熒幕中的杰奎琳·杜普蕾 Jacqueline du Pré in Portrait By Christopher Nupen
紀(jì)錄片《杰奎琳·杜普蕾和埃爾加大提琴協(xié)奏曲》由獲獎電影制作人克里斯托弗·努彭創(chuàng)作。在這部影片中，克里斯托弗·努彭探討了這位20世紀(jì)最杰出的演奏家的藝術(shù)個性，以及她與埃爾加這首憂郁的大提琴協(xié)奏曲之間的特殊關(guān)系。電影一開始就講述了她因病無法公開表演后所做的事情。這部影片講述了杜普蕾的童年和她的音樂天賦，以及她與丹尼爾·巴倫博伊姆的婚姻。這部紀(jì)錄片還收錄了努彭拍攝的貝多芬《鋼琴三重奏》影像。
《熒幕中的杜普蕾》
What is it that makes some artists live longer and brighter in the memory? In Jacqueline du Pré's case, she not only surprised and delighted us with her music, she had ways of touching the heart that are given to very, very few but there is even more to it than that.
為什么藝術(shù)家們值得被我們永久銘記，并且在我們記憶中熠熠生輝？提起杰奎琳·杜普蕾（Jacqueline du Pré），讓我們驚訝和欣喜的不僅是她的音樂，還有她珍貴的、能觸動他人心靈的能力。而她的品質(zhì)還遠(yuǎn)不止于此。
Nobody really knows the answer to that question, but while you cannot explain it you can feel it and you can film it. That is what we have done. Our DVD contains both a portrait film of Jacqueline du Pré and complete performances of the Elgar cello concerto with the Philharmonia Orchestra, conducted by Daniel Barenboim (a performance that has already passed into legend)
沒有人真正知道這個問題的答案，你雖然無法回答，但你卻可以去感受并去拍攝它，這就是我們所做的。我們的DVD既包含杰奎琳·杜普蕾的肖像影片，也包含全套由丹尼爾·巴倫博伊姆（Daniel Barenboim）執(zhí)棒愛樂樂團(tuán)上演埃爾加大提琴協(xié)奏曲的傳奇演出。
And Beethoven's Ghost Trio which she plays with Daniel Barenboim and Pinchas Zukerman.THE GHOST was described by the French opera and film director Jean-Pierre Ponnelle as the most successful translation of musical performance onto the screen that he had ever seen.
影片中還包括她與巴倫博伊姆、皮恩卡斯·祖克曼（Pinchas Zukerman）一起演奏的貝多芬“鬼魂”三重奏。法國歌劇和電影導(dǎo)演讓-皮埃爾·龐內(nèi)爾（Jean-Pierre Ponnelle）這樣描述影片《鬼魂》，他說這是他所見過的將音樂演奏搬上熒幕最成功的作品。
Jacqueline du Pré caught the public imagination when she was still in her teens, partly because she had a very unusual and elevated relationship with the Elgar cello Concerto. For critics and public alike, her performances focused new attention on the inherent pathos in Elgar's melancholy masterpiece and had an emotional quality that has never been matched by anyone else.
杰奎琳·杜普蕾在她年輕時就吸引了公眾的注意，一部分是因?yàn)樗桶柤哟筇崆賲f(xié)奏曲那不凡而又高貴的關(guān)系。對于音樂評論家和聽眾們來說，她的演奏將注意力集中在埃爾加這首作品里固有的悲傷品質(zhì)之中，她表現(xiàn)出的情感無人可比。
A swan-song of rare and vanishing beauty
—— The Guardian
一首絕無僅有的天鵝贊歌——衛(wèi)報
She played it first at the Royal Festival Hall in London on 21 March 1962 when she was just seventeen years old. On the following morning, Neville Cardus, one of England's most distinguished writers on music, described the work in The Guardian as, 'A swan-song of rare and vanishing beauty', and he reviewed her performance of it in such strong and poetic terms as any seventeen year old has ever received from a senior critic.
