大卫罗素访谈[转帖]

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http://www.acousticguitar.com/issues/ag133/feature133.html Scottish Fandango Classical guitarist David Russell on the pleasures of performing, recording, and teaching By Patrick Francis In the realm of classical guitar, there is a small handful of luminaries whose concerts and recordings have earned them international stature. Scottish-born guitarist David Russell is one of these rare performing artists who has garnered favor with audiences, guitar aficionados, music critics, and concert presenters around the world. Born into a family of artists and encouraged to pick up the guitar at an early age, Russell has always made the guitar the central focus of his life—from listening to and imitating the recordings of Andrés Segovia through conservatory studies at London's Royal Academy to tutelage under the legendary José Tomás. Russell has accumulated an impressive array of achievements, including first prizes in several prestigious classical guitar competitions, a voluminous and growing body of recorded work, and a thriving international concert career. At the peak of his form, the 50-year-old Russell has become one of today's most significant classical guitarists. A direct beneficiary of Segovia's legacy, Russell is something of a traditionalist. While his recordings run the breadth of classical styles, in most cases he selects repertoire that has stood the test of time: his output includes the music of J.S. Bach, Domenico Scarlatti, Agustín Barrios Mangoré, Francisco Tárrega, Isaac Albéniz, and Enrique Granados. Refusing to be easily pigeonholed, however, Russell occasionally departs from the standard repertoire with recordings such as Message of the Sea, which features his arrangements of traditional Celtic melodies, or by including newer or lesser-known works, such as some of the cuts on his latest Telarc recording, Aire Latino. This newest contribution follows right on the heels of the critically acclaimed David Russell Plays Bach. Russell is a guitarist's guitarist. His playing embodies unforced, thoughtful musicality, made possible by an apparently effortless technique—something only a few players ever attain, let alone harness to the ends to which Russell has. Success has not spoiled him, however. Talking with Russell, one gets the impression that he considers himself very lucky and that he truly loves the guitar and its music. He is a man with clear ideas about his artistic direction and identity—tempered by humor, a quiet confidence, and a down-to-earth approach to his art and life. I recently spoke with him by phone from his home in Vigo, Spain, and he shared his insights and perspectives on various facets of life as a concert artist and leading proponent of the classical guitar. You began studying guitar with your father at an early age. What was that like? Russell Studying is a difficult term because, basically, my father just taught me how to play when I was a little kid. I have memories of sitting there doodling with the guitar since way back, since before I was six. How did your early teachers, Hector Quine and José Tomás, affect you? Russell Well, Hector Quine was not a player, and I was a cocky 14- or 15-year-old when I started with him at the Royal Academy. Perhaps I would have been better with someone who could play a lot better than me and who could bring me down to earth a bit [laughs]. José Tomás was a fantastic teacher for me and gave me back all my confidence when I came back to Spain. I credit him as my main teacher, although I didn't have that much time with him. You emulated and also met Andrés Segovia when you were young. Can you describe those meetings? Russell I played for him maybe three times, and the first meeting was actually with José Tomás, who introduced me. Segovia was very kind to young, talented students, you know. He was like this grandfather figure. For an hour, I was sitting in front of . . . well, "One next to God" [laughs], and he says, "Hey! C'mon kid, don't be so nervous. Just play me something!" [Laughs] For weeks or months afterward the memory of being with him was inspiring and kept me practicing. He was great—really very nice. You teach master classes yourself frequently as you tour. How do you approach them? Russell My job in a master class is to inspire the student for the next few months. If someone's only going to play for me once, I want them to leave with more desire to practice than they came with. If I do that, if they're inspired, then that'll do them good. I was kind of hoping you could fix my tremolo over the phone for me today . . . Russell [Laughs] Well, of course, sometimes in the classes you can give someone a pointer that will fix very small things. Or say someone listens to a master class for a few hours. By the end of that time, I want them to know how I think. Then they can use the way I practice, the way I learn pieces, my approach to everything to do with the guitar and music.

