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中国音乐家协会前主席、《音乐创作》前主编,已故人民音乐家李焕之曾说:“音乐创作是研究音乐历史的核心,也是体现音乐文化进步的主要标志。”作为作曲家,在60余年的人生旅程中,他在音乐创作上笔耕不懈。他的创作体现出的一个突出特点就是对民族风格、华夏神韵、中国特色孜孜不倦的追求。在器乐创作领域,他在上世纪80年代我国民族音乐创作处于低谷的时候,在继承民族器乐化统的基础上融入借鉴与创新的成果,为探索民族音乐的发展殚精竭虑。本刊再次刊发他创作于1983年的这首箜篌独奏曲《高山流水》,并将蔡梦撰写的音乐分析文章附于本期109页一并发表,以此深切缅怀这位伟大的音乐家对中国音乐的发展所做出的独特贡献。
Former chairman of Chinese Musicians Association, former editor in chief of “Music Creation” and late Huan Li Zhi, a people musician once said: “Music creation is the core of studying music history and the main symbol of the progress of music and culture.” As a composer, In his journey of life, he worked hard in music creation. One of the salient features embodied in his writing is his tireless pursuit of national style, Chinese charm and Chinese characteristics. In the area of instrumental music creation, when he was at a low ebb in the creation of Chinese folk music in the 1980s, he inherited the national instrumentalization and integrated the achievements of reference and innovation so as to explore the development of national music. The magazine again publishes his first soliloquy of “Mountain Water”, which was written in 1983, and appends a piece of music analysis written by Cai Meng to this issue of 109 pages, so as to deeply cherish the memory of this great musician Chinese music made by the unique contribution made.