碎片中的全貌：沙馬尤以音樂拼湊的拉威爾肖像

• Facebook
• Threads
• X
• Reddit
• LinkedIn
• 共享已複製到剪貼簿
• 郵件

　　為紀念拉威爾誕辰一百五十週年，法國鋼琴家沙馬尤（Bertrand Chamayou）推出新專輯《碎片》（Fragments），向這位對自己音樂生命影響深遠的作曲家致敬。

　　專輯名為「碎片」，卻非零散拼湊，而是沙馬尤精心設計的一場音樂旅程。他巧妙交織拉威爾原作、個人改編與他人致敬之作，勾勒出一幅「碎片化」多面向卻又完整的音樂肖像。這幅肖像既忠於呈現拉威爾的音樂精髓，又融入沙馬尤的獨特創意。

　　雖然同是法國人，但是沙馬尤在八歲那年才初識拉威爾。當時他對音樂的認識僅限於德奧的古典傳統，例如：貝多芬的鋼琴奏鳴曲。有一天，他在朋友家中看到拉威爾《水之嬉戲》（Jeux d'eau）的樂譜，拉威爾使用許多不同連音來模糊原本的節拍結構，只見滿頁的三連音、四連音、五連音⋯⋯如水波流動，視覺上宛如一幅畫作。他說：「我完全不知道聽起來會是什麼樣子，但是第一眼就被視覺效果震撼了。」幾週後，沙馬尤在家鄉土魯斯（Toulouse）聽到鋼琴家培列姆特（Vlado Perlemuter）現場演奏這首作品，這位曾經接受拉威爾短期指導的前輩讓他感受到聲音上的魅力，於是挑戰《水之嬉戲》成了當時還只是個孩童的沙馬尤新目標。

　　三年後，十一歲的沙馬尤終於能彈《水之嬉戲》，他愛上拉威爾的音樂，青少年時期幾乎學會拉威爾所有的鋼琴曲。他購買樂譜與唱片，探索拉威爾的協奏曲、管弦樂與歌劇。他形容拉威爾是自己音樂宇宙的太陽，德布西、史特拉溫斯基等其他作曲家則是環繞其運行的「行星」。

　　沙馬尤與拉威爾的連結不僅是情感共鳴，更有一條清晰的師承鏈：他在巴黎國立高等音樂舞蹈學院（Conservatoire national supérieur de musique et de danse de Paris）師從埃塞爾（Jean-François Heisser），而埃塞爾正是培列姆特的學生，形成一條從拉威爾直傳下來的教學系譜。除了童年與青春時光都沉浸在拉威爾的音樂世界，沙馬尤也是法國西南部城市聖讓德呂茲（Saint-Jean-de-Luz）「拉威爾音樂節」藝術總監，這種與拉威爾深厚的歷史淵源與情感連繫，為《碎片》的誕生奠定基礎。

　　《碎片》的曲目分為三大類：拉威爾的原作，如：《圓舞曲》（La Valse）和芭蕾音樂《達孚尼與克羅埃》（Daphnis et Chloé）選段；沙馬尤的改編，如：《哈巴奈拉舞曲形式的聲樂練習》（Vocalise-Étude en forme de Habanera）、《三隻美麗的天堂鳥》（Trois beaux oiseaux du paradis）與《新娘之歌》（Chanson de la mariée）這三首聲樂曲改編成鋼琴曲，以及當代作曲家的致敬作品。這些致敬作品橫跨百年，從拉威爾摯友──鋼琴家維紐斯（Ricardo Viñes）開始，作曲家包括華金‧寧（Joaquín Nin）、奧乃格（Arthur Honegger）、湯斯曼（Alexandre Tansman）、孟特薩爾瓦吉（Xavier Montsalvatge）、若拉（Betsy Jolas）、斯西亞里諾（Salvatore Sciarrino）到杜里厄（Frédéric Durieux），從不同的視角呼應拉威爾的風格。沙馬尤以這些作品拼貼出一幅「無界限拉威爾肖像」，巧妙模糊原作與致敬作品之間的分界，讓聽眾不經意間沉浸在拉威爾的音樂氛圍裡。這種設計既展現出拉威爾風格的本體與外圍多樣性，也反映演奏者獨特的詮釋視角。

　　面對「拉威爾音樂缺乏靈魂」的質疑，沙馬尤認為，拉威爾的作品情感並非外顯張揚，而是潛藏於精緻的和聲與音色中。而且「演奏他的音樂不是去詮釋，而是去彈奏和表現」，追求在嚴謹的樂譜中尋找「呼吸的縫隙」，讓情感自然流露而非精準而機械化的演奏。以沒有收錄在二○一五年錄製的拉威爾鋼琴獨奏作品全集為例，沙馬尤認為當中「走向毀滅」的戲劇張力，或是《達孚尼與克羅埃》充滿「色彩綻放」的詩意，都是拉威爾極致追求音色的明證。

