An Interview with Liu Fang的全文翻译 An interview with. liufang全文翻译
刘芳专访
第一部分
刘芳是一位国际知名的音乐家,以弹奏中国传统乐器见长。她出生于1974年,从6岁起就开始弹奏琵琶。11岁起她就开始举办演奏会,包括英国女王访华期间为女王做的一场演出。刘芳毕业于上海音乐学院,1993年她还在那里学习弹奏古筝。
请您谈谈您在音乐方面的背景及训练情况,好吗?
我母亲是滇剧演员。滇剧是一种中国戏剧,里面有声乐、舞蹈及表演。我小的时候,母亲就带我去看节目。在会说话前,我就接触了音乐! 我5岁那年,妈妈教我弹月琴。1990年,我15岁的时候去了上海音乐学院,在那里,我学习了琵琶和古筝。毕业后,我回到故乡昆明,并在昆明歌舞团做了琵琶独奏演员。1996年,我和丈夫移居加拿大,直到现在。
弹奏琵琶和古筝最大的挑战是什么?
如果你的技术不够纯熟,就不可能弹好中国古典琵琶曲。另外,琵琶弹奏曲目很多———一些作品甚至作于唐代。琵琶流派很多,每个流派都有自己独特的诠释古典作品的方式。最大的挑战是尊重传统并融入自己的风格。对于我的第二种乐器———古筝,情况也是如此。
第二部分
请您谈谈哪些人或事对您在音乐方面产生了影响,好吗?
最主要的影响是民族音乐。我在年幼时就听传统戏剧和民歌。现在每当我演奏一个曲子时,我都会在心中跟着吟唱。当我演奏哀伤的乐曲时,我内心也在哭泣。听众都说能在我的乐曲中听到歌声。 您在演奏中想展示中国古典音乐的什么特征?
首先,中国民族音乐跟汉语很相似。在汉语中,读音相同音调不同,意义就不同。音乐也是如此。其次,中国古典音乐与中国诗歌关系很密切,因此很多古典音乐作品都有着很诗意的标题就一点也不奇怪了。再次,中国古典音乐与国画像孪生姐妹。在中国国画中,留有些空白,这些空白非常重要。它们给整幅作品带来生机,也使得观众融入图画,就像与图画进行对话。
中国古典音乐也是一样。乐曲中有停顿,人们认为这种停顿静谧之中充满了音乐。琵琶的声音和乐曲中的停顿结合在一起,给声音赋予了诗的意境。听众可以自己感受音乐的力量、音乐的美,就像享受一首美妙的诗歌或一幅美丽的图画一样。
第三部分
现场演出最让您感到愉悦的是什么?
我喜欢弹奏,也喜欢当众演奏。我喜欢音乐厅中的氛围,每当我举行音乐会的时候,我会很兴奋。在很长一段时间没做音乐会后,我会感到有点情绪低落和孤独。我同样喜欢音乐会后和朋友及音乐爱好者分享感受、交流看法,听他们谈对我的音乐的感觉和理解。我热爱我的事业。我也喜欢旅游;我喜欢坐在飞机上幻想,或者呆在旅馆里。
作为一个艺术家,您的目标是什么?
我没有特定的目标。但我希望能和很多作曲家共事,同时我希望创作我自己的音乐。我的音乐底蕴是中国民乐。自从移居加拿大,我就有机会接触到了其他音乐传统并跟一些音乐大师同台演出。我希望我能继续跟他们合作,并吸取其他音乐传统之长,创作自己的音乐。我也希望能使中国传统的琵琶和古筝音乐传遍世界的各个角落。
二、原文：
An Interview with Liu Fang
Part 1
Liu Fang is an international music star, famous for her work with traditional Chinese instruments. She was born in 1974 and has played the pipa since the age of six. She‘s given concerts since she was eleven, including a performance for the Queen of England during her visit to China. She graduated from the Shanghai Conservatory of Music, where she also studied the guzheng in 1993.
What is your musical training and background?
My mother is a Dianju actress. Dianju is a kind of Chinese opera, which includes singing, dancing and acting. When I was a child, she took me to performances. I listened to music before I could speak! When I was five years old, she taught me to play the yueqin.
