主标题
短歌行 关栋天
Short Song Style
副标题
响遏行云十分韵 声动古今万般情
Guan Dongtian Performs Classical Chinese Poems
封底广告语
这一派霁月光风
啸壮怀 叹情愁
戏梦人生堪解味
千古绝唱重谱曲
亦中亦西 刚柔相济
弦歌雅意 吟诵风流
A4广告语
震古烁今的十首中国诗文名篇
叩响两千多年时光的长廊
以原创伶歌的大美姿态重现
京剧老生当今魁首关栋天
不干胶广告语
《伶歌》将进酒演唱者 艺术大师厚积薄发
歌坛巨星毛阿敏深情对唱千古情诗
近百名艺术家打造瑞鸣创作史上最强阵容
千年古琴与百余年意大利提琴璀璨献声
2500年跨度古典诗词完全原创谱曲
作曲家孟庆华呕心沥血 录音大师李小沛精心录制
制作人叶云川倾心力作 德国日本后期母版制造
瑞鸣音乐八年创作 成熟理念 传承文化 重磅巨献
前言：
樽中有日月。
这一杯酒，饮下多少清绝千古的寂寥，化作遗世独立的傲怀。
醉里，挑灯，看剑。昔日的荣光闪耀在冷冷的刃，烛火明灭着至今不死的梦想。
月下，独酌，漫舞。将人生几何的谜题抛给天地，我只流连这一刻的煌煌光影。
以此身寄寓沧海，歌哭由心，困斗无惧，一蓑烟雨任平生。
半歌半啸，亦放达亦性灵，自古名士风流。中国古代士大夫的经典风骨，投射出中国人千百年来对于精神家园的不倦追求，以及对于天地人和的哲意思索，亦是瑞鸣音乐从《伶歌》系列一直以来着意刻画的一个孤傲身影。制作人叶云川与作曲家孟庆华筹谋两年，精心创作，意图在这张凝聚了瑞鸣八年来最成熟制作理念的专辑中，完全发掘一个中国戏曲男高音的极致之美。
这个声音，在《伶歌》中持杯仰天《将进酒》，怒发冲冠《满江红》，又在《伶歌2》中大江东去吟啸《念奴娇·赤壁怀古》，峭拔飘逸，止水遏云。非物质遗产传承人、著名京剧老生关栋天，这位京剧界的男高音，已是无需票选的士大夫第一代言人。此次唱满整张完全原创的“伶歌”专辑十首大曲，酣畅淋漓，风格多变，大有可观。
从春秋时期的道家经典《道德经》，到汉唐宋元明各代的卓绝名篇，直至20世纪三十年代的《沁园春·雪》，专辑横跨两千五百年的历史时空，将中国历代诗文最华彩的至真至宝奢侈撷取，以完全原创的诚意呕心谱曲。十首曲子将中国民族音乐元素与西洋器乐技法完美融合，在此基础上凸显戏曲行腔的精气神韵，并体现每首诗文篇章的独特风致。
最耀眼当属《短歌行》与《沁园春·雪》双璧。前者以鼓群律动与低沉合唱，表现出胸怀神州的威严仪仗；后者更以气势恢宏的交响手法，体现出睥睨天下笑谈古今的绝顶风神。
毛阿敏的献声亦是十足惊喜。《钗头凤》中她与关栋天的精妙配搭可谓珠联璧合，三声叠字“难”的低回沉郁，足令人心碎如斯。
相较于《叹世》的纯正曲艺韵味的散淡闲人形象，《桃花庵》将越剧、评弹、乐亭大鼓、黄梅戏等四种风味的剧曲种融于一曲中，活画唐伯虎逞意放旷的风流才情。
以及，《道》之自然奇诡，《静夜思》之幽默趣致，《月下独酌》之西域乐舞，《破阵子》之大开大阖，《江城子》之痛彻心扉，曲曲牵情，篇篇动容。
此次专辑的制作阵容堪称瑞鸣音乐的史上最大一次，近百名艺术家全情投入，将“山不厌高，海不厌深”的磅礴气势以音乐真实再现。赵家珍抚千年古琴澹澹静水生烟，常静的古筝和戴亚的笛箫各专其美，杜聪的埙和尺八，与邓建栋的二胡亦有完美的唱和对答。百年前出自意大利名匠之手的提琴，亦在这张中国戏曲韵味的专辑中吐露芳华。
曾经操刀录制瑞鸣音乐《伶歌》、《粉墨是梦》系列的录音大师李小沛，纵然录制过众多颇有口碑的高品质发烧唱片，亦不免在此张专辑的录音过程中大呼过瘾，坦言“每天录音都有新的感动”。“伶歌”题材的第三度合作，整个团队都更加注重音响美学在整体音乐架构中的重要性。换言之，即从制作人作曲家录音师的创作筹谋阶段起，便将音响呈现的想象作为音乐创作元素不可或缺的一部分。录音和后期制作也因此跳脱了一般化的记录和再现功能，在更大程度上参与了作品的创作和塑造。在这样一个气势恢宏通透澄澈的音响空间里，位置准确，音色饱满富于变化，丰富的动态效果感人肺腑。一束人声，立而不躁，高亢中不失圆润，低回时更见细腻质感。一支独奏乐器，也可能因极其细致的拾取方式与后期选择，呈现出非同一般的三维空间感。再加之日本Memory Tech技术中心和德国老虎鱼录音公司精益求精的后期制作，《短歌行-关栋天》呈现出的完美效果超乎众人想象。
目送归鸿，手挥五弦。俯仰自得，游心太玄。当我们站在人生的河川之畔，望着逝者如斯的东去流水，是满含眷恋地苦苦追索，还是澹然随波地浅吟一曲，笑忘岁月？
Foreword：
The wine pitcher has always been there.
