《道德经》有云：“一生二，二生三，三生万物”。在道家的观念中，世界是由“阴阳”“天地”“正邪”“有无”等诸多相互对立又相生相伴的元素构成的。当这些彼此纠缠又互为补充的力量，经过碰撞与冲突而达成新的平衡时，另一种更和谐、更美、更稳定和更具生命力的新能量将从博弈与交锋中应运而生，并最终支撑起这个缤纷的世界。
在艺术领域，迥然不同的视角与思路，同样容易擦碰出令人激动的火花。回望中国近代音乐最近百余年的发展史，“西”与“东”的交融与调和是这段故事的主要情节。十九世纪前后，与世隔绝的中国音乐曾陷入过长达百年裹足不前的蹉跎岁月。长期闭门造车的发展方式和尊古卑今的历史负担让中国音乐一度丧失了创新的动力，作品的更新迭代几乎陷入了停滞。当时的中国音乐，貌似家底雄厚、自成一体，实则遭遇了发展的瓶颈，失去了吐故纳新的能力，万马齐喑。清朝末年，市面上的音乐大体上仍保留着继承自宋、明两朝的原貌，新意寥寥，尽显疲态。
二十世纪初，随着国门渐开，沈心工、萧友梅、青主、黄自等中国新音乐的先驱通过留学海外，系统性地接触到了西方的音乐文化。经由他们之手，记谱法、曲式学、和声学、配器法等西洋音乐理论被完整地带到国内。在先驱们不遗余力的推动下，新式的音乐教育也逐渐进入了初级及高等学府，突破了传统音乐教育口传心授的局限，培养出了如：刘天华、吴伯超、丁善德、冼星海等一批兼具东西方音乐视野的本土音乐家。他们用西式体裁谱写或用西洋乐器演绎的中国新音乐作品如《光明行》《牧童短笛》《黄河大合唱》等，为打破曾经的创新僵局贡献出了重要的力量，也给中国音乐注入了新的生命力。
西方音乐的到来，为二十世纪的中国音乐带来了巨大的扰动。西洋音乐的涌入，不只是为中国音乐带来了新鲜的声音，它还像一面镜子，照出了两种文化间彼此的不同。那些极具中华民族特质的音乐元素，在这种多视角的自我审视下，变得越发清晰可辨，给“只缘身在此山中”的我们带来了一个再次认识自己音乐文化的新方式。不仅如此，在东西方音乐融合不断加深的过程中，许多具有中国民族特色的节奏、旋律、调式和民族乐器也正在以惊人的速度融入西方的主流音乐文化之中，为西方的音乐带回了具有东方色彩的启发。
来到二十一世纪的现在，东西方音乐之间的相互借鉴与学习并未停止，甚至比历史上任何一个时期都要更加丰富和深入。今天活跃于国际乐坛的中国作曲家，几乎全是在东西方两种文化的共同滋养下成长成熟起来的。他们中的很多人，拥有长期在海外学习、工作和生活的经历，有着将东西方文化集于一身并融会贯通的艺术能力。在本乐季的“乐是故乡明”系列音乐会中，国家大剧院管弦乐团将聚焦于这些杰出的中国当代作曲家和他们的作品，将我们这个时代结合了东西方共同智慧的优秀作品奉献给大家，为观众们带来叶小纲的《峨眉》，陈其钢的《万年欢》《蝶恋花》《五行》《悲喜同源》，姚晨的《造园》等各具特色的作品。此外，在第七期国家大剧院青年作曲家计划中脱颖而出的优秀作品周嘉颖的《冰玉堂》也将在本乐季被再度奏响，而新一期青作计划的展演作品也将在这个乐季与观众见面。
在本乐季中，三部由国家大剧院委约创作的重磅新作也将迎来首演。姚晨的新作《秋怀》将以声乐和乐队为依托，抒发中国文人自古以来难以释然的悲秋情怀。赵季平创作的交响童话《花儿的故事》将以交响合唱的壮观阵容，展现一个耄耋老人未曾泯灭的童心。黄若的《峰回路转》则由来自五大洲的乐团共同委约，着墨于全球关注的环境问题，发出音乐家振聋发聩的呼喊。
值得一提的是，作曲家郭文景还将以焦点作曲家的身份出现在2024/2025及2025/2026两个乐季中，为我们带来他的《第二号竹笛协奏曲“野火”》《春望，为筝和管弦乐团而作》和《中国民歌组曲》等力作。在郭文景身上，东西方文化的碰撞是以逆向思维的方式表现出来的。在他看来，中国传统文人音乐虽然有竹子一样清雅的品格，但也像宣纸一样轻和薄；虽有忘情山水的飘逸，但缺少大的悲悯心。他对此感到不满足，故尔在民族器乐创作中竭力在精神上、气质上挖掘和拓展悲剧性、戏剧性、交响性，因而形成了他沉厚浓重的民乐创作特征。《纽约时报》将郭文景称为是“惟一未曾在海外长期居住而建立了国际声望的中国作曲家”。
`, entxtcon:`According to Daodejing, “The Dao created One; One created Two; Two created Three; Three created all things.” Daoism sees the world as the combination of opposing and mutually complementary elements such as “yin and yang,” “heaven and earth,” “good and evil,” and “being and nothingness” and so on. When these forces entangled with each other and complementing each other reach a new balance through conflict and collision, a new energy that is more harmonious, more beautiful, more stable and more vital will emerge from the confrontation as the force that supports this diverse world.
Similarly, in the field of art, excitement often sparkles from the conflict and collision of different perspectives and ideas. A review of the development of modern Chinese music shows that the fusion and integration of the West and the East was a main theme in the past century. Cut off from the rest of the world, Chinese music of around the 19th century had stagnated for over a hundred years. The long-term seclusion and the historical way of thinking that valued antiquity over the present time discouraged Chinese music from innovation and restrained the emergence of new styles and new works. At that time, Chinese music, although apparently rich with a profound tradition and a unique style, encountered a bottleneck in development and was lifeless without the ability to update itself. At the end of the Qing Dynasty, all available Chinese music remained the same way as what was inherited from the Song and Ming Dynasties, with no originality or vigor.
As the country gradually opened up from the beginning of the 20th century on, pioneers of new Chinese music who studied Western music culture abroad, such as Shen Xingong, Xiao Youmei, Qing Zhu, and Huang Zi among others, systematically introduced Western music theories of notation, musical form, harmony, orchestration and so on to China. With the tireless efforts of these pioneers, new music education was also brought into primary and higher education institutions, breaking through the limitations of traditional music education through oral teaching, cultivating a group of Chinese musicians with both with Eastern and Western musical perspectives. These musicians, including Liu Tianhua, Wu Bochao, Ding Shande, and Xian Xinghai, composed either in western musical forms or for western musical instruments. Their works such as “Towards Brightness,” “The Cowboy’s Flute,” “The Yellow River Cantata,” etc., brought vitality into Chinese music and helped break the deadlock of its development.
The arrival of Western music caused great disturbances in Chinese music in the 20th century. It did not only import new sounds but also functioned as a mirror that reflected the differences between two different cultures, providing us a new way to re-understand our own music culture. Musical elements with Chinese characteristics have become clearer under this multi-perspective self-examination. With the continuous deepening of the exchange between Eastern and Western music, many rhythms, melodies, modes and instruments with Chinese national characteristics were integrated into the mainstream music culture of the West at an amazing speed, bringing oriental inspiration to Western music.
In the 21st century, Eastern and Western music continued to learn from each other with greater profundity and depth than any previous period in history. Almost all Chinese composers active in the international music scene today have grown up with the nourishment of both Eastern and Western cultures. Many of them have long-term experience of studying, working and living abroad, and have the artistic power to integrate Eastern and Western cultures. In this season’s concerts of the “Sounds of China” series, the NCPAO will highlight these outstanding contemporary Chinese composers with their distinctive works that bring together the wisdoms of the East and the West, such as Ye Xiaogang’s “Mount E’mei,” Chen Qigang’s “Joie eternelle,” “Iris dévoilée,” “Wu Xing the Five Elements,” “La joie de la souffrance”, and Yao Chen’s “Garden: Unearthing the Way Home.” In this season, Zhou Jiaying’s “Bingyu Hall”, which stood out in the seventh NCPA Young Composer Program, will be performed again, and the works for the competition in the new Young Composer Program will also be introduced to the audience.
This season will see the premieres of three new works commissioned by the NCPA. Yao Chen’s “Sentiments: Autumn” for bass baritone and orchestra expresses the sentiments about autumn, a perpetual topic for Chinese poets since ancient times. Zhao Jiping’s symphonic fairy tale “The Story of Hua’er” shows the childlike innocence of an old person with a magnificent symphonic chorus. Huang Ruo’s symphony “Tipping point” co-commissioned by orchestras from five continents is the musician’s thunderous call for attention to environmental issues.
It is worth mentioning that Guo Wenjing, the featured composer in the 2024/2025 and 2025/2026 seasons, will bring several of his masterpieces, including “Concerto no. 2 “Wildfire” for the Chinese bamboo flute, the concerto “Spring Hope” for the zheng and orchestra, and the “Chinese Folk Song Suite”, in which we will see how Guo Wenjing expresses the collision of Eastern and Western cultures in a way of reverse thinking. For him, traditional Chinese literati music is as light and thin as rice paper despites its bamboo-like elegancy. It pursues freedom from worldly sorrows in the intoxicating beauty of the landscape but lacks the great compassion for all mankind. Unsatisfied with this, he makes great efforts to explore and expand the tragic, dramatic and symphonic spirit in his composition for Chinese national musical instrument, thus forming his stately and profound style. The New York Times praises Guo Wenjing as “the only Chinese composer who has never lived abroad but established an international reputation.”
`, autor:'李小庚', enautor:'Li Xiaogeng', }], mainworks:[ { pic:'../conimg/2024091415.jpg', time:`2024.9.14/15`, title:`“狂喜之诗”汉努·林图与国家大剧院管弦乐团演绎斯克里亚宾、陈其钢与西贝柳斯`, entitle:`“The Poem of Ecstasy” Scriabin, Qigang Chen and Sibelius with Hannu Lintu and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:'https://wticket.chncpa.org/product.html?id=10000649', enlink:'https://en.chncpa.org/whatson/zdyc/202407/t20240722_266386.shtml', tips:[ { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`汉努·林图`, job:`指挥`, enname:`Hannu Lintu`, enjob:`Conductor`, }, { name:`谢苗·萨洛马尼科夫 `, job:`小号`, enname:`Semyon Salomatnikov`, enjob:`Trumpet`, }, ], performance:[ { name:`陈其钢`, job:`《万年欢》，为小号与乐队而作`, enname:`Qigang Chen`, enxiejob:`Joie Eternelle`, enjob:`, for Trumpet and Orchestra`, }, ], }, { pic:'../conimg/20240922.jpg', time:`2024.9.22`, title:`“布鲁克纳密码”吕嘉、沈洋与国家大剧院管弦乐团演绎布鲁克纳与姚晨`, entitle:`“The Bruckner Ciphers” Bruckner and YAO Chen With LÜ Jia, Yang Shen and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:'https://wticket.chncpa.org/product.html?id=10000643', enlink:'https://en.chncpa.org/whatson/zdyc/202407/t20240722_266377.shtml', tips:[ { name:`布鲁克纳密码`, enname:`The Bruckner Ciphers `, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`沈洋`, job:`低男中音`, enname:`Yang Shen`, enjob:`Bass-baritone`, }, ], performance:[ { name:`姚晨`, job:`《秋怀》 *世界首演`, enname:`YAO Chen`, enxiejob:`Sentiments: Autumn `, enjob:` *World Premiere`, }, ], }, { pic:'../conimg/2024092425.jpg', time:`2024.9.24/25`, title:`“土人之作”国家大剧院管弦乐团与朋友们演绎刘恒的打击乐作品`, entitle:`“Made in China” A Night of Percussion with LIU Heng & Friends and NCPAO Musicians`, address:'国家大剧院·小剧场', enaddress:`NCPA·Multi-functional Theatre`, link:`https://wticket.chncpa.org/product.html?id=10000705`, enlink:`https://en.chncpa.org/whatson/zdyc/202405/t20240523_264348.shtml`, tips:[ { name:`无界室内乐`, enname:`NCPAO in Chamber`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`国家大剧院管弦管弦乐团打击乐声部`, job:``, enname:`The Percussion Section of NCPAO`, enjob:``, }, { name:`中央音乐学院教师及学生`, job:``, enname:`Faculty and Students of Central Conservatory of Music`, enjob:``, }, { name:`进击打击乐团`, job:``, enname:`Strikeast Percussion Ensemble `, enjob:``, }, ], performance:[ { name:`刘恒`, job:``, enname:`LIU Heng`, enxiejob:``, }, { name:``, job:`《简易五重奏》`, enname:``, enxiejob:`5imple Quintet`, }, { name:``, job:`《朱雀》`, enname:``, enxiejob:`Vermillion Bird`, }, { name:``, job:`《面对面》`, enname:``, enxiejob:`Face2Face`, }, { name:``, job:`《身体之趣》`, enname:``, enxiejob:`Body’ FUN!`, }, { name:``, job:`《霓虹灯》`, enname:``, enxiejob:`Neon Light in Six`, }, { name:``, job:`《彩云追月随想》 `, enname:``, enxiejob:`Capriccio on The Clouds Chasing the Moon`, }, { name:``, job:`《黑猴出洞》 `, enname:``, enxiejob:`Monkey Play`, }, { name:``, job:`《回忆》`, enname:``, enxiejob:`Memory`, }, { name:``, job:`《日出东方》`, enname:``, enxiejob:`Sunrise in the East`, }, { name:``, job:`《漫天繁星》`, enname:``, enxiejob:`A Sky Full of Star`, }, { name:``, job:`《飞翔II》`, enname:``, enxiejob:`Fly II`, }, { name:``, job:`《将军》`, enname:``, enxiejob:`The General`, }, { name:``, job:`《当我想起你》`, enname:``, enxiejob:`When I think of you`, }, { name:``, job:`《四原子》`, enname:``, enxiejob:`Atoms for 4`, }, { name:``, job:`《土星光环》 `, enname:``, enxiejob:`Saturn’s Rings`, }, { name:``, job:`《望岳》`, enname:``, enxiejob:`Gazing on the Mountain Tai`, }, ], }, { pic:'', time:`2024.10.15/16`, title:`“薪火相传”国家大剧院管弦乐团与合唱团的交响新征程`, entitle:`“The Torch Carriers” A Flight of New Chinese Works with China NCPA Orchestra & Chorus`, address:'北京艺术中心·音乐厅 / 国家大剧院·音乐厅', enaddress:`BPAC·Concert Hall / NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:`乐是故乡明`, enname:`Sounds of China`, }, { name:`焦点作曲家：郭文景`, enname:`Composer-in-Focus: GUO Wenjing`, }, ], personnel:[ { name:`张国勇`, job:`指挥`, enname:`ZHANG Guoyong`, enjob:`Conductor`, }, { name:`陆威`, job:`小提琴`, enname:`LU Wei`, enjob:`Violin`, }, { name:`胡胜男`, job:`打击乐`, enname:`HU Shengnan`, enjob:`Percussion`, }, { name:`高白`, job:`中胡`, enname:`GAO Bai`, enjob:`Zhonghu`, }, { name:`唐俊乔`, job:`竹笛`, enname:`TANG Junqiao`, enjob:`Bamboo Flute`, }, { name:`王宏伟`, job:`男高音`, enname:`WANG Hongwei`, enjob:`Tenor`, }, { name:`刘贝贝`, job:`旁白`, enname:`LIU Beibei`, enjob:`Narrator`, }, { name:`国家大剧院合唱团`, job:``, enname:`China NCPA Chorus`, enjob:``, }, { name:`北京爱乐合唱团`, job:``, enname:`The Beijing Philharmonic Choir`, enjob:``, }, ], performance:[ { name:`周嘉颖`, job:`《冰玉堂——在历史的暗明中穿梭》`, enname:`ZHOU Jiaying`, enxiejob:`Bingyu Hall—Going Through the Waves of History`, }, { name:`叶小纲`, job:`《峨眉》，为小提琴、打击乐与乐队而作`, enname:`Xiaogang Ye`, enjobf:``, enxiejob:`Mount E'mei`, enjob:`, for Violin, Percussion and Orchestra`, }, { name:`郭文景`, job:`第二号竹笛协奏曲“野火”`, enname:`GUO Wenjing `, enjob:`Bamboo Flute Concerto No. 2 "Wildfire"`, }, { name:`赵季平`, job:`交响童话《花儿的故事》 *世界首演`, enname:`ZHAO Jiping`, enjobf:`Symphonic Tale `, enxiejob:`The Story of Hua’er`, enjob:` *World Premiere`, }, ], }, { pic:'', time:`2024.11.7`, title:`“东韵西律”佩蒂吉拉尔、陆轶文与国家大剧院管弦乐团`, entitle:`“From Paris to Beijing” Petitgirard, LU Yiwen and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:`https://wticket.chncpa.org/product.html?id=10000699#2024-11-07`, enlink:`https://en.chncpa.org/whatson/zdyc/202407/t20240708_265923.shtml`, tips:[ { name:`时代先河`, enname:`Heralds of the Time`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`洛朗·佩蒂吉拉尔`, job:`指挥`, enname:`Laurent Petitgirard`, enjob:`Conductor`, }, { name:`陆轶文`, job:`二胡`, enname:`LU Yiwen`, enjob:`Erhu`, }, ], performance:[ { name:`陈其钢`, job:`《悲喜同源》，为二胡与乐队而作`, enname:`CHEN Qigang`, enjobf:``, enxiejob:`La joie de la souffrance`, enjob:`, for Erhu and Orchestra `, }, ], }, { pic:'', time:`2024.11.15/16`, title:`“生命之光”张艺与国家大剧院管弦乐团演绎梅西安与陈其钢`, entitle:`“Resplendence of Life” Messiaen and Qigang Chen with ZHANG Yi and NCPAO`, address:'国家大剧院·音乐厅 / 北京艺术中心·音乐厅', enaddress:`NCPA·Concert Hall / BPAC·Concert Hall`, link:'https://wticket.chncpa.org/product.html?id=10000763#2024-11-15', enlink:'https://en.chncpa.org/whatson/zdyc/202407/t20240719_266354.shtml', tips:[ { name:`时代先河`, enname:`Heralds of the Time`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`张艺`, job:`指挥`, enname:`ZHANG Yi`, enjob:`Conductor`, }, { name:`孟萌`, job:`青衣`, enname:`MENG Meng`, enjob:`Tsingyi`, }, { name:`陈小朵、赵丽丽`, job:`女高音`, enname:`CHEN Xiaoduo, Zhao Lili`, enjob:`Soprano`, }, { name:`杨婷婷`, job:`琵琶`, enname:`YANG Tingting`, enjob:`Pipa`, }, { name:`段皑皑`, job:`二胡、板胡`, enname:`DUAN Aiai`, enjob:`Erhu, Banhu`, }, { name:`程皓如`, job:`筝`, enname:`CHENG Haoru`, enjob:`Zheng`, }, ], performance:[ { name:`陈其钢`, job:`《蝶恋花》`, enname:`Qigang Chen`, enxiejob:`Iris dévoilée`, }, ], }, { pic:'', time:`2025.4.10/11`, title:`“隔世之遥”赖嘉静、扬·沃格勒与国家大剧院管弦乐`, entitle:`“The Distant Worlds” LAI Jiajing, Jan Vogler and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:`多面肖像`, enname:`Portraits of Shostakovich`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, ], performance:[ { name:`黄若`, job:`《峰回路转》 *中国首演`, enname:`HUANG Ruo`, enxiejob:`Tipping Point `, enjob:` *China Premiere `, }, ], }, { pic:'', time:`2025.5.2`, title:`扬声十夏 中国圆号重奏团与国家大剧院管弦乐团音乐家`, entitle:`“A Decade of Calling Horns”China Horn Ensemble and NCPAO Musicians`, address:'北京艺术中心·音乐厅', enaddress:`BPAC·Concert Hall`, link:``, enlink:``, tips:[ { name:`无界室内乐`, enname:`NCPAO in Chamber Plus`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`中国圆号重奏团`, job:``, enname:`China Horn Ensemble`, enjob:``, }, ], performance:[ { name:`陈钢/何占豪`, job:`《梁祝》，阿尔瓦罗·阿尔图纳多改编 `, enname:`Chen Gang/He Zhanhao`, enxiejob:`The Butterfly Lovers Fantasy `, enjob:`(arr. Álvaro Artuñedo)`, }, ], }, { pic:'', time:`2025.6.12`, title:`“律意弦思”国家大剧院管弦乐团的室内乐`, entitle:`“Impressions on Strings” NCPAO in Chamber`, address:'国家大剧院·小剧场', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips:[ { name:`多面肖像`, enname:`Portraits of Shostakovich`, }, { name:`焦点作曲家：郭文景`, enname:`Composer-in-Focus: GUO Wenjing`, }, { name:`无界室内乐`, enname:`NCPAO in Chamber Plus`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`极简四重奏：`, job:``, enname:`Normcore Quartet : `, enjob:``, }, { name:` 赵洁盈`, job:`第一小提琴`, enname:` ZHAO Jieying`, enjob:`First Violin`, }, { name:` 纪东丹`, job:`第二小提琴`, enname:` JI Dongdan`, enjob:`Second Violin`, }, { name:` 汪兰`, job:`中提琴`, enname:` WANG Lan`, enjob:`Viola`, }, { name:` 石瑾`, job:`大提琴`, enname:` SHI Jin`, enjob:`Cello`, }, ], performance:[ { name:`郭文景`, job:`《中国民歌组曲》`, enname:`GUO Wenjing`, enxiejob:`Chinese Folk Ditties Suite`, }, ], }, { pic:'', time:`2025.6.21/22`, title:`“阿尔卑斯”吕嘉与国家大剧院管弦乐团演绎理查·施特劳斯与郭文景`, entitle:`‘An Alpen Symphony’ R. Strauss and GUO Wenjing with LÜ Jia and NCPAO`, address:'国家大剧院·音乐厅 / 北京艺术中心·音乐厅', enaddress:`NCPA·Concert Hall / BPAC·Concert Hall`, link:``, enlink:``, tips:[ { name:`焦点作曲家：郭文景`, enname:`Composer-in-Focus: GUO Wenjing `, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`胡许愿`, job:`古筝`, enname:`HU Xuyuan`, enjob:`Zheng`, }, ], performance:[ { name:`郭文景`, job:`《春望》，为筝和管弦乐团而作，Op. 77`, enname:`GUO Wenjing`, enxiejob:`Spring View, Concerto for Zheng and Orchestra, Op. 77`, }, ], }, { pic:'', time:`2025.7.26/27`, title:`郑明勋、刘晓禹与国家大剧院管弦乐团的欧洲之旅`, entitle:`An European Tour with Myung-Whun Chung, Bruce Liu and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`郑明勋`, job:`指挥`, enname:`Myung-Whun Chung`, enjob:`Conductor`, }, ], performance:[ { name:`陈其钢`, job:`《五行》`, enname:`Qigang Chen`, enxiejob:`Wu Xing`, }, ], }, ], }, { id:2, type:1, title:'时代先河：巴黎乐事', entitle:'Heralds of the Time: A Movement of Paris', bannerpc:'./images/page/banner4.jpg', bannerwap:'./images/page/banner4-wap.jpg', artic:[ { txttitle:'法国20世纪音乐的现代性', entxttitle:'Modernity in 20th Century French Music', citxttitle:'从德彪西到迪蒂耶', encitxttitle:`From Debussy to Dutilleux`, txtcon:`阿多诺在其《现代音乐的哲学》一书说：“在法国，绘画的生产力大大超过音乐，乃至音乐家不由自主地求助绘画。”这一评价是阿多诺一贯的风格——既带有嘲讽，又未失睿智。视觉艺术开创了法国印象派，影响了印象派祖师克劳德·德彪西一生的创作。自此以后，法国人以特有的方式向现代性迈进。
在德彪西的声音世界中，水中的倒影、雨中的花园、雪上的足印、落在寺院上的月光、洒满月光的阳台……都作为一幅幅动态的画作在其手中化为音乐。不仅如此，印象主义绘画对于光影的喜爱也深深影响着德彪西，他对管弦乐曲《夜曲·节日》的描述是：“空气的无休止的舞蹈节奏点缀着突出的闪光。还有一个偶然的行列（一个耀目的幻象）在经过，混合着空想的狂欢；但不间断的节日景象伴随着音乐坚持下去，发光的尘埃也参加到万物的普遍的节奏中来。”更有甚者，混合着印尼佳美兰音乐的《G小调弦乐四重奏》（Op. 10）由著名小提琴家伊萨依领衔在布鲁塞尔首演时，音乐厅里挂满了雷诺阿、高更、西斯莱、雷东、比萨罗等法国最新绘画作品。在场观众“被迫”在音乐与绘画中建立通感，绘画中光影瞬间的变化和色彩的微妙过渡与音乐中模糊的和声、非传统的音阶（如全音音阶）以及细腻的音色变化一起将观众带入一个模糊但充满想象的声音世界。法国当代作曲家、指挥家皮埃尔·布列兹认为，德彪西在这部创作于1892-1893年的作品中将室内乐从“严谨的结构、冰冷的修辞和僵化的美学”中解放出来。
的确，法国印象派绘画的影响太过强大，而自柏辽兹以来法国民族乐派作曲家们对色彩性和声的不断探索，也使法国作曲家们在创作技术上具备了符换视觉艺术的可能。知晓这一点，阿多诺的这一评价似乎又带有了一丝醋意，毕竟德国人不擅长此技，而且法国音乐也并非只有“求助于绘画”这一条出路。德彪西和拉威尔的音乐与印象派绘画有着深刻的共通之处，通过音乐色彩和和声的处理，创造出一种类似于印象派画作的瞬间感受和细腻描绘。
像被布列兹视为现代音乐开端的《牧神午后》（1894年）一样，在音乐会舞台上越来越多上演的拉威尔的管弦乐作品《达芙妮与克罗埃第二组曲》（1912年）也是来自于文学作品——前者是德彪西受到马拉美的诗歌的影响，后者则是改编自希腊作家朗格斯的田园爱情小说，展示了拉威尔对管弦乐色彩和结构的精确控制。自此之后，对古代的迷恋亦成为法国现代音乐中的一个重要特征。
不同于德彪西向印尼佳美兰音乐寻求灵感，拉威尔则是对爵士音乐情有独钟，如其《G大调钢琴协奏曲》（1921-1931年）。然而，这两位作曲家将法国之外的音乐元素融入自己的音乐创作的思路是相通的。《波莱罗》（1928年）可谓是拉威尔最著名的作品之一，作品建立在重复了169次的2小节的节奏和两段交替出现的旋律之上，不断变换的乐器、乐器组合和演奏法配合着巨大的渐强，将音乐推向至高潮，创造出一种独特的音乐体验。这首作品展示了拉威尔对形式和结构的极致追求，与同时期强调感官和意象的表现的象征主义文学有着异曲同工之妙。
梅西安的创作深受其天主教信仰和对自然的热爱影响。他的《时间终结四重奏》（1941年）是其代表作之一，这部作品是在他作为二战战俘期间创作的，充满了对永恒和灵性的思考，并且受到了《圣经·启示录》中“不再有时间”等文字的影响。梅西安运用复杂的节奏、非传统的和声和独特的音色，创造出一种超现实的、神秘的音乐体验。作品中的每个乐章都充满了宗教和哲学的深刻意象，特别是第三乐章《水晶礼赞》，以其神秘的和声和梦幻的音色，展现了梅西安对时间和永恒的思考。
梅西安对印度哲学和日本文化也有深入的研究，尤其是对印度音乐的复杂节奏和时间观念的吸收。他在音乐中运用了许多印度的节奏模式（塔拉）和鸟类鸣叫的音调，体现了对自然和时间的深刻理解。他还是一位热爱自然的人，他从自然界特别是鸟类的声音中汲取了大量灵感。他认为鸟类的鸣叫是“上帝的音乐”。梅西安将这些元素融入到自己的创作中，形成了独特的音乐语言。这种对非西方音乐的吸收和借鉴，展示了20世纪法国音乐的开放性和多样性。梅西安通过音乐表达了对灵性和神秘体验的探索，这种追求在其所有作品中都有所体现。其音乐中还展示出对象征主义的超现实和灵性追求，复杂的和声和节奏处理，表达了对永恒和灵性的思考。
迪蒂耶的大提琴协奏曲《遥远的世界》（1967-1970）的五个乐章都受到了象征主义诗人波德莱尔的诗歌的影响，标题来自于《恶之花》。他的音乐充满了旋律的流动性和和声的复杂性，有一种梦幻般的感觉。强调感官和意象的表现，这种法国印象主义文学风格不仅在德彪西和拉威尔的音乐中得到了充分体现，而且也被迪蒂耶所继承。这部大提琴协奏曲中运用了无调性、十二音、镜像结构等手法，细腻的音乐情感是对人类内心情感的探索，这也与存在主义哲学对个体经验和情感的重视不谋而合。
20世纪20年代，在法国人正在对现代艺术进行探索的过程中，一股强大的力量折断了整个欧洲艺术发展的趋势。奥地利作曲家勋伯格创立了十二音作曲法。百年之后，重新回顾那段历史，十二音作曲法是历史的必然还是历史被人为地断裂？笔者坚定地认为是后者，法国人的现代性探索更加符合历史的趋势。德彪西、拉威尔、普朗克、萨蒂、梅西安和迪蒂耶等法国作曲家的作品在音乐会上常演不衰，而勋伯格呢？在他150周年诞辰的时刻，他的作品又有多少被搬上舞台？再想一下被阿多诺在《现代音乐的哲学》一书中批评的体无完肤的斯特拉文斯基，这位受到法国现代艺术极大影响的作曲家，其作品受欢迎的程度远甚于勋伯格。也难怪普朗克会在二战之后为斯特拉文斯基辩护，并表示怀疑“在1945年，我们竟然说十二音的审美是当代音乐的唯一救赎”。他认为贝尔格已经将序列主义发挥到了极致，而勋伯格的音乐是“沙漠、石头汤、人造音乐或诗意维生素”。德彪西到迪蒂耶，音乐始终是人类情感表达的艺术，不同的声音反映出的是历史和社会的变迁。
20世纪的法国音乐是在多种社会因素的影响下发展起来的。两次世界大战、现代主义运动、巴黎作为文化中心的地位、科技与录音技术的发展、社会政治变革以及国际文化交流，这些因素共同塑造了法国20世纪音乐的独特风格和丰富内涵。这些作曲家通过他们的作品，不仅反映了他们所处时代的社会变迁，也为世界音乐史留下了宝贵的遗产。
`, entxtcon:`Theodor Adorno stated in his book Philosophy of New Music: “This could at first be explained in terms of the particular situation in France, where the development of painting’s productive forces so prevailed over those of music that the latter involuntarily sought refuge in great painting.” This remark is typical of Adorno's style—concomitantly sarcastic and insightful. Visual arts first inaugurated French Impressionism, profoundly influencing the seminal impressionist composer Claude Debussy’s lifetime career. The French have thence advanced towards modernity in the sui generis way of theirs.
