主标题
丑末寅初——弦断知音近 佳话传千年
Feng Xinrui Performs Chinese Folk Art Forms
副标题
冯欣蕊 曲艺
A broken string, a timeless tale
封底广告语
九腔十调流转千姿百态风物，一板一眼散布熙来攘往人情。
清朗有致无论是白是唱，韵味深长毕竟有悲有喜。
A4海报广告语
传袭世代的京韵、京腔
大气、大方的刚柔并唱
清冽如金秋山涧溪水
炽热似炎夏正午当阳
字正腔圆，韵味绵长
新生代鼓曲名家冯欣蕊
只一曲便牵动万结愁肠
更何况集十数段燕山内外、海河上下的不绝传唱
不干胶广告语
伶歌《丑末寅初》演唱者 引好评如潮
新生代鼓曲名家
携三弦圣手等曲艺名家
演最耐人寻味的曲艺名段
声情并茂 亲切演绎 展京津冀韵味
同期录音大师李大康录制 一气呵成
著名制作人叶云川 倾心呈现
德国后期制作及母版制造
瑞鸣音乐，弘扬魅力国粹
前言：
燕赵旧地气象浩荡，莽原上城郭俨然，四围里街巷整齐。晨钟暮鼓打点着四季节拍，车水马龙渲染了人间烟火，熙来攘往奔忙，甜酸苦辣遍尝。平原山川孕育了慷慨声息，市井街坊吐露着凡人衷曲。新一代鼓曲名家冯欣蕊，凝聚起全副精、气、神，说唱些古今往事，万物生趣，感叹着世间情怀，悲哀欢喜。
板腔有眼，韵致无穷。
曲艺乃中华说唱艺术的统称，由民间口头文学和歌唱艺术经过长期发展演变而形成。千百年来，在大江南北、长城内外，在市井、闾巷之间，无处不飘荡着悠悠扬扬的曲韵，诉说着耳熟能详的传奇，唱和着古老大地上的风土人物，充满了市井俚俗的生动气息。然而，曲艺虽流播长久、广阔，却是直到近世才取得了独立的地位。此专辑汇集了数种流行于京津冀三地极具底蕴的曲艺种类，由京韵大鼓“骆派”传人冯欣蕊一一演绎，既传承了正宗韵味，又展现了各曲种的独特风貌，从而使聆听者从中把握到旧时民间世俗血脉，咀嚼出骨子里所蕴藏的华夏情致，颇为难得。而此专辑收罗了各色北方曲艺精华，一心一意营造全新鉴赏体验，保护、挖掘、分享、推广民间艺术独具的魅力。
此专辑所集曲目皆广为传唱、脍炙人口，如《四世同堂》主题曲、京韵大鼓大师骆玉笙先生晚年倾情献艺的现代京韵大鼓曲目《重整山河待后生》，经典传统曲目《丑末寅初》，单弦曲目《风雨归舟》等等。一曲引吭悲歌，痛惜故都屈辱，柔情不减壮志，忧伤愈觉铿锵；一幅泼墨山水，跃动山林野趣，观虎奔豹走，令人胸襟明朗；半吟半唱，赞叹高山流水，伯牙知音钟子期，情深意长；又有林黛玉见落花而伤怀，叹身世凄惶；唐明皇闻檐铃叮当，念起贵妃情形，痛断衷肠……还有深山归隐的闲情逸致，清秋寒虫的畏缩彷徨，丑末寅初的生机昂昂……林林总总，五味杂陈，包罗万象。万千情致、景致、韵致，由着演唱者的心血、心气、心劲儿，汩汩外流，布满耳廓，盈满胸腔。
率性、醇厚的北方曲艺，散播着北地风土人情，浸润了京津双城血脉，汇聚起一身燕山内外、海河上下蜿蜒、奔涌气派。风格各异的鼓曲有韵有腔，半说半唱，或敷衍故事，或咏叹情操。这里有字正腔圆，韵味醇厚的京韵大鼓；有生气扑鼻，直抒胸臆的天津时调；有哀婉动人，九转回肠的梅花大鼓；有气定神闲，泰然安适的单弦岔曲；有旋律自然，意境轻快的乐亭大鼓；以及诙谐幽默，生动活泼的京东大鼓。意在言中，言在曲中，曲在韵中，依字行腔，说唱相谐，更显出十分亲和与朴实，深切与由衷。吸引津门街头巷尾妇孺，流连埠头南来北往客商。而诸般曲艺齐集此专辑之中。演唱者冯欣蕊宗“骆派”唱腔，嗓音甜美，神采飞扬，携手三弦圣手、骆玉笙先生的艺术创作与演出合作者韩宝利先生，及其两位崭露头角的女儿和诸位曲艺名家，淋漓演绎种种意蕴，也成就了一段衣钵相传、艺术血脉交接相续的美谈。著名音乐制作人叶云川亲力打造，延续粉墨主题系列，中国录音大师李大康精心同期录制，模拟设备的运用更添温暖亲切，德国老虎鱼后期全程制作及母版制造，使作品更趋完美。谛听此张专辑，只见碧云天，黄叶地，枯藤老树，贩夫走卒……把一幅清明上河图，都化作口中曲，腔中韵，历历在目。
Foreword：
In what was once the solemn plains of the states of Yan and Zhao, the orderly streets and alleys are full of people from all walks of life, and in the early morning, from amidst the hustle and bustle, comes the sweet sound of the wooden drum. The songs found in old Beijing folk music are the product of generation after generation of heartfelt storytelling and musical talent. Feng Xinrui, the new era of Chinese folk music, brings these stories to life in all their splendor, whether they be tales of joy or of sadness.
Chinese folk music is a general term incorporating all forms of Chinese spoken and sung performing arts, and is the product of many generations of folk literature and song. Throughout the ages, these songs have been enjoyed in all corners of China, these tales have been told countless times in countless narrow streets. Familiar to the old and the young alike, these songs have become a part of their lives, the timeless stories of ancient heroes, and are full of the energy of the common people. On this compilation you may find a collection of classic Chinese folk songs originating from Beijing, Tianjin and Hebei. Feng Xinrui, a successor of the “Luo style” of Jingyun Dagu (storytelling with drum accompaniment), performs the art with authentic flavor, and shows the unique characteristics of each form of folk song. From these songs one can feel the passion of those who from ancient times have felt the urge to tell these stories, the spirit of the Chinese people. Her renditions of these songs are truly unforgettable. For this collection we have selected classic songs from a wide variety of northern Chinese folk music, and have presented them in a new light.
