音樂翻譯 中翻英

2015-05-26 16:22

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約翰˙塞巴斯坦˙巴哈                                  e小調長笛奏鳴曲    BWV  1034

Johann Sebastian Bach                                    E Minor flute Sonata BWV 1034

　　巴哈（Ｊ˙Ｓ˙Ｂａｃｈ　１６８５～１７５０）是巴洛克時期德國作曲家，一生作品數量極多，其音樂可說是巴洛克音樂的高峰代表作。他一生從未離開過德國，但對義大利及法國的音樂始終不斷地吸收。當時的樂器亦正遭遇著新的技術革新的時期，因此巴哈對管風琴、大鍵琴及在當時屬於新樂器的橫式長笛（Ｆｌｕｔｅ　Ｔｒａｖｅｒｓｏ）保持密切的關心，一有機會便嘗試這些樂器。

J.S. Bach (1685~1750) is a composer in Baroque period, Germany. Who made many pieces in his life. His music is high representative of Baroque music. Although he never leaved from Germany, but he never stop to absorb the music from Italy and France. In that time, the instrument was encountered the technology innovation period. Therefore, he kept intently care to Organ, Harpsichord and the new instrument of that time “Flute Traverso”. Once he get the chance, he would try those instruments.

　　１７１７年，巴哈在德雷斯登（Ｄｒｅｓｄｅｎ）宮廷聽到了當代長笛高手布發丹（Ｐ˙Ｇ˙Ｂｕｆｆａｄｉｎ）使用新式長笛的演奏，即對新式長笛發生了濃厚的興趣，便著手譜寫長笛奏鳴曲，以發揮這種樂器的潛能，且將這些為橫式長笛所寫的作品開始註明為Ｆｌａｕｔｏ　Ｔｒａｖｅｒｓｏ，與１７１７年以前的布洛克弗列德縱笛（Ｂｌｏｃｋｆｌｕｔｅ）（英文的Ｒｅｃｏｒｄｅｒ）區分之。

In 1717, J.S. Bach heard the contemporary flutist P.G. Buffadin’s flute recital whom used the latest type of flute in the Dresden palace. He immediately interested in the latest type of flute and wrote a musical composition of flute sonata to bring this instrument into full play and started to note the pieces of horizontal flute as Flauto Traverso to discriminate from Blockflute before 1717.

　  巴赫的六首長笛奏鳴曲，其實是三首為一組的六首，ＢＷＶ１０３０－１０３２及ＢＷＶ１０３３－１０３５，前者指定為大鍵琴伴奏，後者標示為橫式長笛與數字低音，大約作於１７１７－１７２０年。所謂數字低音就不一定使用大鍵琴，亦可使用大提琴或兩者並用構成三聲部奏鳴曲。ＢＷＶ１０３４共四個樂章：１˙不太慢的慢板，和聲趣味重於旋律趣味。２˙快板，非常自由的由長笛與數字低音之間展開的二聲部賦格曲。３˙行板，在自由的小步舞曲節奏上呈示優美的旋律。４˙快板，充滿活力的舞曲風格。

J.S. Bach’s sixth Flute Sonata, are in fact three compositions in one set. BWV1030-1032 and BWV1033-1035, the former is designated as accompaniment of Hharpsichord, the latter is designated as the Flauto Traverse and Basso continuo, which made around1717-1720. The so called Basso continuo not necessarily use Harpsichord, but also can use Cello or both Harpsichord and Cello to constitute Sonata of three part voices. BWV1034 has fore chapter: 1. Adagio ma non tanto, the harmony is more interested than melody. 2. Allegro, very free to open up Fugue by the Flute and Basso continuo. 3. Andante, in the rhythm of free Minuet display graceful melody 4. Allegro, which full of vitality of dancing style.

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法蘭西斯˙戴維恩                           為長笛及鋼琴的e小調奏鳴曲 作品68  第5號

Francois Devienne                                Sonata in E minor’ Opus 68’ No.5

        與莫札特生存時期幾乎相同的戴維恩，1759年1月生於法國奧特－馬爾納的若安維爾，1803年卒於夏朗頓的療養院，為工匠之子。

Devienne, almost same life time with Wolfgang Amadeus, who was born in Joinville (Haute – Marne) France, January 1759, died in sanatorium of Charenton1803, son of the craftsman.

