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2013 /14 Season


Table of Contents

目次

音樂總監前言

Music Director's Foreword 4

樂季總表

Concert Calendar 8

音樂總監 呂紹嘉

Shao-Chia Lü, Music Director 14

桂冠指揮 赫比希

Günther Herbig, Conductor Laureate

樂季總覽專文:繽紛萬花筒 燦爛小宇宙 文

16 20

焦元溥

OVERVIEW OF THE SEASON:A Symphonic Odyssey by Robert Markow

24

音樂會介紹

Program Introductions 28

NSO 歌劇

NSO Opera

專文:理查.史特勞斯的《莎樂美》—色羶腥與歌劇藝術 文

羅基敏

SYMPOSIUM:Perverse Pleasures: Richard Strauss's Salome by Hugo Shirley

54 58

呂紹嘉時間

Meet Maestro Lü 64

【NSO 室內樂集】

NSO Chamber Concerts 66

【焦點講座】

What is Composition? Lecture Concerts 68

【探索頻道】

Music Discovery Lecture Concerts 70

  認識 NSO

Meet NSO Musicians and Team

認識客席音樂家

Meet the Guest Artists 80

NSO 錄音產品

Discography of Taiwan Philharmonic (NSO)

空中導聆

NSO ON AIR 96

套票與座位表

Tickets and Seating Information 97

74 94

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2013 2014 SEASON

音樂總監 前言

另一頁精采風景

2013/14 新樂季,NSO 踏出更自信而穩健的步伐,

「謎與變奏」:看荀貝格與艾爾加如何各顯神通,從

要以多元呈現的方式,將不同主題遍佈全年。期待在

簡單主題編織出精彩絕倫的變奏曲。看鋼琴家劉孟捷

簡潔的標題導引下,讓每一場音樂會展現獨特的風景

如何詮釋兩首風格迥異的《帕格尼尼主題狂想曲》。

與氛圍。不變的,是我們為大家持續推介新曲,精鍊 經典的初衷。以下,是扼要的曲目巡禮:

「列寧格勒」:蕭斯塔科維契史詩般的第七號交響曲, 題獻給第二次世界大戰誓死禦敵的列寧格勒人民,首

「攀峰樂嶺」:開季音樂會我們以「山」為主題,結

演時激發出排山倒海般的同仇敵愾與民族情感。而其

合了台灣新銳作曲家顏名秀的世界首演《鑿貫》與理

精神底蘊中源源不斷的人道關懷與反戰沉思,更成為

查.史特勞斯的《阿爾卑斯》交響詩,前者啓靈於艱

此作流芳千古的普世價值。

辛的雪山隧道開鑿,後者是驚心動魄的登山奇旅。此 外,名小提琴家薇薇安.哈格納將演奏西貝流士蒼勁 冷冽的協奏曲。 「音樂狂旅」:從當代大師布列茲絢爛前衛的名作《符 號》,至浪漫私密的舒曼大提琴協奏曲,到悲情壯濶 的蕭斯塔科維契第五號交響曲,NSO 與您恣意穿梭 於 200 年時空隧道,自在遁隱於各式音樂場域。這個 特異的組合,不僅高度挑戰聽覺美感,詮釋幅度之極 致也是僅屬於身處 21 世紀的愛樂你我的音樂萬花筒。 「笙聲不息」:簡文彬帶來名家吳巍,以「笙」與大 自然為軸,設計出別開生面的曲目,與大家共度一個 熱鬧而深富創意的春節時分。除了一睹「笙」樂絕技 外,您可聽到亞洲新生代作曲家陳銀淑、黃若、潘世 姬作品的台灣 ( 或世界 ) 首演。

4

「維也納三傑」:海頓、莫札特、貝多芬──三位古 典祭酒共處一堂,且看他們如何對話、傳承、激盪, 並成為一代代後起之人在音樂創作上企圖超越的頂 峰。 「五月德意志」系列:在桂冠指揮赫比希及傑拉徳. 史瓦茲的棒下,我們以三場音樂會,高密度的呈現德 國浪漫大師貝多芬、舒曼、孟德爾頌、布拉姆斯、史 特勞斯的經典曲目。 「北歐傳奇」、「英倫盛宴」、「東歐經典」:顧名 思義,您除了可聽到較熟悉的葛利格之鋼琴協奏曲、 《皮爾金》、德沃札克大提琴協奏曲外,我們也介紹 難得一聞的帕爾特、尼爾森、華爾頓、巴爾托克、布 瑞頓等人的精彩作品及趙菁文《黏土的寓言》。


Season 「辛德密特與巴洛克」:旅美傑出中提琴家黃心芸與

與劉鳳學老師及新古典舞團蘊釀多時的《春之祭》合

我們一起向這位逝世滿 50 週年的現代音樂大師及他

作,很令我興奮期待。盼望在《春之祭》首演後的第

所熱愛的巴洛克時代致敬。

一百年,我們能為這部劃時代的偉作擦出屬於自己的

「浪漫詩人-拉赫瑪尼諾夫」:NSO 再度力邀大家

耀眼火花。

喜愛的鋼琴家齊柏絲坦,要讓您整晚徜徉忘返於拉赫

壓軸,也是傳統了,今年的歌劇是理查.史特勞斯的

瑪尼諾夫裡。

《莎樂美》,我們再一次結合國內外一流藝術家,攜

「古樂正典」: 請聽古樂大師戈貝爾與 NSO,如何在

手為本樂季劃下完美的句點。

精研原典,又不忘積極與現代對話的前提下,將所謂

如往年一般,NSO 首席絃樂團、【NSO 室內樂集】、

的「古樂」注入新生命,鮮活的呈現在大家面前。

【永遠的童話】、【呂紹嘉時間】、焦元溥的【焦點

在「巨人之聲」、「美聲長號與美人魚」中,除了德 國青壯指揮桑德林與迪瑞德分別演繹馬勒名作第一號 交響曲「巨人」,及難得一聞的齊姆林斯基之交響詩

講座】、以及多位名家主持的【探索頻道】,提供了 我們與大家在大型音樂會之外,更多元而豐富的交流 空間及對話管道。

鉅構《美人魚》外,長號大師范雷彥與雙簧管名家奧

最後,我們歡迎二次造訪 NSO 的小提琴家陳銳、鋼

格林卓克將帶來貝里歐與莫札特父子的精采協奏曲,

琴家薩洛,及首次登「台」的鋼琴家莉西特莎、烏利

相信他們會為春季的台灣帶來一股銳不可擋的「管樂

希,小提琴家克拉格魯德,大提琴家沃格勒、及莫瑟。

熱潮」。

我們音樂廳見!

已成 NSO 傳統的跨 / 新年音樂會,今年以「舞」為 題貫穿全場,在金希文新作《眼窗之舞》、德沃札克、 伯恩斯坦及約翰.史特勞斯的歌劇《蝙蝠》選粹之各 式「舞」樂中,我們要再與大家共度一個歡欣難忘的 跨年之夜。

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2013 2014 SEASON

Music Director's Foreword

A Kaleidoscopic Season

The coming 2013/14 season will feature a multidimensional music feast. It is hoped that with a concise title, every concert can exude a unique picture and ambiance. What remains unchanged is our efforts to promoting both familiar and unfamiliar master pieces. Let's have a glance at the programs. Symphonic Peaks: The season opening concert features mountains and presents the world premiere of Taiwan ese new-generation composer MingHsiu Yen's Breaking Through and Richard Strauss's Eine Alpensinfonie . The former is inspired by the painstaking boring through of the Hsuehshan Tunnel in Taiwan while the latter describes a thrilling adventure into the mountains. In addition, famed violinist Viviane Hagner will perform the breath taking concerto of Jean Sibelius. A Kaleidoscopic Journey: From con temporar y virtuoso Pierre Boulez's avant-garde Notations , Robert Schumann's romantic Cello Concerto to Dmitri Shostakovich's magnificent Symphony No. 5, the NSO will take you through 200 years and experience various musical epochs. This exceptional combination functions as a kaleidoscope only for music lovers of the 21st century, guaranteed to challenge acoustic aesthetics. The Power of Sheng: Maestro Wen-Pin Chien and renowned sheng soloist Wu Wei will collaborate on an exclusive program based on the sheng and Mother Nature for a bustling and creative Chinese New Year vacation. In addition to witnessing the sheng master in

6

motion, you can also participate in the Taiwan or world premieres of works from Asian composers Unsuk Chin, Huang Ruo and Shyh-Ji Pan. Rhapsodies & Variations: Come and see how Arnold Schönberg and Edward Elgar produce amazing variations out of simple themes, while pianist MengChieh Liu interprets two entirely different versions of Rhapsody on a Theme of Paganini . Return to Leningrad: Shostakovich's epic Symphony No. 7 was dedicated to the people of Leningrad who swore to fight against enemies during World War II. Its premiere fanned a patriotic sentiment among all Russians. The underlying humanism and antiwar philosophy further highlight the value of the composition. T h e C l a s s i c a l Vi e n n e s e S p i r i t : T h re e c l a s s i c torchbearers, Haydn, Mozart and Beethoven, form a night of genuine musical heritage. See how they rose to become unsurpassable summits for generations of musicians to come. The Germanic May series: Under the batons of Conductor Laureate Günther Herbig and guest conductor Gerard Schwarz, three concerts will be dedicated to the classic repertoires of the core German composers Beethoven, Schumann, Mendelssohn, Brahms and Strauss. Tales of the North, A Musical Feast and Legends from Eastern Europe: Besides Edvard Grieg's Piano Concerto, Peer Gynt and Antonín Dvořák's Cello


Season Concerto, we will also present exciting but seldom heard orchestral works of Arvo Pärt, Carl Nielsen, William Walton, Béla Bartók and Benjamin Britten as well as the premiere of Ching-Wen Chao's Playdough's Curve for Orchestra.

selection of dance music including Gordon Chin's Dance of Mata , works of Dvořák and Leonard Bernstein, and excerpts from Johann Strauss Jr.'s Die Fledermaus . We will spend another unforgettable New Year's Eve with the audience.

