shinelb 在 2006-6-4 17:31:17 发表的内容
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7.库依肯的版本
希吉斯瓦德·库依肯（Sigiswald Kuijken）是比利时著名的当代乐器演奏大师家族里面最著名的一位。他详细地研究了早期乐器演奏技巧和作品诠释。并由此提出，小提琴的最正确的演奏方式，不是将琴夹在下巴下，而是自如地搁在肩膀上。这种方式在其失传了二百余年后，被库依肯发掘并倡导，这对所有小提琴音乐作品的真实演绎和完美体验起了极巨大的影响。这种演奏方式从70年代初开始为越来越多的演奏家所接受。他的巴赫小无是古色古香的，琴声幼细，也许是最本真的演绎。我听后不觉得偏干，相反，音色很好。这是非常有个人特色的版本，即使是盲听，也很容易识别。
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Kuijken的两套小无录音，第二套（2001年）普遍评价不好，说是没拉出什么新花样，反而因为录音的关系把琴音弄得很不真实（讨好听众）。
转一段Kuijken的访谈：
……Q (Brian Robins): For many people interested in period performance, the 1981 recording of the sonatas and partitas became something of a paradigm. Nearly 20 years separates it from your second recording. How far do you feel your interpretation had evolved during that period?
A (kuijken): Ultimately, I don’t think they’re that different and I certainly didn’t do the second recording with the object of doing the pieces differently. I just wanted to mark in an audible way the distance I had travelled in those twenty years, but I find that many things from the first recording have remained very valid. My fundamental ideas have survived the passage of time, the tempos are not very different. What is different is the inner strength and that’s more important than other considerations. So I think there’s more maturity in the second version, but I also think the recorded sound on the earlier set is better. The biggest difference is pitch, because the first time I played them at 415, the standard Baroque pitch, but the second at half a tone below 430, which works out something like 405 or 408. It’s the same violin and the same bow.”
其中，我以为S.Kuijken这句话是最重要的：
“…… the tempos are not very different. What is different is the inner strength and that’s more important than other considerations. So I think there’s more maturity in the second version,……”
这个“inner strength ”的不同，仔细对比两个版本是可以明显的感觉到了。这也许就是我说的老到或他追求的more maturity。我们也还是可以明显的感到“ just wanted to mark in an audible way the distance I had travelled in those twenty years”的。
我相信自己的耳朵！
