Tuesday 29 April 2008

2008 Peter-Lukas Graf's Lectures Day 03 Notes & Pics 葛拉夫大師講座三日筆記

4月28日(一)19:00 旋律性的演奏與音樂性的樂句處理
以經典片段為例並練習,達到理想中旋律性的演奏,以及音樂性的樂句處理


上課前倒數幾分鐘偷拍一下:P

Definitions:
Articulation: normally means technical tonguing.

"Musical Articulation":
compare to language as clearly articulation
musical pronunciation
often marked with "slurs"


"Sing": 許多老師們經常會如此指導學生
Instrumentalists imitate human voice.
Boehm said that flutist should practice arias.

Moyse's "Tone Development through interpretation"
分享他年輕時期在歌劇院管弦樂團聆聽聲樂家演唱,並以此學習音樂表現的經驗。

BUT!! "Sing"不適用於每種音樂!!
Example:
J.S. Bach Flute sonata in e minor, Mov.I
有個小號演奏家(還有Pahud XD)都吹全連,然而該旋律並非適合歌唱,美聲唱法(Bel Canto)的旋律(太多跳進音程)
Bach旋律設計為同時表現兩條旋律,而譜上slur為少數Bach自己標注的作品,目的即是為了表現兩條旋律線。


How much separate or diminuendo between the articulation: depends on
(1) tastes
(2) acoustics (Example: church vs modern building)
And be careful not to do too much!
Important: combining good articulation & taste.

Baroque music is more like speaking.


"Singing Flute":
Change the key and everything changes, but try to do the same.

Two recommendations:
1. For Baroque & Classical music (which articulation is not written):
Look for clear phrasing
Don't exaggerate but keep the melodic sense (remember the trumpeter! :P)

2. For melodic melody (Romantic period):
Singing exaggeration.
Quality of the sound is the most important! (But don't think only the sound but the music, or it would become merely nice noise which means nothing)
Expression is more important than the sound.


How to interpret?
Example: J.S. Bach Sonata in E
Find the harmony/write the whole piece-->improvisation-->play the original

倚音判斷方法:
(1) 長倚音:正常音符→佔主要音1/2;附點音符→佔主要音2/3
(2) 短倚音:can be anything
Example:
Bach's work 按照記譜演奏,或依照和聲判斷
Sonata in E, Mov.I 為短倚音
因為:
(1) Harmony
(2) Music sense
(3) 典型三度下行:Quantz 和 C.P.E. Bach都認為應該演奏短倚音

How to practice Berio's "Sequenza"?
(1) Do what's on the paper.
(2) Very difficult (unexpected notes, irregular rhythm and dynamics)
(3) Practice method: note only --> exact rhythm --> all dynamics(pp, mf, ff)--> the whole piece.

How to make cadenza? 最近越來越多國際比賽要求自己創作裝飾奏
(1) Begin with the chord I64
(2) Do a trill.
(3) 音階上行分解和弦(或琶音)下行/分解和弦(或琶音)上行音階下行-->再加上裝飾音
Practice one chord everyday.

讀總譜很重要,有助於了解音樂全貌。

How to play the trill: depend on its function
(1) 1700-1850: Begin with the upper note
--> for harmonic function (comes from quick appeggiatura repeating)
Mozart 屬於這類
(2) Romantic period (Beethoven~):Begin with the main note
--> like vibrato

Would you recommend your student to do any exercise?
(1) Good position.
(2) Breathing exercises.
(3) Singing (for vibrating the throat.)


相關文章:
葛拉夫大師講座首日筆記
葛拉夫大師講座次日筆記

2008 Peter-Lukas Graf's Lectures Day 02 Notes & Pics 葛拉夫大師講座次日筆記

4月27日(日)14:00 經驗性與系統性的練習
笛聖將分享畢生珍貴的練習與教學經驗,以及有系統的長笛基本練習方式




這天大師提到他自身幼年經驗,老師叫他自由即興作為暖身,他發現自己只喜歡吹中音域,高低音域因為技巧限制不好聽都不愛吹。

Empirical Practice: keep trying--> Limited by personal experiences and techniques.
Systematical (Analytic) Practice: to find
(1) where is the problem?
(2) why difficult?
(3) exercise to solve the problem.


