E.J.韋迪翹流仕的音乐

mn顛覆了我不少概念 比如：我以前很討厭聲樂，opear，saxphone，黑人歌手。我知道他們都是些很美好的事情。但我極其討厭kg那些經典流行的saxphone，也不喜歡黑人純的r & b，也因為中學的訓導主任是個練美聲的女老師而讓我討厭她們說話中的那些渾厚。 我依然記得我第一次聽the piano那張ost的情形。全碟重複10次，之後找鋼琴譜不斷在琴房練琴。那是我第2次正經的彈回鋼琴，上一次大概是7年前。之後我不斷找回michael nyman的所有專集，也知道了minimal，philip glass,john adams，peter greenway。原來saxphone也能打動我，opear中得女高音也能打動我。原來我是一直誤會了她們。我被那些不好得第一印象奪走了他們在我心目中得位置。 這是一個新的領域，也不是一個新的流派。雖說現在對於是誰提出這個流派的還是有些很少的爭議，但我也比較偏向是mn。70年代當他還是音樂評論人的時候提出，那時的philip glass也沒有定義自己的音樂流派，儘管他自己也說他的簡約主義音樂只是泛指他的前期作品（大概就是enistan on the beach那左右），後面的作品均不是簡約派，但也不定義。 儘管在學校老師們都不提倡簡約主義音樂，但我確實是迷上了。他們或許可以簡單得只有和諧，節奏，看似只是這棵樹只有樹幹，毫無枝葉，不像音樂所被定義得豐富得生命，但這讓我看到是更徹底，更加純粹得音樂肢體，有些茂盛得你難以看見，而這些，乾脆擺在你面前。複雜得很有深度，簡單得很悅耳，但其實minimal說是簡單也不是太簡單，這融合了不少對位，賦格，巴洛克等多種音樂技巧，節奏更是不是簡單得in4，3，2。只要你看到譜你就會明白，看似是簡單得那幾個音，聽起來也很清晰得幾個音，裡面得技術含量是不少的。 這專集是一個collection，就是以前專集的一個集合，裡面的作品基本是每一張專集裡面的標誌性作品。但這同時是一些製作人新創作的靈感，他們之前或許不是一起的，但在這次創作，他們一起了，對於這新的事物，也可算是二度存在。另一張dvd是mn的攝影作品，裡面加上了配樂。而這些歌是這一整張專集的小小的思路，這是mn自己的音樂品牌的作品的一個小歷程，而這些也可座小小的路標，帶你回顧從2005年的 the piano sings 到2009年與david mcalmont合作的the glare.說真的，我真的是覺得他的聲音是接近心靈的聲音，而the coldest on the earth更加是另我又重複了一次對於the piano的喜愛。這是歌版。我之前一直好奇到底會是怎樣的一個版本，我一直以為會是the piano的女主角那樣的形象，然而，一開始看到是歌黑人歌手我的心涼了半截，但聽完了我的心又暖了起來。dvd的內容是mn的short moive.是圖片加上音樂的小短篇，有9段，看了簡介應是在義大利宣傳圖片集sublime時策劃的audio-visual work。每一段都是一系列的組圖當中也有些片段夾雜。 圖片集cine opear是一輯關於mexico一個1940年代建成的teatro cine opear，但現在已經荒廢。theatre對我來說意義非凡，看到這感覺昔日繁華和現在的落寞時，唯有歎息。 作品能夠以不同的形式再度創作，在不同的角度上都能完美，才是好的作品。要知道我一直都是如何迷戀mn的音樂。

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3年前，一位曾經得朋友向我推薦這張如此熱血沸騰得emo專集。我聽流行樂有個原則，一定要是女聲為主得，旋律能留住我30秒我才會聽完一首歌，進而聽完整個專集。爾i'm so sick得開頭就已經狠狠的把我套住。如此給力的女主唱，不是amy lee那樣有渾厚的聲線，也不是sara lov的懶惰銷魂之聲，是一把渾身力量都使出來的青春聲音。裡面的沙啞怒吼更是我愛得不能再愛。總之，一聽就是3年。 沈迷得時候聽她，傷心得想怒吼也是她，她代替了我無法叫吼得吶喊。將音量調到最高，戴上耳機，世界瞬間成為自己得。 今天終於買到這專集，重新聽上，依然很有摔東西得衝動，依然很亢奮。物事人非，但唱片依舊動聽。繼續自我。一切都還是很好。

