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发信人: nlpir (regent), 信区: Art
标 题: Carnival of the Animals by Saint-Saens[转载]
发信站: 荔园晨风BBS站 (Sat Dec 14 22:15:58 2002), 站内信件
【 以下文字转载自 English 讨论区 】
【 原文由 nlpir 所发表 】
好长啊，译了两个小时才译完。。。
A SALUTE TO FEATHERS, FUR, AND FINS
An appreciation of
Carnival of the Animals by Camille Saint-Saens
圣-桑《动物狂欢节》欣赏
Camille Saint-Saens's Carnival of the Animals is a set of orchestral
character pieces, each of which is meant to describe a particular
animal, usually by mimicking the sounds it makes or characterizing the
way it moves or carries itself.
卡米伊.圣-桑的《动物狂欢节》是由乐队演奏的一套刻画形象的乐曲，每首
刻画一种动物，一般手法是模仿动物的叫声或者活动特征。
The piece is scored for two solo
pianos and a small orchestra of flute, piccolo, clarinet, xylophone,
glass harmonica (usually replaced these days by celesta or
glockenspiel in performance), and strings.
乐曲是为单钢琴以及一支由长笛、短笛、单簧管、木琴、玻璃钟琴（现在
演奏时多用钢片琴或键盘式钟琴代替）和弦乐器而写的。
This Carnival is a humorous,
often parodistic work. Saint-Saens only allowed the piece to be
performed twice during his lifetime (once publicly by the Societe de
la Trompette and once in a private performance requested by Franz Liszt,
the famous piano virtuoso and composer who was a close friend of
Saint-Saens), likely because he feared the work would hurt his
reputation as a serious composer.
这首《狂欢节》风格幽默，使用了许多模仿手段。圣-桑一生期间只让该曲
上演了两次（公开演奏的一次是Societe de la Tropette，另一次是应弗郎
茨.李斯特请求而进行的私人表演。李斯特是著名的钢琴大师和作曲家，是
圣－桑的朋友）。这可能是因为圣－桑担心这篇作品会影响他作为严肃音乐
作曲家的声誉。
Only the movement "The Swan" was
published before the composer's death; that particular movement became a
stunningly popular work with cellists and audiences alike, remaining
one of Saint-Saens's most successful pieces for many years afterward.
只有“天鹅”是在他生前发表的，该乐章在大提琴演奏者和听众中极具声望，
并且在后来的许多年间一直是圣－桑最为成功的作品。
The work is in fourteen movements:
作品分为十四段：
I. "Introduction and Royal March of the Lion"--is very regal and grand,
featuring a full, swaggering figure in the strings and fast, running
scales in the pianos that convincingly mimic lion roars.
第一部分“引子及狮子”，气度庄严高贵，用弦乐和快速的钢琴节奏表现了
一个丰满而充满自负的形象，逼真地模仿了狮子的吼声。
II. "Hens and Cocks"--is a humorously nervous movement, with jittery
string figures that suggest scratching, clucking hens and staccato
figures followed by trills in the pianos that sound much like crowing
roosters.
第二部分“公鸡与母鸡”，幽默而有些神经质，以抖动的弦乐表现了母鸡
咕咕地叫着以爪子刨地，另外用钢琴断断续续的颤音模仿公鸡的鸣叫。
III. "Wild Asses"--the great running speed of these beasts is evoked
by the use of frantic, intense scalar passagework in the two pianos.
There is no orchestral accompaniment here.
第三部分“野驴”用了两台钢琴，以音阶非常狂乱密集的经过段，表现了
这种飞速奔跑的动物。本段没有乐队伴奏。
IV. "Tortoises"--Saint-Saens makes clever use of parody to suggest the
slow-motion torpor of these creatures by quoting the famous can-can
melody from Jacques Offenbach's Orpheus in the Underworld. Normally
performed at breakneck tempo, the tune here is played painfully slowly
by low-register strings, surrounded by a throbbing triplet accompaniment
in the pianos. Occasional use of stumbling dissonances completes the
picture of this painfully poky reptile.
第四段“乌龟”：圣-桑作曲家采用了雅各.奥芬巴赫《地狱中的奥尔菲斯》中的
康康舞的旋律，用巧妙的模仿手法表现了乌龟缓慢而迟钝的特征。本来这段曲调
一般用极快的节奏，但作曲家却采用了无法忍受的极慢节拍，以低音区弦乐
来表现，用钢琴有规律搏动的三连音伴奏。曲中偶而用笨拙的不和谐音表现
乌龟的行动，结束了对这个“痛苦的”慢吞吞爬行动物的刻画。
V. "The Elephant"--consists of a brisk, but lumbering and clumsy waltz
melody played by the contrabasses and supported by an earnest piano
accompaniment. A parodistic quote from Berlioz's Valse des Sylphes
occurs here.
