第一乐章——对造物主的激烈控诉

大家好。

Hi, everyone.

我是亚伦·科恩。

It's Aaron Cohen.

我们终于发布了第四季。

We've finally released our fourth season.

不知道你们有没有注意到。

I don't know if you noticed.

前三季之间每季都相隔一年。

There was a year between each of the first three seasons.

而这全新的第四季花了两年半时间。

This new fourth season took two and a half years.

为什么呢？

Why?

因为资金出现了缺口。

Because of gaps in funding.

我们希望能以创纪录的速度推出第五季。

We'd love to get out season five in record time.

希望您能加入Patreon上的'拥抱一切'社区，支持我们探索马勒交响曲的奇妙世界。

I hope you'll join the Embrace Everything community on Patreon to support our exploration into the wonderful world of Mahler symphonies.

从5美元到5000美元，每一份捐赠都意义重大。

From $5 to $5,000, every gift counts.

请访问theworldofgustavmahler.org并点击'支持'加入我们。

Please join us at theworldofgustavmahler.org and click on support.

节目说明中也有链接，谢谢大家。

There's also a link in the show notes, and thank you.

《拥抱一切：古斯塔夫·马勒的世界》第二季得以制作，要感谢卡普兰基金会的慷慨资助。

Season two of Embrace Everything, The World of Gustave Mahler, was made possible by a generous grant from the Kaplan Foundation.

您可以在我们的官网theworldofgustavemahler.org上找到本集所有曲目及演奏者的完整列表。

You can find a complete list of pieces and performers featured in this episode on our web website, theworldofgustavemahler.org.

请在X和Blue Sky上关注worldofmahler，在Facebook和Instagram上关注the world of Gustave Mahler。

Please follow us on x and blue sky at worldofmahler, and on Facebook and Instagram at the world of Gustave Mahler.

古斯塔夫·马勒曾告诉他的作曲家同行西贝柳斯，交响曲必须如同整个世界。

Gustav Mahler told his fellow composer Sibelius that a symphony must be like the world.

它必须包容万物。

It must embrace everything.

这正是我们系列标题的由来。

And that's where we get the title of our series.

我们将探索马勒音乐中的'包容'精神。

We're going to explore Mahler's musical Embrace.

马勒生活于1860至1911年间，他的交响曲在其生前并未被世人理解。

Mahler lived from 1860 to 1911, and his symphonies were not understood during his own lifetime.

他更以当时最杰出的指挥家之一闻名，执掌过维也纳和纽约的管弦乐团。

He was better known as one of the greatest conductors of his era, commanding orchestras in Vienna and New York.

关于自己的音乐，马勒有句名言：'我的时代终将到来'。

About his music, Mahler famously said, my time will come.

他是对的。

He was correct.

他的九部交响曲如今已成为古典音乐曲目的核心作品。

His nine symphonies are now staples of the classical music repertoire.

我是亚伦·科恩。

I'm Aaron Cohen.

在《拥抱一切》第二季中，我们将聚焦马勒宏大的第二交响曲。

And in season two of Embrace Everything, our focus is going to be Mahler's gargantuan second symphony.

本季共有五集，对应交响曲的五个乐章。

There are five episodes this season, one for each movement of the symphony.

在马勒早期的交响曲中，他常构思故事情节，而第二交响曲具有强烈的叙事脉络。

In his early symphonies, Mahler often had a storyline in mind, and the second symphony has a powerful narrative arc.

因此，我建议您尽可能按顺序收听这些片段。

For that reason, I'd recommend you listen to the segments in order if you can.

我们将从回顾马勒第一交响曲的末乐章开始，该乐章以一位被抛弃的英雄之死作结。

We'll kick things off by recalling the last movement of Mahler's first symphony, which ends with the death of a hero who's been abandoned.

马勒曾说他的第二交响曲直接脱胎于第一部作品。

Mahler said his second symphony grew directly out of the first.

这两部交响曲之间的联系或许并不令人惊讶，因为在1888年那一年，他同时创作了这两部作品。

And perhaps the connection between these symphonies isn't surprising, because during the year 1888, he was writing both of them at the same time.

