2014-07-05 周六活动报道:银瓶乍破水浆迸, 间关莺语花底滑 – 来自叶兰的琵琶故事/Sat. Activity Report: A story from Pipa artist Lan Ye

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银瓶乍破水浆迸, 间关莺语花底滑 来自叶兰的琵琶故事

白居易在浔阳江头所作的一首《琵琶行》,令无数人为琵琶的美妙所倾倒。作为中国自汉代就流传下来的民族乐器,琵琶就像一块璞玉,经过历代琴师的雕琢与创新,愈加展现出它强大的生命力和表现力,无愧于民乐之王的美称。2014年7月5日,琵琶表演艺术家叶兰女士应邀来到新天地文化中心,带领4位爱徒,为听众娓娓道来琵琶的故事,并辅以精湛的演奏展示,让人心旷神怡,不觉间被音乐带入了另一个世界。 201407059999_774 copy 音乐讲座由文化中心民乐学会负责人,古筝演奏家南飞鸿女士主持,她谈到非常荣幸请到叶兰女士支持民乐学会的活动,这是一次非常专业的讲座,最好的音乐是走心的,叶兰女士就做到了这一点。叶兰九岁学习琵琶,曾求学于中央音乐学院、山西大学音乐学院,在学习期间师从于著名琵琶演奏家张强和琵琶教育家梁世侃教授。毕业后一直从事琵琶的教学工作与演出,多次参加国内外大型演出,叶兰不仅在琵琶演奏上颇有建树,同时在琵琶音乐教育方面也硕果累累,并在2014年2月成功举办了师生音乐会。 201407059999_809 copy201407059999_36 随着一幅幅幻灯片的播放,叶兰女士讲述着琵琶的故事。她讲到中华民族是历史悠久的民族,传承的音乐和传统的器乐也是非常历史悠久,从石器时代就有乐器出土。民族音乐之所以能走向世界,之所以有现在的地位,是与其悠久的历史以及对世界音乐的贡献分不开的。最早的时候,不同的器乐分四个声部,包括管乐(笙,箫,笛子等), 弹拨乐(古筝,琵琶,中阮,大阮,扬琴等),拉弦乐(二胡,中胡,高胡,板胡等)和打击乐(锣,鼓等)。琵琶属于其中的弹拨乐,在隋唐盛行,最早在东汉时出土,最初是在马上的乐器,指法推手为批,回手为把,在魏晋时期,正式称为“琵琶”。音乐表现力很强,可以独奏,协奏,重奏,齐奏。各种朝代的琵琶各有不同特色,随着图片的展示,大家看到了琵琶的演变过程。琵琶是原汁原味的中国自己的乐器,现在的琵琶一般是四弦,六相,二十六品,主要构造由琴头,山口,琴项,面板,复手,音孔,背板,弦,内部音柱等组成。四根弦分别称为子弦,中弦,老弦,缠弦,音域宽广,有4个半八度。指法上,左手按弦,右手弹挑和轮,其它的指法多是由这些基本指法演变而来。  比如,左手,揉,推,拉,打音,摘音,颤音,泛音,揉弦等,右手快速弹挑,滚奏,双弹,双挑,摇指,扫弦等。另外还有拍面板,敲面板等创新的技法。琵琶丰富的指法变化,各种技巧在曲目中有不同的体现。叶兰女士请学生们分别展示了几种主要的指法和技法,让大家领略了琵琶巧妙多变的演奏技巧。随后,学生们又分别演奏了各自心爱的乐曲如茉莉花,青花瓷等等,那怀抱琵琶的神态让人感受到她们内心对乐器与曲子由衷的喜爱。 201407059999_4 201407059999_57 copy201407059999_2 孩子们对琵琶的热爱让听众对叶兰女士的教学方式产生好奇,在琵琶教学方面,叶兰女士讲到教学要与孩子的兴趣相结合,注意当地孩子的学习心理,以海外考级课本为主干线,同时把孩子自己喜欢听的曲子融入学习之中,很多曲子都是孩子自己要求学的,另外让孩子多唱谱,把谱记熟后可以更多地去注意手和呼吸,增加乐曲的感染力,多听名家演奏,受到氛围的熏陶。