《拉薩行》
作曲｜關迺忠
指揮｜劉江濱
場次｜風城樂旅 - 「2023竹塹國樂節」開幕音樂會
日期｜2023.07.01
地點｜新竹市文化局演藝廳
00:00 進場 Entry
00:36 I. 布達拉宮 Potala Palace
06:45 II. 雅魯藏布江 YarlungZanbo River
15:18 III. 天葬 Heavenly Burialy
20:46 IV. 打鬼 Beating Ghosts
拉薩，藏語是「聖地」、「佛地」之意，是一座已有一千三百多年歷史的古城。拉薩又有「日光城」之稱，一年的日照總時數達三千零五小時。天空碧藍如洗，名寺古剎金光閃閃，古寺裡匯集着東方的罕世奇珍，兼藏着千年的絢麗瑰寶。這個世界屋脊上的聖地，像謎一樣地吸引著世人。
I. 〈布達拉宮〉：相傳公元七世紀，藏王松贊干布為迎娶文成公主建造了這座宮殿，依山砌築，巍峨矗立。音樂以低音深沉的音響，模擬喇嘛的先鋒號角，雄渾暸越，慢慢地推開布達拉宮沉重的大門。弦樂器的音色好似在佛香繚繞的大殿，仿見一線金光閃閃的寶藏⋯⋯
II. 〈雅魯藏布江〉：雅魯藏布江位於拉薩之南，是西藏的第一大江；它不僅哺育了西藏的民眾，也是西藏文化的源泉。音樂好似一首萬浪奔流，波瀾壯闊的江河之歌，唱起歲月如斯的慨嘆。
III. 〈天葬〉：藏語稱天葬為「杜垂杰哇」，意為送屍到葬場。司葬者先餵桑供神，禿鷲一見煙火雲集而來，司葬者做完肢解之後，吹起海螺或仰天長嘯，禿鷲聞聲而至，盡食後飛去。作曲家以古箏的拉奏和弦樂呼應．掀開這個怵目驚心的場景。那種撕心裂肺的聲響，扣人心弦，令人毛骨悚然。天葬之俗與佛傳入西藏有關，顯揚「菩薩布施，不惜身心」、「求道如此，及可得佛」的意念，倡導個人的一切包括肉身施捨眾生的佛道。此時，樂隊突入快板，音樂渲染着嘶叫、哭喊、咏經、爭食⋯⋯一陣狂動之後，弦樂淒楚的背景裡，僅留着木琴還在像淚珠似地掛在人們的臉上。
IV. 〈打鬼〉：「吉多」藏語意為驅鬼節，藏曆十二月廿九日，布達拉宮的喇嘛要扮成惡鬼，一邊跳舞，一邊被人追打。這種跳神打鬼是新年伊始，驅鬼滅災的意思。夜晚各家各戶還要團圓喝「土巴」點燈燒香祈求如意吉祥的習俗。作曲家運用現代意識的複合節奏型混奏，渲染出這一火熱而又神秘的氣氛，當中亦有前三個樂章的主題隱現，以表現人們還在緊守着傳統的靈念，最後樂隊掀起狂熱的高潮在祈福的熱切中結束。
此曲於1984年12月首演，榮獲香港作曲家及作詞家協會1987及2000年度「本地正統音樂最廣泛演出獎」，並獲觀眾選為「99/00年度精選樂曲」。
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"Journey to Lhasa"
Composer｜Guan Nai-Chung
Conductor｜Liu Chiang-Pin
Concert｜Music from the Windy City - "2023 Hsinchu Chinese Music Festival" Opening Concert
Date｜2023.07.01
Venue｜Hsinchu Performing Arts Center, Taiwan
Lhasa is the Tibetan word for "Holy Land" or "Land of the Buddha". An ancient city with a history of over 1,300 years, it is also called the City of Sunlight, because it has 3,005 hours of sunshine each year. The sky is always blue and the gilt roofs of the monastenes sparke in the clear light of the sun. These ancient monasteries house many rare objects of historical and artistic value. Together with these magnificent and beautiful thousand-year-old edifices, Lhasa, the holy city on the Ridge of the World, attracts the word with its enigmatic charm.
I. 'Potala Palace': The Potala Palace is said to be built in the 7th Century by Songzanganbu, King of Tibet, for his bride, Princess Wencheng of the Tang Dynasty. The monastery was built like a fortified castle and stands majestically on the cliff of the mountains. The music begins with low notes imitating the broad, sonorous vanguard horns of the lamas, slowly pushing open the heavy doors of the Potala Palace. Meanwhile, the strains of the strings conjure up the scene of the Main Hall where incense smoke spiral up and waft in the air, and treasures gleam and glow in the light......
II. 'Yalu Zangbo River': Running towards the south of Lhasa, the Yalu Zangbo is the most important river in Tibet. It not only gave life to the people of Tibet, but also was the source of Tibetan Culture. The music sings of a wide, rapidly flowing river and sighs how the years swiftly go by.
III. 'Heavenly Burial': In the Tibetan language, "duchuijiewa" means to send a corpse to the burial ground. The priest officiating at this ceremony first offers sacrifice to the gods. The vultures, seeing the fire and the smoke, will come down and gather round. The priest cuts the corpse into pieces, and then sounds his conch or shouts loud and long to the heavens. The vultures will then flock around to consume the cut-up remains until there is nothing left. In the first section of this movement the Guzheng is played in dialogue with the strings, as a prelude to this rather gruesome scene. The sound of the corpse being dismembered is at once terrifying and enticing.
IV. 'Beating Ghosts': "Jiduo" is the Tibetan word for the feast of exorcism. It falls on the 29th of the 12th month of the Tibetan calendar, when the lamas of Potala Palace will put on disguise as wicked ghosts. They dance and are ceremonially chased around. The dance is meant to exorcise the country and rid it of evil spirits in anticipation of the New Year. In the evening, families gather together to drink "tuba" and burn incense, and offer prayers for peace and good fortune.
The composer here employs modern complex rhythms to depict a scene that is at once full of religious vigour and mysteriousness. The themes of the first three movements faintly appear and then fade away -- a reminder of their traditional concepts. The music culminates to a boisterous and prayerful close.
Premiered in December 1984, Journey to Lhasa was awarded the Most Performed Original Local Serious Work' in 1987 and 2000 by the Composers and Authors Society of Hong Kong, and was voted one of the audience favourites in the 99/00 Chinese Music Select .
Translation Source: Hong Kong Chinese Orchestra
Compile: LI Alex K
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