《尘世纷繁，凡人如蚁奔忙，如蛾赴焰，如鸟寻食，如鱼逐浪。唯有乐、舞、诗与歌，令人在逐渐物化的世界中苏醒——抬起头来，望向无尽的苍穹。
当西方之律邂逅东方之韵，当文明的光影在此刻交响，亦曲亦诗，纵红尘如缚，亦可自由寰宇。生而为人，可歌，可乐，可吟，可诵，实乃大幸。
一诗，一境，一曲，一醉——邀君同赏。
在人类漫长而又如白驹过隙的文明史中，拉弦乐器的身影几乎遍布全球。曲水流经处，它轻颤的弓弦掠过西亚高原，迎着东亚草原的暮云，回转在南亚的集市，又辗转于东南亚的市井人家。音色悠远绵长，好似人声，以不同的形态流传千百年，如中亚与伊朗的卡曼切（Kamancheh）及在北非、中东、中亚等地区广泛流传的拉巴布（Rebab），在外形与结构上都近似二胡。而二胡，在这条悠久“拉弦家族”谱系中，以两根弦、圆筒形共鸣箱与独特的细腻语汇，承载着东方之声。国家大剧院以十余年心血倾力打造的“青年作曲家计划”，为全球华人菁英搭建起展示才华、联结世界的国际舞台。在第八期“青年作曲家计划”中，将继续聚焦中国弓弦乐器与管弦乐队协奏曲的创作。乐团今年将演绎入围的两部作品——《尘世之网》与《韵神》，皆以二胡为主角，续写丝弦新声。
曲水澹澹，在《尘世之网》中，这份“中华味道”兼具洒脱与敏感，缠绵又旷达，如莫奈笔下颤动的光斑，如水墨泼洒，如长风入怀。二胡婉转倾诉，宛如那个时而犹豫、时而勇敢、时而平庸、时而绚烂的自我，在管弦乐队交织经纬纵横的绵密大网中左冲右撞，蹒跚而行。余忠元，这位出生于台北、旅德深造并屡获国际奖项的80后作曲家，如此描述自己这部作品的尾声：“在宏大而深沉的声响潮浪后，原初深情、曾经激动的旋律主题转为清寂，包裹在弦乐的泛音与风铃、小钟琴形成的清凉世界中，轻轻地吟唱，仿佛在冥思中找寻真正的本心。”
曲水盈盈，它也可以是俏皮鲜活的——在新锐青年作曲家李子傲笔下，《韵神》（谐音湖南俚语“运神”），不同于“绞脑壳”的苦思冥想，透着一股“灵泛”[ 湖南方言 ]，是把死板道理盘活成市井智慧的能耐。在交响乐队织就的‘咯咂味’[ 长沙话"这个味" ]幕布上，二胡仗着‘了撇’[ 长沙话"干脆利落" ]的技法，时而‘打得活泛’[ 湖南方言 ]，时而‘霸蛮’[ 湖南方言 ]，逗得城乡四野‘冇边冇沿’[ 长沙话，无边无际 ]。
曲水潺潺，在中国音乐学院作曲系青年教师商沛雷的乐声里，它成为了一首浪漫的、带着20世纪中国味儿的七章长歌《儿童组曲》。嬉游的笑声、猜谜的机智、悄悄话的细腻、不羁的顽皮、妈妈的爱、考试的紧张、运动会的奔跑——它们共同编织成记忆中童年的样子，长成今天的你我。7岁那年盼而不得的礼物——那辆玩具汽车、那个穿着漂亮裙子的洋娃娃——如今有人把它递到你手中，还来得及吗？
曲水脉脉，听——母亲的歌谣在交响合唱声中醒来。从河北平原的麦田，到云南月下的溪涧；从陕北窑洞的黄土，到江南雨巷的薄雾……这些旋律，经作曲家鲍元恺倾注毕生心血，以器乐与人声为彩线，最终织成了二十四幅动人的故土音画——《炎黄风情》。
《炎黄风情》所探索的，是来自田间山野的原始民歌市井生活烟火气，同来自教会音乐的西方形式超凡神圣殿堂感，带着各自的基因，以保持各自特色的方式结合于一体。从1991年的管弦乐团版，2021年的民族乐团版和弦乐室内乐版，到2025年的这套交响合唱版，《炎黄风情》不断向两端延伸和升华，促使它的“烟火气”与“殿堂感”能够在更高维度上实现“黑白分明，和而不同”的统一，以“继承民族优秀传统，融入世界现代文明”。
——鲍元恺
述燕赵故事，睹云岭素描，历黄土悲欢，闻巴蜀山歌，触江南雨丝，经太行春秋——旋律穿过山川与岁月，携来泥土的芬芳与人心的温度。那是《小白菜》的低诉与《小放牛》的笑语，是《小河淌水》的清柔与《兰花花》的凄美，是《紫竹调》的婉转与《走西口》的离歌。它们在不同的土壤生根，在音乐中汇聚成一部“华夏乡土志”。它们历经岁月，化作声声挂念：槐花几时开？月亮出来亮汪汪——远行的孩子啊，那盏等你回家的灯，还亮着。
曲水泱泱，在浩瀚宇宙中，人类生命不过一粒微尘、一瞬流光。如蜉蝣朝生暮死，却仍奋力振翅，以渺小之躯叩问天地永恒。作曲家常乐以东方二十四节气为脉络，采撷山野风雨、虫鸣涧响，将自然原声熔铸成《二十四节气——为钢琴、大自然声响、室内乐团而作的音诗》，由钢琴家陈萨精湛演绎。如作曲家所言：“‘律’是秩序，是律动，既是音律，也是四季交替的节律与呼吸。”当琴键叩响，瞬息的生命在音符中与万物共振，听者与演奏者同筑起一方共鸣的结界——以己之力，观星河流转，感天地呼吸。
自乙巳至丙午，历素秋、岁馀、芳春迄长夏；长安街畔，紫禁城西，柳暗珠莹余韵袅，西望朱墙忽见月。
“十五载如是说”：吕嘉、吴巍与国家大剧院管弦乐团联袂演出黄若《玄黄》、李子傲《韵神》。桂序向晚，金风转肃，袁丁携国家大剧院管弦乐团、合唱团真情奉献徐振民《枫桥夜泊》、陈其钢《走西口》、冼星海《黄河大合唱》、余忠元《尘世之网》，以及罗维独奏《黄河》钢琴协奏曲。孟冬将至，王宏伟、吴碧霞、钱骏平与国家大剧院管弦乐团、合唱团及北京爱乐合唱团携手呈现鲍元恺《炎黄风情》交响合唱版——世界首演。
次年首夏清和，张弦执棒，与钢琴家张昊辰合作奏响陈其钢《二黄》。既望前宵，赖嘉静诠释商沛雷《儿童组曲》。乐季末，大暑之后，孙一凡指挥，陈萨独奏，常乐《二十四节气——为钢琴、大自然声响、室内乐团而作的音诗》。
国家大剧院《乐是故乡明》系列倾情呈献八场音乐盛宴——响华夏之音，鸣血脉之情。
`, entxtcon:`In the restless swirl of the world, people scurry like ants in endless toil, chase like moths the perilous flame of their desires, peck and scour like birds for their daily bread, and chase like fish the restless waves in search of the next tide. Only music, dance, poetry, and song can rouse us from a life growing ever more mechanical — lifting our eyes to the boundless sky.
When the timbre of the West meets the tone of the East, when the splendour of civilizations resonates together in a way that is as lyrical as it is musical, we — even under the weight of worldly cares — can feel unbound, free to roam the vastness of the universe. To live as a human is a rare gift — for we can turn our hearts into songs and our thoughts into verses, and in doing so, we can rejoice and be glad.
A poem to stir the heart, a scene to hold the eye, a melody to linger in the ear, and a joy to intoxicate the soul — I invite you to share them all.
Across the long yet fleeting course of human civilization, bowed string instruments have left their mark in nearly every corner of the world. Wherever waters have flowed, their trembling strings have brushed the plateaus of West Asia, met the evening clouds over the grasslands of East Asia, echoed through the markets of South Asia, and found their way into the homes and streets of Southeast Asia. With a tone both far-reaching and tender, akin to the human voice, they have endured for centuries in many forms — from the kamancheh of Central Asia and Iran to the rebab heard across North Africa, the Middle East, and Central Asia — all bearing a family resemblance to the erhu in shape and structure. Within this ancient bowed-string family, the erhu, with two strings, a round resonator, and a uniquely delicate way of expression, carries the voice of the East. For over a decade, the National Centre for the Performing Arts (NCPA) has devoted itself to the Young Composer Programme, creating an international stage for outstanding Chinese talents from around the world to showcase their artistry and connect with the world. This year, the 8th Young Composer Programme continues to focus on concertos for Chinese bowed instruments and orchestra, and both of the two shortlisted works — Between Love and Ignorance and Yun Shen are for the erhu, bringing fresh colours to the enduring tradition of string music.
In Between Love and Ignorance, the music unfolds like rippling water, imbued with the flavor of Chinese aesthetics — at once free‑spirited and finely attuned, tender yet expansive. It shimmers like the trembling light in a Monet painting, like ink splashed in bold strokes, like a sweeping wind stirring the spirit. The erhu’s supple, lyrical voice threads its way through the dense weave of the orchestra’s sound, prompting us to see in it reflections of our own lives — moments of hesitation and of courage, of quiet simplicity and of sudden brilliance. YU Zhongyuan — a composer born in the 1980s in Taipei and trained in Germany, recipient of multiple international awards — describes the work’s coda this way: “After the vast, resonant surges of sound, the once‑tender and impassioned main theme settles into stillness, wrapped in a peaceful, crystalline world shaped by the harmonics of the strings and the delicate tones of wind chimes and glockenspiel. It sings softly, as if in quiet meditation, searching for the true heart within.”
Rippling waters don’t always have to be solemn — sometimes they can dance with playfulness and vitality. In Yun Shen, rising composer LI Ziao draws on a homophone from Hunan dialect: while the title suggests “the spirit of rhythm,” it also echoes a local phrase meaning “to summon inspiration” — not through laborious thought, but through quick, intuitive wit. This is no furrowed-brow meditation; it’s a kind of nimble cleverness that turns stiff logic into streetwise wisdom. Against a symphonic backdrop woven with unmistakable local flavor, the erhu — armed with crisp, decisive technique — shifts between playful agility and bold defiance, teasing out laughter and recognition from city alleys to open countryside.
The sound of rippling water flows gently through the music of SHANG Peilei, a young composer and faculty member at the China Conservatory of Music. In her seven-movement Children Suite — romantic in spirit and infused with the flavor of twentieth-century China — childhood becomes a long, lyrical song. The laughter echoing through games, the thrill of solving a riddle, the intimacy of whispered secrets, the wild freedom of being young, the tender shelter of mother’s love, the flutter of exam nerves, the pounding feet of a schoolyard race — together, they weave the shape of childhood as we remember it, growing into the people we are today. That gift you longed for at age seven — the toy car, the doll in the pretty dress — if someone were to place it in your hands now… would it still be in time?
Rippling water flows gently — listen: a mother’s lullaby awakens in the swell of symphonic chorus. From the wheat fields of Hebei to moonlit streams in Yunnan, from the loess caves of northern Shaanxi to the misted alleys in jiangnan (areas to the south of the lower reaches of the Yangtze) — these melodies, woven with the lifelong devotion of composer Bao Yuankai, blend voices and instruments into twenty-four vivid musical portraits of homeland — Chinese Sights and Sounds.
Chinese Sights and Sounds explores the meeting point between two distinct musical worlds: the rustic vitality of folk songs born in fields and villages, rich with the warmth of everyday life, and the transcendent grandeur of Western sacred music, shaped by formal structure and spiritual resonance. Each tradition carries its own history and character, and they are brought together in a way that preserves their distinct voice. From the 1991 version for symphony orchestra, to the 2021 adaptations for Chinese national orchestra and string chamber ensemble, and now to the 2025 arrangement for the symphonic chorus, Chinese Sights and Sounds continues to evolve. Reaching toward both ends of the musical spectrum, it seeks a higher unity where contrast is not erased but embraced — a balance of clarity and coexistence, tradition and modernity, rooted in the finest heritage of Chinese music and open to the spirit of global civilization.
— BAO Yuankai
Stories rising from the plains of North China, sketches drawn from the southwestern mountains, the joys and sorrows etched into the Loess Plateau, folk songs echoing through the Sichuan Basin, the drizzle in jiangnan, and the lingering breath of history in the Taihang Mountains in the north — these melodies drift across time and space, carrying the scent of earth and the warmth of memory. They speak in the hushed sorrow of Little Cabbage, the playful laughter of The Little Cowherd, the gentle flow of Flowing Stream, the aching beauty of Lan Hua Hua, the graceful turns of Purple Bamboo Melody, and the parting song of Westward Journey. Rooted in different soils, they converge in music to form a living chronicle of China’s rural soul. Weathered by time, these songs become voices of longing:
When will the locust trees bloom?
The moon is out, shining bright—
Child who has gone far, the lamp waiting for you at home… still glows.
Waters surge beneath the boundless sky, year after year. A human life is but a mote of dust, a lifetime no more than a passing gleam. Yet, like the mayfly born at dawn and gone by night, still beating its fragile wings, we, in our smallness, dare to reach toward the gates of eternity. Drawing on the cycle of the twenty-four solar terms, composer CHANG Le gathers the voices of wind and rain from the mountains, the murmur of streams, and the song of insects, forging these raw sounds of nature into The Twenty-Four Solar Terms — A Tone Poem for Piano, Sounds of Nature, and Chamber Orchestra. In the concert, the piece will be brought to life through the artistry of pianist CHEN Sa. As the composer explains, “Music embodies the laws of order — grounded in rhythm and tonality, it becomes an echo of the living heartbeat of the turning seasons.” When the pianist’s fingers touch the keys, a fleeting human life resonates with the timeless vastness of the universe. In that moment, the performers and audience together create a shared realm of harmony — a space from which to witness the turning of the stars and sense the breath of the cosmos.
From 2025 to 2026, from the clarity of autumn, through the full richness of winter, into the fragrance of spring, and on to the long, unhurried days of summer, the NCPA stands beside Chang’an Avenue, just west of the Forbidden City — silently watching as willows cast deep shade, light shimmers like scattered pearls, and the moon rises beyond the vermilion walls.
“Echoes of 15 Years” will open with HUANG Ruo’s The Color Yellow and LI Ziao’s Yun Shen, performed in collaboration by LÜ Jia, WU Wei, and the China NCPA Orchestra. As the osmanthus season draws to its close and the autumn wind turns crisp, YUAN Ding will lead the NCPA Orchestra and Chorus in heartfelt interpretations of XU Zhenmin’s Mooring by Maple Bridge at Night, CHEN Qigang’s L’Éloignement, XIAN Xinghai’s Yellow River Cantata, YU Zhongyuan’s Between Love and Ignorance, and The Yellow River Piano Concerto with LUO Wei as soloist. As early winter approaches, WANG Hongwei, WU Bixia, and QIAN Junping will join the NCPA Orchestra and Chorus, together with the Beijing Philharmonic Choir, for the world premiere of BAO Yuankai’s Chinese Sights and Sounds in its symphonic choral version.
In the sunny, mild days of early summer the following year, conductor Xian Zhang will be joined with pianist Haochen Zhang to perform Qigang Chen’s Er Huang for piano and orchestra. On the night of the full moon, LAI Jiajing will conduct SHANG Peilei’s Children’s Suite. At the close of the season, after the Great Heat — the solar term marking the height of summer, SUN Yifan will conduct CHANG Le’s The Twenty-Four Solar Terms — A Tone Poem for Piano, Sounds of Nature, and Chamber Orchestra, with CHEN Sa as the soloist.
The NCPA’s Sounds of China series will present eight magnificent concerts — celebrating the voice of the nation and calling forth the feelings that run in our veins.
