恩雅以及她音樂神話的開始英語美文
Enya: It was very difficult for me not to be involved with music,because both my parents were very musical.My dad, when he was 14,joined with his mum and dad,and he toued around Ireland.My mum was a music teacher .My dad"s music would be a very sort of variation of ballads,Irish ballads,to Glenn iner-type of hits that were happening at the time.And then the area I come from know as the GaeItacht area,the northwest of Donegal,means that you"re brought up speaking Gaelic as your first language within that area.And there is a lot of Irish traditional music within that area as well So I felt Feally lucky that I heard all sorts of diverse music at a very young age.I wasn"t aware of it,but I definitely was very determined to be involved with music.There are three people that,you know,are involved to: myself, Nicky and Roma.
Roma:We started working together,I suppose about 1982.And when we made the decision,"OK,we want to do this,"we put together a studio.
Nicky: The free time I had Enya had that time.Enya was living in our House and she started ,a11 these melodies started to come out,so we got to gether whenever we could,and then Roma started to write lyrics.
Roma:At the time I said to Enya and Nicolas,‘the music is visual .Why don’t think about soundtrick initially?"
Enya: I started to compose piano melodies,instrumentals,and Roma found them very viual and thought they’d be suited for film work ,and found then very visual and thought they"d be suited for film work and got in touch with film directors and film producers.And then got a script sent from David Puttnam for The Frog Prince.
David Puttnam:Something about the story reminded me of Enya and Enya"s music,and I sent it to then,Roma and Enya and they liked it a lot.And we worked,I think 6 months,they Worked 6 months on the score of the film and dlivered what I think is an absolutely gorgeous score,beautiful score.
Enya: And that was the beginning of working with soundtrack We heard they were making a BBC documentary on the Celts,so we thought this was perfect.
Nicky:We were woking on a particular Piece of music at the time.And we"d Actually titled it the match of the Celts.
Roma:To me,an inspiration was historic,was Irish.You were relating to the story of the Celts.
Nicky:And I got a phone ca11from TonyMacauley,whois a producer from the BBC in northern Ireland asking us,would we work on this new series called The Celts.I couldn"t believe it .It’s really was an amazing coincidence.So he said,"Do you have any music that you can send us down?"So I sent him down just a piece.And the director got back to us and said, "We could have the whole Series… 72minutes of music to do."And that"s how the first album happened.
恩雅:我很難不被音樂吸引,因?yàn)槲医荒付枷矏垡魳?我爸爸14歲的時(shí)候就和他的父母一起游歷愛爾蘭,我媽媽教音樂。爸爸的音樂中混合了愛爾蘭民謠的各種風(fēng)格,還有當(dāng)時(shí)紅極一時(shí)的格倫·米勒風(fēng)格。我來自冬納戈西北,那里是愛爾蘭語地區(qū),就是說在那個(gè)地區(qū),你從小就以蓋爾語為第一語言。那里也有許多愛爾蘭傳統(tǒng)音樂。所以我覺得自己很幸運(yùn),在很小的年紀(jì)就聽過所有類型的音樂。當(dāng)時(shí)我還沒意識(shí)到這個(gè),但我下了決心從事音樂。你知道,這就要說到三個(gè)人:我自己、尼克、還有洛瑪 。
洛瑪:我們開始合作大概是在1982年。我們下了決心說:"好,我們想做這個(gè),"就成立了錄音室。
尼克:那時(shí)我和恩雅有空閑時(shí)間。恩雅住在我們家里,她開始進(jìn)行創(chuàng)作,創(chuàng)作出了所有這些旋律,所以我們一有機(jī)會(huì)就聚在一起,然后洛瑪填詞。
洛瑪：當(dāng)時(shí)我跟恩雅跟尼克說"這音樂很形象化。我們何不考慮做點(diǎn)原聲樂?"
恩雅:我開始譜鋼琴曲、樂器曲洛瑪發(fā)覺這些曲子很形象化,她認(rèn)為適合用來給電影配樂,于是就跟電影導(dǎo)演和電影制片人聯(lián)系。后來接到了大衛(wèi)·普特南的劇本《青蛙王子》。
大衛(wèi)·普特南:電影中有些東西讓我想到恩雅和恩雅的音樂,我把劇本發(fā)給洛瑪和恩雅,她們非常喜歡。后來我想工作了有六個(gè)月吧,她們?yōu)檫@部電影配樂工作了六個(gè)月,最后交給我令人叫絕的音樂,那音樂太美了。
恩雅:原聲樂就這么做起來了。后來聽說英國廣播公司正在拍一部凱爾特人的`記錄片,我們覺得時(shí)機(jī)正好。
尼克:當(dāng)時(shí)我們正在做一段音樂,實(shí)際上后來給它起名叫《凱爾特人的長(zhǎng)征》。
洛瑪:我的這個(gè)靈感來自歷史,愛爾蘭歷史。你會(huì)聯(lián)想到凱爾特人的故事。
尼克:英國廣播公司在北愛爾蘭的制片人托尼·麥號(hào)利給了我電話,問我們?cè)覆辉敢饨o新系列片《凱爾特人》做音樂。我簡(jiǎn)直不能相信,真是太巧了。他說:"你們有沒有什么音樂寄過來給我們聽一聽?"于是我給他寄了一首。然后導(dǎo)演找到我們說:"我們會(huì)有一整個(gè)系列…72分鐘的音樂。"第一個(gè)專輯就這樣誕生了。
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