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曾经听人说过：任何有心学习的人，当他专注学习一样东西七年，必定会成为这方面的专家，有所成就。
从希拉里·哈恩（Hilary Hahn）4岁时被小提琴演奏迷住，到11岁时首次参与管弦乐团合作的演奏会，正好是7年。15岁时，她与洛林·马泽尔（Lorin Maazel）合作演奏的贝多芬小提琴协奏曲在德国首演，大获成功，从此名扬欧洲。她16岁开始录制专辑，至今已发行了14张个人专辑，3张现场演奏会录像带，曾被美国《时代周刊》评为“最优秀的青年古典音乐家”（Best Young Classical Musician），被英国著名古典音乐杂志《留声机》评为2008年度艺术家，并已收获2座格莱美奖。过去十年来，她的身影不时与世界顶级乐团同时出现在欧亚，以及北美地区的各大音乐会上。
但哈恩远不满足于只做古典音乐演奏的新宠儿。从她在自己的网站上坚持更新的“Postcards from the Road”和Youtube频道上采访作曲家们和答粉丝问的视频可以看出，她对世界充满好奇并喜欢与人沟通。而与不同音乐风格的歌手们合作，以及和德国钢琴家兼作曲家Hauschka合作即兴创作的专辑《Silfra》，从中更能看到哈恩在努力制造古典乐的新气象。
哈恩最近的一张专辑是一张安可曲专辑，没错，就是每次演奏会结束观众们都声嘶力竭把表演者请回来“再来一曲”的终场曲。来听听她是怎么想到要做这么一张专辑的。
Host： Grammy-winning violinist Hilary Hahn is trying to bring back the lost art of the encore. No， she’s not demanding a standing 1）ovation at every concert. She’s trying to get composers to write more encores， short performance pieces designed to cap off concerts. And they were once a 2）staple for classical music writers. Hahn recently commissioned a couple dozen encores for a new project called In 27 Pieces： The Hilary Hahn Encores.
And she joins me from Baltimore， to talk more about the project. Hilary， welcome to the program.
Hilary Hahn： Thank you.
Host： So why did you decide to make a whole project devoted to just encores？
Hahn： Well， about a decade ago I noticed that there were a lot of collections of popular encores being recorded or printed， and people were really focusing on the pieces that people recognize that they love； that are really great pieces of music and need to keep being played. And then I just found myself wondering where are the new ones？ ’Cause I knew that people were writing new short pieces， but I was not seeing them be performed. So I just thought it would be nice to work on a commissioned project of encores. Host： One of these encores is called Whispering， and you did one performance at a benefit concert in...in Bethlehem， Pennsylvania， last month.
Hahn： Well， this piece is by the Finnish composer Einojuhani Rautavaara. And he’s written some really beautiful music for violin in different combinations of instrumentation. And I love the lyricism of this particular piece. It’s called Whispering and he writes about that title， that he wanted to show that there is 3）virtuosity even in quiet passages. There’s an idea of the encore being a virtuosic showpiece. And I found that a lot of the composers in this project wanted to redefine the term encore， and they wanted to create a different kind of virtuosity， or they wanted to create a lyricism， or a thoughtfulness that they had missed in certain kinds of encores in the past. Host： Is it very common for pieces to be commissioned by an artist？ I mean， these were written specifically for you， but how does， how does the process work？
Hahn： Actually， it is an 4）integral part of the classical composition scene， that there are commissions because that is in essence how the composer initially gets paid...
Host： It seems like this business model hasn’t changed then for a couple hundred years. Sounds like， right？
Hahn： It may not have.
Host： I mean， this is how it’s always been in classical music.
Hahn： Yeah， but I think now the commissions are coming from the presenters and the musicians. I think initially they came from 5）patrons who would have pieces performed at their events.
Host： Why do you think people aren’t doing encores as much？
Hahn： I’m not sure why there hasn’t been as much focus. But I think the encore form， people have generally wanted to hear things they know already. Sort of like you go to a restaurant and you， maybe you want ice cream for dessert because you know you like ice cream.
The shorter pieces give me a chance to introduce people to a lot of composers that even I wasn’t maybe so familiar with before I started my research for this project but whose music I love. And I hope that I can create some new favorites.
Host： Can you give an example of someone that you’re performing now that you’d consider a new favorite？
Hahn： Well， one that seems to be coming across well to a lot of the audiences has been Mercy by Max Richter.