当时马勒还是个27岁的年轻人，而他的一生都被死亡所环绕。

Mahler was a young man of 27 at that time, and he'd been surrounded by death his entire life.

在他13个兄弟姐妹中，有6个兄弟在他20岁前相继离世。

Of his 13 siblings, six of his brothers passed away before he was 20.

就在他起草第二交响曲第一乐章后不久，他的父母和一位姐姐也相继去世。

Shortly after drafting the first movement of his second symphony, both his parents died and one of his sisters.

马勒的第二交响曲后来被称为《复活交响曲》，但这个标题并非马勒本人所取。

Mahler's second has come to be known as the resurrection symphony, which is not a title Mahler gave it.

但死亡及其后续影响是这部作品的核心主题。

But death and what comes after is a central focus of the work.

以下是它的开篇部分。

Here's how it begins.

马勒曾这样说道。

Mahler said this.

第一乐章描绘了一个仍被尘世羁绊的强大生命体与命运抗争的壮烈斗争，他必须屈从的命运就是死亡。

The first movement depicts the Titanic struggles of a mighty being still caught in the toils of this world, grappling with life and with the fate to which he must succumb, his death.

我们之前已经见过这位强大的生命体。

We've met this mighty being before.

你或许会有兴趣知道，这正是我D大调交响曲（第一交响曲）中的英雄，他从制高点如明镜般回顾一生后，正走向他的坟墓。

It may interest you to know that it's the hero of my d major symphony, my first symphony, who's being born to his grave, his life being reflected as in a clear mirror from a point of vantage.

第二交响曲第一乐章的大部分内容是一支宏大的葬礼进行曲。

Much of the first movement of the second symphony is a giant funeral march.

哥伦比亚大学的音乐教授玛丽莲·麦科伊。

Music professor Marilyn McCoy of Columbia University.

这首葬礼进行曲充满狂暴。

This funeral march is furious.

它处于盛怒之中。

It's in a rage.

它是愤怒的，很难想象有多少葬礼进行曲会带有这种愤怒。

It is angry, and it's hard to think of many funeral marches that have that anger.

有人向死亡挥舞拳头。

Someone shaking their fist to death.

死亡的悲剧与终结性。

The tragedy and finality of death.

在愤怒的间隙中，会有这些美妙的时刻，仿佛突然展开，进入一种近乎天国的境界。

In between the fury, there are these wonderful moments when it kind of opens out into, you know, kind of this very sort of heavenly sphere.

他是那种渴望体验极致高潮与低谷的人。

He was the kind of person who was interested in experiencing the highest highs and the lowest lows.

不然还有什么意义呢？

You know, why bother otherwise?

第一乐章最有趣的地方就在于它如何将这两种元素交织在一起。

And the first movement is really interesting in the way that it mixes these two things.

在这些天堂般的时刻，马勒预示了即将到来的复活。

In these heavenly moments, Mahler foreshadows the coming resurrection.

这最终成为整部交响乐的核心主题之一——复活以某种方式在每个乐章中都得到了预示。

That turns out to be one of the big ideas of the whole symphony, that resurrection is foreshadowed in every one of the movements in some way.

在第一乐章中，这些天堂般的时刻不会持久。

In the first movement, these heavenly moments won't last.

我更倾向于将其视为两种相互对抗的音乐类型。

I really see it more as sort of two kinds of music at war with each other.

马勒最大限度地利用了他的声音资源，通过一支约120名音乐家组成的庞大管弦乐队，描绘了这幅死亡与复活的图景，这是当时音乐厅使用过的最庞大的乐队之一。

Mahler maximized his sonic resources to paint this picture of death and resurrection using a huge orchestra of around 120 musicians, one of the largest for the concert hall up to that point.

指挥家肯特·长野，通过这支异常庞大的管弦乐队，展现出了极其丰富的色彩调色板，以及难以置信的复杂色彩可能性。

Conductor Kent Nagano, a vast palette of color, unbelievable complex possibility of color through this exceptionally large orchestra.

