一位老人在寫(xiě)自傳，已寫(xiě)了100余萬(wàn)字。那天晚上，在這位長(zhǎng)者素樸的杭州寓所里，我只看了他的部分章節(jié)，就被深深感動(dòng)了。

這是一個(gè)人的經(jīng)歷，但絕對(duì)不是蕓蕓眾生的尋常故事。在他那風(fēng)起云涌、跌宕起伏的命運(yùn)交響曲中，有風(fēng)雷激昂的時(shí)代強(qiáng)音，也有悠揚(yáng)的民族文化樂(lè)章。他創(chuàng)作的《國(guó)際反侵略進(jìn)行曲》被國(guó)際反侵略協(xié)會(huì)定為會(huì)歌，曾唱響全球；他的經(jīng)典之作《采茶舞曲》被聯(lián)合國(guó)教科文組織評(píng)為“亞太地區(qū)風(fēng)格的優(yōu)秀音樂(lè)教材”，至今盛唱不衰。他不僅僅是音樂(lè)家，更是教育家，他推崇因材施教、發(fā)展個(gè)性的“道爾頓制”，并一生致力于實(shí)踐……

這位長(zhǎng)者便是周大風(fēng)，浙江寧波人。

《國(guó)際反侵略進(jìn)行曲》：蔡元培譽(yù)為“全球同聲，為國(guó)爭(zhēng)光”

這是國(guó)際反侵略運(yùn)動(dòng)大會(huì)總會(huì)會(huì)歌，當(dāng)時(shí)全世界反日德意侵略集會(huì)都要高奏此曲。1945年在世界反法西斯戰(zhàn)爭(zhēng)取得勝利的這一天，也就是中國(guó)結(jié)束八年抗戰(zhàn)的日子，有60多個(gè)國(guó)家唱響這支歌?！秶?guó)際反侵略進(jìn)行曲》成了世界的同一首歌，這首歌的詞曲創(chuàng)作者便是中國(guó)的周大風(fēng)。

站起來(lái)!站起來(lái)!站起來(lái)!全世界愛(ài)護(hù)和平的兄弟姐妹們，

快為著保衛(wèi)人類(lèi)的文明和生存而前進(jìn)!

看多少?lài)?guó)家正蔓延著恐怖的戰(zhàn)爭(zhēng)，無(wú)辜人民正被蹂躪。

這是一個(gè)教訓(xùn)，再不起來(lái)斗爭(zhēng)，人類(lèi)將要臨到末日的命運(yùn)。

全世界二十萬(wàn)萬(wàn)的人民，快放棄國(guó)家民族人種的私見(jiàn)，

為著人類(lèi)生存文明，為了世界永久和平，

一齊起來(lái)向侵略者作一次最后的斗爭(zhēng)!

在周大風(fēng)家里，他把CD片放入電腦中播放，我第一次聽(tīng)到這首歌。這首歌樂(lè)曲旋律高亢、激昂、壯美，極富感召力。周大風(fēng)說(shuō)他寫(xiě)這首歌時(shí)才17歲，說(shuō)起這首歌，許多前塵往事，從他澄澈的記憶深潭中浮起漾出……

周大風(fēng)，原名周之輝，祖籍寧波鎮(zhèn)海大(今北侖)，父親周六吉是中國(guó)共產(chǎn)黨最早的一批黨員。周家祖輩是富商，鎮(zhèn)海建黨時(shí)，周六吉捐獻(xiàn)4萬(wàn)銀元作為組織經(jīng)費(fèi)，后來(lái)他又把家鄉(xiāng)的所有商鋪和家產(chǎn)變賣(mài)捐獻(xiàn)給黨的事業(yè)。

