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发表于 2005-6-3 22:12:00
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好，偶总结了KEEN的翻译进行校对，KEEN翻译得很好啊，修改了几个词而已。不过对题目偶有不同看法。for all seasons=forever。比如《百年好合》的英文名就是Love for All Seasons拉。所以个人认为题目应该是《杨雪霏是位永远的吉他家》。
Xuefei Yang Is A Guitarist for All Seasons
By Mark C. Davis | Spring-Summer 2005
Xuefei Yang’s latest album on GSP Recordings, Si Ji (Mandarin for “Four Seasons”) reflects her life and her time. Yang was born in 1977 in Beijing, the year after Mao’s death and the end of the Cultural Revolution—China’s ten-year hibernation from the rest of the world, when music production effectively ceased. Now 27 and in the spring of her life, Yang lives in London where she studied classical guitar at the Royal Academy of Music. She tours extensively throughout Europe and Asia and has also appeared in the U.S.
I can’t help but think how different your life would have been if you had been born earlier. Could you talk about your learning environment during your early years?
There were very few musical scores and records of guitar in China at that time, and no CDs at all. For the first three years, I played with other kids in a “guitar group.” We mostly played to accompany our own singing. Our teacher was very good in terms of making us enjoy playing, but she was an amateur in guitar teaching.
After two years of playing, your parents spent more than one month’s wages to purchase you a better guitar. What pieces were you playing at that time? Did you learn by sight-reading or play by ear?Chinese parents are always extremely supportive of their children. I learned by sight-reading from the very beginning. I played some Carcassi, Sor, Giuliani, and Tarrega, and I also played some folk songs. When I was 11, I was learning Giuliani’s “Grand Overture,” Barrios’s “La Catedral,” and Sor’s “Variations on the Theme of the Magic Flute.”
You played for your hero John Williams in a master class when you were 17. What did you play for him?I played Mertz, Regondi, and Domeniconi. That was the first time John heard “Koyunbaba,” which he later recorded on The Guitarist [Sony Classical]. It has been a privilege to know John. He is not only a true musician with such passion in his music but also an incredibly generous and kind person. I’ve learned a lot from him. In addition to guitar playing, I also received a lot of inspiration and direction from him.
One piece on Si Ji, “South China Sea Peace” by Stephen Funk Pearson, is very unusual. You place an additional saddle on the fretboard under the strings, giving the guitar two sets of six strings—two different tunings and sounds at the same time. Some of the pitches are not perfect and this becomes part of the character of the piece. Can you clarify this intriguing technique?If you put a pencil underneath the strings at, say, the 10th fret, you’ll find two different tunings if you pluck both sides of the pencil. If you play with both hands on one side of the pencil, then you will find some of the pitches are not perfect. For this piece, I had to play on both sides of the extra saddle, making for a very unique sound. And it’s quite tricky to sight-read the score!
What advice would you give to aspiring guitarists?
I strongly suggest that every guitarist try to collaborate with other instruments as much as possible. I also hope guitarists consider playing in the overall context of music rather than just playing the instrument itself. Everyone should try to make a small contribution to the guitar’s development. Above all, the keys to success are true love, will power, and dedication—never give up.
杨雪霏是位永远的吉他家
采訪：馬克·戴維斯
攝影：鄺偉棠
GPS公司最新为杨雪霏发行的《四季》这张专辑，反映了她的生活和她所处的时代。杨雪霏于1977年在北京出生，那正是毛主席逝世之后的一年，也是让中国与世界隔绝的“十年文革”结束后的一年，音乐的发展完全停滞。杨雪霏现年27岁，正处于黄金时期，居住在英国，于皇家音乐学院学习古典吉他演奏。她的足迹遍及欧洲、亚洲和美国。
马克·戴维斯：
我不禁想问：假如您提早几年出生，你的生活会有多大的不同呢？能否谈谈你早年的学习环境？
杨雪霏：
那时候，在中国能找到的乐谱和录音是少之又少，也根本没有CD唱片。在最初的三年里，我在一个“吉他乐团”里和其它的小朋友一起演奏，我们大多都是给自己唱的歌曲伴奏。我们的老师有很好的办法让我们乐在其中，但她只是一个业余的吉他教师。
马克·戴维斯：
在你弹了两年吉他之后，您的父母花了一个多月的薪水为你添置了一把更好的吉他。当时你在演奏什么曲子呢？您当时是视谱演奏还是靠耳朵来听？
杨雪霏：
中国的父母通常都会极力支持自己的孩子。我从一开始就是视谱演奏来学习的，演奏卡尔卡西、索尔、朱利亚尼和泰雷嘉的一些作品，也经常弹奏一些民谣。11岁时，我学的是朱利亚尼的《大序曲》、巴利奥斯的《大教堂》，还有索尔的《魔笛主题变奏曲》。
马克·戴维斯：
17岁那年，你在约翰·威廉斯的大师班上为你心目中的“吉他英雄”演奏。你当时弹了一些什么作品？
杨雪霏：
我演奏了梅兹、雷刚蒂、还有多明尼哥尼的作品。那是他第一次听到《科庸巴巴》，后来也收录到他的演奏专辑《The Guitarist》之中（Sony公司发行）。能认识威廉斯是一种特别的荣幸。他不仅是一位满怀音乐热情的真正的音乐家，同时也是一个十分慷慨的、和蔼可亲的人。在他身上，我学到了很多东西。除了吉他演奏之外，我从他那也得到了不少的灵感和启示。
马克·戴维斯：
在《四季》这张专辑中，有一首很不一样的作品——斯提芬·冯克·皮尔逊创作的《South China Sea Peace》。您演奏这首曲子的时候在吉他的琴弦和指板之间额外地添上了一个琴枕，使吉他同时拥有两组琴弦——不同调子，但同时发声，使得有些音的音准并不太好，这也成为了这首作品的一个独具特色的地方。你可以说明一下这种耐人寻味的技术吗？
杨雪霏：
如果你在琴弦下面放一根铅笔，比如说放在第10品的位置，那么，你分别在（铅笔的）两边拨弦就会有不同的调子。如果你用双手在（铅笔的）同一边演奏的话，你就会发现有些音的音准并不完美。在这首曲子里，我需要在这个“特制琴枕”的两边演奏，让其发出独一无二的声音。还有，在视谱方面也是相当费工夫的！
马克·戴维斯：
对于那些有抱负的吉他演奏家，你有什么建议？
杨雪霏：
我强烈建议每个吉他演奏家都要尽可能多地与演奏别种乐器的演奏家合作。我也希望吉他演奏家们能更多地考虑到音乐的全局，而不是仅仅局限在乐器本身。每个人都应该为吉他的发展做出或多或少的贡献。最重要的是：成功的关键是真爱、意志力，还有奉献——永不言弃！
[此贴子已经被作者于2005-6-4 0:33:39编辑过]
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