【曲谱同步】谭盾——钢琴协奏曲：火

合集 · 严肃音乐、当代音乐合集（较大编制） (167)

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【曲谱同步】谭盾——钢琴协奏曲：火

作曲：谭盾
指挥：Leonard Slatkin
钢琴：郎朗
乐团：纽约爱乐乐团（New York Philharmonic）

For any composer, to write for the piano is a challenge. The instrument has a specific character, yet it can be like an orchestra in itself…

The piano, though, has difficulty reflecting the surface of oriental style. It is not like a string instrument. It cannot use glissando–at least on the outside–which is very important to the character of Eastern music. As a string player myself, much of what mirrors my musical life could be lost. I have to think of new ways to use the instrument, perhaps invent new techniques to make it familiar… to find something new that fits on the continuum, so there is balance.

I am a string player, but I also play percussion. These are the elements of my life: fire, which is percussion, and water, which is string. And once you look beneath the surface, you see many things about the piano that can reflect oriental life. You have percussion. You can achieve a transparent, crystalline timbre that reflects the purity of the guqin. And once I started thinking of this, I found my approach to the piano. The guqin gives me the room and imagination to write. In this way, I can hear the instrument of Chopin and Bartók relocated to some dream plane as an ancient mountain lute.

对任何作曲家而言，创作钢琴作品都是挑战。这件乐器有独特气质，却也同时能自成乐团……

然而钢琴难以呈现东方风格的表象。它不像弦乐器，无法运用滑音——至少在键盘表面上如此——而滑音对东方音乐的韵味至关重要。作为弦乐演奏者，（若不能使用滑音，）我音乐生涯中的许多精髓恐将流失。（因此，）我必须探索钢琴的新用法，或许发明新技法使其更贴近东方韵味……在延续传统的同时开辟新境，实现平衡。

我虽是弦乐演奏者，却也同时演奏打击乐器。这正是我生命的元素：象征火焰的打击乐，象征流水的弦乐。当你深入探索钢琴本质，便会发现它蕴藏着映照东方生活的诸多特质。它兼具打击乐的力度，又能奏出如古琴般晶莹的音色。当我开始这样思考时，我便找到了自己对于钢琴的理解和想要的写作方式。古琴赋予我创作的空间与想象力，让我听见肖邦与巴托克的琴音，仿佛被移置到梦境之境，化作远古山野间的辽远琴音。

——谭盾，中文翻译：Deepl+我