Nigel Kennedy 2012
LEXUS
Ѡॱڐዅོ!ҠΝज़Ϟۇ
2/11(六)台北國家音樂廳1 9 : 3 0
2/12(日)台中中山堂1 9 : 3 0
2012 LE XUS!Ѡॱڐዅོ!NIGEL KENNEDY!ҠΝज़Ϟۇ Bach: Violin Sonata No. 2 in A Minor, BWV 1003: Grave ,Fugue , Andante, Allegro
2/11(六) 台北國家音樂廳 7: 30PM
2/12(日) 台 中 中 山 堂 7: 30PM
獨家贊助
指導單位
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主辦單位
2012 LE XUS CL A SSCIS - NIGEL KENNEDY PRESENT Bach: Violin Sonata No. 2 in A Minor, BWV 1003: Grave ,Fugue , Andante, Allegro
February 11th (Saturday) 2012/ 7: 30PM National concert Hall, Taipei
February 12th (Sunday) 2012/ 7: 30PM Chung Shan Hall, Taichung
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Associate Presenter
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Presenter
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巴
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PROGRA MME
Bach
A小調第二號無伴奏小提琴奏鳴曲，作品1003
Violin Sonata No. 2 in A Minor, BWV 1003
極緩版
Grave
賦格曲
Fugue
行
板
Andante
快
板
Allegro
中場休息
interval
曲目以演出當天為主，主辦單位有更動曲目之權力
The programme will be confirmed and announced on the stage,the presenter reserves the right to change programme.
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ᅋ࠷ЅၛភБࠤωඪฤᐿ࠷ԢܚᔖԤޟғ७يԁޟᄘ࡙ 卡薩爾斯(Pablo Casals) 雖然卡薩爾斯並不拉小提琴，但是他所演奏的巴哈大提琴組曲能夠與現代音樂家自負且膚淺的演奏形 成對比。他不單只是追求聲音純粹的美，事實上，如果曲目要求這段應該要發出不協和的聲音(例如C 小調大提琴組曲的第一個音)，他也會放下自尊配合以達到這曲目的深度與意境。在如此的堅持之下， 他的演奏就有如天籟一般，使人感覺上但是存在的，只有白癡才會不懂的欣賞他的音樂。 顧爾德(Glenn Gould) 剛好顧爾德也不是拉小提琴的，但他鋼琴演奏巴哈曲目所呈現出的紀律、自由以及靈感都是值得聆聽 與學習的，他的演奏也是證明在領悟掌握巴哈的鋼琴音樂時，所謂＂正統＂的巴哈時期的樂器(撥弦古 鋼琴)也只能排在顧爾德之後。 阿瑟．葛羅米歐(Arthur Grumiaux) 大部分的小提琴家無不追求旋律以及演奏的速度而不重視音樂的和諧以及結構，所以像他這樣在音樂 結構上頗有認知領悟的小提琴手在小提琴界甚是稀少。如果你想尋找我所演奏的巴哈《夏康舞曲》的 最佳詮釋版本，阿瑟．葛羅米歐是你的最佳選擇。 內森．密爾斯坦(Nathan Milstein) 優美獨特、輕柔且多樣的音調，但是跟阿瑟．葛羅米歐相比還是略遜一籌。 偉格(Sándor Végh) 人民愛戴的偶像指揮家。 耶胡迪．曼紐因(Yehudi Menuhin) 透過曼紐因的小提琴，巴哈得以再度活耀於世界、與世人對話。我認為耶胡迪所彈奏的四個和弦就足 以敵過現世任一小提琴家所演奏的一千的和弦。 瑪爾茨(Johanna Martzy) 有時候瑪爾茨過於瘋狂的顫音，以及在樂章結尾所展現的漸緩的樂曲，讓我差點對他的詮釋版本的印 象大打折扣。但是他演奏感卻又是這麼的振奮人心，如此的有吸引力，讓你無法移開你的目光。 艾薩克．史坦(Isaac Stern) 小提琴界的翹楚，但是艾薩克．史坦從未錄製巴哈的小提琴獨奏曲。但是如果他有的話，以他多樣豐 富的音調以及他對音樂結構的獨特見解和和諧的表演張力，絕對可以居於所有其他版本之冠。我記得 有一次當我演奏並且向艾薩克．史坦詢問意見的時候，我花了將近10分鐘去說服他錄製這些經典之作， 可惜沒有成功，不然這絕對是有史以來最棒的詮釋版本，就有如巴哈在偉格(Sándor Végh) 的指揮下 演奏，但是卻是一個人和諧的呈現這樣的奇蹟！這樣的作品未能出現絕對是我們的損失。 我想要向耶胡迪．曼紐因(Yehudi Menuhin)以及Peter Norris致上謝意，沒有他們，我今晚可能就無法 在台上完整的將這些音樂呈現出來。
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BACH:PERSONAL VIEW BY NIGEL KENNEDY Playing the solo music of Bach is a challenge I can't refuse, one which gives my schedule a little more focus and a chance to push myself further than I otherwise might. Another aspect of taking on this concert is that the great George Enescu put Bach's solo violin music back on the radar for all following generations of violinists. His pupil Yehudi Menuhin subsequently championed this amazing music and his support, the gigs I played of Bach's music with him (when I was his pupil) and my ever-continuing devotion to Bach's music leave me feeling that I have a responsibility to play it wherever possible and as often as possible. Specialists are pushing Bach into a rarefied and effete ghetto which leaves many people feeling that Bach's music is merely mathematical and technical – I see it as my job to try and keep Bach in the mainstream and present his music with, rather than without, its emotional core. Of course, when trying to create a positive situation, one has to take note of negative as well as positive factors in one's environment. The same goes for creating a world within interpretation: the prevalent fashions of the time have to be wiped off one's agenda. For instance, in the real world every individual thinks that they