粉墨是梦1(民乐西洋混搭创新 戏曲十剧种惊艳世界)

主标题

粉墨是梦 1
Dream of An Opera

副标题
梨园传清响 琴韵赋雅声

封底广告语
声声丝弦 浸染身畔月色
步步莲花 复生古典情怀

花雅争秀 逗胡琴洞箫唱念春色满园
形神兼备 听丝竹管弦吟咏风月无边

A4海报广告语
匠心独运
将十剧种脍炙人口的戏曲选段
由中西乐器合鸣共奏
玲珑浮现戏曲完美旋律
叹为观止的逼肖声口
难以言传的古典意境
璀璨成就国乐华章

不干胶广告语
十剧种戏曲变身乐曲再现民族瑰宝
特色民乐与弦乐队珠联璧合
张顺翔 叶铁森 梨园大家驾轻就熟
宋飞 张强 戴亚 国乐名手倾情演绎
亚洲顶级录音师李小沛完美录制
德国老虎鱼全程后期制作及母版制造
秉持瑞鸣音乐品质

前言:
或许,是在某个年代无考的暮春时节,那样一个空气中到处弥漫着袭人花香的微热的上午,光斑透过树荫一寸寸在脸上移动追逐。游丝软系飘春榭,落絮轻沾扑绣帘,黄鹂儿鸣啭得有些累了。身畔是棋,和茶,手中诗书被清风悄悄地吹翻过几页。那一抹曲笛的幽咽,在恬适的倦意中暧昧,融化,流走。
或许,是在某个夜凉如水的晚上,在梦中或是在记忆中都反复出现的亭子里,手握住一柄轻罗小扇,萤火虫冷冷的光萦绕在身边。扇子上绘着个美人,对着扇外薄嗔;持扇的人儿,却端起合欢杯浅尝慢饮。花间一壶酒,独酌无相亲。一声轻嗟,划过瓦蓝的光阴,也不知是出自谁心谁口。就当是纤云弄巧,清风叹明月罢了。
或许,这一切都会在片刻间如烟消散。你在船上,船在水中,不远处岸上的水榭便是戏台。那些粉墨的人们咿咿呀呀,舞刀弄棒。一桌二椅当得天圆地方,移步换景即是出将入相。须臾金戈铁马,飞沙漫野,提携玉龙为君死;须臾百鸟声喧,对镜花黄,赏心乐事谁家院。
就这样,远远地,隔着漫渺的水际,仿佛隔着那无法望穿的光阴。古往今来的悲喜剧在一幕幕上演,那些舞台上或熟悉或陌生的方言,唱念着铿锵或曼妙的句子,忽远忽近,似真似幻。便有那凝神的一瞬,在那舞台上恍惚照见了自己的影子,——
一声胡琴,魂儿仿佛飞出了窍;
几下梆子,敲碎了时空之间封闭的门扉;
……弦索铙钹……高腔昆腔……文场武场……梆子柳子……
……转踏唱赚……黄钟大吕……宫商角徵羽……
……袅晴丝……西皮散板……簧调开篇……道情调……二犯江儿水……
……海岛冰轮初转腾……雨丝风片……烟波画船……
就是这一瞬,似乎听见了过往,似乎重演了前尘,似乎一瞬变作了永恒。
每个人的心中,都有着古典的气质情怀;每种自然的声音,也必定唱演过悲欢。
戏曲的不朽,或者说不散不灭,大约也是于此罢。
并无野心,只是因为戏曲有那么多的美,那么多值得镌刻的动人曲调。做这张专辑,不奢望还原梨园当日的繁盛,却可能尽善尽美地复演名段华章。因为方言,有人听不懂戏;因为缓慢的表情达意,也有人无暇去听戏。乐器们唱戏,却能抛却方言的隔膜,将音乐的动人之处更加玲珑生动地浮现。
从戏曲名段向器乐作品转换,可以是随心所欲地嬉玩,只用些许戏曲的元素作为点缀;也可以是分毫无改地直译,照样搬演原先的手眼身法,只不过是换了乐器的口吻。而这张专辑的立意却迥乎于此。戏曲音乐最具盛名的作曲家孟庆华应邀担任专辑的音乐编配,在专辑的整体风格上力求达到“形神兼备”的境界,即在完美展现戏曲名段的旋律美感的同时,创新性地以管弦化的手法和现代音乐语汇加以补充和升华,将难以言传的古典意境韵味和青铜质感表现得丰润玲珑而富有层次,令人不由击节而叹。
为了再现民族文化瑰宝,我们在千百年来的戏曲宝藏中,遴选出十个剧种各自最脍炙人口亦最有代表性的剧目唱段,将熟悉动听的旋律以充满新意的方式惊喜演绎。京昆川粤冀豫皖沪越,富有地域特色的音乐元素使得专辑中的乐曲非但毫不冗长,而且深具独特个性。创造性地保留原剧种的特色主奏乐器,并且模拟人声唱念,当真是千人百面,趣致逼真,声口情态都令人着迷。中西结合、国乐交响化的整体编曲配器风格,使得原本单薄幼细的唱腔外观呈现出恢宏景致。每首必现的弦乐烘托,使得乐曲的抒情叙事风云翻涌,更加壮美动人。
为了不辜负这些戏曲剧目中的镇山之宝,这张专辑特意邀得国乐名手完美演绎。宋飞的二胡,在越剧《红楼梦》中清脆好奇,在川剧《荆钗记》中婉转迂回,在评剧《花为媒》中雅音相谑,在沪剧《罗汉钱》中顿挫呢喃,各各声色不同,叹为观止。张强的琵琶,在粤剧《蝴蝶夫人》中秀美温存,在豫剧《花木兰》中英姿俊朗,在黄梅戏《天仙配》中柔韧倔强。戴亚的洞箫,吹开了重重时光,将听者带进昆曲《牡丹亭》的春日迷梦之中。更荣幸邀得戏曲界的国宝大师献演,国家一级京胡演奏家张顺翔倾心操弓,出身梨园世家的“中国第一戏曲大锣”叶铁森才情轰鸣,原汁原味演绎戏曲的传神韵律。
此次录音继续瑞鸣音乐一贯的严谨制作和音乐创作理念,选在中央电视台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。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。
人生仿佛镜子的双面,习惯在这一面生活的你,只在偶尔的电光火石之间才能幸见自己在那一面的镜像。姿态宛然,音笑宛然,只是身着不同的衣装,伴着不同的人儿。真的,每个人的心底,都有一段古典的气质情怀,都有往生那支离的情景,只在睡梦中浮现出来。就让这一段聆听的过程,作为向尘世前缘的探问,在亦真亦幻之间,将浮生的片刻织缀,将回忆与幻想勾连。

