Ana Vidović on Prodigies, Performance, and Perseverance (Ep. 140)

ANA VIDOVIĆ: Thank you so much.

ANA VIDOVIĆ： 非常感谢。

It’s great to be here.

很高兴来到这里。

VIDOVIĆ: It’s a very good question.

维多维：这是一个非常好的问题。

My love for Bach’s music actually started when I was very young, growing up in Croatia.

我对巴赫音乐的热爱实际上始于我很小的时候，在克罗地亚长大。

It was part of our repertoire that we studied at the academy and in the school of music.

这是我们在学院和音乐学院学习的曲目的一部分。

So I was introduced to it from a very early age, and I just connected with it immediately for some reason.

所以我很小的时候就接触到了它，并且出于某种原因我立即就与它产生了联系。

Throughout all these years, Bach’s music is something that I always play and always continue to play.

这些年来，巴赫的音乐是我一直演奏并且一直继续演奏的东西。

We’re so used to hearing Bach on violin, piano, cello, but we’re not so used to hearing it on guitar, and it’s a completely different quality when you hear it on a classical guitar.

我们已经习惯了用小提琴、钢琴、大提琴来听巴赫的音乐，但我们不太习惯用吉他来听巴赫的音乐，而当你用古典吉他来听时，这是一种完全不同的质量。

All the voices come out very clearly.

所有的声音都非常清晰地传出来。

The bass line is obviously very, very important, so I think it comes out completely in a more beautiful, organic way on a guitar.

低音线显然非常非常重要，所以我认为它在吉他上以一种更美丽、更有机的方式完全表现出来。

Also, it has to do with the performer, of course.

当然，这也与表演者有关。

If you love Bach’s music, if you connect with it, it comes through what you do, and the audience recognizes that.

如果你喜欢巴赫的音乐，如果你能与它产生共鸣，它就会通过你的所作所为而显现出来，观众也会认识到这一点。

For me, personally, there’s a special connection with Bach’s music from a very, very early age, and it continues to be so, so I probably will always be that way.

对我个人来说，从很小很小的时候起就与巴赫的音乐有一种特殊的联系，而且一直如此，所以我可能会永远这样。

Growing up, I listened to a lot of cellists, violinists, pianists — how they interpret, and I tried to apply that on classical guitar, which is not easy.

在成长过程中，我听了很多大提琴家、小提琴家、钢琴家的演奏——他们如何诠释，我试图将其应用到古典吉他上，这并不容易。

Just that in itself is a challenge for me.

这本身对我来说就是一个挑战。

It always challenges me.

它总是挑战我。

Bach’s music, in general, challenges me to become a better musician.

总的来说，巴赫的音乐挑战我成为一名更好的音乐家。

I think all those things together combined just makes it very special.

我认为所有这些东西结合在一起就让它变得非常特别。

Personally, like I said, for me, it’s the most beautiful music that was ever created.

就我个人而言，就像我说的，对我来说，这是有史以来创作的最美丽的音乐。

VIDOVIĆ: A lot of it also has to do with the quality of the arrangement.

VIDOVIĆ：很大程度上也与编曲的质量有关。

Obviously, Bach didn’t compose for guitar, so we have a lot of arrangements, and that’s when the arranger comes in.

显然，巴赫不是为吉他作曲的，所以我们有很多编曲，这时候编曲就派上用场了。

You have to be familiar with the classical guitar, how it works.

您必须熟悉古典吉他及其工作原理。

I perform a lot of arrangements by a Croatian arranger, Valter Dešpalj, who is actually a cellist.

我演奏了克罗地亚编曲家 Valter Dešpalj 的很多编曲，他实际上是一位大提琴家。

He comes from a different world, but he understands guitar very well.

他来自不同的世界，但他对吉他非常了解。

On a cello, you cannot bring all these voices out as clearly as on a classical guitar.

在大提琴上，你无法像在古典吉他上那样清晰地表达所有这些声音。

I think that’s part of it.

我认为这是其中的一部分。

You can bring the bass line.

你可以带低音线。

You can bring the middle line.

可以带中线。

You can bring the upper line very, very clearly.

你可以把上面的线非常非常清楚地呈现出来。

That’s part of it, but also, as a performer, you have to find ways to make it interesting.

这是其中的一部分，但作为一名表演者，你必须找到让它变得有趣的方法。

Like I said, all the voices come out very, very clearly.

就像我说的，所有的声音都非常非常清晰地发出来。

I think that’s number one.

我认为这是第一。

Obviously, as a guitarist, we don’t have a lot of repertoire.

显然，作为一名吉他手，我们没有太多的曲目。

We have beautiful pieces that were composed originally, but mostly from Spain.

我们有一些最初创作的美丽作品，但大部分来自西班牙。

There is a lot of Spanish repertoire for guitar, but Bach in itself is a challenge.

西班牙吉他曲目有很多，但巴赫本身就是一个挑战。

VIDOVIĆ: It’s an amazing piece.

VIDOVIĆ：这是一件了不起的作品。

It’s a fabulous piece.

这是一件很棒的作品。

Very, very difficult technically, musically.

在技​​术上和音乐上都非常非常困难。

You have to work very hard to make it sound beautiful.

你必须非常努力才能让它听起来很美。

That is probably one of the most difficult pieces in guitar repertoire.

这可能是吉他曲目中最困难的作品之一。

It’s a challenge for every guitarist.

这对每个吉他手来说都是一个挑战。

I, myself, have been working on it for many, many years.

我本人已经为此工作了很多很多年。

I still don’t feel comfortable playing it, but it’s a very, very challenging piece.

我仍然感觉演奏起来不太舒服，但这是一首非常非常具有挑战性的作品。

VIDOVIĆ: I think so.

维多维：我想是的。

There are many, many pieces — beautiful pieces — for guitar, composed by composers that didn’t actually play the instrument, but I think they understood it very, very well.

有很多很多的吉他作品 —— 美丽的作品 —— 都是由作曲家创作的，但他们实际上并没有演奏这种乐器，但我认为他们非常非常了解它。

Or they, perhaps, worked with a classical guitarist.

或者他们可能与一位古典吉他手合作。

Segovia was very important in our classical guitar world.

塞戈维亚在我们的古典吉他世界中非常重要。

He brought many, many composers a lot of music for classical guitar.

他给很多很多作曲家带来了很多古典吉他音乐。

He was a catalyst for classical guitar.

他是古典吉他的催化剂。

Concierto de Aranjuez by Rodrigo is one of the most famous pieces for guitar and orchestra.

罗德里戈的《阿兰胡埃斯协奏曲》是最著名的吉他和管弦乐作品之一。

Personally, for me, the piece that represents guitar completely — the technical aspect, the musical aspect.

就我个人而言，这首曲子完全代表了吉他——技术方面、音乐方面。

Yes, it’s possible to do so.

是的，可以这样做。

VIDOVIĆ: He did so many things.

VIDOVIĆ：他做了很多事情。

I think he was the — I don’t want to say the first or the only one — there are so many great artists, so many classical guitarists that brought classical guitar to where it is now.

我认为他是 —— 我不想说第一个或唯一一个 —— 有这么多伟大的艺术家，这么多古典吉他手将古典吉他带到了现在的位置。

They’re all equally important, but Segovia is just at the highest level.

它们都同样重要，但塞哥维亚只是处于最高水平。

I don’t think classical guitar would be here in this level and recognized by so many people if there wasn’t Segovia.

我想如果没有塞戈维亚，古典吉他就不会达到这个水平并被这么多人认可。

We owe, actually, a lot to him.

事实上，我们欠他很多。

Through repertoire, through the level of performing, technique, I think he still stays one of the most recognized classical guitarists of all time.

通过曲目、表演水平和技术，我认为他仍然是有史以来最受认可的古典吉他手之一。

He always will be.

