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現代音樂哲學家《許博允之樂》串流平台上線

已更新:2021年8月26日



在聚精凝神的音韻中 聽見世界萬象


在以推展藝術為畢生職志之前,許博允先是個作曲家。許博允以老莊哲學為體、現代音樂筆法為用,探究生命的實現,點染了大千世界的奧妙。一顆顆音符誕生於無限延展的時空與天地,凝聚了宇宙洪荒的冥想與思索,是生命的引路人,帶領聽者返璞歸真。


《許博允之樂》記錄了至2005年間,創作四十餘年創作的心路歷程。洞悉人性心靈與寰宇奧義的音樂,在 Spotify、KKBOX、Apple Music、Amazon Music、friDay Music 等串流平台都聽得到這些超越音樂的生命哲思!



專輯簡介 Introduction


1962年許博允開始了創作生涯,《怨歌行》與《夜坐吟》為當年初試啼聲的作品。同年與台灣作曲家共組「江浪樂集」後,參與發起了「中國現代音樂協會」、「亞洲作曲家聯盟」與「亞洲文化推展聯盟」。


許博允46年作曲生涯中創作的作品,記錄了他獨特、深刻而哲學性的音樂語言。1972年創作的《中國戲曲的冥想》,開啟了東方弦樂新境界。1975年創作了《琵琶隨筆》更是中國史上首次以現代作曲手法融合東方琵琶彈撥技法特質,突破性開創了中國樂器新意境,也帶動全世界華人創作中國樂器樂曲的新思維。


1977年《境》的作品涵蓋了100餘件打擊樂器及人聲的作品,融合了美聲合唱、民族唱腔(尤其是加入原住民、蒙古呼麥、長調…)及現代滑唱的唱腔於一體。1988年為中國民族樂器帶來的交響樂曲《天元》,一新陳腔舊模的架構,並創出樂團新聲響的領域。1998年以「素樂」的手法,寫作《潛》改變弦樂四重奏的氛圍。


這些「音樂世界的體驗」都是這張《許博允之樂》CD所帶給大家的回味!


Taiwanese composer Hsu Po-Yun started his musical career when he premiered his debut compositions Song of Regret and Ye Zuo Yin in 1962. Co-Founder of the composers’ association “The Rip Tide”, Hsu Po-Yun later took part in the establishment of numerous artists’ societies including International Society for Contemporary Music in ROC (ISCM-Taiwan), Asian Composers League (ACL) and the Federation for Asian Cultural Promotion (FACP).


Hsu’s compositions over the past 46 years form a rich literature of his unique, profound and philosophical musical language. While A Meditation on Chinese Theater (1972) opened up a new prospect for string instrumentalists, The Pipa (1975) marked the first work in history to integrate contemporary composition skills with Eastern pipa techniques, which not only revolutionarily vitalized the Chinese musical milieu but also pioneered innovative concepts of Chinese compositions among Chinese composers around the globe.


Composed in 1977, Mood, Field, Mind, Environment (1977) furthermore exploited over a hundred percussion instruments in addition to human voice, bel canto, ethnic singing techniques (namely aboriginal tunes, khoomei laryngeal and Mongolian Urtiin Duu) and modern glissandi. The orchestral work Tian Yuan (1988) for Chinese orchestra not only renewed conventional structure, but initiated novel sonic effects. Last but not least, Submersion (1998) developed upon the theory of minimal music and created unprecedented ambience for the string quartet.


It is these recollections from the composer’s global musical experiences that Music of Hsu Po-Yun cherishes and shares.





曲目 Tracks



收聽 Listen



曲目解說 Interpretation


《琵琶隨筆》The Pipa


1975

演奏 | 王正平(琵琶)

Performer | Wong Ching-Ping, pipa


許博允最膾炙人口的作品。目前在世界有數百次的發表演出。本曲是為琵琶獨奏所作的樂曲,在表面上樂器及樂曲的形式,都攝取了傳統的衣缽,內底裡卻有極大的改變,追求的是每個音的雕琢,不論是色彩的變化、力度、密度的對比與空間的運用都經過嚴密的處理,線、面、體的構成,謹慎的溶入雅樂「序」、「破」、「急」的範式之中,呈現整首樂曲連貫性的關係。作曲家曾說「這首曲子,在表面上的樂器及樂曲形式,都來自傳統。但是曲子內裡卻有極大的創新,也嘗試了新的演奏技巧。」


The Pipa is Hsu Po-Yun's best known piece, having been performed for hundreds of times throughout the world. This piece was composed particularly for the musical instrument, pipa. It takes a traditional form, with an underlying revolutionary essence. Each note of this piece pursues perfection, which is manifested in the change of tone, strength, density contrast and use of space. The formation of this piece, from detail to full body, strictly follows the rules of traditional Ya music, which gives the music a continuous tone. The composer once stated that this piece “appears to be traditional in regards to the choice of musical instrument and its form; however, an innovative attempt prevails, with new performing techniques adopted.”



