粉墨是梦2(百年戏曲变身中外交响 享誉世界乐坛)

主标题

粉墨是梦2
Dreams of an Chinese Opera 2

副标题
雅集俊扮皆成剧 拂弦弄箫总关情

封底广告语
梨园故履 风花雪月十曲十色唱南北
柳枝新翻 弦鼓笛箫百声百口演古今

A4海报广告语
如海弦乐恣肆翻涌
各形各色民乐器蕴藉风流
将旋律秀丽的十剧种名段
完美演绎出丰润细腻的时尚质感
将无法忘却的古典情怀
复生于凝眸洗耳的动心瞬间

不干胶广告语
《粉墨是梦》续集再度光芒四射
十剧种名段变身乐曲完美呈现
中华民乐水乳交融西洋管弦
姜克美 赵家珍 常静 张顺翔
华乐名家才情洋溢倾心献演
国交爱乐廿四国手无瑕演绎
亚洲顶级录音师李小沛精湛录制
德国全程后期制作
瑞鸣音乐又一力作

前言:

梧叶知秋。这一枚微微泛黄的叶子,在漫卷的西风中飘摇过墨色的古城垣,掠舞过空无人迹的沙尘驿道,像一句轻声的叹息歇在深绿的池塘,碰落水面脆薄的浅雪,沉坠下去,就像沉溺在一泓迷梦。
这一泓梦,着一袭石青缂丝的华美衣裳,挥一袖拨云弄月的清泠山岚,怀恋着浴于沂风乎舞雩咏而归的畅意胜景。身外倘来都似梦,醉里无何即是乡。
耳畔一支《寄生草》,半暝半灭之间,各色人等走马灯也似,穿蟒的皇上,戴貂的丞相,捋雉尾的武将,剃了度的和尚……偏是那林冲的大红罪衣罪裙,将这暧暧流淌的幻影冲染得触目。那许多粉墨脸谱,红忠白奸,紫的刚义,蓝的勇猛,黄的暴烈,还有金的银的神佛鬼怪,绘作一张张铁面皮,揉勾抹破,能嗔,能怒,能喜,能癫,乱花渐欲迷人眼。
“可知我一生爱好是天然,恰三春好处无人见。”不要那灿灿水钻,撇去那荧荧绒花,只撷来翠鸟的柔软腹羽,做一支幽雅娴致的蕉月点翠头面,别有一段云髻半偏新睡觉的风流态度。更有雌雄莫辨的经世迷离,俊秀儿郎扮娇娥,木兰偏许须眉装,成就千古击赏的奇景,堪叹堪羡。
三丈戏台演梦,雾失楼台,月迷津渡。一扬马鞭即穿越千山万水,一桌二椅便当得亭台楼阁。这一种写意程式的佻达洒脱,在“匡七台七”的锣鼓经之间,在蕴藉风雅的韵白之间,在或峭拔或幽咽的唱腔之间,美不胜收。
粉墨是梦,是人生照影,是惊鸿一瞥,是光阴浓缩成寸金,是史话和情愁凝成某个手势或身段,一啼一笑或真或扮,唱演着千古悲欢。

前年一张《粉墨是梦》蒙赐厚爱,奖项纷至,嘉誉沓来。虽然当日即囿于专辑篇幅,颇多取舍割爱,言之不尽,然而万不敢草草续貂唐突乐友。直至今日两载光阴,沉淀如许,精挑如许,竭虑如许,加之醍醐灌顶福至心灵的顿感,非尽哺不能畅雅意,非继发不能谢世人。
依旧瑞鸣音乐,依旧叶云川制作,依旧孟庆华改编,依旧十个剧种十唱段,依旧“逗胡琴洞箫唱念春色满园,听丝竹管弦吟咏风月无边”。在京、昆、粤、黄梅、越五大剧种而外,专辑又挑选吉剧、秦腔、花鼓戏、吕剧、潮剧的传世名段,以深沉浩瀚的管弦语汇交融细腻个性的民乐精髓,传神描绘戏曲旋律的妍美音容和古典境界。
同是戏曲选段,各以旋律优美见长,在专辑中却少有面目雷同之感。极具地域特色的原剧种主奏乐器,在弦乐翻涌和民乐帮衬的背景上,一枝独秀却又水乳交融。在上辑中令人击掌叹妙的乐器对答,在本辑中运用得更加淋漓尽致:二胡在越剧《梁山伯与祝英台》中和古筝十八相送猜心猜口,又在花鼓戏《刘海砍樵》中与唢呐扮小夫妻你侬我侬;黄梅戏《牛郎织女》则由秀美琵琶和清啭竹笛互通心款,秦腔《火焰驹》则用明亮的马骨胡和高亢的唢呐,回环问答出大开大阖的西北风情。
名手绘丹青,意浓态远淑且真。昆曲《玉簪记》一段清风徐来波澜暗涌的“琴挑”,在赵家珍那张千年古琴的弦间妩媚重生,天姿惊人。杜聪的笛箫染绿了粤剧《帝女花》的情致,也浸润了京剧《霸王别姬·三家店》的肃凉月色。常静的古筝玲珑典雅,张顺翔的京胡峭拔嶙峋,以及姜克美、邓建栋两位名传中外的胡琴国手,俱是一身绝技倾情往,十分心血演奇乐;更加之国交及爱乐二十四位演奏家的无瑕演奏,整张专辑曳身转眸皆动人的千姿万妙方得以完美展现。
专辑延续瑞鸣音乐的严谨品质,不敢有些许疏忽。特意选址中央电视台480平米模拟录音棚,动用了数十只顶级话筒及数百万元的录音设备,由亚洲录音大师李小沛精湛录制,完美展现戏曲魅力。德国录音名家老虎鱼及日本JVC首席工程师们全程负责专辑的后期制作及母版制造,不同版本不同韵味,需细细体会,慢慢感受。

旧戏新曲,听来不觉触景生情。听牡丹亭之赏春香还是旧罗裙,是一大哭;听红楼梦之想当初妹妹从江南初来到,是一莞尔;听玉簪记之长清短清云心水心,竟是一默。人生苦短亦苦漫长,当日心之所系者,原以为它会无言等在光阴的尽头,只作一轴画卷藏在年份的箱箧。怎料不过盏茶支曲的光景,物换人非,情何以堪。
因此上,珍重浮生一段闲,听音度曲,赌书雅谑,方不负平生意。若对黄花辜负酒,怕黄花也笑人岑寂。
Brief Introduction:
In 2006, the critically acclaimed recording “Dream of an Opera” was released by Rhymoi Music. Its concept was utterly unique – offering traditional Chinese Opera without Words. As one of the world’s great, intangible cultural treasures, Chinese opera is, along with Greek Tragicomedy, and Indian Sanskrit Drama one of the three most ancient forms of Drama. And yet even today, despite the easy accessibility of films, recordings and the internet, “Chinese Opera” (of which there are more than 360 varieties!) remains for many, one of the world’s last great mysteries. It was the hope of Ye Yun Chuan to offer a strikingly modern vision and give new life to this most Chinese of art forms, to liberate the timeless stories and ancient melodies from the museum and kitschy tourist traps and share them with new generations of listeners – and new fans.