更大的乐团意味着马勒能够在音乐上

A larger orchestra means Mahler can take

带你去更多地方。

you more places musically.

这种宏大的维度超越了常规的片段感，它更像是一次体验，一种生命体验的领域，是去经历交响乐而非仅仅是聆听交响乐。

This very large dimension becomes something that sort of transcends a normal sense of episode, and it really launches itself more into an experience, into the realms of a life experience, to experience the symphony rather than to listen to a symphony.

马勒为我们提供了更多细节。

Mahler gives us a few more details.

我们站在一位深受爱戴之人的灵柩旁。

We stand by the coffin of a well loved person.

他的生命、奋斗、激情与抱负，最后一次在我们脑海中重现。

His life, struggles, passions, and aspirations once more, for the last time, pass before our mind's eye.

那位深受爱戴之人很可能就是马勒自己。

That well loved person is likely Mahler himself.

在他创作第一乐章的同一年，他曾预见自己的葬礼场景。

During the same year he wrote the first movement, he had a vision of his own funeral.

此刻，肃穆与情感交织，震撼着我们内心最深处，让我们得以暂时卸下日常困扰与重负。

And now in this moment of gravity and of emotion, which convulses our deepest being, when we lay aside like a covering everything that from day to day perplexes us and drags us down.

我们的心被一种日常喧嚣中常被忽略的、极度严肃的声音紧紧攫住。

Our heart is gripped by a dreadfully serious voice, which always passes us by in the deafening bustle of daily life.

那个声音提出了定义整部交响曲的终极命题。

That voice asked the questions that define the symphony.

接下来呢？

What now?

何为生，何为死？

What is this life and this death?

我们是否有超越生死的存在？

Do we have an existence beyond it?

我们再次思考复活的主题。

We return to thoughts of the resurrection.

复活主题的音乐并非总是以相同形式重现，但情感始终如一。

The resurrection music doesn't always come back in the same form, but it does always have the same feeling.

玛丽莲·麦考伊。

Marilyn McCoy.

天门洞开，空气澄澈，小提琴骤然在高音区奏响，令人叹为观止。

The heavens open up and the air clears and suddenly the violins are playing way up high and it's incredible.

这些是音乐中的巅峰体验。

And they are mountaintop experiences and music.

在乐谱草稿中，马勒为这段音乐标注了'平静场景'的含义。

In the draft version of the score, Mahler marked this passage, which means calm scene.

Meresthtile可能指代多种事物。

Meresthtile could be a reference to several things.

歌德曾写过一首名为《Meresthtile》的著名诗歌，而歌德是马勒最喜爱的作家之一。

Goethe wrote a famous poem called Meresthtile, and Goethe was one of Mahler's favorite authors.

包括贝多芬和舒伯特在内的多位作曲家都曾根据这首诗创作过完整乐曲。

Several composers wrote entire pieces based on that poem, including Beethoven and Schubert.

但同样基于这首诗创作的费利克斯·门德尔松《平静的海与幸福的航行序曲》，与马勒所写的作品风格也相去不远。

But the Calm Sea and Prosperous Voyage Overture by Felix Mendelssohn, also based on the poem, isn't too far removed from what Mahler wrote.

听起来是这样的。

Here's what it sounds like.

为了了解更多背景，我采访了牛津大学德语教授乔安娜·尼尔。

For more background, I spoke to Joanna Neele, a professor of German at Oxford University.

歌德诗的第一行写道：水面一片深邃的寂静，海上没有丝毫波澜。

So the first line of a Goethe poem says, a deep stillness rules in the waters, and there is no movement at all in the sea.

歌德的诗非常简短，只有八行，从平静的感觉过渡到恐惧，一种搁浅的感觉。

Goethe's poem is very short, only eight lines, and goes from a sense of calm to a sense of terror, a feeling of being stranded.

门德尔松和马勒一样，在音乐中着重表现了平静。

Mendelssohn focuses on the calm in his music, as does Mahler.

