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音乐领域中表现历史题材的作品可谓是屡见不鲜的。然而,在八十年代的今天,要用指定的古典名曲去改写一部作品,既要不落前人窠臼,又要符合当代人的审美要求,这实在是颇为棘手的。但曾在联邦德国取得作曲博士和钢琴硕士学位的杨立青根据琵琶古曲《霸王卸甲》所改写的交响叙事曲《乌江恨》以其精湛的作曲技巧和良好的艺术素养解决了这一难题。作曲家一方面从原曲中精选出音乐素材,一方面出于一个现代人对项羽自刎乌江这一复杂历史人物和事件的思考,在作品立意上突出戏剧性、抒情性和哲理性,并因此而兼收并蓄地运用了现代技巧和传统手法,从而赋于《乌江恨》以不同凡响的魅力。
The performance of the history of music in the field of works can be described as commonplace. However, in the 1980s, it is quite tricky to rewrite a piece of work by using the designated classical pieces, so as to meet the aesthetic requirements of the present generations. However, Yang Liqing, a former composer and master of piano degree who studied in the Federal Republic of Germany, solved this difficult problem with his exquisite compositional skills and good artistic accomplishments according to the symphonic narrative “Wujianghan”, which was rewritten according to the Pipa ancient music “King”. On the one hand, the composer selects the music material from the original music. On the one hand, he exaggerates the dramatic, lyrical and philosophical features of the complicated historical figures and events of Xiang Wu who drew the Wujiang River. The eclectic use of modern techniques and traditional practices, which endowed “Wujiang hate” with extraordinary charm.