I have a few things to share about Wei Hsu's introducing Jörg Widmann. Regarding "Con Brio", Shiuan Chang said, "(4:07) It's like the harmony of Beethoven's Symphony No. 7 suddenly inserted a lot of noise that most people think of as a kind of tribute or he hopes to deconstruct...(4:21) He is doing this in a relatively relaxed way"? When I heard this piece, I said bluntly, "The air sound (similar to white noise) created in the middle is, I believe, used to observe the musician's EN (thoughts) and whether there is enough gravity and tendency to pull the physical sound."
https://www.facebook.com/PorscheWu/posts/pfbid027AFjQx9BLGBiuev37pofyGq66gMB93QyN1SU61o2prHNoh6xS3PvE4QVwkBaSByql
Source: YouTube 刷新三觀！專家教你如何聽懂 「當代音樂」！Ft. 作曲家 - 張玹 https://www.youtube.com/watch?v=QVNfrAjQIxI
I looked it up and quickly found the introduction to Widmann's "Quartet No. 6" (2019). Now, I am sure that he was not thinking in terms of "relaxing greetings", but in a serious thinking that he tried to let the performing musicians feel his intention from the performance and music.
https://sonograma.org/2020/06/reflective-music-by-jorg-widmann-and-ludwig-van-beethoven/
“I set out with a state of tonality displaying significant extensions whose centrifugal forces are barely containable. My focus is the detection of the inherent gravitation of tonality, including phenomenon[a] such as tension/relaxation, suspension/resolution and fixation/deviation. […] [The] tonality or at least its fundamental assumptions are initially set down in the sense of a study or test assembly in order to permit subsequent experimentation, variation and the formulation of exceptions with the desire and firm conviction that it is possible to express something innovative and never previously heard with this seemingly exhausted fundamental material.” (Widmann 2019)
他清楚地提示幾個當代音樂(也許是Widmann自己特別強調的)之關鍵解構要素。我們應當反思他(作曲家)的意思，趕快檢視與調整自己對於時空意識之音樂思維的認知和見解之不足。
He clearly hints at several key deconstructive elements of contemporary music (perhaps specifically emphasized by Widmann himself). We should reflect on what he (the composer) meant, and quickly examine and adjust our own deficiencies in cognition and insights into the musical thinking of space-time awareness.
第一，顯著延伸且不可遏止的離心力(a state of tonality displaying significant extensions whose centrifugal forces are barely containable)，就是在講「散行」這件事，也就是音樂與表達的言外之意、弦外之音(意念)！
First, a state of tonality displaying significant extensions whose centrifugal forces are barely containable is talking about "scattering", which is the implicit meaning/imagination and subtext (thoughts) of music and expression!
第二，便是試著辨識調性的內部重力(My focus is the detection of the inherent gravitation of tonality)，就是讓餘音繞樑的向心牽引之變化與極限何在？
The second is to try to detect the internal gravity of tonality (My focus is the detection of the inherent gravity of tonality), that is, what are the changes and limits of the centripetal pull that makes the scattering sound linger?
第三，便是凝散之間(including phenomenon[a] such as tension/relaxation, suspension/resolution and fixation/deviation)，就是各位音樂家如何從固有的自我，遇見更豐沛的自己？
The third is between converging and scattering (including phenomenon[a] such as tension/relaxation, suspension/resolution and fixation/deviation), that is, how do musicians meet our richer selves from our inherent selves?
★★★★★記得我在雨天用不怎樣的歌聲唱歌嗎？大聲播放與用心聆聽後，卻聽得見雨滴和環境響起我的歌聲？
Remember when I sang on a rainy day with a voice that didn’t sound very good? After playing it loudly and listening carefully, we will hear the raindrops and the environment resounding with my voice?
一、(獻給這個虛幻的世界)環境唱和？當存在和天地共鳴，能引起波瀾，也許興災，也許旺生。是否聽見雨中回應的歌聲呢？只要下雨天，撥放我的影片，環境便會為我們歌唱，為我們祈禱。
(Dedicated to this illusory world)How does the environment sing together? When one's own existence resonates with the heaven and earth, it might cause waves, which may cause disaster or prosperity. Do we hear the echoing song in the rain? As long as it rains, play this video and the environment will sing and pray for us.
https://porschewu0714.blogspot.com/2024/10/dedicated-to-this-illusory-worldhow.html
★★★★★我只唱兩句，連呼吸都沒聲音，其他是雨聲和意念唱和。
I only sang two lines, and there was no sound even from my breathing. The rest was the sound of rain and my thoughts.
https://www.youtube.com/watch?v=FVVdDPtYiSk
==
再來，張玹說「(5:32)這個原本是木管要吹，但木管只吹出氣音」。是否有人感到有那麼一點熟悉嗎？
Next, Shiuan Chang said, "(5:32) This was originally a wooden pipe to be blown, but the wooden pipe only blew out breath sounds." Does anyone feel a little familiar?
