希拉里·哈恩：《27首》復興古典安可曲

曾經聽人說過：任何有心學習的人，當他專注學習一樣東西七年，必定會成為這方面的專家，有所成就。

從希拉里·哈恩（Hilary Hahn）4歲時被小提琴演奏迷住，到11歲時首次參與管弦樂團合作的演奏會，正好是7年。15歲時，她與洛林·馬澤爾（Lorin Maazel）合作演奏的貝多芬小提琴協奏曲在德國首演，大獲成功，從此名揚歐洲。她16歲開始錄制專輯，至今已發行了14張個人專輯，3張現場演奏會錄像帶，曾被美國《時代周刊》評為“最優秀的青年古典音樂家”（Best Young Classical Musician），被英國著名古典音樂雜志《留聲機》評為2008年度藝術家，并已收獲2座格萊美獎。過去十年來，她的身影不時與世界頂級樂團同時出現在歐亞，以及北美地區的各大音樂會上。

但哈恩遠不滿足于只做古典音樂演奏的新寵兒。從她在自己的網站上堅持更新的“Postcards from the Road”和Youtube頻道上采訪作曲家們和答粉絲問的視頻可以看出，她對世界充滿好奇并喜歡與人溝通。而與不同音樂風格的歌手們合作，以及和德國鋼琴家兼作曲家Hauschka合作即興創作的專輯《Silfra》，從中更能看到哈恩在努力制造古典樂的新氣象。

哈恩最近的一張專輯是一張安可曲專輯，沒錯，就是每次演奏會結束觀眾們都聲嘶力竭把表演者請回來“再來一曲”的終場曲。來聽聽她是怎么想到要做這么一張專輯的。

Host： Grammy-winning violinist Hilary Hahn is trying to bring back the lost art of the encore. No， she’s not demanding a standing 1）ovation at every concert. She’s trying to get composers to write more encores， short performance pieces designed to cap off concerts. And they were once a 2）staple for classical music writers. Hahn recently commissioned a couple dozen encores for a new project called In 27 Pieces： The Hilary Hahn Encores.

And she joins me from Baltimore， to talk more about the project. Hilary， welcome to the program.

Hilary Hahn： Thank you.

Host： So why did you decide to make a whole project devoted to just encores？

Hahn： Well， about a decade ago I noticed that there were a lot of collections of popular encores being recorded or printed， and people were really focusing on the pieces that people recognize that they love； that are really great pieces of music and need to keep being played. And then I just found myself wondering where are the new ones？ ’Cause I knew that people were writing new short pieces， but I was not seeing them be performed. So I just thought it would be nice to work on a commissioned project of encores. Host： One of these encores is called Whispering， and you did one performance at a benefit concert in...in Bethlehem， Pennsylvania， last month.

Hahn： Well， this piece is by the Finnish composer Einojuhani Rautavaara. And he’s written some really beautiful music for violin in different combinations of instrumentation. And I love the lyricism of this particular piece. It’s called Whispering and he writes about that title， that he wanted to show that there is 3）virtuosity even in quiet passages. There’s an idea of the encore being a virtuosic showpiece. And I found that a lot of the composers in this project wanted to redefine the term encore， and they wanted to create a different kind of virtuosity， or they wanted to create a lyricism， or a thoughtfulness that they had missed in certain kinds of encores in the past.

Host： Is it very common for pieces to be commissioned by an artist？ I mean， these were written specifically for you， but how does， how does the process work？

Hahn： Actually， it is an 4）integral part of the classical composition scene， that there are commissions because that is in essence how the composer initially gets paid...

Host： It seems like this business model hasn’t changed then for a couple hundred years. Sounds like， right？

Hahn： It may not have.

Host： I mean， this is how it’s always been in classical music.

Hahn： Yeah， but I think now the commissions are coming from the presenters and the musicians. I think initially they came from 5）patrons who would have pieces performed at their events.

Host： Why do you think people aren’t doing encores as much？

Hahn： I’m not sure why there hasn’t been as much focus. But I think the encore form， people have generally wanted to hear things they know already. Sort of like you go to a restaurant and you， maybe you want ice cream for dessert because you know you like ice cream.

The shorter pieces give me a chance to introduce people to a lot of composers that even I wasn’t maybe so familiar with before I started my research for this project but whose music I love. And I hope that I can create some new favorites.

Host： Can you give an example of someone that you’re performing now that you’d consider a new favorite？

Hahn： Well， one that seems to be coming across well to a lot of the audiences has been Mercy by Max Richter.

（Soundbite from Mercy）

Hahn： He wrote this really 6）evocative， slow， lyrical piece. But it’s also—it’s interesting. He based it on the concept of 7）plainsong； the sort of chant-like writing that has been around for centuries. Yet it sounds very modern as well.

Something new has the chance to speak to someone immediately because there isn’t this sort of expectation of what they’re about to hear， so people can be really， really 8）captivated， really quickly.

主持人：格萊美獲獎者、小提琴家希拉里·哈恩試圖尋回失落的安可曲藝術。不要誤會，她不是要求觀眾每場音樂會結束都起身為她歡呼喝彩。她是在努力讓作曲家能創作更多的安可曲，即用于結束一場音樂會時短小的表演性樂曲。……