g# }3 ^8 t$ M3 EPaolo Sereno生于1969年，最先是跟着Roberto Lambo在意大利的Bari学习古典吉他，随后他又把精力转移- x# ~2 d) A/ R- c2 B! T, B' M# N
到了拉丁和Brasilian风格的音乐上。可以说他的音乐是多元化的,当年初出茅庐的他就受到了很多重量级大师的认可肯定!他也曾于无数大师合作演出等等,! 接下来就一起走入Paolo的音乐世界里边 / z3 Z# I3 A( W) d9 W6 q# v h9 f* `0 w+ h1 j, o9 @* @% O! ^1 ` FC：Fingerstylechina & ^0 e4 m/ d+ WPaolo Sereno : PS& ]) Z, p1 [% _! n$ H
! D. ]( H7 K- E FC: How are you! Thanks for accepting Fingerstyle China’s interview. What are you up to these days? ! ~* f9 u# Q' }! I5 [ q* d' ^6 k
您好吗？ 感谢您接受“指弹中国论坛”的专访！ 最近一段时间在忙什么呢？7 v- E+ K3 h9 O, F. h/ O 9 M, s, P: } [+ m+ p I’m fine thanks. It’s a honor to talk with you on FingerstyleChina! At the momemt I’m very busy because of thepreparation on the A1 Guitar Tour: “A” as “Autostrada” which means Highway. It’s my guitar tour across the cities of the most important Italian Highway just called ‘A1’, from Naples to Milan. Therefore the first half of March I’ll be busy playing and it’s important to be ready.$ U' a6 h3 n5 `* q! m PS:谢谢，我很好。 能在“指弹中国论坛”与你对话是我的荣幸！这段时间我很忙，因为在准备“A1 Guitar Tour”-A1 吉他巡演：A 是指“Autostrada”,是“高速公路”的意思。这是我沿着意大利最重要的“A1高速公路”，穿越各个城市的一场巡演，从意大利西南部的那不勒斯- Naples到北部米兰-Milan. 因此，三月份的前半个月我都将忙于弹奏，做好准备工作很重要。2 V: C. j3 b" P' |1 \5 D1 u* ]
6 P' }. O' }1 V* K2 ^ FC: In 2002, you released the first album(con la chitarra) and when can we expect your next album? * ?9 G4 \6 }4 I2 K6 Q3 Q' e
您在2002年发行了第一张专辑《con la chitarra》, 我们什么时候能看到下一张专辑？ 6 n3 t6 S! ~1 e7 V7 V. L+ W6 ]5 f 9 x; {9 w% v; Y“Danza Bianca” (White Dance) is the title of my next CD, I think it will be finished and distributed within this year!+ ?7 M; J3 v4 D; s3 G& G5 C PS：我的下一张CD叫“Danza Bianca” (White Dance)，“白色舞蹈”。我想今年之内即可完成以及发行！6 B5 w4 i& p' y) G3 v) B% x
% H6 X* ?7 N' W: o+ z) hFC: Can you share with the composition skills or which style you adopted for the next album. ?; l- [5 h9 T. y6 t( f: @2 P
能不能分享一下您的创作技巧以及您为下一张专辑而采用的风格？ $ }/ {/ g u& N8 r* d - r6 i) [0 @: e! h' M6 QI don’t have a precise style that I adopt regularly. At the moment I’m fascinating about the idea to play a simple “ostinato” percussion with a hand and play on guitar fretboard with the other hand like in Falangi, in Reds or in Seven Secrets..hope you’ll like them! I’m very attract from the Darbouka sound..using a guitar! ( e5 x( {: C9 I% zPS：我通常不会采用一种明确的风格。 这段期间我对一个想法很着迷, 就是用一只手做简单的“ostinato”节奏敲击(译者注:ostinato是一个贯穿着乐曲始终的节奏或音符)，而另一只手则在指板上点奏，曲子Falangi，还有Reds Or in Seven都采用了这种方式, 希望你会喜欢！我觉得用一把吉他表现Darbouka 的声音很有吸引力！(译注:Darbouka是一种组鼓,由两个不同音高的鼓组成), K9 G0 N4 p! \% @; A; \' s & S0 B& `: M3 b0 t FC: We were told that you were learning classical guitar from Roberto Lambo in your early stage, what influence does the classical guitar have on your today’s playing and music composition？% V+ }3 X0 c' c5 A! q" {- V3 ^
