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| 卡尔·奥尔夫 （Carl Orff, 1895-1982） | |||||||||||||||||||||||
【卡尔·奥尔夫】布兰诗歌 Carmina Burana (小泽征尔指挥) |
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| 布兰诗歌也称为 《博伊伦之歌》，原是舞台作品 《凯旋三部曲》中的第一部，作于1935—1936年， 1937年初演于法兰克福，后作为康塔塔单独演出， 是奥尔夫最著名的代表作。 其歌词选自在巴伐利亚州贝内迪先特博伊伦修道院中发现的一本13世纪的诗集。共分25个乐章，用女高音、男高音、假声男高音、男低音、童声合唱、合唱及乐队（内有14个乐章为管弦乐曲）。 | |||||||||||||||||||||||
| Bran's poetry, also known as The Song of Boiren, was originally the first in the triumphal trilogy performed on stage from 1935 to 1936. It was first performed in Frankfurt in 1937 and was later solo for Cantata. It is Orff's most famous work.The lyrics are from a 13th century book of poetry found in the Monastery of Benettin-Boylan in Bavaria.It consists of 25 movements in soprano, tenor, falsetto tenor, bass, children's chorus, chorus and orchestra (14 movements are orchestral). | |||||||||||||||||||||||
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音乐历史上的今天 1937年6月8日，卡尔·奥尔夫 （Carl Orff）根据中世纪学生歌曲集创作的《布兰诗歌》（ Carmina Burana）在法兰克福歌剧院上演。
奥尔夫教学法 |
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教所有年龄的学生音乐 “他的作品传达了一种长期的、认真的、持续的奋斗，以一种肯定我们集体人性的方式来呈现正直的音乐。”~以前的学生 道格·古德金(Doug Goodkin)目前在旧金山这所学校任教45年，他在该校教三岁到八年级的儿童音乐和运动。他定期为美国和加拿大各地的 奥尔夫分会举办讲习班，并在州和全国性会议上发表演讲。 道格是在音乐教育方面的八本书的作者:一个押韵,游戏名字,声音的想法(Alfred酒吧),玩,唱歌跳舞:介绍奥尔夫Schulwerk (Schott),现在的时间:教爵士所有年龄和Intery Mintery:童谣的身体,声音和奥尔夫合奏(五声的出版社),入门教育:一个引物对学校(五声的出版社)和他最近出版的所有布鲁里爵士乐:奥尔夫的爵士乐合奏。 《学校音乐》（Orff Schulwerk）是作曲家卡尔·奥尔夫和他的同事古尼尔德·基特曼创造的一种音乐和运动教育的动态方法。从每个孩子天生的音乐天赋出发，奥尔夫方法通过游戏、圣歌、歌曲、运动、民间舞蹈、戏剧和专为初学音乐的孩子设计的奥尔夫乐器，把它带进孩子的世界。 道格·古德金是一位音乐教育家，也是奥尔夫·舒尔沃克的支持者。在他40年的音乐教学生涯中，他对教育的愿景是满足每个孩子的想象力、精神和人道主义承诺。 |
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Teaching Music to
All Ages "His work work conveys a long, earnest and continuing struggle to present music of integrity in a way that affirms our collective humanity." ~ Former Student Doug Goodkin is currently in his 45th year at The San Francisco School, where he teaches music and movement to children between three years old and eighth grade. He regularly gives workshops for Orff Chapters throughout the U.S. and Canada, as well as presenting at State and National Conferences. Read More About Doug... Doug is the author of eight books on music education: A Rhyme in Time, Name Games, Sound Ideas (Alfred Pub.), Play, Sing and Dance: An Introduction to Orff Schulwerk (Schott), Now's the Time: Teaching Jazz to All Ages and Intery Mintery: Nursery Rhymes for Body, Voice and Orff Ensemble (Pentatonic Press), The ABCs of Education: A Primer for Schools to Come (Pentatonic Press) and his recently published All Bues: Jazz for the Orff Ensemble. Visit Pentatonic Press... Orff Schulwerk is a dynamic approach to music and movement education created by composer Carl Orff and his colleague Gunild Keetman. Proceeding from a strong conviction in each child's natural musical promise, the Orff approach draws it forth through the child's world of games, chant, song, movement, folk dance, drama and work on specially designed Orff instruments just right for the beginning musician. Learn More About Orff... Doug Goodkin is a music educator and proponent of Orff Schulwerk. His vision of an education that meets the imaginative, spiritual and humanitarian promise of each child was formed during four decades of teaching music. |
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Today in the
