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| 惠云與小皮 (頭號粉絲簽三次名) |
在中山大學裡，要去皮凱森的大師班，遇見了也迷路的藝綻的RYAN老師，勁裝、勁車、軍綠色的小提琴盒像是裡面有把槍 (忽然覺得迷路的時候手邊有把樂器，就顯得迷路得非常有氣質)。大師班前幾晚，在廣播聽到林暉鈞老師那樣內斂清楚的思路、緩和謙虛的聲音。如果這場音樂會是一個朝聖，兩位老師就像護法的金剛，加上去音樂館的路那樣蜿蜒，在在為這場音樂會還沒開始，就鋪陳了「山不在高，有仙則名」的氛圍。
當晚音樂會裡，
聽得見班傑明布瑞頓 像調色盤般的多變情緒；
也聽見雙小提琴的對話裡，撰述著如砌築聖殿般的巴哈；下半場是皮耶佐拉 「布宜諾斯艾利斯的四季」，四季本身已經是很有張力的作曲方向，皮耶佐拉這首有豐富的現代感、穿插韋瓦第(作古很久)的經典樂句，揉和了各種元素的「四季」，由小皮演奏起來更是如魚得水，讓人真如沐春臨夏。
小皮的眼神非常稚氣，與他技巧之千變萬化、之老練不成正比。他讓我想到米蘭大教堂矗立在世人眼前，經歷著數不清的，每一塊大理石的精雕細琢。
安可曲1，小皮說，台灣夏天非常熱，他要再拉一次四季裡的「冬天」。 其實那天至善廳的冷氣開得特別強，我從來沒有在裡面這麼冷過，不知道是不是有配合北國出生的皮凱森。在幾分鐘裡，我真的覺得室溫又下降了幾度(可以別這樣嗎)。
安可曲2，他給了一首佩格尼尼的隨想曲No.24。快速的音群，在伊果皮凱森「弓VS弦」的超高準確度裡，讓弓的路徑在他肩上只形成了一團圓形的白色殘影(有沒有看過波動拳？)。而且這樣的畫面搭給聽眾耳朵的，是乾淨又清楚站好一個個的音。
散場的時候，我得到了一張根本捨不得用的一卡通，不單是因為美麗的插畫和排隊到手的小皮簽名，握在我手上的是一個十年，藝綻的生日和惠云同年，完全能體會這十年是多麼含辛茹苦不簡單的分量。
非常謝謝藝綻老師群給了一場這麼別緻的音樂會。
原本呢
我是要去看大雁的
但是最後，我耳邊只不斷地迴響著
「有神快拜」。
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Teacher Huichun Lin once wrote about listening to Victor Pikayzen’s playing the violin:“If I were a slug walking through the field, then he is the eagle flying over my head.” And this induced my curiosity: How will the view look like, when this slug’s feeler is already a giant mountain to us, the ants?
In Chung-shan University, driving to Igor Pikayzen’s master class, we family bumped into Teacher Ryan. He, with his casual and his violin in an army-green case (it makes like there was a gun in it), got lost, …too. And few days before the day of the master’s class, I also listened to Teacher Huichun Lin’s humble voice on air. If this concert is a temple, then Tr. Lin and Tr. Ryan are the gods of the doors. (Door Gods are very noble to us, really.) They remind me that there is an old saying of us: “the best mountain is not because of its height, but a god lives there.”
In this concert, we could enjoy in B. Britten’s checkered emotions which was like a palette. And we could also visit the holy palace in Bach’s mind through the conversation of 2 violins.
In the other half, Piazzolla’s “Four seasons of Buenos Aires” was played. Composing “Four Seasons” is such a direction with flexible tension and dramatic variability itself. Piazzolla’s FOUR SEASONS contains some modern styles, some classic sentences from Vivaldi’s (he died veeeeery long time ago), and many colorful elements in it. When Igor Pikayzen’s playing it, it’s like when the dolphin’s swimming in the ocean. ( This is another Chinese old saying when we want to describe the feeling of freedom ,I’m not describing the voice of P Jr.’s violin sounds like.)
Encore 1:
P Jr. said that it’s too hot in Taiwan’s summer, so he decided to play “WINTER” again. Actually, I felt terribly cold in the concert that evening, I have never been so cold in Chi-Shan hall. (I wondered “Was the air-conditioner here turned to the most powerful for north-born P Jr.?”) In the next few minutes, he was so skilled that the room temperature got lower. (Please don’t do that again.)
Encore 2:
Master P gave us Paganini’s Caprice No.24.
I was so impressed. When he played those fast notes, his bow looked like a white ball on his shoulder. Because of his high accuracy and high precision, we could only see the bow’s blur. (Did you ever see HADOUKEN in the real world? That was it.) In addition, he gave the audiences’ ears joy of music. Every single note could be heard clearly and purely.
After the concert, I got a METRO PASSCARD as a gift , but I won’t use it. Not only because of the beautiful illustration or Igor’s signature on it, but its weight. It is too heavy, it weighs same as my 10-years-old daughter. Artsblooming Ensemble was born in 2008, same as my daughter, so I can totally understand how precious it is. I can imagine all the efforts they did while I was nursing my baby and taking care of her.
I was so thankful for the elegant concert which Artsblooming Ensemble’s teachers gave us in that evening.
Oh, I remember at the beginning,
I wanted to see the eagle’s wings.
But finally, there’s just one voice in my head:
“Hey, there’s a god, so do worship!”
written by a passionate audience
from heat Kaohsiung
from heat Kaohsiung
