华裔小提琴家侯以嘉访谈丨“没有技巧就没有表达的自由；但只关注技术，很快会变得无聊或疲劳，并失去练习专注度。”
https://v.qq.com/txp/iframe/player.html?vid=w0568z1lpkx&width=500&height=375&auto=0侯以嘉录亲身教你演绎《梁祝》
2007年10月2日在音乐厅上演的英国皇家爱乐乐团音乐会更是异常火爆，大剧院不得已以“加座”应对观众的热情。究其原因是缘于乐团首次把中国作品——《梁祝》作为巡演的“主打歌”，而担纲独奏的华人女小提琴家侯以嘉尽管并不为北京观众所知，但她精彩的演奏以及与这支英国名团水乳交融般的合作，赢得了全场观众的喝彩。
当乐队奏出第一个音符起，全场观众瞬间安静下来，当侯以嘉第一个优美的旋律一出来，立刻就抓住了全场观众的心，记者注意到，从这一刻开始到整首作品演奏终止，全场观众都是全神贯注屏气静息。侯以嘉的《梁祝》有些与众不同，她的速度偏慢，并不以炫技为目的，每一个句子的处理都是要把音符之间的关系拉得像说话一样清清楚楚，江南语言的韵味十足。而皇家爱乐的表现同样是令人吃惊，他们与小提琴独奏之间配合的默契程度和对《梁祝》发自内心的深度理解，可以从他们全身心投入演奏出的音乐中鲜明感受到，那段小提琴与大提琴的“对话”格外动人。而在“英台抗婚”一段中，指挥大师约翰·尼尔森用了一个铜管声部的“撕扯”效果，虽然不是很传统的中国范儿，但你会惊喜地发现，原来这种暴烈也可以有如此的戏剧性。唯一的“不正宗”也是在“英台抗婚”这一段，打击乐手那段中国戏曲的板鼓，是怎么也打不出“戏曲味儿”来……这个要追求“正宗”，怕是要求太高了点儿。
随后，侯以嘉又演奏了圣-桑的《引子与回旋曲》，她依然是以大段拉满每一个句子的“慢”去与后面炫技的密集快速音符乐段做戏剧性的对比，再次赢得了全场观众热情的掌声。侯以嘉最后返场一曲克莱斯勒的独奏小品《中国花鼓》，才令全场观众心满意足。对于侯以嘉的表现，很多观众都表示：没想到成长在海外的华人小提琴家也能够把《梁祝》演绎得如此优美感人！（转自《北京晨报》）
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小提琴家侯以嘉访谈
谷宇飞：在您的专辑<YOU CAN NEVER HAVE TOO MANY SUITES>您提到文化交流（cultue exchange）这个概念,而且从您的专辑选曲可以看出您是以一种全球视野来做文化传播工作的，这想必也您在一个多元文化环境成长有关，你觉得这种成长背景对你如今音乐道路的选择有何影响？
侯以嘉：谢谢你的关注！我曾一度被跨文化所激发的灵感之美深深吸引。我一直热爱旅行，热衷于发现和了解不同的国家和文化。我特别喜欢听不同的语言，享用当地的食物，聆听当地的民歌，观赏当地的艺术。我觉得旅行非常能够激发灵感，让我们感受到世界何其广阔，又何其渺小。
In your album "YOU CAN NEVER HAVE TOO MANY SUITES", you mentioned the concept of culture exchange. And from your album selections we can see that you are presenting a cultural communication from a global perspective. Presumably, it might be also related to your growth in a multicultural environment. How do you think this growth background will affect your choice of music today?
