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THE PIANIST

琴韻

2015/4 Issue No.14 第十四期

Interview with Nelita True 專訪 Nelita True Careers in Music: Dealing with Practical Aspects of the Music Profession - Dr Jackson Leung 職業音樂生涯:如何面對音樂專業中各種實際問題 A Pianist's Reflection: So Close yet So Far (but I am not alone) - Bobby Chen 一個鋼琴家的自白:這麼近 那麼遠(但我不孤單) CD Review of "Edvard Grieg Lyric Pieces"- Matthew McCombie “Edvard Grieg Lyric Pieces” 唱片評論



Editor Foreword

編者的話

Welcome to The Pianist!

歡迎來到《琴韻》! 每次要為新一期《琴 韻》寫編者的話,也感 到時間過得很快。雖然 有時或許會感到疲累, 但每次寫編者的話也讓 我有動力走下去。《琴 韻》讓我們能夠和大家 分享對鋼琴的喜愛,介 紹來自不同地方的鋼琴 家和大量表演項目。《琴韻》更讓我們和香 港的音樂專才和音樂愛好者傳遞更多音樂知 識,同時亦能向大家提供最新的國際鋼琴資 訊。 今期,我們有幸與定居於美國的著名鋼琴 家兼導師Nelita True會面,探討她的表演生 涯和教育哲學理念。馬來西亞鋼琴家Bobby Chen亦分享了亞洲學生在倫敦留學的經歷, 剖析在歐洲留學生的生活狀況。還有大家熟 悉的 Henry Wu 會繼續以鋼琴診所專題增進 大家於音樂上的知識。另外兩名知名的鋼 琴家 -- 美國的Dr Jackson Leung和英國的 Matthew McCombie -- 亦於今期回歸《琴 韻》。前者探討音樂家的就業前景,而後者 則給我們一嚐Paul Crossley演奏Grieg Lyrics Pieces的機會。 最後,我們對香港鋼琴調音界前輩許君賢師 傅的離世深表難過,並在此對他的家人致以 深切慰問。許師傅深受音樂界敬重,他的精 神也會永遠長存在我們的心中。許師傅,一 路好走。

Every time when I have to write the Editor’s Foreword for a new edition, it strikes me how the time has passed by. Tired as it may seem, writing the Editor’s Foreword however, gives me the motivation to go further and allow us to share the love of the piano, its wide ranging performers and its enormous repertoires. It also provides us the opportunity to expand the knowledge of all professionals and music lovers in Hong Kong as well as to update you with the latest news from the international piano world. In this issue we have the privilege to meet the renowned American based pianist and teacher Nelita True, discussing her performing career and some of her teaching philosophy. Malaysian pianist Bobby Chen brings together his experience of ‘the East and the West’; examining the lives of overseas student in Europe. While Henry Wu continues to inspire us through his piano clinic article, we welcome the return of two distinguished pianists – Dr Jackson Leung from the USA, and the British pianist Matthew McCombie. The former will explore the career prospect of a musician, while the latter will give us a taste of Paul Crossley’s recording of Grieg Lyric Pieces. I hope you enjoy our selection. Lastly, we are deeply saddened by the death of Mr Hui Kwang Yin – our renowned and beloved piano technician. We send our condolences to his family. Hong Kong is simply privilege to have Master Hui. Through his refined piano service, Master Hui’s spirit will stay in our loving memory. May Master Hui Rest In Peace.

Blanc Wan Editor in Chief

尹俊邦 總編輯

尹俊邦 April 2015 | The Pianist

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The Pianist Editor in Chief Contributors

Blanc Wan Bobby Chen Jackson Leung Matthew McCombie Nelita True Blanc Wan Henry Wu

Production Manager Marketing Director Proof Reading and Translation

馬正揚 Chris Ma Karen Tsang Chloe Chan 陳康琪 Joseph Lam 藍頌霖 Christiana Choi Hiqueen Cheung

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April 2015 | The Pianist


目錄 Content Upbeat 鋼琴快訊

P.9

P.6

A Pianist's Reflection: So Close yet So Far (but I am not alone) – Bobby Chen 一個鋼琴家的自白:這麼近 那麼遠(但我不孤單) Piano Workshop: Listening to the Sound – Blanc Wan 細聽你的琴音

P.16

P.13

Interview with Nelita True 專訪 Nelita True Careers in Music: Dealing with Practical Aspects of the Music Profession – Jackson Leung (1) 職業音樂生涯:如何面對音樂專業中各種實際問題

P.26

P.22

Piano Clinic- Is Sostenuto System needed? 需要特定延音系統嗎? Piano Recordings : CD Review of "Edvard Grieg Lyric Pieces" - Matthew McCombie "Edvard Grieg Lyric Pieces" 唱片評論

P.28 April 2015 | The Pianist

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for April 2015

The Berlin Philharmonic Director Returns Home 柏林愛樂樂團指揮總監回家了 Following a fifteen years of longstanding relationship with the Berlin Philharmonic Orchestra, Simon Rattle signed on as the next music director of the London Symphony Orchestra, succeeding Valery Gergiev. The sixty years old conductor will take up his appointment in September 2017. Previous Principal Conductors have included André Previn, Michael Tilson Thomas, Sir Colin Davis. 與柏林愛樂樂團建立了十五年的長期合作,賽門‧拉圖與倫敦交響樂團簽約,成為繼瓦列里‧格吉耶夫之後的樂團 音樂總監。這位六十歲的指揮將在2017年九月上任。倫敦交響樂團之前的首席指揮包括安德列‧普列文、麥克‧提 爾森‧湯瑪斯、科林‧戴維斯爵士。

A 17 years old wins the US National Chopin Piano Competition 美國國家蕭邦鋼琴大賽的十七歲得獎者 Seventeen years old Eric Lu won the First Prize at the Ninth National Chopin Piano Competition in the United States. The young pianist won the top prize including a cash award of USD 75,000, a series of concert engagements, but most important of all – an automatic acceptance as a competitor at Warsaw’s International Chopin Competition in October 2015. Lu is currently studying with Jonathan Biss and Robert McDonald at the Curtis Institute in Philadelphia. Other prize winners included George Li, Eric Zuber, Joshua Wright and Alexander Beyer. All of whom will participate in auditions for the Warsaw competition. 十七歲的Eric Lu於第九屆美國國家蕭邦鋼琴大賽奪得一等獎,這名年輕的鋼琴家獲得的最高榮譽獎項包括75,000美 元獎金和一連串的演出機會,但最重要的是他將於2015年十月自動入圍華沙國際蕭邦鋼琴大賽,成為參賽者之一。 Eric Lu現在跟約拿單•畢斯和羅伯•邁璫樂於美國費城柯帝斯音樂學院學習。其他得獎者包括:George Li, Eric Zuber, Joshua Wright 和 Alexander Beyer,他們都將會參加華沙賽事的遴選。

Good Bye Mr Hui Kwang Yin - The Great Tuning Master 再見許君賢師傅 - 鋼琴調音界前輩 The Pianist magazine is deeply saddened to hear the passing of Mr Hui Kwang Yin. A respected piano technician, Mr Hui was a towering figure in the Hong Kong music world. He passed away, aged 80, at the end of March, following a battle with pancreatic cancer. He will be greatly missed by the Hong Kong piano world. 《琴韻》對香港鋼琴調音界前輩許君賢師傅的離世深表遺憾。深受音樂界 敬重,許師傅為香港鋼琴調音界一代宗師。許師傅於3月底因胰臟癌安詳離 世,享年80歲。香港鋼琴界永遠懷念許君賢師傅。許師傅,一路好走。 6

April 2015 | The Pianist


Concert cancellation in Europe from the Chinese pianist 中國鋼琴家取消歐洲巡迴演奏會 The Chinese pianist Yundi has cancelled all of his spring concerts in Europe. The artist’s management explained that a member of Yundi’s family is seriously ill and that the pianist is unable to travel abroad. Yundi was scheduled to perform at the Royal Festival Hall in London as well as Birmingham Symphony Hall in April. His next performance will take place in July with the National Youth Orchestra of the USA, conducted by Charles Dutoit. 中國鋼琴家李雲迪取消他所有在歐洲的春季演奏會。他的經紀公司表示,李雲迪 的一位家人現身患重病,所以他難以到國外出演。李雲迪原本計劃在四月到倫敦 節慶音樂廳和伯明翰交響樂音樂廳演出。他下一次的表演將會在七月,於美國與 國家青年樂團和Charles Dutoit指揮合作演出。

Vera Gornostaeva (1929 - 2015) 薇拉•柯諾斯提瓦 (1929 - 2015) Renowned Russian pianist and teacher Vera Gornostaeva passed away earlier this year. Gornostaeva studied at the Moscow Conservatoire with Heinrich Neuhaus and has made numerous recordings for Philips, Yamaha and Phoenix. She was the Head of Piano Department at Moscow Conservatoire and her students have included Dina Joffe, Ivo Pogorelich, Sergei Babayan, to name a few. Along with Sergei Dorensky and Mikhail Voskresensky, Moscow Conservatoire had four piano departments; but after the death of Victor Merzhanov (1919 – 2012) the Conservatoire closed down one. However, the Gornostaeva department will remain unchanged. 著名俄羅斯鋼琴家和鋼琴教授於今年早前逝世。柯諾斯提瓦曾在莫斯科音樂學院跟隨海因里希•涅高兹學習鋼琴,並 為菲利普、雅瑪哈、菲尼克斯公司灌錄了許多唱片。她是莫斯科音樂學院的鋼琴系主任,她有眾多門生,其中包括 Dina Joffe, Ivo Pogorelich和Sergei Babayan。聯同Sergei Dorensky和Mikhail Voskresensky,莫斯科音樂學院曾經 有四個鋼琴系,但在鋼琴家Victor Merzhanov (1919 - 2012)去世後,學院決定關閉其中一個鋼琴部門。但是柯諾斯 提瓦的部門將會跟以往一樣,沒有變動。

John McCabe (1939 - 2015) 約翰•麥克白 (1939-2015) The British eminent composer and pianist John McCabe passed away on 13 February 2015. Described by Gramophone as ‘one of Britain’s finest composers in the past half-century’, McCabe composed in all genre, his works included seven symphonies, four piano concertos, three for one or two violins as well as solo and chamber music. McCabe studied at the Royal Manchester College of Music (now the Royal Northern College of Music) and was appointed a Commander of the Order of the British Empire (CBE) in 1985 for his services to music. 英國著名作曲家和鋼琴家約翰‧麥克白於二零一五年二月十三日去世。被《留聲 機》稱為「英國過去半世紀最優秀的作曲家之一」,麥克白的作曲種類包羅萬象,他的作品有七首交響樂、四首鋼 琴協奏曲,三首為單或雙小提琴、獨奏樂器和室樂的協奏曲。麥克白曾於皇家曼徹斯特音樂學院(現為英國北方皇家 音樂學院)就讀,並於1985年因為他在音樂的成就被封爵為英帝國司令(CBE)。 April 2015 | The Pianist

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A Pianist's Reflection:

So Close yet So Far (but I am not alone) 一個鋼琴家的自白:

這麼近 那麼遠(但我不孤單) THE BIG LEAP

跨進一大步

Being a foreign student in London can be extremely exciting, as London is one of the cultural capitals of the world.

