重新吹響千年尺八

◇文| 本刊記者 胡 婷 圖| 游 宇

衛(wèi)星

Wei Xing

衛(wèi)星，青年民族管樂演奏家，畢業(yè)于西安音樂學(xué)院，中國笛子學(xué)會理事、重慶民族管樂學(xué)會笛簫會長、重慶市民樂考級評委、四川笛子學(xué)會理事。

Wei Xing, graduated from Xi'an Conservatory of Music, is a young national wind music performer, a member of t he Chinese Bamboo Flute Society, the director of the Chongqing National Association of Wind Music, a judge of the Chongqing Municipal Folk Music Grade Examination Committee and a director of the Sichuan Bamboo Flute Society.

一曲細(xì)細(xì)淺淺的《雪之音》，時而綿長，時而急驟，時而舒緩，時而激越，游蕩在靜謐雪空里的簫音，在世界屋脊飄散開來。

2015年，海拔5200米的珠峰大本營，衛(wèi)星鴨舌帽下，滿月形臉龐上兩縷茂盛的絡(luò)腮胡間，一根斜持的簫管微微搖動。

The song named“The Sound of Snow”, sometimes lingering, sometimes abrupt, sometimes soothing, sometimes passionate, is wandering in the silent and snowy sky and echoing in Qinghai-Tibet Plateau, the roof of the world.

In 2015, in the Everest Base Camp at an altitude of 5,200 meters, an obliquely held Xiao (Chinese vertical bamboo flute)shook slightly under Wei Xing’s peak cap, between his handlebar mustache on a full moon-shaped face.

帶著笛簫邊走邊學(xué) Learning to Play Xiao and Flute While Traveling

三年前雪山上兩個小時的吹奏，令衛(wèi)星終生難忘。而到珠峰吹奏尺八，也并非心血來潮。12年前，衛(wèi)星決意帶著他的笛和簫，走遍祖國的大好山河。

“音樂對地域的要求很敏感，不同地域的音樂風(fēng)格，吹奏起來差異很大。比如說江南，音樂風(fēng)格就很柔美婉約，像我們手指一樣靈活而富有彈性，要演奏《姑蘇行》，就必須到江南水鄉(xiāng)感受那柔美的風(fēng)光。”不同地方的游歷，衛(wèi)星會結(jié)合不同地域的音樂特色，將自己的感悟融進(jìn)曲子里。

不同的場景，被衛(wèi)星演繹出不同的意韻。戈壁大漠，在笛簫中淌出駿馬奔騰的壯闊；小橋流水的江南，衛(wèi)星賦予平仄起伏的驚鴻；無邊遼闊的草原，衛(wèi)星瀝出風(fēng)吹經(jīng)幡的沉穩(wěn)與豪邁；黃河在若爾蓋草原蓋上厚厚的郵戳，笛音傳來排山倒海的浩蕩；輕舟已過萬重山的三峽，衛(wèi)星從高處潑墨低處吟誦，抑揚頓挫的清脆在笛簫中明媚。

每到一個地方，衛(wèi)星還會拜訪當(dāng)?shù)氐拿窆軜芳液脱葑嗉遥群髱煆男先f里、馬迪、張維良（中國笛子學(xué)會會長）、唐俊喬（上海音樂學(xué)院教授）、神崎憲、福田輝久等著名演奏家。

正是在游學(xué)的過程中，衛(wèi)星接觸到了尺八，并開始學(xué)習(xí)這門曾經(jīng)失傳的絕技。

尺八形似洞簫，因管長一尺八寸而得名，發(fā)源于東漢，盛行于隋唐，并成為宮廷雅樂。漢代稱羌笛，魏晉稱長笛，唐代才開始名為尺八。然而由于封建時代的社會動蕩，導(dǎo)致尺八在中國逐漸失傳。

不過，尺八卻在日本流傳和盛行開來。2000年初，日本尺八大師冢本平八郎到中國拜“笛王”趙松庭為師，學(xué)習(xí)循環(huán)呼吸法。當(dāng)時，趙松庭希望冢本日后能將發(fā)源于中國卻又早已在中國失傳的尺八演奏帶回來，冢本當(dāng)即答應(yīng)。此后，冢本每年到中國兩次，義務(wù)教授，贈送尺八，從未間斷。

The experience of playing flute on the snow-capped mountain three years ago for Wei Xing is unforgettable for a lifetime. Therefore, playing Shakuhachi on Mount Everest was not a whim. Twelve years ago, he decided to take his flute and Xiao and travel across the great mountains and rivers of the motherland.

