Saturday February 2,2013  8 pm at Jordan Hall
Presenting  
玄門步虛
Empty Choreography
佛教道教音樂會
Buddhism and Taoism Temple Music

by

中國管樂四大金剛
The four virtuosos of Chinese wind instruments

 

北美中樂團
Chinese Performing Arts of North America

 


 
    



 
Press Release:
Chinese(2012)
Chinese
English


 Press Release:
 
Chinese(2012)
 ● Chinese

 ● English



曲目  Program

  1. 集贤宾 河北民间道教音乐
    Ji Xianbin (Worthy guests coming together).
    Local Taoist music of Hebei province
     
     Performers:  Instruments:
    包键 Bao Jian 管子 Guanzi pipe
    郭雅志 Guo Yazhi 唢呐 Suona
    陈涛 Chen Tao 笛子 Dizhu flute
    胡建兵 Hu Jianbing Sheng month organ
    夏文杰 Xia Wenjia 大鼓 Big drum
    蔡振起 Cai Zhenqi 大钹 Big cymbal
     
  2. 返魂香 吕祖庙音乐
    Fanhui Xiang (The joss-sticks to call the spirit back).
    A piece originally played at Lvzu temple (Lvzu,one of the Eight Immortals in the Legend).
     
     Performers:  Instruments:
    包键 Bao Jian 管子 Guanzi pipe
    胡建兵 Hu Jianbing Sheng month organ
     
  3. 种种无名 山西雁北道教音乐
    Zhongzhong Wuming (Anything without names).
    Local Taoist music of north of Yanmenguan Shanxi Province.
     
     Performers:  Instruments:
    包键 Bao Jian 管子 Guanzi pipe
    胡建兵 Hu Jianbing Sheng month organ
    郭雅志 Guo Yazhi Sheng month organ
    夏文杰 Xia Wenjia Drum
    陈涛 Chen Tao 小铙 Small symbal
    蔡振起 Cai Zhenqi 大钹 Big cymbal


                                      中场休息  Intermission
     

  4. 昼锦堂 套曲 北京智化寺京音乐
    Zhou Jintang (The Hall of Incantations),a suite of Buddhist music of Beijing,
    discovered first at Beijing Zhihua Temple by Yang Yinliu during the 1960s.
    The suite contains four labeled tunes as follows:

      A  
    垂丝调 Chuisi Diao
      B  
    昼锦堂 Zhou Jingtang (The Hall of Incantations)
      C  
    醉翁子 Zui Wengzi(A Drunk Scholar)
      D  
    金五山 Jin Wushan(Five Golden Mountains)
     
     Performers:  Instruments:
    包键 Bao Jian 管子 Guanzi pipe
    陈涛 Chen Tao 笛子 Dizhu flute
    胡建兵 Hu Jianbing Sheng month organ
    郭雅志 Guo Yazhi Sheng month organ
    蔡振起 Cai Zhenqi 小云锣 Small cymbal
    夏文杰 Xia Wenjia 大鼓 Drum




A remarkable and memorable concert 2/2/2013 at NEC’s Jordan Hall. "Empty Choreography: Buddhism and Taoism Temple Music. Performed by
the Four-virtuosos of Chinese Wind Instruments: Bao Jian, Hu Jianbing, Chen Tao, and Guo Yazhi, with percussionists Xia Wenjia and Cai Zhenqi.
 
音樂會後新聞稿  Feb. 2013

由中華表演藝術基金會主辦,中國管樂四大金剛包鍵、胡建兵、陳濤、郭雅志,及北美中樂團團員夏文杰、蔡振起,二月二日星期六晚八點在喬登廳
(Jordan Hall)為波士頓地區的觀眾演出一場難得的道教與佛教音樂"玄門步虛"音樂會。主辦單位為讓觀眾能對演出的曲目有所瞭解,特別在音樂會前安排一個小時的曲目解說。陸惠風教授英語翻譯。參加解說會的中美觀眾非常踴躍,熱絡提問題。聽完曲目解說會候,觀眾更能夠享受到這場音樂饗宴。

音樂會以"集贤宾",河北民间道教音樂為開場,氣氛熱鬧讓人回憶起童年時廟口前舉辦為神仙祝誕、祈求上天賜福的廟會,也如同婚事嫁娶,時逢中國新年更覺的喜氣洋洋。接著演出吕祖廟音樂的"返魂香"及山西雁北道教音樂"種種無名",樂曲真的顯現了降妖驅魔,烘托渲染了濃厚的宗教氣氛。

下半場演奏出了北京智化寺音樂,智化寺音樂的曲牌分為只曲和套曲兩種,這次演出的為昼锦堂套曲有: "垂絲調"、 "晝錦堂"、"醉翁子"及"金五山"。整套曲子以管子樂為主,代表的是人的清明本性。笛子在一旁吹出了花俏之曲,代表世間物慾之誘惑。笙居處於管子與笛子之間。整套曲子所要表現的是人類原本清靜透明的(管子)本性,被世間物慾及權財之誘惑(笛子)不時擾亂混淆。但大部份的人仍是不失真心存有良知,所以往往是處在於善良本性與紅塵誘惑中拔鬥(笙),在人世界間迷惘及在六道中輪迴不已。整套曲子以粛穆莊嚴的鼓聲來區分段落,在聽完一段美妙激昻曲目後,靜然的鼓聲好像是一個休息也像是一個警醒,告知要在忙碌生活中反省,在世俗追求中醒悟,不要失了那原本的清明本性。

觀眾還意猶未盡,一首安可"放羊",當管子、嗩呐、笙及笛子四位演奏家在台上吹樂時,鼓及钹在一旁,鼓越打越快钹也越敲越響,四位演奏家是越吹越激烈玩逗起來,為整場音樂會帶到最高點,一場難得的豐宴以此圓滿結束。

音樂會後有非常受感動的美國觀眾主動寫給主辦單位,感謝這場精彩的演奏會。他們在兩年前觀賞過"荒漠錦堂",這次再來且期待下一次的演出。

Reflections on the Taoist term Empty Choreography  玄門步虛
(wfloh 12/5/2012)

If Genesis is concerned about why the cosmos has come into existence,then Laotze and the author(s) of the Diamond Sutra are mainly interested in how (and in what state) the cosmos is existing.