Back to Bach, Forward to Hindemith: US-based violist Hsin-Yun Huang will join us in saluting the great composer Paul Hindemith, who passed away 50 years ago and his beloved Baroque era.

I am eagerly looking forward to the NSO's collaboration with Feng-Shueh Liu and the Neo-Classic Dance Company on The Rite of Spring . It is expected that a century after the premiere of the work, we will be able to strike our own sparks out of this epoch-making masterpiece.

Rachmaninoff the Romantic: The NSO has once again invited the much-loved pianist Lilya Zilberstein to enchant concert-goers with another evening of music by Sergei Rachmaninoff. The Authentic Classic: Early music master Reinhard Goebel and the NSO aim to instill a new life into authentic performance by balancing authenticity with modernity. The Towering ''Titan'' and The Amazing Trombone Man & The Mermaid: German conductors Michael Sanderling and André de Ridder will interpret Mahler's Symphony No. 1, Titan , and Alexander Zemlinsky's symphonic poem Die Seejungfrau (The Mermaid ) respectively. Trombonist Jörgen van Rijen and oboist Alexei Ogrintchouk will perform concertos of Luciano Berio and Leopold and Wolfgang Mozart. They will surely bring about an unstoppable frenzy of the wind instruments for Taiwan in spring. This year's NSO New Year's Eve Concert, which has become a tradition for the ensemble, features a

As for our seasonal opera production, this year is Richard Strauss's Salome, in which we once again bring together national and international artists to conclude the season on a perfect note. As usual, several NSO branding programs, including the NSO String Ensemble, NSO Chamber Concerts, Forever Tales, Meet Maestro LÜ, Yuan-Pu Chiao's Lecture Concerts and Music Discovery, provide diversity and channel for musical dialogues in addition to large-scale concerts. Last but not least, we will be able to see old friends and new faces at the NSO, including violinist Ray Chen and pianist Alexandre Tharaud as repeat artists and pianists Valentina Lisitsa and Florian Uhlig, violinist Henning Kraggerud, and cellists Jan Vogler and Johannes Moser as debut artists. See you all at the National Concert Hall!

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2013 2014 SEASON

樂季 總表 CH

9.21 9.

Sat. 19:30

9

NT

p.28

開季音樂會─ 攀峰樂嶺 Season Opening Concert ─ Symphonic Peaks

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 編舞 劉鳳學 FENG-SHUEH LIU, choreographer 新古典舞團 NEO-CLASSIC DANCE COMPANY

梅湘:《被遺忘的奉獻》     《基督升天》─四首管絃冥想曲 史特拉汶斯基:《春之祭》 O. MESSIAEN: Les offrandes oubliées L'Ascension - 4 Méditations Symphoniques I. STRAVINSKY: Le Sacre du printemps

400 600 800 1000 1200 1500

500 700 900 1200 1500 2000

Fri. 19:30

p.30

維也納三傑

RH

The Classical Viennese Spirit 指揮 鋼琴

呂紹嘉 SHAO-CHIA LÜ, conductor 路易斯.洛提 LOUIS LORTIE, piano

【探索頻道】講座音樂會 Music Discovery Lecture Concerts p.70

拉.啦.LA.拉威爾

400

8

p.68

安德石

400

10.12 10.

Sat. 19:30

p.31

音樂狂旅─ 布列茲、舒曼、蕭斯塔科維契 A Kaleidoscopic Journey 指揮 喬治.佩利凡尼安 GEORGE PEHLIVANIAN, conductor 大提琴 楊.沃格勒 JAN VOGLER, cello

UnRAVELing Ravel

主講、鋼琴 范德騰 男中音 王凱蔚 小提琴 梁坤豪 大提琴 黃日昇

What is Composition? Lecture Concerts

主講 焦元溥 女高音 林孟君 長笛 單簧管 李昱柔 鋼琴 吳思慧

CH

Sat. 14:30

Sat. 14:30

Voyage à Paris de Francis Poulenc

400 600 800 1000 1200 1500

9.28 9.

10.5 10.

【焦點】講座音樂會

香水、香檳、香榭大道: 浦朗克與巴黎時光

海頓:第八十八號交響曲 莫札特:第二十五號鋼琴協奏曲 貝多芬:第七號交響曲 J. HAYDN: Symphony No. 88, G major, Hob.I:88 W. A. MOZART: Piano Concerto No. 25, K. 503, C major L. V. BEETHOVEN: Symphony No. 7, A major, Op. 92

RH

10

The Rite of Spring & Salvation of Christ ─ NSO vs. Neo-Classic Dance Company

顏名秀:《鑿貫》( 世界首演 ) 西貝流士:D 小調小提琴協奏曲 理查.史特勞斯:《阿爾卑斯交響曲》 MING-HSIU YEN: Breaking Through (World Premiere) J. SIBELIUS: Violin Concerto, Op. 47, D minor R. STRAUSS: Eine Alpensinfonie , Op. 64, TrV 233

9.27 9.

Fri. 19:30 Sat. 19:30 Sun. 14:30

NSO 與新古典舞團聯手演出─ 《春之祭》、《基督的救贖》

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 小提琴 薇薇安.哈格納 VIVIANE HAGNER, violin

CH

10.4-6 10.

鋼琴

盧易之

布列茲:《符號》,I-IV & VII 舒曼:A 小調大提琴協奏曲 蕭斯塔科維契:第五號交響曲 P. BOULEZ: Notations I-IV & VII R. SCHUMANN: Cello Concerto, Op.129, A minor D. SHOSTAKOVICH: Symphony No. 5, Op. 47, D minor 400 600 800 1000 1200 1500


CH

11.3 11.

Sun. 14:30

11

NSO 2013 歐巡音樂會 @ 台北 NSO Europe Tour Concert

p.34

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 女高音 林孟君 MENG-CHUN LIN, soprano

RH

10.18 10.

Fri. 19:30

白遼士:《羅馬狂歡節》序曲 錢南章:《詩經五曲》 理查.史特勞斯:《狄爾愉快的惡作劇》 德沃札克:第八號交響曲 H. BERLIOZ: Le Carnival Roman , Op. 9 NAN-CHANG CHIEN: Five Chinese Songs for Soprano and Orchestra R. STRAUSS: Till Eulenspiegels lustige Streiche, Op. 28 ANTONÍN DVOŘÁK: Symphony No. 8, Op. 88, G major

【NSO 室內樂集】 NSO Chamber Concerts

樂想.樂響

300(四樓)600( 二、三樓)

p.66

From Beethoven to Dvořák 小提琴 鄧皓敦、陳偉泓 中提琴 大提琴 黃日昇 鋼琴 葉孟儒

TOUR

陳猶白

2013 Music Journey ─ NSO Europe Tour

10.19-20 10.

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 小提琴 薇薇安.哈格納 VIVIANE HAGNER, violin 大提琴 楊文信 WEN-SINN YANG, cello 女高音 林孟君 MENG-CHUN LIN, soprano

Sat.- Sun.

