正文 第五十九章 箫音袅袅寻师路 心惊箫裂梦难安(第1页/共3页)
一曲秋思问师门,二心相印共箫音。
三言两语传佳法,四海箫声共此心。
“师者曾发《妆台秋思》之伴奏乎?”箫音线上进益班之首雪栖于群内见作业而问。
“未也。”
“无。”
“或时辰未至。”
“无。”
群内寂然无声,正大同学向雪栖引荐,其所习笛子乃俞逊发先生之流派,循俞师之音频而习之。雪栖闻此,亦觉随师习艺乃善法,欲试之。观正大同学随俞师吹奏之作业,显其箫艺有所精进,此法可资借鉴。
俞逊发者,其《妆台秋思》之录音版本众多,其中包括杜次文之谱,马晓兰以箜篌伴奏,瞿春泉指挥,上海民族乐团协奏之三版本;周成龙配器,扬琴伴奏之一版本;吴爱国编配,乐队中人声哼唱之一版本等。
上世纪八十年代之初,俞逊发初试低音g调笛曲《妆台秋思》。此曲本为琵琶古曲《塞上曲》之一段,七十年代末至八十年代初,为改革箜篌之乐器,原由箫与箜篌合奏。此曲“非炫技之曲,乃刻画人物内心情感之作,长音强弱之变,微颤之音,皆描绘内心之波澜。故此曲较之快速、技巧性强之曲更难,难在情感之表达。”然俞逊发奏之,使人仿佛闻见千年之前,王昭君于秋风落叶中对镜梳妆,凝望远方之淡淡忧思。
论及俞逊发笛曲之情感抒发,台湾笛箫评论名家林谷珍曾言:“俞逊发老师之艺术成就,非仅在于特殊技法之发明与应用,更在于其对乐曲之诠释。其深厚之人文底蕴,令人赞叹。近代笛子音乐之成就,在于接续历史中断层之文人传统。俞逊发老师乃当代最具代表性之笛子艺术家,无论传统曲、创新曲,皆能深入人心。即如人所熟知之《妆台秋思》,经其演绎,既深情又苍茫,令人低回吟咏,其中‘质变’已生。”
俞逊发于一九八四年录制《妆台秋思》之笛子专辑,一九九二年十月荣获北京全国第二届金唱片奖榜首。
“节奏对我帮助甚大。”正大与雪栖言,并将所寻伴奏分享于微信群中。此分享或有局限,正大虑及自身箫艺尚未至质变之境,某些独特之学习方法,未与群内同学及老师尽言,亦保留己见。正大欲以基本功为主,以气息气控音色d调箫见长,因自身尚未有深厚之笛子技法功底。同时,正大亦悄然于音乐学院笛箫表演专业进修,此事线上提高班之同学与老师皆未知。而正大正挖掘整理首个涉及制箫学箫之发明专利,即将定稿申报,老师与同学亦未知之。
“图与文稿大抵如是矣。”
“皆已一一订正矣。”
“收讫,敬谢师教。”
“敬祈鼎力相助,感激不尽。”
“吾欲以此作为终稿,发予代理之师。”
“先生,此乃吾等专利之初稿,祈请一阅。”
本欲不与专利代理中介续作,盖院长昔日为余之属,曾兼任学院科研秘书,彼时余为分管科研之副院长。然高校非官府,此等事宜,皆凭交情与心情而定,
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