作曲家鲍元恺分享 http://blog.sciencenet.cn/u/byk0104 厦门大学艺术研究所所长 天津音乐学院教授

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《台湾音画》全部录音 中英文说明 精选

已有 6014 次阅读 2013-11-14 03:37 |系统分类:人物纪事| 台湾

 
台北爱乐乐团2000版《台湾音画》全部录音
 
http://www.tudou.com/plcover/Juql0nDefm0/


台湾音画 

鲍 元 恺

 

 《台湾音画》完成于1999年,2000227日由美国指挥家梅哲(Henry Mazer)指挥台北爱乐管弦乐团首演。2002年由陈澄雄指挥台湾交响乐团在台湾巡演。

这部由《玉山日出》《安平怀古》《宜兰童谣》《恒春乡愁》《泰雅情歌》《鹿港庙会》《龙山晚钟》《达邦节日》八个乐章组成的交响曲,描绘了台湾的民风民情,展现了台湾的乡土乡音,表达了我在台湾的所见所闻,所感所思。

《台湾音画》是一部原创同改编相结合,抒情同状景相结合,本土化同国际化相结合的交响乐作品。依照传统的交响曲结构,全曲分为四个部分:

  第一、二乐章,壮美恢弘的慢板,从状景到怀古,为第一部分“起”;

   第三、四、五、六乐章,依快——慢——快三部结构组成的以台湾民间音乐为基调的风俗性乐曲,为第二部分“承”;

  第七乐章,静谧安详的慢板,为第三部分“转”;

第八乐章,粗犷豪放的快板,终曲,为第四部分“合”。

愿这部作品带着宝岛特有的湿润与温暖,走出台湾文化固有的的悲情意识,以乐观的胸怀为这个正在迅速逝去的时代留下美好壮丽的画影,用温馨的旋律为经过岁月沉淀的未来留下语言无法表达的刻骨记忆与深切眷恋。

 

第一乐章 玉山日出

巍峨壮美的玉山,海拔3952公尺,是东北亚最高峰。19962月,我在这里体验了巍峨群山间如梦如幻的神奇日出景观,感受了恢弘山水与万千气象的壮丽自然之美,以及由此而生的崇高人性之美。

弦乐从低音区开始层层递进,如浓密的积云逐渐显出轮廓,如模糊的山影逐渐露出霞光。双簧管和长笛的悠长旋律如云缝中的光亮逐渐现出玉山主峰的积雪。终于,圆圆的太阳冲出了山峦和积云的重围,刹那间,蓝天白云现出了澄洁的本色,远山近水披上了灿烂的金纱。管弦乐的斑斓色彩和壮阔音响,倾诉着面对天地造化那如痴如醉的独特情感体验。

 

第二乐章 安平怀古

安平古堡为荷兰人占据台湾时期所建。1662年,郑成功率军逼荷兰人投降,接收该城,更名“安平”。城堡里矗立着郑成功面朝大海,壮怀激烈的威武铜像。历经血雨腥风的残垒断垣,盘根错节的斑驳古榕依然枝叶茂密,奋然向上。

来自郑成功的家乡南管《梅花操》那清远冷傲的旋律,成了表达对这位民族英雄仰慕崇敬之情的主调。我从《梅花操》里抽取三个音,以不同力度的不断反复贯穿在这首恢弘与悠远交织的乐曲里。乐曲结尾,激越亢奋的震天鼓角酣畅淋漓地折射着三百多年前安平沙场的剑影刀光,悠长气息的宽广旋律延绵不断地展示着三百年后人们瞻仰开山英雄那充满崇高感的深切敬意。

 

第三乐章  宜兰童谣

  《丢丢铜》,也称《丢丢铜仔》。“丢丢铜”是闽南语的像声词,模拟山洞里滴水落地的声音。这首歌展现了当年火车通到宜兰,孩子们迎接火车的的欢快心情。“丢丢铜”的像声词被当做无确切含义的诙谐衬字保存下来。

