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在数十年的操琴生涯中,我是一个十分幸运的人,得遇良师挚友甚多,此中给我影响最大的,是杨宝森先生及为杨派艺术献力建功的诸位乐师。四十年代初期,马(连良)、谭(富英)、杨(宝森)、奚(啸伯)“四大须生”崛起。此中,我对杨派剧目尤甚喜爱。建国初期,我为李鸣盛伴奏,他嗓音宽厚、圆润,讲求韵味,近似杨派风格。大凡杨擅演之剧,他均能出台。1952年,我随鸣盛南行,在上海卡尔登(今长江剧场)戏院合作,时逢总政京剧团来调鸣盛和杨宝忠先生(事先早已洽谈),他二人允
During my decades-long piano practice, I was a very fortunate person. I met a great number of my dear friends. Among them, I am most impressed by Mr. Yang Baosen and the musicians who have dedicated themselves to Yang Art. In the early 1940s, the rise of the “Four Musts”, including Ma Lianliang, Tan (Fu Ying), Yang (Baussen) and Xi (Xiao Bo). Among these, I particularly like the genre of Yang Faction. In the early days of the founding of the PRC, I accompanied Li Ming-sheng. His voice was generous, mellow, and focused on Yang style. All Yang drama, he can be introduced. In 1952, accompanied by Ming Sheng’s visit to the theater in Shanghai’s Carlton (now the Changjiang Theater), I met Mr. Sheng Bao and Mr. Yang Baozhong at the Beijing Opera Troupe (discussed earlier in advance)