'Don't be frightened, Mr. Gould is here...' Lyrics
| Song | 'Don't be frightened, Mr. Gould is here...' |
| Artist | Glenn Gould |
| Album | Glenn Gould, Leonard Bernstein -Brahms Piano Concerto No 1 |
| Download | Image LRC TXT |
| [ti:] | |
| [ar:Leonard Bernstein] | |
| [al:] | |
| [00:05.42] | The Canadian pianist Glenn Gould is to be soloist now, and Bernstein conducting the New York Philharmonic in the performance of the Piano Concerto No.1 in D minor by Brahms 加拿大钢琴家古尔德独奏、伯恩斯坦带领纽约爱乐乐团为大家演奏勃拉姆斯D小调第一钢琴协奏曲 |
| [00:21.34] | I think Mr. Bernstein will have something to say to the audience. So get down to the stage 开始之前，伯恩斯坦有一些话要和大家说，请他来到舞台 |
| [00:29.52] | Don't be frightened. Mr.Gould is here. He will appear in a moment 大家不要慌张，古尔德在后台，马上就会和大家见面 |
| [00:35.00] | I'm not, um, as you know, in the habit of speaking on any concert except the Thursday night previews 其实，除了周四晚的预演，我并不习惯在演出前说些什么 |
| [00:43.01] | but a curious situation has arisen, which merits, I think, a word or two 但是，现在的状况，让我觉得有必要说几句 |
| [00:49.71] | You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto 待会儿在座各位听到的勃拉姆斯D小调第一钢琴协奏曲，我觉得可以说是离经叛道的 |
| [00:58.02] | a performance distinctly different from any I've ever heard, or even dreamt of for that matter 至少，和我从前听过的完全不一样，甚至是我从未想象的 |
| [01:04.00] | in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications 它的节奏在很大的范围内变换，并且频繁地背离勃拉姆斯使用的力度标记 |
| [01:12.74] | I cannot say I am in total agreement with Mr.Gould's conception 不得不说我没法完全同意古尔德的想法 |
| [01:17.97] | and this raises the interesting question:"What am I doing conducting?” 那么就引发了一个有趣的问题：“我还指挥什么？” |
| [01:24.41] | I'm conducting it because Mr.Gould is so valid and serious an artist 我想我指挥是因为古尔德是一个可信、认真的艺术家 |
| [01:30.51] | that I must take seriously anything he conceives in good faith 因此我会非常严肃的对待他提出的任何他坚信的东西 |
| [01:35.85] | and his conception is interesting enough so that I feel you should hear it, too 并且，他的想法非常有趣，我觉得值得在座各位听一听 |
| [01:44.62] | But the age old question still remains:"In a concerto, who is the boss; the soloist or the conductor?" 然而，老问题又来了：“在协奏曲中，该听谁的？独奏者还是指挥？” |
| [01:56.57] | The answer is, of course, sometimes one, sometimes the other, depending on the people involved 答案并不是唯一的，有时是前者，有时是后者，这取决于具体参与其中的人 |
| [02:02.37] | But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance 但是在大多数情况下，是二者通过说服、俘获甚至威胁对方的方式，达成对演出的共识 |
| [02:13.78] | I have only once before in my life had to submit to a soloist's wholly new and incompatible concept and that was the last time I accompanied Mr.Gould 我生平只有一次对独奏者如此新奇、难以接受的想法做这样的退让，那就是我上一次和古尔德合作的时候 |
| [02:31.04] | But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer 但是，因为这一次我们之间的分歧如此巨大，我觉得有必要在此做这样的说明 |
| [02:45.76] | Then why, to repeat the question, am I conducting it?所以重申这个问题，为什么我还要指挥 |
| [02:49.91] | Why do I not make a minor scandal—get a substitute soloist, or let an assistant conduct? 为什么我不换一个独奏者或者找人来替代我 |
| [02:57.07] | Because I am fascinated, glad to have the chance for a new look at this much-played work 因为对这样一个被频繁演奏的作品，我也非常高兴并着迷于见证它呈现出的另一种面貌 |
| [03:05.37] | Because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction 而且，在古尔德的演奏中我看到了非同一般的清新和说服力 |
| [03:13.90] | Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer 再者，我想是因为我们总能够从这位善于思考的杰出艺术家这里学到些什么 |
| [03:22.74] | and finally because there is in music what Dimitri Mitropoulos used to call "the sportive element" 也因为在音乐中，如米特罗普洛斯所说的，存在一种“体育成分” |
| [03:30.64] | that factor of curiosity, adventure, experiment 一种好奇的、勇于冒险的、试验性的元素 |
| [03:35.29] | and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto 我可以非常肯定，这周与古尔德合作勃拉姆斯的协奏曲就是这样一种冒险 |
| [03:43.74] | and it's in this spirit of adventure that we now present it to you 那么接下来的时间里，我们依然秉持这种冒险精神，共同将这个作品献给大家 |
| ti: | |
