红烛的焰光，点亮深沉的夜色。觥筹交错的喧嚣，展开欢愉的绘卷。通透铿锵的琵琶，在人影绰绰的屏风后鸣响。空灵悠长的尺八，在摇曳的素雅纱帐中飘荡。饱满洒脱的鼓声，响彻雕栏玉砌的楼阁，在迢遥而氤氲的时空深处，激扬历史的浪涛。千年时光转瞬即逝，唯有那抑扬顿挫的胡琴，徘徊在幽寂的圆月下，为一座荒凉倾颓的城池，倾诉繁华褪尽的沧桑。

1400年前的大唐长安，威名远震，四海朝拜。政治、经济昌荣的盛景，促生了丰茂多姿的音乐文化。金碧堂皇的宫阙里，恢弘的乐舞技惊四座，曼妙的笙歌绕梁不绝。这壮阔绚烂的景象，令远道而来的日本遣唐使团为之震撼，并使他们在此后的二百年间，以汹涌巨浪中飘摇沉浮的木船，载去了众多起源于华夏大地的乐器与音律，让盛唐的音乐文化，在东瀛之国落地生根。高耸的天守之上，对酒当歌的英豪，倾听着承袭自大明宫的乐声，写下雄浑悲怆的诗句。空寂寥落的禅院里，修行者踏着飘散的落樱，吹奏那渡海而来的清雅曲调。湍急而明澈的河川旁，牧牛的少年，在异国乐器的伴奏下，传唱着不知名的歌谣。

音乐制作人叶云川，幼时大量阅读中国古代文学，由此产生了对传统文化的深刻理解和热爱。2018年，他曾凭借专辑《明月映敦煌》那华美的乐音，带人重新审视唐朝与敦煌的厚重历史。如今，他再度怀着对中国古代音乐繁荣盛景的深情怀念，前往作为唐文化最重要承继者之一的日本，为那座湮灭在时光深处的长安城，找寻现世尚存的几缕古朴音韵。此次召集中日优秀青年演奏家，于东京都神奈川县一座能够容纳1200名观众的音乐厅，以中华国乐与日本邦乐的即兴合奏，演绎经典民谣。尺八、琵琶、三味线、太鼓等特色乐器，皆于唐代东渡沧海传入日本，体现了日本自古而今对中华国乐传统的保存、承继和发扬。由旅日音乐家毛丫演奏的古筝、北京演奏家杨雪的二胡等中国乐器，与尺八演奏家长谷川将山、太鼓演奏家糸原昌史的日本乐器之间，展开了精彩纷呈的音乐对话，令绵延千年的两国文化交流历程重现眼前。

此张专辑，被叶云川誉为十五年来最具戏剧性和张力的作品。他十三岁时曾以吉他弹奏过，并为之深深动容的日本名曲《荒城之月》，成为了整张专辑的灵魂。乐曲兼具枯山水般充满哲思的空寂意境，以及仿佛火山喷发式的情感起伏，带着慷慨苍凉的历史情愁，展开如同黑泽明史诗电影般恢弘壮阔的历史幻想。《最上川舟歌》、《拉网小调》等日本传统民谣，以优美舒缓的旋律，带人领略东瀛列岛的清新景色。《黄杨扁担》、《落水天》等中国小调的加入，则为专辑古朴幽远的氛围，增添了几分蓬勃的乡野生活趣致，令人回味无穷。日本资深录音师小岛幸雄匠心精湛，运用顶级模拟系统捕捉音乐每个细节，中国录音大师李大康功力超凡，混音再现古代中国古典艺术韵味悠长。

此刻，请跟随音乐，怀着赤诚的心愿，穿越千年历史幻想，跨越那一座交融文化与情感的桥梁，在东渡千年的盛唐余音中，追溯故土音乐流传的渊源脉络，领会古代中国兼收并蓄的精神气韵。在辽阔的苍穹下，在空寂的风中，仰望那一轮恒久不变的圆月，回顾沧桑人世间的荣枯盛衰，悲欢离合。以此跌宕乐声，唤醒一个繁华若梦的音乐盛世。

听尺八的悠远空寂 听古筝的铿锵抑扬 听长安城的笙歌乐舞 觥筹交错的喧嚣

听纷扬的樱雨 听绚烂唯美的生存与寂灭 听东渡千年的盛唐余音 在历史的浪潮中回荡

Crimson candlelight illuminates the heavy night. Silence is replaced by the cacophony of chatter and cups hastily placed on tables only to be lifted away immediately. The gentle song of a biwa somehow breaks through all of it, as if on a different plane. The ethereal shakuhachi emits its song from beneath a gauze canopy. The generous roar of the drums resonates throughout the floors of the inn, piercing deep into its corners, making way for the wave of memories that ensue. Even after more than a millennium, the huqin still plays its aching song, the moon above following it through dynasty after dynasty, long after the city has fallen to ruin and disappeared from living memory.

