墨尔本吉他教师Nicole Rogers采访杨雪霏
Interview with Classical Guitarist Xuefei YangLast week I was extremely honoured to Skype with none other than guitarist extraordinaire Xuefei Yang!!
On the eve of her firsttour Down Under and world premiere of a new guitar concerto by Chinese composer Tan Dun we had a fantastic chat about what she’ll be playing and how she goes about preparing for such a tour. Fei also shared some words of wisdom for students of the classical guitarist. We had such a great chat that I’ve decided to split it across three posts. Here in part one today you can read about Fei’s thoughts on playing classic and brand new repertoire, keeping things fresh, and the classical guitar repertoire.
You’re coming over to Australia very soon and we’re super excited to have you here! You’re going to be playing some classic repertoire and some new with the Tan Dun concerto premiere. Tell us a bit about the preparations for playing both the well known and the brand new repertoire.
In fact I just met him (Tan Dun) last month in Beijing, after a concert. I always wanted to meet him and he’s a very nice guy, he’s someone who works so hard and he’s already very famous, but he’s working everyday. He has so many ideas about music,and he’s so enthusiastic. I think he’s trying to bring music to be relevant to people’s life now and I think that’s great. And he’s trying to bring the audience, and young people, to listen to new music and all of that sounds great I think.
You know I am very happy that the orchestra asked me to play a new piece, because especially guitarists, they complain “why always Aranjuez?! why always Aranjuez?!“, but you know I have to say that mostly it’s not our choice, you now! Mostly it’s the orchestra that makes the choice because they have their season, they have their programming, they have a concerto they have to hire a soloist to fit in their theme, so usually I don’t get to choose. Unless you’re John Williams then maybe – may be he can choose!
It’s kind of a good way to do it though, have the Aranjuez which is the “crowd pleaser” or the “crowd drawerer”, but then also introduce the audience to something new.
Yes, yes exactly. I think it’s a good idea. All the classic pieces they will draw the audience, you know, may be they want to hear this piece, but at the same time they have to hear the new piece which is great I think. And Tan Dun he’s always putting some Chinese element in his music which is great, I think that’s what we should do more. As I grow older I try to bring our culture into what I play, so it’s a great opportunity for me.
How do you go about keeping things such as the Aranjuez fresh, which you must know so well?
To be honest to Aranjuez I know it very very well, especially after recording. After you’ve recorded something you really know that music! But in a way it’s still….I never get bored of it. My theory is that with great music you never get bored. For example, in my recital I’m going to play the Chaconne by Bach, that is a piece that I never get bored of playing it. And in fact you change your feeling and your understanding and your interpretation of that piece over the years. So my theory is that if the music is great, then you don’t get bored. And the listener doesn’t get bored.
The other thing is also because playing concerto is quite different to playing solo, to be honest my first times playing concerto I was like dealing with my nerves! I was really quite nervous to play in front of an orchestra. But in recent years with my experience I can find that I’m more and more into the music because I get more used to playing a concerto in front of an orchestra and with amplification. More and more I really feel now I can really get the music out. So yes, Ihaven’t gotten bored of it.
In fact, the other thing about playing a concerto is that every time you play with a different orchestra, you work with a different conductor and the venues are different, the sound and the audiences are different. So with all this combination each time is a new experience – honestly! Especially with concerto because you have to collaborate with other people. With solo its just myself. So in terms of Aranjuez I never get bored. In fact I think I’m getting better and better!
With all that I’m quite happy with my recording, but I feel in a way, especially the second movement, I’m playing a but different. I think the recording is like a snapshot of that particular moment of your life. So I’m really looking forward to play with an Australian orchestra this piece. Now sometimes after I’ve played the second movement, I get goosebumps myself! Like “oooh I’m really in the zone!“. I also lots of times after the performance some audience members have come to say to me that they were really moved, and moved into tears. For me that’s the greatest reward, it’s the most rewarding thing to hear, yeah! So hoping I can touch some hearts in Australia!
It deserves to be played a lot, but at the same time I wish there were other guitar concertos that could be played more too! The thing of playing contemporary music is thatwe don’t know which one will become the “classic” one because time is the ultimate test. Those that are lucky enough to live after another 100 years will know which one will become the classic piece! So I think we just need to keep trying new pieces. The players levels these days are getting higher and higher and that can encourage the composer so they know what we can do on the instrument so they can write more interesting pieces. It’s like a loop, so our playing affects their compositions and their compositions affects our playing, like a loop. It all gets better and better and that way we can get more interesting repertoire.
But to be honest I think the repertoire is very very important for the instrument. I feel the development of the instrument, of the repertoire, is so so important. Why is it that we hear so much piano and violin, the orchestra, everyday in the concert hall? It’s because of the repertoire. There are too many great pieces to play.
I think other musicians usually say the guitar has a smaller repertoire, which I don’t actually agree with. I think the guitar repertoire is big but we don’t have a big mainstream repertoire. We don’t have the German, Austrian, mainstream repertoire. That’s almost a zero. That’s the problem there. You go to Germany and you’re not likely to hear our music, it’s not their tradition. But can only start to work from now. Well from Segovia he did, he promoted lots of composer, lots of repertoire. And Julian Bream, John Williams, we can enjoy playing those players repertoire, so we need to keep doing the same. The next generation can then have more music.
How do you go about preparing a brand new piece? Do you go about things differently than with a classic of the repertoire?
I think that it’s like a two-edged sword. The disadvantage is that you’ve never heard anything of it, you don’t know the background. The advantage is that you have some freedom I find and also – even better – is if you have a chance to meet the composer. The you can ask him directly what does he want, and what he means. I think that can be a great advantage. If you play Bach you can’t really ask him! Or even Albeniz, you know, you can’t go back to ask him.
So, yes, it’s an advantage and a disadvantage. I think that if I can have a chance to meet a composer like Tan Dun. I’m going to premiere some other pieces in October so I’m going to ask them as much as possible. Even to talk to them, sometimes they don’t play the guitar which can be a good thing, they just think about the music. That can actually be a great advantage. Of course it can be a disadvantage too – the piece can be awkward for the instrument. There’s always two sides, but I always try to ask the composer as much as possible.
If some composer has already passed and I don’t have a chance to ask then, I think the advantage is that you have more freedom. In playing contemporary music we have more freedom. In a way I think that contemporary music can be close to use because it’s a modern thing. Bach is like how many years hundreds of years ago right? But twentieth century music is quite close to us, and you can get inspired from the architecture, the modern art and the modern literature. Everything is all related actually. So in a way I think it’s easier to find information to help you understand. I think I try to those advantages.
Also, in a way, if I don’t recordings of a contemporary piece to listen to, it can be an advantage too. Because with a classic piece you’ve heard too many versions, you know? You will more or less be affected. You probably don’t know, or you probably don’t want to admit, but you actually are influenced by a certain version. So if I play a new piece, and I’ve never heard anybody play it, then it’s me! You go on YouTube and you can find hundreds of things. It’s an advantage too.
You’re playing at the Sydney Opera House first of all in Australia, what are you going to be playing in your solo shows?
I’m playing the (Bach) Chaconne, some John Williams pieces, some From A Bird. Yes, I like that piece very much. He said that when he was at his Australian home he heard a honeyeater bird singing outside his window – I think it’s an Australian bird isn’t it? We don’t have it here in England! In concert people don’t know what it looks like! – a John Williams piece, a Chinese piece – a traditional piece. I’m also premiering in Australia a modern Chinese piece that was written for me last year, commissioned by the Wigmore Hall in London. Her name is Chen Yi, she’s a female composer, a leading Chinese composer, based in the USA.
So Bach, some contemporary, some Schubert songs. I feel I have to play something from the Romantic era – that’s my home! Nowadays I enjoy pretty much everything all the same, but I would say that when I was younger, when I was a teenager I felt most at home playing the Romantic music, because think that I have a strong intuition. When I was a kid, a teenager, I more or less played music by feeling and without too much analysis, and this is to do with how I was taught to play music in China. Romantic music you can play by feeling, just be spontaneous. But if you play contemporary music, just by feelings, that’s not enough. You really, really need to know what you want to express, it’s the voicing, what is your voicing, your phrasing. The melody is not quite to obvious as Schubert, Schubert is just there, it’s so “singing”. But with contemporary you have to find the phrasing, the voicing and the structure.but once you can find it you can convince yourself how to play this piece. And once you’ve convinced yourself you have a better chance – I only say better chance! – to convince the audience!