In the sound realm of Debussy, the fluctuating reflections in water, verdant gardens in the rain, etching footprints in the snow, the moonlight veiling a temple, and the balcony imbued with lustres of a moonlit night... dynamic images of such first congealed into frames of artworks before transforming into music in his hands. Moreover, the fascination with chiaroscuro in impressionist artworks has immensely inspired Debussy as well. He once described his orchestral piece Nocturnes - Fêtes: “Fêtes gives the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged into it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm.” Furthermore, when Debussy's String Quartet in G minor, Op. 10 (1892 – 1893), which embodied the elements of Javanese gamelan, was premiered in Brussels by the renowned violinist Ysaÿe, the hall was adorned with the latest French paintings of the time by Renoir, Gauguin, Sisley, Redon, Pissarro, and others. The audience was coerced to establish a synesthetic connection between music and painting in this eccentric context. The instantaneous undulation of shades and the subtle transitions of hues in art joined forces with the ambiguous harmonies, unconventional scales (such as whole-tone scales), and delicate tonal nuances in music to channel the audience into an obscure yet imaginative sound world. The contemporary French composer and conductor Pierre Boulez believed that Debussy had emancipated chamber music from the rigid structure, austere rhetoric, and taut aesthetics in this work, composed between 1892 and 1893.
Undoubtedly, French Impressionist paintings have a staggering impact on all walks of art. Apart from the stately influence, the incessant exploration of vivid harmonies by the French nationalist composers from Berlioz onwards has enabled them to achieve the syncretism of visual arts and music technical-wise, creating music that paints. Given this exclusive proficiency of French composers and the fact that there are more to be unsheathed, a hint of envy seemed to have permeate Adorno's critique, which is understandable considering that German composers are less adept in this sense. The music of Debussy and Ravel deeply resonates with Impressionism, capturing ephemeral emotions and creating intricate delineations parallel to impressionist artworks through their treatment of musical hues and harmonies.
Alongside Debussy's Prélude à l'après-midi d'un faune (1894), which is regarded by Boulez as the dawn of modern music, Ravel's increasingly performed orchestral work Daphnis et Chloé Suite No. 2 (1912) is also inspired by literature. The former is influenced by Mallarmé's poem, whereas the latter is adapted from the pastoral prose romance by the Greek author Longus, portraying Ravel's precise control over orchestral colours and structure. A fascination with classicism has become a significant trait of modern French music ever after.
Unlike Debussy, who sought inspiration from Indonesian gamelan music, Ravel was particularly fond of jazz, evident in his Piano Concerto in G Major (1921-1931). However, both composers shared a common approach to composition, which incorporates foreign musical elements in their works. One of the most famous works by Ravel, Boléro (1928), is built on 169 repetitions of a two-bar rhythmic motif and two alternating melodic passages. The perpetually interchanging instruments, orchestral combinations, and performance techniques collaborated with the massive crescendo to propel the music to its climax, creating an exceptional musical experience. This work limned Ravel's utmost pursuit of form and structure through its emphasis on sensory and imagery expressions amounting to the concurrent Symbolist literature.
Oliver Messiaen's compositions are noted for the deep influence of his Catholic faith and his passion for nature. One of his magnum opus, Quatuor pour la fin du temps (1941), was composed when he was held captive as a prisoner of war during World War II. Inspired by the biblical text from Revelation 10:6 ‘that there should be time no longer.’ this piece contemplated eternity and spirituality extensively. Messiaen employs complex rhythms, unconventional harmonies, and unique timbres to create a surreal and mystical musical world. Each movement of the work is imbued with profound religious and philosophical imagery, particularly the third movement, "Louange à l'Éternité de Jésus" (Praise to the Eternity of Jesus), which, with its enigmatic harmonies and ethereal timbres, portrays Messiaen’s meditation on time and eternity.
Messiaen also conducted thorough studies of Hindu philosophy and Japanese culture, particularly attaining the complex rhythms and temporal concepts of Indian music. He incorporated numerous Indian rhythmic patterns (tāla) and birdsongs into his music, reflecting an in-depth understanding of nature and time. As a nature enthusiast, Messiaen drew significant inspiration from the sounds of the world of nature, especially birds, which he considered “God's music.” By integrating these elements into his compositions, Messiaen created a unique musical language. This amalgamation of non-Western music highlights the openness and diversity of 20th-century French music. Messiaen's works express his exploration of spirituality and mystical experiences, a pursuit evident in all his compositions. His music also exhibits the surrealism and spiritual quest of Symbolism, with complex harmonies and rhythmic treatments that convey reflections on eternity and spirituality.
All the five movements of Henri Dutilleux's cello concerto Tout un monde lointain... (1967-1970) are influenced by the poetry of Charles Baudelaire, with titles drawn from Les Fleurs du mal. His music is characterized by flowing melodies and complex harmonies, creating a dreamlike quality. This emphasis on sensory and imagery expression, a hallmark of French Symbolist literature, is not only evident in the music of Debussy and Ravel but is also inherited by Dutilleux. In this cello concerto, Dutilleux employed techniques such as atonality, twelve-tone serialism, and mirror structures. The intricate musical emotions explore the depths of human inner feelings, resonating with existentialist philosophy's emphasis on individual experience and emotions.
In the 1920s, a powerful force disrupted the trajectory of European art development while the French were exploring modern art: the Austrian composer Arnold Schoenberg established the twelve-tone composition technique. In hindsight after a century, was the twelve-tone technique a historical inevitability or an artificial discontinuity? I firmly believe it was the latter, as the French exploration of modernity aligns more closely with the historical trend. The works of French composers such as Debussy, Ravel, Poulenc, Satie, Messiaen, and Dutilleux are still frequently performed in concerts, whereas Schoenberg’s pieces are of rare sight on stage, even on his 150th birth anniversary. In contrast to Adorno's severe criticism of Stravinsky in Philosophy of Modern Music, Stravinsky, whose influences are deeply rooted in French modern art, remains way more popular than Schoenberg. It is no surprise that after World War II, Poulenc defended Stravinsky and questioned the following statement: “In 1945, we once ascertained that the aesthetic of twelve tones technique is the only salvation for contemporary music.” Poulenc believed Alban Berg had taken serialism to its peak, while Schoenberg's music was described as "the desert, bland stone soup, ersatz music, or poetic vitamins." From Debussy to Dutilleux, music has always been an art of human emotional expression, with different sounds reflecting historical and social changes.
French music in the 20th century developed under the influences of various social factors. Both World Wars, the modernist movement, Paris's status as a cultural centre, the development of technology and recording advancement, socio-political revolutions, and international cultural exchanges collectively shaped the unique style and rich content of 20th-century French music. Through their works, these composers not only reflected the social changes of their times but also left a valuable legacy in the history of world music.
`, autor:'邹彦', enautor:'ZOU Yan', }, { txttitle:'二十世纪法国音乐之我见', entxttitle:'Reflections on French Music in 20th Century', txtcon:`谈及20世纪的法国交响乐，值得一提的是，许多最杰出、最具代表性的作曲家均诞生于19世纪：
加布里埃尔·福雷生于1845年；
克劳德·德彪西生于1862年；
保罗·杜卡斯生于1865年；
阿尔伯特·鲁塞尔生于1869年；
莫里斯·拉威尔生于1875年……
儒勒·马斯奈也可列为其中之一，他的《堂吉诃德》于1910年首演，两年后，这位作曲家便溘然长逝；同样还有卡米尔·圣-桑（1835-1921年），但他们都是19世纪的作曲家。1900年，加布里埃尔·福雷已经55岁，而早在1877年，他便向弗朗茨·李斯特展示了他创作的钢琴独奏《叙事曲》，李斯特建议他将此曲改编为管弦乐曲，福雷于1881年进行了改编。他的和声语言风格独树一帜，常使人将他认作与德彪西和拉威尔同时代的人。
在20世纪，所有这些作曲家的贡献主要集中在前30年。值得注意的是，20世纪早期，最具影响力的法国交响乐作品之一——克劳德·德彪西的《牧神午后前奏曲》，实际上创作于1892年。该作品精心的编曲、自由的音律以及纯粹的灵感，启发了一代又一代的作曲家。可以想象，20世纪初期的巴黎是一个怎样的音乐大熔炉。同年，即1913年，巴黎见证了20世纪最重要的四支芭蕾舞剧的诞生：拉威尔的《达芙妮与克罗埃》、斯特拉文斯基的《春之祭》、阿尔伯特·鲁塞尔的《蜘蛛的盛宴》，以及保罗·杜卡斯的《仙女》。这一浪潮中的其他作曲家，例如加布里埃尔·皮尔纳、弗洛朗·施米特、让·克哈斯和达律斯·米约，他们的作品却并未获得同样的声誉。
随着这些天才作曲家相继离世（1917年德彪西离世；1935年杜卡斯离世；1937年拉威尔和皮尔纳离世），以勋伯格、贝尔格与韦伯恩为代表的新维也纳乐派逐渐兴起。十二音体系音乐产生了决定性影响，并顺理成章地促使了序列音乐的到来，自1950年起，序列音乐造成了法国作曲家之间的重大分歧。
一方面，奥利维埃·梅西安、安德烈·若利韦和亨利·迪蒂耶代表了20世纪下半叶法国交响乐的延续；另一方面，皮埃尔·布列兹绝非上述传统伟大法国交响乐的继承者，相反，他所追随的是新维也纳乐派以及皮埃尔·舍费尔的“具体音乐”或“电子音乐”的脚步。奥利维埃·梅西安极具独创性的和声语言和亨利·迪蒂耶的管弦乐色彩与节奏力量给人留下了深刻印象，他们的大量作品甚至在其生前就已成为不朽之作。
奥利维埃·梅西安的《图兰加里拉交响曲》于1949年首演，世界上各大交响乐团均演奏过该曲目；《基督升天》和《时间的色彩》为保留剧目；他的歌剧《阿西西的圣方济各》（1975-1983年）尽管已经包含大量的管弦乐和合唱曲目，但在萨尔茨堡、莱比锡、柏林、慕尼黑、蒙特利尔、马德里、达姆施塔特、巴塞尔以及最近于2004年在日内瓦都有新的演出。亨利·迪蒂耶的两部交响曲和他的《变化重复》在世界各地多次演出，他的大提琴协奏曲《遥远的世界》（由姆斯蒂斯拉夫·罗斯托罗波维奇首演）也响彻世界各地。但是，奥利维埃·梅西安和亨利·迪蒂耶并不追求任何形式的力量，在他们的教学中，他们对美学都持开放态度。他们的音乐足够丰满，无需冗长的理论解释，这与皮埃尔·布列兹1954年助力创立的“音乐之域”系列音乐会中演出的作品不同。
皮埃尔·布列兹指挥生涯丰富、组织意识敏锐，他有着掌控法国音乐表现形式的意愿和强大的宗派主义思想，从20世纪70年代起，造成了先锋派名副其实的“独裁统治”，许多仍然坚持调性形式的作曲家深受其影响。一时间，巴黎与里昂高等音乐学院的作曲课被无调性作曲家所垄断，而这些作曲家总是极度不包容，直到现在也是如此。
不幸的是，一大批热爱音乐的公众产生了不满情绪，认为法国音乐创作成了先锋派的特权。回首过往60年，我们只能看到他们的作品几乎不再为交响乐团所演奏，但这仅仅是因为“混合”音乐中使用的电子乐器和软件已经过时。但无论他们的审美如何，法国作曲家都有一个共同点：对配器的敏锐乐感，他们对配器极为重视。这可能是20世纪法国交响乐的基本特征之一。对全世界的交响乐团来说，演奏法国交响乐需要精湛的技艺，对它们来说始终是一项挑战。对极度细微差别的追求、管乐器（木管乐器和铜管乐器）的特殊使用，以及形式的自由是法国交响乐的共同基础，使其成为交响乐团音色演变的关键。
对于指挥家来说，与音乐家合作演奏法国音乐令人着迷，因为无论技术水平如何，他们都需要采取一种与其习惯大相径庭的方法。法国音乐要求指挥家对乐团的其他部分也全神贯注，如同置身于一场声音的炼金术之中。与中国艺术一样，法国音乐的灵感时常来自于诗歌和心像。在法国音乐中，交响诗的数量远远多于交响乐。法国音乐音色精致，却使一些人错误地认为它缺乏厚度和密度。法国音乐给人一种超然之感，但这并非是字面意义的超然，而是一种给自己时间去呼吸和等待的能力。它散发出一种极其细腻的感性，不仅要求演奏者全神贯注，也要求听众专心致志。
20世纪的法国交响乐并非把音乐本身强加于人，而是需要听众努力敞开心扉，这正是法国交响乐精巧迷人之处。
洛朗·佩蒂吉拉尔
法兰西艺术院终身秘书长
作曲家、指挥家
`, entxtcon:`When it comes to French symphonic music in the 20th century, it's worth noting that many of the most outstanding and representative composers who created it were born in the 19th century:
Gabriel Fauré in 1845;
Claude Debussy in 1862;
Paul Dukas in 1865;
Albert Roussel in 1869;
Maurice Ravel in 1875…
We could almost add to this list Jules Massenet, whose Don Quichotte was premiered in 1910, two years before his death, or Camille Saint-Saëns (1835-1921), but they are above all 19th-century composers.In 1900, Gabriel Fauré was already 55 years old, and in 1877 he had presented his Ballade for piano to Franz Liszt, who advised him to orchestrate it, which he did in 1881. However, his distinctive harmonic language explains why he is perceived above all as a contemporary of Debussy and Ravel.
As far as the 20th century is concerned, the contribution of all these composers essentially concerns only the first 30 years. It should be noted that one of the most influential pieces of French symphonic music of the early 20th century was composed in 1892, Claude Debussy's Prélude à l'Après-midi d'un Faune. The diaphanous orchestration, metrical freedom and pure inspiration inspired generations of composers. Just imagine the musical cauldron that was Paris in the early 20th century. In the same year, 1913, four major ballets of the 20th century were created in Paris: Ravel's Daphnis et Chloé, Stravinsky's Sacre du Printemps, Albert Roussel's Festin de l'Araignée and Paul Dukas's La Péri. Other composers, such as Gabriel Pierné, Florent Schmitt, Jean Cras and Darius Milhaud, accompanied this movement, but their works did not achieve the same renown.
As these great geniuses gradually disappeared (Debussy in 1917, Dukas in 1935, Ravel and Pierné in 1937), The Second Viennese School emerged with Schoenberg, Berg and Webern. Dodecaphonic music was to have a decisive influence, and logically led to the arrival of Serial music, which from 1950 onwards created a major cleavage among French composers.
On the one hand, Olivier Messiaen, André Jolivet and Henri Dutilleux represented the continuity of French symphonic music in the second half of the twentieth century, while on the other, Pierre Boulez was by no means the heir to the great French symphonic tradition already mentioned, but on the contrary, followed in the footsteps of the The Second Viennese School as well as Pierre Schaeffer with the Musique concrète or electroacoustic music. Olivier Messiaen's highly original harmonic language, and Henri Dutilleux's orchestral colors and rhythmic power, made a lasting impression, and a significant number of their works became part of the great repertoire even during their lifetime.
Olivier Messiaen's Turangalîla Symphony, premiered in 1949, has already been played by all the world's leading orchestras, l'Ascension and Chronochromie are repertory works, and his opera Saint-François d'Assise (1975-1983), despite its plethoric orchestral and choral numbers, generated new productions in Salzburg, Leipzig, Berlin, Munich, Montreal, Madrid, Darmstadt, Basel and recently in 2004, Geneva. Henri Dutilleux's two symphonies and his Métaboles are played and replayed all over the world, and his cello concerto Tout un Monde Lointain (premiered by Mistlav Rostropovich) has been taken up by every cello soloist in the world. But Olivier Messiaen and Henri Dutilleux were not in search of any kind of power, and in their teaching, they were particularly open to all aesthetics. Their music is self-sufficient, requiring no interminable theoretical explanations, unlike the compositions of the Domaine Musical, created with the help of Pierre Boulez in 1954.
Pierre Boulez's extensive career as a conductor, his keen sense of organization and his desire to control French musical expression, combined with his formidable sectarianism, led from the 1970s onwards to a veritable dictatorship of the Avant-Garde, from which many composers still attached to a form of tonality suffered. Composition classes at the Conservatoires Supérieurs de Musique de Paris and Lyon were and still are monopolized by atonal composers who are always extremely intolerant.
One of the unfortunate consequences of this was the disaffection of a whole section of the music-loving public, who were led to believe that French musical creation was the prerogative of the avant-garde. Looking back 60 years, we can only note the virtual disappearance of their works from symphony orchestra programs, if only because of the obsolescence of the electronic instruments and software used in so-called “mixed” music.
But whatever their aesthetic, French composers have one thing in common: a keen sense of orchestration, to which they attach fundamental importance. This is probably one of the fundamental characteristics of twentieth-century French symphonic music. The virtuosity required to play these scores has always been a stimulating challenge for orchestras the world over. The search for extremely fine nuances, the very particular use of wind instruments (woodwinds and brass) and the freedom of form represent a common foundation that makes this music essential to the evolution of the sound of symphony orchestras.
For a conductor, working with musicians on French music is fascinating, as they are all called upon to take an approach that is often very different from their habits, whatever their technical level. It's music that demands total attentiveness to the other sections of the orchestra and requires the creation of a kind of sonic alchemy. It's also a music that, like Chinese art, very often calls on the poetry and mental images that inspired it. There are far more symphonic poems than symphonies in French music. The refinement of sound it generates has led some to believe that it lacks thickness and density, which is a mistake. French music imposes a form of detachment, which does not mean detachment, but the ability to give oneself time to breathe and wait. It exudes a sensuality that is often extremely delicate, and demands great concentration not only from its performers, but also from its listeners.
Twentieth-century French symphonic music does not impose itself; the audience must make the effort to open its mind, which is why it remains both fragile and fascinating.
