布鲁克纳与马勒

布鲁诺•瓦尔特


整整十年了，美国的布鲁克纳协会作为布鲁克纳和马勒的代言人，抱着一种丈夫气概做了不少响铛铛的工作。因此，值此十年来的回顾之际，我很乐于应他们所请，说说我对这两位大师的看法。给我一个题目而要说两个人，“布鲁克纳与马勒”，这表示确信他俩是互有助益，各有所成的，就是说，在其艺术的血缘关系上，他俩一个紧挨着一个。

我原先还不大愿意写这个题目，也确实不以为这个太过简单的“与”字就用得很恰当。马勒的原话该是最好的说明：我常听他说布鲁克纳是他的领路人，而他自己的创作正走在布鲁克纳——他的师长照亮的道路上。当然这是四十多年前的老话了，比他另外所有的作品都要来得鲜活的《第二交响曲》就表露了他和布鲁克纳的这层亲密关系。尽管从《第三交响曲》开始他有了显著的进步，越来越远地背离了布鲁克纳的跑道。我不记得马勒后来再说过这种话。不过，一直到他最后的作品，我们仍能偶尔发现布鲁克纳的面目。因而，这句话对弄清他俩之间的关系，获得一个比较明确的概念，还是有点价值的。

关于布鲁克纳的文献已有很多，我自己也写过一本关于马勒的书。现在（就我所知）对布鲁克纳与马勒的比较研究已经展开，因此我将尽力对他们的关系作些说明，以探清是什么使他们走上一条道，又使他们分开。我们会发现他们在很多重要的方面相似，反过来在其他许多并非不要紧的地方又是不同甚至对立的。我们发现他们如此密切相关，叫人觉得理解其中一个自然也就在相当程度上理解了另一个，但他们又是如此不同，这两个人根本就不可能完全融合起来。显而易见，要同时理解并爱上他们两位需要非常复杂的音乐口味和难得的、辽阔的精神跨度。

在涉及实际音乐创作的详细材料时我的比较无须作茧自缚。他们作品的精神源头和这两个人的个性才是我们考察研究的关键主题，不仅是他们的作品在其音乐这个词本身的含义上让人惊叹，更因为努力探究在那些作品之上放射的光芒正是一篇评论不可或缺的要旨。真要确切地论证这两位作曲家的作品之间有清楚的联系，那就只有唯一的选择：通过演奏。现在把这一点放一放（对我来说）也是很让人高兴的做法，虽然明知在音乐与他们之间并无一道可以借助言辞直接贯通的桥梁，我还是想为拐弯抹角地靠近这个题目做些尝试。在一位作曲家与他的作品内里总有一根神秘链条，它使我们有可能通过其作品发现他的灵魂，知道他的心灵穿过一条幽秘的暗道在他的作品里袒露出来。因此我希望通过对这两位大师个性的讨论，能使我得以弥补一篇只是讨论其作品的文章的部分不足。


什么使他们相连？

布鲁克纳作了九部交响曲，马勒也不多不少，他们同样在三十年左右的时间里写出了主要的富有创造力的作品，主题、发展、织体都是（保持其本来状态的）真正的交响曲式。他们作品中决定性的进步阶段都在第三和第四交响曲之间，并在第四和第五交响曲里达成了风格的转变。他们的第四交响曲都打开了一个在他们原先的作品里从未能够瞥见的新天地。一种热情、浪漫的光华在布鲁克纳此后的英雄性音乐世界里跳跃；一种温柔如仙人传奇般的牧歌抚慰着马勒狂乱的心。两个人的第五交响曲都大大增强了对位风格，辟出了深思熟虑、挥洒自如的成熟期战场。经过克制的简练、不露声色的讲究、在技巧和结构上都力求节俭，这些已不再是他们要操心的了。惟有在马勒的众多歌曲里，我们才能发现他和这种风格不尽合拍。此外它们就共同担负着要在交响曲式中实现它们的完整生命状态的强烈欲望，在巨大的范围里展开漫无节制的宣叙。他们的交响曲彼此相似还有特别重要的一处，就在于那些都十分庞大的交响曲里的末乐章。

广泛编织而本质上还是全音阶的主题与复调直接表露了他俩骨子里的古典传统。诚然，马勒后期的复调发展非常复杂、大胆，也有他高度的个性特征。对这两人中的任何一位，教堂圣咏都象奥地利乡间的兰德勒舞一样自然。竭力做出的一本正经和乡民的快活情绪面对面撑起他们天性里的支架。这是通往古典主义的、由舒伯特在前头走着的路。他们联系的纽带是牢固的，在另外的方面，还表现为建立在他们的和声基础上的那些旋律的风格和（尽管他们还是各有不同）他们对阶段性结构的对称和秩序的共同爱好。甚至在马勒后期，没有什么可以替代他对形式与和声领域的大胆追求的时候，也还维持了清楚的阶段性结构和音响基础。两个人都用无尽的狂欢筑起高潮，在漫漫的持续的紧张里，以不顾一切的渴望释放眩目的动力。

在他俩乐中那些迷人而抒情的瞬间我们时而会碰到一种明显是奥地利式的、叫人回想起舒伯特来的魔法，在马勒这头还常常混杂着一股波西米亚－摩拉维亚风味。不管怎么说，毕竟马勒和布鲁克纳还（通过不同的途径）同是基督徒。他们的音乐灵感源泉的本质还是得自这种虔诚的深处。这是他们宏富的主题库的主要来源，在他们的作品中支配了一个最为重要的表述领域，它把那些音流里的激浪推上一个特殊的高度。这两位的音乐语言总是不太兴奋的，总是倾向于怅惘、剧烈的苦难和痛不欲生的极端情感，他们在高度的迷醉里获得高潮。透亮的阳光、湛蓝的天空很少能在他们那些统统与地中海的气候恰成对比的音乐氛围里出现。布鲁克纳给他的第四交响曲一个标题——“浪漫”，同样的感觉我们在马勒的早期作品里也会碰上，只不会碰上那些把他从布鲁克纳身边拉开的魔法。可是他二位后来的作品里浪漫一词就鲜有耳闻了。

有一种否定他们之间关系的说法，在我看来真是很特别。他们是被在理查德•瓦格纳里的巨大体验感动了，在他的艺术里看到不朽的信心，他们的作品却并未露出什么（除了布鲁克纳的器乐受了些微弱的影响）瓦格纳派的痕迹，有，至多也就是一点点，他们自己完满自足的信念一点也不受其袭扰。他们的个性里有如此强健的禀性（处在那个时代的音乐史中真叫人诧异），尽管耳界大开，心智开放，也对瓦格纳式的海妖之歌坦然表示推许，但他们就不肯屈从。当然，身为本质上的交响曲作曲家，他们平等地看待这位对他们的独立自主袭来威胁的剧作家，就他们创作的灵感源泉而言，好象他们在天性里就有种追求整饬结构的强烈欲望，只是基础不同而已。无论他们中的哪一位都不为戏剧舞台吸引，马勒就是一个很值得注意的特殊现象，他通过无与伦比的演释艺术表现了再生歌剧的天赋，在那片天地里辟出一条新路，实际上开创了一个传统。他的唯一一部歌剧稿本是他早年两次失败的尝试，此外他再没有为舞台写作，除非我们把由他编写完工的威柏《三个平托斯》也拉扯进来。

