中國民族音樂資料館 Chinese Music Archive

一位日本作曲家對中國音樂之印象

三木稔

將中國民族器樂演奏的頂級中國音樂灌製成激光唱片是個偉大的專案。我急切盼望著能聆聽到這張激光唱片中的美妙音樂。
    二十世紀時, 人們僅認為歐洲古典音樂和美國流行音樂是世界標準,他們以為亞洲音樂和樂器是不能與西方音樂相提並論的。鑒於我不同意上述觀點,我覺得我應該做些努力,讓那些不瞭解東方樂器和音樂的人瞭解我們偉大的音樂。雖然我是個日本人,但我覺得我有義務就我的印象去說明中國音樂的偉大。

二次世界大戰時我僅有十五歲,我真實的感受到我應當投身於彌補亞裔受害者的活動中去。所以我開始學習音樂,六十年來我亦自然地保留了我對亞洲音樂元素的熱愛。然而,當我是只是個作曲專業的學生時,舶來的中國音樂很有限。同樣,舶來的南亞音樂也很少見。但相比中國音樂,我更喜歡南亞一帶的元素。但因銷售商的問題,人們卻未能找到要聽的音樂,這確實是非常遺憾的事情。
    另外,中國開始了文化大革命。起初,我很關注這場在中國的革命,但西方傳來的宣傳片段和音樂過於令人厭煩。在這樣的情況下,我們是無法理解中國傳統音樂的博大精深。

我於一九八三年隨同我的好友王陽橋先生借日本音樂歌舞樂團在中國進行巡迴音樂會的機會來到中國,這是我第一次踏上這片土地。那次,我的八部音樂作品主要由日本傳統樂器演奏,並在北京表演三次,在上海表演了兩次,包括譚盾先生和諸多優秀的年輕作曲家在內的上百位年輕學生都來觀摩我們的音樂會。在討論會我記得,我就亞洲音樂的未來和作為亞洲作曲家應當如何把握傳統做了嚴肅的討論。我的多個音樂作品曾被中央樂團用雙簧管和大提琴分別獨奏,並獲了很好的反響。雖然他們的樂器並不理想,但他們有著精湛的技藝。在我真誠的邀請下,中國中央樂團同日本音樂歌舞樂團一同合作,我特別為這次活動創作了《彩虹序曲》,由兩個樂團共六十六名演奏家於一九八三年三月五日在紅塔禮堂進行了完美的合作演出。我相信這是歷史上不同國家擁有不同傳統音樂的樂團的第一次合作。

那時我意識到,中國已對樂器進行了相當大的改進。例如,在日本我們於一九六九年將十三弦古箏的弦數由十三弦變為二十一弦。這是日本最成功的一次演變,但中國音樂家們早在六十年代早期便已完成了這項變革。日本的琵琶也來源於中國,但自其引入自唐朝後在外形和品位上均未發生任何變化。但,中國琵琶早已變成了三十品並丟棄了大撥子。日本的吹管器樂一直保持著原來的外形和演奏形式,但同樣的中國管樂器在功能上卻大相徑庭。每一項事件對中國民族器樂進步而言都是十分重要的。

另一方面,我覺得音樂質量也是非常重要的。我認為中國樂器在改進數量上確實取得了長足的進步,但同時他們也丟失了許多重要的傳統並且為現代音樂所取代。一九八九年作為藝術委員會成員以評委的身份參加了在北京進行的「ART杯國際民族樂器比賽」,我聽到由兩位學生精彩演奏了我的日本箏獨奏作品《華麗》。他們以不可思議的快速度將這部作品表演完畢。我很猜疑中國音樂的走向問題。同時,我還看到很多參賽者仿用了日本箏的最新技術。但我幸運地安排同許多了不起的學者在中國音樂世界裏作探討。我意識琵琶是中國樂器演變過程中最成功的一項樂器,我想嘗試為它作曲。

一九九三年,包括我在內的來自中國、韓國和日本的音樂學者集合各自國家的民族樂隊並組織了一個新的傳統音樂樣式,我將它命名為「亞洲樂團」,且不僅在一九九四年至二○○二年間編撰了五部作品:《民俗交響樂Den-Den-Den》, 《樓蘭之夢》,《琵琶協奏曲》,《二○○○‧魂》和《彩虹序曲》(亞洲樂團版本),同時還在日本進行了多場音樂會。在這期間,我從中國中央民族樂團的朋友那兒學到了許多有關中國民族樂器的東西。尤其是,我瞭解到中國使用橫、豎兩種管樂器的超高能力。例如,笛子的音色和指法使用比日本笛更為敏感。而嗩呐的表現力堪比西方的喇叭和其他管樂器。我們日本笙保留了其自唐代傳入日本時的原始形狀,但中國笙卻已發展到難以預想的新內容,他們已成為帶有傳統風琴的音色。因為都是屬於民族樂隊的原因,所以他們仍懷著東方的特質。

