琴(赵家珍 名琴六把 唐宋元明清今演绎古琴经典)

赵家珍 / 杜聪 / 李聪农 2009-07-20发行
主标题

琴---赵家珍
Qin

副标题
古意盎然弦如语 琴韵天成云作心
Zhao Jiazhen: Masterpieces of the Chinese Qin from the Tang Dynasty to Today

笛箫:杜聪
鼓:李聪农

封底广告语
唐风宋月 上下千年
屏息倾听 名琴呼吸如仙籁
击鼓其镗 吹管幽咽
古韵缤纷 亦动亦静 亦真亦幻

A4广告语
六代千年来国宝名琴
以浩瀚张力惊涛拍岸而来
真实呼吸 触手可及
跃现出世所罕见的奇妙听感
古琴圣手声情对答吹鼓名家
以绝世琴技呕心演尽千年古韵
同期录制出色彩丰富古琴天碟

不干胶广告语
唐宋元明清 名琴震天下
鸣奏出春秋以来琴曲名篇
六代名琴同时耀现 轰动琴界
《赤壁》古琴大师赵家珍技惊当代
亚洲第一大棚同期录音纤毫毕现 韵味十足
德国老虎鱼全程后期制作
瑞鸣音乐弘扬国粹再添新枝

前言
琴是谜。
这件三千多年历史的中国弦乐器,轻抚过它躯体上因岁月风化和鸣奏震动而留下的各种断纹,就仿佛摩挲过一片有生命的肌肤……牛毛断、冰纹断、流水断、蛇腹断、梅花断……那样温润而又些许阻滞的奇异触感,令心中电光火石般微微震撼。
那些形如天书的减字谱,在蝉翼般脆薄的泛黄卷册上,令人熟悉而陌生的每个字,都高度凝炼地概括了双手演奏的徽位、指法、弦名、点板,不可思议地以方块字的形象将千年以前的音乐纤毫毕现地传真到今日。
也许,古琴从起源开始,便注定它谜一样的色彩。传说中人类的始祖伏羲,见到凤凰非梧桐不栖,于是斫桐木仿凤形制琴,供瑶池演乐。至今千百代传承,这种以桐木、蚕丝、鹿角和金银珠翠珊瑚制作的乐器,这种经过难以想象的严苛繁琐工艺制作出来的乐器,一直被视为中国乐器之王,充满神秘而高贵的光芒。
琴是道。
对于古琴的欣赏远远超越了聆听琴曲本身。即使一张静默的琴,亦凝炼诉说着中国古代“天人合一”的独特哲学观。
琴有岁月。摹仿凤形或人形、头颈肩腰足俱全的琴身,三尺六寸五的长度恰恰对应着一年三百六十五天的轮回,六寸宽度象征天下六合的恢宏;徽位中有十二个代表十二个月份的变衍,而中间的大徽则象征闰月。
琴有天地。琴面圆浑象征天,以属阳的桐木制成;琴底方正象征地,以属阴的梓木制成。浑然一体,照应着华夏几千年神秘的阴阳和配之论。
琴有七弦。先有五弦在上,奏出的是宫、商、角、徵、羽五音,象征的却是君、臣、民、事、物五种社会等级;后有周文、周武两代贤王所增文、武二弦,则象征君臣之合恩。丝弦间奏出的三种音色:泛音、按音、散音,更分别象征着天、地、人和。中国古来的世界认知和教化人伦,只由这一张素琴便蕴藉深远。
琴是君子。
明代琴谱《神奇秘谱》有云:“然琴之为物,圣人制之,以正心术,导政事,和六气,调玉烛,实天地之灵气、太古之神物,乃中国圣人治世之音,君子养修之物。”不仅抚琴本身被视作君子雅士每日修身养性的必备,连聆听古琴也超越了一般的音乐审美意义,而是更拓展为深具禅意的心灵行程。
琴有其韵,音在弦外,既深得儒家的中正平和温柔敦厚,又体现道家的“大音希声”、“至乐无乐”,谦谦有君子之风,袅袅有美人之思,是为雅乐。
琴有其德:美而不艳、哀而不伤、质而能文、清迥幽奇。时如燃香一缕,散敛之中生发神思;时如云远静空,勾抹之间怡人心腑。传说琴曲一起,猛虎止啸,哀猿不啼,是为天籁。
琴是中国。
商周以降的几千年华夏人文历史,因这琴韵缭绕而显得丰美动人,况味深远。
琴既可以作远古帝王的宏愿祷祝:“舜作五弦之琴以歌南风”;亦可以是“思无邪”的民间爱情歌谣:《诗经·关雎》“窈窕淑女,琴瑟友之”。春秋时至圣孔子见香兰而作《猗兰操》,援琴鼓之,叹生不逢时;战国时伯牙子期以琴曲《高山》、《流水》结缘知音,千古绝唱旷世难寻。相如一曲《凤求凰》,引得文君夤夜私奔;嵇康一曲《广陵散》,成为自己刑前送行的悲凉之声。延至唐宋元明清,三尺素琴更是弹拨出了太多传世逸事,浸透了中国士子们追求的“入耳澹无味,惬心潜有情”的人文气质。
至今,古琴曲《流水》尚作为唯一代表中国的音乐,铸刻在美国“旅行者号”搭载的镀金唱片,昼夜回响在茫茫太空。
琴韵三千年,个中有日月。被列入联合国教科文组织“人类口述及非物质文化遗产代表作名录”的古琴艺术,在隋唐时即流传东亚诸国。至今,存见南北朝至清代的琴谱百余种,琴曲三千首,其余文献浩瀚如海,遗存丰硕。更有自唐以降稀世名琴,穿越朝代更迭世事沧桑,幸存于世。本张专辑既以“琴”字破题,不敢唐突上古雅音,必以上物名器刻画金声玉振。
为录制这张专辑,自公元632年至今的六张名琴惊世会贤,占尽六朝风流,静演历史传承。从圆浑的师旷式唐琴“太古遗音”,到耸狭的仲尼式宋琴“高山流水”,从元琴“寄意”到明琴“云和”、清琴“养和”,直至晚近今琴“蕉叶”,于清雅虚空之中各有意韵非凡天成。其中,唐贞观五年的“太古遗音”因为在2008北京奥运会开幕式上小露姿容而备受关注,身价逾亿,可谓倾国倾城;而这张连奥运会上都只能使用其现代仿品的国宝名琴,此次录音能够以真身面世,实乃琴界一大幸事。细观三尺桐琴,琴弦未动之时,幽雅况味似已飘渺入云。一念间扑面袭来的禅意与沧桑,令这些珍若拱璧的遗世名琴,苏醒一程程荏苒时光,如语无言。
专辑撷选之十余琴曲,大都为三千载琴史上奉入庙堂的不朽名篇。从现今存世最古的《幽兰》,到蕴藉伯牙子期“知音”逸事的《流水》,从写尽魏晋名士放旷意气的《广陵散》,到取意唐诗画意的《捣衣》、《阳关三叠》,经典琴曲尽入彀中;更特意收录现代作品《春风》,以北域新疆的热烈奔放风格脱颖而出,令人耳目一新。
虽是名曲,却大大跳脱出清淡空静的古琴单一色彩。专辑着意于强调和发掘古琴的丰富色彩感。每首琴曲题材本不相同,又各由不同朝代瑶琴演来,风味更殊;加之或有别种乐器合璧唱和,如埙如箫,如鼓如尺八,清泠风致各揽其胜。若写山水,有《潇湘水云》之兴叹江山;若写飞禽,有《鸥鹭忘机》之禅心忘我。其余如《良宵引》之淡远,如《秋风词》之轻愁,如《关山月》之铿锵苍茫,如《梅花三弄》之清者益清,俱是各琴派历来看家名作,或吴或浙,或虞山或广陵,或梅庵或蜀山,或九嶷或浦城,水墨意趣姿韵纷呈。
驭稀世名器,奏传代名章,非圣手不能力为也。虞山派传人、著名古琴演奏大师赵家珍此番呕心鸣奏毕生所学,藉丝桐雅意发今古幽情,逞七弦绝技演天人合一。专辑为求音韵和谐多姿,达成古琴专辑前所未有的丰富色彩,更邀约来杜聪之吹管和李聪农之打击乐,国乐名家以雅乐唱和,珠联璧合丝丝入扣。
瑞鸣音乐制作人叶云川倾心制作,亚洲录音大师李小沛于央视480平米模拟录音棚亲自操刀,藉完全同期录音点滴臻藏乐手灵感迸现,亦细致保留各代名琴的不同韵味。这些历经上千年的文物古琴,形如乌木色泽黯沉,却在录音大师的金话筒里,鸣奏出清远幽空的天籁;尤其是那些镌刻着年代沧桑的独特呼吸感,真实可触。
德国录音名厂老虎鱼的首席录音师全程负责专辑的后期制作及母版制造,格莱美评委、美国著名音乐评论家Joshua Cheek先生亲自撰写英文文案,古琴之雅韵远播重洋,成为世所共赏的顶尖东方艺术。
古人奏琴有“五不弹”:疾风甚雨不弹,于尘市不弹,对俗子不弹,不坐不弹,不衣冠不弹。或皎月当空,或晨籁纤发,或涧户寥声,方为焚香宽衣静心操琴之佳期。聆赏六代名琴共演清商,当是可遇不可求的难得际遇。因此上,不如放旷一段冲淡胸臆,随这袅袅琴意,息心静听,浮生偷闲。

