演出名称:丝路乐巡记—吴蛮与丝路音乐大师们音乐会

演出时间:2024年10月3日 周四 19:30

演出票价:100 180 280 380 580元

微信订票18515362586,

电话订票010-66552100，010-66552258

 

琵琶：吴蛮

萨克斯/杜克拉管/塔罗加图管：巴塞尔·拉朱布

都塔尔琴/坦布尔琴/萨托琴：斯洛吉丁·朱拉耶夫

卡龙琴：费拉斯·查雷斯坦

手鼓：阿博斯·科西莫夫

中提琴/抒情维奥尔琴：嘉瑟·哈吉·尤瑟夫

Wu Man, pipa
Basel Rajoub, saxophone/duclar/tárogató
Sirojiddin Juraev, dutar/tanbur/sato
Feras Charestan, qanun
Abbos Kosimov, frame drums
Jasser Haj Youssef, viola/viola d’amore

 

演出曲目：

塔什干   萨玛依   茶园 马达德

奥德 米恩 节奏 都塔尔的练习曲

尤拉之舞 枫叶荻花 伊里 诺鲁孜节

*阵容、曲目请以当日演出为准

 

1. 《塔什干》

作曲：巴塞尔·拉朱布 （2017）

与塔什干这座庞大都市的初次接触为拉朱布的这部作品提供了灵感。塔什干是中亚的文化与商业中心。在那里，拉朱布找到了“阳光、安宁和家的味道”。拉朱布曾说，“塔什干，我走在你的街上，找到了这个声音。我向你致敬。”这部作品被多次改编以适应不同乐器的演奏，尤其在工作坊及大师班上，更成为年轻音乐学子与阿迦汗音乐家们合作的常演曲目。

 

2. 《萨玛依》

作曲：嘉瑟·哈吉·尤瑟夫（1999）

“萨玛依”是中东和北非最久远、也是最精致的一种器乐演奏形式，而且在该地区当今音乐家的曲目中仍是经久不衰。14世纪开始在奥斯曼帝国音乐家中间传播，至19世纪在形式上臻于完美。在中东和北非古典音乐传统中，萨玛依具有崇高而神圣的地位，大体可与欧洲古典音乐中的奏鸣曲相媲美。尤瑟夫于1999年创作的这首萨玛依历经多次改编，从欧洲巴洛克到当代爵士，许多来自不同文化和音乐传统的音乐家与歌手都表演过这首作品。

 

3. 《茶园》

作曲：吴蛮 (2016)

《茶园》是吴蛮向家乡浙江茶社里演奏的传统丝竹乐的一次致敬。吴蛮将《茶园》典型的中国五声音阶旋律教给卡农琴演奏家查雷斯坦，而查雷斯坦则通过自己即兴完成的对位对其加以修饰。琵琶与卡农琴完美的融合显得如此自然，以至于听者可能会认为二者向来是合奏搭档。而在某种意义上说，情况也确实如此。琵琶的渊源可溯至波斯巴尔巴特琴，而这种琴轴部弯折、颈部较短的鲁特琴很可能也是中东乌德琴的原型。两种弹拨乐器融合无间的声音恰恰占据着伊朗和阿拉伯传统音乐的中心。

 

4. 《马达德》

作曲：巴塞尔·拉朱布 （2023）

杜克拉管是一种只有一个八度的木管乐器。在拉朱布看来，《马达德》是一首“纤巧复杂的杜克拉管独奏曲……杜克拉管的简单朴素与塞加木卡姆(Maqam Segah)极简的即兴一起，突显了听起来不“大”也不“小”的“中性”音程特征，使得这首作品极富灵性，每次演奏时都有所不同。”

 

5. 《奥德》

作曲: 费拉斯·查雷斯坦 (2018)

标题“奥德（Awdeh）”意为“回家”。此曲表达了作曲家对故国的感怀与思念。作品受到中东传统木卡姆音乐的启发。这种精细繁复的古典音乐形式，其根源可溯至千余年前，至今仍保持着生机与活力。木卡姆的音阶与调式为作曲和即兴创作提供了无尽的源泉，而这首基于传统的作品便是明证。

 