1962年3月21日，她在倫敦的皇家音樂廳首次演奏了這首曲子，此時她僅僅17歲。轉(zhuǎn)天早上，英國最杰出的音樂作家之一內(nèi)維爾·卡杜斯（Neville Cardus），在“衛(wèi)報”上將這部作品描述為“一首絕無僅有的天鵝贊歌”，他賦以了杜普蕾極其高度且富有詩意的評價，沒有任何一名年僅17歲的演奏家能收獲資深評論家這樣的評價。
He concluded his review with these words:'Those actually present were witness, on the first day of spring, to an early blossoming in Miss du Pré’s playing, and such a beautiful blossoming as this year, or any other year, is likely to know for a long time to come.'
他這樣總結(jié)他的評論： “那些真正在場的人，見證、聆聽了杜普蕾小姐在初春的綻放。她會是今年里，也會是任何時候里那最美的那一朵花?！?/p>
In the next few years, Jacqueline du Pré won an enthusiastic audience for the concerto, not only in the United Kingdom but in the rest of Europe, in the United States and in the Soviet Union.
在接下來的幾年里，杰奎琳·杜普蕾不僅在英國，還在歐洲各國、美國和蘇聯(lián)為這首協(xié)奏曲贏得了一批熱情的聽眾。
She played the work for the last time in 1973, when her brilliant career as one of the finest musicians that Britain has ever produced, was cut short by multiple sclerosis.
她最后一次演奏這首曲子是在1973年，當(dāng)時她是英國有史以來最優(yōu)秀的音樂家之一，但她輝煌的職業(yè)生涯卻因多發(fā)性硬化癥而中斷。
After 1973, she could no longer play the cello, but she remained a brave and adventurous spirit, her passion for music undimmed and her attitude in coming to terms with her illness as touching as it was courageous.
1973年以后，她不能再拉大提琴了，但她仍擁有勇敢和冒險的精神，她對音樂的熱情沒有減弱。她對待疾病的態(tài)度也令人感動，極為勇敢。
This film begins with an account of her activities after the onset of her illness. It ends, at Jacqueline du Pré's request, with a re-edited version of the film which we made with her in 1967, a film which sketches her childhood and the development of her musical talent, her meeting with Daniel Barenboim and their marriage in 1967, her relationship with the Elgar Concerto and, finally, a complete performance of the work with the Philharmonia Orchestra conducted by Daniel Barenboim - a performance that is remarkable by any standards and, for many, quite unforgettable.
這部影片以她生病后的活動開篇。應(yīng)杜普蕾的要求，1967年我們與她一起重新剪輯并制作了一部修訂版影片，以此結(jié)束。這部電影描繪了她的童年以及她音樂天賦的發(fā)展；她與丹尼爾·巴倫博伊姆相識和他們在1967年的婚姻；她與埃爾加協(xié)奏曲的故事；以及她與巴倫博伊姆執(zhí)棒的愛樂樂團(tuán)合作的完整演出，這場演出以任何標(biāo)準(zhǔn)衡量都是非凡的，而且對許多人來說都是難以忘懷的。
There are contributions by Daniel Barenboim, Sir John Barbirolli, Charles Beare (who looked after her cellos throughout her career), William Pleeth, Iris and Derek du Pré (Jacqueline du Pré’s parents) and with music by Camille Saint-Sa?ns, Iris du Pré , Fran?ois Couperin, Enrique Granados, Max Bruch, Johannes Brahms and Edward Elgar.
