主标题
玫瑰三愿
Three Wishes for a Rose
副标题
两缕琴声 几世怀想 交缠 沉吟 如影随形……
The Romantic Sound of the Goffriller Cello
封底广告语
暖意 从爱与夜的迷人主题油然而生
翩翩 藉由中西优美旋律缠绵动人
心潮 自名琴国手灵感对话间波澜涌动
梦境 在聆听的这一瞬精致复苏
A4广告语
中西十数支精致名曲
藉由大提琴和钢琴的极致纯粹
浪漫对话 撩动心弦
18世纪世界名琴的光芒
将心底脆薄而隐秘的念念不忘
投映出古与今同的淡淡怅惘
不干胶广告语
《希伯莱的祷歌》奏响世纪沉思
《茉莉花》大提琴史上首唱惊世耀现
千万价值Goffrille世界名琴
浓情对话斯坦威钢琴的深沉琴音
大师李大康精心录制完全同期
德国精湛后期制作母版制造
前言
这夜色是一道门扉，暗暗地掩住些什么。
站在门前，心中狂跳着想打开它，但又怕，又怕。
许久没这么怕，没这么剧烈地心跳，许久以来都以为人生无波，世事沉着。只是这一刻，只是这夜曲的诱惑，让你忍不住去猜想，开启门扉那一霎的亮光，会耀映出怎样的梦境。
或许是那远离了的甜蜜情景，它也曾被放在枕边时时翻阅以慰寂寥。曾经年轻的两个人，曾经相爱的两个人，喁喁细语，琴瑟相合。时光将它拉远，时光将人和爱变了模样。怕这一刻的重温，令人百感交集，酸风射眸。
或许，它奇妙地重映出童年那摇摇晃晃的梦境，母亲摇篮曲的呢喃穿过时空似远亦近地哼鸣着，朦胧的啼眼仿佛看见那无可替代的温柔面庞，伸出手去，却什么也没有。而那些幼时不谙世事的童稚允诺，那些随着年岁痴长默默放弃了的少年狂想，在这一刻潮涌至眼眶。
或许映出心底一段不能言说的暧昧怀想，一个曾经坐在身畔却被无心忽略掉的身影。一切在犹疑中，在无聊在沉溺中磨灭了勇气。当这梦境的光照出曾经的身影，却发现已经记不清那侧脸的轮廓，记不清那声音和笑意，无法重温当时几乎不顾一切的心神激荡。
或许这整个是一段黑沉沉的纷飞迷梦，在三个世纪前的乱世烽火中，在漫卷西风的萧索尘烟中，你看见自己前世的身影，茫然无助地四顾；或者被另一只手紧紧握住，一起跑，一起跑，不回头。
……
这猜想令人缺氧，这紧闭的门令人心跳。宁可这夜无边，天永远不需要亮起来；宁可梦永不曾开始，或者永远永远不必醒。于是，今天就让我们来做这个有点纷繁、有点幻想、有点忧伤也有点温暖的梦，在这个由钢琴繁星点缀的大提琴的无边夜空里，寂静地沉迷于怀想，就当它不会天亮。
这一张关于爱与夜主题的小品专辑，不求繁花乱眼的春光满园，只由这一柄大提琴和一台钢琴的对唱吟哦，奏响那极致纯粹的灵魂之美。真的，十三首细细选来的中西名曲，就是十三段似曾相识的梦境，在触碰的一瞬带来无可逃避的温暖和记忆。
《爱的致意》在冬日午后壁炉前的甜美闲暇，轻倩得仿佛一幅十九世纪的温情油画；《爱之梦》缠绵低回的优美细语，诉尽每个人心头那一点柔软而坚持的爱情回忆。
《东方舞曲》神秘而略略阴郁的气质，仿佛一个诱惑的手势让人忍不住跟随；《西西里舞曲》那波光荡漾的印象派水景，一听之下无端地便会心生喜乐，随波流淌。
《希伯莱的祷歌》以犹太人赎罪日的深沉祷歌，沉思人生，拷问心灵，将希望和冥想交织凝练，洗净浮尘。
《夜曲》则以柴氏不可思议的优美旋律，一击即中那心底隐忍的久远疼痛，在这酒浆一般的浓夜里沉醉不知所往。
与西方曲目互望互补的，是中国曲目的别致美感。《摇篮曲》以五声音阶映像出的温柔母爱暖人肺腑，《嘉陵江上》将国破山河在的一腔愤恨寄托于如江水般漫涌的滔滔琴思；《牧歌》以简笔质朴而浪漫地描画出“天高高，野茫茫，风吹草低见牛羊”的动人景象，《玫瑰三愿》幽咽婉转欲语还休，将赞叹和怜惜尽诉于柔美的曲调；而首次改编为大提琴和钢琴版本的中国名曲《茉莉花》，以琴声织缀这水墨意象的幽雅情致，芬芳四溢，美不胜收。
每段曲子都有一段故事，每段故事都在这琴弓和黑白键之间脉脉讲述。中国爱乐大提琴首席马新桦偕价值一千五百万的18世纪Goffriller名琴，邀冯丹指间铿锵玲珑的斯坦威钢琴，将这一段段爱之梦曲丰润而细腻地浓情演绎。在久负盛名的录音大师李大康亲自操刀下，完全同期精密录制下琴手现场才思碰撞的点滴火花。德国老虎鱼的后期制作更令这张精致而优美的暖心小辑愈臻完美。
有没有勇气，轻轻打开门，哪怕屏息闭眼。让隐藏已久的那些苏醒，让遗忘已久的那些藉由这缠绵的弦意萦绕上心头。这琴声的梦境，告诉你曾经的那些心潮依旧鲜活澎湃，从来不曾远离记忆的海岸。
Introduction
“Three Wishes for a Rose” is an invitation to enter into a place of quite repose; a calm and secret place that welcomes you at the end of the day; suspended between darkness and daylight, waking and a dream, East and West. The music you will hear is evocative of many far-off scenes - from the candle-lit salons of Europe, to evening prayers in a Jewish Synagogue, from the endless sky of the Inner Mongolian grasslands, to the manicured elegance of an estate in Edwardian England, from the embattled city of Shanghai during the 1930s to the imperial gardens of the Forbidden City, our program of song will transport you.