Laurent Petitgirard
Composer, Conductor
Permanent Secretary of the Académie des Beaux-Arts
`, autor:'', enautor:'', } ], mainworks:[ { pic:'', title:`“时间终结”张昊辰与国家大剧院管弦乐团音乐家演绎德彪西与梅西安`, entitle:`“The End of Time” Debussy and Messiaen with Haochen Zhang and NCPAO Musicians`, time:`2024.9.13/14`, address:'国家大剧院·小剧场 ', enaddress:`NCPA·Multi-functional Theatre`, link:`https://wticket.chncpa.org/product.html?id=10000700`, enlink:`https://en.chncpa.org/whatson/zdyc/202405/t20240523_264354.shtml`, tips:[ { name:'无界室内乐', enname:'NCPAO in Chamber', } ], personnel:[ { name:`杨璐萌`, job:`第一小提琴`, enname:`YANG Lumeng`, enjob:`First Violin`, }, { name:`纪东丹`, job:`第二小提琴`, enname:`JI Dongdan`, enjob:`Second Violin`, }, { name:`秦宇`, job:`中提琴`, enname:`QIN Yu`, enjob:`Viola`, }, { name:`王莹`, job:`大提琴`, enname:`WANG Ying`, enjob:`Cello`, }, { name:`张昊辰`, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, { name:`窦聪昶`, job:`小提琴`, enname:`DOU Congchang`, enjob:`Violin`, }, { name:`王无山`, job:`大提琴`, enname:`WANG Wushan`, enjob:`Cello`, }, { name:`李旻娜`, job:`单簧管`, enname:`Minna Lee`, enjob:`Clarinet`, }, ], performance:[ { name:`德彪西`, job:`G小调弦乐四重奏，Op. 10`, enname:`Debussy`, enjob:`String Quartet in G minor, Op. 10`, }, { name:`梅西安`, job:`《时间终结四重奏》 `, enname:`Messiaen`, enxiejob:`Quartet for the End of Time`, }, ], }, { pic:'', title:`东韵西律”佩蒂吉拉尔、陆轶文与国家大剧院管弦乐团`, entitle:`“From Paris to Beijing” Petitgirard, LU Yiwen and NCPAO`, time:`2024.11.7`, address:'国家大剧院·音乐厅 ', enaddress:`NCPA·Concert Hall`, link:`https://wticket.chncpa.org/product.html?id=10000699#2024-11-07`, enlink:`https://en.chncpa.org/whatson/zdyc/202407/t20240708_265923.shtml`, tips:[ { name:'时代先河', enname:'Heralds of the Time', }, { name:'乐是故乡明', enname:'Sounds of China ', }, ], personnel:[ { name:`洛朗·佩蒂吉拉尔`, job:`指挥`, enname:`Laurent Petitgirard`, enjob:`Conductor`, }, ], performance:[ { name:`拉威尔`, job:`《达芙妮与克罗埃》第二组曲`, enname:`Ravel`, enxiejob:` Daphnis Et Chloe Suite No. 2`, }, ], }, { pic:'', title:`“生命之光”张艺与国家大剧院管弦乐团演绎梅西安与陈其钢`, entitle:`“Glows of Life” Messiaen and Qigang Chen with ZHANG Yi and NCPAO `, time:`2024.11.15/16`, address:'国家大剧院·音乐厅 / 北京艺术中心·音乐厅 ', enaddress:`NCPA·Concert Hall / BPAC·Concert Hall`, link:'https://wticket.chncpa.org/product.html?id=10000763#2024-11-15', enlink:'https://en.chncpa.org/whatson/zdyc/202407/t20240719_266354.shtml', tips:[ { name:'时代先河', enname:'Heralds of the Time', }, { name:'乐是故乡明', enname:'Sounds of China ', }, ], personnel:[ { name:`张艺`, job:`指挥`, enname:`ZHANG Yi`, enjob:`Conductor`, }, { name:`顾劼亭`, job:`钢琴`, enname:`GU Jieting`, enjob:`Piano`, }, ], performance:[ { name:`梅西安`, job:`《被遗忘的祭献》、《空中的城市》、《墓地之光》`, enname:`Messiaen`, enxiejob:`Les Offrandes Oubliées ,La Ville d' En-haut,Le Tombeau resplendissant`, }, ], }, { pic:'', title:`古典新途 国家大剧院管弦乐团的室内乐`, entitle:`“Classicals on Diversion” NCPAO in Chamber`, time:`2024.11.30`, address:'国家大剧院·小剧场 ', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips:[ { name:`周末音乐会`, enname:`Weekend Matinee`, }, ], personnel:[ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, { name:`李沛`, job:`萨克斯`, enname:`LI Pei`, enjob:`Saxophone`, }, { name:`国家大剧院管弦乐团木管声部`, job:``, enname:`Woodwinds Section Of NCPAO`, enjob:``, }, ], performance:[ { name:`布列兹`, job:`《无主之锤》选段`, enname:`Boulez`, enxiejob:`Selections from The Hammer without A Master `, }, { name:`普朗克`, job:`《法兰西组曲》`, enname:`Poulenc`, enxiejob:`Suite française `, }, { name:`米约`, job:`《胆小鬼》，为萨克斯与木管五重奏而作`, enname:`Milhaud`, enxiejob:`Scaramouche`, enjob:`, for Alto Saxophone and Wind Quintet`, }, { name:`斯特拉文斯基`, job:`管乐八重奏`, enname:`Stravinsky`, enjob:`Octet for Wind Instrument `, }, ], }, { pic:'', title:`“遥远的世界”赖嘉静、扬·沃格勒与国家大剧院管弦乐团”`, entitle:`“Distant Worlds” LAI Jiajing, Jan Vogler and NCPAO`, time:`2025.4.10/11`, address:'国家大剧院·音乐厅 ', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:'多面肖像', enname:'Portraits of Shostakovich', }, { name:'时代先河', enname:'Heralds of the Time', }, { name:'乐是故乡明', enname:'Sounds of China ', }, ], personnel:[ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, { name:`扬·沃格勒`, job:`大提琴`, enname:`Jan Vogler`, enjob:`Cello`, }, ], performance:[ { name:`迪蒂耶`, job:`大提琴协奏曲“隔世之遥”`, enname:`Dutilleux`, enjob:`Violoncello Concerto “Tout un monde lointain”`, }, ], }, { pic:'', title:`“法兰西光影”国家大剧院管弦乐团的室内乐`, entitle:`“The Hues of France” NCPAO in Chamber`, time:`2025.5.15/16`, address:'北京艺术中心·音乐厅 ', enaddress:`BPAC·Concert Hall`, link:``, enlink:``, tips:[ { name:'无界室内乐', enname:'NCPAO in Chamber', } ], personnel:[ { name:`向一`, job:`长笛`, enname:`XIANG Yi`, enjob:`Flute`, }, { name:`谢圣娴`, job:`大管`, enname:`HSIEH Sheng-Hsien`, enjob:`Bassoon`, }, { name:`庄然`, job:`中提琴`, enname:`ZHUANG Ran`, enjob:`Viola`, }, { name:`亚历山德拉·蒂霍诺娃`, job:`竖琴`, enname:`Alexandra Tikhonova`, enjob:`Harp`, }, ], performance:[ { name:`德彪西`, job:`《芦笛》`, enname:`Debussy`, enxiejob:`Syrinx`, enjob:``, }, { name:`德彪西`, job:`《长笛、中提琴与竖琴奏鸣曲》`, enname:`Debussy`, enxiejob:`Sonata for Flute, Viola, Harp`, enjob:``, }, { name:`伯纳德·安德烈斯`, job:`《前廊》，为竖琴与长笛而作`, enname:`Bernard Andres`, enxiejob:`Narthex`, enjob:`, for Harp and Flute`, }, { name:`德彪西`, job:`《阿拉贝斯克》（竖琴版）`, enname:`Debussy`, enxiejob:`Arabesque `, enjob:`(Arranged for harp) `, }, { name:`若利韦`, job:`《圣诞田园曲》`, enname:`Jolivet`, enxiejob:`Pastorales de Noël for Flute, Bassoon and Harp`, enjob:``, }, { name:`达马斯`, job:`长笛与竖琴奏鸣曲`, enname:`Damas`, enjob:`Sonata for Flute and Harp`, }, ], }, { pic:'', title:``, entitle:``, time:`2025.5.23/25`, address:'', enaddress:``, link:``, enlink:``, tips:[], personnel:[ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`郎朗`, job:`钢琴`, enname:`Lang Lang`, enjob:`Piano`, }, ], performance:[ { name:`德彪西`, job:`《牧神午后前奏曲》 `, enname:`Debussy`, enxiejob:`Prélude à l'après-midi d'un faune`, }, { name:`拉威尔`, job:`G大调第一号钢琴协奏曲`, enname:`Ravel`, enjob:`Piano Concerto No.1 in G major`, }, { name:`迪蒂耶`, job:`第一号交响曲`, enname:`Dutilleux`, enjob:`Symphony No. 1`, }, ], }, // { // pic:'', // title:`“夏日金号”安德烈·朱弗莱迪与国家大剧院管弦乐团铜管组`, // entitle:`“Summer Fanfare” Andrea Giuffredi and NCPAO Brass Ensemble`, // time:`2025.7.16/17`, // address:'国家大剧院·音乐厅 ', // enaddress:`NCPA·Concert Hall`, // link:``, // enlink:``, // tips:[ // { // name:'精致小交 ', // enname:'Petit & Delicacy', // }, // ], // personnel:[ // { // name:`安德烈·朱弗莱迪`, // job:`小号`, // enname:`Andrea Giuffredi`, // enjob:`Trumpet`, // }, // ], // performance:[ // { // name:`拉威尔`, // job:`《波莱罗》`, // enname:`Ravel`, // enxiejob:`Bolero`, // }, // ], // }, ], }, { id:1, type:1, title:'多面肖像', entitle:'Portraits of Shostakovich', bannerpc:'./images/page/banner3.jpg', bannerwap:'./images/page/banner3-wap.jpg', artic:[{ txttitle:'终身履薄冰，谁知我心焦', entxttitle:`A Life’s Walk on Thin Ice`, citxttitle:'纪念肖斯塔科维奇逝世50周年', encitxttitle:`Commemorating the 50th anniversary of Shostakovich's death`, txtcon:`1955年，冷战里的美苏向对手释放出些许暖意。12月29日，小提琴家大卫·奥伊斯特拉赫在米亚罗普洛斯和纽约爱乐乐团的伴奏下，在纽约卡内基音乐厅演奏了肖斯塔科维奇的《第一小提琴协奏曲》。在场的评论家鲍里斯·史华兹写下了“同时发现一个伟大的作品与一位大演奏家的独特经历。”
这句话信息丰富。在莫扎特和贝多芬时代，音乐会的曲目几乎都是“当代音乐”，听众有机会见证伟大作品的诞生。到了20世纪，古典音乐发展到各类先锋实验流派，虽然音乐演奏和指挥大师层出不穷，但大作曲家和伟大作品付之阙如。
然而，迪米特里·肖斯塔科维奇却卓然而立，独树一帜。他生前在美苏两大意识形态对抗方均获得极高的认可与名望，死后在音乐史上也占有一席之地。
肖斯塔科维奇的音乐模糊多义，充满嘲讽与恶搞，暴烈粗鲁随处可见，也不乏诚恳的独白和沉静的思索，听之如饮烈酒，冲劲十足又余韵深长。
1971年，一位莫斯科记者描述了晚年作曲家的模样：“他坐在一列疾行的列车包厢里，望着雨水冲刷的窗户。他面孔苍白，嘴唇紧闭，丝毫不曾显露出满足的痕迹。他紧张的手指从不曾停止颤动。在厚框眼镜底下，我们可以捕捉到他眼神中闪过的愤怒、痛苦与勇气。”这张面孔，与他的人生和作品一样，意味深长。
在肖斯塔科维奇有编号的147部作品中，只有15首是交响曲。但交响曲的创作贯穿肖斯塔科维奇一生，也给他带来巨大的名望与磨难。
1917年十月革命建立起苏维埃政权，新社会秩序倡导全新的艺术创作，鼓励艺术的开放甚至实验的气氛，俄罗斯很多先锋艺术家积极投入到这场艺术革命中。
1925年，年仅20岁的肖斯塔科维奇，在本科毕业之际完成的《第一交响曲》，虽然维持着交响曲的范式，但已将滑稽与悲剧有机融为一体，互相矛盾的情绪与个性化的音乐语汇熔于一炉。该作品“紧绷的张力”，成为作曲家的风格之一。随着俄罗斯老一辈作曲家移居外国，肖斯塔科维奇成为新兴苏维埃在音乐领域的代表人物。
1936年的《第四交响曲》是马勒之后的交响曲巨作。第一乐章第一主题是巨大而暴烈的进行曲，其粗鲁、尖锐、反讽、恐怖、歇斯底里等特征，在作曲家后续的许多作品中一再出现，比如《第五交响曲》第一乐章的发展部、《第七交响曲》“侵略者主题”、《第八交响曲》第二乐章的进行曲主题，等等。
《第四交响曲》中狂野的内心骚动和“主观性”表达，被视为作曲家对当时年代的内心写照。1930年代苏联发生激烈的内部斗争，波及很多人。1936年，《真理报》点名批判肖斯塔科维奇和他的歌剧《姆钦斯克县的麦克白夫人》。作曲家回忆到：“这篇文章改变了我的一生。我收拾了一个小箱子，整夜在床上坐着。我不仅为自己，也为了我的母亲、姐妹、妻子、女儿以及后来的儿子的生命担惊受怕。我只是怀着一种有罪的感觉坐着，而事实上我没有犯任何罪。”
在现实主义的艺术规范和政治重压下，肖斯塔科维奇不得不宣告与西方前卫派和表现主义划清界限，他将《第四交响曲》雪藏，转而在1937年创作了《第五交响曲》。这部交响曲从曲式、乐章结构、调性、主题和副题的发展手法等等，都回归到古典交响曲的传统。在官方看来，该曲呈现了从黑暗到光明的历程，与现实主义要求的“群众喜闻乐见”、“快乐的结局”相符合。然而听众对此曲的理解千差万别，法捷耶夫在日记里写到“第五的终乐章是无可挽回的悲剧。”作曲家自己后来说：“那种欢腾的气氛是强挤出来的，是在威胁下捏造出来的。”
1941年的《第七交响曲“列宁格勒”》，让作曲家获得了世界性声望。在第一乐章中，作曲家打破传统奏鸣曲式，用一个降E调的机械固定低音的“侵略者”主题，取代了奏鸣曲式的发展部。
1943年的《第八交响曲》更强调悲剧性，没有胜利赞歌。事后肖斯塔科维奇解释到：“我的交响曲，从第四开始，到第七和第八，全是关于战前可怕的年代。我的交响乐多数是墓碑。战前的日子更加艰难，然而大家只能暗自悲伤。战争来了，我们可以诉说悲哀了。能够悲伤也是一种权利。我应该为所有死去的人、曾经受苦的人写一首安魂曲。”
1945年反法西斯战争胜利后，大家都期待着肖斯塔科维奇创作出可匹敌贝多芬《第九交响曲》的第九号交响曲。出人意料的是，《第九交响曲》是作曲家最短的纯器乐交响曲，没有合唱与独唱，没有赞歌，甚至连一个题献都没有。作品中谐谑曲般的节奏和气氛，不断滑向黑暗和绝望的恐慌，成为作者最具反讽意味的作品之一。
1948年2月，苏联官方批评肖斯塔科维奇等人是“形式主义”的作曲家，第六、第八、第九、交响曲都被定性为“形式主义作品”，被从演出曲目中清除，他被迫做出深刻的自我批评。
1953年，斯大林去世，同年《第十交响曲》诞生，这是又一部力作，最鲜明的特点是出现了签名动机DSCH，这来自作曲家名字的德文拼法以及相应的德式音名：D，降E，C和B。这个动机成为整个交响曲的转折点。
1962年的《第十三交响曲》题名“娘子谷”，使用了叶普图申柯的诗句作为歌词。二战期间，纳粹在乌克兰屠杀犹太人，制造了“娘子谷”惨案。肖斯塔科维奇借机引用了犹太歌曲，表达他的音乐品味。他曾说：“犹太民间音乐是多面的，能够以喜来表达悲，几乎总是含着眼泪在笑。我的许多作品反映了我对犹太音乐的印象。”
1966年，肖斯塔科维奇患心脏病住院，他开始认真地思考死亡，创作了几部理解死亡的作品，这其中最重要的是《第十四交响曲》，是根据不同诗人所写的关于死亡的诗作而谱写的歌曲集。在作曲家心目中，死亡是“等待被处决，这是一个折磨了我一辈子的主题。”
1971年的《第十五交响曲》像谜一样，引用了许多其他音乐——罗西尼、瓦格纳、格林卡以及作曲家自己的音乐。尽管到了生命晚期，作品依然有自我嘲弄和讽刺气息。
弦乐四重奏和协奏曲可视为肖斯塔科维奇的私人日记。15部弦乐四重奏中，有10部题献给朋友，也表达了肖斯塔科维奇对亲朋好友的尊重与情感。
1938年，肖斯塔科维奇被《真理报》点名批判，在巨大的压力下完成《第五交响曲》之后，开始创作《第一弦乐四重奏》。1948年再次受到批判后，肖斯塔科维奇创作了《第一小提琴协奏曲》和第四、第五弦乐四重奏。1960年，肖斯塔科维奇参观德累斯顿，大轰炸废墟犹在，作曲家受到极大震撼，他创作了《第八弦乐四重奏》，用来纪念“法西斯与战争的受害者”。1973年的《第十四弦乐四重奏》是幽默与追怀逝去欢乐的奇怪组合，1974年的《第十五弦乐四重奏》则是六个连续演奏的柔板乐章。
作为呈现心迹的作品，这些弦乐四重奏经常出现葬礼式进行曲、虚弱的圆舞曲、暴烈的谐谑曲、净化的赋格和卡农，从大调到小调的结尾，被剥夺了美感的旋律，被恶意打断的和声，以及凄凉的情绪气氛。
尽管作曲家的两首钢琴协奏曲在风格和定位上存在明显差异，但从娱乐性来说，它们本质上都是轻松（尽管是大师级的）的练习曲。
1948年创作的《第一小提琴协奏曲》，等了七年才见天日。第三乐章的帕萨卡利亚舞曲无疑是整部作品的重心，并通过其他乐章向前和向后延伸其影响力。传统的协奏曲一般是第一乐章结尾出现华彩，《第一小提琴协奏曲》是在终乐章之前出现华彩乐段。因此，它要重述和发展以前出现的主题量非常多，内容和深度大大增加。
1959年的《第一大提琴协奏曲》采用了降E大调，这个调被贝多芬用来创作光明积极的《第三“英雄”交响曲》，却被肖斯塔科维奇用于尖刻和幽默。作曲家还让圆号协奏大提琴，犹如作曲家在《第一钢琴协奏曲》中的小号协奏钢琴。与“协奏”的字面意义相悖，敏捷健谈的大提a
1966年的《第二大提琴协奏曲》和1967年的《第二小提琴协奏曲》，呈现了作曲家的后期风格：隐晦、亲密、哀歌般的，充满痛苦的光芒、怪诞的幽默、怀旧和遗憾，结尾传达出一种能量和希望消逝的告别感觉。
1975年7月，作曲家完成了三个乐章的中提琴奏鸣曲，这成为他的安魂曲。1975年8月9日，作曲家死于肺癌。
不少人将肖斯塔科维奇视为俄罗斯“颠僧”，即佯装癫狂的清醒者。
肖斯塔科维奇说：“我们需要勇敢的乐曲。我说的勇敢，是它的真实性。在这样的乐曲中，作曲家真实地表达他的思想，而且表达的方式能使他本国和其他国家中尽可能多的正派公民理解并接受这首乐曲，从而了解他的国家和人民。我认为这就是作曲的意义。”
肖斯塔科维奇一生所面对的真实世界既残酷又荒诞。他回忆道：“我家里经常谈到1905年的革命。男孩子们坐在树上看大兵，大兵对他们射击——为了取乐，没什么别的。后来，他们把他们装在雪橇上运走了。一辆装满孩子尸体的雪橇，死孩子的脸上带着笑容。他们那么突然地被杀死了，还来不及感到害怕。我是在这次革命以后出生的，但是那些故事对我的想象力影响很深。”
偏巧肖斯塔科维奇有着强烈的恻隐心：“我在听到别人痛苦的时候，自己也感到痛苦。不论是人还是动物，为一切活着的东西。”1917年2月革命时作曲家年仅11岁，他在街头目睹了一个男孩被哥萨克骑兵杀害，这成为萦绕他一生的噩梦场景，他把这个场景写进了《第二交响曲》。
作曲家承认“我的一生没有特别高兴的时刻，没有令人兴高采烈的事。它阴暗沉闷，使我想起来很伤心。承认这一点，使我很难过，但这是事实，是不幸的真相。”
在肃杀的年代，肖斯塔科维奇不敢做嫉恶如仇的勇者，也不愿做趋炎附势的小人。为了保全自己、家人和朋友的性命，他只能走出最艰难的第三条路。这条路滋味如何？近两千年前，中国魏晋时代“竹林七贤”中阮籍的一生，可谓遥远的回响。
阮籍虽给当权者司马昭写了神采飞扬的劝进表，却不攀附权贵。司马昭想为儿子求娶阮籍的女儿，阮籍连续醉酒六十多日，司马昭找不到提出求亲的机会，只得作罢。阮籍会青白眼，遇到欣赏的人用青眼看，不喜欢的就给他白眼，但他却不对任何人发表评论，司马昭认为他是天底下最谨慎的人。
阮籍感叹，弥天大网笼罩着世界，没有谁能展翅飞翔。只有在药性发作和醉生梦死之间，或者不切实际的高谈阔论中，才能多少感觉到自由。他的琴曲《酒狂》，按《神秘琴谱》题解为：“其趣也若是，岂真嗜于酒耶？有道存焉，妙在于其中，故不为俗子道，达者得之。”
阮籍的诗，吞吞吐吐欲言又止，充满象征性、神秘性，难以悟透其主旨，后人却置阮籍诗于“上品”。《文心雕龙》评曰：“嵇志清峻，阮旨遥深。”
爱伦堡听了肖斯塔科维奇的《第八交响曲》说：“音乐有一个极大的优越性，它能说出所有的一切，但是尽在不言中。”
真实，是全人类的追求，也是全人类认可的价值。艺术对真实的言说是“非概念性的”，具有很多不确定性。然而这种特性对于无法穷尽的真意却是福音。
阮籍的《咏怀诗五言》第33首，道尽了肖斯塔科维奇的一生：“一日复一夕，一夕复一朝。颜色改平常，精神自损消。胸中怀汤火，变化故相招。万事无穷极，知谋苦不饶。但恐须臾间，魂气随风飘。终身履薄冰，谁知我心焦。”
俄罗斯有“颠僧”，魏晋有“酒狂”，他们只能借助疯癫和酩酊，隐晦地表达真心，等待有心者品味出他们作品中遥深的真意。
`, entxtcon:`In 1955, the United States and the Soviet Union, two opponents in the cold war, showed some goodwill to each other. On December 29, violinist David Oistrakh played Shostakovich’s First Violin Concerto at Carnegie Hall in New York accompanied the New York Philharmonic Orchestra conducted by Dimitri Mitropoulos. Critic Boris Schwartz, who was present, wrote that it was “a unique experience to discover a great work and a great performer at the same time.”
This remark gives us a lot to think about. In the era of Mozart and Beethoven, almost everything played in a concert was “contemporary music” and all the audience had the opportunity to witness the birth of great works. Yet the 20th century, when classical music had developed into various avant-garde experimental genres, did not see many great composers and great compositions, despite the continuous emergence of master performers and conductors.
However, the unique Dmitri Shostakovich stood out as a composer. In his lifetime, he earned recognition and reputation in both the United States and the Soviet Union, despite the opposing ideologies of the two countries. After his death, he found a place a place in music history.
Shostakovich’s music is ambiguous, sometimes full of sarcasm, spoofs, violence and vulgarity, and sometimes featuring sincere monologues and quiet thoughts. Listening to it is like drinking strong liquor, with overwhelming power followed by long-lasting aftertaste.
In 1971, a reporter from Moscow described the composer’s appearance in his later years: “He sat in a compartment of a rain that was running fast, staring at the rain-washed window. His face was pale, his lips tightly closed, and he showed no sign of satisfaction. His nervous fingers never stopped trembling. We could perceive the anger, pain and courage flashing in his eyes behind the thick-framed glasses.” This face, like his life and works, is thought-provoking.
Of Shostakovich’s 147 numbered works, only 15 are symphonies, but the composer’s work on symphonies ran through all his life, which brought him as much suffering as fame.
After the October Revolution of 1917, the Soviet regime was established. The new social order advocated new artistic creation and encouraged an open and even experimental atmosphere for art. Many Russian avant-garde artists actively participated in this artistic revolution.
In 1925, Shostakovich at the age of 20 completed the First Symphony when he graduated from university. With the paradigm of the symphony, the work organically balances the comic and the tragic, blending the contradictory emotions into one harmonious whole with his personal musical vocabulary. The dramatic tension of this work later became one of the composer’s recognizable styles. As the older generation of Russian composers left Russia after the revolution, Shostakovich became a representative figure of the emerging Soviet music.
The Fourth Symphony completed in 1936 was a monumental masterpiece of symphony after Mahler. The first theme of the first movement is an overwhelming, brutal march, and its characteristics of crudeness, sharpness, irony, horror, and hysteria would appear repeatedly in many of the composer’s later works, for example, in the development section of the first movement of the Fifth Symphony, the “Invasion Theme” of the Seventh Symphony, and the march in the second movement of the Eighth Symphony, and so on.
The wild turmoil and “subjective” expression in the Fourth Symphony are regarded as the composer’s portrayal of how he felt about the times. In the 1930s, many people were involved in the fierce struggles in the Soviet Union. In 1936, Pravda criticized Shostakovich and his opera Lady Macbeth of Mtsensk. The composer recalled, “This article changed my life. I packed a small suitcase and sat up in bed all night. I was frightened not only for myself, but also for the lives of my mother, sister, wife, daughter, and later for the life of my son. I just sat there with a sense of guilt, while in fact I did not commit any crime.”