Foreword:
Imagine the warm glow of a fresh spring morning. As the sun rises toward midday, a soft breeze brushes across your face. Leaves rustle gently on the willow tree, outstretching its arms as it bends over and waves good day to the lake. Accepting the protection of the trees, elderly citizens congregate in the shade, entertained by an aromatic cup of herb tea and a game of chess.
Or, on any particular night, as the cool wind glazes across the water to caress your cheeks once again, you find the line between reality and fantasy begins to blur. Fireflies awaken and mingle with the stars, performing a festive dance in celebration of nature. You raise your cup of wine, toasting the scenery in front of you. Cheers, lovely fireflies. Cheers, Lady of the Moon and her rabbit companion.
And yet, all this may disappear like the morning fog. You may suddenly awaken to find yourself in a boat, rocking unsteadily as you look out into the pale green lake. A fisherman whistles quietly as he pushes the oars with graceful force. As the boat nears the opposite shore, echoing voices of opera singers and the hurried steps of dancers travel through the air. Painted faces, brightly colored and ornamented costumes appear out of the dissipating mist. And thus, you watch from afar as stories of loyalty, honor, and heart-wrenching love unfold on stage. Those familiar lyrics sung in those unfamiliar dialects ring softly but strongly, seemingly distant and yet so close to heart. In that moment, as voices break with tears of joy and moans of tragedy, a mirror image of yourself flashes before you on stage.
And in that same moment, the soulful sound of the erhu awakens you to reality. Captured by the rapture of the instrument, you find, amazingly, that you have journeyed afar, hearing stories of yesteryears, reenacting past lives, and nearly grasping them for eternity.
Just as each person’s heart nurtures a passion for the beauty of oriental traditions, each voice of nature must have, at one time or another, sung its own song of joy and sadness. The survival and cultivation of traditional opera can perhaps be attributed to so great a universality.
There are no high aspirations in the creation of this album, but simply a hope to share with the world the beautiful, moving tunes of Chinese opera. Yet because of the use of regional dialects and the slow pace of lyrical expression, many people are shut outside the world of opera, unable to enjoy and appreciate the art. We believe, however, that music has the power to transcend beyond language barriers. Love for opera should have no boundaries. Replacing the human voice with a variety of oriental instruments, this collection eliminates the barriers caused by dialects while preserving the original messages of the musical pieces. Though this change may seem too playful, or perhaps even a bit dangerous, we are confident that little is lost in translation. Musically arranged by the most esteemed opera composer, Meng QingHua, the pieces in this collection stylistically embody the physical and emotional elements of their original counterparts. A classic orchestral texture, complemented and enriched by a modern musical feel, our collaboration of the old and the new create a remarkably innovative medium of expression and perfectly exhibits the melodic beauty of Chinese opera. The indescribable flavor is enough for any music lover to breathe an inward sigh of satisfaction.
To present the best of the nation’s treasures, our collection features ten of the best known operas, chosen from an archive of thousands. Of more than three-hundred opera forms, the ten different pieces here are by far the most popular and each distinctly representative of a local culture. Featuring Peking, Kun, Yu, Yue, and Chuan operas amongst others, the album brings one surprise after another, never allowing a moment of dullness. Oriental instruments varied in tonality and texture ring with vitality that so closely resembles the human voice, listeners will surely be amazed. Supported by an ensemble matching the power of Western philharmonics, the thinness and delicacy of Chinese opera is exchanged for a stronger, rounder, and warmer sound.
To stay true to the art we love and fully express the original message of the operas, we collaborated with a group of equally remarkable performers for the creation of the album. Song Fei’s erhu resonates fluidly in “Dream of the Red Mansion,” “Tale of the Bramble Hairpin,” and “Flowers as the Keepsake.” Zhang Qiang, renown for his mastery of the Chinese lute, gives stunning performances in “Madame Butterfly,” “Mulan,” and “The Cowherd and the Weaver Girl.” Dai Ya’s flute resounds clearly in “Peony Pavilion.” Also featured in the album is top-tier master of the jinghu, Zhang Shun Xiang, and famous gong performer Ye Tie Sen, both recognized as the finest musicians in the country and cherished by the Chinese citizens.
Album recording took place in China Central Television Station (CCTV)’s 480 square meters professional studio. Led by Asia’s respected recording director Li Xiao Pei, our production crew used the latest technology, investing hundreds of thousands to the album’s creation. To guarantee the best quality of sound, we invited the best record director from Germany to join our team’s post-production effort.
And so you look back at that distant mirror image on stage. Perhaps that figure is a stranger. Or perhaps that strange hint of familiarity you feel is simply an undiscovered part of your inner child, singing a new tune, clothed in exotic costumes, and surrounded by freshly made acquaintances. Yes, we all shelter in our hearts an inclination for the ancient beauty of the oriental classics - a vein of fantasy that may only appear in our dreams. So let music take you to that envisioned land, live in the clouds, and let those treasured memories of the past survive in the depth of our hearts and imagination.
曲目:
1.京剧:贵妃醉酒 苏三起解
京胡 古筝 人声(旦) 板鼓 京剧大锣 铙钹 小锣 中国大锣 弦乐队

