527. 贝多芬：拿破仑与战争音乐 皇家阿尔伯特音乐厅现场版

如果你想从节目中获得更多信息，请加入《余音历史》俱乐部。

If you want more from the show, join the rest is history club.

随着圣诞节临近，你还可以为身边热爱历史的人赠送一整年的会员权限。

And with Christmas coming, you can also gift a whole year of access to the history lover in your life.

只需访问 restishistory.com，然后点击‘礼物’选项。

Just head to the restishistory.com and click gifts.

大家好。

Hello, everyone.

新年快乐，欢迎回到我和多米尼克于10月18日在皇家阿尔伯特音乐厅现场演出的录音。

Happy New Year, and welcome back to the recording of the live show that Dominic and I did at the Royal Albert Hall on the October 18.

你应该已经听过关于莫扎特的那一集了。

You should already have heard the episode on Mozart.

而在下半场，我们将聚焦贝多芬。

And now in the second half, we are looking at Beethoven.

希望你们喜欢。

I hope you enjoy it.

有请汤姆·霍兰德和多米尼克·桑布鲁克重返舞台。

Please welcome back to the stage, Tom Holland and Dominic Sambrooke.

欢迎各位回来。

Welcome back, everybody.

人们常说，下半场总是以一首重磅曲目开场。

Always start the second half with a banger, they say.

而那首曲子，无疑是所有曲目中最震撼的开场。

And that, of course, was the banger to end all bangers.

贝多芬第五交响曲的第一乐章于1808年12月在维也纳首演。

The first movement of Beethoven's Fifth Symphony premiered in December 1808 in Vienna.

多米尼克，我认为这个乐章的开头无疑是历史上最著名的音乐开场。

And Dominic, the opening of that movement must be the most famous opening to any piece of music ever written I'd have thought.

没错。

Absolutely.

我们刚刚听了莫扎特，下半场则要讲述一个截然不同的人物。

So, we have had Mozart and the second half is about a very different character.

一个性格忧郁、不友好、难以捉摸的人，他就是路德维希·范·贝多芬。

Someone who is brooding, unfriendly, difficult here he is to talk about Ludwig van Beethoven.

多米尼克，你来继续。

Dominic, take it away.

我写这个笑话的时候，就知道你会笑。

When I wrote that joke, knew you would laugh.

所以，汤姆，你刚才讲到了莫扎特1791年的去世和葬礼。

So Tom, you ended with Mozart's death and funeral in 1791.

那场葬礼并不隆重，略显平淡。

No great send off, a slightly lackluster occasion.

让我们直接跳过三十年，来到1827年3月，他的伟大继任者路德维希·范·贝多芬的去世与葬礼。

And let's start by fast forwarding three decades to March 1820 '7, to the death and funeral of his great successor Ludwig van Beethoven.

那完全是另一番景象。

And it's a completely different scene.

当贝多芬在维也纳弥留之际，来自欧洲各地的礼物、现金和蛋糕纷纷涌来。

As Beethoven lies dying, also in Vienna, presents, cash, cakes are coming in from all over Europe.

贝多芬最后记录下的遗言，是迎接来自美因茨的一箱他最爱的莱茵兰葡萄酒。

Beethoven's last recorded words greet the arrival from Mainz of a case of his favorite Rhineland wine.

而他的最后一句话是：‘可怜，可怜，太晚了。’

And his last words were, pity, pity, too late.

然后他就去世了。

And then he died.

当他于3月26日晚上逝世时，这成了当年的头号新闻。

And when he did die on the evening of the March 26, it was the new story of the year.

因此，三天后举行葬礼时，人群已经聚集在贝多芬的公寓外。

So when they held a funeral three days later, crowds had gathered outside Beethoven's apartment.

外面有一支合唱团为他送行。

There was a choir outside to see him off.

所有学校都放假一天。

The schools were all given the day off.

在前往教堂再前往墓地的路上，人群如此密集，队伍花了很长时间才通过。

On the way to the church and then to the cemetery, there was the crowds were so thick, It took them ages to pass through.

一路上，维也纳一些最著名的人物举着火炬游行。

And all the way, some of the best known people in Vienna were holding a kind of torch lit parade.

最著名的是年轻作曲家弗朗茨·舒伯特。

Most famously, the young composer, Franz Schubert.

