碟报 | 回到过去，幻想未来，这张唱片有味道！
专辑目录
1. Postcard to Self
2. La Linea
3. The Breeze and the Curtain
4. The Drifter
5. By the Old Schoolhouse
6. Christmas Waltz
7. Watch your Step
8. A Magical Place
9. Nostalgia
10. A Night in Tunisia
11. On a Cold Winter’s Night
12. Misty Morning Sunrise
13. Fata Morgana
14. Message from Home
微店购买 扫一扫
“冷门”音乐到底有多冷？
听到这一类的音乐，我总是会想到这个问题：你真的喜欢这样的音乐吗？
中国改革开放了40年，听到现代音乐也是90年代中后期了。“粗茶淡饭”吃了这么多年，牛奶咖啡能习惯吗？
2017WAGF音乐节期间，德国宗克告诉我：“我组建了一个组合，表演乐器是吉他和小提琴搭配，预计在2018年我们会出一张专辑。”
要说之前让我特别印象深刻的组合还真没有，但宗克这支以小提琴和吉他搭配的组合做出的音乐，还真是让人眼前一亮。
宗克的音乐融合性比较强，他不是简单只有节奏或旋律，也不止步于POP或者JAZZ。
这里我们不得不提一下宗克的教育背景，他曾在德国德累斯顿音乐学校进修吉他，这所学校的教师队伍里藏着很多欧洲的无名高手，这也造就了宗克高标准的音乐审美，如果我们拿国内的音乐审美和宗克比的话，我感觉我们还是有距离的。
那么，根本原因是国外音乐体系比我们发展的更快吗？不是。事实上是我们太落后了，我们喜欢听简单的旋律，大家普遍认为：音乐作品不就是让人喜欢上，便可证明我们成功了吗？
在这个论点上音乐家的音乐并不重要，重要的是大家是否接受你的音乐。
所以，我们缺的是聆听和学**外更多的优秀的作品和理念，我相信宗克这一张专辑《Postcard to Self》可以令你有所收获。
这是一张带你回到过去的唱片，这是一张让你幻想未来的唱片，这是一张来自丹麦和德国两位音乐人跨国合作的唱片。
The Breeze and the Curtain
当微风拂动窗帘
看过上面的MV之后，是不是觉得这种音乐也不算“高冷”？似乎还有一些温暖？
我问宗克：你想表达什么呢？
宗克回答：
It’s inspired by the first days of summer. when you wake up next to an open window and the curtains are moving in the wind. The part that starts at 2:57 in the CD recording describes the curtain that is dancing in the wind。
翻译大概：初夏的时候，在窗边醒来，看到微风吹动窗帘。请注意在2分57秒的时候，描述了窗帘在风中舞动。
听完宗克的解释，我感觉太有画面感了，音乐不应该是这样的吗？
最近，我们总是把欧美指弹和日本指弹做对比，我是觉得：这么好的音乐，怎么能比不过日本人的音乐？
La Line
我继续问宗克：这曲子有什么故事？
宗克回答：
There is a comic called la linea! It is very good - you should check it。It is inspired by the comic。
翻译大概：原来他的灵感来自于一个叫《丽娜》的漫画，感觉它挺另类，有一些非主流的感觉，诙谐吧。
宗克建议我去看看，有兴趣的朋友们可以在YOUTUBE上面搜索一下。
解读《给自己的明信片》专辑的创作故事，下面是德国宗克本人给我讲的故事：
The story of postcard to self is a special one to us - I have to explain it a bit longer：
3 years ago Bjarke moved back to the region in Denmark where he lived as a child. And Bjarkes youngest son then went to the same daycare, where Bjarke went when he was a child.
The woman who is now the boss in the daycare is the same woman who took care of Bjarke 30 years ago.
One day this woman found an old photo of Bjarke in the playground, when Bjarke was a child. She showed the photo to Bjarkes son and Bjarkes son thought it was him!
And then the idea came to mind: It would be so nice, if you can travel back in time and experience again, how it was as a 5-year-old in the playground. Experience the smells, the sounds, the feelings as a child.
The next idea was, how beautiful it would be, if you can read something you have written in the past to yourself. And how nice it would be to write a postcard to your future self now. Asking yourself the questions: What do you want to tell your future self? What would your future self want to know about you know?