倫敦是世界上其中一個文化重鎮,在倫敦 作為一個外國學生可以是一件極為令人興 奮的事。

However, you may also find that social norms are very different from what you are accustomed to back home. Different cuisine, different weather, difficulty with spoken and written English, can all exacerbate any anxieties you may have.

可是,你也可能會發現當地的風俗與你所 熟悉的有很大的差別。不同的食物、不同 的氣候、用英文說和寫的難處等等,都可 以令你的焦慮加劇。

Studying in London, you are now so close to the centre of music making, but at the same time still feel the need to get even closer to the epicentre. Thankfully though, many other students would be feeling exactly the same thing.

在倫敦學習-你與音樂產業的中心這麼 近,但你又會想要更加接近最中心點。可 幸的是,很多同學都會有同樣的感覺。

When I was a student, I took a bit of time to find my way, but later made a few small discoveries which really helped me make the most of my time in London.

當我仍是學生時,我花了一段時間去摸 索,最終我的幾個小發現幫助了我,讓我 好好利用我在倫敦的時間。

April 2015 | The Pianist

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MUSIC COLLEGE AS A MUSICAL SWEET SHOP It is perhaps useful to think of your music college as a musical sweet shop, offering an incredible variety of fantastic musical choices on display all year round. Let us imagine that you are walking through your college, passing by room after room. Maybe a composition class in one room, a jazz class in full swing in another, a serious music technology class on the next floor, so on and so forth. You may aspire to be an international solo pianist, but 'smelling' all of these wonderful musical sweets may inspire you to try your hand at serious composition, or to start learning about top level jazz. I remembered being mesmerized by the jazz class when I was in my 2nd year student at college. I came away so completely inspired by the happiness and freedom of the teacher and his students. A year later, I became a founding member of a tango and ethnic-music band, which included the accordion and electric guitar. With this group, we made our Chinese performing debut in Beijing.

音樂學院是音樂糖果店 將音樂學院想成是音樂糖果店也許是個有 用的想法-它提供林林總總的精彩音樂活 動,全年無休。試想像走過你的音樂學 院,經過一間間的房間。一間房裡也許是 作曲課,另一間房裡是熱鬧的爵士樂課, 而再下一層則是嚴肅的音樂科技課等等。 你也許一心想成為國際鋼琴獨奏家,但各 款音樂糖果的香氣也許會感染到你去嘗試 作曲,或是去學習高階爵士樂演奏。我記 得我在二年級時曾經被一個爵士樂課迷 倒,完全受到老師的喜悅和自由啟發。一 年後,我成為一個探戈與民族音樂樂隊的 創隊成員,隊中包括手風琴和電結他。我 們這個樂隊在北京舉行了中國首演。

TEACHER AS PERFORMER

身兼演奏家的老師

If you think of your teacher only as someone who could help you how to pass your next exam, then you would be doing your teacher a great disservice.

假如你認為你的老師只是一個助你通過下

Your teacher is most likely a very experienced performer and musical collaborator, with a distinguished CV and one or more commercial discs to his/her name. He/she may also be a very useful source of information, drawing from his/her many years of freelance work outside college. He/she may know about the quality of concert halls in Munich, or about audience reactions in Stockholm. He/ she may know about the change in art funding in New York, and how that may affect any concert programming in that city over the next few years. He/she may know a new recording company currently looking for young musicians. So your teacher can do much more than to help you pass your next exam. I remembered very vividly, many years ago, being with my piano teacher in Spain for his concert. My teacher's acquaintance was also playing in the same series. Through casual chats and observations, I learnt from my teacher that the other pianist's small repertoire might prove to be a handicap a few years later. On another occasion, I remembered sharing a concert with my teacher, which helped spread my name around. I also remembered chatting with my teacher about the pros and cons of music agents, and learnt about performance fees in America and elsewhere. 10

April 2015 | The Pianist

一個考試的人,你其實在為你的老師幫倒 忙。 你的老師會是一個經驗豐富的演奏家和合 作者,擁有一個出眾的履歷,甚至在一些 商業錄音中出現過他的名字。憑他多年在 校外工作的經驗,他可能會是一個很有用 的資訊來源。他可能會了解慕尼黑的音樂 廳質素,或是斯德哥爾摩觀眾的反應。他 可能會有紐約藝術基金的轉變,還是這對 當地未來幾年音樂會的影響。他可能會有 唱片公司招募年輕樂手的消息。你的老師 除了幫助你通過下一個考試,還可以為你 帶來更多。 我非常記得多年前的一次,我到西班牙聽 老師的演奏會,我老師的一位相識也在同 系列的音樂會中演奏。從他們的閒談中, 我從我老師中學到,這位鋼琴家狹窄的曲 目在幾年內很可能會成為他的障礙。在另 一個場合,我和老師共同在一場音樂會中 演奏,對我的宣傳有很大幫助。我還記得 和老師討論過經理人的好處和壞處,也學 到有關在美國及其他地方演出費的事。


ATTENDING SHORT MUSIC COURSES

參加音樂短期課程

You may be very busy at your college, but it is also very important to remember that you can also participate in national and international courses. These courses vary in length, costs, faculty makeup, focus and others.

音樂學院生活可能忙碌,但你仍然可以參 加一些國內及國際的課程。這些課程有不 同的長短、老師、課程重點等等。

Some courses are held at well-known and reputable institutions. If you go for a course at the Mozarteum, you can then learn about its facilities, explore the city of Salzburg, or even chat to Mozarteum's current students or teachers. You could find out whether you might like to study at the Mozarteum in the future.

有些課程由著名的學院舉辦。假如你參加 在Mozarteum的課程,你可以認識該校的 老師,探索薩爾斯堡這個城市,甚至有機 會與該校學生和老師交流。你可以藉此知 道自己有沒有興趣將來入讀Mozarteum。

Some really wonderful musicians perform and teach in Germany, France or Spain, but very rarely come to the UK. You can meet and work with them on a short course. At courses, there can be a real intense sense of camaraderie amongst fellow students, resulting in some really interesting gossip exchanges about teachers, performers, music colleges, competitions and funding information pertaining to different parts of the world. You can make friends in the canteen, whilst queuing up for concert tickets, listening in on classes, or even going around the host city together as a group. Many years ago, I participated in a course in Spain, and still vividly remembered going on an evening walkabout around town with the other students on the course. We laughed, joked and posed for photographs as it was all so much fun. Of course, all our lessons during the day were completely serious and in the right spirit of learning. We performed in front of each other, and then reviewed the performances afterwards. All of us loved the intensity of great quality piano lessons every day, and enjoyed the new friendships made.

很多出色的音樂家在德國、法國及西班牙 等地演出和教學,但甚少來到英國。你可 以在短期課程中結識他們,與他們合作。 在課程中,同學之間的友誼非常深厚。大 家會有很多關於老師、演奏家、音樂學 院、比賽、贊助等的有趣消息互通。你可 以在飯堂、排隊買音樂會門票時、一同上 課時結識新朋友,甚至可以在主辦城市同 遊。 多年前我參加了一個在西班牙的短期課 程,而至今仍然清楚記得一個傍晚與其他 同學一起在城內散步。我們有說有笑,又 一起拍照,非常好玩。當然,在日間的課 堂上我們都是完全認真學習的。我們都很 享受每天與大師上課的緊張感,還有與新 朋友的友誼。

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PLAYING OUTSIDE COLLEGES

校外演出

If you managed to perform at a relatively well-known London venue, such as the Purcell Room, this will give a real boost to your reputation. The Purcell Room is part of London's South Bank, a major international cultural centre familiar to music lovers from New York to Tokyo. Performing at a venue like the Purcell Room may mark you out as someone to look out for in the future. You will then start to build your own musical network, even before you have graduated from college.

假如你有機會在倫敦比較著名的地方演 奏,例如Purcell Room,這會大大提升你 的聲譽。Purcell Room是倫敦南岸中心, 一個全球愛樂者都熟悉私國際文化中心, 的一部分。在這樣的場地演出可讓人認定 你是有前途的演奏者。即使你未從學院畢 業,你也會開始有自己的音樂人際網絡。

When I was in college, I won several prizes, one of which presented me with a solo recital at a very reputable venue in London. As a result of connections made or reinforced at this concert, I was able to make my performing debuts in Chicago and Australia later on. The Big Leap is really exciting and ultimately very fulfilling, and will definitely change your life forever. Even today, I am still reaping the benefits of what I have done during my time at college. Hopefully the suggestions in this article may help some of the younger readers.