I find another part of the difficulty of playing a contemporary piece that even if you know the piece very well, the audience they’ve never heard of the piece. It takes them a few times to get to know it. For example,like the Britten Nocturnal, Julian Bream and even other people said that for them the first couple of times they didn’t understand it. And for the audience it’s even harder as they don’t have the time to study it and find out what it’s all about. If the audience goes to listen to Beethoven or a more established piece of the repertoire, a classic piece of the repertoire, people know what they are they about. If you play a very new piece though nobody knows. It’s a difficulty, so you have to really convince yourself, be so clear yourself so then you are more able to convince the audience.
You’re playing a good mix – something for everybody…
Yes, I like it that way. You know it’s a bit hard on guitar to focus on one composer. On piano you can focus on Beethoven, or Mozart, Chopin, but on guitar it’s very hard to focus on one composer. And also Sydney is my first recital in Australia so I want to have a big variety of programme because the guitar is a very capable instrument, we really can play lots of different repertoire. I’m a player that feels comfortable playing lots of different repertoire too and also for the audience it’s nice to hear different, a balanced repertoire. I myself like to hear this.
The Sydney Opera House is a pretty cool place for your first Australian concert….
Yes I know! I thought about it a long time ago when I saw a picture of it I thought “hmm, I should visit Sydney. When would I have a chance to play there?”. And now! It finally comes! So really excited.
What else are you working on at the moment? What else can we expect to see from you in the next 12 months?
This next month…..actually last night I just played a concert in this medieval priory church and so after that I have a lot of repertoire I need to prepare. I have this Tan Dun piece I need to focus on and I also have two new pieces I’m going to premiere in October London in Kings Place – I haven’t even received them yet! Well, you know when you premiere a new piece usually that’s the case. Like last year when I premiered the Chinese piece I got it, how long before the concert? One month? It seems like quite normal.
Also the other thing, one of the composers he is Phillip Cashian, he is head of the composition department at the Royal Academy of Music, he said he’s going to send me some script for me to have a look and we can discuss. See that’s what I said before, that’s the advantage, I get involved in the process of creating the piece. It’s great! I can give some of my input, so that’s great.
The Australian tour is certainly my highlight and I’m hoping to have a new CD out this year too. I’m hoping to go back to China more often. Basically I just try to do the best I can.
Well, very excited to hear a new recording is coming. One of my personal favourites is your Bach Concertos album….
Thanks. That’s one of the CDs I’m most proud of. I mean I’m proud of all of my CDs, but I feel this Bach CD I worked so hard, it’s quite hard actually, I worked so much on it. Also for me it’s quite innovative because my idea is that I wanted to play more concertos but in the Baroque period that’s it. You cannot, it’s past and we only have the Vivaldi to play really. And the Vivaldi concertos are nice but, you know, they are light and short. The Bach we play the lute suites, and some violin and cello stuff, so I think if the solo pieces work well on guitar then maybe the concerto too. So that’s the origin of the idea.
The thing is then I find out that the violin concerto, even if I just play the violin, there seems no point. You don’t have the sustain, you can’t have the same sustain as the violin. You can’t be so singing as a violin. So if I play exactly the same as the violin then there’s no point. So I found out Bach did a transcription for harpsichord, these two violin concertos, and I felt “hmmm, harpsichord is similar in a way to the guitar”, the attack, small volume. But we can sustain better than the harpischord and we have this dynamic range, so I thought maybe I can draw something in between the harpsichord and the violin.
And using Bach’s lute as an example, as a model to do it, because you know the E major lute suite is based on violin. So I thought I can take that as a model to turn the violin concerto into a guitar concerto and using a string quartet like the Vivaldi concerto. Using a string quartet like Vivaldi because you know the volume of a string quartet is smaller, and also the individual lines, each part, will be more clear. And also, I read that Bach sometimes lacked players so he used just one player to play one part. So there are the reasons for the transcription! And yes, I worked so hard at it!
Afterwards, after I made the recording, looking back I feel, ooh, I was quite brave to do such a thing! Because these are so famous you know, so well known. Yes, so I had to make my version comparable to the violin version and the piano version, the keyboard version, so it’s actually quite brave! Again I just want to play more pieces with other musicians, more concertos, more stuff from the Baroque period.
You’ve spoken about the Romantic era music you liked to play when you were growing up, what music do you like to listen to the most?
Well everything, but I would say for relaxation I don’t listen to classical guitar. That doesn’t make me relax! At all! It makes me feel like I have to think about my work. Usually I put on some jazz for relaxation a lot. I really like Brazilian music. Sometimes orchestral music. But for relaxation, no guitar music!
Which guitarists do you like to listen to, or are you inspired by?
No particular guitarist really because nowadays there are so many good players and I feel I can inspiration from each concert, even by students, you know really. I can get inspiration from everybody. When I was a kid in China, back then China was just starting to open up, we didn’t have so much material. I remember we made copy of copy of copy of copy of someone’s cassette! My dad a copy of John Williams’s CD and I make sure that they copy didn’t wear out so I made another copy. I just went back last month to my Beijing home and there are so many cassettes! I’m not going to listen to them any more, but I don’t want to throw them away because they’re part of my history.
But that’s how we grew up. And the scores we made copy of copy of copy of copy too. And I remember that even the copy we were so precious about it. We’d put the copy in the plastic folder to protect the copy! That’s how we grew up.
Back then John Williams did lots of recordings, so we had them mostly by him and some Julian Bream, Segovia I listened a lot too. I think that my earlier part of my life John Williams was the bigger inspiration. Also, I listened to a lot of his recordings on one part. The other big part is that I actually met him and that became a big inspiration. He came to China, I think twice, in his past, but in the 1990s he went to China to tour around and he gave a masterclass in the Central Conservatoire in Beijing where I studied so I got the chance to play for him. And I talked to him and he was very encouraging.
I have to say that that period was a bit depressing. A bit of a depressing period of my life. A depressing period about my future. I felt a bit, I wasn’t quite sure what I was going to do in the future. I wasn’t quite sure what I was going to do with my music, with my life, with my studies. A bit down in that period. A bit dark. And I met him (John Williams) and it felt as if someone lit a fire in the dark, winter night. I felt encouraged. It’s a very important event in my career. So in another way he’s an inspiration.
You know sometimes even now, he’s not just a great musician, he’s such a nice person, very loyal to his friends and sometimes he’ll give me some advice. I’ll say he’s my biggest inspiration all the way round.
And is it true that he gave you his guitar?
Yeah, but I don’t own the guitar, he gave it to the Conservatoire, but for me to play. So I don’t own the guitar. But I am going to play the Greg Smallman guitar, which is from Australia, but is my own guitar.
A silly question, but how do you like the Smallman?
I really love the Smallman. I have to say, to be honest, I like John, I think he’s very loyal to everything you know. He only plays Smallman! I think he has several Smallman guitars. In terms of instrument, I have a handful of guitars, I like the different sounds. I have to say that for a live performance on stage, especially playing with other musicians, I must play Smallman. It makes a big difference.
Not just the projection, it’s also the sound. You know I love playing chamber music, and I play chamber music a lot, quite often with other musicians. The thing is that I feel that because the guitar is not an orchestral instrument, when we play on our own the sound has lots of nuances, lots of colours, very subtle, very intimate. But when you play with other musicians in the bigger venues, it gets lots because we certainly not at the same level in our volume, the projection, everything. It’s just not an orchestral instrument, so everything gets lost.
But the Smallman guitar feels all around it’s bigger. It feels, in a way, it’s amplified a little bit. I find it really works when I play with other musicians. Suddenly the guitar, everything is like another level up, I can be closer to the orchestral instruments.
Playing chamber music it’s great, but in the recording studios, when you don’t need to focus on projection and you need to focus on nuances, I prefer some of the traditional guitars, spruce guitars, which may not have a lot of volume, but work really well in the recording studio where you’re just facing towards a microphone. I tend to use quite a few guitars in the recording studios, but for live performance especially playing the large venues and with other musicians, I usually play the Smallman guitar.
What’s your preferred instrument in the studio?
Again, there’s no favourite one. In the past I’ve used many instruments. My Smallman is a cedar guitar and is very resonant, so it’s like the extreme side of cedar guitar – very resonant, not attacking. I find I’ve been playing the Smallman guitar for more than 10 years and I’m used to a certain way of playing such a guitar. When I play another extreme end, like a spruce guitar, a very dry sound it requires a kind of different way to play it you know. So I feel that it could make me exercise different ways of playing on the right hand. I really feel that, like it’s an exercise.
