 Hilary Hahn The Magic Of Classical Music 希拉里·哈恩专辑：《古典音乐的魔力》 By Katie Fustich Universally-renowned violinist Hilary Hahn, at only 33 years old, is on top of the classical music world. With the release of her latest album, out today, marks a classical music first: an album entirely composed of original encores. Hilary recently spoke with BUST about her new record, 'In 27 Pieces: The Hilary Hahn Encores' and beyond. Check out our chat to find out about her process, her current Netflix-obsession, and why she just doesn’t have time for sexism! 众所周知，小提琴家希拉里·哈恩虽只有33岁，却已是古典音乐界的顶级大师。近日，随着她新专辑的发布，一种当今标志性的古典音乐形式被首创：即一张专辑完全有原创的安可曲组成。在希拉里最近与BUST杂志的访谈中，她聊到关于她的新专辑《希拉里·哈恩的27首安可曲》以及其他话题。品读我们的谈话内容，探寻她的发展历程，包括她近来痴迷的Netflix,以及她为何没空理会性别歧视问题等等。  Your new record is unprecedented in a lot of ways: both in terms of your work and the work of other musicians. What were the challenges of working with new music and a new concept? 问：你的新专辑在很多方面都是史无前例的：包括你自己的作品与其他音乐家的作品。实践这些新音乐与新理念的挑战是什么呢？ Well, it was a new thing for me to put together a big project like this. I thought I had done things like this before; I had done tours, records, commissioned work, and new work, so I felt like “Okay, this is a slightly bigger version of what I have done before.” But it was entirely different! 的确，把一个像这样庞大的计划放到一起来做，对我来讲也是很新鲜的。我觉得在此之前，我已经做了一些类似的事情，比如旅行、录音、认真做事以及对待新的工作，所以这件事让我感觉像是“好，这是一件我以前做过的事情的增强版”。但却又是完全不同的。  I thought that the two concertos I had done by Edgar Meyer and Jennifer Higdon would be good reference points for starting on the new encores. But I hadn’t thought about the fact that those are each written be one person. If you haven’t played a composer’s work before, you want to get to know their musical language before you feel comfortable with your interpretation of that particular piece. And since I hadn’t worked on so many composers who are new to me at the same time, I hadn’t thought about how much it would be to wrap my head around. 我认为，我已经完成的两首由梅耶尔（Edgar Meyer）与席格登（Jennifer Higdon）创作的协奏曲将会是在新安可曲上的一个示范性的开端。但我并没想过这些都是由一个人写的。如果你之前没有演奏过一位作曲家的作品，那么在你能毫不费力地诠释特定作品之前，你该去了解他们的音乐语言，同时，因为我并没有演奏过如此众多对我来说比较陌生的作曲家的作品，所以我之前没想过这会让我动多少脑子。 Something that surprised me that was not a challenge was how interesting all of [the composers] are and how individual they all are. When playing the violin, you have the [instrument] and you have different body types that fit it. Some people have long arms or short arms and that affects their technique. Some people have flexible hands, or wider fingers, and all of those things go into how you play the instrument. 让我惊讶的是，挑战之处并不是作曲家们如何有趣或者这些人如何特立独行。当拉琴的时候，不同体型的人需要去适应那些乐器。有人胳膊长，有人胳膊短，这都影响着他们的技术。有人有着灵活的手或是能抻的更宽的手指条件，这些都影响着人如何演奏。  But you can kind of guess how these categories are going to handle the instrument. With composing, it’s all in the brain. It’s all in the experience people have had; the things they like, influences they’ve had, their working method...and those are all infinitely variable 但你大概可以想象出他们如何掌握这些乐器的。在作曲时，这一切都在作曲家的大脑里，这一切都是人所经历过的，他们喜欢的，他们所拥有的影响力，他们的工作方法等等......所有这些都在无限变化着。 