《心》(小提琴VS鋼琴)Heart (Violin vs. Piano)


2005

演奏 | 小提琴:宗緒嫻/鋼琴:葉綠娜

Performers | Nancy Tsung, violin; Lina Yeh, piano


從觀察「人」的角度出發,每個人都蘊含著雙重性格,在許多層面都充滿著兩極的對比關係,如陰與陽、剛與柔、而這首《心》讓兩者碰撞,產生互動關係與偶發關係,整體旋律充滿著清純的美,是全新風格的嶄新創作。


As all human beings have innate multi-faceted personalities which in many aspects may seem self-contradictory like the yin and yang, stiff and tender...etc. This piece, Heart , allows the two to collide, interact and coincide. The melody is simple and pure, and produces a style that is unique.



《天元》Tian Yuan


1988

演奏 | 台北市立國樂團/指揮:陳秋盛

Performers | Taipei Chinese Orchestra; Chen Chiu-Sheng, conductor


天元,是中國古算家求解高次方程問題中的未知數。它代表的是宇宙中心,也代表者原始與本能的起點。本曲從寂靜中慢慢延伸,樂音充滿整個空間,從一而起,延伸出多層次的變化,漫延盤旋終致充塞宇宙。


“Tian Yuan”, symbol for variables in high exponential equations in Chinese algebra, represents the center of the cosmic and the source of all beings. The piece gradually stretches from the silence at the beginning to the state when space is fulfilled with sound. From a single element, it expands to a rich, multi-layered variety of music all the way to the end.



《潛》 Submersion

1998

演奏 | 亞太弦樂四重奏(小提琴:黃維明、徐錫隆/中提琴:陳瑞賢/大提琴:陳建安)

Performers | Asia Pacific String Quartet (Huang Wei-Ming and Hsu Si-Ming violins; Chen Rey-Hsien, viola; Chen Jian-An, cello)


透過完全四度與完全五度搭配呈現,充滿空間感、對比性與跳躍性,在演練過程,提琴家自由的在弦上游移,隨著演奏次數的增加,慢慢的將個性姿態都融入曲子,也讓《潛》所蘊含的深意慢慢浮現,呈現出一種當下時間流逝的點滴,漂浮與放空的感覺,同時體會到的是屬於人生的真誠。


Presented by a combination of perfect fourths and fifths, the piece is fulfilled with space, contrast, and bouncing movements. During the performance, the players travel on the strings freely. As the players proceed with the piece, they begin to melt their very own personalities into music, unveiling the essence of Submersion . With passing of time, the feeling of floating and the moment of emptying, one will meanwhile sense the sincerity of life.



《中國戲曲冥想》 A Meditation on Chinese Theater


1973

演奏 | 亞太弦樂四重奏、鋼琴家鄭怡君

Performers | Asia Pacific String Quartet; Yi-Chun Cheng, piano


這首樂曲譜給五重奏,雖亦如同一般的兩支小提琴、中提琴、大提琴及鋼琴的組合,然基本上的功能是各自獨立的。本曲所強調的中國戲曲的共同通性除了如同西洋戲劇中所講「角色扮演」的形色異同外,特別是滑音的變化及有秩序的即興節奏是一兩套中國戲曲的精髓,演化這兩者的繁衍而獲致特殊的合聲效果是本曲的冥想。其中,交織出一面寬廣的音域,前所未有的結合方式給予聆聽者全新的聆聽體驗。


This piece is composed for piano quintets, and while it preserves the customary combination of two violins, a viola, a cello and a piano, all instruments function independently. The piece not only shares the spirit of role-playing with Chinese theater as Western dramas does, but also captures the essence of Chinese theater by diverse portamenti and disciplined improvisation. It is the distinct spontaneity generated by these musical expressions that the piece meditates upon. As the music entwine into a wide spectrum of tone, the unprecedented arrangement will certainly create a new listening experience to the audience.