孟德爾頌神劇《以利亞》 Elias

錢南章:《詩經五曲》 顏名秀:《鑿貫》 佑斯特:《台北地平線》 理查.史特勞斯:《狄爾愉快的惡作劇》 白遼士:《羅馬狂歡節》序曲 西貝流士:D 小調小提琴協奏曲 聖桑斯:第一號大提琴協奏曲 貝多芬:第七號交響曲 德沃札克:第八號交響曲 NAN-CHANG CHIEN: Five Chinese Songs for Soprano and Orchestra MING-HSIU YEN: Breaking Through CHRISTIAN JOST: Taipei Horizon R. STRAUSS: Till Eulenspiegels lustige Streiche, Op. 28 H. BERLIOZ: Le Carnival Roman , Op. 9 J. SIBELIUS: Violin Concerto in D minor, Op. 47 C. SAINT-SAËNS: Cello Concerto No. 1, Op. 33, A minor L. V. BEETHOVEN: Symphony No.7, Op. 92, A major A. DVOŘÁK: Symphony No. 8, Op. 88, G major

指揮 海慕特.瑞霖 HELMUTH RILLING, conductor 台北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS 合唱指導 吳尚倫 SHANGLUN WU, chorus master 孟德爾頌:神劇《以利亞》 F. MENDELSSOHN: Elias, Op. 70 詳洽台北愛樂 (02) 2773-3691

CH

10.26 10.

Sat. 19:30

p.32

北歐傳奇 Tales of the North 指揮 鋼琴

p.35

音樂壯遊 ─ NSO 2013 歐洲巡演

400

CH

11.9-18 11.

克利斯提安.亞維 KRISTJAN JÄRVI, conductor 范倫提娜.莉西特莎 VALENTINA LISITSA, piano

帕爾特:《兄弟》 葛利格:A 小調鋼琴協奏曲     《皮爾金組曲》第一號 尼爾森:《阿拉丁》組曲 A. PÄRT: Fratres E. GRIEG: Piano Concerto, Op.16, A minor Peer Gynt Suite No.1, Op. 46 C. NIELSEN: Aladdin , Op. 34 400 600 800 1000 1200 1500

NT 國家戲劇院 National Theater

RH

11.9 11.

【探索頻道】講座音樂會 Music Discovery Lecture Concerts

Sat. 14:30

p.70

「女人心底事」: 理查.史特勞斯的歌樂世界 Songs & Scenes of Richard Strauss 主講 車炎江 女高音 陳美玲、羅明芳 鋼琴 王佩瑤 400

CH 國家音樂廳 National Concert Hall RH 演奏廳 Recital Hall TOUR 巡演 on tour

9


2013 2014 SEASON RH

11.23 11.

【焦點】講座音樂會

What is Composition? Lecture Concerts Sat. 14:30 p.68

英倫榮耀:布瑞頓百歲生日快樂 Happy 100th, Benjamin Britten!

12

主講 焦元溥 女高音 林慈音 大提琴 蘇酩惠 鋼琴 許惠品 400

CH

12.14 12.

Sat. 19:30

CH

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 中提琴 黃心芸 HSIN-YUN HUANG, viola 巴赫:D 小調《觸技曲與賦格》( 斯托科夫斯基改編 ) 辛德密特:中提琴協奏曲《烤天鵝的人》 泰勒曼:G 大調中提琴協奏曲 辛德密特:《畫家馬蒂斯》交響曲 J. S. BACH: Toccata and Fugue, BWV 565, D minor (orchestrated by L. Stokowski) P. HINDEMITH: Der Schwanendreher G. P. TELEMANN: Viola Concerto, TWV 51:G9, G major P. HINDEMITH: Mathis der Male r Symphony

指揮 萊哈德.戈貝爾 REINHARD GOEBEL, conductor 小提琴 密莉安.康岑 MIRIJAM CONTZEN, violin 巴赫:第四號管絃樂組曲 莫札特:D 大調第七號小提琴協奏曲 海頓:第 101 號交響曲《時鐘》 J. S. BACH: Orchestral Suite No. 4, BWV 1069, D major W. A. MOZART: Violin Concerto No. 7, K. 271a, D major J. HAYDN: Symphony No.101, D major, The Clock

400 600 800 1000 1200 1500

400 600 800 1000 1200 1500

Fri. 19:30

來去美國

【NSO 室內樂集】 NSO Chamber Concerts

p.66

American Dream

【探索頻道】講座音樂會 Music Discovery Lecture Concerts

Sat. 14:30

天才與北國的未竟之緣 From Russia with Mozart 主講、鋼琴 顏華容 女高音 林玲慧 小提琴 李宜錦 大提琴 韋智盈 400

10

12.31 12.

2013

Tue. 22:00

1.1 1.

2014

Wed. 19:30

NSO 跨 / 新年音樂會 NSO 2014 New Year Concert Shall We Dance?

400

12.21 12.

CH

與你共舞

小提琴 洪章文、蔡孟峰 中提琴 陳猶白 大提琴 陳怡婷 魏廣皓爵士四重奏

RH

p.37

Back to Bach, Forward to Hindemith

The Authentic Classic— Mo. Goebel & NSO

12.20 12.

Sun. 19:30

辛德密特 & 巴洛克

p.36

古樂正典─戈貝爾大師與 NSO

RH

12.22 12.

p.71

1

p.38

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 女高音 林惠珍 MEWAS LIN、羅明芳 MING-FANG LO, soprano 次女高音 翁若珮 JO-PEI WENG, mezzo-soprano 男高音 王典 FERNANDO WANG, tenor 男中音 巫白玉璽 WU BAI-YU-HSI、葉展毓 CHAN-YU YEH, baritone 聲樂指導 王佩瑤 PEI-YAO WANG, vocal coach 台北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS 合唱指導 吳尚倫 SHANGLUN WU, chorus master 金希文:《眼窗之舞》(世界首演) 德沃札克:《斯拉夫舞曲》選粹 伯恩斯坦:〈交響舞曲〉,選自《西城故事》 小約翰.史特勞斯:《蝙蝠》序曲及選段 GORDON CHIN: Dance of Mata (World Premiere) A. DVOŘÁK: Selections from Slavonic Dances , Op. 46 & 72 L. BERNSTEIN: 'Symphonic Dances' from West Side Story J. STRAUSS, JR.: Overture & Excerpts from Die Fledermaus 2013/12/31 500 800 1200 1600 2000 2500 3200 ( 企業贊助 ) 2014/1/1 400 600 1000 1500 1800 2400 3000 ( 企業贊助 )


CH

2.22 2.

Sat. 19:30

2 p.40

笙聲不息 The Power of Sheng 指揮 簡文彬 WEN-PIN CHIEN, conductor 笙 吳巍 WU WEI, sheng

史特拉汶斯基:《煙火音樂》 潘世姬:《大磺嘴隨想》(世界首演) 黃若:《玄黃》 拉威爾:《汪洋孤舟》     《小丑的晨歌》 陳銀淑:《Šu》 I. STRAVINSKY: Feu d'artifice , Op. 4 SHYH-JI PAN: Huang Zui Capriccio (World Premiere) HUANG RUO: The Color Yellow , Concerto for Sheng and Chamber Orchestra M. RAVEL: Une Barque sur l'océan

3

CH

CH

3.7 3.

Fri. 19:30

The Towering ''Titan''

指揮 麥可.桑德林 MICHAEL SANDERLING, conductor 雙簧管 阿雷西.奧格林卓克 ALEXEI OGRINTCHOUK, oboe 布瑞頓:《音樂晚會》 莫札特:C 大調雙簧管協奏曲 馬勒:第一號交響曲 《巨人》 B. BRITTEN: Soirées musicales , Op. 9 W. A. MOZART: Oboe Concerto, K. 314, C major G. MAHLER: Symphony No.1, D major, Titan

指揮

3.14-16 3.

Fri. - Sun.

400 600 800

CH

3.21 3.

Fri. 19:30

p.44

浪漫詩人─拉赫瑪尼諾夫 Rachmaninoff the Romantic 指揮 鋼琴

NSO 首席絃樂團 NSO String Ensemble

曼陀林&擊樂瑪瑙狂想曲

張尹芳 YIN-FANG CHANG, conductor

柴科夫斯基:芭蕾舞組曲選段 比才:小組曲 葛利格:《皮爾金》組曲選段 韋瓦第:《四季》小提琴協奏曲選段 以及莫札特、海頓、貝多芬等古典時期交響樂選曲 P. I. TCHAIKOVSKY: Ballet Suites (Excerpts) G. BIZET: Petite Suite (orchestration of Jeux d'enfants) E. GRIEG: Excerpts from Peer Gynt Suite A. VIVALDI: Excerpts from The Four Seasons And works by Mozart, Haydn and Beethoven...

400 600 800 1000 1200 1500

TOUR

p.43

The Little Darling's Music Box

p.41

巨人之聲

Sun. 14:00 / 17:00

小太陽的音樂屋

Alborada del gracioso UNSUK CHIN: Šu, Concerto for Sheng and Orchestra 400 600 800 1000 1200 1500

3.16 3.

