Crossing over(跨越)
The many beats of violinist Edvin Marton, from classical to crossover
(最好的小提琴手艾德文‧馬頓的許多節奏,從古典到跨界)


By Nóra Lakos(這位記者的名字囧)
Reporting from Budapest
(布達佩斯報導)
http://www.ontheglobe.com/profile/nora_lakos.htm

皇冬相當無能的翻譯囧,要是哪邊錯了請告訴我囧


 

"I am a 21st century virtuoso, feeling the pulse of our times," says Edvin Marton, who, in his twenties had already performed in many leading classical music venues around the world.
"我是一名感受我們的時代脈搏的二十一世紀藝術大師,年僅20多歲就在全世界許多主要的古典音樂表演登場演奏的艾德文‧馬頓說。

Of Hungarian origin and born into a musical family, Marton could already be seen with a bow in his hands by the age of 3. "When I was born, my fate was pegged: in no uncertain terms, I would become a musician," remembers Marton, formerly known by friends and neighbors as Lajos Csury.
出生於匈牙利一個音樂家庭中,馬頓在三歲時已在他手中看到琴弓。當我出生時,我的命運就被註定了︰ 清清楚楚,我將成為一位音樂家,馬頓回憶,當他還是Lajos Csury就聞名於親友之間。

He was born in an area of largely inhabited by ethnic Hungarians, and he showed his precocious nature in music school at a young age, completing seven years of curricula in just three.
 他是在烏克蘭出生的匈牙利人, 並且他在年輕時就在在音樂學校方面顯示他的早熟的本性,僅僅三年就完成了七年的課程。

By age 7, he was already playing Mozart violin concertos. 在七歲前,他就可以演奏莫札特的小提琴協奏曲。
"At one point I literally sat on my violin, I was so fed up of practicing many hours each day, my poor father had to travel to the next village to buy me a new instrument," remembers the now 30-year-old violinist, "The result of the incident was a three-day hiatus from practicing.
 "有一段時間我根本是定在我的小提琴上, 我每天都被練習填滿(fed of指填滿,似乎有被塞到厭倦的意思?) 我的貧窮的父親必須旅行到下一個村莊為我買一台新的小提琴,現在這位三十歲的小提琴家回憶," 結果我有三天沒有練習。(我總覺得他這三天應該很爽……=_=). 

Today he takes better care of his violin, playing a USD 3 million instrument made by famed violin craftsman Antonio Stradivari, and is protected by personal bodyguards.
今天他仔細照顧他的小提琴(真的有仔細照顧嗎?你確定你還拿史特拉提瓦里的音箱當擴音器這種行為叫仔細照顧!?囧) 演奏有三百萬美元身價的史特拉提瓦里提琴,而且有專屬警衛保護(史特拉提瓦里的警衛XDDD)

From a poor village boy, the young violinist traveled the world and studied in numerous countries.  
從一個貧窮村莊出生的男孩,現今是年輕小提琴家的他在世界各地旅遊讀書。

Tchaikovsky Central Music School
(
柴可夫斯基音樂學院)

The young Csury studied in Central School, where "even getting in was a career-making move.  " This was an institution where famed violinists studied.
年輕的裘利在柴可夫斯基音樂學院就讀,邁向了職業的坦途。 " 那是聞名的小提琴學習地。

The hallowed halls of tye Tchaikovsky was also where noted cellist and conductor Yuli Turovsky studies, before emigrating to some 25 years ago from Moscow. 
神聖的柴可夫斯基學院也以身兼大提琴家與指揮家的Yuli turovsky就讀聞名(Yuli turovsky, 俄國大提琴家. 1976 年投奔自由, 1977 年在加拿大成立 Borodin Trio. 該三重奏團出名錄音不少. 例如柴可夫斯基的鋼琴三重奏, 一個偉大藝術家的回憶.)
 It was Turovsky who ended up crossing paths with the violinist then known as Lajos Csury.
 Turovsky與名為Lajos Csury的小提琴手一起穿過道路。(也是本篇訪談中的師匠XD)

  The young violinist took part in an international festival at the Arts   年輕的小提琴手在蒙特婁外的奧福德藝術中心參加一個國際比賽,在然後拜Turovsky為師。 (目前考據是金提琴獎那次,也就是說他得了那次獎不只賺到了史特拉提瓦里,還找到一個可以聽他碎碎唸的恩師XD)

