Archive for 2011 年 02 月

謝建得與台灣有約

自從上次VMO音樂會後,有一段時間不見Ken了。 只知道他忙著在日本的指揮工作,又去了希臘,間中時常順便返回台灣,過著忙碌的指揮家生活。

不久,Ken可能會有回台灣指揮音樂會的計劃,令人期待。

這篇溫哥華太陽報的訪問,是這段期間有關Ken的報導當中,寫的最完整,也最為到味的,也最能寫出Ken一直以來,默默為樂團付出,總是希望能將其他本地優秀音樂家,也帶上國際舞台,不為人知的心聲。

文章如下:

Kenneth Hsieh takes a classic approach to the Vancouver Metropolitan Orchestra By David Gordon Duke, Vancouver Sun September 7, 2010

VANCOUVER — On a parked car, a bumper sticker featuring a short musical quote says: “If you can read this, thank a music teacher” — not at all a bad slogan, and one which set the tone for a reception at a west-side home last Sunday for patrons and special friends of the Vancouver Metropolitan Orchestra.

Part garden party, part mini-recital, the event gave an excellent demonstration of the VMO’s core of support and a good object lesson in how the new ensemble has made its way in Vancouver.

There are a surprising number of orchestras in Metro Vancouver: professional, amateur, and community groups, youth orchestras, and (admittedly endangered) school orchestras.

When conductor Kenneth Hsieh established the VMO just eight years ago, his vision was significantly different from most others. Hsieh certainly has experience in the orchestral world: He has played percussion and done an extended stint with the Vancouver Symphony Orchestra.

“I began as a pianist/percussionist, then studied pre-law at the University of Alberta, but wound up as assistant conductor with the VSO, then conductor-in-residence.”

Hsieh has won both the Jean-Marie Beaudet Award in Orchestral Conducting and the Heinz Unger Award in Conducting. As well as his work here as music director and principal conductor of the VMO, he’s conductor at Hyogo Performing Arts Center Orchestra in Japan, and artistic director-designate at Italy’s Theatre Salo. He guest-conducts all over the globe, including a recent gig at the Theatre des Champs Elysees with the famed Orchestre des Concerts Lamoureux of Paris.

The particular role Hsieh came up with for the VMO was that of a training orchestra, one modelled on those he had seen in Japan: selected professionals would occupy key positions in the ensembles; advanced students would sit beside them and watch, learn, and play — hands-on mentoring in a real-world situation.

“Our young players are primarily university students, 20 to 24 years old. All the professionals have orchestral experience and were chosen because they are good educators; they take the sectional rehearsals. We choose repertoire specifically geared toward orchestral auditions; pieces that the young people need to know to further their careers. For example, we are playing the Marriage of Figaro overture because it’s the most frequently chosen audition piece for the bassoons.

” The orchestra started out small, with just 15 members in its first year; it has now grown to 42. This chamber orchestra size has its pedagogic advantages: For string players, still the core of any orchestral ensemble, it’s about the fine detail that comes with classic repertoire, the nuances of bowing, articulation and style. The later stuff that goes along with the big Romantic and early modern repertoires is add-on to a core of knowledge that comes from the classical repertoire.

Though these are tough times for many British Columbia arts organizations, the VMO has charted a successful, independent strategy.

“We are currently entirely community-based; we receive no grants of any kind,” Hsieh says. “Our board members are always searching for potential sponsors and patrons, people willing to give back to the community.

” Hsieh sees the orchestra as a community asset, not his personal ensemble. “My five-year goal is to make myself obsolete. There are so many exciting young potential conductors here. For example, Kemuel Wong is exceptional, quite brilliant and dedicated, as you will be able to tell by his pre-concert talk.”

Speaking of concerts, the VMO’s opening program this season gives the orchestra a good workout, and perfectly demonstrates the values and focus of the ensemble. As well as Mozart’s Marriage of Figaro overture, there’s also his Symphony #35 in D major, K. 385, and a new piece by composer-in-residence Alain Mayrand.

Anchoring the program is Beethoven’s Triple Concerto for violin, cello and piano, with orchestra, which will feature Japanese violinist Ran Matsumoto, cellist Luke Kim, and pianist Amy Lee in a festive work to launch what Hsieh intends to be the best VMO season ever.

廣告

無限想像空間

Facebook真是一個魅力無窮的social network.

除了周圍的親朋好友及同事,同業可以加外,還可以加到一些未曾謀面,但卻仰慕,又勾起兒時記憶的團體及人。

最近加了時報同事的facebook,從那裡加了台灣的國策顧問,也是投資女達人,後來還加了西田社,是一個台灣傳統藝術團體,西田社隨時更新那個地方會演出歌仔戲及布袋戲,那種三十多年前,在我老家廟口才有的兒時記憶。

原來台北還有布袋戲及歌仔戲的表演呢,我家廟口可能都改演性感女郎酬神表演時,知道台北竟有歌仔戲台,心裡一陣說不出的感動。

下次我回去台灣,可能要追隨歌仔戲團,將往事重新回味。

冷靜區

加拿大的學校不體罰學生,連大聲喊孩子的老師都比較少,但當孩子失去控制時,老師有什麼「法寶」可用呢?

