THE SORCERER'S APPRENTICE
AN ACADEMIC GUIDE to GOETHE'S "PROMETHEUS"
and NERUDA'S "PUEDO ESCRIBIR"
in TRANSLATION
Well, at least you thought they were going to be fun...
Here are some different ways of looking at translation through alternative media,
analyzed through versions of "Prometheus" and "Puedo Escribir."
Dramatic Interpretation
Video 1: In the German language, the vocal performance of a literary work is deemed a translation: literally, the English word "reading" in regards to the performance of a literary work translates to the German word "translation."
In this reading of "Prometheus," legendary Austrian actor Oskar Werner lends his voice to Goethe's poem, breathing life into the speaker. One might consider the anger and strength in Werner's voice to be Werner's act of translation, or which words or passages Werner emphasizes.
Video 2: Spanish singer-songwriter Álex Ubago recites Neruda's poem in this video. Ubago's interpretation of the poem is tender and romantic, judging by the gentle, lulling tone of his voice and his deliberate pace. The music integrated into the background is also gentle and romantic--the images of romantic sunsets, rose petals, hearts, and happy couples that the creator of the video had superimposed on the audio reinforce this same tone and carry the interpretation in the same direction that Ubago took.
Musical Interpretation
Video 1: The Austrian Romantic composer Franz Schubert, perhaps best known in the non-musical world today for his relaxing pieces conducive to studying, acquired fame in the eighteenth century through his adventurous Romantic melodies set to strict and meticulous Classical forms.
At the first "stanza" (of Goethe's poem, set to music in this piece), the baritone line smashes through the accompaniment, casting a dark, sober shadow over the almost playful staccato, major-key piano introduction, and the key immediately flips from major to minor. The piano seems to hover at mezzo forte (although it is indicated forte on the original score, linked below), immediately overcast by the baritone's forte (even fortissimo) line, which pounds on until moment 1:15 in the Youtube video, when both the piano and voice line immediately switch to piano. The manic emotion does not stop there, for after just a few measures of piano a sequence of crescendos and decrescendos the baritone and piano lines encounter another sforzando. (Ironically, I do not know if the crescendos and decrescendos mentioned are only the baritone's interpretation of the music in this recording, as Schubert's original score indicated scant dynamics, and only on the piano line.) The piece undergoes a number of ups and downs before it ends in a startling final succession of sforzandos.
Although to me as a musician the piece seems uncharacteristic of Schubert (Schubert has always been, for me, a great source of calmer music after a difficult practice session, and I am confident other musicians might suggest a similar relationship with the composer's work), as a listener, I believe the extremes of emotion expressed through dynamics and key render a successful interpretation of Goethe's poem, and that it would not be difficult for any listener, German-speaking or not, to acknowledge this same violent fluctuation of emotion.
Video 2: In this video, renowned Spanish singer-songwriter Paco Ibañez lends his voice and songwriting talent to Pablo Neruda's "Puedo escribir." Although the poem begins "I can write the most mournful lines tonight" and proceeds as a lament for a lost lover, Ibañez chose to write the music in D major, a stark and surprising contrast to the doleful lyrics. At the same time, the music is slow and gentle; this could be Ibañez's expression of his interpretation of poem's tone. Ibañez's deep voice takes on a woeful tone, almost sob-like, and his style is passionate and brimming with emotion. The dynamics of the piece do not change much throughout, and the song remains calm, the violin and acoustic guitar lines subtle and delicate.
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