古典音樂頂級出版社---德國騎熊士

Publisher Spotlight: Bärenreiter

本文是全球著名音樂作品發行商 Sheetmusicplus 對德國騎熊士出版社的訪談記錄

Bärenreiteris a renowned German publisher. Founded in 1923, during an era in which therewas a burgeoning interest in early music, Bärenreiter quickly developed its reputation for using musicological research to inform editorial decisions.Their editions are preferred by many musicians worldwide. So what is it about Bärenreiter publications that makes them so popular? Our interview with Bärenreiter staff, below, will answer that question and more!

騎熊士是德國著名出版商，成立於1923年，隨著時代的發展人們對古典音樂的興趣與日俱增，騎熊士憑藉其在音樂學術上的研究和版本編輯上的決策迅速發展為極富盛名的權威出版社。其版本被全世界大多音樂家所傾心。那麼是什麼讓騎熊士出版的作品如此出名呢？我們對騎熊士的員工下面的訪談記錄將回答這個問題！

Question: What is an Urtext edition? Why is it important?

問題：什麼是凈版樂譜？為什麼它這麼重要？

Until the early 20th century, performers and music teachers were principally concerned with passing on their own performance instructions to up-and-coming generations of musicians. This led to the development of「instructive」 editions, which included personal interpretations of bowing,dynamics, articulation, etc. Two of the most famous instructive editions were those by Artur Schnabel for the Beethoven sonatas and Clara Schumann for the piano works of Robert Schumann

直到20世紀早期，大多數的演奏家和老師更為關心和傳授個人的演奏技法並希望自己成為日漸重要的音樂家流芳百世。這導致大量的「啟發性」版本的發行和蓬勃發展，這些版本包含了很多帶有個人見解的弓法，音的強弱，音的銜接等等的個人解釋。兩個最著名的「啟發性「版本是Artur Schnabe 版的貝多芬奏鳴曲和Clara Schumann版的Robert Schumann的鋼琴作品。

Because these editions contained major changes that were notoriginally written by the composer, there was a movement during the middle ofthe 20th century to return to a musical text free from any extraneous input. Ina nutshell: Urtext editions are edited by specialists who take all availablesources of a particular work into account and strive to put together a musicaltext as close as possible to the composer』s original intentions.

因為這些版本包含了很多並非原作者所寫的東西，20世紀中期音樂主流學派開始發起複古運動，在版本中開始收錄很多外部的音樂文本信息。簡單的說：凈版樂譜是業內專家經過匯總和考慮所有現存音樂文獻，儘可能將作品還原為作者原意的出版作品。

Many editions are still used today that are based on the 「instructive」 19th century editions. They include mistakes ranging from dynamics and articulation markings to wrong notes. An Urtext edition will correct such mistakes. When Bärenreitercame out with the Urtext editions of the BeethovenSymphoniesand the BeethovenCello Sonatas, we got calls from conductors and players asking whether we were sure about certain notes, because they had learned them incorrectly!

如今很多版本的出版還依據19世紀的「啟發性」版本，這其中存有很多在音重，音銜接處理上的錯誤標記。而在凈版樂譜中這些錯誤將會被一一更正。當騎熊士出版了他的凈版「貝多芬交響曲」和「貝多芬大提琴奏鳴曲」時，我們接到許多指揮家和演奏者的電話，詢問我們是否確信新版本中的很多註解是正確的，這是因為他們從一開始所學的就是錯誤的。

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Q: How do you find incoming manuscripts to evaluate?

對於新出的作品文獻你們是如何發現和評估呢？

On the one hand, Bärenreiter publishes great works of the classical repertoire. For this part of our catalog, we search for works that do not have a good Urtext edition available. We may also publish a particular work because it fits well into our catalog and we would like to be able to offer it to our customers.

一方面騎熊士已經出版了大量的古典劇目。對於這部分沒有凈版作品的曲目，我們會額外出版詳細說明，以便完善我們的作品目錄同時我們也希望將他呈現給我們的用戶。

On the other hand, Bärenreiter also publishes the works of some contemporary composers. We are being offered compositions all the time. A team of editors will decide whether or not we will accept a composition. Not only the quality of a work is evaluated, but also whether or not it will fit into our catalog and if we have the capacity for another composer.

