March 25, 2017, 8 pm
 at Jordan Hall

Presenting

FOUR WINDS  四面來風
Music Dialogue and Cooperation (Series 5)

Meng-Chieh Liu 劉孟捷,
The Borromeo String Quartet   &
The Forbidden City Chamber Orchestra 紫禁城室內樂團




rehearsal for the night  photos: Guan Yunzhi



FOUR WINDS  四面來風
Music Dialogue and Cooperation (Series 5)

~
Program ~

Jackdaws play in the cold water
*
寒鴉戲水

Ancient Tune from the Han Dynasty 
漢調古曲


With the lilies, the song, and the stars
*
百合, 歌謠和星辰
by David Ludwig
*
- for xiao
, strings, and piano

See Without Looking
*
不見而明
by Daniel Walker
*
Shun Liu
劉順 , conductor
World Premiere (
世界首演)

~ Intermission ~

The Bright March
*
光明
by Xiaogang Ye
葉小綱*
- for piano and Eastern and Western instruments
Shun Liu
劉順 , conductor
World Premiere of the chamber music version
(
室內樂版本世界首演)

The Prelude and the Dance for solo piano
*
by Anlun Huang
黃安倫* 1974
also known as "Chinese Rhapsody No.2"
Meng-Chieh Liu
孟捷, piano

Ten Changes and Five Variables
*
十變五化

by Hang Zou
鄒航*
- for Chinese ensemble and string quartet
Shun Liu
劉順 , conductor
US Premiere (
美國首演)


Foundation for Chinese Performing Arts
中華表演藝術基金會

 












To the amazing performance of the "FOUR WINDS" by Meng-Chieh Liu, Borromeo String Quartet, and Forbidden City Chamber Orchestra at Jordan Hall
, the Boston Music Intelligencer wrote, " ... A truly enlightening and satisfying evening. ... FOUR WINDS prompted rounds of applause for both performers and the program …  With such splendor on stage from every performer to an ever so fascinating range of traditional Chinese instruments mingling with the traditional European string quartet, the eye was as fulfilled as the ear.  … Dignity was everywhere on Jordan’s stage, both sight- and sound-wise ... "

Special credits were given to "Wang Hua
王華, bamboo flute, the xiao, with sensitive silk and satin tones ... Shen Cheng 沈誠, ZHANG Zunlian 張尊連, on huqin, or Chinese fiddle, masters of that instrument, voicing a pureness reaching all the way to the soul ... Meng-Chieh Liu 劉孟捷 magnificently captured the youthful extravaganza from the delicately shaded impressionistic opening to the virtuosic crashing close."
 
 

*
photo credit : Chutze Chou & Guan Yunzhi*


Liu Meng-Chieh 劉孟捷, pianist

A recipient of the 2002 Avery Fisher Career Grant, Meng-Chieh Liu joins New England Conservatory's piano studio faculty with the 2014/2015 academic year.

Liu first made headlines in 1993 as a 21-year-old student at the Curtis Institute of Music, when he substituted for André Watts at the Academy of Music in Philadelphia with three hours' notice. The concert earned high acclaim from critics and audience alike and was followed by a number of widely praised performances, including a recital at the Kennedy Center and a concert on the Philadelphia All-Star Series.

A dedicated chamber musician, as well as a solo artist, Liu has collaborated with musicians in North America, Europe, and Asia, in addition to working with artists in other disciplines, including dancer Mikhail Baryshnikov and his White Oak Dance Project.

Liu received the 2002 Philadelphia Musical Fund Society Career Advancement Award and first prizes in the Stravinsky, Asia Pacific Piano, and Mieczyslaw Munz competitions.

B.M., The Curtis Institute of Music. Studies with Jorge Bolet, Eleanor Sokoloff, and Claude Frank. Also faculty of Roosevelt University and the Curtis Institute.

The Borromeo String Quartet
http://www.borromeoquartet.org

Each visionary performance of the award-winning Borromeo String Quartet strengthens and deepens its reputation as one of the most important ensembles of our time. Admired and sought after for both its fresh interpretations of the classical music canon and its championing of works by 20th and 21st century composers, the ensemble has been hailed for its"edge-of-the-seat performances," by the Boston Globe, which called it"simply the best there is."

Now celebrating its 25th anniversary, the Borromeo continues to be a pioneer in its use of technology, and has the trailblazing distinction of being the first string quartet to utilize laptop computers on the concert stage. Reading music this way helps push artistic boundaries, allowing the artists to perform solely from 4-part scores and composers’ manuscripts, a revealing and metamorphic experience which these dedicated musicians now teach to students around the world. As the New York Times noted,"The digital tide washing over society is lapping at the shores of classical music. The Borromeo players have embraced it in their daily musical lives like no other major chamber music group." Moreover, the Quartet often leads discussions enhanced by projections of handwritten manuscripts, investigating with the audience the creative process of the composer. And in 2003 the Borromeo became the first classical ensemble to make its own live concert recordings and videos, distributing them for many years to audiences through its Living Archive. The next offering of Living Archive, a music learning web portal, will be released next season. 

Passionate educators, the Borromeos encourage audiences of all ages to explore and listen to both traditional and contemporary repertoire in new ways. The ensemble uses multi-media tools such as video projection to share the often surprising creative process behind some works, or to show graphically the elaborate architecture behind others. This produces delightfully refreshing viewpoints and has been a springboard for its acclaimed young people’s programs. One such program is MATHEMUSICA which delves into the numerical relationships that under-pin the sounds of music and show how musical syntax mirrors natural forms. CLASSIC VIDEO uses one movement of a quartet as the platform from which to teach computer drawing, video editing, animation, musical form and production processes to create a meaningful joining of music and visual art.

The quartet has been ensemble-in-residence at the New England Conservatory and the Isabella Stewart Gardner Museum for twenty-three years; and has worked extensively as performers and educators with the Library of Congress (highlighting both its manuscripts and instrument collections); the Chamber Music Society of Lincoln Center and the Taos School of Music. The ensemble joined the Emerson Quartet as the 2014-15 Hittman Ensembles in Residence at the Peabody Institute in Baltimore, and its upcoming season includes substantial residencies at Colorado State University in Fort Collins, Kansas University in Lawrence, and the San Francisco Conservatory.