他也象布鲁克纳一样在纯音乐里扎下了根，守护他从诗篇里得来的灵感，就跟他在那些歌曲里一样。然而他的作品果真就扎根在纯音乐里吗？他的第一交响曲（本来有个名字叫“巨人”）中的“ 卡洛 风格葬礼进行曲”、第二交响曲和第四交响曲中的歌唱性乐章、没有标题胜似有标题的第三交响曲（修订版），这些也就是布鲁克纳所认为的原汁原味的交响音乐？无疑马勒的音乐与布鲁克纳不如预期的那么相似。他受到很奇特的意象和幻想的引诱和感召，比布鲁克纳有了更多的想法，这来自于他不那么让人明白的、隐秘的心灵深处。但是这就能说明在他们之间有一种本质上的差异吗？ 不是贝多芬的“田园”里，无论“溪边景象”、“乡间节庆”和“暴风雨”都是纯粹的交响音乐，而它们自己却不大管什么纯粹不纯粹吗？

让我们来想象一下音乐创作的基本步骤吧。作曲家蓦地捉到个乐思，真真地就在那儿，在这之前那儿显然什么也没有，也许只是一抹情绪、一个影象，可是突然变成了音乐，来了。有了一个主题，一个动机，现在它在作曲家的手里塑造成型，展开它，引导它的方向，新鲜的念头蜂拥而来。无论是否在创作加工过程中有了一个更加明确的意象，都还仍旧维持了音乐本质上的“天赐”和交响结构的动力，这个决定性的要素支配了最后的成果。这种“天赐”和动力为马勒所承认，布鲁克纳也表示接受。因此，不管这个影响马勒的乐想或幻象怎样，他的根子还是扎在纯音乐里的。

退一步说，难道我们就知道布鲁克纳、甚至在某种程度上就连莫扎特，在他们的创作过程中就没有受到过一个意象或什么念头的拜访，还是他们脑子里的很多想法都是下意识里升起的海市蜃楼，没有转变成一些有意为之的方法，从而获得更为生动鲜明的色彩和更具个体风格的特性？歌德的小说 《亲和力》 中，在爱德华和夏绿蒂夫妇办的家庭聚会期间，奥黛莉完全占据了爱德华的目光，而夏绿蒂的眼睛也牢牢抓住了上尉。尽管出生在这样的结合下的儿子令他们心里神游的梦幻大为烦恼，但他也毕竟还是爱德华和夏绿蒂的后代，是从他和她的自然结合里生长出来的。无论在创作的过程中音乐以外的想法有多大影响，起始总是很神秘，而纯音乐就是结局。但若这个作曲家的意图就在于要真正地叙述什么的话，也就是说，如果他使得音乐开始描述一个想法或者意象，那么，他自己就得先把纯音乐的口子堵上。

在马勒眼里好象布鲁克纳的音乐从来就不意味着一种要表达什么的方法，它就是它，更无其他，他自己则从未忽视过这种天生的对于表述的兴趣。其实这是他俩在其中灌注生命的一个要素，由他们的天性推动到交响音乐的形式。马勒施展魔法造出的昏天黑地里充满了激烈变幻着的梦境；布鲁克纳则还是为崇高的幻象所主宰。由于布鲁克纳（就我所知）直到1806年他故世时也不大熟悉马勒的作品，反之后者则十分精通布鲁克纳的艺术，这就要使我们考虑布鲁克纳的影响力是不是就没有对这位年轻的作曲家起到什么作用，没有在马勒心中引起血肉相亲的感想。应该说这里面没有绝对必然的联系，毕竟，也没有什么影响是能强加于他的，况且马勒独特的音乐语言也并没有什么依托于布鲁克纳的迹象，无论让人觉得相似还是引起回想。但我们还是在他的主要作品之一——第二交响曲里看到这种深厚的、本质上的血缘关系的暗示，并且直到他最后的作品里还能碰到偶尔一见的“布鲁克纳”特性。不过他对布鲁克纳的依赖也就是一点点，就象勃拉姆斯对舒曼一样，后者的很多“特性”时而会在勃拉姆斯的作品里神出鬼没地闪现。 浮士德有关拜伦的论断 可能对这两位也是适用的：无论是他们中的哪一位都赞成“我歌我自歌”，也就是说——独创性。


什么使他们分开？

布鲁克纳的九部交响曲都是纯粹的器乐作品。马勒则不同，在第二、第三、第四、第八交响曲里借助了歌词和人声。交响曲以外布鲁克纳作了三部弥撒曲，感恩赞，“诗篇”第150篇赞美诗，一些圣咏作品和（就我所知）两部男声合唱。马勒迥异于此的标志是他的非交响乐作品。他写了“悲哀的歌”，奠定了他自己的叙事诗；四个章节的声乐套曲“旅行者之歌”，歌词也是他自己作的；钢琴伴奏的歌曲则得自“少年的魔号”中的诗篇； 再往后一个时期，为吕克特的诗篇作乐队伴奏的歌曲，其中有“亡儿之歌”；还有他最后的、流露了最多个性特征的“大地之歌”，歌词采自中国诗人李太白的作品。因此，我们看到布鲁克纳就和他的那些交响曲在一起，几乎完全浓缩在神圣庄严的乐章之间，而马勒则从五花八门的诗篇里获得了灵感。在他的交响曲里， “原光” 是来自“少年的魔号”，而克洛普斯托克的“复活吧”给予了他的第二交响曲一个庄严而欢乐的结局，在第三交响曲里，尼采的 “午夜梦寻” 在第四乐章发出预兆，再由“少年的魔号”中的诗篇在第五乐章作出回答。通过这样的搜集，马勒选择了一些具有童心般的信念的诗篇，为他自己祈望的天庭生活作了象征性的描述。第八交响曲起始于 “降临吧，创世主的圣灵” 而终结于浮士德对信仰的皈依。

