揉合古今——陳能濟

專訪

甚麼是現代？甚麼是傳統？作曲家經常向自己詰問，如 何承傳前人留下來豐厚的音樂文化，又能立足於變化萬 千的現代社會，與現代的人溝通。陳能濟認為，鑒古知 今，將傳統的風貌容納於現代生活，是文化人、作曲家 的使命。 我第一次聽陳能濟的作品，是他的鋼琴曲《赤壁懷古》。 那是從圖書館借來，放在特大圖書中的香港作曲家鋼琴 作品集的一曲。樂譜上的音符，紀錄了異常獨特的聲音： 低沉的八度旋律，只有簡單幾個音符，不是常聽到的五 聲音階，卻滲透着古老的雅樸；自由節奏的高音和弦， 像是望着滔滔大海、聽着琵琶輪掃。這些聲音在鋼琴上 彈出來，既現代，又蒼老。

撰文：胡銘堯 Text: Dennis Wu Photography: www.trio-photo.com 地點：明茶房 Location: Ming Cha

精彩訪問片段可於 CASH 網站 www.cash.org.hk 內瀏覽。 Selected video clips of the interview can be viewed at CASH's website at www.cash.org.hk.

陳能濟（左）與作者胡銘堯合影。 Chen Ning Chi (L) pictured with the interviewer Dennis Wu.

熱愛傳統．取道中庸 陳能濟說，他的音樂，既不傳統，又不現代。他沒有刻意去創 立個人化的風格，只是從不停的寫作，一次又一次突破，卻由 衷熱愛着傳統文化。「我不是保守的人，講求前進，但創新卻 不可以天馬行空，因為這樣的創新，最終觸摸不到文化藝術的 本質。」

把握機會．寫作不斷 1989 年，他在台灣成立高雄實驗國樂團，經過五年產量極豐的 時期，他回到香港，不久後寫了《城寨風情》。這部港產音樂劇，

求學的時候，陳能濟沒有想過自己會辦中樂團、寫中國樂器的

由香港話劇團、香港舞蹈團及香港中樂團合演，盛大製作一時

大合奏。出生於印尼，後來移民到中國大陸，陳能濟在六十年

無兩。第一次寫音樂劇，陳能濟坦言也是一種摸索。導演杜國

代就讀於中央音樂學院。他接受的是學院的正規訓練，學的是

威一言，為他創作此劇的路向定調：「一首作品只要在觀眾聽

西方音樂的技法：對位、和聲、配器。這些技法，在西方學院

過後，離開劇場仍要哼着唱的，就是成功了。」雅俗共賞，正

中，已發展出完整的理論。「中樂的，就是理論化得不夠。」

是這部作品需要的重要元素，亦肯定了陳能濟堅持了十幾年的

不過，他畢業後的十年，正值動蕩的年代，他幾乎完全把作曲

路線。

荒廢掉。

1994 年寫《城寨風情》， 2003 年更被委約寫歌劇《瑤姬傳奇》，

直至到 1973 年，他移民到香港，因緣際會，為當時尚為業餘

其間更有不少大規模的作品，令陳能濟成為份量極重的作曲家。

的香港中樂團擔任指揮和編曲。「那個時候，香港很多人喜愛

他坦言，香港的創作機會不多，作曲家沒有甚麼選擇，只是機

中樂，業餘的樂團多不勝數，對這類合奏音樂需求非常大。」

會一來，便得馬上把握。陳能濟喜愛寫大型作品，但香港這幾

他重拾創作的筆桿，為樂團譜曲。

年創作的機會日漸萎縮，亦沒有了《城寨》和《瑤姬》規模的

七、八十年代的香港中樂團，已有進取的委約制度。吳大江、 林樂培、關迺忠等大師，帶來不同的聲音和撞激。《昆蟲世界》、 《秋決》的新派節奏和樂器技法，《拉薩行》的豐富想像力和 多變的色彩，這些具實驗性的作品相繼出現。陳能濟為自己訂

製作。「以音樂人來說，我算得上是幸運的一個。」在香港中 樂團於 4 月的「香港作曲家節 2010」中，陳能濟選了《城寨風 情》幾個著名段落，編成組曲演出。 說是維持着中庸的風格，其實陳能濟不乏大膽的嘗試。 在台灣

