to the YouTube Symphony Orchestra

YouTube 交響樂團

masterclass for the cello.

大提琴大師講座

My name's Rebecca Gilliver, and I play principal cello

我是 Rebecca Gilliver， 目前擔任倫敦交響樂團的

in the London Symphony Orchestra.

大提琴首席

We're going to start with "William Tell,"

我們要從《威廉泰爾》 開始說起

appropriately enough,

這首曲子的氣氛很對

because it does usually start a concert,

因為常作為演奏會的開場

which is certainly a rather scary moment

不過這實在讓每個大提琴首席

for any principal cello.

都會提心吊膽

You start completely alone,

你得完全獨自開始

and the first two bars, it's just you,

開頭兩小節就只有你而已

but relax, 'cause on the third bar,

但請放輕鬆 因為在第三小節

there's a lovely choir of your colleagues

你的夥伴會開始演出動人的合奏

as all the other cellos come in

所有大提琴都會在這裡加入

and play a beautiful harmony with you.

和你一同演奏悅耳的和聲

So although in an audition situation,

所以，雖然在試奏的狀況下

you feel incredibly lonely on those top Bs,

演奏那些高音 B 時 你會覺得異常孤單

you just need to think of the harmony

但心中只要想著和聲

that's gonna be coming in behind you

那些在背後支持你的和聲

when you're actually playing it in concert,

就如同真的在演奏會裡 演奏一般

and that'll inspire you and give you courage.

這樣你就會受到鼓舞， 產生自信

So I'll just play the beginning all by myself.

那麼，我要獨自演奏這段開場

[Rossini's "William Tell Overture"]

[羅西尼 《威廉泰爾》序曲]

Now, because we haven't got much time,

因為我們時間有限

I'm not gonna play all through those Bs,

所以我不會演奏所有的 B 音

but in an audition situation, you must,

但你在試奏時必須演奏

and you must make sure they're exactly the right length

而且必須確保長度 完全正確

and a beautiful sound all the way through.

還要一直維持漂亮的音色

So, skipping to the third entry

接著，我們跳到

of the first cello,

第一大提琴的第三句

there's a lovely moment here,

這一刻非常動人

because the third cello plays this line.

因為是由第三大提琴演奏 這條旋律線

[playing music]

[演奏中]

and then you get to come in...

然後加入演奏...

[playing music]

[演奏中]

and that's where everybody else comes in.

隨後其他人一起加入

Now, these three G-Sharps keep coming back.

接下來的三個升 G 音 會一再出現

They come back four times.

總共出現四次

[playing music]

[演奏中]

Now, those G-sharps come back four times,

那些升 G 音總共出現四次

and each time, there's a different harmony

每次都有其他大提琴 演奏不同的和聲

in the other cellos, so you must choose a color

因此，你必須選擇一種

that fits the harmony they're doing.

能融入那些和聲的音色

The first time, it's just a beautiful...

第一次，是優美的...

[playing music]

[演奏中]

E major.

E 大調

The second one, and it's a bit different...

第二次，有些不同...

[playing music]

[演奏中]

so the harmony's a bit more involved.

這裡的和聲比較複雜一點

The third one is marked "pianissimo,"

第三次標示著 「甚弱」

and the harmony is even more beautiful.

而這裡的和聲更優美

[playing music]

[演奏中]

And finally, the last one.

最後，第四次

[playing music]

[演奏中]

So each time you play those G-sharps,

所以每次你演奏那些升 G 音時

you've got to hear those harmonies in your head

都必須聆聽那些和聲

and create a color, any color you like,

然後創造你的音色， 任何你喜歡的音色都行

that's gonna fit those harmonies.

來搭配那些和聲

Okay, the trills--again, I'm not gonna play them now

好的，接著是顫音 我現在也不演奏

because we don't have time, but again,

因為我們時間有限 但同樣的

in an audition situation, play them right through.

試奏時你要完整奏出這些顫音

Don't cut a beat.

別刪減任何拍子

And finally, it's that shift at the end

最後，結尾的移動把位

that brings out a bead of sweat

會讓每一位首席都

on any principal's forehead.

