Скачать с ютуб 遥想 苏幕遮——为中阮，筝与民族乐团而作（2019） в хорошем качестве

遥想 苏幕遮——为中阮，筝与民族乐团而作（2019）

遥想 • 苏幕遮 中阮与筝协奏曲 作曲：毛竹（中国） 指挥：黄德励（新加坡） 阮独奏：饶思铭（新加坡） 筝独奏：蒋星怡（中国） 协奏乐团：四川交响乐团“天姿国乐”民族室内乐团 《遥想 • 苏幕遮》是一首为中阮，古筝与民族乐团而创作的民族管弦乐作品，2019年6月由新加坡鼎艺团与四川天姿国乐室内乐团在成都联合首演。我创作这首曲子的缘起，是从一场名为“海上丝路”的音乐会开始。2019年，新加坡鼎艺团的指挥黄德励先生邀请我为一场具有文化交流意义的音乐会创作新曲，音乐题材须与“丝绸之路”相关。那时正值初夏，窗外有凉风阵阵，拂动了窗边一只风铃，“叮”的一声不禁让我思绪远去，想起了关于“苏幕遮”的故事。 历史上的西域丝绸之路，其沿线各国之间有着多样的文化交流，形成各种文 明互相交错的丰富生态。唐代盛行的龟兹乐舞“苏幕遮”，是一种头戴假面载歌载舞的游乐形式，经西域传至中原，后又东传日本。到了宋朝，“苏幕遮”逐渐演变为一种词牌格律，许多以“苏幕遮”命名的诗词流传至今。从西亚到东亚，从唐朝乐舞到宋代词牌，“苏幕遮”在不同的时代表达着不同的含义，它流转演变的过程让我不禁浮想联翩，遂提笔作曲，谱出了这一首《遥想•苏幕遮》。 Sumuzhe Fantasie composer: Mao Zhu The term "Sumuzhe" originated from Persian and has evolved over time, taking on distinct meanings in each historical era. In the Tang Dynasty (618-907), "Sumuzhe" was a popular form of music and dance in the Qiūcí kingdom (today's Kucha region of Xinjiang, China), combining masquerade and ambulatory drama. With the rise of Qiūcí music in the central plains, "Sumuzhe" integrated into the official system, becoming a notable part of the Tang Dynasty court music repertoire. Due to continuous wars in the late Tang Dynasty, musicians gradually departed from the court, leading to the dispersion of court music, including 'Sumuzhe,' into folklore. After the Tang and Five Dynasties, "Sumuzhe" transitioned into literature and poetry, adopting the specific format and meter known as Ci Pai. By the Song Dynasty (960-1279), Ci Pai "Sumuzhe" had become a prominent feature in many poetic works created by literati, and some of the finest Song poems associated with "Sumuzhe" are recited to this day. While spreading in the central plains of China, "Sumuzhe" music also moved from west to east, and ultimately to Japan, where it became a piece of dance music named "Sumozhe" in Japanese Gagaku. This traditional dance music "Sumozhe" has been passed down in Shitennoji Temple in Osaka, and is still performed today, preserving the rich cultural legacy of "Sumuzhe". "Sumuzhe Fantasie" is a musical work composed by the author for the Chinese orchestra in 2019. The three musical themes in "Sumuzhe Fantasie" respectively correspond to the image of "Sumuzhe" in different eras: the typical musical scales and modes from the Song Dynasty, the timbre characteristics of Sho and Hichiriki in Japanese Gagaku music, and the music style of Uyghur Muqam. Using Chinese orchestral music as a carrier, the composer embarked on a cultural root-seeking journey of "Sumuzhe" in music.