显然，自莫扎特去世以来，情况已经发生了变化。

So clearly, something had changed since the death of Mozart.

这其中很大一部分原因要归于贝多芬本人。

And a lot of that has to do with Beethoven himself.

我想，你们许多人脑海中已经对贝多芬有了某种印象。

So many of you, I guess, will already have an idea of Beethoven in your mind.

蓬乱的头发、凶猛皱眉的表情、邋遢的外表、从口袋里掉出的纸张，一个知识分子，一位艺术家。

The wild hair, the ferocious frowning expression, the unkempt appearance, the papers falling from his pocket, an intellectual, an artist.

莫扎特是欢快的，而贝多芬是严肃的。

Mozart is fun and Beethoven is serious.

这就是刻板印象。

That's the stereotype.

我认为这非常重要，因为我认为正是贝多芬，而非其他人，首创了这种将创作者、艺术天才塑造成孤独、艰难、不快乐但才华横溢之人的观念。

And I think this is really important because I think it is Beethoven, more than anybody else, who invents this idea of the creator, the artistic genius, as a lonely, difficult, unhappy, but brilliant man.

有点像汤姆。

A bit like Tom.

现在，贝多芬和莫扎特之间一个明显的区别是，贝多芬不是奥地利人。

Now, one difference between Beethoven and Mozart obviously is that Beethoven is not Austrian.

贝多芬是德国人。

Beethoven is German.

他于1770年12月出生在德国西部的波恩。

He was born in Bonn in the West Of Germany in December 1770.

波恩是一个属于科隆选侯国的小城镇。

Bonn was a small town that belonged to the electorate of Cologne.

音乐是家族的事业。

And music was the family business.

贝多芬的父亲是一名歌手。

Beethoven's father was a singer.

但酗酒阻碍了他的事业。

But as alcoholism stymied his career.

与莫扎特一样，他的父亲对他严厉逼迫。

Now as with Mozart, his father pushed him ferociously.

当路德维希刚满五岁时，他就开始给他上规律的键盘课。

He started giving him regular keyboard lessons when Ludwig was just five.

他会逼他练习到哭出来。

He would make him practice until he cried.

他会逼他练习到午夜。

He would make him practice until midnight.

每当路德维希犯错，他就会打他。

And he would beat him when Ludwig made a mistake.

这有效果吗？

And did it work?

真的有效吗？

Did it?

没有。

No.

并没有。

It didn't.

因为尽管路德维希显然非常出色，但他的天赋并未达到莫扎特那样的水平。

Because although Ludwig was clearly very good, he wasn't a prodigy on the scale of Mozart.

当他十岁时，仍然几乎只在自己的小镇内为人所知。

When he reached the age of 10, he was still barely known within his own town.

没有人真正注意到他在整个欧洲范围内的才华。

Nobody effectively had noticed him on a kind of continental scale.

但后来，在他十一岁时，他遇到了一位新的钢琴老师，这位老师是他生命中至关重要的人物，名叫克里斯蒂安·戈克洛布·内弗。

But then, at the age of 11, he got a new piano teacher, a massively important figure in his life, who rejoiced in the name of Christian Goklob Neffer.

内弗是一名新教徒。

And Nefer was a Protestant.

贝多芬一家是天主教徒。

The Beethovens were Catholics.

内费与启蒙运动紧密相连。

And Nefer was tied in to the enlightenment.

所以他充满关于理性、美德与改革的思想。

So he was full of ideas about reason and virtue and reform.

他熟读伏尔泰和康德的著作，并将这些思想传递给年轻的贝多芬。

Full of the writings of Voltaire and Kant, and he passes these on to the young Beethoven.

凭借启蒙运动的热情，内费人脉广泛。

Now through his enlightenment enthusiasms, Nefer is very well connected.

他的一位朋友是住在波恩的费迪南德·瓦尔德斯坦伯爵，与选帝侯关系密切。

And one of his friends is a chap called Count Ferdinand Waldstein, who lives in Bonn and is very friendly with the Elector.

正是瓦尔德斯坦为路德维希谋得为选帝侯演奏管风琴的工作。

And it's Waldstein who gets Ludwig a job playing the organ for the Elector.

他们认为这太了不起了。

They think this is tremendous.

他们对路德维希抱有远大抱负。

They have great ambitions for Ludwig.