Under the pressure of the norms of realism and the political situations, Shostakovich had to declare a clear break with the Western avant-garde and expressionism. He shelved the Fourth Symphony and instead composed the Fifth Symphony in 1937. This symphony returned to the tradition of classical symphony in terms of form, movement structure, tonality, the development of themes and sub-themes, etc. In the eyes of the authority, the piece depicted a journey from darkness to light, which was in line with realism’s requirements of “popularity” and “happy ending”. However, the audience’s understanding of the music varied greatly. Fadeyev wrote in his diary that “the final movement of the Fifth is an irredeemable tragedy.” The composer himself later said, “The rejoicing is forced, created under threat.”
The Seventh Symphony “Leningrad” composed in 1941 brought the composer worldwide fame. In the first movement, the composer broke the rules of the traditional sonata form, replacing the development with an “Invasion Theme” based on a fixed, mechanical bass in E flat.
The Eighth Symphony composed in 1943 has more emphasis on the tragic and includes no praise for the triumph. Shostakovich later explained, “My symphonies, starting from the Fourth, to the Seventh and Eighth, are all about the terrible years before the war. The majority of my symphonies are tombstones. The days before the war were even more difficult. People had to cry silently so no one would see. And then the war came and the sorrow became a common one. We could talk about it openly. Grieving is also a right. I had to write a Requiem for all those who died, who had suffered.”
After the victory of the anti-fascist war in 1945, everyone expected Shostakovich to compose a Ninth Symphony that could rival Beethoven’s Ninth. Surprisingly, the Ninth Symphony is the composer’s shortest symphony, and is purely instrumental, with no vocal parts, no celebration of triumph, and even no dedication. With the scherzo-like rhythm and atmosphere of the work constantly sliding into darkness and desperate panic, this work is one of the composer’s most ironic works.
In February 1948, the Soviet Union officially condemned Shostakovich as one of the “formalist” composers. The Sixth, Eighth, and Ninth Symphonies were all classified as “formalist works” and were removed from the repertoire. He was forced to make a profound self-criticism.
In 1953, the year in which Stalin died, the Tenth Symphony was completed. This is another masterpiece. Its most distinctive feature is the appearance of the signature motive DSCH, derived from the German spelling of the composer’s name and the corresponding German note names: D, E flat, C and B. This motive is the turning point of the entire symphony.
In 1962, Shostakovich completed the 13th Symphony nicknamed Babi Yar, with texts from Yevtushenko’s poem about a Nazi massacre of Jews at Babi Yar in Ukraine during World War II. In the piece Shostakovich quoted Jewish songs to express his musical taste. He once said, “Jewish folk music can appear to be happy while it is tragic. It’s almost always laughter through tears. Many of my works reflect my impression of Jewish music.”
In 1966, Shostakovich was hospitalized for a heart attack. He began to think seriously about death and composed several works about his understanding of it. The most important of them is the Fourteenth Symphony, a collection of songs based on poems about death by different poets. For the composer, waiting for death is like “waiting to be executed, a theme that has tormented me all my life.”
The puzzle-like 15th Symphony completed in 1971 contains a lot of quotations from music by Rossini, Wagner, Glinka, and the composer himself. Even late in life, he showed an air of self-mockery and irony in his music.
The string quartets and concertos can be regarded as Shostakovich’s personal diaries. Ten of the 15 string quartets are dedicated to friends, showing the composer’s respect and affection for those he cared about.
In 1938, Shostakovich was criticized by Pravda. After completing the Fifth Symphony under great pressure, he began to compose the First String Quartet. After being criticized again in 1948, Shostakovich composed the First Violin Concerto and the Fourth and Fifth String Quartets. In 1960, Shostakovich visited Dresden. Shocked by the sight of the ruins of the bombing from the Second World War, he composed the Eighth String Quartet, dedicated to the “victims of fascism and war.” The Fourteenth String Quartet composed in 1973 is a strange combination of humor and nostalgia for lost joy. The Fifteenth String Quartet composed in 1974 includes six adagios to be performed consecutively without a break.
As works that express the composer’s true feelings, these string quartets often feature funeral marches, weak waltzes, brutal scherzos, purifying fugues and canons, cadences switching from major to minor, unpleasant melodies, deliberately interrupted harmonies, and bleak emotional atmospheres.
Despite the obvious differences in style and positioning between the composer’s two piano concertos, they are both essentially nonchalant (albeit virtuosic) etudes in terms of their entertaining value.
The Violin Concerto No. 1 was composed in 1948 and was not premiered until seven years later. The passacaglia in the third movement is undoubtedly the centerpiece of the entire work, and its influence extends forward and backward through the other movements. Unlike the cadenzas in traditional concertos, which appear at the end of the first movement, the one of the Violin Concerto No. 1 appears before the final movement and features great profundity and depth as it can reiterate and develop a lot of themes that appeared before.
The 1959 Cello Concerto No. 1 is in E flat major. This is the key Beethoven used for the bright and positive Third “Eroica” Symphony, but Shostakovich used it for sarcasm and humor. The composer pairs the cello with the horn, in the same way he pairs the trumpet with the piano in the Piano Concerto No. 1. Contrary to the implication of the word “concerto”, the cello is not supported by the orchestra. Instead, it is entangled by the horn and chased and harassed by the orchestra while it is agilely and eloquently struggling to maintain its unique sound.
The Cello Concerto No. 2 (1966) and the Violin Concerto No. 2 (1967) showcase the composer’s late style: elusive, intimate, elegiac, immersed with glows of suffering, grotesque humor, nostalgia and regret, ending with a sense of farewell as energy and hope fade away.
In July 1975, the composer completed the three-movement Viola Sonata, which became his Requiem. On August 9, 1975, the composer died of lung cancer.
Many people regard Shostakovich as a Russian “holy fool,” a wise person who feigns insanity.
Shostakovich said, “We need brave music. Brave because it is truthful. In such music, the composer expresses his thoughts truthfully, and in such a way that as many decent citizens as possible in his own country and other countries can understand and accept this music, and thus understand their country and people. That is the meaning of composing music as I see it.”
The real world that Shostakovich faced throughout his life was both cruel and absurd. He recalled, “Our family discussed the Revolution of 1905 constantly… The boys had been sitting in the trees, looking at the soldiers, and the soldiers shot them – just like that, for fun. They then loaded them on the sleigh and drove off. A sleigh loaded with children’s bodies. And the dead children were smiling. They had been killed so suddenly that they hadn’t time to be frightened. I was born after the revolution but the stories deeply affected my imagination.”
Shostakovich had a strong sense of compassion: “When I hear about someone else’s pain, I feel pain too. I feel pain for everything – for people and animals.” During the February Revolution of 1917, 11-year-old Shostakovich witnessed a boy being killed by a Cossack on the street. He included this nightmarish scene that haunted him throughout his life in his Second Symphony.
The composer admitted that “there were no particularly happy moments in my life, no great joys. It was gray and dull and it makes me sad to think about it. It saddens me to admit it, but it’s the truth, the unhappy truth.”
In the age of cruelty, Shostakovich did not dare to fight bravely against the evil; nor did he wanted to curry favor with the powerful. To protect his own life and the lives of his family and friends, he could only take the most difficult third path. Who would understand his choice? Ruan Ji, one of the “Seven Sages of the Bamboo Grove,” who lived in the Period of Three Kingdoms and the Jin Dynasty nearly two thousand years ago, seemed to echo him from the remote past.
Although Ruan Ji wrote an elegant appeal to the ruler Sima Zhao to mount the imperial throne, he did not curry favor with the powerful in his life. When Sima Zhao wished to make the arrangement for his son to marry Ruan Ji’s daughter, Ruan Ji stayed drunk for more than 60 days in a row, so that Sima Zhao, unable to find a chance to propose marriage, had to give up. Ruan Ji, who could roll his eyes well, showed to all but those he favored only the whites of his eyes. Nonetheless, he never made any personal comment on anyone and Sima Zhao called him the most cautious person in the world.
Ruan Ji lamented that the world was covered by a huge net, and no one could spread their wings and escape from it. Only under the effect of drugs or alcohol, or when indulging in empty talks, could he feel a little freedom.
He entitled a piece of his composition “Drunken Ecstasy.” The note to the title in Mysterious Music Scores explains: “Was he indeed indulged in drinking? He was pursing the Way in drinking. This cannot be explained to ordinary people. Only the wise would understand it.”
Ruan Ji never expressed his thoughts in explicit terms. His poems are symbolic, mysterious, and hard to understand. However, later generations thought highly of his works. The fifth-century work of aesthetics, The Literary Mind and the Carving of Dragons, called Ruan Ji one of the two representative poets of his time. After hearing Shostakovich’s Eigth Symphony, Ehrenburg said, “‘Music has a tremendous advantage; without mentioning anything, it can say everything.”
Truth is a value recognized and pursued by all. Artistic expression of truth is “non-conceptual” and has many uncertainties, but this characteristic is a blessing, as truth can never be fully understood or expressed.
It seems that 33rd of Ruan Ji’s Poems on My Heart’s Feelings echoes the whole story of Shostakovich’s life: “A morning comes and then an evening goes. / My complexion changes and my spirits fades. / In my breast I hold boiling water and fire. / All things change constantly and unpredictably. / I fear in the next second the wind will take my soul away. / All my life I walked on thin ice, and who understand my suffering?”
Either the holy fool in Russia or the ecstatic drunkard in ancient China could only express their true feelings obscurely through insanity and drinking, and only a perceptive heart can understand and appreciate the profound truth hidden in their works.
`, autor:'肖 龙', enautor:`XIAO Long`, }], mainworks:[ { pic:'', title:'“国家大剧院建院十七周年音乐会”梵志登、陶康瑞与国家大剧院管弦乐团演绎肖斯塔科维奇与贝多芬', entitle:`“Concert for the 17th Anniversary of NCPA” Shostakovich and Beethoven with Zweden, Conrad Tao and NCPAO`, time:`2024.12.6/7`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:`乐是故乡明`, enname:`Sounds of China`, }, { name:`多面肖像`, enname:`Portraits of Shostakovich`, }, ], personnel:[ { name:`梵志登`, job:`指挥`, enname:`Jaap van Zweden`, enjob:`Conductor`, }, { name:'陶康瑞', job:'钢琴', enname:`Conrad Tao`, enjob:`Piano`, }, { name:`王与兵`, job:`小号`, enname:`WANG Yubing`, enjob:`Trumpet`, }, ], performance:[ { name:`肖斯塔科维奇`, job:`C小调第一号钢琴协奏曲，Op. 35`, enname:`Shostakovich`, enjob:`Piano Concerto No. 1 in C minor, Op. 35`, }, { name:`肖斯塔科维奇`, job:`F大调第二号钢琴协奏曲，Op. 102`, enname:`Shostakovich`, enjob:`Piano Concerto No. 2 in F major, Op. 102`, }, ], }, { pic:'', title:`“隔世之遥”赖嘉静、扬·沃格勒与国家大剧院管弦乐”`, entitle:`“The Distant Worlds” LAI Jiajing, Jan Vogler and NCPAO`, time:`2025.4.10/11`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:`多面肖像`, enname:`Portraits of Shostakovich`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, ], performance:[ { name:`肖斯塔科维奇`, job:`降E大调第九号交响曲, Op. 70`, enname:`Shostakovich`, enjob:`Symphony No. 9 in E-flat major, Op. 70`, }, { name:`肖斯塔科维奇`, job:`《牛虻》组曲, Op. 97a`, enname:`Shostakovich`, enjobf:`Selections from `, enxiejob:`The Gadfly Suite, Op.97a `, }, ], }, { pic:'', title:`“多面肖像” 张弦、宁峰与国家大剧院管弦乐团演绎肖斯塔科维奇`, entitle:`“Portraits of Shostakovich” Shostakovich with Xian Zhang, NING Feng and NCPAO`, time:`2025.5.9/10`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:`多面肖像`, enname:`Portraits of Shostakovich`, }, ], personnel:[ { name:`张弦`, job:`指挥`, enname:`Xian Zhang`, enjob:`Conductor`, }, { name:`宁峰`, job:`小提琴`, enname:`NING Feng`, enjob:`Violin`, }, ], performance:[ { name:`肖斯塔科维奇`, job:`A小调第一号小提琴协奏曲，Op. 77`, enname:`Shostakovich`, enjob:`Violin Concerto No. 1 in A minor, Op. 77`, }, { name:`肖斯塔科维奇`, job:`升C小调第二号小提琴协奏曲，Op. 129`, enname:`Shostakovich`, enjob:`Violin Concerto No. 2 in C-sharp minor,Op. 129`, }, { name:`肖斯塔科维奇`, job:`D小调第五交响曲，Op. 47`, enname:`Shostakovich`, enjob:` Symphony No. 5 in D minor, Op. 47`, }, ], }, { pic:'', title:`“长夜未尽”劳伦斯·福斯特、陈亦柏与国家大剧院管弦乐团演绎肖斯塔科维奇与舒曼`, entitle:`“Against the Dying Light” Shostakovich and Schumann with Lawrence Foster, CHEN Yibai and NCPAO`, time:`2025.5.16/17`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:`多面肖像`, enname:`Portraits of Shostakovich`, }, ], personnel:[ { name:`劳伦斯·福斯特`, job:`指挥`, enname:`Lawrence Foster`, enjob:`Conductor`, }, { name:`陈亦柏`, job:`大提琴`, enname:`CHEN Yibai`, enjob:`Cello`, }, ], performance:[ { name:`肖斯塔科维奇`, job:`降E大调第一号大提琴协奏曲，Op. 107`, enname:`Shostakovich`, enjob:`Cello Concerto No. 1 in E-flat major,Op. 107`, }, { name:`肖斯塔科维奇`, job:`G大调第二号大提琴协奏曲，Op. 126`, enname:`Shostakovich`, enjob:`Cello Concerto No. 2 in G major, Op. 126`, }, ], }, { pic:'', title:`“律意弦思”国家大剧院管弦乐团的室内乐`, entitle:`“Impressions on Strings” NCPAO in Chamber`, time:`2025.6.12`, address:'国家大剧院·小剧场', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips:[ { name:`多面肖像`, enname:`Portraits of Shostakovich`, }, { name:`焦点作曲家：郭文景`, enname:`Composer-in-Focus: GUO Wenjing`, }, { name:`无界室内乐NCPAO`, enname:`in Chamber Plus`, }, { name:`乐是故乡明`, enname:`Sounds of China`, }, ], personnel:[ { name:`极简四重奏：`, job:``, enname:`Normcore Quartet : `, enjob:``, }, { name:` 赵洁盈`, job:`第一小提琴`, enname:` ZHAO Jieying`, enjob:`First Violin`, }, { name:` 纪东丹`, job:`第二小提琴`, enname:` JI Dongdan`, enjob:`Second Violin`, }, { name:` 汪兰`, job:`中提琴`, enname:` WANG Lan`, enjob:`Viola`, }, { name:` 石瑾`, job:`大提琴`, enname:` SHI Jin`, enjob:`Cello`, }, ], performance:[ { name:`肖斯塔科维奇`, job:`C小调第八号弦乐四重奏，Op. 110`, enname:`Shostakovich`, enjob:`String Quartet No. 8 in C minor, Op. 110 `, }, ], }, ], }, { id:3, type:2, title:'驻院艺术家', entitle:'Artist-in-Residence', bannerpc:'./images/page/banner6.jpg', bannerwap:'./images/page/banner6-wap.jpg', name:'张昊辰', enname:`Haochen Zhang`, pic:'./images/page/pic_zch1.jpg', head:'./images/page/pic_zch2.jpg', video:'../conimg/video_ysj.mp4', txtcon:`“他的音色范围和表现力如万花筒般广阔……比张昊辰的精湛技艺更令人印象深刻的是他敏捷的想象力……为了呈现如此精彩的演绎，他愿意冒险探索音乐深处人迹罕至之处——这是张昊辰最值得赞赏的地方。”
—— 彼得·拉比诺维茨，《留声机》
“这位才华横溢的年轻人将以荣誉捍卫古典音乐的尊严！”
—— 洛林·马泽尔
继2009年获范·克莱本国际钢琴比赛金奖，成为这一世界顶级赛事史上夺冠的首位亚洲人之后，张昊辰以他超凡的想象力、华丽的技巧、深刻的音乐感触感染了世界各地的听众。2022年，其音乐随笔集《演奏之外》在中国内地出版。
2023年8月，BIS唱片公司发行了张昊辰的全新专辑《李斯特：十二首超技练习曲》。因其所获的广泛好评，张昊辰在同年9月登上国际权威钢琴杂志《国际钢琴》封面；次月获《留声机》杂志月度最佳唱片。他的另外三张录音室专辑同样由BIS发行，分别为2022年10月发行的与娜塔丽·施图茨曼、费城交响乐团合作录制的《贝多芬钢琴协奏曲全集》；2019年7月与迪玛·斯洛博登尼克、拉蒂交响乐团合作录制的普罗科菲耶夫《第二钢琴协奏曲》与柴可夫斯基《第一钢琴协奏曲》；以及2017年2月发行的首张个人录音室独奏专辑。
2024-25 乐季，张昊辰的演出将包括与慕尼黑爱乐乐团、费城交响乐团、苏黎世音乐厅管弦乐团、墨尔本交响乐团的再度合作，于巴黎香榭丽舍剧院的独奏会首秀，以及作为国家大剧院乐季驻院艺术家，演奏李斯特与拉赫玛尼诺夫的全部钢琴协奏曲等。
张昊辰常年在世界各地举办独奏会以及与交响乐团的协奏曲巡演。近年来合作过的指挥包括洛林·马泽尔、里卡多·夏伊、瓦莱里·捷杰耶夫、迈克尔·蒂尔森·托马斯、郑明勋、雅尼克·涅杰-瑟贡、图冈·索契耶夫、吉安德里亚·诺赛达、瓦西里·彼得连科、大卫·罗伯森、马琳·阿尔索普、余隆等。与之合作的著名乐团有琉森音乐节管弦乐团、纽约爱乐乐团、费城交响乐团、伦敦交响乐团、柏林国家歌剧院管弦乐团、慕尼黑爱乐乐团、德累斯顿国家管弦乐团、北德广播易北爱乐乐团、法兰克福广播交响乐团、苏黎世音乐厅管弦乐团、瑞士罗曼德管弦乐团、法国广播爱乐乐团、图卢兹国立管弦乐团、巴黎室内乐团、斯卡拉大剧院管弦乐团、圣切契利亚交响乐团、卢森堡爱乐乐团、华沙爱乐乐团、马林斯基交响乐团、以色列爱乐乐团、旧金山交响乐团、洛杉矶爱乐乐团、亚特兰大交响乐团、悉尼交响乐团、墨尔本交响乐团、NHK交响乐团、新加坡交响乐团、中国爱乐乐团、香港管弦乐团等。其演奏足迹遍及世界众多知名音乐场地，包括柏林爱乐大厅、纽约卡内基大厅、纽约林肯中心、华盛顿肯尼迪中心、伦敦皇家阿尔伯特音乐厅、阿姆斯特丹音乐厅、斯卡拉大剧院、洛杉矶迪士尼音乐厅、东京三得利音乐厅等。
张昊辰曾在BBC逍遥音乐节、琉森音乐节、韦尔比耶音乐节、阿斯本音乐节、拉罗克·当泰龙国际钢琴节、蒙彼利埃音乐节、圣塔菲音乐节、拉霍亚音乐节等世界顶尖音乐节中亮相。作为一名活跃的室内乐音乐家，他也曾与多弗四重奏、塔卡什四重奏、东京四重奏、上海四重奏、布伦塔诺四重奏等知名室内乐团体合作。
张昊辰1990年生于上海。5岁即在上海音乐厅举办个人独奏会。幼时师从林恒、吴子杰、王建中，2001年起师从著名钢琴教育家但昭义。2005年进入费城柯蒂斯音乐学院，师从著名钢琴家加里·格拉夫曼，后曾跟随钢琴家安德里斯·汉弗里格在维也纳进修。2009年，张昊辰在范·克莱本钢琴大赛的部分实况录音由乐满地唱片公司发行，并在彼得·罗森执导的关于那届赛事的纪录片《德州惊喜》中担任重要角色。
`, entxtcon:`"(Haochen's) kaleidoscopic range of tone...Even more impressive than Zhang's virtuosity is his quicksilver imagination...Most arresting of all, though, is Zhang's willingness to take interpretative risks."
Peter J Rabinowitz, GRAMOPHON
"The talented young man will defend the dignity of classical music by giving his honor."
Lorin Maazel
Since his gold medal win at the Thirteenth Van Cliburn International Piano Competition in 2009, having been the first Asian gold medalist in the history of this top international piano competition, Haochen Zhang has captivated audiences all over the world with a unique combination of deep musical sensitivity, fearless imagination, and spectacular virtuosity. In 2022, Haochen's collection of essays on classical music entitled On the Other Side of Performing was published in Mainland China.
In August 2023, Haochen released his latest album on BIS, performing Liszt's Transcendental Études. Due to the widespread acclaim he received, Haochen graced the cover of International Piano, an authoritative worldwide piano magazine, in September of the same year; the following month, the album was awarded Gramophone's Recording of the Month. Haochen also released three other studio albums on BIS: "The Complete Beethoven Piano Concertos" with the Philadelphia Orchestra conducted by Nathalie Stutzmann in October 2022, his debut concerto album in July 2019 performing Prokofiev's Piano Concerto No. 2 and Tchaikovsky's first piano concerto with the Lahti Symphony Orchestra under the baton of Dima Slobodeniouk, and his first solo album in February 2017.
Highlights of Haochen's 2024-25 season will include returns to the Munich Philharmonic Orchestra, the Philadelphia Orchestra, Tonhalle-Orchester Zürich, and the Melbourne Symphony Orchestra. He will also make his recital debut at the Théâtre des Champs-Élysées in Paris. Furthermore, as the Artist-in-Residence at the National Centre for the Performing Arts, he will perform the complete piano concertos of Liszt and Rachmaninoff, among other projects.
Haochen regularly holds recitals and concerto tours with symphony orchestras worldwide. In recent seasons, he has collaborated with conductors including Lorin Maazel, Riccardo Chailly, Valery Gergiev, Michael Tilson Thomas, Myung-Whun Chung, Yannick Nézet-Séguin, Tugan Sokhiev, Gianandrea Noseda, Vasily Petrenko, David Robertson, Marin Alsop, Long Yu, and others, and with renowned orchestras such as the Lucerne Festival Orchestra, New York Philharmonic Orchestra, The Philadelphia Orchestra, London Symphony Orchestra, Staatskapelle Berlin, Munich Philharmonic Orchestra, Staatskapelle Dresden, NDR Elbphilharmonie Orchester, hr-Sinfonieorchester Frankfurt, Tonhalle-Orchester Zürich, Orchestre de la Suisse Romande, Orchestre Philharmonique de Radio France, Orchestre national du Capitole de Toulouse, Orchestre de chambre de Paris, Filarmonica della Scala, Orchestra dell'Accademia Nazionale di Santa Cecilia, Luxembourg Philharmonic, Warsaw Philharmonic Orchestra, Mariinsky Orchestra, Israel Philharmonic Orchestra, San Francisco Symphony Orchestra, Los Angeles Philharmonic Orchestra, Atlanta Symphony Orchestra, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, NHK Symphony Orchestra, Singapore Symphony Orchestra, China Philharmonic Orchestra, Hong Kong Philharmonic Orchestra and so on. His performances have reached many of the world's prestigious music venues, including the Berliner Philharmonie, the Carnegie Hall and Lincoln Center in New York, the Kennedy Center in Washington DC, the Royal Albert Hall in London, the Concertgebouw in Amsterdam, the Teatro alla Scala, the Walt Disney Concert Hall in Los Angeles, Suntory Hall in Tokyo, etc.
Haochen has already appeared at many of the world's leading festivals, including the BBC Proms, the Lucerne Festival, the Verbier Festival, the Aspen Music Festival, the Festival international de Piano de La Roque d'Anthéron, the Festival Radio France Occitanie Montpellier, the Santa Fe Chamber Music Festival, the La Jolla Music Society's SummerFest and others. As an avid chamber musician, he has collaborated with ensembles such as the Dover, Takács, Tokyo, Shanghai, and Brentano Quartets.
Zhang Haochen was born in Shanghai in 1990. At age five, he held his first piano recital at the Shanghai Concert Hall. As a child, he studied under Lin Heng, Wu Zijie, and Wang Jianzhong, and from 2001, he studied with the esteemed Professor Dan Zhaoyi. In 2005, he entered the Curtis Institute of Music in Philadelphia, where he studied under Gary Graffman, and later furthered his studies in Vienna with pianist Andreas Haefliger. Haochen's performances at the Cliburn Competition were released to critical acclaim by Harmonia Mundi in 2009. He is featured in Peter Rosen's award-winning documentary chronicling the 2009 Cliburn Competition, A Surprise in Texas.
