经济学人讣告||法国泰斗级手风琴演奏家玛西尔·阿佐拉
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导读
视频录于1986年巴黎酒吧
演奏者为法国著名手风琴家，泰斗级大师 Marcel Azzola 和 钢琴家Lina Bossatti
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听力|精读|翻译|词组
To Parnassus
帕纳萨斯高地
英文部分选自经济学人Obituary版块
To the heights of Parnassus
帕纳萨斯高地
注：帕纳萨斯山：希腊神话中文学、科学和艺术之神缪斯的家。
Marcel Azzola，champion of the accordion，died on January 21st，aged 91
法国泰斗级手风琴演奏家玛西尔·阿佐拉于1月21日逝世，享年91岁
The history of the accordion is not a happy one. For decades serious musicians have mocked it as the discordant, breathy, vulgar voice of peasants, clowns and fairground hucksters: an endlessly jovial or sentimental repertoire of folksy tunes. The wheeze of this “piano with braces” has become the sound people dread to hear in restaurants or at railway stations, accompanied by the hopeful chink of coins in a hat. So when Marcel Azzola was asked, in September 1968, to play his accordion to accompany Jacques Brel, the great Belgian chansonnier, at a recording of his song “Vesoul” (listen here), he was hardly surprised by a line in the lyrics: “I can’t stand accordions.”
手风琴的发展崎岖多艰。数十年来，严肃音乐家们嘲笑其音不成调，气息深重，颇为粗俗，是农民、小丑和露天商贩才会发出的声音：那种有着无尽欢快或感伤的民间乐曲。这种“背带钢琴”发出的啸鸣声充斥着餐馆和车站，让人们头疼。有时还伴随着硬币落入帽中的清脆声响，那可是演奏者的希望。正因为如此，当玛西尔·阿佐拉（Marcel Azzola）于1968年9月受邀为比利时流行乐曲作人与歌手雅克·布雷尔（Jacques Brel）伴奏时，他对歌曲《Vesoul》（点此聆听）中那句“我无法忍受手风琴”的歌词一点都不感到意外。
But of course he played, because he liked Brel, with whom he sometimes drank a beer or two after recordings. And he unleashed such a torrent of notes, at such speed, to illustrate the potential of his own instrument to dazzle as well as annoy, that Brel was astonished. “Chauffe, Marcel, chauffe!” he cried, in that voice raddled with ennui and four packs of cigarettes a day. Hot it up, take it away. The phrase passed into the language, and after that Mr Azzola, to his surprise, found himself famous.
但是，他还是欣然参与了演奏，只因他喜欢布雷尔。录制结束后两人有时甚至会小酌几杯。玛西尔以迅电流光之势释放出音符的洪流，向世人证明自己的乐器不只是一个恼人之物，它也能放射出耀眼的光芒，而这确实让布雷尔大吃一惊。“燃烧，玛西尔，燃烧！”他嘶吼的声音里交织着疲惫和（用来提神的）四包烟。激越，消逝。这句歌词被人们口口相传，阿佐拉也因此一举成名，这让他自己都感到有些意外。
注：“Chauffe, Marcel, chauffe!”是《Vesoul》中的一句歌词，是由马赛尔嘶吼出来的。
He had always been a great player, but in the background way of many accordionists, in concerts or in film. His playing accompanied Edith Piaf in “Sous le Ciel de Paris”, especially in “L’Accordéoniste”, where “this strange little guy” with his “long wiry fingers” got under the singer’s skin; and Jacques Tati, as Mr Hulot, riding his Solex in “Mon Oncle”. His sound, therefore, had already woven itself into the consciousness of France. But apart from “Vesoul”, which he later turned into a solo concert piece, he was not a grandstanding player. His style was modest, impulsive and intense, full of concentration, but also touched with wonder, as though the instrument he played every day could still surprise him. He was less fond of its festive, glittery mood than of its quieter register. Although he was friends for 60 years with André Verchuren, “the king of the accordion” in its street guise, that sharp, discordant quality, “anti-musical” to his ears, did not truly appeal to him. His aim was to take the accordion very much higher up the slopes of Parnassus, towards serious respect.
