藝術節開幕演出由㶅豐贊助 Festival Opening is sponsored by
Michael Tilson Thomas and the San Francisco Symphony
封面照片及上圖
Cover image and photograph above © Kristen Loken
米高．狄信湯瑪士
Michael Tilson Thomas
三藩市交響樂團 San Francisco Symphony
節目介紹 Programme Details
9.2.2006
曲目 Programme
樂曲介紹 Programme Notes
10.2.2006
曲目 Programme
樂曲介紹 Programme Notes
林恩．哈勒爾 Lynn Harrell
11.2.2006
曲目 Programme
樂曲介紹 Programme Notes
樂團成員 Symphony Members
香港文化中心音樂廳 Concert Hall
Hong Kong Cultural Centre 9-11.2.2006 狄信湯瑪士與三藩市交響樂團
為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。
To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.
音樂總監 Music Director
Michael Tilson Thomas 米高．狄信湯瑪士
我最早、最早的記憶之一，是父母在洛杉磯的房子。近黃昏時，光線會從 房子一端的窗戶透進來。窗前有軟百葉簾，簾縫沒有閉上，好讓光線一道 一道射進來；因為聖費南多山谷的塵埃特別多 尤其在夏季 在這 一道道的光線况，可以看到塵粒在翩翩起舞。我最早有關音樂的回憶，我 想，是一邊看着這些塵埃飄浮，一邊把手舉得高高，越過自己的頭，再放 到屹立在那况、父母那個又大又舊的紅木史坦威大鋼琴鍵盤上，嘗試彈出 一些聲音，好為塵埃之舞伴奏。
－摘錄自《狄信湯瑪士：口頭應試 與艾活．瑟克遜的對話》 (Faber & Faber ， 1994)
One of my very, very first memories is of my parents’ house in Los Angeles. In the late afternoon, the light would come through windows at one end of the house. There were Venetian blinds and the blinds would be open so the light would come into the room in bands of light, because there was a lot of dust in the air in the San Fernando Valley in the summertime especially, and in these bands of light there were motes of dust, dancing in the light; and my first musical memory, I think, is watching those particles of dust moving, and reaching way up over my head to the keyboard of this big old upright rosewood Steinway grand that my parents had, and trying to play notes that would accompany this dance of the dust.
- From Michael Tilson Thomas: Viva Voce, Conversations with Edward Seckerson (Faber & Faber, 1994)
早
在 1974 年，狄信湯瑪士便與 三藩市交響樂團結緣， 1995 年出任音樂總監，至今已有 十一個樂季。
狄信湯瑪士生於洛杉磯，在南加州大 學進修期間師隨約翰．克朗及殷戈爾 夫．達爾；十九歲已成為青年音樂家 基金首演樂團音樂總監，在著名的「週 一黃昏音樂會」與史達拉汶斯基、布雷 茲、史托豪森和柯普蘭合作，更在皮 亞蒂戈斯基和海費茲的大師班上擔任 鋼琴伴奏及指揮；另外，因為狄信湯 瑪士師承來自拜羅伊特的佛列德蓮 特．華格納，故曾任拜羅伊特音樂節 助理指揮。
1969 年，狄信湯瑪士贏得庫塞夫斯基 獎，獲聘為波士頓交響樂團助理指揮 十天後，該團在林肯中心演出中途，
Michael Tilson Thomas, now in his 11th season as Music Director of the San Francisco Symphony, assumed the post in September 1995, consolidating a relationship with the Orchestra that began in 1974.
A Los Angeles native, Tilson Thomas studied with John Crown and Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at 19 and working with Stravinsky, Boulez, Stockhausen and Copland at the famed Monday Evening Concerts. He was pianist and conductor for Piatigorsky and Heifetz master classes and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth.
In 1969, Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony Orchestra (BSO). Ten days later he came to international recognition, replacing Music Director William Steinberg in
© Susan Schelling
音樂總監暨指揮威廉．史坦堡抱恙， 狄信湯瑪士臨陣接替，使他於國際嶄 露頭角，先後晉升為該團副指揮及首 席客席指揮。狄信湯瑪士經驗豐富， 曾出任奧哈伊音樂節總監、水牛城愛 樂樂團音樂總監、洛杉磯愛樂樂團首 席客席指揮及大伍德斯音樂節首席指 揮； 1988 年，狄信湯瑪士出任倫敦交 響樂團首席指揮，現任該團首席客席 指揮；1990 年與伯恩斯坦主持日本太 平洋音樂節開幕儀式後，一直擔任聯 席藝術總監達十年之久。1988 年，狄 信湯瑪士成立新世界交響樂團，並擔 任藝術總監，為美國各大音樂學院精 英畢業生提供培訓。
狄信湯瑪士灌錄的唱片也贏得多項國 際樂壇殊榮，而選曲反映了他作為指 揮、作曲家和鋼琴家的音樂喜好。狄 信湯瑪士主持過電視節目，包括1971 至1977 年紐約愛樂樂團青少年音樂會 及2004 年6 月啟播的「合譜：狄信湯瑪 士談音樂」。
創作方面，狄信湯瑪士的作品包括： 曾在世界各地演出的《安妮．法蘭克日
記源起》、紀念廣島原爆五十週年的 《昭和》，還有《狄更生詩選》、《都市傳 奇》與《海島音樂》。此外，狄信湯瑪士 的個人榮譽計有：表揚他對美國音樂 界貢獻的哥倫比亞大學迪森獎、《美國 音樂》雜誌 1995 年年度指揮家獎、法 國藝術及文學騎士勳章，以及《留聲 機》雜誌 2005 年年度藝術家獎。
mid-concert at Lincoln Center. He went on to become the BSO’s Associate Conductor, then Principal Guest Conductor. He has also served as Director of the Ojai Festival, Music Director of the Buffalo Philharmonic, a Principal Guest Conductor of the Los Angeles Philharmonic, and Principal Conductor of the Great Woods Festival. He became Principal Conductor of the London Symphony Orchestra in 1988 and now serves as its Principal Guest Conductor. For a decade he served as co-Artistic Director of Japan’s Pacific Music Festival, which he and Leonard Bernstein inaugurated in 1990, and he continues as Artistic Director of the New World Symphony, which he founded in 1988 as a training orchestra for the most gifted graduates of America’s conservatories.
Michael Tilson Thomas’ recordings have won numerous international awards, and his recorded repertory reflects interests arising from his work as conductor, composer, and pianist. His television credits include the New York Philharmonic Young People’s Concerts, which he led from 1971 to 1977, and in June 2004 he and the SFS launched Keeping Score: MTT on Music on PBS-TV. His compositions include From the Diary of Anne Frank, which has been performed around the world; Shówa/Shoáh , commemorating the 50th anniversary of the Hiroshima bombing; Poems of Emily Dickinson; Urban Legend and Island Music
Among Maestro Tilson Thomas’ honours are Columbia University's Ditson Award for services to American music and Musical America’s 1995 Conductor of the Year award. He is a Chevalier des Arts et des Lettres of France, and Gramophone named him its 2005 Artist of the Year.
