2019.10.19
2019维也纳皇家管乐团
(上海)大师班
World Masters in China 
Lucy Gao (Saxaphone)  & translated by
Allen Feng (Euphonium)
On the 19th of October, a team of experts from Vienna visited our wind ensemble to instruct us on how to improve our ways of playing.
After around half an hour of instruction on our entire band, the wind ensemble split up into groups based on instrument sections and moved into separate classrooms. The saxophone group (based in the Black Box) that we were assigned to included a euphonium, which we thought plenty amusing. Soon, the kind conductor who instructed us as we played earlier arrived, and we began to play. As we played, he stopped us at frequent intervals, patiently telling us which areas we needed to improve in. He emphasized the importance of stressed notes and other small details within the piece (such as crescendos, diminuendos, staccato notes, etc.), and told us more about how to perform every small nuance of the music. As well as going over details in everyone’s scores, he focused on various solos performed by our section (solos from the alto saxophone, tenor saxophone, and euphonium), teaching us ways to add life into each bar by utilizing breathing and regulating the start and end of notes. After he finished, the difference was startling—our music flowed much more naturally and was much more powerful during louder parts. One student’s skill at handling his challenging solo—performed without any accompaniment during performances—also improved as the expert taught him more about the start of a note and how he should play. Last but not least, the instructor taught us more about the background of the song we were playing (“Zeus: King of the Gods”): about Zeus’ nature, how the Greek gods (and their ever-changing names yet identical personalities through history) reflect humans themselves in their nature, and how this is displayed in the music.
In conclusion, the experts from Vienna not only improved our methods of playing but also heightened our experience and perception of the music itself—allowing us to truly become one with our music.
10月19日，来自维也纳的管乐专家们拜访了我们的管乐团，指导我们如何改进我们的演奏方式。
经过大约半小时的教学，我们乐团根据乐器部分分成小组，进入单独的教室。我们的上低音号和萨克斯声部被分部到了戏剧教室。很快，我们早些演奏时指示我们的维尔纳哈克尔教授到达，我们开始演奏。当我们在演奏，他经常拦住我们，耐心地告诉我们哪些方面需要改进。他提醒了强调音符和作品中其他小细节的重要性（如小音符、小音符、断断续续音符等），并告诉我们如何执行音乐的每一个小细微差别。除了在每个人的乐谱的细节，他专注讲解于我们的独奏部分（高音萨克斯管，次中音萨克斯管，和上低音号的独奏），也指导我们如何通过利用呼吸和调节开始和结束演奏乐曲，给音符增加活力。他讲完后，我们的演奏水平差别是惊人的——我们的音乐流动得更自然，在更响亮的部分也更加强大。一位同学在处理他具有挑战性的独奏时遇到了困难（在表演期间没有任何伴奏）也在专家的引导下进步。最后，教授教我们更多关于我们演奏的歌曲的背景（"宙斯：神之王"）：他讲述了宙斯的性质和宙斯的相关神话（他在不同历史时期有不同的名字）是如何反映人类本质，以及如何在这首乐曲里被显示出来。
总之，来自维也纳的专家不仅改进了我们的演奏方法，还提高了我们对音乐本身的经验和感知，使我们能够真正与音乐成为一体。
YunYi Zeng (French Horn)
October 19, six masters from Vienna came to our school to give us a lesson. Each master is an expert on different instruments. The master that is responsible for the French horn is trying his best to let us play the music “Zeus: King of Gods” in a better form. He teaches us with patience, letting us play parts by parts and correcting them one by one, showing his meticulous personality and the eagerness to let us have a better interpretation of this song. The first thing he taught us is that there are two ways you can play the French horn. One is playing it in F key, another one is in B flat key. Both types can furthermore express the timbre of the French horn. But the master said that the F key is more suitable for playing “Zeus: King of Gods”, because the volume can be really quiet and loud, giving a larger range for the sound. He first played a few bars of the music piece with B flat key, and the same bars with F key, highlighting the difference between the two keys when playing the same piece. As we played a note to see if the intonation is right, the master quickly notices that we are more familiar with B flat key, since the notes we played are relatively higher than normal. So he encourages us to play in F key so that the notes wouldn’t be higher than normal unless we are playing very high notes.