我们得知，在您的早期阶段，您是向Roberto Lambo学习古典吉他。 古典吉他，对您现在的演奏以及音乐创作，具有什么样的影响？ . ^9 o- _, g. p) i4 E* Q! y, H, y 9 b- n$ C/ Y; ]& @# C! c9 \5 m% LIn the past I felt so much the cultural impact of classical guitar on my hands and on style compositions. Now it’s different. It’s sure a big help having classical guitar bases but it's not the most important thing. ; c* y D. t2 M8 QPS在过去的一段时间里，我感到我的手和作品都受到了很多古典吉他的文化冲击。 但是现在不会了。可以肯定的是，有古典吉他基础会对你有很大帮助，但这不是最重要的事。 : B, L4 f* \. B% U 1 R P" y3 T$ w' f2 H+ XFC: After classical guitar learning, you turned to Latin and Brazilian style music, how do you think those music styles have influences on your music? 3 x8 O! X! V3 J2 i在学习古典吉他之后，您转型弹拉丁与巴西风格的曲子，您认为这些风格的音乐对您自己的音乐有什么影响？1 u( N" _! S0 v, R9 g' G1 b
3 E0 U/ O/ ], q3 K2 yLatin and Mediterranean roots are always in my mind, I think it’s very simple to hear this in the rhythm of the bass in a large number of my compositions. ; L" x/ @8 x" w5 W& D$ o/ s2 F8 S, kPS:拉丁和地中海式的根音一直在我的脑海中，这种低音旋律，我想在我大部分的作品中很容易被听出来。 , E$ a5 C( u" o( D, R) ^6 p4 J- s6 k) H3 W) V2 ~6 u9 H FC: Which player do you think influenced your music? + s) C8 t8 X( X4 ?0 | e- U+ P/ r
您认为哪个演奏家影响过您的音乐？5 t% B, ~- P6 Q! a ?% b* C% e
, ?. G3 e' T" x; f2 n1 xI love so many artists ad musicians and I cannot describe a precise influence’s path. In the past I heard tons of Mediterranean and latin music. I also love the typical atmospheres of the American Musical and love so much the “a cappella” choir ensemble like the Swingle Singers. About guitar influences,..in my opinion Marcel Dadi, Ed Gerhard or recently Don Ross.' [: A8 `& l: B! b2 B5 g
PS:我喜爱很多艺术和音乐家，但我无法准确形容他们对我产生的影响。以前我听了大量地中海和拉丁音乐。我也很喜爱风格典型的美洲音乐，也非常喜欢“教堂”式的唱诗班的音乐，比如Swingle Singers的音乐。至于在吉他方面的影响，我认为是Marcel Dadi, Ed Gerhard 和近期的 Don Ross.' I' e7 U; \/ H1 O2 K9 n, l8 t L ! {; J. [7 Q8 VFC: When you write music, which music style do you prefer? / ~/ r8 H' I5 Y% P* g, O. a
您更喜欢创作哪种风格的音乐？( j6 j( G+ m, `1 A2 U, Q' d 3 q) f0 g1 l( V" E- ~( G" b( K I don’t have a precise referring style but anyway I think that pop/folk music and the classical “song” structure guide my way to feel the compositions. + W: h: r V. zPS:我没有用一个明确的风格来创作，但我认为流行、乡间音乐和古典歌曲的结构指引着我的创作之路。 6 i, p5 O, ?" D+ }5 T& c) h : {9 C1 e* h/ y: U- Z8 T6 g. SFC: How do you balance between the rational elements and emotional elements when you are writing music? . \6 n$ D3 D q0 M: D5 E S在创作时，您如何平衡理性因素与感性因素？ : |( R9 K) O) X* R7 h5 [ + f' U; ^+ h; E8 J: l& C {' GAbsolutely yes, very often the “inspiration” guides me to the first 2, 4 or 8 measures but then I need some rational element to compose the “B” part… after some weeks or months I “feel” another part (the “C”part?) and then go forward. Nobody knows when the creation of a composition will end. It’s just the result of a kind of dialogue between the emotional and the rational parts of our music personality.( _6 V7 i$ u# h9 K4 s