NSO 永遠的童話 NSO Forever Tales

拉赫瑪尼諾夫: 交響詩《死之島》 第四號鋼琴協奏曲 第三號交響曲 S. RACHMANINOFF: The Isle of the Dead , Op. 29 Piano Concerto No. 4, Op. 40, G minor Symphony No. 3, Op. 44, A minor

p.42

Onyx Fantasy — Ensemble for Mandolin, Percussion and Strings 曼陀林 艾維.艾維塔 AVI AVITAL, mandolin 打擊樂 尚恩.夏那漢 SHANE SHANAHAN, percussion NSO 首席絃樂團 NSO STRING ENSEMBLE 巴赫 ::A 小調協奏曲 ( 改編給曼陀林 ) 尚恩.夏那漢:三首給曼陀林、打擊與絃樂團的作品 津沙茲:五首給曼陀林、打擊與絃樂團的小品 巴爾托克:《羅馬尼亞舞曲》 蒙蒂:《查爾達斯》 J. S. BACH: Concerto in A minor (arr. for mandolin) SHANE SHANAHAN: Three pieces for mandolin, percussion and string orchestra SULKHAN TSINTSADZE: Five Miniatures for mandolin, percussion and string orchestra B. BARTÓK: Romanian Folk Dances VITTORIO MONTI: Csárdás

呂紹嘉 SHAO-CHIA LÜ, conductor 莉莉亞.齊柏絲坦 LILYA ZILBERSTEIN, piano

400 600 800 1000 1200 1500

RH

3.23 3.

【焦點】講座音樂會

What is Composition? Lecture Concerts p.69 Sun. 14:30

樂讀莎士比亞 ( 上 )

The Musical Shakespeare I 主講 焦元溥 女高音 男中音 李增銘 鋼琴

林玲慧 嚴俊傑

400

相關資訊詳見 nso.ntch.edu.tw

NT 國家戲劇院 National Theater

CH 國家音樂廳 National Concert Hall RH 演奏廳 Recital Hall TOUR 巡演 on tour

11


2013 2014 SEASON RH

4.13 4.

【NSO 室內樂集】 NSO Chamber Concerts

Sun. 14:30

p.67

絕技長號 The Virtuoso Trombone CH

3.28 3.

Fri. 19:30

長號 尤根.范雷彥(JÖRGEN VAN RIJEN) 小提琴 鄧皓敦、陳偉泓 中提琴 陳猶白 大提琴 黃日昇 低音大提琴 蔡歆婕 大鍵琴

p.45

TIFA 2014 台灣國際藝術節

400 600 800

英倫盛宴

CH

A Musical Feast 指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 男中音 鮑.史科弗斯 BO SKOVHUS, baritone 台北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS 合唱指導 吳尚倫 SHANGLUN WU, chorus master

4.11 4.

Fri. 19:30

德沃札克:B 小調大提琴協奏曲 巴爾托克:《奇異的滿州人》 李斯特:第三號交響詩《前奏曲》 A. DVOŘÁK: Cello Concerto, Op. 104, B minor B. BARTÓK: The Miraculous Mandarin F. LISZT: Symphonic Poem No. 3, Les Préludes 400 600 800 1000 1200 1500

RH

The Amazing Trombone Man & The Mermaid 指揮 長號

Sat. 14:30

5.4 5.

Sun. 14:30

Two German Giants

p.71

The World of Richard Strauss's Chamber Music 主講 車炎江 小提琴 李宜錦 大提琴 連亦先 鋼琴 湯婉君

12

主講、鋼琴 葉綠娜 朗讀、鋼琴 魏樂富 小提琴 吳庭毓 鋼琴 嚴俊傑、黃俊瑜

德意志雙峰

【探索頻道】講座音樂會 Music Discovery Lecture Concerts

中提琴

黃瑞儀

p.72

5

"Frei aber einsam" ─ German Romanticism

CH

理查.史特勞斯的室內樂世界

400

Sat. 14:30

400

400 600 800 1000 1200 1500

4.12 4.

4.26 4.

【探索頻道】講座音樂會 Music Discovery Lecture Concerts

自由的靈魂,無界的藝術

安德烈.迪瑞德 ANDRÉ DE RIDDER, conductor 尤根.范雷彥 JÖRGEN VAN RIJEN, trombone

里奧普.莫札特:D 大調長號協奏曲 莫札特:第三十一號交響曲,《巴黎》 貝里歐:《孤獨》,為長號與交響樂團 齊姆林斯基:《美人魚》 L. MOZART: Trombone Concerto, D major W. A. MOZART: Symphony No. 31, Paris L. BERIO: SOLO , per trombone e orchestra A. ZEMLINSKY: Die Seejungfrau (The Mermaid)

RH

p.47

指揮 加布里耶.費爾茲 GABRIEL FELTZ, conductor 大提琴 約翰尼斯.莫瑟 JOHANNES MOSER, cello 國立實驗合唱團 TAIWAN NATIONAL CHOIR

p.46

美聲長號與美人魚

Fri. 19:30

Legends from Eastern Europe

4

400 600 800 1000 1200 1500

4.18 4.

東歐經典

趙菁文:《黏土的寓言》,為玩具樂器與管絃樂團(世界首演) 布瑞頓:《安魂交響曲》 華爾頓:《伯沙撒王的盛宴》 CHING-WEN CHAO: Playdough's Curve for Orchestra (World Premiere) B. BRITTEN: Sinfonia da Requiem , Op. 20 W. WALTON: Belshazzar's Feast

CH

蔡佳璇

指揮 鋼琴

五月德意志 The Germanic May series

p.48

傑拉德.史瓦茲 GERARD SCHWARZ, conductor 佛洛里安.烏利希 FLORIAN UHLIG, piano

貝多芬:《史提芬王》序曲 第三號 C 小調鋼琴協奏曲 理查.史特勞斯:《蛻變》 《唐璜》 L. V. BEETHOVEN: König Stephan Overture, Op. 117 Piano Concerto No. 3, Op. 37, C minor R. STRAUSS: Metamorphosen , TrV 290 Don Juan , Op. 20, TrV 156 400 600 800 1000 1200 1500


CH

6.7 6.

6

Sat. 19:30

p.51

謎與變奏 Rhapsodies & Variations 指揮 鋼琴

RH

5.10 5.

荀貝格:管絃樂變奏曲 拉赫瑪尼諾夫:《帕格尼尼主題狂想曲》 李柏曼:《帕格尼尼主題狂想曲》 艾爾加:《謎之變奏曲》 A. SCHÖNBERG: Variations for Orchestra, Op. 31 S. RACHMANINOFF: Rhapsody on a Theme of Paganini , Op. 43 L. LIEBERMANN: Rhapsody on a Theme of Paganini , Op. 72 E. ELGAR: Enigma Variations , Op. 36

【焦點】講座音樂會

What is Composition? Lecture Concerts p.69 Sat. 14:30

樂讀莎士比亞 ( 下 )

The Musical Shakespeare II 主講 焦元溥 女高音 許育甄 男高音 莊舜旭 小提琴 NSO 樂團學苑 鋼琴 許惠品

400 600 800 1000 1200 1500

CH

TOUR

400

CH

5.16 5.

Fri. 19:30

柴科夫斯基:D 大調小提琴協奏曲 蕭斯塔科維契:第七號交響曲《列寧格勒》 P. I. TCHAIKOVSKY: Violin Concerto, Op. 35, D major D. SHOSTAKOVICH: Symphony No. 7, Leningrad

根特.赫比希 GÜNTHER HERBIG, conductor 亞歷山大.薩洛 ALEXANDRE THARAUD, piano

400 600 800 1000 1200 1500

6.14 6. NT

400 600 800 1000 1200 1500

5.25 5.

五月德意志 The Germanic May series

p.50

Sun. 19:30

浪漫德意志 Three Romantic Symphonies 指揮 根特.赫比希 GÜNTHER HERBIG, conductor 小提琴 亨寧.克拉格魯德 HENNING KRAGGERUD, violin 舒曼:第三號交響曲《萊茵》 孟德爾頌:E 小調小提琴協奏曲 布拉姆斯:第三號交響曲 R. SCHUMANN: Symphony No. 3, Rhenish F. MENDELSSOHN: Violin Concerto, Op. 64, E minor J. BRAHMS: Symphony No. 3, Op. 90, F major 400 600 800 1000 1200 1500

p.52

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 小提琴 陳銳 RAY CHEN, violin

The Greatness of Beethoven

CH

Fri. 19:30

Return to Leningrad

p.49

貝多芬:第三號《蕾奧諾拉》序曲 拉威爾:G 大調鋼琴協奏曲 貝多芬:第五號交響曲 L. V. BEETHOVEN: Leonore Overture No. 3, Op. 72b M. RAVEL: Piano Concerto, G major L. V. BEETHOVEN: Symphony No. 5, Op. 67, C minor

6.13 6.