音樂會前講座 Pre-concert Talk 11.2.2006 (六Sat) 晚上 7:00 - 7:30pm
講者Speaker：米高．狄信湯瑪士 Michael Tilson Thomas
免費，歡迎觀眾持任何三藩市交響樂團門票進場 Free admission. All SFS concert ticket-holders are welcome.
三藩市交響樂團
San Francisco Symphony
藩市交響樂團自 1911 年初試
啼聲以來，一直在讚譽中成 長，歷任音樂總監居功至 偉：亨利．哈德利、艾爾佛．赫特 茲、巴素爾．卡瑪倫、伊薩．杜布朗 文、皮耶爾．蒙都、安力克．約達、 約瑟夫．卡林斯、小澤征爾、艾度． 迪華特、赫伯特．布隆斯泰特，以及 於1995 年上任的現任音樂總監米高． 狄信湯瑪士。
三藩市交響樂團曾贏得多項唱片大 獎，包括法國唱片大獎、英國《留聲 機》雜誌唱片獎，以及美國格林美大 獎。狄信湯瑪士與三藩市交響樂團灌 錄的唱片中，曲目包括：普羅科菲耶 夫《羅密歐與茱麗葉》、馬勒《悲傷之 歌》、貝遼士《幻想交響曲》、兩張柯普 蘭專輯、一張歌舒詠專輯（曲目包括曾 在卡內基音樂廳1998 年樂季開幕音樂 會上演出的作品。該音樂會於美國公 共廣播公司電視節目《精采演出》中作 全國播放）、史達拉汶斯基芭蕾舞劇音 樂（《春之祭》、《火鳥》及《普西芬尼》） 以及唱片《查理斯．艾菲斯：美國音樂 旅程》。樂團更推出自己的品牌，開始 灌錄全套馬勒交響曲，先拔頭籌的馬 勒第六交響曲獲頒 2003 年格林美「最 佳管弦樂演奏獎」；2004年 2月，在狄 信湯瑪士的指揮下，樂團灌錄的馬勒 第三交響曲也贏得格林美「最佳古典音 樂唱片獎」。
多年來，許多舉足輕重的指揮家都曾 在三藩市交響樂團的指揮台上作客，
The San Francisco Symphony (SFS) gave its first concerts in 1911 and has grown in acclaim under a succession of music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt and, since 1995, Michael Tilson Thomas.
The SFS has won such recording awards as France’s Grand Prix du Disque, Britain’s Gramophone Award and the United States’ Grammy. Michael Tilson Thomas (MTT) and the SFS have recorded music from Prokofiev’s Romeo and Juliet, Mahler’s Das klagende Lied, Berlioz’s Symphonie fantastique, two Copland collections, a Gershwin collection (including works they performed at Carnegie Hall’s 1998 opening gala, telecast nationally on PBS’s Great Performances), Stravinsky ballets (The Rite of Spring, The Firebird and Perséphone) and Charles Ives: An American Journey . Mahler’s Symphony No 6 inaugurated a Mahler cycle on the Symphony’s own label and in 2003 captured a Grammy for Best Orchestral Performance. In February 2004, the MTT/SFS recording of Mahler’s Third Symphony won the Grammy for Best Classical Album.
Some of the world’s most important conductors have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein and Sir Georg Solti, and the list of composers who have led the Orchestra includes Stravinsky, Ravel, Copland and John Adams. The
包括華爾特、史托柯夫斯基、伯恩斯 坦及蘇堤爵士；指揮過三藩市交響樂 團的作曲家則包括史達拉汶斯基、拉 威爾、柯普蘭及約翰．阿當斯。 1980 年成立的三藩市交響樂青年樂團，現 在亦已蜚聲國際；而三藩市交響樂團 合唱團亦享負盛名，既灌錄唱片，也 在電影《莫扎特傳》、《生命中不能承受 的輕》及《教父第三集》的原聲唱片中 演唱。
三藩市交響樂團的「音樂歷險」計劃將 音樂帶給三藩市所有公立學校第一至 第五班的學童，美國各大樂團舉辦的 音樂教育計劃况，要數「音樂歷險」最 長壽了。
1926 年，三藩市交響樂團成 為首個於電台播放交響樂的美國樂 團；時至今日，其音樂會仍常在全美 各地播放。 2004 年 6 月起，三藩市交 響樂團的音樂普及節目「合譜：狄信湯 瑪士談音樂」在美國公共廣播公司電視 台及互聯網 (www.keepingscore.org) 播出，讓聽眾更能享受音樂，領略音 樂所蘊含的情感。
SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of the films Amadeus, The Unbearable Lightness of Being and Godfather III
Adventures in Music , the longest running education programme among American orchestras, brings music to every child in grades one through five in San Francisco’s public schools. SFS radio broadcasts, the first in America to feature symphonic music when they began in 1926, today carry the Orchestra’s concerts across the country. In June 2004, in a project designed to connect audiences with music and the emotions it conveys, the SFS launched Keeping Score : MTT on Music on PBS-TV and the World Wide Web (www. keepingscore.org).
三藩市交響樂團及米高．狄信湯瑪士謹向以下贊助機構給予該樂團2006年中國巡演的慷慨支持，表示感謝：
The San Francisco Symphony and Michael Tilson Thomas wish to thank the following sponsors for making the San Francisco Symphony’s 2006 China tour possible through their generous support:
Dixon & Carol Doll Family Foundation 迪克信與卡洛爾多爾家族基金會
2006 年 2 月 9 日（星期 四）
Thursday, 9 February 2006
演出長約1小時40分鐘，包括20分鐘中場休息
Running time: approximately 1 hour and 40 minutes, with a 20 minute interval
柯普蘭 (1900-1990)
《平民的號角》
史達拉汶斯基 (1882-1971)
《彼得羅什卡》（1947 年版本）
懺悔節的市集
彼得羅什卡房內
摩爾人房內
盛大狂歡節
－中場休息－
柴可夫斯基 (1840-1893)
F 小調第四交響曲，作品 36
稍慢的行板 活潑的中板， 圓舞曲速度
像歌曲的小行板
諧謔曲，撥弦奏頑固音型：快板 終曲：熱烈的極快板
Aaron Copland (1900-1990)
Fanfare for the Common Man
Igor Stravinsky (1882-1971)
Petruschka (1947 version)
The Shrove-tide Fair
Petrushka’s Room
The Moor’s Room
The Grand Carnival
– Interval –
Piotr Ilyich Tchaikovsky (1840-1893)
Symphony No 4 in F minor, Op 36
Andante sostenuto Moderato con anima, in movimento di valse
Andantino in modo di canzona
Scherzo, pizzicato ostinato: Allegro
Finale: Allegro con fuoco
演出時請保持安靜。
The artists and your fellow audience members appreciate silence during the performance.
