序曲(選自舞劇《小刀會》) Overture(From the Dance Opera “Knife Society”)
春秋 Chun Qiu
採花 Picking Flowers
飛天 Apsaras
京調 A Beijing Melody
蘇武 Su Wu
江南春 Jiangnan Spring
昭君別 The Departure of Zhao-jun
喜迎春 Welcoming the Season of Spring
闖將令 The Theme of the Pioneers
將軍令 General’s March
紫竹調 Purple Bamboo Tune
剽牛祭 The Rite of Ox Killing
金沙灘 The Golden Sand Beach
大得勝 Grand Victory
月兒高 The Moon is High
新婚別 Say Goodbye after Just Married
光明行 March towards Brightness
迎親人 Welcome Families
姑蘇情 Gu Su Qing
將軍令 General’s Order
戰馬奔騰 The Battle-Horses Galloping
雪山凱歌 Song of Celebration on the Snowy Mountain
宮燈樂舞 Music and Dance in the Splendid Palace
四季花開 Blooming for Four Seasons
雁落平沙 Wild Geese Landing on Smooth Sands
北將軍令 The Northern General’s March
妝臺秋思 Autumn Meditation
娛樂昇平 Joy and Happiness
花好月圓 The Flowers Blossoms in the Full Moon
大鼓涼傘 Big Drums under the Sun Shades
花香鼓舞 Drum Dance among Fragrant Blossoms
巨龍騰飛 The Flying of the Dragon
龍騰虎躍 Flying Dragons and Leaping Tigers
易之隨想 Capriccio on I Ching
漁舟凱歌 The Triumphant Song of Fishermen
金蛇狂舞 Wild Dance of the Golden Snake
月芽五更 Crescent before Dawn
花好月圓 The Flowers Blossoms in the Full Moon
阿細跳月 A Xi Tiao Yue
東海漁歌 Fishermen’s Song on Eastern Sea
金蛇狂舞 Wild Dance of the Golden Snake
彩雲追月 Clouds Chasing the Moon
水庫凱歌 Celebration at the Reservoir,
瑤族舞曲 Dance of the Yao People
錢塘江畔 By the Qiantang River
東海漁歌 Fishermens Song in East Sea
玄奘祭祀 Buddhist Ceremony
長安社火 Festival in Changan
慶典序曲 Celebration Overture
春節序曲 Overture of Chinese New Year
絲綢之路 Silk Road
長城隨想 The Great Wall
江月琴聲 Melody on a Moonlit River
歡慶勝利 Joyfully Celebrates Victory
歡慶序曲—火車通向延安 Overture of Celebration
沙迪爾傳奇 Legend of Shadier
黃河隨想曲 Yellow River Capriccio
春江花月夜 Moonlight over the River in Spring
翻身的日子 Day of Relief
秦王破陣樂 The King of Qin in Battle
草原小姐妹 The Little Sisters on the Prairie
汨羅江幻想曲 Fantasia of River Miluo
青山綠水高山青 Green Mountain, Blue Water
嘎達梅林交響詩 Gada Meilin
北京喜訊到邊寨 Goods News to Frontier from Beijing
絲綢之路幻想曲-第二樂章 Silk Road Fantasy : Second Movement
《月兒高》 古曲 彭修文編曲
此曲是一首流傳悠久的樂曲,相傳為唐明皇遊月宮聞記之音,由南北曲牌《月兒高》、《桂枝香》、《解三酲》、《玉抱肚》、《金絡索》、《畫眉序》、《紅繡鞋》等組成,樂譜最早收錄於一八一四年蒙人榮齋所編的《弦索備考》中,是合奏譜;其後華秋蘋又將之收入他的《琵琶譜》中,把原有的曲牌名稱改換成《海島冰輪》、《銀蟾吐彩》等寫景的小標題;後來李芳園的《琵琶新譜》也收有此曲並改名為《霓裳曲》,樂曲分起、承、轉、合四個部分,旋律動人,極富韻味,有若風清月白的夜晚,使人聯想起飄飄欲仙的優美舞姿。
中國廣播民族樂團:一九九二年演繹 指揮:彭修文 13:06
The Moon is High Arranged by Peng Xiu-wen
This is an ancient piece of music. It was said when the Tang emperor visited the moon, he has heard this music and took it down. It consists of many tunes with different titles. The score first appeared in a collection in 1814 in an ensemble form. Later this piece was mostly played as a pipa solo. This version arranged by Peng Xiu-wen is an orchestral piece, and the effect is much more rich and moving.
