[转贴]吉他大师朱利安·布里姆访谈录
吉他大师朱利安·布里姆访谈录http://www.beethoven9.com/images/bream/bream.jpg
尼克·摩根
英国吉他演奏家朱利安·布里姆的艺术，已经通过唱片和电视广播节目被人们所了解。但是，他在BBC电台的大量广播录音长时间没有出版唱片。现在，布里姆结束了55年音乐会生涯，得以有时间挑选他在BBC档案库中的重要录音来进行出版。
布里姆同样开始撰写回忆录，并协助制作了一部精彩的传记DVD，由保罗·巴尔墨指导。在这个全面的介绍布里姆艺术历程的片子里，布里姆以独特的语气对过去生活进行了生动的回忆。
布里姆1933年出生在BATTERSEA，先是由他的父亲教他弹吉他，然后他进入伦敦皇家音乐学院学习，但不是学吉他专业——当时这种乐器还不被学院所接受。毕业后，凭着执著的心，他开始了职业演出生涯，直到 2002年5月他正式退休。布里姆因为很多委托创作和对古典曲目的挖掘，大大丰富了吉他曲目，并把失传许久的鲁特琴介绍给现代听众。
退休后的布里姆已经离开了众人注目的中心，开始在家乡享受生活。2004年夏天，他接受了笔者的采访。
摩根：BBC（英国广播公司）在你的职业生涯中占据什么位置？
布里姆：一个很重要的角色。事实上，BBC是我年轻时代的第一个雇主。当时演奏古典吉他很难谋生，因为没有一个英国人以演奏吉他为职业。有的人可能听过塞格维亚，但他是西班牙人，他弹吉他在人们心目中是很自然的事情。
以弹吉他谋取一个职业在当时的英国几乎不可能的，但是BBC雇佣了我。他们有3 套节目——家庭频道、轻松频道和第三频道。轻松频道有一个音乐家的花名册，这些音乐家演奏的多数是南美洲的阿帕西音乐。乐队由手风琴、单簧管和长笛组成，还与钢琴、吉他和铜管组成六重奏组。在这期间，他们让我演出独奏曲目，我经常弹阿尔贝尼兹、格兰纳多斯、还有索尔和图里纳的作品——都是古典的。
乐队演奏轻音乐，与我的独奏也很和谐。我总有这种感觉，就是严肃音乐是很容易被接受的，即使在一个轻松的、娱乐性的音乐环境中。这样，我逐渐地有了些名气，因为在那些时间里，我在电台演出的节目，可能有6、7百万人可能听到！接着，我得到了举行演奏会的机会，在家庭频道播出。当BBC第三频道开始广播，电台突然对早期音乐表现出很大兴趣。那些日子我还没有鲁特琴，但我在吉他上演奏了一些鲁特琴作品。我清楚地记得，有一天，我的琴声同时出现在BBC的三个频道。
摩；现在回来听这些尘封多年的磁带，有什么感受？
布：我认为它们拥有我的商业录音里所缺乏的某种自然的东西。早期广播演出实际上都是实况：录音室的红灯亮起来，你就开始演奏，一气呵成。制作商业录音是另外一种情况，你所着手做的是尽量地完美，尤其是技术方面，如果有一点小小的错误，那并不意味着灾难。
摩：你在进行商业录音的时候经常有被强迫的感觉吗？
布：是的。这就是为什么我的制作人很重要的原因，如果我感觉强迫，他就要去协调各个部门，让我以轻松自然的心情进行录音。
摩：在你职业生涯的开端和后期，你两次录制过巴赫的夏空舞曲（根据D小调无伴奏小提琴帕蒂塔改编）的商业录音。手头这个为BBC第三套节目制作的录音室录音应该占据什么位置？
布；这应该算是中期的录音——我从1957年以后很长时间没有录过夏空。我把这个作品当作广播的特殊节目来对待，我的目标是做出一点特殊而且严肃的东西。夏空是迷人的，我对它的理解总在变化中。早期的录音（1957年WESTMISTER出品）里，有些东西处于萌芽状态。生活让我我对作品更深的体会。那次广播演出是一个传统性的表演。90年代我做了夏空的最后一次商业录音，是为EMI公司制作的，那时我拥有了在夏空中想说的大多数东西。这是一个很伟大的作品，有很多问题你需要解决。吉他的分句不是很容易，常规的做法有时行不通，因为，从你拨弄琴弦的那一刻开始，声音就开始衰退，你面对很多的寂静。这些寂静，它们之间的关联，有着自身的诗意。有些你需要弄得稍稍长一点，有时需要缩短一些。你必须有一个整体的概念，我个人感觉很兴奋，很高兴去克服那些困难，达到一种诗意的效果。
摩：据说你演奏巴赫使用的吉他，是用老式的设计图样制作的。
布：我总是喜欢老式吉他。19世纪晚期的吉他，制作很简洁的，它们有一种现代吉他却缺乏的特质。不是因为年代的原因，只是因为设计。吉他是一种很安静，很个性化的乐器，在过去三、四十年中，演奏者越来越喜欢声音效果辉煌的乐器。吉他制作者把这一点发展到极至。但是这样做，失去了吉他本身的某种特点。当你演奏老式的吉他，有一些音符不是很强壮，你必须利用左手的压力，或者一点颤音，或者你在一个不同的琴弦部位去拨弄它——这些都是只可意会，不可言传的方法，你需要对这些东西获得某种直觉。但是，另一方面，现在乐器很容易被演奏，我觉得这就是生活：人们喜欢很好的技术，这没有什么不对的！
摩：你曾经多次参加爱丁堡音乐节，这张唱片里有你在那儿演奏的索尔的变奏曲，这首曲子是根据莫扎特《魔笛》中第一幕里的唱段改编的。
布：《魔笛》非常可爱，索尔把其中的几首咏叹调改编成了吉他曲。这首变奏曲是一个端庄的吉他经典，分句很优雅，有一些哀婉的瞬间，和很多的细致而且迷人的段落，没有过分的夸张，是纯正的莫扎特风格，也是索尔谱写的最好的音乐。
