Page 1

2017 當阿里郎遇見亞洲的他和她, 排灣古調、爵士、前衛音樂、搖滾、民謠都一起在舞台上發聲

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺 灣音樂館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即 為促進臺灣音樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清 唱藝術節演出,純淨的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術 節執行總監、韓國知名擊樂家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此 外,代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian Scholars,將展現韓國傳統樂器的另一面; 來自法國的國際夥伴則分別為帶領全球音樂與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手

Taiwan International Music Festival

Korea Focus 狂戀亞洲

Asian Crush

臺灣國際音樂節

4.15 Sat. 19:30 屏東演藝廳 Pingtung Performing Arts Center

打造的精彩音樂科技作品;以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年 作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研 讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特 別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的 官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

演出曲目

演出者簡介

1.阿里郎遇見前衛音樂 / 晉陽(慢板)

Miyeon & Park Arirang Large Ensemble

2.阿里郎遇見民歌 / 中中莫利(稍快的快板)

阿里郎被聯合國教科文組織認定為「非物質文化遺產」,有幾

3.阿里郎遇見世界音樂 / 自振莫利(快板)

個原因:首先,它不侷限於某個地區。其次,所有的阿里郎合

4.阿里郎遇見板索里 / 中莫利(中板)

唱時皆有“Arirang Arirang Arario”的音樂結構。最後,阿里郎 在韓國各地皆有所發展及創新。此Miyeon & Park Arirang大型合

5.阿里郎遇見流行樂 / 中莫利(中板)

奏團計劃旨在將阿里郎的獨特性應用於當代音樂作品,以尋找

6.阿里郎遇見搖滾 / 中中莫利(稍快的快板)

阿里郎創新和多元面貌的可能性。阿里郎是單一樂種,卻擁有 多樣性的變化。

7.阿里郎遇見巫 以薩滿教音樂為基調的韓國傳統樂團/

中中莫利(稍快的快板)

8.阿里郎遇見爵士 / 自振莫利(快板) 9.阿里郎遇見民謠 / 中莫利(中板) 10.阿里郎遇見泰武古謠

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

樂曲解說 阿里郎遇見前衛音樂 晉陽(慢板)

阿里郎遇見搖滾 中中莫利(稍快的快板)

這是以晉陽(慢板)為基調的阿里郎大型合奏音樂會之序幕

本曲由民謠阿里郎重組而來,集結後流行(Post Pop)風格,

(由Miyeon作曲)。

及部分的板索里《沈清傳》(Simchung)。這是一首關於沈清

阿里郎遇見民歌 中中莫利(稍快的快板) 這是最常見的韓國傳統節奏。本首歌曲由許多種類的阿里郎

父親的悲傷之歌,他將生完沈清後亡故的妻子擁在懷裡。

歌詞所組成,傳統的韓國民歌阿里郎收納了韓國人的快樂與

阿里郎遇見巫 以薩滿教音樂為基調的韓國傳統樂團 中中莫利(稍快的快板)

悲傷(由Park Je Chun作曲)。

以板索里(Pansori)的風格創作,這首歌祝福人們出生時有

阿里郎遇見世界音樂 自振莫利(快板)

好運相伴,並祈求人類的和平。(由Park Je Chun作曲)。

由Park Je Chun作曲,以簡單的主題重複演奏,混和了快板

阿里郎遇見爵士 自振莫利(快板)

(12/8 X 4=48)與拉丁的16拍(16/8X3=48)。

這是一首自由的即興鋼琴曲,呈現了韓國薩滿教的音樂節奏

阿里郎遇見板索里 中莫利(中板)

(由Miyeon作曲)。

這是一首由阿里郎與板索里《沈清傳》重組後的歌曲。板索

阿里郎遇見民謠 中莫利(中板)

里(Pansori)是韓國傳統的說唱藝術。 它是一種單聲道歌劇,

在日本佔領期間,許多韓國人不得不離開家鄉,搬到滿洲。

歌者透過唱歌、對話和表演來講故事。這首歌是《沈清傳》

「尚州阿里郎」就是一首描繪當時韓國人悲傷的歌曲,因韓

中的一部分,講述孝女沈清決定離家投海犧牲自我,來換取

國傳統說唱藝術板索里(Pansori)大師金秀熙的推廣而為世人

父親的雙眼重見天日。

熟知。

阿里郎遇見流行樂 中莫利(中板)

阿里郎遇見泰武古謠

本曲同樣引用板索里《沈清傳》中的一部分,由硬搖滾唱法

讓阿里郎、排灣古調這兩種歷史悠久的亞洲傳統民謠在同一

和阿里郎的歌詞組成,既快樂又悲傷。這首充滿遺憾與哭泣

座舞台發聲,和諧地交融出一個全新的音樂圖像。

的歌,描述沈清為了讓盲父的雙眼重見天日,毅然投海成為 祭神的供品。


2017 當阿里郎遇見亞洲的他和她, 排灣古調、爵士、前衛音樂、搖滾、民謠都一起在舞台上發聲

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺 灣音樂館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即 為促進臺灣音樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清 唱藝術節演出,純淨的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術 節執行總監、韓國知名擊樂家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此 外,代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian Scholars,將展現韓國傳統樂器的另一面; 來自法國的國際夥伴則分別為帶領全球音樂與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手

Taiwan International Music Festival

Korea Focus 狂戀亞洲

Asian Crush

臺灣國際音樂節

4.15 Sat. 19:30 屏東演藝廳 Pingtung Performing Arts Center

打造的精彩音樂科技作品;以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年 作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研 讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特 別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的 官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

演出曲目

演出者簡介

1.阿里郎遇見前衛音樂 / 晉陽(慢板)

Miyeon & Park Arirang Large Ensemble

2.阿里郎遇見民歌 / 中中莫利(稍快的快板)

阿里郎被聯合國教科文組織認定為「非物質文化遺產」,有幾

3.阿里郎遇見世界音樂 / 自振莫利(快板)

個原因:首先,它不侷限於某個地區。其次,所有的阿里郎合

4.阿里郎遇見板索里 / 中莫利(中板)

唱時皆有“Arirang Arirang Arario”的音樂結構。最後,阿里郎 在韓國各地皆有所發展及創新。此Miyeon & Park Arirang大型合

5.阿里郎遇見流行樂 / 中莫利(中板)

奏團計劃旨在將阿里郎的獨特性應用於當代音樂作品,以尋找

6.阿里郎遇見搖滾 / 中中莫利(稍快的快板)

阿里郎創新和多元面貌的可能性。阿里郎是單一樂種,卻擁有 多樣性的變化。

7.阿里郎遇見巫 以薩滿教音樂為基調的韓國傳統樂團/

中中莫利(稍快的快板)

8.阿里郎遇見爵士 / 自振莫利(快板) 9.阿里郎遇見民謠 / 中莫利(中板) 10.阿里郎遇見泰武古謠

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

樂曲解說 阿里郎遇見前衛音樂 晉陽(慢板)

阿里郎遇見搖滾 中中莫利(稍快的快板)

這是以晉陽(慢板)為基調的阿里郎大型合奏音樂會之序幕

本曲由民謠阿里郎重組而來,集結後流行(Post Pop)風格,

(由Miyeon作曲)。

及部分的板索里《沈清傳》(Simchung)。這是一首關於沈清

阿里郎遇見民歌 中中莫利(稍快的快板) 這是最常見的韓國傳統節奏。本首歌曲由許多種類的阿里郎

父親的悲傷之歌,他將生完沈清後亡故的妻子擁在懷裡。

歌詞所組成,傳統的韓國民歌阿里郎收納了韓國人的快樂與

阿里郎遇見巫 以薩滿教音樂為基調的韓國傳統樂團 中中莫利(稍快的快板)

悲傷(由Park Je Chun作曲)。

以板索里(Pansori)的風格創作,這首歌祝福人們出生時有

阿里郎遇見世界音樂 自振莫利(快板)

好運相伴,並祈求人類的和平。(由Park Je Chun作曲)。

由Park Je Chun作曲,以簡單的主題重複演奏,混和了快板

阿里郎遇見爵士 自振莫利(快板)

(12/8 X 4=48)與拉丁的16拍(16/8X3=48)。

這是一首自由的即興鋼琴曲,呈現了韓國薩滿教的音樂節奏

阿里郎遇見板索里 中莫利(中板)

(由Miyeon作曲)。

這是一首由阿里郎與板索里《沈清傳》重組後的歌曲。板索

阿里郎遇見民謠 中莫利(中板)

里(Pansori)是韓國傳統的說唱藝術。 它是一種單聲道歌劇,

在日本佔領期間,許多韓國人不得不離開家鄉,搬到滿洲。

歌者透過唱歌、對話和表演來講故事。這首歌是《沈清傳》

「尚州阿里郎」就是一首描繪當時韓國人悲傷的歌曲,因韓

中的一部分,講述孝女沈清決定離家投海犧牲自我,來換取

國傳統說唱藝術板索里(Pansori)大師金秀熙的推廣而為世人

父親的雙眼重見天日。

熟知。

阿里郎遇見流行樂 中莫利(中板)

阿里郎遇見泰武古謠

本曲同樣引用板索里《沈清傳》中的一部分,由硬搖滾唱法

讓阿里郎、排灣古調這兩種歷史悠久的亞洲傳統民謠在同一

和阿里郎的歌詞組成,既快樂又悲傷。這首充滿遺憾與哭泣

座舞台發聲,和諧地交融出一個全新的音樂圖像。

的歌,描述沈清為了讓盲父的雙眼重見天日,毅然投海成為 祭神的供品。


2017 當阿里郎遇見亞洲的他和她, 排灣古調、爵士、前衛音樂、搖滾、民謠都一起在舞台上發聲

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺 灣音樂館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即 為促進臺灣音樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清 唱藝術節演出,純淨的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術 節執行總監、韓國知名擊樂家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此 外,代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian Scholars,將展現韓國傳統樂器的另一面; 來自法國的國際夥伴則分別為帶領全球音樂與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手

Taiwan International Music Festival

Korea Focus 狂戀亞洲

Asian Crush

臺灣國際音樂節

4.15 Sat. 19:30 屏東演藝廳 Pingtung Performing Arts Center

打造的精彩音樂科技作品;以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年 作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研 讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特 別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的 官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

演出曲目

演出者簡介

1.阿里郎遇見前衛音樂 / 晉陽(慢板)

Miyeon & Park Arirang Large Ensemble

2.阿里郎遇見民歌 / 中中莫利(稍快的快板)

阿里郎被聯合國教科文組織認定為「非物質文化遺產」,有幾

3.阿里郎遇見世界音樂 / 自振莫利(快板)

個原因:首先,它不侷限於某個地區。其次,所有的阿里郎合

4.阿里郎遇見板索里 / 中莫利(中板)

唱時皆有“Arirang Arirang Arario”的音樂結構。最後,阿里郎 在韓國各地皆有所發展及創新。此Miyeon & Park Arirang大型合

5.阿里郎遇見流行樂 / 中莫利(中板)

奏團計劃旨在將阿里郎的獨特性應用於當代音樂作品,以尋找

6.阿里郎遇見搖滾 / 中中莫利(稍快的快板)

阿里郎創新和多元面貌的可能性。阿里郎是單一樂種,卻擁有 多樣性的變化。

7.阿里郎遇見巫 以薩滿教音樂為基調的韓國傳統樂團/

中中莫利(稍快的快板)

8.阿里郎遇見爵士 / 自振莫利(快板) 9.阿里郎遇見民謠 / 中莫利(中板) 10.阿里郎遇見泰武古謠

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

樂曲解說 阿里郎遇見前衛音樂 晉陽(慢板)

阿里郎遇見搖滾 中中莫利(稍快的快板)

這是以晉陽(慢板)為基調的阿里郎大型合奏音樂會之序幕

本曲由民謠阿里郎重組而來,集結後流行(Post Pop)風格,

(由Miyeon作曲)。

及部分的板索里《沈清傳》(Simchung)。這是一首關於沈清

阿里郎遇見民歌 中中莫利(稍快的快板) 這是最常見的韓國傳統節奏。本首歌曲由許多種類的阿里郎

父親的悲傷之歌,他將生完沈清後亡故的妻子擁在懷裡。

歌詞所組成,傳統的韓國民歌阿里郎收納了韓國人的快樂與

阿里郎遇見巫 以薩滿教音樂為基調的韓國傳統樂團 中中莫利(稍快的快板)

悲傷(由Park Je Chun作曲)。

以板索里(Pansori)的風格創作,這首歌祝福人們出生時有

阿里郎遇見世界音樂 自振莫利(快板)

好運相伴,並祈求人類的和平。(由Park Je Chun作曲)。

由Park Je Chun作曲,以簡單的主題重複演奏,混和了快板

阿里郎遇見爵士 自振莫利(快板)

(12/8 X 4=48)與拉丁的16拍(16/8X3=48)。

這是一首自由的即興鋼琴曲,呈現了韓國薩滿教的音樂節奏

阿里郎遇見板索里 中莫利(中板)

(由Miyeon作曲)。

這是一首由阿里郎與板索里《沈清傳》重組後的歌曲。板索

阿里郎遇見民謠 中莫利(中板)

里(Pansori)是韓國傳統的說唱藝術。 它是一種單聲道歌劇,

在日本佔領期間,許多韓國人不得不離開家鄉,搬到滿洲。

歌者透過唱歌、對話和表演來講故事。這首歌是《沈清傳》

「尚州阿里郎」就是一首描繪當時韓國人悲傷的歌曲,因韓

中的一部分,講述孝女沈清決定離家投海犧牲自我,來換取

國傳統說唱藝術板索里(Pansori)大師金秀熙的推廣而為世人

父親的雙眼重見天日。

熟知。

阿里郎遇見流行樂 中莫利(中板)

阿里郎遇見泰武古謠

本曲同樣引用板索里《沈清傳》中的一部分,由硬搖滾唱法

讓阿里郎、排灣古調這兩種歷史悠久的亞洲傳統民謠在同一

和阿里郎的歌詞組成,既快樂又悲傷。這首充滿遺憾與哭泣

座舞台發聲,和諧地交融出一個全新的音樂圖像。

的歌,描述沈清為了讓盲父的雙眼重見天日,毅然投海成為 祭神的供品。


Program

Performers

1. Arirang meets Progressive music / Jin-Yang (Adagio)

Miyeon & Park Arirang Large Ensemble

2. Arirang meets Ballad / Jung-Jung-Mori (Allegretto)

There are several reasons why Arirang is recognized as an intangible cultural heritage of UNESCO. Firstly, it is not confined to a certain region; secondly, all Arirangs have the musical structure that features choral singing “Arirang Arirang Arario”; lastly, it has developed and re-created in every corner of Korea. This Miyeon & Park Arirang Large Ensemble project is aimed at searching for possibilities to create a new and different Arirang by applying the unique Arirang music in contemporary musical works. In a word, Arirang is a single form of music but shows a

3. Arirang meets World Music / Ja-Jin-Mori (Allegro) 4. Arirang meets Pansori/ Jung-Mori (Moderato) 5. Arirang meets POP / Jung-Mori (Moderato) 6. Arirang meets Rock / Jung-Jung-Mori (Allegretto) 統

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

7. Arirang meets Sinawi(Korean traditional ensemble base on shamanism music) / Jung-Jung-Mori (Allegretto)

wide variety.

8. Arirang meets Jazz / Ja-Jin-Mori (Allegro) 9. Arirang meets Folk song / Jung-Mori (Moderato) 10 . Arirang meets Taiwu Ancient Ballads

執行製作

Program Notes

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

製作協力

Arirang Meets Progressive Music / Jin-Yang (Adagio)

Arirang Meets Rock / Jung-Jung-Mori (Allegretto)

HUANG Hsin-Ying HSIAO Chi-Tsun

This jin-yang (adagio) piece is the prologue to the Arirang Large

This piece is reconstituted from Arirang, blending the post-pop

HSU Shu-Hui CHANG Shiang-Yun

Ensemble concert. (Composed by Miyeon)

style and with part from the pansori Simchung. It is a sad song

黃馨瑩 蕭啟村 許淑慧 張翔雲

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

Arirang Meets Ballad / Jung-Jung-Mori (Allegretto)

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

This song employs jung-jung-mori—the most common traditional Production Associates

舞台技術

鴻琦國際藝術有限公司

視覺設計

艾斯博媒體有限公司

rhythm in Korean music—and blends various lyrical versions of

Arirang Meets Rock / Jung-Jung-Mori (Allegretto)

Sobright Lighting Asian Composers League (Taiwan)

Arirang. This traditional Korean folk song embraces the joys and

This piece is reconstituted from Arirang, blending the post-pop

黃麗琪

鄭鳳珠

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Arirang Meets World Music / Ja-Jin-Mori (Allegro) This song repeats a simple theme, mixing allegro (12/8 X 4=48)

生形設計

Visual Designer

Copywriter

birth of Simchung. (Traditional)

Nicole’s Creative Artists Agency

sorrows of Korean people. (Composed by Park Je Chun) 宣傳協力

about Simchung’s father embracing his wife who died after the

about Simchung’s father embracing his wife who died after the birth of Simchung. (Traditional)

by Park Je Chun)

Arirang Meets Sinawi a Korean traditional ensemble featuring shamanistic music / Jung-Jung-Mori (Allegretto)

Arirang Meets Pansori / Jung-Mori (Moderato)

Written in a pansori style, the song wishes people to be blessed at

It is a song reconstituted from Arirang and the pansori Simchung.

birth and prays for people’s peace. (Composed by Park Je Chun)

with the 16-beat pattern (16/8X3=48) in Latin music. (Composed

Innate Studio

HUANG Li-Chi

style and with part from the pansori Simchung. It is a sad song

Pansori is a traditional Korean musical story-telling art featuring a Translator

mono opera in which a vocal performer tells a story through

CHENG Feng-Chu

Arirang Meets Jazz / Ja-Jin-Mori (Allegro)

singing, imagined dialogue and acting. This is song is a part of

It is a free improvisation on piano that expresses the musical

Simchung, depicting a girl with deep filial piety named Simchung

rhythm of Korean shamanism. (Composed by Miyeon)

leaves home and jumps into the sea in order to restore her father’s sight. (Traditional)

Arirang Meets Folk Song / Jung-Mori (Moderato) Many Korean people had to leave their hometown and move to

指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

指定住宿 Official accommodation provided

Arirang Meets Pop / Jung-Mori (Moderato)

Manchuria(滿洲) during the Japanese occupation. Sangju Arirang is

This song is also a part of the pansori Simchung. It is a song of joy

a song about Korean people’s sorrow at that time and is known to

and sorrow featuring hard rock singing and lyrics of Arirang. Filled

the world through the pansori master Kim So-hee. (Traditional)

with regrets and cries, the song tells how Simchung sacrifices her own life to the sea god in order to restore her father’s sight. (Traditional)

樂器協力 Instrument

Arirang meets Taiwu Ancient Ballads The result is a fabulous acoustic experience highlighting both the Korean and Paiwan music. Come enjoy this symphonic concert of

新北市深坑國小

beautiful Asian music and witness how Asian cultures coexist and

國立臺北教育大學

share with each other. 廣告


Program

Performers

1. Arirang meets Progressive music / Jin-Yang (Adagio)

Miyeon & Park Arirang Large Ensemble

2. Arirang meets Ballad / Jung-Jung-Mori (Allegretto)

There are several reasons why Arirang is recognized as an intangible cultural heritage of UNESCO. Firstly, it is not confined to a certain region; secondly, all Arirangs have the musical structure that features choral singing “Arirang Arirang Arario”; lastly, it has developed and re-created in every corner of Korea. This Miyeon & Park Arirang Large Ensemble project is aimed at searching for possibilities to create a new and different Arirang by applying the unique Arirang music in contemporary musical works. In a word, Arirang is a single form of music but shows a

3. Arirang meets World Music / Ja-Jin-Mori (Allegro) 4. Arirang meets Pansori/ Jung-Mori (Moderato) 5. Arirang meets POP / Jung-Mori (Moderato) 6. Arirang meets Rock / Jung-Jung-Mori (Allegretto) 統

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

7. Arirang meets Sinawi(Korean traditional ensemble base on shamanism music) / Jung-Jung-Mori (Allegretto)

wide variety.

8. Arirang meets Jazz / Ja-Jin-Mori (Allegro) 9. Arirang meets Folk song / Jung-Mori (Moderato) 10 . Arirang meets Taiwu Ancient Ballads

執行製作

Program Notes

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

製作協力

Arirang Meets Progressive Music / Jin-Yang (Adagio)

Arirang Meets Rock / Jung-Jung-Mori (Allegretto)

HUANG Hsin-Ying HSIAO Chi-Tsun

This jin-yang (adagio) piece is the prologue to the Arirang Large

This piece is reconstituted from Arirang, blending the post-pop

HSU Shu-Hui CHANG Shiang-Yun

Ensemble concert. (Composed by Miyeon)

style and with part from the pansori Simchung. It is a sad song

黃馨瑩 蕭啟村 許淑慧 張翔雲

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

Arirang Meets Ballad / Jung-Jung-Mori (Allegretto)

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

This song employs jung-jung-mori—the most common traditional Production Associates

舞台技術

鴻琦國際藝術有限公司

視覺設計

艾斯博媒體有限公司

rhythm in Korean music—and blends various lyrical versions of

Arirang Meets Rock / Jung-Jung-Mori (Allegretto)

Sobright Lighting Asian Composers League (Taiwan)

Arirang. This traditional Korean folk song embraces the joys and

This piece is reconstituted from Arirang, blending the post-pop

黃麗琪

鄭鳳珠

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Arirang Meets World Music / Ja-Jin-Mori (Allegro) This song repeats a simple theme, mixing allegro (12/8 X 4=48)

生形設計

Visual Designer

Copywriter

birth of Simchung. (Traditional)

Nicole’s Creative Artists Agency

sorrows of Korean people. (Composed by Park Je Chun) 宣傳協力

about Simchung’s father embracing his wife who died after the

about Simchung’s father embracing his wife who died after the birth of Simchung. (Traditional)

by Park Je Chun)

Arirang Meets Sinawi a Korean traditional ensemble featuring shamanistic music / Jung-Jung-Mori (Allegretto)

Arirang Meets Pansori / Jung-Mori (Moderato)

Written in a pansori style, the song wishes people to be blessed at

It is a song reconstituted from Arirang and the pansori Simchung.

birth and prays for people’s peace. (Composed by Park Je Chun)

with the 16-beat pattern (16/8X3=48) in Latin music. (Composed

Innate Studio

HUANG Li-Chi

style and with part from the pansori Simchung. It is a sad song

Pansori is a traditional Korean musical story-telling art featuring a Translator

mono opera in which a vocal performer tells a story through

CHENG Feng-Chu

Arirang Meets Jazz / Ja-Jin-Mori (Allegro)

singing, imagined dialogue and acting. This is song is a part of

It is a free improvisation on piano that expresses the musical

Simchung, depicting a girl with deep filial piety named Simchung

rhythm of Korean shamanism. (Composed by Miyeon)

leaves home and jumps into the sea in order to restore her father’s sight. (Traditional)

Arirang Meets Folk Song / Jung-Mori (Moderato) Many Korean people had to leave their hometown and move to

指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

指定住宿 Official accommodation provided

Arirang Meets Pop / Jung-Mori (Moderato)

Manchuria(滿洲) during the Japanese occupation. Sangju Arirang is

This song is also a part of the pansori Simchung. It is a song of joy

a song about Korean people’s sorrow at that time and is known to

and sorrow featuring hard rock singing and lyrics of Arirang. Filled

the world through the pansori master Kim So-hee. (Traditional)

with regrets and cries, the song tells how Simchung sacrifices her own life to the sea god in order to restore her father’s sight. (Traditional)

樂器協力 Instrument

Arirang meets Taiwu Ancient Ballads The result is a fabulous acoustic experience highlighting both the Korean and Paiwan music. Come enjoy this symphonic concert of

新北市深坑國小

beautiful Asian music and witness how Asian cultures coexist and

國立臺北教育大學

share with each other. 廣告


Program

Performers

1. Arirang meets Progressive music / Jin-Yang (Adagio)

Miyeon & Park Arirang Large Ensemble

2. Arirang meets Ballad / Jung-Jung-Mori (Allegretto)

There are several reasons why Arirang is recognized as an intangible cultural heritage of UNESCO. Firstly, it is not confined to a certain region; secondly, all Arirangs have the musical structure that features choral singing “Arirang Arirang Arario”; lastly, it has developed and re-created in every corner of Korea. This Miyeon & Park Arirang Large Ensemble project is aimed at searching for possibilities to create a new and different Arirang by applying the unique Arirang music in contemporary musical works. In a word, Arirang is a single form of music but shows a

3. Arirang meets World Music / Ja-Jin-Mori (Allegro) 4. Arirang meets Pansori/ Jung-Mori (Moderato) 5. Arirang meets POP / Jung-Mori (Moderato) 6. Arirang meets Rock / Jung-Jung-Mori (Allegretto) 統

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

7. Arirang meets Sinawi(Korean traditional ensemble base on shamanism music) / Jung-Jung-Mori (Allegretto)

wide variety.

8. Arirang meets Jazz / Ja-Jin-Mori (Allegro) 9. Arirang meets Folk song / Jung-Mori (Moderato) 10 . Arirang meets Taiwu Ancient Ballads

執行製作

Program Notes

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

製作協力

Arirang Meets Progressive Music / Jin-Yang (Adagio)

Arirang Meets Rock / Jung-Jung-Mori (Allegretto)

HUANG Hsin-Ying HSIAO Chi-Tsun

This jin-yang (adagio) piece is the prologue to the Arirang Large

This piece is reconstituted from Arirang, blending the post-pop

HSU Shu-Hui CHANG Shiang-Yun

Ensemble concert. (Composed by Miyeon)

style and with part from the pansori Simchung. It is a sad song

黃馨瑩 蕭啟村 許淑慧 張翔雲

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

Arirang Meets Ballad / Jung-Jung-Mori (Allegretto)

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

This song employs jung-jung-mori—the most common traditional Production Associates

舞台技術

鴻琦國際藝術有限公司

視覺設計

艾斯博媒體有限公司

rhythm in Korean music—and blends various lyrical versions of

Arirang Meets Rock / Jung-Jung-Mori (Allegretto)

Sobright Lighting Asian Composers League (Taiwan)

Arirang. This traditional Korean folk song embraces the joys and

This piece is reconstituted from Arirang, blending the post-pop

黃麗琪

鄭鳳珠

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Arirang Meets World Music / Ja-Jin-Mori (Allegro) This song repeats a simple theme, mixing allegro (12/8 X 4=48)

生形設計

Visual Designer

Copywriter

birth of Simchung. (Traditional)

Nicole’s Creative Artists Agency

sorrows of Korean people. (Composed by Park Je Chun) 宣傳協力

about Simchung’s father embracing his wife who died after the

about Simchung’s father embracing his wife who died after the birth of Simchung. (Traditional)

by Park Je Chun)

Arirang Meets Sinawi a Korean traditional ensemble featuring shamanistic music / Jung-Jung-Mori (Allegretto)

Arirang Meets Pansori / Jung-Mori (Moderato)

Written in a pansori style, the song wishes people to be blessed at

It is a song reconstituted from Arirang and the pansori Simchung.

birth and prays for people’s peace. (Composed by Park Je Chun)

with the 16-beat pattern (16/8X3=48) in Latin music. (Composed

Innate Studio

HUANG Li-Chi

style and with part from the pansori Simchung. It is a sad song

Pansori is a traditional Korean musical story-telling art featuring a Translator

mono opera in which a vocal performer tells a story through

CHENG Feng-Chu

Arirang Meets Jazz / Ja-Jin-Mori (Allegro)

singing, imagined dialogue and acting. This is song is a part of

It is a free improvisation on piano that expresses the musical

Simchung, depicting a girl with deep filial piety named Simchung

rhythm of Korean shamanism. (Composed by Miyeon)

leaves home and jumps into the sea in order to restore her father’s sight. (Traditional)

Arirang Meets Folk Song / Jung-Mori (Moderato) Many Korean people had to leave their hometown and move to

指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

指定住宿 Official accommodation provided

Arirang Meets Pop / Jung-Mori (Moderato)

Manchuria(滿洲) during the Japanese occupation. Sangju Arirang is

This song is also a part of the pansori Simchung. It is a song of joy

a song about Korean people’s sorrow at that time and is known to

and sorrow featuring hard rock singing and lyrics of Arirang. Filled

the world through the pansori master Kim So-hee. (Traditional)

with regrets and cries, the song tells how Simchung sacrifices her own life to the sea god in order to restore her father’s sight. (Traditional)

樂器協力 Instrument

Arirang meets Taiwu Ancient Ballads The result is a fabulous acoustic experience highlighting both the Korean and Paiwan music. Come enjoy this symphonic concert of

新北市深坑國小

beautiful Asian music and witness how Asian cultures coexist and

國立臺北教育大學

share with each other. 廣告


Beyond the Border

演出曲目

演出者簡介

1. 山茶花

Asian Scholars

2. 漢江 3. 悲喜劇

灣音樂館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即

4. 518

物打擊樂」(大鑼、小鑼、沙漏鼓及圓鼓等四種韓國傳統樂器)的

5.渴望回到過去

獨特音色探索音樂真理。樂團演出的作品皆由團長金藝璨親自

唱藝術節演出,純淨的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術 節執行總監、韓國知名擊樂家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此

6. 風從何處來

外,代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian Scholars,將展現韓國傳統樂器的另一面;

7. 欲望

來自法國的國際夥伴則分別為帶領全球音樂與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手

8. 高句麗的精神

打造的精彩音樂科技作品;以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年 作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研

越境之聲

致力創作融合多樣世界各地元素的音樂。就像聖經裡追逐閃亮

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺 為促進臺灣音樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清

Korea Focus

來自韓國的爵士樂團Asian Scholars以韓國傳統音樂為基調,

9. 漫步在群星

星星的三博士一般,他們四個人透過「韓國爵士篳篥」與「四

操刀作曲。這些自行創作的樂曲成功讓韓國傳統音樂突破音調 上的限制,展現韓樂新貌。Asian Scholars將持續以傳統韓國 音樂為基礎,創造其獨一無二的樂音聲響。 篳篥、鋼琴 │ 金藝璨(Yechan Kim) 鼓及韓國四物打擊樂 │金紅基(Hongie Kim)

讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特

貝斯│金因英(Inyoung Kim)

別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的

吉他│柳志哲(Jichul Yu)

官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

Taiwan International Music Festival

當韓國傳統音樂遇上西洋爵士 韓樂將突破音調上的限制,展現穿梭古今、跨越東西的新貌。

臺灣國際音樂節

4.16 Sun. 14:30

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

樂曲解說 山茶花

風從何處來

被稱為「東南5拍街頭驅邪術」(Southeast 5beat street

源自韓國東北方的民謠。這地方很冷,所以沒有時間坐下來

exorcism)的節奏,是來自韓國東南方的農民音樂。韓國古

慢慢唱歌。你可以在音樂中找到一些不一樣的東西。

代有許多儀式,因而創作出許多音樂來驅邪和祈求好天氣。 所以我們這次帶來了一朵代表韓國東南方的花─山茶花。

欲望 權力、財富的欲望使人墮落。我們應該追求更高的價值。欲

漢江

望讓人感覺活著,也讓人有勇氣去愛,除了欲望,其它東西

漢江如此平靜,有時卻會咆哮。她靜靜地咆哮,那是夢想、

都沒有價值,讓我們一起欲望吧!

眼淚、希望和悲傷。這首歌獻給艱苦生活的韓國年輕人。

高句麗的精神

悲喜劇

高句麗是韓國古代一個強盛的王國。由於位居遠北地區,所

這首歌源自於珍島民謠。珍島是韓國史上最大慘劇之一的發

以讓高句麗有能力穿越絲路與古印度往來。高句麗的文化尤

生地,這場慘劇導致約300名年輕的韓國學生命喪大海。

其強盛,也接受其他文化、擁抱外來音樂。

如果你目睹當時的情況,那真是一齣悲喜劇。

漫步在群星

2017

518

這首曲子使用韓國農民音樂中的七拍子節奏。在以前,農民

這個名喚「西南牛島的驅邪術」的節奏來自韓國的西南方。

跳舞必有這種節拍,到了21世紀的現在,Asian Scholars仍

5月18日韓國西南方的光州發生民主化運動。整首音樂以5

然在它的音樂中使用這種舞蹈拍子。我們想要創造更美好的

拍和10/8拍為基調,來呈現人們激情又痛苦的心情。

世界。我們希望世界更美好、人們互相照顧。最後,讓我們

4.18 Tue. 14:30

渴望回到過去

生活的世界更美好。

宜蘭蔣渭水演藝廳

果你能面對過去的遺憾,你將能回到過去,把那些不怎麼美

台北市客家音樂戲劇中心 (售票) Taipei City Hakka Music and Theater Center

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater

這首歌採晉陽調(Jin-yang),感覺像似渴望某人或某物。如

好的事變得美好。


Beyond the Border

演出曲目

演出者簡介

1. 山茶花

Asian Scholars

2. 漢江 3. 悲喜劇

灣音樂館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即

4. 518

物打擊樂」(大鑼、小鑼、沙漏鼓及圓鼓等四種韓國傳統樂器)的

5.渴望回到過去

獨特音色探索音樂真理。樂團演出的作品皆由團長金藝璨親自

唱藝術節演出,純淨的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術 節執行總監、韓國知名擊樂家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此

6. 風從何處來

外,代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian Scholars,將展現韓國傳統樂器的另一面;

7. 欲望

來自法國的國際夥伴則分別為帶領全球音樂與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手

8. 高句麗的精神

打造的精彩音樂科技作品;以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年 作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研

越境之聲

致力創作融合多樣世界各地元素的音樂。就像聖經裡追逐閃亮

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺 為促進臺灣音樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清

Korea Focus

來自韓國的爵士樂團Asian Scholars以韓國傳統音樂為基調,

9. 漫步在群星

星星的三博士一般,他們四個人透過「韓國爵士篳篥」與「四

操刀作曲。這些自行創作的樂曲成功讓韓國傳統音樂突破音調 上的限制,展現韓樂新貌。Asian Scholars將持續以傳統韓國 音樂為基礎,創造其獨一無二的樂音聲響。 篳篥、鋼琴 │ 金藝璨(Yechan Kim) 鼓及韓國四物打擊樂 │金紅基(Hongie Kim)

讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特

貝斯│金因英(Inyoung Kim)

別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的

吉他│柳志哲(Jichul Yu)

官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

Taiwan International Music Festival

當韓國傳統音樂遇上西洋爵士 韓樂將突破音調上的限制,展現穿梭古今、跨越東西的新貌。

臺灣國際音樂節

4.16 Sun. 14:30

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

樂曲解說 山茶花

風從何處來

被稱為「東南5拍街頭驅邪術」(Southeast 5beat street

源自韓國東北方的民謠。這地方很冷,所以沒有時間坐下來

exorcism)的節奏,是來自韓國東南方的農民音樂。韓國古

慢慢唱歌。你可以在音樂中找到一些不一樣的東西。

代有許多儀式,因而創作出許多音樂來驅邪和祈求好天氣。 所以我們這次帶來了一朵代表韓國東南方的花─山茶花。

欲望 權力、財富的欲望使人墮落。我們應該追求更高的價值。欲

漢江

望讓人感覺活著,也讓人有勇氣去愛,除了欲望,其它東西

漢江如此平靜,有時卻會咆哮。她靜靜地咆哮,那是夢想、

都沒有價值,讓我們一起欲望吧!

眼淚、希望和悲傷。這首歌獻給艱苦生活的韓國年輕人。

高句麗的精神

悲喜劇

高句麗是韓國古代一個強盛的王國。由於位居遠北地區,所

這首歌源自於珍島民謠。珍島是韓國史上最大慘劇之一的發

以讓高句麗有能力穿越絲路與古印度往來。高句麗的文化尤

生地,這場慘劇導致約300名年輕的韓國學生命喪大海。

其強盛,也接受其他文化、擁抱外來音樂。

如果你目睹當時的情況,那真是一齣悲喜劇。

漫步在群星

2017

518

這首曲子使用韓國農民音樂中的七拍子節奏。在以前,農民

這個名喚「西南牛島的驅邪術」的節奏來自韓國的西南方。

跳舞必有這種節拍,到了21世紀的現在,Asian Scholars仍

5月18日韓國西南方的光州發生民主化運動。整首音樂以5

然在它的音樂中使用這種舞蹈拍子。我們想要創造更美好的

拍和10/8拍為基調,來呈現人們激情又痛苦的心情。

世界。我們希望世界更美好、人們互相照顧。最後,讓我們

4.18 Tue. 14:30

渴望回到過去

生活的世界更美好。

宜蘭蔣渭水演藝廳

果你能面對過去的遺憾,你將能回到過去,把那些不怎麼美

台北市客家音樂戲劇中心 (售票) Taipei City Hakka Music and Theater Center

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater

這首歌採晉陽調(Jin-yang),感覺像似渴望某人或某物。如

好的事變得美好。


Beyond the Border

演出曲目

演出者簡介

1. 山茶花

Asian Scholars

2. 漢江 3. 悲喜劇

灣音樂館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即

4. 518

物打擊樂」(大鑼、小鑼、沙漏鼓及圓鼓等四種韓國傳統樂器)的

5.渴望回到過去

獨特音色探索音樂真理。樂團演出的作品皆由團長金藝璨親自

唱藝術節演出,純淨的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術 節執行總監、韓國知名擊樂家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此

6. 風從何處來

外,代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian Scholars,將展現韓國傳統樂器的另一面;

7. 欲望

來自法國的國際夥伴則分別為帶領全球音樂與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手

8. 高句麗的精神

打造的精彩音樂科技作品;以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年 作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研

越境之聲

致力創作融合多樣世界各地元素的音樂。就像聖經裡追逐閃亮

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺 為促進臺灣音樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清

Korea Focus

來自韓國的爵士樂團Asian Scholars以韓國傳統音樂為基調,

9. 漫步在群星

星星的三博士一般,他們四個人透過「韓國爵士篳篥」與「四

操刀作曲。這些自行創作的樂曲成功讓韓國傳統音樂突破音調 上的限制,展現韓樂新貌。Asian Scholars將持續以傳統韓國 音樂為基礎,創造其獨一無二的樂音聲響。 篳篥、鋼琴 │ 金藝璨(Yechan Kim) 鼓及韓國四物打擊樂 │金紅基(Hongie Kim)

讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特

貝斯│金因英(Inyoung Kim)

別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的

吉他│柳志哲(Jichul Yu)

官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

Taiwan International Music Festival

當韓國傳統音樂遇上西洋爵士 韓樂將突破音調上的限制,展現穿梭古今、跨越東西的新貌。

臺灣國際音樂節

4.16 Sun. 14:30

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

樂曲解說 山茶花

風從何處來

被稱為「東南5拍街頭驅邪術」(Southeast 5beat street

源自韓國東北方的民謠。這地方很冷,所以沒有時間坐下來

exorcism)的節奏,是來自韓國東南方的農民音樂。韓國古

慢慢唱歌。你可以在音樂中找到一些不一樣的東西。

代有許多儀式,因而創作出許多音樂來驅邪和祈求好天氣。 所以我們這次帶來了一朵代表韓國東南方的花─山茶花。

欲望 權力、財富的欲望使人墮落。我們應該追求更高的價值。欲

漢江

望讓人感覺活著,也讓人有勇氣去愛,除了欲望,其它東西

漢江如此平靜,有時卻會咆哮。她靜靜地咆哮,那是夢想、

都沒有價值,讓我們一起欲望吧!

眼淚、希望和悲傷。這首歌獻給艱苦生活的韓國年輕人。

高句麗的精神

悲喜劇

高句麗是韓國古代一個強盛的王國。由於位居遠北地區,所

這首歌源自於珍島民謠。珍島是韓國史上最大慘劇之一的發

以讓高句麗有能力穿越絲路與古印度往來。高句麗的文化尤

生地,這場慘劇導致約300名年輕的韓國學生命喪大海。

其強盛,也接受其他文化、擁抱外來音樂。

如果你目睹當時的情況,那真是一齣悲喜劇。

漫步在群星

2017

518

這首曲子使用韓國農民音樂中的七拍子節奏。在以前,農民

這個名喚「西南牛島的驅邪術」的節奏來自韓國的西南方。

跳舞必有這種節拍,到了21世紀的現在,Asian Scholars仍

5月18日韓國西南方的光州發生民主化運動。整首音樂以5

然在它的音樂中使用這種舞蹈拍子。我們想要創造更美好的

拍和10/8拍為基調,來呈現人們激情又痛苦的心情。

世界。我們希望世界更美好、人們互相照顧。最後,讓我們

4.18 Tue. 14:30

渴望回到過去

生活的世界更美好。

宜蘭蔣渭水演藝廳

果你能面對過去的遺憾,你將能回到過去,把那些不怎麼美

台北市客家音樂戲劇中心 (售票) Taipei City Hakka Music and Theater Center

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater

這首歌採晉陽調(Jin-yang),感覺像似渴望某人或某物。如

好的事變得美好。


Program

Performers

1 Camellia

Asian Scholars The Korean jazz group Asian Scholars creates worldwide contents based on Korean traditional music. Like the three wise men chasing a bright star, the four musicians gather to explore the truth of music through the unique Korean instruments—K-Jazz piri and samul nori. Samul nori refers to four traditional Korean percussion instruments, including jing (large gong), kkwaenggwari (small gong), janggu (talking drum), and buk (cylindrical drum). Yechan Kim, the leader of Asian Scholars, composes all pieces. His compositions free traditional Korean music from its limited tunes and add a new dimension to the music. Asian Scholars is heading forward to create unique sounds with traditional Korean music.

2 Han River 3 Tragicomedy 4 518 5 Longing in Time 6 Where the Wind 統

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

7 Desire 8 The Spirit of Goguryeo

執行製作

9 Walking on the Stars

Piri and piano | Yechan Kim Drum and samul nori | Hongie Kim Bass | Inyoung Kim

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

Program Notes

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

宣傳協力

視覺設計

鴻琦國際藝術有限公司

Sobright Lighting Asian Composers League (Taiwan)

Stage Installation

生形設計

Marketing Coordinator

黃麗琪

Visual Designer

鄭鳳珠

Copywriter

Translator

主辦單位 Hosted

國際夥伴 International Partners

Where the Wind This folk song was originated in the northeast part of Korea. It is a

originated in the Southeastern Korea. There were many rituals in

cold area so we don’t have the time to sit and sing slowly. You can

ancient Korea, and music was made for exorcising evil spirits and

find something different in the music.

praying for favorable weather. We brought with us a flower that represents the southeast part of Korea. It’s a camellia.

艾斯博媒體有限公司

指導單位 Directed

Nicole’s Creative Artists Agency

Camellia “Southeast 5-beat street exorcism” is a rhythm in farmer’s music

HungChi Art Group

ISPOT Media

HUANG Li-Chi

CHENG Feng-Chu

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

should pursue a value higher than that. Desire makes humans alive;

Han River is so calm but she roars sometimes. She roars in stillness.

desire makes humans love. There is no other value but desire. Let's

There are dreams, tears. hopes and sorrows. This song is dedicated to

desire.

