RichCat 山羊居: 2022

英譯: 孫潤 (請將拉把下拉到底端看結語)

English translation: Sun Run

Please scroll down for the conclusion

多年前, 一位韓國朋友曾跟我說過一個『笑話』: 傳統韓國婦女都有家傳泡菜秘方, 她母親更是其中翹楚, 能做十多種不同口味各家泡菜, 除了基本的大白菜, 有些甚至加入韭菜, 糯米粉 … 甚麼魚露, 辣椒的比例當然也有講究, 每年秋冬, 媽媽都會醃製幾大缸, 並依傳統方式, 在後院挖坑埋下, 某天警察按鈴造訪, 說美國鄰居報警, 懷疑她家有謀殺案, 月黑風高之夜, 後院人影幢幢, 掘坑埋屍.

Many years ago, a Korean friend told me a "joke": traditional Korean women have family recipes for kimchi, and her mother was one of the best who can make more than ten different flavors of it. In addition to the basic cabbage, some even add Chinese leeks and glutinous rice flour... The ratio of fish sauce and chili is also important. Every fall and winter, her mother would make several vats of kimchi and bury them in the backyard in the traditional way. One day the police rang the bell and said that their American neighbors had reported a suspected murder in her house. They heard and saw people digging holes and burying something in the backyard many nights.

文化 (音樂, 戲曲, 工藝 …) 這東西也類似料理, 不但要有 "明" 師的親傳, 更需長期浸染其中, 否則就算按照嚴密的食材和配方比例, 若無 "泡" 的功夫, 食材於缸中置放的溫度, 時間, 甚至擺放地點, 都會影響口味, 差之毫釐, 失之千里, 半途而廢者, 不可勝數.

Culture (music, opera, craftsmanship ...) is also similar to cuisine. It requires not only the personal transmission from "wisdom" masters but also long-term immersion in them. Otherwise, even if the ingredients and recipe are in strict proportion, without the "immersion" effort, the temperature, time, and even the location of the ingredients in the vat will affect the flavor. One false step will make a great difference. There are countless people who have given up halfway.

音樂和語言的關係十分密切, 不同方言產物下的民歌, 小調, 戲曲, 器樂, 都會因為語言的不同, 而產生相異的 "韻", 越古老的方言, 聲韻越複雜, 例如普通話 (北京話) 只有四聲, 廣東話有八聲, 客家話有十二聲. 非泡在當地方言裡長大的人, 在演奏不是 "母語" 的音樂時, 會帶有腔調, 就像不是在北平長大的人, 京腔不標準, 不是自小在美國長大的人, 英語會帶中文腔一樣, 雖不妨礙溝通, 但聽得出來, 就算努力模仿, 偶爾還是會顯露出身.

The relationship between music and language is very close. Folk songs, ditties, operas, and instrumental music in different dialects have different "tones and rhythms" depending on the language. The more ancient the dialect, the more complex the phonology. For example, Mandarin Chinese has only four tones, Cantonese has eight tones, and Hakka has twelve tones. People who did not grow up in the local dialect will have an accent when (s)he playing music that is not in their native language, just as people who did not grow up in Beijing will have a non-standard Beijing accent, and people who did not grow up in the United States will have a Chinese accent in English, which does not hinder communication, but people can still recognize their origin even if they try to imitate.

初聽 "潤語弦風" CD 開篇 (陝西)《淒涼曲》時, 很是驚艷了一把, 若非明知是孫潤彈的, 真要以為是周望老師的演奏, 其韻味氣勢, 甚至詮釋的細節, 都掌握得唯妙唯肖, 周延甲老師的淒涼曲較深沉蒼遠, 周望老師則在悲切之外, 多了滑音的萬千柔情, 而孫潤彈的這支曲子, 則除承接二位真傳外, 尚有己身北方女兒的英颯.

When I first listened to the 1st track of the CD, Qi Liang Qu (Song of Forlornness) from Shaanxi Style, I was amazed. If I had not known that it was played by Ms. Sun Run, I would have thought that it was played by Prof. Zhou Wang, whose Yun (refer to the changing of the sound through the strummed strings by the left hand in playing) and momentum of the music, and even the details, were perfectly mastered. Prof. Zhou Yanjia's playing of this piece is deeper, while Prof. Zhou Wang's has a more tender sliding tone in addition to the sadness, and Ms. Sun Run's not only inherited from both of them but with the boldness and heroism of the northerners herself.

這張 CD 收錄較多福建箏曲 (4首), 兩首客家, 另潮州, 浙江, 山東, 河南, 陝西各一首.

This CD contains 4 Fujian Style guzheng pieces, 2 Kejia (Hakka) pieces, and one each from Chaozhou (Tsao-chou), Zhejiang, Shandong, Henan, and Shanxi styles.

《春雨未晴》(陳有章傳譜) 選的是冷門福建樂曲版本, 而非著名的潮州版, 且依傳統方式真指甲演奏. 頗有歷史收藏和傳承意味, 大家不妨親自聽聽看.