Foreword:
"I have said before that playing the qin for others to hear is hardly worth speaking about. Playing it at small gatherings of the like-minded only provides for discussion and conferral, and is likewise not worth speaking about. Playing while I alone listen is almost worth speaking about, but it is not equal to playing without listening."

- Zhang Ziqian 張子謙 (1899-1991)

The Dao of Qin
The Qin exists in a realm beyond time. Its limpid tones echo through the centuries. Even its origins shrouded in a mythical past, claiming both Fuxi, (the progenitor of all living things) and Huang Di, the “Yellow Emperor” as its creators. In truth, the actual origins remain a matter of controversy, though archeologists have found similar instruments in Central Asia what is present- day Mongolia.
Descriptions of the Qin and its performance in China date back as more than 3000 years and examples more than 1500 years old have been found in playable condition. One such instrument, a Tang Dynasty Qin, can be heard on this recording. The oldest musical notation written for a specific musical instrument ever found was the piece "Solitary Orchid" (幽蘭), dating from before 903 AD was composed for the Qin.
The Qin is a type of zither, constructed from two pieces of wood; the bottom piece is flat and the top piece is convex. While modern Qin have considerable variety in shape and form, traditional Qin construction was deeply influenced by mystical and symbolic correspondences. For instance, the instrument’s length (in Chinese measurements) was said to represent the number of days in the year. The original Qin had only five strings (two strings were added at later dates by various Qin masters), representing the Five Chinese Elements: Wood (木) – mu, Fire (火)- huo, Earth (土) – tu, Metal (金)- jin, and Water (水) – shui.
The Qin’s simple construction and intimate tonal qualities were not only a canvas for musical expression but became a medium for spiritual growth, or as Robert van Gulik wrote in his essential study of the cult and culture of the Qin, The Lore of the Chinese Lute “…it is the only instrument the playing of which has been considered from ancient times as a means of reaching enlightenment.”
As early as the Tang Dynasty, playing the Qin had established itself as one of the “Four Gentlemanly Skills” (四藝) – or siyi, and was included along with chess, (or Go), calligraphy, and painting as suitable leisure pursuits for a scholar. The great sage himself, Confucius (551-479 BC) was reputed to be an exceptionally gifted Qin player. From accounts that have come down to us, it appears that Confucius not only saw the Qin as a musical instrument but as a mirror to the soul, a means of attaining spiritual enlightenment and a model of good governance and a harmonious society.
The Qin reached the zenith of its popularity during the Ming Dynasty, as is evidenced by the large number of surviving Qinpu (琴譜) (Qin Handbooks) published. In addition to containing performance instructions and the music tablature, these “handbooks” contained voluminous essays on a wide range of subjects, including speculative philosophy, metaphysics and aesthetics as well as the biographies of the attributed composers and transcriptions of the song’s original lyrics. Interest in the Qin declined as social and political issues increasingly engaged the attention of Chinese intellectuals. By the end of the Qing Dynasty, practice of the Qin was limited to a few masters in southern China. As with many of China’s traditional arts, the 20th century was a turbulent time for the Qin, but beginning in the 1950s, thanks to the efforts of scholars such as Guan Pinghu, the Qin has regained its status as China’s musical “Philosopher-King.”

