“阴阳合意，造化一心，托情缘性，神物同音。”相传这是古琴“沧海龙吟”上镌刻的琴铭，寥寥数语便将乐器之于中国人的意义呈现出来。有着三千多年历史的琴，对于中国传统文人来说更像是一种“道器”，少有追求技巧的，而多是用以修身养性。天人合一乃是中国哲学的最高境界，于是抚琴就成为了文人们与上苍对话的方式之一。

而晚于琴几百年才出现在中原地区的笛、箫、琵琶、二胡等等乐器则带来了更多的娱乐性质，从此乐器便不再是士大夫阶层的独享了，贩夫走卒、勾栏瓦舍都拥有了吹拉弹唱的快乐。说到底，西方古典音乐开始于宗教仪式，而中国的传统音乐则始于自娱。 

然而只把音乐当作一种娱乐，显然是委屈了它。那些简单的音符在懂得驱动它们的人手中可以幻化出无限的可能，在音韵中你可以与亲友互通心意，你可以与自然互相唱和，你甚至可以与宇宙达成对话。

李清照因见到梅花在绝美的笛声中开放而写下了“笛声三弄，梅心惊破”，白居易在浔阳江头听到琵琶女的弹奏而写下了“弦弦掩抑声声思，似诉平生不得志。低眉信手续续弹，说尽心中无限事”；李白在峨眉峰下聆听了蜀僧弹琴，则写下了“为我一挥手，如听万壑松”。这些对于音乐的充满灵性的描绘就如同时光机器，让你可以瞬间与古人心灵相通，而聆听那些流传千年的乐器上流淌的旋律大概也能令你不禁发出“江畔何人初见月？江月何年初照人？人生代代无穷已，江月年年只相似”的感叹。

从流传了千年的古曲《流水》、《梅花三弄》到当今时代的《雪山春晓》，在这些灵动的山水音诗之中涌动着同样的对于自然的赞颂与膜拜；从古韵幽幽的《妆台秋思》到二十世纪初民乐改革的先驱刘天华创作的《虚籁》，在那些婉转而含蓄的音调间饱含着同样的无法派遣的忧虑彷徨与期盼；从琵琶传统套曲《瀛洲古调》到为二胡创造出全新境界的《空山鸟语》，在如此清新动人的小品之中充满惟妙惟肖的白描手法和情真意切的生活情趣；从风逸隽雅的《春江花月夜》到压抑悲怆的《二泉映月》，无论是饱览人间美景的张若虚还是饱尝世间辛酸的盲人阿炳，此时此境，都已是人间极致。

当录音技术和唱片工业发展到今天的阶段，单纯发烧的声音越来越容易实现，而我们的耳朵却越来越难以满足。除了震颤耳膜的轰响和跳跃起伏的音频波形，一张优质的发烧唱片还可以是这样的——只是一支笛，一张琴，一柄琵琶，一把胡琴，用最高端的拾音和还原技术把这些单线条的纯粹的旋律朴素地呈现出来，让你仿佛可以触摸到琴板上木头的纹理，仿佛看见弓毛在弦上摩擦出的松香的尘屑，愉悦与慰藉就那样在你的心头荡漾开去，不着痕迹。这未尝不是一种天人合一的无上感受。

为了将中国传统民族乐器的音韵极致地呈现给听众，以“珍藏好声音”为理念的“达人艺典”古典音乐唱片公司首次尝试制作了这张蓝光唱片。这款亚洲首张蓝光唱片前期拾音选择了国家大剧院的录音棚以及国际顶级发烧器材，力求在最自然的状态下还原出音质饱满而又细腻动人的环绕声；当今世界最尖端的录音科技实现了最高的采样率，使得唱片的最终音质无限接近模拟录音的真实感与丰富性，同时又有着数字录音的高度精准；唱片母带远赴奥地利完成后期制作……但愿这样一张具有创新意义的蓝光唱片可以能为中国音乐唱片写下新的一页。