10月19号，来自维也纳的6位大师来到我们学校给我们上大师课。每一位都是不一样的乐器的专家。分排的时候，比希勒卡尔副教授负责带领我们圆号，教我们如何把曲目《宙斯》吹得更好。他非常细心，让我们分段吹，并且一段一段的纠正我们，让我们更好的诠释这首曲目。他先是告诉我们圆号有两种吹法。一种是F调的吹法，一种是降B调的吹法。两种吹法在不同时候吹，特别能展现圆号不同的音色。他说在这首《宙斯》当中，吹圆号的F调比较适合，因为它更能把音量从最轻吹到最响，把幅度做大。首先他是演奏了一遍用了降B调的吹法，然后再用F调的吹法吹了第二遍，让我们听出差别。他让我们校音的时候，立马听出我们其实都是用降B调吹的，所以吹的音都偏高。所以他让我们尽量用F调来吹，这样音比较准，除非我们需要吹高音。
Charlotte Chi (Percussion)
On the afternoon of October 19th, the SHSID campus warmly welcomed several wind ensemble masters all the way from Vienna. During that afternoon all the students of SHSID wind ensemble also gained a lot of new knowledge and skills. After we played "Zeus: The King of the Gods” to welcome our dear guests, the masters are all distributed into different departments. The Percussion Department learned a lot of new things this time. The instructor didn’t just help us to re-examine Zeus, but also helped us on playing the detailed and complicated parts. The teacher helped the bass drum to count beats more effectively, he taught the timpani how to play in a more perfect tone, he also helped practiced the Chinese gong to play more accurate, and even suggested that we can switch the percussion instruments’ placement to concentrate the sound, so percussion’s sound can harmonise better with the wind instruments. Although it was only an hour, however, this master class has greatly improved our department. Everyone learned something new about their instrument this time.
10月19日 周六下午，上中校园轰轰烈烈的欢迎了几位来自维也纳，大师级别的 管乐导师。团员们也纷纷收获了不少全新的知识。在同学们演奏完大家的拿手曲目“宙斯:众神之王” 后，导师们便进行了分声部的指导。打击乐声部这次学到了很 多新的东?，亚当科瓦克斯教授不仅帮我们重新过了一遍宙斯，还帮我们更上一层楼的做了更细腻的加工。教授帮助了大鼓使他能更有效的数拍，也教会了定音鼓如何敲出更完美的音色，练习让中国大锣更加准确的出现，甚至还建议了我们如何排放打击乐器可以让 声音集中，整体跟乐团合起来的时候声音会比较完整。虽然只是短短一个小时，可是 这次的大师课让我们声部有很大幅度的提升，大家这次都满载而归。
William Gu (Trombone)
在观看大师们指导来自上海学生交响乐团五重奏的演奏以后，李欣老师通知各声部的同学们前往指定的教室进行分声部的排练，长号和大号声部的同学一如既往的前往了平时分排的地点，门厅。而当所有的人都就位的时候，弗朗茨格丽斯勒先生热情满面的让我们开始这一次特殊的大师课。首先他让所有合吹Bb大调音阶进行热身，在吹不同节奏的音符时，大师也拿起了自己的乐器给我们进行展示。被指导的第一首曲子是《宙斯：众神之王》，虽然已经吹奏了很长一段的时间，但经过大师的一番调教下，同学们在演奏方式上面依旧得到了很大的提高。比如各个音符的轻响程度，渐强的力度变化，以及各声部的音量比例。即便是很多地方问题较大，大师也充满耐心的告诉我们应该如何改变，结合上他丰富的肢体语言，理解他的意思并没有成为我们之前的障碍。
尽管只过完一首曲子，时间却已经流逝了大半。大师紧凑的让我们快速拿出第二首曲目《月夜》，相比与上一首，《月夜》是比较陌生的，而且难度也提升了一个档次，不过对于拥有多年丰富经验的大师来说简直就是小菜一碟，不费吹灰之力就将整首曲子排好。而接下来就要进行合排的环节，在结束之前大家都对大师表达了感谢以及给予这次难忘的指导机会。
Eri Takamine (Trumpet)
