2003年7月“古典吉他”杂志对杨雪菲的音乐会评论

wangjianguo

（转自杨雪菲网站）
Review from “Classical Guitar” July 2003
Xuefei Yang
Bolivar Hall, London
28 March 2003

Xuefei Yang’s concert was the last of the Bolivar Hall Guitar Series and her playing was very, very impressive. The hall was over-full so obviously her reputation is very good in London.  She threw caution into the wind as she began this solo recital. She burst forth with a very energetic opening in the Walton Five Bagatelles and showed her ability to maintain technical control and use it for expressive ends.  Some more hesitant performers might have placed a less difficult piece to start but she is young and bold and not afraid of performance; or so she appears on stage.

        The British composer Tim Salter wrote Equipoise for Xuefei Yang when she performed in the Park Lane Group Young Artist Series at the Purcell Room in January.  She premiered it here and received much success with the piece from the general music critics who attended the concert.  The piece is virtuosic and gives her the opportunity to display her superior technique and her enormous dynamic range.  The concept of expressing balance and counter-balance was her idea and then Salter has balanced delicacy of line with powerful explosions of notes.

        The opening of Mallorca by Albeniz was nicely understated and quietly dramatic by then built to a magnificent climax.  It was a beautifully crafted interpretation and she had a really sweet tone in the quieter melodic passages.  Xuefei Yang’s playing is rich in interpretative ideas and her choice in interpretation is completely convincing.

        Bird Bridge by Carlo Domeniconi cleverly imitates the timbres of Chinese plucked instruments in its long epic tale based on a Chinese myth about a bird goddess who falls in love with a human, but is forbidden that they should be together.  They are able to meet only on one day each year on the 7th of July.  Bird Bridge, which was written for Xuefei Yang, has all the outward appearance of Chinese music but less of the music expressive of that idiom.

        The flood gates were broken by Xuefei Yang in her interpretation of Sonata Op.47 by Ginastera which requires a lot of percussive hitting of the guitar.  Not even fear of damaging her guitar seemed to stop her expressing herself.  After the first few hits I realized with great relief, that her Smallman guitar had been substituted for another before this final piece.  She still had a very big sound on this guitar, so cynics could see that it wasn’t the Smallman that was doing the work for her.

Therese Wassily Saba

2003年3月28日伦敦玻利维音乐厅的杨雪霏吉他独奏音乐会

　　杨雪霏的音乐会是玻利维音乐厅吉他系列中的压轴，她的演出是非常，非常的感人。

　　音乐厅是完全爆满，显以易见她在伦敦的声望是非常好，音乐会一开始她已让大家非常专注，以演奏得充满活力，禾顿的5首小品开始，展现出她的能力可以把技巧完全用于表达音乐，一般演奏者会以一些没有那么高难度的音乐来开场，但她年轻而自信，无惧于此安排。

　　英国作曲家添索特的〝平衡〞，是为杨雪霏的〝帕宁集团年青艺术家〞一月份的普赛音乐厅演奏会系列而委约创作，她的首演非常成功，获得主流音乐圈的高度赞誉，这是一首超技乐曲，提供了一个机会让杨雪霏展现她出类拔萃的超群技巧和异常巨大的动态，索特以优美旋律混合具爆炸力的音符，由杨表达出平衡与反平衡的概念。

　　马约加以一个巧妙的轻描淡写开始，不知不觉间戏剧性的发展至一个壮丽的高潮，这演绎安排太棒了，她的音色在那些安静旋律的段落时尤其甜美，杨雪霏的演奏充满想象力，而她选择的演绎方式亦完全让人信服。

由多鸣尼康尼所创作的鹊桥，巧妙地模仿中国拨弦乐器的声音，创作是基于一个古老的中国神话传说，一个仙女违反禁令爱上一个凡人，这是不被允许的，结果他们只能在每年7月7日的当天会面，此曲充满中国音乐的外在原素，但较少在中国音乐的表达形式上着墨。

在演绎坚德士泰拉的奏鸣曲47号时，杨雪霏像把一度防洪闸打开，这乐曲需要在吉他上做出很多打击效果，即使可能损毁吉他，仍然不足以阻止她尽情表达，但很快我便放下心来，因我已发现她在演奏此曲之前，已把她的史摩曼吉他换了另一把吉他，但她仍然能奏出很大的音量，那些吹毛求疵的人从中可以知道，她出色的演奏并不是因为史摩曼吉他。

铃妹

晕，那英文放下面不行啊。
你爱吉它多长历史了，想知道哎。