The Tang capital Chang’an, now known as Xi’an, was during its heyday in 14th century one of the world’s most populous cities at the time, and an impressive center of economy, politics and culture, which gave rise to incredible feats of breakthroughs in music. Throughout the beautiful, gilded palace halls song and dance were always underway, and were a treat for anyone fortunate enough to witness them first-hand. This splendid musical array soon caught the attention of the kentoushi (Japanese ambassadors to Tang China), who for the next two centuries would study these arts, and bring their knowledge of them, along with musical scores and instruments, in large sturdy boats across the raging sea back to their homeland, thus perpetuating the culture of the Tang dynasty there. These bold songs from Daming Palace could be heard throughout the castles of Japan, during festive banquets and solemn ceremonies, inspiring many poets to leave behind works full of vigor and sadness. Even in the Zen gardens of Buddhist temples, as the monks strolled past the falling cherry blossom petals, they would play melodies originating from the Great Tang. And on the banks of rivers in the countryside, young cowherd boys would hum tunes, not knowing how far they travelled to reach them.

Rhymoi Music producer Ye Yunchuan, who has been fascinated by classical Chinese music since his childhood, has since gone on to hold a deep understanding and affection for it. In 2018, with his album Moonlight glow over Dunhuang, he showed the world the marvel that is the rich history of Dunhuang and the Tang Dynasty. Here, he once again is propelled by his deep admiration for Chinese classical music, to bring the listener to the most important successor of Tang culture—Japan. Though the original palaces of Chang’an no longer stand, its spirit still lives on. Mr. Ye calls upon a group of talented musicians from both Japan and China, and in a 1200-seat music hall in Kanagawa, reveals a stunning portrayal of Chinese folk music and Japanese hogaku, featuring improvised performances of classic pieces. The shakuhachi, Japanese flute, Japanese biwa and taiko drums all originated from Tang China, and today Japan is the world’s greatest showcaser of extant classical songs from this era. Outstanding young instrumentalist Mao Ya plays the guzheng and other Chinese instruments, which forms a dialogue with a range of Japanese instruments, for an incredible cultural exchange spanning millennia.

This album is the most theatrical and tightly crafted work of Ye Yunchuan’s professional career spanning more than 15 years. The classic Japanese song Moon over City Ruins, which he played onstage on the guitar at the age of 13, and which left him with a deep impression that would shape his future life and career, serves as the main inspiration for the album. The song creates a philosophical atmosphere of a desolate and lonesome landscape, and features eruptive emotive cascades and crescendos, spiriting the listener to a time when life was simpler yet still full of tumult, as captured so elegantly by the films of Kurosawa Akira. Traditional Japanese folk songs like Song of the Mogami River and Net Pulling Canzonet(Solan Bushi), with their gentle, relaxing melodies, weave tapestries of the rustic countryside of classical Japan. With the addition of Chinese ditties, like Boxwood Carrying Pole and Rainy Day, the grassroots, rural feel is further imbued with vivid imagery, and together they are certain to leave the listener with a pleasant impression.

On this album, Ye Yunchuan once again with utmost sincerity creates a bridge spanning cultures and a spectrum of emotions, taking you to the homeland of hogaku, and even farther back to where it originated, giving you a small yet satisfying taste of all that this incredible era of musical history has to offer. Amidst the myriad stars, high above the ever restless clouds, sits the cool, translucent moon, always silent yet always watching, as generation after generation of humankind takes the world we live in in a new direction. Such a patient and loyal guardian deserves a musical homage of epic proportions.

1. 樱花 さくら Sakura

日本民谣 即兴 Japanese folk song Improvisation

即兴尺八演奏者：长谷川 将山Hasegawa Shozan

这首幕末时代发源于江户的民谣，以极具地域特色的声调，和优美舒缓的旋律，广泛流传于全世界。灿若云霞而转瞬即逝的樱花，造就了日本民族“物哀”的美学精神内蕴。此曲中空灵悠远的尺八，仿若划过树林间的清风。幽雅流畅的古筝，如同春日的晴空下，缀满枝头的繁盛花朵，在风中唯美地颤动，凋零，在一场纷落的花雨中，从容地迎来早已知晓的宿命。

This folk song, created during the Bakufu Period of the late Edo dynasty, with its very distinct regional tonality and pleasantly mellow melody, has been enjoyed by many all around the world. The brilliantly colored yet short-lived cherry blossom served as a basis for the aesthetics of “mono no aware” (“the pathos of things” or “an empathy toward things”). The shakuhachi (a Japanese longitudinal end-blown bamboo flute) evokes an image of a gentle yet powerful wind rushing down from the sky, and through a quiet thicket of trees. The elegant sound of the guzheng is like the spring sun as it bathes the cherry blossoms in its warmth and light. Inevitably, the blossoms eventually waver and begin to shed their petals on the ground, and with a spring rain they are silently washed away.

