作者： guopingjia@163.com

Ripples in Spacetime II  for Clarinet, Violin, Cello and Piano（2017）    

该作品的创作灵感和音响核心都来自”中国天眼” FAST所发现的来自宇宙深处脉冲星的三个信号片段。 “中国天眼”（500米口径射电望远镜Five Hundred Meter  Aperture  Spherical Radio Telescope）的英文单词首字母也是构成此曲核心音高材料的来源。 此外，通过极具中国韵味特征的音响贯穿作品，并尝试与西方乐器融为一体共同营造一个独特的音响时空。

谨以此曲向“天眼之父”、 FAST工程发起者与奠基人南仁东先生表达由衷的敬意。

Ripples in Spacetime is dedicated to an outstanding Chinese astronomer Nan Rendong, the founder and the chief scientist of Chinese FAST project, to expressing sincere respect for his pioneering work. 

The inspiration and core sonic gesture of this work came from three fragments of pulsar’s signals in deep space which was discovered by the “Chinese Five Hundred Meter Aperture Spherical Radio Telescope” (FAST) in 2017. The dominant pitches of this work originate from the initial letters of FAST. Moreover, the composer intends to absorb some strong traditional Chinese music factors throughout this piece, and integrate it into Western instruments to contextualize a unique sound world.

该作品为中央音乐学院“211三期工程建设-中国民乐精品创作项目”委约而作。此曲直接引用曹雪芹《红楼梦》中《葬花吟》一诗标题。乐曲摘取原诗八个意象构成全曲八个段落的小标题，分别为：1.花谢花飞飞满天；2.红绡香断；3.风刀霜箭；4.漂泊难寻觅；5.泪洒、血痕；6.悲歌；7.天尽头；8.花落人亡。乐曲试图利用传统古筝不同风格流派音乐中表现哀怨的音乐元素，通过多样化的揉、吟、滑、按等音响生成技巧与多种织体手段，来表现飘渺孤寂之境与哀伤悲愤之情。

这首作品是有感于鲁迅先生的散文《野草·颓败线的颤动》中所表现出来的意象与意境而创作的。下列引文既是创作此曲的最初灵感，也是音乐企图达到的表现境界：

 “… 颓败的身躯的全面都颤动了, 这颤动点点如鱼鳞, 每一鳞都起伏如佛水在烈火上, 空中也即刻一同振颤, 仿佛暴风雨中的荒海的波涛。

她于是抬起眼睛， 向着天空， 并无词的言语也沉默尽绝，惟有颤动辐射若太阳， 使空中的波涛立刻回旋， 如遭飓风，汹涌奔腾与无边的荒野…” （ 摘自鲁迅《野草 – 颓败线的颤动》）

中国传统乐器是否还有更多新的可能性 – 如新的演奏技术，新的音色以及新的表现力？此曲即从这一角度出发来作探索，并尝试运用与其相适应的音乐组合方式来创作。根据音乐的表现内容，本曲在民乐器-特别是大唢呐的写作上借鉴了诸多现代演奏技法， 充分挖掘与发挥了大唢呐的多种音色与演奏的可能性（如多音和弦，泛音，快速度的音阶进行，跳音音型等等），此外也拓展了笙的多音演奏技术。此外在不同乐器的音色结合上也作了许多尝试，试图寻求一种民乐室内乐重奏全新的表达方式，及其相应的多样化与深度化的音乐表现的可能性。

The Wind Passing Through the Vast World for Pipa and Orchestra (2017)

琵琶是一件历史悠久、充满诗意，并具有丰富表现力的传统乐器。它与丝绸之路文化交流密切的关系，使得这件乐器带有多种文化浸染的印记。该作品中，琵琶采用低音弦移低纯四度的定弦法，试图追寻由西域传入的五弦琵琶古朴的音色及其浑厚共鸣的音响特质。

整部作品的音乐语言主要聚焦于琵琶轮、滚与扫拂组合的演奏技巧与发声 法; 管弦乐队的音乐语言是对琵琶音响模式的进一步延伸，通过将琵琶声响在不 同乐器上的转换与变化，以拓展琵琶音乐的表现力。最终，二者浑然一体共同营 造丝绸之路的历史意象。

此外，作品将唐大曲散序、中序、入破与急声四个递进结构模式予以打破重组，由十个长短不一的段落组成五个连续演奏的部分。

In China, pipa refers to a millennia-old lute imbued with crisp poetry and great expression. It has close ties with the Silk Road—a bridge for cultural exchange, which makes such lute bear the imprint of cultural diversity.
With reference to the Greater Qishi tuning of Tang’s five-stringed pipa, the composition in question tries to explore its simple tone and steady resonance by lowering the pitch of both the third and fourth strings.

