吉他大师埃杜瓦多 费尔南德斯的访谈录。谈及吉他界的一些现状

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大师非常诚实地剖析了吉他圈的现状，值得引起所有吉他爱好者的思考！
我实在没时间通篇翻译，我先摘录一些大师的主要观点：
他说，据他观察，总体而言，有一部分吉他演奏家拒绝深入吉他之外的音乐领域，而音乐领域对吉他也存在排斥。相当多的吉他演奏家对除了所谓的“吉他界”之外的音乐世界熟视无睹，他们只沉醉在吉他艺术节、吉他比赛、吉他音乐会和吉他杂志中。
他说，我们会听到一些吉他演奏家演奏朱利亚尼的作品，但是弹得实在太差了，所以人们无法想象为什么贝多芬当年为什么会看重朱利亚尼的作品，这显然不是朱利亚尼的错。同样的情况也存在于古典时期的索尔等作曲家。这些演奏家把巴赫的音乐弹得面目全非，却在吉他圈子里赢得阵阵喝彩，人们对此似乎没有什么异议。
作为一个披头士音乐迷，费尔南德兹大师喜欢除了巴赫之外的许多音乐，但是他同样不理解为什么那么多吉他演奏家痴迷于那些用简单音乐素材即兴创作而成的作品。他说，在他看来吉他家们已经把最重要的事给搞错了：我们在冒着与主流音乐疏远而只为一部分喜欢我们弹那些”讨巧“音乐的粉丝们演奏的风险。如果总是这样，那么吉他演奏家只能止于为同行们演奏了。
这些人自己拒绝承认吉他是件严肃的乐器。所以自从塞戈维亚、耶佩斯去世，布里姆归隐，吉他圈子里已经没什么严肃吉他音乐家。当然，费尔南德兹也承认有例外，但只是例外。
他说，我们可以发现，现在吉他圈已经和主流音乐界脱钩，游离于主流音乐界之外，这种关系就像科幻小说和其他文学作品的关系一样。
尽管如此，他也认为吉他圈中有一些严肃的艺术家，吉他的演奏技法在这几十年中得到很大的发展，吉他音乐节也如雨后春笋般地成立。许多音乐学院都设立了吉他专业，我们可以说：“我们还活着。”但那又怎么样呢？
他认为，现在存在这么一个”实用的“的吉他界，为吉他家提供了工作。那为什么我们要担忧国际音乐季将吉他排斥在外呢？这就取决于你怎么看了。

是啊，你怎么看呢？


Extract from the interview published in Guitar aktuell, IV 2009

Question: What is your impression of the current guitar scene? What has changed, what new trends are there? How well accepted is the classical guitar when you compare it worldwide?

E.F.(Eduardo Fernandez): First of all, I have to say that I am not so familiar with the German guitar scene and that some of the things I am going to say may not be true for Germany. I am going to exaggerate to make my point clear. Just take what I’m going to say as a provocation, intending to cause a reaction. It may be a caricature of reality, but let’s see if the principal statement becomes clear.

In general, what I am observing is a refusal on the part of guitarists to go deeply into the music, and also the rejection of the guitar by the music scene. Let me put it this way: many guitarists (luckily not all) are turning a blind eye to what’s going on outside the so-called guitar scene, by which I mean guitar festivals, competitions, guitar concerts, guitar magazines.

In an alarming way this applies not only to contemporary music, but even more to ANY type of historical music. The consequence is that you may hear somebody play Giuliani, seriously wondering how Giuliani could ever have been taken seriously by Beethoven, which is obviously not Giuliani’s fault.
The same happens with Sor and that entire musical period. Or you may hear a guitarist play Bach in a way that even trained musicians wouldn’t recognize it as Bach’s music – and then these guitarists get applause from that guitar scene and nobody seems to have any objections.

I don’t know why such things are going on, and I also don’t understand why guitarists are preoccupied with would-be compositions that are nothing but scripted improvisations with little if any compositional substance; or how the programme is supposed to benefit from pop or folk music being slipped in.