因此马勒的声乐作品同时也是一条了解他的心理世界的线索，它们诉说了他通过发现和不断的追寻，经由越来越深的直觉和更加崇高的向往去贴近上苍的努力。然而就在被这一点占了主导位置，仿若他生命中的“固定音型”的音乐里，也始终回响着其他的声音，借由相伴的诗行细诉：爱与死，无力自主的生命与光怪陆离的世界，幸福与悲哀，玩笑与绝望，勇猛的挑斗和最终的顺从，在所有这些雄辩的音乐里透出个体生命强有力的表述。要是我能对这两位大师的不同之处只用最少的几个字说清的话，那就是（且带点夸大其辞）：布鲁克纳的精神在安息，而马勒则不得安宁。布鲁克纳最为热情洋溢的乐章里都有一个稳妥的根基；马勒则连最隐秘的地方也不得安宁。布鲁克纳的表述范围是无边无际的，尽管他只说出了很少几个要旨；马勒则是大肆挥霍，以一种不可思议的魔力抱住了所有的阳光和黑暗，一种滑稽的插科打诨，甚至不避怪异和老一套，还要加上对着爆发的骚乱，象个大感兴趣的孩子那样数不清的表情变幻。他诚心诚意的民间主题由于那些冷嘲热讽的腔调而成了“马勒制造”，闪电和幽灵一道画出他音乐风景里的漆黑夜色。他也有高贵的平和与肃穆，曲中高妙的变形就是这样的成果，而那对于布鲁克纳却是老天赏下、与生俱来的；布鲁克纳的音乐信息得自一位圣徒，马勒则为一个激情澎湃的先知发言；他永远在开始新一轮的战斗，又总在结局里变得乖乖顺顺，而布鲁克纳的音乐世界则渊停岳峙，宣吁人心慰安。

我们可以看到，尽管其本身并没有用到多种多样的表达方式，布鲁克纳的音乐还是如有定数一般，在一片相对来说是无边无际的疆域里撒下无穷无尽的财富，他最常说的两个词“肃穆”和“挚诚”也指示着这种方向。似乎这样就足够了，他无须再借助于千奇百怪的诙谐，让我们象沉浸在哥特式大教堂那滑稽的外部装饰里一样。甚至连他的管弦乐法也很少有什么变动。第七交响曲里他加了支瓦格纳大号，第八里用到竖琴，但就是这样他的乐器安排还是根本没什么改变。从第五交响曲开始的和声与复调的性格以后也不再变化，尽管（也确实如此）它是十分丰足而有灵性，也无须再变了。

马勒的每一部交响曲都是一次他对自己从头到脚的翻新：第一交响曲，就象我曾经戏称的那样，是他的“维特”；第二，一首“安魂曲”；第三交响曲会叫人以为是一首泛神论的赞美诗；第四，一首童话般的牧歌。第五到第七交响曲的意象和想法遵循一种纯音乐的意图，然而就在这三部交响曲中也都各有其不同的氛围，比较前面互相隔得很远的四曲而言，这三曲在风格和内涵上彼此都靠得很近。它们都是很复杂的音乐，复调语言更加意味深远，乐器组合更加丰富，为马勒繁芜的情感生活找到了新的更加有力的表达方式。人声是第八交响曲的主要乐器，一种宏伟的多声部合唱奠定了如赞美诗一般的第一乐章，同时在浮士德的场景中作曲家使他的音乐语言通过某种简化，去适应歌德的诗句和抒情的歌唱性。在大地之歌里我们又看到另一个马勒，以一种新的作曲风格和管弦乐法开辟了第三个创作阶段。第九是他的制高点，在大地之歌的精神领域里展开强有力的交响曲式。第十交响曲的草稿带来了这种创作过程的突然终止，也直接说明了其中最显著的特点就是各各不同。这一点（象是注定了的）也适用于他的配器方面，他有一种天生的、极为敏锐的对音的感觉，一副对管弦乐队的一切可能性都极为开放的耳朵，为了表情和表达清楚的需要无与伦比地控制着他的管弦乐队。从变幻的色彩和魅惑的音调到一种愈益复杂的复调织体的客观描述，这就是马勒的管弦乐法的发展道路，随着每一部作品在变，越来越强有力。他为了越来越多的需要，不得不在这条路上“闯荡”。

他的每一部乐队伴奏歌曲在很早的时候就显示了很独特的乐器组合，主要就是令人吃惊的简练。而他的交响曲中除了第四，却都是庞大的管弦乐队在恢宏的幻想曲里摇曳。与之形成对比的是布鲁克纳不断地在他的每一部新作品里努力解决越来越多的管弦乐问题。抱着这种恭敬的态度，他常常觉得自己是——一如他对我哀叹的——一个“新手”。

布鲁克纳的音乐重心有他的信念作为依靠，马勒则依托于深陷在结构和变化之中苦心经营的管弦乐法，更随年轮的推移总被创造性的动力推到最高的峰巅。这就是将这两位作曲家隔开的不同特性，他们的反对者们就在布鲁克纳的作品里抨击他的形式，而在马勒那里则指摘他的主旨。我也能在某种程度上对这些异议表示理解，但也只能勉强默认。希恩克尔有这么个可爱的念头：“就是一捧小小的花束也得理一理（上点规矩）才能让目光一瞥之后就流连忘返。”也就是说，看起来也得象一束花的样子。“形式”就是这么个次序，预定的，有机地联系在一起的，完整严谨的结合体。我们的古典作品提供了这种有机结合的范例。同时我们还有对艺术作品的崇高价值观（刚刚提到歌德的《浮士德》就是最重要的一例）与严谨的有机结合形式对峙，使作品比起只崇尚清晰的形式来显得更为丰饶。很多年里我也一直在自省，无论我多么喜爱布鲁克纳的音响语言和他那奇妙的旋律，也在其中的灵感里体验到幸福欢乐，可对他那显然无边无际的外形总还是有一点点困惑，它好象有种毫无节制、铺张浪费的作派。这种困惑随着我开始演奏他很快就消释了，我毫不困难地达到了对他的认同，知道他的作品里每一段都有其可信的根基，而由此作出的表述也同样可信。现在，由于我很长时间以来已经对此深有感触，也熟悉了他的领域，他的形式在我眼里就没什么可大惊小怪的了，我相信对于每一个怀着敬畏之情走近他，要体味一种真正的创造性的人，他的门都是大开的。他的音乐里可见特大号的篇幅，对任何鲜艳的、新奇的灵感的舍弃，有趣的转折，有时候深陷在已经进行着的严谨的音乐逻辑里不能自拔；也有不大统一的地方，音乐突如其来的 休止 ，又再回来：以上种种正说明这个以创造性的动力看来的缺陷恰恰就象是一种独特的交响乐概念。甚至可以说，就算是没有按部就班地踏着严格安排的模式走向他的目标，他还是把丰足的精神撒满了走过的道路，让我们在其间感到永恒的欢欣。

马勒对于形式的孜孜营求随着他赋予其庞大交响曲的清晰结构而获得了成功。他在刻意寻求秩序。他的所有奇异的情感 ,过剩的激情，心灵的倾诉都由他至高无上的结构感计划好了予以约束和统一。他曾对我说过，由于时间紧迫（他的指挥职务使他只能在夏季才有点时间作曲）他经常会来不及充分看清一个乐想的价值，但就是这样，他也从不允许自己在形式的问题上有一点点放松。不过就是那些对他的作品主旨的异议在这些“夫子自道”里也找不出什么把柄。据我所知，那些异议里还提到一个词“平庸”，也就是说，有意以子之矛攻子之盾，这也很幽默，不过还要取决于听众对于幽默的容纳能力，看是否能够接受。马勒自己倒不觉得这有什么不对，他曾提到在其晚期作品里稍稍弄了些歌唱性的东西，好象没有经过充分考虑就即兴而出了，可是它们也几乎不会扰乱任何一个人在庞大篇幅中的美感。