我在音樂學院嬴過幾個獎項,而其中一個 使我能在倫敦一個享負盛名的音樂廳舉行 獨奏會。因該場獨奏會帶給我的聯繫,使 我有機會在芝加哥及澳洲舉行首演。 我跨的這一步令我非常振奮,最終也有豐 碩的成果,改變了我的生命。我至今仍然 在享受在音樂學院時期帶來的好處。希望 我在文中的建議對年輕的讀者有幫助。

Bobby Chen Described by International Piano Magazine as “...an armour-clad player of complete technique, a thinking musician, a natural Romantic. Young bloods come no better”, Malaysian pianist Bobby Chen studied at the Yehudi Menuhin School and the Royal Academy of Music with Hamish Milne and Ruth Nye. He burst on the scene in 1996 with a sensational season of concerts, which included a British tour with Lord Menuhin in a performance of Beethoven’s Triple Concerto and a recital at the Royal Festival Hall as part of the South Bank Prokofiev Festival. Chen has performed under conductors Lan Shui, Mathias Bamert, Maximiliano Valdés, Sir Neville Marriner, Pierre-André Valade, Giancarlo Guerrero and with several orchestras including the Academy of St Martin-in-theFields, Malaysian Philharmonic Orchestra, Warsaw Sinfonia, Singapore Symphony Orchestra and the London Sinfonietta. In recent seasons, venues Chen has played in included Beijing’s Forbidden City Concert Hall, Dublin’s National Concert Hall, Singapore’s Victoria Concert Hall, USA’s Midland Centre of the Arts, Holland’s Hermitage Amsterdam, Poland’s Antonin Palace, UK’s Purcell Room, Bridgewater Hall, Royal Concert Hall, Cadogan Hall, and Wigmore Hall. 曾豪彬在震撼人心的1996年度一系列音樂會上名聲大振,包括與梅紐因勳爵在英國巡演共同演奏貝多芬三重 協奏曲及在皇家節日音樂廳為南岸普羅科菲耶夫節日獨奏一曲。他1998年的首場鋼琴協奏曲是與新加坡交響 樂團合作共同演奏的拉赫瑪尼諾夫的帕格尼尼主題變奏曲,演出大獲成功,曾豪彬也就此開始了與頂級指揮 家和著名樂團的合作,指揮家包括瓦爾代斯,水藍,內維爾•馬里納爵士,梅紐因勳爵,皮埃爾埃德烈•瓦拉 德,樂團則諸如聖馬丁室內樂團,華沙交響樂團與馬來西亞愛樂樂團。從那以後,他演奏的曲目不僅在英國 的布里奇沃特音樂大廳, 皇家節日音樂廳,普賽爾音樂廳及威格摩爾音樂廳響起,更傳遍多處,新加坡,香 港,泰國,馬來西亞,中國,美國和歐洲多國。 他近期的精彩演出數不勝數,其中包括與馬蒂亞斯•巴墨特指揮的馬來西亞愛樂樂團在美國米德蘭藝術中心演 奏的巴什基洛夫協奏曲,在意大利法西奧利音樂廳,伍斯特三大合唱團音樂節與馬爾伯勒暑期學校進行的鋼 琴獨奏。

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d n u o S e h t o t g Listenin 音 琴 的 細聽你

Pianists have the pleasure to play an instrument, where the register is comparable to an orchestra - as high as a piccolo, or as low as a double-bass. And yet the piano is the only instrument that does not require listening to the pitches. Unlike string instruments, where string players have to be conscious whether they are out of tune; the piano is in a system of natural tuning. As a result, pianists tend to forget one of the fundamental principles of instrumental playing – the ability to listen. This is not to say of course, pianists tend to have hearing disability, however as a matter of fact, pianists only hear the sound and do not listen to the sound they produce. In one masterclass occasion, I suggested the student to record his playing, and listen to his playing right after the performance. The recording was somewhat surprising to him, as the sound was not what he intended to produce. Indeed, the student only heard the sound; but failed to listen to his sound during the performance.

鋼琴家有幸可以在一個音域媲美管弦樂團的 樂器上演奏-高音如短笛、低音如低音大提 琴,可是鋼琴是唯一不需要演奏者注意音準 的樂器。不像弦樂器的樂手要時時留意音準 避免走音,鋼琴自有一個音調的系統。結果 是,鋼琴家經常忽略樂器演奏的基本要素- 聆聽的能力。我當然不是說鋼琴家有聽障的 問題,而是,鋼琴家大多只聽到聲音,沒有 認真聆聽自己的琴音。在一個大師班上,我 曾經建議學生將自己的演奏錄起,在演奏完 後隨即播放。結果該段錄音讓他始料不及, 因為音樂和他所想造出的聲音很不一致。學 生只有聽到聲音,但沒有聽清楚自己演奏所 造的聲音細節。

Example 1: Beethoven’s piano sonata No. 31, Op. 110, bars 185-187

Example 1 (continues): bars 188-191 April 2015 | The Pianist

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Further, the process of listening is one of the most challenging tasks in piano playing. Pianists are supposed to imagine the sound they intended to produce, before producing the sound. Pianists should then listen to the produced sound, compare with the imagination sound and decide whether this is the sound he/she intended to produce. This analytical process of sound production and listening is found commonly among concert pianists. Although this article is not intended to address sound production, it has an inter-locking relationship with the listening ability. In addition to sound production, listening has a particular striking effect in many musical works, especially compositions with sustaining long notes. Example 1 is taken from Beethoven’s piano sonata No. 31, Op. 110. The music requires the pianist to pay a full attention to listen to the long sustaining chords on the right hand. After putting down the first chords, pianists tend to forget the sound produced in the first chord, either because they shift their focus to the busy passages in the left hand, or they just place their attention and move on from one chord to the next. Instead, the sound of the first chord should stay in the ears of the pianist until the second chord arrives. In other words, pianists should listen to the sound for the full duration of the chord. The ability to play long sustaining chords depends on the sound and touch of the pianist, but the result would become more noticeable if the sound is also sustained in the ears of the performer.

聆聽的過程是鋼琴演奏中一個最大的挑戰。 鋼琴家要在彈下鍵盤前,先在腦海中想像他 們想要的聲音,然後聆聽他們所製造的聲 音,與想像中的聲音比較,再判決兩種聲音 是否吻合。這個分析聲音的聆聽程序在鋼 琴演奏家中很常見。雖然音色不是本文的重 點,但它和聆聽的能力有不可分割的關係。 除此之外,聆聽的能力在很多樂曲中都有顯 著的影響,尤其是在有長音的情況下。例一 來自貝多芬第三十一奏鳴曲,作品110。演奏 者需要專注聆聽右手的長和弦。在彈下幾個 個和弦之後,演奏者經常會忘記他們在第一 個和弦造出的聲音,這是因為他們將注意力 轉移到繁忙的左手,或是在和弦與和弦之間 的移動。演奏者應該記住第一個和弦造出的 聲音,直到下一個和弦出現,即是在音符的 全長都要專注。演奏長和弦的能力在於聲音 和演奏者的音色,而正確的聆聽對聲音會有 明顯的影響。

Listening does not only help in sustaining chords but will also help pianists to shape the music. The opening phrase of Chopin’s C minor Nocturne is a fine example. Although the first three melodic notes in the right hand are separated by rests, the pianist should think through those rests and construct a smoother melodic phrase. Thus, internal listening plays a vital role here in breaking those rests and bridging between notes. One should follow the instruction and play those rests indicated by Chopin, but as far as the melodic material concerns, listening will undoubtedly provide a smoother connection between the opening notes. After all, music carries on through rests; it is worth remembering too, musical rest is not for a place to stop, but a place to breath.

聆聽不單對長和弦有幫助,而且也能幫助我 們製造樂句句形。蕭邦 C 小調夜曲的開端是 一個絕佳例子。雖然旋律的首三個音之間都 有休止符,演奏者都需要想像及將它們連接 成順暢的樂句,而內在的聆聽在這時候十分 重要。我們要跟從蕭邦樂譜上的休止符,但 以處理旋律的角度,聆聽會令首三個音的連 線更順暢。音樂在休止符中是繼續的;要謹 記,休止符不是音樂停止的地方,而不是音 樂呼吸的地方。

Example 2: Chopin's Nocturne Op. 48, No. 1, bars 1-4

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Listening ability is an indispensable requirement in playing any instrument. Not only does it assists in shaping the melody, and continuing the sound in sustaining notes; listening also makes a significant difference in playing complicated forms – such as fugues. With four voices texture entering in different time, one has to be clear with voice entrances. The A flat major fugue from Book 1 begins with the alto part and continues into the second bar, while the theme enters again in the left hand. From a pianistic point view, the performer should listen and highlight the thematic material in the left hand, yet at the same time, keeping the right hand semi-quavers in sotto voce. The situation becomes more complicated when the soprano voice enters in bar 4; therefore listening, would be an important tool. While other parts should always be heard, they should not disturbed the soprano line at this point – voice distribution and the balance of sound require an intensive listening ability from the pianist.

聆聽的能力對樂器演奏是不可或缺的,它不 單能協助我們勾畫旋律句形,延續延長的音 符,還對處理複調音樂,如賦格曲,有很大 的影響。當四個聲部在不同時間進入,我 們要清楚指出每一個進入點。巴赫十二平均 律第一部的降 A 大調賦格曲由女低音部開始 到第二小節,左手再次引進樂曲主題。從鋼 琴演奏的角度,演奏者應該注意聆聽及強調 左右的樂曲主題,同時將右手的十六分音符 減弱。當女高音部在第四小節進入時情況會 更加複雜,所以聆聽的能力將會是有用的工 具。此時在其他聲部清晰地進行的同時,女 高音部不應失焦-聲音的分佈和聲部的平衡 須要演奏者專注的聆聽。

Example 3: J.S. Bach's Prelude and Fugue in A flat major, Das Wohltemperierte Klaver I, BWV 862 – Beginning of the Fugue In advancing our listening ability, students can enrich their musical ears by attending symphonic and chamber concerts, as well as opera productions. In this sense, they can develop this ability by listening and discovering difference lines, for instance, in a Beethoven Symphony or perhaps, different roles in Mozart’s Marriage of the Figaro. There are many ways to tackle other technical weakness, and a professional teacher would certainly be able to help. However, developing the inner ear largely depends on the student. One should always bear in mind that in practice rooms, ears should be the teacher – listening carefully, making self-evaluation and corrections; while on the stage audience would certainly make a judgment of the performer primarily by listening to the sound he/she make. Pianists should therefore always have an ability to listen to their own sound – listening as if they are a member of the audience.

