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  • Gilliver: Hello, and welcome

    Gilliver:大家好,歡迎觀賞

  • 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

Gilliver: Hello, and welcome

Gilliver:大家好,歡迎觀賞

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