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| 伊凡·加拉米安(Ivan Galamian 1903-1981) | ||||||||||||||||||||||||
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| 伊夫利·吉特里斯(Ivry Gitlis)，以色列小提琴家。第二次世界大战时困居英国，战后在英国各地演奏赢得声誉。1951年参加在巴黎举行的“蒂博国际小提琴竞赛会”荣获首奖，以后经常在巴黎演出，并先后将帕格尼尼、柴可夫斯基、贝尔格、欣德米特、斯特拉文斯基的小提琴协奏曲录了唱片。Gitlis一向以其幽默博得不少Fans，目前，市面上他的录音不多，每张都被Fans视为珍宝。 | ||||||||||||||||||||||||
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音乐历史上的今天
1903年1月23日伊凡·加拉米安(Ivan Galamian )出生。
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| 1939年7月，伊凡•加拉米安在巴黎 | ||||||||||||||||||||||||
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| 加拉米安的三只 小鸟 加上一只老鹰 | ||||||||||||||||||||||||
| 加拉米安的三大嫡传弟子帕尔曼、朱克曼以及郑京和，均是莱文特里德音乐大赛（Leventritt Award）的金奖获得者，后来都成为声震国际乐坛的小提琴家。其他中有诸多同样杰出的小提琴家，如拉宾(Rabin)、拉雷多(Laredo)、弗里德曼(Friedman)、霍尔舍(Hoelscher)、卢卡(Luca)、斯坦奇(Standage)和巴斯韦尔(Buswell)等人。人们都称赞加拉米安的“三大弟子”，可是他自己却认为学生中才气最高的是拉宾。可惜正当拉宾的事业蒸蒸日上，如日中天之时，却染上了毒瘾，于1972年1月19日因毒瘾复发，在家中滑倒，头撞桌角，不幸身亡，年仅三十六岁。 | ||||||||||||||||||||||||
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| 加拉米安和他的得意门生乔舒亚·贝尔（Joshua Bell） | ||||||||||||||||||||||||
| Three of Garamean's direct disciples, Perlman, Zuckerman and Jeong Kyung-wha, were all gold medal winners of the Leventritt Award and later became renowned violinists on the international music scene. There are many other violinists of equal eminence, such as Rabin, Laredo, Friedman, Hoelscher, Luca, Standage, Buswell and others. People praised the "three disciples" of Garamean, but he himself believed that the most talented student was Rabin. Unfortunately, just as Rabin's career was flourishing, he was addicted to drugs, and on January 19, 1972, because of drug addiction relapse, he slipped at home, hit his head on the corner of the table, and died, at the age of only 36. | ||||||||||||||||||||||||
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| j加拉米安最重要的著作《小提琴演奏和教学原则》(Principles of Violin Playing and Teaching） | ||||||||||||||||||||||||
| 小提琴演奏和教学原则 | ||||||||||||||||||||||||
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加拉米安（Galamian）所著《小提琴演奏与教学法》（ Principles of Violin Playing and
