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，
For Ferneyhough, some of his earliest memories consist of walking to the town
square with his mother

必须穿过德国人留下的各种弹坑。
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
Some writers have commented on the fact that his later preoccupation with damaged
structures

可能与这个早期记忆有某种联系。
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，
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，
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.
因此比较他的同一作品的不同演绎版本是很有趣的。

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，
Because obviously it's the same work and the same formal characteristics or they're
the same type of expression and so on，

不同的演奏者会倾向于强调作品的不同的侧面：
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，
so there might be the performer who's extremely preoccupied with getting the the
microtonal pitches exactly correct

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，
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，
however these are not open works in the sense of John Cage or work such as
Stockhausen dilemma?????

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。
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，
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

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。
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，
Because you cannot take in all of this information, you’re forced to momentarily
focus on one detail

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，
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

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。
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。
through the piece so it's certainly music that makes enormous demands both on
performers and on audiences。

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。
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，
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.

它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。
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，
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.

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。
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，
so for example when I go to the Louvre and look at a painting by Rembrandt very
often his paintings are extraordinarily dark.

他的作品通常非常暗淡，使用的颜料往往非常接近，
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，
so that when you first come to the painting you might actually not be able to
differentiate all the different planes，

以及极其微妙的深度以及阴影的使用。
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

你只有一个有限的亮度范围，一旦你花了几分钟适应它，
You have a limited range of brightness in that work and then once you've had a few
minutes

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。
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，
Another good example is the 20th century abstract expressionist painter Ad
Reinhardt

他有意在绘画中使用非常有限的色调范围，
who deliberately worked with an extremely restricted range of hues in his
painting。

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.

阿德·莱因哈特的画，很有趣的是
You'll look at an ad Reinhardt painting and it's extremely interesting because

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。
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.

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.