專(zhuān)輯目錄

1.?Postcard?to?Self
2.?La?Linea
3.?The?Breeze?and?the?Curtain
4.?The?Drifter
5.?By?the?Old?Schoolhouse
6.?Christmas?Waltz
7.?Watch?your?Step
8.?A?Magical?Place
9.?Nostalgia
10.?A?Night?in?Tunisia
11.?On?a?Cold?Winter’s?Night
12.?Misty?Morning?Sunrise
13.?Fata?Morgana
14.?Message?from?Home

微店購(gòu)買(mǎi) 掃一掃

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“冷門(mén)”音樂(lè)到底有多冷？

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聽(tīng)到這一類(lèi)的音樂(lè)，我總是會(huì)想到這個(gè)問(wèn)題：你真的喜歡這樣的音樂(lè)嗎？

中國(guó)改革開(kāi)放了40年，聽(tīng)到現(xiàn)代音樂(lè)也是90年代中后期了。“粗茶淡飯”吃了這么多年，牛奶咖啡能習(xí)慣嗎？

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2017WAGF音樂(lè)節(jié)期間，德國(guó)宗克告訴我：“我組建了一個(gè)組合，表演樂(lè)器是吉他和小提琴搭配，預(yù)計(jì)在2018年我們會(huì)出一張專(zhuān)輯。”

要說(shuō)之前讓我特別印象深刻的組合還真沒(méi)有，但宗克這支以小提琴和吉他搭配的組合做出的音樂(lè)，還真是讓人眼前一亮。

宗克的音樂(lè)融合性比較強(qiáng)，他不是簡(jiǎn)單只有節(jié)奏或旋律，也不止步于POP或者JAZZ。

這里我們不得不提一下宗克的教育背景，他曾在德國(guó)德累斯頓音樂(lè)學(xué)校進(jìn)修吉他，這所學(xué)校的教師隊(duì)伍里藏著很多歐洲的無(wú)名高手，這也造就了宗克高標(biāo)準(zhǔn)的音樂(lè)審美，如果我們拿國(guó)內(nèi)的音樂(lè)審美和宗克比的話(huà)，我感覺(jué)我們還是有距離的。

那么，根本原因是國(guó)外音樂(lè)體系比我們發(fā)展的更快嗎？不是。事實(shí)上是我們太落后了，我們喜歡聽(tīng)簡(jiǎn)單的旋律，大家普遍認(rèn)為：音樂(lè)作品不就是讓人喜歡上，便可證明我們成功了嗎？

在這個(gè)論點(diǎn)上音樂(lè)家的音樂(lè)并不重要，重要的是大家是否接受你的音樂(lè)。

所以，我們?nèi)钡氖邱雎?tīng)和學(xué)**外更多的優(yōu)秀的作品和理念，我相信宗克這一張專(zhuān)輯《Postcard to Self》可以令你有所收獲。

這是一張帶你回到過(guò)去的唱片，這是一張讓你幻想未來(lái)的唱片，這是一張來(lái)自丹麥和德國(guó)兩位音樂(lè)人跨國(guó)合作的唱片。

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The Breeze and the Curtain

當(dāng)微風(fēng)拂動(dòng)窗簾

看過(guò)上面的MV之后，是不是覺(jué)得這種音樂(lè)也不算“高冷”？似乎還有一些溫暖？

我問(wèn)宗克：你想表達(dá)什么呢？

宗克回答：

It’s inspired by the first days of summer. when you wake up next to an open window and the curtains are moving in the wind. The part that starts at 2:57 in the CD recording describes the curtain that is dancing in the wind。

翻譯大概：初夏的時(shí)候，在窗邊醒來(lái)，看到微風(fēng)吹動(dòng)窗簾。請(qǐng)注意在2分57秒的時(shí)候，描述了窗簾在風(fēng)中舞動(dòng)。

聽(tīng)完宗克的解釋?zhuān)腋杏X(jué)太有畫(huà)面感了，音樂(lè)不應(yīng)該是這樣的嗎？

最近，我們總是把歐美指彈和日本指彈做對(duì)比，我是覺(jué)得：這么好的音樂(lè)，怎么能比不過(guò)日本人的音樂(lè)？

La Line

我繼續(xù)問(wèn)宗克：這曲子有什么故事？

宗克回答：

There is a comic called la linea! It is very good - you should check it。It is inspired by the comic。

