藝術界之殤:天才指揮家馬澤爾逝世

Lorin Maazel, a former child prodigy who went on to become the music director of the New York Philharmonic, the Cleveland Orchestra, the Vienna State Opera and several other ensembles and companies around the world, and who was known for his incisive and sometimes extreme interpretations, died on Sunday at his home in Castleton, Va. He was 84.

指揮家洛林·馬澤爾(Lorin Maazel)週日在卡斯爾頓的家中逝世，享年84歲。馬澤爾曾是一名神童，後來擔任過紐約愛樂樂團(New York Philharmonic)、克利夫蘭管弦樂團(Cleveland Orchestra)、維也納國家歌劇院(Vienna State Opera)以及全球其他一些表演團體和劇團的音樂總監，並以其敏銳，有時有些極端的演奏而聞名。

The cause was complications of pneumonia, said Jenny Lawhorn, a spokeswoman for Mr. Maazel. In recent days, he had been rehearsing for the Castleton Festival, which takes place on his farm.

馬澤爾的發言人珍妮·勞霍恩(Jenny Lawhorn)表示，馬澤爾死於肺炎併發症。最近幾天，他一直在爲卡斯爾頓音樂節(Castleton Festival)進行排練。該音樂節在他的農場舉行。

Mr. Maazel (pronounced mah-ZELL) was a study in contradictions, and he evoked strong feelings, favorable and otherwise, from musicians, administrators, critics and audiences.

馬澤爾是一個複雜的研究對象，他引起了音樂家、管理人員、評論家和觀衆的強烈看法，其中有些是讚許，有些則相反。

He projected an image of an analytical intellectual — he had studied mathematics and philosophy in college, was fluent in six languages (French, German, Portuguese, Spanish and Italian, as well as English) and kept up with many subjects outside music — and his performances could seem coolly fastidious and emotionally distant. Yet such performances were regularly offset by others that were fiery and intensely personalized.

他塑造了一個善於分析的知識分子的形象——他在大學學過數學和哲學，精通六門語言（法語、德語、葡萄牙語、西班牙語、意大利語和英語），並緊跟音樂以外的許多學科的潮流——他的表演可能看上去非常注重細節，在情感上非常冷漠。然而，這類表演常常會被其他具有強烈個性的熱烈表演抵消。

He was revered for the precision of his baton technique, and for his prodigious memory — he rarely used a score in performances — but when he was at his most interpretively idiosyncratic, he used his powers to distend phrases and reconfigure familiar balances in the service of an unusual inner vision.

他憑藉精準的指揮技巧，以及驚人的記憶力——他在表演中很少使用樂譜——而備受敬重，但當他表現另類且具有非常強的解釋性時，他會用手中的權力擴張樂句，遵從自己與衆不同的內心視野，重新組建熟悉的平衡。

“He is clearly a brilliant man,” John Rockwell wrote in The New York Times in 1979, “perhaps too brilliant to rest content with endless re-creations of the standard repertory. He is also, it would seem, a coldly defensive man, and perhaps that coldness coats his work with a layer of ice.

“他顯然是一個才華橫溢的人，”約翰·羅克韋爾(John Rockwell)於1979年在《紐約時報》上寫道，“或許太聰明瞭，以至於無法滿足於對標準劇目無休止地重新創作。他看上去也是一個冷漠的處於防守狀態的人，或許這種冷漠讓他的作品裹上了一層冰。”

“The only trouble with this line of thinking is that it doesn’t take all the facts into account. Mr. Maazel, when he’s ‘on,’ has led some of the finest, most impassioned, most insightful performances in memory. When he’s good, he’s so good that he simply has to be counted among the great conductors of the day. Yet, enigmatically, it’s extremely difficult to predict just when he is going to be good or in what repertory.”

“這種思路的唯一問題是，它沒有考慮全部事實。馬澤爾在‘有狀態’時會帶來人們記憶中一些最精彩、最慷慨激昂、最有見地的演奏。當他好的時候，他會好得簡直可以被列爲當代偉大的指揮家之一。然而，不可思議的是，他什麼時候，以及在什麼劇目中表現良好，極難預測。”

A Boy With a Baton

小小指揮家

Perhaps because he grew up in the limelight, conducting orchestras from the age of 9, Mr. Maazel was self-assured, headstrong, and sometimes arrogant: When he took a new directorship, he often announced what he planned to change and why his approach was superior to what had come before. He knew what he wanted and how to get it, and if he encountered an immovable obstacle, he would walk away, also with a public explanation.

