天籁之音
新弦
Jun 19th
那套尼龙弦严重超期服役,原本3-6个月一换的它竟然给我用了6年,最头疼的是查来查去都不知道它是什么牌子的,只知道肯定是好弦,因为以我的力度,碰过的琴基本都会断弦(当然都是尼龙弦的啦),但这套弦拉了6年竟然还是好好的,当然音质就……
前段时间买了一套Piranito(钢丝弦)装在借来的琴上,效果很好。最近又在网上看到说拉老化的弦不仅仅声音不好,而且会把手和琴搞坏,于是就向红艺定了一套Tonica。原来还考虑了一阵要不要买Chromcor,不过心想钢绳还是暂时不玩了吧……
这有两个很有用的网址,介绍各类琴弦的,收藏了。下一次要换弦的时候可以用得上。
http://www.stringsmagazine.com/issues/Strings95/coverstory.shtml
http://www.violinist.com/wiki/violin-strings/
泉志21年生辰庆典音乐会
May 28th
生辰之日举办音乐会的传统延续到了第8年,这也是连续第6年生日之时有雨水前来助兴,颇合吾之生肖。是日有亲朋好友数十位来电祝贺,敝人谨在此一并致谢;尤以吾父母应以拜谢为甚。
Philharmonic Orchestra '92 | Ye Quanzhi
2009 May 28, 17:00 CST at the Blue Hall
Richard Strauss (1864-1949)
1. Also sprach Zarathustra, Op. 30
[INTERMISSION]
Jacques Offenbach (1819-1880)
2. Orphée aux enfers, overture
Gustav Holst (1874-1934)
3. The Planets, Op. 32
Birthday's Address
Ye Quanzhi
4. Happy Birthday! Q. 172
Paul Lincke (1866-1946)
5. Berliner Luft
Blue Hall Piano's Opening Concert
May 10th
Ye Quanzhi | Lin Panpan
2009 May 9, 17:00 CST at the Blue Hall
Yi Zi
1. White Bird
Ye Quanzhi
2. Little Star Variation, Q. 173
Johann Strauss II (1825-1899)
3. Voice of the Spring, op. 410
Johann Sebastian Bach (1685-1750) and August Wilhelmj (1845-1908)
4. Air on the G String
Wolfgang Amadeus Mozart (1756-1791)
5. Divertimento in D, 3rd movement, K. 136
Fritz Kreisler (1875-1962)
6. Farewell to Cucullain
Ye Quanzhi
7. Coriolis, Q. 119
Johann Sebastian Bach
8. Goldberg Variations, Aria, BWV 988
100 Hours of Astronomy Concert Series: of Apr. 6
Apr 7th
The VIIth China Astronomy Olympaid were held on Apr. 2-6 at Guangzhou and I was busying giving hands when in need, meeting old friends and guided them walk around the city, although I was not in staff group. I participated the Ist and IInd ChAO in 2003 and 2004 (and being a member of Chinese team for VIIIth International Astronomy Olympaid that held at Stockholm in 2003) and met lots of participants that are similar to my age at that time, many of them are now my best friends and still being very active in astronomy. I am very happy to see that ChAO is more and more successful. It is also a great pleasure to meet old friends at hometown and share their happiness for being together for the sake of universe!
For this reason, the title of the closure to 100 Hours of Astronomy Concert Series is chosen as "One Sky, One Dream".
Philharmonic Orchestra '92 | Ye Quanzhi
2009 Apr. 6, 19:30 CST at The Blue Hall
Richard Wagner (1813-1883)
1. Overture of "Die Meistersinger von Nürnberg", WWV 96
Joseph Haydn (1732-1809)
2. Symphony No. 45 in F-sharp minor, "Farewell", Hob.I:45
[INTERMISSION]
Franz Schubert (1797-1828)
3. Symphony No. 9 in C Major, "Great C Major", D. 944
Ye Quanzhi
4. "Farewell! Beijing", Q. 95
Paul Lincke (1866-1946)
5. Berliner Luft; Berlin Air
100 Hours of Astronomy Concert Series: of Apr. 3
Apr 4th
Not surprisingly, we had all overcast thorough the 4-hour party, which held at the North Gate of Sun Yat-sen University on behalf of the 100 Hours of Astronomy. However it's still successful, with hundreds of citizens visited and observed the scenery of Guangzhou by telescopes. The teachers and team leaders came for '09 China Astronomy Olympaid also attend the party.
