http://gb.takungpao.com/history/top/2010-12-17/296839.html

京城音乐会纪念利玛窦

2010年12月17日 04:03:23 大公报 

【本报讯】实习记者钱群超北京报道：「利玛窦的地图与音乐」讲座及音乐会日前在北京中国人民大学举行。以利玛窦的山海舆地全图为背景，美国明尼苏达大学高等研究院院长安．沃特纳（Ann Waltner）分享了自己对这张传世地图的最新研究成果，美国萨卡布施铜号乐团则为中国人民大学师生带来一场音乐盛会。

讲座和音乐会都围绕一幅传世地图进行，这就是山海舆地全图。它是意大利耶稣会士利玛窦于一六○二年在北京制作的中文版世界地图，但随时光流逝，目前仅存的六幅地图分散在中国、日本、美国等地，因此极为珍贵。去年十二月，美国明尼苏达大学杰姆斯．贝尔图书馆买下了其中的一幅地图，正是这幅见证了中西文化交流的地图，让美国学者和当今音乐家获得了灵感，用音乐和朗诵再现四百年前中西方文化的碰撞与交融。

安．沃特纳是明尼苏达大学历史系和亚洲语言文学系教授，曾发表过多篇关于明代中国史的论文，包括耶稣会在中国的历史。她和她的研究生除了承担利玛窦的地图研究项目之外，还参与合作表演的朗诵部分。

萨卡布施铜号乐团是近年在美国日趋活跃的铜号乐团，设在美国印第安那大学雅各布斯音乐学院，主要演出巴洛克时期美妙动听的铜管及声乐作品。

今年是利玛窦逝世四百周年，马尔凯大区在中国和本土组织多项活动来纪念这位神父。本次音乐会就是其中一项活动，萨卡布施铜号乐团通过演绎利玛窦时期的意大利音乐以及中国传统音乐，配合历史背景的朗诵，力图重现四百年前中西方文化交流的恢弘篇章。整台音乐会以利玛窦一生的工作、生活为主线，每一部分都包括中英文歌曲或朗诵，伴随意蕴深厚的东方音乐惟妙惟肖地呈现出来。

Dagong bao (L’Impartial), “A Concert Commemorating Matteo Ricci in Beijing”

December 17, 2010

Qian Chaoqun, Beijing

The lecture and concert of “Matteo Ricci: His Map and Music” was held at Renmin University in Beijing yesterday. Based on Ricci’s world map, Professor Ann Waltner from the Institute for Advanced Study, University of Minnesota, shared her most updated research with the audience. Meanwhile, ¡Sacabuche! brought a musical feast to teachers and students at Renmin University.

The lecture and concert are developed around an amazing map—Map of the Ten Thousand Countries of the Earth. This map was a Chinese world map made in 1602 in Beijing by an Italian Jesuit, Matteo Ricci. Yet, as time passed by, there are now only six precious copies scattered in China, Japan, and the United States. Last year in December, the James Ford Bell Library at University of Minnesota purchased one of the six copies. It is this map that has witnessed the Sino-Western cultural exchange and inspired American scholars and contemporary musicians. It has also represented the collision and communication between Chinese and Western cultures four hundred years ago through music and recitation.

Professor Ann Waltner is a professor at the Department of History, University of Minnesota. She has had many publications on the history of the Ming Dynasty in China, including the history of Jesuits in China. Other than the research project on Ricci’s map, Professor Waltner and her graduate student also participated in the recitation part of the performance.

¡Sacabuche! is a brass ensemble that has been highly active in the United States recently. Located at the Jacobs School of Music, Indiana University, ¡Sacabuche! mainly performs the wonderful trombone and voice pieces of the Baroque period.

It is the four-hundred-year anniversary of Ricci’s death this year. Marche Region of Italy has organized various activities to commemorate Ricci in China and Italy. This concert is one of the activities. ¡Sacabuche! re-constructed the grand scenario of Sino-Western exchange four hundred years ago by performing Italian music of Ricci’s period and Chinese traditional music and by integrating the historical text recitation. The whole performance went through Ricci’s life and work and every segment included songs and recitation in Chinese or English that was vividly demonstrated along with the meaningful and deep musical pieces.

http://news.xinhuanet.com/2010-12/15/c_12882857.htm

新华网北京１２月１５日电（赵一鸿） 来自美国印第安纳大学音乐学院的萨卡布施铜号乐团１４日在中国人民大学逸夫会堂举办“利玛窦：传世地图与早期音乐”音乐会，以意大利传教士利玛窦传世地图的历史故事为背景，通过演绎当时的意大利音乐以及中国传统音乐，展现了４００年前中西方文化交流状况。

１７世纪初，意大利传教士利玛窦在北京制作了一幅中文版世界地图，并将其呈献给万历皇帝。时光流逝，这一版本的地图已罕有存在，只有六幅分散在中国、日本、美国等地。２００９年，美国明尼苏达大学杰姆斯·贝尔图书馆买下了其中的一幅，而就是这幅地图，作为中西方文化交流的见证，让美国当今音乐家获得了灵感，以再现４００年前中西方传统音乐碰撞与交汇为目标，策划了这场音乐会。

整场音乐会以多媒体为表演形式，配以利玛窦时期的意大利音乐和中国古典音乐以及文作朗诵，唯美生动，诗意绵绵。

据了解，该乐团曾在１２月１２日在北京国家大剧院进行首演，取得较大反响。

Xinhua net, December 15, 2010

Zhao Yihong, Beijing

On December 14 at Yifu Hall of Renmin University, ¡Sacabuche!, a brass ensemble from the Jacobs School of Music, Indiana University, held a concert “Matteo Ricci: His Map and Music.” This concert told a piece of history around an Italian Jesuit Matteo Ricci and his world map and represented the cultural communication between China and the West four hundred years ago by performing contemporary Italian music and traditional Chinese music.

