演出名称:丝路乐巡记—吴蛮与丝路音乐大师们音乐会
演出时间:2024年10月3日 周四 19:30
演出票价:100 180 280 380 580元
演出地点:中山公园音乐堂
演出时长:90分钟
演出名称:丝路乐巡记—吴蛮与丝路音乐大师们音乐会
演出时间:2024年10月3日 周四 19:30
演出票价:100 180 280 380 580元
琵琶：吴蛮
萨克斯/杜克拉管/塔罗加图管：巴塞尔·拉朱布
都塔尔琴/坦布尔琴/萨托琴：斯洛吉丁·朱拉耶夫
卡龙琴：费拉斯·查雷斯坦
手鼓：阿博斯·科西莫夫
中提琴/抒情维奥尔琴：嘉瑟·哈吉·尤瑟夫
Wu Man, pipa
Basel Rajoub, saxophone/duclar/tárogató
Sirojiddin Juraev, dutar/tanbur/sato
Feras Charestan, qanun
Abbos Kosimov, frame drums
Jasser Haj Youssef, viola/viola d’amore
演出曲目：
塔什干 萨玛依 茶园 马达德
奥德 米恩 节奏 都塔尔的练习曲
尤拉之舞 枫叶荻花 伊里 诺鲁孜节
*阵容、曲目请以当日演出为准
1. 《塔什干》
作曲：巴塞尔·拉朱布 （2017）
与塔什干这座庞大都市的初次接触为拉朱布的这部作品提供了灵感。塔什干是中亚的文化与商业中心。在那里，拉朱布找到了“阳光、安宁和家的味道”。拉朱布曾说，“塔什干，我走在你的街上，找到了这个声音。我向你致敬。”这部作品被多次改编以适应不同乐器的演奏，尤其在工作坊及大师班上，更成为年轻音乐学子与阿迦汗音乐家们合作的常演曲目。
2. 《萨玛依》
作曲：嘉瑟·哈吉·尤瑟夫（1999）
“萨玛依”是中东和北非最久远、也是最精致的一种器乐演奏形式，而且在该地区当今音乐家的曲目中仍是经久不衰。14世纪开始在奥斯曼帝国音乐家中间传播，至19世纪在形式上臻于完美。在中东和北非古典音乐传统中，萨玛依具有崇高而神圣的地位，大体可与欧洲古典音乐中的奏鸣曲相媲美。尤瑟夫于1999年创作的这首萨玛依历经多次改编，从欧洲巴洛克到当代爵士，许多来自不同文化和音乐传统的音乐家与歌手都表演过这首作品。
3. 《茶园》
作曲：吴蛮 (2016)
《茶园》是吴蛮向家乡浙江茶社里演奏的传统丝竹乐的一次致敬。吴蛮将《茶园》典型的中国五声音阶旋律教给卡农琴演奏家查雷斯坦，而查雷斯坦则通过自己即兴完成的对位对其加以修饰。琵琶与卡农琴完美的融合显得如此自然，以至于听者可能会认为二者向来是合奏搭档。而在某种意义上说，情况也确实如此。琵琶的渊源可溯至波斯巴尔巴特琴，而这种琴轴部弯折、颈部较短的鲁特琴很可能也是中东乌德琴的原型。两种弹拨乐器融合无间的声音恰恰占据着伊朗和阿拉伯传统音乐的中心。
4. 《马达德》
作曲：巴塞尔·拉朱布 （2023）
杜克拉管是一种只有一个八度的木管乐器。在拉朱布看来，《马达德》是一首“纤巧复杂的杜克拉管独奏曲……杜克拉管的简单朴素与塞加木卡姆(Maqam Segah)极简的即兴一起，突显了听起来不“大”也不“小”的“中性”音程特征，使得这首作品极富灵性，每次演奏时都有所不同。”
5. 《奥德》
作曲: 费拉斯·查雷斯坦 (2018)
标题“奥德（Awdeh）”意为“回家”。此曲表达了作曲家对故国的感怀与思念。作品受到中东传统木卡姆音乐的启发。这种精细繁复的古典音乐形式，其根源可溯至千余年前，至今仍保持着生机与活力。木卡姆的音阶与调式为作曲和即兴创作提供了无尽的源泉，而这首基于传统的作品便是明证。
6. 《米恩》