I got a new guitar from Paul Fischer, and I feel that my Paul Fischer guitar and my Smallman guitar are like two different ends, very very different. When I play these two guitars I feel like I exercise my right hand. I get different projection, different playing method. I find that my Paul Fischer records really well in the studio and when you record in a studio you record on different microphones then they have a different sound and you can put on reverb afterwards so you don’t worry about the dryness. You don’t need to worry about the resonance and you can mix the sound. So in the recording studio I find my spruce Paul Fischer works really well because it doesn’t resonate as much as Smallman. It’s got a very focussed sound, so afterwards you can add the reverb and it works really well.
In the past, I played other guitars too. You know my theory is, to be honest, I feel sometimes that guitar players are quite fanatic about instruments, about strings, about nails…..! You know! I find that a bit overly fanatic! But I really feel that, yes, the instrument is important, but at the end of the day it’s the playing. So my theory is that – OK , you don’t play a $200 guitar – but if you play a concert guitar and you’re a good player you can produce a good sound. That’s my theory. And I feel that choosing a guitar, choosing an instrument is more like choosing a friend. Sometimes you’re just tuned in. I can well understand that some people don’t like Smallman, some people don’t like Paul Fisher you know because tehy don’t tune it, it just doesn’t suit the way they play. It doesn’t mean it’s not a good guitar. It really depends on the way you play it. It’s like wearing clothes in a way.
I feel really lucky – some violinists have to take out a second mortgage to buy an instrument. For a stringed instrument, we can afford a good instrument which is great! Actually one of things I really looking forward to is trying some Australian guitars because I’ve heard there are many great makers. In fact two years ago when I was touring in New Zealand, touring with the New Zealand National Symphony, in a masterclass one of the students played an Australian guitar – what’s the name? I can’t remember – anyway, it was really impressive. That was the first time I saw a guitar that had as big a volume as my Smallman.
So when you’re not practicing and playing what sort of things do you like to get up to?
Well, I’m just a normal person you know! I like reading books, and I like watching movies, and I like to go shopping. Cycling – this is a new thing actually. I quite like cycling. And I just moved to somewhere where I have a small garden, so I like to mess around in the garden. It’s nice you know, in China most people live in apartments, so we don’t have gardens, so this is a nice thing. In Australia you can probably have a huge garden?! I heard the guitar is very popular there in Australia.
What do you know of the Australian guitar scene?
When I was young I already heard and read and knew a few Australian players like Slava and I met quite few.Tommy Emmanuel I met him – OK he’s not classical, but I think he’s amazing. I heard that there are quite a few guitarists that are like local stars there right? And is growing, so that’s what I heard about. I actually just met Adrian Walter, he’s the Dean of the Academy of Performing Arts in Hong Kong, and Craig Ogden.
I always feel that Australian people are quite friendly, so I have a very good impression about Australia. And I heard Melbourne is a great city. And I just read John Williams’ biography and his childhood in Australia. I’m hoping that I can prepare really well (for the tour), so that in my leisure time I can just go around exploring! And the Smallman is an Australian guitar. You know I feel I just have so many Australian things around me for a long time, so it feels like not a distant country at all. So really looking forward.
What would be your top tips for somebody just starting out on the guitar?
For beginners – that’s a hard question! Hmmm….to be honest for beginners, I think it’s really important to have a good teacher. I really think so. I think that with the violin, the piano, the reason why they have so many great players is that they have a longer tradition of teaching and they have more perfect systems of teaching, that’s why they can produce so many good players. I think in way, I personally feel that the guitar teaching system is still developing, we don’t have such a tradition. As a beginner, it’s very important to have the right method, for your technique. It’s very important, for adults or children, it’s very important. I really think that a good teacher is very important for beginners.
But I do want to say something to more advanced students – I just feel that lots of guitarists, guitar students, or maybe amateurs, tend to focus on the guitar world. Maybe they play the guitar because simply they love the instrument, which is no problem at all, nothing wrong with that. But I just feel that they’re more fanatic about the instrument. I hope that they can put themselves in the sea of music. Myself I love guitar as an instrument, but I think of guitar just as a method, just as a medium, of music. It’s a media to express music and I like to think about music more than about the instrument. I think thatfor more advance students, if they want to be a musician, to make a career, I think it’s quite important to put yourself in the sea of music and think more generally about music, rather than just guitar.
Since I moved to London I play concerto a lot, I play chamber music a lot, and this has helped me immensely! Musically and technically too. Musically, you know, if you just play solo guitar, which is a beautiful instrument, there is a great limitation. But if you play chamber music, or you listen to an orchestra the music becomes richer, so much more possibility. If you’re soaked in that music and you’re forced to do more on your instrument, do more musically, that forces you to push your technique. It forces you to do the things that you want. So I really feel that the technique improves, in the more advanced stage, when you want to play more music. 中文版有木有？ 本帖最后由 无花无香 于 2014-12-20 22:29 编辑
@夜总汇 咱们自己试着自己翻译看哈，有不对的地方只能一带而过了！
与古典吉他演奏家杨雪霏访谈
Last week I was extremely honoured to Skype with none other than guitarist extraordinaire Xuefei Yang!!
我是上周到Skype与无极honoured比其他吉他演奏家杨雪霏是非凡的！！！！！！！！
On the eve of her first tour Down Under and world premiere of a new guitar concerto by Chinese composer Tan Dun we had a fantastic chat about what she’ll be playing and how she goes about preparing for such a tour. Fei also shared some words of wisdom for students of the classical guitarist. We had such a great chat that I’ve decided to split it across three posts. Here in part one today you can read about Fei’s thoughts on playing classic and brand new repertoire, keeping things fresh, and the classical guitar repertoire.
在夜大学及世界第一旅游下她的吉他协奏曲首演《新中国作曲家谭盾对我们有什么了不起的，她会聊关于她去扮演什么和如何准备这样的旅游。也有一些智慧的话，非共享的古典吉他演奏家是学生。我们有这样一个伟大的聊天，我已经决定在三个分裂它。今天，你可以在这里读第一部分，关于飞’s的对经典剧目和扮演的新品牌，保持事物的新鲜，和古典吉他曲目。
You’re coming over to Australia very soon and we’re super excited to have you here! You’re going to be playing some classic repertoire and some new with the Tan Dun concerto premiere. Tell us a bit about the preparations for playing both the well known and the brand new repertoire.
你在澳大利亚很快到了与我们的超级激励有你在这里！你要扮演的是一些经典剧目和一些新的谭盾的音乐会上首演。告诉我们关于扮演的是位众所周知的两种制剂的和全新的剧目。
In fact I just met him (Tan Dun) last month in Beijing, after a concert. I always wanted to meet him and he’s a very nice guy, he’s someone who works so hard and he’s already very famous, but he’s working everyday. He has so many ideas about music, and he’s so enthusiastic. I think he’s trying to bring music to be relevant to people’s life now and I think that’s great. And he’s trying to bring the audience, and young people, to listen to new music and all of that sounds great I think.
事实上，在我遇见他在最后一个月（盾）在北京的演唱会。我总是想和他见面，他漂亮的家伙谁的作品的人，他是硬的和他已经非常著名，但他每天的工作。他有许多关于音乐的理念和操作系统，操作系统enthusiastic He’s。我认为他想把音乐的是人民的生活有关，现在我认为这是伟大的。他试图把观众的年轻人，和听新的音乐，和所有伟大的声音，我想是的。
You know I am very happy that the orchestra asked me to play a new piece, because especially guitarists, they complain “why always Aranjuez?! why always Aranjuez?!“, but you know I have to say that mostly it’s not our choice, you now! Mostly it’s the orchestra that makes the choice because they have their season, they have their programming, they have a concerto they have to hire a soloist to fit in their theme, so usually I don’t get to choose. Unless you’re John Williams then maybe – may be he can choose!
你知道我很快乐，我问到乐队播放新的一片，因为是他们永远的guitarists complain埃斯”，为什么？永远的埃斯！为什么？你知道的！”，但我要说，是不是我们的选择，你现在。是它的选择，因为他们的乐团，使得他们有他们的赛季，他们有他们的规划，他们必须有一个独奏音乐会在拟合聘请他们的主题，所以通常我不去选择。除非你是John Williams，他也许可以然后可以选择！
It’s kind of a good way to do it though, have the Aranjuez which is the “crowd pleaser” or the “crowd drawerer”, but then also introduce the audience to something new.