周大風(fēng)自小受父親影響，深明大義，他在家鄉(xiāng)靈山小學(xué)畢業(yè)后到上海只讀了一年初中抗戰(zhàn)就爆發(fā)了，失學(xué)回到故里的他，與同學(xué)王博平等人一起成立了“扎馬民眾救亡工作團(tuán)”，周大風(fēng)被選為團(tuán)長(zhǎng)，當(dāng)時(shí)他才15歲。該團(tuán)上演過(guò)許多宣傳抗日的戲，他還自己作曲，把大型話劇《鐵花》變成歌劇，在當(dāng)?shù)馗鬣l(xiāng)鎮(zhèn)巡回演出，影響很大，并由此引起了國(guó)民黨懷疑，于是他不得不離開(kāi)家鄉(xiāng)重返上海。

1938年冬天他進(jìn)入了“上海益豐搪瓷公司”，在第五分廠打樣間美術(shù)部做學(xué)徒，繪搪瓷畫(huà)。他愛(ài)好音樂(lè)想學(xué)鋼琴，上海國(guó)立音專(zhuān)王瑞嫻教授發(fā)現(xiàn)他極有天賦，就免費(fèi)教他。但到哪里去練琴呢?他想到了琴行，滬上的三家琴行他都去了，沒(méi)想到開(kāi)琴行的都是大人，“同鄉(xiāng)三分親”，于是他就輪著在這三家琴行練琴。當(dāng)然，他也幫老板修琴、制琴、調(diào)律、整音等等，這可算是絕活，這樣周大風(fēng)又學(xué)會(huì)了一門(mén)手藝。

白天做工，晚上練琴，休息的間隙看書(shū)、撰稿。搪瓷廠的辦公室訂有不少報(bào)紙，有天周大風(fēng)看到了蔡元培先生作的一首《國(guó)際反侵略運(yùn)動(dòng)大會(huì)中國(guó)分會(huì)會(huì)歌》，他哼唱后覺(jué)得詞深?yuàn)W曲澀口，他認(rèn)為號(hào)召民眾反侵略的歌應(yīng)該朗朗上口、通俗易懂才能流行。于是周大風(fēng)就給蔡元培先生寫(xiě)了一封信，對(duì)《國(guó)際反侵略運(yùn)動(dòng)大會(huì)中國(guó)分會(huì)會(huì)歌》提出了意見(jiàn)，并把自己寫(xiě)的一首白話詞曲附寄上。

不久國(guó)際反侵略協(xié)會(huì)在全世界范圍征求總會(huì)會(huì)歌。周大風(fēng)的《國(guó)際反侵略進(jìn)行曲》便脫穎而出，被定為總會(huì)會(huì)歌。蔡元培先生稱(chēng)譽(yù)該曲“全球同聲，為國(guó)爭(zhēng)光”。國(guó)際反侵略協(xié)會(huì)中國(guó)分會(huì)獎(jiǎng)勵(lì)周大風(fēng)200塊銀圓，當(dāng)他接到這筆稿費(fèi)時(shí)才了解到是蔡元培推薦了他的歌，周大風(fēng)不由得對(duì)先生的高尚品格肅然起敬。

除了響亮的《國(guó)際反侵略進(jìn)行曲》，抗日戰(zhàn)爭(zhēng)時(shí)期周大風(fēng)還創(chuàng)作了一大批愛(ài)國(guó)歌曲，如《堡壘進(jìn)行曲》《黎明之歌》《自由鐘聲》《孤島藝人之歌》等等，其中揭露日本侵略者暴行的《白米謠》在民眾中流傳甚廣，還有激勵(lì)民眾士氣的兒童歌劇《不夜天》，那是蔣經(jīng)國(guó)請(qǐng)周大風(fēng)創(chuàng)作的。該劇由費(fèi)鏗導(dǎo)演，當(dāng)時(shí)影響很大，后來(lái)女導(dǎo)演費(fèi)鏗也因此與周大風(fēng)結(jié)成了一生的姻緣。

