l来源:Microsoft's Music Central Connection  1996年2月15日 

作者:Edna Gundersen 


“恩雅拒绝现场演唱,但这并没有损害她在商业上的繁荣。然而她隐士般的生活方式让她的歌迷们很难看透隐藏在飘缈、神秘、凯尔特色彩歌曲后的个人特质。” 


爱尔兰天仙般的新世纪首席女歌手(盖尔语名字是Eithe Ni Bhraonain)的全球唱片销量已近 两千万张--尽管很少得到媒体和电台协助宣传,以及模糊定义的音乐范畴跨越了新世纪音乐、世界音乐、古典音乐和流行音乐。 


她目前发行的专辑《树的回忆》已经跳跃到了Billboard的Top 10榜而且极有可能在排行榜上占据多年,1988年的《水印》 (全球销售8百万张),1991年的格莱美获奖专辑《牧羊月》(销售了9百万张)都已经做到了。 


恩雅拒绝现场演唱,但这并没有损害她在商业上的繁荣。然而她隐士般的生活方式让她的歌迷们很难看透隐藏在飘缈、神秘、凯尔特色彩歌曲后的个人特质。这位羞于同媒体打交道的34岁歌手及作曲家近来和大家分享了音乐创作过程中的细节。 


Edna 

人们对你隐士般的工作习惯极为有兴趣。关在录音室中多年是什么样的情形,只和你的制作人兼配乐Nicky Ryan以及他的妻子Roma Ryan在一起? 


Enya 

“这样的优点是非常保密,非常个人化,而且非常舒适。缺点是很难客观地对作品进行判断。如果我们无法对一首歌曲很有把握的话,我们就把它先放在一边几个月,过后再回来对它做更好的判断。” 


Edna 

你曾试图去听取别人的意见吗? 


Enya 

没有。一开始邀请别的人到这个圈子里来是很危险的。我们的音乐并不明显带商业化,所以我担心得到否定的看法。比较好的是我们三人一起工作并坚信自己的音乐。 


Edna 

不一样的音乐风格是导致你和Nicky之间出现了许多妥协吗? 


Enya 

是的。我受到的音乐影响从爱尔兰传统音乐到古典音乐和教堂音乐。他是受了Beach Boys,Phil Spector和甲壳虫乐队的影响。当我演奏一段旋律给他听时,我知道他和我听见的音乐编排是有很大不同。黄金法则是我们试验所有的想法。最重要的事情是提升音乐格调,因为对我来说发掘音乐旋律要花去我很长一段时间。 


Edna 

你不是一个多产的作曲家吗? 


Enya 

在过去两年中,我一直在录音室里创作音乐,这张专辑是我创作的全部。我没有余下的30首歌曲。当我弹奏第一个音符时,我就知道这就是我一直寻找的旋律,但我在录音室里用了大量时间才达到这个阶段。我约束自己去录音室,弹奏钢琴,演唱,直到找出一段悦耳的音调。 


Edna 

你对这样的工作进度满意吗? 


Enya 

我喜欢这个进度,因为我的音乐要讲究质量。如果不花时间,就达不到那种效果。因此,尽管唱片公司希望Enya每年出张唱片,但那是不可能的。音乐的质量会受损,而且这是我无法忍受的。 


Edna 

当你找出第一个音乐旋律时,你知道收尾歌曲将会是什么样的吗? 


Enya 

不,这需要时间。我觉得非常兴奋。我们把嗓音当成一件乐器,我每次演唱都会不同,因此你不会知道最终结果会是什么。有时候我们在一首歌上层叠了100个嗓音,听好后来判定这并不适合这首歌,然后删除。接着必须返回到音乐的最初阶段,并集中精力重新开始。 


Edna 

你的音乐非常个人化,至今从未写过歌词。你和Roma是如何发现相同情感起伏的? 


Enya 

这要回到《凯尔特人》,这是我当初为BBC创作的一张电影原声专辑。里面全部是器乐演奏,但是当时他们想要一首有歌词的歌曲。我没打算做这件事。那时我住在Ryan家里,而且Roma一直在录音室里写诗。那是个很自然的配合。她听到了我写的第一段音乐,而且她对我个人非常了解。Roma能听出我音乐中想要表达的东西。我甚至没有给出标题。她听出了歌词能适合我的感情。 


Edna 

由于你演奏了所有的乐器,而且依*多嗓音演唱,把你的演唱现场再造是不可能的。那是你不做巡回演出的理由吗? 


Enya 

在录音室中的音乐有如此美妙的感觉,但我不知道如何把这种感觉带到舞台上。我们讨论过试着举办音乐会,一场音乐会,有一个管弦乐队和一个唱诗班,以及其它现代化的科技设备。这是有可能的,但同时存在着找时间去做的问题。 


Edna 

是否有舞台恐惧这个因素? 


Enya 

不。我曾经在欧洲经历过两年高强度的舞台巡回演出(在家庭民谣乐队Clannad)而且我怀念那段时光。我喜欢迷失在音乐里,与台下的观众分享那种感觉,并得到他们直接的反应。在录音室里我十分隐秘,但一旦我有了歌曲,我想的是分享它。 


Edna 

你的天主教成长背景影响了你的音乐吗? 


Enya 

当你从小就是天主教徒时,就很难忘掉。我从我们的宗教中分离出我想要的东西。我发现天主教的精神方面非常能安抚人心,而且我非常非常喜欢赞美诗。 


Edna 

你的作品中传达了爱尔兰文化的什么元素? 


Enya 

我吸取了爱尔兰传统音乐中忧伤的感觉。这种感觉存在于我所有的旋律中,甚至在节奏较快的旋律中。它只不过是爱尔兰文化的一部分,就象我们对文学和音乐的热情那样。那是一种悲伤,但不是压抑沉闷。 


Edna 

不工作的时候,你听些什么音乐? 