　　精心挑選的致敬之作體現沙馬尤對拉威爾作品的深刻洞察。斯西亞里諾《夜之中》（De la nuit）延續《夜的加斯巴》（Gaspard de la nuit）的黑暗意境並融入《西班牙狂想曲》（Rapsodie espagnole）的元素；若拉《書籤──向拉威爾致敬》（Signets, hommage à Maurice Ravel）重現《夜的加斯巴》中〈水妖〉（Ondine）的水波韻律；維紐斯逝世前寫下的《幽靈小步舞曲》（Menuet spectral）則以蕭邦式的抒情悲痛，悼念六年前逝世的摯友。杜里厄《致所有沉落之人》（Pour tous ceux qui tombent）與《夜的加斯巴》中〈絞刑台〉（Le Gibet）相呼應卻又保留杜里厄的個人風格。「我希望聽眾在聽這張專輯時，無法明確察覺何時從原作過渡到改編或致敬作品，讓這些『碎片』構成一條聽覺上的拉威爾長河。」沙馬尤說。

　　《碎片》既是對拉威爾的致敬，更濃縮了沙馬尤個人音樂旅程的精華。從童年時被《水之嬉戲》的視覺震撼啟蒙，到青少年時期的全面探索，再到如今的深刻詮釋，他與拉威爾的關係是一場無間斷的對話，並不斷有領悟與新意。這張專輯的確完整而忠實的呈現拉威爾音樂的精髓，但更多的是展現多年來沙馬尤累積的創意與洞見，這正是獨特價值之所在。

To celebrate the 150th anniversary of Maurice Ravel's birth, French pianist Bertrand Chamayou released a new album titled "Fragments"—a tribute to the composer who has deeply influenced his musical life.

Although the title suggests something broken or scattered, "Fragments" is a carefully curated musical journey. Chamayou weaves together Ravel's original works, his own piano arrangements of Ravel's vocal music, and tribute pieces by other composers. Together, these "fragments" form a rich and complete portrait of Ravel—faithful to his musical essence, but also filled with Chamayou's personal creativity.

Chamayou first discovered Ravel at the age of eight, long after becoming familiar with German and Austrian classical music like Beethoven's sonatas. He was instantly captivated by the visual beauty of Ravel's "Jeux d'eau", with its flowing triplets and quintuplets that looked like rippling water on the page. Hearing the piece performed live by Vlado Perlemuter—who once studied with Ravel—left a deep impression on the young Chamayou. It became his personal goal to play the piece, which he finally did at age eleven.

From then on, Chamayou fell in love with Ravel's music, learning almost all of his piano works and diving into his concertos, orchestral pieces, and operas. He sees Ravel as the "sun" in his musical universe, with Debussy, Stravinsky, and others orbiting around him.

Chamayou's connection to Ravel is not only emotional but also educational. He studied under Jean-François Heisser at the Paris Conservatoire, who was a student of Perlemuter—creating a direct teaching lineage back to Ravel. He is also the artistic director of the Ravel Festival in Saint-Jean-de-Luz, further deepening his bond with the composer.

"Fragments" includes three kinds of works:  

1. Ravel's originals (like "La Valse" and parts of "Daphnis et Chloé")  
2. Chamayou's arrangements (such as piano versions of "Vocalise-Étude en forme de Habanera" and other vocal works)  
3. Tributes from other composers, ranging from Ravel's contemporaries to modern composers like Sciarrino and Betsy Jolas.  

These pieces are combined so seamlessly that listeners might not notice when the music shifts from original to adaptation or tribute. Chamayou calls this an "unbordered portrait" of Ravel, showing both the core and the surrounding influences of Ravel's style, while also reflecting his own interpretation.

Some critics claim Ravel's music lacks emotion. Chamayou disagrees—he believes Ravel's feelings are hidden in the harmony and color of the music. For him, playing Ravel isn't about dramatic interpretation but about breathing life into the detailed score. He aims for emotional expression that feels natural, not mechanical.

Tributes in the album reveal Chamayou's deep insight into Ravel's style. For example:
- Sciarrino's "De la nuit" echoes the darkness of "Gaspard de la nuit" with hints of "Rapsodie espagnole"  
- Jolas's "Signets" pays homage to the watery rhythms of "Ondine"  
- Viñes's "Menuet spectral" mourns Ravel with Chopin-like lyricism  
- Durieux's "Pour tous ceux qui tombent" mirrors the haunting mood of "Le Gibet" while keeping his own voice  

Chamayou says he wants listeners to lose track of where the original ends and the tribute begins—as if all the pieces flow into one long musical river of Ravel.

More than a tribute, "Fragments" is a reflection of Chamayou's personal journey with Ravel—from his childhood fascination with "Jeux d'eau", through years of study and discovery, to his present-day interpretations. This album not only captures the soul of Ravel's music but also showcases Chamayou's own creative vision, making it truly unique.

*This English version is a concise summary of the original Chinese article.*

---