Copyright(C)Hogaku Journal’ 2009 版权所有

Copyright(C)Mejiro 2009 版权所有
英文版 http://www.mejiro-japan.com/system/index_e.php By Miss Saori from Mejiro
Katsuya Yokoyama 邦乐杂志访谈

2009年3月份,日本邦乐杂志上有一篇尺八大师_横山胜也 老师的访谈文章,原文是日文,英文版由目白的Miss Saori Miura (三 浦佐织 小姐)翻译,并由ㄧ位美国留日攻读博士生的Joshua Smith编辑,并张贴在目白的网站上.以下是中文翻译的内容,基本上是以三 浦佐织 小姐的英文翻译为主,也拜託懂日文的人逐句解释,综合两者得出以下中文.当然,对要求最精确翻译内容的读者,还是要请你以邦乐杂志的日文版本为主.

翻译过程,有ㄧ些日文,英文都不知道该怎麽翻译最好的部分,或有相互牴触的ㄧ小部分,就尽量发挥个人<想像力,创意>,但因此很有可能有所不及,或言过其实,甚至完全不对题都有可能,要请各位先进见谅了!! 另外,有一小部分,英文版本并未全部翻译,但日文中的<汉字>还是有提到的,也儘可能找到相关资料补上.

另外,1998年12月到1999年的3月止,邦乐杂志曾经连续4期刊载横山胜也老师的受访内容,主题是谈他的两位老师--海童道祖与福田兰童,篇幅甚长,但希望很快完成,再与大家分享.

延伸阅读:

尺八演奏家 -横山胜也 老师

http://tw.myblog.yahoo.com/shakuhachi-taiwan/article?mid=325&next=237&l=f&fid=5

尺八演奏家 -海童道祖 老师 

http://tw.myblog.yahoo.com/shakuhachi-taiwan/article?mid=205

http://www.komuso.com/people/Watazumi_Doso_Roshi.html

文起:

10年前的6月,横 山胜也 老师在德国演出时,因脑梗塞(脑血管阻塞)而在舞台上倒下,而造成左半身麻痺,也因此停止了所有的演出活动,接踵而来的事长时间很辛苦的复健过程,这五年来,因为肾脏的问题,每周进行3次的肾脏透析(洗肾),邦乐杂志社特别与他进行ㄧ次访谈,内容如下,

10年前

记者问: 10年前,您在德国演出舞台上,发生中风(脑梗塞)的实际情况为何?

横山胜也 : 我当时被邀请到日本松山市的姊妹市-德国Freiburg这个地方演出,我当时受邀担任特别来宾. 演出前我觉得身体状况并不是太好,有些声音出不来,所以在上台前,我在练习室儘可能练习了30分钟,希望将演出的水准调整到最好的状况,接著我上台演出,但我却从椅子上摔落,还好事情发生的当时,刚好前排坐了一位医生的听众,他当时在台上帮我做了ㄧ些紧急的处理.

记者问: 您当时有意识清楚吗?

横山胜也 : 我当时立刻恢复了意识. 我向关众致歉,然后回到后台. 我记得当时还问了我的夫人 < 我的左手呢?＞, 直到今天,我的左手还是没有什麽知觉的?

记者问: 救护车将您送到医院,听说当时昏迷了一个星期, 在那之后呢?

横山胜也 :　我在德国待了40天,并进行恢复治疗. 每次当我看到医院窗外的飞机低空飞过,我当时只想赶快回家.

国际尺八研修馆

记者问: 回头看看您的音乐生涯,现在您有什麽想法?

横山胜也 :　事发至今已经10年了,在这之前,我正忙著我创立的<国际尺八研修馆>的事务. 10年前,我对演奏活动不是太热衷, 现在的我觉得,当时我应该要多演奏才对.演奏对我是一件很快乐的事.

记者问: 由<国际尺八研修馆>所规划的< 4年一度的世界尺八大会>,已经成为一项全球尺八的活动,您对国际尺八研修馆再来的活动有什麽看法?