Performed by the China Broadcasting Chinese Orchestra in 1992, conducted by Peng Xiuwen 13:06
《迎親人》 臧東升、劉鳳錦、何化均曲
樂曲創作於一九六四年,曲調素材自山東柳琴戲和山東琴書,以墜胡領奏的形式寫成,曲趣活潑喜悅,詼濟南前衛民族樂團:一九六三年十一月演繹 指揮:董洪德 5:36
Welcome Families Composed by Zang Dong-shen, Liu Feng-jin, He Hua-jun
This piece was composed in 1964. Melody was originated from the Shangdong Liuqin Drama and Shandong Qin Shu. The leading instrument is Zhuihu. The tune of this piece is lively and joyful, describing the scene of soldiers beating the gongs and drums to welcome the comforting team from far away place.
Performed by the Chinese Orchestra of Jinan in 1963, conducted by Dong Hong-de 5:36
《姑蘇情》 朱昌耀曲
姑蘇,即中國江南名城——蘇州。蘇州有一種既唱且彈的曲藝叫蘇州評彈。樂曲以蘇州評彈的音調為素材,採用琵琶、三弦、柳琴、揚琴、中阮、大阮等彈撥樂器合奏、對奏,竹笛領奏的形式,表現了靈巧活潑、流暢歡快的姑蘇風情。
江蘇省歌舞劇院:一九九四年演繹 3:37
Gu Su Qing Composed by Zhu Chang-yao
Gusu is another name of the famous Jiangnan city – Suzhou. There is a kind of performing art in Suzhou called Ping-tan, combing instrumental and vocal together. Usually pipa, sanxian, liuqin, yangqin, ruan are used, or lead by bamboo flute.
Performed by Music and Dance Troupe of Jiangsu in 1994 3;37
《將軍令》 蘇南民間吹打樂 周榮壽、周祖馥整理改編
這是一首民間器樂曲,流傳地區比較廣,在戲曲音樂中,是經常用來伴隨英雄們的登場而演奏的,因為它一直被認為是一首刻劃古代英雄形象十分成功的樂曲,所以在民間喜慶場合中也經常演奏,主要是用以增強氣氛。改編中增加了一個小曲牌和一些民間鑼鼓片段,使有較多變化,作為描寫古代英雄戰士凱旋歸來,歡慶勝利的情景。
上海民族樂團:一九五九年八月演繹 5:42
General’s Order Arranged by Zhou Yong-siu etc.
This is a folk music. Usually used in opera music to accompany the bustling moments. As it was used so frequently in such occasions, when people hear it, they will associate with all the scenes of return of the hero, the victory and related celebrations.
Performed by the Shanghai Chinese Orchestra in 1959 5:42
《大得勝》 山西民間吹打樂 何化均整理
這是一首著名的山西民間吹打樂曲,樂風粗獷有力,極富氣魄,常在廟會、婚禮等喜慶場合演奏,因為音響豐富,很有氣勢。
濟南前衛民族樂團(胡天泉、劉漢林嗩吶領奏):一九六三年十月演繹 4:19
Grand Victory Arranged by He Hua-jun
This is a famous Shanxi wind and percussion music. Normally used in festivals and marriage occasions because of its loud and lively sound.
