音乐的采风、有涉足于边疆山寨、山野民居,也有关注于今日都市之音乐剧场、歌舞娱乐场所。我们对“爱乐女”的“采风”,可谓不期而至、不待而遇。1992年“3·8”妇女节,北京音乐厅举办了《爱乐女》第2届中国作品音乐会。演出前,台上二十多位老中青三代女性演奏家,安静地等待着演出的开始,似是无声地告诉人们一种对音乐事业的奉献、热爱。这时,从后台走向台前的,并非穿着艳丽的报幕小姐,而是该场音乐会女指挥郑小瑛。这位中央歌剧院指挥、中央音乐学院指挥系教授,落落大方,一开始便以亲近的口吻、洗练的话语向观众报告了《爱乐女》室内乐队的演出宗旨,随即向听众们介绍音乐会曲目的表演形式及曲目内容,又介绍了参预此音乐活动的作曲家和演奏家。指挥家在此行为中,自然而然贴 The music of the wind, there are involved in the border cottage, mountain dwellings, but also concerned about the city of today’s musical theater, song and dance entertainment. We are “looking for love,” “Style” can be described as unexpected, not to be met. 1992 “3.8” Women’s Day, Beijing Concert Hall organized the “Love Music Girl,” the second concert of Chinese works. Before the performance, more than 20 female performers, aged three or four on the stage, quietly awaited the start of the performance, silently telling people a kind of devotion and love to the cause of music. At this time, from the background to the stage, not wearing beautiful actress Miss, but the concert female conductor Zheng Xiaoying. The director of the Central Opera House and professor of the command department of the Central Conservatory of Music gave a generous speech. From the very beginning, he reported to the audience the purpose of the performance of the “Philharmonic” chamber band in a close-knit tone and practiced speech, and introduced the audience to the concerts The performance of the track and the content of the track, but also introduced the music composer and performer. Conductor in this behavior, naturally affixed