This masterpiece focuses on performance and intonation, the former of which consists of rotating, rolling, flicking and plucking. The orchestra’s music language further extends the sounds of this instrument for greater expression’s sake by playing other instruments and making relevant variations. As a result, these two together make alive a historic image of the Silk Road

In addition, it restructures Tang Era’s Daqu Tune, which consists of sanxu, zhongxu, rupo and jisheng in a progressive manner, into five continuous parts that are further broken down into ten paragraphs with varying lengths.

The pine-soughing valleys for sheng, guzheng and orchestra

作品《万壑松风》的创作灵感源自于宋代画界巨匠李唐的代表作《万壑松风图》。这幅横亘千年绘画史的中国古典山水画名作，激发了作曲家贾国平的文化想象与文化情感，他于2013-2014年，写完了这首德国曼海姆国家交响乐团委约的作品。2014年作品在德国首演后，即被德国评论界认为是该乐团十年里最好的首演作品。

“结构感”或者“结构性”是这部音乐作品最典型的特征——尽管不是其唯一的特征——与此并行的是作品内部独特的架构方式和精巧的音乐技法设计。原画中“奇峰耸峙”、“清岚浮动”、“飞瀑鸣泉”、“水流奔涌”和“松林高密”五个主要景致，成为这首作品的主要意象表达。音乐以核心数控序列为循环生成原则，让贯穿该作品中的核心音响元素，形成多维耦合的层次结构，而这些结要素又自然地成为该作品五个段落的主要音乐表现内容。

所谓“外师造化、中得心源”，在这首作品中，客观现象—艺术意象—艺术形象以一种浑然天成的方式融合在了一起。（黄宗权文）

曼海姆国家歌剧院交响乐团2013至2014音乐会演出季委约创作。

德国斯考斯基国际音乐出版社（International Musikverlage  Hans Sikorski）出版。

2014年5月19日和20日在曼海姆玫瑰园音乐厅首演。

指挥：吕绍嘉先生。

古筝：苏畅

笙： 董颖

相关链接：

“记忆未来”：贾国平《万壑松风》的视听景观分析

“KALAVIUKA” for Orchestra(2012)

迦陵频伽（妙音鸟）人首兽身，被奉为礼佛乐伎，自唐以来常以视觉形象显现在佛教文化之中。作为视听综合的艺术符号，其妙音始终得“见”而未闻。作曲家在本曲中用奇妙的想象构筑了雪山鸟鸣、笙歌萦绕、百鸟朝凤等八个意象，幻化出一派生机盎然的自然声景。

Kalaviuka ( also known as the exquisite sounding bird) has a human head and a bird’s torso, and has been enshrined as a ritualistic performance, often appearing as a visual image in Buddhist culture since the Tang Dynasty. As an artistic symbol of audio-visual synthesis, the sound of the bird has always been seen but not heard. In this piece, the composer uses his fantastic imagination to construct eight images of birdsong in the snowy mountains, the haunting tunes of Sheng and hundreds of birds worshipping the phoenix, etc., which conjure up a vivid natural soundscape.

Ling Lai ( Listen to the Sounds of Nature ) for Orchestra（2018）

江南园林是中国文人实践其人生态度与审美理想的自然、心灵天地，也是中国哲学精神气质的典型表达。谛听自然之声是园林造园的理念之一，有声之境，寂然之响，与建筑，与山水，与诗词一同构成了园林生动而隽永的灵魂。

此作品借由听泉、听雨、听风与听雪四个部分来展现江南园林的诗情画意。在每个部分中，长短不一的音乐片段捕捉了多种声境意象，如春莺鸣泉涧、蝉噪林愈静、箭射荷花若洒金、竹韵松籁、蛙声一片等。作品通过交响乐队的声响来刻画四季流转中变幻不断的园林景观，并借此表现其特有的融自然与人文为一体的意境之美。

该作品为2018苏州金鸡湖作曲比赛创作委约项目,2018年11月27日由许忠指挥苏州交响乐团首演。2019年12月13日由俞峰指挥中央音乐学院交响乐团在美国卡耐基音乐厅进行国外首演。

Ling Lai  is inspired by the classical garden of Jiangnan, where the sounds and silences of nature are integrated with architecture, landscape, and poetry to express the Chinese philosophical spirit. The work portrays the ever-changing landscape of the seasons—spring rain, birdsong, wind in the trees, snow—expressing the unique beauty of nature and humanity.