作曲:斯洛吉丁·朱拉耶夫（2009）
这首作品展示了双弦都塔尔琴经大师之手才能焕发出的技巧潜能，同时也体现了以杜拉手鼓演奏出的“乌苏尔”这种音步-节奏循环体所起到的重要作用。作品中两个不同的“乌苏尔”并置，一个是4/4拍，另一个是西方音乐中很少出现的7/8拍，但在塔吉克斯坦的传统音乐中却很常见。
7. 《节奏》
作曲：嘉瑟·哈吉·尤瑟夫
关于自己的这部作品，尤瑟夫说过这样一段话：“《节奏》这部作品采用了即兴的形式，灵感则来自阿拉伯木卡姆和巴赫第一小提琴奏鸣曲。巴赫是位普世作曲家。这首《节奏》试图将巴赫的音乐与木卡姆的精神相结合，使中东古典音乐和欧洲古典音乐这两个世界彼此相融。”
8. 《都塔尔的练习曲》
作曲：斯洛吉丁·朱拉耶夫 （2010）
原标题“mashq”有“练习”、“操练”或“训练”的意思，有时也用来描述一种阿拉伯书法风格。在这首作品中，作曲家朱拉耶夫将简单的都塔尔琴练习曲变身而成技巧性很高的作品，由阿迦汗音乐家共同编配，其中都塔尔琴复杂的弹拨法和弗拉门戈式的颤音显示出历史上安达卢西亚与大中东之间交往的音乐遗痕。
9. 《尤里之舞》
作曲：费拉斯·查雷斯坦 （2018）
作品灵感来自民间音乐，特别是瑞典的民间音乐。查雷斯坦离开家乡叙利亚后定居瑞典。这首作品是他在瑞典读大学时为一场圣诞音乐会所写的作品。
10. 《枫叶荻花》
作曲：吴蛮 （2022）
吴蛮毕业于著名的中央音乐学院，在校时接受的是严格正规的琵琶训练，并没有学习过即兴创作。后来在各种不同的音乐场景中，现场即兴演奏音乐变得愈加频繁且必要，包括录制电影原声音乐以及与像阿迦汗这样的当代音乐团体同台。这首作品便是吴蛮在录制《诺鲁孜节》这张专辑期间创作的。
11. 《伊里》
作曲：巴塞尔·拉朱布（2018）
在阿勒颇方言中，“伊里”的意思是“我的”。作品用汉志木卡姆音阶来写作。这一版本以朱拉耶夫在塔吉克-乌兹别克坦布尔琴上的即兴演奏开始，在中东和中亚两个音乐世界之间架起了一座桥梁。
12. 《诺鲁孜节》
作曲: 阿博斯·科西莫夫 (2019)
每年春分那天是波斯的传统新年诺鲁孜节。目前，不仅在伊朗及讲伊朗语的各个国家，在中东地区和整个中亚都庆祝这个“春天的节日”。近年来，许多西方国家也开始庆祝诺鲁孜节，以示文化的包容与尊重。科西莫夫这首作品旋律活泼、节奏欢快，描绘了诺鲁孜的节庆气氛及对来年的希冀。
1. TASHKENT
Composer: Basel Rajoub (2017)
“Tashkent” was inspired by Basel Rajoub’s first visit to that city, a sprawling metropolis that is the cultural and commercial center of Central Asia. There, Rajoub found “sunshine, peace, and the smell of home.” Said Rajoub, “Tashkent. I walked your streets and found this sound. I salute you.” “Tashkent” has been performed in many different instrumental arrangements, often in the context of workshops and masterclasses in which young musicians perform alongside AKMM.
