摘要
“植根民族音乐之土跻身世界艺术之林”这是鲍元恺在自己的管弦乐组曲《炎黄风情——中国民歌主题24首管弦乐曲》首演的节目单上写下的感言。如果说15年前。
On December 8 and 9,2006,the Concert and Seminar entitled 'Taking Root in Chinese Music Leads to the Success in the World' to mark the 15th anniversary of the premier of Bao Yuankai's 'Yanhuang Fengqing'(Chinese Sights and Sounds),as well as the inauguration ceremony of the work's score,co-organized by Tianjin Conservatory of Music,China Symphony Foundation,Music Composition Committee of the Chinese Musicians' Association,and the People's Music Publishing House,took place in the city of Tianjin. At the seminar,Prof.Wang Anguo remarked that,from the perspective of the fact that Bao Yuankai's 'Lanhuahua'(Orchid)from his 'Yanhuang Fengqing' has been selected into various editions of middle school music textbooks,the success of a musical work 'depends fundamentally upon its fusion into social life of music where non-professionals in music participate,and upon its entry into classrooms of citizen education as an linkage with ethnic culture heritage.' Wang Shiguang,by analyzing the structure,connotation and composing techniques of 'Yanhuang Fengqing',pointed out that 'the high art must have good relation with the mass if it wants to survive.' Bian Zushan believed that the nationality of Bao Yuankai's music has developed to such an extent that his works become 'combination of both the Chinese and the Western,and suit both the refined and popular tastes,' and that the band ideas and orchestral language of 'Yanhuang Fengqing' are completely three-dimensional,in the sense of not only technical process of arrangement,but also the Chinese nature,style and passion rendered from the very bottom of the composer's heart.Prof.Bao is undoubtedly the 'great master of orchestra pieces.' Wang Junshi reckoned that the key of the work is 'feeling',which is explicitly displayed in the psychic description of 'Running Streams',the scene depiction of 'Watching Yangko Dance',and the theatric tension of 'Lanhuahua'.Duan Wuyi quoted the six words of Lu Ji from his speech in the 1980's,to praise Bao Yuankai's work as 'high,profound,far-sighted,extensive,strict and bold.' In his words,the 15 years of the work's success can be summarized as a striking 'Bao Yuankai Phenomenon'.German pianist Alexander Bildau pointed out that Western musicians and conductors enjoyed 'Yanhuang Fengqing' because of its distinctive beauty of music.Ji Xuedong,Vice-President of Tianjin Conservatory of Music,said that 15 years before,he performed in the premier concert of the work,and since then he has been paying attention to its development.With regard to its characteristics,he thought that Bao Yuankai at the very beginning had a clear objective,that is to let people have more knowledge of Chinese folk songs by means of symphonic music,rather than let people have more knowledge of symphonic music by means of folk songs.Prof.Shi Weizheng,former President of Tianjin Conservatory of Music,talked from the perspective of vocal music,and remarked that the 'Yanhuang Fengqing' has not only refined folk tunes,but also provided an in-depth interpretation of the connotation of the lyrics by using the orchestral language,and that the lyrics,working as the basis and means for the audience to better understand the music,make it possible to open up a wide space for artistic imagination.Prof.Yang Yanxing,Dean of the Arts Management Department of Tianjin Conservatory of Music,spoke from the angel of Tianjin local cultural traditions,and believed that the success of 'Yanhuang Fengqing' had much to do with the endeavour of the local government to attach great importance to folklore and traditions.He commended Bao Yuankai as the 'Chinese Glinka',and predicted that this seminar would turn an important page in the history of Chinese music.
出处
《人民音乐》
CSSCI
北大核心
2007年第3期20-21,95-96,共4页
People’s Music
