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IN CONVERSATION WITH JANET HAMMOCK 与簡妮。荷馬克的對話
ABOUT ARGENTINEAN TANGO \ 關于阿根廷探戈\
I've always been interested in the tango. 我對探戈一直很有興趣。
I don't know whether in some past life I was born in Argentina or not, 不知是不是我的前生是在阿根廷度過的,
but the tango music seems to speak very, very dearly to me. 我對探戈音樂非常親近。
When I first met Martin, I thought "Ah!," an opportunity to learn something more about the tango, 遇到馬丁時我就想,啊,學探戈的時候到了。
and I immediately asked Martin whether he had any music for tango: 我馬上就問他是否有探戈音樂,
Could he get me some scores of Piazzolla when he was going to Argentina? 去阿根廷時可否為我帶回些皮亞佐拉的樂譜。
And he said: "Sure! Are you interested in the tango?" 他說,沒問題,你對探戈感興趣?
Soon, the score of the “Five Tango Etudes” arrived in my mailbox and I started looking at them. 很快,探戈的樂譜就抵達了我的郵箱,我就開始閱讀它們。
They were initially a little hard to read. 剛開始讀有點難。
There are quite a number of accidentals [flats and sharps] in the score, in fact, the page is full of accidentals! 樂譜里有很多的重音。
And I wasn't familiar with the style of his writing, 我對他寫曲的風格也很陌生。
So it was really interesting: "plowing through" and going very slowly. 閱讀的過程像“耕地”一樣緩慢。
But gradually things started falling into place, 但是慢慢的,我就越來越明白了。
and while I was doing these pieces, I was continually writing to Martin. 我一邊看,一邊与馬丁通信。
When a question would arise, I would ask him. 看到有不 懂的地方,我就會問馬丁。
He was incredibly generous with his answers. 他不遺余力地回答我的問題。
He not only wrote quite a lot to me about tango, 他不僅談到探戈,
but he also sent me all kinds of things: 還給我發來很多其他的信息,
clips of YouTube, and old recordings he had of the tango singers. 比如Youtube 錄像和探戈歌手的老錄音。
I began to realize, actually, as the months went by, that my initial idea about the tango was slightly wrong. 我開始意識到我最初對探戈的概念有點錯誤。
Yes, some of the flare, and the fun, and the color, and the intensity of the tango certainly is there. 那些動感色澤确實還在那里,
But as I got more familiar with the old tango, I realized that there is a wonderful formality to it. 但是 我對老探戈看得越多,就越体會 到其中有一種精彩的格式。
I began to understand that tango was the juxtaposition or interplay 我開始明白,探戈是一种互動,
between the formality, the rigorous rhythm, 一种在嚴格的韻律格式
and the freedom that's exerted by the singer, who's constantly pulling and pushing over the accompaniment. 与歌手超越伴奏的自由發揮之間的 互動。\
SENSUALITY AND CONTROL 感性與控制
When I look at the tango as a dance, 作為一种舞蹈,探戈在我眼里很有意思,
I found it interesting, because it's quite... ***. 因為它十分的性感。
It's an *** dance with a lot of sensuality and a lot of feeling in it. 這是一种富于肉感和情感的舞蹈。
Yet, there's also a lot of control; it's a controlled feeling 但是它又很有控制,是控制著的感情。
I sensed a lot of feeling in Martin's music, but I also saw very rigorous controls on it. 我能感到馬丁的音樂里有很多情感,這些情感又有著很嚴格的控制。
So, [it's] that exploration of the push and pull between formal structure, harmonic structure, that underlies his music so beautifully, 所以,他的音樂是在潛藏的格式韻律
and the overwhelming beauty of the tango singing line, which seems to find its way throughout all of his music. 与強大的探戈唱腔之美這兩者之間的平衡探索。
AUTHENTICITY [PERFORMING ACCORDING TO THE STYLE] 純正性(表演嚴格遵循原有風格)
The biggest challenge in performing Martin's tangos authentically is that I have kind of two authenticities: 演奏馬丁探戈的挑戰是,
there's the old tango, and the new tango, and both those things inform his music. 他的音樂里既有傳統的探戈,又有新式的探戈。
I'm not sure what the word "authentic" means in that sense: 我不能肯定哪种更“純正”:
Am I being authentic to something from the past? 我是否在忠於一种過去的風格呢?
