蔣國基：水鄉(xiāng)夢(mèng)，一支笛

蘇唯謙+孟建軍

“回想起曾經(jīng)的一路，竹笛是我全部的夢(mèng)，這個(gè)夢(mèng)因我的真心喜愛和堅(jiān)持而成真。如今唯一的念想，就是把自己的笛聲，再應(yīng)著這從未改變的水鄉(xiāng)味道帶給更多的人?！边@是中國民族管弦樂學(xué)會(huì)常務(wù)理事、浙江省民族管弦樂學(xué)會(huì)會(huì)長、著名笛子演奏家蔣國基把新出版的專輯送給筆者時(shí)說的一番話。蔣國基常喜歡用“生命不息，笛聲不止”勉勵(lì)自己。他的專輯名為《水鄉(xiāng)夢(mèng)，一支笛》真是既貼切又準(zhǔn)確。據(jù)他介紹，這是深諳外公心愿和為人的外孫女鄭迪提議命名的。

“老老實(shí)實(shí)做人，認(rèn)認(rèn)真真吹笛”

“老老實(shí)實(shí)做人，認(rèn)認(rèn)真真吹笛”是蔣國基做人的準(zhǔn)則。青年時(shí)代，他師從笛子大師趙松庭。在41年前的那一屆全國民族器樂大賽中，蔣國基以一曲自己創(chuàng)作并演奏的《水鄉(xiāng)船歌》嶄露頭角。自此，他在全國各類民樂比賽中連連奪冠，聲譽(yù)日隆。

如今，人們但凡說到笛子名曲，就不能不提蔣國基吹奏的這首《水鄉(xiāng)船歌》。作家陳韶華認(rèn)為，這首曲子雖只有短短4分多鐘，但它傳達(dá)了豐碩深厚的江南、水澤、行舟等風(fēng)光美、人情人性美及意境美，讓人浮想聯(lián)翩，美不勝收。業(yè)界認(rèn)為，《水鄉(xiāng)船歌》是一首里程碑式的曲目，它給演奏者提供了足夠的盡情發(fā)揮、再創(chuàng)作的愉悅。在中國笛界，《水鄉(xiāng)船歌》屬于流傳不衰和雋永的名曲。另一首具有典型“蔣氏風(fēng)格”的曲目《采桑曲》也被人津津樂道，用大C、小C——曲笛與梆笛有機(jī)結(jié)合的排笛演奏，整首曲子變調(diào)、換笛，聽眾感覺卻是天衣無縫，一氣呵成。蔣國基演奏的兩支笛子音域?qū)拸V，音色豐富而又各具特色，聽起來意趣盎然，讓人回味無窮。

自幼成長于西子湖畔的蔣國基，對(duì)杭州的一草一木、一事一物都懷有獨(dú)特的情感。近年，他與作曲家謝鵬合作為彎管笛創(chuàng)作的《雷峰塔遐想》，就是以聞名的雷峰塔為引，以《白蛇傳》故事為主題的大型竹笛曲。樂評(píng)人楊偉杰認(rèn)為，《雷峰塔遐想》演繹出一段動(dòng)人的竹笛敘事詩，此曲將山水風(fēng)物、傳奇故事、宗教哲理、人生思想合而為一，演奏者除了要純熟掌握彎管笛在氣息與技巧上的要求外，對(duì)樂曲故事背景的了解，以及對(duì)人生的感悟也缺一不可。這是蔣國基從藝生涯中沉淀與累積的心血結(jié)晶。

在傳統(tǒng)笛子吹奏的基礎(chǔ)上，獨(dú)具匠心的蔣國基喜歡不斷變換手中樂器的形制，比如三人笛、彎管笛、雙人笛、骨笛、口笛、石笛等，他的每一次演奏，都能在視覺和聽覺上帶給觀眾新奇、美好的享受。

“只有民族的，才有世界性”

