与阿巴多道别
与阿巴多道别
Michael Haefliger 文
琉森，2014年1月20日
1933年6月26日，克劳迪奥·阿巴多生于米兰。而今早，我们却在哀恸于他的辞世。于琉森音乐节而言，一场造诣精深、灵性四溢的长久合作关系，就此终止。这机缘始于阿巴多与瑞士节日管弦乐队在1966年夏日的初会，并在2003年琉森音乐节重建时登峰造极。正是这一拐点使得琉森音乐节得以企及其他音乐节未有的艺术高度。该“友人之团”，如阿巴多所自诩，是其艺术态度与独特诠释美学的结晶；它迅速成长为点亮管弦乐团文化景观希望的少数灯塔之一。琉森音乐节管弦乐队自创立之初便避免了官僚之繁冗；她象征着艺术奉献与卓越诠释的理想共生。于此共生中，每场演奏化为僭越此时此地此身的存在经验；乐动时刻超脱为无垠的永恒。而上述一切是在指挥与乐团深厚自然的语境下合作生成的。
阿巴多勇于尝试。他将其所谙的室内乐式的音乐面向，及其对乐团的热爱精准无误地呈现于世人面前。管弦乐团从来都是大小乐队的精细整合，而非单一的整体或一团乐音。在保持高度差异性的情况下，乐团需打磨内在 —— 首先是团员间的磨合 —— 并遵循统一的原则指引去追求共同的音乐道路。克劳迪奥·阿巴多，比其他任何人都深谙此道：事实上，他自己的音乐生涯即始自室内乐。
阿巴多的音乐信条源于室内乐（仅从音乐的细密程度而言）；这一信条亦深植于他自己的“倾听学派”。他不喜豪言壮语，也非漫长排练讨论的痴迷者；他棒下的音乐是靠团员间亲密无间的倾听汇聚而成的。 这倾听基于自信：自信唯有现场演奏方能展现音乐诠释之高峰。此间, 当然包括他在琉森演绎古斯塔夫·马勒与安东·布鲁克纳作品时，我们所亲历的那些静谧时刻。
就在这崇高、动人、无尽的音乐之静谧间，2013年8月16日在琉森，阿巴多指挥了布鲁克纳交响曲第九阕，一部断章。 那夜，音乐厅中有一丝气息预示这或将是他的最后一演。就在这难忘一夜莫测的静谧中，阿巴多的身影距我们渐行渐远、模糊不清。 如今，那预示竟已成谶。
"漫步者，没有道路。只有漫步。" 阿巴多故友，意大利剧作家路伊基挪诺，在托莱多一座修道院的墙壁上发现了这一诗句。 它或是阿巴多一生的象征： 不为生命寻找既定的道路，而是去行进，去生活，去用开放的姿态对待新的体验。换而言之，这是场没有路线的漫步与寻觅。在这种意义上，克劳迪奥·阿巴多的创作始终都在“无路线”地寻找新奇与陌生，直到他充盈绮丽的一生行至最后一秒。
现在我们时代最伟大的一位艺术家路途已尽。对克劳迪奥·阿巴多，琉森音乐节心怀无尽感念；感谢他在过去47年间留予我们那些壮丽，难忘，无以言表的生命经验。我们希望在以后的日子里能够继续坚守他的艺术道路与信条。以此来永久地纪念他和他的艺术。
逆行卡农 译
附 原文
Farewell to Claudio Abbado
by Michael Haefliger
Lucerne, 20 January 2014. Claudio Abbado was born in Milan on 26 June 1933; this morning, to our great sorrow, he left this world. For LUCERNE FESTIVAL this means the sad end to a long-lasting and incredibly inspired partnership that resulted in the most remarkable artistic successes. It all began in the summer of 1966, when Claudio Abbado made his debut with the Swiss Festival Orchestra, and culminated in the re-establishment of the LUCERNE FESTIVAL ORCHESTRA in the summer of 2003: a turning point that was crucial in leading LUCERNE FESTIVAL to a level of artistic achievement that very few other festivals have been able to experience. This “orchestra of friends,” as he himself called it, within a very short time developed into one of the great beacons of hope amid the varied cultural landscape of symphony orchestras. It was the unadulterated embodiment of Claudio Abbado’s attitude toward art and of his unique aesthetic of interpretation. At a far remove from any orchestral bureaucracy, from the very start the LUCERNE FESTIVAL ORCHESTRA represented an ideal symbiosis of artistic devotion and interpretive excellence: a symbiosis such that each performance became a unique, indeed almost existential experience that transcended temporal norms, in which the musical moment was transformed into a kind of unbounded eternity. And all this in the context of a profound and natural friendship between conductor and orchestra.
