Program Guide of the Chinese Orchestra
1、江南丝竹《紫竹调》
江苏民间乐曲
编曲 彭修文
紫竹调是广泛传播于吴语区(苏南、上海、浙江大部、皖南等)的汉族传统小调歌曲，其源头可以追溯到春秋战国时期的汉族民歌。乐曲一般以六个乐句为一乐段，调式有规律地进行转换，旋律柔美流利。抒情、悠扬、委婉的汉族民间小调，极富江南乡土气息。
1. Jiangnan folk music 《Purple Bamboo Melody》
Folk music from Jiangsu
Arranger: Peng Xiuwen
Black bamboo melody is a minor of Han nationality, which originates from the Spring and Autumn period and widespread to Wu dialect. The segments of this song are composed of six phrases with regular modal interchange. The fluent rhythm bring this music a feeling of lyric and rustic.
2、笛子与小乐队《牧民新歌》
作曲 简广义
竹笛 黄开
此曲是简广易于1966年以内蒙古伊克昭盟民歌音调为素材创作的曲子。作品以浓郁清新的民族民间音乐风格，亲切感人的旋律，活泼跳动的节奏展现出内蒙古大草原的风光和牧场上一派生机勃勃的喜人景象，表现了新时期牧民的精神风貌。
2. Flute and the little band 《A New Song of Herdsmen》
Composer: Jian Guangyi
Flute player: Huang Kai
This melody is based on Yike Zhao League, created by Jian Guangyi in 1966. The strong Chinese national music style, which expressed via heart touching melody and lively rhythm, reveal the beautiful prairie scenery and herders’ characters in the new period.
3、琵琶独奏《送你一支玫瑰花》
改编 王范地
琵琶 蔡瑾
此曲原是一首新疆民歌,后由王范地教授改编成琵琶独奏曲，并参加在苏联举行的第六届世界青年联欢节演出而容获金质奖章。此曲旋律欢快流畅，具有歌唱性；节奏重音明显，有一基本固定节奏，有舞曲特征。乐曲中，拍琵琶面板模仿新疆乐队中手鼓的音色和节奏，是全曲很有特色的部分。
3. Pipa solo 《Present you a rose》
Adapter: Wang Fandi
Pipa player: Cai Jin
This Pipa solo was adapted from a Xinjiang folk song, and then won the gold medal in the 6th World Youth Union Party in the Soviet Union. The rhythmical melody with obvious accents and the characteristic of dance is highly singable. The most distinctive part in this music is the tapping on Pipa in imitation of Xinjiang tambourines.
4、芦笙独奏《火车进侗乡》
作曲 伊永仁
笙 宋 扬
芦笙是我国西南少数民族苗族.侗族和水族等共有的一种传统乐器。《火车进侗乡》这首作品就是取材于侗族音乐创作而成的一首优秀且有代表性的芦笙乐曲。充分利用芦笙各种演奏技巧和非凡的模仿能力，描绘了火车开进侗乡时人们的喜悦之情，和迎接幸福美满生活的向往！
4. Lusheng Solo 《Train Travel to Dong Village》
Composer: Yi Yongren
Player: Song Yang
Lusheng is a traditional instrument played by Miao, Dong, Shui ethnic minorities. This song is a representative Lusheng melody based on Dong music. The ability of Lusheng for imitation is fully used to depict the happiness when train coming into the village and people’s longing for a better life.
5、二胡重奏《战马奔腾》
作曲 陈耀星 陈军
二胡 钟韵 陈溶
此曲是二胡演奏家陈耀星在二十世纪七十年代创作的一首二胡独奏曲，也是他强力打造的军营狂想曲。乐曲描写守卫在祖国边疆草原的骑兵战士为了保卫社会主义祖国，苦练杀敌本领的情景，表现了他们英勇顽强、一往无前的战斗精神。在这首乐曲中，陈耀星先生立意清新，富有独创，绘形传神地把战马奔腾的形象如浮雕一般凸现出来。陈耀星运用了自己独特的高难演奏技巧，成功地表现了守卫在边疆的骑兵战士的军营生活，乐曲开创了用二胡表现军事题材的先例。
5. Erhu Ensemble 《War Horses Galloping》
Composer: Chen Yaoxing & Chen Jun
Erhu player: Zhong Yun & Chen Rong
War Horses Galloping is a Erhu solo created by Chen Yaoxing in the 1970s as a military camp rhasody. It describes warriors who practice hard to master combat skills with gallant spirit in order to keep the borders safe. The composer Chen Yaoxing used his fresh conception and superb playing skills to created lifelike galloping horses and warriors characters. It is also the first time for Erhu to be used in military theme.
