主标题
小曲儿
Xiao Qu’ Er
副标题
大俗演世道 大雅味古今
A Suite of Little Songs from China’s Performing Arts Traditions
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铙儿钵儿碟儿板儿
击市井百态常有味道
曲子坠子笛子弦子
演人心万象皆是文章
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Discover the colorful musical traditions of China’s Traditional Performance Arts
Travel through China to hear songs elegant and common, ancient and modern
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十曲种地域横亘南北
经典名段尽显风流
数十种民乐器趣致演绎生动描摹
绘出数百年大俗大雅中国市井风情
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Explore some of the more than 300 kinds of Quyi from across China
Songs of Love and Heroes and Everyday Life
Vividly Performed on Traditional Folk Instruments
A Musical Banquet of China’s Urban Popular Culture
不干胶广告语
《粉墨是梦》作曲家孟庆华再度谱写
曲艺经典名段首度器乐化
趣致民族打击乐直击人心
数十人弦乐组恢宏烘托
亚洲顶级录音师精湛录制
德国/日本后期制作精雕细琢
瑞鸣音乐再续《粉墨。主题》
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Internationally acclaimed composer Meng Qinghua returns following the success of his previous albums, “Dream of an Opera” I & II and “The Song of Songs” to present a program drawing upon China’s rich tradition of Quyi - Singing and Story-Telling Arts.
Meng Qinghua’s colorful and innovative compositions, performed by of some of China’s most celebrated Folk musicians brings the rich traditions of China’s Performing arts into the 21st Century.
Featuring an ensemble of 24 string soloists from China’s Best Orchestras.
Recorded by Asia’s Top Sound Engineer.
With Post-Production by World-Class German and Japanese Technicians.
Rhymoi Music triumphs once, presenting the treasures of Chinese Culture to a new generation!
前言
“天下熙熙，皆为利来；天下攘攘，皆为利往……”
这“熙熙攘攘”四字，传神而诱人地勾画出几千年的世俗欢喜，古往今来天南地北，无关货殖无关利益。浮生半世在这闲情一刻，远望尘缘阡陌的万种世态，近赏市井闾巷的人情风土，竟也有趣得紧，快活得紧。
三月杏花天，信步于街市通衢，两边店铺鳞次栉比：纸札铺、药铺、八宝铺、绒线铺、铁器铺、头面铺、花朵铺、漆铺、针铺、香药铺……各色人等来往喧哗：木匠、银匠、铁匠、陶匠、箍缚盘甑的、贩油的、贩盐的、织草鞋的、做扇子的、磨镜子的……好一番热闹欣荣满目繁华。
若行倦了，便随意流连于那片勾栏瓦舍，看一出王魁负桂英，或一出宦门子弟错立身，唏嘘一番戏中悲欢善恶；若渴了乏了，便歇脚在某间酒楼茶肆，或花竹扶疏听笙弦怡人，或煎点茶汤看人情热络，世态百种穷形尽相。
更有“孟春和风庆上元”，花市灯如昼，金吾浑不禁，街市上往来车马灯河也似，或鼓吹细腻不绝于耳，或夯歌野调村村势势，端的一个大热闹大快活；再有端午龙舟竞渡，棹歌乱响喧振水陆，鼓声如雷观者如云，无论王公官吏或升斗小民，皆是欢腾雀跃乐在其中。
这一遭太平风流景致，走马观花疏疏览来，虽有五分市井俚俗，更有十分古朴动人。而这千百年的风情世景，何以活泼泼鲜灵灵流传到今？却是一枚醒木一柄扇，一支小曲儿演古今。这曲儿，宋元的鼓子词、诸宫调演过它，明清的道情、莲花落演过它，今日的大鼓、评弹、时调、清音还是演它，将一段段传奇话本，演出十足的神韵，十足的热闹。有道是：人心世情皆入画，古趣今同总堪讴。
曲艺凡几百种，各以说唱相谐流传一方。而将传统曲艺作品以纯器乐形式表现，却是古往今来的头一遭。说唱艺术常依字行腔，甚至以方言行腔，与器乐语言距离甚远，改编殊为不易；何况还须兼顾原作的韵致味道，更要煞费心机。
这样说来，这张《小曲儿》倒也许算得上开天辟地头一张。瑞鸣音乐自《粉墨是梦》二辑与《伶歌》引起轰动之后，与著名作曲家孟庆华四度联手，以曲艺点题，以世情趣致入题，打造“瑞鸣粉墨主题”之蓬勃新篇。
专辑从中国四百多种现存曲艺剧种选出十种，涵盖河北、北京、天津、河南、山东、四川、东北、广东等地特色，各取代表；又多以轻松趣致为遴选标准，也兼顾部分抒情经典之作，整体听来摇曳生姿，各具其妙。
专辑突出民族打击乐的表现，以节奏填灭曲艺作品依字行腔和现代作曲手段之间的鸿沟，更独出机杼韵味幽远：一式铃鼓，在《剑阁闻铃》中点染雨夜离愁别恨，在《穆桂英指路》中描摹马蹄疾奔，在《布谷鸟儿咕咕叫》中似鸟鸣清脆可人,其余各色鼓、各色锣、各色板儿盅儿磬儿木鱼儿，数来竟有十余种，其中更有白净瓷碟儿一枚玲珑入曲《老少换》，实可谓穷尽想象之能。
胡琴、唢呐、笛箫、古筝等等主奏乐器亦尽态极妍，对话感身临其境。如评弹《情探》中二胡与琵琶不疾不徐的温婉格调，如粤曲《分飞燕》中高胡、洞箫和古筝共同织就的深沉雍容，如东北二人转《大西厢》中板胡、唢呐和古筝合演角色分明的三人戏份。更有二十四柄提琴组成的弦乐组，令曲作呈现如同画卷上水墨洇染的丰富层次，质感深厚，情怀动人。
世间唯求丹青手，人心万象始画成。专辑秉承瑞鸣音乐务求精良的传统，延请国内顶级国乐名家们倾力演奏。姜克美、邓建栋两位胡琴圣手炫技骋情，赵家珍的古琴空蒙幽雅，戴亚的笛箫婉转如诉，张顺翔的京胡骨格清奇，张强的琵琶极尽秀妍，李聪农的打击乐激越镗踏，以及国交及爱乐二十四位演奏家的完美弦乐合衬，令《小曲儿》这张意出清新逗趣的别致专辑，质朴而富质感，世情而不世俗。瑞鸣音乐制作人叶云川诚邀亚洲录音大师李小沛操刀，于中央电视台480平米模拟录音棚恢宏录制，弦乐澎湃动心，民乐韵致悠长。德国老虎鱼和日本JVC技术中心严谨完成全程后期制作和母版制造，完美存留专辑世景暖心的细腻品味。
