须弥乐团

郑瑀

侯长青

曹杨

单骑

侴婉宁

宋昭

顾圣婴

须弥乐团是布谷鸟音乐旗下的新民乐乐团，乐团取名自“须弥藏芥子，芥子纳须弥”的典故，代表了乐团既有包含万物的宽广，也有将优秀音乐浓缩于一颗“芥子”的精妙。须弥乐团本着“包罗万象”的核心理念，不拘泥于传统乐团的固定编制，与国内外优秀的音乐家、演奏家深入合作，致力于打造新时代的民乐佳作。
须弥乐团新作由青年作曲家JAM C探索民乐与电子音乐结合的可能性，拓展“新民乐”的视界。由侴婉宁（扬琴）、顾圣婴（琵琶）、宋昭（大提琴）三位青年演奏家再次联袂，共同演绎这首《上元思凡》。
“上元节”即为现在的元宵节。在我国历史上具有深远的历史文化。自唐朝开始，在上元节这一日将举办为期数日的节庆活动，暂时的取消宵禁制度，举天同庆，夜夜笙歌。据刘肃《大唐新语·文章》载：“武则天神龙之际，正月十五夜京城大放花灯，金吾弛禁，特许夜行，观灯者人山人海”。这一日的市井街道人头攒动，络绎不绝，热闹的景象仿佛能将仙人的尘心煽动，思念凡间。
大提琴连续的拨弓，音色灵动而有些许含蓄，如同节前人们难以按捺住的节前喜悦，又如同欢庆中少男女们心中的悸动。电子鼓有节奏的引领着着每一个人的心跳与步伐，欢腾着走向街道。随着扬琴明亮的音色加入，节庆气氛瞬间点燃，人们出现在城市大街小巷的每个角落，或与佳人相遇，邂逅美好，或是开怀畅饮，对未来充满期待。上元灯会中的人们在琵琶柔美而富有张力的演奏下欢歌载舞，而这片歌舞升平的壮观景象，似乎能将不问尘世的仙人感染，思绪落下，坠入凡间。

上元思凡

遥远的音符，融入深邃的夜色，如同神秘星辰点缀天空。须弥乐团，名字承载着博大的思维，正如“须弥藏芥子，芥子纳须弥”一般，以纤小之物寄寓宇宙之奥秘。在这场音乐的仪式中，他们超越了传统，超越了乐器的局限，将音符交织成一幅华美的图景，勾勒出新民乐的瑰丽轮廓。
曲，是音乐的律动，亦是酒令的律动。自古以来，乐曲与酒便是祭祀活动必不可少的元素。在我国古代祭祀典礼中设有乐舞表演和音乐演奏，称“雅乐”；在祭祀活动中，以酒浇地，表示祭奠，谓之“祭酒”。雅乐悠扬，如同祭祀之歌，而祭酒则是与神明对话的媒介。祭祀活动的对象包括天地、山川等，还有众多神秘而重要的神话人物。
神话，是先人对自然的思考，是先人天马行空的想象力、无穷的创造力，是华夏民族灿烂精神文明的见证。在这张名为“神曲”的专辑中，中西乐器共鸣，谱写出了一幅神秘而丰富的音乐画卷。主奏乐器大提琴和扬琴，一个源自西方，一个蕴含东方情韵，交织出中西文化的和谐之音。
这张专辑由新锐作曲家JAM C执笔，邀请了扬琴演奏家侴文静、大提琴演奏家潘畅、大提琴演奏家宋昭、笛箫演奏家陈冬、琵琶演奏家顾圣婴、二胡演奏家范晓丽、独唱演员夏桐等出色的音乐家加盟共同演奏。他们的合奏，宛如酒令之声，如同祭神的乐章。专辑之“新民乐”不只是民乐与西洋乐器的中西交汇，更首次加入了AI人声的使用，为新民乐作品的创新再抛一种可能性。
专辑描述上古神话中10位女神人物的故事，由《娲皇创世》拉开序幕，深沉的鼓声仿佛迎接宇宙的创生，女娲抟黄土做人，是华夏民族的起源，她的形象在音符间得以永存；《日御》和《月神》两曲如同日月的循环，热烈而清冷，用音符描绘出天地的壮丽；《女魃》和《天降玄女》则是描述了神话故事中战争的激烈与残酷；《洛神宓妃》、《湘水祭》、《嫘祖始蚕》旋律婉转缠绵，三位女神不同的美态被淋漓尽致地展现眼前；《九幽神乐》与《昆仑瑶池会》完美地用音乐表达了九幽盛世以及蟠桃盛宴的盛大、祥和以及热闹之景。女神们的降临，如同醇美的美酒，神秘而令人陶醉，她们在音乐中起舞，为整个专辑刻画出神秘而多彩的神话图景。
这就是《须弥·神曲》——一场神话与酒文化的盛宴，一次对音乐的探索与创新。在须弥乐团的演奏下，中西乐器相得益彰，酒乐之曲，神曲之礼，交汇成一曲华美的音乐画卷，娓娓道来古老神话，借酒追溯人类的远古历程。