《春江花月夜》原名《夕阳箫鼓》，亦名《浔阳琵琶》、《浔阳夜月》、《浔阳曲》，意境深远，乐音悠长，明清时已广为流传，后取意张若虚所作的唐诗名篇《春江花月夜》而更名。这首琵琶曲后经多人整理改编，而形成民族管弦乐队、重奏、多种器乐独奏等版本，各具特色，被誉为中国古典民乐之代表。

原诗以春、江、花、月、夜这五种事物集中体现了自然界最动人的良辰美景，构成了极具吸引力的艺术境界。乐曲则与诗作互相应和，通过委婉质朴的旋律，流畅多变的节奏，丝丝入扣的结构，形象地描绘了月夜春江的迷人景象。全曲宛如一幅工笔精细、色彩柔和、清丽淡雅的山水长卷，引人入胜而又令人回味无穷。于悠扬秀美中见气势，于优美抒情中见豪放，起伏有致，耐人寻味。 

This is an ancient pipa tune, originated from “Flute and Drum at Sunset”,written in 1875. It is the best known pieces of Chinese national music. Moreover, it is often been adapted for ensembles of various instruments. The music depicts the fascinating scenes of the moonlight over the river in springtime. The movements seems like a long scroll of Chinese traditional painting in soft colors with detailed sketches of an infinitively enchanting landscape.

曲名出自于唐代王维的诗句“空山不见人，但闻人语响。”

作曲家刘天华大胆运用了各种高难度的二胡技巧以拟声手法模仿百鸟啁啾声，描绘了深山幽谷、百鸟争鸣的大自然景象。作品极富形象性，旋律生动，意境新颖，极具艺术感染力。

此曲初稿产生于1918年，直至1928年才定稿，精研长达十年之久，弓法、指法、旋律、节拍，力求尽善尽美；在作曲手法和演奏的运用技巧上均做出了二胡音乐前所未有的尝试。

In terms of composition and performance technique, this work is regarded as among the most innovative in the history of music for the erhu. The composer utilized many techniques in the piece in his attempt to mimic the songs of different mountain birds. It is vividly descriptive, with lively melodies and strong artistic appeal.

《瀛洲古调》是琵琶四大流派之一的崇明派最有代表性的传谱。因发源于上海崇明岛而得名的崇明派琵琶在指法上要求“捻法疏而劲，轮法密而清”，主张“慢而不断，快而不乱，雅正之乐，音不过高，节不可促”；讲究音色细腻柔和，善于表现文静、幽雅的情感，具有闲适、纤巧的情趣；主张“重夹轻轮”，偏爱单音与夹弹，认为“轮指虽易入耳，然多则犯低而失雅”。《瀛洲古调》流传至今有四十余首，其中多为文板小曲，典雅端正。每首小曲都描写一个与崇明岛的民风、民俗、民情相关的生活小景或事物，并名之以贴切的标题，琵琶的“拢”、“捻”、“弹”、“轮”则将其中的情趣传达得惟妙惟肖。每首小曲均可独立演奏，也可将若干小曲组合连贯演奏。本辑中选取了三首小曲《蜻蜓点水》、《小月儿高》、《雀欲归巢》，充满了儿童的天真和生活的情趣。

There are four main schools of Pipa art which are ‘Pudong’ school, ‘Wang’ school, ‘Pinghu’ school and ‘Chongming’ school. ‘Yingzhou’s Folk Melodies’, which is one of the representative repertoires of ‘Chongming’ school, is one series of folk melodies circulating around Yingzhou area as the ancient name of Chongming Island nearby Shanghai. Each piece of ‘Yingzhou’s Folk Melodies’ can be considered as one short sketch of the life in this area, delicate, vivid, with elegant taste and graceful delight of art. The using of Pipa’s techniques and sounds are refined and changeful. Each piece has its own literary title such as ‘Moon High on the Sky’, ‘Little Fishes Playing with Water’, ‘Dragonfly Skimming the Surface of Water’，‘Little Lions Dancing with Silk Balls’球, ‘Little Sparrow Eager to Return Its Nestle’，‘Magpie Sporting on the Plum Blossom Branches in Winter’ etc.