《采茶舞曲》：周恩來(lái)修改歌詞，毛澤東點(diǎn)名要看

“溪水清清溪水長(zhǎng)，溪水兩岸好呀么好風(fēng)光。哥兒們上畈下畈勤插秧，妹妹們東山西山采茶忙。插秧插得喜洋洋，采茶采得心花放……”輕快、優(yōu)美、富有濃郁地方特色的《采茶舞曲》，是一首膾炙人口的江南民歌，許多人都熟悉會(huì)唱。我在采訪周大風(fēng)先生時(shí)，聽(tīng)到了有關(guān)《采茶舞曲》的許多幕后故事：

那是1958年，周大風(fēng)任浙江越劇二團(tuán)藝術(shù)室主任。他帶頭搞改革，開(kāi)創(chuàng)越劇男女合演及排演現(xiàn)代劇等新的藝術(shù)之路。為了創(chuàng)作反映現(xiàn)實(shí)生活的劇目，全團(tuán)50人到“千年不聞鑼鼓響，萬(wàn)年不見(jiàn)戲上臺(tái)”的泰順山區(qū)體驗(yàn)生活。

周大風(fēng)住在泰順東溪鄉(xiāng)茶區(qū)的山農(nóng)家里，每天與婦女們共同采茶，激發(fā)了創(chuàng)作熱情，于是他開(kāi)始寫(xiě)茶歌!他所以要寫(xiě)一首動(dòng)聽(tīng)的茶歌，還因?yàn)槿昵霸谡写_馬尼亞藝術(shù)家的一次宴會(huì)上，省交際處處長(zhǎng)告訴他說(shuō)：“周總理說(shuō)杭州山好、水好、茶好、風(fēng)景好，就是缺少一支膾炙人口的歌曲來(lái)贊美?！敝艽箫L(fēng)聽(tīng)到這番話，一直將周總理的期望銘記于胸。

周大風(fēng)終于在泰順酬了夙愿：5月11日他靈感突來(lái)，一個(gè)晚上就寫(xiě)出了《采茶舞曲》，包括詞、曲及配器。第二天，他將此歌讓附近的東溪小學(xué)排演，孩子們一學(xué)就會(huì)。歌舞本來(lái)就來(lái)源于勞動(dòng)，原始而自然的采茶動(dòng)作伴隨著歡快的節(jié)奏，孩子們唱著唱著就舞到校外的茶蓬里……

《采茶舞曲》成功后，周大風(fēng)又用三天時(shí)間寫(xiě)出九幕大型越劇《雨前曲》，《采茶舞曲》便是《雨前曲》中的主題歌?！恫刹栉枨啡谠絼?、灘簧、浙東民間器樂(lè)音調(diào)于一體，采用江南絲竹風(fēng)格的多聲部伴奏，很具藝術(shù)魅力。

在北京長(zhǎng)安劇場(chǎng)匯報(bào)演出時(shí)，周恩來(lái)總理看完《雨前曲》走上后臺(tái)與大家談了一小時(shí)，他充分肯定越劇男女合演的方向，對(duì)反映當(dāng)代生活的現(xiàn)代劇給予諸多鼓勵(lì)，尤其對(duì)《采茶舞曲》非常欣賞。他說(shuō)：“這曲調(diào)有時(shí)代氣息，江南地方風(fēng)味也濃，清新活潑。只是兩句歌詞要改一下，插秧不能插到大天亮，人是需要?jiǎng)谝萁Y(jié)合的；還有采茶也不能采到月兒上，要知道露水茶是不香的。”總理為此建議周大風(fēng)到杭州梅家塢去體驗(yàn)生活。

幾年后總理在梅家塢邂逅周大風(fēng)?？偫碇钢f(shuō)：“你果然來(lái)了，詞改好沒(méi)有?”周大風(fēng)慚愧地說(shuō)自己想不出合適的。總理說(shuō)：“你要寫(xiě)心情，不要寫(xiě)現(xiàn)象?！闭f(shuō)著他叫身邊的戚秘書(shū)記下來(lái)：“插秧插得喜洋洋，采茶采得心花放，如何?”周大風(fēng)一聽(tīng)茅塞頓開(kāi)。

