(一)音乐鳞爪
羽管键琴是个好东西,让我见识了那么多在巴赫之外然而左右的小资法国人和英国人,普赛尔,库泊兰叔侄,等等,大多在巴洛克时期左右,生前都是呼风唤雨的人物,既作曲又弹管风琴兼羽管键琴,陪着奢靡的时风落个痛快,如今处于被忘却的边缘。至于羽管键琴本身么,有人说那声音象缝纫机穿梭或者小叉子拨鸟笼,把我乐得前仰后合。这都是听惯现代钢琴的人说的,当然站着说话不腰疼。其实羽管键琴的声音哪有那么不堪,但前提是你要非常非常用心地听和读,最好看乐谱听,哪怕只有几次。
有一阵我真迷上了这乐器和种种文献,扑在图书馆里大读资料,顺带挖掘出一些有缘分的作曲家。而且手里有了谱子,录音了然于心,才发现这拨弦发声的乐器天然的苍凉清冷原来无可替代,而且它跟管风琴一样,有多层键盘,音栓配置和音色变化,以及在一层键盘上控制多层的coupling设置。至于演奏,我没试过,但音乐会没少见到,虽然常常是伴奏。它跟管风琴一样不需力量,可以轻易地跑得很快,然而音与音之间要有适度的粘合,所以也要经过专门训练。
比较喜欢的羽管键琴作曲家是法国的库泊兰叔侄。有大名的弗朗索瓦写过一些羽管键琴与乐队的作品。在温吞的小提琴声中,装饰音轻微地摇头摆尾,或者一溜烟跌到水里溅出浪花,泫然现出清丽的法国风,而我总是过不得这关,立刻如喝了咖啡一样神思飞扬。路易十四的宫廷里,也许有无数这样绮丽的音乐吧,这种“霓裳羽衣曲” ,让王公贵族的生命在烟水朦胧中徐徐变老。那轻浮温润之声,却顽强地活过了他们。个性更强的当然还是独奏音乐。弗朗索瓦和路易都写了组曲形式的< <小品集>>,其中每部组曲的前奏曲上连小节线都不标,中间有无数供演奏者即兴拉伸的地方,醉醺醺起来。其后是非常程式化的阿列曼德,萨拉班德,恰空,吉格等等,不一而足。读谱,读谱!也许你要看到谱子(包括听起来那么华丽的恰空和帕萨卡里亚)的标记如何简约得只剩骨骼,才能意识到这些家伙暗藏了多少秘密。“外国人演奏我们的作品,总是不如我们演奏他们的作品好。” 弗朗索瓦这样说。他活过了路易十四统治的最后二十年,其中十五年的时间在枫丹白露混,出没于各种音乐活动,算是盛世里集大成的人物,把柯列里吕利等人的好处尽收囊中。
弗朗索瓦的叔叔路易没他那么幸运,三十五岁就死于巴黎,死后好歹被记住,绝对不显赫。但我却更喜欢路易一些。这样说有点草率,因为我不能听遍他的作品,只知道一些最常演奏的。他的<<小品集>>是第一部令我静心阅读的羽管键琴大作,一首首前奏曲,恰空等等等等无比清澈诡秘,在我听来,那是最“羽管键琴” 的羽管键琴之声,绝对不可用别的乐器演奏。如果一定要用雅或俗来评价音乐,我乐意把“雅” 字留给这样的音乐。路易的管风琴作品也是我的心爱。
我也不知道为什么这么喜欢羽管键琴音乐。因为那轻盈的欢乐,委婉的伤心,性情跟程式之间的妥协?其实寻找柔软和颓废不难,寻找高尚壮烈也都容易,我们这个时代要什么有什么,从图书馆就能借到大堆CD满足好奇心。王公不再,羽管键琴不再,然而开车的时候,收音机的古典音乐台常常播巴洛克音乐,竖琴长笛羽管键琴甚至本真的巴罗克小提琴沙沙地迎接矮到天边的夕阳,阳光照到旋律线之间,跳来跳去。车停了,音乐止了,夕阳掉到窗外---音乐里场景的切换就这么脆生生。而那冰冷拗口的音乐,我一定记不住,除非那节目主持人锲而不舍反复重播。锲而不舍吧,让那音乐一次次地在车里蒸发,化成小雨轻轻浇我。
(二) 羽管键琴上的歌德堡变奏曲
两层键盘,黑白色与钢琴相反。那台镂花的琴,安静地站在照片里,乍看象台老式家具。这就是巴赫使用的羽管键琴---不,是复制品。巴赫生前常用的琴,至少有五台。