At the same time, as I find a new way of expressing this music through a language that has some of the tango characteristics (the harmonic language, and the rhythmic language) 与此同時,在我學會了了用韻律和和諧這种探戈個性的語言來表達音樂的時候,
I realize that this tango style is expressed in a different way. 我意識到這種探戈是用另外一種方式表達的。
And then of course there's my own feeling about the music. 當然,這時我對探戈也有了自己的感受。
This is why I'm pulled in maybe three different ways: 1) I'm always going back to listen to the old tango. 這就是為什么我既總是听傳統探戈,
2) I have become familiar with a lot more of Martin's music since I started playing this, so I am listening to a lot of that, and 又通過彈奏更加熟悉了馬丁的探戈,
3) I am paying attention to what I would like to bring to it. 同時又注意我自己的想象。
So, this is not really that different, I guess, from what I do with most music, except that there is this ancient [style] being redone in a different way. 這与我對任何音樂的演奏和消化也沒有什么不同,只不過這個音樂是用另一方式對老式探戈的再做。
But that, too, is what we do in all music, so maybe my methodology to study the tango etudes is essentially fairly similar to what I do in other music. 因而,我對探戈的學習方法和對其他音樂的學習方法是一樣的。\
HISTORICAL RECORDINGS: TANGO RUBATO 過去的錄音:探戈羅巴托
When I heard the historical recordings, 我听過去的錄音時,
I felt that I needed to know something about the history of Argentina, 覺得我一定要去讀阿根廷的歷史。
I didn't know a lot about Argentina’s History. 我對阿根廷的歷史所知不多。
I knew a few things, just what I had made up in my heart, but that's not good enough. 知道一點點,但遠遠不足。
So when I saw and heard the old recordings I really had to go back and have a look. 所以我听這些過去的錄音時,覺得一定要去讀讀歷史。
There was that epic poem ["Martin Fierro"] that Martin introduced me to, that was very useful to understand the history and geography of Argentina. 馬丁介紹給我一部詩史叫做“馬丁.費艾若”,它對理解阿根廷的歷史和地理很有用處。
Hearing the old tangos, really propelled me back there. 傾听過去的錄音推動了我去研究歷史。
Martin had written a really interesting article in which he had taken the basic beat, and then shown how the singer moves around that basic beat. 馬丁寫了一篇很有意思的文章,在文章里他演示了歌手們如何在探戈基本節奏上發揮自己的風格。
That way of distorting the pulse, he calls "tango rubato." 他管這叫做探戈“羅巴托。”
The article was interesting to read. 這篇文章讀起來很有意思。
As I tried to understand what that meant on the piano I had to keep going back to the old singers to see how they did it. 為了理解羅巴托在鋼琴上的使用﹐我必須時時回去聽那些老歌手的歌子﹐看他們是如何處理的。
The more I studied that notation, the easier it became to understand. 我越是研究﹐就越明白。
It helped me become familiar with how he uses his accents, his staccatos, and his tenutos; how phrases should breathe. 這幫助我了解馬丁是如何運用斷奏﹐重音等音樂符號來給樂曲以呼吸的空間。
TANGO AND JAZZ 探戈與爵士樂
In a number of ways, tango is similar to jazz. 探戈與爵士樂有幾點相象。
First of all, in jazz there is a basic beat, and other notes falling outside the basic beat. 首先﹐爵士樂都有一個基本的節奏﹐其它旋律都在這個節奏之外。
There's a lot of syncopation, in both jazz and tango, 探戈與爵士樂都有很多
where things are coming off the beat or before the beat. 在基本節奏之前或之邊的切分音。
When they come on the beat, it's really exciting and wonderful. 基本節奏奏起時相當精彩。
