中国作曲家新作品赴美演出预演音乐会
《清调》–管弦乐（1998）
Qing Tune for orchestra in 1998
为管弦乐队与录音磁带而作的Qing-Diao（《清调》）就是这一时期的产物。尽管贾国平是在1998年德国留学之际创作的这首作品，但这并不妨碍在创作这首作品时，他对技术如何表达中国文化的特质这个问题上所做的一些思考。这一时期一种多见的现象是，在基于十二音技术创作的中国音乐作品中，绝大多数创作形式都是室内乐，甚至大量的音乐作品都是以独奏和独唱的方式呈现，但《清调》则是作为一部具有新音响材料特征的大型管弦乐作品而独树一帜。此外，由于新的“序列-集合”化思维的影响，完整保持十二音基本形态的创作在当时并非多见（不排除一些作曲家们对这种技术的有意回避），但《清调》却完整地保持了基本的十二音技术与序列写作思维来控制音乐材料。尤其值得一提的是，作曲家在创作时基于对中国文化的感受和理解，在序列的生成方式、音高组织及陈述特征方面进行了许多与之相关的个性化思考与探索，使得整部作品具有深度和新意，为这个时期所少见。本文的研究就是以这部作品音乐语言的生成技术为观测点，来深入讨论音乐语言的组织技术与文化二者之间的内在联系。
相关链接：
中央音乐学院交响乐团在美国纽约卡内基音乐厅举办8位中国作曲家交响乐新作品音乐会
《潋滟》 为琵琶与竖琴、长笛、单簧管、低音提琴和打击乐而作（2014）
Sparkling for Pipa, Harp, Flute, Clarinet，Double bass and percussion （2014）
乐曲为琵琶与竖琴、长笛、单簧管、低音提琴和打击乐而作，由多伦多New Music Concerts现代乐团委约，并于2014年5月首演于多伦多，琵琶：兰维薇。
作曲家借琵琶古曲《浔阳夜月》之意趣，将琵琶演奏左手技法（打、带、擞、揉颤）之清、灵、纤巧，呈现于管乐和低音所营造的溶溶水流之境。琵琶与竖琴相互追逐，在水与天的浩瀚中，波光闪动，星光粲然。无边的静穆，吐纳淬火之光。
Sparkling in the Vast fetures and extends particular techniques of pipa playing, blending with the plucked sound of harp playing. Pipa and harp chase each other, sparkling in the flowing atmosphere created by the wind instruments and doubles bass. Vast is endless silence, setting off and absorbing every sparkling shine.
《飘荡在苍穹》——大型民族管弦乐（2001）
Flowing in the Sky for the large-scale Chinese orchestra（2001）
西北是一块神奇的土地，那里曾诞生过古老而灿烂的文明，生息 繁衍着多种不同的民族。在这部作品中，作曲家尝试利用西北地区不同 民族风格的民歌或民间音乐的几个片段，如蒙古族的“穆色烈”、藏族 的 “堆谐”、青海的“花儿”、新疆维吾尔族歌唱性的音乐旋律，以 及西北地区汉族吹打乐等作为作曲素材，组合构成多种风格与多样化的 音乐语言，以期能够表现出在同一个西北地区的不同民族与人文的特 征。其次，通过将部分演奏员分布在剧场中各个方位的立体布局方式， 以及在作品结束前的一段音乐中借鉴运用了街头与广场民间器乐边走边 奏的演出形式，作曲家试图利用这些手段创造出一种流动的音乐时空， 在剧场这一有限的空间中形成更加多样性立体化的听觉可能性。此外， 作曲家也期望表现生活于西北地区各民族人民的那种深沉与旷达、热烈 与狂放、淳朴自然又富于生命激情的性格特征，以及西北地域那独特的 广袤而又苍茫的时空感觉。如同自然界中的一切万物那样，音乐也将永 远飘荡于这片苍天与大地之间，生生不息……
雪江归棹(2013) ——民族室内乐
A Returned boat in the Snow River (2013) for Chinese ensemble
归棹一词多见于中国古代文人诗歌与画作中，具有回归本处之 意。这首乐曲采用北宋赵佶同名画为标题，试图以音乐的方式 展示长卷画作中“水远无波，天长一色，群山皎洁，鼓棹中流 ，落叶萧疏，雪江归棹”的自然意象。
The term “gui zhao” means return and is usually showed in the poems and the ink paintings by Chinese ancient scholars. This piece employed the same title of the paining by Zhao Ji in the Northern Song Dynasty. It attempts to present the natural and artistic conception of the scroll painting by music. The original poem as follows: water without waves in the far away, sky and water change to the same color, mountains are bright and clear, a small boat with a scull floats in the river, sparse fallen leaves, a returned boat in the snow river.