history of music Carl Orff's "Carmina Burana," based on a collection of medieval student songs, opened at the Frankfurt Opera House on June 8, 1937. Carl Orff (1895-1982), German composer and outstanding music educator.Born in Munich, he received a good music education at an early age.Inspired by dalkroz's body rhythm and modern dance, he founded a "Gymnastic - music - Dance" school with the dancer Junte in 1925 to explore the close combination of gymnastics, music and dance with the rhythm of the days.In the 1930s, he published a book, The Music Course, to "guide people to the original power and form of music".At the same time, it is considered to apply Junte's teaching experience to children's music education experiment.Important works include Carmina Burana. Orff method This is an original music education system.It endows music education with new anti-traditional ideas and methods and has exerted a profound influence on music education in many countries and regions.Reflecting on the current situation of Music education in China, the old model of taking singing and teaching music theory knowledge as the main body is still used for a long time, ignoring students' emotional stimulation and experience of music and their subjectivity, initiative and personality in music learning And creativity.A careful study of Orff's music education thought and system will give us a lot of useful enlightenment.Starting from the origin and essence of music, that is, "educate people first, then teach music" and "appeal to sensibility and return to humanism" are the basic concepts of Orff's music education.This is fundamentally different from our original understanding of the nature and purpose of music education.Orff believed that: the expression of thoughts and emotions, is the human instinct desire, and through language, singing (including Musical Instruments), dance and other forms naturally revealed, such as since ancient times.This is an innate human ability.The primary task of music education is to constantly inspire and enhance the expression of this instinct, and performing well is not the ultimate goal to pursue.This is not the case with our traditional music education. Our curriculum has always focused on learning singing and music theory and related musical skills and abilities as the means and goal of aesthetic education, focusing on how to learn well.In fact, students in music learning, instinctive singing, playing, dancing is not very difficult, and can even show a certain level.Because the instinctive singing, playing, dancing is in line with human nature, in such a process, students do not worry about "learning not" and be disciplined or lose face of the mental burden, thus will get a variety of different degrees of satisfaction.This kind of spontaneous expression also helps to promote the germination of students' creativity of improvisation.Due to the germination and stimulation of this kind of creativity, it creates the best state for students to learn various musical skills and abilities. In this teaching process, teachers are bound to become the guide, inducer and participant of students' learning.Pleasure and learning art complement each other.This is one of the important characteristics of Orff teaching method. The original mode of Music education in China was simply to teach singing -- the teaching materials mainly appeared in song by song. Later, there were some changes, and a few schools also learned some instrumental skills.The students mainly imitate the ready-made