EB 9398 – Changyong, Höll – Three Wishes from a Rose by Breitkopf & Härtel

玫瑰三愿 Three Wishes from a Rose Changyong Liao

中国艺术歌曲��首 16 ausgewählte chinesische Kunstlieder 16 Selected Chinese Art Songs

Hartmut Höll

中国诗歌遗产丰富，三千多年来留下几千首优秀歌曲和诗词。古斯塔夫·马勒的《大地之歌》即由七首中国古诗激发创作。本书介绍的��首精选中国艺术歌曲，在结构和音乐语法上都受到欧洲音乐的影响，同时保留显著的中国语汇特色。这些歌曲由 ��世纪的作曲家为千年古诗词谱曲而作。

Liao Changyong Hartmut Höll

Das Erbe der chinesischen Dichtkunst umfasst tausende Lieder und Gedichte aus mehr als drei Jahrtausenden. Selbst Gustav Mahler wurde von sieben dieser Gedichte für sein Lied von der Erde inspiriert. Die hier vorliegenden 16 ausgewählten chinesischen Kunstlieder sind in Struktur und musikalischer Grammatik durch die Musik Europas geprägt und dennoch ist das chinesische Idiom unverkennbar. Die Lieder repräsentieren Poesie aus tausend Jahren, vertont von Komponisten des 20. Jahrhunderts. The legacy of Chinese poetry includes thousands of songs and poems spanning over more than three millennia. Gustav Mahler himself was inspired by seven of these poems for his Lied von der Erde. The 16 Selected Chinese Art Songs presented here are shaped in structure and musical grammar by the famous European Lied compositions and yet the Chinese idiom is unmistakable. The songs represent poetry from a thousand years, set into music by composers of the 20th century.

Edition Breitkopf 9398 www.breitkopf.com A 21

玫瑰三愿

Three Wishes From a Rose 中国艺术歌曲16首

16 ausgewählte chinesische Kunstlieder 16 Selected Chinese Art Songs

主编 | herausgegeben von | edited by

廖昌永 Liao Changyong

Hartmut Höll

国际音标注音 | IPA Transkriptionen von | IPA Transcriptions by

周正 Zhou Zheng

Urtext

Edition Breitkopf 9398 Printed in Germany

mp3-Audiodateien mit den von Muttersprachlern wiedergegebenen chinesischen Originaltexten stehen auf www.breitkopf.com zum kostenlosen Download zur Verfügung. mp3 audio files with spoken texts by chinese native speakers can be found at www.breitkopf.com for free download.

Lektorat: Wang Lei, Zhou Zheng, Liao Changyong, Hartmut Höll Notensatz: Nick Pfefferkorn Umschlaggestaltung: Andreas Jacobsen Druck: Bräuning + Rudert, Espenau Alle Lieder, Texte und Übersetzungen (insbesondere die IPA-Übertragungen) sind urheberrechtlich geschützt. Jedwede Vervielfältigung ist ohne ausdrückliche schriftliche Genehmigung des Verlages Breitkopf & Härtel gesetzlich verboten. All songs, texts and translations (especially the IPA transcriptions) are copyright protected. Any reproduction is prohibited by law without the express written consent of the Breitkopf & Härtel publishing house, Germany. Printed in Germany

目录 | Inhalt | Contents 致词 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Greeting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 前言 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Vorwort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 大江东去 | The Great River . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 我住长江头 | The End of Yangtze River . . . . . . . . . . . . . . . . 13 玫瑰三愿 | Three Wishes From a Rose . . . . . . . . . . . . . . . . . . 18 春思曲 | Spring Nostalgia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 踏雪寻梅 | Winter Plum Blossom . . . . . . . . . . . . . . . . . . . . . . 23 点绛唇·赋登楼|Ascending the Tower . . . . . . . . . . . . . . . . . . 24 红豆词 | Red Love Beans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 春归何处 | Whither Spring . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 阳关三叠 | Farewell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 枫桥夜泊 | Maple Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 水调歌头·明月几时有 | Song of the Moon . . . . . . . . . . . . . . 36 幽兰操 | Ode to the Orchid . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 双调·新水令 | Home Nostalgia . . . . . . . . . . . . . . . . . . . . . . . . 46 忆秦娥·恒山月 | Moon over Mount Heng . . . . . . . . . . . . . . . 51 月满西楼 | Moonlight Chamber . . . . . . . . . . . . . . . . . . . . . . . 56 钗头凤 | Phoenix Hairpin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Gedichte und Übertragungen | Poems and translations . . . . 60 IPA-Transkriptionen | Transcriptions according to IPA . . . . 66

致辞

对中国古典音乐界的人们来说， “布莱特科普夫&哈特尔”——即我们一直亲切称为“大熊”的出版社一直以来都是令人尊崇仰望的音乐王国，因为这个王国承载了古典音乐隽永深刻的300年历史，传扬了从巴赫、贝多芬、门德尔松、拉赫曼等1000多位音乐家的不朽音乐瑰宝。我深深记得2019年3月27日，在上海音乐学院与“大熊”签订战略合作备忘录的那天，尼克社长用浓缩于3分钟的300周年纪念视频，让我们深深感动、感怀于这厚重的历史和音乐在人类社会发展中不可替代的精神力量。而今，三百年历史的世界最古老音乐出版社与中国最早的高等音乐学府联手，在中国音乐创作出版与推广、中德音乐文化交流等方面展开全方位合作，实为一件具有伟大意义的音乐人文工程。

