High Life

110 品 他不无感慨地道：“每当我重返 自己出生的城市，在酒店房间内，我 仍可清晰看见马路对面的老地方。” 不久后，年纪尚幼的王敬随父母 移居法国南部城市马赛。在没有任何 个人关系或朋友引荐的情况下，王父 只身前往马赛区立音乐学院叩门，试 图为王敬报名入学。那一天，幸运女 神眷顾了王家。王敬回想说：“音乐 学院的院长恰好在场，并要求我即席 演奏。我当然是恭敬不如从命，但当 时我认识的曲目，仅有沃尔夫冈• 阿 马多伊斯• 莫扎特的《G 大调第3 号小提琴协奏曲，KV 216》第一乐 章，以及一首中国传统曲子。” 如是者，王敬被马赛区立音乐学 院录取，更成为该音乐学院史上最年 幼的学生。年仅六岁时，他在马赛迎 来了首个个人独奏。 及后，王敬在加拿大魁北克戏剧 艺术与音乐学院学习，并在美国著名 学府茱莉亚学院深造，其间在各大国 际音乐比赛中屡获殊荣。 他所接受的，是全面且多元化的 音乐教育及训练。他解释言：“学习 各国的音乐传统，有助于开拓视野。 比如说，法国派小提琴以弯臂技术闻 名世界，且擅于诠释印象派作品，而 俄罗斯派小提琴则以令人神往的高超 技艺享誉全球。茱莉亚学院深受俄罗 斯派小提琴影响，起源可追溯至亚美 尼亚裔小提琴名师伊凡• 加拉米安， 即以色列小提琴大师伊扎克• 帕尔曼 的师父。” 王敬的音乐历程，似乎预示着独 奏事业，但他却坚定不移地以乐团事 业为依归。 他分析道：“独奏及乐团合奏， 我向来是同样重视。独奏仅占古典音 乐世界中的一小部分，但乐团合奏却 是古典音乐的全貌。独奏家独奏及乐 团首席独奏之间亦不尽相同：前者演 奏的自由度较大，后者则须环顾左右 地演奏。” “我喜欢将自己的角色形容为联 结指挥及乐团的使者。” 王敬 乐团首席乃第一小提琴声部首 席，更是乐团仅次于指挥的第二号人 物。在管弦乐中，任何独奏部分均由 乐团首席操刀，故乐团首席一职需由 声部中最出色的音乐家担任。 Fast-forward three decades and Wang now plays a 1760 Giovanni Battista Guadagnini violin. He received his first violin lessons at the Guilin Youth Cultural Palace, where the tutor took just 10 pupils per year. “When I visit my native city,” he reminisced, “from the hotel I stay in, I can still see the old place across the street.” Ataveryyoung age,Wang andhis family moved to Marseilles, France. Without any connections, Wang Sr walked into the Conservatoire à Rayonnement Régional de Marseille, attempting to have his son enrolled. With a stroke of luck, “the dean happened to be there,” rememberedWang, “and asked me to play something. I obliged, knowing nothing except the first movement of Wolfgang Amadeus Mozart’s Violin Concerto No. 3 in G major, KV 216, and a traditional Chinese melody.” He was taken in, becoming the conservatory’s youngest in the process, and made his solo recital debut at the tender age of six. Wang continued his musical training at the Conservatoire de Musique et d’Art Dramatique du Québec in Canada, followed by the prestigious Juilliard School in New York, all the while garnering various prizes in international competitions. On his multitudinous musical education, “learning from different schools certainly helps broaden one’s horizon,” he remarked. “For example, the French school of violin is renowned for its bow arm technique and authentic interpretation of impressionist compositions. The Russian school of violin, meanwhile, is compelling and virtuosic, and that is the tradition at the Juilliard School, indeed the legacy of Ivan Galamian, who taught Itzhak Perlman.” Wang’s illustrious CV seems to indicate a soloist career, but his commitment as an orchestral musician is steadfast. “I have always attached as much importance to playing solo as I do to the orchestral setting,” he stated. “Solo playing is just a small part of the entire classical music literature, but the orchestral setting is the big picture of classical music. Whereas in a solo the soloist may perform with much freedom, the concertmaster must playwithin boundaries.”