6. 《米恩》

作曲:斯洛吉丁·朱拉耶夫（2009）

这首作品展示了双弦都塔尔琴经大师之手才能焕发出的技巧潜能，同时也体现了以杜拉手鼓演奏出的“乌苏尔”这种音步-节奏循环体所起到的重要作用。作品中两个不同的“乌苏尔”并置，一个是4/4拍，另一个是西方音乐中很少出现的7/8拍，但在塔吉克斯坦的传统音乐中却很常见。

 

7. 《节奏》

作曲：嘉瑟·哈吉·尤瑟夫

关于自己的这部作品，尤瑟夫说过这样一段话：“《节奏》这部作品采用了即兴的形式，灵感则来自阿拉伯木卡姆和巴赫第一小提琴奏鸣曲。巴赫是位普世作曲家。这首《节奏》试图将巴赫的音乐与木卡姆的精神相结合，使中东古典音乐和欧洲古典音乐这两个世界彼此相融。”

 

8. 《都塔尔的练习曲》

作曲：斯洛吉丁·朱拉耶夫 （2010）

原标题“mashq”有“练习”、“操练”或“训练”的意思，有时也用来描述一种阿拉伯书法风格。在这首作品中，作曲家朱拉耶夫将简单的都塔尔琴练习曲变身而成技巧性很高的作品，由阿迦汗音乐家共同编配，其中都塔尔琴复杂的弹拨法和弗拉门戈式的颤音显示出历史上安达卢西亚与大中东之间交往的音乐遗痕。

 

9. 《尤里之舞》

作曲：费拉斯·查雷斯坦 （2018）

作品灵感来自民间音乐，特别是瑞典的民间音乐。查雷斯坦离开家乡叙利亚后定居瑞典。这首作品是他在瑞典读大学时为一场圣诞音乐会所写的作品。

 

10. 《枫叶荻花》

作曲：吴蛮 （2022）

吴蛮毕业于著名的中央音乐学院，在校时接受的是严格正规的琵琶训练，并没有学习过即兴创作。后来在各种不同的音乐场景中，现场即兴演奏音乐变得愈加频繁且必要，包括录制电影原声音乐以及与像阿迦汗这样的当代音乐团体同台。这首作品便是吴蛮在录制《诺鲁孜节》这张专辑期间创作的。

 

11. 《伊里》

作曲：巴塞尔·拉朱布（2018）

在阿勒颇方言中，“伊里”的意思是“我的”。作品用汉志木卡姆音阶来写作。这一版本以朱拉耶夫在塔吉克-乌兹别克坦布尔琴上的即兴演奏开始，在中东和中亚两个音乐世界之间架起了一座桥梁。

 

12. 《诺鲁孜节》

作曲: 阿博斯·科西莫夫 (2019)

每年春分那天是波斯的传统新年诺鲁孜节。目前，不仅在伊朗及讲伊朗语的各个国家，在中东地区和整个中亚都庆祝这个“春天的节日”。近年来，许多西方国家也开始庆祝诺鲁孜节，以示文化的包容与尊重。科西莫夫这首作品旋律活泼、节奏欢快，描绘了诺鲁孜的节庆气氛及对来年的希冀。

 

 

1. TASHKENT

Composer: Basel Rajoub (2017)

“Tashkent” was inspired by Basel Rajoub’s first visit to that city, a sprawling metropolis that is the cultural and commercial center of Central Asia. There, Rajoub found “sunshine, peace, and the smell of home.” Said Rajoub, “Tashkent. I walked your streets and found this sound. I salute you.” “Tashkent” has been performed in many different instrumental arrangements, often in the context of workshops and masterclasses in which young musicians perform alongside AKMM.

 

2. SAMAI

Composer: Jasser Haj Youssef (1999)

Samai is one of the earliest and most elaborate instrumental forms that still maintains a strong presence in the repertoire of musicians from the Middle East and North Africa. Samai appeared in the 14th century among musicians in the lands of the Ottoman Empire and reached a level of formal perfection toward the end of the 19th century. Samai holds a venerated place in the classical music traditions of the Middle East and North Africa that might be compared to that of the sonata in European classical music. Jasser Haj Youssef composed this Sa- mai in 1999. Since then, it has been arranged for performance by musicians and singers from different cultures and musical traditions ranging from European Baroque to jazz.