1787年，他16岁时，他们送他去了音乐之都维也纳。

In 1787, when he's 16 years old, they sent him to the city of music, to Vienna.

在那里，传说中他见到了那位伟人。

And there, legend tells, he meets the great man.

他见到了莫扎特。

He meets Mozart.

据说，莫扎特让他弹奏钢琴。

And the story runs that Mozart got him to play the piano.

路德维希即兴演奏得极为出色。

Ludwig played improvising brilliantly.

莫扎特站在那里一言不发。

And Mozart stood there impassively.

当最后一个音符消逝时，莫扎特什么也没说。

And when the last note died away, Mozart said nothing.

他只是走进隔壁房间，那里坐着他的朋友们，对大家说：留意那个年轻人。

He just went into the next room where his friends were sitting, and he said to them, keep an eye on that young man.

总有一天，他会给世界带来值得谈论的东西。

One day, he will give the world something to talk about.

你觉得这件事真的发生过吗？

And do you think that actually happened?

我认为这件事确实发生了，他就是这么说话的。

I think that happened and that's how he spoke.

他就是这么说话的。

That is just how he spoke.

嗯，也许发生了，也许没发生。

Well, maybe it did happen, maybe it didn't.

但这个故事之所以存在，是的，

But the fact the story exists at all Yeah,

这才是重要的事。

that's the important thing.

对吧？

Right?

这个故事本身的存在，就证明了人们多么渴望在他们之间找到联系。

The fact the story exists at all is proof of how desperate people were to see a connection between them.

但那次旅行并没有持续太久。

But that first trip didn't last long.

因此，贝多芬在两周后因母亲病重而返回家乡。

So Beethoven came home after two weeks because his mother was ill.

但到了1792年，他重返维也纳并长期定居。

But then in the 1792, he came back to Vienna for good.

为什么？

Why?

因为法国大革命爆发了。

Because the French revolution had broken out.

法军横扫欧洲地图，四处散布动荡与绝望。

French armies were rampaging across the map of Europe, spreading perturbation and despair.

宫廷逃离了波恩。

The court fled Bonn.

波恩不再安全，贝多芬被送往维也纳。

Bonn was no longer safe, and Beethoven was sent to Vienna.

当然，到这个时候，莫扎特已经去世了。

Now, of course, by this point, Mozart was dead.

因此，贝多芬将去跟随另一位伟大的奥地利作曲家约瑟夫·海顿学习。

So Beethoven is going to study with that other great Austrian composer, Josef Haydn.

在离开之前，瓦尔德施泰因伯爵给他写了一封信。

And before he left, Count Waldstein wrote him a note.

他说，莫扎特已经去世了。

Mozart, he said, is dead.

但莫扎特的天才依然活着，正在哀悼。

But Mozart's genius is still alive and is in mourning.

它在等待某个人。

And it is waiting for somebody.

它在等你。

It is waiting for you.

从海顿那里，你将获得莫扎特的精神。

And from Haydn, you will receive the spirit of Mozart.

于是他启程前往维也纳，这座他将创作出最伟大作品的城市。

And so off he goes to Vienna, the city where he will compose his greatest works.

我认为这非常有趣的是，就像早期的莫扎特一样，他最初更以演奏家而非作曲家的身份为人所知。

And I think what's so interesting about this is that a bit like Mozart to begin with, he is better known as a player of music rather than as a composer.

既然他从钢琴起步，那就让我们听一首他最伟大的钢琴作品之一。

And so since he started out on the piano, let's have one of his very greatest piano pieces.

我们将聆听第四钢琴协奏曲的第二乐章，这首作品于1808年首演，与第五交响曲同场 premiered。

And we're going to hear the second movement of the fourth piano concerto, which premiered in 1808 at the same evening that saw the Fifth Symphony premiered.

钢琴演奏者将是米什卡·拉什蒂·梅赫梅特。

And we are going to hear on the piano, Mishka Rashti Mehmet.

演奏得非常优美。

Beautifully played.

在维也纳首演的那个夜晚，钢琴是由贝多芬本人演奏的。

And on that evening in Vienna when it was premiered, the piano was played by Beethoven itself.

多米尼克，今晚我们已经谈了很多关于维也纳的内容。

And Dominic, we've talked a lot about Vienna over the course of this evening.