PS:非常对，经常都是“灵感”带着我到达前面2个，4个或8个拍子，但之后我需要带一些理性来继续编写B部分… 经过几个星期或几个月后，当我“感觉到”另外一部分（C部分？）来了，然后会继续编写下去。没人知道一个作品的创作什么时候可以完成。这只是一种介于我们的音乐特色中感性与理性之间的对白的结果。 S( D3 J7 ] r: ^+ @, l/ n 4 P0 E J# p2 v: }2 N6 o FC: Who’s your guitar hero when you were still a kid? 8 ^- r: K F" n. [/ u, o, [% L当您小的时候，谁是您的吉他偶像？$ [- W- {6 r8 A
1 g6 K# ]% W1 T* a3 ^Mmmm… when I was still a kid I did not have any guitar heroes... When I was a teenager (during the 80’s) I loved some classical guitarists as Segovia and the DeLucia/DiMeola/McLaughlin guitar trio. 8 A! \6 j4 U, V' k$ I
PS:恩。。。 小时候我并没有任何吉他偶像。。。 在80年代我还是青少年的时候，我喜欢过一些古典吉他演奏家，如Segovia, 还有DeLucia，DiMeola，McLaughlin 吉他三重奏。) `8 i: n8 r" [( S9 n6 H; \0 @& E
, ^, i9 H4 O* j" E5 C9 o( RFC: We saw quite a lot of lives you played on youtube, some of experience could be always remembered in one’s life, can you share with us these experiences that make the time of life?# k' p8 t$ r }
我们在Youtube上面看过很多您的演出，有一些经历总是会留在人生的记忆里，您能不能与我们分享一下您记忆里的经历？ : k, B5 Z0 ~/ d8 r2 o$ T( A! B March 1996: Marcel Dadi called me on the stage for playing at the end of his concert… It’s surely the dearest memory and one of the most sensational situation. I really miss Marcel3 p, _7 x% o' [; u' t% Y
PS:1996年的三月， Marcel Dadi在他的音乐会最后压轴时，邀请我上台表演。。。这无疑是最深刻的回忆，也是最让我感怀的境遇。我真的很想念Marcel.6 H' `7 p7 E, u9 l* Z; ?4 A& ]" s http://www.youtube.com/v/61RCbamzMgo&hl=zh_CN&fs=1&color1=0x234900&color2=0x4e9e00* F" I, x: h* }; p9 } FC: Can you give some suggestions to those who is learning to play your music? 6 `3 D; O' R6 C( B+ a您能不能为那些想弹您曲子的人一些建议？ : l' }, [5 S$ P8 X$ |. i% k7 i1 T9 k1 Y: t9 _ u! j2 q The advice is to learn also by watching the U-tube videos, many times this is the way to capture interpretative details that are not available on tabs and then try to play variations., J7 ^& }4 F( l% F1 o! } r
PS我的建议是，学习，并通过观看Youtube 上的视频，很多时候掌握乐谱上没有注明具体演奏细节，就要用这种的方法，然后试试变着花样地弹奏。+ Y4 S) T) f: B/ n8 s q
! l: ~3 [ B5 `, L3 q FC: We have to say, your X’mas Song is amazing! Can you share with us ,how did you make it? 7 A* [) X( s- P# u, \, h我们必须说，您的《圣诞歌》太了不起了！ 能否与我们分享您是如何创作出来的？+ F0 e+ `% k5 L+ m http://www.youtube.com/v/8A0rt2v3IFA&hl=zh_CN&fs=1&color1=0x234900&color2=0x4e9e008 E5 Q" F4 H8 P% V, {; h
W/ l: y" V4 d( s2 sI composed it before a concert on December 24th 2001, while I was waiting the phone call by the team of the show for the sound check. I was lonely in a room hotel and trying to play something with FACfcf tuning. It’s dedicated to one of my best friends. In the next weeks I’ll record a live video version dedicated to FingerstyleChina ok? 1 M2 X& w" J; Y/ e7 wPS:这个曲子是我2001年12月24号在一场音乐会前写的，那时我正在等演出小组音响检查人员（检查完毕）给我电话。我当时一个人在酒店房间，试着弹一些FACFCF调弦的曲子。这首是送给我一个非常好的朋友。接下来的几周，我也录制一个现场版视频献给“指弹中国论坛”，可以吗？(zi^01 必须嗷嗷可以!!!) % n" Y! J2 s' V) ~& p ( [9 w* V' L6 V6 uFC:A lot of Chinese guitar fans love your Zigadezua so much, and they are learning this tune, what background makes you write this tune? - S3 \# B9 L# X