To the Taoists as well as the Buddhists,the ultimate ritual is a ceremony of the non-existence (nature of an inner landscape),an invisible dance accompanied by chanting and instrumental music that manifests the fascinating aspect of emptiness.

In other words,reality could be an empty choreography conjured by non-verbal perceptions.

In a preface to the 827A.D. edition of the Diamond Sutra,Yang Gao used three musical terms to compared with the three basic elements of Buddhism: "The (structure and melody of) music can be compared to Buddha’s teaching; the various (mixture of ) sounds are like a Buddhist’s public practice and private cultivation; and the voices (of singing and instruments) can be compared to Buddha’s nature."

"Without the music we can not make the sounds flow and travel; without the sounds we can not carry the voices; without the voices we can not manifest the music."

It is noticeable that this analysis considered music as a known entity that could be used to explain Buddhism whose basic tenets were still somewhat unknown to the ninth century readers of the Diamond Sutra.

A Yuan Dynasty savant,Zhi-An
芝蓭 wrote: "The Taoists sing about passion and compassion; the Buddhists sing about nature (of all beings); while the Confucians sing about rationality.

Zhu Quan
朱權,(16th son of Zhu Yuan-zhang 朱元璋) tried to elaborate on Taoist music as "an attempt to travel beyond the Heavens while exploring the very emptiness of all existence. To appreciate the tranquility and neutrality in the eight (outer) directions under the Heavens is to obtain an elegant independence from the Cosmic forces. The Taoists are serenely moved by the passion and compassion of the human past and that of the present. They are also merged with and yet detached from the way of human passion and compassion."

Contrasting the analogies of Yang Gao and Zhu Quan’s narration of passion/compassion,we can probably summarize that the Buddhists approach human-nature (and thus Buddha-nature) from within; while the Taoists approach the same question of emptiness first from the outer nature of the cosmos and then turn inward and arrived at a somewhat similar understanding of the non-existence of human passion/compassion.

The Confucianist,being a twin brother of the Taoist,is not only interested in the pragmatic part of human nature,as modern scholars would attest,he is also interested in the inter -relations of the outer nature and the inner landscape of the human heart and mind. That is why in the few samples that can be safely attributed to the Confucian musical tradition; we often find a great affinity between the beauty of human nature and that of natural forces.

In fact it echoes the Taoist’s concept of empty choreography.


玄門步虛集序 -- 略論釋道音樂與中國文化

陸惠風
  2012-11-21

或曰音樂源於宗教;或曰宗教源於音樂。孰先孰後,不得而言。

《書經》:「酣歌於室,時謂巫風」(尚書《伊訓》)。二者互為表裡,自古彰然。
據《小雅甫田》:「琴瑟擊鼓,以御田祖,以祁甘雨,以介我稷黍,以谷我士女。」,則音樂除實際農業與宗教功能以外,尚帶有"谷我士女"的社會功能矣。

歷經時日,終於演變成:「舞衫歌扇,大半宣淫,檀板金樽,無非行樂。」(見香祖樓後序)尚可說離開"谷我士女"的原旨還不甚遠。

至於後來坦然指陳:「說理者,落於腐障,掩耳思逃;醒世者墮入狐禪,游談惹厭。」則倒戈攻擊宗教,與文藝復興面貌相似,異曲同工。藝人趣談,頗可注意。
中國之所謂宗教音樂,亦自有其演變跡象可尋。乘此佳會,簡略為序。

三千年來,中華文化既以(道、儒、釋)三教為主要骨幹,則其核心性格,縱歲月久遠,而文獻留存,或尚有蹤跡可尋。

元人芝蓭(生平無考)曰:「三教所唱,各有所尚,道家唱情;僧家唱性;儒家唱理。……取來歌裏唱,勝向笛中吹。」宗教音樂,往往比附曲中詞意。因此重歌頌而輕八音之器。此話甚可注意。

雖然孤證無注,難為定論。或以為宋儒倡理學,佛家言見性成佛,道士唱道情。乃故作無根游談耳。

然明太祖十六子朱權,學問淹博,雅通音律。卻對芝蓭之語加以注解:「古有兩家之唱,芝蓭增入喪門(即桑門)之歌。為三家。道家所唱者,飛馭天表,遊覽太虛,俯視八紘,志在沖漠之上,寄傲宇宙之間,慨古感今,有樂道倘佯之情,故曰道情。儒家所唱者性理,衡門樂道,隱居以曠,其志泉石之興。僧家所唱者,自梁方有桑門之歌,初謂之誦偈。"急急修來急急修"之語是也。不過乞食抄化之語,以天堂地獄之說,愚化世俗故也。至(南朝)宋末,亦唱樂府之曲。笛內(即嗩呐)皆用之。元初贊佛亦用之。」(見《太和正音譜》)這裡的情與性理,得到更具藝術形象的闡釋,也更符合士人音樂理想之意境。

朱權崇道抑佛,輕看法樂,一望可知。他把佛家的"性",歸併
儒家"性理"泉石之興,此說未為允妥。

但他對儒道兩家的闡釋,彌足珍貴。

明代士人嚮往道家矯健而又淡遠境界,當不止朱權一人。我們甚或可以推測,中華音樂意境之終極嚮往,似亦以道家思想為核心。道家音樂留傳至今者,為數不少。可供專家揣摩。玄門步虛雅集,意在斯乎?