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What's your approach to practicing? Russell I divide practice time into several bits, and I often use a stopwatch to make sure I put in enough time. Sometimes I use the stopwatch to divide it, because if not, I end up practicing one piece that I love and leaving the other things. Some practice is purely like athletics: it's to maintain my fingers, my hand, so hopefully I can play until . . . well, Segovia played until he was 90. You have to do some careful work that is just technical. There's a big difference between learning a new piece and the practice you do when you're not learning any new pieces or when you're touring. And once I've decided, "OK, this piece is going to go into memory," I memorize it as well as I can quite quickly, rather than reading it through a lot of times. Do you have a specific method or trick for memorizing? Russell There is a nice trick, if you like. Start from the back. Learn the last bar, and then [work your way forward]. That way, you already know where you're going in the next bar. Whereas when you memorize from the top, you're always going from the bit that you know into the bit that you don't know. By turning it on its head, you struggle with the new bit and then you ease into the next bit. As you're memorizing it, you know you're playing this bar because of the next bar that's coming. It really works. Do you have any pointers for students who want to work on their right-hand technique? Russell You can think of technique as building blocks. If the lowest bricks are not right, then the top of the wall is going to be shaky. Practice each action, the very simple action of plucking one finger, like one note: index, boing on the G. If that's OK, then do i, m. Make sure m is good, i is good, then i, m, and then m, i. Then do three notes, four notes, and five notes. It's very easy to do two notes, but five notes at the same speed becomes not just a little more difficult, it's a huge amount more difficult. Make sure that the basics, the foundation to your wall, are perfect. Go back to the basics almost every day for maybe 20 minutes and don't start warming up with a lot of difficulties. For example, a two-octave scale across the strings is about five problems all stuck together. You're not going to fix any one of them. You may get it going, but you won't fix anything. So if you want to get rid of say, clatter on the m finger, which tends to be more clattery as the nail comes down onto the string, you're going to have to practice i, m until that doesn't clatter. And find out why it's clattering. A good way to do it is to actually make it clatter on purpose. Life as a concert artist seems very romantic. Do you enjoy touring? Russell It might be a romantic idea, but it's quite difficult, particularly if you don't like traveling. But I love traveling. Maria, my wife, handles the basic business and goes on almost every single trip with me, which means that the trips are much more fun. If we go anywhere exotic, we try and spend a few days between concerts. Some years, I spend about nine months of the year traveling, but we're trying to reduce it. This year is a special year. I decided—I'm 50 just now—to take a proper break. So, I'm having five months without playing. Having traveled all over, do you have a best or worst story to share? Russell In one trip, I played 48 concerts in Africa in about a month and a half; some days there were two concerts. In each country I did one or two big concerts. I went to little schools and universities—all sorts of places. In one concert—this is the bad experience—I had about 200 people in the concert hall to start with, in a really big concert hall. During my first four pieces, about 400 more people came in [laughs]. Luckily, I had amplification. And then, during the next four pieces, 400 people left! So first my ego really grew—"Great, they're loving this!"—and then, you know, they just didn't like it at all [laughs]. The 200 that were there for the beginning stayed, and it ended really nicely. In Africa, the audience talks to you during the performance, says things like, "Hey, play that one again. I liked it!" Near the end somebody said, "Well, can't you sing us something?" And I said, "You know, I learned to play the guitar because I can't sing." [Laughs.] So I played another piece, and then they said, "Well, we all sing." And I said, "Do you know songs that I might know?" It was near Christmas, so they sang "Silent Night" with me strumming chords onstage. It was pretty good. What makes a great performer? Russell If you think through all the people my generation and older who have spent their life performing, they all have quite an individual character. Of course, you have to play really well and choose good repertoire, but some people just have really good stage presence, which you must have to be successful. Of course, every night is not great. But when you play, people should leave the hall feeling that it was worth it to miss the football match on TV. Do you get nervous before a concert? Russell Yes, of course. But if I'm as prepared as I can be, musically, technically, memory-wise, I'm a lot less nervous. If you concentrate on making people enjoy the piece, it's easier to step aside a bit. If someone is really not nervous, it's because they've played a lot of concerts and they're playing almost every night. Eventually your body just gives up and you don't get any nerves. You say, "Ah, what's another night." In which case, you don't really care. Which is not good. [Laughs.] Do you have a routine you like to follow on the day of a performance? Russell I go through my program carefully in the morning. I make sure that any little kinks that weren't right are going to be better, and I