從二胡的音色中,我們能夠很容易地辨認出中國的元素出來。這一特別的音色是民族樂器世界中的一大奇跡。我只能用日本的尺八與二胡進行比較,前者也是中世紀從中國南部傳入日本。在音質方面,二胡在不斷進步。此外,最近二胡獨奏家們還發明了極棒的現代技術。在女子十二樂坊出現後,鑒於二胡比其他樂器更容易上手,二胡在日本流行開來。可能現在有問題的僅是低音胡琴。現代大部分中國樂隊使用大提琴和低音大提琴代替發展後的胡琴。當中國能創製出低音和最低音弦樂器後,他們的民族樂團將會更為充實。

與日本相似,許多打擊樂器是來自戲劇領域。鑼、鐃、鑔和許多鼓都非常有趣。我經常在我的歌劇中借用小鐃。

近期,許多中國作曲家到國外留學,並成長為全球活躍的音樂家,當然,民族樂器的年青演奏家們也進行了廣泛的活動。在西方國家,中國標誌已蔓延開去,我希望他們不僅在技術上並在音樂上發揮他們的天分。
    一九九六年, 當亞洲樂團在日本首演《樓蘭之夢》時,我碰到中國中央民族樂團的楊靜女士。在沒有任何瞭解的情況下,我觀看了她演奏琵琶,突然間意識到她便是那位能與我一同在民族音樂世界內實現亞洲之夢的理想人選。她能熟練地應用英語,所以在沒有任何翻譯的情況下,我們倆對未來的理想進行了討論。同時,她也對能學習並演奏我的音樂作品且能跟隨我學習作曲表現出熱情。那時,我被委任為長野奧林匹克藝術活動製作一個管弦樂作品。我毫不猶疑地決定為她編訂琵琶協奏曲。她教了我許多琵琶的演奏技藝並向我演奏了其自編的多個琵琶獨奏作品。例如,當我欣賞《九連鈺》時,我完全無話可說,自文化大革命結束後沒幾年,她就寫成了此作品,與此同時期,我帶領日本音樂歌舞團到達北京和上海,我簡直不相信一個二十歲演奏者能夠創作並演奏這種原創而不帶模仿的靈動作品。

當我發現她的天份後,我們在十年間完成了許多事情。我和楊靜編撰了許多獨奏曲、室內樂、協奏曲和歌劇,包括我第八部描繪了前往唐朝的日本使節和正在等待的女皇之間的永恆愛情的歌劇《愛怨》。這部歌劇由日本新國家劇院委約,並在二○○六年二月在全球公演。《愛怨》獲得了巨大的成功,特別是有楊靜演奏的神秘琵琶片段受到了各界人士的好評。我相信他對中國音樂作出了極大貢獻。
    我的旅程最終到達了二○○六年「星望國際音樂節」,該音樂節於每年夏末在日本中部一千米高的高地舉行並以「中西方音樂交換之地」為主題。在該次藝術節上,我被委任為藝術總監,而楊靜被委任為音樂總監。為了這次藝術活動,她舉辦了名為「中國音樂之旅」的演奏會。並請來了二胡演奏家陳敏和大三弦演奏家費堅蓉。在曲尾,楊靜演奏了「明月幾時有」(蘇軾的詩)。在演奏會上她不僅演奏了琵琶,還用中文背誦了詩文,但日本觀眾們不僅全盤接受還起立鼓掌。

自一九八九 年以來, 我多次被邀請參加了各種比賽。大多情況下,我是一個外國評委,但我很高興看到年輕的音樂人們變得非常感性。當我二○○一年第一次參加「龍音杯」中國民族器樂(古箏)國際比賽,我為獲勝者袁莎感到震驚。在比賽後,她向我贈送了有她演奏《華麗》的激光唱片作為禮物。在聽過她的表演後,我感到那感覺無法和十二年前參加「ART杯」的感覺比較。她演奏我的作品時是如此精彩但又細心且感性。二○○四年末當我與龍音公司輾轉在東京、香港和上海的「中–日21古箏交流音樂會」,在日本東京的津田大廈中,日本聽眾驚奇得發現演奏《華麗》的毛丫比日本的獨奏演員表現得更好。

有人說,中國就像世界。在中國有許多民族,自從四千年前中國文化便已博大精深。毫無疑問的,這張套光唱片精選將會獲得巨大成功。我相信人們會像享受中國美食一樣欣賞這些音樂。然而,我也要說這個豐厚的成果得益於頻繁的樂器比賽。
    中國在全球已變得非常強大和重要。我特別希望,中國能在音樂世界中繼續保持其民族特色和國際活動。
    聯合不同文化需要特別的耐心,我們已經在長久的時間內實踐了許多次。我特別希望中國音樂家們經我們的努力而成為音樂領導者,這套重要的激光唱片精選,不僅成為中國民族音樂而且還是亞洲音樂的經典。

(註:本篇按英文原文翻譯)

 

三木稔:

日本著名作曲家、音樂活動家

日本作由家協會副會長

日本音樂集團、亞洲樂團創辦人

My impression on Chinese music along a Japanese composer’s walking road

Minoru Miki

It is significant project to issue big CD anthology of top class Chinese music by the traditional instruments. I am very looking forward to listening to them all.

