鋼琴家許惠品 5月以國演出

• 2012-02-06 20:51

• 新聞速報

• 【中央社】

    　以色列海法交響樂團（New HaifaSymphony Orchestra）今天與台灣青年鋼琴家許惠品簽約，預定5月合作演出3場音樂會。許惠品將擔任貝多芬第一號鋼琴協奏曲的獨奏者。

    　中華民國駐特拉維夫辦事處表示，海法交響樂團是以色列數一數二的樂團，素負盛名，其音樂總監謝里夫（Noam Sheriff）數十年來在以色列及國際樂壇享有崇高的地位。

    　謝里夫去年獲得以色列最崇高的以色列獎（IsraelPrize）。台北市立交響樂團已獲謝里夫首肯，預定今年底赴台擔任客席指揮。

    　許惠品畢業於國立台北藝術大學，獲管絃樂指揮碩士學位，目前是紐約市立大學鋼琴演奏博士候選人，曾於2004年維也納愛樂與日籍指揮大師小澤征爾訪台時，接受現場指導而受矚目。1010206

台北藝大5.1音樂會 眾多行家聯袂獻藝

【大紀元4月27日訊】(大紀元紐約訊)一群畢業於台灣國立台北藝術大學的旅美音樂家，將於5月1日(週五)在紐約市的卡內基音樂廳中之懷爾演奏廳 (Weill Recital Hall)，舉辦雙鋼琴與打擊樂的聯合音樂會，演出曲目包括三首台灣作曲家的樂曲及東歐名家之經典作品。歡迎僑胞前來欣賞。

據介紹，許惠品和水啟明將演出作曲家徐頌仁教授的「落大雨主題變奏曲」與陳茂萱教授之雙鋼琴作品「敘事曲」。甫獲福爾摩沙作曲比賽大獎之新銳作曲家陳欣蕾，也特別為本次音樂會譜寫新曲。徐惟恩、許書豪、謝家豪、王珮芬將聯手演出匈牙利作曲家巴爾托克（Bela Bartok）經典作品「雙鋼琴與打擊樂奏鳴曲」。此曲因編製龐大，演出機會不多，愛樂者不容錯過。

另外，鄭佳姍、陳永禎將演出俄國作曲家拉赫曼尼諾夫（Sergei Rachmaninov）的「第二號鋼琴組曲」，柯幸吟、張筱靈將演出波蘭作曲家魯托拉斯基（Witold Lutoslawski）的「帕格尼尼變奏曲」，此兩曲亦是雙鋼琴曲目中之代表作，技巧艱難，精彩可期。

這些音樂家們本著熱愛古典音樂的熱情以及推廣台灣近代作曲家之作品的責任，自今年開始，從西雅圖、洛杉磯、愛荷華、飛進紐約，期盼共襄盛舉這難得的第一次校友音樂盛會，目的是薪火相傳，幫助年輕一代的音樂家在美國的學習更加順利，能回國後奉獻國外所學的點滴，給台灣更良善的音樂教育，進而提升台灣音樂在國際上的地位。

購票請至卡內基廳（57th Street and Seventh Avenue; (212)-247-7800），或直接於卡內基廳官網購票（http://www.carnegiehall.org）。票價30元；學生或年長人士可在卡內基廳票房購買折扣票券 20元。購票與訊問請洽﹕徐惟恩 (646)-696-6454 或蔡其蓁 (848)-667-3198。(http://www.dajiyuan.com)

美東時間: 2009-04-26 23:44:37 PM  
本文網址﹕http://www.epochtimes.com/b5/9/4/27/n2507869.htm

北藝大校友全美音樂會巡演

[人間福報 2009/4/15]

【記者郭士榛台北報導】一群來自台灣、畢業於美國頂尖音樂學府的音樂家，將於五月一日在紐約市著名的卡內基音樂廳中的懷爾演奏廳，舉辦雙鋼琴與打擊樂的聯合音樂會，曲目包括當代台灣作曲家代表作與東歐名家經典作。

演出者都是畢業自北藝大，他們先後來到美國各音樂學院攻讀博士學位或高等演奏文憑。

基於對古典樂與台灣作曲家作品熱愛，決定今年起，在全美各表演藝術重鎮舉辦「國立台北藝術大學校友音樂會」。五月一日在曼哈頓卡內基廳的音樂會，將是系列音樂會的第一場。

美國首演三首台灣作曲家的樂曲；許惠品、水啟明將演出作曲家徐頌仁的「落大雨主題變奏曲」與陳茂萱雙鋼琴作品「敘事曲」。甫獲福爾摩沙作曲比賽大獎之新銳作曲家陳欣蕾，也特別為音樂會譜寫新曲。

此外，徐惟恩、許書豪、謝家豪、王珮芬將聯手演出匈牙利作曲家巴爾托克經典作品「雙鋼琴與打擊樂奏鳴曲」。鄭佳姍、陳永禎將演出俄國作曲家拉赫曼尼諾夫的「第二號鋼琴組曲」，柯幸吟、張曉玲將演出波蘭作曲家魯托拉斯基的「帕格尼尼變奏曲」，兩首都是雙鋼琴曲目中代表作，技巧艱難。