With this venture, Claudio Abbado’s distinctive understanding of the chamber music-like aspect of
music making, his love for the ensemble, came unmistakably into the foreground. Instead of a huge single entity or even a musical mass, an orchestra was and is a collective comprising smaller and larger ensembles which join together, all the while preserving their high degree of differentiation, under the guidance of the principle primus inter pares – first among equals – and which pursue a shared musical path. Claudio Abbado believed in this ideal more than anyone: indeed, he began his own musical career in the realm of chamber music.
And if Claudio Abbado’s musical credo arose from chamber music, which is to say from a sense of musical intimacy, this very credo was deeply anchored in his own “school of listening.” He wasn’t a man of big words, nor was he a fan of long rehearsal discussions; instead, the artistic process that took shape when he conducted consisted of a kind of silent close listening – to and with one another – all based on the confidence that it was only during the live performance of the concert itself that the ultimate pinnacle of interpretation was to be found. This includes those unforgettable moments of profound musical silence that we experienced during his brilliant performances of the symphonies of Gustav Mahler and Anton Bruckner in Lucerne.
It was with a sublime, deeply moving moment of unending musical silence that Abbado concluded his artistic work on 26 August 2013 in Lucerne, with a performance of the Ninth Symphony of Anton Bruckner, a musical fragment. There was a sense in the hall on that evening that it might possibly be his final concert, so far removed and deeply transfigured did Claudio Abbado seem to all of us on this unforgettable evening, in this moment of unfathomable silence. Today, to our deep and overwhelming sorrow, this inkling became a reality.
“Wanderer, there are no paths. There is only wandering.” This quotation, which Claudio Abbado’s long- time friend, the Italian composer Luigi Nono, discovered on the wall of a monastery in Toledo, might also serve as an emblem for the life of Claudio Abbado: not to map out one’s life according to certain paths but rather to proceed, to live, and to remain open to experiencing what is new. In other words, a pathless wandering and searching. In just this sense Claudio Abbado always “pathlessly” sought out the new and unknown in his creative work, and he did so right up until the last second of his very full and fascinating life.
And now this path of one of the greatest artists of our time has reached its end on earth. LUCERNE
FESTIVAL is profoundly grateful to Claudio Abbado for all the magnificent, unforgettable, and
indescribable experiences that he gave us in the past 47 years. We hope to remain faithful to his artistic path and credo in the future and thus to create an everlasting remembrance of him and his great art.
Michael Haefliger, Executive and Artistic Director LUCERNE FESTIVAL
Michael Haefliger 文
琉森，2014年1月20日
 |
1933年6月26日，克劳迪奥·阿巴多生于米兰。而今早，我们却在哀恸于他的辞世。于琉森音乐节而言，一场造诣精深、灵性四溢的长久合作关系，就此终止。这机缘始于阿巴多与瑞士节日管弦乐队在1966年夏日的初会，并在2003年琉森音乐节重建时登峰造极。正是这一拐点使得琉森音乐节得以企及其他音乐节未有的艺术高度。该“友人之团”，如阿巴多所自诩，是其艺术态度与独特诠释美学的结晶；它迅速成长为点亮管弦乐团文化景观希望的少数灯塔之一。琉森音乐节管弦乐队自创立之初便避免了官僚之繁冗；她象征着艺术奉献与卓越诠释的理想共生。于此共生中，每场演奏化为僭越此时此地此身的存在经验；乐动时刻超脱为无垠的永恒。而上述一切是在指挥与乐团深厚自然的语境下合作生成的。
阿巴多勇于尝试。他将其所谙的室内乐式的音乐面向，及其对乐团的热爱精准无误地呈现于世人面前。管弦乐团从来都是大小乐队的精细整合，而非单一的整体或一团乐音。在保持高度差异性的情况下，乐团需打磨内在 —— 首先是团员间的磨合 —— 并遵循统一的原则指引去追求共同的音乐道路。克劳迪奥·阿巴多，比其他任何人都深谙此道：事实上，他自己的音乐生涯即始自室内乐。
阿巴多的音乐信条源于室内乐（仅从音乐的细密程度而言）；这一信条亦深植于他自己的“倾听学派”。他不喜豪言壮语，也非漫长排练讨论的痴迷者；他棒下的音乐是靠团员间亲密无间的倾听汇聚而成的。 这倾听基于自信：自信唯有现场演奏方能展现音乐诠释之高峰。此间, 当然包括他在琉森演绎古斯塔夫·马勒与安东·布鲁克纳作品时，我们所亲历的那些静谧时刻。
就在这崇高、动人、无尽的音乐之静谧间，2013年8月16日在琉森，阿巴多指挥了布鲁克纳交响曲第九阕，一部断章。 那夜，音乐厅中有一丝气息预示这或将是他的最后一演。就在这难忘一夜莫测的静谧中，阿巴多的身影距我们渐行渐远、模糊不清。 如今，那预示竟已成谶。
"漫步者，没有道路。只有漫步。" 阿巴多故友，意大利剧作家路伊基挪诺，在托莱多一座修道院的墙壁上发现了这一诗句。 它或是阿巴多一生的象征： 不为生命寻找既定的道路，而是去行进，去生活，去用开放的姿态对待新的体验。换而言之，这是场没有路线的漫步与寻觅。在这种意义上，克劳迪奥·阿巴多的创作始终都在“无路线”地寻找新奇与陌生，直到他充盈绮丽的一生行至最后一秒。
现在我们时代最伟大的一位艺术家路途已尽。对克劳迪奥·阿巴多，琉森音乐节心怀无尽感念；感谢他在过去47年间留予我们那些壮丽，难忘，无以言表的生命经验。我们希望在以后的日子里能够继续坚守他的艺术道路与信条。以此来永久地纪念他和他的艺术。
逆行卡农 译
附 原文
Farewell to Claudio Abbado
by Michael Haefliger