“艺术歌曲”一词的中文是上世纪20年代由上海音乐学院的创立者之一，从德国莱比锡留学执教的萧友梅教授从德语直译而来。可以说，中国艺术歌曲是中国古典诗词与西方作曲技法的巧妙结合。每首短小精悍的小诗，唱出一个个内涵深刻的故事，有着很强的文学性与艺术性。中国古典诗词歌赋所流淌出的百转回肠、深沉广袤、如泣如诉的情感表达，抑或是山河秀丽、边关苍凉的中国水墨画印象都在中国艺术歌曲的语汇里被完美地与音乐相融合。每一首作品的听觉形象都像是一幅需要品味良久的中国水墨画。我认为，中国书画中所讲究的笔墨铺陈与音乐的织体结构有许多共通之处。1920年，一位名为廖尚果的赴德留学生用西方作曲技法将苏轼的《念奴娇·赤壁怀古》写成了一首歌，取名为《大江东去》。这首歌后来被认为是中国最早的艺术歌曲，其思想内涵、音乐意境与声乐技巧，即使以今天的标准来看，依然十分精彩。自《大江东去》之后，萧友梅、赵元任、黄自、刘雪庵、陈田鹤等一批作曲家纷纷将古典诗词名作谱成艺术歌曲。比如黄自的《花非花》、《卜算子》、《点绛唇》，刘雪庵的《枫桥夜泊》《春夜洛城闻笛》，陈田鹤的《江城子》《采桑曲》《春归何处》等。除了古典诗词外，许多由近代新诗谱成的艺术歌曲也十分动听，比如萧友梅的《问》、赵元任的《教我如何不想他》、黄自的《玫瑰三愿》《思乡》《春思曲》、贺绿汀的《嘉陵江上》、冼星海的《老马》《断章》等。到了当代，赵季平、陆在易等中国作曲家创作了《关雎》《我爱这土地》等当代中国艺术歌曲。作为一名成长于中国传统和经典文化中的歌唱家，虽然多年来我在学习和职业生涯的舞台上呈现了大量西方声乐艺术文献，但在我的心中始终萦绕着一个梦想，一个情结----那就是至今已有百年历史的中国艺术歌曲。多年来我内心里一直有一个声音：作为中国艺术家，我觉得我有一种责任，让世界聆听中国艺术歌曲之美。在我看来，中国艺术歌曲是让世界了解中文之美的一扇窗。中国艺术歌曲的艺术魅力和价值不仅

打动了中国的音乐家，就连我的好朋友和合作伙伴，德奥艺术歌曲界的权威哈特穆特·霍尔教授也是因为在上海聆听了一场独唱音乐会而深深着迷于中国艺术歌曲。我有幸与霍尔教授在艺术歌曲的策源地德国举办了中国艺术歌曲音乐会。令我感动的是，德国观众没有因为语言的屏障而影响对中国艺术歌曲的感知。在歌词翻译和历史背景的帮助下，不少德国观众来到后台，或者写信告诉霍尔教授，他们被中国音乐深深感动了。

当然，与有着悠久历史的西方艺术歌曲相比，中国艺术歌曲是年轻而小众的，尽管近年来受到了越来越多人的瞩目，但却始终缺乏系统、规模的梳理、研究与传播。十多年前，我提出了创立一个中国艺术歌曲研究工作室的想法。令人欣喜的是，在上海音乐学院，我找到了一批志同道合的同事。近年来，我们梳理中国艺术歌曲百年的发展脉络并挖掘了一些非常优秀却不被大众所了解的艺术家。上海音乐学院是中国艺术歌曲的历史重镇。在创作上，中国第一代职业作曲家且创作艺术歌曲而闻名者中，如萧友梅、黄自、谭小麟、青主、贺绿汀等，无不是上音历史上赫然有名的人物。在表演上，包括郎毓秀、周小燕、蔡绍序、斯义桂等在内的著名校友都是中国艺术歌曲传播的重要人物。近年来，我和我的艺术家同事们戮力推动中国艺术歌曲的人才培养、创作研究、文化交流。这样的工作，我们会一直做下去，这是我们的责任。今年，在中国艺术歌曲诞生百年之际，上海音乐学院与世界最古老的的大熊出版社即将合作出版《中国艺术歌曲16首》。这是大熊的伟大创举，也是上音人的百年音乐之篇章。我希望，中国艺术歌曲在第二个百年涌现出更多好的作品，将来在国际音乐舞台上会有更多艺术家能用中文唱中国的艺术歌曲。 ”

在此，我要向我的艺术伙伴和真挚的朋友，尊敬的霍尔教授，以及布莱特科普夫&哈特尔出版社的尼克社长与同事们致以最诚挚的感谢，感谢你们为中国艺术歌曲的国际学术和传播所付之的巨大努力和深厚感情，这一切让我和上海音乐学院团队的每一位同事都非常感动。我也要感谢上海音乐学院的每一位为《中国艺术歌曲16首》付出努力和心血的我的同事和朋友们。请让我们一起努力，迎来中国艺术歌曲的下一个百年！廖昌永 2020年7月于上海