小曲儿之“小”，形制不比堂皇名篇，立意不求震古烁今；然小曲儿之“曲”，却曲演风流尽态极妍，方寸之间见得千百年世事。人生如寄，怕恁般逞强，在几千年煌煌大史中不过一瞥之瞬，在亿万顷疆野间不过一跬之步，如此皆是一个“小”字。而尚能以此身之小，寄意宇宙古今之大，只一聆曲间便体味千百年世俗风情、欢喜嗔怨。可谓世事漫随流水，算来一梦浮生，有趣，有趣。
Introduction:
“Xiao Qu’er” marks the fourth collaboration between Rhymoi Music and the talented composer, Meng Qinghua. His previous releases include the internationally acclaimed “Dream of an opera” I & II and the “The Song of Songs.” This time, Meng-Laoshi (“Laoshi” is an honorific title meaning “teacher” or “master” in Chinese) has drawn upon the rich and colorful heritage of China’s singing and narrative arts, called “Quyi.”
The word “Quyi” (meaning “Song Arts”) was first coined in the 1920s during the New Culture movement but following the founding of the People’s Republic of China was expanded to include the more than 300 different types of traditional narrative arts that have been catalogued.
Unlike traditional theatre or the many forms of local opera, Quyi is usually performed by a small ensemble, often no more than three performers, with little make-up, few stage props and no scenery. Story-tellers frequently accompany themselves with a drum and clappers or string instruments such as the Sanxian (three-string lute), Yangqin (hammered dulcimer) or Pipa (pear-shaped lute). Despite this minimalist aesthetic, a skilled master of Quyi can create a rich and colorful theatrical display that surpasses traditional opera in intimacy and emotional impact.
Despite hundreds of regional variations, Quyi can be categorized into three basic types, distinguished by the proportion of speech to song. The spoken genres include the long serialized tales known as Pingshu - 评书 (literally, “Commenting on the Book”) in northern and central China and Pinghua or ‘storytelling’ in the southeast, as well as shorter
forms like Xiangsheng - 相声 (comic dialogues) filled with word-play or cross talk between two performers. Sung forms, such as the Dagushu(Drum Song Stories) and Danxian - 单弦 (Ballads accompanied by a monochord instrument called the Danxian), constitute a second type. A third style, called Kuaibanshu (Clapper Stories) combine the melodic and rhythmic qualities of language, exaggerating them into a rhymed, quasi-melodic ‘rap’. An older form called Tanci - 弹词 (Poems accompanied by a plucked instrument) featured a rhythmic chanting alternating with passages in a characteristic heightened speech.
The classic repertoire of Quyi draws primarily upon episodes from classic novels and drama, while the contemporary works often reflect the social and political concerns of the New China. Other regional forms reflect local concerns and will often feature satirical commentary on contemporary life.
Our current program features a suite of ten pieces representing the unique folk traditions of the Hebei, Beijing, Tianjin, Jiangsu, Henan, Shandong, Sichuan, Dongbei, and Guangdong regions. Many of these earthy and colorful art forms are in danger of extinction, while others only survive as “tourist attractions.” It is the hope of Mr. Ye Yunchuan of Rhymoi Music and Meng Qinghua, this loving tribute to China’s lesser-known folkways will inspire a new generation of artists, musicians and scholars and music lovers to seek out, support, preserve and promote these traditions well into the 21st century.