購票請直接於卡內基廳官網購票（http://www.carnegiehall.org）。

台北藝大校友 卡內基合奏

世界新聞報 紐約訊

04.21.09 - 11:00 pm

國立台北藝術大學校友為推廣台灣音樂，定5月1日（周五）在卡內基音樂廳舉辦一場鋼琴和打擊樂的音樂會。

這次演出的音樂家，都是在台灣土生土長，由台北藝術大學畢業後，留學美國、英國、俄國等地，後來又輾轉來到美國。他們本著熱愛古典音樂及推廣台灣近代作曲家作品的熱情，自掏腰包，從西雅圖、洛杉磯、愛阿華州等地遠程飛來紐約，參加難得的第一次校友音樂會。4月初先在新澤西舉辦四場募款音樂會，得款1976 元，尚需約3000元，才能平衡卡內基音樂廳的場租、樂器搬運、海報、節目單印刷等支出。

5月1日的音樂會在卡內基的威爾廳 (Weill Recital Hall)，有雙鋼琴與打擊樂，包含三首台灣作曲家的樂曲，為美國首演。許惠品和水啟明將演出徐頌仁的「落大雨主題變奏曲」與陳茂萱之雙鋼琴作品「敘事曲」。另有一首甫獲福爾摩沙作曲比賽大獎之新銳作曲家陳欣蕾的新曲。

此外，徐惟恩、許書豪、謝家豪、王珮芬聯手演出巴爾托克（Bela Bartok）經典作品「雙鋼琴與打擊樂奏鳴曲」，此曲因編制特殊，演出機會不多，不容錯過。鄭佳姍和陳永禎表演拉赫曼尼諾夫（Sergei Rachmaninov）的「第二號鋼琴組曲」，柯幸吟和張筱靈演出波蘭作曲家魯托拉斯基（Witold Lutoslawski）的「帕格尼尼變奏曲」。

門票一般30元，學生耆老20元，購票可至卡內基音樂廳（57街夾七大道），電話（212）247-7800，網址：www.carnegiehall.org，或查詢徐惟恩（646）696-6454、蔡其蓁（848）667-3198。

指揮家競技 3台青勝出
林恆毅、許惠品、丁肇文將在明年季音樂會獻藝

【亞特蘭大訊】喬治亞州莫瑟大學(Mercer University)18日宣布今年第六屆國際交響樂指揮音樂營及指揮大賽的三名優勝得主，林恆毅、許惠品及丁肇文。這三位青年指揮家都剛好來自台灣，這三名指揮均獲邀擔任明年季音樂會，莫瑟市交響樂團(Mercer Symphone Orchester)的客座指揮。

這次的指揮音樂營及指揮大賽有來自美國、英國、日本、加拿大及台灣等地的14名指揮家參賽。參賽者須送交自己演出指揮交響樂團的DVD，經主辦單位檢核後通知晉級，最後主辦單位自全世界晉級者中選出14名指揮好手參加為期5天的音樂營，就室內樂、管弦樂、交響樂等曲目進行指揮研習，最後舉行公開音樂會接受評比。

主辦單位經過仔細聆聽與討論後，本月18日宣布林恆毅、許惠品及丁肇文等三名優勝者。

來自台灣花蓮的林恆毅目前是花蓮交響樂團的專任指揮。他表示，交響樂團成員多是該校音樂系教授，功力高強，演出時完全依照指揮進行，如果指揮的能力程度不高，能讓指揮當場難堪無以為繼。

許惠品獲有台北藝術大學指揮碩士學位，有多次國際指揮演出經驗，曾師從指揮名家小澤征爾，目前在紐約市大學主修鋼琴。

丁肇文去年曾在捷克、羅馬尼亞、匈牙利等歐陸國家巡迴指揮演出，目前是莫瑟大學湯森音樂學院(Townsend School of Music)碩士學生，也是莫瑟/梅崗青年交響樂團的客座指揮。

大師一堂課 北藝大收穫多 (2004/03/02 民生報)

【記者黃寶萍／報導】

指揮家小澤征爾昨晚為台北藝術大學音樂系管弦樂團的學生舉行大師班，但與其說他教導學生如何指揮、演奏，不如說他教學生如何用呼吸、如何用情感與音樂融合，然後將布拉姆斯的「第一號交響曲」，開展成一座山。當學生在他的引導下漸入佳境，小澤征爾說：「現在是一幅不同的圖像！現在有了不同的音樂了！」

小澤征爾 先前在北京的大師班前後只有廿分鐘，昨晚雖然身體不適，仍指導一小時，結束時，他不斷吐舌頭，顯得相當疲累，但全場歡聲雷動，不少師生帶著樂譜做筆記，大家直喊：太過癮了！

小澤征爾約於晚間七時抵達，台北藝大音樂系安排去年畢業的許惠品擔任指揮，與管弦樂團演奏布拉姆斯「第一號交響曲」第四樂章。小澤毫無架子的坐在管樂聲部旁，引起一片笑聲。