Through the ages, wine has comforted those at their most lonesome, and celebrated countless times with the victorious.
One man, slightly intoxicated, feels the urge to flourish his sword. The blade still shimmers with the glory of times passed, dreams that will never be forgotten.
Another man, wine cup in hand, dances alone under the light of the moon. I will leave the meaning of life up to the heavens, after all, I’m only here for so long.
The legendary figures of yesterday have seen everything, have been through everything.
Countless heroes and legends, many of which have been embodied for eternity in the words of China’s wise ancient poets. This compilation of Chinese poems set to original music has been in the works for over two years, the idea first being developed by Rhymoi Music’s producer Ye Yunchuan and composer Meng Qinghua while they were working on the Song of Songs series. They wanted not only to create their most mature work in their eight years of cooperation, they also wanted to explore the talent of the man who is known as the “tenor of Beijing opera”.
This voice can be heard on earlier Rhymoi collections, featured in songs such as Invitation to Wine, The Whole River Red, and Mediation of the Past at Chibi (Red Cliff) – to the Tune of Nian Nu Jiao, the latter of which appeared on Song of Songs 2. His voice is at times triumphant, at times raging, but always unforgettable. His name is Guan Dongtian; he has been selected as a traditional bearer of intangible heritages, is a famous Beijing opera laosheng performer, and has earned himself the nickname “tenor of Beijing opera”. Whereas on Song of Songs he only performed the vocals for several tracks, on this compilation Guan provides all the main vocals, so his versatile talent can be experienced on a larger scale.
The songs begin with Dao, which was first written in the Spring and Autumn Period and later formed the foundation of Daoism, then take you through classics of all of China’s ancient dynasties, ending with a modern poem, Mao Zedong’s Spring in Qin Garden – Snow, spanning more than 2500 years of literary talent. Musically, these ten songs include elements and influences from traditional Chinese melodies, as well as western instruments and methodologies, creating a unique backdrop for the powerful Beijing opera-inspired vocals.
Two of the most prominent tracks on the compilation are Short Song Style and Spring in Qin Garden – Snow; the former features a drum group and deep chorus vocals, representing the lofty ambitions of Cao Cao; and the latter employs an exhilarating orchestra style, bringing to life Chairman Mao’s rugged yet glorious trek across China.
Mao Amin’s vocal contribution is a pleasant surprise as well. In Phoenix Hairpin she and Guan Dongtian perform charming duet vocals, and her uniquely deep voice makes the song even more memorable.
What a World uses instruments and melodies from Chinese folk music to bring a traditional flavor to its lyrics, and Peach Blossom Temple contains a mix of Yue opera, Pingtan, Laoting Dagu and Huangmei opera, as playful and whimsical as Tang Bohu, the man who wrote the poem.
The musical accompaniment of Dao sticks to natural bare essentials, as taught in Daoism; there’s also a humorous twist on the would-be somber Thoughts on a Still Night; Drinking Alone Under the Moon, with music inspired by that of ancient northwestern China; Breaking the Formation, with its big opening and big closing; and Riverside Town, a tale of sorrow and longing. Each poem is more moving than the last, as are the musical performances.
This particular compilation is a milestone in Rhymoi’s history: almost one hundred musicians participated in the recording, making it their most ambitious production to date. Zha Jiazhen’s guqin is mellow and soothing; Chang Jing’s guzheng, Dai Ya’s wind instruments, Du Cong’s xun and chiba, and Deng Jiandong’s erhu all bring their own magical charm to the songs. But among the Chinese instruments you’ll also hear several western ones as well, such as piano, French horn, and a cello made 300 years ago by a famous Italian craftsman.
So many ages, so many stories, so many years of the past becoming only more distant; but at least we have accounts of that which once was and those who once were, so that they may now live on forever.
曲目
1. 短歌行
Short Song Style
词：（汉）曹操
曲：孟庆华
Written by: Cao Cao (Han Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00005
对酒当歌，人生几何？
譬如朝露，去日苦多。
慨当以慷，忧思难忘。
何以解忧，唯有杜康。
青青子衿，悠悠我心。
但为君故，沉吟至今。
呦呦鹿鸣，食野之苹。
我有嘉宾，鼓瑟吹笙。
明明如月，何时可掇？
忧从中来，不可断绝。
越陌度阡，枉用相存。
契阔谈宴，心念旧恩。
月明星稀，乌鹊南飞。
绕树三匝，何枝可依？
山不厌高，海不厌深。
周公吐哺，天下归心。
筚篥，这种来自北地的悲哀吹乐，戚戚然幽荡起几许无解的探问。一声峭拔如剑的“对酒当歌”，闪电般撕裂开建安十五年的混沌夜空，将这几千年不曾明了的天幕，刷白得有些残酷。千年古琴携大鼓群，俨然万军列仗，斧戟丛立，刀锋光影如雪；超低音和声威武如雷，隐没着天下归心的激荡胸怀。只是，铜雀春深，贤才无觅。只是，人生苦短，苍穹恨高。只是，天地之大如斯，竟无处安放这颗不肯坍塌的雄心。
Bili, a kind of ancient northern Chinese wind instrument, conjures up the melancholy expressed by Chancellor Cao Cao in this classic poem. The opening line “A drink, a song; how brief life is!” breaks the tranquility of the music, and the lyrics eventually lead the song into large-scale arrangements of bass drums and tambourines, as majestic as the war drums once used by Cao Cao’s army. The bass rhythms are deep and steady, symbolizing Cao Cao’s determination to gain control over all of China. If only he had had more talented officers than his enemies, if only life hadn’t been so short, if only the world had been smaller, maybe Cao Cao’s song would have been one of victory rather than sorrow.