| ar: Leonard Bernstein | |
| al: | |
| [00:05.42] | The Canadian pianist Glenn Gould is to be soloist now, and Bernstein conducting the New York Philharmonic in the performance of the Piano Concerto No. 1 in D minor by Brahms jia na da gang qin jia gu er de du zou bo en si tan dai ling niu yue ai yue yue tuan wei da jia yan zou bo la mu si D xiao diao di yi gang qin xie zou qu |
| [00:21.34] | I think Mr. Bernstein will have something to say to the audience. So get down to the stage kai shi zhi qian, bo en si tan you yi xie hua yao he da jia shuo, qing ta lai dao wu tai |
| [00:29.52] | Don' t be frightened. Mr. Gould is here. He will appear in a moment da jia bu yao huang zhang, gu er de zai hou tai, ma shang jiu hui he da jia jian mian |
| [00:35.00] | I' m not, um, as you know, in the habit of speaking on any concert except the Thursday night previews qi shi, chu le zhou si wan de yu yan, wo bing bu xi guan zai yan chu qian shuo xie shen me |
| [00:43.01] | but a curious situation has arisen, which merits, I think, a word or two dan shi, xian zai de zhuang kuang, rang wo jue de you bi yao shuo ji ju |
| [00:49.71] | You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto dai hui r zai zuo ge wei ting dao de bo la mu si D xiao diao di yi gang qin xie zou qu, wo jue de ke yi shuo shi li jing pan dao de |
| [00:58.02] | a performance distinctly different from any I' ve ever heard, or even dreamt of for that matter zhi shao, he wo cong qian ting guo de wan quan bu yi yang, shen zhi shi wo cong wei xiang xiang de |
| [01:04.00] | in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications ta de jie zou zai hen da de fan wei nei bian huan, bing qie pin fan di bei li bo la mu si shi yong de li du biao ji |
| [01:12.74] | I cannot say I am in total agreement with Mr. Gould' s conception bu de bu shuo wo mei fa wan quan tong yi gu er de de xiang fa |
| [01:17.97] | and this raises the interesting question:" What am I doing conducting?" na me jiu yin fa le yi ge you qu de wen ti:" wo hai zhi hui shen me?" |
| [01:24.41] | I' m conducting it because Mr. Gould is so valid and serious an artist wo xiang wo zhi hui shi yin wei gu er de shi yi ge ke xin ren zhen de yi shu jia |
| [01:30.51] | that I must take seriously anything he conceives in good faith yin ci wo hui fei chang yan su de dui dai ta ti chu de ren he ta jian xin de dong xi |
| [01:35.85] | and his conception is interesting enough so that I feel you should hear it, too bing qie, ta de xiang fa fei chang you qu, wo jue de zhi de zai zuo ge wei ting yi ting |
| [01:44.62] | But the age old question still remains:" In a concerto, who is the boss the soloist or the conductor?" ran er, lao wen ti you lai le:" zai xie zou qu zhong, gai ting shui de? du zou zhe hai shi zhi hui?" |
| [01:56.57] | The answer is, of course, sometimes one, sometimes the other, depending on the people involved da an bing bu shi wei yi de, you shi shi qian zhe, you shi shi hou zhe, zhe qu jue yu ju ti can yu qi zhong de ren |
| [02:02.37] | But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance dan shi zai da duo shu qing kuang xia, shi er zhe tong guo shuo fu fu huo shen zhi wei xie dui fang de fang shi, da cheng dui yan chu de gong shi |
| [02:13.78] | I have only once before in my life had to submit to a soloist' s wholly new and incompatible concept and that was the last time I accompanied Mr. Gould wo sheng ping zhi you yi ci dui du zou zhe ru ci xin qi nan yi jie shou de xiang fa zuo zhe yang de tui rang, na jiu shi wo shang yi ci he gu er de he zuo de shi hou |
| [02:31.04] | But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer dan shi, yin wei zhe yi ci wo men zhi jian de fen qi ru ci ju da, wo jue de you bi yao zai ci zuo zhe yang de shuo ming |