《境》 Mood, Field, Mind, Environment


1977

演奏 | 朱宗慶打擊樂團;指揮:吳珮菁

演唱 | 蒙古聲樂家:寶音朝克圖、敖登格日勒/台灣詠歌者:許福福

合唱 | 台北市立國樂團附設合唱團

Performers | The Ju Percussion Group; Pei-Jing Wu, conductor; Hsu Fu-Fu, vocalist; Baoyinchaoketu and Aodenggerile, khoomei vocalists; Taipei Chinese Orchestra Choir


從環境、心境、情境、意境出發,融合一體成為寬廣的境界(field)。一百多件的打擊樂器具有深刻的感染力和濃厚的民族色彩,呈現出「實」的一面;遠從蒙古而來的呼麥演唱家(khoomei,圖瓦或蒙古「喉音」,聞名全球的特殊唱腔)二名,與三十名合唱團員共同詮釋《境》這首具有豐富想像空間與整體意象的作品,除朱宗慶打擊樂團帶來一百多件的打擊樂器外,三十名合唱團員也將加入打擊演奏行列,所有人手持的樂器乃是依循中國「八音」,區分音源為金、石、絲、竹、匏、土、革、木等八種音質外加人聲,是本曲寫作的基本體。每一次呈現時,獨唱者均因時、空更動,並依不同文化聲源而有所變化,演唱者的聲線、背景以及其根底之民族特色等皆使每次的演出成為再新的創作,是為環境音樂之一種呈現手法。


From the environment, the mood, the circumstance and the spirit condition form the massive field. Together with over a hundred impressive and folkloric percussion instruments that form the aspect of reality, the two Mongolian khoomei (well-known laryngeal voice in Mongolia) vocalists and thirty choir vocalists conspire to perform the piece with rich imagination and imaginative totality. During the performance, not only the percussionists from the Ju Percussion Group but also the choir singers take part as percussionists, whose instruments cover all the eight instrument categories – the Eight Sounds (bayin) in traditional Chinese music. The eight categories – gold, stone, silk, bamboo, pao, earth, ge, and wood – along with human voice lay the foundation of the piece. The solo vocalist varies according to the different time, space, cultures in each performance, as the differences in voice, background and ethnic characteristics all make each performance a brand-new creation. This is one of the techniques in environment music.



關於《許博允之樂》 About the Music of HSU PO-YUN


許氏作品幾十年來在全球各地演出二千多次,演出方式多為單曲或跨界演出;此次演出是近44年創作生涯中,首次「全場完全演出」的呈現,樂展邀集了國內外知名音樂家與中西樂團共同詮釋許博允歷年來創作曲目,包括朱宗慶打擊樂團、王正平、台北市立國樂團及指揮陳秋盛、亞太弦樂四重奏、國內知名小提琴家宗緒嫻、鋼琴家葉綠娜等,另外遠從蒙古而來的呼麥演唱家(khoomei,圖瓦或蒙古「喉音」,聞名全球的特殊唱腔)二名,與台北市立國樂團附設合唱團共同詮釋「境」這首具有豐富想像空間與整體意象的作品,一百多件的打擊樂器具有深刻的感染力和濃厚的民族色彩穿梭交融,虛實相生,開拓出幽遠的空間。


Over the past years, Hsu's compositions have been performed globally for over two thousand times, chiefly as a solo piece and occasionally as cross-over performances. The program for the concert recorded here is the most complete presentation of Hsu's forty-four years of creative career, with renowned Chinese and Western musicians active in Taiwan and abroad invited to interpret the compositions. Interpreters in the album include the Ju Percussion Group, Wang Cheng-Ping, Taipei Chinese Orchestra and conductor Chen Chiu-Sheng, Asia Pacific Quartet, violinist Nancy Tsung, pianist Lina Yeh, and also two Mongolian khoomei vocalists (khoomei is a world famous throat singing style of Tuva and Mongolia), Taipei Chinese Orchestra Choir that sung for the vivid composition of “Mood, Field, Mind, Environment”, and a hundred-piece percussion group that kindled strong impacts and rich ethnic colors, interweaving the real and the surreal and opening up a profound and reflective space.



