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巴洛克音樂筆記
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以推廣巴洛克音樂及早期音樂為主旨
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Pierre Boulez與William Christie的對話

整篇對話錄中,我覺得有意思的部分有﹕ 1.回溯1960年代法國的當代音樂與古樂發展氛圍 2.古樂運動的意義 3.關於轉換領域的可能性 其中也有些令人莞爾的輕鬆之處,比如﹕ WC﹕你也可以向Alfred Brendel提這樣的問題,「你演奏這麼多19世紀初的德奧音樂,你對其他感興趣嗎?」,我相信他的回答也會是一樣。 PB:當我在倫敦的時候,我常常看到Brendel,如果他有空,他會來聽當代音樂的音樂會。 WC:沒錯,他有相當的好奇心,他也會到我的音樂會。 D:他有時間。 PB:他可以一個人窩著自己練,但是反過來說,我們是時間的奴隸。 在法國音叉雜誌登載此段對話的一年前,2002年3月在英國獨立報(The Independent)一篇William Christie訪問裡,Christie就曾提出法國當代音樂作曲家與古樂復興脫鉤的情況,特別指名Pierre Boulez,說Boulez對古樂運動毫不關心。原文如下﹕"In France, there has been a terrible cleavage between old and new, brought on and exaggerated to a great degree by Pierre Boulez, who has no love for anything we do. This is in flagrant contradiction of what has been the case in the US or, especially, in Britain, where composers do have a sense of the distant past. If you look now at Peter Maxwell Davies, or 40 years ago at Britten or Elisabeth Lutyens, their music shows a deep respect for, and understanding of, the past." 完整原文 這段訪問曾在2003年四月15日台灣CD-Hi論壇中有過幾篇討論,主要是Gia的留言,和Cloning的回應。Gia提到獨立報的一段文字是很有意思的,指出重塑古樂與創作當代音樂在聲音素材運用處理上一樣要面對創新。原文如下﹕As Christie points out, both ancient and modern demand a sense of adventure. "I was brought up in the belief that if you wanted to be revolutionary or even just a little audacious, if you weren't satisfied with orthodox ways of singing, you were into early music, or you were into new music. They were all new sounds, and you had to invent new techniques for them. Thirty years ago, a singer working on a Sequenza by Luciano Berio had the same essential problem that she had working on early 17th-century style: how do you get those affects into the voice that are sometimes beyond normal beautiful singing? There are people in Les Arts Florissants who can play a piece by Brian Ferneyhough one day, and something by Geminiani two days later, and I love that." CD-Hi七嘴八舌舊留言,留意2003/4/15的部分。 Gia自己提到的一段經歷也是非常有趣,引文如下﹕「現代音樂特色之一是朝向極端理性的方向發展,當我的朋友在教授面前吹完Berio的長笛曲之後,被老師嫌「不夠機械化」,於是補上一堂課,教她如何當機器人演奏Berio--我到目前為止已經不小心在柏林聽了三首Sequenza了--Christie錄的《King Arthur》也有讓合唱團發出怪聲,聽起來很痛快、十分自然、人性化。」
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