And now everybody can do that, because in our concerts we give postcards to the people and people can write postcards to themselves. and then we close it and write "do not open until...." (with a date in 10 years)
It is great to be part of many beautiful stories in 10 years when people read their postcards.
This album is the same, it is Bjarkes and my postcard to ourselves. Not with written words, but with music. Many songs have nice stories on this album and it will be great to listen to it in the future and remember the stories..
译文:
宗克说：对我们来说，明信片的故事很特别——我得解释一下。
三年前，比亚克搬回了他小时候住过的丹麦地区。然后比亚克（Bjarke）最小的儿子去了Bjarke小时候去过的同一家托儿所。
这家托儿所的老板娘正是30年前照顾过Bjarke的那托儿所阿姨。
一天，这个阿姨翻到了一张Bjarke小时候在操场上玩的老照片。她把照片拿给Bjarke儿子看，小朋友居然以为是他自己呢！
然后，我就有了一个想法：如果我们能回到过去体验一下，体会一个5岁的孩子在操场上的感受，那将是多么美好。作为一个孩子去感受当时的气味、声音和感觉。
瞬间脑洞打开，一个个想法喷涌而出，如果我们能读到过去的自己写给现在的自己的东西，那会是多么的美妙？那么，现在我就给未来的自己写张明信片，这真的很棒！我们可以问问自己：我想告诉未来的自己什么？未来的自己想知道什么呢？
现在每个人都可以做到，因为我们会在音乐会上给大家发明信片，大家可以写给未来的自己。然后，我们将明信片封上，并写上“请不要打开，直到某年后再看(10年内的日期)”。
10年后，当大家打开这个明信片时，这将是10年当中最特别、最美丽的一个故事。
正如我们的这张专辑，是我和Bjarke写给未来的我们的“明信片”。只不过是用音乐替代了文字。这张专辑很多曲子都有非常美丽的故事，在未来的某个时刻去聆听已定会回想起这些故事和回忆。
by the way: we didn't record the album in a studio. We recorded it in an 150-years-old schoolhouse, where Bjarke lives with his family. So we didn't use too much crazy equipment and we also recorded in one room together (so we couldn't correct/edit things) - but it is a very, very inspiring place in the Danish countryside. That was very important for this album. We recorded the album at the place where we composed the music, the music belongs to this place. Thats how the album got a very nice and personal atmosphere I think.
I wrote the song "By the Old Schoolhouse" imagining how it was there 150 years ago, when school children were playing outside. The school children also planted a tree there 100 years ago, which is now very big and Bjarke and I were sitting unter the tree rehearsing. So "By the Old Schoolhouse" is about the place where we recorded and rehearsed and composed..
译文：
还有，我们没有在录音室录制这张专辑。我们是在一个具有150年历史的一所校舍里面录制的，Bjarke和他的家人曾经住在那里。
所以，我们没有使用太多的录音设备，我们只是在一个房间里一起录音（所以我们不能进行修改/编辑），就在丹麦的农村，我们完成了它，这是一个非常非常鼓舞人心的地方。
这对这张专辑也非常重要。它们在此诞生，并在此被我们录制，这些音乐属于这个地方。我想，这就是这张专辑的气氛非常好和个人化的原因。
我写了一首曲子叫《By the Old Schoolhouse（老校舍）》，灵感来源是：我想象着在150年前学校里，孩子们在外面开心玩耍的情景。
100年前，学校的孩子们还在那里种了一棵树，现在已长成参天大树，Bjarke和我正坐在树下排练。
所以，《老校舍》是关于我们录音、排练和创作的故事。
下面是我针对这张专辑向宗克提了一些问题：
A.我看到这张专辑一共收录了14个曲子，这些作品你和比亚克一共用了多长时间进行创作和录音？
B.这14个曲子吉他部分我注意到了，你用了一些特殊调弦，请问你分别用到哪些调弦法？ 最特别的是哪一首曲子？
C.你们平时演出多吗？ 比亚克平时做什么工作啊？
D.你们有有打算出乐谱？（感觉好难啊，会不会有人去翻弹啊？）
宗克的回答：
It was 3 years of writing, arranging and rehearsing I was traveling to Denmark very often and we worked on the music in the old schoolhouse...
I have 2 different tunings: DADGBE and CGDGBE (bass strings like a cello)
There is no song that is more special than others - the most special thing I think is that we cover many different genres (fingerstyle, Film music, folk music, jazz, Latin,.....) and found a new sound for a violin/guitar duo. We both like to explore our instruments a lot, so Bjarke also plays „fingerstyle violin“ and does percussion sometimes, I also use new techniques...which means: we experiment a lot, but the music is still not too complex and it is nice to listen to...so that is very nice.