巴洛克时代的琴,很多都如花瓶一样。我见过大都会博物馆里,几台梳妆台般的羽管键琴。它们满身繁华雕饰,形状扭捏,琴体反而不起眼。稍稍发挥一点想象力,彼时呼唤僮仆的大小姐的衣香鬓影顿时翩翩而至呢。然而在这阴弱衰朽之物上,曾经有那么饱满的音乐盘旋。横穿两三世纪的宏大叙事和血火暴动间,花瓶里的植物未曾凋零,可见人心里那块柔软的田地真是野火烧不尽,最大的价值体现在让后人“朝花夕拾”。
说到羽管键琴音乐的不朽,我以为巴赫对此居功至伟。跟他相比,别的巴洛克作曲家多少处于弱势,不能指望太多人以对普塞尔拉莫的兴趣硬着头皮亲近那陌生的声音。然而被过度诠释然而仍然没有足够诠释的巴赫音乐,却一直在众说纷纭中向古乐器敞开着胸怀--其实是避无可避。
对于巴赫的键盘作品,我们的听觉习惯早已被钢琴固化,所以无论有多少音乐学者反对现代钢琴上的巴赫,都无法改变“钢琴巴赫” 先入为主的现实。除了那一大堆特地为管风琴写作的曲子,剩下的键盘音乐在钢琴,大键琴,羽管键琴上演奏似乎都可以。钢琴上鲜明的力度变化是个敏感话题,演奏巴赫素来争议多多。但谁也没法否定,不论钢琴多么有违作曲家的意思,它的巨大动态造就了巴赫演绎的灿烂局面,没有钢琴就没有今天充满戏剧性,被人津津乐道着的巴赫,也就没有古尔德那样借助夸张的强弱对比,以“反巴赫” 的方式揭示出一个新巴赫的弹法。我自己也是听遍了钢琴上的巴赫,才猎奇般地找来羽管键琴的录音来听。巴赫顿时从不时出现惊鸿一瞥的钢琴上被淡化成羽管键琴上平板线条,钢琴上的丰润变为干燥的裂帛之声。
其实<<英国组曲>>,<<法国组曲>>, <<平均律>>,等等,确实不必在羽管键琴上弹。说来好象有一种强烈的直觉告诉我们,什么样的琴适合什么样的织体。巴赫生命最后的十年里的若干大作(<<赋格的艺术>>,<<键盘练习第三部>>,<<音乐的奉献 >>) ,都大可在羽管键琴上弹,至少可作一种角度来尝试。而此中与羽管键琴最相得的曲子,我觉得莫过于<<哥德堡变奏曲>>。后来发现,巴赫果然在此曲上特别注明,要用双键盘的羽管键琴演奏。
就说这个主题吧,羽管键琴弹那种深而慢的主题再合适不过,那大如鹅卵石的声音,一粒一粒掉出来,冰冰凉地堆积在脚下,轻轻滚动。
这部大作虽然有三十个变奏,但其中真正的卡农只有九个,余下的改头换面以序曲赋格三重奏鸣曲舞曲等等形式出现,充斥着内声部的颤音,快速琶音,三度构成的经过句,等等等等,不一而足,那种近于夸张的豪华张扬在当时只有斯卡拉蒂能及。巴赫那时早已辉煌不再,连泰莱曼这样的大人物也认为巴赫的儿子伊曼纽尔已经超过了他。据说巴赫当时死守阵地,不是不晓得顺应时务,而是因为深明自己的历史使命,要为传统的赋格大业做一总结。<<哥德堡>> 这大作,复杂得如同谜团,最终无解:从那空间感来看,也许需要弦乐组来演奏,然而那滚滚的装饰音,却又非键盘乐器莫办。说来羽管键琴是唯一的近似解吧,它总算有两层键盘,虽然没有强弱变化。
其实这曲子真的不需要强弱变化,因为乐句本身的逻辑已经足够呈现出高潮,好象在平地上浇出的一小堆蜂蜜,那实实在在的质感,你抽不掉也推不倒。我们需要的,只是一个明了巴赫语法的演奏者,以正确清楚的分句带领耳朵。这时,巴赫原来变简单了,简单得真实。这时我不由想:干嘛要象钢琴家那样处心积虑地标新立异呢?巴赫音乐的很多地方,平平板板穿过就好,反正他自己神思无穷,有时在微妙的转调或者两个变奏的衔接之间突然魂飞天外。我们已经不需要多余的计算了,更不要幻想自己还能为他添加什么,有他牵手足矣。羽管键琴就是这样谦卑的乐器。
