on Diaspora -
by Wai-fong Loh
To reflect upon diaspora outside
of Jewry risks a certain degree of cultural trespass. Being aware
of the totalistic nature of Diaspora Jewry, I cannot find a better
word to describe the impact of the involuntary exiles of the Chinese
intelligentsia in the last century.
When a largely conservative (and conservatory) people are dispersed
and forced to re-plant their cultural roots in totally foreign land
at such a scale, the word diaspora naturally comes to the mind. Allowing
ample room for differences, the imagery of the lost paradise and that
of the Peach Gardens deep in the mountains are certainly not the same,
yet the impacts within are equally profound.
It is said that talent has two characteristics: hunger and occasional
eruptions. What lies in between might be a continuous flow of quiet
That is why we found the musician groups in New York (and elsewhere)
so interesting. It was a multi-layer mixture of the ever-changing
old mother land and the re-sowing in the new "peach gardens"
in the foreign countries that made the musicianship so rich and humorous
and yet often with a deep feeling of lost and sadness.
More than a half century ago, my late teacher Prof. Tang Jun-yi predicted,
"the disperse of flowers and seeds will inevitably lead to a re-rooting
of the Chinese (Confucian) culture."
We probably will never reenter the past cultural "paradise"
, yet we might be able to cultivate totally new "peach gardens"
where ever we happen to be.
And the main themes of the "New Gardens" keep changing
every thirty some years, the hurt of self-inflicted pains, the new
hope in educating the next generation at whatever cost, and a continuation
of the free spirit of the ancient imaginary land……, one layer over
The deep reflections alternate from the wild fantastic to the sublime
serenity of the inner self. I found the improvisations are often more
revealing than the carefully constructed compositions.
花果飄零的淒美意境 - 略談當代音樂的即興意境
所謂即興音樂, 是否常常是深埋在演奏家下意識裏面的音樂情懷, 無意之間涌冒出來?
今天的「現實」在轉向「虛擬」的過程中, 我們更可以尋味「鐵與火」的聲音在淡出, 好像時空的痕跡也在變換。在白浪崩雲的幻境中, 我們想抓住一點「歷史」實體。聲音的光與影,
「離散」的淒滄背後, 更重複著, 從˙樂園˙中被趕出來, 在「失樂園」的苦境中追求重返「樂園」的悲喜劇。可說是一種生死血淚所雕刻成的音樂。幾乎是禪語所謂「大死一番」的超越意境,
往往可以從黑人的靈歌或猶太作曲家的古典音樂裏面體會出來。甚至有人認為, 二十世紀後半美國通俗文化中笑匠的「笑話材料」 之中, 往往隱藏著血淚斑斑的悲劇背景。而這種「離散」的淒情,
中國士人, 因為種種原因, 被趕出樂園,
近一百多年來, 平均三十年一次。從我們的當代作品之中, 是否或多或少, 我們也仿佛可以體會出, 一種花果飄零的淒清意境。但跟猶太文明有一個相當有趣的差別。猶太人想「返回樂園」;而我們好像會妄想「重建一個樂園」!他們似乎比我們更死死的抱著歷史。而我們的幻景中,
總帶點「創造歷史」的狂想!即興音樂, 不執著而極大的自由演進, 是中國藝術家的狂想曲。
(arr. by Liu Guanle 劉管樂
Men of Letters
by Fang Dongqing
by Hu Jianbing
The sound from Tianzhu
by Hu Jianbing
Mike Block, cello
the River During the Qingming Festival 清明上河圖
by Liu Weiguang
(arr.by Zhang Weiliang 張維良)
Chen Tao 陳濤,
Weng Hui 翁惠,
by Hu Jianbing
Hu Jianbing 胡建兵,
Mike Block, cello
Lucy Lu, Chi Wei Lo, Yoo-Kyung Kim, and Cathy Chan
Meet The Artists
(in alphabetical order)
graduate of Central Conservatory of Music in Beijing, Bao Jian
has gained tremendous attention as an outstanding performer
of guanzi through numerous appearances as soloist and chamber
musician worldwide. Hailed by The Berlin Daily Post for his
"pure hallowed music from the East, " Mr. Bao boasts an impressive
list of awards including the 1998 Pro Musicis International
Award in New York and First Prize in the 1995 "International
Chinese Ethnic Instrumental Competition" in Beijing. Mr. Bao
is also acclaimed as a major innovator of contemporary works.