索尔的奏鸣曲（1982年录制于爱丁堡音乐节）与图里纳的小奏鸣曲（1956年的录音室录音）相比，属于一个不同的世界，好象是另外一个人在演奏。我是一个爱冲动的演奏者，在制作这个录音的时候，感觉相当新鲜。事实上，演出是在一种自然状态中，这是在那些日子里经常的演奏方式。我最近重温了图里纳的小奏鸣曲，这是一个超一流的作品，经过这么多年，我发现了新演奏方式，在某种程度上更加有说服力，它来自我这些年的经历。
摩：你演奏图里纳时所使用的乐器是你的一个朋友海科特·奎因制作的，他是一个业余的制作者，还当过伦敦皇家音乐学院的吉他教授。
布：奎因在自己卧室的桌子上做了这把吉他，琴声很象铃铛，我当时很喜欢。它与我用的其他的吉他很不同，但我也不是经常使用它。我感觉在那些日子里，在英国很难找到一把称心的好吉他。
摩：这张唱片中最具有历史价值的录音应该是蒂佩特的《蓝色吉他》。（作曲家根据瓦雷斯·斯蒂芬斯（WALLACE STEVENS）的同名诗歌创作了这部作品。它于1983年11月在美国加州首演，该作品题赠给了1982年因为小船事故而去世的美国指挥家CALVIN SIMMONS）但你从来没有录制过《蓝色吉他》的商业录音？
布：当我开始表演它的时候，我的录音公司RCA，正在接收的谈判中，所以很难让公司接受一个现代派的新作品。当时，另外一个吉他手科扎（ELIFTHERIA KOTZIA）录制了它——也是很好的录音。因为我经常演奏新作品，当时我把它放一段时间，然后再重新学习它。除了蒂佩特的《蓝色吉他》，还有理查德·罗尼·本内特（RICHARD RODNEY BENNETT）的奏鸣曲，同样是客观原因，让我没有机会制作唱片。
摩：但是这里，有你对《蓝色吉他》进行的世界首次广播的录音，是在BBC的管弦乐录音室没有观众的情况下录制的，同时本内特的奏鸣曲也在等待发行，你的传记DVD也有这个曲子的片段。
布：我对此很高兴，我认为本内特的奏鸣曲很优秀，非常适合吉他演奏，所幸录音没有丢失，蒂佩特的也没有丢。
摩：委托创作是你扩大自己演出曲目的一种方式，另外的方式就是改编。说到后者，没有比你改编的舒伯特G小调四重奏更成功的了，这个作品好象也没有制作商业录音。
布：我发现改编一首曲子感觉很刺激。某个作品我一辈子都在琢磨如何改编，我一次一次试验，做些小的调整。改编舒伯特四重奏的想法是在我快20岁的时候，那是一个星期天的下午，我走过威格摩尔音乐厅，看到那里有一场阿玛迪乌斯四重奏团的音乐会。我买了票进去，听到了G小调四重奏，我边听边想，这里的声音两把吉他演奏起来会很好！很多年以后，我弄到了它的录音，自信它可以用两把吉他演奏，但是需要花时间改写。我的目标是树立两个平等的吉他声部——这本身就很有乐趣，很刺激。
后来很长时间我没有着手做这个事情，直到我50岁生日的时候。我预定在威格摩尔音乐厅举行一场音乐会，邀请几个朋友参加。其中有约翰·威廉姆斯。我感觉，我们不能一起演奏老曲子，必须弄点新东西——特殊的东西。于是，我想起了舒伯特的四重奏——它总是萦绕在我的脑子里！我在澳大利亚和新西兰旅行演出，回英国的路上我着手改编，让人心烦长途旅行变成了创作之旅。
整个晚上，我都在工作，手稿放得到处都是，旁边的乘客不知道我在做什么。你知道吗？我完全拆卸这个四重奏，把它重新组合在一起。我在非常高兴飞机在伦敦着陆前，我完成了它。约翰和我试奏后，效果很好。我50岁生日的音乐会有了一首非常特殊的新作品。
摩：你和约翰·的曾多次合作。
布：我们的组合很简单，彼此互相适应。这一点不总是容易，但是我们之间真的产生了一种创造力，这很难得。我们不是一个二重奏小组，我们是走到一起的两个演奏家，一起制作音乐。威廉姆斯和我不是简单地让两件乐器合在一起，实际上我们都用各自的风格演奏，知道如何合并这两种风格，制作出一个让人激动的复合整体。（王崇刚编译）
http://www.beethoven9.com/fangtan.htm
[ Last edited by wangjianguo on 2005-9-18 at 09:28 ] 顶好好！！！！
DVD内容：
--T 1333
Bach
Partita No.2 in D minor, BWV1004 ­ Chaconne
Sor
Introduction and Variations on Mozart's 'O cara armonia', Op.9
Turina
Sonata, Op.61
Tippett
The Blue Guitar
Schubert (arr. Bream)
Duo in A (String Quartet No.9 in G minor, D.173)
with John Williams
[ Last edited by wangjianguo on 2005-9-18 at 21:20 ] 又是个了解大师的好资料，不知道英文原版在哪。 很可惜，退休了出DVD，往日风采不在。
约翰-威廉斯也是一样的，碟鼎盛时期过了再出碟，就变成回忆录了！ 是个了解大师的好资料 GOD，终于找到这篇翻译的原文了。
