基頓·克萊曼Gidon Kremer與波羅的海弦樂團

二十多年的等待，才親臨現場聆聽—20多年前還是學生，在一個古典音樂頻道電台打工，一天深夜，聽見主持人播放的樂曲像魔法一樣包覆整個錄音室，魔性的弦樂滑奏，熱情滿滿的探戈節奏，那是我第一次聽見Piazzolla的音樂，我詢問主持人那是哪一張唱片，他指著布宜諾斯艾利斯的四季CD封面說：要記住這個小提琴家。一結束工作，趁著午夜敦南誠品音樂館還沒下班，在那裡B2我找到試聽機有另一張由Kremer演奏，Piazzolla 的探戈小歌劇Maria de Buenos Aires其中第四首曲目Yo so Maria. 馬上購入該張CD，這二十多年來反覆聽Piazzolla 的音樂，一定要找基頓·克萊曼 Gidon Kremer的錄音版本。

20年之後才有機會聆聽現場Kremer與波羅的海弦樂團。該樂團選曲就像一套音樂的Fine dining，先從當代音樂、再到貝多芬的鋼琴協奏曲聖經。下半場則由我滿心期待布宜諾斯艾利斯的四季。Kremer與樂團的現場，比CD錄音更完美，嚴謹而帶有激情的演出，東北歐的探戈熱情卻不濫情，愛與恨的探戈音樂柔情似水，恨意如火都在獨奏Kremer與團員的手裡。比錄音更完美的演出，比年輕更熟成的美麗樂音。因為Piazzolla所以探戈音樂抬升到與爵士樂同等的高度。因為Kremer的演奏所以Piazzolla的音樂成為古典音樂殿堂裡的一角。他們的音樂忽遠忽近，是王家衛《春光乍洩》裡布宜諾斯艾利斯的城市光影，是匿蹤的戀人與過客，水手與妓女。

Kremer在《詮釋者十誡》提到：奉獻。我想這就是70多歲的他，絕不妥協，兼具無比浪漫與崇高的堅持。在十幾年前普丁主義興起，他早早發聲批判。在臺北的晚上，他不掩狂放，更多了崇高與浪漫，是藝術家人格的典範。kremer為北、南半球的Piazzolla、Vivaldi創建了八個季節。那天晚上，拉脫維亞音樂家的琴聲讓台北穿越地球軸心通到另一端，正是探戈的故鄉—Buenos Aires

#Gidon Kremer #波羅的海弦樂團

I waited for more than twenty years to hear Piazzolla music in person. More than twenty years ago, when I was a student, I was working at a classical music channel radio station. Late one night, I heard the host play a piece of music that covered the whole studio like magic, with magical string slides and passionate tango rhythms, and this was the first time I heard Piazzolla music, so I asked the host which album it was.I asked the host which album it was, and he pointed to the cover of the Four Seasons CD in Buenos Aires and said, "I remember this violinist: Gidon Kremer. As soon as I finished my work, I took advantage of the fact that the Dunnan Eslite Music Hall was still open at midnight, and there, in the B2, I found a demo machine that had the fourth track of Piazzolla's tango opera, Maria de Buenos Aires, played by Kremer, Yo so Maria.I bought the CD right away, and I've been listening to Piazzolla's music over and over again for more than 20 years, and I had to find Kremer's recording of it.It was only after 20 years that I had the chance to hear Kremer live with the Baltic Sea Orchestra.The orchestra's selections were like a fine dining set of music, starting with contemporary music and moving on to Beethoven's piano concertos of the Bible.In the second half of the program, I was looking forward to the Four Seasons of Buenos Aires, and Kremer and the orchestra gave a performance that was even better than the CD recording, a rigorous and passionate performance of Northeastern European tango, passionate but not overbearing, a tango of love and hate that is as tender as water and as fiery as hate, all in the hands of soloist Kremer and the orchestra members.The performance is more perfect than the recording, and the music is more mature and beautiful than the youth.

Because of Piazzolla, tango music has been elevated to the same level as jazz.Because of Kremer's performance, Piazzolla's music has become a corner of the classical music hall.

Their music is far and near, the cityscape of Buenos Aires in Wong Kar-wai's Spring Breakers, lovers and transients, sailors and prostitutes in hiding.Kremer's Ten Commandments of the Interpreter: Consecration.I guess that's what he is in his 70s, an uncompromising, romantic and sublime perseverance.

When Pudin occupied Crimea, he spoke out against it.

At night in Taipei, he was more sublime and romantic than wild, a model of the artist's personality.

Kremer created eight seasons for Piazzolla and Vivaldi in the northern and southern hemispheres.

That night, the sound of the Latvian musician's piano brought Taipei across the axis of the earth to the other side, to Buenos Aires, the home of the tango!

#Gidon Kremer #Baltic Orchestra