他永远都是。

For me, personally, he was an idol, something that I aspired to be.

对我个人而言，他是一个偶像，是我渴望成为的偶像。

I grew up listening to his recordings.

我是听着他的录音长大的。

And many, many other artists — we grew up with him.

还有很多很多其他艺术家——我们和他一起长大。

VIDOVIĆ: Like I said, I listened to a lot of Bach, Scarlatti, Beethoven, Rachmaninoff.

维多维：就像我说的，我听了很多巴赫、斯卡拉蒂、贝多芬、拉赫玛尼诺夫的作品。

I wish all of them composed for classical guitar.

我希望他们都是为古典吉他创作的。

Vivaldi.

维瓦尔第。

We’re lucky to have arrangements, but sometimes I wish that we had more repertoire to choose from.

我们很幸运有安排，但有时我希望我们有更多的曲目可供选择。

For classical guitarists, it’s difficult, so we have to rely on arrangers that arranged all these beautiful pieces for us.

对于古典吉他手来说，这很困难，所以我们必须依靠编曲家为我们编排所有这些美丽的作品。

VIDOVIĆ: Well, you have to be careful.

VIDOVIĆ：嗯，你必须小心。

Of course, a guitar — as every other instrument — has technical limitations.

当然，吉他——和其他乐器一样——也有技术限制。

Whenever you play something — and again, we’re all human, so we have to try to — something that was composed for piano, it’s very difficult to play on classical guitar no matter how well you arrange it.

每当你演奏一些东西时，我们都是人，所以我们必须尝试为钢琴创作的东西，无论你编得多么好，在古典吉他上演奏都是非常困难的。

Of course, you still want to sound natural.

当然，您仍然希望听起来自然。

You still want to sound good.

你仍然想要听起来好听。

Obviously, Yamashita is an amazing guitarist.

显然，山下是一位了不起的吉他手。

He can play anything he would like to play.

他可以玩任何他想玩的游戏。

When you choose the repertoire, you have to be very, very careful.

当你选择曲目时，你必须非常非常小心。

You have to be mindful of your own limitations and what you’re capable of.

你必须注意自己的局限性和自己的能力。

For me, personally, I’m very, very careful.

就我个人而言，我非常非常小心。

I want something that I play to sound good, technically and musically.

我希望我演奏的东西在技术和音乐上听起来都很好。

There are limitations, but I think it’s everybody’s choice.

虽然有限制，但我认为这是每个人的选择。

It’s a personal choice, what you would like to play.

这是个人选择，你想玩什么。

Goldberg Variations are very, very difficult.

哥德堡变奏曲非常非常困难。

It takes many, many years to get it to the level where you want it to be.

需要很多很多年才能达到你想要的水平。

Also musically, dynamically, we obviously don’t want to sound like a pianist, but we have to apply that to our own instrument and what we do.

另外，在音乐上、动态上，我们显然不想听起来像钢琴家，但我们必须将其应用到我们自己的乐器和我们所做的事情上。

VIDOVIĆ: There are certain musicians that experiment with that, but I think, as a classical guitarist, this is what we do.

VIDOVIĆ：有些音乐家正在尝试这样做，但我认为，作为一名古典吉他手，这就是我们所做的。

We usually stay in standard tuning.

我们通常保持标准调音。

There are not many alterations, but for me it’s inspirational to listen to other styles of music: jazz, blues, even country.

没有太多的改变，但对我来说，听其他风格的音乐是鼓舞人心的：爵士乐、布鲁斯，甚至乡村音乐。

I learn from that.

我从中吸取教训。

It’s my inspiration to listen to not just classical music, but other styles of music.

我的灵感不仅是听古典音乐，还听其他风格的音乐。

But there are certain standards in classical guitar, and we must follow that.

但古典吉他有一定的标准，我们必须遵循。

VIDOVIĆ: Why not?

维多维：为什么不呢？

I guess it’s a personal choice.

我想这是个人选择。

Like I said, many of them experiment with alternate things, but for me, personally, I think six strings are enough.

就像我说的，他们中的许多人都在尝试其他的东西，但对我个人来说，我认为六根弦就足够了。

I try to stay within that limit.

我努力保持在这个限度内。

VIDOVIĆ: Because I do love Beatles.

VIDOVIĆ：因为我确实喜欢披头士乐队。

Everyone loves Beatles, of course.

当然，每个人都喜欢披头士乐队。

There are some beautiful songs.

有一些优美的歌曲。

Of course, “Yesterday” is one of my favorites.

当然，《昨天》是我的最爱之一。

I played that piece, that song arranged by Toru Takemitsu.

我演奏了那首曲子，那首由武光彻编曲的歌曲。

He arranged a book of different songs, not just by Beatles but other artists as well, but I chose that one.

他编排了一本不同歌曲的书，不仅是披头士乐队的歌曲，还有其他艺术家的歌曲，但我选择了那一首。

There’s another one, “Here, There, and Everywhere.”

还有另外一个，“这里、那里、无处不在”。

I’m not so skilled in that regard.

我在这方面不太熟练。

I try to do it, but I leave it to the people that actually know how to transcribe well.

我尝试这样做，但我把它留给那些真正知道如何很好地转录的人。

Like I said before, the arrangement part is very, very important, so if the arrangement is bad, obviously it’s not going to sound so good.

就像我之前说的，编曲部分非常非常重要，所以如果编曲不好的话，显然听起来不会那么好。

I would rather leave that to someone that actually knows how to do it, but I experimented a little bit with that.

我宁愿把它留给真正知道如何去做的人，但我对此进行了一些尝试。

What do you think of that argument?

你觉得这个论点怎么样？

There’s something about this creation of a hovering sound world that, say, Villa-Lobos did that we still haven’t caught up to fully in our musical understanding.

比如说，维拉·罗伯斯（Villa-Lobos）创造的悬浮声音世界的某些东西，我们在音乐理解方面还没有完全跟上。

It’s a precursor of Brian Eno’s, say, among others.

它是布莱恩·伊诺（Brian Eno）等人的前身。

VIDOVIĆ: Whenever you choose a repertoire, a piece that you like to play, it’s important to study and learn about the composer and what they were trying to do.

VIDOVIĆ：每当你选择一个曲目，一首你喜欢演奏的作品时，研究和了解作曲家以及他们想要做什么很重要。

A part of it that I think we still struggle as guitarists — analyzing the music is very, very important.

我认为作为吉他手，我们仍然在挣扎，分析音乐非常非常重要。

Looking at the score, understanding what is going on.

看看分数，了解发生了什么。

Pianists, violinists, cellists are taught to do that from a very, very early age.

钢琴家、小提琴家、大提琴手从很小很小的时候就被教导要这样做。

We, as classic guitarists, don’t fully understand that yet.

作为古典吉他手，我们还没有完全理解这一点。

I think that’s a very, very important part.

我认为这是非常非常重要的部分。

Also, learning about the composer, learning about the history — when they lived, why they composed in a certain way.

另外，了解作曲家，了解历史——他们生活在什么时候，为什么他们以某种方式创作。

Going into the background is very, very important.

进入背景非常非常重要。

I think, as classical guitarists, we still have to learn how to do that.

我认为，作为古典吉他手，我们仍然需要学习如何做到这一点。

It’s an important part.

这是一个重要的部分。

Guitar is a very interesting instrument.

吉他是一种非常有趣的乐器。

Sometimes we just want to sit and play, and not so much go into the depth of the actual piece and learning about all the aspects of the piece.

有时我们只是想坐下来演奏，而不是深入实际作品的深度并了解作品的所有方面。

Like I said, the background is very, very important.

正如我所说，背景非常非常重要。

Then the music that you play comes out differently.