http://www.testament.uk.com/Notes/--T1333note.pdf
[ Last edited by wangjianguo on 2005-9-18 at 20:50 ] 注意上面的地址中，“--”处应为--，不知道为什么一发贴就变成“--”。 原文导出来为：
TESTAMENTbooklet note
English
--T 1333
An Interview with Julian Bream by Nick Morgan
The artistry of Britain’s first and foremost classical guitarist has been documented on dozens of LPs and CDs, television and radio programmes – but never before have any of Julian Bream’s many BBC broadcasts been commercially available. Now retired from the rigours of concert-giving, after 55 busy years, Bream has had the time to pick the most important of his BBC archive treasures for this release.
He has also started writing his memoirs and collaborated on a marvellous DVD biography, directed by Paul Balmer for Music on Earth Productions (www.musiconearth.co.uk). This self-portrait, comprehensive, lavishly illustrated and engaging, demands to be seen: Bream’s lively reminiscences are delivered to camera in his inimitable manner,bluff, droll but vivid and pointed (and garnished with mouth-watering extras, of which more below).
Until you see it, some bare facts from Bream’s life: born in Battersea in 1933, Julian was first taught the guitar by his father, studied at London’s Royal College of Music – but not the guitar, which wasn’t taught there – and then, with single-minded determination, embarked on a career unprecedented in British music, which only ended in May 2002, with his retirement. Bream has enriched the guitar’s repertoire with many commissions and rediscoveries, though without this release and Balmer’s DVD, two of his most important BBC recordings might have been lost. Bream also brought the lute back before the public, probably the widest it’s ever enjoyed in this country, and helped revive Elizabethan and Jacobean consort music. After a serious health scare, from which Bream has recovered,
thanks to daily walks on the Dorset downs with his flat-coated retriever, Django, he is enjoying life out of the limelight in his country home of forty years; and there, last summer, he shared his memories of nearly half a century of broadcasting.
