須彌樂團

侴婉寧

宋昭

顧聖嬰

上元思凡

遙遠的音符，融入深邃的夜色，如同神秘星辰點綴天空。須彌樂團，名字承載着博大的思維，正如“須彌藏芥子，芥子納須彌”一般，以纖小之物寄寓宇宙之奧秘。在這場音樂的儀式中，他們超越了傳統，超越了樂器的侷限，將音符交織成一幅華美的圖景，勾勒出新民樂的瑰麗輪廓。
曲，是音樂的律動，亦是酒令的律動。自古以來，樂曲與酒便是祭祀活動必不可少的元素。在我國古代祭祀典禮中設有樂舞表演和音樂演奏，稱“雅樂”；在祭祀活動中，以酒澆地，表示祭奠，謂之“祭酒”。雅樂悠揚，如同祭祀之歌，而祭酒則是與神明對話的媒介。祭祀活動的對象包括天地、山川等，還有眾多神秘而重要的神話人物。
神話，是先人對自然的思考，是先人天馬行空的想象力、無窮的創造力，是華夏民族燦爛精神文明的見證。在這張名為“神曲”的專輯中，中西樂器共鳴，譜寫出了一幅神秘而豐富的音樂畫卷。主奏樂器大提琴和揚琴，一個源自西方，一個藴含東方情韻，交織出中西文化的和諧之音。
這張專輯由新鋭作曲家JAM C執筆，邀請了揚琴演奏家侴文靜、大提琴演奏家潘暢、大提琴演奏家宋昭、笛簫演奏家陳冬、琵琶演奏家顧聖嬰、二胡演奏家范曉麗、獨唱演員夏桐等出色的音樂家加盟共同演奏。他們的合奏，宛如酒令之聲，如同祭神的樂章。專輯之“新民樂”不只是民樂與西洋樂器的中西交匯，更首次加入了AI人聲的使用，為新民樂作品的創新再拋一種可能性。
專輯描述上古神話中10位女神人物的故事，由《媧皇創世》拉開序幕，深沉的鼓聲彷彿迎接宇宙的創生，女媧摶黃土做人，是華夏民族的起源，她的形象在音符間得以永存；《日御》和《月神》兩曲如同日月的循環，熱烈而清冷，用音符描繪出天地的壯麗；《女魃》和《天降玄女》則是描述了神話故事中戰爭的激烈與殘酷；《洛神宓妃》、《湘水祭》、《嫘祖始蠶》旋律婉轉纏綿，三位女神不同的美態被淋漓盡致地展現眼前；《九幽神樂》與《崑崙瑤池會》完美地用音樂表達了九幽盛世以及蟠桃盛宴的盛大、祥和以及熱鬧之景。女神們的降臨，如同醇美的美酒，神秘而令人陶醉，她們在音樂中起舞，為整個專輯刻畫出神秘而多彩的神話圖景。
這就是《須彌·神曲》——一場神話與酒文化的盛宴，一次對音樂的探索與創新。在須彌樂團的演奏下，中西樂器相得益彰，酒樂之曲，神曲之禮，交匯成一曲華美的音樂畫卷，娓娓道來古老神話，借酒追溯人類的遠古歷程。