music and art works and are very passive.As for teachers, they also earnestly pursue "producing results" and treat students severely. Students will naturally feel a sense of pressure.Due to the great differences in the innate quality of people in music, as far as the original curriculum requirements in China are concerned, there will always be some students who are far away from the teaching requirements, so they naturally "keep a respectful distance" from music, and teachers are at a loss what to do.In this regard, orff's teaching philosophy and system should give us a lot of inspiration. Today's videos: 1. "Bran Poetry" by Karl Orff, conducted by Seiji Ozawa; 2.By Karl Orff. |
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| 布兰诗歌（Carmina Burana ） | |||||||||||||||||||||||
| 奥尔夫教学体系的实践应用——廖乃雄 | |||||||||||||||||||||||
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奥尔夫教学体系最最重要的是实践，根据奥尔夫的总结和归纳，按照奥尔夫和柯达伊音乐教育的理念和实际做法，主要需下面的几点实践： 1、热爱音乐 热爱音乐本是人类的本性，生而俱有，这从人类发展史本身即可得到印证：人不会因文化、经济等各方面的发展程度高低，而对音乐热爱的程度有所不同，甚至相反；原始人类或民族对音乐的热爱要更为热烈、真切、本能得多，音乐教育的任务，归根结底是要起发扬这一本性的作用；将原已点燃着的火光发展为熊熊的烈火，而不是象许多实际上是失败的音乐教育，将这火花扑灭或使之减温，没有对音乐的热爱，其他的一切都将可能成为无本之木、无源之水，充其量只能使音乐教育沦为单纯的知识传授和机械的技术操作。 2、做音乐 音乐这门艺术的奥秘首先在于它有待于人们亲自去“做”，这个“做”有着多方面的含意，绝不只限于创作。“做”音乐最首先和最重要的一点，在于去唱它，人声是天然的、最好的乐器，歌唱也正是人类(和鸟类一样!)最自然、最亲切、最直接的从事音乐的活动形式和方式。柯达伊的整个音乐教育体系以及其方式方法，集中地建筑在歌唱这个牢固的基础上，正是它强有力的生命的保证：一切通过自己去唱，不仅个人唱，而且参与集体分声部的唱去体验、去学习；不仅对于一首歌、一首重唱、合唱曲，对于和声结合的效果、和弦的连接、调性的转换、旋律线条和节奏的交织以及和声色彩的调配等等一切，首先都要通过自己参与歌唱去体验它、学习它和掌握它，奥尔夫音乐教育体系也绝不忽视歌唱的重要性，而在这同时，它更通过“奥尔夫乐器”(以节奏性和旋律性的打击乐器为主，但必须易于演奏，并无艰难的技术负担和障碍)的创制，为做音乐的人同时开辟了一个新的天地——简单而绝不简陋、简单而同样丰富(富于艺术表现力和可塑性)的器乐演奏；和柯达伊的歌唱不排斥独唱，但以重唱、合唱为主一样，奥尔夫的器乐也以重奏、合奏和伴奏为主，柯达伊有生之年，也曾为如何解决儿童易于掌握乐器的课题思索过，并亲自去试奏过吉他、木琴等简易的乐器，如今“奥尔夫乐器”已在世界许多地方的小学和幼儿园中成为必备的儿童教具，成功地解决了音乐教育千百年来未曾解决过的难题，“奥尔夫乐器”中有许多渊源自亚非两洲，而且它的品种还在不断地扩大，如今，有些民族也已经或正在创制他们自己民族的“奥尔夫乐器”，中国也不例外，这些最适宜用于一般非专业的儿童、乃至成人的音乐教育用的乐器，打开了通向器乐天地的大门。如何进一步使这大门更扩大、更简单地打开，并引向一条条更宽阔的、直通音乐艺术殿堂的大道，迄今还未被足够地重视和实践，“奥尔夫乐器”的使用有效性，决不限于儿童，它的丰富可能性，也决不限于只制造一定的音响效果或背景，所以，同样适合于成年人；不仅限于初学者，同样也可以用于程度较高较深的学习阶段；这一点到目前为止，还未曾被足够地认识和具体实践。除了唱、奏以外，指挥音乐或随着乐声翩翩起舞，也是“做音乐”的另一种形式，至于自己动手写一首旋律或配一曲伴奏，乃至编写整个音乐等等创作，则是更高层次的“做音乐”。 3、感受音乐 音乐是感人至深的一种艺术，所以单凭理性的认识是远远不足的，唯有通过切身的感受，音乐方才能被化为已有，基于天生的由衷热爱，通过亲自的实践(“做音乐”)取得的感受，远比单凭通过这样的途径来学习和掌握音乐，这远比只知道强调聆听音乐的主张，不知深刻和有效多少倍。不仅如此，奥尔夫更强调音乐与动作的结合，这就是说：单凭自己的口、手、耳的感受还不够，如果更通过自己整个身体的动作(“闻乐起舞”)，去进一步地感受音乐，或者更形象地说：让音乐通过动作溶化人自己的体内，这样的感受必然更生动、更深刻。什么叫“乐感”?乐感就是对音乐能有高度的敏感，强烈的感受以及敏捷的反应能力，通过自己的做以及整个身体的动作(自然的反应动作，不是那种风格体制化了的、神经质的或甚至歇斯底里的浑身扭动或造揉做作的动作!)去感受音乐，体现着一种最好的音乐教育原理和教学方法。 4、倾听音乐 音乐是听觉的艺术，怎么强调听觉对于音乐学习、表演及创作等一切的无比重要作用，都是不会过份的。可是，听音乐应当区分出两种不同的情况：一是被动的听，这种非自·觉的、甚至是无意识的听，或者换句话说，也即是把音乐当作一种听觉的背景去进行无意识或下意识地接受，往往也有它的积极意义：有助于潜移默化一个人的乐感和音乐趣味，并促进对这种音乐的喜爱，可是，生活在现代社会中的人们，却往往适得相反地接受了它的消极作用，即：在无法避免的的、铺天盖地式的强迫消费的商业音乐、流行音乐和形形色色的背景音乐的影响下，人生而俱有的音乐热爱、原有的健全的音乐敏感和趣味等，都有可能被冲得烟消云散，被磨得毫无棱角，而只剩下一种纯系动物性的闻乐而动；例如现代流行音乐中似乎少不了的固定低音节奏，通常由“架子鼓”用震耳欲聋的强音敲出，丝毫不理会整个音乐内容的表现需要，不理会与其他声部(哪怕主要声部——歌唱的旋律正唱着柔情!)音量的合理配合，而只旁若无人地自顾自地一味大声地敲击，以体现一种无限的任性、狂热和自我发泄，而这种音乐的迷恋者也会正为了它而激动，为得到任性的自我发泄而满足，许多人在不断持久的这种被动地听音乐影响下，对音乐的好与坏、对艺术的美与丑，对趣味的高与低、对价值的有与无，变得毫无界线，无从似乎也不必去区分了。另一种是：动的、有选择、有鉴别、有判断能力的听音乐，这种听音乐的能力，只有通过长年累月地倾听好的音乐，才可能培养得起来；不象上述那种被动的听音乐那样廉价。国民音乐教育和专业音乐教育的根本任务，归根结底也就在于能否教养出更多的人有这种主动的音乐听觉能力；这才是区分一个民族、一个国家、一个社会是否有高度的音乐文化的试金石。对于一个个人来说，也并不例外：他的音乐教育程度往往并不在于他持有什么学位、具有什么学历或达到什么音乐考试的级别，而在于他具有怎么样的音乐听觉水平。所以，音乐教育的根本任务，正在于使更多的人“拥有打开好音乐的钥匙，并且同时有对抗坏音乐的护身符”(柯达伊语)。 5、理解音乐 对音乐的理解体现在两个方面：一是掌握音乐的读、写能力以及乐理、和声、音乐史等各种知识；另一是理解音乐表现的真髓及其价值，后一种要比前一种艰难得多!前一种有助于后一种理解·，但绝不能保证；这也即是说：后一种理解并不一定需要前一种理解为前提。可是，大多的音乐教育体系和课本，都只偏重或甚至集中于前一种理解的培训，而忽视了后一种。殊不知后一种理解的培养，才是音乐教育首要的任务，奥尔夫和柯达伊这两个不同的音乐教育体系，有着不少根本的共同点，其中的共同点之一，就是充分重视并竭力通过有效的措施和各种方式方法去培养这后一种对音乐的理解。 6、审美音乐 鉴于音乐毕竟不完全是一门科学，而更是一门艺术，所以，对音乐不能停留于理解，而必须更进一步去审美。理性的理解毕竟不能代替感性的审美。国民音乐教育不同于专业音乐教育，前者不在于培训出专业的音乐家，而在于培养出一批又一批、一代又一代的好音乐知音和听众。所以，国民音乐教育归根结底在于不断培养、净化和提高国民音乐普遍的音乐审美素质、能力和水平；尤其在我们这个现代文明日益异化、文化艺术日益非精神、甚至堕落的时代，这尤为重要。可是，音乐审美本身，是既具体、又抽象的对象，它无所不在、无所不包，而往往却又显得难以捉摸、难以界定，音乐审美是音乐教育的最后一个环节，也是最高的一个境界和最终的目的。 |