Goguryeo was a powerful country in ancient Korea times. Located in

This piece is a folk song originated in Jindo, where one of the most

the far north area, the people of Goguryeo were capable to pass

lamentable tragedies in Korean history took place. Approximately 300

through the Silk Road and interact with ancient India. Goguryeo

young Korean students were buried at sea. If you had had a look at the

shows its power especially in culture. The people also accepted

whole scene, you would know that it’s such a tragicomedy.

foreign cultures and embraced other music.

518

Walking on the Stars

The rhythm called “southwest Woo-island exorcism” was originated in

The piece features 7-beat rhythm in Korean farmer’s music. In times

the southwest part of Korea. A democratic resistance took place at a

past, farmers always danced with this beat. In the 21st Century, Asian

southwestern city called Gwang-ju on May 18th. The whole music is

Scholars dances with this beat on music. We want to make a better

based on 5-beat and 10/8 beat to express people’s passionate yet

world. We hope people care each other. Finally, we want to make the

painful state of mind.

world we are living a better place.

Longing in Time This song is written with “jin-yang beat” which expresses the feeling of longing for someone or something. If you could face all the regrets, you 新北市深坑國小

would be able to travel back in time and beautify those that were not

國立臺北教育大學

beautiful. 廣告

The Spirit of Goguryeo

Tragicomedy

指定住宿 Official accommodation provided

樂器協力 Instrument

Desire for power and for wealth always makes human weak. We

Han River

young Korean people who are living hard times.

Innate Studio

Desire


Program

Performers

1 Camellia

Asian Scholars The Korean jazz group Asian Scholars creates worldwide contents based on Korean traditional music. Like the three wise men chasing a bright star, the four musicians gather to explore the truth of music through the unique Korean instruments—K-Jazz piri and samul nori. Samul nori refers to four traditional Korean percussion instruments, including jing (large gong), kkwaenggwari (small gong), janggu (talking drum), and buk (cylindrical drum). Yechan Kim, the leader of Asian Scholars, composes all pieces. His compositions free traditional Korean music from its limited tunes and add a new dimension to the music. Asian Scholars is heading forward to create unique sounds with traditional Korean music.

2 Han River 3 Tragicomedy 4 518 5 Longing in Time 6 Where the Wind 統

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

7 Desire 8 The Spirit of Goguryeo

執行製作

9 Walking on the Stars

Piri and piano | Yechan Kim Drum and samul nori | Hongie Kim Bass | Inyoung Kim

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

Program Notes

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

宣傳協力

視覺設計

鴻琦國際藝術有限公司

Sobright Lighting Asian Composers League (Taiwan)

Stage Installation

生形設計

Marketing Coordinator

黃麗琪

Visual Designer

鄭鳳珠

Copywriter

Translator

主辦單位 Hosted

國際夥伴 International Partners

Where the Wind This folk song was originated in the northeast part of Korea. It is a

originated in the Southeastern Korea. There were many rituals in

cold area so we don’t have the time to sit and sing slowly. You can

ancient Korea, and music was made for exorcising evil spirits and

find something different in the music.

praying for favorable weather. We brought with us a flower that represents the southeast part of Korea. It’s a camellia.

艾斯博媒體有限公司

指導單位 Directed

Nicole’s Creative Artists Agency

Camellia “Southeast 5-beat street exorcism” is a rhythm in farmer’s music

HungChi Art Group

ISPOT Media

HUANG Li-Chi

CHENG Feng-Chu

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

should pursue a value higher than that. Desire makes humans alive;

Han River is so calm but she roars sometimes. She roars in stillness.

desire makes humans love. There is no other value but desire. Let's

There are dreams, tears. hopes and sorrows. This song is dedicated to

desire.

Goguryeo was a powerful country in ancient Korea times. Located in

This piece is a folk song originated in Jindo, where one of the most

the far north area, the people of Goguryeo were capable to pass

lamentable tragedies in Korean history took place. Approximately 300

through the Silk Road and interact with ancient India. Goguryeo

young Korean students were buried at sea. If you had had a look at the

shows its power especially in culture. The people also accepted

whole scene, you would know that it’s such a tragicomedy.

foreign cultures and embraced other music.

518

Walking on the Stars

The rhythm called “southwest Woo-island exorcism” was originated in

The piece features 7-beat rhythm in Korean farmer’s music. In times

the southwest part of Korea. A democratic resistance took place at a

past, farmers always danced with this beat. In the 21st Century, Asian

southwestern city called Gwang-ju on May 18th. The whole music is

Scholars dances with this beat on music. We want to make a better

based on 5-beat and 10/8 beat to express people’s passionate yet

world. We hope people care each other. Finally, we want to make the

painful state of mind.

world we are living a better place.

Longing in Time This song is written with “jin-yang beat” which expresses the feeling of longing for someone or something. If you could face all the regrets, you 新北市深坑國小

would be able to travel back in time and beautify those that were not

國立臺北教育大學

beautiful. 廣告

The Spirit of Goguryeo

Tragicomedy

指定住宿 Official accommodation provided

樂器協力 Instrument

Desire for power and for wealth always makes human weak. We

Han River

young Korean people who are living hard times.

Innate Studio

Desire


Program

Performers

1 Camellia

Asian Scholars The Korean jazz group Asian Scholars creates worldwide contents based on Korean traditional music. Like the three wise men chasing a bright star, the four musicians gather to explore the truth of music through the unique Korean instruments—K-Jazz piri and samul nori. Samul nori refers to four traditional Korean percussion instruments, including jing (large gong), kkwaenggwari (small gong), janggu (talking drum), and buk (cylindrical drum). Yechan Kim, the leader of Asian Scholars, composes all pieces. His compositions free traditional Korean music from its limited tunes and add a new dimension to the music. Asian Scholars is heading forward to create unique sounds with traditional Korean music.

2 Han River 3 Tragicomedy 4 518 5 Longing in Time 6 Where the Wind 統

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

7 Desire 8 The Spirit of Goguryeo

執行製作

9 Walking on the Stars

Piri and piano | Yechan Kim Drum and samul nori | Hongie Kim Bass | Inyoung Kim

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

Program Notes

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

宣傳協力

視覺設計

鴻琦國際藝術有限公司

Sobright Lighting Asian Composers League (Taiwan)

Stage Installation

生形設計

Marketing Coordinator

黃麗琪

Visual Designer

鄭鳳珠

Copywriter

Translator

主辦單位 Hosted

國際夥伴 International Partners

Where the Wind This folk song was originated in the northeast part of Korea. It is a

originated in the Southeastern Korea. There were many rituals in

cold area so we don’t have the time to sit and sing slowly. You can

ancient Korea, and music was made for exorcising evil spirits and

find something different in the music.

praying for favorable weather. We brought with us a flower that represents the southeast part of Korea. It’s a camellia.

艾斯博媒體有限公司

指導單位 Directed

Nicole’s Creative Artists Agency

Camellia “Southeast 5-beat street exorcism” is a rhythm in farmer’s music

HungChi Art Group

ISPOT Media

HUANG Li-Chi

CHENG Feng-Chu

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

should pursue a value higher than that. Desire makes humans alive;

Han River is so calm but she roars sometimes. She roars in stillness.

desire makes humans love. There is no other value but desire. Let's

There are dreams, tears. hopes and sorrows. This song is dedicated to

desire.

Goguryeo was a powerful country in ancient Korea times. Located in

This piece is a folk song originated in Jindo, where one of the most

the far north area, the people of Goguryeo were capable to pass

lamentable tragedies in Korean history took place. Approximately 300

through the Silk Road and interact with ancient India. Goguryeo

young Korean students were buried at sea. If you had had a look at the

shows its power especially in culture. The people also accepted

whole scene, you would know that it’s such a tragicomedy.

foreign cultures and embraced other music.

518

Walking on the Stars

The rhythm called “southwest Woo-island exorcism” was originated in

The piece features 7-beat rhythm in Korean farmer’s music. In times

the southwest part of Korea. A democratic resistance took place at a

past, farmers always danced with this beat. In the 21st Century, Asian

southwestern city called Gwang-ju on May 18th. The whole music is

Scholars dances with this beat on music. We want to make a better

based on 5-beat and 10/8 beat to express people’s passionate yet

world. We hope people care each other. Finally, we want to make the

painful state of mind.

world we are living a better place.

Longing in Time This song is written with “jin-yang beat” which expresses the feeling of longing for someone or something. If you could face all the regrets, you 新北市深坑國小

would be able to travel back in time and beautify those that were not

國立臺北教育大學

beautiful. 廣告

The Spirit of Goguryeo

Tragicomedy

指定住宿 Official accommodation provided

樂器協力 Instrument

Desire for power and for wealth always makes human weak. We

Han River

young Korean people who are living hard times.

Innate Studio

Desire


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.


臺 灣 國 際 音 樂 節

逐聲時代 巴黎的當代音樂吸引無數愛樂的癡人逐聲而來,

王 瀅 絜 與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴 黎 現 代 音 樂 協 會

因為這裡的每一道聲響,都是一首時代的有聲詩。

4.17 Mon. 19:30

節目介紹

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起,TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會(SACEM)和法國表演者版權協會(SPEDIDAM)的支持,於

館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫:「建立二胡當代曲目—將東方樂器二胡介紹至西方」(Création du Réper-

樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident),計

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出,及介紹東方樂器至西方音樂院。

家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談,介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託,與法、德、美、台現代音樂演奏家及樂團合作,到音樂院進行教學、演出,並參與歐洲多個現代音

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂節。至去年為止,共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構,包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊,與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節;受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯(Juan Camilo Hernan-

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM)、法國作曲家 里查•培林(Richard Perrin, CNSMDL)等;合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉(Christelle Séry)及雷米•朱賽門(Rémi Jousselme)、鋼琴家珍妮佛•海默(Jennifer Hymer)、手風琴演奏家芬妮

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯(Fanny Vicens)及 皮耶•庫薩克(Pierre Cussac)等。 本場音樂會中,除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外,也將世 界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月,TPMC、王瀅絜、吉他演奏家雷米•朱

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品,於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣,結合TPMC對無中場休息,舞台及燈光設計需符合聆聽時音樂流動性的堅持,以視覺來輔助樂曲《連續》(Continuum)聆聽為主導,作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作,將於今年五月底在巴黎進行法國首演,並

行政協力

於秋季到德國進行巡演。

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演,大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩 結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

作曲家簡介 (依演出順序)

樂曲解說 備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡,便被賦予一股特殊的力量,

阿爾諾六行詩

像是磁場的兩極,或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾(Arnaut Daniel)詩作

徵意義也許並不很明確,但總是存在的。我們甚至可以說, 任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾 維諾(Italo Calvino)

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品,該 曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾(Arnaut

我不知道他有什麼含意

Daniel)一首著名的六行詩(Sestina),這種詩以奧克語寫

為串起絲絨般的珍珠,我們用針線;為縫合麵包被切開的傷

作而成,並配上古調。

口,我們用美乃滋;裝飾家裡的馬賽克小浴缸,我們用矽利

後來,鋼琴家珍妮佛•海默(Jennifer Hymer)問我能否將

康,往往卻把自己的指甲也賠上──這樣說吧,用六個連續 的段落,致C與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲,這件插曲也成為本作品最初的 創作動機。當我開始進行創作時,縮減了不少原曲樂段、增 加許多鋼琴樂段,並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見,卻依然傳達我們的藝術,為的是在歌中迎

鍵字(intra,ongla, arma, verga, oncle, cambra)。新作

接嶄新的晨光….」

短得多,因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯(Hugo Noth)。我非 常喜歡手風琴這種樂器,它不像樂器之王鋼琴,反而比較像日 本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和 音樂語彙。本曲以五組聲響發展成三組序列(sequence), 以對稱的十二音為基底,創造出相當穩定的和聲,插入激烈 炫技的短樂段、逆行卡農,及西西里風的二聲部倒影卡農。 三組音樂序列取材自法國詩人路易•阿拉貢(LouisAra-

詩》有六節六行,結尾會另加三行「托爾納達」(Tornada)並重覆結尾旋律。此處詩人會另加文字並「簽名」,以 此問候觀眾,也重覆詩中六個關鍵字。在這個作品中,「托 爾納達」的音律貫穿全曲,手法有如中世紀經文歌的固定旋 律(cantus firmus),速度先加快,最後回到正常速度結束 整首樂曲。

gon)的偉大詩作《詩人霍德林》(Hölderlin)。 折疊 / 克里斯帝安•埃洛伊 古墟 / 林煒傑 作為21世紀的臺灣作曲者,要為二胡這項樂器創作時,必須

這首題獻給二胡演奏家王瀅絜的作品,係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先,二胡不是臺灣本土的樂器,

現代音樂協會共同委託創作,並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中,並不是經常能聆聽

演。

到的。此外,二胡的傳統經歷了許多的改革,如定弦跟演奏

《折疊》是一首唯聲音樂作品,其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」,別名又稱中式小提琴。錄音時,二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟,類似古老的建築經 歷各個時代用不同的方式修建或是古籍的重寫本。當然我們 可以把二胡當作一個物件,用當代的角度來面對並探索其聲 音的可能性,或者延續上一個世紀中國典型二胡的寫作方式

多特色:充滿能量的音調、顯著的音色、綿延不間斷的拉弓、 寬廣的音域及多樣的演奏技法。從另一個角度來看,此種鮮明 的特色也讓二胡的聲音極有辨識度,有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果,這項樂器的獨特本質透過各種演奏技法表露無遺。

墟,留住某些可尊重的「傳統」或「基礎」,並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯(William

重新設計配置。令我感到最美麗且最有意思的部分,並不是

S. Burroughs)與布萊恩•蓋辛(Brion Gysin)在1950至

二胡這項樂器本身,而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》(The Third Mind)中的書寫

以及個人詮釋,例如滑音跟裝飾音,這些通常是以個性化或 風格化的方式添加到旋律中。當整曲關注於以前被認為是裝 飾的元素,再加上聲音的振動,首先通過弦,然後到木頭, 最後到表演者的身體,我相信二胡現在終於能夠在一個重新 想像的傳統中,唱出內在的靈魂。

排列方式。一開始,我將這些技巧應用於具象音樂的剪輯, 之後再用於電聲音樂的處理,透過這些基礎做法發展原創性 的音樂語彙,也加入1960年代法國實驗性錄音作品,藉以轉 換不同的樂段氛圍,感受多樣的聲響經驗。 因此,為了建構精煉的音樂對話,我利用類似「摺疊」的手 法,簡化剪輯與混音,同時保留二胡的強烈音樂性格(音

演出者簡介

調、持續音、音色、撥奏等),維持其充滿「誘惑力」的音

陳珩

暈之聲樂團(Ensemble Vertixe Sonora)、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目,最近在法國參與打造第一個四分音手風琴

樂形態,及其它謝弗(Pierre Schaeffer)為具象音樂定出的

1990年生於台北。自幼習琴,小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團(Klangforum Wien)、及福爾

PUF(法國)、Johnston Ed.(愛爾蘭)、MIT Press(美

自幼接受西方古典音樂教育,學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署(DAAD)、巴登—符滕

準則。最後,感謝瀅絜演繹這些寶貴的樂音。

及高安香老師;鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國)、Le Mensuel Littéraire et Poétique(比利時)、

曲,八歲起始習二胡,中國文化大學國樂系畢業後,繼續攻

州藝術基金會(Kunststiftung Baden-Württemberg)、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences(法國)出版。

讀中國文化大學藝術研究所音樂組,是臺灣首位取得二胡演

樂家贊助協會(Mécénat Musical Société Générale)及艾

奏碩士的演奏家。 多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會(Fondation Iris Marquardt)支持。

導。除西洋樂器啟蒙外,求學過程曾選修二胡、古琴、管風 琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文 紙卷鋼琴曾經作為一種特殊的媒介,記錄著鋼琴家的演奏風 範。不同於唱片(唱盤)等其他形式,音樂仍從飛逝的琴鍵 中流瀉(我們甚至看得見);聽著無人演奏的鋼琴,想像著

間,始隨蕭慶瑜教授修習理論與作曲,並於國立台北藝術大 學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第 三名等。期間參與多項現代音樂節活動:如加拿大遺忘之域音

法,於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節(Domain Forget)、臺灣亞太音樂節、法國IRCAM的宣

憑,師事尚-呂克・埃爾維(Jean-Luc Hervé),並隨皮耶・

言 阿孔特音樂節(Manifeste/Acanthes@Ircam)、法國

音樂家「親臨」的風采。

法哈果(Pierre Farago)、楊・瑪黑許(Yan Maresz)學習

洛約蒙新音樂節(Voix Nouvelles in Royaumont),及德國

而喇叭(音箱)則重新定義了鋼琴演奏的本質,疏離了它的

管弦樂法及電子音樂;現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構,壓縮在摩擦(唱針)或電流的轉換中

班,師從傑哈・貝松(Gérard Pesson)。曾參與秦納利•翁

達姆城夏季音樂班(Darmstadt Summer Course)等。

虛構它的蜃象(雖然有時還是很著迷於鏡像):琴聲脫離了 實體,重現在陌生的器材上與時空裡,產生「分裂」的現象 (Schizophrenia, R. Murray Schafer)。自動演奏的鍵盤 上,琴聲仍由琴槌擊絃而響。對於缺席的雙手,難道也不曾 感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出,並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所,之後赴德國漢諾威音樂戲劇與媒體學

2017年,於第五屆香港周以及第45屆香港國際藝術節中,

生於哥倫比亞,畢業於哥國首都波哥大哈維里亞納大學,主

院攻讀作曲及最高獨奏家文憑。自2012年起,於不萊梅藝術

與香港小交響樂團合作,世界首演胡琴協奏曲《月魄》;她

修音樂與音響工程,隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會(TPMC)合作的一系列委創新作品,

學 位 。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演,並進行歐洲巡迴演出。王

(Colon Eclectronico)的音響工程師,與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大,參與以東亞民族樂器為主體的

諾(Mauricio Bejarano)等作曲家合作,並兩度參與搖滾公

汎計劃(PAN project),舉辦一系列校園工作坊、專輯錄

園音樂祭(Rock al Parque)的幕後工作。遷往加拿大後,

學院進修電聲音樂創作。獲獎紀錄包括:臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多(Monica Gil Giraldo)

(Chinary Ung)、喬爾・霍夫曼(Joel Hoffman)、溫德青

沙查•利諾•雷克(Sascha Lino Lemke)

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年,先後於德國漢堡、呂內堡(Lueneburg)及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金(2013

製及巡迴音樂會。 她獲選為「文化部第十七屆選送文化相關

在班夫中心(Banff Centre)擔任音響師,曾參與許多CD

作品曾在臺灣、首爾、巴黎等地演出,並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship)、德國希德斯翰音樂鐘創作比賽(2012

人才出國駐村及交流計畫」駐村藝術家,於2017年赴法國巴

錄音工作,及聲音藝術家與作曲家的合作計畫。之後吉拉多

團,編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會(Studienstiftung des Deutschen Volkes)

Hildesheimer Glockenspiel Wettbewerb)第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年,參加包爾錄音室(Bauer Studios)團隊,與

學者並獲多項獎項及獎學金;他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」(赴德)、入圍臺灣兩廳院「樂

場演出及參與短片配樂等,並希望能嘗試跨領域之多元題材 間的媒合創作。

約翰•佛勒班(Johannes Wohlleben)共同錄製音樂。近 鋼琴 │ 珍妮佛•海默(Jennifer Hymer)

期曾參與歌劇《瑪利亞共和國》(Maria Republica)的演出

曲》(...comme une berceuse...”)入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會(2010)、臺灣國家文

克勞斯•胡柏(Klaus Huber)

(Saarbrücker)作曲家工作坊,並由薩爾蘭電台交響樂團

化藝術基金會創作補助(2009)、入圍「許常惠音樂創作

美國鋼琴家,目前居住於德國漢堡市。曾就讀柏克萊加州大

製作,並參與過去六屆曼卡音樂節(Manca Festival)的幕

(Orchester des Saarländischen Rundfunks)擔任首演;

獎」決賽音樂會(2006),臺灣教育部「95年文藝作獎」首

學和密爾斯學院(Mills College)學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫(Boris Blacher)學習作曲。

曾獲法國龐畢度音樂與聲學研究中心(IRCAM)遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎(2003)等。

1959年以室內清唱劇《天使對靈魂說》(Des Engels Anre-

期一年的音樂工程與作曲課程(2004/5)。2007年,他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele)贏得國際新音樂組織(IGNM)作曲比

子瑪莎•雷克-柯恩(Marcia Lemke-Kern)共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎,正式在國際樂壇嶄露頭角。1964年至1973

合」(con:fusion)二重奏,並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師;曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中 心主題。透過電子音樂的橋接與音箱的預置,為一架平凡的 鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開 對話;擺脫黑白分明的囿限,融合共鳴箱與環繞音響的距 離,琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師,並於1969年於瑞士波斯韋爾 (Boswil)開設國際作曲講座。1970年,其大型管弦樂作品

新音樂推廣大會(ECPNM)現場電子音樂作品競賽中贏得 首獎。2013年起,他成為漢堡自由藝術院(Freie

Akade-

mie der Künste)院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間,底片上記錄了圖像、事件、人物和情感。

《暗影》(Tenebrae)摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照,使往事浮現,按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心,多位知名作曲家皆出自他

都留下一個故事。隨著時間,我們容顏改變,親人聚散離

的門下。1978年獲巴賽爾市藝術獎;1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合,曾經戰亂爆發,現已恢復和平。那一刻的我們,感受愛

作曲家協會主席,1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年,他出任呂北克音樂大學(Lübeck

動,1991年從弗萊堡音樂院的教職退休。1975年起,他的作品

University of Music)電子音樂系藝術總監,並於2016年4

樂譜由Ricordi Munich出版發行;手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛,並裝滿瞬間的永恆。 按下快門的瞬間,我們可以記錄圖像,但卻無法留住聲音。 在時間的牽引下我們只能前進,無法後退。當下每一秒的存

金會(Paul Sacher Foundation)收藏。他目前居住於德國不 萊梅與義大利帕尼卡萊(Panicale)。

在都將轉瞬成為過去,逝去的聲音都無法被即刻再現。睜大 眼睛,伸出雙臂,只想抓住流逝的聲音,而它們還是消失在 永恆的混沌中,如同時間在我們指縫中流逝。 兩位音樂家,同樣演奏鋼絲的弦,用弓、用琴槌,擊打、震 顫、撥、刮,電路信號纏繞在聽覺與視覺的緯度上,指尖競 技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠(Amiens),先後於亞眠音樂院及巴黎國

林煒傑 1982年 出 生 於 台 中 市 , 曾 師 事 吳 丁 連 及 比 爾 頓 • 巴 比 特 (Milton Babbitt)等教授。其作品曾受許多國內外樂團委託創 作,包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集 (Ensemble Intercontemporain)、法國廣播樂團、加拿大蒙 特婁新現代樂團(Le Nouvel Ensemble Moderne)、美國警 鈴將響樂團(Alarm Will Sound)、瑞士鳳凰樂團(Ensemble Phoenix)、以色列米塔樂團(Ensemble Meitar)、德 國慕尼黑藍騎士樂團(Ensemble Blauer Reiter)、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾 擔任職業樂團長笛演奏及音樂學校校長,後來在巴黎的法國 廣播電台接觸到電子音樂,並認識作曲家伊夫•馬萊克(Ivo Malec)和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏,1996年遷往德國。海默擅長在作品中擴充鋼琴演 奏的可能性,她把焦點放在技巧的擴張和電子裝置的使用, 以及利用迷你鋼琴演奏,如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作,由作曲家

王穎

為其量身創作。她的演出經歷豐富,曾於多個音樂節與場地

生於上海,上海音樂學院作曲系畢業後,赴德國科隆音樂學

演出,也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位,後直升德國最高作曲學位 大師班。2010年獲科隆音樂學院作曲大師文憑(等同博士學 位)以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》 (Ce n'est pas un piano)個人專輯,收錄譚盾、曼佛瑞 德•史坦 克 ( M a n f re d S t a h n ke ) 、 吉 奧 格 • 哈 吉 杜 (Georg Hajdu)等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位(Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik)。2011年獲龐畢度藝術中心-Ircam電子音樂研究

年,她成立「非鋼琴/玩具鋼琴音樂週末」(Non-Pi-

所的課程邀請,於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/),今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品 獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝 術家大獎,並應邀為多個音樂節及室內樂團、交響樂團委託 創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇 性效果。對於作品構思,她以本身獨特的視角,用最直接的 方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯(Fanny Vicens) 手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼 者,曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯 定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音 樂舞蹈學院、德國特羅辛根音樂大學(Musikhochschulen of Trossingen)和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解,青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人,並曾任藝術總監。他曾獲歐

新創作品首演的重視,也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲,包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出,至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗;她曾為多位作曲家擔任新作首演,也能演

燈光設計 │ 班任旅(Jean-Luc Penso) 班任旅師承台灣布袋戲大師李天祿,並曾與喬吉歐•思特雷 勒(Giorgio Strelher)、尚•皮耶•文森(Jean-Pierre Vincent)以及安東•維特(Antoine Vitez)等著名劇場導 演學習;舞台燈光則與湯姆•厄桑(Tom Irthum)和安東• 坎柏(Antoine Campo)學習。除台灣布袋戲與中國皮影戲 的創作與演出外,也擔任多齣戲劇的燈光製作,如於巴黎美 國大教堂首演的《丹尼爾的遊戲》(Le Jeu de Daniel)、柬 埔寨金邊首演的《羅摩耶那》(Le Ramayana)、安諾藝術 節(Festival d’Annot)演出的《迎風而立的人民》(Vent Debout Citoyens)、2012年巴黎外國文化週於世界文化 館舉辦的王心心南管和現代音樂《時間之流》(Fusion du temps)、巴黎布朗利碼頭博物館(Musée du Quai Branly)演出的《 毛伊傳說》(Maui tiki tiki a Taranga)、伊 朗哈馬丹藝術節(Festival d'Hamadan)演出的《神箭 手 》 ( L’archerArach) 。 2 0 1 0 年 起 , 在 MAS藝術節 (Musique d’Aujourd’hui en Scène)參與 在 G alerie Hus藝廊及喜劇王國劇場(Comédie Nation)演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年,班 任 旅 在 法 國 共 同 成 立 小 宛 然 劇 團 (T h é â t r e d u P e t i t M i r o i r ),至今已在五大洲八十餘個國家演出。2007年, 班任旅獲法國道德和政治科學院(Académie des Sciences morales et politiques)頒發台法文化獎。


Music, Circus, Electronic Vibe 巴黎夜電聲 L'Instant Donné室內樂團 整座巴黎都在悄悄地夜 因為一場融合科技、 聲音藝術與肢體表演的奇幻即將展開

4.20 Thu.19:30 台北市客家音樂戲劇中心 Taipei Hakka Music and Theater Center

臺灣國際音樂節 Taiwan International Music Festival

2017

演出曲目 1. 亨利•福瑞 / 《二原則》(2015) <中場休息>

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

2.哈維爾•阿瓦雷茲 / 《燃燒的水》 (1984) 3.亞歷山大•舒伯特 / 《嚴肅的微笑》 (2013-2014)

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂曲解說

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵 樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

二原則 / 亨利福瑞 我與拋接雜技演員傑洛姆•托瑪(Jéróme Thomas)相識多年。我、托瑪和鈴鼓手卡洛•李佐(Carlo Rizzo),曾在1990年代合組

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

鋼琴、拋接雜技和打擊樂的三人團體。我也曾邀請托瑪參與我多部作品的演出。拋接雜技是本作品的肢體語言,它與作品中的音樂部 分重要性不相上下。透過整合新科技工具與電腦音樂,便能將肢體動作的特性加以演繹及操縱,也就是說,把它「寫進」純室內樂樂 譜中。過去做不到的,如今已可做到了。

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

此曲的作曲手法新穎,在六人樂團的編制下,從音樂的角度加入馬戲拋接雜技表演,所加入的不只是雜技拋球的動作本身,也包括與

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

球相連的感應器所製造出來的音響效果。演出的「獲贈時刻」(L'Instant Donné)樂團由於已習慣不用指揮,且長期參與傑洛姆• 托瑪充滿創意與好奇心的音樂,因此成為詮釋這部作品的不二人選。

行政協力

從表演者使用的球與其它拋接物體上的感應器所收集的訊息,是本樂譜創作的先決條件。運用動作辨識、控制各種參數及將動作「聲

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HSU Shu-Hui CHANG Shiang-Yun

音化」是IRCAM工作室研究的項目,其產生的聲音材料將建構成為一種電子聲音樂的「編曲」。透過雜技演出及舞台四周的擴音器 環繞播放,觀眾不僅可以聆聽音樂,也可以觀看台上的表演。

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi

為樂團六位成員譜曲時並未使用任何技術支援,而是由樂團創造出獨立的聲音空間。音樂空間與雜技表演空間的關係是形成本作品戲

有夠亮有限公司 亞洲作曲家聯盟(臺灣)

劇張力的基礎元素。我們當然「看」得見雜技表演者的道具、操控技巧及控制道具的肢體動作,但音樂會這個空間讓這些道具與動作 擁有一種類似「樂器」的角色。只要這些道具和動作的地位不要那麼像翻譯或說明、不要只是展示聲音與動作之間的絕妙搭配或者變

HUANG Hsin-Ying HSIAO Chi-Tsun

Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

成一種配合聲音而流動的能量,那麼一種足以表達音樂形態的肢體語言將彷彿在眼前誕生,而我們的耳朵是「聽」得見這種語言的。 換言之,並非拋接雜技表演者藉動作「啟動」音場(文字、電子或樂器聲響的片段),而是球或其他物體的動作,共同在視覺畫面中

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

製造出音場。 燃燒的水 / 哈維爾•阿瓦雷茲 本作品的名稱取自古代阿茲特克文化納華特語,直譯為「會燃燒的水」。作品中的沙錘演奏取材自拉丁美洲大部份地區傳統音樂的節 奏模式,這些地區包括加勒比海、墨西哥東南部、古巴、中美洲以及哥倫比亞與委內瑞拉的平原地區等。 一般來說,沙錘在這些地區皆作為小型合奏團的伴奏之用,委內瑞拉平原地區也許是唯一的例外,在當地樂曲中,沙錘不僅是用來打 拍子和強調樂音,更被當成一種獨奏樂器,這部作品便是由此發想。演奏這部作品時,沙錘演奏者必須能完美呈現短拍節奏,並以精 湛技巧將這些短拍結合成更大、更複雜的韻律結構,讓這些韻律節構與預先錄好的類似樂段並行、重疊、互相襯托,創造出多重而濃 烈的節奏網。在結尾樂團這些節奏將分解消散,沙錘回到令人懷念的傳統伴奏角色。 預錄音樂由豎琴、民謠吉他及低音提琴撥奏的合奏開始,再轉入以竹竿互敲音與沙錘本身的沙沙聲創造的節奏樂段。該錄音是1983 年冬季於皇家音樂學院的電子音樂錄音室錄製。 這部作品獻給路易斯•胡立歐•托羅(Luis Julio Toro),並由他本人於1984年在倫敦的歐洲音樂獎進行首演。本作品在1985年法

指導單位 Directed

主辦單位 Hosted

承辦單位 Organized

合辦單位 Co-hosted

國布爾日電子音樂節獲得佳作的殊榮,從此成為當代打擊樂重要曲目之一,經常在全球各地演出或播放。 國際夥伴 International Partners

嚴肅的微笑 / 亞歷山大•舒伯特

特別感謝 Special thanks

指定住宿 Official accommodation provided

演出《嚴肅的微笑》的四位演奏者身上皆須裝設感應器捕捉其肢體動作,讓這些動作同步形塑電子音響及其進行。數段融合動作感應 的獨奏結束後,本作品進一步探討演奏者在擴增演奏時的互動。就音樂來說,本作品稍微改變素材運用與演奏者互動的方向,偏離前 幾部作品的硬蕊(hardcore)

自由爵士美感風格。這類爵士音樂偏重聲音的延伸與樂器的融合,《嚴肅的微笑》則是將聽眾的注

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

意力導向電子與科技互動的人為與非自然特質,亦遊戲於機械與數位呈現方式之間。演奏所使用的程式與音樂素材皆高度數位化。 廣告


Music, Circus, Electronic Vibe 巴黎夜電聲 L'Instant Donné室內樂團 整座巴黎都在悄悄地夜 因為一場融合科技、 聲音藝術與肢體表演的奇幻即將展開

4.20 Thu.19:30 台北市客家音樂戲劇中心 Taipei Hakka Music and Theater Center

臺灣國際音樂節 Taiwan International Music Festival

2017

演出曲目 1. 亨利•福瑞 / 《二原則》(2015) <中場休息>

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

2.哈維爾•阿瓦雷茲 / 《燃燒的水》 (1984) 3.亞歷山大•舒伯特 / 《嚴肅的微笑》 (2013-2014)

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂曲解說

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵 樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

二原則 / 亨利福瑞 我與拋接雜技演員傑洛姆•托瑪(Jéróme Thomas)相識多年。我、托瑪和鈴鼓手卡洛•李佐(Carlo Rizzo),曾在1990年代合組

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

鋼琴、拋接雜技和打擊樂的三人團體。我也曾邀請托瑪參與我多部作品的演出。拋接雜技是本作品的肢體語言,它與作品中的音樂部 分重要性不相上下。透過整合新科技工具與電腦音樂,便能將肢體動作的特性加以演繹及操縱,也就是說,把它「寫進」純室內樂樂 譜中。過去做不到的,如今已可做到了。

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

此曲的作曲手法新穎,在六人樂團的編制下,從音樂的角度加入馬戲拋接雜技表演,所加入的不只是雜技拋球的動作本身,也包括與

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

球相連的感應器所製造出來的音響效果。演出的「獲贈時刻」(L'Instant Donné)樂團由於已習慣不用指揮,且長期參與傑洛姆• 托瑪充滿創意與好奇心的音樂,因此成為詮釋這部作品的不二人選。

行政協力

從表演者使用的球與其它拋接物體上的感應器所收集的訊息,是本樂譜創作的先決條件。運用動作辨識、控制各種參數及將動作「聲

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HSU Shu-Hui CHANG Shiang-Yun

音化」是IRCAM工作室研究的項目,其產生的聲音材料將建構成為一種電子聲音樂的「編曲」。透過雜技演出及舞台四周的擴音器 環繞播放,觀眾不僅可以聆聽音樂,也可以觀看台上的表演。

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi

為樂團六位成員譜曲時並未使用任何技術支援,而是由樂團創造出獨立的聲音空間。音樂空間與雜技表演空間的關係是形成本作品戲

有夠亮有限公司 亞洲作曲家聯盟(臺灣)

劇張力的基礎元素。我們當然「看」得見雜技表演者的道具、操控技巧及控制道具的肢體動作,但音樂會這個空間讓這些道具與動作 擁有一種類似「樂器」的角色。只要這些道具和動作的地位不要那麼像翻譯或說明、不要只是展示聲音與動作之間的絕妙搭配或者變

HUANG Hsin-Ying HSIAO Chi-Tsun

Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

成一種配合聲音而流動的能量,那麼一種足以表達音樂形態的肢體語言將彷彿在眼前誕生,而我們的耳朵是「聽」得見這種語言的。 換言之,並非拋接雜技表演者藉動作「啟動」音場(文字、電子或樂器聲響的片段),而是球或其他物體的動作,共同在視覺畫面中

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

製造出音場。 燃燒的水 / 哈維爾•阿瓦雷茲 本作品的名稱取自古代阿茲特克文化納華特語,直譯為「會燃燒的水」。作品中的沙錘演奏取材自拉丁美洲大部份地區傳統音樂的節 奏模式,這些地區包括加勒比海、墨西哥東南部、古巴、中美洲以及哥倫比亞與委內瑞拉的平原地區等。 一般來說,沙錘在這些地區皆作為小型合奏團的伴奏之用,委內瑞拉平原地區也許是唯一的例外,在當地樂曲中,沙錘不僅是用來打 拍子和強調樂音,更被當成一種獨奏樂器,這部作品便是由此發想。演奏這部作品時,沙錘演奏者必須能完美呈現短拍節奏,並以精 湛技巧將這些短拍結合成更大、更複雜的韻律結構,讓這些韻律節構與預先錄好的類似樂段並行、重疊、互相襯托,創造出多重而濃 烈的節奏網。在結尾樂團這些節奏將分解消散,沙錘回到令人懷念的傳統伴奏角色。 預錄音樂由豎琴、民謠吉他及低音提琴撥奏的合奏開始,再轉入以竹竿互敲音與沙錘本身的沙沙聲創造的節奏樂段。該錄音是1983 年冬季於皇家音樂學院的電子音樂錄音室錄製。 這部作品獻給路易斯•胡立歐•托羅(Luis Julio Toro),並由他本人於1984年在倫敦的歐洲音樂獎進行首演。本作品在1985年法

指導單位 Directed

主辦單位 Hosted

承辦單位 Organized

合辦單位 Co-hosted

國布爾日電子音樂節獲得佳作的殊榮,從此成為當代打擊樂重要曲目之一,經常在全球各地演出或播放。 國際夥伴 International Partners

嚴肅的微笑 / 亞歷山大•舒伯特

特別感謝 Special thanks

指定住宿 Official accommodation provided

演出《嚴肅的微笑》的四位演奏者身上皆須裝設感應器捕捉其肢體動作,讓這些動作同步形塑電子音響及其進行。數段融合動作感應 的獨奏結束後,本作品進一步探討演奏者在擴增演奏時的互動。就音樂來說,本作品稍微改變素材運用與演奏者互動的方向,偏離前 幾部作品的硬蕊(hardcore)

自由爵士美感風格。這類爵士音樂偏重聲音的延伸與樂器的融合,《嚴肅的微笑》則是將聽眾的注

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

意力導向電子與科技互動的人為與非自然特質,亦遊戲於機械與數位呈現方式之間。演奏所使用的程式與音樂素材皆高度數位化。 廣告


Music, Circus, Electronic Vibe 巴黎夜電聲 L'Instant Donné室內樂團 整座巴黎都在悄悄地夜 因為一場融合科技、 聲音藝術與肢體表演的奇幻即將展開

4.20 Thu.19:30 台北市客家音樂戲劇中心 Taipei Hakka Music and Theater Center

臺灣國際音樂節 Taiwan International Music Festival

2017

演出曲目 1. 亨利•福瑞 / 《二原則》(2015) <中場休息>

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨

2.哈維爾•阿瓦雷茲 / 《燃燒的水》 (1984) 3.亞歷山大•舒伯特 / 《嚴肅的微笑》 (2013-2014)

的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳

樂曲解說

統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵 樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

二原則 / 亨利福瑞 我與拋接雜技演員傑洛姆•托瑪(Jéróme Thomas)相識多年。我、托瑪和鈴鼓手卡洛•李佐(Carlo Rizzo),曾在1990年代合組

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

鋼琴、拋接雜技和打擊樂的三人團體。我也曾邀請托瑪參與我多部作品的演出。拋接雜技是本作品的肢體語言,它與作品中的音樂部 分重要性不相上下。透過整合新科技工具與電腦音樂,便能將肢體動作的特性加以演繹及操縱,也就是說,把它「寫進」純室內樂樂 譜中。過去做不到的,如今已可做到了。

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

此曲的作曲手法新穎,在六人樂團的編制下,從音樂的角度加入馬戲拋接雜技表演,所加入的不只是雜技拋球的動作本身,也包括與

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

球相連的感應器所製造出來的音響效果。演出的「獲贈時刻」(L'Instant Donné)樂團由於已習慣不用指揮,且長期參與傑洛姆• 托瑪充滿創意與好奇心的音樂,因此成為詮釋這部作品的不二人選。

行政協力

從表演者使用的球與其它拋接物體上的感應器所收集的訊息,是本樂譜創作的先決條件。運用動作辨識、控制各種參數及將動作「聲

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HSU Shu-Hui CHANG Shiang-Yun

音化」是IRCAM工作室研究的項目,其產生的聲音材料將建構成為一種電子聲音樂的「編曲」。透過雜技演出及舞台四周的擴音器 環繞播放,觀眾不僅可以聆聽音樂,也可以觀看台上的表演。

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi

為樂團六位成員譜曲時並未使用任何技術支援,而是由樂團創造出獨立的聲音空間。音樂空間與雜技表演空間的關係是形成本作品戲

有夠亮有限公司 亞洲作曲家聯盟(臺灣)

劇張力的基礎元素。我們當然「看」得見雜技表演者的道具、操控技巧及控制道具的肢體動作,但音樂會這個空間讓這些道具與動作 擁有一種類似「樂器」的角色。只要這些道具和動作的地位不要那麼像翻譯或說明、不要只是展示聲音與動作之間的絕妙搭配或者變

HUANG Hsin-Ying HSIAO Chi-Tsun

Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

成一種配合聲音而流動的能量,那麼一種足以表達音樂形態的肢體語言將彷彿在眼前誕生,而我們的耳朵是「聽」得見這種語言的。 換言之,並非拋接雜技表演者藉動作「啟動」音場(文字、電子或樂器聲響的片段),而是球或其他物體的動作,共同在視覺畫面中

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

製造出音場。 燃燒的水 / 哈維爾•阿瓦雷茲 本作品的名稱取自古代阿茲特克文化納華特語,直譯為「會燃燒的水」。作品中的沙錘演奏取材自拉丁美洲大部份地區傳統音樂的節 奏模式,這些地區包括加勒比海、墨西哥東南部、古巴、中美洲以及哥倫比亞與委內瑞拉的平原地區等。 一般來說,沙錘在這些地區皆作為小型合奏團的伴奏之用,委內瑞拉平原地區也許是唯一的例外,在當地樂曲中,沙錘不僅是用來打 拍子和強調樂音,更被當成一種獨奏樂器,這部作品便是由此發想。演奏這部作品時,沙錘演奏者必須能完美呈現短拍節奏,並以精 湛技巧將這些短拍結合成更大、更複雜的韻律結構,讓這些韻律節構與預先錄好的類似樂段並行、重疊、互相襯托,創造出多重而濃 烈的節奏網。在結尾樂團這些節奏將分解消散,沙錘回到令人懷念的傳統伴奏角色。 預錄音樂由豎琴、民謠吉他及低音提琴撥奏的合奏開始,再轉入以竹竿互敲音與沙錘本身的沙沙聲創造的節奏樂段。該錄音是1983 年冬季於皇家音樂學院的電子音樂錄音室錄製。 這部作品獻給路易斯•胡立歐•托羅(Luis Julio Toro),並由他本人於1984年在倫敦的歐洲音樂獎進行首演。本作品在1985年法

指導單位 Directed

主辦單位 Hosted

承辦單位 Organized

合辦單位 Co-hosted

國布爾日電子音樂節獲得佳作的殊榮,從此成為當代打擊樂重要曲目之一,經常在全球各地演出或播放。 國際夥伴 International Partners

嚴肅的微笑 / 亞歷山大•舒伯特

特別感謝 Special thanks

指定住宿 Official accommodation provided

演出《嚴肅的微笑》的四位演奏者身上皆須裝設感應器捕捉其肢體動作,讓這些動作同步形塑電子音響及其進行。數段融合動作感應 的獨奏結束後,本作品進一步探討演奏者在擴增演奏時的互動。就音樂來說,本作品稍微改變素材運用與演奏者互動的方向,偏離前 幾部作品的硬蕊(hardcore)