He took first prize and recorded a CD with Turovsky's chamber orchestra "I Musici de Montreal.  他得到了第一名,並且與Turovsky的室內交響樂團"I Musici de Montreal共同錄製CD(就是這張)

"Lajos Csury had a very impressive technique and a beautiful sweet sound, but there was something very special in his playing reminding me of some older masters of the first half of the 20th century," commented Turovsky, "There was nothing American in his playing, and yet there was almost nothing Russian either, although he studied in Moscow and New York for a number of years.  " Lajos Csury有令人印象深刻的技法與甜美的聲音,但在演奏過程中讓我想起二十世紀上半期的事情,"  Turovsky說著," 在他的演奏中沒有什麼美國味, 然而雖然他在莫斯科和紐約也讀過許多年書,但是也幾乎沒有什麼俄國味。 "

Marton sees the logic in his training through its diversity.  " 馬頓透過這些差異性的訓練看到了邏輯(應該是說艾頓他學了四學不同風格的音樂學校之後,發現了音樂的差異性以及邏輯,不過把他的音樂推向奧運的卻是俄羅斯人XD) "

The reason why it's hard to trace is because in each of the schools that I studied, I learned a very different aspects of playing and performing.  
"因為在我讀的每個學院裡頭,我接受完全不同的表演以及演奏觀念,所以你很難去找到一個方向。

 In it was the disciplined technique and the tough education system.  俄羅斯注重的是組織性的技法以及艱難的訓練系統。
In  
在布達佩斯和維也納,是歐式的聲音,那稍微點亮了我的演奏(應該是點亮沒錯....明燈是也XD)  

And in New York, I could perfect my performing technique, stage presence and the elements of a "show" that eventually allowed me to develop my own style," he explained.  
然後在紐約,我讓我的技術與表現臻具完美,能在表演中融合舞台的元,最後,讓我發展我自己的風格," 他這麼說。(所以說他的音樂奔放是紐約音樂學院的關係?)

Franz Liszt Music Academy(法蘭茲李斯特音樂學院)


While professionally  
即使莫斯科可以給他更嚴格的專業訓練,馬頓仍心繫布達佩斯  

He returned to study at the Franz Music  他回去就讀法蘭茲李斯特音樂學院音樂高等學校就讀,遇見著名世界的匈牙利作曲家的女兒,歐索蕾雅‧索卡雷亞(一個禮拜的主角出現了囧)  

He married Orsolya Szokolay, also a violinist, after six years of the couple recording CDs together, organizing and performing concerts as a dynamic creative team.  做了六年一同錄製CD、編曲、表演的夥伴之後,他與Orsolya Szokolay,也是一位小提琴手結婚

  "Our marriage was short, it lasted the whole of a week," Marton remembers, recalling what was a difficult period in his life.  
"我們的婚期很短,才持續一週馬頓回憶著,那是他生命中一段艱難的日子。(艱難的到底是離婚之後還是那一個禮拜……從他說的話看不太出來)

His search for a style of music of his own brought him far and wide, meanwhile.
 同時,他深廣的去找尋他自己的音樂型態 

 His studies in New York at the Juliard School of Music brought professional contacts which meant changes in his musical style.
 
 他在紐約茱莉亞學院就讀,與職業接觸的經驗改變了他的音樂型態 

Here, in one of the most revered classical music environments of Juliard, he mingled with DJ's and jumped from high level classical to what is referred today as crossover.
  這裡,多數的人在茱莉亞尋求古典音樂的環境,他卻跟DJ混在一起而且跳向更高的水準,那也是他今天的音樂能如此超越的原因。

Still in his 20s, Marton had traveled to more than 30 countries, and played in such renowned concert halls as the Berliner Philharmonie and Vienna's Koncerthaus.