《采茶舞曲》很快走紅，它被浙江人民廣播電臺(tái)作為一日兩次開(kāi)播時(shí)的起始曲；1959年國(guó)慶節(jié)晚上此曲又在天安門(mén)廣場(chǎng)連續(xù)播放幾十遍，為群眾伴舞；后來(lái)經(jīng)戲曲大師梅蘭芳、舞蹈大師戴愛(ài)蓮建議，《采茶舞曲》成為浙江歌舞團(tuán)及中央歌舞劇院的保留節(jié)目和出國(guó)節(jié)目；1983年它又被聯(lián)合國(guó)教科文組織評(píng)為“亞太地區(qū)風(fēng)格的優(yōu)秀音樂(lè)教材”，至今該曲已有60多種唱片、磁帶、CD片等流傳海內(nèi)外。

《采茶舞曲》和周大風(fēng)一起，也幾經(jīng)歷史的磨難。“文革”時(shí)江青說(shuō)“越劇是60年代怪現(xiàn)象，是靡靡之音”，于是《采茶舞曲》成了“大毒草”，周大風(fēng)為此吃了不少苦頭。1971年毛澤東路過(guò)杭州，在火車(chē)上召見(jiàn)當(dāng)時(shí)的浙江省委領(lǐng)導(dǎo)時(shí)，點(diǎn)名要看《采茶舞曲》。毛主席看后說(shuō)了12個(gè)字：“毒在哪里？我看好的，出了新的?！?972年西哈努克親王到杭州，也提出要看《采茶舞曲》。那天，在西湖國(guó)賓館周總理陪同西哈努克親王觀看演出，隨著舞蹈歡快的節(jié)奏，總理和西哈努克親王情不自禁一起拍手擊節(jié)唱和，沉浸在馥郁的詩(shī)情畫(huà)意中。

靈山小學(xué)“道爾頓制”

造就多才多藝的周大風(fēng)

周大風(fēng)是國(guó)家級(jí)有特出貢獻(xiàn)的專(zhuān)家，他曾任中國(guó)音樂(lè)家協(xié)會(huì)常務(wù)理事兼教育委員會(huì)副主任、浙江省音樂(lè)家協(xié)會(huì)主席、寧波市音樂(lè)家協(xié)會(huì)主席等職。即便退休了，他還擔(dān)任了上百個(gè)顧問(wèn)職務(wù)。不過(guò)有個(gè)顧問(wèn)職務(wù)讓人頗感意外：那便是省創(chuàng)造學(xué)會(huì)高級(jí)顧問(wèn)。原來(lái)，周大風(fēng)不僅在音樂(lè)上造詣很深，還是個(gè)有名的雜家，擅長(zhǎng)十八般“武藝”。

在周大風(fēng)家里，我見(jiàn)識(shí)了他“武藝”之一斑：他那面積不大的房子，家具都是自制的；書(shū)架上他的著作繁多，《越劇唱法研究》《欣賞音樂(lè)的知識(shí)和方法》《鋼琴的制作與維修》《周大風(fēng)音樂(lè)教育文集》等等，他主編的《中國(guó)百科全書(shū)·戲曲曲藝卷》音樂(lè)分支、《中國(guó)民族音樂(lè)的理論》等書(shū)一直是各大音樂(lè)學(xué)院的教科書(shū)；最令人感到新奇的是周大風(fēng)的“音樂(lè)作坊”，他把陽(yáng)臺(tái)當(dāng)作工場(chǎng)，鉆、鉗、刨、銼、銑等工具一應(yīng)齊全，制作樂(lè)器的材料五花八門(mén)，墻上掛著五六把古箏、小提琴的半成品，他的學(xué)生告訴說(shuō)：“這些琴做好后是送人的，周老師一生制作的小提琴、古琴、鋼琴等已經(jīng)不計(jì)其數(shù)。”除了音樂(lè)周大風(fēng)還通曉文學(xué)、繪畫(huà)、雕塑、篆刻等，在他的客廳、臥室里，都掛著他的字畫(huà)。其66歲生日時(shí)，他填的一首《六六吟——調(diào)寄鷓鴣天》詞，活脫寫(xiě)照了他的真性情：

