埙SOLO《风》 (2023) 张维良曲
笛与竖琴《胡笳》古曲 张维良编配
笛与竖琴《鹧鸪飞》 民间乐曲 赵松庭编曲 张维良编配
箫SOLO《平沙落雁》古曲 张维良改编
箫与竖琴《夕阳箫鼓》古曲 黎英海编曲 张维良改编
箫与竖琴《风竹》(2023)高平曲
箫与竖琴《相和歌》(2023) Joel Hoffman曲
Rappel « Pavane », 6’
加演曲《帕凡》
曲目介绍
Présentation du programme
《风》张维良曲
乐曲创意取自“诗经”风、雅、颂“,郑樵(南宋)“风土之音曰风,朝廷之音曰雅,宗庙之音曰颂“。表达儿时对家乡民谣的眷恋。
《胡笳》古曲 张维良改编
此曲原為琴歌,根据汉末蔡埮(蔡文姬)的诗词谱成,曲谱存見于《澄鉴堂琴谱》。后传有《大胡笳》与《小胡笳》二曲,箫曲分別采用这两曲的部分素材改编而成。音乐表现蔡文姬思念故土却又不舍稚子的矛盾、痛苦的心情,哀婉淒切的情緒深深蕴藏于音乐之中。
《鹧鸪飞》民间乐曲 赵松庭改编
民间乐曲,最早见于1950年赵松庭先生整理为笛子独奏曲。乐曲依据唐代诗人李白《越中览古》:“越王勾践破吴归,义士还家尽锦衣。宫女如花满春殿,至今唯有鹧鸪飞。”诗意而作。
《平沙落雁》古曲 张维良改编
此曲原是一首中国古琴名曲,有多种流派传谱,其意在借大雁之远志,写逸 士之心胸。最早刊于明代《古音正宗》(1634)。自其问世以来,刊载的谱集达 五十多种,有多种流派传谱。张维良先生根据原曲素材对其进行重新编创,演奏 录制了此曲并出版于箫专辑《梅花三弄》之中。
《夕阳箫鼓》黎英海编曲 张维良改编
该曲明清就已广为流传,清姚燮(1805~1864)的《今乐考证》。《夕阳箫鼓》是一首抒情写意的文曲,旋律雅致优美。此曲以柔婉的旋律,安宁的情调,描绘出人间的良辰美景:暮鼓送走夕阳,箫声迎来圆月的傍晚; 人们泛着轻舟,荡漾春江之上;
两岸青山叠翠,花枝弄影; 水面波心荡月,桨橹添声……。
《风竹》(2023.)高平曲
风竹相合的形象和声响, 无论是现实的, 还是意念的, 都有着特别的魅力,很早便捕获了中国人的想象。 单凭这两字在古诗中出现的频率, 就足见其受到的青睐。风中的竹最显竹的美,也最易引人联想, 令人寄怀。
我创作《风竹》的音乐, 一半来自对天物的感触, 一半也有人文带来的启发。作品的三个部分各具特定的性格, 时而悠然,时而狂烈,时而凄清。而风竹的意象仅是出发点,音乐由此独步而往, 成就唯音乐才可能的形态和表情, 供每位听者各自去品识。
另外, 标题多少也取自两件乐器的暗示。竖琴历来是, 自然是来去于风中的;更有爱欧莲琴(Aeolian harp,风鸣琴), 全由不得人, 单靠风的拨弄, 发出天籁之声。
竹与箫,几为同义词,本来就是一体的。在西方,吹奏乐器统称Wind Instruments,即, 遂成箫音。
《相和歌》(2023) Joel Hoffman
相和歌 is a merging of two concepts, one from ancient Chinese history and the other from my own personal work as a composer.
相和歌 is a well-known example of the dance form called 盘鼓鼓舞 (pán gǔ gǔwǔ) in which a group of dancers dance on tray-like drums. 盘鼓鼓舞 can be traced back to the Han Dynasty (206 BC – 220 AD). The poem associated with it is called 子衿 (zǐ zǐ jīn) or “The Blue Collar” and is part of the ancient collection of poetry called 诗经 (shī jīng ) or The Book of Odes. 子衿 describes a young lady revealing her love to her admirer. This material suggested the character of the music to me.
The second concept, from my own work as a composer, governs the structure of 相和歌. The work is a set of variations. However, I have not used the traditional method of generating variations, that is, a group of sections of music all related to a theme stated at the beginning of the piece. Instead, the equivalent of an opening theme is the fifth section, called “source”. Sitting right in the middle of the piece, this “source” is in fact the source material for the eight variations, with variations one through four before the “source” and variations five through eight after it. Every variation is related to the source section in that it is ‘carved out’ of the source. Michelangelo is believed to have said, “Every block of stone has a statue inside it, and it is the task of the sculptor to discover it.” This is what I have done with these variations: the “source” is the block of musical stone and each variation is a unique carving out of that material in that I literally removed material from the “source” section to create each musical “statue” or variation.
相和歌 was first composed in 2017 for xiao and guitar, as a commission from dizi and xiao virtuoso Zhang Weiliang. It was performed by Zhang and guitarist Yang Xuefei in Beijing later that year. This new version for xiao and harp was made in 2023