Greeting To the classical music circle in China, Breitkopf & Härtel, a German publishing house kindly nicknamed the “Big Bear”, has long been highly esteemed and honored as a prestigious music kingdom which has witnessed and recorded 300 years of profound history of classical music, leaving us a splendid music legacy consisting of masterpieces by more than 1.000 musicians such as Bach, Beethoven, Mendelssohn, Brahms and, of course contemporarys such as Helmut Lachenmann and Hans Zender. The Shanghai Conservatory of Music (SHCM) and Breitkopf & Härtel reached a strategic cooperation memorandum on March 17, 2019. What happened on the big day is still imprinted deeply on my mind. I remember how overwhelmingly we were impressed by the profoundness of history and the irreplaceable spiritual power of music in the development of human society when Nick Pfefferkorn, Managing Director of Breitkopf & Härtel, shared with us a highly-condensed three-minute video about the history of Breitkopf & Härtel. Today, the world’s oldest music publishing house join hands with China’s first higher music institution for an all-round cooperation in the publication and promotion of Chinese music works and Sino-German music cultural exchange, marking the opening of a great musical and humanistic cause. The term “art song” was literally translated into Chinese from German by Professor Xiao Youmei (Hsiao Yiu-mei), a well-known Chinese music educationist and one of the founders of the SHCM, in the 1920s after his return from Leipzig, Germany. It can be said that Chinese art song is the product of an ingenious combination of Chinese classical poetry and Western composing techniques. Each short, concise poem is a meaningful story featuring a strong literary and artistic appeal. When set to music, the rich emotions – inconsolable grief, broadmindedness, plangent lament – or the beautiful image of our great motherland or the desolate landscape of a remote frontier expressed or depicted in the poems will integrate perfectly with music vocabulary and turn into charming art songs. The sound image of each piece, just like a Chinese ink painting, deserves longtime appreciation and repeated rumination. The texture of music, I think, has much in common with the brush and ink arrangement of Chinese ink paintings. In 1920, Chinese composer Liao Shangguo set Nian Nu Jiao: Memories of the Past at Red Cliff, a poem by Su Shi (1037–1101), a prominent poet of China’s Song Dynasty, to music by using Western composition techniques. This song titled The Great River was later regarded as the earliest Chinese art song; and its deep implications, musical ambience and vocal skills are remarkably successful, even by today’s standards. Since then, continuous attempts of Chinese art song creation have been made by a series of notable composers such as Xiao Youmei, Zhao Yuanren, Huang Zi (Huang Tzu), Liu Xue’an (Liu Shea An), Chen Tianhe, etc. Their achievements include: A Flower in the Haze, Pusuanzi and Ascending the Tower by Huang Zi; Maple Bridge and Hearing the

Flute on a Spring Night in Luoyang by Liu Xue’an; Jiangchengzi, Song of Picking Mulberry Leafs, Whither Spring by Chen Tianhe. Besides those pieces based on classical poems, modern poems also became an important source of lyrics, works of this kind including Asking by Xiao Youmei, How Could I Not Miss Her by Zhao Yuanren, Three Wishes from a Rose, Homesickness and Spring Nostalgia by Huang Zi, On the Jialingjiang River by He Luting, president of SHCM From 1949–1984, and The Old Horse and Fragment by Xian Xinghai. More recently, contemporary Chinese composers like Zhao Jiping and Lu Zaiyi created many excellent contemporary Chinese art songs, including Turtledoves Cooing and I Love This Land. I am a singer growing up and deeply rooted in Chinese tradition and classical culture. Despite of my stage performances of many Western operas and art songs in the course of my study and professional career over the years, I always have a dream, or, more likely a desire about Chinese art songs, which have a history of one hundred years till now. For many years, a voice has been lingering in my heart: as a Chinese artist, I have the duty to make Chinese art songs heard by the world. In my opinion, Chinese art songs are a window for the world to understand the beauty of Chinese culture. Chinese art songs, with their artistic charm and eternal value, are appealing not only to Chinese musicians, but also to our international friends. Even my close friend and artistic partner Professor Hartmut Höll, an authority in the German and Austrian art song community, became deeply fascinated by Chinese art songs after listening to a recital in Shanghai years ago. Thanks to the support of Professor Höll, I had the chance to present a Chinese art song recital in Germany where the Lied originated. To my delight, language barrier didn’t hinder German audience’s understanding and appreciation. Instead, with the mere help of lyrics translation and background introduction, they were deeply moved by Chinese music, as they told us at the backstage or by writing letters afterwards. Yet Chinese art song is a relatively young and niche genre when compared with its long-established Western counterpart. Despite its increasing popularity in recent years, systematic review, research and promotion of Chinese art songs is still absent. I came up with the idea of establishing a Chinese art song workshop more than a decade ago. Fortunately, I have found a group of like-minded colleagues at the Shanghai Conservatory of Music. In the past few years, we conducted a thorough review of the one-century long development of Chinese art songs and discovered some excellent artists who are less known by the public. Shanghai Conservatory of Music has long been the most important hub for the development of Chinese art songs in history: Xiao Youmei, Huang Zi, Tan Xiaolin, Qing Zhu (Liao Shangguo) and He Luting, the first generation of professional composers in China known for their art song creation, were all notable figures of the Conservatory; performing artists Lang

Yuxiu, Zhou Xiaoyan (Alice Chou), Cai Shaoxu and Si Yigui (Yi-Kwei Sze) were all alumni of the SHCM and important promoters of Chinese art songs. In recent year, my artist colleagues and I endeavored to promote Chinese art songs through talent training, music creation, research and cultural exchanges. We will continue to do so; it is our responsibility. To celebrate the centenary of the birth of Chinese art songs, the 16 Chinese Art Songs is about to be published through joint efforts of the SHCM and Breitkopf & Härtel. This is a pioneering undertaking of the prestigious publisher, and a glorious achievement of generations of SHCM musicians in the past 100 years. I hope that more outstanding Chinese art songs will be created in the next 100 years, and that more artists will be able to sing Chinese art songs on the international stage in the future.

