Lorin Maazel, a former child prodigy who went on to become the music director of the New York Philharmonic, the Cleveland Orchestra, the Vienna State Opera and several other ensembles and companies around the world, and who was known for his incisive and sometimes extreme interpretations, died on Sunday at his home in Castleton, Va. He was 84.
指挥家洛林·马泽尔(Lorin Maazel)周日在卡斯尔顿的家中逝世，享年84岁。马泽尔曾是一名神童，后来担任过纽约爱乐乐团(New York Philharmonic)、克利夫兰管弦乐团(Cleveland Orchestra)、维也纳国家歌剧院(Vienna State Opera)以及全球其他一些表演团体和剧团的音乐总监，并以其敏锐，有时有些极端的演奏而闻名。The cause was complications of pneumonia, said Jenny Lawhorn, a spokeswoman for Mr. Maazel. In recent days, he had been rehearsing for the Castleton Festival, which takes place on his farm.
马泽尔的发言人珍妮·劳霍恩(Jenny Lawhorn)表示，马泽尔死于肺炎并发症。最近几天，他一直在为卡斯尔顿音乐节(Castleton Festival)进行排练。该音乐节在他的农场举行。Mr. Maazel (pronounced mah-ZELL) was a study in contradictions, and he evoked strong feelings, favorable and otherwise, from musicians, administrators, critics and audiences.
马泽尔是一个复杂的研究对象，他引起了音乐家、管理人员、评论家和观众的强烈看法，其中有些是赞许，有些则相反。
He projected an image of an analytical intellectual — he had studied mathematics and philosophy in college, was fluent in six languages (French, German, Portuguese, Spanish and Italian, as well as English) and kept up with many subjects outside music — and his performances could seem coolly fastidious and emotionally distant. Yet such performances were regularly offset by others that were fiery and intensely personalized.
他塑造了一个善于分析的知识分子的形象——他在大学学过数学和哲学，精通六门语言（法语、德语、葡萄牙语、西班牙语、意大利语和英语），并紧跟音乐以外的许多学科的潮流——他的表演可能看上去非常注重细节，在情感上非常冷漠。然而，这类表演常常会被其他具有强烈个性的热烈表演抵消。He was revered for the precision of his baton technique, and for his prodigious memory — he rarely used a score in performances — but when he was at his most interpretively idiosyncratic, he used his powers to distend phrases and reconfigure familiar balances in the service of an unusual inner vision.
他凭借精准的指挥技巧，以及惊人的记忆力——他在表演中很少使用乐谱——而备受敬重，但当他表现另类且具有非常强的解释性时，他会用手中的权力扩张乐句，遵从自己与众不同的内心视野，重新组建熟悉的平衡。“He is clearly a brilliant man,” John Rockwell wrote in The New York Times in 1979, “perhaps too brilliant to rest content with endless re-creations of the standard repertory. He is also, it would seem, a coldly defensive man, and perhaps that coldness coats his work with a layer of ice.
“他显然是一个才华横溢的人，”约翰·罗克韦尔(John Rockwell)于1979年在《纽约时报》上写道，“或许太聪明了，以至于无法满足于对标准剧目无休止地重新创作。他看上去也是一个冷漠的处于防守状态的人，或许这种冷漠让他的作品裹上了一层冰。”“The only trouble with this line of thinking is that it doesn’t take all the facts into account. Mr. Maazel, when he’s ‘on,’ has led some of the finest, most impassioned, most insightful performances in memory. When he’s good, he’s so good that he simply has to be counted among the great conductors of the day. Yet, enigmatically, it’s extremely difficult to predict just when he is going to be good or in what repertory.”
“这种思路的唯一问题是，它没有考虑全部事实。马泽尔在‘有状态’时会带来人们记忆中一些最精彩、最慷慨激昂、最有见地的演奏。当他好的时候，他会好得简直可以被列为当代伟大的指挥家之一。然而，不可思议的是，他什么时候，以及在什么剧目中表现良好，极难预测。”A Boy With a Baton
小小指挥家Perhaps because he grew up in the limelight, conducting orchestras from the age of 9, Mr. Maazel was self-assured, headstrong, and sometimes arrogant: When he took a new directorship, he often announced what he planned to change and why his approach was superior to what had come before. He knew what he wanted and how to get it, and if he encountered an immovable obstacle, he would walk away, also with a public explanation.