2. 津轻上河原节 津軽じょんから節 Tsugaru Jyongara Bushi

日本青森县民谣 Japanese folk song (Aomori Prefecture)

民间音乐尺八演奏者：佐藤 公基 Sato Koki

四季分明，景色秀丽，并弥漫着淡淡海潮气息的津轻地区，曾孕育出无数源自古代传奇和乡野怪谈的经典歌谣，此曲便是其中最著名的代表作之一。津轻三味线以当地特有的豪放畅快的演绎风格，奏出铿锵抑扬的音韵。太鼓击响，以错落有致的鼓点，和应着尺八清新宛转的吹鸣。隐现于音乐中的男子呼喝声，营造出充满烟火气息的民间祭典氛围，令人仿佛置身于缀满灯笼的街巷和喧嚣的人潮之中。

The seasons tell their cyclical tale, the scenery continually transforming, the only constant being the sea salt air. The Tsugaru region has given rise to many classic folk songs based on ancient legends and rural folk stories, of which this one is the most widely known. The shamisen is infused with the distinctive local bold persona of the area, setting the stage with a powerful, rolling melody. The taiko then begins its deliberate, thunderous beat, reciprocated by the light trill of the shakuhachi. Beneath the music we can hear the cry of the male vocals, producing a stunningly ceremonial atmosphere as found in folk culture, leaving the listener with images of crowded, lantern-filled side-streets and alleyways.

3. 西树梅林·枣骝马 Xishumeilin· The Purplish red Horse

中国内蒙古民谣 即兴 Chinese folk songs (Inner Mongolia) Improvisation

即兴尺八演奏者：长谷川 将山Hasegawa Shozan

低徊宛转的胡琴，模仿着马头琴的缠绵音色，在月朗星稀的夜晚，将多少哀愁的心事，紧拉慢唱。纯净而清幽的尺八，飘荡在萧索的风中，如同无奈而不舍的叹息。古筝与中阮的拨奏，深情而惆怅，以凄婉悲切的民族传说，讲述着人世间的曲折跌宕。在辽远苍茫的大草原上，经久流传的两支歌谣，共同表达出蒙古族女性深沉而又热烈的爱与恨。

The deep wail of the huqin, here mimicking the lingering sound of the horsehead fiddle, weaves a tapestry of a quiet, star-filled night, the only sounds one’s own thoughts and desires. The strumming of the guzheng and zhongruan are filled with melancholy and desperation. Through a heartbreaking folk legend, they tell the story of the vicissitudes of life. Amidst the vast, boundless plains, these two timeless folk songs are still sung to express the strong passion of both the love and hate that Mongolian women are capable of feeling.

4. 拉网小调 ソーラン節 Solan Bushi

日本北海道民谣 Japanese folk song (Hokkaido)

民间音乐尺八演奏者：佐藤 公基 Sato Koki

一望无际的湛蓝色海洋，翻滚着银亮的波浪。跟随那自由自在地鸣唱的海鸥，驱船扬帆，去找寻鲱鱼群的方向。太鼓以稳健的步伐，击出低沉的节拍。尺八吹奏出清新自然的淳朴旋律。津轻三味线的拨弦，刚劲有力，充溢着生命的激情。在寒风凛冽的北国海岸线上诞生的劳动号子，通过对捕鱼场景的生动刻画，抒发出渔民对自己赖以维生的海洋的热爱。

The waves of the great ocean, its deep azure stretching past the horizon, finally reach the shore with a gentle crash. A single seagull calls as it circles a docking boat, wondering in which direction the school of herrings went. The taiko sets a deliberate pace, each beat a hearty boom. The shakuhachi, on the other hand, plays a light and gentle tune, while the stern strings of the shamisen fill the song with the passion of life. As a work song born on the frigid shores of Hokkaido, this song creates a vivid image of a fisherman pulling in his nets, so as to portray the love for and reliance on the ocean that these fishermen hold.

5. 落水天 Rainy Day

中国广东客家民谣 即兴 Chinese folk song (Guangdong) Improvisation

即兴尺八演奏者：长谷川 将山Hasegawa Shozan

“落水天”，在广东客家方言中，是指下雨天的意思。此曲中深沉弹拨的中阮，如同天空阴云密织时，连绵如缕的雨滴。凄凉宛转的二胡，和应着清冷悠长的尺八，演奏出伤感质朴的曲调，仿佛是被笼罩在雨雾中的穷苦人，在哀泣自己无处掩蔽，无所凭依的命运。曲至末段，苦楚的情绪随着直抒胸臆的倾诉而逐渐缓解，乐声缓缓沉入一片静谧之中，余留无尽的人生况味。

The title of this song, translated from the Hakka dialect of the Guangdong region, literally means “a day when water falls from the sky”. In this song the deep strumming of the zhongruan emulates the steady patter of rain from a patchwork of clouds overhead. The somewhat melancholy erhu is joined by the chilling sound of the shamisen, collectively forming a heartbreaking melody, like the image of a vagabond stuck in the rain with nowhere to go, and nothing to do but lament his fate. As the song draws to a close, the saddening atmosphere gradually lifts and fills with hope, leaving the listener instead with a tranquil, pleasant melody.