His performance of the "Lin Li" concerto with the Hong Kong
Philharmonic Orchestra set new standards for the guanzi . With
saxophonist Kenneth Radnofsky, he premiered Lei Liang's "Extend"
at the New England Conservatory's Spring Music Festivals at
Jordan Hall. With The Phoenix Symphony, he premiered Xu Zhenmin's
"Mooring at night by the Maple Bridge.". He is currently the
Artistic Director of the Chinese Performing Arts of North America
and the Artistic Director of the East Wind Percussion Music
。1995年榮獲中國民族器樂獨奏國際大賽管子組第一名 , 1998年再獲美國專業音樂家(Pro Musicis)國際大賽第一名
, 2000年移居美國紐約 , 現任北美中樂團藝術總監 、紐約中國鼓藝術學院藝術總監。 包鍵先生是當代管子音樂藝術重要推動者,
也是管子演奏領域最早涉足現代作品的演奏家, 自1984年首演潭盾的作品《山謠》後, 相繼首演李賓揚管子協奏曲《山神》以及旅美作曲家陳怡與周龍等現代管子作品,
為開拓管子演奏表現技法做出重要貢獻 , 被譽為中國管子音樂的開路先鋒 。包鍵是首位與西洋管樂家以同等標準競賽並獲勝之華人民族管樂家
, 他經常獲邀參加各地藝術節 , 在參加柏林Baoder Weltkulturen 藝術節演出時 , 《柏林日報》褒譽他演奏的音樂"猶如來自東方的神樂"
pioneering multi-style cellist, singer, composer, and educator,
hailed by Yo-Yo Ma as the "ideal musician of the 21st-Century",
and acclaimed by The New York Times for his "vital rich-hued
solo playing". While studying at the Juilliard School, Mike
joined Yo-Yo Ma’s Silk Road Ensemble, with which he has toured
extensively, and won the 2017 Grammy Award for Best World Music
Album. Mike is an active recording artist of original material,
folk music, cross-cultural collaborations, and he has an ongoing
project to record all of the Bach cello suites in acoustically
glorious bathrooms of famous concert halls, via BachInTheBathroom.com.
As a music educator, Mike is passionate about emphasizing creativity
and collaboration, leading to the founding of the Mike Block
String Camp began in 2010. MBSC provides players of all backgrounds
the opportunity to learn from a world-class faculty in a variety
of styles, and supports the exploration and development of the
artistic voice of each student. Mike is also the founding Director
of Silk Road’s Global Musician Workshop, bringing together musicians
from around the globe, and he created the online Multi-Style
Cello School at ArtistWorks.com, with an extensive library of
instructional videos. In 2012, Mike was appointed Associate
Professor at the Berklee College of Music. Mike plays on a cello
made in 2014 by Fabienne Gauchet, with D’Addario strings, a
David Gage Realist pickup, and the patented cello strap of his
own design, The Block Strap.
internationally acclaimed Chinese flutist, music educator, composer
and conductor of Chinese orchestra, is the founder and director
of the Melody of Dragon, Inc., the co-founder and director of
Melody of Dragon & the Youth, the artistic director and conductor
of the Chinese Music Ensemble of New York and the conductor
of New Jersey Buddha’s Light Youth Chinese Orchestra. The New
York Times called Chen Tao, a "poet in music" and
his playing "a miracle of the oriental flute." Conductor
Herbert Von Karajan praises him as an artist who "performs
with his soul." Chen Tao is a graduate and former Associate
Professor at the prestigious Central Conservatory of Music in
Beijing. He was the winner of the 1989 National Folk Instrument
Competition in China and has toured throughout U.S., Germany,
Italy, France, England, Holland, Finland, Singapore, Hong Kong,
Taiwan and Macao. He has collaborated with the BBC Philharmonic
and the Notional Orchestra of Lyon. His playing can be heard
on several soundtracks of Hollywood movies including Seven Years
in Tibet, Corrupter (with the New York Philharmonic) and on
the PBS documentary Under the Red Flag.
