恰空钢琴曲亨德尔六级,恰空钢琴曲亨德尔
The Story Behind Bach’s Monumental Chaconne
巴赫不朽经典《恰空》背后的故事
By Maddy Shaw Roberts
译者的话
第一次近距离接触巴赫是他的《小步舞曲》，还记得钢琴谱架上长驻着一本硬抄版，封面绿油油的，被我用指甲划满横七竖八的印痕，书内也好不到哪去，掉页的，松线的比比皆是，还有老师的各种评注，最醒目刺眼的莫过于"复习”。试想我当时是有多恐惧厌烦巴赫，一到他的曲就卡壳，考级时最紧张的也是他，赋格、二部三部创意曲都只是脑海中的专有名词，不带一丝情感，除了头痛。大学时读到音乐史，才发现世人都称颂巴赫的伟大，联想到我的不愉快学琴经历，我难以体会似懂非懂。
直至接触到教会，重新有机会学习音乐，我才发现自己曾经错失了多么宝贵的教材，我从来没有去好好了解过巴赫的成长经历，也从未通过当时的从文环境去观察他的音乐世界，从未想过他为何会谱写出如此风格的作品。所以我听不懂巴赫，我宁愿去享受李斯特炫技的激烈刺激，或者沉浸于肖邦如诗的忧郁典雅，也不愿静下心灵去研究欣赏巴赫的创作。最初改变我的是跟我同龄的一位钢琴老师向我介绍巴赫对于教会音乐的卓越贡献，因为他对神有虔敬之心，所以能找到通达天堂的美妙乐音，这引起了我的极度好奇。
然后是教堂里听到管风琴版《D小调托卡塔与赋格》，比我以前听到的钢琴改编版更加雄浑颤栗，直冲云宵，完全按捺不住内心的崇敬与激动，这可能就是所谓与神通达的短暂时刻吧。最终让我陷入对巴赫无比的钦佩与折服应该就是这首悠扬悲婉的《恰空》舞曲了，尤其小提琴版本真是仿佛能将人的内心彻底击碎。
这是经历了怎样的沉浮与痛彻的人生才能将内敛与张扬、新生与死亡结合地如此恰到好处，功名利碌悲欢离合均成过眼云烟，唯有神的恩典赐予人救赎与盼望，帮助我们在面对苦难仍能顽强地靠祂得胜。这可能就是音乐与身心灵合而无一的境界吧，值得我用一生仰望学习。在此巴赫334年诞辰之际以我卑微的学徒身份向巴赫与他的古典乐世界献上最诚挚的敬意~
Johann Sebastian Bach’s chaconne has beenarranged for nearly every instrument: from the ominous-sounding organto the solo fluteor the delightfullysparse marimba. Or, listen to these renditions by an enterprising clarinetistand an equally ambitious saxophonist.
约翰·塞巴斯蒂安·巴赫的名作《恰空》几乎已被各路乐器演绎一通了，从气势磅礴的管风琴到一支独奏的长笛，或是欢快自由又稀疏罕见的马林巴木琴。要么聆听一曲激奋昂扬的单簧管版本，或同样雄心耀胆的萨克斯风改编版。
Or how about this menacing arrangement for trumpet and orchestraand this lyrical performance by two cellos. There is truly anarrangementfor everyone.But it’s something spectacular when a greatviolinist performs the chaconne.
又或是威震全场的号角洪鸣、管弦齐奏，还是抒情柔美的双大提琴重奏。相信每人心中都切实存在着独属于自己的那个版本。然而当优秀的小提琴家演奏这部《恰空》时，更是令人惊叹的享受。
Tim Fain’s live performance during Krista’s conversation with Bernard Chazelle at WXQR’sBachstockis no exception. Before a full house at The GreeneSpace, he played Bach’s chaconne, the fifth and final movement from Partita No.2.