翻譯大概：原來(lái)他的靈感來(lái)自于一個(gè)叫《麗娜》的漫畫(huà)，感覺(jué)它挺另類(lèi)，有一些非主流的感覺(jué)，詼諧吧。

宗克建議我去看看，有興趣的朋友們可以在YOUTUBE上面搜索一下。

解讀《給自己的明信片》專(zhuān)輯的創(chuàng)作故事，下面是德國(guó)宗克本人給我講的故事：

The story of postcard to self is a special one to us - I have to explain it a bit longer：

3 years ago Bjarke moved back to the region in Denmark where he lived as a child. And Bjarkes youngest son then went to the same daycare, where Bjarke went when he was a child.

The woman who is now the boss in the daycare is the same woman who took care of Bjarke 30 years ago.

One day this woman found an old photo of Bjarke in the playground, when Bjarke was a child. She showed the photo to Bjarkes son and Bjarkes son thought it was him!

And then the idea came to mind: It would be so nice, if you can travel back in time and experience again, how it was as a 5-year-old in the playground. Experience the smells, the sounds, the feelings as a child.

The next idea was, how beautiful it would be, if you can read something you have written in the past to yourself. And how nice it would be to write a postcard to your future self now. Asking yourself the questions: What do you want to tell your future self? What would your future self want to know about you know?

And now everybody can do that, because in our concerts we give postcards to the people and people can write postcards to themselves. and then we close it and write "do not open until...." (with a date in 10 years)

It is great to be part of many beautiful stories in 10 years when people read their postcards.

This album is the same, it is Bjarkes and my postcard to ourselves. Not with written words, but with music. Many songs have nice stories on this album and it will be great to listen to it in the future and remember the stories..

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譯文:

宗克說(shuō)：對(duì)我們來(lái)說(shuō)，明信片的故事很特別——我得解釋一下。

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三年前，比亞克搬回了他小時(shí)候住過(guò)的丹麥地區(qū)。然后比亞克（Bjarke）最小的兒子去了Bjarke小時(shí)候去過(guò)的同一家托兒所。

這家托兒所的老板娘正是30年前照顧過(guò)Bjarke的那托兒所阿姨。

一天，這個(gè)阿姨翻到了一張Bjarke小時(shí)候在操場(chǎng)上玩的老照片。她把照片拿給Bjarke兒子看，小朋友居然以為是他自己呢！

然后，我就有了一個(gè)想法：如果我們能回到過(guò)去體驗(yàn)一下，體會(huì)一個(gè)5歲的孩子在操場(chǎng)上的感受，那將是多么美好。作為一個(gè)孩子去感受當(dāng)時(shí)的氣味、聲音和感覺(jué)。

瞬間腦洞打開(kāi)，一個(gè)個(gè)想法噴涌而出，如果我們能讀到過(guò)去的自己寫(xiě)給現(xiàn)在的自己的東西，那會(huì)是多么的美妙？那么，現(xiàn)在我就給未來(lái)的自己寫(xiě)張明信片，這真的很棒！我們可以問(wèn)問(wèn)自己：我想告訴未來(lái)的自己什么？未來(lái)的自己想知道什么呢？

現(xiàn)在每個(gè)人都可以做到，因?yàn)槲覀儠?huì)在音樂(lè)會(huì)上給大家發(fā)明信片，大家可以寫(xiě)給未來(lái)的自己。然后，我們將明信片封上，并寫(xiě)上“請(qǐng)不要打開(kāi)，直到某年后再看(10年內(nèi)的日期)”。

10年后，當(dāng)大家打開(kāi)這個(gè)明信片時(shí)，這將是10年當(dāng)中最特別、最美麗的一個(gè)故事。

正如我們的這張專(zhuān)輯，是我和Bjarke寫(xiě)給未來(lái)的我們的“明信片”。只不過(guò)是用音樂(lè)替代了文字。這張專(zhuān)輯很多曲子都有非常美麗的故事，在未來(lái)的某個(gè)時(shí)刻去聆聽(tīng)已定會(huì)回想起這些故事和回憶。

by the way: we didn't record the album in a studio. We recorded it in an 150-years-old schoolhouse, where Bjarke lives with his family. So we didn't use too much crazy equipment and we also recorded in one room together (so we couldn't correct/edit things) - but it is a very, very inspiring place in the Danish countryside. That was very important for this album. We recorded the album at the place where we composed the music, the music belongs to this place. Thats how the album got a very nice and personal atmosphere I think.

