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| Ryuichi Sakamoto, one of Japan’s most prominent composers and a founder of the influential Yellow Magic Orchestra techno-pop band who scored films including “The Last Emperor,” “The Sheltering Sky” and “The Revenant,” died on Tuesday. He was 71. |
| 日本最著名的作曲家之一，极具影响力的科技流行乐队黄色魔力乐团(YMO)创始人，曾为《末代皇帝》(The Last Emperor)、《遮蔽的天空》(The Shelter Sky)和《荒野猎人》(The Revenant)等电影配乐的坂本龙一于周二去世，终年71岁。 |
| His Instagram page announced the date of his death, but it did not provide further details. Mr. Sakamoto said in January 2021 that he had received a diagnosis of rectal cancer and was undergoing treatment. |
| 他的Instagram主页公布了死讯，但没有提供进一步的细节。坂本龙一曾在2021年1月表示，他被诊断出患有直肠癌，正在接受治疗。 |
| Equally comfortable in futuristic techno, orchestral works, video game tracks and intimate piano solos, Mr. Sakamoto created music that was catchy, emotive and deeply attuned to the sounds around him. Along with issuing numerous solo albums, he collaborated with a wide range of musicians across genres, and received an Oscar, a BAFTA, a Grammy and two Golden Globes. |
| 对于未来派科技音乐、管弦乐作品、电子游戏配乐和亲切的钢琴独奏，坂本龙一全都得心应手，他创作的音乐悦耳动听、富有情感，与周围的声音深度契合。他不仅发行了许多个人专辑，还与各种类型的音乐家合作，并获得了一座奥斯卡奖、一座英国电影学院奖、一座格莱美奖和两座金球奖。 |
| His Yellow Magic Orchestra, which swept the charts in the late 1970s and early ’80s, produced catchy hits like “Computer Game” on synthesizers and sequencers, while also satirizing Western ideas of Japanese music. |
| 他的YMO乐队曾在上世纪70年代末和80年代初横扫各大音乐排行榜，这支乐队用合成器和音序器制作了《电脑游戏》(Computer Game)等动听的热门歌曲，同时也讽刺了西方对日本音乐的看法。 |
| “The big theme of him is curiosity,” the musician Carsten Nicolai, a longtime collaborator, said in a phone interview in 2021. “Ryuichi understood, very early, that not necessarily one specific genre will be the future of music — that the conversation between different styles, and unusual styles, may be the future.” |
| “他的一大主题是好奇心，”他的长期合作伙伴、音乐家卡斯滕·尼科莱在2021年接受电话采访时说。“龙一很早就明白，音乐的未来不一定是某种特定的风格，未来可能是各种不同风格，乃至异乎寻常的风格之间的对话。” |
| Mr. Sakamoto was beginning to achieve wide recognition in the early 1980s when the director Nagisa Oshima asked him to co-star, alongside David Bowie, in “Merry Christmas, Mr. Lawrence,” a 1983 film about a Japanese P.O.W. camp. Mr. Sakamoto, having no background in acting, agreed under the condition that he could also score the film. |
| 上世纪80年代初，坂本龙一开始获得广泛认可，当时导演大岛渚邀请他与大卫·鲍伊一起出演1983年的电影《圣诞快乐，劳伦斯先生》(Merry Christmas, Mr. Lawrence)，该片讲述了一个日本战俘营的故事。没有表演背景的坂本龙一同意了，条件是他也可以为这部电影创作配乐。 |
| The movie’s synth-heavy title track remained one of Mr. Sakamoto’s most famous compositions. He often adapted it, including for “Forbidden Colors,” a vocal version with the singer David Sylvian, as well as piano renditions and sweeping orchestral arrangements. |
| 该片的同名主题曲使用了大量合成器，至今仍然是坂本龙一最著名的作品之一。他还多次对其进行改编，包括与歌手大卫·西尔维安合作的声乐版《禁忌的色彩》(Forbidden Colors)，以及钢琴演奏版和恢弘的管弦乐编曲版。 |
| Then came music for films by the director Bernardo Bertolucci, including “The Last Emperor” (1987) “The Sheltering Sky” (1990) and “Little Buddha (1993). Mr. Bertolucci was demanding — he would shout “More emotional, more emotional!” at the composer, and made him rewrite music on the fly during recording sessions with a 40-person orchestra — but “The Last Emperor” won Mr. Sakamoto an Oscar in 1988. |
