发信人: henryxie.(琴佬)
整理人: bigfish(2002-01-21 16:02:43), 站内信件
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The Guitar Times: 如果你愿意的话，我想谈谈另外一个话题。你已经录制了两张"全集"性质的唱片（Tarrege和Moreno-Torroba），以及两张包含了Barrios和Rodrigo的大量作品的唱片，你的唱片总是以某一位演奏家的作品这种形式出现。你为什么要这样来做呢？
Let's go to another subject if you like.
You have recorded two "integrals" (Tárrega, Moreno-Torroba), a very large selection of Barrios' or Rodrigo's pieces, always presenting a wide range of a composer's work.
How do you deal with these recordings?
David Russell: 当你要录制一张唱片时，这与音乐会演奏是不同的，原因是你最终要留下一些东西。我不喜欢在音乐会上演奏专辑性质的曲目，对于理论研究以及学生学习来说这是不错的方法，但是在音乐会上，我倾向于演奏不同风格但的作品。
When you make a record, it's different from a concert, because you leave something there. I don't like monographic concerts so much, I think they're nice in theory or for a student, but in a concert I need different styles, usually.
在录制唱片时，我喜欢收录一些风格一致的曲目，不见得是同一位作曲家的作品，但是整张唱片应该具有共性。
In a record I prefer more monographic programs -it doesn't have to be the same composer, but a similar continuity throughout the whole record.
很久以前我曾经录制过劳罗的作品，而且我的确是喜欢在一位演奏家身上花大量时间来进行研究。这样你可以对这位作曲家具有比较全面的认识，至少是对他的了解更加广泛了。
A long time ago I did a record of Lauro's music, and I just really enjoyed spending a lot of time with one composer. And then when it came round to doing other records, it was a nice way of doing it -a way which gives you a wider view of what the composer is looking for, at least a wider opinion about that.
例如，我要录制一张巴洛克时期作品的唱片时，就要先花上6个月的时间来弹奏巴洛克时期的音乐。并不是所有我弹奏的乐曲都要收录在最终的唱片里，也就是说我要弹奏其他一些巴洛克时期的作品，这可以让我对于演奏巴洛克音乐更加自信。
I feel that if, for example, I am going to do a record of Baroque music, for six months I'm going to play a lot of Baroque pieces. And not only the ones I'm going to record, I'm going to play other pieces as well, so that I feel confident with what I want to do with Baroque music.
这就是那张"Bach, Haendel, Scarlatti"专辑的由来。
That's what I did with the "Bach, Haendel, Scarlatti" record.
然后，我又着手录制19世纪的作品，唱片中我并不准备收录朱利亚尼和索尔的乐曲，原因是以前已经弹过了，但是我依然弹奏他们的作品，这样，当我在录制19世纪的吉他作品时，我就感觉自己抓住了最基本的要素了。
Then I made the nineteenth century record and I decided not to play Giuliani and Sor because that was done, but I worked on their pieces, so when I played my nineteenth century music I felt I'd made up my mind about the basic way I wanted to do it.
同样的方法也运用在塔雷加和巴利奥斯专辑的准备过程中。如果你对作曲家的作品进行了全面的研究，你就会发觉自己对作曲家的理解更加深了一步。也许你的感觉并不正确，但是至少可以给你增强信心，让你知道自己应该如何完成录音，这样，到了我要录音的那天，我就不会无所适从了。我非常清楚地知道自己应该如何来表现作品。
And then, the same thing with Tárrega -and Barrios. If you study everything he wrote, you get a feeling that you understand the composer more. You could be wrong, but at least within myself it gave me a feeling of confidence as to how I wanted to do that record, so when it came to the day of recording I wasn't swimming. I knew exactly what I wanted out of these pieces.
我喜欢听其他人的演奏录音，不过有时有的声音比较适合巴洛克音乐但是却不适于表现浪漫派音乐。总的来说，在录音中你应该只有一种声音，相同的录音状态，并且你要不时去想，"嗯，表现巴赫的音乐我应该这样做，演奏泰德斯科的作品我希望的是另一种声音..."你不能在有些曲目中混入较多的回声，而在另外一些曲目中则没有。千万不要那样做，通常我们只要一种声音，而真正的工作中我们也是这样做的。
Those are really the reasons. I enjoy listening to other people's records that are a kind of recital, but sometimes one kind of sound on the record might be good for the Baroque music, but not for your Romantic music. So, on the record traditionally you only have one sound, one recording situation and sometimes you think : "hell, for Bach I want this, for Castelnuevo-Tedesco I'd like a different sound... You cannot really mix something that has a lot of echo, and then not. You can not do that on a record, generally we have one sound and we do it.
我录制过一张罗德里戈的作品集(包括3首协奏曲)，也录制过托罗巴的作品集。这种感觉挺不错。为吉他作曲的作曲家要远远少于为钢琴作曲的作曲家，我们不得不接受这个事实，但是也的确有不少音乐家为吉他谱写了至少可以演奏1个小时的作品，我认为这很好，可以录制专辑性质的唱片了。这对于作曲家来说也是一种表示尊敬的做法。
I did a record of Rodrigo (the three concerti), and also "an hour with Torroba". It just feels good to do it. We don't have as many composers as the piano, we just have to accept that, but we have some composers that have written at least an hour of music, and I think it's fine to do that. It's also a matter of respect to the composer to have that one composer on his own.