Distant notes blend with the profound night, like mysterious stars adorning the sky. Sumeru Musical Ensemble, carrying a vast mindset in their name, just as “a mustard seed contains Mount Sumeru, and Mount Sumeru fits within a mustard seed”, conveys the cosmic mysteries through humble objects. In this musical ceremony, they transcend tradition and the limitations of instruments, weaving musical notes into a splendid panorama, outlining the magnificent contours of new Chinese music.
Music, or melody, is not only the rhythm of music but also the rhythm of drinking games. Since ancient times, music and alcohol have been essential elements of sacrificial activities. Ancient Chinese sacrificial rituals included musical and dance performances, known as “yayue (elegant music)”. During these ceremonies, pouring wine on the ground as an offering was called “sacrificial wine”. Yayue is melodious, like a song for sacrifices, while sacrificial wine serves as a medium for communication with deities. The objects of these rituals include heaven, earth, mountains, rivers, and numerous enigmatic and significant mythological figures.
Mythology is the ancestral reflection on nature, it is the boundless imagination and limitless creativity of our ancestors, and it bears witness to the brilliant spiritual civilization of the Chinese nation. In this album titled “Divine Songs” resonating Chinese and western instruments compose a mysterious and rich musical tapestry. The prominent instruments, cello and yangqin, one originating from the West and the other encapsulating eastern charm, intertwine to create harmonious melodies of both Chinese and western cultures.
This album is composed by the rising composer JAM C and performed by a stellar lineup of musicians including yangqin player Kaitlyn CHOU, cellist Peter PAN, cellist AIYS SONG, dizi and xiao player Dong CHEN, pipa player Shengying GU, erhu player Clare FAN, and solo vocalist Tiffany XIA. Their performance resembles the sound of drinking games, like chapters of music offered to the immortals. The New Chinese Music the album expresses not only represents the fusion of traditional Chinese music with the western music by both Chinese traditional musical instruments and the western musical instruments, but also incorporates the use of AI vocals for the first time, opening up new possibilities for innovative works of new Chinese music.
The album describes the stories of ten goddesses from Chinese ancient mythologies. Opening with “Nuwa, the Empress of Creation of Humanity”, the deep drumbeats seem to welcome the birth of the universe. Nuwa molded humans from yellow clay, representing the origin of the Chinese nation, and her image is immortalized through the notes. The tracks “Sun Goddess” and “Moon Goddess” symbolize the cycle of the sun and moon, passionate yet tranquil, capturing the magnificence of heaven and earth. “Nuba, the Goddess of Drought” and “The Mysterious Maid from Heaven” depict the intensity and cruelty of warfare in mythological stories. The melodies of “Fufei, the Goddess of the Luo River”, “Love Story of the Goddess of the Xiang River”, and “Leizu, the First Empress of Silk” are gentle and lingering, fully showcasing the beauty of the three goddesses. “Sunu, the Goddess of Music” and “The Celestial Gathering at Kunlun’s Jade Pool” perfectly express the grandeur, tranquility, and liveliness of the Nine Hades era and the Peach Banquet. The descent of the goddesses, like fine wine, is mystical and intoxicating, as they dance within the music, painting a vivid picture of mythical splendor throughout the entire album.
This is “Sumeru · Divine Songs” - a feast of mythology and wine culture, an exploration and innovation in music. Through the performance of the Sumeru Musical Ensemble, Chinese and Western instruments complement each other, combining music and wine, creating a beautiful musical panorama. It narrates ancient myths, tracing the distant history of humanity through wine.

須彌·神曲 (Sumeru·Divine Songs)

磯村由紀子

須彌·遣唐錄 (Sumeru - Impressions of the Glorious Tang Dynasty)

潘暢

玉珠盤

Sainkho Namtchylak

長江赤壁，吳魏對壘。東風凌厲，攪動烈火焚天。戰鼓擂擂，其音犀利肅殺，戰吼激昂，響徹雲霄。須彌樂團收錄在專輯《鼓宴·須彌三國》裏的《焚天鼓》，以鼓聲重現著名的赤壁之戰。本次須彌樂團邀請了圖瓦國寶級女伶，珊蔻·南切拉克（Sainkho Namtchylak）來共同演繹這首激昂、波瀾壯闊的音樂史詩。
二胡與古箏的演奏遊刃有餘，與跌宕起伏的絃樂齊奏形成鮮明對比，風音蕭蕭，催動震耳戰鼓，以鼓繪出一副赤壁烈焰圖。而當珊蔻·南切拉克（Sainkho Namtchylak）極富穿透力的人聲迴盪在赤壁江畔的天際，每一位戰士的雄心都將被點燃，冷冽的空氣中將揮灑着兩軍熱血。
須彌樂團是布穀鳥音樂旗下的新民樂樂團，取名自“須彌藏芥子，芥子納須彌”的典故，代表樂團既有包含萬物的寬廣，也有將優秀音樂濃縮於顆“芥子”的精妙。須彌樂團本着“包羅萬象”的核心理念，不拘泥於傳統樂團的固定編制，與國內外優秀的音樂家、演奏家深入合作，打造新時代的民樂佳作。
以呼麥唱法而聞名的圖瓦國寶級女伶，珊蔻·南切拉克（Sainkho Namtchylak），是極具創造力的藝術家，打破了圖瓦“女人不得喉唱”的禁忌。她將來自世界各地各種各樣的元素融入到遊牧民族的音樂中，形成了她極為獨特的音樂風格。《焚天鼓（Feat.Sainkho Namtchylak）》是須彌樂團與珊蔻的第一次合作，對於雙方來説都是一次非常有意義的探索。當新民樂遇上了這位傳奇女伶，喉與鼓的碰撞會激起幾層風浪。
珊蔻·南切拉克（Sainkho Namtchylak）在曲中使用了諸多喉音藝術與唱法，包括了因紐特喉音藝術、藏音喉音藝術、蒙古喉音藝術、以及來自她家鄉的圖瓦喉音藝術。用泛音、哨音等多種演唱方式將這種特殊的雙音演唱技巧融合在須彌樂團《焚天鼓》中，使聽者更能感受到當年赤壁戰場上的肅殺與冷冽。

焚天鼓 (Feat.Sainkho Namtchylak)

Hoaprox

月神 (Remix Version)

https://image.joox.com/JOOXcover/0/213999fac3481b76/300

上元思凡

歌曲列表

更多須彌樂團

上元思凡

歌曲列表

更多 須彌樂團

更多須彌樂團