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VIP主页-->maestro-000-->maestro4-003
比利时-法国电子杂志"Maestro(音乐大师)”在中国专栏
如果您需要下载完整的电子杂志请进入Chimai网站
Please enter Chimai website if you need to download the full "Maestro" fanzine
4-6 MSV不复存在:一个时代的结束/MSV Ceases to Exist: End of an Era
中译文 由本站
--------访谈--------
MSV不复存在:一个时代的结束
尤利乌斯·沃尔特·惠斯为配乐杂志访谈马丁·冯沃·乌
"配乐"杂志 172期 2013.12.5 原荷兰文本见 http://www.score-magazine.nl/modules.php?name=News&file=article&sid=1177
英译文 由迪迪埃·图诺斯 和 保尔·斯提夫曼斯       中译文 韩文光

 

(感谢"配乐"杂志和马丁·冯沃·乌的热心支持) 两位电影音乐名人相对而坐:尤利乌斯·沃尔特·惠斯(66岁),电影音乐杂志"配乐"的创始人,现在是一个电子杂志。马丁·冯沃·乌,"天鹅绒上的音乐"(MSV)杂志创始人,该杂志完全致力于埃尼奥·莫里康内主题。马丁(53岁)住在阿尔克马尔,是一位中学的希腊语和拉丁语教师。由于他再也不能兼顾自身繁忙的工作,因而在该杂志发行116期以后停刊。这是一个足够充分的理由。他们在交谈中特别谈到了这本MSV杂志

一切是怎样开始的?


马丁
: 在1971年开始你是用"最大的斯坦纳音乐社区"这个名字,后来改为"配乐"。我买了一张专辑"无名小子"(NA7304),接下来买了我在荷兰遇到的每一张莫里康内的LP唱片。"西部往事"(NA6801)是我的第三张LP唱片,威廉·杜伊斯(见备注) 对于它非常关注。后来当它的销售量在荷兰超过40万张时,莫里康内1978年在威廉·杜伊斯的节目中现身,"配乐"杂志引起我的注意。同时,这本杂志出版了一期埃尼奥·莫里康内的特别版,我也变成这个杂志的一个成员。在其中我看到了像邦乔瓦尼原声音乐那样的唱片广告,我联系他们。后来在"配乐"杂志中有了第二次莫里康内的特别版,杂志很厚。封面是这位意大利作曲家的所有作品。对我来说,那是令人激动的。因为我不知道莫里康内有那样多的作品。后来我问你是否有一个莫里康内的社区,你对我说没有,为什么你自己不去创办一个呢?于是创办这个埃尼奥·莫里康内音乐杂志的想法产生了。

1980年3月6日,"天鹅绒上的音乐"第一期出现了。它是用莫里康内第一张唱片的名字来命名的(其中的音乐并不是莫里康内谱曲,他只是改编)。它不是一种俱乐部性质的杂志,而是为了这位意大利作曲家的收藏者。 杂志以实体的方式,开辟了专栏,发布来自CAM,GM,RCA或者Cinevox发行的他的新LP唱片的消息,关于唱片的讨论,关于莫里康内计划发行的新专辑,提供为销售这些音乐专辑而编写的大量评论文章等等。并且从第一期开始,总是在最后一页发布一个最新发行的专辑列表:CAM发行的"草坪"(NA7907),GM发行的"我在伊卡洛斯"(NA7905),Cometa的"好消息"(NA7902),RCA的"东方快车"(NA7911),Cometa的"暴力:第五权力"(NA7224)等等。

但为什么是莫里康内?

马丁:早先那些年我只是不知道其他的作曲家。对其他作曲家的兴趣来的太晚(戈德史密斯,巴里,威廉姆斯,霍纳,还有很多其他的意大利作曲家)。我把重点放在他的音乐,搜索唱片,联系收藏者,像美国的唐·楚尼克,德国的米歇尔· 马科斯等等已经有了全部莫里康内的单曲和专辑的人。因此这个队伍迅速地扩大,杂志有了对莫里康内有兴趣的更多读者

埃尼奥·莫里康内已经近85岁,他仍然在作曲,特别是为意大利的电视连续剧。每年还要举办很多音乐会。马丁认识他很多年了。在过去的三十年里,他见到他并且谈话大约有15次,主要是在意大利,马丁是在那里度假而不是偶然的。

你是什么时候第一次和他谈话的?