陳濤 著名中國笛子演奏家, 音樂教育家。美國神州中樂團團長及創始人。曾任紐約中國民族樂團的藝術總監和該團的指揮。移居美國前,
陳濤曾任職北京中央音樂學院民樂系。陳濤的音樂, 融匯了南, 北笛子風格之精華。音色圓潤、醇厚, 技藝嫻熟、輝煌, 魅力獨特。曾於1989年全國民族器樂比賽中榮獲第一名。並成功地與世界一流的交響樂團如:英國BBC交響樂團,
法國里昂交響樂團, 葡萄牙國家交響樂團, 比利時國家交響樂團以及紐約愛樂樂團, 舊金山交響樂團合作, 贏得極高聲譽。陳濤曾被紐約時報譽為
"音樂詩人" "神奇的東方魔笛" , 已故世界著名指揮大師卡拉揚稱其 "用心靈在演奏" , 紐約世界日報,
星島日報稱其為 "笛王" 及 "笛子藝術大師" 。
has earned wide recognition for his artistry as a sheng soloist
and composer. Mr. Hu graduated from the Central Conservatory
of Music in China. He founded the Chinese Performing Arts of
North America, of which he is the President. Mr. Hu joined Yo
Yo Ma's Silk Road Ensemble and did a number of performances
and workshops at museums and concert hall around the world.
He collaborated with San Francisco Symphony and Seattle Symphony
to perform world premier composition of "Sheng and Orchestra"
as the soloist. In recent years, Mr. Hu has been focused on
music improvisation. His current solo albums are "Hu Jianbing's
Skies" , "Guanzi and Sheng" , "Extension" , …. The Boston Globe
wrote of his recent performances: "he has an impressive command
of the sheng and of a broad range of its classical, folk, and
modern musical literature."
胡建兵 笙演奏家及作曲家, 畢業於中央音樂學院,
北美中樂團團長, 馬友友任音樂總監的《絲綢之路》樂團成員。出版有個人即興獨奏專輯 《胡建兵的天空》及管子與笙《延伸》等數張CD。近些年曾在卡內基,
林肯中心等重要劇場進行表演, 曾與西雅圖交響樂團, 舊金山交響樂團, 紐約愛樂等著名樂團合作演出, 曾在紐約MOMA 博物館,
紐約自然歷史博物館, 日本奈良國立博物館, 瑞士蘇黎世國家博物館等數十個著名博物館演出展示中國傳統音樂。近年更擅長即興獨奏的演出形式。波士頓環球報評論他的演奏
soloist of the Melody of Dragon, Inc. Since she moved to America
in 1994, Liu Li has been invited frequently to perform and lecture
throughout the country. Her collaboration with the New Music
Consort of the Manhattan School of Music's Chamber Orchestra
received high praise from the critics. She has also performed
at Lincoln Center, New Jersey Performing Arts Center, Japanese
Society, La Mama Theater, the Metropolitan Museum of Arts and
other New York venues. In February 1996, inviting by Taiwan's
National Music Ensemble in Taipei, Liu Li held a concerto performance
in the National Hall of Music as well as a lecture on Guqin
music, both of which received critical acclaims. In 2002, she
collaborated on the movie recording of "Hero" composed
by Oscar winner Tan Dun with world famous violin master Itzhak
劉麗 著名古琴演奏家。 1988年畢業於北京中央音樂學院民樂系。曾任職北京中國音樂學院。其演奏音色古樸,
醇厚, 技巧嫻熟, 感情細膩, 富於變化。注重以情傳神, 氣韻生動。 1996年, 應邀在台北國家音樂廳舉辦古琴協奏曲音樂會以及古琴專題演講,
獲得極大成功。 2011年, 應邀與舊金山灣區著名的漢聲樂團合作, 演出了作曲家司徒剛特別為古琴創作的現代作品 "古琴誦"
。 2002年, 更與世界小提琴大師依薩克-帕爾曼合作錄製了由張藝謀執導, 奧斯卡音樂金獎得主譚盾創作的電影音樂 "英雄"
, 以及 "英雄" 音樂的CD在全世界發行。 2007年, 又應美國著名電影公司- Merchant Ivory的邀請,
為電影 "伯爵夫人-The White Countess" 錄製電影配樂, 是目前全美唯一的專業古琴家。
Guzheng virtuoso steeped in century-old Chinese traditions,
is crossing musical boundaries that few others have dared to
cross. She is playing a new role in both traditional and contemporary
music on her Guzheng. Hui has been awarded the gold medals,
"National Rising Star" and "Oriental Artist"
among other honors for her performances in major national and
international competitions. In January 2011, Hui presented a
successful solo concert in Beijing and released her first album
"Men of Letters" . In 2012 she was accepted as the first Guzheng
player of New England Conservatory’s Contemporary Improvisation
department, under the supervision of Dr. Hankus Netsky. By performing
in a multicultural and academic environment at NEC, Hui has
been exploring new musical innovations on the Guzheng, and is
developing her modern style of Guzheng performance by seeking
the perfect combination of Chinese traditional, Western classical
and contemporary improvisation. Hui has rearranged and performed
many cross cultural pieces and received critical acclaims. As
the recipient of the 2014 Emerging Artists Award from the St.