practice some technique. In the afternoon, I love to sleep for an hour or two. Touring, I avoid too many absolutely routine things, though, because it changes too often, and it's very easy to get into the superstitious thing: "Oh, I had two bananas and a biscuit and the concert went great, so I'm going to eat two bananas and a biscuit before every concert." As soon as I find myself doing the same thing too much, I change it. How do you decide on your program? Russell It's important to know what you play well. And it's important to have some well-known pieces as well as a few completely unknown pieces that are really nice. But what you actually choose to give the audience must have a certain sequence. The audience should move from one piece to the other comfortably. Think of a meal. If you go for a really nice meal, you would never start off with ice cream just before you have a steak, for example. Some pieces will kill the next piece. You don't play a lot of modern music. Why not? Russell There are a lot of reasons. I do play some modern music. Each year I try to include something that's, say, late 20th century, and there are some pieces people have written for me that I will play next year, but there comes a time when I have to be honest with my own taste. If I don't have passion for the music, then I don't feel that I can do it for the audience so well. And then, why do it? What do you think of modern composers? Russell There are a lot of guitar composers who are writing really good stuff that is much more accessible to the audience. Guitarists often understand the instrument better and try to make it sound beautiful. On the other hand, a lot of stuff has been written that does not necessarily make the guitar sound beautiful. The classical music composers of the '60s almost left the audience behind. Modern art, in terms of painting, moved forward, but the artists took the audience with them. But in music for some reason, it hasn't quite taken the audience forward. You've done a lot of transcribing. How do you approach it? Russell I like to be as faithful to what the composer wrote as possible. But sometimes you need to take out some notes to make it sound better on the guitar. But which notes do you take out? I want to transcribe pieces that don't get hurt by the transcription, by the change onto our instrument. I have published a few pieces by Bach and a whole lot of Scarlatti. If someone uses one, they should get hold of the original to see what I've done, not necessarily just do what I did, but use that as a basis. Decide whether I was right or not. Don't trust anybody. [Laughs.] How and why did you choose the program on David Russell Plays Bach? Russell These are some of my favorite pieces by Bach. I wanted to record the Prelude, Fugue and Allegro [transcribed on page 46]; the Chaconne; and the Fourth Lute Suite for my own pleasure. These are pieces that I've always loved and wanted to have my own say with—my own personal view, if you like. How do you prepare for a recording? Russell For a long time now all my records have been either one composer or very much within one style. That gives me a great advantage. Say I decide I'm going to make a Barrios record. It means that I can study everything he did for a year or six months and really immerse myself and read about him. Before I did the Barrios [Cathedral: The Music of Barrios], I went to San Salvador for concerts. I made sure I got to see some manuscripts, and I met some old students of his. So when I come to actually doing the recording, I have a lot more confidence, and I feel that I really know what I'm doing. Whether I do or not is another matter [laughs]. But at least I feel like, "OK, I now know how I want to play Barrios." Your 1998 recording Message of the Sea, which includes your transcriptions of Celtic traditionals, was a bit of a departure for you. Russell Yes. I'd always played some Scottish and Irish music since I was a student. I had this little thing with a double bass player and we played a lot of that kind of music. Those transcriptions are things I started doing a long time ago and then just developed. At first I didn't know if it was going to be enough for a whole record, so I added a few things like Fernando Sor's "Variations on a Scottish Theme." It was great fun. Some day, I'm probably going to have to do Celtic II, because I love doing it. Your new album, Aire Latino, will feature works from a variety of South American composers. What will be on it? Are there particular highlights for you? Russell Most of these pieces have been in my repertoire for years. For this CD, I recorded some classical and well-known pieces, like Barrios' "Choro da Saudade," which is a piece I hadn't done before. There are works much closer to popular South American music, like "La Quartelera" and "Chopi" by Manolo Escobar, which is unusual in that you must tune to E major (E G# B G# B E) for it. I've admired the playing of Jorge Morel for years, so it was nice to record some of his gems for this album. "Alfonsina y el Mar," arranged by Jorge Cardoso, has a very strong Argentinian color and is really lovely, too. The highlight of the disc, though, was the pleasure of spending many months playing and listening to Latin American music. What inspires you to keep doing what you're doing? Russell Traveling, going to new places, that's one of the things. This year my wife and I were in China and Hong Kong and a lot of other places. I think that for people who perform in public and enjoy it, it's a bit addictive. I need to practice because I want to go out onstage again, so that keeps me going. I want to wake up in the morning and have a reason to pull out my guitar. I suppose there are other jobs that might be interesting, but I haven't found one.

