哈喽!

今天我将跟大家一起仔细看看布莱恩·芬尼豪的弦乐三重奏。
Hello! Today I'm going to have a close look at the string trio by Brian Burnie.     

布莱恩·芬尼豪是一位英国作曲家。
Brian Ferneyhough is an English composer.

他于 1943 年出生在考文垂，这是一个位于英国地理中心的城市。
He was born in 1943 in Coventry, which is a city that lies in the geographic
center of England.

在他出生前的几年，考文垂遭受了德国的空袭
In the years immediately preceding his birth, Coventry was severely damaged
by German air raids.

市中心被完全夷为平地。
The city centre was completely leveled.

在芬尼豪的早期记忆中，他和他的母亲走在市中心广场时，必须穿过德国
人留下的各种弹坑。
For Ferneyhough, some of his earliest memories consist of walking to the town
square with his mother and having to weave through all of the different bomb
craters that were left by the Germans.

一些作家评论说，他后来对受损结构的关注可能与这个早期记忆有某种联
系。
Some writers have commented on the fact that his later preoccupation with
damaged structures may have some sort of connection with this early memory.

然而，总的来说芬尼豪在英国似乎有些水土不合。
But Ferneyhough in England generally speaking were not a particularly good
fit.

他在英格兰找不到一个能够同情他特殊音乐倾向的老师。
He was unable to find a teacher in England that would be sympathetic with his
particular musical leanings.

因为在第二次世界大战后的几年里，英格兰存在一定的保守主义，
There was a certain conservatism in England in the years after the Second World War.

而他真正感兴趣的是像斯托克豪森、布列兹和诺诺这样的作曲家们的激进
的实验。
What he was really interested in were the radical experiments of composers like
Stockhausen, Boulez, or Nono.

      实际上，他拥有一张路易吉・诺诺的 LP 唱片，名为《Canti di vita e

d'amore 》。
In fact, he had an LP of a piece by Luigi Nono called "Canti di vita e d'amore"

他听了很多遍，以至于他自己承认唱片已经完全磨损了。
that he listened to so many times that by his own admission he completely wore out
the record.

他一直在尝试理解这些作品是如何工作的，
So he was also preoccupied with trying to understand how these pieces work,

但由于缺乏文献和优秀的老师，他并没有真正地成功。
but not really quite succeeding because of a lack of documentation and a lack of
competent teachers.

因此，他会试图模仿斯托克豪森等人的作品的表面特征，例如
《Gruppen》这首为三个乐队所作的作品。
He would try to imitate the surface qualities of work such as Stockhausen's "Gruppen"
for three orchestras,

但实际上并不知道这些作品是如何在技术上组合在一起的。
but without really knowing how those pieces were put together technically.

他花了一些时间才组合出一个可行的技巧。
It took him a while to piece together a functioning technique.

他的作品中一个真正有趣的事情是，
One of the really interesting things about his compositions is that

由于他在作曲基本上一切都是自学的，
because of the fact that he was largely left to his own devices

而且在试图将所有那些吸引他的的不同音乐流派综合起来的过程中，必须
从头开始构建出自己的音乐语汇，
and had to come up with his own vocabulary essentially from scratch while trying to
make a synthesis of all these different strands of music that were so fascinating to him,

所以他最终开发出了很多高度个人化和完全原创的技巧。
he ended up elaborating a lot of techniques that were deeply personal and completely
original.

因此，他最终决定前往欧洲大陆学习作曲，
So he ultimately decided to move to the continent to study composition,

最初在阿姆斯特丹跟随 Ton de Leeuw，然后在巴塞尔跟随著名的瑞士作

曲家 Klaus Huber 学习。
initially in Amsterdam with Ton de Leeuw, and then later on with Klaus Huber, a
prominent Swiss composer in Basel.

除了作为作曲家的显赫地位之外，布莱恩·芬尼豪也是一位备受追捧的作
曲教授。
In addition to his prominence as a composer, Brian Ferneyhough is a very highly
sought after composition professor.

因此，在德国弗莱堡市教了多年，然后搬到了他现在居住的加利福尼亚州。
So he taught in Freiburg, Germany for many years before moving to California where
he still lives.

除了他的教授职位外，他还在世界各地定期举办大师班，
In addition to his positions as a professor, he's been giving regular master classes all
over the world,

可以毫不夸张地说，他通过作为一名教师的活动，对多个作曲家的多个世
代产生了深远的影响。
and it's not an exaggeration to say that he's had a profound impact on multiple
generations of composers through his activities as a teacher.

我想谈谈芬尼豪音乐的一些总体上的美学特征。
I'd like to just talk about some of the general aesthetic qualities of Ferneyhoughs
music.

首先可以说的是，他的音乐追求一种彻底的复杂性。
The first thing you can say about it is that his music tends to occupy a register of
radical complexity.

这在他的整个职业生涯中相当一致，但这不仅仅是某一种单一的复杂性。
This has been fairly consistent throughout his entire career, but it's not just any sort of
complexity.

这种复杂性来自于相互交互和干扰的不同线索，
It's a complexity that comes from the mutual interaction and interference of different
strands，
芬尼豪把其称为“力线”。
or what he would call "lines of force".

一首曲子中可能会有三到四种不同的材料，它们以不同的速度和方向同时
展开。
You might have three or four different materials going on in a piece. They're evolving
at different speeds and in different directions at the same time.

虽然其中任何一条单独的线可能相当简单，但他将它们相互碰撞，所以最
终产生的是一种损坏的结构。
what happens is he crashes them into each other, and what you end up with is a
damaged structure of a certain kind.

因此，首先产生了极其独特的形式，但也产生了某种混沌。
So this results in, first of all, extremely unique forms, but it also results in a certain
kind of chaos as well.

他对他的创作方式所产生的复杂、有趣、独特的结构非常感兴趣。
He's very, very interested in the sorts of complex and very interesting and very unique
structures that result from this way of working,

他的音乐中有一些结构是无法通过其他方式进行解释的，
and their structures that you really couldn't elaborate any other way

所以他会将三或四个不同的节奏线索互相地发生作用，
so he might take three or four different rhythmic strands and and forced them to
interact with each other in such a way

结果往往会导致一种可能的崩坏的现实, 这是在这些初始的“起点”的外
部的。
that you end up with a final result that is basically one possible collapsed reality out of
all of these initial starting points

他的音乐另一个有趣的特点是，由于用于生成它的程序非常复杂，
the other interesting thing about his music is that because the processes that are used
to generate it are so extraordinarily complex

所以你最终得到的乐谱在表面上往往会多少的超出可能演奏的极限。
you end up with a surface quality in the score that tends to slightly overstep the
bounds of what is actually possible。

虽然他的乐谱中没有任何东西是技术上不可能演奏的，但其中包含的信息
太多，
so nothing in his scores is actually technically impossible to play but there's so
much information in them

以至于演奏者不得不做出选择，以便为听众呈现这首作品的最终形象。
that a performer is forced to make choices in order to restitute a final image of
the
piece for the public

当你表演一首芬尼豪作品时，你不可能达到 100%的精度，因此比较他的
同一作品的不同演绎版本是很有趣的。
You just can't have 100% accuracy when you're performing a ferneyhough piece
so it's extremely interesting to compare different performances of his pieces.