must now have a computer and many families seem to think they must have more than one television but, in my opinion, less gets done nowadays and families are not as happy as they were before these inventions were created. The beauty of the interpretational world is that you can get rid of negative factors like these, whereas in reality one cannot purge the world of computers and TVs, which have become as strong an addiction as to any illegalised drug. Although Bach's music is so positive, there are a few negative factors in Bach's interpretational environment that I have noticed and that need fixing! These lead to my take on:
THE DEMISE OF INTERPRETATION OF BACH’s SOLO VIOLIN MUSIC As far as I can see, this demise occurred largely during the 1970s. In my opinion three horrible things happened: 1 The New York School These musicians mainly emanated from the Galamian school. Fantastic technique, great sound projection and a beautiful tone were all they had to offer. What they lacked was rhythmic ingenuity, dynamic sophistication and architectural awareness. What seemed to be most pervasive was self-satisfied smugness of sound, which was supposed to make up for (or hide) all these other deficiencies. Following generations did, however, offer us Paul Zazofsky and Lara St John, both of whom have a wonderful and unique understanding of Bach's music. 2 The Russian School After Nathan Milstein, in my opinion, is a giant void when looking for Russian violinists who can interpret Bach. Whether this is down to that strange brand of imperial communism that tried at any cost to prove the superiority of all things Russian (at the expense, even, of the rest of the Soviet Union), I'll never know. From what I've heard of the Russian school, they are unable to differentiate between Bach and Paganini, with the result being that these philosophical masterpieces end up sounding like shallow showpieces designed merely to show off technical mastery of the violin. This interpretational deficiency seems even to have had an unfortunate side effect in that many central German composers seem to have been struck off the Russian music academy curriculum, leaving many students with huge blind spots in whatshould be basic repertoire. When checking the Russian violin school, it would be easy to believe that nothing happened before Mozart and that classical music possibly didn't really get going until Shostakovich. 3‘Authentic’Period Specialists Even the description of oneself as being‘authentic’is unbelievably arrogant – and, in the case of so-called‘period’performance, misguided. How can music, or any art, be authentic if it is stripped of passion and is made instead into an exercise of painfully self-conscious technique? Music of such depth and pathos as Bach's certainly doesn't benefit from such treatment – and, while it is Kennedybeneficial to eradicate the bad habits emanating from the excessive influence of such Romantic-era figures as Joachim, surely such an exercise is pointless if these old mannerisms are replaced with new ones that are even worse. I have to admit that the primary motivation for my 1989 recording of Vivaldi's Four Seasons was to offer a dynamic performance with contrast as an alternative to the lugubrious tedium I perceived in the interpretation of the‘authentic’school. The immature and desperate claims made by the record companies selling these‘authentic’performances could also be gone into at considerable length – but Bach showed great mercy in his music, so I will not go into that tedious and superficial subject tonight!