`, } ], mainworks: [ { pic:'../conimg/20250919-920.jpg', time:`2025.9.19/20`, title:`“十五载如是说”吕嘉、吴巍与国家大剧院管弦乐团演绎理查·施特劳斯暨2025/26乐季开幕音乐会`, entitle:`“Echoes of 15 Years” Richard Strauss and HUANG Ruo with LÜ Jia, WU Wei 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`, }, { name:'驻院艺术家', enname:`Artist-in-Residence`, }, ], personnel: [ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`吴巍`, job:`笙`, enname:`WU Wei`, enjob:`SHENG`, }, { name:`章海玥`, job:`二胡`, enname:`ZHANG Haiyue`, enjob:`Erhu`, }, ], performance: [ { name:`李子傲`, job:`《韵神》,为二胡与交响乐团而作`, enname:`LI Ziao`, enjobf:``, enxiejob:`Yun Shen`, enjob:`,for Erhu and Orchestra`, }, { name:``, job:`*第八期青年作曲家计划展演`, enname:``, enjobf:``, enxiejob:``, enjob:`*The 8th NCPA Young Composer Programme Selected Work`, }, { name:`黄若`, job:`《玄黄》`, enname:`HUANG Ruo`, enjobf:``, enxiejob:`The Color Yellow`, enjob:``, }, ], }, { pic:'../conimg/2025101112.jpg', time:`2025.10.11/12`, title:`“黄河大合唱”国家大剧院管弦乐团与合唱团音乐会`, entitle:`“Yellow River Cantata” China NCPA Orchestra & Chorus`, 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:`袁丁`, job:`指挥`, enname:`YUAN Ding`, enjob:`Conductor`, }, { name:`赵岭`, job:`朗诵`, enname:`ZHAO Ling`, enjob:`Narrator`, }, { name:`刘嵩虎`, job:`男中音 `, enname:`LIU Songhu`, enjob:`Baritone`, }, { name:`邱佳裕`, job:`琵琶`, enname:`QIU Jiayu`, enjob:`Pipa`, }, { name:`周晓琳`, job:`女高音`, enname:`ZHOU Xiaolin`, enjob:`Soprano`, }, { name:`国家大剧院合唱团`, job:``, enname:`China NCPA Chorus`, enjob:``, }, { name:`董岱`, job:`合唱指挥`, enname:`DONG Dai`, enjob:`Chorus Master`, }, { name:`毕友恒`, job:`二胡`, enname:`BI Youheng`, enjob:`Erhu`, }, ], performance: [ { name:`余忠元`, job:`《尘世之网》* 第八期青年作曲家计划展演`, enname:`YU Zhongyuan`, enjobf:``, enxiejob:`Between Love and Ignorance`, enjob:` *The 8th NCPA Young Composer Programme Selected Work`, }, { name:`徐振民`, job:`《枫桥夜泊》`, enname:`XU Zhenmin`, enjobf:``, enxiejob:`Mooring by Maple Bridge at Night`, }, { name:`陈其钢`, job:`《走西口》`, enname:`Qigang Chen`, enjobf:``, enxiejob:`L'eloingement`, }, { name:`冼星海`, job:`《黄河大合唱》`, enname:`XIAN Xinghai`, enjobf:``, enxiejob:`Yellow River Cantata`, }, ], }, { pic:'../conimg/20251021.jpg', time:`2025.10.21`, title:`“伟大的纪念”捷杰耶夫与马林斯基交响乐团、国家大剧院管弦乐团联合音乐会`, entitle:`“Eternal Remembrance” Gergiev with Mariinsky Orchestra & China NCPA Orchestra`, 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:`瓦莱里·捷杰耶夫`, job:`指挥`, enname:`Valery Gergiev `, enjob:`Conductor`, }, { name:`罗维 `, job:`钢琴`, enname:`LUO Wei`, enjob:`Piano`, }, ], performance: [ { name:`殷承宗、储望华等`, job:`钢琴协奏曲《黄河》`, enname:`YIN Chengzong, CHU Wanghua etc.`, enjobf:``, enxiejob:``, enjob:`The Yellow River Piano Concerto`, }, ], }, { pic:'../conimg/20251107-08.jpg', time:`2025.11.7/8`, title:`“交响合唱《炎黄风情》”吴碧霞、黄训国、钱骏平、北京爱乐合唱团与国家大剧院管弦乐团、合唱团`, entitle:`"Symphonic Choir: Chinese Sights and Sounds", WU Bixia, HUANG xunguo, QIAN Junping, The Beijing Philharmonic Choir and China NCPA Orchestra & Chorus`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:`https://wticket.chncpa.org/product.html?id=10001954`, enlink:``, tips: [ { name:'乐是故乡明', enname:'Sounds of China', } ], personnel: [ { name:`钱骏平`, job:`指挥`, enname:`QIAN Junping`, enjob:`Conductor`, }, { name:`王宏伟`, job:`男高音`, enname:`WANG Hongwei`, enjob:`Tenor`, }, { name:`吴碧霞`, job:`女高音`, enname:`WU Bixia`, enjob:`Soprano`, }, { name:`北京爱乐合唱团`, job:``, enname:`The Beijing Philharmonic Choir`, enjob:``, }, { name:`国家大剧院合唱团`, job:``, enname:`China NCPA Chorus`, enjob:``, }, ], performance: [ { name:`鲍元恺`, job:`《炎黄风情》交响合唱 *世界首演`, enname:`BAO Yuankai`, enjobf:``, enxiejob:`Chinese Sights and Sounds`, enjob:` for Orchestra and Chorus *World Premiere`, }, ], }, { pic:'../conimg/gj2.jpg', time:`2026.1.9`, title:`国家大剧院第八期青年作曲家计划终评音乐会`, entitle:`The 8th NCPA Young Composer Programme Final Evaluation concert`, 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:`黄屹`, job:`指挥`, enname:`HUANG Yi`, enjob:`Conductor`, }, ], performance: [ { name:``, job:`第八期青年作曲家计划终评入选作品`, enname:``, enjob:`The 8th NCPA Young Composer Programme Final Evaluation Works`, }, ], }, { pic:'../conimg/20260509-10.jpg', time:`2026.5.9/10`, title:`“辽远之境”张弦、张昊辰与国家大剧院管弦乐团`, entitle:`“From Across the Distance” Xian Zhang, Haochen Zhang 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 ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', }, ], personnel: [ { name:`张弦`, job:`指挥`, enname:`Xian Zhang`, enjob:`Conductor`, }, ], performance: [ { name:`陈其钢`, job:`《二黄》`, enname:`Qigang Chen`, enxiejob:`Er Huang`, }, ], }, { pic:'../conimg/gj2.jpg', time:`2026.5.30`, title:`“音乐奇遇记”佩波偶剧团与国家大剧院管弦乐团演绎《彼得鲁什卡》`, entitle:`“An Adventure in Musicland” Petrushka with Per Poc and NCPAO`, address:'北京艺术中心·音乐厅', enaddress:`BPAC·Concert Hall`, link:``, enlink:``, tips: [ { name:'乐是故乡明', enname:'Sounds of China ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', }, ], personnel: [ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, ], performance: [ { name:`商沛雷`, job:`《儿童组曲》`, enname:`SHANG Peilei`, enxiejob:`Children Suite`, }, ], }, { pic:'../conimg/gj2.jpg', time:`2026.7.30/31`, title:`乐季音乐会 （标题待定）`, entitle:``, address:'', enaddress:``, link:``, enlink:``, tips: [ { name:'乐是故乡明', enname:'Sounds of China ', }, ], personnel: [ { name:`孙一凡 `, job:`指挥`, enname:`SUN Yifan`, enjob:`Conductor`, }, { name:`陈萨`, job:`钢琴`, enname:`CHEN Sa`, enjob:`Piano`, }, ], performance: [ { name:`常乐 `, job:`《二十四节气—为钢琴、大自然声响、 室内乐团而作的音诗》*世界首演`, enname:`CHANG Le`, enxiejob:`24 Solar Terms,Tone poems for piano, natural sounds &chamber orchestra *World Premiere`, }, ], }, ], }, { id: 2, type: 1, title:'回到未来', entitle:'Back to the Future', bannerpc:'./images/page/banner2.png', bannerwap:'./images/page/banner4-wap.jpg', artic: [ { txttitle:'听见未来的三个瞬间', entxttitle:'Three Moments in Listening to the Future', autor:'代博', enautor:'DAI Bo', txtcon:`过去总比未来更难预知
——俄国谚语
我们身边确确实实有的，是一个巨大的音乐知识书库，它诱惑或吓唬我们，让我们搁置或混淆我们的编年史。一个世纪以来， 作曲家们一直在对这个书库进行隐喻式的访问，清点它无尽的书架库存。
——卢契亚诺·贝里奥
作家温弗里德·塞巴尔德借他的小说主人公奥斯特利茨之口问出如下问题：“如果牛顿真的认为时间就是像泰晤士河这样的一条大河的话，那么，哪儿是时间的源头，它最后又会流进哪个海里？我们知道，每条河流在两侧都有河岸，可是如果这样看，哪里又是时间的两岸呢？那些沉入时间之中的事物，同那些脱离了时间、没有被它触及的事物有何区别呢？为什么我们将处于光明中的时间与处于黑暗中的时间显示在同一个周期里？为什么时间永远停留在一个地点，消失不见，却一刻又一刻地接踵而来？难道人们不能声称，经过几百年、几千年之后，时间自身就不具有同时性了吗？”我们当然无从知晓，是否每个作曲家都认真思考过这些困扰了哲学家与科学家数千年的问题，但这一席话中包含的迷惘与无助，确乎让过去一百多年来，任何一位严肃面对音乐的创作者都无处遁形。
与“奥斯特利茨”的视角相反，20世纪初的人们，恰是被一种前所未见的同时性包围着。眼前的世界如此错综复杂，前所未有的时代体验令人无所适从，只能随着无休止的节奏亦步亦趋，疲于奔命。那些被奉为经典的事物，在无可抑制的加速中变得愈发触手可得，伴随着瞬时性的媚俗与琐碎，“时空压缩”中的机器轰鸣和异国事物中显现出的原始主义“非时间”。
1909年，德国音乐学家鲁道夫·路易斯在他的《德国当代音乐》一书前言中写下“若一位作者选择以‘德国当代音乐’为主题，大抵不必担忧世人会期待他撰写任何意义上的‘史书’。因为在此语境下，‘当代’无非是指那尚未成为‘历史’的过去片段——”按此种观点，过去与当下多少存在着某种分界线。但也就在路易斯出版此书的同时，象征德国音乐创作隽永不息的最具活力的两位作曲家；理查·施特劳斯和马克斯·雷格尔却在不同的路径上捡拾“过去”。
1914年，马克斯·雷格尔刚从卖宁根宫廷乐队指挥的位置上退下来，他每况愈下的健康状况已经不再能支持他作曲、指挥与教学的多线作战。他获得了他生命中少有的片刻安宁，丝毫没有意识到，整个欧洲正在滑向战争深渊，更不知他的生命已接近终点。《莫扎特主题变奏曲与赋格》Op.132正诞生于此时。从作品结构来看，这是他《希勒主题变奏曲与赋格》Op100的延续，但这次作品在形式上更彻底地回归古典，却在和声上仍显露晚期浪漫主义特征，由此呈现出一个历史哲学的悖论。雷格尔的这首变奏曲，几乎可被看作一个风格编年史的模版：从莫扎特钢琴奏鸣曲K331第一乐章简洁明快的主题开始，伴随着倒影对位手法，逐步嵌入各类变和弦与延留音和弦，音乐最终在赋格段达到不协和的顶点，仿佛呼应了源自启蒙主义的线性史观。音乐结束在当下成就的辉煌之中。但传统的线性时间观念难道不正是现代性的对立面吗？无论波德莱尔，抑或是尼采，本雅明，都不会将进步史关视作是现代性倚仗的前提，现代性并不否认生成过程的价值，但不会将之看成通往特定目标的必然路径。因而，雷格尔的风格演进蓝图成了诺瓦利斯“给有限事物以无限的表象”这一浪漫主义观念的完美注解。其中，现代被呈现为居于未来的时刻，是风格演进的必然条件，也是明确目标。其元音乐的特性，让历史被听见，也锚定了历史书写的范式。
与此同时，另一位德国音乐“进步势力”的代表，理查·施特劳斯却在退化的道路上愈走愈远。这位在世纪初，凭借《莎乐美》和《艾莱克特拉》两部表现主义歌剧震撼世人的大师，似乎自带某种分寸感，在抵达了自己设定的现代主义边界之后，果断调转方向，开始复古“行动”。先是瓦格纳规模的十八世纪喜剧《玫瑰骑士》，再是篇幅与乐队编制皆回归莫扎特时代的《阿里阿德涅在纳克索斯》。理查·施特劳斯好似发现了一种布满华丽装饰的，披着浪漫主义外衣的洛可可风格。表面看来，作曲家对时代审美风向有着银行家对金钱一样的敏锐直觉，但这并非故事的全部。
一战后的欧洲，经济凋敝，社会动荡，一个个新生的民族国家也在通过她们新的历史叙事挑战着老牌帝国的文化荣光。彼时的德国与奥地利更要在战败带来的低迷士气中摸索前行。其中，以奥地利第一共和国，人称孤儿共和国的处境最为尴尬。她既丢掉了自己所有的马扎尔和斯拉夫人口，又不得与德意志国合并。维也纳从象征普世皇权的帝国中心降格为中欧小国的首都。
恰逢其时，1919年，理查·施特劳斯开始担任维也纳国家歌剧院的联合总监。他的目标之一是改革现代芭蕾舞演出，因此他将编舞家海因里希·克罗勒招致麾下，试图打造一系列新颖的芭蕾舞演出。这一合作的首次成果展示，是1923年2月17日演出的《芭蕾舞之夜》。第一幕音乐中，施特劳斯从库普兰键盘作品选曲进行改编，后以《舞蹈组曲》出版。这些乐段除配器外几乎未动原作，但很多时候却足以改变音乐的性格。如第四首《萨拉班德》中，臃肿的织体与笨拙动势完全背离了巴洛克风格原作的性格。
无论如何，这里并不存在任何程度的批判性，因而也不似布莱希特史诗剧中的陌生性。相反，在极度直白的音乐编排和顽固的“历史性”舞蹈模式下，作曲家在尾声中反而被异化了。用翁贝托·艾柯的话来说，即“意味着⋯⋯在自身之外成为‘他者’⋯⋯”。风格拼贴可能导致“自我的消解”，或用典型后现代术语来说，就是主体的彻底缺席。但具体到这部作品，尤其是《钟铃舞》记录的并非施特劳斯的缺席，而是声音的消逝，最贴切的描述是德语词verklingen，意指声音逐渐散去。
1925年，刚满30岁的保罗·欣德米特受邀担任了由朔特出版社举办的，为一件或多件独奏乐器与室内乐团创作的协奏曲国际大赛评委。对这一比赛，欣德米特不抱什么希望，在他看来这更像是一个广告行为。1925年3月，在研读了108份不记名乐谱之后，他在给好友威利·施特莱克的信中抱怨这些作品缺乏有效的独奏声部写作，且合奏部分满是陈词滥调。大赛最终给出了惊人的五个头奖，分别是德国人保罗·德绍、俄国人亚历山大·齐尔品、芬兰人阿尔·梅里康托、奥地利人恩斯特·托赫以及赫尔曼·冯什Hermann Wunsch。从这几位作曲家后来的成就看，这次比赛慧眼识珠，这些作曲家在接下来的三十年内驰骋于从洛杉矶到上海，从电影配乐到理论教学的各个方面。
欣德米特当然有自己的品味和打算，对他而言，这次评委经历最重要的遗产便是催生了他的《室内乐系列》。在那前后，兴德米特已经在脑海中多次浮现将巴洛克大协奏曲模式套上个人和声语言的想法。当然，设想归设想，实际作品有比这个理念复杂的多的不同切面。例如他为独奏钢琴和12件乐器而作的《室内乐No.2》：四乐章结构看似是个标准的十八世纪套曲结构，但音响的复杂度居然是逐乐章递进的，风格与手法也有些许差异。第一乐章，在大部分时间里，几乎是一个伴随着持续音的二声部创意曲，除去那些不规则重音，音乐的张力十分有限。第二乐章却出现了一丝法式气息，不仅体现在略带神秘感的和声中，也展现于非展开特征的循环短剧之间。第三乐章作为一个谐谑曲，似乎又让人听到了20年代初，着迷表现主义绘画和戏剧的欣德米特。
就在施特劳斯为战后维也纳国家歌剧院的建设忙得不亦乐乎之时，年轻的作曲家欣德米特已经在激进的路线上越出了前人设想的边界。他的三部短歌剧，《谋杀》、《蛋蛋》和《圣苏珊娜》融合大量色情与血腥场景。但这些作品很快就成了作曲家自己批判的对象。其风格迅速转向对传统结构室内乐的挖掘。而这首协奏曲的第四乐章则成了某种万花筒，从五声性的独奏主题到第二主题的中心音半音发散技巧，从中古调式风格的第一主题到展开过程中的多调性，应有尽有。在清晰可辨的结构背后，是时间坍缩的格式化呈现，应该说，同时性在此成为一种寻常的叙事。成为魏玛时代短暂的乐观主义空气，通过将当下是为过往信息的熔炉，与当时兴起的技术革新共谋，昭示出未来之所向。
魏玛时代，彼时的欣德米特兼顾创作与演奏，作为小提琴家亦卓有成就。一战后，他又练习了中提琴，与小提琴家阿玛尔等人组成弦乐四重奏，成为当时演奏现代音乐的头把交椅。1922年8月8日，阿玛尔四重奏团在萨尔茨堡上演了安东·威伯恩的《弦乐四重奏五首小品》，引起骚乱，以至于不得不叫来警察维持秩序。这并非威伯恩的音乐第一次获得嘘声，当然也不是最后一次。
作为教师，韦伯恩却广受爱戴。其弟子赫尔施科维茨因犹太身份流亡苏联，在解冻时期滋养了年轻一代，其中最著名者便是阿尔弗雷德·施尼特凯。施尼特凯虽无俄罗斯血统，却成为20世纪下半叶最重要的苏俄作曲家；他童年在维也纳受启蒙，冷战初期则在莫斯科接受正统教育。最初的音乐启蒙。但在冷战开始后，全家又被召回苏联，在莫斯科接受正统的苏联教育。
1984年，当萨尔茨堡音乐节委约施尼特凯创作一部以莎士比亚戏剧为灵感的管弦乐作品时，他创作了《（非）仲夏夜之梦》（K）ein sommernachtstraum。其德语标题颇具深意，Kein在德语中表否定，但去掉括号中的K，标题就变成了一个仲夏夜之梦。这种似是而非的表述本身也应和了作曲家有关副风格音乐的理念。1971年，施尼特凯在联合国教科文组织大会上发表有关副风格音乐的演讲时，这个词并不作为他的创作宣言，而是作为一种音乐史观点。其中他明确区分了引用原则和暗示原则。但从他自己的作品看，这两者的边界显得更模糊了。
《（非）仲夏夜之梦》呈回旋曲式。作者将莫扎特风格的主题以“伪引用”方式贯穿全曲，以配器的繁复制造了时代错位感。这部作品有着极不寻常的结尾，如此宏大而极具戏剧性的作品，却结束在了独奏长笛算不上有表现力的模式化旋律上。这种虎头蛇尾，人去楼空的效果，从空间角度说，是对宏大叙事的莫名嘲讽。让人想起福柯在《疯癫与文明》中所说：“疯癫在人世中是一个令人啼笑皆非的符号，它使现实和幻想之间的标志错位，使巨大的悲剧性威胁仅成为记忆。”施尼特凯的密友亦是合作者与研究专家的亚历山大·伊瓦什金称，这部作品就像莎士比亚的戏剧一样，模糊了悲剧与喜剧的界限。但我认为，在这样的音乐中，那些成为碎片的历史符号，那些不断闪回又错位的记忆，那些没有得到解决就消散了的痛苦瞬间，难道不正是过去一个世纪，无数人生命轨迹的写照吗？那些象征着人类理性之光的宏伟建筑，和那些用一块或几块石头雕刻成的承载无可言说的悲剧的纪念碑，不是常常安静的同处一个空间吗？在真实与虚幻之间，在无法遗忘与抚平记忆之间，荒诞或许成为面对未来的必然体验。此时，塞巴尔德再次浮现：“我们能够保存于记忆中的事是多么微乎其微，有多少东西随时都会与每个被戕害的生命一道渐被忘却；那些黏附在无数地点和对象上的往事，那些本身没有能力引起人们回忆的往事，从来未曾被人听说、 记下或者传给后世。”
在施尼特凯的音乐中，不同时代的音乐符号在对立中并存，很多人看来，这几乎是这个时代必然正确的道路。好像博尔赫斯笔下的《巴别塔图书馆》里面有着取之不尽的资源，既然图书馆每个无限延伸的角落中都可能装着一个前所未见的世界，我们就可以把创作者的主体性轻松地交出去。既然所有时代、所有民族的文化遗产都可以是当下的语汇，我们就可以安全地生活在无垠的当下之中，用非时间的同时性消弭未来之意义。若果真如此，我们又在历史的何处？贝里奥的忠告，并非无羁之谈：“必须驱散那图书馆本身带来的压迫感。”信息过载的当下让人振奋，也创造虚无。或许我们今日已不再会像欣德米特当年那样乐观地看待科技的发展，但也不怀疑，我们依然在用声音记录着一个具体的当下，一个将在未来被重构的当下。
`, entxtcon:`The past is always harder to predict than the future.
—Russian proverb
What we truly possess is a vast library of musical knowledge—one that tempts and intimidates, urging us to pause or blur the lines of our own chronology. For over a century, composers have made metaphorical visits to this archive, taking stock of its endless shelves and infinite inventory.
—Luciano Berio
Through the voice of his character Jacques Austerlitz in his novel, author W.G. Sebald poses a series of questions: “If Newton really thought that time was a river like the Thames, then where is its source and into what sea does it finally flow? Every river, as we know, must have banks on both sides, so where, seen in those terms, are the banks of time? In what way do objects immersed in time differ from those left untouched by it? Why do we show the hours of light and darkness in the same circle? Why does time stand eternally still and motionless in one place, and rush headlong by in another? Could we not claim that time itself has been nonconcurrent over the centuries and the millennia?” We cannot know whether every composer has wrestled with these questions—questions that have troubled philosophers and scientists for generations. Yet the sense of bewilderment and vulnerability they evoke seems to confront any serious creator of music with undeniable force.
In stark contrast to the introspective perspective of Jacques Austerlitz, the early twentieth century was defined by an overwhelming sense of simultaneity. The world grew increasingly tangled and fast-moving, and the unprecedented pace of modern life left many disoriented—compelled to keep step with its relentless rhythm, breathless and unmoored. Revered classics, once distant and exalted, became startlingly accessible amid the accelerating flow, accompanied by the fleeting allure of the trivial and the vulgar. In this compressed space-time, the roar of machines and the exoticism of foreign objects revealed a kind of primitive “non-time.”
In 1909, German musicologist Rudolf Louis wrote in the preface to his book Contemporary German Music: “Anyone who decides to write about ‘contemporary German music’ need hardly fear that readers will expect a ‘history’ in the strict sense. For in this context, ‘contemporary’ means nothing more than the past that has not yet become history.” This perspective hints at a quiet threshold between the past and the present. Yet at the very moment Louis published his book, two of the most vital figures in German composition—Richard Strauss and Max Reger—were each, in their own way, reaching back into the past and drawing from it with renewed creative force.
In 1914, Max Reger had just stepped down from his post as conductor of the Meiningen Court Orchestra. His declining health no longer sustained the demands of composing, conducting, and teaching simultaneously. For a brief moment, he found a rare sense of peace—unaware that Europe was teetering on the brink of war, and even less aware that his own life was nearing its end. It was during this quiet interlude that he composed the Variations and Fugue on a Theme by Mozart, Op. 132.
Structurally, the work builds on his earlier Variations and Fugue on a Theme by Hiller, Op. 100. Yet this time Reger more decisively embraces classical form while preserving late Romantic harmonic richness, creating a historical paradox. The piece unfolds almost like a template of stylistic evolution: it begins with the crisp theme from the first movement of Mozart’s Piano Sonata K.331, moves through inverted counterpoint and increasingly chromatic, suspension-laden variations, and in the fugue ascends to a peak of dissonance—an echo of the Enlightenment’s linear view of history—before concluding in a triumphant present.
But isn’t the traditional notion of linear time fundamentally at odds with modernity? Thinkers such as Baudelaire, Nietzsche, and Benjamin rejected the idea of historical progress as modernity’s foundation. Modernity acknowledges the value of becoming, but it resists viewing it as a predetermined path toward a fixed goal. In this light, Reger’s outline of stylistic evolution perfectly embodies Novalis’ Romantic ideal of “giving the finite a semblance of the infinite.” Here, modernity is rendered as a future-oriented moment—both the condition for and the destination of stylistic evolution. The work’s meta-musical character not only allows history to be heard but also anchors a paradigm for how history might be written.
At the same time, another leading figure of Germany’s “progressive” musical camp, Richard Strauss, was moving ever further along a path of retreat. The composer, who at the dawn of the century had stunned the world with the expressionist operas Salome and Elektra, seemed to possess an innate sense of proportion: having reached the modernist limits he had set for himself, he decisively turned back and embarked on a revivalist course. First came Der Rosenkavalier, an eighteenth-century comedy on a Wagnerian scale; then Ariadne auf Naxos, whose length and orchestration harked back to the age of Mozart. It was as if Strauss had discovered a Rococo style lavishly adorned and draped in Romantic finery. On the surface, he appeared to have a banker’s instinct for the shifting currents of taste—but that was not the whole story.
In post–First World War Europe, economic ruin and social unrest prevailed, while newly formed nation-states sought to challenge the cultural prestige of the old empires with their own historical narratives. Germany and Austria, both defeated, had to grope their way forward through the gloom of national demoralisation. Most precarious of all was the position of the First Austrian Republic, nicknamed the “orphan republic”: stripped of its Hungarian and Slavic populations, forbidden to unite with Germany, and with Vienna reduced from the imperial capital of a universal monarchy to the seat of a small Central European state.
In 1919, in a stroke of perfect timing, Richard Strauss became co-director of the Vienna State Opera. One of his aims was to reform modern ballet, and to that end he brought choreographer Heinrich Kröller into the company, envisioning a series of innovative productions. Their first collaboration was unveiled on 17 February 1923 in Ballettsoirée (A Ballet Evening). For the music of the first act, Strauss arranged selections from François Couperin’s keyboard works, later published as the Dance Suite. Apart from orchestration, he left the originals largely untouched—yet even such minimal intervention often altered their character. In the fourth piece, the Sarabande, for example, the heavy textures and awkward rhythmic weight stand in stark contrast to the poise of the Baroque original.
There is, however, no trace of critique here, and nothing akin to the “alienation effect” of Brecht’s epic theatre. On the contrary, under the overtly literal musical treatment and the stubbornly “historical” dance idiom, it is the composer himself who, in the closing moments, becomes estranged. As Umberto Eco has noted, one can, in a sense, become “other” to oneself. Stylistic collage can lead to the dissolution of the self—or, in postmodern terms, the complete absence of the subject. Yet in this work, and especially in Glockentanz (Dance of the Bells), what is recorded is not Strauss’s absence, but the vanishing of sound itself—most aptly captured by the German word verklingen, meaning to fade away into silence.
In 1925, Paul Hindemith, having just turned thirty, was invited to serve as a judge for an international competition, organised by Schott Music, for concertos written for one or more solo instruments with chamber orchestra. Hindemith had little faith in the venture, regarding it more as a publicity exercise than a serious artistic undertaking. In March of that year, after studying 108 anonymous scores, he wrote to his friend Willy Strecker lamenting the lack of effective solo writing and the abundance of clichés in the ensemble parts. In the end, the competition took the unusual step of awarding five first prizes—to Paul Dessau of Germany, Alexander Tcherepnin of Russia, Aarre Merikanto of Finland, Ernst Toch of Austria, and Hermann Wunsch of Germany. Judging by their later achievements, the jury’s choices were remarkably prescient: over the next three decades, these composers would leave their mark across a vast range of musical life—from Los Angeles to Shanghai, from film scoring to academic teaching.