Beginning with the sinuous cantilena of Tchaikowsky’s Nocturne and concluding with that most famous of all Chinese folk songs, the tender Jasmine Flower (whose fragrant petals unfold at twilight), our two master-musicians take you on a musical journey that includes lullabies, and love songs, in a program that includes some of the most beloved, lyrical encores from two cultures.
Perhaps more than any instrument the cello sound can create a melancholy mood.
Its husky tenor voice can be further enhanced by a broad vibrato and its particularly wide range and powerful sound can one minute be play a bass line and the next, a melody that soars through the uppermost octaves. It's deep and poignant tone touches the very depth of one's heart. It transports you into a mysterious and amazing world where each tone becomes like a wind that slowly caresses your soul... Indeed, it’s this very universality of the cello’s sound that makes this international program so special. Ma Xinhua and Feng Dan have provided a folio of comparisons and contrast - Fauré's Sicilienne finds its parallel in Sha Hankun’s Madrigal; Elgar’s timeless Salut d'Amour finds its long-lost Chinese cousin in Huand Zi’s touching “Three Wishes for a Rose”- two worlds of music come together in a perfect balance.
In addition to the artistry of Principle Cellist for the China Philharmonic, Ma Xinhua and accompanist extraordinaire Feng Dan, two other names should be mentioned. The first, master recording engineer Professor Li Dakang of the Communication University of China – a craftsman of the first order whose understanding of the science of recording technology gives life to the art of music. Finally, we must acknowledge the genius of luthier Matteo Goffriller (1659 – 1742), whose priceless instrument is featured on this recording. These four artists, who in every way are as international as the program they have recorded, are a testament to the emotional power of music to cross the boundaries of time and geography to create a unique work of art.
曲目
1. 夜曲
作曲： [俄] 柴可夫斯基
每颗心灵的深处，都有这样一段夜曲。无可争议的优美旋律，带着些敏感，带着些宁静，以及挥之不去的浓密伤感。大提琴迂回低语波澜暗涌，钢琴似这深夜回望的心情，幸福轻得太沉重。这一生的放弃，这一刻的狂想，在这云淡风清的交织中寂静地疼痛，无以舐伤。据说1873年的柴可夫斯基还不曾遇见梅克夫人，优柔而矛盾的内心世界无以寄托，惟有诉之于音乐。这一年10月在莫斯科，他写下了钟爱的第十九部作品《六首钢琴小品》：夜的梦幻曲、幽默谐谑曲、纪念册的一页、夜曲、随想曲、原创主题变奏曲。其中这首《夜曲》题献给莫尼卡·特尔敏斯卡亚，它的手稿在柴氏其它三部作品中都有印迹，作曲家本人还将它在1888年改编成大提琴和小型乐队合奏的版本。
1.Nocturne
Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Nocturnes are generally thought of as being tranquil, often expressive and lyrical, and sometimes rather gloomy, but in practice pieces called nocturne have conveyed a variety of moods associated with the feelings that come to one at night. Tchaikovsky’s Nocturne began its life as one of the Six Pieces for Piano, Op. 19, composed in the late summer of 1873 but was arranged in 1879 for cello and piano by the German cellist Wilhelm Fitzenhagen. Fitzenhagen was also the dedicatee of Tchaikovsky’s Variations on a Rococo Theme. The piece is in simple A-B-A form, opening with a gloomy, somewhat Slavic sounding theme in the cello. A contrasting section in major briefly lightens the mood before the cello’s long, resonant melody brings a return to the opening melody. Tchaikovsky evidently thought highly of this little night song, for he himself made an arrangement for cello and chamber Orchestra (based on Fitzenhagen’s cello and piano arrangement) in 1888.