回头看钢琴时代,高潮借助力度变化纷杳而至,激动和伤心都越来越容易,不需要理由。巴赫的音乐是由阶梯的盘旋攀爬抵达高处,而后代的李斯特们以长长连线三步并作两步,好象乘飞机直取顶点。当然李斯特也是我喜欢的人,而且有时不亚于巴赫。关于巴洛克与浪漫主义高低之辨,我不敢说巴赫那一干人等统统比浪漫派更热爱创新,因为分明连巴赫自己也有着鲜明的匠气,这样一来浪漫派的滥调似乎也可原谅?我着迷的是巴洛克音乐的复杂,抽象,在狭窄的形式之内拼命追求完美的劲头,以及它相比后代音乐的纯粹:那时还不兴在音乐里大动文学哲学的干戈,纯器乐顶多托举信仰,除此之外别无承诺,也了断了言说之累----种种隐匿之相,谦卑地深垂于我心中,一时难被夺去。仅此而已。
- Re: 羽管键琴二题posted on 04/01/2005
陆续读了你的几篇作品,感觉不错。内涵丰富,有嚼头,语言表达能力也很好。你肯定是一位兰心蕙性的人。我正在成为古典音乐迷,以后向你多多请教。 - posted on 04/01/2005
相当好的文章,不止是音乐。
文中提到大都会博物馆的羽管键琴,我这里找一台贴上。
文中谈到羽管键琴的结构,这里有一幅结构图:
这里有些羽管健琴类似的乐器的英中名对照:
harpsichord 羽管键琴
spinet 小型羽管键琴
virginal 四方羽管键琴
fretted clavichord 含码条击弦古钢琴
unfretted clavichord 无码条击弦古钢琴
fortepiano 古钢琴
http://www.hpschd.nu/index.html?nav/nav-4.html&t/welcome.html&http://www.hpschd.nu/lx/lx-zh.html
unfretted clavichord,"fretted"我喜欢译作“品格”,无品格击弦古
钢琴。
另外,“吉格”我习惯说“基格”;“拉莫”,我还是喜欢“拉摩”。也
有人译作“哈默”,够法语的。
羽管键琴是拨弦的吧,难怪声音古幽。你文章中说的大键琴,与羽管键琴
并提,具体有什么区别呢?
文艺复兴到巴罗克,以至莫扎特的歌剧中,羽管键琴都是主要的伴奏乐器
,一声琶音,音乐如潺潺流水。
多谢! - Re: 羽管键琴二题posted on 04/02/2005
谢谢XW。大键琴应该是clavier,我了解不多,因为没有亲眼见过,据说触键极轻。现在用得很少了。 - posted on 04/15/2005
Harpsichord 我弹过三次,一次是 Bach Trio Sontata (2 flutes + harpsichord),一次是 Telemann Parisian Quartet (flute + violin + cello + harpsichord),一次是 Anna Bon Divertimento (2 flutes + cello + harpsichord)。之后又听过一次讲座。感受如下:
1)羽管键琴是没有大小声的!只有一个弱音 lever,但不能随时 apply。弹下去的音,就靠小拨子拨弦,声音大小无法控制。所以弹钢琴的人不喜欢。钢琴是讲究触键的感觉来控制音质,但 harpsichord 少了一个 dimension,钢琴技巧完全不能表现出来。
2)演奏 harpsichord 需要即兴的技巧。比如要想强调一个音,不能象钢琴那样加重,于是要用其它技巧,把节奏放慢、留出呼吸时间,或把和弦弹奏成琶音,或弹奏很多很多16分之一或32分之一的小音符,等等。Harpsichord 当时多是作为 basso continuo 的,音符都没有写出来,也要靠演奏者发挥。
3)声音小,真是干着急。 - Re: 羽管键琴二题posted on 04/16/2005
谢谢阿珊!
