导言：在我听觉的茫茫黑夜中，是老巴赫引我走向那布满神奇之光的圣殿的。当淡蓝的晨雾散尽，一座座巍峨的神像突兀地伫立在我的眼前，让我目瞪口呆，不知所措。本文选自图雷克文集，主要针对钢琴学生在学习巴赫二部创意曲中遇到的问题及老师正确的教学步骤，是一部完全的巴赫教学指南，从旋律线和音乐内部结构、声部同音响的融合以及装饰音的演奏等角度展开详细论述。本公号会持续更新图雷克系列译文，欢迎大家持续关注！点击文末阅读原文查看文章出处。
Learning to Understand Bach 
研习巴赫
From Rosalyn Tureck
"If anyone says that Bach is dry, mathematical, or dull, you may be sure that the person giving the opinion has never really heard Bach. He may have listened to Bach's music; he may even have tried to play it — but he has not truly heard it. An understanding of Bach requires an understanding of the contrapuntal movement of his lines. Now, a perception of the lines in Bach has become obscured to listeners through a habit of listening to music of harmonic tradition, in which a melodic line moving horizontally (in the right hand) is set above a harmonic accompaniment moving vertically (in the left hand). 
“若有任何人敢说巴赫的音乐太过干涩、刻板或无趣，讲这类话的人大概绝未曾真正欣赏过巴赫。或许他曾经听到甚至演奏过巴赫的作品，但他一定没有真正听懂。想要对巴赫音乐进行理解，就必须对他的音乐中声部内的相对运动有一定认识。现在，巴赫音乐中的所谓’线条’意识对于那些习惯聆听传统和声的听众而言，已变得十分模糊，即一条水平流动的旋律线（右手演奏）是被建立在（左手演奏）垂直且完整的和声伴奏上的形式。
This is the pattern of songs, of most "tuneful" music — a pattern of important melody and less important accompaniments. It is a beautiful pattern as far as it goes — but it does not apply to Bach! Our Bach problem, then, results from trying to force such an application through the mental habit of expecting it. The average student sitting down to his first encounter with a Bach Invention, invariably tries to read it as right hand melody plus left hand accompaniment. After the first hour, he may give it up as tuneless and dull. Naturally! The work was never meant to be taken that way!
这是一种歌唱式的、最悦耳的音乐模式——重点旋律结合次重点伴奏的模式。直至今日，这仍是一种美妙的模式，但这并不适用于巴赫的作品！我们的巴赫问题，是由于我们试图通过心理习惯来强迫这种这种应用模式。每一个第一次与巴赫作品邂逅的学生，几乎都试着用这种’右手旋律，左手伴奏’的模式去读谱，然而一个小时过后，他便会因着其中的不和谐与乏味放弃，再自然不过！作品绝不可以被这样处理！”
"The ultimate goal of Bach study is to recognize the several lines and to treat them simultaneously as both independent melodies and closely-interwoven parts of a unified whole. In other words, the lines must "sound" in their own right, and also as the component elements of the whole piece. That, I repeat, is the goal. A long path of study precedes it. And the first step along that path is the development of a sure, clean-cut, disciplined polyphonic sense.
巴赫研究的终极目的是去识别出若干条旋律线，并像统一对待独立旋律与邻近交织声部一样对他们同时处理。换句话说，这些旋律线必须听起来既属于他们自己，同时也是整体作品的组成部分。我重申，这便是目的。这是一条漫长的研习之路。这条路的第一步便是培养明确清晰且训练有素的复调意识。
"In my own teaching, I begin to build this polyphonic sense by asking the student to learn, by memory, the first of the "Two-Part Inventions" exactly as it is written. In memorizing it, he is asked to learn each line separately, so that it can be played independently and without the aid of the other line.
在我自己的研究中，我通过要求学生研究、并精准记忆二部创意曲中的第一声部去开始建立复调意识。在记忆作品的过程中，学生被要求分别学习每条旋律线，以确保它能够在没有其他旋律线辅助的情况下被独立演奏。
"Now, this might seem to mean the familiar practicing of each hand separately — and at this point, the student must learn to change his mental approach. In studying Bach, he must learn to think, not in terms of hands, but of lines and voices — soprano, alto, tenor, bass. In the First Invention (as in most two-part works) it happens that the right hand carries the soprano, and the left hand the bass. But it is always the lines of development and not the hands that are of prime consideration use a fact that is clearly demonstrated in the more advanced works where the voices do not 'happen' to fall into any familiar division of right and left handed This is of the utmost importance in learning to understand Bach.