从9岁起，马泽尔便开始指挥管弦乐队。或许因为是在聚光灯下长大的，他自信，固执，有时候还有些傲慢：当他接任一个新的指挥职务时，他通常会宣布自己的改革计划，以及为何他的方式优于之前的方式。他知道自己想要什么，也知道如何得到想要的东西，如果遇到无法克服的障碍，他会离开，并给公众一个解释。That was how he handled his brief term as general manager and artistic director at the Vienna State Opera, where he was the first American to wield such power.
这正是他在短暂担任维也纳国家歌剧院总经理和艺术总监时采取的方式。他是首位在该歌剧院担任上述职务的美国人。“I am keen that this house again be led in the fashion of Mahler and Strauss,” he said at a news conference when his appointment was announced. “I have the full responsibility for the opera, and I have no intention of sharing that responsibility, though I may delegate it.” He added, “I will not hesitate to make changes, if I consider them necessary.”
“我强烈建议再次以马勒(Mahler)和施特劳斯(Strauss)的方式领导这家歌剧院，”任命宣布后他在新闻发布会上宣布。“我全权负责歌剧院，我不打算和其他人一起承担这一责任，不过我可能会委托一些人作为代表。”他接着说，“如果觉得有必要进行变革，我不会犹豫。”He quickly transformed the house from a repertory company, where a different work was staged every night, to what he called a “block” system, in which groups of operas were played, with frequent repeats. He regarded this as more efficient and likely to produce better performances.
他很快便将维也纳国家歌剧院从一个每晚都上演不同剧目的剧团，变成了他所谓的“固定”制度。在这种制度下，该歌剧院分组上演歌剧，并频繁重演。他认为这种方式更有效，更有可能带来更精彩的表演。When the Viennese culture minister differed, and also complained about Mr. Maazel’s casting choices and argued that he was mainly interested in burnishing his own artistic profile, Mr. Maazel abruptly resigned, two years into a four-year term, and wrote an Op-Ed article for The New York Times, deploring interference in the arts by government officials with no artistic background. (In September 2013, the company erected a bust of Mr. Maazel, by the sculptor Helmut Millionig. Mr. Maazel attended the unveiling ceremony.)
当维也纳文化部长提出异议，同时还抱怨马泽尔的演出人选，并称他主要是想提升自己的艺术形象时，马泽尔突然辞职，并为《纽约时报》写了一篇专栏文章，谴责没有艺术背景的政府官员干涉艺术。当时，他的四年任期只过了两年。（2013年9月，维也纳歌剧院树立了一座出自雕塑家赫尔穆特·米利恩尼科[Helmut Millionig]之手的马泽尔半身像。马泽尔出席了塑像揭幕仪式。）His tenures with the Cleveland Orchestra and the New York Philharmonic had their rough moments, too. The Cleveland musicians voted against hiring him to succeed the legendary George Szell, who had died in 1970, because they did not consider him sufficiently accomplished to fill Szell’s shoes. Mr. Maazel told The Times in 2002 that “the relationship remained more or less rocky to the end.”
他在克利夫兰交响乐团和纽约爱乐乐团的经历也并非一帆风顺。克利夫兰的音乐家投票反对聘用他接替传奇人物乔治·塞尔（塞尔1970年逝世），因为他们认为他不够资格接塞尔的班。2002年马泽尔告诉《纽约时报》“他们的关系直到最后也不和谐”。In New York, Mr. Maazel quickly won over the Philharmonic musicians. But several critics, while happy that the orchestra had engaged an American music director for the first time since Leonard Bernstein gave up its podium in 1969, were disappointed that Mr. Maazel, 70 at the time, was of the same generation as his predecessor, Kurt Masur (then 73), and that his tastes in contemporary music seemed conservative. Eventually, many of them came to admire him.
在纽约，马泽尔很快赢得了爱乐乐团音乐家们的信任。但一些乐评人，虽然高兴看到李奥纳德·伯恩斯坦1969年去职以来第一个美国指挥家第一次担任此职，但他们认为，马泽尔当时已经70岁，和前任科特·马瑟（当时73岁）还是同一个时代的人，令他们失望。而且他对当代音乐的口味似乎很保守。但最终，很多人开始赞赏他。Alan Gilbert, Mr. Maazel’s successor as music director of the Philharmonic, said Sunday, “Personally, I am grateful to him, not only for the brilliant state of the orchestra that I inherited from him, but for the support and encouragement he extended to me when I took over his responsibilities.”