In 1990, when I was 15 years old, I went to the Shanghai Conservatory of Music, where I studied the pipa and the guzheng. After I graduated, I went back to my hometown of Kunming and worked as a pipa soloist of the Kunming Music and Dance Troupe. In 1996, I moved to Canada with my husband and I have been living there since then.
What are the biggest challenges of playing the pipa and the guzheng?
If your technique is not good enough, it is impossible to play classical Chinese pipa music. Also, the repertoire for the pipa is large – some pieces were written during the Tang Dynasty.
There are many different pipa schools, and each one has its special way of interpreting the classical pieces. The biggest challenge is to respect the traditions but to add my own style. The same is true of my second instrument, the guzheng.
Part 2
Who or what are your musical influences?
The main influence is traditional singing. I listened to traditional opera singing and folk songs in my childhood. Now when I am playing a tune, I am singing in my heart. When I‘m playing a sad tune, I am crying in my heart. Listeners often say that they can hear singing in my music.
What characteristics of Chinese classical music do you try to show in your playing?
Firstly, Chinese music is similar to the Chinese language. In Chinese, the same pronunciation with different tones has different meanings. The same is true for music. Secondly, classical Chinese music is closely connected to Chinese poetry, so it isn‘t surprising that most classical pieces have very poetic titles. Thirdly, classical Chinese music and traditional Chinese painting are like twin sisters. In Chinese art there are some empty spaces, which are very important. They give life to the whole painting and they allow people to come into the picture, like a dialogue.
It‘s the same with classical Chinese music. There are empty spaces, and people say the silence is full of music. The pipa sounds and the pauses combine to make a poetry of sound. Listeners can experience the power and the beauty of the music, like enjoying a beautiful poem or painting.
Part3
What do you like best about performing live?
I enjoy playing and I enjoy performing in public. I like the atmosphere in a concert hall and I always feel happy when I have a concert. I feel a little depressed or lonely when there is no concert for a long time. I also enjoy the time immediately after the concert to share the feelings and ideas with friends and music lovers, listening to their impressions and understanding about the music. I love my career. I also enjoy
traveling: I enjoy sitting in a plane dreaming, or staying a hotel.
What are your goals as an artist?
I don‘t have a particular goal. But I hope to work with many composers, and I also wish to compose my own music. My background is traditional Chinese music. Since I moved to Canada, I have had
opportunities to make contact with other musical traditions and play with master musicians. I wish to continue working with master musicians from other traditions and to be able to compose my own music, using elements from different cultures. I also wish to introduce classical Chinese pipa and guzheng music to every corner of the world.
Street music
It‘s a warm Saturday afternoon in a busy side road in the old district of Barcelona. The pedestrians are
standing in a semi-circle around someone or something in front of the cathedral. I push my way through the crowd and find a quartet of musicians playing a violin suite of classical music. The session lasts ten
minutes. Then one of the musicians picks up a saucer on the ground, and asks for money. All contributions are voluntary, no one has to pay, but the crowd shrinks as some people slide away. But others happily throw in a few coins. They‘re grateful for this brief interval of music as they go shopping.
Below the window of my apartment in Paris, a music man takes a place made vacant by an earlier musician. He raises the lid of his barrel organ and turns the handle. Then he sings the songs of old Paris, songs of the people and their love affairs. I remember some of the words even though I have never consciously learnt them. I tap my feet and sing along with him. Down there on the pavement, few passersby stop. Some smile, others walk past with their heads down. Cars pass, gangs of boys form and disappear, someone even puts a coin the cup on the organ. But the music man ignores them all. He‘s hot in the sun, so he mps his head with a spotted handkerchief. He just keeps singing and turning the handle.
In Harlem, New York, some locals place a sound system by an open window. They plug it into the electrical socket, and all of a sudden, there‘s dancing in the streets. In downtown Tokyo, young couples eat popcorn and dance to the music of a rockabilly band, which plays American music from the Fifties. In the London Underground a student plays classical guitar music, which echoes along the tunnels. It lifts the spirits of the passengers, who hurry past on their way to work. In a street in Vienna or Prague or Milan a group of pipa musicians from the far Andes fill the air with sounds of South America.
