2008-09-23 19:31:47Barbara
大浪淘沙_出水蓮06 Like Wave against Sands
大浪淘沙
試聽 http://blog.xuite.net/musicswan/lotus/10707559
無錫民間藝人阿炳演奏的一首著名琵琶曲。琵琶曲<大浪淘沙>的音調並非來源於同名傳統樂曲，作品中除個別地方吸引了十番鑼鼓曲<將軍令>的部分音調外，其它旋律基本上是阿炳本人的創作。全曲分三個段落,第一段音樂緩慢從容，旋律委婉曲折，音程迴旋跳宕，節奏奔騰交錯，有著較多的低廻吟詠; 第二段音樂轉入行板速度，旋律單純，節奏單一，與前段形成鮮明對比；短小音型的重複和模進使音樂充滿動感，帶出了情感的轉折；第三段音樂結構較短，音樂形象也有別於前兩段；來源於『將軍令』的豪邁音調將樂曲增添了幾分奔放，使前段所蓄積的情緒在此處得到發洩抒解，而曲終以長輪轉入低音弦的滑鍒及雙音作結，有心何能止之慨。
Like Wave against Sands
A pipa piece made famous by A-Bing, a street musician in Wu-Shi. This piece is different from the traditional tune of the same title. For the most part it is A-Bing’s original composition, except for some quotations from a Shih-Fan-Lo-Gu tune, The General’s Command. (Shih-Fang-Lo-Gu is a genre of ensemble music mainly played at weddings, funerals, and secular rituals.)
This piece comprises three parts. The first part is slow, with an intricate melodic line and complex rhythm. The second part is in a moderately slow tempo, with a simple melodic line and straightforward rhythm. The short, repetitive motives and sequences give the music a vibrant character, contrasting with the first part. The last part is short and fast, and presents a different image than the previous two. The bold tunes from The General’s Command unleash all the passions from the first two parts. But the piece ends contemplatively with slides, rubs (both are pipa techniques to create subtle tone qualities), and double notes in the low register, leaving the listeners to linger in this state of mind.
(English translation by Shiau-uen Ding and Gabriel Ottoson-Deal)
作曲:華彥鈞 於1950演奏 曹安和記譜
編曲/製作:林岑芳
琵琶獨奏: Barbara Lin
錄音師/室: 錢家瑞/白金錄音室
混音師/室: 何慶堂/潮流音樂工作室
試聽 http://blog.xuite.net/musicswan/lotus/10707559
無錫民間藝人阿炳演奏的一首著名琵琶曲。琵琶曲<大浪淘沙>的音調並非來源於同名傳統樂曲，作品中除個別地方吸引了十番鑼鼓曲<將軍令>的部分音調外，其它旋律基本上是阿炳本人的創作。全曲分三個段落,第一段音樂緩慢從容，旋律委婉曲折，音程迴旋跳宕，節奏奔騰交錯，有著較多的低廻吟詠; 第二段音樂轉入行板速度，旋律單純，節奏單一，與前段形成鮮明對比；短小音型的重複和模進使音樂充滿動感，帶出了情感的轉折；第三段音樂結構較短，音樂形象也有別於前兩段；來源於『將軍令』的豪邁音調將樂曲增添了幾分奔放，使前段所蓄積的情緒在此處得到發洩抒解，而曲終以長輪轉入低音弦的滑鍒及雙音作結，有心何能止之慨。
Like Wave against Sands
A pipa piece made famous by A-Bing, a street musician in Wu-Shi. This piece is different from the traditional tune of the same title. For the most part it is A-Bing’s original composition, except for some quotations from a Shih-Fan-Lo-Gu tune, The General’s Command. (Shih-Fang-Lo-Gu is a genre of ensemble music mainly played at weddings, funerals, and secular rituals.)
This piece comprises three parts. The first part is slow, with an intricate melodic line and complex rhythm. The second part is in a moderately slow tempo, with a simple melodic line and straightforward rhythm. The short, repetitive motives and sequences give the music a vibrant character, contrasting with the first part. The last part is short and fast, and presents a different image than the previous two. The bold tunes from The General’s Command unleash all the passions from the first two parts. But the piece ends contemplatively with slides, rubs (both are pipa techniques to create subtle tone qualities), and double notes in the low register, leaving the listeners to linger in this state of mind.
(English translation by Shiau-uen Ding and Gabriel Ottoson-Deal)
作曲:華彥鈞 於1950演奏 曹安和記譜
編曲/製作:林岑芳
琵琶獨奏: Barbara Lin
錄音師/室: 錢家瑞/白金錄音室
混音師/室: 何慶堂/潮流音樂工作室