斯特拉文斯基與拉赫瑪尼諾夫丨音樂觀之比較（一）

Stravinsky and Rachmaninoff:

 A Comparative Study of Their Musical Ideologies

Stravinsky and rachmaninoff were two composers with relatively similar backgrounds. They both came from musical families; both their families were considered to be in the upper echelon of the tsar’s russia; they both trained with the best composers/teachers. Regardless of the preceding facts, their music drastically diverged from one another. Rachmaninoff chose to follow the foolproof methodology of the romantic era composers, whereas stravinsky chose to create his own methods of composition. In the following , I will analyze the development of musical ideals in the two composers. Then, the course of their two ideologies will be discussed.

斯特拉文斯基與拉赫瑪尼諾夫是兩位有著相似背景的作曲家。他們都有著被視作沙皇俄國頂尖水平的音樂世家背景；他們都受訓于最優秀的作曲家/音樂教師。盡管如此，二者的音樂卻大相徑庭：拉赫瑪尼諾夫選擇發展完備的浪漫主義作曲技法，而斯特拉文斯基選擇自己另辟蹊徑。接下來，我會分析兩位作曲家音樂思維的發展，之后對二者的音樂觀展開討論。

This comparison will concentrate on the composition aspect of these two composers’ lives. It is well known that both composers were capable of both conducting and playing the piano( although to different degrees). Their respective musical compositions are a concrete method of assessing their body of work. It is also important to emphasize the fact that this will not be a complete comparative study of these two composers. There are limitations in time, resources ,and space for that undertaking. The following is a highlight of the major points of interest(at the discretion of this writer).

比較將聚焦于二人的作曲生涯。眾所周知他們都勝任指揮與鋼琴演奏（雖程度多有不同）。二人各自的音樂作品也是評估他們的方式。應當重視并強調的是，本文并不能算作對兩位作曲家的完整比較研究，它受到了時空與資源的限制。接下來是基于作者判斷下的主要興趣要素的亮點部分。

The backgrounds of these two composers were remarkably similar. The most obvious similarity between the two is the time of their birth. Rachmanninoff and stravinsky were both composers of the same time period in music history. Rachmaninoff was born on april 1 ,1873, whereas stravinsky was born on june 18 , 1882. Another similarity between the two composers is the fact that both came from families with extensive musical backgrounds. Stravinsky’s father , feodor stravinsky, was an influential operatic singer. 

兩人的背景非常相似。最明顯的相似點就是生辰。拉赫瑪尼諾夫和斯特拉文斯基都出生在音樂史概念上的同一時期。拉赫瑪尼諾夫生于1873年4月1日，斯特拉文斯基的生日是1882年6月18日。另一相似點就是二人的家庭都有著深厚的音樂背景。斯特拉文斯基的父親，費奧多爾·斯特拉文斯基就是一位有影響力的歌劇歌唱家，關于父親對他影響后文將詳細論述。

The significance of his father’s role will be discussed in further detail later. In rachmaninoff’s family, the most prominent(contemporary) musician was his cousin, alexander siloti. Siloti was a highly successful former student of franz liszt. He taught at the moscow conservatory, and was considered to be one of most prominent virtuosos of his time(norris 4). He even had the good fortune of knowing tchaikovsky in person(piggott 18). Siolti , however, was not the first musical talent in the family.

而在拉赫瑪尼諾夫家族，最突出（同時代）的要數他的堂弟亞歷山大·西洛蒂——他正是弗朗茲·李斯特成就頗豐的學生之一。西洛蒂任教于莫斯科音樂學院，被認為是他那個時代最杰出的藝術大師之一,甚至他還有幸與柴可夫斯基私交頗深。然而西洛蒂并非家族首位音樂天才。

Rachmaninoff’s great father was an accomplished violinist , and his grandfather was a great pianist. Rachmaninoff’s grandfather was said to have composed a bit as well. Rachmanninoff’s father was also a capable piano player, but he never pursued music as a career(piggott12). This wealth of musical heritage was certainly an effective means to inspire the young rachmaninoff to develop his musical abilities.

拉赫瑪尼諾夫的曾祖父就曾是一位成功的小提琴家，拉赫瑪尼諾夫的高曾祖父也曾是一位偉大的鋼琴家。拉赫瑪尼諾夫的父親則是一位資深的鋼琴演奏者，卻并未將其作為職業追求——這份音樂遺產理所當然地對年幼的拉赫瑪尼諾夫開發音樂能力有所觸動。

As stated before, stravinsky’s father was a famous bass singer (in kiev and later in st. petersburg) at the time of stravinsky’s intellectual maturation. Feodor’s repertoire included the works of contemporary russian composers. Feodor’s contributions to styravinsky’s development were not only of a musical nature. He helped stravinsky’s social and intellectual mind through other means as well as music. A representative example of this phenomenon was feodor’s collection of current and classic russian ,as well as traditional european authors and poets. 

如上所言，斯特拉文斯基的父親在斯特拉文斯基心智成熟的時候，是位著名的男低音（先在基輔后轉至圣彼得堡）。費奧多爾的曲目包含了當代俄羅斯作曲家的多部作品，他對斯特拉文斯基發展的貢獻不僅限于音樂天資，還通過其他方式幫助斯特拉文斯基塑造公德、知識與音樂意識——一個典型案例就是費奧多爾當今與經典的俄羅斯收藏品，還有傳統歐洲作家與詩集。

Stravinsky’s father owned firs edition volumes by pushkin, gogal, and thostoy. Stravinsky did not hesitate to take advantage of this impressive resource. He voraciously(and indiscriminately) read through as many books as he could. It has been said that he particularly enjoyed sophocles’ oediqus rex(routh 2). These works were to provide the material for much of stravinsky’s body of work. 

