(Also email to Lang Lang International Music Foundation ) Lang Lang - 郎朗 也許你有察覺像在對你說話的環境聲音，那不是來自於物理聲音，而是來自於我的想法。無論你是否有需要這樣表達的意圖，這些想法皆有助益。不過，即使閱讀幾遍，演奏時若沒有將這些想法放心中，聲音便有很大差異，甚至你可能會覺得音樂怎麼變得沒那麼立體了。我相信這也是Widmann在《玻璃琴》中標示「延續所有的音(意念)」的重要內涵。
Maybe you are aware of the ambient sound that seem to be speaking to you, not from physical sounds, but from my thoughts. Whether or not you have intentions that need to be expressed this way, these ideas are helpful. However, even if you have read it several times, if you do not keep these thoughts in mind when playing, the sound will be very different, and you may even feel that the music has become less three-dimensional. I believe this is also the important connotation of Widmann's statement "sustain all notes (thoughts)" in 《Armonica》.
1. 開場弱奏的連貫性極悅耳，如果強奏也想要類似的質感的話，人和音樂的重心要下沉，甚至可以延音踏板更少，並且讓兩音想更多彼此。
The coherence of the weak playing in the opening is very pleasant to the ear. If the strong performance also wants a similar texture, the center of gravity of people and music should be lowered, and the sustain pedal can even be less, and the two notes can think of each other more.
2. 弱奏突轉強音作為尾音或經過音的話，中間要有更多的引導力(想像的空間)來躍升，想像握拳，再握緊一點才到達。
If a pianissimo suddenly turns to a fortissimo as a tail tone or a passing tone, there should be more driven force(space for imagination and leading) in the middle to move. Imagine making a fist, and then clenching it a little tighter before reaching it.
3. 更聚焦在低音部分，當低音相位移動，旋律線便自在飛揚。
More focus is on the bass part, when the bass phase moves, take the melody line to fly freely.
4. 移動變化的音最重要，尤其是長音中，一定要想到變化音前後的色彩(內部重力和質感)變化。
The most important thing is to move the changing sounds, especially between long sounds. We must think about the changes in color (inherent gravity and texture) before and after the changing.
5. 上半場最後一首(我鋼琴彈不好)，讓短促的高音在你聲音舒適圈外面跳動(質感相對較淺)，讓濃密的低音在你自己身體裡歌唱(質感相對較深)。一旦落實這樣的想像，音樂便更有層次(才有更多可能性)，產生脈搏。
The last song of the first half (I'm not good at playing the piano), let the short treble notes shine outside your musical comfort zone (the texture is relatively shallow), and let the dense bass sing out from your inner self (the texture is relatively deep). Once this imagination is fulfilled, the music will have more layers (more possibilities) and live a pulse.
如果有朋友坐在台下，上半場有一段時間，整個音樂廳都在晃動和擺盪呢！
If you have friends sitting in the audience, for a while in the first half, the whole concert hall was pulsing and oscillating!
下半場我相信你自己有感受到差異，我認為是少了環境的質感，即使演奏得強弱，差異也不大，甚至會變得平淡。
I believe you can feel the difference in the second half. I think it is because the texture of the environment is missing. Even if the performance is strong or weak, the difference is not big, and it may even become dull.
之後，也許還會出現一樣的情況，可以視為一種在協助自己的考驗和反思，可以是一種練習，也可以是一種反璞歸真。
Later, the same situation may occur again, which can be regarded as a exam and reflection to assist ourselves, an exercise, or a return to one's origin.
最後一首，有幾個重要的想法可以重複練習來體驗。
In the last piece, there are a few important thoughts that can be experienced through repeated practice.
6. 有些高音的聲音有點亮(銳利)，那怎麼辦呢？
Some treble sounds are a bit bright (sharp), what should I do?