Ripples in Spacetime for Sheng, Pipa, Zheng and Ensemble

该作品的创作灵感和音响核心来自”中国天眼” FAST所发现的来自宇宙深处脉冲星的三个信号片段。 “中国天眼”（500米口径射电望远镜Five Hundred Meter  Aperture  Spherical Radio Telescope）的英文单词首字母也是构成此曲核心音高材料的来源。 此外，通过笙、琵琶与古筝3件中国民族乐器将中国传统音乐中的吟、猱、绰、注、弹挑、扫拂等极具中国韵味特征的音响贯穿作品，并与西方乐器融为一体共同营造一个独特的音响时空。

谨以此曲向“天眼之父”、 FAST工程发起者与奠基人南仁东先生表达由衷的敬意

Ripples in Spacetime is dedicated to an outstanding Chinese astronomer Nan Rendong, the chief scientist and the head engineer of Chinese FAST project, to expressing sincere respect for his pioneering work.  The inspiration and core sonic gesture of this work all come from three slices of pulsar’s signals in deep space that have been discovered by Chinese Five Hundred Meter Aperture Spherical Radio Telescope (FAST) in 2017, and the dominated pitches of this work originate from several initial letters of FAST. In addition, the composer intends to fuse typical sounds played by Chinese traditional instruments, Sheng, Pipa, Zheng, and those of Western instruments into a unique musical world in this piece.

Jia Guoping FALLING LEAVES INTO DEEP VALLEY for orchestra （2011）

乐曲标题取自北岛的诗歌《走吧》：“走吧，落叶吹进深谷，歌声却没有归宿。走吧，冰上的月光，已从河床上溢出。走吧，眼睛望着同一片天空，心敲击着暮色的鼓…”。音乐并非是诗歌意象的图解，而是作曲家与诗人对于现实人生体验的共鸣。作品由五个连续演奏的段落构成，个别源于现实生活中的声响在作品中寄予了某种象征意义。诸如突兀出现的响鞭声源自5.12大地震后当地以鞭炮送别孩子的习俗；乐曲结束前的一片风铃声则隐喻了“飘向天堂的花朵”意向。因此作曲家谨以此曲悼念5.12大地震中罹难的孩子们。

The music title came from Bei Dao’s poem《Away》: “ Away, as falling leaves drifted into deep valley, the songs still finds no home; Gone, as silver moonlight shines on ice, it has overflown the river bank; Vanish, we gaze at the same sky, our hearts beating the drum of dusk…”. This music is not an illustration of the poetic image, rather the resonance between composer and poet’s real-life experience. The work is constructed by five consecutive paragraphs with symbolism sound effect from daily lives. Such as the sound of firecracker represents farewell to children passed away in the May 12^th Earthquake; the wind chimes ringtone at the end of the music is a metaphor of “beautiful flowers raising up paradise”. It is a work in memorial of children victimized in the May 12^th Earthquake.

Jia Guoping The Landscape of Northern Country for Orchestra

此作品创意来自1936年初毛泽东在山西吕梁石楼县留村创作的《沁园春•雪》。诗人以超拔的想象力与气魄非凡、雄浑宏大的语言描绘了北方高原冬雪过后的景象，言语中饱含了诗人对无限壮美的自然风光的赞叹，以及由此引发的壮志豪情。作曲家利用管弦乐宏大且层次丰富的音响形态，以声景的方式表现了原作中“千里冰封，万里雪飘……山舞银蛇，原驰蜡象，红装素裹，分外妖娆”等壮观意象，并发挥音乐长于表达情感力度的特点，将词作中蕴含的内在精神力量也予以充分体现。同时，作品中也蕴含了作曲家对故乡绵绵无尽的深厚情感。

The inspiration of this piece comes from Mao Zedong’s  famous poem “Snow”, which was written in February 1936 in Liu village, Shi Lou county，Lu Liang district, Shanxi province after a heavy winter snowfall. Mao expresses his appreciation for the magnificent northern landscape while relating it to his sense of accomplishment and his ambition for China. In his musical rendition, Jia Guoping makes use of the various sounds of the orchestral instruments, composing 10 consecutive sections to represent images such as “A hundred leagues locked in ice”, “A thousand leagues of whirling snow”, “The mountains dance like silver snakes, and the highlands charge like wax-hued elephants.” In addition, the music aims to convey the composer’s deep emotion for his hometown.