自由爵士美感風格。這類爵士音樂偏重聲音的延伸與樂器的融合,《嚴肅的微笑》則是將聽眾的注

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

意力導向電子與科技互動的人為與非自然特質,亦遊戲於機械與數位呈現方式之間。演奏所使用的程式與音樂素材皆高度數位化。 廣告


作曲家簡介 (依演出順序)

Composers (listed in the order of performance)

亨利•福瑞 (Henry Fourés)

阿瓦雷茲1956年生於墨西哥市,先向馬里歐•拉維斯塔(Mario Lavista)學習單簧管與作曲,後移居英國並進入英國皇家音樂學院

1948年生於法國。曾在蒙貝里耶大學(University of Montpellier)主修藝術史,並於巴黎國立音樂院(Conservatoire National de

與倫敦城市大學就讀。他最早的電聲音樂作品,如《燃燒的水》(1984),即誕生於該期間。曾為墨西哥藝術與文化基金會會員。曾

Musique in Paris)學習音樂。畢業後前往維也納深造,並於柏林大學研究中世紀音樂,1975年至1977年間於音樂研究集團(Groupe

任教於英格蘭哈特福郡大學(University of Hertfordshire)以及瑞典的馬爾摩音樂學院(Malmó Music Academy),同時也在

de Recherches Musicales, INAGRM)實習。

倫敦城市大學、英國皇家音樂學院以及倫敦市政廳音樂暨戲劇學院(Guildhall School of Music)教授作曲和電腦音樂技術。他是

福瑞曾任教法國龐丹音樂院(Conservatory of Pantin)及土魯斯第二大學(University of Toulouse-Le Mirail)。他的主要工

音響藝術網路(Sonic Arts Network)創辦人之一。返回墨西哥後,他成為猶加敦高等藝術學院(Escuela Superior de Artes de

作地點在德國,曾受邀參與多個樂團與交響樂團的演出,也曾擔任馬賽音樂與資訊實驗室的主席。他在許多領域都相當活躍,曾為

Yucatán)音樂藝術系的創始系主任,並曾擔任羅薩斯音樂學院(Conservatorio de las Rosas)的院長。目前居住在猶加敦州,

電視台製作影片以及為電影、舞蹈及舞台劇作品編寫音樂,並為法國及德國多座廣播電台製作廣播音樂。他的作品涵蓋交響樂

身兼作曲家與藝術計畫推手。

室內樂、電子互動音樂及人聲混聲音樂,也設計並製作互動式音樂節目與大型音樂活動。 2000年至2009年,亨利•福瑞擔任里昂國立高等音樂舞蹈學院(National Superior Conservatory of Music and Dance Lyon)院

亞歷山大•舒伯特 (Alexander Schubert)

長。目前福瑞全心投入作曲和演出,與作曲家萊恩哈德•富蘭德爾(Reinhard Flender)共同擔任德法音樂學院廿一號作品音樂室內

亞歷山大•舒伯特1979年生於德國,主修生物資訊與作曲,有興趣的領域包括研究結合原聲音樂與電子音樂的介面,以不同音樂風格

樂團(Franco-German Academy XXI OPUS Chamber Music)藝術總監,並曾獲頒法國文藝騎士勳章及德國十字勳章。

(如硬蕊、自由爵士、通俗電子音樂、鐵克諾音樂)結合當代古典音樂。早在年輕時的音樂生涯起步階段,他便開始以個人或樂團的 方式參與上述音樂類別的演出。

哈維爾•阿瓦雷茲 ( Javier Alvarez)

表演型音樂是他主要的創作重心。在電子音樂中使用肢體,及透過肢體語言傳達音樂以外的內容是他作品的主要特色,其重點在於透

阿瓦雷茲的音樂深受當代跨越時代與邊界的通俗文化影響。在同輩墨西哥作曲家當中,阿瓦雷茲享有極高知名度。他的作品為數眾

過感應器與視覺媒介增加表演者的力量,讓演出展現最大能量。除了擔任作曲與獨奏演出,舒伯特也是「解碼者」等樂團的創始團

多,當中有許多成功結合複雜的音樂科技以及各種樂器與世界各地音樂。

員。2011年至迄今,他在德國呂北克教授現場電子音樂。他的作品已被許多樂團演出超過400次,演出地點超過25個國家。

演出者簡介

Henry Fourés Henry Fourés, born in 1948, studied art history at the University of Montpellier and music at the Conservatoire National de Musique in Paris. He continued his training at the academy in Vienna and the University of Berlin, where he studied medieval musicology. From 1975 to 1977 he was an intern at the Groupe de Recherches Musicales (INAGRM). Fourés used to teach at the Conservatory of Pantin and the University of Toulouse-Le Mirail. He worked regularly in Germany, where he was invited to various ensembles and Symphony radios. He served as the president of the Laboratoire de Musique et d’Informatique in Marseilles. Being active in many areas, Fourés made films for television and composed music for picture, dance, and stage. He is also the author of numerous radio creations in France and Germany. He writes symphonic works, chamber music, electronic parts, mixed vocal works. He also designs and produces interactive installations and major events. From 2000 to 2009, Henry Fourés was director of the National Superior Conservatory of Music and Dance Lyon. Today, being devoted as a composer and performer, he serves as co-artistic director with the composer Reinhard Flender for the Franco-German Academy XXI OPUS Chamber Music. He was awarded the Knight of the Order of Arts and Letters and the German Cross of Merit. Javier Alvarez The music of Javier Alvarez reveals influences of popular cultures that go beyond the borders of our own time and place. Alvarez is one of the best-known Mexican composers of his generation and many of the works in his prolific oeuvre combine the intricacies of music technology with diverse instruments and influences from around the world. Born in Mexico City in 1956, Alvarez studied clarinet and composition with Mario Lavista before moving to the Great Britain, where he

attended the Royal College of Music and the City University in London. His first electroacoustic works date from this time, such as Temazcal (1984). Alvarez was a fellow of the Mexican Endowment for the Arts and Culture. He has held teaching positions at the University of Hertfordshire and the Malmó Music Academy in Sweden, having also taught composition and computer music technology at the City University, Royal College of Music and the Guildhall School of Music in London. He was a founding member of Sonic Arts Network. Later he returned to Mexico and became the founding director of the Musical Arts Department of the Escuela Superior de Artes de Yucatán. After a period serving as Dean of the Conservatorio de las Rosas in Morelia, Michoacán, he is now living in Mérida in Yucatan, combining activities as a freelance composer and project animateur. Alexander Schubert Born in Germany in 1979, Alexander Schubert studied bioinformatics and composition. He explores cross-genre interfaces between acoustic and electronic music, combining different musical styles (like hardcore, free jazz, popular electronic music, techno) with contemporary classical concepts. Schubert has participated in his youth and early career in the above-mentioned genres both in groups and as a solo artist. Performance pieces are a major focus in his work. The use of the body in electronic music and the transportation of additional content through gestures are key features in his pieces, which aim at empowering the performer and at achieving a maximum of energy. This is done both through the use of sensors and visual media. Apart from working as a composer and solo musician, Schubert is also a founding member of ensembles such as "Decoder". Since 2011 he teaches live-electronics at the conservatory in Lübeck. His works have been performed more than 400 times by numerous ensembles in over 25 countries.

Performers

「獲贈時刻」樂團 (L'Instant Donné)

國家芭蕾舞團與羅馬歐羅巴藝術季(Roma Europa)邀請創作。2004年起,於法國貝桑松大學(Université de Franche-Comté)

來自巴黎的「獲贈時刻」,是一個專門演出當代室內樂的樂團。2002年成軍以來,一直以集體的方式合作,成員固定為九位。該

教授多媒體創作,同時也任教於蒙特貝利雅音樂學院(Conservatoire de Montbéliard)。

樂團以高水準室內樂演出而聞名,演奏時不需指揮,演出曲目涵蓋19世紀末到現代的作品。他們經常推出整場音樂會,為樂迷引薦 在世音樂家的作品,與斐德烈•巴塔(Frédéric Pattar)、史蒂凡諾•傑瓦松尼(Stefano Gervasoni)、傑哈•培松(Gérard

貝諾瓦•莫迪(Benoit Meudic), IRCAM 電腦音樂設計《嚴肅的微笑》

Pesson)、約翰•夏龍(Johannes Schállhorn)與克萊蒙•加丹史塔特(Clemens Gadenstátter)等音樂家的合作尤其密切。

來自法國的莫迪是一位音樂家、治療師,也是電腦音樂設計師。2004年,他完成電腦音樂博士論文,研究音樂結構的自動分析。曾

該團曾在歐洲許多重要表演場地與音樂節演出,包括巴黎的秋季藝術節、英國曼徹斯特國際藝術節、盧森堡愛樂(Luxemburg

為多位作曲家擔任電腦音樂設計師,包括亞歷山卓斯•馬奇亞斯(Alexandros Markea)、揚•馬雷茲(Yan Maresz)、喬琪亞•

Philharmonie)等,演出足跡遍布歐洲,並遠至摩洛哥、阿根廷、巴西、祕魯與墨西哥,長期受到法國法蘭西島大區文化廳、法

史畢羅普羅斯(Georgia Spiropoulos)、陳銀淑(Unsuk Chin)等。2008年與藝術家伊夫馬利•盧爾(Yves Marie L'Hour)創

國文化部、音樂作家版權協會(SACEM)與表演者權益協會(SPEDIDAM)的支持。

立祭司(Hierophantes)合奏團,兩人共同創作多部多媒體作品。

長 笛│克萊兒•盧昆斯

打 擊│瑪辛•艾夏朵

單簧管│馬修•史蒂凡紐

小提琴│古川紗織

鋼 琴│卡洛琳•克恩

大提琴│尼可拉•夏邦提耶

傑洛姆•托瑪(Jérome Thomas) 拋接雜技表演 1992年成立ARMO(物體操控研究協會)與傑洛姆•托瑪表演團,至今推出多場表演作品,這些演出都曾在法國與海外各地巡迴 演出,並獲得法國官方藝術行動協會支持。1996年,托瑪首度舉辦「當代與即興拋接雜技藝術節」,曾創作十人拋接雜技芭蕾作 品,也曾指導法國艾伯夫雜技劇場(Cirque Théátre d'Elbeuf)的開幕演出 。

聲學暨音樂研究協調學會(IRCAM) 聲學暨音樂研究協調學會(Institut de Recherche et Coordination Acoustique/Musique, IRCAM)致力於音樂的表達與科學研 究,在全球同類研究中心當中規模數一數二。IRCAM的特別之處在於結合藝術鑑賞與科技創新,2006年起由法蘭克•馬德蘭納 (Frank Madlener)主持,迄今在學會從事創作與研究的人士超過160位。每年的IRCAM巴黎音樂季可說是該學三項主要活動(創 作、研究、傳承)的成果展,在法國與世界各地都有音樂作品演出。 IRCAM由皮耶•布雷(Pierre Boulez)創辦,在法國文化暨通訊部的指導下與龐畢度中心合作。IRCAM的音樂與聲音科技研究室 (STMS)並獲法國國家科學研究中心、巴黎第六大學與法國國家資訊暨自動化研究院的支持。

1989年至1990年曾任教於瑪恩河上夏隆高等雜技學院(Ecole Superieure des Arts du Cirque in Chálons-sur-Marne),並開 辦一系列工作坊,傳授拋接雜技獨特的技巧與理念,也曾與莫斯科雜技學校合作數年。2001年10月至11月,他擔任「雜技藝術」 活動總監,該活動在巴黎著名的維萊特公園舉行。托瑪是雜技年委員會的榮譽會員,2003年獲頒SACD雜技獎。

Program

奧古斯丹•穆勒(Augustin Muller), IRCAM電腦音樂設計《二原則》 來自法國的穆勒學習科學與音樂(打擊樂、爵士樂和即興演奏),之後進入巴黎國立高等音樂舞蹈學院(CNSMD)研究聲學。他曾在

1.Henry Fourés / Deis dos prineipis (2015)

法國及海外負責多場音樂會與錄音的工作,合作的藝術家與團體包括邁可•勒文納斯(Michael Levinas)、璜巴布羅•卡倫紐(Juan

<Intermission>

Pablo Carreño)、勞伯•普拉茨(Robert Platz)、國際當代樂團(l'Ensemble intercontemporain)、史特拉斯堡打擊樂團等。 羅倫佐•畢安其(Lorenzo Bianchi), IRCAM電腦音樂設計《嚴肅的微笑》 來自義大利的畢安其具有建築與作曲雙學位,既是作曲家,也是表演者。主要興趣為利用電子裝置,以即時、聲音與影像裝置、以 及預錄音響寫作器樂曲,以及為戲劇和舞蹈作曲。曾獲法國的音樂研究集團(GRM)、威尼斯雙年展、瑞典哥特堡歌劇院、馬賽

2.Javier Alvarez / Temazcal (1984) 3. Alexander Schubert / Serious Smile (2013-2014)

L'Instant Donné The Paris-based L'Instant Donné is an instrumental ensemble devoted to the interpretation of contemporary chamber music. Since its foundation in 2002, the ensemble has functioned as a collective, with a fixed line-up of nine musicians, and has built its reputation upon high quality chamber ensemble performances, by preference working without a conductor. L'Instant Donné's repertoire encompasses music from the end of the nineteenth century to the present day. Portrait concerts of living composers form the back-bone of their oeuvre, and they have developed particularly strong collaborative relationships with composers as Frédéric Pattar, Stefano Gervasoni, Gérard Pesson, Johannes Schállhorn and Clemens Gadenstátter among others. L'Instant Donné has appeared at many leading venues and festivals, including Festival d'Automne á Paris, Agora-Ircam (Paris), Manchester International Festival (UK), Luxemburg Philharmonie, and widely across Europe, and as far afield as Morocco, Argentina, Brazil, Peru and Mexico. L'Instant Donné is supported by the Direction Régionale des Affaires Culturelles d'Ile de France - Ministére de la Culture, SACEM, and SPEDIDAM. Flute | Clair Luquiens Clarinet | Mathieu Steffanus

Piano | Caroline Cren Percussion | Maxime Echardour

Violin | Saori Furukawa Cello | Nicolas Carpentier

Jérome Thomas | juggler The year 1992 marks the beginning for the ARMO (Association for Research in the Manipulation of Objects)/Jérome Thomas Company. Within this framework, he has produced several shows till now. All of his productions have been touring in France and performed abroad, often with the support of AFAA. In 1996, Jérome set up the first Festival for Contemporary & Improvised Juggling. He created a juggling ballet for 10 dancers-jugglers. He also directed the show for the launching of Cirque Théátre d'Elbeuf. During teaching at the Ecole Superieure des Arts du Cirque in Chálons-sur-Marne (89-90), Jéróme Thomas initiated a series of workshops to instruct others in his particular method and approach to juggling. He has also worked for several years with the Moscow Circus School. In October/November 2001, he was artistic director for the event called Arts de la Jongle (Juggling Arts) which took place at the Parc de la Villette in Paris. Jéróme Thomas was an Honorary Committee member for the Year of the Circus. He received the SACD Award for Circus in 2003. Augustin Muller | IRCAM Computer Music Designer for Deis dos prineipis After studying both music (percussion, jazz, and improvisation) and science, the French-based Augustin Muller began studying at the Conservatoire de Paris (CNSMDP) in 2006, focusing on sound. He has worked on numerous concerts and recordings in France and abroad, with artists and ensembles such as Michael Levinas, Juan Pablo Carreño, Robert Platz, Le Balcon, l'Ensemble intercontemporain, l'Intenational Contemporary Ensemble, les Pcrcussions de Strasbourg, etc.

Electronic Music Engineering | Monica Gil Giraldo Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a number of music albums and projects for sound artists and composers. Later she lived in Germany for one year, during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She has joined the production of opera Maria Republica and was part of the production team for the past 6 editions of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe. Lorenzo Bianchi | IRCAM Computer Music Designer for Serious Smile With diplomas in architecture and composition, the Italian artist Lorenzo Bianchi is a composer and performer. His interests focus on instrumental composition with electronics in real-time, audio and video installations, recorded sounds, and compositions for theater and dance. He has received commissions from institutions such as the Groupe de Recherche Musicale (GRM), the Venice Biennial, the Göteborg Opera, the Ballet National de Marseille, and Roma Europa. Bianchi has taught multimedia composition at the Université de Franche-Comté since 2004 and is a professor at the Conservatoire de Montbéliard. Benoit Meudic | IRCAM Computer Music Designer for Serious Smile Benoit Meudic is a musician, therapist, and computer music designer in France. In 2004, he completed his doctoral thesis in computer music on the automatic analysis of musical structures. Since then, he has worked as a computer-music designer for several composers including Alexandros Markeas, Yan Maresz, Georgia Spiropoulos, and Unsuk Chin. In 2008, Meudic co-founded the Hierophantes ensemble with the artist Yves Marie L'Hour with whom he has created many multimedia installations. IRCAM IRCAM, or the Institute for Research and Coordination in Acoustics/Music, is one of the world's largest public research centers dedicated to both musical expression and scientific research. It is a unique institute where artistic sensibilities collide with scientific and technological innovation. Frank Madlener has directed the institute since 2006, bringing together over 160 people for art creation and research. IRCAM's three principal activities -- creation, research, transmission -- are visible in IRCAM's Parisian concert season, in productions throughout France and abroad. Founded by Pierre Boulez, IRCAM is associated with the Centre Pompidou, under the tutelage of the French Ministry of Culture and Communication. The mixed STMS research lab (Sciences and Technologies for Music and Sound), housed by IRCAM, also benefits from the support of the CNRS and the University Pierre and Marie Curie, as well as Inria (team-project MuTant).


作曲家簡介 (依演出順序)

Composers (listed in the order of performance)

亨利•福瑞 (Henry Fourés)

阿瓦雷茲1956年生於墨西哥市,先向馬里歐•拉維斯塔(Mario Lavista)學習單簧管與作曲,後移居英國並進入英國皇家音樂學院

1948年生於法國。曾在蒙貝里耶大學(University of Montpellier)主修藝術史,並於巴黎國立音樂院(Conservatoire National de

與倫敦城市大學就讀。他最早的電聲音樂作品,如《燃燒的水》(1984),即誕生於該期間。曾為墨西哥藝術與文化基金會會員。曾

Musique in Paris)學習音樂。畢業後前往維也納深造,並於柏林大學研究中世紀音樂,1975年至1977年間於音樂研究集團(Groupe

任教於英格蘭哈特福郡大學(University of Hertfordshire)以及瑞典的馬爾摩音樂學院(Malmó Music Academy),同時也在

de Recherches Musicales, INAGRM)實習。

倫敦城市大學、英國皇家音樂學院以及倫敦市政廳音樂暨戲劇學院(Guildhall School of Music)教授作曲和電腦音樂技術。他是

福瑞曾任教法國龐丹音樂院(Conservatory of Pantin)及土魯斯第二大學(University of Toulouse-Le Mirail)。他的主要工

音響藝術網路(Sonic Arts Network)創辦人之一。返回墨西哥後,他成為猶加敦高等藝術學院(Escuela Superior de Artes de

作地點在德國,曾受邀參與多個樂團與交響樂團的演出,也曾擔任馬賽音樂與資訊實驗室的主席。他在許多領域都相當活躍,曾為

Yucatán)音樂藝術系的創始系主任,並曾擔任羅薩斯音樂學院(Conservatorio de las Rosas)的院長。目前居住在猶加敦州,

電視台製作影片以及為電影、舞蹈及舞台劇作品編寫音樂,並為法國及德國多座廣播電台製作廣播音樂。他的作品涵蓋交響樂

身兼作曲家與藝術計畫推手。

室內樂、電子互動音樂及人聲混聲音樂,也設計並製作互動式音樂節目與大型音樂活動。 2000年至2009年,亨利•福瑞擔任里昂國立高等音樂舞蹈學院(National Superior Conservatory of Music and Dance Lyon)院

亞歷山大•舒伯特 (Alexander Schubert)

長。目前福瑞全心投入作曲和演出,與作曲家萊恩哈德•富蘭德爾(Reinhard Flender)共同擔任德法音樂學院廿一號作品音樂室內

亞歷山大•舒伯特1979年生於德國,主修生物資訊與作曲,有興趣的領域包括研究結合原聲音樂與電子音樂的介面,以不同音樂風格

樂團(Franco-German Academy XXI OPUS Chamber Music)藝術總監,並曾獲頒法國文藝騎士勳章及德國十字勳章。

(如硬蕊、自由爵士、通俗電子音樂、鐵克諾音樂)結合當代古典音樂。早在年輕時的音樂生涯起步階段,他便開始以個人或樂團的 方式參與上述音樂類別的演出。

哈維爾•阿瓦雷茲 ( Javier Alvarez)

表演型音樂是他主要的創作重心。在電子音樂中使用肢體,及透過肢體語言傳達音樂以外的內容是他作品的主要特色,其重點在於透

阿瓦雷茲的音樂深受當代跨越時代與邊界的通俗文化影響。在同輩墨西哥作曲家當中,阿瓦雷茲享有極高知名度。他的作品為數眾

過感應器與視覺媒介增加表演者的力量,讓演出展現最大能量。除了擔任作曲與獨奏演出,舒伯特也是「解碼者」等樂團的創始團

多,當中有許多成功結合複雜的音樂科技以及各種樂器與世界各地音樂。

員。2011年至迄今,他在德國呂北克教授現場電子音樂。他的作品已被許多樂團演出超過400次,演出地點超過25個國家。

演出者簡介

Henry Fourés Henry Fourés, born in 1948, studied art history at the University of Montpellier and music at the Conservatoire National de Musique in Paris. He continued his training at the academy in Vienna and the University of Berlin, where he studied medieval musicology. From 1975 to 1977 he was an intern at the Groupe de Recherches Musicales (INAGRM). Fourés used to teach at the Conservatory of Pantin and the University of Toulouse-Le Mirail. He worked regularly in Germany, where he was invited to various ensembles and Symphony radios. He served as the president of the Laboratoire de Musique et d’Informatique in Marseilles. Being active in many areas, Fourés made films for television and composed music for picture, dance, and stage. He is also the author of numerous radio creations in France and Germany. He writes symphonic works, chamber music, electronic parts, mixed vocal works. He also designs and produces interactive installations and major events. From 2000 to 2009, Henry Fourés was director of the National Superior Conservatory of Music and Dance Lyon. Today, being devoted as a composer and performer, he serves as co-artistic director with the composer Reinhard Flender for the Franco-German Academy XXI OPUS Chamber Music. He was awarded the Knight of the Order of Arts and Letters and the German Cross of Merit. Javier Alvarez The music of Javier Alvarez reveals influences of popular cultures that go beyond the borders of our own time and place. Alvarez is one of the best-known Mexican composers of his generation and many of the works in his prolific oeuvre combine the intricacies of music technology with diverse instruments and influences from around the world. Born in Mexico City in 1956, Alvarez studied clarinet and composition with Mario Lavista before moving to the Great Britain, where he

attended the Royal College of Music and the City University in London. His first electroacoustic works date from this time, such as Temazcal (1984). Alvarez was a fellow of the Mexican Endowment for the Arts and Culture. He has held teaching positions at the University of Hertfordshire and the Malmó Music Academy in Sweden, having also taught composition and computer music technology at the City University, Royal College of Music and the Guildhall School of Music in London. He was a founding member of Sonic Arts Network. Later he returned to Mexico and became the founding director of the Musical Arts Department of the Escuela Superior de Artes de Yucatán. After a period serving as Dean of the Conservatorio de las Rosas in Morelia, Michoacán, he is now living in Mérida in Yucatan, combining activities as a freelance composer and project animateur. Alexander Schubert Born in Germany in 1979, Alexander Schubert studied bioinformatics and composition. He explores cross-genre interfaces between acoustic and electronic music, combining different musical styles (like hardcore, free jazz, popular electronic music, techno) with contemporary classical concepts. Schubert has participated in his youth and early career in the above-mentioned genres both in groups and as a solo artist. Performance pieces are a major focus in his work. The use of the body in electronic music and the transportation of additional content through gestures are key features in his pieces, which aim at empowering the performer and at achieving a maximum of energy. This is done both through the use of sensors and visual media. Apart from working as a composer and solo musician, Schubert is also a founding member of ensembles such as "Decoder". Since 2011 he teaches live-electronics at the conservatory in Lübeck. His works have been performed more than 400 times by numerous ensembles in over 25 countries.

Performers

「獲贈時刻」樂團 (L'Instant Donné)

國家芭蕾舞團與羅馬歐羅巴藝術季(Roma Europa)邀請創作。2004年起,於法國貝桑松大學(Université de Franche-Comté)

來自巴黎的「獲贈時刻」,是一個專門演出當代室內樂的樂團。2002年成軍以來,一直以集體的方式合作,成員固定為九位。該

教授多媒體創作,同時也任教於蒙特貝利雅音樂學院(Conservatoire de Montbéliard)。

樂團以高水準室內樂演出而聞名,演奏時不需指揮,演出曲目涵蓋19世紀末到現代的作品。他們經常推出整場音樂會,為樂迷引薦 在世音樂家的作品,與斐德烈•巴塔(Frédéric Pattar)、史蒂凡諾•傑瓦松尼(Stefano Gervasoni)、傑哈•培松(Gérard

貝諾瓦•莫迪(Benoit Meudic), IRCAM 電腦音樂設計《嚴肅的微笑》

Pesson)、約翰•夏龍(Johannes Schállhorn)與克萊蒙•加丹史塔特(Clemens Gadenstátter)等音樂家的合作尤其密切。

來自法國的莫迪是一位音樂家、治療師,也是電腦音樂設計師。2004年,他完成電腦音樂博士論文,研究音樂結構的自動分析。曾

該團曾在歐洲許多重要表演場地與音樂節演出,包括巴黎的秋季藝術節、英國曼徹斯特國際藝術節、盧森堡愛樂(Luxemburg

為多位作曲家擔任電腦音樂設計師,包括亞歷山卓斯•馬奇亞斯(Alexandros Markea)、揚•馬雷茲(Yan Maresz)、喬琪亞•

Philharmonie)等,演出足跡遍布歐洲,並遠至摩洛哥、阿根廷、巴西、祕魯與墨西哥,長期受到法國法蘭西島大區文化廳、法

史畢羅普羅斯(Georgia Spiropoulos)、陳銀淑(Unsuk Chin)等。2008年與藝術家伊夫馬利•盧爾(Yves Marie L'Hour)創

國文化部、音樂作家版權協會(SACEM)與表演者權益協會(SPEDIDAM)的支持。

立祭司(Hierophantes)合奏團,兩人共同創作多部多媒體作品。

長 笛│克萊兒•盧昆斯

打 擊│瑪辛•艾夏朵

單簧管│馬修•史蒂凡紐

小提琴│古川紗織

鋼 琴│卡洛琳•克恩

大提琴│尼可拉•夏邦提耶

傑洛姆•托瑪(Jérome Thomas) 拋接雜技表演 1992年成立ARMO(物體操控研究協會)與傑洛姆•托瑪表演團,至今推出多場表演作品,這些演出都曾在法國與海外各地巡迴 演出,並獲得法國官方藝術行動協會支持。1996年,托瑪首度舉辦「當代與即興拋接雜技藝術節」,曾創作十人拋接雜技芭蕾作 品,也曾指導法國艾伯夫雜技劇場(Cirque Théátre d'Elbeuf)的開幕演出 。

聲學暨音樂研究協調學會(IRCAM) 聲學暨音樂研究協調學會(Institut de Recherche et Coordination Acoustique/Musique, IRCAM)致力於音樂的表達與科學研 究,在全球同類研究中心當中規模數一數二。IRCAM的特別之處在於結合藝術鑑賞與科技創新,2006年起由法蘭克•馬德蘭納 (Frank Madlener)主持,迄今在學會從事創作與研究的人士超過160位。每年的IRCAM巴黎音樂季可說是該學三項主要活動(創 作、研究、傳承)的成果展,在法國與世界各地都有音樂作品演出。 IRCAM由皮耶•布雷(Pierre Boulez)創辦,在法國文化暨通訊部的指導下與龐畢度中心合作。IRCAM的音樂與聲音科技研究室 (STMS)並獲法國國家科學研究中心、巴黎第六大學與法國國家資訊暨自動化研究院的支持。

1989年至1990年曾任教於瑪恩河上夏隆高等雜技學院(Ecole Superieure des Arts du Cirque in Chálons-sur-Marne),並開 辦一系列工作坊,傳授拋接雜技獨特的技巧與理念,也曾與莫斯科雜技學校合作數年。2001年10月至11月,他擔任「雜技藝術」 活動總監,該活動在巴黎著名的維萊特公園舉行。托瑪是雜技年委員會的榮譽會員,2003年獲頒SACD雜技獎。

Program

奧古斯丹•穆勒(Augustin Muller), IRCAM電腦音樂設計《二原則》 來自法國的穆勒學習科學與音樂(打擊樂、爵士樂和即興演奏),之後進入巴黎國立高等音樂舞蹈學院(CNSMD)研究聲學。他曾在

1.Henry Fourés / Deis dos prineipis (2015)

法國及海外負責多場音樂會與錄音的工作,合作的藝術家與團體包括邁可•勒文納斯(Michael Levinas)、璜巴布羅•卡倫紐(Juan

<Intermission>

Pablo Carreño)、勞伯•普拉茨(Robert Platz)、國際當代樂團(l'Ensemble intercontemporain)、史特拉斯堡打擊樂團等。 羅倫佐•畢安其(Lorenzo Bianchi), IRCAM電腦音樂設計《嚴肅的微笑》 來自義大利的畢安其具有建築與作曲雙學位,既是作曲家,也是表演者。主要興趣為利用電子裝置,以即時、聲音與影像裝置、以 及預錄音響寫作器樂曲,以及為戲劇和舞蹈作曲。曾獲法國的音樂研究集團(GRM)、威尼斯雙年展、瑞典哥特堡歌劇院、馬賽

2.Javier Alvarez / Temazcal (1984) 3. Alexander Schubert / Serious Smile (2013-2014)

L'Instant Donné The Paris-based L'Instant Donné is an instrumental ensemble devoted to the interpretation of contemporary chamber music. Since its foundation in 2002, the ensemble has functioned as a collective, with a fixed line-up of nine musicians, and has built its reputation upon high quality chamber ensemble performances, by preference working without a conductor. L'Instant Donné's repertoire encompasses music from the end of the nineteenth century to the present day. Portrait concerts of living composers form the back-bone of their oeuvre, and they have developed particularly strong collaborative relationships with composers as Frédéric Pattar, Stefano Gervasoni, Gérard Pesson, Johannes Schállhorn and Clemens Gadenstátter among others. L'Instant Donné has appeared at many leading venues and festivals, including Festival d'Automne á Paris, Agora-Ircam (Paris), Manchester International Festival (UK), Luxemburg Philharmonie, and widely across Europe, and as far afield as Morocco, Argentina, Brazil, Peru and Mexico. L'Instant Donné is supported by the Direction Régionale des Affaires Culturelles d'Ile de France - Ministére de la Culture, SACEM, and SPEDIDAM. Flute | Clair Luquiens Clarinet | Mathieu Steffanus

Piano | Caroline Cren Percussion | Maxime Echardour

Violin | Saori Furukawa Cello | Nicolas Carpentier

Jérome Thomas | juggler The year 1992 marks the beginning for the ARMO (Association for Research in the Manipulation of Objects)/Jérome Thomas Company. Within this framework, he has produced several shows till now. All of his productions have been touring in France and performed abroad, often with the support of AFAA. In 1996, Jérome set up the first Festival for Contemporary & Improvised Juggling. He created a juggling ballet for 10 dancers-jugglers. He also directed the show for the launching of Cirque Théátre d'Elbeuf. During teaching at the Ecole Superieure des Arts du Cirque in Chálons-sur-Marne (89-90), Jéróme Thomas initiated a series of workshops to instruct others in his particular method and approach to juggling. He has also worked for several years with the Moscow Circus School. In October/November 2001, he was artistic director for the event called Arts de la Jongle (Juggling Arts) which took place at the Parc de la Villette in Paris. Jéróme Thomas was an Honorary Committee member for the Year of the Circus. He received the SACD Award for Circus in 2003. Augustin Muller | IRCAM Computer Music Designer for Deis dos prineipis After studying both music (percussion, jazz, and improvisation) and science, the French-based Augustin Muller began studying at the Conservatoire de Paris (CNSMDP) in 2006, focusing on sound. He has worked on numerous concerts and recordings in France and abroad, with artists and ensembles such as Michael Levinas, Juan Pablo Carreño, Robert Platz, Le Balcon, l'Ensemble intercontemporain, l'Intenational Contemporary Ensemble, les Pcrcussions de Strasbourg, etc.

Electronic Music Engineering | Monica Gil Giraldo Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a number of music albums and projects for sound artists and composers. Later she lived in Germany for one year, during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She has joined the production of opera Maria Republica and was part of the production team for the past 6 editions of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe. Lorenzo Bianchi | IRCAM Computer Music Designer for Serious Smile With diplomas in architecture and composition, the Italian artist Lorenzo Bianchi is a composer and performer. His interests focus on instrumental composition with electronics in real-time, audio and video installations, recorded sounds, and compositions for theater and dance. He has received commissions from institutions such as the Groupe de Recherche Musicale (GRM), the Venice Biennial, the Göteborg Opera, the Ballet National de Marseille, and Roma Europa. Bianchi has taught multimedia composition at the Université de Franche-Comté since 2004 and is a professor at the Conservatoire de Montbéliard. Benoit Meudic | IRCAM Computer Music Designer for Serious Smile Benoit Meudic is a musician, therapist, and computer music designer in France. In 2004, he completed his doctoral thesis in computer music on the automatic analysis of musical structures. Since then, he has worked as a computer-music designer for several composers including Alexandros Markeas, Yan Maresz, Georgia Spiropoulos, and Unsuk Chin. In 2008, Meudic co-founded the Hierophantes ensemble with the artist Yves Marie L'Hour with whom he has created many multimedia installations. IRCAM IRCAM, or the Institute for Research and Coordination in Acoustics/Music, is one of the world's largest public research centers dedicated to both musical expression and scientific research. It is a unique institute where artistic sensibilities collide with scientific and technological innovation. Frank Madlener has directed the institute since 2006, bringing together over 160 people for art creation and research. IRCAM's three principal activities -- creation, research, transmission -- are visible in IRCAM's Parisian concert season, in productions throughout France and abroad. Founded by Pierre Boulez, IRCAM is associated with the Centre Pompidou, under the tutelage of the French Ministry of Culture and Communication. The mixed STMS research lab (Sciences and Technologies for Music and Sound), housed by IRCAM, also benefits from the support of the CNRS and the University Pierre and Marie Curie, as well as Inria (team-project MuTant).


作曲家簡介 (依演出順序)

Composers (listed in the order of performance)

亨利•福瑞 (Henry Fourés)

阿瓦雷茲1956年生於墨西哥市,先向馬里歐•拉維斯塔(Mario Lavista)學習單簧管與作曲,後移居英國並進入英國皇家音樂學院

1948年生於法國。曾在蒙貝里耶大學(University of Montpellier)主修藝術史,並於巴黎國立音樂院(Conservatoire National de

與倫敦城市大學就讀。他最早的電聲音樂作品,如《燃燒的水》(1984),即誕生於該期間。曾為墨西哥藝術與文化基金會會員。曾

Musique in Paris)學習音樂。畢業後前往維也納深造,並於柏林大學研究中世紀音樂,1975年至1977年間於音樂研究集團(Groupe

任教於英格蘭哈特福郡大學(University of Hertfordshire)以及瑞典的馬爾摩音樂學院(Malmó Music Academy),同時也在

de Recherches Musicales, INAGRM)實習。

倫敦城市大學、英國皇家音樂學院以及倫敦市政廳音樂暨戲劇學院(Guildhall School of Music)教授作曲和電腦音樂技術。他是

福瑞曾任教法國龐丹音樂院(Conservatory of Pantin)及土魯斯第二大學(University of Toulouse-Le Mirail)。他的主要工

音響藝術網路(Sonic Arts Network)創辦人之一。返回墨西哥後,他成為猶加敦高等藝術學院(Escuela Superior de Artes de

作地點在德國,曾受邀參與多個樂團與交響樂團的演出,也曾擔任馬賽音樂與資訊實驗室的主席。他在許多領域都相當活躍,曾為

Yucatán)音樂藝術系的創始系主任,並曾擔任羅薩斯音樂學院(Conservatorio de las Rosas)的院長。目前居住在猶加敦州,

電視台製作影片以及為電影、舞蹈及舞台劇作品編寫音樂,並為法國及德國多座廣播電台製作廣播音樂。他的作品涵蓋交響樂

身兼作曲家與藝術計畫推手。

室內樂、電子互動音樂及人聲混聲音樂,也設計並製作互動式音樂節目與大型音樂活動。 2000年至2009年,亨利•福瑞擔任里昂國立高等音樂舞蹈學院(National Superior Conservatory of Music and Dance Lyon)院

亞歷山大•舒伯特 (Alexander Schubert)

長。目前福瑞全心投入作曲和演出,與作曲家萊恩哈德•富蘭德爾(Reinhard Flender)共同擔任德法音樂學院廿一號作品音樂室內

亞歷山大•舒伯特1979年生於德國,主修生物資訊與作曲,有興趣的領域包括研究結合原聲音樂與電子音樂的介面,以不同音樂風格

樂團(Franco-German Academy XXI OPUS Chamber Music)藝術總監,並曾獲頒法國文藝騎士勳章及德國十字勳章。

(如硬蕊、自由爵士、通俗電子音樂、鐵克諾音樂)結合當代古典音樂。早在年輕時的音樂生涯起步階段,他便開始以個人或樂團的 方式參與上述音樂類別的演出。

哈維爾•阿瓦雷茲 ( Javier Alvarez)

表演型音樂是他主要的創作重心。在電子音樂中使用肢體,及透過肢體語言傳達音樂以外的內容是他作品的主要特色,其重點在於透

阿瓦雷茲的音樂深受當代跨越時代與邊界的通俗文化影響。在同輩墨西哥作曲家當中,阿瓦雷茲享有極高知名度。他的作品為數眾

過感應器與視覺媒介增加表演者的力量,讓演出展現最大能量。除了擔任作曲與獨奏演出,舒伯特也是「解碼者」等樂團的創始團

多,當中有許多成功結合複雜的音樂科技以及各種樂器與世界各地音樂。

員。2011年至迄今,他在德國呂北克教授現場電子音樂。他的作品已被許多樂團演出超過400次,演出地點超過25個國家。

演出者簡介

Henry Fourés Henry Fourés, born in 1948, studied art history at the University of Montpellier and music at the Conservatoire National de Musique in Paris. He continued his training at the academy in Vienna and the University of Berlin, where he studied medieval musicology. From 1975 to 1977 he was an intern at the Groupe de Recherches Musicales (INAGRM). Fourés used to teach at the Conservatory of Pantin and the University of Toulouse-Le Mirail. He worked regularly in Germany, where he was invited to various ensembles and Symphony radios. He served as the president of the Laboratoire de Musique et d’Informatique in Marseilles. Being active in many areas, Fourés made films for television and composed music for picture, dance, and stage. He is also the author of numerous radio creations in France and Germany. He writes symphonic works, chamber music, electronic parts, mixed vocal works. He also designs and produces interactive installations and major events. From 2000 to 2009, Henry Fourés was director of the National Superior Conservatory of Music and Dance Lyon. Today, being devoted as a composer and performer, he serves as co-artistic director with the composer Reinhard Flender for the Franco-German Academy XXI OPUS Chamber Music. He was awarded the Knight of the Order of Arts and Letters and the German Cross of Merit. Javier Alvarez The music of Javier Alvarez reveals influences of popular cultures that go beyond the borders of our own time and place. Alvarez is one of the best-known Mexican composers of his generation and many of the works in his prolific oeuvre combine the intricacies of music technology with diverse instruments and influences from around the world. Born in Mexico City in 1956, Alvarez studied clarinet and composition with Mario Lavista before moving to the Great Britain, where he

attended the Royal College of Music and the City University in London. His first electroacoustic works date from this time, such as Temazcal (1984). Alvarez was a fellow of the Mexican Endowment for the Arts and Culture. He has held teaching positions at the University of Hertfordshire and the Malmó Music Academy in Sweden, having also taught composition and computer music technology at the City University, Royal College of Music and the Guildhall School of Music in London. He was a founding member of Sonic Arts Network. Later he returned to Mexico and became the founding director of the Musical Arts Department of the Escuela Superior de Artes de Yucatán. After a period serving as Dean of the Conservatorio de las Rosas in Morelia, Michoacán, he is now living in Mérida in Yucatan, combining activities as a freelance composer and project animateur. Alexander Schubert Born in Germany in 1979, Alexander Schubert studied bioinformatics and composition. He explores cross-genre interfaces between acoustic and electronic music, combining different musical styles (like hardcore, free jazz, popular electronic music, techno) with contemporary classical concepts. Schubert has participated in his youth and early career in the above-mentioned genres both in groups and as a solo artist. Performance pieces are a major focus in his work. The use of the body in electronic music and the transportation of additional content through gestures are key features in his pieces, which aim at empowering the performer and at achieving a maximum of energy. This is done both through the use of sensors and visual media. Apart from working as a composer and solo musician, Schubert is also a founding member of ensembles such as "Decoder". Since 2011 he teaches live-electronics at the conservatory in Lübeck. His works have been performed more than 400 times by numerous ensembles in over 25 countries.