2. 江城子
Riverside Town
词：（宋）苏轼
曲：孟庆华
Written by: Su Shi (Song Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00009
十年生死两茫茫，
不思量，自难忘。
千里孤坟，无处话凄凉。
纵使相逢应不识，
尘满面，鬓如霜。
夜来幽梦忽还乡，
小轩窗，正梳妆。
相顾无言，惟有泪千行。
料得年年断肠处，
明月夜，短松冈。
埙，像一个毫无征兆的梦境，从琵琶的夜来骤雨中倏然袭人。大提琴低回的涟漪，倒映出那个早已远去的影子，清晰得教人心碎。两鬓渐灰的苏轼，在宋熙宁八年的某个寒夜，被潮水般涌起的思念冰冷淹没。琵琶欲语泪先泫，板鼓清脆如更漏，声声数不尽十年白头。一句怆然吟啸“泪千行”声如裂帛，弦乐群释放出压抑许久的喷薄情感，古琴如绵长思绪暗涌其间。埙声渐远梦渐醒，唯有那无尽的涟漪，激荡在墨黑的深夜。
This song features a xun, a Chinese egg-shaped flute, and one of the most ancient wind instruments in the world. It is accompanied by the deep hum of a cello, completing the dreamlike feeling described in the lyrics. The poem was written by Su Shi on a cold night in his late years, when suddenly a longing for all that had past overcame him, and he felt compelled to put his emotions into words. The soothing pipa, the crisp bangu, the fluid guqin, the rushing string instruments, and the mystical xun; their melodies sound as though they can feel Su’s grief and melancholy, like that which he expresses in lines like “No words are shared, all I have are thousands of tears”. The song ends with the black night sky and the bright unquavering moon.
3. 桃花庵
Peach Flower Temple
词：（明）唐寅
曲：孟庆华
Written by: Tang Yin (Ming Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00012
桃花坞里桃花庵，桃花庵下桃花仙；桃花仙人种桃树，又摘桃花换酒钱。
酒醒只在花前坐，酒醉还来花下眠；半醉半醒日复日，花落花开年复年。
但愿老死花酒间，不愿鞠躬车马前；车尘马足富者趣，酒盏花枝贫者缘。
若将富贵比贫者，一在平地一在天；若将贫贱比车马，他得驱驰我得闲。
别人笑我太疯癫，我笑他人看不穿；不见五陵豪杰墓，无花无酒锄作田。
天真赤子唐伯虎，自命桃花庵中桃花仙。通篇一百四十字，无非花，无非酒，无非我笑他人看不穿。这曲儿也端的热闹：头一段是浙地水乡越剧的袅娜音韵，第二段换作吴侬软语的评弹风情，第三段又转入乐亭大鼓抑扬的九腔十八调，最末两段黄梅戏婉转悠扬，晓白如话。一曲唱来，半俗半正，半醒半醉，却见得真风流，真意趣。
This poem was written by Tang Yin, better known as Tang Bohu, the self-proclaimed Peach Blossom Immortal. Most of the 140-character text is about either flowers or liquor, or how no one can outdo the amazing Tang Bohu, as he laughs at the laughter of others. The musical accompaniment is an interesting mix: the first part uses the Zhejiang area’s Yue opera, the second is Shanghai Pingtan, the third is northern China’s Laoting Dagu, and for the last two parts the tempo slows down and switches to the mild melody of Huangmei opera, from China’s Anhui Province. Just like the lyrics, the song is half-serious and half-joking, half-sober and half-drunk, as amusing and charming as Tang Bohu himself.
4. 破阵子
Breaking the Formation
词：（宋）辛弃疾
曲：孟庆华
Written by: Xin Qiji (Song Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00008
醉里挑灯看剑，
梦回吹角连营。
八百里分麾下炙，
五十弦翻塞外声，
沙场秋点兵。
马作的卢飞快，
弓如霹雳弦惊。
了却君王天下事，
赢得生前身后名，
可怜白发生。
好一首剑拔弩张、声形俱烈的壮词！气势恢宏的男声合唱，将九百年前宋金鏖战的场面渲染得如火如荼。弦乐山壮海阔，直绘出战场烽烟四起，遮天蔽日。马头琴群与琵琶弹拨群的配搭，生动描画出战马嘶鸣、旌旗招展的景象。只见这一骑如箭飞驰电掣，攻城掠阵，何等地英武不羁！雄壮的铜管和鼓乐将满怀豪情推到极致，却突然一个冷峻的停顿，接住颓然一句“可怜白发生”，似自嘲，似叹息，似有不甘。醉里挑灯看剑，剑光映出驰骋疆野的壮怀梦境，更映出英雄无觅的惨白现实。
This poem tells the tale of soldiers in ancient times, returning from one victorious battle after another. The powerful male chorus vocals bring the battlefield from 900 years ago back into action, and the string music is vibrant and intoxicating, like the smoke towers on the border of two warring regions. In this song you may also find the combination of horse head fiddles with pipas and ruans, which together vividly depict the thousands of horses and war flags as they rush out to battle. The copper pipes and percussion bring the song to a thrilling climax, before dropping off suddenly, when the author looks back at his life and sees that after all those decades of bravery and excitement, all he’s left with is a head of white hair.