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| 1970年7月7日——75岁的卡尔·奥夫教授:1970年7月10日，卡尔·奥夫教授将庆祝他75岁的生日。这位出生于慕尼黑的作曲家，是其他作曲家的学生。卡明斯基因其舞台表演《卡里姆娜·布拉纳》(1937)和歌剧《月亮》(1939)、《聪明的万》(1942)而出名。《安提戈涅》(1949年)，《俄狄浦斯的暴君》(1959年)，奥夫把他的教育思想写进了他的《学校作业》。在他看来，孩子们应该从4岁开始接受音乐和节奏的基础教育，从而为以后的音乐或舞蹈教育打下基础。图片显示，卡尔·奥尔夫教授在孩子们的簇拥下，为“奥尔夫学校”的新校舍剪彩。(图片来源:Keystone Pictures USA/ZUMAPRESS) | |||||||||||||||||||||||
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The most important
thing in Orff's teaching system is practice. According to the summary
and induction of Orff and the philosophy and practice of Orff and
Kodai's music education, the following practices are mainly required: 1. Love music It is human nature to love music, and we are born with it. This can be proved from the development history of mankind itself: people will not have different or even opposite degrees of love for music due to their level of development in culture, economy and other aspects.Primitive people or nations have a much more ardent, genuine and instinctive love for music, and the task of music education, in the final analysis, is to carry forward this nature;Will have been previously for burning fires lit the fire development, rather than as many is actually a failure of music education, put the spark out or cooling, no love of music, everything else will be like, and water without source at best make music education to mere knowledge and mechanical technical operation. 2. Make music The mystery of the art of music lies, first of all, in the fact that it has to be "done" by people themselves. This "doing" has many meanings, not limited to creation only.The first and most important thing about "making" music is to sing it. The human voice is nature's best instrument, and singing is exactly what humans (like birds!) do.The most natural, the most intimate, the most direct form of music activities and ways.Kodai's entire music education system and its methods are built on the solid foundation of singing, which is exactly the guarantee of its powerful life: everything is performed by oneself, not only by individuals, but also by participating in the singing of collective parts to experience and learn;For a song, a still, part-song, not only for harmony combination effect, chord connection, transformation of tonality, melody line and interweaving rhythm and harmony color mixing and so on everything, the first sing through their participation, to experience it, learn it and master it, orff music education system must not ignore the importance of singing, and at the same time, it is more through "orff instruments" (give priority to with rhythm and melody of percussion instruments, but must be easy to play, there is no difficult technical burden and disorder) initiatives,It opened up a whole new world for music makers at the same time -- simple but not crude, simple but equally rich (artistically expressive and malleable) instrumental performance;Not repellent and kodak's singing solo, but mainly still, chorus, orff's