The result was an international success! Listeners and reviewers, who never imagined listening to Chinese Opera and LIKING it, were captivated by the sensitive, colorful orchestrations. Meng Qing Hua’s arrangements were brought to life by some of China’s greatest living instrumental virtuosos – artists who knew the music in its original form and who through their artistry could convey the nuance of every (unsung) word - making new friends for Chinese opera around the globe.
Traditionalists may object that such an approach to Chinese opera dilutes its “purity”, that Chinese Opera without SINGING is not Chinese Opera. Or that western instruments are incapable to accurately expressing the nuance of Chinese music. For those listeners, there will always be the recordings and films of Mei Lanfang, Yan Huizhu, Ma Lianliang, but for those listeners wishing to penetrate the “mysteries” of Chinese opera, not merely as an historic artifact but as a living tradition, “Dream of an Opera” is the perfect invitation. If Bach can be played on the Guzheng, than certainly the beauty and immortal qualities of Chinese Opera can withstand the addition of a few western instruments!
And now, Ryhmoi Music, Ye Yun Chuan, and Meng Qing Hua have returned with more treasures to enchant and captivate. Discover ten new operas with ten new stories, each representing a different regional tradition - Ji, Qin, Huagu, Lu, Chao, Peking, Kun, Cantonese, Huangmei and Zhejiang Yue operas – all are here for your enjoyment.
It goes without saying that even the best performance would provide little enjoyment if poorly recorded. And so, this album continues the World-Class production standards that have earned Rhymoi a place of pride among collectors and audiophiles everywhere. Many thanks to the management of China Central Television Station (CCTV)’s 480 square meter professional studio, the distinguished engineer Li Xiao Pei, our production crew and our friends at Stockfish Studios (Germany) who contributed to our team’s post-production effort.

曲目:
1.昆曲 《玉簪记》
昆曲起源于江苏昆山地区,至今已有六百多年的历史,原名“昆山腔”或简称“昆腔”,清朝以来被称为“昆曲”,现又被称为“昆剧”。昆曲的伴奏乐器,以曲笛为主,辅以笙、箫、唢呐、三弦、琵琶等。
昆曲剧目丰富,剧本文词典雅华美。发音吐字讲究四声,严守格律、板眼。昆曲曲调是曲牌体,每出戏由成套曲牌构成。唱腔圆润柔美,悠扬徐缓。表演细腻,身段动作和歌唱紧密结合,舞蹈性很强。昆曲于2001年5月18日入选联合国教科文组织“人类口述遗产和非物质遗产代表作”名录。
“你是个天生俊生,曾占风流性。看他无情有情,只见他笑脸来相问。我也心里聪明,把脸儿假狠,口儿里装作硬。我待要应承,这羞愧怎应他那一声?我见了他假惺惺,别了他常有挂心。看这些花阴月影,凄凄冷冷,照他孤零,照奴孤零。”
书生潘必正赴考落第,无意回乡,便到姑母的尼庵中借读,遇见了年轻女尼陈妙常。一晚,妙常在白云楼上弹琴,必正闻声而来,和妙常相见,俩人互相爱慕,并各奏一曲;必正向妙常求婚,妙常心中同意,但碍于佛门清规,予以拒绝。妙常归来想念不止,写下一诗,为必正所得,于是妙常之真情已无法掩饰,终于和必正私定终身。
那弦乐浓密织染的花荫深处,藏得住溶溶夜月凉如水,却藏不住悄悄闲庭意难眠。古琴雅音拂云,是楚楚一段凄清风韵;洞箫匀息拨月,别有一番幽咽丰姿。是妙常问弦《广寒游》,任是无情也动人;更是书生琴挑《雉朝飞》,少年心性玉楼东。一番情逸弦外的西厢形境,被这钟儿磬儿敲乱了心怀,碰碎了浅梦。

1. Kunqu Opera: A Jade Hairpin
Kunqu is one of the oldest extant forms of Chinese opera, dating back nearly 600 years. It originated in the city of Kunshan in Jiangsu Province and evolved from collections of melodies that were native to the region. During the Ming Dynasty (1368-1644), Wei Liangfu, a singer in the northern style, migrated to Kunshan from Nanchang, Jiangxi Province. While performing with singers in the southern style, he adapted to the songs of Kunshan, combining them with northern singing techniques to create a new style. Kunqu was introduced to Beijing during the late Ming era, and became one of the two official forms of drama within the imperial court, and was soon a nationwide favorite. Kunqu would later become excessively formal and stylized and by the mid-Qing Dynasty (1644-1911), it gradually declined in popularity, admired only by a few dedicated aficionados. While Kunqu has experienced ups and downs in popularity, its supreme status has never been challenged and is recognized as a seminal influence in the creation of other forms of traditional opera.

Story of the Opera:
"The Jade Hairpin" was written by the Ming dynasty playwright Gao Lian. It is a love story with a happy ending telling the story of Pan Bizheng, a young scholar, and Chen Miaochang, a Taoist nun.
Pan was a promising young scholar but suffered from an illness while he prepared for the official examinations. He decides to take the exam anyhow but fails. Ashamed of his failure, he retreats to the convent where is aunt is the mother superior. There he meets Chen, a young, pretty nun. Chen came from a good family but lost everything in a war, and was forced to seek shelter in the convent. Chen had little success in suppressing her worldly passions and yearned for life and love in the world. Pan's aunt finds out about the couple’s relationship and tries to break them up by sending Pan to another official exam while keeping Chen in the convent. Pan ends up passing the exam with honors and returns to marry Chen.

