A CONCERT by Gustav Leonhardt was not like anyother. He approached his harpsichord with the air ofa mortician, slightly flexing his long, delicatehands. As he played he sat bolt upright, gaunt andaquiline, unsmiling in his crisp, perfect suit, with hiselbows held close to his sides. No unnecessarygesture, no hint of emotion: senza baldanza, as acomposer might have marked it. He did not havethe look of a man on a mission. But he was.

　　古斯塔夫?萊昂哈特的演奏會(huì)與眾不同。他帶著一種殯儀師的氣質(zhì)慢慢走近他的羽管鍵琴，輕輕地扭動(dòng)一下他那纖細(xì)修長(zhǎng)的雙手。在演奏時(shí)他的背挺得筆直，瘦削且輪廓分明，穿著一身干凈得體的西裝而表情嚴(yán)肅，手肘緊靠在身體兩側(cè)。沒(méi)有花俏的手勢(shì)，沒(méi)有透露出一點(diǎn)情緒，作曲家可能會(huì)把這叫做缺乏自信。他看上去不像一個(gè)肩負(fù)使命的人，但他是的。

　　Mr Leonhardts life-work was to persuade the world how beautiful the harpsichord was, andhow the harpsichord repertoire should be played. When he first fell in love with it, in theshape of the fairly bad instrument his parents bought for their house at Graveland in theNetherlands, he recognised it as the king of keyboards. Organs were noble characters, and heplayed church organ for years. Virginals were pleasing; he wrote a book on Flemishexamples. But fortepianos were awful, the sound muffling all over the place when thehammer hit the keys, which put him off playing his beloved Mozart; and modern grands wereunspeakable. None had that direct pluck of plectrum on string for which he loved theharpsichordthough that mechanism was also fearsomely exacting, even diabolical, andthat was why he did not smile as he played.

　　萊昂哈特先生的畢生心血都花在讓世界了解羽管鍵琴是多么美好的一種樂(lè)器，以及應(yīng)該怎樣彈奏羽管鍵琴曲目上面。當(dāng)初，他父母替位于荷蘭格雷弗蘭村的房子買了一臺(tái)音質(zhì)很差的羽管鍵琴，從那時(shí)起他就愛(ài)上了這種樂(lè)器，認(rèn)識(shí)到它是鍵盤樂(lè)器之王。風(fēng)琴具有高貴的特色，他曾在教堂彈奏多年的風(fēng)琴。小鍵琴則悅耳動(dòng)聽(tīng)，他曾著過(guò)一本討論弗蘭芒小鍵琴的書。但是古典鋼琴糟透了，當(dāng)琴槌敲出音調(diào)時(shí)到處都是壓抑的聲音，讓他在彈奏他鐘愛(ài)的莫扎特時(shí)大受打擊，至于現(xiàn)代鋼琴，簡(jiǎn)直糟得無(wú)法形容。所有這些樂(lè)器都沒(méi)有琴撥在琴弦上的直接撥動(dòng)，而這正是他熱愛(ài)羽管鍵琴的原因。不過(guò)同時(shí)要掌握這種發(fā)聲機(jī)制也費(fèi)勁得令人害怕，簡(jiǎn)直有如惡魔一般，這也是為什么他在演奏時(shí)從不微笑的原因。

　　It would also have been vulgar. Mr Leonhardt was ever on the watch for that, whether in theform of electric lighting, or showy articulation, or hotel breakfast buffets, or BeethovensNinth. His ownmanners were exquisitely courteous; he seemed to have stepped from the past, and even ashockingly fast drive in his Alfa Romeo might end with Mr Leonhardt, lost, finding his wayhome not by sat-nav but the stars.