試比較儒之熱衷功名與鋪排禮教,相對佛之虛空寂靜,一個極端入世,一個極端出世。而道家的"恬淡靜遠"在三者之中,處於儒佛之間,是否更加與中華文學、藝術與音樂之靈魂所在接近?是個有趣問題。

雖然,中華佛學,後來演變成為入世(度人自度)的大乘禪學,似乎稍為修正了離世孤行的山林清修嚮往。而儒家則往往以朝政腐敗,經學失傳偏斜而形成「著書名山,以待將來」的出世精神。三者都有入世修行,出世證悟的宗教內涵。如此,則儒釋道三家都蘊育有離世出世的林泉生活精神。三者都帶點對俗世紅塵的抗議精神,而對自然湖海山谷林泉,則悠然產生崇拜信仰。這種"反俗世"的空靈精神,又把三教的核心教義,揉成一團。

宋金以後的全真教義,往往貫通三教教旨。在音樂傳統上,雖然三者各具本色,而其終極關懷,往往氣息相通,並不互相排擠。此中華文化之特色也。

遠在晉朝,流傳虎溪三笑的故事。如果慧遠代表佛家,陸修靜代表道家,陶淵明代表(出世的)儒家,縱使這個故事並非史實,但在精神上,此三人莫逆於心的笑聲,正代表三種教義在精神上,非但接近,而且是互相貫通的。

今天在音樂語言上,這三個流派,尤其是佛道兩家,仍然充分表現出,實在是從同一個民族的靈魂深處所湧現的內心精神。

如刻意要尋求三者之異,或許可問: 道家精神,是否更加能代表中華靈魂之心聲?
徐上瀛撰《谿山琴況》描繪音樂境界多借道家修煉用語,間亦用佛語。徐上灜以老子「大音希聲」為琴境之至高境界:「所謂希者,至靜之極!通乎杳渺,出入有無,而遊神於曦皇之上者也。」

此話未必碰著邊際,但一種神遊浩渺的音樂經驗,躍然紙上。頗可作研究音樂史學者的一絲線索。

接著徐上瀛設喻:「如熱妙香者,含其煙而吐霧;滌介茗者,蕩其濁而揚清。」「指下掃盡炎囂,弦上恰存貞潔。故雖急而不亂,多而不繁。淵深在中,清光發外。有道之士,當自得之。」簡直把宗教經驗與音樂經驗渾為一談。

此正是寰宇音樂文化相通之處,可謂一語道破,痛快人心的識見。

更進一步,他認為音樂之境界,竟或可抗拒自然,轉換心境,使與自然恰成相反感受。遂又回顧上古「巫」的經驗,或可與下引《谿山琴況》文句互相印證也。

「與山相瑛發,而巍巍影現。與水相涵濡,而洋洋淌恍。暑可變也,虛堂疑雪。寒可回也,草閣流春。不可思議,則意與音合。」一方面崇拜自然,另方面又想改變自然。所謂天人相通相感,此又宗教音樂另一特殊性格也。

力伸音樂實可建構人的內心境界。甚至可使與外在實況適成相反,則益發能達到意與音合的「和」的境界。道家之激烈處,於此可略略窺見。這種言論,遠在春秋時代師曠的故事中已見端倪。

次論佛家音樂思想對中國文化的三種影響。

一、據陳寅恪先生考證: 中國詩歌以四聲平仄相對、抑揚頓挫的韻律,實源於南朝聚居在建康(南京)揚州一帶之西域胡人以三聲(平、上、去)轉讀佛經的音樂傳統。古印度「聲明論」有三聲之說,以一字之音調高低定平上去三種聲調。平上去三聲(韻母)婉轉悠長,與漢語發音吻合。加上漢語本有「頓音」入聲,遂成「平上去入」四聲。

《高僧傳
15》:「釋僧辯,姓吳,建康人。出家,止安樂寺。少好讀經……哀婉折衷,獨步齊初。聲振天下,遠近知名。後來學者莫不宗事。永明七年(489A.D.)二月十九日,司徒竟陵文宣王夢於佛前詠維摩一契。便覺韻聲流好,著工恒日。明旦即集京師善聲沙門龍光、普智…….及辯等,集第作聲。辯傳古維摩一契,瑞應七言揭一契。最是命家之作。」

陳先生據南朝史事及《高僧傳》記載,指出六朝建康的佛徒中,已經出現所謂「善聲沙門」的專業僧人。他們「特廩妙聲,善於轉讀。」「響韻清雅,運轉無方。」「有無窮聲韻」「特廩自然之聲!」

非但直接影響千多年詩詞寫作規律,並且影響後來在寺院中從事「僧講」與「俗講」的說唱文學的音樂性格。此佛教徒對中國音樂傳統之一大貢獻也。朱權「急急修來急急修」「乞食抄化之語」,實欠公允,故特略指陳。