对了上面说的大键琴是Clavierchord. - posted on 05/12/2005
http://www.henrylim.org/Harpsichord.html
拿 Lego 搭起来的,还能弹呢!
(Click on thumbnails for full size image ; Click on the "mp3" link to listen) With the exception of the wire strings, this instrument is entirely constructed out of LEGO parts--the keyboard, jacks, jack rack, jack rail, plectra, soundboard, bridge, hitch pins, tuning pins, wrestplank, nut, case, legs, lid, lid stick, and music stand are all built out of interlocking ABS (Acrylonitrile-Butadiene-Styrene) plastic bricks and related pieces.
And is playable.
Specifications include a 1 x 8' disposition (single choir (one string per note), middle C corresponds to middle C on other instruments), single manual (one keyboard), 61 note range (5 octaves, C-c"", A415), 6 x 3 ft. dimension, approximate 150 lbs. weight, and an estimated 100,000 LEGO piece count. The strings (brass gauges .012-.018 and steel gauges .008-.012) exert approximately 325 lbs. of tension.Audio example mp3 It's taken two years of theorizing, designing, collecting parts, building, testing, and rebuilding. Originally, upon thinking about the potentials of making a LEGO musical instrument, I had hoped to reproduce a piano, but ditched the idea due to the enormous tension involved (40,000 lbs.)--there's a reason why pianos have steel frames. Its ancestor, the harpsichord, seemed more practically possible--the key/jack workings are simple levers, the strings are plucked, it's smaller, and it maintains less tension. Coincidentally, I was in my Bach phase anyways.
The important considerations during design were strength, efficiency, and durability. Anticipating the tension of the strings, the instrument had to be built strong, yet be able to incorporate the functions and mechanisms on a lifesize scale. With many moving parts, it also had to withstand the repeated demands of a keyboard instrument. Several prototypes of the various sections were made. After finalizing designs, I started amassing the necessary LEGO parts.This instrument would not have been as sturdy without the use of larger sized bricks, such as the 2x8 and 1x16. Staggering these and the sheer reach they afford established the structural integrity. Large plates (mostly 6x8 thru 6x16) and wing shaped pieces (6x6 and 6x12) were packed abundantly (three plates thick) to build the interlacingly secure bottom. A three braced frame in the soundchamber and a two brick thick grid under the bottom plates completed the foundation.
Also, Technic ("mechanical" LEGO) parts were relied upon to create the keyboard pivots, locking supports for the soundboard and wrestplank, bridge and nut mounts, hinges for the lid, underside of the jack rail, and the tuning and hitch pins. Foremost amongst these were the holed 1x16 brick, 2x8 plate, 1x7 liftarm, and long friction pin. However, as tight as the pins held in the holes, they weren't capable of keeping taut, let alone pitch. Taking pipe cleaners dabbed with PVC cement, I melted the holes so that the pins could hold the strings tightly while still being able to turn for tuning.
Acoustically, the instrument would benefit from being as smooth as possible, so instead of having the standard LEGO studs exposed, I covered them up with tiles (smooth topped flat pieces). Besides the functional studs that align the strings on the bridge and nut, no external stud is untiled. Likewise, the entire unseen floor of the soundchamber is decked with hundreds of 1x8 tiles. The end result is as resonant as LEGO will get.
Single studded 1x2 plates were most convenient not only to build between studs (which was necessary for jack alignment), but as the basis for the plectra--after some bansaw and surgical scalpel mutilation.
Some of the more whimsical LEGO elements were integrated as well: arches (and inverse arches) for the soundhole, roof slopes for the "curvature" of the internal frame and leg decorations, rubber tires to reduce the "clack" of the keys and jacks, and cloth capes (as worn by the likes of the Hermione Granger minifig) for the dampers.
Mosly these were ordered in bulk from LEGO Shop At Home and Bricklink, with some parts (the majority of the 1x8 tiles) obtained from the Legoland California Model Shop store.
I started with the keyboard first, making sure it was translateable on a lifesize scale into LEGO. Luckily, there's just enough space between the keys--any less and the friction would've caused them to stick. Elemental to this design is the sideways alignment of the bricks on the natural keys as the accidentals are built with the conventionally upward pointing stud. After designing a preliminary jack (which itself went through a dozen evolutions, especially after being strung), the rack was built. Despite having a single manual, the rack is double rowed, half a stud displaced. This allowed for the key/jack configuration. These designs were repeated 61 times.