想像蹺蹺板，試著平衡兩端。接著，想像低音和高音，連結兩端。接著，想像觀眾和音樂廳，連接音樂和另一端。想像自己和彼此，平衡各端。
Think of a seesaw and try to balance both ends. Next, imagine the bass and the treble, connecting the two ends. Next, imagine the audience and the concert hall, connecting the music to the other side. Having yourself and each other, balancing each of us.
為何這樣想之後，再用相近的演奏方式，高音的聲音會不同呢？
After thinking about it this way and then using similar playing methods, why would the treble sound different?
一旦你嘗試幾次後，我相信會發現當心中蹺蹺板的連接各端之梁柱越厚實，你的音樂越寬廣。
Once you try it a few times, I believe you will find that the thicker the beams connecting each end of the seesaw, the broader the music will be.
原因可能為何呢？
What might be the reason?
7. 當演奏弱奏樂段時，注意力一定要更集中在音樂(聲音)上，好像走進音樂中那樣專注，好像貼近地想聽清楚耳語那樣全神貫注。
When playing weak sections, your attention must be more focused on the music (sound), as if you are walking into the music, and as if you try to get close enough to hear a whisper clearly.
蹺蹺板的概念一樣有助益，這兩個方式有什麼差別？哪一種方法，會有「場域(音場)」的概念呢？演奏的聲音可能有什麼差異呢？
The seesaw concept is also helpful. What is the difference between the two approaches? Which method has the concept of "field (sound field)"? What difference might there be in the sound of the performance?
8. 聽到安可曲第一首開頭，我心想，要有吸睛效果或亮點，讓裝飾音更有重量和力度。
In the first encore piece, I thought to myself, if we want to have an eye-catching effect or highlight, we need to make the grace notes more heavy and bright.
相信你第二遍的裝飾奏便是以此來回應，明顯有差異，對吧？
I believe the grace notes you played the second time was in response to that, and there's obviously a difference, right?
要嘛，心有靈犀一點通，要嘛，以後可以此來做身教示範。
Either, we are on the same page, or we can set an example for our selves in the future.
也就是那些正在成長與孕育的未來。
That is, those futures that are growing and gestating.
鳥兒正展現舞蹈之美並傳達「我們要趕快找到自己」。我們難道不打算思考之後會如何嗎？世人正轉變，天地正欣賞。現在，天地萬物正在匯集這個意念，也就是「找到自己」。
The birds are showing the beauty of dance and conveying "we must have to find ourselves quickly". Aren’t we going to think about what happens next? The world is changing, and heaven and earth are watching. Now, all living beings in the world are gathering this EN (thought), which is to "find/know yourself/your selves".
https://www.facebook.com/watch/?v=979586597301036
狗兒協助傳達「我們要趕快找到自己」。
This dog help convey that "we must have to find ourselves quickly."
https://www.facebook.com/watch/?v=1424150421564204
9. 安可曲第二首，我想分享的是，讓通透和寧靜的聲音回到自己，如同呼吸，好似慢飲而盡後，回味。而這首曲子直到最後一個音響完，接著呼吸，你都演奏的如此讓人沉醉，是吧！？
In the second encore piece, what I want to share is to let the pure and quiet sound return to yourself, like breathing, like tasting after drinking slowly until finishing it. And you played this piece so intoxicatingly until the last note was sounded, and then breathing, right?
2024-06-04_(Share to ShaoChia Lü 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
★★★★★2024-11-25_【放大聲聆聽確認所有影片事實，以理解重力和時空(音樂)的意義】我寄出數百封email，除了台灣各大學音樂系教授與音樂家外，還包含Jörg Widmann和Christa Schönfeldinger的辦公室。
[Listen louder to confirm all video facts to understand the meaning of gravity and space-time(MUSIC)] I sent hundreds of emails, not only to professors and musicians at various university music departments in Taiwan, but also to the offices of Jörg Widmann and Christa Schönfeldinger.