instrumental music also is given priority to with repetition, ensemble and accompaniment, kodak's lifetime, also easy to master the instrument for how to solve the children thought of the topic, and go to ShiZou guitar, xylophone, such as simple instrument, now "orff instruments" in many parts of the world become essential children in elementary school and kindergarten teaching AIDS, successfully solves the music education in one thousand to never solve a problem, many of the orff instruments origin from Africa and Asia two continent, and its varieties are still in the continually expanding customer base, and now,Some ethnic groups have created or are creating their own "orff instruments". China is no exception. These instruments, which are most suitable for the music education of non-professional children and even adults, have opened the door to the world of instrumental music.How to further extend the door more open, more simply, and one to more spacious avenue, through music and art of the temple, so far has not been enough attention and practice, the use of "orff instruments" effectiveness, by no means limited to children, it's possibility, also by no means limited to only make a certain sound effects or background, so, also suitable for adults;It is not limited to beginners, but also can be used for a higher level of deep learning stage;Up to now, this point has not been sufficiently understood and concrete practice.In addition to singing and playing, conducting music or dancing to the sound is another form of "making music", while writing a melody or an accompaniment, or even composing a whole music, is a higher level of "making music". 3, feel the music music is a kind of art, touching so rational knowledge alone is enough, only through personal feelings, music can be turned into existing, based on the inherent heartfelt love, through the practice of personally feel (" music "), than alone in such a way to learn and master the music, it is far better than know only emphasize listening to music, I don't know how many times the profound and effective.Not only that, orff more emphasis on the combination of music and movement, that is to say, only by their own mouth, hand, ear feel enough, if more through his entire body movements (dance "smell"), to further feel music, or more vividly said: let the music through his body melting, such feelings will be more vivid and more profound.What is "musicality"?Musicality is the ability to be highly sensitive, intense and responsive to music, both through what one does and through the movements of the whole body (natural reaction movements, not the institutionalized, neurotic or even hysterical wriggling or artificial movements!).To experience music reflects the best principles and teaching methods of music education. 4, Listening to music Music is the art of hearing, how to emphasize the hearing for music learning, performance and creation of all extremely important role, is not too much.But, listen to music should distinguish between two different situations: one is passive listening, this kind of non self, sleep and even unconscious to listen to, or in other words, namely regard music as a background to auditory unconsciously or consciously accept, often also has its positive significance: help instill a person's music and music interest, and promote the love of this music, but life in modern society people, often they have accepted it instead of the negative effect, namely:In