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导读
埃尼奥·莫里康内为何被称为配乐大师?
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听力|精读|翻译|词组
Man on a mission
配乐教父
英文部分选自经济学人20200718期逝者版块
Obituary: Ennio Morricone
讣告:埃尼奥·莫里康内
Man on a mission
配乐教父
Ennio Morricone, composer, died on July 6th, aged 91
作曲家埃尼奥·莫里康内于7月6日逝世,享年91岁。
The theme may have been written well over half a century ago, but in less than three minutes you hear everything that came to matter most to him in a lifetime of composing. There is the two-note howl at the Moon—once heard, never forgotten. Musically, it is that rare fusion of heart and mind and as recognisable, in its way, as the opening notes of Beethoven’s 5th Symphony. Then there are the classic musical motifs, like those Richard Wagner scattered through the “Ring” cycle, that mark out the good man, the bad and the ugly. And then there is the freewheeling range of sounds with which he chose to make that music: the whistling, the yodelling, the gunfire and the squeaky ocarina, an ancient Italian wind instrument that looks like a sweet potato and is better known to a younger generation as the soundtrack of a Nintendo video game.
这首主题曲或许早在半个多世纪前就已写就,但在不到三分钟内,你就能听到埃尼奥·莫里康内作曲生涯里对他而言最为重要的一切。曲子里有由两个音符演绎的对月狼嚎——一旦听过就永远忘不了。就音乐性而言,它是难得的心灵融合之作,编排形式与贝多芬《第五交响曲》的开篇音符一样具有辨识度。里面也有经典的主题旋律——如同理查德·瓦格纳穿插在《尼伯龙根的指环》套曲中的那些旋律——用来分别表现好人、坏人和丑恶之人。再然后还有他挑来创作此曲的五花八门的声音:口哨声、约德尔调歌声、枪炮声和嘎吱作响的奥卡里纳声。奥卡里纳是一种古老的意大利管乐器,形似红薯,年轻一代更为熟知的是它被用来为任天堂一款电子游戏配乐。
注:
Mitifs:an arrangement of notes that is often repeated in a musical work 〔音乐作品的〕主旋律
The range and audacity of his music surprised those who might have assumed that a working-class Catholic upbringing, not a mile from the Vatican, would have produced someone conventional rather than creative. But the Roman enclave of Trastevere, where he was born just after Benito Mussolini came to power, was an unusual place. A historical outsider-land on the far side of the Tiber, it has tall spindly houses that, for centuries, have been home to artisanal guilds, small businesses, ancient synagogues and enterprising Jewish and Catholic families. Above the winding cobbled streets, with their medieval shopfronts and wooden shutters, the Roman light shines through the pine trees in the hills with cinematic luminosity. His friend, Sergio Leone, who directed “The Good, the Bad and the Ugly” and many of the other films that made him famous, lived just a few minutes away. Both boys attended a private Catholic school nearby, and for a while were even in the same year.
莫里康内的音乐涉猎广泛、创作大胆。一些人对此感到惊讶,他们可能会以为,梵蒂冈附近天主教工人家庭这样的出身,会培养出一个传统的而不是有创造力的人。但是罗马飞地特拉斯提弗列——莫里康内在贝尼托·墨索里尼刚掌权之际出生于此——是一处不寻常的地方。这片位于台伯河另一边、历史悠久的飞地,林立着高窄的房子,几个世纪以来一直是手工业行会、小型工商业、古老的犹太会堂和锐意进取的犹太家庭和天主教家庭的栖息地。蜿蜒的鹅卵石街道两边排列着中世纪店面和木质百叶窗;罗马城的灯光透过山坡上的松树从高处照下来,像影院里的投影一样明亮。他的朋友赛尔乔·莱昂内导演就住在相隔几分钟路程的地方。莫里康内为莱昂内执导的包括《好家伙,坏家伙,丑家伙》(译者注:又名《黄金三镖客》)在内的许多电影和其他一些电影配乐,并由此成名。小时候,他们俩曾就读于附近的同一所私立天主教学校,两人一度甚至在同一年级。
注:
飞地(指在本国境内的隶属另一国的一块领土);被包围的领土;被包围物
His father, a professional musician, and his mother, who ran a small textile business, brought up four siblings: Ennio, Franco, Adriana and Maria. A fifth child, Aldo, the youngest, died at three when he was fed cherries by a nanny who did not know he was allergic to them. For a while, understandably perhaps, the ten-year-old would-be composer thought he might become a doctor.