（Soundbite from Mercy）
Hahn： He wrote this really 6）evocative， slow， lyrical piece. But it’s also—it’s interesting. He based it on the concept of 7）plainsong； the sort of chant-like writing that has been around for centuries. Yet it sounds very modern as well.
Something new has the chance to speak to someone immediately because there isn’t this sort of expectation of what they’re about to hear， so people can be really， really 8）captivated， really quickly.
主持人：格莱美获奖者、小提琴家希拉里·哈恩试图寻回失落的安可曲艺术。不要误会，她不是要求观众每场音乐会结束都起身为她欢呼喝彩。她是在努力让作曲家能创作更多的安可曲，即用于结束一场音乐会时短小的表演性乐曲。安可曲曾一度是古典音乐作曲家的常见创作形式。哈恩近来委托了一些作曲家，为新专辑《27首：希拉里·哈恩安可曲》创作一批安可曲。
今天她在巴尔的摩参加我们的节目，跟我们聊聊她的新专辑。希拉里，欢迎参加这期节目。
希拉里·哈恩：谢谢。
主持人：为什么你会决定做一整张只收录安可曲的专辑呢？
哈恩：是这样的。差不多十年前我就注意到有很多流行的安可曲被录制和发行，人们的注意力也都是在一些已广受人们喜爱的曲目上。那些曲目确实是优秀的音乐作品，也理应一直演奏。然后我就在想，有没有一些新的安可曲呢？因为我知道仍然有作曲家在创作这些短曲，但是我却没看到有人演奏这些新曲子。所以我想，委托作曲家们为我创作一张安可曲专辑也许是个不错的主意。 主持人：专辑里收录的那首《轻声耳语》，你上月在宾夕法尼亚州伯利恒市的慈善音乐会上演奏过它。
哈恩：对，这首曲子出自芬兰作曲家埃诺约哈尼·劳塔瓦拉之手。他写过一些非常动听的小提琴协奏曲。我特别喜欢《轻声耳语》是因为它优美抒情。作曲家用旋律完美诠释了这个名字。他想让人们知道，即使是悠扬轻缓的曲目也蕴含了精湛高超的技巧。大家通常认为安可曲就是用来炫技的。但我发现这张专辑邀请的很多作曲大家都想重新定义“安可曲”的概念，他们想表现不一样的技艺，或许创造一种抒情的方式，或是找回在以往的安可曲中所丢失的深度。
主持人：但是像这种演奏家专门委托他人作曲的情况很常见吗？我是说，这些曲子是为你量身打造的，那么整件事是怎样操作的？
哈恩：事实上这是古典音乐创作不可或缺的一部分。之所以会有委托创作的情况存在，就是因为这是作曲家最初的主要收入来源……
主持人：似乎这种商业模式几百年来并未改变。听起来就是这样，对吗？
哈恩：可能没变吧。
主持人：我的意思是，在古典音乐界一直是这样？
哈恩：是的，但我认为如今的委托方主要是演奏者和音乐家，而最开始的时候，作品由一些赞助人委托创作，他们想用这些曲子给自己办的活动添点彩。
主持人：那你觉得为什么现在人们不像以前那么热衷于创作安可曲了呢？
哈恩：我不太确定为什么大家的热情减少了。不过我认为人们一般都会想听一些他们熟悉喜欢的曲子，安可曲就属于这一类。有点像你去一家餐厅，可能会点冰淇淋做餐后甜点，因为你知道你喜欢冰淇淋。
这些篇幅短小的曲目让我有机会向人们介绍很多作曲家，有些作曲家甚至是我在制作这张专辑时才开始了解熟悉的，但他们的音乐我都很喜欢。我希望我的这张专辑能推出几首受人们喜爱的新安可曲。
主持人：你能给我们举个例子吗？你认为你现在所演奏的曲目中哪一首可能会成为人们的“新宠”呢？
哈恩：嗯……似乎大多数听众对马克西·里克特所作的《仁慈》印象很不错。（《仁慈》片段）
哈恩：他的这首曲子舒缓轻柔，能引起人们的共鸣。但它也……它很有意思。马克西是本着素歌的概念创作这首曲子的，那种反复吟诵祷文式的歌曲已有几百年的历史了。但同时它听起来也很有现代感。
新曲目能很快引起人们的共鸣，因为他们不知道会听到什么，所以会很快抓住人们的耳朵。
翻译：吉安德
从希拉里·哈恩（Hilary Hahn）4岁时被小提琴演奏迷住，到11岁时首次参与管弦乐团合作的演奏会，正好是7年。15岁时，她与洛林·马泽尔（Lorin Maazel）合作演奏的贝多芬小提琴协奏曲在德国首演，大获成功，从此名扬欧洲。她16岁开始录制专辑，至今已发行了14张个人专辑，3张现场演奏会录像带，曾被美国《时代周刊》评为“最优秀的青年古典音乐家”（Best Young Classical Musician），被英国著名古典音乐杂志《留声机》评为2008年度艺术家，并已收获2座格莱美奖。过去十年来，她的身影不时与世界顶级乐团同时出现在欧亚，以及北美地区的各大音乐会上。
但哈恩远不满足于只做古典音乐演奏的新宠儿。从她在自己的网站上坚持更新的“Postcards from the Road”和Youtube频道上采访作曲家们和答粉丝问的视频可以看出，她对世界充满好奇并喜欢与人沟通。而与不同音乐风格的歌手们合作，以及和德国钢琴家兼作曲家Hauschka合作即兴创作的专辑《Silfra》，从中更能看到哈恩在努力制造古典乐的新气象。
哈恩最近的一张专辑是一张安可曲专辑，没错，就是每次演奏会结束观众们都声嘶力竭把表演者请回来“再来一曲”的终场曲。来听听她是怎么想到要做这么一张专辑的。
Host： Grammy-winning violinist Hilary Hahn is trying to bring back the lost art of the encore. No， she’s not demanding a standing 1）ovation at every concert. She’s trying to get composers to write more encores， short performance pieces designed to cap off concerts. And they were once a 2）staple for classical music writers. Hahn recently commissioned a couple dozen encores for a new project called In 27 Pieces： The Hilary Hahn Encores.
And she joins me from Baltimore， to talk more about the project. Hilary， welcome to the program.
Hilary Hahn： Thank you.