`, artic:[{ txttitle:'驻院艺术家张昊辰：一段长旅程的延续', entxttitle:'Artist-in-Residence Haochen Zhang: The continuation of a long journey', txtcon:`2009年，19岁的张昊辰在第十三届范·克莱本钢琴大赛上折冠，成为首位获此殊荣的中国钢琴家，同时打破了范·克莱本比赛获奖者的年龄纪录，成为了当时最年轻的金奖得主。15年后，34岁的张昊辰受国家大剧院之邀，成为2024-2025乐季驻院艺术家，也是国家大剧院历史上最年轻的驻院艺术家。
问：您和国家大剧院及国家大剧院管弦乐团有着怎样的渊源？第一次合作是什么时候？有哪些难忘瞬间？
张昊辰：我和国家大剧院有过非常多的合作，国家大剧院音乐厅可能是我演出次数最多的国内音乐厅。对我来说，来国家大剧院开音乐会就像回家一样。如果我记得没错的话，我第一次在这里开个人独奏音乐会应该是2011年，那已经是十多年前的事了。我和“蛋交”的渊源也很深，乐团刚成立时，我就和乐团合作演出过音乐会。2015年，我还和“蛋交”一起到访过莫斯科，弹的是钢琴协奏曲“黄河”，后来又一起去过阿布扎比和纽约巡演。要说难忘的时刻就太多了，比如莫斯科就让我印象很深。那次的音乐会，担任指挥的是捷杰耶夫，他几乎是在视谱情况下完成的演出，整个过程非常刺激。但“蛋交”在任何情况下都全力以赴的演奏态度让我记忆犹新。
问：在今年的驻院艺术家计划中，您将为观众带来李斯特、柴科夫斯基、拉赫玛尼诺夫、梅西安等风格跨度巨大的作品。这样的整体曲目安排背后有着怎样的考量或用意？
张昊辰：我觉得国家大剧院驻院艺术家是个特别好的平台，给我提供了更大的空间和更多样的形式去策划曲目。我一直有个想法，音乐会应该是关于“对话”的。因此我喜欢在一场音乐会上演出不同作曲家的作品，风格差异拉得越大越好，这会给音乐会和曲目带来不一样的意义和体验。比如我曾经把舒伯特的晚期作品和李斯特的作品放在一起，形成极度的反差，这样的音乐会体验会非常有趣。这次成为驻院艺术家，我希望能在这个乐季，带给观众更加丰富的音乐体验。因此，在今年的曲目计划中，除了演出协奏曲，也会加入室内乐，在经典曲目之外，也会做一些现代作品。当然，这些曲目的策划也是一个自然而然的过程，是结合了档期、节目效果、乐团的想法以及我的想法等等诸多因素后的结果，是大家共同商量的产物。
问：您是否对某一特定时期或风格的作品有特别的钟爱？
张昊辰：这是一个非常难回答的问题，主要是因为我自己一直在变。我在不同的人生阶段，喜欢的作曲家和作品会随着心境的变化而变化，可能在一段时间内，我会觉得某人是我的最爱，但过了一段时间后，我可能又会找到新的最爱。再过段时间，可能我又变回去了。确实有些音乐家用毕生精力只钻研某个特定作曲家的作品。但我喜欢尝试各式各样不同的作品，我很难想象我会一辈子都只喜欢某一种风格的音乐，那样会没有办法满足我的好奇心。演奏者和作曲家之间的关系可能会是一个永恒的命题，也就是它永远在变。
问：作为一位钢琴独奏家，驻院计划中的梅西安四重奏显得尤为特别。室内乐作品对您是否有着特别的吸引力？
张昊辰：从演奏的角度来说，我觉得室内乐是一种非常重要的音乐形式，尤其对钢琴演奏者来说。钢琴演奏者一般都是演出协奏曲或独奏会，钢琴自成一体，这就给钢琴家带来了不需要听别人的演奏惯性。室内乐要和其他乐器合作，因此会逼着我们打开耳朵，去聆听我们之外的一个世界，所以室内乐演出对钢琴家建立整体的音乐视角是非常重要的，也是钢琴独奏家稀缺的机会。因此，我每年都要尽量保证时间参加室内乐的演出。梅西安的《时间终结》四重奏也是一部具有里程碑意义的作品，我非常希望能尝试这样的作品。不过，室内乐在国内还没有形成潮流，观众对室内乐的关注度和热情目前还不是很高。但国家大剧院管弦乐团能够前瞻性地推出一个室内乐系列，来推广室内乐，我觉得是非常有意义的。
问：在今年的驻院计划中，拉赫玛尼诺夫协奏曲全集是一大看点。您对拉赫玛尼诺夫的作品是否有独特的情怀？
张昊辰：2022年，我和费城交响乐团演出了全套的贝多芬钢琴协奏曲，并录制了专辑。贝多芬的协奏曲全集，恰好也是5首。那次录音，带给了我一个全新的视角。我发现当连续几场音乐会或都沉浸在同一个作曲家的作品中时，能够把人带到某个深处，会更容易和这个作曲家建立一种更深层次的连结。我觉得这是一种非常神奇的体验。拉赫玛尼诺夫的五首协奏曲我都分别演过，但从来没有连续演出过。因此，我非常想去尝试这件我没有做过的事。我很好奇这样连续演奏将给我带来什么样的感悟，我也想知道连续演出5首拉赫玛尼诺夫协奏曲会给观众带去什么样的体验。当然，这样的曲目安排，既有体力上的挑战，也有音乐和精神上的挑战。
另外，由于拉赫玛尼诺夫本人就是一位伟大的钢琴演奏家，因此他更懂得如何挖掘钢琴的潜力，他所带给钢琴丰富的表现力比很多作曲家都更为开阔。当我听了许多拉赫玛尼诺夫本人留下的演奏录音后，我发现当他亲自演奏自己作品时，在猛烈抒情之余，音乐中还有很多高冷的气质和精妙的设计，这让我对他的作品的看法又有所改变，让我能感受到我们彼此之间的某种联系，这也是我想要再次走近拉赫玛尼诺夫全套钢琴协奏曲的一个重要原因。
问：您对今年的驻院计划有什么期许？
张昊辰：我和国家大剧院结缘已经有十几年了，很开心能成为今年的国家大剧院驻院艺术家。对我来说，成为驻院艺术家，更像是一段很长旅程的延续。我非常期待能通过包括室内乐在内的更丰富的音乐形式，把更多艺术上的可能性带给大家，我也期盼着能在这一年里和“蛋交”碰撞出更多的火花。
`, entxtcon:`In 2009, 19-year-old Haochen Zhang won the gold medal in the 13th Van Cliburn Piano Competition, becoming the first Chinese pianist to win this honor and one of the youngest gold medalists in the history of the competition. 15 years later, 34-year-old Haochen Zhang, upon the invitation of the NCPA, became an artist-in-residence in the 2024-2025 season, the youngest artist-in-residence in the history of the NCPA.
Q: What is the history between you and the NCPA and the NCPAO? When was your first collaboration? What moments are unforgettable to you?
Haochen Zhang: I had many collaborations with the NCPA. I probably have performed more often in the concert hall of the NCPA than any other concert hall in China. For me, giving a concert at the NCPA is like going home. If my memory serves me right, I had my first solo recital here in 2011, which was more than ten years ago. The NCPAO and I also have a long history. I worked with the orchestra in a concert soon after its establishment. In 2015, I jointed the tour to Moscow with the NCPAO, and I played the Yellow River Piano Concerto. Later we went on a tour to Abu Dhabi and New York together. There are too many unforgettable moments I want to talk about. For example, the concert in Moscow left a deep impression on me. It was conducted by Gergiev, who completed the whole performance almost by sight-reading. The whole thing was very exciting. And I remember very well how the NCPAO always does its best in any situation.
Q: In this year’s Artist-in-Residence Program, you will present works with a wide range of styles, including those by Liszt, Tchaikovsky, Rachmaninoff, Messiaen, etc. What are the considerations or intentions behind the arrangement of the concert programs?
Haochen Zhang: I think the NCPA Artist-in-Residence Program is a very good platform that allows me to prepare the concert program with a lot of space and in many different ways. I have always believed that a concert is about a “dialogue” and I like to perform works by different composers in the same concert. The greater the difference in style, the better. It will bring unique meanings and experiences to the concert and the music played in it. For example, I once put Schubert’s late works in juxtaposition with Liszt’s works, forming an extreme contrast. Concerts like this would be great fun. As an artist-in-residence, I wish to bring the audience great experience of music in this season. So for this year’s performance I prepared not only concertos but also chamber music. In addition to classical pieces, I will also perform some modern works. Of course, the selection of these pieces was a natural process. It is the result of many factors such as the schedule, the expected effects, the orchestra’s ideas, and my ideas. It is the result of the discussions of all of us together.
Q: Do you have a favorite period or style?
Haochen Zhang: This is a very difficult question to answer, mainly because I am always changing. At different stages of my life, my favorite composers and works will change with my mood. Maybe for a period of time, I think someone is my favorite, but that period, I may find a new favorite. After a while, I may change back. It is true that some musicians spend their entire lives studying the works of a specific composer, but I like to try a variety of different works. It is hard for me to imagine that I will only like a certain style of music for my whole life, because that would not satisfy my curiosity. The relationship between performers and composers may be an eternal subject, as it is always changing.
Q: As a solo pianist, you may find the Messiaen Quartet in the Artist-in-Residence Program very special. Are you particularly interested in chamber music?
Haochen Zhang: From the perspective of performance, I think chamber music is a very important form of music, especially for pianists. Pianists usually perform in concertos or recitals. Because the piano is a quite independent instrument, the pianist can easily form the habit of not needing to listen to other people’s performances. In chamber music, however, we have to work with other instruments, and we are forced to open our ears and listen to a world outside of us. As performing chamber music helps pianists develop a holistic musical perspective, it is very important to piano soloists, and we value the rare chances to perform chamber music. I try to ensure my time to participate in chamber music performances every year. Messiaen’s “End of Time” Quartet is a monumental work and I very much hope to try works like it. The trend of listening to chamber music has not yet been formed in China, and at present concert goers are not very enthusiastic about it. I think the NCPAO’s effort to promote chamber music with a series in the season is proactive and very meaningful.
Q: The presentation of complete concertos of Rachmaninoff is one of the highlights of this year’s Artist-in-Residence Program. Do you have a special feeling for Rachmaninoff’s works?
Haochen Zhang: In 2022, I performed Beethoven’s complete piano concertos with the Philadelphia Orchestra and recorded an album. Beethoven happened to have composed five concertos just like Rachmaninoff. That recording gave me a whole new perspective. I found that when you immerse yourself in the works of the same composer in several consecutive concerts, you can reach a certain depth and can more easily establish a deeper connection with the composer. I found it a magical experience. I have performed all five of Rachmaninoff’s concertos separately, but never did it in succession. So, I really want to try this thing that I have never done. I am very curious about what kind of insights this continuous performance will bring me, and I also want to know what kind of experience the continuous performance of 5 Rachmaninoff concertos will bring to the audience. Of course, such a concert program is not only physically, but also musically and mentally challenging.
Besides, as a great pianist himself, Rachmaninoff knew how to tap the potential of the piano. In his works the piano is more expressive than in those by many other composers. After listening to many recordings of Rachmaninoff’s performances, I found that when he played his own works, there was more than just powerful lyricism. There was also an icy beauty and a meticulous design in the music. This changed my view of his works and made me feel a certain connection between us. This is another important reason why I want to approach Rachmaninoff’s complete piano concertos again.
Q: What are your expectations for this year’s Artist-in-Residence Program?
Haochen Zhang: After ten years of collaboration with the NCPA, I am very happy to become its artist in residence this year. For me, being an artist in residence is more like the continuation of a long journey. I am looking forward to bringing more artistic possibilities to everyone through diverse forms of music including chamber music, and I also look forward to creating more sparks in the work with the NCPAO this year.
`, autor:'对谈人：张昊辰、李小庚', enautor:`Haochen Zhang interviewed by LI Xiaogeng`, }], mainworks:[ { pic:'', title:`“时间终结”张昊辰与国家大剧院管弦乐团音乐家演绎德彪西与梅西安`, entitle:`“The End of Time” Debussy and Messiaen with Haochen Zhang and NCPAO Musicians`, time:`2024.9.13/14`, address:'国家大剧院·小剧场 ', enaddress:`NCPA·Multi-functional`, link:`https://wticket.chncpa.org/product.html?id=10000700`, enlink:`https://en.chncpa.org/whatson/zdyc/202405/t20240523_264354.shtml`, tips:[ { name:'无界室内乐', enname:'NCPAO in Chamber', } ], personnel:[ { name:`张昊辰`, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, { name:`窦聪昶`, job:`小提琴`, enname:`DOU Congchang`, enjob:`Violin`, }, { name:`王无山`, job:`大提琴`, enname:`WANG Wushan`, enjob:`Cello`, }, { name:`李旻娜`, job:`单簧管`, enname:`Minna Lee`, enjob:`Clarinet`, }, ], performance:[ { name:`梅西安`, job:`《时间终结四重奏》`, enname:`Messiaen`, enxiejob:`Quartet for the End of Time`, }, ], }, { pic:'', title:`“不朽的篇章”图冈·索契耶夫、张昊辰与慕尼黑爱乐乐团音乐会`, entitle:`Tugan Sokhiev, Haochen Zhang and The Munich Philharmonic Orchestra`, time:`2024.11.10`, address:'北京艺术中心·音乐厅', enaddress:`Beijing Performing Arts Centre·Concert Hall`, link:``, enlink:``, tips:[], personnel:[ { name:`张昊辰`, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, ], performance:[ ], }, { pic:'', title:`“狂想与神话”图冈·索契耶夫、张昊辰与慕尼黑爱乐乐团音乐会`, entitle:`Tugan Sokhiev, Haochen Zhang and The Munich Philharmonic Orchestra`, time:`2024.11.12`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[], personnel:[ { name:`张昊辰`, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, ], performance:[ ], }, { pic:'', title:`2025北京新年音乐会/国家大剧院2025新年音乐会`, entitle:`2025 Beijing New Year’s Concert/NCPA 2025 New Year’s Concert`, time:`2024.12.31/2025.1.1`, address:'国家大剧院·音乐厅 / 北京艺术中心·音乐厅 ', enaddress:`NCPA·Concert Hall / Beijing Performing Arts Centre·Concert Hall`, link:``, enlink:``, tips:[], personnel:[ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`张昊辰`, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, ], performance:[ ], }, { pic:'', title:'“狂人匠心”吕嘉、张昊辰、宋元明与国家大剧院管弦乐团', entitle:`“Ingenuity and Ardency” LÜ Jia, Haochen Zhang, SONG Yuanming and NCPAO`, time:`2025.3.16`, address:'北京艺术中心·音乐厅', enaddress:`Beijing Performing Arts Centre·Concert Hall`, link:'https://wticket.chncpa.org/product.html?id=10001341', enlink:``, tips:[], personnel:[ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor `, }, { name:`张昊辰`, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, ], performance:[ { name:`李斯特`, job:`A大调第二号钢琴协奏曲，S. 125 `, enname:`Liszt`, enjob:`Piano Concerto No. 2 in A major, S. 125`, }, { name:`李斯特`, job:`降E大调第一号钢琴协奏曲，S. 124 `, enname:`Liszt`, enjob:`Piano Concerto No. 1 in E-flat major, S. 124`, }, ], }, { pic:'', title:`张昊辰与多弗四重奏的室内乐 `, entitle:`Haochen Zhang and Dover Quartet in Chamber`, time:`2025.5.9`, address:'北京艺术中心·音乐厅', enaddress:`Beijing Performing Arts Centre·Concert Hall`, link:``, enlink:``, tips:[], personnel:[ { name:`张昊辰`, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, ], performance:[ ], }, { pic:'', title:`张昊辰、黄屹与国家大剧院管弦乐团的拉赫玛尼诺夫钢琴协奏曲全集`, entitle:`Rachmaninoff Piano Concerto Cycle with Haochen Zhang, HUANG Yi and NCPAO`, time:`2025.6.7`, address:'国家大剧院·音乐厅 ', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips:[], personnel:[ { name:`黄屹`, job:`指挥`, enname:`HUANG Yi`, enjob:`Conductor`, }, { name:`张昊辰 `, job:`钢琴`, enname:`Haochen Zhang`, enjob:`Piano`, }, ], performance:[ { name:`拉赫玛尼诺夫`, job:`升F小调第一号钢琴协奏曲，Op. 1`, enname:`Rachmaninoff`, enjob:`Piano Concerto No. 1 in F-sharp minor, Op. 1`, }, { name:`拉赫玛尼诺夫`, job:`C小调第二号钢琴协奏曲，Op. 18`, enname:`Rachmaninoff`, enjob:`Piano Concerto No. 2 in C minor, Op. 18`, }, { name:`拉赫玛尼诺夫`, job:`D小调第三钢琴协奏曲，Op. 30 `, enname:`Rachmaninoff`, enjob:`Piano Concerto No. 3 in D minor, Op. 30`, }, { name:`拉赫玛尼诺夫`, job:`G小调第四钢琴协奏曲，Op. 40 `, enname:`Rachmaninoff`, enjob:`Piano Concerto No. 4 in G minor, Op. 40`, }, { name:`拉赫玛尼诺夫`, job:`《帕格尼尼主题狂想曲》，Op. 43 `, enname:`Rachmaninoff`, enxiejob:`Rhapsody on a Theme of Paganini`, enjob:`, Op. 43`, }, ], }, // { // pic:'', // time:`2025`, // title:`张昊辰的艺术对话`, // entitle:`Arts Experience (Conversation with Haochen Zhang)`, // address:'国家大剧院', // enaddress:`NCPA`, // link:``, // enlink:``, // tips:[], // personnel:[ // { // name:`张昊辰`, // job:`钢琴`, // enname:`Haochen Zhang`, // enjob:`Piano`, // }, // ], // performance:[ // ], // }, // { // pic:'', // time:`2025`, // title:`张昊辰的钢琴大师课`, // entitle:`Arts Experience (Masterclass with Haochen Zhang)`, // address:'国家大剧院', // enaddress:`NCPA`, // link:``, // enlink:``, // tips:[], // personnel:[ // { // name:`张昊辰`, // job:`钢琴`, // enname:`Haochen Zhang`, // enjob:`Piano`, // }, // ], // performance:[ // ], // }, ], activitys:[ { title:`张昊辰的钢琴大师课`, entitle:`Haochen Zhang'S PIANO MASTER CLASS`, time:`2025年3月`, address:'国家大剧院 · 资料中心', enaddress:`NCPA Art Resource Center`, name:`张昊辰`, enname:`Haochen Zhang`, link:``, enlink:``, }, { title:`对话张昊辰：演奏之外`, entitle:`Conversation with Haochen Zhang: On the other side of performing`, time:`2025年6月`, address:'国家大剧院 · 新闻发布厅', enaddress:`NCPA Press Conference Hall`, name:`张昊辰`, enname:`Haochen Zhang`, link:``, enlink:``, }, ], }, { id:4, type:2, title:'焦点作曲家', entitle:'Composer-in-Focus', bannerpc:'./images/page/banner7.jpg', bannerwap:'./images/page/banner7-wap.jpg?v=1', name:'郭文景', enname:`GUO Wenjing`, pic:'./images/page/pic_gwj1.jpg', head:'./images/page/pic_gwj2.jpg', video:'../conimg/video_zqj.mp4', txtcon:`郭文景（1956-）中央音乐学院作曲系教授，博士生导师，国家有突出贡献专家，中宣部首批“四个一批”人才，“政府津贴”获得者。还获得过“文化部优秀专家”、“中国文联世纪之星”、“中国百名优秀艺术家”、“ “宝钢教育奖”和首都高校名师”等荣誉称号。
作为教师，获得过中国教育最高奖——“教育成果一等奖”
作为作曲家，获得过中国文艺最高奖——“中华艺文奖”
其专辑《野火》获得过国家出版最高奖——“中国出版政府奖”
还曾获得第六届北京国际音乐节“年度艺术家”的桂冠
郭文景是改革开放以来，在国内外最有影响力的中国作曲家之一。他的创作植根中国传统，具有鲜明的个人风格，题材广泛，包括了歌剧、舞剧、交响曲、协奏曲、民族管弦乐，以及各类室内乐和影视配乐与实景演出音乐等。
郭文景的歌剧，是在世界上演出国家最多、制作版本最多的中文歌剧。
四场室内歌剧《狂人日记》曾在荷兰艺术节（世界首演）、巴黎秋季艺术节、伦敦Almeida Opera、法兰克福歌剧院、法国鲁昂歌剧院和北京国际音乐节上演。
《狂人日记》组曲曾在巴黎秋季艺术节、阿姆斯特丹Festival Van Contrasten 40 JAAR Erasmusprijs、鹿特丹、乌德勒支、爱丁堡国际艺术节、柏林三月音乐节、上海音乐学院当代音乐周和中央音乐学院室内乐音乐节上演。
四场室内歌剧《夜宴》曾在伦敦艾尔美达剧院（世界首演）、香港艺术节、巴黎秋季艺术节、维也纳温泉宫、澳大利亚珀斯、比利时艺术节、柏林赫伯剧院、林肯中心艺术节和北京国际音乐节上演。
五场歌剧《诗人李白》曾在科罗拉多中央城市歌剧院（世界首演）、北京国际艺术节、上海国际艺术节、罗马Cina vi Cina Festival中意文化年开幕式和香港艺术节上演。
他的八场歌剧《骆驼祥子》在中国国家大剧院于2014（世界首演）、2015、2016年上演，2015年在都灵、米兰、帕尔马、热那亚、弗洛伦萨巡演，意大利国家电视台全剧转播，这是他们第一次全剧播出非欧洲语言的歌剧。
为中国戏曲演员而作的独幕歌剧《凤仪亭》曾在阿姆斯特丹（世界首演）、乌德勒支、都灵九月音乐节、德国科隆艺术节、美国斯波莱托国际艺术节、纽约林肯中心艺术节和加拿大多伦多艺术节上演。
为中国戏曲演员而作的《巾帼英雄三部曲》曾在北京、香港、阿姆斯特丹、布鲁塞尔欧罗巴艺术节上演。
为中国戏曲演员而作的《思凡》2015在荷兰艺术节世界首演。荷兰著名纪录片导演法兰克·菲舍尔将郭文景创作《思凡》的过程拍摄成纪录片，影片参加了欧洲各大电影节，并在中国上海国际电影节和中央电视台播出。
郭文景曾为中国国家芭蕾舞团创作《牡丹亭》（2008）和《敦煌》（2017）等两部舞剧音乐。《牡丹亭》曾作为爱丁堡艺术节的开幕演出，并在美国、欧洲、澳洲巡回演出。《敦煌》首演后一直在中国国内各地频繁上演。
中央乐团、国家大剧院管弦乐团、中国爱乐乐团（两次）、上海爱乐乐团、杭州爱乐乐团、天津交响乐团（两次）、青岛交响乐团、四川交响乐团、中国歌剧舞剧院交响乐团，以及香港中乐团、上海民族乐团、中国广播民族乐团等，都曾举行“郭文景作品专场音乐会”。
中国爱乐乐团、北京交响乐团（两次）、上海交响乐团、中央民族乐团、香港中乐团等曾将郭文景的作品作为欧美巡回演出曲目。
音乐诗剧《大河》曾由中国歌剧舞剧院在国内十八个城市巡演。
尼姆·雅尔维率瑞典哥德堡交响乐团的1999中国之行，法比奥·路易斯率丹麦国家交响乐团的2018.北京、天津、济南、上海、香港的中国五城市巡演，以及艾杜·迪·华特率香港爱乐的上海之行，都将郭文景的协奏曲和声乐套曲列为正式演出曲目。
阿姆斯特丹、鹿特丹、乌德勒支、都灵、巴黎、纽约、爱丁堡等地的艺术节都曾举办过名为“郭文景肖像”的个人作品专场音乐会。
纽约时报称郭文景为“一位从未在海外生活但享有国际声誉的中国作曲家”，郭文景独特的音乐语言获得了世界范围的赞誉。
来自许多国家的乐评家称郭的音乐具有“无与伦比的音乐美和戏剧力量”（Le Monde《世界报》）， “尖刻而生动”（The Guardian《卫报》），“不羁而纯粹”（Het Parool《誓言报》）和“微妙且不寻常” （Frankfurter Allgemeine Zeitung《法兰克福汇报》）。 他也被称为“以极具原创性的方式探索歌剧的可能性”（The Independent 《独立报》）。
郭文景曾接受许多著名乐团的约稿，包括Nieuw Ensemble，Atlas Ensemble，Cincinnati打击乐团，Kronos四重奏，Arditti弦乐四重奏，法兰克福现代乐团，慕尼黑广播交响乐团，哥德堡交响乐团，中国爱乐乐团，北京交响乐团，广州交响乐团，香港爱乐乐团，新加坡交响乐团，香港中乐团，中央民族乐团，上海民族乐团等。
他还曾为众多影视作品配乐，包括姜文电影《阳光灿烂的日子》和张艺谋电影《千里走单骑》。
2008年，他应邀为北京奥运会开幕式中《活字印刷》的表演创作了独具特色的音乐。他的交响音诗《莲花》，是北京市给伦敦2012奥运会的礼物，由北京交响乐团在伦敦首演并获赞誉。
郭文景最新的创作是筝协奏曲《春望》Op.77（2024）和交响曲《长江》Op.78（2024）。将要进行的创作是国家大剧院的歌剧《红高粱》。
`, entxtcon:`GUO Wenjing (born 1956) is a professor in the Composition Department at the Central Conservatory of Music, a PhD supervisor, and a national expert with outstanding contributions. He is among the first batch of talents recognized by the Publicity Department of the Central Committee of the Communist Party of China under the Four One Batch program and a recipient of the Government Subsidy. He has also received such honors as Outstanding Expert Recognized by the Ministry of Culture, Century Star of the China Recognized by the Federation of Literary and Art Circles, One of the Top 100 Outstanding Chinese Artists, recipient of the Baosteel Education Award, and Distinguished University Teacher in the Capital.