京剧是我国流行最广、影响最大的剧种。它是由多种地方戏在北京汇聚、融合、发展而成的。乾隆以来,昆曲、弋阳腔、秦腔等先后进入北京。十八世纪末,四大徽班进京盛极一时。十九世纪三十年代,湖北楚调(汉剧)也进入北京,汉剧和徽剧出于同一源流,因而时常合班演出,声腔上相互结合。后来,徽班又吸收、溶化了昆曲、梆子、京腔的精华,在剧目、音乐、身段、服装、化妆方面都有所改革,在结合北京当地语言和风俗习惯,便逐渐形成了京剧。当时称为“皮黄”,又名“京调”。
京剧艺术比其他剧种更突出了戏曲集中、概括和夸张的特点,形成了唱、念、做、打一套完整体系和统一风格,在舞台表演上富于鲜明的舞蹈性和强烈的节奏感。

“海岛冰轮初转腾,见玉兔又早东升。冰轮离海岛,乾坤分外明,皓月当空,恰便似嫦娥离月宫。”
《贵妃醉酒》又名《百花亭》,源于乾隆时花部地方戏《醉杨妃》。描写唐明皇宠妃杨玉环在百花亭设筵,欲与明皇同饮共乐。久候不至,又悉转驾西宫。羞怒之余,命高力士、裴力士侍奉,自饮大醉,怅然返宫。经梅兰芳加工整理演出,成为艺术精品。后来许多剧种移植。

“低头离了洪洞县,将身来在大街前。未曾开言我心好惨,过往的君子听我言。哪一位去到南京转,与我那三郎把信传。言说苏三把命断,来生变犬马我当报还。”
《苏三起解》所用的传统故事《玉堂春》是一段历尽曲折的命运悲欢。名妓苏三(玉堂春)与吏部尚书之子王金龙相爱,互订终身。王金龙因钱财用尽被鸨儿驱出,苏三私下赠金,让王去往南京。苏三此后誓不接客,被鸨儿卖与沈家做妾,苏三被沈妻诬为谋杀死罪。苏三解至太原三堂会审,巡按恰为王金龙。苏三之冤终得平反,二人破镜重圆。

板鼓轻敲,铙钹紧跟,旦角吊足嗓子的咿咿呀呀里,锣鼓点有条不紊地摇晃着它四平八稳了两百年的节奏。一道京胡拉出了旋律,也拉出了夜色深沉的弦乐背景。秀美的古筝,好似愁怨的美人,在如诗清景下对月独酌。因为等待而蹙起的双眉,并未丝毫减损她那举世无双的容貌。时而柔肠百结,时而嗔意满腹,倚醉吐恨,愁思漫涌,别有一番态浓意远。又一声旦角的咿呀,又一段弦乐的铺陈,便是那段人人熟悉的西皮流水,由京胡奏唱着苏三那段家喻户晓的旋律,叙述着千百年前那个命悬一线的女子脆弱而无定的身世,一如她戴枷站立在街口的苦苦哀告,令人心生悱恻。

2.昆曲:牡丹亭
洞箫 古琴 管钟 芒锣 蛤蟆梆 弦乐队

昆曲是我国的古老剧种,约在元末明初产生于江苏昆山一带,又称“昆山腔”。明嘉靖时,魏良辅对昆山腔进行了重大改革,吸收了南曲诸唱腔和金元北曲中的音律唱法,以及江南的民间小曲等多种艺术成分,创造出一种轻柔委婉的“水磨腔”。明代中叶,昆曲向北方流传,形成“北昆”,其刚健豪放的风格与流行于江浙一带细腻清婉的“南昆”相映成趣。
作为一个已经有五百年以上历史的剧种,昆曲形成了一套完整的表演体系和独特的声腔系统。它的剧目丰富,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。伴奏乐器主要是笛子,有时候也用三弦、笙、唢呐等。