另一种可能是'Mere Stille'在引用哲学家叔本华的评论。

Another possibility is that Mere Stille is referencing a comment by the philosopher Schopenhauer.

叔本华谈到'Mere Stille des Gimmut'，即精神的海洋宁静，一种深刻的精神海面平静。

Schopenhauer talks about Mere Stille des Gimmut, so the sea stillness of spirit, a deep sea calm of the spirit.

这段引文出自叔本华的著作《作为意志和表象的世界》，他在书中提出生活中的一切都是由意志决定的，我们不断努力满足这种意志。

The quote comes from Schopenhauer's book The World as Will and Representation, where he suggests everything in life is determined by the will, and we endlessly strive to satisfy this will.

但我们能够在审美感知的瞬间超越这种无尽的挣扎与奋斗——这虽是我们的宿命，但在凝神观照他物时，我们得以暂时忘却自我，获得不服务于意志的超然愉悦。

But we can overcome this condition of endless struggle and striving, which is our fate, but we can overcome it in moments of aesthetic perception as we lose ourselves in contemplation of something other, something which might bring disinterested pleasure that's not serving this will.

叔本华称之为‘超越一切理性的宁静’。

Schopenhauer calls it a peacefulness higher than all reason.

这一理念与马勒对第一乐章的构想相呼应——那是一场关于人类苦难与死亡的挫败挣扎。

And this idea ties in with Mahler's conception of the first movement, a frustrated struggle about human suffering and death.

当我们超脱世俗烦忧，挫败感便随之消散，取而代之的是对世界奇迹与美的震撼。

If we remove ourselves from human concerns, the frustrations disappear, and we are instead overwhelmed by the wonder and beauty of the world.

从某种意义上说，在叔本华的语境中，'Mere Stille'也意味着个体的消亡或个体奋斗的终结。

In a sense, in Schopenhauer's case, Mere Stille also means the death of the individual or the end of individual striving.

但这是积极的，因为它带来平静，并克服了意志——这种驱使我们度过人生的非理性力量。

But it's a positive thing because it brings peace and it overcomes the will, this kind of irrational force that drives us through life.

玛丽莲·麦考伊。

Marilyn McCoy.

尤其是在第一乐章中，愤怒的进行曲迟早会重新渗入并最终占据主导。

Sooner or later, especially in the first movement, the anger, the march starts to bleed back in and eventually takes over.

所以，这就像是交响曲的斗争。

And so, like, that's kind of the fight of the symphony.

你明白吗？

You know?

就像是在问：谁会赢？

It's like, who's gonna win?

是那个愤怒的英雄，还是那个已经征服一切并将永生的英雄？

The raging hero or the hero that has conquered and that's gonna live forever?

在这部交响乐中，多种元素以聚合的方式共同作用。

Number of things are kind of working in conglomeration in this symphony.

其中之一便是转化的理念。

And so one of them is the idea of transformation.

马勒通过音乐上的转化，探索了肉体与精神转化的概念。

Mahler explores the idea of physical and spiritual transformation by mirroring it with musical transformations.

因此无论某个乐段听起来多么新颖独特，你其实早已听过它的前身。

So no matter how new and different something sounds, you've actually heard it before.

在这个领域，大自然就是我们的典范。

Nature is for us the model in this realm.

正如自然界中，整个宇宙从原始细胞、植物、动物进化而来，人类更进而通向上帝——至高存在。

Just as in nature, the entire universe has developed from a primeval cell, from plants, from animals, and men beyond to God, the supreme being.

音乐亦当如此，从单一动机发展出宏大结构，其中蕴含着未来一切的萌芽。

So also in music should a larger structure develop from a single motive in which is contained the germ of everything that is yet to be.

让我们聆听这是如何实现的。

Let's hear how this works.

第一乐章中的所有音乐都可以追溯至交响曲开篇的瞬间。

All of the music in the first movement can be traced back to the opening moments of the symphony.

你刚才听到的是一连串短小的旋律片段串联在一起。

You've just heard a bunch of short melodic shapes strung together.

