別以為我打錯字了,我不是探討CD與LD的區別,而是打一打
Claude Delangle與Luciano Berio的對話
(內容上也沒啥大不了的東西,但可以做個參考,看看Berio對Sax的觀感)
兩人分別用CD與LB代稱,我不譯了,請自行慢慢觀看
-------------------------------------------------------------------------
CD: Since our meeting at Chatelet, where you suggested that I should creat
this version(此指"序列七",題獻給著名雙簧管演奏者Holliger,後也改編給
Delangle), more than two years elapsed. The task has been a long one.
I was very afraid of diverging from the true spirit of the work. What is
your conclusion?
LB: I have just heard you play a wonderful present in an impeccable manner.
What interests me is that the soprano sax enlarges, amplifies the character
of the original for oboe to the point at which I can say that I prefer it.
I am going to produce a "Chemin" for soprano saxophone and 23 strings,
enlarging the subtance of "Chemin IV" for oboe and 11 strings.
The saxophone is an instrument that I like very much,(吹sax的爽了吧?)
that I have always liked because its roots are largely in the oral
tradition of music, like jazz and so on. It can produce different
characters. And in the orchestra, it is an instrument that I always use
because it is a very flexible and beutiful bridge between woodwind and
brass, while having a personality of its own. It has very forceful
personality with the whole family of the saxophones and helps towards
a certain unity in the orchestra(這種說法倒是與一般想法不太相同)
CD: What is the exact place in the orchestra?
LB: The saxophone is a very flexible instrument with a sonic power that can
stand up to the brass. The saxophone is an instrument with many facets.
For this reason I like using it in the orchestra or as a solo instrument.
CD: You told me that you also envisage producing a Chemin based on Sequenza IXb
for alto saxophone.
LB: Your playing has persuaded me. When I have time in the future I am going to
work on it. I have already thought it out in the abstract. Now that I have
heard you I'm very much obliged to you.
CD: What advice would you give about teaching the saxophone? What would you
teach students in order for them to be better able to serve the music of
contemporary composers?
LB: The repertoire is not very large as yet but I think youngsters learning
themselves form French school of the instrument with its excess of vibrato,
etc., but also with lots of bad music. A great flexiibility of musical
spirit; that's what is the most important.
CD: From the ponit of dynamics, of colors, do you think one should exploit
the fullest possibilities?(我覺得這個問題有點多餘)
LB: Yes. What has greatly surprised me about your version of Sequenza for oboe
played on soprano sax is the enormous dynamic range as well as the colors.
I must tell you that I had not expected this. You have given me a wonderful
present.
CD: You ar much too kind.
--
Do NOT "measure sex more than friendship"!
--
※ 發信站: 批踢踢實業坊(ptt.twbbs.org)
◆ From: d210.taipeinet.