要增進聆聽的能力,學生可以多去管弦樂和 室樂音樂會,還有歌劇表演。從此,他們可 以練習分辨不同的聲部,如在貝多芬的交響 曲,或是莫札特《費加洛的婚禮》中不同的 角色。處理其他技巧問題有很多方法,一個 專業的老師也是很好的協助;但聆聽的能力 必須由學生自己訓練。在練習室中,耳朵應 該成為你的老師-細心聆聽,自我檢討和改 正;而在表演台上,觀眾單憑聲音,自然是 好的判定者。演奏者必須有聆聽自己聲音的 能力-要像台下的觀眾一樣細聽。

Blanc Wan 尹俊邦

Blanc Wan has established a profile as a pianist, musicologist and educator. His recitals and radio appearances have included over a hundred performances across Europe, Asia, USA and throughout the United Kingdom.He is the Chairman of Hong Kong International Pianists’ Association, the Artistic Director of the Hong Kong International Piano Conference and a governor of the Royal Northern College of Music. Having graduated from the Royal Northern College of Music and University of Oxford, he is currently working on his PhD research at King’s College London. 尹俊邦既是一位鋼琴家,亦是一位音樂學者及音樂教育家。演出超過百場音樂會及電台錄音,他的演 奏足跡遍及亞洲,歐洲,北美洲和英國等地。他現兼任香港國際鋼琴家協會主席、香港國際鋼琴會議 藝術總監及英國皇家音樂學院校董,並於2011年被列選為青年施坦威鋼琴藝術家。畢業於英國北方皇 家音樂學院及英國牛津大學,尹俊邦現於英國倫敦國王學院進行博士研究。 April 2015 | The Pianist

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Nelita True

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April 2015 | The Pianist

專訪

Interview with


NT : Nelita True BW : Blanc Wan BW You performed with the Chicago Symphony at the

age of seventeen; what was the feeling like?

NT I played the Mendelssohn G minor Concerto and I

was very naïve and I didn’t realize how important that was! However, as a result it was a wonderful performance. I wasn’t smart enough to be terrified but that was unforgettable! BW How did you feel before and after the concert? NT Of course I was nervous before the concert – no

one can escapes from that. It was paralysing. I have to admit it was an unusual time for me because my mother was dying at the time. Just leaving her was very difficult; she died within with two weeks after that. I think she lasted that long just to make it possible for me to go. It was a sad time. BW Any other performance that was memorable? NT Yes, when I played a concerto in Avery Fisher

Hall. It was a pretty big occasion and a wonderful experience. BW Could you tell me something about your teachers?

What was Nadia Boulanger like as a teacher?

NT Of course she was extraordinary, and a tough lady,

but she was full of compliment when they deserved. She knew everybody in the music world and I do remember she was telling me and the other student that she had an engagement the week after spring break. Boulanger expected us to change our plans, because of her plans. I had signed up for a trip to go to Russia. It was a special student trip so I talked to her about it. She said, ‘Well, if you were serious about your work, you would take a vacation. I have never taken a vacation; I have always wanted to go to Italy, I have had no reason to go there professionally, so I have never been to Italy.’ I decided I would profit from going to Russia, so I went to Russia! But I mean everybody loved her, she was so extraordinary. Once she was turning pages for me when I was playing with a violinist. It was the first page to turn but she turned it half page early – and I thought, ‘pretty sure she can read music!’ Obviously that was part of the test! But just being in the same room with her was very exciting, because she was such an icon. BW But I am sure visiting other countries will open

your vision and also benefit your musical horizon too, wouldn’t you agree?

NT Absolutely. I can remember, after being in Paris for

several months. One Sunday I went to the Tuileries Garden and that is then it really hit me when I was actually there. It was so exciting and it was life changing as it is for anybody who goes there.

BW 你在十七歲那年便與芝加哥交響樂團同台演出,你

當時感覺如何呢? NT 那時我彈奏的是孟德爾遜G小調鋼琴協奏曲,我當時

還年幼,不知道原來那場表演有多重要!但結果那 是一次非常精彩的演出。我當時還沒有聰明到懂得 驚慌,但那次經驗令我非常難忘。 BW 你在演奏會之前之後有什麼感覺呢? NT 我在演奏會之前當然是非常緊張,相信沒有人不會

不緊張。那是一種幾乎令人癱瘓的感覺。我要承認 那時是一段非常時期,因為那時我媽媽身患重病, 瀕臨死亡邊緣。離她而去是一件非常難過的事情, 而她在我演出後兩星期後便去世了。我想她一定 在等待我完成表演後才離開。那是一段很難過的時 間。 BW 還有哪些令你難忘的表演經驗? NT 是的,比如說有一次我在艾弗里費雪廳演出一首協

奏曲。那是一次很大的音樂盛會 , 是一次很棒的經 驗。 BW 我們可以聊聊你的那些老師嗎 ? 娜迪亞•布朗若是

個怎樣的老師?

NT 她當然是一名優秀的老師,同時也是一個女強人,

但要是值得稱讚的她一定會稱讚。她認識音樂界裡 的各個人士。我還記得她告訴我和其他學生,她在 春假後一週有約,她希望我們按照她的時間表去更 改我們的計劃。我當時已報名參加去俄羅斯旅行, 那是一個特別給學生辦的旅程,所以我跟她討論。 她說:「啊,如果你真的很認真工作的話,你也可 能偶爾去渡假,但我從來未有過假期。我一直都很 想去意大利,但我沒有專業的理由去那,所以我到 現在還未去過意大利。」我想我會在俄羅斯這趟旅 程得益不少,所以我決定要去俄羅斯!但我想說大 家都很愛戴她,她是一位與眾不同的老師。有一次 我為一位小提琴家伴奏時,她為我翻譜,要翻第一 頁的時候她提前了半頁翻──當時我想:「她肯定 會看樂譜呀!」明顯那是一個測試!跟她在同一個 房間感覺很刺激,因為她就是具有如此標誌性的形 象。 BW 但我相信到其他國家旅遊會開闊你的視野,也令你

對音樂有更多體會,你同意嗎? NT 完全同意。我還記得,我在巴黎待過幾個月,有一

個星期天,我去了杜樂麗花園。當我真的身處那裡 的時候才讓我覺得嘆為觀止。那是個令人激動的地 方,讓我和很多去過的人生命都有所改變。 BW 那你另一位老師萊昂•佛萊雪呢? NT 當然他也是一位才華洋溢的音樂家──非常仁慈的

一位老師。他一點都不難相處 ( 到現在仍然一樣 !) 。 我第一年跟他學習的時候他沒有在演奏,我們很幸 運可以每週上他的課,因為他當時並沒有開演奏 會。事實上他並沒有在做任何事情。我難以想像那 April 2015 | The Pianist

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BW How about your other teacher Leon Fleisher? NT Of course he is another extraordinary musician –

a very kind man. He was not difficult in any way (still isn’t!). I went to study with him in the first year that he was not playing. We were lucky as we have lessons every week. Because he wasn’t concertizing and in fact he was not doing anything. I can’t imagine how difficult it was until I read his autobiography which came out two or three years ago. He confessed he considered suicide that year but he didn’t in any way showed that to us. In every week, I expected something was going to happen. i.e. he was going to fall apart. However, he never did. I admire him enormously. As a musician, he is extraordinary.

“Leon Fleisher is another extraordinary musician –

是他多麼難過的一段時期,直到兩、三年前我讀到 他的自傳才知道。他承認那年他有想過要自殺,不 過他從來沒有讓我們看見他的那一面。每一週我都 感覺好像有事情將要發生,就是他會崩潰,但是他 並沒有。我非常敬佩他。作為一個音樂家,他確實 非常優秀。

“萊昂•佛萊雪也是一位才華洋溢的音樂家――非常仁慈 的一位老師。他一點都不難相處( 到現在仍然一樣!) ” BW 那也是他對他的學生很負責任。 NT 的確如此。事實上,對他來說那是個「祝福」,因

為如果他什麼都沒有的話,情況會更糟糕。換是其 他人的話情況也會非常不一樣,因為他有自殺傾 向,所以明顯地,他的精神狀態並沒有很正面。但 表面上他沒有表現出來。

a very kind man. He was not difficult in any way (still isn't!) ”

BW 是的,他的手曾經受傷。他有試過在課堂時在鋼琴

BW It was a sense of responsibility to his students too.

他會坐在鋼琴的一側,從來不會到課室裡另一部鋼 琴那邊,他真的是與眾不同。

NT Absolutely. In fact, it was a blessing he had that,

because if he had nothing, it would have been even worse. It could have been so different with someone else, because he thought of suicide and obviously his mental state was not positive at all. But that never showed up. BW Of course he had the hand injury. Did he

demonstrate at all during lessons?

NT Yes, only with his left hand. But his left hand is just

上示範嗎? NT 是有的,他只用他的左手。但他的左手技巧超凡。

BW 我可以想像得到!有些老師不會演出,有些老師同

時身兼表演者,你對於兩者有何看法? NT 我覺得表演可以有助老師的教學,提醒他們學生經

歷的是什麼。表演經驗可以與學生有所交流,比如 表演時需要有什麼準備,要如何應付行程等等。我 覺得這是非常重要。這是一個職業。布朗若老師是 個很好的例子:她不是個表演者,但她有卓越的教 學水平。我想說的是我不認為表演經驗可以取代教 學經驗。

extraordinary. He would sit on one side of the piano and wouldn’t be at the other piano in the studio. It was quite exceptional.