Botolph Foundation, she is recognized for her expansion of Guzheng
performance and composition to include singing and dancing.
Hui was invited to the educational residency program at Brandeis
University, which brings highly accomplished artists worldwide
for teaching and performance. Since 2014, Hui started to collaborate
with YoYo Ma’s silk road ensemble. Hui received her BM in Guzheng
performance from Central Conservatory of Music in Beijing; MM
in Contemporary Improvisation from New England Conservatory,
and is currently holding a teaching position at New England
Conservatory Preparatory since September 2014.
包括中國音樂金鐘獎, CCTV 民族器樂大賽, 文華獎等。學生期間, 多次受邀參與CCTV音樂電視錄製工作。其首演的古箏獨奏作品《墨客》《西部主題暢想曲》等已發展為現在內地最炙手可熱的古箏作品。
2011年成功錄製並由北京環球音響公司出版發行的《墨客》。近年來, 翁慧一直致力於中國音樂國際化的推廣, 特別是來美後,
她積極參與創作, 成功首演了大量優秀現代古箏作品。作為活躍於國際舞台的年輕一代民樂人, 翁慧曾成功首演過一系列當代作品。合作過的著名音樂家有:譚盾,
陳怡, 葉小綱等。多次參與馬友友絲綢之路合作。被評為S.B.C.F組織贈予了 "新興藝術家" 稱號, 並獲得相應藝術項目基金,
也是該組織成立以來第一次把此殊榮贈予民族傳統樂器演奏家。目前, 新英格蘭音樂學院也特此在其預科學校增設了古箏課, 和中國音樂樂隊等課程。
2017年, 創建NexUs Fusion Music Ensemble, 在世界音樂的觸角去演繹和推廣中國音樂。
renown banhu performer, is now the soloist and Artistic Director
of the New York Chinese National Orchestra. He stared erhu at
young age and was admitted to the Shanghai National Orchestra
with honor, majoring in banhu under the tutelage of banhu master
Gao Jianjun, as well as erhu master Xiang Zuying. He also received
individual guidance by the Jiangnan Sizhu virtuoso Zhou Hao
on the Jiangnan Sizhu playing style. Through his playing and
charm, the Jiangnan Sizhu has became more noticeable. Prior
to his settling in the United States, he was the principal soloist
of the National Orchestra of the Shanghai Opera House. After
twenty years of active career on stage, his performances are
mature, sensitive and solid.