On Saturday afternoon, several professional teachers from Vienna came to our Wind Ensemble to give us classes. In order to fully prepare, the members of the Wind Ensemble arrived at the school early to start rehearsing. The conductor from Vienna first listened to the Wind Ensemble playing "Zeus", after which the members sat in the auditorium and listened to the experts to instructed the brass quintet from the Shanghai Youth Philharmonic Orchestra. At 2 pm, the expert classes of different departments began. After the trumpet department gathered in the ensemble room of Big Auditorium, the teacher was soon ushered in. The teacher took out a C trumpet and played the "Zeus" with us step by step, and focused on teaching us how to put our feelings and emotions into the piece. Later, some members came to the expert lounge to ask about the practice method of reaching higher pitches. He patiently instructed them one by one and pointed out three main points. During this event, we learned a lot of skills, and we benefited a lot from the master class in just a few hours.
周六下午，几位来自维也纳的专业教授来到了上中管乐团进行指导。为了充分准备，乐团成员们都早早的来到了学校开始排练。来自维也纳的指挥首先旁听了乐团演奏《宙斯》，之后成员们坐到了观众席旁听专家指导来自学生交响乐团的铜管五重奏。下午2点，分声部的专家指导开始了。小号声部在大礼堂的合奏室集合之后，很快便迎来了专家老师。专家老师拿出了C调小号，和我们逐句演奏了《宙斯》全曲，并重点指导了如何富有感情地演奏。之后，还有成员来到专家休息室请教关于高音的练习方法，他也耐心地一一指导，为我们指出了其中的三个要点。这次的活动中，我们学习到了许多演奏技巧，让我们在短短几小时的大师班中受益良多。
Vivian Shi (Clarinet)
Through tuning the accuracy of the notes to the precise tempo of the pieces, the masters from Austria orchestrated “Moon Night” to near perfection to the Shanghai High School Wind Ensemble. After detailed lessons taught by individual masters, the final masterpiece was concluded with a wild burst of claps and cheers. However, the process of reaching such success was finalized by the conductor, who divided the entire ensemble into sub-categories of sound. This technique of division and specified tuning, although tedious, ultimately resulted in success.
The Master Class’s sub-division technique put our students under intense detailed training. Although we only focused on one piece, we practiced to near perfection under record time. With the Master’s aid, the Shanghai High School Wind Ensemble would truly reach its apex in the history of SHSID. One of the many tips that were left behind by the masters to follow was “patience is the key to great music.”
通过将音符的精确度调整为精确的节奏，奥地利的大师们精心策划了“月夜”，使其与上海中学管乐团接近完美。经过个别大师讲授的详细课程后，最后的作品以狂热的掌声和欢呼声结束。然而，达到这种成功的过程是由指挥家完成的，指挥家将整个乐团分为声音子类别。这种分工和特定调音技术虽然很乏味，但最终还是取得了成功。
大师班的细分技术使我们的学生受到了严格的详细训练。尽管我们只专注于一件作品，但在限定的时间里我们实践到了近乎完美。在大师的帮助下，上海中学管乐团将真正的达到SHSID历史上的最高点。大师们留下的许多技巧之一是“耐心是美妙音乐的关键。”
Written by: YunYi 曾韵仪, Lucy 高露茜, Allen 冯致远, Charlotte 纪昀伶, William 顾铠成, Eri 高峰悦莉, Vivian 史晨玮
Designed and edited by: Barbie 徐巧青
Pictures courtesy of: 管乐团家长