BW 我覺得溝通技巧也很重要。要知道解決方法,但更

BW I can imagine! What is your view on teacher who

NT 各個老師有完全不同的教學模式。我永遠不會忘記

do not perform and those teacher-performers?

NT I think performing helps the teacher. It reminds

them what their students go through. That kind of experience can also communicate to the students; what is required and what you are dealing when you are traveling etc. I think it is very important. It is one occupation. Boulanger was a wonderful example; she was not a performer and of course her teaching was exceptional. The point I want to make is I don’t think performing takes away the teaching experience. BW Communication is also vital too I think. Knowing

the solution but most importantly telling students their steps.

NT It varies among teachers and there are totally

different approaches. I will never forget the first piano lesson I gave and I realized I didn’t have a clue what I was supposed to do and it was someone who is majoring in piano. That was on a college 18

Jan 2015 | The Pianist

重要的是告訴學生每一步。 我第一次教的鋼琴課,我那時才發現我完全不知道 我應該做些什麼,而我的學生是主修鋼琴的。那是 大學程度的課堂,幸運地我在幾年後有機會再遇見 她,跟她道歉!教學生是一個學習的經驗,而往往 大部分(或是完全 ) 是靠你自己對於音樂的理解和 你自己的表演模式。但是你會嘗試引導他們去尋找 和聆聽一些只有屬於他們的東西。我不相信負責任 的老師會企圖訓練一班彈奏 得一模一樣的學生── 因為老師其中一個最重要的責任就是培養學生的音 樂性格。但是很多學生在成為成年人前,尤其是那 些資優的學生,他們沒有想太多關於自己的音樂風 格,或是沒有想用不同的想法和不同聲音去豐富他 們的演繹。 BW 現在你有在世界各地教授大師班,你會說這是一般

學生演奏的通病嗎? NT 我不能一概而論,因為不同人演奏總會有不同的性

格──儘管有些學生把自己性格隱藏起來。在大師 班的時候,很難可以一時改變這種學生。大師班不 同之處是除了教學生以外,你也要嘗試跟觀眾交 流,你要考慮到觀眾有各自不同的情況。天曉得,


level and fortunately I saw her years later and I was able to apologise! It is a learning experience and of course you rely a lot on (or totally!) how you look at music and the way you perform yourself. You try to guide them however, to look for things and listen for things that are entirely of their own. I don’t think there are any responsible teachers who are trying to create a whole group of people, who play exactly the same way - because one of the most important roles is to develop musical personality. But so many students, before becoming adults, particularly if they are gifted, they don’t often think a lot about their music and how it could be enrich by thinking in different ways and different kind of sound. BW As you have given masterclasses worldwide, is

that the common mistake that you generally find in students’ playing?

NT I can’t come up with commonality because

always there is a difference in personality when someone plays - there are those who bottled up. In a masterclass, it is extremely difficult to make a change like that. What’s different about the masterclass setting is that you are trying to reach the audience as well as the student; you do think if in the contexts of all those that are in the audience. Heaven knows, there are so many different ways to approach a new piece of music. I don’t think there is any way that works doesn’t include thoughtfulness. It’s curious that one of the biggest challenges for most piano teachers is to teach their student how to listen. It is amazing how student don’t pay enough attention to the sound that they are producing. BW Students often hear the sound but they do not

listen to the sound. It always happens in a long sustaining note.

NT IWhen you speak of sustaining note, if your intention

is not listening then you don’t listen through the sound, so it tends to stop just the moment you put the key down. That just proven over and over again if they are just not listening through the sound, and in consequence, they will not have beautiful legato.

“[Students] are just not listening through the sound,

and in consequence, they will not have beautiful legato. ”

BW Many students pass through your hands but not

all of them will make it as a concert pianist; Do you still encourage the less talented ones to study music as their profession or advise them to move on to other profession, which they may well be very successful?

NT That is a very interesting question and it is getting

一首音樂可以有太多不同的演繹,但我想沒有深思 熟慮的演繹是行不通的。很令人好奇的是,其中很 多鋼琴老師遇到的最大挑戰是教他們的學生如何聆 聽。令人驚訝的是很多學生都沒有仔細留意聆聽他 們自己彈奏的聲音。 BW 學生很常是聽見聲音,卻沒有傾聽,尤其是在彈奏

延長音的時候。 NT 你說起彈奏延長音,如果你的心思不是放在聆聽

上,你不會從音色的角度傾聽,所以當你按下琴鍵 的剎那聲音就停滯了。這是經過一次又一次的證 實,如果他們沒有在音色的角度傾聽,結果是他們 沒辦法彈到漂亮的連奏。

“【學生】沒有在音色的角度傾聽,結果是他們沒辦 法彈到漂亮的連奏。” BW 很多學生都曾經得到你的指導,但不是所有學生都

能成為鋼琴家,你會仍然鼓勵相對沒有天份的學生 以學習音樂為業,還是建議他們另謀出路,讓他們 有更出色的表現? NT 這是一個非常有趣的問題,問題越來越有戲劇性。

在美國看來有越來越多的鋼琴家畢業,而工作的數 量並沒有以同樣速度增加,家長不免會擔心「到底 他們的小孩將來會做什麼?」。即便有些天份夠主 修鋼琴的學生,他們其他方面的才能更強。不過很 難去說服這些學生,因為他們的意志非常堅決。如 果他們考進專業音樂學校,他們都認為自己是最頂 尖的。我想他們知道不是每個同學都能以演奏為事 業,不過他們會期望找到工作。我也不知道將來會 發生什麼事情,除了說我們要接受事實是工作變得 越來越少。我正在閱讀一本關於這個議題的書,其 中有一章是建議音樂系的導師如何鼓勵學生擴闊他 們的興趣和訓練其他方面的能力。不過你看──如 果你是個認真的音樂家,只是幾個小時的練習是不 夠的。這是一個挑戰,不過有些人可以找到出路。 我很慶幸我現在已經老了,所以我不用面對現在發 生的這些問題! BW 確實是,現在有多一些比賽,而現在跟70或80年代

不一樣:當你贏了一個比賽,你就已經很靠近建立 音樂事業的第一步。

more dramatic. In the United States, there are seem to be many more pianists that are graduating and April 2015 | The Pianist

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the numbers of jobs are not increasing at the same rate. Parents are concern about that ‘what is their child going to do?’. Even there are some students who are gifted enough majoring piano at school, they may talent that is much stronger in other area. That is very hard to communicate with a student because they are just so determined. If they go to professional schools, they think of themselves as the top. I think they know the reality that not all of them will have a concert career but they do expect to find a job. I don’t know what is going to happen except to realize that we have to accept the reality that there are fewer jobs. I am just reading a book about this particular issue and there is a chapter to music faculty members on how one should encourage students to broaden their interest and other trainings in other field. But you see – if you are serious musician, just the hours necessary of practicing are not enough. It is a challenge but some people can find some way. I am glad that I am so old so I don’t have to go through all that is happening now! BW Indeed, there are more competitions and it is not

the same way as it was during the 1970s or 1980s, when you win a competition; you are very close in launching a career.

NT It is complicated further by the fact that audiences

are not what they used to be. It is clearly a size make shift in our profession. BW But the more they spend in other fields; the less

they will be educated in music in depth, i.e. the lack of knowledge in opera and symphonic work.

NT That could be the reason. There is nothing that

could substitute the hours of practice. One has to have an energy level - almost superhuman. I have seen people who succeed in this way so I think it is possible. But you think – how many?

“There is nothing that could substitute the hours of

practice. One has to have an energy level - almost superhuman. ”

BW All musicians must have had ups and downs in

their careers. Is there a point in your career where you consider it as the highest and lowest? What has sustained you through the difficult times?

NT I have been so lucky. I don’t consider I have a

serious difficulty. Let me tell you my first break. I was at Juilliard School and I was looking for my first job. The Dean at a university was coming to New York to interview candidates. He came to Juilliard and I asked for a space. They asked me who I was and I told them. He was the president of the national association of school of music, which Juilliard had been kicked out of (I guess academic at Juilliard 20

April 2015 | The Pianist

NT 更複雜的是現在觀眾跟以前不一樣,明顯地觀眾人

數在我們音樂界裡有所改變。 BW 不過觀眾越在一種音樂上花越多錢,通常是他們沒

有該樂種方面的知識,就是說沒有對歌劇和交響樂 的知識。 NT 那可能是原因。沒有任何事可以代替無數個小時的

練習。一個音樂家需要那樣的能量體力──幾乎是 像超人一樣。我看過曾經有人是通過這樣的方法成 功的,所以我認為這樣有可能。不過你覺得呢── 多少才夠?