Finally, I would like to extend my heartfelt gratitude to my artistic partner and dear friend Professor Höll, Managing Director Nick Pfefferkorn and his colleagues at the Breitkopf & Härtel publishing house. Thank you for your painstaking efforts and deep feelings for the academic exchange and international promotion of Chinese art songs. I, together with all my team members of the SHCM, deeply appreciated everything you have done for this project. I would also gratefully acknowledge the contributions and devotion of my colleagues and friends at SHCM. Let’s work together to usher in the next hundred years of Chinese art songs! Liao Changyong July 2020, Shanghai

前言

当今的世界充满着动荡和变化，其速度和强度前所未有：我们看到了乐观主义与悲观主义的矛盾、理性价值观与民粹主义的交锋、大局社会责任感与保守退缩的对比。而越来越明显的趋势，是隔阂与分歧多于联结和理解。因此，为了美好的未来，在共同的兴趣和相互尊重的基础上，不同文化不同国家的人为了互相增进理解而努力显得愈发重要。而在这些努力当中，音乐，可能是最佳的渠道。音乐能联结人心，让人敞开心扉，音乐能够触动和唤醒世界上所有人共通的情感，音乐具有立竿见影的沟通效果，直接而明确。

在东西方之间的音乐领域、中国和德国之间早已铺架了宽广的桥梁，在这个领域取得最高成就的中国艺术家们层出不穷，例如国际声誉极高的钢琴家郎朗和王羽佳。与此同时，许多西方的音乐家在中国举办音乐会和教学活动，引起巨大反响和好评，如芮妮·弗萊明、米沙·麦斯基、西蒙·拉特尔爵士等等。对西方国家的人来说，中国人对西方文化艺术的深厚兴趣与精湛造诣令人印象深刻。在中国，许多家庭让孩子学习音乐，这是一种很有意义的社会文化。在中国举办的古典音乐会常常满座，尤其是，观众大多是爱好古典音乐和艺术的年轻一代。

几千年历史流传下来的千百首诗词歌赋，融汇了中华文化艺术的深厚传统和珍贵遗产，这让我们叹为观止。汉斯·贝特格在他的《中国之笛》诗集里，曾对中国古诗词进行了二度创作，中国古诗词对大自然形象的描述以及人类情感的深刻表现触及和感动了西方世界。其中有7首诗启发了古斯塔夫·马勒创作《大地之歌》。这不仅仅是个例。很多其他欧洲作曲家也曾为中国诗歌配乐，如芬兰作曲家塞波·努米、捷克作曲家帕维尔·哈斯和阿纳托尔·普罗瓦兹尼克、瑞士作曲家罗尔夫·利伯曼、荷兰作曲家雷奥·米歇尔森、法国作曲家阿尔伯特·鲁塞尔、奥地利作曲家安东·韦伯恩等等。中国艺术歌曲钢琴家杨帆在拜耳音像公司推出的两张录音唱片令人印象深刻。作为一门艺术，伟大的歌曲从来不是漂亮的装饰品，而是敏感地描述一种生活情境，为最细腻的个人情感赋以精确的声音图景表达：爱情、悲伤、思乡、渴望、绝望、忧郁......。

即将在大熊出版的16首中国艺术歌曲，尤其具有情感丰富的特点。大熊和上海音乐学院合作编辑出版这本艺术歌曲集是具有历史意义的决定：歌曲集精选了基于几千年中国诗词创作的经典艺术歌曲，同时还包括 20世纪当代中国作曲家的创作。在这里，我们能够聆听到汉斯·贝特格的诗歌的意境。

1919年5月4日，反对凡尔赛条约、反对日本殖民主义的抗议活动，引发了中国新文化运动，声浪迅速席卷全国。西方的价值观、科学技术与文化艺术的最新发展也得以引入中国。中国知识分子留学西方，学习欧洲的作曲技法。在这个背景下，这里所介绍的艺术歌曲作品在结构和音乐语法上都受到欧洲音乐的影响，但同时保留着深厚的中国文化传统的印记和根源，比如在一些作品中可以听到多处模仿中国乐器音色的写作技法。我个人对这些作品的浓厚兴趣，是在上海聆听了男中音歌唱家廖昌永教授一整晚的中国艺术歌曲音乐会后被唤醒的。虽然听不懂中文，但仅仅是音乐的语汇就能让人理解一切，并且深深被触动、感动，我感受到了强大的情感能量，如温柔的情绪、感伤的回忆、个人的梦想、家国的情怀、思乡的愁绪......今天，我觉得自己是何等幸运，能和这位伟大的中国艺术家同时也是我亲爱的朋友一起举办中国艺术歌曲音乐会。

感谢大熊音乐出版社和尼克·普菲弗科恩先生以及他的同事们，感谢上海音乐学院廖昌永先生和他的艺术团队为此特别版本所付出的巨大努力。我还尤其要感谢周正教授为所有歌曲文字所做的IPA国际注音工作。他出色地完成了难度很大的中文注音。这些艺术歌曲作品走向世界离不开这项重要的工作。这本凝结着中德艺术家和文化艺术机构的共同心血和深厚感情的《中国艺术歌曲16首》终于即将于2020年，也恰恰是中国艺术歌曲诞生一百年这个重要纪念年份面世。我相信，这套艺术歌曲选集能够让中国和欧洲的声音相互交织，让彼此之间的文化了解和纽带更加深入。哈特穆特·霍尔