The Qin provides a key for understanding the aesthetics that lay behind all Chinese art. The poetic and fanciful titles attached to these musical compositions should never be mistaken for mere “program music.” These titles, often inspired by classical poems, song lyrics and paintings, become meaningful guideposts to provide insight to the interior emotional, intellectual and spiritual state to be sought by the performer, as he discovers the “essence” of the music he is performing. For instance, the curiously titled piece Regarding Seagulls Without Ulterior Motives was inspired by a story from the Han dynasty, telling of a young man who went to the seaside every morning where he was greeted by hundreds of birds. When his father heard of this he asked his son to bring catch some and bring them home. However, the next time the boy went to the seashore the birds hovered about but would not come down to him. The object of the music (and the parable…) was to focus the player’s attention on the calm detachment of the young man and his interior emotional state, rather than to become a tone poem with naturalistic passages imitating the cries of the gulls or the lapping of the waves upon the shore.
If the sound of the Qin seems “otherworldly”, its music may one day even claim extraterrestrial devotees – for in 1977, a recording of "Flowing Water" - 流水 - (as performed by Guan Pinghu) was included as one of the musical selections on the Voyager Golden Record, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts.
Presently, the Qin enjoys a passionate following around the world, with numerous large Qin Societies in America, the UK and Europe and in 2003, Guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.
Our very special program features performances on actual ancient instruments (including a priceless Tang Dynasty Qin – dating from the 7th century) and draws from a repertoire of more than 1400 years of music from five of China’s Imperial dynasties in addition to a contemporary composition. The subtle difference in tone quality, resonance and timber of each instrument provides an exceptional encounter with one of China’s most ancient, refined and subtle musical traditions as interpreted by one of the instrument’s greatest living masters.

For Further Reading:

John Thompson on the Guqin Silk String Zither
http://www.silkqin.com/index.html
Thompson’s website is an invaluable resource on ALL things Qin-related. Exhaustively annotated, thousands of illustrations and reproductions of ancient art and manuscripts make this a first stop on encountering the Qin.

Stephen C. Walker on the Guqin Zither
http://www.scwguqin.com/index.html
If John Thompson’s focuses on the documentary and theoretical aspects of the Qin, Walker’s elegant site reveals the heart of a true devotee; a musician who has encountered and embraced the Qin as a means of spiritual enlightenment.

R.H. van Gulik (髙羅佩): The Lore of the Chinese Lute: An Essay on the Ideology of the Ch'in Originally published 1941 by the Dutch diplomat, sinologist and author of the still-popular “Judge Dee” mysteries, The Lore of the Chinese Lute has yet to be surpassed for its comprehensive history of the Chinese Qin. Currently Out-of-Print, a new edition has been announced by the Orchid Press.

1、 广陵散
宋琴/尺八

昵昵儿女语,恩怨相尔汝。划然变轩昂,勇士赴敌场。
浮云柳絮无根蒂,天地阔远随飞扬。喧啾百鸟群,忽见孤凤凰。
跻攀分寸不可上,失势一落千丈强。
嗟余有两耳,未省听丝篁。自闻颖师弹,起坐在一旁。
推手遽止之,湿衣泪滂滂。颖乎尔诚能,无以冰炭置我肠!
——韩愈《听颖师弹琴》

《广陵散》又名《广陵止息》,汉晋时已有相和歌广为流传。魏代嵇康因善弹此曲而闻名,《世说新语·雅量》载:“嵇中散临刑东市,神气不变,索琴弹之,奏广陵。”形制宏大、骨格奇绝的琴曲《广陵散》,今存曲谱最早见于明代朱权《神奇秘谱》,曾绝响一时,近代管平湖根据《神奇秘谱》所载曲调进行了整理、打谱,真容始现。
迥异于大多数琴曲的中正平和,《广陵散》声调激昂旋律慷慨,大儒朱熹谓之“其曲最不和平,有臣凌君之意”。全曲描绘战国聂政刺韩王旧事,曲调起落入天坠地。尺八诡异如丝,勾画世如迷棋的谋略年代;古琴“纷披灿烂,戈矛纵横”,将古代义士一腔悲郁浩然之气喷薄于世。

1. Guangling Melody

Guangling Melody is another ancient composition and has appeared in lists of qin melodies as early as the Han dynasty. Traditionally attributed to Ji Kang (223 - 262),
a famous essayist and poet living in the Wei dynasty capital of Loyang, where he was one of the Seven Sages of the Bamboo Grove, Guangling Melody describes a gruesome tale of revenge against a violent and capricious king. The music conveys the agitated atmosphere with a variety of rhythms, microtonal pitch-bends, harmonics, violent glissandi and scraping on the strings (all of which are clearly notated in the written score).
The history of the piece seems to suggest that it was highly regarded but rarely played, the violent subject matter deemed inappropriate to the nature of the introspective Qin. The piece was largely forgotten by the beginning of the Qing Dynasty and was only revived later by the famous qin player Guan Pinghu in the 1950s.

