学术讲座《为何贝多芬在音乐史中如此重要？》
Academic Lecture Why is Beethoven such an Important Figure in the History of Music?
主讲人：简•凯耶斯
Lecturer: Jan Caeyers
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讲座简介
讲座的第一部分，主讲人将讲述贝多芬一生中几个关键时刻。毋庸置疑，贝多芬的听力障碍及最终失聪对其生活与创作造成了重大影响，但其他因素——甚至是运气——也发挥了一定作用。主讲人认为，当贝多芬在维也纳学习两年之后，如果1794年的战争并未迫使他返回故乡波恩，那么他的事业将会大不相同。在贝多芬音乐性格发展中，还有一件同样重要的事：1809年独家协议的签署。三名奥地利贵族——鲁道夫大公、洛布科维茨亲王和金斯基亲王——承诺每年为贝多芬提供资助，使他可以自由创作，无需考虑大众口味或者音乐会市场机制。如果贝多芬当时接受了前往伦敦并可无限期居住的诱人提议，那么后来他可能写出怎样的音乐我们便永远无从得知了。最后，主讲人将对贝多芬的一生及其所处的欧洲历史过渡时期的相互关系给出思考。贝多芬对19世纪的音乐和音乐生活产生了根本性的影响：作曲家不再演奏自己的作品，乐谱留给演奏者的自由度更少；创造力已从即兴变为诠释；音乐变得更为复杂与庄严，听众必须以不同方式聆听；作曲家有了新的社会地位，从手工业者演变成艺术家。
讲座第二部分将探究所有这些外部因素对贝多芬音乐的影响。讲座尾声，主讲人将尝试分析贝多芬音乐如此杰出的原因，在某种程度上，贝多芬为自己打造了一条“新道路”，从根本上改变了音乐规律，重新定义了主题素材与形式之间的关系，从这一点讲，他创造了一种新的音乐语言，后来，尤其是在后期的钢琴奏鸣曲和弦乐四重奏中，又融入了分离及内化的重要原创元素。他带领听众走上音乐之旅，穿越遥远而未知的领域。无论音乐旅程多么复杂，道路多么起伏不平，转调和离调多么刁钻，听众从不会感到迷茫。贝多芬的情感与理性就像“阴阳”交织，两者只有相辅相成才能更好理解。
这位天才贝多芬，写出优美乐章，令人感动，给人启迪；这位勇敢贝多芬，打破种种屏障，告诉我们，脱离平庸最好的办法就是追求卓越；这位值得信赖的贝多芬，给我们以慰藉，让我们走向更美好、更和平的世界；这位激励人心的贝多芬，让我们敢于梦想，敢于坚信更伟大的理想。
Introduction
In Part Ⅰ, the speaker will address several pivotal moments in Beethoven’s life story. While it goes without saying that Beethoven’s hearing problems and ultimate deafness had a considerable impact on his life and work, other circumstances – and even luck – also played a part. The author believes that Beethoven’s career would have turned out very differently if in 1794, after two years of study in Vienna, the war had not pressed him to return to his home town of Bonn. Equally crucial in the development of Beethoven’s musical personality was the signing of the exclusive decree in 1809, in which three members of the Austrian nobility – the Archduke Rudolph, and princes Lobkowitz and Kinsky – pledged to Beethoven an annual stipend, giving him the freedom to write whatever he wished without needing to take public tastes into consideration, or the mechanisms of the concert market. Nor will we ever know what music he may or may not have written later on, had he accepted the tantalising offer of travelling to London and possibly staying there indefinitely. Lastly, the speaker will offer some general reflections on the reciprocity between Beethoven’s life and the era in which he lived, which was very much a transitional period in European history. Beethoven had a fundamental influence on music and musical life in the nineteenth century. Composers were no longer the performers of their own music, and musical scores left fewer liberties to performers. The focal point of creativity had shifted from improvisation to interpretation. Music became infused with greater complexity and gravitas, forcing the audience to take a different approach to listening. Composers enjoyed a new social status, evolving from craftsmen into artists.
Part Ⅱ will look at the impact of all of these external factors on Beethoven’s music. At the end of the presentation, Jan Caeyers will attempt to clarify precisely what makes Beethoven’s music so remarkable. At a certain point Beethoven certainly forged a ‘new path’ for himself, fundamentally altering the laws of music and redefining the relationship between thematic material and form. From this point on he developed a new musical language, and later – in the late piano sonatas and string quartets especially – incorporated an important and original element of dissociation and internalisation. He takes listeners on a musical journey through distant and unexplored territory. But no matter how complex the itinerary, no matter how erratic the musical course or how extreme the modulations and dissociations, the listener never feels at a loss. Emotion and rationality are coupled in Beethoven like yin and yang, each of which can only be fully understood in the complementary presence of the other.
The genius Beethoven who wrote beautiful music that moves and inspires us; the courageous Beethoven who pushed the boundaries and showed us that striving for excellence is the best way to escape mediocrity. And not to forget the compelling Beethoven, who offers us consolation and points the way to a better and more peaceful world – the inspiring Beethoven, who moves us to dream and to believe in a greater ideal.
主讲人简介
简·凯耶斯：比利时指挥家，音乐学家，贝多芬研究专家，比利时鲁汶大学教授，波恩贝多芬故居基金会理事会成员。1993年至1997年，凯耶斯在古斯塔夫·马勒青年乐团担任克劳迪奥·阿巴多的助手，并与贝尔纳·海廷克和皮埃尔·布勒兹等人密切合作，其后他作为独立指挥家在斯图加特歌剧院，德国、西班牙、比利时等多个乐团，以及维也纳勋伯格合唱团等优秀团体中工作。2003年之前，他任“贝多芬学院”交响乐团团长兼指挥，在比利时德辛格艺术中心常驻，并在欧洲多地演出。2009年，凯耶斯出版传记著作《贝多芬的一生》，2012年该书德语版成为畅销书，2020年，在波恩贝多芬故居的支持下，其英文版在美国发行。2010年，凯耶斯创立新的贝多芬乐团“奥林匹克音乐会”，将研究见解转化为音乐演奏，并与维也纳音乐厅、柏林爱乐乐团、波恩贝多芬音乐节等展开合作。
Lecturer
Jan Caeyers, Belgian conductor, musicologist, Beethoven specialists, professor at the University of Leuven, member of the board of the Stiftung Beethoven-Haus Bonn. From 1993 to 1997 he was Claudio Abbado's assistant at the Gustav Mahler Youth Orchestra, where he also worked in close collaboration with Bernard Haitink and Pierre Boulez. As a freelance conductor, he has worked at the Opera in Stuttgart, with orchestras in Germany, Spain, Belgium, and with the Arnold Schoenberg Choir in Vienna. Until 2003 Jan Caeyers headed and conducted the Beethoven Academy as artist in residence at deSingel in Belgium, performing in many cities of Europe. In 2009, Jan Caeyers’s work, a biography named Beethoven. A Biography was published. The 2012 German translation immediately became a bestseller. In 2020, an English edition of this authoritative biography appeared in America, endorsed by and produced in close collaboration with the Beethoven-Haus Bonn. In 2010 Jan Caeyers founded a new Beethoven orchestra Le Concert Olympique allows him to translate his well-founded insights acquired while writing his Beethoven biography into outstanding concerts. Jan Caeyers and Le Concert Olympique will appear in the Konzerthaus in Vienna, the Philharmonie in Berlin, and the Beethoven Fest in Bonn.
