弗里德里希.利普斯的感言(Friedrich Lips. Musings)
Once all instruments were folkinstruments:
both percussion and variouslittlewind instruments like whistles and others;
and strings,and the human voice itself:
today it sounds like a folk voice and as an opera voice.
曾经所有的乐器都是民族乐器：
像打击乐和各种小型乐器例如口哨和其他的乐器，还有弦乐和人声，今天这些声音像是民乐和歌剧的声音。
Composers,composer’s names,big names,also musical instrument makers were coming up,today we have found the instruments that are the basis of the tymphony orchestra.
作曲家，作曲家的名字，大名鼎鼎的人物，所以乐器的制作者就来了，今天我们已经找到了鼓管乐团的基础乐器。
And in this regard,it seems to me that the bayan-accordion has followed the same way from the widespread love of the people to the academic scene.
而在这方面，在我看来，巴彦手风琴也遵循着民间热爱走向学术界的同样方式。
Our instrument is very melodious,our instrument has accompaniment,it is transportable.Therefore,it is loved.AllRussians,Tatars,Bashkirs,Ukrainians,Belarusians love it…
Our instrument is very melodious,our instrument has accompaniment,it is transportable.Therefore,it is loved.AllRussians,Tatars,Bashkirs,Ukrainians,Belarusians love it...
我们的乐器(巴扬手风琴)非常悦耳，我们的乐器可以伴奏，它可以携带。因此，它受到人们的喜爱。所有俄罗斯人，鞑靼人，巴什基尔人，乌克兰人，白俄罗斯人都喜欢它…
It is used with pleasure in dance music in Finland.I witnessed how people there dance polkas,tangos,waltzes accompanied by the accordion with great joy.
在芬兰,人们用手风琴做舞蹈伴奏。我曾经亲眼目睹人们在手风琴伴奏下欢快地跳波尔卡舞、探戈舞、华尔兹舞。
And this quality,the fact that the instrument came to us from the people,it seems to me that it had great effects on all the subsequent development of our instrument.
因为手风琴这件乐器是从人民中来的，这对手风琴后来的发展产生了巨大的影响。
When we talk about music art,we usually talk about the triad:
composer-performer-listener.
当我们谈论音乐艺术时，我们通常谈论的是以下三个要素：
作曲家，表演者，听众。
But in no case,we should not forget about the master-manufacturers of musical instruments.
但无论如何，我们不应忘记乐器的主要制造商。
Today,many bayan factories in the world use a model that Yury Konstantinovich Volkovich invented in his time-our wonderful master made the bayan Jupiter,which today is the pinnacle of design ideas.
如今，世界上许多巴彦工厂都使用了尤里·康斯坦丁诺维奇·沃尔科维奇（Yury Konstantinovich Volkovich）在他的时代发明的模型-优比特巴扬，在今天看来它都是设计思想的顶峰。
Of course,with some modifications,with improvements,this model is used by our factories,and in factories in Italy,Germany...
当然，经过一些修改和改进，我们的工厂、意大利和德国等的工厂都采用了这种模型进行生产。
For example,I have played Jupiter for many years.Now for many years on the accordion Jupiter-PIGINI,so-called PIGINI-Mythos,by the way I have made all the design parameters at the Italian factory PIGINI,and the reeds of the Russian master Gavrilin.I am very pleased with this instrument.
比如说，我用优比特演奏了很多年。现在我又用Jupiter-PIGINI（优比特-皮吉尼）手风琴也就是所谓的PIGINI-Mythos(皮吉尼神话)演奏了很多年。顺便说一下，这台琴是在意大利的PIGINI（皮吉尼）工厂设计了所有的参数，使用的是俄罗斯伽夫林大师的簧片，我对这个乐器非常满意。
I think that the modern multi-timebre bayan with converter provides a tremendous opportunity for the performer to use the artistic and expressive capabilities of the instrument in full force.