The ensemble has been acclaimed for its presentation of the cycle of Bartok String Quartets as well as its lecture"BARTOK: PATHS NOT TAKEN," both of which give audiences a once-in-a-lifetime chance to hear a set of rediscovered alternate movements Béla Bartók drafted for his six Quartets. Describing a Bartok concert at the Curtis Institute, the Philadelphia Inquirer wrote that the quartet"performed at a high standard that brought you so deeply into the music's inner workings that you wondered if your brain could take it all in ... The music's mystery, violence, and sorrow become absolutely inescapable."

Also noteworthy in the BSQ repertory are its dramatic discoveries within the manuscripts of the Beethoven Quartets, and its performances of the COMPLETE CYCLE; the BEETHOVEN DECATHALON (four concerts of Beethoven’s last ten quartets, all with pre-concert lectures exploring his manuscripts); and single BEETHOVEN TRYPTICH concerts (one concert including three quartets). Its expansive repertoire also includes the Shostakovich Cycle and those of Mendelssohn, Dvorak, Brahms, Schumann, Schoenberg, Janacek, Lera Auerbach, Tchaikovsky, and Gunther Schuller.

The Quartet has collaborated with some of this generation’s most important composers, including Gunther Schuller, John Cage, Gyorgy Ligeti, Steve Reich, Osvaldo Golijov, Jennifer Higdon, Steve Mackey, John Harbison, and Leon Kirchner, among many others; and has performed on major concert stages across the globe, including appearances at Carnegie Hall, the Berlin Philharmonie, Wigmore Hall, Suntory Hall, the Concertgebouw, Seoul Arts Center, Shanghai Oriental Arts Center, the Incontri in Terra di Siena Chamber Music Festival in Tuscany, the Prague Spring Festival and the Haydn Festival in Eisenstadt.

The 2015-16 season includes performances in Switzerland, Japan, Korea and China; the Bartók Cycle in Boston, San Francisco and at the Library of Congress; and appearances at the Schubert Club in Minneapolis, Amherst College, and Trinity Church Wall Street, to name only a few.

"Nothing less than masterful" (Cleveland.com), the Borromeo Quartet has received numerous awards throughout its illustrious career, including Lincoln Center’s Avery Fisher Career Grant and Martin E. Segal Award, and Chamber Music America’s Cleveland Quartet Award. It was also a recipient of the Young Concert Artists International Auditions and top prizes at the International String Quartet Competition in Evian, France.   [September 2015]

The Forbidden City Chamber Orchestra 紫禁城室內樂團

The Forbidden City Chamber Orchestra is a widely influential chamber orchestra featured in Chinese Traditional music and is quite active on the world’s contemporary music stage. The orchestra is composed of well-known musicians from Chinese Conservatory of Music, a top university in China of this field.

As a high-level art group recognized by the Ministry of Culture for international exchange, the Forbidden City Chamber Orchestra has attended many major music events at home and abroad ever since its establishment in 2008, touring numerous countries and regions including Australia, New Zealand, Poland, Russia, the US, Israel, Spain, Serbia, Hungary, Romania, Bulgaria, Belarus, Lithuania, Latvia, Esthonia, Mexico, Cuba, Czech, Trinidad and Tobago, Tanzania and Mauritius etc. The Orchestra has also been invited to Auckland and Brisbane Music Festival of Australia, New Zealand International Music Festival, Romania Enescu Music Festival, Mexico Cervantes International Art Festival,"Autumn of Warsaw"— International Modern Music Festival, Singapore Chinese Art Festival and so forth. Its art footprints spread throughout the globe.

While inheriting excellent Chinese musical and cultural traditions, the Forbidden City Chamber Orchestra is also committed to innovating Chinese folk music in the new era and cooperates widely with international art institutions, performing jointly with Russian Andreyev National Model Orchestra, New Zealand String Quartet, the pianists from Wellington Music Conservatory, composer Gao Ping, Borromeo String Quartet of the New England college of music, pianist Meng-Chieh Liu from Curtis Institute of Music, Dallas Symphony Orchestra, Huston Symphony Orchestra and many prestigious Chinese and foreign folk musicians successively, and launching cross-cultural music exchanges and cooperation.

The Forbidden City Chamber Orchestra has published 5 original music CDs: Mengbian Simeng (Four Dreams beside Plum), Feng Sheng (Sound of Wind), Tian Yun (God’s Will), Simian Laifeng(Wind Coming from All Sides)and Simian Laifeng, collecting many classic works of Chinese folk music. Besides, the orchestra also commissioned famous composers from China, the US, Russia, New Zealand, Poland, Philippines to compose dozens of multi-style and pioneering original music pieces. The serial art practices of Forbidden City Chamber Orchestra have been highly praised by the international music community and thousands of music lovers. It is remarked as :

"the embodiment of the unique grace and elegance of Chinese traditional music, and demonstration of the rare classics and charm of contemporary music";
"an example of exploring the communication between Chinese contemporary music and the world";  and 
"one of the most influential chamber orchestras across the globe".


紫禁城室內樂團

紫禁城室內樂團是活躍在當今世界音樂舞台和具有廣泛
影響的中國民族室內樂團,由來自中國⺠民族音樂的最高學府-中國音樂學院的著名音樂家組成。

2008年成立以來多次參加國內外的重大⾳音樂活動,作為文化部對外交流的國家高端藝術家團體,出訪了澳大利亞、新西蘭、波蘭、匈⽛牙利、俄羅斯、美國、墨⻄西哥、古巴、以⾊色列、西班⽛牙、羅馬尼亞、保加利亞、白俄羅斯、立陶宛、拉脫維亞、愛沙尼亞、塞爾維亞、捷克、特立尼達和多巴哥、坦桑尼亞、毛里求斯等國家和地區。樂團應邀參加了澳大利亞奧克蘭和布里斯班音樂節,新西蘭國際藝術節、羅馬尼亞愛內斯庫音樂節,墨西哥塞萬提斯國際藝術節,華沙之秋國際現代音樂節和新加坡華藝藝術節等,藝術足跡遍布世界各地。  