比如这个快速下行的动机。

For instance, this very quick falling motif.

这个动机倒置并重复几次后，就变成了这样。

This motif turned upside down and repeated a few times becomes this.

于是最初的这个演变成了这样。

So what started as this has become this.

如果你继续聆听马勒的后续发展，他会改变节奏，创造出三连音。

And if you listen to where Mahler goes next, he changes the rhythm, creating triplets.

这些三连音被巧妙地穿插在各个段落中。

These triplets get plugged in all over the place.

最终又将我们带回到这里，结合三连音，并以倒置版本收尾。

Which leads us back to this, coupled with triplets, ending with the upside down version.

几小节后，马勒同时运用了所有这些元素。

Several bars later, Mahler uses all of these at the same time.

这种演变与转化贯穿了整个乐章。

That kind of evolution, that transformation continues throughout the movement.

所以马勒并非在创作一部交响曲。

So Mahler doesn't compose a symphony.

他是在培育一部交响曲。

He grows a symphony.

这部交响曲是有生命的。

It's a living thing, this symphony.

对吧？

Right?

这非常不寻常。

It's very unusual.

马勒并非第一个这样做的人，但我觉得在某些方面，他是最彻底的。

Mahler wasn't the first to do this kind of thing, but I I think he was, in some ways, the most thorough.

这部鲜活的交响曲是马勒经历的镜像。

This living symphony is a mirror of Mahler's experiences.

我的两部交响曲包含了我整个生命的内心世界。

My two symphonies contain the inner aspect of my whole life.

我将自己经历与承受的一切都写入了其中，音乐中的真实与诗意。

I've written into them everything that I've experienced and endured, truth and poetry in music.

《诗与真》是歌德自传的书名。

Truth and poetry is the name of Goethe's autobiography.

马勒将他的交响曲称为'音乐中的诗与真'，实则是将自己的作品定义为音乐自传。

By calling his symphonies truth and poetry in music, Mahler is identifying his compositions as musical autobiographies.

若能真正理解这些作品，便会发现我的生命在其中透明地展现。

To understand these works properly would be to see my life transparently revealed in them.

创作与经历对我来说是如此紧密相连，若我的生活只是像山涧般平静流淌，我想我再也写不出任何有价值的东西。

Creativity and experience are so intimately linked for me that if my existence were simply to run on as peacefully as a metal brook, I don't think that I'd ever again be able to write anything worthwhile.

马勒的生活显然不曾如林间溪流般平静流淌。

Mahler's life definitely did not run on as peacefully as a meadow brook.

他的生活中充满了各种悲剧与胜利，以及形形色色的高潮时刻。

There were many tragedies and triumphs, climaxes of all kinds.

马勒通过音乐中不断推向高潮的手法，完美映射了这一点。

And Mahler mirrors this by constantly building towards climaxes in the music.

高潮通常预示着某种释放。

Climaxes usually lead to some kind of release.

但其中有些高潮却未能导向任何结果。

And a couple of these climaxes don't lead to anything.

它们最终导向的，可以说是一种消解状态。

They lead to, you know, kind of what you could call a dissolution.

没有达成任何解决。

It doesn't resolve anywhere.

没有抵达任何终点。

It doesn't arrive anywhere.

只是逐渐分崩离析。

It just sort of falls apart.

它消逝了。

It dies.

但即便万物消亡，进行曲仍在继续。

But even as everything dies, the march continues.

马修·麦克唐纳，柏林爱乐乐团的首席低音提琴手。

Matthew McDonald, principal bass of the Berlin Philharmonic.

让低音提琴长时间独奏是相当不寻常的。

It is quite unusual to have basses exposed for such a long time.

通常它们只会在几小节中展现那种阴暗的音色，然后便隐去。

Usually, it's kind of they'll show that dark part of the house for a few bars and then move away.

但他确实一直扎根于低音区。

But he really stays below the earth.

即使在这里，马勒仍在挑战管弦乐的极限。

Even here, Mahler pushes orchestral limits.

低音提琴的最低音是E音。

The lowest note on a double bass is an e.