In early seventeenth century, the Italian Jesuit Matteo Ricci made a Chinese world map in Beijing and presented it to the Wanli Emperor of the Ming Dynasty. As time passed by, the copies of this edition became rare and there are now only six precious copies scattered in China, Japan, and the United States. In 2009, the James Ford Bell Library at University of Minnesota bought one of the six copies. It is this map that witnessed the culture exchange between China and the West and inspired contemporary American musicians. Bearing in mind the goal of representing the contact and exchange of the music between China and the West four hundred years ago, these musicians organized this concert.

The whole concert was performed with multiple media and accompanied by Italian music of Ricci’s period and Chinese traditional music and text recitation. It was vivid and beautiful. The poetic sense went endlessly.

According to other information, ¡Sacabuche! held its premier at the National Center for the Performing Arts on December 12^th and was greatly welcomed.

http://guoxue.guoxuejiaoyu.com/xydt_displaynews.asp?id=607

国学院成功举办“利玛窦的地图与音乐”音乐会 

2010年12月14日，来自美国印第安纳大学雅各伯音乐学院的萨卡布施乐团（¡Sacabuche！）来到中国人民大学，为中国人民大学的学生以及国内外来宾奉献了一场以利玛窦的地图为主题的专场音乐会—— “利玛窦的地图与音乐”音乐会。这项活动由中国人民大学国学院承办，是国学院对外交流的一项重要内容。

学院领导与安•沃特纳（Ann Waltner）教授

音乐会开始之前，国学院常务副院长黄朴民教授接受中央电视台国际频道的采访时表示，之所以承办这项活动，主要是基于三个考虑。

首先取决于国学院的办学宗旨，国学院从建院伊始就不囿于传统的国学概念，而是始终秉承着“大国学”的观念，放眼世界、面向未来、关照现实，因而国际交流原本就是国学院在“大国学”理念指导下开展工作的题中应有之义。

其次，这次音乐会的主题很重要，是以明中后期的来华传教士的代表人物利玛窦为主题。一直以来，我们对传教士的评价存在偏颇之处，认为是西方以宗教为借口的侵略形式，现在则到了重新认识来华传教士地位的时候，实际上来华传教士对推动中外文化交流，向西方介绍辉煌的中华古代文明以及传播西方先进的科技、文化都发挥了很大的作用。这场音乐会以新发现的利玛窦所作的山海舆贡图为媒介来回顾历史，这种表演形式是中外交流的一种积极的实践，非常有意义。

第三，这次活动也是校际友好关系加深的契机。中国人民大学国学院与美国明尼苏达大学高等研究院有着很密切而良好的交流合作关系，相互之间签署了有关学术交流的协议，内容包括双方轮流举办国际性学术会议以促进学术交流等等。这次表演团队的带队人正是明尼苏达大学高等研究院院长安•沃特纳（Ann Waltner）教授，所谓“有朋自远方来，不亦乐乎”，作为东道的国学院当然要予以支持和帮助。而且，这种交流与合作在形式上是可以多种多样的、丰富多彩的。这次以音乐艺术为载体、以历史文化为内涵的交流，应该说是一种生动活泼的全新尝试，值得充分肯定。

晚上18点，演出正式开始。乐团领队明尼苏达大学高等研究院院长安•沃特纳（Ann Waltner）教授首先对此次音乐会的主题与乐曲进行了简要介绍：今年，是利玛窦逝世400周年。利玛窦（Matteo Ricci‎，1552年10月6日—1610年5月11日），意大利的耶稣会传教士，学者。明朝万历年间来到中国居住。其原名中文直译为玛提欧•利奇，利玛窦是他的中文名字，号西泰，又号清泰、西江。在这场音乐会上，乐团以他的传世地图为背景，通过演绎利玛窦时期的意大利音乐以及中国传统音乐，配合历史背景的演讲，为我们展现了一幅400年前中西方文化交流的壮丽画卷。

伴着开场音乐缓缓响起，男主唱首先演绎了一首独唱曲——《老渔翁》。美妙的歌声与中国民歌的古典美和西方钢琴伴奏的完美结合先声夺人，让观众如身临其境，仿佛已身在几百年前。然后，随着这幅画卷的展开，我们也在音乐、图画和朗诵中，随着那美丽的故事，一起灵魂舞动，叩响心弦——1602年，意大利耶稣会士利玛窦在北京制作了一副中文版世界地图，并印制了大约千份左右，在中国士大夫中流传甚广。六年后，万历皇帝也听说了这幅地图。之后利玛窦和其他会士特意制作了新的印版，将地图印制在上等丝绸上，呈献给万历皇帝。这些地图，作为中西方文化交流的见证，帮助这场音乐会重新完美地以多变旋律再现了400年前中西方传统文化碰撞与交汇。