这是一种很好的方式，它虽然有埃斯，是“”或“”drawerer pleaser””，然后介绍到新的东西，还有观众。
Yes, yes exactly. I think it’s a good idea. All the classic pieces they will draw the audience, you know, may be they want to hear this piece, but at the same time they have to hear the new piece which is great I think. And Tan Dun he’s always putting some Chinese element in his music which is great, I think that’s what we should do more. As I grow older I try to bring our culture into what I play, so it’s a great opportunity for me.
是的，是的是的。我认为这是很好的想法。他们将所有的经典小品画的观众，你知道，他们想听到的可能是这一块，但在同一时间，他们要听一个伟大的作品是《新智囊团。他与谭盾的音乐在他把一些中国元素这是伟大的，我认为这是我们应该做的更多。我试图把我的旧的增长，我们的文化将即插即用的操作系统是什么样的我，是我伟大的机会。
How do you go about keeping things such as the Aranjuez fresh, which you must know so well?
关于如何保持这样的事情你走的你必须知道埃斯是新鲜的，好吗？
To be honest to Aranjuez I know it very very well, especially after recording. After you’ve recorded something you really know that music! But in a way it’s still….I never get bored of it. My theory is that with great music you never get bored. For example, in my recital I’m going to play the Chaconne by Bach, that is a piece that I never get bored of playing it. And in fact you change your feeling and your understanding and your interpretation of that piece over the years. So my theory is that if the music is great, then you don’t get bored. And the listener doesn’t get bored.
是诚实的对我非常非常好的埃斯知道后，特别是记录。在你的记录的东西，你真的知道的音乐！但它仍然是在路....i永远不会厌倦它。我的理论是，你永远不会厌倦的，与伟大的音乐。例如，在我的音乐会我要播放巴赫的恰空，那是一件我从来没有厌倦扮演它）。事实上，你和你的感觉和你的变化，你的理解和解释上的一年。所以我的理论是，如果音乐是伟大的，那么你得到的钻孔。和是不是厌倦的侦听器。
The other thing is also because playing concerto is quite different to playing solo, to be honest my first times playing concerto I was like dealing with my nerves! I was really quite nervous to play in front of an orchestra. But in recent years with my experience I can find that I’m more and more into the music because I get more used to playing a concerto in front of an orchestra and with amplification. More and more I really feel now I can really get the music out. So yes, I haven’t gotten bored of it.
另外也因为演奏协奏曲是钢琴独奏相当不同的，老实说，我第一次演奏协奏曲我喜欢处理我的神经！我真的很紧张，在乐队面前玩。但近年来，随着我的经验，我发现我越来越多地进入音乐因为我更习惯于在乐队面前演奏协奏曲与放大。越来越多的我真的觉得现在我真的可以把音乐。是的，我没有得到它的无聊。
In fact, the other thing about playing a concerto is that every time you play with a different orchestra, you work with a different conductor and the venues are different, the sound and the audiences are different. So with all this combination each time is a new experience – honestly! Especially with concerto because you have to collaborate with other people. With solo its just myself. So in terms of Aranjuez I never get bored. In fact I think I’m getting better and better!
事实上，关于演奏协奏曲的另一件事是，每一次你玩一个不同的乐团，你的工作与不同的导体和场馆不同，声音和观众是不同的。所以这一切组合每个时间是一种新的经验–诚实！特别是协奏曲，因为你必须与其他人合作。与单独的只是我自己。因此从埃斯我永远不会厌倦。事实上，我想我是越来越好！
With all that I’m quite happy with my recording, but I feel in a way, especially the second movement, I’m playing a but different. I think the recording is like a snapshot of that particular moment of your life. So I’m really looking forward to play with an Australian orchestra this piece. Now sometimes after I’ve played the second movement, I get goosebumps myself! Like “oooh I’m really in the zone!“. I also lots of times after the performance some audience members have come to say to me that they were really moved, and moved into tears. For me that’s the greatest reward, it’s the most rewarding thing to hear, yeah! So hoping I can touch some hearts in Australia!
尽管我很高兴我的记录，但我觉得在某种程度上，尤其是第二乐章，我演奏不同。我想记录的是喜欢那个特别的你的生活时刻的快照。所以我很期待玩澳大利亚乐队这片。现在，有时在我玩过的第二乐章，我起鸡皮疙瘩我自己！“噢，我真的在区！“。我也很多次演出后，一些观众来对我说，他们都很感动，而感动的流泪。那对我来说最大的奖励，这是听到的最有价值的事，是的！所以希望我能触摸到一些在澳大利亚的心！
It deserves to be played a lot, but at the same time I wish there were other guitar concertos that could be played more too! The thing of playing contemporary music is that we don’t know which one will become the “classic” one because time is the ultimate test. Those that are lucky enough to live after another 100 years will know which one will become the classic piece! So I think we just need to keep trying new pieces. The players levels these days are getting higher and higher and that can encourage the composer so they know what we can do on the instrument so they can write more interesting pieces. It’s like a loop, so our playing affects their compositions and their compositions affects our playing, like a loop. It all gets better and better and that way we can get more interesting repertoire.
它应该被打了很多，但同时我希望有其他的吉他协奏曲，可以发挥更多的！演奏现代音乐的事情是，我们不知道哪一个会成为“经典”之一，因为时间是最终的考验。那些幸运的又一个100年的生活会知道哪一个会成为经典作品！所以我认为我们只需要不断尝试新的作品。球员的水平都越来越高，可以鼓励作曲家，所以他们知道我们能做些什么在仪表使他们能够写更多的有趣的作品。它就像一个环，所以我们的演奏会影响他们的组合物和它们的组合物，会影响我们的比赛，就像是一个循环。这一切会更好，这样我们可以得到更多的有趣的节目。
But to be honest I think the repertoire is very very important for the instrument. I feel the development of the instrument, of the repertoire, is so so important. Why is it that we hear so much piano and violin, the orchestra, everyday in the concert hall? It’s because of the repertoire. There are too many great pieces to play.
但说实话，我认为曲目的仪器是非常重要的。我感觉的仪器的发展，该曲目，是如此的重要。我们为什么如此多的钢琴和小提琴，乐团，在音乐厅吗？这是因为该曲目。有太多的伟大作品的演奏。
I think other musicians usually say the guitar has a smaller repertoire, which I don’t actually agree with. I think the guitar repertoire is big but we don’t have a big mainstream repertoire. We don’t have the German, Austrian, mainstream repertoire. That’s almost a zero. That’s the problem there. You go to Germany and you’re not likely to hear our music, it’s not their tradition. But can only start to work from now. Well from Segovia he did, he promoted lots of composer, lots of repertoire. And Julian Bream, John Williams, we can enjoy playing those players repertoire, so we need to keep doing the same. The next generation can then have more music.
我认为其他的音乐家通常说的吉他有一个较小的曲目，我真的不同意。我认为吉他曲目大，但我们没有一个大主流曲目。我们没有德国，奥地利，主流曲目。这几乎是一零。这是有问题。你去德国，你不可能听到我们的音乐，这不是他们的传统。但只能从现在开始工作。从塞哥维亚的他，他推动了许多作曲家，很多曲目。朱利安鳊，约翰威廉姆斯，我们可以尽情的玩那些球员的曲目，所以我们需要继续做同样的事。下一代有更多的音乐。
How do you go about preparing a brand new piece? Do you go about things differently than with a classic of the repertoire?
你怎样去一个全新的制条？你对事情有不同的比一个经典的曲目？
I think that it’s like a two-edged sword. The disadvantage is that you’ve never heard anything of it, you don’t know the background. The advantage is that you have some freedom I find and also – even better – is if you have a chance to meet the composer. The you can ask him directly what does he want, and what he means. I think that can be a great advantage. If you play Bach you can’t really ask him! Or even Albeniz, you know, you can’t go back to ask him.
我认为这就像一二刃的剑。缺点是，你从来没有听到过这件事，你不知道背景。好处是，你有自由，我发现并–更好的–是如果你有机会见到作曲家。你可以直接问他他想要什么，而他是什么意思。我认为这可能是一个很大的优势。如果你扮演的是巴赫你不能真的去问他！甚至是阿尔贝尼斯，你知道，你不能去问他。
So, yes, it’s an advantage and a disadvantage. I think that if I can have a chance to meet a composer like Tan Dun. I’m going to premiere some other pieces in October so I’m going to ask them as much as possible. Even to talk to them, sometimes they don’t play the guitar which can be a good thing, they just think about the music. That can actually be a great advantage. Of course it can be a disadvantage too – the piece can be awkward for the instrument. There’s always two sides, but I always try to ask the composer as much as possible.