　　而且羽管鍵琴的演奏也容易流于低俗。不管是電燈照明，或是浮華的發(fā)音，抑或旅館的自助早餐，還是貝多芬的第九交響樂(lè)里，萊昂哈特一直小心翼翼，讓自己遠(yuǎn)離低俗。他自己的行為舉止都帶有一種高雅的禮貌，就好像他來(lái)自于過(guò)去的時(shí)代，給人感覺(jué)萊昂哈特就算開(kāi)他自己的那輛快得讓人乍舌的阿爾法?羅密歐去兜風(fēng)，最后可能也會(huì)落得迷路下場(chǎng)，而且他會(huì)借助星星而不是導(dǎo)航器的指引找到家。

　　When he began to study harpsichord seriously, at Basel in 1950, the instrument had beenneglected, or overlaid with Romantic sweetness, for decades. He intended to restore it tothe simple, original sound, salt rather than sugar, that Johann Sebastian Bach had writtenfor. If people found that sound too thin for modern halls, and the pitch disturbingly low, toobad; their ears would just have to get used to it. And after a while, they did.

　　1950年他開(kāi)始在巴塞爾正式學(xué)習(xí)羽管鍵琴，當(dāng)時(shí)這種樂(lè)器要么被人忽略，要么就是用來(lái)表現(xiàn)浪漫風(fēng)格的甜蜜感，這種情況已經(jīng)有幾十年了。他決定要讓羽管鍵琴重拾它原本那種簡(jiǎn)單的聲音，那種是鹽，而不是糖的聲音，約翰?塞巴斯蒂安?巴赫當(dāng)初就是為這種聲音作曲的。如果人們覺(jué)得這種聲音對(duì)于現(xiàn)代音樂(lè)廳來(lái)說(shuō)太過(guò)于稀薄了，或是調(diào)子低得令人不安，太糟了，讓他們?nèi)チ?xí)慣這種聲音吧。實(shí)際上，經(jīng)過(guò)一段時(shí)間，人們真得習(xí)慣了。

　　It meant hard work for him. He began by tirelessly hand-copying hundreds of original scoresin the Vienna Library, when he was meant to be studying conducting . He continued by making a definitive recording in 1953 of Bachs Art of Fugue, andpublishing an impassioned argument that the piece had been written for solo harpsichordrather than ensemble. That stirred up interest in pre-Romantic music, though still notenough to fill a room when his little consort played Bibers unpublished Fidicinium sacro-profanum, or other treasures he had unearthed. He thought of those as his catacomb days.Fairly quickly, however, listeners warmed to Byrd and Frescobaldi, Rameau and Ritter; hisown recordings, especially with Nikolaus Harnoncourt of all Bachs Cantatas, fanned theflame; and the early-music movement has flourished ever since.

　　這對(duì)他來(lái)說(shuō)可不是輕松的工作。就在他本應(yīng)學(xué)習(xí)指揮的時(shí)間里，他孜孜不倦地從維也納圖書館手抄了數(shù)百份原譜。他繼續(xù)努力，在1953年錄制了一張巴赫《賦格的藝術(shù)》的權(quán)威唱片，同時(shí)出版了一篇熱情洋溢的論文，提出這首曲子并不是為了合奏，而是為了羽管鍵琴獨(dú)奏而寫的觀點(diǎn)。這激起了人們對(duì)前浪漫主義音樂(lè)的興趣，雖然在他的小樂(lè)隊(duì)演奏比貝爾的《宗教世俗弦樂(lè)集》以及其它他挖掘出來(lái)的寶藏時(shí)，這種興趣還沒(méi)有大到可以讓聽(tīng)眾填滿一個(gè)房間。他后來(lái)回憶時(shí)說(shuō)那是一段暗無(wú)天日的時(shí)期。不過(guò)，很快的，聽(tīng)眾對(duì)伯德，弗雷斯科巴爾迪，拉莫，斯瑞特的曲子反應(yīng)熱烈，他自己的一些唱片，尤其是和尼古勞斯?哈農(nóng)庫(kù)特合作錄制的巴赫康塔塔全集進(jìn)一步提高了他的聲望，從那之后早期音樂(lè)運(yùn)動(dòng)就如火如荼地展開(kāi)了。

　　A CONCERT by Gustav Leonhardt was not like anyother. He approached his harpsichord with the air ofa mortician, slightly flexing his long, delicatehands. As he played he sat bolt upright, gaunt andaquiline, unsmiling in his crisp, perfect suit, with hiselbows held close to his sides. No unnecessarygesture, no hint of emotion: senza baldanza, as acomposer might have marked it. He did not havethe look of a man on a mission. But he was.