2020年8月，卡尔斯鲁厄

Vorwort Optimismus und Pessimismus, vernunftgemäße Auseinandersetzung und populistische Agitation, gesamtgesellschaftliche Verantwortung und individueller Rückzug: die Welt befindet sich im Umbruch und verändert sich so schnell und stark wie schon lange nicht mehr. Immer deutlicher zeichnen sich Entwicklungen ab, die mehr separieren als zusammenbringen. Umso wichtiger ist es, für eine lebenswerte Zukunft, für gegenseitiges Interesse und Respekt, für Verständnis und Gemeinsamkeit zu arbeiten. Kaum etwas anderes ist dazu besser geeignet als die Kultur und hier insbesondere die Musik. Sie spricht das Individuum an und verbindet zugleich, sie öffnet Herzen, berührt und weckt Emotionen, die von allen Menschen gleichermaßen verstanden werden. Musik wirkt unmittelbar, direkt und unmissverständlich. Im Bereich der Musik bestehen bereits großartige Brücken zwischen Ost und West, zwischen China und Deutschland: Lang Lang und Yuja Wang musizieren als anerkannte Künstler ihres Landes international. Zugleich konzertieren und lehren viele Musiker der westlichen Welt in China und werden dort gefeiert: Renée Fleming, Mischa Maisky, Sir Simon Rattle u.v.a. Es ist in hohem Maße beeindruckend, welch ungeheures Interesse die chinesische Bevölkerung an westlicher Kultur hat. Den Kindern eine musikalische Ausbildung zukommen zu lassen, ist für die chinesische Gesellschaft inzwischen essentiell. Konzerte mit westlicher Musik sind zumeist ausverkauft, und das chinesische Publikum ist überaus jung und interessiert. Tausende Lieder und Gedichte aus mehr als drei Jahrtausenden umfasst das Erbe der chinesischen Dichtkunst, es lässt uns ehrfürchtig staunen; nicht erst seit Hans Bethges Sammlung Die chinesische Flöte mit Nachdichtungen altchinesischer Lyrik berühren uns die Naturbilder, die tiefe Darstellung menschlicher Empfindungen. Nicht zuletzt wurde auch Gustav Mahler von sieben dieser Gedichte zu seinem Lied von der Erde inspiriert. Natürlich haben auch andere europäische Komponisten chinesische Dichtungen vertont: der Finne Seppo Nummi, die Tschechen Pavel Haas und Anatol Provaznik, der Schweizer Rolf Liebermann, der Niederländer Leo Michielsen, der Franzose Albert Roussel, der Österreicher Anton Webern, um nur einige zu nennen. Die chinesische Liedpianistin Fan Yang hat hierzu zwei beeindruckende CDs bei Bayer Records vorgelegt. Dabei bleibt die Liedkunst nie bloß hübsches Ornament, sondern immer auch die sensible Schilderung einer Lebenssituation, sie gibt den persönlichsten Empfindungen präzisen Klang: Liebe, Trauer, Heimweh, Sehnsucht, Verzweiflung, Wehmut… Solcher Empfindungsreichtum prägt auch die hier vorliegenden 16 chinesischen Kunstlieder. Es ist ein hohes Verdienst des Verlages Breitkopf & Härtel, diese Edition in weltweit zu präsentieren: chinesische Kunstlieder mit Poesie aus tausend Jahren vertont von Komponisten des 20. Jahrhunderts. Was bei Hans Bethge Nachdichtungen waren – hier sind es Originale, die erklingen.

Die Proteste am 4. Mai 1919 gegen den Vertrag von Versailles, gegen Japans koloniale Bestrebungen, lösten die Neue-KulturBewegung in China aus, die schnell das ganze Land erfasste, neueste Entwicklungen in Wissenschaft und Technik wurden übernommen. Chinesische Intellektuelle, die im Westen studierten, erlernten europäische Kompositionstechniken. Die hier vorgelegten Liedkompositionen sind in Struktur und musikalischer Grammatik durch die Musik Europas geprägt, und dennoch ist das chinesische Idiom unverkennbar, wenn z.B. immer wieder chinesische Instrumente imitiert werden. Mein persönliches Interesse an diesen Kompositionen wurde geweckt, als ich den Bariton Changyong Liao in Shanghai mit einem ganzen Abend chinesischer Kunstlieder erlebte. Ohne Mandarin verstehen zu können, war doch allein durch die Musik alles verständlich: kraftvolle Energie wie Zärtlichkeit, wehmütige Rückschau, persönlicher Traum… Heute schätze ich mich glücklich, mit diesem großartigen Künstler und lieben Freund selbst konzertieren zu dürfen. Dem Verlag Breitkopf & Härtel, insbesondere Nick Pfefferkorn ist für diese einmalige und sorgfältig vorbereitete Edition zu danken. Darüber hinaus gilt besonderer Dank Prof. Changyong Liao und seinem gesamten Team für die gründliche Vorbereitung und Bereitstellung der Quellen. Besonders herzlich danke ich Professor Zheng Zhou für die hervorragende und wahrlich nicht immer leicht umzusetzende Übertragung des Chinesischen in den internationalen IPA-Standard. Erst durch seine Arbeit wird es möglich, dass diese Lieder eine weltweite Verbreitung finden können. All das sind schöne und eindrucksvolle Belege für die intensive kulturelle Zusammenarbeit zwischen deutschen und chinesischen Künstlern und Institutionen. Ich bin mir sicher, dass sich durch die Beschäftigung mit Klängen, in denen China und Europa sich berühren, das Verständnis beider Kulturen füreinander wachsen wird. Hartmut Höll Karlsruhe, August 2020