所以，是的，这是一个优点和一个缺点。我想，如果我能有机会见到一个作曲家像谭盾。我要在十月首播的其他一些作品所以我去问他们，尽可能多的。即使与他们交谈，有时他们不会弹吉他，这是一件好事，他们只是想音乐。这实际上是一个很大的优势。当然，它可以是一个缺点太–一块可以笨拙的仪器。总是有两面性的，但我总是试图让尽可能多的作曲家。
If some composer has already passed and I don’t have a chance to ask then, I think the advantage is that you have more freedom. In playing contemporary music we have more freedom. In a way I think that contemporary music can be close to use because it’s a modern thing. Bach is like how many years hundreds of years ago right? But twentieth century music is quite close to us, and you can get inspired from the architecture, the modern art and the modern literature. Everything is all related actually. So in a way I think it’s easier to find information to help you understand. I think I try to those advantages.
如果一些作曲家已经过去了，我没有机会去问的话，我想的好处是，你拥有更多的自由。在演奏现代音乐我们有更多的自由。一方面我认为当代音乐可以接近使用因为它是一个现代的东西。巴赫是多少年数百年前吗？但是，第二十个世纪的音乐是非常接近我们，你可以得到灵感来自建筑，现代艺术和现代文学。一切都是相关的事实。所以这样我就更容易找到的信息来帮助你理解。我想我要那些优势。
Also, in a way, if I don’t recordings of a contemporary piece to listen to, it can be an advantage too. Because with a classic piece you’ve heard too many versions, you know? You will more or less be affected. You probably don’t know, or you probably don’t want to admit, but you actually are influenced by a certain version. So if I play a new piece, and I’ve never heard anybody play it, then it’s me! You go on YouTube and you can find hundreds of things. It’s an advantage too.
同时，在一个方式，如果我真的当代作品不录音听，它可以是一个优势。因为和一个经典的作品，你听说过太多的版本，你知道吗？你或多或少会受到影响。你可能不知道，或者你可能不愿意承认，但是你实际上是由某个版本的影响。所以如果我弹奏一首新的曲子，我从来没有听过有人玩它，那么它是我！你在YouTube上，你可以找到很多事情。这是一个优势。
You’re playing at the Sydney Opera House first of all in Australia, what are you going to be playing in your solo shows?
你在悉尼歌剧院首先在澳大利亚玩，你要发挥你的独奏显示什么？
I’m playing the (Bach) Chaconne, some John Williams pieces, some From A Bird. Yes, I like that piece very much. He said that when he was at his Australian home he heard a honeyeater bird singing outside his window – I think it’s an Australian bird isn’t it? We don’t have it here in England! In concert people don’t know what it looks like! – a John Williams piece, a Chinese piece – a traditional piece. I’m also premiering in Australia a modern Chinese piece that was written for me last year, commissioned by the Wigmore Hall in London. Her name is Chen Yi, she’s a female composer, a leading Chinese composer, based in the USA.
我在（巴赫）的舞曲，约翰威廉姆斯的一些作品，一些从一只鸟。是的，我非常喜欢那张。他说，当他在澳大利亚他听到蜜雀鸟在窗外唱歌–我认为这是一个澳大利亚鸟，不是吗？我们没有在英格兰！在演唱会的人不知道是什么样子的！–约翰威廉姆斯片，一片一片–中国传统。我也将中国现代作品，写的是我去年在澳大利亚，委托在威格摩音乐厅。她的名字是陈怡，她是一个女作曲家，著名的中国作曲家，总部设在美国。
So Bach, some contemporary, some Schubert songs. I feel I have to play something from the Romantic era – that’s my home! Nowadays I enjoy pretty much everything all the same, but I would say that when I was younger, when I was a teenager I felt most at home playing the Romantic music, because think that I have a strong intuition. When I was a kid, a teenager, I more or less played music by feeling and without too much analysis, and this is to do with how I was taught to play music in China. Romantic music you can play by feeling, just be spontaneous. But if you play contemporary music, just by feelings, that’s not enough. You really, really need to know what you want to express, it’s the voicing, what is your voicing, your phrasing. The melody is not quite to obvious as Schubert, Schubert is just there, it’s so “singing”. But with contemporary you have to find the phrasing, the voicing and the structure. but once you can find it you can convince yourself how to play this piece. And once you’ve convinced yourself you have a better chance – I only say better chance! – to convince the audience!
巴赫，当代，舒伯特的歌。我觉得我必须从浪漫的时代–是我家玩的东西！现在我很高兴一切都一样，但我要说的是，当我年轻的时候，当我还是个孩子的时候我觉得大多数在家里玩浪漫的音乐，因为我有一种强烈的直觉。当我还是个孩子的时候，一个十几岁的少年，我或多或少地演奏音乐的感觉，没有太多的分析，这是你教我在中国玩音乐。浪漫主义音乐你可以玩的感觉，是自发的。但如果你演奏现代音乐，只是感觉，那是不够的。你真的，真的需要知道你想表达什么，它的发音，你的声音，你的语调。旋律是不是很明显，舒伯特，舒伯特就在那里，它是如此“唱歌”。但随着当代找到你要的语法，发音和结构。但是一旦你可以找到它，你可以说服自己如何演奏这首曲子。一旦你相信自己，你有更好的机会–我只说更好的机会！–说服观众！
I find another part of the difficulty of playing a contemporary piece that even if you know the piece very well, the audience they’ve never heard of the piece. It takes them a few times to get to know it. For example, like the Britten Nocturnal, Julian Bream and even other people said that for them the first couple of times they didn’t understand it. And for the audience it’s even harder as they don’t have the time to study it and find out what it’s all about. If the audience goes to listen to Beethoven or a more established piece of the repertoire, a classic piece of the repertoire, people know what they are they about. If you play a very new piece though nobody knows. It’s a difficulty, so you have to really convince yourself, be so clear yourself so then you are more able to convince the audience.
我发现在当代作品，即使你知道这件很困难的另一部分，他们从来没有听说过该片的观众。他们花了几次去了解它。例如，像布里顿的夜间，朱利安布里姆或者其他人说，他们的第一对夫妇的时候，他们不明白。对于观众来说更难作为他们没有时间去学习它，了解它的一切。如果观众去听贝多芬或更成熟的件的剧目，一篇经典的剧目，人们知道他们在他们的。如果你扮演的是一个很新的件，但没人知道。这是一个困难的，所以你必须真的相信自己，那么你自己清楚你就更能说服观众。
You’re playing a good mix – something for everybody…
你给大家打混的好–某事…
Yes, I like it that way. You know it’s a bit hard on guitar to focus on one composer. On piano you can focus on Beethoven, or Mozart, Chopin, but on guitar it’s very hard to focus on one composer. And also Sydney is my first recital in Australia so I want to have a big variety of programme because the guitar is a very capable instrument, we really can play lots of different repertoire. I’m a player that feels comfortable playing lots of different repertoire too and also for the audience it’s nice to hear different, a balanced repertoire. I myself like to hear this.
是的，我喜欢这样。你知道这是个有点硬的吉他关注一个作曲家。钢琴可以集中在贝多芬，或莫扎特，萧邦，但在吉他很难专注于一个作曲家。而且悉尼是我在澳大利亚的第一次独奏会，所以我要有各种各样的计划，因为吉他是一个非常有能力的仪器，我们真的可以发挥不同的剧目很多。我是一个球员，感觉舒适，玩很多不同的剧目，也为观众听到不同的是好的，平衡的曲目。我喜欢听这个。
The Sydney Opera House is a pretty cool place for your first Australian concert….
悉尼歌剧院是一个为您的第一个澳大利亚的演唱会…很酷的地方
Yes I know! I thought about it a long time ago when I saw a picture of it I thought “hmm, I should visit Sydney. When would I have a chance to play there?”. And now! It finally comes! So really excited.
是的我知道！我想了很长时间以前，当我看到它的照片我想：“嗯，我要去悉尼。当我有机会去那里玩？“。现在！它终于来了！所以真的很兴奋。
What else are you working on at the moment? What else can we expect to see from you in the next 12 months?
什么是你工作的时刻？我们还可以期望看到在未来12个月吗？
This next month…..actually last night I just played a concert in this medieval priory church and so after that I have a lot of repertoire I need to prepare. I have this Tan Dun piece I need to focus on and I also have two new pieces I’m going to premiere in October London in Kings Place – I haven’t even received them yet! Well, you know when you premiere a new piece usually that’s the case. Like last year when I premiered the Chinese piece I got it, how long before the concert? One month? It seems like quite normal.