2. 东方舞曲
作曲： [俄] 居伊
开端那一声沉沉的拨弦，像是一个矜持而诱惑的手势，将一抹神秘幽雅的龙涎香，轻轻拂送到脸庞。该是邀舞的姿态吧，偏那深深浅浅的步履忽远又忽近；该是酒意盎然的狂想吧，面纱后的妖娆酡色多少也浸染了巴比伦的黑夜。作为俄罗斯“五人强力集团”的骨干，陆军中将凯撒·居伊以他的十部歌剧著名。然而只有这首选自《万花筒》的《东方舞曲》，以充满异域风情的迷人气质，香意缭绕地穿越过一个多世纪的烟云，成为居伊作品中唯一目前尚被世人演出的作品。
2.Orientale
César Antonovich CUI (1835-1918)
Beginning with a rhythmic figure on the cello, an exotic melody is delicately traced by the piano in the style of a languorous dance. The quiet, mysterious mood is sustained through out as the wispy melody coils in upon itself, ending too soon.
César Antonovich Cui was the son of one of the few surviving officers of Napoleon's Grand Army which had marched into Russia in 1812. César showed his talent at an early age, teaching himself to read music by copying out Chopin's mazurkas, but was mostly self-taught. Cui was trained as an engineer and was an expert on military fortification. As a student, he joined the composer Mily Balakirev and became one of the founding members of the group of Russian Nationalist composers that also included Mussorgsky, Rimsky-Korsakov, and Borodin that later came to be known as the "Mighty Handful." The goal of this group was to create a unique, Russian musical style, independent of European traditions drawing instead upon the rich folk music traditions of Imperial Russia's many ethnic groups. The piece, Orientale comes from a collection of 24 short pieces for violin and piano.
3. 希伯莱的祷歌
作曲： [德] 布鲁赫
是雨点，也是低垂沉思的头颅，钢琴敲响悲凉夜色的肃穆沉思。大提琴以东方悲歌的揪心深恸，低回吐诉对原罪的忏悔，对生命的检阅。1881年，布鲁赫取材于犹太人在赎罪日前夕歌唱的古老希伯莱传统旋律，为大提琴和管弦乐队创作了这首《希伯莱悼歌》。犹太人的赎罪日是每年犹太历新年后的第十天进行，人们严守斋戒，并诵经忏悔，在上帝的面前清算自己一年以来的罪过。“Kol Nidre……”低吟的忏悔和祈祷在如琢如磨的琴声里拷问人心，渐渐转为明净而庄严的虔诚信念主题，如歌的旋律如雨后初云，清新安宁，最终在希望与冥想交织的寂静气氛里凝练成永恒的姿态。
3.Kol Nidrei, Op. 47
Max BRUCH (1838–1920)
The cello heaves a deep sigh, while the piano, in hushed reverence, sounds only a few pale chords, reluctant to disturb the solemn mood – This is how Max Bruch’s setting of the ancient Jewish prayer, Kol Nidrei begins. Composed in 1881 Bruch conceived of his Kol Nidrei as a series of variations on two Jewish themes. The first theme comes from the Kol Nidrei prayer (meaning “All Vows”) which is sung on the eve of Yom Kippur, expressing repentance for failure to fulfill promises made to God. The sorrowful opening phrases progress from heartfelt simplicity to more overtly agile variations, before it returns to that opening simplicity, resonating with a timeless solemnity that transcends mere religion.
4. 爱的致意
作曲：[英] 埃尔加
1888年的英国伍斯特郡，年轻的作曲家埃尔加将这首充满了典雅爱意的小夜曲，题赠给同样充满才情的小说家未婚妻卡罗琳。在这里，大提琴拉出了缠绵无绝的喃喃私语，却诉不尽心底充满喜乐的浓情蜜意；钢琴奏出了温婉动人的心跳韵律，却无法描摹这一瞬间飞快刷过脑际的所有温情画面。是的，只有爱情中的他们才记得那些画面：阳光下的草地喷泉伴随着欢笑，石头壁炉里的火苗跳跃着细语，下午茶的余温还萦绕在手指，仿佛那个吻的甜蜜还留在唇边。
4.Salut d'Amour, Op. 12
Edward ELGAR (1857– 1934)
There could be no greater contrast from the spirit of regret expressed in Bruch’s Kol Nidrei than Elgar’s lilting love-letter, Salut d'Amour. Written in July 1888 as an engagement present to his fiancée, Caroline Alice Roberts, Elgar originally called the work Liebesgruss ('Love’s Greeting') because of Miss Roberts’ fluency in German. It was published (by Schott & Co.) a year later. Few copies were sold until Schott’s changed the title to "Salut d’Amour" with Liebesgruss as a sub-title. Thereafter the piece sold so well that Elgar could have become well off from the sales. Unfortunately, he sold the rights to the piece for a flat fee since he was a struggling composer who needed money. The sweet, sentimental melody perfectly captures the feeling of innocence of a bygone age and is still performed around the world.