The casing was made next. This was standard building. Well, the bentside was done with turntables to swivel the bricks as they traced the angles of the winged bottom. After going through about a third height of the case, the five legs were attached. These took advantage of skeletally stacked grid patterned 2x8s and the weight of the instrument for firm elevation.
The soundboard and wrestplank were built laterally in relation to the casing--the studs face to the side. This was done in order to preserve the smoothness of the bricks' sides and to counter the tension of the strings--with this design, as the strings pull they hold the soundboard and wrestplank together rather than ripping them apart if built otherwise. Technic parts were used to secure these directional changes of the studs. As the bridge is mounted upon the soundboard, reasonable speaking length (the distance between the bridge and nut) recalculations called for several revisions of that entire section. Then it was locked into place as the case continued its building. The lid was constructed, but removed to enable easier access for stringing.
LEGO as a medium holds rather well, not to mention is heavier than hell on a compoundedly large scale. This weight is what holds the parts together and ultimately handles the tension. During stringing, as I cranked the tuning pins, often I'd hear a disturbing creak off in a corner. I'd check the case, soundboard, and wrestplank for faults as there was the fear that the whole thing would implode. There's a certain self personification projected onto an instrument of one's own building. I spine crackingly empathized with the literal tension. A growing crack was forming behind the tuning pins, to the point that each added string increasingly threw all the others out of tune. I reinforced the wrestplank (doubling its thickness). So far, it's holding.The final jack design couldn't be realized until they were activated. Only after seeing (and hearing) how they were plucking the strings could I devise the plectra all within the space of about four studs. At this point I'd figured out I was gonna use the single studded 1x2 plate securely attached (and adjustably so) to a 1x7 liftarm as the most minimally complicated and maximally effective solution. Two problems occurred: the back end of the plate was hitting the neighbouring string and there was a nasty downward pluck. Simply, I shaved off the edges with a bansaw to allow for only one string to get struck and I carved out the bottom of the plucking end with a surgical scalpel to allow for a sweep upon return.
This didn't completely eliminate the downward pluck, but it was better. Dampers also helped the matter by silencing the ringing of the strings when the keys are released. For these, cloth capes were rolled, cut, and glued (Duco cement) onto the bottom of sliced single studded 1x2 plates.
The jack rail serves to contain the jacks from flying out of the rack and acts as a buffer which determines key action. I've set it pretty tight, giving the jacks very little room to move--beyond my preferences, this was purposeful as restricting the leeway presents a more consistent sound. Hubless tires suspended on axels, one per jack, were hung underneath the rail.
Along with the jack rail, the nameboard is removeable just in case any adjustments are needed. Due to the odd angles of the bridge and nut, the strings come in from whacky directions, which means each plectrum has a different orientation. All 61 notes need to be uniquely calibrated.
The lid was tricky in that building it sideways (for smoothness) meant that it crumbled from it's own weight. Supports were made, but still couldn't keep it together. So I glued (PVC cement) the supports. The lid hinges on Technic parts with the case, but the front flaps were made with actual LEGO hinges (bases and tops).
The lid stick is seemingly flimsy, but like the rest of the instrument, is a sturdy combination of large bricks with studs going at opposite directions, packed with plates, fastened with Technic parts, tiled for smoothness, and serves its little function. Music stand simile.Thanks:
- Robert Portillo, for expertise and wire
- Umberto Belfiore, for recording and helping with the lid
- Eric Harshbarger, for leg attachment assistance
- Mike Wong, for bumping into it and dude, proving just how stable it is
- UCLA Music Library, for reference material
Reference:
- Kern, Evan J.: Harpsichord: Design and Construction (New York, 1980)
- Neupert, Hanns: Harpsichord Manual: A Historical and Technical Discussion (Kassel, 1960)
- Paul, John: Modern Harpsichord Makers (London, 1981)
- Ripin, Edwin M., ed.: Early Keyboard Instruments (New York, 1989)
- Schott, Howard: Playing the Harpsichord (Mineola, 2002)
- Zuckermann, Wolfgang Joachim: The Modern Harpsichord: Twentieth-Century Instruments and Their Makers (New York, 1969) - Re: 羽管键琴二题posted on 05/13/2005
这琴真漂亮,中文为什么叫羽管呢?
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