從9歲起，馬澤爾便開始指揮管絃樂隊。或許因爲是在聚光燈下長大的，他自信，固執，有時候還有些傲慢：當他接任一個新的指揮職務時，他通常會宣佈自己的改革計劃，以及爲何他的方式優於之前的方式。他知道自己想要什麼，也知道如何得到想要的東西，如果遇到無法克服的障礙，他會離開，並給公衆一個解釋。

That was how he handled his brief term as general manager and artistic director at the Vienna State Opera, where he was the first American to wield such power.

這正是他在短暫擔任維也納國家歌劇院總經理和藝術總監時採取的方式。他是首位在該歌劇院擔任上述職務的美國人。

“I am keen that this house again be led in the fashion of Mahler and Strauss,” he said at a news conference when his appointment was announced. “I have the full responsibility for the opera, and I have no intention of sharing that responsibility, though I may delegate it.” He added, “I will not hesitate to make changes, if I consider them necessary.”

“我強烈建議再次以馬勒(Mahler)和施特勞斯(Strauss)的方式領導這家歌劇院，”任命宣佈後他在新聞發佈會上宣佈。“我全權負責歌劇院，我不打算和其他人一起承擔這一責任，不過我可能會委託一些人作爲代表。”他接着說，“如果覺得有必要進行變革，我不會猶豫。”

He quickly transformed the house from a repertory company, where a different work was staged every night, to what he called a “block” system, in which groups of operas were played, with frequent repeats. He regarded this as more efficient and likely to produce better performances.

他很快便將維也納國家歌劇院從一個每晚都上演不同劇目的劇團，變成了他所謂的“固定”制度。在這種制度下，該歌劇院分組上演歌劇，並頻繁重演。他認爲這種方式更有效，更有可能帶來更精彩的表演。

When the Viennese culture minister differed, and also complained about Mr. Maazel’s casting choices and argued that he was mainly interested in burnishing his own artistic profile, Mr. Maazel abruptly resigned, two years into a four-year term, and wrote an Op-Ed article for The New York Times, deploring interference in the arts by government officials with no artistic background. (In September 2013, the company erected a bust of Mr. Maazel, by the sculptor Helmut Millionig. Mr. Maazel attended the unveiling ceremony.)

當維也納文化部長提出異議，同時還抱怨馬澤爾的演出人選，並稱他主要是想提升自己的藝術形象時，馬澤爾突然辭職，併爲《紐約時報》寫了一篇專欄文章，譴責沒有藝術背景的政府官員干涉藝術。當時，他的四年任期只過了兩年。（2013年9月，維也納歌劇院樹立了一座出自雕塑家赫爾穆特·米利恩尼科[Helmut Millionig]之手的馬澤爾半身像。馬澤爾出席了塑像揭幕儀式。）

His tenures with the Cleveland Orchestra and the New York Philharmonic had their rough moments, too. The Cleveland musicians voted against hiring him to succeed the legendary George Szell, who had died in 1970, because they did not consider him sufficiently accomplished to fill Szell’s shoes. Mr. Maazel told The Times in 2002 that “the relationship remained more or less rocky to the end.”

他在克利夫蘭交響樂團和紐約愛樂樂團的經歷也並非一帆風順。克利夫蘭的音樂家投票反對聘用他接替傳奇人物喬治·塞爾（塞爾1970年逝世），因爲他們認爲他不夠資格接塞爾的班。2002年馬澤爾告訴《紐約時報》“他們的關係直到最後也不和諧”。

In New York, Mr. Maazel quickly won over the Philharmonic musicians. But several critics, while happy that the orchestra had engaged an American music director for the first time since Leonard Bernstein gave up its podium in 1969, were disappointed that Mr. Maazel, 70 at the time, was of the same generation as his predecessor, Kurt Masur (then 73), and that his tastes in contemporary music seemed conservative. Eventually, many of them came to admire him.

在紐約，馬澤爾很快贏得了愛樂樂團音樂家們的信任。但一些樂評人，雖然高興看到李奧納德·伯恩斯坦1969年去職以來第一個美國指揮家第一次擔任此職，但他們認爲，馬澤爾當時已經70歲，和前任科特·馬瑟（當時73歲）還是同一個時代的人，令他們失望。而且他對當代音樂的口味似乎很保守。但最終，很多人開始讚賞他。

Alan Gilbert, Mr. Maazel’s successor as music director of the Philharmonic, said Sunday, “Personally, I am grateful to him, not only for the brilliant state of the orchestra that I inherited from him, but for the support and encouragement he extended to me when I took over his responsibilities.”

