Han Xiaoming 郑明勋携亚洲爱乐8月捧献音乐厚礼

Han Xiaoming http://www.chncpa.org/n16/n2279/n2297920/2601199.html

www.chncpa.org


郑明勋携亚洲爱乐8月捧献音乐厚礼

　　8月5日，国家大剧院音乐厅继五月音乐节之后，又迎来了一支高质量、高水准的交响乐音乐会。主角便是由著名韩裔指挥大师郑明勋率领的亚洲爱乐乐团，此次是他们在中国的首场演出。
　　　　　　　　　　　　　　著名韩裔指挥大师郑明勋在音乐会演出现场　　当晚，亚洲爱乐选择了莫扎特的降E大调交响协奏曲和马勒的第一“巨人”交响曲作为演出曲目。乐团在郑明勋的引导下，从莫扎特到马勒，在相距100多年、风格差异极大的作品中拿捏自如，配合默契，彷佛这些音乐就是他们与生俱来的一部分，以致于让人忘记正在演奏的是一支全部由亚洲人组成的交响乐团。多元化的丰富音色、收放自如的融和力都再次验证了“亚洲顶尖乐手群英会”的称号和蕴含在亚洲音乐家之间无以言表的默契。
　　　　　　　　　　　　　　　圆号演奏家韩小明在音乐会演出现场　　上半场首先演出的是莫扎特的交响协奏曲，此首乐曲专门为双簧管、单簧管、圆号、巴松和管弦乐队而作。这是一种当时在巴黎非常流行的音乐类型，并且由莫扎特将它带入了一个更高的艺术境界。而担纲这四个乐器独奏的正是四位华裔音乐家——来自南丹麦交响乐团的开赛、伦敦交响乐团的毛志宇和德国广播爱乐的韩小明、底特律交响乐团的马科。虽然人们对中国的管乐演奏历来颇有微词，但当晚这四位长期在欧洲交响乐团担任首席的管乐演奏家的表现绝对令人“耳根一震”。此次郑明勋精心选择了此首作品作为上半场的曲目，并特地安排了四位华裔音乐家担负大任。而四位音乐家的演奏不仅证明了郑明勋的眼光，也证明了中国在管乐演奏上的绝对实力。四个管乐清爽圆润的音色回荡在音乐厅内，铜管嘹亮而不刺耳，木管婉转而不滑腻，令人听起来极为舒服。每个乐章的起承转合都好似弦乐、管乐之间一场趣意盎然的对话，充分凸显了管乐的魅力。而整个乐队的协奏也是一气呵成，其细腻、精准的协奏，无一不显露出典型的莫扎特风格。
　　　　　　　　　　　　　　　　　　　音乐会演出现场　　马勒交响曲作为德奥大部头作品的代言人，历来是各个交响乐团验证自己实力的“试金石”，亚洲爱乐也不例外。下半场，作为此次巡演的最重头曲目，马勒第一“巨人”交响曲精彩奏响。在郑明勋轻柔的手势中，乐曲从缓慢处奏起，逐渐向厚重与壮丽的空间铺开，或宁静，或高亢，或深沉，或激烈，从不同侧面塑造着“巨人”的全貌，随着音乐的推进，郑明勋与庞大乐队所发挥出来的整体音乐表现力精彩呈现了这部作品的主题。纵观整首乐曲，无论是甘醇的木管、铜管，还是极为准确的弱音、和声，无论是小提琴无比细腻的齐奏，还是乐队各声部之间慷慨激昂的配合，都在郑明勋的指挥棒下，尽现“本真魅力”。从柔情脉脉的铺衍，到热情焕发的高潮，他都用自己绝佳的控制力带领着乐团将每一个细节都诠释得极其完美，最大程度的还原了作品的纯朴，实现了他之前所言的“我一直在紧紧追随着作曲家”。最后，八名圆号手突然起身站立吹出了全曲最强音，继而在一阵英雄式的变奏中，乐队咏吟出了最后的呼吸，完成了马勒“第一”的华美收场。当最后一个音符落下时，全场观众都在为郑明勋与亚洲爱乐的精彩演绎而表达着他们按耐不住的激动心情。盛情之下，郑明勋又转身带领乐团加演了勃拉姆斯《匈牙利第一号舞曲》，热烈的旋律将现场气氛再一次推向了最巅峰。亚洲爱乐乐团用自己的实力征服了国家大剧院音乐厅的每一位听众，也为他们在华的首次演出拉开了漂亮的一幕。 　　在成功结束此次首演之后，亚洲爱乐乐团还将前往此次巡演的第二站韩国仁川进行之后的两场演出。　　音乐会信息：　　亚洲爱乐乐团音乐会　2009年8月5日　19:30
郑明勋魅力不仅在舞台
来源媒体 : 北京娱乐信报