他一直都是一个伟大的演奏家，虽然常常置身于许多知名手风琴演奏家身后，或在演奏会或电影中充当幕后人物。他在《巴黎天空下》中为伊迪丝·皮亚夫（Edith Piaf）伴奏、特别是在《手风琴家》中，“这个奇怪的小子”以其“修长而结实的手指”使歌唱家难以忘怀。雅克·塔蒂（Jacques Tati）饰演主角于洛先生（Mr Hulot）的电影《我的舅舅》（ “Mon Oncle”）中，玛西尔亦在其中。自此他的音乐融入了法国的灵魂。但不同于他后来改编为音乐会独奏曲目的Vesoul，他并不是一个哗众取宠的人，不希望独享众人的目光。他风格谦逊、率性而充满激情，做事百分百的专注，奇妙感人。他胸怀赤子之心，无论演奏这件乐器多少次，次次仍是新奇之旅。相对激昂、喧腾的调子，他更喜欢平缓的曲调。尽管他和“手风琴之王”——索·安德烈·韦尔丘伦（André Verchuren）是六十多年的老朋友，他还是不怎么喜欢那种尖锐、刺耳的街头曲调。于他而言，这些声音是“反音乐的”。他的目标是将手风琴带到帕纳萨斯高山上，带到缪斯家中，洗刷世人对它的偏见。
注： 马赛尔所想的是要将手风琴发展成一个真正的艺术。
《我的舅舅》剧情简介：导演亲自扮演的于洛先生这次继续充当一个与周边环境不相容的角色，他是小镇上经营工厂的阿贝夫妇儿子的舅舅，行事古怪，经常踩着自行车带着小侄子到处游玩，但阿贝夫妇却如同没有灵魂的躯壳，住在机械化的千篇一律的宿舍，生活单调呆板，还要给于洛找份像样的工作，结果当然是噩梦一场。
http://movie.mtime.com/13221/plots.html
“Noble” was a good word: the noble tradition, since the 19th century, of Italian immigrants settling in France, bringing their accordions with them and setting up workshops to make more. His own family were immigrants, from a village near Bergamo. His father, a builder, was also a once-a-week mandolin-player, and put young Marcel on the violin first, like his sisters. But accordions were plentiful in the mean streets of the 20th arrondissement, and he soon switched over. Some of his favourite instruments, Crosios and Cavalognos, came from the old workshops. His teachers, too, Attilio Bonhommi and Médard Ferrero, were Italian émigrés. Ferrero’s method for accordionists was as celebrated as Czerny’s for the piano, and he found in him all the seriousness of classical musicianship, even without a classical repertoire. Ferrero dedicated to him his “Mazurka du Diable”, as if he already anticipated breathtaking turns from him.
“贵族”是一个好词：自19世纪以来，定居在法国的意大利移民们就形成了一种贵族传统，他们随时带着手风琴，也开设作坊，制作更多的手风琴。阿佐拉的家庭也是移民，来自贝加莫附近的一个村庄。他的父亲是名建筑工人，每周演奏一次曼陀林，年幼的他像姐妹们一样被送去学小提琴。但在巴黎二十区的街道上，手风琴随处可见，阿佐拉很快就就转向了手风琴。他最喜欢的乐器，例如克罗西奥斯和卡瓦罗戈诺斯，都是旧作坊淘来的。他的老师，阿提里奥·邦霍米和M·达德·费雷罗也是意大利移民。费雷罗的手风琴演奏方法与车尔尼的钢琴一样出名，即使没有古典曲目，他也能让人感受到古典音乐演奏的严肃性。费雷罗把他的”玛祖卡·杜·狄亚卜“送给他，仿佛他已经预料到了阿佐拉惊人的成功。
Nonetheless, the main point of a young man learning the accordion (as his father kept telling him) was to earn a living, and this he just about did round the brasseries and dancings of Paris, becoming a player of the people’s accordion despite himself. He grew expert at transposing favourite classical pieces to the accordion, as drunken customers requested them. For years his recordings on the Barclay label were of popular tunes and chansons; his producers told him that customers expected only that from his box of bellows and reeds. But he never ceased taking in other, more fascinating styles. From the jazz clubs he frequented he soaked up bebop, swing and a whole new universe of improvisation for the accordion, until he was playing for Django Reinhardt and with Stéphane Grappelli. A stand-in gig led to a chance encounter with tango, which so enchanted him that he bought a bandoneon, though he could barely afford it, to study it himself.