四聲初定,並不人人遵用。梁武帝蕭衍即不喜四聲拘束文句,問周捨:「何謂四聲?」周捨巧妙設例回答:「天子聖哲是也。」武帝後來並不尊用四聲之法。今日詩人,尚有不少與梁武帝同感,此題外話也。

二、佛徒對(誦唱)音樂之重視。

唐初僧人,因為太宗父子酷好(道家)王羲之字,常集王字(寫佛經)刻碑。太和元年(
827)開國公弘農楊承和刪削金剛經成4456字。集王字刻碑。自己寫序。

楊承和用音樂理論解釋佛教教義說:「今者,以樂比法教;以聲同修行;以音喻佛性。如光焰合體,明在其中。絕焰求光,明不可得。即老聖有無相生,我佛非法、非非法之義也。」他用「音」當作佛法本體,以樂比作可以教化眾生的教義。以聲當作修行實踐的體現。顯示出唐代佛徒對音樂的深刻體會。「聲本乎樂,而應在音。」佛性與教義是互相呼應的,只有在聲的實驗中,才能體會音與樂的本來存在。比喻佛法與佛性,非一非二,同時存在「聲」的實踐當中。非但解釋了佛學,無意中為後人解釋了佛徒對音樂的深刻瞭解。

更可注意,他引用老子「有無相生」的道家哲學。說佛性看不見(是無),教義可尋索(是有)。兩者有無相生。音的究竟不可知,樂的韻律可探討。

「非樂不能流其聲,非聲不能振其音,非音不能顯其樂。」三者一體,如佛有三身,所謂法身,報身,應身是也。

非一非二非三。樂本無,而音聲可得。佛法亦然。此金剛經「不可得」,道家「不可道」之勝義也。

若用同一邏輯,則所論道家之人情、釋迦之佛性,與儒者之天理,(人情為有,性理為空,空有相生,)其實一也。

妙義深解,引人入勝。此佛教音樂對中國思想貢獻之二也。

三、寺院道觀裏的俗講

上文引《高僧傳》姓吳的釋僧辯於永明七年在竟陵王府邸表演誦唱。並傳授「古維摩一契,瑞應七言揭一契。最是命家之作。」

這種六朝的歌贊揭頌傳統,可能只流傳在士大夫與高級僧侶之中。到了唐代,(道宣寫《續高僧傳》時),就慨歎「且復雕訛將絕,宗匠者希。昔演三千,今無一契。」已經顯示衰落跡象。

代之而起的,是「俗講」與「僧講」的(普及)音樂講座制度。

日本留唐僧人圓仁介紹說:「一、俗講,即年三月就緣修之。只會男女,勸之輸物,充造寺資,故言俗講,僧不集也。二、僧講,安居月傳法講是也。不集俗人。若集之,僧被官責。」

據《杜陽雜編》,唐懿宗「制二高坐,賜新安國寺,一曰講座,一曰唱經座。各高一丈。」

根據周一良先生說: 俗講跟講經一樣,有「都講阇黎」坐在唱經座上面唱經。敦煌殘卷《阿彌陀經講經文》有「都講阇黎道德高,音律清冷能婉轉。好韻宮商申雅調,高著聲音唱將來。」另《父母恩重經講經文也有:「都講阇黎著氣力,如擎重擔唱將來。」等稱讚都講的詩句。

唐代俗講是都講唱一小段,講經法師講說一段。後來演變成說唱故事。記錄稱為變文,如維摩變等。頗像今天的蘇州評彈。當然講經師也可能吟唱經文。並且有樂工依之撰曲。唱奏相隨,漸漸向「戲曲」方向演變。

錢易《南部新書》載:「長安戲場,多集於慈恩,小者在青龍,其次在薦福、永壽(寺)。」

非但戲場出現在寺廟道觀裏面,主其事者並且互相競爭,搶奪觀眾。

韓愈《華山女》詩句:

「街東街西講佛經, 撞鐘吹螺鬧宮庭。廣張罪惡恣誘脅,聽眾狎恰排浮萍。黃衣道士亦講說,座下寥落如明星。…….華山女兒家奉道,欲驅異教歸仙靈。洗妝拭面著冠帔,白咽紅頰長眉青。……遂來升座演真訣,觀門不許人開扃。不知誰人暗相報,訇然振動如雷霆。掃除眾寺人跡絕,花柳塞路連輜軿。觀中人滿座觀外,後至無地無由聽。抽簪脫釧解環佩,堆金疊玉光青熒。……」

韓愈此詩,雖因政見辟佛,故意偏袒道教。但反映當日佛道爭取觀眾信徒則是事實。女道士「白咽紅頰青眉」,唱做俱佳。女聽眾如癡如醉,「抽簪脫釧解環佩」相贈。仿若今日搖滾樂聽眾。蔚為奇觀,亦盛世之佳話也。

從宗教樂漸漸演化成娛樂群眾的俗樂的變化跡象,隱約可尋。

然而宗教家通過音樂追求一種神秘經驗的傳統則一直留存至今。

明代末年僧人寶成,撰《釋氏源流》,每頁插圖半紙。第五十三載《惠恭虔誦》的故事。說惠恭與惠遠結契同學,後遠詣長安,恭往荊揚。三十餘年後重遇,同宿夜話。遠語如泉涌,而恭竟無詞。遠問恭曰: 可不誦一部經乎?恭答: 唯誦得觀世音經一卷。遠曰: 觀世音經,小兒童子皆能誦之。豈復三十餘年,唯誦一卷經?恭答:「經卷雖一,佛口所說。尊敬者得無量之福。輕慢者得無量之罪。當為法師讀誦一遍耳。遠曰:「觀世音經是法華經普門品,遠已講之數百遍過。」恭曰:「書云,人能弘道,非道弘人。但至心聽佛語,豈得以人棄法?」恭昇高座誦經。始唱經題,異香氤氳,遍滿房宇。又聞空中天樂。天雨四花。樂則嘹亮振空。花則雰霏滿地。經訖下座,花樂方歇。惠遠接足頂禮,淚下交流。懺悔曰:「惠遠短識,輕侮法兄。幸勿見責,愿賜教誨。」恭曰:「但一心不亂,志誠持誦不怠而已。」