對了,這就是小學教室外面一定會設的Calm Spot,給那些無理取鬧,哭個不停的小朋友,暫時冷靜的區域。

其實,在Daycare,也有一個Bad Boy Chair的位置,通常都是愛搗蛋的小男生在坐,所以直接叫Bad Boy Chair。

但長稍大後,不能稱這些學生是壞男生了,改成Calm Spot,才不會令送到這區的孩子感覺受辱。

Derek坐過一次Calm Spot的Chair,Ms. Brynjac說,那天其實是鼓勵他去試寫高一點程度的英文單字,但Derek自認不會,不肯嘗試,又覺得委屈,於是哭到天翻地覆,只好到教室外面,哭完再回來上課。

家裡是否也應設一個Calm Spot呢?

滿街歐巴桑都有iPhone

自從昨日買了iPhone後,特別注意到iPhone的普及性,原來,滿街盡是iPhone,連去Chyrstal Mall買菜,眼睛有點老花的歐巴桑,也從買菜的袋子裡拿出iPhone,緩慢的按著。

其實,第一次認為應該買iPhone,是在去年夏天從台北回溫哥華的班機上。那時旁邊坐著一名手可能因派金森疾病,有點發抖的歐里桑,約60歲左右,從西裝口袋裡拿出來iPhone,我將這事告訴了幫我買機票的Emma,不久,Emma就買了一支iPhone。

Emma說,聽到連歐里桑都有iPhone,覺得輸人不輸陣,趕緊去辦一支。

隔了幾個月,同事Eric也有iPhone了,他的手更大,可能也不好按iPhone鍵盤,但他都買了。接著,妹妹的MSN突然永遠不離線,一問之下,她也買iPhone了。而且台灣的Program更好,只需要這裡一半不到的價格。

所以古代有滿城盡戴黃金甲,現在則是,滿城盡戴iPhone。

悲傷的歷史

妹妹說之前訂的一本雜誌Chatelaine寄來了,我問她好看嗎,她說,「是適合妳這種歐巴桑看的」。

我想有那麼慘嗎?我是說,我已經是歐巴桑了嗎?在台灣我們稱年紀大的師奶叫歐巴桑,我自認雖然是師奶,但還不到歐巴桑的階段。

於是我向妹妹解釋了一下,歐巴桑的用法,也希望以後別直接叫身邊的阿姨歐巴桑。我說,歐巴桑是日文,妹妹不解,台灣為何會用日文,我就解釋了,妳的外公外婆彼此互稱也是用日文名字,像優希,或豆Key(我媽媽的日本名),妹妹更糊塗了,那為何大家都用日本名?

我說,以前有一段時間,台灣成了日本的殖民地,她說是Colony嗎?是的。妹妹這下更生氣了,她說,這麼重要的歷史,妳怎麼不告訴我。

那種生氣,我感覺得出來,是不忍心見到父母來自的台灣,這個家庭的故鄉曾被日本統治或殖民,即使在很多年之後,都讓人感到悲傷的歷史。

妹妹每次去台灣,看到那些作日本公主打扮的台灣年輕女生,本來就覺得是異類,現在,她似乎更明白了,箇中的原因。

冬奧還剩下最後的餘溫

冬奧周年慶祝活動,在Canada Place海邊的冬奧聖火,又重新點燃了,這次帶著三個孩子造訪,連老大都出街了。

都是討厭的老大,堅持不讓妹妹同台,怕酷酷的風采被妹妹搶走,Derek只好學明星一樣,分別與人合照。Good Job! Derek!

溫哥華美術館免費開放參觀,這次很好等,但外面下大雨,我們都淋濕了。至於藝術館內的展覽,實在太艱深,又兒童不宜,顧慮大家對本格的感受,照片就不放了,放一張天井照片,還蠻美的。

冬奧慶祝會被大雨破壞了,但孩子還是冒雨搖了一下呼啦圈,技驚四座。

麥當勞叔叔的腳真長,蹲下來還比小兒子高。

皇家鑄幣廠重新開放,是那天最大驚喜。小朋友如願摸到冬奧獎牌,好真實。

高中時的最愛

這首歌,是我高中時最愛,聽了無數次,直到那時的卡帶被夾斷,無法修復,才沒再聽。

Youtube真的很厲害,總是可以讓人,勾起本已淡忘的記憶,不怕你有多老。