2、 关山月
宋琴/箫

明月出天山,苍茫云海间。长风几万里,吹度玉门关。汉下白登道,胡窥青海湾。由来征战地,不见有人还。戍客望边邑,思归多苦颜。高楼当此夜,叹息未应闲。
——李白《关山月》

《乐府古题要解》言:“关山月,伤离别也。”《关山月》原为汉代乐府琴歌,为“鼓乐横吹曲”,汉代的戍边将士常在马上唱奏,作思乡意。现存《关山月》的曲谱,最早见于1768年刊行于日本的《魏氏乐谱》;后在1931年《梅庵琴谱》中亦有收录,调式气韵相近,音调相异,为梅庵琴派著名代表曲目。
此曲虽以征人思乡入题,却未缠绵于离愁别绪,而是以刚健严峻之情,勾画将士报国未酬的心怀。北地音韵铿锵抖擞,颇似关外西风漫卷,古朴而苍茫。琴箫互诉之间,曲调大起大落连环反复,于宏大气象中透骨着深远乡思。

2. Moon over the Mountain Pass

The name of this piece comes from a poem by Li Bai (Li Po). The music describes the feelings of conscripts going to fight in the border regions in Northern China, many of whom would never return. Although this piece is over 200 years old, it is considered a comparatively new work in the guqin repertory! The opening music does convey the stately moonlit scene, but soon changes to focus on the feelings of homesickness and unease at their perilous position as the melody rises and falls. A version for solo Qin appears in track 13.

3、 捣衣
元琴/笛

长安一片月,万户捣衣声。秋风吹不尽,总是玉关情。何日平胡虏,良人罢远征?
——李白《子夜吴歌》
《捣衣》传为唐代潘庭坚作,又名《秋杵弄》、《秋院捣衣》,描写男子被征戍边,妇人于秋凉时节“感秋风而捣衣”,“伤鱼雁之杳然”,其情哀婉。1880年《钱氏十操》收录钱绶詹之版本曲谱,曲调紧五慢一,玲珑有致。
此曲初一听闻,如临水见波,唯见其流丽缠绵,繁复回环中思心如织。声声拨弦如秋杵捣衣,密密层层,当是有手无心,思绪飘飞万仞;而笛声恰如捣衣女子的翻涌心思,或如娇憨自语,在这为征人而做的寒衣上,融进稍稍惆怅却满腹甜蜜的思念。

3. Beating Clothes

"Beating Clothes" refers to the traditional method of doing laundry in rural areas.
The lyrics of the original song tell of a woman whose husband is a soldier on the frontier. One of the most famous versions of this song was first published during the Ming Dynasty, but other versions discovered later date the tune as far back as the Tang Dynasty. In this lively piece, the Qin is joined by the bright sounding Di (笛) in a lilting rhythm that is at once confident and a little cheeky.

4、 幽兰
唐琴

倾晖引暮色,孤景流恩颜。梅歇春欲罢,期渡往不还。帘委兰蕙露,帐含桃李风。揽带昔何道,坐令芳节终。结佩徒分明,抱梁辄乖互。华落知不终,空愁坐相误。眇眇蛸挂网,漠漠蚕弄丝。空惭不自信,怯与君尽期。陈国郑东门,古来共所知。长袖暂徘徊,驷马停路歧。
——鲍照《幽兰五首》

《幽兰》为迄今唯一以原始文字记谱法存世的琴曲,亦为现存世界上最古老的琴曲乐谱。最早谱本为古逸丛书所录的唐人手抄文字谱,谱前小序云该谱传自梁代琴家丘明,记谱年代大约在公元7世纪末。原谱保存在日本京都西贺茂神光院。
空谷幽兰,其芳自华。以琴意刻画兰花之馥郁情态,格外有种时浮时没、无可捉摸的幽远意境。一瞬如隔画屏,一瞬缭绕近人,袅娜回环,意趣天然。微显寂寥况味的曲调,由遗世唐琴幽咽奏来,在清雅悠远之外,别有一番怀才不遇的郁气隐现其间。

4. Solitary Orchid

This melody is the world's oldest surviving written piece of music. Ancient qinpu suggest that it dates from at least the 6th century. The manuscript copy as preserved in Japan is written on a scroll over 4 meters long with the tablature written out in longhand and has been authenticated as dating from at least the 7th century.
It is no surprise that a work of such antiquity has inspired a number of legendary attributions, including Confucius. The most likely composer/lyricist for "Solitary Orchid" is Bao Zhao (414-466), an outstanding poet during the Northern and Southern dynasties. Throughout his life Bao Zhao suffered at the hands of wealthy, aristocrat families. His works are filled with grievances about unfulfilled dreams and moody thoughts resenting his lot in life and are filled with poetic phrases as, "Not knowing when flowers will stop falling, sitting in empty sadness confronting errors."
A mood of unease and discontent is immediately established from the piece's angular opening and odd intonation. Unusual scale formations, buzzing vibrato and microtonal slides give this ancient monologue a strikingly "avant-garde" sound. An unsettled passage in harmonics gives way to a coda that includes short repeated phrases, chords in close intervals and irregular rhythms.

5、 良宵引
清琴/箫

《良宵引》这一首经典小曲,是《四库全书》所收的唯一明代琴谱,传为隋代贺若弼所作。曲谱初见于1614年《松弦馆琴谱》,描绘月白风清、万籁俱寂的秋夜情思,具有“清、微、淡、远”的虞山琴派风格。
乐曲虽清淡短小,却纤秾合度意味深长,将静夜秋思的安谧描摹得恬雅怡然。琴韵起承转合,洞箫幽远相应,传神画出一幅情境:月下抚弦独况,感怀故人而不得见,轻喟时光荏苒两鬓渐霜,唯有夜凉如梦古与今同。

5. Peaceful Evening Prelude

Peaceful Evening Prelude is another very popular melody, occurring in over 30 qinpu and still in the active repertoire. The piece was said to be composed by He Ruobi (543-607), a Sui Dynasty Qin player and was first published during the Ming Dynasty in 1614. The stately melody appears in octaves between the Xiao and the Qin and is clear, gentle, light and lofty - a perfect evocation of a quiet evening spent in a scholar's garden.

