的首席指揮時，他的地位得到了更快、更高的提升。

年輕時期的切利比達(dá)凱

Famously, he declined to make any commercial recordings after 1953 though a good number of concert and broadcast recordings made in the later stages of his career have been issued on CD since his death. However, with this hugely important release Audite shines a spotlight on those amazing years when he was so prominent in post-war Berlin. This is a follow-up to their earlier three-disc set of recordings that he made in roughly the same period for the RIAS broadcasting station (Audite 21.406) which I hope to review shortly.

1953年后，他拒絕錄制任何商業(yè)錄音，但在他去世后，大量現(xiàn)場錄音和廣播錄音以CD的形式得以出版。然而，通過出版這套極其重要的唱片，Audite公司將聚光燈打在了切利在戰(zhàn)后的柏林展現(xiàn)風(fēng)采的輝煌年代上。這次所出版的唱片(Audite 21.423, 13CD)是對Audite此前出版的包含了切利同時期在柏林美占區(qū)廣播電臺的錄音的一套3CD合集(Audite 21.406)的補(bǔ)充，另外近期我也希望為那套唱片撰寫樂評。

左圖切利美占區(qū)廣播錄音的唱片    

右圖本篇樂評點(diǎn)評的唱片

Celibidache held his post with the BPO from 1946 to 1952. In his note accompanying the set of RIAS recordings, mentioned above Peter T. K?ster states that the conductor regarded himself ‘merely as Wilhelm Furtw?ngler’s vice-regent’. When Furtw?ngler returned to Berlin in 1952 the two conductors shared the orchestra’s podium until 1954 but on Furtw?ngler’s death that year the orchestra dumped Celibidache in favour of Karajan. 

切利于1946年至1952年在柏林愛樂任職。在上述提到的美占區(qū)廣播錄音的唱片小冊子內(nèi)，其作者Peter T. K?ster說切利在當(dāng)時認(rèn)為自己“只不過是富特文格勒(Wilhelm Furtw?ngler, 1886-1954)的副攝政而已”。當(dāng)富特文格勒在1952年回到柏林時，這兩位指揮都在共司一職，直到1954年富特文格勒去世，但也是在這一年柏林愛樂拋棄了切利，轉(zhuǎn)而投身于卡拉揚(yáng)(Herbert von Karajan, 1908-1989)。

By a sad irony Celibidache led the orchestra for the last time on 30 November 1954, the very day on which Furtw?ngler died. There was just one final BPO appearance; that was in 1992, I think, when he was invited back to conduct the orchestra in Bruckner’s Seventh Symphony.

諷刺的是，切利在富特文格勒去世當(dāng)天，也就是1954年11月30日，最后一次指揮了這支樂團(tuán)。在此之后，他僅僅在1992年與柏林愛樂合作過一次，當(dāng)時他被樂團(tuán)邀請，客座指揮布魯克納的《第七交響曲》(Symphony No. 7 in E major, WAB 107)。

切利1992年與柏林愛樂合作的布魯克納《第七交響曲》

In this set we find 45 performances, recorded for radio transmission. The bulk of them - thirty-five - were with the BPO and were given between November 1945 and November 1953. There are nine with the Rundfunk-Sinfonieorchester Berlin, dating from 1945-46, and a single, incomplete one with a third orchestra that took place in 1957.

這套唱片包含了45場為無線電廣播電臺錄制的演出。其中的大多數(shù)（35場）是與柏林愛樂合作，錄制于1945年11月至1953年11月。9場是與柏林廣播交響樂團(tuán)合作，錄制于1945-1946年間。此外還有一場與另一樂團(tuán)(作者所指為柏林德意志交響樂團(tuán)，Deutsches Symphonie-Orchester Berlin, 譯者注)錄制于1957年的不完整的音樂會。通過閱覽曲目列表，躍入人們眼簾的是一份非常多樣化與激進(jìn)的節(jié)目單。沒錯，這套唱片包含了海頓、莫扎特、勃拉姆斯和門德爾松的作品，但并沒有止步于此。

What leaps out from a reading of the track-listing is the sheer variety and enterprise of the repertoire. True, there are works by Haydn, Mozart, Brahms and Mendelssohn in here but look what else there is. The Tchaikovsky symphony is one of his less familiar symphonies; there are then-recent pieces by American composers - Copland, Diamond, Piston and Barber, all in one programme; Carlos Chavez is represented; so too are Milhaud, Roussel, Cui and Glazunov. These are pretty adventurous repertoire choices.

唱片內(nèi)包含的柴可夫斯基的交響曲是他的三首并不怎么出名的交響曲之一；也有近代美國作曲家的一些作品：科普蘭(Aaron Copland, 1900-1990)，戴蒙德(David Diamond, 1915-2005)，辟斯頓(Walter Piston, 1894-1976)和巴伯(Samuel Barber, 1910-1981)的作品被安排在同一場音樂會中；收錄了查維斯(Carlos Chávez, 1899-1976, 墨西哥著名作曲家，譯者注)的作品；還包括了米約(Darius Milhaud, 1892-1974)、魯塞爾(Albert Roussel, 1869-1937)、居伊(César Cui, 1835-1918)和格拉祖諾夫(Alexander Glazunov, 1865-1936)的作品。這（在當(dāng)時）都是一些十分大膽的曲目選擇。

Disc 1, however, contains standard fare. The Mendelssohn symphony comes from his last significant sessions with the BPO and it’s a pleasing reading in good recorded sound. The first movement is light and athletic; the second movement, taken quite steadily, benefits from smooth lines while the third movement is relaxed and elegant; by contrast, the finale is very fast and driven. The playing in the Mendelssohn overture is not as cultivated and the sound is rather thin and treble-biased: bear in mind, however, that this is a much earlier recording and not with the BPO. In the Mozart concerto Lilia d’Albore (1914- ?) is a good soloist. The first movement is spirited, the second elegant and well-shaped, while the finale is graceful.