Performers

「獲贈時刻」樂團 (L'Instant Donné)

國家芭蕾舞團與羅馬歐羅巴藝術季(Roma Europa)邀請創作。2004年起,於法國貝桑松大學(Université de Franche-Comté)

來自巴黎的「獲贈時刻」,是一個專門演出當代室內樂的樂團。2002年成軍以來,一直以集體的方式合作,成員固定為九位。該

教授多媒體創作,同時也任教於蒙特貝利雅音樂學院(Conservatoire de Montbéliard)。

樂團以高水準室內樂演出而聞名,演奏時不需指揮,演出曲目涵蓋19世紀末到現代的作品。他們經常推出整場音樂會,為樂迷引薦 在世音樂家的作品,與斐德烈•巴塔(Frédéric Pattar)、史蒂凡諾•傑瓦松尼(Stefano Gervasoni)、傑哈•培松(Gérard

貝諾瓦•莫迪(Benoit Meudic), IRCAM 電腦音樂設計《嚴肅的微笑》

Pesson)、約翰•夏龍(Johannes Schállhorn)與克萊蒙•加丹史塔特(Clemens Gadenstátter)等音樂家的合作尤其密切。

來自法國的莫迪是一位音樂家、治療師,也是電腦音樂設計師。2004年,他完成電腦音樂博士論文,研究音樂結構的自動分析。曾

該團曾在歐洲許多重要表演場地與音樂節演出,包括巴黎的秋季藝術節、英國曼徹斯特國際藝術節、盧森堡愛樂(Luxemburg

為多位作曲家擔任電腦音樂設計師,包括亞歷山卓斯•馬奇亞斯(Alexandros Markea)、揚•馬雷茲(Yan Maresz)、喬琪亞•

Philharmonie)等,演出足跡遍布歐洲,並遠至摩洛哥、阿根廷、巴西、祕魯與墨西哥,長期受到法國法蘭西島大區文化廳、法

史畢羅普羅斯(Georgia Spiropoulos)、陳銀淑(Unsuk Chin)等。2008年與藝術家伊夫馬利•盧爾(Yves Marie L'Hour)創

國文化部、音樂作家版權協會(SACEM)與表演者權益協會(SPEDIDAM)的支持。

立祭司(Hierophantes)合奏團,兩人共同創作多部多媒體作品。

長 笛│克萊兒•盧昆斯

打 擊│瑪辛•艾夏朵

單簧管│馬修•史蒂凡紐

小提琴│古川紗織

鋼 琴│卡洛琳•克恩

大提琴│尼可拉•夏邦提耶

傑洛姆•托瑪(Jérome Thomas) 拋接雜技表演 1992年成立ARMO(物體操控研究協會)與傑洛姆•托瑪表演團,至今推出多場表演作品,這些演出都曾在法國與海外各地巡迴 演出,並獲得法國官方藝術行動協會支持。1996年,托瑪首度舉辦「當代與即興拋接雜技藝術節」,曾創作十人拋接雜技芭蕾作 品,也曾指導法國艾伯夫雜技劇場(Cirque Théátre d'Elbeuf)的開幕演出 。

聲學暨音樂研究協調學會(IRCAM) 聲學暨音樂研究協調學會(Institut de Recherche et Coordination Acoustique/Musique, IRCAM)致力於音樂的表達與科學研 究,在全球同類研究中心當中規模數一數二。IRCAM的特別之處在於結合藝術鑑賞與科技創新,2006年起由法蘭克•馬德蘭納 (Frank Madlener)主持,迄今在學會從事創作與研究的人士超過160位。每年的IRCAM巴黎音樂季可說是該學三項主要活動(創 作、研究、傳承)的成果展,在法國與世界各地都有音樂作品演出。 IRCAM由皮耶•布雷(Pierre Boulez)創辦,在法國文化暨通訊部的指導下與龐畢度中心合作。IRCAM的音樂與聲音科技研究室 (STMS)並獲法國國家科學研究中心、巴黎第六大學與法國國家資訊暨自動化研究院的支持。

1989年至1990年曾任教於瑪恩河上夏隆高等雜技學院(Ecole Superieure des Arts du Cirque in Chálons-sur-Marne),並開 辦一系列工作坊,傳授拋接雜技獨特的技巧與理念,也曾與莫斯科雜技學校合作數年。2001年10月至11月,他擔任「雜技藝術」 活動總監,該活動在巴黎著名的維萊特公園舉行。托瑪是雜技年委員會的榮譽會員,2003年獲頒SACD雜技獎。

Program

奧古斯丹•穆勒(Augustin Muller), IRCAM電腦音樂設計《二原則》 來自法國的穆勒學習科學與音樂(打擊樂、爵士樂和即興演奏),之後進入巴黎國立高等音樂舞蹈學院(CNSMD)研究聲學。他曾在

1.Henry Fourés / Deis dos prineipis (2015)

法國及海外負責多場音樂會與錄音的工作,合作的藝術家與團體包括邁可•勒文納斯(Michael Levinas)、璜巴布羅•卡倫紐(Juan

<Intermission>

Pablo Carreño)、勞伯•普拉茨(Robert Platz)、國際當代樂團(l'Ensemble intercontemporain)、史特拉斯堡打擊樂團等。 羅倫佐•畢安其(Lorenzo Bianchi), IRCAM電腦音樂設計《嚴肅的微笑》 來自義大利的畢安其具有建築與作曲雙學位,既是作曲家,也是表演者。主要興趣為利用電子裝置,以即時、聲音與影像裝置、以 及預錄音響寫作器樂曲,以及為戲劇和舞蹈作曲。曾獲法國的音樂研究集團(GRM)、威尼斯雙年展、瑞典哥特堡歌劇院、馬賽

2.Javier Alvarez / Temazcal (1984) 3. Alexander Schubert / Serious Smile (2013-2014)

L'Instant Donné The Paris-based L'Instant Donné is an instrumental ensemble devoted to the interpretation of contemporary chamber music. Since its foundation in 2002, the ensemble has functioned as a collective, with a fixed line-up of nine musicians, and has built its reputation upon high quality chamber ensemble performances, by preference working without a conductor. L'Instant Donné's repertoire encompasses music from the end of the nineteenth century to the present day. Portrait concerts of living composers form the back-bone of their oeuvre, and they have developed particularly strong collaborative relationships with composers as Frédéric Pattar, Stefano Gervasoni, Gérard Pesson, Johannes Schállhorn and Clemens Gadenstátter among others. L'Instant Donné has appeared at many leading venues and festivals, including Festival d'Automne á Paris, Agora-Ircam (Paris), Manchester International Festival (UK), Luxemburg Philharmonie, and widely across Europe, and as far afield as Morocco, Argentina, Brazil, Peru and Mexico. L'Instant Donné is supported by the Direction Régionale des Affaires Culturelles d'Ile de France - Ministére de la Culture, SACEM, and SPEDIDAM. Flute | Clair Luquiens Clarinet | Mathieu Steffanus

Piano | Caroline Cren Percussion | Maxime Echardour

Violin | Saori Furukawa Cello | Nicolas Carpentier

Jérome Thomas | juggler The year 1992 marks the beginning for the ARMO (Association for Research in the Manipulation of Objects)/Jérome Thomas Company. Within this framework, he has produced several shows till now. All of his productions have been touring in France and performed abroad, often with the support of AFAA. In 1996, Jérome set up the first Festival for Contemporary & Improvised Juggling. He created a juggling ballet for 10 dancers-jugglers. He also directed the show for the launching of Cirque Théátre d'Elbeuf. During teaching at the Ecole Superieure des Arts du Cirque in Chálons-sur-Marne (89-90), Jéróme Thomas initiated a series of workshops to instruct others in his particular method and approach to juggling. He has also worked for several years with the Moscow Circus School. In October/November 2001, he was artistic director for the event called Arts de la Jongle (Juggling Arts) which took place at the Parc de la Villette in Paris. Jéróme Thomas was an Honorary Committee member for the Year of the Circus. He received the SACD Award for Circus in 2003. Augustin Muller | IRCAM Computer Music Designer for Deis dos prineipis After studying both music (percussion, jazz, and improvisation) and science, the French-based Augustin Muller began studying at the Conservatoire de Paris (CNSMDP) in 2006, focusing on sound. He has worked on numerous concerts and recordings in France and abroad, with artists and ensembles such as Michael Levinas, Juan Pablo Carreño, Robert Platz, Le Balcon, l'Ensemble intercontemporain, l'Intenational Contemporary Ensemble, les Pcrcussions de Strasbourg, etc.

Electronic Music Engineering | Monica Gil Giraldo Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a number of music albums and projects for sound artists and composers. Later she lived in Germany for one year, during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She has joined the production of opera Maria Republica and was part of the production team for the past 6 editions of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe. Lorenzo Bianchi | IRCAM Computer Music Designer for Serious Smile With diplomas in architecture and composition, the Italian artist Lorenzo Bianchi is a composer and performer. His interests focus on instrumental composition with electronics in real-time, audio and video installations, recorded sounds, and compositions for theater and dance. He has received commissions from institutions such as the Groupe de Recherche Musicale (GRM), the Venice Biennial, the Göteborg Opera, the Ballet National de Marseille, and Roma Europa. Bianchi has taught multimedia composition at the Université de Franche-Comté since 2004 and is a professor at the Conservatoire de Montbéliard. Benoit Meudic | IRCAM Computer Music Designer for Serious Smile Benoit Meudic is a musician, therapist, and computer music designer in France. In 2004, he completed his doctoral thesis in computer music on the automatic analysis of musical structures. Since then, he has worked as a computer-music designer for several composers including Alexandros Markeas, Yan Maresz, Georgia Spiropoulos, and Unsuk Chin. In 2008, Meudic co-founded the Hierophantes ensemble with the artist Yves Marie L'Hour with whom he has created many multimedia installations. IRCAM IRCAM, or the Institute for Research and Coordination in Acoustics/Music, is one of the world's largest public research centers dedicated to both musical expression and scientific research. It is a unique institute where artistic sensibilities collide with scientific and technological innovation. Frank Madlener has directed the institute since 2006, bringing together over 160 people for art creation and research. IRCAM's three principal activities -- creation, research, transmission -- are visible in IRCAM's Parisian concert season, in productions throughout France and abroad. Founded by Pierre Boulez, IRCAM is associated with the Centre Pompidou, under the tutelage of the French Ministry of Culture and Communication. The mixed STMS research lab (Sciences and Technologies for Music and Sound), housed by IRCAM, also benefits from the support of the CNRS and the University Pierre and Marie Curie, as well as Inria (team-project MuTant).


作曲家簡介 (依演出順序)

Composers (listed in the order of performance)

亨利•福瑞 (Henry Fourés)

阿瓦雷茲1956年生於墨西哥市,先向馬里歐•拉維斯塔(Mario Lavista)學習單簧管與作曲,後移居英國並進入英國皇家音樂學院

1948年生於法國。曾在蒙貝里耶大學(University of Montpellier)主修藝術史,並於巴黎國立音樂院(Conservatoire National de

與倫敦城市大學就讀。他最早的電聲音樂作品,如《燃燒的水》(1984),即誕生於該期間。曾為墨西哥藝術與文化基金會會員。曾

Musique in Paris)學習音樂。畢業後前往維也納深造,並於柏林大學研究中世紀音樂,1975年至1977年間於音樂研究集團(Groupe

任教於英格蘭哈特福郡大學(University of Hertfordshire)以及瑞典的馬爾摩音樂學院(Malmó Music Academy),同時也在

de Recherches Musicales, INAGRM)實習。

倫敦城市大學、英國皇家音樂學院以及倫敦市政廳音樂暨戲劇學院(Guildhall School of Music)教授作曲和電腦音樂技術。他是

福瑞曾任教法國龐丹音樂院(Conservatory of Pantin)及土魯斯第二大學(University of Toulouse-Le Mirail)。他的主要工

音響藝術網路(Sonic Arts Network)創辦人之一。返回墨西哥後,他成為猶加敦高等藝術學院(Escuela Superior de Artes de

作地點在德國,曾受邀參與多個樂團與交響樂團的演出,也曾擔任馬賽音樂與資訊實驗室的主席。他在許多領域都相當活躍,曾為

Yucatán)音樂藝術系的創始系主任,並曾擔任羅薩斯音樂學院(Conservatorio de las Rosas)的院長。目前居住在猶加敦州,

電視台製作影片以及為電影、舞蹈及舞台劇作品編寫音樂,並為法國及德國多座廣播電台製作廣播音樂。他的作品涵蓋交響樂

身兼作曲家與藝術計畫推手。

室內樂、電子互動音樂及人聲混聲音樂,也設計並製作互動式音樂節目與大型音樂活動。 2000年至2009年,亨利•福瑞擔任里昂國立高等音樂舞蹈學院(National Superior Conservatory of Music and Dance Lyon)院

亞歷山大•舒伯特 (Alexander Schubert)

長。目前福瑞全心投入作曲和演出,與作曲家萊恩哈德•富蘭德爾(Reinhard Flender)共同擔任德法音樂學院廿一號作品音樂室內

亞歷山大•舒伯特1979年生於德國,主修生物資訊與作曲,有興趣的領域包括研究結合原聲音樂與電子音樂的介面,以不同音樂風格

樂團(Franco-German Academy XXI OPUS Chamber Music)藝術總監,並曾獲頒法國文藝騎士勳章及德國十字勳章。

(如硬蕊、自由爵士、通俗電子音樂、鐵克諾音樂)結合當代古典音樂。早在年輕時的音樂生涯起步階段,他便開始以個人或樂團的 方式參與上述音樂類別的演出。

哈維爾•阿瓦雷茲 ( Javier Alvarez)

表演型音樂是他主要的創作重心。在電子音樂中使用肢體,及透過肢體語言傳達音樂以外的內容是他作品的主要特色,其重點在於透

阿瓦雷茲的音樂深受當代跨越時代與邊界的通俗文化影響。在同輩墨西哥作曲家當中,阿瓦雷茲享有極高知名度。他的作品為數眾

過感應器與視覺媒介增加表演者的力量,讓演出展現最大能量。除了擔任作曲與獨奏演出,舒伯特也是「解碼者」等樂團的創始團

多,當中有許多成功結合複雜的音樂科技以及各種樂器與世界各地音樂。

員。2011年至迄今,他在德國呂北克教授現場電子音樂。他的作品已被許多樂團演出超過400次,演出地點超過25個國家。

演出者簡介

Henry Fourés Henry Fourés, born in 1948, studied art history at the University of Montpellier and music at the Conservatoire National de Musique in Paris. He continued his training at the academy in Vienna and the University of Berlin, where he studied medieval musicology. From 1975 to 1977 he was an intern at the Groupe de Recherches Musicales (INAGRM). Fourés used to teach at the Conservatory of Pantin and the University of Toulouse-Le Mirail. He worked regularly in Germany, where he was invited to various ensembles and Symphony radios. He served as the president of the Laboratoire de Musique et d’Informatique in Marseilles. Being active in many areas, Fourés made films for television and composed music for picture, dance, and stage. He is also the author of numerous radio creations in France and Germany. He writes symphonic works, chamber music, electronic parts, mixed vocal works. He also designs and produces interactive installations and major events. From 2000 to 2009, Henry Fourés was director of the National Superior Conservatory of Music and Dance Lyon. Today, being devoted as a composer and performer, he serves as co-artistic director with the composer Reinhard Flender for the Franco-German Academy XXI OPUS Chamber Music. He was awarded the Knight of the Order of Arts and Letters and the German Cross of Merit. Javier Alvarez The music of Javier Alvarez reveals influences of popular cultures that go beyond the borders of our own time and place. Alvarez is one of the best-known Mexican composers of his generation and many of the works in his prolific oeuvre combine the intricacies of music technology with diverse instruments and influences from around the world. Born in Mexico City in 1956, Alvarez studied clarinet and composition with Mario Lavista before moving to the Great Britain, where he

attended the Royal College of Music and the City University in London. His first electroacoustic works date from this time, such as Temazcal (1984). Alvarez was a fellow of the Mexican Endowment for the Arts and Culture. He has held teaching positions at the University of Hertfordshire and the Malmó Music Academy in Sweden, having also taught composition and computer music technology at the City University, Royal College of Music and the Guildhall School of Music in London. He was a founding member of Sonic Arts Network. Later he returned to Mexico and became the founding director of the Musical Arts Department of the Escuela Superior de Artes de Yucatán. After a period serving as Dean of the Conservatorio de las Rosas in Morelia, Michoacán, he is now living in Mérida in Yucatan, combining activities as a freelance composer and project animateur. Alexander Schubert Born in Germany in 1979, Alexander Schubert studied bioinformatics and composition. He explores cross-genre interfaces between acoustic and electronic music, combining different musical styles (like hardcore, free jazz, popular electronic music, techno) with contemporary classical concepts. Schubert has participated in his youth and early career in the above-mentioned genres both in groups and as a solo artist. Performance pieces are a major focus in his work. The use of the body in electronic music and the transportation of additional content through gestures are key features in his pieces, which aim at empowering the performer and at achieving a maximum of energy. This is done both through the use of sensors and visual media. Apart from working as a composer and solo musician, Schubert is also a founding member of ensembles such as "Decoder". Since 2011 he teaches live-electronics at the conservatory in Lübeck. His works have been performed more than 400 times by numerous ensembles in over 25 countries.

Performers

「獲贈時刻」樂團 (L'Instant Donné)

國家芭蕾舞團與羅馬歐羅巴藝術季(Roma Europa)邀請創作。2004年起,於法國貝桑松大學(Université de Franche-Comté)

來自巴黎的「獲贈時刻」,是一個專門演出當代室內樂的樂團。2002年成軍以來,一直以集體的方式合作,成員固定為九位。該

教授多媒體創作,同時也任教於蒙特貝利雅音樂學院(Conservatoire de Montbéliard)。

樂團以高水準室內樂演出而聞名,演奏時不需指揮,演出曲目涵蓋19世紀末到現代的作品。他們經常推出整場音樂會,為樂迷引薦 在世音樂家的作品,與斐德烈•巴塔(Frédéric Pattar)、史蒂凡諾•傑瓦松尼(Stefano Gervasoni)、傑哈•培松(Gérard

貝諾瓦•莫迪(Benoit Meudic), IRCAM 電腦音樂設計《嚴肅的微笑》

Pesson)、約翰•夏龍(Johannes Schállhorn)與克萊蒙•加丹史塔特(Clemens Gadenstátter)等音樂家的合作尤其密切。

來自法國的莫迪是一位音樂家、治療師,也是電腦音樂設計師。2004年,他完成電腦音樂博士論文,研究音樂結構的自動分析。曾

該團曾在歐洲許多重要表演場地與音樂節演出,包括巴黎的秋季藝術節、英國曼徹斯特國際藝術節、盧森堡愛樂(Luxemburg

為多位作曲家擔任電腦音樂設計師,包括亞歷山卓斯•馬奇亞斯(Alexandros Markea)、揚•馬雷茲(Yan Maresz)、喬琪亞•

Philharmonie)等,演出足跡遍布歐洲,並遠至摩洛哥、阿根廷、巴西、祕魯與墨西哥,長期受到法國法蘭西島大區文化廳、法

史畢羅普羅斯(Georgia Spiropoulos)、陳銀淑(Unsuk Chin)等。2008年與藝術家伊夫馬利•盧爾(Yves Marie L'Hour)創

國文化部、音樂作家版權協會(SACEM)與表演者權益協會(SPEDIDAM)的支持。

立祭司(Hierophantes)合奏團,兩人共同創作多部多媒體作品。

長 笛│克萊兒•盧昆斯

打 擊│瑪辛•艾夏朵

單簧管│馬修•史蒂凡紐

小提琴│古川紗織

鋼 琴│卡洛琳•克恩

大提琴│尼可拉•夏邦提耶

傑洛姆•托瑪(Jérome Thomas) 拋接雜技表演 1992年成立ARMO(物體操控研究協會)與傑洛姆•托瑪表演團,至今推出多場表演作品,這些演出都曾在法國與海外各地巡迴 演出,並獲得法國官方藝術行動協會支持。1996年,托瑪首度舉辦「當代與即興拋接雜技藝術節」,曾創作十人拋接雜技芭蕾作 品,也曾指導法國艾伯夫雜技劇場(Cirque Théátre d'Elbeuf)的開幕演出 。

聲學暨音樂研究協調學會(IRCAM) 聲學暨音樂研究協調學會(Institut de Recherche et Coordination Acoustique/Musique, IRCAM)致力於音樂的表達與科學研 究,在全球同類研究中心當中規模數一數二。IRCAM的特別之處在於結合藝術鑑賞與科技創新,2006年起由法蘭克•馬德蘭納 (Frank Madlener)主持,迄今在學會從事創作與研究的人士超過160位。每年的IRCAM巴黎音樂季可說是該學三項主要活動(創 作、研究、傳承)的成果展,在法國與世界各地都有音樂作品演出。 IRCAM由皮耶•布雷(Pierre Boulez)創辦,在法國文化暨通訊部的指導下與龐畢度中心合作。IRCAM的音樂與聲音科技研究室 (STMS)並獲法國國家科學研究中心、巴黎第六大學與法國國家資訊暨自動化研究院的支持。

1989年至1990年曾任教於瑪恩河上夏隆高等雜技學院(Ecole Superieure des Arts du Cirque in Chálons-sur-Marne),並開 辦一系列工作坊,傳授拋接雜技獨特的技巧與理念,也曾與莫斯科雜技學校合作數年。2001年10月至11月,他擔任「雜技藝術」 活動總監,該活動在巴黎著名的維萊特公園舉行。托瑪是雜技年委員會的榮譽會員,2003年獲頒SACD雜技獎。

Program

奧古斯丹•穆勒(Augustin Muller), IRCAM電腦音樂設計《二原則》 來自法國的穆勒學習科學與音樂(打擊樂、爵士樂和即興演奏),之後進入巴黎國立高等音樂舞蹈學院(CNSMD)研究聲學。他曾在

1.Henry Fourés / Deis dos prineipis (2015)

法國及海外負責多場音樂會與錄音的工作,合作的藝術家與團體包括邁可•勒文納斯(Michael Levinas)、璜巴布羅•卡倫紐(Juan

<Intermission>

Pablo Carreño)、勞伯•普拉茨(Robert Platz)、國際當代樂團(l'Ensemble intercontemporain)、史特拉斯堡打擊樂團等。 羅倫佐•畢安其(Lorenzo Bianchi), IRCAM電腦音樂設計《嚴肅的微笑》 來自義大利的畢安其具有建築與作曲雙學位,既是作曲家,也是表演者。主要興趣為利用電子裝置,以即時、聲音與影像裝置、以 及預錄音響寫作器樂曲,以及為戲劇和舞蹈作曲。曾獲法國的音樂研究集團(GRM)、威尼斯雙年展、瑞典哥特堡歌劇院、馬賽

2.Javier Alvarez / Temazcal (1984) 3. Alexander Schubert / Serious Smile (2013-2014)

L'Instant Donné The Paris-based L'Instant Donné is an instrumental ensemble devoted to the interpretation of contemporary chamber music. Since its foundation in 2002, the ensemble has functioned as a collective, with a fixed line-up of nine musicians, and has built its reputation upon high quality chamber ensemble performances, by preference working without a conductor. L'Instant Donné's repertoire encompasses music from the end of the nineteenth century to the present day. Portrait concerts of living composers form the back-bone of their oeuvre, and they have developed particularly strong collaborative relationships with composers as Frédéric Pattar, Stefano Gervasoni, Gérard Pesson, Johannes Schállhorn and Clemens Gadenstátter among others. L'Instant Donné has appeared at many leading venues and festivals, including Festival d'Automne á Paris, Agora-Ircam (Paris), Manchester International Festival (UK), Luxemburg Philharmonie, and widely across Europe, and as far afield as Morocco, Argentina, Brazil, Peru and Mexico. L'Instant Donné is supported by the Direction Régionale des Affaires Culturelles d'Ile de France - Ministére de la Culture, SACEM, and SPEDIDAM. Flute | Clair Luquiens Clarinet | Mathieu Steffanus

Piano | Caroline Cren Percussion | Maxime Echardour

Violin | Saori Furukawa Cello | Nicolas Carpentier

Jérome Thomas | juggler The year 1992 marks the beginning for the ARMO (Association for Research in the Manipulation of Objects)/Jérome Thomas Company. Within this framework, he has produced several shows till now. All of his productions have been touring in France and performed abroad, often with the support of AFAA. In 1996, Jérome set up the first Festival for Contemporary & Improvised Juggling. He created a juggling ballet for 10 dancers-jugglers. He also directed the show for the launching of Cirque Théátre d'Elbeuf. During teaching at the Ecole Superieure des Arts du Cirque in Chálons-sur-Marne (89-90), Jéróme Thomas initiated a series of workshops to instruct others in his particular method and approach to juggling. He has also worked for several years with the Moscow Circus School. In October/November 2001, he was artistic director for the event called Arts de la Jongle (Juggling Arts) which took place at the Parc de la Villette in Paris. Jéróme Thomas was an Honorary Committee member for the Year of the Circus. He received the SACD Award for Circus in 2003. Augustin Muller | IRCAM Computer Music Designer for Deis dos prineipis After studying both music (percussion, jazz, and improvisation) and science, the French-based Augustin Muller began studying at the Conservatoire de Paris (CNSMDP) in 2006, focusing on sound. He has worked on numerous concerts and recordings in France and abroad, with artists and ensembles such as Michael Levinas, Juan Pablo Carreño, Robert Platz, Le Balcon, l'Ensemble intercontemporain, l'Intenational Contemporary Ensemble, les Pcrcussions de Strasbourg, etc.

Electronic Music Engineering | Monica Gil Giraldo Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a number of music albums and projects for sound artists and composers. Later she lived in Germany for one year, during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She has joined the production of opera Maria Republica and was part of the production team for the past 6 editions of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe. Lorenzo Bianchi | IRCAM Computer Music Designer for Serious Smile With diplomas in architecture and composition, the Italian artist Lorenzo Bianchi is a composer and performer. His interests focus on instrumental composition with electronics in real-time, audio and video installations, recorded sounds, and compositions for theater and dance. He has received commissions from institutions such as the Groupe de Recherche Musicale (GRM), the Venice Biennial, the Göteborg Opera, the Ballet National de Marseille, and Roma Europa. Bianchi has taught multimedia composition at the Université de Franche-Comté since 2004 and is a professor at the Conservatoire de Montbéliard. Benoit Meudic | IRCAM Computer Music Designer for Serious Smile Benoit Meudic is a musician, therapist, and computer music designer in France. In 2004, he completed his doctoral thesis in computer music on the automatic analysis of musical structures. Since then, he has worked as a computer-music designer for several composers including Alexandros Markeas, Yan Maresz, Georgia Spiropoulos, and Unsuk Chin. In 2008, Meudic co-founded the Hierophantes ensemble with the artist Yves Marie L'Hour with whom he has created many multimedia installations. IRCAM IRCAM, or the Institute for Research and Coordination in Acoustics/Music, is one of the world's largest public research centers dedicated to both musical expression and scientific research. It is a unique institute where artistic sensibilities collide with scientific and technological innovation. Frank Madlener has directed the institute since 2006, bringing together over 160 people for art creation and research. IRCAM's three principal activities -- creation, research, transmission -- are visible in IRCAM's Parisian concert season, in productions throughout France and abroad. Founded by Pierre Boulez, IRCAM is associated with the Centre Pompidou, under the tutelage of the French Ministry of Culture and Communication. The mixed STMS research lab (Sciences and Technologies for Music and Sound), housed by IRCAM, also benefits from the support of the CNRS and the University Pierre and Marie Curie, as well as Inria (team-project MuTant).


2017

臺灣國際音樂節 Taiwan International Music Festival

Beyond the Border

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

Taiwan

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

越境之聲 臺灣

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

指導單位 Directed

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

主辦單位 Hosted

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

台北市客家音樂戲劇中心

特別感謝 Special thanks

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30

承辦單位 Organized

合辦單位 Co-hosted

國際夥伴 International Partners

4.22 Sat. 14:30

宜蘭蔣渭水演藝廳

指定住宿 Official accommodation provided

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

希望能夠對傳統的曲調做出改變,並進一步在舞台上嘗試更多音聲組合,跨越「海」與「陸」之間的隔閡。 等中國傳統,並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景,更增添了海馬樂團演出的豐富面向。海馬樂團

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

海馬樂團的特色,來自音樂原創性與特殊器樂組合;古老而神祕歌唱藝術「呼麥」,加上蒙古樂器馬頭琴,以及胡琴、琵琶、嗩吶

主修京胡,師承吳明生老師、李超老師,在栢優座工羽匠、擔任音樂設計、編曲、編腔,近年設計作品有《刺客列傳─荊軻》、《惡

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

「馬」。海,象徵6位成員的故鄉臺灣,也象徵如海一樣廣闊、兼容並蓄的精神。馬,狂野而自由的動物,就如同我們的音樂風格。

許家銘 樂手

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名;102學年度臺南市初賽國中B組第二名、全國決賽第三名;

成立於1999年,曾在2012年以【旅人.出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞,可以拆為「海」和

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶,師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

海馬樂團

《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊 栢優座仲首,國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一,共同創排栢優座作品 王辰驊 執行導演

北管嗩吶/笛/簫 杜俊寬 展真正屬於臺灣的文化,至今我們依然持續地朝著目標邁進。 賽獲傳統鼓樂個人組銅鼓王。

如此,我們不為自己設限,而且不斷在作品中嘗試各種可能的結合,例如京劇、崑曲、中西方戲劇…等。我們的目標,是找尋並發

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

年7月,希望能夠成為一個可以廣納各種表演藝術的平台,藉由結合不同族群、不同國家的文化,進一步描繪出我們自己的。正因為

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲,曾被媒體譽為臺灣京劇界的齊天大聖。

就讀國立臺南藝術大學中國音樂學系大學部一年級,主修打擊,師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓,

的。這個世代的重要任務,便是去找尋和進一步發展屬於我們自己的文化,這也是栢優座一直以來努力的方向。栢優座成立於2007

《惡虎青年Z》入選第12及第15屆台新藝術獎,並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

打擊/作曲 蔡安

文化非常多元,各種新舊,來自西方、東方的都匯集於此,讓臺灣因此而特別。但在如此不同的文化裡,卻沒有一個是專屬於臺灣

者。以京劇元素融合舞台劇作為創作手段,試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲-吉嶽切》、

以臺灣自己的方式說故事,並以臺灣特色進行演出,是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景,臺灣這片土地擁有的

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員,臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

栢優座

許栢昂 導演

就讀國立臺南術大學中國音樂學系大學部二年級,主修笙,現師事安敬業教授;副修鋼琴,師事陳怡君老師。曾獲100學年度全國

年來延伸其表演觸角,除舉辦多場個人獨奏會,更多次與樂團及劇團合作演出,使音樂內涵更加豐美。

男主角。

北管嗩吶/笙 歐慎騏

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧,現代與傳統兼具,對音樂詮釋之風格倍受肯定。多

《KANO》、《六弄咖啡館》….等多部電影表演指導,並擔任李安《少年PI的冒險》、《Lucy》電影演員,及微電影《小時光麵館》

陳茗芳 樂手

麥(Khoomei, throat singing)吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、 海馬樂團團長暨藝術總監,也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」,前往蒙古學習呼 徐灝翔 樂手 習。近年作品跨足影視、劇場及戲曲,為「栢優座」共同創辦人,有「臺灣京劇小天后」之稱。 演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年,拜入臺灣京劇大師顧正秋老師門下學 大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表 中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班,主修青衣花旦,師承兩岸名師,能戲頗多。曾獲榮譽包括央視青年京劇 黃宇琳 主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。 學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名;102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一 導。2006年參加十鼓擊樂團至今,隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。 笛,師事戴碧吟老師,侯廣宇教授。從小熱愛擊鼓,8歲時在樂器行修習爵士鼓兩年,亦曾接受臺灣著名京劇鼓師呂永輝老師指

樂、民間音樂及現代音樂即興演出。

就讀臺南藝術大學中國音樂學系大學部二年級,主修打擊,中國打擊師事施德華教授,西洋打擊師事蕭曉鈴老師;副修鋼琴、中國

海馬樂團馬頭琴手,擅長融合世界音樂創作編曲,2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

打擊 王子齊

林宗翰 樂手

國立臺南藝術大學中國音樂學系 域團隊演出,現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。 《點將》臉譜彩繪師。

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任國立臺南藝術大學20週年校慶開幕演出

陳胤錞 樂手

重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台 從小時候就對民俗技藝很有興趣,與濟陽會會長及副會長也是孩提玩伴,因此一直在旁學習相關的知識跟技藝,自然而然地成為三 戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸,意圖將國樂吹打樂與傳統官將首結合,以展現傳統廟會文化之新風貌 。 《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,使用笛、洞簫、竹塤、37簧笙、嗩吶、管 戲曲音樂界優秀青年創作者們,一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

〈點將〉- 給七位吹打樂器演奏者(作曲/陸橒)

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」,以臺灣京劇小天后黃宇琳做為主要演唱者,結合臺灣 鬱,一樣是以無翼而飛的美麗音律,唱出古往今來的女人心事。 豈是「旦」能夠輕易表述。戲曲中的女人,不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是,她們一樣美麗、一樣憂

《點將》臉譜彩繪師等。 三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任第27屆傳藝金曲獎頒獎典禮 多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、 國中時因友人邀約參加廟會活動進而生興趣。退伍後,在一次廟會活動中因緣際會加入三重濟陽會,承蒙會長(洪興)的提攜,參與

狩,與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

朱永益(小朱)

〈巡.狩〉- 鼓樂(作曲 / 蔡安)

作,為時尚模特兒畫上官將首臉譜,並與閃靈樂團合作,在演唱會為演出者臉譜彩繪。

的音樂引領觀眾感受廟會陣頭的氛圍。

「旦行」做為一種女性角色的分類,在傳統的社會價值觀下,演繹古代社會的女人樣貌。女人,做為世界上最複雜難懂的一種生物,

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘,亦嘗試與不同領域合作,曾與Zine國際雜誌合

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式,這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉,以原汁

琳愛特 Blue

成名,曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸.漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

〈樂.陣〉- 傳統北管牌子(北管傳授 / 吳千卉)

三重濟陽會會長,從小浸淫於傳統民間宗教信仰,國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

開序幕,如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

節目介紹 | 琳愛特 Blue

蔡芳昇(洪興)

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭,如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場,點兵點將拉

三重濟陽會

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺,於出巡時遠處就能聽到,達到恫嚇之效。    加其壽命,而損將軍遇惡人則減其壽命。 時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首,故稱之為官將首。增將軍遇善人時則增 官將首發源於新莊地藏庵,相傳原為危害人間的妖魔,受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍,與地藏王菩薩得道 〈官將首〉- 以傳統官將首出陣的表演搭配新創作的音樂(音樂設計 / 陸橒)

2.《點將》

個部分 。

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。 年5月取得博士學位(D.M.A.)。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校(University of Missouri- Kansas City)攻讀作曲博士,師承周龍、陳怡夫婦,於2014 與《臉譜集》(琵琶與國樂團)獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班,主修理論與作曲。 啼聲榮獲首獎,並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》(嗩吶與國樂團) 自幼習樂,2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,本次演出是將典禮創作之作品延伸成為四

<中場休息>

陸橒 音樂設計/作曲

點將

1.《琳愛特Blue 》

節目單

節目介紹 | 點將

演出者簡介 | 點將


2017

臺灣國際音樂節 Taiwan International Music Festival

Beyond the Border

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

Taiwan

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

越境之聲 臺灣

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

指導單位 Directed

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

主辦單位 Hosted

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

台北市客家音樂戲劇中心

特別感謝 Special thanks

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30

承辦單位 Organized

合辦單位 Co-hosted

國際夥伴 International Partners

4.22 Sat. 14:30

宜蘭蔣渭水演藝廳

指定住宿 Official accommodation provided

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

希望能夠對傳統的曲調做出改變,並進一步在舞台上嘗試更多音聲組合,跨越「海」與「陸」之間的隔閡。 等中國傳統,並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景,更增添了海馬樂團演出的豐富面向。海馬樂團

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

海馬樂團的特色,來自音樂原創性與特殊器樂組合;古老而神祕歌唱藝術「呼麥」,加上蒙古樂器馬頭琴,以及胡琴、琵琶、嗩吶

主修京胡,師承吳明生老師、李超老師,在栢優座工羽匠、擔任音樂設計、編曲、編腔,近年設計作品有《刺客列傳─荊軻》、《惡

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

「馬」。海,象徵6位成員的故鄉臺灣,也象徵如海一樣廣闊、兼容並蓄的精神。馬,狂野而自由的動物,就如同我們的音樂風格。

許家銘 樂手

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名;102學年度臺南市初賽國中B組第二名、全國決賽第三名;

成立於1999年,曾在2012年以【旅人.出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞,可以拆為「海」和

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶,師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

海馬樂團

《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊 栢優座仲首,國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一,共同創排栢優座作品 王辰驊 執行導演

北管嗩吶/笛/簫 杜俊寬 展真正屬於臺灣的文化,至今我們依然持續地朝著目標邁進。 賽獲傳統鼓樂個人組銅鼓王。

如此,我們不為自己設限,而且不斷在作品中嘗試各種可能的結合,例如京劇、崑曲、中西方戲劇…等。我們的目標,是找尋並發

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

年7月,希望能夠成為一個可以廣納各種表演藝術的平台,藉由結合不同族群、不同國家的文化,進一步描繪出我們自己的。正因為

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲,曾被媒體譽為臺灣京劇界的齊天大聖。

就讀國立臺南藝術大學中國音樂學系大學部一年級,主修打擊,師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓,

的。這個世代的重要任務,便是去找尋和進一步發展屬於我們自己的文化,這也是栢優座一直以來努力的方向。栢優座成立於2007

《惡虎青年Z》入選第12及第15屆台新藝術獎,並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

打擊/作曲 蔡安

文化非常多元,各種新舊,來自西方、東方的都匯集於此,讓臺灣因此而特別。但在如此不同的文化裡,卻沒有一個是專屬於臺灣

者。以京劇元素融合舞台劇作為創作手段,試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲-吉嶽切》、

以臺灣自己的方式說故事,並以臺灣特色進行演出,是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景,臺灣這片土地擁有的

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員,臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

栢優座

許栢昂 導演

就讀國立臺南術大學中國音樂學系大學部二年級,主修笙,現師事安敬業教授;副修鋼琴,師事陳怡君老師。曾獲100學年度全國

年來延伸其表演觸角,除舉辦多場個人獨奏會,更多次與樂團及劇團合作演出,使音樂內涵更加豐美。

男主角。

北管嗩吶/笙 歐慎騏

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧,現代與傳統兼具,對音樂詮釋之風格倍受肯定。多

《KANO》、《六弄咖啡館》….等多部電影表演指導,並擔任李安《少年PI的冒險》、《Lucy》電影演員,及微電影《小時光麵館》

陳茗芳 樂手

麥(Khoomei, throat singing)吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、 海馬樂團團長暨藝術總監,也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」,前往蒙古學習呼 徐灝翔 樂手 習。近年作品跨足影視、劇場及戲曲,為「栢優座」共同創辦人,有「臺灣京劇小天后」之稱。 演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年,拜入臺灣京劇大師顧正秋老師門下學 大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表 中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班,主修青衣花旦,師承兩岸名師,能戲頗多。曾獲榮譽包括央視青年京劇 黃宇琳 主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。 學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名;102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一 導。2006年參加十鼓擊樂團至今,隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。 笛,師事戴碧吟老師,侯廣宇教授。從小熱愛擊鼓,8歲時在樂器行修習爵士鼓兩年,亦曾接受臺灣著名京劇鼓師呂永輝老師指

樂、民間音樂及現代音樂即興演出。

就讀臺南藝術大學中國音樂學系大學部二年級,主修打擊,中國打擊師事施德華教授,西洋打擊師事蕭曉鈴老師;副修鋼琴、中國

海馬樂團馬頭琴手,擅長融合世界音樂創作編曲,2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

打擊 王子齊

林宗翰 樂手

國立臺南藝術大學中國音樂學系 域團隊演出,現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。 《點將》臉譜彩繪師。

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任國立臺南藝術大學20週年校慶開幕演出

陳胤錞 樂手

重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台 從小時候就對民俗技藝很有興趣,與濟陽會會長及副會長也是孩提玩伴,因此一直在旁學習相關的知識跟技藝,自然而然地成為三 戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸,意圖將國樂吹打樂與傳統官將首結合,以展現傳統廟會文化之新風貌 。 《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,使用笛、洞簫、竹塤、37簧笙、嗩吶、管 戲曲音樂界優秀青年創作者們,一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

〈點將〉- 給七位吹打樂器演奏者(作曲/陸橒)

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」,以臺灣京劇小天后黃宇琳做為主要演唱者,結合臺灣 鬱,一樣是以無翼而飛的美麗音律,唱出古往今來的女人心事。 豈是「旦」能夠輕易表述。戲曲中的女人,不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是,她們一樣美麗、一樣憂

《點將》臉譜彩繪師等。 三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任第27屆傳藝金曲獎頒獎典禮 多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、 國中時因友人邀約參加廟會活動進而生興趣。退伍後,在一次廟會活動中因緣際會加入三重濟陽會,承蒙會長(洪興)的提攜,參與

狩,與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

朱永益(小朱)

〈巡.狩〉- 鼓樂(作曲 / 蔡安)

作,為時尚模特兒畫上官將首臉譜,並與閃靈樂團合作,在演唱會為演出者臉譜彩繪。

的音樂引領觀眾感受廟會陣頭的氛圍。

「旦行」做為一種女性角色的分類,在傳統的社會價值觀下,演繹古代社會的女人樣貌。女人,做為世界上最複雜難懂的一種生物,

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘,亦嘗試與不同領域合作,曾與Zine國際雜誌合

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式,這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉,以原汁

琳愛特 Blue

成名,曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸.漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

〈樂.陣〉- 傳統北管牌子(北管傳授 / 吳千卉)

三重濟陽會會長,從小浸淫於傳統民間宗教信仰,國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

開序幕,如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

節目介紹 | 琳愛特 Blue

蔡芳昇(洪興)

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭,如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場,點兵點將拉

三重濟陽會

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺,於出巡時遠處就能聽到,達到恫嚇之效。    加其壽命,而損將軍遇惡人則減其壽命。 時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首,故稱之為官將首。增將軍遇善人時則增 官將首發源於新莊地藏庵,相傳原為危害人間的妖魔,受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍,與地藏王菩薩得道 〈官將首〉- 以傳統官將首出陣的表演搭配新創作的音樂(音樂設計 / 陸橒)

2.《點將》

個部分 。

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。 年5月取得博士學位(D.M.A.)。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校(University of Missouri- Kansas City)攻讀作曲博士,師承周龍、陳怡夫婦,於2014 與《臉譜集》(琵琶與國樂團)獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班,主修理論與作曲。 啼聲榮獲首獎,並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》(嗩吶與國樂團) 自幼習樂,2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,本次演出是將典禮創作之作品延伸成為四

<中場休息>

陸橒 音樂設計/作曲

點將

1.《琳愛特Blue 》

節目單

節目介紹 | 點將

演出者簡介 | 點將


2017

臺灣國際音樂節 Taiwan International Music Festival

Beyond the Border

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

Taiwan

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

越境之聲 臺灣

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

指導單位 Directed

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

主辦單位 Hosted

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

台北市客家音樂戲劇中心

特別感謝 Special thanks

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30

承辦單位 Organized

合辦單位 Co-hosted

國際夥伴 International Partners

4.22 Sat. 14:30

宜蘭蔣渭水演藝廳

指定住宿 Official accommodation provided

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

希望能夠對傳統的曲調做出改變,並進一步在舞台上嘗試更多音聲組合,跨越「海」與「陸」之間的隔閡。 等中國傳統,並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景,更增添了海馬樂團演出的豐富面向。海馬樂團

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

海馬樂團的特色,來自音樂原創性與特殊器樂組合;古老而神祕歌唱藝術「呼麥」,加上蒙古樂器馬頭琴,以及胡琴、琵琶、嗩吶

主修京胡,師承吳明生老師、李超老師,在栢優座工羽匠、擔任音樂設計、編曲、編腔,近年設計作品有《刺客列傳─荊軻》、《惡

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

「馬」。海,象徵6位成員的故鄉臺灣,也象徵如海一樣廣闊、兼容並蓄的精神。馬,狂野而自由的動物,就如同我們的音樂風格。

許家銘 樂手

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名;102學年度臺南市初賽國中B組第二名、全國決賽第三名;

成立於1999年,曾在2012年以【旅人.出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞,可以拆為「海」和

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶,師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

海馬樂團

《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊 栢優座仲首,國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一,共同創排栢優座作品 王辰驊 執行導演