目前，分手练习可能是人们广为熟悉的练习方式，在此，学生必须去改变他们固有的思维模式。在研究巴赫的过程中，必须去思考的不仅涉及到双手，还有声部与音响的融合——即高声部、中声部、次中声部、低声部，在第一声部中（尤其在大多数二部创意曲中），右手承担着高声部，左手演奏低声部。但它依旧是各声部的展开为主，而非以双手为先导，利用已在更前卫的作品中被既定的模式，在这些作品中，声音不会“突兀的”陷入任何左手或右手的习惯区域内。这是研究巴赫过程中的重中之重。
"When the student has learned the individual lines (or voices) separately and in combination, I ask him to transpose them into all keys. This may be done either chromatically, or in the circle of fifths. Again each voice is learned separately and then the two are combined.
当学生已经分别对每条的旋律线（或歌唱声部）进行分解与整合式的研究，我让他把将这些内容全部在转移到琴键演奏。这可能是以半音化的、或五度循环的模式完成。接下来，每各声部的乐音被分开来研究，再将其整合。
"The next step is to turn the lines upside-down. The development of the Invention itself reverses the subject; what I mean is to play the lines taking the bass in the right hand and the soprano in the left (playing the bass voice in the treble register of the piano, and the soprano voice in the bass register). Again, each voice is learned separately and in combination, and again the upside-down voices are transposed into all keys.
下一步是去颠倒旋律线的上-下行模式。创意曲本身的发展与音乐主题相反；我的意思是用右手演奏低音声部，左手演奏高音声部（即在钢琴的高音区演奏低音声部，在低音区演奏高音声部）。每个声部再次被分开来研究并整合，上下行音响也要再一次被演奏。
"This is an excellent drill in applied polyphony, and also an excellent preparation for Each, whose own development of his subjects uses all kinds of 'turnings around.' Indeed, the many reversals and inversions in Bach are the root of much of the 'difficulty' in understanding him; Thus, the student who learns to put any line into any voice, at any time, familiarizes himself with Bach's idiom. He learns to think contrapuntally.
这是在应用复调音乐当中非常有效的训练环节，也是对研读巴赫作品中，自身主题发展里，及各种变化运用的必要准备。实际上，巴赫音乐中的逆行与倒置手法是理解他创作难点上的“根源”，因此，研习巴赫的学生无论在何时，把任何声部放置进何种音色之中，都会让他觉得无比熟悉。他学会了这种对位式的思考方法。
FURTHER ANALYSIS
未来研究
"More ambitious students may well be encouraged to go on with this kind of work, separating and transposing the lines of other Two-Part Inventions. I do not advocate it with three part works. When they have done so, they will find that thinking independently of each line has become a habit — that Bach's idiom is getting to be their own.
有更多感到模棱两可的学生们可能会被鼓励继续进行此类研究，区分、移换二部创意曲中的旋律线。我却不提倡以此方法运用到分析三部创意曲上。当他们分析完后会发现，每条旋律线的独立构思已成为一种习惯，即专属于巴赫的创作模式。
"And now a second analysis becomes necessary. We begin to find the independent lines crossing each other and blending harmonically. We analyze the work harmonically and see how the lines fit. Once the student arrives at this point, a number of interesting things happen. He finds himself intellectually stimulated by making the various lines speak independently and fit together; He finds that so far from being 'dull', this many-voiced Bach is absorbingly exciting. He finds that he has, not a 'strong' right hand and a 'weak' left hand, but two independent hands, each occupied with fulfilling its own line of expression. And he finds that he is able to think not in terms of hands, but of music.
那么此时，二次分析就变得尤为必要。我们开始发现独立的旋律线彼此和谐地交织、融合。我们分析处在和谐和声中的作品，思考旋律线间如何彼此适应。一旦学生的研究到达这一地步，不少有趣的事情就来了。他会发现自己被各种独立又融合的旋律线理性地刺激着；他也发现两只手不再处于“右强左弱”的模式，而是两只手独立并行，且每只手都要控制各自丰满的声部表达；他还发现自己所思考的不再只是双手，而是音乐。
"All these are great gains — but the student is not yet equipped to play Bach! He must still learn to project these lines, to make them sound. Again we go back to the text, studying each line in terms of its own frame, its own register, its own rhythms We examine the shape of the individual lines in order to determine the phrasing. The student sees each line assuming its own shape. The clarity of these shapes must be understood and projected by the performer, and readily heard by the listener. And the lively variety of these several lines that move simultaneously, keeps both performer and listener vitally interested.