“An Ancient Melody From Yingzhou” can be played individually or combined together as a series. 

原为湖南民间乐曲，乐谱最早见于1926年严固凡编写的《中国雅乐集》。后以丝竹合奏、箫独奏等形式在江南流传。南派笛子大师陆春龄与赵松庭将其改编为笛子独奏曲，

作品借李白诗《越中览古》之寓意，描绘了“越王勾践破吴归，义士还家尽锦衣；宫女如花满春殿，至今唯有鹧鸪飞”的意境，是一首南派笛子的代表作品。

乐曲运用多种笛子演奏技巧，栩栩如生地描绘了鹧鸪展翅飞翔的种种姿态，曲调优美细腻，流畅舒展，极富歌唱性，更能给听者留下无穷的回味与遐思。

This composition was originally a piece of folk music in Hunan, and later became part of the Jiang Nan music, which the Southern Dizi virtuosos Lu Chunling and Zhao Songting further rearranged it for a Dizi solo, mirroring how people long to abandon the traditional confine in pursuit of freedom through the depiction of the free-soaring chinese francolin.

琴曲内容出于《吕氏春秋》中伯牙鼓琴的故事，伯牙弹琴能表现出“巍巍乎志在高山，洋洋乎志在流水”，而钟子期都能心领神会，二人遂结为知音。因而有伯牙作《高山流水》的传说。

明代《神奇秘谱》曰：“《高山流水》本为一曲，至唐分为二……。”其中《流水》一曲在明清时得到更多的发展，特别是清末《天闻阁琴谱》所载川派琴家张孔山的《流水》，增加了许多“滚拂”手法以增强水势的艺术效果，号称《七十二滚拂流水》或《大流水》，是近代流传最广的曲目之一。乐曲表现了淙淙溪水汇流成浩荡江河，继而聚成汪洋大海的壮美景象。

1977年美国向太空发射的寻找外星人的太空船，载有一张“地球之音”镀金铜唱片，从全球选取了27首人类音乐代表作，唯一入选的中国音乐就是古琴曲《流水》。

“Flowing Water” describes the natural phenomenon of tiny streams converging into a mighty sea. It also sings the praises of beautiful Chinese landscape.

《雪山春晓》是范上娥、格桑达吉为古筝而作的独奏曲。作品描绘了青藏高原美丽的春天景色：素有“世界屋脊”之称的青藏高原高山纵谷绵延不绝，山顶终年积雪。春夏季节，虽山顶依然白雪皑皑、冰河蜿蜒，然山底却是绿草茵茵，野花遍地。

作品以优美的旋律、流畅的音符、独特的风格，描摹出雪域高原神秘壮阔的美景，以及藏民们载歌载舞的幸福场景。

In the beautiful Tibetan Highlands, people celebrate a festival with songs and dance.

《二泉映月》是中国民间二胡音乐家华彦钧（阿炳）的代表作。这首乐曲自始至终流露的是一位饱尝人间辛酸和痛苦的盲艺人的思绪情感，作品展示了独特的民间演奏技巧与风格，以及无与伦比的深邃意境，显示了中国二胡艺术的独特魅力。

乐曲旋律委婉流畅、跌宕起伏、意境深邃。作者运用二胡上五个把位的宽广音域演奏，配合苍劲的运弓处理，流露出如泣如诉、如悲似怒的情调及对光明和理想境界的憧憬，表现了一个经历旧中国生活坎坷和磨难的流浪艺人的感受和倔强不屈的性格，是中国民族器乐作品中脍炙人口的经典之作。

Despite that the title of the music is a description of beautiful scenery, it is, in fact, a narration of a very miserable life of the composer. The composer named Hua Yanjun, being blind, had had much suffering and bitterness throughout his life. The deep notes and melancholic tone of the music echo his feelings and grievance. However, he could still maintain a positive outlook for a bright future as he tried to express at the end of the piece.