樂聲響起，小澤側耳傾聽；十分鐘後才打斷，對許惠品說：「對我而言，布拉姆斯的音樂像是個大胖子，不像妳這樣苗條。」小澤不斷做出挺著大肚子的手勢，然後他要學生跟著他呼吸，他說：「讓你的音樂跟著呼吸走！」並不斷提醒許惠品：「多給他們一些關於氣的概念。」他說起自己與潔西諾曼合作的經驗，諾曼的氣息之長雖然大家不能及，「但布拉姆斯也要跟著呼吸走！」

小澤征爾告訴許惠品：「妳可以做任何事，不只是動手。」他跺跺腳、搖晃身體，「妳必須要用耳朵、用心聽，而不是用手聽！」小澤形容指揮就像開車，不是盯著眼前的方向盤，而是眼觀四方。學生在他的帶領下，逐次琢磨，「一座山在遠方，不是在眼前。」小澤做出手勢，要大家開展出一座遠山。

小澤又說：「我要告訴你們一個更高層次的，那就是感受（feeling）。感受對我而言，就是所有。表現布拉姆斯浪漫派時期的音樂，感受極為重要。」他帶領學生重演第四樂章，不斷提醒何時該轉換情緒感受，要忘記節拍，全神貫注於樂曲，「因為我們是演奏者，感受是更重要的。」

OZAWA REHEARSES

Prof. Richard Schechner

Taipei, 1 March 04

Beautiful concert hall at TNUA for Seiji Ozawa’s rehearsal of the symphony with students. Never seen such a magnificent hall for students.

The orchestra—at least 90 members—are 90% women, young women. Maybe more. I can see only 2 men. The future of music, of the arts, is women; and maybe the future of symphonic music is Asian women.

I wonder if there is any reciprocity here. How would it be to be in, say, Berlin watching an all-European kabuki troupe being rehearsed by … who would Ozawa’s counterpart be? It would appear strange. It is still “exotic” for Westerners to very seriously perform Eastern arts (or African, or anything non-Western). But not the opposite. Ballet, symphonic music, spoken drama…all now belong to “the world” and not just to the West. Is this post-colonial? What does it indicate.

At present the cacophony of the orchestra tuning up. The hall is half-full. People have been invited to listen to the rehearsal. At first, they seated us VIPs in the balcony, very far from the stage. But I resisted and went downstairs, where I am now sitting in the 6th row – I chose the stage right so that I could watch Ozawa. Someone, not him, is now talking to the orchestra. Everyone is quiet onstage, listening. The audience however is chattering. We await the master.

But it isn’t the master who takes the podium. A young woman is up there, conducting the orchestra in … I don’t know what, something symphonic and lyrical. The room is quiet, but outside in the hall, still some talking. The richness of the sound is overwhelming, rich like gravy. A man appears on stage left and indicates to the booth. Then the stage lights come up. The house is also fully lit.

The orchestra sounds terrific. I am not an expert, but it all sounds as perfect as can be.

It is 6:20 pm here.

The music is very familiar, though I can’t name it. Brahms, I think; maybe a movement from the First Symphony. Yes, it is that great lyrical melody I used to pick out on the piano. It flows over me like warm water, a comfort from the great black grand piano on Renner Avenue, and the musky dark afternoons when I hung over that piano and picked out this melody –and the 4th movement of Beethoven’s 9th.

Now the brass enters and meets the strings. This orchestra 12 cellos, 7 basses, and I don’t know how many violins, in the 30s at least. Near the back of the semicircular stage are the woodwinds, the drums, and the brass. For the most part, under the young woman’s confident direction, the orchestra is restrained, but now and again -- this very instant – it bursts forth in all its magnificent and profoundly stirring strength.

Everyone of these players is young, some very young – can’t be out of their teens. The conductor, her back is to me, I can’t tell how old she is, but not out of her 20s. Yet the orchestra is as good as any I have hear; not that I have heard that many live. And the richness of the wood paneled hall makes the sound go super rich. Everything in the hall is beige, the wood, the carpet the seats. And mostly all wood, even the seats. People keep streaming in. It is nearly full now.

The whole orchestra is dressed in black – pants and blouses for the women, shirts for the men. Some with short sleeves, other with long sleeves. Black shoes. Everyone’s hair is black or dark brown. All the hair is straight. But they all look very much alike. It is so uniform, like the music itself: symphonic.

The only touch of color I see: the pink in the barrette holding the dark brown hair of the conductor in place, forming a cascading broad rush of hair down her neck. Now in mid-phrase a man comes to the carter and stops them. The orchestra applauds. It must be Ozawa. He was the man who was there before. No it is not Ozawa. “This is the Taiwanese teacher,” the man next to me tells me. The orchestra gets up and leaves the stage. On the floor are cellos laying on the floor, and the 7 basses, with the women still holding them as a friends takes their photo. Then  they set their instruments down also. The stage lights dim. The crowd assembled chatters. The hall is 90% full.

It is 6:34.

At 6:45 a woman comes onto the stage and announces (in Chinese) that Ozawa is ill, but he will arrive at 7pm.

At 5:55 the orchestra reassembles onstage. The first violinist leads the tune-up. Her chair is the first on the stage right of the podium. We await the master. Suddenly, silence. 6:58. Then, when nothing happens, the orchestra begins to tune-up again, the audience talks again. Now the assistant conductor arrives. The stage right door is opened … the orchestra quiets again … then tunes up again … the door is shut. 7:01.

