鲍元恺（1944——）作曲家、音乐教育家。1967年毕业于中央音乐学院作曲系，1973年到天津音乐学院任教。现任天津音乐学院教授、厦门大学艺术研究所所长。历任中国音乐家协会创作委员会副主任、《音乐研究》编委、金钟奖音乐作品评审。是首批获得国务院特殊津贴的专家，2005年获区永熙优秀音乐教育奖，2012年获厦门大学最高奖“南强奖”。作有《炎黄风情——中国民歌主题24首管弦乐曲》(1991)、《华夏弦韵》室内乐集(2001)、六部交响曲：《纪念》(2004)、《台湾音画》(1996 / 2000 / 2006)、《京剧》(2006)、《厦门》(2008)、《禹王》(2009)、《燕赵》(2012)以及童声合唱套曲《四季》(1980)、《景颇童谣》(1981)等。作品多次在海峡两岸各大城市和亚洲、大洋洲、南北美洲、东西欧洲和南非，由国内外交响乐团演出，并由DG、EMI、PHILIPS、DECCA、雨果等多家机构出版唱片。

Professor BAO Yuankai

（1944—--）,composer and music educator, graduated from Beijing Central Conservatory of Music in 1967. He has been working at the Tianjin Conservatory of Music since 1973. He also serves as the deputy director of the Composition Committee of the Chinese Musicians Association, the director of Institute of Arts at Xiamen University. He was member of Music Research(one of the major academic journals in the country) as well as a member of the panel of judges for the composition competition “Golden Bell Awards”. In recognition of his dedication and achievements towards music education and composition, Prof. Bao was one of the first music educators to receive the special grant from the Chinese State Council and the“Outstanding Music Educator” award from the Chinese Ministry of Culture.

Prof. Bao's compositions include

Chinese Sights and Sounds, 24 Pieces on Chinese Folk tunes for Orchestra (1991)

Chinese Melody of the Strings, Quartet Series Arranged by Chinese traditional music (2001)

Symphony No.1, Commemoration (2004)

Symphony No.2, Sketches of Taiwan (1996 / 2000 / 2006)

Symphony No.3, Peking Opera (2006)

Symphony No.4, Amoy (2008)

Symphony No.5, The King Yu (2009)

Symphony No.6, Yan Zhao (2012)

Children's Chorus The Seasons (1980) and Jingpo Nationality Children's Folk Rhyme (1981).

His recordings have been released by DG, EMI，PHILIPS, DECCA，and HUGO.

鲍元恺第三交响曲——京剧，Bao Yuankai Symphony No.3，Peking Opera，2006，双管交响乐团。2006年5月在北京试演。2006年9月2日谭利华指挥北京交响乐团在北京中山音乐堂首演。2007年3月EMI发行发行唱片。2008年人民音乐出版社出版总谱。41:45。

第一乐章 净，崑曲，悲壮的行板 Ⅰ－Jing -“The Painted face”

a Solemn Andante using Kun-Qu music 12:01

第二乐章 丑，曲牌，诙谐的急板 Ⅱ－Chou -“The Comedian”

a Humorous Presto using Qu-Pai music 5:06

第三乐章 旦，二黄，深沉的慢板 Ⅲ－Dan -“The Lady”

a Profound Largo using Er-Huang music 12:00

第四乐章 生，西皮，辉煌的快板 Ⅳ－Sheng -“The Man”

a Splendour Allegro using Xi-Pi Music 12:37

这部交响曲是作曲家应北京交响乐团之约，于2005年11月开始创作，2006年5月在北京试演。9月2日在北京交响乐团的2006-2007音乐季开幕式上正式首演。

这部交响曲以京剧中不同角色不同性格的音乐为基础，以西方交响乐的恢宏气势和艺术手段，努力揭示中华民族深刻、丰富的精神世界。

京剧的角色，分为生、旦、净、丑四类；京剧音乐，除了独立的锣鼓音乐外，主要由西皮、二黄、曲牌和崑曲四部分组成；典型的交响曲，由不同速度、不同节拍和不同性格的四个乐章组成；演奏交响乐的管弦乐队，则由弦乐、木管、铜管和打击乐四个部分组成。据此，将《京剧》交响曲分为“净——悲壮的行板——崑曲”“丑——诙谐的急板——曲牌”“旦——深沉的慢板——二黄”“生——辉煌的快板——西皮”四个乐章。

以下文字摘自马浩（啥都中）《京剧+交响乐=中国巴托克》：

《京剧》，一部中规中矩的四乐章交响曲作品。以典型京剧音乐为素材与背景，生旦净丑各成一章，打击乐，弦乐，铜管乐，木管乐分别表现其特色意境。立意巧妙，素材丰盈，结构严谨，旋律舒通，技法娴熟，配器天成，细节精到，气势恢弘。

第一乐章。悲壮的行板。净。崑腔。以铜管乐为主，展现净行的气派。豪迈浪漫，苍凉悲壮，从远古走来，奔向远方。英雄气概，侠胆柔肠。大写意，好宽广，丰厚凝重，高亢激昂，悠扬婉转，荡气迴肠。

第二乐章。诙谐的急版。丑。曲牌。以木管乐为主，捕捉丑行的意韵。诙谐乖巧，风趣幽默，看人间世事，哀乐几多。悠然行走，憨态活脱。时智趣，时呆傻，插科打诨，冒失搅和，逡巡四顾，洋洋自得。