此曲原为明代琵琶文曲套曲《塞上曲》中的第四曲。《宫苑春思》、《昭君怨》、《湘妃滴泪》、《妆台秋思》、《思汉》合称《塞上曲》，取材于昭君出塞的故事。曲调婉转细腻，缠绵幽怨，生动地描绘出昭君苦痛凄楚的心情以及对幸福生活的憧憬。后人也将它改编为箫独奏曲、古筝曲等版本。

This melody is a part of famous composition of the Ming Dynasty—The Frontier Fortress Song. It reflects painful and sorrowful emotions.

此曲又名《梅花引》、《梅花曲》和《玉妃引》等。相传东晋恒伊作笛曲《梅花落》，后人移值为琴曲。乐谱最早见于明代的《神奇秘谱》。

全曲共分十段，其中有五个合尾段落，比喻梅花之五瓣；又有主题音调在三个不同音区出现，是为三弄。

这是一首充满中国古代士大夫情趣的琴曲。洁身自好、顶风傲雪的性格，历来是中国古代文人追求的精神境界。

The score was first seen in Mysterious Score of Qin of Ming Dynasty. The piece was divided into 10 sections, among which 5 had the same end, which represented that plum blossom had 5 petals; the theme melody appeared in three different ranges respectively, which formed three variations, and hence the name Three Variations of Plum-blossoms. The piece described the noble and serene quality of plum blossom and as the tune turned to be quick and hurried it also showed the blossom’s courage to sway into the wind regardless of the coldness.

《虚籁》又名《今夕》、《长夜吟》，是中国近现代民族器乐演奏家、作曲家和教育家刘天华（1895~1927）创作于1929年2月的琵琶曲。

“虚”指虚无，“籁”泛指声音，“虚籁”即是空寂无声。时值刘天华为萧友梅认可，得到在北京大学音乐传习所开设琵琶和二胡课程的资格，并在北京艺专兼课。然而不久北京艺专音乐系被解散，使他振兴国乐的理想受挫。此时他写出的《虚籁》一曲，表现了“作者在宁静美好的夜晚，为国乐及其教育感到担忧和期盼”。乐曲在左手的技法中，大量借鉴模仿了古琴左手“绰、注”等长线条的滑音技法，并结合琵琶传统的“打、带、泛音”等点状技巧，使乐曲音响效果极为丰富和别致，同时又兼具琵琶传统文曲的飘逸与含蓄。

The composer of ‘Night Poem’ Liu Tianhua (1895-1932), who has made great influence and contribution in Chinese modern culture history with his brothers Liu Bannong and Liu Beimao whom are named ‘Liu’s Brothers’ afterwards, was considered to be the pioneer of Chinese music in the period of the new culture movement.  With the gift and the enthusiasm to music, Liu Tianhua learned Erhu and Pipa from folk musicians since his youth. Hence he could make his life by teaching music in the middle school of his hometown. After moving to Beijing, he began to teach in Peking University. He was very active, establishing musical community, publishing musical magazine with other intellectuals and musicians. Besides, he devoted himself deeply into collecting Chinese traditional music and folk music, notated with modern notation system for the first time in Chinese musical history. With the nutriment of Chinese traditional and folk music, he obtained plenty of inspirations while creating his own music. In his short life of 37 years, Liu Tianhua composed 10 solo works for Erhu, 3 solo works for Pipa, series studies for these two instruments, 1 work for Chinese instruments orchestra as well. Thanks to Liu Tianhua’s effort, Chinese instruments such as Erhu, Pipa could be introduced into modern education system and have obtained such great development recently. The musical ideal of Liu Tianhua was deeply influenced by new cultural movement. He is a courageous innovator, borrowing bravely the skills and way of composing from western music, supplying the experience on developing Chinese instruments. The music of ‘Night Poem’ is just representing Liu Tianhua’s thinking of the development and innovation of Chinese music in the sleepless night.

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