Hindemith, for his part, had his own tastes and ambitions. For him, the most enduring legacy of his time on the jury was that it set in motion his Kammermusik series. Around that time, he had often toyed with the idea of clothing the Baroque concerto grosso model in his own harmonic language. Yet the works that emerged were far more multifaceted than the concept alone might suggest. Take, for example, his Kammermusik No. 2 for solo piano and twelve instruments. Its four-movement design appears, at first glance, to follow the pattern of an eighteenth-century suite, yet the sonic complexity increases from movement to movement, and each has its own stylistic inflection. The first movement is, for much of its length, almost a two-part invention over a sustained pedal tone; apart from some irregular accents, it generates little real tension. The second movement introduces a hint of French elegance, evident not only in its faintly mysterious harmonies but also in a sequence of short, self-contained episodes without thematic development. The third movement, a scherzo, seems to recall the Hindemith of the early 1920s—fascinated by expressionist painting and theatre.
While Strauss was absorbed in the postwar rebuilding of the Vienna State Opera, the young composer Paul Hindemith was already pushing beyond the boundaries imagined by his predecessors, pursuing an uncompromisingly radical path. His three short operas—Mörder, Das Nusch-Nuschi, and Sancta Susanna—were saturated with erotic and violent imagery. Yet these works soon became the target of his own criticism, as his style shifted rapidly toward an exploration of chamber music rooted in traditional forms. The fourth movement of this concerto unfolds like a kaleidoscope, embracing a wealth of musical ideas: from a pentatonic solo theme to a second theme built on the technique of radiating semitones from a central pitch; from the medieval-modal colouring of the first theme to the polytonality of the development section. Beneath its clearly articulated architecture lies a compressed, almost “pre-formatted” sense of time, in which simultaneity becomes a natural mode of narration. It carries the fleeting optimism of the Weimar era, fusing the present into a crucible of historical memory and allying itself with the technological innovations of the day to point, unmistakably, toward the future.
In the Weimar years, Hindemith balanced composition with performance, achieving distinction as a violinist. After the First World War, he also took up the viola, joining forces with violinist Licco Amar and others to form a string quartet that quickly became the leading ensemble for modern music of the day. On 8 August 1922, the Amar Quartet performed Anton Webern’s Five Movements for String Quartet in Salzburg, provoking such an uproar that the police had to be called in to restore order. It was neither the first nor the last time Webern’s music would be met with boos.
As a teacher, however, Webern was deeply admired. One of his pupils, Philip Herschkowitz, fled to the Soviet Union to escape the antisemitic persecution and, during the post-Stalin “thaw,” went on to mentor a younger generation of composers. Among them, the most celebrated was Alfred Schnittke. Though not of Russian descent, Schnittke became one of the most important Soviet composers of the latter half of the twentieth century. He spent his childhood in Vienna, where he received his earliest musical training, and, after the onset of the Cold War, was recalled with his family to the Soviet Union, where he continued his education in the orthodox Soviet tradition in Moscow.
In 1984, when the Salzburg Festival commissioned Alfred Schnittke to compose an orchestral work inspired by a Shakespeare play, he produced (K)ein Sommernachtstraum — “(Not) A Midsummer Night’s Dream.” The German title carries a deliberate ambiguity: kein means “no” or “not,” but without the bracketed K, the title reads simply A Midsummer Night’s Dream. This wordplay itself reflects the composer’s thinking on polystylism. Back in 1971, in a lecture to the UNESCO conference, Schnittke had spoken of polystylism not as a personal artistic manifesto, but as a perspective on music history. In that talk, he drew a clear distinction between the principle of quotation and the principle of allusion. Yet in his own works, the boundary between the two often becomes far less distinct.
(Not) A Midsummer Night’s Dream is cast in rondo form. Throughout the work, a Mozart-like theme appears as a kind of “pseudo-quotation,” its elaborate orchestration deliberately creating a sense of temporal dislocation. The ending is strikingly unconventional: after such a grand and dramatically charged journey, the music fades away on a formulaic solo flute melody, barely expressive. This anticlimactic, hollowed-out close becomes, in spatial terms, an oblique mockery of the grand narrative itself. It recalls Foucault’s observation in Madness and Civilization that madness “is a comical sign in the world of men; it displaces the markers between the real and the imaginary; it reduces the great tragic threat to nothing more than a memory.”
Schnittke’s close friend and collaborator, the scholar Alexander Ivashkin, remarked that the work, like Shakespeare’s plays, blurs the line between tragedy and comedy. To me, however, in music such as this, the splintered symbols of history, the memories that flash back and slip out of place, the moments of pain that dissolve unresolved—are these not a reflection of the countless disrupted lives of the past century? And just like the monumental buildings that once embodied the light of human reason and the memorials carved from a single stone to bear unspeakable tragedies—do they not so often stand quietly side by side? Between reality and illusion, between the inability to forget and the urge to smooth over memory, absurdity may be the inevitable condition for facing the future.
At such moments, W. G. Sebald comes to mind once more: how little we can truly preserve in memory; how much vanishes with each life destroyed; how the past clings to countless places and objects, yet—lacking the power to summon remembrance—remains unheard, unwritten, and unpassed to those who come after.
In Schnittke’s music, musical symbols from different eras coexist in opposition—a path many regard as the only inevitable course for our time. It is as if we were wandering through the inexhaustible resources in Borges’s Library of Babel: since every infinitely extending corner of that library might contain a world never before seen, we have little need to rely on the creator’s own subjectivity. If the cultural heritage of all ages and all peoples can serve as the vocabulary of the present, we can dwell securely in a boundless “now,” erasing the very meaning of the future through a timeless simultaneity. If that were truly the case, where would we stand in history? Berio’s warning was far from idle: the oppressive weight of the library itself must be dispelled. The information overload of our age is exhilarating, yet it also breeds a kind of void. Perhaps today we no longer share Hindemith’s early-century optimism about technological progress, but there is no doubt that we are still using sound to record a tangible present—a present that will, in the future, be reconstructed anew.
`, }, ], mainworks: [ { pic:'../conimg/20250929-930.jpg', time:`2025.9.29/30`, title:`“时光回旋”张洁敏与国家大剧院管弦乐团演绎罗西尼、海顿与蒂皮特`, entitle:`"Time in Motion" Rossini, Haydn and Tippett with ZHANG Jiemin and NCPAO `, address:'国家大剧院·小剧场', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`张洁敏`, job:`指挥`, enname:`ZHANG Jiemin`, enjob:`Conductor`, }, ], performance: [ { name:`迈克尔·蒂皮特`, job:`《科雷利主题幻想协奏曲》`, enname:`Michael Tippett`, enjobf:``, enxiejob:`Fantasia Concertante on a Theme of Corell`, }, ], }, { pic:'../conimg/gj2.jpg', time:`2025.10.26 `, title:`洛伦茨·纳斯图里卡·赫尔舒科维奇 领衔小提琴 `, entitle:`Lorenz Nasturica-Herschcowici LeadViolin`, address:'', enaddress:``, link:``, enlink:``, tips: [], personnel: [ { name:`洛伦茨 ·纳斯图里卡-赫尔舒科维奇 `, job:`领衔小提琴`, enname:`Lorenz Nasturica-Herschcowici`, enjob:`LeadViolin`, }, ], performance: [ { name:`舒伯特 / 马勒 改编`, job:`D小调弦乐四重奏第14号“死神与少女” `, enname:`Schubert / Arr.Mahler`, enjob:`String Quartet in D minor "Death and the Maiden"`, }, ], }, { pic:'../conimg/20251213.jpg', time:`2025.12.13`, title:`“百变弦韵”斯特拉迪瓦里四重奏与国家大剧院管弦乐团弦乐团`, entitle:`The Stradivari Quartet and NCPAO Strings`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`崔琳涵`, job:`指挥`, enname:`CUI Linhan`, enjob:`Conductor`, }, { name:`斯特拉迪瓦里四重奏`, job:``, enname:`Stradivari Quartet`, enjob:``, }, ], performance: [ { name:`沃恩 ·威廉姆斯`, job:`《托马斯 ·塔利斯主题幻想曲》`, enname:`Vaughan Williams`, enxiejob:`Fantasia on a Theme by Thomas Tallis`, }, ], }, { pic:'../conimg/20260117.jpg', time:`2026.1.17`, title:`“重返勃兰登堡”景焕、鞠小夫与国家大剧院管弦乐团室内乐团`, entitle:`“Brandenburg Revisited” JING Huan, JU Xiaofu and NCPAO Chamber Orchestra`, address:'国家大剧院·小剧场', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`景焕`, job:`指挥`, enname:`JING Huan`, enjob:`Conductor`, }, { name:`鞠小夫`, job:`钢琴`, enname:`JU Xiaofu`, enjob:`Piano`, }, ], performance: [ { name:`欣德米特`, job:`第二号室内乐，为钢琴与12个独奏乐器而作，Op.36`, enname:`Hindemith`, enjob:`Kammermusik No.2 for Piano and 12 Solo Instruments,Op.36`, }, ], }, { pic:'../conimg/20260319.jpg', time:`2026.3.19`, title:`“画布上的声音”焦阳与国家大剧院管弦乐团的室内乐团`, entitle:`"Triple Inspirations" JIAO Yang and NCPAO Chamber Orchestra`, address:'国家大剧院·小剧场', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future', }, { name:'精致小交', enname:'Petit & Delicacy ', }, ], personnel: [ { name:`焦阳`, job:`指挥`, enname:`JIAO Yang`, enjob:`Conductor`, }, ], performance: [ { name:`穆索尔斯基/于京君改编`, job:`《图画展览会》 `, enname:`Mussorgsky/Arr. Julian Yu`, enjobf:``, enxiejob:`Pictures at an Exhibition`, enjob:``, }, ], }, { pic:'../conimg/20260321.jpg', time:`2026.3.21`, title:`“音乐回忆录”国家大剧院管弦乐团的室内乐`, entitle:`“From My Life”NCPAO in Chamber`, address:'国家大剧院·台湖', enaddress:`NCPA Taihu Stage Art Centre`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'无界室内乐', enname:'NCPAO in Chamber PLUS', }, ], personnel: [ { name:`国家大剧院管弦乐团星云四重奏`, job:``, enname:`Nebula Quartet of NCPAO`, enjob:``, }, { name:`杨璐萌`, job:`第一小提琴`, enname:`YANG Lumeng`, enjob:`First Violin`, }, { name:`高学思`, job:`第二小提琴`, enname:`GAO Xuesi`, enjob:`Second Violin`, }, { name:`杜娟`, job:`中提琴`, enname:`DU Juan`, enjob:`Viola`, }, { name:`王嘉琳 `, job:`大提琴`, enname:`WANG Jialin`, enjob:`Cello`, }, ], performance: [ { name:`施尼特克`, job:`《卡农 – 纪念斯特拉文斯基》`, enname:`Schnittke`, enxiejob:`Canon - In memory of Stravinsky`, }, ], }, { pic:'../conimg/20260326.jpg', time:`2026.3.26`, title:`“回到未来”林大叶、小曾根真与国家大剧院管弦乐团`, entitle:`“Back to the Future” LIN Daye, Makoto Ozone and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', } ], personnel: [ { name:`林大叶`, job:`指挥`, enname:`LIN Daye`, enjob:`Conductor`, }, ], performance: [ { name:`贝多芬/马勒 改编`, job:`降E大调第三号交响曲“英雄”，Op. 55`, enname:`Beethoven/Arr. Mahler`, enjob:`Symphony No. 3 in E-flat Major “Eroica”, Op. 55`, }, { name:`莫扎特`, job:`D小调前奏曲与赋格, K.405/4（改编自巴赫BWV877）`, enname:`Mozart`, enjob:`Prelude and Fugue in D Minor, K.405/4 (after J.S. Bach BWV 877)`, }, ], }, { pic:'../conimg/20260410-11.jpg', time:`2026.4.10/11`, title:`哈德利希与国家大剧院管弦乐团演绎柴可夫斯基、莫扎特与雷格`, entitle:`Tchaikovsky, Mozart and Max Reger with Hadelich and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', }, ], personnel: [ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, ], performance: [ { name:`马克斯·雷格`, job:`《莫扎特主题变奏曲与赋格》，Op. 132`, enname:`Max Reger`, enjobf:``, enxiejob:`Variations and Fugue on a Theme of Mozart`, enjob:`, Op. 132`, }, ], }, { pic:'../conimg/20260710-11.jpg', time:`2026.7.10/11`, title:`黄佳俊、吴巍、浜屋惠与国家大剧院管弦乐团演绎贝多芬与蒂恩苏`, entitle:`Beethoven and Tiensuu with Kahchun Wong, WU Wei, Megumi Hamaya and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future TBC ', }, { name:'驻院艺术家', enname:'Artist-in-Residence', }, ], personnel: [ { name:`黄佳俊 `, job:`指挥`, enname:`Kahchun Wong`, enjob:`Conductor`, }, ], performance: [ { name:`施尼特克`, job:`《非仲夏夜之梦》`, enname:`Schnittke`, enxiejob:`Not a Midsummer Night Dream tbc`, }, ], }, { pic:'../conimg/gj2.jpg', time:`2026.7.30/31`, title:`“少年的号角”俞峰、李晶晶与国家大剧院管弦乐团演绎马勒第四`, entitle:`“The Wonder of Youth” Mahler 4th Symphony with YU Feng, LI Jingjing and NCPAO`, address:'国家大剧院·音乐厅 ', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future', } ], personnel: [ { name:`俞峰`, job:`指挥`, enname:`YU Feng`, enjob:`Conductor`, }, ], performance: [ { name:`马勒/赫尔德 改编`, job:`A小调钢琴四重奏`, enname:`Mahler/Helder`, enjob:`Piano Quartet in A minor`, }, ], }, { pic:'../conimg/20260815.jpg', time:`2026.8.15`, title:`“风雅如歌”吕嘉与国家大剧院管弦乐团演绎理理查·施特劳斯、贝多芬与柴科夫斯基`, entitle:`“Petit and Delicacy” R. Strauss, Beethoven and Tchaikovsky with LÜ Jia and NCPAO`, address:'北京艺术中心·音乐厅', enaddress:`BPAC·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`吕嘉 `, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, ], performance: [ { name:`贝多芬`, job:`F大调第11号弦乐四重奏“庄严”，Op. 95`, enname:`Beethoven`, enjob:`String Quartet No. 11 in F minor "Serioso", Op. 95`, }, ], }, ], }, { id: 1, type: 1, title:'莫扎特光谱', entitle:'Dimension of Mozart', bannerpc:'./images/page/banner2.png', bannerwap:'./images/page/banner3-wap.jpg', artic: [ { txttitle:'过去、当今与未来的莫扎特', entxttitle:`Mozart: Past, Presence and Future`, autor:'罗逍然', enautor:`Xiaoran Luo`, txtcon:`尽管莫扎特的名字家喻户晓，但与1991年世界纪念他的二百五十周年诞辰时相比，我们今天对他的讨论似乎并不足够。他笔下最伟大的作品与乐思早已成为了全人类集体文化宝藏中不可或缺的一部分，但另一方面，他在许多人心中的印象往往局限于一些易于铭记的旋律，而他的音乐本身，以及这些音乐中所闪耀的情感，则常常被缩减为舒曼所说的“飘动着的希腊式优雅”或瓦格纳所说的“充满光与爱的天才”这样的短语或标签。
要真正地欣赏莫扎特的艺术，我们必须意识到，他一生所创作了大大小小超过六百部作品，它们既能自成一个宏大且多维的宇宙，也是近代人类音乐文明的柱石。每个在音乐厅中聆听古典音乐的爱乐者，无论是否特别地关注过莫扎特的作品，她对音乐的接受与理解在事实上都是离不开莫扎特的。作为调性音乐传统中的核心部分，没有莫扎特的交响曲与室内乐，我们就不可能有贝多芬与舒伯特乃至马勒，没有《费加罗的婚礼》与《魔笛》，我们更不可能听到《纽伦堡的名歌手》或《女武神》，所以从某种程度上来说，是莫扎特是整个近代音乐传统以及今人音乐审美的重要缔造者之一。这意味着，今天的听众与E. T. A. 霍夫曼、尼采、托马斯·曼和查尔斯·罗森一样，都有着各自不同的莫扎特，也都能够在充分与用心的聆听后对他的音乐拥有相当的理解。
音乐学术长久以来中存在着这样一种观念：音乐作品只有在作曲家创作它的时代与环境中才拥有完整的意义。今人已无法听到莫扎特的演奏，而就算能够听到，我们也没有了十八世纪末公众的听觉与审美。音乐家们永不餍足地探索作曲家的原意当然说明了他们的专业追求，但是只求这“原意”而故意淡化音乐传统的重要性——至少对于听者来说——也不失为一种损失。我们今天仍然处于莫扎特所参与缔造的音乐传统中，故此这个传统中出现于莫扎特之后的无数作品都能更好地为我们聆听与理解莫扎特增添意义，而这乃是聆听者之福。这些意义可能来自各种音乐体裁与风格，可能直接或间接地受到莫扎特的影响与启发，更可能出自不同的地域与文化，但每一部都是莫扎特音乐给未来所持续带来的遗产。
说回莫扎特的音乐作品本身，它们往往没有最响亮的音响效果，也不要求特别巨大编制的乐团，所以经常不会被当做整场音乐会的重头戏，许多爱乐者甚至可能只是将它们当做“垫场曲”而不加重视。但一个优秀的指挥与乐团在今天仍然能用莫扎特的作品缔造出一片保罗万象的艺术场域，让其中每一个声部都充满意义。或许这些作品并不直接在感官上对听者加以强烈刺激，但只要仔细聆听，你肯定能感受到第40号交响曲（K. 550）第一乐章中那摇曳与飘摇的忧伤，也肯定能在第41号交响曲（K. 551）的结尾处因不断加入的声部与乐章中五个不同动机的最终整合而感到震撼；《唐·璜》序曲中有着最深的深渊与被那深渊所凝视的最渺小的个人，而第9号钢琴协奏曲的慢乐章中则能看到最为细腻哀婉的舞蹈。
莫扎特以优美的旋律而著称，他有大量作品的开头主题都能为聆听者铭记，但是只有当我们随着音乐的流淌而让自己真正浸入作品的表达中后，莫扎特音乐的深意与多维以及这些音乐在我们心中唤起的情感才会像万花筒一样绽放开来。我们这时才会感到自己正在真正地聆听音乐而非仅只是寻找着乐团音效带来的刺激——用阿多诺的音乐社会学语言来说，只等待强音、高音或高潮段落的听者事实上只是在等待着一些可量化的元素，并不是在真正地欣赏艺术本身——也就能明白“优美”、“典雅”、“愉悦”、“天才”这些简单的标签是多么有负于这位音乐巨匠。如钢琴大师布伦德尔所说，莫扎特不是陶瓷的、不是大理石的、也不是糖制的：没有两首莫扎特作品是真正一样的。
之所以这些标签会难以除去，原因一方面在于十九世纪以来一些浪漫主义者对莫扎特的片面想象，另一方面则源于当今时代的几乎每个人在生活中都受到着持续且过度的全方面感官刺激。事实上，莫扎特的音乐在十八世纪末至十九世纪初以其复杂性而著称，接连出现并迅速发生变化的乐思往往让听者应接不暇（约瑟夫二世皇帝曾在《后宫诱逃》首演后发表了著名的评论：“音符太多了！”）。举一首许多钢琴学习者都练习过的《F大调钢琴奏鸣曲》（K. 332）为例，第一乐章呈示部只占了不到两分钟的时间，但其中先后出现了田园、号角、暴风雨、抒情歌唱、进行曲等至少五种不同的音乐意象。在这样的音乐中，“极强”与“极弱”或许不似在布鲁克纳或马勒中那般极致，但其实同样充满了多样的色彩、变化、戏剧与对比，而且需要反复的聆听才能充分体会。这对莫扎特时代的人们是不可能的事，但是在今天，其实每个有意愿的听者都可以依靠各种形式来欣赏这些艺术瑰宝。或许浪漫主义者们将莫扎特的形象打造成了一个具备不世才华且常人永远无法企及的古怪天才，但是作为当代普通人的我们却是有可能多少理解他那些哪怕是最复杂的作品的；我们只需要在聆听时意识到，音乐是一个流淌与发展的过程，它的伟大并不完全体现在某些特别亮眼的高光时刻，而是在于一个完整、平衡且丰富的艺术品。
而莫扎特的音乐中自然并不缺乏高光时刻：主要是他笔下那些最著名的旋律——每个时代最钟爱的莫扎特旋律其实是不尽相同的。这些旋律往往都出自调性音乐语言中最基础的音型，只是经过了巧妙的组合与节奏、和声上的细致把控而已。这些旋律来自音乐语言中最根本的元素，莫扎特在作品中将它们当做基础性的线条来进行描绘，自然就给演奏者进行各种处理乃至加入装饰音的空间，甚至让这些线条能够被后世的作曲家们所用，创作出全新的作品。莫扎特的音乐在他去世后的传统中是无处不在的，早在十九世纪初，贝多芬和肖邦就根据《唐·璜》中著名的二重唱旋律创作了变奏曲，直至今日，各种现当代音乐流派、爵士乐甚至流行音乐体裁中都一直有根据莫扎特音乐而创作出来的作品。作曲家们可以借鉴莫扎特的一个旋律，学习他在作曲上达到的简洁与平衡，更可以将整首作品用自己独有的风格进行改编，这既是对传统的延续，但也说明莫扎特的遗产不仅限于德奥古典乐派，而是深入整个人类文明的各个角落。
当然，他的作品相比起后来的作曲家来说，音符与声部更少，节奏、旋律与和声都更为简洁，虽然给了改编者以极大的空间，但却给真正为听者呈现原作的音乐家们带来了前所未有的困难。正是他的许多音乐单纯从乐谱上看较为“简单”，这就意味着每一个音都会非常清晰地在听者的耳畔响起，所以演奏家们必须对所有的细节都进行正确甚至精妙的把控，同时还必须保持莫扎特的音乐在流淌时的那种自然性。今人的生活不可避免地被多种多样的信息轰炸与感官刺激所围绕，音乐会在组织时也难以避免地跟随这种诉求，而能够在现场真正地跟随莫扎特的音乐，进入其中的世界并感受到它的缤纷，这既是对音乐本身的理解，也是对文化传统的延续，更是对自我意识的一种梳理，而并非仅仅对感官刺激的追求。
对于儿童来说，感官获得的刺激程度就还不会成为音乐会是否吸引人的重要标准，从这点来说，他们反而会是莫扎特作品的最好听众。正如施纳贝尔所说：“莫扎特的音乐对于孩子来说太简单，但对于艺术家来说又太困难。”在这些作品奏响之后，它们在儿童心中所唤起的，往往就不仅是曲式的结构与和声的转呈，而是一种贯通具象与抽象、声音与图像、当下与未来的艺术世界；舞台对于他们来说不是高雅艺术家与普通听者之间的切割线，反而会是一种更具开放性的、邀请他们用情感、智识与想象力积极参与进去的场域。所以，世界各地的音乐名城都会定期举办各种形式的儿童音乐会。正如内田光子就莫扎特的音乐曾对听众们所说的：“我知道在聆听或演奏过这部作品后，我会是一个更好的人。”而这句话是真正地——虽然是在不同程度与不同层面上——适用于所有年龄的所有人的。从这个意义上说，莫扎特从来没有、也永远不会真地远离我们。
`, entxtcon:`Even though the name “Wolfgang Amadeus Mozart” is known by virtually everyone, today we do not seem to be talking about him as much as, say, when we celebrated the 250th anniversary of his birth in 1991. It is of course indisputable how important his greatest works and musical ideas are: they are an indispensable part of the entire humanity’s collective cultural heritage. Paradoxically, however, many people’s impression of him are often limited to a few memorable melodies, while the works themselves, as structured and balanced entities, and the emotions that shine through them, are frequently reduced to labels such as Schumann’s “floating Greek gracefulness” or Wagner’s “genius of light and love”.