柯普蘭
Aaron Copland
《平民的號角》
Fanfare for the Common Man
《平民的號角》是柯普蘭的名作，標題 的靈感來自美國總統羅斯福第三屆任 期時的副總統華萊士：他將二十世紀 命名為「平民的世紀」。當時辛辛那堤 交響樂團指揮尤金．古森斯委約十八 位美國作曲家，寫作配合所處時代的 號角曲；《平民的號角》就是柯普蘭應 邀之作， 1943 年 3 月由辛辛那堤交響 樂團首演。
《平民的號角》素材極簡單，但柯普蘭 的佈局出神入化，一開始就精采不 已：一連串的敲擊樂先聲奪人，效果 莊嚴隆重，絕不平淡乏味。音樂會、 各式隆重場合以至總統就職典禮，皆 經常演奏此曲，至今不下數千次；伯 恩斯坦更形容此曲為「世上最熱門曲 調」。
Aaron Copland took the title of his famous Fanfare from Henry Wallace, Vice-President of the United States during Franklin D Roosevelt’s third term, when Wallace dubbed the 20th century the “ century of the common man ” . Copland had responded to a commission for a fanfare suited to the times, one of 18 such requests put forward to American composers by Eugene Goossens, then conductor of the Cincinnati Symphony, which first played the work in March 1943.
The Fanfare for the Common Man is made of the simplest materials, but Copland’s sense of timing in their deployment is masterful evident immediately in the majestic but not in the least obvious progression of the percussion’s introductory call to attention. It has been performed thousands of times in concert and at solemn occasions of many sorts all the way up to Presidential inaugurations. Leonard Bernstein called the Fanfare “the world’s leading hit tune”
史達拉汶斯基 Igor Stravinsky
《彼得羅什卡》（1947 年版本） Petrushka (1947 version)
《彼得羅什卡》是史達拉汶斯基為戴亞 基列夫的俄羅斯芭蕾舞團而創作的作 品，寫於 1910 年 8 月至 1911 年 5 月， 1911 年 6 月在巴黎夏特萊劇院首演。
史達拉汶斯基曾多次修訂《彼得羅什 卡》，最終的修訂本按出版年份被稱為 「1947 年版本」。
Stravinsky composed Petrushka between August 1910 and May 1911, for Serge Diaghilev ’s Ballets Russes, and it was first performed at the Théâtre du Châtelet, Paris, in June 1911. Stravinsky ’s latest revisions to Petrushka are identified by the publication date as ‘the 1947 version’
史達拉汶斯基說：「寫作此曲時，我眼 前浮現清晰的情景：一個木偶突然活 起來，邪惡地把大推琶音排山倒海地 湧向樂團；樂團不勝其煩，於是以響 亮的小號聲報復，震撼的聲浪攀上頂 峰，直到那可憐的木偶淒涼哀怨地倒 下才結束。」
幕起時，舞台上是聖彼得堡海軍上將 廣場；在陽光普照的冬日况，廣場正 舉行懺悔節市集，鼓手把人群的注意 力引向魔法師。魔法師吹着笛，逐一 介紹他的木偶 彼得羅什卡、芭蕾 舞女郎和摩爾人，再施法賦予他們生 命，幾個木偶就開始跳着俄羅斯舞。
第二場是彼得羅什卡房內。樂曲總譜 的前言說：「雖然魔法師利用魔法使三 個木偶都有人的情感，只有彼得羅什 卡最能感覺，也最痛苦︙︙他希望與 芭蕾舞女郎相愛，從中得到慰藉。然 而，芭蕾舞女郎到訪時，卻被他粗野 古怪的舉動嚇跑了︙︙」
第三場是在摩爾人的房內。芭蕾舞女 郎被粗鄙下流的摩爾人深深吸引。女
郎來探望摩爾人時，妒火中燒的彼得 羅什卡打擾兩人約會，最後被摩爾人 趕走。
最後一場把觀眾帶回廣場市集。一群 參加化裝舞會的人進場；聽到喊叫聲 時，正在翩翩起舞的人群都停下來。
彼得羅什卡衝出劇場，拔足狂奔，摩 爾人不顧芭蕾舞女郎阻止，窮追不 捨，最後用馬刀刺中彼得羅什卡。彼 得羅什卡倒下，頭顱破裂；他的幽靈 出現在劇場上空，威脅魔法師。
“In composing the music,” said Stravinsky, “I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi . The orchestra in turn retaliates with menacing trumpet blasts. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.”
The curtain rises to show Admiralty Square, Saint Petersburg, on a sunny winter’s day at the Shrove-tide Fair. Drummers draw attention to a magician, who plays the flute and presents his puppets — Petrushka, the Ballerina and the Moor. He brings them to life, and they perform a Russian dance.
The second scene is in Petrushka’s room. The preface to the score tells us that “ while the Magician’s magic has imbued all three puppets with human feelings and emotions, it is Petrushka who feels and suffers most.... He tries to console himself by falling in love with the Ballerina. She visits him, but she is frightened by his uncouth antics and she flees....”
Scene Three is in the Moor’s room. The Moor is brutal, but attractive to the Ballerina. She comes to visit. Their scene is interrupted by the jealous Petrushka, whom the Moor throws out.
The last scene takes us back to the fairgrounds. A group of masqueraders comes in. Shouts are heard and the dancers stop their swirling. Petrushka runs from the theatre, pursued by the Moor, whom the Ballerina is trying to restrain. The Moor strikes Petrushka with his sabre. Petrushka falls, his skull broken. Above the theatre, his ghost appears, threatening the Magician.