but it's those little nuances where the rhythm comes in a different place that it's really so.... 但是﹐反而是那些微小的變化﹐那些從你想不到的地方跳出的節奏﹐
...exciting, and makes it really, really interesting to play in different ways. 讓你感到興奮﹐讓你彈出很多的不同來。
This improvisational quality in the tangos that Martin has written, 馬丁探戈裡,這種即興的東西尤其在
[can be found] particularly in the "Payada," the "Tango," and the middle part of the "Milonga," where there's quite a lot of poetry, a lot of deep feeling. 他的作品"Payada," "Tango," 和"Milonga"的中部這些充滿詩性和感性的地方可以找到。
This is music that moves very sensually around the beat, and there's lots of wonderful jazz like that, too. 這是一種感性地圍繞在節奏週圍的音樂; 有很多精彩的爵士樂也是這樣的。
And I feel that there is enough freedom in my interpretation that I'm happy with it. 我很高興在彈奏他音樂時,我有很多發揮的空間。
WORKING WITH A LIVING COMPOSER 與一名活著的作曲家的合作
I am very happy that I had the freedom 我很高興我可以在任何時候
to make suggestions to him pretty much always 向他提建議。
when there are things that I can't reach. 我的手小﹐有一些琴鍵我夠不到。
I have a fairly small hand and it didn't always reached the kinds of chords [he wanted], 他就會說﹐沒問題﹐我們調整一下。
and he would just say "No problem, we'll find another way," 我欣賞這種態度﹐
and he did, and I like that attitude, because it gives you the feeling 因為這讓你感到,
you actually are working with the person to create it. 你在和作曲的人一起工作
"FIVE TANGO ETUDES" AND THE STANDARD PIANO REPERTOIRE “探索性探戈五篇”和它在標准鋼琴曲目中的地位
I am a classically-trained pianist. 我是學古典鋼琴出身。
I've played a lot of new music, 雖然我彈了很多新鋼琴曲目﹐
but, you know I was raised in the tradition of the great composers, 我很有興趣發現
and it's interesting for me to see where a composer 這些作曲家也受了
might also be inspired by some of the great composers who inspired me. 曾经启发了我的古典鋼琴大師的影響。
Two very strong influences here 這種影響有两种,
are Chopin--in some of the music you could just hear 一個是肖邦﹐你可以聽到這些曲目裡﹐
the beautiful nocturne, and the filigree, the lovely lines, 肖邦音樂的寂美
that are just decorative and fall sometimes like little waterfalls, 和流水般的纏綿
just beautiful--and Scriabin. 還有一種影響是斯克里亞賓﹐
I think Scriabin has a lot to do 斯克里亞賓影響了
with the way Martin uses harmonies, 馬丁對和旋的運用
the resolutions, you know, 鋒利的七分音﹐全音等﹐
sevenths, and tritones, and things that are really edgy.
I find a lot of those 當然還有序曲的
are in Scriabin's music, as well 以輝煌帶入環境的方式﹐
of course the beginning prelude, which is such a glorious way 在斯克里亞賓的音樂裡
to get into the set. Just a wonderful... 經常出現。
I think of an opening out into a grand panorama at the end, 另外﹐他音樂 的收尾有一種偉大的全景意象﹐
I call it the "Panorama of C Major" in my mind, because that's where we are! 我管它叫“C大調全景”﹐
And it's just...it's like going up on a mountain and looking out over 它就像從山頂眺望一座
a vast, vast city, the "City of Music," 碩大的城市﹐ “音樂之城”﹐
or the "City of Buenos Aires," or just "The Greatness of Life." “布宜諾斯艾利斯城”﹐ 或“偉大的生活” 。
There's a lot of that "joie de vivre" in this music, 那種“生活的樂趣” 在他音樂里無處不在,
which I think it's great. 我覺得太好了﹗