 

3. TEAHOUSE

Composer: Wu Man (2016)

“Teahouse” is an homage to the sound of the traditional silk and bamboo instruments played in teahouses in Wu Man’s hometown area of Zhejiang Province, in China’s southeast. Wu Man taught the quintessentially Chinese pentatonic melody of “Teahouse” to qanun player Feras Charestan, who embellished it with his own improvised counterpoint. The beautifully integrated sound of the two instruments seems so natural that a listener could be excused for thinking that pipa and qanun have always been played together—and indeed, in a sense, they have. The pipa traces its ancestry to the Persian barbat, the short-necked lute with a bent scroll that may well have also provided the prototype for the Middle Eastern oud, and the melded sound of lutes and zithers is at the very center of traditional music from Iran and the Arab lands.

 

4. MADAD

Composer: Basel Rajoub (2023)

Basel describes “Madad” as “an intricate solo melody played on the duclar (a one-octave hybrid woodwind instrument),” adding that “the simplicity of the duclar and the minimal improvi- sation in Maqam Segah, which features a prominent ‘neutral’ interval that sounds neither major nor minor, makes ‘Madad’ very spiritual, and also different each time it is performed.”

 

5. AWDEH

Composer: Feras Charestan (2018)

“Awdeh” means “return (home)” and expresses nostalgia and longing for the composer’s homeland. It is inspired by the traditional maqam music of the Middle East, a sophisticated form of classical music whose roots go back more than a thousand years and that remains vitally alive today. The scales and modes of the maqam system provide an all but inexhaustible resource for composition and improvisation, exemplified in this tradition-based composition.

 

6. MEHAN

Composer: Sirojiddin Juraev (2009)

“Mehan” displays the virtuosic potential of the two-stringed dutar in the hands of a master as well as the prominent role  of usul, the metro-rhythmic cycle played on the frame drum (doira). “Mehan” juxtaposes two different usuls: the first in 4/4 and the second in 7/8, a meter rarely found in Western music but common in the traditional music of Tajikistan.

 

7. CADENCE

Composer: Jasser Haj Youssef (2020)

Jasser Haj Youssef said the following about his composition: “‘Cadence’ is a piece in an improvised form that draws inspiration both from the Arabic maqam and from Bach’s Sonata no. 1 for solo violin. Bach was a universal composer, and what I try to do in ‘Cadence’ is join his music to the spirit of maqam, which is to say, join two worlds: that of Middle Eastern classical music and that of European classical music.”

 

8. MASHQ-I DUTAR

Composer: Sirojiddin Juraev (2010)

 

In music, mashq means “practice,” “exercise,” or “training” (it also describes a style of Arabic calligraphy). In this piece, composer Sirojiddin Juraev transforms a simple exercise for

the two-stringed dutar into a virtuosic composition, arranged by AKMM, in which the dutar’s complex strumming patterns and flamenco-like tremolos illustrate a musical vestige of the historical links between Andalusia and the greater Middle East.

 

9. JUL DANCE

Composer: Feras Charestan (2018)

 

“Jul Dance” (Jul is pronounced Yule) was inspired by folk music—specifically, the folk music of Sweden, where Feras Charestan makes his home after leaving his native Syria. He wrote the piece as his contribution to a Christmas concert at the Swedish university where he was studying.

 

10. AUTUMN FLOWERS AND LEAVES

Composer: Wu Man (2022)

 

A graduate of Beijing’s prestigious Central Conservatory, Wu Man did not study the art of improvisation as part of her rigorous formal training on the pipa. In recent years, however, she has been called upon with increasing frequency to extemporize new music on the spot in a variety of musical contexts including film soundtracks and performances by contemporary music groups like AKMM. Wu Man created “Autumn Flowers and Leaves” during the recording session for Nowruz.

 

11. ILI

Composer: Basel Rajoub (2018)

Basel Rajoub, saxophone; Jasser Haj Youssef, viola d’amore;

 

“Ili,” which means “mine” in the Aleppo dialect of Arabic, is written in the scale of Maqam Hejaz. This version of the piece begins with an improvised introduction by Sirojiddin Juraev on the Tajik-Uzbek tanbur, creating a seamless bridge between the musical worlds of the Middle East and Central Asia.