2. SAMAI
Composer: Jasser Haj Youssef (1999)
Samai is one of the earliest and most elaborate instrumental forms that still maintains a strong presence in the repertoire of musicians from the Middle East and North Africa. Samai appeared in the 14th century among musicians in the lands of the Ottoman Empire and reached a level of formal perfection toward the end of the 19th century. Samai holds a venerated place in the classical music traditions of the Middle East and North Africa that might be compared to that of the sonata in European classical music. Jasser Haj Youssef composed this Sa- mai in 1999. Since then, it has been arranged for performance by musicians and singers from different cultures and musical traditions ranging from European Baroque to jazz.
3. TEAHOUSE
Composer: Wu Man (2016)
“Teahouse” is an homage to the sound of the traditional silk and bamboo instruments played in teahouses in Wu Man’s hometown area of Zhejiang Province, in China’s southeast. Wu Man taught the quintessentially Chinese pentatonic melody of “Teahouse” to qanun player Feras Charestan, who embellished it with his own improvised counterpoint. The beautifully integrated sound of the two instruments seems so natural that a listener could be excused for thinking that pipa and qanun have always been played together—and indeed, in a sense, they have. The pipa traces its ancestry to the Persian barbat, the short-necked lute with a bent scroll that may well have also provided the prototype for the Middle Eastern oud, and the melded sound of lutes and zithers is at the very center of traditional music from Iran and the Arab lands.
4. MADAD
Composer: Basel Rajoub (2023)
Basel describes “Madad” as “an intricate solo melody played on the duclar (a one-octave hybrid woodwind instrument),” adding that “the simplicity of the duclar and the minimal improvi- sation in Maqam Segah, which features a prominent ‘neutral’ interval that sounds neither major nor minor, makes ‘Madad’ very spiritual, and also different each time it is performed.”
5. AWDEH
Composer: Feras Charestan (2018)
“Awdeh” means “return (home)” and expresses nostalgia and longing for the composer’s homeland. It is inspired by the traditional maqam music of the Middle East, a sophisticated form of classical music whose roots go back more than a thousand years and that remains vitally alive today. The scales and modes of the maqam system provide an all but inexhaustible resource for composition and improvisation, exemplified in this tradition-based composition.
6. MEHAN
Composer: Sirojiddin Juraev (2009)
“Mehan” displays the virtuosic potential of the two-stringed dutar in the hands of a master as well as the prominent role of usul, the metro-rhythmic cycle played on the frame drum (doira). “Mehan” juxtaposes two different usuls: the first in 4/4 and the second in 7/8, a meter rarely found in Western music but common in the traditional music of Tajikistan.
7. CADENCE
Composer: Jasser Haj Youssef (2020)
Jasser Haj Youssef said the following about his composition: “‘Cadence’ is a piece in an improvised form that draws inspiration both from the Arabic maqam and from Bach’s Sonata no. 1 for solo violin. Bach was a universal composer, and what I try to do in ‘Cadence’ is join his music to the spirit of maqam, which is to say, join two worlds: that of Middle Eastern classical music and that of European classical music.”
8. MASHQ-I DUTAR
Composer: Sirojiddin Juraev (2010)
In music, mashq means “practice,” “exercise,” or “training” (it also describes a style of Arabic calligraphy). In this piece, composer Sirojiddin Juraev transforms a simple exercise for
the two-stringed dutar into a virtuosic composition, arranged by AKMM, in which the dutar’s complex strumming patterns and flamenco-like tremolos illustrate a musical vestige of the historical links between Andalusia and the greater Middle East.
9. JUL DANCE
Composer: Feras Charestan (2018)
“Jul Dance” (Jul is pronounced Yule) was inspired by folk music—specifically, the folk music of Sweden, where Feras Charestan makes his home after leaving his native Syria. He wrote the piece as his contribution to a Christmas concert at the Swedish university where he was studying.