2.吉剧 《桃李梅·三放参姑娘》
吉剧诞生于1959年,它在“二人转”的基础上,吸收了东北其他民间艺术和借鉴其他地方戏曲的长处并融合提炼,流行于吉林省。
吉剧的唱腔音乐,包括“柳调”和“咳调”两大类,各有一套曲牌。吉剧的主要伴奏乐器是板胡和唢呐,表演则继承了二人转唱、扮、舞、说、绝(手绢、扇子等绝活)等五功,并吸收了其他剧种的表演特长,从而发展形成独特的风格。
“深闺寂静晚风凉,心欢意爽试嫁妆。大红的新衣披身上,这身儿也不瘦也不长不瘦不长巧扮新娘。”
《桃李梅》描述明朝万历年间,集宁县知县袁如海为人懦弱,夫人封氏精明强干。长女玉桃已嫁总兵府文案赵运华,次女玉李已聘给甥儿燕文敏,三女玉梅精通诗书,聪明过人。一日,玉李在庙会途中被三镇总兵方亨行看中,方欲强娶。封氏与玉梅设计智斗,告倒方亨行。玉梅得中头名状元,钦封知府,并得嫁心仪之人洪学勤,袁府喜气盈门。

“金元宝,金菊花,金萝卜,金蛤蟆,我不拿,不掐,不拔,不抓。千金不换我这傻心眼,愿叫傻瓜就叫傻瓜。”
《三放参姑娘》 取材于东北民间传说。满族青年农民那瓜与阿玛放山挖参。穷苦、憨厚的那瓜三次捉住价值千金的扇子参——人参姑娘,为成全她修炼千年,又三次将她放走。人参姑娘修炼成仙后,来到人间,与那瓜结成美满姻缘。
曲子发端还是一派秀丽悠扬,古筝的波光点点荡漾于宽厚深湛的弦乐之上,颇有些空濛的大锣令这不真实的时空感瞬间推远又拉近。可只是一展眼的工夫,筝声顿骤,板胡精气神十足地顽皮现身,惟妙惟肖地学着二人转唱的谐趣声口,竹板也来开开心心地凑着热闹,一时间容貌神态跃然眼前,欢舞场面呼之欲出。

2. Ji Opera: "Tao Li Mei" • “Ginseng Girl”
Ji Opera is one of the most modern forms of Chinese opera and is popular in various parts of Jilin and Liaoning, Heilongjiang provinces and the Inner Mongolia Autonomous Region. Jiju evolved from the Errenzhuan, a form of theatre closer to vaudeville than Peking opera, incorporating dancing, singing, baton-twirling, costume changes and soliloquies. The development of Jiju came as a result of a suggestion made by Zhou Enlai in 1958 while visiting the region, that the local drama troupes should develop their own regional theater to enrich the lives of the local populace. Following the Cultural Revolution, Jiju returned to life with renewed vitality and numerous new operas were created and performed. “The Three Sisters” dates from 1979 – 1980 and is representative of the vitality of the new form. In recent times, Ji operas have received numerous awards for their innovative productions and attending a local performance is one of the highlights of visiting the region.

Story of the Operas:
Tao Li Mei tells an ancient story set during the Ming dynasty about three daughters of the Yuan family. The oldest one named Tao marries an officer, while the second daughter named Li is betrothed to her cousin, Yan. The youngest sister, Mei is very clever, and is devoted to her family. One day, a military officer meets Li and tries to force her to marry him. Mei argues her sister’s case before the local magistrate and wins the suit. Mei applies to take the imperial examination and passes her tests with flying colors. In the end, she becomes a local official, gets married and everyone lives happily ever after.
The Ginseng Girl is based on a fairy tale, that tells the story of a beautiful apprentice fairy who is caught three times by a man named Nagua. Each time he sets her free to complete her studies and become a real fairy. In the end, she returns to him and marries him after she has completed her practice.

3.越剧《梁山伯与祝英台》
越剧前身是浙江嵊县一带流行的说唱形式“落地唱书”,1906年开始演变为在农村草台演出的戏曲形式,曾称小歌班、的笃班、绍兴文戏等。1925年9月17日上海《新闻报》演出广告中首次以“越剧”称之。20世纪四十年代定名为越剧。
越剧长于抒情,以唱为主,声腔清幽婉转、优美动听,表演真切细腻,富于江南色彩。主要曲调有四工调、尺调、弦下调等。越剧原来全是男演员,后又一度变成全部女班,现在为男女合演。
“(合)三载同窗情如海,山伯难舍祝英台,相依相伴送下山,又向钱塘道上来。(祝)书房门前一枝梅,树上鸟儿对打对,喜鹊满树喳喳叫,向你梁兄报喜来。(梁)弟兄二人出门来,门前喜鹊成双对,从来喜鹊报喜信,恭喜贤弟一路平安把家归。”
《梁山伯与祝英台》名列中国古代四大传说之一,梁祝故事在民间流传已近15个世纪,几乎各剧种都有改编,越剧《梁山伯与祝英台》因电影版的广泛传播而格外引人注目。祝英台女扮男装到杭州尼山读书,与同窗梁山伯结交,情深意长。祝父祝公远贪图财势,将英台许给马文才。山伯因之抱恨死去,英台到山伯坟前祭奠,跃入墓中。梁祝化蝶翩跹而舞,永不分离。
也许是因为古筝的婉转婆娑,或是因为碰盅木鱼的灵秀点染,再或者根本就是梁祝二人猜口猜心的甜蜜小情调,令这个多少有些伤怀的经典惜别场景情趣独具。最爱那意兴盎然的机巧对答,古筝玲珑似英台有口难开,二胡洒脱是山伯未解风情。带有宿命意味的深沉弦乐,令那日的桥头那日的山,在意象中都缭绕成略显不真实的水墨氛围,眼看要融化在手心。

3. Zhejiang Yue Opera: The Butterfly Lovers
Compared to the 600-year-old Kunqu Opera, Zhejiang Yue Opera, developed less than a hundred years ago, and is a comparative newcomer to the family of Chinese Opera. Zhejiang Yue originated in Shengzhou City, in Zhejiang Province. Early Zhejiang Yue Opera was performed exclusively by men but from 1923, all-women Zhejiang Yue Opera groups began to appear and became popular. All-women Yueju Opera groups gradually replaced all-men groups in the 1930s and 1940s, and the name " Zhejiang Yue " was finally adopted previously this style was known as “Luodi Changshu Diao”. In its short history, Zhejiang Yue has effectively incorporated stylistic elements from modern drama, Kunqu Opera and Western music, in an attempt to create a new performing style. The music of Zhejiang Yue Opera is characterized as being fresh, graceful and lively. The well-known violin concerto "Liang Shanbo and Zhu Yingtai" ("Butterfly Lovers") was composed based on elements from Yueju Opera.