即使是同一部作品，有比如相同的形式特征或相同类型的表现，不同的演
奏者会倾向于强调作品的不同的侧面：
Because obviously it's the same work and the same formal characteristics or
they're the same type of expression and so on，but different performers will
tend to put the emphasis on different aspects of a piece.

可能有些演奏家优先准确演奏微分音，有些演奏家优先节奏的绝对准确，
还有一些演奏家更注重音色和手势，
so there might be the performer who's extremely preoccupied with getting the
the microtonal pitches exactly correct there might be the performer for whom
rhythm is an absolute priority the performer who tends to insist more on tone
color and gesture

因此，基于不同的演出，你将对每首曲子有不同的处理方式。
so you'll have a different approach to each piece based on different
performances

然而，这些并不是像约翰·凯奇或斯托克豪森人名？？作品？？开放的作
品，后者有音乐的短片散布在整个乐谱上，演奏者必须将它们粘合在一起。
however these are not open works in the sense of John Cage or work such as
Stockhausen dilemma????? where you have fragments of music scattered all
over the page and the performer has to glue them together.

这些被深思熟虑的作品呈现出有连贯的形态，但它们具有过于丰富的信息
量，这不仅影响了表演者如何组织音乐，同时也影响了听众的感知方式。
These are fully worked out works that have a coherent shape and a coherent
form to them but they just have this extravagant excess of information that
affects not only how the performer puts the music together but also how the
listeners perceptions will work.
由于无法完全理解所有的信息，你只能暂时关注一个细节，然后转移到另
一个细节，这使你对这种音乐的理解始终有些滞后，需要用感知追赶才能
在脑海中组织出一个连贯的线性故事情节。
Because you cannot take in all of this information, you’re forced to
momentarily focus on one detail and then another kind of too much about this
music so you have this interesting sense at all times of being just a little bit
behind and having to really run with your perceptions to make some kind of a
coherent linear narrative that makes sense to you in your memory as you work
your way

因此，这种音乐对表演者和观众都提出了巨大的要求。它经常被描述为有
史以来最难演奏的音乐之一，但同时也非常令人兴奋，令人难以抗拒。
through the piece so it's certainly music that makes enormous demands both on
performers and on audiences it's often described as being some of the most
difficult music to play ever written but it's also extraordinarily exciting to listen
to

芬尼豪音乐，它是一种进入全新宇宙的体验，具有完全不同的前提和公理，
我们必须从全新的角度来感知。
and one of the things about ferneyhough is that if it's something where you're
entering into a new universe that has an entirely alien set of postulates it has an
entirely new set of axioms that we're starting out from

因此，你不能抱着对古典作品或甚至二十世纪的一些温和的作品的期望来
听这种音乐，你必须调整自己的感知方式才能在这个新的接收环境中存活。
and so you can't really listen to this type of music with the same expectations
that you might bring to a classical work or even a more moderate piece of
twentieth-century music.you literally have to adjust your perceptions in order to
survive in this new receptive environment

有一个让人印象深刻的事情是，这种调整和某些艺术作品中所发生的事情
非常相近。

and one of the things that strikes me is that that's not altogether dissimilar to
things that happen in certain works of art

例如，当我去卢浮宫看伦勃朗的绘画时，他的作品通常非常暗淡，使用的
颜料往往非常接近，
so for example when I go to the Louvre and look at a painting by Rembrandt
very often his paintings are extraordinarily dark and the the pigments that are
used are often very close together

以至于当你第一次接触这幅画时，你可能无法区分所有不同的平面、极其
微妙的深度以及阴影的使用，
so that when you first come to the painting you might actually not be able to
differentiate all the different planes and the extremely subtle use of depth and so
on

你的眼睛需要几分钟来适应那幅画的范围以及这些细节。
and the shadows your eyes literally have to take a few minutes to adjust to the
scope of that painting

你有一个有限的亮度范围，一旦你花了几分钟适应它，你会看到他的所有
细节，你会开始看到这幅绘画的全部内涵。
You have a limited range of brightness in that work and then once you've had a
few minutes to get used to it then all sorts of details start coming out to you and
you start seeing the full richness of the painting.

另一个很好的例子是 20 世纪的抽象表现主义画家阿德·莱因哈特，他有意
在绘画中使用非常有限的色调范围，
Another good example is the 20th century abstract expressionist painter ad
Reinhardt who deliberately worked with an extremely restricted range of hues
in his painting

他有意在绘画中使用非常有限的色调范围，将红色、绿色和蓝色变暗到几
乎无法与黑色区分，但并非完全如此。
so he would take reds and greens and blues and darken them to such an extent
that they were almost indistinguishable from black but not quite.

你会看到一个阿德·莱因哈特的画，一开始你基本上只会看到一个黑色的
正方形，但一旦你的眼睛适应了它，你就会开始看到这些微小的不同色调。
You'll look at an ad Reinhardt painting and it's extremely interesting because at
first you basically just see a black square but then once your eyes have adjusted
to it you start to see that there are indeed these minutely differentiated shades.

所以在芬尼豪的作品中发生的事情与此相似，在音乐作品中的整体复杂性
和信息量之多，是远远超出了你通常在一首作品中得到的。
So this is kind of similar to what's going on in Ferneyhough in the sense that
the level of overall complexity the amount of information is just radically
beyond what you normally get in a piece of music.
一旦你适应了这种新的感知空间，你就可以开始更容易地定位自己，但这
可能需要学习一些经验才能适应。
Once you sort of acclimatized yourself to this new perceptive space then you
can start to orient yourself a little bit more easily but it can take a few lessons to
get used to.

第二部分

因此，我现在需要具体讨论 1995 年的弦乐三重奏。这是一个非常有趣的

历史作品，因为在 1990 年代，他开始使用一个名为 Patchwork 的程序。
So I need to talk specifically about the nineteen ninety-five string trio now this
is a very interesting piece historically because in the 1990s he starts working
with a program called patchwork.

Patchwork 是由 IRCAM 开发的一款软件，IRCAM 是位于巴黎的一个研究

新技术服务于音乐的研究所，他们致力于开发合成器、程序或设备等等，
使计算机和乐器能够相互交流等等。
Patchwork is a piece of software developed by ear cam and IRCAM is an
institute in Paris that is devoted to advancing new technology in the service of
music so it could be development of synthesizers or programs or devices that
allow computers and musical instruments to talk to each other and so on

Patchwork 是一个非常非常有趣的程序，现在它仍然存在，但是它已经以
不同的形式。
and so forth and patchwork is a very very interesting program now it still exists
today but in a different form.

