小兵和一些朋友希望整理一下发过的吉他名家语录, 终于完成了第一部分, 欢迎大家批评. 有些以前没有翻译的也翻译了一下.
语录只是看看,有时候有些启发而已,千万不要机械地照本宣科….

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塞戈维亚谈吉他的起源
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Apollo saw Cupid, the son of Venus, a mischievous and naughty boy, and scolded him saying, “You are too young to play with your bow and arrows.” Cupid was very much displeased with these words. Resentful, he shot an arrow to the heart of Apollo who instantly felt the fire of a devastating love for Daphne, the beautiful nymph who happened to be passing by. And Cupid shot another arrow to the heart of Daphne to kindle in it an aversion to love.

Apollo ran after her and when she finally fell into his arms, she invoked the help of her father, who was also a demigod. He converted her into a tree, the Laurel, which in Greek is called Daphne.

Apollo made the first guitar from that splendid tree, and with its leaves we crown the great poets and artists. The guitar preserved from its feminine origin the curved lines of her body, and also the tendency of becoming very often whimsical and unpredictable.

– A. Segovia: My Book of the Guitar

翻译:
太阳神阿波罗见到爱神维纳斯的儿子丘比特,一个调皮淘气的小男孩,就对丘比特训斥道”弓和箭不是你这个年纪的小孩子应该玩的东西. ” 丘比特听了很不高兴, 他愤怒地对准阿波罗的心脏射了一支金箭,使得阿波罗无法抑制地爱上了戴弗妮,一位正好路过的美丽少女. 然后,丘比特取出另外一支不同的铅箭射向戴弗妮,使得戴弗妮不愿意和阿波罗在一起.

阿波罗追赶戴弗妮, 最后终于使得戴弗妮倒在他的臂弯里, 万般无奈的戴弗妮只好向自己的父亲Peneus求救, 也是一位神的Peneus把戴弗妮变成了一颗月桂(Laurel)树. 在希腊, 月桂树就被叫做戴弗妮.

阿波罗用这棵华丽的树做出了第一把吉他, 我们至今还用月桂树叶为给我们伟大的诗人和艺术家们编织桂冠. 吉他不但保持了女性化的起源和戴弗妮的身体曲线, 也保持了女性反覆无常和擅变的特点.

详见 http://bbs.guitarchina.com/thread-424964-1-2.html

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莎朗.伊斯宾谈演奏情感
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Sharon Isbin关于演奏的语录:
Emotion is the most important thing to me as a performer,” she says. “And performance is about making beautiful music and making music beautiful, something I learned when I heard Artur Rubinstein play Chopin in concert when I was 14.”

– Sharon Isbin

翻译: “对我来说, 情感是演奏家最重要的部分, 表演艺术就是创造优美的音乐和把音乐表现的更加优美, 我14岁时听鲁宾斯坦的肖邦作品音乐会时学到了这点” – 莎朗.伊斯宾

http://www.sharonisbin.com/
详见 http://bbs.guitarchina.com/thread-432471-1-1.html

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罗德里戈谈眼盲
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“I believe my blindness gave me more insight with the inner world. The world in which we the blind live. While sitting on this wicker chair I am thinking that the illness, the loss of vision, was the vehicle that took me down the road to music. Otherwise, I would surely have followed in the footsteps of my family and become a merchant (even though my first wishes were very different. I was set on being a streetcar conductor). I have more auditory memories that visual memories. I remember the song of the crickets, of the cicada, the pounding of the waves, the sound of the organ and the church bells in my hometown” – Joaquin Rodrigo

翻译:
我相信眼盲使得我更深入地洞察眼盲人生活内在的世界. 当我坐在这把藤椅上时,我在想,疾病和失去视力象一部交通工具一样把我带到了音乐之路上. 否则, 我几乎肯定会步家族的后尘,成为一名商人(虽然这与此我以前的第一个愿望非常不同, 我曾梦想当一名电车调度员). 我现在的记忆更多地是基于听觉而不是视觉. 我记得家乡里蟋蟀和蝉的歌唱, 浪淘拍岸的起伏, 还有风琴的音乐和教堂的钟声.
– J.罗德里戈

“My relation with God is tranquil, hopeful, without problems. For me inspiration is a divine gift and sometimes I have felt that inspiration” – Joaquin Rodrigo

翻译: 我和上帝的对话是平静并充满希望的. 对我来说, 灵感是一种来自上帝的神圣礼物, 而我有时能够得到这种赠予.