Teaching）此书在1962年出版，可称得上是二十世纪最重要的一本小提琴教学论述。 作者加拉米安（Galamian）的小提琴教学影响极大，如:祖克曼（Pinchas Zukerman）、帕尔曼（Itzhak Perlman）、郑京和（Chung Kyung Wha）等著名演奏家都是他的学生，除了优秀的教学成果外，他还校订了许多国际版的小提琴练习曲与重要演奏曲目，其中之弓法、指法皆来自《小提琴演奏与教学法》所阐述的原则。葛拉米安（Galamian）对美国学派的影响力极大，尤其是二次大战之后的三十年间。 加拉米安（Galamian）的教学概念，是承袭法国学派与俄国学派的传统。自1944年正式入美国籍后，长年任教于柯蒂斯音乐院与茱莉亚音乐院，成为二十世纪美国学派著名的小提琴教师之加拉米安（Galamian）严谨的教学风格，以及对小提琴技巧具系统性分析，皆一一呈现于1962年所出版的《小提琴演奏与教学法》书中。加拉米安（Galamian）认为，现今的小提琴演奏和教学的范畴里，有三项基本原则是普遍性被忽视的，第一、教师须体认学生生理构造上的个别差异，因此，小提琴的演奏就没有必定的规则，只有普遍性的原则，而这些原则都必须建立在「自然」与「正确」的前提下，因为，唯有自然才能使学生威到舒适与有效。例如，持琴的方法，他就认为无一定的规则，只要个人感到舒适即可。但不变的原则是琴头应拿高些避免偏低，才不致使琴大部份重量落到左手，或使弓易滑动到指板。第二、重视各种基本技巧动作间的重复性与关联性。当某个细部动作一旦改变时，所处的姿势就须加以调整，以配合整体的拉奏。例如，一旦握弓姿势有些微改变，其余从肩膀、手臂、手腕到手指等部位都将依个人状况做适度的调整与配合，使右手运弓的动作建立在弹性的系统上，达到良好的运弓机制。第三、小提琴演奏的最高目标，应是建立在精神方面的控制，使心智与肌肉的协调能力更精准与快速，而非止于机械性技巧的表现。 加拉米安（Galamian）对于左手建立音准的部分，有其特殊见解。他认为良好的音准概念，须靠耳朵听力的引导，与手指灵敏的触觉来达成。听力的重要性，弗莱什（Flesch）于先前已提出此论点;但建立手指触觉，找寻适当的按弦位置，则是加拉米安（Galamian）提出积极实践的做法，即是「手型」（frame）的维持与《双接触点》（double contact）的掌握原则。他提出无论在任何把位，左手皆须维持第一指和第四指按着八度的基本姿势使各指在稳定的「手型」下按弦。另外，「双接触点」就是在任何把位中，左手必须保持与乐器的两个接触点。最后加拉米安（Galamian）还提到练琴的观点，应依个人所须的练习时问，制定每日规律练习的习惯。练习时务必聚精会神，切勿留于机械式的练习，否则将弊多于利，达不到所谓的「效率练习」，与自我教导的重要学习。 |
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| 大提琴家乔治·奈克鲁格George Neikrug，小提琴家多萝西·迪莱Dorothy DeLay，伊万·加拉米安Ivan Galamian，杰拉德·菲施巴赫Gerald Fischbach和查尔斯·卡斯尔曼Charles Castleman。 | ||||||||||||||||||||||||
| L-R: George Neikrug, Charles Castleman, Dorothy DeLay, Gerald Fischbach and Ivan Galamian. | ||||||||||||||||||||||||
| 有效练习的六个原则 | ||||||||||||||||||||||||
Six Principles For Effective Practicing |
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1.“实践的理想是在最短的时间内完成最多的事情，而不会感到沮丧。”乔治·奈克鲁格George
Neikrug。挫折是良好练习的敌人。积极的心态和认识到任何问题都是可以克服的，这是当务之急。多萝西·德莱说：“问题总有解决方案。问题在于找到解决方案。”我补充说，一个好老师总是可以帮助学生找到解决方案的。 “时刻保持专注。”伊万·加拉米安Ivan Galamian在他的《小提琴演奏与教学原理》一书中写道。“最重要的是，学生必须在练习中保持完全和持续的精神警觉。” 3.记忆和解释是伙伴。技术就是记忆。记住你的音乐想法，而不仅仅是音符。“学习一首曲子时，从一开始就通过音乐短语唱歌，然后演奏，试着模仿你的歌声。立即记住短语。”George Neikrug。“音乐方法定义了技术要求。”杰拉尔德·菲施巴赫。“音乐方法是技术考虑的一方，所以如果音乐方法悬而未决，人们就会浪费时间‘解决’与最终音乐目标无关的问题。”查尔斯·卡斯特尔曼。 4.老师的责任很重要。Ivan Galamian说：“一个只局限于指出错误而不指明克服错误的方法的老师，无法完成教学生如何为自己工作的重要使命。”“老师的角色就是让自己过时。”George Neikrug。 5.一次只练习一件事。找出一个问题并解决它。然后在上下文中播放这段文章。学习解决方案后，不要一遍又一遍地重复。找另一个问题来继续。“把练习当作例行公事，那些不需要再练习的事情，都是在浪费时间。”伊万·加拉米安。 6.“慢速技巧和快速技巧是有区别的。当你慢慢练习快速段落时，使用你将在快节奏演奏时使用的技巧。”George Neikrug。 |
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1. “The ideal of
practice is to accomplish the most in the least possible time without
frustration.” George Neikrug. Frustration is the enemy of good
practicing. A positive mental attitude and the realization that any
problem can be conquered is imperative. Dorothy Delay said, “there is
always a solution to a problem. The problem is finding the solution.”