这部分以降E音开始。

This part begins on an e flat.

所以从技术上讲，他的起始音比你能演奏的最低音还要低。

So technically, he's beginning lower than you can go.

典型的低音提琴有四根弦。

A typical double bass has four strings.

要演奏这部分，你需要一把五弦低音提琴，或是在最低弦上加装延音装置的四弦琴。

To play this part, you need a five string double bass or a four string with an extension on the lowest string.

但他确实是第一个充分利用那个额外低降E音的人。

But he was really the first one to exploit that extra low e flat.

在整个乐章中，进行曲主导着乐团的所有音域。

Throughout this movement in all registers of the orchestra, the march dominates.

玛丽莲·麦考伊。

Marilyn McCoy.

马勒以在各处运用进行曲而闻名，人们推测——这很可能是真的——他从小在军营广场对面长大，那里驻扎着士兵。

Mahler's famous for using marches everywhere, and people speculate, and it's probably true, that he grew up across the square from a camp where soldiers were stationed.

因此他时常能听到进行曲和号角声。

And so he heard marches and fanfares all of the time.

除了现实生活经历外，马勒还深受其作曲偶像们的影响。

In addition to his real life experience, Mahler was also influenced by his compositional heroes.

一个重要影响来自贝多芬《英雄交响曲》中精湛的葬礼进行曲。

A big influence was Beethoven's masterful funeral march from the Eroica.

那堪称当时人们创作过的最宏大华丽的葬礼进行曲。

That was, like, the biggest, fanciest funeral march that anyone had ever written.

贝多芬的第三交响曲，

Beethoven's third symphony,

《英雄交响曲》于1805年首演，将死亡进行曲推向了更早的时代。

the Eroica, premiered in eighteen o five, death marching forward in an earlier era.

马勒继承了这个葬礼进行曲的构思，并强化了其中的每个部分。

Mahler takes that funeral march idea and intensifies every part of it.

最大的高潮即将来临。

The biggest climax is approaching.

奥斯汀·豪威尔，蒙特利尔交响乐团的首席大号手。

Austin Howell, principal tuba of the Montreal Symphony Orchestra.

这是我们翘首以盼的时刻之一，铜管乐经常需要指挥家来约束我们的音量。

This is one of the moments that we just wait for, and the brass is so often, you know, the conductors are having to dial us back.

这有点像开着法拉利在赛道上飞驰。

It's a little bit like being on a racetrack in a Ferrari.

你只需猛踩油门——而这正是你最想做的。

All you have to do is hit the gas pedal, and and that's what you wanna do.

但在第一乐章的这个瞬间，你才能真正尽情加速。

But this moment in the first moment is when you get to really hit the gas pedal.

马勒的愤怒在此爆发。

Mahler's anger unleashed.

布鲁诺·瓦尔特曾说，马勒不需要任何人与上帝沟通的中介。

Bruno Walter said that Mahler needed no mediator with God.

他可以直接将自己的愤懑诉诸至高之处。

He could take his frustrations right to the top.

马勒想知道，一个充满爱心的上帝为何对人类苦难如此冷漠。

Mahler wanted to know how a loving God can be so indifferent to human suffering.

如果我们终将一死，生命还有什么意义？

Is there any point to life if we're all going to die anyway?

为何必须

Why must it

如此？

be this way?

这一切只是一场混乱的梦，还是生命与死亡自有其意义？

Is all this only a confused dream, or do life and this death have a meaning?

灼痛凝结成晶体。

A burning pain crystallizes.

马勒的疑问撕扯着存在的本质。

Mahler's questions tear at the very fabric of existence.

你为何而活？

What did you live for?

你为何要受苦？

Why did you suffer?

这一切难道只是一个巨大而可怕的玩笑吗？

Is it all only a vast, terrifying joke?

马勒提出的这些问题至关重要，具有永恒的深刻意义。

The questions Mahler has brought up are important, eternally important.

如果我们想要继续生活，就必须以某种方式回答这些问题。

We have to answer these questions somehow if we are to go on living.