緊張到滿頭汗

Um, I played it once

我演奏過一次

with the World Orchestra for Peace,

與世界和平管絃樂團一起演出

and the cellist there was Sandro Laffranchini,

那次樂團的大提琴手是 Sandro Laffranchini

who is the principal cello in La Scala,

他是史卡拉歌劇院 首席大提琴家

and he must have played it about ten times

肯定在各種排練和演奏會上

in rehearsals and concerts, and every time,

演奏過這個樂段不下十次

he hit that top shift absolutely perfectly.

而且每次他都能精準換到 那個高把位

And I was so impressed, I asked him,

令人印象深刻 我便問他

"What's your secret, Sandro?"

Sandro，你的秘訣是什麼？

And he had a little think, and he said,

他想了一下

"Just before the shift,

然後說：「在換把位之前，

I think about something else completely."

把思緒完全放在別的事物上。」

And there's a lot to be said about that.

要做到這點其實並不容易

If you sit there, worrying about

如果你坐在那裡擔心著

where your hand is going to go...

你的手要移到哪個點...

[playing music]

[演奏中]

Okay, it might work, but if you're really worried about it,

這種方法應該有效， 但如果你真的很擔心

it might not.

可能就會出錯了

So do the practice.

所以要多加練習

You need to practice that shift

你需要練習這個把位移動

until the cows come home,

直到非常熟練為止

and then, when it comes to it,

當你練熟了之後

maybe think about your bow, or just the music itself,

可以想著你的弓， 也可以想著音樂本身

and don't worry about the shift.

就是不要擔心換把位這件事

If you miss it, it's not the end of the world,

就算你失敗了， 也沒什麼大不了的

although it might feel like it to you.

雖然你可能覺得 像是世界末日降臨一樣

Brahms' Second Symphony, the second movement,

布拉姆斯第二號交響曲第二樂章

the wonderful cello solely.

是精彩的大提琴聲部獨奏

This excerpt is used all the time by the LSO.

倫敦交響樂團經常使用這個樂段

We use it for every single audition for rank and file,

每次基本成員甄選 都要試奏這個樂段

and the reasons behind this is,

原因是

it shows a huge amount about your playing,

演奏這個樂段需要結合 多方面的能力

both mentally and technically and emotionally.

包括精神、技巧和情感三方面

I always approach the piece with the same two questions.

我總是針對這樂段提出兩個問題

Firstly, what did Brahms mean by "poco forte"?

首先，「略強」意味著什麼？

It's definitely a rather ambiguous marking,

比起其他標示， 這個標示的確較為模糊

and Brahms uses it quite a lot.

布拉姆斯還常常使用這個標示

Offhand, I'm not sure if anyone else does,

不過我倒不確定是否別人也這樣用

but perhaps someone on YouTube can let me know if they do,

如果你知道其他人也用這種標示 請告訴我

and then I'll stand corrected.

我很樂於接受指正

Anyway, what does it mean?

總之，這到底是什麼意思？

It's not forte, obviously.

顯然這並不是強

It's not a big, brash forte sound.

不是大聲而強烈的強音

Equally, it's not piano,

但這既不是弱

and it's not that kind of compromised mezzo forte either.

也不是折衷的中強

I think maybe the key is in the espressivo marking,

我想關鍵或許在 接下來出現的記號

which comes afterwards.

富於情感的這個記號

The character needs to be--

這個性質應該是

it has to have real intentional expression behind it,

含有相當刻意表達的韻味

and I can imagine Brahms agonizing

我可以想像布拉姆斯苦惱著

how to describe what he wanted,

該如何描述他所想要的情境

and therefore, so should we as we approach the piece.

因此，我們演奏樂章時 應該特別注意這點

This leads me to another question,

也連帶衍生出第二個問題

which is what bowing to do.

那就是該用什麼弓法？

And when you come to an audition,

當你試奏時

you may well have bowing marked in the part.

分譜上應該已經有記好的弓法

It's always best to do the bowings there.

照這些弓法演奏當然是最好的選擇

But you also need to be flexible.

但仍需要一些彈性

The LSO parts have been changed so many times,

倫敦交響樂團 曾多次更動分譜上的弓法

the notes have almost been rubbed out.