马泽尔在爱乐乐团的继任者艾伦·吉尔伯特(Alan Gilbert)周六表示，“就我个人而言，我感激他，不仅因为我从他手中继承下来的乐团状态出色，还因为当我接过他的责任时，他给予我的支持和鼓励。”Lorin Varencove Maazel was born in the Parisian suburb of Neuilly-sur-Seine on March 6, 1930, to a pair of American music students — Lincoln Maazel, a singer, and Marie Varencove Maazel, a pianist — who were studying there. He showed an aptitude for music early: When he was 5, by which time the family had moved to Los Angeles, he began studying the piano; at 7, he took up the violin.
洛林·瓦伦科夫·马泽尔于1930年3月6日出生在巴黎郊区的塞纳河畔讷伊，父母都是在那里学习音乐的美国学生，其中父亲林肯·马泽尔(Lincoln Maazel)是一名歌手，母亲玛丽·瓦伦科夫·马泽尔(Marie Varencove Maazel)是一名钢琴家。他很早就表现出了音乐才能：5岁时，他们一家人已经回到了洛杉矶，他开始学习钢琴；7岁开始学习小提琴。One piece in his piano repertory was a reduction of Haydn’s “Surprise” Symphony, and when he was 8, his father gave him a copy of the full orchestral score. Lorin studied it, along with a recording his father also bought him, and when he conducted a family ensemble in the work, his parents noted that he was adept at cues and balances. They took him to study with Vladimir Bakaleinikoff, then an associate conductor with the Los Angeles Philharmonic.
他的钢琴曲目包括海顿《惊愕交响曲》(Surprise)的改编版。8岁时，父亲给了他作品的管线乐全谱。洛林跟着父亲借来的录音带学习了乐谱，当他指挥一个家庭室内乐团时，他的父母注意到，他对时机和平衡颇为擅长。他们带他去与时任洛杉矶爱乐乐团(Los Angeles Philharmonic)副指挥的弗拉迪米尔·巴卡莱尼科夫(Vladimir Bakaleinikoff)学习。When Mr. Bakaleinikoff took a conducting job in Pittsburgh, the Maazels followed. They also sent young Lorin to music camp at Interlochen, Mich.
后来巴卡莱尼科夫接受了匹兹堡的一份指挥工作，马泽尔一家也跟着去了那里。他们还把年幼的马泽尔送去了密歇根州因特劳肯的音乐夏令营。Olin Downes, a music critic for The Times, happened to be visiting the camp when Lorin, then 9, led the camp’s orchestra in a movement from Schubert’s “Unfinished” Symphony. Mr. Downes, though generally skeptical of prodigies, wrote that the boy conducted “with a beat clean and firm, yet elastic and with a consistency of tempo that very occasionally was modified by a nuance absolutely in place and appropriate as it was employed.”
当时9岁的洛林正在指挥夏令营的乐团演奏舒伯特(Schubert)《未完成》交响曲中的一个乐章，《纽约时报》音乐评论家奥林·唐斯(Olin Downes)刚好来到夏令营。尽管唐斯一向对神童持怀疑态度，但是他写道，这个男孩的指挥“节奏清晰而坚定，并且富有弹性，节拍连贯，偶尔的细微差异也表现得绝对准确、恰到好处。”Toscanini and Lollipops
托斯卡尼尼和棒棒糖That summer, the Interlochen orchestra performed at the World’s Fair in New York, and Lorin conducted it twice. In 1940, just before his 10th birthday, he conducted the Pittsburgh Symphony as well, and when he was 11, in July 1941, Arturo Toscanini invited him to conduct the NBC Symphony in a concert — works by Wagner, Mendelssohn and Dika Newlin — broadcast nationally from Radio City Music Hall. The orchestra, outraged at the idea of being led by a child, greeted him at the first rehearsal with lollipops in their mouths. He won their respect the first time he stopped the rehearsal to point out a wrong note.
