composer 作曲家
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……
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.
“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
“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
“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
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
The Lone Pine Singing in the Wind for woodwind quintet in 2001
完成于2001年，并于2001年10月31日在北京举行的“东方纪元—第三届中韩音乐节”上首演。乐曲标题是作曲家从苏轼《瓶笙》一诗的首句“孤松吟风细泠泠，独茧长巢女娲笙”中获得的灵感。旨在以中国传统乐器笙为依据，来进行构思与创作。
全曲音高结构的核心是两个五声音阶，分别源自京剧中西皮导板和二黄导板的引子，并由此展衍出所有的音高材料。作曲家从整体结构上对作品做了周密的规划:全曲十个段落，其中单数的5个段落以复调风格为主（A），双数的5个段落以主调风格为主(B)。两种风格的段落交叉间隔安排，使得音乐保持在统一的风格中，却有着内部段落之间的对比与变化。在对每一个段落的乐器使用安排上，作曲家也将其纳入到整个作品的结构和音色考虑中。A、B两种风格的音乐，分别从低音区和高音区往相反的方向运动，乐器安排也是在这样的运动中完成选择的。在主调风格的段落中，作曲家大量使用和声化的织体，平行和声旋律等手法；在复调风格的段落中，则多使用支声旋律，自由卡农等手法。速度安排又慢渐快再渐慢，使得音乐发展有松有驰。极具特色的五声性和声，加上细致的配器音色，使得作品的音响新颖且柔和。
在这个作品中，作曲家把中国传统音乐中常见的单音特性与相对少用的和音特性相交融，从而打破中国音乐的单音主导地位，使得音乐的发展变化有了更多的可能性。在这里，作曲家从传统乐器笙独特的和音特性出发，尝试用传统的五声性音阶，创造出源自传统却极具现代感的和声音响。将多音思维纳入到作品创作中，大大的增加了作品的容纳度，获得音乐有限发展中的最大丰富性。
（林燕撰文）
” Mei” (1995) – for harp and electronic music
竖琴:莱恩•山端 (日本)
本曲曲名和陆游的“卜算子·咏梅”一词相呼应。此阙词亦是这部作品试图透过音乐用意象来表达的内容。
“驿外断桥边，寂寞开无主。 已是黄昏独自愁，更著风和雨。
无意苦争春，一任群芳妒。 零落成泥碾作尘，只有香如故。”
本曲是基于严密控制与机遇选择——两个似乎相互矛盾的原则而创作的。通过电子合成器将音乐元素材料输入到计算机中，再由计算机将输入的各种音响参数加以改变，产生出几十种相互关系不同的机遇化音响模式，最终确定出16种音响模式构成全曲。
竖琴在此曲中担当主奏者，织体的写作追求中国传统乐器古琴与古筝的韵味，对律动与节奏的控制，以彰显“散”“慢”的特征为主。在作品中，电子音响声部的存在始终传递着一种心理以及外在的空间，用以衬托音乐主体。
本曲于1995年9月在参加斯图加特第三届国际现代音乐暑期班期间完成。首演于当年9月斯图加特“现代与实验音乐会”。
Harp:Reine Yamahata (Japan)
The title comes from Luyou’s poetry “Pusuanzi – Yong Mei “. The verse is just what the piece tries to express through the music image.
“驿外断桥边，寂寞开无主。 已是黄昏独自愁，更著风和雨。
无意苦争春，一任群芳妒。 零落成泥碾作尘，只有香如故。”
(Nearby the bridge, wintersweet is blooming alone. When night comes on, she feels unheeded, and yet suffered from the storm. Plum blossom does’t want to be the queen and no cares about the envy from others. In spite of the falling, mixing with the soil, and turning into the dust, it is full of the fragrance.)
This piece is composed according to two seemingly contradictory principles – the tight control and the opportunity selection. Using the electronic synthesizer to input the music materials into the computer, and change them in the digital audio workstation in order to produce dozens of different sound, ultimately, select 16 of them to constitute the whole piece.
Harp is the main instrument in it, texture writing aspired the charm of traditional Chinese instruments Guqin and Zheng. Therefore, the control for rhythm and tempo basically focus on “casual” and “slow”. The presence of electronic sound always convey a psychological and external space, which plays the role of a susceptor to support the main music.
This piece was completed during the period of Third International Contemporary Music Summer Class in Stuttgart, in September, 1995. It premiered on this year 25th September at “Modern and Experimental Music Concert” in Stuttgart.
