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发表于 2006-7-26 00:56:52
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(continued)
From the first time, while playing for him, I felt so at ease as, perhaps, never before. Segovia in fact, first of all, called our attention to a great respect for the music we were playing and “respect” meant but a punctilious attention to the musical text, and, at the same time, an attempt of idetifying with its meaning (“interpretation” -- he said once -- “is a synthesis in continuous expansion”) in order to make playing a “convincing” fact: He, moreover, called to our mind the condition which made all this possible: the presence in each performer of that “sacred fire” which no teacher can replace; “that love, without which -- he told us -- a performer may be perfect, but nothing else...”.
So, while Segovia was implacable in pointing out our oversights, our irrational interpretative choices and the pursuit of effects ends in themselves, he was likewise ready to bring out the interpretative discoveries of each of us. Segovia, so brilliantly personal in his performances, did not try to induce us to imitate him, but helped each of us to develop his own musical personality fully, by putting all his heritage of experience, knowledge, taste at our disposal. He introduced us through the living and present example of his artistic personality (with his temper and preferences) into a human and artistic learning which rose above any particular “version”. So, working on a certain kind of repertoire (through the encounter of a definite “poetics” ) what was handed down to us had a stable and permanent value, surpassing any particular age and mentality. Segovia transmitted us, what, in his own, he had learnt (“what one must do, and what one must not” he used to say). So he gave us a sure reference point (that was the very thing I was looking for !...) we could build on, free to use any further contribution of knowledge and methodological innovations (for instance the analytic work Oscar Ghiglia had developed or the fascinating guitaristic translation of the South American world that Alirio Diaz had invented).
In my opinion, Segovia's teaching method was ingenious too, as it was based upon the proposal of identifying, of getting involved with the thorough criteria of his human and artistic attitude. All that happened more because an osmosis, provoked by living with him, rather than by mere communication of theoretic speeches (It could happen that people coming to the course only motivated by the curiosity of listening to speeches were disappointed and went back home telling “Segovia doesn't teach anything” ). For the above said reason the exterior form of the lesson had a careful direction where all the details had the function of setting up an atmosphere suitable for such osmosis process, to start from punctuality to order, to the seat disposition, to silence.
Segovia used to listen to us very carefully, then he made his remarks; he liked better (instead of analytic dissertations) to take as a starting point a particular of the performance he had just listened to (sometimes a particular which could seem insignificant); then he intervened whith short, concise and enlightening remarks. He often helped himself with aphorisms, anecdotes, and also autobiographic examples. Maestro Segovia, who was generally good-natured, got angry (and he knew also how to be caustic), when he faced wrong ideas which required more determined means of correction. In doing so he probably ran the risk of producing some momentary resentment (It was up to the student to decide whether to be more worried of self than of something greater).
Under the circumstances the “sacred fire” Segovia used to speak of, was besides in him, and also this evidence was a teaching. Then, at the end of the course he recuperated everything by saying kind-heartedly: “I noticed you were not convinced of some of the things I told you, but do not worry: when you are older you will understand I was right...”.
The systematic request Segovia used to make us that we should play more slowly, was, for instance, more effective than so many words (“Even before you start playing, I would like to tell you: more slowly !...”) and this helped us not force our performance (feeling anxiety for adjusting to so-called standard parameters) not to lose that control which makes playing expressive (“It is necessary to intervene on the piece without stopping it”).
So at the end of the course when we hed noticed the verificable results of this osmosis process, he said: “Now it would be the moment to start working together...”.
The relationship with Segovia has meant for me an explicit, and in a certain way definitive confirmation of what I had already perceived and experienced (more or less clearly) also through all my other teachers: there is a tradition of art, of culture and civilization, that like a great flow reaches us from the past; there is a taste (I mean the capability of seizing human and artistic values) it is possible to learn: on the whole, Segovia's artistic greatness really consists in his direct joining with the western tradition of great music, not resigning himself to the marginal role for which the guitar seemed irreparably to be confined, and, by everybody's leave, not even very important guitarists had succeded in letting it out (I refer to Miguel Llobet, to Agustin Barrios, and to Francisco Tárrega, whose tradition even Segovia said he was a follower). “We must think more of music than of the guitar” he used to repeat, and really this was not a mere way of saying.
Inside this great tradition I have recognized the same evidence of a last positiveness I had perceived when a child, and then, luckily found again later on. Without this last positiveness, the same creative action of writing music, and that challenge about the possibility of communicating (that is musical interpretation) would lose their meaning, and, in the long run, could not exist.
The responsability I feel today of going on with my work as a performer consists in continuing proposing this tradition, this flow that even now bears new fruits (for example in so many composers I luckily collaborate with on the birth of new guitar music). |
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发表于 2006-7-26 00:55:50