To truly appreciate Mozart’s art, we need to be aware of the fact that he wrote more than six hundred works of various genres throughout his career, that this œuvre not only forms a vast and multi-dimensional universe of itself, but also serves as a cornerstone of the whole tradition of modern Western music. Every music lover who is enjoying classical music in a concert hall, whether she or he has a particular interest in Mozart’s music or not, owes her reception and understanding of music, in fact, partially to Mozart. For as one of the most crucial figures in the development of the tonal music tradition, Mozart served as an essential precedent for later composers: without his symphonies and chamber music, we would not have had Beethoven, Schubert or Mahler as we know them now; without his Le nozze di Figaro or Die Zauberflöte, we would not have been able to listen to Die Meistersinger or Die Walküre. Therefore, to some extent, Mozart shaped “classical music” in its modern, contemporary sense as well as its tradition itself. This means that for today’s listeners, much like E. T. A. Hoffmann and Nietzsche of the 19th century and Thomas Mann and Charles Rosen of the 20th century, each may have her own unique take of Mozart and after enough attentive listening, she can develop a profound understanding of his music.
There has long been a notion in musicology that a piece of music can only attain its fullest meaning in the context in which the composer created it. We can no longer hear Mozart himself play, and even if we could, we would always lack the sentiments and aesthetics of the late 18th-century-public. Thus, the search for the original meaning of musical works becomes a process that is everlasting but ultimately unfinalizable. The unceasing quest to grasp the composer’s intention is certainly a testament to the greatness of a musician, yet to prioritize this “creator’s intention” while willfully undervaluing the importance of musical works’ reception history does indeed amount to a loss, at least for the listener. We are still a part of the musical tradition which Mozart helped to build. Therefore, numerous works that are composed after him within this tradition can actually help us better understand his own works and add more to their meaning - a blessing for all who wish to listen. These works may come from a variety of genres and styles; they may be directly or indirectly influenced or inspired by Mozart; they may even emerge from different parts and cultures of the world. Yet each one of them is part of the legacy that Mozart’s music keeps bestowing upon the future.
Returning to Mozart’s own works, they are probably not the most sonically powerful, nor do they require very massive orchestras, thus they are often not featured as the grand finale of a concert, many listeners even view them merely as the curtain-raiser before the “big symphony”. However, a good conductor and orchestra can still allow for the emergence of all-encompassing and structured worlds from Mozart’s works, giving significance to each individual voice. These works may not deliver the strongest sensory stimuli, but through mindful listening, you can surely perceive the swaying and drifting lines of melancholy in the first movement of Symphony No. 40 (K. 550), and will certainly be awed by the finale of Symphony No. 41 (K. 551), which ends with the five principal motifs of the movement combine to building up one of the monumental climaxes in music before the end of the 18th century; the overture to Don Giovanni reveals both the deepest abyss and the individual gazed upon by it, while the slow movement of his Piano Concerto No. 9 unfolds like an exquisitely tender and sorrowful dance.
Indeed, Mozart’s music is known for its tuneful melodies, and the opening themes of lots of his pieces can be instantly memorable. However, only when we follow the flow of the music and thus allow ourselves to be fully immersed throughout the piece that its profound and multilayered meaning and the emotions stirred up by it begin to unfold like a kaleidoscope within us. It is then that we realize that we are actually listening, rather than seeking the sonic stimuli from the orchestra. In terms of Adorno’s music sociology, waiting only for loud passages, high notes or climaxes is merely a search for quantifiable elements, not appreciating the art as such. It is then that we understand that simplified labels such as “beauty,” “grace,” “joy” and “genius” do a great disservice to a composer of Mozart’s stature. As the pianist Alfred Brendel once wrote, Mozart is not made of porcelain, nor of marble, nor of sugar: no two Mozart works are truly alike.
The reason why these labels persist is partly rooted in the image of Mozart that was selectively constructed by the Romantics of the 19th century, while partly rooted in the fact that modern life is pervasively and constantly overwhelming us with sensory stimulation. As a matter of fact, Mozart’s music was known for its complexity from the late 18th century to the early 19th century - Emperor Joseph II famously remarked after the premiere of Die Entführung aus dem Serail, “Too many notes, dear Mozart.” Take, for example, his Piano Sonata in F Major (K. 332), a piece which many piano lovers have practiced. The exposition of the first movement takes no more than two minutes, yet it presents at least five different musical images - the pastoral, the horn call, the tempest, the lyrical, the march. In such music, the fortissimo and pianissimo may not reach the extremes found in Bruckner or Mahler, yet they are no less rich in colour, inflection, drama, and contrast - qualities that only reveal themselves fully after repeated listening. Thanks to the availability provided by various media, anyone can listen to his music repeatedly if she so chooses, something unthinkable to Mozart’s contemporaries. The Romantics may have constructed the image of Mozart as an eccentric genius and endowed him with qualities to which ordinary people can never come close, but in fact it is possible for modern listeners to understand to some degree even his most complex works - so long as we realize that music is a process that is always evolving and developing, and its greatness lies not in isolated moments of brilliance, but in the wholeness, balance, and richness of its entire being.
Mozart’s music certainly never lacks moments of brilliance, above all in the form of the famous melodies he wrote - different era, in fact, prefers different Mozartian melodies. However, these melodies usually come from the most fundamental patterns of tonal music, only distinguished by their ingenious combination and the composer’s meticulous manipulation of rhythm and harmony. Since these melodies rose from the most basic elements of tonal music, Mozart uses them as outlines, so to speak, to be filled and refined; naturally, they leave room for performers to express and to add ornaments, and even enable later composers to utilize these lines to create entirely new works. In the music tradition that followed him, Mozart’s music has been omnipresent. As early as the first decades of the 19th century, Beethoven and Chopin wrote variations on the famous duet from Don Giovanni. To this day, new works based on Mozart’s music continue to emerge across various genres of classical, jazz, and even popular music. Generations of composers may borrow specific melodies from Mozart and emulate his concision and balance; they may also adapt an entire piece in their own distinctive style. This does not only demonstrate the continuation of a music tradition, but also how Mozart’s legacy extends far beyond the Austro-German school, reaching deeply into every corner of so many musical cultures across the globe.
Mozart’s works contain fewer notes and voices, with less complicated rhythms, melodies and harmonies. While this offers considerable freedom for arrangements and adaptations, it presents unparalleled challenges for performers aiming to present the works faithfully to listeners. Precisely because much of his music appears “simple” on paper, each note and voice becomes distinctly audible to the listener. Therefore, performers must execute every detail with not only accuracy but taste and refinement, all while keeping the natural flow that characterizes Mozart’s music. Modern life is inevitably over-saturated with information and sensory stimuli - a reality that is often reflected in concert programs. Yet, to adequately listen to Mozart’s music in a concert hall, to enter its world and feel its intricate richness, is fundamentally different from merely pursuing sensory stimuli. It is an act of understanding music in itself, a continuation of cultural tradition, and, perhaps most importantly, a way of reconnecting with one’s own consciousness.
For children, on the other hand, the intensity of sensory stimulation is not yet essential for a concert’s appeal. In this sense, they may in fact be the ideal listeners of Mozart’s music. Artur Schnabel quips that Mozart’s music is “too simple for children, too difficult for artists.” While we focus on the latter half of his remark more often, the positive effects Mozart’s works may have on children can never be overestimated. Because for them, the stage is not a dividing line between stars and ordinary listeners, but rather an open and inviting space - one that encourages their active participation through emotion, intellect, and imagination. It is for this reason that every music center around the world regularly designs and hosts concerts specifically for children. As Mitsuko Uchida once told her audience regarding Mozart’s music: “I know I will be a better person after listening to or performing this work.” Her statement holds true - to varying degrees and on different levels - for people of all ages. In this sense, Mozart has never truly left us, nor will he ever.
`, } ], mainworks: [ { pic:'../conimg/20251012.jpg', time:`2025.10.12`, title:`“余音相和”李艺花与国家大剧院管弦乐团室内乐团演绎巴赫、莫扎特与亨德尔`, entitle:`“Lingering Harmony” Bach, Mozart and Handel with LI Yihua and NCPAO Chamber Orchestra`, address:'北京艺术中心·音乐厅', enaddress:`BPAC·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`李艺花`, job:`管风琴`, enname:`LI Yihua`, enjob:`Organ`, }, ], performance: [ { name:`莫扎特`, job:`C大调第14号管风琴与乐队奏鸣曲，K. 329 (317)`, enname:`Mozart`, enjob:`Sonata for Organ & Orchestra No. 14 in C major, K. 329 (317) `, }, { name:`莫扎特`, job:`F小调柔板与快板, K. 594`, enname:`Mozart`, enjob:`Adagio and Allegro in F minor, K. 594`, }, { name:`莫扎特`, job:`F小调幻想曲, K. 608`, enname:`Mozart`, enjob:`Fantasia in F minor, K. 608`, }, ], }, { pic:'../conimg/20251026.jpg', time:`2025.10.26`, title:`“弦月夜”洛伦茨与国家大剧院管弦乐团室内乐团演绎莫扎特、埃尔加与舒伯特`, entitle:`“Serenades with Strings” Mozart, Elgar and Schubert with Lorenz and NCPAO in Chamber`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`洛伦茨·纳斯图里卡-赫尔舒科维奇`, job:`领衔小提琴`, enname:`Lorenz Nasturica-Herschcowici`, enjob:`Lead Violin`, }, ], performance: [ { name:`莫扎特`, job:`G大调第13号小夜曲，K. 525 `, enname:`Mozart`, enjob:`Eine kleine Nachtmusik (Serenade), K. 525`, }, ], }, { pic:'../conimg/gj2.jpg', time:`2025.11.16`, title:`“炫目而典雅”纳卡里亚科夫、尹炯杰与国家大剧院管弦乐团`, entitle:`"Dazzles and Elegance" Nakariakov, Jong-Jie Yin 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=10001969`, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`尹炯杰`, job:`指挥`, enname:`Jong-Jie Yin`, enjob:`Conductor`, }, { name:`谢尔盖·纳卡里亚科夫`, job:`小号`, enname:`Sergei Nakariakov`, enjob:`Trumpet`, }, ], performance: [ { name:`莫扎特`, job:`降E大调第四号圆号协奏曲(富鲁格号版), K.495`, enname:`Mozart`, enjob:`Horn Concerto No.4 in E-flat major (Adapted for Fluegelhorn),K.495`, }, ], }, { pic:'../conimg/20251118.jpg', time:`2025.11.19`, title:`林肯中心室内乐协会与国家大剧院管弦乐团的室内乐（二）`, entitle:`CMS and NCPAO in Chamber II`, 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 PLUS', } ], personnel: [ { name:`吴菡`, job:`钢琴`, enname:`Wu Han`, enjob:`Piano`, }, { name:`白云飞`, job:`小提琴`, enname:`BAI Yunfei`, enjob:`Violin`, }, { name:`米莱娜·帕哈罗-范德施塔特`, job:`中提琴`, enname:`Milena Pájaro-Van De Stadt`, enjob:`Viola`, }, { name:`梁肖`, job:`大提琴`, enname:`LIANG Xiao`, enjob:`Cello`, }, ], performance: [ { name:`莫扎特`, job:`降E大调钢琴四重奏，K. 493`, enname:`Mozart`, enjob:`Quartet in E-flat major for Piano, Violin, Viola, and Cello, K. 493`, }, ], }, { pic:'../conimg/20251128.jpg', time:`2025.11.28`, title:`交响电影《莫扎特传》`, entitle:`Amadeus Live`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:`https://wticket.chncpa.org/product.html?id=10001972`, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart', } ], personnel: [ { name:`杜沛达`, job:`钢琴`, enname:`DU Peida`, enjob:`Piano`, }, { name:`国家大剧院合唱团`, job:``, enname:`China NCPA Chorus`, enjob:``, }, { name:`交响电影《莫扎特传》`, job:``, enname:`Amadeus Live`, enjob:``, }, ], performance: [], }, { pic:'../conimg/20251213.jpg', time:`2025.12.13`, title:`“百变弦韵”斯特拉迪瓦里四重奏与国家大剧院管弦乐团弦乐团`, entitle:`The Stradivari Quartet and NCPAO Strings`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart ', }, { name:'精致小交', enname:'Petit & Delicacy', }, ], personnel: [ { name:`崔琳涵`, job:`指挥`, enname:`CUI Linhan`, enjob:`Conductor`, }, { name:`王晓明`, job:`小提琴`, enname:`WANG Xiaoming`, enjob:`Violin`, }, ], performance: [ { name:`莫扎特`, job:`D大调第七号小提琴协奏曲，K.271a(271i) `, enname:`Mozart`, enjob:`Violin Concerto in Dmajor, No.7,K.271a(271i)`, }, ], }, { pic:'../conimg/20260115-16.jpg', time:`2026.1.15/16`, title:`“莫扎特光谱I”吕嘉、韦子健与国家大剧院管弦乐团`, entitle:`“Dimension of Mozart I” LÜ Jia, WEI Zijian and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart', } ], personnel: [ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`韦子健`, job:`钢琴`, enname:`WEI Zijian`, enjob:`Piano`, }, ], performance: [ { name:`莫扎特`, job:`D大调第35号交响曲“哈夫纳”, K. 385`, enname:`Mozart`, enjob:`Symphony No. 35 in D Major“Haffner”, K. 385 `, }, { name:`莫扎特`, job:`F大调第11号钢琴协奏曲，K. 413`, enname:`Mozart`, enjob:`Piano Concerto No. 11 in F Major, K. 413`, }, { name:`莫扎特`, job:`C大调第41号交响曲“朱庇特”, K. 551`, enname:`Mozart`, enjob:`Symphony No.4 1 in C major“Jupiter”, K. 551 `, }, ], }, { pic:'../conimg/20260326.jpg', time:`2026.3.26`, title:`“回到未来”林大叶、小曾根真与国家大剧院管弦乐团`, entitle:`“Back to the Future” LIN Daye, Makoto Ozone and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', } ], personnel: [ { name:`林大叶`, job:`指挥`, enname:`LIN Daye`, enjob:`Conductor`, }, { name:`小曾根真`, job:`钢琴`, enname:`Makoto Ozone`, enjob:`Piano`, }, ], performance: [ { name:`莫扎特`, job:`D小调前奏曲与赋格, K.405/4（改编自巴赫BWV877）`, enname:`Mozart`, enjob:`Prelude and Fugue in D Minor, K.405/4 (after J.S. Bach BWV 877)`, }, { name:`莫扎特`, job:`降E大调第九号钢琴协奏曲“热纳米”，K. 271(爵士版)`, enname:`Mozart`, enjob:`Piano Concerto No. 9 in E-flat Major Jenamy, K. 271 (Jazz Version)`, }, ], }, { pic:'../conimg/20260410-11.jpg', time:`2026.4.10/11`, title:`哈德利希与国家大剧院管弦乐团演绎柴可夫斯基、莫扎特与雷格`, entitle:`Tchaikovsky, Mozart and Max Reger with Hadelich and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'回到未来', enname:'Back to the Future ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', }, ], personnel: [ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, ], performance: [ { name:`莫扎特`, job:`《唐璜》序曲，K.527 `, enname:`Mozart`, enjob:`Overture to Don Giovanni,K.527`, }, { name:`马克斯·雷格`, job:`《莫扎特主题变奏曲与赋格》，Op. 132`, enname:`Max Reger`, enjobf:``, enxiejob:`Variations and Fugue on a Theme of Mozart`, enjob:`, Op. 132`, }, ], }, { pic:'../conimg/20260509-10.jpg', time:`2026.5.9/10`, title:`“睿智交融”张昊辰、张弦与国家大剧院管弦乐团`, entitle:`“Treasure Across Culture imprints”Haochen Zhang, Xian Zhang 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 ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', }, ], personnel: [ { name:`张弦`, job:`指挥`, enname:`Xian Zhang`, enjob:`Conductor`, }, ], performance: [ { name:`莫扎特`, job:`降E大调第39号交响曲，K. 543`, enname:`Mozart`, enjob:`Symphony No. 39 in E-flat major, K. 543`, }, ], }, { pic:'../conimg/20260515.jpg', time:`2026.5.15`, title:`“莫扎特光谱II”吕嘉、魏特哈斯、宁峰与国家大剧院管弦乐团演绎莫扎特`, entitle:`“Dimension of Mozart II” Mozart with LÜ Jia, Weithaas, NING Feng and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart', } ], personnel: [ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`安特耶·魏特哈斯`, job:`小提琴`, enname:`Antje Weithaas`, enjob:`Violin`, }, { name:`宁峰`, job:`中提琴`, enname:`NING Feng`, enjob:`Viola`, }, ], performance: [ { name:`莫扎特`, job:`C大调第36号交响曲“林茨”, K. 425`, enname:`Mozart`, enjob:`Symphony No. 36 in C Major “Linz”, K. 425`, }, { name:`莫扎特`, job:`降E大调交响协奏曲，K. 364`, enname:`Mozart`, enjob:`Sinfonia Concertante in E-flat major for Violin, Viola and Orchestra, K. 364`, }, { name:`莫扎特`, job:`G小调第40号交响曲，K. 550`, enname:`Mozart`, enjob:`Symphony No. 40 in G minor, K. 