“原来姹紫嫣红开遍,似这般都付与断井颓垣。良辰美景奈何天,便赏心乐事谁家院?朝飞暮卷,云霞翠轩;雨丝风片,烟波画船。锦屏人忒看的这韶光贱。”
南安太守杜宝,延师教女丽娘遵守古训礼法。一日丽娘背父母及塾师与侍女春香至后院游春,见断瓦颓垣,顿起伤春之感。丽娘游倦归房,朦胧睡去,梦中与书生柳梦梅至园中幽会。梦醒相思成疾,伤情而死,葬在后花园梅树之下。三年后,柳梦梅拾得杜丽娘的自画像,亦对画中人一往情深,丽娘的魂灵竟来和他相会。最后,丽娘起死复生,二人终成眷属。

那一声古琴拨开传奇的轻纱,那一记芒锣洞穿时光的惶惑。一管洞箫,如人声幽咽婉转,曼声徐度,唱一支“皂罗袍”,在工尺谱调间复生明代光景的烟丝醉软,燕语如剪。一唱是典雅,三叹是抒情,用这管弦画一幅心驰神往的美景:小庭深院,春意满眼,斑驳的日影在藤架上静静流动,花事荼縻,一切已臻梦境。

3.越剧:红楼梦
二胡 古筝 板鼓 中国大锣 铃鼓 弦乐队

越剧是在浙江嵊县一带山歌小调的基础上,吸收了滩簧、绍剧等剧种的剧目、表演、唱腔而形成的,它流行于浙江、江苏、上海等地。它的发展经过“小歌班”(即“的笃班”)、“绍兴文戏”等阶段,至二十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。
“天上掉下个林妹妹,似一朵轻云刚出岫。
只道他腹内草莽人轻浮,却原来骨格轻奇非俗流。
娴静犹如花照水,行动好比风拂柳。
眉梢眼角藏秀气,声音笑貌露温柔。
眼前分明外来客,心底却似旧时友。”
“想当初妹妹从江南初来到,宝玉是终日相伴共欢笑。我把那心上的话儿对你讲,心爱的东西任你挑。害怕那丫鬟服侍不周到,我亲自桩桩件件来照料。你若烦恼我担忧,你若开颜我先笑,我和你同桌吃饭同床睡,像一母所生的亲同胞……我就是为你死了---也是个屈死的鬼魂冤难告。”
林黛玉自幼丧母,寄居外祖母家,与表兄贾宝玉两小无猜,情投意合。贾母虽知宝黛二人心心相映,但却不容其联姻,而是挑选了仪容大方工于心计的薛宝钗为孙媳。王熙凤趁宝玉病中,施用“掉包计”,明称宝黛联姻,实则暗娶宝钗。黛玉闻知实情后旧病加剧,将宝玉题赠诗帕及生平诗稿投于火中,含恨而亡。新婚之日,宝玉始知新娘为宝钗,大惊失色,悔恨不已。急奔至潇湘馆,然已人琴俱亡。遂抛却项上宝玉,愤而出走。
二胡问一声林妹妹,古筝答一句宝哥哥,宝黛初会的情形宛然眼前,音容可触。生动的二胡模仿着宝玉的好奇与一见钟情,清泉潺潺的古筝则描摹出黛玉的秀妍和微微颔首的姿态。八句问答话音刚落,忽而急转,二胡的一声呜咽拉出动荡不安的弦乐背景,板鼓声声清脆的敲击令人心神俱震,仿佛昭显了这一段情投意合注定要有个悲剧的结局。这其中,古筝大力度的轮拂仿佛暗喻着黛玉“质本洁来还洁去”的操守。二胡声声的连绵追问,已不似先前的天真模样,而是一番难以言传的深沉和心碎。最后那一声大锣,敲出的是幻灭,亦是宝玉抛却通灵落发为僧走向大荒的寂寥背影。

