歐洲樂團聽好 強音可別太強 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. 巴伐利亞廣播交響樂團團員只為這首曲子排練了一次，就大感吃不消。耳鳴 不已，頭痛欲裂。 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. 經測試顯示，演奏作曲家德羅爾‧費勒的作品「圍邦」的平均音量是97.4分 貝，只比氣動電鑽的噪音稍微低一點，已違反新的歐洲工作場所噪音規定。以較 輕柔的方式演奏，或戴上杜絕噪音的耳機，都被認為行不通。 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，樂團取消演奏這件作品，未按原定計畫在4月4日首演。樂團經理特瑞 維‧諾德瓦爾說：「我沒有選擇，這個決定與藝術無關，是為了保護演奏者。」 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. 取消演奏這首曲子大概是新法上路以來最極端的結果，新法規要求歐洲雇主 限制員工暴露在可能有害的噪音中，自4月起適用於娛樂業。 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.” 但歐洲各地的音樂家被要求戴上測量噪音分貝的裝置。公司更改演奏的曲目 。指揮重新思考「強音」的定義。 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. 雙簧管手兼英國號手、倫敦皇家歌劇院演奏者委員會主席艾倫‧加納說，他 和其他團員被告知，在三小時的排練和演奏期間，必須戴耳塞。 “It’s like saying to a racing-car driver that they have to wear a blindfold,” he said. 他說：「這好比告訴賽車手，他們必須戴眼罩。」 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. 問題是不同的演奏者暴露在不同程度的噪音中，這得看他們演奏的樂器、在 什麼音樂廳演奏、他們在樂團裡坐的位置，以及他們所演奏樂曲的高低起伏而定。 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. 交響樂團正在裝設吸音板，並把防噪音屏幕放在關鍵位置，像是銅管樂器區 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. 英格蘭國家歌劇院交響樂團經理菲立普‧特貝特說：「你必須把防噪音屏幕 傾斜，讓聲音不致彈回來正面迎向演奏者，造成極大傷害。」 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. 樂團所屬的公司也檢視他們的曲目，用意是把音量大的作品，像是馬勒的交 響樂，穿插在較安靜的作品中。他們也採購許多高科技耳塞，依照演奏者的耳型 特別定製，一副約300美元。許多交響樂團要求他們的演奏者在演奏高音量部分時 ，把耳塞戴起來。 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. 但這些補救方法也帶來問題。一些銅管樂器和打擊樂器區的演奏者，對於以 屏幕把他們與其他團員隔開感到不悅，好像他們被摒棄在外。演奏者就算接受偶 爾非戴耳塞不可，卻大都討厭戴。皇家歌劇院交響樂團營運長克里斯．克拉克說 ，指揮也被要求重新檢討他們「偏愛管絃樂大編制、高音量的習性」。作曲家也 被要求謹記音量問題。 “Composers should bear in mind that they are dealing with people who are alive, and not machines,” said Mr. Nordwall. 諾德瓦爾說：「作曲家須切記他們面對的是活生生的人，不是機器。」 原文參照 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，小弦切切如私語。 嘈嘈切切錯雜彈，大珠小珠落玉盤。 間關鶯語花底滑，幽咽泉流水下灘。 水泉冷澀弦凝絕，凝絕不通聲漸歇。 別有幽愁暗恨生，此時無聲勝有聲。 銀瓶乍破水漿迸，鐵騎突出刀槍鳴。 曲終收撥當心畫，四弦一聲如裂帛。 東船西舫悄無言，唯見江心秋月白。 --

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