事实上，即便我们只是继续走向死亡。

Indeed, even if we are only to go on dying.

生命中曾听到这种召唤的人，哪怕只有一次，也必须作出回应。

The person in whose life this call has resounded, even if it was only once, must give an answer.

而这就是我在终乐章给出的答案。

And it's this answer I give in the last movement.

但在这一乐章中，马勒的挫败感压倒一切。

But in this movement, Mahler's frustrations are overwhelming.

迈克尔·萨克斯，克利夫兰管弦乐团的首席小号手。

Michael Sachs, principal trumpet of the Cleveland Orchestra.

这很典型的马勒风格。

It was typical Mahler.

我的意思是，他层层推进，让你深陷其中。

I mean, he just builds it up, and he just holds you there.

就像他扼住你的喉咙，最后才突然松开。

You know, it's like he's grabbing you by the throat, then he finally, like, lets you go.

在第一乐章剩余部分，进行曲始终占据主导。

For the remainder of the first movement, the march prevails.

死亡无法被阻挡。

Death will not be stopped.

注意这里不祥的低音部。

Notice the ominous bass part here.

留意低音部如何持续，即便上方的音乐已变得愈发空灵。

And notice how the bass part continues even as the music becomes more heavenly up top.

卡特·布雷，纽约爱乐乐团的首席大提琴手。

Carter Bray, principal cello of the New York Philharmonic.

这是一位非常精妙的复调作曲家的标志。

That's a mark of a very sophisticated contrapuntal writer.

我还可以向你指出莫扎特歌剧乐谱中某些出现这种情况的段落。

I could also point you to certain passages in Mozart's operatic scores where that takes place.

例如，在《女人皆如此》第一幕中有一段著名的五重唱，两对恋人正在互相道别，音乐美得难以形容，既温柔又激昂。

For example, in Cosi Fantutte, there's a famous quintet in the first act where the two pairs of lovers are saying goodbye to each other, and it's indescribably beautiful and tender and soaring.

在这四条声线之下还有第五条，那是唐·阿尔方索的声部。

And underneath those four vocal lines is a fifth, and it's Don Alfonso.

他是男低音，正在嘲弄他们。

And he's a bass, and he is mocking them.

莫扎特嘲弄了自己创作绝美音乐的才能。

Mozart mocks his own facility for writing absolutely gorgeous music.

我注意到，马勒也做了非常类似的事情。

Mahler, I noticed, does very much the same thing.

他运用低音线不仅是为了在严格作曲意义上推动音乐前进，同时也为听众提供了一种潜台词或潜意识提醒——那宿命般的音乐仍在织体之下持续着。

He uses the baseline not only to propel the music forward in a strictly compositional sense, but it also provides a kind of subtext or subconscious reminder for the listener that that fateful music is still going on underneath the texture.

即便如此，这些戏剧性的情绪转换并不容易处理。

Even with this, these dramatic mood shifts aren't easy.

迈克尔·萨克斯。

Michael Sachs.

所以作为一个

So as a

作为小号手，演奏马勒的音乐尤其具有挑战性，因为你可能正在演奏一些非常强烈、英雄式的激烈音乐，然后突然在十五秒内完全转换，演绎一段优美漂浮、充满表现力的歌唱性片段。

trumpet player, it's particularly, challenging to play Mahler's music because you can be playing some very, you know, strong, very heroic music, very intense music, and then all of sudden have to flip around within about fifteen seconds and play just a beautiful floating, you know, espressivo sort of singing moment.

美妙的音乐引出了马勒另一段宁静的海上乐章。

Beautiful music brings forth another Maristella calm sea passage.

叔本华笔下超越一切理性的平和境界。

Schopenhauer's peacefulness higher than all reason.

这一次，对美的凝望唤起了纯粹的爱意。

This time, the contemplation of beauty brings forth pure love.

卡特·布雷。

Carter Bray.

这种写作风格带着毫不掩饰的感官性，天啊，他确实说服了我。

It's an unapologetic sensuality to the writing, and it's, man, he certainly has me convinced.