5. 静夜思
Thoughts on a Still Night
词：（唐）李白
曲：孟庆华
Written by: Li Bai (Tang Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00006
床前明月光，
疑是地上霜。
举头望明月，
低头思故乡。
这里既无静夜，也无思乡明月痴缠，却有活泼泼的一派天真烂漫呼之欲出。这个午后的小学堂，孩童们虽也书声琅琅，却顽皮地偷着懒，在清爽的铃鼓和木琴之间，拖着稚气的长长尾音，将这功课念得有口无心。夫子拿着戒尺一侧目，孩子们马上打起十二分精神。夫子在前摇头韵白念诵，孩童在后晃脑应和，倒也融融动人。
This song is a new twist on Li Bai’s timeless poem, which in China most children can recite not long after they first learn to speak. But in this rendition, rather than the somber stillness intended by the “Poet Transcendent”, the children performing the vocals are both playful and lazy, their voices accompanied by crisp tambourines and xylophones, as they childishly stretch out the lyrics, going out of their way to make such a serious poem fun. But as soon as the teacher comes along, the children buck up and follow the teacher’s lead, for a more harmonious recital.
6. 钗头凤
Phoenix Hairpin
词：（宋）陆游 唐婉
曲：孟庆华
Written by: Lu You, Tang Wan (Song Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00010
（陆）红酥手，黄滕酒，满城春色宫墙柳。东风恶，欢情薄，一怀愁绪，几年离索。错、错、错！
（唐）世情薄，人情恶，雨送黄昏花欲落。晓风干，泪痕残。欲笺心事，独语斜阑。难、难、难！
（陆）春如旧，人空瘦，泪痕红浥鲛绡透。桃花落，闲池阁，山盟虽在，锦书难托。莫、莫、莫！
（唐）人成各，今非昨，病魂常似秋千索。角声寒，夜阑珊。怕人寻问，咽泪装欢。瞒、瞒、瞒！
古筝吹皱了暮春一潭绿水，洞箫如丝丝烟柳拂乱心头。那佳人临水的惊鸿一瞥，勾起的是甜美如斯的回忆，还是咫尺天涯的痛楚？男声痛切沉吟难舍难离，女声痴缠远望如烟笼水，珠联璧合，愁怨依依。也曾举案齐眉，也曾心有灵犀，岂料鸳鸯棒打缘浅即尽；岂料今日唱和，竟是此生最后一次相见！未久，唐婉殁。四十年后陆游再至沈园，绿柳依旧笑春风。当年题诗的半面残垣，成为他心中永远遗恨的一块墓碑。
The sound of the guzheng is like the calm ripples on a remote lake, then the sigh of the bamboo flute fills the air. A brief glimpse of a beautiful woman next to a river; was it a dream, or a memory? This song features male and female duet vocals, which tell the tragic story of Song Dynasty poet Lu You, and his lover, Tang Wan. Although the two had been in love since childhood, Lu You’s mother did not like Tang Wan, and she ended up being married to a man she did not love. Several years later, Lu You and Tang Wan chanced upon one another while in their hometown, and each confessed their feelings. Then Lu You wrote this poem, Phoenix Hairpin. The next year, Tang Wan visited the same place, and she missed Lu You so much that she wrote another version of the same poem. The lyrics of this song intertwine the words of the two would-be lovers.
7. 月下独酌
Drinking Alone Under the Moon
词：（唐）李白
曲：孟庆华
Written by: Li Bai (Tang Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00007
花间一壶酒，独酌无相亲。
举杯邀明月，对影成三人。
月既不解饮，影徒随我身。
暂伴月将影，行乐须及春。
我歌月徘徊，我舞影零乱。
醒时同交欢，醉后各分散。
永结无情游，相期邈云汉。
这一壶狂放的酒，在乐舞之间，却透出多么清绝的寂寞，仿佛全世界都不能相与。四十三岁的李白，还未被玄宗“赐金放还”，心却已经一点点地，被长安的虚靡繁华冷冻。龟兹的鼓乐声迷离如梦，是在重温碎叶城中年少轻狂的梦境么？月亮必定不会笑我，酣醉如呓的痴歌；影子也这般忠心，零乱跟住我纷乱欲堕的舞步。这孤寂的世间，何须醉，何须醒。
Li Bai wrote this poem one night, when he felt his only friends in the world were the moon above him and his shadow beneath him. He was 43 that year, and had traded the bustling life of the capital Chang’an for the peaceful life of a hermit, but with that solitude came lonesomeness. The dreamy percussion which accompanies the song is reminiscent of ancient Qiuci, or modern-day Xinjiang, where Li Bai is reputed to have been born. He says to himself: Although they are my only friends, at least the moon will never laugh at me, watching over me as I drink; and my shadow is the most faithful companion, never leaving my side, always joining me should I choose to dance.
8. 叹世
What a World
词：（元）马致远
曲：孟庆华
Written by: Ma Zhiyuan (Yuan Dynasty)
Composed by: Meng Qinghua
ISRC CN-E04-12-00011
带野花，携村酒，烦恼如何到心头。谁能跃马常食肉？二顷田，一具牛，饱后休。
佐国心，拿云手，命里无时莫刚求。随时过遣休生受。几叶绵，一片绸，暖后休。
带月行，披星走，孤馆寒食故乡秋。妻儿胖了咱消瘦。枕上忧，马上愁，死后休。
（全名：《【南吕】四块玉·叹世》）
世情凉热，红尘谓何？每人心底都藏着个小桃源。元代的简单主义分子马致远，憋屈了半世蹉跎官，终归做回了散淡人。两根梆子轻敲千古人心，一柄二胡悠悠迂回万种世情，更有一段三弦来逗趣：世人皆醉我独醒！鼓曲韵味和戏曲风致融为一体，将这阕散曲小令活画得形神皆妙。
(Full name: [Nanlv] Four Pieces of Jade – What a World)
This poem shows the ideology of Ma Zhiyuan, the representative poet of the Yuan Dynasty. After spending half his life as a government official, he decided to live the second half in isolation, where he criticized the rest of the world for being so unnecessarily complicated and corrupt. In reflection of his simplistic view, the lyrics are accompanied by a pair of wooden clackers and an erhu. There is also a playful sanxian part as well, completing the folk music-inspired instrumental accompaniment.