“沒有任何事可以代替無數個小時的練習。一個音樂 家需要那樣的能量體力――幾乎是像超人一樣。” BW 所有音樂家在他們的職業生涯多有起有跌。在你的

職業生涯裡邊,那個時候是你認為最高和最低?在 你感到困難的時候是什麼支持你繼續下去? NT 我一直都很幸運,我不覺得我有很大的困難。讓我

告訴你我的第一次經歷。當我還在茱莉亞音樂學院 時,我開始找我第一份工作。有一所大學的院長來 到紐約面試考生。他來到茱莉亞時,我向他申請一 個教職。他們問我 是誰,我告訴了他們。那院長 是一個國家音樂學院協會的主席,就是他們把茱莉 亞給除名(我想是因為茱莉亞的學術研究並沒有很 好),而茱莉亞想重新進榜,所以他們提供一整個 演奏廳給我去彈奏給院長聽,還有給我在鋼琴系的 教員室去進行面試。我成長的地方跟偏遠,並沒有 很多世界級的文娛中心,但有一次我在十七歲是為 一個歌手伴奏他的音樂會,而那歌手剛好是在我申 請的學校裡的其中一個教員。他們說:「我們要聘 請她!」那是我第一次面試任何學校!我真是十分 幸運。 BW 但我可以肯定那也是因為你還在求學時有所準備。 NT 嗯,是的。我也很用功。在我碩士畢業後,我有一

隻找工作,而且我贏了一個比賽。那些錢讓我可以 繼續學習,所以我才去了茱莉亞! BW 從學生到老師的轉變有讓你驚訝嗎? NT 那是一個重大的挑戰。我那時一點經驗都沒有。 BW 你是怎樣對付這個挑戰呢? NT 我會仔細研究學生彈奏的音樂,好讓我能夠幫助他

們。我依賴我自己跟過 好幾位不同老師學琴的經 驗,再嘗試讓我的教學模式有變化。當然,我發現 我對每個學生都需要不一樣,因為他們都是來自完 全不同的背景。最初我第一個來的學生是非常有天 賦──她現在是一個專業的爵士鋼琴手。我不能否 認我有不尋常的好運,我很感恩。 BW 直到目前為止,如果你可以回到過去,你會希望在

你的教學或演奏生涯沒有做什麼事情? NT 對我來說這是一條最難回答的問題。


were not as good), and they wanted to get back in and I was given the recital hall to play for him, I was given the faculty room for the interview. I was grew up in a place where is far from any remote cultural centre in the world, but once I filled in when I was seventeen to play a recital with a singer, and that singer is on the faculty of the school I applied. They said ‘We have to hire her!’ It was my first trial of any schools! I have had extraordinary good luck. BW But I am sure it is those preparation too while you

were at school.

NT Well, yes. I worked hard too. After my master, I was

going to look for a job, and then I won a competition. The money had to be used for further school that’s why I went to Juilliard! BW Was the student to teacher transition such a shock

to you?

NT It was a major challenge. I didn’t have any

experience at all. BW How did you overcome that challenge? NT I studied students’ music pretty carefully so that I

could help them. I relied a lot on my own experience with several different teachers and tried to vary my approaches. Of course, then I realized I had to deal with each student quite differently because they came from entirely different background. The very first student who came in was really gifted – she is now a professional jazz pianist. I just cannot deny that I had unusually good luck. I am very grateful. BW Up to this moment in life, if you have the chance to

go back, what would be the thing that you would have not done in your teaching and performing career?

NT That is the toughest question for me. BW How about life? NT I just have felt extremely fortunate. I am sure it had

to do with my parent, they were so supportive. It could be that I am just denying or forgotten bad things, but nothing that has really hurt my career. There is no question that teaching is my great love and is fascinating to deal with different personality, i.e. different level and how to work around them. I remember the Dean at the University that I used to teach asked me, ‘how can we make your happier?’ I said ‘Fewer students!’ He said ‘how about 12?’ I responded ‘That is not even a class! 15 students at the minimum!’ It is some challenging but time just goes by and I just loved it!

BW 那在你一生來說呢? NT 我覺得我是極度幸運的,我可以肯定說很大部分是

因為我的父母,他們非常支持我。有可能是我否認 或忘了有不好的事情發生過,但確實沒有發生任何 損害我專業的事情。無可置疑的是我很熱愛教學, 箇中樂趣是讓我可以接觸不同的性格、不同的程度 的學生和學習如何幫助學生們。我還記得在我任教 大學裡的院長問我:「我們如何可以讓你更快樂?」 我說:「少點學生!」他說:「那十二個好嗎?」 我回應:「那連開一班也不足夠!一班至少十五個學 生!」那是一個挑戰,可是當時間過後,我愛上了 教鋼琴!

Nelita True Since Nelita True made her debut at age seventeen with the Chicago Symphony in Orchestra Hall and her New York debut with the Juilliard Orchestra in Avery Fisher Hall, her career has taken her to the major cities of Western and Eastern Europe, Indonesia, Korea, Japan, Mexico, Iceland, New Zealand, Brazil, Australia, Canada, India, and to Hong Kong and Singapore, as well as to all fifty states in America. She was a visiting professor at the St. Petersburg Conservatory in Russia, performing and conducting master classes and has been in the People’s Republic of China more than 20 times for recitals and master classes. Ms. True has been described in Clavier Companion as “One of the world’s most sought-after and beloved pianist-teachers.” Her students have won top prizes in national and international competitions, and many of her former students now serve on the faculties of major schools around the U.S. and in other countries. Formerly Distinguished Professor at the University of Maryland, Ms. True is currently Professor of Music at the Eastman School of Music. Ms. True has been a jury member for the China International Piano Competition (Beijing), the Queen Sonja International Piano Competition (Oslo), the National Piano Competition in Brazil, the Horowitz Competition (Kiev), the Concours de Musique in Canada, the PTNA (Tokyo), the Lev Vlassenko Competition in Australia, and the Gina Bachauer, New Orleans, Hilton Head, and William Kapell International Piano Competitions in the U.S. A Phi Beta Kappa graduate of the University of Michigan as a student of Helen Titus, Ms. True went on to Juilliard to study with Sascha Gorodnitzki, and then earned the DMA with Leon Fleisher at the Peabody Conservatory. In Paris, she studied with Nadia Boulanger on a Fulbright grant.

April 2015 | The Pianist

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Careers in Music:

Dealing with Practical Aspects of the Music Profession 職業音樂生涯:

如何面對音樂專業中各種實際問題 Choosing a Major in Music There are many areas of concentration in a music school or a music department in a university. For the undergraduate music student, the most common degrees are performance, music education, music history and literature, and music theory and composition. All the degree programs require the choice of a “major instrument.” I am a strong advocate of all undergraduate music students being the best performers possible, regardless of the area of concentration.

選擇音樂主修科目 鋼琴發出的聲音,主要經過鋼琴擊弦中的擊弦槌撞擊在弦線上,使弦線產生共震而形成的。音板的作用是使琴弦的共震 放大,令到同一組的琴弦經過音板,產生不同的音色。音板的制造過程,由專業的技術人員選用上好的木材,再經過數 年至十多年的養木過程,使木材的含水量(濕度)變得穩定,減低音色改變的機會。

The Performance Major and Career Options in Music The performance majors are encouraged to obtain advanced degrees including a master’s and the terminal degree, the D. M. A. These students hone their crafts to become outstanding performers by striving for technical perfection, understanding stylistic nuances and interpretation, and memorizing excessive amounts of repertoire. Many times, however, those who actually receive their D. M. A. after several recitals, lecture-recitals, and demanding comprehensive written and oral exams, are not really prepared for a career in music.

表演專業及音樂界就業選擇 演奏專業學生向來備受鼓勵要取得高等學位,並以音樂學博士學位為最終目標。這些學生要不斷磨練技藝,追求完美技 巧,了解不同風格的微細差異和各種詮釋,背誦大量曲目等等。可是,不少人在演奏過幾場音樂會和演講獨奏會、並經 歷過嚴苛的全面口試和筆試以後拿到音樂學博士學位,卻依然沒有準備好進入職業音樂世界。 22

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The College Faculty: For those who want to teach at a university or college after attaining a doctorate degree, the position involves much more than being able to maintain the faculty’s performance level and teach well. A university faculty often has to wear many hats and teach many courses. These may include piano literature, piano pedagogy, theory, sight-singing and dictation, accompanying, and the most challenging of all: class piano. 院校院系:要是在得到博士學位以後想要在大學或院校任教 的話,記得該教職不僅要保持院系演奏水平和出色教學表現 而已。大學院系一般需要扮演多重角色,開辦不同課程, 包 括鋼琴作品研究、鋼琴教學法、理論、視唱、音樂聽寫和伴 奏,還有難度最高的鋼琴班。

Other Professional   Teaching Possibilities: The Independent Teacher The Teacher working in a Cooperative Partnership The Teacher in a Pre-college or Community School

其他職業教學選擇包括: 私人教師 以合作伙伴形式任教 在大學預科或社區學院任教

Functioning as a Professional: Preparing for the Real World Whether it be teaching at the university or the other career options, the reality of a music career involves many different professional musical activities. One has to be a successful musician, not just an outstanding performer. During the college years, student should acquire skills for different aspects of career options—be it a solo performer, collaborative artist, member of an orchestra (orchestral playing styles, excerpts preparation, auditions, etc.), arts management positions, and so forth. Students should also have some knowledge of the business and marketing aspects of being a musician. Because it is highly unlikely that a music major, once graduates from the university, will really be performing their standard jury of a Bach Prelude and Fugue, Beethoven sonata, and a Chopin Ballade, etc. every half a year. Even the top performers, probably will perform in community series, teach students of all ages in groups or private lessons, accompany, adjudicate, play chamber music, belong to teacher organizations, present workshops, write books, write articles for music journals. They need training about how to talk to an audience about music, address a group of music teachers in an organized, informative and entertaining manner. They need pedagogy instruction on teaching private and group lessons at all ages and levels, and the skills to write and talk about musical and pedagogical subjects. Of course, I want to stress again, that all music students should be superb performers. I just want them to be more successful and well rounded.