莫里康内的父亲是一位职业音乐人,母亲经营小型纺织品生意。家里有四个孩子:埃尼奥、弗朗哥、阿德里安娜和玛利亚。第五个也是最小的孩子阿尔多,三岁时因保姆不知情喂食樱桃,过敏夭折。于是似乎可以理解,这位十岁的未来作曲家一度以为自己长大后会成为一名医生。
But two other passions also exerted their pull. He took up chess after finding a small chess manual in a secondhand shop, and for a while played it obsessively with three friends who lived in the same block of flats in Via delle Fratte. At the same time he was drawn to music and wrote his first composition at six, having watched his father practise the trumpet at home every day and heard him perform with his light-music orchestra on the radio.
但是还有两项爱好也对他产生了吸引力。他在一家二手商店发现了一本小巧的国际象棋棋谱,便开始下棋。有一段时间,他着迷一般地和住在弗拉特大道同一公寓街区的三个朋友下棋。同时,因为每天在家看着父亲练习小号,在收音机里听他和轻音乐管弦乐队的演奏,莫里康内爱上了音乐。6岁时,他写出了自己的第一首曲子。
Chess was silent music, he liked to say, and playing it was a bit like composing. But whereas he was a conventional chess player, leading always with a queen and pursuing the logic of calculation rather than playing by instinct, music set him free. He composed for the stage and the radio, but quit the national radio broadcaster, rai, when they wouldn’t let him freelance on the side.
他总爱说,国际象棋是无声的音乐,而下象棋有点像是作曲。然而下棋时他走法保守,总是需要顾及如何走好“皇后”棋子,追求计算的逻辑而不是凭直觉发挥。而音乐却让他自由释放。他为舞台剧和电台作曲,却放弃了国家广播电台RAI的工作,因为他们不让他在作为正式雇员的同时还兼任电台音乐创作者。
注:
1.on the side:作为兼职,作为副业
2.In 1956, Morricone started to support his family by playing in a jazz band and arranging pop songs for the Italian broadcasting service RAI. He was hired by RAI in 1958, but quit his job on his first day at work when he was told that broadcasting of music composed by employees was forbidden by a company rule.
Branching out on his own, he refused to let himself be distracted, one reason why he continued living in Trastevere, travelled little and never bothered to learn to speak English. Hollywood, when it decided it wanted him, had to come to Rome. When his music came to him, it was fully formed. He would rise before dawn to write, composing at his desk on 12-staff paper with a pencil rather than experimentally at the piano. His wife, Maria Travia, occasionally wrote the lyrics to his songs. He would play her his work, and only if she approved did he then show it to anyone else.
独立开拓事业的莫里康内不允许自己分心,这也是他继续住在特拉斯提弗列、很少出游以及从不劳神学说英语的一个原因。堂堂好莱坞,一旦决定要用他,也得躬身来到罗马。当他的音乐灵感涌现时,都是以完整篇章的形式。他会在黎明前起床创作,坐在书桌旁用铅笔在12行五线谱纸上作曲,而不是在钢琴上边试弹边写。妻子玛丽亚·特拉维亚有时会给他的曲子填词。他会为她演奏自己的作品。只有妻子认可后,他才弹给别人听。
注:
1. branch out: to start to do an activity that you have not done before, especially in your work or business涉足(新工作);拓展(新业务)
2. come to sb: to enter your mind被想出
3. staff:(=stave) a set of five lines on which music is written 五线谱
A daily routine allowed him to experiment, first with Il Gruppo, an avant-garde free-improvisation collective in Rome for which he played the trumpet and the flute. But it was the soaring landscape of the cinema that allowed his composing to take flight. He liked using all the orchestra’s resources in his arrangements; his musicians would often find themselves playing instruments that they had never played before—the military snare drum, the jaw harp and, increasingly, the Fender Rhodes electronic piano. He wasn’t showing off; every note had a job to do. Changing one thing changed everything.