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.

须弥·神曲 (Sumeru·Divine Songs)

矶村由纪子

须弥乐团、矶村由纪子《须弥·遣唐录》
Sumeru Musical Ensemble, Yukiko Isomura
Sumeru - Impressions of the Glorious Tang Dynasty 
OP/SP：布谷鸟音乐
出品方：布谷鸟音乐
发行方：星外星音乐

贞观四年，日本舒明天皇第一次派出遣唐使，随着远航的船只被濑户内海的浪涛推进对马海峡，日本开启了一场横跨三个世纪的遣唐之路。
《须弥·遣唐录》是布谷鸟音乐旗下新民乐乐团须弥乐团，联手日本作曲家、钢琴家矶村由纪子以及一众演奏家创作录制的一张关于百年“遣唐史”的音乐记事录。矶村由纪子根据自身的日式视觉，以及对中华文化的热爱和了解，创作出十首中日文化结合的精品之作。专辑选用了尺八、古筝、琵琶、二胡等传统中国乐器，并加上了钢琴、吉他等西方乐器进行演绎。
在曲目《奈良唐风》里，以古筝灵动的滚奏开场，日式曲调的笛音相和，一座“兼取唐长安、洛阳两京之长”的日本古都缓缓浮现。远方，使团向着博多的码头而行，登上了漫漫遣唐之路，在他们眼前，是夕阳下的浮光跃金，耳边是涛涛的海浪声和风声。矶村由纪子在《濑户内海之船》里，用吉他和钢琴述说着264年间的遣唐海路。而濑户内海，既是远航的起点，也是归家的灯塔。随着浪涛推移，时代更迭，长安的坊市制度得以在日本体现，《坊间戏》用钢琴、二胡与尺八欢快地合奏出长安坊间的满满人间烟火气，有趣多变的旋律如在讲述坊间流传的一件件奇闻轶事，让人忍俊不禁。
《长安绮梦绘卷》由全专曲目的精彩段落组成，意味着遣唐向来都不是几个人或是一代人的事业。无数遣唐使与唐朝文化数百年的联系，构成了日本浩浩荡荡的遣唐史。
“俱怀逸兴壮思飞，欲上青天揽明月”，唐朝向世界展现了文明中国拥有的自信、开放、大气、包容、向上的民族精神，铸造了炎黄子孙永远为之自豪的文化高地。矶村由纪子与须弥乐团在《须弥·遣唐录》中，用音乐诉说着唐朝文化的璀璨与繁华，以及日本遣唐使眼中源远流长的中华文化。
In the fourth year of the Zhenguan era, Emperor Shōmu of Japan sent the first envoy to Tang Dynasty. With their ships pushed by the waves of the Seto Inland Sea into the Tsushima Strait, Japan embarked on a diplomatic mission to China that spanned three centuries.
“Sumeru - Impressions of the Glorious Tang Dynasty” is a musical chronicle album created and recorded by the Sumeru Musical Ensemble, a Chinese new folk music group under the label Cuckoo Music. Collaborating with Japanese composer and pianist Yukiko Isomura, as well as a group of musicians, they produced a collection of music that commemorates the hundred-year history of “sending envoys to Tang”. Yukiko Isomura, drawing from her own Japanese perspective and her love and understanding of Chinese culture, created ten exquisite pieces that combine elements of both Chinese and Japanese cultures. The album features traditional Chinese instruments such as the chiba, guzheng, pipa, erhu, along with western instruments like piano and guitar for interpretation.
In the track “The Prosperous Nara”, the lively rolling sounds of the guzheng open the performance, harmonizing with the melodic flute tunes of Japan. The ancient capital city of Japan, which “incorporated the best of Chang’an and Luoyang”, slowly emerges. In the distance, the envoy heads towards the port of Hakata, embarking on the long journey of