富特文格勒-《贝多芬第九交响曲 1942“黑色”贝九》专辑[ape/分轨][115][赠漆月]

著名的所谓“黑色贝九”,到目前为止唯一的一个版本,Achipel 0270。《The Devil's Music Master - The Controversial Life And Career of Wilhelm Furtwangler》一书,其中的一个章节的标题就是恶魔的生日,在第279页源引希特勒在1942年4月30日晚餐上的原话,他是这样描述我们心中的大师富特文格勒:
Great conductors are as important as great singers.

Had there been a sufficiency of good conductors during the time of the Weimar Republic, we should have been saved the ridiculous spectacle of the rise to eminence of a man like Bruno Walter, who in Vienna was regarded as a complete nonentity.

It was the Jewish press of Munich, which was echoed by its Viennese counterpart, that drew attention to the man and suddenly proclaimed him to be the greatest conductor in Germany.

But the last laugh was against Vienna; for when he was engaged as conductor of the superb Viennese orchertra, all he could produce was beer-hall music.

He was dismissed, of course, and with his dismissal Vienna began to realize what a dearth there was of good conductors, and sent for Knappertsbusch.

He with his blond hair and blue eyes, was certainly a German, but unforunately he believed that, even with no ear, he could, with his temperament, still produce good music.

To attend the Opera when he was conducting was a real penance; the orchestra played too loud, the violins were blanketed by the brass, and the voices of the singers were stifled.

Instead of melody one was treated to a series of intermittent shrieks, and the wretched soloists looked just like a lot of tadpoles, the conductor himself indulged in such an extravaganza of gesture that was better to aviod looking at him at all.

The only conductor whose gestures do not appear ridiculous is Furtwangler. His movements are inspired from the depths of his beings.

In spite of the meagre financial support he received, he succeeded in turning the Berlin Philharmonic into an ensemble far superior to that of Vienna, and that is greatly to his credit.

下面转两篇段乐友评论:福特文格勒是我最崇敬的指挥大师,如上篇文章所述,我收藏有他两个版本的贝九。他的1951年拜洛伊特版一直被认为是贝九最优秀的演绎,被称为“对原作奉献最大”的一次录音,整部作品庄重而紧凑,第三乐章宁静深邃,十分符合他将音乐“哲学化”的风格。

但就我的偏好而言,我更喜欢他1942年4月19日的那次让人感觉“最复杂”的“黑色贝九”。之所以被称为“黑色贝九”,是因为那场音乐会是在二战时举行的,而且举行音乐会的日子正是希特勒生日的前夜,也就是说这是一场“希特勒生日音乐会”。

我曾看到过一段珍贵的演奏现场的影像资料片段,纳粹军人整肃列坐,时任帝国宣传部长的戈培尔等纳粹高层出席了音乐会。我注意到一个细节,在演奏结束后,戈培尔上前与大师握手,握手后,大师用手绢擦了擦戈培尔握过的那只右手。

在纳粹统治德国的那段时间里,大师复杂、痛苦、隐忍而又愤慨的心境也在音乐中表现了出来,因此,大师的战时录音往往采取了极端化的表现方式。在这个版本中,大师强化了重轻音之间的对比,从第一乐章开始,剧烈的冲击就让人惊愕不已,激烈的情绪表达让聆听者几乎失去了思考能力,只能不自觉地溶入这股不可抵挡的洪流。

末乐章几乎到了失控的边缘,乐队和合唱团的表现让人目瞪口呆,似乎要用音乐来摧毁眼前令人痛苦的现实。那当时那样的社会环境中,大师这样的处理的原因和意图我想毋庸赘述了。

由于大师在这次演奏上的极端化处理,所以“黑色贝九”又被成为“最激愤的贝九”。由于年代久远,而且当时是单声道录音时代,传世的“黑色贝九”录音音质很差,音乐的层次感和声部的协调很难听清,而且充满了杂音,但就是在这样粗糙的音乐声中,依然能感受到那巨大的能量。

每次听贝九,总是乐意听那伟大的富特42年4月19日的贝九,因为它的独特而永恒的魅力,又总是不敢去碰它,因为怕我脆弱的神经经不起那巨大的冲击.那何止是一次伟大的演绎,那简直就是一场应该永远被顶礼膜拜的圣餐,一次通往天堂的精神之旅.

那宏伟的音响宏流,简直能让聋子复聪,又能将健全的耳朵震聋!每次,我发现自己总是在颤抖,那是因为我的精神在经受着洗礼.因为上帝的亲吻,富特留下了这次让贝九永垂不朽的演出.它总是让我想起王xi之的兰亭集序,如果有幸能目睹这幅绝世珍迹,又会是另一场视觉上的洗礼吧!

而之后的51年贝九,更像是后世行家临摹的王氏真迹.即使是富特***勒本人,也无法再复制42年那种蕴含着强大生命力的内在张力,那种令人窒息的氛围,那种汹涌澎湃的人声高潮.

因为上帝的亲吻可一而不可再,环境和乐队也会改变,而42年那被纪录的伟大一刻, 将成为人类历史上最宝贵的音响财富之一,成就永恒的传奇!如果只能选一张荒岛唱片,我会毫不犹豫地选择这一张.因为这就是人类精神的原动力,是人性慈祥的闪耀,在黑暗中愈发放射出夺目的光芒!