十几年前,经友人介绍认识了吴汝俊,那时他的身份是著名旅日京胡演奏家。我和他的第一次合作,是为他在北京人民大会堂小礼堂的京胡演奏会《三国志》撰稿。当时,我深为他能把几百年来专为伴奏用的京胡,发展成为如西洋乐器中的钢琴或提琴等一样,从而使这个伴奏乐器成为独奏乐器而折服。继而他又更进一步想自己作剧了:他个人策划,担纲主演,在中日两国巡回演出,题材是 A dozen years ago, Wu Rujun was introduced to friends by his friends. At that time, his identity was a famous performer in Beijing. My first collaboration with him was for his contribution to the “Three Kingdoms” concert at the Beijing Jinghu Concert Hall in the Great Hall of the People. At the time, I deeply felt that he could develop Jing-Hu, which has been used for accompaniment for hundreds of years, into the same style as a piano or a violin in a Western musical instrument, so as to make this accompaniment instrument a solo instrument. Then he went on to think of himself as a playwright himself: he personally planned and starred in a tour of China and Japan, with the theme of