北管嗩吶/笛/簫 杜俊寬 展真正屬於臺灣的文化,至今我們依然持續地朝著目標邁進。 賽獲傳統鼓樂個人組銅鼓王。

如此,我們不為自己設限,而且不斷在作品中嘗試各種可能的結合,例如京劇、崑曲、中西方戲劇…等。我們的目標,是找尋並發

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

年7月,希望能夠成為一個可以廣納各種表演藝術的平台,藉由結合不同族群、不同國家的文化,進一步描繪出我們自己的。正因為

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲,曾被媒體譽為臺灣京劇界的齊天大聖。

就讀國立臺南藝術大學中國音樂學系大學部一年級,主修打擊,師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓,

的。這個世代的重要任務,便是去找尋和進一步發展屬於我們自己的文化,這也是栢優座一直以來努力的方向。栢優座成立於2007

《惡虎青年Z》入選第12及第15屆台新藝術獎,並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

打擊/作曲 蔡安

文化非常多元,各種新舊,來自西方、東方的都匯集於此,讓臺灣因此而特別。但在如此不同的文化裡,卻沒有一個是專屬於臺灣

者。以京劇元素融合舞台劇作為創作手段,試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲-吉嶽切》、

以臺灣自己的方式說故事,並以臺灣特色進行演出,是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景,臺灣這片土地擁有的

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員,臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

栢優座

許栢昂 導演

就讀國立臺南術大學中國音樂學系大學部二年級,主修笙,現師事安敬業教授;副修鋼琴,師事陳怡君老師。曾獲100學年度全國

年來延伸其表演觸角,除舉辦多場個人獨奏會,更多次與樂團及劇團合作演出,使音樂內涵更加豐美。

男主角。

北管嗩吶/笙 歐慎騏

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧,現代與傳統兼具,對音樂詮釋之風格倍受肯定。多

《KANO》、《六弄咖啡館》….等多部電影表演指導,並擔任李安《少年PI的冒險》、《Lucy》電影演員,及微電影《小時光麵館》

陳茗芳 樂手

麥(Khoomei, throat singing)吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、 海馬樂團團長暨藝術總監,也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」,前往蒙古學習呼 徐灝翔 樂手 習。近年作品跨足影視、劇場及戲曲,為「栢優座」共同創辦人,有「臺灣京劇小天后」之稱。 演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年,拜入臺灣京劇大師顧正秋老師門下學 大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表 中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班,主修青衣花旦,師承兩岸名師,能戲頗多。曾獲榮譽包括央視青年京劇 黃宇琳 主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。 學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名;102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一 導。2006年參加十鼓擊樂團至今,隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。 笛,師事戴碧吟老師,侯廣宇教授。從小熱愛擊鼓,8歲時在樂器行修習爵士鼓兩年,亦曾接受臺灣著名京劇鼓師呂永輝老師指

樂、民間音樂及現代音樂即興演出。

就讀臺南藝術大學中國音樂學系大學部二年級,主修打擊,中國打擊師事施德華教授,西洋打擊師事蕭曉鈴老師;副修鋼琴、中國

海馬樂團馬頭琴手,擅長融合世界音樂創作編曲,2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

打擊 王子齊

林宗翰 樂手

國立臺南藝術大學中國音樂學系 域團隊演出,現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。 《點將》臉譜彩繪師。

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任國立臺南藝術大學20週年校慶開幕演出

陳胤錞 樂手

重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台 從小時候就對民俗技藝很有興趣,與濟陽會會長及副會長也是孩提玩伴,因此一直在旁學習相關的知識跟技藝,自然而然地成為三 戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸,意圖將國樂吹打樂與傳統官將首結合,以展現傳統廟會文化之新風貌 。 《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,使用笛、洞簫、竹塤、37簧笙、嗩吶、管 戲曲音樂界優秀青年創作者們,一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

〈點將〉- 給七位吹打樂器演奏者(作曲/陸橒)

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」,以臺灣京劇小天后黃宇琳做為主要演唱者,結合臺灣 鬱,一樣是以無翼而飛的美麗音律,唱出古往今來的女人心事。 豈是「旦」能夠輕易表述。戲曲中的女人,不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是,她們一樣美麗、一樣憂

《點將》臉譜彩繪師等。 三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任第27屆傳藝金曲獎頒獎典禮 多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、 國中時因友人邀約參加廟會活動進而生興趣。退伍後,在一次廟會活動中因緣際會加入三重濟陽會,承蒙會長(洪興)的提攜,參與

狩,與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

朱永益(小朱)

〈巡.狩〉- 鼓樂(作曲 / 蔡安)

作,為時尚模特兒畫上官將首臉譜,並與閃靈樂團合作,在演唱會為演出者臉譜彩繪。

的音樂引領觀眾感受廟會陣頭的氛圍。

「旦行」做為一種女性角色的分類,在傳統的社會價值觀下,演繹古代社會的女人樣貌。女人,做為世界上最複雜難懂的一種生物,

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘,亦嘗試與不同領域合作,曾與Zine國際雜誌合

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式,這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉,以原汁

琳愛特 Blue

成名,曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸.漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

〈樂.陣〉- 傳統北管牌子(北管傳授 / 吳千卉)

三重濟陽會會長,從小浸淫於傳統民間宗教信仰,國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

開序幕,如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

節目介紹 | 琳愛特 Blue

蔡芳昇(洪興)

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭,如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場,點兵點將拉

三重濟陽會

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺,於出巡時遠處就能聽到,達到恫嚇之效。    加其壽命,而損將軍遇惡人則減其壽命。 時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首,故稱之為官將首。增將軍遇善人時則增 官將首發源於新莊地藏庵,相傳原為危害人間的妖魔,受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍,與地藏王菩薩得道 〈官將首〉- 以傳統官將首出陣的表演搭配新創作的音樂(音樂設計 / 陸橒)

2.《點將》

個部分 。

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。 年5月取得博士學位(D.M.A.)。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校(University of Missouri- Kansas City)攻讀作曲博士,師承周龍、陳怡夫婦,於2014 與《臉譜集》(琵琶與國樂團)獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班,主修理論與作曲。 啼聲榮獲首獎,並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》(嗩吶與國樂團) 自幼習樂,2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,本次演出是將典禮創作之作品延伸成為四

<中場休息>

陸橒 音樂設計/作曲

點將

1.《琳愛特Blue 》

節目單

節目介紹 | 點將

演出者簡介 | 點將


2017 臺灣國際音樂節 Taiwan International Music Festival

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

吳榮順

鍾寶善 王蘭生 賴銘仁

Director

Supervisors

WU Rung-Shun

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

黃馨瑩 蕭啟村 許淑慧 張翔雲

行政協力

黃珮婕 李宥臻 鄭詠玹 蔡和儒

執行製作

林芳宜

翁誌聰

Producer

WENG Chih-Tsung

Beyond the Border

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

Curator

Executive Producers

LIN Fang-Yi

HUANG Pei-Jie LEE Yu-Chen ZHENG Yong-Xuan TSAI Ho-Ju

洪逸倫 歐美蓉 柯瓊芬 黃予祈

Administrative Coordinators

Taiwan 越境之聲 臺灣

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates

生形設計

視覺設計

艾斯博媒體有限公司

宣傳協力

鴻琦國際藝術有限公司

舞台技術

黃麗琪

鄭鳳珠

特別感謝 Special thanks

國際夥伴 International Partners

合辦單位 Co-hosted

指導單位 Directed

主辦單位 Hosted

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

ISPOT Media

Marketing Coordinator

HungChi Art Group

Stage Installation

CHENG Feng-Chu

Translator

HUANG Li-Chi

Copywriter

Innate Studio

Visual Designer

承辦單位 Organized

指定住宿 Official accommodation provided

4.22 Sat. 14:30 台北市客家音樂戲劇中心

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30 宜蘭蔣渭水演藝廳

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

希望能夠對傳統的曲調做出改變,並進一步在舞台上嘗試更多音聲組合,跨越「海」與「陸」之間的隔閡。 《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊

海馬樂團

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶,師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

成立於1999年,曾在2012年以【旅人.出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞,可以拆為「海」和

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名;102學年度臺南市初賽國中B組第二名、全國決賽第三名;

許家銘 樂手

「馬」。海,象徵6位成員的故鄉臺灣,也象徵如海一樣廣闊、兼容並蓄的精神。馬,狂野而自由的動物,就如同我們的音樂風格。

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

主修京胡,師承吳明生老師、李超老師,在栢優座工羽匠、擔任音樂設計、編曲、編腔,近年設計作品有《刺客列傳─荊軻》、《惡

海馬樂團的特色,來自音樂原創性與特殊器樂組合;古老而神祕歌唱藝術「呼麥」,加上蒙古樂器馬頭琴,以及胡琴、琵琶、嗩吶

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

等中國傳統,並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景,更增添了海馬樂團演出的豐富面向。海馬樂團

栢優座仲首,國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一,共同創排栢優座作品 王辰驊 執行導演

北管嗩吶/笛/簫 杜俊寬 展真正屬於臺灣的文化,至今我們依然持續地朝著目標邁進。

麥(Khoomei, throat singing)吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、

陳茗芳 樂手

《KANO》、《六弄咖啡館》….等多部電影表演指導,並擔任李安《少年PI的冒險》、《Lucy》電影演員,及微電影《小時光麵館》

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧,現代與傳統兼具,對音樂詮釋之風格倍受肯定。多

北管嗩吶/笙 歐慎騏

男主角。

年來延伸其表演觸角,除舉辦多場個人獨奏會,更多次與樂團及劇團合作演出,使音樂內涵更加豐美。

就讀國立臺南術大學中國音樂學系大學部二年級,主修笙,現師事安敬業教授;副修鋼琴,師事陳怡君老師。曾獲100學年度全國

許栢昂 導演

栢優座

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員,臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

以臺灣自己的方式說故事,並以臺灣特色進行演出,是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景,臺灣這片土地擁有的

者。以京劇元素融合舞台劇作為創作手段,試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲-吉嶽切》、

文化非常多元,各種新舊,來自西方、東方的都匯集於此,讓臺灣因此而特別。但在如此不同的文化裡,卻沒有一個是專屬於臺灣

打擊/作曲 蔡安

《惡虎青年Z》入選第12及第15屆台新藝術獎,並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

的。這個世代的重要任務,便是去找尋和進一步發展屬於我們自己的文化,這也是栢優座一直以來努力的方向。栢優座成立於2007

就讀國立臺南藝術大學中國音樂學系大學部一年級,主修打擊,師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓,

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲,曾被媒體譽為臺灣京劇界的齊天大聖。

年7月,希望能夠成為一個可以廣納各種表演藝術的平台,藉由結合不同族群、不同國家的文化,進一步描繪出我們自己的。正因為

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

如此,我們不為自己設限,而且不斷在作品中嘗試各種可能的結合,例如京劇、崑曲、中西方戲劇…等。我們的目標,是找尋並發

賽獲傳統鼓樂個人組銅鼓王。

海馬樂團團長暨藝術總監,也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」,前往蒙古學習呼 徐灝翔 樂手 習。近年作品跨足影視、劇場及戲曲,為「栢優座」共同創辦人,有「臺灣京劇小天后」之稱。 演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年,拜入臺灣京劇大師顧正秋老師門下學 大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表 中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班,主修青衣花旦,師承兩岸名師,能戲頗多。曾獲榮譽包括央視青年京劇 黃宇琳 主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。 學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名;102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一 導。2006年參加十鼓擊樂團至今,隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。

林宗翰 樂手

打擊 王子齊

海馬樂團馬頭琴手,擅長融合世界音樂創作編曲,2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

就讀臺南藝術大學中國音樂學系大學部二年級,主修打擊,中國打擊師事施德華教授,西洋打擊師事蕭曉鈴老師;副修鋼琴、中國

樂、民間音樂及現代音樂即興演出。

笛,師事戴碧吟老師,侯廣宇教授。從小熱愛擊鼓,8歲時在樂器行修習爵士鼓兩年,亦曾接受臺灣著名京劇鼓師呂永輝老師指 國立臺南藝術大學中國音樂學系

域團隊演出,現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。 陳胤錞 樂手

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任國立臺南藝術大學20週年校慶開幕演出

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

《點將》臉譜彩繪師。 重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台 從小時候就對民俗技藝很有興趣,與濟陽會會長及副會長也是孩提玩伴,因此一直在旁學習相關的知識跟技藝,自然而然地成為三 戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸,意圖將國樂吹打樂與傳統官將首結合,以展現傳統廟會文化之新風貌 。 《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,使用笛、洞簫、竹塤、37簧笙、嗩吶、管 〈點將〉- 給七位吹打樂器演奏者(作曲/陸橒)

戲曲音樂界優秀青年創作者們,一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

《點將》臉譜彩繪師等。 三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任第27屆傳藝金曲獎頒獎典禮 多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」,以臺灣京劇小天后黃宇琳做為主要演唱者,結合臺灣 〈樂.陣〉- 傳統北管牌子(北管傳授 / 吳千卉)

成名,曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸.漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

琳愛特 Blue

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式,這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉,以原汁

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘,亦嘗試與不同領域合作,曾與Zine國際雜誌合

「旦行」做為一種女性角色的分類,在傳統的社會價值觀下,演繹古代社會的女人樣貌。女人,做為世界上最複雜難懂的一種生物,

的音樂引領觀眾感受廟會陣頭的氛圍。

作,為時尚模特兒畫上官將首臉譜,並與閃靈樂團合作,在演唱會為演出者臉譜彩繪。

〈巡.狩〉- 鼓樂(作曲 / 蔡安)

朱永益(小朱)

狩,與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

國中時因友人邀約參加廟會活動進而生興趣。退伍後,在一次廟會活動中因緣際會加入三重濟陽會,承蒙會長(洪興)的提攜,參與

鬱,一樣是以無翼而飛的美麗音律,唱出古往今來的女人心事。 豈是「旦」能夠輕易表述。戲曲中的女人,不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是,她們一樣美麗、一樣憂

節目介紹 | 琳愛特 Blue

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺,於出巡時遠處就能聽到,達到恫嚇之效。   

三重濟陽會

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭,如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場,點兵點將拉

蔡芳昇(洪興)

開序幕,如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

三重濟陽會會長,從小浸淫於傳統民間宗教信仰,國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

加其壽命,而損將軍遇惡人則減其壽命。 時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首,故稱之為官將首。增將軍遇善人時則增 官將首發源於新莊地藏庵,相傳原為危害人間的妖魔,受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍,與地藏王菩薩得道 〈官將首〉- 以傳統官將首出陣的表演搭配新創作的音樂(音樂設計 / 陸橒) 2.《點將》

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。 年5月取得博士學位(D.M.A.)。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校(University of Missouri- Kansas City)攻讀作曲博士,師承周龍、陳怡夫婦,於2014 與《臉譜集》(琵琶與國樂團)獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班,主修理論與作曲。

節目介紹 | 點將

演出者簡介 | 點將

1.《琳愛特Blue 》

點將

陸橒 音樂設計/作曲

<中場休息>

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,本次演出是將典禮創作之作品延伸成為四

自幼習樂,2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

個部分 。

啼聲榮獲首獎,並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》(嗩吶與國樂團)

節目單


2017 臺灣國際音樂節 Taiwan International Music Festival

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

吳榮順

鍾寶善 王蘭生 賴銘仁

Director

Supervisors

WU Rung-Shun

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

黃馨瑩 蕭啟村 許淑慧 張翔雲

行政協力

黃珮婕 李宥臻 鄭詠玹 蔡和儒

執行製作

林芳宜

翁誌聰

Producer

WENG Chih-Tsung

Beyond the Border

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

Curator

Executive Producers

LIN Fang-Yi

HUANG Pei-Jie LEE Yu-Chen ZHENG Yong-Xuan TSAI Ho-Ju

洪逸倫 歐美蓉 柯瓊芬 黃予祈

Administrative Coordinators

Taiwan 越境之聲 臺灣

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates

生形設計

視覺設計

艾斯博媒體有限公司

宣傳協力

鴻琦國際藝術有限公司

舞台技術

黃麗琪

鄭鳳珠

特別感謝 Special thanks

國際夥伴 International Partners

合辦單位 Co-hosted

指導單位 Directed

主辦單位 Hosted

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

ISPOT Media

Marketing Coordinator

HungChi Art Group

Stage Installation

CHENG Feng-Chu

Translator

HUANG Li-Chi

Copywriter

Innate Studio

Visual Designer

承辦單位 Organized

指定住宿 Official accommodation provided

4.22 Sat. 14:30 台北市客家音樂戲劇中心

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30 宜蘭蔣渭水演藝廳

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

希望能夠對傳統的曲調做出改變,並進一步在舞台上嘗試更多音聲組合,跨越「海」與「陸」之間的隔閡。 《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊

海馬樂團

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶,師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

成立於1999年,曾在2012年以【旅人.出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞,可以拆為「海」和

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名;102學年度臺南市初賽國中B組第二名、全國決賽第三名;

許家銘 樂手

「馬」。海,象徵6位成員的故鄉臺灣,也象徵如海一樣廣闊、兼容並蓄的精神。馬,狂野而自由的動物,就如同我們的音樂風格。

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

主修京胡,師承吳明生老師、李超老師,在栢優座工羽匠、擔任音樂設計、編曲、編腔,近年設計作品有《刺客列傳─荊軻》、《惡

海馬樂團的特色,來自音樂原創性與特殊器樂組合;古老而神祕歌唱藝術「呼麥」,加上蒙古樂器馬頭琴,以及胡琴、琵琶、嗩吶

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

等中國傳統,並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景,更增添了海馬樂團演出的豐富面向。海馬樂團

栢優座仲首,國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一,共同創排栢優座作品 王辰驊 執行導演

北管嗩吶/笛/簫 杜俊寬 展真正屬於臺灣的文化,至今我們依然持續地朝著目標邁進。

麥(Khoomei, throat singing)吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、

陳茗芳 樂手

《KANO》、《六弄咖啡館》….等多部電影表演指導,並擔任李安《少年PI的冒險》、《Lucy》電影演員,及微電影《小時光麵館》

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧,現代與傳統兼具,對音樂詮釋之風格倍受肯定。多

北管嗩吶/笙 歐慎騏

男主角。

年來延伸其表演觸角,除舉辦多場個人獨奏會,更多次與樂團及劇團合作演出,使音樂內涵更加豐美。

就讀國立臺南術大學中國音樂學系大學部二年級,主修笙,現師事安敬業教授;副修鋼琴,師事陳怡君老師。曾獲100學年度全國

許栢昂 導演

栢優座

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員,臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

以臺灣自己的方式說故事,並以臺灣特色進行演出,是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景,臺灣這片土地擁有的

者。以京劇元素融合舞台劇作為創作手段,試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲-吉嶽切》、

文化非常多元,各種新舊,來自西方、東方的都匯集於此,讓臺灣因此而特別。但在如此不同的文化裡,卻沒有一個是專屬於臺灣

打擊/作曲 蔡安

《惡虎青年Z》入選第12及第15屆台新藝術獎,並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

的。這個世代的重要任務,便是去找尋和進一步發展屬於我們自己的文化,這也是栢優座一直以來努力的方向。栢優座成立於2007

就讀國立臺南藝術大學中國音樂學系大學部一年級,主修打擊,師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓,

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲,曾被媒體譽為臺灣京劇界的齊天大聖。

年7月,希望能夠成為一個可以廣納各種表演藝術的平台,藉由結合不同族群、不同國家的文化,進一步描繪出我們自己的。正因為

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

如此,我們不為自己設限,而且不斷在作品中嘗試各種可能的結合,例如京劇、崑曲、中西方戲劇…等。我們的目標,是找尋並發

賽獲傳統鼓樂個人組銅鼓王。

海馬樂團團長暨藝術總監,也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」,前往蒙古學習呼 徐灝翔 樂手 習。近年作品跨足影視、劇場及戲曲,為「栢優座」共同創辦人,有「臺灣京劇小天后」之稱。 演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年,拜入臺灣京劇大師顧正秋老師門下學 大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表 中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班,主修青衣花旦,師承兩岸名師,能戲頗多。曾獲榮譽包括央視青年京劇 黃宇琳 主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。 學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名;102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一 導。2006年參加十鼓擊樂團至今,隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。

林宗翰 樂手

打擊 王子齊

海馬樂團馬頭琴手,擅長融合世界音樂創作編曲,2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

就讀臺南藝術大學中國音樂學系大學部二年級,主修打擊,中國打擊師事施德華教授,西洋打擊師事蕭曉鈴老師;副修鋼琴、中國

樂、民間音樂及現代音樂即興演出。

笛,師事戴碧吟老師,侯廣宇教授。從小熱愛擊鼓,8歲時在樂器行修習爵士鼓兩年,亦曾接受臺灣著名京劇鼓師呂永輝老師指 國立臺南藝術大學中國音樂學系

域團隊演出,現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。 陳胤錞 樂手

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任國立臺南藝術大學20週年校慶開幕演出

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

《點將》臉譜彩繪師。 重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台 從小時候就對民俗技藝很有興趣,與濟陽會會長及副會長也是孩提玩伴,因此一直在旁學習相關的知識跟技藝,自然而然地成為三 戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸,意圖將國樂吹打樂與傳統官將首結合,以展現傳統廟會文化之新風貌 。 《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,使用笛、洞簫、竹塤、37簧笙、嗩吶、管 〈點將〉- 給七位吹打樂器演奏者(作曲/陸橒)

戲曲音樂界優秀青年創作者們,一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

《點將》臉譜彩繪師等。 三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任第27屆傳藝金曲獎頒獎典禮 多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」,以臺灣京劇小天后黃宇琳做為主要演唱者,結合臺灣 〈樂.陣〉- 傳統北管牌子(北管傳授 / 吳千卉)

成名,曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸.漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

琳愛特 Blue

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式,這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉,以原汁

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘,亦嘗試與不同領域合作,曾與Zine國際雜誌合

「旦行」做為一種女性角色的分類,在傳統的社會價值觀下,演繹古代社會的女人樣貌。女人,做為世界上最複雜難懂的一種生物,

的音樂引領觀眾感受廟會陣頭的氛圍。

作,為時尚模特兒畫上官將首臉譜,並與閃靈樂團合作,在演唱會為演出者臉譜彩繪。

〈巡.狩〉- 鼓樂(作曲 / 蔡安)

朱永益(小朱)

狩,與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

國中時因友人邀約參加廟會活動進而生興趣。退伍後,在一次廟會活動中因緣際會加入三重濟陽會,承蒙會長(洪興)的提攜,參與

鬱,一樣是以無翼而飛的美麗音律,唱出古往今來的女人心事。 豈是「旦」能夠輕易表述。戲曲中的女人,不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是,她們一樣美麗、一樣憂

節目介紹 | 琳愛特 Blue

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺,於出巡時遠處就能聽到,達到恫嚇之效。   

三重濟陽會

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭,如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場,點兵點將拉

蔡芳昇(洪興)

開序幕,如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

三重濟陽會會長,從小浸淫於傳統民間宗教信仰,國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

加其壽命,而損將軍遇惡人則減其壽命。 時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首,故稱之為官將首。增將軍遇善人時則增 官將首發源於新莊地藏庵,相傳原為危害人間的妖魔,受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍,與地藏王菩薩得道 〈官將首〉- 以傳統官將首出陣的表演搭配新創作的音樂(音樂設計 / 陸橒) 2.《點將》

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。 年5月取得博士學位(D.M.A.)。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校(University of Missouri- Kansas City)攻讀作曲博士,師承周龍、陳怡夫婦,於2014 與《臉譜集》(琵琶與國樂團)獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班,主修理論與作曲。

節目介紹 | 點將

演出者簡介 | 點將

1.《琳愛特Blue 》

點將

陸橒 音樂設計/作曲

<中場休息>

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,本次演出是將典禮創作之作品延伸成為四

自幼習樂,2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

個部分 。

啼聲榮獲首獎,並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》(嗩吶與國樂團)

節目單


演出者簡介 | 點將

Program

Performers | Lin at Blue

1.Lin at Blue 北管嗩吶/管/嗩吶/口弦/咔腔 陳冠宏 就讀國立臺南藝術大學中國音樂學系高中部三年級,主修嗩吶,師事孫沛元老師;副修笙,師事蔡輝鵬老師。曾獲得102學年度全 國學生音樂比賽臺中市初賽嗩吶獨奏國中A組第一名、全國決賽第三名,2013年中華民國國樂協會器樂大賽吹管樂器少年組第一

<Intermission> 2.The Calling (Dianjiang)

Huang Yu-lin | lead vocalist Huang studied theatrical art at the National Taiwan College of Performing Arts and Chinese Culture University with a major in qing-yi and hua-dan in Beijing opera. She has been studying with several great performers both in Taiwan and China and

名, 2014年中華民國國樂學會器樂大賽吹管樂器少年組第三名 。現為新竹市立青少年國樂團團員、台中市政府客家事務委員會國

is a highly-regarded performer of a number of Beijing operas. She was granted the on-screen award in the Youth Opera

樂團團員。

Contest held by CCTV and the rising talent award in Beijing Youth Opera Challenge Contest. She was also awarded the first prize in the Blue Island Cup with Taken Alive and was recognized with the 51st Culture and Art Award held by Chinese

打擊/笙 黃俊毓 就讀國立臺南藝術大學中國音樂學系高中部二年級,主修笙,由陳信志老師啟蒙,現師事安敬業老師,副修鋼琴;現師事潘祖欣 老師。曾獲100學年度全國學生音樂比賽臺中市初賽笙獨奏國小B組第二名;104學年度臺南市初賽笙獨奏高中職A組第一名、全國 決賽第一名。現為原韻絲竹樂團團員。 打擊/笛/竹塤 張正佳 就讀於國立臺南藝術大學中國音樂學系高中部二年級。主修笛,師事侯廣宇教授,起蒙於李凱琳老師;副修鋼琴,師事潘祖欣老 師。曾獲102學年度全國學生音樂比賽臺南市初賽笛獨奏國中B組第一名、全國決賽第五名,2014年中華民國國樂學會器樂大賽吹 管樂器少年組第四名。

Program Notes | Lin at Blue

Writer’s & Artist’s Association in the category of Beijing opera performance. She is currently the performance master of Po

“Dan,” the female characters in Chinese opera, represents a kind of female image which reflects the bounded situation of

2010, she formally became an apprentice to Gu Zheng-qiu, a prominent Beijing opera performer. Her recent endeavor

traditional Chinese women. Yet, how could it be possible to encompass women—the most complex, hard-to-understand

includes works in films, television, theatre, and traditional Chinese opera. She is the co-founder of Po You Set and has been

creature in the world—and their experiences with the category of “dan”? In a Chinese opera, a woman usually appears as a

acclaimed as Taiwan’s queen of Beijing opera.

You Set and is the first to win the Best Rising Talent Award of the Golden Melody Awards for Traditional Arts and Music. In

mother, a wife, an enchantress, or a mistress. These female characters are always attractive, but somehow melancholic. With these beautiful melodies, their voice will take wing and soar high to unfold the inner world of women past and present. “Blue” is the color of melancholy as well as a music genre or composition style. Huang Yu-Lin, Taiwan’s queen of Beijing opera, will be the leading singer in Lin at Blue. She will work together with several outstanding young artists to re-interpret some famous female characters in Chinese opera and reveal their melancholic soul.

Hsu Hao-Hsiang | musician Hsu is the leader and art director of Seahorse Band. He also appears in several films and TV productions. He is an actor, a musician, a performing director, and a music designer. He studied khoomei (throat singing) in Mongolia through the support of the “Dreamscope Project” organized by Taiwan’s Hakka Affairs Council. His music album Wanderings of a Traveler was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music in the category of best crossover album. He served as the performing director for a number of films, including Seediq Bale, Kano, and At Café 6, etc. He has

Program Notes | The Calling ( Dianjiang)

joined the cast of Life of Pi and Lucy and was the leading actor in the micro-film House of Little Moments.

The Roll Call was originally a five-minute stage production commissioned by the National Center for Traditional Arts for the

Hsu Po-Ang | director

awarding ceremony of the 27th Golden Melody Awards for Traditional Arts and Music. The piece is expanded into four sections for this performance.

Hsu was graduated from the National Academy of Chinese Theatre Arts with a master’s degree in Chinese theatre directing. He is a member of the Chinese Theatre Directors’ Association and has studied theatrical art at the National Taiwan University of Arts and Beijing opera at the National Kuo Kuang Academy of Arts. Currently he is the head and core creator

“General-Gods”—Taiwanese exorcist performance and new composition (composer/Lu Yun) The culture of general-gods (i.e., General of Gain and General of Loss) was originated from a temple near Taipei worshipping Bodhisattva Ksitigarbha. The legend has it that the Ksitigarbha tamed some demons and monsters, who were then appointed generals protecting the Ksitigarbha and they became heavenly beings after Ksitigarbha’s enlightenment. In Taiwanese religious tradition, the General of Gain and General of Loss lead the King of Ghosts’ Inspection Parade. Good people “gain” longevity while bad ones “lose” their years on earth. In a temple parade, these two deities also serve as protector of the resident deity as

of Po You Set, a theatre troupe trying to build Taiwan-based theatre expressions by combining elements of Beijing opera and Western drama. The troupe was shortlisted with its One-Man-Show and Tiger Youth Z for the 12th and 15th Taishin Arts Award (2013, 2016). The troupe has performed in four editions of the Dadaocheng International Festival of Arts. In 2016, Po You Set performed at the Toga Festival and Jeonju International Sori Festivalon on behalf of Taiwan. Hsu was nicknamed Monkey King of Chinese Theatre by media for his monkey acting games in childhood and his free, unfettered imaginations.

well as responsible for expelling ghosts and plagues. They are heard from distance because of the bells tied to the gener-

Wang Chen-Hua | executive director

al-gods’ feet ringing with their “three-step footwork.”

Wang Chen-Hua, the co-founder and associate head of the Po You Set, was graduated from the National Taiwan University

Two Generals of Gain, who hold a handcuff and a wooden tiger tablet, begin the parade by deterring evil beings. In the middle

of Arts with a major in theatre. He later pursued graduate studies in theatrical performance at the Taipei National University

section the General of Loss appears with a trident for the roll call. The episode ends with the three general-gods joining

of the Arts. Selected collaborative projects with Po You Set include My Brothers, Something to Learn about Beijing Opera,

together in the procession.

A Comic Beijing Opera, Death of Them, Death of My Mentor, Fxxk the Stage, Jingke the Assassinator, Tiger Youth Z, The

“Music & Parade”—traditional beiguan tunes (beiguan instruction/Wu Qian-Hui)

Chair, The Fire Fighter, and The Monkey King Wiping out Devils.

Beiguan is a traditional Chinese music commonly heard in religious festivals in Taiwan. This section features some of the famous tunes, such as “Wind on the River” and “Wind in the Pines.” The genuine music will give the audience an authentic feeling of Taiwanese religious parades. “The Inspection Tour”—Drum music (composer/Tsai An)

Hsu Chia-Ming | musician Hsu is a disciple of jinghu musicians Wu Ming-Sheng and Li Chao. Currently he works for Po You Set as a music designer responsible for arranging music and Chinese operatic tunes. Some of his recent works include Jingke the Assassinator, Tiger Youth Z, My wife & My Mother & My Mother-in-law, The Fire Fighter, and The Monkey King Wiping out Devils.

Two percussionists will present a completely different drum music which departs from what is commonly heard in a traditional parade.

Chen Yin-Chun | musician

“The Calling( Dianjiang)”—For 7 wind musicians and percussionists (composer/Lu Yun)

Chen is a new-generation crossover percussionist who plays between the traditional and the contemporary. He was

This piece combines Chinese wind and percussion instruments—di, xiao, bamboo xun, 37-reed sheng, souna, guanzi, kaqiang,

graduated from the National Taiwan College of Performing Arts and National Taiwan University of Arts with a major in

kouxian, large/small Chinese drums, luo, and ba—with General-gods’ performance to give new expressions to the traditional

music, and has participated in productions of various genres. Hsu is currently a member of the Hon-Tsai Chinese Ensemble,

Taiwanese religious culture.

G Drumz, and Butterfly Zither Studio; a percussionist of the Sui Xin Suo Yu band; and an instrumentalist of Po You Set.

Performers | Lin at Blue

Performers | The Calling ( Dianjiang)

Lin Zong-Han | musician

Lu Yun Music | designer/composer

two years at age 8. He also studied with Lu Yung-Hui, a noted drummer of Beijing opera in Taiwan. Wang attended the Ten

Lin plays matouqin in the Seahorse Band. Known for his world-music style composition, Lin has performed improvisations

Lu Yun has studied music since childhood. From 2000, she began to study composition with Professor Hung Chung-Kun. Her

Drum Art Percussion Group in 2006 and has been performing with the troupe at various events and in many places, including

at music events of different genres, including Chinese xiqu, traditional Chinese music, folk music, and modern music.

work Lord Xinqin for erhu and Chinese orchestra was awarded first prize at the Chinese Music Composition Competition

the opening ceremony of the Olympic Winter Games in Vancouver and other events in Manila, Hong Kong, and China.

organized by Taiwan’s Council for Cultural Affairs (CCA), and she was shortlisted for the Best Composer Award at the 16th Chen Ming-Fang | musician

Golden Melody Awards for Traditional Arts and Music. Lu went on to win the top award for two consecutive years at CCA’s

Beiguan Souna/Sheng Ou Shen-Chi

Currently teaching at the National Taiwan University of Performing Arts and studying for Ph.D. at National Taiwan Universi-

Chinese Music Composition Competition in 2004 and 2005 with Lang Sai (for suona and Chinese orchestra) and The Beijing

Ou Shen-Chi is currently a sophomore in Chinese music at the Tainan National University of the Arts. He majors in sheng and

ty of Arts, Chen is acclaimed for her virtuosity and traditional yet modern interpretation of Chinese music. She has held

Opera Masks (for pipa and Chinese orchestra). She enrolled at the National Taipei University of Arts in 2004, where she

is studying the instrument with An Chin-Ye. He also studies piano under the tutelage of Chen I-Chun. Ou has won first place in

numerous recitals and collaborated with music or theatre troupes in recent years to expand her scope and enrich her

obtained a master’s degree in music theory and composition. She began her Ph.D. studies at the University of Missouri-Kansas

sheng solo in the Hsinchu preliminary contest and second at the final of Taiwan National Music Competition for Students in

interpretation.

City in 2009 and received her DMA in May, 2014 under the tutelage of composers Zhou Long and Chen Yi. She has presented

2011. He also won first place in both the preliminary and final of the competition in 2013. Ou is currently a member of the

a composition concert called “Images of Taiwan” with the Taiwan Philharmonic Chinese Orchestra under the conducting of Ku

Hsinchu Youth Chinese Orchestra and Hsinchu City Chinese Youth Orchestra.

Po You Set Po You Set is a Taiwanese theatre troupe ambitious in telling stories in Taiwan through experimental drama. The troupe is aware of Taiwan’s historical background and its multiculturalism. On this beautiful island, we can find all kinds of cultural elements, traditional and contemporary, Eastern and Western. However, the privileged diversity does not result in a culture

Pao-Wen. One of her latest compositions is City God Procession for orchestra, with which she obtained the 27th Golden Melody Awards for Traditional Arts and Music. She is currently an assistant professor of Chinese music at Tainan National University of the Arts.

Percussion/Composition Tsai An Tsai An is currently a freshman in Chinese music at the Tainan National University of the Arts. He majors in percussion and has been studying with Shih Te-Hwa, Hsiao Hsiao-Ling, and Lin Chi-Wen. He began to learn the art of ten drums in 2003 and is

that belongs to Taiwan itself. Therefore, Po You Set claims that one of the major missions of the present generation is to

San-Chung Ji-Yang Assembly

currently a member of the Ten Drum Art Percussion Group and a member of one of the Junior Ten Drum groups. He has been

figure out and develop such a culture. Founded in July 2007, the troupe regards itself as a platform on which all forms of

Tsai Fang-Sheng

awarded the silver prize in the New Taipei City Drum Competition in 2012. He also won the bronze prize as a solo drummer at

performing arts are welcomed. In order to realize a genuine Taiwanese theatre culture, the troupe integrates elements

Tsai Fang-Sheng is the head of San-Chung Ji-Yang Assembly. Being immersed in Taiwanese religious tradition since childhood,

the competition help during the New Taipei City World Music and Dance Festival in 2013.

drawn from different ethnic groups or countries. Currently the troupe still keeps breaking limits and finding more possibili-

Tsai began to learn the art of temple parade as a teenager 19 years ago. Fame came to him after his first performance in

ties in theatre, such as Beijing opera, Kun opera, and all kinds of Eastern and Western drama, etc.

Danshui on May 5, 1999. He has performed at the 2014 Okinawa International Carnival, the Festival of Cultural Exchange across

Seahorse Band Seahorse Band was founded in 1999 and was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music with its album Wandering of a Traveler in 2012. The name “Seahorse” can be understood separately. Sea symbolizes Taiwan—the hometown of the band’s six members. It also suggests a broad-minded, all-embracing spirit just like the open sea. Horse reflects its free, wild music style. The band features the ancient, mysterious khoomei (throat singing) and a

Straits in Anhui China, the Xiamen Temple Parade celebrating the 352nd anniversary of the local City God’s Temple, and the opening ceremony of the Taipei Lantern Festival. He also won the Best Art Award at Taiwan’s Temple Parades Award. In addition to the active participation in traditional religious parades, Tsai is also attempting collaboration with artists from different fields. He has been invited to do face-painting for Zine magazine’s fashion models. He also did face-painting for Chthonic’s musicians for a concert.

combination of creative music and orchestration of special instruments. A combination of the Mongolian instrument

Chu Yung-Yi

matouqin; the Chinese instruments of huqin, pipa, and souna; and percussion from around the world form the major part of

Chu Yung-Yi ignited an interest in temple parades as a teenager. After completing his army service, Chu joined the San-Chung

Seahorse’s music. The leader Hsu Hao-Hsiang’s background in music design and theatre further adds diversity to Seahorse.

Ji-Yang Assembly through a temple parade. Under the guidance and support of the assembly’s leader, Chu has been showing

Currently the band is experimenting on traditional tunes and looking for more sound combinations to bridge the gap

his talents in various temple festivals and activities. He has performed at the Taipei Lantern Festival (2013), Taipei City God

between the sea and the land (horse).

Procession (since 2014), Exchange Forum for Taiwan City God Temples (2015), Taiwan’s Temple Parades Awards organized by Sanli TV (2015), and City God’s Procession at the Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of The Roll Call for the 27th Golden Melody Awards for Traditional Arts and Music. Dai Hsin-Hung Dai Hsin-Hung has been interested in folk arts since childhood. He was a playmate of San-Chung Ji-Yang Assembly’s head leaders and has been learning related knowledge and skills from the two friends. It is a natural result that Dao later became a member of the assembly and performed with it for various occasions and events. He has taken part in the Hsinchu Hakka Yimin Festival (2010), Taipei Lantern Festival (2013), Okinawa International Carnival (2014), Taiwan’s Temple Parades Awards

Beiguan Souna/Di/Xiao

Tu Chun-Kuan

Tu Chun-Kuan is currently a freshman in Chinese music at the Tainan National University of the Arts. He began studies in di and souna at age 10 under the tutelage of Chen Chung-Shen, Tu Feng-cheng, Liu Fu-Ji, and Chen Chia-Hui. He won first place in di solo in the Tainan preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won second in the preliminary and third in the final in 2013. He also won first place in the preliminary and third place in final in 2015. Currently he is a member of the You Yue Chinese Orchestra and Tainan Ensemble. Beiguan Suona/Guanzi/Souna/Kouxian/Kaqiang Chen Kuan-Hong Chen Kuan-Hong is a third-grader of the Affiliated High School of Tainan National University of the Arts. He currently studies souna as a major with Sun Pei-Yuan and sheng as a minor with Tsai Hui-Peng. He won first place in souna solo in the Taichung preliminary contest and third place in the final of the Taiwan National Music Competition for Students in 2013. He then won third place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014. Chen is currently a member of Hsinchu City Chinese Youth Orchestra and Taichung City Hakka Chinese Orchestra. Percussion/Sheng Huang Chun-Yu Huang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to the instrument of sheng through the tutelage of Chen Hsin-Chi and is currently studying with An Chin-Ye. Huang also studies piano with Pan Tsu-Hsin. He won second place in sheng solo in the Taichung preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won first place in sheng solo in both the preliminary and the final in 2015. Huang is currently a member of the Yuan Yun Chinese Ensemble.

organized by Sanli TV (2015), and Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of

Percussion/Di/Bamboo Xun Chang Cheng-Chia

The Roll Call for the opening ceremony celebrating the 20th anniversary of the Tainan National University of the Arts.

Chang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to di

Tainan National University of Arts (Chinese Music Department) Percussion Wang Zhi-Chi Wang Zhi-Chi is currently a sophomore majoring in percussion at the Tainan National University of the Arts. Wang has been studying Chinese percussion with Professor Shih Te-Hwa and Western percussion with Hsiao Hsiao-Ling. Wang also studies piano and di with Tai Pi-Yin and Hou Guang-Yu. Being interested in drumming since childhood, Wang studied jazz drum for

through the tutelage of Li Kao-Lin and is currently studying with Hou Guang-Yu. Chang also studies piano with Pan Tsu-Hsin. He won first place in di solo in the Tainan preliminary contest and fifth in the final of Taiwan National Music Competition for Students in 2013. He also won fourth place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014.


