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1月21日,我們又去了一場音樂會,距離上一場不過才2天...這回是巴倫波英 /Daniel Barenboim於卡內基廳登台的50週年紀念,50年前.他才14歲,就演出普羅高菲夫的鋼琴協奏曲No.1,這個人也太可怕了吧～～50年後,1月20、21日,暌違半世紀後的曲目改為巴哈的Well-Tempered Clavier平均律全本,我們選的是21日的Book 2。
為什麼呢？其實Book 1比較有名,Barenboim也出過錄音,只是因為第一天的Student Rush Ticket所賸不多,兩夫妻沙盤推演一下,估計第二天能買到的位置會比較好,為了預防被巴哈催眠,我們這盤全壓在第二天了。結果～～～～還是坐到最高樓 層的10幾排,離Stage超遠
不過剛好讓大夥瞧瞧卡內基廳的全景～～
真的離太遠了,這場音樂會我的狀況很不好,周圍的人又非常吵,寫不出像樣的賞析,偷懶引用Barenboim本人的分享:
I was reared on Bach.My father was virtually my only teacher,and he attached great importance to my growing up with Bach's keyboard music........In my childhood I played pratically all the preludes and fugues from The Well-Tempered Clavier and many other pieces by Bach.That was my basis.
At the age of 12 I moved to Paris to study harmony and counterpoint with Nadia Boulanger.When I arrived for my first lesson,The Well-Tempered Clavier was on the music stand of the grand piano.....finally she settled on the Prelude in E minor from Book 1 and said :"Right,my boy,now play it for me in A minor."She held a wooden ruler in her hand and everytime my fingers played a wrong note she tapped theem with it.(大師小時候也要被打
)......my father communicated something to me that I only found expressed in the words when I was an adult,in a book about Franz Liszt.....that the piano should not be played with two hands or as two units.Either you play with a unit consisting of two hands,or with ten units in each fingers is independent......I was really pleased to read that,because I recognized once again what my father had taught me without putting it into words.....Bach's keyboard works definitely call for ten fingers that are independent of one another.And if they are,they can be brought together to create a unit.
....I did not feel comfortable playing Bach:the way I played it at that time sounded alomst like Brahms,and I kenw this was not right.Yet I couldn't play it any other way.So I decided to leave it aside.Several years later I began to study the "Goldberg "Variations,which I had not played as a child.I worked on them for 25 years before I performed them in public.I really couldn't find my way into it.And one day I stopped to think for a moment,and I said"Well, when I play the piano,I always try to 'orchestrate,'to play the piano as an imaginary orchestra."This is true not only of the 19th-century repertoire-because the piano itself is a very neutral instrument.So,as an exercise for myself,I orchestrated in my mind each one of the "Goldberg"Variations.And that's how I came back to Bach.
的確,巴倫波英的巴哈平均律非常有血有肉, 不是我習慣的詮釋,有時候,他會把巴哈彈的像浪漫樂派的鋼琴曲.澎湃激昂,有時候,跳躍可愛的像莫札特, 許多地方的處理都讓人驚喜,雖然我聽起來可說是意志力大考驗,要不停想像聽不見近在咫尺的觀眾噪音,全心全意去聆聽大師的琴音,但,基本上,我還是非常珍惜這場音樂會,這樣的大師+曲目,大概永遠不可能出現在台灣票房至上的音樂會裡吧～～～
.....................................................................................................
我要再說一次:
不是去聽音樂會的都是有文化教養的人,不是每個紐約樂友都是有文化教養的人！這場音樂會,因為曲目是許多鋼琴人的必學,現場很多人帶了樂譜去觀摩大師的詮釋手法,邊聽邊看譜,討厭的是,這些人不曉得是想要表現出他看得懂譜還是怎樣,大師都還在彈最後一小節,很有氣氛的完結音符尚未出現,他們就急著翻下一頁,發出響亮的翻譜聲"啪擦～～"吼～～～就不能等大師翻的時候一起嗎？
還有人手機沒關, 跟著大師的鋼琴合奏
！從上半場起就不停有人中途離開.......只要樂曲告一段落,全場就咳個不停,大師可不會等聽眾咳完才繼續.......真的是場聽眾很擾人的音樂會。
I was reared on Bach.My father was virtually my only teacher,and he attached great importance to my growing up with Bach's keyboard music........In my childhood I played pratically all the preludes and fugues from The Well-Tempered Clavier and many other pieces by Bach.That was my basis.
At the age of 12 I moved to Paris to study harmony and counterpoint with Nadia Boulanger.When I arrived for my first lesson,The Well-Tempered Clavier was on the music stand of the grand piano.....finally she settled on the Prelude in E minor from Book 1 and said :"Right,my boy,now play it for me in A minor."She held a wooden ruler in her hand and everytime my fingers played a wrong note she tapped theem with it.(大師小時候也要被打
)......my father communicated something to me that I only found expressed in the words when I was an adult,in a book about Franz Liszt.....that the piano should not be played with two hands or as two units.Either you play with a unit consisting of two hands,or with ten units in each fingers is independent......I was really pleased to read that,because I recognized once again what my father had taught me without putting it into words.....Bach's keyboard works definitely call for ten fingers that are independent of one another.And if they are,they can be brought together to create a unit.....I did not feel comfortable playing Bach:the way I played it at that time sounded alomst like Brahms,and I kenw this was not right.Yet I couldn't play it any other way.So I decided to leave it aside.Several years later I began to study the "Goldberg "Variations,which I had not played as a child.I worked on them for 25 years before I performed them in public.I really couldn't find my way into it.And one day I stopped to think for a moment,and I said"Well, when I play the piano,I always try to 'orchestrate,'to play the piano as an imaginary orchestra."This is true not only of the 19th-century repertoire-because the piano itself is a very neutral instrument.So,as an exercise for myself,I orchestrated in my mind each one of the "Goldberg"Variations.And that's how I came back to Bach.
的確,巴倫波英的巴哈平均律非常有血有肉, 不是我習慣的詮釋,有時候,他會把巴哈彈的像浪漫樂派的鋼琴曲.澎湃激昂,有時候,跳躍可愛的像莫札特, 許多地方的處理都讓人驚喜,雖然我聽起來可說是意志力大考驗,要不停想像聽不見近在咫尺的觀眾噪音,全心全意去聆聽大師的琴音,但,基本上,我還是非常珍惜這場音樂會,這樣的大師+曲目,大概永遠不可能出現在台灣票房至上的音樂會裡吧～～～
.....................................................................................................
我要再說一次:
不是去聽音樂會的都是有文化教養的人,不是每個紐約樂友都是有文化教養的人！這場音樂會,因為曲目是許多鋼琴人的必學,現場很多人帶了樂譜去觀摩大師的詮釋手法,邊聽邊看譜,討厭的是,這些人不曉得是想要表現出他看得懂譜還是怎樣,大師都還在彈最後一小節,很有氣氛的完結音符尚未出現,他們就急著翻下一頁,發出響亮的翻譜聲"啪擦～～"吼～～～就不能等大師翻的時候一起嗎？
還有人手機沒關, 跟著大師的鋼琴合奏
！從上半場起就不停有人中途離開.......只要樂曲告一段落,全場就咳個不停,大師可不會等聽眾咳完才繼續.......真的是場聽眾很擾人的音樂會。
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