        十八世紀末，巴黎成為歐洲音樂的中心，音樂會在市民階級中興起，出版界亦十分蓬勃，隨著器樂的發展，舉行公開演奏會的風氣興盛起來，法式樂風是作曲潮流，而戴維恩在當時則為代表性作曲家之ㄧ。

At the end of the eighteenth century, Paris became the center of European music. Concerts were emerging in the public class. The publishing circles were very vibrant. Accompany the development of music instrument, fashion of hold a public concert were flourished. And at that time, Devienne was one of the representational composer.

        對於同時代的音樂家而言，其作品曲風優雅，品味出眾，樂曲的旋律別具巧思，結合了海頓和莫札特的要素而洋溢古典時期作品明朗流暢的特質。初次聽他作品的人常與莫札特有所聯想，曲風相似度高，又英年早逝，故被譽為＂法國的莫札特＂。可惜的是，早年的作品多已佚失，但從留下來的作品判斷，足以證明戴維恩擁有出色的作曲能力，豐富的旋律原創性也備受肯定。他的長笛作品在今日能被認識、喜愛，要感謝長笛家”金˙皮耶˙朗帕爾”在1960年代的大力推廣及介紹。戴維恩還為長笛撰寫過教科書＂長笛理論與練習的方法＂，至今仍實用。

Compared with musicians at the same age, his pieces styles were elegance and superior taste. The melody of his composition is distinctive ingenuity which combined elements of Haydn and Mozart, permeated with clear fluid characteristics of classical period. People whom first listen to his pieces have usually associated with Mozart., high similarity styles and premature death, therefore, he was called as “the Mozart in France”. Unfortunately, many works have been disappeared in early period. But we can judge the left of his works to prove that Devienne have outstanding composition ability, the original of abundant melody has also been affirmed. His pieces of Flute still can be known and loved nowadays have to appreciate the Flutist, Jean-Pierre Rampal, whom promoted and introduced in 1960. Devienne even wrote the textbook of Flute “M’ethode de Flute Theorique et Pratique” which is still useful now.

　　他同時也是一位技巧卓越巴松管演奏者，曾在軍樂隊、巴黎歌劇院、法國大親王劇院等樂團擔任低音管演奏家，並在巴黎音樂院執教，且受派創立長笛學校。其一生創作產量豐富，譜有四首低音管協奏曲，十三首木管協奏曲及序曲，許多包含木管的三重奏及四重奏，八十四首二重奏與十二部歌劇等。

He is also a skillful Bassoon player, he stayed at a military band, Opra de Paris and Thtre de Monsieur…etc bands as a bassoonist and taught at Conservatorio de Paris and was designated to found a Flute school. He created rich pieces in his life, four Bassoon concerto, thirteen concertos for woodwind and overture, many of them include Trios and Quartets, eighty four Duets and twelve Operas…etc.

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     蓋柏瑞˙佛瑞                                               長笛幻想曲  作品79 

     Gabriel. Faure                                                 Fantasie, Op.79 

        佛瑞(1845－1924)，是法國著名的作曲家、管風琴家、鋼琴家以及音樂教育家。九歲至二十歲這段期間在巴黎的尼德梅耶學校接受扎實的音樂訓練，曾師事學校創辦人路易˙尼德梅耶以及聖桑，往後並成為聖桑的得意弟子；他們在關係上亦師亦友，早期攜手為＂法國國民樂派＂奠基，後期由佛瑞於擔任巴黎音樂學院教師任內力行改革，提拔後進。

Gabriel. Faure (1845－1924) is a famous composer, organ musician, pianist and music educator in Fance. During the period of nine to twenty year old, he accepted solid music training at Ecole Niedermeyer in Paris, he had been learned from the founder of school, Louis Niedermeyer and Saint Saens, and became Saint Saens’s proud of his disciples; their relationship like teacher and student and also friends, they laid a foundation of “French National Music School” together in early stage. In his later stage, Faure, when he was the teacher at Conservatorio de Paris Practice, he made many needed reforms and promoted juniors.