Technical Practice
(1) should play intelligently
(2) know why/ where the goal is
--> Avoid the risk of repeating mistake and becoming worse.


Moyse Studies:
Extremely systematic (for all possibilities)
Very difficult (not enough explanation)
--> Need good teacher for instruction & much intelligence
沒辦法練全部:因為
(1) 太多了 XD
(2) 練完之後還是會發現某技巧在曲子中忽然變得很難(心理障礙,Example: Ravel's "Daphnis et Chloe" & Mozart Concerto in D, Mov.I)


Graf "Check Up": for basic problems (the counter side of Moyse's studies)
練習方法:(1) 遇到問題去找來練;(2) 一天練半本 with control and imagine it's music (P.4)

"Sing Flute": for empirical practice.

Daily Practice:
(1) Tone/Breathing
(2) Technique
(3) Studies
(4) Pieces(分段練習技巧問題,如果不行就再回到Technique;背譜練習全曲,目標是音樂表現)


為特長句子準備:
"Check Up" No.3 -->在旋律中偷氣灌滿
BUT Bach Partita--> find possible places & play flexibly


"Check Up" No.4 --> 分別練習調整下巴、頭、嘴唇,來找最佳位置

"Check Up" No.15--> Articulation
(1) Portato: legato with articulation
(2) Detache
(3) Staccato: 打舌後停在上面
(4) Marcato: use more air rather than more tonguing. Tonguing is always piano.


Enesco 中 Legato吹法:轉換瞬間完全放鬆


"Check Up" No.5 Whistle Sound: for extremely relaxing lip!

How to overcome the stage nerve?
(1) First, concentrate on the body (forget the music or people)
(2) Think about the music


以下題外話:

據說課程開始前Graf大師看到Trevor Wye在外面玻璃櫃上簽名畫圖,所以他也來一個 XD


而且這天人比較少(也只是沒有爆滿罷了),最後留下來的都跑去合照,有沒有很羨慕呀~嘿嘿:P



相關文章:
葛拉夫大師講座首日筆記
葛拉夫大師講座三日筆記

Monday 28 April 2008

2008 Peter-Lukas Graf's Lectures Day 01 Notes 葛拉夫大師講座首日筆記

4月26日(六)14:00 精確度(忠於原作)與自由度
探討演奏時如何保有忠於原作的精確度,以及在音樂詮釋上的自由度

What is music?

演奏音樂時要思考:
1. What does the composer(or music) mean?
2. Is the composer's idea sacred (unchangeable) or flexible?

The two ideas above lead to
(1) Historic performance practice: historical, emphasize on composer's vision.
(2) Adapted to modern time to satisfy our taste. (Use Boehm flute, and usually criticized by historians.)
But we always move between the two above.


Composer --> Original idea --> Score --> Interpretor
Interpretor --> Score --> Original idea --> Realisation


Should we be precise or have some freedom?

What is the most important in interpretation?
--> Just do what is on the paper!!

What to do?
1. Careful reading!!
2, Understanding.

There is only "ONE" accurate interpretation!
Example:
J.S. Bach: Suite in b minor
Correct in understanding the French rhythm

"Alla francese" in Telemann's sonata


Freedom --> Flexibility in an order.

The more you read, the more flexibility you have.

"Rubato": players have to be sure about the rhythm. (用節拍器練習!)

Be flexible but precise!

Rules are used as guides to avoid mistakes and to gain more flexibility.


Suggested Edition
For Bach: Urtext, Breitkopf (Edited by Kuyken)
For Mozart: Novelle (Edited by Trevor Wye) for the easier piano part.


相關文章:
葛拉夫大師講座次日筆記
葛拉夫大師講座三日筆記

Friday 25 April 2008

許芳宜的典範



上一次看許芳宜跳舞,是雲門2的2005春季公演「預見.愛情」。

本來並沒有抱著太大期待,只是習慣每年去看雲門公演,但我永遠忘不了幕一揭開,許芳宜獨舞的姿態與氣勢,瞬間震懾凝聚全場氣氛。腦中只有一個念頭:原來,這就是國際級舞蹈家。