10. AUTUMN FLOWERS AND LEAVES
Composer: Wu Man (2022)
A graduate of Beijing’s prestigious Central Conservatory, Wu Man did not study the art of improvisation as part of her rigorous formal training on the pipa. In recent years, however, she has been called upon with increasing frequency to extemporize new music on the spot in a variety of musical contexts including film soundtracks and performances by contemporary music groups like AKMM. Wu Man created “Autumn Flowers and Leaves” during the recording session for Nowruz.
11. ILI
Composer: Basel Rajoub (2018)
Basel Rajoub, saxophone; Jasser Haj Youssef, viola d’amore;
“Ili,” which means “mine” in the Aleppo dialect of Arabic, is written in the scale of Maqam Hejaz. This version of the piece begins with an improvised introduction by Sirojiddin Juraev on the Tajik-Uzbek tanbur, creating a seamless bridge between the musical worlds of the Middle East and Central Asia.
12. NOWRUZ
Composer: Abbos Kosimov (2019)
Nowruz is the traditional Persian New Year, which coincides with the vernal equinox. Nowadays it is celebrated not only in Iran and Iranophone countries, but in the Middle East and through- out Central Asia as the Feast of Spring. In recent years, Nowruz has also been celebrated in many Western countries as a sign of cultural inclusiveness and respect. Nowruz is a time of festivity and hopefulness for the year to come, as expressed in the lively melodies and rhythms of Abbos Kosimov’s composition.
吴蛮，琵琶
Wu Man, Pipa
吴蛮，国际著名琵琶演奏家，更是跨界音乐与跨文化交流的标志性人物，也是中国当代第一位具有世界影响力的传统器乐演奏家。她的贡献被西方公认为“将琵琶转变为通往中国文化的大门”。新英格兰音乐学院荣誉音乐博士、哈佛大学研究学者以及香港浸会大学荣誉院士。2023年获美国国家艺术基金（NEA）传统艺术领域最高奖项“国家终身杰出传统艺术家和文化承载者大奖”以及亚洲协会颁发的“亚洲艺术创变者”大奖。荣获第59届格莱美“最佳世界音乐专辑”奖，并七次入围该奖“最佳演奏”和“最佳世界音乐”提名。
她的艺术成就已超越了琵琶演奏家的角色，迄今发行的50多张专辑及每年举办的近百场音乐会成功雕刻出一位传统音乐家的职业生涯典范。其杰出艺术成就与突出贡献为她赢得了重要的“美国艺术家”奖，并于2013年获《美国音乐》“全美年度演奏家”荣誉。她是享誉国际的“马友友丝绸之路”乐团的重要创始成员，开创了跨界合作的先例。其演奏风格涵盖了传统、现代、即兴及创新等各个领域。2017年上海音乐学院为她的成就出版发行了《丝绸之路琵琶行：大师吴蛮的世界音乐叙事》。
吴蛮是中央音乐学院第一位琵琶硕士，先后师从邝宇忠、陈泽民、刘德海及林石城等名家，曾获全国首届民族器乐演奏比赛（山城杯）琵琶第一名。目前任浙江音乐学院特聘教授，也是首位被中国国家大剧院聘为“大剧院艺术家”（2019-2020年度）的民乐演奏家。
Wu Man belongs to a rare group of musicians who have redefined the role of their instruments, in her case, the pipa, a pear-shaped, four-stringed Chinese lute with a rich history spanning centuries. She is celebrated as one of the most prominent instrumentalists of traditional Chinese music, as well as a composer and educator. She has premiered hundreds of new works for the pipa, and has performed in recital and with major orchestras around the world. She is a frequent collaborator with ensembles such as the Kronos and Shanghai Quartets and The Knights, and is a founding member of the Silkroad Ensemble. She has appeared in more than 40 recordings throughout her career, including the Silkroad Ensemble’s Grammy Award-winning recording Sing Me Home, featuring her composition “Green (Vincent’s Tune).” She is also a featured artist in the 2015 Emmy Award-winning documentary The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble.
Born in Hangzhou, China, Wu Man studied at the Central Conservatory of Music in Beijing, where she became the first recipient of a master |