定中間路線，耳朵向新音樂張開，心繫着要將傳統文化帶給更

時，他寫了《八音集》。「這是我唯一的無調性作品，很富實

廣泛的現代聽眾。他寄語作曲家，即使現在的人寫音樂，是要

驗性。在台灣首演後，差點把它都忘掉了。」這首作品，也許

用現代的語言，歷史的根，卻不可輕輕抹去。「怎樣將傳統、

偏離了陳能濟自己的路線，聲音連自己都生疏了，不過首演時，

民間風俗、地域特色，容納在現代的大都會，是文化人應有的

樂師還未充份掌握嶄新的音樂，也是其中原因。「十年後，台

使命。」

灣國家國樂團遴選指揮，指的是這作品。唱片寄過來，就連我

雖然如此，他說：「我不是要寫傳統的作品，而是要在傳統的 框架中尋突破。沒有突破，就沒有生命。」文化不是寫在書上

也對這聲音感到驚訝。」十年間，技術提昇了，以前的實驗， 如今已不是匪夷所思。這亦見證了中樂和中樂團的快速發展。

的舊知識，而是活生生的有機體。「以前的人，有以前的文化

他也曾與何應豐合作製作《九天玄女》，將唐滌生的原著抽絲

背景。現在的科技，發展得快，人要追求新潮流，接觸傳統的

剝繭，濃縮成為獨幕歌舞劇。唱段用上唐氏的原著，但樂隊部

機會自然少。」所以他涉獵民間及不同地域的音樂，一邊寫下

份不再是粵劇的拍和，而是整個香港中樂團的大合奏，中間也

新的音符，一邊在遼闊的土地上尋根。

要寫不少新的音樂來描寫場景。這顛覆傳統之作，卻得到廣泛

寫交響詩．自我挑戰 今年，香港中樂團再次委約陳能濟，要寫一部夠份量的作品。他選了赤壁之戰作題材，大概也是因為香港人熟悉的緣故。小說、電 影、漫畫，三國的故事從不同的渠道滲入現代香港人的腦海中，談起周瑜、孔明和曹操，面孔都是大家熟悉的。陳能濟寫過《赤壁 懷古》鋼琴曲，那是七八分鐘的作品，今次寫的是上半小時的交響詩，角度自然較多元化，挑戰也更大。陳能濟形容，音樂既是抽 象的藝術，最難的就是講故事。 可是，他正是以音樂講故事的能手。寫過音樂劇、歌劇、舞劇，甚至為兒童講故事的短劇，陳能濟多元的背景，以音樂敘事，可說 是駕輕就熟。譜寫四樂章交響詩《赤壁》，他設計了多個向度：有描寫三位人物個性的面譜，大戰前的草船借箭和三氣周瑜，也有 放火燒船、把曹操追殺到華容道的大戰。以交響樂的陣容，寫出古老戰爭的氣勢磅礡，可說是他創作生涯的另一高峰。陳能濟說， 「我想這是自己給自己的挑戰。」

專訪 What is contemporary? What is traditional? These are the questions composers often ask themselves, in particular when considering how to strike a fine-tuned balance between inheriting the rich musical culture from our ancestors and adapting it to suit an ever-changing modern society, in order to communicate with our contemporaries. Chen Ning Chi believes that reflecting ancient knowledge in present day life and accommodating traditional styles for a modern audience is a mission for people in the cultural sector and composers to fulfil.

The first work of Chen Ning Chi that I came across was 'Reminiscence at Chi Bi' for piano.

This work was included in A Collection of Piano Works by Hong Kong Composers which I had borrowed from the library, placed in the large book section. The notes on the score record an unusual and unique sound. The low-octave melody has only a few simple notes, not the pentatonic scale we usually hear, yet it permeates with an ancient simplicity and classic elegance. The free-tempo treble chords, on the other hand, give you a sense of listening to the sounds of the lute sweeping over a vast ocean. The music that plays out from the piano is both modern and ancient.

A love of tradition, and a balanced approach Chen says his music is neither traditional nor contemporary. He

and had an impact. Experimental works were performed, such

hasn't consciously developed his own style, yet he continues to

as 'Insect World' and 'Autumn Execution' which brought new

write music, making breakthroughs again and again with a

kinds of rhythm and instrumental techniques, and 'Journey to

sincere heart and passion for traditional culture. 'I'm not

Lhasa' which showed rich imagination and varied colours.

conservative, I want to advance. But innovation must come

Chen set up a middle path for himself. He had an open ear for

from a certain framework; otherwise it will lose touch with the

new music, yet he yearned to bring traditional culture to a

substance of arts and culture.'

wider modern day audience. His message to composers is to

When Chen was still a student, he never thought he would form a Chinese orchestra and write music for large Chinese instrumental ensembles. Born in Indonesia, Chen later migrated to China and studied at the Central Conservatory of Music in the 60s. He received formal training at the college, where he

use a modern musical language, but to retain historical roots they should not be allowed to just fade away. 'Finding how to successfully accommodate traditions, folk customs and regional characteristics in the modern metropolis is a mission for those in the cultural sector.'

learned Western music techniques, such as counterpoint,

Nevertheless, he says, 'I don't intend to write traditional works; I

harmony and orchestration. Theories of such techniques have

try to seek innovation within a traditional framework. Without

been fully developed by western academics. 'The problem with

innovation, there is no life.' Culture is not something that exists

Chinese music is the lack of theory.' Unfortunately, in the

written in books as old knowledge, it is a living organism. 'People

following 10 years after he graduated, China was in an era of

from past generations had their own cultural backgrounds.

turmoil. He almost abandoned composing.