4.粤剧:蝴蝶夫人
高胡 中阮 琵琶 南梆子 木鱼 碰铃 音树 弦乐队
粤剧是广东省的主要剧种。流行于广东、广西及港澳和东南亚华侨居住地区。明代、弋阳腔、昆腔相继流传到广东,清初徽剧、湘剧又在广东风行,这些剧种相互影响,并吸收了南音、粤讴、龙舟、木鱼等广东民间曲调,在唱念方面更多使用了广州方言,至清代中叶便逐渐融合形成粤剧。
粤剧的唱腔曲调多样,以梆子、二黄、西皮为主。它的伴奏乐器亦很丰富,曲调也多样。演出形式受话剧和西洋歌剧影响很大。
(旦唱)斟杯咖啡跪敬君,(生唱)不必泔拘会跪到晕溉,你跪迎跪送整得泔拘跪到晕溉,(旦唱)你共我把快乐寻,应要檀郎做快乐人,我愿时时侍奉你,我望君你常护荫。
(生唱)你是我心爱的人,闺房寻乐呢其实要烟韧,恭喜我两人心心相印,决不中途拆散会两相分。恭喜一世到头都泔烟韧。
(旦)你成日泔恭喜我,其实我恭喜你!就来做爸爸叻你!
粤剧《蝴蝶夫人》由粤剧名家红线女及马师曾根据普契尼的同名歌剧改编。美国海军上尉在日本结识蝴蝶,二人在长崎成婚后,上尉回国,为事业另娶上司女儿露丝。蝴蝶苦守老家,诞下一子,生活拮据。媒人五郎劝之再嫁,蝴蝶情痴上尉,不为所动。她其后知悉上尉重来,在码头及家中久候不见,却迎来露丝。蝴蝶惊闻上尉再娶,求见一面,还他骨肉后,自杀殉情。
木鱼叩一板三眼,南梆子空谷问兰,轻击碰铃似点滴琉璃清冷,拂动音树如串串珠玉叹息。遥望普氏歌剧的晴朗天色,却更感念于清新的粤音流水。高胡是正印花旦,万般雍容现身;琵琶似娓娓知音,千回百转应和。一阙子规啼,存不住半晌温存;半支塞外吟,等不及朱颜空老。也学红线女,唱一声龙头凤尾,叹一世离人恨重。

5.豫剧:花木兰
板胡 大提琴 中国大鼓 琵琶 梆子 马铃 弦乐队

豫剧,又称“河南梆子”,是河南省的主要剧种之一,流行于河南及陕西、山西、河北、山东、安徽等部分地区,是由明代流入的秦腔、蒲州梆子同河南当地民间戏曲结合而成的。由于长期在农村演出,带有浓厚的乡土气息,唱工多,口白少,长于表达多种多样的感情,表演风格朴实清新。
现在的豫剧主要分“豫东调”、“豫西调”、“祥符调”和“沙河调”四个流派。豫剧唱腔有慢板、二八板、流水板、飞板、栽板、滚板等多种板式。主要伴奏乐器有瓢胡、月琴、横笛、梆子等。文武场曲牌有几百种之多。
“刘大哥说话理太偏,谁说女子享清闲。男子打仗到边关,女子纺织在家园,白天去种地,夜晚来纺棉,不分昼夜辛勤把活干,将士们才能有这吃和穿。”
隋唐年间,朝廷为了抵抗北方突厥入侵征兵,花木兰改扮男装替父从军去往边关。木兰在边关屡建战功,胜利后,元帅欲将其女许配花木兰为妻,花木兰借箭伤掩饰,请求返乡。木兰返乡后,元帅亲自去花家询问亲事,方知花木兰是女子,大为敬佩。
秀气婉转的琵琶与深沉厚重的大提琴交替奏出主题,色彩交错的飒爽英姿,好似那双兔傍地走,安能辨我是雌雄。在这样的铺陈下,一声脆响的板胡精气神十足,恰便似主角花木兰一拂长翎,定睛亮相。大鼓和弦乐队勾画出辽阔的北方天空,背井离乡的木兰朝辞黄河去,暮至黑山头。鼓擂得响,战鼓催开姣艳黄花;弦拨得急,马蹄的的踏遍疆场。

6.川剧:荆钗记
尺八 二胡 板鼓 竹相 弦乐队

川剧是中国西南地区较古老的地方剧种之一,形成于清代中叶。流行于四川各县市及贵州和云南部分地区,它的腔调是由昆曲、高腔、胡琴、弹戏和灯戏综合形成的。这五种腔调,原是五个独立的剧种,在重庆、成都一带分散演出。辛亥革命以后,成都出现了著名艺人团体“三庆会”,它吸收了来自各剧种的艺人,经过同台演出,相互影响,形成了统一的艺术风格,川剧从此定型。
川剧的剧目十分丰富,而且文学性很强,具有幽默风趣的特色,它的表演艺术细腻、洗炼,能从内容和生活出发,准确地塑造人物性格。川剧的锣鼓变化多端,除了表现剧中人的喜、怒、哀、乐各种感情外,还可以打出风声、雨声等多种音响效果,以表现自然景色。
“满天星斗照琉璃,星月交辉河汉低。但见月朗星稀,天哪你倒有晴朗之日啊。可怜奴人遭困苦愁肠满,自思自想奴的心憔悴,无语低头暗伤悲。”
《荆钗记》是川剧“江湖十八本”之一,又名《木荆钗》。南宋时,温州穷书生王十朋以木荆钗为聘,与贡生钱誉之女玉莲结为夫妻。十朋赴京应试,得中状元,丞相万俟卨欲招赘为婿,十朋婉言谢绝。丞相逼婚不成,将十朋贬官潮阳,与钱家断绝音讯。继母逼玉莲改嫁富豪孙汝乾。玉莲不从,跳窗逃出投江,为福建安抚使钱载和所救,收为义女。数年后,十朋调任吉安太守,与玉莲在玄妙观中相遇,几经周折,终以木荆钗为凭相认团圆。
都道川剧秀妍清朗,这儿果然恁般竹意盎然,青翠逼人。竹相訇然,击开洪荒无际;尺八萧瑟,幽咽尘烟缭绕。弦乐还是那般的温厚真挚,萦回的却是那般隐忍的苍凉激越。破题的是板鼓,击得水落而石出,逗出了二胡委婉的迂回,间或片歇,似迟疑,又似叹息。平静如许的曲调,恰如王十朋祀妻时面对的绵长江流,纵是抽刀断水,又怎能截得断这莫失莫忘的情比金坚?