Enya 

在专辑制作过程中,我听拉赫玛尼诺夫的音乐。但当你一直在制作音乐时,听制作的音乐是你要做的最后一件事情。我宁可外出散步,暂时不听。我没有大量收藏CD。我曾经根本就没有CD,但渐渐地我花时间去寻找了唱片,大多数都是古典音乐。 


Edna 

你的音乐流芳百世很重要吗? 


Enya 

我喜爱的古典音乐和爱尔兰传统音乐在作曲者本人作古后已经流传了如此长的时间,所以,是呀,那会很美妙。 


附原文:


"Enya's refusal to perform live hasn't hurt her commercial viability, but her reclusive lifestyle has made it difficult for fans to discern the personality behind her airy, mystical, Celtic-shaded songs."


Ireland's ethereal New Age diva (born with the Gaelic name Eithe Ni Bhraonain) has sold nearly 20 million albums worldwide despite limited assistance from media and radio and a fuzzily defined turf that sprawls across New Age, world music, classical and pop.


Her current release, The Memory of Trees, has leapt into Billboard's Top 10 and most likely will enjoy the years-long chart reign achieved by 1988's Watermark (8 million copies sold worldwide) and 1991's Grammy-winning Shepherd Moons (9 million).


Enya's refusal to perform live hasn't hurt her commercial viability, but her reclusive lifestyle has made it difficult for fans to discern the personality behind her airy, mystical, Celtic-shaded songs. The media-shy singer/composer, 34, recently shared details about her creative routine.


Edna: People are intrigued by your hermitic work habits. What's it like being sequestered for years in the studio with only your producer/arranger, Nicky Ryan, and his wife, the lyricist Roma Ryan?


Enya: The advantage is it's very intimate, very personal and very comfortable. The disadvantage is that it's difficult to judge the work objectively. If we're not sure about a song, we leave it for a few months and then come back when we can judge it better.

Edna: Were you ever tempted to solicit other opinions?


Enya: No. In the beginning, it would have been dangerous to invite somebody else into the circle. The music wasn't obviously commercial, so I was afraid of getting a negative opinion. It was better for the three of us to stick together and believe in it.

Edna: Do dissimilar tastes lead to a lot of give-and-take between you and Nicky?


Enya: Yes. My musical influences are from Irish traditional music to classical and church music. His are the Beach Boys, Phil Spector and the Beatles. When I play him a melody, I know he hears quite a different arrangement from what I hear. The golden rule is that we experiment with all the ideas. The most important thing is enhancing the melody, because for me it takes me a long time to find the melody.


Edna: You're not a prolific composer?


Enya: In the two years I spent writing in the studio, I've only written what is on the album. I don't have 30 songs left over. When I play that first note, I know this is the melody I've been looking for, but I spend a lot of time in the studio getting to that stage. I have to discipline myself to go to the studio and play the piano and sing until I find a melody.


Edna: Are you content working at this pace?


Enya: I like the pace because my music is about quality. You can't have that if you don't have the time. So even though the record company would like an Enya record every year, that is not possible. The music would suffer and I couldn't bear that.


Edna: When you first find the melody, do you know what the finished song will sound like?


Enya: No, it takes time. I find it quite exciting. We work with the voice as an instrument. Each time I sing, it's different, so you don't know what the end result will be. Sometimes we layer 100 vocals on a track, listen to it, decide it doesn't suit the song and just erase it. You then have to backtrack to the melody and concentrate.


Edna: Your music is very personal, yet you neve write lyrics. How do you and Roma find the same emotional wavelength?


Enya: It goes back to ``The Celts,'' a BBC soundtrack I was working on. It was all instrumental but then they wanted a song with lyrics. I had no desire to do it. I was living with the Ryan family at the time, and Roma had been in the studio all along writing poetry. It was a natural fit. She heard the first melody I had ever written and she knew me personally as well. Roma can hear what I'm trying to say with a melody. I don't even have to suggest a title. She hears the lyrics that fit my emotions.


Edna: Because you play all the instruments and rely on multi-vocals, reproducing your sound live seems impossible. Is that why you don't tour?


Enya: There's such a wonderful live feeling within the music in the studio, but I don't know how to bring it to the stage. We're talking about trying a concert, a one-off, with an orchestra and a choir and some modern science. It's possible, but there's also the problem of finding the time to do it.


Edna: Does stage fright enter the equation?


Enya: No. I was on stage for two years of very intense touring in Europe (with family folk band Clannad) and I miss it. I enjoyed getting lost in the music and sharing that feeling with an audience and getting their immediate reaction. I'm very private in the studio, but once I've got the song, I want to share it.


Edna: Did your Catholic upbringing influence your music?


Enya: When you are raised as a Catholic, it is very difficult to forget it. I derived from our religion what I wanted to. I find the spiritual side very calming, and I have a great love for hymns.


Edna: And what elements of Irish culture inform your work?


Enya: I took from Irish traditional music this sense of melancholy. It's in all my melodies, even in uptempo melodies. It's just part of Irish culture, like our passion for literature and music. It's a sadness, but it's more canny than depressing.


Edna: What do you listen to when you're not working?


Enya: During the album, I was listening to Rachmaninoff. But when you work with music constantly, listening to it is the last thing you want to do. I would rather go for a walk and get away from music for a while. I don't have a huge CD collection. At one time, I didn't have any CDs, but bit by bit I'm taking time to find CDs, mostly classical.


Edna: Is it important that your music outlast you?


Enya: My favorite classical and Irish traditional music has lasted so many years beyond the composer so, yes, that would be wonderful.


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