Story of the Opera:
The story of Liang Shanbo and Zhu Yingtai (Butterfly Lovers) is based upon one of the most famous and beloved of all Chinese romances, that can be justifiably called the Chinese “Romeo and Juliet”. In addition to several popular Chinese operas, the story of the “Butterfly Lovers” has been used as the basis of the famous Violin Concerto by Chen Gang, several western-style musical and many films.
Set in feudal China hundreds of years ago, when marriages of love were forbidden, two young people defied societies norms and dared to fall in love. The girl, Zhu Yingtai is the daughter of a rich landlord and despite the prohibition on women receiving education, she dresses as a boy and starts her journey to attend school. On her way, she meets Liangshan Bo and they become “blood brothers.” Liang eventually finds out about Zhu’s masquerade, and they fall in love and exchange a solemn pledge of love. Zhu's family is against their marriage; instead planning to marry Zhu to a rich man. Liang soon dies of a broken heart. When Zhu hears of her lover’s death, she rushes to his tomb. The tomb opens and Zhu jumps in. The two lovers are transformed into a pair of butterflies and are finally united, never to be separated again.

4.秦腔《火焰驹》
秦腔是西北地区主要的地方戏曲之一,大约于明代在陕、甘一带的民歌基础上形成,发展过程中受到昆腔、弋阳腔、青阳腔等剧种的影响,清初得到蓬勃发展。秦腔在发展过程中,因地域不同而演变为东路秦腔、西路秦腔和中路秦腔(又称西安梆子)。秦腔创造了中国戏曲音乐中板式变化的结构方法,成为梆子腔(乱弹)系统中的代表剧种。
秦腔唱腔宽音大嗓直起直落,高亢激越粗犷朴实;在曲调上有“欢音”、“苦音”之分;在板式上主要有慢板、尖板、滚板、摇板、代板等五种;在表演上有喷火、跌扑、耍髯口等多种特技。
“清风徐来增凉爽,为遣情思赏秋芳,花园里边眼界广,胜似那整日守闺房。满园花儿齐开放,绿树荫浓细草长,你看那红似胭脂白如雪霜,相辉映。处处争妍,簇簇堆锦,暗生香。”
《火焰驹》又名《卖水记》。北宋时,奸臣王强与朝臣李绶不和,诬告李之长子彦荣在边关投敌,将其满门抄封,李亦下入天牢。李之次子彦贵投奔未婚岳父黄璋处。黄嫌贫爱富,见李家被抄,昧却亲事。其女桂英见彦贵流落大街卖水,命丫环梅英约于花园相见,并赠金济困。事被家人听去,报与黄璋,黄闻讯大怒,设计杀死梅英,嫁祸彦贵,送公堂问成死罪。事被贩马义士艾谦得知,乘“火焰驹”急赴边关,李彦荣得讯还朝,彦贵被救,阖家团圆。
扑面便是热乎乎清朗朗的西北黄土风情,这段大开大阖的曲调,由纯美明亮的马骨胡痛快快问来,由穷形尽相的唢呐脆生生答来,高亢处有一线钢丝抛上天际的爽利,低吟处则有一泓秋水蕴藉深沉的滋味。大段的拨弦那样萦绕着烘托着,推陈出栩栩如生的戏剧氛围;秀美朴实的中阮则在锣啊鼓啊梆子的板眼之间,不急不徐地渐展峰回路转的跌宕情节。

4. Qin Opera: " Huo Yan Ju”
Qinqiang is the native opera of Shanxi province. It is the oldest form of Chinese opera still in existence today. During its long history, more than 4000 different operas have been staged, more than any other form of Chinese opera.
Historians have conjectured that Qin Opera developed throughout the Qin, Han, Tang, Song, Ming and Qing dynasties, reaching its final form during the Tang dynasty. Also referred to as “Bangzi (or “clapper”) Opera” after the loud woodblock-like instrument (Bang Zi) used as accompaniment, Qin Opera evolved from diverse local folk songs and dance forms in the Shanxi and Gansu provinces. The arias of Qinqiang sound vehement, resonant and exaggerated, and unlike other forms of Chinese Opera, the falsetto voice is not used in the performance. In keeping with its folk-origins, Qin opera performances are often wildly theatrical, incorporating martial arts, juggling, acrobatics and even fire-spitting on stage.

Story of the Opera:
The story of “Huo Yan Ju” takes place in ancient feudal time during the Northern Song Dynasty at the northern frontier of the Great Wall and is a convoluted tale of family honor, war, deceit and political intrigue. In the end, all the false accusations are revealed and family honor is restored.

5.京剧 《霸王别姬·三家店》
京剧,也称“皮黄”,由“西皮”和“二黄”两种基本腔调组成音乐素材,也兼唱一些地方小曲调(如柳子腔、吹腔等)和昆曲曲牌。它在19世纪四十年代形成于北京,盛行于20世纪三四十年代,目前仍是具有全国影响的大剧种。
“看大王在帐中和衣睡稳,我这里出帐去且散愁情。轻移步走向前中庭站定,猛抬头见碧落月色清明。(白)看,云敛晴空,冰轮乍涌,好一派清秋光景。”
《霸王别姬》又名《九里山》、《楚汉争》等。秦末,楚汉相争,韩信将项羽困于垓下。项羽突围不出,听得四面楚歌,疑楚军尽已降汉,在营中与虞姬饮酒作别。虞姬自刎,项羽突围至乌江边自刎。
“将身儿来至在大街口,尊一声过往的宾朋听从头,一不是响马并贼寇,二不是歹人把城偷,杨林与我来争斗,因此上发配到登州。”
《三家店》又名《男起解》。隋唐时,杨林因程咬金等聚义瓦岗,怒提秦琼至登州问罪。秦琼起解,宿三家店中,不胜嗟叹,为差官王周所闻。王欲助秦,值史大奈来探,与王定计,由素修书去瓦岗求救。
一管洞箫在沉默的月光里呜咽,略显乖张的诡异尺八和弦乐带来不寻常的气氛。虞姬踏住筝声的步履,跟随箫声的思绪漫行,在如海如冰的弦乐夜色中,泪光盈盈地往东南方向深深一拜。是的,这个无眠夜的尽头,将是哀艳自刎的结局,将成全谁的辉煌霸业,谁的千秋遗恨。只是那支太不甘太凛冽的京胡,纵是不肯过江东,终究意难平。心潮翻涌的广袤弦乐中,还是这一支京胡,转身便闪出戴枷秦琼的落寞身影。都是离别都是恨,都是英雄失意不平声,只是这小孟尝一寸琴声也不能气短,一字一句要辩得明白,一板一眼要打出气概。