许多中国吉他爱好者非常喜欢而且练习您的“Zigadezua”， 它的创作背景是什么？ & W* U+ U' b8 {+ `7 K7 Z8 ] K5 D5 y7 B8 x0 ~; N7 ] Only the Marcel Dadi’s words: “Paolo, we need only a beautiful melody and a good bass”. I think it’s a good starting point!7 i2 l- ^: r# J
PS:背影）只是Marcel Dadi说过的话：“Paolo, 我们只需要一段优美的旋律和一段好的低音。” 我想这就是该曲的缘起！0 X$ Z( q# w+ `$ H9 j ; d; I" v0 Z. b1 N0 P% ~" W* cFC: Also the melody of U-Friend is a touch of soul, is there a story behind this tune? ( w ^8 x2 R( T2 o* u1 A H$ f% }“U-friend”的旋律也是一种对灵魂的抚慰，它背后有着什么样的故事？% S1 U! }0 V7 m! x) g# @ http://www.56.com/deux_74447382.swf 9 a G- a# o m x3 ~2 ROne for Marcel, Zigadezua and U-friends were composed in 1993/1995 only thanks to those words of Marcel and his lessons about “Fingercussion” style and skills.+ P+ [' P: c4 Z& `
PS:这是给Marcel的， Zigadezua 和 U-friend 分别创作于1993年和1995年，感谢Marcel跟我说的那些话，以及他对Fingercussion风格与技巧的讲解。% V8 N) J) Y* I) ^ 4 c* T! T- z7 N$ \4 o/ j# u( Z FC: “Danza Bianca Tales” makes a great effect with combination of strums , percussion and harmonics, that’s just marvellous ! When watching your playing, we can also see a big screen behind your back , what’s that story about? / P, S* M3 y! N$ z" ]$ F" u“Danza Bianca Tales” 制造出了一种集弹奏、敲击以及泛音于一体的非常棒的效果！ 在观看您的演奏时，我们还看到了您后面的一个大屏幕，讲述着什么故事？ . j; _+ @( M. H3 c8 vhttp://www.youtube.com/v/mnPDNHumZoA&hl=zh_CN&fs=1&color1=0x234900&color2=0x4e9e00 8 l+ Q4 u6 p* y2 B. l9 f7 {2 L8 }; \3 s6 u It’s a composition dated 1998/1999 and I wrote it thinking to the hard life of the fishermen in my country. So I wrote and directed a short cartoon describing the life story of people in Italian towns on the sea. But it’s a representation of a common reality all over the world, I mean the hard work of the fishermen and the risk that they face during long weeks in the sea. These are their life aspects that everybody knows and I like to remember them in a musical novel. The other two pieces that compose this novel are ‘Prayer’ (women praying for their husbands in the sea) and ‘Vele di Settembre (‘Sail of September’, dedicated to the strength of fisherman and the power of the sea). The cartoon film lasts 12 minutes and the illustrator is Massimo Modula. $ u, d1 x8 @) ^0 j% F/ s$ dPS:这是一部我在1998与 1999年间的作品，讲的是我们国家渔民的艰苦生活。因此我创作以及导演了一部动画短片来描述意大利海滨小镇居民的生活故事。 但这体现了全世界的普遍现状，我是说渔民的艰苦工作和他们在海里数周间所面临着的危险。这些现状每个人都知道，我想把他们写到音乐作品里纪念他们。另外两首构成这个故事的曲子是“ Prayer”(为她们的在海里的丈夫而祈祷的女人们)，和“Vele di Settembre”（“九月航行”，献给渔民的勇气和海洋的力量）。动画片的时长12分钟，插画作者是Massimo Modula % i0 K. H3 a. R, \1 W# Y) w* ~. `7 U8 k5 b* \9 f" j
) L. W4 b7 q1 ]FC: We can see you closed your eyes and your deep emotion just flowed out of your playing. When you have a story to tell, you have some skills using music to “tell”, can you share with us these skill? 9 b* D" F9 M" \/ R; _. f" w# T
我们可以看到您在弹奏中闭上双眼，内心深处的情感不断涌出。当您有故事要讲述的时候，您会有一些技巧让音乐来讲述这个故事，您能与我们分享一下这些技巧吗？/ T4 {3 c7 T# i" ?" Y" J, l