6、 潇湘水云
宋琴

《潇湘水云》为南宋末年浙派琴家郭沔所作,“每欲望九嶷,为潇湘水云所蔽”,慨叹山河残缺、时势飘零。此曲流传广泛,曲谱多达五十多种。最初见于《神奇秘谱》,共分十段,后经历代琴家发展为十八段加一尾声,今世之演奏多以清徐琪《五知斋琴曲》为本。
此曲传世八百余年,因其意境淡远高旷、技法全面丰富,被历代琴家公推为琴曲典范。以宋琴演宋曲,初聆可闻云影水光烟波缭绕,再聆可见云水蒸腾气象万千,三聆可感云飞浪卷恸心忧国,曲中深意于此始现。

6. Clouds over the Xiao and Xiang Rivers

Clouds over the Xiao and Xiang Rivers was composed by the famous Song dynasty Qin player Guo Chuwang. The piece describes the composer's journey to this beautiful region and his conflicted feelings while seeing both the natural beauty of the landscape and his anguish at the destruction wrought by invading armies along the way.
Guo Chuwang was reputed to have utilized exquisite finger technique in his compositions, and this piece features a dazzlingly array of techniques and playing styles - glissandi, harmonics, pitch-bending, even knocking on the body of the instrument and rubbing the strings in order to produce a "breathy" rasping sound. Together with the forlorn melody, these "non-musical" sounds create a vivid interplay of sunlight and shadow and profound introspection.

7、 鸥鹭忘机
宋琴/埙

止水湛寒波,鸥与那鹭友结和。俺三个乐夫天真德趣多,学唱个渔歌。手执纶竿,头戴箬笠,身着蓑烟。寒江上虚舟直钓,闲眠醉卧,杂缘故那过活。
——《杨西峰重修真传》
《鸥鹭忘机》一名《忘机》,曲谱最早见于明代朱权《神奇秘谱》,并有序曰此曲为宋代刘志方所作。“欧鹭忘机”语出《列子·黄帝篇》:“海上之人有好鸥鸟者,每旦之海上,从鸥鸟游,鸥鸟之至者百住而不止。”海翁机心一动,鸥鸟即舞而不下。琴曲小巧隽永,藉意鸥鸟故事,寄寓心无纷扰、淡泊寥远之雅志。
乐而忘机,即成浑然一派天机。埙声拙朴似沧江夕照水天一色,弦韵幽然如群鸟众和翱翔自得。琴曲婉转道来,细腻俊雅,却全无些许柔媚烟火气,只在澹澹波影中映出一片无邪心地,与万物同光同尘,陶然忘机。

7. Regarding Seagulls without Ulterior Motives

As mentioned in the Introduction, despite this work's curious title, the music's true meaning has little to do with inter-species relationships. The reputed composer of Without Ulterior Motives was Liu Zhifang who was a student of Guo Chuwang. In the current arrangement, the qin is joined by another unusual Chinese musical instrument, the Xun (埙) - or ocarina. The eerie, hallow sound of the Xun perfectly compliments the rich resonance of the Qin, providing a transparent accent to the elegant and complex
finger work required to perform this piece.

8、 夜深沉
今琴/中国大鼓 编曲:赵家珍

《夜深沉》原为京剧曲牌,以昆曲《思凡》之曲牌“风吹荷叶煞”为基础发展而成,因唱词首句“夜深沉”而得名,在京剧《击鼓骂曹》中配衬祢衡义愤击鼓,气势铿锵如虹。后被改编为多种器乐版本演奏。
夜色深沉之时闻听此曲,颇令人荡气回肠。大鼓密不透风,古琴刚韧如苇,戏韵盎然之外更有名士傲骨横生。从初始之暮色苍茫,渐至疾徐有致意态倘踏,再至琴鼓竞奏铿锵挺拔,郁勃之气溢于弦外。

8. Deep Night

The melody for "Deep Night" originated in the Kunqu opera "Beating a Drum to Curse Cao." Until recent times, the Qin has never been utilized as an instrument in the traditional opera orchestra, though one might occasionally appear as a stage prop.
In this innovative arrangement, the resonant baritone of Zhou's qin adds poignancy to the tragic moonlit scene. Beginning with an ominous tatoo on the Dagu (Great Drum),
the Qin enters with defiant resolve. The nobility of this curious duet achieves a heroic attitude that is both unique and unexpected from the refined elegance usually associated with the "scholar's lyre."

9、 渔樵问答
明琴

古今兴废有若反掌,青山绿水则固无恙。千载得失是非,尽付渔樵一话而已。
——明萧鸾《杏庄太音续谱》
《渔樵问答》历代有三十多种曲谱流传于世,最早见于明代《杏庄太音续谱》。琴曲寓怀山川寄情隐逸,如《琴学初津》言:“《渔樵问答》曲意深长,神情洒脱,而山之巍巍,水之洋洋,斧伐之丁丁,橹歌之欸乃,隐隐现于指下。迨至问答之段,令人有山林之想。”
渔樵之乐,在乎山水之间。悠然自得的弦音,如闲云无心返景入林。充满中国式哲思的禅意对答,在上下句的巧妙呼应中别有情趣。主题音调不断变化发展,陡露新机,活画出豪放无羁、洒脱飘逸的隐士之风。

9. Dialogue between a Fisherman and Woodcutter

Dialogue between a Fisherman and Woodcutter is another classic of the Qin repertoire dating from the Ming Dynasty. The melody has appeared in at least 40 qinpu and possibly originated in great antiquity, undergoing many transformations over the centuries.
Dialogues between fishermen and woodcutters are a recurring theme in Chinese art and poetry and date back as far as the Tang Dynasty. These popular dialogues came to represent the purity of mind that an individual could attaint through living in harmony with nature and the benefits of direct, unaffected speech.
The melody is structured as a series of elegant questions, each sentence ending with a slight, upward bending pitch. The music gradually accelerates and the sense of a dialogue is further suggested by small internal repetitions of musical phrases and motifs. The piece ends with a return to the serene questioning of the opening phrases, bringing the music to a quiet resolution.