| 然后是为导演贝尔纳多·贝托鲁奇的电影配乐，包括《末代皇帝》(1987)、《遮蔽的天空》(1990)和《小活佛》(Little Buddha, 1993)。贝托鲁奇要求很高——他会对这位作曲家大喊“更多的情感，更多的情感”，并让坂本龙一在与一个40人的管弦乐队录音时当场重写音乐——但《末代皇帝》为坂本龙一赢得了1988年的奥斯卡奖。 |
| Mr. Sakamoto returned to his classical roots in the late 1990s with the album “BTTB,” or “Back to the Basics,” a collection of sentimental, delicate piano arrangements that evoked Claude Debussy, alongside more experimental wanderings into the innards of the piano in the spirit of John Cage. |
| 坂本在20世纪90年代末推出了专辑《返璞归真》(BTTB,)回归他的古典音乐根源。专辑中感伤、细腻的钢琴编曲让人想起克劳德·德彪西；同时还有更多实验性的漫步，将约翰·凯奇的精神融入钢琴内部。 |
| That release included “Energy Flow,” originally written for a commercial for a vitamin drink and released as a single after television viewers called in en masse to ask how they could find of the music. Amid Japan’s Lost Decade — a term for the economic stagnation that followed years of technology-driven growth — the tender piano ballad seemed to offer solace. |
| 专辑中包括歌曲《能量流》(Energy Flow)，它最初是为一款维生素饮料的广告而创作，在电视观众纷纷打电话询问如何才能找到这首歌后，它作为单曲发行。在日本“失落的十年”期间（指多年技术驱动型增长后出现的经济停滞），这首温柔的钢琴歌谣似乎提供了慰藉。 |
| “Perhaps it’s because people are looking for healing, for some answer to the stress of their country’s recession,” Mr. Sakamoto speculated, when “Energy Flow” became the first instrumental track to reach No. 1, in 1999, on Japan’s Oricon charts. |
| 1999年，当《能量流》成为第一首在日本Oricon排行榜上登顶的器乐曲目时，坂本龙一推测，“这也许是因为人们在寻找治愈，寻找缓解国家经济衰退压力的答案。” |
| After the nuclear disaster at the Fukushima Daiichi Nuclear Power Station in 2011, Mr. Sakamoto became an activist in Japan’s antinuclear movement, organizing a No Nukes concert in 2012 at which a reunited Yellow Magic Orchestra, and the band Kraftwerk, one of Yellow Magic’s major influences, performed. |
| 2011年，福岛第一核电站发生核灾难后，坂本龙一成为日本反核运动的积极分子。2012年，他组织了“无核音乐会”，YMO的成员重聚，深深影响了YMO的发电站乐队(Kraftwerk)也参加了音乐会。 |
| The day before the concert, he spoke at a protest outside the residence of Japan’s prime minister. “I come here as a citizen,” he said. “It’s important that we all do what we can and raise our voices.” |
| 演出前一天，他在日本首相官邸外的抗议活动中发表了讲话。“我是作为公民来到这里的，”他说。“重要的是，我们都要尽我们所能，提高我们的声音。” |
| Mr. Sakamoto learned he had throat cancer in 2014. During treatment, he halted work but made an exception when the director Alejandro G. Iñárritu asked him to write music for his film “The Revenant.” With Mr. Nicolai, who performs under the name Alva Noto, Mr. Sakamoto produced a score of luminous dread that was widely acclaimed. |
| 坂本龙一在2014年得知自己患有咽喉癌。在治疗期间，他停止了工作，但当导演亚历杭德罗·伊纳里图邀请他为自己的电影《荒野猎人》创作配乐时，他破例了。他与艺名阿尔瓦·诺托的尼科莱合作，创作了明亮而又恐怖的配乐，获得广泛好评。 |
| He conceived a new project in homage to Andrei Tarkovsky, one of his abiding influences, which became the 2017 “async,” his first solo album in eight years and a summation of his career, with haunting chorales, ethereally synthesized soundscapes, and a recording of the writer Paul Bowles reciting a passage on mortality from “The Sheltering Sky.” |
| 他还构思了一个新项目，向长久以来影响着他的安德烈·塔科夫斯基致敬，这个项目成为了2017年的《async》，这是他八年来的第一张个人专辑，也是他职业生涯的总结，里面有萦绕不去的赞歌、空灵的合成音景，以及作家保罗·鲍尔斯朗诵《遮蔽的天空》中关于死亡的一段话的录音。 |
| In later years, Mr. Sakamoto’s music became increasingly spacious and ambient, attuned to the flow of time. In an interview with The Creative Independent website, he described why he played his older music so much slower than he used to. “I wanted to hear the resonance,” he said. “I want to have less notes and more spaces. Spaces, not silence. Space is resonant, is still ringing. I want to enjoy that resonance, to hear it growing.” |