pcmsc

能麻烦那位给翻译一下？

wangjianguo

摆渡！如果没有人开译的话，我就要开抢了：）

木心

呵呵，建國兄，你再翻譯吧，遲早翻譯水平大增，對你有利，對英文不好的琴友更為有幫助哦

wangjianguo

OK, Wait me for several days!

剑友

jianguo兄翻译的一定很精彩，期盼中。。。。 我个人认为这些精彩的大师访谈录，对大家吉他的学习指导作用很大的，每次看都有不同的感觉！

REGIS

這個我得看

kinderlin

看不懂啊

wangjianguo

[翻好了，大卫的西班牙英语缺乏文采，再有我也是江郎才尽感觉，读起来不那么有趣。] 古典吉他演奏家大卫·罗素谈演奏、录音及教学的乐趣 帕赤克·弗朗西斯 在古典吉他界，只有屈指可数的名人，他们凭自己音乐会和唱片赢得了国际性的地位。出生于苏格兰的吉他演奏家大卫·罗素就是这些为数不多的表演艺术家之一，他备受全世界观众、吉他爱好者、音乐评论家及音乐会承办者的追捧。出生于艺术世家，早年时就受家庭的鼓励接触吉他，罗素一直以来就把吉他作为生命的核心——从倾听并模仿安德列斯·塞戈维亚的唱片，到进入伦敦皇家音乐学院学习音乐，受教于传奇人物杰斯·托玛斯。罗素已经积累了一系列令人瞩目的成就，包括好几次在权威性的古典吉他比赛中获得第一名、大量仍然在增加的录音作品以及频繁的国际音乐会生涯。在他生命的尖峰时刻，50岁的罗素已经成为当今最辉煌的古典吉他演奏家之一。 作为塞戈维亚传统的直接传承者，罗素是某种意义上的传统演奏家。然而他的唱片却开拓着古典风格的广度，大多数情况下，他选择了代表时代欣赏品位的节目单：其演奏作品包括巴赫、斯卡拉蒂、巴里奥斯、塔雷嘉、阿尔贝尼兹以及格拉那多斯等作曲家的音乐作品。然而，罗素不想做简单的作品分类机器，他不时地通过录制摆脱了一般节目单的束缚唱片，比如唱片《海的消息》体现了他对传统具有凯尔特人（指英国国内的 Scots, Irish, Welsh 和 Cornish 人后裔）特点的旋律的安排；或者通过收录了更为新潮或鲜为人知的作品，比如在他最近的Telarc唱片的一些片段选曲《Aire Latino》。这一最新贡献正好紧随备受评论家们称赞的唱片《大卫·罗素演奏巴赫》之后。 罗素是吉他演奏家中的佼佼者。他的演奏通过轻而易举的演奏技巧，蕴涵了许多自然的、思考性的音乐元素——这是种只有少数演奏家曾经达到的技巧，更不要说罗素独有的支配性技术了。然而罗素并未被成功冲昏头脑。与罗素交谈，你会有这样的印象，他只把自己看作是很幸运的人，他是真正地喜欢吉他及吉他音乐的人。他对自己的艺术方向及艺术特点很清醒——脾气幽默、内在自信、以实在的态度对待自己的艺术和生命。最近 我通过打电话到西班牙比戈，与他电话中交谈过。作为音乐会艺术家和领先的古典吉他演奏家，他把自己对演奏的许多方面的见解及生活体验与我进行分享。 你从很早就向你父亲学习吉他。这具体是怎么回事呢？[/COLOR] 基本上，很难说这就叫学习，因为当时我还是个毛头小孩，父亲仅教我怎么演奏。记得从六岁以前，我就开始坐在那儿胡乱拨弄吉他了。 你早期的老师，海科特·奎因和琼斯·托玛斯对你有何影响呢？[/COLOR] 哦，海科特·奎因并不是吉他演奏者，当我开始在皇家音乐学院向他学习时，我还是个十四五岁骄傲自大的人。也许，如果当时我向一个比我弹得好得多的人或者可以稍微把我摆平的人学习，我本应弹得更好一点[大笑]。对我来说，杰斯·托玛斯是一个古怪的老师，当我回到西班牙的时候，他挫败了我的自信。