我本亂世一書(shū)郎，天生剛直半疏狂。常辨人間美與丑，亦嘗世態(tài)炎和涼。歌一曲，文千章，興來(lái)作畫(huà)鐫篆方。不與俗客爭(zhēng)名利，但創(chuàng)一得酬國(guó)殤。

誰(shuí)能想到多才多藝的周大風(fēng)只有小學(xué)畢業(yè)，他說(shuō)自己靠的是“隨需隨學(xué)，急需急學(xué)，專(zhuān)需專(zhuān)學(xué)，平時(shí)博學(xué)”。這條令他一生都受用的格言，源自于童年母校的教導(dǎo)。他的母校就是鎮(zhèn)海靈山學(xué)校(現(xiàn)北侖大鄔隘中學(xué))，這是一所實(shí)驗(yàn)美國(guó)當(dāng)年先進(jìn)的“道爾頓教育體制”的學(xué)校，當(dāng)年這所學(xué)校提倡個(gè)性發(fā)展，重視實(shí)踐，鼓勵(lì)創(chuàng)造 。在蔡元培先生“兼容并蓄、多種實(shí)驗(yàn)”的教育方針下，北京、天津、上海等六個(gè)城市當(dāng)年均試辦道爾頓制學(xué)校各一所，唯有寧波的靈山學(xué)校因地處偏僻的鄉(xiāng)下未受戰(zhàn)亂和政府的干涉而得以實(shí)施成功。

得益于母校獨(dú)特培養(yǎng)方式的周大風(fēng)，在其教育實(shí)踐中一直執(zhí)著地推行“學(xué)校即社會(huì)，生活即教學(xué)”、“以學(xué)生為本，突出興趣”的教育理念。1943年他曾在江西贛州主持籌辦過(guò)一所道爾頓式的天才學(xué)校，培養(yǎng)出不少人才。1982年60歲的周大風(fēng)又創(chuàng)辦“浙江社會(huì)藝術(shù)學(xué)校”，至今在杭州、寧波等地已開(kāi)了8個(gè)分校。“得道多助”，他的辦學(xué)經(jīng)費(fèi)主要靠社會(huì)熱心人士資助。

現(xiàn)在，年高84歲的周大風(fēng)應(yīng)該好好頤養(yǎng)天年了，但他仍然忙碌，到處奔波講學(xué)、帶團(tuán)演出、用電腦寫(xiě)文章，每天到夜里3時(shí)才睡覺(jué)雷打不動(dòng)……

有人說(shuō)，周大風(fēng)的“風(fēng)”字應(yīng)改成“瘋”字才對(duì)!

Specials

Music Goes Through His Life

Story and Photographs by Bao Danhong

Zhou Dafeng made his name first known all over the world in 1945 when the World Anti-Fascist War won victory. International Anti-Aggression March， a song written and composed by the 17-year-old Zhou， was adopted by the International Anti-Aggression Movement Congress， was sung in more than 60 countries on the day when China's Resistance War against Japanese Aggression came to the victorious end.

Zhou's father was a member of the CPC in its early days. As his family was wealthy， the young communist donated a fortune of 40，000 silver dollars to the CPC chapter in Zhenhai， his hometown. Later he donated all the shops and property at the hometown to the CPC. Zhou Dafeng was deeply influenced by his father. One year after he graduated from a primary school in Zhenhai and came to Shanghai for his study in middle school， the Resistance War against Japanese Aggression broke out. Zhou Dafeng returned to his hometown and organized a troupe to promote the public awareness of the Japanese atrocities in China. He wrote songs and even adapted a drama into opera. But his anti-aggression publicity efforts aroused the KMT government's suspicion. So he had to come back to Shanghai.