  我用《丢丢铜》和另一首脍炙人口的台湾童谣《天乌乌》的旋律写成了这首《宜兰童谣》:大提琴均匀的快速音符模拟着旧式火车的车轮飞转,四只法国号相距半音模拟着汽笛长鸣,轻快的双簧管展现着孩子们的欢笑嬉闹,短笛和单簧管在竖琴的背景上描摹着孩子们的悠然自得。它们合著那灵逸跃动的节奏和轻快爽朗的旋律,绘声绘色地进入了这首洋溢着生机与童趣的管弦乐曲。

 

第四  恒春乡愁

   恒春半岛在台湾的南端。三百多年前,清军从福建渡海到这里安营扎寨屯兵习武,闽南人客家人到这里垦荒种田传宗接代。那一次大规模移民,在民间称为“唐山过台湾”。这些背井离乡的士兵和农民时常站在半岛南端,隔海遥望故土,回顾先辈冒死渡海的艰辛历程,抒发后人怀念家园的苍凉思绪。脍炙人口的台湾恒春民谣《思想起》,就是在此时此地此情此景产生的一首思乡曲。

我以《思想起》凄美旋律的音程影和节奏扩展为主题,创作了深沉伤感卡农式乐段作为引子,以《思想起》主题多层次对位声部的交错完成了这首如泣如诉的弦乐合奏《恒春乡愁》。

 

第五乐章 泰雅情歌

泰雅族(Atayal),是台湾原住民中分布面积最广的一族,男善狩猎、女善纺织。泰雅青年男女是自由恋爱择偶。泰雅男子往往以吹奏“鲁布“(口弦)向女子表示爱慕,女子如愿相许,则接过口弦回奏一曲。由此,双方便用唱情歌的方式谈情说爱,深化日渐浓烈的感情。

由木管、弦乐和竖琴演奏的这首《泰雅情歌》清新淡雅,柔情似水。我借用印象派音乐始祖德西五度叠置的朦胧和弦描绘泰雅人居住地的山野景色。在迷人的夜色下,纤细的独奏小提琴和浑厚的长笛低音区相互缠绵,象是情人幽会时羞答答的窃窃私语。

.

第六乐章  鹿港庙会

   鹿港天后宫是是台湾400多座妈祖庙之冠,是台湾唯一奉祀湄洲祖庙开基圣母神像的庙宇。天后宫的主人,慈眉善目的妈祖,传说原是宋初湄州女林默娘。她一生为渔民消灾驱邪,羽化升天之后被封为天妃、天后、圣母,成了全世界华人心目中共同的海上保护神。

  我在天后宫门口,听到了由唢呐、锣鼓组成的“北管”武场和由月琴、琵琶、笛箫组成的“歌仔戏”文场。从北管乐队听到的曲牌和锣鼓经,成了我创作这首《鹿港庙会》的快板部分的主要素材:由双簧管、单簧管和小号叠奏的高亢吹腔,模拟着迎神的唢呐;由铜管和锣鼓轮替的的火爆节奏,把节日的喜庆一层层推到高潮。慢板部分的旋律来自歌仔戏乐队的一首小曲,名叫《农村酒歌》。

 

第七乐章 龙山晚钟

鹿港龙山寺是台湾最早的也是保存最为完整的供奉观世音菩萨的佛教寺庙。我曾和来自台湾各地的作曲研习营学员们一起,随着一拨拨香客烧香跪拜,祈求福慧双至,国泰民安,两岸和平。祈拜之后,大家在佛殿前留下了这一届作曲研习营的两岸师生“全家福”合影。

   愿这首乐曲能够以它澄澈淡雅的旋律滋润众生的安详心田,以它肃穆庄严的音响展示佛陀的悲悯胸怀,为繁华浮躁的迷乱尘世荡涤阴暗,提升智慧,普及仁爱,推广善行,让世界的每一位过客都能福慧圆满地生活在佛光普照的日月山水之间。

 