然后你演奏的音乐就会有所不同。

It’s a different quality when you actually know what the composer was intending to do.

当你真正知道作曲家的意图时，这是一种不同的品质。

VIDOVIĆ: You just see everything much clearer.

VIDOVIĆ：你会更清楚地看到一切。

I think it’s good to do that before you actually start learning the piece.

我认为在你真正开始学习这首曲子之前这样做是很好的。

What I just started doing recently is, just look at the score, look at the notes, write things down.

我最近刚开始做的就是，看看乐谱，看看笔记，把东西写下来。

Maybe I’m just a visual person that understands music more that way.

也许我只是一个视觉型的人，这样更能理解音乐。

Then when I actually pick up the guitar and play it on the instrument, again, it’s a different quality because you understand more where all the ups and downs are and how the music moves.

然后，当我真正拿起吉他并在乐器上演奏时，这又是一种不同的品质，因为你可以更多地了解所有的起伏在哪里以及音乐如何移动。

It’s a very important part of studying the score.

这是研究分数的一个非常重要的部分。

Even visualizing the music and memorizing it that way, without the actual instrument, is important as well.

即使没有实际的乐器，以这种方式想象音乐并记住它也很重要。

It makes you learn the piece in a more secure way.

它使您以更安全的方式学习该作品。

Again, it’s a very, very important part of what we do.

再说一遍，这是我们工作中非常非常重要的一部分。

Studying the score is important.

研究分数很重要。

VIDOVIĆ: I would probably go crazy.

VIDOVIĆ：我可能会发疯。

VIDOVIĆ: I just had a conversation with a friend of mine about that — how the amount of hours are actually not important as much as the quality of the practice.

VIDOVIĆ：我刚刚和我的一个朋友谈过这个问题——“实际上，练习的质量并不重要，时间的长短也很重要。”

As a child, I used to practice many, many hours because I didn’t know, I didn’t find a way.

当我还是个孩子的时候，我曾经练习很多很多个小时，因为我不知道，我找不到方法。

You kind of experiment over the years.

多年来你一直在进行实验。

At this age, I finally learned that it’s more about concrete work, focused work, working on things that give you trouble, either if it’s technical or musical, and then you practice in sections.

在这个年纪，我终于了解到，更多的是具体的工作，专注的工作，做那些给你带来麻烦的事情，无论是技术上的还是音乐上的，然后你分段练习。

That takes less time.

这需要更少的时间。

You practice very slowly before playing fast, and then you put it all together.

你先慢慢练习，然后再快速弹奏，然后把它们组合起来。

It just takes a lot of years to get to a point where you know what you need to work on.

只需要花费很多年的时间才能知道自己需要做什么。

Two or three hours of focused practice is more efficient than seven or eight hours because sometimes there is a danger of just playing the piece through and not really working on sections and things that we should work on.

两到三个小时的集中练习比七到八个小时更有效率，因为有时存在只弹奏乐曲而没有真正处理我们应该处理的部分和事情的危险。

I think at the eighth hour, we should all stop.

我想在第八个小时的时候，我们都应该停下来。

COWEN: What’s the main physical constraint on what you do?

COWEN：你所做的事情的主要身体限制是什么？

Is it the wrist, the back, concentration, memory?

是手腕、背部、注意力、记忆力吗？

What gives out first, so to speak?

可以这么说，什么首先发出？

VIDOVIĆ: It’s all of those things together, I think.

VIDOVIĆ：我认为这是所有这些事情的结合。

Of course, as we age, there are physical limitations.

当然，随着年龄的增长，身体也会受到限制。

Our mind decreases as well, but you can be careful and be vigilant about that.

我们的心也会减退，但是你可以小心、警惕。

For example, our body, of course, cannot sustain seven or eight hours of continued practice.

比如说，我们的身体当然无法承受七八个小时的持续练习。

It’s just too much.

实在是太多了。

There are injuries that happen, so people have to be very, very careful.

受伤的情况时有发生，所以人们必须非常非常小心。

You also have to make sure that your posture is correct.

您还必须确保您的姿势正确。

Your back is straight, and your shoulders are relaxed.

你的背部挺直，肩膀放松。

Your hands should be relaxed.

你的手应该放松。

That’s a very big part of it.

这是其中很大的一部分。

Our body decreases as we age, so we have to find a way to compensate that.

我们的身体会随着年龄的增长而衰退，所以我们必须找到一种方法来弥补。

Also, our mind is a very, very important part.

另外，我们的心也是一个非常非常重要的部分。

Actually, I think it’s more important than the physical because everything comes from your mind.

事实上，我认为它比身体更重要，因为一切都来自你的思想。

If your mind is relaxed, if your mind knows what it’s doing, then everything else will fall into place.

如果你的头脑放松，如果你的头脑知道自己在做什么，那么其他一切都会水到渠成。

For example, when you perform live, your mind has to be very, very relaxed because if your mind is constantly worrying, that creates a lot of tension in your hands, in your shoulders, in your back.

例如，当你现场表演时，你的思想必须非常非常放松​​，因为如果你的思想不断担心，就会在你的手、肩膀、背部造成很大的紧张。

Everything has to come together, but again, that’s something that takes many years of experience.

一切都必须结合在一起，但这需要多年的经验。

Learning how to — as we talked about — efficiently practicing how to relax on stage.

学习如何 ——正如我们所说的 —— 有效地练习如何在舞台上放松。

There is a way to preserve that over the years, and I think as you age, there is a different quality.

有一种方法可以多年来保持这种品质，而且我认为随着年龄的增长，会有不同的品质。

You mature, and your music starts sounding different, more mature.

你成熟了，你的音乐开始听起来不同，更加成熟。

But it’s a good question.

但这是一个好问题。

VIDOVIĆ: I really don’t worry that much about it.

VIDOVIĆ：我真的不太担心这个。

I try to keep them short as possible.

我尽量让它们简短。

I don’t like to have them too long because they tend to break when they’re too long.

我不喜欢它们太长，因为太长时它们容易断裂。

Every year they seem to get shorter and shorter.

年复一年，它们似乎变得越来越短。

I just use a nail file and file them a little bit, maybe every few days.

我只是用指甲锉锉一下，也许每隔几天锉一下。

When I practice, I try to practice not too loud because that damages the nails, so you have to be careful.

当我练习时，我尽量不要练习太大声，因为这会损坏指甲，所以你必须小心。

Sometimes I take vitamins to make them stronger, but I really don’t do anything special with it.

有时我会服用维生素来增强体力，但我真的没有用它做任何特别的事情。

It’s just keeping them short.

这只是让它们变得简短。

I find it’s very helpful, also gives you a larger sound when you perform.

我发现它非常有帮助，在演奏时还能给你带来更大的声音。

Other than that, I really don’t do anything.

除此之外，我真的什么也没做。

VIDOVIĆ: Well, it’s also a combination of things.

VIDOVIĆ：嗯，这也是多种因素的结合。

When I practice at home, I’m allowed to make mistakes because nobody can hear me.

当我在家练习时，我可以犯错误，因为没有人能听到我的声音。

I’m alone in my room.

我独自一人在我的房间里。

But obviously, when I’m on stage, I cannot afford that to happen.

但显然，当我在舞台上时，我无法承受这种情况的发生。

I have to find a way to make that not happen.

我必须找到一种方法来避免这种情况发生。

For me, number one is the preparation, the preparation for the concert many, many weeks in advance, many months, many years.

对我来说，第一是准备，音乐会提前很多很多周、很多个月、很多年进行准备。

Actually, I think it’s your whole life that you’re preparing.

事实上，我认为你正在准备的是你的一生。

It’s not just a week before or two weeks before.

这不仅仅是一周前或两周前。

All the years leading up to this, I’ve learned things.