為這部影片做出貢獻(xiàn)的有丹尼爾·巴倫博伊姆（Daniel Barenboim）、約翰·巴比羅利爵士（Sir John Barbirolli）、一直為杜普蕾保養(yǎng)大提琴的查爾斯·貝爾（Charles Beare）、威廉·普利斯（William Pleeth）、杜普蕾的父母——艾瑞斯·杜普蕾和德瑞克·杜普蕾（Iris & Derek du Pré）。影片中涉及的音樂包括圣桑（Camille Saint-sa?ns）、艾瑞斯·杜普蕾（Iris du Pré）、庫佩蘭（Fran?ois Couperin）、恩里克·格拉納多斯（Enrique Granados）、布魯赫（Max Bruch）、勃拉姆斯和埃爾加的作品。
The Ghost
《鬼魂》
This is almost certainly the finest performance ever filmed of this great work - Beethoven’s Piano Trio Opus 70 No. 1, known as The Ghost.
《貝多芬第五鋼琴三重奏》（“鬼魂”）這次的錄制幾乎是這個作品有史以來最好的版本。
The work is a masterpiece, the performance spellbinding and the filming, in the words of the French film and opera director Jean-Pierre Ponnelle, the most successful translation of musical performance onto the screen that he had ever seen.
這部影片是一部杰作，是一部令人著迷的演出，用法國電影和歌劇導(dǎo)演讓-皮埃爾·龐內(nèi)爾（Jean-Pierre Ponnelle）的話說，是他所見過的將音樂演奏搬上熒幕最成功的作品。
The Ghost is the most successful translation of musical performance onto the screen that I have ever seen.——Jean-Pierre Ponelle
《鬼魂》是我所見過的將音樂演奏搬上熒幕最成功的作品。——讓-皮埃爾·龐內(nèi)爾
The filming took place in St John’s Smith Square, London on the 12th of May 1970, before the onset of Jacqueline du Pré’s illness and in the early days of the Barenboim/du Pré/Zukerman Trio, which promised to become one of the great Piano Trios of all time.
這部電影于1970年5月12日攝于倫敦的圣約翰史密斯廣場，當(dāng)時的杜普蕾還未受疾病困擾，此時剛組建的巴倫博伊姆/杜普雷/祖克曼三重奏被認(rèn)為會成為史上最偉大的鋼琴三重奏之一。
In 1808, the composer and violinist Louis Spohr was invited to a rehearsal in Beethoven’s house of the D major Piano Trio Opus 70 No. 1, known as the The Ghost, and wrote of the occasion:
1808年，作曲家、小提琴家路易斯·斯波爾（Louis Spohr）受邀參加貝多芬《D大調(diào)鋼琴三重奏》“鬼魂”的排練，他記錄下這樣的場景：
“It was not an enjoyable experience. First of all the piano was dreadfully out of tune, which did not trouble Beethoven in the least, since he could not hear it. Little or nothing remained of the brilliant technique which had been so much admired. In loud passages the poor deaf man hammered away at the notes crashing through whole groups of them so that without the score one lost all sense of the melody. I was deeply moved by the tragedy of it all. Beethoven’s almost continual melancholy was no longer a mystery to me.”
“這曲子不是那種愉快的經(jīng)歷。首先鋼琴是嚴(yán)重跑調(diào)的[1]，不過因?yàn)樨惗喾衣犃κ軗p，這倒不會使他感到煩惱。但這種令人贊嘆的絕技已一去不復(fù)返了。在強(qiáng)段落中，那個可憐的聾人不斷地敲擊著，敲打著整組音符，人們要是沒有樂譜就會跟丟旋律。我為貝多芬身上的這種悲劇所深深地觸動。他那幾乎無止境的憂郁，對我來說已不再是一個謎了。”
（譯者注：該部分提到貝多芬所用鋼琴狀態(tài)不佳，以及因?yàn)槎@導(dǎo)致的大力演奏。此時期對應(yīng)鋼琴屬Broadwood制作，可見參考鏈接。）https://www.classicfm.com/composers/beethoven/broadwood-piano/’ .2018
Background
幕后
Early in May 1970, I booked a converted church in London, known as St John's Smith Square, to film a recital with Andrés Segovia. When we were already very close to the filming date, the American impressario Sol Hurok threw a spanner in the works. He advised Segovia against doing the recital with us because he believed that he could arrange something “better”, meaning more lucrative, in the United States.