整场音乐会融合了多种风格的曲子 ，西方的管弦乐和古代中国的丝弦相互交融；交代故事背景的朗诵，流利英语和古朴的中文相互碰撞。 “……1571年8月15日，圣安德鲁教堂，年仅19岁的利玛窦成为一名耶稣会士。他在一封信中这样回忆其早年的时光：在我的记忆中，我的少年时光历历在目。我总是回想起我在耶稣会早年的经历，它们深植我心……这伴随着我度过了在中国的岁月。自从我离开父母、投向主的怀抱，我谨记主的教导。若非如此，我会陷入更大的困境。”……美妙的歌声、悠扬的乐曲、以及一张张精美的地图，带领场下观众宛若穿越时空，贴近利玛窦生活的时代，近距离欣赏他的地图与音乐，领略他作为东西方交流的先驱，开晚明士大夫学习西学的风气之先的智慧与远见。

音乐会结束前的高潮是整个乐团共同演奏由华裔作曲家黄若谱写的《远山》。略带晦暗又激昂壮阔的情绪，怪诞又和谐的中西方乐器合奏，让全场观众如痴如醉。最后一个音符结束后，全场观众报以热烈的掌声，经久不息，为这场音乐画下了完美的句号。

School of Chinese Studies, Renmin University

“School of Chinese Studies Successfully Hosted ‘Matteo Ricci: His Map and Music’ Concert”

On December 14, 2010, ¡Sacabuche!, an ensemble from Jacobs School of Music, Indiana University, came to Renmin University and performed a concert on Ricci and his map for teachers and students and foreign guests. This event is organized by the School of Chinese Studies and is one of the most important events that the School has hosted for international affairs exchange.

Before the concert began, Professor Huang Pumin, the vice-executive dean of the School of Chinese Studies was interviewed by the journalist from the CCTV French Chanel. In the interview, he stated that there were three reasons for the School to host this event.

First, it was the manifestation of the motto of the School of Chinese Studies. Ever since the founding of the School, it has never limited to the traditional concept of “Guoxue” (Chinese Studies). Instead, the School has carried out the philosophy of “grand Guoxue” and opened its eyes to the world. It has faced the future and paid attention to the current situations. The international exchange is one integral part of the School work guided by the “grand Guoxue.”

Secondly, the theme of the concert, which is about Matteo Ricci, one representative of missionaries to China since the middle and late Ming, is quite important. For a long time, we have some bias against the evaluation of these missionaries and believed that the West invaded China in the guise of religion. Now it is time for us to re-evaluate their roles. Actually they played a significant role in promoting Sino-Western cultural exchange, introducing splendid Chinese civilization to the West and spreading the advanced technologies and culture of the West. This concert uses as the media the newly discovered Map of the Ten Thousand Countries of the Earth made by Ricci to review history. This performance style is an active practice of Sino-Western exchange and therefore is very significant.

Third, this event is also an opportunity to strengthen the inter-university friendship. Renmin University has established a close and friendly collaborative relationship with the Institute for Advanced Study, University of Minnesota. The two parties have signed the agreement on scholarly exchange, including, but not limiting to, hosting alternatively international conference to promote the exchange. The leader of this performing ensemble this time is Professor Ann Waltner, Director of the Institute for Advanced Study. We, School of Chinese Studies, as the host certainly support and help it. Besides, the communication and collaboration can be diverse and rich in format. The performance uses musical art as vehicle and historical culture as content. It is a lively and fresh experiment and deserves full acknowledgement.

At 6 pm in the evening, the performance began. Professor Ann Waltner, Director of the Institute for Advanced Study at University of Minnesota, first briefly introduced the themes and songs of the concert. It is the four-hundred-year anniversary of Matteo Ricci’s death this year. Matteo Ricci (1552-1610) was an Italian Jesuit and a scholar. He came to China during the Wanli Reign of the Ming Dynasty. Li Madou was his Chinese name. His style names included Xitai, Qingtai, and Xijiang. In this concert, the ensemble played with his Map of the Ten Thousand Countries of the Earth as the background and integrated the Italian music of Ricci’s time and traditional Chinese music into the recitation of historical background. By doing these, the ensemble unfolded a splendid scenario of Sino-Western cultural exchange four hundred years ago.

In the beginning of the performance, the tenor Benjamin Geier first sang “Fisherman’s Sonnet.” The integration of beautiful singing, traditional Chinese folksong melody, and the performance of piano caught the audience’s breath and dragged them back to a couple hundred years ago. Unfolding the scenario after the solo, our soul and hears were touched through music, image, and recitation and with the beautiful stories. Matteo Ricci, an Italian Jesuit made a map of the world in Chinese in Beijing in 1602. Thousands of copies were printed and were widely disseminated among Chinese literati. In 1608 the Wanli emperor heard about this map and asked for a copy. New blocks were carved and copies were printed on silk for the emperor. These maps were witnesses of the Sino-Western cultural exchange and helped demonstrate perfectly the cultural communication and conflict between China and the West four hundred years ago in diversity in the concert.