横山胜也 :　我们可以做的更多. 在当时,我和许多的演奏者谈过,没有一个人持反对的意见.但也没有人愿意参与,所以我只好自己来.

记者问: 您最初的计划是什麽?

横山胜也 :　我当时希望可以发起一个组织,是可以让全体的尺八界齐聚在一起,并互相帮忙. 希望像是基金会或什麽的.

记者问:　您当时想让它在东京成立吗?

横山胜也 :　是的,当我来到东京时,我当时想,我必须在这裡做点什麽的.

记者问:　您当时将家裡从清水搬到东京,安顿在冈山县冈山市,并且买了一所废弃的小学.您对它们满意吗?

横山胜也 :　这很难说,当时我个人力量还不够!!当时为了筹办第一次1984年的世界尺八大会,我向地方单位借了钱,并且动用我的毕生存款.

记者问:　 您的意念强烈到要把家安置在冈山?

横山胜也 :　因为我有一个梦想!! 我强烈的信念,相信尺八可以是国际性的.海外尺八的盛行, 但原点还是在日本,我认为我有责任让日本成为这个活动的核心. 我们有责任让其他人知道这到底是什麽. 但我发现要找到更多的人吹尺八,特别是古典本曲是一个问题.

尺八的原点

记者问:　您对本曲的重大贡献是您的一项重要成就.

横山胜也 :　很多都山流的人也来参加我的学习营,我很谢谢他们.但我想超越流派,我相信尺八最根本的精神是本曲,不管你是来自那一个流派. 这是大家都应该学习的.

记者问:　在这次澳洲雪梨举办的2008世界尺八大会,许多吹奏者发表,吹奏本曲,现代曲等等各种曲目,您对这些有什麽看法?

横山胜也 :　非常的好. 日本的演奏家更需要加油. 并且必需要继续维持这项传统.并且让其他人都能看得到. 我有一些国外的学生,他们的模式是有些不同的,因此更需要大家切磋学习.所以日本更应该能够正确的诠释本曲.很不幸的,在日本,没多少人做的到.

记者问:　这当中到底缺少了什麽?

横山胜也 :　首先,尺八的吹奏者原来就是少数.没有每天的持续练习,你没办法完成任何事.几天的练习是完全无法让其他人心服口服的.

记者问:　是吹奏本曲者的态度吗?

横山胜也 :　我认为是目地,理想的欠缺.我想问问这些专业演奏家他们的理想是什麽!!

记者问:　您透过了“November Steps” ,将尺八介绍给全世界.现在很多人演奏这首曲子. 您对这些有什麽看法?

横山胜也 :　这些演奏家都要我给他们一些建议. 我都告诉他们 <不要试著学我>. 乐谱是由一些图像组合成.变化是很自然的.琵琶演奏家_鹤田 锦 史 先生(Tsuruta Kinshi, 1911–1995)大致上固定了琵琶部份的演奏,相对的也让我的尺八部份没有大幅度的变化.我了解让每ㄧ位演奏者用不同的方试吹奏是有困难的,因为第一位演奏者的吹奏风格多少会对后面的演奏者造成影响.

福田兰童&船川利夫

记者问:　您对福田兰童曲目的诠释也是一样呢!

横山胜也 :　福 田兰童 老师是位天才. 有人说他孩子气,但消遣娱乐与适时放鬆总是需要的.难道错综複杂才称的上是高尚的吗?这种怀疑是很好笑的. 他的作品将会永远存在. 如果我没生病,我真的希望在ㄧ次录製他的作品.相对于Taisho and Showa era的浪漫型态.我希望可以用他特有的浪漫方式再次来诠释.我听过很多次CD,总是还在想像要如何来吹奏他的作品.

记者问:　福田兰童的作品是抒情是以前所没有的吗?

横山胜也 :　这是多此ㄧ问,不是只有让人感伤的.精緻洗练且不落俗套的现代主义表现方式.也就是说,就如同生田流筝曲演奏家_卫藤公雄的作品,应该要让世人认识更多.