Performed by the Chinese Orchestra of Jinan in 1963 4: 19
《新婚別》 張曉峰、朱曉谷曲
二胡敘事曲《新婚別》,是作曲家張曉峰於一九八○年所創作,並由朱曉谷配以民族樂隊協奏,在同年的「上海之春」音樂會作首演。樂曲根據唐代詩人杜甫的著名詩作《新婚別》的詩意構思,敘述在「安史之亂」中一對新婚夫婦的不幸遭遇。
樂曲共分為引子與三個樂段,有寬廣舒展的曲調,有借用戲曲中「緊打慢唱」的節奏,有連續的快弓拉奏,也有運用壓揉技法奏出凝重深沉的慢板旋律等,來表現特定的歷史情節,述說朝廷四處徵兵,防守邊關,平定叛亂,連新婚夫婦也不能倖免,丈夫只能忍痛從軍,妻子含著眼淚送別的情景。
引子:
深沉有力的曲調,展示了戰事頻生,兵荒馬亂的情景,緩慢的旋律是素材自姜白石的歌曲《鬲溪梅令》音調發展而成。
第一段:迎親
在清脆悅耳的竹笛聲中,帶出了仿若山青水秀的鄉村景緻,繼而二胡以中慢的速度奏出由《鬲溪梅令》發展出來的主題音調,恰似一位含羞答答的少女,在婚前的喜悅神態。一陣歡快的鑼鼓聲過後,寓意迎親隊伍的到來,二胡以舒展的曲調,細膩的技法,與大革胡對奏,加上鋼片琴的點綴,展現出一幅洞房花燭夜的情景。
第二段:驚變
風雲突變,戲曲的「亂錘」節奏,配合著定音鼓的滾奏,二胡奏出激憤的散板,猶若官兵徹夜抓丁,二胡運用「緊打慢唱」的手法以示哀求,樂隊的急促節奏,使氣氛益增驚慌情緒。最後,二胡奏出如泣如訴的散扳樂段。
第三段:送別
樂隊奏出了沉重的腳步聲節拍,二胡運用各種不同的技法來潤飾主題音調,仿似新娘發出的哀嘆。這悲哀的旋律漸次變成堅定的音調,呈示著新娘強壓悲痛,在出征的鐘聲下,愁緒萬端地凝望著遠去的親人。
閔惠芬:一九八○年代演繹 瞿春泉指揮上海民族樂團協奏 15:50
Say Goodbye After Just Married
This erhu ballade was composed by Zhang Xiaofeng in 1980 and the orchestration arranged by Zhu Xiaogu. It was premiered in the Shanghai Spring Festival in the same year. This piece of music was inspired by the same name poem of the famous poet – Du Fu – in Tang Dynasty, describing the bitter experience of a pair of newly married couple.
This piece was divided in 4 parts : the introduction and 3 movements. The composer made use of different types of Chinese fo lk music features to bring out the picture of the unstable circumstances in that dynasty. The hu.sband was forced to fight in the frontier, and the newly married wife could only be wishing desparately for her husband’s return.
[The Introduction) A deep and powerful melody described the scene of war and turmoil allover.
[1st Movement Greeting the Bride] After a melodious theme from the bamboo flute that brought a view of the beautiful country, the main theme from erhu showed the delight feeling of the bride. Then the greeting team’s arrival was reflected by the joyful percussion music. Finally the dialogue between erhu and bass described the sweet wedding night of the new couple.
[2nd Movement The Startled Change] The chaotic percussion music described the scene that the armies came and forced all male adults to join th_e fight against other countries. The atmosphere was very excited and desparate. Then erhu came to a weeping cadenza.
[3rd Movement Seeing Her Husband Off] The orchestra sounded like footsteps of the army. Then erhu played again the main theme in varied versions depicting the feelings of the weeping bride. Finally she could only see her husband off with a hopeless mind.