“We will become sounds in paradise” – Joaquin Rodrigo
翻译: 我们将会成为天堂里的声音

详见 http://bbs.guitarchina.com/thread-430665-1-2.html

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塞戈维亚语录: 上帝创造的两种生物
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Among God’s creatures two, the dog and theguitar, have taken all the sizes and all the shapes, in order not to beseparated from the man.
– A. Segovia

翻译….(有点翻译得糊里糊涂….):
上帝创造的生物中有两个特别的: 狗和吉他. 他们都拥有所有的尺寸和所有的形状, 目的是和人不再分开

(注意: 狗在西方人的心目中和中国传统中的形象有点不一样, 绝对正面的, 呵呵)

详见 http://bbs.guitarchina.com/thread-430235-1-4.html

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塞戈维亚谈舞台演出
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“When I go to the concert I am always nervous; then when I begin theconcert I am ready to cancel it; but when I have finished the concert,I would like to begin again” – Andrés Segovia

老塞说: 每次开音乐会前俺都紧张, 音乐会开始时俺都准备取消它…不过音乐会一结束, 俺就希望再来一次.

详见 http://bbs.guitarchina.com/thread-428460-1-4.html

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莎朗.伊斯宾谈音乐会选曲
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“Knowing how to design an effective concert program is an important part of performing. One must find that magical combination of works that succeeds in captivating the audience from the start, maintaining their interest throughout the performance, and ending with a climax that leaves them wanting more” – Sharon Isbin

她说的是: 知道如何设计一场效果好的音乐会的表演艺术的一个重要方面. 艺术家必须找到一种魔术般的组合, 使曲目能成功地在一开始就把听众抓住, 至始至终保持他们的兴趣, 并在结束是创造一个高潮, 使得他们怀有意犹未尽的期望.

详见 http://bbs.guitarchina.com/viewthread.php?tid=427329&highlight=%2Bcyberninja

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朱利安.布里姆谈他的Ibafiez吉他
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“At that time I had a most charming little Spanish guitar – an Ibafiez, which was my first Spanish guitar – but at home we never had less than twenty-five instruments, and some of them would arrive home in the most desperate condition. My father was an expert at repairing instruments and he often took them completely to pieces to find out about them, particularly if they were in bad order, and just glued them together again. And so my interest started from those days” – Julien Bream

翻译; 那个时候我有一把最可爱的西班牙小吉他-Ibafiez-那是我第一把吉他. 不过在家里我们的乐器从来没有少于25件, 其中一些被送过来时已经是奄奄一息了. 我父亲是位修理乐器的专家, 他常把乐器完全拆开 – 特别是那些状况不好的, 然后再全部用胶拼接起来. 于是我对乐器的就渐渐产生了兴趣.

详见 http://bbs.guitarchina.com/viewthread.php?tid=427434&highlight=%2Bcyberninja

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塞戈维亚关于老婆和吉他的名言
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I’ve had three wives and three guitars. I still play the guitars.
-Segovia

翻译: 三宫六院, 独宠吉他
讨论 http://bbs.guitarchina.com/viewthread.php?tid=425931&highlight=%2Bcyberninja

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Julian Bream谈现场音乐
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“CD几乎完美无缺 – 但那不是音乐. 音乐是你具体怎么去做, 是个人的表现. 现场有生命的音乐才是吸引人的. 我喜欢现场的音乐, 喜欢现场的瞬间, 我的大提琴曾经拉得很糟, 但我以前在上室内乐课时还是喜欢演奏海顿的四重奏. 我拉错过很多音, 但我得到了很多欢乐. “

Julian Bream  – 1992
讨论 http://bbs.guitarchina.com/viewthread.php?tid=422068&highlight=%2Bcyberninja

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柏辽兹谈吉他作曲
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如果自己不是吉他演奏者, 就不可能为吉他写出好的作品. 然而, 大部分为吉他写作的作曲家远不了解这个乐器的表现力, 所以常常出现不必要的高难度, 音效弱, 效果差的作品. – 柏辽兹
讨论 http://bbs.guitarchina.com/viewthread.php?tid=419575&highlight=%2Bcyberninja

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老Joe谈独奏
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“I started playing solo because I used to sit around the house, and myfather would say to visitors “My son plays the guitar. So playsomething for the people.” What could I do, play scales? I startedplaying songs” – Joe Pass 1994

翻译过来就是:
“俺开始学琴的时候是从独奏开始的, 因为以前坐在家门口时俺爹多半会对来访者说: 俺崽玩吉他, 那就露一手吧! 俺只好给大家弹点什么, 弹啥呢, 总不能秀音阶吧, 所以俺那时就开始弹歌了…” – 老Joe 1994

Joe Pass的简介: http://en.wikipedia.org/wiki/Joe_Pass
讨论 http://bbs.guitarchina.com/viewthread.php?tid=412632&highlight=%2Bcyberninja

