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  • When Gustav Mahler was still alive in the early 1900s, you see these caricatures of him and it's crazy gestures his arms are up, he's jumping up and down on the podium, extremely large gestures.

    在 20 世紀早期,古斯塔夫.馬勒還在世時,看看這些諷刺畫,描繪他誇張的肢體動作。他舉起雙手,在指揮臺上跳上跳下,動作非常大。

  • At the same time Richard Strauss another composer living in the same city basically was conducting his own music like this.

    與此同時,另一位和他住在同一個城市,也是指揮家的理查.史特勞斯,卻是用另一種方法表現他的音樂,就像這樣。

  • You know, barely moving and if you think this is a quiet part in his music you're wrong.

    他的手幾乎不怎麼移動。但如果你覺得這是音樂中較安靜的片段,那你就錯了。

  • He thought the role of a conductor was to organize the music and keep everything calm.

    他認為,指揮家的角色就是組織音樂,並且讓一切井然有序。

  • Our biggest job as a conductor is to do justice to the composer.

    身為指揮家,最大的責任就是合理詮釋作曲者的創作。

  • My name is James Gaffigan.

    我的名字是詹姆士.加菲根。

  • I am a conductor.

    我是一位指揮家。

  • What the public needs to understand about conducting is it's an anticipatory art, so what we do takes place before the music happens.

    大家需要知道,指揮是一門時間的藝術,所以我們的手勢會在音樂之前出現。

  • Rhythmic hand goes up before the music starts and this hand will give a gesture before that sound.

    負責打拍子的右手,在下拍子前會先抬起,在第一個音出現之前,會給出預備的手勢。

  • I've always found it strange to hold a baton and it's a very strange thing, because why why is it there in the first place?

    我一直覺得拿指揮棒很怪,而指揮棒本身也非常奇怪,為什麼它會在你整隻手臂的最前端?

  • But the fact of the matter is is it is an extension of your arm.

    但事實上,指揮棒是手臂的延伸。

  • If you just make a gesture like this, you just need to move your wrist and you don't have to be doing this all the time.

    如果你做一個像這樣的手勢,你只需要動手腕,不需要常常大力揮動整隻手臂。

  • Your right hand is mainly for keeping rhythm or keeping the beat patterns, so if you give an upbeat this is 1 2 3 4 1 2 3 4.

    右手主要是負責保持拍速或變換拍號,先給一個預備拍,然後,1 2 3 4 1 2 3 4。

  • If you have 2 4, it's very simple so 1 2 1 2 and you could be as small as this.

    24 拍的給法非常簡單,1 2 1 2 ,你的動作也可以小到像這樣。

  • they'll realize that this is 2 4.

    演奏員就會知道這是 24 拍了。

  • The left hand has a much more complex, strange role in our physical world and it's freer to do things that are out of the ordinary.

    左手在指揮中的角色,更加複雜且奇妙,也更可以自由地發揮、運用更多手勢。

  • It could be anything from showing where a phrase goes, it could show speed of a bow.

    你可以透過這些手勢帶出音樂線條,以及弓速的快慢。

  • String players are very physical in the sense that they they react to what they see.

    弦樂演奏者對於這些手勢非常敏銳,能夠極好地反應在音樂上。

  • If you have your left hand open and if you have your right hand slightly open and you're holding this sound like as if you'd hold a baby, they'll play that way.

    如果你張開左手,右手只微開一點點,就像抱著一個嬰兒,演奏家會忠實呈現這樣的樂感。

  • If you conduct like this, they're gonna play like this.

    但如果你這樣指揮,他們也會這樣演奏。

  • Percussion needs clarity from a conductor. They need to know where to hit something and the bass drum could play only one note in an hour-long symphony, but that note is very important.

    打擊演奏員需要指揮給他們明確的指示。他們需要知道何時是拍點。大鼓鼓手在一首長達一小時的樂曲中,通常只有一個音符,但那一個音符往往非常重要。

  • The worst thing you could do to a brass player before he or she plays is this.

