Placeholder Image

字幕表 動画を再生する

  • [MUSIC PLAYING]

  • I'm Nancy Allen, the principal harpist of the New York

  • Philharmonic.

  • I love animals, yes, I do.

  • I have had a lot of animals, but I particularly love horses.

  • And I've always loved horses.

  • Horseback riding rivaled playing music.

  • But I had a harp at home, so the harp

  • overtook the horseback riding.

  • I just find them both to be beasts in a way--

  • the harp and horses.

  • I found it to be so connected with harp playing,

  • because there's so much going on that's similar.

  • A lot is going on with your hands, and your feet,

  • and your brain.

  • We have to control the sound of the string

  • with our fingertips and only our fingertips.

  • So we not only play, but we stop the sound physically

  • with our hands at our fingertips.

  • And our feet are controlling all the chromatic half steps

  • of the instrument.

  • So there's a system of 21 slots at the bottom

  • of the instrument.

  • I'm trying to remember all the time where those pedals are,

  • what key I'm in.

  • Something that you have to learn to control,

  • but you also have to respect them.

  • Because at any moment, if you have one wrong pedal,

  • you are a fool on the harp.

  • And if you do one thing wrong on a horse,

  • you could cause an accident.

  • But they're both a challenge and I enjoy both.

  • Thanks very much.

  • To this day, when I cover my harp,

  • I always pretend I'm covering my horse.

  • [MUSIC PLAYING]

  • Every instrument has a sweet perfect range.

  • And that's probably for the harp right

  • in the middle of the strings.

  • But that's not to say that we only play there.

  • One of the techniques we used to be a little bit more precise

  • in sound and articulate is French près de la table,

  • which is close to the board.

  • Playing close to the board makes it easier to hear.

  • It cuts more through the orchestra.

  • And we play very close to the sounding board which eliminates

  • a lot of the resonance.

  • We also play harmonics where we cut the string in half

  • with our hands.

  • It's a very pretty sound and that's

  • used in a lot of orchestration.

  • So all the people who were making colors with their music

  • rather than just statements.

  • The harp has a lot of strings.

  • 47 in all and there are different materials.

  • The bottom of the harp is wire wound around wire.

  • They're very strong.

  • The middle of the harp or the basic playing

  • area of the harp, your fundamental sound

  • is drawn from the gut strings.

  • And this is the same gut as tennis racket gut,

  • but it's much more refined.

  • And then the top of the instrument

  • sometimes has some nylon strings.

  • And they all blend together, but the sonority of each color

  • is very different.

  • There are some times when Fauré or Debussy used the harp

  • as an accomplishment and you hear it all the way through

  • the music.

  • And you hear sweeping glissandi, which

  • are when you just run your fingers over the strings

  • and you set the pedals in different harmonies.

  • So that's the one unique thing that only the harp can do.

  • We can make chords and that's really unique.

  • We are the only person that can do that in the orchestra.

  • In Berlioz "Symphonie fantastique,"

  • he opens the The Ball second movement with two harps.

  • And everyone's waiting.

  • The orchestra's tremolo-ing and the two harps come in.

  • It's beautiful music.

  • Only the harps can make that kind of a sound.

  • [MUSIC PLAYING]

[MUSIC PLAYING]

字幕と単語

ワンタップで英和辞典検索 単語をクリックすると、意味が表示されます

B1 中級

私たちはNYフィル:プリンシパルハープ・ナンシー・アレン (We Are NY Phil: Principal Harp Nancy Allen)

  • 2 0
    林宜悉 に公開 2021 年 01 月 14 日
動画の中の単語