 

12. NOWRUZ

Composer: Abbos Kosimov (2019)

Nowruz is the traditional Persian New Year, which coincides with the vernal equinox. Nowadays it is celebrated not only in Iran and Iranophone countries, but in the Middle East and through- out Central Asia as the Feast of Spring. In recent years, Nowruz has also been celebrated in many Western countries as a sign of cultural inclusiveness and respect. Nowruz is a time of festivity and hopefulness for the year to come, as expressed in the lively melodies and rhythms of Abbos Kosimov’s composition.

 

吴蛮，琵琶

Wu Man, Pipa

 

吴蛮，国际著名琵琶演奏家，更是跨界音乐与跨文化交流的标志性人物，也是中国当代第一位具有世界影响力的传统器乐演奏家。她的贡献被西方公认为“将琵琶转变为通往中国文化的大门”。新英格兰音乐学院荣誉音乐博士、哈佛大学研究学者以及香港浸会大学荣誉院士。2023年获美国国家艺术基金（NEA）传统艺术领域最高奖项“国家终身杰出传统艺术家和文化承载者大奖”以及亚洲协会颁发的“亚洲艺术创变者”大奖。荣获第59届格莱美“最佳世界音乐专辑”奖，并七次入围该奖“最佳演奏”和“最佳世界音乐”提名。

她的艺术成就已超越了琵琶演奏家的角色，迄今发行的50多张专辑及每年举办的近百场音乐会成功雕刻出一位传统音乐家的职业生涯典范。其杰出艺术成就与突出贡献为她赢得了重要的“美国艺术家”奖，并于2013年获《美国音乐》“全美年度演奏家”荣誉。她是享誉国际的“马友友丝绸之路”乐团的重要创始成员，开创了跨界合作的先例。其演奏风格涵盖了传统、现代、即兴及创新等各个领域。2017年上海音乐学院为她的成就出版发行了《丝绸之路琵琶行：大师吴蛮的世界音乐叙事》。

 

吴蛮是中央音乐学院第一位琵琶硕士，先后师从邝宇忠、陈泽民、刘德海及林石城等名家，曾获全国首届民族器乐演奏比赛（山城杯）琵琶第一名。目前任浙江音乐学院特聘教授，也是首位被中国国家大剧院聘为“大剧院艺术家”（2019-2020年度）的民乐演奏家。

 

Wu Man belongs to a rare group of musicians who have redefined the role of their instruments, in her case, the pipa, a pear-shaped, four-stringed Chinese lute with a rich history spanning centuries. She is celebrated as one of the most prominent instrumentalists of traditional Chinese music, as well as a composer and educator. She has premiered hundreds of new works for the pipa, and has performed in recital and with major orchestras around the world. She is a frequent collaborator with ensembles such as the Kronos and Shanghai Quartets and The Knights, and is a founding member of the Silkroad Ensemble. She has appeared in more than 40 recordings throughout her career, including the Silkroad Ensemble’s Grammy Award-winning recording Sing Me Home, featuring her composition “Green (Vincent’s Tune).” She is also a featured artist in the 2015 Emmy Award-winning documentary The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble.

 

Born in Hangzhou, China, Wu Man studied at the Central Conservatory of Music in Beijing, where she became the first recipient of a master's degree in pipa. At age 13, she was recognized as a child prodigy and a national role model for young pipa players. Ms. Wu is a recipient of the 2023 National Heritage Fellowship from the National Endowment of the Arts (NEA), one of the United States’ most prestigious honors in folk and traditional arts. In 2023 she was additionally honored with the Asia Society’s Asia Arts Game Changers Award, an annual award presented in New York City honoring artists and arts professionals for their significant contributions to contemporary art. She is a Visiting Professor at her alma mater the Central Conservatory of Music in Beijing and a Distinguished Professor at the Zhejiang and the Xi'an Conservatories. In 2021 she received an honorary Doctorate of Music from the New England Conservatory of Music. She has also served as Artistic Director of the Xi’an Silk Road Music Festival at the Xi'an Conservatory.