The private concert held on Apr. 3 for 100 Hours of Astronomy is under the title of "Sky gazers". A total of six privately-composed sky-related compositions are chosen, including "Meteor Storm Overture" (Q. 133), Leonids Suite (Q. 116), Twilight (Q. 132) and "Night of the South Sea" (Q. 82) that to be played for the first time.
Philharmonic Orchestra '92 | Ye Quanzhi
2009 Apr. 3, 22:30 CST at Nanchuan Observatory
Ye Quanzhi
1. Meteor Storm Overture, Q. 133
2. Suite of "Leonids 2001", Q. 116
3. Twilight, Q. 132
4. Mountains in Afterglow, Q. 144
5. Night of the South Sea, Q. 82
6. Coriolis, Q. 119
100 Hours of Astronomy Concert Series: of Apr. 2
Apr 2nd
The climax of IYA 2009 -- 100 Hours of Astronomy -- finally arrives, unfortunately the weather is not favourable for star gazing now, as an old Chinese poem goes, "Qingming time lots of drizzle" (Qingming: a traditional day occured on Apr. 4 or 5 each year, it's the time for Chinese to visit the tombs of their ancestors and passed relatives). I don't know the reason to schedule the 100 Hours of Astronomy around the Qingming days -- maybe the weather condition is favourable for star gazing in North America or mainland Europe, but not China. Last week, a serve thunderstorm hitted Guangzhou and meteorological observations at the observatory of our campus showed it is the worst thunderstorm we had since at least 2006, thus, very few students would like to join the Earth Hour activity by turn off their lights. For me, I had wish to show my support to the EH by holding a "dark sky" concert at the center park of our campus, but it had to be cancelled due to heavy rainfall.
So the situation may well possible to be similar this time, a cold front is expected to arrive around Apr. 4 and bring another server weather to us -- although unlikely to be as bad as the Mar. 28's -- but enough to rule out possibilities for an excellent 100-hour activity. Anyway, I'll be the North Entrance Plaza of the old campus of our university for the Guangzhou 100 Hours of Astronomy, although I'm not very opmistic for its outcome.