Thank you for noting this! I am ever fascinated by the beauty of cross-cultural inspiration. I have always loved traveling, discovering and learning about different countries & cultures...I especially love hearing different languages, eating local foods, hearing local folk tunes, and seeing local art. I feel this is tremendously inspiring and gives us a sense of how large, yet small, our world is.
https://v.qq.com/txp/iframe/player.html?vid=y0166gnvt1l&width=500&height=375&auto=0侯以嘉纪录片
谷宇飞：你曾和英国皇家交响乐团合作演绎《梁祝》，在别的采访中您也提到对中国您有种寻根的冲动，通过演绎《梁祝》您收获了什么？
侯以嘉：随着“祝英台”巡回演出之旅的进行，我踏上了寻根返乡的路，回到了我的出生地上海… 我对这个古老的“化蝶”爱情传说感受更加深刻。我喜欢和我的父母和作曲家何占豪和陈刚谈论音乐背后的灵感和哲学。我喜欢探索和学习每一个短语，文字，意义…理解语言，通过故事感受人物内心的情感的错综复杂…我喜欢感受在我们的英国皇家爱乐之旅中每个观众的的热情……这次录音和巡回演出也我更加理解我的父母……和整个中国。虽然我在加拿大长大，我还是真切的体味到了一对远在中国的青年男女为他们的悲剧性的爱情而留下的眼泪…我知道这些眼泪来自我的灵魂深处…这音乐是我的基因和我内心的一部分，并在这首《梁祝》中重焕生机！
You have performed "Butterfly Lovers" in cooperation with the Royal Philharmonic Orchestra. In other interviews, you also mentioned that you have a root-seeking impulse toward you. What did you gain through performing the “Butterfly Lovers”?
I followed the journey of Zhu Yingtai back to my own roots, born in Shanghai… I feel deeply this ancient story of butterfly lovers. I loved speaking with my parents and composers HE Zhanhao & CHEN Gang about the inspiration and philosophy behind the music. I loved exploring and learning each phrase, text, meaning...understanding the language, the inner emotional turmoil through the story...and I loved feeling the energy of each audience on our tour with RPO...this recording and tour brought me closer to my parents...and all of China. And though I grew up in Canada...I felt the tears of a Chinese girl and boy in their tragic love...and I know that those tears came from a deep place within my soul...this music is in my DNA and a part of me was revived through this exploration of Butterfly Lovers!
https://v.qq.com/txp/iframe/player.html?vid=s01619qhxdk&width=500&height=375&auto=0侯以嘉演奏萨拉萨蒂《流浪者之歌》
谷宇飞：作为一个音乐文化传播者，您未来还会做哪些工作？
侯以嘉：我希望继续与世界分享伟大的中国音乐，特别是（编者：帮助）年轻有抱负的艺术家！另外还有音乐教育工作，对我来说帮助和指导我们的下一代对我至关重要……我们正在塑造和推动一个我们将要生活的世界……以及我们孩子的世界(也许是我自己孩子的未来)！
As a music culture disseminator, what will you do in the future?
I wish to continue to share great Chinese music with the world, especially young aspiring artists! Music education, helping and mentoring our next generation is infinitely important to me...we are shaping and forwarding the world we will live in...and the world our (maybe my future ) children will live in! And I wish to come back to China more often to share all great and wonderful music with the audiences here because I feel a profound understanding and appreciation for masterworks and I wish to continue to learn and be inspired by this great country!
谷宇飞：很显然在您眼中音乐性是高于一切的，但是在中国的音乐教育中音乐性存在很大缺憾，很多演奏者的演奏更倾向于技巧和单纯音符的堆砌，对这种现象您怎么看？
侯以嘉：多么有见地的问题！你说的这些所谓的技巧都是些小窍门和简单的音符！但我必须说，中国有一些知识最渊博、眼光最敏锐、最有献身精神的艺术家和观众。但（他们）可能需要越来越多（更好的）的音乐教育（这也是我发起全球教育倡议的部分原因）。天赋灵感和创造力只是种子……人才越多，培养和工作就越多，才能充分实现人才的潜力……所以，我相信中国并不缺少优秀的人才，但是迫切需要音乐教育的普及和音乐文化的积淀。
Obviously in your performance, musicality is above all else, but music education in China has great gap comparing to some other countries. Many performers are more inclined to play tricks and simple note. How do you feel about this phenomenon?
