Publisher Spotlight: Bärenreiter
本文是全球著名音乐作品发行商 Sheetmusicplus 对德国骑熊士出版社的访谈记录
https://blog.sheetmusicplus.com/2016/10/21/publisher-spotlight-barenreiter/
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!
骑熊士是德国著名出版商，成立于1923年，随着时代的发展人们对古典音乐的兴趣与日俱增，骑熊士凭借其在音乐学术上的研究和版本编辑上的决策迅速发展为极富盛名的权威出版社。其版本被全世界大多音乐家所倾心。那么是什么让骑熊士出版的作品如此出名呢？我们对骑熊士的员工下面的访谈记录将回答这个问题！
Question: What is an Urtext edition? Why is it important?
问题：什么是净版乐谱？为什么它这么重要？
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世纪早期，大多数的演奏家和老师更为关心和传授个人的演奏技法并希望自己成为日渐重要的音乐家流芳百世。这导致大量的“启发性”版本的发行和蓬勃发展，这些版本包含了很多带有个人见解的弓法，音的强弱，音的衔接等等的个人解释。两个最著名的“启发性“版本是Artur Schnabe 版的贝多芬奏鸣曲和Clara Schumann版的Robert Schumann的钢琴作品。
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.
因为这些版本包含了很多并非原作者所写的东西，20世纪中期音乐主流学派开始发起复古运动，在版本中开始收录很多外部的音乐文本信息。简单的说：净版乐谱是业内专家经过汇总和考虑所有现存音乐文献，尽可能将作品还原为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 theBeethovenSymphonies and 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还依据19世纪的“启发性”版本，这其中存有很多在音重，音衔接处理上的错误标记。而在净版乐谱中这些错误将会被一一更正。当骑熊士出版了他的净版“贝多芬交响曲”和“贝多芬大提琴奏鸣曲”时，我们接到许多指挥家和演奏者的电话，询问我们是否确信新版本中的很多注解是正确的，这是因为他们从一开始所学的就是错误的。
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Q: How do you find incoming manuscripts to evaluate?
对于新出的作品文献你们是如何发现和评估呢？
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.
一方面骑熊士已经出版了大量的古典剧目。对于这部分没有净版作品的曲目，我们会额外出版详细说明，以便完善我们的作品目录同时我们也希望将他呈现给我们的用户。
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.
另一方面我们也为很多现代作曲家出版作品，并且一直在不间断的接受着新作品。编辑团队将决定是否接受出版这些新作品。作品的质量仅仅是我们评估的一个方面，新作品是否适合骑熊士目录以及我们目前是否有能力接受和出版新作曲家的作品也在我们的考量中。
Q: What kind of backgrounds do the editors have? Do they haveareas in which they specialize?
你们的编辑都是什么样的背景？他们是否在其所从事的领域是专家？
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.
骑熊士的编辑都是音乐家和音乐理论学者，他们负责审查不同乐器及声乐作品。例如，我们有一个负责钢琴的编辑，一个负责室内乐和管弦乐的编辑，一个负责独唱声乐的编辑，一个负责现代音乐，两个负责合唱作品的编辑等等。---事实上是一个相当庞大的编辑团队。
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.
我们的编辑们与当今著名的音乐理论家一起工作，其中很多音乐理论家在“原作者”研究领域是全球权威。比如，Jonathan Del Mar 先生是贝多芬和德沃夏克作品的学术权威；Clive Brown先生专长于勃拉姆斯和贝多芬作品；Larry Todd是门德尔松方面的专家。
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Q: What are some of the greatest challenges editors face when embarking on editing an Urtext edition?
对编辑来说，当接手一部净版作品的编辑时什么是他面临的最大挑战
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.
对编辑最大的挑战莫过于当他们初次发现了新的手稿文献后如何理解这些文献并将他们与其他的已有文献联系起来。当然文献的正统性和完整性是本质。为了试图缕清不同音乐文献之间的关系，呈现出作品的完整画面，我们有时要找出那些被人们忽略了的有价值的文献。有时那些不出名的或是被忽略了的音乐文献甚至导致对所有的音乐文献进行重新评估，并将这些过去被忽略的具有逻辑性的声音和音乐文本提供给演奏家和专业学者。
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.
我们的编辑必须像一个侦探那样的工作，他们甚至可能要参考一些次要文献比如原作曲家的书信，某些节目和后期的一些评论。从这些次要文献中编辑们有时能够了解到原作者不仅观看了其作品的某场演出而且在演出前的最后一刻对乐师部分做了最后调整。搜寻就是这样开始的，那么这部分被调整的手稿在哪里？它们遗失了吗？还是存留下来，被保存在某个图书馆或剧院但没被收入在目录中？每一次当这些文献被发现都会让编辑们兴奋不已。
Q: What makes Bärenreiter stand out from other Urtexteditions?
是什么让骑熊士的净版作品从其他净版版本中脱颖而出？
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!
我们的很多净版作品-尤其是近些年出版的作品列入了许多具有启发意义的前言部分，详细的叙述了作品创作年代的历史背景以及当时的实际演奏条件。一个很好的例子是，Clive Brown, Neal Peres Ca Costa 和 Kate Bennett Wadsworth 编辑的新版勃拉姆斯作品为钢琴和单乐器而作。在这里编辑们列入了很多真实而富有吸引力发现，在当时勃拉姆斯使用这些音符到底要表达什么。因为音乐符号是随着时代的变迁而变化的，比如声音渐强符号今天所表达的意思与勃拉姆斯时代所代表的含义是不同的，这个符号在今天仅仅是代表了声音渐强而已，而在勃拉姆斯时代这个音符还暗示了节奏加快，某些节奏更富有弹性。这些信息并非什么音乐学术理论，无非象牙塔里的一点音乐学知识。但它却与每一位作品演奏者密切相关！
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Q: What is your most popular title?
你们畅销书有哪些？
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，可以说骑熊士是名副其实的巴赫和莫扎特作品的权威出版商。在搜遍全球各大音乐图书馆获得广泛的音乐文献后，基于这些学术文献我们或多或少逐次的出版了这些著名作曲家的演奏用净版作品。在莫扎特和巴赫净版作品的出版方面骑熊士在国际上已经享有很高的威望，当然还有很多著名作曲家的演奏版本也在我们的畅销书之列。
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Q: What are some new titles customers can look forward to?
骑熊士还有什么新版本值得我们期待？
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.
我们目前正在着手出版贝多芬的钢琴奏鸣曲—-----又一项精彩的项目。贝多芬的钢琴奏鸣曲一直以来位于钢琴作品的核心地位，能够将贝多芬的净版作品收入我们的目录中是一件多么令人兴奋的事情！我们非常高兴能邀请到上面我们提到的贝多芬学术研究泰斗Jonathan Del先生作为这个项目的编辑。Jonathan Del先生是一位难以置信的以严谨著称的音乐理论家，我们坚信由他主持编辑的贝多芬净版作品一定会获得巨大成功。
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本文由骑熊士出版社提供，John Zhang 翻译整理
