我一直向往“以声为笔，以音为墨”作画。
我用声音来思考线条、光和影、远近、笔触的速度、织体、势态、动与静、层次、模糊、着色、水墨的彼此渗透、笔法、能量、呼吸、空间的共鸣、心灵的生命力、留白，与虚空。
——梁雷
图片源自《纽约时报》
Composer Lei Liang’s “A Thousand Mountains, A Million Streams” is many things. It’s Liang’s largest orchestral work to date, commissioned by the Boston Modern Orchestra Project. It’s a meditation on global warming, cultural destruction, and renewal. It’s a “love letter to the world,” to hear Liang describe it. And, the University of Louisville announced Monday morning, it’s the winner of the 2020 Grawemeyer Award for Music Composition.
作曲家梁雷的《千山万水》代表很多不同的意义。它是梁雷迄今最大的管弦乐队作品，该作品由波士顿现代管弦乐团（Boston Modern Orchestra Project）委约创作。它是对全球变暖、文化破坏及重建的沉思录。它是一封“写给世界的情书”，梁雷如是说。并且，路易维尔大学于周一早上宣布，它是2020年格文美尔音乐作曲大奖获奖作品。
“He tried to write a piece that had a whole world in it, and I think he succeeded,” BMOP director Gil Rose commented over the phone.
波士顿现代管弦乐团总监吉尔·罗斯（Gil Rose）在电话中评论道：“梁雷试图创造一部包含整个世界的作品，而我认为他成功做到了。”
——佐伊·麦当娜，《波士顿环球报》
(Zoë Madonna, Boston Globe)
One of the highest honors in the contemporary music world, the Grawemeyers count such visionary composers as Pierre Boulez, John Adams, Gyorgy Ligeti and Toru Takemitsu among its previous recipients. Each honoree receives $100,000 to further their artistic quests.
作为当代音乐界的最高荣誉之一，格文美尔奖曾被授予皮埃尔·布列兹、约翰·亚当斯、捷尔吉·利盖蒂以及武满彻等富有远见的作曲家。每位获奖者获得10万美元的奖金，以推进他们的艺术探索。
Liang is receiving the Grawemeyer, sometimes referred to as the Nobel Prize for music, for his 15-movement “A Thousand Mountains, A Million Streams.” It began in 2013 as an electronic music piece before being transformed into a solo piano work and, ultimately, a 30-minute orchestral opus that he likens to “painting” music “with a sonic brush.”
梁雷因其15个段落的作品《千山万水》获得格文美尔大奖，该奖也被称为音乐界的诺贝尔奖。这部作品的构思始于2013年的一部电子音乐作品，之后被转变为钢琴独奏作品。最终，它成为了一部时长30分钟的、被梁雷称为“用音响之笔”来绘制的管弦乐队作品。
2018年《千山万水》于波士顿首演，梁雷在现场为观众介绍该作品
（图片由波士顿现代交响乐团提供）
“I am humbled, but it also makes me think more about who I chose to be my companions and collaborators in my creative life,” said the Chinese-born American composer. “My collaborators at UCSD — including (2020 Grammy Award nominee) Susan Narucki, Steven Schick, Mark Dresser and Aleck Karis — have transformed every project I’ve worked on with them. And with them and my colleagues at the Qualcomm Institute, we can dream together. That’s the kind of company and collaborators that will keep me going. It’s a great reward for our team.”
这位美籍华裔作曲家说道：“我很感恩，同时这也让我更多地想到在我的创作生涯中，我选择了谁作为伙伴及合作者。我在加州大学圣地亚哥分校的合作者包括苏珊·纳如基（2020年格莱美提名奖）、史蒂芬·希克、马克·特莱瑟以及阿勒克·卡里斯——他们使我与其一起创造的每个项目都焕然一新。有了他们和高通研究所的同事，我们可以一起梦想。这样的团队及合作者促使我继续前进。这个奖是对我们团队的极大认可。”
Contrabass master Mark Dresser, for whom Liang composed the 2014 chamber concerto “Luminous,” regards working with Liang as one of his “greatest collaborative pleasures” of the past 15 years.