6. 拔根芦柴花 Picking Reed Flowers

中国江苏民谣 即兴 Chinese folk song (Jiangsu) Improvisation

在江苏省的扬州地区流传了数百年的这支民谣，原本是当地人在插秧时唱的劳动号子，后来逐渐演变成爽朗直白的情歌小调。津轻三味线轻快拨动，以清新自然的音色映衬出农忙时节充满欢乐的生活景象。明朗的二胡，与珠圆玉润的古筝，以舒展自如的节拍轮奏着略带俏皮的优美旋律，仿佛青年女子在劳作时互相调笑对方的意中人。数不尽心中的怀春情思啊，就好像数不尽田间沟渠旁迎风摇曳的芦柴花。

This folk song, which has been sung in the Yangzhou region of Jiangsu Province for several centuries, originated as a work chant sung by locals as they planted seeds, then eventually evolved into a straightforward little love song. The shamisen plays a quick, fluttering rhythm, painting a portrait of the joyful life of the busy farming season. The bold sound of the erhu and pleasant strum of the guzheng exchange back and forth in a playful melody, like a young girl casting innocent remarks at her counterpart in the field. A myriad of feelings rise to the surface, as plentiful and unstoppable as the countless reed flowers in full bloom.

7. 那须与一 那須与一 Nasu no Yoichi

詞／平家物語原文 作曲／橘 旭宗

The lyric is from "Heike Monogatari". Original song composed by Tachibana Kyokuso.

筑前琵琶弹唱 Chikuzen Biwa and vocals

1185年，在屋岛的战斗。海上平家，陆地源氏构筑着阵势。黄昏时分，一只小船从海上的平家军驶来。一看，该女子将扇子系在竿尖上，站在船端，向陆地源氏军招手，并挑衅说试着射落扇子。被大将命令射箭的源氏军的年轻武士那须与一，骑着马进入大海，北风猛烈吹来，波浪也很高。船在摇晃，竿尖的扇子也在摇晃。与一闭上眼睛祈祷“让那扇扇子射进来”。睁开眼睛，风稍微变弱了。没有错过那个机会，射出了镝矢，箭漂亮的射落了扇子，平家和源氏都为与一的射箭技术而感叹。

那须与一，是活跃于日本平安时代末期的著名武将。相传，在一场改变了日本历史走向的关键战役中，敌军的士兵将一把金色的扇子，悬挂在船头的桅杆上，用以嘲讽那须与一所属的军队。此时那须与一策马疾驰而出，以神乎其神的箭术射下了扇子，瞬间逆转了两军的气势。此曲中，慷慨顿挫的浑厚女声，伴着苍凉跌宕的筑前琵琶弹奏，将这流传千年的战国传奇，娓娓道来。

Nasu no Yoichi was a famous general active during the late Heian Period. According to legend, in a key battle that would write history, soldiers from the opposing army took a fixed a gold fan atop the mast of their ship, daring Nasu no Yoichi’s forces to shoot it off. Nasu then sped down to the beach on his horse, and with a single skillfully shot arrow removed the fan, immediately altering the moral of both sides. This song is portrayed with stunning female vocals, accompanied by an enrapturing Chikuzen Biwa performance, so as to bring this age-old wartime legend to life in vivid color.

8. 最上川舟歌 最上川舟唄 Song of the Mogami River

日本山形县民谣 即兴 Japanese folk song (Yamagata Prefecture) Improvisation

民间音乐尺八演奏者：佐藤 公基 Sato Koki

横贯山形县的日本第一大河最上川，因日本诗圣松尾芭蕉的俳句名篇而闻名于世。此曲原是遨游于最上川中的船夫在载客游赏时所唱的助兴的船歌。尺八吹奏出充满诗意的悠扬韵律，令一幅青翠欲滴的山野景象跃然眼前。太鼓起落，仿佛是旧时长舟上的桨声，在开阔的河面上回荡。间奏处，缠绵鸣动的二胡，如同五月骤降的夏雨，汇入湍急的水流之中。最终在一片优美舒缓的乐声中，结束这一场惬意的溪谷之旅。

The Mogami River, the largest river running through Yamagata Prefecture, is widely known throughout the world because of the haiku by Japanese master poet Matsu Basho. This song originates from a merry-making song sung by a boatman on the Mogami River as he carried passengers. The shakuhachi’s melody is full of poetic imagery, taking the listener to a place of lush, verdant mountains. The rise and fall of the taiko imitate the boatman’s oar as he rows up and down the river. In the interlude, the erhu joins like a rush of summer rain as it seeks out the great river. The song then ends with on a gentler note, the melody drawing to a satisfied close.