Door opens again. Chinese teacher enters, crosses to the stage left door. Orchestra quiets. He tries to open the door, but the stage left door is locked. At last it opens. And Ozawa appears – the crowd goes wild. He is wearing a bright orange scarf. The only touch of color on the stage. 7:05.

He stands to the stage right, goes behind the orchestra. A woman on the mike explains in Chinese that Ozawa speaks Japanese and not English. The woman conductor mounts the podium. Ozawa is now center orchestra. He speaks to her. “Fourth…” something. Someone brings Ozawa a chair, but he rejects it, and sits next to a player, back in the brass. The music begins. 7:08.

It sounds the same as before, as pre-Ozawa. But the room is so quiet I can hear my typing – and then the music swells and my e-noise is washed away. I don’t know the music. Lots of picattos, a little brass. They are fiddling with the lights. Houselights down. Again, the music moves to something very familiar, but I don’t know what. I think it is Dvorak, New World Symphony, or something like that. Or it may be the Brahms again, a part I can’t quite place.

Whatever it is, it is lyrical and beautiful. I think it is the Brahms. Ozawa is standing near the back, his orange scarf just blazing against the beige, browns, and blacks. Yes, it is the Brahms again. I will stop this infernal recording and just listen. 7:13.

7:16, Ozawa comes forward, stops the playing. He speaks to the conductor. “Ping? Ping,” he says, getting her name. “You hear me?” “Yes,” says the crowd. Ozawa has a mike and is speaking. He sets his orange scarf down on the podium. 

“Brahms music to me is … is … to make more how you call … nice … to do this, most important is breath.” He breathes for them. He flutters his fingers. “Can I hear this beginning … the cello part, the melody with cello … yeah. Three bars before, H.” And they begin again.

Ozawa is such a slight birdlike man. He looks like he weights nothing His glasses are set on his nose. He takes his glasses off – “I never do this kind of thing in front of people. I may use terrible words. I have no nice words to teach … I work with you [orchestra] a little later, but now I work with her. Conducting is not necessary from … “ He conducts with her. “You can do anything!” he says to the conductor. He thrusts his hands and conducts with her. He stamps his foot to show the rhythm. He stands behind her and moves her body – then he takes over the orchestra, he draws it out of them – he points, he breathes, he really lives the music. Extraordinary. ”Take breath! You understand breath.” He keeps saying to us listening, “Please forget what I say.” He is split between orchestra and us. “Before I start, I take breath, much earlier – you must breathe with music, you must…because this music.” Ozawa shows how the conductor breathes into the music, leads the music, breathes life into the orchestra.

“What I want to say is don’t take breath like this … [shallow] for this music …” “Take breath with me,” he says to a cellist. Then to another. “Before you play, with me, take breath.” “Einz, zwei, drei” he counts in German. “Lady don’t take breath. I need you take breath.” He goes to each cellist. “You play with this arm, idea is…you don’t have to take actual air … but you must think, breath.” He has them play over and over the first phrase of the swelling part of this movement. The Chinese interpreter explains in Chinese what Ozawa says in English and a bit of German.

“Take breath with me … take breath.” He keeps repeating this. He now works with the violins. “Everybody, everybody.” “Then, take breath, so …” and he breaths, moves his body up and down, he really lives inside the music, dances it. His small body curls with the music he gets round, rises up, goes down. And there is great strength in his downward strokes. He sits on the podium. “Please don’t forget breath.”

Conductor does ok, but she can’t really drop into the action as Ozawa does. She is still outside it. He listens, stands and points. He really conducts. She leads.

I think: What would directing be, if I stood there and directed while the actors played – or directed the directors I am training.

He looks at the orchestra. “I take breath, you take breath, too. Winds must take breath. Strings, too. When you take breath, then relax. Idea.” He turns to conductor, “You take breath.” “I show you.” He does so; curling into the music, really shaping it. “I took breath, and some people still not take breath.” His shoulders and upper back are round, then it straightens out, his left foot is planted, his right heel rises. When he extends his body, he really extends it.

“With me, also air.”

His long hair is steel gray.

He leans in to the orchestra. He laughs. Everyone in the room laughs. The orchestra does the picatto. Ozawa likes it. “Yes, this is calm. How you say it? calm.” 

He wants it still calmer. “How you say, soft?” He intensifies his gestures as the music intensifies. He really is living the music and the orchestra feels him living the music and therefore plays more truthfully. “You must listen more. More energy here [points to head], not here [to wrist]. “Vibrato … more vibrato!” “This is very difficult.” He has the conductor touch his abdomen so she can feel his breath. He stands to her side and guides her hand. The orchestra plays through the vibrato into the lyrical. Ozawa steps off the podium, watches, and with his hands and body is with the conductor. He approaches the podium, puts one foot up, “Air, air,” then down, as the music swells. But clearly, the conductor does not have her full body invested. Ozawa noisily stamps on the podium. He is not afraid to make noise even as the orchestra makes music.

Does he do this when he is really conducting? How much is he performing for the 800 people here in the hall watching and listening?