| [02:45.76] | Then why, to repeat the question, am I conducting it? suo yi chong shen zhe ge wen ti, wei shi me wo hai yao zhi hui |
| [02:49.91] | Why do I not make a minor scandal get a substitute soloist, or let an assistant conduct? wei shi me wo bu huan yi ge du zou zhe huo zhe zhao ren lai ti dai wo |
| [02:57.07] | Because I am fascinated, glad to have the chance for a new look at this muchplayed work yin wei dui zhe yang yi ge bei pin fan yan zou de zuo pin, wo ye fei chang gao xing bing zhao mi yu jian zheng ta cheng xian chu de ling yi zhong mian mao |
| [03:05.37] | Because, what' s more, there are moments in Mr. Gould' s performance that emerge with astonishing freshness and conviction er qie, zai gu er de de yan zou zhong wo kan dao le fei tong yi ban de qing xin he shuo fu li |
| [03:13.90] | Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer zai zhe, wo xiang shi yin wei wo men zong neng gou cong zhe wei shan yu sai kao de jie chu yi shu jia zhe li xue dao xie shen me |
| [03:22.74] | and finally because there is in music what Dimitri Mitropoulos used to call " the sportive element" ye yin wei zai yin yue zhong, ru mi te luo pu luo si suo shuo de, cun zai yi zhong" ti yu cheng fen" |
| [03:30.64] | that factor of curiosity, adventure, experiment yi zhong hao qi de yong yu mao xian de shi yan xing de yuan su |
| [03:35.29] | and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto wo ke yi fei chang ken ding, zhe zhou yu gu er de he zuo bo la mu si de xie zou qu jiu shi zhe yang yi zhong mao xian |
| [03:43.74] | and it' s in this spirit of adventure that we now present it to you na me jie xia lai de shi jian li, wo men yi ran bing chi zhe zhong mao xian jing shen, gong tong jiang zhe ge zuo pin xian gei da jia |
| ti: | |
| ar: Leonard Bernstein | |
| al: | |
| [00:05.42] | The Canadian pianist Glenn Gould is to be soloist now, and Bernstein conducting the New York Philharmonic in the performance of the Piano Concerto No. 1 in D minor by Brahms jiā ná dà gāng qín jiā gǔ ěr dé dú zòu bó ēn sī tǎn dài lǐng niǔ yuē ài yuè yuè tuán wèi dà jiā yǎn zòu bó lā mǔ sī D xiǎo diào dì yī gāng qín xié zòu qǔ |
| [00:21.34] | I think Mr. Bernstein will have something to say to the audience. So get down to the stage kāi shǐ zhī qián, bó ēn sī tǎn yǒu yī xiē huà yào hé dà jiā shuō, qǐng tā lái dào wǔ tái |
| [00:29.52] | Don' t be frightened. Mr. Gould is here. He will appear in a moment dà jiā bú yào huāng zhāng, gǔ ěr dé zài hòu tái, mǎ shàng jiù huì hé dà jiā jiàn miàn |
| [00:35.00] | I' m not, um, as you know, in the habit of speaking on any concert except the Thursday night previews qí shí, chú le zhōu sì wǎn de yù yǎn, wǒ bìng bù xí guàn zài yǎn chū qián shuō xiē shén me |
| [00:43.01] | but a curious situation has arisen, which merits, I think, a word or two dàn shì, xiàn zài de zhuàng kuàng, ràng wǒ jué de yǒu bì yào shuō jǐ jù |
| [00:49.71] | You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto dāi huì r zài zuò gè wèi tīng dào de bó lā mǔ sī D xiǎo diào dì yī gāng qín xié zòu qǔ, wǒ jué de kě yǐ shuō shì lí jīng pàn dào de |
| [00:58.02] | a performance distinctly different from any I' ve ever heard, or even dreamt of for that matter zhì shǎo, hé wǒ cóng qián tīng guò de wán quán bù yí yàng, shèn zhì shì wǒ cóng wèi xiǎng xiàng de |
| [01:04.00] | in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications tā de jié zòu zài hěn dà de fàn wéi nèi biàn huàn, bìng qiě pín fán dì bèi lí bó lā mǔ sī shǐ yòng de lì dù biāo jì |
| [01:12.74] | I cannot say I am in total agreement with Mr. Gould' s conception bù dé bù shuō wǒ méi fǎ wán quán tóng yì gǔ ěr dé de xiǎng fǎ |
