Excerpt of intermission radio interview with Glenn Gould

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

歌词

[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.

拼音

[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.

歌词大意

[00:00.01] wǒ zhè lǐ yǒu gè gǎn xīng qù de huà tí, Gleen Gould, shì guān yú nǐ cháng jiǔ yǐ lái tè bié shì qù nián
[00:07.12] dāng... ... dāng nǐ hé Leonard Bernstein hé zuò bó lā mǔ sī de d xiǎo diào de shí hòu
[00:11.04] dāng shí... ... yǒu lù yīn xiǎn shì Bernstein yǒu gěi tīng zhòng men jiǎng le yī duàn huà
[00:18.38] shuō tā de lǐ niàn hé nǐ de lǐ niàn duō shǎo yǒu suǒ pèng zhuàng, suǒ yǐ tā...
[00:23.65] hǎo ba wǒ bù xiǎng shuō tā xiǎng piē qīng zì jǐ
[00:26.93] xiàn zài wǒ hěn xiǎng xún zhǎo yī zhǒng jiě shì
[00:31.63] liǎng wèi yīn yuè jiā, liǎng wèi yǒu zhe pì rú nǐ hé Bernstein xiān shēng zhè bān shí lì de yì shù jiā
[00:39.13] rú hé yǎn yì xiàng shì bó lā mǔ sī d xiǎo diào xié zòu qǔ zhè yàng de jiāo xiǎng zuò pǐn
[00:45.57] tè bié shì dāng nǐ men duì zuò pǐn de lǐ niàn yǒu rú cǐ dà de chā yì de shí hòu
[00:49.29] yǐ zhì Bernstein zài dāng shí jué de yǒu bì yào piē qīng zì jǐ
[00:53.35] wǒ bù zhī dào shì fǒu cún zài lìng rén mǎn yì de jiě shì. ér zhì yú qù nián fā shēng de shì qíng,
[00:58.57] wǒ sì hū shì zài chǎng wéi yī jiào dé Bernstein xiān shēng de jiǎng huà chōng mǎn le zuì zuì hǎo de yì yuàn yǔ mèi lì de rén
[01:07.71] shí jì shang wǒ zuò zài hòu tái gē gē xiào gè bù tíng, yī zhí dào yǎn chū kāi shǐ wǒ cái miǎn qiǎng shōu zhù
[01:13.60] wǒ jué de zhè duàn jiǎng huà lìng wǒ gǎn dào yú yuè
[01:15.62] dàn shì guān yú xié zòu qǔ lǐ miàn dí hé zuò wèn tí, wǒ gǎn dào wú jiě
[01:21.69] xié zòu qǔ zhè gè gài niàn de yī bù fen jiù zài yú nà zhǒng bù hé zuò de gǎn jué
[01:25.92] yǎn zòu jiā de nà zhǒng suǒ wèi de qù xuàn yào de yì yuàn
[01:32.47] wǒ jué de zhèng shì zhè zhǒng, zhè zhǒng chuán tǒng qū shǐ wǒ qù nà yàng zuò
[01:38.98] yīn wèi qù nián suǒ fā shēng de, bìng bú shì duì bó lā mǔ sī zhè bù zuò pǐn de yī cì tè bié fēi tóng xún cháng de yǎn chū
[01:45.97] tā de tè shū, zhǐ shì zài yú wǒ men duì yú jié zòu de bǎ wò
[01:51.14] yǐ jí wǒ men duì yú dòng tài biàn huà bǐ tōng cháng gèng jiā yā suō de qīng xiàng
[01:55.27] rú guǒ wǒ shuō de yǒu xiē kuā zhāng, wǒ bìng bú shì xiǎng qù píng pàn qí tā de rén de biǎo yǎn