 在他20幾歲的時候,馬頓已經到了超過三十個國家旅行,而且在像柏林交響樂團和維也納愛樂這樣的著名的音樂廳演奏。

  But he was looking for a change.
 但是他還在尋找改變。

"As a classical performer, I played in some of
 "
作為一個古典音樂家,我在歐洲的一些最重要的場合演奏,馬頓回憶," 但是,跟他們一起進行另外二十次的表演並不是我的終身志向。

  I just wanted to go further, always dreaming of developing my own show that would be relevant to our times.  我只是想再進一步,我總是夢想發展出我自己的表演,而且是切合我們時代的。 

In the process of developing this very style, one of the first "shows" he created consisted of him performing, naturally as a soloist and conductor, with some 20 beautiful model-like violinists in his own chamber orchestra, called "Pearls of Classics.
 " 在發展自我風格的過程中,第一步,他創造組織了他自己的樂團,自然的成為一個獨奏者跟指揮,帶領著二十位漂亮的跟模特兒一樣的小提琴家,組成了他自己的室內交響樂團,叫" 古典的珍珠。 " (這傢伙……挑團員還淨挑跟模特兒一樣的漂亮美眉……難怪討人厭!光是這個就可以氣死一票去死團的啦!)

"After he graduated from the music academy the talented, jovial and rotund Lajos disappeared, only to return as a slim, easy listening, music playing Edvin Marton," explains a former classmate, "We don't really understand why he changed, since wherever he went, he was loved and appreciated.
 "  當他自音樂學院畢業之後,有才能、活潑且圓滑的Lajos 消失, 他回去演奏輕鬆而且容易聽的音樂(好像是指通俗樂)" 以前的一個同班同學這麼說," 我們不確定他為什麼改變,因為不論他去哪邊,他都被愛而且受歡迎。 " (好像是說他演奏古典音樂明明很受歡迎,卻要去演奏流行樂)
(
這句話我翻起來怪怪的…Orz)

According to Turovsky, Csury could not be constrained by the rigid and low-key lifestyle of classical music, since he was more keen on adventure and excitement, and changed his musical direction. " 根據Turovsky的說法,古典月的低調以及嚴謹無法壓迫Csury 因為他更對冒險和興奮有強烈興趣,並且改變他的音樂的方向。  

"He called me several times over the years from very exotic countries and described some quite fantastic plans he was working on," said Turovsky, who remembered calls from Csury from several Middle Eastern adventures.  有幾年他好幾次從很多個不同國家打電話給我,而且描述他那異想天開的計畫。回憶起Csury好幾次從中東國家冒險打電話來的Turovsky這麼說著 "
He possessed a vivid imagination, and whether all of the adventures that he later talked about were real or imaginary I cannot be absolutely sure, but he was genuinely so excited talking about them that it would even make me at times worried for him.
 "他有瘋狂的想像力,我無法保證他後來談論的冒險是真實的或是幻想,我無法確信, 但是他真實如此激動談論他們,害我有時會很為他擔心。

(我真的大笑,原來艾頓是喜歡旅行的陽光男子!XDDD原來你不宅啊!XDDD搞半天你沒工作的時候是到世界各地去泡美眉囧?我好像可以想像到你在路邊拉琴勾引美眉的樣子XDDDD)
Marton says that every composer or performer tries to work within the context of their own times, and not just perform the works of others.
 " 馬頓說每位作曲家或是演奏家都嘗試在樂譜中組合他們自己的時間,而不僅僅只是演奏別人的作品。
  Straus played Bach, while Mozart developed different themes in his very own style and even composed his own works, he argues. 史特勞斯演奏巴哈的時候也發展了他自己的型態,甚至編寫自己的樂譜,他這麼爭論。

"I was always more interested in playing my own music, and this doesn't mean that I wouldn't play Mozart or Vivaldi, it's just that today it is more exciting to perform these works with electronic sounds, since we live in the 21st century.  "我總是對演奏我自己的音樂感興趣,但那並不代表我不演奏莫札特或偉瓦第,只是因為我們生在今天,這個21世紀,電子樂會更激動人心。

 If Mozart would be alive today, certainly he would also play this kind of music," he added.  如果莫札特生在今世,他也會演奏這樣的音樂,他補充說。  

It was not easy to label these new and modern sounds.
  要給這些新而且近代的聲音挑標籤是不容易的

One reason is that the most important venue for broadcast contemporary music is radio, and today the most popular instrumental sounds is so-called "trance" or "techno.  
一個很重要的原因是當代廣播音樂的是收音機,而現在大部分的通俗音樂就是一般被認為是“令人昏昏欲睡的”或是“搖頭樂”(歡迎英文強者偵錯囧……我翻起來怪怪的)