馬澤爾在愛樂樂團的繼任者艾倫·吉爾伯特(Alan Gilbert)週六表示，“就我個人而言，我感激他，不僅因爲我從他手中繼承下來的樂團狀態出色，還因爲當我接過他的責任時，他給予我的支持和鼓勵。”

Lorin Varencove Maazel was born in the Parisian suburb of Neuilly-sur-Seine on March 6, 1930, to a pair of American music students — Lincoln Maazel, a singer, and Marie Varencove Maazel, a pianist — who were studying there. He showed an aptitude for music early: When he was 5, by which time the family had moved to Los Angeles, he began studying the piano; at 7, he took up the violin.

洛林·瓦倫科夫·馬澤爾於1930年3月6日出生在巴黎郊區的塞納河畔訥伊，父母都是在那裏學習音樂的美國學生，其中父親林肯·馬澤爾(Lincoln Maazel)是一名歌手，母親瑪麗·瓦倫科夫·馬澤爾(Marie Varencove Maazel)是一名鋼琴家。他很早就表現出了音樂才能：5歲時，他們一家人已經回到了洛杉磯，他開始學習鋼琴；7歲開始學習小提琴。

One piece in his piano repertory was a reduction of Haydn’s “Surprise” Symphony, and when he was 8, his father gave him a copy of the full orchestral score. Lorin studied it, along with a recording his father also bought him, and when he conducted a family ensemble in the work, his parents noted that he was adept at cues and balances. They took him to study with Vladimir Bakaleinikoff, then an associate conductor with the Los Angeles Philharmonic.

他的鋼琴曲目包括海頓《驚愕交響曲》(Surprise)的改編版。8歲時，父親給了他作品的管線樂全譜。洛林跟着父親借來的錄音帶學習了樂譜，當他指揮一個家庭室內樂團時，他的父母注意到，他對時機和平衡頗爲擅長。他們帶他去與時任洛杉磯愛樂樂團(Los Angeles Philharmonic)副指揮的弗拉迪米爾·巴卡萊尼科夫(Vladimir Bakaleinikoff)學習。

When Mr. Bakaleinikoff took a conducting job in Pittsburgh, the Maazels followed. They also sent young Lorin to music camp at Interlochen, Mich.

後來巴卡萊尼科夫接受了匹茲堡的一份指揮工作，馬澤爾一家也跟着去了那裏。他們還把年幼的馬澤爾送去了密歇根州因特勞肯的音樂夏令營。

Olin Downes, a music critic for The Times, happened to be visiting the camp when Lorin, then 9, led the camp’s orchestra in a movement from Schubert’s “Unfinished” Symphony. Mr. Downes, though generally skeptical of prodigies, wrote that the boy conducted “with a beat clean and firm, yet elastic and with a consistency of tempo that very occasionally was modified by a nuance absolutely in place and appropriate as it was employed.”

當時9歲的洛林正在指揮夏令營的樂團演奏舒伯特(Schubert)《未完成》交響曲中的一個樂章，《紐約時報》音樂評論家奧林·唐斯(Olin Downes)剛好來到夏令營。儘管唐斯一向對神童持懷疑態度，但是他寫道，這個男孩的指揮“節奏清晰而堅定，並且富有彈性，節拍連貫，偶爾的細微差異也表現得絕對準確、恰到好處。”

Toscanini and Lollipops

托斯卡尼尼和棒棒糖

That summer, the Interlochen orchestra performed at the World’s Fair in New York, and Lorin conducted it twice. In 1940, just before his 10th birthday, he conducted the Pittsburgh Symphony as well, and when he was 11, in July 1941, Arturo Toscanini invited him to conduct the NBC Symphony in a concert — works by Wagner, Mendelssohn and Dika Newlin — broadcast nationally from Radio City Music Hall. The orchestra, outraged at the idea of being led by a child, greeted him at the first rehearsal with lollipops in their mouths. He won their respect the first time he stopped the rehearsal to point out a wrong note.