5. Peking Opera “Farewell My Concubine”
Peking Opera is one of China’s great national treasures and boasts a history of more than 200 years. Originating in the 55th year of the reign of Emperor Qianlong of the Qing Dynasty (1790), Peking Opera began when four big Huiban Opera troupes arrived in Beijing and combined their repertoire with that of Kunqu, Yiyang, Hanju, Qinqiang operas popular at that time within Beijing's theatrical circle. After a period of more than half a century of experimentation, what is recognized today as Peking opera finally emerged. Peking Opera has remained the most popular operatic form in China, and possesses a richness of repertoire and artists who have exercised a profound influence on Chinese culture.
Peking Opera is a synthesis of stylized acting, singing, dialogue, mime, acrobatic fighting and dancing all employed to represent a story or depict different characters and their feelings of happiness, anger, sorrow, fear or surprise. In Peking opera there are four main types of roles: Sheng (a male), Dan (a young female), Jing (the painted face male), and the Chou (the clown, played by either a male or female). The characters may be loyal or treacherous, beautiful or ugly, good or bad. Elaborate facial make up is used to reveal the character’s true nature.

Story of the Opera:
The opera known as “Farewell My Concubine” is more accurately translated “Hegemon King says Farewell to His Queen” and was based upon a an actual historical incident. Set during the Qin Dynasty, the opera tells the story of Xiang Yu (232 BC - 202 BC), the self-styled "Hegemon-King of Western Chu" who battled for the unification of China with Liu Bang, the founder of the powerful Han Dynasty. In the play, Xiang Yu is on the verge of being defeated by Liu Bang's forces. He calls to his horse and begs it to run away for its own safety. Against his wishes, the horse refuses. He then calls for his favorite concubine, Yu Ji. Realizing there is no escape, she begs to die alongside her master, but he refuses to let her do so. Afterwards, as he is distracted, Yu Ji commits suicide with Xiang Yu's own sword.
As with “Butterfly Lovers”, “Farewell My Concubine” has been the inspiration for numerous plays, novels, films and even a newly composed western-style opera, and is one of the most noble and tragic stories of World Theater.

6.花鼓戏《刘海砍樵》

湖南花鼓戏是湖南各地民间小戏的总称,已有二百多年的历史。根据不同的地方语言特点及各地民间艺术的影响,分为长沙花鼓、邵阳花鼓、零陵花鼓、衡阳花鼓、常德花鼓和岳阳花鼓等各种流派。
湖南花鼓戏的主要唱腔是属于曲牌体,以曲调联缀为主,辅以板式变化。它具有民间音乐语言和民间文学语言的结合、歌和舞的结合的特点。唱腔朴素健朗,唱词形象生动,表演生活气息浓厚。
“(男)胡大姐,
(女)哎
(男)我的妻,
(女)啊
(男)你把我比作什么人罗!
(女)我把你比牛郎,不差毫分哪。
(男)那我就比不上罗!
(女)你比他还有多哇,
(男)胡大姐你是我的妻罗,
(女)海哥哥你是我的夫哇。
常德樵夫刘海,每日上山砍樵换回盐米,侍奉娘亲。狐狸九妹胡秀英爱慕他勤劳朴实,不嫌其家贫,结为夫妻。后山石罗汉为求成仙遂起歹心,将胡秀英打落井中,劫夺宝珠。刘海得神斧之助,夺回宝珠,美满夫妻重得团圆。

清灵灵的竹笛玲珑透亮,吹奏出一片令人遐想的绿意盈盈。鼓儿们镲儿们锣儿们,热热闹闹地奏出那忍不住的欢喜劲儿。这番意趣盎然的甜蜜对答中,唢呐俏皮些活泼些,二胡朴实些仁厚些,小夫妻俩你侬我侬的逗趣情态宛然在目,更有弦乐队晕染出的青翠山色作衬,当真羡煞旁人,不让神仙。

6. Huagu Opera: “Woodcutter Liuhai”
Huagu Opera originated in Hunan province around 200 years ago and developed from the folk songs and story telling of farmers and peasants. Unlike other forms of Chinese opera, Huagu Opera originally had only two roles: the Xiao Chou, (a young male clown) and the Xiao Dan, (a vivacious young girl) – both originally played by men. Huagu later developed in to a three-role drama, adding the Xiao Sheng role (a young male). Owing to its earthy and sometimes even ribald content and use of vernacular language, Huagu Opera was suppressed by feudal governors. This caused Huagu Opera troupes to begin performing other types of opera as a shield for their Huagu Opera performances. Following the founding of the People's Republic of China, Huagu Opera hasflourished and today, there are over 400 Huagu Opera plays in the repertoire, a number of which like “Butterfly Lovers” and “Farewell My Concubine” have been made into movies.

Story of the Opera:
In contrast to the noble tragedy of “Farewell My Concubine”, “Woodcutter Liuhai” proudly displays its folksy roots and earthy good-humor. The story tells the tale of the poor but hard-working woodcutter Liuhai, his blind mother and a well-intentioned but mischievous Fox Spirit that takes on the form of a beautiful young noble woman. All ends happily when the Fox Spirit grants Liuhai three wishes and he is rewarded for his diligence and hard work.

