樂典：古琴——陸笑姿

《樂典：古琴——陸笑姿》收錄於全球首部中華音樂典藏全輯《樂典》的《器》系列，包含傑出青年古琴演奏家陸笑姿的7部作品。 《樂典》中華音樂典藏全輯致力保護和典藏中華音樂寶藏，實現傳統傳承與煥發新生而企劃，聯合國家版權貿易基地（上海）、國家對外文化貿易基地（上海）、國家音樂產業基地（上海）、中央廣播電視總檯音頻客戶端“雲聽”、中國唱片集團等機構，與各大協會、機構、社團、學院一起共同保護與傳承中華音樂寶藏，擴大中華傳統音樂的全球影響力和創收能力。 曲目介紹 01 《廣陵散》 版本：《神奇祕譜》，管平湖打譜，戴曉蓮傳授 《廣陵散》 是現存古琴曲中唯一具有殺伐戰鬥氣氛的敘事型大麴。全曲共四十五段，曲調慷慨激昂、氣勢宏偉，情緒悲壯激烈、宛轉蒼涼，通曲貫穿了一種憤慨不屈的浩然之氣。此演奏本取開指、小序、大序、正聲共二十七段爲選段版本。 02 《梅花三弄》 版本：《蕉庵琴譜》，戴曉蓮傳授 《梅花三弄》 以琴之清冷，寫梅之高潔，喻人之風骨。主旋律以泛音取不同徽位重複三次，故稱“三弄”。曲終前的轉調令人耳目一新，似一聲感慨、欲罷不能，隨後樂曲又回到主調，表現出一種釋然、豁然開朗之情。 03 《瀟湘水雲》 版本：《自遠堂琴譜》，戴曉蓮傳授 《瀟湘水雲》爲南宋浙派琴家郭沔(楚望)所作。全曲情景交融，樂曲主要以左手“吟猱”、大“往來”、“散音按音”相應合等手法，以不同音色迭次呼應來表現水光雲影、煙波浩渺的境界和濃郁的幽思。 04 《佩蘭》 版本：《天聞閣琴譜》，曾成偉傳授 《佩蘭》取詩人屈原《離騷》“紉秋蘭以爲佩”詩意而作，爲川派代表曲目。曲調清淡質樸，淡雅中含深沉，醇和中帶雄渾。 05 《搗衣》 版本：《梅庵琴譜》，戴曉蓮傳授 《搗衣》取材自搗衣詩，原寫閨怨離情思戍人，後意象指代日趨寬泛，或思人感懷，或去國懷鄉，或抒發胸臆，不再拘泥。此曲糅合山東民間曲調，旋律跌宕明快、情感真摯自然，爲梅庵派代表曲目。 06 《沉思的旋律》 版本：成公亮創作，成公亮傳授 《沉思的旋律》在或溫潤柔美，或熾烈激情的彈奏中，抒發內心情感。2005年，當代古琴家、作曲家成公亮先生以印度音樂爲主要靈感元素創作此曲，在追求音韻細微變化的同時， 尋求琴樂旋律的表達，充滿了細膩的人情美感。 07 《心籟》 版本：韓聞赫創作 第二古琴：張亮 音由心生，心由物動；力圖植根琴樂傳統，闡發當代思維。 一、煦吟：樂韻婉轉 抑揚頓挫 歌徙二琴 心照神交 二、漣漪：空靈泛音 錯落有致 冥思之境 漣漪於心 三、錚鳴：鏗鏘鳴響 電掣風馳 相合相弈 扣人心絃 本曲獲2014全國高等音樂藝術院校民樂作品比賽(古琴重奏)二等獎 Guangling Verse 10'31” Version: Shen Qi Mi Pu, as reconstructed by Guan Pinghu, taught by Dai Xiaolian This is one of the very few major pieces that narrates a martial atmosphere of struggles and battles. The 45 segments of the piece depict a majestic, moving and tragic scene. Through this composition can be perceived the unyielding moral force of a man. A selection of 17 segments has been chosen for this recording. Three Variations of Plum Blossuni 8'44” Version: Jiao An Qin Pu, taught by Dai Xiaolian This piece depicts the purity of the plum flower as a metaphor for the strength of character of a man. The theme is played thrice with overtones at di限rent markers, hence the name. The change in key before the final of the piece sounds like a sigh with sorrow, as if one could not stop. The return to the main key that follows appears then like a release, as if everything became clear at once again. Mist and Cloud over Xiaoxiang river 10’38” Version: Zi Yuan Tang Qin Pu, taught by Dai Xiaolian This piece was composed by Guo Mian, (a.k.a. Chu Wang), a master from the Zhejiang School of Guqin during the Southern Song dynasty. The finger tcchiiic is mainly based on a subtle balance between different variations of vibratos, conies and go, open and pressed strings of the left hand. It enables a variety of tones that echoes the ever changing mist, clouds, rolling waters of the intentional scenery, reflecting a complex melancholy. Adiniration for the Orchid 9’ 42" Version: Tian Wen Ge Qin Pu, taught by Zeng Chengwei "Admiration for the Orchid" is a masterpiece representative of the Guqin School of Sichuan. It refers to a verse of the famous poem written by Qu Yuan uEncountering Sorrow” . The melody is plain and unadorned. Its simple elegance contains depth and its purity brings vigor. Beating Clothes 5'59” Version: Mei An Qin Pu, taught by Dai Xiaolian "Beating clothes" comes from an eponym poem. If it originally referred to a lady mourning her leaving soldier and lover, it has gradually taken a wider range of meanings: recalling a friend with emotion, or the homesickness of leaving one's motherland, or just expressing one's inner feelings. The piece contains folk melodies from the Shandong province. Free and unconstrained, its melody expresses sincere feelings and is representative of the Mei An School of Guqin. Melody of Contemplation 7'24” Version: Composed by Cheng Gongliang, taught by Cheng Gongliang The "Melody of Contemplation" alternates between gentle beauty and flaming passion to express one's inner feelings. In 2005, the contemporary Guqin master and composer CHENG Gongliang wrote this piece mainly inspired by Indian music. The search for both melodic expressivity and subtle rhythmic variations pleases one' s aesthetic senses.
 Sound of Soul 10'45” Version: Composed by Han Wenhe Second Guqin: Zhang Liang One's soul evolves in a given environment from which music springs up. This composition strives to take root in the tradition of Guqin music while expressing contemporary thoughts. I Warm Chant: a gentle tune comes out of the two qins that interact in tacit communion. II Ripples: graceful overtones put in an original arrangement mirror a rippling heart where lays one' s meditative scenery. III Clanging sound: rhythmic sounds like storms and wind thrill one's heart. In 2014, this piece was awarded second in folkloric composition (as Guqin duet) at the "National colleges and universities of music and art Competition"of China.