sending envoys to Tang. Before them, the flickering golden light under the setting sun, accompanied by the sound of waves and wind. In “The Bustling Port of Seto Inland Sea”, Yukiko Isomura uses guitar and piano to depict the 264-year maritime route of sending envoys to Tang. The Seto Inland Sea serves as both the starting point of the distant voyage and the lighthouse guiding their return home. As the waves move forward, eras change, and the “Square City System of Chang’an”finds its expression in Japan. In “The Flourishing Chang’an Streets”, piano, erhu, and chiba joyfully combine to perform the vibrant atmosphere of the streets of Chang’an, narrating the intriguing anecdotes passed down in the streets, bringing smiles to people’s faces.
“The Glory of Chang’an” consists of wonderful sections from the entire album, signifying that sending envoys to Tang was not merely the endeavor of a few individuals or a single generation. Countless envoys and their connections with Tang Dynasty culture over hundreds of years shape Japan’s grand history of sending envoys to Tang.
“With lofty aspirations and thoughts taking flight, desiring to ascend to the heavens and embrace the bright moon”, Tang Dynasty showcased the confident, open-minded, broad-minded, inclusive, and progressive spirit of civilized China to the world. It forged a cultural stronghold that the descendants of Yan and Huang will forever be proud of. Yukiko Isomura and the Sumeru Musical Ensemble, in “Sumeru - Impressions of the Glorious Tang Dynasty”, use music to recount the brilliance and prosperity of the Tang Dynasty culture, as well as the profound and enduring Chinese culture seen through the eyes of Japanese envoys.

须弥·遣唐录 (Sumeru - Impressions of the Glorious Tang Dynasty)

潘畅

玉珠盘

“嘈嘈切切错杂弹，大珠小珠落玉盘”。唐朝诗人白居易在古诗《琵琶行》中的这一句对于琵琶的描述，深深的刻在了无数人的脑海里。琵琶的音域广泛，具有拨奏乐器独特的明亮空间质感，演奏起来如颗粒明珠落于玉盘之中，清脆而又明亮，使听者耳目一新。
而当琵琶与扬琴碰撞在一起时，这盘玉珠又焕发出了别样的光彩。清脆悦耳而富有共鸣感的扬琴，与灵动柔美的琵琶，加之奏法多变灵活的大提琴，三种乐器交相跃动，时而欢腾愉悦，时而又传递着丝缕柔情，即使是在电子合成器之间，也仍然具有非凡的表现力，极富生命力。
布谷鸟音乐旗下新民乐乐团，须弥乐团推出的电子音乐与民乐融合的首发作品《玉珠盘》，进一步的阐释了须弥乐团对于新民乐的理解。他们用行动诠释着“须弥”的含义，不断的探索着民乐的新可能性。青年作曲家JAM C巧妙的将本曲与须弥乐团即将发行的新专辑《须弥·神曲》中的曲目旋律融合，与之呼应，轻柔的揭开了须弥乐团新专辑的一角神秘面纱。
在这首以大提琴、扬琴和琵琶为主的电子音乐作品中，须弥乐团不仅与青年大提琴演奏家潘畅，青年扬琴演奏家侴文静再度携手，也迎来了与青年琵琶演奏家顾圣婴的首次合作。
轻拢慢捻抹复挑，在弹指拨动间，仿若一位鲜活美丽的佳人舞动，定睛细瞧，盘中起舞的是琵琶、扬琴与大提琴三颗明珠。