紫禁城室內樂團在繼承中國優秀音樂文化傳統的同時,著力推動中國民族音樂的時代創新,廣泛開展國際交流與合作。先後與俄羅斯安德烈耶夫國立模範民族樂團、新西蘭弦樂四重奏團
(New Zealand String Quartet) 、惠林頓⾳音樂學院鋼琴演奏家、作曲家高平、美國新英格蘭音樂學院弦樂四重奏團 (Borromeo String Quartet)、柯蒂斯音樂學院鋼琴演奏家 Meng-Chieh Liu、達拉斯交響樂團、休斯頓交響樂團,以及多位中外著名的民族⺠民間⾳音樂家聯合演出。同時與波蘭作曲家協會、西班牙音樂家協會、塞爾維亞作曲家聯合會、匈牙利作曲家協會、新西蘭室內樂協會,以及新西蘭惠靈頓⾳音樂學院、澳大利亞堪培拉大學亞洲文化中心、波蘭密茨凱維奇大學、美國柯蒂斯音樂學院、斯坦福大學、巴德學院等學術與文化機構,開展跨文化的音樂交流與合作。

紫禁城室內樂團出版了《梅邊四夢》《風聲》《天運》《四面來風I》《四面來風II》五張原創音樂CD唱片,收錄多首中國民族民間音樂經典作品,並委約了中國、美國、俄羅斯、新西蘭、波蘭、菲律賓等國家的著名作曲家,為樂團創作了數十首風格多樣並具有實驗與探索性的原創作品。

紫禁城室內樂團的系列藝術實踐與活動,受到了國內外音樂界和眾多愛樂者的盛讚。被評價為:
"體現了中國傳統音樂特有的華貴與典雅,表現了當代音樂舞台罕⻅見的經典與魅力",
"是探索中國當代⾳音樂語境與世界對話的範例",
"是當今世界最具影響力的室內樂團之一"。
 

十变五化 -- Ten Changes and Five Variables (Zou Hang)
Forbidden City Chamber Orchestra and Borromeo String Quartet


 


Notes on the Program


FOUR WINDS  四面來風
Music Dialogue and Cooperation (Series 5)
Meng-Chieh Liu 劉孟捷,
Borromeo String Quartet, and
the Forbidden City Chamber Orchestra
紫禁城室內樂團


Jackdaws play in the cold water
寒鴉戲水
Ancient Tune from the Han Dynasty 
漢調古曲


The tune portrays a beautiful scene in nature – a group of birds playing joyfully in the icy water on a cold day. It is a metaphor of the optimism people have when facing challenges in life.

漢調是潮州音樂的組成部分之一。潮州地處中國的南端,潮州音樂遠源流長。在古代長期的戰爭、商貿和人口的遷徙中,中部的原漢人逐漸將漢文化帶到了古潮州,並與當地的文化相滲透和融合,形成了在音節、調式、樂器、演奏等各方面特色鮮明的潮州音樂,又使得中原古樂的意韻猶存。它的主要樂器是二弦、三弦、揚琴、琵琶、洞簫,以及鑼鼓等打擊樂器。《寒鴉戲水》結構嚴謹,段落分明,旋律典雅優美,節奏跌宕起伏,生動地描寫寒鴉不畏嚴寒,水中追逐嬉戲自得其樂的景象,是一幅大自然的美麗景觀。樂曲借景抒懷,寓意人們對現實生活應有樂觀主義精神。


With the lilies, the song, and the stars 百合, 歌謠和星辰
by David Ludwig - for xiao
, strings, and piano


"With the lilies, the song, and the stars" is my imagining of the dreams and fantasies of the people of the Paleolithic era – the first humans to make lasting art. These prehistoric humans made vivid cave paintings all over the world 40, 000 years ago, and it is fascinating to me that whether in Indonesia or Europe, there is a fundamental commonality between all of the examples that have survived. The moment that people began to use tools, they made art, and we see in these origins that our differences are not so great, after all.

Some anthropologists believe that before spoken language there was song, used to communicate over large distances over valleys and in echoing caves. I am not attempting to capture what that might have sounded like in this music, but something of the wondrous world that these early people wanted to capture in their beautiful artwork. In their overlapping hand stencils are the impressions of flowers and nature. In their many depictions of animals are their stories and songs. And in the burnt surfaces of their torches on the glinting rock is the proxy for stars in the bright prehistoric night.

"With the lilies, the song, and the stars" uses the Chinese xiao bamboo flute juxtaposed next to strings and the relatively modern piano. The xiao is perhaps the most ancient crafted instrument still played in the modern world. I can think of no better voice to help describe this ancient world, and its people’s concerns with the worldly and celestial.

- Notes by David Ludwig


"百合、歌謠及星辰"是我想像著舊石器時代的人們,首次創作恆久藝術作品時的夢想及幻想。這些四萬年前史前時代的人們創作栩栩如生的洞穴壁畫,無論是在印度尼西亞或者是歐洲,所有保存下來的遺跡都有一個共通點,就是都令我相當著迷。在人們開始使用工具的那一刻,他們就做了藝術,我們看到這些作品的起源地點,令我感覺我們的分歧不是那麼大。

有些人類學家認為語言生成之前,在長距離山谷及充滿回音的洞穴,是以歌唱來溝通。我並不試圖在這首作品中表現當時的歌謠,但將捕捉這個令當時人們也想創作美好藝術品的綺麗世界。他們以交疊手掌的圖形變化來表現花草及自然界。他們以故事及歌謠來描述動物。

在閃爍岩石上火炬燃燒時的點點火星,就好像星星般的光亮照耀著史前的夜晚。

"百合、歌謠及星辰"是以中國竹笛類"簫"及弦樂加上鋼琴的重奏組合。"蕭"也許是目前存留至今最古老的樂器,我想沒有比這個器樂音色,更能展現遠古世界的境界,以及人們對天地的感念。



See Without Looking 不見而明
by Daniel Walker
Shun Liu
劉順 , conductor
World Premiere (
世界首演)


"See Without Looking" is inspired by the ancient philosophy of the Tao Teh Ching 道德经, the peaceful strength and simplicity of its teaching and the way it has influenced Chinese culture. Each of the five movements focuses on a different aspect of the Tao Teh Ching, from the birth of all creation to the way humanity fits within it. Four pitches begin and end the piece, representing the Tao giving birth to One, One giving birth to Two, Two giving birth to Three and Three giving birth to the Universe. The Tao pitch ("Re") connects all things within the piece, just as the Tao connects all things in life.