I have one more special story for a song we always play at the end of concerts: Message from home. Last year Bjarke sent me an email and wrote: „Sönke, last night at 3am I woke up and I had a melody in my head. I think there is a reason that it came, so we have to play this tonight!“ then he recorded this melody and send it to me, I found a second voice and some chords very quickly, and then I drove to the train station, picked Bjarke up and we drove to the concert venue. At the soundcheck we tried the new piece for the first time. Then the concert organizer came in and she started crying ....she said „you are playing where I came from. I get homesick listening to this melody“. We didn’t know that she was born in Scotland. But she said that Bjarke wrote a Scottish piece. One night before. In his sleep. � so this was very moving...we met her again at a concert in spring - and again she had to cry and couldn’t talk, because she was so moved by the music. So this song is very special to us. But every song we recorded is special to us.
We played a lot shows this year and will play many more next year. The duo with Bjarke and my solo program are my two main projects.
Bjarkes job is the same as me: he is a touring Musician. He plays with different bands and solo - and with me. He also does a lot of studio work and records string arrangements for other productions (he plays violin, viola and cello, so he often records string quartet arrangements by himself)
I first plan to finish my solo tabs. I think we will release a few pieces, but not the whole album. bjarkes style is so personal, it is very hard for other violinists to learn it... � but maybe they get inspired for their own music, they don’t have to copy it exactly of course. Maybe they make their own versions, that would be great!
译文：
这个专辑我们用时三年，创作、编配、排练，我经常去丹麦和Bjarke一起在老校舍里排练，做音乐。
我有两个特殊调弦：DADGBE和CGDGBE（低音弦像大提琴）。
没有最特别的曲子，但是最特别的事情是我们采用了很多的风格（指弹，电影音乐，民谣音乐，爵士，拉丁...），并且找到了小提琴和吉他双重奏的新的音色。
我们俩都想要开发出自己乐器极限，所以Bjarke也拉“指弹小提琴”，而且偶尔会做一些打板，我也会使用一些新技巧...
这意味着我们做了很多实验，但是音乐并不因此而变的复杂反而非常好听...所以这是我们很欣慰的。
有一首歌的故事很特别，这首曲子我们总是在音乐会结尾时演奏。去年Bjarke给我写邮件说：“宗克，我凌晨3点醒了，想到了一段旋律，这个旋律的到来一定有原因的，我们必须今晚就演奏！”
然后，他就把旋律写了下来给我发过来，我很快的写出另一个声部和一些和弦，然后开车去火车站，接上Bjarke直奔演出场地。
在试音的时候，我们第一次试着合奏这个新曲子。然后音乐会的主办者进来开始哭了，她说：“你们正在演奏我家乡的音乐。我听到这个旋律就想家了”。
我们并不知道她出生在苏格兰，但是她说Bjarke写了一首苏格兰的曲子，在前一个晚上，在梦中。所以这件事情非常感动...
我们在春天的一个音乐会又遇到了她-又一次，她哭到不能自已，因为她深深的被这个音乐感动。所以这支曲子对我们来说很特别。
但是每一支专辑里的曲子对我们来说都很特别。
今年我们做了很多演出，明年会更多。跟Bjarke的二重奏和我的独奏项目是我目前的两个主要工作。
Bjarke的工作跟我有点像：他是个演出音乐人。他跟不同的乐队演出，也做独奏，也跟我在一起演出。
他也做很多制作工作，录制其他弦乐（他演奏小提琴，中提琴和大提琴，所以他经常自己编曲录音）。
我的首要计划是完成我的独奏曲谱。我想我们会制作几首曲子，但是不是整张专辑。
Bjarke的风格非常个性化，其他的小提琴手是非常难模仿的...
但是他们也许可以从当中找到创作自己音乐的灵感，他们不需要一丝不差的演奏出Bjarke的东西。
也许他们有他们自己的视角，这是非常值得鼓励的。
近日，他们在德国进行这张专辑的巡演活动，为了他们这份坚持，我们必须要点赞。
同时我们也特别期待，有一天可以邀请他们来中国进行巡演活动。
本篇来自指弹中国编辑部
文字/李校长
翻译/沁阳
<The End>