關於作曲家 許博允 About the composer HSU, PO-YUN


作曲家 許博允 HSU PO-YUN, composer

許博允,台北淡水人,師從許常惠先生學習理論作曲及小提琴。 1962年,發起「江浪樂集」,並發表歌樂《怨歌行》及《夜坐吟》兩首,此後持續不斷與國際現代音樂交流。適1971年,邀集詩人、美術家共同創作台灣首次的「混合媒體藝術」。爾後,發表《孕》、《五人五笛》。同年,與李泰祥合寫《放》,成為台灣第一首混和媒體藝術創作曲,獲得美國洛克斐勒基金會垂青。1972年至1975年,許氏創作《中國戲曲冥想》、《寒食》、《琵琶隨筆》與《生.死》,陸續成為「雲門舞集」主要舞碼《烏龍院》、《寒食》、《夸父追日》、《哪吒》的音樂。1985年代,林懷民將許博允的音樂編了整場的大舞作—《夢土》及改編《星宿》,許氏之樂透過「雲門舞集」在全世界公演超過四百次,各地讚嘆。80年代,「菲律賓國家舞蹈團」藝術總監─蕊蕬,美國舞蹈家—莫里路易斯,日本默劇家—箱島安,及旅美電動雕塑家—蔡文穎,相繼使用許氏之樂編作;其中《琵琶隨筆》也由王正平1975年首演之後成為現代世界各地琵琶家的重要曲目,演出逾千次,開創了中國樂器的經典。1979 年與菲律賓露克蕾西雅.卡西拉葛博士共同發起創辦「亞洲文化推展聯盟」並曾任總秘書長及主席。


1982年為白先勇先生舞台劇《遊園驚夢》製作音樂設計及作曲、為吳靜吉先生所製作的「蘭陵劇坊」舞台劇《代面》作曲,1993年為當代傳奇劇團《樓蘭女》舞台劇作曲。1971年,與其師許常惠先生及日本的鍋島吉朗、香港林聲翕、韓國羅運榮等人共同發起「亞洲作曲家聯盟」,曾擔任過總秘書長、及「中華民國作曲家協會」理事長。1976年創立「亞洲音樂新環境」系列,與日本的「亞洲音樂新媒體」及菲律賓的「亞洲新音樂藝術節」,邀請當代亞洲最傑出作曲家發表,策略聯盟推動20世紀「當代新音樂」。1988年8月許博允與美國周文中教授、中國大陸吳祖強教授共同在哥倫比亞大學舉辦「海峽兩岸20大作曲家面對面」論壇成為世界焦點。海峽兩岸各10位音樂家,當時參與盛會音樂家們,現皆成為兩岸樂界巨擘,開啟台灣海峽兩岸歷史上首次文化交流。同年,10月應I.S.C.M (國際現代音樂協會)委託創作《天元》,由香港中樂團世界首演;而後在歐、美、日等各八十多國廣播電台轉播,迴響熱烈。1989年之後,三次以「今日中國人的聲響」為題,推動全球華人新音樂。1990年代,許氏鑿力台灣海峽兩岸文化交流,在音樂創作上,三度推動「台北.上海音樂薈萃」於上海舉行,展演兩岸的現代音樂創作。


2005至2008年之間分別在台北、上海、香港舉辦「許博允之樂」音樂會。1975年與夫人樊曼儂女士共創「環境音樂中心」,製作電視、電影、廣告配樂。1978年父親許伯埏先生創立「新象文教基金會」,許博允與夫人共同執行基金會業務,引進世界各類型藝術活動來台演出,並推廣台灣表演藝術至國外展演,活動場次逾萬,開創台灣社會與世界藝術文化交流接軌,啟發台灣民眾新視野與國際觀點。此外,本身又涉獵美術、環境設計、影像製作;曾任專欄作家、電視節目製作及主持、庭園設計、高爾夫球場設計。


Born in Tamsui Taipei, Hsu Po-Yun was a music theory and violin student of Maestro Hsu Tsang-Houei. In 1962, Hsu Po-Yun founded “The Rip Tide”, and premiered two of his compositions, “Song of Regret” and “Ye Zuo Yin”, came to prominence by his unique music style and began his professional art career with continuous interaction with international contemporary music. In 1971, he invited poets and artists and created the first mixed-media art presentation in Taiwan. Afterwards, he composed “Yun” and “Five! Five!”. In the same year, he and composer Lee Tai-Hsiang composed “Fung”, which was not only the first joint-composition in Taiwan, the piece also received recognition from Rockefeller Center Foundation in the United States. From 1972 to 1975, Hsu's compositions “A Meditation on Chinese Theatre”, “The Pipa”, “Han Hsih” and “Life Death” became theatre music to many of the early Cloud Gate Dance Theatre's main dance repertories including “Wu Lung Yuan”, “Han Hsih”, “Kua Fu Pursues the Sun”, “Nocha.” In 1985, Lin Hwai-min adopted Hsu Po-Yun's music to choreograph the grand-scale dance productions of Dreamscape and the remake of "Galaxy". Hsu's music that was incorporated in Cloud Gate Dance Theatre's production has toured globally for over four hundred well-received performances. In the 80's, Alice Reyes, the artistic director of Ballet Philippines of the Cultural Centre of the Philippines, Morris Louis, the American dancer, Yass Hakoshima, the Japanese mime artist, and Wen-Ying Tsai, Chinese American cybernetic sculptor have all used Hsu's music for their creations. After Wang Cheng-Ping made the debut of the piece "Pipa” in 1975, it became an important number for pipa players globally; it has since then been performed over thousands of times and formed a classic repertoire in Chinese music. In 1979, Hsu co-founded the Federation for Asian Cultural Promotion with Dr. Lucresia Kasilag, then President of the Cultural Center of the Philippines, and served as Secretary-General and Chairman.


