音樂不只是速度、張力或語法，樂音的想像之中，有著更細膩趨近的質感，包含不同的織體與相會的泛音之間。真正好的音樂饗宴具備的標準，不僅是音樂演奏的表達，指揮、音樂家們和樂團的音樂，是有力量且能位移與盤旋的質感。 Music is not just about speed, tension or articulation. In the imagination of musical sounds, there is a more delicate approaching texture, including different textures and overtones that meet. The standard for a truly good music feast is not only the expression of music performance, but also the music of the conductor, musicians and orchestra, which is powerful and capable of moving and whirling texture.
江靖波 謝謝老師分享這個非常有意義的片段，對我來說，Celibidache是透過分享音樂來指揮樂團(透過感受與看見團員們與他共同的擺盪，便能有更進一步的匯集，可以再看幾次喔！)，讓演奏者有相近的音樂語言(語法)，如此一來，便更容易產生我所謂的自體牽引。因為，音樂不只是速度、張力或語法，樂音的想像之中，有著更細膩趨近的質感，包含不同的織體與相會的泛音之間。 Thank you for sharing this very meaningful clip. For me, Celibidache conducts the orchestra by sharing music (by feeling and seeing the members' swings with him, we can have further integration. You can watch a few more ), so that the performers have a similar musical language (articulation), which makes it easier to produce what I call self-pulling. Because music is not just about speed, tension or articulation. In the imagination of musical sounds, there is a more delicate approaching texture, including different textures and overtones that meet.
我之前也非常喜歡欣賞Maestro conducting的紀錄，像是Bernstein的Shostakovich Symphony No. 5的rehearsal，特別是Bernstein說得「要注意這是如何自在，就像一個人唱出他的心聲，而你們反倒像在練習時的演奏」，這也是指揮的迷人之處，有著他獨特的音樂忖思、想像和鋪張。 I also really enjoyed listening to Maestro conducting records before, such as the rehearsal of Bernstein's Shostakovich Symphony No. 5, especially Bernstein's words "You must watch, it's so free. It's got to be like one person singing his heart out, and you're playing like an exercise." This is also the charm of the conductor, with his unique musical thoughts, imagination and extravagance.
或是Argerich的Shostakovich Piano Concerto No.1，整個人和音樂的呈現，都緊緊牽引著聽眾和其聆聽與想像，更可以透過眉宇和神情，意會到聲響及音樂是如何地迴盪與飛揚。 Or Argerich's Shostakovich Piano Concerto No. 1. The presentation of the whole person and the music closely attracts the audience to their listening and imagination. Through the eyebrows and expressions, we can realize how the sound and music reverberate and soar.
對我而言，這是真正好的音樂饗宴具備的標準，也就是，不僅是音樂演奏的表達，指揮、音樂家們和樂團的音樂，是有力量且能位移與盤旋的質感。 To me, this is the standard for a truly good music feast is not only the expression of music performance, but also the music of the conductor, musicians and orchestra, which is powerful and capable of moving and whirling texture.
如Sibelius: Symphony No. 5 II. Andante mosso, quasi allegretto的左右前行，當天台下的聽眾若是有注意，甚至可以感受到整個音樂廳在左右擺盪(甚至感到旋轉)的，用心的人才可得。 For example, Sibelius: Symphony No. 5 II. Andante mosso, quasi allegretto moves forward left and right. If the audience pays attention that day, they can even feel the entire concert hall swinging left and right (or even feel rotating). Only those who are attentive can do so. .
樂興之時管絃樂團 Philharmonia Moments Musicaux 演得真好，弦樂的聲音【非常】舒服。許多樂段，即便在弱奏時，音樂還是十分地專注與澄澈，整個樂團都保持了質感。 Philharmonia Moments Musicaux performed really well, and the sound of the strings was [very] comfortable. In many passages, even when playing softly, the music is still very focused and clear, and the entire orchestra maintains its texture.
最後，原諒我的直白，也許我的看法在第一次聆聽且未研讀總譜的狀況下，不見得有適切，但我相信應該還能描述地有些具體，應該還具有一些參考價值，還請老師多包涵。 Finally, forgive me for my bluntness. Maybe my views may not be appropriate since I am listening to the music for the first time and have not studied the score, but I believe it should be somewhat concrete and should have some reference value. Excused me.
《武滿徹：風徐行》若是各聲部之間，包含銅管和弦樂在演奏時，能夠想著彼此更多，那麼這首音樂，勢必可以更上一層樓，也就是讓各聲部的音響都儘量合於他人(去自我中心)，我相信這對於主調音樂或旋律主導的音樂，這是相對更難做到的。 "Toru Takemitsu: The Wind Slowly Moves" If the various parts, including brass and strings, can think more about each other when playing, then this music would definitely be able to reach a higher level, that is, the sound of each part would be improved and try to be in harmony with others (get rid of self-centeredness). I believe this is relatively difficult to achieve for keynote music or music dominated by melody.
