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去年11月,在上海举行的上海 国际艺术节上演了两场多媒体剧场音乐会“秋问”,由作曲家瞿小松亲自选择曲目和辅导排练。他以艺术总监身份,在音乐会说明书上写了《就〈秋问〉致观众》(以下简称《致观众》)。文章虽然不长,但涉及中国古典、传统音乐和当代中国乐器现代音乐的重大问题,我就此提出不同看法与瞿小松先生商榷。 一、关于中国乐器 现代作品的创作 与评价问题 “秋问”音乐会中,有十位当代中国作曲家为中国乐器写了现代室内乐,这是上海乐坛的一次盛举,十分可喜。可以说,音乐会是“投石冲破水中天”,引起了强烈反响。在私下议论中或在座谈会上,褒贬不一,这是一件大好事。因为它引起人们去思考如何运用现代作曲技巧为中国乐器写现代作品的问题。
In November last year, two multimedia concert “Qiuwen” was staged at the Shanghai International Arts Festival in Shanghai. The composer Qu Xiaosong personally selected the repertoire and counseling rehearsals. In his capacity as artistic director, he wrote “To Qiu Qiu” to the audience at the concert brochure (hereinafter referred to as “To the audience”). Although the article is not long, it involves major issues concerning classical Chinese music, traditional music and contemporary musical instruments in contemporary China. I hereby put forward different views to discuss with Mr. Qu Xiaosong. 1. On the Creation and Evaluation of Modern Works of Chinese Musical Instruments In the autumn Qiu concert, ten contemporary Chinese composers wrote modern chamber music for Chinese musical instruments. This is a great event for the Shanghai music scene. It is very gratifying. It can be said that the concert is “throwing stones break through the sky,” has aroused strong repercussions. In private discussion or in the forum, mixed, this is a good thing. Because it raises the question of how to apply modern techniques of writing to modern works of Chinese musical instruments.