“Regional differences have a great influence on music styles. The music styles in different regions vary greatly. For example, Jiangnan's (regions in south of the Yangtze River) music style is very soft and graceful as flexible as our fingers. To play A Journey to Suzhou, you need to view the beautiful scenery in south of the Yangtze River in person.”Traveling in different places, Wei Xing would always integrate his feelings into his songs according to the music characteristics of different regions.

Wei Xing played different music styles in different scenes. In the desert, it was a kind of magnificence like horses galloping. In south of the Yangtze River, his music brought ups and downs to the graceful Jiangnan. In the boundless grassland,he played music of calm and bold style like wind blowing flags. The Yellow River has left thick mark on the Ruoergai Grassland and the sound of the flute was overwhelming. In the beautiful Three Gorges,the sound of flute and Xiao is clear and melodious.

Every time Wei Xing went to a place, he would always visit the local civic musicians and performers.He once learned from Xing Wanli, Ma Di, Zhang Weiliang (Chairman of the Chinese Bamboo Flute Society), Tang Junqiao (Professor of the Shanghai Conservatory of Music), Kanzaki Kenzo, Futian Huijiu and other famous performers.

It was during the study tour that he came into contact with the shakuhachi and began to learn the stunt that was once lost.

The shape of Shakuhachi is like a vertical bamboo flute, named after its length of a foot and eight inches. It originated in the Eastern Han Dynasty, prevailed in the Sui and Tang dynasties,and became a graceful palace music. In the Han Dynasty, it was called Qiang Flute. In the Wei Jin Dynasty, it was called long flute. Until the Tang Dynasty, it was named Shakuhachi. However, due to the social turmoil in the feudal era, Shakuhachi was gradually lost in China.

However, the shakuhachi has spread and prevailed in Japan. At the beginning of 2000, Japan's Shakuhachi master Masaru Tsukamoto visited China to formally learn the circular breathing from the “master of the flute,” Zhao Songting. At that time, Zhao Songting asked Tsukamoto to bring the shakuhachi performance that originated in China but had already been lost back to China. Tsukamoto immediately agreed to this request. Since then,Tsukamoto has come to China twice a year to teach Shakuhachi for free and give away the shakuhachis.So far, he has never stopped doing it.

在巴山渝水間繼續(xù)音樂夢 Pursuing His Music Dream in the Beautiful Landscape of Chongqing

2007年，初到重慶，這個來自甘肅敦煌的西北漢子和重慶有了一面之緣后，立即被這座氣息相通的城市吸引。重慶人的耿直和西北人的豪爽一拍即合，這之后，他選擇扎根重慶，在巴山渝水間，繼續(xù)自己的音樂理想。

“你尺八吹得這么好，來重慶干啥，應(yīng)該去北京上海這些地方發(fā)展?！贝底嘌葑嗉伊_慶忠在聽過衛(wèi)星的演奏后直言不諱。衛(wèi)星卻有自己的想法，他想留下來，帶動重慶民管樂的發(fā)展。

如今，衛(wèi)星已記不得教過多少學(xué)生了，只是說“學(xué)生的學(xué)生都在教學(xué)生了”。他的學(xué)生上到六七十歲的老人，下到十多歲的少年，各個領(lǐng)域的人都有，他更愿意把他們稱作朋友。

他的一個學(xué)生，是西南政法大學(xué)的哲學(xué)博士。學(xué)生向衛(wèi)星學(xué)習(xí)尺八吹奏，衛(wèi)星也會經(jīng)常去旁聽一些中國哲學(xué)課程，“我可以從傳統(tǒng)文化里吸收養(yǎng)分，從而提高我在尺八演奏上的內(nèi)涵。”

2016年，是衛(wèi)星來重慶的第十個年頭，他在施光南大劇院舉辦了個人首場音樂會，算是給自己的一個交代。他說每年都會舉辦一場音樂會，去年在重慶愛樂工廠，今年冬天計劃在國泰藝術(shù)中心。

In 2007, when Wei Xing first arrived in Chongqing, the man from the northwestern region of China, Dunhuang in Gansu Province,was immediately attracted by the atmosphere of the city. The integrity of Chongqing people and the straightforward personality of people in the northwest hit it off. Since then, he chose to stay in Chongqing and continue to pursue his music dream in the beautiful landscape of Chongqing.

“Since you are so good at playing shakuhachi,why are you still in Chongqing? You should go to places like Beijing and Shanghai.” Luo Qinzhong,a famous performer, said after listening to the performance of Wei Xing. However, Wei Xing had his own ideas. He wanted to stay and to promote the development of Chongqing folk and wind music.