我把他尊为我的主任老师，尽管我没有跟他学过那么多时间。 你还在年轻的时候遇到了安德列斯·塞戈维亚并仿效他。你能描述一下那些面见的情形吗？[/COLOR] 我大概向他演奏了三次，第一次见面实际上是杰斯·托玛斯的引介。你知道，塞戈维亚对年轻而有才华的学生是很和蔼的，他当时就象祖父的形象一样。我在他面前坐了一个小时……，哦，几乎就象“坐在上帝旁边一样”[大笑]，他便说：“嗨，小伙子，别这么紧张。就给我弹弹嘛！”[大笑]。在我记忆里，在随后的几个星期或几个月，他一直激励我，让我练习。他很伟大，真的很好。 当你巡演的时候，你经常亲自教大师班。你是怎么引导学员的呢？[/COLOR] 我在大师班的任务就是在随后的几个月里激发着学生。如果有人仅打算向我弹一次，我要让他们在离开时，带着比来的时候有更强烈的练吉他的欲望。如果我做到这样了，如果他们受到了激发，那么就会对他们有益。 我今天真期望你能通过电话纠正我的颤音……[/COLOR] [大笑]好，当然可以。有时，在大师班你可以给某人一个指点，可以帮他修正非常细微的地方。或者说，有人听了几个小时的大师班之后，我要让他们知道我是怎么想的。然后他们可以运用我的练习方法、我学习曲目的方法，我处理吉他和音乐的关系的一切方法。 你练习的方法是什么呢？[/COLOR] 我把练习时间分为好几段，我经常用块秒表来确信我投入了足够的时间。有时我使用秒表来分时间段，因为如果不这样的话，我会结束对喜欢的作品的练习，转而去做其他的事。有的练习纯粹就象体育运动：它仅是用来保持我的手指和手腕如此渴求演奏，直到……，哦，塞戈维亚直到90岁还在演奏。你必须进行一些细致且仅是技巧性的练习，尤其在没有学习任何新曲目或者在巡演的时候，这与学习新作品差异很大。一旦我决定：“好，这个作品将进入我的大脑了”，我就能在很快地弹出来的同时把它记住了，而不是花好多次去读谱。 你有特别的方法或小窍门去记谱吗？[/COLOR] 如果你喜欢的话，的确有个很好的窍门。从后面开始。学习最后一小节，然后[往前学]。这样，你就总是知道你下一个小节将干什么了。而如果你从头开始记的话，你总是从已知的小节进入未知的小节。通过如此颠倒，从一个新的小节开始，你就很容易地进入下一个小节。在记忆该小节的时候，你就知道正在弹这一小节，因为下一小节就要到了。这个办法真的管用。 对那些想提高右手技巧的学生，你有什么指点吗？[/COLOR] 你可以把技巧想象成砌房子。如果最低层的砖块没有放对的话，上面的墙就会摇晃起来。练习每一个动作，最简单的手指拨弦动作，比如一个音符：用食指在G弦上练习发音。如果练好了，然后练I、M指。确信I指正确了，M指也正确了，然后再练I、M，M、I。接着，练习三个音符、四个音符，五个音符。练两个音符时很简单，但以同样速度练五个音符，不是更难了一点，而是更难了许多。确保基础练习，即墙的根基练得完美无暇。每天回头进行大约20分钟的基础练习，而不要以许多艰难的东西开始热身。例如，跨越琴弦的两个八度音阶练习大约有五个按紧弦的问题，你不要打算去修正其中任何一个。你可以完成这个动作，但你会什么也没有修正。因此比如说，如果你想除去比如说M指上的杂音，随着接触到弦上，将会出现更多的杂音。你会不得不再练习I、M指，直到没有杂音为止。然后找出为什么会发生杂音的原因。实际上一个好方法是实际上有目的地弹出杂音。 作为音乐会艺术家的生活似乎很浪漫，你喜欢巡演吗？[/COLOR] 巡演可能是个浪漫的想法，但却是很难啊，尤其在你不喜欢旅游的情况下。但是我喜欢旅游。