我们是否应该聚焦一下，描述一下这座首都呢？

Should we just focus in and describe the capital?

当然可以。

Sure, yes.

对贝多芬来说，维也纳远比对莫扎特来说更陌生。

So obviously for Beethoven, Vienna is much more foreign than it is for Mozart.

它是哈布斯堡王朝的首都。

It's the capital of the Habsburg dynasty.

此时，它是欧洲最大的德语城市，人口约二十五万。

It is at this point by far the biggest German speaking city in Europe with about a quarter of a million people.

这比柏林大了整整一倍。

So that's twice as big as Berlin.

这是一座处于战争中的城市。

It's a city at war.

因此，从1792年起，奥地利在接下来的二十二年左右断断续续处于战争状态。

So from 1792, Austria is at war on and off for the next twenty two years or so.

这座城市曾两次被法国占领。

It's twice occupied by the French.

有关于贝多芬在炮弹如雨般落下时， literally 躲在被子下面避难的故事。

There are stories about Beethoven literally sheltering under his bed clothes as the shells are kind of raining down overhead.

当然，对他而言，这也是莫扎特的城市。

And also of course, for him, it's the city of Mozart.

当他抵达时，莫扎特已经去世一年了。

And when he arrives, Mozart has been dead for a year.

人们已经开始议论，谁会是下一个莫扎特？

And people are already saying, who is going to be the next Mozart?

我想，你能感受到一种氛围：如果下一个莫扎特不存在，他们也会设法创造一个出来。

You have a sense, I think, that if the next Mozart doesn't exist, they're going to invent him anyway.

贝多芬抵达后不久，人们就说：不用再找了。

And very soon after Beethoven's arrival, they say, call off the search.

我们找到他了。

We have found him.

事实上，在他第一年学习后，他的老师约瑟夫·海顿写信给科隆选帝侯。

In fact, after his first year, his teacher, Joseph Haydn, wrote to the elector of Cologne.

他说，他将成为欧洲最伟大的艺术家之一。

And he said, he will be one of the greatest artists in Europe.

我将为自己能成为他的老师而感到自豪。

And I will be proud to call myself his teacher.

有趣的是，汤姆的老师们过去也总是这样评价詹姆斯·荷兰。

And the lovely thing is that is exactly what Tom's teachers used to say about James Holland.

抱歉，汤姆。

Sorry, Tom.

对不起。

Sorry.

那是

That was

不。

No.

我习惯了。

I'm used to this.

我习惯了。

I'm used to it.

你那番演唱之后，活该如此。

You deserved it after that singing.

整整四年。

Four long years.

现在，他不能仅仅被看作莫扎特了，因为背景已经变了。

Now, he can't just be Mozart because the context has changed.

例如，你创作音乐的方式正在改变。

For example, the way you make music is changing.

贝多芬实际上拥有了不同的乐器可供使用。

Beethoven literally has different instruments to play with.

例如，钢琴的音域更广，音色更丰富。

For example, pianos that have a much greater range and a richer sound.

所以，如果你曾好奇为什么贝多芬的音乐听起来和莫扎特不同，这就是其中一个原因。

So if you've wondered why Beethoven might sound different from Mozart, that's one of the reasons.

但更重要的是，我认为，人们从音乐中赚钱的方式已经改变了。

But even more importantly, I think, the way you make money from music has changed.

因此，直到现在，正如汤姆在上半部分所描述的，大多数音乐家都依赖贵族家庭。

So until this point, as Tom was describing in the first half, most musicians depended on aristocratic household.

所以贝多芬的老师海顿依赖于埃斯特哈齐家族。

So Beethoven's teacher, Haydn, depended on the Esterhazy family.

他住在匈牙利边境的埃斯特哈齐宫。

He lived at the Esterhazy Palace over the border in Hungary.

他穿着埃斯特哈齐家族的制服，实际上就像一名仆人。

He was dressed in Esterhazy livery as effectively a servant.

他是个仆人。

He was a servant.

但贝多芬进入了一个新的世界。

But Beethoven moves in a new world.

贝多芬得到了一系列不同的贵族赞助人的支持，他们不是把他当作仆人，而是当作一种商业客户。

Beethoven is supported by a whole range of different aristocratic patrons, not as a servant, but as a kind of business client.

