专辑介绍

东西方文化的对话，往往在深刻的艺术实践中得以具象化。音乐家王琦的专辑《BWV D 小调 1004》，为此提供了一个精妙范本：他以中国传统乐器“笙”，对巴赫的《D小调无伴奏小提琴第二组曲》进行了严谨而富有创造性的重释。

开篇的《阿拉曼德》，其沉稳步态经由笙的演绎，被赋予了东方审美的独特意蕴。笙，这一古老簧管乐器，以其独特的“和声”与气息控制，将巴洛克式的复调结构转化为一种近乎冥想的、内省的音响景观。音色清越而不失厚重，其层次感并非来自小提琴弓弦的摩擦，而是源于气息的精微变化，营造出一种静水深流的听觉体验。

随后的《库朗特》与《基格》，节奏趋于明快，笙的演奏在此并未简单模仿小提琴的炫技，而是以其独特的断奏与连奏技巧，赋予了乐曲一种内敛的跃动感。《萨拉班德》则构成了专辑情感的锚点。其庄重的律动在笙的诠释下，褪去了宫廷的华丽，更添一分东方式的哲思与静穆。演奏家对气息的极致把控，使得长音的延续与衰减充满了情感的张力，深沉而不滥情，仿佛是一场关于生命与时间的肃穆思考。

终曲《恰空》，作为整部组曲的巅峰，无疑是对演奏者技术与思想深度的终极考验。王琦的演绎并未回避其庞大的结构与复杂的情感织体。在此，笙不再仅仅是一件旋律乐器，它通过音色的明暗、力度的涨落以及和声的叠加，构建出一个恢弘而克制的声学建筑。巴赫原作中那种近乎神性的悲剧感与超然的慰藉，在笙的呼吸吐纳之间，被赋予了一种东方的宇宙观，仿佛是在有限的音符中，探寻无限的精神空间。

这张专辑的意义，超越了一次成功的跨文化音乐移植。它是一场介于巴洛克复调严谨性与东方哲学内省性之间的深度对话。王琦的演奏证明了，伟大的音乐结构具有普适的包容力，能够被不同文化的美学媒介所吸收并重塑。它为听者提供的，不仅是一次新颖的听觉体验，更是一个严肃的思考范例：不同的文化传统如何在相互尊重与深刻理解的基础上，共同抵达艺术的崇高之境。

Album Introduction

The dialogue between Eastern and Western cultures often finds its tangible expression in profound artistic practice. The album "BWV D minor 1004" by musician Wang Qi provides a masterful exemplar: employing the traditional Chinese instrument, the sheng, he offers a rigorous yet creative reinterpretation of Bach's Partita for Solo Violin No. 2 in D minor, BWV 1004.The opening Allemande, with its measured pace, is imbued with the unique spirit of Eastern aesthetics through the sheng's interpretation. The sheng, an ancient free-reed mouth organ, transforms the Baroque polyphonic structure into a soundscape that is at once meditative and introspective, using its unique harmonic capabilities and breath control. Its timbre is clear and resonant, yet possesses a profound depth. This textural richness derives not from the friction of a violin's bow on strings, but from the subtle modulations of breath, crafting an auditory experience akin to still waters running http://deep.Inthe subsequent Courante and Gigue, where the tempo quickens, the sheng's performance does not merely imitate the violin's virtuosity. Instead, through its distinct staccato and legato techniques, it imparts a sense of restrained animation to the pieces. The Sarabande serves as the album's emotional anchor. Under the sheng's interpretation, its solemn rhythm is stripped of its courtly grandeur and imbued with a quality of Eastern philosophical contemplation and stillness. The performer’s masterful breath control fills the sustain and decay of long notes with emotional tension—profound yet unsentimental, evoking a solemn meditation on life and time.The final movement, the Chaconne, stands as the pinnacle of the partita and the ultimate test of the performer’s technical prowess and intellectual depth. Wang Qi’s rendition does not shy away from its monumental structure and complex emotional tapestry. Here, the sheng transcends its role as a mere melodic instrument; through the interplay of timbral color, dynamic swells, and harmonic layering, it constructs an acoustic architecture that is both magnificent and restrained. The quasi-divine tragedy and transcendent solace of Bach's original work are imbued, through the sheng's breath, with an Eastern cosmological perspective, as if exploring an infinite spiritual realm within the confines of finite notes.The significance of this album transcends that of a mere cross-cultural musical transcription. It is a profound dialogue between the structural rigor of Baroque polyphony and the introspective nature of Eastern philosophy. Wang Qi's performance demonstrates that great musical structures possess a universal capacity to be absorbed and reshaped by the aesthetic mediums of different cultures. It offers the listener not merely a novel auditory experience, but a serious case study in reflection: how disparate cultural traditions, grounded in mutual respect and profound understanding, can converge to reach the sublime heights of art.