第八乐章 达邦节日

  215日,是台湾邹族原住民祭典的日子。1996年的这一天,我在阿里山

的达邦社同那里的邹族同胞共度了这个在邹语中称为“玛雅斯比”(mayasvi)的传统节日。

迎神仪式结束,红仕们围在大树旁,敬慕地合唱祭典歌曲。围观的人们屏住呼吸,静听这肃穆的圣歌从达邦飞向崇山峻岭,传到人间天上。当我以自己的歌喉和身躯加入到与邹族男女和观光客人同歌同舞的行列,当我同这些素不相识的人一起在篝火旁通宵达旦地狂欢狂饮的时候,一种从纷争世界的挤压中逃逸,从凡尘俗务的牢笼里释放的超脱感倏然而至。我在《达邦节日》中,我把这难得的逸兴豪情用管弦乐的张狂音响一泄而尽。

 

高山青

《高山青》是香港导演张彻在拍摄电影《阿山风云》时,以邓禹平的歌词为依据创作的一首歌曲。它的前一乐段是张彻的原创,后一个乐段是一首阿美族民歌。

我的这首管弦乐改编曲最初是为台湾指挥陈澄雄先生演出我的《炎黄风情》在谢幕时表明其台湾身份而作。乐曲以长笛双簧管展现婀娜多姿的“美如水”原住民姑娘,以法国号的连续半音转调展现彪悍雄劲的“壮如山”原住民青年。《台湾音画》完成后,这首豪情淋漓短小欢快的短曲,成为《台湾音画》的专用返场曲。在两岸交响乐团在世界各地的演出中,也常常成为音乐会上热烈的独立插曲。   

           

  

 

 

 

SKETCHES OF TAIWAN

 

 

                                               BAO Yuankai

 

<<Sketches of Taiwan>> was completed in 1999, first performed by American conductor Henry Mazer conducting  The Taipei Philharmonic Orchestra at Taipei, on 27 February 2000,. There are 8 movements, which are named “Sunrise on Jade Mountain”, “Recollections of Anping”, “Ilan Children’s Ditty”, “Homesick for Hengchun”, “Atayal Love Song”, “Lugang Temple Gathering”, “The Bell of Lungshun Temple”, and “Dabong Festival”, in this symphony. It depicts the folk custom and sings the native tunes of Taiwan, and delivers what I saw and heard, and what I meditated and was touched while I was staying in Taiwan.  

<<Sketches of Taiwan>> is a symphonic work which composes of original and adaptive, lyrical and sketchy, localized and internationalized elements. It can be separated into four parts according to the classical symphony structure:

The first and second adagio movements depict spectacular scenery and nostalgic mood. This is the first part “Introduction”.

The following four movements are rearranged from Taiwan folk songs with three-part fast-slow-fast tempo. This is the second part “Elucidation”.

The seventh movement is a calm and serene adagio. This is the third part “Transition”.

The last movement is a rugged and bold allegro. This is a finale and the fourth part “Conclusion”.

I wish the work, which has maintained the special atmosphere of moisture and warmth of Formosa, surmounts the inherent tragic sense in Taiwanese culture, captures specular scenes with optimistic aptitude in this flying time, and reserves wordless deep-rooted memory and lovely attachment of the legacy in the future.

 

The First Movement: Sunrise on Jade Mountain

The majestic Jade Mountain that rises 3952 meters above sea-level is the highest peak in the Northern-Eastern Asia. I looked at the amazing dreamy view of sunrise among the towering mountains, experienced the natural beauty of grand landscape and glorious scene, and admired the sublime humanity resonating with the magnificence.

The music is started from the bass members of string overlapping progressively as the dense clouds gradually showing shapes and the rising sun glowing over blur mountain shadows. The prolonged melody is played by oboe and flute as the sunbeam shining through cloud to cloud resting on the snow over Jade Mountain’s main peak. Finally, the round sun bursts out of enclosure of mountains and clouds. All of a sudden, the blue sky and pale clouds show their own nature of purity, and the light of the rising sun sheds golden yarn all over hills and creeks. The brilliant tint and magnificent tone confide the unique mesmerized experience of encountering the great creation.

