专辑序言

“演奏”作为生命的连接“

谈论这张专辑，不能只谈作品，更要谈创作这些作品的人，我多年的好友——青年作曲家陈哲。

我们常把作曲家和演奏者的关系，比作建筑师与建造者。建筑师画出精准的蓝图，建造者依图施工。这个比喻有它的道理，强调了忠实于原作。但在我看来，我们的关系或许更接近另一种状态：她是一位埋藏了无数线索与可能性的地图绘制者，而我，是那个拿着这张地图，用我的双脚、我的呼吸、我的全部生命经验去行走这片风景的旅人。

地图是客观的，它标出了山川河流、道路城池。乐谱也是客观的，它规定了音高、节奏、速度、力度。但真正的行走，充满了地图无法标注的细节：哪一段上坡会让我心跳加速，哪一片林间的风会突然带来湿润的草木气息，哪一处转弯会让我望见意想不到的远景。这些细微的感受，构成了我行走的独特体验。

演奏也是如此。陈哲在她的乐谱里，植入了来自传统文化的深厚养分——诗词的意境、兵法的谋略、哲学的思辨，还有那些活生生的地域风情。这是她给予我的坚实地图。而我的工作，是将这张地图上的符号，转化为真实的、有温度的行走。比如，乐谱上一个标记为“弱”的音，它不仅仅是轻，而可能是一种小心翼翼的试探，当然也可能是一种深藏不露的力量，或可能是一种即将消散的回忆……究竟该如何呈现“弱”，取决于我对整部作品气质的理解，也取决于我在那一刻内心的状态。这不是对乐谱的背离，恰恰是对乐谱最深层的忠实——忠实于作品所希望唤起的那个“意境”或“精神”。

所以，我们的合作，不是简单的“我弹你写的谱”，而是一场持续的、深入的对话。这种对话，很多时候是无言的，它发生在排练时一个眼神的交汇，发生在对某个指法背后意图的反复揣摩里……她通过乐谱向我发出邀请，而我用我的演奏作出回应。我们共同的目标，是让那些静止的音符站立起来，获得呼吸、心跳和灵魂，最终能走向听众，去触动另一颗心。

这引向了一个更根本的问题：我们究竟为何而演奏？技术固然重要，它是我们行走这片音乐风景的基本能力，不能是跛足的。但仅仅展示技术，就像是一个旅人不断向人炫耀自己健步如飞，却忘记了描述沿途风景的动人之处。我认为，演奏的终极目的，是沟通，是理解。

我深信，演奏必须“真诚”。这份真诚，首先源于我对乐谱——也就是作曲家意图——的真诚探寻。然后，它更需要我对自己生命体验的真诚。我们之所以能被一段音乐打动，往往是因为它不经意间触动了我们自己生命中相似的欢欣、失落、渴望或矛盾。正如当我演奏《木兰》时，我调动的不只是对这个故事的知识性了解，还有我作为一个现代女性，在面对挑战、做出选择时的细微感受。我将这份私人的、真切的生命体验，作为一种情感的钥匙，去尝试打开乐谱背后的情感世界。

这个过程，滋养远多于消耗。这让我在理解作曲家笔下的“他人”时，更清晰地看见自己；在演奏这些作品时，我自己的生命也仿佛被拓宽了。最终，演奏渐渐成了一座桥，连接起作曲家的心灵、我自己的轨迹，以及听者的感受。回过头看，我与陈哲的合作，正是试图共同构建这样一座桥。她负责筑下桥基，而我，则用我的全部身心去行走、去感受，让这座桥不仅能通往过去，更能架设在当下，与每一个走过它的人产生共鸣。

中国的传统艺术拥有伟大的过去，但同时它也必须是“现代”的，活在今天的人的呼吸里。这或许就是我们想做的：让千年的古筝，不仅停留在传统，也能叩问我们此刻的生命。其中的关键，大概就在于作曲与演奏之间，那种相互激发、彼此成就的创造性关系。

连枝共影，我们如同并肩的创造者，只为让传统的声音，在今天依然能够发出真诚而有力地回响。

宋心馨

2026年1月谨识于京

“Performance” as a Connection of Life

In discussing this album, I cannot speak only about the works themselves; I must also speak about the person who created them, my longtime friend, the young composer Chen Zhe.

We often liken the relationship between a composer and a performer to that of an architect and a builder. The architect draws precise blueprints, and the builder constructs according to them. This metaphor has its merit, emphasizing fidelity to the original work. Yet, in my view, our relationship may be closer to another model: she is a mapmaker, embedding countless clues and possibilities, and I am the traveler who takes this map and traverses the landscape with my feet, my breath, and the totality of my life experience.

The map is objective; it marks mountains, rivers, roads, and cities. The score is objective, too; it specifies pitch, rhythm, tempo, and dynamics. Yet the real journey is full of details the map cannot capture: which uphill stretch quickens my heartbeat, which forest breeze carries the scent of wet grass, or which turn reveals an unexpected vista. These subtle perceptions constitute the unique experience of my journey.