列寧格勒

五月德意志 The Germanic May series

命運德意志 指揮 鋼琴

呂紹嘉 SHAO-CHIA LÜ, conductor 劉孟捷 MENG-CHIEH LIU, piano

新竹市文化局演藝廳 Sat. 19:30 400 600 800 1000

7.16 18 20 7. /

/

Wed. 19:30 Fri. 19:30 Sun. 14:30

致命吸引力—《莎樂美》 Fatal Attraction— Salome

7

NSO 歌劇 NSO Opera p.62

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 導演 安東尼.皮拉瓦奇 ANTHONY PILAVACHI, stage director 編舞 蘇威嘉 WEI-CHIA SU, choreographer 聲樂指導 艾希.凡魏 ANSI VERWEY, vocal coach

莎樂美 妮娜.華倫 NINA WARREN, Salome 希羅底 羅斯維塔.穆勒 ROSWITHA CHRISTINA MÜLLER, Herodias 希律王 史都華.派特森 STUART PATTERSON, Herodes 施洗者約翰 安東尼歐.楊 ANTONIO YANG, Jochanaan 納拉博特 王典 FERNANDO WANG, Narraboth 理查.史特勞斯:《莎樂美》 R. STRAUSS: Salome 500 800 1200 1800 2400 3000 3600 5000 ( 企業贊助 )

NT 國家戲劇院 National Theater

CH 國家音樂廳 National Concert Hall RH 演奏廳 Recital Hall TOUR 巡演 on tour

13


Shao-Chia 2013 2014 SEASON

音樂總監 呂紹嘉

Music Director

「精緻的品味和與生俱來的抒情性是呂紹嘉指揮 (《修女安 潔莉卡》) 的能量來源,不是為賦新詞強說愁,也不是利用 大量的彈性速度。」─《美國唱片指南》雜誌 「在呂紹嘉指揮下,NSO 將十九世紀末的音樂傳神地演繹。 他不僅引導出團員的光與熱,更將史特勞斯 (《艾蕾克特拉》) 引人入勝的樂曲發揮地淋漓盡致。」 ─英國《歌劇》雜誌

呂紹嘉出生台灣新竹縣,自幼學習鋼琴。就讀台大心理系期間,受陳秋盛先生之啟發開始鑽研指揮藝術。先 後赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利 Accademia Musicale Chigiana di Siena 指揮班,隨大師 G. Rozhdestvensky 學習。 在連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後,呂紹嘉展開他在歐洲璀燦 的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國萊茵愛樂交響樂團暨科布倫茲市立歌劇院音 樂總監、德國漢諾威國家歌劇院音樂總監,並受邀在英國國家歌劇院、挪威皇家歌劇院、布魯塞爾皇家歌劇 院、澳洲雪梨歌劇院、瑞典哥特堡歌劇院、德國司徒加特、柏林德意志、漢堡、法蘭克福歌劇院及維也納夏 季音樂節 (Klangbogen) 擔任客席指揮。此外,他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和日本東 京及名古屋演出《霍夫曼的故事》。 在出任德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間,呂紹嘉以無數精采深刻的音樂詮 釋,獲得了團員及愛樂者的愛戴,他並曾帶領該團於北京、上海、義大利米蘭等地巡迴演奏。呂紹嘉於 2004 年五月獲德國文化部長頒贈象徵該省文化最高榮譽的 Peter Cornelius 獎章。 在出任德國漢諾威國家歌劇院音樂總監期間,呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧及義大利歌劇外, 他成功的推出了楊納傑克及德布西的作品,使得劇院的名聲更推展至國際化的層次。他所指揮的德布西歌劇 《佩利亞與梅麗桑》,於 2004 年獲邀在舉世聞名的維也納音樂節及愛丁堡藝術季演出多場,獲得極高讚譽。 除了歌劇領域外,呂紹嘉在音樂會上的表現也同樣耀眼,至今合作的主要交響樂團有:慕尼黑愛樂、柏林、 西南德、中德、巴伐利亞、維也納廣播樂團,法國國家、里昂、 杜魯士、史特拉斯堡交響樂團,英國利物 浦愛樂、奧斯陸愛樂、貝爾根 (Bergen) 愛樂、赫爾辛基愛樂、瑞典廣播、挪威廣播、哥特堡交響樂團、羅 馬聖西西里亞樂團 ... 等。2011 年底呂紹嘉首度在阿姆斯特丹指揮了世界聞名的荷蘭皇家音樂大會堂管絃樂 團,以史特拉汶斯基的《春之祭》博得滿堂彩。2012 年底首度在東京指揮新日本愛樂,演出多場貝多芬第 九交響曲,2013 及 2014 年將陸續赴日指揮東京大都會及 NHK 交響樂團。 在睽喡台灣多年後,呂紹嘉於 2010 年秋返鄉接任國家交響樂團 (NSO) 音樂總監,期盼以「精緻.深刻. 悸動」之信念,深耕台灣樂壇。

14


Lü ''Refined taste and inherent lyricism are at the heat of Lü's approach (to Suor Angelica), not sentimentality or a heavy handed does of rubato.''─— American Record Guide ''Under Lü, (NSO) made the fin-de-siècle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss' (Elektra's) luscious orchestration.'' — OPERA

Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon, Trento and Amsterdam. In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Australian Opera Sydney and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre. Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der fliegende Holländer, Wozzeck, Der Rosenkavalier, Elektra and Salome.... In the summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü's recent opera engagements include: Parsifal , Katja Kabanowa and Tosca in Goteborg, Sweden, La fanciulla del West in Stuttgart, Eugene Onegin at the Komische Oper Berlin, Madama Butterfly , Tosca and La Bohème in Sydney and Melbourne. Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Münchner Philharmoniker by replacing Sergiu Celibidache at the last moment for two unchanged programms (including Bruckner's Symphony No. 8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Münchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia in Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam. In Asia, after his debut with New Japan Philharmonic in December 2012, Shao-Chia Lü was invited to conduct the Tokyo Metropolitan Symphony Orchestra and the NHK Symphony Orchestra, among others, during the 2013/2014 season. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010.

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2013 2014 SEASON

「樂團在赫比希的帶領下演奏得非常壯麗動人,在舒曼的第四號交響曲中,他以一種自律動人 地演出作了既聰明又溫暖適意的詮釋!」 —《太陽報》 「如果你認為那些偉大指揮家的黃金年代已經不再,最好三思一下。赫比希昨晚指揮柴科夫 斯基的交響曲《熱情》充滿了高貴、激情與力量的詮釋,讓我聯想起巴畢羅里與楊頌斯。」 —《曼徹斯特晚報》

Günther 赫比希在 1984 年從東德移居美國之後,開始在歐洲和北美洲地區快速活躍起來。期 間,他也親臨亞洲 20 多次,並與東京的幾個知名樂團,以及香港、新加坡和台灣等 地樂團合作演出。在 1984-1994 年間,他先後擔任了底特律交響樂團和多倫多交響 樂團音樂總監的職務。 赫比希在中歐開始了他的音樂教育,事師赫曼.阿本德羅斯、赫伯.馮.卡拉揚與赫 曼.舍爾興。他的音樂事業則是開始於東德的威瑪與波茨坦。1972 年,他成為德勒 斯登愛樂管絃樂團首席音樂總監;1977-1983 年間,他則轉任柏林交響樂團首席音 樂總監。1979 年轉赴西歐的他,受邀擔任英國國家廣播公司愛樂管絃樂團的首席客 座指揮。很快地,他開始受邀與英國主要的樂團合作,包括倫敦交響、倫敦皇家愛樂、 倫敦愛樂、巴黎管絃、以色列愛樂,以及其他主要城市的知名樂團等等。 在美國,他的音樂事業首先開始於受邀擔任達拉斯交響樂團首席客座指揮,隨後並於 各大城市與多個知名樂團合作,足跡遍至紐約、芝加哥、波士頓、費城、克里夫蘭、 舊金山、洛杉磯、多倫多、巴爾的摩等地。 在 1984 年離開東德之前,他與東德各主要樂團合作錄製了將近 40 張專輯,其中包 括海頓和布拉姆斯的交響曲系列。他的近期錄音,包括了與英國國家廣播公司愛樂 管絃樂團合作錄製貝多芬第三號交響曲、第五號交響曲、舒伯特第八號交響曲、布 拉姆斯第一號交響曲、馬勒第五號交響曲、理查.史特勞斯《英雄的生涯》交響詩, 以及和其他倫敦的管絃樂團所一起合作的錄音作品。在 2001-2006 年擔任沙爾布魯 克廣播交響管絃樂團首席指揮期間,他也和樂團一起錄製了馬勒與蕭斯塔科維契的重 要交響曲作品。 在 2008 年 1 月,赫比希接受國家交響樂團的邀請,擔任樂團 2008-2010 年樂季的 藝術顧問與首席客座指揮。在和國家交響樂團合作的二年裡,不僅合作演出挑戰性高 的經典作品,並以 NSO Live 品牌實況錄音發行馬勒第六號、第九號及布魯克納第九 號交響曲。