I wrote the song "By the Old Schoolhouse" imagining how it was there 150 years ago, when school children were playing outside. The school children also planted a tree there 100 years ago, which is now very big and Bjarke and I were sitting unter the tree rehearsing. So "By the Old Schoolhouse" is about the place where we recorded and rehearsed and composed..

譯文：

還有，我們沒(méi)有在錄音室錄制這張專(zhuān)輯。我們是在一個(gè)具有150年歷史的一所校舍里面錄制的，Bjarke和他的家人曾經(jīng)住在那里。

所以，我們沒(méi)有使用太多的錄音設(shè)備，我們只是在一個(gè)房間里一起錄音（所以我們不能進(jìn)行修改/編輯），就在丹麥的農(nóng)村，我們完成了它，這是一個(gè)非常非常鼓舞人心的地方。

這對(duì)這張專(zhuān)輯也非常重要。它們?cè)诖苏Q生，并在此被我們錄制，這些音樂(lè)屬于這個(gè)地方。我想，這就是這張專(zhuān)輯的氣氛非常好和個(gè)人化的原因。

我寫(xiě)了一首曲子叫《By the Old Schoolhouse（老校舍）》，靈感來(lái)源是：我想象著在150年前學(xué)校里，孩子們?cè)谕饷骈_(kāi)心玩耍的情景。

100年前，學(xué)校的孩子們還在那里種了一棵樹(shù)，現(xiàn)在已長(zhǎng)成參天大樹(shù)，Bjarke和我正坐在樹(shù)下排練。

所以，《老校舍》是關(guān)于我們錄音、排練和創(chuàng)作的故事。

下面是我針對(duì)這張專(zhuān)輯向宗克提了一些問(wèn)題：

A.我看到這張專(zhuān)輯一共收錄了14個(gè)曲子，這些作品你和比亞克一共用了多長(zhǎng)時(shí)間進(jìn)行創(chuàng)作和錄音？

B.這14個(gè)曲子吉他部分我注意到了，你用了一些特殊調(diào)弦，請(qǐng)問(wèn)你分別用到哪些調(diào)弦法？ 最特別的是哪一首曲子？ ?

C.你們平時(shí)演出多嗎？ 比亞克平時(shí)做什么工作啊？ ?

D.你們有有打算出樂(lè)譜？（感覺(jué)好難啊，會(huì)不會(huì)有人去翻彈?。浚?/p>

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宗克的回答：

It was 3 years of writing, arranging and rehearsing I was traveling to Denmark very often and we worked on the music in the old schoolhouse...

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I have 2 different tunings: DADGBE and CGDGBE (bass strings like a cello)

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There is no song that is more special than others - the most special thing I think is that we cover many different genres (fingerstyle, Film music, folk music, jazz, Latin,.....) and found a new sound for a violin/guitar duo. We both like to explore our instruments a lot, so Bjarke also plays ?fingerstyle violin“ and does percussion sometimes, I also use new techniques...which means: we experiment a lot, but the music is still not too complex and it is nice to listen to...so that is very nice.

I have one more special story for a song we always play at the end of concerts: Message from home. Last year Bjarke sent me an email and wrote: ?S?nke, last night at 3am I woke up and I had a melody in my head. I think there is a reason that it came, so we have to play this tonight!“ then he recorded this melody and send it to me, I found a second voice and some chords very quickly, and then I drove to the train station, picked Bjarke up and we drove to the concert venue. At the soundcheck we tried the new piece for the first time. Then the concert organizer came in and she started crying ....she said ?you are playing where I came from. I get homesick listening to this melody“. We didn’t know that she was born in Scotland. But she said that Bjarke wrote a Scottish piece. One night before. In his sleep. ? so this was very moving...we met her again at a concert in spring - and again she had to cry and couldn’t talk, because she was so moved by the music. So this song is very special to us. But every song we recorded is special to us.

We played a lot shows this year and will play many more next year. The duo with Bjarke and my solo program are my two main projects.

Bjarkes job is the same as me: he is a touring Musician. He plays with different bands and solo - and with me. He also does a lot of studio work and records string arrangements for other productions (he plays violin, viola and cello, so he often records string quartet arrangements by himself)

I first plan to finish my solo tabs. I think we will release a few pieces, but not the whole album. bjarkes style is so personal, it is very hard for other violinists to learn it... ? but maybe they get inspired for their own music, they don’t have to copy it exactly of course. Maybe they make their own versions, that would be great!