( v/ p. O& D. L8 h! RThe only thing I can say about this is that it’s very important to practice and practice…any kind of movement of our hands on our instrument must become automatic and natural, like breathing, like talking etc. The mother of any skills is “to be patient” and to be centered on the achievement of our next technical task.# y7 h. m# n* ?8 w+ k) d- R( d
PS:关于这个，我只能说不断地练习是非常重要的。在我们乐器上的手中的任何动作必须要变得有习惯性的，自然的， 就像呼吸、说话一样。 所有技巧的根本都在于“有耐心”，并且要着重练习我们下一个要达到的目标技巧。$ B' R, k* a0 @ R' S8 S9 b* }
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, ]' h/ J: G) V- HFC: Where do you get your inspirations most of time when you write a piece of music? & G/ j: t k7 K) X; F
大多数情况下，在您的创作一首曲子时，哪里可以让你产生灵感? / u5 Q& V: e( ?3 X( i! ]9 }3 [ U' F% {; ?+ E5 J/ v* x2 o0 I I play quite at my home, but a lot of times the inspiration comes late night. My neighbours are not happy… Sometimes the use of a new guitar with new sounds could have a great effect on musical inspiration. 6 e8 n$ ]' B) E2 MPS:我在家里静静地弹，但很多时候，灵感产生在深夜。 我的邻居们很不高兴。。。 有时用新的吉他弹出新的音色也会对音乐灵感产生影响。 # }4 M7 o% Y a ; g, b! l# T* [; Z% hFC: We all know you also played with Don Ross, and we also interviewed Don last year. How do your feel when you are sharing the same stage with Master Don? # u) }6 g" Z, m8 r# o我们都知道您曾经与Don Ross合作过，我们也做过他的专访。当您与Don大师同台演出的时候，您的感觉怎么样？2 W3 x7 `- C# Q. a
# W/ [) |7 v( mThe first time I was very nervous, during the first piece. I played with him an arrangement for 2 guitars of a beautiful composition by Dave Essig, and...I forgot completely my part! I was lucky to play with Don other pieces like “Tight Trite Night” then everything was ok. Very soon I’ll put a video. 0 ]9 D5 |3 V* h2 E7 | B
PS:第一次在弹第一首的时候我很紧张。 我和他弹了一首由Dave Essig的“Berkley Springs”改编的优美的双吉他合奏曲。 我当时完全忘了我的那部分！ 幸运的是我与Don先生合作另外几首曲子如“Tight Trite Night”后面就很顺利了。近期我将上传视频./ \8 {- V3 T i5 a+ ^
$ u5 w% I' ?7 ?* a5 k$ U/ OFC: You seem also like Kotaro Oshio’s music a lot? Are you also familiar with Japanese players, Japanese music mostly has oriental element, and could be a little exotic for western players, how do you think about that? And if you classify Oshio’s music, in your opinion which category could that belong to？ f- a4 N6 Z* @! t: g' L: i
您好像很喜欢押尾光太郎的音乐？您了解日本吉他演奏家吗？多数日本音乐拥有东方风味，对西方演奏家来说很异乎寻常，您是如何看待的？ 如果您对押尾的音乐进行归类，对您来说，是哪一类的呢?" a! R5 n, \+ Z5 z$ L# Q0 L : ]7 i2 b/ F e% r) f Oshio is a great player and musician, I discovered him playing Forbidden Colors and I think he is the most “western-style” guitarist in Asia. I like so much his “funky”skills. I’m very fascinating by oriental authors but don’t know them so well yet. 9 O1 G6 I% X; i& A KPS:押尾是个伟大的演奏家和音乐家， 我是从 Fobidden Colors 得知他的， 我认为他是亚洲最具西方风格的吉他手。 我非常喜欢他的Funky技巧。 东方的创作家很吸引我，但我还不是很了解他们。 # S( t: R8 u. J4 U7 Q6 V* x; k5 [+ P8 M1 d4 A+ P7 X+ T& S FC: What music are you listening to when you are not playing? Can you recommend some albums? " P( A: L* k7 f$ D您不弹吉他的时候会听什么样的音乐？ 您可以推荐一些专辑吗？0 U5 ?2 a5 T5 P7 o& |" r2 ?