What an insightful question! You are so right about tricks and simple notes! But I must say that China has some of the most knowledgeable, discerning, and dedicated artists and audience. There may be a need for more and more music education (this is part of the reason why I started a global education initiative!) Talent inspiration and creativity are only seeds… The greater the talent, the more cultivation and work it takes to realize that talent into its full potential...
So as I believe China’s talent is great...its need for music education and cultivation is also great!
谷宇飞：您选录的专辑里很多现代作曲家的作品，比如和王洛宾杨宝智合作的西部民歌五首，还有很多世界各地民族性较强的音乐，有句话叫做“民族的就是世界的”，您对这句话怎么理解？
侯以嘉：我一直被这个世界的多姿多彩和跨文化的影响所吸引和鼓舞。杨宝智的《王洛宾组曲》是受到巴托克罗马尼亚民间舞蹈和曼努埃尔·德·法拉的一套西班牙民歌的启发。当我在西方观众面前表演中国组曲时，它就成了他们最喜欢的节目！！
In your albums, many of the compositions are written by modern composers, such as the five western folk songs co-authored with Wang Luo-bin and Yang Po-chih. And there are quite a few of them representing the ethnic characteristics around the world. With the phrase "the nation is the world", what’s your opinion?
I have always been fascinated and inspired by the world and cross-cultural influence. Yang Baozhi’s Wong Luo Bin suite of Chinese Folk songs and dances was inspired by Bartok Romanian Folk Dances ans Manuel de Falla’s suite of Spanish folk songs...and when I play the Chinese suite to western audiences...it becomes their favourite piece on the program!!
谷宇飞：现在时代在变化我们的音乐也在改变，古典音乐也应当变中求新，现在很多跨界音乐家如大卫格鲁德，林赛斯特林，马克西姆·姆尔查姆等，也出现了一些新的艺术流派比如新古典音乐将古典与现代技术相结合，您对这种音乐流派有何看法？
侯以嘉：每种音乐流派都有某种关联。你提到的音乐在很大程度上是我们所生活的时代的在艺术领域的外化，但要确定你提到的这些是否会在某一天被视为“经典”，还需要一两代人的努力。
纵观音乐史，我们所知道的“古典音乐”实际上是当时的流行音乐。只是在50-100年之后，我们把所有的作曲和作曲家都挑出来，直到只剩下几个具有长久的意义的我们称之为经典。我们基本上收集了所有人类创造的最优秀的作品，这个系列叫做“经典作品”。所以，从今天起，谁将代表古典音乐没准还是个未知数呐！
Now the times are changing, and our music is changing. Classical music should also be changed. Now many cross-border musicians such as Lindsey Stirling, Maksim Mrvica, etc., have also been presenting some new art genres such as neoclassical music combining classical with modern technology. What do you think about this genre?
Every genre of music is relevant in one way...the music you mention is very much an expression of the times we live in...but it will take another generation or two to determine whether these you mention will be considered “the classics” one day...
Throughout music history, what we know as “classical music” was actually the popular music of the times. It was only 50-100 years afterwards that we weeded through all compositions and composers until only a few remain and have long lasting significance. We have essentially collected the best of the best that was created by humanity and this collection is called the “classics”. So it is yet to be seen who will represent classical music from today!
谷宇飞：您的父母都是从事小提琴演奏工作的，在从小学琴经历中有没有什么艰辛或者快乐的事情可以分享的，比如您几岁开始学音乐，第一件乐器是什么？
侯以嘉：我简直有太多故事可以分享……几乎都是令我痛并快乐的经历！我哭过很多次，因为我不认为我可以做一些事情……然后在我父亲的教导下我发现，在每次沮丧想要放弃的时候试着再多努力一点（或更多），甚至可以将不可能成为可能……为了迎来通过努力将这些泪水变成了巨大的幸福和荣耀的感觉，我可以做任何事情，只要我继续努力。这种职业道德和工作热情使我一生中经历了许多挑战！！
Both your parents are engaged in violin performance. Is there any tough stories or happiness moments you can share with us when you began to learn playing violin? For example, how old you started to learn music, and what is your first instrument?