當年夏季，因特勞肯的夏令營樂團在紐約世界博覽會(World’s Fair)上表演，洛林兩度執棒。1940年，在洛林的10歲生日之前，他還指揮了匹茲堡交響樂團(Pittsburgh Symphony)，即1941年7月，11歲時，阿圖羅·托斯卡尼尼(Arturo Toscanini)邀請他在一次音樂會上指揮NBC交響樂團(NBC Symphony)——其中有瓦格納(Wagner)、門德爾鬆(Mendelssohn)和迪卡·紐林(Dika Newlin)的作品——在紐約無線電音樂城(Radio City Music Hall)向全國廣播。由於交響樂團對由一個孩子來指揮自己的做法感到憤怒，所以他們第一次彩排時含着棒棒糖對他表示歡迎。但是，當他第一次讓大家停下來，指出一個錯誤的音符時，就立即贏得了大家的尊敬。

In the summer of 1942, and again in 1944, he led the New York Philharmonic in performances at Lewisohn Stadium. But when he turned 15, he put his baton aside and settled into his academic studies at the University of Pittsburgh.

1942年夏，然後是1944年，他在路伊森體育場(Lewisohn Stadium)指揮了紐約愛樂樂團的演出。但是到了15歲，他把指揮棒放到了一遍，專注於匹茲堡大學(University of Pittsburgh)的學業。

He did not abandon music entirely. In 1946, he organized the Fine Arts Quartet of Pittsburgh, with which he was a violinist until 1950, and in 1948, he joined the violin section of the Pittsburgh Symphony. An invitation from the conductor Serge Koussevitzky to lead the Boston Symphony Orchestra at Tanglewood in the summer of 1951 brought him back to the podium just before he headed off to Rome, on a Fulbright fellowship, to study Renaissance Italian music.

他並沒有完全放棄音樂。1946年，他組織成立了匹茲堡美術四重奏(Fine Arts Quartet of Pittsburgh)，直到1950年，他都在裏面擔任小提琴手。1948年，他加入匹茲堡交響樂團的小提琴聲部。1951年夏，指揮家謝爾蓋·庫塞維茨基(Serge Koussevitzky)邀請他前往坦格爾伍德指揮波士頓交響樂團，他由此重新回到了指揮台。之後，他以富布賴特學者的身份，又前往羅馬研究文藝復興時期的意大利音樂。

Mr. Maazel dated the start of his mature career to Christmas Eve 1953, when, still a student in Rome, he was invited to step in for an ailing conductor at the Teatro Bellini, in Catania. His success there led to engagements in Naples, Florence and elsewhere in Europe, and then in Japan, Australia and Latin America.

馬澤爾認爲，自己職業生涯的成熟始於1953年的平安夜。當時仍是羅馬一名學生的他受邀前往卡塔尼亞貝里尼劇院(Teatro Bellini)，接替一名健康狀況欠佳的指揮。他在那裏獲得了成功，隨後便開始前往那不勒斯、佛羅倫薩以及歐洲其他地方參加活動，接着又前往日本、澳大利亞和拉丁美洲。

An Old-Fashioned Approach

老派手法

Mr. Maazel’s first music directorship was that of the Deutsche Opera, in West Berlin, jointly with the Berlin Radio Symphony Orchestra, a position he held from 1965 until 1971, when he accepted the directorship of the Cleveland Orchestra, to begin in 1972.

馬澤爾首次擔任音樂總監是在西柏林的德國歌劇院(Deutsche Opera)，同時還有柏林廣播交響樂團(Berlin Radio Symphony Orchestra)，他從1965年到1971年一直擔任這個職務。1972年，他接受了克利夫蘭交響樂團的總監職位。

In Cleveland, as in Berlin, Mr. Maazel took an old-fashioned approach to the job. Instead of conducting barely more than a dozen weeks of concerts and leaving the rest to guests, as was becoming the norm, Mr. Maazel spent most of his year in Cleveland. He recorded plentifully with the orchestra, and toured with it frequently. He gave up the directorship, becoming conductor emeritus, in 1982, the year he became general manager of the Vienna State Opera.

與在柏林時一樣，馬澤爾對克利夫蘭的工作也採用了一種老派手法。按照慣例，他本可以一年只指揮十幾周，然後把其他工作留給客席指揮，但是馬澤爾卻將一年中的大部分時間都花在克利夫蘭。他與樂團一同錄製了大量音樂，還經常隨樂團出行。1982年，他放棄總監職位，成爲榮休指揮，並擔任了維也納國際歌劇院總經理。

When the Vienna directorship went sour, in 1984, Mr. Maazel declared himself liberated, free to return to the far-flung guest conducting of his early years.

1984年，維也納的總監工作出現問題，於是馬澤爾宣佈自己重獲自由，可以回到他早年那種四海爲家的客席指揮生涯。

“I worked as a music administrator as well as a conductor of 20 years,” he told an interviewer in 1985, “and during that time, I devoted almost all my attention to the organizations I was working for — six years in Berlin, 10 in Cleveland, three in Vienna. I’ve conducted 132 orchestras, but in the last 20 years, I’ve not conducted more than seven or eight of them. So I’m having a lot of fun going around the world now, meeting people who’ve gotten to know me through records and television. I’m like a child let out of school.”