在蔣國基近半個(gè)世紀(jì)的藝術(shù)生涯中，有幾件事令他記憶猶新。上世紀(jì)80年代，他曾赴芬蘭參加高斯迪寧國際藝術(shù)節(jié)。當(dāng)時(shí)，智利的演奏家用排簫等民間樂器加上現(xiàn)代電聲樂器演奏，場面異常熱烈、火爆。中國代表團(tuán)是繼智利節(jié)目演出后出場的，我方代表團(tuán)負(fù)責(zé)人擔(dān)心地問：我們能行嗎？“沒問題，將我的《鷓鴣飛》換到第一個(gè)就好了。”蔣國基信心十足地回答。他決定吹奏趙松庭先生改編的《鷓鴣飛》，這是一首慢速、寧靜、江南味濃郁的笛子獨(dú)奏曲?！耙魳匪囆g(shù)講究對(duì)比，他們的節(jié)目鬧，我就來個(gè)以靜制動(dòng)?！笔Y國基上場后，將循環(huán)換氣的演奏技巧以及顫、疊、打、蹭等手法靈活運(yùn)用到演奏中。一曲吹畢，體育場沸騰了，觀眾起立長時(shí)間鼓掌。大會(huì)破例讓蔣國基演奏了第二首、第三首，第四首……最后他以一曲芬蘭作品《在森林里怎樣為你歌唱》結(jié)束了演奏。本來規(guī)定每個(gè)國家演出20分鐘被打破了，這場演出幾乎成了蔣國基的個(gè)人獨(dú)奏音樂會(huì)。第二天，芬蘭各大媒體盛贊中國笛子為“魔笛”“不可多得的神笛”，認(rèn)為蔣國基是“充滿魅力的笛子演奏家”。

另一次出訪演出是在瑞士阿爾卑斯山音樂廳，蔣國基與浙江交響樂團(tuán)合作，他用中國古老的河姆渡骨笛，吹奏了表現(xiàn)遠(yuǎn)古人狩獵場面的《原始狩獵圖》，更是引起了瑞士觀眾的強(qiáng)烈反響。

蔣國基對(duì)筆者說：“通過演出，我深深感到我們民族的東西具有世界性，世界能接受我們的民族音樂。所以，我每次出國演出，均自信滿滿。中國笛子不但在中國，也定能在世界站住腳?！?/p>

“藝術(shù)生命力，就在于創(chuàng)新”

在蔣國基的笛子世界里，求新、求變是他追求的目標(biāo)。如今，他已是才華橫溢的音樂家、作曲家和吹管樂器的發(fā)明家了，但仍初心不改。在與蔣國基的交談中，時(shí)時(shí)能感受到他那股不甘平庸的心勁兒和涌動(dòng)的創(chuàng)作激情。“創(chuàng)作永無止境，藝品也永無止境，當(dāng)今的竹笛藝術(shù)無論從演奏技巧到表現(xiàn)題材，都得到了空前拓展。我會(huì)一如既往地不斷探索和傳承創(chuàng)新?！彼f，日新月異的時(shí)代，為藝術(shù)工作者提供了豐富的創(chuàng)作素材。

“藝術(shù)的生命力就是在創(chuàng)新中延續(xù)發(fā)展的?！毖莩鲋?，蔣國基喜歡打破傳統(tǒng)笛子的演奏模式，讓觀眾耳目一新。有時(shí)他會(huì)走下舞臺(tái)，貼近觀眾吹奏，讓演出更有親和力。有一次，廣州博覽會(huì)邀請(qǐng)蔣國基去演出，他覺得僅吹一支笛子過于單調(diào)，便與廣州軍區(qū)的作曲家合作創(chuàng)排新節(jié)目《南疆春早》。演出時(shí)，只見他的巨笛從舞蹈演員中間像船一樣緩緩?fù)瞥?，在婀娜?yōu)美的群舞中，蔣國基先后用巨笛、骨笛、普通笛、口笛演奏，極大地豐富了笛子的表現(xiàn)力，受到觀眾熱烈歡迎。

