Excerpt of intermission radio interview with Glenn Gould 歌词
| 歌曲 | Excerpt of intermission radio interview with Glenn Gould |
| 歌手 | Glenn Gould |
| 专辑 | Glenn Gould, Leonard Bernstein -Brahms Piano Concerto No 1 |
| 下载 | Image LRC TXT |
| [00:00.000] | 作词 : Spoken Word |
| [00:00.000] | 作曲 : Spoken Word |
| [00:00.01] | There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year, |
| [00:07.12] | when the...eh...when you played d minor Brahms with Leonard Bernstein. |
| [00:11.04] | And there is a...eh...people were record Bernstein made a speech before the audience, |
| [00:18.38] | saying that his conception and your conception collided more or less and he wanted to... |
| [00:23.65] | well I wouldn't say disassociate himself |
| [00:26.93] | Now it has interested me to find a explanation, |
| [00:31.63] | in what way two musicians, two artists of the caliber of you and of Mr. Bernstein |
| [00:39.13] | can approach a standard symphonic work like the d minor Brahms concerto |
| [00:45.57] | and have such diverse conceptions of the piece |
| [00:49.29] | that Bernstein in this case felt that he had to disassociate himself from... |
| [00:53.35] | I don't know that there's a satisfactory explanation. As far as what actually transpired last year, |
| [00:58.57] | I seemed to be the only person around who felt that Mr. Bernstein's speech was full of the best of good spirits, and great charm, |
| [01:07.71] | and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started. |
| [01:13.60] | I thought it was delightful. |
| [01:15.62] | But there is no solution to this sense of collaboration that's demanded by a concerto. |
| [01:21.69] | Part of the concerto idea is of course the sense of non-collaboration, |
| [01:25.92] | the sense of willingness of the virtuoso, so called, to show off. |
| [01:32.47] | And I think it's this, it's the traditions that emanate out of that that prompted me to do what I did |
| [01:38.98] | because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto |
| [01:45.97] | except for one factor, and that was that our proportions of tempi |
| [01:51.14] | and our proportions of dynamics tended to be scaled closer together than is usually the case |
| [01:55.27] | There was less, if I say exaggeration, I don't mean it critically of other people's performances, |
| [01:59.97] | but there was less exaggeration in that sense of the word, |
| [02:02.71] | there was less divergence between what could be called the masculine-feminine approach of the piano concerto between first theme and second theme, （ |
| [02:09.94] | between the barking of the orchestra and the placidity of the piano. |
| [02:13.51] | It was a much more tightly welded unit, what I wanted to do. |
| [02:17.84] | Now, Lenny felt that in order to preserve the antagonism of orchestra for piano |
| [02:24.10] | there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi |
| [02:29.66] | and I was at that time, and still am, I must say, |
| [02:33.81] | in a Baroquish mood as far as even the nineteenth century concerto is concerned. |
| [02:39.64] | I was trying to bring a common pulse to the movements and to hold things together in that |
| [02:44.01] | if rather arbitrary, nevertheless for me very convincing way. |
| [02:47.60] | And this is what happened it was simply the meeting at two points of our particular metamorphosis |
| [02:56.11] | at which he was more in favor of the tradition which has accrued around the concerto style |
| [03:01.81] | and I wished at that moment to break with it. |
| [03:04.84] | You say at that moment? |
| [03:05.98] | I may change, I only imply that I |
| [03:08.08] | No, have you always felt that way? |
| [03:09.53] | About that particular piece I have. |
