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《貉獠之歌》：福佬歌謠
盧長劍作曲家
Songs of the Raccoon Dogs (Hokklo Folk Transcriptions)
George Holloway Composer
Reuploaded with subtitles. 附字幕重新上傳。
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：
0:00 （一）《五更鼓》
3:30（二）《草蜢弄雞公》
6:56（三）《留傘調》
9:31（四）《一隻鳥仔哮啾啾》
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.
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