Preface Optimism and pessimism, rational debate and populist agitation, responsibility for society as a whole and individual withdrawal: the world is in upheaval and is changing faster and more significantly than anytime recently. And becoming increasingly apparent are developments that separate more than bring together. It is all the more important to work for a future worth living, for mutual interest and respect, for understanding and commonality. Hardly anything else is better suited to this than culture and music, especially. It addresses the individual, yet at the same time connects, opens hearts, touches, and arouses emotions that are equally understood by all people in the world. Music is immediate, direct, and unmistakable. And in the field of music there are already splendid bridges between East and West, between China and Germany: Lang Lang and Yuja Wang make music internationally as highly recognized musicians within their own country. At the same time, many artists from the Western world concertize, teach, and are celebrated in China: Renée Fleming, Mischa Maisky, Sir Simon Rattle, among others. Highly impressive is the great interest the Chinese take in Western culture. Providing children with musical education is extremely prestigious in Chinese society. Concerts of Western music tend to sell out, and the Chinese audience is extraordinarily young and engaged. The legacy of Chinese poetry encompasses thousands of songs and poems from more than three millennia, leaving us awestruck. And it is not only in Hans Bethge’s The Chinese Flute collection, with its adaptations of old Chinese poetry, that we are touched by images of nature, the profound representation of human feelings. Seven of these poems inspired Gustav Mahler in the composition of his Lied von der Erde. Other European composers have also set Chinese poetry to music: the Finn Seppo Nummi, The Czechs Pavel Haas and Anatol Provaznik, the Swiss Rolf Liebermann, the Dutch Leo Michielsen, the French Albert Roussel, the Austrian Anton Webern, to name just a few. The Chinese lied accompanist Fan Yang has contributed to this two impressive CDs with Bayer Records. Great art of song is never a pretty ornament, but always a sensitive portrayal of a life situation, giving the most personal feelings a precise sound: love, sadness, homesickness, longing, despair, melancholy. Such a wealth of emotions also characterizes the 16 Chinese Art Songs presented here. And to have introduced this edition is a great achievement by Breitkopf & Härtel: Chinese art songs on poetry set to music by composers of the 20th century. What Hans Bethge used as adaptations – heard here are the originals. The protests on the 4th of May 1919 against the Treaty of Versailles, against Japan’s colonial aspirations, sparked the new culture movement in China, spreading quickly across the whole country and leading to the adoption of the latest developments in science and technology. Chinese intellectuals who studied in the West learned European compositional techniques. The lied

compositions presented here are shaped in structure and musical grammar by the music of Europe, yet the Chinese idiom is unmistakable, when, for example, Chinese instruments are repeatedly imitated. My personal interest in these compositions was aroused when I heard the baritone Changyong Liao in Shanghai in a whole evening of Chinese art songs. Though unable to understand Mandarin, everything was comprehensible through music alone: powerful energy such as tenderness, wistful retrospect, personal dreams…. Today I consider myself fortunate to be able to concertize with this great artist and dear friend. Breitkopf & Härtel, together with Nick Pfefferkorn, are to be thanked fo this unique and carefully prepared edition. In addition, special thanks go to Professor Changyong Liao and his entire team for the thorough preparation and provision of the sources. I would particularly like to thank Professor Zheng Zhou for the excellent and certainly not always easy to translate Chinese language in the international IPA standard. Only through his work it becomes possible that these songs can find worldwide distribution. It is beautiful and impressive evidence of the intensive cultural cooperation between German and Chinese artists and institutions. I am sure that by addressing the sounds where China and Europe meet, both cultures will grow to understand each other better. Hartmut Höll Karlsruhe, August 2020

大江东去 e Great River 青主（廖尚果）作曲 | Music: Qing Zhu (1893–1959) (宋) 苏轼作词 | Lyrics: Su Shi (1037–1101) Song Dynasty

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

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ª ª ª ª 日日思不 Ð见 Ð君 Ð君， rɨ rɨ sɨ dʒyn bu dʒjɛn dʒyn                                

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Breitkopf EB 9398

16 50

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Sample page ”Three Wishes from a Rose“ - First page of the autograph score Shanghai Concervatory of Music - Library Archive No.: SHCML2013/001:MS055 | Reproduced with kind permission.

Breitkopf EB 9398

玫瑰三愿 ree Wishes From a Rose Andante

小提琴 Violin

 6    8 

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 6   8 

黄自作曲 | Music: Huang Tzu (1904–1938) 龙七（龙榆生）作词 | Lyrics: Long Yusheng (1902–1966)

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      雪霁 Ð Ð 天晴 çɥe dʒi tjɛn tʃiŋ    Þ      Þ    p        mp

曲 | Music: 黄自 | Huang Tzu（1904–1938) 词 | Poem: 刘雪庵 | Liu Xue’an (1905–1985)

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点绛唇·赋登楼 Ascending the Tower – To the Tune of Rouged Lips 黄自作曲 | Music: Huang Tzu (1904–1938) (宋)王灼作词 | Lyrics: Wang Zhuo (1081–1160) Song Dynasty

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春归何处 Whither Spring 曲 | Music: 陈田鹤 | Chen Tianhe（1911–1955) 词 | Poem: 黄庭坚 | Huang Tingjian (1045–1105) Song Dynasty

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Leseprobe Dies ist eine Leseprobe. Nicht alle Seiten werden angezeigt. This is an excerpt. Not all pages are displayed.

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1、大江东去

青主（廖尚果1893–1959）作曲 [ 宋 ] 苏轼（1037–1101）作词

大江东去，浪淘尽，千古风流人物。故垒西边，人道是，三国周郎赤壁。乱石崩云，惊涛裂岸，卷起千堆雪，卷起千堆雪。江山如画，一时多少豪杰。遥想公瑾当年，小乔初嫁了，雄姿英发。羽扇纶巾，谈笑间，樯橹灰飞烟灭。故国神游，多情应笑我，早生华发。

2、我住长江头

青主（廖尚果1893–1959）作曲 [ 宋 ] 李之仪（1038–1117）作词

人生如梦，一樽还酹江月。

我住长江头，君住长江尾。日日思君不见君，共饮长江水。此水几时休？此恨何时已？只愿君心似我心，定不负相思意。此水几时休？此恨何时已？只愿君心似我心，定不负相思意。此水几时休？此恨何时已？只愿君心似我心，定不负相思意。

The Great River1

The End of Yangtze River3

Leseprobe

Composed by Qing Zhu (Primitive name: Liao Shangguo 1893–1959) Lyrics by Su Shi (1037–1101 / Song Dynasty)

Composed by Qing Zhu (Primitive name: Liao Shangguo 1893–1959) Lyrics by Li Zhiyi (1038–1117 / Song Dynasty)

The great river eastward flows. With its billows are gone all those ancient heroes.