| [03:11.39] | I have not applied quite as extreme an analysis to other works of the same genre, |
| [03:16.11] | but I have about that particular work. |
| [03:19.08] | And... so I was very grateful for the chance to do this for the chance to exhibit it nationally, |
| [03:23.83] | so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this, |
| [03:28.21] | I've only write that he should get off the hook himself. |
| [03:31.63] | Right. I want to come and hear you play in the 1970s see what happened. |
| [03:35.73] | Great I hope you can. |
| [03:36.60] | We've talked long time and I've enjoyed it very much. I hope you come again. |
| [03:40.46] | I will indeed. |
| [03:41.43] | Thank you, thank you Gleen Gould. |
| [00:00.000] | zuo ci : Spoken Word |
| [00:00.000] | zuo qu : Spoken Word |
| [00:00.01] | There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year, |
| [00:07.12] | when the... eh... when you played d minor Brahms with Leonard Bernstein. |
| [00:11.04] | And there is a... eh... people were record Bernstein made a speech before the audience, |
| [00:18.38] | saying that his conception and your conception collided more or less and he wanted to... |
| [00:23.65] | well I wouldn' t say disassociate himself |
| [00:26.93] | Now it has interested me to find a explanation, |
| [00:31.63] | in what way two musicians, two artists of the caliber of you and of Mr. Bernstein |
| [00:39.13] | can approach a standard symphonic work like the d minor Brahms concerto |
| [00:45.57] | and have such diverse conceptions of the piece |
| [00:49.29] | that Bernstein in this case felt that he had to disassociate himself from... |
| [00:53.35] | I don' t know that there' s a satisfactory explanation. As far as what actually transpired last year, |
| [00:58.57] | I seemed to be the only person around who felt that Mr. Bernstein' s speech was full of the best of good spirits, and great charm, |
| [01:07.71] | and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started. |
| [01:13.60] | I thought it was delightful. |
| [01:15.62] | But there is no solution to this sense of collaboration that' s demanded by a concerto. |
| [01:21.69] | Part of the concerto idea is of course the sense of noncollaboration, |
| [01:25.92] | the sense of willingness of the virtuoso, so called, to show off. |
| [01:32.47] | And I think it' s this, it' s the traditions that emanate out of that that prompted me to do what I did |
| [01:38.98] | because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto |
| [01:45.97] | except for one factor, and that was that our proportions of tempi |
| [01:51.14] | and our proportions of dynamics tended to be scaled closer together than is usually the case |
| [01:55.27] | There was less, if I say exaggeration, I don' t mean it critically of other people' s performances, |
| [01:59.97] | but there was less exaggeration in that sense of the word, |
| [02:02.71] | there was less divergence between what could be called the masculinefeminine approach of the piano concerto between first theme and second theme, |
| [02:09.94] | between the barking of the orchestra and the placidity of the piano. |
| [02:13.51] | It was a much more tightly welded unit, what I wanted to do. |
| [02:17.84] | Now, Lenny felt that in order to preserve the antagonism of orchestra for piano |
| [02:24.10] | there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi |
| [02:29.66] | and I was at that time, and still am, I must say, |
| [02:33.81] | in a Baroquish mood as far as even the nineteenth century concerto is concerned. |
| [02:39.64] | I was trying to bring a common pulse to the movements and to hold things together in that |
| [02:44.01] | if rather arbitrary, nevertheless for me very convincing way. |
