Hans Rosbaud
奥地利指挥家罗斯鲍德（Hans Rosbaud），1895年7月22日出生于格拉茨（Graz），幼时跟随钢琴家母亲学习音乐。在接受正统音乐训练后，他到法兰克福霍赫（Hoch）博士音乐学院进修（钢琴、作曲和指挥），与他同学的还包括作曲家兴德米特（Paul Hindemith，1895－1963）。 1921年，罗斯鲍德开展其40年的职业生涯，首项工作是在美因茨（Mainz）担任新建的市立音乐学校校长及市立交响乐音乐会指挥。有关方面从80位候选人中选最年轻的他出任，结果不负众望，在几年间便为该校建立良好声誉，名满全国，最终升格为一所音乐学院。 1928年，罗斯鲍德到法兰克福（Frankfurt am Main）出任黑森广播电台交响乐团的音乐总监兼首席指挥，其广泛和积极参与音乐活动以及高质素的指挥很快便为他赢得更大的名声和影响力。他又积极推广现代音乐，令法兰克福成为现代音乐的活跃中心，不少新音乐的大师级人马──包括贝尔格（Alban Berg，1885－1935）、勋伯格（Arnold Schoenberg，1874－1951）、巴托克（Béla Bartók，1881－1945）、斯特拉文斯基（Igor Stravinsky，1882－1971）、魏伯恩（Anton Webern，1883－1945）和兴德米特等也是法兰克福广播音乐会演出的常客。他们的作品由罗斯鲍德指挥首演的为数不少，例如巴托克的《第二钢琴协奏曲》（由作曲家亲自担纲演奏）、斯特拉文斯基的《诗篇交响曲》、兴德米特的《铜管乐与弦乐协奏曲》和勋伯格的《变奏曲》（作品31）等。 纳粹政权建立后，推广新音乐的罗斯鲍德饱受压力，终于1937年离开法兰克福，到威斯特法伦州的明斯特（Münster）出任该市音乐活动总监，指挥交响乐和室内乐音乐会、歌剧以至其他音乐节目演出，广受好评。在明斯特待了4年以后，他转到刚自法国割让而来的阿尔萨斯（Alsace）地区，出任斯特拉斯堡（Strassburg）市的音乐活动总监。虽然政治气氛紧张，他依然把斯特拉斯堡的音乐活动搞得有声有色。他致力保护受当局迫害的乐团成员之举，也为他博得当地人士的尊敬和支持。 二战结束后，罗斯鲍德成为首位获邀到法国访问的德国指挥家，其演出也受到热情欢迎，当时他已是拜罗伊特（Bayreuth）慕尼黑广播电台乐团的指挥。不久，美国驻军政府便邀请他出任慕尼黑爱乐乐团指挥。精力充沛的罗斯鲍德迅即投入工作，奋力在当时几成废墟的慕尼黑为民众带来高质素的音乐，以重建他们的音乐生活，其工作热诚得到美国驻军政府的大力支持。 1948年，罗斯鲍德离开慕尼黑，出任新组成的巴登－巴登西南德意志广播电台交响乐团（SWF交响乐团）的音乐总监兼首席指挥，他跟这个乐团自此合作无间，直到14年后去世。1950年，他又获委任为着名的瑞士苏黎世市会堂乐团兼苏黎世歌剧院指挥。 在罗斯鲍德带领下，SWF交响乐团赢得国际声誉，而其积极推广新音乐的理念也得到国际肯定，他经常获邀出席各地着名的现代音乐节，也有来自欧洲各地以至美国主要乐团的热情邀请。他带领乐团做过多次巡迴演出，足迹遍及阿根廷、土耳其、南非以至美国。 1962年12月29日，罗斯鲍德在瑞士加拉比耶塔（Carabietta）去世，终年67岁。他的32箱遗稿（包括音乐手稿、书信、笔记等共15类）构成了「汉斯．罗斯鲍德文档」（Hans Rosbaud Papers），目前存放于美国华盛顿州立大学（Washington State University）图书馆特藏部，网上备有详细目录及解述，光是看他的书信，可知他相识满天下，跟20世纪音乐界内外很多重要人物都有联系。 作为20世纪其中一位重要指挥家，罗斯鲍德的指挥明快、清晰，对音乐的诠释高度客观，充满音乐知识份子的味道。他和卡拉扬（Herbert von Karajan，1908－1989）也是少数几位在很早时候便向欧陆积极推广当时知名度不高的芬兰作曲家西贝留斯（Jean Sibelius，1865－1957）的作品的指挥家。他对音乐的敏锐触角和快速的领悟能力使他在首演作品时往往已有上佳的演出，例如他在1954年为勋伯格的歌剧《摩西与阿伦》在汉堡（Hamburg）首演，虽只是在演出前8天才收到通知，仍然可以跟演出者排练完成并顺利演出，当中可见其功力之强。 罗斯鲍德跟DGG公司合作机会不多，上面左边这张跟柏林爱乐乐团合作，录于50年代后期的西贝留斯音乐作品集（单声道唱片）可说是一个代表作。当中的《芬兰颂》（Finlandia），大概是我所听过中演奏得最快的（比上面右边EMI公司由卡拉扬在70年代带领同一乐团演出的录音快2分钟有多），然而却可能是我听过的单声道录音中数一数二过瘾的演出，首尾连贯，毫无冷场（记忆中好像托斯卡尼尼〔Arturo Toscanini〕跟NBC乐团的录音也甚是过瘾）。从前看过音乐杂志的一篇文章，说20世纪越后期的指挥家（不单是指新晋指挥家，还包括老一辈指挥家的后期演出），有不少都倾向于把作品演奏时间拉长（我不敢说「拖长」），这裡或许算是一个例子吧。 (by 書樂兩忘的天地@隨意窩Xuite日誌) Hans Rosbaud (July 22, 1895 – December 29, 1962), was an Austrian conductor, particularly associated with the music of the twentieth century. Hans Rosbaud was born in Graz, Austria. As children, Hans and his brother Paul Rosbaud performed with their mother, who taught piano. Hans continued studying music at the Hoch Conservatory in Frankfurt am Main, under the tutelage of Bernhard Sekles in composition and Alfred Hoehn in piano. Rosbaud's first professional post was in Mainz, starting in 1921, as the music director of the city's new School of Music, which included conducting the municipal