漫天水雲問瀟湘-瀟湘水雲(作者：陳道)

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漫天水雲問瀟湘-瀟湘水雲(作者：陳道)

今天的琹界，早充斥著一群裝神弄鬼、假佛假道，或是無病呻吟的窮酸腐儒，規矩毛病很多，但格局卻一點都沒有，琹壇如此，社會亦然，現在的情況和中國南宋末年非常的相似，一群自命不凡、高高在上的偽道學，和性格軟弱、平庸怯懦的假知識份子，把持朝政、禍亂朝綱，再加上昏君無能，難怪如岳飛、辛棄疾之英雄人物，終究註定也要將滿腔熱血，抛灑祭江了。

而瀟湘水雲的創作年代，便是如此亂世之時，郭沔先生（約1190～1260年）眼見當時山河殘缺、時事飄零，而內心卻如雲水翻騰一般，當時以其一介布衣之身，又豈能有回天之力呢？因此在隱居湖南寧遠縣九疑山時，每每遠眺九疑山，總為層層浪浪雲水所遮蔽，於是創作出了這首曠世不朽的名曲，一方面悲傷國事蜩螗、另一方面卻也強烈表達自己內心的憤怒和無比沉痛的精神狀態，惟以瀟湘水雲以寄眷念之情，這是中國有骨氣熱血的知識份子，再一次對國家滅亡、對戰爭的暴力做出最激烈的吶喊。

琹曲從泛音做為開始的引子，呈現出一種圓潤飄逸、跳躍起伏的自由節奏，輕易的讓人彷彿身處在一片輕霧繚繞、水波蕩漾的優美山水意境當中；而在樂曲的中段，我刪掉了一段在低音區滑奏的往來蕩吟，如此讓第四段和第八段的二個高潮的水雲聲更加的連貫和緊湊了；之後，又創作出一段怒濤洶湧、滾蕩奔騰的水聲，消停了一會兒，四弦急用捻法，“轟＂一聲震動，頗有橫江震響、咆哮怒吼的氣慨，緊接著一連串強烈連續的撥剌手法，也直接表達出作曲家對烽煙戰火、屍橫江面最為悲傷的悼念，緊接著一連串清亮跳躍的泛音流瀉而出，試想，美麗的河山又何錯之有呢？錯只錯在人心的貪婪、醜陋、自私與血腥罷了。

泛音後琹音重重跌宕，幽深思遠，在結尾處曲勢漸漸緩收，呈現寛宏淡宕、遼闊平緩，使人恍若置身煙波飄渺之中，最終結尾泛音速度更慢，對此我選擇用較為低沉而哀傷的音色來表達，以期能夠表現出無限蒼涼悲傷的情懷，在面對戰爭帶來殘酷無情的殺戮，清微淡遠本就不該在這首琹曲中做為演譯的方式，如果有，我只能說彈琹的你，早有一顆麻木不仁、軟弱無用的心了。悲哉、嘆哉，古琹決不是只是古代文人房中所收藏的筆墨紙硯一般，相對於今天我們身處在如此積弱不振的年代，琹家們可以反思，琹曲可以救國、可以反戰，更可以勇敢地面對一切的迫害。

最後僅以我摯愛的此曲，悼念一切戰爭下所犠牲的亡魂，以及所有護國護民、轟轟烈烈、勇戰沙場的偉大英烈們。

偉哉！

敬哉！

SkyFilling Clouds and Water Querying the Misty Rivers of Xiao Xiang

Where is the vigorous style of a qin player?

The qin spirit has long been dead.

Today's qin circle has long been filled with a bunch of mystifying, phonyBuddhists and Taoists or stale and pedantic literati fussing like ahypochondriac; many rules and shortcomings, but no moral character. It's notonly in the qin circle, but also in society. The conditions today are verysimilar to that of the final years of the South Song Dynasty; a group ofself-important people, the aloof, remote and the flabby, mediocre and cowardlyfake intellects control the affairs of state, abuse the laws, withal a fatuousand incompetent ruler. No doubt the heroic figures like YUE Fei and XIN Qijiwere destined to throw their zeal-filled hearts to the rivers as a sacrifice.

It was the in the world of chaos when Clouds and Water Querying the MistyRivers of Xiao Xiang was composed. Mr. GUO Mian (ca. 1190-1260) saw the wholecountry shattered and things are falling apart, and his heart was raging likecloud and water. A man with no power, how can he reverse the desperatesituation? Thus, when living in seclusion in Mount Jiuyi of Ningyuan county inHunan, each time when he gazed into distance at Mount Jiuyi, it was alwayscovered by layers of clouds and water, and as a result, he composed thisincomparable and immortal well-known piece of music. On one hand he wasgrieving about the dire confusion of the affairs of state, on the other, he wasexpressing the fury in his heart and the indescribable bitterness of state ofmind, and only to express fond feelings with clouds and water of the mistyrivers of Xiao Xiang. This is once again the rallying cry shouted by China's haughtyand zealous intellectuals against the perishing of state and the violence ofwar.

Theintroduction started with floating sounds to exhibit the round, full andelegant, leaping and undulating free rhythm, easily guides us into the state ofthe curled-up fog and the rippling waves of the landscape. In the middlesection of this piece, I omitted the glissando in the lowerrange, which makes the climaxes in the fourth and eighth section even morestrung together and compact. After that, created a section of water sounds ofgalloping raging waves surging up which is followed by a pause, with the rapidpinched tones on the fourth string, a shaking “thud”, trembling soundacross the river, roaring bellowing mettle, immediately ensuing a series offorceful and continuous splashing technique, directly expresses the composer'smost profound grief toward the confusion of war and the piled up carcasses onthe river. Immediately, a series of clear, bright leaping floating sounds glidethrough. Just think, what wrongdoing by the beautiful country? The sin is butthe greed, ugliness, selfishness, and reeking of blood in people's hearts.

After the floating sounds,the sound of the instrument turns even more unconventional, serene and hiddenin depth, the music slowly and gradually stops; indicating grandiose andmagnanimous, extensive but gentle, as though placing oneself in a mistyillusion. At the coda the floating sounds are even slower, wherein I chose toexpress with deeper and sad tone colors in order to exhibit the endlessly bleakand melancholy sentiment. Facing the cruel carnage brought by the war, theinterpretive style of this piece should not be limpid and faint. If there is, Ican only say you, the performer, have long had a numb, unkind, cowardly anduseless heart. Sad indeed, lackaday, guqin absolutely is not the ancientliterati's writing brush, ink stick, paper and ink stone collections. As we arein this time of downcast, the qin artists should introspect, qin music can savethe country, oppose to war, and moreover, courageously face all persecutions.

Finally, with this musicalpiece that I truly love, I grieve the souls sacrificed in all wars and allgreat martyrs who bravely and vigorously fought in the battlefields.

Mighty!

Salute!