一个很好的例子是他最早的赞助人之一，一位名叫利赫诺夫斯基亲王的人。

So a good example of this is his first one of his first great patrons who is a bloke called Prince Lychnowski.

他也是莫扎特的赞助人。

Who was a patron of Mozart's.

他们还一起去柏林进行了一次朋友出游。

And they went on a kind of lads trip to Berlin.

然后他们因为钱的问题发生了激烈的争吵。

And then they kind of got in and had a massive spat over money.

确实如此。

They did indeed.

莫扎特常常会这样，他们这

As Mozart tended to do by They this

确实如此。

did indeed.

这有点像我们的《休息的历史》之旅。

It's a bit like our Rest is History tours.

利希诺夫斯基向贝多芬提供了一笔年度津贴，以及食宿。

Lychnofsky offered Beethoven an annual allowance plus board and lodging.

贝多芬说，可以，但有一个条件：我绝对不是以仆人的身份前来。

And Beethoven said, yes, but on the condition that I'm absolutely not coming as a servant.

我是以几乎与你平等的身份前来的。

I'm coming as somebody who is almost an equal of yours.

换句话说，贝多芬非常保护自己的地位和独立性。

In other words, Beethoven is very very protective of his status and his independence.

1808年发生了一件非常著名的事。

There's a very famous episode in eighteen o eight.

拿破仑·波拿巴——并非《休息的历史》的朋友——任命他的弟弟热罗姆为威斯特伐利亚国王。

So Napoleon Bonaparte, not a friend of the rest of his history, has set up his brother Jerome as the king of Westphalia.

为了巩固他的政权，就像一位像沙特亿万富翁拥有足球俱乐部一样，他想签下一位明星球员。

And to bolster his regime, bit like a kind of Saudi billionaire with a football club, he wants to get a star player.

他心目中的明星球员就是贝多芬。

And the star player he has in mind is Beethoven.

他提供一笔巨额薪酬，邀请贝多芬来担任他的乐长，即音乐总监。

He offers him a massive salary to come and be his kapelmeister, his director of music.

贝多芬在维也纳到处向人提起这件事。

And Beethoven tells everybody this in Vienna.

当然，他会这么做。

Of course he does.

他希望有人能开出更好的条件。

He wants a counter offer.

而他确实得到了。

And he gets one.

他的三位赞助人——鲁道夫大公、肯尼西亲王和洛布科维茨亲王——联手提供了一份惊人的条件：只要贝多芬留在维也纳，他们将终身每年支付他4000弗罗林，而且他甚至不必再写一个音符。

Three of his patrons, Archduke Rudolf, Prince Kinsky, and Prince Lobkowitz club together, and they offer Beethoven an amazing deal, 4,000 florins a year for the rest of his life if he stays in Vienna, and he doesn't even have to write another note.

合同中写道，这是对他作为音乐家和作曲家非凡天才的认可。

The contract says this is in recognition of his extraordinary genius as a musician and a composer.

他们希望让他摆脱谋生的琐碎事务，以便专心创作提升艺术境界的作品。

They want to liberate him from the mundane cares of earning a living so that he can get on with writing works that ennoble the arts.

在此之前，从未有人为作曲家提供过如此规模的协议。

Nobody had ever done this for a composer before a deal of this magnitude.

这意味着贝多芬拥有的安全感和自由度， arguably 超过了迄今为止任何一位作曲家。

And it means that Beethoven has more security and more freedom arguably than any composer who has ever lived to this point.

他不必再按订单创作。

He doesn't have to work to order.

这显然让他有点飘飘然。

And this obviously goes to his head a little bit.

他的地位和独立性对他而言意义重大。

His status, his independence means so much to him.

有两个精彩的故事可以说明这一点。

There are two wonderful stories that illustrate this.

所以，在1806年，他和朋友利哈诺夫斯基王子一起去乡下度周末。

So one in eighteen o six, he goes with his mate, Prince Lykhanovsky, for a country weekend.

那里还有很多军官，利哈诺夫斯基王子对贝多芬说：‘路德维希，我想请你为这些客人弹钢琴。’

There are lot of officers staying there as well, and Prince Lychnowski says to Beethoven, Ludwig, I would like you to play the piano for these guests.

这就是利哈诺夫斯基王子说话的方式。

And that's how Prince Lychnowski spoke.