下半場若西貝流士第五號，我想很多樂團都可能將第三樂章以這種風格來呈現： If Sibelius No. 5 is played in the second half, I think many orchestras may present the third movement in this style:
(23:50) https://youtu.be/EcjvvBbZhn4?si=NqERlU_71upkHubb&t=1430
然而，我有聽到樂興之時更細膩及泛音交疊的音樂，雖然還不達匯集而轉動，但這就表示老師您的思維中，有這樣的想像與呈現，所以我會感受到演奏音樂時有這樣的物理力量的趨向。 However, I have heard music that is more delicate and has overlapping overtones. Although it is not as convergent and rotating, it means that you have such imagination and presentation in your mind, so I would feel the tendency to have this physical force when playing music.
若能更多一點【讓聲部的音程之間持續地轉換獲得平衡，並在試圖穩定平衡的過程中，產生與匯集向心凝煉的漩渦(渦輪)，到最後那幾個Tutti短音便會不自主的每一下都產生巨大的迴旋、波瀾和擺盪】。整首樂曲更高深的音樂，都在音樂泛音交會與其鬆緊之中，我相信這是最難呈現與掌握的部分！ If it can do more, let the intervals of the voice continuously switch to achieve balance, and in the process of trying to stabilize the balance, create and gather centripetally converged vortices (turbines), and the last few tutti short notes would be producing huge gyrations, waves and swings involuntarily every time]. The more profound music of the entire piece of music lies in the intersection and tightness of the overtones of the music. I believe this is the most difficult part to present and master!
我深深這麼認為，即便這是我第一次聆聽。
I deeply believe so, even though this is my first time listening to these music.
2024-04-27_(分享給朗朗和Sir Ian McKellen)越懂得「自問自答，反求諸己」與「自抑修己，欣賞揚他」的人，除了能力，還有更多的介接資源，因為珍惜「真心」和「用心」。各位發自真心地讚嘆和感受，必然會有他人來協助，無須多言。
(Shared with Lang Lang and Sir Ian McKellen) The more people know how to "ask and answer questions for yourselves, and seek yourselves" and "restrain yourself and cultivate yourself, appreciate and praise others", in addition to abilities, they also have more intermediary resources, because space-time cherishing "sincerity" and "intention". If we sincerely praise and express the feelings, others will surely assist in many things, so there is no need to say anything.
https://porschewu0714.blogspot.com/2024/04/sir-ian-mckellen-shared-with-lang-lang.html
2024-06-17_聆聽環境意念音有何重要？這種聆聽，包含了感受、解讀、思考，最重要的差異在於描繪環境與白噪音(電磁意念音)的凝煉的方向及趨向，也就是並非只是聽得出CDEFG，而是同時能想像泛音凝煉出GFEDC、CDEFG-C-G等可能的言外之意的功夫，這便是能提升未來音場最重要的基本功。https://porschewu0714.blogspot.com/2024/04/sir-ian-mckellen-shared-with-lang-lang.html
Why is it important to listen to the environmental EN (thought) sounds? This kind of listening includes feeling, interpretation, and thinking. The most important difference lies in describing the converging direction and tendency of the environment and white noise (electromagnetic EN sound). That is, we can not only hear the CDEFG, but also imagine the skills that overtones of converging possible meanings beyond that beings at the same time, such as GFEDC, CDEFG-C-G, etc.. It is the most important basic skill that can improve the future sound field.
https://porschewu0714.blogspot.com/2024/06/cdefggfedccdefg-c-g-why-is-it-important.html
2024-06-04_(Share to 呂紹嘉) 「音樂先想要走向何方，再回到自己，接著才餘音繞樑」。您可在未來印證此思維，對音樂一定更具貢獻，對台上音樂家也更具意義。我們的存在，是將心中珍視與動心的音樂和想法，分享給演出的團員和台下的聽眾，方不愧自己與天地。
"The music must first go where it wants to go, and then returns to ourselves, and then the sound lingers." You can prove such thinking in the future, and it would definitely contribute more to music and be more meaningful to the musicians on stage. Our existence is to share the music and thoughts that we treasure and touch in our hearts with performers and the audience, so that we can be worthy of our selves and the heaven and the earth.
https://porschewu0714.blogspot.com/2024/06/music-must-first-go-where-it-wants-to.html
Also share with 葉樹涵 吳建銘 段富軒 郭聯昌 ChiungYu Christy Chen 閻惠昌 陳榮昇 李商宇 宋光清 張景民 Canon Huang 鄭吉良 莊清霖 張浩 杜英麟 黃瑀萌 邱浩瑋 陳建安 廖晏樟 張國威 符秦僥 顏慶賢 楊忠衡 Daming Zhu 諸大明 鋼琴家顏華容 Artemis Yen - Pianist/Author/Dreamer Piano Chun-Chieh Aikuang Sun Chiafen Weng 簡文秀 H.K. OuYang 彭廣林 林天吉 Ju Tzong-Ching 鍾耀光 ShaoChia Lü 呂紹嘉 Hsing-Chwen Giselle Hsin 葉綠娜 彭孟賢 Meng-Hsien, Peng Meng-Hsien Peng Yen-Yin Chu 孔孝誠 羅俊穎 余濟倫 NSO國家交響樂團 Taipei Symphony Orchestra 北市交 臺灣國樂團 NCO 臺北市立國樂團 台北愛樂合唱團Taipei Philharmonic Chorus
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