- Interval -
柴可夫斯基
Piotr Ilyich Tchaikovsky
F 小調第四交響曲，作品 36
Symphony No 4 in F minor, Op 36
1876 年12月，娜捷達．馮梅克夫人走 進柴可夫斯基的生命。新寡的馮梅克 夫人家財豐厚，醉心於柴可夫斯基的 音樂；她以豐厚的財產，給予窮困的 柴可夫斯基大筆的經濟援助，條件只 有一個：兩人不能見面。這段奇怪的 友誼維持了差不多十四年，直至馮梅 克夫人突然停止資助。
馮梅克夫人出現後不久，柴可夫斯基 就動筆寫第四交響曲。柴可夫斯基剛 結束了一段極不如意的短暫婚姻； 1878 年1月 7日，他在這段婚姻的餘波 中完成此曲。馮梅克夫人問柴可夫斯 基，交響曲內容「關於什麼」；柴可夫 斯基回信道，答案在音樂况，不是在 討論音樂的文字况；雖然如此，他仍 識趣地提供了「內容大綱」，說開始時 的號角曲象徵「命運，那阻礙我們實現 快樂願望的關鍵︙︙」樂曲開始時，柴 可夫斯基以號角曲表現命運的力量， 到最後同樣以號角曲作結。
音樂內在的及外在的主要內容，都集 中表現在規模宏大、陰鬱黑暗的第一 樂章；第二樂章是憂鬱的歌，第一樂 章充斥的悲傷樂句在此若隱若現；第 三樂章短小、輕鬆，而終樂章則寬 廣、奔放。
樂曲介紹：米高．史坦堡 © 2005 三藩市交響樂團
Madame Nadezhda von Meck had come into Tchaikovsky’s life in December 1876. She was rich, recently widowed and obsessed with the composer’s work. Thousands of roubles moved from her vast holdings into the fragile Tchaikovsky account. Her one condition was that they never meet. Their strange friendship lasted nearly 14 years, until she called things off abruptly.
Soon after Mme Von Meck ’s emergence, Tchaikovsky began the Fourth Symphony. It was in the aftermath of his catastrophic and shortlived marriage that he completed it, on 7 January 1878. When Mme Von Meck asked Tchaikovsky what their symphony was about, Tchaikovsky explained that the answer was to be found in the music and not in words about the music, but still obliged with a “programme” in which an opening fanfare is identified with “Fate, the decisive force which prevents our hopes of happiness from being realised....” Tchaikovsky represents the force of fate with a fanfare at the symphony’s opening, and we hear it again as the work closes.
The burden of the musical and extra-musical argument is in the large, brooding first movement. The second movement is a melancholy song with reminders of the grieving phrases that dominate the first movement. The third movement is brief and light hearted, the finale broad and wild.
Programme Notes by Michael Steinberg © 2005 San Francisco Symphony
2006 年 2 月 10 日（星期 五）
Friday, 10 February 2006
演出長約1小時35分鐘，包括一節20分鐘中場休息
Running time: approximately 1 hour and 35 minutes, with a 20 minute interval
艾菲斯 (1874-1954)
《陣亡將士紀念日》
誦讀 孟浩文
舒曼 (1810-1856)
A小調大提琴協奏曲，作品 129
不太快
慢速
較快速
大提琴 林恩．哈勒爾
－中場休息－
布拉姆斯 (1833-1897)
D 大調第二交響曲，作品 73
不太快的快板 不太慢的慢板 優雅的小快板（接近小行板） 神氣的快板
Charles Ives (1874-1954)
Decoration Day
Brian Montgomery speaker
Robert Schumann (1810-1856)
Concerto in A minor for Cello and Orchestra, Op 129
Nicht zu schnell
Langsam
Schneller
Lynn Harrell cello
– Interval –
Johannes Brahms (1833-1897)
Symphony No 2 in D major, Op 73
Allegro non troppo
Adagio non troppo
Allegretto grazioso (quasi andantino)
Allegro con spirito
演出時請保持安靜。
The artists and your fellow audience members appreciate silence during the performance.
演後藝人談 Meet-the-Artist (Post-Performance) 10.2.2006 (五Fri)
歡迎觀眾演出後留步，與米高．狄信湯瑪士見面 If you would like to meet Michael Tilson Thomas, please stay behind in the auditorium after the performance.
艾菲斯
Charles Ives
《陣亡將士紀念日》 Decoration Day
《陣亡將士紀念日》原為《新英格蘭假 期》况四首樂曲的第二首，寫於 1912 年，在1931 年12 月27日由阿馬狄奧． 洛登指揮的古巴夏灣拿交響樂團首 演。
斯文造作的音樂製作傳統使艾菲斯怒 不可遏，「文雅」這個詞對他來說更是 奇恥大辱。艾菲斯的父親是管樂隊指 揮，遺傳了父親冒險精神的艾菲斯， 經常大膽求新；他喜歡音樂大雜燴， 使高雅及流行音樂之間的界線變得含 糊，令聽眾大感驚愕。最重要的，還 是艾菲斯對音樂的個人見解、視野及 信念 他認為音樂能夠回應對生命 的種種疑問。多年來，他的音樂都不 被受落，可是現在，艾菲斯已被譽為 美國最偉大作曲家之一。
「陣亡將士紀念日」就是現在的先烈紀 念日，也是每年五月悼念美國戰爭死 難者的假期。
Decoration Day is the second of a set of four pieces known as New England Holidays. It was composed in 1912 and first performed by the Havana (Cuba) Symphony with Amadeo Roldan conducting on 27 December 1931.
The genteel tradition of music-making enraged Ives, and the word ‘nice’ was for him the ultimate putdown. He was a great experimenter who inherited his sense of adventure from his bandmaster father. Ives loved musical collage, and he shocked listeners by blurring the line between cultivated and popular. What matters most is his personal voice, his vision, his belief in music’s power to speak to the most central questions of existence. For years, his music was not accepted, but today he is acknowledged as one of America’s greatest composers.
Decoration Day is the May holiday now called Memorial Day, honouring US war dead.
© Terrence McCarthy
關於這個樂章，艾菲斯寫道：
清晨，悼念者聚集在村莊四周的 公園和樹林，滿懷親切的回憶， 虔誠地採摘為紀念日而準備的鮮 花。午前，人群漸漸在草地聚 集，彷彿讓人感到一種熱烈緊張 的氣氛 彷如一種狂熱嚴酷的陰 影 反照以前廢奴運動的日子。
這一天，如梭羅所說，讓我們深 深感受到「大自然與卑劣人性的連 繫」。
春天綻放的丁香花、雛菊和芍藥 佈滿鎮會堂，巡行隊伍漸漸在大 街形成。三位坐在犁田馬上的典 禮官，從旁帶領隊伍，接着是載 有獄長和鎮行政官的馬車、鄉村 短號樂隊、國民軍、兩人一行的G 連民兵，義務消防隊拖着裝飾用 的消防喉車。隨着那響鬧的鐘聲 跟在後頭的，必定是一群小男 孩。巡行隊邁向伍斯特墓地的情 景，是一個小男孩永遠都忘不了 的事。延綿隱約的鼓聲和讚美歌 《信友請前來》成了輓歌。小女孩 站在籬笆樁上向父親揮手，心想 爸爸在蓋底斯堡也是這樣的嗎？
粉飾過最後一個墳墓後，葬禮的 安息號響起，穿越大片松樹和山 核桃樹，這時大家唱出最後一首 讚美詩。然後大家重新列隊，隨 着北軍士兵音樂 利夫斯振奮人 心的「第二團快步進行曲」，我們 全部朝市鎮走去。然而，對很多 士兵來說，在管樂隊曲調下藏着 對這一天的悲情。隊伍停下來 清晨花之歌的影子在靜謐中升 起，籠罩着市鎮；西山背後的日 落，默默為這天送上祝福。
Here is what Ives said about this movement:
In the early morning the gardens and woods around the village are the meeting places of those who, with tender memories and devoted hands, gather the flowers for the day’s memorial. During the forenoon as the people join each other on the Green there is felt, at times, a fervency and intensity a shadow perhaps of the fanatical harshness reflecting old Abolitionist days. It is a day as Thoreau suggests, when there is a pervading consciousness of “ Nature ’s kinship with the lower order man.”