所有这些都是伟大的收获，但学生不会把这些与演奏巴赫等同起来。他必须继续研究这些旋律线，并将它们化作音响。我们再次返回文本中，研读旋律线中涉及到巴赫音乐自身的结构、音域、节奏等，我们会发现每条旋律线的形状构成是为了音乐的分句。学生会看到每条旋律线都有自己的形状。这些旋律线的形状必须被演奏者清晰的理解并规划，时刻准备被聆听者欣赏。这些多变且生动的旋律线同时进行，使演奏者和聆听者共同对其保持着极大的兴趣。
"An important part of Bach playing lies in an understanding of his use of ornaments. Any really adequate understanding involves years of research into the entire subject of ornamentation — still, that, too, can be approached in a practical way. My own belief is that, in teaching, as few 'orders' as possible should be given. I do not tell a student to play an ornament this way or that. Instead we analyze the treatment from the text; I explain the various laws tend exceptions) governing the particular ornament in question, establishing what may apply and ruling out what may not.
演奏巴赫的一个重点是对其装饰音使用的理解。直到现在为止，这些年对于装饰音研究的，比较充分的理解也已成为一种比较实际的研究方法。在我的理念中，在教学里，应该尽量少地去给予一些所谓“范式”。我不会告诉学生要以这样或那样的方法去演奏装饰音。相反，我们会从音乐织体中分析这些素材，我解释了各种规则中的例外情况，尤其是在支配装饰音的问题，要确立可能应用到的，排除可能用不到的规则。
Often enough there is more than one way of playing the ornament. I explain this to the student: ask him to go home and mull it over, making his own decision as to what to plays By the time he returns, he has accomplished a great deal more than the merely imitative business of doing what his teacher told him to do. He has exerted personal thought on the problem; he has exercised an independent decision based on his own thinking. His playing of the ornament in question may be different from mine — but if it fits into the line of the music and if it grows out of a correct application of the laws, it will be right. And the playing of it will be an intelligent, glowing thing, based on understanding and active personal thought and conviction.
通常情况下，演奏装饰音不止一种方法。我向学生这样解释：先让他回家再三思虑，由他自己决定要弹奏什么。到下次回课时，他所完成的已不仅仅是老师告诉过他的那些关于复调模仿的内容了。他已经可以在这个问题上发挥出自己的想法，并基于自身观点独立地做出练习决定。在装饰音演奏方面的内容可能会与我的想法有所差别——但是如果他的处理适用于旋律线进行，并可以延展出一套正确的适用规则，那它就是对的！这种演奏便是智慧的、进益的、既基于对作品理解又融入积极的思考与信念。
"Thus far, I have spoken in terms of the young student — or of the student of any age which is beginning to break down the wall that separates him from a fuller understanding of Bach — and have therefore purposely limited myself to problems involving fewer lines and voices. The basic principle is the same, however, for works of four and even five lines. The goal is always the treatment of the lines both as independent melodies and as interwoven parts of a whole. And the first step towards the goal is to clear the mind of the habit of thinking in terms of important melody set above "less important" accompaniment. Once you get behind the intricate structural element of Bach's music — once you arrive at a clear understanding of his form — his vital expression of every shade of human emotion comes pouring through to you."
因此，到目前，我已对年轻的，或处在任何年龄段的学生去讲述这一问题，他们已经开始试图打破桎梏，对已获取对巴赫的知识又更加丰富的理解——因此在涉及到更少的旋律线条与音响模式上，我刻意限制了自己。然而对于四声部、五声部的作品来讲，基本原则是一样的。目标永远都是声部间独立的旋律线与旋律整体交织部分间的处理。而迈向目标的第一步是要清除头脑中的思维习惯，即依据主要旋律来创作“非”主要的伴奏旋律。一旦理解了巴赫音乐中错综复杂的结构元素，并对其结构有了清晰的理解，他作品所含的那些丰满的人性表达就会扑面而来感动你。
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