5. 练声曲
作曲： [俄] 拉赫玛尼诺夫
与其说大提琴的委婉如吹皱池水的微风，毋宁说它拂动了一幅深湛如绸的无边夜幕，仿佛永远不需要天亮。拉赫玛尼诺夫曾说：“没有什么比安静独处对我更有帮助。”他偏爱这澄澈细致的灵魂吟唱，正如他偏爱着宁静与狂想。他在1912年将《浪漫曲十四首》中最后这首题献给前苏联女歌唱家涅日达诺娃，又在三年后亲手改编成管弦乐队版本。仰面躺下，漂浮在这纤美琴声氤氲身畔的浓稠黑夜中，愈往下坠的静谧沉睡和愈往上涌的心底暗潮奇异交织，映出身后那一生不能平复的遐想与惆怅。
5.Vocalise, Op. 34 No. 14
Sergei RACHMANINOV (1873–1943)
Originally the final piece in his collection Fourteen Songs, Opus 34, the famous Vocalise was first published in 1912. Unlike other songs, Rachmaninov supplied no words to be sung to the melody, instead instructing the singer to perform it using any vowel of their own choosing. The song quickly developed a life of its own and has been arranged for virtually every combination of instruments, including accordion, full orchestra and even electronic synthesizers and Theremins. As with many of Rachmaninov’s pieces, there is a feeling of deep introspection and gentle melancholy. Though sung without words, the tender voice of the cello seems to express Rachmaninov’s own feelings: “Music is enough for a lifetime, but a lifetime is not enough for music.”
6. 爱之梦
作曲： [匈] 李斯特
李斯特的三首《爱之梦》起初并非为钢琴所作，而是为了合衬德国浪漫派诗人弗莱里格拉特的著名抒情诗《爱吧！你可以爱得这样持久》。第三首《爱之梦》中甜蜜而缠绵的梦境之美，比起原诗文略显阴郁的伤感离别，触动了更多人的悱恻柔肠。大提琴温婉吟唱出甜美的爱情主题，钢琴轻柔地应和着愉悦的对白。这脉脉含情的细语，渐渐燃成炽热的爱之表白；然而又在甜蜜热烈的情愫中迂回沉吟，仿佛爱意愈深愈多患失。当心扉终于坦诚的那一刻，爱情主题重又吟响，心田尘埃落定，梦境愈臻甜美，直至深眠。
6.Liebestraum
Franz LISZT (1811–1886)
Liebesträume (German for Dreams of Love), is a set of three solo piano works composed by Liszt and published in 1850. The three Liebesträume (notturni) were originally written as songs for voice and piano which Liszt simultaneously arranged as works for solo piano. The original songs were conceived as a tryptich, each describing one of Love's three forms. The first song, Hohe Liebe (Exalted Love) is a reverential song in praise of spiritual love. The second song describes the passion of erotic love: "Gestorben war ich" ("I have Died") - "Death" here is a metaphor for the romantic union. The final poem for the famous third "notturno" is about unconditional love:
"Love as long as you can!
The hour will come when you will stand at the grave and mourn”
Throughout the song, the cello sings the “love” theme, accompanied by a rippling piano. As the song reaches a climax, the melody arching higher and higher, until a cadenza leads to a sweet return of the melody, this time, separated into short phrases, as if gradually enfolding the listener in an embrace.
7. 西西里舞曲
作曲：[法] 福雷
听见那粼粼的波光了么？钢琴把这19世纪的午后阳光，像碎金一样洒满在大提琴的河流上，就这么流淌，就这么荡漾，就这么温柔而醇美地描画出一段西西里风情。据说福雷来到意大利，坐在摇摇摆摆的船上随波逐流，心旷神怡，便写下这首轻柔抒情的舞曲。就仿佛一幅印象派的名画，斑驳明快的色彩，交织变幻的光影，静谧而甜美的风景，在这脉脉如语的琴声中映出形态无定的波影，满目晴芳，满心暖阳。可以想见，当时在法国人福雷心头荡漾的，也许不仅仅是这一段水光天色吧。
7.Sicilienne Op. 78
Gabriel FAURÈ (1845-1924)
The name Sicilienne is the French form of the Italian word, Siciliano - which was a graceful dance based on the songs of the shepherds from the isle of Sicily, characterized by a hypnotic Long-Short-Long rhythmic pattern. Sicilienne is among Fauré's most familiar pieces, its warm, slightly nostalgic melody and lilting accompaniment seem to perfectly capture the reflections of sunlight on a lake in summer. The piece began life as an orchestral sketch in March 1893, as part of the incidental music for a performance of Molière's play Le Bourgeois Gentilhomme. When the play was cancelled, Fauré left the work incomplete until 1898, when he finished it as a work for cello and piano. Later, Fauré would include the work as part of his music for another play, Maeterlinck's Pelléas et Mélisande, where it introduces the scene at the beginning of Act Two, in which Mélisande's wedding ring slips from her finger and disappears into a well as she plays with her lover, Pelléas.