1.东北二人转：大西厢
东北二人转流行于东北三省和内蒙古部分地区，约有两百年历史左右，是在大秧歌的基础上吸收河北莲花落等形成。二人表演，最初演员均为男性，化妆成一旦一丑，现均为一男一女，简单化妆。表演上讲究“唱、说、做、舞”，以唱为主。曲本以代言为主，叙事为辅。唱词基本为七字句和十字句，常用唱腔有胡胡腔、大救驾、喇叭牌子等，伴奏乐器有板胡、唢呐、竹板、节子等。
张生与莺莺两情相悦，崔老夫人不允。张生与莺莺藉丫环红娘从中帮忙，瞒过崔老夫人幽会并订终身。张生进京应考得中状元，有情人终成眷属。
板胡清脆乖觉，正是娇俏冤家小红娘；唢呐豁达响亮，即为多情书生张君瑞。而三重罗帷之后始现真容的端庄古筝，恰似闭月羞花一个崔莺莺顾盼生姿倾倒众生。两片竹意盎然的莲花板，穿针引线韵致十足，加之那些鼓儿镲儿锣儿齐齐入戏，这一番西厢妙景好不热闹。
1.Dongbei Er’ren Zhuan: Da Xi Xiang (The Great West Chamber)
Dong Bei Er Ren Zhuan developed around two hundred years ago in Northeast China and Inner Mongolia. As the name suggests, it is a two-person show. Originally, performed by two male actors (one playing the woman’s role), today female roles are generally performed by women. Performance of Dongbei is largely improvisatory, guided by the simple dramatic dictum “Sing, Say, Do, Dance.” Romantic and humorous plots are the norm for most Dongbei Er’ren Zhuan, with clever dialogue between the male and female leads emphasized. Er’ren Zhuan continues to enjoy wide popularity in north east China, where it has been up-dated to even include “rapping” contests and a somewhat more “risqué” interplay between the two performers. The traditional musical accompaniment included the Banhu (Clarinet), Suona (Oboe), Clappers and other percussion instruments.
In the story of Da Xi Xiang, Zhang Sheng and Yingying fall in love with each other, but Yingying’s mother, Ms. Cui opposes their marriage. Yingying’s servant, Hong Niang helps the lovers to arrange their private trysts. Later, Zhang goes to Beijing to take part in official selection exam and passes with flying colors. After he returns, Ms. Cui consents to their marriage. Finally the two lovers can become couple. In the present arrangement, the Banhu is used to represent the clever maidservant, Hong Niang; the Suona is used to portray the passionate young Zhang and the dignified and elegant Guzheng is used to characterize the lovely Miss Yingying.
2.京韵大鼓：剑阁闻铃
京韵大鼓，也叫“京音大鼓”，流行于河北和东北、华北的部分地区。清末木板大鼓传入京津两地后，经民间艺人改革，加上三弦、四胡等伴奏乐器，并以小段代替长篇大书；后又吸收京剧的发音吐字方法和其他民间曲调，创造新腔，定名为“京韵大鼓”。唱词基本为七字句和十字句，主要唱腔有慢板、紧板、垛板、住板等。
唐天宝年间，玄宗避安史之乱一路西行逃难，在马嵬坡被逼赐死杨玉环。入蜀途中夜宿剑阁，窗外凄风苦雨，耳闻檐下铜铃叮咚，思念爱妃一夜无眠。
这支气韵深沉的骆派京韵大鼓名篇，此刻由器乐演来，在如泣如诉的生死离别之情外，更多一番抚古叹今的喟然之感。开篇以铃鼓和音束点题，鼓威挟风，板急如雨，夜色如谶语浓稠不开。琴箫互诉，别有一种脉脉不得语的痛彻心扉，气势宏大的低音提琴组更令人心潮涌动。任是轻打慢击，任是低吟浅诉，只这片刻须臾，多少往事欢景刻骨心头，如入瑶池梦境重见佳人。而曲终处大鼓訇然一击，惊破这半晌美梦，森然昭示尘缘皆梦古与今同的冰冷宿命。
2. Jingyun Dagu: Jiange Wen Ling
Jingyun Dagu, (also called Jingyin Dagu), originated in Hebei Province and the northeast region of China at the end of the Qing Dynasty (1644-1911) and was developed by the singer and actor, Liu Baoquan. Jingyun Dagu features stories in the Beijing dialect, and draws upon the vocal music of Peking Opera and local Beijing folk tunes. Performances of Jingyun Dagu, generally feature the Sanxian (a three-stringed, long-necked lute), Sihu (a four-stringed bowed instrument), Pipa (another lute), Clappers and of course, the characteristic Dagu, or wooden drum.
Jingyun Dagu remained popular throughout the last century and after the founding of the People's Republic of China, made even greater strides in development, adding stories and themes reflecting contemporary life in addition to the classical repertoire.
Jiange Wen Ling tells the tragic love story of the Tang Dynasty Emperor, Ming Huang (唐明皇) and his beloved concubine, Yang Guifei (杨贵妃). In the story, Lady Yang’s adopted son, An Lu Shan (安禄山) leads a rebellion that forces the emperor and his court to flee the capital. Following the retreat, the Emperor’s troops finally munity, placing the blame for the rebellion upon the family of Lady Yang. In despair, the Emperor orders his beloved concubine to commit suicide. Opening with a clatter of percussion and the low sound of bells, the music describes the Emperor’s noble sorrow at the loss of his love.