Performance is the same. In her scores, Chen Zhe has infused profound nourishment drawn from traditional culture—the imagery of poetry, the strategies of military texts, the depth of philosophical reflection, and the living flavors of regional landscapes. This is the solid map she gives me. My role is to transform the symbols on this map into a real, warm-lived journey. For instance, a note marked “piano” in the score is not merely soft; it could be a cautious exploration, a hidden strength, or a fading memory… How I present “piano” depends on my understanding of the overall character of the work, and on the state of my own mind at that moment. This is not a deviation from the score; on the contrary, it is the deepest fidelity to it—faithfulness to the “mood” or “spirit” the work seeks to evoke.

Thus, our collaboration is not simply “I play what you wrote”; it is a continuous, profound dialogue. Much of this dialogue is wordless, occurring in a shared glance during rehearsal, or in repeated contemplation of the intent behind a particular fingering… She extends an invitation through her score, and I respond through my performance. Our shared goal is to make those still notes stand upright, breathe, beat, and possess a soul, ultimately reaching the audience and touching their hearts.

This leads to a more fundamental question: why do we perform? Technique is undeniably important. It is the basic ability that allows us to traverse this musical landscape, but showcasing technique alone is like a traveler constantly flaunting their speed while forgetting to describe the beauty of the scenery along the way. I believe the ultimate purpose of performance is communication and understanding.

I am convinced that performance must be “sincere.” This sincerity first arises from a genuine exploration of the score, that is, the composer’s intent. Beyond that, it requires honesty toward my own life experience. Music moves us precisely because it touches resonances in our own lives—our joys, losses, desires, or contradictions. When I perform Mulan, I do not draw solely on a factual understanding of the story, but also on the subtle feelings I, as a modern woman, experience when facing challenges and making choices. I use this personal, genuine life experience as an emotional key to unlock the emotional world behind the score.

This process nourishes more than it depletes. In understanding the “others” imagined by the composer, I see myself more clearly; in performing these works, my own life feels expanded. Gradually, performance becomes a bridge connecting the composer’s mind, my own trajectory, and the listener’s perception. Looking back, my collaborations with Chen Zhe are attempts to build such a bridge together. She lays the foundation, and I traverse it with my entire body and mind, allowing the bridge not only to reach the past but also to exist in the present, resonating with everyone who crosses it.

Chinese traditional art has a magnificent past, yet it must also be “modern,” alive with the breath of today. Perhaps this is what we seek to achieve: to allow the millennia-old guzheng not only to remain in tradition but also to touch our lives in the present. The key lies in the relationship between composition and performance, the creative interaction that inspires and fulfills both.

Like intertwined branches casting a shared shadow, we are parallel creators, striving only to let the voice of tradition sound sincerely and powerfully today.

Song Xinxin

January 2026, Beijing

专辑介绍

古筝演奏家宋心馨演奏专辑《连枝共影》收录的均为青年作曲家陈哲于2017至2024年创作的筝乐作品，包括《戏莲》《木兰》《易》之（弈）（逸）、《计·空城》《客而家焉》《麻辣九宫格》《苍歌引》。这张专辑为品风音乐策划录制的“大音国乐——中国乐器优秀演奏家独家版本系列”第5集，由中国数字文化集团出版，目前专辑已在京东、淘宝发行销售。

古筝演奏家、中国音乐学院副教授宋心馨对七首作品的诠释真诚而深刻，达到了情感与理性的极致平衡。多年以来，她对于古筝音响的不懈探索，使她在诠释新作品时尤其能给人带来非同一般的感受。正如她在文章中写道：“技术固然重要，它是我们行走这片音乐风景的基本能力，不能是跛足的。但仅仅展示技术，就像是一个旅人不断向人炫耀自己健步如飞，却忘记了描述沿途风景的动人之处。我认为，演奏的终极目的，是沟通，是理解。”

专辑由著名音乐制作人侯钧担任策划、监制，资深录音师沈援之、优秀青年录音师陈曦担任录音、混音。专辑将古筝丰富的音响色彩和演奏家极具感染力的音乐演绎呈现给听者，是近年不可多得的一张具有欣赏与收藏价值的高品质古筝原创专辑。

专辑曲目

1、戏莲 筝独奏2019

作曲：陈哲  筝：宋心馨

2、木兰 筝独奏2020

作曲：陈哲  筝：宋心馨

3、易之<弈><逸> 七声弦制筝与钢琴 2021

作曲：陈哲  筝：宋心馨  钢琴：陈哲

4、计·空城   筝独奏  2024

作曲：陈哲  筝：宋心馨

5、客而家焉  筝独奏  2023

作曲：陈哲  筝：宋心馨

6、麻辣九宫格  群筝与打击乐  2020

作曲：陈哲

筝1：宋心馨  筝2：黄磊  筝3：吴振英  筝4：焦麒睿  筝5：张思怡  筝6：魏苗子麟  筝7：徐若菡  筝8：王韵傲  筝9：冉哲  打击乐：舒彬

7、苍歌引  筝与钢琴  2014＆2017

作曲：陈哲  主奏筝：宋心馨 助奏筝：李好 薛子涵  钢琴：陈哲