探長的長笛園地

JEFFERY ZOOK has been a member of the Detroit Symphony Orchestra flute section since 1992 and is on the faculty of the University of Michigan School of Music.

Mr. Zook has been a prizewinner in many competitions, including the National Concerto Competition sponsored by General Motors, the William Byrd National Concerto Competition, the National Flute Association Young Artists Competition and the National Endowment for the Advancement of the Arts’ Recognition and Talent Search.

He was guest piccoloist with the Boston Symphony on a tour of Japan under conductor Seiji Ozawa. He made his soloist debut with the Detroit Symphony in 1982, and will be soloing with them once again in January 2001 in a concert featuring Vivaldi’s Piccolo Concerto in C with Neemi Jarvi conducting.

Tags: flutist

Between the Gasteig (Munich), Wigmore Hall (London), Kioi Hall (Tokyo), Chatelet (Paris),  Conservatory Hall (Moscow) and the Philharmonie (Berlin), Janne Thomsen, Danish flautist, performs with musicians such as Peter Schreier, Sumi Jo, Pierre Laurent Aimard, Marie Pierre Langlamet, Maurice Bourgue, Edouard Brunner, Viktor Tretiakov, Steven Isserlis , Lluis Claret, Mario Brunello, Norman del Mar, Yuri Bashmet and Hans Werner Henze.

The Danish Radio Symphony Orchestra, Salzburg Camerata, Prague Chamber Orchestra, Swedish Chamber Orchestra, the European Camerata and the Moscow Soloists have invited her as a soloist.

She has won the Danish “Young Musician of the Year Award”, the first of a whole string of major successes at major international competitions; prize winner in Prague, Bayreuth, Rome, Vienna, Paris and Boston.

Janne Thomsen has also been awarded the Czech Music Foundation Prize and the D.A.N.C.E. Prize in New York. Her native country of Denmark has awarded her the Holstebro Prize, the Gade Award and support from the foundation of Her Majesty Queen Margrethe and  Prince Henrik of Denmark.

Her studies were at the Royal Academy of Music in London with W. Bennett and the Amadeus Quartet and the Paris Conservatoire with M. Bourgue and A. Marion. She has played principal flute in the European Union Youth Orhestra with Claudio Abbado and under the direction of conductors such as Barenboim, Chung, Haitink, Janssons, Maazel, Rostopovitch, Sawalisch, Sanderling and many others.

She appears as a soloist and chamber musician at many of Europes leading festivals, including Kuhmo in Finland, Pablo Casals Festival Prades, Menton, Montepulciano, Aix en Provence, Printemps des Arts Monte Carlo, Sandor Vegh Festival, Cheltenham, HW Henze Festival Gutersloh, Bad Kissingen etc.

Janne Thomsen has recorded works from the complete Mozart flute quartets, trio sonatas for flute and oboe to concerti by Nielsen and Honegger (10 Repertoire Prize).

Andrea Lieberknecht was born in 1965 in Augsburg. She studied music under Professor Paul Meisen at the academy of music in Munich. In 1988, even before finishing her studies, she became the soloist flute player with the Munich Radio Orchester. Three years later she changed to the same position in The West German Radio Symphony Orchester in Cologne. As a soloist and member of a chamber music group, with the ARCIS Quintett and with her pianist, Jan Philip Schulze, she has won many national and international competitions: i.e., the international music competition “Prager Frühling” in 1991, the International Flute Competition Kobe in 1993, the German Music Competition in 1996, the ARD-Competition and the international chamber music competitions in Colmar, Trapani and Belgrad. Since then, recitals, solo concerts and chamber music concerts with well-known musicians, have taken her around the world. She has played solo concerts and chamber music concerts at international festivals such as The Ansbacher Bachwochen, The Rheingaufestival, The Schleswig-Holstein-Festival, festivals in Iida and Hamamatsu in Japan, and The Glasbeni September Maribor in Slovenia. Moreover, during the years 1993 to 1996, she was the solo flute player at The Richard-Wagner-Festival in Bayreuth. In Germany, she has given flute concerts with The Cologne Radio Symphony Orchester, The Munich Symphonists, as well as with the State Philharmony of Rheinland-Palatinate, The Augsburg Philharmonists, The Northwest German Philharmony and various chamber music orchesters.

She taught at the academy of music in Cologne from 1996 to 1999. Besides her orchestra engagements, she has been a flute professor at the academy of music in Hannover since the winter semester of 1999. She is regularly asked to be a jury member at flute competitions and she teaches master classes in Europe, Japan and Australia.

宮前丈明先生簡介

9歲才開始學長笛，師事鈴木長笛教學法創始者高橋利夫老師，在不到兩年的時間裡，就在鈴木長笛研究科畢業！13歲之前就將法國學派(French School)當中的主要曲目和練習曲等均修畢。

1977年至1979年間分別在日本的松本，美國的 Vermont，巴爾地摩，夏威夷等地接受莫伊斯(Marcel Moyse)的指導。

1976年到1981年分別於加拿大，美國的長笛年會(NFA)演出，獲得好評與讚賞。

高中畢業後進入醫學院就讀，取得博士學位後任教於橫濱市立大學醫學院。這段時間仍未間斷音樂活動，曾加入作曲家安藤由布樹的音樂團體「聲音的繪本」進行音樂活動。

由於無法忘情於音樂活動，所以在2000年的秋季決心再往長笛獨奏家的生涯邁進，2001年3月辭退醫學院的教職，正式開始致力於長笛演奏。

少年時期宮前丈明的演奏曾讓長笛巨擘莫伊斯再三讚嘆，並留下一段誠摯的預言：「你未來將不僅是長笛之王，更是王中之王！」這是莫伊斯對於21世紀的寄託，期待他成為活躍於國際舞台的長笛名家。