The master Lao-Tzu tells us that we do not need to rush though this world, or be tempted by material things, but instead to "know without traveling, see without looking and achieve without action". This natural, effortless order of life is at the center of the Tao Teh Ching and at the core of the music.

- Notes by Daniel Walker


《不見而明》靈感來自於《道德經》,這部以靜默之力和朴素觀念講述的天道--從而影響了中國文化的古代哲學著作。五個樂章的每個部分著重於其中來自造物起源的人類社會的五個面向。四個起始基音和尾音代表了"道" 一, 一生二、二生三、三生萬物。其中,"道"的基音(Re)關連整篇樂章正如"道"連接著萬事萬物。

智者老子告訴我們,無需形色匆忙醉眼迷亂,但且虛懷若谷不為而為。渾然天成是《道德經》的精髓同時也是該篇樂曲的核心。



The Bright March 光明
by Xiaogang Ye
葉小綱 - for piano and Eastern and Western instruments
Shun Liu
劉順 , conductor
World Premiere of the chamber music version
(
室內樂版本世界首演)


The Bright March was a solo piece for erhu二胡, composed by Maestro LIU Tianhu 劉天華 in the early 20th century. The piece showed the composer’s longing for a bright future in his contemporary circumstance. 100 years later, when composer Xiaogang Ye 葉小綱 visited Wuxi City of the Jiangsu Province, and traced music maestros LIU Tianhua and A’bing’s 阿炳 life footsteps in their hometown, he decided to compose 6 works for Chinese traditional music with the same names of the two maestros’ works. And the works are The Bright March, Listening to the Pine, The Shaking Candlelight and the Shadow, The Cold Spring Wind, The Dragon Boat, and An Imagination of Music and Dance.

The Bright March is Xiaogang Ye’s first one among the 6 works for Chinese traditional music. It was commissioned by LIU Tianhua and A’bing Foundation in 2016. The new piece didn’t adopt any music elements from LIU Tianhua’s original work, and was totally newly conceived by the composer. The piece is to express the composer’s admiration and thoughts to Maestro LIU Tianhua. The new piece is full of optimism and passion, which showing great expectation of the composer of the new generation. The piece has been presented in Beijing, Hong Kong, Taiwan, Macau, and Nanjing, etc. and were well received. The US performance of this piece will be the world premiere of the chamber music version of "The Bright March."


《光明行》是中國民族音樂大師劉天華先生於二十世紀初為二胡創作的獨奏曲,該曲表達了作曲家在當年時代環境下,嚮往光明、憧憬未來的緊切心情。一百年後,作曲家葉小綱在赴江蘇無錫探訪和追溯劉天華與阿炳兩位民族音樂前輩的生命足跡與故鄉後,決定為民族樂曲創作六首與這兩位大師相同名字的作品,他們是:《光明行》、《聽松》《燭影搖紅》《寒春風》《龍船》和《歌舞引》。

《光明行》是葉小綱這六首民曲器樂曲中完成的第一首。該曲2016年由江蘇"劉天華與阿炳音樂基金會"委約,樂曲沒有用劉天華原曲的任何素材,完全由作曲家重新構思創作,音樂表達了作曲家對劉天華先生的敬仰和追念。樂曲充滿樂觀與激情,表達了新一代音樂家內心崇高的嚮往。目前該曲已經在北京、香港、台灣、澳門、南京等地多處上演,深受歡迎。這次《光明行》的室內樂版本在美國是世界首演。


The Prelude and the Dance for solo piano
by Anlun Huang
黃安倫 1974
also known as "Chinese Rhapsody No.2"
Meng-Chieh Liu
孟捷, piano


The "Great Proletarian Cultural Revolution" (1966-1976) is a special period in Chinese history. During that period, the development of Chinese culture and art was in a "crazy" condition and went to a strayed path. The art of China was brutally suppressed and the culture of piano music was almost killed. Piano was forbidden as a symbol of nobility and bourgeoisie. Compositions for piano was regarded as "only for the bourgeoisie" and an action of  "worshiping the foreign powers". Due to the constraint from the social environment and the direction from the political requirements, the composers realized that they could only compose music to adapt the environment. There were a number of piano music published from that period with a strong characteristic of the Culture Revolution. They composed by adopting Chinese folk songs and expressed typical Chinese characteristics. Anlun Huang 黃安倫 was one of them. With his rich knowledge and life experience, Anlun Huang composed many pieces including "The Prelude and the Dance" in 1974.

"The Prelude and the Dance", the second of the "Five Chinese Rhapsodies" composed by Anlun Huang, was also the first Chinese music which was performed outside of China. It was premiered by pianist Shikun Liu
刘诗昆 in 1977, and was renamed to "The Prelude and the Dance" from formerly "Chinese Rhapsody No. 2" . This works is based on the Pentatonic mode, combined and integrated other modes and chords structures adapted from Western Rhapsody, and the free-form structure of the Chinese folk music to create a brilliant concert effect. The basic scale of the theme appeared in la, do, re, mi, sol, la. The melody seems adopted from the Gaoshan folk song "father is going to fish" (formerly known as "Fisherman"). The note D and the syncopation rhythm are the basic motives throughout the Prelude.

The joyful and lively Dance gives the climax of the whole piece. The Dance has a very complex structure. The phrases of each theme were composed in two combinations of
4 + 4 + 5 + 5 and 4 + 4 + 4 + 3 + 3. This combination is not as the symmetrical phrase structure as the western music phrase structure, but is a combination of long-- short sentences. The irregular combination of the phrase and the conversion of the rhythm, makes the music become more lively and free. It also features the passionate and lively language of Gaoshan folk music. The tune seems adopted from the Gaoshan folk song "The song of joy".

This work was awarded as The Great Composition Prize by the Chinese Ministry of Culture in 1978, and has still been used by a lot of Chinese pianists and piano competitions.