The street musician is keeping alive a culture which has almost disappeared in our busy, organized, and regulated lives: the sound of music when you least expect it. In a recording studio, even when relayed by microphone, music loses some of its liveliness. Bt street music gives life to everyone who listens and offers relief from the cares of the day. It only exists in the present, it only has meaning in the context. It needs space.
Music from China
One dozen beautiful young women, all in their twenties, take the stage and stand before a variety of ancient musical instruments. The moment they start to play, it is clear the members of Twelve Girls Band are among the most gifted musicians in the world. Coming from China, Twelve Girls Band is already one of that country‘s most popular groups.
As they build a musical bridge between east and west, Twelve Girls Band charms the people of many nations around the world. A best-selling act all over Asia, Twelve Girls Band fills concert halls and arenas there, and has now been discovered by America. In 2004 the group arrived on the US music scene at NO. 62 of the billboard 200 album chart. It was the highest entry by an Asian group. In Japan, Twelve Girls Band is already a supergroup. It has sold more than two million records, and has even appeared in TV ads for chocolate and cellphones, among other products. A Japanese DVD of Twelve Girls Band live in concert sold over 200,000 copies, and their live performances have been seen on television around the world. In 2004 they were named International Artist of the Year at the Japan Golden Disc Award ceremonies.
Drawing upon more than 1,500 years of Chinese music, Twelve Girls Band mixes this rich tradition with classical, folk and contemporary sounds. The group signifies the symbolic choice of a dozen members found in various aspects of Chinese numerology with 12 months in a year, and in ancient mythology, 12 jinchai (golden hairpins, which represent womanhood). Inspiration also comes from yuefang, the female chamber orchestras that played in the royal courts of the Tang Dynasty.
Each member of Twelve Girls Band has classical training, with backgrounds that include the China Academy of Music, the Chinese National Orchestra, and the Central Conservatory of Music. Skilled multi-instrumentalists, they perform on traditional Chinese instruments that include the guzheng, the yangqin, the erhu, the pipa and the dizi and xiao.
The group‘s appeal is equally as broad, with children, teens, adults and grandparents filling arenas to see it perform. American critics noticed the mixture of pieces by Mozart and Beethoven, with jazz standards like Dave Burbeck‘s Take Five, or a version of a mush-loved classic such as Simon and Garfunkel‘s El Condor Pasa.
The group honours its musical heritage and shows a genuine love for all style of music – from complex classical works to long-lasting pop tunes.
刘芳是一个国际著名音乐明星，她的作品与中国传统乐器。她出世在1974和自六岁的琵琶演奏。她十一岁后的音乐会，包括性能为英国女王访问中国期间。她毕业于上海音乐学院，她还在那里学习古筝1993。
你的音乐训练和背景是什么？
我的妈妈是一个女演员殿举。殿举是一种戏曲，其中包括唱歌，跳舞和表演。当我还是个孩子的时候，她带我去表演。我听音乐之前，我会说！我五岁的时候，她教我弹月琴。
