老罗这张DVD,看一次像朝一次圣,要精力充沛、头脑清明、心怀虔敬。从头到尾竟然用了一周才看完。
      
      片子看完,躺在床上,头脑中只有那些镜头和音乐,好久好久不想说话。制片人原来是老罗自己,拍摄的思路和最后的剪辑大概都是他的决策,每个组曲之前都有他给讲解。第六组曲的解说,他特意从旅馆房间移到了教堂,从钢琴移到了管风琴。因为这是D大调,是他的阳光组曲,是他说的大提琴独奏的交响乐。这是一个宏大的终结,但光听弦乐器演奏并不容易听出来。老罗把作品在管风琴上奏出,在夜晚空荡的教堂,所有的和声转换都变得无比清晰宏伟,穿透胸胛在和自己的身体共振。
      
      拍摄的手法也有所转变,出现了很多的教堂空间,我所熟悉的、但又在记忆中慢慢模糊了的圣玛德琳。那些经过历代贴贴补补的石头,充满奇思异想的柱头,原始的不和比例与透视的雕像,那些技术上不甚完满、但更直接袒露精神性的古代艺术,历经火灾与革命毁坏、还有时代审美唾弃而又寻回、跌撞着闯过众多有意无意的摧残的罗曼石拱…
      
      老罗最后讲的是和声:和声出去旅行,不断地转换,其间每个和声持续的时值正契合我们内心隐秘的需求,旋律是可以在其中即兴添加的,关键是那些和声的结构、它们之间的关系和各自持续的时值 ------ 抓住那些隐秘的节奏,赋予这些和声转换以恰当的时值,这是巴赫伟大的地方… 那些出门在外的和声好像对应着我们内心的一个个牵扯,朋友、爱、世代更迭…每个都有不同的时值,相互交叠,最后回到家…“人老了常常会想到这些”… 他喃喃地讲,中间有一段,停下来,仰起头,向教堂十字交叉对面空荡荡的黑暗望过去,镜头慢慢拉近,你看到那张温和的脸上沧桑的纹路,秃谢的头顶后沿的白发,镜片幽幽的反光… 人的一生、艺术、爱、死亡… 这些牵扯、这些节奏、这些时值, 他说,“都是造物主安排好的,不可能是其它”,他缓慢地摇摇头… 我透过屏幕看到那个已经故去的人,大概有如他自己对巴赫的感情,在敬佩之外,更是满心的爱。在晚年完成录制巴赫,对于他,是一个朝圣的旅程,是对自己一生艺术的总结,宗教性的回归:“多少年来,我幻想在一个有阳光的早晨,走进这样一个教堂,完成巴赫的录制…”
      
      镜头从老罗身上逐渐拉远,管风琴演奏的阿拉曼德舞曲与镜头一道扩展到整个教堂空间,回响在层层拱柱之间,我泪流满面。

    [附:唱片简介]

    Bach: Cello Suites

    又名: 罗斯特罗波维奇演奏巴赫大提琴组曲

    表演者: Mstislav Rostropovich

    发行时间: May 4, 2004
    出版者: EMI Classics
    介质: DVD

    Penguin Guide Rosette.
      This is one of the most important recordings of the 20th century, both for its content (considered by many the greatest cello music of all time) and for the intense devotion, careful preparation, and towering technical skill that went into the project. It was a brilliant idea to make a video as well as an audio recording. Cellists will welcome the chance to study Rostropovich's bowing and fingering techniques, close up and at leisure. And music-lovers will welcome the visuals of the recording location, a French church whose architecture, statues, and flickering candles complement the music.
      Mstislav Rostropovich knew, loved and practiced the Bach suites from his teen years, when the legendary Pablo Casals gave him a private performance of one of them. But he did not feel ready to record the complete set until he was 63 years old. Then he found an ideal location for the recording; he carefully chose his recording technicians, and he supervised the sessions besides playing the cello as only he can. Each note is carefully considered and given its unique shape. The music's structures are made clear, its emotional overtones powerfully conveyed. The conventional structure of a baroque suite--an elaborate overture followed by a series of dances--comes vigorously to life. And Rostropovich gives a spoken introduction to each suite (in Russian, with English subtitles) playing illustrative passages on the piano or organ.
      The result may appeal mostly to specialized tastes (unaccompanied cello is not everyone's cup of tea), but this video is a landmark. --Joe McLellan


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