★★★★★記得我回覆與冒昧請 羅俊穎 老師嘗試多次的錄音練習嗎？這便是Jörg Widmann想探尋與識別的重力牽引之呈現。
Remember my reply and asking Julian Lo to try recording the exercises multiple times? This is the manifestation of the pull of gravity that Jörg Widmann wants to explore and detect.
二、2024-11-15_我冒昧地請您用非常小聲，甚至只有唱氣音或泡音，再錄一次。重要的是，不要想錄到自己唱得聲音，而是耳朵聆聽的同時，用想的(加上細微的聲音/氣音)持續牽引自己和環境產生一種趨向(就像是在這個空間，讓聲響畫出那旋律線飛揚在四周)。
I would venture to invite you to record it again with a very slight voice, or even just a breath or a bubble. The important thing is not to record your own singing voice, but to listen with your ears and use your thoughts (plus subtle sounds/breath sounds) to continuously lead yourself and the environment to create a tendency (It’s like in this space, letting the sound draw the melody line flying around).
https://www.facebook.com/watch/?v=913983714011487
★★★★★記得我回覆 江靖波 老師提到的「整首樂曲更高深的音樂，都在音樂泛音交會與其鬆緊之中」嗎？這便是Jörg Widmann想探尋與識別的凝散之間。
Remember my reply to Ching-Po (Paul) Chiang about "The more profound music of the entire piece of music lies in the intersection and tightness of the overtones of the music"? This is the tension/relaxation, suspension/resolution and fixation/deviation that Jörg Widmann wants to explore and detect.
三、 2024-06-22_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.
https://porschewu0714.blogspot.com/2024/06/music-is-not-just-about-speed-tension.html
《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...
If Sibelius No. 5 is played in the second half...
我有聽到 樂興之時管絃樂團 Philharmonia Moments Musicaux 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。
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!
四、2024-06-17_★★★★★就是透過這樣對於環境意念的解讀，然後強化自己對於環境的牽引，未來音樂會的精彩取決於指揮、樂團的音樂意念對於整個環境和場域的牽引能力，那便是音場。
It is through this interpretation of environmental EN (thoughts) and then strengthening one's own pulling of the environment. The excitement of future concerts depends on the ability of the conductor and the orchestra's musical EN to pull the entire environment and field, which is the sound field.
★★★★★繼續理解下去，便可以逐漸達到音樂會場、人的呼吸和環境的晃動擺盪，甚至是整個音樂廳的空調與流動的氣息，都能奏出音樂聲響，這就是現在正在發生的事情。
If you continue to understand, you can gradually reach the point where the music venue, people's breath, the oscillating of the environment, and even the air conditioning and flowing breath of the entire concert hall can produce musical sounds. This is what is happening now.
https://porschewu0714.blogspot.com/2024/06/cdefggfedccdefg-c-g-why-is-it-important.html
五、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。
(Share to ShaoChia Lü) "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
天地意念是錄得到的，以一種迴旋擺盪的質感呈現，我認為您可以確認一下錄音。
The ENs (thoughts) of heaven and earth were recorded and presented in a whirling and oscillating texture. I think you can confirm the recording.
音樂(聲音、意念)，如同準備斟茶，再取回自己品味，而後分享回甘或苦澀。
Music (sounds, thoughts) is like preparing to pour tea, then taking it back to taste, and then sharing the sweetness or bitterness.
各位也該聽聽 馬定一 的描述，是否和我這後來才寫下的分享出奇地相似，只是方向相反呢！？
We should also listen to Ma Ting Yi's description. Is it surprisingly similar to what I shared above, which I wrote later, but in the opposite direction!?
I. 聽到遠處傳來的聲音 Hear a distant sound
II. 逐漸接近那個聲音 Getting closer to that sound
III. 在森林裡有鐘聲響起 There are bells ringing in the forest
這首曲子描寫被其他來源牽引，而我對音樂的描述則是找到自己並延展自己。==
This piece is about being pulled by other sources, whereas my description of the music is about finding ourselves and stretching ourselves.