表演專業及音樂界就業選擇 無論是在大學教學,還是選擇其他工作機會,現實中的職業音樂生涯的確涉及許多不同音樂活動。有志者不僅要是出色 的演奏者,還要成為成功的音樂家。學生應該在大學時期積累與就業相關的各種技巧──獨奏表演者、協作藝人、管弦 樂團成員(不同風格的樂團、準備樂曲選段、遴選等等)、藝術管理職位等不同經驗,還要獲取音樂家在商業行銷方面 的知識。因為以剛剛畢業的音樂專業學生來說,能每半年演出一次巴赫序曲和賦格曲、貝多芬奏鳴曲、蕭邦敘事曲的機 會簡直微乎其微。即使是最出色的演奏家,有時候也會社區系列中演出,擔任不同年齡學生的小組導師或者當私人導 師,伴奏、擔當裁判或演奏室內樂,隸屬於教師組織,主持工作坊,寫書或在音樂期刊上發表文章。音樂人需要具備向 觀眾介紹音樂的能力,還要用既有組織又有娛樂性的方式向音樂老師提供資訊,掌握不同年紀程度的私人和小組音樂課 教學法,通曉講寫音樂和教學方法主題的技巧。當然,我要再次強調,音樂學生應該是出色的演奏者,我只是希望他們 能更成功能力更全面。

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Business Issues and Studio Policies Students should have the business sense of running a studio. They need to be prepared and know how to effectively advertise and promote themselves as teachers and performers. These include: → Designing promotional materials, studio policy and newsletters → Legal issues → Establishing fees and schedules → Taxes for the self-employed

商業議題及工作室策略 學生應該具備經營工作室的商業觸覺,做好準備去宣傳自己的教師和演奏者身分,包括︰ → 設計宣傳物品,計劃工作室的營運方向和發送時事通訊 → 法律事務 → 設定費用和時間表 → 處理自雇人士稅務

Pedagogical Preparation concerning Social / Psychological Issues Students need to be trained and prepared to experience different perspectives and responses to psychological situations musicians may encounter: → Preparing and presenting yourself for a college or job interview → How to motivate better practicing → Preparing Students for Auditions and Competitions → Addressing psychological Issues of different ages, especially the challenging→adolescent years

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有關社會或心理議題的教學準備 學生需要有心理準備去面對及回應音樂家有機會遭遇的各種情況和心理狀況: → 做好準備,在院校或工作面試中表現自己 → 如何促進練習效果 → 為學生準備比賽和遴選 → 應對與年紀相應的各種心理狀況,特別是最具挑戰性的青年時期 → 應付巨大壓力──老師和/或學生的壓力

Relating to the Business World and Music Organizations Musicians cannot function well by themselves. They need to establish good relationships with teaching organizations (such as Music Teachers National Association, College Music Society, National Piano Pedagogy Conference, Music Education National Conference, etc.), music and instrumental dealers, and arts management groups. Students learn about music organization whose affiliation would be beneficial. In conclusion, we need to keep promoting excellence in performance and encouraging our students to perform as much as possible. But let us also think about some of the practical aspects of being a musician and prepare ourselves to become successful by being well equipped for the reality of our profession.

進入商業世界和音樂組織 音樂家不能單靠自己就可以立足音樂世界,他們都需要跟教師組織(比如美國國家音樂教師協會(MTNA)、院校音樂協 會(CMS)、國家鋼琴教學法會議、國家音樂教育會議等)音樂和樂器交易商,還有藝術管理組織建立良好關係。學生要 知道隸屬那些音樂組織會有利發展。 總的來說,大家應該繼續提倡優秀演奏能力,鼓勵學生把握演奏機會。不過同時也要顧及音樂家要面對的實際問題,為 將來在現實音樂界中發光發熱做好準備。

Dr Jackson Leung Dr. Jackson Leung, Professor of Music, is Coordinator of Keyboard Studies and Director of the Chamber Orchestra at Wright State University. He is the recipient of the 2010 Robert J. Kegerreis Distinguished Professor of Teaching Award at WSU and the 2011 Southwest Ohio Council for Higher Education Award for Excellence in Teaching. Leung was the first-prize winner in the Missouri Southern International Piano Competition, the second-prize winner in the Young Keyboard Artists Association International Piano Competition, and the "Albert Roussel" Prize at the École Normale de Musique, Paris, as well as the “Conductor of Exceptional Merit” Award at the International Repertoire Workshop for Orchestral Conductors in the Czech Republic.

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? 嗎 統 系 音 延 定 需要特 ded ? e e n m e t s enuto Sy

Is Sost

這篇要分享的文章,會與大家深入去分析和講解三角琴中的特定延音系統的結構、使用方法和 與延音踏板的分別。讓讀者們可增加對特定延音踏板的認識。 特定延音系統踏板的設計,一般只會安裝在三角琴的三個踏板的中間位置。而直立式鋼琴,則只 有少數的鋼琴品牌公司,會把特定延音踏板的設計加入於演奏級數系列的直立式鋼琴當中。因 為直立式鋼琴內的擊弦器的設計限制,令到研究人員還未能完善地把特定延音系統踏板配合於 直立式鋼琴當中,所以往往會比一般沒有使用特定延音系統踏板的直立式鋼琴產生較多問題, 而令鋼琴品牌的公司減少製造這類型鋼琴。 This piece of article is going to analyze and explain the sostenuto system in grand pianos. Its structure, its method of use and the differences from sustaining pedal will be presented respectively, so as to let readers to have a greater understanding of it. Generally, the sostenuto pedal is found in between the two pedals in grand pianos. However, it is not usually found in upright pianos as only few piano brands would include it in some of the professional upright pianos. As the design of key action in upright pianos is restricted, the sostenuto pedal could not be perfectly fit in the upright piano. Thus, more problems will be arisen in upright pianos with sostenuto pedal. Piano makers, as a result, will produce less pianos of this type.

三角琴中的特定延音系統的結構 三角琴中的特定延音系統的結構分別是由三個部份的互動所組 成。由鋼琴琴鍵向下彈的時候,首先會使擊弦槌向上打。經過 擊弦槌向上的運行,再把已經連接在擊弦器的制音器,同一時 間內推向上,使到鋼琴的琴音延長。而在制音器和擊弦器之間 中,則是特定延音系統的引導杆,透過它的轉動使到特定的一 些琴鍵的琴音延長。

Structure of the Sostenuto System in Grand Piano The sostenuto system of the grand piano works through the mutual interaction of three different parts. When the key is pressed downwards, the striking hammer will first hit upwards. With the upward movement of the striking hammer, the damper which has already connected with the hammer will simultaneously push upwards, extending the musical sound. And the guide pin in between the mentioned two parts will keep spinning, making the sounds of the selected keys last longer. 26

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特定延音系統使用方法 特定延音系統使用方法,當用家選定樂章中某一些指定的琴 音,而且需要延長時。首先把例: E,G的鋼琴琴鍵按下。馬上再 把設計於中間位置的特定延音系統踏板踏下,就可以把指定的 兩個琴音例: E,G的琴音延長。

Method of Using Sostenuto System When the piano player hopes to sustain some specific musical notes in a piece of music, the sostenuto system is used. For example, when the keys E and G are pressed and at the same time the sostenuto pedal in the middle is immediately depressed, the selected E and G notes are extended.

特定延音系統踏板與延音踏板的分別 剛才也與大家分享過特定延音系統踏板的使用方法。最後會與大家講解 特定延音系統踏板與延音踏板的分別。普通的延音踏板在按下時,透過 踏板的帶動,再經過擊弦器,使每一個制音止同時升起,達到延音的效 果。不過普通的延音踏板的延音方法,它的缺點會令到每一個沒有被制 音器止住的琴弦產生共震。同樣地,其他的琴音也會發出輕微的聲音和 回音。而特定延音系統踏板就可以補足這個缺點,令只定(指定)的琴音 延長,且不會發出輕微的聲音和回音。令被延長的聲音更突出。 期盼這篇文章能增加大家對鋼琴中特定延音系統的認識。

The differences between sostenuto pedal and sustain pedal After sharing the method of using the sostenuto system, here comes to the differences between the sostenuto pedal and the sustain pedal. When the sustain pedal is pressed, by the movement of the pedal and through the damper, the guide pins of every sound are raised. So sounds are lengthened. Yet there is a disadvantage of using the sustain pedal. That is the strings inside the piano which are not paused by the guide pins will together vibrate. Minor noises and echoes of other keys will be made as well. In contrast, sostenuto pedal does not have this problem. It would only help in lengthening the specific keys and would not produce slight noises and echoes, making the sustained sound more outstanding. After reading this article, hope you all have learnt much more about the sostenuto system in piano.

Henry Wu 胡國安先生 Henry Wu has been engaging in the piano industry for over thirty years. Being the first non-Japanese student, he graduated from the Yamaha Tuning Institution, and obtained A grades in all disciplines in the Concert Grand Piano Course, including tuning, regulation and voicing etc. Apart from providing piano technical support, Mr Wu has trained hundreds of piano technicians in his piano workshop. Some of which have been appointed as piano technicians at the Steinway & Sons Company in Shanghai, China. 胡國安先生從事鋼琴調音工作超過三十年,曾遠赴日本YAMAHA調音學院 深造,是首位非日本學員於 CONCERT GRAND PIANO Course 考獲全A級 成績,包括調音(Tuning)、調整(Regulation)、整音(Voicing)等專業技 術。除提供鋼琴技術支援外,胡先生更開設亨利鋼琴工作室從事技術培訓 工作,先後培訓出過百技術人員,部分更被中國(上海)Steinway & Sons 公司取錄為鋼琴技師。

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Recording Review REC

CD Review of

錄音專欄

"Edvard Grieg Lyric Pieces" Pianist: Paul Crossley

“Edvard Grieg Lyric Pieces” 唱片評論 鋼琴演奏家︰(保羅•克羅斯利)

For a while it had been my intention to explore Grieg’s Lyric Pieces in more depth and Paul Crossley’s recently released CD provided an excellent opportunity to do so. Composed as a collection of ten books, Grieg’s Lyric Pieces provide a wealth of music evocative of Grieg’s native Norway. Crossley’s CD offers a selection of these pieces and I hope to share a few useful thoughts and insights into his interpretation of them. 最近,我有意深入了解 Grieg 的 Lyric Pieces ,而 Paul Crossley (保羅•克羅斯利) 剛推出的唱片正好讓我有機會 了解更多。Grieg的Lyric Pieces以十個樂章所組成,為觀 眾提供一個豐富的音樂系列,讓人憶起他的家鄉挪威。 Crossley這隻唱片收錄了這系列的某幾首樂曲,而我希望 藉此分享對他在演繹上的一些想法。 CD cover