There are so many stories I can share… Almost all of them are both tough and happy! Many moments I cried because I didn’t think I could do something… And then – with my father’s teaching – I discovered that working just a little bit (or a lot) more, even the impossible became possible... and those tears turned into tremendous happiness and the glowing feeling that I could do absolutely anything as long as I kept working at it. This work ethic and glow has carried me through many challenges in life!!
谷宇飞：演出比赛还有练琴教学一定使您的生活十分充实，除了音乐以外，您平时一般做什么，会看一些音乐家的传记或者一些文学作品吗？
侯以嘉：我喜欢科学/物理和哲学。（阅读和讨论它们）让我觉得它们在寻求真理方面他们很接近艺术……而当我们每每有一个发现时，就像打开一扇通向另一个维度的门……在那里，追寻和探索真理的道路重新开始。我也喜欢烹饪蛋糕（我在巴黎的Cordon Bleu找到了一家蛋糕店），像远足/单板滑雪/芭蕾舞/瑜伽/看电影……而且我对黑巧克力上瘾。当然……我喜欢听我最喜欢的艺术家……特别是在音乐会上，还有那些伟大的老唱片。
Performance and practicing violin must make your life very fulfilling. Apart from the music, what do you usually do? Will you read the biographies of some musicians or some literary works?
I love science/physics and philosophy. (To read and discuss.) I feel they are very close to the arts In that they seek the truth… And when we make a discovery, it is like opening a door to another dimension…where the search & exploration begins all over again.I also love cooking (patisserie...I took a patisserie course at Cordon Bleu in Paris ), activities like hiking/snowboarding/ballet/yoga/watching films...and I am addicted to dark chocolate. And of course...I love listening to my favorite artists… Especially live in concert, and in great old recordings.
old recordings.
谷宇飞：对于学过几年小提琴的学生，您认为最重要的批评或者建议是什么？
侯以嘉： 事无捷径！
What do you think is the most important criticism or advice for students who have studied violin for several years?
There are no good shortcuts!
谷宇飞： 练琴同演奏一样是一门学问，您认为学生在练琴中最应该重视什么部分？（慢练/技巧训练）如何规划时间？（基本功，练习曲，乐曲）
侯以嘉：基本技巧是你用音乐创造一切的技能。没有技巧，你就没有表达的自由……但是，如果你只关注技术，你会很快变得无聊或疲劳，并失去练习专注度。我更喜欢在音乐和创造力中找到能够激发爱和激情的极为特别的感觉……抓住它，想象它最辉煌的表达方式……然后通过所有不可或缺的技术不懈地努力，将这种美丽的音乐形态融入到生命中去！
Practicing playing violin is just as much important as performing it. What do you think students should pay most attention to when practicing? (Slow Training / Skill Training?) How to plan the time? (Basic Skills, Etude, Music)
Fundamental technique is the skill set with which you create everything in music. Without technique you have no freedom to express…But if you focus only on technique you can become bored or tired and lose focus. I prefer to find the super special thing that inspires love and passion within music and creativity… Hold onto that and imagine it in its most glorious form… And then work tirelessly through all the technique needed to bring that beautiful form to life!
谷宇飞：学生在开一首新曲子的时候除了技巧上的练习还应关注哪些方面？
侯以嘉：练唱结合，将要练习的音乐唱出来。
When students begin to practice a new song, in addition to the skills of practice, what aspect should also pay attention to?
Always sing everything!