8. 牧歌
作曲：[中] 沙汉昆
在这片臆想中一望无垠的瓦蓝天空上，大提琴宽厚而温暖的拉弦描绘出云卷云舒的动人情致；明媚的阳光慷慨灿烂地洒满内蒙古昭乌达盟的辽阔草原，钢琴点缀出草原上珍珠般撒落的斑斑羊群。如此单纯而鲜明的颜色，如此澄澈而动人的景象，将逐草而居的牧游生活咏叹成质朴的浪漫诗篇，令人心驰神往，思绪漫涌。《牧歌》是作曲家沙汉昆在学生时代改编的一首小提琴独奏曲，作品以内蒙民歌为基础发展而成。
8.Madrigal
Sha Hankun (1926- )
The bright and beautiful sunshine that fills the cloudless skies on the endless grasslands of Inner Mongolia is an emotionally overwhelming experience. Life on the northern frontiers of China is hard and the lives of the nomadic herders who live there often tenuous, but these endless prairies have inspired feelings of awe and a profound admiration for their inhabitants. Indeed, the popularity of Sha Hankun’s Inner Mongolian idyll, (known variously as Grassland Madrigal, etc.) shares with Faurè’s Sicilienne not only its pastoral inspiration but its enduring popularity. Composed in 1953 by violinist and one-time Dean of the Shanghai Conservatory Composition Department, Sha Hankun, Madrigal has enjoyed enduring popularity in China, its tender, pentatonic melody, tinged with nostalgia has made it an attractive encore on almost every young Chinese musician’s recital program. Sha based his composition on an actual Mongolian folk song, whose lyrics in part go:
“White clouds are floating in the blue sky.
Under the clouds there is a flock of snow-white sheep.”
In addition to his work as a teacher and a composer, Shan Hankun also authored an important pamphlet on the melodic structure of Chinese folksong – a work referenced in the Library of Congress – in addition to several other important treatises of melodic structure.
9. 嘉陵江上
作曲：[中] 贺绿汀
跟随这悲壮激荡的宣叙调，跟随着音乐家那思绪纷乱的脚步，从抗日大后方的重庆南纪门走过，漫步于1939年这条涛声震耳的奔涌长江。四月乍暖还寒的风儿湿冷了脸颊，却吹烫了那颗为国破之耻日夜痛彻的心扉。端木蕻良在嘉陵江畔诞生了诗歌《嘉陵江上》的灵感，音乐家贺绿汀却在长江之滨被这苍凉豪迈的诗句触发了创作冲动，同一颗中国心，藉由这血脉相通的江水奋发呐喊：“我必须回去，从敌人的枪弹底下回去；我必须回去，从敌人的刺刀丛里回去。把我打胜仗的刀枪，放在我生长的地方！”
9.On the Jialing River
He Luting (1903-1999)
From the pastoral reveries of Faurè’ and Sha Hankun we now enter a much more turbulent world. Written while on campaign in Chongqing during the War of Resistance Against Japan, the composer He Luting was inspired to set nationalist writer Duanmu Hongliang’s prose-poem to music. After several unsuccessful attempts, the composer wandered one night along the banks of the surging Changjiang River. Suddenly, the inspiration for his song was complete. The result was an operatic soliloquy, telling of a fearless patriotism and promise to drive back invaders who desecrated his homeland. The story of He Luting’s life is no less dramatic than this song. He Luting came to the world’s attention when his early piano piece Buffalo Boy's Flute won first prize in the landmark Chinese composers' competition sponsored by the Russian composer Alexander Tcherepnin in Shanghai in 1934. During the War of Resistance, He composed many popular patriotic songs and was named President of the Shanghai Conservatory after the founding of the People’s Republic. He later ran afoul of Madame Mao during the Cultural Revolution as a result of his defense of the music of Debussy and was imprisoned. Following the arrest of the Gang of Four, He was rehabilitated and restored to his position at the Shanghai Conservatory. He Luting’s devotion to his students and the cause of music has served as an enduring example to the current generation of Chinese composers.
10. 摇篮曲
作曲：[中] 贺绿汀
这是一种中国式的牵挂和淡淡忧伤，用中国式的宫商角徵羽圆满回环，用摇篮般微微摇晃的节奏律动交织，勾画一首属于中国母亲的温柔恬歌。那一点疼爱和怜惜，那一番憧憬和焦虑，弦音如飞针走线将这浓情的小品密密织就。1934年，当刚过而立的贺绿汀写下这首《摇篮曲》时，他一定看见安详优美的母亲面庞，在这如水的旋律里渐渐浮现，浮现于穿过岁月的双眼，浮现于抚平整段人生的温暖手掌。这温暖的曲子贯穿他其后六十五年的沧桑生涯，一直到贺老身后的追悼会上，反复播放的都是这首《摇篮曲》。
10.Lullaby
He Luting (1903-1999)
He Luting composed a second work to be submitted to Tcherepnin’s Chinese 1934 competition – the lovely Lullaby played here. Written as a companion piece the Buffalo Boy's Flute, Here, He Luting once again evokes a scene from life in rural China, as a mother is gently rocking her baby while she sings a flowing, wordless melody. A brief contrasting section casts a passing shadow over the calm mood, but the cello gently rises in tone, leading to a confident and tender restatement of the opening melody. At the end, the cello’s harmonics seem to suggest the mother’s lullaby has become her own reverie – as she whistles the tune one last time to herself. This lovely miniature has enjoyed wide popularity throughout China for more than 70 years and still continues to be played as an encore on recitals.