蔣國基常說，民族樂器從內(nèi)容到形式都要不斷創(chuàng)新，要與時(shí)俱進(jìn)才會(huì)有市場?！爸灰^眾認(rèn)可，我都愿意嘗試?！痹诟拔靼嘌绤⒓幼诮桃魳饭?jié)演出時(shí)，主辦方要求每個(gè)國家代表團(tuán)在開幕式演出15分鐘。中國代表團(tuán)排練了一個(gè)小合奏，上演前蔣國基向領(lǐng)隊(duì)提出：“我先即興演奏一首《禪》后，再合奏吧?！敝灰娝殖种竦?，雙目微閉，腦海中浮現(xiàn)出杭州靈隱寺僧人誦經(jīng)聲、木魚聲、鐘缽聲，吹出了參禪的感受。那種神游天外、物我兩忘的意境，引起了各國佛教人士共鳴。事后他說，“如果我們的節(jié)目是合奏到底的，就會(huì)失之于平鋪直敘，不可能收到這么好的現(xiàn)場效果。在國際舞臺(tái)上，我常這樣膽子大，敢玩，會(huì)根據(jù)現(xiàn)場情況隨時(shí)作出改變。”一個(gè)“玩”字，足顯其“藝高人膽大”。

在浙江省溫嶺長嶼硐天的自然巖洞音樂廳里，蔣國基同樣帶給人們驚艷。在中國首屆巖洞音樂會(huì)上，他用當(dāng)?shù)啬規(guī)r制作的石笛，吹奏了他新創(chuàng)作的《長嶼硐天》，讓千年的石頭飛出歡樂的旋律。在湖州舉辦的湖筆文化節(jié)上，蔣國基將當(dāng)?shù)赜妹窬幹频闹窨稹⒅窕j等生活竹制品融入節(jié)目中，演員們配合著他的笛子演奏有節(jié)奏地敲打，富有創(chuàng)意的節(jié)目《竹子世界》效果出奇地好，中央電視臺(tái)錄制了這一獨(dú)特節(jié)目的全程，并多次播放。

“玩好，是一種藝術(shù)境界”

蔣國基回憶道：“在學(xué)習(xí)竹笛過程中，我跟隨老師趙松庭學(xué)，就吹老師的曲子。后來我創(chuàng)作自己的作品，將北方與南方的音樂元素融合一起，且注入自己對(duì)人生、藝術(shù)的感受，以形成與眾不同的作品風(fēng)格。從學(xué)習(xí)竹笛演奏至今，巨笛、雙人笛、口笛、石笛、彎管笛都試著為我所用，并不斷變化。但有一點(diǎn)始終沒變，那就是勤奮學(xué)習(xí)、不斷奮斗?！?/p>

蔣國基對(duì)笛子演奏的執(zhí)著探索與追求，他的同事們有目共睹。他笑說：“當(dāng)年老歌舞團(tuán)的鄰居很煩我，在他們吃飯、睡覺時(shí)，我還在不停地吹，因?yàn)橐粩嘧聊ズ涂偨Y(jié)，努力摸索和掌握笛子演奏的內(nèi)在脈絡(luò)，并試圖從源頭去尋找規(guī)律……”現(xiàn)在，他的學(xué)生吹笛子入門都比較快?！斑@與我獨(dú)特的學(xué)習(xí)體會(huì)和經(jīng)驗(yàn)有關(guān)。這種教學(xué)方法讓學(xué)生喜歡吹笛子，并能很快掌握吹奏要領(lǐng)?！?/p>

“我把吹笛子當(dāng)成玩兒了?！笔Y國基認(rèn)為：“玩，是一種境界。觀眾來欣賞音樂，我定要盡心盡力吹奏，盡量玩好?！边@種心態(tài)，使他的演出狀態(tài)始終放松而自在，即便是為國內(nèi)外領(lǐng)導(dǎo)嘉賓演出也從不緊張。筆者曾多次隨浙江民樂團(tuán)出訪，見證過蔣國基在歐洲各國頂尖音樂廳舞臺(tái)上的風(fēng)采和受歡迎程度，而他對(duì)此卻是云淡風(fēng)輕：“玩得好，鞠個(gè)躬下去；玩得不好，也鞠個(gè)躬，下次再來。”