I dwell near the Yangtze River’s source, While you farthest down its course. I miss you day after day, but you’re far away. From the same river we drink, relieving my pain.

West of the old fortress stands, People say, the Red Cliffs where General Zhou Yu2 won his early fame.

When will the river no more flow? When will my sorrow no longer grow?

Jagged rocks pierce the clouds, Swashing waves beat on the shore, Churning up drifts of snowy foam. Churning up drifts of snowy foam. What a glorious land! How many heroes once emerged on a stage so grand! My thoughts drift to Zhou’s heroic days: With his new bride Xiao Qiao, the lady fair, He appeared so dashing and debonair. Wearing a silk cap, waving a feather fan, Over a casual chat, He had the enemy fleet burned to ashes.

Be your heart as steadfast as mine, Then not in vain for you I pine. When will the river no more flow? When will my sorrow no longer grow? Be your heart as steadfast as mine, Then not in vain for you I pine. When will the river no more flow? When will my sorrow no longer grow? Be your heart as steadfast as mine, Then not in vain for you I pine.

Sample page

As my mind wanders to that bygone age, What a sentimental fool you may call me, For my hair turned grey too early! Life is but a dream passing soon. Let’s drink a toast to the river moon.

1 Full title: The Great River Eastward Flows. The song is based on a verse titled Reflections on the Ancient Red Cliff – To the Tune of Nian Nu Jiao by Su Shi, a preeminent poet of the Song Dynasty. In Chinese culture, Ci and Qu, two variations of Chinese poem, are originally lyrics to be sang to music. Each piece of Ci or Qu has its specific melodic model called a Cipai or Qupai, which defines the structure, number of words in each line, rhyme and tune of the work. The Tune of Nian Nu Jiao is said to be named after a singing girl in the Tang Dynasty. 2 Zhou Yu (175–210 CE, courtesy name: Gongjin) was a famous general and strategist of the Marquisate Wu at the end of Later Han Dynasty (25–220 CE), and the commander-in-chief in the Battle of Red Cliffs, also known as the Battle of Chibi (208 CE), where the allied forces of the southern warlords Liu Bei (the Kingdom of Shu) and Sun Quan (the Kingdom of Wu), with a force of only 50,000 soldiers, defeated Cao Cao’s troop of about 300,000 by pretending surrender and attacking with fire. He became famed for his clever strategy and unparallel talent after the victory in this decisive battle, which leveled the forces of the central players and eventually led to the Three Kingdoms Period (220280 CE) of China. The place where the poet wrote this piece bears the same name with the ancient battlefield of Chibi. So he just expressed his deep feeling and thinking about his tortuous life by recalling and contrasting with General Zhou’s heroic experience.

3、玫瑰三愿

黄自（1904–1938）作曲龙七（龙榆生1902–1966）作词

玫瑰花，玫瑰花，烂开在碧栏杆下。玫瑰花，玫瑰花，烂开在碧栏杆下。我愿那妒我的无情风雨莫吹打，我愿那爱我的多情游客莫攀摘！我愿那红颜常好不凋谢，好教我留住芳华。

Three Wishes From a Rose

Composed by Huang Tzu (1904–1938) Lyrics by Long Yusheng (1902–1966) I am a rose, a rose, blooming under a jade fence. 3 The lyrics are based on a poem titled I Dwell Near the Yangtze River’s Source – To the Tune of Bu Suan Zi by Song Dynasty poet Li Zhiyi.

61 I am a rose, a rose, blooming under a jade fence. I wish the jealous wind and rain won’t lash my blossom ruthlessly. I wish the romantic visitors Won’t pick my flowers selfishly. I wish fresh and fair I would always be. Long may it remain, my enchanting beauty!

4、春思曲

Composed by Huang Tzu (1904–1938) Lyrics by Liu Shea An (1905–1985) The snow gives way to a bright sunny day. With the fragrance of plum blossom, the air’s sweet and refreshing. I ride on a donkey to cross the Baqiao Bridge. The bell sounds so clear, Like a nice song to the ear.

Leseprobe

黄自（1904–1938）作曲韦瀚章（1906–1993）作词

潇潇夜雨滴阶前，寒衾孤枕未成眠，今朝揽镜，应是梨涡浅。绿云慵掠，懒贴花钿。小楼独倚，怕睹陌头杨柳，分色上帘边。更妒煞无知双燕，吱吱语过花栏前。忆个郎远别已经年，恨只恨，不化成杜宇，唤他快整归鞭。

Spring Nostalgia

Composed by Huang Tzu (1904–1938) Lyrics by Wei Hanzhang (1906–1993) Down the doorstep, the rain trickled all night. In a cold bed alone, I had a sleepless night. At dawn before the mirror, the dimples seem smaller. With uncombed hair, in no mood am I to dress up fair. Leaning idly against my boudoir windows, I am reluctant to see the roadside willows, On the curtain creeps whose blurry shadows. A pair of carefree swallows add to my envy, As they’re chirping and flying over the garden merrily.

Jingle here jingle there, Jingle everywhere.

A bunch of fresh plum flowers I’d like to pick and arrange it in a vase fine and delicate. A perfect companion it must be, When in music or books I indulge. As long as you’re with me, A good time we shall enjoy.

6、点绛唇•赋登楼

黄自（1904–1938）作曲 [ 宋 ] 王灼（1081–1160）作词

休惜余春，试来把酒留春住。问春无语，帘卷西山雨。一掬愁心，强欲登高赋。山无数。烟波无数，不放春归去。

Ascending the Tower

Composed by Huang Tzu (1904–1938), Lyrics by Wang Zhuo (1081–1160 / Song Dynasty)

Sample page

Years have passed since my fiancé traveled far away. If only I would become a cuckoo bird To call my love back home without delay.