《于无声处》(2005)—— 为手风琴、小提琴与大提琴而作
“Silence“ (2005) – for the accordion, violin and cello
“若我独处静默，我能听见来自万物的歌唱，感觉到它们的舞蹈。从坚固的岩石到轻 盈的流云，万物都在歌唱。”
全曲由五个不间断演奏的段落组成:天边的天空、远在远方的风、黑夜从大地升起、 融入内在光芒的瞬间、升向天空的寂静。在这五个标题表现出的五幅画面中，有一种亲和 万物的佛教精神孕育于其中;从不变到万变，从无声到有声。
作曲家以单一化的音响形态为核心，通过多样化的变化发展方式使音乐不断的转化与 演变，以期达到获得丰富音响造型的可能性。弦乐泛音的大量使用，为乐曲增添神秘的色 彩。手风琴声部在这部作品中的作用尤为重要，多以其长音形式衬托弦乐器，同时亦是大 提琴与小提琴之间的桥梁。
首演于北京 2005 年 10 月 12 日中央音乐学院音乐厅索菲亚古柏杜丽娜经典作品音乐会 上，以大师作品形式委约创作。
手风琴:曹晓清
大提琴:朱亦兵
小提琴:梁大南
(If I’m alone with silence, I could hear singing from everything, dancing, feel them from solid rocks to light clouds, all things are singing.)
The whole piece is composed of five uninterrupted passages : the horizon of the sky , the wind far in the distance , the night of the earth , the moment into the inner light , up to the sky in silence. These headings show five pictures, with a kind Buddhist spirit in it, from constant to instant, from silent to vocal .
With a sound of a single form, the composer made this music unceasing transformed and evolved through the changing, in order to achieve the possibility of enriching the sound. String overtone extensively be used, which
makes the music much mysterious. Accordion is particularly important in this work, it supports the string instruments with long tone, and also be the bridge between cello and violin.
This is a commissioned work. Premiered at “Sofia Gubaidulina Classic Concert” in the concert hall of the Central Conservatory of Music in China, on October 12th, 2005.
Accordion: Cao Xiaoqing
Cello: Zhu Yibing
Violin: Liang Danan
《碎影》（2003）——为琵琶与4位打击乐而作
“The Simulacrum of Broken Timbre” (2003) – for Pipa and four percussion
在讲到这部作品的创作时，贾国平先生说:“当一个作曲家为琵琶这样的传统乐器写作 时，不得不面对这件乐器已经所拥有的丰富的历史文献以及约定习俗形成的音乐与音响传 统观念。这些文献与习俗构成了今人创作与发展所依据的基础与平台，每一部新的作品都 应是在这个基础平台之上的新生儿与新组合体。如何在这个历史基础之上推陈出新则是每 一个作曲家必须要考虑，也必须要追求达到的境界。所以新作品不单单是时代意义上的新， 同时也是音乐实践与音乐语言本质上的创新。在这部作品中，我尝试从琵琶的几个传统音 乐作品中抽离出许多个音乐片断，将其作为创作这首乐曲的音乐材料。每一个片断都是具 有某种典型意义的音响，都与确定的演奏法与发声法相关联。这些音乐片断在原本作品中 所具有的音乐意义与音响特征构成了者心理上一些刹那间的碎片式的回忆(Aura)与联 想。但是在作品中，这些碎片化了的音乐材料被重新定义与重新组合，并且加以强化发展 的方式呈现出来，回避了被引用的音乐材料所具有的原本音乐义与固有觉联想，从而 赋予它们新的音乐表现与音乐内涵，形成新的音响特征。”
在创作过程中，作曲家试图开发每一种琵琶演奏法自身的独立表现力，弱化人为设计， 努力应用控制而又不露痕迹。同时动情于传统音乐的意韵之美，传统音乐在曲作者心中的 投影，即化作混合着自身审美体验和主观情感的印象。‘碎’意味着丰富而不完整，‘影’ 则将虚与实混淆揉杂，每一片碎影的表述既是作曲家借音乐之口在表达自己的美感体验， 也是音乐本身在说话，在漫不经心中透着深层、大气与洗练，句式语气的重构与空间位置 的营造则显出眼力与情趣。‘碎’自整体，‘影’出本相，指示了一种似是而非、雾里看花 的情境，吐露的芳华则显现出游离不确定的、亦真亦幻的、混杂着人的情感、情绪、情韵、 表情的意态，也真切体现了中国文人艺术的精神和审美追求。
本曲的音乐结构主体是由散起段(A)、片断化的旋律段(B)、重复音型段(C)、快速 跑句段(D)与最后的综合再现(E)等五个段落构成，在这五个段落之间又插入一段由四 个具有相同音乐性格的短小连接句构成的段落(F)。作者通过这样的结构方式(A F1 B F2 C F3 D F4 E) 企图打破常见的以几个大块布局的音乐结构习惯，以期获得更加灵活的结构 感觉与新的觉经验。
首演于 2003 年 12 月 12 日德国弗莱堡 “马可波罗-丝绸之路音乐节”。
琵琶:兰维薇
打击乐:加拿大多伦多新音乐团
“When a composer try to write for traditional instruments like pipa, he has to consider its wealthy historical documents that have already existed，as well as the traditional concept of music and sound, which has become the convention. Those two things formed the foundation platform of creative and develop for today’s composers, each new work should be the newborns and new combination of this platform. How to innovate is what every composer must consider and seek. Therefore, a new work is not only new on era, but also