Moving to Higher Ground - How Jazz can Change your Life を読む

Random House Trade Paperback "Moving to Higher Ground" を読んでゆきます(語句・文法解説付き)

<後半>ランラン「クラシック音楽を、世界市民として」(interview script)





T: Do you find, as you age, that certain piece of music, when you were younger, affected you this way ― now they affect that way? 



L: Yeah, for example, you know, the piece I played ten years ago, even the piece I play tomorrow, it's slightly different because after ten years you learn a lot of new things. 


And those new ideas give you another way, another alternative way to play this piece. So it's sometimes hard to know which one is better, but certainly it's a different input. 



T:  And you don't really care about which one is better per se? You just care about what you are feeling in the moment, correct? 



L: I mean, there are a certain, you know, a frame of the work you need to follow. You know, the instruction of the scores, obviously. 


But after that you need to free yourself, you know, and to put some, you know, personal ideas on top of the original scores. And the interesting (thing) is that when you hear the composers playing their piece, you see a very, kind of, an interesting input on top of the scores. So you know, that they gave you the room to do it. 



T. Interesting! Hey, you, you obviously as you started as a kid. I know that getting other young people involved in classical music is very important to you. Talk us about that. 



L: Yeah, so in 2008 I started a foundation based in New York called the Lang International Music Foundation. So now we have 15 very talented next generation artists, which we are mentoring them in our program. So some of them already played with me three times at Carnegie Hall. 



T: Oh, my goodness! 



L: Hopefully, you know, I'll bring some of them to Phoenix area next time. 


And we also started a public school support, what we call “Lang Land Aspires Program.” Now we gave about six hundred thousand dollars for three years in a school in Boston, and we gave them new instruments, and also we hired some teachers to train them in music. 



T: As far as getting young people involved in this type of music, how do you keep their attention? How do you get that spark? Because there's  ― between computers and the TV and the smart phones, and the this and the that, there's so much going on. 


So much of it is pop, quick, fast. How do you get them to figure out that that adagio  

really is something special? 



L: Obviously you don't start with adagio! 


That's a great, I mean, a great suggestion because today our world becomes so fast and so, kind of, remotable, what you call, but actually in music, you know, when you think about it good performance, it's like a multi media platform, the only way, you know, to listen to music is the ear, right? 


But then you also, you know, when the music comes IN to your ears, comes IN to your brain, and they need to be vertical. They cannot be, you know, just a kind of flat. 



T: Yes. 



L: So you need to see the characters. You need to see the messages. You need to see the colors. You need to see the construction of the building. You need to see the dynamics. So I think everything needs to be multiple. 


So in a way that, uh, this time of the year when I am talking about a music to kids, when we have, you know, we use smart phones, we use whatever pad. 


And we start also physically playing it together, not just talking, because talking is good, but it's more like a music class. What we want is to get people to play together. 



T: That's for kids. 



L: Uh, huh. 



T: Let's talk about some older kids. Talk about adults here, who still find classical music intimidating, and they don't know what they're missing. 


“Sounds, kind of, nice.” But there are people you are putting your heart and soul in to that, and that they are trying to figure out, “What am I mi ....” what are they missing? 


What,....well, how do you tell someone this is what you need to do to appreciate classical music? 



L: I think they just need to go to, uh, more concerts. And, uh, maybe to see a good concert. 



T: Yeah, I... that's a good idea. Maybe not try so hard. 



L: Yeah, not try hard... not TRY hard, but to, you know, maybe you go to YouTube, you know, just to find some videos of, uh, you know, great musicians perform. People like Yo-Yo Ma, people like Itzhak Perlman, people like Pavarotti, you, know, and like Leonard Bernstein, you know, get, uh, maybe shorter clip. 


And then, you know, I think it's very automatically, you know, and, uh, they just feel it. And when you feel it, everything opens. 



T: Yes. 



L: And sometimes through some kind of a, maybe, paper in front of you. But if you, kind of, pass, if you break through, then everything, uh, kind of, comes. 



T: And you buy Lang Lang CD ever made, and you can't stop playing them. 


Hey, you played for the opening ceremonies at the Olympics, the '08 Olympics there in China. What was that like? 



L: There was a gigantic stage, and I was playing with the little girl who was five years old at that time. And I was like a baby sitter. 


And then, “You know, please.... don't run.”  You know, there are lots of people watching you now, you know. “Let's play together, you know, having fun.” 


And then after five minutes I couldn't find her. I was so scared, you know. 



T: Where did she go?! 



L: She's run somewhere. 