這個故事插圖,值得注意。荒郊野亭,惠恭據高座。儼然都講阇黎,昇座唱經模樣。惠遠階下立聽,狀貌恭敬。更可注意者,空中所繪,並非天雨四花的圖像,而是六種樂器: 笙、鼓、曲頸琵琶、笛、鈸,雙板。這六種樂器,當非隨意選擇。是否即早期寺院唱經時所常用伴奏樂器?何故無鐘磬小鈴木魚?耐人尋味。

惠遠名僧大德,而在此故事中,卻顯得貢高傲慢,有眼無珠。惠恭籍籍無名,卻道行高深。是否暗喻名聲學問非學佛正道,而樸素至誠,方能直達佛性?無論如何 ,此故事提示,在佛教修行儀式中,誦經音樂是高僧學佛過程中,極重要的法門,則無可懷疑。

今日中國說唱文學中所遺留的故事內容與文學體裁,與寺廟道觀的俗講與唱經文的儀式制度,淵源密切,此佛教音樂對中華文化貢獻之三也。

最後略說儒家音樂傳統,何以相形見拙?

主要原因有二。一曰執意避俗求雅。二曰對立天理人欲。音樂雖或有清濁高低之別,卻無雅俗天人之分。儒者重廟堂富貴名位,而以音樂為優倡伎樂宣淫行樂縱慾之具。儒家而留意音樂者,如非天賦智聰華族貴胄,則必落魄凋零之士,而後得免陋儒責難。此中華音樂所以萎靡之要因也。

古來唯佛道之高明大德,或民間隱逸,以禮佛、修道、率性之名,方得深求音樂淨化心靈之妙旨,遂為鳳毛麟角,不可多見。

近人徐楊沅(
1758-1825)《管色考》曰:「俗樂雖俗,不失為樂;雅樂雖雅,乃不成樂。是何也?則以俗樂求聲,各有師承。雅樂求律,唯憑胸臆故也。」一言道破: 雅樂故作神秘、唯憑主觀猜測的虛偽理論,反不如俗樂求實證經驗之累積而登堂奧。
治中國音樂史學者,不可不留意文化遺存之寶庫,不可不檢討文化積習之盲點。

佛道音樂會之舉行,其提倡實行者,亦必有其獨到之深意乎?

冗言谫陋,識者諒之。

陸惠風 感恩節前一日 
11/21/2012

Hu Jianbing 胡建兵 - Sheng 笙 soloist

HU Jianbing is a renowned composer and soloist of sheng (Chinese mouth organ.) After graduating from Central Conservatory of Music in Beijing in 1989 he joined Central Orchestra of Ethnic Music. In 1998 He moved to the US In 1999 he founded North America Chinese Music Ensemble. In 2001 he joined the Silk Road Ensemble formed by Yo Yo Ma In 2008 he gave a solo concert in New York with success.

He began his study of sheng,suano and guanzi with his father in his childhood. At the age of 10,HU debuted before an audience as a soloist. At 13,he was admitted into The Art Academy of Gansu Province. Five years later,after graduation he was on the faculty of the Academy. To further his art,he went to Jinan in Shandong Province to study with sheng master Mu Shanping as a private student. HU's music talent was recognized early in his career. In 1983,he was awarded top prize in Chinese Instrumental Music Solo Competition in Gansu Province. In 1985,he was selected by Central Conservatory of Music to study there. He studied sheng with Professor Feng Haiyun,guanzi with Master Hu Zhihou,and composition with Professors Li Bingyang and Guo Wenjing. Four years later he earned his dual bachelor's degrees in composition and performance.

In 1989,HU's guzheng solo piece "Autumn Melody",was premiered in Hong Kong by Zhou Wang. A year later,his commissioned piece "Plum Festival" was premiered by Hong Kong Chinese Music Orchestra. It was then recorded and broadcasted by the Chinese Central Broadcast Corporation. In the same year,he collaborated with famous Chinese music instrumentalists Hu Zhihou and Li Zhengui,and made an album of Traditional Chinese Wind and Percussion Music,which was released by PHILIPS record company. His composition piece "Fragrant as ever" received the Taiwan Original Music Awards in 1993. "Fragrant as ever",along with two other he's piece "Lisao" and "Qiu Sai Yin" played by Hu Zhihou and Wang Zhongshan were released by BMG Hong Kong. In 1994. HU collaborated with Hu Zhihou to research,perform and record traditional Shanxi Hengshan Taoist melodies such as "Things that will never be able to be named","The Sound of Joy" and "A Lamp". The soundtrack was released by JVC in that year. In 1996,HU toured the US with China's National Ethnic Music Orchestra. In the following year,he joined the Asian Orchestra and toured in Japan and South Korea. In the same year,Central National Orchestra of China organized "The Autumn Melody---- HU Jianbin's music" at Beijing Music Hall. The music columnist Professor Li Jiti wrote an article in the People's Music Magazine,titled "A Branch with Red Apricots is Spreading ----An analysis of HU Jianbing's work". HU was later interviewed by the Chinese Central Television's musical channel. In 1998,HU moved to the New York,and he founded the Chinese Performing Arts of North America. He currently serves as its president.