Chun Yu Wei Qing (Continuous Spring Rain), Chen Youzhang’s School from Fujian Style is not popular compared to the famous Tsaochew version. This piece is played in the traditional way with fingernails, which has quite a historical and inherited meaning. Why don't you listen to it yourself?

陳茂錦老師的《蕉窗夜雨》, 極具福建箏曲特色, 和常聽到的廣東/客家音樂, 感覺可說完全相反, 令人耳目一新.

Jiao Chuang Ye Yu (The Night Rain on the Plantains Outside the Window) from Fujian Style, notated by Chen Maojin, is very characteristic of Fujian guzheng music. It is the opposite of the Hakka music that we often hear. The Fujian one is refreshing.

《蓮花浮記》清麗淡雅,《落水蓮》(福建) 明快清新, 很耐聽.

Lian Hua Fu Ji (Legend of Lotus) from the Fujian Style is elegant and clear, and Luo Shui Lian (Lotus Falling into the Water) also from Fujian Style is bright and fresh and is very pleasant to listen to.

《出水蓮》是潮客閩三個流派都有的樂曲，此 CD 收的是最著名的客家版本。

Chu Shui Lian (Lotus Growing out of Water) is one with 3 styles: Tsao-zou chew, Hakka and Fujian. This CD contains the most famous Hakka one.

客家曲《散楚詞》(饒寧新譜) 十分古樸, 音色細膩, 音效極佳, 可聽出幕後團隊的專業細緻.

San Chu Ci (Melancholy Song of Chu Region) from Hakka Style, Rao Ningxin's performance score, is very ancient and simple, with delicate and excellent sound effects, which shows the professionalism of the team.

《鴻雁夜啼》(山東) 我學的是三分鐘版本, CD裡收錄的是高自成老師的六分鐘版本, 乃孫潤聽高老師錄音自學的, 很不簡單, 聽錄音自學, 不但本身要有極佳的左手吟揉功力, 更要有細膩的耳朵, 和沉潛的心, 雖說詮釋方式不盡相同, 但這正是傳承的意義: 不但要廣為傳播, 多人演奏學習, 更要青出於藍, 勝於藍, 文化傳承才有希望.

Hong Yan Ye Ti (A Swan Goose Crying Forlornly at Night) from Shandong Style. I learned the three-minute version, while the CD contains the six-minute version of Mr. Gao Zicheng’s style, which Ms. Sun Run learned with his recordings. It is not easy to listen to recordings and learn on your own for that not only requires excellent left-hand skills but a fine ear and a subtle heart. Although the interpretations are different, this is the meaning of transmission: It's not just about spreading and getting more people to play and learn, it's also about surpassing one's teacher so that there is hope for cultural transmission.

CD 收錄最長的一支曲子是潮州高哲睿傳譜的《黃鸝詞》(將近八分鐘), 彈過長曲的人都知道, 那需要多大的專心和定力.

The longest piece of the CD is Huang Li Ci (Song of Oriole) (nearly eight minutes) Gao Zherui’s Style from Tsao-chou Style. Anyone who has played a long piece knows how much concentration and determination it requires

浙江的《雲慶》(王巽之傳譜) 是江南絲竹八大名曲之一, 諸位可以聽聽孫潤的處理, 與她老師周望, 和其他大師的不同.

The Yun Qing (Cloud Celebration) from Zhejiang Style, Wang Xunzhi's School, is one of the eight famous “Jiangnan Silk and Bamboo Folk Music” (or Jiangnan String and Woodwind Instrumental Music). You can listen to Ms. Sun Run's interpretation, which is different from that of her teacher Prof. Zhou Wang and other masters.

除《淒涼曲》之外, 我個人最喜歡的就是壓軸的任清志編曲《新開版》(河南), 感覺孫潤表現北方樂曲較得心應手, 揮灑自如, 有她自己的颯爽.

Besides Qi Liang Qu (Song of Forlornness), my personal favorite is the finale, Xin Kai Ban (New Opening Beat) from Henan Style, arranged by Ren Qingzhi, which I think Ms. Sun Run plays with ease on northern music, and with her own style.

結語 Conclusion:

模仿, 是學習任何東西, 極重要的第一步, 有紮實的基本功, 才有之後創新的獨特風格. 類似嬰兒學語, 必始於觀察大人表情和口舌動作, 累積足夠聽的詞彙聲響, 待肌肉發育妥當, 即努力吚呀學舌, 但就算至親, 父母子女, 手足之間的聲線腔調, 仍有差異, 這是因為每個人, 都是獨一無二的個體, 有自己的個性, 雖模仿自母體, 仍有不同的聲音表情, 展現相異的情緒和脾性.

Imitation is a very important first step in learning anything. Only with solid basic skills can we create our unique styles later. Similar to a baby learning to speak, it must begin by observing the expressions and mouth movements of adults, accumulating enough words, and listening to enough sounds. Then, once the muscles are properly developed, it is time to learn to speak. But even between parents and children, brothers and sisters, there are still differences in the voice and tones. This is because each person is a unique individual with his or her own personality. Although each person imitated the mother, they still have different voices and expressions, displaying different emotions and temperaments.