symphony concerts. He became the first chief conductor of the Hessicher Rundfunk Symphony Orchestra (later the Hr-Sinfonieorchester) of Frankfurt in 1928. During the 1920s and 1930s, he presented premieres of works by Arnold Schoenberg and Béla Bartók. During the Nazi era, his freedom to present new music was restricted. In 1937, he became the general music director of the city of Münster. In 1941, Rosbaud took the same position in Strasbourg, heading the Orchestre philharmonique. In 1945 he was named music director of the Munich Philharmonic by United States occupation authorities. In 1948, Rosbaud's contract with the Munich orchestra was allowed to lapse because the city authorities wanted to move the orchestra's repertoire in a conservative direction. That year Rosbaud became the first chief conductor of the South West German Radio Orchestra in Baden-Baden, where he remained for the rest of his life. In 1954, he conducted the first performance of Schoenberg's opera Moses und Aron at 8 days' notice; this performance was issued on a 1957 commercial recording for Philips. He regularly took the SWR Symphony Orchestra to festivals of contemporary music, such as at Donaueschingen. He died in Lugano, Switzerland. Gramophone recently remarked that Rosbaud "was one of the unsung heroes of mid-20th-century music, who ... gave thoroughly rehearsed and assimilated performances and premieres of the widest possible range of music". In Fanfare, Peter J. Rabinowitz pointed to range of his sympathies, claiming it was "greater than that of just about any of his contemporaries except perhaps Bernstein, Scherchen, and Stokowski. Rosbaud is best remembered, probably, for his Mahler, his Bruckner, his work with the Second Vienna School ... and especially his commitment to the post-war avant-garde. But he was a world-class Mozartian, too (his Aix-en-Provence Mozart operas from the 1950’s hold up far better today than the better-known Busch recordings from Glyndebourne)—and he championed earlier music as well (he recorded Gluck’s Orphée and Rameau’s Platée). What’s more striking is that he was able to give his performances of each of these composers an entirely different signature." Rosbaud was a highly cultured man, widely read and varied in his intellectual interests. Putting himself at the service of music he chose to perform, he commanded the respect of numerous notable composers of the 20th century. Prominent in his legacy are recordings of the music of Bruckner, Mahler, Stravinsky and Boulez. A tireless advocate of new music, he was closely associated with Karl Amadeus Hartmann, conducting premiere performances of Hartmann's opera Simplicius Simplicissimus and his Second and Fourth Symphonies, amongst others.