在此之前的这些年里，我学到了一些东西。

I made mistakes, I did some things wrong, but you learn from it, and then you don’t do it the next time.

我犯了错误，我做错了一些事情，但你从中吸取了教训，然后下次就不再这样做了。

Yes, number one is good preparation — finding the repertoire that fits you, that you connect with, that allows you to be honest, to be true to who you are, and then you automatically feel more comfortable.

是的，第一是做好准备 ——找到适合你、与你有联系、能让你诚实、忠于自己的曲目，然后你会自然而然地感到更舒服。

If the preparation part is not done well, then I will, of course, feel nervous, and when I sit on the stage, I will feel insecure, so I have to be 200 percent well prepared.

如果准备部分做得不好，我当然会感到紧张，坐在舞台上我会没有安全感，所以我必须做好200%的准备。

When I practice, like I said, I go through sections.

当我练习时，就像我说的，我会浏览各个部分。

I already know which parts of the piece are giving me trouble and that I don’t feel secure enough with, and then I make sure that I practice them very well — 20, 30, 40 times — as much as it takes.

我已经知道这首曲子的哪些部分给我带来了麻烦，哪些部分让我感到不够安全，然后我确保我练习得很好 —— 20、30、40次 ——尽可能多地练习。

When the preparation part is over, then you’re ready to go and present the piece to the audience.

准备部分结束后，您就可以准备向观众展示作品了。

I never really play something that I’m not fully secure with.

我从来没有真正玩过一些我不完全放心的东西。

When you’re on stage, like I said, your mind has to be very, very relaxed.

当你在舞台上时，就像我说的，你的思想必须非常非常放松​​。

You cannot worry that something will happen because, psychologically, it will happen.

你不能担心某事会发生，因为从心理上来说，它会发生。

If you constantly worry about making a mistake, the mistake will happen.

如果你总是担心犯错，错误就会发生。

You have to find a way to ease your mind before you go onstage and perform for the audience because the audience will sense that.

在上台为观众表演之前，你必须找到一种放松心情的方法，因为观众会感觉到这一点。

Again, many, many years of experience, it’s learning.

再次强调，多年的经验就是学习。

Sometimes mistakes will happen, but you have to relax and just keep going, find your way in the music.

有时会发生错误，但你必须放松并继续前进，在音乐中找到自己的方式。

That’s where the memory comes in.

这就是记忆发挥作用的地方。

Your memory has to be very secure because, naturally, we get nervous when we are in front of the audience, and it’s a completely different feeling.

你的记忆必须非常安全，因为当我们在观众面前时，我们自然会感到紧张，这是一种完全不同的感觉。

I have to say, 90 percent comes from your mind, so your mind has to be very relaxed.

我不得不说，百分之九十来自于你的思想，所以你的思想必须非常放松。

VIDOVIĆ: I think you sense when someone has something special.

VIDOVIĆ：我认为当某人有一些特别的东西时你会感觉到。

Sometimes in the past, I’ve judged competitions.

过去有时我会担任比赛的评委。

I guess, because it’s my life and I do it since I was five, I just know when I see someone that has something special.

我想，因为这就是我的生活，我从五岁起就这样做，所以当我看到某人有一些特别的东西时，我就知道。

Of course, there’s always an aspect of a natural talent, but some people are just more prone to being talented for music or for a certain instrument.

当然，天赋总是有其某一方面的，但有些人只是更倾向于在音乐或某种乐器方面有天赋。

A lot of it is also the commitment, the perseverance.

其中很大一部分也是承诺和毅力。

That’s a very, very important part.

这是非常非常重要的部分。

If somebody wants to be a professional artist or professional musician, they have to .

如果有人想成为一名专业艺术家或专业音乐家，他们就必须这样做。

.

。

.

。

Even if they’re not as talented, they can still find the way to make it work.

即使他们没有那么有才华，他们仍然可以找到使其发挥作用的方法。

Working hard, having good working habit, and making sure they’re very disciplined is important.

努力工作、养成良好的工作习惯并确保遵守纪律非常重要。

I don’t know how, but I just know when I see that natural technical ability and somebody that plays with ease.

我不知道怎么做，但当我看到那种天生的技术能力和一个打球轻松的人时我就知道了。

There are really no guarantees in this industry.

这个行业确实没有什么保障。

Sometimes you have to work for many, many years to get to a certain point where you feel comfortable performing in front of the audience.

有时你必须工作很多很多年才能达到在观众面前表演时感到舒服的程度。

Everybody’s different.

每个人都不同。

You just have to find your way to navigate through this maze.

你只需要找到穿过这个迷宫的方法即可。

VIDOVIĆ: I love teaching.

VIDOVIĆ：我喜欢教学。

VIDOVIĆ: Yes, I usually do.

VIDOVIĆ： 是的，我通常这样做。

If I play at a university, I’ll do a class with the local students or local university.

如果我在大学打球，我会和当地学生或当地大学一起上课。

I do love it, and I wish I could dedicate a little more time to that.

我确实喜欢它，我希望我能花更多的时间在上面。

I’ve learned a lot from just teaching.

我从教学中学到了很多东西。

It’s amazing.

太棒了。

When you have to explain something to a student, you learn automatically yourself.

当你必须向学生解释某些事情时，你自己就会自动学习。

VIDOVIĆ: Well, I think, number one is to make the student feel comfortable because a master class setting is a very nerve-racking setting.

VIDOVIĆ：嗯，我认为，第一是让学生感到舒适，因为大师班的环境是一个非常伤脑筋的环境。

I know from my own experience, when I used to play in front of artists in school, I always felt nervous.

根据我自己的经验，当我在学校里在艺术家面前演奏时，我总是感到紧张。

So I try to just put them at ease so that they can learn and register what I’m saying more easily.

所以我试着让他们放松，这样他们就能更容易地学习和记住我所说的内容。

You can just see the difference.

您可以看到差异。

I also like for them to ask me questions, either technical or musical.

我也喜欢他们问我问题，无论是技术问题还是音乐问题。

The message that I want to convey to them has to be very, very clear.

我想向他们传达的信息必须非常非常明确。

I try to be as clear as possible.

我尽量说得清楚。

Usually, a master class lesson is about 30 minutes, so you don’t have a lot of time.

通常，大师班的课程时间约为 30 分钟，因此您的时间并不多。

You have to try to give them as much information as you can in that short amount of time, which is not easy, but you try to connect with them in those 30 minutes as much as you can.

你必须尝试在那么短的时间内向他们提供尽可能多的信息，这并不容易，但是你尝试在这 30 分钟内尽可能多地与他们联系。

Number one is to just make them feel comfortable.

第一是让他们感到舒服。

VIDOVIĆ: That’s a very good question.

维多维：这是一个非常好的问题。

When I started, the world looked very different.

当我开始时，世界看起来非常不同。

The world has changed, and today everything is online.

世界已经改变，今天一切都在网上。

It wasn’t like that when I started and when some of my colleagues started.

当我和我的一些同事开始时，情况并非如此。

Today, they really have to — actually all of us — we have to learn how to present ourselves online, and there are many, many different aspects of that world.

今天，他们确实必须“——实际上我们所有人”——“我们必须学习如何在网上展示自己，而这个世界有很多很多不同的方面。

From my own experience, I always wanted to have a touring career, so I focused on that.

根据我自己的经验，我一直想从事巡演事业，所以我专注于此。

I didn’t focus so much on recording.

我并没有太专注于录音。

I just wanted to be out there and perform as much as I can, so I did that.

我只是想在场上尽我所能地表现出来，所以我就这么做了。

Then YouTube came, and I had to find a way how to present myself online.

然后 YouTube 出现了，我必须找到一种在网上展示自己的方法。

I don’t do too many online performances.

