朴告：斯大林的作曲大师提康·赫伦尼可夫

Tikhon Khrennikov

Aug 30th 2007
From The Economist print edition

Tikhon Khrennikov, Stalin's music master, died on August 14th, aged 94

斯大林的作曲大师提康·赫伦尼可夫于八月14日去世，时年94岁。

HAD he been born in Iowa, Tikhon Khrennikov might have enjoyed a modest fame. Early discovery as a talented pianist; studies in composition, perhaps at the Juilliard School; schmoozing with Hollywood actors and directors, who would have appreciated his amiable character and his ear for a good tune. Irving Berlin and George Gershwin might have been his friends; he might have been remembered, like them, for hummable classics.

设 若提康·赫伦尼可夫生于美国的衣阿华州，他估计会在谦逊的名誉中其乐融融。很早就被发现是个才华四溢的钢琴家，或许他会在朱利亚德学院研修作曲，并和好来 坞的演员和导演闲聊，他们很可能会对他和蔼的性格与在曲调上敏感的听力备加赞誉。欧文·伯林和乔治·格什温估计会和他交朋友，他也很有可能象他们一样，因 为人性化的杰作而被人们所铭记。

But Mr Khrennikov was born, one of ten children, into a horse-trading family in provincial Yelets, four years before the Russian revolution; and he died 16 years after the Soviet Union became Russia again. Over this period he was presented with moral choices and political demands which, as a musician, he should have been spared. He was not—like Sergei Prokofiev or Dmitri Shostakovich—a great composer. But he was the chief composer.

但是赫伦尼可夫却出生于苏联叶列茨省一个马贩子的家庭，有九个兄弟姐妹。他出生四年后发生了俄国大革命，但是在他死前16年，苏维埃联邦重新变回了“俄国”(俄罗斯和俄国是同一个词Russia)。 在他整个的一生中，一直是道义抉择和政治需求的典型范例，虽然就音乐家的身份来讲，他的那部分历史应该略过不谈。他并不象浦罗柯菲夫、肖斯塔科维奇一样是杰出的作曲家。但是，他是首席作曲家。

As secretary of the composers' union, a title he received from Joseph Stalin in 1948 and kept until the USSR disintegrated, in 1991, Mr Khrennikov had enormous powers. But he had never sought them. He had come to Moscow to be a musician, and seemed likely to succeed: not so much with classical pieces, though his first symphony was conducted by the flamboyant and popularising Leopold Stokowski, but with scores for theatre and film.

他于1948年被约瑟夫·斯大林授予作曲家协会主席的头衔，并一直保持到1991年苏维埃社会主义共和国联盟解体为止，在此期间，他拥有巨大的权力。不过这从来不是他刻意追求的。他来莫斯科的目的是成为音乐家，并且看起来他很有可能成功。虽然他的第一首交响乐被解读为奢华艳丽和通俗化的利奥波德·斯坦尼斯瓦夫风格，但并他没有创作很多古典作品，反到是为戏剧和电影写了很多乐曲。 (USSR: Union Of Soviet Socialist Republic的缩写)

The music that made him most popular was the set of songs and serenades he wrote for the 1936 production of “Much Ado About Nothing” at the Vakhtangov theatre in Moscow. That moment was one of respite and relief squeezed between brutal collectivisation and the beginning of the great terror. In 1935 Stalin proclaimed that “Life has become better, comrades, life is becoming more joyful,” and Mr Khrennikov's music fitted perfectly that brief, cloudless mood. In the imagined world of the Vakhtangov production evil was simply a mistake, introduced from outside, that had to be corrected.

1936年，歌剧《纷纷扰扰为谁忙》(不知道通译是什么)在莫斯科的Vakhtangov剧院上演，他为这个歌剧写了一系列的歌曲和小夜曲，正是这些乐曲使他一下子广为人知。那个时期正是剧烈的集体化和大恐怖开端之间修养生息的时期。1935年，斯大林发表声明说：“同志们，生活比过去好多了，变得越来越生机勃勃。” 赫伦尼可夫的音乐绝好地适应了那种短暂、舒朗的氛围。在Vakhtangov的作品的幻想世界里，罪恶恰恰是一个由外部带入的错误，而它必须被更正。

Water-glasses and storms玻璃杯和暴风雨

Two years later such a mistake crept into Mr Khrennikov's own life. His two brothers were arrested on bogus charges. He tried to correct this evil, hiring the best lawyer he could find, and, incredibly, managed to rescue one of them. The other, however, disappeared in the Gulag. 两年以后，类似的错误溜进了赫伦尼可夫自己的生活。他的两个兄弟因为伪造的罪名而被捕。他雇佣了能找到的最好的律师，试着去纠正这个不幸，令人难以置信的是他居然设法营救了其中的一个。另一个却在古拉格集中营里失踪了。

Mr Khrennikov was scarred, but his music was unaffected. Just as Shostakovich captured the tragic side of Soviet culture, so Mr Khrennikov unswervingly expressed its optimism and Social-Realist clarity. At school, a favourite instrument had been the bright, sunny-sounding water-glasses. In later life, his songs were like him: benevolent, lyrical, slightly overweight, decent and well-meaning.