序曲與舞曲
1966年-1976年,是中國"文化大革命"時期,這一時期,中國的文化藝術發展進入了一個迷失而癲狂的狀態。鋼琴音樂和創作被戴上了"資產階級那玩意兒"、"崇洋媚外"的帽子,鋼琴界頓時進入一片沉寂。由於當時社會大環境對作曲家們思想的製約性,以及在政治要求下對文化發展方向的把握,作曲家們只能使創作適應環境,於是,一大批帶有時代特色的鋼琴音樂產生。黃安倫就是當時的作曲家之一。文革時期的音樂作品有很大一部分都運用了中國民歌的曲調,因此,當時的作品具有典型的中國特色。1974年,黃安倫憑著自己渾厚的音樂理論功底和豐富的生活經驗,創作了大批音樂作品,《序曲與舞曲》就是產生在那個特殊的年代。

序曲與舞曲,是作曲家黃安倫五首中國暢想曲之二,被譽為第一首成功登上國際樂壇的中國作品。1977年由著名鋼琴家劉詩昆公演並改名《序曲與舞曲》。該作品以中國五聲性為主的多種調式綜合形態及多種結構的和弦材料相結合,沿用西方狂想曲的創作形式和自由曲式結構特點,採取民間音樂素材和炫技性的音樂會效果,創作了一首中國鋼琴作品中不可多得的狂想曲成功之作。

在這作品中整個序曲部分運用中國五聲調式中的羽調式貫穿,將主題部分摘出,我們能看到旋律中出現了
la,do,re,mi,sol,la 這樣一個音階,將此民族調式的曲調進行分析,推測本旋律曲調取自於高山族民歌《爸爸去捕魚》(原名《漁歌》)。
  
序曲中始終貫穿D持續音和切分節奏的湧動,而舞曲則將生命力的勃發推至最終的高點。舞曲部分的曲式較為複雜,兩個主題的旋律組合小節數為
4+4+5+5,和 4+4+4+3+3,這種組合不如西方音樂的樂句組合方整,而是由長短句組成,不規則的組合形式與節拍的轉換讓樂句曲調更為活潑、自由,盡顯高山族民歌曲調熱情奔放、律動明快的特點。這一曲調的原型,據推測,為高山族民歌《歡樂歌》。 1978年獲中國文化部優秀作品獎,至今被很多中國鋼琴家和鋼琴比賽列為比賽曲目。

Ten Changes and Five Variables
十變五化
by Hang Zou
鄒航 - for Chinese ensemble and string quartet
Shun Liu
劉順 , conductor
US Premiere (
美國首演)


"Ten Changes and Five Variables" is a Chinese idiomatic phrase referring to the ever-changeable nature of things. In this work the Ten Changes suggests the contrasting states of performing: independence and a mixture of solo and ensemble playing, and the coloristic distance between the Chinese and Western instruments, reminiscent of the ancient concept of Yin and Yang.

The Five Variables, on the other hand, has its origin in Five Elements of which all things comprise. Though the five-sectioned work is based on these ideas, it also breaks out of the confines of the abstract. The music is created with five typically traditional ways of music making: blowing, bowing, plucking, hitting, singing, with the aim of capturing some of the essence of Chinese culture from a unique angle and point of view.


"十變五化"是一句中國俗語,指事情不斷變化的特質。在這首曲子中,"十變"是指對比鮮明的表演狀態:獨奏與合奏表演的相對獨立和混用,中西樂器之間的色彩差異,以及對古代陰陽概念的運用。另一方面,"五化"則源於組成萬物的五大元素。儘管曲目是基於這些概念創作而成的五部分,但它同時也打破了抽象界限。作品以五種傳統的音樂製作方法為基礎,即吹、彎、拉、打、唱,並以通過獨特視角和觀點來捕捉中國文化精髓為目標。
 

Meet the Composers


David Ludwig

David Ludwig’s music has been called "entrancing," and that it "promises to speak for the sorrows of this generation," (Philadelphia Inquirer). It has further been described as "arresting and dramatically hued" (The New York Times) and has been noted for "music supercharged with electrical energy and raw emotion" (Fanfare). The Chicago Tribune says that he "deserves his growing reputation as one of the up-and-comers of his generation." NPR Music picked him as one of the Top 100 Composers Under Forty in the world in 2011. In 2013, Ludwig's choral work, "The New Colossus," was selected to open the private prayer service for the 57th Presidential inauguration of Barack Obama.

Ludwig has written for many prominent artists, including soloists Jonathan Biss and Jaime Laredo, ensembles like eighth blackbird and ECCO, and orchestras including the Philadelphia, Minnesota, and National Symphonies. Residencies with arts institutions at home and abroad include Marlboro, the Gardner Museum, the Ravinia Steans Institute, the MacDowell and Yaddo colonies, and the Seoul University and Shanghai International Festival. Ludwig directs summer composition programs at the Lake Champlain Festival and the Atlantic Music Festival, and he is the artistic director of the Curtis Institute Young Artist Summer Program. He has won numerous awards and honors from nationally recognized arts organizations, including the Theodore Presser Foundation, the Independence Foundation, and the National Endowment for the Arts.

Born in Bucks County, P.A., Ludwig comes from a family lineage of musicians that includes his grandfather Rudolf Serkin, and great-grandfather Adolf Busch. He holds degrees from Oberlin, The Manhattan School, Curtis, and Juilliard, as well as a PhD from the University of Pennsylvania. Ludwig is on the composition faculty of Curtis where he serves as the Dean of Artistic Programs and as the director of the 20/21 Ensemble.