我没有做太多的在线表演。

I do a few because I still want to continue to perform and tour and play live for the audience because there’s nothing that compares to that.

我做了一些，因为我仍然想继续为观众表演、巡演和现场表演，因为没有什么可以与之相比。

Online is great — you can present yourself to the listeners, but you still have to be successful performing live in front of people.

在线很棒——你可以向听众展示自己，但你仍然必须在人们面前成功地进行现场表演。

Most of my performances online are live.

我的大部分在线表演都是现场表演。

They’re not prerecorded because I find that when you play live, this is who you truly are.

它们不是预先录制的，因为我发现当你现场演奏时，这就是你真正的样子。

There’s one take, and that’s it.

有一种做法，仅此而已。

It sounds natural, and that’s what I like to do, personally, but it’s everybody’s choice what they want to do.

这听起来很自然，这就是我个人喜欢做的事情，但每个人都可以选择他们想做的事情。

The only thing is that, of course, you have to make a living with this, so you have to learn the few tricks.

唯一的问题是，当然，你必须以此谋生，所以你必须学会​​一些技巧。

They’re not tricks, but it’s just you have to find your way, to navigate.

它们不是技巧，只是你必须找到自己的方式，进行导航。

For me, still, number one thing is to always work on my ability, my craft, and I always want to get better because the audience, the listeners — they always expect more.

对我来说，第一件事仍然是始终致力于我的能力、我的技艺，我总是想变得更好，因为观众、听众——他们总是期望更多。

Every time you perform, you have to be better.

每次表演时，你都必须做得更好。

I respect my audience.

我尊重我的观众。

They’re very loyal to me, and so I’m loyal to them, and I always try to do the best I can.

他们对我非常忠诚，所以我也对他们忠诚，而且我总是尽力做到最好。

That always comes first.

这永远是第一位的。

VIDOVIĆ: No. COWEN: — and it’s maybe a substitute.

VIDOVIĆ：不。 COWEN： — 而且它可能是替代品。

Or does it enhance the demand to see you in concert?

或者这会增加看你演唱会的需求吗？

Or do you prefer people watch you on YouTube?

或者您更喜欢人们在 YouTube 上观看您的视频？

VIDOVIĆ: Over the years, I found that people like to see and to hear.

VIDOVIĆ：多年来，我发现人们喜欢看和听。

Of course, YouTube is amazing.

当然，YouTube 很棒。

Everything is on there.

一切都在那里。

I remember 2005 was the year that I played one of my first concerts in the States, and that’s where YouTube was just starting out, and they put up that video on YouTube, and it’s amazing what happened since then.

我记得 2005 年是我在美国举办的第一场音乐会，那一年 YouTube 才刚刚起步，他们把那个视频放到了 YouTube 上，从那以后发生的事情令人惊奇。

I thought I’ll focus on live performing, I’ll just go out there.

我以为我会专注于现场表演，所以我就去那里。

I’ll maybe release one video a year because I still want the people to come to the concerts, come to the live performance.

我可能会每年发布一个视频，因为我仍然希望人们来听音乐会，来现场表演。

I don’t want them to just be at home and look at the video.

我不希望他们只是呆在家里看视频。

I still want to have that connection with my live audience.

我仍然希望与现场观众保持这种联系。

Maybe it’s not good to do too much, not to have too many videos, not to have too many recordings because you still want the audience to come and see you in person, so you have to find a way to balance that.

也许做得太多不好，不要有太多视频，不要有太多录音，因为你仍然希望观众亲自来看你，所以你必须找到一个平衡的方法。

Recording was never my priority.

录音从来都不是我的首要任务。

Also, honestly, I don’t really enjoy recording in a studio that much.

另外，老实说，我不太喜欢在录音室录音。

Again, I prefer to be live in front of the audience.

再说一次，我更喜欢在观众面前现场表演。

There’s nothing quite like it.

没有什么比这更好的了。

I’m not saying no to recording completely, of course.

当然，我并不是完全拒绝录音。

I think we just live in a different time when the videos are perhaps more appealing to the listeners.

我认为我们只是生活在一个不同的时代，视频可能对听众更有吸引力。

Because classical guitarists also like to watch the hands, and they like to see what the right hand is doing, what the left hand is doing.

因为古典吉他手也喜欢看手，他们喜欢看右手在做什么，左手在做什么。

The visual, and of course, the audience is equally important.

视觉效果，当然还有观众同样重要。

I hope that answers you.

我希望这能回答你。

VIDOVIĆ: I thought about it.

维多维：我考虑过。

There are some really good crossover albums.

有一些非常好的跨界专辑。

If I would do something, I thought often, just playing with a rock guitarist.

我经常想，如果我愿意做点什么，那就是和一位摇滚吉他手一起演奏。

To merge those worlds would be interesting.

合并这些世界会很有趣。

Maybe collaborate with — I don’t know — there are so many great electric guitar players.

也许与 合作—— 我不知道 —— 有很多伟大的电吉他手。

I think it would be interesting to merge those two, classical and electric.

我认为将古典音乐和电子音乐这两者融合起来会很有趣。

That’s perhaps something that will come in the future, but I think one has to be careful with the crossover.

这也许是未来会发生的事情，但我认为人们必须小心交叉。

That was, perhaps, more popular a few years back.

几年前，这可能更受欢迎。

This was a new term that came — crossover music — and then everybody was doing a lot of that, but perhaps now it’s not as popular as it used to be.

这是一个新术语，出现了 ——“跨界音乐”——然后每个人都在做很多这样的事情，但也许现在它不像以前那么流行了。

Because there are a lot of crossover recordings, you also have to be careful to do something interesting, something different.

因为有很多交叉录音，你也必须小心做一些有趣的、不同的事情。

There’s that aspect to consider, but I still have to do what I feel most comfortable.

有这个方面需要考虑，但我仍然必须做我觉得最舒服的事情。

I don’t want to do something just because I want to sell a lot of records.

我不想仅仅因为我想卖很多唱片就去做某事。

It’s not what I want to do.

这不是我想做的。

It’s just not my personal choice.

这不是我个人的选择。

I want to do what feels right and what I give to listeners.

我想做一些感觉正确的事情并为听众做一些事情。

I cannot do something that’s off the charts, even though it would be fun.

我不能做一些超出预期的事情，尽管它会很有趣。

Maybe, in the future.

也许，在未来。

VIDOVIĆ: I know when the guitar doesn’t project well.

VIDOVIĆ：我知道什么时候吉他的投射效果不好。

Guitar is a very soft instrument.

吉他是一种非常柔和的乐器。

Even though my guitar is a bit louder than the regular — it’s just the way it was built, and the wood that was chosen, and the technique of building — so it’s a bit louder.

尽管我的吉他比普通吉他声音大一点——这只是它的制造方式、选择的木材以及制造技术——所以它的声音更大一些。

It projects very well.

它的项目非常好。

For guitar, the ideal hall is about 500 seats, and that’s already pushing it.

对于吉他来说，理想的大厅大约有 500 个座位，而这已经超出了预期。

When you have a hall that is a thousand, you have to use amplification.

当你有一个一千人的大厅时，你必须使用扩音器。

It’s impossible to play without amplification.

没有扩音器就无法播放。

We have some beautiful systems today where you don’t even know that the guitar is amplified.

今天我们有一些漂亮的系统，您甚至不知道吉他被放大了。

I have no problem using amplification as long as it’s natural.

只要它是自然的，我对使用放大没有任何问题。

But of course, for guitar, it’s best to hear it without amplification — the most natural sound, which is up to like 500 seats.

当然，对于吉他来说，最好是不用扩音器来听——最自然的声音，最多可以容纳 500 个座位。

We have rehearsals before the performance.

演出前我们有排练。

We try out the hall.

我们尝试一下大厅。

There’s always somebody listening in the audience.