曲目单

1.阿拉曼德 Allemanda2.庫朗特Corrente3.薩拉班德Sarabanda4.基格 Giga5.恰空 Ciaccona

音乐家专访

青年笙演奏家王琦近日推出个人录音专辑，以笙演奏巴赫《D小调第二无伴奏小提琴组曲（BWV 1004）》。这是这部作品在中国首次以笙为主奏录制与发行，也是在民族乐器与西方古典音乐之间的一次大胆尝试。在谈到创作初衷时，王琦表示，最初只是将《恰空》作为练习曲来演奏，但在反复研究中，他发现笙与这部作品的契合远超预期。“笙的复音结构让多声部的织体成为可能，它既能保持旋律线的流动，又能支撑和声层次。虽然音色与小提琴不同，但通过气息控制和和声布局，笙也能展现出巴赫音乐的逻辑与张力。”录音中，王琦并未试图模仿小提琴的音色，而是让笙以自身的呼吸与光泽重新诠释作品。他强调，巴赫的音乐并非冷峻的理性，而是一种“理性中的生命力”。“笙的气息与巴赫的线条其实有共通之处——都在追求一种流动的秩序感。”对于这次录音，王琦认为意义不仅在技术层面，更在于文化上的再发现。“笙作为中国最古老的簧管乐器之一，长期被视为配器中的色彩元素。我希望通过这张专辑，让人听见笙作为独奏乐器的完整表达，也让古老乐器在新的语境中被重新认识。”目前，王琦正计划与青年作曲家合作，创作新的笙与当代音乐作品。他希望这种探索不仅扩展了乐器的声音边界，也让更多人意识到：传统乐器同样能够承载当代精神。“我不想用笙去‘模仿’谁，”王琦说，“我只是希望，用笙去讲述今天的声音。”

Young sheng performer Wang Qi has released his debut solo album, performing Bach’s Partita No. 2 in D minor, BWV 1004 on the sheng. This marks the first recording and publication in China of this Baroque masterpiece performed on the traditional Chinese mouth organ—an ambitious dialogue between Eastern and Western musical traditions.Reflecting on the project, Wang recalls that it began as a simple experiment. “At first, I played the Ciaccona just as a study piece,” he says. “But the more I explored, the more I realized how naturally the sheng fits this work. Its polyphonic structure makes it possible to sustain melodic lines while supporting harmonic layers. Though the timbre differs from the violin, I can still convey Bach’s sense of logic and tension through breath control and harmonic design.”In the recording, Wang did not attempt to imitate the violin’s tone. Instead, he let the sheng express itself through its own breathing and resonance. He believes that Bach’s music is not mere rationality, but “vitality within structure.” “The sheng’s breath and Bach’s melodic line actually share something in common—they both pursue a kind of flowing order,” he notes.For Wang, the project goes far beyond technical challenge; it represents a cultural rediscovery. “The sheng is one of China’s oldest reed instruments, yet it has long been treated mainly as an orchestral color,” he says. “Through this recording, I wanted to show that the sheng can also stand on its own as a solo instrument—and be heard anew in a contemporary context.”Wang is now working with young composers to create new works for the instrument. He hopes that such projects will expand the sheng’s sonic possibilities and encourage audiences to see that traditional instruments can still embody modern artistic spirit.“I’m not trying to make the sheng imitate anything,” Wang says with a calm smile. “I just want to let it speak—in its own voice—for the sounds of today.”

（来源：中国音乐网）