一、中文翻译:
刘芳专访
第一部分
刘芳是一位国际知名的音乐家,以弹奏中国传统乐器见长。她出生于1974年,从6岁起就开始弹奏琵琶。11岁起她就开始举办演奏会,包括英国女王访华期间为女王做的一场演出。刘芳毕业于上海音乐学院,1993年她还在那里学习弹奏古筝。
请您谈谈您在音乐方面的背景及训练情况,好吗?
我母亲是滇剧演员。滇剧是一种中国戏剧,里面有声乐、舞蹈及表演。我小的时候,母亲就带我去看节目。在会说话前,我就接触了音乐! 我5岁那年,妈妈教我弹月琴。1990年,我15岁的时候去了上海音乐学院,在那里,我学习了琵琶和古筝。毕业后,我回到故乡昆明,并在昆明歌舞团做了琵琶独奏演员。1996年,我和丈夫移居加拿大,直到现在。
弹奏琵琶和古筝最大的挑战是什么?
如果你的技术不够纯熟,就不可能弹好中国古典琵琶曲。另外,琵琶弹奏曲目很多———一些作品甚至作于唐代。琵琶流派很多,每个流派都有自己独特的诠释古典作品的方式。最大的挑战是尊重传统并融入自己的风格。对于我的第二种乐器———古筝,情况也是如此。
第二部分
请您谈谈哪些人或事对您在音乐方面产生了影响,好吗?
最主要的影响是民族音乐。我在年幼时就听传统戏剧和民歌。现在每当我演奏一个曲子时,我都会在心中跟着吟唱。当我演奏哀伤的乐曲时,我内心也在哭泣。听众都说能在我的乐曲中听到歌声。 您在演奏中想展示中国古典音乐的什么特征?
首先,中国民族音乐跟汉语很相似。在汉语中,读音相同音调不同,意义就不同。音乐也是如此。其次,中国古典音乐与中国诗歌关系很密切,因此很多古典音乐作品都有着很诗意的标题就一点也不奇怪了。再次,中国古典音乐与国画像孪生姐妹。在中国国画中,留有些空白,这些空白非常重要。它们给整幅作品带来生机,也使得观众融入图画,就像与图画进行对话。
中国古典音乐也是一样。乐曲中有停顿,人们认为这种停顿静谧之中充满了音乐。琵琶的声音和乐曲中的停顿结合在一起,给声音赋予了诗的意境。听众可以自己感受音乐的力量、音乐的美,就像享受一首美妙的诗歌或一幅美丽的图画一样。
第三部分
现场演出最让您感到愉悦的是什么?
我喜欢弹奏,也喜欢当众演奏。我喜欢音乐厅中的氛围,每当我举行音乐会的时候,我会很兴奋。在很长一段时间没做音乐会后,我会感到有点情绪低落和孤独。我同样喜欢音乐会后和朋友及音乐爱好者分享感受、交流看法,听他们谈对我的音乐的感觉和理解。我热爱我的事业。我也喜欢旅游;我喜欢坐在飞机上幻想,或者呆在旅馆里。
作为一个艺术家,您的目标是什么?
我没有特定的目标。但我希望能和很多作曲家共事,同时我希望创作我自己的音乐。我的音乐底蕴是中国民乐。自从移居加拿大,我就有机会接触到了其他音乐传统并跟一些音乐大师同台演出。我希望我能继续跟他们合作,并吸取其他音乐传统之长,创作自己的音乐。我也希望能使中国传统的琵琶和古筝音乐传遍世界的各个角落。
二、原文:
An Interview with Liu Fang
Part 1
Liu Fang is an international music star, famous for her work with traditional Chinese instruments. She was born in 1974 and has played the pipa since the age of six. She‘s given concerts since she was eleven, including a performance for the Queen of England during her visit to China. She graduated from the Shanghai Conservatory of Music, where she also studied the guzheng in 1993.
What is your musical training and background?
My mother is a Dianju actress. Dianju is a kind of Chinese opera, which includes singing, dancing and acting. When I was a child, she took me to performances. I listened to music before I could speak! When I was five years old, she taught me to play the yueqin.
In 1990, when I was 15 years old, I went to the Shanghai Conservatory of Music, where I studied the pipa and the guzheng. After I graduated, I went back to my hometown of Kunming and worked as a pipa soloist of the Kunming Music and Dance Troupe. In 1996, I moved to Canada with my husband and I have been living there since then.
What are the biggest challenges of playing the pipa and the guzheng?
If your technique is not good enough, it is impossible to play classical Chinese pipa music. Also, the repertoire for the pipa is large – some pieces were written during the Tang Dynasty.
There are many different pipa schools, and each one has its special way of interpreting the classical pieces. The biggest challenge is to respect the traditions but to add my own style. The same is true of my second instrument, the guzheng.
Part 2
Who or what are your musical influences?
The main influence is traditional singing. I listened to traditional opera singing and folk songs in my childhood. Now when I am playing a tune, I am singing in my heart. When I‘m playing a sad tune, I am crying in my heart. Listeners often say that they can hear singing in my music.
What characteristics of Chinese classical music do you try to show in your playing?