观众席上总有人在听。

There’s a lot of time that is spent doing that, and then you just make a decision — either you will play without the amplification or with the amplification, but it has to be natural.

这样做会花费很多时间，然后你只需做出决定  -  要么在不使用放大的情况下进行演奏，要么在使用放大的情况下进行演奏，但这必须是自然的。

VIDOVIĆ: That’s a good question.

维多维：这是个好问题。

It’s interesting, in the past two years, I’ve noticed a change.

有趣的是，在过去的两年里，我注意到了一些变化。

When I went back to playing live after a while, after the pandemic started, I feel more appreciation.

当疫情开始一段时间后，当我重新回到现场演奏时，我感到更加感激。

I feel that they’re hungry for live performances.

我觉得他们渴望现场表演。

I feel that they listen more attentively.

我感觉他们听得更仔细了。

I don’t know, it just feels different.

我不知道，只是感觉不一样。

This is just in the past two years, but I think I wouldn’t say that they changed.

这只是过去两年的事情，但我想我不会说它们发生了变化。

What’s interesting is that it depends where you’re performing.

有趣的是，这取决于你在哪里表演。

Every culture is different, so if you’re performing in Europe, the audiences are usually very serious and very quiet, and they listen very, very carefully.

每种文化都是不同的，所以如果你在欧洲表演，观众通常非常严肃、非常安静，他们听得非常非常仔细。

In the States, they’re also, of course, very appreciative, but after the performance, they stand up and they’re very responsive.

在美国，他们当然也非常感激，但演出结束后，他们站起来，反应非常积极。

They appreciate, and as an artist, it’s very special to feel that attention after the performance.

他们很欣赏，作为一名艺术家，在表演后感受到这种关注是非常特别的。

VIDOVIĆ: In Japan — Sorry.

VIDOVIĆ：在日本 —— 抱歉。

VIDOVIĆ: Yes.

维多维克：是的。

In the States, people are just beautiful.

在美国，人们都很漂亮。

At the end of the concert, everybody’s happy, and you can feel that.

音乐会结束时，每个人都很高兴，你可以感觉到。

I love that feeling.

我喜欢那种感觉。

VIDOVIĆ: Sorry to interrupt.

VIDOVIĆ： 抱歉打扰。

In Asia, they don’t really feel comfortable doing that, but they’re also very attentive.

在亚洲，他们确实不太愿意这样做，但他们也非常细心。

I think it just depends where you play, which country and which culture.

我认为这取决于你在哪里踢球、哪个国家和哪种文化。

VIDOVIĆ: It might be.

维多维： 可能是这样。

When you listen to Segovia, even if you just put the recording .

当你听塞戈维亚时，即使你只是放录音。

.

。

.

。

if somebody else puts it on for you, and it wasn’t you, you just know when you hear it.

如果是别人替你戴上的，但不是你，你一听到就知道了。

When you hear Bream, you just know it’s Bream.

当您听到 Bream 时，您就知道这是 Bream。

When you hear Williams, you know it’s Williams.

当你听到威廉姆斯时，你就知道这是威廉姆斯。

Perhaps that is a little bit lost today.

也许今天有点迷失了。

I don’t want to be a judge, but I think it’s important for each of us to find something unique about our way of playing.

我不想成为评判者，但我认为对我们每个人来说，找到自己独特的比赛方式很重要。

All these things that we talked about studying about the score, about the background, about the artist, about the composer — all these things are important.

我们谈论的所有这些事情，关于乐谱、关于背景、关于艺术家、关于作曲家 ——所有这些都很重要。

Working on our sound, the quality of our sound, and experimenting with a lot of different things — all this makes us unique.

致力于我们的声音，我们的声音质量，并尝试许多不同的东西 ——所有这些都使我们独一无二。

There’s no one way to play guitar.

弹吉他没有一种方法。

With competitions — they’re an important part of building a career, but there’s a little bit of danger with that because, in a competition setting, it’s not a concert setting; it’s a competition.

对于比赛来说，它们是职业生涯的重要组成部分，但这样做也有一点危险，因为在比赛环境中，它不是音乐会环境；而是在比赛环境中。这是一场比赛。

All these young artists — perhaps they feel like they have to play in a certain way to win the first prize.

所有这些年轻的艺术家——也许他们觉得自己必须以某种方式发挥才能赢得一等奖。

As long as that doesn’t interfere with what you still want to accomplish, and what you still want to develop, it’s okay.

只要这不影响你仍然想要完成的事情以及你仍然想要发展的事情，就可以了。

You just have to be careful for the competitions not to be a part of your life.

你只需要小心，不要让比赛成为你生活的一部分。

It’s not everything.

这还不是全部。

The first prize is, of course, great, but it doesn’t mean always that you’re the best.

一等奖当然很棒，但这并不意味着你就是最好的。

The individuality of the performers is very important.

表演者的个性非常重要。

For me personally, I stopped doing competitions very early for that reason, because I didn’t want to just be someone who will go to competitions.

就我个人而言，我很早就因为这个原因不再参加比赛，因为我不想只是成为一个去参加比赛的人。

I wanted to develop my own way of playing.

我想发展自己的比赛方式。

I hope that young students still find a way to develop their own way of playing.

我希望年轻的学生们仍然能够找到一种发展自己的演奏方式的方法。

It’s very important.

这非常重要。

The times of Segovia and Bream — it was a different time.

塞戈维亚和布里姆的时代——这是一个不同的时代。

They had to develop their own way.

他们必须发展自己的方式。

They all defined their own way.

他们都定义了自己的方式。

It’s just a different time that they were living in.

只是他们生活的时代不同而已。

VIDOVIĆ: I wouldn’t necessarily change anything.

VIDOVIĆ：我不一定会改变任何事情。

We have some great places in the States, wonderful guitar departments with great teachers, and many, many young students come from there.

我们在美国有一些很棒的地方，很棒的吉他系，有很棒的老师，还有很多很多年轻的学生来自那里。

The guitar in the States is very strong, also in Europe.

吉他在美国非常流行，在欧洲也是如此。

The only thing, it would be helpful for .

唯一的事情是，这会有帮助。

.

。

.

。

Once you graduate, it’s difficult because you’re on your own.

一旦毕业，就很难了，因为你要靠自己了。

You have to find your way.

你必须找到自己的出路。

At least for me, personally it was like that.

至少对我个人来说是这样的。

I had to find ways to decide what I’m going to do, either have a teaching career or performing career.

我必须找到方法来决定我要做什么，要么从事教学事业，要么从事表演事业。

It would be nice to have a little bit of help that way after you graduate.

毕业后如果能得到一些帮助就太好了。

Also, another thing that is important is that, in a conservatory setting, we don’t learn so much about what needs to be done in a live performing setting — how to deal with your nerves, how to relax.

另外，另一件重要的事情是，在音乐学院的环境中，我们并没有学到太多关于在现场表演环境中需要做什么 ——如何处理你的神经，如何放松。

All those things are important.

所有这些事情都很重要。

I think we don’t talk as much about that in a conservatory setting.

我认为我们在温室环境中不会谈论太多。

Then again, when you graduate, you’re on your own, so you have to learn from your own mistakes.

话又说回来，当你毕业时，你就要靠自己了，所以你必须从自己的错误中吸取教训。

That would be helpful for every young student that would like to pursue a performance career.

这对于每一个想要从事表演事业的年轻学生来说都是有帮助的。

VIDOVIĆ: There are many.

维多维：有很多。

Of course, my dad comes first.

当然，我爸爸是第一位的。

I listen to Stevie Ray Vaughan.

我听史蒂夫·雷·沃恩的歌。

I listen to Joe Satriani, Steve Vai, many others.

我听 Joe Satriani、Steve Vai 和许多其他人的音乐。

I couldn’t even .