每天例行的练习让他可以涉足实验音乐,最初是跟Il Gruppo团体合作,这是罗马的一个先锋即兴音乐团体,他为他们演奏小号和长笛。但却是电影那高远开阔的光影世界让他的音乐创作得以纵情翱翔。他喜欢把管弦乐队所有的乐器都融入他的作品中。他的乐手常会演奏碰都没碰过的乐器,如军鼓、口弦琴、以及使用频率越来越高的芬达罗兹电子钢琴。他并不是在显摆;每一个音符都有它的任务。改变一处就改变了一切。
注:
Il Gruppo: (Gruppo di Improvvisazione Nuova Consonanza) was an avant-garde free-improvisation group considered the first experimental composers collective. The collective was formed by Italian composer Franco Evangelisti in Rome in 1964.
In time he came to realise that his approach to composing was like his favourite grandmaster, Bobby Fischer’s approach to playing chess: a series of sudden and surprising moves. Cinema-goers sensed how he melded thinking and feeling, that he played with sounds that spoke to his romantic nature and was able to conjure up, in music, heroic figures who resonated with audiences around the world, however different they might be.
随着时间的流逝,他最终意识到自己的作曲方式与他最喜欢的象棋大师——鲍比·费舍尔——的下棋方式如出一辙:一系列突然而令人意外的招式。影迷可以觉察到他是如何将思想和感觉结合起来的,可以感知到他在作曲中融入了体现自己浪漫天性的声音,感知到他能在音乐里营造出引发全世界观众共鸣的英雄人物,无论各地的观众有多么不同。
It was the music he wrote for “A Fistful of Dollars” that turned the unknown Clint Eastwood from a faux-western cowboy into a hero worthy of Homer—honourable, fearless and with a kind hidden heart—and the opening chords of Johann Sebastian Bach’s first song of St Matthew’s Passion, “Come, ye daughters, share my mourning” just before the rat-a-tat-tat drumbeat of French soldiers pouring out of their trucks, that helped transform GilloPontecorvo’s “Battle of Algiers” from a story about a nasty colonial spat into a tragic historical epic. As with the ghostly harmonica in “Once Upon a Time in the West” and the soaring theme the Jesuit Father Gabriel plays on the oboe as he tries to bring God to the Amazon in Roland Joffé’s “The Mission”, many of his compositions outlived the films they were written for.
他为《荒野大镖客》创作的音乐使得原本名不见经传的克林特·伊斯特伍德从冒牌西部牛仔一跃而成如《荷马史诗》里的角色般伟岸的英雄——可敬、无畏、内心善良。而他在配乐里加入约翰·塞巴斯蒂安·巴赫《马太受难曲》第一首歌的开篇和弦“来吧,女儿们,与我同哀共悼”,且这正好用在法国士兵从卡车上倾泻而出时搭配的鼓点声之前,于是这使得吉洛·庞特科洛的《阿尔及尔之战》由原本恶劣的殖民地纷争故事转变成悲剧性的历史史诗。正如《西部往事》中幽灵般的口琴声,以及罗兰·约非执导的《教会》中耶稣会神父加布里埃尔试图将上帝带到亚马逊时用双簧管演奏的激荡人心的主题音乐,他的许多电影配乐作品都比电影本身更经久不衰。
Music to remember them by
以音乐铭记
Visiting journalists sometimes failed to realise he was having them on when he gently insisted that people go to the cinema to watch films, not to hear them. Deep down he knew that music could make a film unforgettable. That was why Sergio Leone so often had him compose the music before shooting started, rather than the reverse, which is the way films are usually made, or even insisted the actors listen to the soundtrack to get them into character. He had just one piece of advice when approached by John Zorn, then a budding cinema composer: “Forget the film. Think of the record.” Millions would agree.