1990，我15岁的时候，我去了上海音乐学院，在那里我学习了琵琶和古筝。毕业后，我回到家乡昆明，担任琵琶独奏的昆明音乐和舞蹈团。1996，我和丈夫搬到了加拿大，从那以来我一直生活在那里。
弹奏琵琶和古筝最大的挑战是什么？
如果你的技术不够好，也不可能演奏古典琵琶音乐。同时，为琵琶演奏大–一些碎片在唐代写。
有许多流派，每一种都有它独特的方式诠释古典作品。最大的挑战是尊重传统并融入自己的风格。同样是我的第二仪真，古筝。
2部分
谁和你的音乐的影响是什么？
影响的主要是传统的歌唱。我听了戏曲演唱，在我童年的歌谣。现在，当我演奏曲子，我在我的心歌唱。当我在扮演一个悲伤的旋律，我内心也在哭泣。听众经常说他们能听到我的音乐唱歌。
中国古典音乐有什么特点你试着在你的表演？
首先，中国的音乐是类似于中国的语言。在中国，读音相同音调有不同的含义。同样的音乐是真实的。其次，中国古典音乐与中国诗歌关系很密切，所以这并不奇怪，最经典的作品有着很诗意的名字。其次，中国古典音乐与中国传统绘画是一对孪生姐妹。在中国艺术中有一些空的空间，这是非常重要的。他们给生活的整个画面，他们允许人们进入画面，像一个对话。
中国古典音乐也是一样的。有空的空间，人们说沉默是充满音乐。琵琶的声音和停顿使诗歌的声音。听众可以经验的力量和美丽的音乐，喜欢一首优美的诗或画。
三
你的现场表演，最喜欢的是什么？
我喜欢玩，我喜欢在公共场合表演。我喜欢在一个音乐厅的气氛，我总是感到快乐的时候，我有一个演唱会。我觉得有点沮丧或孤独的时候没有演唱会很长一段时间。我也喜欢音乐会的朋友和音乐爱好者分享感受和想法后，听他们的印象和理解音乐。我爱我的事业。我也喜欢
旅行：我喜欢坐在飞机上做梦，或留在酒店。
你的目标作为一个艺术家是什么？
我没有特定的目标。但我希望能与许多作曲家的作品，我也希望能创作自己的音乐。我的背景是中国传统音乐。自从我搬到加拿大，我有
机会接触到其它音乐传统和玩音乐大师。我希望继续与其他传统音乐大师，能够创作自己的音乐，不同的文化要素。我也希望将中国古典琵琶和古筝音乐世界的每一个角落。
街头音乐
在巴塞罗那的老城区在繁忙的公路边一个温暖的星期六下午。行人
站在教堂前面的人或事半圈。我挤进人群，找到一个四方的演奏古典音乐的音乐家小提琴组曲。会议持续了十
分钟。一位乐师拾起地上的一个碟子，问钱。所有的捐款是自愿的，没有人要，但人群萎缩，一些人溜。但别人高高兴兴地把几枚硬币。他们很感谢这段音乐作为他们去购物。
我在巴黎的公寓窗户下面，一个音乐人需要的地方作出的空置由早期的音乐家。他提出了他的风琴盖和转动手柄。然后他唱老巴黎的歌，的人和他们的爱情歌曲。我记得的一些话，即使我没有刻意去听。我利用我的脚和他一起唱。在路面，几个路人停下。有些微笑，其他人走过去与他们的元首。
汽车通过，帮派的男孩的形式和消失，有人甚至把一枚硬币上的机关杯。但音乐人忽略了他们所有。他在太阳的热，所以他用手绢把头议员。他只是不停地唱歌和转动手柄。
在哈莱姆区，纽约，一些当地人把音响系统的一个开放的窗口。他们把它插到电源插座时，突然，在街道上的舞蹈。在东京，年轻人吃着爆米花和舞蹈的摇滚乐队的音乐，是五十年代的美国音乐。在伦敦地下的学生演奏古典吉他音乐，回荡在隧道。这电梯乘客的精神，他们匆匆赶路上班。在维也纳街头或布拉格或米兰一组来自遥远的安第斯山脉的琵琶乐手充满南美国的声音。
街头音乐家保持活着的文化几乎已经消失在我们忙碌的，有组织的，规范的生活：音乐之声在你最不经意的时候。在录音室，甚至只是由麦克风，音乐失去了活力。BT街头音乐赋予生命的每个人倾听和提供救济从一天的关心。它只存在于当下，它只有在语境中的意义。它需要的空间。
从中国音乐
一个年轻漂亮的女人，都在二十几岁，以期站在各种古代乐器。当他们开始玩，这是摆脱十二个女孩乐队的成员在世界上最有天赋的音乐家。来自中国，女子十二乐坊已成为该国最受欢迎的团体。
为他们建立东方和西方之间的音乐桥梁，女子十二乐坊的魅力，世界各地许多人。全亚洲最畅销的法案，十二个女孩填补了音乐厅和舞台，现在已经被美国发现。2004抵达该集团对美国的音乐场景在Billboard 200专辑榜62号。它是由一个亚洲集团的最高输入。在日本，女子十二乐坊已经是一个超群。它已经售出了超过二百万的记录，甚至出现在巧克力和手机的电视广告，在其他产品。日本dvd十二女子乐队的演唱会超过200000张的销量，他们的现场表演，已经出现在世界各地的电视上。2004他们被评为年度国际艺术家在日本金唱片颁奖典礼。
在中国1500多年的音乐，女子十二乐坊将这浓厚的传统与古典，民族与现代的声音。组意味着一年12个月在各方面的中国发现十几个成员象征性的选择，在古代神话中，12金叉（黄金发夹，这代表女性）。灵感也来自越方，女子室内乐团在唐代宫廷演奏。
十二个女孩乐队的每个成员都有经典的训练，与背景，包括中国音乐学院，中国国家交响乐团，和中央音乐学院。熟练的多乐器演奏家，他们对中国传统乐器包括古筝，扬琴，二胡表演，琵琶、笛子、箫。
该团体的上诉，同样是广阔的，儿童，青少年，成年人和祖父母上座看表演。美国评论家注意到莫扎特和贝多芬作品的混合物，与爵士乐的标准像戴夫布鲁贝克的占五，或一个版本的多喜爱的经典，如西蒙和加芬克尔的神鹰。
集团荣誉的音乐遗产和显示所有风格的音乐，从古典复杂的工程–持久的流行音乐真正的爱。
一次对刘芳的采访
An interview with liu fang的全文翻译~
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Liu Fang is an international music star, famous for her work with traditional Chinese instruments. She was born in 1974 and has played the pipa since the age of six. She‘s given concerts since she was eleven, including a performance for the Queen of England during her visit to China. She graduated from the Shanghai Conservatory of Music, where she also studied the guzheng in 1993.
What is your musical training and background?
My mother is a Dianju actress. Dianju is a kind of Chinese opera, which includes singing, dancing and acting. When I was a child, she took me to performances. I listened to music before I could speak! When I was five years old, she taught me to play the yueqin.
