馬塞爾‧普魯斯特的家

一個指揮家的抉擇 (審判福特萬格勒)

TAKING SIDES

12 月19日18:45 大亞百貨14F-8 by PACO

也許我們東方人比較溫和寬恕，或乾脆說膽怯無用，同樣在第二次世界大戰犯下滔天罪行，日本軍國主義明明由朝鮮一路殺到澳洲，然而今天日本人還在東南亞，大陸，台灣作威作福，好像那場血債與他無關，除了偶有韓國慰安婦的新聞外，今天我們也難得看到日本人被追究二戰的責任。

不過，講究寬恕的基督教西方世界，可就沒這麼便宜饒了德國，已經終戰50年了，德國政府已對所有的鄰國，以色列，無數的猶太團體，人權組織，甚至私人道歉賠償無數次，可是接踵而來的控訴還是沒完沒了，不僅德國政府永難擺脫被詛咒般的「希特勒災難」，甚至德國人民到今天在國外旅行工作還會被杯葛羞辱，最近刊登在自由時報歐洲特派員的一篇特稿便提到兩個在英國工作的德國工程師忍受不了被同事取笑，不是在他們面前唱納粹軍歌，就是踢德國正步，而提出「被種族歧視」的告訴。

我德國朋友的女兒便告訴我，當她在英倫海峽渡輪上，就被人指指點點，稱「那個納粹」，所以德國人渡假時，很怕落單被奚落。與德國人結婚，更常被追問「是好德國人嗎？」，意思是大半的德國人都有問題。

每年歐洲的影展都少不了滲入納粹題材的電影，電視更是不停的播希特勒與納粹的記錄片，硬是要把血淋淋的歷史深深植入戰後成長的人們腦海裡，現代德國人背負著「新原罪」，希特勒夢魘永遠使他們不得翻身。

這也難怪，五年八個月零七天，一百個戰場，一千個城鎮被轟炸，六百萬無辜的男女婦孺被活生生的送入納粹毒氣室，上千萬無數的生命在慘烈的交戰中喪失，這個記憶不容易被遺忘的，這就是12月18日我們要審判福特萬格勒的背景。 PACO

這部電影的音樂來自三部份，首先當然是古典音樂，它們是：

(1) 貝多芬c小調第五號交響曲第一樂章

(2) 舒伯特C大調弦樂五重奏 (Op. post.163 D956)慢板樂章

(3)布魯克納第七號交響曲第二樂章

很奇怪的，製片人與導演並沒用福特萬格勒的原錄音，而另找來了巴連波因指揮Berlin Staaskapelle(菩提大道原東德國家歌劇院的管弦樂團)重新錄貝多芬的命運第一樂章，巴連波因瘋狂著迷福特萬格勒在樂壇是人所皆知(他小時候曾在大師面前彈過鋼琴，後改行當指揮家，與迷上大師有關，他認為大師無論在音色，均衡，音響甚至拿指揮棒的技巧都是無人能比)，他戴上耳機聽福特萬格勒的原錄音邊指揮，試圖再現大師的原貌。影片開始福特萬格勒指揮的音樂會錄音(1943年6月30日於被盟軍飛機炸燬的舊柏林愛樂廳)在戰後被俄軍取走，60年代曾偷偷出版LP，這些母帶到1987年才還回柏林廣播電台，1989年Deutsche Grammophone將它們集結成「福特萬格勒秘藏銘盤」兩套出版。

不過在劇情進行中出現的「命運」第二樂章片段則是福特萬格勒的原錄音。

舒伯特C大調弦樂五重奏是天籟之音，沒有人能寫出旋律這麼清淡，這麼接近天堂的音樂，這是在他死前不久寫就的，影片中在被轟炸成半廢墟的露天教堂，由幾個音樂家演奏了慢板樂章。殘破的教堂；因戰敗而不知今後何去何從的德國百姓無表情的面孔；心事重重的福特萬格勒：像神一樣的音樂；隆隆下起大雨，這是多麼荒涼的意像。

福特萬格勒的安東‧布魯克納第七交響曲第二樂章是希特勒自殺兩個小時後在廣播播出的音樂，這個音樂的播出卻成為對福特萬格勒的指控之一。片中所用的是福特萬格勒的原錄音，是1949年的錄音版本，他在1942年的戰時錄音已殘缺不全(目前市面有五個錄音版本)。接著形成音樂對比的是戰後佔領區頗為興旺，隨美軍而來的Swing Music，在片中美軍軍官俱樂部裡，猶太歌手Rinat Shaham唱了兩首名曲，Bobby Troup的“Route 66”和George (& Ira) Gershwin的“Embraceable You”，擔任伴奏的The Swing Dance Orchestra還演奏了一首Glenn Miller的經典“Moonlight Serenade”。

最後一部份的音樂就不甚重要了，它包括在俄國將軍家聽到的著名的俄國民謠“Kalinka”，以及在廢墟市場裡有個一瞥而過演奏小提琴行討的鏡頭，那音樂是Marie Berlin的小提琴即興曲。 (PACO)

Tel Aviv, Israel (1997) ==> Taking sides評

What is the limit of the moral responsibility a person has towards his fellow man? Is passive collaboration with the Nazis a crime against humanity? Is a great musician above the moral considerations that govern mere mortals simply because music transcends the frontiers of language and nation and speaks directly to man's soul?

This is what Wilhelm Furtwängler, one of the present century's greatest conductors, says in his own defence in Ronald Harwood's play that is currently being presented at the Cameri Theatre in an excellent Hebrew translation by Rivka Meshulach. (...) Furtwängler, whose classical recordings are still being sold the world over, was a tragic figure by any yardstick when compared with his young rival, Herbert von Karajan, who was a member of the Nazi party and still managed to achieve a great success after the war. Furtwängler was not a party member and tried to save Jewish musicians from the Nazis, but after the war he was still charged with collaboration and although he was not found guilty of any crime, he became a pariah in the West and his career collapsed. It was claimed that he had continued to conduct the Berlin Opera and the Berlin Philharmonic Orchestra despite the fact, that all the Jewish musicians had been dismissed. He even conducted a concert for Hitler's birthday.

Ronald Harwood uses Furtwängler's biography to present a difficult moral dilemma. Was it possible to demand from a man like Furtwängler that he gives up making music in protest at the dismissal of his Jewish musicians, that he leaves Germany like Thomas Mann and Marlene Dietrich before him? Is any of us certain that he would not have acted as Furtwängler did in a similar situation? Is a man obliged to sacrifice himself for his fellow man's sake and put his livelihood at risk in order to display solidarity with the persecuted?

The play does not stand in judgement but rather leaves these questions hanging in the air and invites the audience to put itself in Furtwängler's place. (...) It is not every day that one is privileged to see theatre that gives rise to thought and a search of one's conscience: would you have acted otherwise?

Tommy Lapid (Channel 2, Israel Radio)

http://www.classicalnotes.net/features/furtwangler.html	http://www.taking-sides.com/_eng/ts/ts_index.htm
http://www.e-classical.com.tw/activity/topic/Classic_famous/99/9905/	http://www.e-classical.com.tw/prtfamily/program/VS_composer/VS99502.html
http://www.e-classical.com.tw/prtfamily/program/VS_composer/VS99509.html	http://www.e-classical.com.tw/prtfamily/program/VS_composer/VS99516.html