3.四川清音：布谷鸟儿咕咕叫
四川清音据说在清乾隆年间即已形成，一般认为系由长江下游的民歌小调传入四川后，结合本地民间音乐发展而成。起初主要伴奏乐器为月琴，故初名“月琴”，1930年前后改名为“清音”。演唱者多为一人，初为坐唱，后发展为站唱，左手打板，右手执筷子敲打竹鼓，以琵琶为主要伴奏乐器。音乐曲调有大调、小调之分。
布谷鸟儿咕咕叫，
飞出山林往南飘。
这边绕来在那边绕，
鼓起眼睛它在到处瞧。
布谷布谷，一支素面朝天的婉转竹笛化身鸟儿，跳跃于弦乐织就的翠绿树荫之间，情态妖娆；马骨胡地回环应答，风趣盎然韵味独具。乐器们弹拨出好一片浓绿满眼的芒种时景，如沐春风，心旷神怡。
3. Sichuan Qingyin: Bugu niaoer gugu jiao (The Hungry Cuckoo bird)
Sichuan Qingyin originated during the late Ming and early Qing Dynasties, reaching its current form during the reign of the Qianlong Emperor (1711 – 1799). Originally, used to describe any song sung in the Sichuan dialect, Sichuan Qingyin developed from the popular songs of the Ming (1368-1644) and Qing (1644-1911) dynasties as well as from local Sichuan folk songs. The extensive repertoire includes more than 100 melodies. Sichuan Qingyin is characterized by their unique performance style, which generally feature woman, sitting at a table facing the audience, accompanied by a Yueqin (a moon-shaped lute), a Pipa (another lute) and an Erhu (two-string fiddle) or other bowed instrument.
The lively interplay of the dizi, the maguhu and the plucked instruments perfectly capture the playful spirit of this traditional folk song.
4.京东大鼓：送女上学
京东大鼓起源于北京的通县、三河、香河和天津的武清、宝坻、蓟县、宁河一带，是由当地的民间小调“地头调”结合地方的语音音调发展而成。只唱不说，唱词基本是七字句。演唱者左手击铜板，右手击鼓，伴奏乐器通常有三弦、打琴等。
张老汉一条扁担挑起行李，送女儿桂兰去上大学，路上触景生情，教育桂兰忆苦思甜，珍惜幸福生活。
几记玲珑珑的木琴，一串脆生生的刮板，绿意盎然地染映出一幅怡人图景。嫩绿沁水的竹笛，仿佛梳着俩小辫背着帆布书包的小桂兰；老成迂回的中胡，好像白布褂红脸膛的张老汉，满怀疼爱和叮咛。问答之间音容宛然，一派烂漫趣致，令人莞尔。
4. Jingdong Dagu: Song nu shang xue (Sending the girl to school)
Jingdong Dagu originated during the middle of the Qing Dynasty in the eastern districts of Beijing and Tianjin, hence its name, “Jingdong” which means “East Beijing.” Jingdong Dagu flourished during the 1930s as a result of the performances of Liu Wenbin, who was noted for his loud, clear voice and compelling stage performances. As with other forms of Dagu, staging is minimal, usually with only a Sanxian, to accompany the singer, who also plays a wooden drum.
In this little tune from Song nu shang xue (Sending the girl to school), the elderly Zhang is packing his daughter, Gui Lan’s luggage prior to sending her on her way to school. The song’s lyrics speak of his wishes for his daughter’s future happiness, while he reminisces of their past life together.
5.评弹：情探
评弹是评话和弹词的总称。明代苏州地区已经有说书活动。评话和弹词均以吴地方言表演，乐器常用三弦和琵琶。评弹很早就在上海的一些郊县集镇流传；19世纪中叶，评弹大量传入上海市区，多年来评弹在上海得到了重大的发展，并推向了鼎盛。
书生王魁落魄，幸得名妓敫桂英救助，两人结为夫妻。王魁赴京考中状元，辜负前盟，另娶新人。桂英得悉，悲愤自尽，魂魄苦寻到王魁，王魁竟绝情至拔剑相向，桂英活捉王魁。
弦意缭绕，筝影泫然。台上说书人端坐婉言的一段悲欢传奇，或已渐渐洇灭于雾里观花的袅娜印象之中；但那平平仄仄曲径通幽的温婉姿容，那一种不疾不徐、时叹时演的跳脱意态，却由二胡和琵琶这一段你侬我侬地细致演来，形神毕肖，尽态极妍。
5. Pingtan: Qing Tan (A Test of Love)
Pingtan is a generic term used to refer to any narrative singing the Suzhou dialect. Originating in the Pinghua storytelling art of the Tang and Song dynasties, Pingtan reached its maturity in the “Flower Boat” districts of Suzhou during the Ming Dynasty (1368 – 1644), where local Shuo Shu (storytellers) found an enthusiastic audience among the literati that congregated there. Suzhou Pingtan can be performed solo, in duet, or as a trio with additional musicians playing Sanxian and Ban (clappers). Pingtan has proven to be highly adaptive, and has incorporated many folk tunes from other Quyi traditions of singing and storytelling. In its more than 200 years of history, Pingtan has undergone many changes and remains a popular folk art to this day.
Qing Tan (A Test of Love) tells the story of the poor scholar Wang Kui and his lover, the famous concubine Guiying. Following his passing the civil service examination, he forgets his devoted wife and marries a girl from a “respectable” family. Hearing this, Guiying falls into despair and commits suicide. Guiying’s ghost seeks out her feckless husband, and confronts him one last time. Wang Kui thinks she is still alive and draws his sword on her. With this final betrayal, Guiying reveals her true self and chains her unfaithful husband and drags him into hell. The eloquent interplay of erhu, pipa and guzheng in Meng’s arrangement perfectly capture the devotion of the ill-fated Guiying to her selfish and ambitious husband.