9. 道
Dao
词：（春秋）老子
曲：孟庆华
Written by: Laozi (Spring and Autumn Period)
Composed by: Meng Qinghua
ISRC CN-E04-12-00004
道可道，非常道。
名可名，非常名。
无名天地之始，
有名万物之母。
故常无，欲以观其妙；
常有，欲以观其徼。
此两者同出而异名，
同谓之玄，玄之又玄，众妙之门。
玄，以一种飘渺幽冥的姿态逸出，藉这奇谲空阔的尺八悄然迂回，藉这澹澹无波的古琴静水生烟。道法自然，所有的乐器亦循道自然生长，拙朴蔓延。低音弦乐群浑然如海，大锣訇然洞开，令这萦绕时空的一问如踏步空林，寂无回声。道之为物，惟恍惟惚。老聃骑青牛西出函谷的鹤发身影，就在这千年无解的天地谜题中，杳然远行，莫知所终。
Here the Daoist concept of “xuan”, or “profoundness”, is presented with the soft hum of traditional Chinese wind music, and the soft strumming of the guzheng, like the calm ripples on a pond. Daoism advocates being at one with nature, so the musical accompaniment chosen for this song is subtle and simplistic; the bass melody carries the song on at a natural and unhurried pace, combined with the occasional strike of the bass gong, giving one the feeling of being alone in a forest, without even the echo of one’s own voice. The epitome of Daoism is peace and tranquility, which is the inspiration for this song. Thousands of years ago, clouded in the mysteries of Daoism which are still being pondered today, Laozi rode away on his black ox, never to be seen or heard from again.
10. 沁园春·雪
Spring in Qin Garden – Snow
词：毛泽东
曲：孟庆华
Written by: Mao Zedong
Composed by: Meng Qinghua
ISRC CN-E04-12-00013
北国风光，千里冰封，万里雪飘。
望长城内外，惟余莽莽；
大河上下，顿失滔滔。
山舞银蛇，原驰蜡象，欲与天公试比高。
须晴日，看红装素裹，分外妖娆。
江山如此多娇，引无数英雄竞折腰。
惜秦皇汉武，略输文采；
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
俱往矣，数风流人物，还看今朝。
气势恢宏的铜管乐启幕了北国疏朗的晨曦，木管组的温煦阳光如同金箭一般穿透林海，弦乐合奏出初雪微颤的清冽气象。这一束熔铁铄金的峭拔声线，如同一个洒脱又刚劲的手势，挥展开一派寥廓奇绝的天地。军鼓敲击着雪原的心跳，合唱烘托出磅礴万千的奇丽想象。下阕首句一个“多”字转调，凌然如剑直上云霄。之后接连数句和婉道来，指点江山若等闲。在铜管、弦乐与鼓乐交织的浓云翻滚中，开放式的结束乐句蕴藉了无限的遐想。以中国民族音乐为经，西洋器乐手法作纬，完美交织出诗作奇伟雄浑的独特意象。
For this poem, regarded as one of Chairman Mao’s best, the most powerful instruments were selected to accompany the lyrics, such as the majestic copper pipes that open the song, and the string arrangements that invoke visions of the falling snow mentioned in the lyrics. After the bold intro the war drums begin to rumble, leading into the vigorous chorus vocals. Halfway through, the music suddenly grinds to a halt, as if the marching soldiers in the lyrics have reached the summit of the icy peak. The melody picks up again, this time more subtle and pensive, accompanying Mao’s reflections on the heroes of ages past. The musical arrangement includes a variety of traditional Chinese folk influences as well as western instruments, interweaving to show the poem’s unique and intense imagery.
演唱者简介：关栋天
国家一级演员，原名关怀，满族，原籍杭州，生于武汉。父亲关正明是武汉京剧团著名老生演员，母亲李蔷华为著名的程派京剧演员。关栋天自幼酷爱京剧，天赋极佳，后随父学艺。其演唱风格受父亲影响较深，又从余（叔岩）派、杨（宝森）派等前辈艺术家的声腔中汲取了营养，音色宽亮醇厚，行腔飘逸流畅，吐字清晰，演唱激情饱满，酣畅淋漓，极富艺术感染力，被誉为京剧界的“男高音”。
1978年考入武汉京剧团。1981年，获武汉市中青年演员会演一等奖。同年，关栋天在父亲的带领下来上海演出，连演了《打金砖》、《红鬃烈马》、《战太平》、《四郎探母》等几出传统戏，潇洒的台风和良好的表演素质使得关栋天被上海观众所接受。1984年正式调入上海京剧院，随后便在上海举行的中青年演员汇演中获得红花大奖，迈入他艺术上第一个高峰期。在上海京剧院创作演出的京剧连台本戏《乾隆下江南》中塑造的乾隆形象，影响广泛。此后主演的现代京剧《潘月樵传奇》获1988年全国京剧新剧目汇演“优秀京剧新剧目奖”，本人获得“优秀表演奖”。1987年，关栋天参加全国中青年京剧演员电视大奖赛，获“最佳表演奖”，并赢得专家和观众的一致好评。1990年，因伤病暂时离开京剧舞台，赴香港发展。1999年，加盟《贞观盛事》剧组，塑造了一个鲜活的明君—唐太宗李世民的形象。并因此荣获2000年上海戏剧“白玉兰”主演奖、第六届中国艺术节优秀表演奖、第三届中国京剧艺术节优秀表演奖和第九届中国戏剧节优秀表演奖。之后，关栋天继续与尚长荣先生合作，主演了《廉吏于成龙》，饰演康亲王，获得第四届中国京剧节优秀表演奖，十二届文华表演奖。
About the Performer:
Guan Dongtian, born in Wuhan as Guan Huai, is a first-level performer of Manchurian ethnicity. His father, Guan Zhengming, is a famous laosheng performer of the Wuhan Beijing Opera Troupe, and his mother, Li Qianghua, is a renowned Cheng-style Beijing opera performer. Guan Dongtian adored Beijing opera from a young age, showing much talent in his youth, and soon went on to study under his father’s wing. Guan’s singing style is highly influenced by his father, and shows some elements of other Beijing opera styles such as Yu and Yang. Guan has a rich and clear voice, and his performances are heartfelt and passionate, appealing to a wide audience and earning Guan the nickname “tenor of Beijing opera”.