What is clear is that his whole body is invested in the music, not just his arms or his mind. “A big mountain,” he says of the next musical phrases. He gestures out to the whole hall, as if the mountain of sound must rise and lift it. And it does. He turns back to the orchestra and leads them toward the hall. The music swells, it really grows.

7:45.

Sometimes he wears his glasses, sometimes he sweeps them off his eyes and they fall onto this chest, held by a string. In his left hand he holds the mike.

We get to the famous part of the movement. Ozawa stops the orchestra immediately. “You must invite …” He gestures pulling the sound from the orchestra. “You must invite.” He makes eye contact with particular players – a cello over here, a violin over there …; he moves with them, he points with a finger directly at someone. Everyone watches him. They are really being led, shaped. He sings the melody. It is full. He sings it without tone. “No,” he says. Then sings again, richly. He moves among the orchestra as they play, he stamps, speaks, urges them forward. He is not afraid to make sound with the music.

“Now is a different picture. No mountain. Now is clear from this part.” Where the sound gets very big. “How you say, this bone?” The spine. He touches the conductor – then stands next to her, conducting with her. The orchestra blazes forth, much stronger than before. Crisper. More exactness, more volume – together. More contrast between loud and quiet, swelling, full, rising, filling the room. Ozawa’s arching and waving body, leading them. “Sing! Sing! Listen … ah, ah …” his body shudders, He roars, “Ayy – yahh!” He dips his body low. He listens. His head shakes with the music, he points, his right fist trembles, he implores, and then, quite suddenly, he stands still, and then pushes back in, stamping, and crossing his arms back and forth, arches and tucks his belly in as he takes a great breath. The Brahms is coming through him. It lives in him, and he in it. Amazing.

He thrusts, stamps, coils. He is not listening to the music, he is making the music. The orchestra is making the sound from which Ozawa makes the music, through and with them.

He taps his right leg in time with the music. The Brahms sounds like a great roar of river and sea. It pauses, extends, and then rolls, rises and flows – pure liquid sound. Ozawa paces the front of the stage, comes to right behind the conductor, stops. She is still working mostly with her hands, lower arms, and maybe face (I can’t tell for sure, she is facing away from me.

“I said before breath, now feeling is important.” 

8:05. He moves forward in the score. My battery is running low. The extraordinary session continues – but with roughly the same kind of involvement as before. What is amazing, is Ozawa’s total bodily involvement. “When you think feeling is important … forget ‘1,2,3,4’ – I am sure Brahms doesn’t write ‘1,2,3,4’” The feeling, the interiority, the copororality of the music – this is what Ozawa emphasizes. But of course, you have to earn this entry into the world of feelings. Technique mastered, feelings are allowed. “For you, for me, that feeling is …. ahyahayah…” He leads now, he sways back and forth, he rises, he falls, he advances toward the orchestra and then draws back from them, he curls then extends. The music is so much in his body!

“Wait for me,” he tells the orchestra, extending their sound further maybe than Brahms scored it. He nods to the conductor. He takes her arm and guides it. He stands next to her, behind her. Then he steps one leg down from the podium. He glances at his watch. 8:11.

He saws his hand violently as if he were playing a violin. He walks up and down the stage. On the cello side he stamps his foot. Then he creeps back toward the podium. “Listen!” he says insistently. He paces. He nods his head in rhythm to the music.

“That is very difficult, but we must do it before we go home.”

Ozawa has them play the concluding bars of the symphony. It’s over. The audience breaks into roars. After the applause, a bouquet of flowers. Ozawa sits on the edge of the stage. He applauds the audience. He puts on his orange scarf. The interpreter says that anyone wanting to take pictures can. Lots of people do. Another roar of applause and cheers as Ozawa, smiling, goes off stage left.

8:16.

大師看大師 小澤的排練 

【謝喜納／文  劉慧謹／譯】

前言

當代戲劇大師謝喜納（Richard Schechner）目前在國立台北藝術大學客座講學，三月一日參加了在校內音樂廳舉行的小澤征爾工作坊，有感而發，拿起手邊的筆記型電腦清楚地記錄現場的詳情。一個世界級的戲劇學者看台灣的音樂學生接受小澤大師的指導，從聽眾漫長的等待大師，到工作坊結束，謝喜納都一一道來。這篇文章不經意的對於台灣音樂教育的一個片段做了重要的記實。

小澤征爾來台北藝術大學指導學生排練交響曲是在非常漂亮的音樂廳舉行。我從未看過如此華麗壯觀的學生音樂廳。

這一個至少90人的管絃樂團90%是女生，年輕的女生，比例也許更高。從我的位置只看到兩個男生。（譯者註：團員81人，男生17人）音樂與藝術的未來是屬於女性的；也許交響樂的未來是屬於亞洲女性的。

我懷疑這件事有沒有任何對等的交流。想像如果在柏林，看全部是歐洲人組成的日本歌舞伎由一個歐洲人來排練（有什麼人可與小澤對等？）那會很奇怪。目前，由西方人很嚴肅地演出東方藝術（或是非洲，或是任何非西方藝術）仍然是很奇怪的。但反之則不然。芭蕾舞、交響樂、話劇…現在都是世界性的，而不只是西方的。這是不是後殖民？這象徵什麼。