音乐在我们耳中融化。

The music melts in our ears.

如同这个乐章一贯的风格，进行曲再次回归。

As always in this movement, the march returns.

当马勒接近乐章尾声时，音乐呈现出不祥的基调。

As Mahler closes in on the end of the movement, the music takes on an ominous tone.

死亡正在幕后等待。

Death is waiting in the wings.

卡特·布雷。

Carter Bray.

这是非常阴暗的音乐，非常沉重的音乐。

It's very dark music, and it's very it's very heavy music.

它遵循了葬礼音乐的惯例。

And it follows conventions of funeral music.

它采用音阶下行的手法。

It descends scale wise.

虽然音程跨度不大，但有着沉重的步伐感。

It doesn't cover a wide intervallic range, but it has this heavy tread to it.

巴赫在b小调弥撒和受难曲中也使用过类似的下行音阶音乐，来表达深切的悲痛。

Bach also would use descending scale music like that in the mass in b minor and in the passions to describe and to express heavy sorrow.

这是巴赫于1749年完成的B小调弥撒曲。

Here's the mass in b minor, which Bach completed in 1749.

这是一个非常古老且备受尊崇的作曲传统。

It's a very old, very well honored compositional convention.

马勒最初将这个乐章命名为《葬礼之火》，灵感来自波兰民族诗人亚当·密茨凯维奇的一本书名。

Mahler originally named this movement Toten Fire, which translates as Funeral Rites, inspired by the title of a book by Adam Mitzkevich, the national poet of Poland.

他并非试图在音乐上模仿故事情节，而是被主题所共鸣——一个关于人类苦难与死亡的愤怒质问上帝的蜕变故事。

He wasn't trying to musically imitate the plot, but the subject matter resonated, a story of transformation with an angry questioning of God about human suffering and death.

随着乐章接近尾声，弥漫着一种听天由命的感觉。

As the movement draws to a close, there's a sense of resignation.

玛丽莲·麦考伊。

Marilyn McCoy.

这是我唯一一次仿佛能听见他们拖着难以置信沉重的棺材，沿着某条小路缓缓前行的场景。

It's the only time that I can hear them dragging an unbelievably heavy coffin down some path somewhere.

愤怒仍在背景中隐约可闻，但已被克制住了。

And that's where the the anger, you still hear that in the background, but it's it's in check.

马勒将恐惧感层层展开，让听众悬滞于一种紧迫的哀伤之中。

Mahler spins out the feeling of dread, suspending listeners in a sense of urgent sadness.

但这正是典型的马勒式手法，在他那些真正优美的乐章里。

That but that's also it's a typical Mullerian thing, like, in Mahler's really beautiful movements.

你知道，它们美得让他不忍结束。

You know, they're so beautiful that he doesn't want them to end.

而在这里，他想要将这种

And in this case, he wants to hold

不惜一切代价也要活下去。

on to life at all costs.

就像一个人拒绝放手，坚决不松手。

It's like someone who refuses to let go, refuses to let go.

终点已近。

The end is near.

卡罗琳·凯塔，圣路易斯华盛顿大学的德语与比较文学教授。

Caroline Keita, a professor of German and comparative literature at Washington University in St.

路易斯。

Louis.

当我聆听时，感受到一种无力感。

When I listen to it, I hear a sense of powerlessness.

这种挫败感，我认为是第一乐章背后真正的驱动力。

This frustration, I feel like is the really motivating feeling behind the first movement.

马勒的门徒布鲁诺·瓦尔特称第一乐章是'源于世界苦难的葬礼音乐'。

Mahler's protege, Bruno Walter, called the first movement funeral music born of world suffering.

我们只能无助地旁观，苦难仍在继续。

We stand by helplessly while the suffering continues.

随着音乐接近尾声，一些评论家认为我们听到的是棺材被戏剧性地降入地下的声音。

As the music comes to a close, some commentators have suggested that what we hear is a casket being dramatically lowered into the ground.

死亡已然获胜，至少目前如此。

And death has won, at least for now.