MIN Hui-fen; Performed in 1980, with Shanghai Chinese Orchestra conducted by QU Chunquan 15:50
《蘇武》 劉洙曲
中胡協奏曲《蘇武》是作曲家劉洙先生於一九六二年所創作,這部作品是我國第一部民族拉弦樂器的協奏曲,用中胡協奏的形式演奏更加突出了蒼涼剛勁的情緒和堅實渾厚的音色,同時能準確生動地表現了民族英雄蘇武的光輝形象。
蘇武是漢朝武帝時的名臣,他持節出使匈奴,結果被匈奴扣留了十九年。在這十九年裏,他歷盡艱辛,但始終堅貞不屈,表現了大無畏的民族氣節和可歌可泣的愛國主義精神。
這首樂曲共分三個樂章,描述漢武帝時蘇武被匈奴扣留的苦難生活,歌頌了他堅貞不屈的民族氣節。
第一樂章:風雪
樂曲以歌曲《蘇武牧羊》的旋律為基調,作主題變奏,那低沉憂鬱的旋律,正標示著風雪中的蘇武形象。
第二樂章:思鄉
中胡如歌如訴的慢板旋律,表現了蘇武對祖國山河和家鄉父老的思念情懷。
第三樂章:榮歸
在嗩吶、管子、笙等樂器齊鳴下,展現出蘇武榮歸和人們對他的讚頌。
劉長福:一九九五年三月演繹 王甫建指揮中央音樂學院民族樂隊協奏 18:34
Suwu
This is a Zhonghu concerto composed by Liu Zhu in 1962. It was the first concerto of Chinese string instrument. The composer used Zhonghu because its special low and rich sound accurately reflected the tough and heroic image of Suwu.
Su was an official in Han dynasty and was sent as a diplomat to Hsiungnu. But he was not allowed to go back to his country unless he surrender. But for 19 years, Su insisted his patriotism and refused to yield. Finally he was granted freedom and allowed to go home.
This piece is describing this story and is divided into 3 movements.
[1st Movement Wind and Snow) The main melody is derived from a folk song of the same name. The slow tempo showed the scene of windy and snowy weather that Suwu was facing.
[2nd Movement Homesick) This paragraph described that Suwu was missing his mother country and relatives so much.
[3rd Movement Return in Glory) Under th.e brilliant sound of many wind instruments, a picture ofSuwu returning home with great glory was shown.
LIU Chang-fu :Performed in 1995, with the Central Conservatory Chinese Orchestra, conducted by Wang Fu-jian 18:34
《江南春》 曾加慶、陸春齡曲
這首歌頌中國新農村的笛子協奏曲《江南春》,是作者於一九六二年赴上海奉賢金匯公社體驗生活時創作的。當時,陸春齡、曾加慶兩位與農民同住、同吃、同學習、同勞動,一起共同生活。終日與農民相處,感受教育很大,在生活實踐中、藝術實踐中,以民族器樂的創作形式,來寫出新農村建設的時代音調,又學習農民那種樸實勤奮的精神,獲得喜悅豐收成果的景象,如果沒有上述的經歷,也就創作不出今天的時代新貌。
《江南春》這首笛子協奏曲,創作至今已有五十年了,在新加坡、美國、日本、香港、台灣、澳門等國家與地區都有傳播,受到了廣大群眾熱烈的歡迎,而今,我已年逾耄耋,還常在國內外表演講解,二○○七年四月,上海市委精神文明辦及上海音樂學院等關懷重視,專門在上海音樂學院院慶八十年系列活動中,舉辦「陸春齡教授、笛子一代宗師、人民音樂家藝術生涯八十周年音樂會及研討會」。邀請我的學生也是笛子專家來滬祝賀,《江南春》這首保留經歷五十年創作的笛子代表曲,亦受到熟烈的歡迎與讚揚,使我深感在民族器樂的創作指導思想,必須要有:民族風格、地區特色、時代音調。
笛子協奏曲《江南春》,是從引子進入正板、慢板,繼而笛子華彩樂段,再是廣板、快板結束,均以原曲變奏層疊展開,突出江南風格及地方特色,也富有時代氣息。此曲是用典型傳統手法寫作的獨奏曲,旋律通俗流暢,這種手法的好處,是有親切感,既有敘事性的形式,又是一氣呵成。
樂曲開始是一段優美而清麗的引子,展現出寧靜的江南景色,然後轉入活躍明快的小快板,中段慢板,換了低四度的大曲笛,笛聲奏出渾厚的內含,情深意濃,緊接自由的華彩樂段,使人感到小橋流溪,花香鳥鳴,野外農村的鄉土氣息和田園風光,該段在藝術上表達了笛技的掌握和氣息控制的相互配合。最後快板力度與速度的控制,慢而不絕,快而不沖的忘我地表演,使樂曲更趨向熱烈歡騰,同慶豐收的景象。
陸春齡 二○○七年十月十六日
陸春齡:一九六二年演繹 何無奇指揮上海民族樂團伴奏 10:53
Jiangnan Spring
This music was composed by LU Chun-ling and ZENG Jia-qing in 1962 when they spent their time living in the countryside of Shanghai called Fengxian. Living daily with the country people enabled LU to experience the real life in such places. That was the important factor that he could compose music full of folk and country feel. This piece had been composed over 50 years and is still very popular allover.