The concert integrated all kinds of musical styles. The Western brass music echoed with traditional Chinese string music; in the recitation which introduced the historical background, the fluent English and the plain Chinese talked to each other. …The beautiful music, the graceful songs, and the wonderful map led the audience cross space and time and walk close to Ricci’s time. They enjoyed his map and music with a close distance, and understood his wisdom and insights of Ricci, who was the pioneer of the Sino-Western exchange, to enlighten the Chinese literati for Western learning.

The climax of the concert was the piece Yuanshan, which was composed by the Chinese American composer Huang Ruo and performed by the whole ensemble. This piece demonstrated slightly dismal but also strong and grand feelings. The strange but also harmonious collaboration between Western and Chinese instruments attracted the audience with heart and souls. After the ensemble finished the final note, the audience applauded for a long time. This is the beautiful end of the concert.

http://news1.ruc.edu.cn/102449/102450/102522/73022.html

国学院成功举办“利玛窦的地图与音乐”音乐会

12月14日，来自美国印第安纳大学雅各伯音乐学院的萨卡布施乐团（Sacabuche）来到中国人民大学，为学校师生以及国内外来宾奉献了一场“以利玛窦的地图”为主题的专场音乐会。这项活动由中国人民大学国学院承办，是国学院对外交流的一项重要内容。

 “利玛窦的地图与音乐”音乐会开始之前，国学院常务副院长黄朴民教授接受中央电视台国际频道的采访时表示，之所以承办这项活动，主要是基于三个考虑。首先这一活动契合国学院的办学宗旨，国学院从建院伊始就不囿于传统的国学概念，而是始终秉承着“大国学”的观念，放眼世界、面向未来、关照现实，因而国际交流原本就是国学院在“大国学”理念指导下开展工作的题中应有之义。其次，这次音乐会的主题很重要，以明中后期的来华传教士的代表人物利玛窦为主题。一直以来，我们对传教士的评价存在偏颇之处，认为是西方以宗教为借口的侵略形式，现在则到了重新认识来华传教士地位的时候，实际上来华传教士对推动中外文化交流，向西方介绍辉煌的中华古代文明以及传播西方先进的科技、文化都发挥了很大的作用。这场音乐会以新发现的利玛窦所作的山海舆贡图为媒介来回顾历史，这种表演形式是中外交流的一种积极的实践，非常有意义。最后，这次活动也是校际友好关系加深的契机。中国人民大学国学院与美国明尼苏达大学高等研究院有着很密切而良好的交流合作关系，相互之间签署了有关学术交流的协议，内容包括双方轮流举办国际性学术会议以促进学术交流等等。这次表演团队的带队人正是明尼苏达大学高等研究院院长安•沃特纳（Ann Waltner）教授，所谓“有朋自远方来，不亦乐乎”，作为东道的国学院当然要予以支持和帮助。而且，这种交流与合作在形式上是可以多种多样的、丰富多彩的。这次以音乐艺术为载体、以历史文化为内涵的交流，应该说是一种生动活泼的全新尝试，值得充分肯定。

晚上6点，演出正式开始。乐团领队明尼苏达大学高等研究院院长安•沃特纳（Ann Waltner）教授首先对此次音乐会的主题与乐曲进行了简要介绍：今年恰值利玛窦逝世400周年。在这场音乐会上，乐团以他的传世地图为背景，通过演绎利玛窦时期的意大利音乐以及中国传统音乐，配合历史背景的演讲，为观众展现了一幅400年前中西方文化交流的壮丽画卷。

伴着开场音乐缓缓响起，男主唱首先演绎了一首独唱曲——《老渔翁》。美妙的歌声所体现的中国古典美和西方钢琴伴奏的完美结合让观众仿佛置身在几百年前的北京。而后，随着这幅画卷的展开，观众们在音乐、图画和朗诵中，细细品味美丽的故事。

整场音乐会融合了多种风格的曲子 ，西方的管弦乐和古代中国的丝弦相互交融；交代故事背景的朗诵，流利英语和古朴的中文相互碰撞。美妙的歌声、悠扬的乐曲、以及一张张精美的地图，带领场下观众宛若穿越时空，贴近利玛窦生活的时代，近距离欣赏他的地图与音乐，领略他作为东西方交流的先驱，开晚明士大夫学习西学的风气之先的智慧与远见。

音乐会结束前的高潮是整个乐团共同演奏由华裔作曲家黄若谱写的《远山》。略带晦暗又激昂壮阔的情绪，怪诞又和谐的中西方乐器合奏，让全场观众如痴如醉。最后一个音符结束后，全场观众报以热烈的掌声，经久不息，为这场音乐画下了完美的句号。

■相关背景

利玛窦（Matteo Ricci‎，1552年10月6日—1610年5月11日），意大利的耶稣会传教士，学者。明朝万历年间来到中国居住。其原名中文直译为玛提欧•利奇，利玛窦是他的中文名字，号西泰，又号清泰、西江。

1602年，意大利耶稣会士利玛窦在北京制作了一副中文版世界地图，并印制了大约千份左右，在中国士大夫中流传甚广。六年后，万历皇帝也听说了这幅地图。之后利玛窦和其他会士特意制作了新的印版，将地图印制在上等丝绸上，呈献给万历皇帝。这些地图，作为中西方文化交流的见证，帮助这场音乐会重新完美地以多变旋律再现了400年前中西方传统文化碰撞与交汇。

(编辑：周庆誉)

“School of Chinese Studies Successfully Hosted ‘Matteo Ricci: His Map and Music’ Concert”

Edited by Zhou Qingyu

On December 14, 2010, ¡Sacabuche!, an ensemble from Jacob School of Music, Indiana University, came to Renmin University and performed a concert on Ricci and his map for teachers and students and foreign guests. This event is organized by the School of Chinese Studies and is one of the most important events that the School has hosted for international affairs exchange.