记者问:　船川利夫是您很亲近的好友,他的作品很多都是由你担任初次演出.

横山胜也 :　我照顾他.(笑著说) 我们常在我的房间一起用餐.他也是个天才.但不是ㄧ个生意人,他是会被女生骗走钱财!!

海童道祖

记者问:　您的现代曲吹奏是否不同于本曲的表现方式?

横山胜也 :　吹奏本曲时,我试著淨空自己. 从年轻时,我就试著在吹奏时忘掉自我.

记者问:　您是否已经达到无我的境界,进入另一种层次?

横山胜也 :　不!  我的终极目标是用地无管来吹奏本曲,很不幸的我还没有这样的机会来完成它.我很敬仰海 童道祖 老师,也希望像他一样的吹奏.但我们永远不会是一样的.我只能是我自己.每次上完老师的课,我总是看著右天寺(位于东京都目黑区)外面的香柏,心理想著<我何时才能达到....>,接著哭了起来!!

记者问:　他真的有那麽伟大吗?

横山胜也 :　远远超过你的想像. 前ㄧ秒他还刚摆脱这个世界的束缚,下ㄧ秒他已经如ㄧ阵烟ㄧ般不见.他很难了解,而我总是令他失望.

现今

记者问:　现在还有对门生的指导吗? 还有门生的演奏会有前往观赏吗?

横山胜也 :　门生的指导,每个月ㄧ回. 演奏会偶而会去.

记者问:　对现在尺八的世界有甚麽建议吗?

横山胜也 :　还是不要说.

记者问:　对您来说,甚麽是最辛苦的?

横山胜也 :　就是我不能吹奏了. 我还是常常梦到自己可以像以前一样的吹奏,但做不到了!

记者问:　现在甚麽事能让你开心呢?

横山胜也 :　每天听CD. 日本音乐之外. 我特别喜欢海飞兹(Ruvimovich Heifetz). 年轻的时候,我曾被费利克斯·孟德尔颂的作品《E小调小提琴协奏曲》（作品64），深深的感动. 我也喜欢爵士音乐和民族音乐. 歌手Ofra Haza实在非常得好. 我现在的乐趣就是音乐和美食,在蒸熟的米饭上洒上ㄧ些来自法国的盐_我的最爱,味道实在太好了!!

Miss Saori 文章原文如下

www.mejiro-japan.com

Copyright(C)Mejiro 2009

The following is an abstract from the interview article of Katsuya Yokoyama by

the Hogaku Journal’s March 2009 issue. (Original text in Japanese)

Translated by Mejiro Co., Ltd.

Edited by Joshua Smith (http://joshu-an.com/)

What happened exactly when you had a stroke on stage in Germany

10 years ago?

I was invited as a guest performer in Freiburg . I wasn?t feeling well

before the show so I practiced hard for about 30 min. When I went on

stage I collapsed from my chair. There happened to be a doctor sitting

in the front row and he helped me.

Were you conscious?

I recovered consciousness right away onstage. I apologized to the

audience and then went back stage. I remember asking my wife

?Where is my left hand?? To this day my left hand is still numb.

You were in a coma for a week at the hospital. What happened after that?

I started the rehab and stayed in Germany for 40 days. Every time I saw airplanes from the

hospital window, I was thinking about how I wanted to go home.

Looking back at your musical career, what is your thought?

It?s been 10 years since I collapsed. 10 years before that I was mostly busy establishing the

Kokusai Shakuhachi Kenshukan. Now I feel I should have performed more during that time.

Playing is such a joy for me.

Kokusai Shakuhachi Kenshukan’s foundation paved the way to the International Shakuhachi

Festival which developed into a worldwide event. What do you think of the Kokusai

Kenshukan’s activities?

We could have done more. I spoke to many players about the project, no one was opposed to the

idea, but at the same time no one was wanting to join me either. So I had to do it alone.

What was your initial plan?

I hoped to create an organization where the entire shakuhachi society will get together and help

each other. Hopefully creating a foundation or something.

You wanted to make it happen in Tokyo ?

