无伴奏小提琴版《G弦上的咏叹调》
小提琴家罗曼·金将巴赫《第三乐队组曲》中的那首名曲《G弦上的咏叹调》改编成了无伴奏小提琴独奏曲，他在这首改编曲中用了全新的演奏技术。
我在科隆音乐学院读书，改编这首曲子的想法是我在练琴时产生的。有一天，我在Youtube上听了这首曲子，其旋律、和声和复调让我产生了灵感。我练习这首曲子时，想把高音声部和低音声部同时演奏出来。这想法听起来很有意思，但做出来难。我在用琴弓演奏旋律声部时，同时用左手拨弦（练习后觉得效果不错！）。后来，我一位好朋友Jure听到我在练这首曲子时知道我的意图了，他敲门进来后，对我逗趣地说：“嘿！你为什么不把所有声部都演奏出来？”他经常有些奇思怪想。我想：“为什么不可以试试？”
我知道要把所有声部演奏出来，必须用新的调弦定音。我把E弦（一弦）定在了C音上。结果，我在琴上拉了几小节后自己笑了起来，这声音好怪，就像一把小提琴上演奏的四重奏。但效果令人惊叹。
我接下来的两个星期，几乎什么事都没做，就在倒腾这首曲子。我的初衷是尽可能保持原作品的声部结构，不破坏巴赫这首曲子漂亮的和声。由于一把小提琴的局限，我演奏时不得不在演奏中有选择地强调不同声部。这首曲子的对位要求演奏者很好把握对位的对称，开始练习时会遇到从未有过的技术难点。
在改编这首曲子的过程中，我找到了新的左手拨弦方式，如“反向拨弦”，与我们常规学习的向内拨弦相反，手指往外拨。这样演奏起来，较为容易些。有的拨弦处，我还得用左手拇指拨弦。我找到的这些新演奏技术可以完成很多先前无法想象的演奏。
德国骑熊乐谱出版公司要出版我的这首改编曲，真是太好了。有人能演奏这首迷人的作品，我会深感荣幸和开心。我很乐意回答涉及这首改编曲的问题。这首曲子的音乐之美会让你去坚持练习它的，真的是太好听了。希望演奏这首曲子的演奏者顺利演奏好，并从中自得其乐。
Strad 杂志上英文原文
Transcribing Bach’s Air for solo violin
Violinist Roman Kim experimented with newand interesting techniques to arrive at his arrangement of the famous work,part of Bach's Orchestral Suite no.3
June 23, 2015
The idea to transcribe Bach’s Air came tome, while practising at my music college in Cologne. That day I had heardBach’s Air on YouTube. The music inspired me: the melody, the harmonies and itspolyphony.
While practising, I tried to play the toppart together with the bass line. It sounded nice but it was not easy… So Iplayed the melody and plucked the bass with the left hand (a nice exercise!)But then one of my best friends, Jure, knocked on the door. He had heard myattempts and said, just for fun: ‘Hey, why don’t you play all voices together?’He always has crazy ideas! ‘Why not? I’ll try,’ I thought.
I quickly realised that it wouldn’t workwithout scordatura, so I tuned the E string to C. As I played the first fewbars we laughed because of the unusual sound – like a small string quartet on asingle violin. That was amazing!
For the next two weeks I worked almostexclusively on this piece. My primary object was to retain as many voices fromthe original score as possible so as not to lose Bach’s marvellous harmonies.Sometimes the physical limitations of the instrument forced me to emphasise theparts differently than in the original version. The equilibration of thecounterpoint thus places demands on the player that may at first seemunexpectedly and subtly difficult.
While I worked on my transcription Idiscovered some new ways to play the pizzicato with the left hand. For examplea ‘reverse pizzicato’ – not plucking the string inwards, as we are taught, butthe other way round. This makes it easier to play the part in combination withpizzicato. Sometimes I was forced to grip the string with the fifth finger – mythumb. This new ways made possible a lot of things I couldn’t imagine before.
I’m looking forward to the release of myarrangement by Barenreiter and would be very proud and glad if youalso played this amazing piece! And it would be my great pleasure to answeryour questions regarding the transcription. This wonderful music cannot helpbut inspire persistence and, in the end, will sound simply beautiful. I wishyou success and a lot of fun!