9. 无住心曲 無住心曲 Nothing in mind

原曲：神如道 Original song composed by Jin Nyodo

传统尺八演奏者：神 令 Jin Ray

此曲融合了多种尺八演奏技巧，由日本传统禅宗尺八的代表人物神如道创作，取材自广为人知的佛教经典《般若波罗蜜多心经》。乐曲题名中的“住”，是指人对世俗、对物质的留恋程度；“心”，则是指人对佛理禅义的领悟。尺八那时远时近，时续时歇，空灵恬静的音色，令人逐渐沉浸于一种不被任何事物所束缚，众欲皆空而无我的心境

This song fuses numerous shakuhachi techniques, and was created by Japanese traditional shakuhachi legend Jin Nyodo. The title of the song roughly means “there is nothing in the world that can impede my journey of Truth”. The shakuhachi has a sound capable of seeming at times close, at times near, and it can draw out seemingly inevitably, then take long, dramatic pauses, for a very mysterious, ethereal atmosphere.

10. 太鼓 太鼓の即興 Improvised Taiko

即兴 Improvisation

沙场上，气势磅礴，擂动天地，令人不禁热血沸腾的战鼓，起源自中国的太鼓，历经千年的演变，已经成为日本民族最具代表性的乐器之一。此刻，在这波澜壮阔，紧扣心弦的鼓声中，领悟传统文化，汲取生命能量。当鼓槌击下，那充满力与美的声响，带给人的不仅仅是听觉的震撼，也是灵魂的激荡。

On the battlefields of the sengoko era, amidst the chaos of war, great blood-pumping drums were also omnipresent. The taiko originated from the Chinese taigu, and over more than a millennium of transformation, it has gone on to become one of the most representative of the Japanese musical instruments. It carries with it an energy that fills body, mind and soul. Its powerful and beautiful sound is not only aesthetically pleasing, it is also very satisfying at a deeper, more spiritual level.

11. 春之海 春の海 Sea of Spring

原曲：宫城 道雄 Original song composed by Miyagi Michio

即兴尺八演奏者：长谷川将山 Hasegawa Shozan

日本邦乐大师宫城道雄，7岁便因眼疾而失明。在创作此曲时，他以绚烂多彩的音符为笔墨，用仿似西洋印象派的灵动手法，绘写未曾见过的濑户内海的听觉风景。优美流畅的日本筝，奏出复沓缠绵的旋律，如同温柔的浪花，轻抚岸边的礁岩。清亮明快的尺八，模仿着海鸥自在无忧的啼鸣，与日本筝之间展开如歌如诉的抒情对话。春日的海潮，在朝霞的怀拥中荡漾着，如同一首清丽明艳的诗篇。

Hogaku master Miyagi Michio lost his sight at the age of 7. For this composition, using lustrous notes as his template, and with Western impressionism as his inspiration, he creates the auditory atmosphere of the Seto Inland Sea, which he had never seen. The divine Koto gives rise to an enchanting melody, which evokes images of gentle waves caressing the shores of a reef rock. The clear, carefree sound of the shakuhachi envisions the cry of a circling seagull, forming a dialogue with the Koto. The rushing tide of a spring morning, amidst the embrace of the rosy dawn glow, are poetry in a form so pure that they do not need words.

12. 黄杨扁担 Boxwood Carrying Pole

中国重庆民谣 即兴Chinese folk song (Chongqing) Improvisation

即兴尺八演奏者：长谷川 将山Hasegawa Shozan

在重庆的渝中南地区，山民曾将坚实柔韧的黄杨木做成扁担，用于挑载重物。当他们在田埂或山道行走时，肩头沉重的担子便会极具音乐韵律地上下摇摆，这首脍炙人口的民谣正是得名于此。朴实纯正的古筝，婉转抒情的二胡，明亮悠扬的尺八，踏着轻巧起落的鼓点，即兴奏起家喻户晓的经典旋律，在一片喜气洋洋的氛围中，演绎土家族男女之间火热奔放的爱恋情怀。

In the south-central part of Chongqing, the mountain dwellers make carrying sticks out of sturdy yellow poplar (also known as boxwood), and use these to carry heavy objects. As they are traveling through the ridges or mountain paths, the sticks on their shoulders will bounce up and down in a very rhythmic manner, which is where this widely known and beloved song gets its name. The stripped-down sound of the guzheng, pleasantly calming erhu, crisp and cheerful shakuhachi and lightly dancing drum beat come together through some improvisation in this rendition of this classic song. Amidst the joyful atmosphere, the song tales the story of a young Tujia couple as they fall in love.