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''The orchestra under Herbig played magnificently...[i]n the Schumann Fourth Symphony, Herbig received beautifully disciplined playing for an interpretation that was as warm as it was intelligent...''"— The Sun ''If you thought the days of the great conductors were all in the past, then think again. Günther Herbig's presentation of the Pathétique Symphony of Tchaikovsky last night was one of nobility, emotion and power, the sort I remember from Barbirolli and Jansons.'' — Manchester Evening News

NSO 桂冠指揮 Conductor Laureate 根特.赫比希

Herbig Günther Herbig divides his activities between Europe and North America. His conducting career has been equally distinguished on both continents. He has also visited Asia nearly 20 times working with several Tokyo orchestras and those in Hong Kong, Singapore and Taiwan. In 1984 he moved from East Germany to the United States and served for ten years as Music Director first of the Detroit and later of the Toronto Symphony Orchestra. Herbig's musical training took place in Central Europe, where he studied with Herman Abendroth, Herbert von Karajan and Hermann Scherchen. He began his career with appointments in the East German cities of Weimar and Potsdam. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Berlin Symphony Orchestra from 1977 to 1983. In Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979. Soon he was invited to conduct such major ensembles as the London Symphony, the Royal Philharmonic London, the Philharmonia in London, the Orchestre de Paris, the Israel Philharmonie, and many others in major cities. In the USA he started in 1979 as Principal Guest Conductor of the Dallas Symphony and has since conducted the orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco, Los Angeles, Toronto, Baltimore, and many others. He toured the US several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on an European tour. In 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Japan, Singapore and Taiwan. Herbig made nearly 40 recordings with the leading East German orchestras, including cycles of Haydn and Brahms symphonies before leaving East Germany in 1984. His most recent releases include Beethoven Symphony Nos. 3 & 5, Schubert Symphony No. 8, Brahms Symphony No. 1, Mahler Symphony No. 5 and Strauss Ein Heldenleben with the BBC Philharmonic, and some other recordings with London Orchestras. From 2001 to 2006 he was the Chief Conductor of the Saarbrücken Radio Symphony Orchestra, with which he also recorded symphonies of Mahler and Shostakovich. Herbig was the Artistic Advisor and Principal Guest Conductor of the Taiwan Philharmonic (NSO) from 2008 to 2010. With the NSO, he recorded Mahler's Symphonies Nos. 6 & 9 and Bruckner's Symphony No. 9.

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2013 2014 SEASON

繽紛萬花筒 燦爛小宇宙

法國插畫家艾德蒙·杜拉克 (Edmund Dulac,1882-1953) 為《美人魚》所創作之插畫:小美人魚與王子。

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焦元溥 倫敦國王學院音樂學博士 從 2010/11 樂季的維也納第二樂派、2011/12 的史特拉汶

斯基與梅湘、到 2012/13 的普羅科菲夫與法國作曲家,這

音列技法,也不忘引用晚期貝多芬當成先例。無論鑽研多少 年,演出多少遍,對真正的音樂家,經典作品總是歷久彌新

幾年 NSO 的主題系列,深刻用心且大膽開創,每每帶領愛

的活水,永遠能從中獲得啟發。這也是無論我們已經在家聽

樂者前往藝術新境。年度新樂季沙龍音樂會,參與人數與演

過多少次唱片,欣賞過多少大師名家詮釋,親臨現場永遠值

出規模也不斷增生,是樂迷殷切期盼的盛事。

得,也永遠能從中獲得感動與新意。

2013/14 樂 季 和 以 往 數 年, 卻 有 一 根 本 性 的 不 同, 就 是 NSO 打破自「發現貝多芬」系列以來的慣例,不再安排主 題作曲家。或許前後對比,可能一脈相承,新樂季中每場音 樂會都是深思熟慮且體系完整的精采安排,自成獨立世界。 當然我們還是可以看到與 2012/13 樂季的對比——新樂季不 曾出現普羅科菲夫,也未安排拉威爾以外的傳統法國曲目。 但綜觀整個樂季的曲目規畫,我們仍能看到理路清晰的脈絡 安排,那就是「重訪、博覽與開拓」。這三者相輔相成,加 上國內外重量級名家獻藝,愛樂者得以溫故知新,複習並成 長。

世紀末維也納的《美人魚》

重訪、博覽與開拓 和上一樂季以德布西領銜的法國主題相對,本樂季排出諸多

個別曲目如此,整體規劃亦然。本樂季的曲目,相當程度可 視為 2011/12 樂季的回顧。當年 NSO 帶領大家進入後浪漫 與維也納第二樂派的世界,將馬勒、荀貝格、貝爾格、魏本 等作品系統化一路開展,不但再次帶回睽違近二十年的貝爾 格小提琴協奏曲,更為荀貝格交響詩《佩利亞與梅麗桑》作 台灣首演。而在全球熱烈慶祝的 2010/2011 馬勒年,NSO 也呈現極為精湛的馬勒交響曲與歌曲,讓樂迷和國際樂壇無 縫接軌。新樂季中我們一樣將聽到這些「老朋友」的創作, 重訪馬勒第一號交響曲並首聆荀貝格《管絃樂變奏曲》。經 過三年沉澱思索,相信無論是 NSO 或是愛樂者,一定都能 獲得更深層的感動。

德奧傳統曲目,從晚期巴洛克到浪漫派,泰勒曼、巴赫、海

除了之前介紹過的作曲家,NSO 也將進一步深探,齊姆林

頓、莫札特、貝多芬、孟德爾頌、舒曼、布拉姆斯等蜿蜒開

斯基的《美人魚》就是樂團獻給聽眾的大禮。這位受到布拉

展,加上「新德國樂派」的李斯特,名作眾多目不暇給,也

姆斯賞識的作曲家,其實只比荀貝格年長三歲。他們結識後

有不少現場罕聞的優美珠玉。對愛樂者而言,這不僅是絕佳

相知相惜,齊姆林斯基不但給予荀貝格對位法指導,荀貝格

整理與對照,也是必須的音樂養分與食糧。

後來更娶了齊姆林斯基的妹妹,兩人從好友變成連襟。他們

對任何藝術而言,重探經典都有其必要。但何謂「經典」? 必要性又從何而來?義大利文學巨擘卡爾維諾曾寫過一篇短 文「為什麼讀經典」,為經典下了諸多定義,其中包括: 1. 經典是你常聽到人家說「我正在重讀」而不是「我正 在讀」的作品。 2. 經典是每一次重讀都像初次閱讀那樣,讓人有初識感 覺的作品。 3. 經典是,我們越自以為透過道聽塗說可以了解,當我 們實際閱讀,越會發現它具有原創性、出其不意且革 新的作品。

一同呈現夢中之城的世紀末美學,是後浪漫音樂中不可或缺 的景色。幻想交響詩《美人魚》以安徒生著名童話為本,憧 憬、幻夢、熱情與破滅,溫柔海洋、風暴船難、女巫魔法、 皇家婚禮、泡沫隨風,種種情節橋段,由三個樂章串成燦爛 多姿的綺麗想像,光是開頭就足以令人心碎鼻酸。如此動人 作品,理當大紅大紫,可嘆當年作曲家為了逃離納粹,倉皇 之間只帶了兩個樂章赴美,要到四十二年後,《美人魚》才 在 1984 年以三樂章完整版再度演出。遲來的現身雖然影響

了此曲的知名度,絕美旋律仍是一聽難忘。這次 NSO 排出 台灣首演,必是不容錯過。 東歐、北歐與大不列顛

以此審視西方音樂,這也的確是諸多樂曲能成為「經典」的

在 2011/12 樂季 NSO 另一亮點,就是演出西貝流士四首

原因。就以古典樂派三大家而言,海頓寫了一百多首交響

交響詩與巴爾托克《為絃樂、打擊樂和鋼片琴的作品》等東

曲,建立體例卻也耍弄形式,作品永遠是常規與新奇交織,

歐名作。在新樂季曲目中,NSO 也將回訪北歐與東歐,要

帶給聽眾歡笑與驚喜;莫札特不是只有好聽旋律,更有不斷

繼續挑戰德沃札克交響曲、大提琴協奏曲、《斯拉夫舞曲》

進展的和聲寫作與結構巧思,是天才也是大師;貝多芬從古

與巴爾托克全本《奇異的滿州人》,也要從西貝流士小提琴

典走向浪漫,早中晚三期各有獨到丰姿,以小動機建構出大

協奏曲,一路延伸到挪威作曲家葛利格的鋼琴協奏曲、《皮

格局的手法,更深刻影響後世音樂創作,連荀貝格建立十二

爾金》組曲和丹麥作曲家尼爾森的《阿拉丁》組曲,愛樂者

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2013 2014 SEASON

《烤天鵝的人》,出自辛德密特親筆。

拉赫瑪尼諾夫 (Sergei Rachmaninoff,1873-1943)