Many of his works were collected in An Anthology of Guanzi Music published by People's Music Publishing House in 2000. Among those were "Lisao","Qiu Sai Yin",and"Fragrant as ever",as well as the restored Taoist melodies "Things that will never be able to be named","The Sound of Joy` and `A Lamp." His "Autumn Melody" has been collected in An Anthology of Guzheng Music by the same publisher.

After touring with cellist Yo-Yo Ma in 2001,he has performed in famous concert halls the USA and around the world,including Carnegie Hall,Lincoln Center,and Merkin Concert Hall in New York City ,Sanders Theatre in Boston. In 2004,HU with Bao Jian perform in a concert in Paris organized by Pro Musicis. HU's piece Dancing with Ghosts was featured in the premiere. In the same year HU performed with Bao Jian in the Guanzi and Sheng Contemporary Music Concert at Carnegie Hall; and later HU spearheaded and played in the concert "Masters of Chinese Music" at Lincoln Center. In 2005,He was invited,along with Hu Zhihou and Bao Jian,by Harvard Yanjing Academic Association

to speak at Chinese Traditional Music Seminar. In 2007,HU and Bao Jian were invited by Central Conservatory of Music in Beijing. Consequently,Hu was featured as a special guest performer in the Beijing International Contemporary Music Festival. At the Festival Hu teamed with Bao Jian in a special performance of guanzi and sheng –His composition The Refined Orchid was premiered. In 2008,HU performed with ACJW Ensemble at Carnegie Hall. In 2009,HU with Bao Jian performed in the Museum of Modern Art in New York. In a review of Hu's recent performance the Boston Globe wrote,"He has an impressive command of the sheng and of a broad range of its classical,folk,and modern musical literatures."


胡建兵 ,1983年獲得甘肅省第一屆器樂獨奏比賽一等獎 。1984年畢業於甘肅省藝術學校 ,1989年中央音樂學院畢業後 ,隨即加盟中央民樂團 ,1997年中央民族樂團成功在北京音樂廳舉辦了"胡建兵民樂作品音樂會" ,1998年移民美國 ,1999年負責創建了北美中樂團並任團長 ,2001年加入馬友友《絲綢之路》樂團 。2008年成功在紐約-----大學舉辦個人獨奏音樂會 。

作品有古箏獨奏《秋調》(1989古箏演奏家周望在香港首演 ,收錄在由李萌教授主編 ,人民音樂出版社出版的《古箏曲集》中) ,二胡與琵琶《芽》(收錄在趙寒陽教授的二胡教材中) ,民族管弦樂《梅花祭》(1990香港中樂團在香港公演並由中國青年民族樂團在中央廣播電台錄音播出) ,管子與古箏《香如故》(1993年獲台灣新原人原創器樂獨奏音樂獎 ,收錄在由胡志厚教授主編 ,人民音樂出版社出版的《管子曲集》中 ,由香港BMG 發行CD) ,管子與古箏《離騷》和《秋塞吟》(由管子大師胡志厚和古箏演奏家王中山演奏錄音 ,香港BMG發行CD收錄在由胡志厚教授主編 ,人民音樂出版社出版的《管子曲集》中) ,二胡與樂隊《楚魂
(1997年由二胡演奏家宋飛與中央民族樂團在北京音樂廳首演) ,管子笙與古箏《戲鬼》(由美國職業音樂家基金會委約 ,2004在巴黎首演) ,管子笙與大提琴《幽蘭》(2007 年在北京現代音樂節首演) 。

近年來胡建兵擅長笙即興獨奏的演奏形式 ,提倡即興演奏是中國民間音樂演奏形式的靈魂 。.演奏的足跡遍布美國各地 ,及法國 ,瑞士 ,日本等國家 ,其中 ,著名音樂廳有紐約卡內基音樂廳 ,紐約林肯中心 ,紐約Merkin音樂廳 ,紐約MOMA 音樂廳 ,紐約時報音樂廳 ,波士頓Sanders劇院 ,芝加哥交響音樂廳等 。  
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BAO Jian包鍵 - Guanzi 管子 soloist

A graduate of Central Conservatory of Music in Beijing,Bao Jian has gained tremendous attention as an outstanding performer of guanzi (a double-reed folk instrument of ancient Chinese origin) through numerous appearances as soloist and chamber musician worldwide. Hailed by The Berlin Daily Post for his "pure hallowed music from the East," Mr.Bao has enchanted audiences with his virtuosity and poise. He boasts an impressive list of awards includes the 1998 Pro Musicis International Award and First Prize in the 1995 "International Chinese Ethnic Instrumental Competition" in Beijing.

With immense knowledge of classical and folk Chinese music,Mr.Bao is also acclaimed as a major innovator of contemporary works. UNESCO chose his recording of the song of "Three Layers of Yang Guan" to be internationally published. His performance of "Lin Li " concerto with the Hong Kong Philharmonic Orchestra set new standards for the guanzi . With saxophonist Ken Radnofsky,he premiered Lei Liang's "Extend" at the New England Conservatory's Spring Music Festivals at Jordan Hall. With The Phoenix Symphony,he premiered Xu Zhenmin's "Mooring at night by the Maple Bridge.".