譯文：

這個(gè)專(zhuān)輯我們用時(shí)三年，創(chuàng)作、編配、排練，我經(jīng)常去丹麥和Bjarke一起在老校舍里排練，做音樂(lè)。

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我有兩個(gè)特殊調(diào)弦：DADGBE和CGDGBE（低音弦像大提琴）。

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沒(méi)有最特別的曲子，但是最特別的事情是我們采用了很多的風(fēng)格（指彈，電影音樂(lè)，民謠音樂(lè)，爵士，拉丁...），并且找到了小提琴和吉他雙重奏的新的音色。

我們倆都想要開(kāi)發(fā)出自己樂(lè)器極限，所以Bjarke也拉“指彈小提琴”，而且偶爾會(huì)做一些打板，我也會(huì)使用一些新技巧...

這意味著我們做了很多實(shí)驗(yàn)，但是音樂(lè)并不因此而變的復(fù)雜反而非常好聽(tīng)...所以這是我們很欣慰的。

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有一首歌的故事很特別，這首曲子我們總是在音樂(lè)會(huì)結(jié)尾時(shí)演奏。去年Bjarke給我寫(xiě)郵件說(shuō)：“宗克，我凌晨3點(diǎn)醒了，想到了一段旋律，這個(gè)旋律的到來(lái)一定有原因的，我們必須今晚就演奏！”

然后，他就把旋律寫(xiě)了下來(lái)給我發(fā)過(guò)來(lái)，我很快的寫(xiě)出另一個(gè)聲部和一些和弦，然后開(kāi)車(chē)去火車(chē)站，接上Bjarke直奔演出場(chǎng)地。

在試音的時(shí)候，我們第一次試著合奏這個(gè)新曲子。然后音樂(lè)會(huì)的主辦者進(jìn)來(lái)開(kāi)始哭了，她說(shuō)：“你們正在演奏我家鄉(xiāng)的音樂(lè)。我聽(tīng)到這個(gè)旋律就想家了”。

我們并不知道她出生在蘇格蘭，但是她說(shuō)Bjarke寫(xiě)了一首蘇格蘭的曲子，在前一個(gè)晚上，在夢(mèng)中。所以這件事情非常感動(dòng)...

我們?cè)诖禾斓囊粋€(gè)音樂(lè)會(huì)又遇到了她-又一次，她哭到不能自已，因?yàn)樗钌畹谋贿@個(gè)音樂(lè)感動(dòng)。所以這支曲子對(duì)我們來(lái)說(shuō)很特別。

但是每一支專(zhuān)輯里的曲子對(duì)我們來(lái)說(shuō)都很特別。

今年我們做了很多演出，明年會(huì)更多。跟Bjarke的二重奏和我的獨(dú)奏項(xiàng)目是我目前的兩個(gè)主要工作。

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Bjarke的工作跟我有點(diǎn)像：他是個(gè)演出音樂(lè)人。他跟不同的樂(lè)隊(duì)演出，也做獨(dú)奏，也跟我在一起演出。

他也做很多制作工作，錄制其他弦樂(lè)（他演奏小提琴，中提琴和大提琴，所以他經(jīng)常自己編曲錄音）。

我的首要計(jì)劃是完成我的獨(dú)奏曲譜。我想我們會(huì)制作幾首曲子，但是不是整張專(zhuān)輯。

Bjarke的風(fēng)格非常個(gè)性化，其他的小提琴手是非常難模仿的...

但是他們也許可以從當(dāng)中找到創(chuàng)作自己音樂(lè)的靈感，他們不需要一絲不差的演奏出Bjarke的東西。

也許他們有他們自己的視角，這是非常值得鼓勵(lì)的。

近日，他們?cè)诘聡?guó)進(jìn)行這張專(zhuān)輯的巡演活動(dòng)，為了他們這份堅(jiān)持，我們必須要點(diǎn)贊。

同時(shí)我們也特別期待，有一天可以邀請(qǐng)他們來(lái)中國(guó)進(jìn)行巡演活動(dòng)。

本篇來(lái)自指彈中國(guó)編輯部

文字/李校長(zhǎng)

翻譯/沁陽(yáng)

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