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POSITIVE AND BEAUTIFUL APPROACHES TO THE PERFORMANCE AND INTERPRETATION OF BACH’S SOLO VIOLIN MUSIC Pablo Casals All right, so Casals didn't play the violin! However, his performances of Bach's solo cello Suites are the antithesis of the vanity and complacency of modern playing. He didn't go for pure beauty of sound – in fact, if the music dictated an ugly sound (as in the first movement of the C minor Cello Suite), he would put his ego second in order to achieve the depth and understanding required by the music. The results are inspired and would have you believe that God exists. Only an idiot would not learn from his performances. Glenn Gould OK, so this guy also didn't play the violin,but Glenn Gould's discipline,freedom and inspiration in Bach are also essential listening (and learning) and are proof that the‘authentic’instrument of Bach's time (the harpsichord) only comes off as second best when searching for the most complete realisations of Bach's keyboard music. Arthur Grumiaux Such realisation of musical architecture is rare among violinists,most of whom have little appreciation of harmony,structure or anything other than melody and fast fingers.If you want the best possible recording of the Ciaconna that I'm playing tonight,Gruniauxs is the one to get. Nathan Milstein Wonderful creative intonation,delicacy and sound colours – but maybe just possibly a little lightweight compared with Grumiaux. Sándor Végh The folk imagery and the organYehudi Menuhin Bach speaks through Menuhin's violin – also,four melodic notes from Yehudi are worth more than a thousand from any of our living violinists. Johanna Martzy At times Martzy's over-frenetic vibrato and some killer ritardandos at the end of movements put me on the verge of discounting her interpretations but the sense of line she achieves is just so electrifying and magnetic that you cannot tear yourself away. Isaac Stern The most supreme of all supreme violinists,Isaac Stern never recorded solo Bach but if he had – with his laser-like honesty,his expressive intonation and his unique understanding of structure and harmonic tension – you could throw all the other versions into the bin. (I remember during the time I was playing and getting advice from Mr Stern that, on one occasion,it was me doing all the talking for at least 10 minutes when I was trying to convince him to record these masterpieces. The loss is not his but ours,in that what would have been the greatest interpretation of these works out of all of them,never got recorded.)-like harmonies of Bach come alive under Végh's custody. I would like to pay tribute and give thanks to both Yehudi Menuhin and Peter Norris, without whom I think I would probably be ill-equipped to deal with performing this music tonight.
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Yukuang Music յӎॱዅ
ᙏ!!!!!ϭ 創辦人：余光 創立時間：1982年 創辦宗旨：音樂是最無國界的語言，余光音樂三十年來一直 秉持著將最好的西洋及東洋流行音樂介紹給台灣民眾為宗旨， 並不斷地為這個理想而努力！ 余光音樂雜誌 創刊日期：1983年2月 創辦人：余光先生 余光先生可說是引西洋音樂進台灣的第一人！在音樂界享譽 盛名，曾擔任廣播、電視音樂節目的製作人與主持人，許多 剛接觸西洋音樂的樂迷都受到余光先生的音樂啟蒙 ，而對西 洋音樂有所了解甚或著迷。1983年創立余光音樂雜誌，並陸 續將國外演唱會引進台灣，可謂舉辦西洋藝人演唱會的先鋒。 因此在台灣，余光先生絕對是西洋流行音樂的重要指標人物。