7.黄梅戏 《牛郎织女》
原唱腔作曲:方绍樨
黄梅戏是安徽的主要地方戏曲剧种,原名“黄梅调”或“采茶戏”,是18世纪后期在皖、鄂、赣三省毗领地区形成的一种民间小戏。其中一支逐渐东移到以安徽省怀宁县为中心的安庆地区,与当地民间艺术相结合,被称为“怀腔”或“怀调”,即今日黄梅戏的前身。
黄梅戏在剧目方面,号称“大戏三十六本,小戏七十二折”。大戏主要表现的是情节性的传奇、故事。如《荞麦记》、《告粮官》、《天仙配》等。小戏大都表现生动的生活片段和细节,如《点大麦》、《纺棉纱》、《卖斗箩》。

“架上累累悬瓜果
风吹稻海荡金波
夜静犹闻人笑语
到底人间欢乐多
我问天上弯弯月
谁能好过我牛郎哥
我问篱边老枫树
几曾见似我娇儿花两朵。”
牛郎和织女本是天上星斗,他们相约下凡触怒了王母,牛郎被谪贬人间耕地犁田。织女被王母锁入云房终日织帛,时刻思念牛郎,终得机会下凡与牛郎相会结亲。三年育有一双儿女,生活美满。王母捉回织女,牛郎紧紧追赶,却被王母金钗划出的银河生生隔开。惟有每年七夕,牛郎和织女才得由喜鹊搭桥相聚一次。
芒锣和木鱼的空寂以简笔勾画出浩瀚而寂寞的夜空,音树拂袖间缀上繁星万点。深沉低回的大提琴吐露出织女的柔肠,妩媚琵琶工笔描绘出她纤纤十指。这双手织得出灿若云霞的重锦,却织不完那终日不绝的思念。一支清淡的竹笛,从凡间的牛背上轻悠悠地吹响,袅袅娜娜地萦绕上银河。在生动明朗的弦乐背景里,远隔几重天的牛郎织女便藉由这琵琶与竹笛的甜美对答,互通心款。

7. Huangmei Opera: “The Cowherd and the Weaving Maid”
Huangmei Opera originated in Huangmei county, Hubei province as a folk art performed by traveling troupes of actors but later flourished and developed into a mature theatrical form when brought to Anhui province. Generally known as “Huangmei Aria” or “Caicha Opera”, Huangmei Opera reached maturity in the late 18th century, evolving from local theater and folk songs, most notably tea-picking songs and other work songs to create a dramatic form that aimed to express pointed social commentary, the disparity between the rich and the poor and the hope for a happy and peaceful life. Huangmei Opera is renowned for its sweet melodies, literate lyrics, graceful movements, beautiful costumes and sets.

Story of the Opera:
The story of “The Cowherd and the Weaving Maid” comes from an ancient folk tale that is still commemorated as “Chinese Valentine’s Day” and tells the love story of the Cowherd Niu Lang and the celestial fairy Zhi Nu. The two meet and fall in love and lead a happy life until the God of the Western Heavens finds them out and orders the Queen Mother of the Western Heavens to bring Zhi Nu back. Niu Lang follows her into the sky but the Queen Mother creates a vast river to separate them for ever, their only contact coming from their tears borne on the waves of the river. But once a year all the magpies in the world take pity on them and fly up into heaven to form a bridge so the lovers may be together for a single night, on the seventh night of the seventh moon or "Qi Xi" (“Night of Sevens”). On this night, young (and not-so-young) Chinese lovers will meet under the stars and watch for Niu Lang’s and Zhi Nu’s reunion.

8.吕剧 《穆桂英挂帅》
“上装洋琴”或“洋琴戏”,是在山东琴书(坐腔洋琴)的基础上发展起来的。清末,广饶县的琴书艺人时殿元、谭秉伦等将“坐腔洋琴”里的节目化装上演,受到欢迎。这时,化装演员要同时演奏乐器,后来,伴奏和演唱分开,发展成为“洋琴戏”。它的流行地区不断扩大,逐渐遍及山东省各县市。
吕剧的传统剧目除部分本戏外,多系以民间传说及家庭故事为题材的小戏。唱腔简单朴实平易近人;曲调主要有“四平腔”和“二板”两种。在音乐上,吸收了北方其它梆子剧种的音乐特色,创作出了一些新的曲调,充实了吕剧音乐的表现能力。吕剧已经发展成为了较有广泛影响的地方剧种。
“劝将军你暂平心中忿,你细听为妻说原因;俺并非执法无情份,常言道责人先要责己身。也并非藐视你无有杀敌勇,这一战关系到国家存亡和亿万黎民。”

杨门一家男丁或战死疆场或含冤身亡,幼儿寡母退隐家乡。后边关安王作乱,宋王下旨校场比武选帅。穆桂英之子杨文广刀劈王伦,夺得帅印回府。穆桂英年过半百,因杨家屡遭奸臣陷害,含怨不愿接印。佘太君以民族大义为重,说服桂英。桂英更衣披甲,英姿飒爽,毅然挂帅出征。
百鼓齐噪挟风,竹相訇然如雷,打击乐奏出万人踏阵的威严声势,在深沉弦乐的背景上,显见赫赫杨门的武风肃穆。然而灿灿明甲之中,却是秀美柳琴描绘出的巾帼胸襟。谐趣而明亮的板胡,以带有浓郁地域色彩的音色,恰如其分地描绘出穆桂英飒爽中见细腻、贞烈中含怨犹豫的风貌情致。

8. Lu Opera: Lady General Mu Takes Command
Lu Opera is a relatively recent development in Chinese opera. While its origins are in the folk and improvised theater of Anhui and Shandong province, modern Lu Opera emerged in its final form during the last century. Two basic types of Lu Opera are currently performed; Solo Opera and Serial Opera, often performed in “chapters” or self-contained acts. Most Lu Operas utilize a contemporary setting but several serial operas draw upon the great epics and legends of the past for their inspiration.

Story of the Opera:
During the Northern Song Dynasty the northern border of China was constantly invaded by the Khitans (Liao). Yang Jiye, was a famous general and one of the great heroes in resisting the Khitan invasions and his deeds were immortalized in numerous folk tales and operas. Stories of Yang’s exploits were eventually developed into the legend of “The Generals of the Yangs”, an epic account of several generations of the Yang family. “Mu Guiying Taking Command” tells the story of the lady general Mu Guiying, During the most recent Khitan invasion, General Mu is asked by the Song Emperor to once again defend the homeland, but she refuses out of her resentment against the imperial court’s petty treatment of the Yang family. Mu is finally persuaded by Grandma She, Yang Jiye’s widow and Mu finally accepts the appointment to lead the Song troops to victory against the invaders.