This album is a collection of universal favorites, including the theme song from the television series Four Generations; the modern Jingyun Dagu song Rearranging the Landscape, written by dagu master Luo Yusheng in his later years; the classic traditional piece Daybreak; the danxian tune Wind and Rain; and many more. Among these songs you will find some that are full of grief, of the struggles of ancient cities; some of the songs are paintings of mystical scenic settings, of mountains and forests inhabited by wild creatures; there is also the tragic tale of Lin Daiyu, as she is tormented by heartache; and Emperor Xuanzong and Concubine Yang’s romance that was just never meant to be….You may also find tales of discarding the bonds of society and becoming a hermit deep in the mountains, of autumn insects, of the vitality of the sunrise….Stories reflecting all aspects of human nature.
The mellow and unrestrained sound of northern Chinese folk music has spread the customs of the northerners far and wide, blessing the Beijing-Tianjin region with a flavor that is all its own. Each form of drum-accompanied music has its own characteristics, can be spoken or sung, and the pieces may be inspired by anything from whimsical stories to deep emotions. Here you may find Jingyun Dagu, with its distinct sound and unbridled melodies; Tianjin shidiao, with its lively tempo and straightforward style of expression; the mournful and moving Meihua Dagu; the soothing and comforting Danxian, Chaqu; the natural melody and lively atmosphere of Laoting Dagu; and the humor and playfulness of Jingdong Dagu. The brilliance of northern Chinese folk music is that is uses the unique combination of speaking and singing, to create an art that is simplistic yet full of heart and life. Folk musician Feng Xinrui, a disciple of the Luo style of folk music, with her unforgettable voice and high-spirited performances, continues the legacy of his master’s artistic accomplishments. Also appearing on this compilation are supporting performances by sanxian player Mr. Han Baoli, a fellow and long-time concert collaborator of Luo Yusheng; as well as his two daughters, newcomers to the folk art scene. Coordination of this compilation was overseen by renowned producer Ye Yunchuan, continuing his Chinese Opera Series; the live recordings were performed by recording artist Li Dakang; and post-production was carried out by Stockfisch Records of Germany, completing the international production team. With every listening of this compilation, you will discover tales of times and places lost but not forgotten, like a panoramic painting of ancient times, presented with the charming melodies of northern Chinese folk music.
曲目：
1.《百山图》京韵大鼓
词：佚名
Panorama Jingyun Dagu
Lyrics: anonymous
碧天云外，天外有天，天下的美景啊景亭蓝。
蓝桥以下倒有龙戏水，水底鳌鱼难把身翻。
翻江搅海左不是那鱼鳖虾蟹，獬豹纵横来往窜。
那蹿山跳涧斑斓的猛虎，虎要是发威是那人怎担？
单人他不敢从此处走，这不走过来一个小牧童儿。
我只见他：头戴着斗笠，身披着蓑衣，下穿水裤，足下登着草鞋，腕挂藤鞭，倒骑着牛背，口横短笛，吹得是自在逍遥，吹出来的这个山歌儿是自在清闲。他是啪啪啪啪打响鞭，这不绕过了小山弯。
晴好天光，明山秀水，爽朗扑面。凌波之下是那鱼腾虾躬；层峦之间是那虎跃獬蹿。偏僻之处迤逦而来一驾牛的牧童，吹着些自在清闲，多添着一番生动情趣。这一片明朗之气，惹人沉醉。此段原是一个传统节目的开头一段，因其采用“顶针续麻”，即字头咬字尾的唱法，唱腔婉转多姿，活跃动听。
A sunny sky shines down upon the mountains and lakes; in the cool waves one may see the fish jumping, and amongst the hills wild beasts are on the prowl. From distance a boy appears, leisurely driving cattle, making this scenic image all the more lively. A sight as cheerful as this one captivates anyone who sees it. Panorama was originally the first verse of a traditional song; it uses the clever “needle pulling thread” structure, where the last word is also the first word of the following line, and has a mild and diverse tone, making the song a pleasure to listen to.
2.《风雨归舟》 单弦（岔曲）
词：佚名
Wind and Rain Danxian (Chaqu)
Lyrics: anonymous
卸职入深山，隐云峰受享清闲。
闷来时抚琴饮酒山崖以前。
忽见那西北乾天风雷起，乌云滚滚黑漫漫。
唤童儿收拾瑶琴，至草亭间。
忽然风雨骤，遍野起了云烟。
吧嗒嗒的冰雹把山花儿打，咕噜噜沉雷震山川。
风吹角铃当啷啷地响，唰啦啦大雨似涌泉。
山洼积水满，涧下似深潭。
霎时间雨住风儿寒，天晴雨过风。
风消云散，急忙忙，驾小船，登舟离岸至河间。
抬头看，望东南，云走山头碧亮亮的天。
长虹倒挂在天边外，碧绿绿的荷叶衬红莲。
这打了来的滴溜溜的金丝鲤，唰啦啦啦放下了钓鱼竿。
摇桨船拢岸，弃舟至山前。
唤童儿放花篮，收拾蓑衣和鱼竿。
一半鱼儿炉水煮，一半在那长街换酒钱。
归隐东篱，相伴南山，抚琴饮酒在崖前。风起雨骤，瞬时山川迷蒙；雨住风停，又是碧天云外。这般逍遥便似入了桃花源，忘却了尘世纷扰，放开了闲情逸致，成一朵浮云，作一只野鹤。
I head as far east as possible, and spend my days on the mountaintop playing the lyre and drinking wine. The wind picks up, with it bringing a rainy storm, and suddenly the mountain is shrouded in mist. The wind and rain eventually die out, and the blue skies return. Such a sight makes me think that I just might be in heaven, and I’m glad I said goodbye to the shackles of civilization. I am at peace here, just like one of the clouds in the blue sky.
3.《红梅阁》京韵大鼓
词：（清）韩小窗
Red Plum Pavilion Jingyun Dagu
Lyrics: Han Xiaochuang (Qing Dynasty)
细雨轻阴过小窗，闲将笔墨寄疏狂。
摧残最怕东风恶，零落堪悲艳蕊凉。
流水行云无意话，珠沉玉碎更堪伤。
都只为粉黛多情含冤死，就是那薄命的佳人叫李慧娘啊。
这佳人眼凝秋水望梨花岸，这奸相有语开言叫慧娘：“啊！”
说：“你来看，此处这座园林好，一枝白玉一枝香。”
这佳人正在出神之际，含糊地答应，说：“果然是品格清秀神气温良。”
这奸相闻听言语大诧，他这才捋顺着慧娘的二目看端详。
对面却是银霞坞，有个小书生折花林下手高扬。
暗说道：怪不得这贱人这般如此，敢则是动了她花前月下俏情肠。
他故意随着（那）佳人说：“真秀气！”
李慧娘此际忘神也未提防。
顺口还说是：“真仙人也，世间上竟有这样俏才郎！”
这奸相假意含笑说：“多情种，想你那魂灵儿早已入他乡。
芳卿若是真心爱，我管叫你与书生配鸾凰。”
李慧娘一闻此言回头看，呀！见老贼气昂昂。
只吓得俏佳人芳心乱跳，玉体冰凉，粉脸儿焦黄哪，她那真魂就上了望乡啊。
东风凶恶，摧残得艳蕊零落。薄命佳人李慧娘，皆因出神贪看未曾提防，惹恼了奸相贾似道，香消玉亡。且听这娓娓道来的韵白曲唱，引出一段阴阳相隔，绝世情缘。此曲以哀怨委婉为基调，歌来九转回肠。
The fierce east wind destroys all in its path. The ill-fated beauty Li Huiniang aggravates a corrupt official named Jia Sidao, putting her life at risk. When listening to the narration in this song, one will feel a strong presence of polar opposites, and experience a timeless love story. The song expresses grief in a euphemistic manner, and has touched the hearts of countless people, countless times.