Zhou began to work as an apprentice of art at an enamelware company. At night he took piano lessons from a professor of Shanghai National Music School. The professor found the teenager was talented and the lessons were offered free of charge. But where could he practice? Fortunately， the three piano shops in Shanghai were all operated by business people from Zhou's hometown. There he was allowed to practice on the piano free of charge. So he also learned to repair and tune a piano to help the shops. During this time， he read extensively. One day， Zhou read the lyrics written by Cai Yuanpei for the China Branch Association of the International Anti-Aggression Movement Congress. Zhou thought the lyrics were too formal in style. So he wrote new lyrics and set it to music and sent the song to Cai. When the congress solicited a theme song for itself， Zhou's work was recommended and it was accepted as the song of the congress. Zhou was awarded 200 yuan by the China branch association for his outstanding song.

If his international reputation as a musician was only fleeting in the 1940s， Zhou Dafeng made his name well known across the country in 1958 and this reputation has lasted long. At that time he worked as director of the creation section of the Zhejiang Second Yueju Opera Troupe. Zhou pioneered in making innovations in the old opera by introducing male artists into the all-women cast and staging modern plays. In order to produce a new play that would reflect real life， the troupe came to the mountainous area of Taishun County in southern Zhejiang to get acquainted with the rural life.

It was spring time. He picked tea leaves together with local women everyday. The work inspired him greatly and he decided to write a song about tea picking. As a matter of fact， he had wanted to write such a song for three years. He had learned that Premier Zhou Enlai once commented that Hangzhou would need a popular song to sing of its beautiful scenery and tea.

Inspiration came to Zhou on May 11， 1958. That night， he wrote the lyrics， set the lyrics to music， and composed orchestration for the piece named Tea-picking Dance Song at one stroke. Next morning， he gave the song to pupils at a local primary school. Pretty soon， children learn to sing it loudly and beautifully. Zhou spent another three days writing a nine-act Yueju Opera play named A Song before the Rain， in which the tea-picking song was the theme song.

After watching the play in Beijing， Premier Zhou Enlai went to the backstage and chatted with artists there for an hour. The premier confirmed the new play and praised the innovations.

Zhejiang Television started its programs twice with the song every day. In 1959， the song was played dozens of times on the Tiananmen Square in celebration of the 10th National Day. Recommended by Peking Opera master Mei Lanfang and Dancing Master Dai Ailian， the song became part of the repertoire of the Zhejiang Song Dance Troupe and the Central Song Dance Troupe. In 1983， the song was recognized by the UNESCO as part of Excellent musical teaching materials of the Asia-Pacific area? So far the song has been published more than 60 times in the form of records， tapes and CD.

Today， the 84-year-old musician is still quite active. The small balcony of his apartment serves as his workshop where he still makes violins and the Chinese zithers. In his lifetime， he has made numerous violins and zithers as gifts to friends. He even made pianos， using the skills he picked up in the piano shops in Shanghai. And the textbooks he wrote have been a must for students at major music colleges across the country. And he is a calligrapher， painter and seal engraver.

It is hard to imagine how Zhou， a man with only primary school education， could be that resourceful and knowledgeable. The self-made master says his lifelong education has never stopped and when needed， he gave himself crash courses and concentrated only on what he needed for his work. Zhou attributed his life achievements to Education on the Dalton Plan， an education approach initiated by Helen Parkhurst (1887-1973) and then introduced into China by Cai Yuanpei. The primary school in Zhou's hometown used the American's education method. It was one of the six schools in China that tried the experiment. Due to its remoteness from large cities and less government interference， the experiment was a success. In 1943， Zhou presided over a school in Jiangxi， using the same method. In 1982， Zhou started Zhejiang Social Arts School and nowadays， it has eight branch schools in Hangzhou， Ningbo and other parts of Zhejiang province.

Zhou still bustles about. He gives lectures and organizes performances. He writes his autobiography on the computer. So far， he has written more than one million words. The old musician does not retire to bed before 3 of lock in the morning. Nowadays， he has an ambitious plan to set up ten international schools for the blind.

(Translated by David)