10、 梅花三弄
宋琴/箫

《梅花三弄》据明朱权《神奇秘谱》记载,最早是东晋时桓伊所奏笛曲,又名《梅花引》、《玉妃引》。后由笛曲改编为古琴曲,因“梅为花之最清,琴为声之最清,以最清之声写最清之物,宜其有凌霜音韵也”。晚近以来曲谱见于虞山派《琴谱谐声》及广陵派《蕉庵琴谱》。
一弄叫月,二弄穿云,三弄横江。一树虬枝万点梅,在弦意的抑扬回环里动静皆宜,在端平规整的曲调中情态宛然活脱。由是,琴曲深意尽现,藉咏梅之洁白傲霜,寄托高洁脱尘之情操。

10. Three Variations on the Plum Blossom Theme

Three Variations on the Plum Blossom Theme is one of the earliest and most famous pieces of ancient Chinese music and traces its origins as early as the Eastern Jin Dynasty (317-420). The piece first appeared in a version for the Di but was later arranged for the Qin, appearing in during the Ming Dynasty in a version for the Qin.
The title "variations" is a little misleading, for this piece does not exhibit the systematic, patterns of variation found in western music; rather it is composed of a number of different melodies, consisting of various related musical phrases. Contrasting tempos and varieties of tone color create a continuous atmosphere of tension and release, which alternately represent the plum blossom's pure and noble nature and its fearlessness in the face of the waning winter.
In ancient Chinese thought, the plum blossom came to symbolize strength and longevity as well as creative power, fertility and female beauty. Paintings often show the scholar and his Qin near one or more plum trees, or a vase with plum blossoms on his Qin table.

11、 流水
宋琴

伯牙善鼓琴,钟子期善听。伯牙鼓琴,志在高山,钟子期曰:“善哉,峨峨兮若泰山”!志在流水,钟子期曰:“善哉,洋洋若江河!” 伯牙所念,钟子期必得之。
——《列子·汤问》
琴曲《高山流水》托为俞伯牙所作。乐谱最早见于明代《神奇秘谱》,并解题曰:“高山流水二曲本只一曲,初志在乎高山,言仁者乐山之意。后志在乎流水,言智者乐水之意。至唐分为两曲,不分段数。至来分高山为四段,流水为八段。”明清以来多以《天闻阁琴谱》所辑张孔山之九段版本流传。
流水无形,琴韵希声,堪为绝写。时如溪流松间,清清泠泠;时如微波激石,淙淙铮铮。行云流水处,其韵扬扬悠悠,山川如歌;滚拂澎湃处,其势浩浩汤汤,万壑争流。智者琴下之浮波浩渺,穷尽演活乐水之幽情。

11. Flowing Streams

The music for Flowing Streams is more than 700 years old, and is perhaps the most famous ancient Chinese classical composition. The story behind the piece concerns the scholar Yu Boya and his friend the woodcutter Zhong Ziqi. The music played by Yu Boya on his qin was said to come directly from nature but no one understood his songs. One day while playing his Qin, Boya saw that the woodcutter Zhong Ziqi was listening. Whereas even the literati could not understand Boya's music, the simple woodcutter Ziqi heard all the forces of nature in his friend's music. As a result of this mutual appreciation they became close friends. When Zhong Ziqi died,Yu Boya destroyed his guqin and vowed never to play again, because he felt nobody else could understand his music. This story also was the inspiration for the Chinese expression zhi yin (知音) – "knowing the sound", which means a very close friend or confidant.
Beginning with stately octaves, the melody first appears in a hushed passage in harmonics. The music gradually accelerates, reaching its climax in an exciting passage of gliassandi and rapid strumming on all of the instrument's strings. Following this virtuoso display, the dignified calm of the opening melody returns and the piece as the piece reaches its tender conclusion.

12、 阳关三叠
宋琴/弓笛

渭城朝雨浥轻尘,客舍青青柳色新。劝君更进一杯酒,西出阳关无故人!
——王维《送元二使安西》
《阳关三叠》传说产生于唐代,倚王维《送元二使安西》诗句谱曲而成,又名《渭城曲》、《阳关曲》。元代以前乐谱无存,今之通行版本改编自琴歌,最早见载于1491年《浙音释字琴谱》;而琴曲曲谱原载于明代《发明琴谱》,后经改编载录于清代张鹤《琴学入门》。
《阳关三叠》为古来送别酬唱名篇,曲调婉转略染愁绪,却不失端庄俊雅。琴韵似初春朝雨绵密如织,笛声似嫩绿新柳萦损柔肠,三番叠唱层起涟漪,更将离愁别绪推满胸臆,千巡有尽,寸衷难泯。更兼弓笛虚空如咽,仿似一念间有千百端黯色世事,隐隐浮雕于时光荏苒的背景之上。

12. Three refrains on the Yangguan Pass

Three refrains on the Yangguan Pass dates from the Tang Dynasty. The original poem
describes the sadness experienced by two friends at parting. Yangguan (the Yang Gate), is a mountain pass just southwest of Dunhuang, located on what was in ancient times China's westernmost border, and was often the last stop before entering the "barbarian" lands of Central Asia. The current arrangement includes the melancholy sound of a rare Chinese instrument, the Gongdi (弓笛) or "Bow Flute" - a long, curved wooden flute with a dragon's head carved into the end cap.