Host： So why did you decide to make a whole project devoted to just encores？
Hahn： Well， about a decade ago I noticed that there were a lot of collections of popular encores being recorded or printed， and people were really focusing on the pieces that people recognize that they love； that are really great pieces of music and need to keep being played. And then I just found myself wondering where are the new ones？ ’Cause I knew that people were writing new short pieces， but I was not seeing them be performed. So I just thought it would be nice to work on a commissioned project of encores. Host： One of these encores is called Whispering， and you did one performance at a benefit concert in...in Bethlehem， Pennsylvania， last month.
Hahn： Well， this piece is by the Finnish composer Einojuhani Rautavaara. And he’s written some really beautiful music for violin in different combinations of instrumentation. And I love the lyricism of this particular piece. It’s called Whispering and he writes about that title， that he wanted to show that there is 3）virtuosity even in quiet passages. There’s an idea of the encore being a virtuosic showpiece. And I found that a lot of the composers in this project wanted to redefine the term encore， and they wanted to create a different kind of virtuosity， or they wanted to create a lyricism， or a thoughtfulness that they had missed in certain kinds of encores in the past. Host： Is it very common for pieces to be commissioned by an artist？ I mean， these were written specifically for you， but how does， how does the process work？
Hahn： Actually， it is an 4）integral part of the classical composition scene， that there are commissions because that is in essence how the composer initially gets paid...
Host： It seems like this business model hasn’t changed then for a couple hundred years. Sounds like， right？
Hahn： It may not have.
Host： I mean， this is how it’s always been in classical music.
Hahn： Yeah， but I think now the commissions are coming from the presenters and the musicians. I think initially they came from 5）patrons who would have pieces performed at their events.
Host： Why do you think people aren’t doing encores as much？
Hahn： I’m not sure why there hasn’t been as much focus. But I think the encore form， people have generally wanted to hear things they know already. Sort of like you go to a restaurant and you， maybe you want ice cream for dessert because you know you like ice cream.
The shorter pieces give me a chance to introduce people to a lot of composers that even I wasn’t maybe so familiar with before I started my research for this project but whose music I love. And I hope that I can create some new favorites.
Host： Can you give an example of someone that you’re performing now that you’d consider a new favorite？
Hahn： Well， one that seems to be coming across well to a lot of the audiences has been Mercy by Max Richter.