        佛瑞創作範圍並不侷限於鋼琴上，他在歌曲伴奏、室內樂、器樂曲等領域均有成就，但以法國藝術歌曲最為後世稱道，歌曲中確切清楚的旋律線，正是法國聲樂的最佳傳統、融合了其他藝術於精神上，包括文學的、繪畫的、詩歌等的；在內容上，法國藝術歌曲並不同於德國藝術歌曲，是極具法國文化特色的。佛瑞被視為十九世紀末，二十世紀初法國重要的作曲家；在於他的作品具獨創性，看似傳統但卻極具自我特色，有自己的一套音樂表達方式，善於藉著巧妙的運用舊有的樣式及加上他最出色的構想將之融入曲子中。

Faure’s creation range not just limited in paino, but also had achievement in Song accompaniment, Chamber music and Instrumental music… etc fields, but his is well known in Melodie, clear and exact melody Line in the song, is the best traditional of France vocal music, in spirit merge other arts, including literature, painting, poetry, …etc; In the content, Melodie is different from Lied. Melodie have strong feature of French culture. Faure was regarded as important composer in France during end of the nineteenth century to beginning of the twentieth century; His work is original, looks tradition but has highly self-characteristics. He has his own way of musical expression, through good at clever making uses of old style and adds his outstanding concept into the music.

        這首曲子是佛瑞受當時的國立巴黎高等音樂院的教授兼長笛家＂塔法奈爾＂之託所寫的長笛入學考曲子；由前奏部分：充滿浪漫及音量上柔和起伏的小行板，通過短暫的過渡樂段後緊接轉成富律動的且快活的快板。曲中洋溢著長笛清澄的音色和優美的音質變化，且和聲進行頗為精緻，雖為長笛及鋼琴所作的曲子，我們還是不難發現，其旋律中具有聲樂之美的元素，也就是富歌唱性，並被認定此幻想曲為其著作中的精華。

Fantasie, Op.79 is a song of admission examination of flute which Faure was accepted to write it from Professor and Flutist “Taffanel” of Conservatorio de Paris; the part of prelude: The Aadantino, full of romantic and gentle undulating in volume, after through a short paragraph of transition music, immediately turn into rich rhythms and cheerful Allegro. The song glow with clear timbre and beautiful tone quality changes of flute, and the harmonic progression is quite sophisticated, although this song is made for the flute and piano, we still can find out the element of the beauty of vocal music, that is, the rich singing character, and the Fantasie was identified the essence of his works.

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克勞德－阿希爾˙德布西　　　　　　　　　　　　　　　　　　　　　　　　西林克斯

Claude-Achille Debussy                                                    Syrinx

　　這首＜西林克斯＞是德布西晚年的作品，於一九一三年完成，但直至一九二七年法國長笛家莫伊斯才將這份沒有標明任何節奏、樂節及任何小節線的手稿整理並加以出版。

    is Debussy’s work in his old age, finished in 1913, but until 1927 a France Flutist Moyse arranged the manuscript (without any mark of rhythm, phrase and any bar line), and published it.

　　題材取用自神話，以潘神的笛子－西林克斯為標題。音符和音符間密切的關連性，樂曲中散發出的濃濃憂鬱暗淡色彩，可說是一首非常成功的寫作；它本為一劇樂配樂中的其中第三首，因極為精美，常被單獨演奏。

     The themes draw from Greece mythology, Base on Pan’s flute - Syrinx as the title. Close relationship between notes and notes, this music disseminate bleak color of deep depression which can be said a very successful writing; it is original the third background music of the musical, it often performed along due to it’s extremely exquisite.

　　整首樂曲調性模糊，但不難從第一及第二小節看出降ｂ小調為其中心調，中世紀調式的採用，成功塑造出不具強烈調性鮮明感的特點。德布西的音樂也常透露出其個人獨特風格：此首＜西林克斯＞在為和弦chord做連接的動機來自於按照自己的喜愛與感覺，並認為和弦不應該被某些既定規則所限制，以製造最佳的音響效果。在旋律方面慣用短小的樂句與阿拉貝斯克風格，並善用半音階，作為一種樂句中經過片段的處理方式，其用意在於模糊調性或描繪瞬間的氣氛，並以他拿手的全音階來引起聽者不安定的感覺，特別是用在結束處，暗示了樂曲所指引的無奈之感。

     The tonality of the whole piece is fuzzy, but from first and second bar, it is not difficult to find out that the B minor is the tonal center. Adopt from Medieval mode, successfully create not strong tonality but vivid characteristic. Debussy’s music often revealed his personal unique style: , the motivation of linking chords is from his personal like and feel, and he thought chord shouldn’t be limited in some established rules, which can make best acoustics. In regard to melody, he use to use short music sentence and Arabesque style, also he is good at this process way which is using Chromatic scale as a kind of passing part in the music sentence, the purpose is to obscure tonality or to describe the atmosphere of the moment, and use his forte of whole-tone scale to bring listeners about insecurity feeling, in particular, in the ending part, imply a sense of helplessness which is guide from the music.  

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