As a teacher, he received the highest honor in Chinese education—First Prize for Educational Achievement.
As a composer, he was awarded the highest honor in Chinese arts—China Arts and Literature Award.
His album Wildfire garnered the highest national publishing award—China Government Publishing Award.
He was also crowned Artist of the Year at the 6th Beijing Music Festival.
GUO Wenjing is one of the most influential Chinese composers both domestically and internationally since the beginning of the Reform and Opening-up period. His compositions are rooted in Chinese tradition and characterized by a distinctive personal style. His works cover a wide range of genres, including operas, ballets, symphonies, concertos, traditional Chinese orchestral music, as well as various types of chamber music, film and TV music, and music for live performances.
GUO Wenjing's operas surpass any other operas in Chinese in the number of countries where they are performed and the variety of their productions.
The four-act chamber opera Wolf Cub Village has been performed at the Holland Festival (world premiere), the Paris Autumn Festival, Almeida Opera in London, Oper Frankfurt, Opéra de Rouen in France, and the Beijing Music Festival.
The Wolf Cub Village suite has been performed at the Paris Autumn Festival, the Festival Van Contrasten 40 JAAR Erasmusprijs in Amsterdam, the International Festivals in Rotterdam, Utrecht and Edinburgh, the MaerzMusik in Berlin, the Contemporary Music Week at Shanghai Conservatory of Music, and the Chamber Music Festival at the Central Conservatory of Music.
The four-act chamber opera Night Banquet has been performed at the Almeida Theatre in London (world premiere), the Hong Kong Arts Festival, the Paris Autumn Festival, Schönbrunn Palace in Vienna, the Perth Festival, an Arts Festival in Belgium, the Hebbel Theatre in Berlin, the Lincoln Center Festival, and the Beijing Music Festival.
The five-act opera Poet Li Bai has been performed at the Central City Opera in Colorado (world premiere), the Beijing Arts Festival, the Shanghai International Arts Festival, the China-Italy Year of Culture opening ceremony at the Cina vi Cina Festival in Rome, and the Hong Kong Arts Festival.
His eight-act opera Rickshaw Boy was performed at the National Centre for the Performing Arts in China in 2014 (world premiere) and continued to run in 2015 and 2016. In 2015, it toured in Turin, Milan, Parma, Genoa, and Florence. The entire opera was broadcast by Italy's national television network, marking the first time they aired a full-length opera in a non-European language.
The one-act opera Feng Yi Ting composed for Chinese opera performers has been staged in Amsterdam (world premiere), Utrecht, the MITO SettembreMusica in Turin, the Art Cologne in Germany, the Spoleto Festival USA, the Lincoln Center Festival in New York, and the Toronto International Art Festival in Canada.
The Heroines Trilogy composed for Chinese opera performers has been staged in Beijing, Hong Kong, Amsterdam, and the Europalia Arts Festival in Brussels.
Si Fan (“Yearning for Love”), composed for Chinese opera performers, had its world premiere at the Holland Festival in 2015. Renowned Dutch documentary filmmaker Frank Scheffer filmed the creative process of Guo Wenjing's Si Fan into a documentary. The film was featured in major European film festivals and was broadcast at the Shanghai International Film Festival and on China Central Television (CCTV).
Guo Wenjing composed the music for two ballets for the National Ballet of China: The Peony Pavilion (2008) and Dunhuang (2017). The Peony Pavilion was the opening performance of the Edinburgh International Festival and toured in the United States, Europe, and Australia. Since its premiere, Dunhuang has been frequently staged across various locations in China.
Concerts of GUO Wenjing’s Works have been held by China National Symphony Orchestra, China NCPA Orchestra, China Philharmonic Orchestra (twice), Shanghai Philharmonic Orchestra, Hangzhou Philharmonic Orchestra, Tianjin Symphony Orchestra (twice), Qingdao Symphony Orchestra, Sichuan Symphony Orchestra, China National Opera & Dance Drama Theater Symphony Orchestra, as well as Hong Kong Chinese Orchestra, Shanghai Chinese Orchestra, and China Broadcasting Traditional Orchestra.
China Philharmonic Orchestra, Beijing Symphony Orchestra (twice), Shanghai Symphony Orchestra, China National Traditional Orchestra, and Hong Kong Chinese Orchestra have included Guo Wenjing's works in their touring programs in Europe and the United States.
The musical poetic drama The Great River was toured in eighteen cities across China by the China National Opera & Dance Drama Theater.
GUO Wenjing's concertos and song cycles were included as part of the official repertoires of the following tours: the 1999 tour of China of the Gothenburg Symphony Orchestra from Sweden, led by Neeme Jarvi; the 2018 tour of five Chinese cities—Beijing, Tianjin, Jinan, Shanghai, and Hong Kong—of the Danish National Symphony Orchestra, led by Neeme Jarvi; and the Shanghai tour of the Hong Kong Philharmonic Orchestra, led by Edo de Waart.
Art festivals in Amsterdam, Rotterdam, Utrecht, Turin, Paris, New York, and Edinburgh have all hosted concerts titled Portrait of Guo Wenjing that were dedicated to his works.
The New York Times described GUO Wenjing as a “Chinese composer who has never lived abroad but established an international reputation”. He has received worldwide acclaim for his unique musical language.
Critics from many countries have responded to Guo’s “unparalleled musical beauty and dramatic power” (Le Monde), and found his work “pungent and vivid” (The Guardian), “uninhibited and pure” (Het Parool) and “subtle and unusual” (Frankfurter Allgemeine Zeitung). He has also been credited with “a highly original sense of operatic possibility” (The Independent).
GUO Wenjing has received commissions from many renowned ensembles/orchestras, including the Nieuw Ensemble, Atlas Ensemble, Percussion Group Cincinnati, Kronos Quartet, Arditti Quartet, Frankfurt Radio Symphony, Munich Radio Orchestra, Gothenburg Symphony Orchestra, China Philharmonic Orchestra, Beijing Symphony Orchestra, Guangzhou Symphony Orchestra, Hong Kong Philharmonic Orchestra, Singapore Symphony Orchestra, Hong Kong Chinese Orchestra, China National Traditional Orchestra, and Shanghai Chinese Orchestra.
He has also composed music for numerous film and television works, including Jiang Wen's film In the Heat of the Sun and Zhang Yimou's film Riding Alone for Thousands of Miles.
In 2008, he was invited to compose distinctive music for the performance of Movable Type Printing at the opening ceremony of the Beijing Olympics. His symphonic poem Lotus was a gift from Beijing to the London 2012 Olympics. It was premiered to wide acclaim by the Beijing Symphony Orchestra in London.
GUO Wenjing's latest compositions are Spring View, Concerto for zheng and orchestra Op. 77 (2024) and the Symphony The Yangtze River Op. 78 (2024). His upcoming project is the opera Red Sorghum, to be staged at the National Centre for the Performing Arts.
`, artic:[{ txttitle:'用最美的音乐赞美生命', entxttitle:'An Exquisite Musical Tribute to Life', txtcon:`橙：国家大剧院委约、上演过您的多部作品，还出过您的个人作品辑。今年起，您将担任为期两年的焦点作曲家，对此您有什么感想？
郭：对我来说这是莫大的荣幸，也是一种正面的激励。我现在灵感依然源源不断，而且创作效率比年轻时更高更快，这要归功于受到的正面激励以及多年不间断的写作。此外，还有一位前辈也给了我很大激励，那就是朱践耳，我跟他是忘年交，他创作了十部交响曲，而且都是60岁之后写的。我相信自己也能做到。
橙：有些当代作曲家不太在意听众的接受度，而您一直是把听众放在心上的，还会撰写自己的曲目介绍，或亲自上台讲解作品。有人认为，改革开放至今，我们并未能让听众跟上新潮和复杂的现代技法，如果存在这样的问题，您会不会有时迎合委约方和创作对象的需求来谱曲？
郭：不存在观众没有跟上的问题。第一，我认为这个提法是不正确的。第二，我认为创作是有使命的，这个使命就是作品要有社会意义。我从开始学作曲的时候，就希望我的作品能够发挥社会作用，想通过作品与社会交流。经过多年的创作后我还认识到，剧场、音乐厅里坐着大量观众，如果你无视他们的存在，只是进行自我表演是非常容易的，而要打动他们其实是很难的。只有打动人心，才是真正有意义的作品，因此我的创作不会不顾及观众的感受。
橙：作为中国当代音乐发展的代表人物，您感觉和1980年代相比，现在的创作环境有什么不同？青年一代作曲家有哪些新的困境和机遇？
郭：各方面都存在巨大的差异。八十年代是一个前所未有的时期，充满了机遇与挑战，我有幸在年轻时赶上了那个时代，发挥了创作才能。现在的年轻人更见多识广，科技发展、资讯发达为学习提供了便利，但是问题是什么呢？和我们这一代人相比，他们对中国传统了解太少。
橙：说到传统，您的《中国民歌组曲》近年来上演率很高，如此受欢迎的原因，似乎是因为您用新的演奏方式延伸了中国听众耳熟能详的民歌。您曾说，民歌是大地生长出来的花朵，在不同的年龄段，您采摘民歌花朵以及“加工制作”的心态和方法是不是也有所不同？
郭：作曲家使用传统素材创作的方式非常多，一人一个样，甚至一人多个样，我就是一人多个样。《中国民歌组曲》的处理方式在我别的作品中没有用过，四个乐章选择了不同的民歌进行搭配创作。其中民歌的运用分两种情况，一种是采用民歌的原始形态，比如《太阳出来喜洋洋》《牧歌》《嘎达梅林》和《苗族飞歌》。还有一种则是我根据民族音乐特色重新创作的。如最后一个乐章《雄鹰和骏马》，“骏马”运用了第一种方式，引用《嘎达梅林》的旋律进行创作，“雄鹰”则以西藏音乐风格为基础，我写了一条音区跨度极大的旋律展现雄鹰飞翔。
橙：这部作品的弦乐四重奏版去年底由琥珀四重奏在国家大剧院首演，他们将它与德彪西的弦乐四重奏放在一场，人们可以听到两部极具创意的作品对四重奏这一传统体裁的发展。有意思的是，您在第三乐章《草原》末尾还致敬了柴科夫斯基《如歌的行板》。近几年您好像比以前更怀恋大师们的经典杰作，您是不是也在尝试通过诠释传统素材，重塑自己的音乐语汇？
郭：是的，近年来我重新关注了很多我年轻时不关注的作曲家，比如贝多芬。去年有一阵我特别研究了他的慢板乐章的写法，最近又学习了他的谐谑曲。我会把交响曲的每个乐章单独作为一个问题进行思考，因为近年深感对古典研究的缺失。中国当代音乐源自西方和中国传统，而西方又有两个内容：一是古典浪漫，二是现当代。借鉴西方现代艺术相对比较容易，说句不好听的，直接抄都可以。而将古典消化成自己的语言和方法，则非常困难。我现在在补这一课。
橙：2017年，中央芭蕾舞团首演了由您担任作曲的《敦煌》，恰巧您的两位老同学也创作了敦煌题材的作品。瞿小松在2013年创作了《敦煌》，谭盾在您之后创作了《敦煌·慈悲颂》。相比于他们作品中大量的佛教内涵，您笔下的敦煌更具有现实主义色彩。在您心里，敦煌是一种怎样的存在？
郭：敦煌交织了多种文化，充满了异域色彩。但单纯的异国情调对我来说一定程度上有些肤浅，跟我的艺术理想不一致。但我特别喜欢中央芭蕾舞团的芭蕾舞剧《敦煌》，我愿意为他们这个舞剧配乐，因为他们想表达的并非神的世界，而是敦煌的守护者，是人。我喜欢描写现实的人，怀着对敦煌守护者的敬仰，我以极其饱满的激情创作这部舞剧的音乐，到目前为止，它是我这辈子创作的最浪漫的音乐。
橙：前年，中央芭蕾舞团将《敦煌》与另外两部西方经典《奥涅金》《吉赛尔》接连搬上国家大剧院的舞台，观众直接感受到了中西方芭蕾音乐的迥异色彩。我在观看《敦煌》时，想起了苏联时代亚美尼亚作曲家哈恰图良的芭蕾音乐《斯巴达克斯》，他向西眺望古罗马时代的典雅与斯巴达克斯的柔情，您向西凝视敦煌石窟壁画多姿多彩的飞天。进行这类宏大题材创作时，您会不会有意识或无意识地想到哈恰图良、肖斯塔科维奇会怎么做？
郭：我写《敦煌》的时候，并没有联想到前苏联的作曲家或音乐，因为我的关注点是是敦煌的守护者。我曾和中央芭蕾舞团去敦煌采风，还特别去拜谒了逝去的守护者墓地。去后才体会到长年坚守在那儿的艰苦。而在创作上，我更重视的是书写青春、激情和献身。为了让作品不全是异域风情，我仅用了排箫这一件特殊乐器。
橙：半个世纪以来，巴蜀地区的音乐家在国内外乐坛大放异彩，也有人将您称作巴蜀音乐的领军人物，这个地区的语言和习俗究竟怎样影响了作曲家们的精神世界？
郭：我一直反对把我的音乐定义为巴蜀风格，我更不能称为巴蜀音乐的领军人物。我被贴上“巴蜀”的标签，大概是因为早期作品所用的标题及一些特色素材。但事实上，我提及的那些悬崖峻岭激流是一种精神象征，是人的精神力量的表达。细看音乐素材，我也很少直接使用四川的民间音乐。如在《蜀道难》中，我没有使用任何四川的民间音乐材料，只是从方言的角度以地域精神进行创作，通过音的构成描绘在那种环境下劳作生存的人及他们的歌声。
橙：今年是歌剧《狂人日记》问世30周年，也即将迎来它第六个不同制作版本的呈现。作为一部技法先锋、音响丰富的作品，这部歌剧在这么多年的制作和上演过程中也在成长，您对这部作品有了怎样的新认识？
郭 ：今年6月24号是《狂人日记》问世30周年。6月25号，又是歌剧《骆驼祥子》问世十周年。今年易立明导演将在北京大华城市表演艺术中心的歌剧节上演第六版《狂人日记》。我很乐于看到不同的导演以他们各异的理解对剧本的内涵做出更多的发掘。经典是在不断地阅读中完成的。
橙：《骆驼祥子》被很多人认为是中国歌剧的经典之作。在这部作品中您对每个人物的性格刻画都尤为强烈，比如给了小福子一段全剧最抒情的唱段，用无调性手法将二强子醉醺醺的“混蛋形象”表现出来等。人艺话剧版《骆驼祥子》里的二强子欺软怕硬，卖女时铁石心肠之外又流露出绝望，如同浑浑噩噩的行尸走肉。在歌剧里二强子则更像是一个彻底的“混球”。依据您的经验，歌剧创作有怎样的特殊之处？
郭：跟话剧相比，歌剧因为要歌唱，对文字的消耗速度是比较慢的。一部歌剧剧本就几千字，至多一两万字。对次要人物而言，歌剧刻画出其某一面就很好了。二强子有一段很重要的咏叹调，这是全剧唯一运用泛调性或者说无调性的唱段。我认为歌剧里的咏叹调并非一首歌曲单曲，而是戏剧整体的一环，它的第一任务是塑造人物。这段咏叹调虽然不具“歌唱性”，但十分传神地表现了二强子醉酒疯癫的状态，因而得到了演员的喜爱和观众的认可。我的观点得到了验证。
橙：和很多当今的中国原创歌剧不同，您的《骆驼祥子》《狂人日记》《李白》等歌剧作品都带有强烈的悲剧性，这更多源于您的喜好，还是某种使命感驱使您选择这样的题材呢？
郭：《狂人日记》《夜宴》《李白》是我自主选题的。我对歌剧的选题是较为挑剔的，歌剧是一种文学深度介入音乐的艺术形式，要有一些除音乐以外的深入考虑。像《狂人日记》，是讲述人与人的关系的。鲁迅最后的落脚点在救救孩子，而我则落在狂人的反思中。这部作品在国外演出时，总有人问作品究竟想表达什么？我的回答是：这不是一个吃人不吃人的故事，它有着更为深层的含义，即当一个人的想法和周围所有人相异时，如果周围的人无法包容他，他就会被“吃掉”。这是在全世界任何一个地方都可能发生的。《夜宴》讲的是寻欢作乐其实是恐惧和绝望的表现形式，描写了韩熙载这个角色的失望与无奈。《李白》表达的是知识分子的自我认知问题。此外，还有很多选题是我想写但还没写的，但在脑海中已然浮现出它们的音乐了。《骆驼祥子》不是我的自主选题，但我很庆幸能为老舍先生的小说写一部歌剧，在我看来，老舍先生证明了艺术才是最重要的，是永恒的。
橙：您现在最想写的是什么？
郭：最想写的是《海的女儿》。一个童话能传遍全世界，一定有非常深的含义。我在自己的脑海中已经听见它的音乐了，非常非常美！但愿有机会把它写出来。
橙：跟您的其它歌剧相比，《凤仪亭》上演次数少了点儿，但它很特别，用了很多戏曲元素，室内乐团里还有笛、笙、琵琶、二胡这样的民乐器，您当初是怎么想的？
郭：有一些年我很痴迷尝试突破歌剧舞台只有美声和民族两种唱法的格局，因此我在《夜宴》和《李白》中都用了戏曲演员。而在《凤仪亭》中更是全用戏曲演员。写《凤仪亭》的主要艺术目的，是改变把中国的传统艺术、原生态艺术都视为原材料进行切割备料这一习惯性的、被认为天经地义的做法，而是尝试在当代化处理中将其以完整的形态呈现。《凤仪亭》的前奏、间奏，所有唱段的伴奏均由我创作，但两个演员的唱腔都是原生态的戏曲唱腔。我设想的貂蝉的声音，只有川剧高腔最贴合她的形象；而最能表达吕布英俊武将形象的就是京剧小生。我创造了一个声音的剧场，然后把传统戏曲装进去。有人说表演相对最弱的是唱美声的歌剧演员，民族唱法的表演比他们好，而最好的是中国戏曲演员。我经历的情况确实如此，《凤仪亭》在美国排练时，这个川剧貂蝉和京剧吕布的演唱和身段，完全把外国导演给镇住了。
橙：戏剧性如何影响您的歌剧创作，您在处理歌剧音乐时的基本逻辑是什么？
郭：我感觉自己写歌剧不是什么难事，很奇怪，这不是凡尔赛。要写出歌剧音乐的戏剧性，最重要的是要有用音乐细微地刻画心理的能力，有音乐造型能力，所谓“戏剧性”指的就是这个。很多人一提戏剧性就联想到音响强弱或是激烈情景，不是这样的。戏剧性和交响性也是不同的。此外，在创作中还要有音乐的逻辑性和对结构的主导性，要按照音乐的逻辑把剧本纳入其中，而不是随着剧本走，这一点在所有经典作品中都体现得非常清楚。
`, entxtcon:`Cheng: The National Centre for the Performing Arts (NCPA) has commissioned and performed numerous works of yours and has even released an album exclusive of all others but yours. How do you feel about being appointed as the Composer-in-Focus of the upcoming season biennially from this year onwards?
Guo: It is an immense honour and a solid encouragement to me. The inspirations for compositions are still surging relentlessly in me to these days. In fact, I compose faster and more efficiently now than when I was young, thanks to the positive encouragement I have received and all the years of continuous composing. Furthermore, it is worth mentioning that there is a senior colleague who has hugely inspired me: ZHU Jian'er. We are friends despite our rather massive age difference. He composed ten symphonies, but all after the age of 60. Nonetheless, I believe I would be able to achieve it too.
Cheng: Some contemporary composers tend to be indifferent to audience reception, but you have always kept the audience in mind and have even written your programme notes or came on stage to explain your works. Some believed we have not been able to keep audiences up to speed with avant-garde music trends and complex modern techniques ever since the Reform and Opening Up. If such a problem exists, do you occasionally cater to the needs of different commissioners and creative contexts when composing?
Guo: The so-called issue of which the audiences are out of sync with the development is non-existent. Firstly, I doubt the validity of this statement. Secondly, I believe a composition bears a mission: it is destined to harbour social significance. Since I started learning composition, I always hoped that my work could play a social role; hence, I have endeavoured to understand and communicate with the society through my compositions. After years of composing, I have learned that with a fully packed theatre or concert hall, it is extremely easy to indulge in mere flaunting, overlooking the audience offstage, being unable to move and engage them inevitably in return. Only by touching people's hearts can a work be truly meaningful, so my composition will not disregard the audience's feelings.
Cheng: As a representative figure in the development of contemporary music in China, from your perspective, how has the creative environment changed in comparison to the 1980s? What are the new challenges and opportunities encountered by the young composers of this generation?
Guo: There are massive differences in various aspects today. The 1980s were an unprecedented period, full of opportunities and challenges. I was fortunate to seize the moment of that era in my youth and unleash creative talents. Nowadays, young people are more well-informed in advantage of the advancement of technologies and information acquisition, which hugely facilitate learning processes. However, what is the problem in return? Compared to our generation, they know too little about Chinese traditions.
Cheng: Speaking of the tradition, your Chinese Folk Ditties Suite has been frequently performed in recent years. Its popularity seems to be due to your efforts in extending these folk songs familiar to Chinese audiences through new performance methods. You once said that folk songs are flowers grown from the earth. At different ages, have you approached the selection and processing of the folk blossoms with different attitudes and methods?
Guo: There are innumerable ways for composers to use traditional materials in their compositions, almost one for each, or even having multiple ways possessed by one. I am one of those with multiple approaches. The methods of folk material treatment in the Chinese Folk Ditties Suite have not been used in my other works. It matched different folk songs to the four movements respectively. The use of folk songs falls into two categories: one is adopting their original forms, such as Happiness at Sunrise, Shepherd's Song, Gada Meiren, and HXak Yeet (Flying Songs of Miao). The other includes those composed by me and recreated based on the unique characteristics of ethnic music. For instance, in the last movement The Hawk and the Steed, "The Steed" uses the first compositional method, quoting the melody of Gada Meiren, while "The Hawk" is based on the Tibetan music style, for which I wrote a melody line consisting of an extensively wide range to depict the hawk’s flight.
Cheng: The string quartet version of the Chinese Folk Ditties Suite was premiered by the Amber Quartet at the NCPA at the end of last year. As they performed Debussy's string quartet alongside yours, it allowed people to hear and notice the contributions of both these exquisite pieces to the development of the traditional genre, string quartet. Fascinatingly, you have paid tribute to Tchaikovsky's Andante Cantabile at the end of the third movement Prairie. In recent years, you seem to be more nostalgic and yearning for the classic masterpieces than before. Are you also attempting to reshape your musical vocabulary by interpreting traditional materials?
Guo: Yes. Recently, I have paid attention to many composers whom I overlooked when I was young, such as Beethoven, whose ways of writing slow movements were the focus of my studies last year. Currently, I have been scrutinising the way he composed Scherzos. Being concerned about my lack of research in Western classical music, I will single out each of the movements from different symphonies and approach each of them as a problem statement to be pondered. The contemporary Chinese music is derived from both the West and Chinese traditions. Meanwhile, there are two diversions in the West: one is classical romanticism, and the other is avant-garde and contemporary. It is comparatively easier to take reference from the western contemporary arts, or in frank words, plagiarising the methods directly, than assimilating the classical oeuvres into our own musical language and approach. As challenging as it be, my endeavours go into this trail.
Cheng: In 2017, the National Ballet of China premiered Dunhuang, for which you composed the music. Coincidentally, two of your previous classmates had composed orchestral and vocal works on the theme of Dunhuang before this. QU Xiaosong composed Dunhuang in 2013, and TAN Dun created Buddha Passion right after you. Compared to the large amount of Buddhist content in their works, your Dunhuang has a more realistic colour. In your heart, what kind of existence is Dunhuang?
Guo: Dunhuang interweaves multiple cultures and is full of exotic colours. However, I am not quite drawn to pure exoticism and religion. I feel that exoticism is somewhat superficial to a certain extent, which is incongruent with my artistic ideals. However, I am particularly fond of the National Ballet of China's ballet Dunhuang, and I am willing to compose music for their work because they do not intend to express the world of gods but the guardians of Dunhuang—humans. As I prefer to depict realistic humans, bearing the sincerest reverence for the guardians of Dunhuang, I created the music of this ballet with ardent passion and enthusiasm, and I think this is the most romantic music I have composed in life hitherto.
