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《貉獠之歌》 Songs of the Raccoon Dogs (Apr. ’23)

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《貉獠之歌》首演前作曲家跟三位演奏家的合照

(scroll down for English programme note and song texts)

青年歌唱家黃盈慈,青年鋼琴演奏家邱杏慈和長笛演奏家彭建翔於2023年4月13日在台北誠品表演廳,在雅歌樂集合唱團 「春暖花開歌先知」的音樂會中首演了我專門為他們創作的《貉獠之歌》(福佬歌謠改編 ),首演圓滿成功。黃盈慈對歌詞中不同角色與情緒的轉換、畫面轉折和戲劇性效果的詮釋都很生動。我從觀眾席裡聽著可以感覺到觀眾真的很欣賞我的音樂!

我改編的歌曲如下:

(一)《五更鼓》

(二)《草蜢弄雞公》

(三)《留傘調》

(四)《一隻鳥仔哮啾啾》

請滑到最下面,就可以閱讀歌詞。

三位演奏家在音樂會海報前的合照

 

向觀眾介紹《貉獠之歌》:福佬歌謠改編
綵排
音樂會後
跟演奏家排練是個很愉快的時光

 

 

《貉獠之歌》:福佬歌謠改編
歌詞
(一)《五更鼓》
(僅第一、第五段)
一更的更鼓月照山
牽君仔的手摸心肝
阿君問娘欲按怎
隨在阿君的心肝
五更的更鼓天漸光
我君啊要轉心頭酸
滿腹心情漸漸悶
頭暈目眩面青青
(二)《草蜢弄雞公》
(僅第一到第四段)
人生六十伊都像古樹 無疑食老伊都愈健丟
看著小娘伊都面肉幼 害我學人伊都老風流
啊伊都那噯唷啊伊都老風流
草蜢弄雞公 啊 雞公披搏跳
老人食老伊都性愛守 毋通變成伊都老不修
若是愛我伊都做朋友 可惜你是伊都長喙鬚
啊伊都那噯唷啊伊都長喙鬚
草蜢弄雞公 啊 雞公披搏跳
嫌我喙鬚伊都歹看樣 我著來剔伊都光溜溜
你著交我伊都卡永久 少年僥雄伊都無尾溜
啊伊都那噯唷啊伊都無尾溜
草蜢弄雞公 啊 雞公披搏跳
少年阿兄伊都人清秀 做陣一對伊都像鴛鴦
講話散步伊都好遊賞 配著老兄伊都心帶憂
啊伊都那噯唷啊伊都心帶憂
草蜢弄雞公 啊 雞公披搏跳
有 (啊) 人割落 (講) 五六葉連
 (哎喲) 鳥雙羽搦胸 (嘟) 搦少年
 (伊嘟) 情兄喂羅妹 (啊) 喂
 (講) 草螟仔底弄雞尪 (講) 雞尪吱咕叫
(講) 直 (啊) 恁來少年 (講) 毋免展
(哎喲) 輪一圈免講我是仙
(伊嘟) 情人兄喂羅妹 (啊) 喂
(哎喲) 水兮對這來 (講) 歹兮放予去
(最後兩段基於平埔族歌手卯天富的版本;田野調查由吳榮順老師;陳峙維、等老師們的轉錄)
(三)《留傘調》
陳三夯傘要起身咿,益春仔留傘隨後面咿,請問三哥咿呀囉咿,請問三哥啥原因,你就啊,對我啊,對我來說分明咿哪唉喲的喲。
念白:有些一人一款誒預算、啊有些這樣人欺貧重富百百款、放那個名聲給人流傳
(來自楊秀卿的版本)
落花有意心堅定咿,流水卻對我無情咿,我再為奴咿呀囉咿, 我再為奴有何用,看破啊,回鄉啊,回鄉另選親咿哪,唉喲的喲。
(四)《一隻鳥仔哮啾啾》
嘿!嘿!嘿都一隻鳥仔哮啾啾 荷哩哭到三更一半暝找無巢 荷嘿荷啊!
哈都什麼人啊甲阮撞破一個巢 荷哩乎阮抓著不放伊甘休 荷嘿荷!
Songs of the Raccoon Dogs: Hoklo Folk Transcriptions is dedicated to Michael Finnissy in celebration of his 77th Birthday on 17th March 2023. Songs of the Raccoon Dogs was commissioned by soprano Ying-Tzu Huang, pianist Chiu Hsing-Tzu, and flautist Peng Jian-Hsiang, and premiered on 13th April 2023 in the Eslite Performance Hall, Xinyi District, Taipei, as part of the Yage Choir’s “The Song First Knows The Warm Spring and the Flowers Opening” Concert.
The remit was to use traditional and popular Hokklo (Taiwanese dialect) songs. I could have simply made “harmonisations” of these melodies, added a countermelody for the flute, and produced a set of simple arrangements. I chose instead to made a set of “transcriptions” in the sense used by Michael Finnissy, commenting, satirising, exaggerating, evoking, dramatising and reimagining the original melodies and lyrics.
I selected the following songs: 1. A traditional moon-lute recitation song, “The Drums of the Fifth Watch”, which has also become a well-known pop-song in its version sung by Jody Chiang; 2. an anthropomorphic and superficially “child-like” folk song replete with sexual innuendos which was arranged (recontextualised) in a hyperactive version using Western orchestra with children’s choir, to which I’ve affixed a transcription/evocation of a version sung by the late folk singer Mao Tian-Fu by way of stark contrast; 3. a folk song that juxtaposes two different traditional embodiments, namely moon-lute recitation and Taiwanese Gezai (folk) opera; 4. an allegorical song, reportedly used during the Japanese colonial era to express anger on the part of Taiwanese people against the oppressive policies of the regime.
I use a variety of approaches to the transcriptions, including faithful and minutely detailed documenting of the exact embellishments sung by a given singer, dramatic reimagining of the harmony implied by a melody, collage-like juxtaposition of differing stylistic embodiments of the songs, and unsychronised parts.