[01:59.97] dàn qí shí wǒ bìng fēi kuā zhāng
[02:02.71] wǒ de yǎn zòu lǐ duì yú dì yī dì èr zhǔ tí jiān de nà zhǒng suǒ wèi de nán xìng huà nǚ xìng huà de biǎo xiàn fāng shì de chā bié gèng jiā xiǎo,
[02:09.94] yǐ jí duì yú yuè duì de xióng zhuàng hé gāng qín de róu hé zhī jiān de chā yì gèng xiǎo
[02:13.51] wǒ xiǎng dá chéng de, shì yī zhǒng yuè duì yǔ gāng qín gèng jiā jǐn mì de lián jié
[02:17.84] ér Lenny Leonard de nì chēng, zhǐ Bernstein jué de wèi le tǐ xiàn chū yuè duì yǔ gāng qín jiān de duì kàng xìng
[02:24.10] jiù yīng gāi yào yǒu gèng dà de duì bǐ, gèng dà de dòng tài fàn wéi hé gèng dà de sù dù biàn huà
[02:29.66] ér wǒ zài dāng shí, bìng qiě wǒ bù dé bù shuō zài xiàn zài yě yī rán,
[02:33.81] gèng xiàng shì yī zhǒng bā luò kè shì de yǎn zòu, àn 19 shì jì de xié zòu qǔ yǎn guāng lái kàn
[02:39.64] wǒ shì zhe wéi lè zhāng jiān yǐn rù yī zhǒng gèng yǒu gòng xìng de sù lǜ, bìng yǐ cǐ jiāng yuè zhāng gèng jǐn mì dì lián jiē zài yì qǐ
[02:44.01] jí shǐ kàn shang qu yǒu xiē wǔ duàn, zhè shì yī zhǒng wǒ zì jǐ shēn yǐ wéi rán de fāng shì
[02:47.60] zhè jiù shì wǒ suǒ rèn wéi de, zhěng jiàn shì bù guò shì duì yú zhè liǎng lèi guān diǎn de yī cì chōng zhuàng
[02:56.11] tā gèng qīng xiàng yú chuán tǒng de nà zhǒng wéi rào zhe xié zòu qǔ xíng shì de yǎn zòu fāng shì
[03:01.81] ér wǒ zài nà gè shí hòu xiǎng dǎ pò zhè yì diǎn
[03:04.84] nǐ shì shuō zài nà gè shí hòu?
[03:05.98] wǒ huò xǔ yě huì gǎi biàn, wǒ zhǐ shì shuō wǒ
[03:08.08] bù, nǐ yī zhí yǐ lái dōu shì zhè me rèn wéi de ma?
[03:09.53] duì yú nà bù zuò pǐn, shì de
[03:11.39] wǒ hái méi yǒu duì tóng shí qī de qí tā zuò pǐn cháng shì guò rú cǐ jí duān dì yǎn yì
[03:16.11] dàn wǒ què shí duì nà bù zuò pǐn zuò le
[03:19.08] bìng qiě, wǒ shí fēn gǎn xiè néng yǒu jī huì lái miàn xiàng zhěng gè guó jiā zhǎn shì wǒ de kàn fǎ,
[03:23.83] lái tòu guò guǎng bō, bìng qiě wǒ yě hěn gǎn xiè hé Bernstein xiān shēng de zhè duàn jīng lì
[03:28.21] wǒ yě zēng hé tā shuō guò tā xū yào zì jǐ zǒu chū zhè gè kùn jìng cǐ chù bú shì hěn què dìng yuán wén hé fān yì
[03:31.63] hǎo de. wǒ xiǎng děng dào 70 nián dài zài qù tīng tīng nǐ de yǎn chū, kàn kàn huì zěn me yàng
[03:35.73] hǎo ya, wǒ xī wàng nǐ kě yǐ
[03:36.60] wǒ men liáo le hěn jiǔ bìng qiě wǒ shí fēn xiǎng shòu qí jiān. xī wàng nǐ yǐ hòu zài lái.
[03:40.46] wǒ huì de.
[03:41.43] xiè xiè nǐ, xiè xiè nǐ Gleen Gould.