再看了她充滿熱情理想努力奮鬥的過程,和布拉瑞揚在相知相愛15年各分東西卻能自律相守,就算成為瑪莎.葛蘭姆舞團首席舞者,獲美國舞蹈雜誌(Dance)評選為世界上25位最受歡迎年輕舞蹈家第一名,她依然保持謙虛體貼(看她回覆網誌留言的口氣真的超貼心),不為名利只為跳舞而跳舞,即使腳掌厚繭傷痕累累,即使膝蓋傷口從未愈合傷了又傷,但她仍覺得不痛不痛,只要身體健康還能跳舞就好。


每篇文章都讓我熱淚盈眶。

真的,好感動。


許芳宜《不怕我和世界不一樣》國際書展座談



延伸閱讀:
芳宜的部落天地
貴婦奈奈的福態日記:不怕我和世界不一樣

Friday 11 April 2008

Peter-Lukas Graf's Concerto & Lectures in Taiwan 2008 葛拉夫演奏會與大師講座

長笛大師葛拉夫將來台演出與座談

新象文教基金會今年慶祝三十周年,舉辦一系列大師級音樂會,四月三十日再度邀請長笛大師葛拉夫(Peter-Lukas Graf)於國家音樂廳舉行一場無伴奏長笛獨奏會,此外,葛拉夫將在台灣舉辦一系列大師講座與簽書會,將多年的演出經驗與台灣樂迷分享。

新象表示,葛拉夫2006年來台參加「國際長笛藝術節」,超凡的笛音讓樂迷們如癡如醉,今年更以八十高齡挑戰無伴奏長笛獨奏會,唐律長笛合奏團團長莊清霖表示,「以這樣的高齡還可以挑戰全場無伴奏的長笛獨奏會,即使不是後無來者,也絕對是前無古人了。」

莊清霖曾在1999年亞特蘭大的美國長笛協會中,見證葛拉夫在大師班指導一名年輕日本學生,這位學生在大師面前非常緊張,莊清霖回憶說,「大師指導她,停止吹奏時十分鐘,靜靜聆聽自己的笛音,自然這樣音準就準了。」

台灣新生代長笛演奏家林姿瑩曾與葛拉夫合作主持的演講座談會中,與大師有親身的接觸,「葛拉夫每天固定運動,訓練體能,即使已經名滿天下,他依舊每天固定練習,正是因為這樣孜孜不倦的態度,讓他可以在如此的高齡,還可以維持第一流的演出水準。」

葛拉夫曾獲得慕尼黑國際音樂比賽第一名,曾在Winterthur交響樂團和盧塞恩節日管弦樂團任首席長笛。除了擔任獨奏家和室內樂演奏家外,他也是很活躍的指揮家。(中央社)



Peter-Lukas Graf簡介:
P.-L.葛拉夫早先在蘇黎士師從Andre Jaunet學習長笛;後來考入巴黎國立音樂學院,隨Marcel Moyse和Roger Cortot學習長笛,並獲得第一獎;同時他還在巴黎國立音樂學院師從Eugene Bigot學習指揮,獲得指揮家文憑。

他曾分別在Winterthur交響樂團(Winterthur Symphony Orchestra)和盧塞恩節日管弦樂團(Lucerne Festival Orchestra)任首席長笛,這意味著他的藝術生涯開始了。21歲時,格拉夫錄製了伊貝爾(Ibert)長笛協奏曲,即此在國際樂壇上名聲鵲起。隨後,他又在慕尼克國際音樂(ARD Music Competition in Munich)比賽中榮獲第一名,這也確認了他的非凡才華。Graf除了擔任獨奏家和室內樂演奏家外,他繼續在慕尼克學習指揮。在交響樂和歌劇方面,他是個很活躍的指揮家。以後,他被聘為瑞士巴塞爾音樂學院長笛教授。

葛拉夫目前定居在瑞士巴塞爾。他身兼長笛獨奏家及交響樂和歌劇指揮之職,定期在世界各地開辦大師班,並在一些最著名的國際音樂比賽中任評委。葛拉夫的兩部長笛教學理論書Check- up(檢驗)和Interpretation(演奏)由Schott出版社出版發行,他灌錄的30多張雷射唱片則由Claves唱片公司發行。


