問：作為一名音樂家，有沒有哪本書影響了你的藝術發展？
馬友友：多到不計其數，但是約瑟夫·霍洛維茨(Joseph Horowitz)寫的托斯卡尼尼，為我童年搬到紐約時與古典音樂世界的相遇提供了社會和歷史背景。這本書讓我看到，二戰後一切都發生了極為深刻的變化，歐洲音樂家到美國的移民參與塑造了半個世紀以來古典音樂的演變，它也幫我找到了自己的音樂根基。
Joseph Horovitz (26 May 1926 – 9 February 2022) was an Austrian-born British composer and conductor best known for his 1970 pop cantata Captain Noah and his Floating Zoo, which achieved widespread popularity in schools. Horovitz also composed music for television, including the theme music for the Thames Television series Rumpole of the Bailey, and was a prolific composer of ballet, orchestral (including nine concertos), brass band, wind band and chamber music.[1] He considered his fifth string quartet (1969) to be his best work.[2]
約瑟夫·霍洛維茨（1926年5月26日-2022年2月9日）是一位奧地利出生的英國作曲家兼指揮家，以其1970年的流行康塔塔《諾亞方舟和他的浮動動物園》而聞名，該劇在學校廣受歡迎。霍洛維茲也為電視創作音樂，包括泰晤士電視影集《貝利的朗波爾》的主題曲。他是一位多產的作曲家，作品涵蓋芭蕾舞、管弦樂（包括九首協奏曲）、銅管樂隊、管樂團和室內樂。 [1] 他認為他的第五號弦樂四重奏（1969年）是他最傑出的作品。 [2]
WWWW
Horowitz, a former music critic for The New York Times and the author of seven previous books, including the superb trio “Understanding Toscanini,” “Wagner Nights” and “Classical Music in America,” is well versed in this subject. As he says in his preface, “the topic of my books has ever been the fate of Old World art and artists transplanted to the New World.” But right off he faces two problems:
霍洛維茲曾任《紐約時報》音樂評論員，著有七部著作，包括傑出的三部曲《理解托斯卡尼尼》、《華格納之夜》和《美國古典音樂》，他對這主題深有體會。正如他在序言中所說：「我的著作的主題一直是舊世界藝術以及移居新大陸的藝術家的命運。」但他很快就面臨兩個問題：
(1) 書中許多關於喬治·巴蘭欽、瑪琳·黛德麗、葛麗泰·嘉寶、貝托爾特·布萊希特和伊戈爾·斯特拉文斯基等傳奇人物的傳記材料，讀者對其頗為熟悉；(2) 如此廣泛地涉獵舞蹈、音樂、電影和戲劇（其中也包括一些小說家），他面臨著在他早期嚴謹的一種作品中。
霍洛維茨深知，沒有一本書能夠涵蓋20世紀流亡美國的歐洲表演藝術家的全部故事，因此他明智地將研究方法限制在案例研究上，以展現不同的人生軌跡和命運。他也將研究對象限定在那些成年後來到美國並長期居住，並且從小就使用英語以外語言的藝術家——因此幾乎沒有英國藝術家（不知何故，查理·卓別林也參與其中）。然而，作者似乎貪婪地想要囊括所有人，不斷偏離案例研究的方法，塞進其他流亡藝術家的簡略描述，其中許多人只是興奮地匆匆而過。因此，這本經過英雄式研究的著作略顯冗長，但也充滿了引人入勝的片段、令人嘆為觀止的引言和敏銳的洞見。
霍洛維茲最熱衷於探討他所謂的「文化交流」的「協同效應」。換句話說，移民到美國的歐洲藝術家具體做出了哪些貢獻？他們對美國的活力和本土的表達方式又有多大的接受度？
(1) much of the biographical material about legendary figures like George Balanchine, Marlene Dietrich, Greta Garbo, Bertolt Brecht and Igor Stravinsky is fairly familiar; (2) in casting so wide a net over dance, music, movies and theater (a few novelists are thrown in as well), he risks a diffuseness that was not evident in his earlier, rigorously focused works.
Fully aware that no one book could possibly encompass the whole story of European performing artists exiled to America in the 20th century, Horowitz has wisely limited his approach to case studies that exemplify different paths and fates. He has also restricted the artists to those who came here as adults and stayed a long time, and who grew up speaking a language other than English — hence virtually no British subjects (for some reason Charlie Chaplin is included). But, as though greedy to include everyone, the author keeps departing from the case study method to cram in thumbnail sketches of other exiled artists, many of whom pass in an excited blur. So this heroically researched volume is a bit overstuffed, but it is also chock-full of fascinating vignettes, stunning quotations and shrewd insights on the fly.
Horowitz is most keen to examine what he calls the “synergies” of “cultural exchange.” In other words, what specifically did the European artists who immigrated to the United States contribute, and how receptive were they to American energies and the homegrown efforts at expression?
沒有留言:
張貼留言