Technology today is developing rapidly. When people want to

In 1973, he immigrated to Hong Kong. He landed a job as conductor and arranger for the Hong Kong Chinese Orchestra, which was then still an amateur group. 'Back then, many Hong Kong people loved Chinese music. There were many amateur music groups, and there was a great demand for ensemble music.' So he picked up the pen again and composed for these groups.

During the 70s and 80s, the Hong Kong Chinese Orchestra developed an active commissioning system. Masters like Ng Tai Kong, Doming Lam and Kuan Nai Chung contributed different sounds

pursue the latest trends, they will naturally have fewer opportunities to come into contact with the traditional.'

So he gets his inspiration from folk music and music from different regions. He writes new music notes while searching for roots on the vast land.

Seize the opportunity. Keep writing In 1989, Chen set up the Kaohsiung Experimental Chinese

Even if Chen wants to maintain a fine-tuned balance, there is a

Orchestra in Taiwan. After a five-year period of abundant

part of him willing to make bold experiments. When he was in

productions, he returned to Hong Kong. Shortly after, he wrote

Taiwan, he wrote 'Eight-Sound Tunes'. 'This is my only atonal

Tales of the Walled City, a Hong Kong-produced musical

work, full of experimental elements. After it was premiered in

drama, which was performed by the Hong Kong Repertory

Taiwan, it was almost out of my system.' This work deviates from

Theatre, the Hong Kong Dance Company and the Hong Kong

his normal musical direction and so it may sound unfamiliar even

Chinese Orchestra. It was a large production, second to none

to him. Another reason may be because the players were not

at that time. Chen admitted it was the first time he wrote a

able to fully grasp this new music style when it was premiered.

musical. It was a trial-and-error process. Raymond To, director

'Ten years later, when the Taiwan National Chinese Orchestra

of the production, gave him advice and helped him fix the

conducted a selection process for a conductor, the test piece

direction of the musical. Raymond said, 'A song is considered

was 'Eight-Sound Tunes'. They sent me a record disc of my

a success if the audience still hums it on their way out after the

piece. I was surprised by the sounds. The techniques for playing

show ends.' Appealing to both a high-brow audience and a

have improved a lot over the past decade. The previous

mainstream audience was an important element required by

experiments are now doable. This proves Chinese music and

this production, and this is the direction Chen has insisted on

Chinese orchestras have progressed at a rapid pace.'

pursuing for more than ten years.

He also collaborated with Ho Ying Fung (stage director) on

Chen wrote Tales of the Walled City in 1994 and was

The Fairy of the Ninth Heaven. They took the best parts from

commissioned to write an opera, The Legend of Yao Ji in 2003.

the Cantonese opera written by Tong Tik Sang and

He also accomplished a number of large-scale works during that

condensed them into a one-act song-and-dance production.

time, securing his position as a master composer. He admits that

There was traditional sung music with original lyrics, but

there aren’t many opportunities to create in Hong Kong. There is

instead

not much that composers can choose from. If an opportunity

operatic music accompaniment,

does arise, it has to be grabbed immediately. Chen loves to write

the whole Hong Kong Chinese

large-scale works. However, the market for large-scale works in

Orchestra performed the music as

Hong Kong has been shrinking over the past few years; there

a large ensemble. There was also

has not been a single one on a par with Tales of the Walled City

quite a bit of new music written by

and The Legend of Yao Ji in terms of production scale. 'As a

Chen to describe the scenes. This

composer, I consider myself lucky.' At the Composers' Festival of

non-conventional production was

Hong Kong 2010 in April, the Hong Kong Chinese Orchestra

widely acclaimed and there were

performed several well-known passages from Tales of the Walled

additional performances due to

City, which had been selected and compiled by Chen.

increased demand.

of

using

Cantonese

Write a symphonic poem as a self-challenge The Hong Kong Chinese Orchestra once again commissioned Chen to write a large-scale work this year. He chose the battle of the Red Cliff as his subject, probably because Hong Kong people were familiar with this tale. The story of the Three Kingdoms has made inroads into the minds of contemporary Hong Kong people through novels, films and comic books. Zhou Yu, Zhuge Liang and Cao Cao are familiar figures. Chen previously composed 'Reminiscence at Chi Bi' for piano, which was about six to seven minutes long. As for his new work, it is a half-hour symphonic poem, exploring different perspectives in the face of a bigger challenge. Chen describes music as an abstract art, through which to tell a story is the most difficult task.

However, he is an expert in using music to tell stories. His works include musicals, operas, dance dramas, and even short storytelling plays for children. Chen has a highly diversified background which enables him to be musically narrative. When he wrote 'The Battle of Chibi', a four-movement symphonic poem, he devised different perspectives, including masks representing the personalities of those three characters, and descriptions of borrowing arrows with boats of hays before the war, winning the battle of wits over Zhou Yu three times, setting the boats on fire, and the battle that chased Cao Cao to Hua Rong Dao. Armed with a symphony line-up, he told an ancient story depicting furious battles with grandeur and momentum, reaching another high point in his creative career. Chen said, 'I think this is a challenge I give to myself.'