After the Town Hall is filled with the Spring’s harvest of lilacs, daisies and peonies, the parade is slowly formed on Main Street. First come the three Marshals on plough horses (going sideways), then the Warden and Burgesses in carriages, the Village Cornet Band, the G.A.R., two by two, the Militia (Company G), while the volunteer Fire Brigade, drawing a decorated hose-cart, with its jangling bells, brings up the rear the inevitable swarm of small boys following. The march to Wooster Cemetery is a thing a boy never forgets. The roll of the muffled drums and Adestes Fideles answer for the dirge. A little girl on a fencepost waves to her father and wonders if he looked like that at Gettysburg.
After the last grave is decorated, Taps sounds out through the pines and hickories, while a last hymn is sung. The ranks are formed again, and we all march to town to a Yankee stimulant — Reeve ’s inspiring Second Regiment Quickstep though, to many a soldier, the sombre thoughts of the day underlie the tunes of the band. The march stops and in the silence of the shadow of the early morning flower-song rises over the Town, and the sunset behind the West Mountain breathes its benediction upon the Day.
負責誦讀的孟浩文，自2004 年起 出任香港演藝學院音樂學院聲樂 系主任。
The speaker Brian Montgomery has been the Head of Vocal Studies at the School of Music, Hong Kong Academy for Performing Arts, since 2004.
舒曼
Robert Schumann
A 小調大提琴協奏曲，作品 129 Concerto in A minor for Cello and Orchestra, Op 129
1850 年10月，遷居杜塞爾多夫不久的 舒曼仍然為此心情愉快，只要十五 天，就寫好了這首大提琴協奏曲。舒 曼太太克拉娜十分喜歡此曲，認為「此 曲氣質浪漫、跳脫活潑、清新幽默， 大提琴與樂團交織的效果引人入勝， 徹頭徹尾是迷人的曲子。還有，旋律 樂段是何等悅耳！令人感受又何等深 刻！」
聽眾在此可以窺見舒曼大膽創新的一 面。舒曼喜愛簡練，也熱中尋找新方 法將幾個樂章聯繫起來。樂曲開始 時，伴以撥奏弦樂的木管和弦先行， 為美妙的大提琴旋律打開大門；然而 這些素材卻並不局限於第一樂章。和 弦的樂思瀰漫整個緩慢的樂章，而大 提琴主題則化身成宣敘調 由獨奏 大提琴與樂團共同演奏 構成連接 第二、三樂章的橋樑。每個樂章之間 都是相連的；而第二樂章雖然像一首 開朗豪邁的歌，但也帶有過渡性質； 終章的最後幾頁，音樂轉為六八拍 子。布拉姆斯覺得這個手法值得借 鏡，因此也經常使用。
－中場休息－
In October 1850, when he wrote the Cello Concerto in just 15 days, Schumann was still euphoric about his move to Dusseldorf. His wife, Clara, was delighted by the work. “The romantic quality, the vivacity, the freshness and humour, also the highly interesting interweaving of violincello and orchestra are indeed wholly ravishing, and what euphony and deep feeling one finds in all the melodic passages!”
Here we glimpse Schumann ’s experimental side. He is interested in compression and in finding new ways to connect the parts of a multimovement composition. Both the initial chords for woodwinds with pizzicato strings and the wonderful cello melody to which they open the door have more than local functions. The idea of the chords pervades the slow movement, and the cello theme turns into a recitative shared by soloist and orchestra — that forms the bridge from the second movement to the finale. Each movement is linked to the next, and the middle one, though it sets out in expansive song, has something of the character of a bridge. The shift into 6/8 time for the last pages of the finale is a device that Brahms found worth imitating, and often.
- Interval -
布拉姆斯
Johannes Brahms
D 大調第二交響曲，作品 73 Symphony No 2 in D major, Op 73
1876 年，布拉姆斯克服了自己的顧 慮，完成第一交響曲後，興奮得馬上 着手寫另一首交響曲。 1877 年夏，布 拉姆斯完成了第二交響曲，同年 12 月 30 日在維也納愛樂樂團的音樂會上首 演，由漢斯．利希特任指揮。
布拉姆斯第二交響曲的大前提是閑適 與開朗，幾個樂章的內容集中，渾然 一體。他以雙重意念開始，大提琴和 低音大提琴奏出的四音動機頗為中 性；然後，法國號與巴松管差不多同 時加入，奏出氣氛浪漫的旋律。但原 來低音聲部的素材十分重要：這個樂 句的變奏，不但在接着的十來個小節 况出現了五次，更孕育了整首交響 曲，很多樂思都包含了首三個音的音 型。
第一樂章特別豐富多變，充實而耐 聽，既有黯淡朦朧的和聲，也有光芒 四射的活力與動感。而第二樂章正是 布拉姆斯追求「內容集中」的明證。第 二樂章以大提琴主題開始，巴松管以 反方向伴奏，是布拉姆斯最令人讚嘆 的樂段之一。在這况，第一樂章况的 背景旋律清晰浮現。
悠閒的第三樂章，是布拉姆斯拿手的 仿諧謔曲，接着是節奏快速的終樂 章。低吟的開端是整首交響曲開首數 小節的變奏，後來的主題較寬廣，但 依然活潑。吉卜賽音樂令場面生色不 少，使生氣盎然的樂章最後以熾烈、 堅定的方式完結。
樂曲介紹：米高．史坦堡 © 2005 三藩市交響樂團
Once he had overcome his inhibitions and completed his First Symphony in 1876, Brahms was so elated that he began another as soon as he could. He composed the Symphony No 2 in the summer of 1877, and Hans Richter conducted the first performance at a Vienna Philharmonic concert on 30 December that year.