In 20th century, people thought that only European classic and American pops were the world standard. They didn’t think Asian ethnic music and instruments were the same level as Western classic and pops. As I didn’t agree with these opinions, I needed to make every effort to inform ignorant people about the greatness of our instruments and music. Although I am Japanese, I have to trace along my walking road to explain Chinese superiority on music.

After the Second World War when I was only fifteen, I truly realized I have to devote my main life to the atonement for Asian victims. Then I started leaning music, and I have been keeping my interests so naturally on Asian music elements for more than sixty years. However, when I was a composition student, imported Chinese music was quite limited. Also music from Southern Asia was limited. But I had more interest in musical elements from Southern Asia than Chinese one. It was a pity thing that people couldn’t listen to proper recordings caused by supplier’s problem.

Furthermore, China entered so called the Cultural Revolution. At first I paid much attention to the revolution but the music which I could listen to in Japan was so boring and propaganda pieces borrowed from Western tradition. Under these conditions we couldn’t realize that Chinese traditional music is so wide and deep.

My first visit to China was in 1983 as the concert tour of Nihon Ongaku shudan (Pro Musica Nipponia) guided by Mr. Wang Yang Qiao who was studying in Japan and a close friend of mine. That time, my eight pieces by mainly Japanese traditional instruments were performed three times in Beijing and two times in Shanghai. More than hundred of young students including Mr. Tang Dun and talented young composers gathered to our concerts. At a symposium I remember that I had a serious talk about the future of our music and how to handle our tradition as an Asian composer. My several pieces were played with excellent oboe and cello soloists who were belonged to the Central Orchestra. They had poor instruments but their techniques were so wonderful. Also according to my sincere desire, the Central Chinese Orchestra had cooperation with Nihon Ongaku Shudan. I specially composed Rainbow Overture(彩虹序曲) for this collaboration and 66 players from two orchestras had wonderful co-performance at the Red Pagoda Hall on the 5th of March,1983. I believe it was the first cooperation between two different traditional orchestras of different countries in the history.

At that time I realized that China had already achieved quite many evolutions to reform their instruments. For example, in Japan we changed koto’s string number from 13 to 21 in 1969. It was the most successful evolution in Japan, but Chinese musicians did it in early 60s. About pipa, Japanese biwa has never been changed its shape and fret number since Tang Dynasty when we imported instrument itself from China. However Chinese pipa had already 30 frets and abandoned large plectrum. Japanese wind instruments are keeping original shape and performing style, but Chinese wind instruments which have the same origin became almost different instruments in their function. All matters were significant as the progress of traditional instruments.

On the other hand, I didn’t want to change my thought as the quality of music. I thought Chinese instruments achieved much evolution as the quantity. However at the same time they lost many important traditions instead of modernization. I went to Beijing in 1989 as a member of the Artistic Committee and a judge for “ART Cup International Chinese Instruments Competition”. I listened to my koto solo piece Hanayagi (in Chinese 華麗) which was performed brilliantly by two students but in unthinkably fast tempo. I was afraid about which direction Chinese might toward. At the same occasion, I saw many participants imitated our new technique on koto. But fortunately I had many talk about Chinese instruments with great readers in Chinese music world. I also felt personally that the pipa was the most successful traditional instrument in a process of transformation in China, and | thought that I would like to try composing for this instrument.

In 1993, several readers of Chinese, Korean and Japanese musicians including me combined each traditional orchestra and organized a new traditional music style. I named it the “Orchestra Asia” and not only composing five pieces: Folk Symphony Den-Den-Den, Loulan as a Dream, Pipa Concerto, Soul 2000, and Rainbow Overture (Orchestra Asia version) for them between 1994 and 2002, but also produced several concerts in Japan. During these ambitious projects I learned many things concerning traditional Chinese instruments from the colleagues of Central Chinese Orchestra. Especially, I understood Chinese high ability to play on both horizontal and vertical wind instruments. For example, tone color and precise fingering of dizi is quite impressionable than Japanese fue. And suena expresses just Chinese feelings compare with Western trumpet and other wind instruments. Our Japanese sho is keeping original shape since Tang Dynasty but Chinese sheng has been developed unthinkably new way. They became almost western organ without electricity. In case of ethnic orchestra, their presence could show Eastern identity.

