A National Youth Orchestra of the World | 属于世界的青少年交响乐团

April 24, 2017

 

NYO-China:从独奏到合奏的成长指南

2017年4月3日

中国当代古典音乐界的独奏家阵容可谓星光熠熠。以中华青少年交响乐团(NYO China)钢琴独奏王羽佳为例,每年都有一批才华横溢的中国音乐家在舞台中央成为聚光灯下的焦点。然而,很多音乐家最终发现了另一种人生追求——成为一名优秀的乐队演奏家,无论是专业的管弦乐团或是室内乐团的成员。NYO China的诞生就是为了激发中国青少年音乐家对合奏表演的热爱。

巴尔的摩交响乐团第二提琴首席、NYO China音乐导师,李青的职业发展轨迹令人深思。从小,李青梦想成为一名独奏家。她12岁时进入北京中央音乐学院附中学习。19岁时,她凭借对西贝柳斯《D小调小提琴协奏曲》的精彩演绎,在首届北京国际小提琴比赛中崭露头角。那时,她受到了小提琴家贝尔·辛诺夫斯基(Berl Senofsky)的青睐,以全额奖学金进入约翰霍普金斯大学皮博迪音乐学院深造。当她的独奏事业蒸蒸日上时,她获得了一次巴尔的摩交响乐团的面试机会,并最终拿到了第二提琴首席的席位。尽管当时她面临着艰难的抉择,最终她选择了接受这一份乐队的工作。一方面她认为成为乐队演奏员意味着独奏家的梦想就此破灭;但另一方面她隐隐觉得,音乐之旅从此刻才算真正开始了。开启巴尔的摩交响乐团的艺术生涯后,李青意识到聆听乐团成员的演奏、与他们合作向观众传递丰富成熟的作品是一件多么美妙的事情。相比之下,独奏在她看来有些“单薄”和“局限”了。

李青对乐队演奏乐趣的领悟让她成为NYO China音乐导师的不二人选。一般来说,中国学生有丰富的独奏经验,但是在管弦乐队演奏的经历比较匮乏。NYO China为中国学生量身打造的课程设计,让他们有机会跟随世界级乐队演奏家学习。艺术总监路多维克·莫洛(西雅图交响乐团)和蔡金冬(斯坦福大学)将带领乐团进行集体排练,为正式演出做好充分准备。除了集体排练,学生还将跟随15位音乐导师进行各声部的排练。各声部导师将与学生分享他们在乐队演奏丰富经验。白天训练结束后,成员将在导师的指导下,在晚间演奏室内乐,进一步磨炼他们的乐队技巧。

成为独奏家带来的明星光环和知名度,吸引很多年轻音乐家追求独奏事业。但是,很多音乐家最终选择了成为室内乐或者乐团演奏者。他们从此发现了乐队演奏曲目丰富而无尽的宝藏,并借此获得了与其他音乐家合作演出的丰富体验。相信这些年轻的音乐家经过NYO China洗礼后,将拥有更广阔的视野,以此开启他们追求职业乐团演奏家的音乐道路。

7.22 NYO China 卡内基首演音乐会门票开售,点击此处购票。

访问 nyochina.org了解更多NYO China 咨询。

The current classical-music scene in China is replete with astounding superstar soloists. From National Youth Orchestra of China soloist Yuja Wang and beyond, each year reveals a new crop of incredibly talented instrumentalists from China poised to take center stage. Yet many musicians ultimately find their calling playing among talented peers in an ensemble setting, whether in a professional orchestra or a chamber group. NYO-China aims to inspire in young Chinese musicians a love of ensemble playing.

The career of Qing Li, a violinist in the Baltimore Symphony Orchestra and NYO-China teaching artist, has followed a thought-provoking trajectory. From a young age, Qing was on track to become a soloist. She attended the Central Conservatory of Music in Beijing (CCOM) starting at age 12 and, at 19, gave a prize-winning performance of the Sibelius Violin Concerto at the first Beijing International Violin Competition. There, she drew the attention of violinist Berl Senofsky and earned a scholarship to attend the Peabody Conservatory in Baltimore. As her solo career progressed, Qing eventually had the opportunity to audition for the Baltimore Symphony Orchestra and was offered a seat. Even if a heart-wrenching decision at the time, Qing accepted the orchestra position and immediately discovered the wonders of ensemble playing. Although she worried that becoming an orchestral musician would mean the end of her dream to become a soloist, in reality this was where her life in music really started. After playing with the Baltimore Symphony Orchestra, Qing realized the beauty of listening to and cooperating with a group of fellow musicians to convey to listeners a rich repertoire of remarkable orchestral music. Afterward, in comparison, the solo violin felt thin and narrow to her.

Qing’s eventual discovery of the joys of orchestral playing make her an ideal mentor for the young NYO-China musicians. In general, these students coming from China will have extensive experience performing as soloists but less exposure to orchestral playing. NYO-China’s curriculum is designed to immerse them into the world of ensemble performance. In their frequent full-orchestra rehearsals under the direction of artistic director Ludovic Morlot (Seattle Symphony) and Jindong Cai (Stanford University), the students will learn several staples of the orchestral literature as they prepare to perform in the world’s great concert venues. Outside of orchestra rehearsals, the student musicians will divide into smaller groups to work with 15 teaching artists—musicians representing every section of the orchestra and all bringing extensive ensemble experience to the table. In the evenings, NYO-China’s musicians will have the option to play chamber music with the guidance of teaching artists to further hone their ensemble skills.

Given the superstardom and fame that many instrumental soloists enjoy, it is no wonder young musicians are drawn to the soloist’s path. However, many musicians ultimately find their calling in chamber music and orchestral playing, genres that open up a seemingly infinite supply of gorgeous and moving repertoire, and provide the enriching opportunity to perform alongside peers. After their experiences in NYO-China, these young musicians’ minds will be fully open to the ensemble path that their musical careers could take.

Tickets for the inaugural concert at Carnegie Hall are now available here.

Learn more about NYO-China at nyochina.org.

Click here to purchase Better to Speak of It, written by Robert Rimm, managing editor of Arch Street Press, in collaboration with Sir Clive Gillinson.