http://www.youtube.com/watch?v=n0RDmomr_2c
愛樂電台專訪部分內容:
(愛莫瑞) : 我個人意見是音樂是眾多藝術裡只存在ㄧ次的音樂會，這不是你能添加任何成份或者再重聽ㄧ次，每ㄧ次都是不同的，你必須用不同的方式來看待每ㄧ次的演出。關於錄音問題，當錄音裡的演奏很棒時，這是非常好的，但後來所有的人就會開始用同ㄧ個方式來演奏，或者是變成那樣。這不應該是這樣的，(音樂詮釋)應該要一直是非常個人並且不同的。
My personal opinion is that music is one of these arts that are one time concert, it’s not something that you should you know add it or listen again, it has to be all the time different, you have to see it in a different way. The problem of recording is that when it’s excellent, it’s great, but then everyone starts to play it this way, or try as it. It’s not the way it should be, it should be always very personal and different.
(祐族) : 對我而言，如果我可以增加ㄧ些意見，那會是，對我而言，音樂必須是就像鏡子一樣反映生活的，無論在任何的型式系統下，如果生命一直是有始有終的，那音樂必須展現這部分。然後在某種方式下，如果你«冰凍»音樂，然後把她從她的時效因素裡拿出來，然後，在某一個角度上，你是扼殺音樂和生命之間的關係。
To me, if I can add something is that, to me, music has to be a mirror of some sort of life, of whatever system, if life has always a beginning and an end, music has to replicate that. And in a way, if you freeze music, and take out its temporal elements, then in a way, you’re killing the relationship between the music and life.
(祐族) : 愛莫瑞的意思是說這不是音樂的本質，這只不過是擷取工程，ㄧ個複製的東西。當然你可以這麼做，但我們並不把我們的精力放在錄音上。我們的中心理念是我們做的事、我們的藝術、我們的藝術是ㄧ個演出生活。 … 對於愛莫瑞和我，這是ㄧ個要放掉的因素，這只不過像是回憶般、你必須拋開然後放掉。如果你一直不斷的反覆回想所有的回憶，然後你將不會再有任何(新)的回憶。你活在現在，(而非)總是不停的活在過去的錄音，很多時候，忘掉然後重新從零出發會是好的開始。
What Amaury is trying to say is that is not really about the music, it’s the cited activity, a cited thing you can do with them, but we do not focus our energies on the recording as the centre of what we do, of our art, our art is a perform life. If it happens having a record then that’s good. For him and for me, there is an element of letting go, it’s like a memory you have to release and let go and sometimes if you keeping on testimony of all memory, then you don’t have any memory any more. You live in the presence all the time with all the recording of the past, sometimes it’s good to forget and start again from zero.
(愛莫瑞) : 我不排斥現場演奏錄音，這有例可循，尤其是在我的國家裡，當我在電台(現場)演出。其實我們在華盛頓甘迺迪中心演出時就是現場同步播出的。對我而言，ㄧ定要是現場直播。
I don’t mind a live performance recording, it’s been done especially in my country when I play on the radio there, we actually play live in Washington together in Kennedy Centre, there was broadcasted. To me, it has to stay in live.
合作緣起:
我們是被放在同一個四重奏裡，另外ㄧ個中提琴和大提琴手和他自己和我自己。我們被要求要演奏舒曼的鋼琴四重奏，(笑)然後我們就是和四重奏裡的其他人不合，除了我們兩人以外，結果我們就在四重奏裡演奏起二重奏的形式。然後我們知道我們有非常相似的音樂想法，我們決定不管四重奏，然後開始共同演出。
We were placed in a quartet, with a viola, and cellist and himself and myself, we were asked to play the Schumann piano quartet, and we did not get alone with anyone in the group, excepted both of us so, we ended up playing at duo inside of a quartet, so we knew that we had a very common musical understandings and so we decided to forget about the quartet and play together
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本帖最後由 Mademoiselle 於 2010-8-9 16:49 編輯 ]