　　古斯塔夫?萊昂哈特的演奏會(huì)與眾不同。他帶著一種殯儀師的氣質(zhì)慢慢走近他的羽管鍵琴，輕輕地扭動(dòng)一下他那纖細(xì)修長(zhǎng)的雙手。在演奏時(shí)他的背挺得筆直，瘦削且輪廓分明，穿著一身干凈得體的西裝而表情嚴(yán)肅，手肘緊靠在身體兩側(cè)。沒(méi)有花俏的手勢(shì)，沒(méi)有透露出一點(diǎn)情緒，作曲家可能會(huì)把這叫做缺乏自信。他看上去不像一個(gè)肩負(fù)使命的人，但他是的。

　　Mr Leonhardts life-work was to persuade the world how beautiful the harpsichord was, andhow the harpsichord repertoire should be played. When he first fell in love with it, in theshape of the fairly bad instrument his parents bought for their house at Graveland in theNetherlands, he recognised it as the king of keyboards. Organs were noble characters, and heplayed church organ for years. Virginals were pleasing; he wrote a book on Flemishexamples. But fortepianos were awful, the sound muffling all over the place when thehammer hit the keys, which put him off playing his beloved Mozart; and modern grands wereunspeakable. None had that direct pluck of plectrum on string for which he loved theharpsichordthough that mechanism was also fearsomely exacting, even diabolical, andthat was why he did not smile as he played.

　　萊昂哈特先生的畢生心血都花在讓世界了解羽管鍵琴是多么美好的一種樂(lè)器，以及應(yīng)該怎樣彈奏羽管鍵琴曲目上面。當(dāng)初，他父母替位于荷蘭格雷弗蘭村的房子買了一臺(tái)音質(zhì)很差的羽管鍵琴，從那時(shí)起他就愛(ài)上了這種樂(lè)器，認(rèn)識(shí)到它是鍵盤樂(lè)器之王。風(fēng)琴具有高貴的特色，他曾在教堂彈奏多年的風(fēng)琴。小鍵琴則悅耳動(dòng)聽(tīng)，他曾著過(guò)一本討論弗蘭芒小鍵琴的書。但是古典鋼琴糟透了，當(dāng)琴槌敲出音調(diào)時(shí)到處都是壓抑的聲音，讓他在彈奏他鐘愛(ài)的莫扎特時(shí)大受打擊，至于現(xiàn)代鋼琴，簡(jiǎn)直糟得無(wú)法形容。所有這些樂(lè)器都沒(méi)有琴撥在琴弦上的直接撥動(dòng)，而這正是他熱愛(ài)羽管鍵琴的原因。不過(guò)同時(shí)要掌握這種發(fā)聲機(jī)制也費(fèi)勁得令人害怕，簡(jiǎn)直有如惡魔一般，這也是為什么他在演奏時(shí)從不微笑的原因。

　　It would also have been vulgar. Mr Leonhardt was ever on the watch for that, whether in theform of electric lighting, or showy articulation, or hotel breakfast buffets, or BeethovensNinth. His ownmanners were exquisitely courteous; he seemed to have stepped from the past, and even ashockingly fast drive in his Alfa Romeo might end with Mr Leonhardt, lost, finding his wayhome not by sat-nav but the stars.

