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弦乐四重奏如何蓬勃发展?

时间:2017-12-14 21:17 点击:

三位国际弦乐四重奏组本周宣布了人事变动,任何一个紧密团结的组织都会受到严重干扰。

恰巧我们的记者Anthea Kreston,一位着名的柏林四重奏小提琴手在冬季休息的时候,一直在眉毛上掠过这些问题。这里是她来之不易的生存秘诀:

一个弦乐四重奏如何蓬勃发展?障碍很多 - 四面八方有很多不同的层次,每个层面都有无数的压力 - 从技术到财务到个人。当一个团队非常成功(就像我的一样)的时候,尽管道路严峻,而且即使是最强壮的武器也是一系列剧目,踏上舞台的压力是巨大的,永远不会减弱。但是在这个基础上,四个固执己见的人在保持诚恳的同时能够达成一致。

第一步是尽可能灵活地使用技巧和意见。没有经过多年的训练,没有人进入专业四方,在这段时间里,你的个性和意见变得越来越明显和个性化。然后,下一步 - 尝试和另外三个人一样玩,就像你对每一个细节的感受一样 - 从右手小指的形状到呼吸的声音。更不用说连续的口音和你对每个作曲家和演奏风格的深入思考。蠕虫的可能性是本世纪的轻描淡写。也许大桶的蝎子更喜欢它。

所以 - 首先 - 前教师,同事和朋友的一些引用,以帮助保持一切。这些总是在我的脑海中循环。

1 - “在古典音乐,慢音符旋律”(真理)

2 - “任何弯曲听起来像狗屎”在特定起来的优劣一场旷日持久的谈话后,从名扬四方(anonymous-这个由小气教练)

- “这些不是我调不下来的四个音符!”(Ida Kavafian - 之后那些无休止的“让我们检查我们的G和C弦”会议)

4 - “诚实无故是残酷的“(尼娜李,布伦塔诺四重奏)

5 - “不要领导,不要跟随,玩”(大卫索耶尔,瓜内利四重奏)

现在有一些基本的“如何”建议。在你说点什么之前,先花点时间仔细检查一下这个基本列表。你正在说什么:

1 - 真相或意见

2 - 必要的

3种

深呼吸一下。在这激烈的时刻,没有什么比你想的更重要了。

 

Three international string quartets announced changes of personnel this week, always a massive disruption in any tight-knit group.

It so happens that our diarist Anthea Kreston, violinist in a celebrated Berlin-based quartet has been furrowing her brow over these very issues as the winter break approaches. Here are her hard-earned survival tips:

How does one flourish in a string quartet? The obstacles are numerous – there are so many different levels of quartets, and each face innumerable stresses – from technical to financial to personal. When a group is very successful (as mine is), the pressure of stepping onto a stage at the top of our abilities, despite the rigors of the road and a bundle of repertoire that stresses even the strongest of arms, is great and never abates. But at the base of it all is the ability of four stubborn and opinionated people to come to agreements while maintaining cordiality.

The first step is to try to be as flexible as possible with both your technique and opinions. No one gets into a professional quartet without years of training, during which time your personality and opinions become more and more distinct and individual. Then, next step – try to play with three other people who have just as deep a feeling as you do about every detail – from the shape of your right-hand pinky to how audible your breath is. Not to mention the accent continuum and your deep thoughts of every composer and style of playing. Can of worms is the understatement of the century. Maybe vat of scorpions is more like it.

So – first – some quotes by former teachers, colleagues and friends that help keep it all in perspective. These are always cycling in my head.

1 – “In classical music, the slow notes are the melody” (truism)

2 – “Any bowing can sound like Shit” (anonymous- this by a curmudgeonly coach from a famous quartet after a protracted conversation on the merits of a particular up and down bow)

3 – “Those aren’t the 4 notes I am worried about being out of tune!” (Ida Kavafian – after one of those endless “let’s check our g and c string” sessions)

4 – “Honesty without tact is cruelty” (Nina Lee, Brentano Quartet)

5 – “Don’t lead, don’t follow, play with” (David Soyer, Guarneri Quartet)

And now some basic “how-to” advice. Before you say something, take a moment and double check this basic list. Is what you are about to say:

1 – the truth or an opinion

2 – necessary

3 – kind

Take a deep breath. Nothing is as important as it seems to you right at that heated moment.

 

 


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