古箏大家 項斯華 言派名劇《捉放宿店》Master Zheng Artist XIANG Sihua Performs the Peking Opera “Zhuo Fang Su Dian”

此曲攝製於1976年，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《捉放宿店》為藍本的古箏獨奏是一個創舉，亦是此類現代宮廷音樂中的精品。
相關人物及時任角色—
于會泳（1926–1977）—中央錄音組負責人，文化部長兼中央五七藝術大學總校長
項斯華（1939–）—中央新聞電影製片廠樂團獨奏演員，出生於上海，畢業於上海音樂學院，師從王巽之、曹正等人。1962年在"上海之春"音樂會上以雙箏演奏引發關注，其演奏融合西洋與中國風格，借鑒鋼琴與竪琴技法，發展了古箏的表現手法，其代表作品有《漁舟唱晚》《項斯華中國箏名演集》《每日必彈古箏指序練習曲》等。
唐在炘（1922–2007）—京胡伴奏，北京京劇團唱腔設計、樂隊指導兼琴師，曾拜徐蘭沅為師學習京劇音樂，亦曾從白登雲及馬連良鼓師喬玉泉學習司鼓，作品包括《海港》（1968年裘盛戎版）、《陈三两爬堂》、《武则天轶事》等。
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）京劇老生言派唱腔創始人，生於北平，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。
《捉放宿店》唱辭——
【二黃慢板】一輪明月照窗下，
陳宮心中亂似麻。
悔不該心猿並意馬，
悔不該隨他人到呂家。
呂伯奢可算得義氣大，
殺豬沽酒款待於他。
又誰知此賊的疑心忑大，
拔出劍就將他的滿門殺。
一家人俱喪在寶劍之下，
年邁老丈命染黃沙。
屈死的冤魂鬼休要怨咱，
自有那神靈天地鑒察。
【原板】聽譙樓打罷了二更鼓下，
越思越想把事來做差。
https://www.bilibili.com/video/BV1DpBMYCE6Y/
This piece was filmed in 1976, during which more than a hundred works were recorded, including classical Chinese poetry, traditional opera repertories, and newly arranged instrumental solos based on Peking Opera vocal styles—works that had a profound impact on the development of Chinese national music.The guzheng solo adapted from Yan Jupeng’s “Zhuo Fang Su Dian” was an innovation, and stands as a masterpiece among modern court-style music of this genre.
Relevant Figures and Their Positions at the Time—
• Yu Huiyong (1926–1977) — Head of the Central Recording Group; Minister of Culture and President of the Central May Seventh Arts University.
• Xiang Sihua (1939– ) — Soloist of the Orchestra of the Central Newsreel and Documentary Film Studio. Born in Shanghai, graduated from the Shanghai Conservatory of Music, and studied under Wang Xunzhi, Cao Zheng, among others.In 1962, her double-guzheng performance at the “Shanghai Spring” concert drew wide attention. Her playing integrates Western and Chinese styles, incorporating piano and harp techniques and expanding the expressive possibilities of the guzheng. Representative works include “Fisherman’s Song at Dusk,” “Xiang Sihua’s Master Performances on the Chinese Zheng,” and “Daily Essential Guzheng Finger Exercises.”
• Tang Zaixin (1922–2007) — Jinghu accompanist; responsible for vocal design, orchestral direction, and playing in the Beijing Peking Opera Troupe.He studied Peking Opera music under Xu Lanyuan, and percussion under Bai Dengyun and Qiao Yuquan, drummer for Ma Lianliang. His works include “The Harbor” (1968 Qiu Shengrong version), “Chen San and Lady Two Ascend the Hall,” and “Anecdotes of Empress Wu Zetian,” among others.
• Li Muliang (1918–2010) — Vocal instructor; served as instrumental accompanist for Peking Opera masters Yan Jupeng and Ma Lianliang.He designed numerous classic vocal passages for Ma Lianliang, Tan Fuying, Qiu Shengrong, Zhang Junqiu, Zhao Yanxia, and others, including “The Orphan of Zhao,” “Qin Xianglian,” “The Legend of the White Snake,” and many more.
• Fu Dingyuan (1933– ) — Instrumental instructor; served successively as a leiqin performer in the Song and Dance Troupe of the Central-South Military Region, the Wuhan Song and Dance Theatre, and the Guangzhou Military Region Soldiers’ Song and Dance Troupe.
• Yan Jupeng (1890–1942) — Founder of the Yan school of Peking Opera laosheng vocal art.Born in Beiping to a noble family of the Mongol Plain Blue Banner, he became a devotee of opera and called himself “Jupeng.”He conducted deep research into the use of the “four tones,” believing that phonology and vocal resonance were the core of laosheng performance, advocating that “the melody is born from the words; when the pronunciation is correct, the melody becomes full and rounded.”His singing was graceful, precise, rich in flavor, and dramatic in its rises and falls—exerting lasting influence on later generations.
Lyrics of “Zhuo Fang Su Dian”:
[Erhuang Man Ban]
A round bright moon shines beneath my window.
Chen Gong’s heart is in turmoil like tangled hemp.
I regret letting my restless mind run wild,
I regret following others to the Lü household.
Master Lü showed great righteousness,
Slaughtered a pig and opened wine to host me.
Who could have known that this man is so suspicious?
I drew my sword and slew his entire family.
All perished beneath my treasured blade,
The aged master fell with his life stained upon the yellow sands.
Wronged souls, do not resent me—
Heaven and earth, the spirits above, will judge this matter.
[Erhuang Yuan Ban]
Hearing the watchtower strike the second night drum,
The more I ponder, the more I realize how wrongly I have acted.

#東方美學 #古典音樂 #classic #chinesemusic