Before the concert began, Professor Huang Pumin, the vice-executive dean of the School of Chinese Studies was interviewed by the journalist from the CCTV French Chanel. In the interview, he stated that there were three reasons for the School to host this event.

First, it was the manifestation of the motto of the School of Chinese Studies. Ever since the founding of the School, it has never limited to the traditional concept of “Guoxue” (Chinese Studies). Instead, the School has carried out the philosophy of “grand Guoxue” and opened its eyes to the world. It has faced the future and paid attention to the current situations. The international exchange is one integral part of the School work guided by the “grand Guoxue.”

Secondly, the theme of the concert, which is about Matteo Ricci, one representative of missionaries to China since the middle and late Ming, is quite important. For a long time, we have some bias against the evaluation of these missionaries and believed that the West invaded China in the guise of religion. Now it is time for us to re-evaluate their roles. Actually they played a significant role in promoting Sino-Western cultural exchange, introducing splendid Chinese civilization to the West and spreading the advanced technologies and culture of the West. This concert uses as the media the newly discovered Map of the Ten Thousand Countries of the Earth made by Ricci to review history. This performance style is an active practice of Sino-Western exchange and therefore is very significant.

Third, this event is also an opportunity to strengthen the inter-university friendship. Renmin University has established a close and friendly collaborative relationship with the Institute for Advanced Studies, University of Minnesota. The two parties have signed the agreement on scholarly exchange, including, but not limiting to, hosting alternatively international conference to promote the exchange. The leader of this performing ensemble this time is Professor Ann Waltner, Director of the Institute for Advanced Studies. We, School of Chinese Studies, as the host certainly support and help it. Besides, the communication and collaboration can be diverse and rich in format. The performance uses musical art as vehicle and historical culture as content. It is a lively and fresh experiment and deserves full acknowledgement.

At 6 pm in the evening, the performance began. Professor Ann Waltner, Director of the Institute for Advanced Studies at University of Minnesota, first briefly introduced the themes and songs of the concert. It is the four-hundred-year anniversary of Matteo Ricci’s death this year. In this concert, the ensemble played with his Map of the Ten Thousand Countries of the Earth as the background and integrated the Italian music of Ricci’s time and traditional Chinese music into the recitation of historical background. By doing these, the ensemble unfolded a splendid scenario of Sino-Western cultural exchange four hundred years ago.

In the beginning of the performance, the tenor Benjamin Geier first sang “fisherman’s sonnet.” The integration of beautiful singing, traditional Chinese folksong melody, and the performance of piano caught the audience’s breath and dragged them back to Beijing a couple hundred years ago. Unfolding the scenario after the solo, our soul and hears were touched through music, image, and recitation and with the beautiful stories.

The concert integrated all kinds of musical styles. The Western brass music echoed with traditional Chinese string music; in the recitation which introduced the historical background, the fluent English and the plain Chinese talked to each other. The beautiful music, the graceful songs, and the wonderful map led the audience cross space and time and walk close to Ricci’s time. They enjoyed his map and music with a close distance, and understood his wisdom and insights of Ricci, who was the pioneer of the Sino-Western exchange, to enlighten the Chinese literati for Western learning.

The climax of the concert was the piece Yuanshan, which was composed by the Chinese American composer Huang Ruo and performed by the whole ensemble. This piece demonstrated slightly dismal but also strong and grand feelings. The strange but also harmonious collaboration between Western and Chinese instruments attracted the audience with heart and souls. After the ensemble finished the final note, the audience applauded for a long time. This is the beautiful end of the concert.

Background information

Matteo Ricci (1552-1610) was an Italian Jesuit and a scholar. He came to China during the Wanli Reign of the Ming Dynasty. Li Madou was his Chinese name. His style names included Xitai, Qingtai, and Xijiang.

Matteo Ricci made a map of the world in Chinese in Beijing in 1602. Thousands of copies were printed and were widely disseminated among Chinese literati. In 1608 the Wanli emperor heard about this map and asked for a copy. New blocks were carved and copies were printed on silk for the emperor. These maps were witnesses of the Sino-Western cultural exchange and helped demonstrate perfectly the cultural communication and conflict between China and the West four hundred years ago in diversity in the concert.

http://blog.sina.com.cn/s/blog_59b648920100nitr.html

大剧院音乐会 — 利玛窦传世地图与早期音乐

本周有一场特殊的音乐会“利玛窦：传世地图与早期音乐——美国萨卡布施铜号乐团音乐会”，这是一场中外交流的音乐会，在小剧场，会员不要票。

利玛窦（Matteo Ricci‎，1552年10月6日—1610年5月11日），意大利的耶稣会传教士，学者，明朝万历年间来到中国居住。其原名中文直译为玛提欧·利奇，利玛窦是他的中文名字，号西泰，又号清泰、西江。