第三乐章。深沉的慢板。旦。二黄。独用弦乐担纲，描绘青衣之情致。凄楚哀怨，悱恻缠绵，听衷肠倾诉，真情尽现。意气贤淑，仪态万般。可清丽，可端庄，秋波晶莹，玉体翩翩，水袖轻摇，韵致嫣然。

第四乐章。辉煌的快板。生。西皮。以打击乐为主，高扬生行之神采。煌煌大度，气魄绝凡，能纵横俾合，傲立世间。挥洒自如，镇定坦然。亦睿智，亦果敢，踌躇满志，谈笑阵前，纵论人生，立地顶天。 《京剧交响曲》反映当代中国专业音乐创作成就和整体发展水平，以西方交响乐的创作手法深刻表现出中华民族特有的精神世界。并在书后附音频光碟。

中国的戏曲，是融文学、音乐、舞蹈、美术、武术、杂技以及表演艺术各种因素为一体的古老的传统戏剧形式，京剧则是中国戏曲艺术中影响最大，流传最广的剧种。

鲍元恺的第三交响曲《京剧》，以京剧中不同角色不同性格的音乐为基础，以西方交响乐的恢宏气势和艺术手段，揭示了中华民族深刻、丰富的精神世界。

京剧的角色，分为生、旦、净、丑四类；

京剧音乐，除了独立的打击乐段落外，主要由西皮、二黄、曲牌和崑曲四部分组成；

典型的交响曲，由不同速度、不同节拍和不同性格的四个乐章组成；

演奏交响乐的管弦乐队，则由弦乐、木管、铜管和打击乐四个部分组成。

据此，作曲家将《京剧》交响曲分为如下四个乐章：

第一乐章，悲壮的行板，净，崑腔，突出铜管乐器。主题取自京剧《单刀会》中关羽的崑曲唱段《大江东去》。

第二乐章，诙谐的急板，丑，曲牌，突出木管乐器。谐谑曲的引子和中部主要旋律来自京剧中的曲牌（器乐曲）《柳青娘》，首尾两部分帕萨卡里亚的三拍子固定低音主题来自京剧中人物走场的“行弦”。

第三乐章，深沉的慢板，旦，二黄，全部使用弦乐。主题来自京剧《白蛇传》中女主角与孩子别离时凄婉悲伤的唱段。

第四乐章，辉煌的快板，生，西皮，突出打击乐，并轮流使用乐队各组乐器的多种组合。快板奏鸣曲式，主部主题的音调来自“西皮小开门”，副部旋律来自京剧《空城计》中诸葛亮的脍炙人口的西皮二六唱段。

这部《京剧》交响曲由北京交响乐团委託作曲家鲍元恺创作。2006年5月23日由谭利华指挥北京交响乐团举行世界首演。

China’s traditional opera is an ancient drama form. which blends the different elements of literature, music, dance, visual arts, martial arts, acrobatics and other forms of performance art. Peking opera, which is named after the capital of China, is the most influential and popular of this family of localized drama forms. Bao Yuan-Kai’s third symphony “Peking Opera” employs the various roles and musical styles found in the drama form. and attempts to display the profound and rich spiritual world of the Chinese through the western art form. of the symphony.

The roles in Peking Opera are divided into four categories:Sheng- The Male,Dan- the Female,Jing- the Painted Face, which is a forceful character in the drama, andChou- the Comedian.

The music of Peking Opera is usually a combination of stand alone percussion sequences and four musical styles:Xi-Pi,Er-Huang(these two are usually used for sung passages),Qu-Pai(which means fixed tuned music and usually is in the form. of instrumental passages which are used as background music) andKun-Qu(borrowed from another drama form. popular in the Eastern regions of China).

A typical symphony is composed of four movements with different speeds, tempos and character. A symphonic orchestra consists of four sections: strings, woodwind, brass and percussion.

Hence the composer has produced his music as follows:

Movement 1:Jing– The Painted Face, A solemnAndanteusingKun-Qumusic.This movement showcases the brass section, with the motif adapted from General Guan Yu’sKun-Qustyled aria “On and on the great river flows, racing eastwards” in the play “The Lone Broadsword”.

Movement 2:Chou– The Comedian, A humorousPrestousingQu-Paimusic.This movement showcases the woodwinds. The introduction to theScherzoand the main melody of the middle section comes from the Peking OperaQu-Paiof “The green willow lady” and the 3/4 timeBasso ostinatofound at the beginning and end of the movement comes from theQu-Pai“Walking Strings” which is usually used as the background music when a Peking Opera character moves around the stage.

Movement 3:Dan– The Lady, A profoundLargousingEr-Huangmusic.This movement employs only the strings. The main theme comes from the plaintive but lovely passage sung by the main female role of the play “The Legend of Lady White Snake” when she had to part with her son.

Movement 4:Sheng– The Man, A splendorAllegrousingXi-Pimusic.This movement emphasizes the use of the percussion instruments and employs the varied combinations of different sections of the orchestra in a fast paced Sonata form. conclusion to the symphony. The principal theme comes from aXi-Pitune and the secondary theme comes from a famous passage sung by the wise military advisorZhu-Ge Liangin the play “The Empty Castle Trick”

This symphony was commissioned by the Beijing Symphony Orchestra and premiered on 23rd day May 2006 by conductor Tan Lihua in Beijing..

Translated by: Tan Ke-Yang