( D1 z; z8 H. _' r+ p9 m: T$ z/ J“Viaticum” by the EST (Esbjorn Svensonn Trio): Piano, Bass and Drums, great great Jazz, unfortunately Esbjorn died last year in a strange accident. It’s a great loss for the new jazz trends.& v, ?* X. V, b
EST（Esbjorn Svensonn Trio）的“Viaticum”， I; S1 i3 S* c* m0 e" e% | PS:钢琴，贝斯，鼓， 爵士乐。 遗憾的是Esbjorn 死于去年的一场奇怪的事故。 这是新爵士乐潮流中的一个巨大损失。, Y5 b' `& z! y. B" E" _+ Z , o6 m6 {- N& g3 a. V/ o5 b4 L, s FC: For all those guitar fans, they all like to know the Equipments their guitar heroes are using, what equipment are you using? For example , what guitar? What effect….etc" V% g- ~# `' n, ~& I+ a1 Y
所有的吉他爱好者都想知道他们的吉他英雄们用的是什么样的设备，您使用什么设备？比如说，什么吉他？什么效果……等等( D& Y( e9 m3 ~3 s; {7 H" x* r% `' _ 2 i. x7 V: G* v! j$ g! p }. X
7 L i( G& O; r8 V1 J& fI have a Larrivèe C10 custom Koa and sitka, a Breedlove CM with same woods, a Martin Eric Clapton Rosewood and sitka, amplified with Seymour and Duncan Magmic or Fishman rarearth blend. On the Breedlove I play with the fishman with a K and K trinity system and Quantum Blender…simply the best! My personal amplification system is a Bose L1 with the Tonematch (so I have Compressor, Reverb, Tuner and Equalization at my fingertips on stage... directly on mic stand). Further, sometimes if the stage allows it, I play using a Neumann KM184, a great condenser mic. Further.. I hope to get soon a Lowden with only the K and K system.& r1 n( j' j0 W5 M4 V {
PS:我有一把订做的Larrivèe C10，用料为洋槐和西特喀杉。还有一把同样木料的Breedlove CM，还有一把Martin Eric Clapton签名琴，用料为玫瑰木 和西特喀杉。扩音设备用的是Seymour 和Duncan Magmic 或Fishman rarearth blend。 在 Breedlove吉他上我使用的是Fishman拾音器及K and K trinity 系统外加一个 Quantum 混音器。。。这简直就是最佳组合！ 我个人的扩音系统是一个带Tonematch 的Bose L1（这样我在舞台上站在麦克风支架前面就可以玩转压缩，混响，调音器和均衡的效果。）。另外，有时若是舞台允许，我会用Neumann KM184，一个很好的电容话筒。 还有，我希望尽快拿到一把只带KK系统的Lowden吉他。4 T. P4 I% Q7 e+ ^: |7 b
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1 G/ L% {1 {, Q- o: g FC: Can you give us some suggestion on writing an exciting music like you do?2 U6 Q" L4 j1 ?% R: g
您能不能为我们提一些建议，让我们能像您一样创作动人的曲子？ : t/ Q/ S! W/ e 7 @' E. j/ r9 ]2 \% j% z4 Q3 T2 WA beautiful melody and a good bass.. and also think a good riff. Don Ross is a master in this! & Q) A7 H& I2 L1 m$ MPS:一段优美的旋律和一段好的低音。还要考虑一段好的即兴。Don Ross 在这方面是位大师！5 @7 S0 l2 F2 w* O: J
5 m/ H3 _, x, S6 |/ k$ j FC: How do you like China, are you planning playing in China? : L" }& w7 z* r9 O- x2 q' M% |6 L您喜欢中国吗？ 您有没有计划到中国演出？ " e' ~/ y' F$ t: X" W+ H; y, {% Q5 R% C4 s$ Z1 M; I a6 s6 q I like so much China, I saw everything about Olympic Games in August 2008! It was a wonderful chance to see some of the best places in China! And... yap... I hope to play in China someday!' ?7 Y- E3 U5 _! P h PS:我非常喜欢中国，2008年8月北京奥运会全部的内容我都看了！这是一个好的机会去看一下一些中国的最好的地方。还有，对了， 我希望将来某天能在中国演出！0 G! X* L0 S# l3 M# l9 D( Q