2014年，梁雷为低音提琴大师马克·特莱瑟创作了室内乐协奏曲《幽光》。马克·特莱瑟将与梁雷的合作视为他过去15年中“最伟大的合作乐趣”之一。
“Liang is such a big-hearted, generous friend and brilliant colleague,” Dresser, also a music professor at UCSD, said on Monday. “His music has such a broad musical and emotional range, both looking forward and embracing the past all at once. I am so happy for him.”
同为加州大学圣地亚哥分校教授的特莱瑟于周一讲到：“梁雷是一位胸怀宽广、慷慨大方的朋友，也是位光彩照人的同事。他的音乐具有极其广博的音乐和情感维度，既展望未来，又同时拥抱过去。我真为他高兴。”
“Because of my very close relationship with scientists and our initial collaborations at the Qualcomm Institute, I started working on other projects dealing with the oceans, the coral reefs, the arctic. We see this parallel, in the physical and spiritual world, simultaneously. That’s how I see the connections and why we must do what we are doing and join forces. I can’t tell you how proud I am, most of all, of my team members at Qualcomm Institute. If anything, this [Grawemeyer Award] is a reward — or an acknowledgment — for all these talented people sharing a mission together. It’s been transformative for many of us.”
“由于我与科学家的密切联系以及我们在高通研究所的最初合作，我开始涉及有关海洋、珊瑚礁和北极的其他项目。我们在物质和精神世界中同时看到了这种平行关系。这就是我如何看待这些联系，以及为什么我们必须联合起来、一起做我们正在做的事情。最重要的是，我无法形容自己多么为高通研究所的团队成员们感到骄傲。此(格文美尔)奖是对这些共同承担使命的、才华横溢的团队成员的认可。对我们很多人来说，这是具有变革性的体验。”
——乔治·瓦尔加，洛杉矶时报
（George Varga, Los Angeles Times
梁雷(右二）与其在高通研究所的团队
（摄影／Alex Matthews)
The winning 35-minute work creates an aural landscape with sometimes imperceptible sounds, to the most expansive music an orchestra can produce. Large swaths of sparse textures are punctuated with dark reminders of our changing climate, and delicate reminders of healing and resurrection.
长达35分钟的获奖作品创造了一种听觉景观，包括有时让人难以察觉的声音，以及到管弦乐团所能创造的最辽阔的音乐。大幅稀疏的纹理中穿插着我们正在变化气候的黑暗警醒，以及治愈和复活的微妙提示。
“We dream together about what we can do with these artworks,” Liang says about the connection between a scientific approach to understanding the Binhong landscapes and the creative expression of his music, “[to] not only to preserve them but understanding through this process about our own heritage more deeply, more precisely, and more imaginatively, and perhaps in this process help to create a better world together.”
梁雷在谈到用科学的方法理解黄宾虹山水画与他自己音乐的创造性表达之间的联系时表示：“我们共同梦想着可以用这些艺术品做些什么。我们不仅要保护它，而且要通过这个过程更深入、更精确、更富有想象力地去了解我们自己的遗产。或许在这个过程中有助于共同创造一个更美好的世界。”
——丹尼尔·吉利亚姆，WFPL广播电台
（Daniel Gilliam, WFPL）
《千山万水》沉思着文化与精神景观的失落。作品希冀于保护和复兴相平行的景观——无论精神上的抑或自然环境上的——并守护一片我们和孩子们能够归属的家园。
“我用笔墨音响描绘了一段内心旅程: 一片山水浮现于黑暗之中，被艺术家的内心视觉点亮; 远方的轮廓，形状，彩色的暗示，及虚空。随着观者逐步走进山水，线条与人形开始浮现，声音回荡着，直到我们与它的每一笔触、每一墨点、每一呼吸，融为一体。
群山在呼吸，在歌唱，在咆哮。山水在颤动，在悸动，在舞蹈; 它腾空而起; 搅动、膨胀、升腾、碾碎、涌动、舒展、盛开; 颤栗着，颠簸着，崩塌着，山河破裂，碎片纷纷......
雨，点点滴滴的雨，疗愈残垣断壁中的山水。祈祷，复活，雨把生命带回大地，而山水重获温柔的心跳。”