我什至不能。

.

。

.

。

Malmsteen.

马尔姆斯汀。

I love electric guitar.

我喜欢电吉他。

VIDOVIĆ: Oh, there was a time when I listened to him a lot because I really appreciate that he loves Bach’s music, and you can tell in his playing, sometimes.

维多维：哦，有一段时间我经常听他的音乐，因为我真的很欣赏他喜欢巴赫的音乐，有时你可以从他的演奏中看出。

I think it’s fascinating.

我认为这很有趣。

He’s actually someone that I would like to collaborate with.

他实际上是我想合作的人。

It might never happen, but it’s just interesting to me because perhaps we share the same love for Bach’s music, and it would be interesting to collaborate with someone like that.

这可能永远不会发生，但这对我来说很有趣，因为也许我们对巴赫的音乐有着同样的热爱，与这样的人合作会很有趣。

Yes, I do learn.

是的，我确实学习了。

I do get a lot from people like that.

我确实从这样的人那里得到了很多。

It’s interesting because electric guitar and classical guitar are completely different.

这很有趣，因为电吉他和古典吉他完全不同。

You would think, “Okay, is there anything in common?” But yes, there are.

你可能会想：“好吧，有什么共同点吗？”但是，是的，有。

There are things you can apply in your own playing.

有些东西你可以应用到你自己的演奏中。

Absolutely, I learn a lot from these people.

当然，我从这些人身上学到了很多东西。

VIDOVIĆ: Not just him, but everybody that is trying to create something — I learn from that.

VIDOVIĆ：不只是他，还有每个试图创造一些东西的人 —— 我从中学习。

I don’t know, it gives me inspiration.

我不知道，它给了我灵感。

There are other examples, of course, but it just makes me think in a wider way, more interesting way.

当然还有其他例子，但这只是让我以更广泛、更有趣的方式思考。

If I was just listening to classical music all day, my mind would be restricted, I think.

我想，如果我整天只听古典音乐，我的思想就会受到限制。

There’s so much great music out there.

那里有很多很棒的音乐。

Sometimes I hear something in the background and then I think, “Oh, maybe I should apply that into what I do.” Because it opens up your horizons.

有时我听到背景中的某些声音，然后我想，“哦，也许我应该将其应用到我所做的事情中。”因为它打开了你的视野。

Maybe it’s just my imagination, but I think you play differently.

也许这只是我的想象，但我认为你的演奏方式有所不同。

You have to surround yourself with a lot of music.

你必须让自己周围充满音乐。

Classical music is not the only type.

古典音乐并不是唯一的类型。

There are many, many, many other musics.

还有很多很多其他的音乐。

That’s just one example.

这只是一个例子。

I listen to it.

我听听。

Then I listen to it again.

然后我再听一遍。

I think, “What is he doing?

我想：“他在做什么？

Why is he doing that?” It just gives me inspiration.

他为什么要这么做？它只是给了我灵感。

VIDOVIĆ: Yes.

维多维克：是的。

Oh, great, you know about her.

哦，太好了，你了解她。

VIDOVIĆ: You did some research.

VIDOVIĆ：您做了一些研究。

I do love pop music.

我确实喜欢流行音乐。

Croatian music, like Oliver Dragojević.

克罗地亚音乐，如 Oliver Dragojević。

I love him.

我爱他。

He’s a beautiful singer, with probably the most Croatian hits ever.

他是一位美丽的歌手，可能是有史以来克罗地亚歌曲最多的歌手。

When I feel a little nostalgic, I’ll listen to Croatian music.

当我感到有点怀旧时，我会听克罗地亚音乐。

Severina — she’s very famous.

塞维丽娜——她很有名。

There are many, many other musicians.

还有很多很多其他音乐家。

They’re all great.

他们都很棒。

Because I come from that part of the world, it also means a lot to me.

因为我来自世界的那个地方，所以这对我来说也意义重大。

VIDOVIĆ: I think so.

维多维：我想是的。

Coming from that part of the world, perhaps there is a certain way you perform and you play music.

来自世界的那个地方，也许你有某种特定的表演和演奏音乐的方式。

There’s not, perhaps, one major composer, but it’s just the culture that I was brought up with.

也许没有一位主要作曲家，但这只是我成长过程中的文化。

And even though I lived in the States for 20 years, I still have that in me, so perhaps I perform music in that way.

尽管我在美国生活了 20 年，但我仍然有这种想法，所以也许我会以这种方式演奏音乐。

It’s natural.

这是很自然的。

It’s just who I am.

这就是我。

I think it’s more that — just coming from a certain culture and studying and learning about the music the way I was taught.

我认为更多的是 —— 只是来自某种文化并按照我所受的教育方式学习和学习音乐。

It was a very — I don’t want to call it rigid, it’s a negative word, but we were taught from a very early age to work hard.

这是一个非常 —— 我不想称之为僵化，这是一个负面词，但我们从小就被教导要努力工作。

I was taught in the right way.

我受到了正确的教育。

I had great teachers.

我有很棒的老师。

So, all that shaped me — who I am — and to be serious about what I do and to be completely focused on it.

所以，所有这些塑造了我——“我是谁”——以及认真对待我所做的事情并完全专注于它。

I think perhaps all this comes a little bit through my music and what I do, but we have a lot of beautiful music.

我想也许这一切都通过我的音乐和我所做的事情来实现，但我们有很多美丽的音乐。

Even many, many beautiful artists, and then there’s a long tradition of classical guitar in Croatia.

甚至还有很多很多美丽的艺术家，克罗地亚有着悠久的古典吉他传统。

Long, long tradition.

悠久的传统。

Many, many guitarists come from that part of the world, so I’m proud of that.

很多很多吉他手都来自世界的那个地方，所以我为此感到自豪。

VIDOVIĆ: Well, I think it has changed it already a little bit.

VIDOVIĆ：嗯，我认为它已经改变了一点。

We just have to be careful not to have too much of it in our life.

我们只需要小心，不要在生活中拥有太多。

Sometimes I find myself even, personally, looking for videos and watching, and then I have to stop and say, “Oh, I still have to go back to what I do.” Of course, every influence is good, but if it’s too much, then it’s not so good.

有时我发现自己甚至亲自寻找视频并观看，然后我不得不停下来说：“哦，我仍然必须回到我所做的事情。”当然，每一个影响都是好的，但是如果太多了，那就不太好了。

You still have to preserve what you’re doing and stay true to that.

你仍然必须保留你正在做的事情并坚持下去。

Sometimes I meet students that don’t have a teacher, so they learned from YouTube.

有时我遇到没有老师的学生，所以他们从 YouTube 上学习。

Sometimes they learn in the wrong way, which is a mistake.

有时他们以错误的方式学习，这是一个错误。

If you learn in the wrong way, it’s very, very difficult to change it and fix the mistakes later.

如果你以错误的方式学习，以后就很难改变它并纠正错误。

So you have to be careful what you search for in YouTube and from whom you learn because there are so many videos.

因此，您必须小心在 YouTube 上搜索的内容以及向谁学习，因为视频太多了。

For me, I think there is a little bit of danger in that because, in Europe, you usually had one teacher, and you would work with him for many, many years.

对我来说，我认为这有一点危险，因为在欧洲，你通常有一位老师，你会和他一起工作很多很多年。

There was no YouTube.

那时还没有 YouTube。

We had live concerts that we would go to, and that’s how we learned, but we didn’t have outside influences.

我们会去参加现场音乐会，这就是我们学习的方式，但我们没有受到外界的影响。

Sometimes it’s very difficult to even conceive that we live in a world that now everything is just there.

有时很难想象我们生活在一个一切都在那里的世界。

You just type it in, and it’s there.

你只需输入它，它就在那里。

It’s great.