    盡量避免對銅管樂手做出這個動作。

  • Because if they see the hand before they have to make the beautiful sound that they need to make it's gonna destroy their confidence and it's gonna make their lives very difficult.

    如果他們在奏出美麗的聲音之前看到這個手勢,他們的信心會崩毀,也會讓他們很不好受。

  • Playing the French Horn, there's so much that person needs to think about and it's such a delicate instrument, such a delicate moment.

    演奏法國號時,樂手必須非常審慎地思考,因為法國號是一個非常精緻的樂器,演奏時需要小心翼翼。

  • The more pressure you put on them, the worse it gets.

    演奏時,壓力越大,就越容易搞砸。

  • Leonard Bernstein was one of the greatest musicians who who had ever lived, not just as a conductor but as a pianist and as a composer.

    李奧納德.伯恩斯坦是優秀的音樂家之一,他不僅是指揮家,同時也是鋼琴家及作曲家。

  • He was able to educate not just adults but children.

    他除了指導成人以外,也能夠教導孩子。

  • Of course when you watch him, he's always dancing and he can't he can't help moving around the podium and his rhythm is contagious.

    當然,你在欣賞他的表演時,他總是在舞臺上跳舞,他無法控制自己不這麼做,他的音樂也非常有感染力。

  • Karajan believed in beautiful sound, upholstered sound, luxurious sound.

    美麗、柔軟、卻又充滿表現力的聲音,是卡拉揚一貫信奉的教條。

  • So if you hear some of the great recordings of Karajan, it's not always together at these crucial moments but there's a beauty of sound always from beginning to end.

    所以當你在欣賞卡拉揚的錄音時,也許不是所有的段落都包含這些元素,但從曲子的開頭到結束,你彷彿置身天籟。

  • I mean he had his eyes closed half the time and everything was he was just holding this precious thing all the time and crouched over.

    我的意思是,有半數的時間他閉著眼,微彎著腰,就像擁抱著非常珍貴的東西。

  • Carlos Kleiber was all... you know, he was holding a magic wand.

    大家都知道,卡洛斯.克萊柏擁有一根「魔杖」。

  • He was fantasy, pure fantasy.

    他非常神奇,神奇得不可思議。

  • He would make beautiful story lines to pieces that didn't have story lines.

    他可以讓索然無味的音樂變得充滿故事性。

  • He was all about this gesture and these beautiful sweeping gestures.

    他的招牌動作是這些手勢、這些優美的流線形線條。

  • I don't believe in jumping around during a Bruckner symphony, I think there's something sacred and it's unnecessary.

    我不認為在布魯克納的音樂會上過於興奮是件可取的事,因為他的音樂是神聖的,你根本沒必要這麼做。

  • I do believe in having a great time with jazz music and music that swings.

    我堅信聆聽爵士樂是很好的享受,而欣賞其他同風格的音樂也是如此。

  • You should make the audience want to dance although you shouldn't be a circus act.

    你的音樂必須讓觀眾想要隨之起舞,即使你的動作不能像在馬戲團裡表演一樣誇張。

  • I think people should focus on the music and not the conductor.

    我認為,聽眾的焦點是在音樂,而不是指揮。

When Gustav Mahler was still alive in the early 1900s, you see these caricatures of him and it's crazy gestures his arms are up, he's jumping up and down on the podium, extremely large gestures.

在 20 世紀早期,古斯塔夫.馬勒還在世時,看看這些諷刺畫,描繪他誇張的肢體動作。他舉起雙手,在指揮臺上跳上跳下,動作非常大。

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A2 初級 中文 美國腔 Vox 手勢 指揮 演奏 動作 右手

指揮家在台上究竟都在指揮什麼呢?(What a conductor actually does on stage)

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    Samuel 發佈於 2018 年 12 月 30 日
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