What role did the BBC play in your career?
‘A very strong one. They were in fact my first real employers in my youth. It was very hard to make a living playing the classical guitar, because nobody had heard one – some people had heard of Segovia but he was a Spaniard and they considered it a natural thing for him to do, as a Spaniard, to play the guitar. To make a career, for myself, was almost impossible. But the BBC employed me in all sorts of ways. They had three networks, the Home, the Light and the Third, and for the Light Programme they had a roster of musicians that they employed full time to play light music – mostly South American apache music! The band consisted of an accordion, clarinet and flute, plus a little string sextet, piano, guitar and bass. And, in between, they employed me, playing solos, and I used to play quite often – pieces by Albéniz, Granados, perhaps a bit of Sor and Turina – it was always classical, whereas the band around me was playing light music, but somehow it fitted in and it was all part of my feeling that serious music is quite acceptable even when you’ve got light, entertaining music around it. In fact, it adds another musical dimension to the programme.
And that’s how my name gradually became known, because in those days you’d do a broadcast on the radio and six to seven million people might well hear it – tremendous! And then I would get the odd little recital on the Home Service; and when the Third Programme started up, there was suddenly a great interest in early music. I didn’t have a lute in those days but I played lute pieces on the guitar until I eventually acquired a lute. On one day, I well remember, I played on all three networks!’
How did you feel coming back to tapes you presumably hadn’t heard for years?
‘I thought they had a quality that some of my commercial recordings didn’t have – a certain spontaneity. Quite often – though not all the time – the early stuff was done live: the old red light went on and you were on! And when you pre-recorded, what you wanted to get down was the essence of the performance – as perfectly, technically speaking, as you could – but it was the musical essence which was the first priority and if there was a slight flaw, that wasn’t necessarily a disaster. Whereas it is – or it can be – very annoying if it’s on a commercial recording, I think that’s the difference.’
You used to find that quite constraining in commercial sessions?
‘Yes I did, I did. And that’s why my producer was so important; if I was being constrained, he would jolly well tell me! And I’d go back to square one.’
So it’s good to have this record of your less constrained self?
‘Yes, because a performance is a performance, it’s your thoughts on that work at that time in your life – and also, playing on different guitars, in different recording studios, it becomes a kaleidoscope of your work.’
You’ve recorded the Chaconne from Bach’s D minor Partita for solo violin twice, commercially, at either end of your career – where does this BBC studio recording, made for Radio Three’s series The Classical Guitar , fit in?
‘It’s the middle years – I hadn’t made a commercial recording of the Chaconne since 1957. So I burnished it up specially for that programme – my aim was to do something for that programme that was special and serious. It’s fascinating because your ideas do change but, even in the very early recording I made [ for Westminster] in 1957, somehow it’s all there – in embryo. What life has done in the years since is given me further insights and those insights largely develop with experience. That performance is a transitional performance, some way to where I think I got it in the 1990s, in the last commercial recording [ for EMI] – that has most of the things that I’d wanted to say in the Chaconne.
It’s such a great piece and there are many problems that you have to solve, some specific to the guitar and some specific to the music. Phrasing on the guitar is not always as easy or as conventional as you may think because, from the moment that the string is plucked, the sound decays and you are faced with a lot of silences. And those silences, the relationships between them, have their own poetry – some you make a little longer, some you play absolutely accurately, some you may shorten a bit. So you have a whole set of problems most other musicians don’t have to grapple with but which I personally find very exciting, very stimulating to solve and bring to a poetic conclusion.’