Christa Schönfeldinger ★★★★★11/30我也會到場聆聽 NSO國家交響樂團 演出曲目《玻璃琴 Armonica》 。
I will also be there on 11/30 to listen to the NSO performance "Armonica".
在這一段影片後半段談到玻璃琴，許崴問說「(8:14)你會要怎麼樣讓這個樂器特性發揮到最有創意的方式」？
Talking about the Armonica in the second half of this video, Wei Hsu asked, "(8:14) How would you use the characteristics of this instrument in the most creative way?"
我聽到時試著回應，可能是...音和音之間的牽引能力所造成微分泛音之疊合和相位轉動。簡單來說，就是兩位音樂家介紹的樂器漸強漸弱(<>)音響的拮抗(重力)作用之呈現。
I tried to respond when I heard it. It might be the superimposition and phase rotation of differential overtones caused by the pulling ability between notes. To put it simply, it is the presentation of the antagonistic (gravitational) effect of the instrument's crescendo and decrescendo (<>) sounds introduced by two musicians.
而這裡我特別高興並期待聽到Widmann的幾個寫法，包含：
Here I am so excited and looking forward to hearing several of Widmann’s writings, including:
1. (9:37)曲目的開頭：base D→high bD + bE，其中最難的，便是音樂(想像/意念)如何延展進行、聲音重力的交織匯集呈現，還有高音泛音如何走進base？
(9:37) The beginning of the piece: base D→high bD + bE. The most difficult thing is how the music (imagination/thoughts) extends, how the gravity of the sound is superimposed and manifested, and how the high-pitched overtones enter the base?
同理，(10:06)樂團發出的環境氣音是如何走進玻璃琴的泛音之中？
In the same way, (10:06) how does the orchestra's ambient air sound enter into the overtones of the Armonica?
同理，(10:19)弦樂器的弓拉在琴橋的位置發出的聲音，是如何協助玻璃琴的泛音生成重力到手風琴加入。
In the same way, (10:19) how the sound produced by the bow of a string instrument at the bridge position helps the overtones of the Armonica to get gravity until the accordion joined.
同理，(10:51)豎琴、鋼琴、鋼片琴所產生的匯集顆粒音符，更是困難的從漸強的泛音之中凝煉而生，這邊也是樂團十分艱困的考驗。甚至鋼琴從ppp開始cresc.。這裡，更需要演奏的音樂家有著高度的集中注意力來凝煉聲音並讓聲音從環境(泛音中)試著走向何方。
In the same way, (10:51) the centripedally converged dot notes produced by the harp, piano, and celesta are even more difficult to converged from the crescendo overtones, which is also a very difficult section for the orchestra. Even the piano starts with ppp and cresc. Here, the playing musician needs to have a high level of concentration to converge the sound and let the sound try to go somewhere from the environment (overtones).
2. (12:54)下行音階的散行(泛音)疊合，我認為這段絕對是玻璃琴最難的部分，就是，「音和音之間的進行，如何不是突然或瞬間就到達」？也就是「重力的張力，可以更多地關注在過程」，就好比我們的人生，總是在成就之後，便失去很多動力與方向。
(12:54) I think this is definitely the most difficult part to play armonica when it comes to the overlapping of the descending scale's scattered superimposition (overtones). That is to say, "the tension of gravity can focus more on the process." Just like our lives, we always lose a lot of motivation and direction after achieving success.
Widmann特別指示「延續所有的音(sustain all notes)」，他只是沒有懇切地說出：請音樂家們「延續這樣的意念，在我們的心中啊」！直至我們能融會貫通與匯集在一起(complete cluster)。
Widmann specifically instructed to "sustain all notes", and he just did not say it sincerely: please musicians "continue this EN (thoughts) in our selves"! Until we can integrate and gather together (complete cluster).
3. (14:55)影片中提示出現「震動音型」非常地正確，但要將高低音的震盪從小到大能維持平衡，則是這一段最重要的目的。音樂自己會因為前面樂段的膨脹收縮→聚集離散→振盪，這是理解「重力」十分重要的想像。
(14:55) The "vibration sound pattern" mentioned in the video is very correct, but the most important purpose of this section is to balance the high and low vibrations from weak to strong. The music itself will expand and contract → gather and disperse → oscillate due to the previous musical sections. This is an imagination that is very important to understand "gravity".