Jiangnan Spring begins with an introduction. 1hcn followed by the main theme, solo, again the melody and ending. It is full or Jiangnan style and with modern mode. The construction is mainly folk style which give a cordial feel to audiences.
The introduction shows a beautiful Jiangnan picture. The two paragraphs followed are active and melodious. After changing to use a lower tune dizi, the solo further describes the scenery with different types of techniques. lt ends with a glorious atmosphere.
LU Chun-ling. with the Shanghai Chinese Orchestra. conducted by HE Wu-qi 10:53
《小刀會》
《小刀會》是一齣七場的民族舞劇,是我國第一部用古典和民間的舞蹈語匯來表現革命歷史題材的舞劇。用明、清以來的崑曲曲牌等來刻劃人物性格,描寫矛盾衝突,加強戲劇性和再現歷史的風貌。
劇情描述一八五三年秋,小刀會領袖劉麗川、潘啟祥、周秀英等密商起義。潘啟祥因怒打帝國主義惡奴晏瑪泰而被補,劉麗川就此宣佈起義。周秀英率小刀會義軍巧劫法場,救出潘啟祥,活捉吳道台,攻佔上海城。
此段是舞劇的序曲,內容概括了全劇的大要。其中劉麗川的主題,富於英雄氣概。
《壯別》
《壯別》是選自一齣七場的民族舞劇《小刀會》,是我國第一部用古典和民間的舞蹈語匯來表現革命歷史題材的舞劇。用明、清以來的崑曲曲牌等來刻劃人物性格,描寫矛盾衝突,加強戲劇性和再現歷史的風貌。劇情描述一八五三年秋,小刀會領袖劉麗川、潘啟祥、周秀英等密商起義,潘啟祥因怒打帝國主義惡奴晏瑪泰而被捕,劉麗川就此宣佈起義,周秀英率小刀會義軍巧劫法場,救出潘啟祥,活捉吳道台,攻佔上海城。
《春秋》
春秋是中國歷史上的一個年代,也是孔子生活時期。樂曲以這個時代(公元770年—476年)為音樂素材加以展開,並以此素材貫穿全曲,樂曲通過一系到高難度技法,展示了春秋時期社會急劇變革,風雲際會百家爭鳴,雄才輩出的生動局面。
《昭君別》
《昭君別》是一首以歷史為題材所寫成的樂曲,全曲共分五個段落:一〈出塞〉、二〈思念〉、三〈長相知〉、四〈憶戰亂〉、五〈昭君頌〉。內容取材於西漢宮女王嬙出塞和親的情節而構思。
樂曲具有鮮明、濃郁而甜暢的民族風格,抒情委婉、優美深沉的古典色彩,生動地塑造了王昭君的音樂形象,展示了她出塞的情景及其波瀾起伏的內心世界,讚頌了王昭君對民族團結起到的重大歷史作用。作品曾經榮獲首屆中國藝術節「金杯獎」及全軍匯演優秀創作獎。