T: But was .... did you, again talk about pressure when you were younger on a situation like that. You're a kind of, you were representing China and in many ways you do representing China in terms of the arts, in terms of the growth of the country where the country's future is headed. Do you feel pressure there? 



L: Not really. I just do my best, you know, to perform and to be as a good, a kind of a cultural ambassador. 



T: So you don't feel like necessarily a symbol of China's growth and China's changing sta... image on the stage. 



L: I'm happy there, you know, I become a kind of, uh, a global citizen. You know, uh, to share what our generation is thinking about toward the future. 


And I think it's..... And this generation needs to be very open generation to the global, I say, one big village, and I think, you know, as a musician, there's probably one of the best thing is that we are communicators, and through a piece you don't need to know the culture but you're kind of understood what you are talking about. 



T: You live in New York, correct? Why do you live in New York? 



L: I used to live in Philadelphia, and I moved after graduation. And, uh, so, that's a very big city and, uh, a lot of people, so... a lot of parties! (laugh) 



T: Oh, OK, we could talk about that later. But you have places in China, as your hometowns in China, as well? 



L: Yes. 



T: OK. But most of the time in New York? 



L: Most of the times I am actually in airplane. 



T: Before we go, I got to ask you, what is your, I mean, not necessarily to play, but when you just want to listen to the epidemy of a classical music, what do you listen to? 



L: I actually love to listen to Mahler symphonies. And I love to learn, you know, actually I love jazz. I ..... 



T: Do you? 



L: Yeah, my favorite artist is Herbie Hancock. 



T: Oh, you PLAYED with Herbie Hancock, didn't you? 



L: One of my best friends. And he taught me a lot of, uh, great tricks.... 



T: Isn't that something! 



L: .... for playing jazz. 



T: Isn't that something! 



ランラン「『聞いてくれ!』と思ったらダメ」(interview script)

中国のピアニストランランの、2013年のテレビインタビューから私が聴き取ったものです。Arizona Horizon で検索してみてください 






文中のkind of は、日本語では「っていうか/みたいなぁ」、you knowは「えっと/ね?」に相当する間投詞です。 




Ted Simons: Good to see you here, thanks for joining us. 



Lang Lang: Thank you, Ted. 



T: I mean, you are, you are a big deal on a classical music. Before we get to all that business, though, (have) you been to Arizona before? 



L: Yes, it's actually my sixth time in a... 



T: Sixth time! What do you think? 



L: It's very nice and hot! (laughing) 



 T: (laughing) OK. Have you had a chance to kind of see the scenery much? And I wonder about concert artists and such. Do you just kind of go to a town and stay in the hotel, and perform and go back to the hotel? How much do you get around? 

司会:(笑)なるほど。 ところで観光する機会はありましたか?演奏家の皆さんってどうなんでしょう?現地に入ってホテルに詰めて、本番やってまたホテル、なんて感じなんでしょうか?街に出れたりしてますか? 


L: I remember my first time being here was 2001, and, uh... I still remember I came with my father. And it was .... We were prepared a Chinese box before the concert and we take out from the freeze, so it's a bit cold. So we put it on the street. So five minutes later we had a very nice dinner. 



T: There you go! It's boiling the egg on the... frying the egg on the side walk here. 



T: I got to ask you before I get you what you're doing now. I want to know about... because you were a prodigy. You started very young but you started.... you were inspired by a cartoon, a “Tom and Jerry” cartoon? Talk to us about that. 



L: So I was two years and a half. And my parents bought me the piano, but that's already when I was one year old. 

ラン2歳半のときですね両親がピアノを僕に買ってくれて… あ、それは1歳の時のことです。 


T: Wow! 



L: So I was watching one of my favorite cartoons, uh,... “Tom and Jerry,” and, as you know, there's an episode called “The Cat Concerto.” So Tom, you know, with tuxedo, nice tie, and start playing the piano. And that was my first inspiration. 



I had a look at the big concert grand piano, and I looked at my little upright piano. And (thought) “Oh, that's the father and that's the son.” So I start(ed) playing. Those (were) my try-out. 



T: Was it something that... How old were you when you felt the .... I mean, because the kids are kids, and adults kind of feel the music differently. But when did you feel that music as part of you? 



L: I would say when I performed frist time. I was five years old. 



T: Five years old? 



L: Yeah. And I played Chopin's “Minute Waltz.” And I thought that was such a beautiful music, and also, you know, the stage light, like now, it's warm, and, uh .... also after playing, I got a flower from a little girl. I thought that was cool. 