綜 "聽" 這張 CD, 南樂柔媚, 北曲蒼遠, 孫潤以北人出身, 模擬諸位前輩大師的南樂, 已達七八分相似, 但是, 前輩老師們的樂曲, 有數十載人生歷練, 和一輩子文化涵養做底氣, 因此樂曲雖柔, 卻不軟, 而是有一股韌性托底, 柔韌不斷, 風格獨特, 百聽不厭.

Generally, the southern pieces are soft and charming, while the northern pieces are vigorous and profound in this CD. Ms. Sun Run, as a northerner, imitates the great masters of southern music and has reached seventy to eighty percent similarly. However, the music of masters contains several decades of music experience and a lifetime of cultural connotation as the foundation. So that although the music is soft but with tenacity, which develops a unique style, and never tired of listening

孫潤年紀尚輕, 人生經歷亦大異於前輩, 因此, 在第一步的模仿做到位後, 其實可以放開手, 大膽加入自己北人的 "俠骨", 當能更上層樓, 開展自己風格, 彈出外柔內剛, 俠骨柔情的南樂, 不必拘泥想模仿到百分百相似才罷手.

Ms. Sun Run is still young, and her life experience is quite different from that of those masters’. Therefore, after the first step of imitation, Ms. Sun Run could add her northern "Chivalrous spirit", so that she could go further and develop her own style - playing southern music that is soft on the outside but firm inside, chivalrous and tender. There is no need to stick to trying to imitate to be 100% the same.

我們無論如何努力, 都不會成為陳茂錦, 高自成, 饒寧新等大師, 只有做自己, 才能真正繼承傳統, 不負前輩的盡心指導.

No matter how hard we try, we will never become masters like Mr. Chen Maojin, Mr. Gao Zicheng, or Mr. Rao Ningxin. Only by being ourselves can we truly carry on the tradition and live up to the guidance of our predecessors.

相信每位 "明" 師, 都不會希望只看到弟子單純模仿, 因為那不是傳承, 而只是影子. 無論是宗教, 工藝, 音樂, 舞蹈 .... 傑出弟子總能在繼承傳統後, 旁徵博引, 在優良根基上, 加入自己的領悟, 另創新局.

I believe that every "wisdom" master won't like to see his/her disciples simply imitating, because that is not an inheritance, but just copying. Whether it is religion, art, craft, music, dance, etc., the outstanding disciples always inherit the tradition and then add their own insights to create a new style.

數位科技之所以一直取代不了現場演出, 其實就在每個人的獨特性上, 潛心專研的人, 永遠在挑戰自己, 樂曲表現出每天的進步和領悟, 相信孫潤若每十年出一張 CD, 就算是相同曲目, 應該也會有不同的詮釋, 期許 10 年後, 不一樣的孫潤.

The reason why digital technology has never replaced live performance is the uniqueness of each individual. Those who are dedicated to studying are always challenging themselves, and music shows their daily progress and new understandings. I believe that if Ms. Sun Run releases a CD every 10 years, even if they are the same pieces, there will be different interpretations. I expect a different Ms. Sun Run in 10 years.

這張 "潤語弦風" 涵蓋了孫潤 30 年習箏成果, 多位前輩大師親自指導, 故意收錄了大家不常聽或演奏的各流派樂曲, 當作對自己的挑戰, 和音樂傳承的心意. 很可以作為收藏, 其中英日文的箏史簡介和樂曲說明, 呈現出團隊的用心. 整片CD音效與編輯亦佳, 其中固然因為孫潤用了幾張頂級古箏, 演奏不同曲目, 加上幕後製作團隊專業的收音編輯, 但本質仍靠演奏者數十年的用功涵養, 才能表達出不同地方樂派獨特風味. 這張由年輕演奏家南北通吃的 CD, 很可以購藏傳家.

This "Run Yu Xian Feng" CD covers Ms. Sun Run's achievements in guzheng learning for 30 years, as well as the personal guidance from many masters. The repertoire intentionally contains the Chinese traditional guzheng music of various styles that we don't often listen to or play, which is a challenge to Ms. Sun Run herself, and her intention to inherit traditional music. This CD can be used as a collection. The introduction to guzheng history and the music descriptions in Chinese, English, and Japanese show the team's dedication. The sound quality and editing of the whole CD are excellent, which is certainly due to Ms. Sun Run using several top-quality guzhengs to play different pieces, plus the professional recording and editing. But the essence still depends on the performers' decades of hard-working that can express the unique "flavors" of different local music styles. This CD, which is played by a young performer who can master both northern and southern music, is very valuable for collection to buy.

應演奏者之邀, 不揣淺陋, 以為之記. 2022 山羊居 At the invitation of the performer, my honor to write the review for Sun Run. GOAT Master 2022