| [02:47.60] | And this is what happened it was simply the meeting at two points of our particular metamorphosis |
| [02:56.11] | at which he was more in favor of the tradition which has accrued around the concerto style |
| [03:01.81] | and I wished at that moment to break with it. |
| [03:04.84] | You say at that moment? |
| [03:05.98] | I may change, I only imply that I |
| [03:08.08] | No, have you always felt that way? |
| [03:09.53] | About that particular piece I have. |
| [03:11.39] | I have not applied quite as extreme an analysis to other works of the same genre, |
| [03:16.11] | but I have about that particular work. |
| [03:19.08] | And... so I was very grateful for the chance to do this for the chance to exhibit it nationally, |
| [03:23.83] | so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this, |
| [03:28.21] | I' ve only write that he should get off the hook himself. |
| [03:31.63] | Right. I want to come and hear you play in the 1970s see what happened. |
| [03:35.73] | Great I hope you can. |
| [03:36.60] | We' ve talked long time and I' ve enjoyed it very much. I hope you come again. |
| [03:40.46] | I will indeed. |
| [03:41.43] | Thank you, thank you Gleen Gould. |
| [00:00.000] | zuò cí : Spoken Word |
| [00:00.000] | zuò qǔ : Spoken Word |
| [00:00.01] | There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year, |
| [00:07.12] | when the... eh... when you played d minor Brahms with Leonard Bernstein. |
| [00:11.04] | And there is a... eh... people were record Bernstein made a speech before the audience, |
| [00:18.38] | saying that his conception and your conception collided more or less and he wanted to... |
| [00:23.65] | well I wouldn' t say disassociate himself |
| [00:26.93] | Now it has interested me to find a explanation, |
| [00:31.63] | in what way two musicians, two artists of the caliber of you and of Mr. Bernstein |
| [00:39.13] | can approach a standard symphonic work like the d minor Brahms concerto |
| [00:45.57] | and have such diverse conceptions of the piece |
| [00:49.29] | that Bernstein in this case felt that he had to disassociate himself from... |
| [00:53.35] | I don' t know that there' s a satisfactory explanation. As far as what actually transpired last year, |
| [00:58.57] | I seemed to be the only person around who felt that Mr. Bernstein' s speech was full of the best of good spirits, and great charm, |
| [01:07.71] | and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started. |
| [01:13.60] | I thought it was delightful. |
| [01:15.62] | But there is no solution to this sense of collaboration that' s demanded by a concerto. |
| [01:21.69] | Part of the concerto idea is of course the sense of noncollaboration, |
| [01:25.92] | the sense of willingness of the virtuoso, so called, to show off. |
| [01:32.47] | And I think it' s this, it' s the traditions that emanate out of that that prompted me to do what I did |
| [01:38.98] | because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto |
| [01:45.97] | except for one factor, and that was that our proportions of tempi |
| [01:51.14] | and our proportions of dynamics tended to be scaled closer together than is usually the case |
| [01:55.27] | There was less, if I say exaggeration, I don' t mean it critically of other people' s performances, |
| [01:59.97] | but there was less exaggeration in that sense of the word, |
| [02:02.71] | there was less divergence between what could be called the masculinefeminine approach of the piano concerto between first theme and second theme, |
| [02:09.94] | between the barking of the orchestra and the placidity of the piano. |
| [02:13.51] | It was a much more tightly welded unit, what I wanted to do. |