尽管如此，一个年轻人学习手风琴的的主要目的还是谋生（正如父亲一直告诉他的那样），于是他几乎一直在巴黎的饭店和舞厅转悠，成为一名手风琴演奏者，尽管他自己不这么认为。他擅长把最流行的古典乐曲改编成手风琴曲子，就像醉酒的顾客经常要求他做这样的事情。多年来，他在巴克莱唱片公司（Barclay Label）的唱片都是受欢迎的乐曲和香颂；制作人告诉他，顾客只希望从风箱和弹簧鸣奏中听到那些。但他从未停止引入其他更让人着迷的风格。在他经常光顾的爵士乐俱乐部，他沉溺于比波普爵士乐、摇摆乐和全新的为手风琴即兴创作的乐曲，直到他为金格·莱因哈特和斯蒂芬·格拉佩利演奏。一次临时演出引发了手风琴与探戈的偶遇，让他非常着迷，他倾尽所有，买了一个班多钮琴（南美手风琴），潜心研究。
The accordion and its variants, he often pointed out, were honoured more in Argentina than anywhere else in the world. But he fought his corner in France, and it paid off. As a professor for 20 years at the national music school in Orsay, he campaigned mightily for accordion to be included as a course at the Paris Conservatoire. He had the delight not only of achieving that, in 2002, but of sitting on the jury that chose the first prof d’accordéon.
他经常指出，手风琴乐曲和改编版乐曲，在阿根廷获得的荣誉比世界上任何地方都多。但他在法国为手风琴而战，并获得了回报。在奥赛国立音乐学院20年的教授任职中，他极力争取将手风琴列入巴黎音乐学院的课程。他不仅很高兴在2002年实现了这一目标，而且很高兴成为第一位手风琴教授评委。
Rosewood and gold
红木和黄金
If anyone felt that was not quite right and proper, he had only to show them his collection. He possessed dozens of accordions, many rich and rare. Most came from Parisian antique shops, some were presents; one, a small Crosio, was given to him by a taxi driver who would take it to play while he waited for customers. He displayed them in brass-framed glass cabinets, and online he gave virtual tours. All the latent nobility of the instrument was on display there: its ancient lineage, from Laotian and Chinese metal-reed pipes, and its aristocratic birth in the early 19th century, as an instrument for fashionable drawing rooms. These accordions had bodies of rosewood, tortoiseshell and walnut, inlaid with ivory, copper and gold; they bore mythical scenes and bas-reliefs of great composers. He would walk among them marvelling, stroke them, play them carefully, overjoyed and moved to make music on them.