550`, }, ], }, { pic:'../conimg/20260517.jpg', time:`2026.5.17`, title:`“不止天才”吕嘉与国家大剧院管弦乐团演绎莫扎特`, entitle:`“Genius in Colours” Mozart with LÜ Jia and NCPAO`, address:'北京艺术中心·音乐厅', enaddress:`BPAC·Concert Hall`, link:``, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart ', }, { name:'河畔时光', enname:'Weekend Matinee', }, ], personnel: [ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, ], performance: [ { name:`莫扎特`, job:`《女人心》序曲, K. 588`, enname:`Mozart`, enjobf:`Overture to `, enxiejob:`Così fan Tutte, K. 588`, }, { name:`莫扎特`, job:`《魔笛》序曲`, enname:`Mozart`, enjobf:`Overture to `, enxiejob:`The Magic Flute`, }, ], }, { pic:'../conimg/gj2.jpg', time:`2026.5.30`, title:`“音乐奇遇记”佩波偶剧团与国家大剧院管弦乐团演绎《彼得鲁什卡》`, entitle:`“An Adventure in Musicland” Petrushka with Per Poc and NCPAO`, address:'北京艺术中心·音乐厅', enaddress:`BPAC·Concert Hall`, link:``, enlink:``, tips: [ { name:'乐是故乡明', enname:'Sounds of China ', }, { name:'莫扎特光谱', enname:'Dimension of Mozart', }, ], personnel: [ { name:`赖嘉静`, job:`指挥`, enname:`LAI Jiajing`, enjob:`Conductor`, }, ], performance: [ { name:`莫扎特`, job:`《莫扎特彩蛋》`, enname:`Mozart`, enxiejob:`Easter Egg of Mozart`, }, ], }, { pic:'../conimg/20260605.jpg', time:`2026.6.5`, title:`“遇见莫扎特”宝宝的第一场音乐童乐会`, entitle:`Mozart and Most-Art: Babies' First Proms Concert`, address:'国家大剧院·小剧场', enaddress:`NCPA·Multi-functional Theatre`, link:``, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart ', }, { name:'无界室内乐', enname:'NCPAO in Chamber PLUS', }, ], personnel: [ { name:`国家大剧院管弦乐团风岸四重奏 `, job:``, enname:`Fine Quartet of NCPAO`, enjob:``, }, { name:`赵兢兢`, job:`第一小提琴`, enname:`ZHAO Jingiing`, enjob:`First Violin`, }, { name:`袁芳芳 `, job:`第二小提琴`, enname:`YUAN Fangfang`, enjob:`Second Violin`, }, { name:`丛延伊 `, job:`中提琴`, enname:`CONG Yanyi`, enjob:`Viola`, }, { name:`王昊宇 `, job:`大提琴`, enname:`WANG Haoyu`, enjob:`Cello`, }, ], performance: [ { name:``, job:`“遇见莫扎特”宝宝的第一场音乐童乐会 `, enname:``, enjob:`Mozart and Most-Art:Babies'First Proms Concert`, }, ], }, { pic:'../conimg/20260717-18.jpg', time:`2026.7.17/18`, title:`梵志登、曾韵与国家大剧院管弦乐团演绎莫扎特与马勒`, entitle:`Mozart and Mahler with Jaap van Zweden, ZENG Yun and NCPAO`, address:'国家大剧院·音乐厅', enaddress:`NCPA·Concert Hall`, link:``, enlink:``, tips: [ { name:'莫扎特光谱', enname:'Dimension of Mozart', } ], personnel: [ { name:`梵志登 `, job:`指挥`, enname:`Jaap van Zweden`, enjob:`Conductor`, }, { name:`曾韵`, job:`圆号`, enname:`ZENG Yun`, enjob:`Horn`, }, ], performance: [ { name:`莫扎特`, job:`降E大调第四号圆号协奏曲，K. 495`, enname:`Mozart`, enjob:`Horn Concerto No.4 in E-flat major, K. 495`, }, ], }, ], }, { id: 3, type: 2, title:'驻院艺术家', entitle:'Artist-in-Residence', bannerpc:'./images/page/banner6.png', bannerwap:'./images/page/banner6-wap.png', name:'吴巍', enname:`Wu Wei`, indexpic:'./images/page/pic_ww.png', indexpicwap:'./images/page/pic_ww-wap.png', pic:'./images/page/pic_zch1.jpg', head:'./images/page/pic_zch2.jpg', video:'../conimg/video_zyysj.mp4', txtcon:`国际知名的笙演奏家吴巍将他那有着三千多年历史的中国传统乐器带入21世纪，其艺术造诣远超传统的界限。
在中国，笙是一种簇状竹簧簧片组成、装在金属共鸣腔中的簧管乐器。据说它的声音如传说中凤凰的歌声般空灵轻盈，银铃般闪亮而转瞬即逝。
吴巍明亮而透彻的音色以及他的乐器在旋律、和声、节奏、复调上带来的无限可能性，使他得以与众多艺术家和合奏团在各音乐领域中合作，游刃有余地穿梭在传统的室内乐或管弦乐场域，独奏或是与爵士大乐队的即兴演奏，电子音乐，以及极简或巴洛克音乐的表演之中。
吴巍对实验与探索的渴望，以及他发现新的音乐声音和表现方式的杰出能力，吸引了诸多杰出作曲家与他合作创作，为他量身定制笙与管弦乐队协奏曲，包括黄若（《玄黄》，2007）、古斯·杨森（《四首歌》，2008）、陈银淑（《神祇之气》，2009）、尤卡·提恩苏（《特奥顿》，2015）、贝恩德·理查德·多伊奇（《现象》，2019）、翁德雷·阿达梅克（《失落的祈祷书》-2019年）、申东薰（《轶事》，2019；《双簧》，2022）、恩乔特·施耐德（《变化》，2003）、方满（《火凤凰的笙音》，2022）、罗孚·瓦林（《五季》，2022）等。
在与交响乐团的合作方面，吴巍曾受邀与众多世界知名指挥和乐团同台演出，包括：与长野健指挥的柏林爱乐乐团、郑明勋指挥的首尔爱乐乐团、古斯塔沃·杜达梅尔指挥的洛杉矶爱乐乐团、伊兰·沃尔科夫指挥的BBC交响乐团、马林·阿尔索普指挥的卡布利洛音乐节和圣保罗交响乐团、苏珊娜·马尔基指挥的皇家斯德哥尔摩爱乐乐团及纽约爱乐乐团、梵志登与埃多·德·瓦尔特指挥的荷兰广播爱乐乐团、马蒂亚斯·平特谢尔指挥的赫尔辛基爱乐乐团与当代乐集乐团、埃萨-佩卡·萨洛宁指挥的旧金山交响乐团、蒂埃里·费舍尔指挥的圣保罗交响乐团、迪玛·斯洛博登尼奥克指挥的明尼苏达交响乐团。此外，他还与荷兰巴洛克乐团、阿特拉斯合奏团、台北市与高雄市国乐团、北德广播交响乐团大乐队等知名乐团合作演出，并与风琴家古斯·杨森、犹太竖琴演奏家王利、手风琴演奏家帕斯卡尔·孔特等多位杰出独奏家合作。
吴巍经常受邀参加国际重要音乐节的演出，包括伦敦BBC逍遥音乐节、巴黎秋季艺术节、多瑙河音乐节、爱丁堡国际艺术节、东京三得利音乐厅夏季音乐节、德累斯顿音乐节、科隆“八桥”音乐节、格拉芬内格音乐节、纽约林肯中心音乐节、统营国际音乐节、琉森音乐节、柏林音乐节，以及最近的2025年欧海音乐节。《纽约时报》的评论指出，他的演奏是本届音乐节的一大亮点。
未来，吴巍的重点项目包括：2025/2026乐季在中国国家大剧院与国家大剧院管弦乐团的驻院合作计划，以及在2027年巴黎新锐艺术节Festival ManiFeste上，与当代乐集和法国蓬皮杜中心音乐与声学协作研究所（IRCAM）共同首演菲利普·勒鲁《为笙、合奏团与电子音响创作的协奏曲》。
吴巍本人也是一名多产的笙作曲家，他曾多次收到来自法国罗亚蒙基金会、慕尼黑音乐万岁音乐节、汉萨文化基金会、奇维泰拉·拉涅利基金会、萨克森自由州文化基金会等艺术机构的委约。
吴巍还联同柏林爱乐乐团的中提琴演奏家马丁·施特格纳与低音提琴演奏家扬纳·萨卡萨拉一道组成“吴巍三重奏”，每个乐季固定在柏林爱乐大厅的室内乐厅中进行演出。作为常驻柏林的“亚洲艺术合奏团”创始人，吴巍致力于与来自世界各地的乐器演奏家开展跨文化分享。在摩根兰音乐节，他与爵士小号演奏家英格尔夫·布克哈特和钢琴家弗洛里安·韦伯组成了“丝绸爵士三重奏”。他是涉及文学、舞蹈、戏剧、建筑等跨学科项目的理想合作伙伴……
吴巍的录音通过德意志留声机、索尼古典、爱满地、Wergo和Pentatone等国际知名唱片公司录制发行，其中多张CD获得了国际奖项的认可：与德意志留声机合作的陈银淑协奏曲录音获得2015年国际古典音乐大奖及同年的BBC音乐杂志大奖，2012年录制的《亚洲艺术乐团现代作品集》和2015年在Wergo录制的《约翰·凯奇 - Two3》则两度获得了德国评论家大奖。
其他国内外奖项还包括2017年“新绎杯”中国杰出民乐演奏家奖、2011年爱丁堡国际艺术节的先驱天使奖、2004年在德国世界音乐大奖中的“全球之根”奖。
吴巍1970年出生于中国高邮，毕业于上海音乐学院。1993年，吴巍考入上海民族乐团，开始其作为笙独奏家的职业生涯。1995年，吴巍获得德国政府颁发的“DAAD文化交流奖学金”和弗里德里希·瑙曼基金会（FNF）的支持，赴德参加为期四年的奖学金项目，自此定居柏林。自2013年以来，吴巍担任上海音乐学院笙专业的特聘教授。
`, entxtcon:`The artistry of internationally renowned Sheng virtuoso Wu Wei reaches far beyond the traditional boundaries of his more than 3000-year-old Chinese instrument and brings it well into the 21st century.
In China, the sheng, a mouth organ, formed out of a bundle of bamboo reeds and cased in a metal bowl, is supposed to sound like the song of the singing phoenix from the legend: silvery and fleeting as the wind.
Wu Wei’s radiant and transparent tone as well as the infinite possibilities offered by his instrument in terms of melody, harmony, rhythm, polyphony have led him to collaborate with many artists and ensembles in traditional, chamber or orchestral settings, improvising in solo concerts or with jazz Big Bands, playing electronic music as well as taking part in minimal or baroque music performances.
Wu Wei’s desire to experiment and his capacity to find new sounds and types of musical expression are reflected in his collaborations with distinguished composers writing concertos for Sheng and orchestra especially for him: Huang Ruo (The color Yellow – 2007), Guus Janssen (Four Songs – 2008), Unsuk Chin (Su – 2009), Jukka Tiensuu (Teoton – 2015), Bernd Richard Deutsch (Phaenomena – 2019), Ondrej Adamek (Lost Prayer Book – 2019), Donghoon Shin (Anecdote – 2019, Double Act - 2022), Enjott Schneider (Changes – 2003, Silk Road – Marco Polo goes East - 2023), Man Fang (Song of the Flaming Phoenix – 2022), Rolf Wallin (Five Seasons – 2022) and several other concertos.
In the symphonic repertoire, Wu Wei has been invited by orchestras such as Berlin Philharmonic under Kent Nagano, Seoul Philharmonic under Myung Whun Chung, Los Angeles Philharmonic under Gustavo Dudamel, BBC Symphony under Ilan Volkov, Cabrillo Festival under Marin Alsop, Royal Stockholm Philharmonic and New York Philharmonic under Susanna Mälkki, Netherlands Radio Philharmonic under Jaap van Zweden and Edo de Waart, Helsinki Philharmonic and Ensemble intercontemporain under Matthias Pintscher, San Francisco Symphony under Esa-Pekka Salonen, Sao Paulo Orchestra under Thierry Fischer, Minnesota Symphony Orchestra under Dima Slobodeniouk and ensembles such as Holland Baroque, Atlas Ensemble, Taipei and Kaohsiung Chinese Orchestras in Taiwan, NDR Big Band, and soloists like Guus Jansen (organ), Wang Li (Jew’s harp) or Pascal Contet (accordion).
Wu Wei is regularly performing at international festivals such as the BBC Proms in London, Festival d’Automne à Paris, Donaueschinger Musiktage, Edinburgh International Festival, Suntory Hall Summer Festival Tokyo, Dresdner Musikfestspiele, Festival Achtbrücken Köln, Grafenegg Festival, Lincoln Center Festival New York, and Tongyeong Music Festival, Lucerne Festival, Musikfest Berlin and most recently at the Ojai Musica Festival 2025 of which the New York Times critic wrote that his playing was a highlight.
His projects include a residency in 2025/2026 at the NCPA in Beijing with the NCPA Orchestra, the premiere of Philippe Leroux’s new concert for sheng, ensemble and electronics at the Festival Manifeste 2027 in Paris with Ensemble intercontemporain and IRCAM.
As a composer, Wu Wei received commissions from the Fondation Royaumont, Musica Viva in Munich, the Hanse Culture Foundation, the Civitella Ranieri Foundation, the Cultural Foundation of the Free State of Saxony and several other institutions.
With Martin Stegner (viola) and Janne Saksala (double bass), both members of the Berlin Philharmonic Orchestra, he is a member of the Wu Wei Trio which appears each season in the Chamber Music Hall of the Berlin Philharmonie. As a founder of the Berlin based Ensemble Asianart, he likes to share transcultural programs with instrumentalists from all around the world. For the Morgenland Festival, he forms with the jazz trumpeter Ingolf Burkhart and pianist Florian Weber, the Silk Jazz Trio. He is an ideal partner for interdisciplinary projects involving literature, dance, theatre, architecture….
Wu Wei’s CD recordings can be found under the Deutsche Gramophon, Sony Classical, Harmonia Mundi, Wergo and Pentatone labels. Several of them have been distinguished by international Awards: International Classical Music Award 2015 and BBC Music Magazine Award 2015 for the Unsuk Chin concertos CD with Deutsche Gramophon, the German Critic Award in 2012 for the “AsianArt Ensemble” and in 2015 for his WERGO CD “John Cage – Two3” to note a few.
He also received the Best Sheng Soloist Award China in 2017, the Herald Angels Award 2011 at the International Festival Edinburgh, the Global Root German World Music Prize 2004 in Rudolstadt (Germany).
Wu Wei was born in 1970 in Gaoyou (China). He studied at the Shanghai Conservatory of Music and started his career in 1993 as a Sheng soloist in China where he performed among others with the Chinese Music Orchestra Shanghai. In 1995, he was selected by the DAAD (German Academic Exchange Service) and FNS (Friedrich Naumann Foundation) to take part in a four-year scholarship which brought him to Berlin, where he is currently living. Since 2013, Wu Wei has been a Professor teaching the Sheng at the Shanghai Conservatory of Music.
`, artic: [ { txttitle:'回到未来：吴巍与笙的多维音乐旅程', entxttitle:'Back to the Future: A Diverse Musical Journey of WU Wei with Sheng', txtcon:`著名笙演奏家吴巍，将受邀担任国家大剧院2025/26乐季的“驻院艺术家”。
这位活跃全球，过去三十年，不断引领“笙”这件中国古老乐器探索未知世界的音乐家，这次要面对的主题是：“回到未来”。
他将在新乐季中呈现四套不同类型的节目：笙协奏曲，笙与管风琴双协奏曲，丝绸爵士三重奏，以及巴洛克室内乐。从爵士、即兴、古乐、到交响乐团，他将和不同音乐家一起，合作分享笙乐的无限可能性。
“‘回到未来’，也是‘回到过去’；是把过去的音乐智慧变成今天的未来。”吴巍说，国家大剧院给出的“回到未来”主题极具想象力，首先是继承传统，中国和西方的传统都需要继承，然后是创新与发展。这个过程里，重要的是从传统发现未来，古人的智慧还有大量我们不曾读懂的纬度，曾今“看山是山”，现在要“看山不是山”。
`, entxtcon:`WU Wei, a renowned virtuoso on sheng (Chinese mouth organ), will serve as Artist-in-Residence at the National Centre for the Performing Arts (NCPA) for the 2025/26 season.
For the past three decades, WU has been active as a musician dedicated to bringing the ancient Chinese instrument Sheng to the world. He will capture the theme “Back to the Future” in the China NCPA Orchestra’s 2025/26 season.
In the new season, he will present four different programs: a sheng concerto, a double concerto for sheng and organ, the Silk Jazz trio, and Baroque chamber music. He will collaborate with several musicians to unlock the infinite possibilities of sheng, spanning jazz, improvised music, early music, and symphonic repertoire.
“‘Back to the Future’ also means ‘Back to the Past.’ It is about embracing the future with the musical wisdom from the past,” says WU Wei. He adds that the NCPA-defined theme “Back to the Future” is incredibly imaginative. It’s first about carrying forward traditions, both Chinese and Western, and on this basis, promoting innovation and development. In this process, the key lies in discovering the future from traditions. The wisdom of the ancients still has many aspects that are beyond our comprehension. Before then, we “see mountains as mountains,” but now, we come to “see mountains not as mountains.”
`, autor:'', enautor:``, }, { txttitle:'笙的智慧：万物的和谐', entxttitle:'The Wisdom of Sheng: Harmony of All Things', txtcon:`谈起笙，吴巍眼中扬起一道光：“它忧伤，纯粹，透明的……它可以表现色彩、动作和情绪，甚至蕴藏更深层面的东西。”
对他而言，笙的吸引力不仅在于音色，更在于它触及音乐背后的哲理与世界观：“不管你承不承认，天上的星星一直在发光。你看到也好，看不到也好，它们之间的相互引力始终存在。音乐的规则也是这样，并非以人的意志来改变。我看不见，但它一直在那里。”
笙的历史可以追溯到公元前11世纪，是中国最古老的吹管乐器之一，通过丝绸之路传入东亚、南亚和西亚，对西方管风琴的发展也产生过潜在影响。七世纪传入朝鲜，再传入日本，如今日本仍保留唐代笙的文字谱并沿用演奏。吴巍说：“笙有非常丰富的泛音，发声原理隐藏着数学、物理甚至化学的原理。笙看起来也许很土，但里面有许多老祖宗留下来的智慧。过去笙常会给人难登大雅之堂的印象，其实在唐代的‘雅乐’里，笙是主奏乐器。它隐藏了深层的文化：所谓‘和’，是为万物之间的和谐。要找到这种平衡是很高的境界。”
他演奏的是37簧的传统改良笙，由翁镇发教授，牟善平教授研发：在尊重传统的基础上扩展到三个八度，采用十二平均律以适应西方交响乐的调性，但仍保留笙的传统音色和演奏技巧，使笙能够与大型乐团并肩演奏，不再只是配角。
国家大剧院2025/26乐季，吴巍将与指挥家吕嘉合作华人作曲家黄若的笙与乐队协奏曲《玄黄》，并与新加坡指挥家黄佳俊带来芬兰作曲家尤卡·蒂恩苏的《笙与管风琴协奏曲》世界首演。
像与黄若及尤卡·蒂恩苏的合作，吴巍每年都与不同的作曲家一起创作新作品，挖掘笙的潜力，迄今他已经首演400多首作品，协奏曲20多部，但他相信如今只开发了大约六成：“目前国内对笙的研究还很有限”，他说，笙的和声实际上非常现代，密集而美丽，泛音流一直在动，产生类似蝉鸣中超低频的低音。“笙有很多秘密，每天都可能有新的发现。”
`, entxtcon:`When it comes to sheng, a gleam lights up in WU Wei’s eyes. “It is melancholic, pure, and crystal... It conveys colors, movements, and emotions, and harbors something much deeper.”
For him, the charm of sheng lies not only in its beautiful tone but also in its power to touch upon the underlying philosophy and worldview. “Whether we acknowledge it or not, the stars in the sky are always twinkling. Whether we see it or not, their mutual gravity is right there all along. The same is true of the laws of music; they are not subject to human will. Even if we cannot see them, they are always there.”
Sheng is one of the oldest Chinese reed wind instruments, with its history being traced back to the 11th century BC. The instrument was introduced to East Asia, South Asia, and West Asia through the ancient Silk Road, and had an influence on the development of the organ in the West. It was brought to Korea in the 7th century and then to Japan. The written notation and performance practices of sheng from the Tang dynasty have been preserved in Japan to this day. WU Wei states, “Sheng has rich harmonics, and its sound-producing principles are rooted in mathematics, physics, and even chemistry. Sheng may seem rustic, but it has so much wisdom passed down from our ancestors. In the past, sheng was considered unpresentable and did not appeal to refined taste. In fact, sheng was a principal instrument in Yayue (the ceremonial and court music) during the Tang dynasty. It embodies a deeper culture: the concept of “harmony” or balance among all things. To achieve such balance requires reaching a higher plane.”
He plays the 37-pipe Sheng, modified by professors WENG Zhenfa and MOU Shanping based on the traditional instrument. Its range is expanded to three octaves, and the twelve-tone equal temperament is adopted to accommodate the tonality of symphony orchestras. Meanwhile, the traditional timbre and playing techniques of sheng are retained, so sheng can be performed alongside large orchestras rather than just serve as an accompanying instrument.
In the NCPA’s 2025/26 season, WU Wei will collaborate with conductor LÜ Jia on HUANG Ruo’s The Color Yellow, a concerto for Sheng and orchestra. Together with Singaporean conductor Kahchun Wong, he will present the world premiere of Finnish composer Jukka Tiensuu’s concerto for Sheng and Organ.
Just like the cooperation with HUANG Ruo and Jukka Tiensuu, WU Wei collaborates with different composers each year to create works tapping the potential of sheng. Up to now, he has premiered over 400 musical pieces, including more than 20 concertos. However, he believes that at most, about 60% of sheng’s potential has been explored. “Research on sheng in China is still quite limited,” he notes, adding that sheng’s harmonies are actually modern, dense, and beautiful, with a constant flow of harmonics which produces a low-frequency sound similar to the bass in cicada chirps. “Sheng holds many secrets, and there can be new discoveries every day.”
`, autor:'', enautor:``, }, { txttitle:'黄若的《玄黄》', entxttitle:'HUANG Ruo: The Color Yellow', txtcon:`吴巍与黄若的合作可追溯至2010年：当时，美国奥尔巴尼交响乐团委约笙新作，他推荐了年轻的黄若。此前，黄若曾为吴巍所在的阿姆斯特丹新音乐团写过《筝与笙双协奏曲》，其才华令吴巍印象深刻。
《玄黄》的旋律讲究线条美，笙如“过客”，穿梭于不同的“景观”，与音乐的镜面相互映照。第三乐章有一段悠长而安静的旋律，带着蒙古的思乡味，显示了黄若写旋律的功力。曲中还加入海螺、哨子等特殊乐器，音色丰富多层。吴巍提及，黄若的音乐中有海南当地“面具舞”节奏元素，这源自他小时候跟奶奶一起看戏的经历：“创作时，黄若也会边唱边写，非常投入。”
在演奏上，吴巍会根据黄若的创作方向实现旋律和声部的技术细节。比如笙在低音声部无法滑音，他会提供不同方案供作曲家选择，以尽量抵达作曲家的音乐意图。他强调音乐家的能动力，例如“华彩段”在总谱中只标注开始和结束部分，中间的演奏细节由演奏者自主完成，每次演出略有不同。
这部协奏曲曾在十多个国家演出，观众反响热烈，但在中国仅演过缩减版。吴巍表示：“这次在国家大剧院能完整呈现，非常期待。‘玄黄’有很多无法用言语表达的东西，只有音乐才能令它往深处延伸。”
此次执棒《玄黄》的指挥家吕嘉是吴巍的老朋友，多年前曾与吴巍在奥地利布鲁克纳音乐节合作演出该曲第三乐章，吴巍回忆：“当时几乎没有时间排练，但同澳门爱乐乐团演出很精彩，得到奥地利总统亲自接见。”
`, entxtcon:`WU Wei’s collaboration with HUANG Ruo dates back to 2010, when he recommended the young HUANG Ruo to create a work on sheng commissioned by the Albany Symphony Orchestra. HUANG had previously written a double concerto for zheng and sheng for WU Wei’s Amsterdam-based Nieuw Ensemble, and WU was deeply impressed by his talent.