1970年5月初，我在倫敦預(yù)定了一處改建教堂——“圣約翰·史密斯廣場音樂廳”，打算與安德烈·塞戈維亞（Andrés Segovia）一起拍攝一場獨(dú)奏會。當(dāng)我們即將開拍時，美國經(jīng)理人索爾·胡洛克（Sol Hurok）作梗。他建議塞戈維亞不要和我們一起拍獨(dú)奏會，他說他可以在美國安排一些“更好的”，意思是說一些更賺錢的項目。
In fact he did us a favour because without his intervention neither our film of THE GHOST with Jacqueline du Pré, Pinchas Zukerman and Daniel Barenboim nor our film Andrés Segovia: THE SONG OF THE GUITAR, which was eventually shot in the Palaces of the Alhambra, in Granada, would exist.
其實(shí)這反倒幫了我們一個忙，因?yàn)槿绻麤]有他的干擾，我們與杜普蕾、祖克曼、巴倫博伊姆拍攝的影片《鬼魂》，以及我們和塞戈維亞最終在格拉納達(dá)的阿罕布拉宮拍攝的《吉他之歌》，這兩部影片都將不復(fù)存在。
In the end, Sol Hurok's project never flew and so, six years later, in 1976, we went with Segovia to Granada and filmed him in the Palaces of the Alhambra, a rather better location which, to use Segovia’s own words, was “the Leitmotif of his life and the place where he opened his eyes to beauty and was born for the second time - and the most important.'
索爾·胡洛克說的那個項目到最后也沒能實(shí)現(xiàn)，六年后的1976年，我們和塞戈維亞一起去格拉納達(dá)，和他在阿罕布拉宮進(jìn)行了拍攝。這個地方更理想一些，用塞戈維亞自己的話來說，阿罕布拉宮是他生命中的主旋律，在這里睜開雙眼就能發(fā)現(xiàn)美麗，就如同重獲寶貴的新生命。
Finding myself with a booking at St John's and nothing to shoot, I called Daniel Barenboim and Jacqueline du Pré in Brighton. I had just heard them play Beethoven's Ghost Trio at concerts in Oxford and Brighton. The Oxford concert in particular had left an impression on me that was indescribable, one of those things that music can sometimes do, and which cannot be explained - something extraordinarily elevated which seems to remain forever in the memory.
不過我意識到我雖然預(yù)定了圣約翰音樂廳，卻面臨無人可拍的局面。我給在布萊頓（Brighton）的丹尼爾·巴倫博伊姆和杰奎琳·杜普蕾打電話。我剛剛在牛津和布萊頓的音樂會上聽到他們演奏貝多芬的“鬼魂”三重奏。特別是在牛津的那場音樂會給我留下了難以名狀的印象。有時候音樂能做很多事情，其中有些可能無法解釋，其中之一是音樂能在我們記憶之中留下一些深刻濃重的一筆。
I asked whether they could come to London to play THE GHOST for our cameras in St John's Smith Square. They came up on the first train in the morning and went back on the last train that night. At the end of it all, we had THE GHOST on film. I am profoundly grateful for having had that opportunity.
我問他們是否可以來倫敦，在圣約翰廣場音樂廳為我們的影片錄制“鬼魂”。他們早上了坐了頭班火車，晚上又坐上了末班車。我們最終將《鬼魂》搬上了熒幕，能擁有這種機(jī)會，我深表感激。
Some months later, as soon as we had finished putting the film together, I invited the three of them see it in a London theatre. Before the screening I said that I regretted that film could never capture the extraordinary spirit which they had generated at their concerts in Oxford and Brighton. When the screening ended Jacqueline du Pré, without any prompting and before anyone else had uttered a word, suddenly said, 'I don't agree with you. It's much better on the film.'.