2017 臺灣國際音樂節 Taiwan International Music Festival

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

吳榮順

鍾寶善 王蘭生 賴銘仁

Director

Supervisors

WU Rung-Shun

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。

黃馨瑩 蕭啟村 許淑慧 張翔雲

行政協力

黃珮婕 李宥臻 鄭詠玹 蔡和儒

執行製作

林芳宜

翁誌聰

Producer

WENG Chih-Tsung

Beyond the Border

  藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

Curator

Executive Producers

LIN Fang-Yi

HUANG Pei-Jie LEE Yu-Chen ZHENG Yong-Xuan TSAI Ho-Ju

洪逸倫 歐美蓉 柯瓊芬 黃予祈

Administrative Coordinators

Taiwan 越境之聲 臺灣

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates

生形設計

視覺設計

艾斯博媒體有限公司

宣傳協力

鴻琦國際藝術有限公司

舞台技術

黃麗琪

鄭鳳珠

特別感謝 Special thanks

國際夥伴 International Partners

合辦單位 Co-hosted

指導單位 Directed

主辦單位 Hosted

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

ISPOT Media

Marketing Coordinator

HungChi Art Group

Stage Installation

CHENG Feng-Chu

Translator

HUANG Li-Chi

Copywriter

Innate Studio

Visual Designer

承辦單位 Organized

指定住宿 Official accommodation provided

4.22 Sat. 14:30 台北市客家音樂戲劇中心

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30 宜蘭蔣渭水演藝廳

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

希望能夠對傳統的曲調做出改變,並進一步在舞台上嘗試更多音聲組合,跨越「海」與「陸」之間的隔閡。 《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊

海馬樂團

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶,師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

成立於1999年,曾在2012年以【旅人.出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞,可以拆為「海」和

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名;102學年度臺南市初賽國中B組第二名、全國決賽第三名;

許家銘 樂手

「馬」。海,象徵6位成員的故鄉臺灣,也象徵如海一樣廣闊、兼容並蓄的精神。馬,狂野而自由的動物,就如同我們的音樂風格。

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

主修京胡,師承吳明生老師、李超老師,在栢優座工羽匠、擔任音樂設計、編曲、編腔,近年設計作品有《刺客列傳─荊軻》、《惡

海馬樂團的特色,來自音樂原創性與特殊器樂組合;古老而神祕歌唱藝術「呼麥」,加上蒙古樂器馬頭琴,以及胡琴、琵琶、嗩吶

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

等中國傳統,並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景,更增添了海馬樂團演出的豐富面向。海馬樂團

栢優座仲首,國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一,共同創排栢優座作品 王辰驊 執行導演

北管嗩吶/笛/簫 杜俊寬 展真正屬於臺灣的文化,至今我們依然持續地朝著目標邁進。

麥(Khoomei, throat singing)吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、

陳茗芳 樂手

《KANO》、《六弄咖啡館》….等多部電影表演指導,並擔任李安《少年PI的冒險》、《Lucy》電影演員,及微電影《小時光麵館》

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧,現代與傳統兼具,對音樂詮釋之風格倍受肯定。多

北管嗩吶/笙 歐慎騏

男主角。

年來延伸其表演觸角,除舉辦多場個人獨奏會,更多次與樂團及劇團合作演出,使音樂內涵更加豐美。

就讀國立臺南術大學中國音樂學系大學部二年級,主修笙,現師事安敬業教授;副修鋼琴,師事陳怡君老師。曾獲100學年度全國

許栢昂 導演

栢優座

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員,臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

以臺灣自己的方式說故事,並以臺灣特色進行演出,是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景,臺灣這片土地擁有的

者。以京劇元素融合舞台劇作為創作手段,試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲-吉嶽切》、

文化非常多元,各種新舊,來自西方、東方的都匯集於此,讓臺灣因此而特別。但在如此不同的文化裡,卻沒有一個是專屬於臺灣

打擊/作曲 蔡安

《惡虎青年Z》入選第12及第15屆台新藝術獎,並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

的。這個世代的重要任務,便是去找尋和進一步發展屬於我們自己的文化,這也是栢優座一直以來努力的方向。栢優座成立於2007

就讀國立臺南藝術大學中國音樂學系大學部一年級,主修打擊,師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓,

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲,曾被媒體譽為臺灣京劇界的齊天大聖。

年7月,希望能夠成為一個可以廣納各種表演藝術的平台,藉由結合不同族群、不同國家的文化,進一步描繪出我們自己的。正因為

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

如此,我們不為自己設限,而且不斷在作品中嘗試各種可能的結合,例如京劇、崑曲、中西方戲劇…等。我們的目標,是找尋並發

賽獲傳統鼓樂個人組銅鼓王。

海馬樂團團長暨藝術總監,也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」,前往蒙古學習呼 徐灝翔 樂手 習。近年作品跨足影視、劇場及戲曲,為「栢優座」共同創辦人,有「臺灣京劇小天后」之稱。 演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年,拜入臺灣京劇大師顧正秋老師門下學 大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表 中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班,主修青衣花旦,師承兩岸名師,能戲頗多。曾獲榮譽包括央視青年京劇 黃宇琳 主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。 學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名;102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一 導。2006年參加十鼓擊樂團至今,隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。

林宗翰 樂手

打擊 王子齊

海馬樂團馬頭琴手,擅長融合世界音樂創作編曲,2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

就讀臺南藝術大學中國音樂學系大學部二年級,主修打擊,中國打擊師事施德華教授,西洋打擊師事蕭曉鈴老師;副修鋼琴、中國

樂、民間音樂及現代音樂即興演出。

笛,師事戴碧吟老師,侯廣宇教授。從小熱愛擊鼓,8歲時在樂器行修習爵士鼓兩年,亦曾接受臺灣著名京劇鼓師呂永輝老師指 國立臺南藝術大學中國音樂學系

域團隊演出,現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。 陳胤錞 樂手

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任國立臺南藝術大學20週年校慶開幕演出

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

《點將》臉譜彩繪師。 重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台 從小時候就對民俗技藝很有興趣,與濟陽會會長及副會長也是孩提玩伴,因此一直在旁學習相關的知識跟技藝,自然而然地成為三 戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸,意圖將國樂吹打樂與傳統官將首結合,以展現傳統廟會文化之新風貌 。 《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,使用笛、洞簫、竹塤、37簧笙、嗩吶、管 〈點將〉- 給七位吹打樂器演奏者(作曲/陸橒)

戲曲音樂界優秀青年創作者們,一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

《點將》臉譜彩繪師等。 三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任第27屆傳藝金曲獎頒獎典禮 多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」,以臺灣京劇小天后黃宇琳做為主要演唱者,結合臺灣 〈樂.陣〉- 傳統北管牌子(北管傳授 / 吳千卉)

成名,曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸.漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

琳愛特 Blue

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式,這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉,以原汁

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘,亦嘗試與不同領域合作,曾與Zine國際雜誌合

「旦行」做為一種女性角色的分類,在傳統的社會價值觀下,演繹古代社會的女人樣貌。女人,做為世界上最複雜難懂的一種生物,

的音樂引領觀眾感受廟會陣頭的氛圍。

作,為時尚模特兒畫上官將首臉譜,並與閃靈樂團合作,在演唱會為演出者臉譜彩繪。

〈巡.狩〉- 鼓樂(作曲 / 蔡安)

朱永益(小朱)

狩,與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

國中時因友人邀約參加廟會活動進而生興趣。退伍後,在一次廟會活動中因緣際會加入三重濟陽會,承蒙會長(洪興)的提攜,參與

鬱,一樣是以無翼而飛的美麗音律,唱出古往今來的女人心事。 豈是「旦」能夠輕易表述。戲曲中的女人,不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是,她們一樣美麗、一樣憂

節目介紹 | 琳愛特 Blue

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺,於出巡時遠處就能聽到,達到恫嚇之效。   

三重濟陽會

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭,如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場,點兵點將拉

蔡芳昇(洪興)

開序幕,如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

三重濟陽會會長,從小浸淫於傳統民間宗教信仰,國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

加其壽命,而損將軍遇惡人則減其壽命。 時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首,故稱之為官將首。增將軍遇善人時則增 官將首發源於新莊地藏庵,相傳原為危害人間的妖魔,受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍,與地藏王菩薩得道 〈官將首〉- 以傳統官將首出陣的表演搭配新創作的音樂(音樂設計 / 陸橒) 2.《點將》

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。 年5月取得博士學位(D.M.A.)。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校(University of Missouri- Kansas City)攻讀作曲博士,師承周龍、陳怡夫婦,於2014 與《臉譜集》(琵琶與國樂團)獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班,主修理論與作曲。

節目介紹 | 點將

演出者簡介 | 點將

1.《琳愛特Blue 》

點將

陸橒 音樂設計/作曲

<中場休息>

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,本次演出是將典禮創作之作品延伸成為四

自幼習樂,2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

個部分 。

啼聲榮獲首獎,並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》(嗩吶與國樂團)

節目單


演出者簡介 | 點將

Program

Performers | Lin at Blue

1.Lin at Blue 北管嗩吶/管/嗩吶/口弦/咔腔 陳冠宏 就讀國立臺南藝術大學中國音樂學系高中部三年級,主修嗩吶,師事孫沛元老師;副修笙,師事蔡輝鵬老師。曾獲得102學年度全 國學生音樂比賽臺中市初賽嗩吶獨奏國中A組第一名、全國決賽第三名,2013年中華民國國樂協會器樂大賽吹管樂器少年組第一

<Intermission> 2.The Calling (Dianjiang)

Huang Yu-lin | lead vocalist Huang studied theatrical art at the National Taiwan College of Performing Arts and Chinese Culture University with a major in qing-yi and hua-dan in Beijing opera. She has been studying with several great performers both in Taiwan and China and

名, 2014年中華民國國樂學會器樂大賽吹管樂器少年組第三名 。現為新竹市立青少年國樂團團員、台中市政府客家事務委員會國

is a highly-regarded performer of a number of Beijing operas. She was granted the on-screen award in the Youth Opera

樂團團員。

Contest held by CCTV and the rising talent award in Beijing Youth Opera Challenge Contest. She was also awarded the first prize in the Blue Island Cup with Taken Alive and was recognized with the 51st Culture and Art Award held by Chinese

打擊/笙 黃俊毓 就讀國立臺南藝術大學中國音樂學系高中部二年級,主修笙,由陳信志老師啟蒙,現師事安敬業老師,副修鋼琴;現師事潘祖欣 老師。曾獲100學年度全國學生音樂比賽臺中市初賽笙獨奏國小B組第二名;104學年度臺南市初賽笙獨奏高中職A組第一名、全國 決賽第一名。現為原韻絲竹樂團團員。 打擊/笛/竹塤 張正佳 就讀於國立臺南藝術大學中國音樂學系高中部二年級。主修笛,師事侯廣宇教授,起蒙於李凱琳老師;副修鋼琴,師事潘祖欣老 師。曾獲102學年度全國學生音樂比賽臺南市初賽笛獨奏國中B組第一名、全國決賽第五名,2014年中華民國國樂學會器樂大賽吹 管樂器少年組第四名。

Program Notes | Lin at Blue

Writer’s & Artist’s Association in the category of Beijing opera performance. She is currently the performance master of Po

“Dan,” the female characters in Chinese opera, represents a kind of female image which reflects the bounded situation of

2010, she formally became an apprentice to Gu Zheng-qiu, a prominent Beijing opera performer. Her recent endeavor

traditional Chinese women. Yet, how could it be possible to encompass women—the most complex, hard-to-understand

includes works in films, television, theatre, and traditional Chinese opera. She is the co-founder of Po You Set and has been

creature in the world—and their experiences with the category of “dan”? In a Chinese opera, a woman usually appears as a

acclaimed as Taiwan’s queen of Beijing opera.

You Set and is the first to win the Best Rising Talent Award of the Golden Melody Awards for Traditional Arts and Music. In

mother, a wife, an enchantress, or a mistress. These female characters are always attractive, but somehow melancholic. With these beautiful melodies, their voice will take wing and soar high to unfold the inner world of women past and present. “Blue” is the color of melancholy as well as a music genre or composition style. Huang Yu-Lin, Taiwan’s queen of Beijing opera, will be the leading singer in Lin at Blue. She will work together with several outstanding young artists to re-interpret some famous female characters in Chinese opera and reveal their melancholic soul.

Hsu Hao-Hsiang | musician Hsu is the leader and art director of Seahorse Band. He also appears in several films and TV productions. He is an actor, a musician, a performing director, and a music designer. He studied khoomei (throat singing) in Mongolia through the support of the “Dreamscope Project” organized by Taiwan’s Hakka Affairs Council. His music album Wanderings of a Traveler was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music in the category of best crossover album. He served as the performing director for a number of films, including Seediq Bale, Kano, and At Café 6, etc. He has

Program Notes | The Calling ( Dianjiang)

joined the cast of Life of Pi and Lucy and was the leading actor in the micro-film House of Little Moments.

The Roll Call was originally a five-minute stage production commissioned by the National Center for Traditional Arts for the

Hsu Po-Ang | director

awarding ceremony of the 27th Golden Melody Awards for Traditional Arts and Music. The piece is expanded into four sections for this performance.

Hsu was graduated from the National Academy of Chinese Theatre Arts with a master’s degree in Chinese theatre directing. He is a member of the Chinese Theatre Directors’ Association and has studied theatrical art at the National Taiwan University of Arts and Beijing opera at the National Kuo Kuang Academy of Arts. Currently he is the head and core creator

“General-Gods”—Taiwanese exorcist performance and new composition (composer/Lu Yun) The culture of general-gods (i.e., General of Gain and General of Loss) was originated from a temple near Taipei worshipping Bodhisattva Ksitigarbha. The legend has it that the Ksitigarbha tamed some demons and monsters, who were then appointed generals protecting the Ksitigarbha and they became heavenly beings after Ksitigarbha’s enlightenment. In Taiwanese religious tradition, the General of Gain and General of Loss lead the King of Ghosts’ Inspection Parade. Good people “gain” longevity while bad ones “lose” their years on earth. In a temple parade, these two deities also serve as protector of the resident deity as

of Po You Set, a theatre troupe trying to build Taiwan-based theatre expressions by combining elements of Beijing opera and Western drama. The troupe was shortlisted with its One-Man-Show and Tiger Youth Z for the 12th and 15th Taishin Arts Award (2013, 2016). The troupe has performed in four editions of the Dadaocheng International Festival of Arts. In 2016, Po You Set performed at the Toga Festival and Jeonju International Sori Festivalon on behalf of Taiwan. Hsu was nicknamed Monkey King of Chinese Theatre by media for his monkey acting games in childhood and his free, unfettered imaginations.

well as responsible for expelling ghosts and plagues. They are heard from distance because of the bells tied to the gener-

Wang Chen-Hua | executive director

al-gods’ feet ringing with their “three-step footwork.”

Wang Chen-Hua, the co-founder and associate head of the Po You Set, was graduated from the National Taiwan University

Two Generals of Gain, who hold a handcuff and a wooden tiger tablet, begin the parade by deterring evil beings. In the middle

of Arts with a major in theatre. He later pursued graduate studies in theatrical performance at the Taipei National University

section the General of Loss appears with a trident for the roll call. The episode ends with the three general-gods joining

of the Arts. Selected collaborative projects with Po You Set include My Brothers, Something to Learn about Beijing Opera,

together in the procession.

A Comic Beijing Opera, Death of Them, Death of My Mentor, Fxxk the Stage, Jingke the Assassinator, Tiger Youth Z, The

“Music & Parade”—traditional beiguan tunes (beiguan instruction/Wu Qian-Hui)

Chair, The Fire Fighter, and The Monkey King Wiping out Devils.

Beiguan is a traditional Chinese music commonly heard in religious festivals in Taiwan. This section features some of the famous tunes, such as “Wind on the River” and “Wind in the Pines.” The genuine music will give the audience an authentic feeling of Taiwanese religious parades. “The Inspection Tour”—Drum music (composer/Tsai An)

Hsu Chia-Ming | musician Hsu is a disciple of jinghu musicians Wu Ming-Sheng and Li Chao. Currently he works for Po You Set as a music designer responsible for arranging music and Chinese operatic tunes. Some of his recent works include Jingke the Assassinator, Tiger Youth Z, My wife & My Mother & My Mother-in-law, The Fire Fighter, and The Monkey King Wiping out Devils.

Two percussionists will present a completely different drum music which departs from what is commonly heard in a traditional parade.

Chen Yin-Chun | musician

“The Calling( Dianjiang)”—For 7 wind musicians and percussionists (composer/Lu Yun)

Chen is a new-generation crossover percussionist who plays between the traditional and the contemporary. He was

This piece combines Chinese wind and percussion instruments—di, xiao, bamboo xun, 37-reed sheng, souna, guanzi, kaqiang,

graduated from the National Taiwan College of Performing Arts and National Taiwan University of Arts with a major in

kouxian, large/small Chinese drums, luo, and ba—with General-gods’ performance to give new expressions to the traditional

music, and has participated in productions of various genres. Hsu is currently a member of the Hon-Tsai Chinese Ensemble,

Taiwanese religious culture.

G Drumz, and Butterfly Zither Studio; a percussionist of the Sui Xin Suo Yu band; and an instrumentalist of Po You Set.

Performers | Lin at Blue

Performers | The Calling ( Dianjiang)

Lin Zong-Han | musician

Lu Yun Music | designer/composer

two years at age 8. He also studied with Lu Yung-Hui, a noted drummer of Beijing opera in Taiwan. Wang attended the Ten

Lin plays matouqin in the Seahorse Band. Known for his world-music style composition, Lin has performed improvisations

Lu Yun has studied music since childhood. From 2000, she began to study composition with Professor Hung Chung-Kun. Her

Drum Art Percussion Group in 2006 and has been performing with the troupe at various events and in many places, including

at music events of different genres, including Chinese xiqu, traditional Chinese music, folk music, and modern music.

work Lord Xinqin for erhu and Chinese orchestra was awarded first prize at the Chinese Music Composition Competition

the opening ceremony of the Olympic Winter Games in Vancouver and other events in Manila, Hong Kong, and China.

organized by Taiwan’s Council for Cultural Affairs (CCA), and she was shortlisted for the Best Composer Award at the 16th Chen Ming-Fang | musician

Golden Melody Awards for Traditional Arts and Music. Lu went on to win the top award for two consecutive years at CCA’s

Beiguan Souna/Sheng Ou Shen-Chi

Currently teaching at the National Taiwan University of Performing Arts and studying for Ph.D. at National Taiwan Universi-

Chinese Music Composition Competition in 2004 and 2005 with Lang Sai (for suona and Chinese orchestra) and The Beijing

Ou Shen-Chi is currently a sophomore in Chinese music at the Tainan National University of the Arts. He majors in sheng and

ty of Arts, Chen is acclaimed for her virtuosity and traditional yet modern interpretation of Chinese music. She has held

Opera Masks (for pipa and Chinese orchestra). She enrolled at the National Taipei University of Arts in 2004, where she

is studying the instrument with An Chin-Ye. He also studies piano under the tutelage of Chen I-Chun. Ou has won first place in

numerous recitals and collaborated with music or theatre troupes in recent years to expand her scope and enrich her

obtained a master’s degree in music theory and composition. She began her Ph.D. studies at the University of Missouri-Kansas

sheng solo in the Hsinchu preliminary contest and second at the final of Taiwan National Music Competition for Students in

interpretation.

City in 2009 and received her DMA in May, 2014 under the tutelage of composers Zhou Long and Chen Yi. She has presented

2011. He also won first place in both the preliminary and final of the competition in 2013. Ou is currently a member of the

a composition concert called “Images of Taiwan” with the Taiwan Philharmonic Chinese Orchestra under the conducting of Ku

Hsinchu Youth Chinese Orchestra and Hsinchu City Chinese Youth Orchestra.

Po You Set Po You Set is a Taiwanese theatre troupe ambitious in telling stories in Taiwan through experimental drama. The troupe is aware of Taiwan’s historical background and its multiculturalism. On this beautiful island, we can find all kinds of cultural elements, traditional and contemporary, Eastern and Western. However, the privileged diversity does not result in a culture

Pao-Wen. One of her latest compositions is City God Procession for orchestra, with which she obtained the 27th Golden Melody Awards for Traditional Arts and Music. She is currently an assistant professor of Chinese music at Tainan National University of the Arts.

Percussion/Composition Tsai An Tsai An is currently a freshman in Chinese music at the Tainan National University of the Arts. He majors in percussion and has been studying with Shih Te-Hwa, Hsiao Hsiao-Ling, and Lin Chi-Wen. He began to learn the art of ten drums in 2003 and is

that belongs to Taiwan itself. Therefore, Po You Set claims that one of the major missions of the present generation is to

San-Chung Ji-Yang Assembly

currently a member of the Ten Drum Art Percussion Group and a member of one of the Junior Ten Drum groups. He has been

figure out and develop such a culture. Founded in July 2007, the troupe regards itself as a platform on which all forms of

Tsai Fang-Sheng

awarded the silver prize in the New Taipei City Drum Competition in 2012. He also won the bronze prize as a solo drummer at

performing arts are welcomed. In order to realize a genuine Taiwanese theatre culture, the troupe integrates elements

Tsai Fang-Sheng is the head of San-Chung Ji-Yang Assembly. Being immersed in Taiwanese religious tradition since childhood,

the competition help during the New Taipei City World Music and Dance Festival in 2013.

drawn from different ethnic groups or countries. Currently the troupe still keeps breaking limits and finding more possibili-

Tsai began to learn the art of temple parade as a teenager 19 years ago. Fame came to him after his first performance in

ties in theatre, such as Beijing opera, Kun opera, and all kinds of Eastern and Western drama, etc.

Danshui on May 5, 1999. He has performed at the 2014 Okinawa International Carnival, the Festival of Cultural Exchange across

Seahorse Band Seahorse Band was founded in 1999 and was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music with its album Wandering of a Traveler in 2012. The name “Seahorse” can be understood separately. Sea symbolizes Taiwan—the hometown of the band’s six members. It also suggests a broad-minded, all-embracing spirit just like the open sea. Horse reflects its free, wild music style. The band features the ancient, mysterious khoomei (throat singing) and a

Straits in Anhui China, the Xiamen Temple Parade celebrating the 352nd anniversary of the local City God’s Temple, and the opening ceremony of the Taipei Lantern Festival. He also won the Best Art Award at Taiwan’s Temple Parades Award. In addition to the active participation in traditional religious parades, Tsai is also attempting collaboration with artists from different fields. He has been invited to do face-painting for Zine magazine’s fashion models. He also did face-painting for Chthonic’s musicians for a concert.

combination of creative music and orchestration of special instruments. A combination of the Mongolian instrument

Chu Yung-Yi

matouqin; the Chinese instruments of huqin, pipa, and souna; and percussion from around the world form the major part of

Chu Yung-Yi ignited an interest in temple parades as a teenager. After completing his army service, Chu joined the San-Chung

Seahorse’s music. The leader Hsu Hao-Hsiang’s background in music design and theatre further adds diversity to Seahorse.

Ji-Yang Assembly through a temple parade. Under the guidance and support of the assembly’s leader, Chu has been showing

Currently the band is experimenting on traditional tunes and looking for more sound combinations to bridge the gap

his talents in various temple festivals and activities. He has performed at the Taipei Lantern Festival (2013), Taipei City God

between the sea and the land (horse).

Procession (since 2014), Exchange Forum for Taiwan City God Temples (2015), Taiwan’s Temple Parades Awards organized by Sanli TV (2015), and City God’s Procession at the Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of The Roll Call for the 27th Golden Melody Awards for Traditional Arts and Music. Dai Hsin-Hung Dai Hsin-Hung has been interested in folk arts since childhood. He was a playmate of San-Chung Ji-Yang Assembly’s head leaders and has been learning related knowledge and skills from the two friends. It is a natural result that Dao later became a member of the assembly and performed with it for various occasions and events. He has taken part in the Hsinchu Hakka Yimin Festival (2010), Taipei Lantern Festival (2013), Okinawa International Carnival (2014), Taiwan’s Temple Parades Awards

Beiguan Souna/Di/Xiao

Tu Chun-Kuan

Tu Chun-Kuan is currently a freshman in Chinese music at the Tainan National University of the Arts. He began studies in di and souna at age 10 under the tutelage of Chen Chung-Shen, Tu Feng-cheng, Liu Fu-Ji, and Chen Chia-Hui. He won first place in di solo in the Tainan preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won second in the preliminary and third in the final in 2013. He also won first place in the preliminary and third place in final in 2015. Currently he is a member of the You Yue Chinese Orchestra and Tainan Ensemble. Beiguan Suona/Guanzi/Souna/Kouxian/Kaqiang Chen Kuan-Hong Chen Kuan-Hong is a third-grader of the Affiliated High School of Tainan National University of the Arts. He currently studies souna as a major with Sun Pei-Yuan and sheng as a minor with Tsai Hui-Peng. He won first place in souna solo in the Taichung preliminary contest and third place in the final of the Taiwan National Music Competition for Students in 2013. He then won third place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014. Chen is currently a member of Hsinchu City Chinese Youth Orchestra and Taichung City Hakka Chinese Orchestra. Percussion/Sheng Huang Chun-Yu Huang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to the instrument of sheng through the tutelage of Chen Hsin-Chi and is currently studying with An Chin-Ye. Huang also studies piano with Pan Tsu-Hsin. He won second place in sheng solo in the Taichung preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won first place in sheng solo in both the preliminary and the final in 2015. Huang is currently a member of the Yuan Yun Chinese Ensemble.

organized by Sanli TV (2015), and Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of

Percussion/Di/Bamboo Xun Chang Cheng-Chia

The Roll Call for the opening ceremony celebrating the 20th anniversary of the Tainan National University of the Arts.

Chang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to di

Tainan National University of Arts (Chinese Music Department) Percussion Wang Zhi-Chi Wang Zhi-Chi is currently a sophomore majoring in percussion at the Tainan National University of the Arts. Wang has been studying Chinese percussion with Professor Shih Te-Hwa and Western percussion with Hsiao Hsiao-Ling. Wang also studies piano and di with Tai Pi-Yin and Hou Guang-Yu. Being interested in drumming since childhood, Wang studied jazz drum for

through the tutelage of Li Kao-Lin and is currently studying with Hou Guang-Yu. Chang also studies piano with Pan Tsu-Hsin. He won first place in di solo in the Tainan preliminary contest and fifth in the final of Taiwan National Music Competition for Students in 2013. He also won fourth place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014.


演出者簡介 | 點將

Program

Performers | Lin at Blue

1.Lin at Blue 北管嗩吶/管/嗩吶/口弦/咔腔 陳冠宏 就讀國立臺南藝術大學中國音樂學系高中部三年級,主修嗩吶,師事孫沛元老師;副修笙,師事蔡輝鵬老師。曾獲得102學年度全 國學生音樂比賽臺中市初賽嗩吶獨奏國中A組第一名、全國決賽第三名,2013年中華民國國樂協會器樂大賽吹管樂器少年組第一

<Intermission> 2.The Calling (Dianjiang)

Huang Yu-lin | lead vocalist Huang studied theatrical art at the National Taiwan College of Performing Arts and Chinese Culture University with a major in qing-yi and hua-dan in Beijing opera. She has been studying with several great performers both in Taiwan and China and

名, 2014年中華民國國樂學會器樂大賽吹管樂器少年組第三名 。現為新竹市立青少年國樂團團員、台中市政府客家事務委員會國

is a highly-regarded performer of a number of Beijing operas. She was granted the on-screen award in the Youth Opera

樂團團員。

Contest held by CCTV and the rising talent award in Beijing Youth Opera Challenge Contest. She was also awarded the first prize in the Blue Island Cup with Taken Alive and was recognized with the 51st Culture and Art Award held by Chinese

打擊/笙 黃俊毓 就讀國立臺南藝術大學中國音樂學系高中部二年級,主修笙,由陳信志老師啟蒙,現師事安敬業老師,副修鋼琴;現師事潘祖欣 老師。曾獲100學年度全國學生音樂比賽臺中市初賽笙獨奏國小B組第二名;104學年度臺南市初賽笙獨奏高中職A組第一名、全國 決賽第一名。現為原韻絲竹樂團團員。 打擊/笛/竹塤 張正佳 就讀於國立臺南藝術大學中國音樂學系高中部二年級。主修笛,師事侯廣宇教授,起蒙於李凱琳老師;副修鋼琴,師事潘祖欣老 師。曾獲102學年度全國學生音樂比賽臺南市初賽笛獨奏國中B組第一名、全國決賽第五名,2014年中華民國國樂學會器樂大賽吹 管樂器少年組第四名。

Program Notes | Lin at Blue

Writer’s & Artist’s Association in the category of Beijing opera performance. She is currently the performance master of Po

“Dan,” the female characters in Chinese opera, represents a kind of female image which reflects the bounded situation of

2010, she formally became an apprentice to Gu Zheng-qiu, a prominent Beijing opera performer. Her recent endeavor

traditional Chinese women. Yet, how could it be possible to encompass women—the most complex, hard-to-understand

includes works in films, television, theatre, and traditional Chinese opera. She is the co-founder of Po You Set and has been

creature in the world—and their experiences with the category of “dan”? In a Chinese opera, a woman usually appears as a

acclaimed as Taiwan’s queen of Beijing opera.

You Set and is the first to win the Best Rising Talent Award of the Golden Melody Awards for Traditional Arts and Music. In

mother, a wife, an enchantress, or a mistress. These female characters are always attractive, but somehow melancholic. With these beautiful melodies, their voice will take wing and soar high to unfold the inner world of women past and present. “Blue” is the color of melancholy as well as a music genre or composition style. Huang Yu-Lin, Taiwan’s queen of Beijing opera, will be the leading singer in Lin at Blue. She will work together with several outstanding young artists to re-interpret some famous female characters in Chinese opera and reveal their melancholic soul.

Hsu Hao-Hsiang | musician Hsu is the leader and art director of Seahorse Band. He also appears in several films and TV productions. He is an actor, a musician, a performing director, and a music designer. He studied khoomei (throat singing) in Mongolia through the support of the “Dreamscope Project” organized by Taiwan’s Hakka Affairs Council. His music album Wanderings of a Traveler was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music in the category of best crossover album. He served as the performing director for a number of films, including Seediq Bale, Kano, and At Café 6, etc. He has

Program Notes | The Calling ( Dianjiang)

joined the cast of Life of Pi and Lucy and was the leading actor in the micro-film House of Little Moments.

The Roll Call was originally a five-minute stage production commissioned by the National Center for Traditional Arts for the

Hsu Po-Ang | director

awarding ceremony of the 27th Golden Melody Awards for Traditional Arts and Music. The piece is expanded into four sections for this performance.

Hsu was graduated from the National Academy of Chinese Theatre Arts with a master’s degree in Chinese theatre directing. He is a member of the Chinese Theatre Directors’ Association and has studied theatrical art at the National Taiwan University of Arts and Beijing opera at the National Kuo Kuang Academy of Arts. Currently he is the head and core creator

“General-Gods”—Taiwanese exorcist performance and new composition (composer/Lu Yun) The culture of general-gods (i.e., General of Gain and General of Loss) was originated from a temple near Taipei worshipping Bodhisattva Ksitigarbha. The legend has it that the Ksitigarbha tamed some demons and monsters, who were then appointed generals protecting the Ksitigarbha and they became heavenly beings after Ksitigarbha’s enlightenment. In Taiwanese religious tradition, the General of Gain and General of Loss lead the King of Ghosts’ Inspection Parade. Good people “gain” longevity while bad ones “lose” their years on earth. In a temple parade, these two deities also serve as protector of the resident deity as

of Po You Set, a theatre troupe trying to build Taiwan-based theatre expressions by combining elements of Beijing opera and Western drama. The troupe was shortlisted with its One-Man-Show and Tiger Youth Z for the 12th and 15th Taishin Arts Award (2013, 2016). The troupe has performed in four editions of the Dadaocheng International Festival of Arts. In 2016, Po You Set performed at the Toga Festival and Jeonju International Sori Festivalon on behalf of Taiwan. Hsu was nicknamed Monkey King of Chinese Theatre by media for his monkey acting games in childhood and his free, unfettered imaginations.

well as responsible for expelling ghosts and plagues. They are heard from distance because of the bells tied to the gener-

Wang Chen-Hua | executive director

al-gods’ feet ringing with their “three-step footwork.”

Wang Chen-Hua, the co-founder and associate head of the Po You Set, was graduated from the National Taiwan University

Two Generals of Gain, who hold a handcuff and a wooden tiger tablet, begin the parade by deterring evil beings. In the middle

of Arts with a major in theatre. He later pursued graduate studies in theatrical performance at the Taipei National University

section the General of Loss appears with a trident for the roll call. The episode ends with the three general-gods joining

of the Arts. Selected collaborative projects with Po You Set include My Brothers, Something to Learn about Beijing Opera,

together in the procession.

A Comic Beijing Opera, Death of Them, Death of My Mentor, Fxxk the Stage, Jingke the Assassinator, Tiger Youth Z, The

“Music & Parade”—traditional beiguan tunes (beiguan instruction/Wu Qian-Hui)

Chair, The Fire Fighter, and The Monkey King Wiping out Devils.

Beiguan is a traditional Chinese music commonly heard in religious festivals in Taiwan. This section features some of the famous tunes, such as “Wind on the River” and “Wind in the Pines.” The genuine music will give the audience an authentic feeling of Taiwanese religious parades. “The Inspection Tour”—Drum music (composer/Tsai An)

Hsu Chia-Ming | musician Hsu is a disciple of jinghu musicians Wu Ming-Sheng and Li Chao. Currently he works for Po You Set as a music designer responsible for arranging music and Chinese operatic tunes. Some of his recent works include Jingke the Assassinator, Tiger Youth Z, My wife & My Mother & My Mother-in-law, The Fire Fighter, and The Monkey King Wiping out Devils.

Two percussionists will present a completely different drum music which departs from what is commonly heard in a traditional parade.

Chen Yin-Chun | musician

“The Calling( Dianjiang)”—For 7 wind musicians and percussionists (composer/Lu Yun)

Chen is a new-generation crossover percussionist who plays between the traditional and the contemporary. He was

This piece combines Chinese wind and percussion instruments—di, xiao, bamboo xun, 37-reed sheng, souna, guanzi, kaqiang,

graduated from the National Taiwan College of Performing Arts and National Taiwan University of Arts with a major in

kouxian, large/small Chinese drums, luo, and ba—with General-gods’ performance to give new expressions to the traditional

music, and has participated in productions of various genres. Hsu is currently a member of the Hon-Tsai Chinese Ensemble,

Taiwanese religious culture.

G Drumz, and Butterfly Zither Studio; a percussionist of the Sui Xin Suo Yu band; and an instrumentalist of Po You Set.

Performers | Lin at Blue

Performers | The Calling ( Dianjiang)

Lin Zong-Han | musician

Lu Yun Music | designer/composer

two years at age 8. He also studied with Lu Yung-Hui, a noted drummer of Beijing opera in Taiwan. Wang attended the Ten

Lin plays matouqin in the Seahorse Band. Known for his world-music style composition, Lin has performed improvisations

Lu Yun has studied music since childhood. From 2000, she began to study composition with Professor Hung Chung-Kun. Her

Drum Art Percussion Group in 2006 and has been performing with the troupe at various events and in many places, including

at music events of different genres, including Chinese xiqu, traditional Chinese music, folk music, and modern music.

work Lord Xinqin for erhu and Chinese orchestra was awarded first prize at the Chinese Music Composition Competition

the opening ceremony of the Olympic Winter Games in Vancouver and other events in Manila, Hong Kong, and China.

organized by Taiwan’s Council for Cultural Affairs (CCA), and she was shortlisted for the Best Composer Award at the 16th Chen Ming-Fang | musician

Golden Melody Awards for Traditional Arts and Music. Lu went on to win the top award for two consecutive years at CCA’s

Beiguan Souna/Sheng Ou Shen-Chi

Currently teaching at the National Taiwan University of Performing Arts and studying for Ph.D. at National Taiwan Universi-

Chinese Music Composition Competition in 2004 and 2005 with Lang Sai (for suona and Chinese orchestra) and The Beijing

Ou Shen-Chi is currently a sophomore in Chinese music at the Tainan National University of the Arts. He majors in sheng and

ty of Arts, Chen is acclaimed for her virtuosity and traditional yet modern interpretation of Chinese music. She has held

Opera Masks (for pipa and Chinese orchestra). She enrolled at the National Taipei University of Arts in 2004, where she

is studying the instrument with An Chin-Ye. He also studies piano under the tutelage of Chen I-Chun. Ou has won first place in

numerous recitals and collaborated with music or theatre troupes in recent years to expand her scope and enrich her

obtained a master’s degree in music theory and composition. She began her Ph.D. studies at the University of Missouri-Kansas

sheng solo in the Hsinchu preliminary contest and second at the final of Taiwan National Music Competition for Students in

interpretation.

City in 2009 and received her DMA in May, 2014 under the tutelage of composers Zhou Long and Chen Yi. She has presented

2011. He also won first place in both the preliminary and final of the competition in 2013. Ou is currently a member of the

a composition concert called “Images of Taiwan” with the Taiwan Philharmonic Chinese Orchestra under the conducting of Ku

Hsinchu Youth Chinese Orchestra and Hsinchu City Chinese Youth Orchestra.

Po You Set Po You Set is a Taiwanese theatre troupe ambitious in telling stories in Taiwan through experimental drama. The troupe is aware of Taiwan’s historical background and its multiculturalism. On this beautiful island, we can find all kinds of cultural elements, traditional and contemporary, Eastern and Western. However, the privileged diversity does not result in a culture

Pao-Wen. One of her latest compositions is City God Procession for orchestra, with which she obtained the 27th Golden Melody Awards for Traditional Arts and Music. She is currently an assistant professor of Chinese music at Tainan National University of the Arts.

Percussion/Composition Tsai An Tsai An is currently a freshman in Chinese music at the Tainan National University of the Arts. He majors in percussion and has been studying with Shih Te-Hwa, Hsiao Hsiao-Ling, and Lin Chi-Wen. He began to learn the art of ten drums in 2003 and is

that belongs to Taiwan itself. Therefore, Po You Set claims that one of the major missions of the present generation is to

San-Chung Ji-Yang Assembly

currently a member of the Ten Drum Art Percussion Group and a member of one of the Junior Ten Drum groups. He has been

figure out and develop such a culture. Founded in July 2007, the troupe regards itself as a platform on which all forms of

Tsai Fang-Sheng

awarded the silver prize in the New Taipei City Drum Competition in 2012. He also won the bronze prize as a solo drummer at

performing arts are welcomed. In order to realize a genuine Taiwanese theatre culture, the troupe integrates elements

Tsai Fang-Sheng is the head of San-Chung Ji-Yang Assembly. Being immersed in Taiwanese religious tradition since childhood,

the competition help during the New Taipei City World Music and Dance Festival in 2013.

drawn from different ethnic groups or countries. Currently the troupe still keeps breaking limits and finding more possibili-

Tsai began to learn the art of temple parade as a teenager 19 years ago. Fame came to him after his first performance in

ties in theatre, such as Beijing opera, Kun opera, and all kinds of Eastern and Western drama, etc.

Danshui on May 5, 1999. He has performed at the 2014 Okinawa International Carnival, the Festival of Cultural Exchange across

Seahorse Band Seahorse Band was founded in 1999 and was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music with its album Wandering of a Traveler in 2012. The name “Seahorse” can be understood separately. Sea symbolizes Taiwan—the hometown of the band’s six members. It also suggests a broad-minded, all-embracing spirit just like the open sea. Horse reflects its free, wild music style. The band features the ancient, mysterious khoomei (throat singing) and a

Straits in Anhui China, the Xiamen Temple Parade celebrating the 352nd anniversary of the local City God’s Temple, and the opening ceremony of the Taipei Lantern Festival. He also won the Best Art Award at Taiwan’s Temple Parades Award. In addition to the active participation in traditional religious parades, Tsai is also attempting collaboration with artists from different fields. He has been invited to do face-painting for Zine magazine’s fashion models. He also did face-painting for Chthonic’s musicians for a concert.

combination of creative music and orchestration of special instruments. A combination of the Mongolian instrument

Chu Yung-Yi

matouqin; the Chinese instruments of huqin, pipa, and souna; and percussion from around the world form the major part of

Chu Yung-Yi ignited an interest in temple parades as a teenager. After completing his army service, Chu joined the San-Chung

Seahorse’s music. The leader Hsu Hao-Hsiang’s background in music design and theatre further adds diversity to Seahorse.

Ji-Yang Assembly through a temple parade. Under the guidance and support of the assembly’s leader, Chu has been showing

Currently the band is experimenting on traditional tunes and looking for more sound combinations to bridge the gap

his talents in various temple festivals and activities. He has performed at the Taipei Lantern Festival (2013), Taipei City God

between the sea and the land (horse).

Procession (since 2014), Exchange Forum for Taiwan City God Temples (2015), Taiwan’s Temple Parades Awards organized by Sanli TV (2015), and City God’s Procession at the Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of The Roll Call for the 27th Golden Melody Awards for Traditional Arts and Music. Dai Hsin-Hung Dai Hsin-Hung has been interested in folk arts since childhood. He was a playmate of San-Chung Ji-Yang Assembly’s head leaders and has been learning related knowledge and skills from the two friends. It is a natural result that Dao later became a member of the assembly and performed with it for various occasions and events. He has taken part in the Hsinchu Hakka Yimin Festival (2010), Taipei Lantern Festival (2013), Okinawa International Carnival (2014), Taiwan’s Temple Parades Awards

Beiguan Souna/Di/Xiao

Tu Chun-Kuan

Tu Chun-Kuan is currently a freshman in Chinese music at the Tainan National University of the Arts. He began studies in di and souna at age 10 under the tutelage of Chen Chung-Shen, Tu Feng-cheng, Liu Fu-Ji, and Chen Chia-Hui. He won first place in di solo in the Tainan preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won second in the preliminary and third in the final in 2013. He also won first place in the preliminary and third place in final in 2015. Currently he is a member of the You Yue Chinese Orchestra and Tainan Ensemble. Beiguan Suona/Guanzi/Souna/Kouxian/Kaqiang Chen Kuan-Hong Chen Kuan-Hong is a third-grader of the Affiliated High School of Tainan National University of the Arts. He currently studies souna as a major with Sun Pei-Yuan and sheng as a minor with Tsai Hui-Peng. He won first place in souna solo in the Taichung preliminary contest and third place in the final of the Taiwan National Music Competition for Students in 2013. He then won third place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014. Chen is currently a member of Hsinchu City Chinese Youth Orchestra and Taichung City Hakka Chinese Orchestra. Percussion/Sheng Huang Chun-Yu Huang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to the instrument of sheng through the tutelage of Chen Hsin-Chi and is currently studying with An Chin-Ye. Huang also studies piano with Pan Tsu-Hsin. He won second place in sheng solo in the Taichung preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won first place in sheng solo in both the preliminary and the final in 2015. Huang is currently a member of the Yuan Yun Chinese Ensemble.

organized by Sanli TV (2015), and Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of

Percussion/Di/Bamboo Xun Chang Cheng-Chia

The Roll Call for the opening ceremony celebrating the 20th anniversary of the Tainan National University of the Arts.

Chang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to di

Tainan National University of Arts (Chinese Music Department) Percussion Wang Zhi-Chi Wang Zhi-Chi is currently a sophomore majoring in percussion at the Tainan National University of the Arts. Wang has been studying Chinese percussion with Professor Shih Te-Hwa and Western percussion with Hsiao Hsiao-Ling. Wang also studies piano and di with Tai Pi-Yin and Hou Guang-Yu. Being interested in drumming since childhood, Wang studied jazz drum for

through the tutelage of Li Kao-Lin and is currently studying with Hou Guang-Yu. Chang also studies piano with Pan Tsu-Hsin. He won first place in di solo in the Tainan preliminary contest and fifth in the final of Taiwan National Music Competition for Students in 2013. He also won fourth place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014.