The Color Yellow highlights the beauty of melodic lines. Sheng acts as a “passerby” travelling through varied “landscapes,” reflecting off the mirrored surfaces of the music. The third movement features a long and tranquil melody imbued with a Mongolian sense of nostalgia, demonstrating HUANG Ruo’s mastery of melodic composition. Special instruments such as conch shells and whistles are also incorporated into the composition to create rich, layered sounds. WU Wei mentions that HUANG’s music integrates rhythmic elements from the traditional mask dance in Hainan, drawing inspiration from his childhood memories of watching operas with his grandmother. “HUANG Ruo would sing while composing, fully immersed in the process.”
Regarding performance, WU Wei implements the technical details of melodies and parts in alignment with HUANG Ruo’s creative vision. For example, since sheng cannot perform a glissando in the bass part, he would provide different options for the composer to choose from, ensuring that the composer’s intent is realized to the greatest extent possible. He places great emphasis on the initiative of musicians. For example, a cadenza is marked with only the beginning and the end in the score, leaving the performer to improvise and complete the middle section independently. As a result, there are subtle variations in each performance.
The concerto has been performed in a dozen countries, receiving enthusiastic responses from the audiences. In China, however, only a reduced version has been presented so far. “I’m thrilled to present it in its entirety at the NCPA this time. The Color Yellow offers too much beyond the reach of words, and only music can extend it to greater depths,” says WU Wei.
LÜ Jia, who will conduct The Color Yellow in this season, is an old friend of WU Wei. Years ago, they together performed the third movement of the piece at the International Bruckner Festival in Austria. “We had little time to rehearse at the time, but the performance with the Macao Orchestra was spectacular, and we were honored to be received by the Austrian president,” recalls WU.
`, autor:'', enautor:``, }, { txttitle:'《笙与管风琴协奏曲》世界首演', entxttitle:'World Premiere of Concerto for Sheng and Organ', txtcon:`吴巍有个多年梦想：请作曲家来给笙与管风琴写双协奏曲。新乐季的重头戏，便是芬兰作曲家尤卡·蒂恩苏为吴巍创作的《笙与管风琴协奏曲》，这套作品将于2026年在国家大剧院上演。梦想成真，吴巍说：“非常感谢NCPA的前瞻性和胆量，以最佳国际团队去实现这个‘3000年后来相会’的笙与管风琴项目，这充分体现了当代中国人的文化自信。”
早在1996年，吴巍就尝试过笙与管风琴合作，并于2000年录制专辑《汇流》，曲目包括维瓦尔第与巴赫，这是音乐史上的第一张笙与管风琴二重奏唱片。此次经过思考，吴巍决定邀请芬兰国宝级作曲家尤卡·蒂恩苏来担纲创作：“他是西贝柳斯大奖（The Wihuri Sibelius Prize）得主，艺术造诣高，从不随市场潮流改变他的创作方向，很难委约。他曾为我成功创作过两部协奏曲，在全世界频繁上演。当我向他提及笙与管风琴双协奏曲梦想时，他立刻爽快答应，特别期待明年在国家大剧院首演。”尤卡·蒂恩苏本身是键盘演奏家，精通传统和现代作品，对两者平衡有深度把控，吴巍评价：“他写的每一个小节都有意义。”
这首作品一个月前刚刚开始创作。吴巍曾飞到赫尔辛基向作曲家介绍乐器，并一起探讨技术和音乐问题。作曲家认为笙的指法非常难懂，“跟分析施托克豪森作品的难度相当”。
而指挥黄佳俊，今年刚在曼彻斯特同吴巍合作，与哈雷管弦乐团演出陈银淑作品：“黄佳俊是很有才华的指挥家，对华人传统音乐也熟悉，2026年与他合作首演尤卡·蒂恩苏新作，我很期待。”
将与吴巍合作首演的管风琴演奏家，是浜屋惠。这位同样活跃在欧洲的日本管风琴家是吴巍近几年最密切的音乐伙伴之一，2024年他们曾在中国举行笙与管风琴二重奏的巡回演出，吴巍对浜屋惠赞不绝口，技术厉害之外，她同时具有亚洲人特有的柔性线条和音乐感觉。
`, entxtcon:`WU Wei has a long-held dream, that is, to commission a composer to write a double concerto for Sheng and Organ. The centerpiece in the new season is the concerto for sheng and organ by Finnish composer Jukka Tiensuu, which will debut at the NCPA in 2026. With his dream coming true, WU says, “I am grateful to the NCPA for its foresight and courage in bringing together the best international team to realize the ‘3, 000-year encounter’ between sheng and organ. This reflects the confidence of today’s Chinese people in Chinese culture.”
As early as 1996, WU Wei had experimented with combining sheng and organ. In 2000, he recorded the album Confluence featuring classic works by Vivaldi and Bach. This is the first ever record of the Sheng and organ duets in the history of music. After some thought, WU Wei decided to invite eminent Finnish composer Jukka Tiensuu to compose the work. “He is a recipient of the Wihuri Sibelius Prize, and a highly accomplished artist who never compromises his creative vision to follow market trends, making him particularly difficult to commission. He has already written two concertos for me, which have been performed many times around the world. When I shared with him my dream of a double concerto for sheng and organ, he immediately agreed to get on board, and he is eager for the premiere at the NCPA next year.” As a keyboardist, Jukka Tiensuu is accomplished in both traditional and contemporary works, striking the perfect balance between the two. “Every bar he writes carries significance,” WU Wei remarks.
This piece had just been started a month ago. WU flew to Helsinki to introduce the instrument to the composer and discuss technical and musical issues together. The composer found the fingering of sheng quite challenging, comparing it to “the difficulty of analyzing a piece by Stockhausen.”
Conductor Kahchun Wong collaborated with WU Wei in Manchester earlier this year, where they performed Unsuk Chin’s works with the Hallé. “Kahchun Wong is a talented conductor and also familiar with traditional Chinese music. I am looking forward to collaborating with him in the premiere of Jukka Tiensuu’s new work in 2026,” says WU.
The organist who will debut with WU Wei is Megumi Hamaya. The Japanese organist, who is also active in Europe, has been one of WU Wei’s closest musical partners in recent years. In 2024, they toured China with a sheng and organ duet performance. WU Wei gives the organist a lot of credit, praising her impressive techniques as well as a unique Asian sensibility and musicality.
`, autor:'', enautor:``, }, { txttitle:'室内乐与古乐', entxttitle:'Chamber Music and Early Music', txtcon:`在本次驻院计划中，吴巍也将和国家大剧院管弦乐团合作，进行基本巴洛克乐团编制的室内乐合作，呈现他对于巴洛克古乐多年的理解。
“刚开始说要用笙去吹巴赫，大家都会笑；可是传统不仅是五声音阶，不但包括中国各民族的传统，西方古典音乐也是传统”。吴巍说，笙作为一个声部进入西方古乐，比如跟柏林爱乐组成的巴洛克三重奏，每次都会在音色上发现新的美：“每时每刻都在变，一个人动，其他人都跟着动”。
在摸索巴洛克音乐十多年中，他找到了新方向：“巴洛克的琴弦和我们平常的琴弦不同，是羊肠弦，声音粗糙，但泛音丰富，听起来甚至有金属感，与笙融合产生新的发声体，磁性特别强。”两年前，他与荷兰巴洛克（Holland Baroque）乐团在Pentatone出专辑《丝绸巴洛克》（Silk Baroque），乐团总监是一对双胞胎姐妹尤迪斯(Judith Steenbrink)和施蒂恩布林克（Tineke Steenbrink），她们古乐造诣深厚，与吴巍重新编配经典作品，使笙不再只是“凑合”，而是被赋予新音色。
最近几年，吴巍与柏林爱乐乐团中提琴演奏家马丁·施特格纳和低音提琴演奏家扬纳·萨卡萨拉组成“吴巍三重奏”，并录制了两张新专辑，包括重新编配的《哥德堡变奏曲》。吴巍说：“我不是要做一个小丑，拿中国乐器和洋乐器搅和就完事；目的不是这样，而是进入音乐，把音乐精神表现出来，并发挥乐器的创造性。等你进去了，再玩才行，而不是在外面看。”
室内乐里，音乐家的主动性是关键，吴巍说：“民族音乐有太大的发展空间，我只是通过这个窗口给观众一点思路。”
`, entxtcon:`In this residency program, WU Wei will collaborate with the China NCPA Orchestra in a chamber ensemble with a basic Baroque orchestra arrangement, showcasing his deep understanding of Baroque music.
“When I first suggested playing Bach on sheng, people chuckled. But tradition isn’t just about pentatonic scales; it encompasses not only the traditions of different ethnic groups in China but also Western classical music.” WU Wei explains that incorporating sheng in Western classical music, such as in his Baroque trio with the Berliner Philharmoniker, always reveals new beauty in timbre. “It changes constantly. When one person moves, the others follow.”
After over a decade of exploring Baroque music, he has discovered a new direction. “Baroque strings are different from modern ones. They are made of sheep gut, and the sound they produce is rougher, but the overtone is rich, giving a metallic feel. When combined with sheng, a new sound source is created, which is particularly magnetic.” Two years ago, WU Wei and Holland Baroque released the album Silk Baroque on the Pentatone label. Holland Baroque’s directors are twin sisters Judith and Tineke Steenbrink, who are distinguished for their deep expertise in early music. Together with WU Wei, they re-arranged classic works, making sheng no longer mere accompaniment and endowing it with a new timbre.
Years ago, WU Wei founded the “WU Wei Trio” with the Berliner Philharmoniker’s violist Martin Stegner and first solo double bassist Janne Saksala. They have recorded two albums, including a re-arrangement of the Goldberg Variations. WU Wei says, “I don’t want to be a clown, simply mixing Chinese and Western instruments and nothing more. That’s not the point. You need to truly get immersed in music, express its spirit, and unleash the creative potential of the instruments. Only when you’re immersed can you play them meaningfully rather than just observe from the outside.”
The initiative of musicians is crucial in chamber music. “Folk music has more room to develop. I am just offering the audience a glimpse through this window,” WU Wei notes.
`, autor:'', enautor:``, }, { txttitle:'即兴与跨界', entxttitle:'Improvisation and Crossovers', txtcon:`吴巍初到德国留学，是在音乐学院里学习爵士乐。他也长期探索即兴，他对笙的理解和演奏受到西方即兴音乐很深刻的影响。
从前在学术框架里学“即兴加花”，在柏林，他接触到各种即兴风格，包括自由即兴：“这是当代音乐家的必要素质。”即兴不仅存在于爵士，还存在于印度音乐、阿拉伯音乐、以及中国音乐中，每种即兴都有规则与体系。通过与世界各地音乐家合作，他学会了理解与回应，也不断受到启发，这里面包括了真正有创造力的记谱音乐，以及打通各流派、乐手之间彼此默契的“出口成章”。
2023年，吴巍曾与北德广播大乐队（NDR Big Band）合作，以中国传统音乐和自创作品与爵士乐对话，音乐会不但取得巨大成功，还入围了2024年德国爵士乐大奖。
吴巍与德国钢琴家弗洛里安·韦伯（Florian Weber）和小号手英格尔夫·布克哈特（Ingolf Burkhard）组成的“丝绸爵士三重奏”，也将出现在国家大剧院2025/26乐季中，这是乐迷理解吴巍即兴音乐魅力最好的现场。钢琴家的结构托举，小号手的突围引领，笙则以“和”来连接和沟通，自由之间，又充满精致之美。
吴巍说，刚到德国留学时在柏林前卫音乐中心听了一场难忘的音乐会，台上没有谱子，靠手势指挥即兴演奏，三十年前他听不懂，但印象深刻：“自从世界进入全球化以来，音乐不光是你的我的，也是我们的；我们对世界有共同责任，即兴是一种相互尊重的可能性。”
他回忆自己最早学二胡，弦乐直接表达大喜大悲，而笙更透明，能带来超越个体的体验：“自然界的许多事情，并不以个人的‘自我’而存在；笙是大智慧的乐器，它会把我们的双眼打开多层面，通过研究学习，我们认识世界、认识自己，认识超越自身可见的东西，这是一辈子的功课。对我来说，那是一种距离之美，一种复杂之美”。
在所有责任与使命感之前，这就是笙对吴巍的吸引力所在。吴巍说：“笙是凤凰的声音，它只有先离开、舍去自己，才会产生新的东西。这就是我们现在要走的历程。”
`, entxtcon:`At first, WU Wei studied jazz at a conservatory in Germany. He then started a long, extensive exploration in improvisation, and his understanding and performance of sheng were deeply influenced by improvisation in Western music.
After learning improvisation within an academic framework, he was exposed to various types of improvisation in Berlin, including free improvisation, which he refers to as “an essential quality for musicians of the time.” Improvisation is not confined to jazz; it also exists in Indian, Arabic, and Chinese music, each with its own rules and systems. Through collaborations with musicians from around the world, he has learned to understand and respond to different types of improvisation and continuously drawn inspiration from the truly creative notated music and the spontaneous interplay that bridges different genres and musicians.
In 2023, WU Wei and the NDR Bigband collaborated to create a dialogue between traditional Chinese music and his own works and jazz. The concert was a huge success and got shortlisted for the German Jazz Prize 2024.
The Silk Jazz Trio of WU Wei, German pianist Florian Weber, and trumpeter Ingolf Burkhard will debut in the NCPA’s 2025/26 season, offering the perfect opportunity for music fans to appreciate the charm of WU’s improvisational music. With the involvement of the pianist and the trumpeter, sheng acts as a bridge promoting “harmony,” hitting a sweet spot between freedom and elegance.
WU Wei remembers attending a concert in Berlin when he first arrived in Germany 30 years ago. There was no music score on stage, and the musicians improvised based on hand gestures. He couldn’t catch that at the time, but he was deeply impressed. “Since globalization began, music has no longer belonged to anyone alone; it’s shared by all. We have a shared responsibility for the world, and improvisation offers possibilities for mutual respect.”
WU recalls that he learned to play the erhu first, and over time, he came to realize that string instruments directly convey intense emotions of joy and sorrow, while sheng produces a more crystal sound and delivers experiences beyond the individual. “Things in nature do not exist because of the individual self. Sheng is an instrument that leads us to more wisdom; it opens our eyes to multiple levels. Through research and study, we come to understand the world, ourselves, and things beyond what we can see with our own eyes. This is a lifelong journey. For me, it represents a beauty of distance and complexity.”
WU Wei believes sheng as a calling, and this is why he gravitates to sheng. Just as he says, “Sheng is the sound of the phoenix – it must rise above and transcend itself to create something new. This is the journey we are on now.”
`, autor:'张璐诗', enautor:`Lucy Cheung`, }, ], mainworks: [ { pic:'', time:`2025.9.19/20`, title:`“十五载如是说”吕嘉、吴巍与国家大剧院管弦乐团`, entitle:`“Echoes of 15 Years” LÜ Jia，WU Wei and NCPAO`, address:'', enaddress:``, link:``, enlink:``, tips: [], personnel: [ { name:`吕嘉`, job:`指挥`, enname:`LÜ Jia`, enjob:`Conductor`, }, { name:`吴巍`, job:`笙`, enname:`WU Wei`, enjob:`SHENG`, }, ], performance: [ { name:`黄若`, job:`《玄黄》`, enname:`HUANG Ruo`, enxiejob:`The Color Yellow`, }, ], }, { pic:'', time:`2026.7.3/4`, title:`“繁华笙景”吴巍、江非凡与国家大剧院管弦乐团`, entitle:`WU Wei, Feifan Jiang and NCPAO Chamber Orchestra`, address:'', enaddress:``, link:``, enlink:``, tips: [], personnel: [ { name:`江非凡`, job:`指挥`, enname:`Feifan Jiang`, enjob:`Conductor`, }, { name:`吴巍`, job:`笙`, enname:`WU Wei`, enjob:`Sheng`, }, ], performance: [ { name:`让-费瑞 ·勒贝尔/朱迪思 ·斯廷布林克 改编 `, job:`《混沌》,为吴巍而作`, enname:`Jean-Fery Rabel/Arr. Judith Steenbrink`, enjobf:``, enxiejob:`Chaos`, enjob:` for Wu Wei`, }, { name:`巴赫`, job:`咏叹调`, enname:`J.S.Bach`, enjob:`Air`, }, { name:`德彪西`, job:`《月光》节选自《贝加马斯克》组曲`, enname:`Debussy`, enjobf:``, enxiejob:`“Clair de Lune” `, enjob:`(from Suite Bergamasque)`, }, { name:`拉威尔`, job:`《悼念公主的帕凡舞曲》`, enname:`Maurice Ravel`, enxiejob:`Pavane Pour une infante defunte`, }, { name:`福雷`, job:`《梦后》, Op. 7.No. 1`, enname:`G. Faure`, enxiejob:`Apres un Reve`, enjob:`, Op. 7-1`, }, { name:`朱迪思・斯廷布林克改编`, job:`《中国风格的波兰舞曲》`, enname:`Arr. Judith Steenbrink`, enxiejob:`Polonois a la Chinois `, }, { name:`黄若`, job:`《风吹》`, enname:`Huang Ruo`, enxiejob:`The wind blows`, }, { name:`吴巍`, job:`《竹子的精神》`, enname:`Wu Wei`, enxiejob:`The spirit of bamboo`, }, { name:`乔治·菲利普·泰勒曼`, job:`《丑角》(选自G小调序曲，TWV55:G1 “牧笛”) `, enname:`Georg Philipp Telemann`, enxiejob:`Harlequinade`, enjob:`(from Ouverture (Suite)in G Minor,TWV 55:G1 "La musette")`, }, { name:`维瓦尔第`, job:`D小调第12号三重奏鸣曲“福利亚变奏”,RV63 `, enname:`Vivaldi Antonio`, enjob:`Trio Sonata No.12 in DMinor "Variations on La Follia",RV 63`, }, { name:`茅源/朱迪思・斯廷布林克改编`, job:`《瑶族舞曲》`, enname:`Mao Yuan/Arr. Judith Steenbrink`, enxiejob:`Dance of Yao People`, }, { name:`巴赫`, job:`双簧管与小提琴双协奏曲(笙与小提琴版),BW 1060r`, enname:`J.S. Bach`, enjob:`Double Concerto for Violin and Oboe(Adapted for Sheng and Violin),BWV 1060R`, }, { name:`巴赫/蒂内克·斯廷布林克改编`, job:`行板，BWV 1003`, enname:`J.S. Bach/Arr. Tineke Steenbrink`, enjob:`Andante BWV 1003`, }, { name:`刘天华/朱迪思・斯廷布林克改编 `, job:`《良宵》`, enname:`Liu Tianhua/Arr.Judith Steenbrink`, enxiejob:`The Enchanting Night`, }, { name:`聂耳/吴巍改编`, job:`《龙舞》`, enname:`Nie Er/Arr.Wu Wei `, enxiejob:`Dragon Dance`, }, ], }, { pic:'', time:`2026.7.10/11 `, title:`黄佳俊、吴巍、浜屋惠与国家大剧院管弦乐团演绎贝多芬与蒂恩苏`, entitle:`Beethoven and Tiensuu with Kahchun Wong, WU Wei, Megumi Hamaya and NCPAO`, address:'', enaddress:``, link:``, enlink:``, tips: [], personnel: [ { name:`黄佳俊`, job:`指挥`, enname:`Kahchun Wong`, enjob:`Conductor`, }, { name:`吴巍`, job:`笙`, enname:`WU Wei`, enjob:`Sheng`, }, { name:`浜屋惠`, job:`管风琴`, enname:`Megumi Hamaya`, enjob:`Organ`, }, ], performance: [ { name:`尤卡·蒂恩苏`, job:`笙与管风琴协奏曲`, enname:`Jukka Tiensuu`, enjob:`Concerto for Sheng and Organ`, }, ], }, ], activitys: [ { title:`笙声不息：吴巍音乐工作坊`, entitle:`The Eternal Sound of Sheng:A Music Workshop with WU Wei`, time:`2026.7`, address:'国家大剧院 · 资料中心', enaddress:`NCPA Art Resource Center`, name:'吴巍', enname:`Wu Wei`, link:``, enlink:``, }, ], }, { id: 5, type: 3, title:'特邀画家', entitle:'Guest Visual Artist', bannerpc:'./images/page/banner5.png', bannerwap:'./images/page/banner5-wap.jpg', name:'朱炜', enname:`ZHU Wei`, pic:'./images/page/pic_zw.png', indexpic:'./images/page/indexpic_zw.png', indexpicwap:'./images/page/indexpic_zw-wap.png', 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:'2024/25 三生万物', entitle:'2024/25 Beyond Home', imgurl:'../pdf/pic24-25.png', pdfurl:'../pdf/24-25.pdf', }, { 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/recordpic1-6.