“好多年過去了，從黑發(fā)走往白鬢，什么都可以放下，唯有最珍惜的，終究還是一支笛?！苯徽勚?，蔣國基無限感慨：“近些年我特別忙，不斷給自己加碼，腦子里不斷涌出有關(guān)笛子從內(nèi)容到形式的新思路?！笨磥?，不久他還會(huì)搞出令人叫絕的新東西?！拔腋杏X這樣很開心很痛快，做人很有價(jià)值。”蔣國基如是說。

Jiang Guoji， a master of bamboo flute based in Zhejiang， has recently released a new album of flute music. “Flute is my lifetime dream， my passion and my love. I want to reproduce the beauty of Zhejiang， a land of rivers and lakes， in my flute performance，” enthused the master in an interview with us the other day.

In his youth， Jiang Guoji studied under the tutelage of Zhao Songting， a bamboo master of Zhejiang. The young flutist rose to national fame 41 years ago at a national competition for traditional musical instrument performers. He played “Boat Song of Water Homeland”， a flute piece he composed and performed. He won a top prize. The piece has long been included in the flute repertoire. Some consider it a milestone in the history of traditional flute music. Chen Shaohua， a composer， comments that the four-minute flute composition vividly poeticizes Jiangnan， a region south of the Yangtze River Delta characterized by numerous rivers and lakes and ponds. Jiangnan in Chinese poetry， art and national imagination is equivalent to Shangri-La where peace rules， prosperity makes a beaul life， dreams come true， and people reside in happiness.

As a flutist of Zhejiang， Jiang never swerves away from singing of his love for the land of natural beauty and material prosperity through the bamboo flute. In fact， almost all of the pieces he has composed and performed are about Zhejiang. is a piece about sericulture， which started in Zhejiang thousands of years ago and started the world-famed Silk Road in the first place. Unlike the boat song， this piece is played on two flutes tied together.

Jiang Guoji is innovative in ideas about flute music. is a composition jointly created by Jiang in partnership with composer Xie Peng. The piece was created especially for the elbow flute， a bamboo instrument invented in modern times for bass effect. The poetic piece musically renders the ， a popular legend of China.

Jiang is able to play all kinds of traditional flutes such as ordinary bamboo flutes， bone flutes， whistle flutes， stone flutes， and the huge flute. These different flutes give him a wide space to maneuver various kinds of bamboo flute compositions.

A bold and experience performer， Jiang thinks fast and responds amazingly to various performance situations. At an international music festival in Finland in the 1980s， he was to perform after a group of musicians from Chile. The pan flute in the accompaniment of electronic music by the Chilean group made the audience in the sports stadium wild. The leader of the Chinese musicians was worried about Jiang for the fear that he might be outplayed by the Chilean musicians. Jiang had an idea. “Let me play first，” he said. The piece portrays the serenity and beauty of Jiangnan in a slow melody， rearranged by his master Zhao Songting. His performance conquered the audience totally. The organizers had given each performer twenty minutes to play something. But now seeing Jiang was dazzling， they decided there and then to let him go wild too. The night almost became his solo concert. The next day， the media in Finland gave raving reviews on Jiangs flute music.

At a religious music festival in Spain， each participating country was given 15 minutes to play a composition at the opening ceremony. Jiang Guoji and his colleagues had prepared a band piece to present. Before the Chinese musicians were to step onto the stage， Jiang asked the band leader to allow him to improvise a short solo before the band composition. Knowing him well， the band leader agreed. Jiang walked onto the stage and improvised a piece which he named Zen. While he played， he imagined Lingyin Temple in Hangzhou he had visited many times. The improvised melody appealed amazingly to the religious people at the opening ceremony. “I dare to make changes on the spot. I keep my mind playfully open to different situations and options for best possible performances，” he comments on his overseas experiences.