若有人质疑手风琴低俗不适合纳入正式课程，他只好向其展示自己的手风琴收藏，以示反驳。他收藏的手风琴数目众多，其中不少是昂贵的珍品。大部分藏品是他从巴黎的古董店淘来的，一部分是他获赠的礼物；一名出租司机曾送给他一架小克罗西奥手风琴。司机一直将它带在身边，等候乘客时弹奏一曲，以消磨时光。他将藏品展示在黄铜框架的玻璃橱柜里，并提供网上虚拟漫游功能。在他的展厅里，手风琴的所有鲜为人知的高贵品质一览无余：古老的血统（源于老挝和中国的金属簧管）和高贵的出身（十九世纪早期上流社会客厅里的演奏乐器）。这些藏品的主体由红木、玳瑁壳和胡桃木组成，镶嵌象牙、铜和金。琴身上面还会刻画神话故事以及著名作曲家的浮雕像。徘徊于藏品之间，他不禁惊叹其做工，轻抚琴身，轻触琴键，喜不自禁时也会动情演奏一曲。
Many were decorated with pearls, a fashion that lasted. Other early pieces had marine motifs. Something both he and Brel had noticed, for Brel too had a great tenderness for the accordion, was the connection between this instrument and the sea. It carried within it somehow the mood of ports and oceans, the throb of the waves; music seemed to flow and be drawn out across it. On Brels last sea-tinged album, Les Marquises, Mr Azzola played again, this time in a different mode. His accordion could still sting, but was often softer, naturally taking its place within and alongside the woodwinds and the strings. And that was as it should be.
许多藏品还饰有珍珠，这曾是流行了很久的时尚。另外一些早期的藏品则饰有海洋图案。他和布雷尔（布雷尔也痴迷手风琴）都注意到，手风琴和大海之间存在某种联系。琴声里似乎带有港口和海洋的气息以及海浪的节奏；音乐仿佛在流淌，并被画在手风琴上（琴身上的海洋图案）。在布雷尔的最后一张“海洋风”专辑《马库萨斯群岛》中，阿佐拉再次担任手风琴伴奏。这次他以不同的风格演奏。他的琴声依然会躁动，但常常是更加柔和，自然地融合在木管乐器和弦乐器之中。手风琴本该如此，与其他乐器相融相生。
翻译组：
Kemay，决心练好笔译的未来口译员
Li Xia, 女， 爱爬山的自由翻译，美食狂人
Alex,男，工科研究生，文学与科学爱好者，经济学人忠实读者
校核组：
Forest，女，意义之网编织中，经济学人爱好者
Dave，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
本次观点由Amber全权执笔
Amber，博物馆人，总爱忘事儿，老友记粉
Marcel Azzola，现代手风琴之父
无论曾经手风琴作为一种街头流行乐器的发展过程是怎样的，不可否认的是，Marcel Azzola是将其带入现代大众音乐视界的先行者之一。
就像每一位伟大的钢琴演奏家一样，Azzola利用其对手风琴音乐的独特理解形成了有别于其他演奏者的统一风格。手风琴，本该是18-19世纪北美和西欧街头艺人最为青睐的表演器具。让我们想象一下这样的画面——车水马龙的繁忙码头，蒸汽机轮船的巨大烟囱喷发着滚滚白烟，汽笛声此起彼伏，码头的街道两旁，商人小贩们竭尽全力地向行色匆匆的游客兜售商品，他们是各色不同的人种，吉普赛人，罗马人，威尼斯人，希腊人，他们来自不同的地方。时不时，走两步便可以看到某个穿着破旧滑稽的背带大筒裤，皮鞋擦得夸张的锃亮，面前夸这一台手风琴，发出欢快短促的音乐，竭尽全力打动周围的人群，戏谑幽默的曲调与远处工业化的水泥森林形成了鲜明的对比——这便是手风琴最早给与大众的印象了。
Azzola一生都致力于扭转这样的印象，他试图以一种舒缓，悠扬的反街头演奏方式打破这样的固有画面。在Azzola的心目中，手风琴音乐可以是高雅的，贵族化的视听盛宴，其对于手风琴乐器本身的热爱也从某种程度上让世人重新开始梳理关于手风琴音乐发展的历史。从Azzola众多的手风琴收藏品中，我们可以看到关于这种乐器更为古老的音乐起源。因此，可以说，Azzola是第一个将手风琴这种乐器带入现代音乐殿堂，和其它历史悠久的“高雅”乐器平起平坐的奠基者。
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