﹝本文是 The Simple Flute 中文版「長笛 From A to Z」的前言﹞

雖然慕名已久，第一次見到德波斯特教授是在一九八八年。帶著微胖的身材與低沉 響亮的嗓音，重量級的外型與名氣成正比，不過卻沒有架子。那時他到倫敦的皇家音樂院﹝Royal Academy of Music﹞教了一堂大師課，他的仔細與認真態度在我心中留下了深刻印象。那時，他還是巴黎管弦樂團的首席長笛和巴黎國立高等音樂院﹝俗稱巴黎音樂院﹞的 教授。還聽說他是成名長笛家中，最勤於練習的。

不知是運氣還是命運，二○○○年秋天因為內人工作，定居在美國俄亥俄州的克里夫蘭市郊 ﹝Cleveland, Ohio﹞，距離德波斯特教授任教的歐柏林音樂院Oberlin Conservatory﹝一九九三年從巴黎退休後便在此執教﹞只有不到一小時的車程。過了幾個月，一切安定下來後，我決定與他聯繫一下，看看是否能旁聽 幾堂課，到底這種機會是非常難得的。沒想到他很爽快地答應了我這個陌生人的請求，從此就展開了我們的忘年情誼。

首次到歐柏林時，心中不免靦腆，可是德波斯特教授可不讓我躲過任何一個熟人﹝他的熟人﹞，一一予以介紹，不知是法國或美國中西部的好客風俗，還是他自己讓人賓至如歸的個性。當天，在每週例行的大師課中，他還向所有的學生介紹我這位不速之客，讓我受寵若驚。 透過種種機緣﹝包括本書的英文版在二○○二年問世及中文版的翻譯審稿工作﹞，我們的接觸漸漸增加，我也對他除了教學以外的生活有更多的認識。

在教學上，最令我心儀的，是米歇的開朗。他可以不斷地向你挑釁，要你這樣那樣，但到了最後，他會網開一面， 給你選擇的自由。每個人的個性和意見都值得尊重，但是他要你先了解老師的用心及見解，然後可以自己下決定。他可以氣得跳腳、摔椅子﹝不是對人﹞，五分鐘後 又雨過天晴，不留一絲痕跡。好像，教學的本身也是一齣戲，要傳達的是一種訊息，其它的動作都是輔助工具，無傷大雅。

從歐柏林長笛學生的演出，有一項共同特色特別令我訝異：流暢的音樂感。不管學生的程度如何、或曲目的難易， 他們都似乎對表演的目標很清楚，可能是對器樂演奏沒有幻想，不管難易，要勇往直前，不回顧，也不畏縮。就算出些錯，飯還是要吃，覺也不能少睡，以平常心對 待。除了親身旁聽的經驗外，在嬝炙赫悛犒L程中也深深體會到，教學的理念對成果有多大的影響。若不是老師的鼓勵與引導，學生怎麼都能如此不拘小節、盡情地 揮灑自如？

米歇的率真也是少見的。他可以當眾告訴你，帶有驕傲的學習態度不是良策，只有脫下面具，才能更上一層樓。如 果他不喜歡某種表演方式，不必拐彎抹角你便能得到他的意見。更可貴的是，他總是對事不對人，沒有尖酸刻薄的比喻，沒有指桑罵槐的念頭，上課的人因為當局者 迷，不見得能體會，但對旁聽的人而言，這都是再清楚不過的了。

你也很難找到像米歇這樣愛長笛、愛音樂、愛學生的人。我記得2002學年他休了半年假，可是，只要沒有在外 地演出或教學，他還是經常在學校的辦公室內「玩耍」，也不吝於與學生分享他的休假時間。與他交談時，無論是現在或過去的事件，總是能感到他的熱情。他常用 第一次與浦朗克Poulenc合作的情況來解釋節拍器及速度記號的侷限性，每一次你都能感到他的激動和急切與你分享的真誠。前些日子，有一位家境不好的學 生需要修樂器，但手頭拮据，他主動伸出援手，雖然不令我訝異，但是更讓人肯定這位音樂家表裡如一的個性。

在過去的一世紀中，還沒有一本長笛的書籍能將各種問題，像本書描述地這麼詳細，有一些主題甚至還沒有在別的書中出現過。我很慶幸──不只是為我自己，也為所有今日與未來的長笛愛好者慶幸──我們能有這樣一位大師，毫不自私地將所知分享出來。

雖然，由於德波斯特教授所學極為淵博，加上翻譯語言的限制，很難面面俱到，李靈芝小姐的妙筆使得這一「不可 能的任務」成為中文長笛世界的里程碑。在眾多長笛及音樂的專業用法和繞口難解的句子上，黃茂林老師也提供了寶貴的意見；少了他，恐怕我還在失眠。當然，原 笙國際有限公司不計成本地將本書從簽約、翻譯、排版、付印、到行銷，所投注的心血是我們所有愛笛人一定要感謝及支持的。