And I add that a good teacher can always help the student find the
solution. 2. “Keep the mind engaged at all times.” Ivan Galamian states in his book Principles of Violin Playing and Teaching. “The thing that must be impressed on the student above all else is the necessity for complete and constant mental alertness during practice.” 3. Memory and interpretation are partners. Technique is memory. Memorize your musical ideas, not just the notes. “When learning a piece, from the very beginning sing through the musical phrase and then play, trying to imitate your singing. Memorize the phrase immediately.” George Neikrug. "The musical approach defines the technical requirements." Gerald Fischbach. "The musical approach is a party to technical considerations, so that if the musical approach remains up in the air, one will waste time 'solving' problems not pertinent to the ultimate musical goals." Charles Castleman. 4. The responsibility of the teacher is important. Ivan Galamian said, “A teacher who limits himself to pointing out the mistakes and does not show the way to overcome them fails in the important mission of teaching the student how to work for himself.” “The role of a teacher is to make himself obsolete.” George Neikrug. 5. Only practice on one thing at a time. Isolate a problem and solve it. Then play the passage in context. After learning the solution, don’t repeat it over and over. Find another problem to proceed to. “By practicing as a routine, things that do not need any more practice, one is wasting time.” Ivan Galamian. 6. “There is a difference between slow technique and fast technique. When practicing fast passages slowly, use the technique that you will be using when you play it up to tempo.” George Neikrug. |
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| 2018年旅美期间，造访柯蒂斯音乐学院，参观加拉米安的教室/田润德摄影 | ||||||||||||||||||||||||
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| 参观柯蒂斯音乐学院，加拉米安的教室/田润德摄影 | ||||||||||||||||||||||||
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| 参观柯蒂斯音乐学院，加拉米安的教室，列奥波德·奥尔也曾经在这个教席任职/田润德摄影 | ||||||||||||||||||||||||
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| 柯蒂斯音乐学院会客室里面的钢琴，我还在这视奏了一下，音色非常美。/田润德摄影 | ||||||||||||||||||||||||
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| 2018年旅美期间，造访柯蒂斯音乐学院/孟俊超摄影 | ||||||||||||||||||||||||
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| 2018年旅美期间，造访柯蒂斯音乐学院，参观米尔顿·洛克资源中心/孟俊超摄影 | ||||||||||||||||||||||||
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Today in music
history Ivan Galamian was born on January 23, 1903. Ivan Galamian (1903-1981) was born in Tabriz, Iran (the famous place where the biblical Garden of Eden was said to be located), to Armenian parents. Garamian entered the Moscow Conservatory at the age of 13 and studied violin with Konstantin Mostras (1886-1965) until his graduation in 1919. After graduation, he went to Paris, where he studied piano with Lucien Capet (1873-1928). In 1924, at the age of 21, Garamian premiered in Paris to critical acclaim. He was soon hired as a teacher at the "Russian Conservatory" in Paris, and was promoted to vice president in 1930 because of his outstanding work. During his work, he also performed in various European countries. He moved to the United States in 1937 and was naturalized in 1944, the same year he was hired by the Curtis Institute of Music in Philadelphia. In 1946, he became professor of violin at the Juilliard School, where he began his career. Under his efforts, the Juilliard School has become a world-renowned violin training base, training a large number of outstanding talents, all over the world. For his achievements in music teaching and writing, Oberlin University awarded him an honorary doctorate in 1965. In teaching, Garamean developed the excellent traditions of the Russian school and the French school, and at the same time injected his own unique scientific insights to establish a complete teaching system. He pays attention to students' physiological factors and psychological factors, attaches importance to aesthetics, and varies from person to person, teaches students according to their abilities, and opposes conformism, he said: "The rules can not be the same, should let the rules serve the students." Each of Garamean's disciples had extraordinary skills and talents, but they had different styles and distinct personalities. This is due to their teacher - Garamean painstaking teaching. Garamean's coaching career spanned half a century and he had many disciples. Three of Garamean's direct disciples, Perlman, Zuckerman and Jeong Kyung-wha, were all gold medal winners of the Leventritt Award and later became renowned violinists on the international music scene. There are many other violinists of equal eminence, such as Rabin, Laredo, Friedman, Hoelscher, Luca, Standage, Buswell and others. People praised the "three disciples" of Garamean, but he himself believed that the most talented student was Rabin. Unfortunately, just as Rabin's career was flourishing, he was addicted to drugs, and on January 19, 1972, because of drug addiction relapse, he slipped at home, hit his head on the corner of the table, and died, at the age of only 36. Rabin's past, let the world for the wring his hands, more to the teacher Garamian heartache. Garamian's students liked to call him "Garamian the Terrible", and his teaching system influenced the entire violin community. Garamian not only requires students to be proactive, emphasizes the importance of daily practice, pursues balanced performance and perseverance, but also attaches great importance to cultivating and improving students' artistic interest and style. Any problem a student had, Garamian was always able to get to the heart of it. He believes that the ultimate goal of learning to play an instrument is to express the music, which is the only reason for the existence of technique. Skill is not only a means, but also a tool of artistic performance. It's not enough to have exceptional skills to make a successful show. Thoroughly understand the meaning of music, creative expression, develop personal unique playing techniques, playing will not be dry and pedantic, personality can not be insufficient, nor too grandiose. Garamian has written a number of violin teaching books, These include books such as "Principles of Violin Playing and Teaching" and "Contemporary Violin Technique." All of Garamean's teaching assistants became independent violinists, most notably Dorothy DeLay (1917-2002). Garamian holds honorary degrees from the Curtis Institute of Music, the Oberlin School of Music and the Cleveland Institute of Music. He was also an honorary member of the Royal Academy of Music in London. Video of the day: 1. Jeong Kyung-wha, one of Galamian's three little birds, plays Beethoven Violin Concerto; 2. Precious Historical Images: Master class of Ivan Garamian - Bach Chakonne in D minor. |
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伊凡•加拉米安(Ivan Galamian,)大师课- 巴赫D小调恰空 |
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| 伊凡•加拉米安（Ivan Galamian,1903-1981）- Masterclass on Bach Chaconne in D Minor | ||||||||||||||||||||||||
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