7.评剧:花为媒
竹笛 柳琴 二胡 板鼓 小锣 芒锣 弦乐队

评剧是在全国有影响的地方剧种之一,形成于清末民初。它源于冀东一带的“莲花落”,后来吸收了东北“蹦蹦”的腔调,故早年有“落子”、“蹦蹦”之称。最初为对口演唱形式,近似东北的“二人转”,后来陆续吸收了河北梆子的打击乐、滦州影戏、乐亭大鼓和京剧的唱腔及表演,形成了“唐山落子”,又变为“奉天落子”,最后成为现在的评剧。
评剧以唱工见长,吐字清楚,唱词浅显易懂,演唱明白如诉,表演生活气息浓厚,有亲切的民间味道。评剧唱腔是板腔体,有慢板、二六板、垛板和散板等多种板式。
评剧原分为东路和西路两派。今天盛行的是东路,流行于河北和东北三省,在南方也有广大观众。西路评剧又叫“北京蹦蹦”,是在东路评剧及梆子、老调的影响下形成的。
春季里风吹万物生,花红叶绿草青青,桃花艳,李花浓,杏花茂盛,扑人面的杨花飞满城。
(白)你再报下句给我听。
夏季里端阳五月天,火红的石榴白玉簪,爱它一阵黄昏雨,亭亭玉立在晚风前。秋季里天高气转凉,登高赏菊过重阳,枫叶流丹就在那秋山上,丹桂飘飘分外香。冬季里雪纷纷,梅花雪里显精神,水仙在案头添风韵,迎春花开一片金。
王俊卿与表姐李月娥互相爱慕。然月娥父不允二人亲事,俊卿相思病重。王母急于娶媳冲喜,又托人去张家提亲。王俊卿非月娥不娶,王母随令俊卿表弟贾俊英代替相亲。张女五可与俊英一见钟情。月娥以为俊卿变心,悲痛欲绝。李母冒名送女,抢先让月娥至王家成亲。张五可大怒,闯入洞房质问月娥。后由俊英说明代兄相亲之事,误会冰释,双拜花堂,皆大欢喜。
这样一段趣致的器乐小品,倒是恰如其分地把戏曲中那个阴差阳错却又歪打正着的婚恋故事表达得饶有风味。故事里是以花为媒,笑嗔怨啼都由得它联缀;曲子里却是以二胡为媒,抑扬顿挫宛如生旦相谑,活灵活现。情窦初开的竹笛轻盈幼脆,大方持重的柳琴串珠叠玉。那些锣儿、钹儿、鼓儿们,撵着这热闹,也嘈嘈喳喳地欢喜帮腔来吧。

8.黄梅戏:天仙配
大提琴 竹笛 琵琶 木鱼 弦乐队
黄梅戏是安徽的地方剧种,源于湖北省黄梅县的“采茶调”。“采茶调”在鄂、皖、赣三省毗邻地区广泛流行,与当地民间流行的舞蹈、曲艺相结合,逐渐成为民间小戏,安徽人称它为“黄梅调”,后改称黄梅戏。
黄梅戏曲调丰富,共有一百多种,如“评词”、“二行”、“三行”、“火攻”、“彩腔”、“仙腔”等。黄梅戏用安庆地区的语言演唱,唱时一律用本嗓儿。
“家住丹阳姓董名永,父母双亡我孤单一人,只因爹死无棺木,卖身为奴葬父亲。满腹忧愁谈不尽,三年长工受苦情。有劳大姐让我走,你看红日快西沉。
“大哥休要泪淋淋,我有一言奉劝君;你好比杨柳遭霜打,单等春来又发青。小女子也有伤心事,你我都是苦根生,我本住在蓬莱村,千里迢迢来投亲,又谁知亲朋故旧无踪影,天涯沦落叹飘零。只要大哥不嫌弃,我愿与你配成婚。”
玉帝之女七仙女在天宫看见人间董永卖身葬父的凄凉情景,不觉产生了同情和爱恋。她不顾天规森严,在大姐的帮助下,背着玉帝来到凡间,和董永结为夫妇。他们同去傅员外家做工,由于七仙女一夜之间织出了十批锦绢,傅家不得不将董永的三年长工工期改为百天。
百天期满,夫妻返家。不料玉帝得知七仙女私自下凡,命她午时三刻必须返回天庭,不然即降灾于董永。七仙女只好抛别夫君,独自回天庭。
这样一段爱情,即使横亘着天与地的距离,也终因鹊桥相会的顷刻,而不负那分离等候的一个个寒暑。听那大提琴,它低沉的声音仿佛高高在上的天宇,阴郁着,威压着。然而秀美的琵琶就在这样的背景上,婉转而倔强地吐露出绕指柔情。天人相逢,如花美眷,清丽的竹笛和宽厚的大提琴,仿佛七仙女和董永在唱和问答。乐曲中部,耳熟能详的天仙配曲调如云出岫,弦乐如和煦的暖阳柔美照拂。乐器们欣喜地反复对答着,就像所有爱着的凡人,那些甜蜜的话儿总是说不尽,那样幸福的凝视永远也不想停。人也如此,仙也如此。