WQXR（译注：纽约古典乐广播电台）的一期节目Bachstock，克丽斯塔与伯纳德·夏泽尔（译注：BernardChazelle, 美国计算机科学家）的访谈中，蒂姆·费恩（译注：美国著名小提琴家）有现场演出也毫不例外。在格林空地（译注：The Greene Space, 纽约电台所在地）的满席观众前，蒂姆演绎了巴赫的经典杰作《恰空》，是第二号帕蒂塔（译注：Partita, 小提琴无伴奏古组曲）的第五乐章，即最末章。
As our executive editor Trent Gilliss observed, “It’s a rarity and aprivilege to be able to listen to a 15-minute violin solo without an orchestra.”Especially a great performance like Tim Fain’s, who is known for hiselectrifying recordings in Black Swan and 12 Years a Slave.
正如我们执行编辑特伦特·吉利斯所评：“能欣赏到15分钟无管弦伴奏的小提琴独奏是何等可贵，何等荣幸。”尤其是像蒂姆这般如此精妙的演奏，他以《黑天鹅》与《为奴十二年》中令人惊艳的配乐演奏闻名于世。
Bach composed the chaconne sometime between1718 and 1720. Historians speculate that Bach composed it after returning froma trip and found his wife 逝世，作了此曲。同行作曲家约翰内斯·勃拉姆斯，在致克拉拉·舒曼的信中如此描绘巴赫的作品：
“On one stave, for asmall instrument, the man writes a whole world of the deepest thoughts and mostpowerful feelings. If I imagined that I could have created, even conceived thepiece, I am quite certain that the excess of excitement and earth-shatteringexperience would have driven me out of my mind. If one doesn’t have thegreatest violinist around, then it is well the most beautiful pleasure tosimply listen to its sound in one’s mind.”
“一首乐谱，写给一把小小的乐器，他却谱写出用至深至烈的情思构筑而成的完整世界。若我设想是我创作、构思了这部佳作，我很确信极度兴奋，惊天动地的超凡体验会让我飘飘然至痴狂成魔的地步。如果周围没有最顶级的小提琴演奏师，那沉于内心单单静听每一个乐音也是极美的乐事。”
But while Brahms was a composer of the Romance era of music，巴赫并不处于同一时代。一篇关于《洛山矶书评》的论文里，迈克尔·马卡姆写道：“没有任何证据表明巴赫自认为《恰空》是宇宙全视野的呈现、或是他情感最深处的释放。身为受训于十七世纪末叶的路德宗管风琴师兼宫廷作曲家，永远不会产生这样浪漫化的观念。
Creating art then and there was not an act of personalexpression but one of civic or religious service. Of course emotions could bedepicted and messages delivered. But musicians of Bach’s generation did notneed to feel an emotion in order to depict it. It was the next generation, beginningwith Bach’s own son Carl Philipp Emanuel, who began to demand that a musicianexpress emotions in a way we would call ‘authentic’.”
创作艺术但没有个人情感的流露，唯有公民或宗教的礼法。当然情感可被描绘，信息可被接收，但与巴赫同代的音乐家不需要领受情感，再作描绘，从下代巴赫之子卡尔·菲利普·伊曼纽尔起，便开始要求音乐家表达一种我们称之为”真情实感“的东西。
In “Discovering the Cosmology of Bach, Bernard Chazelle further suggeststhat beyond civic and professional duty Bach composed for the glory of Godalone. For him, Bach’s chaconne is not powerful because he himself is grieving;rather, it conveys a more universal, complicated, and essentially human grief:
在“发现巴赫的宇宙观”节目中，伯纳德·夏泽尔近一步评论，超越公民义务及专业职责外，巴赫的创作是单单为神而做的。对伯纳德而言，巴赫的《恰空舞曲》并非铿锵有力，因他正处悲痛之中，相反，本曲传达了一种普世、纷繁又透彻的人性悲凉。
“As opposed to othercomposers, Bach targets the very young, the child, and people of a certain age,like me. And tries to leave out the middle. What I mean by this is that thereare all kinds of mental, psychological dispositions from the opera that hetotally shunned. Envy. Greed. Lust. Jealousy.