 

The Second Movement: Recollections of Anping

Fort Zeelandia was built by the Dutch during the period of occupation. Zheng Chenggong led his army forced the Dutch to surrender, took over the fort and renamed it “Anping”. In the fort, there stands the vehement and powerful statue of Zheng Chenggong facing the sea. The ruins have gone through a bloody history, and the deep-rooted mottled banyan is still lush and full of life.

The clean and haughty Nanguan tune "Plum Blossoms" that is from Zheng Chenggong's hometown is adapted to be the theme to admire this national hero. Three tones are picked from "Plum Blossoms" and constantly repeat in different weight throughout the melody, which has been interwoven with the mood of grandness and ancient times. In the end of this movement, the sound of exciting and deafening trumpets and drums fully reflects the fierce battle on the Anping battlefield in three hundred years ago. The broad melody with long breath stretched continuously reveals people’s tribute with lofty and deep respect to the pioneer hero after three hundred years.

 

The Third Movement: Ilan Children’s Ditty

The ditty “Diu Diu Tong” is also called “Diu Diu Tong Young”, which means throwing copper coins. "Diu Diu Tong" is onomatopoeia words in Taiwanese which imitates the noises of dripping drops down to the ground in tunnel. This song shows children were cheerful to greet the train which was bound to I-Lan in the old time. The onomatopoeia words of "Diu Diu Tong" are preserved but regarded as meaningless, witty and decorated words.

“Ilan Children’s Ditty” was composed of motives of “Diu Diu Tong” and another popular ditty “Tin Oh Oh”. The notes played evenly by cello simulate spinning wheels of a locomotive. The chromatic scales played by four horns simulate the blowing of whistle. The tune played cheerfully by oboe shows the laughter of children. Heightened by harp, the melody played by piccolo and clarinet shows the leisure of children. They resonate with nimble rhythm and spry melody, and vividly enter this lively and playful orchestral work.

 

The Fourth Movement: Homesick for Hengchun

Heng-Chun Peninsula is located in southern Taiwan. About three hundred years ago, Qing troops crossed the strait from the Fujian, camped and stationed here. The Minnan and Hakka people reclaimed and continued the family line here. The large-scale immigration is so-called “Tangshan to Taiwan”. Those uprooted soldiers and peasants often stood by the seashore of southern peninsula, gazing at the distant homeland across the sea. Remembering the pioneers’ difficult journey, dying for crossing the strait, induces the descendants to have a bleakness to the deep homesickness. The popular Taiwan Heng-Chun ballad “Si Xiang Qi” (which means “thinking about something”) was such a homesick song created in the time, the place, the mood and the scene.

 I adapted mirror of the poignant melody and rhythm in “Si Xiang Qi” as the theme, and created moody Canon-like section as the introduction, and ended this plaintive piece of string ensemble music “Homesick for Hengchun” by interweaving the theme of “Si Xiang Qi” with multi-voice counterpoint.

 

The Fifth Movement: Atayal Love Song

Atayal, which is the most widely distributed among the aboriginal races of Taiwan, the male are good at hunting, and the female are good at weaving. Atayal youths have the freedom to love and choose their spouses. An Atayal man often plays a “LuBu” (mouth harp) to the lady he adores. If she accepts him, she will take his “LuBu” and play a tune back. By singing love songs, both of them fall in love and deepen affection more and more each day as time goes by.

Played by woodwind, strings and harp, "Atayal Love Song" is fresh and elegant, tender and soft as water. I borrowed the foggy chord of five degrees overlapping by Debussy, who was the earlier Impressionist, to depict the mountain scene of an Atayal tribe. In the charming night, the slimness of solo violin and the fullness of bass line of flute lingers each other. It is just like shy whispering of lovers in a tryst.