4.《秋景》天津时调（靠山调）
词：佚名
Autumn Scenery Tianjin Shidiao (Kaoshandiao)
Lyrics: anonymous
天儿凉了，寒虫叫的声音发了馁，也有那三棒子、蛐蛐儿、油葫芦，喽喽喽，梆梆梆，对对成双那草窝里边偎。
虽然它有翅不能够腾飞，（哎哎）严霜儿一（呀）场把它的命追。
草木摇落，天色沉阴。北地秋风一扫，一层凉意追着一层寒气；天地间是枯黄、晦暗气象，当着萧瑟时令。万物依时而挪，走着注定的运程，该蛰伏的蛰伏，该沉寂的沉寂，自然韵律。
The leaves fall, and the sky becomes grey. As soon as the autumn wind of the north blows, it brings with it a bone-chilling cold. In the rustle of the cold autumn wind, all the plants become withered, and the landscape grows dark and gloomy. Some animals fly south, some curl up for the long winter. The world sits in silent harmony.
5.《子期听琴》京韵大鼓
词：佚名
Ziqi Listens to the Qin Jingyun Dagu
Lyrics: anonymous
列国诸侯乱纷纷，出了些贤士与能人。
有一人字表伯牙姓俞名瑞，这个人他本是晋国臣。
晋王爷差此人前去修聘，奉旨的一位钦差他是来拜楚君。
拜罢了楚平王就要回朝转，弃岸登舟中秋正临。
行至在汉阳江口船儿湾住，正遇着密布阴云细雨纷纷。
雨过天晴黄昏后，那位俞伯牙推开了船窗舱儿上的（这个）门。
见江中万道银蛇翻波浪，在那江岸上（有）处处（的那些）丹桂（这不）幽香（的那么）可闻。
阵阵的秋风吹得人倒爽，纵有那风吹（那）水浪水借着风音。
在耳轮中猛听得（的那么）唰啦啦啦啦啦啦啦风儿摆动了秋叶，（这不）落至在了秋林。
秋星儿明朗秋蝉声静，在秋坡前秋草中耳边厢又听得（那么）絮叨叨是那寒虫儿的声音，叫得那么叹煞人。
秋草荒（啊）黄，秋光满目（啊），（这不）在东方现出来是明亮亮（那）秋月儿一轮。
秋山秋水一时遣兴，来，唤从人给我设摆瑶琴把香焚。
先抚一曲消闲（哪）闷，在那江岸上来了个砍柴人。
俺姓钟名子期外人恭敬，家住在马鞍山前八里之遥集贤村。
想当年苦读书（哇）未（呀）曾上进，都只为父母年高无人侍奉孝养双亲。
每日（呀）里打干柴我常（啊）把山进，全仗着附葛攀藤以度光阴。
打了（哇）担干柴寻归旧径，正遇着密布阴云细雨降（啊）临。
樵（啊）夫因天气难把家奔，找了座古庙神堂（啊）暂且存身。
雨过天晴黄昏时分，霎时间风儿清月儿朗，月朗风清正好归林。
履顺（哪）着江岸我就朝（哇）前够（哇）奔，猛听得在江边之上有（哇）人抚琴。
樵（啊）夫闻琴音心神稳定，柴担儿放至在了地（呀）埃（呀）尘。
“孔仲尼叹颜回才高他的命短……”
猛听得琴弦断了那么一根（哪）把个俞伯牙吓移神。
弦断知音近，佳话流传千年，人所共赞。一个庙堂高坐俞伯牙，一个山野奔走钟子期，因了音律，通了心气，结下深情厚谊。高山流水，悠悠千古，世人们每每感叹，相觅我的伯牙，你的子期。此曲以宣叙故事为主，夹有二黄唱腔。
A string on the qin breaks; the story of the closest of friends is passed on throughout the ages, for all to remember. A reserved man named Yu Boya meets a wild young boy named Zhong Ziqi, and although their personalities differ greatly, they find a common interest in music, and become close friends. Through all the trials and tribulations we must endure through, life is so much more bearable if we have a friend who can truly understand us, like Boya and Ziqi understood each other. This song is mostly performed in the recital style, with some elements of erhuang singing as well.
6.《伯牙摔琴》京韵大鼓
词：佚名
Boya Destroys the Qin Jingyun Dagu
Lyrics: anonymous
（白）伯牙正往前走，忽见前面来了一位老者，伯牙上前口尊：“老丈，借问一人名叫钟子期，老丈可曾知晓？”老者闻听两眼垂泪，口尊：“大人，子期乃是小老儿之子，年前言过，路遇大人结拜赠银回家，言定今春大人必定到此，不想他前秋故去了。”伯牙闻听，连忙施礼，口尊：“伯父，侄男不知，望乞恕罪，不知我贤弟墓在何处？请伯父指引。”老者闻听，头前引路，伯牙主仆后面跟随，不多时来到了坟前。伯牙吩咐童儿，将礼物摆在坟头，堆土焚香，朝墓一拜。
哭一声钟贤弟死去的魂灵，自去岁结金兰时刻挂心。
因此上辞王家回家养静，实指望保贤弟为官上进。
不料（哇）想贤弟你命归阴间，撇下了二双亲依靠何人？
叹贤弟满腹才你未（呀）得上进，可叹（那）你不爱名，不爱利，你不做官员孝养双（啊）亲。
每日（呀）里上高山把砍（那）柴苦奔（这不）砍柴苦（哇）奔。
我那钟贤弟（呀）！
哭罢时唤童儿对坟头把瑶琴给我摆定，我在此抚一曲如同是会会灵魂。
有童儿在坟前忙把瑶琴稳，俞伯牙跪在了坟前（那）不住的抚瑶琴。
叹贤弟才高命短未得上进，你好比那颜回命早归阴。
去岁在此咱们弟兄把琴论，到了今春（怎么）为何独撇兄一人？
细思想再抚此琴无高论，贤弟你不在少知音。
愚兄我今日在（那）坟前调琴韵，从此以后（我是）再不能够抚瑶琴。
抚罢了站起身将心一狠，举起了瑶琴摔在了地埃尘。
伯牙摔琴不要紧，只吓得钟爷在一旁不住地尊大人。
说：“小儿命短前世造定，大人何必过伤心？
是这等义气我感情不尽，我儿的阴灵也感大恩。”
伯牙劝：“虽然贤弟一命尽，我替贤弟孝双亲。”
唤从人将带来礼物忙抬进，回头再送奉养的银。
说罢告辞他果然不失信，回船送（了）来五百纹银。
俞伯牙交友要算头一份，结拜之中称得起是第一人。
俞伯牙往集贤村赴约，不料钟子期命已归阴。他坟前抚琴相会故人，抚罢伤心，摔破瑶琴，只缘失了知音。似这般高古情义，终成千古美谈。此曲是《子期听琴》续篇，伯牙哭子期一段用了京戏“反二黄”曲调，最后上板以步步紧逼之节奏，表达了伯牙心情的极大悲痛。
Yu Boya is on his way to Jixian Village, when he finds out that Ziqi has passed away. Boya visits Ziqi’s grave and plays the lyre for him, but after playing, Boya feels incomparable sorrow for having lost his only true friend, and destroys the lyre. This ancient tale of friendship still lives on today. In this song, a continuation of Ziqi Listens to the Qin, there is one segment that uses the “fanerhuang” melody found in Beijing Opera. Toward the end of the song the pace steadily becomes faster and faster, representing the intolerable grief that Boya experiences.