13、关山月
唐琴 (特别呈现)

这一番天高月远的唐人诗意,惟有这张唐琴最能入髓刻画。两千岁琴弦的脉脉呼吸,在李白的诗句中裹沙挟砾,卷起了凉彻边关的长风;又好似戍客望乡的寂寥叹息,埋藏住马革裹尸的苍凉预言。
13. Moon over the Mountain Pass

In this version for solo Qin, the listener can focus entirely on distinctive sounds of the many different styles of articulation and touch that a master performer is capable of producing.
Li Bai's original poem reads as follows:
A bright moon rising above Tian Shan Mountain,
Lost in a vast ocean of clouds.
The long wind, across thousands upon thousands of miles,
Blows past the Jade-gate Pass.
The army of Han has gone down the Baiteng Road,
As the barbarian hordes probe at Qinghai Bay.
It is known that from the battlefield
Few ever live to return.
Men at Garrison look on the border scene,
Home thoughts deepen sorrow on their faces.
In the towered chambers tonight,
Ceaseless are the women's sighs.

14、春风
今琴/手鼓 曲:许国华 龚一

《春风》为古琴名家龚一、许国华于1982年创作,原著注解曲意:“明快抒情的旋律,表达了人們春意盎然、奋发向上的欢快情绪。”此曲既继承传统,又在曲式结构、调性转换、演奏技巧等方面锐意突破,别有新趣。
异域风情浓郁的手鼓热情倜傥,古琴清亮如泉激越如涌,更有袅娜撩人之出尘意态。此曲以琴乐中难得一见的明快色彩,描绘春风拂面的和暖畅意,如南疆大地的热烈阳光一样熨暖人心。

14. Spring Breeze

Beginning in the 1950s, the Qin experienced a revival, both as an instrument for scholarly investigation and as the inspiration for new musical compositions. Spring Breeze for qin and percussion was composed by Xu Guohua in 1982 for performance by the Qin master, Gong Yi. Following a short, unmeasured prelude in harmonics, the drum joins in and an exotic dance begins. Rippling glissandi, rapid repeated notes and a middle eastern-sounding melody reveal the Qin at its most extrovert.

琴之简介:
Instruments used on this recording

唐琴·太古遗音
Tang Dynasty Qin------Made ca. 700 AD. “A National Cultural Treasure”
师旷式
(Shi Kuang style)
现藏于中央音乐学院
From the rare and antique instrument collection of the Central Conservatory of Music, Beijing

宋琴·高山流水
Song Dynasty Qin
仲尼式
(Zhongni - Confucius' style)
现藏于中央音乐学院
From the rare and antique instrument collection of the Central Conservatory of Music, Beijing

元琴·寄意
Yuan Dynasty Qin
仲尼式
(Zhongni - Confucius' style)
Private Collection

明琴·云和
Ming Dynasty Qin
仲尼式
(Zhongni - Confucius' style)
大还阁藏
Private Collection

清琴·养和
Qing Dynasty Qin
灵机式中的 万壑松式
(Copy of Ling Ji-style by Wan Hesong
Private Collection)

今琴·蕉叶
Today Qin
蕉叶式
(Jiaoye - Confucius' style)

古琴艺术简历 赵家珍
中央音乐学院民乐系古琴专业教授,硕士生导师,中国音乐家协会会员, 中国古琴学会副会长。1980年考入中央音乐学院民乐系本科古琴专业,师从吴景略、张子谦、龚一、吴文光,1984年以优异成绩毕业并留校任教至今。历年来所教授的学生亦在各项比赛中获得大奖。
多年来曾出访美国、德国、法国、日本、香港等国家和地区,曾与中国国家交响乐团、比利时布鲁塞尔国家交响乐团等合作演出并录制唱片。
2001年在北京中山音乐堂举行的“世界名家名琴名曲音乐会”上,价值连城的唐宋古琴与价值上亿的瓜奈里和斯特拉迪瓦里小提琴,齐聚紫禁城。媒体评价为“世界著名小提琴大师和世界著名古琴大师上演的最精彩对话”。
2006年成功策划并举办“国际古琴音乐文化周”,本次活动成为年度国内国际最具影响的古琴盛事。
曾为多部电影电视剧录制古琴音乐,如《三国演义》、《红楼梦》、《末代皇帝》等。2007年受导演吴宇森之托,为《赤壁》编配电影音乐中最重要部分——古琴对话,并为电影作古琴艺术指导。录制有《琴-思》《诗之雅韵》等多张古琴专辑。
赵家珍的古琴艺术博采诸家之长,融汇贯通。演奏刚柔并济,清丽飘逸、灵巧多变,追求舒展惬意的情趣;既有柔美如歌的抒情,又有跌宕奇妙的转折,气势恢宏,极富光彩。对乐曲的演绎出新意于法度之中,集虞山吴(景略)派的自然之趣和广陵张(子谦)派的豪放洒脱于一身。并已逐渐形成自己的艺术风格和特点。她的古琴艺术在当代音乐界颇受好评,且在中国传统音乐界颇有威望,并深受广大古琴爱好者的喜爱。被纽约《时报》评为“世界一流的演奏家”。