So far, Wei Xing has taught countless students.He said that his students’ students are teaching students now. Some of his students are old people aged 60 to 70, some children in their teens, and people in all fields. However, he is more willing to call them friends.

One of his students is a doctor in Southwest University of Political Science and Law. This student learns how to play shakuhachi from him and he also frequently goes to the college to attend some Chinese philosophy courses. He said that “I can learn a lot from the traditional culture, so as to improve my connotation on shakuhachi performance.”

In 2016, it was the tenth year that Wei Xing came to Chongqing. He held his first personal first concert at the Shi Guangnan Grand Theater, which was also considered as a recognition of his own efforts. He said he holds a concert every year. Last year, he held it at the Chongqing Philharmonic Factory and he plans to hold it at the Guo Tai Arts Center this winter.

從音樂人到匠人 From Musician to Craftsman

衛(wèi)星的音樂工作室里，擺放著著各種鉗子、撬、鉗子、刻刀等手工制作工具。這里不僅是衛(wèi)星練習(xí)樂器的地方，還是他制作笛簫的場所。包括簫、笛、尺八在內(nèi)的所有民管樂器，都是衛(wèi)星親自手工制作的。

從小，衛(wèi)星就喜歡音樂。小學(xué)時，學(xué)校音樂教室有一架腳踏風(fēng)琴，木質(zhì)的，空閑時候，他就會去學(xué)習(xí)彈奏，“它的構(gòu)造就像縫紉機(jī)，彈奏時需要用兩只腳一邊踩，一邊踏，才能發(fā)出聲音?！?/p>

腳踏風(fēng)琴，陪伴衛(wèi)星度過童年的時光。也是從那時起，衛(wèi)星開始琢磨手工制作樂器。他的第一根笛子，是他7歲時用灰白色塑料水管手工完成的，“神奇的是，居然可以正常吹出音樂。”

在西安音樂學(xué)院上學(xué)時，衛(wèi)星就修復(fù)各種民族樂器，同學(xué)的樂器壞了，都是他修好的。

但制作樂器并不是件容易的事，尤其是尺八。為了找到合適的竹子，每年的十二月和一月，衛(wèi)星都會開車幾個小時，到江津、永川、梁平等地挖竹子。

而要找到合適制作尺八的湘妃竹，他還會到湖南、安徽去找優(yōu)質(zhì)的竹材。有時候，精心挑選的幾十根竹子，在后期晾曬后質(zhì)量不合格，大多都不能用于尺八制作。

“尺八的制作，總共有二十來道工序，包括竹子內(nèi)壁的處理，歌口的鑲嵌，開孔調(diào)音，表面漆器的處理等，有可能一天都在磨竹子，磨內(nèi)壁?！毙l(wèi)星說尺八的制作周期一般三到四個月，制作工序非常復(fù)雜。

There are various hand-crafted tools such as pliers, pries, and burins in Wei Xing's music studio.It is not only where Wei Xing practices instruments,but also where he makes flutes and Xiao. All folk wind music instruments, including Xiao, flute, and shakuhachi, were handmade by himself.

Wei Xing began to love music since he was a little kid. In elementary school, there was a harmonium which is made of wood in the school's music classroom. Whenever he had time, he would go to the classroom to learn how to play it. He said:"This harmonium was just like a sewing machine.When you are playing it, you need to use your both feet to step on its pedals in turn to make it sound.”

It was with this harmonium that Wei Xing spent his childhood. Since then, he has started to make musical instruments. He made his first flute, which was made of gray plastic water pipes, when he was 7 years old. To his surprise, it could actually make a sound like other flutes.

When he was a student at Xi’an Conservatory of Music, he began to repair various musical instruments. The broken instruments of his classmates were all repaired by him.

However, making musical instruments is not an easy task, especially the shakuhachi. Every year in December and January, he will drive for several hours to Jiangjin, Yongchuan or Liangping in order to find the suitable bamboo.

Besides, he would go to Hunan and Anhui province in order to find the mottled bamboo, which is the suitable material for Shakuhachi. Occasionally,dozens of bamboos that were carefully selected were unsatisfactory in quality during the later period of drying. Most of them could not be used for making shakuhachi.

“The production of the shakuhachi has a total of twenty processes, including the processing of the inner wall of the bamboo, the setting of the inlay material,making holes and tuning, the processing of the surface lacquer, etc. It is possible to grind the bamboo and its inner wall for a whole day”, Wei Xing said.