（Soundbite from Mercy）
Hahn： He wrote this really 6）evocative， slow， lyrical piece. But it’s also—it’s interesting. He based it on the concept of 7）plainsong； the sort of chant-like writing that has been around for centuries. Yet it sounds very modern as well.
Something new has the chance to speak to someone immediately because there isn’t this sort of expectation of what they’re about to hear， so people can be really， really 8）captivated， really quickly.
主持人：格莱美获奖者、小提琴家希拉里·哈恩试图寻回失落的安可曲艺术。不要误会，她不是要求观众每场音乐会结束都起身为她欢呼喝彩。她是在努力让作曲家能创作更多的安可曲，即用于结束一场音乐会时短小的表演性乐曲。安可曲曾一度是古典音乐作曲家的常见创作形式。哈恩近来委托了一些作曲家，为新专辑《27首：希拉里·哈恩安可曲》创作一批安可曲。
今天她在巴尔的摩参加我们的节目，跟我们聊聊她的新专辑。希拉里，欢迎参加这期节目。
希拉里·哈恩：谢谢。
主持人：为什么你会决定做一整张只收录安可曲的专辑呢？
哈恩：是这样的。差不多十年前我就注意到有很多流行的安可曲被录制和发行，人们的注意力也都是在一些已广受人们喜爱的曲目上。那些曲目确实是优秀的音乐作品，也理应一直演奏。然后我就在想，有没有一些新的安可曲呢？因为我知道仍然有作曲家在创作这些短曲，但是我却没看到有人演奏这些新曲子。所以我想，委托作曲家们为我创作一张安可曲专辑也许是个不错的主意。 主持人：专辑里收录的那首《轻声耳语》，你上月在宾夕法尼亚州伯利恒市的慈善音乐会上演奏过它。
哈恩：对，这首曲子出自芬兰作曲家埃诺约哈尼·劳塔瓦拉之手。他写过一些非常动听的小提琴协奏曲。我特别喜欢《轻声耳语》是因为它优美抒情。作曲家用旋律完美诠释了这个名字。他想让人们知道，即使是悠扬轻缓的曲目也蕴含了精湛高超的技巧。大家通常认为安可曲就是用来炫技的。但我发现这张专辑邀请的很多作曲大家都想重新定义“安可曲”的概念，他们想表现不一样的技艺，或许创造一种抒情的方式，或是找回在以往的安可曲中所丢失的深度。
主持人：但是像这种演奏家专门委托他人作曲的情况很常见吗？我是说，这些曲子是为你量身打造的，那么整件事是怎样操作的？
哈恩：事实上这是古典音乐创作不可或缺的一部分。之所以会有委托创作的情况存在，就是因为这是作曲家最初的主要收入来源……
主持人：似乎这种商业模式几百年来并未改变。听起来就是这样，对吗？
哈恩：可能没变吧。
主持人：我的意思是，在古典音乐界一直是这样？
哈恩：是的，但我认为如今的委托方主要是演奏者和音乐家，而最开始的时候，作品由一些赞助人委托创作，他们想用这些曲子给自己办的活动添点彩。
主持人：那你觉得为什么现在人们不像以前那么热衷于创作安可曲了呢？
哈恩：我不太确定为什么大家的热情减少了。不过我认为人们一般都会想听一些他们熟悉喜欢的曲子，安可曲就属于这一类。有点像你去一家餐厅，可能会点冰淇淋做餐后甜点，因为你知道你喜欢冰淇淋。
这些篇幅短小的曲目让我有机会向人们介绍很多作曲家，有些作曲家甚至是我在制作这张专辑时才开始了解熟悉的，但他们的音乐我都很喜欢。我希望我的这张专辑能推出几首受人们喜爱的新安可曲。
主持人：你能给我们举个例子吗？你认为你现在所演奏的曲目中哪一首可能会成为人们的“新宠”呢？
哈恩：嗯……似乎大多数听众对马克西·里克特所作的《仁慈》印象很不错。（《仁慈》片段）
哈恩：他的这首曲子舒缓轻柔，能引起人们的共鸣。但它也……它很有意思。马克西是本着素歌的概念创作这首曲子的，那种反复吟诵祷文式的歌曲已有几百年的历史了。但同时它听起来也很有现代感。
新曲目能很快引起人们的共鸣，因为他们不知道会听到什么，所以会很快抓住人们的耳朵。
翻译：吉安德