Cheng: The year before last, the National Ballet of China featured Dunhuang alongside the two other ballets, Onegin and Giselle, consecutively on the stage of the NCPA, which allows the audience to directly experience the distinctly different colours of both the Eastern and Western ballet music. While watching Dunhuang, I was reminded of the ballet music Spartacus by the Soviet-Armenian composer Khachaturian. He gazed towards the west upon the elegance of ancient Rome and the tenderness of Spartacus, whereas your westward gaze landed on the vivid flying apsaras in Dunhuang Cave murals. When composing on such grand themes, do you consciously or unconsciously think about how Khachaturian or Shostakovich would do it?
Guo: When I was composing Dunhuang, I did not associate it with Soviet composers or music because my focus was on the guardians of Dunhuang. I once went on a field trip to Dunhuang with the National Ballet to collect first-hand materials, and we specifically went to the graves of the deceased guardians to pay our sincerest tribute to them. I understand the hardships of those who had guarded there for years only after visiting there. In terms of composition, I placed more emphasis on invigorating youth, enthusiasm and selfless dedication. To make the work not entirely exotic, I only used the panpipe.
Cheng: Over the past half century, musicians from the Bashu region have shone brightly on domestic and international music scenes. Some people have crowned you the leading figure of Ba-shu music. How exactly have the language and customs of this region influenced the spiritual world of composers?
Guo: I have always been against defining my music as Ba-shu style, and I can by no means be called the leading figure of Ba-shu music. I am probably labelled Ba-shu because of the titles used in my early works and some symbolic elements used. However, the ridges, peaks and rapids I mentioned in my titles are collectively a spiritual representation, a symbol enunciating the resilience of the human spirit. If you look closely at the musical elements, I have rarely adapted the Sichuan folk music over the course of time. As shown in the symphony SHU DAO NAN, I did not use any Sichuan folk music materials but only composed from the perspectives of dialects and spirits of regions across the nation, depicting the people working and surviving in that environment and their singing voices through pitch organization.
Cheng: This year marks the 30th anniversary of the opera Wolf Cub Village, and it is about to welcome its sixth production. As a work with avant-garde techniques and rich sonorities, this opera has been growing in the process of production and performance over so many years. What new insights do you have about this work?
Guo: This year, precisely on June 24th, is the 30th anniversary of the opera Wolf Cub Village. Consecutively, the 10th anniversary of the opera Rickshaw Boy falls on June 25th. This year, Director YI Liming will perform the sixth version of Wolf Cub Village at the Beijing Dahua City Centre for the Performing Arts Opera Festival. I am glad to witness the scene where different directors making more discoveries about the essence of the script based on their kaleidoscopic understandings. Classics are made complete through recursive studies of it.
Cheng: Rickshaw Boy is considered by many to be a classic work of Chinese opera. In this work, your characterisation of each character is especially remarkable, for example, giving Fuzi the most lyrical aria in the whole opera, using atonal techniques to express Er Qiangzi's drunk scoundrel image, and so on. The stage play version of Rickshaw Boy by the Beijing People's Art Theatre has extensive descriptions on Er Qiangzi bullying the weak but fearing the strong, of his obstinate heart subtly imbued with desperation while selling his daughter, being stunned and staggered like a walking corpse Contrastingly in the opera, Er Qiangzi is portrayed as a complete scoundrel. Based on your experience, what are the unique characteristics of operatic composition?
Guo: Compared to stage plays, operas consume words slower due to the singing. An opera libretto typically contains only a few thousand words, at most ten to twenty thousand. When it comes to side characters, it is already adequate for an opera to highlight certain aspects of the roles. Er Qiangzi has a significant aria, which is the only passage in the entire opera that employs pan-tonality or atonality. I do not consider operatic arias as songs but collectively a major constituent of the plot structure. The foremost purpose of an opera aria is to formulate the personality of the characters. Since this non-tonal aria has successfully portrayed Er Qiangzi’s drunk and deranged state, it is through which my view is again verified.
Cheng: Unlike many contemporary Chinese original operas, your works, such as Rickshaw Boy, Wolf Cub Village and Poet Li Bai, all carry a strong sense of tragedy. Is this more of a result of your personal preference, or is there a sense of mission driving you to choose such themes?
Guo: Wolf Cub Village, Night Banquet, and Poet Li Bai were topics I chose out of my own decision. I am pretty selective about opera themes. Opera is an art form where literature deeply intervenes in music. It requires in-depth considerations beyond music. For instance, Wolf Cub Village explores the relationship between individuals. Lu Xun ultimately focuses on saving the children, while I conclude with the madman's self-reflection. When this work is performed abroad, people often ask what exactly the work is trying to convey. My answer is: this is not literally a story about devouring a person or not; it carries a deeper meaning. It refers to the morbid societal state that bears no tolerance to individuality: when an individual's ideas differ from those of everyone around them, if the surrounding majority cannot tolerate it, that person will be ‘devoured’. It is prone to occur throughout the world. Night Banquet unveils the fact that hedonistic gratification is the façade of fear and desperation, it depicts the main role Han Xizai’s disappointment and acquiescence. The Poet Li Bai mainly expresses the intellectuals' issues with self-perception. Apart from these, there are a lot more subjects that I would like to write about but are still pending, but the music for them has already emerged in my mind. The opera Rickshaw Boy is not an autonomous choice of mine, but I am fortunate to have composed an opera for Sir Lao-She’s novel. It seems to me that Sir Lao-She has proven the insurmountable importance of art, and its recognition as an eternal being.
Cheng: What do you yearn for most to write now?
Guo: It is The Little Mermaid. A fairy tale that gains worldwide recognition must be more than its mere being; it must have a profound meaning. I wish that I could write down the extraordinarily beautiful music I have heard.
Cheng: Compared to your other operas, Feng Yi Ting (Phoenix Pavilion), has comparatively fewer performances, but it is extraordinary. It employs numerous elements from traditional Chinese opera, having the chamber orchestra equipped with traditional Chinese instruments such as the dizi, sheng, pipa, and erhu. What were your initial thoughts on it?
Guo: I am obsessed with breaking through the traditional framework of the operatic scene which only consists of bel canto and conventional singing style intermittently in the past. Thus, I have included Chinese traditional opera singers in Night Banquet and Li Bai. Feng Yi Ting has even recruited an entire cast of Chinese traditional opera singers. The artistic purpose of Feng Yi Ting is to subvert the long-accustomed norm of treating traditional Chinese art and primordial art as source materials to be further processed and strive to retain their contours comprehensively while modernising them. I composed the prelude, interlude, and all the accompaniments for the arias in the Feng Yi Ting, but both the performers sing in the Peking operatic style with high fidelity to its origin. I have been picturing the voice of ‘Diao Chan’ but it turns out that the only singing style compatible with her image is that of the high-pitched Sichuan opera, whereas for ‘Lü Bu’, the Peking opera Xiaosheng fits his image best as a stunning and valiant military general. I have created a theatre of sounds, and subsequently embedded the traditional elements in this opera. Some claimed that the bel canto opera singers delivered the comparatively worst performance, being way inferior to those singing in Chinese folk styles, whilst the Chinese traditional operatic style is the best out of all. During the rehearsal of Feng Yi Ting in the United States, the performance and stance of the Sichuan operatic ‘Diao Chan’ and the Peking operatic ‘Lü Bu’ had left the director astonished and agazed.
Cheng: How does theatricality influence your opera composition, and what is the driving fundamental logic when you are dealing with opera music?
Guo: I genuinely felt that composing for the opera is less demanding, which is strange—without conceit. To shed light on the theatricality in operatic musical writings, the ability to meticulously delineate characters’ psychological states and sculpting with music are of utmost importance. This is what referred as theatricality. The association of theatricality with sound intensity or dramatic scenes is widely assumed, but it is very nuanced and in fact, also different from the symphonic quality. The formulation of theatricality depends entirely on personal perception. Furthermore, musical logic and structural dominance are mandatory in composition. The libretto should be logically incorporated into the music instead of intervening in the development of the music. This particular trait is evident in all the classics.
Cheng: The premiere of your work Journeys, for soprano and orchestra in 2021 unleashed the immense inherent power of Xi Chuan’s poem and left a lasting impression of nuclear fission in me upon listening to it. You have also written By Spring, All Ten Haizi for the same instrumentation. Could you talk us over how they are similar and different in your heart?
Guo: Apart from being the compositional sources of inspiration, poems often play the role as the composers’ representatives who speak behalf of them, whose works are means through which they articulate their thoughts more clearly, carried by the vessels of other art forms. For instance, Schilller spoke for Beethoven in his ninth symphony. Xi Chuan and Hai Zi were peers at Peking University, and both pursued poetry. Xi Chuan recommended Hai Zi’s poems to me. Owing to his friend Xi Chuan, Hai Zi’s name has remained intact in memories of generations. I am utterly intrigued by contemporary Chinese poetry, way beyond that in ancient poetry. Ancient Chinese poetry is undoubtedly astounding, but the outstanding contemporary poems resonates stronger with my heart. However, it is pathetic that the mockery of contemporary Chinese poetry and poets is ubiquitous. This is due to the low threshold for contemporary poetry, the materials they employed are closely related to daily life and thus pose a high difficulty in creative writing. In any art form, the further its language is from daily life, the higher the threshold, and the easier it is to impress the mass, or perhaps, will not be easily despised. Although it seems to have demanded no criterion to write a contemporary poem, it takes immense effort to write an excellent one. I still have many composition plans regarding contemporary Chinese poetry that are yet to be executed. However, NCPA has commissioned me to compose a symphony based on a poem of our time, which sounds compelling to me.
Cheng: I noticed many volumes of Xi Chuan's poem compilations on the top shelf of your bookshelf, alongside Mang Ke’s and Zhang Zao’s. You are also a music poet who simultaneously identifies as an idealist. How do you personally deal with the myriads of contradictions and agony from the real world?
Guo: In recent years, especially during the pandemic, innumerable tragedies have occurred, wavering between life and death. Inevitably, these tragedies perplexed me temporarily, I have thence immersed in a whirlpool of doubt about the value and significance of my composition. All the arguments seem absurd in the face of life and death. On this fine pivotal line, what should I do? At the end of the day, I eventually discovered the necessity of affirming goodness, so I decided to bring the most beautiful musical language into play to praise life, justice and compassion.
Cheng: The composition class of 1977 of the Central Conservatory of Music in Beijing has always been regarded as the vanguard of the avant-garde music, and most of your peers have arrived at their twilight years, considering the worldly age stratification. Many 20th century western avant-garde composers tend to recover and extricate simplicity in their compositions. Do you experience similar transformation hitherto?
Guo: I do, my friends as well. However, I doubt that this tendency should be coined as a return to simplicity. I am against with the notion of return, as I thought I am incessantly progressing.
Cheng: Your previous classmate Qigang Chen has published an autobiography, YE Xiaogang has also recalled various little-known anecdotes in his book Hand-cooking Tea. In the light of the fact that you are known for your eloquent writing, do you intend to write your autobiography any time soon?
Guo: My friends have been urging me to do so, but “Perhaps I will do by the time I stop composing” has always been my answer, resembling my attitude. In a recent book by my good old friend Haojiang Tian, he revealed his winding journey through the international opera scenes teeming with strenuous efforts, alongside the past collaborations with artists from all walks of life. It flew off the shelves. I should write one for myself for sure!
Cheng: What are your upcoming compositional plans as the composer in focus of the new season at NCPA?
Guo: As I briefly mentioned earlier, I plan to compose a full-length symphony during my residency at NCPA, with a duration taking up half of an orchestral concert. By observing most of the composition students, I discovered that the music resulting from Chinese classical poetry tend to be more monotonous, but the inspirations from modern poems usually spark heterogenous characters in their music, simultaneously unveiling their personalities. This phenomenon has testified the value and purpose of contemporary literature and poetry from this eccentric perspective.
Cheng: We are very much looking forward to your new work. Thank you for your time!
`, autor:'对谈人： 郭文景、橙客', enautor:`GUO Wenjing interviewed by Chengke`, }], mainworks:[ { pic:'', title:`“生命之光”张艺与国家大剧院管弦乐团演绎梅西安与陈其钢`, entitle:`“Glows of Life” Messiaen and Qigang Chen with ZHANG Yi and NCPAO `, time:`2024.11.15/16`, address:'国家大剧院·音乐厅 / 北京艺术中心·音乐厅 ', enaddress:`NCPA·Concert Hall / BPAC·Concert Hall`, link:'https://wticket.chncpa.org/product.html?id=10000763#2024-11-15', enlink:'https://en.chncpa.org/whatson/zdyc/202407/t20240719_266354.shtml', tips:[ { name:'时代先河', enname:'Heralds of the Time', }, { name:'乐是故乡明', enname:'Sounds of China ', }, ], personnel:[ { name:`张国勇`, job:`指挥`, enname:`ZHANG Guoyong`, enjob:`Conductor`, }, { name:`唐俊乔`, job:`竹笛`, enname:`TANG Junqiao`, enjob:`Bamboo Flute`, }, ], performance:[ { name:`郭文景`, job:`第二号竹笛协奏曲“野火” `, enname:`GUO Wenjing`, enjob:`Bamboo Flute Concerto No. 2 ‘Wildfire’`, }, ], }, { pic:'', title:`“律意弦思”国家大剧院管弦乐团的室内乐`, entitle:`“Impressions on Strings” NCPAO in Chamber`, time:`2025.6.12`, address:'国家大剧院·小剧场 ', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips:[ { name:'无界室内乐', enname:'NCPAO in Chamber', } ], personnel:[ { name:`极简四重奏：`, job:``, enname:`Normcore Quartet : `, enjob:``, }, { name:` 赵洁盈`, job:`第一小提琴`, enname:` ZHAO Jieying`, enjob:`First Violin`, }, { name:` 纪东丹`, job:`第二小提琴`, enname:` JI Dongdan`, enjob:`Second Violin`, }, { name:` 汪兰`, job:`中提琴`, enname:` WANG Lan`, enjob:`Viola`, }, { name:` 石瑾`, job:`大提琴`, enname:` SHI Jin`, enjob:`Cello`, }, ], performance:[ { name:`郭文景`, job:`《中国民歌组曲》`, enname:`GUO Wenjing`, enxiejob:`Chinese Folk Ditties Suite`, }, ], }, { pic:'', title:`“阿尔卑斯”吕嘉与国家大剧院管弦乐团演绎理查·施特劳斯与郭文景`, entitle:`“An Alpen Symphony” R. Strauss and GUO Wenjing with LÜ Jia and NCPAO`, time:`2025.6.21/22`, address:'北京艺术中心·音乐厅 / 国家大剧院·音乐厅 ', enaddress:`BPAC·Concert Hall / NCPA·Concert Hall`, link:``, enlink:``, tips:[ { name:'焦点作曲家：郭文景', enname:'Composer-in-Focus: GUO Wenjing', }, { name:'乐是故乡明', enname:'Sounds of China', } ], personnel:[ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`胡许愿`, job:`古筝`, enname:`HU Xuyuan `, enjob:`Zheng`, }, ], performance:[ { name:`郭文景`, job:`《春望》，为筝和管弦乐团而作，Op. 77`, enname:`GUO Wenjing`, enxiejob:`Spring View, Concerto for Zheng and Orchestra, Op. 77`, enjob:``, }, ], }, ], activitys:[ { title:`对话郭文景：狂人日记`, entitle:` CONVERSATION WITH GUO Wenjing: WOLF CUB VILLAGE `, time:`2025年6月`, address:`国家大剧院 · 资料中心`, enaddress:`NCPA Art Resource Center`, name:`郭文景，橙客`, enname:`GUO Wenjing, CHENG KE`, link:``, enlink:``, }, ], }, { id:5, type:3, title:'特邀画家', entitle:'Guest Visual Artist', bannerpc:'./images/page/banner1.jpg', bannerwap:'./images/page/banner1-wap.jpg', name:'朱炜', enname:`ZHU Wei`, pic:'./images/page/pic_zw.jpg', head:'./images/page/pic_zw.jpg', txtcon:`1962年 出生于北京
1985年 参与中国85美术运动，策展并参展《八六最后画展》
1986年 学士毕业于浙江美术学院（现中国美术学院）
1992年 硕士毕业于日本国立大阪教育大学
2000年 于北京创办“数象互动”、“数象空间”
2011年 出版“细节”系列《大师笔触》
2020年 《郑州镜像艺术博物馆》首个朱炜个人艺术博物馆开馆
1986年以来以独立艺术家身份活跃于北京、日本、美国等地。
现居住北京、西雅图。
`, entxtcon:`Born in Beijing in 1962
Participated in 1985 Art Movement Activity
Planned and participated in “1986 The Last Art Exhibition”
Graduated from Zhejiang Academy of Fine Arts (at present known as
China Academy of Art) in 1986 with Bachlor's Degree
Graduated from Japanese National Osaka Kyoiku University in 1992 with Master's Degree
Founded "Digital Communications Beijing" and "Digital Space Beijing" in Beijing in 2000
Published "Details" series Master Brushwork in 2011
Travelling actively between Beijing, Japan, America and other places in the name of an independent artist since 1986
The Zhengzhou Museum of Mirror Image opened in 2020, the first museum devoted only to ZHU Wei’s art
At present, living in Beijing and Seattle
`, }, ], // 乐季回顾 yjhgdata:[ { title:'2023/24 家园', entitle:'2023/24 Beyond Home', imgurl:'../pdf/pic23-24.png', pdfurl:'../pdf/23-24.pdf', }, { title:'2022/23 时代精神', entitle:'2022/23 ZEITGEIST', imgurl:'../pdf/pic22-23.png', pdfurl:'../pdf/22-23.pdf', }, { title:'2021/22 心有皓曜', entitle:'2021/22 Glows From Within', imgurl:'../pdf/pic21-22.png', pdfurl:'../pdf/21-22.pdf', }, { title:'2020/21 日新', entitle:'2020/21 Evolution', imgurl:'../pdf/pic20-21.png', pdfurl:'../pdf/20-21.pdf', }, { title:'2019/20 华彩', entitle:'2019/20 Cadenza', imgurl:'../pdf/pic19-20.png', pdfurl:'../pdf/19-20.pdf', }, { title:'2018/19 乐咏春华', entitle:'2018/19 Forever Young', imgurl:'../pdf/pic18-19.png', pdfurl:'../pdf/18-19.pdf', }, { title:'2017/18 胜友如乐', entitle:'2017/18 Ode To Friends', imgurl:'../pdf/pic17-18.png', pdfurl:'../pdf/17-18.pdf', }, { title:'2016/17 弦外有声', entitle:'2016/17 Music Speaks', imgurl:'../pdf/pic16-17.png', pdfurl:'../pdf/16-17.pdf', }, { title:'2015/16 宁静致远', entitle:'2015/16 Peace Beyond Music', imgurl:'../pdf/pic15-16.png', pdfurl:'../pdf/15-16.pdf', }, { title:'2014/15 光明的旅程', entitle:'2014/15 A Journey of Light', imgurl:'../pdf/pic14-15.png', pdfurl:'../pdf/14-15.pdf', }, ], // 唱片录音 cplydata:[ { title:'布鲁克纳密码', entitle:'Bruckner Ciphers', datalist:[ { pic:'../conimg/recordpic1-0.jpg', title:'布鲁克纳第一交响曲', entitle:`Bruckner Symphony No. 1`, time:'2024', num:'', price:'', nclp:'', ref:'', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=U9uk7iDs0fTd', enlink:'', audio:'../conimg/record1-0.mp3' }, { pic:'../conimg/recordpic1-1.jpg', title:'布鲁克纳第二交响曲', entitle:`Bruckner Symphony No. 2`, time:'2016', num:'', price:'45.00', nclp:'81620013-1', ref:'978-7-88331-011-2', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=okJz4uAvnDKc', enlink:'https://music.apple.com/cn/album/bruckner-symphony-no-2-in-c-minor/1538568861', audio:'../conimg/record1-1.mp3' }, { pic:'../conimg/recordpic1-3.jpg', title:'布鲁克纳第三交响曲', entitle:`Bruckner Symphony No. 3`, time:'2023', num:'', price:'80.00', nclp:'', ref:'978-7-88331-171-3', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=3Qtgzeas0ZPy', enlink:'https://music.apple.com/cn/album/%E5%B8%83%E9%B2%81%E5%85%8B%E7%BA%B3-d%E5%B0%8F%E8%B0%83%E7%AC%AC%E4%B8%89%E4%BA%A4%E5%93%8D%E6%9B%B2/1707984192', audio:'../conimg/record1-2.mp3' }, { pic:'../conimg/recordpic1-4.jpg', title:'布鲁克纳第七交响曲', entitle:`Bruckner Symphony No. 7`, time:'2023', num:'', price:'80.00', nclp:'81620168-1', ref:'978-7-88331-180-5', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=iRXHGdas0bjn', enlink:'https://music.apple.com/cn/album/bruckner-symphony-no-7-in-e-major-wab-107/1725818759', audio:'../conimg/record1-3.mp3' }, { pic:'../conimg/recordpic1-5.jpg', title:'布鲁克纳第八交响曲', entitle:`Bruckner Symphony No. 8`, time:'2024', num:'', price:'90.00', nclp:'81620187-1', ref:'978-7-88331-192-8', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=SGHmBostbCPN', enlink:'https://music.apple.com/cn/album/%E5%B8%83%E9%B2%81%E5%85%8B%E7%BA%B3-c%E5%B0%8F%E8%B0%83%E7%AC%AC%E5%85%AB%E4%BA%A4%E5%93%8D%E6%9B%B2/1737153001', audio:'../conimg/record1-4.mp3' }, { pic:'../conimg/recordpic1-2.jpg', title:'布鲁克纳第九交响曲', entitle:`Bruckner Symphony No. 9`, time:'2022', num:'', price:'80.00', nclp:'81620134-1', ref:'978-7-88331-160-7', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=d5nhtbAvnQxn', enlink:'https://music.apple.com/cn/album/%E5%B8%83%E9%B2%81%E5%85%8B%E7%BA%B3-d%E5%B0%8F%E8%B0%83%E7%AC%AC%E4%B9%9D%E4%BA%A4%E5%93%8D%E6%9B%B2/1682351682', audio:'../conimg/record1-5.mp3' }, { pic:'../conimg/recordpic1-6.jpg', title:'布鲁克纳第二交响曲（再版）', entitle:`Bruckner Symphony No. 2`, time:'2024', num:'', price:'80.00', nclp:'81620196-1', ref:'978-7-88331-067-9', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=okJz4uAvnDKc', enlink:'https://music.apple.com/cn/album/bruckner-symphony-no-2-in-c-minor/1538568861', audio:'../conimg/record1-1.mp3' }, ], }, { title:'中国经典珍藏', entitle:'Chinese Collection', datalist:[ { pic:'../conimg/recordpic4-1.jpg', title:'郭文景：天地的回声', entitle:`GUO Wenjing Echoes of Heaven and Earth`, time:'2017', num:'', price:'50.00', nclp:'81660036-1', ref:'978-7-88331-043-3', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=G1dC3bl64L27', enlink:'https://music.apple.com/cn/album/echoes-of-heaven-and-earth/1523937364', }, { pic:'../conimg/recordpic4-2.jpg', title:'陈其钢：江城子', entitle:`Jiang Tcheng Tse`, time:'2019', num:'', price:'70.00', nclp:'81620087-1', ref:'978-7-88331-086-0', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=hAJoJkMs0QiK', enlink:'https://music.apple.com/cn/album/jiang-tcheng-tse-ep/1538593956', }, { pic:'../conimg/recordpic4-3.jpg', title:'赵季平：协奏曲作品集', entitle:`Zhao jiping concertos`, time:'2019', num:'', price:'50.00', nclp:'81620096-1', ref:'978-7-88331-100-3', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=18kAgV2', enlink:'', }, // { // pic:'../conimg/recordpic4-4.jpg', // title:'赵季平：协奏曲作品集', // entitle:`Zhao jiping concertos`, // time:'2019', // num:'', // price:'130.00', // nclp:'NCLP33002', // ref:'978-7-88331-102-7', // link:'', // enlink:'', // }, ], }, { title:'永远的贝多芬', entitle:'Forever Beethoven', datalist:[ { pic:'../conimg/recordpic2-1.jpg', title:'贝多芬D小调第九交响曲“合唱”', entitle:`Beethoven Symphony No.9 in D Minor “Choral”`, time:'2021', num:'', price:'70.00', nclp:'', ref:'978-7-88331-134-8', link:'https://y.qq.com/n/yqq/album/001cVKGV1u2e7p.html', enlink:'https://music.apple.com/cn/album/beethoven-symphony-no-9-in-d-minor-choral/1523930858', }, // { // pic:'../conimg/recordpic2-2.jpg', // title:'贝多芬D小调第九交响曲“合唱”(2LP)', // entitle:`Beethoven Symphony No.9 in D Minor “Choral”`, // time:'2019', // num:'', // price:'230.00', // nclp:'NCLP33001', // ref:'978-7-88331-063-1', // link:'https://c6.y.qq.com/base/fcgi-bin/u?