我认为现代带转换器的多音色巴扬手风琴为演奏者提供了巨大的机会，使他们可以充分的发挥乐器的艺术表现力。
And the composers have thoughts that we are able to express by our means.
作曲家的想法是我们能够表达我们的思想了。
Alexander Kholminov.Concerto for Bayan and Symphony Orchestra.
亚历山大·霍尔米诺夫（Alexander Kholminov）巴扬和交响乐团协奏曲。
I would like to say a few words about our repertoire,about our composers.
我想就我们的曲目和作曲家说几句。
Since I have played over eighty premieres in my entire creative career,I,somewhere about,represent the whole panorama of bayan art in this particular area.
在我整个创作生涯中，我已经参加了80多场首演，我在某种程度上，代表了巴彦艺术在这一特定领域的全貌。
A huge impetus for the development of the accordion repertoire was made by Vladislav Zolotaryov.He was a bayan player.But he was so talented that his scores for a symphony orchestra,for choirs,for chamber orchestras,his corresponding were written not by an accordionist,but by a composer with dispositions in all directions:from romanticism to dodecaphony to modern means of expression.
弗拉斯基拉夫.佐罗塔耶夫为手风琴作曲的发展做出了巨大贡献。他是巴扬演奏家。但是他不只为巴扬手风琴作曲，他还为交响乐、合唱团和室内乐写乐谱，他是个全面的作曲家：可以展示从浪漫主义到十二音体系再到现代音乐。
Before Zolotarev,we played mostly transcriptions and original accordion music.And his music allowed to captivate the major composers of our time.Such as Sofia Gubaidulina,Edison Denisov and many others.
在佐洛塔列夫之前，我们演奏的大多是改编的和原创的手风琴音乐，他的音乐让我们这个时代的主要作曲家如索菲亚·古拜杜利纳、爱迪生·杰尼索夫和其他许多人着迷。
Probably,thanks to competitions,countless competitions,the accordionists artificially limit themselves in their repertoire.They play the same circle of some kind of brilliant accordion hits,which were written by the accordionists themselves.
可能是由于比赛，太多的比赛了，手风琴手人为地限制了自己的演奏曲目，他们重复的演奏一些要求很高演奏技巧的手风琴曲目，而这些曲目是手风琴手自己创作的。
Sheer clusters,sheer running…
Often there are so aggressive works that you want to stop your ears,because there is no music.
Why is there no music?Because everything is for sale,just to gain the interest of audiences.
纯粹的音簇，纯粹的运转…
经常有如此激进的作品让你想堵住你的耳朵，因为这些作品里没有音乐。
为什么没有音乐？因为一切都是为了销售，只是为了赢得观众的兴趣。
Highlighted really excellent composers.They set big tasks.Here the accordion composers do not set big tasks.Nowadays it’s only to please the performer,the competition,the audience…
要突显那些真正优秀的作曲家。他们负有重大的责任。现在的手风琴作曲家没有给自己设定责任，他们只会取悦于演奏者、比赛 和观众。
Take a look at Gubaidulina,Kholminov,Podgaits,Bronner…
There are large-scale tasks.And it is not necessary to set tasks,lets say a world tragedy or world joy.
No need to write “Ode to Joy” or “Apocalypse.”
看看古拜杜利纳，霍尔米诺夫，波德盖茨，布朗纳…
他们都有有大量的作品。不需要设定作品的范围，让我们来讲述世界的悲伤与欢乐。
我们也不需要写“欢乐颂”或“启示录”。
Louis-Claude Daquin wrote the Cuckoo.But it is a masterpiece for all times.It is modern at all times.
路易·克劳德·达昆写的布谷鸟。它一直都是杰作。它一直都很现代。
Bach’s works will always be up to date,because he wrote about human problems and not about short-term gain or public recognition.