另一方面我們也為很多現代作曲家出版作品，並且一直在不間斷的接受著新作品。編輯團隊將決定是否接受出版這些新作品。作品的質量僅僅是我們評估的一個方面，新作品是否適合騎熊士目錄以及我們目前是否有能力接受和出版新作曲家的作品也在我們的考量中。

Q: What kind of backgrounds do the editors have? Do they haveareas in which they specialize?

你們的編輯都是什麼樣的背景？他們是否在其所從事的領域是專家？

Our editors at Bärenreiter are musicologists and musicians. They oversee a particular instrumental or vocal area. For example, we have an editor for pianomusic, one for chamber and orchestral works, one for solo voice, one for contemporary music, two editors for choral works, etc. – a rather large editorial team actually.

騎熊士的編輯都是音樂家和音樂理論學者，他們負責審查不同樂器及聲樂作品。例如，我們有一個負責鋼琴的編輯，一個負責室內樂和管弦樂的編輯，一個負責獨唱聲樂的編輯，一個負責現代音樂，兩個負責合唱作品的編輯等等。---事實上是一個相當龐大的編輯團隊。

Our Bärenreiter editors work with renowned musicologists, many of whom are experts on certain composers. Jonathan Del Mar is a Beethoven and Dvorakscholar; Clive Brown specializes in Brahms and Beethoven; and Larry Toddis a Mendelssohn expert.

我們的編輯們與當今著名的音樂理論家一起工作，其中很多音樂理論家在「原作者」研究領域是全球權威。比如，Jonathan Del Mar 先生是貝多芬和德沃夏克作品的學術權威；Clive Brown先生專長於勃拉姆斯和貝多芬作品；Larry Todd是門德爾松方面的專家。

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Q: What are some of the greatest challenges editors face when embarking on editing an Urtext edition?

對編輯來說，當接手一部凈版作品的編輯時什麼是他面臨的最大挑戰

One of the greatest challenges is to first of all understand howa source relates to the other sources that have come down to us. Pedigree andintegrity are essential. In attempting to get the 「big picture」, i.e. an understanding of all the sources and their interrelationships, we sometimes find valuable sources that have been overlooked. Sometimes one unknown oroverlooked source can cause a total reevaluation of all sources, thereby providing logically sound and valid readings previously unknown to performers and scholars.

對編輯最大的挑戰莫過於當他們初次發現了新的手稿文獻后如何理解這些文獻並將他們與其他的已有文獻聯繫起來。當然文獻的正統性和完整性是本質。為了試圖縷清不同音樂文獻之間的關係，呈現出作品的完整畫面，我們有時要找出那些被人們忽略了的有價值的文獻。有時那些不出名的或是被忽略了的音樂文獻甚至導致對所有的音樂文獻進行重新評估，並將這些過去被忽略的具有邏輯性的聲音和音樂文本提供給演奏家和專業學者。

Our editors have to work like detectives. For example, the editor might work from secondary sources such as letters, concert programs,reviews etc. The editor might be able to ascertain from these sources that the composer not only oversaw a particular performance but also made last minute changes in the musicians』 parts. And now the search starts. Where are these parts? Are they lost? Or have they survived, possibly uncatalogued, in the archives of some library or theater? There have been exciting finds which made editors very happy.

我們的編輯必須像一個偵探那樣的工作，他們甚至可能要參考一些次要文獻比如原作曲家的書信，某些節目和後期的一些評論。從這些次要文獻中編輯們有時能夠了解到原作者不僅觀看了其作品的某場演出而且在演出前的最後一刻對樂師部分做了最後調整。搜尋就是這樣開始的，那麼這部分被調整的手稿在哪裡？它們遺失了嗎？還是存留下來，被保存在某個圖書館或劇院但沒被收入在目錄中？每一次當這些文獻被發現都會讓編輯們興奮不已。

Q: What makes Bärenreiter stand out from other Urtexteditions?