这很棒。

It’s wonderful, but again, we still have to be true to who we are and develop our own way.

这很棒，但同样，我们仍然必须忠于自己，并发展自己的方式。

I don’t know what’s going to happen.

我不知道会发生什么。

I think it will be there for many, many years.

我认为它会存在很多很多年。

YouTube is a very important part of our lives, and it’s wonderful.

YouTube 是我们生活中非常重要的一部分，而且非常棒。

For me, personally, it has helped me a lot in my career.

对我个人来说，它对我的​​职业生涯帮助很大。

I just hope that people still would want to go out and visit live concerts and be there in the same room with the artists.

我只是希望人们仍然愿意出去观看现场音乐会并与艺术家在同一个房间里。

VIDOVIĆ: Well, perhaps many things together.

VIDOVIĆ：嗯，也许很多事情都在一起。

I think there is something about that.

我认为这是有道理的。

There were times when I wasn’t sure if this is something that I want to do.

有时我不确定这是否是我想做的事情。

Growing up and starting very young is difficult because you’re always looked at as someone talented and then there’s a danger that you won’t develop your talent to the full extent.

在很小的时候成长和开始是很困难的，因为你总是被视为有才华的人，然后你就有无法充分发挥才能的危险。

Sometimes the term “child prodigy” is not always true.

有时“神童”一词并不总是正确的。

It’s something that you have to outgrow.

这是你必须成长才能克服的事情。

You have to still develop your talent.

你还必须发展你的才能。

Talent is not enough.

人才还不够。

I’m fully convinced that it’s not enough.

我完全相信这还不够。

You have to work hard throughout your whole life to develop whatever you were given.

你必须一生努力工作才能发展你所获得的一切。

Yes, if you have a little bit of natural talent, of course, it’s helpful, but you have to work at it.

是的，如果你有一点天赋，当然会有帮助，但你必须努力。

I think, from your 20s and further, you have to work hard.

我认为，从20多岁开始，你就必须努力工作。

You have to find ways to always develop your natural ability.

你必须找到方法来始终发展你的自然能力。

It’s something that never really stops.

这是永远不会真正停止的事情。

VIDOVIĆ: I think there were a few.

VIDOVIĆ：我认为有一些。

There was definitely a point where I decided, okay, I know this is going to be difficult, but I have to continue.

肯定有一个时刻我决定，好吧，我知道这会很困难，但我必须继续。

This is all I know.

这就是我所知道的一切。

My whole life, that’s the only thing I know.

我的一生，这是我唯一知道的事情。

I never really had a chance to do anything else in my life.

我一生中从未真正有机会做任何其他事情。

Of course, I love it.

当然，我喜欢它。

It’s great to have music in your life, but you have to make a commitment.

生活中有音乐真是太好了，但你必须做出承诺。

You can’t just say, “Oh, I’ll see what happens.” It’s a commitment because it’s a difficult profession.

你不能只是说：“哦，我看看会发生什么。”这是一种承诺，因为这是一个艰难的职业。

Like I said before, there’s no guarantee.

正如我之前所说，没有任何保证。

Sometimes you won’t make it.

有时你不会成功。

Sometimes you’ll work hard, and then nothing happens.

有时候你会努力工作，然后什么也没有发生。

There were times like that when I thought, “Nothing’s happening.

有时候我会想：“什么都没发生。

Am I doing something wrong?” But you keep going.

我是不是做错了什么？”但你继续前进。

I never really looked back.

我从来没有真正回头看。

There were difficult times, but yes, I made a decision.

虽然有过困难时期，但是，是的，我做出了决定。

“Okay, I have to do this.

“好吧，我必须这么做。

There is no other way.

没有其他办法。

I will do this and take necessary steps.” Perseverance is a very important part of what we do, and you have to keep going.

我会这样做并采取必要的措施。”坚持不懈是我们工作中非常重要的一部分，你必须坚持下去。

But that came in my teenage years, when I said, “Okay, I’m doing this.

但这是在我十几岁的时候发生的，当时我说：“好吧，我正在这样做。

I’m probably going to do this for the rest of my life, so whatever comes, I’m going to have to deal with it.” I think for everybody it’s different, but for me personally, it was that way.

我可能会在余生中都这样做，所以无论发生什么，我都必须应对它。”我认为对每个人来说都是不同的，但对我个人来说，就是这样。

I had to really consciously make a decision.

我必须真正有意识地做出决定。

VIDOVIĆ: Next I will, well, celebrate.

VIDOVIĆ：接下来我会庆祝。

You mean long term or short term?

你是说长期还是短期？

VIDOVIĆ: Christmas is gone.

VIDOVIĆ：圣诞节已经过去了。

I’m taking a little break because the last concert was on December 5th or 4th.

我要休息一下，因为最后一场音乐会是在 12 月 5 日或 4 日。

Usually, during the holidays, we have a break.

通常，在假期期间，我们都会休息。

I am just getting ready for New Year’s, and then next year, everything starts again.

我正准备过新年，然后明年，一切都会重新开始。

I’m going to have to prepare for my concerts and for my tour, start practicing, very, very focused work.

我必须为我的音乐会和巡演做准备，开始练习，非常非常专注的工作。

And I have a nice lineup of concerts that I look forward to.

我有很多我期待的音乐会阵容。

I very much was excited to be back on the road and to perform because I really, really missed that during these two years.

我非常高兴能够回到路上并进行表演，因为我真的非常怀念这两年的时光。

I think every artist missed it.

我想每个艺术家都错过了它。

That’s coming up next year.

明年就会出现。

I’m trying not to make any long-term plans because it’s just impossible to do that right now.

我尽量不制定任何长期计划，因为现在不可能这样做。

I’m taking every day or month at a time and see what happens.

我每天或每月都会观察一下会发生什么。

Speaking of recordings, I would like to release a new recording in the next year or so.

说到录音，我想在明年左右发行一张新录音。

Hopefully that will happen, but the main goal is, just keep performing and touring if it’s possible.

希望这会发生，但主要目标是，如果可能的话，继续表演和巡演。

We’ll see what happens next year and if the venues are still comfortable doing live performances.

我们将看看明年会发生什么，以及场地是否仍然适合进行现场表演。

But most generally, if a listener, reader — they want to learn more about you, hear your music, what should they do?

但最普遍的是，如果听众、读者想要更多地了解你，听到你的音乐，他们应该做什么？

Where should they start?

他们应该从哪里开始？

Final question — tell us all what to do.

最后一个问题 — 告诉我们大家该怎么做。

VIDOVIĆ: What to do — it’s just the two main places, my website and then YouTube.

VIDOVIĆ：做什么 — 这只是两个主要地方，我的网站和 YouTube。

If they would like to hear me live, there’s a lot of performances on YouTube, and then my schedule is on my website, and that’s if they would like to hear it live.

如果他们想听我的现场表演，YouTube 上有很多表演，然后我的时间表就在我的网站上，如果他们想听现场表演的话。

That’s where everything is posted.

这就是所有内容发布的地方。

Those are the two most important places where all the information comes from.

这是所有信息的两个最重要的来源。

Then, of course, I’d love to see the audience back in the halls.

当然，我很乐意看到观众回到大厅。

That’s a great, great feeling.

那是一种很棒、很棒的感觉。

We hope we have more, of course, with restrictions and being very careful at this time.

当然，我们希望有更多的限制，并且目前要非常小心。

But yes, I’d like to see the audience back in the halls, definitely.

但是，是的，我绝对希望看到观众回到大厅。

VIDOVIĆ: Thank you so much.

维多维： 非常感谢。

This was wonderful.

这太棒了。

Thank you.

谢谢。

Thumbnail photo credit: https://dianesaldick.com/

缩略图照片来源：https://dianesaldick.com/