1602年，利玛窦在北京制作了一副中文版世界地图，并印制了大约千份左右，在中国士大夫中流传甚广。六年后，万历皇帝也听说了这幅地图，利玛窦和其他会士特意制作了新的印版，将地图印制在上等丝绸上，呈献给万历皇帝。

时光流逝，这幅丝制地图和大部分的纸版地图都未能留存下来，只有六幅地图分散在中国、日本、美国等地。这就是利玛窦编制的《山海舆地全图》。

2009年12月，美国明尼苏达大学杰姆斯•贝尔图书馆买下了其中的一份地图。而就是这幅地图，作为中西方文化交流的见证，让美国当今音乐家获得了灵感，以再现400年前中西方传统音乐碰撞与交汇为目标，策划了这场音乐会。 

本场音乐会分成若干部分，每一部分都包括中英文歌曲和中英文朗诵。朗诵内容是利玛窦生平或是利玛窦本人写下的文字，但也是古文体。

乐队背后的大屏幕上是那一幅幅地图。

今年是利玛窦逝世400周年。美国著名的早期音乐（指巴洛克时期及之前的欧洲古典音乐）演奏团体萨卡布施铜号乐团于2010年12月12日在国家大剧院进行艺术交流活动，同时乐团以这张传世地图为背景，通过演绎利玛窦时期的意大利音乐以及中国传统音乐，配合历史背景的演讲来展现400年前中西方文化交流状况。

美国萨卡布施铜号乐团是近年来在美国日趋活跃的铜号乐团，设在美国印地安那大学雅各布斯音乐学院，主要演出巴洛克时期美妙动听的铜管及声乐作品。该团曾获2009美国早期音乐比赛大奖并在波士顿早期音乐节上获得好评。2010年6月该团在伯克利早期音乐节上与世界著名的鲁特琴（Luten）演奏家Nigel North同台演出。

乐团总监是巴洛克长号演奏家Linda Perse博士，她在印地安那大学雅各布斯音乐学院教授早期音乐。她在德国获得艺术学位，曾在瑞士巴塞尔学习早期音乐。她还与欧洲多个艺术团体合作演出现代及早期音乐并出版唱片。

该乐队使用的都是古乐器，无论是铜管还是大小提琴都是早期巴洛克时代的乐器，还有的乐器我认不出来。

乐队里还有中国的乐器：笙和筝。

演出曲目

渔翁                                           黄若曲

这是根据我国江南小调改编的，听听有没有“唐伯虎点秋香”的味道？难得的是那位外国男演员愣是能把咱们小调中的曲里拐弯唱出来，虽说舌头还有点硬，味道还是挺足的。

那些以上帝名义战斗的人有福了                   安德烈•加布里埃利曲

瑞查卡尔                                       加布里埃利 曲

奋战，奋战                                     加布里埃利 曲

多么美丽                                       帕莱斯特里纳 曲

中国传统音乐

命中注定那爱情                                 佐凡尼•纳尼诺 曲

思也者若箭                                     佐凡尼•纳尼诺曲

我虽然黑，却是秀美                             帕莱斯特里纳

吾愿在上                                       黄若 曲  利玛窦词        

徜徉乡野                                       巴透勒米欧•德•塞尔玛 曲

吾发如斯                                       基若拉莫•达拉•卡萨曲

中国传统音乐

以多种语言讲述                                 帕莱斯特里纳 曲

我要起来，走遍全城                             帕莱斯特里纳 曲

远山                                           黄若曲

这是我国旅美华人黄若的新作，演奏的是全部中西古乐器。遗憾的是，音乐本身都是不和谐音，我实在是欣赏不了。

这是哪首歌曲我也不知道了，根据我浅薄的古典音乐知识，这应该是圣咏吧？

古大小提琴演奏，还是不知道是哪首曲子。

查了一下资料，1610年5月11日，利玛窦病死于北京，经皇帝特批，由徐光启主持，皇帝赐物利玛窦安葬于平则门外二里沟的滕公栅栏。

利玛窦墓现位于北京西城区官园桥附近的北京行政学院（中共北京市委党校）院内。如今公墓东边墓碑数十块。西边有墓碑三块：面向墓穴，中间为利玛窦，左右首分别为汤若望、南怀仁。利玛窦的墓碑上刻着“耶稣会士利公之墓”，有拉丁文和中文两种文字记述利玛窦的事迹。

这是我今年初在首博“利玛窦展览”上拍的照片。

“The Concert: Matteo Ricci, His Map and Music”

There was a special concert this week [at the National Center for the Performing Arts], “Matteo Ricci: His Map and Music” performed by ¡Sacabuche! from the United States. This was a concert on Sino-Western exchange and performed at the MF theatre. It was free to members of the Art Enthusiasts Club.

[Here are some images of the program, Ricci, the poster at the entrance to the MF theatre, the waiting area of the MF theatre, and the long queue waiting to enter the MF theatre]

Matteo Ricci (October 6, 1552-May 11, 1610) was an Italian Jesuit and a scholar. He came to China during the Wanli Reign of the Ming Dynasty. Li Madou was his Chinese name. His style names included Xitai, Qingtai, and Xijiang.