The fact was that none of the composers had the same approach to writing and none had the same motivations or goals musically. So it was really fascinating to see how all these different people create. How they express and what they want to express took some time to really understand. It was a big learning experience. From their writing [I learned] new ways to play the instrument and new ways to look at phrasing. It was a matter of getting to know the reason behind the music and making something that I also felt reflected my ideas as a piece. That was all so much bigger than I expected. 事实上，作曲家的创作风格与创作动机都是各不相同的。因此，关注这些不同的人是如何创作的，真的太让人着迷了。花时间去理解他们是如何诠释音乐、他们想表达什么，这真的是一个非常棒的学习过程。从他们的作品中，我学到许多乐器演奏的新方法和解读乐谱的新视角。重要的是了解他们背后的创作动机，我感觉这也反应了一些我的想法。这是大大超出我个人预期的。  Of course, there were the logistics of all of that: communicating, and planning the tours, and recording, and gathering comments...But it’s all been a really positive experience.It comes through in the recording! The record covers such a wide range musically and emotionally. One can’t even begin to imagine how it’s all the same person playing all of this. 当然，所有这些也都着一定流程：交流、计划、录音、聚在一起提意见等等......但所有这些都是积极宝贵的经验。录音获得了成功！唱片在音乐与情感上都涵盖了如此广泛的范围。人们甚至无法想象这所有都是一个人演奏的。 With a lot of different pieces, you can play them all the same way or you can look for the character in each one and try to make it stand apart. That latter effort was really important to me. I felt like all the composers could have chosen to just dash something off in between other things. But even if they wrote quickly, they put a lot of thought into it. I felt that each piece was such a world unto itself, and I really wanted to be able to convey that whole world as being unique to each work. 很多不同的作品，你可以用同样的方式去演奏或者找寻每一首的个性特点来凸显他们的特色。后者对我来说真的十分重要。我感觉所有作曲家都可以选择快速随性的创作。但即使他们写的很快，也付诸了很多想法在里面。我觉得每首作品本身就是一个世界，我真的特别想能够传递出每首作品独特性所营造出的一整个世界。
 You mentioned in your album trailer that when you approached these composers to collaborate with you, you did so through a series of “cold calls.” What was the response of the composers like? When you talked about the “cold calls” I imagined some of the composers thinking it was a prank! 问：在你的专辑预告中你提到，当你与这些作曲家接触、合作时，你会冷不防的给他们拨去电话。那些作曲家都是什么反应？我猜是否会有一些作曲家会认为你猝不及防的电话是在跟他们开玩笑？ One of them did, actually! 答：没错，他们之中有一个人是这样的。 Christos Hatzis, a composer who teaches in Toronto, thought the voicemail was a prank call—to the point that he actually went and looked up the area code! I never thought that would be the case. I thought it might be a bit of a surprise, but I don’t think of myself as being the person who’d be impersonated in a prank call. It’s just me! 克里斯托·哈齐斯（Christos Hatzis），一个在多伦多教学的作曲家，他把我的语音留言当做了恶作剧，为了证实真伪，他还真的去查阅了我的地号。而我从没想过事情会变成这样，所以我会觉得有点意外，但是，我自己真的没有想过去做一个开这种电话玩笑的人，我是认真的。 If anything, I felt kind of nervous calling people because I [didn’t know if they would] want to participate. A lot of composers—maybe not these particular composers—will end up getting a fair amount of requests for a 10-minute overture. I’ve heard a lot of people being frustrated with that because they appreciate the collaboration and the opportunity, but they can’t necessarily write everything they want to write in a 10-minute piece. 如果说有什么不同，我感觉自己给人打电话时会紧张，因为我不知道他们是否愿意参与进来。除了我们刚刚提到的作曲家外有很多作曲家都收到了相当数量的请求，让他们写一个十分钟左右的序曲。我已经听到过有太多人觉得挫败，因为他们太能体会这种合作与机遇的重要意义，但却不能在一首10分钟长的作品中写出他们想表达的全部内容。
