冬虫·夏草：冬虫 (Yartsa Gunbu: Winter Worm)-月亮 (Lucina Yue)/苏珊·骄乐丝/格罗布斯-霍尼希·加布里埃尔/杰奎·德尼罗

冬虫·夏草：冬虫 作曲：方岽清 箜篌移植：月亮（Lucina Yue） 箜篌：月亮（Lucina Yue） 竖琴：苏珊·骄乐丝 打击乐：格罗布斯-霍尼希·加布里埃尔 低音贝斯：杰奎·德尼罗 制作人：月亮（Lucina Yue）/孙绍庭 录音制作人/音响总监：孙绍庭 助理录音师：埃内斯托·巴伦苏埃拉/戴欣嬅 混音工程师：孙绍庭 母带工程师：艾伦·希尔弗曼/雪伦·贺维兹 录音棚：纽约地下堡垒录音棚/新泽西水乐录音棚 统筹：张海英 助理：杨佳妮 发行：星外星音乐 音乐在分秒流逝的律动中悄然进入，预示着虫子将卵产于草丛之上，又随叶片飘落地表的情景。伴随着抒情而带有一丝淡淡伤感的主题，一个个小小的生命经历着不断的生息与质变的过程，最终安静而神秘的沉睡，等待挣脱出地面浅层的那一刻...... 本次移植改编，新生代箜篌世界化的代表人物，中国现代箜篌艺术海外传播的奠基者、最具影响力的新生代箜篌演奏家月亮创新地将原本由一台古筝配四台小箜篌和打击乐的室内乐作品改编为一台全转调箜篌配四台音乐会竖琴。由美国竖琴学会终身成就奖得主、曼哈顿音乐学院及曼尼斯音乐学院教授、美国大都会歌剧院第一个竖琴演奏者、教育家苏珊·骄乐丝录制竖琴部分。这首的演奏技法与箜篌原本的演奏技法大相径庭，箜篌的演奏部分大半由拨片完成，是一次前所未有的尝试。尼龙金属弦配拨片演奏音色和竖琴的羊肠弦指弹音色进行了鲜明的对比。听众可以在这首作品中轻而易举的听出箜篌和竖琴的音色不同，也可以在版本对比中发现箜篌和古筝并无关系。 Yartsa Gunbu: Winter Worm Composer: Dongqing Fang Arranger: Lucina Yue Producer: Lucina Yue, Shao-Ting Sun Konghou: Lucina Yue Harp: Susan Jolles Percussion: Globus-Hoenich Gabriel Double Bass: Jacqui Danilow Recording Producer / Tonmeister: Shao-Ting Sun Assistant Engineer: Ernesto Valenzuela, Hsin-Hwa Tai Mixing Engineer: Shao-Ting Sun Mastering Engineer: Alan Silverman, Sharon Hurvitz Recording Studio: The Bunker Studio, Water Music Recording Studio Manager: Alisa Zhang Assistant: Jenny Yang Distributor: Starsing Music The music emerges with the fleeting rhythm of passing seconds, evoking the scene of insect eggs being laid upon the grass and gently carried to the earth by drifting leaves. A lyrical yet subtly melancholic theme accompanies this portrayal of tiny lives undergoing continuous metamorphosis, eventually settling into a quiet, mysterious slumber as they await their moment to break through the surface... For this adaptation, Lucina Yue, A Defining Voice of the New Generation in Globalizing the Konghou, the Pioneer of Modern Chinese Konghou Art in the Eastern U.S., the Founding Ambassador of Modern Chinese Konghou Art Abroad, the Most Influential Konghou Virtuoso of the New Generation, has innovatively reimagined the original chamber arrangement - which featured one guzheng accompanied by four small konghous and percussion - into a new version for one fully chromatic konghou paired with four concert harps. The harp parts were recorded by Recipient of the American Harp Society’s Lifetime Achievement Award, Professor at both Manhattan School of Music and Mannes School of Music, and the first harpist of the Metropolitan Opera Orchestra Susan Jolles. This performance employs radically unconventional techniques for the konghou, with the majority of its parts executed using plectrums - an unprecedented approach. The timbral contrast between the nylon-wound metal strings played with plectrums and the gut strings of the finger-plucked harp creates striking sonic differentiation. Listeners will readily discern the distinct tonal characteristics between konghou and harp, while comparative listening will reveal the fundamental differences between konghou and guzheng.