二胡皇后 閔惠芬 言派名劇《柴桑口（臥龍弔孝）》MIN Huifen, the Erhu Queen –– Peking Opera “ChaiSangKou”

此曲攝於1976年7月上海政協小禮堂，為現代宮廷音樂中的精品。當時錄製了一百多首古詩詞、傳統劇目、以及根據京劇唱腔編配的、對民族音樂發展具有深遠影響的民族器樂獨奏曲。以言菊朋《柴桑口》為藍本的二胡獨奏值得後人深入學習、反覆思考。
相關人物及時任角色—
于會泳（1926–1977）錄音組負責人，文化部長兼中央五七藝術大學總校長，作曲京劇《杜鵑山》《海港》等。
閔惠芬（1945–2014）上海民族樂團二胡獨奏演員，生於江蘇宜興，八歲隨父閔季騫學習、十三歲進入上海音樂學院附中專修二胡，師從王乙、陸修棠。一九六三年獲第四屆「上海之春」音樂會二胡比賽第一名。她廣泛涉獵民間及戲曲音樂，從中吸取精華，不斷探索二胡演奏技法並豐富其表現力，在長期的藝術實踐中形成了感人有法、激情有度、豪邁不妄、哀怨不傷的演奏風格。
尤繼舜（1947–）京胡伴奏，上海京劇團《智取威虎山》劇組琴師
李慕良（1918–2010）唱腔教習，曾為京劇巨擘言菊朋、馬連良琴師，並為馬連良、譚富英、裘盛戎、張君秋、趙燕俠等設計了《趙氏孤兒》《秦香蓮》 《白蛇傳》等許多經典唱腔 。
傅定遠（1933–）演奏教習，曾先後於中南軍區歌舞團、武漢歌舞劇院、廣州軍區戰士歌舞團任雷琴演奏家
言菊朋（1890–1942）京劇言派唱腔創始人，蒙古正藍旗世家子弟，因嗜戲曲，詡為梨園友，自名菊朋。對「四聲」的運用有深刻的研究，認為音韻、聲腔是老生表演的重點，主張「腔由字生，字正而腔圓」。他的唱腔婉轉，音正味醇，跌宕起伏，別有風味，對後世具有深遠影響。
上海電影製片廠1976年4月拍攝上海京劇團的《柴桑口》亦是「宮廷曲目」之一，諸葛亮由言少朋扮演、李家載演唱；二胡模擬的唱腔從下列視頻十四分五十秒處開始。
（二黃導板）見靈堂不由人珠淚滿面。
（回龍）叫一聲公瑾弟細聽根源。
（反二黃慢板）曹孟德領人馬八十三萬，擅敢奪東吳郡吞併江南。
周都督雖年少頗具肝膽，命山人借東風在南屏成全。
龐士元他把那連環來獻，黃公覆苦肉計火燒戰船。
料不想大英雄不幸命短，空余那美名兒在萬古流傳。
只哭得諸葛亮把肝腸痛斷，肝腸痛斷，都督啊！【慢長錘】
（反二黃原板）只落得口無言心欲問天，嘆周郎曾顧曲風雅可羨。
嘆周郎論用兵孫武一般，公瑾死亮雖生無弓之箭。
知我者是都督，怕我的是曹瞞。
斷腸人難開流淚眼，生離死別萬喚千呼，不能回言，都督哇！【住頭】
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This piece was filmed in July 1976 at the Shanghai CPPCC Auditorium and stands as a fine example of “modern court music”. At that time, over one hundred works were recorded — including classical poems, traditional opera excerpts, and instrumental solos adapted from Peking Opera vocal styles — all of which had a profound influence on the development of Chinese national music. The Erhu solo based on Yan Jupeng’s “Chaisangkou” deserves in-depth study and repeated reflection by later generations.
Relate figures and their roles:
Yu Huiyong (1926–1977) Head of the Central Recording Group, Minister of Culture, and President of the Central May Seventh Art University.
Min Huifen (1945–2014) Erhu soloist of the Shanghai Chinese Orchestra. Born in Yixing, Jiangsu. She began studying with her father, Min Jiqian, at the age of eight and entered the Middle School Affiliated to the Shanghai Conservatory at thirteen to specialize in Erhu under Wang Yi and Lu Xiutang. In 1963, she won first prize in the 4th Shanghai Spring Music Festival Erhu Competition. Min Huifen drew widely from folk and theatrical music, continually exploring new Erhu techniques and expressive possibilities. Through years of artistic practice, she developed a unique performing style.
You Jishun (1947– ) Jinghu accompanist, musician in the “Taking Tiger Mountain by Strategy” troupe of the Shanghai Peking Opera Company.
Li Muliang (1918–2010) Vocal coach; served as instrumental accompanist for Peking Opera masters Yan Jupeng and Ma Lianliang. He also designed classic singing passages for Ma Lianliang, Tan Fuying, Qiu Shengrong, Zhang Junqiu, Zhao Yanxia, and others, including those in “The Orphan of Zhao”, “Qin Xianglian”, and “Legend of the White Snake”.
Fu Dingyuan (1933– ) Instrumental instructor; served successively as Leiqin player in the Song and Dance Ensembles of the Central South Military Region, Wuhan, and the Guangzhou Military Region.
Yan Jupeng (1890–1942) Peking Opera master and founder of the “Yan School” vocal style. A lifelong devotee of theater, he adopted the stage name Jupeng. Yan deeply studied the use of the four tones (sisheng), believing that phonetics and vocal timbre were the essence of the “laosheng” (elder male) role. He advocated that “the tone arises from the word — when the pronunciation is correct, the melody becomes round and full.”
In April 1976, the Shanghai Film Studio also recorded “Chaisangkou” performed by the Shanghai Peking Opera Company — another work categorized as “court repertoire.” Zhuge Liang was played by Yan Shaopeng, with Li Jiazhai providing the vocals. The Erhu’s imitation of the vocal lines begins at 14:50 in the video.
(Erhuang Daoban) Seeing the spirit hall, tears flow uncontrollably.
(Huilong) Calling out once, “Brother Gongjin, listen to me carefully…”
(Fan Erhuang, slow tempo) Cao Mengde led 830,000 troops, daring to seize Eastern Wu and annex Jiangnan.
Though young, Commander Zhou possessed courage and loyalty; he bade the hermit borrow the east wind at Nanping to fulfill his plan.
Pang Shiyuan offered the chained ships; Huang Gai’s bitter-meat ruse set the fleet ablaze.
Who could foresee that the great hero’s life would end so soon — leaving only his glorious name to echo through the ages.
Zhuge Liang wept till his entrails broke, crying out, “Commander Zhou!” 【Slow gong rhythm】
(Fan Erhuang, original tempo) Speechless, I look to the heavens in grief — lamenting Zhou’s refined taste and musical grace.
His mastery of warfare rivaled Sun Wu’s. Zhou gone, I live, but with no bow or arrow left.
He who understood me was the Commander; he who feared me was Cao Cao.
My heart is torn apart, tears blind my eyes. After countless cries, life and death stand apart — and I cannot call him back, Commander Zhou! 【Final cadence】

#東方美學 #古典音樂 #classic #chinesemusic