文章聚焦于秦文琛跨越20年的四部协奏曲《唤凤》《黎明》《行空》《云川》,通过历时性地探究与分析,揭示出其音乐语言由旋律到音色音响的演进,独奏与协奏关系由对立走向和合,结构内部的华彩从显至隐,乃至其对儒家精神至道家精神追求的重心转移。然而,其一以贯之的则是以“气韵生动”为旨归的创作观念及其个性化表现。

This paper focuses on the four concertos by QIN Wenchen spanning over 20 years: Calling for Pheonix,Dawn,Across the Skies,and The Cloud River.Through a diachronic perspective,it reveals that his musical language evolved from melody to timbre and sound,the relationship between solo and ensemble changed from opposition to harmony,the cadenzas within the structure shifted from explicit to implicit,and even the focus of spiritual pursuit moved from Confucianism to Taoism.One consistent aspect throughout,however,is his creative philosophy centered around the concept of‘vivid charm’and his personalized expression.