他现在被叫做 Open Muisc。这个程序的真正用途是，将任何可以用计算机

理解的音乐想法形式化
it’s now called Open Music and what this program is for really is taking any sort
of musical idea that can be formalized in other words that can be expressed in a
way that is understandable to a computer

然后根据作曲家最初的指示，在给定的织体种类上生成各种不同的变化。
and then the computer will generate all sorts of different variations on a given
type of texture based on the input based on the composer's initial instructions.
因此，许多不同的作曲家使用 Patchwork 和后来的 Open Music 来生成非常
复杂的纹理类型，这些类型要么非常乏味和缓慢，手工制作出来需要数周，
要么根本无法以其他方式构想。
So a lot of different composers have used patchwork and later on open music to
help generate very complex types of textures that would be either
extraordinarily tedious and slow to work out by hand or simply impossible to
conceive any other way

这种东西对于芬尼豪来说实际上是理想的，因为在他职业生涯的早期阶段，
他会开发这些非常复杂的作曲之前的计划，因此在实际写作之前，他会制
定所有的规则，确定乐曲的基本特征，如何产生节奏，如何处理音高等
and this sort of thing is actually ideal for Ferneryhough because in the earlier
stages of his career he would develop these extraordinarily complex pre
compositional strategies so before he would actually start working on the score

他有所有这些规则，将决定这首曲子如何产生节奏，如何计算出音高，等
等，
he would have all of these rules in place that would determine the of the piece
how do you generate the rhythms how do you work out the pitches and so on

通常情况下，他要花几周的时间来计算出作品中的某一个线条，然后才会
涉及到作曲的其他方面。
and so forth and oftentimes it would take him weeks just to work out a single
strand in a piece before he would even get to the other aspects of the
composition

所以他的音乐从根本上说是参数化的，换句话说，他将逐层建立起一个乐
谱。
so his music is fundamentally parametrically written in other words he'll build
up a score layer by layer

他从大的格律结构开始，然后开始研究节奏，再加上音高，然后开始研究
打击乐组或者力度等等。
he'll start by working out the large-scale metrical structure and then he might
start working on the rhythms and then he'll add the pitches and then he'll start
working in the details of the tambour and the dynamics and so on.

所以他真的就是一层一层地工作，非常有趣的作曲方式。他从 20 世纪 90
年代开始倾向于利用 Patch work 这个程序，去算出一些作品当中的节奏构
造。
and so forth so he really just works layer by layer very very interesting way of
working.So in the case of patchwork he tended to use this program starting in
the 1990s to work out some of the rhythmical structures in his compositions

他之前要花几周的时间手工制作这些东西，却只能做到一些有限的变化，
so the advantage of working with patchwork is that instead of again having to
spend weeks working out some of these things by hand and then having only a
limited amount of variations to work

但当他使用了 Patchwork 就可以把可以把完全相同的数据输入到这个程序

中，用相同的基本出发点来做他想做的事情，让程序立即生成他所需的许
多变化，所以他可以生成更多的变化。
with patchwork he could put the exact same input into the program the same
basic points of departure for what he was trying to do and have the program
instantly generate as many variations as he wanted on it so he could generate
way more.

所以他可以产生更多的信息，比他实际需要的材料多得多的作品，然后筛
选它们，以更直观的方式对它们进行设计，打造。
so he could generate way more information, way more materials than he
actually needed for the piece, and then sift through them and sculpt them and
shape them in a much more intuitive manner.

因此，这对他的作曲过程是一个巨大的帮助，在 1995 年的弦乐三重奏中，

你可以看到这在 1995 年的弦三重奏中得到了非常令人信服的体现。
So this was a tremendous help for his compositional process, and you see this
being worked out in a very convincing manner in the 1995 string trio.

弦乐三重奏的结构分为四个主要部分，这实际上让人想起了古典弦乐四重
奏。然而，这首作品中发生的事情有点不同。
The string trio is structured in four main sections, and this actually calls to mind
the classical string quartet. However, what's happening in this piece is a little bit
different,

芬尼豪非常关注受损结构和构造，这些结构或构造在某种程度上被破坏，
以至于你无法完全感知它们，它们在作品中或以某种方式崩坏，或在某一
个时刻停止了运作。
in the sense that Ferneyhough is very interested in damaged structures and
constructors that are somehow compromised so that you can't quite perceive
them, or they somehow break down, or they stop functioning at a certain point
in the piece.

因此，他一开始就为每个乐章预设了明确的前提条件，但随着作品的推进，
这些条件逐渐被他所谓的“干预”打破。
So he starts out with what appears to be a very clear set of postulates for each
movement, but as you work through the piece, it's gradually interrupted by a
series of what he calls interventions.

这些“干预”是一些与整个作品完全不相符的小音乐片段，它们不符合逻
辑，与之前或之后的音乐没有任何关系。
These interventions are little fragments of music that are completely alien to the
rest of the piece; they're just non sequiturs, they have nothing to do with what
came before or what comes afterwards.

它们打乱了音乐的流程，同时也迫使你以更加客观的距离去看待刚刚发生
的事情，以及可能即将发生的事情。
They both break up the flow of the music and they also force you to view what
just happened and maybe what's about to happen with a little bit more distance.

起初，这些“干预”只是非常短的小片段，它们发挥了它们所要表达的内
容，然后就停止了，接着你就会继续听到原来的作品。
So at first, these interventions are just these very short little fragments, and they
do what they have to say and then they stop, and then you get on with the piece.

但随着作品的推进，“干预”变得越来越明显，直到最后，你已经无法确
定哪些是“干预”，哪些是主要部分的片段；整个作品开始变得模糊不清，
一切都开始崩溃和分解。
But as the piece continues, the interventions become more and more prominent
until by the end, you're no longer actually clear what is an intervention, what is
a fragment of one of the main sections; it becomes very ambiguous and
everything basically starts to fragment and breakdown.
这首曲子中有四种类型的“干预”，它们在乐谱中编号为一到四。第一种
“干预”与”八分音“的使用有关，这是一种间隔极小的微分音，它们只
会在第一次干预中出现。
There's four types of interventions in this piece, and they're numbered one to
four in the score. So the first interventions have to do with the use of eight
tones, so extremely small micro intervals that are being used and they're only
used in this first intervention.

第二次干预具有完全不同的织体。它基本上是一个二声部的织体，其中一
个独奏乐器演奏基本上是 32 分音符或 64 分音符的连续音符，而另一个乐
器会演奏非常严格的，机械性的断奏。
The second intervention has a completely different type of texture; it's basically
a two-part texture where you have a solo instrument that's playing basically a
continuum of 32nd or 64th notes, and then you have the other instruments
playing this very rigid mechanical staccato music.