7.《十字西厢》梅花大鼓
词：佚名
Thoughts of the West Chamber Meihua Dagu
Lyrics: anonymous
一轮明月照西厢；
二八佳人莺莺红娘；
三请张生来赴宴；
四顾无人跳花墙；
五鼓夫人知道信；
六花棒拷打莺莺审问小红娘；
七情问出不彩之事；
八月十五莺莺降香；
九别公子张君瑞；
十里亭前饯别，哭坏了那位莺莺就叹坏了红娘。
谈风弄月偏爱论西厢，说着莺莺、张生、红娘，有娇有痴有热心肠。敷衍了那些故事耳熟能详，引来一阵笑谈，数段酬唱，雅俗共赏。
此曲短小精巧，却快慢起伏，错落有致，快板的活泼与慢板的抑扬使得朗朗上口，通俗、诙谐，是酬唱助兴的经典曲目。
Yingying and Zhang are so passionate for each other, that no matter what they try to talk about it always comes back to the west chamber. This light and warmhearted song is perfect to be sung in the antiphonal style, and enjoyable to all.
Thoughts of the West Chamber, although short and terse, contains distinct variations in tempo, with the fast parts and slows parts forming a perfect contrast. The lyrics are easy to understand and full of humor, so it’s no wonder this song is a classic duet.
8.《玉堂春》乐亭大鼓
编创：王佩臣
Yu Tangchun Laoting Dagu
Music: Wang Peichen
大明的江山哪太平春，正德年间出了一件新闻。
北京城前门外倒有一座本寺院，开堂名的老鸨儿她叫一秤金。
一秤金花银钱买了那么三位女，一个翠香一个翠红，那位三姑娘玉堂春哪。
那一日来了一位王三公子啦，挑上了玉堂春那位美了貌的佳人。
他二人结交了二年半，王景龙囊空如洗缺少了金银哪。
玉堂春背着老鸨儿替他垫办，怒恼了一秤金她怀恨在心。
这一日王景龙出门去拜客，老鸨她急急忙忙给他锁上了房门哪。
王公子拜客回朝吓黄了脸啦，从晌午直哭到了那日落黄昏。
若是儿女情长心意浓，自不必暮暮与朝朝；惟可叹风尘沦落却执意坚贞。千古传唱玉堂春，污尘不掩初衷，泥淖不堕清志，一心相守，千般曲折，眷属终成。
If a man and a woman are meant to be together, then days and years pass like seconds and minutes, and no amount of hardship may drive them apart. In Yu Tangchun, a timeless classic, we see two young lovers who discover sincerity in a world full of corruption, who although encounter unimaginable trials and tribulations, remain at each other’s side to the very end.
9.《重整河山待后生》京韵大鼓
词：林汝为 曲：雷蕾
Rearranging the Scenery Jingyun Dagu
Lyrics: Lin Ruwei Music: Lei Lei
千里刀光影，仇恨燃九城。
月圆之夜人不归，花香之地无和平。
一腔无声血，万缕慈母情。
为雪国耻身先去，重整河山待后生。
慷慨悲歌一曲，尽染故都旧恨。悲壮之气掩盖不了重重忧伤，眼见着铁蹄凌辱家园，怎忍心耳听慈母声息带泣。为了这月圆之夜，花香之地，必死志奋起抗击，愿后生重整山河。
此曲是电视剧《四世同堂》主题歌，京韵大鼓大师骆玉笙将曲中苍凉与愤慨之情表现得淋漓尽致，其铿锵悲壮，唱遍了大江南北，脍炙人口，一提起此曲，故都的烟云便一一浮现眼前。
A rather sad and emotional song, full of contempt for the ancient capital. Solemnity cannot mask grief forever, after one’s family has been humiliated, and who can stand the sound of their own mother weeping? In order to keep what’s rightfully theirs, the people decide to take matters into their own hands, to move mountains.
This song was chosen as the theme song for the television series Four Generations. In Rearranging the Scenery, Jingyun Dagu master Luo Yusheng fully portrays the desolation and indignation of the time when the story took place. This song, sonorous and stirring, is familiar and well-loved all over China, and whenever it is mentioned, it will remind one of the war-stricken ancient capital.