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不是专业评论人士,只是说些感受. 在这套专辑里,更多的是无调性的乐曲,交响乐较少,opear却比以前更多.我一直都有听现代的classical,我想看看从巴洛克发展到现在到底变成了一个怎样的模样.从简单的七个音,发展到微分音年代,从几个吹奏乐乐器到现在各式各样的乐器,复杂的演奏方法和节奏.这是一个正统的进化过程,随着技术和科技的进步,这些复杂的作品越来越进步,有时比我们的思维和耳朵进步得快很多,所以我们会觉得很难入耳和难懂.评定现代作品是比较尴尬的事情,因为作曲家同时也是一位创造家,寻找新的事物就必须要突破平常事的思维你才能看到别人看不到的东西,就如久石让先生说你若能把杯子看作花瓶,那么这就是一种具有创造力的想法,若我说,这是具有创造力的眼睛,看到别人看不到的,快乐独享. 我们很难去评定现代音乐的好与坏,因为有个过于鲜明的对比--流行音乐,流行音乐的普及化,让现代音乐成为了罕有物,无论作曲家多使劲或象mozart那样如此快速的写完一部交响乐,也不及流行音乐这样不用一小时或几分钟就能诞生的速度.而我们现在称之为严肃音乐的现代音乐由于可听性与流传性均受限制,(当然我只是说身在祖国的我而言),真正好的未来得及流传于我耳我变挂了也是很有可能的. 以前的音乐家是为了生计而写作,所以有一种生存的意义在音乐里头,而现在的音乐家只是部分有生活困难,所以有时我很难找到作品的共鸣,丰衣足食及氛围的改变也使音乐的路向走出另外一条新的道路.我曾经问过我一个作曲系的朋友,问,为何就不能写些比较悦耳的音乐,而一定到追求曲式技法及无限发展无调性作品?我不是说这事情不要做,必须要做,但难道现代音乐就如此的难懂的才能叫现代音乐?但追求这些是完全正确的,但为何就不能好听些?当然我听得不多，根据自己的口味我听得更多的是简约音乐。它让我找到些巴罗克主意的精神复兴，当然体裁和技法完全不一样。简约音乐更加纯粹，多样的简单组织复杂的织体再带出纯粹的音律。 序列音乐之后我接触得比较少,主要是学习上和工作上比较少碰到这方面的内容,所以見識比較短淺，但聽過一少部份的唱片也約莫的體會到些意思，但需要更多的時間去重複思考。不過若400年後，不知道這些作曲家的作品是否能像今日的mozart，beethoven，bach被傳頌？那時聽眾的思維和口味是如何的？那時後的現代音樂會是怎樣的模樣？因為現在也沒有固定哪個派別能有長久的保持時間，是否會復興？想太多了。 喜歡的就喜歡，不喜歡就算了。享受是自己的，與他人無關。