David Ludwig 的音樂總被譽為"欣喜",其為"承諾這一代的悲傷"(費城問詢報Philadelphia Inquirer)。甚至被描述為"驚艷及戲劇化的色調"(紐約時報)以及"音樂被飽充著電及原生情感"(Fanfare雜誌)。芝加哥論壇報(Chicago Tribune)譽稱"在他這一代不斷上看的個人聲勢"。美國國家公共電台(NPR)遴選他為2011年世界四十歲以下最頂尖的100位作曲家之一。 2013年他的合唱作品"新巨人"(The New Colossus)獲選為美國第57屆總統巴拉克•奧巴馬(Barack Obama)就職私人祈禱儀式的開場曲。

David Ludwig 經常為知名音樂家創作,如:喬納森•比斯(Jonathan Biss)及傑米•羅瑞多(Jaime Laredo);室內樂知名團體如:Eighth Blackbird ECCO、交響樂團如:費城交響樂團、明尼蘇達及美國國家交響樂團。也曾擔任萬寶路重奏團(Marlboro Ensemble)、加德納博物館(Gardner Museum)、拉維尼亞學會(Ravinia Steans Institute)、麥道爾與亞多文學營(MacDowell and Yaddo Colonies)、首爾大學及上海國際藝術節的駐地藝術家。他並擔任尚普蘭湖音樂節(Lake Champlain Festival)及大西洋音樂節(Atlantic Music Festival)的創作總監,他也是柯蒂斯音樂學院(Curtis Institute)青年藝術家夏季營的藝術總監。他曾多次獲頒國際知名藝術機構的獎項及榮譽,如:Theodore Presser基金會、Independence 基金會及國家藝術金金會。

生於美國賓州巴克斯的音樂世家,他的祖父為上世紀知名鋼琴家魯道夫•塞爾金
(Rudolf Serkin),曾祖父為上世紀知名小提琴家及作曲家阿道夫布許(Adolf Busch)。他曾就讀歐柏林音樂學院(Oberlin)、曼哈頓音樂學院、柯蒂斯音樂學院及朱麗亞音樂學院,並於賓州大學取得博士學位。David Ludwig 現擔任柯蒂斯音樂學院作曲教授及藝術項目主任,並擔任20/21室內樂團的總監。

Daniel Walker  作曲家丹尼爾•沃克

Contemporary American classical composer Daniel Walker’s music has been heard around the world on the concert stage, in film and on television. His film and television credits include feature films for HBO and Showtime and his music has been heard on The Tonight Show with Jay Leno, 20/20, Friends, Sex and the City, and The Annual Academy Awards Show. Film work in Asia includes the score and theme song for the stylish thriller Curiosity Kills the Cat, and the theme song for The Galaxy Railways, a hit Japanese anime series.

Walker began an artistic collaboration with noted concert pianist Kong Xiangdong
孔祥東 in 1999, writing a piano concerto for the musician for a concert performed in Lhasa, Tibet in August of that year. The project established a continuing partnership with Kong through which the pianist has premiered a number of new works by the composer.

Walker’s classical ballet, Marco Polo: The Last Mission, was premiered by the Shanghai Ballet Company as part of the opening festival of the China’s World Expo in May 2010. The historically based work continues to be performed as part of the company’s repertoire.

As an arranger and conductor, Walker has worked with singer/actor Andy Lau
劉德華and arranged music for the 2008 Beijing Olympics closing ceremony. In 2012, Walker completed his modern musical theatre piece Qing Cheng/Dark City, a dramatic urban story set within the teeming city of Hong Kong. He teaches composition and film scoring at Shepherd University in Los Angeles, and has served as dean of the music department since March 2012. Member: Television Academy of Arts and Sciences .

加州大學洛杉磯分校音樂博士。美國電視藝術與科學學院成員(美國艾美獎評委)。作為美國當代古典音樂作曲家, 沃克在古典音樂、好萊塢電影、電視領域有著超過25年的工作經歷。沃克酷愛中國文化,曾先後到訪中國20多次, 與多位中國音樂家藝術家們有過合作。

沃克的作品環繞在世界各地的音樂會及電影、電視中。他的電影、電視作品包括
HBOShowtime的劇情片、Jay Leno的《The Tonight Show with Jay Leno 傑伊.萊諾今夜秀》、《20/20》、《Friends 老友記》、《Sex and the City 慾望都市》、《神秘中國》系列、德國傳奇女導演萊尼•里芬斯塔爾Leni Riefenstahl生前最後一部紀錄片《Impressions of the deep水下印象》及奧斯卡頒獎典禮等。亞洲的電影作品包括張一白執導, 劉嘉玲、胡軍、小宋佳、廖凡主演的中國愛情驚悚片《好奇害死貓》的配樂、主題歌及日本動漫系列片《銀河鐵道物語》主題曲。

沃克於
1999年開始與中國著名鋼琴演奏家孔祥東合作,為其19998月在西藏拉薩舉辦的音樂會譜寫鋼琴協奏曲並擔任音樂總監,該項目建立了沃克與孔祥東的長期合作關係,成為其幾場全新首演音樂會作品的作者。 沃克的古典芭蕾舞劇《馬可•波羅:最後的使命》,於20105月由上海芭蕾舞團作為上海世博會開幕式的首演劇目之一公演。該劇成為上海芭蕾舞團的保留劇目。作為編曲及指揮,沃克曾與歌手/演員劉德華合作,並為2008年北京奧運會閉幕式的歌曲編曲。

Xiaogang Ye
葉小綱

Xiaogang Ye graduated from the Central Conservatory of Music in China and Eastman School of Music in the United States. His tutors included composers such as Du Mingxin, Alexander Goehr, Samuel Adler, Joseph Schwantner and Louis Andriessen. Xiaogang Ye came back to China from U.S.A. in 1994. He has been one of the most famous composers in China with his increasing international influences at the same time. He is the first Chinese composer who signed with Schott Music. He is presently Vice Chairman of China's Musicians' Association, Vice President of the Central Conservatory of Music, Founder and Artistic Director of Beijing Modern Music Festival, the biggest contemporary music festival in the Far East. Xiaogang Ye is a Standing Member of the Chinese People's Political Consultative Conference, giving proposals and suggestions to Chinese government for supporting music and arts. In 2013, he became the head of ISCM China Section.