11. 咏赋
作曲：[中] 王非
这是一个天高云淡的晴好正午，大提琴的独奏拉开中国色彩的初秋况味。风儿轻倩得似有还无，蜂蜜般色泽的阳光粼粼地投影于山间的溪水，溪水则汩汩无心地漫流过平滑的青石，跳跃出细语的欢愉。令人心驰的松木味道，混合着林间泥土的清香，以曼妙音乐的迷人姿态包裹住寻幽览胜的无羁心地，也包裹住了轻踏于柔软针叶的脚步。怀想吧，叹颂吧，层林初染了，山峦渐渐醉，沉溺于这一刻难得的恬适美景，忘却人世忘却苦劳，忘却来时路。
11.A Gift of Song
Wang Fei
The four-minute tone poem for cello and piano Yong Fu (A Gift of Song) by contemporary Chinese composer Wong Fei describes the artist’s feelings during a trip to the mountains on a cool, cloudless day. The cello’s melody rises up as if from a deep ravine, gradually soaring skyward, while the piano provides a delicate accompaniment that hovers between major and minor – evoking the play and shadow and light in this enchanted landscape. The piece is structured in simple song form, with the opening cello melody restated in a varied form by piano before the impassioned middle section brings the piece to its emotional climax. The opening theme returns as the gentle interplay between the cello’s melody and the piano’s accompanying triplets bring the work to a peaceful close.
12. 玫瑰三愿
作曲：[中] 黄自
玫瑰啊，你何来那么多的哀愁和不舍？为什么大提琴的幽咽那般婉转，莫非是那花苞绽放得有些迟疑？为什么钢琴的叮咚欲语还休，莫非是晨光中的露珠不忍别离？充满离调色彩的旋律闪烁晶莹，将赞叹和怜惜尽诉于柔美的曲调。这首作于1932年6月2日的艺术歌曲，恰于淞沪会战结束不久诞生，龙沐勋作词借玫瑰之愿寄托感慨，曲折表达对国破家亡的一腔忧愤；黄自则谱以细腻优美的曲调，淋漓尽致地表达出一段深意：“玫瑰花玫瑰花，烂开在碧栏杆下。我愿那妒我的无情风雨莫吹打！我愿那爱我的多情游客莫攀摘！我愿那红颜常好不凋谢，好教我留住芳华……”
12.Three Wishes for a Rose
Huang Zi (1904-1937)
If Fauré's Sicilienne finds its Chinese double in Sha Hankun’s Madrigal, then Elgar’s Salut d'Amour finds its doppelganger in Huang Zi’s Three Wishes for a Rose. While nominally a love song, Three Wishes had a second-life as a patriotic hymn. Composed on June 2, 1932 as the First battle of Shanghai raged between the Chinese and the Japanese invaders, Huang expressed his yearning for peace and his country’s survival:
"Rose rose, fragrant and fragile upon the green trellis
I wish that you will be safe from the rough ways of those who are jealous of me!
I wish that those strangers who may see you and desire you will not pluck you from my garden!
I wish to see youthful beauty preserved in a long life, as your sweet fragrance is revealed in your blossom (China).”
(NOTE: The Chinese character ”Hua ” is both the word for “magnificent” or “fragrant” and an abbreviation for “China”).
Huang Zi was also the first Chinese composer to be trained in the West. He studied at the Oberlin conservatory (Oberlin, Ohio) and later at Yale, with Paul Hindemith. He is credited with writing the first Chinese orchestral work, a sweepingly romantic score called in Memoriam. Regarded as the father of modern Chinese music and chief architect of the standard Conservatory curriculum, Huang is sadly, virtually unknown outside of China.
13. 茉莉花
改编：[中] 陈欣若
这缕幽雅的乐声，从大提琴的弓弦芬芳四溢地飘来，挥袖间吹开了雪白秀妍的满园茉莉。那些栖息在钢琴黑白键上的玉色花朵，温柔颔首，将这一怀春风无限的嫩绿江南，微微绽出欲语还休的一抹惆怅。“好一朵美丽的茉莉花，芬芳美丽满枝芽，又香又白人人夸”，这一段软语呢哝的风致，从一百多年前扬州清曲曲牌“鲜花调”中寻幽，从乾隆年间墨色线装的《缀白裘》戏曲集中探芳，从18世纪初普契尼《图兰朵》冷艳的唇吻间吐露，穿越茫茫年代和无边疆野，将中国音乐的芬芳气质洒满世界。
13.The Jasmine Flower
Chen Xinruo
Loved throughout the world, The Jasmine Flower has become a veritable musical symbol of China. Known as Mo Li Hua in Chinese, the melody was first documented during the Qianlong era of the Qing Dynasty (1736–96). Westerners came to know the melody through its use in Giacomo Puccini's opera Turandot but in truth, "The Jasmine Flower" had left China nearly a century earlier when it appeared in the English explorer and mathematician Sir John Barrow's book Travels to China (1804) under the name “Moo-Lee-Hwa." Puccini's own version comes from a work by the Belgian J.A. van Aalst simply titled Chinese Music, published in Shanghai in 1884. As with all the works on our program, "The Jasmine Flower" has appeared in hundreds of arrangements through the years, most recently its was adapted by Tan Dun to be played during the medal ceremonies at the Beijing 2008 Olympic Games.