《喜迎春》
《喜迎春》以江南民歌音調為素材創作而成。嘹亮的嗩吶聲揭開了節日的序幕。輕快的彈撥樂、熱烈的吹打樂、抒情的弦樂交織成一片歡樂喜慶的節日場面。樂曲的尾部好像節日的狂歡夜,第一主題的節奏放寬了兩倍,由管樂群領奏,彈撥樂、雲鑼、弦樂及民間鑼鼓式的打擊樂在互相呼應,莊嚴而輝煌。樂曲在樂隊與打擊樂交替競奏的高潮中結束。
《闖將令》
民族器樂合奏《闖將令》描述二十世紀五十年代末期,中國正進行著蓬蓬勃勃的技術革新運動。在這時期湧現出無數的傑出人物,他們以超群的才智闖向新技術的大關。這首樂曲就是歌頌這些戰線上的「闖將」們不屈不撓、勇往向前的大無畏精神。
當時上海的音樂家們為了謳歌「闖將」們的豐碩成果,無獨有偶而創作出兩首同名的樂曲,皆以「闖將」為題材,運用不同的樂彙及形式,展現了大時代的活力與幹勁氣氛。
吹打樂《闖將令》描述二十世紀五十年代末期,中國正進行著蓬蓬勃勃的技術革新運動。在這時期湧現出無數的傑出人物,他們以超群的才智闖向新技術的大關。這首樂曲就是歌頌這些戰線上的「闖將」們不屈不撓、勇往向前的大無畏精神。
當時上海的音樂家們為了謳歌「闖將」們的豐碩成果,無獨有偶而創作出兩首同名的樂曲,皆以「闖將」為題材,運用不同的樂彙及形式,展現了大時代的活力與幹勁氣氛。
《將軍令》
《將軍令》原是一首甚為流行的民族器樂曲牌,常用於戲曲中武將上場或戰鬥的場面,有時也用作「開場音樂」。在中國南北的不同地區,有著多種旋律音調和曲式結構以及使用樂器相異,而表達內容相近的《將軍令》。
本曲是採用四川揚琴曲牌,取自李德才和李德元傳譜的《四川將軍令》,以獨特的音調和磅礡的氣勢,通過民族器樂合奏的形式,表現了古代將士馳騁疆場、威武不屈的英雄氣概。
樂曲開始是快速熱烈的鼓樂合奏引子,猶如擂鼓道鑼之聲。隨後在揚琴等樂器襯托下,由二胡等樂器奏出主旋律及其變奏,表現了將軍昇帳和轅門點將的場面。鼓樂的再次激起,好似將士整裝待發。接著出現的大段揚琴獨奏,表現了將士出征的情景。緊隨其後的激越鼓聲,描繪了短兵相接的交戰場面。而揚琴短小的過渡段,則體現了戰鬥的間歇。此時鼓樂大作,彷彿千軍萬馬馳騁沙場。最後,樂隊速度減慢,預示著英勇的將士們將取得全勝。
《紫竹調》
《紫竹調》是一首取材自滬劇曲牌並經過作曲家潤飾過的民族輕音樂作品。樂曲在輕快爽朗的節奏中由各種不同的樂器輪番主奏出家傳戶曉的民族民間音調,使人有一種親切的感覺,如沐浴在春光明媚的美麗景緻中,心情倍感歡欣舒暢。
Purple Bamboo Tune is a piece of light music composed from a tune in Shanghai Opera. Rich variations of the rhythmic melody is brought out by different instruments, giving an intimate and joyful feeling.