夏文傑 著名板胡, 二胡演奏家, 現為美國紐約中國民族樂團獨奏演員及藝術指導,
兼首席, 他自幼習琴, 年輕時以優異的成績考進上海民族樂團, 主修板胡。師從板胡名家高健君, 二胡名家項祖英, 同時還得到江南絲竹演奏家周皓的親自教誨和指點,
並創造出獨特的細膩柔美的風格, 其藝術足跡遍布世界各地, 所到之處有口皆碑。
for her "breathtaking" meticulous technique and
expressiveness by The Washington Post, Zhou Yi started to learn
music at the age of five. After graduating from the Shanghai
Conservatory of Music, Zhou Yi moved to New York. Her highlight
performances include: Tan Dun’s "Concerto for Pipa and
String Orchestra" at the Gewandhaus in Leipzig Germany;
Young People’s Concert with the New York Philharmonic; Bun-Ching
Lam’s pipa concerto "Song of the Pipa" with the
Metropolitan Symphony Orchestra; "Sisters of the Grassland"
pipa concerto with the Ohio Youngstown Symphony Orchestra; guest
Chinese instrumentalist with the San Francisco Opera for Bright
Sheng’s "Dream of the Red Chamber" ; seasonal Chinese
instrumentalist with the Santa Fe Opera for Huang Ruo’s
"Dr. Sun Yat-sen" ; performed with the Momenta Quartet for Tan
Dun’s theatrical work "Ghost Opera" ; recorded the music
for David Henry Hwang’s two off- Broadway productions, "The
Dance and the Railroad" , and "Kung Fu" ; played as a
leading musician in Lincoln Center Festival’s Paradise Interrupted;
collaborated with Damon Albarn (Gorillaz/Blur) in Spoleto Festival’s
premiere show, "Monkey: Journey To The West" ; joined Carnegie
Hall’s "Musical Explorer" program. Zhou Yi is a
co-founder of the Ba Ban Chinese Music Society of New York.
從上海音樂學院畢業後移居紐約, 參與創立了紐約八板中國音樂協會。她合作過的樂團有:紐約愛樂樂團, 大都會交響樂團, Pacific交響樂團,
Youngstown交響樂團等。其演奏的琵琶協奏曲有:譚盾的 "鬼戲" ；林品晶的 "琵琶行" ；吳祖強的 "草原小姐妹"
。作為紐約林肯藝術節, 南卡Spoleto, ADF藝術節的常客, 她也曾在紐約大學舉辦的 "新視覺與聲音" 音樂會—
譚盾的 "地圖" ；舊金山歌劇院的世界首演—盛宗亮的歌劇 "紅樓夢" ；聖達菲歌劇院的世界首演— 黃若的 "孫中山" 歌劇中擔任特邀琵琶演奏。她的其它跨界表演包括:為華裔作家黃哲倫的
"鐵路之舞" 和 "功夫" 兩部外百老匯劇配樂；在百老匯音樂劇 "環遊世界⼋十天" 中即興演奏；在卡內基音樂廳舉辦的世界音樂教育系列節目
"音樂探秘" 中擔任中國音樂的演示。華盛頓郵報曾對她的演奏有著 "精緻的技巧與絕佳的演奏風範美得令⼈屏息凝神" 的佳譽。
Qing Dynasty Palace Music
by Aixinjueluo Yuhuan
During the Qing
Dynasty, there were three gathering locations for blind-artist
communities, namely the "Public Hall" of the Beijing
East City Big Buddhist Temple, the "Wuben Hall" of NaiZiFu,
the "Xinyi Hall" of the DongBiaoBei East Alley.
All the "Halls" were properties of the previous
generations. The blind-artists were devoted musicians, earning
their living by singing and performing. They also learned to
become fortune tellers. Because they are blind people, it was
considered "safe" to perform in front of the noble
and elite, including the female members of the highest ranking
social classes. The blind artists who play the instrument "Sanxian"
(three-strings) considered the special art and technique private
and secret, practice only with closed doors, without any exposure
to the outsiders. According to AixinjueluoYuhuan's father, Yuhan's
collection of Sanxian music was obtained by spending the amount
of silver dollars that equaled to his body weight.
三處瞽目藝人行會, 這都是前代傳下來的房產, 他們專門以彈奏唱曲為生, 一般兼學算命, 因是盲人從藝, 到王府宅門演唱比較安全,
不會對女眷有危害。無論是王府門先, 社會三弦藝人演奏都很秘密, 練琴的時候緊閉大門, 密不外傳。用愛新覺羅•毓峘父親的話說,
music (arr. by Liu Guanle
This is a typical northern style of Dizi music, it depicts the
rich and lively flavor of a morning market with vivid and joyful
這是一首北派笛曲的代表作品, 樂曲清麗, 俏皮。具有濃郁的生活氣息。
Men of Letters
solo by Fang Dongqing
In an impressionistic manner, Men of Letters was composed
to describe the unique soul of the Chinese art of calligraphy.