6.西河大鼓：玲珑塔
西河大鼓也叫“西河调”或“河间大鼓”，起源于河北省中部，流行于河北、山东、河南以及东北、西北部分地区。清道光年间奠定了唱腔音乐，其后又不断发展，出现多种流派。初名“梅花调”、“犁铧片”，1900年前后进入天津，1920年改为现名。一人站唱，演员自击鼓、板。说唱并重，唱词基本是七字句和十字句，基本曲调有头板、二板、三板等。
玲珑塔来塔玲珑，玲珑宝塔第一层。
一张高桌四条腿，一个和尚一本经，一个铙钹一口磬，一个木鱼一盏灯。
一个金钟，整四两，西北风一刮，纹儿了纹儿了响纹儿了嗡。
玲珑塔，塔玲珑，玲珑宝塔第三层。
三张高桌十二条腿，三个和尚三本经，三个铙钹三口磬，三个木鱼三盏灯。
三个金钟，十二两，西北风一刮，纹儿了纹儿了响纹儿了嗡。
这段在曲艺界内外都格外知名的西河大鼓“绕口令”，在乐器们的口吻里变得格外逗趣：镲轻打锣巧击，弹拨乐煞有介事地耸眉动眼，二胡爽爽快快，竹笛清清脆脆，一气贯下韧性十足，直至板急鼓密劲脆收梢，愈嚼愈甘美。
6. Xihe Dagu: Ling Long Ta (Linglong Tower)
Xihe Dagu, also known as Xihe Diao or Hejian Dagu, originated in central Hebei Province during the middle of the Qing Dynasty and represents one of the largest schools in the art of Dagu, (literally meaning "Big Drum"). Originally sung in the Hebei dialect, Xihe Dagu reached its final form in Tianjin in the 1920, where the original dialect was replaced by the more commonly spoken Beijing (Mandarin) dialect. A traditional performance of Xihe Dagu usually features a single performer, who stands and speaks as sings to the accompaniments of a wooden drum. Later developments included the addition of other instruments, notably the Sanxian and Ban (clappers).
Ling Long Ta (Linglong Tower) is one of the most popular songs in the Xihe Dagu repertoire. The original lyrics sing of the pagoda’s stately beauty, the sound of the wind blowing through its eaves and the devotions of the monks who live there.
7.山东琴书： 老少换
山东琴书起源于山东菏泽地区，流行于山东以及华北、东北地区等地，1780年前即已形成，上世纪30年代在电台播唱时定名为“山东琴书”。以唱为主以说为辅，唱词基本为七字句。演唱者一至五六人。早期有七十二曲牌之说，后来以垛子板、凤阳歌为常用曲调。主要乐器有扬琴、筝、坠琴、软弓胡琴、三弦、四胡、简板等。
贪财媒婆将年青姑娘撮合给老富翁，将老寡妇配给了年青小伙。姑娘小伙儿—见钟情互订终身。老富翁和寡妇及一对年轻人扭至公堂，知县明察，判老少互换，有情人终成眷属。
一只白地青花的瓷碟叮铃，两片熟铜半月的鸳鸯板翻飞，清柔俏丽地引出一段啼笑姻缘。菏泽本是四省交会的通衢地界，故事里那些个来回来去的小思量、小嗔恼、小团圆，全借这唢呐的十足神气，板胡的三分世故，活画出一番好事多磨的热闹劲儿。
7. Shandong Qinshu: Lao Shao Huan (Everybody Changes)
Shandong Qinshu originated from the narrative singing of farmers in Shandong Province during the Ming Dynasty (1368-1644) and was first called Dayang Qinde (“Playing the Boards”) in reference to the use of the flat, seven-string Qin as accompaniment. During its long history, Shandong Qinshu has undergone many changes in form, including instrumentation and frequently the participation of additional performers to contribute dialogue. True to its rural beginnings, Shandong Qinshu is characterized by its earthy humor, use of characteristic Shandong dialect, and local slang. In addition to the three major schools (representing Eastern, Northern and Southern styles), Shandong Qinshu gave rise to the development of the local Luju opera in the late 19th century.
In the Shandong Qinshu Lao Shao Huan (Everybody Changes), a greedy matchmaker tries to marry off an old woman to a handsome, young man and a lovely young girl to an elderly miser. By accident, the two young people meet and fall in love but the old man and woman sue for breech of contract. The judge is wise and sentences both couples to marry age-appropriately. The humorous final scene in court is perfectly captured by Meng Qinghua’s clever arrangement, with Banhu (two-string fiddle) and Liuqin (lute) representing the young lovers, while the strident, nasal sound of the Suona perfectly captures the objections of the eld man!