10.《剑阁闻铃》京韵大鼓
词：（清）喜晓峰
Bells in the Sword Pavilion Jingyun Dagu
Lyrics: Xi Xiaofeng (Qing Dynasty)
马嵬坡下草青青，今日犹存妃子陵。
题壁有诗皆抱恨，入祠无客不伤情。
万里西巡君前去，何劳雨夜叹闻铃。
杨贵妃梨花树下香魂散，陈元礼带领着军卒保驾行。
叹君王万种凄凉千般寂寞，一心似醉两泪如倾。
愁漠漠残月晓星初领略，路迢迢涉水登山哪惯经。
好容易盼到行宫歇歇倦体，偏遇着冷雨凄风助惨情。
剑阁中有怀不寐唐天子，听窗外不住的叮当连连地作响声。
忙问道：“外面的声音却是何物也？”
高力士奏：“林中雨点和檐下金铃。”
这君王一闻此言，长吁短叹，
说：“正是断肠人听断肠声啊！”
似这般不作美的铃声，不作美的雨呀。
怎当我割不断的相思，割不断的情。
洒窗棂点点敲人心欲碎，摇落木声声使我梦难成。
当啷啷惊魂响自檐前起，冰凉凉彻骨寒从被底生。
孤灯儿照我人单影，雨夜同谁话五更。
从古来巫山曾入襄王梦，我何以欲梦卿时梦不成。
莫不是弓鞋懒踏三更月，莫不是衫袖难禁午夜风。
莫不是旅馆萧条卿嫌闷，莫不是兵马奔驰心怕惊。
莫不是芳卿心内怀余恨，莫不是薄幸心中少至诚。
既不然神女因何不离洛浦，空教我流干了眼泪盼断了魂灵。
唐玄宗夜宿剑阁，闻听得冷雨凄风和檐铃叮咚之声，触景生情，哀念马嵬坡上香消玉殒的杨玉环。想起当初二人在太液池边、沉香亭中、玩月楼上、长生殿内你恩我爱的情形，愈觉哀戚、痛悔，他肝肠寸断，彻夜唏嘘。此曲浑然一体，以低徊婉转的基调，描写寒秋、雨夜、剑阁等环境，节奏舒缓，如泣如诉。
While Emperor Xuanzong is spending the night at the Sword Pavilion, he hears the cold rain and wind outside, as well as the sound of bells hanging from the eaves. These sounds spark painful memories, as he is reminded of his beloved Concubine Yang, who died in vain for him. He recollects all the times they spent together, basking in each other’s love, next to the lake, or in the pavilion, on the moon-viewing platform, inside the Hall of Longevity. The more he recalls these memories the more he misses her and regrets letting her die, and his torment keeps him up the entire night. This song is a blend of description and narration, focusing on scenes such as the cold autumn, the rainy night, and the Sword Pavilion. It has a rather slow and relaxed pace, as if mimicking the weeping of the forlorn Emperor.
11.《盼情郎》天津时调（怯五更）
词：佚名
Longing for Love Tianjin Shidiao (Qiewugeng)
Lyrics: anonymous
一更更儿里月影儿照花台，才郎啊定下计了他说今天晚上来。
我叫丫环打上啊四两酒（哇），四个菜碟儿（呀）摆也就摆上来（呀）。
一碟子咸白菜，一碟子熬海带，一碟子炒虾仁儿呀，一碟子摊黄菜，两双啊筷箸对着面儿地摆（呀），单等着我的那个才郎来（呀），好把酒来筛。
喜上眉梢是情郎要来，喜气洋洋忙着张罗开。喜形于色摆起酒和菜，喜出望外把情话儿猜。活活泼泼，清清脆脆，欢欢喜喜，爽爽朗朗，情儿性儿气儿就往眉眼上摆。
With a smile on his face there he is, here he comes gleaming with cheerfulness. He’s all smiles as he pours the wine and sets out the dishes, and is overjoyed at his young wife’s words of praise. They’ve longed all their lives to live like this; now that they can they enjoy every minute, and aren’t afraid to show it.
12.《二泉映月》梅花大鼓
词：石世昌 曲：赵学义 韩宝利
The Moon over the Fountain Meihua Dagu
Lyrics: Shi Shichang Music: Zhao Xueyi, Han Baoli
江南名胜无锡城，太湖美景七十二峰，寄畅园楼台水榭多俊秀，天下第二泉水清清，出了个民间艺人名叫阿炳，谱一曲《二泉映月》南北驰名。
江南风景旧曾谙，明秀不洗哀肠，遍目处，人生景致满苍凉，但闻丝弦响。一曲泉、月交相映，黯然神伤，奈何如画美景，不减心内凄惶。
The scenery of the south is nothing but a memory, and nothing can keep me from missing it so much. Everywhere I look all I see is bleakness…but wait, what’s that sound? The trickling of a fountain. I go to see it, and under the hazy illumination of the moon, it’s the most beautiful sight I’ve seen since I left my hometown.
13.《愚公移山》京韵大鼓
词：孙世甲 曲：韩德荣、韩玉山、阎秋霞
Yugong Moves the Mountain Jingyun Dagu
Lyrics: Sun Shijia Music: Han Derong, Han Yushan, Yan Qiuxia
据传说那愚公他的家在从前就住在咱们现在的敬老院，他的家门南面一座是王屋（哇）一座是太行山。
双峰耸峙蜿蜒有七百里，高出了云表把红日遮掩。
那愚公每天下地（呀）总觉得不方便，如果是赶趟集，至少得走几天。
山南的乡亲们都渴望到山北，山北人又何尝不想到山南。
实可恨这险恶的山峦会隔断了人间路，难道说我们子孙万代就不能够见青天？
我们一定要把山搬，不能够再拖延。
一座王屋，一座太行，挡了愚公去处，他立誓要搬山。古往今来，何曾听过讥笑？诚心挚意，只有使人赞叹。 愚公移山的故事出自《列子·汤问》，是京韵大鼓“白派”的代表曲目，其中借鉴了刘派《单刀会》“观江景”一段旋律，该曲的创编使白派焕发了新的光彩。
All that’s in Yugong’s way is a mountain, so he swears to move it. Such a strong will is not to be ridiculed, but to be praised and admired. The story of Yugong Moves the Mountain is an excerpt from Liezi – Tangwen, and this song is representative of the “Bai style” of Jingyun Dagu. In the song there is also a verse whose melody is from Guan Yu Attends the Meeting Alone, performed in the Liu style. Indeed, Yugong Moves the Mountain shines a new light on the Bai style.
14.《送女上大学》京东大鼓
词：寇庚儒 董湘昆
Seeing Daughter off to University Jingdong Dagu
Lyrics: Kou Gengru, Dong Xiangkun
火红的太阳刚出山，朝霞铺满了半边天，公路上走过来人两个呀，一个老汉一个青年哪。
张老汉今年有五十多岁呀，后跟他的女儿叫张桂兰。
那桂兰穿红格的衬衫多么好看，制服的裤子是学生蓝，漆黑的头发两个小辫，那绿帆布的书包挎在身边。
张老汉是青布的裤子白布褂儿，实纳帮的夹鞋在脚上穿，身体健康黑红的脸，他挑着担子走在前哪。
你别看这个扁担，两头窄是当不间宽，不搁上载儿也不弯，要搁上了载儿，两头颤是当不间颠，分量再重也不压肩呐哎。
张老汉送他的女儿把大学上啊，特意给桂兰把行李担，这一气儿走了有十几里，桂兰要接扁担，让爹爹歇会儿抽袋烟。
这老汉说：这担子我怕你挑不动，担心孩子你把路走偏哪。
桂兰说：千斤的重担我能挑起呀，革命大道我勇向前。
前面走着老汉，后头跟着闺女，一幅小景满透温情。老汉送女上大学，满心喜悦，白布褂儿青布裤，引着漆黑头发两小辫，淳朴的民风，纯良的心地，由内而外显着地道风土人情，乡间美景。
此曲为京东大鼓代表作品，全部唱腔，无一句道白，包括最后一部分的变调，综合了本曲种的主要技巧精华，艺术上达到峰巅。而父女的对唱，将此曲本来诙谐、活泼的趣味又增添了几分，令人不由自主跟着哼唱起来。
Making their way down the country path and gleaming with joy, a father prepares to send his daughter off to university. The father wears a robe made of white cloth, and the daughter’s shiny black hair is woven into two big braids. In these times any family of commoners would have envied them.