演出者簡介 | 點將

Program

Performers | Lin at Blue

1.Lin at Blue 北管嗩吶/管/嗩吶/口弦/咔腔 陳冠宏 就讀國立臺南藝術大學中國音樂學系高中部三年級,主修嗩吶,師事孫沛元老師;副修笙,師事蔡輝鵬老師。曾獲得102學年度全 國學生音樂比賽臺中市初賽嗩吶獨奏國中A組第一名、全國決賽第三名,2013年中華民國國樂協會器樂大賽吹管樂器少年組第一

<Intermission> 2.The Calling (Dianjiang)

Huang Yu-lin | lead vocalist Huang studied theatrical art at the National Taiwan College of Performing Arts and Chinese Culture University with a major in qing-yi and hua-dan in Beijing opera. She has been studying with several great performers both in Taiwan and China and

名, 2014年中華民國國樂學會器樂大賽吹管樂器少年組第三名 。現為新竹市立青少年國樂團團員、台中市政府客家事務委員會國

is a highly-regarded performer of a number of Beijing operas. She was granted the on-screen award in the Youth Opera

樂團團員。

Contest held by CCTV and the rising talent award in Beijing Youth Opera Challenge Contest. She was also awarded the first prize in the Blue Island Cup with Taken Alive and was recognized with the 51st Culture and Art Award held by Chinese

打擊/笙 黃俊毓 就讀國立臺南藝術大學中國音樂學系高中部二年級,主修笙,由陳信志老師啟蒙,現師事安敬業老師,副修鋼琴;現師事潘祖欣 老師。曾獲100學年度全國學生音樂比賽臺中市初賽笙獨奏國小B組第二名;104學年度臺南市初賽笙獨奏高中職A組第一名、全國 決賽第一名。現為原韻絲竹樂團團員。 打擊/笛/竹塤 張正佳 就讀於國立臺南藝術大學中國音樂學系高中部二年級。主修笛,師事侯廣宇教授,起蒙於李凱琳老師;副修鋼琴,師事潘祖欣老 師。曾獲102學年度全國學生音樂比賽臺南市初賽笛獨奏國中B組第一名、全國決賽第五名,2014年中華民國國樂學會器樂大賽吹 管樂器少年組第四名。

Program Notes | Lin at Blue

Writer’s & Artist’s Association in the category of Beijing opera performance. She is currently the performance master of Po

“Dan,” the female characters in Chinese opera, represents a kind of female image which reflects the bounded situation of

2010, she formally became an apprentice to Gu Zheng-qiu, a prominent Beijing opera performer. Her recent endeavor

traditional Chinese women. Yet, how could it be possible to encompass women—the most complex, hard-to-understand

includes works in films, television, theatre, and traditional Chinese opera. She is the co-founder of Po You Set and has been

creature in the world—and their experiences with the category of “dan”? In a Chinese opera, a woman usually appears as a

acclaimed as Taiwan’s queen of Beijing opera.

You Set and is the first to win the Best Rising Talent Award of the Golden Melody Awards for Traditional Arts and Music. In

mother, a wife, an enchantress, or a mistress. These female characters are always attractive, but somehow melancholic. With these beautiful melodies, their voice will take wing and soar high to unfold the inner world of women past and present. “Blue” is the color of melancholy as well as a music genre or composition style. Huang Yu-Lin, Taiwan’s queen of Beijing opera, will be the leading singer in Lin at Blue. She will work together with several outstanding young artists to re-interpret some famous female characters in Chinese opera and reveal their melancholic soul.

Hsu Hao-Hsiang | musician Hsu is the leader and art director of Seahorse Band. He also appears in several films and TV productions. He is an actor, a musician, a performing director, and a music designer. He studied khoomei (throat singing) in Mongolia through the support of the “Dreamscope Project” organized by Taiwan’s Hakka Affairs Council. His music album Wanderings of a Traveler was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music in the category of best crossover album. He served as the performing director for a number of films, including Seediq Bale, Kano, and At Café 6, etc. He has

Program Notes | The Calling ( Dianjiang)

joined the cast of Life of Pi and Lucy and was the leading actor in the micro-film House of Little Moments.

The Roll Call was originally a five-minute stage production commissioned by the National Center for Traditional Arts for the

Hsu Po-Ang | director

awarding ceremony of the 27th Golden Melody Awards for Traditional Arts and Music. The piece is expanded into four sections for this performance.

Hsu was graduated from the National Academy of Chinese Theatre Arts with a master’s degree in Chinese theatre directing. He is a member of the Chinese Theatre Directors’ Association and has studied theatrical art at the National Taiwan University of Arts and Beijing opera at the National Kuo Kuang Academy of Arts. Currently he is the head and core creator

“General-Gods”—Taiwanese exorcist performance and new composition (composer/Lu Yun) The culture of general-gods (i.e., General of Gain and General of Loss) was originated from a temple near Taipei worshipping Bodhisattva Ksitigarbha. The legend has it that the Ksitigarbha tamed some demons and monsters, who were then appointed generals protecting the Ksitigarbha and they became heavenly beings after Ksitigarbha’s enlightenment. In Taiwanese religious tradition, the General of Gain and General of Loss lead the King of Ghosts’ Inspection Parade. Good people “gain” longevity while bad ones “lose” their years on earth. In a temple parade, these two deities also serve as protector of the resident deity as

of Po You Set, a theatre troupe trying to build Taiwan-based theatre expressions by combining elements of Beijing opera and Western drama. The troupe was shortlisted with its One-Man-Show and Tiger Youth Z for the 12th and 15th Taishin Arts Award (2013, 2016). The troupe has performed in four editions of the Dadaocheng International Festival of Arts. In 2016, Po You Set performed at the Toga Festival and Jeonju International Sori Festivalon on behalf of Taiwan. Hsu was nicknamed Monkey King of Chinese Theatre by media for his monkey acting games in childhood and his free, unfettered imaginations.

well as responsible for expelling ghosts and plagues. They are heard from distance because of the bells tied to the gener-

Wang Chen-Hua | executive director

al-gods’ feet ringing with their “three-step footwork.”

Wang Chen-Hua, the co-founder and associate head of the Po You Set, was graduated from the National Taiwan University

Two Generals of Gain, who hold a handcuff and a wooden tiger tablet, begin the parade by deterring evil beings. In the middle

of Arts with a major in theatre. He later pursued graduate studies in theatrical performance at the Taipei National University

section the General of Loss appears with a trident for the roll call. The episode ends with the three general-gods joining

of the Arts. Selected collaborative projects with Po You Set include My Brothers, Something to Learn about Beijing Opera,

together in the procession.

A Comic Beijing Opera, Death of Them, Death of My Mentor, Fxxk the Stage, Jingke the Assassinator, Tiger Youth Z, The

“Music & Parade”—traditional beiguan tunes (beiguan instruction/Wu Qian-Hui)

Chair, The Fire Fighter, and The Monkey King Wiping out Devils.

Beiguan is a traditional Chinese music commonly heard in religious festivals in Taiwan. This section features some of the famous tunes, such as “Wind on the River” and “Wind in the Pines.” The genuine music will give the audience an authentic feeling of Taiwanese religious parades. “The Inspection Tour”—Drum music (composer/Tsai An)

Hsu Chia-Ming | musician Hsu is a disciple of jinghu musicians Wu Ming-Sheng and Li Chao. Currently he works for Po You Set as a music designer responsible for arranging music and Chinese operatic tunes. Some of his recent works include Jingke the Assassinator, Tiger Youth Z, My wife & My Mother & My Mother-in-law, The Fire Fighter, and The Monkey King Wiping out Devils.

Two percussionists will present a completely different drum music which departs from what is commonly heard in a traditional parade.

Chen Yin-Chun | musician

“The Calling( Dianjiang)”—For 7 wind musicians and percussionists (composer/Lu Yun)

Chen is a new-generation crossover percussionist who plays between the traditional and the contemporary. He was

This piece combines Chinese wind and percussion instruments—di, xiao, bamboo xun, 37-reed sheng, souna, guanzi, kaqiang,

graduated from the National Taiwan College of Performing Arts and National Taiwan University of Arts with a major in

kouxian, large/small Chinese drums, luo, and ba—with General-gods’ performance to give new expressions to the traditional

music, and has participated in productions of various genres. Hsu is currently a member of the Hon-Tsai Chinese Ensemble,

Taiwanese religious culture.

G Drumz, and Butterfly Zither Studio; a percussionist of the Sui Xin Suo Yu band; and an instrumentalist of Po You Set.

Performers | Lin at Blue

Performers | The Calling ( Dianjiang)

Lin Zong-Han | musician

Lu Yun Music | designer/composer

two years at age 8. He also studied with Lu Yung-Hui, a noted drummer of Beijing opera in Taiwan. Wang attended the Ten

Lin plays matouqin in the Seahorse Band. Known for his world-music style composition, Lin has performed improvisations

Lu Yun has studied music since childhood. From 2000, she began to study composition with Professor Hung Chung-Kun. Her

Drum Art Percussion Group in 2006 and has been performing with the troupe at various events and in many places, including

at music events of different genres, including Chinese xiqu, traditional Chinese music, folk music, and modern music.

work Lord Xinqin for erhu and Chinese orchestra was awarded first prize at the Chinese Music Composition Competition

the opening ceremony of the Olympic Winter Games in Vancouver and other events in Manila, Hong Kong, and China.

organized by Taiwan’s Council for Cultural Affairs (CCA), and she was shortlisted for the Best Composer Award at the 16th Chen Ming-Fang | musician

Golden Melody Awards for Traditional Arts and Music. Lu went on to win the top award for two consecutive years at CCA’s

Beiguan Souna/Sheng Ou Shen-Chi

Currently teaching at the National Taiwan University of Performing Arts and studying for Ph.D. at National Taiwan Universi-

Chinese Music Composition Competition in 2004 and 2005 with Lang Sai (for suona and Chinese orchestra) and The Beijing

Ou Shen-Chi is currently a sophomore in Chinese music at the Tainan National University of the Arts. He majors in sheng and

ty of Arts, Chen is acclaimed for her virtuosity and traditional yet modern interpretation of Chinese music. She has held

Opera Masks (for pipa and Chinese orchestra). She enrolled at the National Taipei University of Arts in 2004, where she

is studying the instrument with An Chin-Ye. He also studies piano under the tutelage of Chen I-Chun. Ou has won first place in

numerous recitals and collaborated with music or theatre troupes in recent years to expand her scope and enrich her

obtained a master’s degree in music theory and composition. She began her Ph.D. studies at the University of Missouri-Kansas

sheng solo in the Hsinchu preliminary contest and second at the final of Taiwan National Music Competition for Students in

interpretation.

City in 2009 and received her DMA in May, 2014 under the tutelage of composers Zhou Long and Chen Yi. She has presented

2011. He also won first place in both the preliminary and final of the competition in 2013. Ou is currently a member of the

a composition concert called “Images of Taiwan” with the Taiwan Philharmonic Chinese Orchestra under the conducting of Ku

Hsinchu Youth Chinese Orchestra and Hsinchu City Chinese Youth Orchestra.

Po You Set Po You Set is a Taiwanese theatre troupe ambitious in telling stories in Taiwan through experimental drama. The troupe is aware of Taiwan’s historical background and its multiculturalism. On this beautiful island, we can find all kinds of cultural elements, traditional and contemporary, Eastern and Western. However, the privileged diversity does not result in a culture

Pao-Wen. One of her latest compositions is City God Procession for orchestra, with which she obtained the 27th Golden Melody Awards for Traditional Arts and Music. She is currently an assistant professor of Chinese music at Tainan National University of the Arts.

Percussion/Composition Tsai An Tsai An is currently a freshman in Chinese music at the Tainan National University of the Arts. He majors in percussion and has been studying with Shih Te-Hwa, Hsiao Hsiao-Ling, and Lin Chi-Wen. He began to learn the art of ten drums in 2003 and is

that belongs to Taiwan itself. Therefore, Po You Set claims that one of the major missions of the present generation is to

San-Chung Ji-Yang Assembly

currently a member of the Ten Drum Art Percussion Group and a member of one of the Junior Ten Drum groups. He has been

figure out and develop such a culture. Founded in July 2007, the troupe regards itself as a platform on which all forms of

Tsai Fang-Sheng

awarded the silver prize in the New Taipei City Drum Competition in 2012. He also won the bronze prize as a solo drummer at

performing arts are welcomed. In order to realize a genuine Taiwanese theatre culture, the troupe integrates elements

Tsai Fang-Sheng is the head of San-Chung Ji-Yang Assembly. Being immersed in Taiwanese religious tradition since childhood,

the competition help during the New Taipei City World Music and Dance Festival in 2013.

drawn from different ethnic groups or countries. Currently the troupe still keeps breaking limits and finding more possibili-

Tsai began to learn the art of temple parade as a teenager 19 years ago. Fame came to him after his first performance in

ties in theatre, such as Beijing opera, Kun opera, and all kinds of Eastern and Western drama, etc.

Danshui on May 5, 1999. He has performed at the 2014 Okinawa International Carnival, the Festival of Cultural Exchange across

Seahorse Band Seahorse Band was founded in 1999 and was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music with its album Wandering of a Traveler in 2012. The name “Seahorse” can be understood separately. Sea symbolizes Taiwan—the hometown of the band’s six members. It also suggests a broad-minded, all-embracing spirit just like the open sea. Horse reflects its free, wild music style. The band features the ancient, mysterious khoomei (throat singing) and a

Straits in Anhui China, the Xiamen Temple Parade celebrating the 352nd anniversary of the local City God’s Temple, and the opening ceremony of the Taipei Lantern Festival. He also won the Best Art Award at Taiwan’s Temple Parades Award. In addition to the active participation in traditional religious parades, Tsai is also attempting collaboration with artists from different fields. He has been invited to do face-painting for Zine magazine’s fashion models. He also did face-painting for Chthonic’s musicians for a concert.

combination of creative music and orchestration of special instruments. A combination of the Mongolian instrument

Chu Yung-Yi

matouqin; the Chinese instruments of huqin, pipa, and souna; and percussion from around the world form the major part of

Chu Yung-Yi ignited an interest in temple parades as a teenager. After completing his army service, Chu joined the San-Chung

Seahorse’s music. The leader Hsu Hao-Hsiang’s background in music design and theatre further adds diversity to Seahorse.

Ji-Yang Assembly through a temple parade. Under the guidance and support of the assembly’s leader, Chu has been showing

Currently the band is experimenting on traditional tunes and looking for more sound combinations to bridge the gap

his talents in various temple festivals and activities. He has performed at the Taipei Lantern Festival (2013), Taipei City God

between the sea and the land (horse).

Procession (since 2014), Exchange Forum for Taiwan City God Temples (2015), Taiwan’s Temple Parades Awards organized by Sanli TV (2015), and City God’s Procession at the Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of The Roll Call for the 27th Golden Melody Awards for Traditional Arts and Music. Dai Hsin-Hung Dai Hsin-Hung has been interested in folk arts since childhood. He was a playmate of San-Chung Ji-Yang Assembly’s head leaders and has been learning related knowledge and skills from the two friends. It is a natural result that Dao later became a member of the assembly and performed with it for various occasions and events. He has taken part in the Hsinchu Hakka Yimin Festival (2010), Taipei Lantern Festival (2013), Okinawa International Carnival (2014), Taiwan’s Temple Parades Awards

Beiguan Souna/Di/Xiao

Tu Chun-Kuan

Tu Chun-Kuan is currently a freshman in Chinese music at the Tainan National University of the Arts. He began studies in di and souna at age 10 under the tutelage of Chen Chung-Shen, Tu Feng-cheng, Liu Fu-Ji, and Chen Chia-Hui. He won first place in di solo in the Tainan preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won second in the preliminary and third in the final in 2013. He also won first place in the preliminary and third place in final in 2015. Currently he is a member of the You Yue Chinese Orchestra and Tainan Ensemble. Beiguan Suona/Guanzi/Souna/Kouxian/Kaqiang Chen Kuan-Hong Chen Kuan-Hong is a third-grader of the Affiliated High School of Tainan National University of the Arts. He currently studies souna as a major with Sun Pei-Yuan and sheng as a minor with Tsai Hui-Peng. He won first place in souna solo in the Taichung preliminary contest and third place in the final of the Taiwan National Music Competition for Students in 2013. He then won third place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014. Chen is currently a member of Hsinchu City Chinese Youth Orchestra and Taichung City Hakka Chinese Orchestra. Percussion/Sheng Huang Chun-Yu Huang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to the instrument of sheng through the tutelage of Chen Hsin-Chi and is currently studying with An Chin-Ye. Huang also studies piano with Pan Tsu-Hsin. He won second place in sheng solo in the Taichung preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won first place in sheng solo in both the preliminary and the final in 2015. Huang is currently a member of the Yuan Yun Chinese Ensemble.

organized by Sanli TV (2015), and Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of

Percussion/Di/Bamboo Xun Chang Cheng-Chia

The Roll Call for the opening ceremony celebrating the 20th anniversary of the Tainan National University of the Arts.

Chang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to di

Tainan National University of Arts (Chinese Music Department) Percussion Wang Zhi-Chi Wang Zhi-Chi is currently a sophomore majoring in percussion at the Tainan National University of the Arts. Wang has been studying Chinese percussion with Professor Shih Te-Hwa and Western percussion with Hsiao Hsiao-Ling. Wang also studies piano and di with Tai Pi-Yin and Hou Guang-Yu. Being interested in drumming since childhood, Wang studied jazz drum for

through the tutelage of Li Kao-Lin and is currently studying with Hou Guang-Yu. Chang also studies piano with Pan Tsu-Hsin. He won first place in di solo in the Tainan preliminary contest and fifth in the final of Taiwan National Music Competition for Students in 2013. He also won fourth place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014.


演出者簡介 | 點將

Program

Performers | Lin at Blue

1.Lin at Blue 北管嗩吶/管/嗩吶/口弦/咔腔 陳冠宏 就讀國立臺南藝術大學中國音樂學系高中部三年級,主修嗩吶,師事孫沛元老師;副修笙,師事蔡輝鵬老師。曾獲得102學年度全 國學生音樂比賽臺中市初賽嗩吶獨奏國中A組第一名、全國決賽第三名,2013年中華民國國樂協會器樂大賽吹管樂器少年組第一

<Intermission> 2.The Calling (Dianjiang)

Huang Yu-lin | lead vocalist Huang studied theatrical art at the National Taiwan College of Performing Arts and Chinese Culture University with a major in qing-yi and hua-dan in Beijing opera. She has been studying with several great performers both in Taiwan and China and

名, 2014年中華民國國樂學會器樂大賽吹管樂器少年組第三名 。現為新竹市立青少年國樂團團員、台中市政府客家事務委員會國

is a highly-regarded performer of a number of Beijing operas. She was granted the on-screen award in the Youth Opera

樂團團員。

Contest held by CCTV and the rising talent award in Beijing Youth Opera Challenge Contest. She was also awarded the first prize in the Blue Island Cup with Taken Alive and was recognized with the 51st Culture and Art Award held by Chinese

打擊/笙 黃俊毓 就讀國立臺南藝術大學中國音樂學系高中部二年級,主修笙,由陳信志老師啟蒙,現師事安敬業老師,副修鋼琴;現師事潘祖欣 老師。曾獲100學年度全國學生音樂比賽臺中市初賽笙獨奏國小B組第二名;104學年度臺南市初賽笙獨奏高中職A組第一名、全國 決賽第一名。現為原韻絲竹樂團團員。 打擊/笛/竹塤 張正佳 就讀於國立臺南藝術大學中國音樂學系高中部二年級。主修笛,師事侯廣宇教授,起蒙於李凱琳老師;副修鋼琴,師事潘祖欣老 師。曾獲102學年度全國學生音樂比賽臺南市初賽笛獨奏國中B組第一名、全國決賽第五名,2014年中華民國國樂學會器樂大賽吹 管樂器少年組第四名。

Program Notes | Lin at Blue

Writer’s & Artist’s Association in the category of Beijing opera performance. She is currently the performance master of Po

“Dan,” the female characters in Chinese opera, represents a kind of female image which reflects the bounded situation of

2010, she formally became an apprentice to Gu Zheng-qiu, a prominent Beijing opera performer. Her recent endeavor

traditional Chinese women. Yet, how could it be possible to encompass women—the most complex, hard-to-understand

includes works in films, television, theatre, and traditional Chinese opera. She is the co-founder of Po You Set and has been

creature in the world—and their experiences with the category of “dan”? In a Chinese opera, a woman usually appears as a

acclaimed as Taiwan’s queen of Beijing opera.

You Set and is the first to win the Best Rising Talent Award of the Golden Melody Awards for Traditional Arts and Music. In

mother, a wife, an enchantress, or a mistress. These female characters are always attractive, but somehow melancholic. With these beautiful melodies, their voice will take wing and soar high to unfold the inner world of women past and present. “Blue” is the color of melancholy as well as a music genre or composition style. Huang Yu-Lin, Taiwan’s queen of Beijing opera, will be the leading singer in Lin at Blue. She will work together with several outstanding young artists to re-interpret some famous female characters in Chinese opera and reveal their melancholic soul.

Hsu Hao-Hsiang | musician Hsu is the leader and art director of Seahorse Band. He also appears in several films and TV productions. He is an actor, a musician, a performing director, and a music designer. He studied khoomei (throat singing) in Mongolia through the support of the “Dreamscope Project” organized by Taiwan’s Hakka Affairs Council. His music album Wanderings of a Traveler was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music in the category of best crossover album. He served as the performing director for a number of films, including Seediq Bale, Kano, and At Café 6, etc. He has

Program Notes | The Calling ( Dianjiang)

joined the cast of Life of Pi and Lucy and was the leading actor in the micro-film House of Little Moments.

The Roll Call was originally a five-minute stage production commissioned by the National Center for Traditional Arts for the

Hsu Po-Ang | director

awarding ceremony of the 27th Golden Melody Awards for Traditional Arts and Music. The piece is expanded into four sections for this performance.

Hsu was graduated from the National Academy of Chinese Theatre Arts with a master’s degree in Chinese theatre directing. He is a member of the Chinese Theatre Directors’ Association and has studied theatrical art at the National Taiwan University of Arts and Beijing opera at the National Kuo Kuang Academy of Arts. Currently he is the head and core creator

“General-Gods”—Taiwanese exorcist performance and new composition (composer/Lu Yun) The culture of general-gods (i.e., General of Gain and General of Loss) was originated from a temple near Taipei worshipping Bodhisattva Ksitigarbha. The legend has it that the Ksitigarbha tamed some demons and monsters, who were then appointed generals protecting the Ksitigarbha and they became heavenly beings after Ksitigarbha’s enlightenment. In Taiwanese religious tradition, the General of Gain and General of Loss lead the King of Ghosts’ Inspection Parade. Good people “gain” longevity while bad ones “lose” their years on earth. In a temple parade, these two deities also serve as protector of the resident deity as

of Po You Set, a theatre troupe trying to build Taiwan-based theatre expressions by combining elements of Beijing opera and Western drama. The troupe was shortlisted with its One-Man-Show and Tiger Youth Z for the 12th and 15th Taishin Arts Award (2013, 2016). The troupe has performed in four editions of the Dadaocheng International Festival of Arts. In 2016, Po You Set performed at the Toga Festival and Jeonju International Sori Festivalon on behalf of Taiwan. Hsu was nicknamed Monkey King of Chinese Theatre by media for his monkey acting games in childhood and his free, unfettered imaginations.

well as responsible for expelling ghosts and plagues. They are heard from distance because of the bells tied to the gener-

Wang Chen-Hua | executive director

al-gods’ feet ringing with their “three-step footwork.”

Wang Chen-Hua, the co-founder and associate head of the Po You Set, was graduated from the National Taiwan University

Two Generals of Gain, who hold a handcuff and a wooden tiger tablet, begin the parade by deterring evil beings. In the middle

of Arts with a major in theatre. He later pursued graduate studies in theatrical performance at the Taipei National University

section the General of Loss appears with a trident for the roll call. The episode ends with the three general-gods joining

of the Arts. Selected collaborative projects with Po You Set include My Brothers, Something to Learn about Beijing Opera,

together in the procession.

A Comic Beijing Opera, Death of Them, Death of My Mentor, Fxxk the Stage, Jingke the Assassinator, Tiger Youth Z, The

“Music & Parade”—traditional beiguan tunes (beiguan instruction/Wu Qian-Hui)

Chair, The Fire Fighter, and The Monkey King Wiping out Devils.

Beiguan is a traditional Chinese music commonly heard in religious festivals in Taiwan. This section features some of the famous tunes, such as “Wind on the River” and “Wind in the Pines.” The genuine music will give the audience an authentic feeling of Taiwanese religious parades. “The Inspection Tour”—Drum music (composer/Tsai An)

Hsu Chia-Ming | musician Hsu is a disciple of jinghu musicians Wu Ming-Sheng and Li Chao. Currently he works for Po You Set as a music designer responsible for arranging music and Chinese operatic tunes. Some of his recent works include Jingke the Assassinator, Tiger Youth Z, My wife & My Mother & My Mother-in-law, The Fire Fighter, and The Monkey King Wiping out Devils.

Two percussionists will present a completely different drum music which departs from what is commonly heard in a traditional parade.

Chen Yin-Chun | musician

“The Calling( Dianjiang)”—For 7 wind musicians and percussionists (composer/Lu Yun)

Chen is a new-generation crossover percussionist who plays between the traditional and the contemporary. He was

This piece combines Chinese wind and percussion instruments—di, xiao, bamboo xun, 37-reed sheng, souna, guanzi, kaqiang,

graduated from the National Taiwan College of Performing Arts and National Taiwan University of Arts with a major in

kouxian, large/small Chinese drums, luo, and ba—with General-gods’ performance to give new expressions to the traditional

music, and has participated in productions of various genres. Hsu is currently a member of the Hon-Tsai Chinese Ensemble,

Taiwanese religious culture.

G Drumz, and Butterfly Zither Studio; a percussionist of the Sui Xin Suo Yu band; and an instrumentalist of Po You Set.

Performers | Lin at Blue

Performers | The Calling ( Dianjiang)

Lin Zong-Han | musician

Lu Yun Music | designer/composer

two years at age 8. He also studied with Lu Yung-Hui, a noted drummer of Beijing opera in Taiwan. Wang attended the Ten

Lin plays matouqin in the Seahorse Band. Known for his world-music style composition, Lin has performed improvisations

Lu Yun has studied music since childhood. From 2000, she began to study composition with Professor Hung Chung-Kun. Her

Drum Art Percussion Group in 2006 and has been performing with the troupe at various events and in many places, including

at music events of different genres, including Chinese xiqu, traditional Chinese music, folk music, and modern music.

work Lord Xinqin for erhu and Chinese orchestra was awarded first prize at the Chinese Music Composition Competition

the opening ceremony of the Olympic Winter Games in Vancouver and other events in Manila, Hong Kong, and China.

organized by Taiwan’s Council for Cultural Affairs (CCA), and she was shortlisted for the Best Composer Award at the 16th Chen Ming-Fang | musician

Golden Melody Awards for Traditional Arts and Music. Lu went on to win the top award for two consecutive years at CCA’s

Beiguan Souna/Sheng Ou Shen-Chi

Currently teaching at the National Taiwan University of Performing Arts and studying for Ph.D. at National Taiwan Universi-

Chinese Music Composition Competition in 2004 and 2005 with Lang Sai (for suona and Chinese orchestra) and The Beijing

Ou Shen-Chi is currently a sophomore in Chinese music at the Tainan National University of the Arts. He majors in sheng and

ty of Arts, Chen is acclaimed for her virtuosity and traditional yet modern interpretation of Chinese music. She has held

Opera Masks (for pipa and Chinese orchestra). She enrolled at the National Taipei University of Arts in 2004, where she

is studying the instrument with An Chin-Ye. He also studies piano under the tutelage of Chen I-Chun. Ou has won first place in

numerous recitals and collaborated with music or theatre troupes in recent years to expand her scope and enrich her

obtained a master’s degree in music theory and composition. She began her Ph.D. studies at the University of Missouri-Kansas

sheng solo in the Hsinchu preliminary contest and second at the final of Taiwan National Music Competition for Students in

interpretation.

City in 2009 and received her DMA in May, 2014 under the tutelage of composers Zhou Long and Chen Yi. She has presented

2011. He also won first place in both the preliminary and final of the competition in 2013. Ou is currently a member of the

a composition concert called “Images of Taiwan” with the Taiwan Philharmonic Chinese Orchestra under the conducting of Ku

Hsinchu Youth Chinese Orchestra and Hsinchu City Chinese Youth Orchestra.

Po You Set Po You Set is a Taiwanese theatre troupe ambitious in telling stories in Taiwan through experimental drama. The troupe is aware of Taiwan’s historical background and its multiculturalism. On this beautiful island, we can find all kinds of cultural elements, traditional and contemporary, Eastern and Western. However, the privileged diversity does not result in a culture

Pao-Wen. One of her latest compositions is City God Procession for orchestra, with which she obtained the 27th Golden Melody Awards for Traditional Arts and Music. She is currently an assistant professor of Chinese music at Tainan National University of the Arts.

Percussion/Composition Tsai An Tsai An is currently a freshman in Chinese music at the Tainan National University of the Arts. He majors in percussion and has been studying with Shih Te-Hwa, Hsiao Hsiao-Ling, and Lin Chi-Wen. He began to learn the art of ten drums in 2003 and is

that belongs to Taiwan itself. Therefore, Po You Set claims that one of the major missions of the present generation is to

San-Chung Ji-Yang Assembly

currently a member of the Ten Drum Art Percussion Group and a member of one of the Junior Ten Drum groups. He has been

figure out and develop such a culture. Founded in July 2007, the troupe regards itself as a platform on which all forms of

Tsai Fang-Sheng

awarded the silver prize in the New Taipei City Drum Competition in 2012. He also won the bronze prize as a solo drummer at

performing arts are welcomed. In order to realize a genuine Taiwanese theatre culture, the troupe integrates elements

Tsai Fang-Sheng is the head of San-Chung Ji-Yang Assembly. Being immersed in Taiwanese religious tradition since childhood,

the competition help during the New Taipei City World Music and Dance Festival in 2013.

drawn from different ethnic groups or countries. Currently the troupe still keeps breaking limits and finding more possibili-

Tsai began to learn the art of temple parade as a teenager 19 years ago. Fame came to him after his first performance in

ties in theatre, such as Beijing opera, Kun opera, and all kinds of Eastern and Western drama, etc.

Danshui on May 5, 1999. He has performed at the 2014 Okinawa International Carnival, the Festival of Cultural Exchange across

Seahorse Band Seahorse Band was founded in 1999 and was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music with its album Wandering of a Traveler in 2012. The name “Seahorse” can be understood separately. Sea symbolizes Taiwan—the hometown of the band’s six members. It also suggests a broad-minded, all-embracing spirit just like the open sea. Horse reflects its free, wild music style. The band features the ancient, mysterious khoomei (throat singing) and a

Straits in Anhui China, the Xiamen Temple Parade celebrating the 352nd anniversary of the local City God’s Temple, and the opening ceremony of the Taipei Lantern Festival. He also won the Best Art Award at Taiwan’s Temple Parades Award. In addition to the active participation in traditional religious parades, Tsai is also attempting collaboration with artists from different fields. He has been invited to do face-painting for Zine magazine’s fashion models. He also did face-painting for Chthonic’s musicians for a concert.

combination of creative music and orchestration of special instruments. A combination of the Mongolian instrument

Chu Yung-Yi

matouqin; the Chinese instruments of huqin, pipa, and souna; and percussion from around the world form the major part of

Chu Yung-Yi ignited an interest in temple parades as a teenager. After completing his army service, Chu joined the San-Chung

Seahorse’s music. The leader Hsu Hao-Hsiang’s background in music design and theatre further adds diversity to Seahorse.

Ji-Yang Assembly through a temple parade. Under the guidance and support of the assembly’s leader, Chu has been showing

Currently the band is experimenting on traditional tunes and looking for more sound combinations to bridge the gap

his talents in various temple festivals and activities. He has performed at the Taipei Lantern Festival (2013), Taipei City God

between the sea and the land (horse).

Procession (since 2014), Exchange Forum for Taiwan City God Temples (2015), Taiwan’s Temple Parades Awards organized by Sanli TV (2015), and City God’s Procession at the Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of The Roll Call for the 27th Golden Melody Awards for Traditional Arts and Music. Dai Hsin-Hung Dai Hsin-Hung has been interested in folk arts since childhood. He was a playmate of San-Chung Ji-Yang Assembly’s head leaders and has been learning related knowledge and skills from the two friends. It is a natural result that Dao later became a member of the assembly and performed with it for various occasions and events. He has taken part in the Hsinchu Hakka Yimin Festival (2010), Taipei Lantern Festival (2013), Okinawa International Carnival (2014), Taiwan’s Temple Parades Awards

Beiguan Souna/Di/Xiao

Tu Chun-Kuan

Tu Chun-Kuan is currently a freshman in Chinese music at the Tainan National University of the Arts. He began studies in di and souna at age 10 under the tutelage of Chen Chung-Shen, Tu Feng-cheng, Liu Fu-Ji, and Chen Chia-Hui. He won first place in di solo in the Tainan preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won second in the preliminary and third in the final in 2013. He also won first place in the preliminary and third place in final in 2015. Currently he is a member of the You Yue Chinese Orchestra and Tainan Ensemble. Beiguan Suona/Guanzi/Souna/Kouxian/Kaqiang Chen Kuan-Hong Chen Kuan-Hong is a third-grader of the Affiliated High School of Tainan National University of the Arts. He currently studies souna as a major with Sun Pei-Yuan and sheng as a minor with Tsai Hui-Peng. He won first place in souna solo in the Taichung preliminary contest and third place in the final of the Taiwan National Music Competition for Students in 2013. He then won third place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014. Chen is currently a member of Hsinchu City Chinese Youth Orchestra and Taichung City Hakka Chinese Orchestra. Percussion/Sheng Huang Chun-Yu Huang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to the instrument of sheng through the tutelage of Chen Hsin-Chi and is currently studying with An Chin-Ye. Huang also studies piano with Pan Tsu-Hsin. He won second place in sheng solo in the Taichung preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won first place in sheng solo in both the preliminary and the final in 2015. Huang is currently a member of the Yuan Yun Chinese Ensemble.

organized by Sanli TV (2015), and Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of

Percussion/Di/Bamboo Xun Chang Cheng-Chia

The Roll Call for the opening ceremony celebrating the 20th anniversary of the Tainan National University of the Arts.

Chang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to di

Tainan National University of Arts (Chinese Music Department) Percussion Wang Zhi-Chi Wang Zhi-Chi is currently a sophomore majoring in percussion at the Tainan National University of the Arts. Wang has been studying Chinese percussion with Professor Shih Te-Hwa and Western percussion with Hsiao Hsiao-Ling. Wang also studies piano and di with Tai Pi-Yin and Hou Guang-Yu. Being interested in drumming since childhood, Wang studied jazz drum for

through the tutelage of Li Kao-Lin and is currently studying with Hou Guang-Yu. Chang also studies piano with Pan Tsu-Hsin. He won first place in di solo in the Tainan preliminary contest and fifth in the final of Taiwan National Music Competition for Students in 2013. He also won fourth place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014.


演出者簡介 | 點將

Program

Performers | Lin at Blue

1.Lin at Blue 北管嗩吶/管/嗩吶/口弦/咔腔 陳冠宏 就讀國立臺南藝術大學中國音樂學系高中部三年級,主修嗩吶,師事孫沛元老師;副修笙,師事蔡輝鵬老師。曾獲得102學年度全 國學生音樂比賽臺中市初賽嗩吶獨奏國中A組第一名、全國決賽第三名,2013年中華民國國樂協會器樂大賽吹管樂器少年組第一

<Intermission> 2.The Calling (Dianjiang)

Huang Yu-lin | lead vocalist Huang studied theatrical art at the National Taiwan College of Performing Arts and Chinese Culture University with a major in qing-yi and hua-dan in Beijing opera. She has been studying with several great performers both in Taiwan and China and

名, 2014年中華民國國樂學會器樂大賽吹管樂器少年組第三名 。現為新竹市立青少年國樂團團員、台中市政府客家事務委員會國

is a highly-regarded performer of a number of Beijing operas. She was granted the on-screen award in the Youth Opera

樂團團員。

Contest held by CCTV and the rising talent award in Beijing Youth Opera Challenge Contest. She was also awarded the first prize in the Blue Island Cup with Taken Alive and was recognized with the 51st Culture and Art Award held by Chinese

打擊/笙 黃俊毓 就讀國立臺南藝術大學中國音樂學系高中部二年級,主修笙,由陳信志老師啟蒙,現師事安敬業老師,副修鋼琴;現師事潘祖欣 老師。曾獲100學年度全國學生音樂比賽臺中市初賽笙獨奏國小B組第二名;104學年度臺南市初賽笙獨奏高中職A組第一名、全國 決賽第一名。現為原韻絲竹樂團團員。 打擊/笛/竹塤 張正佳 就讀於國立臺南藝術大學中國音樂學系高中部二年級。主修笛,師事侯廣宇教授,起蒙於李凱琳老師;副修鋼琴,師事潘祖欣老 師。曾獲102學年度全國學生音樂比賽臺南市初賽笛獨奏國中B組第一名、全國決賽第五名,2014年中華民國國樂學會器樂大賽吹 管樂器少年組第四名。

Program Notes | Lin at Blue

Writer’s & Artist’s Association in the category of Beijing opera performance. She is currently the performance master of Po

“Dan,” the female characters in Chinese opera, represents a kind of female image which reflects the bounded situation of

2010, she formally became an apprentice to Gu Zheng-qiu, a prominent Beijing opera performer. Her recent endeavor

traditional Chinese women. Yet, how could it be possible to encompass women—the most complex, hard-to-understand

includes works in films, television, theatre, and traditional Chinese opera. She is the co-founder of Po You Set and has been

creature in the world—and their experiences with the category of “dan”? In a Chinese opera, a woman usually appears as a

acclaimed as Taiwan’s queen of Beijing opera.

You Set and is the first to win the Best Rising Talent Award of the Golden Melody Awards for Traditional Arts and Music. In

mother, a wife, an enchantress, or a mistress. These female characters are always attractive, but somehow melancholic. With these beautiful melodies, their voice will take wing and soar high to unfold the inner world of women past and present. “Blue” is the color of melancholy as well as a music genre or composition style. Huang Yu-Lin, Taiwan’s queen of Beijing opera, will be the leading singer in Lin at Blue. She will work together with several outstanding young artists to re-interpret some famous female characters in Chinese opera and reveal their melancholic soul.

Hsu Hao-Hsiang | musician Hsu is the leader and art director of Seahorse Band. He also appears in several films and TV productions. He is an actor, a musician, a performing director, and a music designer. He studied khoomei (throat singing) in Mongolia through the support of the “Dreamscope Project” organized by Taiwan’s Hakka Affairs Council. His music album Wanderings of a Traveler was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music in the category of best crossover album. He served as the performing director for a number of films, including Seediq Bale, Kano, and At Café 6, etc. He has

Program Notes | The Calling ( Dianjiang)

joined the cast of Life of Pi and Lucy and was the leading actor in the micro-film House of Little Moments.

The Roll Call was originally a five-minute stage production commissioned by the National Center for Traditional Arts for the

Hsu Po-Ang | director

awarding ceremony of the 27th Golden Melody Awards for Traditional Arts and Music. The piece is expanded into four sections for this performance.

Hsu was graduated from the National Academy of Chinese Theatre Arts with a master’s degree in Chinese theatre directing. He is a member of the Chinese Theatre Directors’ Association and has studied theatrical art at the National Taiwan University of Arts and Beijing opera at the National Kuo Kuang Academy of Arts. Currently he is the head and core creator

“General-Gods”—Taiwanese exorcist performance and new composition (composer/Lu Yun) The culture of general-gods (i.e., General of Gain and General of Loss) was originated from a temple near Taipei worshipping Bodhisattva Ksitigarbha. The legend has it that the Ksitigarbha tamed some demons and monsters, who were then appointed generals protecting the Ksitigarbha and they became heavenly beings after Ksitigarbha’s enlightenment. In Taiwanese religious tradition, the General of Gain and General of Loss lead the King of Ghosts’ Inspection Parade. Good people “gain” longevity while bad ones “lose” their years on earth. In a temple parade, these two deities also serve as protector of the resident deity as

of Po You Set, a theatre troupe trying to build Taiwan-based theatre expressions by combining elements of Beijing opera and Western drama. The troupe was shortlisted with its One-Man-Show and Tiger Youth Z for the 12th and 15th Taishin Arts Award (2013, 2016). The troupe has performed in four editions of the Dadaocheng International Festival of Arts. In 2016, Po You Set performed at the Toga Festival and Jeonju International Sori Festivalon on behalf of Taiwan. Hsu was nicknamed Monkey King of Chinese Theatre by media for his monkey acting games in childhood and his free, unfettered imaginations.

well as responsible for expelling ghosts and plagues. They are heard from distance because of the bells tied to the gener-

Wang Chen-Hua | executive director

al-gods’ feet ringing with their “three-step footwork.”

Wang Chen-Hua, the co-founder and associate head of the Po You Set, was graduated from the National Taiwan University

Two Generals of Gain, who hold a handcuff and a wooden tiger tablet, begin the parade by deterring evil beings. In the middle

of Arts with a major in theatre. He later pursued graduate studies in theatrical performance at the Taipei National University

section the General of Loss appears with a trident for the roll call. The episode ends with the three general-gods joining

of the Arts. Selected collaborative projects with Po You Set include My Brothers, Something to Learn about Beijing Opera,

together in the procession.

A Comic Beijing Opera, Death of Them, Death of My Mentor, Fxxk the Stage, Jingke the Assassinator, Tiger Youth Z, The

“Music & Parade”—traditional beiguan tunes (beiguan instruction/Wu Qian-Hui)

Chair, The Fire Fighter, and The Monkey King Wiping out Devils.

Beiguan is a traditional Chinese music commonly heard in religious festivals in Taiwan. This section features some of the famous tunes, such as “Wind on the River” and “Wind in the Pines.” The genuine music will give the audience an authentic feeling of Taiwanese religious parades. “The Inspection Tour”—Drum music (composer/Tsai An)

Hsu Chia-Ming | musician Hsu is a disciple of jinghu musicians Wu Ming-Sheng and Li Chao. Currently he works for Po You Set as a music designer responsible for arranging music and Chinese operatic tunes. Some of his recent works include Jingke the Assassinator, Tiger Youth Z, My wife & My Mother & My Mother-in-law, The Fire Fighter, and The Monkey King Wiping out Devils.

Two percussionists will present a completely different drum music which departs from what is commonly heard in a traditional parade.

Chen Yin-Chun | musician

“The Calling( Dianjiang)”—For 7 wind musicians and percussionists (composer/Lu Yun)

Chen is a new-generation crossover percussionist who plays between the traditional and the contemporary. He was

This piece combines Chinese wind and percussion instruments—di, xiao, bamboo xun, 37-reed sheng, souna, guanzi, kaqiang,

graduated from the National Taiwan College of Performing Arts and National Taiwan University of Arts with a major in

kouxian, large/small Chinese drums, luo, and ba—with General-gods’ performance to give new expressions to the traditional

music, and has participated in productions of various genres. Hsu is currently a member of the Hon-Tsai Chinese Ensemble,

Taiwanese religious culture.

G Drumz, and Butterfly Zither Studio; a percussionist of the Sui Xin Suo Yu band; and an instrumentalist of Po You Set.