| 随后几年里，坂本龙一的音乐变得越来越富于空间感和氛围感，与时间的流动相协调。在接受“创意独立”网站的采访时，他描述了为什么他演奏自己过去的作品时，速度会比以前慢得多。“我想听到共鸣，”他说。“我想要更少的音符和更多的空间。空间，而不是沉默。空间是共振的，是仍然在发出回响的。我希望享受这种共鸣，聆听它的生长。” |
| Ryuichi Sakamoto was born on Jan. 17, 1952, in Tokyo. His father, Kazuki Sakamoto, was a well-known literary editor, and his mother, Keiko (Shimomura) Sakamoto, designed women’s hats. |
| 坂本龙一1952年1月17日出生于东京。父亲坂本一龟是著名的文学编辑，母亲坂本敬子（婚前姓下村）是女帽设计师。 |
| He began piano lessons at age 6, and started to compose soon after. Early influences included Bach and Debussy — whom he once called “the door to all 20th century music” — and he discovered modern jazz as he fell in with a crowd of hipster rebels as a teenager. (At the height of the student protest movement, he and his classmates shut down their high school for several weeks.) |
| 他6岁开始学习钢琴，不久后开始作曲。早期的影响来自巴赫和德彪西等人——他曾称他们为“通向所有20世纪音乐的大门”——他在十几岁时与一群嬉皮叛逆者交往时遇到了现代爵士乐。（在学生抗议运动最激烈的时候，他的高中被他和同学们关闭数周之久。） |
| Mr. Sakamoto was drawn to modern art and especially the avant-garde work of Cage. He studied composition and ethnomusicology at Tokyo University of the Arts and began playing around with synthesizers and performing in the local pop scene. |
| 坂本龙一被现代艺术所吸引，尤其是凯奇的前卫作品。他在东京艺术大学学习作曲和民族音乐学，并开始玩合成器，并在当地流行乐坛表演。 |
| In 1978, Mr. Sakamoto released his debut solo album, “Thousand Knives,” a trippy amalgam that opens with the musician reciting a poem by Mao through a vocoder, followed by a reggae beat and a procession of Herbie Hancock-inspired improvisations. That year, the bassist Haruomi Hosono invited him and the drummer Yukihiro Takahashi to form a trio that became Yellow Magic Orchestra. (Mr. Takahashi died in January.) |
| 1978年，坂本龙一发行了他的首张个人专辑《Thousand Knives》，这是一张迷幻混合音乐作品，开头是这位音乐家通过声码器朗诵毛主席的一首诗，随后是雷鬼节拍和贺比·汉考克启发的即兴表演。那一年，贝斯手细野晴臣邀请他和鼓手高桥幸弘组建YMO（高桥幸弘于1月去世）。 |
| The band’s self-titled 1978 album was a huge hit, and influenced numerous electronic music genres, from synth pop to techno. The group broke up in 1984, in part because Mr. Sakamoto wanted to pursue solo work. (They have periodically reunited since the 1990s.) Mr. Sakamoto continued tinkering with outré, high-tech approaches in his 1980 album “B-2 Unit,” which included the otherworldly electro single “Riot in Lagos.” |
| 乐队1978年的同名专辑大获成功，影响了从合成器流行音乐到电子音乐的众多电子音乐流派。该组合于1984年解散，部分原因是坂本龙一想从事个人创作。（自1990年代以来，他们时不时重聚。）坂本龙一在他1980年的专辑《B-2 Unit》中继续尝试采用离经叛道的、高科技的手段，其中包括惊世脱俗的电子单曲《Riot in Lagos》。 |
| After the Bertolucci films, Mr. Sakamoto was seemingly everywhere — appearing in a Madonna music video, modeling for Gap, and writing music for the 1992 Barcelona Olympics. His collaborators for the eclectic albums “Neo Geo” (1987) and “Beauty” (1989) included Iggy Pop, Youssou N’Dour, and Brian Wilson, and he toured with a world-fusion band from five continents. |
| 在贝托鲁奇的电影之后，坂本龙一似乎无处不在——在麦当娜的音乐MV中，为Gap做模特，并为1992年巴塞罗那奥运会作曲。他在博采众长的专辑《Neo Geo》(1987)和《Beauty》(1989)中的合作者包括伊基·波普、尤苏·恩多尔和布莱恩·威尔逊，他还与成员来自五大洲的一支世界融合乐队一起巡回演出。 |