下个月.....其实昨晚我刚打了一个音乐会在中世纪的修道院教堂，因此我有很多的曲目，我需要准备。我有谭盾这件我要集中精力，我也有两个新的作品，我打算在十月首演伦敦国王的地方–我还没收到货！嗯，你知道当你上演一出新块通常是这样。跟去年一样，当我首次中国片我有，多久之前的演唱会？一个月？这似乎是很正常的。
Also the other thing, one of the composers he is Phillip Cashian, he is head of the composition department at the Royal Academy of Music, he said he’s going to send me some script for me to have a look and we can discuss. See that’s what I said before, that’s the advantage, I get involved in the process of creating the piece. It’s great! I can give some of my input, so that’s great.
还有另一件事的作曲家之一，他是cashian菲利浦，他在英国皇家音乐学院作曲系主任，他说他会给我一些脚本，我看了看，我们可以讨论。看，我以前所说的，这是我的优势，参与创造一块的过程。这是伟大的！我可以给我的一些输入，很好。
The Australian tour is certainly my highlight and I’m hoping to have a new CD out this year too. I’m hoping to go back to China more often. Basically I just try to do the best I can.
澳大利亚旅游确实是我强调，我希望能有一个新的CD，今年也。我希望回到更经常去中国。基本上我只是尽力做最好的我可以。
Well, very excited to hear a new recording is coming. One of my personal favourites is your Bach Concertos album….
嗯，很高兴听到一个新的记录来了。我个人最喜欢的一个是你的巴赫协奏曲专辑…
Thanks. That’s one of the CDs I’m most proud of. I mean I’m proud of all of my CDs, but I feel this Bach CD I worked so hard, it’s quite hard actually, I worked so much on it. Also for me it’s quite innovative because my idea is that I wanted to play more concertos but in the Baroque period that’s it. You cannot, it’s past and we only have the Vivaldi to play really. And the Vivaldi concertos are nice but, you know, they are light and short. The Bach we play the lute suites, and some violin and cello stuff, so I think if the solo pieces work well on guitar then maybe the concerto too. So that’s the origin of the idea.
谢谢。这是一个cd我最自豪的。我的意思是我对我所有的CD而自豪，但我觉得这巴赫的CD，我如此努力的工作，也很难真的，我工作太多了。对我来说也很创新，因为我的想法是，我想打更多的协奏曲在巴洛克时期的。你不能，这是过去，我们只有维瓦尔第玩真的。和维瓦尔第协奏曲是不错，但，你知道，他们是光和短。我们演奏鲁特琴组曲的巴赫，和一些小提琴和大提琴的东西，所以我想如果独奏作品以及吉他也许协奏曲太。这样的观念的起源。
The thing is then I find out that the violin concerto, even if I just play the violin, there seems no point. You don’t have the sustain, you can’t have the same sustain as the violin. You can’t be so singing as a violin. So if I play exactly the same as the violin then there’s no point. So I found out Bach did a transcription for harpsichord, these two violin concertos, and I felt “hmmm, harpsichord is similar in a way to the guitar”, the attack, small volume. But we can sustain better than the harpischord and we have this dynamic range, so I thought maybe I can draw something in between the harpsichord and the violin.
这件事是我发现的小提琴协奏曲，即使我拉小提琴，似乎没有一点。你没有支持，你不能有相同的维持作为小提琴。你不能如此歌唱作为小提琴。所以如果我玩一样的小提琴，那就没意义了。所以我发现巴赫做了一个转录为羽管键琴，这两个小提琴协奏曲，我觉得“嗯，大键琴是相似的一种吉他”，攻击，体积小。但我们可以保持比harpischord和我们这个动态范围，所以我想也许我可以借鉴的东西在大键琴和小提琴之间。
And using Bach’s lute as an example, as a model to do it, because you know the E major lute suite is based on violin. So I thought I can take that as a model to turn the violin concerto into a guitar concerto and using a string quartet like the Vivaldi concerto. Using a string quartet like Vivaldi because you know the volume of a string quartet is smaller, and also the individual lines, each part, will be more clear. And also, I read that Bach sometimes lacked players so he used just one player to play one part. So there are the reasons for the transcription! And yes, I worked so hard at it!
使用巴赫的琵琶为例，作为一种模式，这样做，因为你知道E大调鲁特琴组曲是基于小提琴。所以我想我可以作为一个模型把小提琴协奏曲为吉他协奏曲和弦乐四重奏如维瓦尔第的协奏曲。使用一个弦乐四重奏如维瓦尔第因为你知道一个弦乐四重奏体积更小，和单独的线，每一部分，会更清楚。同时，我读到巴赫有时缺少球员所以他用一个球员发挥的一部分。所以有转录的原因！是的，我很努力的工作！
Afterwards, after I made the recording, looking back I feel, ooh, I was quite brave to do such a thing! Because these are so famous you know, so well known. Yes, so I had to make my version comparable to the violin version and the piano version, the keyboard version, so it’s actually quite brave! Again I just want to play more pieces with other musicians, more concertos, more stuff from the Baroque period.
后来，在我的记录，回首我的感觉，哦，我很勇敢的去做这样的事！因为这些都是著名的你知道，很出名。是的，所以我不得不让我的版本相媲美的小提琴和钢琴版版，键盘版本，所以真的很勇敢！我只是想与其他音乐家的协奏曲，更发挥更多的碎片，从巴洛克时期更多的东西。
You’ve spoken about the Romantic era music you liked to play when you were growing up, what music do you like to listen to the most?
你刚才谈到了浪漫主义时期的音乐你喜欢玩的时候，你的成长，你喜欢听什么音乐呢？
Well everything, but I would say for relaxation I don’t listen to classical guitar. That doesn’t make me relax! At all! It makes me feel like I have to think about my work. Usually I put on some jazz for relaxation a lot. I really like Brazilian music. Sometimes orchestral music. But for relaxation, no guitar music!
一切都好，但是我想说，放松，我不要听古典吉他。这并不使我放松！在所有！这让我觉得我必须考虑我的工作。我通常把放松很多爵士乐。我真的很喜欢巴西音乐。有时，管弦乐。但放松，没有吉他音乐！
Which guitarists do you like to listen to, or are you inspired by?
吉他手，你喜欢听的，或是你的灵感？
No particular guitarist really because nowadays there are so many good players and I feel I can inspiration from each concert, even by students, you know really. I can get inspiration from everybody. When I was a kid in China, back then China was just starting to open up, we didn’t have so much material. I remember we made copy of copy of copy of copy of someone’s cassette! My dad a copy of John Williams’s CD and I make sure that they copy didn’t wear out so I made another copy. I just went back last month to my Beijing home and there are so many cassettes! I’m not going to listen to them any more, but I don’t want to throw them away because they’re part of my history.
没有特别的吉他手，是因为现在有很多优秀的球员，我觉得我可以从每个音乐灵感，甚至学生，你知道。我可以从每个人得到的启示。当我在中国的时候，当时中国刚刚开始开放，我们没有那么多的材料。我记得我们对某人的磁带复制副本复制！我爸爸一份约翰威廉姆斯的CD，我确信他们拷贝不穿了我的另一个副本。我刚回到上个月我在北京的家里，有许多磁带！我不想听他们的任何更多的，但我不想扔掉，因为他们是我历史的一部分。
But that’s how we grew up. And the scores we made copy of copy of copy of copy too. And I remember that even the copy we were so precious about it. We’d put the copy in the plastic folder to protect the copy! That’s how we grew up.
但是，我们就是这样成长起来的。我们用复制的复制副本太分数。我还记得，即使我们对它太宝贵了复制。我们会把复制的塑料文件夹拷贝保护！我们就是这样长大的。
Back then John Williams did lots of recordings, so we had them mostly by him and some Julian Bream, Segovia I listened a lot too. I think that my earlier part of my life John Williams was the bigger inspiration. Also, I listened to a lot of his recordings on one part. The other big part is that I actually met him and that became a big inspiration. He came to China, I think twice, in his past, but in the 1990s he went to China to tour around and he gave a masterclass in the Central Conservatoire in Beijing where I studied so I got the chance to play for him. And I talked to him and he was very encouraging.
那时约翰威廉姆斯做了许多记录，所以我们让他们大多是由他和朱利安塞哥维亚鳊鱼，我听了很多。我认为我早些时候我生活的一部分，约翰威廉姆斯是更大的启示。另外，我听了很多唱片的一部分。另一个大的部分是，我见过他，成了一个大的启示。他来到中国，我想，在他过去的，但在上世纪90年代他去中国参观，他给了一个大师级的中央音乐学院，我在北京的研究，所以我有机会发挥他。我跟他谈过，他是非常令人鼓舞的。
I have to say that that period was a bit depressing. A bit of a depressing period of my life. A depressing period about my future. I felt a bit, I wasn’t quite sure what I was going to do in the future. I wasn’t quite sure what I was going to do with my music, with my life, with my studies. A bit down in that period. A bit dark. And I met him (John Williams) and it felt as if someone lit a fire in the dark, winter night. I felt encouraged. It’s a very important event in my career. So in another way he’s an inspiration.
