今年春天，我作为中国浙江民乐团出访的随团记者，再次踏上了欧罗巴广袤的平原，亲历了民乐团辗转欧洲，一路播撒中国民族文化种子，收获鲜花、掌声和赞美的全过程，感受到了神奇的东方民乐在陌生的国度和人群里激起的阵阵涟漪，最让我心动的是西方人对待文明的态度，以及他们为培育文明与进步所付出的种种努力。
　　
　　民乐在诺贝尔奖故乡奏响
　　来自遥远东方的中国浙江民族乐团，第一次在白雪皑皑的北欧名城瑞典斯德哥尔摩的蓝色音乐大厅亮相。随着一曲欢快热烈、洋溢着浓郁昆曲韵味的《将军得胜令》奏响，中国式的喜庆音乐就在这拥有1300座的豪华音乐厅里弥漫开来。接着上演的是《江南好》《水乡小唱》《西湖梦寻》以及流传甚广的江南丝竹名曲《三六》等动听音符。也许上半场演奏的曲目显得舒缓、写意，观众还能很绅士地聆听，然而到了笛子独奏《鹧鸪飞》时，许多观众便显露出陶醉之状，特别是该曲经著名笛子演奏家蒋国基演绎，尾部笛音转低八度打叠，犹如鹧鸪飞入云天渐行渐远之韵味，让在场观众得到了感官和听觉上的美妙享受，顿时掌声响成一片。
　　下半场极具特色的“彩蝶女乐”丝弦五重奏《跃龙》、侯彦秋双管葫芦丝独奏《田歌》和于红梅领衔取材于越剧唱腔的二胡协奏《穆桂英》等，更引起了北欧观众极大兴趣，台上台下互动渐入佳境，特别是鼓声激越、热情奔涌的《龙腾虎跃》，仿佛传递了一个正在崛起的东方文明古国友好、和谐、同乐的心声，当终场曲《拉德斯基进行曲》奏响时，全场观众掌声如雷，经久不息，全体演奏员谢了三次幕观众还不肯离去。观众科历斯汀兴奋地说：“我听到了中国民乐的斯特劳斯！在音乐里，我们看到了明媚秀丽的水乡景色和江南少女的青春靓丽。”我惊异于异国观众对中国民乐的理解，深感音乐无国界，人类的情感是相通的。
　　不仅是斯德哥尔摩这样的大都市观众能尽情欣赏异国民乐，就连瑞典偏僻的维拉小城，观众对东方音乐也是那么虔诚，每曲奏罢掌声四起，即便曲终人也不散，观众全体起立长时间地为浙江民乐团鼓掌。
　　
　　政府公平配置文化资源
　　北欧寒冷的气候以及小城镇对东方文化的不熟悉，因而民乐团在韦克舍、林雪平等小城的演出，上座率不及哥德堡和斯德哥尔摩。
　　我不知道瑞典的经纪人为何要组织我们来这边远小城赔本演出。瑞典的资深演出经纪人布鲁斯·托姆先生说，在瑞典、挪威等国不允许纯粹以赢利为目的的演出，加之在瑞典演出政府会出资助，而资助的前提是这个演出项目除了去大城市演出之外，还必须到边远小城镇去演，这样政府会补贴演出的一半成本。如果你只在大城市演出，这个演出就不会被批准，政府这样做的目的是为了公平配置文化资源，使人人公平享有文化权益。
　　在瑞典，不论大城市或是中小城镇，人们经常参加各类艺术欣赏活动，政府除了对演出补贴之外，也有平抑票价的措施，比如中国民乐这次演出的最高票价，不能超过320瑞典克朗，这对于最低月薪一般在2万瑞典克朗左右的当地人来说，是负担得起的。布鲁斯·托姆开心地说，我很高兴看到浙江民族乐团的演出受到北欧观众的认可和欣赏，尤其是“彩蝶女乐”组合，那是典型的东方风情加上现代气息，很能激起观众的情绪。他认为东方艺术进入西方市场，本次演出成功是个良好的开始。
　　
　　音乐传统是这样铸造的
　　浙江民族乐团从瑞典哥德堡前往韦克舍的行车途中，笔者与奥地利电视台记者诺曼进行了交流。
　　诺曼是一位文艺专题片制作人，此行他一路跟随乐团，记录着浙江民族乐团在北欧掀起的热潮。我问诺曼，这么一路跟随，看了这么多场浙江民乐团的演出，你喜欢中国的民族音乐吗？
　　
　　这位来自音乐之都维也纳的电视人说：中国民乐团到维也纳演出，我每次都去听，庞大的中国乐队用西方人从未见过的民族乐器奏出美妙的音乐，太迷人了！特别是听新年音乐会，那是奥地利人的习惯。
　　“那么你们听音乐有什么特别的喜好和取舍吗？”我问。他笑说应该没有，只要是优美、和谐的音乐，无论是哪个国家的，也无论是古典还是现代的，我们都欣赏。比如中国民族音乐，我以前不熟悉，现在有了一定了解，就很喜欢，特别是用那些本民族乐器演奏的很中国、很艺术的曲目。
　　诺曼告诉我，在欧洲很多人从小就接受良好的音乐教育，比如他的五个孩子都在学习各种乐器，开始也许需要大人强制，但时间长了孩子们就产生兴趣了。
　　我对西方观众的高度文明和音乐素养感到好奇，诺曼说，经过这些年的社会发展，人们越来越明白，人生不是只有挣钱这一件事情，脑子里应该装进更多好的东西。学习音乐可以提高素养和沟通能力，这大概也是许多人喜欢听音乐、能安静欣赏各种音乐会的原因吧。
　　他的话让我联想到一路来看到的欧洲所有大中小城镇，都有一流的音乐厅、完备的文化设施和收费低廉的儿童艺术教育学校，这一切的背后掩映着的，是国家健全的公共文化服务保障机制和文化推广的政策导向。
　　
　　My Experience of European Complex with Oriental Music
　　Su Weiqian
　　
　　In the capacity of a journalist, I covered the European tour taken by the Zhejiang Chinese Folk Music Troupe in the spring of 2007. I saw how the European audiences were excited by the Chinese music, and how they applauded and presented flowers. The most intriguing thing for me, however, is their attitude toward culture and their endeavors toward cultural progress.
　　The troupe made its premier this year at the Blue Concert Hall in Stockholm. The Chinese traditional compositions were sensational. There was a long standing ovation and three curtain calls at the end of the debut.
