| 摘要: | 中阮協奏曲《山韵》，此首作品創作於1996年，為作曲家周煜國先生應中阮演奏家徐陽之約創作的中阮協奏曲。以唐代詩人晏殊、宋代詞人柳永、辛棄疾的名句：「昨夜西風凋碧樹，獨上高樓，望盡天涯路」；「衣帶漸寬終不悔，為伊消得人憔悴」；「眾裡尋他千百度，驀然回首，那人卻在燈火闌珊處」，為〈谷〉、〈澗〉、〈峰〉三個樂章的標題性， 表現了山與水不同型態的樣貌，具豐富且含有中阮獨特的表現手法與現代技巧，用以符合樂曲中細膩情感變化和音樂樣貌。
筆者期許藉由此首作品能學習到作曲家周煜國先生運用以彈撥樂器－中阮，擬以音樂詮釋抽象和敘述詩詞的意境，進而理解樂曲中的意涵更能獲得深度體悟。經由分析、理解以詩詞為題材的創作樂曲之音樂特點，使演奏者在演奏詮釋時，提升對作曲家的創作手法或風格作品的辨識能力，使往後在演奏不同的樂曲時，在音樂分析及詮釋方面上能有著實的提升與幫助。
Zhong Ruan Concerto “Mountain Rhythms,” composed by Zhou Yuguo in 1966, is a commission by the zhong ruan performer Hsu Yang, inspired by three sentences of Yan Shu, a poet in Tang dynasty, and Liu Yong and Xin Qiji, poets in Song dynasty: “Last night the west wind shriveled the green-clad trees, Alone I climb the high tower To gaze my fill along the road to the horizon,” “My clothes grow daily more loose, yet care I not.” “For you am I thus wasting away in sorrow and pain, I sought her in the crowd a hundred, a thousand times. Suddenly with a turn of the head [I saw her], that one there where the lamplight was fading.” The piece consists of three movements, respectively entitled as “Ku (valley),” “Jian (ravine),” and “Feng (peak),” describing the different forms of mountains and water, and contains rich, unique performing techniques of traditional zhong ruan and also modern new skills to express the subtle variations in emotions and musical forms.
The author tries to learn how the composer Zhou Yuguo interprets abstract and poetic concepts through music, especially by the plucked instrument-zhong ruan- in this piece, and further to get a deeper comprehension towards the content of the piece. Through analyses, the author figures out the musical traits of a composition which inspired by poems, trying to advance performers’ ability to identify composers’ intentions or to recognize styles of works, and to offer them an essential help in the aspects of musical analysis and interpretation while performing different pieces in the future. |