As a recitalist,he has been heard on three continents and is a frequent guest performer at heralded festivals,including the "Festival of Asian Art" in Hong Kong and the "Bao der Weltkulturen" in Berlin. His reputation has earned him mention in " Famous Ethnic Chinese in the World of Arts & Literature". He is currently an artistic director of the Chinese Performing Arts of North America.


著名管子演奏藝術家包鍵1986年畢業於中央音樂學院並留校任教 。1995年榮獲中國民族器樂獨奏國際大賽管子組第一名 ,1998年再獲美國專業音樂家(Pro Musicis)國際大賽第一名 ,期間演奏出訪 ,足跡遍及歐亞美二十餘國及港澳地區 ,演藝精湛 ,佳評如潮 。2000年移居美國紐約 ,現任北美中樂團藝術總監 。

包鍵1994年亞洲藝術節首演個人創作《火》. 1997年由聯合國教科文組織錄製古曲陽關三疊音樂錄影帶 ,在世界各國發行 ,同年參加"中樂國際大賽金獎演奏團"赴香港演出 。2000年在紐約和洛杉磯舉辦六場個人獨奏音樂會 ,與美國著名薩克斯演奏家Ken Radnofsky合作演奏了作曲家梁雷的作品《延伸》 ,作為首席獨奏家隨北美中樂團在全美巡迴演出超過百場 。2002年5月 ,首度與爵士樂合作參加"中國音樂創世紀"在香港、上海等地演出. 2004年3月於巴黎、里昂舉辦四場個人獨奏音樂會 。同年四月在紐約卡內基音樂廳首演管子與笙新作品音樂會 。同年10月策劃舉辦林肯中心《二泉映月》音樂會 ,2006年4月策劃組織來自中國的國寶級演奏家於紐約、波士頓舉辦《百鳥朝鳳》音樂會 ,大獲好評 。2008年10月與鳳凰城交響樂團合作於美國首演徐振民作品《楓橋夜泊》 ,2009年8月應紐約現代藝術博物館(MoMA)邀請舉行專場音樂會 。

包鍵先生是當代管子音樂藝術重要推動者,也是管子演奏領域最早涉足現代作品的演奏家,自1984年首演潭盾的作品
山謠後,相繼首演李賓揚管子協奏曲山神以及旅美作曲家陳怡與周龍等現代管子作品,為開拓管子演奏表現技法做出重要貢獻 ,被譽為中國管子音樂的開路先鋒 。包鍵是首位與西洋管樂家以同等標準競賽並獲勝之華人民族管樂家 ,他經常獲邀參加各地藝術節 ,其中四度參加香港亞洲藝術節 ,在參加柏林Bao der Weltkulturen 藝術節演出時 ,當地主流媒體《柏林日報》褒譽他演奏的音樂"猶如來自東方的神樂" 。包鍵先生的藝術生平已入選世界華人文學藝術界名人錄 。   [top]

CHEN Tao 陳濤 - Dizhu flute 笛子 soloist

CHEN TAO: An internationally acclaimed Chinese flutist, music educator, composer and conductor of Chinese orchestra, is the founder and director of the Melody of Dragon, Inc., the co-founder and director of Melody of Dragon & the Youth, the artistic director and conductor of the Chinese Music Ensemble of New York and conductor of New Jersey Buddha’s light Youth Chinese Orchestra.

He graduated from the Central Conservatory of Music in 1986 and has served as professor in the Chinese music department. Since coming to the U.S. in 1993, Chen Tao has been invited to perform and lecture throughout the country, and in addition to traditional forms, he has won a reputation as a true pioneer in the world of new music. His playing can be heard on several soundtracks of Hollywood movies including Seven Years in Tibet, Corrupter (with the New York Philharmonic), The White Countess and the PBS documentary Under the Red Flag, the Voice of China, Becoming American and Italian movie "Singing behind Screen". In the US, The New York Times called him a "poet in music" and his playing "a miracle of the oriental flute." While on tour in Germany in 1989, the maestro Herbert von Karajan praises him as an artist whom "performed with his soul."

As a music educator, Chen Tao have been leading the Melody of Dragon collaborating with Midori & Friends foundation, to develop Chinese music culture in numerous elementary schools, high schools throughout Metropolitan area. As a composer, his music for flute "Leaves on Fall River", for Bawu Music "Phoenix Tail Bamboo beneath the Moon", for Chinese orchestra "Dance of Yun Nan" and many others have been recorded on CD. His new orchestra piece "Mindful of Zen—flute with orchestra" was commissioned by The Council of New Jersey Middlesex County Cultural and Heritage. In 2007, his flute & drum music "Dream of Dun Huang" was commissioned by Nai Ni Chen Dance Company and performed as World Premiere at New Jersey Performing Arts Center.