贝多芬回答：‘我没心情。’

And Beethoven says, I'm not in the mood.

我不想弹。

I don't want to play.

我不想被人指使着弹奏。

I don't want to play on cue.

他们大吵了一架。

They have a massive row.

事后，贝多芬对利哈诺夫斯基王子说：‘听着。'

And afterwards, Beethoven says to prince Lychnosky, listen.

是的，你是个王子，但你成为王子是因为出身的偶然。

Yes, you're a prince, but you are a prince because of an accident of birth.

所以非常比喻。

So very figurative.

非常比喻。

Very figurative.

嗯。

Yeah.

我是我，是因为我所做的事情。

I am who I am because of what I have done.

有成千上万的王子，而且永远都会有。

There are thousands of princes and there always will be.

但只有一个贝多芬，而且永远只会有一个。

But there is and there only ever will be one Beethoven.

然后到了1812年。

Then eighteen twelve.

这就是我不得不忍受你做的事情。

It's the kind of thing that I have to put up with from you.

1812年，贝多芬和德国作家歌德手挽手漫步在公园里。

Eighteen twelve, Beethoven and the German writer Goethe are strolling arm in arm through the park.

哦，就像我们一样，

Oh, it's like us,

是吧？

isn't it?

就像

Just like

我们。

us.

真美。

Lovely.

肯辛顿花园。

Kensington Gardens.

没错。

Exactly.

没错。

Exactly.

没错。

Exactly.

他们看到皇帝弗朗茨一世和他的儿子大公朝他们走来。

And they see coming towards them the emperor Francis the first and his son the archduke.

歌德赶紧闪到一旁，鞠躬致意。

And Goethe goes to get out of the way and to bow.

贝多芬据说对他说：‘你在干什么？’

And Beethoven supposedly says to him, what are you doing?

我们不用给他们让路。

We don't make room for them.

他们应该给我们让路。

They will make room for us.

这些故事是否真实其实并不重要，因为它们传达的是关于贝多芬的形象以及他对自己身份的认知——他不是仆人，而是一颗明星。

And whether or not these stories are true doesn't really matter because what they tell you is about the image of Beethoven and the conception of him, his own conception of himself, not as a servant, but as a star.

我认为他可能是第一位真正相信自己写的每一个音符都将伴随音乐存在而被演奏至今的作曲家。

I think he's probably the first composer who genuinely believes that every note that he writes will be played for as long as people are making music.

因此，每一部作品都至关重要。

So every work really matters.

这些不是随意应付的委托作品。

These are not throwaway commissions.

它们是他灵魂、智慧与天才的表达。

They're expressions of his soul, his intellect, his genius.

你看看他创作了多少部交响曲。

You look at the number of symphonies he wrote.

莫扎特写了41部。

Mozart wrote 41.

海顿写了104部。

Haydn wrote a 104.

贝多芬只写了九部。

Beethoven wrote just nine.

因为对他来说，这不仅仅是娱乐。

Because to him, this wasn't just entertainment.

这不是人们打牌时用来消遣的音乐。

It wasn't something that you listen to while people were playing cards.

这是艺术。

This was art.

这是严肃的。

This was serious.

而最能体现这一点的作品就是他的《英雄交响曲》，第三号。

And the work that sums that up is his Eroica Symphony, number three.

它首次演出是在1804年。

So it was first performed in 1804.

它的时长是莫扎特任何一部交响曲的两倍。

It's twice as long as any of Mozart's symphonies.

大家都认为这部作品非同寻常，是天才之作。

Everybody agreed that it was extraordinary, a work of genius.

但许多人也说，它太长了。

But people also said, many of them, that it was too long.

它太响了。

That it was too loud.

就像我们关于卡斯特将军的系列节目。

Like our series on General Custer.

就像卡斯特将军系列。

Like the General Custer series.

没错。

Exactly.

汤姆，那时候有马克杯，现在也有马克杯。

Tom, there were mugs then and there are mugs now.

但他们都承认这是一部天才之作。

But they all recognized it was a work of genius.

没错。

Exactly.

我的意思是，这才是关键。

I mean, that's what matters.

人们评价第三交响曲时说，它如此激进，如此鲜明。

And people said of the third symphony, this is so radical, so glaring.

这是一场无政府主义的作品。

It is a work of anarchy.