Seeing Daughter off to University is a representative Jingdong Dagu piece, and consists entirely of sung lyrics, with no spoken words. There is also a part with a shifting tone, showcasing the unique concentrated style of the form. The song is simple yet very artistic, and the duet between father and daughter makes it even more entertaining and enjoyable.
15.《丑末寅初》京韵大鼓
词：佚名
Daybreak Jingyun Dagu
Lyrics: anonymous
丑末寅初，日转扶桑。
我猛抬头见天上星，星共斗、斗和辰，它（是） 渺渺茫茫、恍恍惚惚、密密匝匝，直冲霄汉（哪），减去了辉煌。
一轮明月朝西坠，我听也听不见，在那花鼓谯楼上，梆儿听不见（那）敲，钟儿听不见（那）撞，锣儿听不见（那）筛呀，（这个）铃儿听不见（那）晃，那些值更的人儿他沉睡如雷，梦入了黄梁。
架上的金鸡不住地连声唱，千门开，万户放（啊），这才惊动了行路之人急急忙忙打点着行囊，出离了店房，够奔了前边那一座村庄。
渔翁出舱解开缆，拿起了篙，驾起了小航，飘飘摇摇晃里晃当，惊动了（那）水中的鹭鸶对对鸳鸯，是扑楞楞楞两翅儿忙（啊），这才飞过了（那）扬子江。
打柴的樵夫就把(这个)高山上，遥望见山长着青云，云罩着青松，松藏古寺，寺里隐着山僧，僧在佛堂上，把那木鱼敲得响乒乓（啊）他（是）念佛烧香。
农夫清晨早下地，拉过牛，套上犁，一到南洼去耕地，耕得是春种秋收冬藏闭户，奉上那一份钱粮。
念书的学生走出了大门外，我只见他头戴着方巾，身穿着蓝衫，腰系丝绦，足下蹬着福履，怀里抱着书包，一步三摇脚步儿仓惶，他是走进了这座书房。
绣房的佳人要早起，我只见她面对着菱花，云分两鬓，鬓上戴着鲜花，花枝招展（哪）她（是）俏梳妆。
牧牛童儿不住地连声唱。我只见他头戴着斗笠，身披着蓑衣，下穿水裤，足下蹬着草鞋，腕挂藤鞭，倒骑着牛背，口横短笛，吹得是自在逍遥。
吹出来的（这个）山歌儿是野调无腔，（这不）越过了小溪旁。
丑末寅初，清晨已至，从静谧中显出一派忙碌景象：行人启程，渔翁出海，樵夫进山，农人下地，学生上学，佳人梳妆，牧童鸣笛……万千生命一夜之间蓄满力量，渐渐展露，汇成一派生机盎然，气息扑鼻，宁和，灵动。此曲为京韵大鼓传统小段，经前辈艺人多年锤炼，成为一段精巧佳妙的节目。句式一律上句单起，下句连垛，活泼轻快，富于生活情趣。
At the break of dawn, just as the morning begins, from the tranquil silence a host of people emerge to go about their business: a traveler picks up his bag, a fisherman sets sail, a lumberjack heads up the mountain, a farmer sets out into the field, a student grabs his books, a lady brushes her hair, a cowherd blows his whistle….Overnight, all beings become full of energy, and by morning are ready to let it out, creating a scene of vigorous life. Daybreak has become a staple of Jingyun Dagu, and after generations of artists performing and revising this song, it has become known as a masterpiece of the art. The end of every line is connected to the beginning of the following one, and this song as upbeat and as full of life as the morning scene described in the lyrics.
北方曲艺介绍
About Northern Chinese Folk Music
京韵大鼓
由河北省沧州、河间一带流行的木板大鼓发展而来，形成于京津两地。河北木板大鼓传入天津、北京后，一代大家刘宝全改以北京的语音声调来吐字发音，吸收石韵书、马头调和京剧的一些唱法，创制新腔，专唱短篇曲目。京韵大鼓具有半说半唱的特色，因而韵白在演唱中也占重要的位置，与唱腔衔接自然。主要伴奏乐器为大三弦与四胡，有时佐以琵琶，演员则自击鼓板来掌握节奏。
Jingyun Dagu
This form originated from the muban (wooden drum) dagu styles of the Cangzhou and Hejian area of Hebei Province. After Hebei Muban Dagu made its way to Beijing and Tianjin it saw further development, as master Liu Baoquan altered all the lyrics to the Beijing accent, and added vocal elements of shiyunshu, matoudiao and Beijing opera, creating a new style in which shorter songs were most common. Jingyun Dagu is unique in that it is half-sung and half-spoken, with the narrative parts being an important component of the performance, and the sung and spoken parts are linked with natural transitions. The accompanying instruments are usually the sanxian and the sihu, but sometimes a pipa is used as well, and the performer controls the rhythm with clappers.
京东大鼓
产生于河北省香河和宝坻一带的农村，是在民间小调的基础上，结合当地的语言音调逐步发展而成的。演唱者左手挟铜板，右手击鼓，伴奏乐器主要是三弦。
Jingdong Dagu
Originating from the countryside of Xianghe and Baodi, Hebei Province, Jingdong Dagu was formed on the foundations of folk ditties, and absorbed the local dialect as it gradually developed into an independent art form. The performer holds copper clappers in his or her left hand, plays the drum with the right, and is usually accompanied by a sanxian player.
乐亭大鼓
发源于河北省乐亭县，乐亭方言本身就有自然的旋律性，字声都带唱音，尾音细长回旋，像是在唱歌。如果稍微把语音拉长，再加上鼓板，进行提炼、升华，即能成为具有乡土气息的优美曲调。道光三十年，大鼓艺人温荣将木板改为两片铁制简板，称“梨花板”(犁铧板之谐音)，因起初梨花板是截取农具犁铧之尖磨制而成，形如半月，夹于指缝间，敲起来叮叮铃铃，或哑、或放、或单、或双，加花变奏，意境轻快。
Laoting Dagu
Its name is a reference to Laoting County of Hebei Province, and Laoting dialect naturally carries a musical sound, with the final syllable often wavering, as if the speaker is singing. If one extends these sounds, adds a drum, then refines the words into lyrics that can be performed, then you have a distinctively local-sounding and charming form of music. In the mid-nineteenth century, dagu artist Wen Rong replaced the wooden drum with a pair of steel clappers and called them “lihuaban”, or pear blossom clappers, “pear blossom” being a homonym of the word for “plough”, because the first lihuaban were made from the metal parts of a plough and other recycled farming tools. Lihuaban are crescent-shaped, and played by being held between the fingers. They make a sound similar to that of a bell, and are capable of quite a wide range of tunes, bringing variation and liveliness to the form.