The Brahms Second is all relaxation and expansiveness. It is a singularly integrated, concentrated symphony. Brahms begins with a double idea, a fairly neutral four-note motif in cellos and basses, upon which horns, joined almost at once by bassoons, superimpose a romantically atmospheric melody. But what we hear in the bass turns out to be crucial. Variants of that phrase appear five times in the next dozen or so measures. It is germinal to the entire symphony, many of whose ideas share the pattern of those first three notes.
This first movement is uncommonly rich and varied, with much to listen to and absorb, filled both with dusky harmony and radiant physical energy. Nowhere is Brahms ’ desire for concentration more evident than in the slow movement. The cello theme with which it begins, accompanied by the bassoons in contrary motion, is one of his most amazing inspirations. Here, the shadows that are background in the first movement move to the fore.
The third movement is one of those leisurely quasi-scherzos that are a Brahms specialty. There follows a swift finale. The sotto voce opening is a variation of the first bars of the whole symphony. Later themes move more broadly, though not with less energy. A touch of Gypsy music enlivens the scene, and this exuberant movement culminates in blazing affirmation.
Programme Notes by Michael Steinberg © 2005 San Francisco Symphony
y n n a r r e l l
林恩．哈勒爾
大提琴 Cello(10.2.2006)
哈勒爾享譽樂壇，是技藝高超的獨奏家、室樂演奏家、指揮和教師，足 跡遍及美洲、歐洲、亞洲，使他成為當今首屈一指的表演藝術家。
哈勒爾常受邀在世界各地頂尖音樂廳和音樂節演出，並 定期與知名樂團合作，包括波士頓、芝加哥、洛杉磯、 紐約、費城及達拉斯；在歐洲，合作過的樂團包括倫 敦、慕尼黑、柏林和以色列；而經常合作的名指揮則包 括萊文、馬連拿爵士、馬素爾、梅塔、柏雲、歷圖爵 士、斯萊肯、特米肯諾夫、狄信湯瑪士和辛曼。
哈勒爾灌錄唱片超過三十張，包括巴赫大提琴組曲全 集、維克托．赫伯特第一大提琴協奏曲世界首演錄音、 與歷圖及伯明翰市交響樂團合作的華爾頓協奏曲。哈勒 爾跟帕爾曼和阿殊堅納西組成的三重奏，憑1981 年的柴 可夫斯基鋼琴三重奏和 1987 年的貝多芬鋼琴三重奏全 集，兩度贏得格林美獎。最近，哈勒爾與皇家利物浦愛 樂樂團及指揮謝洛．施華合作，灌錄了柴可夫斯基為大 提琴與樂團而寫的《洛可可主題變奏曲》。
哈勒爾所用大提琴為 1720 年製的名琴蒙塔納納。
Lynn Harrell is a consummate soloist, chamber musician, recitalist, conductor and teacher, his work throughout the Americas, Europe and Asia has placed him in the highest echelon of today’s performing artists.
Lynn Harrell is a frequent guest of the top concert halls and festivals around the world. He also performs regularly with the leading orchestras including Boston, Chicago, Los Angeles, New York, Philadelphia and Dallas, and in Europe, with the orchestras of London, Munich, Berlin and Israel. Harrell regularly collaborates with such noted conductors as James Levine, Sir Neville Marriner, Kurt Masur, Zubin Mehta, Andre Previn, Sir Simon Rattle, Leonard Slatkin, Yuri Temirkanov, Michael Tilson Thomas and David Zinman.
Highlights from an extensive discography of more than 30 recordings include the complete Bach Cello Suites, the world-premiere recording of Victor Herbert’s Cello Concerto No 1, and the Walton Concerto with Sir Simon Rattle and the City of Birmingham Symphony Orchestra. Together with Itzhak Perlman and Vladimir Ashkenazy, Lynn Harrell was awarded two Grammy Awards in 1981 for the Tchaikovsky Piano Trio and in 1987 for the complete Beethoven Piano Trios. Most recently, he recorded Tchaikovsky’s Variations for Cello and Orchestra on a Rococo Theme with the Royal Liverpool Philharmonic, Gerard Schwarz conducting. Lynn Harrell plays a 1720 Montagnana.
© Terrence McCarthy
2006 年 2 月 11 日（星期 六）
Saturday, 11 February 2006
演出長約1小時35分鐘，包括一節20分鐘中場休息
Running time: approximately 1 hour and 35 minutes, with a 20 minute interval
柯普蘭 (1900-1990)
《管弦樂變奏》
馬勒 (1860-1911)
升 F 大調第十交響曲之慢板 －中場休息－
德伏扎克 (1841-1904)
G 大調第八交響曲，作品 88
光輝的快板
慢板
優雅的小快板 不太快的快板
Aaron Copland (1900-1990)
Orchestral Variations
Gustav Mahler (1860-1911)
Adagio from Symphony No 10 in F sharp major – Interval –
演出時請保持安靜。
Antonín Dvorák (1841-1904)
Symphony No 8 in G major, Op 88
Allegro con brio
Adagio
Allegretto grazioso
Allegro ma non troppo ˆ
The artists and your fellow audience members appreciate silence during the performance.
柯普蘭 Aaron Copland
《管弦樂變奏》 Orchestral Variations
1948 至1960 年間，路易斯維爾樂團推出 一項驚人的理想化計劃 委約一百二 十首管弦樂作品。早在接受路易斯維爾 樂團委約之前，柯普蘭已考慮過將自己 寫於 1930 年的《鋼琴變奏曲》改編為管弦 樂作品。柯普蘭年輕時偏愛華麗的寫 法，為他在創作上帶來不少難題；最 後，他認為《變奏曲》「也是華麗的，只是 變得乾巴巴、沒有裝飾的華麗」。 1957 年，柯普蘭將《變奏曲》改編成管弦樂曲 時，的確成功令樂曲既華麗又無修飾。 此曲由路易斯維爾樂團於 1958 年 3 月首 演。
柯普蘭形容《管弦樂變奏》是由「一個戲劇 化的主題，帶着二十個變奏和一個尾聲」 所構成。要走過這廿二個部份，所需時 間不到十五分鐘，段落之間的轉折也十 分迅速。首先聽到的四音音組是全曲基 礎，幾乎無處不在。「變奏十」的音樂漸 趨複雜，為第一大章劃下堅定的句點。
「變奏十一」運用了對位法，加上安然寧 靜的低音聲部，可說是慢樂章了；「變奏 十二」至「變奏十八」是加長了的諧謔曲； 「變奏十九」起初似乎是另一慢速插段， 但隨後速度與活力急遽提升；尾聲雖然 織體稀疏，但效果宏偉壯麗。
Between 1948 and 1960, in an amazing and idealistic project, the Louisville Orchestra commissioned about 120 orchestral works. When his Louisville commission came along, Copland had had in mind for some time the orchestral possibilities of his Piano Variations of 1930. The young Copland had become troubled by his penchant for the grandiose, and he eventually came to think of his Variations as representing “another version of the grandiose, except that it had changed to a very dry and bare grandiosity ” . When he orchestrated the Variations in 1957, he did a remarkable job of getting them bare and grand at the same time. They were first performed in March 1958 by the Louisville Orchestra.