Oh what a beautiful jasmine flower
Oh what a beautiful jasmine flower
Sweet-smelling, beautiful, your buds ready to blossom
Fragrant and white, everyone praises you
Let me pluck you down
And give you to my love
Jasmine flower, oh jasmine flower
Goffriller大提琴简介：
Goffriller大提琴诞生于18世纪威尼斯名匠Francesco Goffriller之手，以低音饱满琴韵悠长著称，受到许多伟大的大提琴家的钟爱。Goffriller大提琴的传奇史上，耀现着Pablo Casals、Pierre Fournier、马友友、Valentin Erben等世界级大师的显赫声名。
2008年由奥地利某一基金会借与中国爱乐乐团使用。
The Goffriller Cello
Matteo Goffriller (1659–1742) was an Italian luthier, particularly noted for the quality of his cellos. Goffriller's celli had been mistakenly attributed to the Guarneri family, Carlo Bergonzi, and even Antonio Stradivari, and was virtually unknown until the 1920s when his instruments began to be discovered. His cello of 1733 once owned by Pablo Casals and since his rediscovery, his instruments have been widely sought by cellists around the world, including Emanuel Feuermann, Matt Haimovitz, Jacqueline du Pré, Janos Starker and YoYo Ma.
大提琴演奏家：马新桦
毕业于上海音乐学院 、耶鲁大学、南加州大学，先后师从林应荣，钱邑珊，王石石，奥尔多·帕里索和埃莉诺·匈费尔德等教授。
1988年，美国国家广播电视台特别节目以“一位前途无量的大提琴家”专题报道了她，一年以后，她被授予俄亥俄州荣誉市民称号和俄亥俄州的金钥匙。是唯一一位两度荣获（1988年和1989年）“哈默·罗斯特波维奇基金奖”的音乐家。
1997年，为庆祝香港回归祖国，应香港政府邀请在香港市政音乐厅举行个人独奏音乐会。
曾以独奏家的身份与新英格兰室内乐团，美国圣地亚哥交响乐团，坦格乌德夏季节日乐团，斯洛文尼亚国家广播交响乐团，中国爱乐乐团，上海爱乐乐团，广州交响乐团均有过成功的合作。《洛杉矶时报》评论道：“马新桦演奏的德沃夏克的大提琴协奏曲是非常具有说服力，并能够准确无误地表达作曲家的音乐”。
马新桦是上海弦乐四重奏组的创始人之一，与该组荣获1985年英国浦兹茅斯国际弦乐四重奏比赛第二名，随后在英国巡演并为BBC录像及录音。
曾任美国圣地亚哥交响乐团大提琴首席，曾被美国休斯顿交响乐团邀请为特约大提琴首席，现任中国爱乐乐团及上海交响乐团大提琴客席首席，上海音乐学院大提琴教授，上海音乐学院大低竖教研室主任。
曾跟Tokyo String Quartet，Juilliard String Quartet，美艺钢琴三重奏等学习室内乐。曾受到马友友、Zara Nelsova、Starker等指导。
曾参加并担任领奏Yale Cellists的CD，该CD荣获1988年格莱美古典音乐提名。曾在伯恩斯坦等指挥家棒下演出。曾被美国朱丽叶音乐学院录取并提供全额奖学金。
Ma Xinhua, Cello
A graduate of Shanghai Conservatory of Music,Yale School of Music and University of Southern California, Ms.Ma has studied with Lin Ying-Rong, Qian Yi- Shan,Wang Que,Aldo Parisot and Eleonore Schoenfeld.
In 1988, Ma Xinhua was featured on NBC TV as "A cellist with unlimited future!'. A year later, she was presented with the Key to the State of Ohio and bestowed an honorary citizenship from Ohio. Ms. Ma is the only two-time recipient of the Hammer-Rostropovich Award in 1988 and 1989. In 1997, to celebrate the return of Hong Kong to China, she gave a recital in Hong Kong City Hall as a part of 'the Most Promising Musicians from China' series.
Ms. Ma has given recitals in the USA, Canada, Europe, China, and throughout Asia. She has been the guest soloist with the Chamber Orchestra of New England, the San Diego Symphony Orchestra, the Grand Teton Music Festival Orchestra, the Tanglewood Music Festival Orchestra , China Philharmonic Orchestra,Shanghai Symphony Orchestra, Guangzhou Symphony Orchestra.The Los Angeles Times wrote：“Ms. Ma played Dvorak's concerto with authority and unmistakable sympathy for the composer's music". The San Diego Union wrote: "Cellist Ma Xinhua played with warm, effusive tone and dexterous extended finger technique. She also delivered a passionate and yearning performance, coaxing a beautiful rounded cantabile tone from her instrument."