In 1990, when I was 15 years old, I went to the Shanghai Conservatory of Music, where I studied the pipa and the guzheng. After I graduated, I went back to my hometown of Kunming and worked as a pipa soloist of the Kunming Music and Dance Troupe. In 1996, I moved to Canada with my husband and I have been living there since then.
What are the biggest challenges of playing the pipa and the guzheng?
If your technique is not good enough, it is impossible to play classical Chinese pipa music. Also, the repertoire for the pipa is large – some pieces were written during the Tang Dynasty.
There are many different pipa schools, and each one has its special way of interpreting the classical pieces. The biggest challenge is to respect the traditions but to add my own style. The same is true of my second instrument, the guzheng.
Part 2
Who or what are your musical influences?
The main influence is traditional singing. I listened to traditional opera singing and folk songs in my childhood. Now when I am playing a tune, I am singing in my heart. When I‘m playing a sad tune, I am crying in my heart. Listeners often say that they can hear singing in my music.
What characteristics of Chinese classical music do you try to show in your playing?
Firstly, Chinese music is similar to the Chinese language. In Chinese, the same pronunciation with different tones has different meanings. The same is true for music. Secondly, classical Chinese music is closely connected to Chinese poetry, so it isn‘t surprising that most classical pieces have very poetic titles. Thirdly, classical Chinese music and traditional Chinese painting are like twin sisters. In Chinese art there are some empty spaces, which are very important. They give life to the whole painting and they allow people to come into the picture, like a dialogue.
It‘s the same with classical Chinese music. There are empty spaces, and people say the silence is full of music. The pipa sounds and the pauses combine to make a poetry of sound. Listeners can experience the power and the beauty of the music, like enjoying a beautiful poem or painting.
Part3
What do you like best about performing live?
I enjoy playing and I enjoy performing in public. I like the atmosphere in a concert hall and I always feel happy when I have a concert. I feel a little depressed or lonely when there is no concert for a long time. I also enjoy the time immediately after the concert to share the feelings and ideas with friends and music lovers, listening to their impressions and understanding about the music. I love my career. I also enjoy
traveling: I enjoy sitting in a plane dreaming, or staying a hotel.
What are your goals as an artist?
I don‘t have a particular goal. But I hope to work with many composers, and I also wish to compose my own music. My background is traditional Chinese music. Since I moved to Canada, I have had
opportunities to make contact with other musical traditions and play with master musicians. I wish to continue working with master musicians from other traditions and to be able to compose my own music, using elements from different cultures. I also wish to introduce classical Chinese pipa and guzheng music to every corner of the world.