（作者 张学军 ）就在8月5日晚亚洲爱乐乐团在大剧院的演出结束之后，指挥家郑明勋站到了观众席中，带领全场观众一同向台上的演奏家们致敬，场面颇为感人。 国家大剧院开张以来，已经吸引了数不清的世界大腕音乐家、指挥家纷至沓来。记者在这个音乐厅里已经欣赏了无数场音乐会，几乎每场音乐会的结束，站在指挥台上的指挥家绝对是全场的焦点，他们无一例外站在台上和演奏家们尽情享受着全场观众的掌声、欢呼声。而郑明勋例外，返场结束之后，他几乎分声部地将这个庞大的乐队的主要演奏家们逐一介绍给大家，让他们一同分享演出成功的喜悦以及观众持续不断的热情。 就在演出结束之后，笑容可掬的郑明勋走下台来，站在观众席中，指挥着全场观众一同用最热烈的掌声和欢呼声献给台上那些带给人们整晚美妙艺术享受的演奏家们。 这是一个临时组成的“大家庭”，团员都是世界各地的著名交响乐团的大腕演奏家，而郑明勋则是亚洲如日中天的大腕指挥，这个舞台上没有主角与配角。但是作为乐团灵魂的指挥家站在台下和观众一同鼓掌向自己的团员致意，这样的感人场面此前还从来没有见过。记者不禁感叹，之所以能把如此众多的演奏家从世界各地汇聚在一起，除了他独有的艺术才华之外，喜欢为自己夫人做饭的大指挥家郑明勋果然同样人格魅力无穷。节目链接：亚洲爱乐乐团音乐会

Western Music in China

Western Music in China

The final piece of my coverage of the Pittsburgh Symphony Orchestra's tour to China ran Sunday -- a much more general look at just why Western classical music has become so popular in China. Obviously, I don't answer the question; I am trying to bring up some possibilities and also simply to dialogue about what is a truly fascinating subject for all of us who love classical music. Thanks to the Carnegie Mellon School of Music for letting me accompany some of its faculty members (also PSOers) on some masterclasses in Shanghai (Bill Caballero, Mike Rusinek and Nancy Caballero, specifically).
In the center of photo are Bill Caballero and Xiao-Ming Han (in the blue shirt) and the students of the horn masterclass at Shanghai Conservatory that I wrote about.
If you want you can review the rest of my coverage of the PSO Asia 2009 tour here. For me it was a chance of a lifetime and a wonderful learning experience that has shrunk the world of music for me.

The PSO in the Pearl of the Orient
That would be Shanghai, although it wasn't always known by such an elegant and flattering name.
On the left is the Oriental Arts Center. It was designed by the same architect firm as the Beijing Egg -- Paul Andreu Architects -- and in fact looks a bit like the Egg opened up -- same glass panel material. In any case, both are stunning from the outside. The PSO played a concert in Shanghai Saturday night that might still have them talking:
Crowd in Shanghai didn't want PSO to stop the music
Actually, my lede originally was meant to reflect my immediate thought at this concert when the crowd wouldn't let the PSO off: the PSO got Shanghaied!
But we didn't want to bring up old stereotypes in print, so we altered it. Either way, it was fascinating to see such a robust reaction to a concert -- these music lovers (with far fewer Chinese tourists than in Beijing) -- knew they couldn't just come next week to see the PSO like we can in Pittsburgh, and they were determined to squeeze a little more out of them.
In addition to the fantastic architecture of the Oriental Arts Center, the hall was staffed by ushers in traditional dress. Clarinetist Thomas Thompson was kind enough to let me take a photo of him with one backstage. She was actually quite tall, and had to bend a bit for the shots, but what a gorgeous dress:
By the way, that last encore I wrote about of Brahms' "Hungarian Rhapsody No. 5" is so wonderfully crafted by Honeck, even if in that case he didn't have the percussion or trombones on stage (because they weren't needed for that program). He does such fantastic little phrasings that bring a piece alive artistically that I have heard 1,000 times before. It makes me a bit sad that the PSO already recently recorded the Brahms symphonies and Hungarian Dances with conductor Marek Janowski because that probably means Honeck's Brahms will have to be put off and probably won't be recorded. It is too bad because he clearly has amazing things to say with Brahms, like he has with most of the Viennese canon he has conducted so far.
The next day, I followed some PSO musicians, who also teach at Carnegie Mellon University's School of Music, for some master classes at Shanghai Conservatory. It's an experience I will write about later in a bigger piece on the phenomenon of classical music in China. Suffice it to say, the level of playing at the school here is high.
But these PSO'ers (and there were several others who did this in Beijing and Shanghai) deserve credit for taking time from their personal time-off in China to give free master classes to the students here. What an invaluable experience for the students, and let me tell you, they learned a lot!
Clarinetist Michael Rusinek gave five years-worth of training to a young clarinetist in his masterclass, and her expressive abilities grew with every comment. Horn player William Caballero had a larger class, organized by his longtime friend, Xiaoming Han, a horn professor at Shanghai Conservatory and an international player.
Caballero was "blown" away by the talent, but just the same he offered needed advice to the young musicians, sometimes as simple as moving the stands of three musicians playing a horn trio closer together and showing the lead horn player how to better start the piece.
Pitt, Duquense and CMU all have music students from China, but CMU actively takes recruiting trips here for students, and I can see why. These master classes might just bring a brilliant student to CMU's School of Music. But even if they don't, it is a wonderful gift of cultural exchange by these and other PSO musicians.
P.S. The Post-Gazette got this wonderful e-mail the day after the first Beijing concert at the Egg, and I thought I would pass it on:
Comments:
Saw the Pittsburgh Symphony in Beijing tonight. It was terrific....two encores. If it were up to the ticketholders we still would be there.You are lucky to have such a great orchestra in your city.
Sandy K.