9.潮剧《苏六娘》
原唱腔作曲:陈华 陈登谋
潮剧原名“潮州戏”,流行于广东潮安、汕头一带和福建南部,是粤东潮州语言地区的地方戏,在东南亚华侨集居地区也有演出。潮剧在潮州民间歌舞说唱的基础上,受宋元南戏、弋阳腔及其他剧种的影响,于明代中叶形成,时称“潮调”。嘉靖年间已有完整的剧本,如《荔镜记》、《苏六娘》等。
潮剧唱腔丰富优美,至今保存有帮腔的特点,有数人合唱一曲或数人合唱曲尾的习惯。音乐方面保留较多隋唐以来的古乐曲和弋阳腔系统的牌子调,并且糅合了当地的大锣鼓音乐、庙堂音乐和民歌而自成风格。表演上各行特色极为分明,丑角的表演更独具一格,擅长运用灵活多姿的形体模拟各种动作,演来意趣横生。潮剧还有“扇子功”、“腿功”等特殊的演技。
“春风践约到园林,稍立花前独沉吟。表兄邀我为何故,转过了东篱花圃来到垂柳荫。
正月百花开 ,开来蜂蝶狂。昨夜园门不上锁,桃花偷走来渡江。二月里……
《苏六娘》取材明代,苏六娘与表兄郭继春日久生爱,而其父却把她许配给讼棍之子杨子良。六娘不愿嫁给杨家,与继春共谋私奔。等不到继春前来,六娘写下遗书深宵出走,欲投榕江自尽,正遇到继春飞渡而来。二人在江边互诉衷肠时,杨子良率众追来。二人最终逃出虎口,成就团圆。
有一点柔美,有一点悱恻,古老潮剧特有的优美旋律在柳琴的晕染下,在木琴和马林巴的点缀下,格外恬静秀丽。而同样古老的二弦,以迥异于其他拉弦乐器的殊胜音色,烹出浓郁古朴的潮州老味,或缠绵细腻,或趣致生动,将那一段口耳相传几百年的悲欢传奇,活泼泼地搬演到如今。

9.Chao Opera: Su Liuniang
Chao Opera is one of the local forms of opera performed throughout Southeastern China and is very popular throughout Guangdong, and Fujian provinces, Taiwan, Hong Kong and Southeastern Asia. Chao Opera is believed to have developed from ancient Nanxi (Southern drama-style) Opera around 500 years ago during the late Song and Yuan dynasties. As Chaozhou developed, many features of local folk song and dance were introduced, giving it its distinctive character. Unique to Chaozhou is the use of a chorus, skillful fan dances and acrobatic displays. The traditional plays of Chao Opera primarily come from the popular legends and Zaju plays (poetic dramas set to music) of Southern Opera as well as local folk stories. On May 20, 2006, Chao Opera was listed among the first group of National Intangible Cultural Heritage by the State Department.

Story of the Opera:
The opera Su Liuniang (also known as “Tao-hua Crosses the River”) most likely began as traditional folk play that was later developed and refined to eventually become an extremely involved epic in ten acts. The opera tells the story of how the lovely and sensitive Su Liuniang escapes from an arranged marriage with the help of her clever maid, Tao-hua and a local ferryman. The simple plot is adorned with numerous set pieces and comic characterizations that contribute to make Su Liuniang an enduringly popular staple in the Chaozhou repertoire.

10.粤剧 《帝女花》
粤剧源自南戏,又称大戏或者广东大戏,明朝起开始在两广地区出现,是融合唱念做打、乐师配乐、戏台服饰、抽象形体于一体的表演艺术。粤剧融汇明清以来流入广东的海盐、弋阳、昆山、梆子等诸腔,并吸收珠江三角洲的民间音乐,形成以梆子、二黄为主的戏曲形式。最初演出的语言是中原音韵,又称为戏棚官话,清朝末期演唱语言改为粤语。
粤剧流行于广东、广西、台湾和港澳,在新加坡、马来西亚、越南、印度尼西亚、澳大利亚、美国、古巴以及中南美洲等有广东华侨聚居的地区也都有演出。
“落花满天蔽月光,借一杯附荐凤台上。帝女花带泪上香,愿丧生回谢爹娘。我偷偷看,偷偷望,佢带泪带泪暗悲伤。我半带惊惶,怕驸马惜鸾凤配,不甘殉爱伴我临泉壤。”
明末思宗长女长平公主年方十五,因奉帝命选婿,下嫁太仆之子周世显,无奈闯王李自成攻破皇城,崇祯手刃众皇女后自缢。长平公主未至气绝,被周钟救返藏于家中。清立国于北京,周钟欲降。长平冒替已故女尼慧清藏于庵中,偶遇世显,两人重认。清帝勒令周钟逼迫二人返宫。长平夫妻为求清帝善葬崇祯释放皇弟,遂佯装返宫,并在乾清宫前连理树下交拜,然后双双自杀殉国。
一曲典雅《妆台秋思》,被这支高胡细细吟来,不但见得长平公主莫许凡尘的端庄风姿,更见得香夭含泪诉衷肠的百转千回。一柄南梆子,敲碎了故国山河梦;一把筝上弦,拂不动生死依别离恨重。那一声声堂皇而无奈的管钟訇然,在一派中正平和之气里渐行渐远,留下挥手自兹去的绝然情态。

10. Cantonese Opera:The Princess Chang Ping
Cantonese Opera ranks as one of the most popular and influential of all forms of Chinese Opera and can be found around the world in virtually every large Chinese community. Cantonese Opera has maintained its popularity over the centuries, and its pageantry and flamboyant performance style continues to thrill fans everywhere. Many of today’s popular martial arts actors received their training In Cantonese Opera schools.
While there is some debate regarding the origins of Cantonese opera, it thought to have begun in northern China and slowly migrated to the southern province of Guangdong in the late 13th century. There it interacted with variants of the ancient Nanxi (Southern drama-style) Opera, finally developing into the earliest forms of Cantonese Opera at the end of the Ming Dynasty.
Cantonese opera shares many characteristics with other Chinese theatre genres. Commentators often take pride in the idea that all Chinese theatre styles are but minor variations on a pan-Chinese music-theater tradition, and that the basic features or principles are consistent from one local performance form to another. Thus, music, singing, martial arts, acrobatics and acting are all included in the operatic spectacle. While the plots of many operas are based on Chinese history, classic literature and myths, Chinese Opera serves as a forum and a vehicle to explore the human condition and frequently offer stinging social commentaries.