On the other hand, I will celebrate the 100-hour privately by a unique (but "ordinary" for me) way: holding concerts. This time, a series of concerts will be held thorough-out the 100-hour, and everyday there will be a concert with a specific theme, with some of my works written over the past ten years to be played. As usual, I will "conduct" the Philharmonic Orchestra '92 (well, actually, the orchestra is a combination of me, my CDs and MIDIs on hand...) for the concerts.
The opening concert on Apr. 2 is under the theme title of "The universe we observe and the planet we live".
Philharmonic Orchestra '92 | Ye Quanzhi
2009 Apr. 2, 19:30 CST at Kissland Music Ground
Dmitri Shostakovich (1906-1975)
1. Festive Overture, op. 96
Joseph Haydn (1732-1809)
2. Symphony No. 104 in D Major, "London", Hob.I:104
Ye Quanzhi
3. Prelude of Our Solar System, Q. 151
4. Little Star Variation, Q. 173
Arnold Schoenberg (1874-1951)
5. Verklärte Nacht, op. 4; Transfigured night
Josef Strauss (1827-1870)
6. Sphären-Klänge, op. 235; Music of the Spheres
Ye Quanzhi
7. 24-hour, Q. 45
8. Coriolis, Q. 119
维也纳爱乐乐团访华演出观感
Mar 12th
能到世界第一流的音乐厅欣赏世界第一乐团的演出,绝对是一件棒透了的幸福事情。耗巨资建成的国家大剧院,其含金量自不待言;与柏林爱乐乐团并称为“世界第一”的维也纳爱乐乐团(Wiener Philharmoniker,它和柏林爱乐实在伯仲难分,我比较喜欢将它们并称为世界第一),在著名指挥家祖宾·梅塔的率领下第五度访华。我自1996年开始便通过电视收看一年一度的维也纳新年音乐会,对维也纳爱乐耳熟能详,怎么能错过这样一次盛事呢?然而,这样级别的演出自然为许多音乐爱好者早早盯上,我在三个月前订票的时候,就只剩下VIP和一等票的了。尽管票价实在是让人有点难受,但想想看这样的精神享受,多少年才能遇到一次呢?于是还是咬咬牙买了一张一等票,顺带订下1.8折往返北京的机票。当然后来顺便加上了到北大和天文馆的讲座,那是后话。
国家大剧院的确富丽堂皇、装饰考究,而且音响效果实在不同凡响。音乐厅的混响是完全靠反射乐器的自然声响而不用任何电子扩音设备的,我入座首层后排的时候听到钢琴正在试音,那恐怕是我难得的“余音绕梁”的感觉。其他令人惊叹之处我就不多言了,还是赶紧谈谈维也纳爱乐乐团的演出吧。
首先列一下当晚的节目表:
Wiener Philharmoniker | Zubin Mehta
维也纳爱乐乐团 | 祖宾·梅塔
Lang Lang, Piano
钢琴:朗朗
Wolfgang Amadeus Mozart (1756-1791)
沃尔夫冈·阿马迪斯·莫扎特
1. Overture to "The Marriage of Figaro", K. 492 《费加罗婚礼》序曲
Joseph Haydn (1732-1809)
约瑟夫·海顿
2. Symphony No. 104 in D Major, "London", Hob.I:104 D大调第104号交响曲“伦敦”
Frédéric Chopin (1810-1849)
弗雷德里克·肖邦
3. Concerto for Piano and Orchestra No.2 in F Minor, op. 21 f小调第二钢琴协奏曲
4. Polonaise No. 6 in A-flat Major, "Heroic", op. 53 降A大调第6号波罗纳兹舞曲“英雄”
(INTERMISSION)
Franz Schubert (1797-1828)
弗朗茨·舒伯特
5. Symphony No. 9 in C Major, "Great C Major", D. 944 C大调第九交响曲“伟大”
Johann Strauss II (1825-1899)
小约翰·施特劳斯
6. Tritsch-Tratsch-Polka, op. 214; Chit-chat 闲聊波尔卡
7. Unter Donner und Blitz, op.324; Thunder & Lightning 雷电波尔卡