a substantial innovation of musical language and practice”. Talking about this work , Jia Guoping said : “In this piece, I tried to pick several clips from those classical piece for Pipa as the material to be worked with. Each clip is a typical of acoustics, and closely related to the playing skills and Articulation. The musical clips arouse the momentary psychological fragmented memories of the original works, but they are re-definition and reassembled, presenting with strengthen and development. Therefore, it avoids the original meaning and the auditory association, and gives a new content and performance, which demonstrates a fire-new acoustic features. “
Composer Jia excavated the solo expression of each instrument, weakening the intended design, and control everything without a trace，put his passion into the connotation and beauty of traditional music. In his mind, it turns into an impression of subjective emotion mixed with aesthetic experience. The title ‘Broken’ means rich but not complete, while ‘Simulacrum‘ means actual and virtual combination. Each ’broken simulacrum‘ expresses the composer‘s own feeling , but also the music itself telling. It reveals the grand and magnificent atmosphere beyond the casual surface, and shows the insight and delight of composer’s by the reconstruction of the sentences and the operation of spatial location. ‘Broken‘ is the whole, and ‘Simulacrum‘ is the truth, indicating a paradoxical situation, shows a scene of uncertainty, mixed with human emotion, mood, sentiment, expression, and definitely reflects the spiritual and aesthetic pursuit of the Chinese literati art .
The main structure of this piece is start with a scattered part(A), later the fragmented melody section(B), repeating paragraph(C), presto movement(D)
and the final recapitulation(E), among them, there are four connection constituted by four sentences with the same character(F). Such a musical form (A F1 B F2 C F3 D F4 E) broken the common layout that with several large movements, therefore, it obtain a more flexible structure with a new listening experience.
Premiered on December 12th, 2003, in Freiburg, Germany, in “Marco Polo – Silk Road Music Festival”.
Pipa: Lan Weiwei
Percussion: Toronto New Music Ensemble
《 天 际 风 声 》(2002)——为笙、大提琴与打击乐而作
“The Wind Sound in the Sky” (2002) – for sheng, cello and percussion
“目击众神死亡的草原上野花一片/远在远方的风比远方更远/我的琴声呜咽/泪水全 无”
本曲充分展示了笙的和音技术以及多声部演奏技巧;大提琴声部在广泛使用现代演奏 技术的同时，其“男高音”音区的优美音色也表现得十分突出。中西方两种历史悠久的乐 器音色，在本曲中融合得恰到好处。
作曲家在创作的过程中，尝试将海子的诗歌《九月》中的语言意象与音乐表现、文字 结构与音乐结构进行紧密结合。笙声部作为本曲的灵魂，连绵不绝，忽近忽远，展示一种 辽阔寂寥的时空背景;大提琴声部似大自然中风声的独吟，看似平静的线条下蕴含激烈的 情感倾诉动力;打击乐的意境似广袤的草原，是流浪者的家园，为笙和大提琴作氛围的烘 托。在乐曲开始，剧烈的音响喷腾而出，在一番叙述后逐渐达到情绪的高潮，最后归于平 静与回响，似诗中的意境:众神远离人而去，人孤独面对苍穹, 思念拥有神的日子。
首演于 2005 年 6 月 24 日德国汉诺威“远东音乐节”。
笙:吴巍
大提琴:卡斯特恩•德宁
打击乐:安德里亚斯•波特格尔
(Wildflowers are blooming on the centuries-old prairie, furthest wind blows, my tweedle sounds dolorous)
This piece shows Sheng’s harmonic as well as the multi-part playing skills: the modern technique is widespread used while cello playing , and the beautiful melody within the pitch range as “tenor” also sounds very prominent. The sounds of the two instruments with long history was perfectly mingled.