她也会经常给孩子安排演出机会,因为上台可以促进练琴,并且提升孩子的自信,同时也让更多人了解民乐,推动民乐,一举多得。关于练琴,叶兰女士讲到学习琵琶是一种缘分,要珍惜机会,珍惜天赋,知足,乐观地面对,把练琴当成重要快乐的一件事,不会觉得苦,可以弹自己喜欢的曲子,练琴同时也激发创造力。并且,练琴培养的是一种人生的态度,凡事不总看到悲观的一面,要看到另一面,这对孩子的人生成长也起到正面的效果。 在听众的要求下,叶兰女士为大家演奏了琵琶名曲《十面埋伏》,在如此近的距离,正让人直观切身地感受到白居易所描述的“大弦嘈嘈如急雨,小弦切切如私语…冰泉冷涩弦凝绝,凝绝不通声暂歇…曲终收拨当心画,四弦一声如裂帛”等等一系列强烈音效,仿佛令人置身于垓下的古战场之中。而另一曲体现左手技法的婉转的现代曲目《琵琶语》,又让人似乎听到一位女子诉说着那“间关莺语花底滑,幽咽泉流冰下难”的曲折心事。 201407059999_810 copy 201407059999_812 copy 曲毕有听众感触地谈到,在叶兰女士的演奏中观众已不再留意技法,因为所有的技法都融入到音乐中去了。音乐是靠技法烘托出来的,而在听众心中,不去注意技法,完全被音乐吸引住,这是最大的成功,体现着非常高的造诣。对音乐的理解和表达,叶兰女士把握得绝对的恰到好处。 还有听众注意到在演奏过程中叶兰女士的呼吸分别与乐曲的轻重缓急相称,各有不同。叶兰女士讲所有音乐都需要呼吸,呼吸是乐曲的灵魂。就像人没有呼吸就会死去,音乐也一样,需要一种律动,需要一种脉搏,一种生命力。而如何做到正确有效的呼吸,就要靠对乐曲的体会,用心去体会,首先感动自己,别人就会感动。 当有听众谈到琵琶这种乐器的风格与她的个性很搭配时,叶兰女士讲到,她更多的感觉是琵琶改变了她自己的个性,琵琶是她的专业,也是她的职业,回忆自己84年第一次演出,一路上能看出自己的成长,由衷感谢观众的鼓励和支持。作为职业演员,琵琶与她人生的改变,与多次人生转折点有直接的关系,学习琵琶,表演琵琶的过程中,令自己的修养修为提高不少,在对孩子们的教学过程中,自己也学到了很多东西,各种问题与挑战总会激励自己不断学习。在心里,她深深热爱着这个专长,中华民乐与国人的血脉相通,亲切自然,和中国人思想的脉络,底蕴一致,有强大的共鸣,她愿做一个文化使者,把中华民乐推广给更多的听众。 201407059999_766 copy 音乐讲座在一片热烈的掌声中结束,琵琶那柔美的曲线和绕梁的琴音却仍旧深深印在大家的脑海之中,同时予人深刻印象的,是叶兰女士的那种与音乐浑然一体,已入无我之境的演奏神态。太极中所谓“由招熟而渐悟懂劲,由懂劲而阶及神明”正可以用于描述这种圆融的,一步步接近天人合一的音乐表现境界。任何一种外在技法或表现形式,在炉火纯青之后,都必将跃入一个新的境界,内外相合,畅通无阻地展现自己精神上的修为与领悟,同时,也展现着生命中所携带的中华文化的底蕴。民乐携带着中华文化的基因,表达着中华生命的独特体验,这种体验不同于西方音乐。感谢这么多的民乐艺术家们,用自己的音乐去传递着中华生命观。正如文化中心民乐学会所设立的使命中所叙述的那样,让我们用中华文化去解释民乐,同时通过民乐去体验中华文化,去帮助世界理解中华民乐,也同时用中华文化去帮助提升世界! 文化中心代表所有观众由衷感谢叶兰女士和学生们的精彩讲解和演出!更多活动请见文化中心网站www.xtdcc.ca。 新天地文化中心 宋艳供稿  

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