Zhao Jiazhen (Qin)
Zhao Jiazhen is professor of Guqin in the Folk Music Department of the Central Conservatory of China. In 1980 she enrolled at the Guqin Folk Music Department of the Central Conservatory of China as a student, graduating in 1984. Following her graduation she has been an instructor there. Ms. Zhao is a member of the Musicians Association of China, Director of the Beijing Guqin Research Association, a member of the Chinese Folk and String Music Society, Director of the Chinese Qin Committee of the Folk and String Music Society and a member of the Guqin Experts Committee of the Folk and String Music Society. She also served as adjudicator of the “National Youth Folk Music Instruments Competition” in 2002.
Zhao has toured the US, Germany, France, Italy, Austria, Japan,Hong Kong and has appeared as soloist with many orchestras, including the Chinese Symphony Orchestra, the Movie Orchestra of China, the Beijing Symphony Orchestra, the Brussels Symphony Orchestra of Belgium, and the National Orchestra of Taipei City.
In 2001 and 2002 Ms. Zhao performed in the “World Renowned Musicians and Instruments Concert” at Zhongshan Hall in the Forbidden City in Beijing. The concert featured three priceless Tang Dynasty guqins and five Guarneri and Antonio Stradivari violins worth more than $200 million. The concert became legendary in musical circles throughout China.
Zhao Jiazhen is much in demand as a session musician for film and television soundtracks, including the music for the mini-series “The Romance of the Three Kingdoms”, “Dream of the Red Chamber” and “Fire on Yuanming Yuan ”. Ms. Zhao has recorded or appeared on numerous internationally available CDs, including “Masters Of Traditional Chinese Music” and “Ancient Melody of Poem” .
In October 2009 Ms. Zhao will appear in concert with Pipa virtuoso Wu Man at Carnegie Hall in New York, as part of their Musical Journeys Through China Series.

录音师简介:李小沛
录音师 毕业于北京电影学院录音系,中央电视台一级录音师。曾多次担任中央电视台春节联欢晚会及各种大型节目的总音响设计及音乐录音师,并担任中国音乐各项重要比赛评委,为多部电影及电视剧录制音乐。代表作:包括电影《没事偷着乐》、《一个都不能少》等,多次荣获“星光奖”优秀录音单项奖及中国音乐电视最佳录音单项奖,是首届“中国百佳电视艺术工作者”称号获得者。李小沛还是国内录制发烧唱片最多的录音师,先后录制《夜来香》、《响宴》、《鼓动心弦》、《伶歌》、《粉墨是梦》等大量深受音乐发烧友喜爱的作品,部分作品更被海外著名音响品牌收录入试机天碟,是唯一一位进入TAS榜的中国录音师。

About the Sound Engineer:
Li Xiaopei, graduated from the recording department of Beijing Movie College, is the chief sound engineer of CCTV. For many times he works as the chief designer of sound effect and sound engineer for the Spring Party of CCTV and other programs of scale, as commentator of several key music events in China and as sound engineer for many movies and TV series. His best-known works include movies such as Steal Happiness (mei shi’er tou zhe le), Not One Less (yi ge dou bu neng shao) etc. He also won Award in Best Recording in Star Awards and Best Recording of China Music TV. Winner of the One Hundred TV Artists, Li has made the largest number of hot records in China. His works are welcomed by numerous music fans, such as Ye Lai Xiang, Xiang Yan, The First Drum of China, Rhythmize Heartstrings , Dream of An Opera and so on. Some were even selected by oversea brands to test hi-fi equipment. Li is the only sound engineer from China who took a position in TAS chart.

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,追求质量,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.

演奏成员:
琴:赵家珍
笛/箫/埙:杜聪
鼓:李聪农

Musicians:
Qin: Zhao Jiazhen
Di/Xiao/Xun :Du Cong
Percussion: Li Congnong

特别鸣谢:中央音乐学院(唐琴、宋琴)/王家新先生(元琴)/韩冬晖先生(明琴)/陈雷激先生(清琴)/王鹏先生(今琴)/提供演奏用琴

制作成员:
出品人:叶云川
制作人:叶云川
录音:李小沛
录音助理:王恒 鹿楠楠
统筹:温馨
中文文案:杨倩
英文文案: Joshua Cheek
摄影: 小叶
平面设计: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
出品:瑞鸣音乐

Production Crew:
Producer: Ye Yunchuan
Executive Producer: Ye Yunchuan
Recording Engineer: Li Xiaopei
Assistant Recording Engineers: Wang Heng Lu Nannan
Chinese Copywriter: Yang Qian
English Copywriter: Joshua Cheek
Graphic Design: Total Viewfinder
Recording Venue: The 480 square Meter Recording Studio of CCTV
Mastering: Pauler Acoustics (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.广陵散Guangling Melody
宋琴/尺八 (Song Dynasty Qin, Chiba/Shakuhachi)
2.关山月Moon over the Mountain Pass
宋琴/箫 (Song Dynasty Qin, Xiao)
3.捣衣Beating Clothes
元琴/笛 (Yuan Dynasty Qin, Di)
4.幽兰Solitary Orchid
唐琴 (Tang Dynasty Qin)
5.良霄引Peaceful Evening Prelude
清琴/箫 (Qing Dynasty Qin, Xiao)
6.潇湘水云Clouds Over the Xiao and Xiang Rivers
宋琴 (Song Dynasty Qin)
7.欧鹭忘机Regarding Seagulls Without Ulterior Motives
宋琴/埙 (Song Dynasty Qin, Xun/Ocarina)
8.夜深沉Deep Night
今琴/中国大鼓 (Modern Qin, Dagu)
9.渔樵问答Dialogue between a Fisherman and Woodcutter
明琴 (Ming Dynasty Qin)
10.梅花三弄Three Variations on the Plum Blossom Theme
宋琴/箫 (Song Dynasty Qin, Xiao)
11.流水Flowing Water
宋琴 (Song Dynasty Qin)
12.阳关三叠Three refrains on the Yangguan Pass
宋琴/弓笛 (Song Dynasty Qin, Gongdi/Bow Flute)
13.关山月Moon over the Mountain Pass
唐琴(特别呈现)(Tang Dynasty Qin)
14.春风Spring Breeze
今琴/手鼓 (Modern Qin, Shougu/Hand Drum)
更多>
全部歌曲

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