是什麼讓騎熊士的凈版作品從其他凈版版本中脫穎而出？

Many of our Urtext editions – especially the more recent ones – include very enlightening prefaces with a lot of fantastic information on the genesis of the work in question but also on the performance practice at the time. Good examples are our new editions of Brahms』works for one instrument and piano edited by Clive Brown, Neal Peres Ca Costa and Kate Bennett Wadsworth. These editions include truly fascinating insight into what Brahms actually meant by his notation at the time. Musical symbols change their meaning over time. A crescendo hairpin, for example, means something different to us today than it did to Brahms and his contemporaries. To us it simply stands for a dynamic increase, to Brahms it might also have implied getting a little faster, a certain rhythmic flexibility. This kind of information is not some theoretical, ivory-tower musicological stuff. It is highly relevant to the performer!

我們的很多凈版作品-尤其是近些年出版的作品列入了許多具有啟發意義的前言部分，詳細的敘述了作品創作年代的歷史背景以及當時的實際演奏條件。一個很好的例子是，Clive Brown, Neal Peres Ca Costa 和 Kate Bennett Wadsworth 編輯的新版勃拉姆斯作品為鋼琴和單樂器而作。在這裡編輯們列入了很多真實而富有吸引力發現，在當時勃拉姆斯使用這些音符到底要表達什麼。因為音樂符號是隨著時代的變遷而變化的，比如聲音漸強符號今天所表達的意思與勃拉姆斯時代所代表的含義是不同的，這個符號在今天僅僅是代表了聲音漸強而已，而在勃拉姆斯時代這個音符還暗示了節奏加快，某些節奏更富有彈性。這些信息並非什麼音樂學術理論，無非象牙塔里的一點音樂學知識。但它卻與每一位作品演奏者密切相關！

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Q: What is your most popular title?

你們暢銷書有哪些？

Bärenreiterreally is the Bach and Mozart publisher as we have published the「NewBach Edition」 and the 「NewMozart Edition」. Based on these scholarly large-format scores, which can be found in all major music libraries around the globe, we have published practical Urtext editions for performance of more or less all of these composers『 works. So Bärenreiter has a long-standing reputation for their Bach and Mozart editions and many of these composers『 most performed works belong to our bestselling editions.

在推出「新版巴赫」和「新版莫扎特」后，可以說騎熊士是名副其實的巴赫和莫扎特作品的權威出版商。在搜遍全球各大音樂圖書館獲得廣泛的音樂文獻后，基於這些學術文獻我們或多或少逐次的出版了這些著名作曲家的演奏用凈版作品。在莫扎特和巴赫凈版作品的出版方面騎熊士在國際上已經享有很高的威望，當然還有很多著名作曲家的演奏版本也在我們的暢銷書之列。

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Q: What are some new titles customers can look forward to?

騎熊士還有什麼新版本值得我們期待？

We have started to publish all of Beethoven』sPiano Sonatas, a wonderful project. The Beethoven Piano Sonatas are so central in the piano repertoire that we are very excited about adding them to our catalog. We are very grateful to have none less than the above mentioned Beethoven scholar Jonathan Del Mar to edit these. Jonathan Del Mar is an incredibly meticulous musicologist and we are confident that his editions will be truly excellent.

我們目前正在著手出版貝多芬的鋼琴奏鳴曲—-----又一項精彩的項目。貝多芬的鋼琴奏鳴曲一直以來位於鋼琴作品的核心地位，能夠將貝多芬的凈版作品收入我們的目錄中是一件多麼令人興奮的事情！我們非常高興能邀請到上面我們提到的貝多芬學術研究泰斗Jonathan Del先生作為這個項目的編輯。Jonathan Del先生是一位難以置信的以嚴謹著稱的音樂理論家，我們堅信由他主持編輯的貝多芬凈版作品一定會獲得巨大成功。

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本文由騎熊士出版社提供，John Zhang 翻譯整理