等待大師

現在樂團正在調音。音樂廳坐半滿。民眾被邀請來聽排練。本來他們邀請我們貴賓坐在包廂，離舞台很遠。但是我拒絕了，並且下樓來，現在我坐在第六排靠右邊以便看得到小澤。有一個人，不是小澤，正在對樂團說話，台上每一個人都安靜地聽。聽眾仍在閒聊。大家等待著大師。

但那並不是大師在指揮。一個年輕的女生在指揮樂團排練…不知是什麼，像交響曲的而且抒情的。廳內安靜下來，但廳外仍有講話聲。渾厚的音響令人震撼，濃厚得有如醬汁。一個男子出現在舞台左邊對控制室作手勢，舞台燈開了，整個廳也全亮了。

樂團聽起來非常的棒。我不是個專家，但是聽起來就是如此完美。

現在是6時20分。音樂聽起來很熟悉，雖然我叫不出曲名。布拉姆斯，我想；也許是第一號交響曲的一個樂章。是的，這就是那段很棒的抒情旋律我曾經從聽鋼琴的彈奏中認出來，這感覺有如溫暖的水流過全身，一個來自雷那街那台平台鋼琴的美好回憶，在那個昏暗的午後我認出這段旋律，還認出貝多芬第九的第四樂章。（譯者註：兩首曲子有相當關聯）

現在管樂加入弦樂的演奏。這個樂團有12把大提琴、7把低音提琴，和不知幾把小提琴，至少三十幾把。在半圓形舞台靠後面是木管、打擊樂、和銅管。在這位年輕女生有自信的指揮之下，樂團大部分時間都控制著音量，但是有時，就像現在，它爆發出最宏亮的音響並且深刻地融合在一起。

年輕的樂團

每一個團員都是年輕的，有的非常的年輕，不過十幾歲。指揮背對著我，我說不出她的年紀，但也不過二十幾歲。然而這個樂團與我所聽過最好的樂團一樣棒，雖然我沒有聽過太多次現場演奏。主要為木質的大廳使得聲音聽起來特別渾厚。廳內所有的東西，木頭、地毯、座椅都是淡棕色的，而且幾乎全是木質，甚至座椅。聽眾繼續湧進來，現在幾乎坐滿了。

全部的團員都穿著黑色，女生穿長褲與上衣，男生則是襯衫，有的短袖，有的長袖。黑鞋。每一個人的頭髮都是黑色或深褐色的，全是直髮。大家看起來都很像，很整齊，就像演奏出的音樂一樣和諧。

我看到唯一明顯的顏色是指揮髮夾上的粉紅色。音樂進行到一半，有一位男士上前喊停，團員歡呼。那一定是小澤。他是原先就出現過的人。不，那不是小澤。我旁邊的人告訴我那是台灣的老師。團員站起來離開舞台。舞台地板上橫放著大提琴，七位女低音提琴手仍然拿著樂器讓一位朋友為她們照相，之後她們也將提琴放下。舞台燈暗下來，聽眾都在聊天，廳內已九成滿。

現在是6時34分。

6時45分時，一位女士上台宣佈小澤生病了，但他約7時會到達。

6時55分，樂團在台上集合，首席小提琴帶領調音，她的座椅是台上最靠近指揮台的。我們等著大師。突然，安靜了。6時58分。然後，沒有動靜，樂團又開始調音，聽眾又開始講話。現在助理指揮到達。舞台右側的門打開了，樂團又靜下來，再次調音，門又關了。7時1分。

吸氣！

門又開了，台灣的老師進入，走到舞台左邊，他試著開門但是打不開。最後門終於開了，小澤出現，大家為之瘋狂。他戴著一條亮橘色的圍巾──舞台上唯一明顯的色彩。7時5分。

他站在舞台右方，樂團的後面。一位手持麥克風的女士解釋小澤一緊張就會冒出日語。女指揮走上指揮台。小澤來到中間，對她說話，好像是「第四…」。有人拿一張椅子給小澤，但他不要，他坐在後方銅管的旁邊。音樂開始。7時8分。

音樂聽起來跟小澤來之前一樣，但是廳內安靜到我聽得到自己的打字聲。隨著音樂聲漸強，我打電腦的雜音被蓋過。我不認識這首曲子，很多撥弦，一點點管樂。場燈的亮度暗下來。再一次的，音樂行進到熟悉的片段，我不知道是哪一首，我想是德弗乍克的新世界或什麼的，或者又是布拉姆斯我不熟的一段。

不管是什麼，聽起來抒情又優美。我想是布拉姆斯。小澤站在樂團後面，他橘色的圍巾鮮明地對照著四周的淡棕色、棕色、與黑色。是的，就是布拉姆斯。我要暫停這討厭的記錄好專心聽。7時13分。

7時16分，小澤上前，喊停。他跟指揮講話，「品？品。」他試著說出她的名字（許惠品）。「你們聽得到我嗎？」─「聽得到！」聽眾回答。小澤拿著一個麥克風講話。他把圍巾放在指揮台上。