將欣賞到更寬廣的斯堪地那維亞音樂風情。而較以往不同 也更讓人驚喜的,是 NSO 在新樂季將艾爾加、華爾頓、布 瑞頓三大家一次出齊,排出具體而微的英國作曲家巡禮。 由於來自政治與宗教的保守氣氛,讓英倫自普賽爾 (Henry

Purcell) 之後,居然得經歷兩百年的空白,到艾爾加才再度 出現偉大作曲家。而他也確實不負眾望,不只寫出傳世佳 作,更重新定義並創造了「英國音樂」:那聲響裡不是沒 有絢爛旖旎或青春快意,但在所有快樂憂傷背後,隱隱然 是異常沉穩老練且看盡風霜的淡然。雖然節奏徐緩,卻是 堅定的進行曲,一步一回首,瞻前又顧後,踏出一路榮華 蒼涼,根本就是大英帝國在十九世紀末的寫照。《謎之變 奏曲》內蘊綿長而情思雋永,細膩雕琢又有恢宏大氣,不 只是艾爾加的代表作,也是英國音樂的象徵。 至於華爾頓和布瑞頓,則是大不列顛在二十世紀最傑出的

拉赫瑪尼諾夫與辛德密特 同是紀念年,2013 年也是拉赫瑪尼諾夫逝世七十年與辛德

密特逝世五十年,NSO 也排出以他們為主題的全場音樂會。

不只是卓越作曲家與理論家,辛德密特也是傑出中提琴家和 指揮家。我們可以從他的作品中聽到德奧傳統的延續,特 別是博大高深的對位功力,也能感受到新古典主義的清新美 感。這次 NSO 要演出他運用中世紀歌謠的中提琴協奏曲《烤 天鵝的人》,以及改自同名歌劇的交響曲《畫家馬蒂斯》。 兩部作品都要求艱深演奏技巧,音樂卻流暢動聽,《畫家馬 蒂斯》更從天使頌歌寫到魔鬼誘惑,愛樂者必會大呼過癮。 拉赫瑪尼諾夫愛之者眾,但他在 1917 年離開俄國後,到過 世為止只寫下六首有編號的原創作品,這表示我們對他的認 識,絕大部分仍在其中早期創作。在 NSO 排出的拉赫瑪尼 諾夫專場音樂會中,除了早期經典《死之島》,呂紹嘉更要

代表。NSO 在過去三年也演出了他們的作品,新樂季則將

帶領聽眾探索他的第三號交響曲與第四號鋼琴協奏曲,傾聽

繼續挑戰《伯沙撒王的盛宴》、《音樂晚會》和《安魂交

作曲家晚期最幽暗的夢境與最私密的心事。劉孟捷也將在另

響曲》。前者編制極其龐大,以華麗妖豔、民俗風混搭爵

場音樂會演奏膾炙人口的《帕格尼尼主題狂想曲》,全都令

士味的機靈語法,寫下驕奢淫逸的巴比倫君王,如何在一

人期待。

夜之間國破身亡。排山倒海的氣勢與刺激悅耳的旋律,都

理查.史特勞斯 150 歲生日快樂

使《伯沙撒王的盛宴》廣受喜愛,堪稱英語系最豪華盛大 的合唱作品。《音樂晚會》是布瑞頓的莞爾幽默,《安魂

而論及紀念,2014 年是理查.史特勞斯誕生 150 年,定

交響曲》則有年輕作曲家的深沉思考以及傲視群倫的管絃

是全球樂壇話題。NSO 之前就策劃過「發現理查.史特勞

筆法,和後期的《戰爭安魂曲》互為參照。2013 年正逢布

斯」系列,幾年來也演出了全本歌劇《玫瑰騎士》與《艾蕾

瑞頓百歲誕辰,對這位影響力非凡的音樂巨擘,我們絕對

克特拉》,都是國內不凡盛事。作為超技作曲家,理查.史

需要了解更多。

特勞斯不僅能為任何題材打造適切音樂,更是徹徹底底的浪

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漫派;作為管絃樂法大師,他則每每要求極其整人的演奏

們 […] 因此我們可以說,能夠從閱讀經典中或得最大利益的

技法。但無論樂曲有多難練,要求何其不合理,只要身體

人,是有技巧地輪流閱讀經典與適當當代資料的人。

能夠克服樂譜上的障礙,氣息終能隨著音樂一同吞吐開展, 那幻想世界裡的奇妙風景,將是所有汗水的溫柔回報,舞台 上不可言喻的美好。本樂季開季音樂會就是《阿爾卑斯交響 曲》。這是作曲家最後一部交響詩,以壯麗非常的管絃樂描 寫登山者攀爬阿爾卑斯山,從日出到日落、出發至登頂、反 歸與休憩的心情寫照與山景萬象。樂季當中有早期名作《唐 璜》與晚期經典《蛻變》,結尾則是讓人血脈賁張的奇情歌 劇,改編自王爾德劇本的《莎樂美》。此劇不但充滿迷幻絢 爛的管絃色彩與華美旋律,更有刺激驚悚的音響效果。歌劇 終場前女高音獨自高歌近二十分鐘,在血泊中親吻先知人 頭,最後被忍無可忍的繼父希律王下令活活壓死於士兵盾牌 之下 ...... 自 1905 年首演以來,《莎樂美》已名列史上最

是的,欣賞古典音樂可以累積知識,但如何活用知識而不被 知識所侑,從作品交叉比對中得到屬於自己的心得,就不能 只欣賞昔日經典而忽略當代創作──而這正是 NSO 的引以 為豪的強項!新樂季不僅將演出帕爾特的《兄弟》、貝里歐 的《孤獨》、布列茲的《符號》與李柏曼的《帕格尼尼主題 狂想曲》,更加入韓國作曲家陳銀淑的《Šu》與中國新銳 黃若的《玄黃》。而台灣作曲家顏名秀的《鑿貫》、金希文 的《眼窗之舞》、錢南章的《詩經五曲》、潘世姬的《大磺 嘴隨想》與趙菁文的《黏土的寓言》,也將和國人初次或再 度見面。近年來 NSO 的當代作品與委託創作,已經成為樂 迷津津樂道的話題。想要掌握時代脈動,千萬不要缺席。

熱門的經典,這次全本演出,定能再度創造驚奇。

期待再相見

當代作品與世界首演

「我真的必須又再重寫一遍,這樣人們就不會相信經典之所

除了上述名作,新樂季的經典還包括柴科夫斯基小提琴協 奏曲、史特拉汶斯基《煙火音樂》、蕭斯塔科維契的第五、 第七和第九號交響曲,以及新年音樂會的伯恩斯坦〈交響舞 曲〉與小約翰.史特勞斯輕歌劇《蝙蝠》選段,曲曲讓人難 忘。但我們也不要忘了卡爾維諾的提醒,那就是欣賞經典, 我們必須知道自己所處的時代為何:

以必讀,是因為它們有某種用處。我唯一能夠替經典提出的 辯護是,閱讀經典總是比不讀好。」文學如此,音樂亦然, 卡爾維諾的智慧值得大家深思,更請把握 NSO 每一場呈現

經典的機會。繼去年的東北亞巡迴後,今年 NSO 更將遠赴

歐洲。無論身在何處,歡迎您一同和 NSO 體會音樂藝術的 美好,在宛如繽紛萬花筒的豐富節目中,發現屬於自己的燦 爛小宇宙!

我們總是必須將自己置身於當代的背景中,才能向前或向 後看。為了閱讀經典,我們必須確定自己是從何處閱讀它

《死之島》,第三版 (1883)。為瑞士德籍畫家布克林 (Arnold Bocklin,1827-1901) 最著名的一幅畫作,亦是拉赫瑪尼諾夫經典之一。

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2013 2014 SEASON Portrait of Richard Strauss (1918 by Max Liebermann)

Benjamin Britten, 1913-1976

A Symphonic Odyssey by Robert Markow

* Robert Markow, formerly a horn player in the Montreal Symphony, is now program annotator and consultant to many orchestras and musical organizations around the world as well as a regular contributor to journals like American Record Guide , Fanfare and Opera magazine.