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' }, // { // 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/recordpic1-7.jpg', title:'布鲁克纳第四交响曲', entitle:`Bruckner Symphony No. 4`, time:'2024', num:'', price:'', nclp:'', ref:'', link:'', enlink:'', audio:'' }, { pic:'../conimg/recordpic1-8.jpg', title:'布鲁克纳第五交响曲', entitle:`Bruckner Symphony No. 5`, time:'2024', num:'', price:'', nclp:'', ref:'', link:'', enlink:'', audio:'' }, { pic:'../conimg/recordpic1-9.jpg', title:'布鲁克纳第六交响曲', entitle:`Bruckner Symphony No. 6`, time:'2024', num:'', price:'', nclp:'', ref:'', link:'', enlink:'', audio:'' }, { 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' }, ], }, { 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:'', }, { pic:'../conimg/recordpic3-12.jpg', title:'莫扎特长笛四重奏', entitle:`MOZARTThe Flute Quartets`, time:'2025', num:'', price:'', nclp:'', ref:'', link:'', enlink:'', }, { pic:'../conimg/recordpic3-13.jpg', title:'NCPA Live《马勒：第六交响曲》', entitle:`Mahler Symphony No. 6 "Tragic"`, time:'2025', num:'', price:'', nclp:'', ref:'', link:'', enlink:'', }, { pic:'../conimg/recordpic3-14.jpg', title:'2025北京新年音乐会', entitle:`2025 BEIJING NEW YEAR'S CONCERT`, time:'2025', num:'', price:'', nclp:'', ref:'', link:'', enlink:'', }, { pic:'../conimg/recordpic3-15.jpg', title:'NCPA Live 《陈萨和她的朋友们音乐会》', entitle:`ECHOES OF BACHSa Chen & Frends in Concert SA CHENYUTONG SUN XU GUO LE CHANGCHINA NCPA ORCHESTRAYIFAN SUN`, time:'2025', num:'', price:'', nclp:'', ref:'', link:'', enlink:'', }, ], }, ], // 关于乐团 aboutdata: { title:`国家大剧院管弦乐团`, entitle:`China NCPA Orchestra`, autor: [ { name:'吕嘉', position:'音乐总监', enname:'LÜ Jia', enposition:'Music Director', pic:'./images/page/aboutpic2.png', txtcon:`吕嘉是享有国际盛誉的华人指挥大师。他生于上海的一个音乐世家，幼年学习钢琴和大提琴，后进入中央音乐学院，师从指挥大师郑小瑛学习指挥。24岁时，吕嘉进入德国柏林艺术大学，跟随汉斯·马汀·拉宾斯坦教授、罗伯特·沃尔夫教授继续深造。同年，吕嘉在意大利获得安东尼奥•佩得罗第国际指挥大赛第一名，并由此开始了辉煌的职业指挥家生涯。 在过去的近20年中，吕嘉在欧美及全球各国指挥歌剧及音乐会两千余场。他是第一位在意大利担任重要歌剧院总监的亚洲指挥家，也是第一位执棒芝加哥交响乐团的华人指挥家。在欧洲，他曾在斯卡拉歌剧院、巴伐利亚国立歌剧院、柏林德意志歌剧院，以及洛桑、都灵、罗马、那不勒斯、威尼斯、弗洛伦萨、法兰克福和斯图加特的众多歌剧院指挥过大量重要歌剧制作。在交响乐领域，他曾与众多国际顶尖交响乐团合作，如阿姆斯特丹皇家音乐厅管弦乐团、芝加哥交响乐团、莱比锡布商大厦管弦乐团、慕尼黑爱乐乐团、班贝格交响乐团、罗马圣塞西莉亚交响乐团、伯明翰城市交响乐团、利物浦皇家爱乐乐团、奥斯陆爱乐乐团、里昂国立管弦乐团、芬兰广播交响乐团、汉堡广播交响乐团、悉尼交响乐团，及众多其它欧美及澳洲乐团。 吕嘉是第一位录制全套门德尔松交响作品的华人指挥家，也是全球唯一录制了瑞典国宝级作曲家英瓦•利德霍姆全套交响乐作品的指挥家。他对德国古典浪漫派交响乐作品和法国印象派交响乐作品的诠释被盛赞为用“精准的音乐语言与完美的指挥技巧”演奏出“极其令人信服的音乐演绎”。2024年，吕嘉率国家大剧院管弦乐团历时数年录制的《布鲁克纳全套交响曲》唱片发行。英国权威古典音乐刊物《留声机》（Gramophone）评价该套唱片“极具情感表现力，音色灿烂而辉煌”，并将其与富特文格勒、切利比达克、海丁克等大师版本共同收录于“历史上最优秀的《布鲁克纳第六交响曲》唱片”榜单。 在身为歌剧故乡意大利和德国，吕嘉指挥的歌剧剧目超过50部，被意大利的音乐评论家誉为“比意大利人更懂得意大利歌剧的指挥家”。2007年，在意大利佩萨罗举行的罗西尼歌剧节上，吕嘉指挥的罗西尼歌剧《贼鹊》荣膺当年的“欧洲年度最佳歌剧大奖”。同年，意大利总统纳波利塔诺决定授予吕嘉“总统杯”，以表彰他为欧洲音乐文化的传播与发展做出的重要贡献。2012年，他还在举世瞩目的多明戈国际声乐比赛中担任评委，并由此成为该比赛有史以来唯一的华人评委。 2012年，吕嘉成为国家大剧院歌剧总监与首席指挥。由他监制和指挥的《罗恩格林》《漂泊的荷兰人》《奥赛罗》《费加罗的婚礼》《假面舞会》《托斯卡》等歌剧，在世界众多歌剧与音乐媒体上广获赞誉。凭借这些世界水准的歌剧制作，国家大剧院不仅成为全球歌剧舞台上的耀眼明星，更由此开辟了歌剧艺术在中国发展的新篇章。同时，吕嘉带领下的国家大剧院管弦乐团，也通过其在音乐会中令人叹服的表现，稳步崛起为中国新一代交响乐团的杰出典范。 2017年，吕嘉出任国家大剧院音乐艺术总监、国家大剧院管弦乐团音乐总监。在此之前，吕嘉曾任意大利维罗那歌剧院的音乐总监、西班牙特内里费交响乐团艺术总监，澳门乐团音乐总监兼首席指挥，并曾在意大利特里埃斯特歌剧院、佛罗伦萨交响乐团、罗马拉奇奥室内乐团及瑞典诺克平交响乐团担任艺术总监兼首席指挥。`, entxtcon:`The Chinese conductor Lü Jia has received great acclaim internationally. Born into a musical family in Shanghai, Lü began studying piano and cello at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing, under the tutelage of esteemed conductor Zheng Xiaoying. At the age of 24, Lü entered the University of Arts in Berlin, where he continued his studies under Professor Hans-Martin Rabenstein and Robert Wolf. The following year, he was awarded both the First Prize and Jury’s Prize at the Antonio Pedrotti International Conducting Competition in Trento, Italy, and launched his career as a conductor. Over the past decades, he has conducted over 2, 000 orchestral concerts and opera performances in Europe and America, and became the first Asian conductor to serve as the artistic director of a major Italian opera house, as well as the first Chinese conductor to lead Chicago Symphony. He has worked with important productions at the Bayersiche Staatsoper in Munich, the Deutsche Oper Berlin and La Scala in Milan, as well as opera houses in Lausanne, Turin, Rome, Naples, Verona, Venice, Florence, Frankfurt and Stuggart. He has also worked with many renowned orchestras including the Royal Concertgebouw Orchestra, Chicago Symphony Orchestra, Gewandhaus Leipzig, Munich Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, City of Birmingham Symphony Orchestra, Royal Liverpool Philharmonic, Oslo Philharmonic, Lyon National Orchestra in France, Finnish Radio Symphony, Hamburg Radio Symphony, Bamberg Symphoniker, Sydney Symphony Orchestra and many others across Europe, America and Australia. Lü Jia was the first Chinese conductor to record Felix Mendelssohn’s complete orchestral works, and also the only conductor so far who has recorded the complete works by the important Swedish composer Ingvar Lidholm. His interpretations of German Classical Romanticism and French Impressionists have been praised for their “extremely convincing musical interpretation" with "musical precision and perfect baton technique.” 2024 saw the release of Lü Jia and the China NCPA Orchestra's recording of Bruckner's complete symphonies, an album hailed by Gramophone magazine as "expressive and refulgent." Having directed nearly 50 operas in Italy and Germany, homelands of the European opera tradition, he has also been praised by Italian music critics as “a conductor who understands Italian opera even better than the Italians themselves do”. In 2007, his performance of La Gazza Ladra at the Rossini Opera Festival in Pesaro was voted as European Opera Production of the Year. That same year, in recognition of his important contribution to musical culture in Italy, Lü Jia was awarded the President’s Prize by President Giorgio Napolitano. In 2012, the Domingo International Vocal Competition invited Lü Jia to serve on the jury, making him the Competition’s first-ever Chinese jury member. Among his most recent engagements are appearances with the Melbourne Symphony Orchestra, “La Wally” at Teatro Lirico di Cagliari, a concert at Teatro Regio di Torino, a conducting masterclass in Italy organized by OnlyMaestros (marking his very first teaching engagement), and his participation as jury member at the Toscanini Conducting Competition. In the upcoming seasons, highlights include the opening of the Symphony Season at Teatro Carlo Felice in Genoa with Ettore Pagano, “Il turco in Italia” in Verona (Teatro Filarmonico) and a concert with the Orchestra Sinfonica Siciliana in Palermo. He will also return to the Orchestra Arturo Toscanini in Parma with violinist Charlie Siem, and to Verona Teatro Filarmonico for performances of Mahler’s Ninth Symphony. In 2012, Lü Jia was appointed Chief Conductor and Artistic Director of Opera at the National Centre for the Performing Arts (NCPA) in Beijing, China. Under his musical direction, NCPA's own productions of Lohengrin, The Flying Dutchman, Othello, Le Nozze di Figaro, Un Ballo in Maschera, Tosca, and many other works, have received glowing reviews from the international press. With these brand new productions aspiring to high international standards, the NCPA has become a strong contender in the world of opera, and also launched an exciting new chapter in the history of professional opera productions in China. In the meantime, the China NCPA Orchestra, under Lü's baton, has fast established itself as one of the leading new ensembles in the orchestral world in China, presenting impressive performances season after season. In 2017, LÜ Jia has been appointed as Artistic Director of Music of National Centre for the Performing Arts (NCPA), and Music Director of China NCPA Orchestra. Before taking up his current posts in Beijing, Lü served as Music Director at Fondazione Arena di Verona, Artistic Director at Symphony Orchestra of Tenerife, Music Director and Principal Conductor of Macao Orchestra, as well as Artistic Director and Chief Conductor at Teatro G. Verdi in Trieste, Orchestra Regionale Toscana in Florence and Norrkoping Symphony Orchestra in Sweden.`, }, { name:'陈佐湟', position:'桂冠指挥', enname:'Zuohuang Chen', enposition:'Conductor Laureate', pic:'./images/page/aboutpic3.png', txtcon:`陈佐湟生于中国上海。1965年毕业于中央音乐学院附中钢琴专业，1981年毕业于中央音乐学院指挥系，同年经小泽征尔先生推荐赴美国坦格乌德音乐中心及密西根大学音乐学院学习，1982年获音乐硕士学位，1985年获密歇根大学颁发的第一个乐队指挥音乐艺术博士学位，成为新中国第一个音乐艺术博士。 1985至1987年，陈佐湟在美国堪萨斯大学艺术学院任指挥副教授，期间获荣誉教授称号。 1987年，陈佐湟担任中国中央乐团指挥，并带领乐团赴美国纽约、华盛顿、芝加哥、旧金山、洛杉矶等二十四个城市进行了访问演出。此后，他又带领中央乐团、中国交响乐团、中国青年交响乐团、中国少年交响乐团及布达佩斯爱乐乐团、汉堡青年交响乐团等在欧洲、美洲和亚洲成功地进行了十多次巡演。1992年至1996年，陈佐湟又兼任美国罗德岛州爱乐乐团音乐总监和指挥，其间多次获得堪萨斯州和罗德岛州州长艺术奖和嘉奖令，深受乐团音乐家们和听众的赞赏和敬重。 1996年，陈佐湟辞去部份国外职务，回到中国，在原中央乐团的基础上组建中国交响乐团，并担任中国交响乐团首任艺术总监。中国交响乐团实行了国际上职业乐团通用的音乐季演出制，几年中邀请了上百位国际优秀音乐家来团合作，演出了大量中外交响乐作品，有力地推动了中国交响音乐事业的发展。陈佐湟带领乐团在国内许多城市及欧洲、，日本和墨西哥的访问演出获得了听众和乐评家的一致称赞。2002至2006年陈佐湟担任墨西哥UNAM爱乐交响乐团音乐总监；2004至2008年担任上海爱乐乐团音乐总监；2006至2010担任韩国仁川爱乐乐团艺术总监。 多年来，陈佐湟还应邀赴欧洲、美洲、拉丁美洲二十多个国家和地区担任三十多支交响乐团的客席指挥，包括苏黎世音乐厅管弦乐团、温哥华交响乐团、布达佩斯爱乐乐团、匈牙利国家交响乐团、古本江乐团、俄罗斯爱乐乐团、斯洛伐克广播交响乐团、冰岛交响乐团、等；在亚洲，他合作过的乐团包括香港管弦乐团、新加坡交响乐团、台北市立交响乐团及釜山爱乐乐团等。陈佐湟被称为“一位极有才华的音乐家”，“可能是自小泽征尔之后，最重要的亚裔指挥家”。他的指挥艺术“富有强烈的艺术魅力”，“具有站在任何一个乐队前面的权威”， 在多年的国际音乐活动中，陈佐湟向世界各国听众推荐中国交响乐新作及年轻艺术家的不懈努力，亦获得人们的普遍的敬重和赞扬。 陈佐湟自2007年始担任中国国家大剧院音乐艺术总监，2010年至2012年担任中国国家大剧院管弦乐团首席指挥，现为乐团桂冠指挥，自2012年起兼任贵阳交响乐团音乐总监。`, entxtcon:`Zuohuang Chen started his early piano study at the Middle School attached to the Central Conservatory of Music in Beijing, and later graduated from the Conservatory’s Conducting Department. At the recommendation of Seiji Ozawa, Chen went to the United States to study at the Tanglewood Music Center and at the School of Music, University of Michigan. He has the honor as the first person ever to have received the degree of Doctor of Musical Arts in Orchestral Conducting from the University of Michigan, as well as becoming the first Doctor of Musical Arts of P. R. China. In 1987, Chen assumed the position of conductor of the Central Philharmonic Orchestra of China and led it on a historic tour covering 24 cities in the United States, including New York, Washington D.C., Chicago, Detroit, San Francisco, and Los Angeles. He also led more than a dozen of orchestral tours in Europe, America and Asia with the Central Philharmonic Orchestra of China, China National Symphony Orchestra, Shanghai Philharmonic Orchestra, China Youth Symphony Orchestra, Budapest Philharmonic Orchestra, Hamburg Youth Orchestra and Incheon Philharmonic Orchestra of S. Korea. Since 1980s, Chen has been the Conductor of the Central Philharmonic Orchestra of China, Music Director of the Wichita Symphony Orchestra, and Music Director of the Rhode Island Philharmonic Orchestra. Chen was the founding Artistic Director of China National Symphony Orchestra in 1996. He has also been the Music Director of UNAM Philharmonic Orchestra in Mexico City, Artistic Director of Shanghai Philharmonic Orchestra, and Music Director of Incheon Philharmonic Orchestra of S. Korea. Chen is a much sought-after musician and has been invited to be guest conductor of several dozens of orchestras around the world. He also has been invited as the jury member of many international musical mcompetitions. Maestro Chen’s art of conducting has won praises from the audience and musicians wherever he works. The persistent enthusiasm to introduce and promote Chinese symphonic music and young musical talents to the world made him a respected and welcome musical figure worldwide. What ’s more, he is committed to promoting extensively symphonic music in China and now also works as the Artistic Director of Guiyang Symphony Orchestra. Zuohuang Chen had been the Artistic Director of Music at China’s National Centre for the Performing Arts from 2007-2016, and was the first Chief Conductor of China NCPA Orchestra between 2010 and 2012, and currently is the Conductor Laureate. He had been Music Director of Guiyang Symphony Orchestra from 2010 to 2015, and became Conductor Emeritus in 2015.`, }, { name:'张弦', position:'首席客座指挥', enname:'Xian Zhang', enposition:'Principal Guest Conductor', pic:'./images/page/aboutpic4.png', txtcon:`西雅图交响乐团音乐总监、新泽西交响乐团音乐总监、米兰交响乐团荣誉指挥、中国国家大剧院管弦乐团首席客座指挥。 2025/26乐季是格莱美®奖和艾美奖双料得主、指挥家张弦担任新泽西交响乐团音乐总监的第十年。在其艺术指导下，该乐团音乐会影片《EMERGE》等作品于2022年荣获大西洋中部艾美奖两项奖项。自2008年首次合作以来，张弦与西雅图交响乐团长期保持着合作关系，并将在2025/26乐季正式出任其音乐总监。在2009至2016年担任米兰交响乐团音乐总监后，她至今仍担任该团荣誉指挥。张弦还将自2025/26乐季起担任中国国家大剧院管弦乐团首席客座指挥。 作为客座指挥，张弦定期与洛杉矶爱乐乐团和费城交响乐团合作。她与费城交响乐团以及“三人时光”（Time for Three）三重奏合作为德意志留声机公司（Deutsche Grammophon）录制的专辑《致未来的信》（Letters for The Future，2022年发行）荣获格莱美®最佳当代古典作曲——凯文·普茨（Kevin Puts）《接触》（Contact），和最佳古典器乐独奏两项大奖。 2025/26乐季的亮点包括重返费城交响乐团、纽约爱乐乐团、圣路易斯交响乐团及加拿大国家艺术中心乐团。在欧洲，她将重返荷兰广播爱乐乐团并于阿姆斯特丹音乐厅执棒演出，并首次亮相芬兰国家歌剧院指挥《托斯卡》（Tosca）。此前她在纽约大都会歌剧院取得巨大成功——2023/24乐季的《蝴蝶夫人》(Madama Butterfly)与2024/25乐季的《托斯卡》均获得高度赞誉。 “库尔扎克（Kurzak）的成功，很大程度上得益于指挥家张弦对音乐的细腻处理。她拥有绝佳的声部平衡感，能引导乐团奏出极尽柔和与透明的音色……凭借卓越的艺术造诣和观众缘，张弦必将成为大都会歌剧院指挥团队的中坚力量。”——《纽约古典评论》（New York Classical Review） 近期其他重要演出还包括与波士顿交响乐团、伦敦交响乐团、圣保罗州交响乐团（Orquestra Sinfônica do Estado de São Paulo）、休斯顿交响乐团、旧金山交响乐团、华盛顿国家交响乐团、蒙特利尔交响乐团、巴尔的摩交响乐团以及图卢兹国家管弦乐团（Orchestre National du Capitole de Toulouse）的定期音乐会系列合作。同时，她与圣卢克乐团在卡内基音乐厅指挥上演了勃拉姆斯（Brahms）的《德意志安魂曲》（Requiem）。 张弦曾担任墨尔本交响乐团及BBC威尔士国家管弦乐团与合唱团首席客座指挥，成为BBC交响乐团中首位拥有头衔的女性指挥家。2002年，她在马扎尔/维拉指挥比赛中荣获一等奖，同年被任命为纽约爱乐乐团助理指挥，随后晋升为副指挥，并成为首位担任阿尔图罗·托斯卡尼尼席位（Arturo Toscanini Chair）的指挥家。`, entxtcon:`Music Director of Seattle Symphony, Music Director of New Jersey Symphony, Conductor Emeritus Orchestra Sinfonica di Milano, and Principal Guest Conductor of China NCPA Orchestra. 2025/26 marks the GRAMMY® and Emmy Award-winning conductor Xian Zhang’s tenth season as Music Director of the New Jersey Symphony Orchestra. Under her artistic leadership, NJ Symphony won two awards at the mid-Atlantic Emmy Awards in 2022 for their concert films, including “EMERGE”. As of 2025/26, she also becomes the Music Director of Seattle Symphony with whom she has been a long-term collaborator since her debut in 2008. Following her tenure as Music Director of Orchestra Sinfonica di Milano between 2009-16, she continues as their Conductor Emeritus. Xian Zhang will assume the post of Principal Guest Conductor of the China NCPA Orchestra starting with the 2025/26 season. As a guest conductor, Zhang appears regularly with Los Angeles Philharmonic and Philadelphia Orchestra. Her Deutsche Grammophon recording with the latter (Letters for The Future with Time for Three, released 2022) won GRAMMY® awards for Best Contemporary Classical Composition (Kevin Puts’ Contact) and Best Classical Instrumental Solo. 2025/26 highlights include returns to Philadelphia Orchestra, New York Philharmonic, St Louis Symphony, and National Arts Centre Ottawa. In Europe, she returns to Netherlands Radio Philharmonic with a performance at the Amsterdam Concertgebouw, and makes her debut at Finnish National Opera conducting Tosca. This follows her huge success at the Metropolitan Opera in New York, where she recently conducted Madama Butterfly (2023/24) and Tosca (2024/25) to great acclaim: “The success of Kurzak’s performance was due in no small part to Xian Zhang’s sensitivity as a conductor. Zhang has an exceptional ear for balance, as well as the ability to draw the softest, most transparent tones imaginable from the orchestra. [… ] With such skills and obvious audience appeal, Zhang should prove a valuable addition to the Met’s conducting staff.” – New York Classical Review Other recent highlights include subscription programmes with Boston Symphony Orchestra, London Symphony Orchestra, Orquestra Sinfônica do Estado de São Paulo, Houston Symphony, San Francisco Symphony, Washington’s National Symphony Orchestra, Montreal Symphony, Baltimore Symphony, Orchestra of St Luke’s (including Brahms Requiem at Carnegie Hall), and Orchestre National du Capitole de Toulouse. Zhang previously served as Principal Guest Conductor of the Melbourne Symphony Orchestra and BBC National Orchestra & Chorus of Wales, the first female conductor to hold a titled role with a BBC orchestra. In 2002, she won first prize in the Maazel-Vilar Conductor’s Competition. She was appointed New York Philharmonic’s Assistant Conductor in 2002, subsequently becoming their Associate Conductor and the first holder of the Arturo Toscanini Chair.`, }, { name:'赖嘉静', position:'驻团指挥', enname:'LAI Jiajing', enposition:'Resident Conductor', pic:'./images/page/aboutpic5.png', txtcon:`国家大剧院管弦乐团驻团指挥、天津茱莉亚学院教师。赖嘉静拥有中央音乐学院及美国辛辛那提大学音乐学院乐队指挥双硕士学位，并已完成中央音乐学院交响乐歌剧指挥专业博士课程，师从陈琳、马克·吉布森(指挥)与P.V.多布罗夫斯基(钢琴)等名家。 她的艺术履历兼具深度与广度。在歌剧方面，她不仅执棒了《波西米亚人》《女人心》等经典剧目，亦深度参与了《阿凡提》《没头脑和不高兴》等国家大剧院原创儿童歌剧的创排。在交响乐领域，她自2021年起频繁执棒国家大剧院管弦乐团，活跃于乐季音乐会舞台。她的国际视野与才华早年即获认可:曾作为最年轻指挥从全球三百余名候选者中脱颖而出，受邀参与琉森音乐节“伯纳德·海廷克大师班”;并于2018年荣获墨西哥首届OFUNAM国际指挥大赛第二名及乐团成员票选“特别奖”。 在音乐教育领域，她自2010年起兼任北京爱乐合唱团(杨鸿年创立)指挥及钢琴艺术指导，并曾获俄罗斯第九届“尤·法力克-歌唱世界”国际合唱比赛“最佳器乐伴奏奖”。她自2021年受聘于天津茱莉亚学院，负责预科部合唱与弦乐合奏教学。 赖嘉静于2022年加入国家大剧院管弦乐团，出任助理指挥，并于2025年升任驻团指挥。任职期间，深度参与乐团核心艺术生产，协助音乐总监吕嘉，并与众多国际指挥大师紧密合作，包括:首席客座指挥张弦，以及郑明勋、丹尼尔·加蒂、瓦莱里·捷杰耶夫、梵志登、劳伦斯·福斯特 等，完成了多部重要歌剧与交响乐作品的排演，积淀了深厚的职业乐团经验。`, entxtcon:`LAI Jiajing currently serves as assistant conductor of the China NCPA Orchestra. She won the 2nd prize and OFUNAM prize in the 1st OFUNAM International Conducting Competition and returned to China National Centre for Performing Arts, premiering an NCPA production Chamber Opera A Story About Growing Up, which was a notable highlight. Born in Hunan, China, in 1991, LAI Jiajing received her first piano lesson when she was five. In 2003, at the age of 12, she was admitted to and studied piano at the Middle School Affiliated to the Xinghai Conservatory of Music in Guangzhou. She was a harpsichord player in the chamber orchestra at the school from 2005 to 2008. In 2009, she entered the Central Conservatory of Music in Beijing, where she studied conducting under CHEN Lin. LAI Jiajing obtained her Master's Degree in Orchestral Conducting at the University of Cincinnati College-Conservatory of Music in 2018. In 2012, LAI Jiajing began to serve as an assistant conductor at the China National Opera House. In December, the premiere of her Puccini's La Bohème was an instant success. The same year, as the youngest contestant, she was a semi-finalist at the 1st Li Delun National Conducting Competition. In March 2013, she had the honor of being selected by Maestro Bernard Haitink to participate in the Master Class at the Lucerne Festival in Switzerland. During 2014-2015, appointed the conductor of the China Chamber Opera Composing Competition, LAI Jiajing was also an assistant conductor and opera coach during the World Premiere of Opera NORA in Tianjin Grand Theater, China. Following completion of her position as conductor from 2015 until 2016 – highlights include La Traviata with the China National Opera House in Beijing, and Così Fan Tutte with the Creation Opera Institue in Taiwan. In 2017, She was invited to participate in Gstaad Conducting Academy under the training of Maestro Jaap van Zweden. She made her debut with Gstaad Music Festival Orchestra. LAI Jiajing's talent in music has earned her much attention in recent years from, and was recognized by, a few leading conductors including Lorin Maazel, Bernard Haitink and Michael Tilson Thomas, who also kindly offered their help in perfecting LAI's skills. LAI Jiajing is a DMA student in Orchestral Conducting of the Central Conservatory of Music.`, }, ], txtcon:`国家大剧院管弦乐团2010年在北京的创建，是开启中国交响乐发展新篇章的里程碑事件。同蓬勃进取的时代和有容乃大的城市相伴相生，他们始终以澎湃的热情与创新精神、不懈的奉献与精进品格，为最高品质的音乐演奏和传播而矢志不渝。