单弦
产生于北京，又称单弦牌子曲，是清时满族子弟间流行的“八角鼓”里的一种自娱娱人的演唱形式。它似说似唱，有的半说半唱，活泼、跳跃，朗朗上口。岔曲是单弦的主要曲调，可独唱、齐唱，亦可轮唱，曲词多为咏赞体，借以抒发意兴。
Danxian
This form originated in Beijing during the Qing Dynasty, from the “eight-corner drum” form which members of the Manchurian royal family created to entertain themselves. It is half-sung and half-spoken, or sometimes in between, and is vivid, upbeat, and catchy. Chaqu is the main melody used in danxian, and can be sung solo, in chorus, or in sequence, and for the lyrics songs of praise are predominant.
梅花大鼓
起源于北京，又名清口大鼓，过去是北京旗人子弟喜演擅唱的曲调，多为表现儿女情长的悲辛故事。声腔婉转动听；快板、紧板活泼有力；收束时的慢板稳重而又有余音，娓娓动听。由于伴奏乐器为三弦、四胡、琵琶、扬琴及鼓板，有人便以“梅花五瓣”喻之，故称梅花大鼓。
Meihua Dagu
Originally from Beijing, and also known as Qingkou Dagu, it was once the form of folk music which the Manchus were most fond of and most skilled at. Many of the tales told in Meihua Dagu are based on tragic love stories. The singing style is mild and stirring, the rhythm is at times fast and powerful, and at the end of many songs the tempo slows down for a smooth and enchanting sound. The name Meihua (“plum blossom”) comes from the fact that the main performer is accompanied by five instruments—sanxian, sihu, pipa, yangqin, and guban—just like the five petals on a plum blossom.
天津时调
用天津地方语的字音演唱，内容通俗易懂，腔调高亢爽朗，具有浓郁的天津乡土气息。唱腔有靠山调、老鸳鸯调、拉哈调等，还包含许多天津地方民歌小调和外地流入天津的曲调，极为丰富。“靠山调”来自手工业者的劳作余兴，绱鞋作坊里的工匠每当日落时，坐着小马扎，背靠房山自编自唱，内容多抒发内心的感慨与忧愁，极富生活气息。
Tianjin Shidiao
Sung in Tianjin dialect, the songs of Tianjin shidiao are simple and easy to understand, and the singing style crisp and clear, giving this form a distinctive local flavor. The abundant range of styles in Tianjing shidiao includes kaoshandiao, laoyuanyangdiao, lahadiao, and so on, which encompass many local folk songs and ditties, as well as elements of music from neighboring regions. Kaoshandiao (“against the mountain melody”), is full of the spirit of the common people, having its roots in the songs chanted by laborers, namely the shoe stitchers, who sang these tunes as they sat on their little stools, still working hard as the sun went down behind the mountains at their backs.
演唱者简介：冯欣蕊
天津市曲艺团京韵大鼓演员。1994年考入中国北方曲艺学校，毕业后进入天津市曲艺团。宗骆派京韵大鼓，曾受京韵大鼓表演艺术家骆玉笙亲传。她天资聪颖、嗓音甜美、韵味醇厚，舞台形象清新俏丽，深具骆派风范。被誉为天津市曲艺团四小名旦之一。2008年参加中央电视台赈灾募捐晚会《爱的奉献》公益活动，破格晋升国家一级演员。
进入曲艺团后随赵学义老师学习《子期听琴》、《红梅阁》、《风雨归舟》等传统曲目，经常演出的唱段还包括《重整河山待后生》、《丑末寅初》、《剑阁闻铃》、《伯牙摔琴》、《祭晴雯》、《和氏璧》以及《击鼓骂曹》等。
曾荣获2001年天津市第六届文艺新星、2004年侯宝林杯中华青少年曲艺大赛金奖、2004年第三届中国曲艺牡丹奖等奖励。曾多次赴港、台、澳大利亚等地演出，参加了中国文联成立五十周年庆祝演出、文化部2001年春节文艺晚会以及北京、上海、天津、重庆等国际、国内艺术节和重大活动，参与了中央和多个地方电视台的节目录制。与北京音乐人合作鼓曲新编的改革工作，部分作品及创新受到各方好评。
About the Performer:
Feng Xinrui is a Jingyun Dagu performer of the Tianjin Folk Art Troupe. In 1994 she began her studies at the Northern China Academy of Folk Art, and after graduation joined the Tianjin Folk Art Troupe. Her background is in the Luo style of Jingyun Dagu, having received personal instruction from performing artist Luo Yusheng. She inherently possesses many qualities of the Luo style, including her wittiness and her charisma, her sweet voice and her enthralling stage presence. She was recognized as one of the Four Starlets of the Tianjin Folk Art Troupe. In 2008 she performed in the CCTV Sichuan earthquake disaster relief special Gift of Love, and was then selected as a national first-level performer.
After first becoming a member of the Tianjin Folk Arts Troupe, Feng studied under the tutelage of Zhao Xueyi, learning traditional songs such as Ziqi Listens to the Lyre, Red Plum Pavilion, and Wind and Rain; among the pieces she frequently performs are Rearranging the Scenery, Daybreak, Bells in the Sword Pavilion, Boya Destroys the Qin, Paying Respects to Qingwen, The He Family Jade, Down With Cao Cao, and many more.
Feng Xinrui has received several prestigious awards, such as the 2001 Tianjin Literature and Art New Star Award, first prize in the 2004 Hou Baolin Youth Folk Art Competition, and the 2004 China Folk Art Peony Award, just to name a few. She has performed in Hong Kong and Taiwan, as well as abroad in countries such as Australia, and has participated in events like the China Literary Foundation 50th Anniversary Celebration, the 2001 Cultural Department Spring Festival Special, and all sorts of large-scale domestic and international performances in Beijing, Shanghai, Tianjin, Chongqing, and so on. She has also appeared in recordings of programs for CCTV and many other television stations. Her revolutionary work and new compositions, which she has created in cooperation with musicians from the Beijing folk art scene, has been very highly praised.