谷宇飞：音乐家和观众其实存在一个断层，就是大多数演奏者在舞台上只负责呈现自己的作品，但可以看出您十分重视观众对于音乐的理解，通过您的音乐可以了解到文化。您如何解读音乐和文化的关系？
侯以嘉：我想如果一个表演者只关心自己而不关心观众……那么他们就应该在自己的客厅里演奏了！
对我来说，与观众一起表演的美妙之处在于心与心之间无与伦比的激情的碰撞，彼此联系的可能性，以及共享的独一无二的美妙时光。
在我在加拿大的第一年……我不会说英语。我5岁时第一次和父亲一起演出，这是我第一次感觉到被理解了。那是通过音乐。所以你可以说，音乐是我的第一语言……而且它可以是一种关于同情、理解、关于人与人之间的联系、关于社会团结……音乐是与每个人息息相关的共同语言！
In fact, there is a gap between musicians and audiences. Most of the performers are only responsible for presenting their work on the stage. However, we can see that you attach great importance to the audience's understanding of music and hope the audience can understand the culture through your music. How do you interpret the relationship between music and culture?
I think if a performer only cares about themselves and not the audience… Then they should be playing for themselves in their own living room!
The beauty of life performance with an audience for me…is the extraordinary exchange of energy, the possibility to connect to one another, and the unique time shared together.
In my first year in Canada… I did not speak English. I gave my first performance with my father at age 5 and it was the first time I felt understood. And that was through music. So you could say that music is my first language...and it can be a language of compassion, of understanding, of connection, of community...for everyone!
谷宇飞：您觉得在您学琴生涯中对您影响最大的老师或者给予过您帮助的朋友是哪些人？
侯以嘉：我如今所取得的成就是我所有老师和导师的共同影响的结果！我的父亲是我的第一位老师，我的父母（都是小提琴手！）对我的生活产生了巨大的影响。他们向我灌输了爱、激情、对音乐的尊重……同时也教会了我做一个优秀而平衡的人的重要性。后来，多萝西·迪蕾（Dorothy DeLay）、田中直子（Naoko Tanaka）、Cho Liang Lin……以及音乐界以外的一些导师，都帮助塑造了我今天的艺术家身份和教我学会做人。忠言逆耳，但他们总会在我需要时及时告诫我……他们从未停止过对我的信任。我非常感谢他们所有人，因为如果没有他们的一如既往的支持，我就不会站在如今这个位置了。——他也是梵志登的老师：纽爱新总监梵志登访谈丨“我并不想被公众看作对某位作曲家有特殊癖好，演的最多或最为喜欢。”
Who (teacher and friends) have influenced you the most during your music path?
I am a combination of all of my teachers and mentors! My father was my first teacher and both of my parents (both violinists!) had tremendous influence on my life. They instilled a love, passion, respect for music within me...whilst teaching me the importance of being a good and balanced person. Then later on Dorothy DeLay, Naoko Tanaka, Cho Liang Lin...and a handful of mentors outside the music world... all helped to shape the artist and person I am today. They told me all the tough things I needed to hear when I needed to hear them… And they never stopped believing in me. I am tremendously grateful to all of them because I would not be here if it wasn’t for their unfailing support.
谷宇飞：您曾为了学业将成为一个职业演奏家的计划暂时搁置，对此您有什么自己的想法？
侯以嘉：我不确定我是否明白这个问题？你是说我在朱利亚音乐学院同时还在哥伦比亚大学攻读加速物理学吗？实际上，我并没有停止我的学术研究……我只是想锻炼我的大脑的另一部分！🤣
What do you think when you once put on hold to be a professional player because of your studies?
I’m not sure I understand the question? Do you mean when I took accelerated physics at Columbia University while I was at Juilliard? I did not actually stop my filing studies… I just wanted to exercise the other part of my brain as well! 🤣
谷宇飞：音乐对您来言是一种生活方式还是一种职业？
侯以嘉：音乐是我的生命，我所做的任何事情都是在我的音乐服务。
For you, is music a life style or an occupation?
Music is my life! Everything I do serves my music...
谷宇飞：您最偏爱什么风格的音乐作品？古典浪漫还是现代？
侯以嘉：那要看心情啦，一天一个样！不过，当然我对浪漫主义时期和古典主义音乐没有抵抗力（soft spot）。
What is your favorite style of music? Classical romance or modern?
It depends on the day! However, of course I have a soft spot for the romantic era and classical music.