马丁: 那是在1978年的夏天,在罗马的论坛工作室(Forum Studio),在那时叫正音工作室(Orthophonic Studio)。我买了几张LP唱片为了请他签名。那时我不会说意大利话,在他的坚持下我学了一些意大利语。其它的会面或者是在工作室,或者是在他罗马的家里。他和他的夫人和四个孩子在一幢充满艺术作品的纪念性建筑里已经住了很多年。他的一个孩子是安德列·莫里康内(现在48岁)写了许多电影音乐,特别是为意大利电影。他和他父亲一起为"天堂电影院"(NA8802)写了音乐。这样,我也能更多地了解莫里康内,实际上在日常生活中他也是一条硬汉,他是反对大吹大擂的。虽然他是一个知识分子,但他非常讨厌记者问一些愚蠢的问题。你必须更好地了解他,他是善良和耐心的人。我和他最后一次谈话是在2000年根特音乐会上。 当我问他他认为他的最好的音乐是甚么时,他的最卓越的回答总是说"我的最新的音乐是最好的"

马丁拥有已经发行过的莫里康内每一件单曲,LP, CD或者是混合专辑。这让他成为地球上最伟大的莫里康内的收藏家之一。在格罗宁根还有一些这样的人,例如希博德·腾肯斯(Sijbold Tonkens),他的收藏甚至更多,包括一些从未发行过的录音磁带。

依你看甚么是莫里康内最好的音乐?

马丁:当然这是一个很大的题目,我想把它分成三个方面来回答。首先是他的所有的西部音乐。 其次是他为他的经常合作的导演之一朱塞佩·托纳托雷(56岁)的电影所写的音乐,例如天堂电影院,天伦之旅(NA9007),玛莲娜(NA0004)和隐秘女人心(NA0605)。最后第三点是为很多意大利迷你电视系列(通常是每集90分钟共两集)所谱写的音乐,例如撒哈拉的秘密(NA8706),比奥神父(NB0002), 卡罗(译者注,有两部同为简称卡罗的电影:一个成为教皇的人/NA0503和教皇其人/NA0604),好教皇乔瓦尼二十三世(NA0203),悲壮的阿古依师(NA0502),在我心中(NB9707), 面包与自由(NA0801), 如似海豚(2011),还包括导演阿尔贝托·尼格林几乎所有的电影电视作品。

回到"MSV"(这是莫里康内的主意,在几年以后不再叫"天鹅绒上的音乐"而只叫"MSV",并标以"埃尼奥·莫里康内社区)。 32年以来,编辑这本杂志已经耗去马丁的大量时间和精力。为了充满116期的内容,需要从别人那里收集文章,形成报道,这是值得自豪的事,不是吗?

马丁:非常自豪。这并不总是很容易的。收集所有的资料花去大量的时间。MSV已迅速发展成为莫里康内大师音乐收藏者的杂志,而且它也研究莫里康内的音乐。第一期是由我自己编撰的,早年是有规律性的两个月出版一期。我访问过意大利的唱片公司,有所有第一手的信息。我经常有关于新唱片或者由莫里康内配乐的电影的独家新闻。渐渐地我退出来而由其他人来写。因此杂志变得更扎实,因为它有很多的音乐分析文章和不同作者的专业知识,有时还有哲学性质的描述,从而始终引人入胜

2012年11月,第116期发行。50页厚,带有艺术封面,音乐讨论包括奥科罗行动(NA7910), 狂热迷(NA6405), 秘密(NA7408), 天堂之日(NA7804), 卡罗尔(一个成为教皇的人/NA0503或教皇其人/NA0604)和德伯力克(NA6705)。在最后一页,还有一个带有26张新CD标题的列表。马丁在他的序言里发表了最后的话:"…经过充分的考虑,我已经决定这一期杂志将是最后一期的MSV。在差不多34年以后我退出。"

现在马丁真地叫停了。 在差不多34年以后这是很难令人相信的。解除了创作杂志的压力,现在该是他无忧无虑地去聆听莫里康内音乐的时候了。莫里康内本人还在谱曲,而且每年还要举行很多的音乐会,只是由于他被(大家)要求。 MSV不再以纸质图书存在,但它仍存在于一本互联网杂志"音乐大师"之中。 MSV的中坚分子帕特里克·布斯特同迪迪埃·图诺斯合作继承了这本杂志的综合要素并融合到一个莫里康内网站www.chimai.com 之中,这是一个已经活跃多年的埃尼奥·莫里康内主题的网络社区(现在也是它自己的电子杂志,在去年2月份开始出版第一期)