9.河北梆子:大登殿
管子 古筝 管钟 中国大鼓 中国排鼓 大镲 中国大锣 弦乐队

河北梆子,初名“直隶梆子”。它渊源于陕西秦腔的梆子体系,大约在清代中叶以后,由山西蒲州梆子流入河北逐渐演变而成,清末曾在北京盛极一时。后来梆子和皮黄曾同台演出,互相交流融会,使梆子在艺术上日趋完整。
河北梆子流行于中国华北和东北地区,尤其是河北中北部和京、津地区。河北梆子的唱腔高亢激昂、刚劲挺拔,主要有慢板、二六、流水、尖板、哭板、反调等板式,还有近百支用于舞台伴奏的曲牌。
“金牌调来银牌宣,王相府宣来我王氏宝钏,九龙口用目看:天爷爷原来是平郎丈夫头戴王帽身穿蟒袍,腰横玉带足登朝靴,端端正正,正正端端驾坐在金銮。”
王允篡位,欲杀薛平贵。薛平贵得代战公主之助,攻破长安,擒拿王允、魏虎,自立为帝,分封王宝钏、代战、苏龙,将魏虎斩首。薛平贵欲杀王允,经宝钏苦劝,方始赦免。并迎请王母,共庆团圆。
十八载寒窑,换来的就是这一刻大登殿诰赏分封。所以宝钏要见得大度,曲子要见得雍容,让大锣威严开道,让大鼓开天动地,管钟的回响震落雕梁画栋上的每一寸灰尘。管子惟妙惟肖地学着人声,听一耳喜气洋洋扬眉吐气,再倾听却迂回呜咽悲从中来。心灰意冷的十八年,在被所有人遗忘的冰封世界,她也等过,也怨过,也断了念,也死了心。总算岁月把那个身影从心底磨去,他却又荣归,真像个玩笑。黄袍加身之日,抚不平的岂止是额前细纹,更有心头沟壑重重。

10.沪剧:罗汉钱
二胡 扬琴 音树 蛤蟆梆 串铃 碰铃 弦乐队

沪剧是上海地方剧种,流行于上海及江浙部分地区。它起源于上海郊区和江南一带农村流行的民歌,后来受到苏州滩簧的影响,在清末形成了“本滩”。它的演唱形式较为简单,最初只用一把二胡、一副鼓板,演员只分上下手,没有行当,是一种说唱形式。后来受上海“文明戏”的影响,开始编演新戏,改名为“申曲”。抗日战争胜利后,定名为沪剧。
沪剧的唱腔优美,富有江南乡土气息。主要曲调有“长腔长板”、“三角板”、“赋子板”等。
“燕燕也许太鲁莽,有话对侬婶婶讲,我来做个媒保侬称心肠,人才相配门户相当。问婶婶呀,我做媒人可像样?问婶婶呀,我做媒人可稳当?
燕燕侬是个小姑娘,侬做媒人不像样。
只要做得对管啥像不像,我来试试也无妨。
燕燕姑娘,我就听侬讲一讲。我家艾艾,许配哪家年轻郎。”
姑娘张艾艾和同村的李小晚相爱,互相交换罗汉钱和小方戒作为信物。自由恋爱的他俩被村里的流言蜚语攻击。艾艾的母亲迫于压力,打算赶紧给艾艾找个人家嫁出去。最后,艾艾和小晚用婚姻法实现了美满姻缘。
那一串音树拂过的清泠,像春风吹落了露水玲珑;那两支琴竹的起落纷飞,似蝴蝶点缀上织锦花枝。柔和明媚的弦乐,是轻风拨皱了池塘;波光粼粼的串铃,点染心事暗涌无数。好一番婉转秀丽的吴侬软语,听那二胡用顿挫的声口徐徐道来,将这支无人不晓的紫竹调,吟来一寸悠扬、两副表情、十分风景。

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:
二胡/板胡/高胡:宋飞 中国音乐学院教师演奏家
琵琶/阮/柳琴:张强 中央音乐学院教师演奏家
笛/箫:戴亚 中央音乐学院教师演奏家
尺八:杜聪 总政歌剧院演奏家
古筝:常静 中国歌舞团演奏家
中国/竹打击乐:陈葳 东方歌舞团演奏家
大提琴:蒋力行 中国交响乐团演奏家
管钟:柳启平 中国国家交响乐团演奏家
古琴:赵家珍 中央音乐学院教师演奏家
管子:郭向 中国电影乐团演奏家
扬琴:赵霞 中国歌舞团演奏家
京胡:张顺翔 中国京剧院演奏家
板鼓:李中华 中国京剧院演奏家
铙钹:许谨忠 中国京剧院演奏家
大锣:叶铁森 中国京剧院演奏家
小锣:陈树民 中国京剧院演奏家
青衣:赵群 上海京剧院表演艺术家
弦乐:黄立杰等中国国家交响乐团及中国爱乐乐团二十四位演奏家