The composer tried to combine the imagery of Haizi’s poetry ” Jiu Yue (September)”, poetry and music performance, text structure and musical
structure. As the soul of the music, Sheng shows the endless melody, near or far, which present a vast, solitary space-time background; Cello sounds like a solo of wind, it contains a lot of intense emotion under the calm lines; The performance of percussion is like a wide grassland, or home of wanderers, to build an atmosphere for sheng and cello.
In the beginning of this piece, intense sounds come out, gradually reach the emotional climax after some narrative telling, and end with a peaceful echoes, like the mood of poetry : Gods went away, human face the sky lonely, miss the God days.
Premiered in “Far Eastern Music Festival”, on June 24th, 2005, in Hanover, Germany, performed by the famous musician Wu Wei.
Sheng:Wu Wei
Cello:Karsten Dehning
Percussion: Andreas Boettger
《 翔舞于无极之野 》(2001/02)——为长笛与钢琴而作
Schweben ueber grenzlosem Feld ” (2001/ 02) – for flute and piano
乐曲标题出自庄子《在宥》篇，“入无穷之门，以游无极之野”，展现的正是庄子终身 所倡导的特立独行“天地任我游”的至高精神境界。
作曲家期望创作一种在不同的音高区域、不同的音色、不同的力度、乐音与噪音等不 同的音乐材料以及不同的时间维度之间自由转换、漫游的音乐。自由是在选择与规定的材 料之上探寻和充分发展其千变万化可能性，翔舞则是抵达绝对自由之极境的超然状态。
该作品中，音色成为作曲家抒发情感的重要表现手段。两件西方乐器采用西方现代音 乐的演奏法，并借鉴中国民族乐器的演奏法及音色表现方式，创造出了富于中国神韵的多 彩音色。作曲家在创作中对两件乐器各自音色及二者的音色组合都进行了创造性的开发、 运用，对音色的处理和发挥臻于极致。作品中各种音色的运用与转换丰富多变，尤其是非 常规音色的运用使长笛与钢琴的音色达到了作品标题中所预示的“翔舞于无极之野”。
首演于 2002 年 1 月 26 日,瑞士温特图尔“来自中国的新音乐与诗歌”的师生专场作品 音乐会。
长笛:海恩利希•凯勒
钢琴:瑞吉塔•施泰恩波莱切尔
The composer wanted to create a kind of music that strolling and freely transformed in different time dimensions, different musical materials, different regions of pitch, different tone color, as well as between the music and noise with different strength. Freedom is the possibility to explore the ever-changing music form according to the selected and specified materials. This piece is absolutely a model of freedom that free to the extreme.
In this work, timbre is an important manifestation of ways to express composers’ emotions，it helps two western instruments playing music sometimes with modern western techniques, sometimes drawing from Chinese way, thus it shows
The title comes from the article “Zai You” by Zhuangzi, “入无穷之门，以游无极 之野”(Be in the wonderful world, no limit of enjoying in the wilderness), it shows the highest spiritual realm of “free” that Zhuangzi advocated .
us a very charming, colorful tone. The composer give something new to both of the two instruments, and also to the combination, the use of sound has been to the extreme. The conversion of different timbre is various and flexible, as well as the use of unconventional sound. It added more grace to the work, and make flute and piano sounds as described in the title “Schweben ueber grenzlosem Feld.”
The debut of this piece was given on a special music concert of teachers and students named “From China’s New Music And Poetry“ on January 26th, 2002, in Winterthur, Switzerland.
Flute: Heinrich Kelleer
Piano: Brigitta Steinbrecher