2023考研英語閱讀古斯塔夫萊昂哈特
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?萊昂哈特的演奏會與眾不同。他帶著一種殯儀師的氣質慢慢走近他的羽管鍵琴，輕輕地扭動一下他那纖細修長的雙手。在演奏時他的背挺得筆直，瘦削且輪廓分明，穿著一身干凈得體的西裝而表情嚴肅，手肘緊靠在身體兩側。沒有花俏的手勢，沒有透露出一點情緒，作曲家可能會把這叫做缺乏自信。他看上去不像一個肩負使命的人，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器，以及應該怎樣彈奏羽管鍵琴曲目上面。當初，他父母替位于荷蘭格雷弗蘭村的房子買了一臺音質很差的羽管鍵琴，從那時起他就愛上了這種樂器，認識到它是鍵盤樂器之王。風琴具有高貴的特色，他曾在教堂彈奏多年的風琴。小鍵琴則悅耳動聽，他曾著過一本討論弗蘭芒小鍵琴的書。但是古典鋼琴糟透了，當琴槌敲出音調時到處都是壓抑的聲音，讓他在彈奏他鐘愛的莫扎特時大受打擊，至于現代鋼琴，簡直糟得無法形容。所有這些樂器都沒有琴撥在琴弦上的直接撥動，而這正是他熱愛羽管鍵琴的原因。不過同時要掌握這種發聲機制也費勁得令人害怕，簡直有如惡魔一般，這也是為什么他在演奏時從不微笑的原因。
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，或是浮華的發音，抑或旅館的自助早餐，還是貝多芬的第九交響樂里，萊昂哈特一直小心翼翼，讓自己遠離低俗。他自己的行為舉止都帶有一種高雅的禮貌，就好像他來自于過去的時代，給人感覺萊昂哈特就算開他自己的那輛快得讓人乍舌的阿爾法?羅密歐去兜風，最后可能也會落得迷路下場，而且他會借助星星而不是導航器的指引找到家。
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年他開始在巴塞爾正式學習羽管鍵琴，當時這種樂器要么被人忽略，要么就是用來表現浪漫風格的甜蜜感，這種情況已經有幾十年了。他決定要讓羽管鍵琴重拾它原本那種簡單的聲音，那種是鹽，而不是糖的聲音，約翰?塞巴斯蒂安?巴赫當初就是為這種聲音作曲的。如果人們覺得這種聲音對于現代音樂廳來說太過于稀薄了，或是調子低得令人不安，太糟了，讓他們去習慣這種聲音吧。實際上，經過一段時間，人們真得習慣了。
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.
這對他來說可不是輕松的工作。就在他本應學習指揮的時間里，他孜孜不倦地從維也納圖書館手抄了數百份原譜。他繼續努力，在1953年錄制了一張巴赫《賦格的藝術》的權威唱片，同時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奏而寫的觀點。這激起了人們對前浪漫主義音樂的興趣，雖然在他的小樂隊演奏比貝爾的《宗教世俗弦樂集》以及其它他挖掘出來的寶藏時，這種興趣還沒有大到可以讓聽眾填滿一個房間。他后來回憶時說那是一段暗無天日的時期。不過，很快的，聽眾對伯德，弗雷斯科巴爾迪，拉莫，斯瑞特的曲子反應熱烈，他自己的一些唱片，尤其是和尼古勞斯?哈農庫特合作錄制的巴赫康塔塔全集進一步提高了他的聲望，從那之后早期音樂運動就如火如荼地展開了。
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?萊昂哈特的演奏會與眾不同。他帶著一種殯儀師的氣質慢慢走近他的羽管鍵琴，輕輕地扭動一下他那纖細修長的雙手。在演奏時他的背挺得筆直，瘦削且輪廓分明，穿著一身干凈得體的西裝而表情嚴肅，手肘緊靠在身體兩側。沒有花俏的手勢，沒有透露出一點情緒，作曲家可能會把這叫做缺乏自信。他看上去不像一個肩負使命的人，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器，以及應該怎樣彈奏羽管鍵琴曲目上面。當初，他父母替位于荷蘭格雷弗蘭村的房子買了一臺音質很差的羽管鍵琴，從那時起他就愛上了這種樂器，認識到它是鍵盤樂器之王。風琴具有高貴的特色，他曾在教堂彈奏多年的風琴。小鍵琴則悅耳動聽，他曾著過一本討論弗蘭芒小鍵琴的書。但是古典鋼琴糟透了，當琴槌敲出音調時到處都是壓抑的聲音，讓他在彈奏他鐘愛的莫扎特時大受打擊，至于現代鋼琴，簡直糟得無法形容。所有這些樂器都沒有琴撥在琴弦上的直接撥動，而這正是他熱愛羽管鍵琴的原因。不過同時要掌握這種發聲機制也費勁得令人害怕，簡直有如惡魔一般，這也是為什么他在演奏時從不微笑的原因。
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，或是浮華的發音，抑或旅館的自助早餐，還是貝多芬的第九交響樂里，萊昂哈特一直小心翼翼，讓自己遠離低俗。他自己的行為舉止都帶有一種高雅的禮貌，就好像他來自于過去的時代，給人感覺萊昂哈特就算開他自己的那輛快得讓人乍舌的阿爾法?羅密歐去兜風，最后可能也會落得迷路下場，而且他會借助星星而不是導航器的指引找到家。
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年他開始在巴塞爾正式學習羽管鍵琴，當時這種樂器要么被人忽略，要么就是用來表現浪漫風格的甜蜜感，這種情況已經有幾十年了。他決定要讓羽管鍵琴重拾它原本那種簡單的聲音，那種是鹽，而不是糖的聲音，約翰?塞巴斯蒂安?巴赫當初就是為這種聲音作曲的。如果人們覺得這種聲音對于現代音樂廳來說太過于稀薄了，或是調子低得令人不安，太糟了，讓他們去習慣這種聲音吧。實際上，經過一段時間，人們真得習慣了。
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.
這對他來說可不是輕松的工作。就在他本應學習指揮的時間里，他孜孜不倦地從維也納圖書館手抄了數百份原譜。他繼續努力，在1953年錄制了一張巴赫《賦格的藝術》的權威唱片，同時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奏而寫的觀點。這激起了人們對前浪漫主義音樂的興趣，雖然在他的小樂隊演奏比貝爾的《宗教世俗弦樂集》以及其它他挖掘出來的寶藏時，這種興趣還沒有大到可以讓聽眾填滿一個房間。他后來回憶時說那是一段暗無天日的時期。不過，很快的，聽眾對伯德，弗雷斯科巴爾迪，拉莫，斯瑞特的曲子反應熱烈，他自己的一些唱片，尤其是和尼古勞斯?哈農庫特合作錄制的巴赫康塔塔全集進一步提高了他的聲望，從那之后早期音樂運動就如火如荼地展開了。