 

巴塞尔·拉朱布，萨克斯/杜克拉管/塔罗加图管

Basel Rajoub, saxophone/duclar/tárogató

作曲家和萨克斯手巴塞尔·拉朱布吸取中东音乐旋律与节奏的丰富语汇，为萨克斯这件乐器带来了鲜明的音色与颇富创意的音乐语言。拉朱布生于叙利亚阿勒颇，毕业于大马士革高等音乐学院，主修小号，后自学萨克斯管，并开始为所加入的各乐团创作音乐。他的作品借鉴中东音乐特有的微音程，呈现出一个从祈祷到舞蹈全方位的情感世界。拉朱布现居瑞士日内瓦，并担任日内瓦高等音乐学院东方乐团的艺术总监。他所演奏的杜克拉管系由比利时萨克斯管演奏家瓦伊尔（Jean-Michel Vayre）设计，由单簧管吹嘴与都都克管（Duduk）巧妙嫁接而成。

 

Basel Rajoub is a composer and saxophonist who has honed both a distinctive sound and an original musical language for the saxophone inspired by the rich melodic and rhythmic vocabulary of the Middle East. Born in Aleppo, Syria, Rajoub graduated from the Damascus High Institute of Music, where he majored in trumpet. Later, he taught himself to play the saxophone and began composing for the various ensembles in which he has performed. His compositions draw on the characteristic microtonal intervals of Middle Eastern music to illuminate a panoramic emotional world that extends from prayer to dance. A resident of Geneva, Switzerland, Rajoub serves as Artistic Director of the Oriental Orchestra at Haute école de musique Genève.

 

斯洛吉丁·朱拉耶夫，都塔尔琴/坦布尔琴/萨托琴

Sirojiddin Juraev, dutar/tanbur/sato

 

斯洛吉丁·朱拉耶夫成长于塔吉克斯坦北部的塔吉克与乌兹别克双语文化环境，很小便学会演奏双弦都塔尔琴，之后又学会坦布尔琴和萨托琴。两种不同的音乐教育——传统的师徒口耳传承与以乐谱乐理为根基的学院式教育——在他这里融会贯通。朱拉耶夫在学生时代即开始作曲。“有一天，我弹出了脑子里的一段旋律，就像在梦里听到了一样，”他回忆道。“我问老师以前是否听过这曲子，他说没有，是第一次听到。后来我又作了其它一些曲子，真的挺受欢迎。他们说我是个作曲家。”

 

Sirojiddin Juraev grew up in the bilingual Tajik-Uzbek cultural milieu of northern Tajikistan, where he learned to play the two-stringed dutar at a young age and subsequently, the tanbur and sato. His music education blended two paths: traditional master-disciple oral transmission and conservatory-style studies rooted in music notation and theory. Juraev began composing while still a student. “One day I played a melody that had just come into my head, as if I’d heard it in a dream,” Juraev recalled. “I asked my teacher whether he had heard that melody before, and he said no, he was hearing it for the first time. Later I made up other melodies and people really liked them.They told me that I was a composer.”

 

费拉斯·查雷斯坦，卡龙琴

Feras Charestan, qanun

 

费拉斯·查雷斯坦将其音乐生涯奉献给了卡龙琴，为这件中东和地中海地区随处可见的古老乐器发展出一种独特的演奏风格。查雷斯坦生于叙利亚东北部的哈塞克，在大马士革高等音乐学院学习卡龙琴，很快便成为颇受交响乐团欢迎的独奏家，并在流行乐队和当代音乐团体中演奏。移居瑞典斯德哥尔摩之后，查雷斯坦开始了自己的音乐创作，将中东不同的曲式、流派与欧洲的审美感受相融合，形成了自己独具特色的音乐风格。

 

Feras Charestan has devoted his musical career to the art of the qanun and developed a unique performance style on this ancient and ubiquitous instrument of the Middle East and Mediterranean Basin. Born in Al-Hasakeh, in the northeast of Syria, Charestan studied qanun at the High Institute of Music in Damascus and quickly became a sought-after soloist with symphony orchestras as well as a member of popular bands and contemporary music ensembles. It was only after relocating to Stockholm, Sweden, that Charestan began composing his own music, which blends Middle Eastern melodic modes and genres with elements of a European sensibility in a musical style that is very much his own.