「布拉姆斯的音樂對我來說是…是…如果要做得更好，最重要的是吸氣。」他為大家示範了吸氣。他擺動手指。「我可以聽一下最前面大提琴的旋律嗎…對，H前三小節。」他們重新開始。

小澤是一個如此纖細的人，像隻小鳥，他看起來好像完全沒有重量，他的眼鏡掛在鼻子上。他把眼鏡拿掉，「我從來沒有在眾人面前作過這樣的事，我可能會用很糟的話語，我對教學講不出適當的話語。我等一下再指導各位團員，現在我指導她。從這裡開始不需給拍子（他跟她一起指揮），指揮可以做任何的事情。」

他伸出雙手跟她一起指揮。他以頓足來打拍子。他站到她的後面，他移開她，接手指揮樂團，他把音樂帶了出來，他給拍子，他吸氣，他真的進入音樂中。真是神奇。「吸氣！你們懂吸氣的。」他不斷對大家說：「請忘記我說的話。」他介於樂團與聽眾之間。「當我要開始指揮之前，我先吸氣，很早就吸。你必須與音樂一起呼吸，你必須，為了這個音樂。」小澤示範指揮如何吸氣進入音樂、帶領音樂、將生命帶入樂團。

「我想要說的是這首音樂不要這樣吸淺淺的…」「跟著我吸氣，」他對一位大提琴手說，然後再對另一位大提琴手說。「在你們開始演奏音樂之前，跟我一起吸，一、二、三。」他用德語算拍子。「小姐，現在不要吸氣」「我需要妳現在吸。」他指點每一位大提琴手。

「你們用這一個手臂拉琴…吸氣的原理是…你們不一定要真的把空氣吸進去，但是一定要感覺吸氣。」他讓樂團一次又一次的排練這個樂章轉為雄壯的第一個樂句。現場翻譯者以中文解釋小澤剛剛說的英文和些許德文。

「跟著我吸氣…吸氣」他持續重複著。現在他指導小提琴部分。「每一個人，每一個人，」「然後，吸氣，這樣…」然後他呼吸，身體上下擺動，他真的活在音樂中，舞出音樂。他纖細的身軀隨著音樂彎曲、旋轉、上升、下沉。他的下擊指揮有極大的魄力。他坐在指揮台，「請不要忘了吸氣。」

他真正指揮

女指揮表現得還不錯，但她無法像小澤那樣完全投入動作中。她尚未熟練。小澤仔細聽、停、指，他真正指揮。她只領導。

我思索著，如果是導演，情形會是怎樣。如果演員一邊演我一邊導，或是我在台上指導那些我的學生如何導演？

他看著樂團，「我吸氣，你們同時吸氣。管樂需要吸氣，弦樂也需要。先吸氣，再放鬆，這是觀念。」他轉向指揮，「妳吸氣。我做給妳看」他吸氣，轉入音樂，確實修飾音樂。「我吸氣，但是有些人還是沒有吸氣。」他的肩膀和後背是彎的，然後伸直，他的左腳穩穩的站著，右腳跟不時抬起。當他伸展身體時，真的充分展開。

「跟著我，還是需要氣。」

他的頭髮是鐵灰色的。

他身體靠向樂團，笑了出來。所有人都笑了。樂團演奏撥弦樂段，小澤很滿意。「對，這才叫做安靜。怎麼說…安靜。」

他希望能夠更靜。「怎麼說…柔軟？」他的指揮動作跟著音樂的強度而增強。他真的讓音樂活了起來，而且團員感受得到他，所以演奏得更踏實。「妳必須要仔細聽，多一點注意力在這裡（指著耳朵）而不是這裡（指著手腕）」「抖音…多一點抖音！」「這是非常困難的。」

他讓女指揮碰著他的肚子以感受到他的呼吸。他站到她旁邊，引導她的手指揮。樂團奏完抖音的樂段而進入抒情樂段。小澤走下指揮台，看著，然後用身體與手跟著一起指揮。他靠近指揮台，一隻腳踏著台子，「氣，氣，」再踏下來，音樂走強。但是很明顯的，女指揮並沒有將全身都投入。小澤大聲的踏著指揮台，他在音樂演奏中也不在乎發出很大的聲響。

他自己指揮演出時也這樣嗎？這廳內有500人在看和聽，他有多少成分是在演的？

很清楚的是他全身內外都投入指揮，不是只有手臂或只有思想。「一座大山。」他說到下一段音樂。他畫向整個廳，好像如山的音響必須升起托住大廳。真的做到了。他轉向樂團帶領他們對大廳演奏，音樂膨脹起來，真的增強了。

他在做音樂

7時45分。

有時他戴著眼鏡，有時他脫下來，以眼鏡鏈掛在胸前。他左手拿著麥克風。

我們進入了這個樂章最有名的部分，小澤立刻喊停。「妳必須邀請…」他做了動作把聲音從樂團拉出來。「妳必須邀請…」他以眼神傳達給特定的團員，給這邊一個大提琴，給那邊一個小提琴…他身體跟著團員一起動，他用手指直接點特定的人。大家都看著他。他們真正的被引導，被修飾。他唱出旋律，以豐滿的聲音。現在他沒有出聲地唱。「不對…」他說，又開始唱，以渾厚的聲音。樂團一邊演奏，他在他們中間走動，他跺腳、講話，督促他們向前。他在音樂進行中也不在乎發出很大的聲響。