互相联系着的美妙主题和乐思的价值无法拿来做讨论的题目。我曾这样自勉，要毕生以推广他的音乐为己任。马勒的音乐主旨对我来说就是音乐的本质，强大有力而又始终充满个性，他要美丽，音乐就明艳，要迷人，音乐就妩媚，要悲哀，音乐就忧郁，要什么就能在音乐里来什么。总之无疑的是在庞大的结构后面总有相应的素材匹配，又借由崇高的情感使之得以表达出来。马勒和布鲁克纳一样，肩负着灵界的高尚使命，是一位精神上的智者和向导，一位不断自我丰富与提高的通灵的音乐语言大师。这两人的口吻就象以赛亚被主的祭坛里的 红炭 感动，有了神圣的光，而 撒拉弗 所唱的三声 “圣哉” 就是他们心底的念想。


两种个性：

我不认为自己对布鲁克纳的印象只是基于一种个人的好感，但是在我作为一个年轻的指挥进入维也纳的时候，那里也还充满着对他的生动回忆。我接触到一个“布鲁克纳圈子”，大大补充和丰富了从马勒那里得来的他自己的“布鲁克纳印象”。我从他的学生和朋友们之间搜集了很多材料，有许多奇闻逸事，铺开一幅展现他个性的生动画面：他的气息，他的生活方式，他的谈话，他的习惯和古怪之处；我觉得自己好象已经完全了解他了。那时在他和马勒之间的一个强烈反差就深深刺激着我：从他身上看不到任何一点可以臆造、折射出其作品中的伟大与崇高，而马勒的个性则在其作品里体现得十分圆满。就从外表看去两位大师又是多么强烈的对比！古斯塔夫•马勒身体前倾，瘦瘦长长的脸，黎黑的头发下面高高地斜上去的额头，眼睛里映着内心的火光，苦行僧的嘴唇，古怪的、全不规则的步态——给人的印象好象就是疯魔指挥约翰•克莱斯勒的化身，在诗人E.T.A 霍夫曼的作品里映射音乐的灵魂。安东•布鲁克纳矮胖安逸的身形、宁静从容的品性正和那浪漫的马勒形象构成极为强烈的反差。可是在这了无生气的躯体上却安着一只恺撒皇帝的头颅，可以说是很威严的，但那眉毛和鼻子工工整整说出的谎言，却又被柔顺而羞怯的眼睛和嘴巴戳破了。

可以借他俩在外表上的强烈反差来看看他们究竟有何不同。 布鲁克纳是个不会交际的尴尬汉，有着孩子气的天真，几乎可称原始的直率与简朴里混杂着不少乡下人的狡黠。他操一口疙疙瘩瘩的奥地利地区方言，仪表上也土里土气，衣着、说话、举止，整个都土得掉渣，哪里象个在维也纳这个世界性的大都会过了几十年的样子。他的谈吐里从来不显露什么学问，显露无论是文学、诗歌，还是在科学方面的一点兴趣。广阔的知识领域好象根本就和他不相干，除非谈到音乐，他也只说说每天碰到的一些小小变化和零碎事情。可是他的个性肯定也很有吸引力，因为几乎所有的描述都认为他的天真无邪、虔诚、家常气的简朴，乃至在他的很多书信里也可以看到的常常是迹近于卑下的谦逊等等都放射出一种不同寻常的魔力。对此我可以解释说，这种古怪性格的魔力就来自他那崇高的光辉、神圣的灵魂和在从不装模作样的朴野里曳露的音乐天赋。如果看到他的存在一点也不觉得“有趣”，就是因为他让人心血温暖、欢欣振奋。

马勒就完全不同，他的生活和他的作品一样叫人印象深刻。无论何时何地他都在展示其激动人心的个性，对每一件事施加影响。有他在场，再安生的也不得安生。他说起话来让人着迷，活泼而有让人吃惊的学识范围，显出他对知识世界的宽广兴趣和罕见的容量，思想敏锐，谈锋犀利。没有什么重要的思想、技艺或人类的重大创造对他是陌生的。他那经过哲学训练的头脑、炽热的心灵抓住富有营养的精神食粮贪婪地吸吮，没有这些，这个浮士德式的人就无法生存，自然这也使他象浮士德那样在其中得到一点满足和平抚。布鲁克纳对上帝的信念使他在深心里坚信不该有任何动摇。他是虔诚的，以他笃信的天主教主宰自己的生活，当然毋宁说还是他的作品更能体现他的信仰的真正伟大和他与上帝的联系。不仅是他的弥撒，他的感恩赞和那些圣咏作品，还有他的交响曲也都是（并且是最重要的一点）从这个统治着他的整个心灵的信仰基础里生发出来的。他根本就无须和上帝作对，他信仰，这就够了。马勒则在追寻上帝。他反求诸己，在自己的天性里找，在诗人和思想家们提供的讯息里找。他在诚信和狐疑中间的摇摆里努力寻求稳定。成百上千次地，他在给人混乱印象的世界和生活里试图发现一个最高法则，一种超越人世的意味。他从浮士德式的对知识的强烈渴望里，从不幸的骚乱生活里，从对于最终和谐的预感里，奋力驾驭着他倾泻到音乐里的神圣激情。变是马勒的生命特征，布鲁克纳则始终如一。显然我们在他俩的作品中也有同样真切的体验。布鲁克纳为了上帝而吟唱神曲，上帝永远坚定不移地占据他的灵魂；马勒则与上帝抗争，并非不屈不挠，而是变化主宰了他的内心世界，就和他在音乐里的表现是一样的。

他们的作品和他们的天性相似固不在少，差异却也很多。这两人又都属于那种宽广的、令人敬畏的“朋友”圈子，他们永远不会把我们丢弃，任我们在悲哀孤独里憔悴衰萎，而要来抚慰我们所有的痛苦。他们的作品是所有的时代里传给我们的宝贵遗产。这样的朋友们永远生活在我们身边，他们的精神居住在我们的书架上、唱片橱里，在我们的记忆深处，不分白天黑夜，就等我们一点头、一声招呼。我们的两位大师早已被这个朋友圈子接纳了，他俩的作品接续了往昔的伟大音乐家的创作。如我所述，这两位之间的差异是巨大的，但是在我们呼唤其中一个的时候另一个也总不会离得太远。顺着布鲁克纳的音乐（就在那些非常具体的描述边上）可以听到马勒压低的嗓音，正如在马勒的作品里也能看到隐形的布鲁克纳元素。鉴于这种奇妙的血缘关系，我们可以把“布鲁克纳与马勒”拿来讨论；也正因此，尽管他们天性迥异，在其作品中的主要方面也是水火不能相容的，我还是可以不受拘束，对他们两位奉上无尽的敬爱之情。