In 1982, Hsu produced and composed the music for the play “Wandering in the Garden, Waking from a Dream” based on Pai Hsien-Yung's novel, and also composed for Wu Jing-Jyi's play “Dai-Mien” for Lang Ling Theatre Workshop, which was widely popular. In 1993, he composed for the play of Lo Lan Nu for the Contemporary Legend Theatre. In 1971, Hsu Po-Yun and his teacher, Maestro Hsu Tsang Huei , Yoshiro Nabeshima of Japan, Lin Sheng-shih of Hong Kong, and La Un-Yung of Korea to joint-establish the Asian Composers League. Hsu served as Chief Secretary for Asian Composers League and Taiwan Composer AssociationIn 1976, Hsu established the Environment Music Productions, and linked together with music festivals in Japan and the Philippines to present the works of outstanding Asian composers to promote the contemporary music of the 20th century. In August of 1988, together with Chou Wen-Chung of the USA and Wu Tsu-Chiang of China, Hsu Po-Yun took part in the symposium of Top Twenty Composers of the Cross-Strait held at Columbia University. Ten composers each from Taiwan and China and musicians that took part in the symposium have all since become well-respected music maestros of today's time. The symposium opened the gate of music interactions cross-strait. In October of the same year, Hsu was commissioned by International Society for Contemporary Music to compose the piece “Tian-Yuan” with premier performance by Hong Kong Chinese Orchestra. It was then broadcasted in Europe, USA, and Japan for the total of over eighty national television broadcasts. After the year of 1989, Voice of the Chinese Today was hosted three times, and promoted global Chinese new music. In 1990, Hsu devoted himself to the interaction between China and Taiwan, and promoted three times the Taipei- Shanghai New Music Festival held in Shanghai.


In 2005 to 2008, Hsu held the concerts of Music of Hsu Po-Yun in Taipei, Shanghai, Hong Kong. In 1975, Hsu established the Environment Music Productions producing music for TV, film and commercials. In 1978, Hsu’s father Mr Hsu Po-yen founded International New Aspect Cultural and Educational Foundation. Hsu Po-Yun and his wife Fan Man-Nong have co-operated the foundation, not only introduced various type of performing arts performances to Taiwan, but also brought Taiwanese performing arts group and companies abroad, in total of over 10,000 performances. It opens a new page of connecting Taiwan society to international performing arts, has inspired people in Taiwan with new vision and perspectives to the world. In addition, Hsu has also crossed over to the fields of art, environmental design, and image production. He has been a columnist, television program producer and host, producer of advertising video, movie and stage design, landscape designer, and golf course designer.



《許博允之樂》版權資訊 Album Credits


發行 Published by / 有象文化出版股份有限公司 Very Aspect Entertainment Co., LTD.

製作 Production / 環境有限公司 Environment Co., LTD.

發行人 Publisher / 許維城 Hsu Fu-Fu

製作人 Producer/ 許維城 Hsu Fu-Fu

作曲 Composer / 許博允 Hsu Po-Yun

錄音師 Recording Engineer / 楊大緯 Dave Yang

後製錄音室 Mastering Studio / 楊大緯工作室 Dave Yang Studio

封面題字Cover Calligraphy /董陽孜 Tong Yang-Tze

美術設計 Art Design / 張治倫工作室 Neo Arcadia Entertainment Arts

封面攝影 Cover Photographer / 謝春德 Hsieh Chun-Te

內頁封面攝影 Booklet Photographer / Virgile Simon Bertrand c Editions Moishe

內頁封面服裝設計 Booklet Apparel / 洪麗芬 Sophie Hong


作品1、2、3、5、6:2005年12月9日國家音樂廳現場實況錄音

作品4:2006年1月楊大緯工作室錄音

1, 2, 3, 5, 6: Live recordings of The Music of HSU PO YUN concert on 09 December 2005 at National Concert Hall, Taipei.

4: Recorded at the Dave Yang Studio in January 2006


發行日期 Release Date / 2008年9月 September, 2008


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