当年夏季，因特劳肯的夏令营乐团在纽约世界博览会(World’s Fair)上表演，洛林两度执棒。1940年，在洛林的10岁生日之前，他还指挥了匹兹堡交响乐团(Pittsburgh Symphony)，即1941年7月，11岁时，阿图罗·托斯卡尼尼(Arturo Toscanini)邀请他在一次音乐会上指挥NBC交响乐团(NBC Symphony)——其中有瓦格纳(Wagner)、门德尔松(Mendelssohn)和迪卡·纽林(Dika Newlin)的作品——在纽约无线电音乐城(Radio City Music Hall)向全国广播。由于交响乐团对由一个孩子来指挥自己的做法感到愤怒，所以他们第一次彩排时含着棒棒糖对他表示欢迎。但是，当他第一次让大家停下来，指出一个错误的音符时，就立即赢得了大家的尊敬。In the summer of 1942, and again in 1944, he led the New York Philharmonic in performances at Lewisohn Stadium. But when he turned 15, he put his baton aside and settled into his academic studies at the University of Pittsburgh.
1942年夏，然后是1944年，他在路伊森体育场(Lewisohn Stadium)指挥了纽约爱乐乐团的演出。但是到了15岁，他把指挥棒放到了一遍，专注于匹兹堡大学(University of Pittsburgh)的学业。He did not abandon music entirely. In 1946, he organized the Fine Arts Quartet of Pittsburgh, with which he was a violinist until 1950, and in 1948, he joined the violin section of the Pittsburgh Symphony. An invitation from the conductor Serge Koussevitzky to lead the Boston Symphony Orchestra at Tanglewood in the summer of 1951 brought him back to the podium just before he headed off to Rome, on a Fulbright fellowship, to study Renaissance Italian music.
他并没有完全放弃音乐。1946年，他组织成立了匹兹堡美术四重奏(Fine Arts Quartet of Pittsburgh)，直到1950年，他都在里面担任小提琴手。1948年，他加入匹兹堡交响乐团的小提琴声部。1951年夏，指挥家谢尔盖·库塞维茨基(Serge Koussevitzky)邀请他前往坦格尔伍德指挥波士顿交响乐团，他由此重新回到了指挥台。之后，他以富布赖特学者的身份，又前往罗马研究文艺复兴时期的意大利音乐。Mr. Maazel dated the start of his mature career to Christmas Eve 1953, when, still a student in Rome, he was invited to step in for an ailing conductor at the Teatro Bellini, in Catania. His success there led to engagements in Naples, Florence and elsewhere in Europe, and then in Japan, Australia and Latin America.
马泽尔认为，自己职业生涯的成熟始于1953年的平安夜。当时仍是罗马一名学生的他受邀前往卡塔尼亚贝里尼剧院(Teatro Bellini)，接替一名健康状况欠佳的指挥。他在那里获得了成功，随后便开始前往那不勒斯、佛罗伦萨以及欧洲其他地方参加活动，接着又前往日本、澳大利亚和拉丁美洲。An Old-Fashioned Approach
老派手法Mr. Maazel’s first music directorship was that of the Deutsche Opera, in West Berlin, jointly with the Berlin Radio Symphony Orchestra, a position he held from 1965 until 1971, when he accepted the directorship of the Cleveland Orchestra, to begin in 1972.
马泽尔首次担任音乐总监是在西柏林的德国歌剧院(Deutsche Opera)，同时还有柏林广播交响乐团(Berlin Radio Symphony Orchestra)，他从1965年到1971年一直担任这个职务。1972年，他接受了克利夫兰交响乐团的总监职位。In Cleveland, as in Berlin, Mr. Maazel took an old-fashioned approach to the job. Instead of conducting barely more than a dozen weeks of concerts and leaving the rest to guests, as was becoming the norm, Mr. Maazel spent most of his year in Cleveland. He recorded plentifully with the orchestra, and toured with it frequently. He gave up the directorship, becoming conductor emeritus, in 1982, the year he became general manager of the Vienna State Opera.
与在柏林时一样，马泽尔对克利夫兰的工作也采用了一种老派手法。按照惯例，他本可以一年只指挥十几周，然后把其他工作留给客席指挥，但是马泽尔却将一年中的大部分时间都花在克利夫兰。他与乐团一同录制了大量音乐，还经常随乐团出行。1982年，他放弃总监职位，成为荣休指挥，并担任了维也纳国际歌剧院总经理。When the Vienna directorship went sour, in 1984, Mr. Maazel declared himself liberated, free to return to the far-flung guest conducting of his early years.
1984年，维也纳的总监工作出现问题，于是马泽尔宣布自己重获自由，可以回到他早年那种四海为家的客席指挥生涯。“I worked as a music administrator as well as a conductor of 20 years,” he told an interviewer in 1985, “and during that time, I devoted almost all my attention to the organizations I was working for — six years in Berlin, 10 in Cleveland, three in Vienna. I’ve conducted 132 orchestras, but in the last 20 years, I’ve not conducted more than seven or eight of them. So I’m having a lot of fun going around the world now, meeting people who’ve gotten to know me through records and television. I’m like a child let out of school.”