 

阿博斯·科西莫夫，手鼓

Abbos Kosimov, frame drums

 

科西莫夫生于乌兹别克斯坦塔什干的一个音乐世家，是乌兹别克国宝级鼓手图奇·伊诺戈莫夫的弟子，曾荣获中亚和哈萨克斯坦打击乐器比赛冠军。科西莫夫1994年创办了自己的手鼓学校，并于1998年创立了阿博斯乐团。科西莫夫曾与印度塔布拉鼓大师扎基尔·侯赛因和兰迪·格洛斯的打击乐团Hand’s OnSemble同台进行国际演出，并与史提夫·旺德一起录制唱片。科西莫夫为他的阿博斯乐团创作过许多作品，在加入阿迦汗后，开始将作品拓展至更多样的乐器编制。《诺鲁孜节》是本专辑的标题曲，也是他为阿迦汗创作的第一首作品。

 

Abbos Kosimov was born in Tashkent, Uzbekistan, into a musical family. A disciple of the honored Uzbek doira player Tuychi Inogomov and winner of the Competition  of Percussion Instruments of Central Asia and Kazakhstan, Kosimov established his own doira school in 1994 and his ensemble, Abbos, in 1998. Kosimov performs interna- tionally with Zakir Hussain and Randy Gloss’s percussion group Hand’s OnSemble and recorded with Stevie Wonder. Kosimov has composed many works for his Abbos Ensemble and, after joining AKMM, began to expand his compositional oeuvre to other combinations of instruments. “Nowruz,” the title track of the present album, is his first composition for AKMM.

 

嘉瑟·哈吉·尤瑟夫，中提琴/抒情维奥尔琴

Jasser Haj Youssef, viola/viola d’amore

 

尤瑟夫生于突尼斯的莫纳斯提尔，自幼学习欧洲古典音乐和阿拉伯古典音乐木卡姆。最初他演奏小提琴，后来开始演奏配有数根共鸣弦的抒情维奥尔琴，琴声丰满、富于共鸣。在其职业生涯中，尤瑟夫在木卡姆即兴艺术、古典室内乐与管弦乐、爵士乐及世界音乐等多方面的兴趣和才能得以融会贯通。他目前定居巴黎，活跃于演奏、作曲及教育等不同领域，在国际大赛中任评委，并为巴黎室内管弦乐团、卢浮宫音乐家古乐团等多个团体创作音乐。

 

Jasser Haj Youssef was born in Monastir, Tunisia and studied both classical European music and classical Arabic music (maqām) from an early age. His first instrument was the violin. Later he began playing the Baroque viola d’amore, which has sympathetic string that are not bowed, but create a rich, resonant sound. Haj Youssef’s professional career has merged his interests and talents in the improvisatory art of maqām, classical chamber and orchestral music, jazz, and world music. He currently resides in Paris, where he is active as a performer, composer, teacher, and jury member for international competitions. He has composed works for the Paris Chamber Orchestra, the early music group Les Musiciens du Louvre, and many others.

 

吴蛮与丝路音乐大师们

 

吴蛮与丝路音乐大师们，他们演奏的音乐汲取自古老的传统，又充满新意。

 

乐队的六位成员都具有多元音乐背景和丰富曲折的音乐旅程。他们最新录制的专辑《诺鲁孜节》则记录了这些旅程的足迹。乐手们从中东、中亚、中国等各自的心源之地汇聚于瑞士一间充满活力与创意的录音室，共同追求音乐的无限可能。十年来热忱的音乐实验与无拘无束的创新与探索全都凝聚于专辑中，成为他们音乐旅程的高光与总结。

 

自2013年创立以来，阿迦汗音乐（Aga Khan Master Musicians，AKMM）项目一直致力于支持丝路沿线音乐遗产的当代表达。东方与西方，过去与现在，民间音乐、爵士乐与古典音乐，无论是西方的还是非西方的，都在这里交融，孕育滋养了这些极具原创性的作品。

 

专辑的创作过程简单且民主：每位成员贡献出自己所创作的作品，每部作品都以作者独特的乐器为主角，再经由乐团集体编排。在不断的演奏中，编排也在不断演变，并为自发与即兴创作提供了广阔的空间。专辑精选合奏曲目，其间穿插的独奏及二重奏都展示了各乐器经诸位演奏大师之手所成就的妙音。他们的乐器编制也独一无二，试问又有哪个乐团能将萨克斯管、琵琶、卡龙琴、都塔尔琴、手鼓、抒情维奥尔琴和杜克拉管（一种新发明的乐器，系由单簧管吹嘴与都都克管嫁接而成）集于一身呢？

 