Performers | Lin at Blue

Performers | The Calling ( Dianjiang)

Lin Zong-Han | musician

Lu Yun Music | designer/composer

two years at age 8. He also studied with Lu Yung-Hui, a noted drummer of Beijing opera in Taiwan. Wang attended the Ten

Lin plays matouqin in the Seahorse Band. Known for his world-music style composition, Lin has performed improvisations

Lu Yun has studied music since childhood. From 2000, she began to study composition with Professor Hung Chung-Kun. Her

Drum Art Percussion Group in 2006 and has been performing with the troupe at various events and in many places, including

at music events of different genres, including Chinese xiqu, traditional Chinese music, folk music, and modern music.

work Lord Xinqin for erhu and Chinese orchestra was awarded first prize at the Chinese Music Composition Competition

the opening ceremony of the Olympic Winter Games in Vancouver and other events in Manila, Hong Kong, and China.

organized by Taiwan’s Council for Cultural Affairs (CCA), and she was shortlisted for the Best Composer Award at the 16th Chen Ming-Fang | musician

Golden Melody Awards for Traditional Arts and Music. Lu went on to win the top award for two consecutive years at CCA’s

Beiguan Souna/Sheng Ou Shen-Chi

Currently teaching at the National Taiwan University of Performing Arts and studying for Ph.D. at National Taiwan Universi-

Chinese Music Composition Competition in 2004 and 2005 with Lang Sai (for suona and Chinese orchestra) and The Beijing

Ou Shen-Chi is currently a sophomore in Chinese music at the Tainan National University of the Arts. He majors in sheng and

ty of Arts, Chen is acclaimed for her virtuosity and traditional yet modern interpretation of Chinese music. She has held

Opera Masks (for pipa and Chinese orchestra). She enrolled at the National Taipei University of Arts in 2004, where she

is studying the instrument with An Chin-Ye. He also studies piano under the tutelage of Chen I-Chun. Ou has won first place in

numerous recitals and collaborated with music or theatre troupes in recent years to expand her scope and enrich her

obtained a master’s degree in music theory and composition. She began her Ph.D. studies at the University of Missouri-Kansas

sheng solo in the Hsinchu preliminary contest and second at the final of Taiwan National Music Competition for Students in

interpretation.

City in 2009 and received her DMA in May, 2014 under the tutelage of composers Zhou Long and Chen Yi. She has presented

2011. He also won first place in both the preliminary and final of the competition in 2013. Ou is currently a member of the

a composition concert called “Images of Taiwan” with the Taiwan Philharmonic Chinese Orchestra under the conducting of Ku

Hsinchu Youth Chinese Orchestra and Hsinchu City Chinese Youth Orchestra.

Po You Set Po You Set is a Taiwanese theatre troupe ambitious in telling stories in Taiwan through experimental drama. The troupe is aware of Taiwan’s historical background and its multiculturalism. On this beautiful island, we can find all kinds of cultural elements, traditional and contemporary, Eastern and Western. However, the privileged diversity does not result in a culture

Pao-Wen. One of her latest compositions is City God Procession for orchestra, with which she obtained the 27th Golden Melody Awards for Traditional Arts and Music. She is currently an assistant professor of Chinese music at Tainan National University of the Arts.

Percussion/Composition Tsai An Tsai An is currently a freshman in Chinese music at the Tainan National University of the Arts. He majors in percussion and has been studying with Shih Te-Hwa, Hsiao Hsiao-Ling, and Lin Chi-Wen. He began to learn the art of ten drums in 2003 and is

that belongs to Taiwan itself. Therefore, Po You Set claims that one of the major missions of the present generation is to

San-Chung Ji-Yang Assembly

currently a member of the Ten Drum Art Percussion Group and a member of one of the Junior Ten Drum groups. He has been

figure out and develop such a culture. Founded in July 2007, the troupe regards itself as a platform on which all forms of

Tsai Fang-Sheng

awarded the silver prize in the New Taipei City Drum Competition in 2012. He also won the bronze prize as a solo drummer at

performing arts are welcomed. In order to realize a genuine Taiwanese theatre culture, the troupe integrates elements

Tsai Fang-Sheng is the head of San-Chung Ji-Yang Assembly. Being immersed in Taiwanese religious tradition since childhood,

the competition help during the New Taipei City World Music and Dance Festival in 2013.

drawn from different ethnic groups or countries. Currently the troupe still keeps breaking limits and finding more possibili-

Tsai began to learn the art of temple parade as a teenager 19 years ago. Fame came to him after his first performance in

ties in theatre, such as Beijing opera, Kun opera, and all kinds of Eastern and Western drama, etc.

Danshui on May 5, 1999. He has performed at the 2014 Okinawa International Carnival, the Festival of Cultural Exchange across

Seahorse Band Seahorse Band was founded in 1999 and was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music with its album Wandering of a Traveler in 2012. The name “Seahorse” can be understood separately. Sea symbolizes Taiwan—the hometown of the band’s six members. It also suggests a broad-minded, all-embracing spirit just like the open sea. Horse reflects its free, wild music style. The band features the ancient, mysterious khoomei (throat singing) and a

Straits in Anhui China, the Xiamen Temple Parade celebrating the 352nd anniversary of the local City God’s Temple, and the opening ceremony of the Taipei Lantern Festival. He also won the Best Art Award at Taiwan’s Temple Parades Award. In addition to the active participation in traditional religious parades, Tsai is also attempting collaboration with artists from different fields. He has been invited to do face-painting for Zine magazine’s fashion models. He also did face-painting for Chthonic’s musicians for a concert.

combination of creative music and orchestration of special instruments. A combination of the Mongolian instrument

Chu Yung-Yi

matouqin; the Chinese instruments of huqin, pipa, and souna; and percussion from around the world form the major part of

Chu Yung-Yi ignited an interest in temple parades as a teenager. After completing his army service, Chu joined the San-Chung

Seahorse’s music. The leader Hsu Hao-Hsiang’s background in music design and theatre further adds diversity to Seahorse.

Ji-Yang Assembly through a temple parade. Under the guidance and support of the assembly’s leader, Chu has been showing

Currently the band is experimenting on traditional tunes and looking for more sound combinations to bridge the gap

his talents in various temple festivals and activities. He has performed at the Taipei Lantern Festival (2013), Taipei City God

between the sea and the land (horse).

Procession (since 2014), Exchange Forum for Taiwan City God Temples (2015), Taiwan’s Temple Parades Awards organized by Sanli TV (2015), and City God’s Procession at the Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of The Roll Call for the 27th Golden Melody Awards for Traditional Arts and Music. Dai Hsin-Hung Dai Hsin-Hung has been interested in folk arts since childhood. He was a playmate of San-Chung Ji-Yang Assembly’s head leaders and has been learning related knowledge and skills from the two friends. It is a natural result that Dao later became a member of the assembly and performed with it for various occasions and events. He has taken part in the Hsinchu Hakka Yimin Festival (2010), Taipei Lantern Festival (2013), Okinawa International Carnival (2014), Taiwan’s Temple Parades Awards

Beiguan Souna/Di/Xiao

Tu Chun-Kuan

Tu Chun-Kuan is currently a freshman in Chinese music at the Tainan National University of the Arts. He began studies in di and souna at age 10 under the tutelage of Chen Chung-Shen, Tu Feng-cheng, Liu Fu-Ji, and Chen Chia-Hui. He won first place in di solo in the Tainan preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won second in the preliminary and third in the final in 2013. He also won first place in the preliminary and third place in final in 2015. Currently he is a member of the You Yue Chinese Orchestra and Tainan Ensemble. Beiguan Suona/Guanzi/Souna/Kouxian/Kaqiang Chen Kuan-Hong Chen Kuan-Hong is a third-grader of the Affiliated High School of Tainan National University of the Arts. He currently studies souna as a major with Sun Pei-Yuan and sheng as a minor with Tsai Hui-Peng. He won first place in souna solo in the Taichung preliminary contest and third place in the final of the Taiwan National Music Competition for Students in 2013. He then won third place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014. Chen is currently a member of Hsinchu City Chinese Youth Orchestra and Taichung City Hakka Chinese Orchestra. Percussion/Sheng Huang Chun-Yu Huang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to the instrument of sheng through the tutelage of Chen Hsin-Chi and is currently studying with An Chin-Ye. Huang also studies piano with Pan Tsu-Hsin. He won second place in sheng solo in the Taichung preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won first place in sheng solo in both the preliminary and the final in 2015. Huang is currently a member of the Yuan Yun Chinese Ensemble.

organized by Sanli TV (2015), and Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of

Percussion/Di/Bamboo Xun Chang Cheng-Chia

The Roll Call for the opening ceremony celebrating the 20th anniversary of the Tainan National University of the Arts.

Chang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to di

Tainan National University of Arts (Chinese Music Department) Percussion Wang Zhi-Chi Wang Zhi-Chi is currently a sophomore majoring in percussion at the Tainan National University of the Arts. Wang has been studying Chinese percussion with Professor Shih Te-Hwa and Western percussion with Hsiao Hsiao-Ling. Wang also studies piano and di with Tai Pi-Yin and Hou Guang-Yu. Being interested in drumming since childhood, Wang studied jazz drum for

through the tutelage of Li Kao-Lin and is currently studying with Hou Guang-Yu. Chang also studies piano with Pan Tsu-Hsin. He won first place in di solo in the Tainan preliminary contest and fifth in the final of Taiwan National Music Competition for Students in 2013. He also won fourth place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014.


2017

臺灣國際音樂節 Taiwan International Music Festival

Beyond the Border

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

Taiwan

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

越境之聲 臺灣

樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

指導單位 Directed

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

主辦單位 Hosted

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

台北市客家音樂戲劇中心

特別感謝 Special thanks

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30

承辦單位 Organized

合辦單位 Co-hosted

國際夥伴 International Partners

4.22 Sat. 14:30

宜蘭蔣渭水演藝廳

指定住宿 Official accommodation provided

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

希望能夠對傳統的曲調做出改變,並進一步在舞台上嘗試更多音聲組合,跨越「海」與「陸」之間的隔閡。 等中國傳統,並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景,更增添了海馬樂團演出的豐富面向。海馬樂團

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

海馬樂團的特色,來自音樂原創性與特殊器樂組合;古老而神祕歌唱藝術「呼麥」,加上蒙古樂器馬頭琴,以及胡琴、琵琶、嗩吶

主修京胡,師承吳明生老師、李超老師,在栢優座工羽匠、擔任音樂設計、編曲、編腔,近年設計作品有《刺客列傳─荊軻》、《惡

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

「馬」。海,象徵6位成員的故鄉臺灣,也象徵如海一樣廣闊、兼容並蓄的精神。馬,狂野而自由的動物,就如同我們的音樂風格。

許家銘 樂手

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名;102學年度臺南市初賽國中B組第二名、全國決賽第三名;

成立於1999年,曾在2012年以【旅人.出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞,可以拆為「海」和

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶,師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

海馬樂團

《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊 栢優座仲首,國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一,共同創排栢優座作品 王辰驊 執行導演

北管嗩吶/笛/簫 杜俊寬 展真正屬於臺灣的文化,至今我們依然持續地朝著目標邁進。 賽獲傳統鼓樂個人組銅鼓王。

如此,我們不為自己設限,而且不斷在作品中嘗試各種可能的結合,例如京劇、崑曲、中西方戲劇…等。我們的目標,是找尋並發

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

年7月,希望能夠成為一個可以廣納各種表演藝術的平台,藉由結合不同族群、不同國家的文化,進一步描繪出我們自己的。正因為

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲,曾被媒體譽為臺灣京劇界的齊天大聖。

就讀國立臺南藝術大學中國音樂學系大學部一年級,主修打擊,師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓,

的。這個世代的重要任務,便是去找尋和進一步發展屬於我們自己的文化,這也是栢優座一直以來努力的方向。栢優座成立於2007

《惡虎青年Z》入選第12及第15屆台新藝術獎,並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

打擊/作曲 蔡安

文化非常多元,各種新舊,來自西方、東方的都匯集於此,讓臺灣因此而特別。但在如此不同的文化裡,卻沒有一個是專屬於臺灣

者。以京劇元素融合舞台劇作為創作手段,試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲-吉嶽切》、

以臺灣自己的方式說故事,並以臺灣特色進行演出,是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景,臺灣這片土地擁有的

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員,臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

栢優座

許栢昂 導演

就讀國立臺南術大學中國音樂學系大學部二年級,主修笙,現師事安敬業教授;副修鋼琴,師事陳怡君老師。曾獲100學年度全國

年來延伸其表演觸角,除舉辦多場個人獨奏會,更多次與樂團及劇團合作演出,使音樂內涵更加豐美。

男主角。

北管嗩吶/笙 歐慎騏

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧,現代與傳統兼具,對音樂詮釋之風格倍受肯定。多

《KANO》、《六弄咖啡館》….等多部電影表演指導,並擔任李安《少年PI的冒險》、《Lucy》電影演員,及微電影《小時光麵館》

陳茗芳 樂手

麥(Khoomei, throat singing)吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、 海馬樂團團長暨藝術總監,也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」,前往蒙古學習呼 徐灝翔 樂手 習。近年作品跨足影視、劇場及戲曲,為「栢優座」共同創辦人,有「臺灣京劇小天后」之稱。 演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年,拜入臺灣京劇大師顧正秋老師門下學 大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表 中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班,主修青衣花旦,師承兩岸名師,能戲頗多。曾獲榮譽包括央視青年京劇 黃宇琳 主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。 學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名;102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一 導。2006年參加十鼓擊樂團至今,隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。 笛,師事戴碧吟老師,侯廣宇教授。從小熱愛擊鼓,8歲時在樂器行修習爵士鼓兩年,亦曾接受臺灣著名京劇鼓師呂永輝老師指

樂、民間音樂及現代音樂即興演出。

就讀臺南藝術大學中國音樂學系大學部二年級,主修打擊,中國打擊師事施德華教授,西洋打擊師事蕭曉鈴老師;副修鋼琴、中國

海馬樂團馬頭琴手,擅長融合世界音樂創作編曲,2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

打擊 王子齊

林宗翰 樂手

國立臺南藝術大學中國音樂學系 域團隊演出,現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。 《點將》臉譜彩繪師。

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任國立臺南藝術大學20週年校慶開幕演出

陳胤錞 樂手

重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台 從小時候就對民俗技藝很有興趣,與濟陽會會長及副會長也是孩提玩伴,因此一直在旁學習相關的知識跟技藝,自然而然地成為三 戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸,意圖將國樂吹打樂與傳統官將首結合,以展現傳統廟會文化之新風貌 。 《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,使用笛、洞簫、竹塤、37簧笙、嗩吶、管 戲曲音樂界優秀青年創作者們,一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

〈點將〉- 給七位吹打樂器演奏者(作曲/陸橒)

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」,以臺灣京劇小天后黃宇琳做為主要演唱者,結合臺灣 鬱,一樣是以無翼而飛的美麗音律,唱出古往今來的女人心事。 豈是「旦」能夠輕易表述。戲曲中的女人,不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是,她們一樣美麗、一樣憂

《點將》臉譜彩繪師等。 三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出,並擔任第27屆傳藝金曲獎頒獎典禮 多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、 國中時因友人邀約參加廟會活動進而生興趣。退伍後,在一次廟會活動中因緣際會加入三重濟陽會,承蒙會長(洪興)的提攜,參與

狩,與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

朱永益(小朱)

〈巡.狩〉- 鼓樂(作曲 / 蔡安)

作,為時尚模特兒畫上官將首臉譜,並與閃靈樂團合作,在演唱會為演出者臉譜彩繪。

的音樂引領觀眾感受廟會陣頭的氛圍。

「旦行」做為一種女性角色的分類,在傳統的社會價值觀下,演繹古代社會的女人樣貌。女人,做為世界上最複雜難懂的一種生物,

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘,亦嘗試與不同領域合作,曾與Zine國際雜誌合

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式,這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉,以原汁

琳愛特 Blue

成名,曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸.漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

〈樂.陣〉- 傳統北管牌子(北管傳授 / 吳千卉)

三重濟陽會會長,從小浸淫於傳統民間宗教信仰,國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

開序幕,如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

節目介紹 | 琳愛特 Blue

蔡芳昇(洪興)

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭,如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場,點兵點將拉

三重濟陽會

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺,於出巡時遠處就能聽到,達到恫嚇之效。    加其壽命,而損將軍遇惡人則減其壽命。 時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首,故稱之為官將首。增將軍遇善人時則增 官將首發源於新莊地藏庵,相傳原為危害人間的妖魔,受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍,與地藏王菩薩得道 〈官將首〉- 以傳統官將首出陣的表演搭配新創作的音樂(音樂設計 / 陸橒)

2.《點將》

個部分 。

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。 年5月取得博士學位(D.M.A.)。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校(University of Missouri- Kansas City)攻讀作曲博士,師承周龍、陳怡夫婦,於2014 與《臉譜集》(琵琶與國樂團)獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班,主修理論與作曲。 啼聲榮獲首獎,並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》(嗩吶與國樂團) 自幼習樂,2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品,本次演出是將典禮創作之作品延伸成為四

<中場休息>

陸橒 音樂設計/作曲

點將

1.《琳愛特Blue 》

節目單

節目介紹 | 點將

演出者簡介 | 點將


2017

臺灣國際音樂節

Fifty Years of Glory

致跨 向越 日半 葵世 樂紀 會的 風 華

A Tribute to 藝術若是陽光, 信仰祂的子民就是一株株永遠挺直腰桿的葵花。

節目表 1.游昌發 四首鋼琴獨奏:《空山松子落》、《和Janacek(Ⅰ)》、《睡著的女人》、《水在溜滑梯》 鋼 琴|葉孟儒

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵 樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

2.陳懋良:《中國舊詩歌三首》 女中音|范婷玉

鋼琴|謝欣容

3.馬水龍:《奏鳴曲》小提琴與鋼琴 小提琴|余道昌

鋼琴|簡美玲

<中場休息> 4.賴德和:《夢》鋼琴三重奏 小提琴|李俊穎 大提琴|劉姝嫥

4.22 Sat. 19:30 台北市客家音樂戲劇中心 Taipei City Hakka Music and Theater Center

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

鋼 琴|黃貞綾

5.沈錦堂:《慟》為木管五重奏 長 笛|江淑君 雙簧管|洪千智

單簧管|孫正茸

法國號|陳彥豪

低音管|張先惠

6.溫隆信:《向大師們致敬》弦樂四重奏 小提琴|薛媛云 小提琴|陳翊婷

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

中提琴|何佳珍

大提琴|劉宥辰 執行製作

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

黃馨瑩 蕭啟村 許淑慧 張翔雲 Administrative Coordinators

洪逸倫 歐美蓉 柯瓊芬 黃予祈

樂曲解說

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司 亞洲作曲家聯盟(臺灣)

游昌發 │ 空山松子落、和

、水在溜滑梯、睡著的女人 (文/蔡瑋琳)

空山松子落 這首作品以唐代詩人韋應物:「空山松子落,幽人應未眠。」詩句為題,描述在松子落地般細微聲響都可聽聞的靜謐山中,獨自思念 友人的寂寥。 樂曲運用鋼琴力度與和聲變化描繪「空山」,特別是以不諧和的音堆表現安靜,穿插在流動的音群段落間。古琴語彙的曲調,一開始 是複音的線條交織、遠距離的八度同音下行,而大幅度的高、低音域來回跳動,速度也越來越快,輕盈的琴聲呈現多變的色彩。最後 樂曲開頭的音樂再現,輕聲的、漸漸遠去……。 和 捷克作曲家楊納傑克(Leoš Janáček, 1854-1928)的鋼琴曲,帶有濃濃民間音樂風格,給聽眾單純卻深刻的感覺。游昌發即以如此

Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

黃麗琪

鄭鳳珠

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

的想法,創作這個作品,故而將作品命名為《和Janacek》。 樂曲形式是簡單的A-B-A三段式,源自古琴或古箏語彙的曲調,多次反複、模進的歌唱;複節奏、多個複調的不同五聲音階片段與之 對位,交織出具中國風格的特別聲響。再以充滿即興演奏感的自由節奏,穿插快速上下行的複調五聲音階,鋼琴高、低音域的色彩變 化,聲部組織與音量的不同,音樂時而模糊時而清晰,是一首風格相當獨特的抒情小品。 睡著的女人 這是作曲者在大都會博物館觀賞P. Picasso畫作「黃頭髮的女人」(Femme aux cheveux jaunes)後的感動之作。以鋼琴的甜美聲

指導單位 Directed

主辦單位 Hosted

承辦單位 Organized

合辦單位 Co-hosted

響,表現畫中睡得香甜的女人。 樂曲開頭以甜美的大三和絃、摻和小三和絃、增三和絃交錯的細微變化,音樂產生暈眩感。隨後片段的五聲音階,平行六和絃搭配快

國際夥伴 International Partners

特別感謝 Special thanks

指定住宿 Official accommodation provided

速變化的複調音群,營造寧靜氛圍中的波動,推移為多個線條交織的複音音樂。運用音域轉換、節奏改變等變奏手法,上行琶音與五 聲複調交錯,進入更深遠的感覺。樂曲最後再度以甜美寧靜的大三和絃,帶領聽眾進入安祥悠遠的夢境。 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

廣告

樂曲解說

演奏者簡介 (依演出順序)

水在溜滑梯

〈天上人間〉/ 李煜 詞

〈今夕〉/ 作詞人不詳

賴德和 │ 鋼琴三重奏《夢》 (文/賴德和)

今夕何夕兮,星稀月明?

本曲是1998年客居紐約時期,由趙子宏先生委託創作。曲成之後一直沒有機緣公開演出。今晚的首演有雙重意義:一則告慰數年前已

這首曲子的發想,源自作曲者的小兒子幼時對水流的觀察。但全曲除開始處有童趣外,是一首鋼琴展技之作。樂曲運用各種複雜而

簾外雨潺潺,

獨自莫憑欄,

流利的五聲音階、多樣的音型與細微節奏變化的效果,表現水從攔砂壩磚塊隙縫中流瀉的瀑布景觀。

春意闌珊,

無限江山,

今夕何夕兮,得與美人同行?

過世的委託者趙先生,二則再續半個世紀前(1968年)「向日葵樂會」的餘緒。鋼琴三重奏《夢》在調性的氛圍下,以簡單的素材做

水流意境以波動較小的曲調開啟,之後出來的快速音群,在不同的音域八度變奏跳動,形容流水濺起陣陣水花;左手片段的五聲音

羅衾不耐五更寒,

別時容易見時難!

蟋蟀在床兮,悠悠則鳴,

多重反覆。在有節制不多做渲染的安排下,期使聆聽者有更多的想像空間。

階下行,加強了「溜」的感覺。進入以震音貫串的段落,一個又一個快速上行的短音群,在高、低音域滑動開展,不同的音色與音

夢裡不知身是客,

流水落花春去也,

江水浩蕩兮,冷冷其聲。

型快速轉換,形容瞬息變幻的水流。最後音樂在強烈的五聲音階下行後漸漸平靜,再現樂曲開頭的音樂,加上更輕聲而緊湊的變

一餉貪歡。

天上人間!

何接美人之殷勤兮,

沈錦堂 │《慟》為木管五重奏

乃使我惆帳而情愴!

親人之離世,大災難之突降,慟這椎心之痛,慟人世之無常,音樂也如此地隨性進行,無所遮掩,盡情揮灑。而不是傳統的包袱,也

化,如輕巧的水流遠去,是一首兼具中國音樂傳統、又能展現鋼琴技巧的樂曲。

不是現代的圖騰,只是內心聲音的宣達,想寫什麼就寫什麼,如此而已。 陳懋良 │ 中國舊詩歌曲三首

與作曲者的第一號聲樂曲相比,他在本作品明顯地開始考慮到語言與音樂間的關係。歌者與鋼琴間亦不再是單純的人聲、伴奏關係,

為作品第四號,是一聲樂曲(1961年作,1993-95年修訂)。在歌詞上,分別是由採擷自七首唐詩片段織構而成的〈層層疊疊詩樓

而鋼琴的音型姿態亦隨著詞意轉換,不再如《少年之窗》中以單一形態貫穿全曲。特別值得一提的是,作曲者在〈層層疊疊詩樓中〉

中〉,李煜為詞的〈天上人間〉,以及〈今夕〉所組成。〈層層疊疊詩樓中〉摘自杜甫《登高》、《曲江對酒(二)》李商隱《無

一曲中,將七首唐詩的片段穿插交疊,形成語意上的突兀不連貫,及音樂句法和詩句起始上的矛盾與互鎖效果。這樣「層層疊疊」的

題》二首、《錦瑟》和《登樂遊原》秦韜玉《貧女》

創意,則在鋼琴部份以動機的循環互鎖加以呼應,而聲樂的部分則在這樣的低限手法下,得以浮現彰顯。

1.風急天高猿嘯哀,渚清沙白鳥飛迴。 5.相見時難別亦難,東風無力百花殘。 1.萬里悲秋常作客,百年多病獨登台。 5.曉鏡但愁雲鬢改,夜吟應覺月光寒。 無邊落木蕭蕭下,不盡長江滾滾來。

春蠶到死絲方盡,蠟炬成灰淚始乾。

艱難苦恨繁霜鬢,潦倒新停濁酒杯。

蓬萊此去無多路,青鳥殷勤為探看。

2.蓬門未識綺羅香,擬托良媒亦自傷。 6.蓬門未識綺羅香,擬托良媒亦自傷。 2.敢將食指誇鍼巧,不把雙眉鬥畫長。 6.*人生七十古來稀,*不盡長江滾滾來。 誰愛風流高格調?共憐時世儉梳妝。

誰愛風流高格調?共憐時世儉梳妝。

苦恨年年壓金線,為他人作嫁衣裳。

*蓬門未識綺羅香,擬托良媒亦自傷。

3.相見時難別亦難,東風無力百花殘。 7.風急天高猿嘯哀,渚清沙白鳥飛迴。 3.曉鏡但愁雲鬢改,夜吟應覺月光寒。 7.穿衣蛺蝶深深見,點水蜻蜓款款飛。 春蠶到死絲方盡,蠟炬成灰淚始乾。

無邊落木蕭蕭下,*人生七十古來稀。 *此情可待成追憶,只是當時已惘然。

4.來是空言去絕蹤,月斜樓上五更鐘。 夢為遠別啼難喚,*蠟炬成灰成灰……

得與風光共流轉,暫時相賞莫相違。

4.*滄海月明珠有淚,藍田玉暖日生煙。 夕陽無限好,只是……

溫隆信 │ 向大師們致敬 (文/溫隆信) 這兩個個別樂章的弦樂四重奏,分別來自兩首不同的四重奏作品。第一個是選自《第2號弦樂四重奏》第四樂章、第二個為選自《第6 號弦樂四重奏》第二樂章。兩個作品創作年代相隔40年,但在作曲者心中,卻始終存在一個莊嚴的思考,在他過去60年的創作歷程 中,那些偉大的作曲家,如巴赫、韓德爾、莫札特、貝多芬、布拉姆斯等,從17世紀到19世紀末,這些西洋音樂史上貢獻最多的作曲

馬水龍 │ 奏鳴曲:小提琴與鋼琴

家們,一直是作曲者心中景仰且試圖追趕的對象。自不量力的心境固然有些好笑,但嘗試想突破超越前人的心情亦是一種熱情,一種

這首作品完成於1963-4年之間,是作曲者在藝專學生時代留下來的三首作品之一,也是這三首作品中,對作曲者而言最具意義的一

未曾熄滅的火苗。

首。因為這是結束學生時代為探討個人的音樂語法,企圖放棄西方傳統大小調功能和聲體系,所做另類的嘗試。全曲共分三個樂章,

兩個樂章在形式上完全遵照一直以來的曲式鋪陳,唯獨在配器法上、聲音音色的佈局、有無調性之間的穿插、語法的建構,甚至是演

類似古典時期奏鳴曲形式,和聲結構觀念來自傳統琵琶定弦,所延伸的和聲結構體系,並加以發展。

奏法上的創新,都是作曲者有意創作的前提。透過這些比較現代才會出現的林林總總,配合西洋音樂史上留下來的曲式結構的巧妙運

第一樂章:序曲與起承轉合的小快板

用,讓樂曲產生新的生命和動力。典雅細緻的表現力,是作曲家追求的一個音樂境界。50年前參加「向日葵樂會」,受到許多師長及

第二樂章:如吟誦的慢板詩曲

同學們的鼓勵和期許。期間沒有時刻忘卻創作,「去寫作更多更好的作品」這是一輩子的心願。從1980年至2016年,作曲家溫隆信

第三樂章:快板的迴旋曲

終於完成他一生想完成的六首弦樂四重奏作品,其中第1號、3及4號皆已首演完畢。本場音樂會中,將呈現第2號及第6號所挑選出來

※本曲1964年完成,同年6月間於台北國際學舍世界首演,演出者為小提琴家呂信也、鋼琴家許子珍。

的兩個樂章,衷心盼望樂曲的演出沒有辜負師長們和同學們的期許才好。

鋼琴 │ 葉孟儒 畢業於莫斯科國立柴科夫斯基音樂學院,師承Lev Naumov教授。留俄期間,經常以獨奏家身分受邀在俄國主要城市演出協奏曲與 獨奏會。1999年以最高分的榮譽畢業;並獲演奏科最高學位藝術博士。曾受邀至許多國家以獨奏會型式以及室內樂型式演出,並以 獨奏家身分和超過 20個樂團合作演出協奏曲。2013年發行個人演奏專輯【貝多芬: 迪亞貝里33段變奏曲】(雅砌音樂發行),並獲第 25屆傳藝金曲獎最佳詮釋獎。現為中國文化大學音樂系專任副教授,並兼任國立臺灣師範大學音樂系及國立臺灣藝術大學音樂系。 次女高音 │ 范婷玉 國立藝術學院(今國立台北藝術大學)畢業後,赴德國國立漢諾威音樂暨戲劇學院,取得聲樂教育、音樂會演唱家與歌劇獨唱家教育及藝術演 唱文憑。2006年至2009年擔任奧地利林茲國家劇院歌劇合唱團次女高音。留德國期間,積極參與音樂會,演出神劇以及藝術歌曲。曾獲 多項聲樂比賽獎項,返台後,多次受邀參加國內多個樂團之系列音樂會及歌劇演出;2013年獲輔仁大學音樂學系研究所演奏(唱)組博士 學位,是臺灣音樂教育體制,培養出的首位臺灣聲樂博士。目前為輔仁大學音樂系、中山大學音樂系以及清華大學(原新竹教育大學)音 樂系兼任助理教授。 鋼琴 │ 謝欣容 畢業於國立藝術學院(現國立臺北藝術大學),之後取得國立維也納音樂院(現國立維也納音樂大學)聲樂家伴奏文憑。2001年 於維也納現代音樂節,擔任中國作曲家郭文景的歌劇《夜宴》之音樂指導與鋼琴排練、並為多位臺灣作曲家首演與演出當代作品。 2002至2003年受聘為俄國聖彼德堡馬林斯基劇院青年歌唱家學院專任伴奏;曾獲國際林姆斯基・高沙可夫聲樂大賽及臺北德文藝 術歌曲大賽「最佳伴奏」獎。經常受邀為兩廳院年度工作坊擔任鋼琴排練與音樂會現場演出。2005年起,陸續任職於國立臺灣藝 術大學音樂系、國立臺北藝術大學音樂系及臺北市立國樂團附屬合唱團。 小提琴 │ 余道昌 美國琵琶第音樂院學士及碩士學位、馬里蘭大學音樂藝術博士學位。1997年獲Yale Gordon協奏曲大賽首獎,2000年至2010年曾

此情可待成追憶,只是當時已惘然。

多次擔任海飛茲國際音樂學院教授;2003年曾應聘為馬里蘭州立大學教授。自2003年起至2009應聘為琵琶第音樂院及茱莉亞音

* 屬於不同詩篇之詩句的銜接點。

樂院先修班客座。獨奏及室內樂演出足跡遍及北美,2003年成立普羅米修斯三重奏,於全美各國際音樂節演出,曾獲華盛頓郵報評 為「最具潛力青年室內樂團」;2007年參加美國馬里蘭州藝術委員會主辦之「躍起之星」藝術家選拔,以親自改編的卡門幻想曲摘

作曲家簡介 (依演出順序)

下首獎。2011年回國後任教於臺北市立大學。 鋼琴 │ 簡美玲

游昌發

馬水龍

沈錦堂

1942年生於廣東省潮陽縣。畢業於臺北師範、國立藝專音樂科、奧地利國立維也納音樂院,以聲樂及作曲為雙主修,回國後隨申

1939年出生於臺灣基隆。畢業於國立藝專,主修作曲,師事蕭而化教授;音樂理論師承許常惠、盧炎等教授。1972年獲西德全額獎

畢業於國立臺灣藝術專科學校音樂科及美國紐約市立大學布魯林學院音樂研究所,並曾於奧地利國立維也納音樂院研習作曲。作品有小提琴

克常先生學習平劇三年。藝術歌曲是他最具獨特個人美感的作品,音樂細緻且充分表現詩句的意境。合唱曲的創作,除嘗試以民族

金,進入雷根斯堡音樂學院就讀,師承奧斯卡•西格蒙(Dr. Oskar Sigmund),於1975年畢業。在校期間,代表學校至雷根斯堡音

奏鳴曲兩首,雙鋼琴《幻想曲》,銅管四重奏兩首、銅管五重奏《合》,芭蕾舞劇樂《虎姑婆》,弦樂四重奏《秋思》、《裂痕》,室內樂作品

素材編寫外,更將民歌融合複音音樂的技法,豐富了合唱曲的效果及音樂感。其歌劇作品是經由獨唱、合唱、兒童音樂劇、戲劇配

樂節、柏林電臺、慕尼黑電臺公開發表作品。馬水龍作品包括管弦樂、室內樂、鋼琴曲、聲樂曲及合唱曲等類型,經常於國內外發

《意念》、《聯綴》、《憶》、《喧與祥》,《玄象》、木管五重奏《慟》,獨唱曲《飄流》、《月下獨酌》、《幻覺》、《問劉十九》、《獨

小提琴 │ 李俊穎(伯牙三重奏)

樂《紅鼻子》的創作,逐漸累積經驗而來,從獨幕作品到2008年的大型歌劇《桃花扇》,以京劇歌唱精神入樂、管弦樂烘托戲劇

表。其作品《梆笛協奏曲》,1983年由羅斯卓波維奇(M. Rostropovich)指揮美國國家交響樂團於臺北國父紀念館演出,並以衛星

坐敬亭下》、《子夜》、《夢回》、《孤獨》及客家藝術歌曲《露水》、《秋思》等,室內樂與獨唱《水調歌頭》,大合唱《正氣歌》、《蜀道

美國琵琶第音樂院演奏碩士、美國明尼蘇達大學博士學位。曾多次應美國明尼蘇達室內樂協會邀請參與室內樂演出、並獲史懷哲音

情節氣氛,再以京劇道白解決中文宣敘調的問題,為中文歌劇提供新的創作方向。年逾七旬,游昌發仍持續創作不懈,除2012年

實況轉播至美國PBS公共電視網。1986年獲美國國務卿傅爾布萊特學術獎赴美研究,並於紐約林肯中心等地區舉行四場個人作品發表

難》,為弦樂團的《幻想曲》,為管樂隊的合奏曲《千禧進行曲》,管弦樂小品《鳳陽花鼓》、《山歌輪旋》、《光明進行曲》,國樂合奏曲

樂學院桑德波音特音樂節(The Festival at Sandpoint-Schweitzer Institute of Music)全額獎學金,參與演出並發表室內樂新

應國立臺灣交響樂團委託創作的《酒歌》,近年亦陸續完成《小提琴奏鳴曲》、弦樂合奏《Bali小夜曲》、客語歌劇《三玉奇

會,他也是首位於林肯中心做整場個人作品發表會的臺灣作曲家。曾任國立藝術學院校長、教務長及音樂系創系主任等職務,1991年

《茶香情懷》,管弦樂序曲《祥瑞》、《飛躍》,交響詩《昇華》、《客家頌》、《客家情》,及獨幕歌劇《魚腸劍》等。

作。返國至今,已舉行34場獨奏會與上百場室內樂音樂會,並受邀與多個國內樂團合作演出協奏曲。2012年獲邀至新加坡楊秀桃

緣》、《八首紀念歌》、九首佛教合唱曲與《蛇郎君組曲》等作品。

被列入「世界名人錄」及「五百名人錄」。曾兩度獲金鼎獎、三項金曲獎,並曾獲中山文藝音樂創作獎、吳三連文藝創作獎、國家文

陳懋良

畢業於福星國小、南門國中及師大附中音樂班,甄試保送國立藝術學院(現國立臺北藝術大學)音樂系,主修鋼琴,並於德國科隆 音樂院獲得藝術家及演奏文憑(Konzertexamen)。現任教於國立臺北藝術大學音樂系,並致力於室內樂演出。 

國際音樂院擔任小提琴大賽評審並開授大師班。現任國立交通大學音樂研究所專任教授兼所長、國立臺北藝術大學音樂系兼任教

藝獎及行政院文化獎殊榮。此外,曾獲總統府二等景星勳章,以及國立臺北藝術大學、國立臺灣大學、國立臺南大學、國立臺灣藝術

溫隆信

大學名譽博士。2015年辭世,享年76歲。

1944年生於臺北市。高中畢業後進入國立藝專音樂科弦樂組,主修小提琴,並修習作曲,受教於陳懋良,並接受許常惠指導。之後進

授,及伯牙鋼琴三重奏團團長。

入臺灣省交響樂團(今臺灣交響樂團),並成為「向日葵樂會」成員。1975年,大型室內樂作品《作品1974》及為長笛、大提琴、鋼

大提琴 │ 劉姝嫥 (伯牙三重奏)

獎,及十大傑出青年獎。1969年負笈奧地利,進入國立維也納音樂院修習作曲;1972年畢業後,獲頒阿班•貝爾格基金會作曲獎

賴德和

琴、打擊樂的《現象Ⅱ》,雙雙獲得荷蘭高地慕司國際現代音樂作曲比賽入選,《現象Ⅱ》更獲大賽第二獎,成為第一位獲此殊榮的

國立臺北藝術大學專任副教授,維也納市立音樂院演奏家文憑特優獎畢業。曾隨已故大提琴泰斗羅斯卓波維奇前往法國埃維揚音樂

金。1974年起,陸續在維也納布根蘭省及下奧地利省音樂學校教授鋼琴及作曲。1978年入籍奧地利。1984年開始,創作臻於成熟

1943年出生於彰化。畢業於國立藝術專科學校(今國立臺灣藝術大學),在學時期即參加「向日葵樂會」發表作品。1973年,從藝

亞洲作曲家。1974年,與康謳、許常惠、許博允等人籌組亞洲作曲家聯盟。其作品數量繁多且精緻,以室內樂最為大宗。早年創作以

節,為其委託創作的作品進行世界首演;並應邀於國際知名音樂家如亞力山大•魯丁、胡

與活絡。1990年至1996年間,他的創作有如雨後春筍般地蓬勃茂盛,共完成了十一部作品(第十三號至第廿三號)。1996年,在

專助教的工作轉任臺灣省交響樂團,受聘為研究部主任。期間,負責策劃「中國現代樂府」,演出本國作曲家作品和籌設音樂實驗

西洋音樂為主,後創作許多以傳統樂器演奏之作品。1980年獲第二十一屆文藝獎章、1982年獲第三屆吳三連文藝獎。1989年,在輔

年,曾參與「奇美博物館提琴數位典藏計畫」及「臺灣音樂憶像」之錄音,並首演顏名秀、王思雅等作曲家作品。2017年夏天,

得知自己罹患直腸癌後,便停止所有創作計畫,著手修訂、編列自己的作品,毅然決然地割捨自己不滿意的作品,甚至也捨棄所有

班。因受史惟亮與許常惠「音樂民族主義」的創作理念感召,長年聆聽民歌採集的錄音,並向戲劇學者俞大綱學習京劇藝術之美、向

仁大學創立全國首座電子音樂教學中心。1992年移民美國。1997年,應邀至紐約大學擔任駐校作曲家並教授作曲,退休後籌組管弦樂

將受邀於義大利克雷蒙納國際音樂營(Cremona International Music Academy)任教。

已修訂過的作品舊稿,最後僅留下廿二部完整作品。1997年,病逝於維也納。在臺灣,他參加「製樂小集」、「向日葵樂會」,

藝師侯佑宗學習京劇鑼鼓。1978 年,獲德意志學術交流中心 (DAAD ) 獎學金赴奧地利,在奧福學院(Orff Institute)攻讀音樂教

團「柝之響」,舉辦音樂會及夏令營到國內外交流演出。

在奧地利,他亦多次赴德參加達城著名的國際新音樂會研討會、返回學校修習多媒體作曲及電子音樂。

育,並於莫札特音樂院(Mozarteum in Salzburg)研習作曲。1984 年,獲得第七屆吳三連文藝獎;1987年,與「雲門舞集」合作

1937年出生於南京,11歲時,與父母隨國民政府來臺。之後進入國立藝專音樂科就讀,主修作曲。1966年獲第一屆中山文藝作曲

之《紅樓夢》獲國家文藝基金管理委員會的第十二屆國家文藝獎;2010 年,再獲第十四屆國家文藝獎。2014年,其為中提琴與鋼琴 而寫的作品《悲歌》獲第二十五屆傳藝金曲獎最佳創作獎。

云等人之臺灣音樂會中合作演出。近


2017

臺灣國際音樂節

Fifty Years of Glory

致跨 向越 日半 葵世 樂紀 會的 風 華

A Tribute to 藝術若是陽光, 信仰祂的子民就是一株株永遠挺直腰桿的葵花。

節目表 1.游昌發 四首鋼琴獨奏:《空山松子落》、《和Janacek(Ⅰ)》、《睡著的女人》、《水在溜滑梯》 鋼 琴|葉孟儒

  音樂是人類最早用以溝通和傳達情感的方式,臺灣有著多族群、多地貌的天然條件,因此也擁有極為豐富的音樂資源。臺灣音樂 館多年來努力保存屬於臺灣的音樂文化資產,近年也積極向全世界推廣來自臺灣的聲音,「TIMF臺灣國際音樂節」即為促進臺灣音 樂家與國際樂壇接軌而策辦:屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦,受邀前往韓國全州清唱藝術節演出,純淨 的歌聲征服了來自全世界的音樂家們,也促成了「TIMF臺灣國際音樂節」的開場音樂會,將由清唱藝術節執行總監、韓國知名擊樂 家帶領融合大樂團,來到排灣族的故鄉─屏東,與「泰武古謠傳唱」再度攜手,拉開音樂節序幕。此外,代表清唱藝術節前來臺灣交流的 還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars,將展現韓國傳統樂器的另一面;來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品;以及積極媒合電聲與傳 統絲竹樂器的TPMC巴黎現代音樂協會,將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家 及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵 樂會」五十周年,感念辛勤耕耘創作一甲子的前輩音樂家們,特別策劃一場向日葵樂會專場,向向日葵致敬! 同樣令人期待的還有結 合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》,展現新生代創作者融合傳統與當代的才華。   藉由國際展會的規劃與辦理,國立傳統藝術中心積極落實國際交流事務,守護傳統、迎向未來!

2.陳懋良:《中國舊詩歌三首》 女中音|范婷玉

鋼琴|謝欣容

3.馬水龍:《奏鳴曲》小提琴與鋼琴 小提琴|余道昌

鋼琴|簡美玲

<中場休息> 4.賴德和:《夢》鋼琴三重奏 小提琴|李俊穎 大提琴|劉姝嫥

4.22 Sat. 19:30 台北市客家音樂戲劇中心 Taipei City Hakka Music and Theater Center

吳榮順

Director

WU Rung-Shun

鍾寶善 王蘭生 賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

翁誌聰

Producer

WENG Chih-Tsung

林芳宜

Curator

LIN Fang-Yi

黃珮婕 李宥臻 鄭詠玹 蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

鋼 琴|黃貞綾

5.沈錦堂:《慟》為木管五重奏 長 笛|江淑君 雙簧管|洪千智

單簧管|孫正茸

法國號|陳彥豪

低音管|張先惠

6.溫隆信:《向大師們致敬》弦樂四重奏 小提琴|薛媛云 小提琴|陳翊婷

  Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements.   The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, to