unavoidable, overwhelming force consumption of commercial music, pop music, and under the influence of all kinds of background music, love life and natural music, original sound music sensitive and interest, etc., are likely to be rushed up, be ground for no edges and corners, and only a kind of pure animal smell and move;For example, the fixed bass rhythm that seems to be indispensable in modern pop music is usually struck by the "drum set" in a deafening strong tone, regardless of the need for expression of the entire content of the music and other parts (even if the main part -- the melody of the singing -- is singing with tenderness!).Volume of reasonable matching, and cotton selfishly blindly only knock loudly, to reflect a kind of infinite willfulness, fanaticism and vent itself, and also the music fans are excited, for it to be capricious self out and meet, many people are enduring the passively listening to the music, the music is good or bad, the art of beauty and ugliness, the interest of the high and low, with and without value, no boundaries, don't seem to also don't have to go to distinguish.The other is the ability to listen to music with movement, choice, discrimination and judgment. This ability to listen to music can only be developed through years of listening to good music.It's not as cheap as passive listening to music.The fundamental task of national music education and professional music education, in the final analysis, is to educate more people with such active musical hearing ability.This is the touchstone to distinguish whether a nation, a country, a society has a high degree of musical culture.This is no exception for an individual: his music education often depends not on what degree he holds, what degree he has, or what level of music exam he has achieved, but on what kind of musical hearing level he has.The fundamental task of music education, therefore, is to enable more people to "have the key to good music, and at the same time have the talisman against bad music" (Kodi). The understanding of music is reflected in two aspects: one is to master the ability of reading and writing music, as well as music theory, harmony, music history and other knowledge;The other is to understand the essence of musical expression and its value, which is much more difficult than the former!The former contributes to the latter understanding, but is by no means guaranteed;That is to say: the latter understanding does not necessarily need the former understanding as the premise.However, most music education systems and textbooks emphasize or even focus on training in the former understanding and neglect the latter.But after an understanding of culture, is music education priority, orff and kodak this two different music education system, and has a lot of fundamental similarities, one thing in common, is the full attention and try to through various effective measures and methods to cultivate this after an understanding of music. 