著名中國笛子演奏家, 音樂教育家, 美國神州中樂團團長及創始人。美國新澤西州佛光青少年樂團音樂總監及指揮。曾兼任紐約中國民族樂團的藝術總監和該團的指揮。
移居美國前, 陳濤曾任職北京中央音樂學院民樂系。陳濤的音樂, 融匯了南, 北笛子風格之精華。音色圓潤、醇厚, 技藝嫻熟、輝煌, 魅力獨特。
陳濤曾於1989年全國民族器樂比賽中榮獲第一名。並先後二十餘次代表中國藝術家小組, 中國音樂家協會, 中國佛教樂團等出訪美國, 德國, 意大利, 法國, 英國, 荷蘭, 芬蘭, 比利時, 瑞士, 葡萄牙, 香港, 台灣, 新加坡, 澳門等國家和地區。並成功地與世界一流的交響樂團如:英國BBC交響樂團, 法國里昂交響樂團, 葡萄牙國家交響樂團, 比利時國家交響樂團以及紐約愛樂樂團, 舊金山交響樂團合作, 贏得極高聲譽。陳濤曾被紐約時報譽為"音樂詩人", "神奇的東方魔笛", 已故世界著名指揮大師卡拉揚稱其"用心靈在演奏"
除了演奏外, 陳濤還進行音樂作品的創作和音樂論文的撰寫。其創作的笛子曲"秋江月泊", 巴烏曲"月光下的鳳尾竹", 為民族管弦樂團創作的"雲南舞曲"等均被錄製成CD出版發行。 2005年應美國新澤西藝術與歷史遺產委員會-New Jersey Middlesex County Council of Arts & Heritage 的委約, 創作了笛子與民族管弦樂隊的作品:"禪思"。 2006年為紐約中國民族樂團創作了彈撥樂曲: "小行舟", 應陳乃霓舞蹈團-Nai Ni Chen Dance Comapny之委約, 創作了具有西域風格的作品:"敦煌情思", 以後又將這首"敦煌情思"發展成一首笛子獨奏曲, 在舊金山的首演中引起轟動。其創作的論文"關於笛子的音色"在中國音樂雜誌出版, 來美後又發表了"關於新音樂(現代派音樂)的幾點看法", 引起美國樂壇的關注。
陳濤還多次應邀舉辦演奏會和專題演講。 1999年應英國劍橋大學著名中國音樂專家勞倫斯教授之邀, 主持題為"來自唐代的宮廷音樂"的研究。 1996年2月, 應台北市立國樂團之邀, 攜夫人劉麗(著名古琴演奏家), 共同在台北國家音樂廳舉辦笛子, 古琴協奏曲音樂會, 並舉辦為期一周的專題演講, 獲得極大成功。近年來, 更是率神州中樂團的同仁, 深入美國紐約地區大, 中, 小學舉辦普及中國音樂的教育與演出, 成績斐然。同時, 開辦各種器樂學習課程, 為出生在美國的華裔青少年教授中國樂器的演奏。為發揚, 宏大中國優秀的音樂文化不遺餘力, 是當今活躍於世界音樂舞台的傑出音樂家。
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GUO Yazhi 郭雅志 - 唢呐 Suona and 笙 Sheng month organ soloist

In Asia,
Guo Yazhi was widely known as "THE" best Suona player. He graduated from the top music school in China- Central Conservatory of Music. After graduation, he invited to stay on as a lecturer. He taught Suona at the conservatory for 9 years. In 1999, he obtained the post of chief of the Suona Sound Division of Hong Kong Chinese Orchestra.

The "Flexible Core of the Suona" invented by him is a great contribution to Suona history. It solves the problem in Suona’s playing of complicated modulations and temporary inflexions. This invention allows Suona, a folk instrument, to play large-scaled national symphony orchestras that use more sophisticated and modern arrangements, thus greatly broadening the expressive force of instrument.

As one of the most outstanding players in the orchestra. Yazhi has attended many important performances on behalf of the orchestra. Yazhi is a versatile and charismatic player. Apart from the Suona, he can also play pipe, sheng, piccolo, flute, ocarina, cucurbit flute, saxophone and even ‘leaf’. In 1998, he performed at the welcoming banquet for President Clinton’s visit to Beijing. In April 2007, Hong Kong Chinese Orchestra held a large-scaled personal solo concert titled "Guo Yazhi’s Wind Music World-Legend of Suona" for Yazhi in Hong Kong Cultural Centre Concert Hall, in this concert. It was a sold-out performance in a 1700 seats concert hall! He played several kinds of musical instruments and his performance brought great surprise and enjoyment to the audience. The performance was a great success!

In July 2012, the orchestra held another personal concert titled "Guo Yazhi’s Wind Music World 2-Raising the Bridal Sedan and Welcoming the Bride" for him. Chinese opera, modern jazz elements and diversified playing forms were introduced into the performance, showing his excellent music talent and deep expression of music.

Yazhi has performed many on times on CCTV’s programs. His personal charm has attracted a large group of music fans in China, Hong Kong and Taiwan, and has changed people’s attitude towards the Suona. Many students chose to learn this musical instrument after viewing his performance and he has enabled this traditional musical instrument to become fashionable and modern.


1990年, 畢業於中央音樂學院, 獲留校任教。
1993年, 發明"嗩吶活芯"裝置, 獲國家文化部科技進步二等獎。
1995年, 獲"富利通杯"中國國際民族器樂大賽二等獎。
1998年, 獲美國Pro Musicis國際大獎。同年6月, 被中國文化部選為最優秀的音樂家。
1999年12月至2011年8月, 任香港中樂團嗩吶首席及獨奏家, 並任教於香港演藝學院。
2007年4月, 創辦香港嗩吶協會並為首任會長。接受CCTV4"香江人物"專訪。
2007年11月, 獲邀CCTV民族器樂大賽評委。
2008年至2013年, 獲邀為香港藝術發展局音樂評審員。
郭氏與眾多樂團及歌星合作, 為許多影視片及電視晚會配樂。出版有《江河水》《城市暢想》等
十多張專輯。
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Foundation for Chinese Performing Arts

中華表演藝術基金會
Foundation for Chinese Performing Arts
Lincoln,Massachusetts
updated 2013