-------------------------

英译者原注:在六十和七十年代荷兰电台和电视台的著名节目主持人

译名对照表

原文
译文
原文
译文
Julius Wolt huis
Martin van Wouw
Score Magazine
Didier Thunus
Paul Stevelmans
Musica Sul Velluto
Alkmaar
Max Steiner Music Society
My Name is Nobody
Once Upon a Time in the West
Willem Duys
Bongiovanni
Il prato
I comme Icare
Buone notizie
Orient-Express
La Violenza: Quinto potere
Goldsmith
Barry
Williams
Horner
Don Trunick
Michael Marx
Andrea Morricone
Groningen
Sijbold Tonkens
Giuseppe Tornatore
Cinema Paradiso
Stanno tutti bene
Malèna
La sconosciuta
Il segreto del Sahara
Padre Pio
Karol
Il papa buono
尤利乌斯·沃尔特·惠斯
马丁·冯沃·乌
配乐杂志
迪迪埃 图诺斯
保尔 斯提夫曼斯
天鹅绒上的音乐
阿尔克马尔
斯坦纳音乐社区
无名小子
西部往事
威廉·杜伊斯
邦乔瓦尼
草坪
我在伊卡洛斯
好消息
东方快车
暴力:第五权力
戈德史密斯
巴里
威廉姆斯
霍纳
唐·楚尼克
米歇尔·马科斯
安德列·莫里康内
格罗宁根
希博德·腾肯斯
朱塞佩·托纳托雷
天堂电影院
天伦之旅
玛莲娜
隐秘女人心
撒哈拉的秘密
比奥神父
卡罗
好教皇乔瓦尼二十三世
Cefalonia
In fondo al cuore
Pane e Libertà
Come un delfino
Alberto Negrin
Ogro
I Maniaci
Il Segreto
Days of Heaven
Diabolik.
Maestro
Patrick Bouster

悲壮的阿古依师
在我心中
面包与自由
如似海豚
阿尔贝托·尼格林
奥科罗行动
狂热迷
秘密
天堂之日
德伯力克
音乐大师
帕特里克·布斯特

 

欢迎爱好者进入本站公众平台下载音乐大师中译本1-3期(2014增刊)和4-6期(2015增刊)2015.6.15日前免费提供
附:原文
----------- I NT ER VI E W -----------
MSV Ceases to Exist: End of an Era
Interview with Martin van Wouw by Julius Wolt huis for Score Magazine
Score Magazine Volume 172, 05/12/2013 Original Dutch text: http://www.score-magazine.nl/modules.php?name=News&file=article&sid=1177
Translated by Didier Thunus and Paul Stevelmans
(with thanks to Score Magazine and to Martin Van Wouw for their kind permission) Two film music celebrities sit opposite each other: Julius Wolthuis (66 years old), founder of the film music magazine "Score", now available as an e-zine, and Martin van Wouw, founder of the magazine "Musica Sul Velluto", entirely dedicated to Ennio Morricone. Martin (53 years old), living in Alkmaar, a teacher of Greek and Latin in secondary schools, puts an end to it. After 116 issues, he cannot combine it anymore with his busy schedule. A good enough reason to move away from it. They talked to each other about MSV in particular.
How did it all begin?

Martin: You started the "Max Steiner Music Society" in 1971 whose name was later changed to "Score". I bought the album "My Name is Nobody", followed by every Morricone LP that I came across in the Netherlands. "Once Upon a Time in the West" was my third LP at the time when Willem Duys20 gave so much attention to it. Some time later, when after 400,000 copies had been sold in the Netherlands and Morricone appeared in Willem Duys (See Note) ' show in 1978, "Score" caught my attention. At the same time, an Ennio Morricone Special edition of "Score" was published, and I became a member of the magazine. Therein I saw ads for record shops like Bongiovanni and Soundtrack & General. I contacted them. Later there was a second Morricone special of "Score", which was much thicker. An overview of all the work of this Italian composer. For me, it was a breathtaking booklet because I did not know there was so much of Morricone. I then asked you whether there was a Morricone Society. But there wasn't any. So you said: why don't you start one yourself? And so came the idea of starting a magazine about the music of Ennio Morricone.

On March 6, 1980, the first issue of "Musica Sul Velluto" appeared, named after the first LP with music of Morricone (he didn't compose the music, he only did the arrangements). It wasn't a fan club magazine, but a magazine for collectors of music by the Italian composer. The magazine took a substantive form thanks to regular columns, news about newly released LPs of him from CAM, General Music, RCA or Cinevox, discussions about records, Morricone's plans for new soundtracks, a substantive article about Cometa, letters, LPs that were put up for sale, and always - from this first issue on - on the last page a list of newly released soundtracks: Il prato from CAM, I comme Icare from General Music, Buone notizie from Cometa, Orient-Express from RCA, La Violenza: Quinto potere from Cometa etc.
But why precisely Morricone?

