歐洲人的東方音樂情結(jié)

今年春天，我作為中國浙江民樂團(tuán)出訪的隨團(tuán)記者，再次踏上了歐羅巴廣袤的平原，親歷了民樂團(tuán)輾轉(zhuǎn)歐洲，一路播撒中國民族文化種子，收獲鮮花、掌聲和贊美的全過程，感受到了神奇的東方民樂在陌生的國度和人群里激起的陣陣漣漪，最讓我心動的是西方人對待文明的態(tài)度，以及他們?yōu)榕嘤拿髋c進(jìn)步所付出的種種努力。

民樂在諾貝爾獎故鄉(xiāng)奏響

來自遙遠(yuǎn)東方的中國浙江民族樂團(tuán)，第一次在白雪皚皚的北歐名城瑞典斯德哥爾摩的藍(lán)色音樂大廳亮相。隨著一曲歡快熱烈、洋溢著濃郁昆曲韻味的《將軍得勝令》奏響，中國式的喜慶音樂就在這擁有1300座的豪華音樂廳里彌漫開來。接著上演的是《江南好》《水鄉(xiāng)小唱》《西湖夢尋》以及流傳甚廣的江南絲竹名曲《三六》等動聽音符。也許上半場演奏的曲目顯得舒緩、寫意，觀眾還能很紳士地聆聽，然而到了笛子獨(dú)奏《鷓鴣飛》時，許多觀眾便顯露出陶醉之狀，特別是該曲經(jīng)著名笛子演奏家蔣國基演繹，尾部笛音轉(zhuǎn)低八度打疊，猶如鷓鴣飛入云天漸行漸遠(yuǎn)之韻味，讓在場觀眾得到了感官和聽覺上的美妙享受，頓時掌聲響成一片。

下半場極具特色的“彩蝶女樂”絲弦五重奏《躍龍》、侯彥秋雙管葫蘆絲獨(dú)奏《田歌》和于紅梅領(lǐng)銜取材于越劇唱腔的二胡協(xié)奏《穆桂英》等，更引起了北歐觀眾極大興趣，臺上臺下互動漸入佳境，特別是鼓聲激越、熱情奔涌的《龍騰虎躍》，仿佛傳遞了一個正在崛起的東方文明古國友好、和諧、同樂的心聲，當(dāng)終場曲《拉德斯基進(jìn)行曲》奏響時，全場觀眾掌聲如雷，經(jīng)久不息，全體演奏員謝了三次幕觀眾還不肯離去。觀眾科歷斯汀興奮地說：“我聽到了中國民樂的斯特勞斯！在音樂里，我們看到了明媚秀麗的水鄉(xiāng)景色和江南少女的青春靚麗。”我驚異于異國觀眾對中國民樂的理解，深感音樂無國界，人類的情感是相通的。

不僅是斯德哥爾摩這樣的大都市觀眾能盡情欣賞異國民樂，就連瑞典偏僻的維拉小城，觀眾對東方音樂也是那么虔誠，每曲奏罷掌聲四起，即便曲終人也不散，觀眾全體起立長時間地為浙江民樂團(tuán)鼓掌。

政府公平配置文化資源

北歐寒冷的氣候以及小城鎮(zhèn)對東方文化的不熟悉，因而民樂團(tuán)在韋克舍、林雪平等小城的演出，上座率不及哥德堡和斯德哥爾摩。

我不知道瑞典的經(jīng)紀(jì)人為何要組織我們來這邊遠(yuǎn)小城賠本演出。瑞典的資深演出經(jīng)紀(jì)人布魯斯·托姆先生說，在瑞典、挪威等國不允許純粹以贏利為目的的演出，加之在瑞典演出政府會出資助，而資助的前提是這個演出項目除了去大城市演出之外，還必須到邊遠(yuǎn)小城鎮(zhèn)去演，這樣政府會補(bǔ)貼演出的一半成本。如果你只在大城市演出，這個演出就不會被批準(zhǔn)，政府這樣做的目的是為了公平配置文化資源，使人人公平享有文化權(quán)益。

在瑞典，不論大城市或是中小城鎮(zhèn)，人們經(jīng)常參加各類藝術(shù)欣賞活動，政府除了對演出補(bǔ)貼之外，也有平抑票價的措施，比如中國民樂這次演出的最高票價，不能超過320瑞典克朗，這對于最低月薪一般在2萬瑞典克朗左右的當(dāng)?shù)厝藖碚f，是負(fù)擔(dān)得起的。布魯斯·托姆開心地說，我很高興看到浙江民族樂團(tuán)的演出受到北歐觀眾的認(rèn)可和欣賞，尤其是“彩蝶女樂”組合，那是典型的東方風(fēng)情加上現(xiàn)代氣息，很能激起觀眾的情緒。他認(rèn)為東方藝術(shù)進(jìn)入西方市場，本次演出成功是個良好的開始。

音樂傳統(tǒng)是這樣鑄造的

浙江民族樂團(tuán)從瑞典哥德堡前往韋克舍的行車途中，筆者與奧地利電視臺記者諾曼進(jìn)行了交流。

諾曼是一位文藝專題片制作人，此行他一路跟隨樂團(tuán)，記錄著浙江民族樂團(tuán)在北歐掀起的熱潮。我問諾曼，這么一路跟隨，看了這么多場浙江民樂團(tuán)的演出，你喜歡中國的民族音樂嗎？