斯特拉文斯基的父親擁有大量托爾斯泰、莎士比亞、但丁的藏書；他還收藏了普希金，果戈里，托爾斯泰的第一版書卷。斯特拉文斯基毫無疑問發揮了這些深刻資源的優勢。他孜孜不倦的盡其所能通讀了許多書籍。據說他特別欣賞索福克勒斯（古希臘悲劇詩人）的《俄狄浦斯王》。

This applies to oedipus rex best. In 1927 stravinsky composed a choral piece according to this story. The poems of pushkin are also represented well in stravinsky’s body of work. For instance, the song-suite the faun and the shepherdess(1906) was written based on pushkin poem (paruskin).

這些作品也為他的作曲提供了很多的材料，其中以《俄狄浦斯王》最甚。1927年斯特拉文斯基就根據這段故事創作了一部合唱作品。普希金的詩集也在斯特拉文斯基的作品中多有描繪。例如，1906年創作的聲樂套曲《牧神與牧羊女》就是基于普希金的詩作《塔魯西金》譜寫的。

The influences of stravinsky’s father ectended to include direct musical thoughts also. The strictly musical influences of his father were in the form of stravinsky’s attendence of numerous performances of the greatest contemporary russian pieces. 

斯特拉文斯基父親也直接影響到了他的音樂思維。他以出席了大量俄羅斯當代宏偉作品的演出的形式受到了來自父親的嚴肅音樂的影響。這些作品與文學作品中得到靈感的方式相似，對他之后作曲生涯中重大作品有啟迪作用。

These works inspired important compositions later on in stravinsky’s career, in a similar manner to the inspirations gained from the literary pieces he studied. It has been recorded that stravinsky attended performances of such great pieces as glinka’s russlan and ludmilla. Tchaikovsky’s  the sleeping beauty, and rimsky-korsakov’s prince tgor(rough 3).

據記載，斯特拉文斯基參加了諸如《魯斯蘭與柳德米拉》（俄國作曲家格林卡創作的5幕歌劇），《睡美人》（俄國作曲家 音樂教育家柴可夫斯基創作的芭蕾舞劇），《伊戈爾王子》（俄國作曲家科薩科夫創作的4幕歌劇）的演出。

There is direct evidence for the influence of these pieces on stravinsky’s future works. This type scenario is more evident in the early stages of stravinsky’s composition career. For instance ,stravinsky chose to use rimsky-dorsakov’s material from the opera the legend of the invisible city of kitezh in his op.6, which was simply called two molodies. This composition was a pair of songs, which rimsky-korsakov chose to call “uninspired” and “too modern”(harrington).

這些作品對斯特拉文斯基未來創作的影響有直接證據，腳本類型對斯特拉文斯基早期的作曲生涯的影響更能說明問題：斯特拉文斯基在他的作品6中——選用了科薩科夫歌劇《隱城基捷日的傳奇》中的材料——被簡稱為“雙旋律”；這部作品包括兩首歌，被科薩科夫稱作“毫無靈感”且“過分現代化”。

Another more representative example of this notion is present in the ballent the firebird. Here, stravinsky chose to quote past composers directly (musical passages) as well as methods of portrayal. There are passages, where stravinsky pays direct tribute to his predecessors. The structure and the material of the pieces are also dirived from the methodology of past/contemporary composers.

能說明這一理念的另一更具代表性的例子就是芭蕾舞劇《火鳥》。斯特拉文斯基直接引用了以往作曲家的樂段與描述法。斯特拉文斯基直接在這些段落中向先人致敬，作品的結構和音樂材料也分別源于今昔作曲法。

 For instance, in composing the firebird, stravinsky took full advantage of rimsky-korsakov’s idea of representing good (human ) characters with folkloric tunes ,which evil (magical) characters are represented by “structured harmonies”.

例如在《火鳥》中，他將科薩科夫的理念發揮到極致：將人類“善”的一方用民間曲調展示；而用結構化和聲代表“惡”的一方。

Stravinsky freely borrowed from other russian composers as well ,in order to construct the spirit of the firebird. He used harmonies similar to those of sciabin. He also used the same folkloric spirit ,seen so often in borodin’s music (grove). The notion of borrowing from his predecessors is a multi faceted concept in stravinsky’s pieces. This notion applies also to the firebird. While stravinsky borrowed freely from his predecessors, the method in which he culminated these thoughts is completely unique.

為建構《火鳥》的精神內涵，斯特拉文斯基也自由借鑒了其他俄羅斯作曲家。他使用了與斯克里亞賓類似的和聲，也引用了在鮑羅丁音樂中常見的民謠內涵——從先人身上借鑒的觀念展現了斯特里亞賓作品中的多面思維。這一觀念也貫徹在《火鳥》中。

The elegant method, by which he scuplted the firebird, is the genius in the piece. This notion applies anytime stravinsky is seemingly copying his predecessors. It is also important to note that he chose to set his first major work in the from of a ballet: a form , which was absolutely despised by rimsky-korsakov and his circle of colleagues. This choice clearly distinguishes stravinsky’s stylistic impetus from those of his previous generation. Stravinsky’s style may have been heavily infused with the spirit of the russian past, but it remained distinctively unique throughout his career.

在此方法下他積累的這些思想就完全不同了。他通過這一精湛技法刻畫了《火鳥》，而這技法正是整部作品的靈魂所在。值得一提的是他將芭蕾舞劇定為他的首要工作，這一選擇就明顯將其風格動機與先輩區分開。斯特拉文斯基的風格或許受到了很多俄羅斯先賢的影響，但其獨特特色貫穿他的職業生涯始終。