Firstly, Chinese music is similar to the Chinese language. In Chinese, the same pronunciation with different tones has different meanings. The same is true for music. Secondly, classical Chinese music is closely connected to Chinese poetry, so it isn‘t surprising that most classical pieces have very poetic titles. Thirdly, classical Chinese music and traditional Chinese painting are like twin sisters. In Chinese art there are some empty spaces, which are very important. They give life to the whole painting and they allow people to come into the picture, like a dialogue.
It‘s the same with classical Chinese music. There are empty spaces, and people say the silence is full of music. The pipa sounds and the pauses combine to make a poetry of sound. Listeners can experience the power and the beauty of the music, like enjoying a beautiful poem or painting.
Part3
What do you like best about performing live?
I enjoy playing and I enjoy performing in public. I like the atmosphere in a concert hall and I always feel happy when I have a concert. I feel a little depressed or lonely when there is no concert for a long time. I also enjoy the time immediately after the concert to share the feelings and ideas with friends and music lovers, listening to their impressions and understanding about the music. I love my career. I also enjoy
traveling: I enjoy sitting in a plane dreaming, or staying a hotel.
What are your goals as an artist?
I don‘t have a particular goal. But I hope to work with many composers, and I also wish to compose my own music. My background is traditional Chinese music. Since I moved to Canada, I have had
opportunities to make contact with other musical traditions and play with master musicians. I wish to continue working with master musicians from other traditions and to be able to compose my own music, using elements from different cultures. I also wish to introduce classical Chinese pipa and guzheng music to every corner of the world.
Street music
It‘s a warm Saturday afternoon in a busy side road in the old district of Barcelona. The pedestrians are
standing in a semi-circle around someone or something in front of the cathedral. I push my way through the crowd and find a quartet of musicians playing a violin suite of classical music. The session lasts ten
minutes. Then one of the musicians picks up a saucer on the ground, and asks for money. All contributions are voluntary, no one has to pay, but the crowd shrinks as some people slide away. But others happily throw in a few coins. They‘re grateful for this brief interval of music as they go shopping.
Below the window of my apartment in Paris, a music man takes a place made vacant by an earlier musician. He raises the lid of his barrel organ and turns the handle. Then he sings the songs of old Paris, songs of the people and their love affairs. I remember some of the words even though I have never consciously learnt them. I tap my feet and sing along with him. Down there on the pavement, few passersby stop. Some smile, others walk past with their heads down. Cars pass, gangs of boys form and disappear, someone even puts a coin the cup on the organ. But the music man ignores them all. He‘s hot in the sun, so he mps his head with a spotted handkerchief. He just keeps singing and turning the handle.
In Harlem, New York, some locals place a sound system by an open window. They plug it into the electrical socket, and all of a sudden, there‘s dancing in the streets. In downtown Tokyo, young couples eat popcorn and dance to the music of a rockabilly band, which plays American music from the Fifties. In the London Underground a student plays classical guitar music, which echoes along the tunnels. It lifts the spirits of the passengers, who hurry past on their way to work. In a street in Vienna or Prague or Milan a group of pipa musicians from the far Andes fill the air with sounds of South America.
The street musician is keeping alive a culture which has almost disappeared in our busy, organized, and regulated lives: the sound of music when you least expect it. In a recording studio, even when relayed by microphone, music loses some of its liveliness. Bt street music gives life to everyone who listens and offers relief from the cares of the day. It only exists in the present, it only has meaning in the context. It needs space.
Music from China
One dozen beautiful young women, all in their twenties, take the stage and stand before a variety of ancient musical instruments. The moment they start to play, it is clear the members of Twelve Girls Band are among the most gifted musicians in the world. Coming from China, Twelve Girls Band is already one of that country‘s most popular groups.
As they build a musical bridge between east and west, Twelve Girls Band charms the people of many nations around the world. A best-selling act all over Asia, Twelve Girls Band fills concert halls and arenas there, and has now been discovered by America. In 2004 the group arrived on the US music scene at NO. 62 of the billboard 200 album chart. It was the highest entry by an Asian group. In Japan, Twelve Girls Band is already a supergroup. It has sold more than two million records, and has even appeared in TV ads for chocolate and cellphones, among other products. A Japanese DVD of Twelve Girls Band live in concert sold over 200,000 copies, and their live performances have been seen on television around the world. In 2004 they were named International Artist of the Year at the Japan Golden Disc Award ceremonies.
Drawing upon more than 1,500 years of Chinese music, Twelve Girls Band mixes this rich tradition with classical, folk and contemporary sounds. The group signifies the symbolic choice of a dozen members found in various aspects of Chinese numerology with 12 months in a year, and in ancient mythology, 12 jinchai (golden hairpins, which represent womanhood). Inspiration also comes from yuefang, the female chamber orchestras that played in the royal courts of the Tang Dynasty.
Each member of Twelve Girls Band has classical training, with backgrounds that include the China Academy of Music, the Chinese National Orchestra, and the Central Conservatory of Music. Skilled multi-instrumentalists, they perform on traditional Chinese instruments that include the guzheng, the yangqin, the erhu, the pipa and the dizi and xiao.
The group‘s appeal is equally as broad, with children, teens, adults and grandparents filling arenas to see it perform. American critics noticed the mixture of pieces by Mozart and Beethoven, with jazz standards like Dave Burbeck‘s Take Five, or a version of a mush-loved classic such as Simon and Garfunkel‘s El Condor Pasa.
The group honours its musical heritage and shows a genuine love for all style of music – from complex classical works to long-lasting pop tunes.
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