這位來自音樂之都維也納的電視人說：中國民樂團(tuán)到維也納演出，我每次都去聽，龐大的中國樂隊用西方人從未見過的民族樂器奏出美妙的音樂，太迷人了！特別是聽新年音樂會，那是奧地利人的習(xí)慣。

“那么你們聽音樂有什么特別的喜好和取舍嗎？”我問。他笑說應(yīng)該沒有，只要是優(yōu)美、和諧的音樂，無論是哪個國家的，也無論是古典還是現(xiàn)代的，我們都欣賞。比如中國民族音樂，我以前不熟悉，現(xiàn)在有了一定了解，就很喜歡，特別是用那些本民族樂器演奏的很中國、很藝術(shù)的曲目。

諾曼告訴我，在歐洲很多人從小就接受良好的音樂教育，比如他的五個孩子都在學(xué)習(xí)各種樂器，開始也許需要大人強(qiáng)制，但時間長了孩子們就產(chǎn)生興趣了。

我對西方觀眾的高度文明和音樂素養(yǎng)感到好奇，諾曼說，經(jīng)過這些年的社會發(fā)展，人們越來越明白，人生不是只有掙錢這一件事情，腦子里應(yīng)該裝進(jìn)更多好的東西。學(xué)習(xí)音樂可以提高素養(yǎng)和溝通能力，這大概也是許多人喜歡聽音樂、能安靜欣賞各種音樂會的原因吧。

他的話讓我聯(lián)想到一路來看到的歐洲所有大中小城鎮(zhèn)，都有一流的音樂廳、完備的文化設(shè)施和收費(fèi)低廉的兒童藝術(shù)教育學(xué)校，這一切的背后掩映著的，是國家健全的公共文化服務(wù)保障機(jī)制和文化推廣的政策導(dǎo)向。

My Experience of European Complex with Oriental Music

Su Weiqian

In the capacity of a journalist， I covered the European tour taken by the Zhejiang Chinese Folk Music Troupe in the spring of 2007. I saw how the European audiences were excited by the Chinese music， and how they applauded and presented flowers. The most intriguing thing for me， however， is their attitude toward culture and their endeavors toward cultural progress.

The troupe made its premier this year at the Blue Concert Hall in Stockholm. The Chinese traditional compositions were sensational. There was a long standing ovation and three curtain calls at the end of the debut.

I was deeply impressed with the way the Sweden government distributed the musical resources evenly across the country. The troupe was arranged to stage performances in some remote cities such as Vaxjo and Linkoping. I wondered why and asked our Sweden manager. His explanation was eye-opening. He said， Sweden and Norway do not allow profit-oriented musical performances. The government subsidizes musical performances on the conditions that they are also held in remote areas. Performances for audiences in big cities will not be approved by the government. The purpose of the measure is to share cultural resources equally and fairly. The Sweden government takes measures to make sure that a ticket for our performance should be no more than 320 crowns， which was acceptable to the Sweden citizens whose lowest monthly income was 20，000 crowns. The manager commented that he was glad that the Nordic people enjoyed and appreciated the oriental music. Some Chinese musical pieces were highly appreciated for their perfect combination of oriental grace and modernity. The manager noted that this tour by Zhejiang troupe marked a good introduction of oriental arts to the West.

On our way from Goteborg to Vaxjo， I chatted with Norman， a journalist of an Australian television station. A producer of documentaries on cultural events， he followed around to document the Zhejiang Folk Music Troupe’s shows in northern European countries.

I asked Norman if he really liked Chinese music. He said that he had attended all the performances in Vienna staged by Chinese folk music orchestras. He said it was really exciting to hear an orchestra using never-seen-before musical instruments play such wonderful music. The New Year Concert， often staged by a Chinese folk orchestra now， is a must for Austrians.

I asked if Austrians had preferences for music appreciation. Smiling and shaking his head， he said no. “We enjoy beautiful and harmonious music no matter where it comes from and no matter whether it is classical or modern.?He said he had not been familiar with Chinese music before， but now he had an adequate knowledge. He had a special liking to compositions that were typical of China and Chinese musical instruments.

Norman told me that many Europeans receive a good music education in childhood years. His five children were learning how to play an instrument. At first the parents needed to be a little bit high handed. Now the children took interest.

I told Norman that I was highly impressed of the western audience’s civility and their passionate appreciation of music. Norman replied that more and more people now realize that making money should not be the only object of one’s life and that they want more for their lives. He said that ample exposure to music would enhance one’s life quality and improve one’s ability to communicate better with other people. That is why so many people like music and like to enjoy a concert， he confirmed.

His comment reminded me of all the cities and towns I had visited on the trip. They all have first-class concert halls and complete cultural facilities and art education schools for children that charge only low fees. Behind the phenomenon are the government’s pro-culture policies and a complete set of mechanisms for cultural services for the public.

(Translated by Tian Jinjiang)