欧洲乐团听好 强音可别太强 Less Force in the Fortissimo, European Orchestras Are Told By Sarah Lyall LONDON – They had rehearsed the piece only once, but already the musicians at the Bavarian Radio Symphony Orchestra were suffering. Their ears were ringing. Heads throbbed. 巴伐利亚广播交响乐团团员只为这首曲子排练了一次，就大感吃不消。耳鸣 不已，头痛欲裂。 Tests showed that the average noise level in the orchestra during the piece, “State of Siege,” by the composer Dror Feiler, was 97.4 decibels, just below the level of a pneumatic drill and a violation of new European noise-at-work limits. Playing more softly or wearing noise-muffling headphones were rejected as unworkable. 经测试显示，演奏作曲家德罗尔‧费勒的作品「围邦」的平均音量是97.4分 贝，只比气动电钻的噪音稍微低一点，已违反新的欧洲工作场所噪音规定。以较 轻柔的方式演奏，或戴上杜绝噪音的耳机，都被认为行不通。 So instead of having its world premiere on April 4, the piece was dropped. “I had no choice,” said Trygve Nordwall, the orchestra’s manager. “The decision was not made artistically; it was made for the protection of the players.” 因此，乐团取消演奏这件作品，未按原定计画在4月4日首演。乐团经理特瑞 维‧诺德瓦尔说：「我没有选择，这个决定与艺术无关，是为了保护演奏者。」 The cancellation is, so far, probably the most extreme consequence of the new law, which requires employers in Europe to limit workers’ exposure to potentially damaging noise and which took effect for the entertainment industry in April. 取消演奏这首曲子大概是新法上路以来最极端的结果，新法规要求欧洲雇主 限制员工暴露在可能有害的噪音中，自4月起适用於娱乐业。 But across Europe, musicians are being asked to wear decibel- measuring devices. Companies are altering their repertories. And conductors are reconsidering the definition of “fortissimo.” 但欧洲各地的音乐家被要求戴上测量噪音分贝的装置。公司更改演奏的曲目 。指挥重新思考「强音」的定义。 Alan Garner, an oboist and English horn player who is the chairman of the players’ committee at the Royal Opera House, said that he and his colleagues had been told that they would have to wear earplugs during entire three-hour rehearsals and performances. 双簧管手兼英国号手、伦敦皇家歌剧院演奏者委员会主席艾伦‧加纳说，他 和其他团员被告知，在三小时的排练和演奏期间，必须戴耳塞。 “It’s like saying to a racing-car driver that they have to wear a blindfold,” he said. 他说：「这好比告诉赛车手，他们必须戴眼罩。」 One problem is that different musicians are exposed to different levels of noise depending on their instruments, the concert hall, where they sit in an orchestra and the fluctuations of the piece they are playing. 问题是不同的演奏者暴露在不同程度的噪音中，这得看他们演奏的乐器、在 什麽音乐厅演奏、他们在乐团里坐的位置，以及他们所演奏乐曲的高低起伏而定。 Orchestras are also installing noise-absorbing panels and placing antinoise screens at strategic places, like in front of the brass section, to force the noise over the heads of other players. 交响乐团正在装设吸音板，并把防噪音屏幕放在关键位置，像是铜管乐器区 的前面，把噪音逼到其他演奏者的上方。 “You have to tilt them in such a way so that the noise doesn’t come back and hit the person straight in the face, because that can cause just as much damage,” said Philip Turbett, the orchestra manager for the English National Opera. 英格兰国家歌剧院交响乐团经理菲立普‧特贝特说：「你必须把防噪音屏幕 倾斜，让声音不致弹回来正面迎向演奏者，造成极大伤害。」 And companies are examining their repertories with the aim of interspersing loud pieces – Mahler’s symphonies, for instance – with quieter ones. They are also buying a lot of high-tech earplugs, which are molded to players’ ears and cost about $300 a pair. Many orchestras now ask their musicians to put the earplugs in during the loud parts of a performance. 乐团所属的公司也检视他们的曲目，用意是把音量大的作品，像是马勒的交 响乐，穿插在较安静的作品中。他们也采购许多高科技耳塞，依照演奏者的耳型 特别定制，一副约300美元。许多交响乐团要求他们的演奏者在演奏高音量部分时 ，把耳塞戴起来。 But these remedies can bring problems. Some musicians in the brass and percussion sections resent being screened off from their colleagues, as if they were being ostracized. Musicians, even if they accept the need to use earplugs occasionally, tend to hate wearing them. Conductors are also being asked to reconsider their habit of “going for a big loud orchestration,” said Chris Clark, the orchestra operations manager at the Royal Opera House. Composers, too, are being asked to keep the noise issue in mind. 但这些补救方法也带来问题。一些铜管乐器和打击乐器区的演奏者，对於以 屏幕把他们与其他团员隔开感到不悦，好像他们被摒弃在外。演奏者就算接受偶 尔非戴耳塞不可，却大都讨厌戴。皇家歌剧院交响乐团营运长克里斯．克拉克说 ，指挥也被要求重新检讨他们「偏爱管弦乐大编制、高音量的习性」。作曲家也 被要求谨记音量问题。 “Composers should bear in mind that they are dealing with people who are alive, and not machines,” said Mr. Nordwall. 诺德瓦尔说：「作曲家须切记他们面对的是活生生的人，不是机器。」 原文参照 http://www.nytimes.com/2008/04/20/arts/music/20noise.html　 http://www.iht.com/articles/2008/04/20/europe/london.php -- 大弦嘈嘈如急雨，小弦切切如私语。 嘈嘈切切错杂弹，大珠小珠落玉盘。 间关莺语花底滑，幽咽泉流水下滩。 水泉冷涩弦凝绝，凝绝不通声渐歇。 别有幽愁暗恨生，此时无声胜有声。 银瓶乍破水浆迸，铁骑突出刀枪鸣。 曲终收拨当心画，四弦一声如裂帛。 东船西舫悄无言，唯见江心秋月白。 --

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