The instrument Bream plays the Bach on was made to an old design in a workshop near his home, where he gave young and unknown makers a chance to perfect their craft: ‘I’ve always liked old-fashioned guitars, late-19th Century ones, very lightly built – they have a soul that most modern guitars don’t have. It’s not because of the age, it’s simply the design. The guitar is a very quiet, intimate instrument and, over the past thirty to forty years, players have demanded a louder, more brilliant instrument. The guitar makers have complied to some extent but, in doing so, I think they’ve lost a certain quality which is the guitar – admittedly, with faults. The old-fashioned instruments aren’t even – some notes are better than others (that happens on many instruments actually) – but a lot of younger guitarists are irritated by that, they want them all to be equal. If they are all the same, you arrive, really, at a very bland response from the instrument, certainly not very exciting. When you play an oldfashioned guitar, which has a few notes that aren’t so strong, you have to use a little more left hand pressure and perhaps a little extra vibrato or you pluck it at a different part of the string – there are all sorts of ways of doing things which you cannot teach, you’ve got to have an instinct for these things. But, on the other hand, the modern instruments are very much easier to play and I suppose that’s life: people like good technology and there’s nothing wrong with that!’
One of your many visits to the Edinburgh Festival is commmemorated in Fernando Sor’s Variations on what is always billed as Mozart’s ‘O 2 cara armonia’ but is in fact ‘Das klingt so herrlich’, the song for Monostatos and the slaves in the Act 1 finale of The Magic Flute , sung as Papageno’s bells are working their spell.
‘Sor obviously loved The Magic Flute and he made a number of arrangements of other airs from it. He also liked variation form very much. And, as a set of variations, I believe it to be a modest masterpiece for the guitar, because the instrumental ideas are very original and, for their time, highly developed. The proportions of these variations and of the phrases are very elegant; there are moments of pathos but there’s a lot of very subtle and charming variation within the variations and nothing’s overstated – it’s very Mozartian in that way, it’s note-perfect and it’s also one of the finest
compositions Sor wrote.
‘Now, when you go from the Sor [ recorded at the Edinburgh Festival in 1982] to the Sonatina by Turina - [ a 1956 studio recording] – it’s a different world, as if another person were playing. I was a very impetuous performer when I made that recording but it’s rather refreshing, it had an immediacy which I lost, to some extent, as I got older. It has its blemishes but that, I think, is overridden by the fact that there’s something very spontaneous about the performance and that’s how I used to play in those days. I’ve been re-studying the Sonatina, recently, and it’s an extraordinary thing, that after all these years, I’ve found new ways of doing things and, actually, the way I’d do it now, I think, is to some extent more convincing – but it’s taken all those years of experience to know instinctively what to do.’
The instrument Bream plays the Turina on was ‘made by a friend of mine, Hector Quine, who was an amateur maker, eventually Professor of Guitar at the Royal Academy of Music in London – he built it on his bedroom table! It had a certain bell like quality that I liked at that time. I didn’t play it for very long but it was different from any other guitar that I played. You see, in those days, certainly in England, it was very hard to find a really good guitar.’
Perhaps the most historic document on this CD is Sir Michael Tippett’s The Blue Guitar - , the composer’s response both to a poemof the same name by Wallace Stevens and to the famous painting by Picasso which inspired Wallace, The Man with the Blue Guitar , whose essence is contained in the first stanza:
The man bent over his guitar
A shearsman of sorts. The day was green.
They said, ‘You have a blue guitar,
You do not play things as they are.’
The man replied, ‘Things as they are
Are changed upon the blue guitar.’
Tippett’s only composition for solo guitar was written at Julian Bream’s instigation and with his advice, though it was commissioned by the Ambassador International Cultural Foundation in Pasadena, California, where it was first played by Bream on 9 November, 1983. It is dedicated to the American conductor Calvin Simmons (1950-1982) who died in a boating accident. Tippett was essentially stimulated by three moods or gestures which he used as the titles for the movements:
Transforming: ‘Being the lion in the lute
Before the lion locked in stone.’
Dreaming: ‘Morning is not sun,
It is this posture of the nerves.’
Juggling: ‘The old fantoche
Hanging his shawl upon the wind.’
‘Originally, the piece ended with Dreaming. Then the composer and myself had second thoughts on the movement order and Jugglingbecame the last movement [ and is played last here]. Much later Tippett had third thoughts and he decided to come back to the original scheme.’
You never recorded The Blue Guitar commercially?
‘At the time I was performing it, my recording company, RCA, was in the middle of negotiations for a take-over bid, so it was very difficult to get them to accept a new, contemporary piece. And then another guitarist recorded it, Eleftheria Kotzia – quite a good recording too, as a matter of fact! – and then another [ Norbert Kraft] and I thought, well that’s fine, it’s been recorded. Then I went off the boil; as I often do with a new work, I’d play it like mad and then I’d let it rest and then I’d re-study it, perhaps a few
years later. And so there was the Tippett as well as the Richard Rodney Bennett Sonata, which circumstances also prevented me from recording commercially – they’re the two performances that would have been, as it were, lost in the cracks.’