8.广东粤曲： 分飞燕
粤曲是由大约清道光年间的戏曲清唱八音班发展而成的，流行于广东、香港、澳门以及海外粤籍华侨聚居地区。以梆子、二黄为基本唱腔，另有多种曲牌；根据角色，又分大喉、平喉、子喉三大类。伴奏乐器既有民族乐器如二弦、短喉管、月琴、椰胡、洞箫、琵琶、二胡、扬琴、横箫等，亦有西洋乐器如小提琴、单簧管等。
《分飞燕》是一首描述情人间离愁别恨的对唱小曲，寄调粤乐十大名曲之一的《杨翠喜》，苏翁填词。
这一段高胡抑扬间的温柔缱绻，这一程洞箫幽诉中的客途秋恨，延亘在半个世纪多少游子的心怀，藉由筝意淙淙隐秘感伤地涌动，藉由弦乐如夜深沉动人地伸展，雍容娴美，脉脉尽诉。
8. Guangdong (Yue) Tune: Fen Fei Yan
The name Yuequ means “Guangdong Melodies” or “Guangdong Tunes” and as one of the most popular forms of Quyi, can be found in virtually every Chinese community around the world. Yuequ first appeared during the Daoguang reign (1821-1851) of the Qing Dynasty (1644-1911) as unstaged performances of popular scenes and arias from Cantonese opera. The performers of these pieces were called Bayinban (meaning “Eight Tone Associations”). Later, these condensed operas were adapted by blind women singers into creative solo performances, with a single singer/actor portraying all the characters of a play. For more than a century, Yuequ has proven itself to be one of the most adaptive and enduring of China’s Quyi traditions, freely drawing upon a wide range of folk songs, singing styles and even incorporating western instruments into a performance.
Fen Fei Yan is a popular Yuequ tune. The lyrics, composed by the great Song Dynasty poet Su Shi, describe the sorrow of two lovers parting. In this arrangement, composer Meng paints a tender and elegant scene of the lover’s sadness, using the intimate sound of the Dongxiao (Alto Bamboo Flute) and gentle commentary from French Horn and string orchestra to complete the twilight scene.
9.天津时调：翻江倒海
天津时调是由流行于天津的民歌小调发展而成的，包括靠山调、拉哈调、老鸳鸯调、新鸳鸯调、大数子调等。其主要曲调靠山调，据说是当地制鞋作坊中工人休息时靠在“山墙”上歌唱的曲调。1900年前后出现天津时调的专业艺人，内容演唱男女爱情和四时景色为主。初期均为单曲演唱，后又发展出多种曲牌、唱腔的联唱，并以反映现实生活为主。
该剧反映了天津人民根治海河的事迹。本段取材于其中部分曲调，描叙天津热闹的市井情态，人们悠闲地漫步于繁华的小吃街和庙会，享受美好的生活。
琵琶晓白如诉，竹笛清新动人，京胡拉开了十足腔调一步三摇，入神地描绘出一个有点传奇却更多民俗之趣的天津卫。梆子和花盆鼓的韵味敲击，不疾不徐地带出市井人等悠闲怡乐的陶然神态。铓锣好似远处钟声回荡，为这闲情片刻的市井图景拓上时间的图章。
9. Tianjin Shidiao: Fan jiang dao hai (An Overwhelming Flood)
Tianjin Shidiao first appeared the city of Tianjin, just east of Beijing, during the late Ming and early Qing Dynasties as a popular urban art form among Tianjin’s working class. The name, Shidiao means “On-time Ditty” and reflects the topical nature of many Tianjin Shidiao songs. During the early years of the 20th century professional singers of Shidiao began to appear and later, under the influence of the New Culture Movement, Tianjin Shidiao would evolve as a vital art form for expressing contemporary concerns and social commentary. The majority of Tianjin Shidiao are sung by a single performer, and are relatively short. The primary accompanying instruments are the Sanxian (a long-neck, three-string lute), a fiddle, and clappers.
Fan jiang dao hai (An Overwhelming Flood) is a received its premiere at the First National Quyi Exhibition held in 1958. The lyrics refer to the life of the hard-working people on the banks of the Haihe River in Tianjin and their aspirations for a better life in the New China.
10.河南坠子：穆桂英指路
河南坠子流行于河南、安徽、山东等地，因其主要伴奏乐器“坠子”而得名，有东路坠子、西路坠子、北路坠子之分。演唱形式有自拉自唱、一拉一唱和对口唱三种，演员手打檀木或枣木简板边打边唱；对口时，另一人还打单钹或书鼓；伴奏者拉坠子弦，有的并踩打脚梆作为击节。音乐上为主曲体，唱腔有引子、平腔、大小寒韵、牌子、五字嵌、十字韵、快札板等。
小将杨宗保为探望母亲并搬兵搭救父亲，单枪匹马奔赴岭西，在深山中迷路，巧遇正欲下山报效国家的穆桂英，向其问路。桂英对宗保一见钟情，借指路倾吐心声。后来二人通过比武，订下终身，双双赶赴边关。
一串马铃摇碎山色遥遥而来，梆子摹拟马蹄飞踏声势逼人。板胡既爽辣又迂回，好像一见钟情的穆桂英，既想大胆探问，又存着点女儿家婉转不言的小心思；唢呐大大咧咧，正似未解风情的杨宗保。弦乐背景上中阮那浓郁河南风味的曲调，带来身临其境的熨贴感。
10. Henan Zhuizi: Mu Guiying zhi lu (Mu Guying Takes Command)
Henan Zhuizi is a form Dagu ballad singing that originated in Henan during the mid- to late 19th century. The name Zhuizi derives from the name of the instrument (Zhuizixian – a bowed version of the three-string Sanxian) that the singers used to accompany themselves. Henan Zhuizi is sung in the Henan dialect and was popular throughout Henan, Shandong and Anhui provinces as well as in the cites of Tianjin and Beijing. As with many traditional folk arts, Henan Zhuizi enjoyed a certain prestige during the early years following the founding of the People’s Republic, with older tunes adapted and fitted with new lyrics, expressing the aspirations of New China.