“我担任音乐管理者和指挥有20年的时间，”他1985年接受采访时说，“那段时间，我把所有精力都花在我所工作的机构——6年在柏林、10年在克利夫兰，3年在维也纳。我一共指挥了132个乐团，但是在过去20年里，我所指挥的乐团不超过七八个。所以，我现在觉得能到世界各地看看，见见那些通过录音和电视认识我的人，是一件很有趣的事情。我就像个被放出校门的孩子。”Mr. Maazel celebrated his 70th birthday with a world tour in which he revisited many of the orchestras he had conducted over the decades. One stop was at the New York Philharmonic, which was negotiating with several conductors to succeed Mr. Masur as music director. Mr. Maazel threw his hat in the ring, and within a few weeks, he captured the post.
为了庆祝自己的70岁生日，马泽尔重新拜访了他在过去数十年指挥过的许多乐团。其中一站就是纽约爱乐，当时乐团正在与几名指挥家商讨接任马苏尔担任音乐总监的事。马泽尔也表示了自己对这个职位的兴趣。几周之内，他就获得了这个职位。After he left the Philharmonic in 2009, Mr. Maazel set up the Castleton Festival, for classical music and opera, on the grounds of his farm in Virginia. He founded and directed the festival jointly with his wife, the German actress Dietlinde Turban Maazel, whom he married in 1986. Two previous marriages — to the composer Mimi Sandbank and the pianist Israela Margalit — ended in divorce.
2009年离开爱乐乐团后，他在自己位于弗吉尼亚的农场里创办了专事古典音乐和歌剧的卡斯尔顿音乐节。音乐节是他与妻子、德国演员戴特琳德·图尔班·马泽尔(Dietlinde Turban Maazel)共同创办并管理的。两人于1986年结婚。此前的两次婚姻——分别与作曲家米米·桑德班克(Mimi Sandbank)和钢琴家伊兹瑞拉·马加利特(Israela Margalit)——都以离婚告终。His wife survives him, as do their two sons, Leslie and Orson Maazel, and daughter, Tara Maazel; and three daughters — Anjali Maazel, Daria Steketee and Fiona Maazel — and a son, Ilann Margalit Maazel, from his previous marriages.
他仍然健在的家人有妻子及他们的两个儿子莱斯利(Leslie)和奥森·马泽尔(Orson Maazel)，女儿塔拉·马泽尔(Tara Maazel)。此外还有他与前妻所生的三个女儿安贾莉·马泽尔(Anjali Maazel)、达里娅·斯德克提(Daria Steketee)和菲奥娜·马泽尔(Fiona Maazel)，以及儿子伊兰·马加利特·马泽尔(Ilann Margalit Maazel)。Mr. Maazel’s life as a festival director did not diminish his wanderlust. He became music director of the Munich Philharmonic in 2010. And in a blog on his website, he noted that in 2013 — he was 83 — he conducted 102 concerts, performing 72 compositions in 28 cities in 16 countries. He added that he was looking forward to getting back in harness.
作为音乐节总监的马泽尔并没有居于一隅。2010年，他成为慕尼黑爱乐乐团(Munich Philharmonic)音乐总监。他在自己网站上的一篇博客中指出，他在2013年——时年83岁——共指挥了102场音乐会，在16个国家的28座城市表演了72部作品。他说他渴望重新开始忙碌的工作。“Curiously, for someone who has a fairly good reputation for stick technique,” he told a reporter for The Times in 2002, “I don’t recognize stick technique per se. I don’t think I ever make the same motion twice in the same bar of music. The aim is to find a motion that responds to the need of a particular player at a particular moment. The player must be put at ease, so that he knows where he is and what is expected, and is free to concentrate on beauty of tone. There is no magic involved.”
他2002年告诉《纽约时报》，“奇怪的是，作为一个在指挥技法上名声不错的人，我对指挥技法本身并不欣赏。我不认为我能对同一段乐曲打出相同的手势。指挥的目的在于找到一种手势，能在一个具体的瞬间与某位具体的演奏者的需要相呼应。必须让演奏者放松下来，这样他才知道他在哪里，接下来会发生什么，而且能自在地专注于音色的美感。其中并无魔法可言。”