This piece is comprised of five sections: "immerse", "stain",
"dissolve", "splash", and "pour", which are named from the five
actions in calligraphy. An important feature of this composition
is characterized by the masterly adoption of artistic elements
from the Kunqu, one of the oldest extant forms of Chinese opera.
The marriage between the Guzheng and Kunqu makes the expressionism
of this work bold and unrestrained without losing its elegance
and refinement. With the sequential progression of the
five parts, this music vividly portrays the noble-minded character
of the Chinese ancient scholars, and emphasizes the harmonious
nature of Chinese culture. Ms. Weng Hui premiered this piece
composed especially for her, in a concert entitled "Men
of Letters" in Beijing of 2011. The piece has been
widely performed, and is a frequently required repertoire in
many professional competitions in China.
隨後該曲在中國內地廣泛流傳, 據統計, 目前已是各大音樂會, 專業比賽的上演率最高的古箏獨奏作品。由"浸"、"染"、"溶"、"濺"、"潑"五個部分組成。作者用寫意的手法展現了中國書法藝術的獨特精髓。曲中巧妙地運用了大量的崑曲元素,
使之豪放中又不失秀美, 文雅中又透露著不羈。樂曲的五個部分的充分展開, 形像地描繪了古代文人的高尚情懷, 突顯中國的
The music goes back to the Spring and Autumn Warring Periods
(770-476 BC) and was inspired by the story of the friendship
between Boya and Ziqi. The story is always used reminisce
sincere friendship and to deplore the scarcity of bosom friends.
志在乎高山, 言仁者樂山之意。後, 志在乎流水, 言智者樂水之意。這首琴曲充滿著人與自然的和諧之音, 散發了天籟、地籟、人籟相知相合、渾然一體的氣象。此曲兼有抒情性和模擬性,
solo by Hu Jianbing
The five colored prayer flags seen everywhere in the Qinghai-Tibet
Plateau are called "Ronda" in Tibetan language. They are rectangular
banners made of cotton, linen, silk and other materials, in
a total of five colors -blue, white, red, green, and yellow,
in this particular order. They symbolize sky, clouds, fire,
rivers and the earth. The white clouds and the blue sky above
the earth, the monks' garments and their monastery in red and
yellow, and the movement of the people in dark skin, form a
beautiful natural painting.
, 是一種用棉布、麻紗、絲綢等材料製成的長方形彩旗, 共有藍、白、紅、綠、黃五種顏色, 色序不能錯亂, 分別像徵天空、祥雲、火焰、江河和大地。隨處漂浮在大地上方的藍天白雲,
與紅黃色的僧服寺院, 與在挪動的黝黑的皮膚, 形成了一幅幅美麗的天然畫作。
The sound from Tianzhu
by Hu Jianbing
Kucina was an ancient country in the Silk Road, where the business
people rested and were entertained. The famous Kucina culture
was formed by merging of different nationalities. It included
music, dance, and especially its unique painting, now the only
preserved cultural relics in the Kuqa Kizil Thousand Buddha
Cave. This piece is composed by using the musical elements of
the Chinese Tang Dynasty and Central Asia.
在古絲綢之路上有一個龜茲古國, 那裡曾經是絲路商人們的休息娛樂之地, 不同民族文化在那裡交匯, 形成了著名的龜茲文化,
既有音樂也有舞蹈, 更有有獨特的繪畫, 現在在庫車的克孜爾千佛洞是唯一保留下來的文化遺跡, 此曲運用了中國唐代雅樂的元素及中亞音樂的音樂元素創作而成。
by Lin Hai
Hu Jianbing 胡建兵)
Inspired by the single plucking tones of the pipa from the Pingtan
art form frequently performed in the southern tea house, this
composition was published in Hai Lin’s 2003 music album
"Images of Pipa" . The simple yet touching melody soon
became the icon of modern Chinese instrumental pop, and was
used as the movie sound track for "Letter from an Unknown
Woman." It demonstrates pipa’s lyrical playing style,
like lovers' whispers hummed into one's ear.