在第三个干预中，你会听到几乎相近但不完全相同的和弦，它们稍微有些
倾斜。In the third interventions, what you have are chords that are almost
together but not quite, they're just a little bit off-kilter,

在第四个干预中，所有四个乐器都演奏一个非常缓慢而规律的机械节奏，
几乎像钟的滴答声，每次迭代之间有休止。
and then in the fourth intervention, you have this very slow regular mechanical
rhythm being played by all four instruments, almost like the sound of a ticking
clock with silences in between each iteration.

这首曲子的项目超出了总体形式，即我刚才所描述的形式的计划。不仅如
此，芬尼豪亦非常喜欢将他的音乐与整个音乐史联系起来。
The project of the piece goes beyond just the overall form, the formal strategy
that I just described. There's also something else: Ferneyhough loves to tie in his
music with the vast history of music generally speaking.

因此，在这个弦三重奏的情况下，他调查了整个弦三重奏作为一种体裁的
历史。
So in the case of the string trio, what he did was he investigated the entire
history of the string trio as a genre.

芬尼豪写了一个很长的系列的弦乐四重奏作品，因此他与弦乐四重奏体裁
紧密相关。弦乐四重奏的特殊之处在于它基本上是一种对话式的媒介。
So Ferneyhough is somebody who has written a long series of string quartets,
he's very associated with the string quartet genre, and the particularity of the
string quartet is that it's basically a discursive medium.
换句话说，你会有一个材料 A 和一个有对比性的材料 B，然后这两个材料
会彼此进行对话，并在经历作品的演变过程后最终会被融为一体。
In other words, you'll have an element A and then a contrasting element B, and
then these two elements will enter into a dialogue with each other, and over the
course of the piece, they will eventually become synthesized.

因此，早期的弦三重奏例子比较倾向于一个不同的方法。该类型早期的例
子似乎具有更多娱乐性的套曲风格，换句话说，它们是轻松愉快的作品，
没有那么沉重，
So the string trio genre has tended to work in a very different manner. So the
earlier examples of the genre seem to have more of a divertimento type of
quality, in other words, lighter pieces that are a little bit more
entertaining.They’re not quite as heavy

并且它们通常由一系列较短的乐章组成，常常是巴洛克舞蹈套曲的形式。
and they tend to be made up of a series of shorter movements, so often in the
sense of a baroque dance suite for example.

在 19 世纪和 20 世纪，您开始看到弦乐三重奏作为一种体裁几乎消失。在
20 世纪，几乎没有作曲家写弦乐三重奏的例子。
In the 19th and 20th century you start to see the string trio almost disappear as a
genre. In the 20th century there are very, very few examples of composers
writing string trios.

有几个著名的例子，例如韦伯恩写了一首弦乐三重奏，阿诺德·勋伯格也
是如此，但这些作品在属于一种类型的方面没有任何特定的凝聚力
There are a couple of famous examples, so Webern wrote a string trio and so did
Arnold Schoenberg, but these pieces really don't have any particular cohesion to
them in terms of belonging to a genre. They're just very, very disparate.

他对弦乐三重奏这种“没能成为一种体裁的体裁“感到兴趣。它（作为一
种体裁）没有任何内在凝聚力。
He's interested in the fact that the string trio is a kind of a genre without being a
genre.
It has no particular cohesion to it.

他还对弦乐三重奏一些事实感到兴趣：弦乐四重奏会有两个相同的乐器，
因此有两个小提琴和一个中提琴和大提琴
He's also interested in the fact that in the string trio, unlike the string quartet
where you have two of the same instrument, so you have two violins and then a
viola and a cello,

而在弦乐三重奏则与此不同，每个乐器只有一个 — — 一个小提琴，一
个中提琴和一个大提琴。这实际上是极其重要的。
In the string trio you have only one of each, you have one violin, one viola, and
one cello. This actually turns out to be extremely significant.

在弦四重奏中，当你有两个小提琴的时候，可以产生管弦乐效果；当你有
两个相同的乐器时，可以有各种各样的不同的织体类型和乐器的组合方式，
So in this in the string quartet, you have two violins, that allows you to have
orchestration effects, when you have two of the same instrument, you can have
a vastly varied number of different types of texture and different combinations
of instruments,

而在弦乐三重奏中，您无法做到这一点，每个乐器都会变得非常突出，你
能非常清楚地分辨到每个乐器的不同特性。
and in the string trio, you can't really do that, each instrument is cruelly
exposed, and you're very, very aware of the individuality of each instrument.

弦乐三重奏很难在圆满的音响和管弦乐织体下获得饱满的声音。因此，这
个弦乐三重奏的挑战是，他如何使用仅三种乐器创建非常饱满而又厚实的
织体。
It's very difficult to have a full sound at full sonority and an orchestral texture.
So the challenge of this particular string trio was how does he create the very
full and thick textures that his music is associated with using only three
instruments,

在弦乐三重奏当中，她很成功地做到了这一点。这是一首让人兴奋的作品。
and in the string trio, he succeeds brilliantly. It's a piece that's absolutely
hyperactive.

他几乎每时每刻都充满着有趣的织体，所以我们需要更加仔细地研究这首
曲子是如何运作的。
It's got extraordinarily interesting textures going on all the time, so we're gonna
have a closer look at exactly how that works.
所以我不可能对这首曲子进行完整的分析，因为它会花费数小时甚至数天
时间，因为它包含着如此之多的内容，但我只会关注其中的某些方面。So
I can't possibly do a full analysis of this piece, it would take hours and hours
and hours, if there's so much going on in it, but I'm just gonna zero in on certain
aspects of it.

我现在开始看第一部分和他的“干预”部分。
I'm gonna have a look at the first section and then I'm also going to look at the
intervention. So the first section is labeled mesto in the score, which is an Italian
word meaning melancholy,

第一节在乐谱中被标记为“悲伤”（意大利语单词 mesto），并以一个非
常引人注目的中提琴独奏开始。
and it starts out with a very, very compelling viola solo.

因此，这个第一部分实际上就是每个弦乐器的进行一系列的独奏，然后会
出现作曲家所称的“扩展”。
So this first section is actually a series of solos for each of the three string
instruments followed by what the composer calls amplifications,

也就是说，一个乐器开始演奏并揭示一种特定的音响世界，然后其他两个
乐器也会进入，并扩展和延伸由最初的独奏演奏者所提出的乐思。
so in other words, you'll have an instrument that starts and it will expose a
certain type of sound world, and then the other two instruments will enter and
also amplify and extend the idea initially stated by the soloist.

因此，每个独奏探索了音乐的不同维度或不同质量。中提琴独奏探索了静
态的和声空间，并以某种怀疑、犹豫、试探和静止的形式为特征。
So each solo explores a different dimension or different quality of music. The
viola solo explores a static harmonic space, and it's characterized by a certain
form of doubt and hesitation and tentativeness and stasis.