我不得不说，时间是一个有点沮丧。一个令人沮丧的时期，我的生活。关于我的未来的一个令人沮丧的时期。我感到有一点，我不是很确定我未来要做。我不是很确定我要做什么和我的音乐，我的生活，我的研究。一位在这一时期。一位黑暗。我见过他（约翰威廉姆斯），就好像有人在黑暗中点燃了一堆火，冬天的夜晚。我感到鼓舞。这是我职业生涯中一个非常重要的事件。所以另一方面他是一个灵感。
You know sometimes even now, he’s not just a great musician, he’s such a nice person, very loyal to his friends and sometimes he’ll give me some advice. I’ll say he’s my biggest inspiration all the way round.
你知道，有时甚至是现在，他不仅是一位伟大的音乐家，他是一个很好的人，非常忠于自己的朋友，有时他会给我一些建议。我会说他是我最大的灵感的路。
And is it true that he gave you his guitar?
它是真的，他给了你他的吉他吗？
Yeah, but I don’t own the guitar, he gave it to the Conservatoire, but for me to play. So I don’t own the guitar. But I am going to play the Greg Smallman guitar, which is from Australia, but is my own guitar.
是的，但我没有自己的吉他，他给了音乐学院，但我玩。所以我没有自己的吉他。但我要扮演格雷戈的斯摩曼吉他，这是从澳大利亚，但是我自己的吉他。
A silly question, but how do you like the Smallman?
一个愚蠢的问题，但是你如何像斯摩曼吉他吗？
I really love the Smallman. I have to say, to be honest, I like John, I think he’s very loyal to everything you know. He only plays Smallman! I think he has several Smallman guitars. In terms of instrument, I have a handful of guitars, I like the different sounds. I have to say that for a live performance on stage, especially playing with other musicians, I must play Smallman. It makes a big difference.
我真的很喜欢斯摩曼吉他。我不得不说，老实说，我喜欢约翰，我认为他是你所知道的一切都非常忠诚。他只扮演的斯摩曼吉他！我认为他有几个斯摩曼吉他。从仪器，我有一把吉他，我喜欢各种不同的声音。我必须说，一个活在舞台上的表演，尤其是在与其他的音乐家，我必须发挥的斯摩曼吉他。它使一个大的差异。
Not just the projection, it’s also the sound. You know I love playing chamber music, and I play chamber music a lot, quite often with other musicians. The thing is that I feel that because the guitar is not an orchestral instrument, when we play on our own the sound has lots of nuances, lots of colours, very subtle, very intimate. But when you play with other musicians in the bigger venues, it gets lots because we certainly not at the same level in our volume, the projection, everything. It’s just not an orchestral instrument, so everything gets lost.
不只是投影，这也是声音。你知道我喜欢演奏室乐演奏室内乐，我和很多其他的音乐家，经常。问题是，我觉得，因为吉他不是管弦乐器，当我们在我们自己的声音有许多细微的差别，不同的颜色，非常微妙，非常亲密。但当你玩的更大的场地，它有很多其他的音乐家，因为我们当然不在我们的体积，同样的水平投影，一切。这不是一个管弦乐器，所以一切都消失了。
But the Smallman guitar feels all around it’s bigger. It feels, in a way, it’s amplified a little bit. I find it really works when I play with other musicians. Suddenly the guitar, everything is like another level up, I can be closer to the orchestral instruments.
但斯摩曼吉他感觉周围的大。它认为，在某种程度上，这是放大一点。我发现它真的作品，当我玩其他的音乐家。突然，吉他，都像是另一个层面上，我可以更接近管弦乐器。
Playing chamber music it’s great, but in the recording studios, when you don’t need to focus on projection and you need to focus on nuances, I prefer some of the traditional guitars, spruce guitars, which may not have a lot of volume, but work really well in the recording studio where you’re just facing towards a microphone. I tend to use quite a few guitars in the recording studios, but for live performance especially playing the large venues and with other musicians, I usually play the Smallman guitar.
演奏室乐，这是伟大的，但在录音室时，你不需要关注的投影，你需要关注的细微差别，我更喜欢一些传统的吉他，云杉的吉他，这可能不会有很多的体积，但工作真的很好，在录音棚，你只是面对一个麦克风。我倾向于在录音棚用相当多的吉他，但现场的演出，尤其是在大型场馆和其他的音乐家，我通常玩的斯摩曼吉他。
What’s your preferred instrument in the studio?
在工作室，你喜欢的乐器是什么？
Again, there’s no favourite one. In the past I’ve used many instruments. My Smallman is a cedar guitar and is very resonant, so it’s like the extreme side of cedar guitar – very resonant, not attacking. I find I’ve been playing the Smallman guitar for more than 10 years and I’m used to a certain way of playing such a guitar. When I play another extreme end, like a spruce guitar, a very dry sound it requires a kind of different way to play it you know. So I feel that it could make me exercise different ways of playing on the right hand. I really feel that, like it’s an exercise.
再次，没有最喜欢的一个。在过去，我用过很多的仪器。我是一个雪松吉他和斯摩曼吉他是谐振，因此它像雪松吉他–非常洪亮的极致，不攻击。我发现我已经打了超过10年的斯摩曼吉他和我用一定的方式玩吉他。当我玩另一个极端，如云杉的吉他，一个非常干燥的声音，它需要一种不同的方式发挥它你知道。所以我觉得它能让我练习不同的打在右手的方式。我真的觉得，好像是一个运动。
I got a new guitar from Paul Fischer, and I feel that my Paul Fischer guitar and my Smallman guitar are like two different ends, very very different. When I play these two guitars I feel like I exercise my right hand. I get different projection, different playing method. I find that my Paul Fischer records really well in the studio and when you record in a studio you record on different microphones then they have a different sound and you can put on reverb afterwards so you don’t worry about the dryness. You don’t need to worry about the resonance and you can mix the sound. So in the recording studio I find my spruce Paul Fischer works really well because it doesn’t resonate as much as Smallman. It’s got a very focussed sound, so afterwards you can add the reverb and it works really well.
我从保罗菲舍尔有了一个新的吉他，我觉得我的保罗菲舍尔的吉他和我的斯摩曼吉他就像两个不同，非常不同。当我玩这两个吉他，我觉得我锻炼我的右手。我把不同的投影，不同的演奏方法。我发现我的保罗菲舍尔的记录很好的工作室，当你在工作室记录你记录在不同的麦克风，然后他们有不同的声音，你可以放在混响之后，所以你不必担心干燥。你不需要担心，你可以混合声共振。所以在录音室里我找到了我的云杉保罗菲舍尔的作品真的很好，因为它不产生共鸣，就像斯摩曼吉他。它有一个非常集中的声音，所以以后你可以添加混响和它的作品真的很好。
In the past, I played other guitars too. You know my theory is, to be honest, I feel sometimes that guitar players are quite fanatic about instruments, about strings, about nails…..! You know! I find that a bit overly fanatic! But I really feel that, yes, the instrument is important, but at the end of the day it’s the playing. So my theory is that – OK , you don’t play a $200 guitar – but if you play a concert guitar and you’re a good player you can produce a good sound. That’s my theory. And I feel that choosing a guitar, choosing an instrument is more like choosing a friend. Sometimes you’re just tuned in. I can well understand that some people don’t like Smallman, some people don’t like Paul Fisher you know because tehy don’t tune it, it just doesn’t suit the way they play. It doesn’t mean it’s not a good guitar. It really depends on the way you play it. It’s like wearing clothes in a way.
