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8 _7 j- w0 @" b& g7 X世界媒体评价《纸乐》《水乐》 A% o% d/ G7 k* F! S4 i0 b
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2007年9月14日 10:55
" O$ u9 _" ^* f5 q: U( C来源:东方网 选稿:张侃理 M0 q: @2 i, H% `
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“有机音乐不光以我们生活中的自然物质为基础，更体现了外自然与内心灵的共通。我相信，任何物质都可以互相对话，纸同小提琴、水同树、月亮同鸟……总之，宇宙万物中任何一个微小的物质都有自己的生命和灵魂。正如我们祖先所曰：‘天地与我为一’。” # x' Y2 {! q0 z. W$ T [9 |6 T
1 S2 C* X0 C7 {, A1 M ^ ——谭盾
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《纸乐》
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9 h* p- }/ Q S 世界媒体对《纸乐》的评论 * @! H g2 m5 {: T0 F7 O) ^
4 m4 M7 J) n$ X# M Z, a 演出现场，三个从天花板垂落至舞台的巨大纸轴俨然成了打击乐器，在打击乐手的敲击下，翻滚、跃动的纸轴营造出一场惊天动地的暴风雨。舞台上，引人入胜的音乐竟都出自各种各样的纸制品：用硬纸板做成的纸桶、纸箱、啦啦队的纸制绒球、纸袋、纸伞……谭盾的这部作品（《纸乐》）向我们证明了一点，传统而又缺乏变化的古典音乐，其实还具有许多实验的可能，还蕴藏着突破的巨大能量。 4 u! h6 Q+ j+ k7 S
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新加坡海峡日报，2007年6月4日 - |# ~9 [, Y* A2 _; p( A
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A rattling tempest was churned up as the percussionists drummed three huge scrolls of paper which cascaded from the ceiling to the stage floor, while intriguing sounds were created with all manner of paper products, from cardboard tubes and boxes to pompoms, paper bags and a paper umbrella...Tan had conveyed that classical music, rather than being static and traditional, is a form that still has room for experimentation and the power to celebrate.
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5 ^+ V/ |" D' A$ G/ z1 L1 G --The Straits Times, Singapore, June 4, 2007 ( E; ^2 @4 `# d* c, @
! |0 P! C9 S+ K0 W# t 作曲家谭盾通过其独树一帜的创新和发明，让我们生活中最常见、最普通的物质生发出新的活力；在舞台上，这些物质超越了以往的平凡，体现出其自然的本源。
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悉尼先驱晨报，澳大利亚，2006年2月4日 . \4 N( s- I1 c& N8 M
: }8 X* g) K A- `0 @( |( K# ^8 M Chinese composer Tan Dun has a way of enlivening such things with ingenuity and inventiveness, so that they appear elemental rather than simplistic, tapping into something basic in the fabric of our lives. - K2 x' X: H, |4 S
9 y8 K8 C$ |$ A+ U2 C, B: } --The Sydney Morning Herald, Australia, February 4, 2006 ( T1 A$ ?( x. J" B' A1 y6 d
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《纸乐》结构紧凑，犹如一场神奇的音乐典礼。谭盾似乎永远都不会缺乏新意，他总能用生活中的普通物质作出令人陶醉的音乐。这部《纸乐》可与谭盾的前一部《水乐》成为相互辉映的姐妹作品。
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* A" J2 Q+ _5 r+ e E5 ` 洛山矶时报，美国，2005年4月30日 ! L9 s$ d# y+ N5 L1 Q: i
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…Musically tightened, the now non-narrative concerto has become a magical ceremony…Tan never seems at a loss for new ways to make entrancing music from these materials…and Paper Concerto makes a fine companion piece to his Water Concerto.
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-- Los Angeles Times, USA, April 30, 2005
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; l3 Q$ H7 Q8 `' q2 J《水乐》
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+ Q0 `. p6 B9 ]( B 世界媒体对《水乐》的评论 " g* F. V9 h4 H# F7 k
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在Masur（前纽约爱乐指挥）的演绎下，谭盾的《水乐》，宛如一场令人愉悦的神圣洗礼。作品既轻松、活泼又不失深奥的内涵，令观众无法不爱上这场聚集了各类奇妙声音的演出。曲终时，大家都不由自主地起立鼓掌。 3 W/ P! S& k' N* `
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——波士顿先驱报，美国，2006年1月7日
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Masur presented the joyous baptism that is Tan Dun’s playful and profound Water Concerto…the combination of playfulness and profundity in the strange combinations of sounds was impossible not to love. And the audience stood and cheered heartily at the end.
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* F% H1 o0 O/ X! t* n% [ -- Boston Herald, USA, January 7, 2006
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7 {8 l' j" w% O1 E' N- Z2 I3 M 在《水乐》的演出过程中，高潮迭起，令人窒息的精彩画面频频出现。演出结束时，当打击乐独奏家Thomas Sherwood将一个水漏沉进一个透明的大水盆中，进而突然伸展双臂、高高举起水漏，刹那间呈现出一座小型瀑布，观众立即为此起立报以热烈欢呼。在长达20分钟的演出中，这段表演构成了最引人注目的剧场视觉效果，可谓是这部独特而又令人着迷的作品中的画龙点睛之笔，这场演出把协奏曲、剧场表演、视觉空间、和音乐欣赏融合起来，以此改变了观众对音乐欣赏的传统认知。
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——亚特兰大宪报，美国，2005年3月11日 : Q& k( D( C& ^. Q
~. I% v4 y B8 R5 a$ o At the breathless, racing climax of Tan Dun’s Concerto for Water Percussion and Orchestra–an instant before the Symphony Hall audience gave a cheering, standing ovation–soloist Thomas Sherwood plunged a colander into a big bowl of water and lifted it high. Arms outstretched, he produced a rainstorm in miniature. It was a spectacular flourish to cap a uniquely enchanting piece. It was also the most blatantly theatrical image in a 20-minute work that blurred the perceptions of concertos, theatre, space and even music itself.
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9 B, Z; P7 Z, p% J3 N' F --Atlanta Journal Constitution, USA, March 11, 2005
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3 ?5 m9 f1 `6 o" n q 《水乐》是我听过的作品中最震撼人心的作品之一。根据童年对水声的音乐记忆，谭盾以其独特的方式来表现自然的水声，创作出一部非凡的佳作。为了实现他的《水乐》理念，谭盾把几个巨大透明的水盆改造成乐器，并以此为核心独创了一系列水乐器。乐手用手或玻璃器皿击打水面，把锣和碗浸没于水盆中有节奏地晃动拉奏，对水管、水瓶、水铃和水摇器的使用，让这部作品更加出彩。交响乐团独特而又和谐的伴奏与水乐打击乐的完美组合，体现了谭盾对东西方不同音乐表现传统的融合。
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——澳洲时报，澳大利亚，2003年8月25日
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…This work [Concerto for Water Percussion and Orchestra] was one of the most astonishing pieces of music that I’ve ever heard. From his childhood memories of the musicality of the sounds of water, Dun has composed an extraordinary piece that explores these sounds in a unique way. To realise his concept, Dun has built a range of water-based instruments, centred around the use of several large clear water basins. The water is drummed by hand or with glasses; gongs and bowls are immersed in the basins and then struck or bowed; and additional water tubes, shakers, bottles and bells add further embellishment to this aqueous soundscape. The distinctive orchestral accompaniment, reflecting Dun’s personal combination of Chinese and Western musical traditions, is carefully interwoven and combined with the water percussion.
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3 c3 a9 }% s: @; f3 J! x. r( ]( C --The Australian, Australia, August 25, 2003 |
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