如此组合或许显得古怪奇特，但实际上这些乐器在音乐上的血脉联系可以溯至古代，当时丝绸之路这条横跨欧亚大陆的商路激发了包括琵琶、维奥尔琴、筝、笛和鼓等在内的很多乐器的文化大融合，这些乐器的源地主要集中于地中海东部、中东与欧亚大陆中部。相形之下，萨克斯管诞生较晚，是19世纪中叶由比利时乐器制造商萨克斯（Antoine-Joseph Sax）发明的。萨克斯演奏家拉朱布在叙利亚大马士革学习这件乐器时，当地的乌德琴、小提琴、卡龙琴演奏家已将爵士乐融入了本地的木卡姆音乐中，形成了一种独特的国际新声。而萨克斯管也成了传统乐器的现代对应物，共同构成了音乐的多样性与创新性。

 

至于自古便从中亚传入中国的琵琶，从渊源上讲可以说是都塔尔琴的远亲，而都塔尔琴这种长颈双弦鲁特琴在中亚地区则深受非游牧文化的喜爱，在塔吉克音乐家朱拉耶夫的手中更是大放异彩。类似情况的还有与意大利巴洛克风格联系紧密的抒情维奥尔琴。这件乐器的祖先很可能就是阿拉伯征服者带到中世纪安达卢西亚的中东拉巴布琴。在突尼斯小提琴家尤瑟夫的指下，抒情维奥尔琴发出迷蒙的音色，营造出一种独特的声音世界，巴洛克音乐与阿拉伯木卡姆在此和谐共处、相伴相随。

 

阿迦汗乐团的其他成员为多个音乐世界筑起了沟通的桥梁。杰出演奏家查雷斯坦所擅长的卡龙琴根植于古老的美索不达米亚传统。无论是演绎管弦乐创作曲目，还是为叙利亚传统的慕瓦夏哈（muwashshah）歌者担任伴奏，查雷斯坦都游刃有余。著名的琵琶大师吴蛮也是如此。她可以在琵琶经典独奏曲目与一系列当代作品之间无缝切换，无论是琵琶与管弦乐队、琵琶与弦乐四重奏、琵琶与son jarocho（墨西哥湾本土乐风）组合，还是像在阿迦汗乐团演奏的这种更能体现她自己音乐语言的作品，她都能应运自如。节奏方面，从乌兹别克斯坦移居加利福尼亚州圣克拉门托的手鼓演奏家科西莫夫，他技艺不仅在与来自中亚的众多艺术家合作时表现得淋漓尽致，就是在与摇滚乐、流行乐、爵士乐甚至印度古典音乐顶尖高手同台时也同样是无懈可击。

 

阿迦汗乐团的编制组合看似不可思议，其铿锵之韵在当代音乐中却是独领风骚。幸运的是，他们这种国际化的音乐制作方式如今非但不是孤例，而且已成为后辈音乐人追摹的范本，这恰好肯定了阿迦汗音乐计划所倡导的用音乐带动文化与社会发展的初衷。如今，乐团成员在世界各地授课并担任工作坊的领头人。他们教学育徒并实践自己的音乐探索，共同遵循和秉持一个基本信念：传统可以成为艺术探索与创造的宝贵指南针，这些灵感来自过去，但并不为过去所限。

 

The Aga Khan Master Musicians

 

The Aga Khan Master Musicians—or, in the spirit of today’s acronymic artist names, AKMM— play new music inspired by old traditions. Their sources of inspiration arise from the eclectic backgrounds and zigzag musical journeys of the group’s six members. Nowruz offers a synoptic overview of those journeys, from the musicians’ origins in the Middle East, Central Asia, and China to their convergence in a funky recording studio in Switzerland, where this album—the culmination of a decade of fervent musical experimentation and uninhibited creative search—came together.

 

Founded in 2013 by the Aga Khan Music Programme, whose mis- sion is to support contemporary expressions of Muslim musical heritage, AKMM inhabits a space of temporal, geographic, and artistic liminality in which East and West, present and past, and folk, jazz, and classical music both Western and non-Western nourish a strikingly original body of work.

 

AKMM’s creative process is straightforward and democratic: all members contribute pieces they have composed, each piece typically featuring the composer’s own instrument, and these pieces are subsequently arranged by the group. The arrangements evolve through successive performances and offer am- ple room for spontaneity and improvisation. Nowruz presents a selection of these ensemble pieces interspersed with solos and duets that showcase the sound of individual instruments in the hands of master performers. The combination of instruments  in the ensemble pieces is surely unique. What other group features saxophone, pipa, qanun, dutar, frame drum, viola d’amore and duclar—a recently invented hybrid that consists of a clarinet mouthpiece fitted to the body of a duduk?