Lucerne, 20 January 2014. Claudio Abbado was born in Milan on 26 June 1933; this morning, to our great sorrow, he left this world. For LUCERNE FESTIVAL this means the sad end to a long-lasting and incredibly inspired partnership that resulted in the most remarkable artistic successes. It all began in the summer of 1966, when Claudio Abbado made his debut with the Swiss Festival Orchestra, and culminated in the re-establishment of the LUCERNE FESTIVAL ORCHESTRA in the summer of 2003: a turning point that was crucial in leading LUCERNE FESTIVAL to a level of artistic achievement that very few other festivals have been able to experience. This “orchestra of friends,” as he himself called it, within a very short time developed into one of the great beacons of hope amid the varied cultural landscape of symphony orchestras. It was the unadulterated embodiment of Claudio Abbado’s attitude toward art and of his unique aesthetic of interpretation. At a far remove from any orchestral bureaucracy, from the very start the LUCERNE FESTIVAL ORCHESTRA represented an ideal symbiosis of artistic devotion and interpretive excellence: a symbiosis such that each performance became a unique, indeed almost existential experience that transcended temporal norms, in which the musical moment was transformed into a kind of unbounded eternity. And all this in the context of a profound and natural friendship between conductor and orchestra.
With this venture, Claudio Abbado’s distinctive understanding of the chamber music-like aspect of
music making, his love for the ensemble, came unmistakably into the foreground. Instead of a huge single entity or even a musical mass, an orchestra was and is a collective comprising smaller and larger ensembles which join together, all the while preserving their high degree of differentiation, under the guidance of the principle primus inter pares – first among equals – and which pursue a shared musical path. Claudio Abbado believed in this ideal more than anyone: indeed, he began his own musical career in the realm of chamber music.
And if Claudio Abbado’s musical credo arose from chamber music, which is to say from a sense of musical intimacy, this very credo was deeply anchored in his own “school of listening.” He wasn’t a man of big words, nor was he a fan of long rehearsal discussions; instead, the artistic process that took shape when he conducted consisted of a kind of silent close listening – to and with one another – all based on the confidence that it was only during the live performance of the concert itself that the ultimate pinnacle of interpretation was to be found. This includes those unforgettable moments of profound musical silence that we experienced during his brilliant performances of the symphonies of Gustav Mahler and Anton Bruckner in Lucerne.
It was with a sublime, deeply moving moment of unending musical silence that Abbado concluded his artistic work on 26 August 2013 in Lucerne, with a performance of the Ninth Symphony of Anton Bruckner, a musical fragment. There was a sense in the hall on that evening that it might possibly be his final concert, so far removed and deeply transfigured did Claudio Abbado seem to all of us on this unforgettable evening, in this moment of unfathomable silence. Today, to our deep and overwhelming sorrow, this inkling became a reality.
“Wanderer, there are no paths. There is only wandering.” This quotation, which Claudio Abbado’s long- time friend, the Italian composer Luigi Nono, discovered on the wall of a monastery in Toledo, might also serve as an emblem for the life of Claudio Abbado: not to map out one’s life according to certain paths but rather to proceed, to live, and to remain open to experiencing what is new. In other words, a pathless wandering and searching. In just this sense Claudio Abbado always “pathlessly” sought out the new and unknown in his creative work, and he did so right up until the last second of his very full and fascinating life.
And now this path of one of the greatest artists of our time has reached its end on earth. LUCERNE
FESTIVAL is profoundly grateful to Claudio Abbado for all the magnificent, unforgettable, and
indescribable experiences that he gave us in the past 47 years. We hope to remain faithful to his artistic path and credo in the future and thus to create an everlasting remembrance of him and his great art.
Michael Haefliger, Executive and Artistic Director LUCERNE FESTIVAL
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