| [01:17.97] | and this raises the interesting question:" What am I doing conducting?" nà me jiù yǐn fā le yí gè yǒu qù de wèn tí:" wǒ hái zhǐ huī shén me?" |
| [01:24.41] | I' m conducting it because Mr. Gould is so valid and serious an artist wǒ xiǎng wǒ zhǐ huī shì yīn wèi gǔ ěr dé shì yí gè kě xìn rèn zhēn de yì shù jiā |
| [01:30.51] | that I must take seriously anything he conceives in good faith yīn cǐ wǒ huì fēi cháng yán sù de duì dài tā tí chū de rèn hé tā jiān xìn de dōng xī |
| [01:35.85] | and his conception is interesting enough so that I feel you should hear it, too bìng qiě, tā de xiǎng fǎ fēi cháng yǒu qù, wǒ jué de zhí de zài zuò gè wèi tīng yī tīng |
| [01:44.62] | But the age old question still remains:" In a concerto, who is the boss the soloist or the conductor?" rán ér, lǎo wèn tí yòu lái le:" zài xié zòu qǔ zhōng, gāi tīng shuí de? dú zòu zhě hái shì zhǐ huī?" |
| [01:56.57] | The answer is, of course, sometimes one, sometimes the other, depending on the people involved dá àn bìng bú shì wéi yī de, yǒu shí shì qián zhě, yǒu shí shì hòu zhě, zhè qǔ jué yú jù tǐ cān yù qí zhōng de rén |
| [02:02.37] | But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance dàn shì zài dà duō shù qíng kuàng xià, shì èr zhě tōng guò shuō fú fú huò shèn zhì wēi xié duì fāng de fāng shì, dá chéng duì yǎn chū de gòng shí |
| [02:13.78] | I have only once before in my life had to submit to a soloist' s wholly new and incompatible concept and that was the last time I accompanied Mr. Gould wǒ shēng píng zhǐ yǒu yī cì duì dú zòu zhě rú cǐ xīn qí nán yǐ jiē shòu de xiǎng fǎ zuò zhè yàng de tuì ràng, nà jiù shì wǒ shàng yī cì hé gǔ ěr dé hé zuò de shí hòu |
| [02:31.04] | But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer dàn shì, yīn wèi zhè yī cì wǒ men zhī jiān de fēn qí rú cǐ jù dà, wǒ jué de yǒu bì yào zài cǐ zuò zhè yàng de shuō míng |
| [02:45.76] | Then why, to repeat the question, am I conducting it? suǒ yǐ chóng shēn zhè gè wèn tí, wèi shí me wǒ hái yào zhǐ huī |
| [02:49.91] | Why do I not make a minor scandal get a substitute soloist, or let an assistant conduct? wèi shí me wǒ bù huàn yí gè dú zòu zhě huò zhě zhǎo rén lái tì dài wǒ |
| [02:57.07] | Because I am fascinated, glad to have the chance for a new look at this muchplayed work yīn wèi duì zhè yàng yí gè bèi pín fán yǎn zòu de zuò pǐn, wǒ yě fēi cháng gāo xìng bìng zháo mí yú jiàn zhèng tā chéng xiàn chū de lìng yī zhǒng miàn mào |
| [03:05.37] | Because, what' s more, there are moments in Mr. Gould' s performance that emerge with astonishing freshness and conviction ér qiě, zài gǔ ěr dé de yǎn zòu zhōng wǒ kàn dào le fēi tóng yì bān de qīng xīn hé shuō fú lì |
| [03:13.90] | Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer zài zhě, wǒ xiǎng shì yīn wèi wǒ men zǒng néng gòu cóng zhè wèi shàn yú sāi kǎo de jié chū yì shù jiā zhè lǐ xué dào xiē shén me |
| [03:22.74] | and finally because there is in music what Dimitri Mitropoulos used to call " the sportive element" yě yīn wèi zài yīn yuè zhōng, rú mǐ tè luó pǔ luò sī suǒ shuō de, cún zài yī zhǒng" tǐ yù chéng fèn" |
| [03:30.64] | that factor of curiosity, adventure, experiment yī zhǒng hào qí de yǒng yú mào xiǎn de shì yàn xìng de yuán sù |
| [03:35.29] | and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto wǒ kě yǐ fēi cháng kěn dìng, zhè zhōu yǔ gǔ ěr dé hé zuò bó lā mǔ sī de xié zòu qǔ jiù shì zhè yàng yī zhǒng mào xiǎn |
| [03:43.74] | and it' s in this spirit of adventure that we now present it to you nà me jiē xià lái de shí jiān lǐ, wǒ men yī rán bǐng chí zhè zhǒng mào xiǎn jīng shén, gòng tóng jiāng zhè gè zuò pǐn xiàn gěi dà jiā |
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