有两点原因，其一是唱片公司喜欢这样，其二就是我自己本人喜欢这样。我乐于录制这样的唱片，这使我感觉我了解一个活生生的巴利奥斯。就我自己的观点来看，当然不同的人对这个问题的看法不尽相同，如果你只想在唱片中录两首巴利奥斯的乐曲，那么肯定不会花上6个月的时间来研究他，而如果你是要录制70分钟巴利奥斯的音乐，也许你就会花上1年时间来考虑各种问题，也可能花上更多的时间。
It's for two reasons: one is that the companies like it, but the other is for myself -I enjoy doing that, having the feeling I know Barrios as a person. From my own point of view, of course, it's going to be different from someone else, but if you're going to play two pieces of Barrios on your record, you're not going to spend six months on it. Whereas if you're going to record seventy minutes of Barrios, maybe you spend a year thinking about it, maybe more.
The Guitar Times : 当你学习如此多的乐曲并且过了很长一段时间后，是如何做到让自己的思维不断更新前进的？
When you study these pieces for such a long time,
what do you do to keep your approach fresh?
David Russell : 我首先忘掉它们，然后再恢复。很明显，当你学习一首新的乐曲时，你所考虑的就是如何最快地学会它。如果我要弹朱利亚尼的另外一首作品，我会很快决定我应该如何去做。例如，我会将大量曲目收集到一起，而实际上其中的大部分曲目是我在两年以前弹过的，现在我已经完全不记得了。我可以在一两天时间内将它们捡起来。如果你忘记了某些东西，那么再次学习时，它们就是全新的了。
I forget them! Then bring them back.
No, obviously when you learn a new piece, your opinion about how to do it is quicker when you have done many pieces. If I do another Giuliani piece, I will decide sooner how I want to do it. Just now, for example, I would be able to rake up a really large programme if you wanted, but lots of the pieces I played two years ago, I forgot them completely. I could get them back in a day or two. Once you forget it, when you go back to it it's fresh, it's new...
当然，基本上我一直都在变换自己的音乐会演奏曲目，因此也就不存在上面提到的问题了。我必须努力工作，因为有太多的新曲目，我要练习这些我从来没有接触过的乐曲。我在这里演出所演奏的乐曲，我已经弹了一年时间。除了利奥贝特的两三首作品外，其余都是新的。
But also, basically I change my programme all the time, so that makes it fresh. I need to work hard because there are new pieces, I must keep on practising it as it isn't something I've been playing for twenty years. The programme I played here [click to have a look at it], I've learnt it all this year. Except for two or three of the Llobet, everything else was new.
到明年，曲目又将全部更换。我们的生命太短暂了，而我们需要学习的乐曲又实在是太多了。
Next year it's going to be all different... Again, we have a short life and there are so many pieces out there that we can learn!
我不喜欢说"吉他没有保留曲目"，我也不喜欢听到这句话。要知道，人的一生不可能将所有的事情都学得很出色。面对几百首值得我们去演奏的名曲，你不可能做到全都表现得很精彩。有些乐曲由于你不喜欢，因此不去演奏它，同时，现在还有大量的新作品出现。我本人不太演奏过于前卫的乐曲，但是前卫的、传统的以及改编的作品中都有优秀之作。不时的，还会有人发掘出我们都愿意演奏的精彩的新曲目，出于这些原因，我们需要去不断学习新曲目。
I hate to say "the guitar has no repertoire", I don't like hearing that. You know, in one lifetime you can't learn everything that's good. You can not, and there are hundreds of pieces which are not so famous that are worth playing. Some of them not, sometimes you lose a couple of pieces because you don't like them, but still there are many new pieces.
I don't play that many avant-garde pieces, but there's tons of good stuff both avant-garde, old, transcriptions to be done... So it's possible to still continue. And every now and again, someone discovers some new piece that we all want to play, which is great, but for that we need to keep on learning new pieces.
The Guitar Times : 你最近的录音工作是什么呢？
And what are your recording projects?
David Russell : Well, the last thing I did was Scottish music, and that's out this month.
我最新的唱片录制的是苏格兰音乐。主要都是由我自己改编的，同时我也加入了一些索尔的作品，原因是他曾写过一首苏格兰民歌的变奏曲，另外还有朱利亚尼所作的具有爱尔兰风格的音乐，以及其他一些作曲家的作品。
That's basically all my arrangements, although I've put in some Fernando Sor, because he has composed a variation on a Scottish song, and also some Giuliani pieces which are Irish tunes. And a couple of other composers.
对于我来说，这是一件全新的事情，因为我不认为自己是一位作曲家，而在这张苏格兰音乐唱片中你必须要做许多这方面的事情。由于原先的曲调只是简单的旋律，因而我需要自己动手编写和声，另外有些旋律很短小，我就得将其进行发展。这很有趣。
For me, it's a new thing, because I don't consider myself a composer, and in this Scottish music you have to compose quite a bit of it, you have to harmonise it because the original is just simple lines, usually very short, so you need to do the developments.
It's been fun.
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