13. 荒城之月 荒城の月 Moonlight over City Ruins

原曲：泷廉 太郎 即兴 Original song composed by Taki Rentaro Improvisation

静谧的松林间，渐渐响起一阵寥落迷离的铃声，在幽深的夜幕下，营造出充满哲思的空寂意境。尺八吹奏着苍凉悠远的音色，如同亘古不变的月光，拨开晦暝缭绕的云雾，流泻在倾颓荒芜的城垣上。急促而激越的打击乐，以如同火山爆发式的情感起伏，展开恢弘壮阔的战国历史幻想。古筝慷慨弄弦，抑扬顿挫的音韵，宣泄着哀怨忧愤的历史情愁。天地间物转星移，人世里盛衰枯荣。唯有一群群鸿雁，在蔓藤丛生的断瓦残壁之上盘旋鸣泣。

Within the quiet twilight stillness of a pine forest, the chime of bells picks up in the distance, creating a picturesque scene of desolation. The shakuhachi plays an achingly beautiful tune, that seems to be able to go on for as long as the moon can glow, as a wisp of clouds floats unhurriedly past across the sky above the ruins of a long since abandoned city. The desperate beat of the percussion cascades like the rumble of a volcano, giving way to visions of a cacophonous battlefield of yesteryear. The guzheng rolls up and down with its melody, telling the tale of that which was fought for, that which was found, and that which was lost. As always the world continues to move on, people come and go, dynasties rise and fall. The only constant here is the wild geese who invariably pass by each year, sometimes circling the tattered ruins of this civilization, calling to one another in search of a meal in the surrounding forest.

演奏家简介：

尺八：长谷川 将山(Hasegawa Shozan)

师承于藤原道山。东京艺术大学附属高中以及本科毕业，现就读于同大学研究生院。从古典到现代，擅长演奏多种不同的乐曲风格。常应邀参与录音及新作品首演。日本三曲协会、都山流尺八乐会、都山流道山会会员。

Shakuhachi: Hasegawa Shozan

Hasegawa Shozan was mentored by Fujiwara Dozan, completed his high school at the Tokyo University of the Arts Affiliated High School, and Bachelor’s degree at the same university, where he is currently a Master’s student. He is skilled at performing a wide range of works, from classical to modern, and is often invited to record and perform premier new works. He is a member of the Japan Sankyoku Association, Tozanryu Shakuhachi Association, and Tozanryu Dozan Association.

尺八：神 令(Jin Ray)

现代邦乐研究所本科毕业。东京艺术大学音乐学院本科及研究生院毕业，现任同大学教育研究助手。在作为尺八古典本曲传承人的同时积极参与跨界演奏。通过了日本传统文化振兴财团主办的“第十三届邦乐技能者试演”。

Shakuhachi: Jin Ray

Jin Ray earned his Bachelor’s and Master’s degrees in Modern Hogaku at Tokyo University of the Arts, where he is currently an Education Research Assistant. As an inheritor of classical shakuhachi music, he is also active in cross-boundary musical performances. He succeeded in the 13th Hogaku Technique Audition, held by the Japanese Foundation for the Promotion of Traditional Culture.

尺八：佐藤 公基(Sato koki)

作为民谣世家的长子，自幼启蒙于家传并开始舞台活动。奈良县吉野町观光大使。演奏风格不拘泥于对尺八的固定观念，在追求“独自风格”的同时，注重对民谣中所独具的“内心歌唱性”的表达

Shakuhachi: Sato Koki

As the eldest child in a family of folk musicians, Sato Koki has been participating in his family’s legacy and stage performances since a very young age. He is a Cultural Ambassador of Yoshino, Nara. His performance style is not limited to the traditional definitions of Shakuhachi, and while pursuing his own unique style, he places emphasis on expressing the “inner song” of folk music.

津轻三味线：山口 浩司(Yamaguchi Hiroshi)

四岁初登舞台，师承于家父山口流津轻三味线掌门人山口孝次，以及青森县黑石市千叶胜弘。长呗三味线师从东音菊冈裕晃。东京艺术大学研究生院硕士。2011年出版发行了和西洋乐器共同录制的原创独奏专辑《黑丸》。2018年与爵士钢琴家木原健太郎组建“去来Corai”并出版专辑。

Tsugaru Shamisen: Yamaguchi Hiroshi

Hiroshi began his musical studies at the age of four with his father Koji Yamaguchi.

He first studied Tsugaru Shamisen under the tutelage of Katsuhiro Chiba and began placing and winning national competitions at a young age.

He completed his Master’s degree at Tokyo University of the Arts. In 2011 he released a solo album, which he wrote for both Japanese and Western instruments, called Kuromaru. In 2018 he collaborated and released an album with jazz musician Kihara Kentarou on a band called Kyorai Corai.

筑前琵琶：藤高 理惠子(Fujitaka Rieko)

作为筑前琵琶演奏家活跃于国内外。在进行古典弹说与现代邦乐两种类型的演奏活动同时，也倾注于原创作品的创作。现为日本音乐集团(Pro Musica Nipponia)团员。

Chikuzen Biwa: Fujitaka Rieko

Chikuzen Biwa artist Fujitaka Rieko is active throughout Japan as well as on an international level. While holding concerts for both classical Hikigatari and modern hogaku, she also creates many of her own original works. She is currently a member of the Japanese music group Pro Musica Nipponia.

