{lang zh}【絲竹雅韻】中國風音樂會節目單{/lang}{lang en}Chinese Traditional Music Concert Programs{/lang}

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器樂合奏：①戒定真香 ②好一朵茉莉花

寂滅心執，寧靜無我，和諧生機，赤子情懷，是中國佛教重要的禪道智慧以及精神風範。此曲由中國佛教、宮廷音樂作曲家張福全先生所創作，作者在繼承傳統佛樂的基本音調前提下，運用多聲部織體和音樂思維來描述中國佛教超妙淨絕的精神氣質，展示出中國佛教對人類世界深切的關懷乃至萬方和諧最深切的禮讚。鐘磬鐃鈸等法器參與演奏，使樂曲營造出莊嚴肅穆的氛圍，油然而生溫暖、光明漸至的感受；雲蒸霞蔚，照徹十方。此時、此地、此身、此心、因為聆聽，獲得完整而飽足的世界。

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HCTMG Orchestra

Precepts, Concentration and Wisdom in Incense: Impermanence, non-self, emptiness and pure state of mind mark Buddhist Zen wisdom and spiritual demeanor. The song was arranged by Mr. Fuquan Zhang, a Chinese Buddhist and court composer. The polyphonic texture describes the ethos of Chinese Buddhism’s transcendent attributes, its deep concern for mankind, and its exaltation of harmony with nature. Zhong (bell), Qing (chime), Naobo (cymbals) and other instruments combine to create a solemn atmosphere, which spontaneously warm and brighten the audience’s heart like sunlight from the ten directions, and people’s bodies, hearts, and minds attain a state of completeness and peace.

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《好一朵茉莉花》改編於江蘇民歌，樂曲旋律委婉，波動流暢，情感細膩。通過讚美茉莉花，含蓄地表現了男女間美好的情感。這首樂曲早已成為中國走向世界的“名片”。

古箏獨奏：春江花月夜

這是一首優美動聽的古曲，是中國音樂寶庫中的瑰寶。全曲抒寫真摯感人的離別情緒和富有哲理意味的人生感慨，音樂語言清新優美，韻律婉轉悠揚，完全洗去了宮體詩的濃脂艷粉，給人以澄澈空明、清麗自然的感覺，它籍以山水之巍峨洋溢，花木之幽芳榮華。水光雲影奇詭變幻。這一情狀皆可宣之於樂，以傳其神，而合其至精湛的音樂詩畫。改編後的箏曲，氣韻優雅，刻畫入微，既有繼承，又有出新，於悠揚秀美中見氣勢，於委婉抒情中見豪放，音樂豐滿，起伏有致，富於形象，綿延悠長，不愧為萬世流芳之本。

二胡重奏：慢三六

江南絲竹八大曲之一，又名《花三六》，以《三六》的音樂素材為基礎，進行放慢加花變奏，獨立成曲。演奏時由定弦不同的胡琴，在行雲流水中繁簡映襯、嵌檔派生，構成了絲竹音樂的支聲複調織體橫向上相互接續、流暢順達，縱向上互相支撐、協調融合。是江南絲竹音樂的胡琴名作，全曲樂觀明朗、親切動人，飽含吳越之風。

笛子獨奏：妝台秋思

這是一首抒發哀怨惆悵、淒楚纏綿情懷的曲子。大笛聲以緩緩的旋律訴說主人公在漢宮中備受冷落的悲憤和離鄉千里的孤寂、那揮之不去、魂牽夢繞的鄉愁……一管洞簫，幽咽如風，吟唱出大漠的漫無邊際的荒涼和寂寥。樂曲把王昭君戎服乘馬，提琵琶出塞，入匈奴，凝眸關山，萬里迢迢的哀怨淒楚的情懷抒發到極致。

古筝与箫：①禪院鐘聲 ②大悲咒

此曲原是是一首廣東音樂，曲調深沉委婉，韻律幽怨感人。作於上世紀40年代，流行至今，並常被填詞歌唱。作者藉以禪院鐘聲，描繪寺院的寂靜氣氛及僧人的誠心禮拜，表達在紛亂時世中遁世修佛民眾的心聲，和與世無涉的超然冥想。
大悲咒，是觀世音萻薩的大慈悲心，無上菩提心，以及濟世渡人，修道成佛的重要口訣。作為佛教音樂，大悲咒被譽為梵唱妙音。

女聲獨唱：①貴妃賞月 ②梨花頌

京劇是國粹藝術，《大唐貴妃》的主題歌《梨花頌》和名段《貴妃賞月》，風靡歷久，廣受歡迎。“梨花開，春帶雨；梨花落，春入泥”，楊貴妃為自己的美麗和才藝，付出了生命的代價；唐明皇因沉湎於愛情和藝術而荒疏朝政，導致唐朝由盛而衰，兩段膾炙人口的京歌引導聽眾進行人文思考。素有美南金嗓子美譽的虞曉梅扮相俊俏，唱腔甘醇有味，表演灑脫，功底不俗，頗有梅派風範。