三弦演奏家简介：韩宝利
国家一级演奏员，天津曲艺团琴师，著名曲艺艺术家，中国民族管弦乐学会三弦专业委员会副会长。
1960年考入天津市曲艺团，先后师从著名琴师刘文友先生、韩德荣先生，三弦弹奏的功底扎实，技艺精湛。早年便开始为众多的鼓曲表演艺术家伴奏，不仅娴熟地掌握了京韵大鼓刘、白、骆各个流派的不同风格，又擅长于不同曲种托腔保调、遂心如意的伴奏艺术。多年来为骆玉笙伴奏并录制了大量的音像资料，其三弦艺术在骆派的伴奏中展示得淋漓尽致。
自70年代以来，一直致力于鼓曲音乐创作，很多作品在全国赛事中荣获大奖，如：梅花大鼓《二泉映月》、单弦《将军的胸怀》获文化部“文华奖”。1984年出访美国、香港、台湾等地演出，均受到很高评价。
2003年与夫人赵学义（著名白派京韵大鼓艺术家）合著的《鼓曲音乐创作集》出版。2004年被中国文联评为全国德艺双馨曲艺家。同年，获得“第三届中国曲艺牡丹奖”。
About the Sanxian Performer:
Han Baoli is China national first-level performer, accompanist of the Tianjin Folk Art Troupe, a renowned folk artist, and the vice-chairman of the China Ethnic Orchestral Music College Sanxian Major Council.
Around the time of his acceptance into the Tianjin Folk Arts Troupe in 1960, Han was a disciple of famous musicians Liu Wenyou and Han Derong, with a strong foundation in the art of the sanxian and a high degree of expertise. In his early years he performed alongside many dagu artists, and not only did he grasp the various characteristics of the Liu, Bai and Luo styles, he is also skilled in providing music for extended variants and improvisations of the singers’ performances. After accompanying Luo Yusheng’s vocal performances for many years of recordings, Mr. Han’s artistry will be forever known as the epitome accompanying music for the Luo style.
Since 1970, Han Baoli has devoted himself to the art of dagu, and many of his works have received prestigious awards all over China, including his meihua dagu piece The Moon over the Fountain, and his danxian piece The Heart of the General, which won the Cultural Department’s Wenhua Award. In 1984 he visited Hong Kong, Taiwan, and the United States, and his performances were all met very warmly.
In 2003, Han and his wife Zhao Xueyi (renowned Bai style Jingyun Dagu artist) cooperatively wrote and published Chinese Folk Music Composition Selection. In 2004 he was selected by the China Literary Federation as a National “De Yi Shuang Xin” Folk Artist. In the same year, he was awarded the China Folk Art Peony Award.
录音师简介：李大康
中国传媒大学影视艺术学院教授、一级录音师、中国录音师协会理事。
青少年时期学过琴、插过队、当过兵。1976年从部队复员到中国唱片社，从事录音工作。后又在北京广播学院录音艺术专业进修，是国内最早从事立体声及环绕声的录音师之一，曾任中国唱片总公司录音技术部主任。2003年调入北京广播学院，担任教学与科研工作。
从事录音工作三十多年，以认真负责、严谨细致的工作作风和全面扎实的录音技术，以及丰富的录音实践经验著称，与众多艺术团体及艺术家合作，录制了上千个节目，并形成了自然、纯朴、细腻的音响风格。主要获奖作品有《清明上河图》获亚广联 “放送基金大奖”；《台湾幻想曲》获法国“戛纳”唱片展大奖；其它有影响的作品有李谷一、彭丽媛等歌唱家和马思聪、李焕之等新老一辈作曲家的专辑。曾多次录制文化部春晚等国家级大型文艺演出。
Li Dakang, Sound Engineer:
Currently serving as senior professor of film and television arts at the Communication University of China, sound engineer Li Dakang is among China’s most respected veterans of the media arts as well as an esteemed educator and venerated mentor for young professionals.
Li began his work in 1976. Working first for the China Recording Association and later, accepted to the Beijing Broadcasting Institute of Recording Arts professional development program, Li became a pioneer in China’s nascent stereo and surround technologies and would soon become director of Recording Technologies for the China Recording Corporation.
With more than 30 years experience in the recording industry, Li is highly esteemed for his serious and meticulous work ethic, his breadth of knowledge of the latest technologies and his wealth of practical experience in working with a wide variety of musical styles.
Li has received numerous professional and international accolades, and is the senior sound engineering consultant for the Spring Festival Gala.
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，追求品质，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.
演唱及乐队成员：
主唱/板鼓：冯欣蕊
三弦：韩宝利
京东大鼓三弦/对唱：冯占魁
四胡：刘小凯
扬琴/阮：韩晴
琵琶/大提琴：韩旭
笙：于宝树
板鼓/八角鼓：时唯
Vocal and Instrumental Performers:
Main vocals, Bangu: Feng Xinrui
Sanxian: Han Baoli
Jingdong Dagu sanxian, Vocals (Duet Partner): Feng Zhankui
Sihu: Liu Xiaokai
Yangqin, Ruan: Han Qing
Pipa, Cello: Han Xu
Sheng: Yu Baoshu
Bangu, Bajiaogu: Shi Wei
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。
制作成员：
出品人/制作人：叶云川
录音：李大康
录音助理：曲璐
制作统筹：黎江
市场统筹：刘军 张威
中文文案：稼耕
英文文案：安仁良
摄影：小叶
平面设计：张洪科设计事务所
录音棚：中国解放军军乐团录音棚
后期制作：德国老虎鱼
Production Crew:
Producer: Ye Yunchuan
Executive Producer: Ye Yunchuan
Recording: Li Dakang
Recording Assistant: Qu Lu
Chinese Copywriter: Jia Geng
English Copywriter: Nick Angiers
Production Coordinators: Li Jiang
Marketing Coordinators: Liu Jun, Zhang Wei
Photography: Xiao Ye
Graphic Design: Zhang Hongke Design Studio
Recording Studio: the PLA Military Band Recording Studio
Post-production: Stockfisch Records, Germany
Produced by: Rhymoi Music. Co., Ltd www.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. 百山图 (京韵大鼓）Panorama 4:49
2. 风雨归舟（单弦·岔曲）Wind and Rain 3:33
3. 红梅阁 (京韵大鼓）Red Plum Pavilion 7:08
4. 秋景（天津时调）Autumn Scenery 2:40
5. 子期听琴 (京韵大鼓）Ziqi Listens to the Qin 8:54
6. 伯牙摔琴 (京韵大鼓）Boya Destroys the Qin 8:58
7. 十字西厢（梅花大鼓）Thoughts of the West Chamber 1:56
8. 玉堂春（乐亭大鼓）Yu Tangchun 4:13
9. 重整河山待后生（京韵大鼓）Rearranging the Scenery 2:20
10. 剑阁闻铃 (京韵大鼓）Bells in the Sword Pavilion 10:25
11. 盼情郎（天津时调）Longing for Love 1:33
12. 二泉映月（梅花大鼓）The Moon over the Fountain 2:49
13. 愚公移山 (京韵大鼓）Yugong Moves the Mountain 2:51
14. 送女上大学 (京东大鼓）Seeing Daughter off to University 3:55
15. 丑末寅初 (京韵大鼓）Daybreak 7:31
Total:70:16
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