“我擔任音樂管理者和指揮有20年的時間，”他1985年接受採訪時說，“那段時間，我把所有精力都花在我所工作的機構——6年在柏林、10年在克利夫蘭，3年在維也納。我一共指揮了132個樂團，但是在過去20年裏，我所指揮的樂團不超過七八個。所以，我現在覺得能到世界各地看看，見見那些通過錄音和電視認識我的人，是一件很有趣的事情。我就像個被放出校門的孩子。”

Mr. Maazel celebrated his 70th birthday with a world tour in which he revisited many of the orchestras he had conducted over the decades. One stop was at the New York Philharmonic, which was negotiating with several conductors to succeed Mr. Masur as music director. Mr. Maazel threw his hat in the ring, and within a few weeks, he captured the post.

爲了慶祝自己的70歲生日，馬澤爾重新拜訪了他在過去數十年指揮過的許多樂團。其中一站就是紐約愛樂，當時樂團正在與幾名指揮家商討接任馬蘇爾擔任音樂總監的事。馬澤爾也表示了自己對這個職位的興趣。幾周之內，他就獲得了這個職位。

After he left the Philharmonic in 2009, Mr. Maazel set up the Castleton Festival, for classical music and opera, on the grounds of his farm in Virginia. He founded and directed the festival jointly with his wife, the German actress Dietlinde Turban Maazel, whom he married in 1986. Two previous marriages — to the composer Mimi Sandbank and the pianist Israela Margalit — ended in divorce.

2009年離開愛樂樂團後，他在自己位於弗吉尼亞的農場裏創辦了專事古典音樂和歌劇的卡斯爾頓音樂節。音樂節是他與妻子、德國演員戴特琳德·圖爾班·馬澤爾(Dietlinde Turban Maazel)共同創辦並管理的。兩人於1986年結婚。此前的兩次婚姻——分別與作曲家米米·桑德班克(Mimi Sandbank)和鋼琴家伊茲瑞拉·馬加利特(Israela Margalit)——都以離婚告終。

His wife survives him, as do their two sons, Leslie and Orson Maazel, and daughter, Tara Maazel; and three daughters — Anjali Maazel, Daria Steketee and Fiona Maazel — and a son, Ilann Margalit Maazel, from his previous marriages.

他仍然健在的家人有妻子及他們的兩個兒子萊斯利(Leslie)和奧森·馬澤爾(Orson Maazel)，女兒塔拉·馬澤爾(Tara Maazel)。此外還有他與前妻所生的三個女兒安賈莉·馬澤爾(Anjali Maazel)、達裏婭·斯德克提(Daria Steketee)和菲奧娜·馬澤爾(Fiona Maazel)，以及兒子伊蘭·馬加利特·馬澤爾(Ilann Margalit Maazel)。

Mr. Maazel’s life as a festival director did not diminish his wanderlust. He became music director of the Munich Philharmonic in 2010. And in a blog on his website, he noted that in 2013 — he was 83 — he conducted 102 concerts, performing 72 compositions in 28 cities in 16 countries. He added that he was looking forward to getting back in harness.

作爲音樂節總監的馬澤爾並沒有居於一隅。2010年，他成爲慕尼黑愛樂樂團(Munich Philharmonic)音樂總監。他在自己網站上的一篇博客中指出，他在2013年——時年83歲——共指揮了102場音樂會，在16個國家的28座城市表演了72部作品。他說他渴望重新開始忙碌的工作。

“Curiously, for someone who has a fairly good reputation for stick technique,” he told a reporter for The Times in 2002, “I don’t recognize stick technique per se. I don’t think I ever make the same motion twice in the same bar of music. The aim is to find a motion that responds to the need of a particular player at a particular moment. The player must be put at ease, so that he knows where he is and what is expected, and is free to concentrate on beauty of tone. There is no magic involved.”

他2002年告訴《紐約時報》，“奇怪的是，作爲一個在指揮技法上名聲不錯的人，我對指揮技法本身並不欣賞。我不認爲我能對同一段樂曲打出相同的手勢。指揮的目的在於找到一種手勢，能在一個具體的瞬間與某位具體的演奏者的需要相呼應。必須讓演奏者放鬆下來，這樣他才知道他在哪裏，接下來會發生什麼，而且能自在地專注於音色的美感。其中並無魔法可言。”