5、踏雪寻梅

Winter Plum Blossom

黄自（1904–1938）作曲刘雪庵（1905–1985）作词

雪霁天晴朗，腊梅处处香。骑驴灞桥过，铃儿响叮当。响叮当，响叮当，响叮当，响叮当。好花采得瓶供养，伴我书声琴韵，共度好时光。

What a pity spring is departing. To ask her to stay, I offer my best wine.

Yet she remains still and quiet. Curtain rolled up, western hills in the rain come into sight. Haunted by a mood so melancholic, To ascend high and compose another poem I seek. Before my eyes appear Countless misty hills and rills. Wish they’d keep spring from elapsing!

7、红豆词

刘雪庵（1905–1985）作曲 [ 清 ] 曹雪芹（1715–1763）作词滴不尽相思血泪抛红豆，开不完春柳春花满画楼，睡不稳纱窗风雨黄昏后，忘不了新愁与旧愁。咽不下玉粒金波噎满喉，瞧不尽镜里花容瘦，

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小乔初嫁了， 3 ͡ ͡ ͡ [çjaʊ tʃaʊ ʈʂʰu dʒja ljaʊ]

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Leseprobe

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笑间， çjaʊ d͡ʒjɛn]

飞烟灭。 fei̯ jɛn mjɛ]

游， jəʊ] 笑我， çjaʊ wɔ] 发。 fa] 梦， məŋ]

Sample page

遥想公 [jaʊ çjaŋ gʊŋ

瑾当年， ͡dʒin daŋ njɛn]

1 The pronunciation of the Chinese vowel in the character ”是” is not one that exists in other languages; it’s between an [ i ] and schwa [ə], but narrower and more forward than [ə]. As such, IPA [ ɨ ] is used here. 2 Unaspirated [d͡zʰ]. Similar to hatching but retroflex, or marching in American English. Voiced in a toneless syllable, so [d͡zʰ] is used here.

一樽还酹 ͡ [ji dzwən hwɛn lei̯

江月。 ͡dʒaŋ ɥɛ]

3 This is a Chinese retroflex consonant, pronounced [ʈ͡ʂʰ] with the tip of the tongue turned back toward the hard palate, so [ʈ͡ʂʰ] is used here.

The End of Yangtze River 我

住

[wɔ

d͡zʰu

我

住

长

江

长

江

[wɔ d͡zʰu

͡ʈʂʰaŋ d͡ʒaŋ

日

思

[rɨ

rɨ

sɨ

d͡ʒyn

此

水

几

时

[t͡sɨ

ʃwei̯

只

愿

君

d͡ ʒi

ʃɨ

君

[d͡ zʰɨ ɥɛn

头

ʈʂʰaŋ d͡ʒaŋ təʊ]

d͡ʒyn

头，君

住

d͡ʒyn

təʊ

长

江

尾。

d͡zʰu ͡ʈʂʰaŋ d͡ʒaŋ wei̯ ]

Leseprobe 不

见

君，共

d͡ʒjɛn d͡ʒyn

休？

此

͡tsɨ

çjəʊ

gʊŋ

饮

长

江

水。

jin ͡ʈʂʰaŋ d͡ʒaŋ ʃwei̯ ]

恨

何

时

已？

hən

hə

ʃɨ

ji]

心

似

我

心，

定

不

负

相

思

意。

çin

sɨ

wɔ

çin

diŋ

çjaŋ

sɨ

ji]

Three Wishes from a Rose 玫

瑰

三

愿

[mei̯ gwei̯

sɛn

jwɛn]

玫

瑰

花,

玫

[mei̯ gwei̯ hwa

烂

开

瑰

在

开

栏

杆

下。

lɛn

gɛn

çja]

Sample page

花,

玫

在

瑰

花,

mei̯ gwei̯ hwa]

碧

栏

lɛn gɛn

çja]

无

[lɛn kai̯ d͡ zai̯

我

花,

碧

[mei̯ gwei̯ hwa

烂

瑰

mei̯ gwei̯ hwa]

[lɛn kai̯ d͡ zai̯

玫

杆

下。

愿

那

妒

我

的

[wɔ ɥɛn

wɔ

wu ͡tʃiŋ fəŋ

我

愿

那

爱

我

的

多

情

[wɔ ɥɛn

ai̯

wɔ

di dwɔ ͡tʃiŋ jəʊ

我

愿

那

红

颜

常

好

不

[wɔ ɥɛn

好

叫

情

hʊŋ jɛn ͡ʈʂʰaŋ haʊ

我

[haʊ d͡ʒjaʊ wɔ

留

住

芳

风

雨

华。

吹

打,

mwɔ ͡ʈʂʰwei̯ da]

游

客

莫

凋

谢,

攀

摘！

kə mwɔ pɛn d͡zʰai̯ ]

bu djaʊ çja]

ljəʊ d͡zʰu faŋ hwa]

莫

Dies ist eine Leseprobe. Nicht alle Seiten werden angezeigt. Haben wir Ihr Interesse geweckt? Bestellungen nehmen wir gern über den Musikalienund Buchhandel oder unseren Webshop entgegen.

This is an excerpt. Not all pages are displayed. Have we sparked your interest? We gladly accept orders via music and book stores or through our webshop.

玫瑰三愿 Three Wishes from a Rose Changyong Liao

中国艺术歌曲��首 16 ausgewählte chinesische Kunstlieder 16 Selected Chinese Art Songs

Hartmut Höll

Liao Changyong Hartmut Höll

Edition Breitkopf 9398 www.breitkopf.com A 21