Guan Dongtian was enlisted by the Wuhan Beijing Opera Troupe in 1978. In 1981, he was awarded first prize by the Wuhan Young Performers Guild. In the same year, his father took him to perform in Shanghai, where together they performed traditional pieces such as Making Gold Bricks, The Horse with the Red Mane, The War of Taiping, and Silang Visits His Mother. Guan’s stylish stage presence and exceptional level of skill earned unanimous praise from audiences throughout Shanghai. In 1984 Guan was officially accepted into the Shanghai Beijing Opera Theater, after which he won the prestigious Red Flower Award in a joint performance held by several Shanghai troupes, marking the first peak in Guan’s artistic career. In Qianlong Visits the South, a piece created by members of the Shanghai Beijing Opera Theater, Guan played the titular role of the Qianlong Emperor, which further earned him fame. Afterwards he starred in the modern Beijing opera piece The Tale of Pan Yueqiao, which in 1988 was awarded the Outstanding New Beijing Opera Piece Award in a nation-wide competition, and won Guan himself the Outstanding Performer Award. Guan Dongtian also received the Best Performer Award in the 1987 National Young Beijing Opera Performers Television Competition, a win which also included praise from both experts in the field and audiences alike. In 1990, due to illness, Guan had no choice but to step away from the Beijing opera stage, and went to continue his career in Hong Kong. In 1999, Guan joined a team working on a piece called Zhenguan’s Great Event, and played a Tang Emperor Taizong which had both royal elegance and charm, and a witty and humorous side as well. For his performance Guan won the White Magnolia Award in 2000, as well as Outstanding Performance Awards at the Sixth Annual China Arts Festival, the Third Annual China Beijing Opera Arts Festival, and the Ninth Annual China Opera Festival. Later, Guan Dongtian continued to cooperate with Mr. Shang Changrong, starring in Honest Official Yu Chenglong as Prince Kang, which earned Guan the Outstanding Performance Award at the Fourth Annual China Beijing Opera Festival, as well as the grand prize at the Twelfth Annual Wenhua Performance Awards.
作曲家简介：孟庆华
著名作曲家，创立了“伶歌”的演唱形式。在戏曲、曲艺、 歌舞、 影视音乐、歌词写作、乐队指挥等方面皆有建树。参与多种音乐艺术形式的策划 、创作、指挥。是中国目前跨领域较广、技术较全面、知名度较高的一位音乐家。
曾获文化部最高奖 “文华”音乐创作奖、优秀指挥奖，并获中宣部“五个一”工程奖。
多次担任国家级大型艺术活动及艺术团体的音乐艺术总监，参与创作、制作晚会的作品近千余部(首)。
多年来致力于中国民族音乐风格作品的研究及写作，探求中国民族的独特音乐语言与世界音乐融合成绩斐然。在开拓中国民族音乐文化语言上有自己的独特视角和写作风格，其成就被国内外诸多学者及媒体给予高度评价。
曾创作中国首部大型京剧音乐电视连续剧《哥哥你走西口》，该剧获中国电视制作最高奖项“星光”杯大奖。
曾作曲指挥大型舞台剧20余部。创作出版的唱片在专业学术领域及唱片市场皆有良好的口碑。如《粉墨是梦》《小曲儿》《伶歌》等专辑均获得好评，被诸多高等艺术学府及院团邀请进行学术讲座和交流。
About the Composer:
Meng Qinghua, is one of the most highly-regarded composers of Neo-Traditional Chinese music. Renowned for his modern orchestral re-interpretation of Chinese Theatre songs, a new musical form the composer describes as “Lingge” (literally, “Eloquent Songs”), Meng has been at the forefront of creating vital new works for the concert hall and musical stage, including the modern folk opera, “Brother, You're Heading West” and the award-winning Beijing Opera television series, “The Flaming Mountain.” Meng’s recorded works include the critically acclaimed “Dream of an Opera” (Rhymoi RXRCD 004) and “The Song of Songs” (Rhymoi RXRCD-008). Meng Qinghua is a recognized authority on the operatic and music theatre traditions of China. His colorful orchestrations, faithfulness to traditional Chinese idioms and imaginative blending of Western and Chinese instrumentation has attracted many of the outstanding young instrumental and vocal virtuosos to work with him as artistic collaborators. His music has received numerous national awards, including the Ministry of Culture’s Wenhua (“National Culture”) Music Prize and the National of the “Five-One Project” Award (an annual prize, established in 1992 to promote “the development of spiritual civilization in China” awarded to outstanding achievements in the area of drama, television productions, books and scholarship).