ラン:ええ、その時はショパンの「子犬のワルツ」を弾きました。その時思ったのは、この曲きれいだな、とか、ステージの照明が温かいな、とか、あとは… そう、演奏が終わったときに女の子から花をもらって、こりゃいいやって思いましたね。 


T: Five years already! When you start(ed) so young, and you're good so young, and people are watching you. Didn't you feel pressure at all? 



L: Well, I mean, I must say it was not always, you know, very lucky. When I was seven I joined a competition, in which I actually got lost. So I was right, num, num, num, even number seven. So I got a consolation prize, a little toy. But I think that was actually what encouraged me the most for so many years. So I think sometimes when you are NOT so good, it actually makes you try to work harder. 



T: Interesting! And you did work harder, and you did obviously move up in terms. Again, it seems though you connect with the audience in ways that might be a little different than other artists. Talk to... Do you feel it.... Do you feel it when you are connecting with the audience? 



L: I would say no matter whether you are a pop star, whether you are a jazz musician, or you are a classical musician, in the end we need to get moved by the music. and we need to be totally connected with our heart and our soul to the composition that we are playing. 


And sometimes I felt that you're going to a concert, everything was very perfect, but somehow the soul, the heart, is not there. And I think it's very important when audience or musicians listen to another performance, what they like to hear is your sincere, your sincerity. And that, you know, the totally concentrated bridge between your heart and the keyboard. 



T: When you have your heart and your keyboard bridged like that, how do you know there's another bridge going out to the audience? How do you know they are with you? 



L: I actually, you know, the thing is when you start thinking about that, then it becomes artificial. If you like. “Hey! Look at me! Look at me!”... you know, that is not good. You need to be totally sincere. So the thing is when you are moved by the music yourself, then you have a chance to move to other people. 



T: It's interesting you mention that, because some critics of your style say you're too flamboyant, you're too showy. Is .... first of all, respond to that, what is the difference between having a flair and having that connection, and being too showy? 



L: I mean there are a lot of different kind of repertoire. I mean, tomorrow we will play a very virtuosic piece, Prokofiev's third piano concerto. And that is absolutely, you know, you need to be, you know, not to show off but to give all your abilities, you know, to take it out. 


But sometimes when you play really incredible music by Beethoven, like, slow movement, adagio, you know, or by Brahms, and that time everything becomes to heart, the intellectual power rather than, you know, the technique part. It depends on the pieces. Almost like a great actor. You need to be capable in ... uh... playing different roles. 



T: Do you find yourself as you age, handling that differently? Are you different now than you're ten years ago in terms of that persona on stage? 



L: It's a little bit easier to calm down a bit when you're getting a certain level of playing, a certain maturity. But I mean the freshness of what you call the instincts shouldn't change because, if your instinct changes, then it's not good. 






R. ムーティ「アンサンブルは人の世の在り方」(script of speech)

愉快な名指揮者、リッカルド・ムーティ(Riccardo Muti)が、2011年のビルギット・ニルソン賞(The Birgit Nilsson Prize)受賞記念スピーチからの抜粋です。拙作ながら、聴き取って訳してみました。












Music is extremely important. Education in music is essential, fundamental. Why? 



Not because we are to make miserable life of our children, with the small flute them out, and play every morning “TEE-TE-TEE-TE・・・” 


(make+O+C  OをCにしてしまう) 


Because we teach music: we teach poison in that way, and we alienate people from music. 



What is important is to teach the young boys and girls in the modern society that, in orchestra, a symphonic orchestra, or a chorus, is the symbol of a society; how a society should work and stay together. 


(what is important is:関係代名詞のwhat) 

Because we've seen that now, with the Royal Orchestra, the Royal Opera Orchestra. And I want to thank them and also the soprano and the chorus that we are seeing later, and Maestro (Gianandrea) Noseda, my colleague, for what they are doing tonight for this occasion. 


(what we are seeing / what they are doing ごく近い未来を表す現在進行形) 


But as I was saying that in an orchestra you see the violin, viola, cello, contrabass, flute, oboe, clarinet, trombone, fagott, percussion... 



And in a score they are altogether written there in the page of the score. 



Everyone has a different line, and all the lines should... SHOULD! ― because sometimes they don't ― go together and play together. 



And every player knows that his freedom must exist, but should not stop or damage the freedom of the other player. 



But all the players, together in their freedom and expressing their feelings, they all must work in one direction; that is, HARMONY. 


(expressing their feelings:分詞構文) 


When children learn to stay together and to have this concept of the good and harmony that must be equal for everybody, then they learn how to stay together in a society. 