ᅋ ୮ ོ 余光音樂是台灣第一個邀請西洋流行樂團來台表演的主辦單 位，自從1983年4月邀請空中補給合唱團，至今已舉辦過上 百場演唱會。 無論是西洋流行、搖滾、爵士、古典、演奏類，包括國語藝 人都曾是受邀演出的對象。在這近三十年的日子，余光音樂 舉辦了許多國外重量級的表演，像是天后級的瑪莉亞凱莉、 惠妮休斯頓，而1993年9月由余光音樂雜誌首度邀請流行音 樂天王麥可傑克森來台的演唱會，至今仍堪稱為台灣樂壇最 空前絕後的一場盛會。
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ᐣԑᅋ୮ོ 1983年4月 Air Supply 空中補給合唱團 1983年9月 Patti Page 蓓蒂．佩姬 1983年10月 Rick Springfield 瑞克．史賓費爾 1984年8月 KC Sunshine Band 凱西與陽光合唱團 1986年1月 Andy Gibb 安迪．吉柏 1986年5月 Lobo 羅柏 1986年10月 Walt Disney on Ice 華德迪斯奈冰上表演 1986年12月 Paul Mauriat 波爾瑪莉亞合唱團 1987年1月 Rita Coolidge 蕾塔．古莉芝 1987年3月 Berlin 柏林合唱團 1987年4月 Paul Young 保羅．楊 1987年6月 Gloria Estefan 葛蘿莉亞．伊斯特芬 1987年6月 Richard Clayderman 理查．克萊德門 1987年7月 Irene Cara 艾琳．卡拉 1987年12月 Mantovani 曼陀瓦尼管弦樂團 1988年3月 Tina Turner 蒂娜．透納 1988年5月 To To 投投合唱團 1988年10月 Air Supply 空中補給合唱團 1988年10月 Hall & Oates 赫爾與奧茲合唱團 1988年12月 Europe 歐洲合唱團 1989年7月 Julio Iglesias 胡立歐 1989年10月 Air Supply + Lobo 空中補給 + 羅柏 1990年3月 Platters 五黑寶合唱團 1990年6月 Andy Williams 安迪．威廉斯 1990年8月 Jason Donovan 傑生．唐納文 1990年10月 Tommy Page 湯米．佩吉 1990年11月 Paul Young 保羅．楊 1990年12月 Europe 歐洲合唱團 1991年4月 Richard Clayderman 理查．克萊德門 1991年9月 Kenny G 肯尼．吉 1991年11月 The Brothers Four 四兄弟四重唱 1992年1月 Commodores + Air Supply 海軍准將 + 空中補給合唱團 1992年9月 Skid Row 史奇洛合唱團 1993年1月 Bryan Adams 布萊恩．亞當斯 1993年3月 Richard Clayderman 理查．克萊德門 1993年9月 Michael Jackson 麥可．傑克森 1994年1月 Bryan Adams 布萊恩．亞當斯 1994年2月 Air Supply 空中補給合唱團 1994年9月 Richard Clayderman 理查．克萊德門 1994年10月 Mr. Big 大人物合唱團 1994年11月 Amy Grant + Michael W. Smith 艾美葛蘭特 + 麥可史密斯 1995年2月 Roxette 羅克塞二重唱 1995年4月 Yanni 雅尼
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1995年9月 Richard Clayderman 1995年9月 Jacky Chaung 1996年4月 To To 1996年5月 The Cranberries 1996年5月 Mr. Big 1996年10月 Richard Clayderman 1997年3月 Chris De Burgh 1997年4月 Leslie Chaung 1997年5月 Whitney Houston 1997年6月 Robert Gallup 1998年1月 Mariah Carey 1998年4月 Savage Garden 1998年5月 Walt Disney Festival 1999年9月 Richard Clayderman 2000年1月 Dreams Come True 2001年6月 Yngwie Malmsteen 2001年8月 Lisa Ono 2002年6月 Jacky Cheung 2003年1月 Jane Monheit 2003年1月 Suede 2003年10月 Kazumasa Oda 2004年7月 Takanazuka(Yume no Kiseki) 2005年6月 Love Psychdelico 2005年8月 Robin Gibb 2005年11月 Lisa Ono 2005年11月 Kazumasa Oda 2005年12月 Michael Bolton 2006年6月 Engelbert Humperdinck 2006年8月 Jim Brickman 2006年9月 Lobo 2006年10月 Lisa Ono 2007年3月 Kenny G 2007年4月 Olivia Newton John 2008年3月 Backstreet Boys 2009年3月 Lisa Ono 2009年4月 Sarah Brightman 2009年8月 KAWAMURA RYUICHI 2010年2月 Backstreet Boys 2010年3月 Europe 2010年5月 Kenny G 2010年5月 AJ Mclean 2011年2月 Macy Gray 2011年5月 Mr.Big 2011年6月 Russell Watson 2011年10月 Lisa Ono 2011年11月 Zee Avi 2012年 1 月 Suzanne Vega
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理查．克萊德門 張學友 投投合唱團 小紅莓合唱團 大人物合唱團 理查．克萊德門 克理斯．迪博夫 張國榮 惠妮．休斯頓 羅伯．蓋樂普 瑪麗亞．凱莉 野人花園合唱團 迪士尼嘉年華 理查．克萊德門 美夢成真 殷維．馬姆斯汀 小野麗莎 張學友 珍．夢海 麂皮合唱團 小田和正 寶塚歌舞劇(夢的軌跡) 愛的魔幻 羅賓．吉柏 小野麗莎 小田和正 麥可．波頓 英格柏 金．布里克曼 羅柏 小野麗莎 肯尼吉 奧莉維亞．紐頓強 新好男孩 小野麗莎 莎拉布萊曼 河村隆一 新好男孩 歐洲合唱團 肯尼吉 新好男孩AJ 梅西葛蕾 大人物合唱團 羅素華生 小野麗莎 季小薇 蘇珊薇格
Touring Party Violin / Nigel Kennedy
Band Guitar /Jarek Smietana Bass / Yaron Stavi Drums/ Krzysztof Dziedzic
Production Tour Manager / Stephen Cox Engineer / Piotr Zalewski Engineer / Gary Falkenthal
Promoter Party Yu kuang
Associate Promoter Ella Huang 余
光 陳 柯 林 曾 施
音 瑞 曉 欣 尹 佩
娥 雲 虹 宣 如
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