日本筝：日原 畅子(Hihara Yoko)

十三弦筝、二十五弦及地歌三弦演奏家。东京艺术大学邦乐科本科以及同大学研究生院毕业。曾应邀在宫内厅皇居桃华乐堂进行御前演奏。应邀于中央音乐学院弹拨音乐节开幕式上演奏二十五弦筝。多次荣获各种赛事奖项。

Koto: Hihara Yoko

Hihara Yoko is an artist of the 13- and 25-stringed koto, and Jiuta Shamisen. She completed her Bachelor’s and Master’s degrees in Hogaku at Tokyo University of the Arts. She has been invited to perform for the Japanese Emperor at the Imperial Household Agency Imperial Palace Momoka Gakudo Palace. She has also performed the 25-string koto at Opening Ceremony of the Central Conservatory Of Music String Music Festival, and has received numerous prestigious awards in music competitions.

太鼓：糸原 昌史(Itohara Masashi)

1990年成为大江户助六太鼓成员之一，96年成为同组专属主力演奏员。在出演国内外各大音乐会的同时，负责舞台策划、导演及作曲。现为大江户助六流和太鼓艺能发表会“六门会”会主。

Taiko: Itohara Masashi

In 1990 he became one of the members of Oedo Sukeroku Taiko, and in 1996 went on to become the group’s key member. In addition to performing at concerts throughout the world, he is also involved in stage coordination, directing and composition. He is currently the President of the Wataiko Arts Press Conference of Oedo Sukeroku Ryu Rokumon group.

篠笛：佐久间 真里(Sakuma Mari)

东京艺术大学音乐学院邦乐系邦乐囃子(hayashi)专业毕业。后取得同大学研究生院音乐研究系硕士学位。社团法人长呗(nagauta)协会会员。参与众多国内外重大演出。

Shinobue: Sakuma Mari

Sakuma Mari completed her Bachelor’s degrees in hayashi at Tokyo University of the Arts.And then earn her Master's degree in music studies. A member of the NAGAUTA ASSOCIATION. To participate in a number of major performances at home and abroad.

二胡：杨雪 (Yang Xue)

中国当代青年二胡演奏家，中央音乐学院副教授，硕士生导师。中国民族管弦乐学会胡琴专业委员会副秘书长。“弓弦舞”二胡重奏组艺术总监，法国荣誉市民勋章获得者。近年来备受瞩目的中国民族器乐演奏家，以精湛的技艺和丰富的音乐表现力受到了多个音乐节的邀请，其足迹遍布欧、美、亚洲多个国家和地区，以独奏家的身份与多个乐团合作。

Erhu: Yang Xue

Yang Xue is a young Chinese contemporary erhu artist, and associate professor and Master’s guidance counselor at the Central Conservatory of Music. She is Deputy Secretary of the China Nationalities Orchestra Society Huqin Committee. She is also Art Director of the “Gongxuanwu” Erhu Ensemble and French Honorary Citizen Medal recipient. In recent years she has attracted much attention for her work as a Chinese folk instrumentalist, and due to her remarkable levels of skills and musical expressive ability, has been invited to perform at various music festivals throughout Asia, Europe, the Americas and Africa. Both as a soloist and in collaboration with a host of ensembles, she has participated in many music festivals, such as Germany’s Schleswig-Holstein Music Festival, premiering numerous solo, ensemble and concerto pieces.

阮：邸琳(Di Lin)

青年阮演奏家，中央音乐学院阮专业教师；中国音乐家协会会员。师从于徐阳教授。曾荣获： 2012年CCTV民族器乐电视大奖赛职业组弹拨类金奖； 2010年全国首届北京阮邀请赛青年专业组金奖。2013年在中央音乐学院音乐厅成功举办个人专场音乐会，并出版发行个人专辑《邸韵琳溪·阮音乐会精选》。

Ruan: Di Lin.

Di Lin is a young ruan performer, ruan instructor at the Central Conservatory of Music, and member of the China Musicians Association. She studied under the tutelage of Prof. Xu Yang. She has won awards such as gold prize in the All-China Beijing Ruan Invitational youth professional class in 2010, and gold in the CCTV Folk Music Television Competition professional class plucking category in 2012. In 2013 she held a solo concert at the Central Conservatory of Music Concert Hall, and released a solo album entitled Di Yun Lin Xi - Ruan Music Selections.

音乐总监/古筝：毛 丫(Mao Ya)

著名古筝艺术家，中日筝乐比较研究专家，中国古筝界首位博士，联合国合唱团（纽约总部）常任特约演员。（美国）哥伦比亚大学客座研究员。（日本）中国筝琴海外学会理事长。

1988年考入中央音乐学院附小后，经附中保送大学。2001年取得中央音乐学院古筝演奏专业学士学位。同年改编创作了双筝・中阮・鼓三重奏《绿觞》，应邀录制出版个人独奏专辑《百花引》。2002年考入东京艺术大学研究生院硕士课程，致力于中日两国箏乐文化比较研究。2007年作为日本政府国费留学生取得同大学博士学位，同时作为古筝领域首位博士得到中国教育部认定，并留任于东京艺术大学。2011年研发了以日本筝制作工艺为主体的古筝。2014 年个人研究课题被选定为日本政府文部科学省专项国际合作科研项目，完成了“双 S 岳山双排码移住转调筝”的研制。2017年3月以《老北京胡同》为题，创立了“器乐音乐剧・The Musical for Instruments”。现以东京、纽约为主要工作基地，以古筝职业演奏家及研究学者的双重身份，活跃于国际舞台与学术研究两界。