小提琴独奏听起来更加外向，有两个不同的节奏层同时进行，因此它具有
一种复调的维度；
The violin solo is much more extroverted sounding. It's got two different
rhythmic layers going on simultaneously, so there's a polyphonic dimension to
it,

而大提琴独奏则像是一种浪漫的，夸张的求偶式的独奏。它非常有趣。
and then the cello solo is like a parody of a romantic hyper-expressive sort of
mating sort of solo. It's actually quite funny

所以可以说，芬尼豪有一种恶作剧的幽默感，他总是会模仿甚至夸张地表
现出一些古典和浪漫音乐的表现特征
so ferneyhough has a wicked sense of humor and he's always sort of parodying
and exaggerating some of the expressive tropes of a classical and romantic
music

所以他将这个个体表达自己的想法发挥到了荒谬的极致
and so he takes this idea of the individual expressing themselves and just takes
it to a ridiculous extreme

所以让我们现在更仔细地看一下中提琴独奏。我提到它探索了一个固定的
和声空间，那么我什么意思呢？
so let's have a closer look now at the viola solo so I mentioned that it explores a
fixed harmonic space so what do I mean by that

而这在某种意义上可能是乐器八度中最具特色的部分，因此我们被困在最
不具特色的中提琴八度的
他采用了这个微分音音阶，换句话说，使用四分音音程，比你在钢琴上能
弹奏的最小音高度还要小，他把每个音调影响到特定的八度，
he takes this microtonal scale so in other words using quarter tones intervals
smaller than the smallest intervals that you can play on a piano and he effects
each pitch to a particular octave

所以换句话说，每次 F#音高出现时，它总是出现在同一个音域中，每次
出现四分之一半音的 B 音高时，它都出现在同一八度（也就是同一音域）
中，依此类推。
so in other words every time the pitch f-sharp appears it will always appear in
the same register，every time a B 1/4 sharp appears it appears in the same
octave and so on

所以“音域的空间”是固定的，在这个音域里能够使用的音高的数量也是
固定的。
and so forth so the register space is fixed and there's a fixed number of pitches
that he's allowed to use

换句话说，没有和声演变，你只有这个固定的空间，所有音符在同一时间
都被固定在同一位置，每次它们重新出现时，它们都在同一八度中重新出
现。
so in other words there's there's no harmonic evolution you just have this fixed
space all of the notes are sort of stuck in the same spot at all times and every
time they reappear they reappear in the same octave
这是一个非常有趣的策略，但他为了使这个空间活跃起来，他设计了一个
不断变化的一系列节奏图案，特别是不同的音色。
so that's a very interesting　strategy but what he does in order to animate this
space is he has a constantly varied series of rhythmic figures and especially of
different tone colors.

这个中提琴独奏也占据了极窄的动态范围，所以当我播放这个独奏的一部
分时，你会发现我们一直保持在非常弱的 PPP 的力度范围内。
this viola solo also occupies an extremely narrow range of dynamics so you'll
you'll notice when I play an excerpt from this solo that we remain in a dynamic
register of three P's of pianissimo so very very very soft delicate sounds

他进一步通过使用几乎难以控制、无法听清的演奏技巧，使这些声音变得
细腻而脆弱。
and he further makes these sounds delicate and fragile by using playing
techniques that are really on the edge of control inaudible

例如，col legno 这一种奏法。演奏这种技术的时候，会用琴杆的部分演奏，

而不是用弓毛。因此会产生这种非常不稳定，犹豫和玻璃般的声音。
so for example : col legno which is a technique that involves playing with the
wood of the bow not not the hair of the bow as you normally do but the actual
wood so that produces this very unstable sort of hesitant kind of glassy sound

它的另一个特点是，它始终停留在中提琴的极高的音区，这不是中提琴的
常用音域。
the other thing about it is that he stays in the extreme high register of the viola
throughout so that's not the sort of standard register of the viola

除此之外，它还避免使用乐器的 G 弦，尽管在某种程度上，这也许是乐器
音域中最具特色的音域。
and he also avoids the 4th string of the instrument which is in a certain sense
maybe the most characteristic part of the instrument's register

所以我们一直停留在平流层中，而中提琴则是最不具特色的音域。此外，
演奏者还使用了很多奇怪而脆弱的演奏技巧
so we're stuck all the way up in the stratosphere and the least characteristic
register of the viola and on top of that he's using all of these very strange fragile
playing techniques

那我们来听一下吧，我会把乐谱放在屏幕上，这样你就可以看到它的样子
so why don't we listen to it now and I'll put the score on the screen so you can
see what that looks like.
现在我想快速地看一下小提琴独奏部分
okay so now I'd like to have a quick look at the violin solo.

这里将小提琴视为非常出色和外向的乐器
The violin here is treated as a very brilliant extroverted instrument.

这与中提琴独奏的情况完全相反
and this is in complete contrast to what was going on in the viola solo.

不断探索这种复调思想，即同时进行两个节奏线
constantly exploring this sort of polyphonic idea where you have two rhythmic
strands going on at the same time.

这非常难演奏，小提琴手必须演奏非常复杂的不同步的，并且重叠的节奏，
并找到一种技术手段来做到这一点。
This is very very difficult to perform incidentally the violinist has to play these
extraordinarily complex rhythms that are asynchronous and that are piled on top
of each other and sort of find a technical way to do that.

通常您会发现一个手指演奏一个节奏，另一个手指演奏另一个节奏，他同
时在两根弦上演奏，因此非常复杂。
often you'll have one finger doing one rhythm another finger doing another
rhythm and he's doing it on two strings at the same time so it's extraordinarily
complex.

但它也具有非常出色和外向的品质
but it's also got this very brilliant very extroverted quality.

那么让我们听听小提琴独奏吧。
so let's have a listen to the violin solo

结束一下，我想给你播放大提琴独奏，这个大提琴独奏是一个非常夸张的
滑稽模仿抒情大提琴独奏，你会发现它在不停地跳跃，跨度非常大，使用
了非常夸张的揉弦，并从始至终制造了一种戏剧化的效果。
Finish off, I'd like to play for you just the cello solo, so the cello solo again is
this like is this ridiculous parody of a very expressive lyrical cello solo, and
you'll see that it's zipping all over the place, very, very large intervals, very sort
of exaggerated use of vibrato, and a kind of theatrical gestural quality to it
throughout.

OK，我们现在已经听了一个系列的独奏了。
Okay, so what we just heard were a series of solos.
我已经剪掉了“扩展部分”，所以如果你想听他们，你需要所以如果你想
要听那些部分，你需要回去实际去听这首曲子。
I've cut out the amplification, so you'll need to go back and actually listen to the
piece if you want to hear those,

要点是，开头部分的结构非常清晰。它不能再清晰了。你有一系列的三个
独奏，然后是每个独奏的三个“扩展部分”。
but the point is the opening section is very structurally clear. It couldn't be any
clearer. You have a series of three solos followed by a series of three
amplifications of each.

好的，到这个地方，这个部分的结构开始变得混乱，我们开始出现越来越
多的形式上的模糊，不确定哪些是“主要部分”，哪些是“干预”。
Okay, so at this point, the structure of the piece really starts to break down, and
we start getting more and more formal ambiguity in terms of what is the section
and what is an intervention.