高胡，古箏三重奏：春天來了

雷雨聲創作於1956年。此曲曾在1957年第六屆世界青年聯歡節的民間音樂比賽中榮獲金質獎章。樂曲的旋律取材於福建民歌《採茶燈》，作者既充分發揚了原曲歡快喜悅的情緒，又以各種演奏技巧和旋律發展手法，以及巧妙的配器、多變的複調和借鑒鋼琴的伴奏音型，生動表現了山泉潺潺，鳥語花香，人歡歌揚的明媚春光。

琵琶獨奏：新翻羽調綠腰

由古曲改編的琵琶名曲。樂曲根據唐詩中關於《綠腰》的描述，採用傳統的雅樂羽調式，和清樂、雅樂及燕樂的音階特點創作而成。樂曲清麗委婉，柔美抒情，形像地再現了南國有佳人，輕盈綠腰舞的宮廷樂舞場面。此曲在1983年「第六屆亞洲音樂論壇」上被評為優秀曲目，並於1984年全國第四屆音樂作品（民族器樂）評比中獲二等獎。

弦管组合：一簾幽夢

樂曲改編自同名流行歌曲，由二胡，大提琴，大笛組合，構成了兩根弦與四根弦的對話；間或的竹管和鳴。發出天籟般悠長的清音。如拂面細雨，絲絲浸入心田；若空谷幽蘭，傳達著淡淡暗香；似美麗精靈的曼舞，流光溢彩，給你一份感懷，一絲靈性、洞澈，和須臾即逝的眩目光輝……

巴烏獨奏：漁歌

此曲是著名吹奏藝術家嚴鐵民採用中國雲南紅河地區的哈尼族、彝族等民間音調為素材，而寫成的一首巴烏獨奏曲，此曲主題為哈尼族民歌音調、親切柔美，由晨曦、漁歌、歡唱、跳月、漁歌、遠去六段組成，生動地表現了紅河漁民們的勞動、生活情景。

二胡獨奏：火——彩衣姑娘

火的力量，如人不屈的精神、氣概。對篝火而坐，沈思、冥想是熾熱的音樂，歌頌光明的音樂，也是顯示人的精神力量和意志的音樂。此曲是《種子燈焰》二胡套曲八首（地、水、火、風、空、見、識、如來藏）之一。樂思借躍動生命之流的七大因子傳達佛家對宇宙、大千世界的認識和體悟，反映了構成宇宙“七大因素”——匯歸真理“如來藏”的認識，直至到達“真理與美同在”的崇高境界。此曲由中國著名作曲家劉文金，根據台灣作家愚溪先生的小說《袍修羅蘭》（獲1996文學創作類圖書出版金鼎獎）所敘述的一個優美動人的故事構思而成。

器樂合奏：①清淨法身佛 ②胡舞亂旋

樂曲具有鮮明的藝術個性和藝術感染力，與眾多佛事音樂（唄贊、偈頌、詠經等）不同的是，將主題的構思融入一種敘述性音樂的表達，展開多樣的音樂形象的美感意趣，使樂曲在傳達中國佛教文化品格和精神氣質的同時，亦能充分展開音樂世界豐富而又完整的美感。體
現了慈悲在世界迷苦浸難之中以仁愛加持，以溫情滲漫，具深廣愛，放大光明的無限願懷。表達了對於世界光明，人心澄明，萬物和平，喜樂自在之大喜悅大慈愛的無限讚歎。

唐朝的歌舞昇平、唐人的愛欲癡狂；敦煌壁上的飛天神話，“裙襬搖滾”西域的龜茲舞樂；一千多年前的流行文化，另類的摩登唐朝的詮釋。前衛、抒情、動感、媚惑，古老的胡琴，帶給人聽覺的挑戰與時尚。

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Jasmine Flower, adapted from a Jiangsu folk song, expresses the delicate emotion between men and women. This song has already become a “business card” of China to the world.

Gozheng Solo

A Moonlit Night on the Vernal River: The title of this piece was inspired by the poem of the same name by Tang Dynasty poet Ruoxu Zhang. He describes a beautiful moonlit scene and meditates on the transience of human existence, loss and separation. Both the original poem, considered one of the most perfect poems of the Tang Dynasty, and the melody, are very famous throughout China. The piece paints a tranquil scene of a river on a moonlit night in spring, reminiscent of the countryside south of the Yangtze River.

Erhu Duet

Slow Three-Six: The Jiangnan musical tradition, named for the silk and bamboo of its string and wind instruments, originated in the region south of the Yangtze River. At the core of the repertoire are the Eight Great Pieces based on old melodies, such as “Old Six Beats,” which are ornamented to create new pieces like “Slow Three-Six.” It is easy to hear the influence of the passing clouds and flowing water of the landscape.