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Sharon Isbin谈指头派
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“Classical guitarists can play without using nails, but they should be aware that in doing so they are sacrificing certain possibilities of tone color and projection—–all of which affect interpretation and musical presentation. The nail, when used alone or with the flesh of the fingertip, adds clarity to articulation and aids in projection, from the softest to the loudest passages. For example, a pianissimo passage played only with the flesh will sound fuzzy and indistinct, yet the same dynamic shaped with the nail projects beautifully, even in a large hall” – Sharon Isbin

翻译: 古典吉他手可以不留指甲, 不过他们应该意识到这样将在一定程度上牺牲音色的色彩和声音的反射 – 这写都会影响音乐的诠释和表现. 指甲和指尖同时拨弦时, 有助于音的清晰和反射, 从最柔和段落到最强的都是如此. 举个例子: 如果不留指甲演奏极弱的乐句, 声音将会变得模糊不清. 如果留指甲, 同样的力度就可以优美地发音, 即使在大音乐厅里.

讨论 http://bbs.guitarchina.com/viewthread.php?tid=401297&highlight=%2Bcyberninja

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Sharon Isbin谈如何当演奏家
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“Being a great player, however, is about much more than just technique. You also must have something special and compelling to say” – Sharon Isbin
翻译:沙浪侍通曰: 夫欲求闻达, 非寻常技可恃, 非管仲乐毅专才不可也
讨论 http://bbs.guitarchina.com/viewthread.php?tid=400894&highlight=%2Bcyberninja

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约翰.威廉斯: 吉他音乐的处理不应该套用钢琴
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尽管吉他有自己的局限性,一些朋友演奏时常常试图把吉他当成钢琴来进行乐曲处理,其实这样做效果不会好,如果硬要试图模仿钢琴的演奏标准,吉他演奏本身,乐句的起伏(phrasing),视奏,音乐性都会受到很大的局限. – JW
讨论 http://bbs.guitarchina.com/viewthread.php?tid=366958&extra=&highlight=%2Bcyberninja&page=1

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Benjamin Verdery: 发出好的音左手也有关系
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“People feel they have to press down, and pluck, extremely hard; but each year I find myself backing off. You barely need any pressure to press down the strings, and the less you use, the better your sound will be. I really believe that sound comes from the left hand, not just the right. That’s one of the keys to Segovia’s sound, his sense of vibrato is – unbelievable. Students will kill the note, if you press down too hard you actually go out of tune. I always envision an imaginary tunnel between the string and fretboard, so there’s space for the note to breathe. We as guitarists all have to realise how little pressure you need. That’s one of the things that’s very evident to me when I watch John (Williams) play, there’s no effort, and that’s a great lesson. Of course, most of us have to start from a place of immense tension, I mean that’s what happened to me, I was so tense that I could barely play. So each year I let up, let up…” – Benjamin Verdery in Conversation with Paul Magnussen 1984
翻译: 很多人觉得他们弹琴时应该大力按弦, 用力拉弦, 就象做兰州拉面一样. 然而我倒是每年都在向相反方向发展. 你几乎不用花什么力气来按弦, 力用得越少, 声音越好. 我觉得声音是从左手而不是右手发出的. 这是塞戈维亚音色的关键, 他揉弦的感觉是无法想象的. 初学者常把音符破坏了-如果按得过紧其实就已经跑音了. 我常想象弦和指板间有一个虚构的坑, 那是让音符喘口气呼吸的地方. 所有的吉他手应该知道如何用最少的力量按弦. 如果你看John Williams的演奏, 他几乎不用什么力量. 当然我们很多人刚开始学琴的时候必须用力去按弦, 我的手那时很紧张, 几乎无法演奏, 所以现在每年我都让左手按弦时浮起,放松…
讨论 http://bbs.guitarchina.com/viewthread.php?tid=360294&highlight=%2Bcyberninja

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塞戈维亚: 所有的大艺术家最终都只能靠自学
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转贴赛老的话:
“All great artists are ultimately self-taught” – Andrés Segovia
讨论 http://bbs.guitarchina.com/viewthread.php?tid=375973&highlight=%2Bcyberninja

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塞戈维亚谈吉他
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“I had only one teacher, myself, and only onestudent, myself”

“The guitar is like a faraway and mysterious orchestra whose sounds we hear as from a planet which is smaller and more delicate than our own”

“Sometimes it is impossible to deal with her, but most of the time she is very sweet, and if you caress her properly she will sing beautifully”
阿拉曼萨的翻译: (感谢阿拉曼萨)
吾之师乃吾也,吾之生亦乃吾也。
古琴乃吾之星之远而神之乐亦。
时而其难为之,时而其亦甜美可人,如汝与其良相之,其亦为汝响之美妙音律。
讨论 http://bbs.guitarchina.com/viewthread.php?tid=405179&highlight=%2Bcyberninja