第五部分“大象”包含一个活泼但又笨拙的圆舞曲旋律，以低倍音乐器奏出，
伴以热情的钢琴。这里以模仿手法采用了伯辽兹Valse des Sylphes中的旋律。
VI. "Kangaroos"--is scored just for the two pianos and consists of
clipped, irregular phrases that suggest the hopping of startled roos.
第六部分“袋鼠”只由两台钢琴演奏，被故意截短的不规则段落表现了袋鼠
受惊时跳跃的姿态。
VII. "The Aquarium"--a tankful of peacefully swimming fish is evoked
by slow, languorous music which is decorated by delicate filigree
material in the glass harmonica. The effect is placid and serene.
第七部分“水族”以缓慢倦怠的调子描绘了在水池中安静游动的鱼。玻璃钟琴
奏出极其精致的音符，效果平静而安宁。
VIII. "Personages with Long Ears"--suddenly breaks the contemplative
mood in unmistakable fashion. Scored just for the violins, the sounds
emitted here leave no doubt that these "personages" are donkeys.
第八部分“长耳人”，毫不含糊地突然打破了沉思的气氛。这部分只由小提琴
表现，奏出的音调清楚地说明这里的“人”其实就是驴子。
IX. "The Cuckoo in the Forest"--a quiet, cryptic passage in the pianos
is continually interrupted by a cuckoo-ing clarinet.
第九部分“林中的杜鹃”，用钢琴演奏，是一段安静而神秘的经过段，其间
不断被模仿杜鹃叫声的单簧管打断。
X. "The Aviary"--busy, yet relaxed melodic figures run through the
pianos and flute over a rustling string accompaniment. The similarity in
sound to a flock of mixed birds is very noticeable.
第十部分“鸟族”，采用钢琴和长笛伴以弦乐的窸窣单色，音乐形象忙碌但
又放松驰。这里对一群不同种类的鸟发出声音的模仿非常引人注目。
XI. "Pianists"--well, what can be said? Some pianists are beastlike! Our
intrepid piano pair plays a keyboard exercise passage over and over,
transposing up a step each time. They are asked in the score to miss
some notes while they play. The strings grouse out short commentary
chords and figures in interruption.
第十一部分“钢琴家”。怎么回事？有些钢琴家就像是动物！两台钢琴奏出
坚韧不拨的旋律，将一段键盘乐经过段反复弹奏，每次爬升一阶。曲谱要求
演奏时漏掉几个音符。弦乐器断续地奏出评论般的简短和弦与音型。
XII. "Fossils"--is an extremely parodistic movement. Here, Saint-Saens
sardonically interweaves numerous overly-familiar melodies, including
two French nursery rhymes ("J'ai du bon tabac" and "Ah vous dirais-je
maman"), a snippet of the aria "Una voce poco fa" from Rossini's opera
The Barber of Seville, and his own Danse Macabre into a most curious
entity. Saint-Saens evidently felt these melodies were so famous that
they had become museum fossils, worthy only of residing among dinosaur
bones and pickled jars of worms.
第十二部分“化石”，模仿的手法极为突出。在这里圣－桑以嘲讽的语气将
许多极其熟悉的旋律交织在一起，其中包括两个法国摇篮曲（一为"J'ai du bon
tabac，另一个是"Ah vous dirais-je maman"），一首咏叹调（罗西尼歌剧
《塞维利亚的理发师》中"Una voce poco fa"）的片断，还有作曲家自己的
"Danse Macabre"，这些旋律很好地组成了一个奇妙的整体。圣－桑明显觉得
这些旋律太为人所熟悉，简直成为了博物馆中的化石，只能放在恐龙骨和腌
蚯蚓罐中间。
XIII. "The Swan"--as suggested above is a work for solo cello with piano
accompaniment. The movement is warm and expressive, evoking the gliding
grace of a contemplative swimming swan.