表演者：须弥乐团
大提琴：潘畅
扬琴：侴文静（字：婉宁）
琵琶：顾圣婴
作曲：JAM C
编曲：JAM C
录音工程师：李正宙/粱梓沛
录音助理：余柔璇
录音棚：卜音工作室（原Indra Audio Studio）
立体声混音工程师：JAM C
立体声母带工程师：JAM C
杜比全景声混音工程师：陈宇鵬
杜比全景声母带工程师：陈宇鵬
杜比全景声混音棚：卜音工作室（原Indra Audio Studio）
制作人：JAM C
OP/SP：布谷鸟音乐
出品方：布谷鸟音乐
发行方：星外星音乐

Sainkho Namtchylak

长江赤壁，吴魏对垒。东风凌厉，搅动烈火焚天。战鼓擂擂，其音犀利肃杀，战吼激昂，响彻云霄。须弥乐团收录在专辑《鼓宴·须弥三国》里的《焚天鼓》，以鼓声重现著名的赤壁之战。本次须弥乐团邀请了图瓦国宝级女伶，珊蔻·南切拉克（Sainkho Namtchylak）来共同演绎这首激昂、波澜壮阔的音乐史诗。
二胡与古筝的演奏游刃有余，与跌宕起伏的弦乐齐奏形成鲜明对比，风音萧萧，催动震耳战鼓，以鼓绘出一副赤壁烈焰图。而当珊蔻·南切拉克（Sainkho Namtchylak）极富穿透力的人声回荡在赤壁江畔的天际，每一位战士的雄心都将被点燃，冷冽的空气中将挥洒着两军热血。
须弥乐团是布谷鸟音乐旗下的新民乐乐团，取名自“须弥藏芥子，芥子纳须弥”的典故，代表乐团既有包含万物的宽广，也有将优秀音乐浓缩于颗“芥子”的精妙。须弥乐团本着“包罗万象”的核心理念，不拘泥于传统乐团的固定编制，与国内外优秀的音乐家、演奏家深入合作，打造新时代的民乐佳作。
以呼麦唱法而闻名的图瓦国宝级女伶，珊蔻·南切拉克（Sainkho Namtchylak），是极具创造力的艺术家，打破了图瓦“女人不得喉唱”的禁忌。她将来自世界各地各种各样的元素融入到游牧民族的音乐中，形成了她极为独特的音乐风格。《焚天鼓（Feat.Sainkho Namtchylak）》是须弥乐团与珊蔻的第一次合作，对于双方来说都是一次非常有意义的探索。当新民乐遇上了这位传奇女伶，喉与鼓的碰撞会激起几层风浪。
珊蔻·南切拉克（Sainkho Namtchylak）在曲中使用了诸多喉音艺术与唱法，包括了因纽特喉音艺术、藏音喉音艺术、蒙古喉音艺术、以及来自她家乡的图瓦喉音艺术。用泛音、哨音等多种演唱方式将这种特殊的双音演唱技巧融合在须弥乐团《焚天鼓》中，使听者更能感受到当年赤壁战场上的肃杀与冷冽。

焚天鼓 (Feat.Sainkho Namtchylak)

Hoaprox

月神 (Remix Version)

https://image.joox.com/JOOXcover/0/5fd22efa0eaeffde/300

单骑

歌曲列表

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歌曲列表

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