But here, at last, is your world première broadcast of The Blue Guitar – recorded without an audience in the BBC’s large orchestral studio in Maida Vale – while Bennett’s Sonata has also been restored to circulation, by Music on Earth Productions, as a sound-only bonus track on your DVDbiography: ‘I’m very pleased about that because I think the Bennett Sonata is a very fine piece and fantastically well written for the instrument, so that recording hasn’t got lost. And the Tippett’s not lost either, so I’m delighted that these two fine works are now available, performed by their dedicatee.’
Commissions were one way in which you enlarged the guitar’s repertoire and scope; another was transcriptions and arrangements.
Among the latter, there can’t be many as substantial or as long in the making as your reworking of Schubert’s Quartet in G minor D.173 - – again, never recorded commercially.
‘Transcriptions? I find them very stimulating. And certain pieces have been ongoing transcriptions throughout my life, I come back to them from time to time and make minor adjustments. But the reason why I did the Schubert was, in my late teens, I was walking down London’s Wigmore Street one Sunday afternoon, past the Wigmore Hall, and I saw there was a concert by the Amadeus Quartet. So I just got a ticket and went in, and I heard this little G minor Quartet [ transposed, here, into A minor] and then I thought, “Yes, that would sound quite good on two guitars!” Many years later I bought a record of it and I was convinced it would sound very well on
two guitars but it was trying to find the time to do this. Because what I
wanted to do was to make two equal guitar parts – and that was in itself
fun to do, stimulating.
‘And so I didn’t think about it any more until, for my fiftieth birthday I booked the Wigmore Hall for a concert and I asked several friends to take part. Amongst others I asked John Williams and he agreed and I felt, well, we can’t just play a bit of our old repertoire, we must have something new, something special. And then I remembered the Schubert quartet – it had always been in the back of my mind, like certain composers, who have ideas and then use them about ten years later! I was going off on a long tour of Australia & New Zealand just before and I had a brainwave. The flights are so long between London and Sydney, not to mention New Zealand – and on the way back too – that it occurred to me I could use all that time to do this transcription. So that’s what I did. I really enjoyed it, I was so bored normally during these terribly long flights. All through the night I wasworking away and loving it: there I was, manuscript paper all over the place, the passengers couldn’t believe what was going on. D’you know, I completely dismantled that quartet and put it together again and, amazingly, I finished it just as the aircraft touched down in London on my way back! John and I tried it out and it seemed to be very effective, so we performed it at my fiftieth birthday concert.’
How does the chemistry with John Williams work?
‘The chemistry works simply, inasmuch as we both adapt to each other. It’s not always easy but it does create a certain creative tension which is rather exciting. We were not a duo, we were two players who came together to make music which, in some ways, is much the best thing because, instead of
trying to bring the two instruments together in a blandly unified way, we actually played in our own styles. But we had enough musicianship and savvy to be able to amalgamate these two styles, so that they made anexciting composite whole.’
But in this Schubert, tension isn’t really the name of the game?
‘Sometimes it is in a way, particularly in the third and fourth movements,
there’s a lot of toing and froing between the instruments, a sort of cros--anter, which is rather exciting. The first two movements are more eloquent, of course. It was the last recording we ever made, so it has a little significance because of that too.’
This is the only piece in this release recorded in Bream’s favourite studio, a remarkable neo-Classical Roman Catholic chapel at Wardour Castle in Wiltshire, near his house: ‘I hated recording in New York. RCA had studios down on East 23rd Street and they weren’t bad at all, but I found the atmosphere in New York too electric. But I then managed to persuade them to let me make my records here, where I wanted to make them, and that’s when I got my team together, just three of us: my great producer, Jimmy Burnett, and wonderful engineer, John Bower, and I also had the beautiful chapel just two miles from here, so it was a perfect arrangement – and RCA agreed to that.’
Nick Morgan, 2005
[ Last edited by wangjianguo on 2005-9-18 at 21:06 ] 把商业与音乐结合得最出色的吉他演奏家…… 电驴上好像有大师的全集啊，感兴趣的可以去看看！古典吉他真是太令人着迷了！
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