" Marton's music is a long-term investment, and harder to introduce to a larger public.  " 馬頓的音樂是一種長期投資,而且很難向廣大民眾介紹
 Few Hungarian labels(商標,這邊指的應該是音樂公司廠牌) are developing in this direction.  
很少匈牙利樂商向這方面發展。

But Germany's BMG label took the risk in 2001 and released the music of his new group, Strings 'n' beats, and launched it in numerous countries including Switzerland, Germany, the Netherlands and Hungary.但是德國的BMG公司在2001年冒險並且發布他的新專輯《弦樂與節奏》,(媽拉搞半天他這套專輯01年就出過了,Art on ice大概是後來又補的吧?官網上說弦樂與節奏的出版時接也是2003,可能後來01年這張專輯就這樣被蓋掉了囧)並且積極的推廣到在包括瑞士,德國,荷蘭和匈牙利的許多國家。

 It is no coincidence that the album was first released abroad, says Marton's manager, György Zentai,(網頁有亂碼Orz好像是人名?) since it is practically impossible to distribute Europe-wide from .
 專輯首先在國外釋出並不是一種巧合,馬頓的經紀人這麼說,想從匈牙利那裡發片到全歐洲幾乎是不可能的。

A classical or a popular musician?
(是古典或通俗音樂家?)

Public reception of his CD in  廣大的匈牙利民眾認為他的CD是混合的。 

 While during his studies, a close-knit community of classical music circles followed Marton's work, he was hardly known to the wider public, because he left the profession very early in his career.當他還在讀書的時候,他就在古典樂界廣為人人所知,只是一般民眾很難知道,因為他很早就離開了他的職業訓練(好像是說他很早離開古典樂界,所以一般民眾不知道他其實是先以古典樂揚名的)

 As to the popular music of Marton, he is only now becoming known to audiences.至於馬頓的大眾音樂,只是現在才開始被人知曉。

The director of BMG Hungary, Margit Geszti, says Marton's reputation and following is growing, a fact that can be seen through his record sales.  BMG匈牙利分公司的董事,Margit Geszti說,馬頓的名聲跟追隨者越來越多(沒錯囧)這個事實從他的銷售紀錄就可以看出來。 (從這邊有個笨蛋在翻譯也看的出來囧)

 Sales are far greater, she says, than those of other similar-styled CD's, with Strings 'n' beats soon to go gold, signifying the sale of some 15,000 records.
 跟其他類似的CD相比,《弦樂與節奏》的銷售量大的多,很快就到達了一萬張(GOLD的銷售量是一萬張)大約有15000的銷售紀錄。  

While Marton's the technique and classical music past are recognized and widely appreciated, many have more trouble with his nature and temperament.
 
當馬頓的技術以及關於古典樂的過去被廣泛的認同與讚賞的同時,他氣質跟本性上的毛病就顯露出來了。(哇哈哈哈哈XDDD容我大笑XDDD)

 As the critics would say, during his days in the academy, he lived in a world enchanted by himself.  因為那些批評家將說,當他在學院的時候,他居住在自己的世界裡頭。(艾頓你果然有自閉囧)

  The violin virtuoso certainly did not bathe in humility, and he refers to himself in the category of the "worlds best violinists," who simply, "has no competition in  這位小提琴大師一點都不謙虛(在謙虛裡游泳……英語真有趣XD) 而且他把自己歸類在「世界最好的小提琴家」裡頭,簡單來說,在匈牙利內無人可與他匹敵。

 " While his success may be impressive in terms of sales, it seems Marton will find his place in the popular genre, leaving behind a successful classical music career.  " 當他成功的用他的銷售量讓人印象深刻的時候,看起來馬頓將會在大眾音樂裡找到一片天,然後把在古典音樂上的專業拋在腦後。

  While the world's No.1 virtuoso may be an exaggeration, he may have a very bright future. 當然,說是世界第一的小提琴手也許是有點誇大,但他的確會有個光明的未來。

* Photography courtesy Edvin Marton, Yuli Turovsky (I Musici de Montreal)
(艾德文 馬頓與 悠裏‧托夫希斯(師匠的名字這樣翻不知道可以可以囧)
* Copyright 2004, All Rights Reserved
版權所有,2004年……不過……還是借我翻譯轉載一下(
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