赫伦尼可夫深受打击，但是他的音乐丝毫未受影响。就在肖斯塔科维奇捕抓到苏维埃文化界悲剧的一面时，赫伦尼可夫却坚定地表达了他的乐观主义和社会现实主义明确性。在学院里，他最中意的器皿是明亮的、声音清脆的玻璃杯。在他后来的生活中，他的歌就象他本人，慈祥、深情、略微持重(应该是音乐上的专有名词，不好把握)、端庄而又饱含善意。

In 1939 his opera “Into the Storm”, based on a heavyweight novel by Nikolai Virta, was the first in which Lenin appeared as a character on the stage. The production was praised by Stalin and encouraged him, later, to give Mr Khrennikov his post at the composers' union. This appointment, coinciding with Stalin's campaign against “formalism” and “rootless cosmopolitans” proved as much a curse as a reward. Mr Khrennikov was only 35; his career was young. “I want to write music. What am I to do?” he asked Alexander Fadeev, the head of the writers' union, as both men waited for their special food parcels. “Connive,” replied Fadeev.

1939年他的歌剧《迎战暴风雨》(不知道以前通译是什么)正式上演，这个歌剧基于Nikolai Virta的 一本重量级的小说改变而成，列宁在本剧中首次以舞台形象出现。这部作品受到了斯大林的赞扬，本人则受到了斯大林的鼓励，随后不久，赫伦尼可夫就被授予了作 曲家协会主席的职位。这次同斯大林反对“形式主义”和“毫无根据的世界主义”的战斗一起发生的任命，事实证明是福也是祸。 那时赫伦尼可夫刚刚35岁，职业生涯还很年轻。“我想创作音乐。看看我在做什么？”他有一次对作家协会主席Alexander Fadeev说，当时他们两个人都领取特殊食品津贴包。Fadeev回答说：“纵容，”

Mr Khrennikov did so. That year he read out a draconian speech which condemned Shostakovich and Prokofiev for their formalism, accusing Prokofiev of “grunting and scraping”. But he claimed that the speech had been pre-written in the Kremlin; he himself liked Prokofiev's music as much as he liked Bach and Tchaikovsky. “Live and let live” had been his father's advice to him. For all his rhetoric, he attended Prokofiev's funeral in 1953 and helped his first wife when she came out of prison. Though he publicly disliked the avant-garde music of Alfred Schnittke, he was among the first to help Schnittke when he suffered a stroke in 1985. And he was instrumental in inviting Igor Stravinsky to Russia in 1962.

赫 伦尼可夫确实纵容了一些事。那一年，他宣读了一份措辞严厉的演讲，谴责肖斯塔科维奇和浦罗柯菲夫的形式主义，并指责浦罗柯菲夫的“冷嘲热讽和只言片语”。 但是他宣读的那份演讲是由克里姆林宫事先写好的；他喜欢浦罗柯菲夫的乐曲，恰如他喜欢巴赫与柴可夫斯基的音乐。“活着，或者被迫活着”是他父亲给他的忠告。1953年他参加了浦罗柯菲夫的葬礼，极尽他所能表达的赞扬措辞。当浦罗柯菲夫的第一任妻子出狱之后，他又给她以帮助。虽然他公开表示不喜欢阿弗雷德·史尼特克的前卫音乐，但是在史尼特克1985年遭受打击的时候，他是第一批帮助史尼特克的人。他还曾在伊戈尔·斯特拉文斯基1962年的俄国之旅中发挥过作用。

He was part of a ruthless system; but he did not deliver up Jewish composers to Stalin's goons, and did not write negative references when the party demanded them. (Instead, he would say that the composer had been warned of the dangers of modernism, as if the lesson was already safely learned.) None of the composers he had charge of was killed; very few were arrested. Many, however, reported on him—for being influenced by his Jewish wife, Klara Vaks, and for sheltering Jews. But Stalin's approval gave him a certain freedom. Instead of writing hymns to his boss, like many of his peers, he made songs about the soft light in Moscow windows.

他是那个残暴统治机器的一部分；但是却没有把任何犹太裔作曲家交给斯大林的暴徒，也没按党要求的那样写负面的证明书(他反倒会说，那些作曲家已经被警告过现代思想的危险性，而且似乎这个警告已经确实被领会了)。 受到他指控的音乐家没有任何人死亡，只有极其少数人被捕。然而他却被许多人所举报，这是因为他受犹太裔妻子卡拉若·瓦可丝的影响，庇护犹太人所致。不过斯 大林对他的赞赏使得他能不受这些影响而逍遥自在。他可以不象他的许多同行那样为“大老板”写赞美歌，取而代之的是，创作描绘莫斯科的千家万户流露出来的柔 光的歌曲。

Having made himself comfortable within the regime, he extended these comforts to others. The Soviet Union looked after its artists well. Mr Khrennikov had a huge budget which was spent on building special apartments and dacha compounds for composers. The world he created behind the gates of the Ruza compound by the Moscow river, where among small lanes and woods “his” composers could find a strange, beguiling privacy, was much more tolerant than the country. The Western press called him a lackey and dictator when he died, but Russians, who knew him, did not.

他把自己在那个统治制度下安顿得舒舒服服的，然后又把这种安逸的享受拓展到了其他的同行那里。苏维埃联邦就此把它的艺术家们照顾得无微不至。赫伦尼可夫为了给作曲家建造特别公寓和混合别墅，所做的预算编制十分巨大。他在Ruza大门后面创建的世界和莫斯科河流浑然一体，“他”的音乐家们驻足于纵横交错的林间小道、信步于山林中时，会发现一个奇怪的有诱惑性的秘密：这里要远比外界宽容得多。他去世后，西方的新闻界称他为忠实的仆从和独裁者。但是，真正了解他的俄罗斯人知道他不是。