[00:00.00] 作曲 : 方岽清
[00:01.00] 箜篌移植 : 月亮（Lucina Yue）
[00:02.00] 箜篌 : 月亮（Lucina Yue）
[00:03.00] 大提琴 : 涂强/陈南呈/潘畅/科瑞斯·伊文
[00:04.00] 打击乐 : 格罗布斯-霍尼希·加布里埃尔
[00:05.00] 制作人 : 月亮（Lucina Yue）/孙绍庭
[00:06.00] 录音制作人/音响总监 : 孙绍庭
[00:07.00] 助理录音师 : 埃内斯托·巴伦苏埃拉
[00:08.00] 混音工程师 : 孙绍庭
[00:09.00] 母带工程师 : 艾伦·希尔弗曼/雪伦·贺维兹
[00:10.00] 录音棚 : 新泽西水乐录音棚
[00:11.00] 统筹 : 张海英
[00:12.00] 助理 : 杨佳妮
[00:13.00] 发行 : 星外星音乐
[00:46.97]
[00:47.20]《冰与火》具有很强的戏剧性和表现张力，还蕴含了深刻的中国戏曲音乐元素，但作曲家并未刻意引用中国戏曲的唱腔以及节奏等具体素材来创作，而是把中国戏曲中“大散板”“紧打慢唱”等一些概念和元素巧妙的“溶解”在音乐的细节中。
[01:44.56]
[01:45.16]《火之舞》这个乐章中，两架九天战鼓和八把大提琴营造出恢弘壮美的烈焰爆燃场面，箜篌在这个乐章如同忿怒尊降临，所到之处，火光四射，威力强大，降妖除魔。末段有一处左右手分别为三连音配六连音的段落，其速度和难度达到了箜篌作品前所未有的极限。
[02:52.28]
[02:52.54]Ice and Fire: A Dance of Fire
[02:54.51]Composer: Dongqing Fang
[02:56.28]Arranger: Lucina Yue
[02:57.78]Konghou: Lucina Yue
[02:59.47]Cello: Qiang Tu, Nan-Cheng Chen, Chang Pan, Chris D Irvine
[03:01.03]Percussion: Globus-Hoenich Gabriel
[03:02.77]Producer: Lucina Yue, Shao-Ting Sun
[03:04.62]Recording Producer/Tonmeister: Shao-Ting Sun
[03:07.09]Assistant Engineer: Ernesto Valenzuela
[03:09.54]Mixing Engineer: Shao-Ting Sun
[03:11.48]Mastering Engineer: Alan Silverman, Sharon Hurvitz
[03:13.16]Recording Studio: Water Music Recording Studio
[03:14.91]Manager: Alisa Zhang
[03:16.73]Assistant: Jenny Yang
[03:18.36]Distributor: Starsing Music
[03:19.87]
[03:21.96]Ice and Fire exhibits profound dramatic intensity and incorporates essential elements of Chinese opera music - not through direct quotation of vocal styles or rhythmic patterns, but by subtly dissolving conceptual frameworks like da sanban (free-metered recitative) and jin da man chang (“tight accompaniment with slow melody”) into its musical fabric.
[04:07.03]
[04:07.70]In Dance of Fire, two jiutian war drums and eight cellos conjure a cataclysmic blaze, while the konghou manifests as a wrathful deity - its every stroke scattering divine fire to vanquish malign forces. The movement culminates in an unprecedented technical feat: a passage of triplets against sextuplets played simultaneously by both hands, pushing the instrument's virtuosic limits beyond all prior repertoire.
[04:52.32]