She was one of the founding members of the Shanghai String Quartet, with whom she won the second prize in the International String Quartet Competition in Portsmouth, England, in 1985.Ms. Ma has served as the principal cellist of San Diego Symphony Orchestra in the USA.Currently, she is cello professor at the Shanghai Conservatory of music and director of the cello-bass-harp division there, in addition, she is also the guest principal cellist of China Philharmonic and Shanghai Symphony Orchestra.
钢琴演奏家：冯丹
中国国家交响乐团钢琴演奏家 国家一级演奏员
中国音乐协会会员 中国音乐学院钢琴系特聘教师
生于音乐世家，自幼随父及宋金兰教授学习钢琴，1978年—1990年以优异成绩相继完成中央音乐学院附属中小学学业。师从凌远、赵屏国、潘一鸣教授，在世界著名钢琴家傅聪、PAUL BADULA-SKODA教授等举办的大师班上多次被指定为示范演奏者，1990年底任职于中央乐团，1996年任职于中国国家交响乐团至今。
1995年与中央乐团四重奏组在北京音乐厅举办室内乐专场音乐会。
1997年受俄罗斯“中国文化节”邀请赴莫斯科等城市举办音乐会。
1998年起多次随中国国家交响乐团出访演出：英国、德国、奥地利、日本等国
2002年受中央歌剧院之邀加盟世界三大男高音帕瓦罗蒂、多明戈、卡雷拉斯“紫禁城”演唱会的演出。
2003年被北京大学艺术系、中央民族大学音乐学院钢琴系聘为招生评审委员。
2006年受邀担任中国交响乐团基金会举办的全国莫扎特钢琴比赛评审委员。
2006年随中国国家交响乐团出访美国巡演，并于包括林肯艺术中心等世界著名音乐厅演出。
2008年参加中国国家交响乐团的奥组委演出项目及北京奥运会开闭幕式音乐的录制。
先后参与了大量中国与欧美新作品及影视音乐的首演、录制，如《刮痧》、《玉观音》等，担任钢琴演奏。
并与北京交响乐团、瑞士日内瓦室内乐团、中国爱乐乐团等多个乐团进行了广泛的合作。
Feng Dan, Piano
Currently active as orchestral pianist for the China National Symphony Orchestra, Feng Dan began piano studies with his father. From 1978-1990 he attended the elementary and middle schools of the Central Conservatory of Music. Upon matriculating, Feng entered the Central, Conservatory, where he studied with Zhao Pingguo, Fu Cong in addition to Master Classes with Paul Badura-Skoda. During his time at the Conservatory was in constant demand as a demonstration pianist and accompanist for recitals. Following his graduation in 1990, Feng accepted a position with the Central Philharmonic Orchestra and since 1996 has been orchestral pianist for the China National Symphony Orchestra.
Feng Dan has appeared with the China National Symphony Orchestra on all of its most important international tours, including the “Festival of Chinese Culture” (Russia, 1997), the orchestra’s grand tour of Europe (1998), the Gala “Three Tenors Forbidden City Concert” (2002) and recent tour of the US – including a sold-out performances at Lincoln Center and the New York City Music Hall (2006) and appearing in both the opening and closing ceremonies for the 2008 Beijing Olympics.
Feng Dan is active as a recruiter for the Central Conservatory and his highly in-demand as a chamber music partner and accompanist.
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.
乐队成员：
大提琴：马新桦 中国爱乐乐团大提琴首席
钢琴： 冯丹 中国国家交响乐团
Musicians:
Cello: Ma Xinhua (First Chair Cello of the China Philharmonic Orchestra)
Piano: Feng Dan (Appearing courtesy of the China National Symphony Orchestra)
制作成员： 出品人：叶云川 制作人：叶云川 录音：李大康
录音助理：杜思亮
文案：杨倩 英文文案：Joshua Cheek
摄影：张岭
设计：图图设计 录音棚：中国解放军军乐团录音棚 后期制作：德国老虎鱼
出品：瑞鸣音乐
Production Crew:
Producer: Ye Yunchuan
Executive Producer: Ye Yunchuan
Recording Engineer: Li Dakang
Recording Assistant: Du Siliang
Chinese Copywriter: Yang Qian
English Copywriter Notes / translation: Joshua Cheek
Photography: Zhang Ling
Design: Total Viewfinder
Recording Studio: Recording Studio for the PLA Military Band
Post-Production: Stockfish 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. 夜曲 Nocturne (P.I. TCHAIKOSWSKY)
2. 东方舞曲 Orientale (Cesar CUI)
3. 希伯莱的祷歌 Kol Nidre (Max BRUCH)
4. 爱的致意 Salut d'Amore (Edward ELGAR)
5. 练声曲 Vocalise (Sergei RACHMANINOV)
6. 爱之梦 Liebestraum (Franz LISZT)
7. 西西里午曲 Sicilienne (Gabriel Faurè)
8. 牧歌 Madrigal (Sha Hankun)
9. 嘉陵江上 On the Jialing River (He Luting)
10. 摇篮曲 Lullaby (He Luting)
11. 咏赋 Yong Fu (A Gift of Song) (Wang Fei)
12. 玫瑰三愿 Three Wishes for a Rose (Huang Zi)
13. 茉莉花 The Jasmine Flower (Chen Xinruo )
更多>