Martin: I just didn't know any other composer in those early years! That interest came much later (Goldsmith, Barry, Williams, Horner, but also many Italian composers). I focused on his music, searching for records and making contact with collectors, like Don Trunick from America, Michael Marx from Germany. People who already had all of the Morricone singles and albums. Thus, the number of addresses expanded rapidly and the magazine got more readers, all interested in Morricone.


Meanwhile Ennio Morricone is nearly 85 years old, still composes, especially for Italian TV series and gives many concerts a year. Martin van Wouw knows him for years. In the past thirty years, he saw and spoke to him about fifteen times, mostly in Italy, where Martin was, not by accident, on vacation.
When did you speak to him first?
Martin: That was in the summer of 1978, in the Forum Studio in Rome, then called Orthophonic Studio. I had brought a few LPs for a signature. At the time I spoke no word of Italian, a language I was going to learn partly on his insistence.The other meetings were either at the studio or at his home in Rome. He has been living there for a long time with his wife Maria and four children in a monumental building full of artworks. One of those kids is Andrea Morricone (now 48 years old) who makes a lot of film music, especially for Italian films. With his father, he wrote the music for Cinema Paradiso. This way, I also got to know Morricone very well. Actually he is a very tough guy in daily life, who is averse to ostentation. Think of him as an intellectual who terribly hates journalists asking stupid questions. You have to get to know him better, then he is kind, patient, explaining perfectly well what he is doing. The last time I spoke to him was in 2000, at a concert in Ghent at the Kuipke. One of his most remarkable statements was always when I asked what he thought was his best music. "My latest work is the best," he always said.
Martin van Wouw has everything from Morricone that has ever been released on single, LP, CD or compilation album. This makes him one of the greatest Morricone collectors on earth. In Groningen there is someone else, Sijbold Tonkens, who has everything. Actually even more, with tape recordings of music that was never released.
What is the best music of Morricone according to you?
Martin: Of course all the big titles, but I would like to split it into three. First of all the music for his westerns. Secondly almost all the music he made for the films of one of his regular directors, Giuseppe Tornatore (56 years). Films such as Cinema Paradiso, Stanno tutti bene, Malèna and La sconosciuta. And third, the music for the many Italian mini-TV series (usually in two parts of 90 minutes each), such as Il segreto del Sahara, Padre Pio, Karol, Il papa buono, Cefalonia, In fondo al cuore, Pane e Libertà, Come un delfino, including virtually all titles of director Alberto Negrin.
Back to "MSV" (it was the idea of Morricone after a few years to no longer call the magazine "Musica Sul Velluto" but just "MSV", subtitled "Ennio Morricone Society"). 32 years of compiling that magazine has cost Martin a lot of time and energy. To fill 116 issues, to collect items from others, to generate news. Something to be proud of, no?
Martin: Very proud. It was not always easy. It takes a lot of time to collect all copies. MSV has developed rapidly into a magazine for collectors of the music of Ennio Morricone, but also about the music of Morricone. The first issues were filled in by myself and in those early years the magazine was appearing regularly every two months. I visited record companies in Italy and had all the information first hand. I often had exclusive news about new discs or the title of a film that Morricone was going to do. Gradually I pulled out and other people started to write. The magazine was more solid and shone because of its many music analyses and the expertise of the authors. Sometimes up to philosophical descriptions. And so it has always been.
In November 2012, issue 116 was published. Fifty pages thick. Cover art, music discussions over Ogro, I Maniaci, Il Segreto, Days of Heaven, Karol and Diabolik. And on the last page, a list of 26 new CD titles. And a final word of Martin in his preface: " ... after ample thinking I have decided that this will have to be the final issue of MSV. After almost 34 years I quit."
Martin really calls it quits now. Hard to believe after almost 34 years. No pressure anymore to produce a magazine. Time to carelessly listen much more to the music of Morricone. Morricone himself still writes and conducts many concerts a year, just because he is asked. MSV no longer exists on paper, but on the internet the magazine lives on under the name "Maestro". MSV-regular Patrick Bouster in collaboration with Didier Thunus has integrated elements from the magazine into the Morricone website www.chimai.com, the Ennio Morricone Online Community (so now also with its own e-zine, whose number 1 appeared last February), which has been active for several years.
Note: Famous host on the Dutch radio and television during the 60s and the 70s (Original translator’s note)
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