当然，这具有政治维度，因为当时奥地利人正在与他们认为代表无政府主义力量的人作战。

And of course, this has a political dimension because at the time, the Austrians are fighting against people that they believe represent the forces of anarchy.

那么，这意味着贝多芬站在革命的一边吗？

So does this mean that Beethoven is on the side of the revolution?

我一直都是这么认为的。

That's what I had always assumed.

但我知道你的风格。

But I, you know, I know your ways.

是的。

Yeah.

这有点复杂。

It's a little bit more complicated.

是吗？

Is it?

是的。

Is.

总是如此。

It always is.

这令人惊讶。

It's astonishing.

起初，贝多芬对法国大革命的理想持同情态度。

So at first, Beethoven was sympathetic to the ideals of the French revolution.

他被拿破仑这个白手起家、如彗星般划过欧洲天空的人物所吸引。

And he was fascinated by the figure of Napoleon, a self made man who blazed like a comet across the sky of Europe.

最初，有一个非常著名的故事，他原本打算将这部第三交响曲《英雄》献给拿破仑。

And originally, a very famous story, he was going to dedicate this third symphony, the Eroica to Napoleon.

但到了1804年12月，他听说拿破仑已经加冕为皇帝。

But then, December '4, he heard that Napoleon had crowned himself emperor.

他说：什么？

And he said, what?

他不过是个普通的政客。

He's just another politician.

他会把人的权利献祭在野心的祭坛上。

He will sacrifice the rights of man on the altar of his ambition.

他会成为一个暴君。

He will become a tyrant.

我没说错吧，汤姆。

I wasn't wrong, Tom.

于是他把乐谱撕成两半，并在第一页上刮掉了献给波拿巴的题词。

And he rips the manuscript in two and he scratches out the dedication to Bonaparte on the first page.

所以，没有献给拿破仑的题献。

So no dedication to Napoleon.

但好消息，汤姆，我们一直是一档充满爱国情怀的播客。

But good news, Tom, we are and we always have been a patriotic podcast.

我很高兴地说，贝多芬从未写过一首叫《拿破仑》的作品。

And I'm very pleased to say that Beethoven never wrote a piece called Napoleon.

但他确实写过一首关于威灵顿公爵的作品。

But he did write one about the Duke of Wellington.

这众所周知地糟糕，对吧？

And this is famously terrible, isn't it?

嗯，它是爱国的，但你得

Well mean, it's Patriotic, but you've

说实话。

got to be honest.

他为什么讨厌英国？

Why does he hate Britain?

这被称为威灵顿的胜利。

This was called Wellington's Sieg.

威灵顿的胜利。

Wellington's victory.

他于1813年创作了这部作品，以庆祝我们在半岛战争中英勇将士们的胜利。

He wrote it in 1813 to celebrate our brave boys' victories in the Peninsular War.

汤姆，你会很高兴听到这部作品融入了《统治吧，不列颠尼亚》和《天佑国王》。

Tom, you'd be pleased to hear that it incorporates both Rule Britannia and God Save the King.

所以欧盟选了贝多芬的第九交响曲。

So the EU went for Beethoven's Ninth.

本可以选那首的。

Could have had that.

没错。

Exactly.

简直疯狂。

Absolute madness.

历史将会多么不同。

How different history would have been.

你听不到这个，或者其余的部分了。无论如何，接下来的一年，1814年，拿破仑被暂时流放到厄尔巴岛。

You don't hear this or the rest Anyway, the following year, 1814, Napoleon is temporarily booted out to Elba.

维也纳陷入了庆祝和狂欢之中。

Vienna explodes in celebrations and festivities.

有舞会。

There are balls.

有招待会。

There are receptions.

这是贝多芬最成功的一年。

This is Beethoven's most successful year.

这是他赚得最多钱的一年。

It's the year in which he makes most money.

这是他的作品被演奏次数最多的一年。

It is the year in which his pieces are performed more than any other.

而正是在这一年，他推出了他唯一一部歌剧的最终版本，名为《费德里奥》。

And it is now that he stages the final version of his one and only opera, which is called Fidelio.

太棒了。

Brilliant.

好吧，我们来听一段《费德里奥》。

Well, let's hear a bit of Fidelio.

这是囚徒合唱段。

It's the prisoners chorus.

