英語で読書♪簡単な本を中心に洋書での読書を楽しんでいます。映画の感想や旅行の記録などもアップしています。楽しくなる情報を共有できますように♪
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Asahi Weekly, April 28, 2013
2013年06月29日 (土) | 編集 |
Asahi Weekly, April 28号を読了しました~♪
(えっと何か月前?^^;)

Asahi Weekly April 28

新しく始まったバイオリニスト諏訪内晶子さんの
書下ろしエッセー 『A Traveling Violin ヴァイオリンは風にのって』 
第1回 『Backstage at the International Music Festival NIPPON 2013
国際音楽祭NIPPON 2013の舞台裏から』
から一部引用します。

リハーサルにて
 
 While rehearsal is very important, it’s held only at the last minute with the orchestra, usually a day before a concert. But I rehearsed with Mr. Andsnes for two and a half days because it was our first time performing together, and we both had high expectations for our music. We practiced for hours without a break until we were kicked out of the concert hall late in the evening.
Practicing, especially rehearsing, is quite exhausting, so eating and sleeping well is essential. Musicians need more stamina than people might think, especially when they are on a world tour.
Mr. Andsnes arrived in Japan from Europe there days before the concert, and I arrived two days before him. It is said that we feel the effect of time differences more when traveling eastward because it “shortens” the day.
I hate it when I get hungry at the wrong hours, so I always try to find a place where meals are available 24 hours a day. Musicians can be quite sensitive about mealtimes, and the types of food they eat, as this can have an effect on their performance. We are much the same as athletes in that sense, don’t you think?


実際にコンサートを聴きに行って音楽って身体全体で
奏でるものなのだ!と感銘を受けたのですが、
音楽家はアスリートなのですね。

サロネンさんの指揮でフィルハーモニア管弦楽団と協奏曲を
演奏中に思わぬアクシデントが。。

 Both pieces require transcendental technique. I was tackling Salonen with all my heart and skills when the E string, the highest on the violin, snapped in the middle of the third movement. there are a number of ways to cope with such an accident. The most common is the soloist borrows the concert master’s violin as quickly as possible while a member of the orchestra replaces the broken string with a new one and gives the instrument back to the soloist at an appropriate moment. The conductor generally decides what would be the best way to deal with the situation.
It was the premiere performance of Mr. Salonen’s concerto, not only in Japan but in Asia that evening. The maestro told me: “Change the string yourself backstage! I want you to continue playing on the Stradivarius “Dolphin”. If the soloist borrows an instrument from the concert master, downtime will be short but the sound of the violin would change significantly.
Mr. Salonen opted to avoid that risk, pausing the performance in favor of sound quality. He stopped the orchestra, and I left the stage with him. Not knowing what had happened, the audience seemed at a loss.
 In about three minutes we reappeared on stage and resumed playing from the top of the third movement. The new string played well to the end. I remembered his words in the symposium about his concerto given before the concert, “I have (always) tried to compose the best work every time, (but it) does not (always) work.”


諏訪内さんの演奏、いつの日か聴きにいってみたいです♪
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こんばんは。

   「キャリーぱみゅぱみゅ」って、10回続けて言えますか?ー
   
   わたしは、無理ですー
   英語もむずかしいですが、日本語?もまだまだです。
   
2013/06/29(土) 23:30:09 | URL | denko #-[ 編集]
denkoさんへ
denkoさん、コメントありがとうございます♪

>「キャリーぱみゅぱみゅ」って、10回続けて言えますか?ー
1回目からちゃんと言えません!( ̄□ ̄;)!!

言えるようになったら英語の発音もましになれるかもー。
とにかくスピーキングが苦手です!   
日本語だって苦手なのに、いわんや英語をや!
2013/06/30(日) 23:37:06 | URL | tabby #-[ 編集]
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