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Ludwig van Beethoven has long been considered one of the greatest composers of classical music.
路德维希·凡·贝多芬长期以来一直被认为是最伟大的古典音乐作曲家之一。
Critics say that his final complete musical work, the Ninth Symphony, is possibly his best.
评论家表示，他的最后一部完整的音乐作品《第九交响曲》可能是他最好的作品。
The symphony was first performed on May 7, 1824, in Vienna, Austria.
这部交响曲于1824年5月7日在奥地利维也纳首次演出。
Beethoven already had lost his hearing when he was composing the Ninth.
贝多芬在创作《第九交响曲》时已经失聪了。
He never fully heard the performance himself.
他自己从未完全听过演出。
And nearly 200 years after the first performance, there is still disagreement over how fast the work should be performed.
在第一次演出之后的近200年里，对于这部作品应该以多快的速度进行演奏，仍然存在分歧。
Benjamin Zander is the music director of the Boston Philharmonic, a classical music performance group he founded in 1979.
本杰明·桑德是波士顿爱乐乐团的音乐总监，该乐团是他于1979年创立的古典音乐表演团体。
The nearly 84-year-old conductor is leading the Boston Philharmonic in a performance on Friday night at Boston's Symphony Hall.
这位年近84岁的指挥家将于周五晚上在波士顿交响乐厅指挥波士顿爱乐乐团演出。
Then, on Sunday afternoon, he will do the same at New York's Carnegie Hall.
然后，周日下午，他将在纽约卡内基音乐厅指挥该乐团演出。
Zander believes that Beethoven's Ninth Symphony should sound far different than the way it is usually performed.
桑德认为，贝多芬的第九交响曲听起来应该与通常的演奏方式大不相同。
He plans to finish the symphony in less than one hour during the performances in Boston and New York.
他计划在波士顿和纽约的演出期间，在1小时内完成这部交响曲。
"There's so much information from Beethoven and so little information about how to interpret it," Zander told the Associated Press.
桑德告诉美联社：“关于贝多芬的信息太多了，而关于如何诠释它的信息却很少。”
Zander said he sought advice from violinist and scholar Rudoph Kolisch.
桑德说，他曾向小提琴家兼学者鲁道夫·科利施寻求建议。
In the 1993 issue of The Musical Quarterly, Kolisch discussed how Beethoven marked his work using a metronome, a device that produces a steady beat to help musicians with the speed, or tempo, of musical work.
在1993年出版的《音乐季刊》中，科利施谈到了贝多芬如何使用节拍器来标记他的作品，节拍器是一种产生稳定节拍的装置，可以帮助音乐家调整音乐作品的速度或节奏。
Beethoven wrote in an 1817 letter that he wanted to drop musical terms like "allegro" for fast, "andante" for slow, or "presto" for extremely fast.
贝多芬在1817年的一封信中写道，他想删除一些音乐术语，如表示快的快板乐曲、表示慢的行板乐曲或表示极快的急板乐曲。
He added, the "metronome gives us the best opportunity to do so."
他补充说，“节拍器给了我们这样做的最好机会。”
In 1992, Zander's recording with the Boston Philharmonic for the music company Pickwick International came in at 57 minutes, 51 seconds.
1992年，桑德与波士顿爱乐乐团共同为匹克威克国际音乐公司录制的唱片时长为57分51秒。
His 2018 recording of the same music was 58 minutes, 39 seconds long.
他2018年录制的同一首音乐的唱片时长为58分39秒。
"For the recording, I really set out to be a devoted servant," Zander said.
桑德说：“为了录音，我真的打算成为一个忠诚的仆人。”
He said he had a little statue of Beethoven and looked at it from time to time to see if it was smiling.
他说，他有一尊贝多芬的小雕像，他不时地看着它，看看它是否在微笑。
Some of the world's most famous conductors, however, took more time with Beethoven's Ninth in their performances.
然而，世界上一些最著名的指挥家在演奏贝多芬的第九交响曲时花了更多的时间。
Arturo Toscanini took 65 minutes for RCA Victor with the NBC Symphony Orchestra at Carnegie Hall in 1952; Wilhelm Furtwangler needed 74 minutes at the Bayreuth Festival in 1951; and Leonard Bernstein stretched the music for 78 minutes during his 1989 performance with members of six orchestras to mark the fall of the Berlin Wall.
1952年，阿尔图罗·托斯卡尼尼与NBC交响乐团在卡内基音乐厅为RCA Victor录制的唱片时长为65分钟；1951年，威尔海姆·富特文格勒在拜罗伊特音乐节上花了74分钟；1989年，伦纳德·伯恩斯坦为纪念柏林墙的倒塌，与六个交响乐团的成员表演了78分钟。
After Zander's performance at Carnegie Hall on October 10, 1983, Andrew Porter wrote in the New Yorker, "If Mr. Zander is right, we have been hearing the music of the greatest composer only in misrepresentation."
1983年10月10日，桑德在卡内基音乐厅的演出结束后，安德鲁·波特在《纽约客》上写道：“如果桑德先生是对的，那么我们一直听到的这位最伟大作曲家的音乐只是被曲解了。”
Many conductors noted Beethoven's loss of hearing as a reason to ignore his metronome markings.
许多指挥家指出，贝多芬的听力丧失是他忽视节拍器标记的一个原因。
James Conlon is the music director of the Los Angeles Opera and main conductor of Italy's Orchestra RAI.
詹姆斯·康伦是洛杉矶歌剧院的音乐总监，也是意大利RAI交响乐团的首席指挥。
He said, "There are powerful arguments on both sides. I am not against performing Beethoven at the speeds suggested by the metronome."
他说：“双方都有强有力的论据。我并不反对以节拍器建议的速度演奏贝多芬的交响乐。”
He added that if the resulting performance lacks expression, emotion, and dynamics, then it should not be followed.
他补充说，如果最终的演奏缺乏情感表现、情感和活力，那么就不应该效仿。
Andrew Price regularly plays oboe with several orchestras in Boston.
安德鲁·普莱斯经常在波士顿的一些交响乐团演奏双簧管。
He said, "The hardest thing is just to keep an open mind about it...All the stuff I learned as a 20-year-old student, I had to go back and relearn it all, just to have a completely different approach."
他说：“最困难的就是以开放的心态看待这件事……我20岁时学到的所有东西都得回去重新学习，只是为了获得一种完全不同的方法。”
I'm Jill Robbins.
吉尔·罗宾斯为您播报。
译文为可可英语翻译，未经授权请勿转载！