录音师简介：李小沛
录音师，国家一级录音师，现任中央电视台音频部总录音师。
毕业于中国北京电影学院录音系录音专业，从事录音专业35年。涉及影视专业中的所有录音行业，是央视《春节联欢晚会》以及大型节目的总录音师。
近二十年来以音乐录音为主业。推崇录音的艺术创作理念，涉猎风格广泛，在各类型音乐的录音方面均有建树，尤以录制民乐及打击乐见长。以其独特音响视角与理念诠释民族乐器的声音魅力和表现空间，并致力于中国民族音乐的推广与发展。
曾荣获国内多项录音类以及影视节目录音大奖，所录唱片曾获美国TAS杂志年度唱片推荐首位。
主要CD唱片作品有：《响宴》、《炎黄第一鼓》、《蒙古利亚》、《竹韵》、《国色》、《鼓动
心弦》、《粉墨是梦》、《侗族大歌》、《永远的红楼梦》、《清明上河图》、《伶歌》等。
为电影录制的环绕声音乐有：《嘎达梅林》、《不见不散》、《大腕》、《一个不能少》、《我的父亲母亲》、《绿茶》、《孔雀》、《千里走单骑》、《南京南京》等。
About the Sound Engineer:
The distinguished recording and sound Li Xiaopei graduated from the recording engineering department of the Beijing Film Institute, and is presently the senior chief sound engineer of CCTV. For more than 35 years Li Xiaopei has worked as principle sound technician and engineer for nearly ever facet of China;s entertainment industry including the widely watched CCTV “Spring Festival” broadcasts, in addition to being one of the most in-demand sound designers for many large scale television productions. In addition to his work for CCTV, Li Xiaopei is active as a commentator, guest lecturer and technical advisor for many broadcast concerts, movies and television shows.
Li Xiaopei is particularly famous for his recordings of folk music and percussion music. He has developed his own unique perspective on how to dynamically capture the subtle flavors of ethnic music, especially capturing the characteristic contours of Chinese folk instruments.
Throughout his career, Li has received numerous awards including “Best Recording” in the Chinese Star Awards, China Music TV Best Recording Award (Engineering) and the Chinese Television Artists Association award for Best Sound Engineering. Li Xiaopei has received numerous international honors including being the first sound engineer from China to appear on “The Absolute Sound” audiophile recording charts.
Li Xiaopei’s published works include the CD recordings "Sound of Rhythm", "Poems of Thunder," "Master of Chinese Percussion", "Bamboo Music" and "Dream of an Opera", "Forever Red", "The Song of Songs" and others.
Surround Sound recordings for films include: "Ga Da Mei Lin”, "Big Shot’s Funeral" or "The Road Home," "Green Tea", "Peacock" , "Nanjing, Nanjing" and many, many others.
制作人简介:叶云川
音乐制作人, 美国格莱美协会会员 , 创立中国声誉卓著的音乐品牌“瑞鸣音乐”，并任制作人，中国金唱片奖最佳音乐人特别奖获得者。从事音乐创作、制作多年，获海内外重要音乐媒体高度评价，部分作品被海外唱片公司收录出版，所制作的音乐作品在高端音乐市场得到较大认同，并远销海外，销售成绩斐然。担任制作人的唱片及音乐作品曾多次获“美国独立音乐大奖”“中国金唱片奖”“中华优秀出版奖”“华语音乐传媒大奖”等百余个奖项，在中国城市广播联盟评选“中国十大发烧唱片”中数次入选，作品多次入选“CD圣经”等海内外专业评比。因多年与国际音乐制作及出版行业的密切合作经历，音乐创作理念及制作手段具有国际化的开阔视角。
音乐创作思路坚持独特创新，风格多样，追求品质，积极进取，注重作品文化性艺术性，在行业中具有鲜明特点。倾力于挖掘发扬中国传统文化与音乐的结合，擅长用世界音乐语言及方式表现中国音乐。对中国传统文化及民族音乐有着深厚的感情，并立志成为中国民族音乐与世界文化交流的传递者。
About the Producer:
Ye Yunchuan，Producer, composer, arranger, graphic designer, Grammy member, and the founder of one of China’s most prestigious audiophile recording labels, Rhymoi Music, Ye Yunchuan is further distinguished as the first Full Voting Member of the American Grammy Awards (The National Academy for Recording Arts and Science – NARAS) representing the Chinese music industry. He is, without any question, one of the rising stars in China’s growing music industry. Prior to his current activities, Ye established an international reputation, as a composer and producer, being awarded several American Independent Music Awards, Chinese Golden Album Awards, numerous rave reviews in CD Bible (China) in addition to being included on China City Radio Association’s “Ten Hottest Albums” roundup. Years of cooperation with international music production and publication circles has provided him with a truly global perspective. As founder of his own recording label, Rhymoi Music, he is committed to establishing new standards of excellence for recorded music in China.
Rhymoi Music recordings are immediately identifiable - with their innovative approaches to programming, world-class musical and artistic standards, beauty of presentation and packaging, cultural relevance, and their conscious desire to introduce the treasures of Chinese music to an international audience - Rhymoi Music is without peer. With his deep commitment to the traditions and national music of his homeland, Ye Yunchuan is committed to building new and ever more creative and beautiful bridges between the musical heritage of China and the musical traditions of the world. Ye Yunchuan continues to realize his vision with each new recording.