In the year 1602, Matteo Ricci made a map of the world in Chinese in Beijing. Thousands of copies were printed and were widely disseminated among Chinese literati. In 1608 the Wanli emperor heard about this map and asked for a copy. New blocks were carved and copies were printed on silk for the emperor.

As time passed by, this silk map and the majority of paper maps were not preserved. There are now only six precious copies scattered in China, Japan, and the United States.

In December 2009, the James Ford Bell Library at University of Minnesota purchased one of the six copies. It is this map that has witnessed the Sino-Western cultural exchange and inspired American contemporary musicians. Bearing in mind the goal of representing the contact and exchange of the music between China and the West four hundred years ago, these musicians organized this concert.

[A couple of images from the concert]

This concert was divided into several segments. Every segment included Chinese and English songs and Chinese and English recitations. The recitation was the texts written about Matteo Ricci or by Ricci, the majority of which were in classical Chinese. On the big screen behind the ensemble were some images of the map.

It is the four-hundred-year anniversary of Ricci’s death this year. ¡Sacabuche!, the famous early music (referring to European classical music before and during Baroque period) ensemble performed on December 12, 2010 at the National Center for the Performing Arts. The ensemble re-constructed the grand scenario of Sino-Western exchange four hundred years ago by performing Italian music of Ricci’s period and Chinese traditional music and by integrating the historical text recitation into the music.

¡Sacabuche!, which is located at the Jacobs School of Music, Indiana University, is one of the active trombone ensembles in the United States. It mainly performs the wonderful trombone and voice pieces of Baroque period. It was awarded the 2009 American Early Music Competition and was highly evaluated in Boston Early Music Festival. In June 2010, ¡Sacabuche! performed with the world-famous Luten performer Nigel North in Berkeley Early Music Festival.

¡Sacabuche! director, Linda Pearse, is a baroque trombonist, teaches early music at the Indiana University Jacobs School of Music. She received her art degree in Germany and studied early music at Basel, Switzerland. She also performed with various ensembles in Europe and released records.

All the instruments that the ensemble used were ancient ones. No matter trombone or violins, they are Baroque instruments. Some instruments I cannot recognize.

There were also Chinese instruments in the ensemble: Zheng and Sheng.

Program:

The Fisherman’s Sonnet, composed by Huang Ruo

This piece was revised based on the folk song in Jiangnan. Have you caught the taste of “Huang Bohu Flirts Qiu Xiang?” It is very worthy that the tenor demonstrated the twists of our folk song. Even though his tongue was hard, the taste was sufficient.

Yuan Shan, composed by Huang Ruo

This is a new piece composed by a Chinese American Huang Ruo. The instruments in this piece were ancient instruments from both China and the West. Unfortunately, the music itself was not harmonious and I cannot really enjoy it.

[Some clips from the concert]

I checked some sources. On May 11, 1610, Matteo Ricci died in Beijing. With the consent of the emperor, Xu Guangqi conducted the funeral and buried Ricci at the Tenggong Zhalan, Erli Gou outside Pingze Gate.

Ricci’s grave is now located at the inside yard of the Beijing Administrative College (Beijing Municipal Cadre School). On the eastern side of the grave, there are about ten gravestones. On the western side there are three gravestones facing the grave. The middle one is Matteo Ricci’s. The two on right and left sides are Johann Adam Schall von Bell (1592-1666) and Ferdinand Verbiest (1623-1688)’s. On the gravestone of Ricci inscribed “The grave of Jesuit Li.” Ricci’s activities were inscribed in both Latin and Chinese.

[Image of Ricci’s gravestone]

[Images that the blogger took at the “Matteo Ricci” Exhibition in the beginning of this year at the Capital Museum in Beijing]

[One of the comments that the blogger replied to one of his friend] “This concert was very special. The arrangement was quite interesting.”

Day 10, SAT Dec 18, 2010

Our second day of cultural tourism was spent walking through the Temple of Heaven and shopping (perhaps not considered cultural tourism, but in China it is a must!). Once again guided by Ann Waltner and her expert doctoral student Qin Fang, we learned of the emperor’s ritual sacrifices and ceremonies designed to bring the cosmos into harmony. Plato, eat your heart out! And here I thought it was music that could tame the soul and align the planets! Imagine the hours of practicing that we could spare by just slaughtering a goat or two.

The shopping excursions led to inevitable moments of bargaining. Some ¡Sacabuche! members have become quite expert at negotiating prices with the vendors, and Ben Geier (tenor) seems to be the most adept in our group. He apparently negotiated 1/10 of the price for several items of clothing—bragging rights indeed.

Day 11, SUN Dec 19, 2010

Today was the final day of performances in Beijing; tomorrow we fly home. We performed our second tour program—the Glories of Rome, Venice and Vienna—at the prestigious Ullens Center for Contemporary Art. The manager of the gallery reported their largest audience in 2010 for our performance, and there was standing room only in the room. The clientele of the gallery is open and adventurous, and they made for a receptive and warm audience. The first half of the program was made up of selections from the Ricci program (Palestria, Gabrieli, De Selma, etc.) and the second half was a German and Viennese selection of works by Heinrich Schütz, Antonio Bertali, and Johann Rosenmüller. Although we mingled with several concert-goers, embassy diplomats and international journalists after the concert, we were all thrilled to be back on the bus and headed to the hotel soon after—fatigue has set in.