我的妻子玛丽处理旅游中的基本事务，几乎每个简单的旅程都会和我在一起，这就意味着每个旅程都快乐多了。我们每去一个陌生的地方，我们会设法在音乐会之间花几天时间旅游。有几年，我每年花了9个月的时间旅游，但我们现在设法缩减旅游时间。今年是个特别的年份，我决定——我正好50岁了——进行正常的休息。因此，我正有五个月的时间不弹琴。 旅游了这么多地方，你有最好的故事或最坏的故事分享分享吗？[/COLOR] 在一次行程中，我在大约花了一个半月的时间在非洲演了48场音乐会；有些天有两场音乐会。我在每个国家举行一两场大型音乐会。我去了小学和大学等等各种各样的地方。有一场音乐会是个糟糕的经历——在音乐厅里大约有200个人的时候，我就开始演奏了，那可是一个很大的音乐厅啊。在我开始弹前4首作品过程中，大约400多个观众进来了[大笑]。幸好我有扩音器。然后，在接着的四首作品中，便有400个人离开了！于是我自尊心第一次开始滋长——“太好了，他们喜欢这个！”——然后，你知道，其实他们根本不喜欢[大笑]。在非洲，当我在表演的时候，那些观众竟然探头和你说话，说一些类似“嗨，再把这首弹一遍，我喜欢！”的东西。接近尾声后，有人又说，“好啊，你可以为我们唱首歌吗？”，我说，“我不会唱歌，所以才学弹吉他的”[大笑]，于是我弹了另一首，他们就说，“好啊，我们都一起唱啊！”然后我说，“你们能唱我可能知道的歌吗？”当时快圣诞了，于是他们都唱《平安夜》，我在舞台上敲着和音。真是很有趣。 是什么成就了一个伟大的演奏家？[/COLOR] 如果你想一遍所有我的这一代和老一辈的人们，他们都花了他们一生的时间进行表演，他们都有很独特的个性。当然，你必须弹得很好，选择好节目单，但有的人有很好的舞台经验，你必须成功。当然，不是每个夜晚都那么美妙。但当你演奏的时候，人们应该在离开音乐厅后，感觉到很值，即使是错过了电视上的足球比赛。 你在音乐会前会紧张吗？[/COLOR] 是的，当然会。但如果我尽可能地做了准备，做了音乐上、技巧上及记忆上的充分准备，我就不太紧张了。如果你集中注意力使人们享受你的作品，更容易地做到这一点了。如果有人真的一点不紧张，是因为他们开了大量音乐会，他们几乎每天都在演奏。最终，你的身体都讨厌了紧张，你就不会紧张了。你说，“又一个多美好的晚上啊！”。在你真的不在意紧张不紧张的场合，并不是很好。[大笑] 在一天的表演中，你喜欢日常性的练习习惯吗？[/COLOR] 我会在早上很仔细地过一遍我的节目。我要确保任何细微的可能不对的地方都做得更好，然后练习一些技巧。下午，我喜欢睡一两个小时的觉。在旅游中，我避免太多完全惯例性的事情，然而，因为变化得太快了，很容易就转换到了另一件事：‘哎，我有两个香蕉，一个比萨饼，音乐会真好。因此我打算在每个音乐会前吃两个香蕉和一个比萨饼。“一旦我发现自己做同一件事情的次数太多了，我就会做变化。” 你是怎么决定你的节目的？[/COLOR] 知道你演奏什么演得好是很重要的事情。有一些举世皆知的作品以及一些完全未知的作品而又很优秀的作品，都很重要。但事实上选择给听众的东西必须有一定的顺序。听众应当从一首作品很舒服地转换到另一首作品。就比如吃饭，如果你去吃一餐很好的饭，你肯定不会在吃牛排之前吃冰淇淋。例如，一些作品会谋杀了下一首作品。 你不演奏许多现代音乐，为什么？[/COLOR] 有很多原因。我确实演奏过一些现代音乐，每年我尽力收纳一些。比如说，20世纪晚期的作品，也有人给我写了一些作品，我会在明年演奏。但总有一段时间，我必须忠诚于我的口味。如果我不喜欢音乐的风格，我就觉得我不可能为观众弹得很好，那么，为什么还要去弹呢？ 