Copland has described the Variations as consisting of “a theme of dramatic character followed by 20 variations and a coda”. It takes less than fifteen minutes to traverse these twenty-two sections; progress from one episode to the next is swift. You hear first a four-note cell which is the source for the entire work and which is almost always present. Through Variation 10, the music becomes more complex, and Variation 10 itself puts a firm punctuation mark to the end of Chapter 1. Variation 11, contrapuntal with a hushed bass, is the slow movement, as it were; Variations 12 through 18 are an extended scherzo . Variation 19 begins as though it were to be another slow episode, but speed and energy rapidly increase. The coda, spare though the textures are, is magnificent.
馬勒 Gustav Mahler
升 F 大調第十交響曲之慢板 Adagio from Symphony No 10 in F sharp major
指揮家布魯諾．華特首演馬勒遺作《大地 之歌》（1911 年）及第九交響曲（1912 年） 後，大家都以為所有馬勒作品都已公諸 於世，因為大家都認為第十交響曲太零 碎，不宜演出。
1910 年夏，馬勒埋首寫作此曲時，正面 臨失去愛妻艾瑪的危險。不解溫柔的馬 勒，使生性風流的艾瑪不甘寂寞。 1910 年5月，艾瑪遇上華特．格魯皮雅斯。當 時初出茅廬的格魯皮雅斯，後來成為建 築史上最傑出建築師之一。艾瑪最終還 是決定留在丈夫身邊。馬勒後來告訴艾 瑪，要是當時她真的離開了，他就「會像 火把沒有空氣一樣，最終只有熄滅。」在 第十交響曲的樂譜中，這次婚姻危機也 反映在他寫在上面的片言隻語。
沒多少人知道馬勒這首交響曲寫了多 少，只知道〈慢板〉是完整的，〈淨界〉也 接近完成。 1959 年，英國音樂家戴利 克．庫克開始為全曲五個樂章籌備「演奏 版本」， 1964 年推出， 1972 年演出修訂 本。這個音樂會演奏的是馬勒親自完成 的〈慢板〉。
〈慢板〉以一整段音樂作為樂章的起拍： 中提琴以極弱音量奏出〈行板〉，若明若 暗地在多個和聲區域摸索；音樂漸漸減 慢，最終為正式的〈慢板〉樂段敞開大 門。〈慢板〉的旋律音域廣闊，情感深 刻。〈行板〉和〈慢板〉這兩段的速度與個 性是這個樂章的主要素材。突然，一個 戲劇性的轉折引出危機，小號發出淒厲 的呼嘯，奏出高亢的長音 A ，樂團力圖 以厚重的不協調和弦抑壓。曲中片段重 現，最後引入寬廣恢弘的終止式，結束 全曲。
－中場休息－
When Bruno Walter conducted the posthumous premieres of Mahler’s Das Lied von der Erde in 1911 and the Symphony No 9 in 1912, it seemed that all of Mahler’s music had been offered to the public. It was assumed the 10th Symphony was in too fragmentary a state to be performed. In the summer of 1910, when he did most of the work on this score, Gustav Mahler feared he would lose his beloved wife, Alma. Flirtatious by temperament and frustrated by Gustav ’s sexual withdrawal, Alma was restless. In May 1910, she met Walter Gropius, about to embark on one of the most distinguished careers in the history of architecture. Yet Alma chose to stay with her husband, who later told her that if she had left him then, “I would simply have gone out, like a torch deprived of air”. Through the score of the 10th Symphony, Mahler scribbled verbal exclamations that reflect this crisis.
Few knew how much work Mahler had done on this symphony. The Adagio was complete, the Purgatorio nearly complete. In 1959, the English musician Deryck Cooke began work on a ‘performing version’ of all five movements. This was introduced in 1964, and a revised version was heard in 1972. At this concert we hear the Adagio that Mahler completed. Mahler begins with a great upbeat: a pianissimo Andante for violas, probing, shedding muted light on many harmonic regions, slowing, finally opening the gates to the Adagio proper. This is a melody of wide range and great intensity. These two tempi and characters comprise the material for this movement. A dramatic dislocation brings about a crisis, the trumpet screaming a long high A, the orchestra seeking to suffocate it in dense and dissonant chords. Fragments and reminiscences, finally an immensely spacious cadence, bring the music to a close.
- Interval -
德伏扎克
Antonín Dvorák
G 大調第八交響曲，作品 88 Symphony No 8 in G major, Op 88 ˆ
德伏扎克 1889 年創作此曲，翌年 2 月在 布拉格首演，並親自指揮。當德伏扎克 隱居鄉郊埋首寫作此曲時，他說這首交 響曲會「跟其他交響曲不一樣，個別樂思 會以新方法處理」。事實上，開首的瑰麗 旋律是作曲家後來補上的，但他設法把 這個旋律插進第一樂章的幾個關鍵時 刻，以達最佳效果。第一樂章動感澎 湃，就如波希米亞精神。
〈慢板〉似乎效法了貝多芬《英雄交響 曲》，但德伏扎克以較抒情、較寬廣的音 樂帶出莊嚴氣氛。中段光輝燦爛漸趨高 亢，到達宏偉壯麗、圓潤低沉的高潮。
一陣平靜後，音樂卻越發激情，比前段 猶有過之；其後音樂漸趨沉寂，尾聲哀 怨纏綿，柔和優雅。
德伏扎克為聽眾帶來的「諧謔曲」其實是 一首悠閒舞曲。作曲家的捷克風格，在 終曲表露無遺。終曲可說是一首無拘無 束的變奏曲，管弦樂效果處處趣味盎 然。德伏扎克像不願放手似的，愁善感 越來越強；但隨着突如其來的解脫，歡 呼喝采聲重現，輝煌地直奔最後的小節 線。
Dvor á k wrote this Symphony in 1889 and conducted the first performance in February 1890, in Prague. As he worked on it in the seclusion of his country house, he said that this would be “different from other symphonies, with individual thoughts worked out in a new way” The glorious opening melody was actually an afterthought of Dvorák’s, but he figured out how most tellingly to bring it back at crucial points in the first movement. Energy runs high here, as does the Bohemian spirit.
The Adagio seems modelled on the second movement of Beethoven’s Eroica, though here the gravity is spelled by more lyrical, expansive music. A radiant middle section rises to a magnificently sonorous climax. After some moments of calm, the music becomes more impassioned than ever and finally subsides into a coda both elegiac and tender.