(learn to stay : ~できるようになる 


I'm trying to say to insist on this subject since... forty years, and, uh... so, I'm sure that even if conductors are... they sometimes think that they are God, I know that I don't have another forty years in front of me. 



Or maybe? I don't know. 



And if I have it, I will insist in this concept. 



And then music doesn't know barriers. 



When we go to different countries, we have our musicians play together with the musicians of the towns, of the cities that we visit. 




And they sit together. They don't know their names. They don't know (that) they have different culture, they speak different languages, they belong, sometimes or many times, to different religions, they have different colors in their skin. 



But everything disappears because they have the same heart and the heart starts to beat in the same way, for everybody, in everybody, and they play and they sing together. 


訳注心臓を持つ脈打つ → heart→思いを持つ/高揚感を覚える) 


This is the reason why I am worried about the future because Europe is forgetting the importance of our culture, our tradition, our history. 



We are today what we have been. And we will be what we are today. 



So music and culture are parts extremely important of the history of Europe. 



So I take this opportunity from the stage of this prestigeous opera house in front of the Kings, in front of all the authorities to send a message that certainly was a message that Birgit Nilsson sent in all the years of her musical life. 



Let's help the new generations toward good future. And one of the weapons is music and culture. 



This is what I want to say in this moment. And I will not say anything else because when I go to this subject I feel really sad because it seems that our Europe is losing little by little certain values. 



And music can help. GLACCHE! 




Listening is about looking at a person. 








Anchorperson:You mentioned that you lipread because that's actually what to do. Yeah, and it's hard to believe when talking to you because you do that very well. But the fact is that you started to lose your hearing when you were eight years old. And what happened? 



Evelyn Glennie: Well, I had mumps and then the nerves of the ears deteriorated.  


So by the time I was twelve I was dependent on hearing aids. 


And what I found was that the sound was boosted tremendously, but I didn't have control of the sound. 


And I didn't know where the sound was coming from. 


So it wasn't so much that I couldn't HEAR sound. 


I was almost hearing too much of that. 


And I remember when I went to secondary school and I was already playing the piano, but I assumed that sound had to come from the ears. 


And when I was introduced to the school orchestra I saw the percussion section. 


I thought “Wow, that's sort of intriguing because some instruments are small, some are large, some people are standing up to play, som people are crouching down to play things” 


And I thought I want to be part of that, I'm quite curious toward that. 


Now they could've said “I don't think so. You know, deaf, music? No, they don't marry at all.” 


But they did, and curiousity, of my perscussion teacher where he believed, will, you know, sort of propel you in a direction. 


He said, “Evlyne, would you be able, EVLYNE (chuckle), would you be able to hear more if you took your hearing aids off?” 


Now, of course I thought he landed from Mars. 


Really, I mean, what a question to ask. 


Of course I am not to hear more. 


He repeated the question, and I took my time, and I thought “give it a go.” 


I took my hearing aids off. 


He struck a drum and he said “Evlyne, where can you FEEL that sound?” 


And I thought “Where can I feel that sound?” 


Suddenly my whole body had to stop and really be patient to LISTEN to that sound, so that the sound, really sort of, seeped through the body, and not just be coming through the ears as I thought it would be so that stike, that initial impact came through the ears, but the resonance, then, was felt through the body. 


It was just a HUGE revelation for me, it completely changed my life. 



A: Do you use hearing aids today? 



E: No, I don't. 



A: Well, Evlyne, or Dame Evlyne, could you please give us a little demonstration? We have, we have your instrument, your , your little table. 



E: Oh, woodblocks! 



A: Yes, and we prepared that, and if you could just show how it work? 



E: Oh, my heavens above, these are just two wood blocks 


So if I say to you, have a look at these woodblocks, what do you think they FEEL like? 



A: Uh, ... Hard? 



E: Hard? Do you think it's a fat sound, do you think it's a thin sound, a frightening sound? 



A: I think it's a fat sound because of the space inside. 



E: OK, so if you were suddenly sitting twenty rows back there, would you say the same thing? 



A: Nope 



M: We are about to find about. 



E: We all have different experiences. 



A: Yeah, yeah, yeah. 



E: So we just assume eveyone is experiencing the same instrument, in the same way, and the same dynamics and so on, and that's not the case at all. 


So we all have our own PERSONAL situation or where we are; if we are sitting under a balcony, or up in a box, or back there, or right in front row, or whatever it may be. 


So if I strike one little block and really, really imagine what the total sound might be, even if we don't know where it goes, but .... (strike) 



Goldie Hawn: Ooophs! 



A: ........... Yeah, we can hear that. 