__=22QwqO7s0xlI', // enlink:'https://music.apple.com/cn/album/beethoven-symphony-no-9-in-d-minor-choral/1523930858', // }, { pic:'../conimg/recordpic2-3.jpg', title:'贝多芬：爱格蒙特', entitle:`Beethoven Egmont`, time:'2021', num:'', price:'70.00', nclp:'81620114-1', ref:'978-7-88331-068-6', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=KQko2R4ifmLk', enlink:'https://music.apple.com/cn/album/beethoven-egmont-complete-incidental-music/1564273042', }, { pic:'../conimg/recordpic2-4.jpg', title:'贝多芬：序曲四首', entitle:`Beethoven Four Overtures`, time:'2022', num:'', price:'150.00', nclp:'81620127-1', ref:'978-7-88331-151-5', link:'', enlink:'', }, ], }, { title:'Live古典现场', entitle:'Live Classical', datalist:[ // { // pic:'../conimg/recordpic3-1.jpg', // title:'和慧：国家大剧院独唱音乐会', // entitle:`He Hui Roberto Corliano Arena of Verona String Quartet`, // time:'2019', // num:'', // price:'50.00', // nclp:'81660095-1', // ref:'978-7-88331-099-0', // link:'https://c6.y.qq.com/base/fcgi-bin/u?__=z2U7L8Ms0c9H', // enlink:'https://music.apple.com/cn/album/he-hui-live-from-china-ncpa/1540096129', // }, // { // // pic:'../conimg/recordpic3-2.jpg', // pic:'../conimg/pic6.jpg', // title:'天使告诉我(1DVD)', // entitle:`天使告诉我(1DVD)`, // time:'2020', // num:'', // price:'90.00', // nclp:'', // ref:'978-7-88331-120-1', // link:'', // enlink:'', // }, { pic:'../conimg/recordpic3-3.jpg', title:'北京大合唱', entitle:`Beijing Cantata`, time:'2021', num:'', price:'146.00', nclp:'', ref:'978-7-88331-136-2', link:'', enlink:'', }, { pic:'../conimg/recordpic3-4.jpg', title:'2022北京新年音乐会', entitle:`2022 Beijing New Year's Concert`, time:'2022', num:'', price:'89.00', nclp:'', ref:'978-7-88331-146-1', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=g6x5qQMs02a8', enlink:'https://music.apple.com/cn/album/2022%E5%8C%97%E4%BA%AC%E6%96%B0%E5%B9%B4%E9%9F%B3%E4%B9%90%E4%BC%9A/1609274173', }, { pic:'../conimg/recordpic3-5.jpg', title:'十载嘉音', entitle:`Ten Years of Music Journey`, time:'2022', num:'', price:'350.00', nclp:'81620142-1', ref:'978-7-88331-167-6', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=950SbwMs0iWk', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-01-mozart-brahms/1682349803', children:[ { pic:'../conimg/recordpic3-5-1.jpg', title:'十载嘉音之一：莫扎特与勃拉姆斯', entitle:`Ten Years of Music Journey 01: Mozart & Brahms`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/001GwVoC0bGoVj', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-01-mozart-brahms/1682349803', }, { pic:'../conimg/recordpic3-5-2.jpg', title:'十载嘉音之二：贝多芬与舒曼', entitle:`Ten Years of Music Journey 02: Beethoven & Schumann`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/001yoS6906ylcP', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-02-beethoven-schumann/1682350096', }, { pic:'../conimg/recordpic3-5-3.jpg', title:'十载嘉音之三：舒伯特与舒曼', entitle:`Ten Years of Music Journey 03: Schubert & Schumann`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/000jV4p70Bvkvx', enlink:'https://music.apple.com/cn/album/%E5%8D%81%E8%BD%BD%E5%98%89%E9%9F%B3%E4%B9%8B%E4%B8%89-%E8%88%92%E4%BC%AF%E7%89%B9%E4%B8%8E%E8%88%92%E6%9B%BC/1682984982', }, { pic:'../conimg/recordpic3-5-4.jpg', title:'十载嘉音之四：布鲁克纳', entitle:`Ten Years of Music Journey 04: Bruckner`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/000eeKUj3J8amZ', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-04-bruckner/1682349860', }, { pic:'../conimg/recordpic3-5-5.jpg', title:'十载嘉音之五：拉威尔、柏辽兹与德彪西', entitle:`Ten Years of Music Journey 05: Ravel, Berlioz & Debussy`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/003rYZLt0fpBWQ', enlink:'https://music.apple.com/cn/album/%E5%8D%81%E8%BD%BD%E5%98%89%E9%9F%B3%E4%B9%8B%E4%BA%94-%E6%8B%89%E5%A8%81%E5%B0%94-%E6%9F%8F%E8%BE%BD%E5%85%B9%E4%B8%8E%E5%BE%B7%E5%BD%AA%E8%A5%BF/1682985558', }, { pic:'../conimg/recordpic3-5-6.jpg', title:'十载嘉音之六：德沃夏克', entitle:`Ten Years of Music Journey 06: Dvořák`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/003RN3uV1ZvQDS', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-06-dvo%C5%99%C3%A1k/1682610911', }, { pic:'../conimg/recordpic3-5-7.jpg', title:'十载嘉音之七：西贝柳斯', entitle:`Ten Years of Music Journey 07: Sibelius`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/002rbLBQ4WPgMA', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-07-sibelius/1682349800', }, { pic:'../conimg/recordpic3-5-8.jpg', title:'十载嘉音之八：斯特拉文斯基', entitle:`Ten Years of Music Journey 08: Stravinsky`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/0044ml6A4NE5rq', enlink:'https://music.apple.com/cn/album/%E5%8D%81%E8%BD%BD%E5%98%89%E9%9F%B3%E4%B9%8B%E5%85%AB-%E6%96%AF%E7%89%B9%E6%8B%89%E6%96%87%E6%96%AF%E5%9F%BA/1682984683', }, { pic:'../conimg/recordpic3-5-9.jpg', title:'十载嘉音之九：辛沪光、于京君与马思聪', entitle:`Ten Years of Music Journey 09: XIN Hugaung, Julian Yu & MA Sicong`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/002b3Uw20Vqsl5', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-09-xin-hugaung-julian-yu-ma-sicong/1682349790', }, { pic:'../conimg/recordpic3-5-10.jpg', title:'十载嘉音之十：陈培勋', entitle:`Ten Years of Music Journey 10: CHEN Peixun`, time:'', link:'https://y.qq.com/n/ryqq/albumDetail/004SByLM2sv7iq', enlink:'https://music.apple.com/cn/album/ten-years-of-music-journey-10-chen-peixun/1682349797', }, ], }, { pic:'../conimg/recordpic3-6.jpg', title:'2023北京新年音乐会', entitle:`2023 Beijing New Year's Concert`, time:'2023', num:'', price:'90.00', nclp:'81620163-1', ref:'978-7-88331-170-6', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=3bRjjskgY8I5', enlink:'https://music.apple.com/cn/album/2023%E5%8C%97%E4%BA%AC%E6%96%B0%E5%B9%B4%E9%9F%B3%E4%B9%90%E4%BC%9A/1709046045', }, { pic:'../conimg/recordpic3-7.jpg', title:'陆轶文与国家大剧院管弦乐团桥四重奏：爱的致意', entitle:`Lu Yiwen NCPAO Bridge Quartet`, time:'2023', num:'', price:'80.00', nclp:'81740167-1', ref:'978-7-88331-178-2', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=8Vf8OgMs0Shd', enlink:'https://music.apple.com/cn/album/lu-yiwen-salut-damour/1718021135', }, { pic:'../conimg/recordpic3-8.jpg', title:'2024北京新年音乐会', entitle:`2024 Beijing New Year's Concert`, time:'2024', num:'', price:'90.00', nclp:'81620178-1', ref:'978-7-88331-185-0', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=Xm5IVEas0Kyv', enlink:'https://music.apple.com/cn/album/2024%E5%8C%97%E4%BA%AC%E6%96%B0%E5%B9%B4%E9%9F%B3%E4%B9%90%E4%BC%9A/1729155935', }, { pic:'../conimg/recordpic3-9.jpg', title:'NCPA Live - 寂静的森林与洛可可主题变奏曲（秦立巍与国家大剧院管弦乐团）', entitle:`NCPA Live Silent Woods Rococo Variations`, time:'2024', num:'', price:'45.00', nclp:'81710184-1', ref:'978-7-88331-191-1', link:'https://y.qq.com/n/yqq/album/000JS1qg0h5oEK.html', enlink:'https://music.apple.com/cn/album/dvo%C5%99%C3%A1k-silent-woods-tchaikovsky-on-a-rococo-theme/1523412913', }, { pic:'../conimg/recordpic3-10.jpg', title:'NCPA Live - 陈萨 MOZART Piano Concerto No. 23 in A major', entitle:`NCPA Live Mozart Piano Concerto No. 23`, time:'2024', num:'', price:'45.00', nclp:'81710190-1', ref:'978-7-88331-190-4', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=tDVWf9as0Khv', enlink:'https://music.apple.com/cn/album/mozart-piano-concerto-no-23-in-a-major-k-488-ncpa-live-ep/1523930632', }, { pic:'../conimg/recordpic3-11.jpg', title:'第七期 国家大剧院青年作曲家计划 终评音乐会', entitle:`7th NCPA Young Composer Programme Final Evaluation Concert`, time:'2024', num:'', price:'80.00', nclp:'81620188-1', ref:'978-7-88331-196-6', link:'https://c6.y.qq.com/base/fcgi-bin/u?__=YKqP3kas06DV', enlink:'', }, ], }, ], // 关于乐团 musicians:[ { title:`乐团首席`, entitle:`Concertmaster`, list:[ { pic:`../peoimg/101.jpg`, name:`李喆`, enname:`LI Zhe`, tiptype:0, tips:``, entips:``, }, ] }, { title:`客座乐团首席`, entitle:`Guest Concertmaster`, list:[ { pic:`../peoimg/201.jpg`, name:`王晓明`, enname:`WANG Xiaoming`, tiptype:0, tips:``, entips:``, }, ] }, { title:`乐团副首席`, entitle:`Associate Concertmaster`, list:[ { pic:`../peoimg/301.jpg`, name:`陈述`, enname:`CHEN Shu`, tiptype:0, tips:``, entips:``, }, ] }, { title:`乐团助理首席`, entitle:`Assistant Concertmaster`, list:[ { pic:`../peoimg/401.png`, name:`马魏家`, enname:`MA Weijia`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/402.png`, name:`窦聪昶`, enname:`DOU Congchang`, tiptype:0, tips:``, entips:``, }, ] }, { title:`第一小提琴`, entitle:`First Violin`, list:[ { pic:`../peoimg/501.jpg`, name:`赵兢兢`, enname:`ZHAO Jingjing`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/503.png`, name:`赵洁盈`, enname:`ZHAO Jieying`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/504.jpg`, name:`刘嵩`, enname:`LIU Song`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/505.png`, name:`杨璐萌`, enname:`YANG Lumeng`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/506.png`, name:`万朵`, enname:`WAN Duo`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/508.jpg`, name:`刘晓旭`, enname:`LIU Xiaoxu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/509.jpg`, name:`蒋君`, enname:`JIANG Jun`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/510.png`, name:`李佳颖`, enname:`LEE Chia-Ying`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/511.jpg`, name:`张炎琰`, enname:`ZHANG Yanyan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/512.jpg`, name:`孙茜`, enname:`SUN Qian`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/513.png`, name:`李瑶`, enname:`LI Yao`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/514.jpg`, name:`向庭萱`, enname:`XIANG Tingxuan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/515.jpg`, name:`董智超`, enname:`DONG Zhichao`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/516.jpg`, name:`曹歆唯`, enname:`CAO Xinwei`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/517.jpg`, name:`魏也纳`, enname:`WEI Yena`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/518.png`, name:`王杨`, enname:`WANG Yang`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/519.png`, name:`王昱程`, enname:`WANG Yucheng`, tiptype:0, tips:``, entips:``, }, ] }, { title:`第二小提琴`, entitle:`Second Violin`, list:[ { pic:`../peoimg/601.jpg`, name:`刘弦`, enname:`LIU Xian`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/602.jpg`, name:`杨瑞`, enname:`YANG Rui`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/604.jpg`, name:`纪东丹`, enname:`JI Dongdan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/605.jpg`, name:`纪雯彧`, enname:`JI Wenyu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/606.jpg`, name:`蔡琼华`, enname:`TSAI Chiung-Hua`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/607.png`, name:`高学思`, enname:`GAO Xuesi`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/608.png`, name:`李文丹`, enname:`LI Wendan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/609.jpg`, name:`武萌`, enname:`WU Meng`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/610.png`, name:`袁芳芳`, enname:`YUAN Fangfang`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/611.jpg`, name:`高佳瑶`, enname:`GAO Jiayao`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/612.png`, name:`林伯宇`, enname:`LIN Boyu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/613.jpg`, name:`李兴雅`, enname:`LI Xingya`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/614.png`, name:`张硕`, enname:`ZHANG Shuo`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/615.jpg`, name:`郭颖心`, enname:`GUO Yingxin`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/616.jpg`, name:`朱秀软`, enname:`Sooyeon Joo`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/617.png`, name:`宋尚璇`, enname:`SONG Shangxuan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/618.png`, name:`张若贤`, enname:`ZHANG Ruoxian`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/619.jpg`, name:`景思齐`, enname:`JING Siqi`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/620.jpg`, name:`周榆浩`, enname:`ZHOU Yuhao`, tiptype:0, tips:``, entips:``, }, ] }, { title:`中提琴`, entitle:`Viola`, list:[ { pic:`../peoimg/701.jpg`, name:`郝学嘉`, enname:`HAO Xuejia`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/70105.png`, name:`庄然`, enname:`ZHUANG Ran`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/702.jpg`, name:`何静`, enname:`HE Jing`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/703.jpg`, name:`张淼`, enname:`ZHANG Miao`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/705.jpg`, name:`刘莎`, enname:`LIU Sha`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/704.png`, name:`南江录`, enname:`Kangrok Nam`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/706.png`, name:`汪兰`, enname:`WANG Lan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/707.png`, name:`杜娟`, enname:`DU Juan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/708.png`, name:`秦宇`, enname:`QIN Yu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/709.jpg`, name:`丛延伊`, enname:`CONG Yanyi`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/710.png`, name:`张斓`, enname:`ZHANG Lan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/711.jpg`, name:`唐韧竹`, enname:`TANG Renzhu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/712.png`, name:`尚钇宇`, enname:`SHANG Yiyu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/713.png`, name:`秦睿康`, enname:`QIN Ruikang`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/716.jpg`, name:`钟姗廷`, enname:`ZHONG Shanting`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/715.png`, name:`张瀚平`, enname:`ZHANG Hanping`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/714.png`, name:`谭绵绵`, enname:`TAN Mianmian`, tiptype:0, tips:``, entips:``, }, ] }, { title:`大提琴`, entitle:`Cello`, list:[ { pic:`../peoimg/801.jpg`, name:`梁肖`, enname:`LIANG Xiao`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/802.png`, name:`张晟`, enname:`ZHANG Sheng`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/815.jpg`, name:`赵悦辰`, enname:`ZHAO Yuechen`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/803.png`, name:`金窥利`, enname:`Kyuri Kim`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/804.jpg`, name:`尹龙`, enname:`YIN Long`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/805.jpg`, name:`李梦琪`, enname:`LI Mengqi`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/806.png`, name:`王无山`, enname:`WANG Wushan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/807.png`, name:`石瑾`, enname:`SHI Jin`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/808.png`, name:`王昊宇`, enname:`WANG Haoyu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/809.png`, name:`宋涛`, enname:`SONG Tao`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/810.png`, name:`王宇`, enname:`WANG Yu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/811.png`, name:`王嘉琳`, enname:`WANG Jialin`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/812.png`, name:`沈忱`, enname:`SHEN Chen`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/813.png`, name:`刘宛瑜`, enname:`LIU Wan-Yu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/814.png`, name:`潘诚`, enname:`Pan Cheng`, tiptype:0, tips:``, entips:``, }, ] }, { title:`低音提琴`, entitle:`Double Bass`, list:[ { pic:`../peoimg/901.jpg`, name:`刘怡枚`, enname:`LIU Yimei`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/910.png`, name:`张小笛`, enname:`ZHANG Xiaodi`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/902.png`, name:`孙晨光`, enname:`SUN Chenguang`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/903.jpg`, name:`赵海岐`, enname:`ZHAO Haiqi`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/904.jpg`, name:`张广元`, enname:`ZHANG Guangyuan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/905.jpg`, name:`刘相全`, enname:`LIU Xiangquan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/906.jpg`, name:`周元龙`, enname:`ZHOU Yuanlong`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/907.jpg`, name:`范一鸣`, enname:`FAN Yiming`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/908.jpg`, name:`裴利特`, enname:`PEI Lite`, tiptype:0, tips:``, entips:``, }, // { // pic:`../peoimg/909.jpg`, // name:`彭宇阳`, // enname:`PENG Yuyang`, // tiptype:0, // tips:``, // entips:``, // }, ] }, { title:`长笛`, entitle:`Flute`, list:[ { pic:`../peoimg/1001.png`, name:`叶怡礽`, enname:`YEH I-Jeng`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1006.png`, name:`向一`, enname:`XIANG Yi`, tiptype:4, tips:`联合首席`, entips:`Co-Principal`, }, { pic:`../peoimg/1002.png`, name:`尹伊`, enname:`YIN Yi`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1003.png`, name:`陆遥遥`, enname:`LU Yaoyao`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1004.png`, name:`刘倩`, enname:`LIU Qian`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1005.jpg`, name:`秦瑞彤`, enname:`QIN Ruitong`, tiptype:0, tips:``, entips:``, }, ] }, { title:`双簧管`, entitle:`Oboe`, list:[ { pic:`../peoimg/1101.png`, name:`周阳`, enname:`ZHOU Yang`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1104.png`, name:`徐慧静`, enname:`XU Huijing`, tiptype:4, tips:`联合首席`, entips:`Co-Principal`, }, { pic:`../peoimg/1102.png`, name:`寇艺舰`, enname:`KOU Yijian`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1103.png`, name:`唐山`, enname:`TANG Shan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1105.png`, name:`范嘉晏`, enname:`FAN Chia-Yen`, tiptype:0, tips:``, entips:``, }, ] }, { title:`单簧管`, entitle:`Clarinet`, list:[ { pic:`../peoimg/1201.png`, name:`杰米·桑切斯`, enname:`Jaume Sanchis`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1202.jpg`, name:`李旻娜`, enname:`Minna Lee`, tiptype:4, tips:`联合首席`, entips:`Co-Principal`, }, { pic:`../peoimg/1203.png`, name:`张天宇`, enname:`ZHANG Tianyu`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1206.png`, name:`郑力睿`, enname:`ZHENG Lirui`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1204.png`, name:`施然文`, enname:`SHI Ranwen`, tiptype:0, tips:``, entips:``, }, ] }, { title:`大管`, entitle:`Bassoon`, list:[ { pic:`../peoimg/1301.png`, name:`姬晶晶`, enname:`JI Jingjing`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1302.png`, name:`谢圣娴`, enname:`HSIEH Sheng-Hsien`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1303.png`, name:`李天佑`, enname:`LI Tianyou`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1304.png`, name:`石光远`, enname:`SHI Guangyuan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1305.png`, name:`方文超`, enname:`FANG Wenchao`, tiptype:0, tips:``, entips:``, }, ] }, { title:`圆号`, entitle:`Horn`, list:[ { pic:`../peoimg/1411.jpg`, name:`高永锺`, enname:`Youngjong Koh`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1401.png`, name:`刘晓昕`, enname:`LIU Xiaoxin`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/1402.jpg`, name:`何冠峰`, enname:`HE Guanfeng`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/1403.png`, name:`曾韵`, enname:`ZENG Yun`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/1404.png`, name:`陈彩双`, enname:`Tan Chai Suang`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1405.png`, name:`朴垠贞`, enname:`Eunjung Park`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1406.png`, name:`王梓`, enname:`WANG Zi`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1407.png`, name:`杨佐`, enname:`YANG Zuo`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1408.png`, name:`曾鹏蜚`, enname:`ZENG Pengfei`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1409.png`, name:`缪尚辰`, enname:`MIAO Shangchen`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1410.png`, name:`沈昀衡`, enname:`Jaben Sim`, tiptype:0, tips:``, entips:``, }, ] }, { title:`小号`, entitle:`Trumpet`, list:[ { pic:`../peoimg/1501.png`, name:`王与兵`, enname:`WANG Yubing`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1502.png`, name:`陈嘉伟`, enname:`CHEN Jiawei`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1503.png`, name:`李锐`, enname:`LI Rui`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1504.png`, name:`何凯`, enname:`HE Kai`, tiptype:0, tips:``, entips:``, }, ] }, { title:`长号`, entitle:`Trombone`, list:[ { pic:`../peoimg/1601.png`, name:`刘爽`, enname:`LIU Shuang`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1602.png`, name:`于骏飞`, enname:`YU Junfei`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1603.png`, name:`卫稚英`, enname:`WEI Zhiying`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1604.png`, name:`达尼洛·孔特雷拉斯`, enname:`Danilo Contreras`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1605.png`, name:`袁博翾`, enname:`YUAN Boxuan`, tiptype:0, tips:``, entips:``, }, ] }, { title:`大号`, entitle:`Tuba`, list:[ { pic:`../peoimg/1701.png`, name:`王海宇`, enname:`WANG Haiyu`, tiptype:1, tips:`首席`, entips:`Principal`, }, ] }, { title:`定音鼓`, entitle:`Timpani`, list:[ { pic:`../peoimg/1801.png`, name:`刘刚`, enname:`LIU Gang`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, ] }, { title:`打击乐`, entitle:`Percussion`, list:[ { pic:`../peoimg/1901.png`, name:`刘恒`, enname:`LIU Heng`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/1903.png`, name:`苏姝`, enname:`SU Shu`, tiptype:4, tips:`联合首席`, entips:`Co-Principal`, }, { pic:`../peoimg/1902.jpg`, name:`白伟岐`, enname:`BAI Weiqi`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/1904.png`, name:`黄柏元`, enname:`HUANG Po-Yuan`, tiptype:3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/1905.png`, name:`王璇宇`, enname:`WANG Xuanyu`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1906.png`, name:`张雨楠`, enname:`ZHANG Yunan`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/1907.png`, name:`金智英`, enname:`Jiyoung Kim`, tiptype:0, tips:``, entips:``, }, ] }, { title:`竖琴`, entitle:`Harp`, list:[ { pic:`../peoimg/2001.png`, name:`赵辰`, enname:`ZHAO Chen`, tiptype:1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/2003.png`, name:`亚历珊德拉 · 季霍诺娃`, enname:`Alexandra Tikhonova`, tiptype:4, tips:`联合首席`, entips:`Co-Principal`, }, { pic:`../peoimg/2002.jpg`, name:`张小音`, enname:`ZHANG Xiaoyin`, tiptype:2, tips:`客座首席`, entips:`Guest Principal`, }, ] }, { title:`艺术顾问`, entitle:`Artistic Adviser`, list:[ { pic:`../peoimg/2101.png`, name:`李伟纲`, enname:`Weigang Li`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/2102.png`, name:`刘明嘉`, enname:`LIU Mingjia`, tiptype:0, tips:``, entips:``, }, { pic:`../peoimg/2103.png`, name:`韩小光`, enname:`HAN Xiaoguang`, tiptype:0, tips:``, entips:``, }, ] }, ] , staffdata:[ { title:`总经理`, entitle:`Chief Executive Officer`, list:[ { name:`任小珑`, enname:`REN Xiaolong`, }, ] }, { title:`演出运营`, entitle:`Operation & Administration`, list:[ { name:`孙雅菲`, enname:`SUN Yafei`, }, { name:`罗恩妍`, enname:`LUO Enyan`, }, { name:`杨哲`, enname:`YANG Zhe`, }, { name:`蔚强`, enname:`YU Qiang`, }, { name:`谭秦悦扬`, enname:`TAN Qinyueyang`, }, { name:`张海`, enname:`ZHANG Hai`, }, { name:`戴林玥`, enname:`DAI Linyue`, }, { name:`诸修齐`, enname:`ZHU Xiuqi`, }, ] }, { title:`节目运营`, entitle:`Artistic Planning & Communications`, list:[ { name:`汤宁`, enname:`TANG Ning`, }, { name:`刘逊`, enname:`LIU Xun`, }, { name:`张婧睿`, enname:`ZHANG Jingrui`, }, { name:`孙曦源`, enname:`SUN Xiyuan`, }, { name:`阎峰`, enname:`YAN Feng`, }, { name:`王丽瑶`, enname:`WANG Liyao`, }, { name:`文乔岳`, enname:`WEN Qiaoyue`, }, ] }, { title:`艺术活动与外联合作`, entitle:`Education, Outreach & Advancement`, list:[ { name:`周静`, enname:`ZHOU Jing`, }, { name:`樊悦`, enname:`FAN Yue`, }, { name:`王千祎`, enname:`WANG Qianyi`, }, ] }, { title:`乐务管理`, entitle:`Stage Management & Production`, list:[ { name:`尹牧笛`, enname:`YIN Mudi`, }, { name:`杜飞`, enname:`DU Fei`, }, { name:`莽逸群`, enname:`MANG Yiqun`, }, { name:`高健淞`, enname:`GAO Jiansong`, }, ] }, ], }