　　I was deeply impressed with the way the Sweden government distributed the musical resources evenly across the country. The troupe was arranged to stage performances in some remote cities such as Vaxjo and Linkoping. I wondered why and asked our Sweden manager. His explanation was eye-opening. He said, Sweden and Norway do not allow profit-oriented musical performances. The government subsidizes musical performances on the conditions that they are also held in remote areas. Performances for audiences in big cities will not be approved by the government. The purpose of the measure is to share cultural resources equally and fairly. The Sweden government takes measures to make sure that a ticket for our performance should be no more than 320 crowns, which was acceptable to the Sweden citizens whose lowest monthly income was 20,000 crowns. The manager commented that he was glad that the Nordic people enjoyed and appreciated the oriental music. Some Chinese musical pieces were highly appreciated for their perfect combination of oriental grace and modernity. The manager noted that this tour by Zhejiang troupe marked a good introduction of oriental arts to the West.
　　
　　On our way from Goteborg to Vaxjo, I chatted with Norman, a journalist of an Australian television station. A producer of documentaries on cultural events, he followed around to document the Zhejiang Folk Music Troupe’s shows in northern European countries.
　　I asked Norman if he really liked Chinese music. He said that he had attended all the performances in Vienna staged by Chinese folk music orchestras. He said it was really exciting to hear an orchestra using never-seen-before musical instruments play such wonderful music. The New Year Concert, often staged by a Chinese folk orchestra now, is a must for Austrians.
　　I asked if Austrians had preferences for music appreciation. Smiling and shaking his head, he said no. “We enjoy beautiful and harmonious music no matter where it comes from and no matter whether it is classical or modern.?He said he had not been familiar with Chinese music before, but now he had an adequate knowledge. He had a special liking to compositions that were typical of China and Chinese musical instruments.
　　Norman told me that many Europeans receive a good music education in childhood years. His five children were learning how to play an instrument. At first the parents needed to be a little bit high handed. Now the children took interest.
　　I told Norman that I was highly impressed of the western audience’s civility and their passionate appreciation of music. Norman replied that more and more people now realize that making money should not be the only object of one’s life and that they want more for their lives. He said that ample exposure to music would enhance one’s life quality and improve one’s ability to communicate better with other people. That is why so many people like music and like to enjoy a concert, he confirmed.
　　His comment reminded me of all the cities and towns I had visited on the trip. They all have first-class concert halls and complete cultural facilities and art education schools for children that charge only low fees. Behind the phenomenon are the government’s pro-culture policies and a complete set of mechanisms for cultural services for the public.
　　(Translated by Tian Jinjiang)