E: You can hear that, but where could you feel it? (strike again) 



A: It's like..... my spine. 



E: Your spine! 



A: Yeah, I'd say that. 



E: OK, so if I play a little piece of muisic, and you concentrate on listening to this with your spine, or through your spine, but just pay attention to your spine and see what happens. (start playing the music) 




エヴェリン・グレニー「聴く、とは、相手を見つめること」(interview script)

エヴェリン・グレニー(Evelyn Glennie)世界屈指の打楽器奏者がゲスト出演した、TVインタビューショーを、私が聴き取ったものです。ブルーノ・マーズビル・ゲイツ、コフィ・アナン前国連事務総長も出演したSVT / NRK/ Skavlan です。検索してチェックしてみてください。 





Listening is about looking at a person. 








Anchorperson:Please welcome, Evelyn Glennie. 



Man: Hi, Evelyn, good to see you. 



A:Hei, Evelyn, welcome to the show. 



Evelyn Glennie: Thank you. Actually, it's Evelyn, not “EEVLIN” 



Victoria Silvstedt: Oh, is it? 



E:Yean, it's Evelyn, yeah. 



A: It's like, uh, Skandiavian pronunciation, sounds like. OK, I'm sorry. 



E: No, not at all. 



M: OK, Freddy. 



A: Tell me, you're gonna perform a little piece for us later. And I wonder, when I see this script, what's going on in your head? 



E: Oh, my goodness me. That's impossible to say, because in every occasion it's so different. But ultimately it starts with listening.  


You know, this is kind of the machine, or the engine as it were. So you know, in every occasion it's different.  


You're listening to the room you're in. You're listening to how you're feeling, you're listening to what you're wearing, the platform you're standing on, how the audience is configurated, you know, whether they're sitting on cushion seats, or carpets, or curtains, or whatever.  


So you know, the instruments I play just happen to be the tools. It's almost like ingredients as you're cooking your meal. But ultimately, my job is to take those ingredients and to create a sound meal. But I have to start with listening, a pallette of listening.     



A: But you need to have a sense of rhythm as well. 



E: Everybody does, everybody.  



A: Do we? 



E: You and your profession does. A politician does. A jockey does. 


We all have rhythm. We all begin life with rhythm. And actually, we all begin life as percussion players in the womb. 


You know, we're fighting away there, beating away there.  


And when you look at the baby, or an infant, the flexibility they have within the WHOLE body. 


You know, they can really sort of do things with the limbs. Every percussionist wants to have and cling on to it, really. So..... 



A: But the simultaneous... I feel, I feel, uh, I don't know about you, but I feel, uh, I can have a rhythm in a way.  


But when you do different things, different rhythms with different hands and feet, then it's beyond me. 



E: Well, it is, it is. Just you decide to use the word “It's beyond me.” You know, it isn't. 


That's my profession. So I have to pay attention to every limb, and make sure that whatever the right hand does, the left hand can also do. Whatever the left leg does, the right leg can also do.  



You know, that's part of my profession. That's part of what I train to do. 



Goldie Hawn: Are you taking notes? 



A: Yes. Well, I.... You used to be a dancer. I mean, you have rhythm. 



G: Yeah, there's a lot of music in your body. And, uh, also in acting. Because in acting I hear the same.. 


So comedians usually work..... or is very scientific because there are certain things that a comedian will do. 


And you can give it one, two, three beats. You can find it funny on the third beat, but it's not on the second. 



E: Uh, it's interesting that. Because it is what happens in between. So those silences, there's no such thing as silence, of course, but what we are really paying attention to. We really are. 



G: It's like empty space in art, really. Those empty space are very powerful. 



E: It is, really. But actually, when you have the presence of the audience there, that changes everything. And the rhythm can change, the placement of sound can change. 



A: So your ambition is to teach people to listen, in a way? 



E: Oh, you know, it's quite an ambition, actually. But we all have the opportunity to do that every single day of our lives. We really do. 


You know, we have a tendency to conduct our lives where looking downwards at the moment. 


We are on our mobile phones or computers, and you know, “Oh, there's someone there,” but then, “Oh, yes, this is more important.” 


And we are missing not just that oral attention. But listening is about looking at a person and, William said, you know, looking at a horse's eye, as you know. 


Well, I can sort of understand that because suddenly, if you put sunglasses on, I would not be able to lip-read you as I do now, so that whole image changes. 


So, your eyes and every sort of little frown or change of expression is VERY important to me. 





<再掲・後半>ウィントン・マルサリス著「ハイヤーグラウンド 上を向いていこう」



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