第三部分

所以接下来我想看看这三个“干预”的音乐类型以及它们是如何运作的。
So what I'd like to do next is have a look at these three interventions and what
sort of music they're playing and how they function.

我之前提到过干预基本上是为了打破作品的流程，所以我要看看我实际上
的意思是什么。
So I mentioned earlier that the intervention basically served to disrupt the flow
of the piece, so I'm going to have a look at what I actually mean by that.

在屏幕底部，你会看到“干预 1 号”的完整乐谱。它只有两个小节长，是
一个非常短小的片段，但是，它是一个完全不同的音响世界，与我们之前
所听到的完全不同。
So here at the bottom of the screen, you'll see the complete score of intervention
number one. It's only two bars long, it's a very short little fragment, but again,
it's a completely different sound world to what we've had before.
所以只有在“干预 1 号”及其变体中会出现八分音——这些是非常狭窄的
音程。
So only in intervention one and its variants do we have the use of eighth tones,
so these are extraordinarily small intervals,

芬尼豪所做的就是定义了这样的一个很小的空间，以做到比如从 C#到 C，
他可以经过介于这两个音之间的这些微分音。
and what he does is he defines a little tiny space, so he might be moving from,
for example, C sharp to C natural, but he has this granularity to it, so you have
all of these tiny little microtones in between those two notes,
而且在此之上，他在这个织体中加入了很多参差不齐的节奏的重复，并且
让它们叠在一起，所以你可以听到一个非常引人入胜，非常不寻常的织体。
and on top of that, he has these repeated rhythms going on in this texture that
are asynchronous and they're piled on top of each other, so you get a very, very
compelling, very unusual sort of texture.

Let's just have a listen to intervention one.

而且我们现在来听一下“干预 1 号”吧。

OK，那么在“干预 2 号”中，这又是一种非常不同的方案。
Okay, so in intervention 2, what we have is a very different sort of strategy.

作曲家将其描述为具有一种僵硬感，一种机械性。
It's described by the composer as having a kind of rigidity, a kind of mechanical
quality to it,

我们看到这这里有两个节奏层。第一个节奏层，它更或多或少是连续的，
是一个非常快速的音符连续流，
and actually what's going on here is you have two rhythmic layers. You have
one rhythmic layer that's more or less continuous, a continuous flow of very
rapid notes,

而另一个层则标志着这些非常短小、很有规律的干预。
and then the other layer is marked by these very sort of staccato rigid short little
interventions.

所以这是一个由两部分组成的织体，再次与前面的干预截然不同，但在这
个作品中，它们只是相互并列。
So this is a texture in two parts and again, radically different from the preceding
intervention, but in the piece itself, they're just sort of stuck up next to each
other.

没有特别的原因让第二个干预跟在第一个之后，它们之间没有因果关系，
也没有有机的联系，它们是不符合逻辑的。
There's no particular reason why two should follow one, there's no causality,
there's no organic connection between the two. These are just non sequiturs.

干预 3 号探索了另一种织体类型，这是一种几乎相邻但略有不同的和弦织
体，
Intervention 3 has yet another texture type that it explores, and this is a texture
of chords that are almost together but not quite,

它们只是稍微偏离了一点，它们可以在移动中逐渐远离彼此或逐渐靠近，
以便在 attack 时间上更加接近。
they're just slightly off, and they can move in such a sense that they become
gradually more distant from each other or gradually closer together in terms of
the attacks being together.

好的，现在我想更详细地谈谈这首作品中使用的节奏程序。
Okay, so now I'd like to talk a little bit more about the rhythmic procedures used
in this piece.
harmonies,顺便说一句，屏幕左下角的图像取自 Cristobal Halffter 的另一部
无关作品。
And incidentally, the image here on the bottom left of the screen is taken from
an unrelated work by Cristobal Halffter.

因为您可以使用 Patchwork 生成音高、和弦、和声，

Because you can use Patchwork to generate pitches, chords,

你可以使用 Patchwork 生成音高、和弦、和声、节奏等，但这只是一个小

小的截图，展示了 Patchwork 或 Open Music 的工作环境。
Because you can use the patchwork to generate pitches, chords, harmonies,
rhythms, whatever, but that's just a little screenshot to show you what the
working environment of patchwork or Open Music looks like.

在你所看到的乐谱示例中，你肯定会注意到从节奏的角度来看，音乐非常
复杂。

So in the examples that you've seen so far of the score, you'll have certainly
noticed that the music is extraordinarily complex from the point of view of
rhythm.

所以你会看到所有这些所谓的“连音”或嵌套的“连音”。换句话就是复
杂的、复合的、不合理的节奏，它们相互嵌套。

So you have all of these what are called tuplets or nested tuplets, in other words
complex, compound, irrational rhythms that are sort of nested into each other.

你可能有三甚至四层这样的“连音”嵌套在一起，就像俄罗斯套娃一样。

You might have as many as three or even four layers of these tuplets fitting
inside of each other, sort of like Russian dolls.

我认为其中最有趣的一个方面是，这并不是一种只靠机械或数学方式冷静
地计算出来的音乐。
I think one of the most interesting aspects of it is the fact that it's not music
that's just sort of coldly calculated in a kind of mechanical or mathematical
manner, not at all.

在芬尼豪的音乐中，真正有趣的是，你能够看到两种完全不同的工作方式
的碰撞。
What's really interesting in for Ferneyhough is the fact that you have this
collision, this head-on collision of two radically opposed ways of working.

一方面，是的。他必须以形式化的思维来产生这些节奏，是一种高度形式
化的、过程化的、基于约束的工作方式。
on the one hand, yes, he does have to formalize his thinking in order to generate
some of these rhythms, there is a highly formalized, procedural, constraint-
based aspect to his work.

但另一方面，你有一种火热的灵感，将这个原材料以一种非常感性的方式
雕刻和塑造。因此，在他的音乐实现中也存在一定程度的自发性。
But on the other hand, you have the sort of hot spark of inspiration that is sort
of taking this raw material and sculpting it and shaping it in a very intuitive
manner. So if there's also a certain kind of spontaneity in the actual realization
of his music.

因此，要使用 Patchwork，你必须能够形式化你的乐思，必须能够以计算
机可以理解的方式表达它们。
So in order to work with patchwork, you have to be able to formalize your
musical ideas, you have to be able to express them in a way that a computer can
understand.

因此，如果你正在处理节奏或音高或其他任何东西，你需要能够用数字来
表达你的想法。
So in other words, if you're working with rhythms or pitches or whatever it may
be, you need to be able to express your ideas in terms of numbers.

因此，在这个特定的例子中，它们被表示为一个列表。
So in the case of this particular piece, they're expressed as a list.

我们首先看到的是该列表有一个开放的括号和一个闭合的括号，这告诉我
们它是一小节的音乐。
The first thing we see here is the list has an opening bracket and a closing
bracket, and what that tells us is that it's one bar of music, one measure of
music.