So I thought there was a good chance that when I asked （the composers） to write a short-form piece, they would not be interested in the form. It’s so short—it’s not even five minutes. I also wasn’t sure if they would feel okay being in a project with lots of other composers. 所以当我请这些作曲家们去写一首短小作品时，我觉得他们很有可能不感兴趣。因为我的要求是非常短，有的甚至不足五分钟。我也不确定是否是否有其他作曲家认为做这个项目感觉还好。 But I got so much positive reaction! It was really fantastic. When an idea is new, you just don’t know what it’s going to be to anyone. So I hoped that people knew where I was coming from and would be on board...and they were! 但我还是得到很多积极的反馈。这太让人感觉奇妙了。当一个新的想法诞生，你并不知道它会对别人产生怎样的影响。所以我希望人们知道我从哪里来，将会去哪里等等目前看来，他们的反馈都很积极。
In terms of social media, you’re definitely a front-runner in the field. With your Twitter account……？ 问：在社交媒体方面，你绝是这方面的领跑者，你的推特账号是什么？。 Violin Case’s Twitter account! [laughs] 答：“Violin Case’s Twitter account”（笑）。 Your Instagram and YouTube channel, you have a very direct interaction with your fans. A younger generation, who is also involved in social media might not even regard classical music as something worth listening to. So I’m interested to know what the reaction is on those platforms. When you bring a traditional concept (classical music) onto a modern platform, I imagine it could sometimes be frustrating or sometimes be really awesome. 问：在你的Instagram和YouTube上，你都与你的粉丝有直接的互动。现在的年轻的一代，作为社交媒体的主力军，有很大一部分对古典音乐并不十分感兴趣。所以我非常好奇，你在这些社交媒体上是怎么跟他们互动的。我可以想象的出，当你把一个传统概念（古典音乐）放到这样一个现代的社交平台上面，一定会有一些让人意想不到的结果。 Well, I think that classical music is often misperceived and I think the title lends itself to that misperception because, it’s classical in the sense that there are old parts to it--there are classics--but those are all creating a wonderful history in music that can be drawn on at any time. You can play the pieces, but [classical music] is always updating itself. It’s always very current because there’s always new music being written so that in future years, those pieces can be played and appreciated and be history themselves. 答：嗯，我想人们其实对于古典音乐有很大的误解，这种误解很大程度上源于“古典音乐”这个名字。说到“古典”，人们会立刻认为它带有一些古旧的东西。但“古典”之所以成为古典，是因为它们都曾经在历史上创造过跨越时间的辉煌。你在演奏那些经典的时候，它本身也在不断更新着自我。其实古典音乐也是非常前沿的，因为在现在和未来，总是会有新的经典被谱写出来。这些新的经典也会被人们演奏欣赏，成就它们自己的黄金时代。
It’s all part of a cycle that never closes. It keeps going, wave upon wave upon wave, and I think the fact that it spans such a long time makes it hard to grasp what all it covers. It’s easier to think of classical music as certain composers and certain time periods, but it’s more like a musical outline of what’s happening in the world. 所有这一切都是一个永远不会闭合的循环。它持续不断的向前发展着，想一波一波涌起的海浪一样，而它跨越的漫长的时间是我们很难一窥它的的全貌。提起古典音乐，人们更容易想起某个特定的作曲家或者某个特定的时期，但事实上，它更像是用音乐的形式来诠释世界万物。 You need to draw on something to be inspired. Something needs to make you tick. And those things are inevitably based somewhat in the world around you. And every person experiences these things differently, and every person that can write music leaves that record behind of what they related to. Even if it’s something that seems opposite to what’s happening—even if it’s an escape from the world instead of a mirror. It’s still related in some way. 人不可避免的会受到周围事物的影响，有些会给你带来启发，有些会给你带来灵感。每个人对这些事物的体验不尽相同，这在每个音乐人的作品中留下了无法抹去的印记。即使有时候看起来与作者的实际生活相反，即使有的时候作者把它当做一种对现实世界的逃避，但它仍然与作者的现实生活有着千丝万缕的联系。