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http://arthurjussen.nl/en/nieuws/read/3/beethoven-sonatas-album-release-23-april-2010 Beethoven Sonatas Album-release 23 april 2010April 23rd the new album of Arthur & Lucas ‘Beethoven Sonatas’ will be released. At the start of it all Arthur and Lucas Jussen talking about Beethoven. With looks that could make many a young lady’s heart go pitty-pat, the two Jussen brothers, Arthur and Lucas, could easily be confused with two heartbreakers from a British boy band. And, having said that ‘we also like listening to something else sometimes,’ the iPods of these young pianists contain not a single note of classical music. The name of their big MP3 hero isn’t Beethoven but Stevie Wonder, and both are crazy about Marvin Gaye and Frank Sinatra. But when sitting down to talk with them about the repertoire for their debut CD, you can’t help but see a metamorphosis take place. Suddenly glowing in the eyes of what you thought were pop stars is the burning ambition of the classical musician bound and determined to follow his mission. Beethoven! Mozart! Chopin! They never run out of things to say about these old masters, and their enthusiasm is definitely infectious. In a restaurant on the banks of the IJ in Amsterdam, they don’t mind talking about how they selected their repertoire: Beethoven and only Beethoven! First, however, it’s time to wash down some snacks with a Coke. Then, after his last sip, Arthur wants to emphasise that, ‘first of all, they’re all wonderful pieces.’ What’s more, they’re also pieces that are related to one another. ‘I play Sonata Number 13, Opus 27, Number 1. Lucas plays Sonata Number 14, Opus 27, Number 2 – the Moonlight Sonata. These two alone are a beautiful pair. I also play Sonata Number 5, Opus 10, Number 1, also known as the “Little Pathétique”, and Lucas plays Sonata Number 8, Opus 13, or the actual Pathétique. So here we have another natural pair. And they’re all Beethoven, of course. What we wanted was a relationship among the pieces, not just any old programme. To achieve this, we really thought hard about it with Maria João Pires.’ Arthur and Lucas flatly reject the idea that a programme made up entirely of Beethoven might be rather heavy for two young guys living in the 21st century. ‘None of these are Beethoven’s later pieces,’ says Arthur. ‘He wrote Opus 10 when he was still young. So that means we can play that music at our age, too. On the other hand, we wouldn’t have risked playing the much later sonatas, Opus 110 or 111.’ Beethoven’s first work was published in 1782 when he was just 12 years old. And he was only 14 when he was appointed court organist. Can you two living in the 21st century imagine yourselves in the shoes of the gifted Ludwig when he was your age? Arthur: ‘Not as a composer. I can’t compose at all. I’ve tried it sometimes but never succeeded. So as far as that’s concerned, it’s difficult for me to put myself in his place. For me, it’s mostly a question of practising and trying over and over to understand why he wrote certain parts as he did.’ Lucas: ‘But what you try to do is include what you know about Beethoven in the way you play. Take his earliest sonata that Arthur plays – the one he composed around 1796. Here, you can hear that he’s still heavily influenced by Mozart. He may insert his own ideas into the music, but he’s still modelling his composition closely to the pattern that then applied to composing classical music. But in the Pathétique – Opus 13 – that he wrote two years later if I remember rightly, you immediately hear the real Beethoven starting to come through. And that’s an awareness you have to have to play that sonata.’ Do you see the fact that you are so young as being a handicap? Arthur: ‘Sometimes. With Jan Wijn I started playing Opus 118, six pieces for piano, by Johannes Brahms, for example, because I thought it was so beautiful. Technically, it’s not at all difficult to play – but that’s not all. It’s actually a piece I can’t really play yet because it’s a piece in which so many emotions come together – feelings you can’t really understand until you’ve experienced a lot more of life. But at our age, we’re at the start of it all. I don’t feel this when I’m playing – at that time, I’m simply concentrated on playing my best. But afterward, when I hear Maria João Pires play it, that’s when I hear the difference. That’s why you have to understand everything to play a piece like that, out of respect for the music. After all, those emotions are so much a part of that music.’ Do you catch yourself thinking, ‘Oh, Pires does it that way!’ So next you try to play a piece just like she demonstrated…’ Lucas: ‘Yes, but that’s just it: great pianists don’t need a model in order to rehearse a piece. I rehearsed the Pathétique almost entirely on my own; even the first time I played it for Pires, there was already a kind of goodness in it. But that’s just not possible with certain pieces. OK, if she says, “Do it exactly this way,” it’s no problem. But that’s not what it’s about, of course. That’s not how it works. Six months later, you’ve forgotten the kind of emotion associated with it.’ Arthur: ‘You shouldn’t be an imitator. It has to come from within yourself. Otherwise, you’re just playing without personality, and that’s not what’s intended, of course.’ What made you decide that you actually were ready for the recording of this album? We were offered the opportunity to record a CD-album before. At that time we declined as we considered ourselves too young. But now it’s different. Maria João Pires has lots of experience with recording CDs: she wouldn’t let us do something if we weren’t ready for it. Our teachers support us, and that support is what makes us feel confident enough to take this big step. That and the fact that these are pieces that we have made entirely our own.’ On the album cover, you already look a little like pop stars. How much chance is there that you’ll start a rock band in a couple of years? Lucas: ‘A big chance!’ Arthur: L’ucas also plays electric and bass guitar.’ Lucas: ‘And Arthur’s going to buy a set of drums.’ Arthur: ‘We think that would be so much fun to do. It’s not a question of limiting ourselves to one thing or another. We both think that playing the piano is the greatest thing in the world. But we also like to play tennis or football. And we’ll just keep on doing so, too. After all, if we didn’t, what kind of a life would we have?’ Ruud Meijer

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