演唱演奏成员:
主唱：关栋天 京剧表演艺术家
对唱：毛阿敏 著名歌唱家
古琴：赵家珍 中央音乐学院教授
古筝：常静 国家歌舞团演奏家
二胡：邓建栋 空政文工团演奏家
笛/箫：戴亚 中央音乐学院教授
尺八/埙：杜聪 总政歌剧院演奏家
管子：郭向 中国广播民族乐团演奏家
琵琶: 于源春 中央民族乐团演奏家
琵琶组：孙晶 孙莹 王譞 中央音乐学院演奏家
三弦：王玉 中国广播民族乐团演奏家
马头琴：金山 古冷 蒙古族演奏家
艾捷克：阿地力 中央民族歌舞团演奏家
箜篌： 石璟 中国音乐学院演奏家
大提琴:刘蔓 中国音乐学院演奏家
小号：秦国臣 中国交响乐团演奏家
长号：赵欣 中国爱乐乐团演奏家
圆号：贾辉 姜峰 中国爱乐乐团演奏家
大号:米奇 北京交响乐团演奏家
长笛：程晓华 中国爱乐乐团演奏家
单簧管：吴丹 中国爱乐乐团演奏家
双簧管：袁小钢 中国爱乐乐团演奏家
大管： 姬晶晶 中国爱乐乐团演奏家
钢琴：赵丽莺 中国音乐学院演奏家
西洋打击乐：王悦 张宇 中国爱乐乐团演奏家
中国打击乐：李聪农 王帅 中央歌剧院演奏家
儿童合唱团： 中国广播儿童合唱团
美声合唱团： 中国交响乐团合唱团
弦乐队： 亚洲爱乐乐团三十八位演奏家
Vocal and Instrumental Performers:
Main vocals: Guan Dongtian
Duet vocals: Mao Amin
Guqin: Zhao Jiazhen
Guzheng: Chang Jing
Erhu: Deng Jiandong
Di, Xiao: Dai Ya
Chiba, Xun: Du Cong
Guanzi: Guo Xiang
Pipa: Yu Yuanchun
Pipa team: Sun Jing, Sun Ying, Wang Xuan
Sanxian: Wang Yu
Horse head fiddle: Jin Shan, Gu Leng
Aijieke: Adili
Konghou: Shi Jing
Cello: Liu Man
Trumpet: Qin Guochen
Trombone: Zhao Xin
French horn: Jia Hui, Jiang Feng
Tuba: Micky
Flute: Cheng Xiaohua
Clarinet: Wu Dan
Oboe: Yuan Xiaogang
Bassoon: Ji Jingjing
Piano: Zhao Liying
Western percussion: Wang Yue, Zhang Yu
Chinese percussion: Li Congnong, Wang Shuai
Children’s choir: China Radio Children’s Choir
Opera choir: China Symphony Orchestra Choir
String music team: Asia Philharmonic Orchestra instrumentalists (38 persons)
制作成员：
出品人：叶云川
制作人：叶云川
作曲/编曲/指挥：孟庆华
录音： 李小沛
录音助理：王恒 鹿楠楠
制作统筹：黎江
市场统筹：刘军 张威
中文文案：杨倩
英文文案：安仁良
摄影：刘海发 小叶 李聪实
平面设计：张洪科设计事务所
录音棚：中国中央电视台480平米模拟录音棚
后期制作：日本Memory Tech技术中心 德国老虎鱼录音公司
Production Crew:
Producer: Ye Yunchuan
Executive Producer: Ye Yunchuan
Composer, Arrangement, Conductor: Meng Qinghua
Recording Engineer: Li Xiaopei
Recording Assistants: Wang Heng, Lu Nannan
Production Coordinators: Li Jiang
Marketing Coordinators: Liu Jun, Zhang Wei
Chinese Copywriter: Yang Qian
English Copywriter: Nick Angiers
Photography: Liu Haifa, Xiao Ye, Li Congshi
Graphic Design: Zhang Hongke Design Studio
Recording Studio: China Central Television 480 square meter analog recording studio
Post-production: Memory Tech Technical Center (Japan), Stockfisch Records (Germany)
Produced by: Rhymoi Music. Co., Ltd www.rhymoi.com
Email:rhymoi163@163.com Tel：86-10-84831327
著作权声明：本专辑所选音乐作品俱根据中国境内刊行出版物之资料登载著作权情况，如存讹漏请与我们联络。
Copyright Statement: The music and arrangements appearing on this album have been licensed in accordance with the copyright laws of China. If there are any errors, please contact us.
封底曲目：
1. 短歌行Short Song Style 4：11
筚篥声响，古琴、大鼓俨然万军列仗，男声峭拔如剑撕裂夜空。
2. 江城子Riverside Town 5：02
埙声如梦，提琴低回如泪，琵琶欲语泪先泫，板鼓清脆如更漏。
3. 桃花庵Peach Flower Temple 4：45
越剧、评弹、鼓曲、黄梅戏，四剧一炉精彩纷呈，十分传神。
4. 破阵子Breaking the Formation 4：36
弦乐山壮海阔，合唱气势恢宏，雄壮的铜管将满怀豪情推到极致。
5. 静夜思Thoughts on a Still Night 3：30
清爽的铃鼓和木琴之间，童声天真烂漫，夫子一本正经，其乐融融。
6. 钗头凤Phoenix Hairpin 5：54
男声痛切沉吟难舍难离，女声痴缠远望如烟笼水，珠联璧合愁怨依依。
7. 月下独酌Drinking Alone Under the Moon 4：18
龟兹的鼓乐声迷离如梦，醉舞之间，透出多少清绝的寂寞。
8. 叹世What a World 2：54
梆子轻敲人心，二胡迂回世情，鼓曲韵味和戏曲风致融为一体。
9. 道Dao 4：42
尺八奇谲，古琴静水生烟，乐器循道自然生长，拙朴蔓延。
10.沁园春·雪Spring in Qin Garden – Snow 6：56
铜管、弦乐交织出浓云翻滚，合唱烘托出磅礴万千的大交响奇丽想象。
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