Yes. When I came to Tokyo (from Shimizu ), I thought I had to do something here.

You were settled in Okayama and you purchased a closed-down school. Were you satisfied?

It is hard to say, but it wasn?t good enough. To organize the very first International Shakuhachi

Festival (1984), I raised money from the city as well as giving up my savings for buying a yacht.

Your passion was so strong that you relocated to Okayama .

Because I had a dream.

I strongly believed that the shakuhachi would become international regardless of schools or

nationality. I felt the responsibility for making Japan the core for this activity. We are responsible

for showing others what this is all about. I find it a problem to have more people who play a

shakuhachi but not the honkyoku.

Your achievement to have developed the shakuhachi koten honkyoku is a big contribution.

Tozan players also came to my workshops. I believe that the shakuhachi?s origin is the honkyoku,

no matter which school you are playing. This is something everyone should learn.

At the Sydney Shakuhachi Festival 2008, a lot of the koten honkyoku as well as modern

music were presented. What do you think about that?

It is wonderful. Japanese players must try harder to carry on this tradition. It should appeal to

others. I have students coming to me to from abroad. Their style is involuntarily different. So

we, Japanese, should present the authenticity of honkyoku. Unfortunately few people can do it.

What is missing?

First, the number of shakuhachi players is very small. You cannot accomplish anything without

everyday training. You can never convince others with the honkyoku just by practicing it for a

few days.

People?s attitude toward honkyoku is immature?

They lack a sense of purpose. I like to ask each professional player where they set their ideal.

You introduced shakuhachi to the world through “November Steps.” Many performers are

now playing it. How do you feel about that?

They come to me for advice. My answer to them is “Do not try to copy me.” Sheet music is

written in graphics so variance is very natural. Mr. Kinshi Tsuruta fixed the music for biwa

which made my playing somewhat steady. I understand that it must be difficult for each

performer to play differently, because the first player’s influence always remains.

You promoted the Fukuda Rando works as well.

He is a genius. Some say he is childish, but simple recreation and relaxation is always necessary.

Is complexity that noble? It’s totally out of the question. His work will live forever. If I didn’t

become ill, I really would have liked to record his pieces again. Rather than expressing the

Taisho and Showa era of romanticism, I’d love to have been able to express his romanticism. I

listen to the CD many times and always think about how I should have played.

Rando’s lyricism is unparalleled.

And yet, not tacky. Sophisticated modernism, so to speak. Same can be said about Kimio Eto

(Ikuta-ryu Koto player) who should be recognized more.

You are close friends with Toshio Funakawa whose work you premiered and promoted.

I took care of him (laugh). We used to eat in my room. He is a genius too, but not a businessman.

He won’t charge pretty girls!

Do you play modern pieces differently compared to honkyoku?

I try to empty my feelings in the honkyoku. I have been trying to erase my ego ever since I was

young.

Have you attained selflessness and reached a certain stage yet?

No. My ultimate goal was to play the honkyoku with jinashi shakuhachi, which I unfortunately

never had a chance to do. I worshipped Watazumi-do sensei and wanted to play like him. We

could never be the same, as I am only myself. After the lesson with sensei, I looked up at the

cedar trees thinking “When can I get there…” and began to cry.

Was he that great?

More than you can imagine. One second he is emancipated from the world, but the next second

he is superterrestrial. He was hard to understand and I was often let down.

Any advice for the current shakuhachi world?

…I’d rather not to say.

What is tough for you now?

That I cannot play. I still have dreams where I try to play but can’t.

What entertains you now?

I enjoy CDs everyday. Besides Japanese music, I especially like Ruvimovich Heifetz. I was

deeply impressed with the Violinkonzert e-moll op.64 by Mendelssohn in my youth. I like Jazz

and ethnic music too. The singer Ofra Haza is fantastic. My current entertainment is music and

food. I am fond of French salt, pouring some of it on steamed rice is tasty! /END

 摘自台湾山城(王锦德)老师部落格：blog.xuite.net/shakuhachi.taiwan