Mu Guiying zhi lu (Mu Guying Takes Command) is a famous episode from the chronicles of the Women Generals of the Yang Family. Set during the Northern Song Dynasty (960–1127), the scene describes the meeting of the young warrior Yang Zongbao and the woman who will become the greatest of the China’s women generals, Mu Guying. While on his way to rescue his father, Yang becomes lost and meets Mu Guying. At first, the two warriors square off in martial competition but soon, they fall in love. Together, they join their forces and ride off to protect the motherland.
作曲家 孟庆华
著名作曲家，创立了“伶歌”的演唱形式。在戏曲、曲艺、 歌舞、 影视音乐、歌词写作、乐队指挥等方面皆有建树。参与多种音乐艺术形式的策划 、创作、制作、指挥。是中国目前跨领域较广、技术较全面、知名度较高的一位音乐家。
曾获文化部最高奖 “文华”音乐创作奖、优秀指挥奖，并获中宣部“五个一”工程奖。
多次担任国家级大型艺术活动及艺术团体的音乐艺术总监，参与创作、制作晚会的作品近千余部(首)。
多年来致力于中国民族音乐风格作品的研究及写作，探求中国民族的独特音乐语言与世界音乐融合成绩斐然。在开拓中国民族音乐文化语言上有自己的独特视角和写作风格，其成就被国内外诸多学者及媒体给予高度评价。
曾创作中国首部大型京剧音乐电视连续剧《哥哥你走西口》，该剧获中国电视制作最高奖项“星光”杯大奖。
曾作曲指挥大型舞台剧20余部。如《火焰山》《新击鼓骂曹》《白蛇新传》《高高的炼塔》等。
写作出版的唱片在专业学术领域及唱片市场皆有良好的口碑。如《龙抬头》《粉墨是梦》《伶歌》等专辑均获得好评，被诸多高等艺术学府及院团邀请进行学术讲座和交流。
About the Composer:
Meng Qinghua, is one of the most highly-regarded composers of Neo-Traditional Chinese music. Renowned for his modern orchestral re-interpretation of Chinese Theatre songs, a new musical form the composer describes as “Lingge” (literally, “Eloquent Songs”), Meng has been at the forefront of creating vital new works for the concert hall and musical stage, including the modern folk opera, “Brother, You're Heading West” and the award-winning Beijing Opera television series, “The Flaming Mountain.” Meng’s recorded works include the critically acclaimed “Dream of an Opera” (Rhymoi RXRCD 004) and “The Song of Songs” (Rhymoi RXRCD-008). Meng Qinghua is a recognized authority on the operatic and music theatre traditions of China. His colorful orchestrations, faithfulness to traditional Chinese idioms and imaginative blending of Western and Chinese instrumentation has attracted many of the outstanding young instrumental and vocal virtuosos to work with him as artistic collaborators. His music has received numerous national awards, including the Ministry of Culture’s Wenhua (“National Culture”) Music Prize and the National of the “Five-One Project” Award (an annual prize, established in 1992 to promote “the development of spiritual civilization in China” awarded to outstanding achievements in the area of drama, television productions, books and scholarship).
制作人简介:叶云川
音乐制作人, 美国格莱美协会会员 , 创立中国声誉卓著的音乐品牌“瑞鸣音乐”，并任制作人，中国金唱片奖最佳音乐人特别奖获得者。从事音乐创作、制作多年，获海内外重要音乐媒体高度评价，部分作品被海外唱片公司收录出版，所制作的音乐作品在高端音乐市场得到较大认同，并远销海外，销售成绩斐然。担任制作人的唱片及音乐作品曾多次获“美国独立音乐大奖”“中国金唱片奖”“中华优秀出版奖”“华语音乐传媒大奖”等百余个奖项，在中国城市广播联盟评选“中国十大发烧唱片”中数次入选，作品多次入选“CD圣经”等海内外专业评比。因多年与国际音乐制作及出版行业的密切合作经历，音乐创作理念及制作手段具有国际化的开阔视角。
音乐创作思路坚持独特创新，风格多样，追求质量，积极进取，注重作品文化性艺术性，在行业中具有鲜明特点。倾力于挖掘发扬中国传统文化与音乐的结合，擅长用世界音乐语言及方式表现中国音乐。对中国传统文化及民族音乐有着深厚的感情，并立志成为中国民族音乐与世界文化交流的传递者。
About the Producer:
Ye Yunchuan，Producer, composer, arranger, graphic designer, Grammy member, and the founder of one of China’s most prestigious audiophile recording labels, Rhymoi Music, Ye Yunchuan is further distinguished as the first Full Voting Member of the American Grammy Awards (The National Academy for Recording Arts and Science – NARAS) representing the Chinese music industry. He is, without any question, one of the rising stars in China’s growing music industry. Prior to his current activities, Ye established an international reputation, as a composer and producer, being awarded several American Independent Music Awards, Chinese Golden Album Awards, numerous rave reviews in CD Bible (China) in addition to being included on China City Radio Association’s “Ten Hottest Albums” roundup. Years of cooperation with international music production and publication circles has provided him with a truly global perspective. As founder of his own recording label, Rhymoi Music, he is committed to establishing new standards of excellence for recorded music in China.
Rhymoi Music recordings are immediately identifiable - with their innovative approaches to programming, world-class musical and artistic standards, beauty of presentation and packaging, cultural relevance, and their conscious desire to introduce the treasures of Chinese music to an international audience - Rhymoi Music is without peer. With his deep commitment to the traditions and national music of his homeland, Ye Yunchuan is committed to building new and ever more creative and beautiful bridges between the musical heritage of China and the musical traditions of the world. Ye Yunchuan continues to realize his vision with each new recording.