两位独唱者是安德鲁·斯台普尔斯和威廉·托马斯。

And the two soloists are Andrew Staples and William Thomas.

现在，当你在聆听时

Now as you've been listening

在收听本集的过程中，你可能已经注意到，这一集有些特别之处，对吧，汤姆？

to this episode, you might have noticed that this episode had something a little extra special, didn't it, Tom?

确实如此。

It absolutely did.

这是因为您在本播客中听到的每一首音乐作品都是由圣马丁室内乐团现场演奏的。

And that's because every piece of music you've heard during this podcast has been performed live by the Academy of Saint Martin in the Fields.

如果你在现场，一定会记得他们的演出有多么非凡。

And if you were there, you will remember how absolutely extraordinary their performance was.

我们非常高兴能在本集中邀请他们参与。

We are thrilled to have them featured on this episode.

坦白说，我们更高兴的是，能够将这场活动的录音免费开放给所有未能亲临现场的播客听众。

And, frankly, we're even more thrilled be able to make that recording of that event open and free to everybody in the podcast who wasn't able to attend in person.

圣马丁室内乐团是有史以来录音最多的乐团之一，每年在全球举办80多场音乐会，包括在历史悠久的圣马丁教堂举行的精彩系列演出。

The Academy of Saint Martin in the Fields is one of the most recorded orchestras of all time, giving more than 80 concerts a year across the world, including a stunning series in London at the historic Church of St Martin in the Fields.

圣马丁室内乐团为《历史的其余部分》的所有听众提供专属免费会员资格。

The Academy of St Martin in the Fields is offering an exclusive complimentary Friends membership to all listeners of The Rest is History.

您可以参加公开排练，享受音乐会前的讲座和与独奏家的见面会，获取独家数字下载内容，更重要的是，享受伦敦音乐会门票25%的折扣。

You can attend open rehearsals, enjoy pre concert talks and meet and greets with soloists, access exclusive digital downloads, and crucially receive 25% off tickets to their London concerts.

要领取您的免费会员资格并了解所有这些精彩机会，请访问 asmf.org/history，千万别错过。

To claim your complimentary Friends membership and explore all these incredible opportunities, just go to asmf.org/history so don't miss out.

访问 asmf.org/history 并立即注册。

Visit asmf.org/history and sign up today.

这段音乐一直是历史学家们着迷的对象，因为它传统上被视为一个革命时代的背景音乐，不是吗？

That is a passage of music that historians have always been fascinated by because it's conventionally seen as providing the soundtrack to an age of revolution, isn't it?

对于不熟悉这部歌剧的人，我稍作背景介绍：故事发生在16世纪西班牙的一座监狱里。

And just for those not familiar with the opera, give a bit of context, it's set in Spain in the sixteenth century in a prison.

你刚才听到的是囚犯们从牢房中走出，眯着眼睛迎接阳光。

And what you've just heard is prisoners emerging from their cells coming blinking into the sunlight.

他们歌唱着获得自由的喜悦。

Singing of the delight they feel at their liberation.

因此，它总是与巴士底狱的陷落联系在一起。

And so it's always associated with the fall of the Bastille.

君主专制的覆灭。

The overthrowing of monarchical despotism.

但多米尼克，正如我所说，我熟悉你的手法。

But Dominic, as I said, I am familiar with your methods.

我有种直觉，你会告诉我事情没那么简单。

And I kind of have a hunch that you're going to tell me it's more complicated than that.

不出所料，事情没那么简单。

Surprise, surprise, it's more complicated than that.

贝多芬为《费德里奥》已经工作了多年。

So Beethoven had been working on Fidelio for years.

他的灵感来自一部法国戏剧，讲述一位丈夫的妻子将他从监狱中救出的故事。

And he got the idea from a French play about a bloke who's rescued from prison by his wife.

但很可能是这部法国戏剧的背景设定在恐怖时期。

But it seems pretty likely that the French play is actually set during the terror.

而这位男子可能是一位贵族。

And this bloke may be an aristocrat.

我认为《费德里奥》的政治内涵可能比人们想象的更复杂，或许更保守一些。

And I think the politics of Fidelio may be a little bit more complicated, more more conservative maybe than people think.

请记住，这部歌剧1814年在维也纳首演。

So remember this is taking place this premiere in Vienna in 1814.