Sometimes, there’s pressure to be a certain way, but I think this happens in any field. I see a lot of people saying “Oh you like to listen to so-and-so? That’s not very cool of you!” and it’s like, “What do you mean? Who are you to tell me I can’t listen to this person just because that’s mainstream or not indie enough?” I’m still a valid person I still have opinions and I like this stuff and I like other stuff that’s maybe not mainstream so go listen to your own music! [laughs] 有些时候确实会遇到一些压力，但我觉得这并不是仅存在于古典音乐领域。我经常见到有人这样说，“什么？你居然听XXX，你简直逊毙了！”，然后收到这样的回答，“你啥意思？你凭什么教育我该听什么，因为是非主流我就不能听吗？我是一个独立自主的个体，我有自己的品味，我想听什么就听什么，我想听非主流就听非主流，您那主流音乐您自己欣赏去吧！” I think that determines people’s impressions of classical music. But what we need to be doing in any creative field is what we are really interested in. We should listen to the music that we like to listen to. We should have the freedom to like certain composers and not like others. It’s very, very personal. This also goes for things we do in our non-stage time. Some people are really good at working with kids and doing educational outreach, so they form programs that go into schools. 我想这决定了人们对古典音乐的印象。但是在任何创造性的领域，我们需要做的都是那些我们真正感兴趣的事。我们应当听我们喜欢的音乐。我们应当有自由去喜欢某一个作曲家，或者不喜欢某些作曲家。这都是非常非常个人的事情。这也同样适用于我们所做的其他的事情。有的人非常善于儿童教育，所以他们就开设了许多教育项目。
Other people are good at communicating, so they become journalists. Some people write books, some do collaborations, some go and play in unusual venues or give lectures about the piece they’re about to play. All of that is important to gather together. If someone has an interest in something or is good at something and is willing to contribute that to the genre, I think there shouldn’t be judgment about what that thing is. It just enhances everyone’s experience of the content that’s being presented. 有的人沟通能力强，就成了记者。有的人著书，有的人与其他人合作，有的人会选择去一些不一样的地方演奏或者讲解他们要演奏的作品。所有的这些在一起都非常的重要。如果有人对某事感兴趣或者擅长某事并愿意为之做出贡献，那么我想我们并不应该单纯用好坏来评判这件事。至少他增进了每个人对于他所呈现出的事物的体验。 With stuff like social media, it’s not for everyone. Violin Case does his twitter, but I like having creative outlets. I love to write and I write in any different way that I can. I used to write a lot for my website, but then this project kind of took over my life and it was really hard to get the headspace to sit down and write whole journal entries. 像社交媒体这样的事物，它并不是适合所有人。“Violin Case”的推特做的很好，但是我希望能有些更具创造性的产出。我喜欢写作，我尽可能的以不同的形式进行写作。我曾经为我自己的网站写过很多东西，但是后来它几乎占据了我的全部生活，我发现自己很难再放空自己坐下来好好写一篇期刊文章了。
So it’s been nice to have the opportunity to interview people for the YouTube channel, which helps me to understand my colleagues a bit better. And so with the writing and the interviewing, that’s stuff that I’m really comfortable and interested in doing, and it’s helpful for me as an artist to do. 所以我真的很高兴有机会能够采访YouTube频道的人，这也有助于我更好的了解我的同事。写作和采访，这都是我非常愿意做的事情，同时对作为艺术家的我也大有裨益。 So, that’s just a very long answer to the question. I guess what I’m trying to say is that not everyone should do one thing or another. It’s really just most important that people do what they believe is helpful and what they’re interested in. And through that you’ll have a very diverse genre and a lot of different voices speaking up. 所以，这是一个非常长的答案。我想我要说的是，每个人不是应该去做什么事，真正重要的是人们去做他们人去有益的事，去做他们喜欢的事。只有通过这种方式，我们才能有一个百花齐放，百家争鸣的繁荣场面。
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