女主人公的獨白搭配《琵琶語》直刺人的靈魂深處, 從內心升騰起一股淡淡的哀傷, 愛情從來都是一個人的事, 我愛你, 卻與你無關。反复的前奏,
將人帶入一種纏綿悱惻、欲說還休的境界, 淡淡憂傷的琴鍵聲, 加上東方樂器琵琶所獨有的
之特點, 感情就這樣一步一步被牽引, 最終讓人沉醉在音樂意境里而欲罷不能。
Along the River During the
Qingming Festival 清明上河圖
by Liu Weiguang
(arr.by Zhang Weiliang
The music: "Along the river during the Qingmingfestivel"
was composed based on the painting of "Along the river during
the Qingming Festival" by the great painter Zhang Ze-Rui
in Song Dynasty. The music, like the 5.7-meter-long painting,
was written to describe the suburbs during the early spring
time, and launched a scroll of secular life and bustling scenes
of the the Northern Song Dynasty in the 10th century AD. There
are five movements in this piece.
這是一首以宋代大畫家張澤瑞的名畫為題, 以宋代的音調創作的一首組曲, 原曲為簫與箜篌而作, 共分為五個部分。樂曲如同5.7米長的畫卷一樣,
by Hu Jianbing
Orchid is one of the "four gentlemen" of the Chinese
scholastic paintings, the other three "gentlemen"
are plum blossom, bamboo, and chrysanthemum. Orchid is
quiet and gentle, and is said like to keep a certain distance
from the outside world. It holds its own posture and sends
out an elegant faint fragrance. It is like to be breezed by
the gentle distant wind but not causing even a ripple.
As a poet once wrote: "no one knows where the orchid is
from, some guest planted it under the eaves of the veranda,
leaving us the fragrance. We appreciate it clearing up the air
for us, but we admire more the dew on its delicate leaves."
幽蘭, 梅蘭竹菊之一。幽蘭恬靜又溫文爾雅。幽蘭形容喜歡把自己封閉起來, 對外界的事物保持一定的距離, 保持著自己的姿勢,
散發著淡淡的幽香, 遠風如洗, 吹不起一絲漣漪。蘭生幽谷無人識, 客種東軒遺我香。知有清芬能解穢, 更憐細葉巧凌霜。
Jiangnan Silk and Bamboo 江南絲竹
The Jiangnan region is the area along the
southern bank of the Yangtze River, including Jiangsu, Zhejiang
and Shanghai. Sizhu literally
means silk and bamboo which refers to the silk stringed and
bamboo made musical instruments, such as erhu, pipa, dizi, xiao
and sheng. JiangnanSizhu’s main repertoire is famed as
Eight Great Pieces. They are Huan Le Ge (Song of Joy), Yun Qing
(Cloud Celebration), Xing Jie (Street Procession), Si He Ru
Yi (Four Together as You Wish), San Liu (Three Six), Man San
Liu (Slow Three Six), ZhongHua Liu Ban (Moderate Ornamented
Six Beats), Man Liu Ban (Slow Six Beats). Lao Liu Ban
(Old Six Beats) is considered the mother piece, most
of the repertoire is derived from its basic structure and they
develops their own ornamented styles.
8首, 號稱 "八大名曲"
樂會門票分為$50 (貴賓保留區、可預先指定座位)及$30(不對號自由入座)兩種 , 學生票$15 (不對號自由座區) 。六歲以下兒
童請勿入場 。購票:喬登廳票房: 617-585-1260。網站購票:
$30: open seating at non-VIP section
$15: student open seating at non-VIP section
Children under 6 not admitted.
(14歲以上 , 每人一張) 請上 贈票網頁 索票 。
student tickets available at www.ChinesePerformingArts.net only
(1 per request for age 14 and up)
詢: 中華表演藝術基金會會長譚嘉陵, 電話: 781-259-8195, ,
Thank you for
your generous contribution to
Foundation for Chinese Performing Arts
Foundation for Chinese Performing Arts