將靜默贈予聆聽之前──獻給親愛的 Jobson (S的第146封信) 3/11/2012

瑪拉利卡三部曲 第1部 序曲  Ouverture

將靜默贈予聆聽之前──獻給親愛的 JobsonS的第146封信) 2012113 下午2:29  收件人:J

Like the deep echo of silence owe to the fallDedicated to dear Jobson (S’s 146th letter)  3/11/2012 PM2:29 addressee: J

親愛的Jobson,

你這幾天好嗎?在忙上次提的事?很掛念,但願一切都順利。

每個人都有他的戰場,往往外人難以體會箇中滋味,除非親身感受,或設身處地去想。而你在面對的,一想起來,就覺得很漫長,像是被包圍在一股邪惡的強風中走著…

這樣的時候我又聽著組曲,而且是歡欣、感動連連時,往往會有種複雜的感慨。雖然你都說自己很看得開,凡事往好處想。

——你這些組曲讓人分享,也是社會義工的行為,無償的分享,帶給人歡樂、感動和勇氣,也是功德無量啊!而且,就在當下,還不包括那些未來的聽眾。你知道的,這樣來來去去,大部分的人即使感動在心,並不會積極回應、留下痕跡..就像我以往常有的反應。

不知道這週組曲是不是今天就結束,雖然總是以很珍惜的心情聽,可是我也明白,這也不過是我所能做出的,對於你的付出的基本而極微的回應。

那天你讚美我是詩人,其實還真讓我陶醉了一下。都是因為你,還有你的絲絨組曲,我才寫得出來。

我想起,說我是詩人的,你是第二位呢。一位不懂中文的日本作家朋友也這麼稱我,雖然他讀過我以日文寫的,但我寫的詩(中文詩),他一篇都沒讀過,卻也這麼稱我。我想是期許居多吧。

所以,聽到時,都有一種感動揉雜了刺點的感覺。

我的信也給你這種感覺?所以我苦口婆心勸你寫,你並不領情?我這樣一再野人獻曝,不是叫我白白犧牲(色相,而且是自暴其短)了嗎?呵,這會讓我後悔的,早知道就不要寫,不要寄了。

要是能夠與你彈同調,那麼會更和諧些,或者能更接近你的思路,不過你都說了,要有能下地獄也能上天堂的功夫,那麼,如果忽然不小心又冒出刺點,也都是為了讓人練就更高段的功夫,好上戰場。

當然,我指的是自己/的戰場,而不是你這位前輩/的了。

 

Sumika

 

* * *  * *

J的第137封信  2012年11月3日 下午11:1  收件人:S

J的第138封信  2012年 11月5日 下午12:39 收件人:S

* * *  * *

 

♥•*´¨♥`*••♫.•*´ღ¨ღ`*••♫.♥ღ♫••*´¨♥`*♥

精選1

“Encore” (by Polish prog rock band Lebowski, from their debut studio album “Cinematic” but already masterpiece, released on 10th October 2010)

Notes:

“Encore”is selected as the 9th track by Jobson in one of his early works of VU Suites “Encore—Band On The Run Suite”, title named by Sumika when she heard for the first time this VU Suite broadcasted during 28 Oct. to 3 Nov. 2012. It becomes the 17th VU Suite of Jobson’s musical works, counted by Sumika too, also equal to “Encore little boy—Confession Suite”, title changed by Sumika several years later.

With its impressive melodies and dialogue between man and woman, “Encore” created a dramatic imagined but non-existed cinema soundscape. The MV for this song, is also excellent.

By using fragments of films and voices of famous actors on the album, this song ended with a word so concise: “Merci!”, let audience imagine from the dialogue between man and woman a drama a rich images story…

M: Je ne sais pas. ( I don’t know.)

W: Moi, je sais!  (Me, I know! )

Jobson replied Sumika in the letter of November 5th 2012 with a link of ”Encore ” in Youtube, so it becomes, ”Encore”, another rose of VU Suite sent by Jobson for Sumika.

Rose’s dedicated only for the real soul mate. Sumika is already the most appreciative of Jobson’s talent both in music and writing in the world. Not only speaks French, but being a fan of progressive rock and art rock music, Sumika also loves art movies very much. The Master of VU Suite, Jobson, created a VU Suite with “Encore”, a French song with motion pictures music soundscape. The selecting of this song, whether Jobson has an intention to please Sumika this new listener who becomes his fan, or two years ago already there. This song and this Suite are both cherished by Sumika. In fact, this typical example explained that, once again, the accurate coincidence in the story of Jobson and his admirer Sumika. Sumika reaches Jobson’s deep soul because she appreciat than others his musical talent and encourage him to compose, as we will see gradually, as the time passes by…

有不少男女對白的法語歌曲”Encore”〈再次〉,是波蘭樂團Lebowski出色精采獨到之作,出自2010年10月10日發行的Cinematic(電影的)專輯,被Jobson選入他所編製的一支絲絨組曲,Sumika為該組曲命名“Encore—Band on the run suite”(幾年後修改組曲標題為“Encore little boy—Confession suite”)。

