ENYA and HOW Her Music Legend Came to Be

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 toured around Ireland. My mum was a music teacher. My dad’s music would be a very sort of variation of 1)ballads 2, Irish ballads, to 2)Glenn Miller-type of hits that were happening at the time. And then the area I come from known as the 3)Gaeltacht area, the northwest of 4)Donegal, means that you’re brought up speaking 5)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 really 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 3 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, all these melodies started to come out, so we got together whenever we could, and then Roma started to write lyrics 4.

Roma: At the time, I said to Enya and Nicolas, “The music is very 6)visual. Why don’t we think about 7)soundtrack 8)initially 5? ”

Enya: I started to compose piano melodies, instrumentals, and Roma

found them 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 9)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 them, 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 delivered 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 10)documentary on the Celts, so we thought this was perfect.

Nicky: We were working on a particular piece of music at the time. And we’d actually titled it The March of the Celts.

Roma: To me, an inspiration was historical, was Irish. You were relating to the story of the Celts.

Nicky: And I got a phone call from Tony Macauley, who is 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 really was an amazing 11)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... 72 minutes of music to do.”And that’s how the first album happened.CE

03、恩雅以及她音乐神话的开始

恩雅∶我很难不接近音乐，因为我父母都喜爱音乐。我爸爸14岁的时候就和他的父母一起游历爱尔兰，我妈妈教音乐。爸爸的音乐中混合了爱尔兰民谣的各种风格，还有当时红极一时的格伦·米勒风格。我来自冬纳戈西北，那里是爱尔兰语地区，就是说在那个地区，你从小就以盖尔语为第一语言。那里也有许多爱尔兰传统音乐。所以我觉得自己很幸运，在很小的年纪就听过所有类型的音乐。当时我还没意识到这个，但我下了决心从事音乐。你知道，这就要说到三个人：我自己、尼克、还有洛玛。

洛玛∶我们开始合作大概是在1982年。我们下了决心说：“好，我们想做这个，”就成立了录音室。

尼克∶那时我和恩雅有空闲时间。恩雅住在我们家里，她开始进行创作，创作出了所有这些旋律，所以我们一有机会就聚在一起，然后洛玛填词。

洛玛∶当时我跟恩雅和尼克说：“这音乐很形象化。我们何不考虑做点原声乐？”

恩雅∶我开始谱钢琴曲、乐器曲，洛玛发觉这些曲子注释：

很形象化，她认为适合用来给电影配乐，于是就跟电影导演和电影制片人联系。后来接到了大卫·普特南的剧本《青蛙王子》。

大卫·普特南∶电影中有些东西让我想到恩雅和恩雅的音乐，我把剧本发给洛玛和恩雅，她们非常喜欢。后来我想工作了有六个月吧，她们为这部电影配乐工作了六个月，最后交给我令人叫绝的音乐，那音乐太美了。

恩雅∶原声乐就这么做起来了。后来听说英国广播公司正在拍一部凯尔特人的记录片，我们觉得时机正好。

尼克∶当时我们正在做一段音乐，实际上后来给它起名叫《凯尔特人的长征》。

洛玛∶我的这个灵感来自历史，爱尔兰历史。你会联想到凯尔特人的故事。

尼克∶英国广播公司在北爱尔兰的制片人托尼·麦考利给了我电话，问我们愿不愿意给新系列片《凯尔特人》做音乐。我简直不能相信，真是太巧了。他说：“你们有没有什么音乐寄过来给我们听一听？”于是我给他寄了一首。然后导演找到我们说：“我们会有一整个系列……72分钟的音乐。”第一个专辑就这样诞生了。CE

1) ballad 1 [ 5bAlEd ] n. 民歌，歌谣

2) Glenn Miller乐队是在1939年到1942年期间最流行的爵士乐队，演奏涉及的音乐形式十分广泛。

3) Gaeltacht [`^eIltB:kt]n. （爱尔兰境内的）爱尔兰语地区

4) Donegal是爱尔兰西北部的一个县

5) Gaelic [ 5^eilik ] n. 盖尔语

6) visual [ 5vizjuEl ] adj.看的, 视觉的, 形象的, 栩栩如生的

7) soundtrack [saund-trAk] n.声道，音带

8) initially [I5nIFElI] adv. 最初，开头

9) script [ skript ] n. 剧本

10) documentary [ 7dCkju5mentEri ] n. 文献片，纪录片

11) coincidence [ kEu5insidEns ] n. 巧合