「現在是不同的畫面。沒有山。從這裡就清楚了。」當音樂變很大聲的時候。「怎麼說…這個骨頭？」脊椎。他碰女指揮，然後站到她旁邊，跟她一起指揮。樂團爆發出來，聲音比先前更強烈，更乾淨，更明確，更響亮…更整齊。大小聲更多對比，音樂膨脹、豐滿、升高，充滿了整個廳。小澤以彎曲擺動的身體引領著他們。

「唱！唱！聽…對，對…」他的身體抖動，他大吼「噯…啊！」他彎下身來，仔細聽，他的頭隨著音樂擺動，他指點，他的右拳顫動，他要求，然後，突然，他站直，然後再推進去，踏腳，手臂前後晃動，曲身縮腹以準備深呼吸。布拉姆斯通過他全身，音樂活在他身上，他活在音樂中，不可思議！

他推進，頓腳，曲身。他不是在聽音樂，他是在做音樂。小澤從樂團的演奏中做音樂，透過他們一起做音樂。

他跟著節奏踏腳。布拉姆斯的音樂有如江海在怒吼。音樂停頓、伸展，然後滾動、上升、流動…一鼓清流。小澤走到舞台前方，到女指揮的右側，停下來。她仍然主要用手、下臂，也許還有表情，來指揮（我不確定，她背對著我）。

放進感覺

「我已經說過吸氣，現在，『感覺』是非常重要的。」

8時5分。他跟著總譜繼續。我的電腦快沒電了。這一場很特殊的教學繼續著，但大都與先前的內容差不多，不可思議的是小澤的全身投入。「當你思考『感覺』是重要的，就要忘記一、二、三、四的拍子。我確定布拉姆斯並不是寫一、二、三、四。」音樂的感覺，音樂的內涵，音樂的本質，才是小澤所強調的。當然了，你必須努力才得以進入感覺的領域，技巧純熟才能放進感覺。

「對你們，對我，那種感覺就像…阿呀呀呀…」他現在引領著，他前後擺動，他升起，他降下，他趨前向樂團又退後，他弓身又展開。音樂如此的在他體內。

「等我！」他告訴樂團，拉長他們的音樂，也許比布拉姆斯寫的更長。他對女指揮點頭。他扶起她的手帶她指揮，他站在她後面。然後他一腳踏下指揮台，他瞥一眼手錶。8時11分。

他用力地拉鋸著手，有如他在拉小提琴。他上上下下指揮台。在大提琴這邊他踏著腳。然後他慢慢退到指揮台。「聽！」他用力說。他漫步。他跟著節奏點頭。

（女指揮有一點控制不住樂團，大家笑了出來。）「這裡很難，但是我們回家前必須要做完。」

小澤讓他們奏完這個樂章的最後幾小節。結束了。聽眾爆出歡呼。鼓掌之後，獻上一束花。小澤坐在指揮台上，他對聽眾拍手。他披上橘色披肩。主持人說想要照相的人現在可以照。非常多人照。當小澤微笑著從舞台左邊離去時，又一陣鼓掌與喝采。

8時16分。

【2004年3月民生報】

紐經處再出奇招 推出情繫福爾摩莎音樂會

中央社╱中央社 2007-02-22 07:01

(中央社記者黃兆平紐約二十一日專電)

駐紐約台北經濟文化辦事處長夏立言再出奇招，為增進位於曼哈頓高級地段辦公大樓的藝文氣息，提供大紐約地區年輕台灣音樂家演出並與主流社會互動機會，今起在經文處大廳舉行「情繫福爾摩莎」定期午間音樂會，吸引不少中外訪賓參與盛會。

首場音樂會特別選在今天大年初四中午舉行，由現就學於紐約市立大學博士班主修鋼琴的許惠品、主修大提琴的博士生黃韻璉、就讀茱莉亞音樂學院主修小提琴的林士凱及就讀紐澤西羅格斯大學博士班主修中提琴的陳猶明等人擔綱演出。

四位深具職業水準、來自台灣的音樂家，除彈奏貝多芬、海菲茲、現代探戈音樂之父皮亞佐拉、舒伯特、克萊斯勒等世界名曲外，配合農曆年，也演奏多首台灣民謠，氣氛愉悅溫馨，贏得在場百餘位聽眾一致讚賞。

喜好音樂、柬埔寨裔前美國駐聯合國副常任代表大使徐西泉暨夫人也特別抽空前來聆賞，除誇讚台灣學生的精湛演出外，會後還不忘上台小露一手。不少外籍友人更盛讚演出相當成功精彩。

夏立言表示，「情繫福爾摩莎─駐紐約辦事處午間音樂會」初期每兩週的週三午間十二點三十分到一時三十分在紐經處大廳舉行，五月份起配合季節每週三舉辦一次，希望提供四十二街鄰近商業大樓上班族一個午間休憩去處，也讓經文處新大樓成為台灣在曼哈頓的藝文活動中心。