 

The Sixth Movement: Lugang Temple Gathering

Lugang Tianhou (Holy Heavenly Mother) Temple ranks first among more than four hundred Mazu temples in Taiwan, and it is the only temple that enshrines one of the original Holy Heavenly Mother statues of Meizhou Mazu Temple. It is said the motherly Mazu, who is the hostess of Tianhou Temple, was called Lin Moniang and born at Meizhou in the Song Dynasty. She was able to get rid of evil spirits and diseases during her life time, and she received honorary designations such as “Heavenly Concubine”, ”Heavenly Mother”, ”Holy Heavenly Mother” after she died. In the heart of Chinese people, she has become the common patroness of the sea.

 While I was standing at the gate of Tianhou Temple, I heard a Beiguan Wuchung (percussion ensemble) of Suona (Chinese Oboe) and gongs and drums, and a Taiwanese Opera Wenchung (string and wind ensemble) of Yukin (Chinese banjo), Pipa (Chinese lute), bamboo flute and Xiao (Chinese recorder). The Qupai (tune) and percussion I heard from Beiguan was the material I composed the allegro section of “Lugang Temple Gathering”: The high-pitch fanfare blown by the oboes, clarinets and trumpets simulates the sound of suona to welcome the spirits; the flaming rhythm rotated by brass and percussion elevates ecstasy of the festival into the climax. The adagio section is from a ditty called “The Rural Drinking Song” of a Taiwanese Opera.

 

The Seventh Movement: The Bell of Lungshun Temple

Lugang Longshan Temple is the first and also the best preserved Buddhist temple to enshrine Bodhisattva in Taiwan. From all over Taiwan, getting together with students of the Composition Workshop, I worshiped with a group and a group of pilgrims to pray for the integrity of bliss and wisdom, the state of tranquility and prosperity, and the peace across the strait. After the worship, all teachers and students of the Composition Workshop, who were from places across the strait, were taken a picture of “the whole family” before the Buddha.

May this movement can comfort the serene hearts with its grazioso melody, to show Buddha’s compassion mind with its maestoso and tranquillo sound, to cleanse gloominess for the bustling, impetuous and disorderly world, to gain wisdom, to practice benevolence, and to promote good deeds. Therefore, let every passenger on the earth can lead a life to be full of bliss and wisdom in the spectacular world that is under the shining glory of Buddha.

 

The Eighth Movement: Dabong Festival

The Fifteenth of February is the day to carry out the Rite for Taiwan Tsou aboriginal race. On this day in 1996, I visited Dabong tribe in Alishan and enjoyed the traditional festival to be called “mayasvi” in Tsou dialect.

After the Idolatrous ceremony, Red Warriors gathered around a big tree and reverently sang ritual songs. The crowds of audience held their breath and listened to the solemn hymn resounding from Dabong to mountains and reaching the earth and the heavens. While I was in an array composed of Tsou’s men and women and visitors singing and dancing together, and drinking with strangers by the camp fire all night long, I suddenly felt transcending to escape from the squeeze of the scrambling competitions and to be released from the cage of trivial worldly events. In "Dabong Festival " I expressed the rare ease and lofty sentiments without reservation in the big bang of the orchestra.

 

Encore: Song of Alishan Mountain

"Song of Alishan Mountain" is a song composed by a Hong Kong director Chang Cheh in the film "Alishan" based on the lyrics of Deng Yu Ping. The first half of this song is Chang Cheh's original, and the other is from a folk song of Amis.

At first, my orchestration of this song was for the conductor Mr. Chen Chengxiong to stamp him as a Taiwanese at the curtain calls after conducting my "Chinese Sights and Sounds". The melody played by flutes and oboes to show the aboriginal girls are “as beautiful as water", and the continuous halftones modulated by horns to show the aboriginal youth are "as strong as mountains". After "Sketches of Taiwan" was completed, this small short piece that fills with liveliness and joy has become the dedicated encore of "Sketches of Taiwan ". In the concerts all over the world performed by the orchestras across the strait, it often becomes a fervent interlude, too.



 



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