 

Though such a combo may suggest whimsy or eccentricity, these instruments represent a kind of musical consanguini- ty that arcs back to antiquity, when the trans-Eurasian trade routes commonly known as the Silk Road stimulated the cultural diffusion of lutes, viols, zithers, shawms, and drums whose origins are in the Middle East and Central Eurasia. The saxophone, of course, came later, patented by the Belgian instrument maker Antoine-Joseph “Adolphe” Sax in 1846. But Basel Rajoub, AKMM’s saxophonist, learned the instrument in Damascus, Syria, where jazz fused with the local maqam music performed on oud, violin, and qanun to create a new cosmopolitan sound. In this way, the saxophone became, if not a blood relative, then a relative by marriage of the lutes, viols, and zithers long associated with music from the Middle East.

 

The ancestry of the Chinese pipa, another seeming outlier in AKMM’s instrumentarium, has been traced back to Central Asia, from where it was evidently carried to China in ancient times. Thus, the pipa is a distant relative of the dutar, a long-necked lute with two strings that is a beloved instrument in the sedentary cultures of Central Asia and is represented in AKMM by the virtuosic playing of Tajik musician Sirojiddin Juraev. Similarly, the viola d’amore, an instrument associated with the Italian Baroque, is likely a descendant of the Middle Eastern rabab brought to medieval Andalusia by Arab conquerors. The gos- samer timbre that Tunisian violinist Jasser Haj Youssef coaxes from the viola d’amore evokes a sui generis soundscape in which Baroque music and Arab maqam are congenial cohabi- tants.

 

Other AKMM members also bridge multiple musical worlds. Feras Charestan, a master performer on the qanun, a trape- zoidal zither with roots in ancient Mesopotamia, is equally at home performing newly composed orchestral music as he is accompanying the traditional muwashshah singers of his native Syria. Likewise, Wu Man, the celebrated pipa maestra, moves seamlessly between the instrument’s canonical repertoire of solo pieces and a constellation of contemporary works for pipa and orchestra, pipa and string quartet, pipa and son jarocho ensemble, and, in the case of AKMM, pipa compositions in a mu- sical language very much her own. On the rhythm side, Abbos Kosimov, who relocated from his native Uzbekistan to Sacra- mento, California, has put his peerless mastery of frame drums at the disposal of rock and pop icons, jazz musicians, and performers of Hindustani classical music in addition to playing with a wide range of performers from Central Asia.

 

Though the burnished sound of AKMM’s unlikely combination of instruments represents a singular voice in contemporary music, the group’s cosmopolitan approach to music making is, thank- fully, no longer exceptional. On the contrary, it has become an admired model for younger musicians as well as a social development tool for the Aga Khan Music Programme’s cultural development initiatives. These days, the members of AKMM are much in demand as teachers and workshop leaders around the world. The meridian lines of their work with students and protégés as well as their own musical explorations follow from a fundamental shared belief: that tradition can serve as an invaluable compass for an artistic search into new forms of creativity inspired but not constrained by the past.

 

 

阿迦汗音乐项目

The Aga Khan Music Programme（AKMM）

 

AKMM是阿迦汗音乐计划的一个项目，其宗旨在于促进世界各地与丝路沿线文化有显著关联的社群中活态音乐遗产的发展。通过与极具创造力的音乐家、艺术家、教育家和艺术推广人合作，该项目得以在国际上展开。其与史密森尼民俗唱片公司的合作可追溯至2002年，曾出版10卷CD-DVD选集《中亚音乐》及双碟唱片《丝绸之路：音乐之旅》。

 

The Aga Khan Music Programme

 

AKMM is a project of the Aga Khan Music Programme, whose mission is to foster the development of living musical heritage in societies across the world where Muslims have a significant presence. The Music Programme disseminates this work internationally through collaborations with exceptional- ly creative musicians, artists, educators, and arts presenters. The Music Programme’s collaboration with Smithsonian Folkways Recordings extends back to 2002 and includes the 10-volume CD-DVD anthology Music of Central Asia and the double CD The Silk Road: A Musical Caravan.