巴赫的作品到今天都能与时俱进，因为他的作品讲的是人类的问题，而不是为了获取短期利益和公众认可。
Today,we lack integration in other types of art,e.g. we need to play with orchestras more boldly.
We have a sufficient number of works.
如今，我们缺乏与其他类型艺术的融合，例如我们需要更加大胆地与乐队合作。
我们是有足够的作品的。
We need to be bolder to play with the violin,with the cello,with different compositions,with quartets.
Work with composers.Because if we write for ourselves,play ourselves,applaud ourselves,we drop out of society,nobody needs us.
We must be needed by the audience not only the accordionists.
This is very important.I wanted to emphasize this.
我们需要更大胆地与小提琴、大提琴合作，我们要演奏不同的作品，我们要进行四重奏演奏。
这些工作需要作曲家的努力。因为如果我们为自己写作，为自己演奏，为自己鼓掌，我们就会被社会淘汰，没有人需要我们。
我们不能只被手风琴手需要，我们需要被社会接受。
这很重要。我想强调一下。
Efrem Podgaits.Double mirror.Concerto for Bayan,Cello and Symphony Orchestra.
埃夫雷姆.波德盖茨。双镜。为巴扬，大提琴和交响乐团而作的协奏曲。
I would like to appeal to young musicians.Do not play bad music.As Sergey Vasilyevich Rakhmaninov said:
“Do not waste your time wandering around the Saharas of bad music.There is a view of the Sahara desert.”
我要建议那些年轻的音乐家。不要演奏差的音乐。正如谢尔盖·瓦西里耶维奇·拉赫玛尼诺夫所说：“不要浪费时间在差音乐的撒哈拉上徘徊。撒哈拉沙漠有自己的景色。”
Human life,he said,is short.And do not waste time on it.
人生苦短，拉赫玛尼诺夫说，不要浪费时间在差的音乐上。
The human ear is conservative.We want to listen to the familiar.We want to hear familiar songs known to us in our youth,we want to hear Italian arias,or Toccata and fugue in D minor.
人的耳朵是保守的，我们想听熟悉的音乐，我们想听年轻时熟悉的歌，我们想听意大利咏叹调，或者D小调的托卡塔和赋格。
But together with everyone in concerts,you should always play also new modern music,because the public should come to the hall not only to have fun,but also to learn something new.
但在音乐会上，你应该和大家一起演奏新的现代音乐，因为公众不仅要到大厅来找乐子，还要学习新的东西。
Of course,it is easier to play something already well known.It is more difficult to conquer the public with new works.But at the same time,this is our mission.
当然，演奏一些众所周知的东西会更容易。用新作品征服公众会更困难。但这是我们的使命。
I often say to my students:when we play on the stage,we use the listener’s time.Thus,if we play a concert in to parts,let’s say,two hours,and a hundred people sit in the hall, conditionally speaking,then they have totally lost two hundred hours.
我经常对我的学生说：当我们在舞台上演奏时，我们是在占用听众的时间。现在我们把一场音乐会拆分成几个部分，音乐会时长是两个小时，有一百名听众坐在大厅里，那这场音乐会将占用他们两百个小时。
But this happens if we have played badly.
如果我们演奏的很差，我们将浪费听众200个小时的时间。
If you look at this problem from the other side,if the concert is interesting,if it is informative,then the public becomes spiritualized,it learns something new,acquiring something in return for the tiem spent.
如果你从另一个角度来看待这个问题，如果音乐会很有趣，还给予了观众一些知识，那么公众就会获得精神上的满足，它会学到一些新的东西，会觉得所花的时间是值得的。
The meaning of musical art is to complete this task.
这意味着音乐艺术完成了他的任务。
Michael Bronner.“I’m floating on the waves of love”. Eight sonnets for Bayan and Chamber Orchestra.
迈克尔·布朗纳（Michael Bronner）“我漂浮在爱的浪潮中”。 为巴扬和室内乐团做的八首十四行诗。
标签: 利普斯 手风琴