6, aesthetic music in view of music, after all, is not entirely a science, but more of an art, so, the music can not stay in understanding, but must be further to the aesthetic.After all, rational understanding cannot replace perceptual aesthetic.National music education is different from professional music education. The former is not to train professional musicians, but to cultivate a group of good music friends and listeners generation after generation.Therefore, the national music education in the final analysis is to continuously cultivate, purify and improve the national music general music aesthetic quality, ability and level;This is particularly important at a time when modern civilization is becoming increasingly alienated, and when culture and art are becoming less spiritual and even depraved.However, musical aesthetics itself is both concrete and abstract. It is omnipresent and omniinclusive, but it is often elusive and difficult to define. Musical aesthetics is the last link, the highest state and the ultimate goal of music education. |
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| Jul. 07, 1970 - Professor Carl Orff 75 year old: On July 10th, 1970, Professor Dr. hon. Carl Off will be celebrating his 75th birthday. This Munich born composer, a student of, among others. H. Kaminski has become famous with his stage cratoric ''Carimna Burana'' (1937) and the Operas ''The Moon'' (1939), ''The Smart Wan'' (1942) ''Antigone'' (1949), ''Oedipus the Tyrant'' (1959) His pedagogic ideas Orff has put down in his ''School Work''. To his mind children should get an elementary instruction in music and rhythm, starting with the age of 4, thus gaining the basis for a later education in music or dancing. Photo shows Professor Carl Orff, surrounded by Children, on the occasion of the opening of a new house for the ''Orff School' (Credit Image: Keystone Pictures USA/ZUMAPRESS) | |||||||||||||||||||||||
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| 奥尔夫和指挥家穆蒂在一起。 | |||||||||||||||||||||||
| Orff is with commander muti | |||||||||||||||||||||||
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| 小泽征尔（Ozawa Seiji） | |||||||||||||||||||||||
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小泽征尔（日文名：小泽 征尔 假名：おざわ せいじ平文氏罗马字：Ozawa Seiji
，），生于1935年，早年师从卡拉扬，曾经在美国纽约交响乐团做指挥大师伯恩斯坦的助手。1962年在日本广播协会交响乐团担任过短期指挥工作，然后又去了美国，先后在芝加哥交响乐团、旧金山交响乐团、波士顿交响乐团、多伦多交响乐团等担任过常任或客座指挥。从1973年开始，小泽征尔一直担任美国波士顿爱乐乐团总监之职。
2015年7月，现任波士顿交响乐团音乐总监的日本指挥家小泽征尔荣获肯尼迪中心荣誉大奖，成为1978年该奖项创立以来首位日本获奖者。 2016年2月，获得美国音乐届最高荣誉格莱美大奖，成为日籍获奖的第九人 。 小泽征尔与印度指挥家祖宾·梅塔和新加坡指挥家朱晖一起誉为世界三大东方指挥家。 |
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Seiji Ozawa (Japanese name: Mr Ozawa levy, pseudonym: お ざ わ せ い
じ flat wien Roman word: like Seiji. Ozawa,), was born in 1935,
the early from Herbert von karajan, master used to do in the New
York symphony orchestra conductor Bernstein's assistant.In 1962,
he worked as a short-term conductor in the Japan Broadcasting
Association Symphony Orchestra, and then moved to the United
States, where he was a permanent or guest conductor in the
Chicago Symphony Orchestra, San Francisco Symphony Orchestra,
Boston Symphony Orchestra, Toronto Symphony Orchestra and so
on.Seiji Ozawa has been director of the Boston Philharmonic in
the United States since 1973.[1] In July 2015, Japanese conductor Seiji Ozawa, now the music director of the Boston Symphony Orchestra, was awarded the Kennedy Center Honor, becoming the first Japanese recipient since the award's inception in 1978. In February 2016, he won the Grammy Award, the highest honor in American music, becoming the ninth Person from Japan to win the award. Along with Indian conductor Zubin Mehta and Singaporean conductor Zhu Hui, Ozawa is honored as one of the world's three Oriental conductors. |
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| 卡尔·奥尔夫自述 (Carl Orff, 英文字幕) | |||||||||||||||||||||||
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