Songs of the Raccoon Dogs : Hoklo Folk Transcriptions
Texts
(translations by the composer with assistance from Chiu Hsing-Tzu)

I. “The Drums of the Fifth Watch”
(only the first and fifth stanzas are set)

At the drums of the first watch, the moon lights up the mountain.
Holding Master Lang’s hand, it touches her heart.
Master Lang asks his mistress what to do.
[The mistress:] “Just follow your heart.”

At the drums of the fifth watch, the sky is gradually brightening.
Master Lang has to go back. [The mistress:] “I’m feeling sour,

A heavy feeling fills my guts,
My head is dizzy, my complexion turns pale.”

[Note: The first watch was roughly equivalent to the hours between 7 and 9pm, the fifth, to the hours between 3 and 5am.]

II. “The Grasshopper Teasing the Cock”

[The cock:] “Having lived to the age of sixty, I’m like an old tree.
I didn’t expect that I could be so flexible when I’m old.
Seeing the girl, her face so unblemished,
Makes me imitate others, and behave like an old lothario.”
a i dio na ay yo a i dio, the old lothario:
The grasshopper teases the cock, the cock bi-bo jumps around.

[The grasshopper:] “When you get old, you need to be more conservative.
Don’t keep at your old incorrigible ways.
If you love me, then let’s be friends.
It’s a pity you have a long beard.”
a i dio na ay yo a i dio, a long beard:
The grasshopper teases the cock, the cock bi-bo jumps around.

[The cock:] “You think my beard is ugly:
I’ll just shave it off,
And you’ll stay with me longer.
Young people are fickle and have no tail.”
a i dio na ay yo a i dio, they have no tail:
The grasshopper teases the cock, the cock bi-bo jumps around.

[The grasshopper:] “Young men are handsome.
Two people walking together like mandarin ducks,
talking, walking, having nice outings.
With an old chap, the heart is melancholy.
a i dio na ay yo a i dio, the heart is melancholy:
The grasshopper teases the cock, the cock bi-bo jumps around.

The rice plant is scythed five or six leaves at a time.
Birds with flapping wings grab at the chests of the young people.
Lovers and girls!
The grasshopper is teasing the cock, the cock is squawking gu-gu.

Young people, just come over here!
No need to show off, put on a show,
and spin somersaults, lovers and girls!
The beautiful can come here, but let the ugly ones go.

III. “Grabbing-The-Umbrella Song”

Chen San gets up to leave with the umbrella over his shoulder.
Yi Chun-Zai follows behind, grabbing hold of the umbrella.
[Yi Chun-Zai:] “Excuse me third brother,yi ya lo yi:
What is the reason for the third brother to…
you just… ah
tell me… ah
tell me clearly.
yi na ai yo di yo.”

[declaimed:]

Everyone calculates their self-interest differently. Ah, some look down on the poor and look up to the rich,
but all their actions are known to posterity.

[Chen San:] The fallen flower is willing and steadfast, yi
Yet the flowing water is ruthless to me, yi.
I’ll become a slave again, yi ya lo yi :
What‘s the use in becoming a slave again?
Now I see clearly, ah
I’ll go back to my hometown, ah.
Look for another spouse in my hometown yi na
ai yo di yo.

[The “falling flower” seems to refer to Chen San, the “flowing water” to Yi Chun-Zai.]

IV. “A Little Bird Crying”

Hey, hey, hey, there’s a little bird crying.
Ho li, It cried until midnight and couldn’t find its nest.
Ho he ho ah.
“Ha, Who broke my nest?
Ho li, Just let me catch you, I won’t let you go.”
Ho he ho.