演奏會時間地點:
2008年4月30日(二) 19:30 國家音樂廳

曲目:
上半場
Marin-Marais Les folies d'Espagne
P. Hindemith Eight Pieces
S. Mercadante Variations on Mozarts' "La ci darem la mano" (Don Giovanni)
下半場
E. von Dohnanji Passacaglia
J. Ibert Pièce
J.S. Bach Sonata G major (transcription by Peter-Lukas Graf)


講座時間與主題:(報名表下載請至新象文教基金會網站
4月26日(六)14:00 精確度(忠於原作)與自由度
探討演奏時如何保有忠於原作的精確度,以及在音樂詮釋上的自由度

4月27日(日)14:00 經驗性與系統性的練習

笛聖將分享畢生珍貴的練習與教學經驗,以及有系統的長笛基本練習方式

4月28日(一)19:00 旋律性的演奏與音樂性的樂句處理

以經典片段為例並練習,達到理想中旋律性的演奏,以及音樂性的樂句處理


資料來源:
新象文教基金會網站

相關文章:
葛拉夫大師講座首日筆記
葛拉夫大師講座次日筆記
葛拉夫大師講座三日筆記

延伸閱讀:
笛思林-葛拉夫大師駕到

Thursday 10 April 2008

23rd William Bennett International Flute Summer School 2008 班乃特國際長笛夏令營

International Flute Summer School 2008 班乃特國際長笛夏令營

Time: 10th - 20th August, 2008
Place: Frensham Heights, Farnham, England
Teachers:
Michie Bennett, Denis Bouriakov, Unji Chung, Zsuzsa Vamosi Nagy, Giedrius Gelgotas - Teaching Assistants
John Reid , Piano
Application Address:
William Bennett International Flute Summer School
50 Lansdowne Gardens, London SW8 2EF UK
Tel: +44(0)202 7498 9807
Email: Mmichie@msn.com

Suggested Repertoire List:

Technical:
Taffanel & Gaubert: Methode Pt. II
Moyse: Sonorité; Tone development, 24 Little Melodic Studies
Andersen: Studies Op. 15

Solo Repertoire:
Bach: Sonatas, Suite, & Partita, Sinfonia (Cantata 209)
Mozart: Concertos in D and G. Major, Flute and Harp Concerto, Andante K215, K616, Rondo
Schubert: Arpeggione Sonata, Trockne Blumen, 6 Songs arr. Boehm
Enesco: Cantabile et Presto
Godard: Suite
Gaubert: Nocturne & Allegro Scherzando, Fantasie, Madrigal, Sonatas
Griffes: Poem
Hue: Fantaise
Hanson: Serenade
Hahn: Variations on a Theme of Mozart
Beethoven: Romance in F, Sonata in B flat, Spring Sonata, Serenade
Piazzolla: L’Histoire du Tango
Villa Lobos: The Jet Whistle, Bachianas Brasileiras No. 6
Taffanel: Opera Fantasies
Dvorak: Romance
Solo pieces by Ibert, Debussy, Berio, Honegger, Dohnanyi, C. P. E. Bach, Telemann, R. Bennett
Sonatas by Poulenc, Prokofiev, Hindemith, Martinu, Reinecke, Dutilleux, Sancan, Franck, Mendelssohn.
Concertos by Arnold, Dodgson, Reinecke, C. P. E. Bach, J. S. Bach , Haydn, Schwindel, Jolivet and Ibert.


資料來源:
William Bennett Flute.com

Wednesday 9 April 2008

Oxford Flute Summer School 2008 牛津長笛夏令營

Worcester College, Oxford.
Photo created by Daveybot, used under a Creative
common license
.

Place: Worcester College, Oxford
Time: 10-15 August 2008
Teachers:
Peter Lloyd
Michael Cox
Kate Hill
Timothy Hutchins, Montreal Symphony Orchestra

Since 1986 Oxford Flute Summer School has been host to some of the most respected teachers and players in the world. Jacques Zoon, Jeanne Baxtresser, Michel Debost, Peter-Lukas Graf and Timothy Hutchins are just some of those who have joined with our resident professor Peter Lloyd, to secure an international reputation for the summer school. In 2008 Peter Lloyd is joined by Michael Cox and Kate Hill.


資料來源:
http://www.oxford-flutes.co.uk/

Jean-Pierre Rampal Playing W. A. Mozart: Flute Concerto No.2, K.314

Mov. I


Mov. II


Mov. III