修改頻繁的程度幾乎到了 連音符都看不清的程度

Um, today I'm splitting the bowing,

今天我會分兩弓演奏

which is a little compromise,

這是有點折衷的作法

but for me, it gives a better sound.

但對我來說 這會形成較佳的音色

Um, the most important thing,

我認為就這段樂章而言

I think, in this piece, is the sound.

最重要的就是音色

You don't ever get a squashed, hard sound,

千萬不要給聽眾一種 擠壓、用力的感覺

but an incredibly warm and, um, what's the word I want?

而要用極為溫暖而... 嗯，我該麼說？

Kind of supported warm tone.

帶有某種支撐的溫暖聲音演奏

I'm just gonna play the beginning.

我來演奏開頭的部分

[playing music]

[演奏中]

Of course, you could also do it

當然，你也可以這樣

if it was a slightly faster tempo

如果速度稍微快一些

with just the single bowing.

只用一弓來演奏。

[playing music]

[演奏中]

It's really worth practicing all on one bow,

練習各種弓法是很實用的

split bowing, some bowings long, some split.

包括一弓、分兩弓 有些拉長、有些分弓

Just be flexible.

總之要有彈性

Okay, the difficult thing, maybe technically, about this

好的，這裡困難的部分 也許是技巧方面

is the shift up to the B.

要換把位到高音 B

Make sure your hand is really prepared

請確定雙手已經預備好

for that top B.

要換到高音 B

[playing music]

[演奏中]

And that when you get there,

當你到達這裡

your left hand is really balanced on the note,

左手已經安穩地在這個音上頭

and you can give it a nice...

這樣你就可以演奏優美而...

[playing music]

[演奏中]

warm vibrato.

溫暖的揉絃

It's really worth just practicing

多練習你要按在什麼位置上

where you want to be on the cello...

這是很值得練習的部分...

[playing music]

[演奏中]

before you worry about how you're gonna get there,

這會讓你不用擔心要怎麼換位置

so that you know that's the position you want to be in.

因為你已熟悉 那就是你所要的位置

So the quavers in bar three are quite different

第三小節的八分音符

to those in bar six.

和第六小節的不大一樣

Obviously, it's poco forte in bar three,

第三小節顯然是略強

and bar six is piano,

第六小節則是弱

so it's a big expressive difference.

這樣會形成很強烈的情感對比

But also, bar three is parlando.

同時，第三小節是朗誦風格

The quavers...

這些八分音符...

[playing music]

[演奏中]

whereas, in bar six, it's very, very legato...

第六小節反而是極為快速的連奏

[playing music]

[演奏中]

so that your bow is really, really smooth.

你的弓要相當滑順

As with the bowings,

如同弓法一般

your fingerings are your own choice.

指法由你自己決定

You can decide whether to shift up and down the string

你可以在同一絃上下換把位

or just go across.

或直接跨絃演奏

It's very much your own choice.

完全都由你決定

Personally, I quite like going across quite a lot

我個人演奏這段樂章時喜歡時常跨絃

in this piece, 'cause I find the intervals are more telling,

因為我發現這樣一來， 音程關係會更顯著

but it's nice, also, to be expressive,

偶爾使用滑音或換把位也很好

and have the odd, um, the odd slide or shift in.

這樣情感也會很豐富

Okay, well, I'm just gonna play the piece now.

好的，那麼我要來演奏這段樂章

Um, another very important thing about it,

還有另一個關鍵點

in that it feels like one huge, long phrase,

你必須讓整段音樂感覺 像是綿延不斷的大樂句

so I'm gonna try and do that.

我現在就這樣演奏看看

[playing music]

[演奏中]

So that brings us to the end of this masterclass.

這次的大師講座已經接近尾聲了

I hope you've enjoyed it

希望你喜歡這次課程

and that you take something useful away from it.

並且能從中學到一些有用的技巧

Good luck for your audition.

祝你試奏順利

I look forward to hearing them all,

我期待欣賞各位的作品

and I hope you enjoy the process.

希望你試奏時能樂在其中

Thank you.

謝謝你的參與