脚注：

卡洛 •疑指法国画家、雕刻家 Callot，将蚀刻发展成独立艺术，创作大量描绘贵族及平民生活、城市景物和战争场面等的雕版画，代表作为《战争的苦难》。

亲和力 •歌德以一个化学名词命名的长篇小说，故事为一家夫妇（爱德华和夏绿蒂）邀请一个男人（上尉）和一个女子（奥黛莉）到他们家里做客后，男主人和女客人、女主人和男客人发生了爱情，全都痛苦地陷入道德与情感的冲突中。

拜伦•见《浮士德》第二部第三幕，歌德以童子欧福良（Euphorion)形象状写拜伦。《浮士德》中论及创造性之处很多，如第一部第一场《夜》里，浮士德就说："羊皮古书并不是止渴的甘露，岂能饱饮满腹便把焦渴消除？没有涓滴迸出你自己的灵魂，你是永远地昏沉，得不到清醒。"

原光 •马勒《第二交响曲》的第四乐章标题，其中女低音独唱的歌词选自《少年的魔号》。《少年的魔号》是德国著名的传统诗歌集，这个集子是好几代浪漫派作曲家汲取灵感的源泉。

午夜梦寻 •马勒《第三交响曲》第四乐章的女低音独唱，歌词选自尼采的《查拉图斯特拉如是说》。

降临吧 •古代拉丁圣歌。

休止 •布鲁克纳有他著名的“全休止”，此处或不止于“全”，可能也包括“不全”。

红炭 •《旧约•以赛亚书》第六章“以赛亚得见主荣”，“有一撒拉弗飞到我跟前，手里拿着红炭，是用火钳从坛上取下来的。将炭沾我的口，说，看哪，这炭沾了你的嘴，你的罪孽便除掉，你的罪恶就赦免了。”

撒拉弗 •《圣经》中守卫上帝宝座的六翼天使。

圣哉 •同见《旧约•以赛亚书》第六章“以赛亚得见主荣”，“ 圣哉、圣哉、圣哉，耶和华的荣光撒满大地”。在弥撒或圣餐礼中唱的赞美诗《圣哉经》亦以“圣哉、圣哉、圣哉”开始。

BRUCKNER AND MAHLER

by Bruno Walter


THROUGHOUT its ten years of existence the Bruckner Society of America has striven manfully and efficiently in behalf of Bruckner and Mahler. Therefore, in connection with its decennial retrospect, I gladly respond to its plea for an expression concerning these masters. To combine propaganda for Bruckner and Mahler into a single plan is to express the conviction that the success of the one helps the other's cause, that they belong side by side because of their artistic kinship.

I should not have agreed to write about Bruckner and Mahler did I not regard that little word "and" highly pertinent. Its appropriateness is borne out by Mahler's own words. I often heard him call Bruckner his forerunner, asserting that his own creations followed the trail blazed by his senior master. Of course that was over forty years ago, in the days of Mahler's Second, the symphony which, more vividly than all his other works, reveals his affinity with Bruckner. Yet from the Third Symphony on, his development was marked by an ever increasing deviation from Bruckner's course. I cannot recall Mahler making the same remark during later years. Nevertheless, down to his latest works, we meet with occasional features which might be called Brucknerian. Thus it is worth while attaining a clear idea of the nature and degree of their relationship.

Much has been written concerning Bruckner. To the literature on Mahler I myself have contributed a book. Yet (as far as I know) a comparative study of Bruckner and Mahler is still to be made. Therefore I shall attempt in these comments to measure their relationship, to thrash out the features which unite and separate them. We shall find them alike in many important respects, but different, even opposite, in others of not less consequence. We shall find them so related, that understanding the one includes a certain degree of access to the other; yet so different, that affection for the one may seem consistent with total inaccessibility to the other. Certainly, to understand and love both requires a very complex musical disposition and an unusually broad spiritual span. My comparison cannot limit itself to details of actual musical creation. The spiritual sources of their works, the personalities of both masters, are vital to the theme of our survey, not merely because they are more amenable to words than music itself, but because the light they shed upon the music is indispensable in an essay striving for knowledge. To demonstrate really and clearly the relationships between these composers' works, there is only one way: through performances. Renouncing for once this (to me) most agreeable method, resorting to words, though aware that no bridge leads straight from them to music, I must also seek to approach my subject indirectly. The mystic connection between the inner life of a composer and his music makes it possible to discover his soul in his work. Understanding his heart lays bare an inner path to his music. Hence I hope a discussion of the individualities of both masters will enable me to fill in some of the gaps inevitable to an essay on their works alone.


WHAT JOINS THEM

Nine symphonies composed by Bruckner, as well as Mahler, in the course of about thirty years, constitute the chief product of their creative power. The nature of the themes, developments, combinations, is (in keeping with their creator's nature) truly symphonic. Remarkable coincidences in the periodic progress of their work are the decisive step from the Third to the Fourth and the change of style between the Fourth and Fifth symphonies. The Fourth of each opens a new field of expression scarcely glimpsed in his previous works. A warm, romantic light rises over Bruckner's hitherto heroic tone-world; a tender fairy-tale-like idyll soothes Mahler's tempestuous heart. For both the Fifth, with its intensification of the polyphonic style, inaugurates the period of mature mastery. The laconic idiom of restraint, the art of mere suggestion, involving economy of means and form, is not theirs. Only in a number of his songs do we find Mahler's contradictory nature master of this style too. Otherwise both share in common the urge to yield their entire beings symphonically through unrestrained expression in huge dimensions. Their symphonies resemble each other also in the special significance of the finale in the total-architecture. Broadly spun, essentially diatonic themes and a counterpoint directly joined to the classical tradition characterize both. To be sure, Mahler's later polyphony trod more complex, daring, and highly individual paths. To both (and to them alone) the church chorale comes as naturally as the Austrian Ländler. The utmost solemnity and folk-like joviality constitute the opposite poles in both their natures. They are linked with the classicists, the way leads through Schubert. Their association is strengthened, among other things, by the fundamentals of their harmony, their style of cadence and (all their deviations notwithstanding) their fondness for symmetry and regular periodic structure. Even the later Mahler, no matter to what regions his formal and harmonic boldness led him, maintained clear periodic structure and a firm tonal foundation. Both revel in broadly built climaxes, in long sustained tensions, whose release requires overwhelming sonorous dynamics.