在开放的括号后面，我们有数字 4，所以这个初始数字告诉我们这个小节
有多少拍。
After we have the opening bracket, we have the number four, so this initial
number tells us what is the number of beats in this bar.

现在它并没有告诉我们它是 4/4 节拍、3/4 节拍、7/8 节拍还是 4/16 节拍，

换句话说，它并没有告诉我们拍子单位的大小，它只告诉我们在这个小节
中有多少拍。
Now it doesn't tell us if it's a bar of 4/4 or 3/4 or 7/8 or 4/16, it doesn't tell us, in
other words, the size of the beat unit, it just tells us how many beats there are in
that bar.

这个例子的开头和前一个一样，我们有一个左括号，然后再次是数字 4，
这告诉我们这个小节有四拍，然后再有一个左括号，然后我们有三个数字
1。
This next example starts the same as the previous one, so we have an opening
bracket, then the number four again, that tells us that there are four beats in the
bar, then another opening bracket, and then we have three times the number one.

到目前为止，这与前一个例子相同，只是在第三个 1 后，又有另一个括号
打开，在这个括号里面有三个 1。
Okay, so far it's the same as the previous example, except that after we get to the
third one, we have another bracket that opens up, and inside that bracket, there
are three more ones.

现在我要看看芬尼豪如何使用这种技术来生成一些更复杂的例子。这是芬
尼豪和一个弦乐三重奏共同开发的一种程序示例。
So now I'm going to have a look at how Ferneyhough generates some of the
more complex examples using this technique. Here's an example of a procedure
that is developed by ferneyhough and a string trio.

为了阐明这个程序，我看了这本特定的书，里面有一篇由 Mount 的作曲家

和研究人员撰写的精彩文章。
So in order to elucidate this procedure, I have looked at this particular book, so
there's a wonderful article in here by the composer and researcher behind
Mount.

Mica Malt 是一位巴西的音乐家，他在 IRCAM 工作，并与芬尼豪一起开发

了在 Patchwork 中使用的子程序或补丁，以编写这首曲子的各个方面。
So Mica Malt is a Brazilian musician who works at IRCAM, and he worked
with Ferneyhough on developing the sub-programs or the patches that are used
in patchwork in order to write aspects of this piece.

芬尼豪有趣的事，与许多 20 世纪的音乐不同，如果你基本上知道作曲家
是如何工作的，你可以大致推断出用于编写它的连续步骤是什么，
The interesting thing about ferneyhough’s music is that, unlike a lot of 20th-
century music where if you basically know how the composer is working, you
can sort of figure out what the successive steps were that were used in order to
write it,

但在芬尼豪的情况下，这基本上是不可能的，因为有许多不同的线条堆叠
在彼此之上，并以通常非常复杂和混沌的方式相互作用，以至于变成如此
极为复杂的乐谱。
in the case of ferneyhough, this is basically impossible just because there are so
many different strands piled up on top of each other, interacting with each other
in often very complex and chaotic ways, so that you have this extremely
complex surface.

如果你只通过总谱，对他反向分析，去弄清楚他通过什么步骤来生成这样
复杂的乐谱，这将是不可能的。
But if you were to only have access to the score and try to reverse engineer it
and figure out what the steps were that were taken in order to result in this
surface, well, it would just be impossible.

因此，你需要知道作曲家的具体程序或者参考草图。所以我非常感激这本
书的存在，因为它为理解这种音乐是如何组合在一起的方面提供了很大的
帮助。
So you really need to either know specifically what the composer's procedures
were or have access to the sketches. So I'm very grateful that this book exists
because it's just a great help in understanding how this music is put together.

好的，让我们看一下这个例子。你将在屏幕底部看到六个例子，
A、B、C、D、E 和 F，这些例子是用 Patchwork 生成的不同节奏。

OK, so let's have a look at this example. So, you'll see at the bottom of the
screen, we have six examples, A, B, C, D, E, and F, of different rhythms that are
produced with patchwork.

让我们看一下这里的例子 A。其中的一些方面可能会让我们联想到之前例
子中看到的。我们有一个开括号，后面跟着数字 4，所以这告诉我们这是
一个四拍子的小节。
Let's look at our example A here. Aspects of it will be familiar from what we
already looked at with our previous examples. We have an opening bracket
followed by the number four, so again, that tells us this is a four-beat bar.

这并没有告诉我们这个小节中的律动或个别音符的数量，只告诉我们这个
小节的节拍。所以这个小节的节拍里会有一个四。
That doesn't tell us the number of pulses or individual notes in the bar, just tells
us what is in the time signature, so that tells us that there's going to be a four in
the time signature.

然后又有一个开括号，里面是数字 1。到目前为止，这与之前的例子完全
相同。然后，在此之后，我们有数字 2，然后又有一个子括号打开，里面
是数字 3。
Then another bracket opens up, and you have the number one. So far, that's
identical to the previous examples. Then, after that, we have the number two,
and then another sub-bracket opens up, and we have the number three.

再有一个子括号，再次是数字 4 和 5。然后这些子括号关闭，最后是数字
6。因此，所有这些子括号中，我们将会有嵌套的多连音。这就是基本含
义。
Another sub-bracket, again the number four and five. Then those sub-brackets
close up, and we have six at the end. So, what this means is that with all these
sub-brackets within brackets and so on, we're going to have tuplets within
tuplets. That's what that basically relates to.

关于这个列表的第一件事是，它是一串连续的数字。1、2、3、4、5、6。
如果我们数一下这个小节中的所有主脉冲，也就是小节中基本脉冲的数量，
我们得到的是：1+2+3=6。
The first thing you can observe about this list is that it's a list of consecutive
numbers. So, 1, 2, 3, 4, 5, 6.If we count up all of the main pulses in this bar, just
the basic number of pulses in the bar, here's what we end up with. We have to
add 1+2+3. That's six.

现在，我们有一个开括号，里面是 4 和 5。我们现在暂时忽略它。最后，
有一个 6。所以，是 6+6=12。Now, we then have a bracket that opens up, and
we have 4 and 5 inside of it. We're going to ignore that for now. At the end, we
have six. So, that's 6+6.

这意味着我们要把 4/4 的小节均分为 12 个音符。显然，这并不是一种非理

性的方式。
That means we have 12 equal pulses in this bar. There's a problem.
Obviously, 12 doesn't fit in a particularly obvious irrational way inside a bar of
4/4.
这意味着我们必须有一个最初的多连音括号，使我们能够将 12 压缩到 4/4
小节的时间中。最简单的方法是想象在八个八分音符的空间里有 12 个八
分音符。
That means that we have to have an initial tuplet bracket that allows us to
squeeze 12 into the time of the 4/4 bar. The easiest way to do that is to imagine
that we have 12 eighth notes in the space of eight eighth notes.