在过去，我扮演其他吉他太。你知道我的理论是，老实说，有时我觉得吉他玩家都很狂热的仪器，对字符串，“钉子.....！你知道！我发现有些过于狂热！但我真的感觉，是的，该仪器是重要的，但在一天结束的游戏。所以我的理论是，–好，你不玩一个200美元的吉他–但如果你扮演一个音乐会吉他，你是一个很好的球员，你可以制作一个好的声音。这就是我的理论。我觉得选择一把吉他，选择一个工具更像选择朋友。有时你只是调谐。我也很能理解，有些人不喜欢Smallman，有些人不喜欢保罗Fisher你知道因为他们不调整它，它只是不适合他们的打法。这并不意味着它不是一个很好的吉他。这真的取决于你玩它的方式。就像穿衣服的方式。
I feel really lucky – some violinists have to take out a second mortgage to buy an instrument. For a stringed instrument, we can afford a good instrument which is great! Actually one of things I really looking forward to is trying some Australian guitars because I’ve heard there are many great makers. In fact two years ago when I was touring in New Zealand, touring with the New Zealand National Symphony, in a masterclass one of the students played an Australian guitar – what’s the name? I can’t remember – anyway, it was really impressive. That was the first time I saw a guitar that had as big a volume as my Smallman.
我感到很幸运–一些小提琴已经采取了第二按揭购买的仪器。弦乐器用，我们可以创造一个良好的工具，是伟大的！其实一个人的事我真的很期待尝试一些澳大利亚的吉他，因为我听说有许多伟大的制造商。事实上，两年前，当我在新西兰的巡演，与新西兰国家交响乐团巡演，在课程的一个学生扮演了一个澳大利亚吉他–叫什么名字？我不记得–无论如何，这真是令人印象深刻的。那是我第一次看见一把吉他，有大量作为我的斯摩曼吉他。
So when you’re not practicing and playing what sort of things do you like to get up to?
所以当你没有练习和演奏什么样的事情，你想去吗？
Well, I’m just a normal person you know! I like reading books, and I like watching movies, and I like to go shopping. Cycling – this is a new thing actually. I quite like cycling. And I just moved to somewhere where I have a small garden, so I like to mess around in the garden. It’s nice you know, in China most people live in apartments, so we don’t have gardens, so this is a nice thing. In Australia you can probably have a huge garden?! I heard the guitar is very popular there in Australia.
嗯，我只是一个正常的人，你知道的！我喜欢看书，我喜欢看电影，我喜欢去购物。循环–这是一个新的事实。我很喜欢骑自行车。我刚到的地方，我有一个小花园，所以我想乱七八糟的花园。很高兴你知道，大多数中国人居住的公寓，所以我们没有花园，所以这是一个很好的东西。在澳大利亚你可以有一个大花园？！我听到吉他很受欢迎，在澳大利亚。
What do you know of the Australian guitar scene?
知道澳洲吉他的场景吗？
When I was young I already heard and read and knew a few Australian players like Slava and I met quite few. Tommy Emmanuel I met him – OK he’s not classical, but I think he’s amazing. I heard that there are quite a few guitarists that are like local stars there right? And is growing, so that’s what I heard about. I actually just met Adrian Walter, he’s the Dean of the Academy of Performing Arts in Hong Kong, and Craig Ogden.
当我年轻的时候，我已经听到和读到的和知道的一些澳大利亚球员像光荣和我遇到了不少。汤米艾曼纽我遇见了他–好他不是古典的，但我认为他惊人的。我听说有很多吉他手，像当地的明星吗？并不断增长，这就是我听到的。我刚遇到阿德里安沃尔特，他对香港表演艺术学院院长，奥格登和克雷格。
I always feel that Australian people are quite friendly, so I have a very good impression about Australia. And I heard Melbourne is a great city. And I just read John Williams’ biography and his childhood in Australia. I’m hoping that I can prepare really well (for the tour), so that in my leisure time I can just go around exploring! And the Smallman is an Australian guitar. You know I feel I just have so many Australian things around me for a long time, so it feels like not a distant country at all. So really looking forward.
我总是觉得澳大利亚的人很友好，所以我对澳大利亚有一个很好的印象。我听说墨尔本是一个伟大的城市。我刚读了约翰威廉姆斯的传记和他的童年在澳大利亚。我希望我可以准备的很好（之旅），所以，在我闲暇的时候，我就到处探索！和斯摩曼吉他是澳大利亚吉他。你知道，我觉得我只是我周围有这么多的澳大利亚很久的东西，所以感觉不是一个遥远的国家。所以真的期待。
What would be your top tips for somebody just starting out on the guitar?
什么是你最有人刚开始弹吉他的技巧？
For beginners – that’s a hard question! Hmmm….to be honest for beginners, I think it’s really important to have a good teacher. I really think so. I think that with the violin, the piano, the reason why they have so many great players is that they have a longer tradition of teaching and they have more perfect systems of teaching, that’s why they can produce so many good players. I think in way, I personally feel that the guitar teaching system is still developing, we don’t have such a tradition. As a beginner, it’s very important to have the right method, for your technique. It’s very important, for adults or children, it’s very important. I really think that a good teacher is very important for beginners.
对于初学者来说，是一个很难的问题–！嗯，……老实说，对于初学者来说，我认为有一个好的老师是很重要的。我真的这么认为。我认为，小提琴，钢琴，为什么他们有很多伟大的球员，他们有一个较长的传统教学和他们有更完善的教学系统，这就是为什么他们能产生如此多的好球员。我想，我个人觉得吉他教学系统仍然是发展中国家，我们没有这样的传统。作为一个初学者，它有正确的方法是非常重要的，你的技术。这是非常重要的，对大人或小孩，这是非常重要的。我真的认为一个好老师，对初学者来说是很重要的。
But I do want to say something to more advanced students – I just feel that lots of guitarists, guitar students, or maybe amateurs, tend to focus on the guitar world. Maybe they play the guitar because simply they love the instrument, which is no problem at all, nothing wrong with that. But I just feel that they’re more fanatic about the instrument. I hope that they can put themselves in the sea of music. Myself I love guitar as an instrument, but I think of guitar just as a method, just as a medium, of music. It’s a media to express music and I like to think about music more than about the instrument. I think that for more advance students, if they want to be a musician, to make a career, I think it’s quite important to put yourself in the sea of music and think more generally about music, rather than just guitar.
但我想说的东西更先进的学生–我只是觉得很多吉他手，吉他的学生，或是业余的，往往把重点放在吉他世界。也许他们弹吉他，因为他们爱的工具，这是没有问题的，没问题。但我觉得他们对仪器更狂热的。我希望他们能把自己在音乐的海洋。作为一种工具，我爱我的吉他，但是我认为吉他只是作为一种方法，只是作为一种媒介，音乐。这是一个媒体表达的音乐，我喜欢思考的音乐超过仪器。我认为，更先进的学生，如果他们想成为一个音乐家，做一个职业生涯，我觉得自己放在音乐的海洋是非常重要的，考虑更一般的音乐，而不是吉他。
Since I moved to London I play concerto a lot, I play chamber music a lot, and this has helped me immensely! Musically and technically too. Musically, you know, if you just play solo guitar, which is a beautiful instrument, there is a great limitation. But if you play chamber music, or you listen to an orchestra the music becomes richer, so much more possibility. If you’re soaked in that music and you’re forced to do more on your instrument, do more musically, that forces you to push your technique. It forces you to do the things that you want. So I really feel that the technique improves, in the more advanced stage, when you want to play more music.
自从我搬到伦敦，我演奏协奏曲很多，我演奏室内音乐很多，这使我非常！音乐上和技术上的太。音乐，你知道，如果你只是玩玩吉他独奏，这是一个美丽的乐器，一个存在很大的局限性。但如果你演奏室内乐，或者你听一个管弦乐队的音乐变得更丰富，更多的可能性。如果你浸泡在音乐和你被迫做更多你的乐器，做更多的音乐，让你把你的技术。它迫使你去做你想要的东西。所以我真的觉得技术的改进，在更先进的阶段，当你想玩音乐。
无花无香 发表于 2014-12-20 10:49
@夜总汇 咱们自己试着自己翻译看哈，有不对的地方只能一带而过了！
与古典吉他演奏家杨雪霏访谈
谢谢妹子翻译，现在我越来越怀疑自己的智商有问题，英文看不懂也就罢了，咋中文也看不懂了？ WHW7777 发表于 2014-12-20 19:05
谢谢妹子翻译，现在我越来越怀疑自己的智商有问题，英文看不懂也就罢了，咋中文也看不懂了？ ...
大概知道点内容就够了，全懂不容易。 无花无香 发表于 2014-12-20 10:49
@夜总汇 咱们自己试着自己翻译看哈，有不对的地方只能一带而过了！
哇！啊！妹纸还有这能耐，失敬失敬，太佩服了！
整篇的翻译，妹纸辛苦了，起码我基本大概的看懂了采访的内容，原以为只有您熊哥那歪果仁能干这活呢，现在对妹纸肃然起敬，以后您就是俺滴偶像了，再次感谢妹纸！
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