“与其他作曲家截然不同，巴赫的教学专注于幼儿，少儿，还有像我这样达到一定年龄的青少年，却试图忽略成人。我这样说是指剧院里有各样的精神及心理病态他都全然避开了，嫉妒、贪婪，情欲，猜忌，我想说这是剧团里的家常便饭。但他从不去那，对此也毫无兴趣。”
I mean, this is the bread andbutter of the opera. He never went there. He had no interest in that. His musictries to express things like, awe. Grace. Thanks. Fear. Trepidation. Hope. Allkinds of sentiments a child can have, and an older person can have, but none ofthis sexual nonsense in the middle. And, so, in that sense, he thinks of deathvery differently from his own experience.
他的音乐寻求表达敬畏、恩惠、感谢、恐惧、颤栗及希望相关的主题，还有所有孩子都具备的情感，以及老人也拥有的情感，但丝毫没有成年人的无聊性欲。因而，在此情形下，巴赫以完全不同于他自生经历的方式来思考死亡。
He lost his parents before he was 10.He lost both of his parents, and then he lost half of his children. He lost 10children. And, so, these are different, different times, differentcircumstances, and for us, it can be very surprising to see these reactions.
他10岁前失去父母，双亲均离他而去，后来他又失去了一半的孩子，10个孩子离世了。所以，这些不同时间不同境况的差别，对我们而言，看到巴赫这样积极的应对确实令人惊奇。
You can tell from his music that his emotion israw. It is so controlled, but it is so profound. This is a man who trulygrieves, I mean you’ll hear the chaconne. It’s a dance. But it’s a grieving dance. I know, it seems likea paradox. But it’s extremely moving and — of somebody who clearly has enormousfeeling. And, yet, it’s very controlled.”
你可以从他的音乐中感受到他的原始情感，虽然相当克制但又不失深厚，这是一个真在承受悲苦的男人，我是说你去聆听这曲《恰空》，尽管是部舞曲，也是首悲伤的舞曲。我知道这看去似乎矛盾，但极其感人，很多人听后确实都有强烈的共鸣。而且，音乐还很内敛。“
Listening to the chaconne is as rich andlayered an experience as the story behind the music. Whatever meaning youascribe to the chaconne — personal, civic, divine, or none at all — it’scertain to leave its mark. You can listen to the entire chaconne in theembedded audio and downloadthe recording for later listening.
欣赏巴赫的《恰空》好比音乐背后的故事，有那样丰富多彩、层层递进的经历。无论你如何定义这首《恰空》——私人的，公民的，神性的，或以上全不是，我们必然会遗忘她的标签。
Mariah HelgesonMariah grew up in a Minnesota family of artists andmusicians, where she first heard On Being over the airwaves at age 11. She’s been a proudlistener ever since.
玛丽亚·赫尔格森 玛丽亚生长于明尼苏达州的音乐艺术世家，她于11岁广播里首次听到 On Being节目，自此成为忠实得意的听众。
She collected stories of human resilience andkindness in the classrooms of George Washington University — earning a degreein International Affairs with concentrations in the Middle East and ConflictResolution — and over many cups of coffee in community movements, from nuclearnonproliferation, to interfaith dialogue, to compassionate communication.
她在乔治·华盛顿大学的课堂里收集人类治愈及善行相关的故事，获得国际关系中东事务合作与冲突解决的学位，共同体内积极推动参与咖啡时光，短暂会谈，从核能不扩散，到多种信仰的对话，再到悲悯充满同情的沟通。
Mariah worked as a program associate at theSustained Dialogue Campus Network and lived in southern India for a spell as adocumentary curator. When she’s not submerged in a good book, she might befound painting landscapes or playing chamber music.
玛丽亚曾担任项目协助员在可持续校园网络公司工作，也身为纪录片监制为研究符号文化住过南印度。当她沉浸于一本好书，她很可能会作风景画，或演奏室内小型乐。
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