Flute Solo

Autumn Recollection tells the grief and loneliness of heroine Zhaojun Wang, who left her hometown behind for a marriage thousands of miles away. Wang, famed as one of the Four Beauties of ancient China, lived the story of a “political bride;” she was sent by Emperor Yuan to marry the ethnic minority leader north of China in order to establish friendly relations. This Dizi solo sings out the endless desolation and loneliness of the desert on Wang’s way to the north.

Guzheng-Xiao Duet

The Sound of Temple Bells: The popularity of this Guangdong folk piece has endured since the 1940s. Bells have a special significance for Buddhists everywhere. They are rung for the beauty of their tone and to celebrate special ceremonies throughout the year. Within the echoing melody, one feels the peace of the temple, tucked away from the chaotic world beyond.

The Great Compassion Mantra: Mantras are recited to invoke the gods, and the Great Compassion Mantra is synonymous with the goddess Guanyin. The mantra is often recited for protection, to cleanse the mind and to purify the soul. It is said that some select few, upon hearing this music from heaven while meditating, transcribed the notes for the rest of us. For those who recite and uphold the phrases of the Great Compassion Mantra, all the Buddhas from the ten directions will come to lead them to rebirth in whatever Nirvana they wish.

Selected Peking Opera Pieces

Enjoying the Moon and Pear Flower Appreciation, selected segments from the Peking Opera “Imperial Consort of Tang Dynasty,” describe the life of Imperial Consort Yang. Beautiful and talented, Yang was loved by the emperor of the Tang Dynasty. His indulgence distracted him from state affairs and led to the dynasty’s eventual decline from prosperity. Yang would pay with her life. Soprano Xiaomei Yu, regarded as the golden throat of the southern U.S., displays her solid vocal color in this performance.

Gaohu Guzheng Trio

Spring has Come: Composed by Yusheng Lei in 1956, this song won the gold medal in the folk music competition of the Sixth World Youth Festival the following year. Its melody is based on the Fujian folk song, “Tea-picking,” and this version pays full homage to the cheerful mood of the original song. Various voices, melodic development techniques, clever orchestration and complex harmonies paint a vivid image of the gurgling spring, flowers, and the people’s joy in the spring sunshine.

Pipa Solo

New Variation of Tang Dynasty Liuyao Dance: This Pipa solo was arranged according to an ancient poem, “Liuyao,” that describes lissome dancers gracefully performing in the imperial court. The composer adopted the traditional Chinese music scale and the characteristics of Gagaku, meaning “elegant music.” After the rubato at the beginning, the dancing rhythm starts slowly and climaxes to a fiery state, creating the image of lyrical dancing performances in the ancient court. This musical composition has won numerous awards in Asia.

Erhu-Cello-Flute Ensemble

Fantasy Behind a Pearl Curtain is an ensemble of erhu, cello and flute, adapted from a Chinese pop song of the same name, and constitutes a dialogue between a two-stringed and a four-stringed instrument. Accompanied occasionally by bamboo flute, they create sounds of nature, like drizzling rain, scents of orchids and an ephemeral glow that give the audience an unforgettable spiritual experience.

Bawu Solo

Fishing Song, arranged from folk songs of ethnic groups from southwest China, vividly describes the locals’ excitement for their fishing life.

Erhu Solo

Fire: The Girl Wearing a Colorful Coat pays a tribute to fire, a symbol of unconquerable human sprit and the power of illumination. The vivacious rhythm can be interpreted as deep thoughts generated while meditating by a bonfire, or as a tribute to the might of the illumination that produced human civilization.
This piece, selected from an eight-episode divertimento The Flame of Seeds, explains Buddhism’s cognition about the universe, constituted by earth, water, fire, wind, air, sight, and consciousness. All seven factors interact to compose the normalized truth Tathagatagarbha (Buddha nature) and the lofty realm of “truth and beauty.” The composer, Wenjin Liu, was inspired by an award-winning novel, which fused together the language of poetry and prose to describe a beautiful and moving story.

HCTMG Orchestra

The Pure Dharmakaya Buddha: With a distinctive personality and artistic appeal, this piece features a number of characteristics common to Buddhist music. It translates an idea into a narrative musical expression, conveying the character and ethos of the Chinese Buddhist culture. The way of the Dharma teaches that we may, by our own effort, do away with ignorance and delusion, and by so doing we will become enlightened both within and without, and our true nature within our Essence of Mind will manifest itself.

Never-ending Whirling Dance: The whirling dances, seen on the wall paintings in the remote Dunhuang Caves, have been described by the famous Tang Dynasty poet Juyi Bai:

Wild whirling girls, wild whirling girls—
Their hearts answer to the strings,
Their hands answer to the drums.
At the sound of
the strings and drums, they raise their arms,
Like swirling snowflakes tossed about, they turn in their twirling dance,
Whirling to the left, turning to the right, they never feel exhausted,
A thousand rounds, ten thousand circuits—it never seems to end.

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