4. 張玹雖說，「(16:00)原本的那些一層一層走下來的半音階，現在在弦樂裡面它就變成比較快一點」。然而，我個人認為，雖然譜面看似好像變快且連音變多，但根據標示為"非常遼闊(very broad)"，而且全部的音符都是「持之前行(tenuto)」，音符下方標示"異常地虛空無我(quasi niente)"。
Although Shiuan Chang said, "(16:00) The original chromatic scales that went down layer by layer are now faster in string instruments." However, I personally think that although the score seems to have become faster and the number of note groups is increasing, it is marked as "very broad", all the notes are "tenuto" and the instruction below the notes is "quasi niente".
★★★★★其實我在分享給江靖波老師的內容中，特別有分享：Niente，為「化無(Nien-ente)」，仍存想像(趨向)，直至「樂了」，即為「品味音樂後而感到心滿意足，便成幸福」。在中段內容的第三篇分享內容，關於《武滿徹：風徐行》也有提到：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。
In fact, in what I shared with Ching-Po (Paul) Chiang, I shared something in particular: Niente, which means "Nien-ente", still retaining the imagination (tendency) until "music is done and that one is happy", that is, "after tasting the music, that one feels content and it becomes happiness." In the third sharing article in the middle section, it was also mentioned about "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.
2024-04-30_風雨雷聲除了歌唱，還清楚傳達「真的很謝謝您，吳時捷。真的有操控裂解意念在裂解台灣的音樂，我是 江靖波 ，謝謝您對於《愛無限，樂無界》的蒞臨，我和 郭靖沐 (通常是指意念形的你們)聽錄音都有點起雞皮疙瘩的感覺，謝謝你，未來再相遇喔」！
In addition to singing, Storm and Thunder also clearly conveyed "Thank you very much, Wu Shihjie. There are really people with manipulating and cracking ENs (thoughts) to scatter the music of Taiwan. I am Ching-Po (Paul) Chiang. Thank you for coming to "Boundaryless Music Infinite Love". Jing Mu Kuo and I (usually referring to your EN-type selves) feel like to have goosebumps when listening to the recording. Thank you, meet each of again in the future!".
https://porschewu0714.blogspot.com/2024/04/in-addition-to-singing-storm-and.html
我相信若4/27有參與江靖波老師指揮演出的《愛無界，樂無限》音樂會，都能感到最後在持續昇揚的凝煉樂音中，那綻放的尾音是如何地持續在引吭。冒進的掌聲，反倒成了某些人倒抽一口氣，欣賞完那niente的遺憾。Niente，為「化無(Nien-ente)[1]」，仍存想像(趨向)，直至「樂了」，即為「品味音樂後而感到心滿意足，便成幸福」。
I believe that if anyone participated in the "Boundaryless Music Infinite Love" concert conducted by Ching-Po (Paul) Chiang on April 27, we would be able to feel how the last blooming notes continue to sound and expand, in the converging way that continues to rise. The sudden applause turned into a turbulence for some ones concentrating on appreciating niente. Niente means "converting into nothing (nien-ente) [1] "and still retaining the imagination (tendency) until "music is done and that one is happy", that is, "after tasting the music, that one feels content and it becomes happiness."
nien [Italian]: nothing/虛無
ente [Italian]: body/身體
我相信江靖波、樂團與聽眾都能感受甚至聽見樂音中那飛揚鼓舞的意念。
I believe that even Ching-Po (Paul) Chiang, the orchestra and the audience would be able to feel and even get known the soaring and inspiring ENs (thoughts) in the music.
除了優秀的團員、指揮和音樂外，未來能更精湛的指向，便為「音場」。==
In addition to the excellent members, conductors and music, the "sound field" would be the pointing towards more excellence in the future.
最後，我肯定這首音樂能超乎我們的想像！用心者，方可得。
Finally, I am sure this music just beyond our imagination! Only those who are sincere can feel it.
購票資訊 Ticket Info: 11/30(Sat.) 19:30 國家音樂廳
https://www.opentix.life/event/1818221214897172480
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 閻惠昌 Fusao Kajima 邱瑗 辛幸純 葉綠娜 錢大同 Meng-Hsien Peng Yen-Yin Chu Martin Ng 莫啟慧 Hsiuchin Lee 孔孝誠 Bello Chang 張玉胤 陳黃源 馬泰宇 趙成立 James Y. Lin Jason Lin Wesley Chia Wei Lin 林清山 Wei-Leng William Chen YuanPu Chiao 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 Adam Chou 國立臺灣師範大學音樂學系交響樂團 北藝大音樂學院 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 陳彥豪 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 陳瑋琮 楊忠衡 鄒昌銘 Martha Argerich Lang Lang - 郎朗 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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