Recorded at 02/05/2018 20:00-22:00
HKAPA Concert Hall
香港演藝學院音樂廳
指揮:胡栢端
樂團:香港演藝學院中樂團
conductor: Rupert Woo, pak tuen
Orchestra: The Academy Chinese Orchestra of HKAPA
《洛陽少婦》 王強
《洛陽少婦》這首作品的靈感產生於2007年8月，在探訪我的老同學大提琴家嶺生時看到一幅醒目的中國畫。這幅畫描繪著清一色身著唐裝的多位少婦形象。她們面孔生動、活潑、聰穎，性格堅毅、樂觀、善良，這些在畫中表現得無以復加。我多時凝眸這幅標以《洛陽少婦不知愁》的畫面，激動、興奮而又愛慕這群女性。創作慾望猛烈地撞擊著我，於是決意以音樂體裁進行再創作，進一步揭示她們的內心世界。
《洛陽少婦》全曲有兩個主題，一個是具有民歌風格兼有起承轉合的樂構。樂節、樂句內部連環扣似地環環相扣地發展出一條自然流暢、動人的旋律。第二個主題是專為中、低音彈撥樂器而寫的一條永不停頓地無窮動的音流，這是以一個四連音的動機（motive)做為原動力，在 B（羽、商）E（羽、商）F（羽、商）的軌跡上推動樂曲向前伸延、展開，讓彈撥樂器奏出了長達四十多小節的一條性格深沉而奮進的旋律音流，而在它上面有一條與它的節奏相反的全用二分音符寫成的對題，它是在一個狹窄的四度音程範圍內迂回，呈現出糢糊不定的調性與調式層疊色彩。第二主題和它的對題與清新明快的第一主題形了性格對比。
敲擊樂也有獨立的樂段，銅製擊樂：小鑼、大、小鈸、京鑼首先出場奏出三重節奏對位；第二段主要用木製擊樂，接著加進銅製擊樂；第三段吹奏與彈撥樂器在幾個固定音組中採用多色彩、多調性、複合節奏的三重色調出現 , 使音樂更為豐富多彩。全曲還有一個固定的節奏線條貫穿始終，它不是我寫出來的，而是一首民歌的完整節拍和節奏，我只是去掉它的音高而已，您可能找到它的出處？全曲最後以彈撥樂器奏出秀麗、清新的第一主題，接著那個無窮動主題與第一主題結伴而行，最後由清脆、輕盈的音響結束全曲。樂曲在運動中很自然地形成了一個拱型或稱環型結構，即A-B-C-A的結構。
”Luo Yang Young Women” Wang Qiang
The inspiration for “Luoyang Young Woman” was born in August 2007, while I visited my old classmate cello Ling sheng, I saw an eye-catching Chinese painting. This painting depicts the image of many young women dressed in Tang style. Their faces are lively, intelligent, with persevere character, optimism, and kindness, which were unsurpassed in the painting. I condensed this picture which titled as “Young women in Luoyang don’t know what sadness is”. I am excited and love this group of women. The desire to create fiercely impacted me and therefore decided to recreate it with musical genres to further reveal their inner world.
There are two themes in the piece. One is a theme in folk style. Motive and music sentences are connected closely and express a natural and emotional theme. The second theme is specially written for mid-range and bass plucked instruments, the notes in the theme keep moving by motive made by four notes, expressed and developed in six modes. Which bring out a 40 bars melody by the plucked instruments, with deep and aggressive character. Meanwhile, there is a counterpoint written in the rhythm opposite to the theme, with all Half notes, moving in a narrow fourth interval, which provided a ambiguity and modulation cascading and give a large contrast to the first theme.
There is a separated theme for the percussion. Gongs and Chinese cymbals doing counterpoint in the first paragraph. The second paragraph mainly focus on the wooden instruments. With the entry of the copper-made percussion, it leads to a paragraph of variety color and rhythm. There is a fixed rhythm throughout the whole piece, which is not written by me. I took out a rhythm from a folk, and left all notes out, Can you recognize the folk? Plucked instruments finally bring out a fresh and beautiful first theme at the end, with the accompany of the never-ended motive. The piece ends with a light note. Music is written in A-B-C-A structure.
王強（前中樂系配器老師）：
1955年考入上海音樂學院作曲系學習作曲。師從著名作曲家丁善德教授。在1958年，她還是一個三年級學生時，與其他三位同學創作的大 合唱《幸福河》，（該作品獲1959年維也納第七屆世界青年聯歡節作 曲比賽金獎）。1960年以優異成績畢業，大提琴協奏曲《嘎達梅林》 是她的畢業作品，並在同年5月第一屆《上海之春》開幕式音樂會上首 演，並獲得成功。 畢業後留校任教，1991年移居香港。王強創作涉獵範圍甚廣，包括嚴肅音樂、電影、電視劇、舞劇音樂等，創作手法大膽、獨特、新穎，有豐富的情趣。1991年她的名字載入世界女作曲家大辭典，1995年又 被載入新格羅夫女作曲家辭典。 現任《華人女作曲家協會》主席。
Wang Qiang (Former Lecturer of Orchestration for Chinese Music):
Wang Qiang commenced her study in composition at the Shanghai Conservatory of Music in 1955. By Professor Ding Shan-de. During her school years, she started to showcase her talent and won the first prize in Vienna the Seventh World Youth Music Composition Competition with a chorus piece “River of Fortune” in 1959. Upon graduating with honor in 1960, she was invited to join the faculty body at the Composition Department and remained as a Professor there until 1991 when she moved to Hong Kong. Wang Qiang has been credited with a wide range of musical compositions in classical Music, film, television, operettas and dance drama music. She compositions tend to Display bold, novel, and profound emotion. Her name was listed in the Dictionary of The World’s Greatest Female Composers. In 1991.She was nominated and included Into The Norton / Grove Dictionary of Women Composers. In1995. Currently she is the Chairwomen of Chinese Woman Composers’ Association.
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