当梅塔缓缓抬起指挥棒的时候,我的期待值可以说是到达顶峰了,然而开场曲《〈费加罗婚礼〉序曲》却并没有给我留下特别深刻的印象—— 我想,也许是因为这首曲的经典版本太多,旋律我也太熟悉,现代科技使得录音质量和音响设备也太完美,这首曲实在也太难有发挥创新的空间了。而且说实在话,这首曲子是为乐队热身而准备的,定音鼓入点略提前或滞后以及弦乐稍微的错位还是偶有出现,但这些错误都相当细小,只能轻微地感觉出来。
为了纪念海顿逝世200周年,梅塔和维也纳爱乐乐团特地选择了海顿的第104号交响曲作为演出曲目。在第一、二乐章,乐队似乎仍然没有完全进入状态,还是有一点瑕疵(主要还是在定音鼓的入点以及弦乐的咬合方面),但三、四乐章则是行云流水,听起来十分舒畅。除去这一次维也纳爱乐乐团的现场演绎,我一共听过两个版本的第104号交响曲,分别由戴维斯爵士和杨松斯指挥,杨松斯的指挥风格很能反映乐曲的线条,但我想他实在处理得有点太过了,太不够“海顿”,还是戴维斯和梅塔的版本比较耐听。不过梅塔在一些段落(比如第二乐章渐快那一段)把速度落差处理得明显了一些,和我理想中那种整齐严谨的海顿形象不相符合。有人觉得梅塔处理音乐的手法很呆滞,但我觉得从某种意义上来说,戴维斯的版本才是最“呆滞”的,但我想也是最能原汁原味地再现海顿作品形象的。尽管梅塔指挥维也纳爱乐和戴维斯指挥荷兰皇家音乐会堂管弦乐团之间音质差异其实不大(戴维斯的版本号称“历史上最经典的录音”),但我觉得作为拥有纯正奥地利音质的维也纳爱乐,在诠释奥地利作品方面应该更为“正统”吧。
接下来,朗朗登场了,演奏的是肖邦《第二钢琴协奏曲》。经过前面的热身,维也纳爱乐终于露出让人惊叹的高贵本色,整支乐队全如一人,与朗朗的钢琴无论在音响上还是音色上都天衣无缝!我简直是佩服得无以复加了。当钢琴如高高的旗帜般引领旋律的时候,乐团的声音不大不小刚刚好—— 停在一种明显到可以尝到浓郁的香味、但又不至于明显得喧宾夺主的程度,特别是维也纳爱乐那种余音袅袅的梦幻音色,衬在朗朗铿锵有力的琴声之中,更是要让人“三月不知肉味”了。说到朗朗,其实我以前并不喜欢他,因为他咧着嘴如同抽风一样弹琴的样子,我觉得很倒胃口。不过这次现场观他弹琴,才能感觉到他那样疯狂弹琴的独特之处(也许是因为坐在台下,看不清他咧着嘴的样子,呵呵),这是他进入音乐的一种方式,其实倒是和小泽征尔挺像的。《第二钢琴协奏曲》我听过霍夫曼和齐默尔曼的版本,但我觉得还是朗朗的弹奏最能入木三分—— 因为这首曲子是肖邦为暗恋的女生创作的,朗朗那种力度与速度飘忽的表现风格,我觉得,最能反映肖邦当时写作的心理(肖邦完成这部作品的时候才20岁,我和当时的他或许能存在某些程度的共同认知)。总之,无论是朗朗个人的世界级演绎,还是维也纳爱乐那种让人五体投地的精彩铺衬,都配得上本曲结束后观众海涛般的热烈掌声,朗朗本人更是多次谢幕,并加演了一首独奏曲—— 《降A大调波罗纳兹舞曲》,我只能用四个字来注脚:不可思议,是我听过最疯狂、最蓬勃,可能也是让那些觉得该曲应该激情澎湃地演绎的人(包括我)最“一吐为快”的演出。这么一气呵成的演绎,朗朗只是按别了两个音而已(注:其实,对于这么形式上完美的曲目,如果弹错的话是很容易听出来的,因为音程“不和谐”;降A大调波罗纳兹舞曲要全程一个音符不错似乎也是很高难度的事情,我听了好些大师的版本都会有一定音符弹错)。
下半场只有一首正式曲目:舒伯特的《第九交响曲》(由于编号的问题,也有将这首交响曲编为第七、第八的)。这首曲子不太好理解,我觉得对于许多听众来说,很沉闷(无怪乎有好些人提前退场),但我觉得这首交响曲是维也纳爱乐乐团当晚演出最好的作品(除去给朗朗伴奏的以外)。乐队处在一个最好的状态,而且这样较为刻板的、棱角分明的,而且比较大块头的、有点“死”的作品(我觉得)正是梅塔所擅长的,也符合他的演绎风格。整个乐团也展现了他们高超的艺术水准:每个乐手自成一体,但从总体上来听,每个乐音其实是很统一在一个格调之下的。比方第一乐章第一段中双簧管的主旋律,如同高高屹立在山头一样让人一眼就能看得一清二楚;但到了弦乐和圆号的主旋律时,却又如同一支庞大但训练有素的象兵,庞大的,但绝无一点差错的地方;变奏一段长号接过主旋律,弦乐的拨奏那个叫“整齐划一”呀,但需要木管出来跳跃的时候,却又不失一份灵性;第三乐章中木管的蹦跳和小提琴与大提琴的对答更是处理得让人叫绝:中速、稳重,但又绝非死气沉沉,好像春天阳光照在正融冰的湖上的那种感觉。作曲家要表现的不就是一座巨大的、外表上看死气沉沉、但在角落处却有勃勃生机的巨大城堡么?好的音乐是不需要听众寻找什么内涵的—— 一个真正的演奏家或者一个技术精湛的乐团是能够把内涵摆出来放在听众面前,就如摆博物馆里的庞大画卷一样。纵览全局,尽管这首交响曲里有不少活跃的部分,但作为指挥的梅塔很好的控制了大体的节奏,使得它看起来大致是“军队”般、“领袖”般的稳重。我听的另一个版本就是太“活”了,舒伯特不已经写了个大标题“伟大”吗,一个“伟大”的东西,必定要能体现某种“控制力”,而不是活蹦乱跳嬉皮笑脸的到处乱跑。总之,我十分欣赏梅塔的处理方式,更不要提用维也纳爱乐的那种透彻音质来演绎这部作品时产生的效果了(好像一个巨大的湖泊一样,虽然很大,但却处处清澈,处处有风景)。可惜的是这部作品实在太“伟大”了,是那些听惯了简易的、肤浅的音乐的耳朵所理解和承受不了的。第四乐章结束以后掌声雷动,我觉得其中一部分是答谢艺术家们的精彩演出,另一部分所要说则是“终于演完了!”