Story of the Opera:
Set during the turbulent end of the Ming dynasty, Princess Chang Ping is a sweeping romantic tragedy that tells the story of star-crossed lovers Chang Ping and her betrothed, the scholar Zhou Shixian. While under siege from the invading Manchu, Emperor Chang orders all the women in the palace to kill them selves for honor’s sake. Zhou Shixian intercedes and attempts to rescue his beloved but the emperor then strangles his daughter and then hangs himself.
The princess survives the attack and is rescued, eventually ending up at a Buddhist nunnery. One day, while traveling in the countryside, Zhou Shixian spots Chang Ping and the lovers are finally reunited. Eventually, their existence comes to the attention of the new Qing emperor, who offers them asylum and allows them marry and live under the protection of the new dynasty. Chang Ping and Zhou Shixian know that they would only serve as figureheads to allow the invaders to legitimate their takeover, but go along with the plan just long enough to secure honorable burials for their families and then, drink poison, as an act of honor to defend both family and national honor.

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.

乐队成员
板胡/马骨胡/二弦: 姜克美 中国广播民族乐团演奏家
二胡/高胡:邓建栋 空政文工团演奏家
京胡:张顺翔 中国京剧院演奏家
古琴:赵家珍 中央音乐学院教师演奏家
笛/箫/尺八:杜聪 总政歌剧院演奏家
笛/箫: 戴亚 中央音乐学院教师演奏家
古筝:常静 中国歌舞团演奏家
唢呐:周东潮 中国广播民族乐团演奏家
琵琶:兰维薇 中央音乐学院演奏家
中阮/柳琴:王佳 中国音乐学院演奏家
中国打击乐:李聪农 中央歌剧院演奏家
大提琴:刘蔓 中国音乐学院教师演奏家
管钟:柳启平 中国国家交响乐团演奏家
马林巴/木琴/铝板琴:李晶晶 中国国家交响乐团演奏家
弦乐:黄立杰等中国交响乐团及中国爱乐乐团二十四位演奏家

Artists
Banhu/Ma guhu/er xian:Jiang Kemei
Erhu/ Gaohu: Deng Jiandong
Jinghu: Zhang Shunxiang
Qin: Zhao Jiazhen
Di /Xiao/Shakuhachi: Du Cong/ Dai Ya
Guzheng: Chang Jing
Suona: Zhou Dongchao
Pipa:Lan Weiwei
Zhong ruan/ Liuqin: Wang Jia
Chinese Percussion:Li Congnong
Cello: Liu Man
Tubular Bell: Liu Qi Ping
Western Percussion:Li Jingjing
String Orchestra: 24 musicians from CPO and CNSO including Huang Lijie etc.

制作成员
出品人:叶云川
制作人:叶云川
改编:孟庆华
录音:李小沛
录音助理:王恒 鹿楠楠
文案:杨倩
英文文案/翻译: Joshua Cheek
翻译助理:靳中美
封面摄影:张军华
封面演员:赵群
摄影:小叶
设计:图图工作室
录音棚:中国中央电视台480平米模拟录音棚
后期制作:德国老虎鱼 日本JVC技术中心
出品:瑞鸣音乐

Production Crew
Producer: Ye Yunchuan
Executive Producer: Ye Yunchuan
Arranged by: Meng Qinghua
Recording Engineer: Li Xiaopei
Assistant Recording Engineers: Wang Heng Lu Nannan
Chinese Copywriter: Yang Qian
English Copywriter: Joshua Cheek
Translation Assistant:Jin Zhongmei
Cover Photography:Zhang Junhua
Cover actress: Zhao Qun
Photography: Xiao Ye
Graphic Design: Total Viewfinder
Recording Venue: The 480 square Meter Recording Studio of CCTV
Mastering: JVC-XRCD Mastering Center (Japan) Pauler Acoustics (Germany)
Produced by: Rhymoi Music. Co., Ltdwww.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.昆曲 《玉簪记》Kunqu Opera: A Jade Hairpin
弦乐织染花荫,古琴雅音拂云,洞箫匀息拨月。
2.吉剧 《桃李梅·三放参姑娘》Ji Opera: "Tao Li Mei • “Ginseng Girl”
古筝波光荡漾,大锣时近时远,板胡顽皮学话,欢舞不绝。
3.越剧《梁山伯与祝英台》Zhejiang Yue Opera: The Butterfly Lovers
古筝玲珑二胡洒脱,碰盅木鱼灵秀点染,机巧对答意兴盎然。
4.秦腔《火焰驹》Qin Opera: The Flame Colt
大段拨弦烘托马骨胡和唢呐的问答,大开大阖蕴藉深沉。
5.京剧 《霸王别姬·三家店》Peking Opera: Farewell My Concubine • Sanjiadian
洞箫呜咽,箫声漫行,如海弦乐中一支京胡意难平。
6.花鼓戏《刘海砍樵》Huagu Opera: Woodcutter Liuhai
俏皮的唢呐和朴实的二胡你侬我侬,清亮竹笛绿意盈盈。
7.黄梅戏 《牛郎织女》Huangmei Opera: The Cowherd and the Weaving Maid
大提琴低回柔肠,琵琶工笔绘美人,清淡竹笛袅娜绕银河。
8.吕剧 《穆桂英挂帅》Lu Opera: Lady General Mu Takes Command
百鼓挟风竹相訇然,打击乐万人踏阵,板胡描绘巾帼胸襟。
9.潮剧《苏六娘》Chao Opera: Su Liuniang
柳琴晕染,马林巴和木琴点缀,二弦烹出浓郁古朴的潮州老味。
10.粤剧 《帝女花》Cantonese Opera: The Princess Chang Ping
高胡吟来百转千回,古筝拂动生死恨,管钟訇然于大荒。
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