6、古筝独奏《采莲曲》
作曲 刘欢
古筝 雷靛云
“采莲”本是六朝旧事，采莲女子美丽动人的情态让诗人们歌咏不绝。唐代诗人王昌龄的《采莲曲》这样写到：“荷叶罗裙一色裁，芙蓉向脸两边开。乱入池中看不见，闻歌始觉有人来。”此曲根据歌手姚贝娜演唱的《采莲曲》改编而成，极具古筝韵味，令人耳目一新。
6. Koto Solo 《Gathering Lotus Seeds》
Composer: Liu Huan
Koto player: Lei Dianyun
Lotus-gathering was an old custom in Six Dynasties. The beautiful posture of girls who are doing it has always been praised by numerous poets. The famous Tang poet Wang Changling described the moving scene in which girls’ dress and lotus leaves became integrated. This melody was inspired by Chinese pop star Yao Beina’song “Gathering Lotus Seeds”
7、唢呐独奏《正月十五闹雪灯》
作曲 刘英
改编 邱大成
唢呐 刘西站
此曲是由作曲家刘英创作，素材来源于东北民歌《正月十五闹雪灯》。这是一首具有东北二人转风格的乐曲。乐曲分为三大部分。在乐队奏出由自由而转为小快板的引子后，唢呐进入主题，这是一段粗犷、奔放的旋律，这段音乐描绘了在元宵节时人们争相上街、观看花灯的热闹情景。中间段落向上四度转调，速度为慢板，歌唱性的旋律委婉中透出喜悦。表达了人们对幸福生活的赞美之情。第三部分转为原调，音乐情绪更加热烈、激昂，表现东北人民豪爽、乐观向上的精神面貌。
7. Zurna Solo 《Making Snow Lam》
Composer: Liu Ying
Adapter: Zou Dacheng
Zurna player: Liu Xizhan
This melody is based on a Dongbei folk music “Making Snow Lam”, created by Liu Ying in a Northeast Errenzhuan style. The song can be divided into three parts. After a lively passion of allegro, Zurna gets to the point with a unchained melody, depicting people who are appreciating lanterns on the street. Then there are four modulations in the middle at the speed of adagio, expressing people’s admiration of happy life. In the last part, music turns to the original tune and become more passionate which is a reflection of the forthright Northeasterner.
8、京胡独奏《夜深沉》
作曲 吴华
京胡 钟韵
京二胡 陈溶
中国大鼓 童生垣
乐曲以昆曲《思凡下山》折中《风吹荷叶煞》一曲中的四句歌腔为基础，经过历代京剧琴师们的加工改编发展而成，曲名出自首句唱词的头上三字。《风吹荷叶煞》的唱词内容是小尼姑哀叹自己身入空门，过着寂寞凄苦的无聊生活。而《夜深沉》的作者们运用民间音乐创作中常用的加花、删简、紧缩、句末填充和变新等手法，将原来悲哀怨恨的曲调改成一支刚劲有力的新型乐曲，刚劲有力，充满激情。在京剧《击鼓骂曹》和《霸王别姬》中，用它来配合祢衡击鼓和虞姬舞剑等的场面。改编者集各家演奏版本之长，进行加工改编，将乐曲结构扩展成有引子后接慢板、中板、快板的板式铺排。
8. Jinghu Solo《Deep Night》
Composer: Wu Hua
Jinghu player: Zhong Yun
Jing erhu player: Chen Rong
Chinese red drum: Tong shengyuan
Based on the tune of Kunqu“Wind blowing the lotus leaves”,the composition was adapted by generations of Peking opera masters and got its name from the first words of the libretto. The Kunqu talks about a nun bewailing her miserable and lonely life. However, the authors of “Deep Night” used creating means of folk music, changing the original mournful tune to a powerful and vigorous new melody. The adapters incorporated aspects from different spheres and expanded the music structure to a combination of introduction, adagio, moderate and allegro.
9、合奏《花好月圆》
作曲 彭修文
这是一首单三部曲式的轻音乐作品，为ABA结构。全曲在热烈的快板引子中开始。A主题柔和、轻盈，先由笛子以明亮音色呈示，然后转入高胡和二胡变化重复，描绘了一幅轻歌曼舞的画面。B的主题先在扬琴和秦琴上出现，轻快活泼；然后由笛子和二胡、高胡的变化重复；通过一个切分节奏的变音，乐曲由G调转入C调，低音乐器以深厚的音色演奏出有舞蹈性的节奏，生动地表现了人们在月下花丛尽情欢舞的场面。最后，乐队以快速的加花演奏，变化再现A的主题，使乐曲在热烈欢腾的情绪中结束。
9. Ensemble 《Elixir of Love》
Composer: Peng Xiuwen
“Elixir of Love”is a light music with the form of single trilogy and a ABA construction. Beginning with the joy of the allegro, part A is soft and bright. After a bright flute part, the repetitive changes between Gaohu and Erhu paint a picture of soft song and dance. And then, part B starts with dulcimer and Qinqin, followed by the alternation of flute, Erhu and Gaohu. Through a syncopated inflection, music gets to C note from G. bass deep base sounds people indulge in the dance under the moon. In the end, embellishments is used to reproduce the theme of part A, making the melody end in an atmosphere of joy and celebration.