Street music
It‘s a warm Saturday afternoon in a busy side road in the old district of Barcelona. The pedestrians are
standing in a semi-circle around someone or something in front of the cathedral. I push my way through the crowd and find a quartet of musicians playing a violin suite of classical music. The session lasts ten
minutes. Then one of the musicians picks up a saucer on the ground, and asks for money. All contributions are voluntary, no one has to pay, but the crowd shrinks as some people slide away. But others happily throw in a few coins. They‘re grateful for this brief interval of music as they go shopping.
Below the window of my apartment in Paris, a music man takes a place made vacant by an earlier musician. He raises the lid of his barrel organ and turns the handle. Then he sings the songs of old Paris, songs of the people and their love affairs. I remember some of the words even though I have never consciously learnt them. I tap my feet and sing along with him. Down there on the pavement, few passersby stop. Some smile, others walk past with their heads down. Cars pass, gangs of boys form and disappear, someone even puts a coin the cup on the organ. But the music man ignores them all. He‘s hot in the sun, so he mps his head with a spotted handkerchief. He just keeps singing and turning the handle.
In Harlem, New York, some locals place a sound system by an open window. They plug it into the electrical socket, and all of a sudden, there‘s dancing in the streets. In downtown Tokyo, young couples eat popcorn and dance to the music of a rockabilly band, which plays American music from the Fifties. In the London Underground a student plays classical guitar music, which echoes along the tunnels. It lifts the spirits of the passengers, who hurry past on their way to work. In a street in Vienna or Prague or Milan a group of pipa musicians from the far Andes fill the air with sounds of South America.
The street musician is keeping alive a culture which has almost disappeared in our busy, organized, and regulated lives: the sound of music when you least expect it. In a recording studio, even when relayed by microphone, music loses some of its liveliness. Bt street music gives life to everyone who listens and offers relief from the cares of the day. It only exists in the present, it only has meaning in the context. It needs space.
Music from China
One dozen beautiful young women, all in their twenties, take the stage and stand before a variety of ancient musical instruments. The moment they start to play, it is clear the members of Twelve Girls Band are among the most gifted musicians in the world. Coming from China, Twelve Girls Band is already one of that country‘s most popular groups.
As they build a musical bridge between east and west, Twelve Girls Band charms the people of many nations around the world. A best-selling act all over Asia, Twelve Girls Band fills concert halls and arenas there, and has now been discovered by America. In 2004 the group arrived on the US music scene at NO. 62 of the billboard 200 album chart. It was the highest entry by an Asian group. In Japan, Twelve Girls Band is already a supergroup. It has sold more than two million records, and has even appeared in TV ads for chocolate and cellphones, among other products. A Japanese DVD of Twelve Girls Band live in concert sold over 200,000 copies, and their live performances have been seen on television around the world. In 2004 they were named International Artist of the Year at the Japan Golden Disc Award ceremonies.
Drawing upon more than 1,500 years of Chinese music, Twelve Girls Band mixes this rich tradition with classical, folk and contemporary sounds. The group signifies the symbolic choice of a dozen members found in various aspects of Chinese numerology with 12 months in a year, and in ancient mythology, 12 jinchai (golden hairpins, which represent womanhood). Inspiration also comes from yuefang, the female chamber orchestras that played in the royal courts of the Tang Dynasty.
Each member of Twelve Girls Band has classical training, with backgrounds that include the China Academy of Music, the Chinese National Orchestra, and the Central Conservatory of Music. Skilled multi-instrumentalists, they perform on traditional Chinese instruments that include the guzheng, the yangqin, the erhu, the pipa and the dizi and xiao.
The group‘s appeal is equally as broad, with children, teens, adults and grandparents filling arenas to see it perform. American critics noticed the mixture of pieces by Mozart and Beethoven, with jazz standards like Dave Burbeck‘s Take Five, or a version of a mush-loved classic such as Simon and Garfunkel‘s El Condor Pasa.
The group honours its musical heritage and shows a genuine love for all style of music – from complex classical works to long-lasting pop tunes.