| [02:17.84] | Now, Lenny felt that in order to preserve the antagonism of orchestra for piano |
| [02:24.10] | there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi |
| [02:29.66] | and I was at that time, and still am, I must say, |
| [02:33.81] | in a Baroquish mood as far as even the nineteenth century concerto is concerned. |
| [02:39.64] | I was trying to bring a common pulse to the movements and to hold things together in that |
| [02:44.01] | if rather arbitrary, nevertheless for me very convincing way. |
| [02:47.60] | And this is what happened it was simply the meeting at two points of our particular metamorphosis |
| [02:56.11] | at which he was more in favor of the tradition which has accrued around the concerto style |
| [03:01.81] | and I wished at that moment to break with it. |
| [03:04.84] | You say at that moment? |
| [03:05.98] | I may change, I only imply that I |
| [03:08.08] | No, have you always felt that way? |
| [03:09.53] | About that particular piece I have. |
| [03:11.39] | I have not applied quite as extreme an analysis to other works of the same genre, |
| [03:16.11] | but I have about that particular work. |
| [03:19.08] | And... so I was very grateful for the chance to do this for the chance to exhibit it nationally, |
| [03:23.83] | so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this, |
| [03:28.21] | I' ve only write that he should get off the hook himself. |
| [03:31.63] | Right. I want to come and hear you play in the 1970s see what happened. |
| [03:35.73] | Great I hope you can. |
| [03:36.60] | We' ve talked long time and I' ve enjoyed it very much. I hope you come again. |
| [03:40.46] | I will indeed. |
| [03:41.43] | Thank you, thank you Gleen Gould. |
| [00:00.01] | 我这里有个感兴趣的话题，Gleen Gould，是关于你长久以来特别是去年 |
| [00:07.12] | 当...嗯...当你和Leonard Bernstein合作勃拉姆斯的d小调的时候 |
| [00:11.04] | 当时...嗯...有录音显示Bernstein有给听众们讲了一段话 |
| [00:18.38] | 说他的理念和你的理念多少有所碰撞，所以他... |
| [00:23.65] | 好吧我不想说他想撇清自己 |
| [00:26.93] | 现在我很想寻找一种解释 |
| [00:31.63] | 两位音乐家，两位有着譬如你和Bernstein先生这般实力的艺术家 |
| [00:39.13] | 如何演绎像是勃拉姆斯d小调协奏曲这样的交响作品 |
| [00:45.57] | 特别是当你们对作品的理念有如此大的差异的时候 |
| [00:49.29] | 以致Bernstein在当时觉得有必要撇清自己 |
| [00:53.35] | 我不知道是否存在令人满意的解释。而至于去年发生的事情， |
| [00:58.57] | 我似乎是在场唯一觉得Bernstein先生的讲话充满了最最好的意愿与魅力的人 |
| [01:07.71] | 实际上我坐在后台咯咯笑个不停，一直到演出开始我才勉强收住 |
| [01:13.60] | 我觉得这（段讲话）令我感到愉悦 |
| [01:15.62] | 但是关于协奏曲里面的合作问题，我感到无解 |
| [01:21.69] | 协奏曲这个概念的一部分就在于那种不合作的感觉 |
| [01:25.92] | 演奏家的那种所谓的去炫耀的意愿 |
| [01:32.47] | 我觉得正是这种，这种传统驱使我去那样做 |
| [01:38.98] | 因为去年所发生的，并不是对勃拉姆斯这部作品的一次特别非同寻常的演出 |
| [01:45.97] | 它的特殊，只是在于我们对于节奏的把握 |
| [01:51.14] | 以及我们对于动态变化比通常更加压缩的倾向 |
| [01:55.27] | 如果我说得有些夸张，我并不是想去评判其他的人的表演 |
| [01:59.97] | 但其实我并非夸张 |
| [02:02.71] | 我的）演奏里对于第一第二主题间的那种所谓的男性化-女性化的表现方式的差别更加小， |
| [02:09.94] | 以及对于乐队的雄壮和钢琴的柔和之间的差异（更小） |
| [02:13.51] | 我想达成的，是一种（乐队与钢琴）更加紧密的连结 |
| [02:17.84] | 而Lenny（Leonard的昵称，指Bernstein）觉得为了体现出乐队与钢琴间的对抗性 |
| [02:24.10] | 就应该要有更大的对比，更大的动态范围和更大的速度变化 |
| [02:29.66] | 而我在当时，并且我不得不说在现在也依然， |
| [02:33.81] | 更像是一种巴洛克式的演奏，按19世纪的协奏曲眼光来看 |
| [02:39.64] | 我试着为乐章间引入一种更有共性的速率，并以此将乐章更紧密地连接在一起 |
| [02:44.01] | 即使看上去有些武断，这是一种我自己深以为然的方式 |
| [02:47.60] | 这就是我所认为的，整件事不过是对于这两类观点的一次冲撞 |
| [02:56.11] | 他更倾向于传统的那种围绕着协奏曲形式的（演奏方式） |
| [03:01.81] | 而我在那个时候想打破这一点 |
| [03:04.84] | 你是说在那个时候？ |
| [03:05.98] | 我或许也会改变，我只是说我 |
| [03:08.08] | 不，你一直以来都是这么认为的吗？ |
| [03:09.53] | 对于那部作品，是的 |
| [03:11.39] | 我还没有对同时期的其他作品尝试过如此极端的演绎 |
| [03:16.11] | 但我确实对那部作品做了 |
| [03:19.08] | 并且，我十分感谢能有机会来面向整个国家展示（我的看法）， |
| [03:23.83] | 来透过广播，并且我也很感谢和Bernstein先生的这段经历 |
| [03:28.21] | 我也曾和他说过他需要自己走出这个困境（此处不是很确定原文和翻译） |
| [03:31.63] | 好的。我想等到70年代再去听听你的演出，看看会怎么样 |
| [03:35.73] | 好呀，我希望你可以 |
| [03:36.60] | 我们聊了很久并且我十分享受其间。希望你以后再来。 |
| [03:40.46] | 我会的。 |
| [03:41.43] | 谢谢你，谢谢你Gleen Gould。 |
YouTube搜索结果 (转至YouTube)