MTT 昨天去逝了, 我想起那一次我和安去戴維斯廳看舊金山交響樂團彩排的探月之行.
舊金山交響樂團的彩排是對外開放的, 票價十塊錢, 我和 Ann 就選了一個晚上坐灣區 BART 捷運過海然後改搭 California Street 的 Cable Car 纜車爬坡到市政府廣場, 走過廣場就是戴維斯廳了,
彩排的觀眾很少, 我們坐在第三排, 可以清楚地看到舞台上的樂手, 也可以聽到他們的對話, 樂手們穿著隨興, 我記得那天 MTT 穿了一件粉紅色有領的長袖運動衫, 下著卡其長褲, 腳上一雙白色跑鞋, 精神奕奕, 那一天的彩排是馬勒第五號交響曲,
舊金山交響樂團從 2001 年持續出版一系列的馬勒交響曲, 馬勒可能是駕輕就熟的演出, MTT 好像很滿意整個演出過程, 打斷重來的情況不多, 他對樂手們說話不疾不徐, 沒有權威的味道, 好像是朋友跟朋友說話, 整個彩排非常和氣,
彩排結束, 我們循原路搭纜車下坡回 BART 車站, Ann 在纜車上說這個彩排讓她想起三個小時前搭纜車上坡, 大而圓的月亮在坡頂俯視我們的情景, 月亮透著暈黃的光芒, 可以直視不傷眼睛, 車子往上爬, 好像我們可以觸摸到月亮微黃的面部, 而到了坡頂, 月亮卻仍然是高掛在遙遠的天際, MTT 是個像月亮的指揮家, 泛放令人感覺溫暖的暈波, 英文稱為 A Radiant Character, 他的公關照片你如果仔細端詳, 你會贊成 Ann 的説法.
MTT 擔任舊金山交響樂團總監 25 年, 我在金山灣區也住了 40 年, 於我, MTT 是家人, Good-Bye MTT…
60 minutes rewind. How how do you define a great orchestra? 60分鐘回顧。你如何定義一支偉大的樂團？
I mean there are dozen say in the world of considered great orchestra whether it's Berlin or London, New York, 我的意思是，世界上有幾十個公認的偉大樂團，像是柏林、倫敦、紐約、
San Francisco and half a dozen others. 舊金山以及其他一些樂團。
But what sets a truly great one apart from the others? 但究竟是什麼讓一支真正偉大的樂團脫穎而出呢？
I think the greatest orchestras are the ones that have of course fabulous technique, great variety of sound, but 我認為最偉大的樂團當然擁有精湛的技巧和豐富的音色，但
they have a sense of warmth in what they do. A sense of warmth, conviction, a 它們演奏中蘊含著一種溫暖。一種溫暖、一種信念，一種
caring about the music and about the people for whom they're going to play the music to have the courage to make it come alive again night after night. 對音樂的關懷，以及對聽眾的關懷，使他們有勇氣讓音樂夜復一夜地煥發生機。
And what is the difference that the conductor makes? The conductor is a unifier. Hopefully, 那麼，指揮的作用是什麼呢？指揮是凝聚人心的力量。希望指揮的作用是：
the conductor is there to unify all the different ideas, all the different past histories regarding that piece, all the 將所有不同的想法、所有關於這首樂曲的不同過往經驗、所有
different reaction times, all the different personalities, 不同的反應速度、所有不同的個性，
and to try and make them into one focused and effective performance, and at the same time create the 並努力將它們融合成一場專注而有效的演出，同時創造
opportunities for individual personalities of soloists or sections to emerge. 讓獨奏者或各個聲部展現個性的機會。
In my mind, the conductor is much more like a director in the theater. It's very clear to me, perhaps because of my 在我看來，指揮更像是劇場裡的導演。我非常清楚，或許是因為我的
family, that the musicians are the ones who are actually doing the playing. And I am there to help them focus and 家庭背景，真正演奏的是樂手們。而我的職責是幫助他們集中註意力，
clarify what they need to do so that they appear to their very best and feel that freedom and confidence to be their 明確他們需要做什麼，從而讓他們展現出最佳狀態，並感受到那種自由和自信，從而發揮出他們的最佳水平。
very best. Because in the process of playing these thousands of notes and there are thousands of notes they're playing in every performance 因為在演奏成千上萬個音符的過程中...每場演出他們都要演奏成千上萬個音符...