By the tone color of erhu, we easily recognize China. This special tone color is one of miracles in ethnic instrumental world. I can only compare with Japanese shakuhachi even if which was brought from south China in medieval age. Concerning tone range, erhu wasn’t stopped its development. Furthermore, recent erhu soloists invented wonderful modern technique. After the 12 girls project, erhu became very popular in Japan because erhu is much easier than other Chinese ethnic instruments to learn. Maybe only one problem is low register Hugin. Now most of Chinese orchestras use cello and contrabass instead of developed Huqin. When China finds out the proper way of low and the lowest bowed string instruments, the form of their traditional orchestra will be finally completed.

It is similar to the Japanese example that many percussion instruments came from theatrical field. Gong, liu, cha and several kinds of drums are all interesting. I frequently borrowed xiao liu for my operas.

In these periods, many Chinese composers went to foreign countries and grew up as quite active musicians in the world. Of course young performers of traditional instruments did wide activities as well. Chinese identity in all aspects spread out in Western countries. I hope they are keeping their talents not only technically but musically.

In 1996, when Orchestra Asia premiered my Loulan as a Dream in Japan, I met Ms. Yang Jing who joined the orchestra first time as a member of Central Chinese Orchestra. Without any knowledge I watched her playing pipa, and suddenly I realized that she 1s the ideal musician who can walk with me to achieve Asian dream in the traditional instrumental world. She speaks English very well. So without any interpreter we could discuss our aim. She was also enthusiastic about learning to perform my music and composition from me. At that time, I was commissioned to compose an orchestral piece for the Art Program of Nagano Olympics. I decided without hesitation to compose Pipa concerto for her. She taught me many pipa techniques and showed me several pieces of hers which she had composed for solo pipa. For example, when I listened to Nine Jade Chains, I was utterly at a loss for words. Only a few years had passed since the end of the Chinese Cultural Revolution, and although I had brought the Pro Musica Nipponia to Beijing and Shanghai in the same year, I simply could not believe that a twenty-year old performer could compose such an original, non-imitative and smart piece.

After recognized her talent, we achieved many things during these ten years. I and Yang Jing composed many pieces for solo, chamber ensemble, concerto and operas including my eighth opera Ai-en 愛怨 which describes eternal love between a Japanese envoy to Tang and a waiting lady of the Empress. The opera commissioned by the Japan’s New National Theatre and world premiered in February 2006. Ai-en got huge success. Particularly the secret prpa piece Ai-en performed by Yang Jing was admired outstandingly from every angle. I believe she contributed very much to Chinese quality on music.

My travel finally reached founding “Hokuto International Music Festival” in 2006 which was to be held in every late summer at 1000 meter highland in central Japan to realize “Mecca of East-West Music Exchange”. For this festival, I am acting as the Artistic Director and Yang Jing is acting as the Music Director. As one of this year’s events she organized a concert entitled “China Music Tour” with erhu played by Chen Min and dasanxian played by Fei Jiangrong. As the ending piece, Yang Jing composed When do we see the bright Moon again? (poem by Su Shi). Not only she played pipa but even recited the poem in Chinese, but it was accepted from Japanese audience and got sudden standing ovation under the moon thirteen days old.

Since 1989, I was invited from different competitions several times. Most of the cases I was only one foreign judge. But I was so happy to realize young musicians became very sensible. When I attended the first “Dragons Music Cup” Chinese Musical Instruments (Guzheng) International Competition in 2001, I was so surprised by Yuan Sha, the winner’s musicality. After the competition she presented me a CD in which her Hanayagi (華麗) performance is included. My impression after listening to the piece could never been compared with the one of “ART Cup” 12 years ago. She played my piece brilliantly but carefully and sensibly. Later in 2004 when I organized “Japanese-Chinese 21 Koto (Guzheng) Exchange Concert” with ROI Productions Ltd touring Tokyo, Hongkong and Shanghai, Japanese audience surprised at that Mao Ya played Hanayagi rather better than Japanese soloists in Tsuda Hall in Tokyo.

Someone said that China 1s just like a world. In China many races are living. Since 4000 years ago Chinese culture has been so great and deep. There 1s no doubt of this CD anthology will success. I believe people will enjoy this music like Chinese food. However, I suppose that this richness resulted from frequent competitions between each instrument.

China became very strong and important on the earth. I seriously hope that China keeps both their identity and international movements on music.

To keep projects combining different culture need patience. We have tried them for long time. I hope distinguished Chinese musicians will do beyond our efforts as the leaders. This significant CD anthology must be a classic not only as Chinese ethnic music but also as Asian music.

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