Lebowski將專輯名稱取為《電影的》,已點出創作意圖,成就概念音樂的搖滾新型態,這首”Encore”〈再次〉更是其中充滿電影場景抽象意象的曲子,加入知名演員電影片段中的男女口白對話,營造出故事性劇情的氣氛︰Je ne sais pas.. Moi, je sais! (男︰「我不知道。」女︰「我可知道呢!」)以一句merci!結尾簡潔,十足浪子的玩世不恭。

Sumika給Jobson 第145封信提到這首歌,於是幾天後Jobson在2012年11月5日回信便附上這首歌曲連結,而成了Jobson送給Sumika的絲絨組曲又一朵「玫瑰」。

玫瑰只獻給知音…。絲絨組曲知音Sumika已成為世界上最欣賞Jobson音樂才華和肯定他寫作天賦的人。這首曲子”Encore”和這支組曲“Encore little boy—Confession suite”皆深受Sumika喜愛,只是眾多絲絨組曲中典型知音共鳴的例子之一。既懂法語的Sumika,不僅鍾愛前衛搖滾和藝術搖滾,也熱愛藝術電影。絲絨主人Jobson在絲絨組曲裡精選了「法語+電影」的曲子”Encore”,無論是否Jobson有心取悅Sumika刻意為之,還是兩年前2010年的選曲意外成為精準巧合,Jobson確實碰到了與他共鳴絲絨組曲的音樂知音,集「懂法語+熱愛藝術電影+藝術搖滾+絲絨組曲知音」於一身的Sumika出現在Jobson的世界。隨著時間的過去,我們將會漸漸明瞭,作為Jobson的知音,Sumika深入他的靈魂深處,比任何人都更珍愛Jobson所有的絲絨組曲、更鼓勵他創作…。

 

~~~  ~~~

*關於波蘭前衛搖滾樂團Lebowski、Cinematic(電影的)專輯和”Encore”〈再次〉這首歌

Lebowski – A band founded in 2002, playing a wide spectrum of progressive music. On the debut album in 2010, listener gets to experience the tunes along the lines of artistic rock, motion pictures music, experimental and improvisation, all in harmonized integrity. “Cinematic” is music for a non-existent film.

Music by Marcin Łuczaj & Marcin Grzegorczyk、Mixed & produced by Marcin Grzegorczyk、Mastered by Tom Meyer – Master & Servant 、Photos & concept by Wiktor Franko

Reviews about Lebowski’s Cinematic and the track Encore” (from website “Progarchives”): 

“Encore" has an obvious French connection due to the accordion-like that softly sounds after a minute, and of course due to the vocals. The music is a carrousel that shares diverse emotions, from uncertainty or drama, to beauty and tranquility. It is incredible how Lebowski manages to gather so many emotions and sounds in a few minutes, which demonstrates their skills as composers and performers. (by memowakeman) 

On the sixth track, the aim was to pay a tribute to french music and movies, hence the presence of an accordion. The track opens once again in a “heavenly" mode, or we can even dare saying “gothic" (not surprising given the movie chosen for the voice extract, “le pacte des loups"). Some glockenspiel can be heard within the “heavenly" passage. Then, in order to give the track a french flavor, accordion enters and later on a short passage with harmonica can be heard. Faithful to their eclectism, the band integrated a keyboard solo after the french connection, before giving back to the accordion its place. A slightly prog metal passage follows and the accordion closes the track with the word “merci" from a voice sample. (by lukas)

Encore is a “French" track, and is suitably dark and complex in homage to that great nation’s cinematic works. I like this track a great deal. The accordion is great and evokes the feel of the nation more than adequately, whilst the guitar solo, set against a very brooding synth riff, is very accomplished, and, at times, quite beautiful, especially some four & a half minutes in when the hairs are raised with a passage redolent of some of the best Mark Knopfler moments. It doesn’t last long, but it is wonderful when it is there. (lazland)

As the title suggests, the music on Cinematic is an assemblage of film snippets, mostly from the legendary Polish school of cinema, adorned with shimmering musical props supplied by a cast of brilliant instrumentalists who hone their precious sonic craft with seeming ease and utter respect. The various moods here are indescribably stellar, propelled by muscular bass and drum montages that clear the stage for some sensitive keyboard flourishes and biting lead guitar work. From the galleries, blasts of illuminating subtlety infuse the medley of sound to chilling effect (dulcimer, violin, female vocals etc’). Lastly, the spoken words add even more drama to the whole production. But contrary to many movie soundtracks, the music here is extremely dynamic and exalting, constantly creative and from the gut, mostly in due part to the bold drumming from Krzysztof Pakula and the expert Marek Zak bass lines holding down the melodies, encouraging simple melodic forays generally led by the exquisite piano and then passed onto the rambunctious lead guitar of Marcin Grzegorczyk.(Tszirmay)

 

 

♥•*´¨♥`*••♫.•*´ღ¨ღ`*••♫.♥ღ♫••*´¨♥`*♥

 

 

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