梅塔和维也纳爱乐乐团加演了两首经典的保留曲目,约翰·施特劳斯的《闲聊波尔卡》和《雷电波尔卡》,这就不必作更多的评论了。众所周知,诞生于施特劳斯时代的维也纳爱乐乐团是施特劳斯作品最权威的演绎者和诠释者。
这场音乐盛宴足足持续了两个半小时,相当于正常音乐会再加上一部协奏曲的长度。毫无疑问,我的感觉难以简单的用“太棒了”、“不可思议”来表达。不过最后还是要对中国观众的素质发发牢骚。其实这次已经算我在国内听过的音乐会中秩序最好的一次,国家大剧院的努力功不可没,不仅开启了手机信号屏蔽技术,而且还用激光“标明”偷偷拍照者,让他们“知难而退”。但即便国家大剧院做足一切措施,每当乐声趋弱的时候,就能听到咳嗽声此起彼伏,而且还要做作到简直让人恼火的程度,看来即使经过了奥运,国人的身体素质也还是有待提高啊。另外交响曲乐章间还是有些观众“盛情难耐”地鼓掌,让我觉得颇为难堪,不过想到连金色大厅的听众都会鼓错掌,所以这个差错还不至于像咳嗽声那么可恶。总的来说,艺术家是世界第一,音乐厅是国际一流,但听众大约就是二流水平了。无论如何,这晚终于在世界第一流艺术殿堂见识了世界第一乐团的水准,实在太梦幻、太难忘了,真希望下次这样的体验距离我并不遥远。
大年初七山寨版新年音乐会
Feb 1st
2月1日,我、盼盼、迟、阿饭师兄、吴国龙一行在Y君家举办了东道主称为“山寨版新年音乐会”的聚会,我担纲小提琴(客串了钢琴)、盼盼钢琴(客串了小提琴)、阿饭师兄(钢琴和打击乐)、吴国龙(长笛和八孔竖笛),Y君和迟均高歌一曲,演奏曲目包括《探戈》、超级玛丽奥主题曲、诸首圣歌、《维也纳森林的故事》以及莫扎特的《第三小提琴协奏曲》等等,轻松活泼,举座皆欢,实尽兴也,兹传照片于此,与诸位飨。照片均为Y君所摄。
巴赫/古诺《圣母颂》——叶雨搭档首演
Jan 24th
孟子曰:“独乐乐不如众乐乐”。与小雨同学达成联袂意向已经近一年了,但由于地域分隔的缘故,至今还未合奏过。是日也,小雨从佛山来穗,二人到正佳广场五楼租了间琴房,乐乐了一个下午(委屈了钱包)。合奏的曲目包括莫扎特的《G大调第三小提琴协奏曲》第一乐章(二人断断续续地准备了差不多一年)、巴赫/古诺的《圣母颂》和波隆贝斯库的《叙事曲》等。由于环境与录音设备(手机录音)均欠佳,只择一《圣母颂》以飨诸圣:
[audio:2009/01/0124.mp3]
Johann Sebastian Bach (1685-1750) and Charles-François Gounod (1818-1893)
Ave Maria
Performed by Ye Quanzhi (violin) and Liang Qianyu (piano)
(*): Recording was made by a not-well-positioned mobile phone
Recording of Little Star Variation, Q. 173
Jan 4th
[audio:2009/01/q173.mp3]
"Little Star Variation", Q. 173, with sub-title "A Greeting to the Forthcoming 'International Year of Astronomy', 2009", was composed by myself for solo violin in late 2008. 18 variations were developed, base on Mozart's origin tune, with different violin playing technique. Little Star Variation was first played on the Private New Year's Concert 2009 at The Hall of Johann Sebastian Bach (nickname of my violin playing room), and this recording was made on January 4, 2009 at the Blue Hall (nickname of the guest room when it's used as a concert hall). It's numbered as Opus 173th, or say Q. 173, as Q number had replaced the old Opus number since too many compositions are remained in need of clean-up works. The Chinese name of this composition is "小星星变奏曲", this is my first publicized music work, and more are planned to follow. Feedbacks are warmly welcomed. Happy IYA to all!
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