登门采访的记者们没能意识到,当他温和地坚称人们去电影院是为了看电影而不是听电影时,他其实是在捉弄他们。他深知音乐能够让一部电影刻骨铭心。正因为此,赛尔乔·莱昂内总是在电影未开拍前就请他作曲,即便通常情况都是先拍电影再配乐;莱昂内甚至要求演员们听他作的原声配乐以便更好地进入角色。后来崭露头角的电影作曲家约翰·佐恩请教他时,他只给了一条建议:“忘掉电影,专注唱片。”数百万人会赞同。
翻译组:
Alex,不务正业的理工男
Yvonne,努力中的口译新人
Lucia,英语专业学生,经济学人爱好者
校对组:
Lee,爱骑行的妇女之友+Timberland粉
Qianna,追求专业的非英专,很讲逻辑,英伦摇滚迷
Dave,实力校对,肌肉男大学教师,文学翻译+CATTI一笔二口
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观点|评论|思考
本次感想
Mona,悦读悦译,以译会友
加入讣告组一年有余,今天谈谈个人眼中的《经济学人》讣告。
讣告对象主要是对欧美文化产生一定影响的新近去逝者,有音乐家、歌手、作曲家(如本期的埃尼奥·莫里康内)、美食家、科学家、医生、作家等等,有趣的人物如的士司机、书商、摄影师,还有体现媒体立场担当的描写对象,如慰安妇受害者、印尼国家灾害管理局发言人、曼哈顿检察官,更有一些别出心裁的对象,如奥乔屈尔冰川。
讣告文章整体偏散文风格,并非对逝者生平的概括,而是通过其生前的逸闻趣事,从侧面映射出一段鲜活的生命旅程,大事小情,跃然纸上,娓娓道来,类似纪实风格,鲜有褒贬评论。当然对于中国或华裔逝者除外,写这些对象的文章通常不乏西方文化偏见的有色眼镜下的窥探,政治色彩浓厚,不宜译介。对此,从阅读与悦读的角度看,私以为,文章还是飘逸些好,绕上政治,散文就变了味,不伦不类了。
再说说讣告的发布时间。有时很及时,及时到让人怀疑,是不是人还未去世,讣告已经写好了。有时很拖沓,时隔一两个月,大底写手也有青黄不接的时候?有时候,大家一看名人去世,兴冲冲地猜测下周讣告会不会是这位,然而,多数时候是“谓必”。最令人失望的是,一篇名人的讣告姗姗来迟,在其它知名报纸杂志发表此人讣告之后很久才出来,晚也就罢了,质量还很牵强。总而言之,看看就好,不必执着。
行文方面,讣告相较其他栏目文章难懂,主要因为涉及许多背景知识,比如文化、典故、史实等,需要做大量的检索查证。这也是讣告翻译的难点之一。讣告喜欢用各种复杂的句式结构,虚词较多,建议泛读者可以不求甚解。另外,文章多注重前后呼应,段与段之间衔接呼应,阅读时宜加强语篇意识,整体联系起来理解。
读讣告的好处就是,透过一篇小文,一窥逝者的人生,或精彩,或顺利,或坎坷,别有一番风味。讣告比传记来得轻巧随意,在这里也可以“阅人无数”。从尤里·卢日科夫读到自信与魄力,从“疯子麦克”霍尔读到人性的偏执与激进,从凯瑟琳·哈姆林读到医者仁心的善良,从约瑟夫•洛厄里读到如海水涛涛的正义,从埃内斯托·卡德纳尔读到勇气与坚强……每一段人生都能引发对人生的审视,因而,文章之外的自我领悟远超文章本身。
最后,谈谈整体文章水准。初接触讣告栏目,觉得很像《负暄琐话》,后来看《不够知己》,似乎也有类似的影子。《负暄琐话》一直被喻为今世之《世说新语》,其笔调更为闲适;而《不够知己》则富于十足的英式幽默,健笔如流水,一气呵成,满纸生趣,足显作者学识和笔力。站在这山望见那山高,相比之下,讣告有时的文章稍嫌积淀不够,近期似乎有套路化倾向,犹如美式速溶咖啡,一口下去就过去了,缺少令人回味的文气,或许,这也与如今快餐文化盛行有关。而《世说新语》和《琐话》这些则像可以细品的茶,闲时翻翻,悠从中来,睡前看看,舒缓又助眠。以上仅个人拙见,作为《经济学人》的忠实读者,还是希望可以一直品读到更好的文章,我们拭目以待吧。
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