9 P1 [3 w0 v) n1 Y7 f. W8 R3 z , o, [0 R) I8 m# \" L& oI had several emails with Paolo after this interview.There's one thing I feel is that Paolo is quite a warm-heated and plain man. His music carries his life understandings and feelings, meanwhile expressing his passion for life and music. He also loves Oriental culture and oriental music especially China. Through FC's interview, we can have further understanding with him and his music, and also we appreciate Paolo's help with this interview, we hope Paolo would have such a chance playing in China. ! W. M5 U0 r' ^1 _% ^: gThank you.+ t3 A L: _( p hope everyone appreicates this interview0 s$ z, a9 i O u3 V 这次采访做完了以后,我和Paolo发过几次信我唯一的感觉 Paolo是比较热心的人,也没像其他大师一样有很多"架子",他的音乐里包含他无数的阅历和语言,叙述着Paolo的独特的生活与对音乐的热爱,他很喜欢我们东方的文化与音乐,尤其是中国,希望大家可以通过FC更深入的了解到他与他的音乐,也感谢Paolo热心回答,真心希望有机会能在中国的土地上看你的演出,谢谢! ! [& N0 d. E( {, J; ?% ?3 p " L! {3 N/ D+ R- y! X, ^2 O 也希望大家认真的看完整个采访内容~! 6 y3 {3 S+ q1 O9 q1 |' E2009.2.27 : U; X) P7 B8 z& i- u& R* U5 ?7 V8 q2 O-Heroin 9 H) w5 d9 B; `9 _$ e6 n* F 6 H! B- a) ~. Y5 T; E9 sPaolo Sereno网站% F5 V, E) G" U6 S$ ~3 _4 ]9 u http://www.paolosereno.com/content/default.asp " a e K% T" ]6 V2 _2 W: S4 Q, {0 y6 q
[ 本帖最后由 海洛因 于 2009-2-28 18:08 编辑 ]
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1 u' S( h) `) q# Z- ^1 N2 xPaolo Sereno生于1969年，最先是跟着Roberto Lambo在意大利的Bari学习古典吉他，随后他又把精力转移 6 \' s7 R1 S2 }* \+ U. O* y到了拉丁和Brasilian风格的音乐上。 2 K' S3 _; f: ]# i V5 @7 y$ r) I) Q2 ~9 t& K# G* ]5 `9 A0 l& d
In 1996, during the ADGPA Convention in Italy, Marcel Dadi calls him on the stage during the evening 4 e% B; j; \2 E3 s5 j5 v Sfinal concert to play “One for Marcel” his first “superpicking” composition dedicate to the great french / H# ^, s2 S( T. d3 V; E
master. After this incredible first time with the bigs of fingerstyle guitar (he shared the stage with ( ]7 {! p0 {8 }" B8 U2 ]. \
Paolo Giordano, Ed Gerhard etc...) Paolo played for important music shows. In 2000 Paolo played in 4 N) u2 |3 y7 ~
Venice during the shows for the carnival and then he shared the stage with people like Tim Sparks ' ?9 B, Y7 F4 _' p% I( n2 T
and Muriel Anderson during some other concert. # Y2 k1 k+ t# m 7 l1 {6 A# K8 Q9 `1996年，他在意大利的ADGPA“Atkins与Dadi吉他爱好者协会”时，Marcel Dadi请他上台演奏他创作的第一, }8 T' x7 v9 W5 t; u- F5 T/ _+ x
个献给这位伟大的法国吉他大师的超级速弹作品－－《献给Marcel》。 难以置信地经历过这次与指弹吉他 + q! M: s: {. c! u8 Y众多好手（跟他一同演出的有Paolo Giordano, Ed Gerhard等）的演出后，Paolo开始在重要的音乐节目上演& Q* `( e2 V) [# R
出。在2000年, 他在威尼斯嘉年华会的演出中亮相。他还与像Tim Sparks及Muriel Anderson这样的乐手在 3 n$ F& L6 i! Z5 A. n @' d% T( h其他的音乐会上同台演奏。 5 K6 `. i. b; X' g' F9 h $ i! b5 A: v/ ^( A7 K; _& xIn 2002 he plays opening acts for William Ackermann and Don Ross who has beautiful words for him. ! E* o" C, ^3 U4 O. l