本套唱片的第一張唱片收錄的是一些經(jīng)典曲目。這首門德爾松的交響曲錄制于切利與柏林愛樂的最后一次重要合作，不失為一個令人滿意的版本，錄音效果也甚佳。第一樂章演奏的輕快活潑；第二樂章節(jié)奏平緩且線條流暢；第三樂章輕松優(yōu)雅；相比之下，末樂章的速度很快，充滿著動力。門德爾松的序曲就并沒有前一首曲子那般出色了，而且錄音效果也比較單薄，高音區(qū)較為突出：需要知道的是，這是一個更早期的錄音，而且樂團(tuán)也并不是柏林愛樂。莫扎特協(xié)奏曲的獨(dú)奏者Lilia d’Albore (1911-1988, 意大利著名女性小提琴家，原文生卒日期錯誤，譯者注)水平很高，第一樂章使人感到生機(jī)盎然，第二樂章規(guī)范而高雅，末樂章則優(yōu)美動人。

Lilia d’Albore

Disc 2 also contains central repertoire. The Chopin concerto features the Polish pianist, Raoul Koczalski (1885-1948). He’s not flattered by the clangy tone of the piano, as recorded, but he displays a light touch. Koczalski plays fluently and though the piano is placed rather forwardly in the sound picture, somewhat masking the orchestra, the accompaniment seems good. In the slow movement Koczalski’s playing has poetry and no little feeling. Both the Berlioz overtures are done well. The Bizet symphony benefits from the best recording on this disc. Celibidache and the BPO do it well, giving a most enjoyable reading of Bizet’s zestful symphony.

第二張唱片依舊收錄了一些核心曲目。肖邦協(xié)奏曲的獨(dú)奏者是著名波蘭鋼琴家科瓦斯基(Raoul Koczalski , 1884-1948, 肖邦的再傳弟子，原文生卒日期有誤，譯者注)。在錄音中，他并沒有過于注重表現(xiàn)鋼琴鏗鏘的音色，反而彈的十分輕盈?？仆咚够难葑喾浅Ａ鲿常M管鋼琴在聲音上被人為的前置，有點(diǎn)掩蓋了樂團(tuán)的聲音，但實(shí)際聆聽起來問題并不大。在慢樂章中，科瓦斯基的演奏詩意滿滿，感人至深。兩首柏遼茲的序曲都完成的十分出色。比才的交響曲是這張唱片錄音質(zhì)量最佳的曲目。切利和柏林愛樂的演繹非常精彩，這是比才這首熱情洋溢的交響曲最令人身心愉悅的版本。

科瓦斯基

Disc 3 includes the Brahms Fourth Symphony in an impressive reading. There’s strength and purpose in the first movement though the music is allowed to relax where appropriate. The second movement is taken pretty slowly and is expressively moulded. Celibidache is by no means the only conductor who has taken this movement at a broad tempo but here we get, perhaps, a glimpse of the expansive Celibidache of later years. The finale is paced quite deliberately, the music strongly projected. The slow variations in the middle of the movement are taken very broadly but when the music picks up speed once again the reading is very fiery, especially as the end approaches. 

第三張唱片收錄的勃拉姆斯《第四交響曲》(Symphony No. 4 in E Minor, Op. 98)是一個令人印象深刻的版本。盡管在一些適當(dāng)?shù)牡胤剑魳房梢宰兊梅潘?，但第一樂章中的力量與目的性都被很好的展現(xiàn)了出來。第二樂章被處理的較慢，且富有表現(xiàn)力。他并不是唯一一位用如此寬廣的速度處理這個樂章的指揮家，但是在這里，人們或許可以看到一絲那個在晚年時期以對速度進(jìn)行極端擴(kuò)張?zhí)幚矶那欣挠白印?/span>末樂章的節(jié)奏處理相當(dāng)謹(jǐn)慎，音樂本身被強(qiáng)有力的表達(dá)出來。樂章中間的慢速變奏曲被處理的甚是寬大，但當(dāng)音樂恢復(fù)原速之時，尤其是在接近尾聲的時候，切利的處理又變得火熱了起來。

該專輯背面曲目信息

The performance of Till Eulenspiegel was recorded live. It’s vividly characterised though the recording struggles to accommodate the climaxes. The disc is completed by another live performance, this time of some orchestrated Wolf songs which are sung by the contralto, Margarete Klose (1899-1968), who was then a soloist at the Berlin State Opera. She has a large, full voice. I liked particularly her dedicated performance of ‘Gebet’ and her account of ‘Anakreons Grab’ is also very expressive.

《梯爾的惡作劇》(Till Eulenspiegels lustige Streiche, Op. 28)是音樂會現(xiàn)場錄音。盡管錄音的質(zhì)量在各高潮部分并不如何盡如人意，整首曲子的特點(diǎn)還是被生動的表達(dá)了出來。這張唱片還收錄了另外一份現(xiàn)場錄音，包括一些由管弦樂伴奏的沃爾夫(Hugo Wolf, 1860-1903)的藝術(shù)歌曲，由當(dāng)時供職于柏林國立歌劇院的女低音歌唱家Margarete Klose (1899-1968)演唱。她的聲音洪亮而飽滿。我尤其喜歡她演唱的《祈禱》(Gebet)，她所演唱的《安納克里昂的墳?zāi)埂?Anakreons Grab)也同樣富于感情。

未完待續(xù)