弦里弦外——读《千曲晓声——卜大炜论文集》
发布时间：2019-05-24 09:53
【摘要】：正如果按照通常所谓"作品系统"、"表演系统"、"读者系统"三大模块切割作品的接受流程,那么卜大炜担当的角色既属于"表演系统"又属于"读者系统",他不但要作为一名演奏家融入"表演系统",而且要作为一位乐评人跳入"读者系统",非但如此,他进而自构了一个"作品系统",创作了一批因声音的"作品系统"而生的文字的"作品系统"。集三项使命于一身,不但演奏音乐,而且审视音乐,进而阐释音乐,竟然没有压垮"系统",反而让他在不同的面向中相互点燃,来回穿越,生机勃勃。卜大炜所写乐评的不同之处以及读者借以观察本书的要领,大概就在于此。作为中国交响乐团的演奏家,他有着一般乐评人难以企及的便利条件,可以近距离甚至零距离地贴近大师,从不同民族、不同国家、不同音乐家对同一作品的阐释中辨别非在这般距离中才能辨别的纤发毫芒,从而阐发常人难以逼视的细微色差。《我离"三高"特别近——记世界三大男高音紫禁城广场音乐会》一文,就是"零距离"的典型。2001年,北京故宫内午门广场上的两万多名宾客,迎来了卢奇亚诺·帕瓦罗蒂、普拉西多·多明戈、荷塞·卡雷拉斯联袂的"世界三大男高音紫禁城广场音乐会",常人要花巨大代价才能挤进去的"禁
[Abstract]:If the acceptance process of cutting works according to the usual so-called "work system", "performance system" and "reader system", then the role played by Pu Dawei belongs to both the "performance system" and the "reader system". He not only wanted to integrate into the "performance system" as a performer, but also jumped into the "reader system" as a music critic. Not only that, he further constructed a "work system". Created a number of voice "work system" because of the "work system" of the text "work system". Set three missions in one, not only play music, but also examine music, and then explain music, did not crush the "system", but let him ignite each other in different faces, back and forth, vibrant. This is probably the difference between the music reviews written by Pu Dawei and the main points in which readers observe the book. As a performer of the Chinese Symphony Orchestra, he has convenience beyond the reach of the general music critics. He can be close to the master at close or even zero distance, from different nationalities and countries. The interpretation of the same work by different musicians distinguishes the slender hair that can not be distinguished at such a distance, In order to explain the subtle color difference that is difficult for ordinary people to look at. "I am very close to" three heights ". The article" Concert to the Forbidden City Square, the three tenor of the world "is a typical example of" Zero distance ". In 2001, More than 20, 000 guests in the inner lunchgate square of the Imperial Palace welcomed Luciano Pavarotti, Placido Dominguo and Jose Carreras to the "Concert of the Forbidden City Square," which is the three tenor of the world. It takes a lot of money for ordinary people to squeeze in.
【作者单位】： 中国艺术研究院音乐研究所;
【分类号】：J605
本文编号：2484770
[Abstract]:If the acceptance process of cutting works according to the usual so-called "work system", "performance system" and "reader system", then the role played by Pu Dawei belongs to both the "performance system" and the "reader system". He not only wanted to integrate into the "performance system" as a performer, but also jumped into the "reader system" as a music critic. Not only that, he further constructed a "work system". Created a number of voice "work system" because of the "work system" of the text "work system". Set three missions in one, not only play music, but also examine music, and then explain music, did not crush the "system", but let him ignite each other in different faces, back and forth, vibrant. This is probably the difference between the music reviews written by Pu Dawei and the main points in which readers observe the book. As a performer of the Chinese Symphony Orchestra, he has convenience beyond the reach of the general music critics. He can be close to the master at close or even zero distance, from different nationalities and countries. The interpretation of the same work by different musicians distinguishes the slender hair that can not be distinguished at such a distance, In order to explain the subtle color difference that is difficult for ordinary people to look at. "I am very close to" three heights ". The article" Concert to the Forbidden City Square, the three tenor of the world "is a typical example of" Zero distance ". In 2001, More than 20, 000 guests in the inner lunchgate square of the Imperial Palace welcomed Luciano Pavarotti, Placido Dominguo and Jose Carreras to the "Concert of the Forbidden City Square," which is the three tenor of the world. It takes a lot of money for ordinary people to squeeze in.
【作者单位】： 中国艺术研究院音乐研究所;
【分类号】：J605
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