” Whispers of a Gentle Wind ” (2011) – for Banhu, Sheng, Pipa and Guzheng
本曲的标题来自郑板桥《墨竹图》的题诗，整曲以个性化的语言来表达“自然”这一 中国传统艺术的核心主题。乐曲结构分成四个部分，采用较为自由的节奏与速度布局，浑 然天成，具有中国音乐即兴而洒脱的特性。全曲共有 127 个小节，每小节都被设计成独立 的音响瞬间。这部作品中很少运用重复的材料，因此作品进程中不断产生出新的音响。即 使偶尔有重复的材料出现，也会使其以变奏或变化形态来展现。
谈到本曲的构思过程，作曲家说道:“作曲家创作每部作品都会经历一次面对‘传统’ 的思考过程:乐器的传统、音乐语言的传统、音乐风格与句法结构的传统等等，当下的创 作是无法离开有意识地对“传统”进行思考，否则也就无法创作出相较于‘传统’而言的 ‘新’音乐。同时，作曲家还必须面对当下音乐创作现状进行反思，如何使自己的音乐创 作与同时代作曲家有所不同?如何取舍同行创作的有益经验?如何定位与明确自己的音乐 创作风格，如何实现等等。如果缺乏这一层面的思考，作曲家的个性也无从谈起。”在接受 德国 Sikorski 出版社采访时，作曲家也对这部作品做出介绍:“在这部为 4 件中国乐器创 作的《清风静响》中，基本体现出我个人化的风格特征——我寻找到了表现中国传统艺术 美学所追求的那种空旷音响空间与瞬息万变的音乐处理方式:即音乐语言虚实相间、速度 自由变换与音色浓淡刹时间转换流动等等。”
2012 年度的中国音乐艺术发展报告对这部作品作出了客观的评价:“在创作领域，经 历了传统与现代、中国与世界的大碰撞与大融合，当代中国作曲家已经开始‘找回自己’， 并在‘以我为主’的基础上获得了新一轮融合与回归的螺旋式上升……贾国平的民族室内 乐《清风静响》(为琵琶、古筝、板胡和笙而作)就是一部有代表性的作品……作品不但流 淌着中国人特有的审美趣味和情态，而且也达到了中国传统音乐与西方现代音乐技术以及 现代审美取向的深度融合。”
首演于 2011 年 5 月 14 日，北京音乐厅， “北京现代室内乐团 Ensmeble Contempo Beijing”成立音乐会。
板胡:胡瑜 笙:董颖 琵琶:兰维薇 古筝:宋心馨
The title comes from the poem of Zheng Banqiao “Mo Zhu Tu”, the whole piece expresses the “natural” in personalized language, which is the core of traditional Chinese art. The structure is divided into four parts, mostly adopting a more
flexible tempo and free layout. It’s natural and free, showing the unique Chinese characteristics of music improvisation. The whole piece is a total of 127 sub- sections, each section is a separate audio moment: the process fills with the continuous production of new sound, therefore duplication technology is seldom used in this work, even if repetitive material appears occasionally, it’s variations or the transformational form .
Commenting on the conception of this piece, Jia said: “Every time the composer writing a piece will experience the process that thinking about ‘tradition’: the tradition of musical instrument，the tradition of musical language, the tradition of music style and the tradition of syntactic structure, etc. Contemporary music composition cannot be completed without the consciously thought on ‘traditional’, otherwise, the ‘new’ music that relative to traditional one could not be created then. At the same time, the composer has to give a reflection in face of the current situation on music as well. How to make your own music different? How to absorb the useful experience from others? How to define your music style? How to achieve the goals? …. If it’s lack of thinking in this respect, the personality of composer’s is out of the question.” In an interview with Sikorski music publishing, Jia Guoping saied “The piece for four Chinese musical instruments ‘Whispers of a Gentle Wind’reflects basically my personal characteristics. I’ve found a processing method of musical sound, which is ever- changing and with open space, showing the aesthetic pursuit of Chinese traditional art, that is the actual and virtual situation of music language, tempo changes, and instantly transformation and flow characteristics of tone color. “
The 2012 Annual Report On The Development Of Chinese Music Art made an objective assessment to this work: “In the field of composition, having went through the time of tradition and modern, the largest collision and merging of China and world, Chinese contemporary composers have begun to ‘find themselves’, and obtained a new round of spiraling of integration and regression on the basis of ‘self-centered’ …… Jia’s Chinese national chamber music’Whispers of a Gentle Wind’ ( for Pipa, Zheng , Banhu and Sheng ) is right a representation of this …… not only flowing with the unique aesthetic taste of Chinese, but also
achieved the deeply fusion of Chinese traditional music, western contemporary music techniques, and modern aesthetic tendency. “
This piece premiered at “Ensemble Contempo Beijing Concert” on 14th, May , 2011, in Beijing Concert Hall.
Banhu: Hu Yu Sheng: Dong Ying
Pipa: Lan Weiwei Guzheng: Piece Xinxin
Scattered shades for Flute, Clarinet, Piano, Violin and Violoncello（1997/2014）
1997年作曲家在德国留学时曾遭遇过一次作曲的危机。当时进行过一次作曲尝试：即摆脱过去自己所习惯的音乐语言与写作方式，以理性化的设计，非连贯性的音响组合来写作。这部从未演出过的习作，对其而言是一部自我创作方式转变的作品，在这样的未确定与没有把握的作曲过程中，作曲家始终把音乐的表达定位在中国古代水墨画的意象上。
《竹影萧疏》即是建立在十几年前那部习作结构基础上的重新写作。在这部作品中，作曲家将中国传统国画技法中虚与实的观念作为音响构建的原则。音乐语言的虚与实通过不同音乐要素的主次搭配、互相转换与持续衍变来体现。如以不同音色、不同织体形态、不同力度如影相随贯穿全曲所构成的音响模式，又如音乐在散板与律动化节奏之间、在不同速度之间的自由转换等等。作品试图追求与营造中国传统艺术中特有的空灵与静谧的音乐风格。
Scattered Shades von Jia Guoping bezieht seine wesentliche Anregung aus der alten chinesischen Tuchmalerei, dokumentiert aber gleichzeitig das Überwinden einer Schaffenskrise. Jia stellte sich 1997 während einer für ihn künstlerisch schwierigen Zeit die Aufgabe, eine Studie zu komponieren, die seine bisherigen kompositorischen Techniken mit den Mitteln rationaler Konstruktion überwindet. Scattered Shades greift diese Studie auf und zeichnet mit anderer Besetzung ihre Struktur vertiefend nach.