　　而且羽管鍵琴的演奏也容易流于低俗。不管是電燈照明，或是浮華的發(fā)音，抑或旅館的自助早餐，還是貝多芬的第九交響樂(lè)里，萊昂哈特一直小心翼翼，讓自己遠(yuǎn)離低俗。他自己的行為舉止都帶有一種高雅的禮貌，就好像他來(lái)自于過(guò)去的時(shí)代，給人感覺(jué)萊昂哈特就算開(kāi)他自己的那輛快得讓人乍舌的阿爾法?羅密歐去兜風(fēng)，最后可能也會(huì)落得迷路下場(chǎng)，而且他會(huì)借助星星而不是導(dǎo)航器的指引找到家。

　　When he began to study harpsichord seriously, at Basel in 1950, the instrument had beenneglected, or overlaid with Romantic sweetness, for decades. He intended to restore it tothe simple, original sound, salt rather than sugar, that Johann Sebastian Bach had writtenfor. If people found that sound too thin for modern halls, and the pitch disturbingly low, toobad; their ears would just have to get used to it. And after a while, they did.

　　1950年他開(kāi)始在巴塞爾正式學(xué)習(xí)羽管鍵琴，當(dāng)時(shí)這種樂(lè)器要么被人忽略，要么就是用來(lái)表現(xiàn)浪漫風(fēng)格的甜蜜感，這種情況已經(jīng)有幾十年了。他決定要讓羽管鍵琴重拾它原本那種簡(jiǎn)單的聲音，那種是鹽，而不是糖的聲音，約翰?塞巴斯蒂安?巴赫當(dāng)初就是為這種聲音作曲的。如果人們覺(jué)得這種聲音對(duì)于現(xiàn)代音樂(lè)廳來(lái)說(shuō)太過(guò)于稀薄了，或是調(diào)子低得令人不安，太糟了，讓他們?nèi)チ?xí)慣這種聲音吧。實(shí)際上，經(jīng)過(guò)一段時(shí)間，人們真得習(xí)慣了。

　　It meant hard work for him. He began by tirelessly hand-copying hundreds of original scoresin the Vienna Library, when he was meant to be studying conducting . He continued by making a definitive recording in 1953 of Bachs Art of Fugue, andpublishing an impassioned argument that the piece had been written for solo harpsichordrather than ensemble. That stirred up interest in pre-Romantic music, though still notenough to fill a room when his little consort played Bibers unpublished Fidicinium sacro-profanum, or other treasures he had unearthed. He thought of those as his catacomb days.Fairly quickly, however, listeners warmed to Byrd and Frescobaldi, Rameau and Ritter; hisown recordings, especially with Nikolaus Harnoncourt of all Bachs Cantatas, fanned theflame; and the early-music movement has flourished ever since.

　　這對(duì)他來(lái)說(shuō)可不是輕松的工作。就在他本應(yīng)學(xué)習(xí)指揮的時(shí)間里，他孜孜不倦地從維也納圖書館手抄了數(shù)百份原譜。他繼續(xù)努力，在1953年錄制了一張巴赫《賦格的藝術(shù)》的權(quán)威唱片，同時(shí)出版了一篇熱情洋溢的論文，提出這首曲子并不是為了合奏，而是為了羽管鍵琴獨(dú)奏而寫的觀點(diǎn)。這激起了人們對(duì)前浪漫主義音樂(lè)的興趣，雖然在他的小樂(lè)隊(duì)演奏比貝爾的《宗教世俗弦樂(lè)集》以及其它他挖掘出來(lái)的寶藏時(shí)，這種興趣還沒(méi)有大到可以讓聽(tīng)眾填滿一個(gè)房間。他后來(lái)回憶時(shí)說(shuō)那是一段暗無(wú)天日的時(shí)期。不過(guò)，很快的，聽(tīng)眾對(duì)伯德，弗雷斯科巴爾迪，拉莫，斯瑞特的曲子反應(yīng)熱烈，他自己的一些唱片，尤其是和尼古勞斯?哈農(nóng)庫(kù)特合作錄制的巴赫康塔塔全集進(jìn)一步提高了他的聲望，從那之后早期音樂(lè)運(yùn)動(dòng)就如火如荼地展開(kāi)了。