乐队成员：
板胡/马骨胡/二胡：姜克美 中国广播民族乐团演奏家
二胡/中胡/高胡：邓建栋 解放军空政文工团演奏家
京胡：张顺翔 中国京剧院演奏家
古琴：赵家珍 中央音乐学院教师演奏家
笛/箫：戴亚 中央音乐学院教师演奏家
琵琶/中阮/柳琴：张强 中央音乐学院教师演奏家
古筝：常静 中国东方歌舞团演奏家
唢呐：周东朝 中国广播民族乐团演奏家
圆号：贾辉 中国爱乐乐团演奏家
中国打击乐：李聪农 中央歌剧院演奏家
西洋打击乐：刘瑛 中国爱乐乐团演奏家
三弦：王玉
民乐弹拨四重奏：申婷 江洋 王诗雨 牛矾琼
弦乐：黄立杰等中国交响乐团及中国爱乐乐团二十四位演奏家
Musicians:
Banhu / Maguhu / Erhu: Jiang Kemei
Erhu / Zhonghu / Gaohu: Deng Jiandong
Jinghu: Zhang Shunxiang
Guqin: Zhao Jiazhen
Xiao/ Bamboo Flutes: Dai Ya
Pipa / Zhongruan / Liuqin: Zhang Qiang
Guzheng: Chang Jing
Suona: Zhou Dongchao
French Horn: Jia Hui
Chinese Percussion: Li Congnong
Western percussion: Liu Ying
Sanxian: Wang Yu
Folk Music Plectrum Quartet: Shen Ting, Jiang Yang, Wang Shiyu, Niu Fanqiong
String Orchestra: 24 musicians from the CPO and CNSO, Huang Lijie, Concertmaster/Leader
制作成员：
出品人：叶云川
制作人：叶云川
改编：孟庆华
录音：李小沛
录音助理：王恒 鹿楠楠
中文文案：杨倩
英文文案：Joshua Cheek
摄影：小叶
设计：图图工作室
录音棚：中国中央电视台480平米模拟录音棚
后期制作：德国老虎鱼 日本JVC技术中心
出品：瑞鸣音乐
Production Crew:
Producer: Ye Yunchuan
Executive Producer: Ye Yunchuan
Composer and Arranger: Meng Qinghua
Recording Engineer: Li Xiaopei
Assistants Recording Engineer: Wang Heng, Lu Nannan
Chinese Copywriter: Yang Qian
English Copywriter: Joshua Cheek
Photography: Xiao Ye
Graphic Design: Total Viewfiender
Recording Venue: The 480 square Meter Recording Studio of CCTV
Mastering: JVC Technology Center (Japan), Stockfisch Records (Germany)
Produced by: Rhymoi Music. Co., Ltdwww.rhymoi.com
Email:rhymoi163@163.com Tel：86-10-84831327
著作权声明：本专辑所选音乐作品俱根据中国境内刊行出版物之资料登载著作权情况，如存讹漏请与我们联络。
Copyright Statement: The music and arrangements appearing on this album have been licensed in accordance with the copyright laws of China. If there are any errors, please contact us.
封底曲目：
1．东北二人转：大西厢
Dongbei Er’ren Zhuan: Da Xi Xiang (The Great West Chamber)
板胡娇俏小红娘，唢呐多情张君瑞，古筝端庄似莺莺。
2. 京韵大鼓：剑阁闻铃
Jingyun Dagu: Jiange Wen Ling
鼓威挟风，板急如雨，琴箫互诉出脉脉不得语的痛彻心扉。
3.四川清音：布谷鸟儿咕咕叫
Sichuan Qingyin: Bugu niaoer gugu jiao (The Hungry Cuckoo bird)
竹笛如鸟儿，跳跃于弦乐的树荫，马骨胡回环应答。
4.京东大鼓：送女上学
Jingdong Dagu: Song nv shang xue (Sending the girl to school)
中胡老成迂回，竹笛嫩绿沁水，趣致问答令人莞尔。
5.评弹：情探
Pingtan: Qing Tan (A Test of Love)
弦意缭绕，筝影泫然，平平仄仄曲径通幽。
6.西河大鼓：玲珑塔
Xihe Dagu: Ling Long Ta (Linglong Tower)
镲轻打锣巧击，弹拨乐耸眉动眼，二胡竹笛一气呵成。
7.山东琴书：老少换
Shandong Qinshu: Lao Shao Huan (Everybody Changes)
瓷碟叮铃鸳鸯板翻飞，唢呐十足神气，板胡更三分世故。
8 . 广东粤曲：分飞燕
Guangdong (Yue) Tune: Fen Fei Yan
高胡抑扬，洞箫幽诉，筝意脉脉尽诉，弦乐如夜深沉。
9.天津时调：翻江倒海
Tianjin Shidiao: Fan jiang dao hai (An Overwhelming Flood)
梆子和鼓不疾不徐，京胡入神描绘民俗之趣。
10.河南坠子：穆桂英指路
Henan Zhuizi: Mu Guiying zhi lu (Mu Guying Takes Command)
马铃摇碎山色，梆子马蹄飞踏，板胡和唢呐相互逗问。
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