通常，在 4/4 小节中，你会有八个八分音符。在这里，我们有 12 个八分音

符的时间。这使我们能够适应这组脉冲中的所有脉冲。
Normally, in a bar of 4/4, you would have eight eighth notes. Here we have
twelve in the time of eight. That allows us to fit in all of the pulses that are in
this unit that are in this set of pulses.

我们第一个脉冲是数字 1。这意味着我们将会有一个八分音符。下一个是
数字 2，这意味着我们将会有一个四分音符。
The first pulse that we have is the number one. So that means we're going to
have an eighth note. The next one is the number two, so that means we're going
to have a quarter note.

换句话说，等同于两个八分音符的东西。到目前为止，一切都还好。
In other words, something that's equivalent to two eighth notes. So far, so good.

当我们到达下一个脉冲时，我们看到它是 3。通常，这将等同于一个附点
四分音符，除了在数字 3 之后，我们有一个括号打开，里面是数字 4 和
5。
When we get to the next pulse, we see that it's a three. That would be normally
equal to a dotted quarter note, except that after the three, we have a bracket
opening up, and we have the numbers four and five inside of it.

这意味着，在付点四分音符的空间里，我们需要一个 4+5 的均分单位。也

就是说，在第三个拍子里会有两个节拍，它们之间的比例是 4：5。
That means, in the space of a dotted quarter note, we need to have 4+5 equal
units. That means there's going to be two beats within that third beat, and they're
going to have the proportion of four to five to each other.

换句话说，4+5=9。这意味着我们需要在六个十六分音符的时间内使用九
个十六分音符。具体分配如下：
So, in other words, 4+5=9. That means we're going to have nine sixteenth notes
in the time of six sixteenth notes. That is going to be divided up as follows.
这里有 4 个四分音符，紧随其后是 5 个十六分音符 — — （乐谱上写
成）一个四分音符和一个与十六分音符连起来的四分音符。
We're going to have a four sixteenth-note pulse followed by a five sixteenth-
note pulse, a quarter, and then a quarter tied to a sixteenth.

然后把括号合上，在结尾处，有 6 个八分音符，也就是一个附点八分音符。
Then those sub-brackets close up, and at the end, we have six, something
equivalent to six eighth notes, which would be a dotted half note.

你可以在屏幕上看到当你将它转化成普通的记谱方式时它实际上是什么样
子的。这非常抽象，非常疯狂，但这就是它的方法论。
So you can see here at the screen what that actually looks like when you
translate it into normal musical notation, so that's what you end up with. Okay,
so pretty abstract, pretty crazy, but that's how this works.

接下来会发生什么，我不会详细介绍每个例子，但接下来发生的事情非常
有趣。他做的是，在这个从 1 到 6 的连续数字列表的基础上，将它进行移
位。使列表二不是以 1 开始，而是以 2 开始，所以你会得到 2,3,4,5,6,1。
What happens next? I'm not going to go over every single example in detail, but
what happens next is very interesting. What he does is he takes this list of
numbers, this list of consecutive numbers from one to six, and he rotates it so
that list number two, instead of starting on one, it starts on two. So you go two,
three, four, or five, six, one.

第三个列表从数字三开始，所以是 3，4，5，6，1，2 等等，就这样，你

只是移位了列表的值。每次将它们向左移动一个位置，然后这个转换的结
果就被转换成节奏符号。
Okay, and then the third list starts on the number three. So three, four, five, six,
one, two, and so on and so forth. So you're just rotating the values of the lists.
You're shifting them over by one space each time, and then the result of this
rotation is then transformed into rhythmic notation.

所以，你得到了一系列基于这个初始列表的变化，这些变化具有不断变化
的内部结构。那就是说，不同密度的律动，不同音高的时值的分布将以完
全不可预测的方式不断变化。
So what you get is a series of variations on this initial list that have constantly
changing internal structure. Okay, so what that means is the disposition of
different densities of different pulse duration and length is going to be
constantly shifted around in a completely unpredictable manner.

然后他会采取多个类似于这样的程序进行排列的线索，不同类型的变化等
等，并将它们在谱子上进行复调排列。
So then what he will do is he'll take multiple strands that are like this of
different procedures being carried out on lists, various types of variations, and
so on, and dispose them polyphonically in the score.

例如，他可能会创建一个初始矩阵，看起来像是十个经过上述处理的不同
的层。然后他会筛选成三个层。
So he might create an initial matrix, just to give a random example, look like ten
different layers of processes like this,

他会说：“好的，我会把它应用到这个小节和那个小节，我还喜欢这个，
所以我会使用它。”
and then he'll boil it down into three parts by saying, "Okay, I'll take this bar
here and this bar there, and I like this one, so I'm gonna use that one," and so on.

非常直观地塑造材料，找到最适合他试图创建的织体类型的部分，这将是
谱子的基本节奏结构。
And he'll just very intuitively shape the material and find the parts of it that he
likes the best or that suit him the best in terms of the types of textures that he's
trying to create, and that will be the result that will be the basic rhythmic
structure of the score.

所以，我希望这些信息是有趣的、启发性的，并且告诉你一些关于芬尼豪
作品的工作方式的信息。
So I hope that was interesting and illuminating and tells you a little bit about
how Brian Ferneyhough works.

理解他的一些作曲技巧可能非常复杂，但我认为这不是重点，重点是你得
到的是这个非凡的对象，你不可能通过其他任何方式到达，只能通过他选
择的方式来实现。所 So it's it can be extraordinarily complex understanding
some of his compositional techniques, but I don't really think that's the point.
The point is that what you end up with is this extraordinary object that you
could just not have possibly arrived at otherwise to through any other means
than the way that he has chosen to work.

所以这是一种非常非常独特的音乐。如果你想进入这种音乐的世界并享受
它，你必须有一定的悬置不信任感，
So it's really a very, very unique type of music. Again, you, there has to be a
certain level of suspension of disbelief if you're going to enter into the world of
this music and enjoy it,

但我向你保证，一旦你能够做到这一点，一旦你能够抛开你对“正常”音
乐中会发生什么的偏见和期望，布莱恩·芬尼豪的音乐就会呈现出一个充
满魅力的发现宇宙。
but I guarantee you, once you are able to do that, once you're able to sort of
throw aside your prejudices and your expectations in terms of what you think
would happen in that "normal" piece of music, there's an entire universe of
fascinating discoveries to be had in Brian Ferneyhough's music.

如果你有耐心，听几遍，我相信你会被音乐的超凡表面感性、实体感、驱
动力、强度和作曲家的无比创意所吸引。 If you have some patience with it,
if you give it a few listens, I think you'll be struck by the extraordinary surface
sensuality of the music, its physicality, its drive, its intensity, and the incredible
inventiveness of the composer.

所以坚持下去，这绝对是值得的，我希望这个视频至少为理解它是如何构
建提供了一些关键。
So stick with it, it's absolutely worth it, and I hope this video provided some
keys at least for understanding how it's put together.