第十三部分“天鹅”，如上所说，由大提琴演奏、钢琴伴奏。这一段气氛温暖，
富有表现力，描绘出天鹅在水面上那种沉思般的优雅姿态。
XIV. "Finale"--is a merry closer, which recapitulates snippets from many
of the previous movements. Suggestions of the lion, fossils, wild
asses, hens and cocks, kangaroos, cuckoo, and pianists pass quickly in
succession. The "Personages with Long Ears" get their two pennies
worth in just before the final chords.
第十四部分“终曲”情绪愉快，总结了前面的数部分中的许多片断。狮子、化石、
野驴、母鸡和公鸡、袋鼠、杜鹃和钢琴家的各段旋律迅速地依次出现。“长耳人”
部分只在全曲结束前几个音符处才体现出其一点点价值。
So, is Carnival of the Animals a good piece? I say yes, with a few
modest reservations. Parody has a notoriously short shelf life (if you
don't believe me, take a look at an old "Rowan and Martin's Laugh-in"
show sometime--talk about dated material!), but for some reason, the
parody elements work well here over repeated listenings.
那么《动物狂欢节》是不是好作品呢？我说是的，不过有些小小的保留意见。
模仿手法的生命周期太短暂了（如果不相信，找时间看看古老的“Rowan
and Martin's Laugh-in”，它谈的正是老旧的话题），不过出于某种原因，
模仿的因素在本篇作品里倒是用得比较好，反复听就有这种印象。
I believe
this occurs because we don't need to know the joke to like the
movement in question. In "The Elephant," for example, one can enjoy
the hulking contrabass melody and not at all know a Berlioz waltz is
being quoted here. And "Fossils" somehow manages to suggest lifeless
skeletons not only by its employment of well-worn ditties, but also by
its prominent use of xylophone (an instrument that conjures up the image
of clattering bones very well), its clipped and angular rhythmic sense,
and its curiously exuberant use of minor mode melody; somehow, it all
comes up femurs and clavicles to me.
我相信这是因为我们不必知道段落中的内容就可以体会到音乐的妙处。比如在
“大象”一段中，我们可以感受到低音乐器奏出的沉重旋律，但不一定要知道
这里引用了伯辽兹的圆舞曲。“化石”以某种手法表现了无生命的骨胳的形象，
不仅是由于使用了烂熟的曲调，而且是因为乐曲明显采用了木琴（这种乐器
非常有效地表现了骨头相撞时发出的声音）－－还有那短促而生硬的韵律感、
对小调旋律奇妙的大量采用。这些在我听来都像是各种骨头的撞击声。
The movement "Pianists" seems a bit ham-handed. Holly quite rightly
pointed out to me the other day that one cannot ordinarily portray
incompetence effectively by writing poor-quality music or by playing
music sloppily. The joke tends to get lost in the lack of technique. One
of the best performances of this movement I've ever heard featured
the pianists playing their parts flawlessly (if rather mechanically);
the music itself conveys the humor well enough without resorting to
the sloppy execution asked for in the score by Saint-Saens.
“钢琴家”一段似乎有些拙劣。有一天Holly十分正确地对我指出，我们不能
通过写差劲的音乐或者笨拙地演奏来表现音乐家的拙劣，因为希望表现的东西
往往被掩盖在缺乏技巧的音乐中。我所听到对这一乐章最好的一次演奏，将
各个部分演奏得没有丝毫暇疵（尽管可能有些机械）。音乐本身带有的那种
幽默已经足够，没有必要像圣－桑在乐谱里要求的那样以笨拙的方法演奏出来。
Other movements work well enough, but raise nagging doubts. For example,
the "Cuckoo in the Woods" section is a bit long for my taste. And
"The Swan" shows its age a little bit, seeming a bit too much like a
relic from a bygone era when repressed ladies fanned themselves and
swooned with delight over the latest hackneyed parlor piano potboiler.
But these reservations are not enough to spoil the generally positive
view of the work we all seem to share.
其他乐章也很不错，只是有些地方会导致挑剔听众的置疑。例如“林中的杜鹃”
一段在我看来好像太长了；“天鹅”显得有些古老，听来就好像是过去的什么
时代的遗物－－在那样的时代，摇着扇子的拘谨女士在高谈阔论时听到新近出
现的拙劣钢琴作品时会“兴奋地”晕过去。不过，我的这些保留意见并不能影响
对这篇作品整体的积极看法，实际上我们所有人都会同意这一点。
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※ 修改:·nlpir 於 Dec 18 21:13:03 修改本文·[FROM: 192.168.6.100]
※ 来源:·荔园晨风BBS站 bbs.szu.edu.cn·[FROM: 192.168.6.98]
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