By way of a scherzo, Dvorák gives us a leisurely dance. The composer becomes more Czech than ever in the finale, which one might describe as footloose variations. This movement is replete with delightful orchestral effects. Dvorák seems always loath to let go and sentiment grows intense, but then there is sudden resolution, a return of good cheer and a brilliant rush to the final bar-line.
樂曲介紹：米高．史坦堡 © 2005 三藩市交響樂團 場刊中譯：鄭曉彤
Programme Notes by Michael Steinberg © 2005 San Francisco Symphony
San Francisco Symphony
音樂總監及指揮
Music Director and Conductor
駐團指揮 Resident Conductor
桂冠指揮 Conductor Laureate
樂團 The Symphony
第一小提琴
First Violins
Alexander Barantschik
Concertmaster
Naoum Blinder Chair
Nadya Tichman
Associate Concertmaster
San Francisco Symphony
Foundation Chair
Mark Volkert
Assistant Concertmaster
75th Anniversary Chair
Jeremy Constant
Assistant Concertmaster
Mariko Smiley
Melissa Kleinbart
Katharine Hanrahan Chair
Yun Chu
Sharon Grebanier
Naomi Kazama*
Yukiko Kurakata
Catherine A Mueller Chair
Suzanne Leon
Leor Maltinski
Isaac Stern Chair
Diane Nicholeris
Sarn Oliver
Florin Parvulescu
Victor Romasevich
Catherine Van Hoesen*
Dan Banner†
Sarah Knutson†
Raushan Akhmedyarova†
米高．狄信湯瑪士
Michael Tilson Thomas
艾德溫．奧特瓦特 Edwin Outwater
赫伯持．布隆斯泰特 Herbert Blomstedt
第二小提琴 Second Violins
Dan Nobuhiko Smiley
Principal Dinner & Swig Families
Chair
Paul Brancato
Acting Associate Principal
Audrey Avis Aasen-Hull
Chair
Kum Mo Kim
Acting Assistant Principal
John Chisholm
Cathryn Down
Darlene Gray
Amy Hiraga
Frances Jeffrey
Chunming Mo Kobialka
Daniel Kobialka*
Kelly Leon-Pearce
Zoya Leybin*
Joseph Meyer
Robert Zelnick
Chen Zhao
Virginia Price†
Rudolph Kremer†
Motoko Toba†
中提琴 Violas
Yun Jie Liu
Acting Principal
Jewett Chair
David Gaudry
Acting Associate Co-Principal
Adam Smyla*
Acting Associate Co-Principal
Don Ehrlich
Assistant Principal
John Schoening
Nancy Ellis
Gina Feinauer*
Leonid Gesin*
Christina King
Seth Mausner
Wayne Roden
Nanci Severance
Roxann Jacobson†
Thomas Elliott†
Anna Kruger†
Virginia Lenz†
大提琴 Cellos
Michael Grebanier
Principal
Philip S Boone Chair
Peter Wyrick
Associate Principal
Michelle Djokic†
Acting Assistant Principal
Margaret Tait
Barrie Ramsay Zesiger Chair
Barbara Andres*
Barbara Bogatin
Jill Rachuy Brindel
David Goldblatt
Lawrence Granger
Carolyn McIntosh
Anne Pinsker
Peter Shelton*
Richard Andaya†
Nora Pirquet†
低音大提琴 Basses
Scott Pingel
Principal
Larry Epstein
Associate Principal
Stephen Tramontozzi
Assistant Principal
Richard & Rhoda
Goldman Chair
William Ritchen
Charles Chandler
Lee Ann Crocker
Chris Gilbert
Brian Marcus
S Mark Wright
長 笛 Flutes
Robin McKee
Acting Principal
Caroline H Hume Chair
Linda Lukas
Acting Associate Principal
Catherine & Russell
Clark Chair
Tim Day†
Alfred S & Dede Wilsey Chair
Catherine Payne Piccolo
雙簧管 Oboes
William Bennett
Principal
Edo de Waart Chair
Jonathan Fischer
Associate Principal
Pamela Smith
Dr William D Clinite
Chair
Julie Ann Giacobassi
English Horn
Joseph & Pauline
Scafidi Chair
單簧管 Clarinets
Luis Baez
Acting Principal
E-flat Clarinet
William R and Gretchen B Kimball Chair
David Neuman
Acting Associate Principal
Jerome Simas†
Ben Freimuth
Bass Clarinet
巴松管 Bassoons
Stephen Paulson
Principal
Steven Dibner
Associate Principal
Rob Weir*
Jacqueline & Peter Hoefer Chair
Gregory Barber†
Steven Braunstein
Contrabassoon
圓 號 Horns
Robert Ward
Acting Principal
Jeannik Méquet
Littlefield Chair
Bruce Roberts
Acting Associate Principal
Jonathan Ring
Kimberly Wright
Chris Cooper†
Doug Hull†
小 號 Trumpets
Bill Williams†
Acting Principal
William G Irwin
Charity Foundation Chair
Glenn Fischthal
Associate Principal
Peter Pastreich Chair
Mark Inouye*
Jeff Biancalana†
Chris Bogios
長 號 Trombones
Mark H Lawrence
Principal
Robert L Samter Chair
Paul Welcomer
John Engelkes
Bass Trombone
Donna Parkes†
大 號 Tuba
Jeffrey Anderson
James Irvine Chair
豎 琴 Harp Douglas Rioth
定音鼓 Timpani
David Herbert
敲擊樂 Percussion
Jack Van Geem*
Principal
Carol Franc Buck Foundation Chair
Raymond Froehlich
Tom Hemphill
James Lee Wyatt III
Victor Avdienko†
續 Continued on page 43
鍵 琴 Keyboards
Robin Sutherland
Jean and Bill Lane Chair
Marc Shapiro†
* 休假 On Leave
圖書管理員 Librarian
John G Van Winkle
Principal Librarian
† 署理三藩市交響樂團成員 Acting member of the San Francisco Symphony
三藩市交響樂團弦樂部的座位安排，成員名單按英文名稱順序排列， 再採用定期轉換座位制度
The San Francisco Symphony string section utilises revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.
行政 Administration
John D Goldman
President
Brent Assink
Executive Director
Gregg Gleasner
Director, Artistic Planning
John Kieser
Director, Operations and Electronic Media
Robert Lasher
Director, Development
Oliver Theil
Interim Director, Public Relations
Laurie Bianchi
Director, National Sponsorships
Rebecca Blum
Orchestra Personnel Manager
Joyce Cron Wessling
Manager, Tours and Media Production
Lynn Hutton
Operations Coordinator
James Quinn
Stage Manager
Luree Baker
Dennis DeVost
Vance DeVost
Stage Technicians
© Terrence McCarthy