Music Director/Guzheng:Mao Ya

Mao Ya was born in Beijing, China. She studied at Elementary-, Middle- and High-school attached to the Central Conservatory of Music. Graduated from the Academy in 2001, She released CD "Bai Hua Yin". Mao Ya started to purchase her master's degree at Tokyo University of the Arts in 2002. In 2007, she obtained a PhD in Musicology as a Japanese Government sponsored student of Tokyo University of the Arts. She also became one of the leading PhD specialized in Guzheng acknowledged by the Chinese Ministry of Education. Since 2008, Mao Ya has served as research assistant, research worker and lecturer at the academy until now. In 2014, she received an award "Grant-in-Aid for Scientific Research" by the Japanese Ministry of Education, Culture, Sport, Science and Technique. She has been actively engaged as a soloist of "Ocean Silk road" while overstepping of walls of genre. In 2009, Mao Ya was appointed as Permanent Special Guest of UNSRC Singers. In 2019, she working in Columbia University as a research scholar. Today, based in Tokyo, New York and Beijing, she is internationally active on both stage works and academic science.

制作人简介：（叶云川）Ye Yunchuan

音乐制作人，美国格莱美协会会员，创立中国声誉卓著的音乐品牌“瑞鸣音乐”，并任制作人，中国传媒大学艺术创作导师，中国金唱片奖最佳音乐人特别奖获得者。从事音乐创作、制作多年，获海内外重要音乐媒体高度评价，部分作品被海外唱片公司收录出版，所制作的音乐作品在高端音乐市场得到较大认同，并远销海外，成绩斐然。担任制作人的唱片及音乐作品曾多次获“美国独立音乐大奖”“中国金唱片奖”“中华优秀出版奖”“华语音乐传媒大奖”等一百五十余个奖项，作品多次入选“CD圣经”等海内外专业评比。因多年与国际音乐制作及出版行业的密切合作经历，音乐创作理念及制作手段具有国际化的开阔视角。

音乐创作思路坚持独特创新，风格多样，追求品质，积极进取，注重作品文化性艺术性，在行业中具有鲜明特点。倾力于挖掘发扬中国传统文化与音乐的结合，擅长用世界音乐语言及方式表现中国音乐。对中国传统文化及民族音乐有着深厚的感情，并立志成为中国民族音乐与世界文化交流的传递者。

About the Producer:

Ye Yunchuan, Producer, composer, arranger, graphic designer, Grammy member, and the founder of one of China’s most prestigious audiophile recording labels, Rhymoi Music, Ye Yunchuan is further distinguished as the first Full Voting Member of the American Grammy Awards (The National Academy for Recording Arts and Science – NARAS) representing the Chinese music industry. He is, without any question, one of the rising stars in China’s growing music industry. Prior to his current activities, Ye established an international reputation, as a composer and producer, being awarded one hundred and fifty times including several American Independent Music Awards, Chinese Golden Album Awards, numerous rave reviews in CD Bible (China) in addition to being included on China City Radio Association’s “Ten Hottest Albums” roundup. Years of cooperation with international music production and publication circles has provided him with a truly global perspective. As founder of his own recording label, Rhymoi Music, he is committed to establishing new standards of excellence for recorded music in China. Rhymoi Music recordings are immediately identifiable - with their innovative approaches to programming, world-class musical and artistic standards, beauty of presentation and packaging, cultural relevance, and their conscious desire to introduce the treasures of Chinese music to an international audience - Rhymoi Music is without peer. With his deep commitment to the traditions and national music of his homeland, Ye Yunchuan is committed to building new and ever more creative and beautiful bridges between the musical heritage of China and the musical traditions of the world. Ye Yunchuan continues to realize his vision with each new recording.

制作成员：

出品/监制：丁磊 叶云川

制作人：叶云川

音乐总监：毛丫

录音：小岛 幸雄

混音：李大康

录音助理：柳泽 贵子

混音助理：谭淞 徐逸飞

中文文案：赵子涵

英文文案：安仁良

录音花絮摄影：YC

平面设计：张洪科

书法题字：徐刚

后期制作统筹：廘楠楠 马培风

Production crew:

Producer: William Ding/Ye Yunchuan

Executive Producer: Ye Yunchuan

Music Director: Mao Ya

Recording Engineer: Yukio Kojima

Mixing Engineer: Li Dakang

Recording Coordination: Yanagizawa Takako

Mixing Engineer Assistant:Tan Song/Xu Yifei

Chinese Text: Zhao Zihan

English Translation: Nick Angiers

Recording Session Photography: YC

Graphic Design:Zhang Hongke Design Studio

Calligraphy:Xu Gang

Post Production Assistant: Lu Nannan/Ma Peifeng