Xiaogang Ye’s earliest well-known piece "Moon over the West River
西江月" performed by New Zealand Symphony Orchestra. The CD of this work was released by Naxos. His works have been performed all over the world, by orchestras such as New York Philharmonic, Detroit Symphony Orchestra, China Philharmonic Orchestra, Munchner Philharmoniker, Tokyo Symphony Orchestra, China National Symphony Orchestra, Bamberger Symphoniker , Philhamoniker Hamburg, Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, Nebraska Symphony Orchestra, Hong Kong Philharmonic Orchestra, Macau Orchestra, National Symphony Orchestra (Taiwan), Ensemble Modern, and many other famous chamber groups in the world. His works have been presented in most cities of China. In 2013, a concert of his works was presented at the Lincoln Center Avery Fisher Hall with critical acclaim.

Xiaogang Ye's most noticeable works are his "Tibet Series", reflecting the influences on the composer by the Tibetan Buddhism, Bonism, the unique geomorphology and humanism of Tibet, evident especially in the "Nice Sacred Lakes Series" and some other symphonic suites. The "Twilight of the Himalayas" finished in 2013 reveals the composer’s exploration to the Tibetan humane characteristics. There is a "Tropic Plants Series" in Xiaogang Ye’s works. It embodies the subtropical zone-born musician’s sensitivity to the natural environment. In this series, "Scent of Green Mango", "Enchanted Bamboo", and "Datura," etc. have shown a distinct personal characteristics of the composer. In addition to many works of China’s historic theme, Xiaoagang Ye also has a "Namesake Series" of the classic works in western music history. The most famous one from the series is his "Das Lied von der Erde (The Song of the Earth)", which is the same to Gustav Mahler’s work in both of name and the content for Chinese Poems in Tang Dynasty. This piece has already been performed in many famous venues in the world. His composition of "Enigma Variation (Winter III)" with the theme his father’s work, "La Mer" with Claude Debussy’s work, and even the "4’33’’ with much noise.

Xiaogang Ye is also a successful film music composer. He has composed over 30 movies and TV plays in China, and awarded "National Best Score" twice. He received the "Man of China" honorary title in 2005. The Beijing Modern Music Festival held by him received extensive attention and was very successful. He has won numerous national and international music awards, including the 2012 US Guggenheim Fellowship and the 2013 National China Arts Award.

葉小綱畢業於中國中央音樂學院和美國伊斯曼音樂學院,他的作曲老師包括杜鳴心、亞歷山大•葛爾、塞繆爾•阿德勒、施萬特納和路易•安德森。葉小綱於1994年回到中國,在北京的二十年中,他成為中國最著名的作曲家之一。他是第一個與德國Schott出版社簽約的中國作曲家,現任中國音樂家協會副主席,北京中央音樂學院副院長,也是遠東最大的現代音樂節"北京現代音樂節"的創辦者和藝術總監。他同時還兼任了中國人民政治協商會議的常務委員,每年都向政府提出支持音樂藝術和美育教育的建議,2013年他成為中國區域國際現代音樂聯合會(ISCM)的操盤者。

葉小綱最早的成名作是新西蘭交響樂團演出的《西江月》,為此
Naxos 專門為他出了唱片。從1987年起,他的作品一直在世界各地演出,紐約愛樂樂團、底特律交響樂團、中國愛樂樂團、慕尼黑愛樂樂團、東京交響樂團、中國國家交響樂團、班貝格交響樂團、漢堡愛樂樂團、薩布呂肯廣播交響樂團、內布拉斯加交響樂團、香港愛樂樂團、台灣省交響樂團、澳門樂團、Ensemble Modern 以及世界眾多著名室內樂團都演出過他的作品。他是中國開個人作品音樂會最多的作曲家,在中國各城市都留下他音樂會的踪影。在2013年和2014年,他把音樂會開到了紐約林肯中心Avery Fisher 大廳和德國慕尼黑的著名音樂廳,取得了歷史性的成功。

葉小綱對自己音樂作品的題材有特殊設計,其中最引人注目的是他的"西藏系列",其中西藏"九大聖湖"系列和一些交響組曲都可以看到藏傳佛教、苯教和西藏獨特地貌與人文精神對作曲家的影響,
2013年完成的《喜馬拉雅之光》顯示了作曲家對西藏人文特徵的探索。葉小綱有一個亞熱帶植物系列, 顯示了一位出生於遠東的音樂家對自然環境的敏感。其中《青芒果香》、《迷竹》、《蔓蘿》等作品具有鮮明的個人特色。除了許多中國歷史題材如《長城》、《楚》、《山鬼》等作品之外, 葉小綱還有一個與音樂史著名作品的"同名"系列,其中最著名的是和馬勒相同為中國唐詩譜曲的《大地之歌》(Das Lied von der Erde), 葉版的這個作品已經演遍了全世界。相同的還有他用父親作品的主題寫的《謎語變奏曲》, 和與德彪西同名的《大海》(La Mer),甚至還有一首喧鬧無比與凱奇同名的的《4'33"》 。

葉小綱同時也是一位成功的電影音樂作曲家,他曾為三十多部中國電影和電視系列片作曲,並獲得兩次國家級的"最佳電影音樂獎",一次"中國傑出電影音樂獎"。在
2005年獲得"中國時尚先生"的榮譽稱號。他出任藝術總監的"北京現代音樂節"獲得社會各界的關注,每年舉行具有世界水平的音樂會都極為轟動。葉小綱獲得過眾多國際和中國重要的獎項,最近獲得的是2012年美國古根海姆基金會的音樂大獎,和中國國家級的"中華藝文獎"。

Anlun Huang
黃安倫

With many awards and his more than 40 symphonic works, Chinese-Canadian composer Anlun Huang’s compositions have been widely performed and warmly received around the world. Lang Lang won the 1st prize of the International Tchaikovsky Youth Piano competition by playing his "Chinese Rhapsody No. 2" in 1995. Many of his works have been chosen as the official final round pieces of the major music competitions, including the International Rubinstein Piano Competition, Israel. His ballet "Dream of Dunhuang" has been selected as one of the "Master Pieces of the Chinese Compositions in 20th Century".

Numerous of his CD, LP and scores have been published and released. Not only had an adjudicator for various competitions, but also a conductor, his successful performances included the all-his-works-concerts in Russia, U.S.A. and China.

