Special interview with Jörg Halubek, professor of organ and harpsichord at the University of Music and Performing Arts in Stuttgart. He won the highest honor at the 2004 Bach competition in Leipzig. Currently, he’s in the process of using the early and survived instruments to record the complete works of Bach. This is a musical marathon testing the technique, perseverance, and creativity of an organ performer. We thank him for taking time out of his incredibly busy schedule to share his Bach project and his teaching experience with Orgelkids Taiwan.

非常榮幸，能邀請到我的教授Jörg Halubek先生，2004年，巴洛克管風琴演奏的至高榮譽——德國萊比錫巴赫大賽管風琴組冠軍得主，談談他近期在進行的Bach Project；他目前正在進行用各類歷史遺留的原版管風琴，錄製J.S.Bach的全套管風琴作品。

5. 記得上次去呂娜堡的時候，管風琴師談及關於「將古樂器現代化」的爭議，你對這件事的看法如何？這會不會影響你在這次錄音中的詮釋，以及你所選擇的音栓配置？如果有影響，會是什麼情形？
「我個人偏好使用真正原版的樂器。世界上有非常多教堂和管風琴，管風琴的類型式樣之多，既繽紛又有趣。而對於教堂樂師和參加崇拜與音樂會的人而言，古代的樂器有一些因素會造成某種限制，例如，如果是中全音律加上短八度腳鍵盤 (最低音的E鍵發出是C的音，附圖)——只能彈奏非常早期的曲目——就無法演奏巴哈大部分的作品和浪漫派的作品。當然，你可以即興改編成現代風格，也往往會導致許多折衷做法，我都可以理解。但是從我個人的藝術觀點而言，我寧可保有比較多原始面貌而不要變動。」
“I personally prefer to have true original instruments. We have so many churches and organs – the amount of different styles makes it interesting and colorful. But for the situation of a church musician and the people going to that church in the services and concerts, some parameter of historic instruments bring some limits. E.G. if you have a meantone tuning and a short octave – the possible repertoire is very early – most of Bach is not possible – nor romantic etc… you could improvise in modern style of course. That leads often to al lot of compromises which I can understand. But from my own artistic point of view, i´d prefer to have more untouched Originals…”

6. 可否分享你覺得這個錄音計畫中最有挑戰的一兩個作品？你如何面對這些挑戰和困難？
「我在巴塞爾古樂學院（Schola Cantorum basiliensis）就讀的時候，還有與小提琴家萊拉‧莎耶爾克（Leila Schayegh）合作錄音期間，研究過裝飾法的技巧。巴哈和他的弟子們很可能會加上許多裝飾音，但另一方面我們也有一些線索，顯示出巴哈在書面樂譜上非常謹慎選擇裝飾音，不過這或許是為了讓音樂呈現出均衡的「畫面」。在《小管風琴曲集》中，有一些高度裝飾的聖詠，例如〈人啊，為你的罪孽深重痛哭吧〉（O Mensch bewein Dein Sünde groß）這首很重要的作品。我試著根據歷史資料記載演奏家如何發揮彈性速度而不與伴奏同步，從中找出詮釋的方式。在聖詠前奏曲中，這就表示腳鍵盤和左手要嚴格按照樂譜，而樂譜上出現的裝飾音則是自由速度，可快可慢。我覺得這種彈奏法在管風琴演奏中並不常見，這對我而言是挑戰之一。還有其他的曲子也有比較多裝飾音，我認為演奏者可以自己詮釋，例如〈耶穌基督我仰望著祢〉（Ich ruf zu, Dir Herr Jesu Christ）。」
“When I studied at Schola Cantorum basiliensis and during my recordings with the Violinist Leila Schayegh, I studied the techniques of ornamentation. The possibility that Bach and his pupils put a lot of ornaments is quite high, on the other hand, we have some cues that Bach very carefully chose ornaments for his prints – but maybe for a balanced “picture” of the music. In the Orgelbüchlein there are some highly ornamented Chorals – like the important “ O Mensch bewein Dein Sünde groß” I tried to find an interpretation which follows some advises in the sources how soloist took tempo rubato and were not together with the accompagnemet. For a Choral-Prelude it would means to play the pedal and left hand voices very strictly and the written out ornaments freely, too early, too late. I think this way of playing is not so common use on the organ – this was one of my challenges. Other pieces got some more ornaments which seemed to me being open to the player – like “Ich ruf zu, Dir Herr Jesu Christ”

7. Orgelbüchlein被譯為《小管風琴曲集》，但我們都知道當中的作品其實既不小又不容易。那麼，當中的哪個元素最能觸動你的內心？這個「小管風琴曲集」最大的藝術成就是什麼？
「《小管風琴曲集》包含許多鑽石般的珍寶，是短篇的偉大藝術作品，又彷彿是巴哈音樂語言的辭典。當中有些比較知名，巴哈也經常在前言中提出一種教學的理念。我覺得這部作品是要如同歌曲一般，就像你所說的，展現出管風琴演奏中盡情又痛快的元素，藉由自我表現的最高境界進行教育。」
“The Orgelbüchlein consist of a lot of diamonds. Great artworks on very short time, kind of dictionary of Bach’s musical language. Some pieces are more known and famous – Bach very often mentioned a pädagocial thought in his prefaces. I think this music is made to form the cantabile and as you said heartly aspects of playing. Education in expressing oneself on highest degree.”.

8. 對自己這次的BACH PROJECT的發想。為什麼會有這個想法做這個PROJECT?
「事實上，某程度而言這個「巴赫作品系列」是個非常「個人」的計畫。巴赫的音樂對我有非常深遠而重要的意義，而且不僅僅只是他的管風琴作品而已，他所有的音樂亦是如此。巴赫的音樂在我年幼時，就深深地吸引了我，使音樂的苗在我心中萌芽。而後來，在他的音樂的帶領下，我選擇開始專業音樂學習的生涯。巴赫的音樂甚至帶領我認識那些仍留存至今的歷史樂器。我直覺地認為，讓原音重現，琢磨那個時代的作曲家的音樂語彙，和認識他們所處的那個時代的特殊音樂風格，不僅能讓音樂更鮮明、飽滿，也拉近了它們和現代人的距離。所以在這個意義上，巴赫的音樂在我個人的音樂生涯中扮演關鍵角色，我很高興現在能夠有機會完整地錄製他的所有管風琴作品。」
“The Bach Project is in a way a very private project. His music—not only the organ music—I´d say is the most important music that attracted me already as a very young child. Finally, Bach’s organ music brought me to the idea to study music. Bach’s music even took me to the early and survived instruments—in my intuition, to discover the composers’ language and the special sound of the composers’ time. The music has the biggest intensity and is able to speak to everybody today. So in that sense, Bach’s music played a key role in my personal musical life and I´m very happy to be able to do the complete recording now of the organ works.”

9. 呂娜堡是巴哈年輕時向大師博姆學藝之地，你對這個城市有何感受？
「呂娜堡是個美麗的歷史古城，德國有個出名的電視連續劇就是以此地為背景，我想正是基於這個原因。」(待續)
“Lüneburg is beautiful today, old and historic town – and I think for that reason a famous German TV-series took place in Lüneburg…”(To be continued)

訪談：柯可心 (就讀於斯圖加特國立音樂與表演藝術大學，學習大鍵琴、西方早期音樂Early Music、與管風琴