Performers:
Erhu/Banhu/Gaohu: Song Fei
Pipa/Ruan/Willow lute: Zhang Qiang
Bamboo flute: Dai Ya
Shakuhachi: Du Cong
Guzheng or Long Zither: Chang Jing
Chinese Bamboo Percussion Instruments: Chen Wei
Cello: Jiang Li Xing
Chimes/ Tubular Bell: Liu Qi Ping
Guqing or Seven-stringed zither: Zhao Jia Zhen
Guanzi (Cylindrical double reed instrument): Guo Xiang
Yangqin or Hammered Dulcimer: Zhao Xia
Jinghu: Zhang Shun Xiang
Bangu (High-pitched drums): Li Zhong Hua
Cymbals: Xu Jin Zhong
Large Gong: Ye Tie Sen
Small Gong: Chen Shu Ming
Qingyi (Female opera singer portraying a mature, virtuous lady): Zhao Qun
Orchestra: China National Symphony Orchestra, led by Huang Li Jie, and twenty-four members of China Philharmonic

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 邹鹏
文案:杨倩
翻译:Rena Xie
摄影:小叶
设计:图图工作室
录音棚:中国中央电视台480平米录音棚
后期制作:德国老虎鱼
出品:瑞鸣音乐

Production Crew:
Producer:Ye Yun Chuan
Executive Producer: Ye Yun Chuan
Arranger: Meng Qing Hua
Recording Engineer: Li Xiao Pei
Assistants Recording Engineer: Wang Heng, Zou Peng
Introduction written by: Yang Qian
Translator: Rena Xie
Photographer: Xiao Ye
Artwork Design: Total Viewfinder
Recording Studio: China Central Television Station 480 Sq. Meters Recording Studio
Pre mastering and Enhancement: Germany Pauler Acoustics.
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.越剧 红楼梦
Zhejiang Yue Opera Dream of the Red Mansion
生动的二胡模仿着宝玉的好奇与一见钟情,清泉潺潺的古筝则描摹出黛玉的秀妍和微微颔首的姿态,板鼓声声清脆的敲击令人心神俱震,暗喻爱情的悲剧结局。
2.豫剧 花木兰
Henan Opera Mulan
秀气婉转的琵琶与深沉厚重的大提琴交替奏出主题,一声脆响的板胡精气神十足,大鼓和弦乐队勾画出辽阔的北方天空。
3.昆曲 牡丹亭
Kunqu Opera Peony Pavilion
古琴拨开传奇的轻纱,芒锣洞穿时光的惶惑。洞箫如人声幽咽婉转。一支“皂罗袍”在工尺谱调间复生明代光景的烟丝醉软,燕语如剪。
4.粤剧 蝴蝶夫人
Cantonese Opera Madame Butterfly
木鱼叩一板三眼,南梆子空谷问兰,轻击碰铃似点滴琉璃清冷,拂动音树如串串珠玉叹息。高胡万般雍容现身,琵琶千回百转应和。
5.黄梅戏 天仙配
Huangmei Opera The Cowherd and the Weaver Girl
大提琴低沉的背景上,秀美的琵琶婉转而倔强地吐露出绕指柔情。清丽的竹笛和宽厚的大提琴唱和问答,弦乐如和煦的暖阳柔美照拂。
6.川剧 荆钗记
Sichuan Opera The Bramble Hairpin
竹相訇然,尺八萧瑟,板鼓逗出了二胡委婉的迂回。温厚真挚的弦乐,萦回的却是那般隐忍的苍凉激越。
7.评剧 花为媒
Ping Opera Flowers as the Keepsake
二胡抑扬顿挫宛如生旦相谑,竹笛轻盈幼脆,大方持重的柳琴串珠叠玉,锣儿、钹儿、鼓儿们亦嘈嘈喳喳地来欢喜帮腔。
8.河北梆子 大登殿
Hebei Opera The Great Award
大锣威严开道,大鼓开天动地,管钟的回响震落雕梁画栋上的每一寸灰尘。管子惟妙惟肖地学着喜气洋洋的人声。
9.沪剧 罗汉钱
Shanghai Opera Buddhist Arhat Coin
音树清泠拂过,琴竹起落纷飞,弦乐柔和明媚,串铃波光粼粼。二胡顿挫的声口似吴侬软语,吟来那支无人不晓的紫竹调。
10.京剧 贵妃醉酒 苏三起解
Peking Opera Drunken Beauty Miss Su San Goes to Trial
板鼓轻敲,铙钹紧跟,旦角吊足嗓子的咿咿呀呀里,锣鼓点有条不紊地摇晃着它四平八稳了一百年的节奏。一道京胡拉出了旋律,也拉出了夜色深沉的弦乐背景。
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