In their gay or lyric moments we often meet with a typically Austrian charm recalling Schubert, though in Mahler's case it is frequently mixed with a Bohemian-Moravian flavor. Above all, however, Mahler and Bruckner are (though in different ways) religious beings. An essential part of their musical inspiration wells from this devotional depth. It is a main source of their thematic wealth, swaying an all-important field of expression in their works; it produces the high-water mark of their musical surf. The tonal idiom of both is devoid of eroticism. Often inclined to pathos, powerful tragedy, and emotional extremes of utterance, they attain climaxes of high ecstasy. Clear sunshine and blue sky seldom appear in the wholly un-Mediterranean atmosphere of their music. "Romantic" was the name Bruckner gave his Fourth. In a related sense we find Mahler's earlier work romantic, aside from his un-Brucknerian diabolism. Yet in the later works of both the romantic note is rarely sounded. Highly characteristic seems to me one negative manifestation of their relationship. Moved by their tremendous experience of Richard Wagner to an undying faith in his art, they show (aside from a slight influence over Bruckner's instrumentation) no Wagnerian traces in their work, or at most, so few, that the impression of their complete independence is in no wise affected thereby. Their individuality was of so sturdy a nature (astonishing in that epoch of musical history) that despite the open ear, open heart, and unreserved sympathy they lent the Wagnerian siren-song, they did not succumb to it. Of course, being essentially symphonists, they were equal to the threat of the dramatist against their self-determination, for the inspirational sources of their creation, as well as their native urge toward formal construction, differed fundamentally from his. Neither of them felt drawn to the stage, a phenomenon particularly remarkable in the case of Mahler, whose reproductive genius for the opera, expressed through incomparable interpretations, opened new paths in that field, actually instituting a tradition. Two abortive attempts of his early youth are his sole original contributions to the theater. Otherwise he never wrote for the stage, unless we include his arrangement of Weber's "Three Pintos."

Like Bruckner he took root in absolute music, save when he drew his inspiration from poetry, as in his songs. Yet was his work really rooted in absolute music? Is his First Symphony (originally named "Titan" after Jean Paul's novel) with its "Funeral March in the manner of Callot," are the Second and Fourth with their vocal movements, the Third with its (later) suppressed subtitles, genuine symphonic music in the Bruckner sense? Indubitably Mahler's music differs from Bruckner's in the degree of absoluteness intended. It was induced and influenced by more specific imagery, fantasy, and thought than Bruckner's music, which rose from less tangible, darker spiritual depths. But does this really involve an essential difference? Is not Beethoven's Pastorale, despite the "Scene at the Brook", "Rustic Festival," and "Storm," absolute symphonic music, its lesser absolute intention notwithstanding? Let us conjure up the basic process of musical creation. The composer suddenly has a musical idea. Where there existed apparently nothing before, save perhaps a mood, an image, there is, all at once, music. A theme is present, a motive. Now the shaping hand of the composer grasps it, unfolding and guiding its trend. Fresh ideas come streaming in. Whether or not more definite imagery plays a role in the creative process, the decisive factors governing the result remain the "grace" of basic musical creation and the power of symphonic construction. That "grace" and that power were granted Mahler, as well as Bruckner. Therefore, despite the thoughts and visions that influenced his creation, he also took root in absolute music.

After all, do we know whether Bruckner, or for that matter even Mozart was not visited by imagery and thoughts during the creative process, or, whether many of their ideas, looming up out of the subconscious, did not take turnings over some conscious path, thereby acquiring more vivid coloring and more subjective character? In Goethe's Elective Affinities the image of Ottilie fills Eduard's eyes during a conjugal meeting with his wife Charlotte, while the latter beholds the captain's image. Though the offspring of this union bore external traces of these wandering visions, it was nevertheless the child of Eduard and Charlotte, sprung from their natural union. Deep mystery surrounds the genesis and pure music may result, despite the influence of extra-musical ideas upon the act of generation. Yet if the composer's intention is really descriptive, i.e., if he makes the music the means of portraying an idea or image, then, of course, he has himself blocked the path to pure music. To Mahler as well as Bruckner music never was the means of expressing something, but rather the end itself. He never disregarded its inherent principles for the sake of expression. It was the element in which both masters lived, impelled by their nature toward symphonic construction. Mahler's enchanted creative night was filled with violently changing dream-forms; Bruckner's was dominated by a single lofty vision. Since Bruckner (so far as I know) had, until his death in 1896, acquired no acquaintance with Mahler's work, whereas the latter was well versed in Bruckner's art, it remains to be considered whether it was not this influence, acting only upon the younger composer, that aroused the impression of the kinship felt by Mahler himself. Without a certain relationship, however, no influence can be exerted. Moreover, Mahler's individual tonal language reveals no sign of dependence, whether similarity or reminiscence. Yet we find in one of his main works, the Second, indications of a deeper, essential kinship and meet with occasional "Bruckner" characteristics down to Mahler's very last creations. Nevertheless he was as little dependent upon Bruckner as Brahms upon Schumann, many of whose "characteristics" haunt the work of Brahms. To both Bruckner-Mahler may be applied the Faust-verdict concerning Byron-Euphorion: to each of them was granted "a song his very own," i.e., originality.


WHAT DIVIDES THEM

Bruckner's nine symphonies are purely instrumental works. Mahler, on the other hand, enlists words and the human voice for his Second, Third, Fourth, and Eighth. Besides the symphonies Bruckner composed three Masses, the Te Deum, the 150th Psalm, smaller devotional vocal works, and (to my knowledge) two male choruses. Of all entirely different stamp was Mahler's non-symphonic creation. He wrote Das Klagende Lied, set to his own narrative poem; the four-part song cycle Lieder eines fahrenden Gesellen, the words also by himself; songs with piano accompaniment and with verses from Des Knaben Wunderhorn; during a later period, orchestral songs set to poems by Rückert, among them the Kindertotenlieder cycle; and finally his most personal confession, Das Lied von der Erde, with verses by the Chinese poet Li-Tai-Po. We see Bruckner, therefore, aside from his symphonies, concentrated almost entirely upon sacred texts, while Mahler is inspired by highly varied fields of poetic expression. In his symphonies, Das Urlicht from Des Knaben Wunderhorn and Klopstock's "Resurrection Ode" furnished him with the solemn affirmative close of his Second, Nietzsche's Midnight yielded the questing, foreboding fourth movement and verses from Des Knaben Wunderhorn the answering fifth movement of the Third. From the same collection Mahler chose a poem of childlike faith to give symbolical expression to his own hope of celestial life. In the Eighth the hymn "Veni Creator Spiritus" and the closing scenes of Faust constitute his confessions of faith. Thus the record of his vocal creations is at the same time a clue to the story of his heart. It tells of his struggles toward God, through discovery and renewed quest, through ever higher intuitions and loftier yearnings. Yet over this dominant note, the "Ostinato" of his life, resound many other tones, defined by accompanying verses: Love and death, lansquenet life and a spectral world, the joy of life and its woe, humor and despair, savage defiance and final resignation, all these find individual and convincing expression in his musical eloquence. If I wished to present the difference between the two masters in the shortest imaginable formula, I would say (conscious of the exaggeration of such a summary): at bottom Bruckner's spirit was repose, Mahler's unrest. With Bruckner the most impassioned movement has a foundation of certainty; not even Mahler's inmost depths remain undisturbed. Bruckner's scope of expression is unlimited, though it has but few main subdivisions; with Mahler these are prodigal in number, embracing all lights and shades of a weird diabolism, a humorous buffoonery, even resorting to the eccentric and banal, besides countless expressive nuances ranging from childlike tenderness to chaotic eruption. His heartfelt, folk-like themes are as Mahlerian as his sardonic cacophonies, whose lightning apparitions render all the darker the night of his musical landscape. Mahler's noble peace and solemnity, his lofty transfiguration are the fruits of conquest; with Bruckner they are innate gifts. Bruckner's musical message stems from the sphere of the saints; in Mahler speaks the impassioned prophet. He is ever renewing the battle, ending in mild resignation, while Bruckner's tone-world radiates unshakable, consoling affirmation. We find, as already stated, the inexhaustible wealth of the Bruckner music spread over a correspondingly boundless, though in itself not highly varied realm of expression, for which the two verbal directions, "feierlich" (solemnly) and "innig' (heartfelt), most often employed by him, almost sufficed, were it not for the richly differentiated scherzi that remind us of the wealth of the humoristic external ornaments of impressive Gothic cathedrals. Even Bruckner's orchestra undergoes scarcely any change. With the Seventh he adds the Wagnerian tubas, in the Eighth the harp, but he does not alter his instrumental methods as such. Beginning with the Fifth the character of his harmony and polyphony no longer varies, though (to be sure) it is sufficiently rich and inspired to require no change.