Recently as the composer-in-residence of the Shenzhen Symphony orchestra, China, and the winner of the New Pioneer Arts Award of Canada (2004), Anlun Huang began his piano lessons at the age of five, and completed his first piano album at seven. He graduated from the attached Middle School of the Central Conservatory of Music, China in late sixties. As the composer-in-residence of the Central Opera House of China, he became a member of the China Musician’s Association in 1979. Huang came to the North America to continue his music education in 1980. He received the FTCL in 1983 and the MM at Yale University with the Alumni prize in 1986. In the same year he moved to Toronto. Huang was the former president of the Canadian-Chinese Music Society of Ontario till 1996. He has also been invited as the guest professor of several Universities in China recently.

黃安倫,現代中國作曲家,1949年出生於音樂家庭,5歲開始隨父母學習鋼琴,7歲已完成其第一冊鋼琴曲集。當時,中國近代音樂大師馬思聰評論他『有很豐富的想象力』。他於1961年進入北京中央音樂學院附屬音樂小學,後升入該院附中鋼琴學科,先後師從樓乾妹、邵元信。1968年畢業後,先後在北京軍區所屬農場勞動及北京京劇團工作。這期間的生活,特別是師從作曲家陳紫學習民間樂及歌劇作曲,對他的創作風格產生了決定性的影響。1976年,黃安倫成為中國音樂家協會會員以及被中央歌劇院聘為駐院作曲家。1989年赴北美,先後在多倫多大學、匹茲堡大學及耶魯大學深造。1983年獲英國聖三一音樂院院士稱號。除了連年贏取全額獎學金外,並在1986年以『最優秀獎』獲得耶魯大學音樂碩士學位。為在海外宣揚中華文化,曾連任三屆加拿大安大略省華人音樂協會主席至1996年。 已入選【世界名人錄】及【中國百科全書】的黃安倫,雖定居加拿大並受邀為加拿大作曲聯盟成員,但他仍自認為是一個中國作曲家。他一向刻意將自己的創作與時代相結合,立足於中華文化的根基,繼承先輩大師的傳統,體現作曲家的藝術良心和正義感——愛戰勝恨,美戰勝醜就是這位傑出作曲家一貫的創作主線。他的作品幾乎涵蓋嚴肅音樂的全部領域,包括歌劇、芭蕾舞、電影、合唱、聲樂、室內樂、器樂獨奏、百老彙音樂劇及二十餘部交響音樂,堪稱作品最多的中國作曲家之一。

在當今形形色色的現代音樂流派中,黃安倫的創作仍以旋律為主,並一向以宏大的氣勢,細致入微的手法,充滿動力的和聲、嚴謹的複調、色彩鮮明的管弦樂法及濃厚的民族氣息作為其獨特的個人特征。英國芭蕾舞大師瑪克芳婷曾熱淚盈眶地讚美其芭蕾舞劇【賣火柴的小女孩】『非常、非常、非常好』,並立即將該劇攝製成電影。
1992年,在中華民族文化促進會的主持下,他的另一部芭蕾舞劇【敦煌夢】被遴選為『二十世紀華人音樂經典』之一,並於1994年由台灣省交響樂團和莫斯科國家芭蕾舞團首演。黃安倫的作品已由世界許多主要交響樂團成功演奏,包括中國及其香港、台灣地區,新加坡、紐約、波士頓、匹茲堡、舊金山、多倫多、溫哥華、堪培拉、倫敦及德國的交響樂團等等。他的【舞詩第二號】被定為中國第一屆全國長笛比賽之必奏曲目;他的【舞詩第三號】則被定為國際魯賓斯坦鋼琴比賽之必奏曲目,1996年,中國鋼琴家郎朗以黃安倫的【中國暢想曲第二號】參加國際青少年柴可夫斯基鋼琴比賽決賽,進而贏得第一名。其多數作品的樂譜、唱片已經出版。作為一個著名的音樂教育家,黃氏的弟子們頻頻贏取多倫多區的音樂比賽。他的指揮活動則包括了中國中央樂團、中央歌劇院、中國青年交響樂團、莫斯科俄羅斯管弦樂樂團、加拿大多倫多華人愛樂樂團、溫哥華聖樂團及美國林肯中心的成功演出。

Hang Zou
鄒航

As one of the Composers representing Chinese "New Generations", Hang Zou was honored the International Gaudeamus prize for composition; The Best Music for dance drama music of the 5th National Water Lily Prize Dancing Competition; The Golden Bell prize of China Music (as composer and lyricist) (2001); The Gold prize of the 9th Guangdong Art Festival; The Excellent Works award in the 6th Music Contribution Competition of Taiwan Symphony Orchestra.

As one of the seven 2008 Beijing Olympics Game Opening Ceremony’s composers, Hang Zou’s works included: symphony prelude Jing Cai; dance drama "Nanjing 1937"; large-scale chamber orchestra "Eighteen Arhats;" "Monk Jumps Over the Wall" (for Chinese Traditional folk symphony orchestra); zheng chamber music "Sanyin Sixi", piano quintet "When the public are happy"; piano solo "The Distance of Jazz." His works were premiered in the US, the Netherlands, German, Austria, France, Belgium, the Czech Republic, and Korea.

鄒航現為中央音樂學院教師,中國"新生代"作曲家代表人物之一。其音樂創作的領域涉及廣泛,音樂作品被國內外眾多的多知名樂團和世界各地的音樂節上演出,並被德國著名的Wergo、荷蘭NM Extra等國內外的唱片公司出版。1996年為聲樂和鋼琴而作的《怨》獲"台灣省交響樂團第六屆徵曲比賽"佳作獎,大型室內樂《十八羅漢》獲1997年荷蘭"Gaudeamus Prize"國際作曲大賽唯一大獎, 歌曲《花季雨季》以作曲、作詞雙重身份榮獲2001年中國音樂"金鐘獎",大型舞劇《南京1937》音樂獲2005年"第五界中國舞蹈荷花獎"最佳作曲獎和中宣部第十屆"五個一"工程獎,民族管弦樂《佛跳牆》榮獲"第九界廣東省藝術節"金獎, 電影《江孜1904》音樂獲2005年電影頻道數字電影百合獎評委會獎。
 


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中華表演藝術基金會
Foundation for Chinese Performing Arts
Lincoln, Massachusetts
updated 2017