幾個月后，這部影片一拍完，我就邀請他們?nèi)说絺惗匾患覄≡喝タ础Ｔ诜庞持拔覍λ麄冋f，我很遺憾影片里沒能反映出他們在牛津和布萊頓的音樂會上的那種非凡的感覺。放映結(jié)束后，杜普蕾突然搶在所有人之前說：“我不同意你的看法，在電影里看要好得多”。
We were all taken aback and I asked why it was better on the film. She replied 'Because you can see what's going on and it adds another dimension'.
我們都大吃一驚，我問她為什么說在影片里效果會更好。她回答說：“因?yàn)樵谟捌锬憧梢钥吹秸诎l(fā)生的事情，增加了另一個維度的視角”。
I disagreed with her because I had been in the hall at those concerts and I had seen, felt and heard what effect they had had on those audiences. I felt that she had been too busily engaged on the stage at the time to know what effect she was having. She insisted nevertheless and it is a measure both of her generosity and of her perception of what film can do that she spoke those words. And so we agreed to disagree.
但我不同意她的意見，因?yàn)槲以谝魳窂d里聽過他們的音樂會，我親眼所見、親耳所聽、親身體會到他們對聽眾的那種影響。我覺得當(dāng)時她在舞臺上精神都集中在音樂上了，她根本不知道她的演出帶來了什么效果。盡管如此，她還是堅持說出了她的想法，這既是她慷慨的溢美之詞，也是她衡量電影能做什么的一種標(biāo)準(zhǔn)，所以我們也表示要求同存異。
Twelve years later, I was having supper with her in London when she was already very ill and Daniel Barenboim called from Paris. 'What are you doing?' he asked. 'Having supper with Kitty' (her nickname for me). 'Well tell Kitty that I showed THE GHOST to Jean-Pierre Ponnelle last night and he said that he thinks it is the most successful translation of music onto the screen that he has ever seen'. Within two seconds Jackie fired at me. 'You see. I told you so'.
十二年后，我和杜普蕾在倫敦吃晚飯，這時她已經(jīng)病得很厲害了，巴倫博伊姆從巴黎打來電話問道“你在干什么？”，杜普蕾說：“我在和凱蒂(杜普蕾對我的昵稱)吃晚飯”。“好，那告訴凱蒂，我昨晚給讓-皮埃爾·龐內(nèi)爾看了《鬼魂》，他說他認(rèn)為這是他所見過的將音樂演奏搬上熒幕最成功的作品”。杜普蕾馬上就朝我喊道，“你看，我早就跟你說”。
Nobody, not even her closest friends, would have expected her to remember that after twelve years, but it says something important about what kind of person she really was. She was a blithe spirit, that's for sure, she was definitely otherworldly, but she was not as fay as most people thought. She really was not interested in the daily trivia, but, on music and the things that really matter to the human heart Jackie was a virtuoso. She was also rock solid in her perceptions which ran extremely deep.
即使是她最親密的朋友，也不會料到她在12年后還能記住這件事，但這恰恰說明了她是什么樣的人。她肯定是一個快樂的靈魂，她是超凡脫俗的，但她并不像大多數(shù)人想的那樣不食人間煙火。她對日常瑣事不感興趣，但是在音樂和對人類心靈真正重要的事情上，她是一位大師。她的洞察力也是極其深刻的。
It took me some years to realise fully what she was telling me, and it was one of the most important lessons in my professional life. I know now that she was right and that something of the magic which those three wondrous artists created on the stage has, after all, been caught in the camera, remains there for the future, and comes across to the perceptive viewer.
我花了幾年時間才完全理解到她對我說的話，這是我職業(yè)生涯中最重要的一課。我現(xiàn)在知道她是對的，畢竟相機(jī)記錄下了這三位在舞臺上創(chuàng)造的奇跡的藝術(shù)家。至于后事如何，則留給未來，等待它們與有洞察力的觀眾碰撞出新的火花。