历经十五年光辉旅程，汇聚百位卓越演奏家，今天的国家大剧院管弦乐团是享有崇高艺术威望的顶级乐团，也是北京及全中国音乐生活发展前行的卓越引领者。作为世界级表演艺术地标，国家大剧院是其主要驻地，更是其出色国际视野、文化底蕴、艺术创想的源泉。百余位新生代海内外音乐翘楚以此为家，凭出众的才华和情怀成为新时代顶尖国家乐团的代言者。
乐团每年均以48周乐季呈现逾百场精彩演出，带领近20万观众遨游深邃音乐世界、感受触动心弦的美妙时刻，推动中国音乐生活不断的探索和突破。他们独有的热情、活力和精湛技艺，堪称其标志性的艺术风格。他们携手指挥家马泽尔、梅塔、捷杰耶夫、郑明勋、艾森巴赫、丹尼尔·加蒂、梵志登、法比奥·路易斯、阿什肯那齐、吕绍嘉、张弦、李心草、张国勇、张艺、李飚、林大叶等，钢琴家布赫宾德、科瓦塞维奇、布尼亚季什维莉、阿卜杜瑞莫夫、沃洛丁、郎朗、王羽佳、张昊辰、陈萨、维京格尔·奥拉夫松等，大提琴家卡普松、王健、秦立巍等，小提琴家穆特、郑京和、列宾、吕思清、宁峰等，中提琴家梅第扬，歌唱家多明戈、努奇、弗莱明、李晓良、和慧、沈洋、宋元明等大师级艺术家，创造了无数难忘的巅峰现场。
将艺术创意和人文情怀相结合，使音乐成为融汇古今与东西、沟通艺术与现实的桥梁，是乐团始终坚守的乐季理念。除了精湛演绎历史经典，他们还不遗余力支持现代音乐及青年作曲家，有硕果累累的新作委约、唱片出版。从陈其钢、赵季平、于京君、马格努斯·林德伯格、奥古斯塔·里德·托马斯、卡列维·阿霍等顶尖大师，到倾力参与的国家大剧院青年作曲家计划，他们促生了陈其钢《江城子》《如戏人生》、赵季平《第一小提琴协奏曲》《第二琵琶协奏曲》、于京君《日新》、盛宗亮《神鸡破晓》、黄若《蝶·变》、多伊奇《现象》等优秀新作，推动了中国现代音乐发展及其在海外的推广。2012年，已故大师马泽尔执棒其改编的瓦格纳《无词指环》由索尼发行，被大师评价为该作品有史以来“最完美的演绎”；2019年，贝多芬《第九交响曲》获颁中国发烧唱片大奖；2021年，贝多芬《爱格蒙特》戏剧配乐是该作品首次中国录音。历时三年并在2024年完成的布鲁克纳全套交响曲演出和唱片灌制，是乐团发展和布鲁克纳在中国推广介绍的历史性事件。《留声机》杂志（Gramophone）评价该套唱片：“极具情感表现力，音色灿烂而辉煌”，并将其收录“布鲁克纳第六交响曲最佳录音指南”。
在歌剧舞台上，他们缔造了中国歌剧音乐演绎的全新高度，对歌剧艺术在中国的介绍、推广和发展怀有划时代的贡献。十余年来，他们演绎了近70部歌剧制作，成就了瓦格纳《罗恩格林》《纽伦堡的名歌手》、威尔第《西蒙·波卡涅拉》、圣-桑《参孙与达丽拉》、多尼采蒂《拉美莫尔的露琪亚》、普契尼《西部女郎》等歌剧的中国首演，并世界首演印青《长征》、郭文景《骆驼祥子》等17部中国歌剧。2024年至2027年，乐团将首次演绎全本国家大剧院版瓦格纳《尼伯龙根的指环》。
他们经常以丰富的艺术活动，走进学校、社区、医院、博物馆，使音乐之美融入生活、触手可及。2024年，乐团管理运行的“北京青年交响乐团”远赴纽约，参加世界青年管弦乐团周，在卡内基音乐厅登台演出。2020年起，他们开始推出线上演出，场均浏览量近3000万。乐团以“艰深的曲目和爆棚的状态”（《音乐周报》）、“引领观众和行业的格局和勇气”（《北京日报》）三度完成中国巡演。
作为国家文化使者，他们赴柏林、纽伦堡、基辛根、悉尼、首尔、大邱、新加坡、华盛顿、芝加哥、纽约、费城、安娜堡、教堂山、旧金山、渥太华、多伦多、蒙特利尔、莫斯科、圣彼得堡、爱丁堡、汉堡等地巡演。2014年和2017年，他们同吕嘉两赴北美，成为首支进入纽约卡内基音乐厅、芝加哥交响中心、旧金山戴维斯大厅、蒙特利尔交响大厅官方演出季的中国乐团，也因“欢欣愉悦的自信和朝气蓬勃的力量”（Musical America）被赞誉为“光彩四射和一流水准的乐团”（ConcertoNet）。2025年，乐团携手郑明勋完成首度欧洲多国巡演，登台爱丁堡艺术节、桑坦德国际艺术节、易北爱乐音乐厅，“毋庸置疑地展现出宏大的艺术抱负”（《汉堡晚报》），获得“热烈而一致的喝彩，观众持续欢呼”（Bachtrack）。
吕嘉自2012年接任陈佐湟成为首席指挥，并从2017年兼任乐团音乐总监及国家大剧院音乐艺术总监。2025/26乐季起，张弦任首席客座指挥。2022年，赖嘉静正式加入国家大剧院管弦乐团，现任驻团指挥。
`, entxtcon:`China NCPA Orchestra is the resident orchestra of the National Centre for the Performing Arts (NCPA), Beijing. Since its founding in 2010, the orchestra has quickly established itself as one of the most adventurous and dynamic orchestras in the country and earned an international reputation through extensive performances abroad.
Numerous world-renowned artists have collaborated with the orchestra, including Lorin Maazel, Zubin Mehta, Valery Gergiev, Myung-Whun Chung, Christoph Eschenbach, Daniele Gatti, Jaap van Zweden, Fabio Luisi, Vladimir Ashkenazy, Leif Segerstam, Gunter Herbig, Shao-Chia Lu, Xian Zhang, Rudolf Buchbinder, Stephen Kovacevich, Khatia Buniatishvili, Lang Lang, Yuja Wang, Haochen Zhang, Víkingur Ólafsson, Kyung-Wha Chung, Vadim Repin, Siqing Lu, NING Feng, Jian Wang, Gautier Capucon, Alison Balsom, Sabine Meyer, Placido Domingo, Leo Nucci, and Renee Fleming among many others. Lorin Maazel worked closely with the orchestra before his passing and praised the musicians for their “amazing professionalism and great passion in music”. Christoph Eschenbach also declared it as “one of the finest orchestras in Asia”.
Over the years, the orchestra has gained critical acclaim for its artistic excellence in both concerts and operas. To date they have played in over 70 NCPA opera productions, including classical repertoires such as Das Rheingold, Die Walküre, Tristan and Isolde, Die Meistersinger von Nürnberg, Aida, Otello, Nabucco, Tosca, Turandot, The Marriage of Figaro, Don Giovanni, Eugene Onegin, and newly commissioned works Rickshaw Boy, The Long March, Fang Zhimin, The Jinsha River, Visitors on the Snow Mountain and The Dawns Here Are Quiet. Their live recording of The Ring without Words with its creator, Lorin Maazel, was released on SONY Music worldwide, the only recording the great maestro ever made with an orchestra from China. In 2019, the orchestra’s recording of Beethoven's Symphony No. 9 was awarded "Best Orchestral Album" at the 2018 Chinese Audiophile Vinyl Award. In 2021, the NCPAO released Beethoven’s Egmont becoming the first Chinese orchestra to record this masterpiece. In celebration of the decade-long tenure of its Music Director LÜ Jia, the orchestra released a selection of live recordings conducted by him in 2022. 2024 saw the orchestra release its recording of the complete Bruckner symphonies, praised by Gramophone as "expressive and refulgent".
The orchestra has consistently offered creative and diverse programmes through its concert season. As part of its continuous efforts to promote contemporary music, the orchestra presented the China Premieres of major works by John Adams, Toru Takemitsu et al. and gave the World Premieres of dozens of substantial new orchestral works commissioned from composers across the globe, including Qigang Chen, ZHAO Jiping, Michael Gordon, Kalevi Aho, Huang Ruo, Bright Sheng, Bernd Richard Deutsch, et al. It has also played a significant role in the NCPA's Young Composers Programme, providing a unique platform nurturing the next generation of composers in China.
Alongside its concert series, the orchestra has received widespread praise for its international appearances at the Kissingen Summer Music Festival and the Schleswig-Holstein Musik Festival and concerts in many cities in Germany, as well as in Sydney, Singapore, Seoul, Daegu, Abu Dhabi, Taipei and Macau. In 2014, the orchestra undertook its first North American tour and returned in 2017, where it performed at Carnegie Hall, Chicago Symphony Center, Davies Symphony Hall and other major venues in the US and Canada, under the baton of LÜ Jia. Musical America praised its “joyful confidence and youthful strength”. Concerto Net described it as “a polished, first rate ensemble”. In 2021, they appeared in "See Me: A Global Concert" along with world-wide artists, orchestras and choirs as part of the Opening Ceremony of the World Economic Forum’s Davos Agenda virtual event. In 2022, the orchestra recorded for the Opening Ceremony of the Beijing 2022 Winter Olympics, accompanying billions of viewers as they witnessed the lighting of the Olympic flame. In April 2023, musicians from the orchestra visited South America, performing joint concerts with the Sao Paulo Symphony Orchestra in Brazil and the Instituto Superior de Arte del Teatro Colon in Argentina.
In 2025, the orchestra, led by Myung-Whun Chung, completed its first multi-country European tour, performing at the Edinburgh International Festival, Santander International Festival, and Elbphilharmonie, receiving“immediate and unanimous (ovation)” (Bachtrack), and was hailed by the Hamburger Abendblatt as "cleanly and richly sonorous…The ambition of this orchestra was unmistakably great".
With its commitment to educational and outreach activities, the orchestra has presented a series of Weekend Matinee Concerts at its home venue, providing local audience specially selected programmes and accessible ticket prices. The orchestra also frequently initiates wide-reaching educational projects in association with educational institutions across the city. In 2020, the orchestra launched an online concert series drawing an average audience of 30 million viewers. In 2024, the Beijing Youth Orchestra, operated by the NCPAO, participated in World Orchestra Week and made its international debut at Carnegie Hall. April 2021 saw the orchestra complete their first six-city national tour, which Music Weekly praised as "a series of sophisticated programs in concerts that blew the roof off," followed by two national tours in March 2023 and March 2025.
In February 2012, LÜ Jia took up the post of Chief Conductor, succeeding Zuohuang Chen, NCPA’s then Artistic Director of Music as well as a founder of the orchestra. In January 2017, LÜ Jia started serving as NCPA's Artistic Director of Music and the NCPA Orchestra's Music Director. Beginning in the 2025/26 season, Xian Zhang assumes the role of Principal Guest Conductor. In 2022, LAI Jiajing was appointed as Assistant Conductor.
`, }, // 乐团名单 musicians: [ { title:`乐团首席`, entitle:`Concertmaster`, list: [ { pic:`../peoimg/101.png`, name:`李喆`, enname:`LI Zhe`, tiptype: 0, tips:``, entips:``, }, ] }, { title:`客座乐团首席`, entitle:`Guest Concertmaster`, list: [ { pic:`../peoimg/201.png`, name:`王晓明`, enname:`WANG Xiaoming`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/202.png`, name:`王敬`, enname:`WANG Jing`, tiptype: 0, tips:``, entips:``, }, ] }, { title:`乐团副首席`, entitle:`Associate Concertmaster`, list: [ { pic:`../peoimg/301.png`, name:`陈述`, enname:`CHEN Shu`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/302.png`, name:`白云飞`, enname:`BAI Yunfei`, 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.png`, 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.png`, 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.png`, name:`刘晓旭`, enname:`LIU Xiaoxu`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/509.png`, 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.png`, name:`张炎琰`, enname:`ZHANG Yanyan`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/512.png`, 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.png`, name:`向庭萱`, enname:`XIANG Tingxuan`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/515.png`, name:`董智超`, enname:`DONG Zhichao`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/516.png`, name:`曹歆唯`, enname:`CAO Xinwei`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/517.png`, 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/602.png`, name:`杨瑞`, enname:`YANG Rui`, tiptype: 1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/621.png`, name:`唐铭偲`, enname:`TANG Mings`, tiptype: 4, tips:`联合首席`, entips:`Co-Principal`, }, { pic:`../peoimg/601.png`, name:`刘弦`, enname:`LIU Xian`, tiptype: 2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/604.png`, name:`纪东丹`, enname:`JI Dongdan`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/605.png`, name:`纪雯彧`, enname:`JI Wenyu`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/606.png`, 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.png`, 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.png`, 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.png`, 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.png`, name:`郭颖心`, enname:`GUO Yingxin`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/616.png`, 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.png`, name:`景思齐`, enname:`JING Siqi`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/620.png`, name:`周榆浩`, enname:`ZHOU Yuhao`, tiptype: 0, tips:``, entips:``, }, ] }, { title:`中提琴`, entitle:`Viola`, list: [ { pic:`../peoimg/701.png`, name:`郝学嘉`, enname:`HAO Xuejia`, tiptype: 1, tips:`首席`, entips:`Principal`, }, { pic:`../peoimg/717.png`, name:`庄然`, enname:`ZHUANG Ran`, tiptype: 2, tips:`客座首席`, entips:`Guest Principal`, }, { pic:`../peoimg/702.png`, name:`何静`, enname:`HE Jing`, tiptype: 3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/703.png`, name:`张淼`, enname:`ZHANG Miao`, tiptype: 3, tips:`副首席`, entips:`Associate Principal`, }, { pic:`../peoimg/705.png`, 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.png`, 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.png`, 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.png`, 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.png`, 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.png`, 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.png`, name:`尹龙`, enname:`YIN Long`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/805.png`, 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.png`, 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.png`, name:`赵海岐`, enname:`ZHAO Haiqi`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/904.png`, name:`张广元`, enname:`ZHANG Guangyuan`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/905.png`, name:`刘相全`, enname:`LIU Xiangquan`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/906.png`, name:`周元龙`, enname:`ZHOU Yuanlong`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/907.png`, name:`范一鸣`, enname:`FAN Yiming`, tiptype: 0, tips:``, entips:``, }, { pic:`../peoimg/908.png`, name:`裴利特`, enname:`PEI Lite`, 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.png`, 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.png`, 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.png`, 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.png`, 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: 3, tips:`副首席`, entips:`Associate Principal`, }, { 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.png`, 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.png`, 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:`团长`, entitle:`Chief Executive Officer`, list: [ { name:`李喆`, enname:`Li Zhe`, }, ] }, { title:`副团长`, entitle:`Chief Executive Officer`, list: [ { name:`汤宁`, enname:`Tang ning`, }, { name:`王与兵`, enname:`Wang Yubing`, }, ] }, { 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:`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(兼)`, 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`, }, ] }, ], mediareports: [ { entxt:`”The orchestral playing is notably expressive and refulgent. Anyone listening to these recordings without knowing the identity of the orchestra would be hard pressed to tell from both the solo and ensemble playing that this is not one of the major European or American ensemble.”`, enautor:`—— Gramophone`, txt:`“其演奏都极具表现力，辉煌灿烂。对不了解这支乐团背景的听众来说，仅从声部独奏与乐团合奏的表现来听，很难相信这居然不是来自欧美顶尖乐团的演奏。”`, autor:`——《留声机》杂志`, }, { entxt:`“The ovation was immediate and unanimous…The performance left an afterglow that made one all the more eager for the new season to begin in just two weeks’ time.” `, enautor:`—— Bachtrack ★★★★`, txt:`“全场立刻爆发出热烈而一致的喝彩，观众持续欢呼……当夏夜温柔地笼罩着汉堡，这场演出留下的艺术余韵，让我们对几周后即将开启的新乐季更加充满期待。”`, autor:`—— Bachtrack ★★★★`, }, { entxt:`“An interpretive flair and sense of splendor.”`, enautor:`—— Musical America`, txt:`“精湛的演绎神采与恢弘气韵。”`, autor:`——《音乐美国》杂志`, }, { entxt:`“The ambition of this orchestra was unmistakably great.”`, enautor:`—— Hamburger Abendblatt`, txt:`“其纯净而又饱满的音效证明了自身的专业水准。这支乐团的艺术抱负之宏大，在此得到了毋庸置疑的展现。音乐厅内的欢呼声同样热烈，尤其在安可曲《卡门》序曲激情奏响之时，全场气氛达到顶点。”`, autor:`——《汉堡晚报》`, }, { entxt:`“The highlight of the evening was the orchestra’s consummate reading…the grandiose theme that brings the work to a rousing conclusion.”`, enautor:`—— The Scotsman ★★★★`, txt:`“当晚的亮点是乐团的精彩演绎……最终成就震撼人心的尾声。”`, autor:`——《苏格兰人》★★★★`, }, { entxt:`“This is a group of the highest quality…perfect orchestral performance.”`, enautor:`—— Cantabria24Horas`, txt:`“从第一声听起，就能感受到这是一支具备一流水准的乐团……令人瞩目的是乐团在不同声部、不同音色间形成的高度统一感，宛如数学精确般服务于创造性的音乐才华。”`, autor:`——西班牙坎塔布里亚24小时`, }, { entxt:`“A polished, first-rate ensemble.”`, enautor:`—— Concertonet`, txt:`“一支光彩四溢和水准一流的乐团。”`, autor:`—— Concertonet`, }, ] }