https://porschewu0714.blogspot.com/2024/11/emailjorg-widmannchrista.html
2024-11-24_原因是，我相信既然Widmann自己已提出「想辨識調性的內存重力」這樣的想法，表示，他一定有很多內涵我們還沒有用心感受與察覺。所以，我當然會與他們分享這些內容和事實記錄。
The reason is that I believe that since Widmann himself has put forward the thought of "My focus is the detection of the inherent gravitation of tonality", he must have a lot of connotations that we have not yet felt and noticed. So, of course I share those and factual records with them.
https://porschewu0714.blogspot.com/2024/11/jorg-widmanncon-brio407421-i-have-few.html
2024-11-10_【科學界就是要有人大方勇敢紀錄】大聲播放也太清楚了吧？「真的很謝謝您，吳時捷，真的很謝謝您，我是黃椿喜 」 [Science needs people to record generously and fearlessly] Playing it loudly conveys it too clearly, right? "Thank you very much, Wu Shihjie, thank you very much, I am Huang TrengShi."
★★★★★連全世界有著被演最多場現代音樂的作曲家Jörg Widmann都在他2019年寫下的介紹中，寫下他正在探討調性重力！怎麼我們台灣科學家們，通篇不談，甚至大方地避談？我也推薦科學家們聆聽這場11/30國家音樂廳的音樂會，順便用我分享的內容來協助 NSO國家交響樂團 進一步理解！
Even Jörg Widmann, the composer with the most performed contemporary music in the world, wrote in his introduction written in 2019, "My focus is the detection of the inherent gravitation of tonality"! Why do we Taiwanese scientists not talk about it at all, or even generously avoid talking about it? I also recommend scientists to listen to this concert at the National Concert Hall on 11/30, and use the content I shared to help the NSO National Symphony Orchestra understand better!
https://porschewu0714.blogspot.com/2024/11/science-needs-people-to-record.html
Also share with Aikuang Sun Chiafen Weng 簡文秀 H.K. OuYang 彭廣林 林天吉 Ju Tzong-Ching 鍾耀光 馬定一 江靖波 閻惠昌 Fusao Kajima 陳樹熙 邱瑗 辛幸純 葉綠娜 錢大同 陳漢金 Meng-Hsien Peng Yen-Yin Chu Martin Ng 莫啟慧 Hsiuchin Lee 孔孝誠 Bello Chang 羅俊穎 張玉胤 陳黃源 馬泰宇 趙成立 James Y. Lin Jason Lin Wesley Chia Wei Lin 林清山 YuanPu Chiao Taipei Symphony Orchestra 北市交 臺灣國樂團 NCO 臺北市立國樂團 樂興之時管絃樂團 Philharmonia Moments Musicaux 台北愛樂合唱團Taipei Philharmonic Chorus Adam Chou 郭靖沐 國立臺灣師範大學音樂學系交響樂團 北藝大音樂學系Department of Music, T.N.U.A. 國立臺灣藝術大學音樂學系 輔仁大學音樂系Fju Music
Also share with 葉樹涵 吳建銘 段富軒 郭聯昌 溫瑟爾 ChiungYu Christy Chen 陳榮昇 李商宇 宋光清 張景民 Canon Huang 莊清霖 張浩 Chan Wang 杜英麟 黃瑀萌 林祐民 吳松庭 林子祥 胡志瑋 梁婉筠Wan-Yun Liang 林昀宏 Yun-Ting Chen Yen-Yen Yen-Chao Chang 邱浩瑋 陳建安 廖晏樟 張國威 符秦僥 顏慶賢 唐宥恩 楊忠衡 鄒昌銘 Martha Argerich Daming Zhu 諸大明 鋼琴家顏華容 Artemis Yen - Pianist/Author/Dreamer Piano Chun-Chieh 我是江老師 小游老師 Andy Scott Ayako Takagi Kenta Saito Yoshiko Matsumoto Jin Ta Steven Mead Enjott Schneider Wu Wei
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