Mahler renewed himself "from head to toe" with each symphony: the First, his "Werther," as I once named it; the Second, a kind of "Requiem''; the Third, which one might be tempted to call a pantheistic hymn; the Fourth, a fairy-tale idyll. From the Fifth to the Seventh imagery and ideas yield to absolute musical intentions. Even though each of these three symphonies has its own individual atmosphere, they stand considerably closer to each other in style and general content than the widely separated first four. They share in common a musically more complex, polyphonically more profound idiom, richer in combinations, imparting a new, stronger impression of Mahler's varied emotional life. The human voice is the main instrument in the Eighth. A magnificent, specifically choral polyphony determines the style of the hymn-like first movement, while in the Faust-scenes the composer adapts his musical idiom to the Goethe-word and the demands of lyric singableness, through a sort of simplification. In Das Lied von der Erde we meet with still another Mahler, inaugurating a third creative period, with a new manner of composition and orchestration. On this highest plane is born the Ninth, the mighty symphonic presentation of the spiritual sphere of Das Lied von der Erde. The sketches toward a Tenth bring to a sudden end this sharply defined course of creative evolution, the outstanding feature of which was its rich differentiation. This applies also (as already stated) to his instrumentation. An inborn, extremely delicate sense of sound, an ear open to orchestral possibilities lead, at the beck of expression and clarity, to unique mastery over the orchestra. From wealth of color and charm of sound to an objective exposition of his increasingly complex polyphony, this is the path Mahler's orchestral technique, changed and intensified by the increasing demands of each work, had to travel. Each orchestral song, from the very earliest, reveals an individual instrumental combination, mainly of an amazing economy. The symphonies, with the exception of the Fourth, are inhabited by orchestral masses over which an unbounded tonal fantasy holds sway. In contrast to Bruckner he was compelled to struggle ceaselessly for the solution of orchestral problems, increasing with each new work. In this respect he always felt himself, as he complained to me, "a beginner". The great stress in Bruckner's music rests upon the idea, in Mahler's upon the symphonic elaboration of the idea involving processes of forming and transforming which in the course of years scaled the highest peaks of constructive power. It is characteristic of the difference between the two composers that their opponents attack the form in Bruckner's, the substance in Mahler's work. I can understand these objections to some extent without, however, acquiescing in them. From Schenker comes this charming thought: that "even a little bouquet of flowers requires some order (guiding lines) to make it possible for the eye to encompass it at a glance," i.e., to see it as a bouquet. "Form" is such order, premeditated, organic association, complete, strict unity. Our classic literature contains matchless examples of organic unity. Yet we have art works of undoubtedly highest value (I mention Goethe's Faust as the most significant instance) the genesis of which resisted this strict organic unity of form, gaining more in richness thereby than they lost in lucidity. I confess that for many years, despite my love for Bruckner's tonal language and his wonderful melodies, despite my happiness in his inspirations, I felt somewhat confused by his apparent formlessness, his unrestrained, luxurious prodigality. This confusion disappeared as soon as I began performing him. Without difficulty I achieved that identification with his work which is the foundation of every authentic and apparently authentic interpretation. Now, since I have long felt deeply at home in his realm, since his form no longer seems strange to me, I believe that access to him is open to everyone who approaches him with the awe due a true creator. His super-dimensions, his surrender to every fresh inspiration and new, interesting turning, sometimes not drawn with compelling musical logic from what has gone before, nor united to what follows, his abrupt pauses and resumptions: all this may just as well indicate a defect in constructive power as an individual concept of symphony. Even though he may not follow a strictly planned path to his goal, he takes us over ways strewn with abundant riches, affording us views of constantly varying delight. Mahler's striving for form succeeded in bringing transparent unity to the huge dimensions of his symphonies. His was a conscious effort towards order. All his singularities of mood, his excesses of passions, his outpourings of the heart are seized and united according to a plan dictated by his sovereign sense of form. He once told me that, because of the pressure of time (his duties as director left him only the summer months for composing) he may perhaps not have been, at times, sufficiently critical of the quality of an idea, but that he had never permitted himself the slightest leniency in the matter of form. Yet the objection to his thematic art finds no corroboration in this confession, for that objection refers, as far as I know, only to so-called "banalities," i.e., intentional ironic turns, meant to be humorous and dependent for acceptance or rejection upon the listener's capacity for humor. It is not in these that Mahler perceived a deficient quality. He referred to a few transitional lyrisms in later works, which struck him as perhaps not select enough, though they would scarcely disturb anyone's enjoyment of the gigantic whole.

The relative beauty of themes and the value of musical ideas cannot be a subject for discussion. I limit myself to the declaration that, after life-long occupation with his works, Mahler's musical substance seems to me essentially music, powerful and individual throughout, beautiful when he strives for beauty, graceful when he strives for charm, melancholy when for sorrow, etc. In short it was truly the material suited to the rearing of such mighty structures, and worthy of the sublime feelings it served to express. Mahler was, like Bruckner, the bearer of a transcendental mission, a spiritual sage and guide, master of an inspired tonal language enriched and enhanced by himself. The tongues of both had, like that of Isaiah, been touched and consecrated by the fiery coal of the altar of the Lord and the threefold "Sanctus" of the seraphim was the inmost meaning of their message.