Appropriately Crossley begins with the very first of the Lyric Pieces: Arietta. It is often said that first impressions are crucial and in this case it would be difficult not to feel optimistic on hearing the warm and expressive tone of Crossley’s playing. Crossley’s natural musicianship complements the simplicity of the piece and I was only sorry that it was over so quickly. There is no time to regret the end of the Arietta though as Crossley quickly captures the imagination with his dignified Waltz. This is a sign of things to come: Crossley seamlessly guides the listener from one piece to another with a sense of continuity which carries on throughout the CD. 第一印象向來十分重要。Crossley以Arietta作為唱片的第一首樂曲是 相當合適。細聽 Crossley 所彈奏出溫暖且抒情的音色,聽眾不難因 而感到心情開朗。 Crossley 自然的音樂技巧補足了樂曲的簡約。惟 一遺憾的是樂曲完結得太快,沒有足夠的時間惋惜 Arietta 的結尾, Crossley便很快開始在莊重的Waltz表達幻想。有一點絕對值得留意 的是,Crossley就是這樣無縫的延續整張唱片,引領聽眾從一首到另 一首樂曲中。

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Paul Crossley


It is not long before one of the more well-known pieces is heard. Crossley’s performance of Butterfly is carefully shaped which helps feed the imagination with visual images of fluttering wings, flashes of colour, and moments of rest. Perhaps the tempo could have been slightly more leisurely to allow a greater sense of delicacy and grace, but it remains a convincing performance. Following on from Butterfly is Solitary Wonderer in which Crossley further demonstrates his ability to discerningly convey Grieg’s melodies and he skilfully leads the listener through the interesting harmonies of the piece. A chirpy Grieg on the Edge concert rendition of Little Bird -a piece which seems to bear some resemblance to the piano parts of Saint-Saëns Aviary from Carnival of the Animals – shows off Crossley’s fun side. 很快就來到一首較為人熟悉的樂曲 -- Butterfly。經Crossley的細心演繹,蝴蝶扑騰著的翅膀,閃爍出不同 的顏色和停下來休息的片刻等影像,全都活現於聽眾腦海中。這絕對是一個使人信服的演奏。不過倘若 節奏可以稍為放慢一點,作品應更能呈現蝴蝶溫柔而優雅的一面。緊接Butterfly的是Solitary Wonderer。 Crossley以其洞悉樂章的能力表達出Grieg的旋律,熟練地帶領聽眾遊走樂曲裡有趣的和弦。以唧唧聲演 奏 Little Bird,突顯Crossley輕鬆的一面,而這彈奏方法似乎和Saint-Saëns的 Carnival of the Animals中 Aviary裡的鋼琴部分有點類似。 It becomes apparent that Crossley must have carefully chosen which pieces to include on this CD. There are selections from all ten books and Crossley explores each of them to varying degrees .Having a glimpse of every book reveals the variety of music contained within the complete Lyric Pieces whilst demonstrating Grieg’s development as a composer. When Crossley explores a book in more depth he clearly exhibits the diversity of music within that collection. Crossley顯然仔細挑選哪首樂曲應收錄於唱片中。每篇樂章展示了Lyric Pieces裡不同種類的音樂,同時說 明了Grieg是怎樣成為作曲家。Crossley深入探索每個樂章,亦清楚展示這系列的多種音樂。 There may be a few instances when it feels as though Crossley has perhaps been a little too liberal with his use of rubato which can detract from the impact of the music. An example of this could possibly be found in To Spring or Notturno where the accompanying voices appear to strive for attention which might not be entirely complementary to the primary melodies. Rubato, as with most things, is a matter of personal taste and an occasional difference of opinion on these matters is ultimately something to be encouraged as it challenges us to be more open-minded when listening to others and ourselves. 有幾次 Crossley 在樂曲中運用自由節拍,讓人感到 有點不準確,貶低音樂的作用。例如, To Spring or

Grieg and landscape

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Notturno的伴奏並不完全補充主旋律,似乎更吸引別人的注意。自由節拍和不少東西一樣也是因應個人喜 好的。而很多意見亦鼓勵使用自由節拍,讓我們更放開心情去聆聽別人與自己的所思所想。 No review of Grieg’s Lyric Pieces would be complete without mentioning the famous Wedding Day at Troldhaugen. Probably the best-known of the Lyric Pieces, Crossley impresses with an exciting tempo and contrasting textures which keep the listener alert and guessing. The central section is lyrical and expressive and the enthusiastic coda leads to a final chord which seems to have been mischievously placed to provoke a reaction (in my case a grin). 要全面評論Grieg的Lyric Pieces,就不得不提廣為人熟悉的 Wedding Day at Troldhaugen。大概是因為是 Lyric Pieces裡著名的樂曲,Crossley以快速的節拍和不諧和的層次彈奏此曲,使人讚嘆,亦讓聽眾一直保 持警惕和猜想。中段是抒情的。到了滿有熱情的尾段,Crossley似乎淘氣的放置了一個最終和弦,引發聽 眾的反應,(而我是咧嘴而笑)。 Crossley brings the CD to a close with numerous pieces from the final two books and appropriately finishes with Remembrances which echoes the opening Arietta. These final pieces illustrate an element of fantasy with a fairy tale in Once upon a time, an impish sprite in Puck(Kobold)and what might be a nod to the so-called “magic chords” of Mendelssohn’s A Midsummer Night’s Dream Overture in Peace of the Woods. Crossley paints enchanting pictures which should be just as accessible to regular concert-goers as to those more inclined to spend their time playing Dungeons and Dragons and the like. Crossley在最後兩本樂章中選取了幾首樂曲,作為唱片的結尾。他更正確的把Remembrances一曲放在 最後,呼應著唱片首曲 Arietta 。這些樂曲表現出幻想這個元素,如童話故事和淘氣的小精靈,似乎是要 向Mendelssohn的A Midsummer Night’s Dream Overture 中Peace of the Woods開端的「奇幻和弦」致 意。Crossley畫出使人陶醉的圖畫。不論音樂會的常客或是沉迷電腦遊戲的人,也會給迷倒。 Crossley writes in his interesting and informative CD notes that everyone should delight in Grieg which is a sentiment that I share with him entirely and this CD of Lyric Pieces would be a good starting point for anyone interested in learning more. Crossley’s immersion in Grieg’s sound world highlights not only his own intuitive musicianship, but also that of the composer. From the opening Arietta to the final Remembrances, Crossley carefully guides the listener through an imaginative journey which is an experience that one would hope can only be enjoyed. 於有趣而詳細的唱片注釋裡, Crossley 寫了一句「人人也應喜歡 Grieg 」。 我在這唱片裡完全感受到他的這種情感。這隻 Lyric Pieces 唱片絕對是使人 更有興趣學習的一個好開始。融入 Grieg 的音樂世界, Crossley 不但展示他 強烈個人的音樂風格,還有作曲家的音樂才能。由開端的 Arietta 到結尾的 Remembrances, Crossley細心引領聽眾遊走這趟幻想旅程 -- 每人都渴望在 其中卻只能在旁享受的旅程。

Matthew McCombie

Edvard Grieg

British pianist Matthew McCombie participates in a wide range of activities including performances as a soloist and orchestral musician, accompaniment, collaboration with composers, and educational work. Matthew is a graduate of the Royal College of Music and Trinity Laban Conservatoire of Music and Dance, London and he has performed with leading conductors including Barry Wordsworth, James Judd and Ronald Corp. 英國鋼琴家Matthew McCombie以優異成績畢業於英國倫敦皇家音樂學院。作為 協奏曲獨奏者他曾與Barry Wordsworth ,James Judd及Ronald Corp合作,並 與 Trinity Symphony Orchestra及 New London Orchestra演出。他曾於Steinway Hall, St John’s Smith Square, Ely Cathedral 及Cambridge Fitzwilliam Museum 的舞台演出。

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April 2015 | The Pianist


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青苗頻道

廣州珠江鋼琴集團股份有限公司(以下簡稱“珠江鋼琴集團”) 成立於1956年,是一家集鋼琴、數碼樂器和音樂文化教育協同發 展的綜合樂器製造企業,2012年珠江鋼琴成功IPO整體上市,成 為國內第一家上市的樂器企業,進一步向高新技術和文化產業發 展。至2013年累計生產鋼琴約175萬架,銷售輻射全球180多個 國家和地區,國內市場佔有率達35%以上,全球市場佔有率達 25%以上,企業主要經濟指標20多年來穩居同行首位。

珠江鋼琴集團是全球最大的鋼琴製造商、最具國際競爭力的中國 樂器龍頭企業和最具國際影響力的民族品牌。公司擁有全球最大 的鋼琴木材加工基地和最先進的木材處理設備,在全國同行率先

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琴的高級技術顧問,研發高級鋼琴,並負責培育珠江鋼琴設計專業

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April 2015 | The Pianist

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Leslie Howard

Marc-Andre Hamelin

John Lill

Peter Donohoe

Lang Lang

Stephen Hough

Jean-EfflamBavouzet

Peter Frankl

Dame Fanny Waterman

Boris Berman

Pascal Rogé

Jörg Demus

THE PIANIST

琴韻

2015/1 Issue No.13 第十三期

Interview with Pascal Devoyon 專訪 - Pascal Devoyon Music and Theology - Lai Cheuk-Yin's 神學與音樂之對話–黎卓然 Piano Clinic - Introduction to the Piano Timbre- Henry Wu 鋼琴音色的介紹–胡國安

Pascal Devoyon

THE PIANIST

琴韻

2015/4 Issue No.14 第十四期

Interview with Nelita True 專訪 Nelita True Careers in Music: Dealing with Practical Aspects of the Music Profession - Dr Jackson Leung 職業音樂生涯:如何面對音樂專業中各種實際問題 A Pianist's Reflection: So Close yet So Far (but I am not alone) - Bobby Chen 一個鋼琴家的自白:這麼近 那麼遠(但我不孤單) CD Review of "Edvard Grieg Lyric Pieces"- Matthew McCombie “Edvard Grieg Lyric Pieces” 唱片評論

Nelita True