你怎么看待现代作曲家们呢？[/COLOR] 确实有很多吉他作曲家，他们写了很多非常好而且更接近观众的作品。吉他演奏家通常更理解吉他这件乐器，尽量使其好听些。另一方面，许多作品并没有使吉他听起来更美妙。60年代的古典音乐作曲家几乎脱离了观众。现代艺术，比如说绘画，却超前得到发展。艺术家们把观众带着和他们一起向前发展，但在某种意义上讲，音乐不太可能做到这一点。 你改编了很多作品。你是怎么做的？[/COLOR] 我喜欢尽量地忠实于作品的原作者。但有时，你需要去掉一些音符，以使其在吉他上听起来更好些。但应该去掉哪些音符呢？我希望改编那些不易受到改编而影响的作品，移植到吉他这件乐器上演奏。我出版了巴赫的一些作品，大量斯卡拉蒂的作品。如果有人用的话，他们应该拿到原作，对比看看我做了些什么改动，而不仅是去演奏我所改编的东西、仅把它作为一个基本作品。判断我是否改编得正确。不要相信任何人[大笑] 你是为何以及怎样为《大卫·罗素演奏巴赫》这张专集进行选曲的？[/COLOR] 巴赫作品中，有一些我非常喜欢的。我想根据我的爱好录制前奏曲、赋格以及快板[改编于第46页]；《恰空》；《第四鲁特组曲》。总是有我一直喜欢的作品，如果你喜欢的话，我想以我的方式和个人观点去演绎他们。 你是怎么做好录音准备的？[/COLOR] 现在很长时间内，我的唱片一直是单一作曲家或单一风格的。这给我很大的好处。比如我决定录制巴利奥斯。意味着我可以在一年或6个月内去学习他创作的东西，务实地把自己投身进去读他的作品。我还确保自己看了一些作品抄本，并和他的一些老同学见面。所以当我真正地做唱片时，我有了更多的自信，我感觉到自己在做些什么，而是是不是在做其他的事情[大笑]。至少我喜欢“好啊，我现在我知道该怎么演奏巴利奥斯了”。 你1998年的唱片《海的信息》，收纳了你对凯尔特人传统音乐的改编作品，有些脱离你自身了。[/COLOR] 是的，自学生时代开始，我一直在演奏苏格兰和爱尔兰人的音乐作品。我与两个贝司手演奏这些小东西，演奏大量此类音乐。这些改编是我很久以前就开始做的东西，然后就继续发展。一开始，我并不知道是否足够作为一张专集，于是我加入了一些比如索尔的《苏格兰主题与变奏》，很有趣。将有一天，我可能会做凯尔特人专集二，因为我喜欢。 你的新专集《 Aire Latino,》将选入大量的南美作曲家作品。会有哪些呢？你能特别说明吗？[/COLOR] 这些作品的许多曲目多年来一直在我的节目单上了。为了这张CD，我录了一些著名的古典作品，比如巴里奥斯的《乡愁的肖罗》是我以前没有录过的作品。有些作品非常接近南美的流行音乐，比如《La Quartelera》以及Manolo Escobar所写的《Chopi》有些不一样，你必须把弦调弦到E大调(E G# B G# B E)。我倾慕Jorge Morel的作品有多年了，因此把他的作品录制在这张专集上。 Jorge Cardoso改编的《Alfonsina y el Mar》烈有非常强的阿根廷色彩，确实很不错。这张专集我仍然要强调的是，我花了好多个月演奏和听拉丁美洲音乐。 是什么激发着你一直在做这些东西？[/COLOR] 旅游，去新的地方，这是一方面。今年，我和妻子去了中国、香港和许多其他地方。我认为对那些喜欢在公共场合演奏的人来说，是有点上瘾了。我需要锻炼，因为我想再次回到舞台上，我一直练习着。我希望在早上起床的时候，有足够理由拾起我的吉他。我还设想找其他可能会感兴趣的工作，但没有找到。

[此贴子已经被作者于2003-12-18 20:12:47编辑过]