Please don’t get me wrong: I am not a snob, and no doubt these things have their justification, but they also have their own place, and I am saying this as a Beatles fan. I also like other things apart from Bach!
What I’m trying to say is that in my opinion we’ve got our priorities wrong: we are running the risk of alienating the small number of aficionados to artful music that we guitarists have, and we may end up playing only for colleagues.

The scene for artful music refuses to acknowledge that the guitar is a serious instrument (and maybe that’s its revenge); at least, since Segovia and Yepes have passed away and Bream is no longer making any public appearances, the scene seems unsure whether there is still a serious concert guitarist with anything to express. Of course there are exceptions, but these are exceptions.

You could also think that Segovia never existed if it weren’t for the many compositions dedicated to him, but as far as his impact on the world of music is concerned, which was overwhelming while he lived, he might simply be a fictitious character. It seems as if the world of music thinks the guitar died with Segovia.

And thus we are finding ourselves in a situation today where the guitar word exists practically disconnected from and parallel to the rest of the world of music. It is a relationship similar to that between science fiction and the rest of literature.

Despite all this, there ARE serious artists among the guitarists. The level of their technical skill has risen dramatically over the last few decades, there are more guitar festivals than ever and new ones seem to be materializing on a weekly basis.

The guitar is being taught worldwide at a high academic level. We could say “we’re alive, so what?”
There is a functioning guitar world, it gives us work, so why worry if concert series usually avoid the guitar. It’s up to you: is your glass half full or half empty? Or do we just have a general marketing problem? I really don’t know.

lrrr

这些问题的存在确实制约了吉他音乐的发展！真正的吉他音乐家应该虚怀若谷，对其他音乐持接纳态度，兼收并蓄，交流交融！

adda

好文！我想吉他太难是一个重要原因，不了解吉他的演奏技法，很难为吉他写出伟大作品（当然也有例外，哈哈）。另外，正因为太难，技术难、生存难、吉他“从业者”，钻研自己这点东西已经自顾不暇，很少能够去关注整个严肃音乐，而越不关注，越游离在外，慢慢走入恶性循环。吉他自身的特点又真是太迷人了，难免固步自封了。我想我们普通爱好者对这些现状是难有作为了，担心担心而已。最多只能放眼整个严肃音乐，提高自己音乐素养了。

admin

以前，我有时候会跟一些吉他爱好者说：“少听吉他唱片。”，他们大多非常不解，有些人可能还以为我大脑进水了。但是，自己买了七八百张原版古典吉他CD，其中音乐好的可以说只是很小的一部分。以一个古典音乐爱好者（而不是吉他爱好者）的角度来听吉他唱片，有相当一部分会让人觉得是业余音乐爱好者的娱乐性演奏。
我在和琴友或者一些吉他老师交流时，有时候不得不提到一些具体的例子，比如那位吉他界当红大师的演奏中存在什么音乐上的问题，他们的反应大多是：“人家是大师！人家那是二度创作！”
但是很遗憾的是，我提到的那些问题都不属于“二度创作”的范畴，而是比较低级的错误。对，“人家是大师”，但是人家是“吉他大师”，但不一定是音乐大师。
我还是建议大家多听古典吉他以外的唱片，多看古典吉他以外的杂志书作，这样对自己音乐素养的提高更有帮助。

spanar

BWV998前奏的低音部，youtube和录音里能找到的所有演奏，正确演绎的演奏家不超过三个半。。。

admin

syno 发表于 2013-6-18 10:33
等我得空了给全文翻译一遍

好啊，期待！

你的头像怎么倒了。

admin

神级的翻译啊，非常生动明了，谢谢楼上！

lishui151

当年想学小提琴的，结果由于条件所限没有学成，学吉他，也是冲着“古典”去的，不过，确实，现在很多弹古典的，听起来怎么越来越象弹匹克的了。

admin

lishui151 发表于 2013-6-19 15:13
当年想学小提琴的，结果由于条件所限没有学成，学吉他，也是冲着“古典”去的，不过，确实，现在很多弹古典 ...

跟我的情况类似，从小就希望学小提琴，只是一直没有条件，后来学吉他也是为了实现一个“古典乐器”梦。
不管环境怎么样或者别人怎么看，我们保持热爱就是了。