they need sometimes help to say ah here make more space for your colleagues over here. Uh be more aggressive about this. 他們有時需要幫助，例如提醒他們：“啊，給這邊的同事們留出更多空間。”“呃，這部分要更積極主動一些。”
Don't be afraid to take the risk to be even quieter here. This the way a director would help the actors to clarify their ensemble. 「不要害怕冒險，即使這裡要更安靜一點。」導演就是這樣幫助演員們理清彼此的配合。
What do what do you expect? What do you think the audience is going to take away? I mean, the audience is basically on your side or they 你期待什麼？你覺得觀眾會從中得到什麼？我的意思是，觀眾基本上是站在你這邊的，否則他們
wouldn't be coming here to listen to this music, right? Correct. 就不會來這裡聽音樂了，對吧？沒錯。
But they don't have quite the same finely tuned ear that you have. 但他們的耳朵不像你那麼靈敏。
What can they take away? 他們能從中得到什麼？
What do you want them to take away? I want them to take away a sense of 你希望他們從中得到什麼？我希望他們能感受到：
wonder about the music's message, about how this music speaks profoundly to them. 音樂所傳遞的訊息，音樂如何深刻地觸動他們的內心。
How in some way they recognize themselves in the music. They recognize parts of their lives in the music and 他們如何在某種程度上從音樂中看到自己。他們如何在音樂中看到自己生命的片段，以及
how the music also gives them the courage, the solace, 音樂如何給予他們勇氣、慰藉，
the inspiration to go on living in a fuller and richer way. my feeling about music, why I am a musician. 激勵他們以更充實、更豐富的方式繼續生活。我對音樂的感受，以及我為什麼成為音樂家。
I'm a musician because I love the music itself, but also because I love what happens to people after the 我成為音樂家，是因為我熱愛音樂本身，也因為我熱愛音樂停止後人們身上所發生的改變。
music stops. When the music ends, if it's really great music and really well played, it can be that in some way a 當音樂結束時，如果這是真正偉大的音樂，演奏得也確實精湛，那麼在某種程度上，
person's life, the listener's life is different. They have a larger sense of 聽眾的生活可能會改變。他們會感受到一種更深刻的
compassion somehow that they have gained or that they have rediscovered through the testimony of that music. 某種程度上，他們透過音樂的感悟獲得了或重新發現了人生的熱情。
Do you feel that every time you get up on that podium? Yes. 你每次登上指揮台都會有這種感覺嗎？是的。
Are you transported by the music each time? 你每次都會被音樂感動嗎？
I am transported by it. And whether I make it here in Davies Hall or I make it in some small place along the road, the 我會被它感動。無論我是在戴維斯音樂廳演奏，還是在路邊某個小地方演奏，
experience of making the music itself of of making the music come alive again is a sacred thing for me. Sacred. 讓音樂煥發生機的體驗對我來說是神聖的。神聖的。
倒是捷克作曲家德弗札克的學生 Leo Janacek 希納切克作了一首 Idyll for Strings, 名字的意思是如畫的弦樂, 我想了想, 給它取中文名: 詩畫絲竹, 絲竹是中文形容音樂的一個詞, 傳統上江南地區以絲代表弦樂如二胡, 以竹代表吹奏樂如笛子; 詩畫絲竹這四個字就是說如詩如畫的音樂, 優美的旋律如詩如畫稍縱即逝, 卻令人回味無窮, Janacek 以 Idyll 為名顯然也在強調稍縱即逝的作品屬性, 希望造成一種餘音繚繞或繞樑三日的的效果.
Nana 是大家口中的”唱片歌星”, 也就是說她並不舉辦演唱會, 而是單純地以灌製及銷售唱片的方式建立她自己在國際流行歌壇的地位, Nana 經常戴一付寬邊的眼鏡, 製作唱片的團隊不停地要求她拿下眼鏡拍些比較性感的唱片照, 卻被她一一拒絕, 終其一生, 她的演唱生涯都是戴著大眼鏡的扮像, 她說她要人們喜歡聽她唱歌, 而不是貪看她的美色, Nana 成為流行歌曲界很少有的眼鏡女王.