We performed twelve concerts in ten days. Let me say that again. We performed twelve concerts in ten days. Two of those days were for rehearsals only and two days were for tourism, making for twelve concerts in only eight days of performing (non-consecutive). We performed at the National Center, Ullens Center for Contemporary Art, Beijing University (Beidah), Renmin University (Rendah), the Central Conservatory of Music and the U.S. Embassy—just to name a few. We are all still speaking to each other. Although we are a wee-bit tired we are in high spirits and excited about the music-making of the past ten days.

This experience has profoundly changed the lives of several members of the group. One ¡Sacabuche! Hoosier—who up until this trip had not been in possession of a passport—remarked that he now realizes that “there is more than just corn out there.” I have a feeling that this will not be his last trip abroad.

Conclusions

It is difficult to sum up this tour in a few paragraphs and it may be quite a while before we are able to process everything that has happened. It was intense, challenging, rewarding and eye-opening. I feel like new spaces have been opened up inside that will be difficult to fill anytime soon. Many of ¡Sacabuche!’s members have remarked over and over again how engaging, open and curious people have been about us. From shopkeepers to students to diplomats and journalists, all have received us warmly and inquisitively. When we perform, there is a always a noticeable shift in the audience from distant shyness (at the beginning) to open curiosity, exchange and laughter (by the end). It sounds corny, but our week here has made it obvious why music has played such a large role in diplomatic actions around the world for centuries. Music can build a bridge of meaningful, shared human experience between complete strangers—a bridge that facilitates growth and understanding. I have been a passionate believer in this concept for quite some time now and am over the moon to see it realized on both the artistic plane within the Ricci project as well as the practical one with our outreach and performance activities here in Beijing.

It has been a privilege to be a part of this project and I would like to take a moment to thank those who have helped us make it happen: President Michael McRobbie, Vice-President Patrick O’Meara and Shawn Reynolds of the Office of International Affairs, JSoM Deans Gwyn Richards and Eugene O’Brien, the Office of the Provost, the Early Music Institute, Stanley Ritchie, Wendy Gillespie, Paul Elliott, Cathy Barbash, Ann Waltner, Huang Ruo, Qin Fang, Cummins (China) Ltd., Baker & McKenzie LPP Beijing, Nell Waltner, Garry and Betty Pearse, the James Ford Bell Library at the University of Minnesota and all of the members of ¡Sacabuche! (both present and past).

Please wish us safe travels for tomorrow.

Linda

We gave two performances today. The first was for Cummins (China) Ltd., who sponsored part of our tour; the concert served as a means of thanking them for their support. The second was a strictly early music program of Roman, Venetian, and Viennese music performed at the Beijing Central Conservatory of Music. Both performances ran smoothly; group members were healthy, music history exams had been administered, jet-lag had subsided, and after seven days of rehearsals and performances, we were looking forward to our two days of upcoming cultural tourism.

Day 9, FR Dec 17, 2010

The long-awaited day of cultural tourism had arrived! We were off to visit the Forbidden City with its endless system of gardens, grounds and structures (see photos coming soon). We felt particularly fortunate to be accompanied by Ann Waltner, our Chinese historian and artistic co-creator for the Ricci project. When I say that she is “our” historian, it really implies that we would like to keep her! She provided amazing insights into the Forbidden City, the Ming and Qing dynasties, and Chinese culture in general.

Having eaten the local delicacies for the past seven days, we opted for a more familiar cuisine of hamburgers, pizza and soups for our lunchtime meal. Shopping followed with a visit to a local music store. Wendy and Stanley enjoyed experimenting with the Chinese Erhu, http://en.wikipedia.org/wiki/Erhu (video to follow), while Sarah and Simon worked on their Sheng skills, http://en.wikipedia.org/wiki/Sheng_%28instrument%29.

Thoughts on Cultural Exchange

Cultural exchange has accompanied us throughout the tour. It lies at the heart of the Matteo Ricci project. Ricci was an inspiration to us with his perseverance, vision, flexibility and great courage. We have experienced cultural exchange on this tour in several meaningful ways. Here are my current “Top Five Moments of Cultural Exchange”

5) Performance for a world music class at Peking University with “oohs” and “aahs” for Stanley and Wendy’s presentations on early instruments. We finished the class with a performance of “Ave verum corpus” (Mozart), joined by two violin students from the class. It was a “Kum-ba-ya” moment.

4) Group visit to the Great Wall of China with Changping High School No. 1. It was a crisp, clear, and very cold day with perfect visibility for visiting this stunning national treasure. We chatted with flocks of eager and curious high school students—most hoping to be accepted at an American College for the coming year.

3) Exchange of performances with Changping High School No. 1. The students performed Beijing opera excerpts, Sichuan dances, and band music—we were stunned by the beauty, complexity and variety of the Chinese musical arts.

2) Performance for and exchange with the American Center for Educational Exchange (ACEE) at the U.S. Embassy — playing the Dreidle game with a pizzicato and whistling accompaniment! A game of chance and chocolate unite the young and young at heart.

1) Chen Bo, playing the Sheng, and Gong Qi, playing the Guzheng, collaborating with ¡Sacabuche! for our performances of “Matteo Ricci: His Map and Music.” Absolutely marvelous musicians!