| By the mid-1990s, Mr. Sakamoto had refashioned himself as a classical composer, touring arrangements of his earlier music in a piano trio. His work simultaneously became grandiose in scale and themes: he wrote a symphony, “Discord,” exploring grief and salvation (with spoken word contributions by David Byrne and Patti Smith), and an opera, “LIFE,” a meditation on 20th century history that received mixed reviews. |
| 到20世纪90年代中期，坂本龙一将自己重新定位为古典作曲家，并以钢琴三重奏的形式巡回演出他早期的作品。他的作品在规模和主题上同时变得宏大：他写了一部交响曲《Discord》，探索悲伤和救赎（由大卫·伯恩和帕蒂·史密斯提供念白），以及一部沉思20世纪历史的歌剧《LIFE》，评价褒贬不一。 |
| Along with writing music for video games and designing ringtones for the Nokia 8800 phone, Mr. Sakamoto oversaw live streams of his concerts that featured a “remote clap” function, in which online viewers could press their keyboard’s F key to applaud. The strokes would be registered on a screen in the auditorium. |
| 除了为电子游戏创作音乐和为诺基亚8800手机设计铃声外，坂本龙一还给他的音乐会直播加入了“远程鼓掌”功能，网上观看的观众可以按下键盘上的F键鼓掌。击键将被记录在音乐厅的屏幕上。 |
| In the 21st century, he began to focus again on more experimental work, inspired by a new generation of collaborators including the producer Fennesz and Mr. Nicolai, who layered glitchy electronics over Mr. Sakamoto’s piano. |
| 在21世纪，他开始再次关注更具实验性的工作，受到包括制作人芬内斯和尼古拉在内的新一代合作者的启发，他们在坂本龙一的钢琴曲上附加了故障电子乐。 |
| “He taught me that I should not be afraid of melody,” Mr. Nicolai said, “that melody has the possibility of experimentation as well.” |
| “他教会我不要害怕旋律，”尼古拉说，“旋律也有实验的可能性。” |
| Mr. Sakamoto became outspoken as an environmentalist, recording the sounds of a melting glacier for his 2009 record “Out of Noise.” For portions of “async,” he performed on an out-of-tune piano that had been partly submerged in the 2011 Tohoku tsunami. |
| 坂本龙一是一名公开的环保主义者，他在2009年的唱片《Out of Noise》中录制了冰川融化的声音。乐曲《async》部分是由他在一架走调的钢琴上演奏的，这架钢琴曾在2011年的东北地方太平洋近海地震引发的海啸中被部分泡在水里。 |
| He recorded what became his final album, “12,” as a kind of diary of sketches, following a lengthy hospitalization, through 2021 and 2022. “I just wanted to be showered in sound,” he said of the record. “I had a feeling that it’d have a small healing effect on my damaged body and soul.” |
| 在经历了2021年和2022年的长期住院治疗后，他录制了最后一张专辑《12》，它采用一种素描日记的方式。“我只是想沐浴在声音中，”他谈到这张唱片时说。“我有一种感觉，它对我受损的身体和灵魂有小小的治疗效果。” |
| In December, he gave a career-spanning, livestreamed solo piano concert at Tokyo’s 509 Studio. |
| 12月，他在东京的509 Studio举办了一场跨越职业生涯的现场直播钢琴独奏音乐会。 |
| Mr. Sakamoto married Natsuko Sakamoto in 1972, and they divorced 10 years later. His second marriage, to the musician Akiko Yano in 1982, ended in divorce in 2006. His partner was Norika Sora, who served as his manager. Information about his survivors was not immediately available. |
| 坂本龙一于1972年与坂本夏子（音）结婚，10年后离婚。他的第二次婚姻是1982年与音乐家矢野显子，2006年离婚。他最后的伴侣是曾担任其经纪人的空里香。无法立即获得有关他的遗属的信息。 |
| Mr. Sakamoto’s attention to sound suffused his daily life. After many years of eating at the Manhattan restaurant Kajitsu, he recalled in a 2018 interview with The New York Times, he wrote an email to the chef saying, “I love your food, I respect you and I love this restaurant, but I hate the music.” Then, without fanfare or pay, he designed subtle, tasteful playlists for the restaurant. |
| 坂本龙一对声音的关注贯穿了他的日常生活。在曼哈顿“嘉日”餐厅用餐多年后，他在2018年接受《纽约时报》采访时回忆说，他给主厨写了一封电子邮件说，“我喜欢你做的菜，我尊重你，我喜欢这家餐馆，但我讨厌餐馆的音乐。”然后，他为餐厅设计了微妙而有品位的播放列表，没有大张旗鼓，也没有收费。 |
| He simply wanted better sounds to accompany his meals. |
| 他只是想用更好的声音佐餐。 |
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