THE PERSONALITIES

The favor of personal acquaintance with Bruckner was not granted me, but that Vienna, into the musical life of which I entered as a young conductor, was still full of the most lively memories of him. I came in touch with "Bruckner circles," which abundantly supplemented Mahler's narratives of his own Bruckner-experiences. I gathered from reports of pupils and friends of the master, from numerous anecdotes, so vivid a picture of his personality, his atmosphere, his mode of life, his conversation, his habits and eccentricities, that I feel as if I had known him thoroughly. One drastic difference between Bruckner and Mahler struck me even then: no feature in Bruckner's personal make-up reflected the greatness and sublimity of his music, while Mahler's person was in full harmony with his work. What a contrast in the very appearance of the two masters! Gustav Mahler's lean figure, his narrow, longish face, the unusually high, sloping forehead beneath jet-black hair, eyes which betrayed the inner flame, the ascetic mouth, his strange, irregular gait -- these impressed one as the incarnation of the diabolical conductor Johann Kreisler, the famed musical self. reflecting creation of the poet E. T. A. Hoffmann. Anton Bruckner's short, corpulent, comfortable figure, his quiet, easy manner contrast as strongly as possible with such romantic appearance. But upon the drab body is set the head of a Roman Caesar, which might be described as majestic, were it not for the touch of meekness and shyness about the eyes and mouth, giving the lie to tide commanding brow and nose. As might be expected from their contrasting exteriors the two men themselves differed. Bruckner was a retiring, awkward, childishly naive being, whose almost primitive ingenuousness and simplicity was mixed with a generous portion of rustic cunning. He spoke the unrefined Upper-Austrian dialect of the provincial and remained the countryman in appearance, clothing, speech, and carriage till the end, even though he lived in Vienna, a world-metropolis, for decades. His conversation never betrayed reading, whether literature or poetry, nor any interest in scientific matters. The broad domains of the intellectual did not attract him. Unless music was the topic he turned his conversation to the narrow vicissitudes and happenings of everyday existence. Nevertheless his personality must have been attractive, for almost all reports agree upon the peculiar fascination exerted by his naivete, piety, homely simplicity, and modesty, bordering at times on servility, as borne out by many of his letters. I explain this attractive power of his strange personality to myself as due to the radiance of his lofty, godly soul, the splendor of his musical genius glimmering through his unpretending homeliness. If his presence could hardly be felt as "interesting", it was heartwarming, yes, uplifting.

It was entirely otherwise with Mahler, who was as impressive in life as in his works. Wherever he appeared his exciting personality swayed everything. In his presence the most secure became insecure. His fascinating conversation was alive with an amazingly wide culture reflecting a world of intellectual interests and an uncommon capacity for swift, keen thinking and expression. Nothing of importance ever thought, accomplished, or created by man was foreign to him. His philosophically trained mind, his fiery soul grasped and assimilated the rich, nourishing intellectual diet without which so Faustian a being could not exist, yet which could as little satiate or appease him as it had Faust. A firm consciousness of God that knew no wavering filled Bruckner's heart. His deep piety, his faithful Catholicism dominated his life, even though it is rather his work that reveals the true greatness of his faith and his relationship to God. Not only his Masses, his Te Deum, his devotional choral works, but his symphonies also (and these before all) sprang from this fundamental religious feeling that swayed Bruckner's entire spirit. He did not have to struggle toward God; he believed. Mahler sought God. He searched in himself, in Nature, in the messages of poets and thinkers. He strove for steadfastness while he swung between assurance and doubt. Midst the thousand-fold, often chaotic impressions of world and life he tried to find the ruling prime thought, the transcendental meaning. From his Faustian urge for knowledge, from his commotion by the misery of life, from his presentiment of ultimate harmony stemmed the spiritual agitation which poured from him in the shape of music. Change characterized Mahler's life; constancy Bruckner's. In a certain sense this is also true of their work. Bruckner sang of his God and for his God, Who ever and unalterably occupied his soul. Mahler struggled toward Him. Not constancy, but change ruled his inner life, hence also his music.

Thus their work and their nature were in many respects akin, in many at variance. Yet both belong to that wide, august circle of friends who never abandon us to languish in grief or solitude, but offer us solace in all pain. Theirs is a precious legacy that for all time belongs to us. Those friends are always present. Their spirits dwell in our book-chests, music-cabinets, in our memory, at our beck and call day and night. Our two masters have long since been received into this circle because they continue the work which the great musicians of the past have left. Great was the difference between the two, as I have shown; but conjure up one and the other is not very distant. Along with Bruckner's music (aside from the described more concrete connections) there vibrates a secret Mahlerian undertone, just as in Mahler's work some intangible element is reminiscent of Bruckner. From this intuition of their transcendental kinship it is clearly permissible to speak of "Bruckner and Mahler"; therefore it is possible that, despite the differences in their natures, despite the very incompatibility of important features of their work, my unqualified and unlimited love can belong to them both.

From Chord and Dischord

布鲁克纳和马勒的音乐世界宽广无边，值得为之着迷投入

久未听过瓦尔特，今晚听这枚。只是我家的音效远未达到baiteng兄和虎口脱险兄家的效果，比起虎兄家那晚的布九来，大师未能尽情发挥。

久未听过瓦尔特，今晚听这枚。只是我家的音效远未达到baiteng兄和虎口脱险兄家的效果，比起虎兄家那晚的布 ...
scfan 发表于 2012-4-11 21:53

这张好我也准备买一张

正在听滕斯泰特的马勒第四。

瓦尔特这篇文字几年前看了好几遍了，大师的视野很开阔，极有说服力！

有关马勒要好好学习！~

瓦尔特的这篇文章，是关于马勒与布鲁克纳之间关系的重要文献！

我个人认为，瓦尔特着重介绍了两者之间的关联，但是没有能说明，为什么有的乐迷会爱上一个，而鄙视另一个。

作为一个听过马勒和布鲁克纳几乎全部作品和不少版本的普通乐迷，我会问瓦尔特大师，

如果我在现场，假设！

为什么，您没有录全马勒和布鲁克纳的各九大交响曲？您的困难和障碍是什么？
为什么，您只录了马勒的第一第二和第九（这是我有的，其他我也不清楚）？
为什么，您只录了布鲁克纳的第九、第八（这是我知道和有的，其他我也不清楚）？
为什么，您最后回到维也纳演绎了马勒第四，而没有演绎布鲁克纳第九（未完成）？

对这篇文章，其实我有不少想问的地方，譬如：

譬如，瓦尔特说" 无论我多么喜爱布鲁克纳的音响语言和他那奇妙的旋律，也在其中的灵感里体验到幸福欢乐，可对他那显然无边无际的外形总还是有一点点困惑，它好象有种毫无节制、铺张浪费的作派。这种困惑随着我开始演奏他很快就消释了，我毫不困难地达到了对他的认同，知道他的作品里每一段都有其可信的根基，而由此作出的表述也同样可信。-------”

请教下瓦尔特大师，这个毫不困难是如何达到的？

“他的音乐里可见特大号的篇幅，对任何鲜艳的、新奇的灵感的舍弃，有趣的转折，有时候深陷在已经进行着的严谨的音乐逻辑里不能自拔；也有不大统一的地方，音乐突如其来的休止 ，又再回来：以上种种正说明这个以创造性的动力看来的缺陷恰恰就象是一种独特的交响乐概念。甚至可以说，就算是没有按部就班地踏着严格安排的模式走向他的目标，他还是把丰足的精神撒满了走过的道路，让我们在其间感到永恒的欢欣。”

请教下瓦尔特大师，为什么您的演绎中，实际上是掩盖了某些冲突与对比，而以一种完全人文主义的温暖缅怀了这些不大一统的地方，您如何看待这个独特的交响曲概念？并解释它？