Then he comes out with his first CD “Con la Chitarra” (self production) a work which contains seven 1 [5 A# o+ h( ]) [( @; roriginal compositions and seven covers (some played with his acoustic quartet) like “Nuovo Cinema $ {0 F) Z( I( a, MParadiso” for fingerstyle solo guitar and a special rom track with the tabs played in the cd: a new / ^" }0 {# d$ M6 Q0 x2 Rproduct in the field of acoustic guitar works. # _! l: K+ H+ N+ M7 u3 l
In 2003 he begins a collaboration with the American folksinger Jacqueline Perkins and Walter Lupi, and _- i+ l) X1 u) ^9 N, t5 Jwins the first prize as best author/performer on acoustic guitar at the “New sounds of acoustic music” 6 P$ N) ~* ^" T2 M
during the international guitar meeting in Sarzana – Italy. ( J5 o: V' O4 A1 X$ j/ e . t9 a! b0 S# |! D, D2002年，他与William Ackermann还有Don Ross一起露天表演，Don Ross对他颇有赞誉之辞。接着他发行 9 g* }# `3 l' i6 L7 a( \6 }6 a了他的第一张CD（自制的），名叫“con la chitarra”（意大利语：吉他相伴）。这个CD包含了几个原创还有" C& y5 f. p& d) s' Y: j2 i: {4 F
七个翻弹（有的是原声四重奏），像〈Nuovo cinema paradiso〉这个曲子是在CD已有的谱奏轨上加入指弹, G2 X6 @2 d3 H# Z0 @* w
独奏叠录制成的－－这种CD产品刚面世不久，用于原声吉他创作。 2 j- s+ c& ]9 ~* o& f $ Q$ n+ \% Z7 R; G- I4 O" V在2003年，他开始与美国民谣歌手Jacqueline Perkins还有Walter Lupi合作，在意大利沙加那举办的国际吉7 ~) o2 k+ e0 g/ }
他音乐会上，他获得了“原声音乐新声”组第一名，奖项为最佳作曲/演奏奖。 , K+ U9 n) D8 g1 U( d0 d k3 \$ U i2 f) C% R* `+ z3 U/ O
In 2004 he comes out with his Method on Superpicking and Fingercussion Guitar dedicated to marcel , j) G. ]& i7 L# ^. v J0 k2 f
Dadi "superpicking" guitar technique .He is endorser for the SR Technology, one of the best european l8 W# b" c: v# e8 cfactory of PA Systems and combo for acoustic guitar. 1 l6 ~- Z% ?8 C4 Q; A8 ]& cDefined “a talented guitarist” by Franco Morone, Paolo (35 years old) now lives and works for the local ) H9 q1 S k9 _. k/ v: }* v' AUniversity in Parma, in the north of Italy, alternating teaching activity with concerts and, a few times ) ^) r5 x8 B2 A$ j9 \3 b4 X) h; {in springs, a fingerstyle busker practice… 5 p) d! D& j8 b! s; M. ^$ ]% _) J6 A& N$ \/ Q3 X
在2004年，为了纪念Marcel Dadi的速弹技巧，他出版了〈Superpicking（超级速弹）〉及〈Fingercussion' l2 D6 I7 L% s: x2 c7 g2 V4 U! H
（指弹鼓点吉他）〉两本书。他还与欧洲最优秀的扩音系统及原声吉他音箱的生产厂家SR技术公司合作。 ' V \1 u# }$ `" _6 n, i: z' A! t9 x' ~+ T" l% M; D
被Franco Morone称之为“天才吉他手”的Paolo（35岁）现在住在意大利北部的巴尔玛，在当地的大学任教 5 Z4 E. L# L% ]. a，他一边教书一边演出。有时在春季做一些指弹街头演出- e! G- q% {$ Z2 M8 ?! Z6 C0 u
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[ 本帖最后由 海洛因 于 2009-2-27 20:53 编辑 ]
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发表于 2009-2-27 20:28
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发表于 2009-2-27 21:08