谷宇飞：音乐都是具有时代感的，您是否更倾向演绎更体现时代特色的当代作曲家作品？
侯以嘉：我倾向于演奏我喜欢的音乐。不管它来自哪个时代。有一些当代作品……有些作品被淹没在历史长河中……的确有一些伟大的作品……我唯一要考虑的是，我真的很喜欢这个音乐，并且能还原音乐本来的面貌。
Music is presenting a sense of the times. Are you more inclined to perform more contemporary composers’ work reflecting the characteristics of the times?
I am inclined to play music I love. No matter what era it is from. There are some contemporary works… There are some lost works… And there are some great works… The only consideration I have is that I truly love the music and can give it a true voice.
谷宇飞：对于音阶的练习您有什么看法？
侯以嘉：虽然我向来认为技巧练习不是那么重要……但最近我爱上了音阶！哈哈！我想他们说的是真的……你练习的越多，你就越意识到你需要练习……
What do you think about scale practice?
Are used to think that skills were not so important… But recently I have fallen in love with scales! Ha ha! I guess it’s true what they say… The more you practice, the more you realize you need to practice…
谷宇飞：您是否认为学生在音乐学习中应重视室内乐如重奏的学习，这对他们有何益处？
侯以嘉：当然！室内乐是所有音乐不可或缺的一部分。它有助于发展出色的听力技能，并教会我们如何与他人一起工作。这就使我们有可能在许多种（不同的乐声）之间创造出一种一致的诠释，这是室内乐相较于独奏的优点所在。——推荐阅读：埃格纳钢琴三重奏访谈丨你有父亲、母亲和孩子，等我们长大了，孩子就会成为父亲和母亲，这就是室内乐想要阐明的观点！
Do you think that students should pay attention to the study of chamber music such as quartet in music learning, which is the benefit?
Absolutely! Chamber music is integral to all music… It helps to develop wonderful listening skills and teaches us how to work with others. This then gives us the possibility to create a coherent interpretation between many...that is greater than one..
【本公号原创翻译，欢迎打赏支持翻译】：1、八十岁时论阿劳丨论阿劳的演奏艺术；2、八十五岁论阿劳丨他的演奏何以伟大？3、钢琴家特里福诺夫专访丨“我在游泳池里练琴”；4、十五问王羽佳丨“演出”对你意味着什么？5、王羽佳访谈丨“穿长裙？待我四十岁！”6、王羽佳专访丨她赢得了没有参加的“比赛”！7、采访阿格里奇丨“音乐必须是自然流露的事情！” 8、帕尔曼追忆海菲兹丨“这么多小提琴家都试图模仿他，但他们的演奏却成了活生生的讽刺。”；9、肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。” 10、韩国钢琴家赵成珍访谈丨“如果我遇见肖邦……”；11、憨豆先生采访郎朗丨谈肖邦以及古典音乐普及；12、古稀之年克莱默访谈丨谈《克莱默版贝多芬协奏曲》（亨勒出版社）；13、“奥伊斯特拉赫经常鼓励我，去寻找属于自己的声音”丨“当代怪杰”吉顿·克莱默访谈；14、“指挥家”李云迪访谈丨“音乐源自内心，这就是为什么即便我们一遍遍地弹奏相同的曲子，表演依然不是机械化的原因。” 15、郎朗弟子马克西姆·朗多访谈丨“郎朗对所有事物的热情深深感染着我，当我们在一起演奏时，可以感受到创造出的音乐竟然如此欢乐！” 16、肖邦“迷妹”阿格里奇论肖邦《第一钢琴协奏曲》丨“我多么渴望去亲眼看到肖邦怎样弹琴！” 17、纽爱新总监梵志登访谈丨“我并不想被公众看作对某位作曲家有特殊癖好，演的最多或最为喜欢。” 18、埃格纳钢琴三重奏访谈丨你有父亲、母亲和孩子，等我们长大了，孩子就会成为父亲和母亲，这就是室内乐想要阐明的观点！