《剽牛祭》
《剽牛祭》是1987年為蘭陽舞蹈團在台北市傳統藝術季演出的《邊疆民族舞蹈》而作,由閻仲玲女士編舞。並於1989年由上海民族樂團錄製CD,在台灣發行。剽牛祭是雲南省怒江及貢山獨龍河兩岸少數民族獨龍族,在過年節時殺牛拜神的祭典。音樂先以各種奇特的音響奏出祭典的神秘、肅穆氣氛,再由主持祭典的長老帶頭高喊,眾人應和,經過四次的伏拜及喃喃念詞後展開熱烈的舞蹈(5/4拍節奏)。
第二段神秘詭異的慢板,以弦樂顫音及次中音嗩吶的號角聲揭開殺牛序幕,並逐次加強而以殺牛後的人聲吶喊結束本段。
最後再回到5/4拍節奏,並加以發展,描寫獨龍族人的舞蹈狂歡,及分贈牛的情景。
《金沙灘》
中國打擊樂與樂隊《金沙灘》充分發揮了中國打擊樂的豐富表現力,運用一個全音列主題,採取逆行結構、非傳統和聲語言、多調平行、即興演奏和偶然音樂等多種現代作曲技法以及非常規的民樂演奏法,形象地勾勒出古戰場的悲壯畫面,使人們通過對歷史的瞬間回顧,引起對戰爭問題的深沉思索,表達了歷經滄桑的中華民族對和平、幸福的渴望與追求。
《三六》
《三六》也就是民間流傳極廣的《梅花三弄》,原名為《三落》,全稱應當是《梅花三落》,因「三六」是江南吳語「三落」之諧音,故有此名。樂曲是運用循環變奏構成,旋律流暢活潑,頓挫分明,洋溢著歡樂的情緒。
San Liu is a very popular folk music in Jiangnan area. The melody is very fluent and shows the joyfulness of the people.
《採花》
《採花》創作於1979年。根據陝西關中東部流行的“迷胡清唱曲”同名曲子“採花”編創而成。音樂輕巧、流暢,樂曲中段調性略有變化和遊移,更具歌唱性。全曲旋律起伏、節奏明快、活潑舒展,是一首精悍的“秦派二胡”小品。
《月兒高》
《月兒高》原為琵琶傳統大套文曲,全曲古樸動人、委婉纏綿、優雅華麗、舞蹈性極強,頗具大唐風韻。李芳園在編印《南北派十三大套琵琶新譜》時,根據此曲風格及特點與白居易詩《霓裳羽衣舞》中所描述的情節相似,故更名為《霓裳羽衣曲》。建國以後,作曲家、指揮家彭修文將其改編成合奏曲,保存了原曲的結構、旋律和風格。改編後的合奏曲並非借助於情節或具體景象的描寫,而是通過浪漫主義的寫意手法,使欣賞者從情感變化中獲取藝術的享受。The Moon is High is an ancient piece of music. It was said when the Tang emperor visited the moon, he has heard this music and took it down. It consists of many tunes with different titles. The score first appeared in a collection in 1814 in an ensemble form. Later this piece was mostly played as a pipa solo. This version arranged by Peng Xiu-wen is an orchestral piece, and the effect is much more rich and moving.
《飛天》
《飛天》刻劃敦煌壁畫中的飛天形象,以其獨特優美的藝術魅力享譽世界。樂曲開始以奇妙的音響,描繪了生氣盎然的雲天景象,把人們帶入詩情畫意之中。隨著樂曲的展開,作曲家用頗具古意的音調著意刻劃了飛天時而優美、時而輕柔、時而奔放、時而矯健的各種舞姿。樂曲結束部分,音樂漸趨安靜,彷彿縱情歌舞後的飛天又回到平靜如初的畫面之中。
《京調》
《京調》素材採自京劇中西皮原板和流水板等曲調,是用輕音樂的體裁來豐富和表達群眾素所熟悉的音樂語言,藉以抒發輕鬆愉快、生動活潑的感情的一種新的嘗試。
Jlng Diao is originated from the melody of Beijing opera music. The arrangement shows how
a well known melody is changed to a light music type of recreation, and as a type of new trial.