A brilliant new season is about to unfold, bringing concertgoers another exciting and varied panorama of orchestral music from across four centuries. Where to begin with this cornucopia of riches awaiting discovery? The Strauss sensation A quick glance at the season's offerings delivers the obvious answer: Richard Strauss. Major works by this quintessential German composer are found in the opening concert of the season, the closing opera production, and on programs in between as well as in the European tour repertory. The year 2014 marks the 150th anniversary of Strauss's birth, making this a fitting season to give special attention to his incredible genius. Simply stated, Richard Strauss (no relation to Johann, the ''Waltz King'') was one of the most aweinspiring, controversial and discussed figures in the history of music. The Season Opening Concert features one of Strauss's

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biggest works – big in every sense: the Alpine Symphony lasts nearly an hour without a break; it requires a gigantic orchestra; its subject matter is the grandeur and power of nature itself; and its dynamic range runs from bare wisps of sound to sonic tidal waves that threaten to sweep the listener right out of the hall. Two of Strauss's most famous tone poems from his early years, Till Eulenspiegel's Merry Pranks and Don Juan , turn up year after year on symphony programs, and for good reason. They are graphically descriptive sound pieces, they exploit orchestral virtuosity to the fullest, and they are fun for audiences and players alike. At the other end of Strauss's career is that intensely emotional, grief-laden meditation for strings, the Metamorphosen , composed in 1945.

Salome The full-length opera chosen to conclude this season is Strauss's Salome , one of the most sensational and scandalous works ever brought to the operatic stage. The subject matter alone is simultaneously tantalizing


and repellent – a beautiful, spoiled teenage girl who lusts after a holy man and demands his head on a silver platter when her amorous advances are repulsed. One Boston newspaper admonished readers that the story was ''a compound of lust, stifling perfumes and blood.'' Just the ticket for a rush to the box office! As for the orchestra, Strauss never created a more vivid or effective score than Salome for dramatic characterization, pictorial description and mood settings. Britten Strauss isn't the only composer with an anniversary year to celebrate this season. One of the twentieth century's most outstanding composers, Benjamin Britten, was born one hundred years ago in England, appropriately enough on November 22, the feast day of the patron saint of music in the Catholic church calendar, St. Cecilia. From Britten's extensive catalogue we will hear two works, one lighthearted and delectable from his early years (the Soirées musicales) and one deeply serious and introspective (the Sinfonia da Requiem , music of shattering climaxes, monolithic blocks of sound and nightmarish visions). Mozart Mozart turns up on no fewer than four programs, three of them with concertos. Within the vast mountain range of Mozart's 27 piano concertos, No. 25 is one of the grandest and greatest. Beethoven even incorporated aspects of this Olympian concerto into his own Emperor concerto. Mozart's only Oboe Concerto remains the most prized in the repertory for that instrument. We're not sure if the Concerto No. 7 for violin is really by Mozart – that's a problem for musicologists to sort out – but we can sit back and enjoy a rarely-heard work of rococo charm, refinement and elegance. Mozart as symphonist is represented by No. 31, written for a concert in Paris and filled with surprises that astonished the first audience back in 1778 as they still do today.

anniversary in 2013. At its premiere, the second movement was encored, an unprecedented occasion for a ''slow'' movement. The symphony's outer movements are so extraordinary in visceral impact and imbued with such powerful rhythmic energy that even the most casual listener cannot help but be swept into the music's intoxicating, exhilarating orbit.

Leonore Overture No. 3, lasting nearly a quarter of an hour, is surely one of the grandest overtures ever written. Beethoven originally wrote it to introduce his opera Fidelio , but he soon recognized that it was far too powerful to serve as an introduction to anything. Now it is usually performed as an independent concert opener, and even on occasion as a finale. Stephen was Hungary's first king, crowned in 1000 A.D. The crown was sent by the pope himself. A stage work about this monarch was mounted in Vienna in 1812, for which Beethoven provided incidental music, including the overture scheduled for this season. It is imbued throughout with stirring tunes, vigorous rhythms and that indefinable but unmistakable character that shouts ''Beethoven.'' Shostakovich Two symphonies of Shostakovich's middle years, No. 5 (1937) and No. 9 (1945) will be heard in October/ November. Of this composer's fifteen symphonies, No. 5 is the most popular of all, and is a foundation stone of the entire symphonic repertory, a symphony as important and serious and essential as one by Schumann, Brahms or Tchaikovsky. The Ninth on the other hand, in the composer's own words, is ''a merry little piece'' in five short movements. At the other end of the season, in June, we will hear the mighty Seventh Symphony, Shostakovich's longest and most ambitious

Beethoven No symphony season would be complete without some Beethoven. Five works by the master are scheduled this season – two symphonies, two overtures and a piano concerto. The symphonies are Nos. 5 and 7, the two most often performed around the world every year. (Some years No. 5 is heard more often, some years No. 7.) Today, more than two hundred years after its first performance in Vienna in 1808, and with countless performances behind us, Beethoven's Fifth has not lost its power to shock and awe. The Seventh is celebrating its 200th

Dmitri Shostakovich, 1906-1975

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2013 2014 SEASON work in the genre. Written during the siege of Leningrad in the early 1940s, it evoked the horrors of war but also gave hope to Russians in their fierce struggle against the invaders. Early twentieth-century sensations The early years of the twentieth century produced an extraordinary crop of sensation-ridden works. The grandeur of Strauss's Alpine Symphony and the marvels of his opera Salome have already been noted. Then there is a work by the important Viennese composer Alexander Zemlinsky, Die Seejungfrau . This is a fifty-minute symphonic poem inspired by Hans Christian Andersen's fairy tale, The Little Mermaid . Anyone who has been to Copenhagen knows that the lovely bronze statue of the sea nymph in the harbor is one of Denmark's key tourist attractions. The theme of renunciation through love, one so dear to the romantics, is portrayed in Zemlinsky's sumptuously scored music. The power of love is also portrayed in Bartók's ballet score for The Miraculous Mandarin , but here the emotions are raw, the atmosphere seedy, the story gruesome. A mandarin visits a prostitute, instantly falls in love with her, and is attacked by her accomplices, but cannot succumb to his wounds until he has embraced her. The orchestral writing is of utmost virtuosity, rhythmic ferocity and textural complexity, driving the listener along with its inexorable momentum and overwhelming sonorities. Definitely not for the timid! William Walton's Belshazzar's Feast is one of the mightiest works ever written for chorus and orchestra. In music of barbaric splendor, it depicts the story of the grand but debauched court of Babylon in biblical times, the terrifying event of the handwriting on the wall, and the death of King Belshazzar. An organ, a large array of percussion and two antiphonally placed brass bands are used in addition to the large orchestra and chorus.

and with a ravishingly beautiful slow movement. Two works for viola appear on the program of December 22 – Telemann's concerto and a tantalizing work from the mid-twentieth century by Paul Hindemith with the intriguing title of Der Schwanendreher (the swan-turner, referring to the kitchen aid who turned swans as they roasted on spits), based on old German folk songs. The trombone doesn't often make it into the limelight at orchestral concerts, so many listeners aren't aware of just what a wonderfully versatile instrument it really is. Your chance to find out comes when ''the amazing trombone man,'' Jörgen van Rijen from Holland, arrives on April 11 to play works from the time of L. Mozart and from our own. Music from Far and Wide A number of programs throughout 2013/2014 focus on music of specific countries or regions. The concert of October 26 contains music from northern Europe. From Norway's most famous composer, Edvard Grieg, we hear the ever-popular Peer Gynt Suite No. 1, which includes an idyllic vision of sunrise over the desert and the mesmerizing dance of the hideous trolls in their mountain lair. The sensational young Russian pianist Valentina Lisitsa plays his beautifully romantic Piano Concerto. For something more exotic, there is music evocative of the Arabian Nights by the Dane Carl Nielsen and the ''tintinnabulation'' of Estonian Arvo Pärt's Fratres . From England comes a musical feast on March 28, with William Walton's depiction of barbaric splendor, songs in praise of heathen gods and the fall of a great city in Belshazzar's Feast as the main course. On April 18 we go to eastern Europe for the ne plus ultra of cello concertos (Dvořák's), Liszt's

A Cornucopia of Concertos Concertgoers always look forward to hearing their favorite concertos featuring the violin, the cello and the piano. These form the bulk of the standard concerto repertory, works like the Sibelius and Mendelssohn concertos for violin, the Schumann and Dvo ř ák concertos for cello, and piano concertos by Beethoven (No. 3), Mozart (No. 25), Rachmaninoff (No. 4) and Ravel (in G). But the 2013/2014 season also brings a rich variety of concertos for other instruments. There's Mozart's Oboe Concerto, full of delightful themes

26

Paul Hindemith with the viola, about 1935


Each movement of the Symphony Mathis der Maler relates to Mathis Grünewald's paintings that comprise the Isenheim Altarpiece.

perfectly constructed symphonic poem Les Préludes , and Bartók's wild, surrealistic ballet score about a most improbable love affair with an unbelievable ending. . . . and something special from Germany Something very special happens on December 22. Three German composers – two from the eighteenth century and one from the twentieth – are brought together in a program unified by solo works for an instrument that rarely gets the attention it deserves, the viola. The plangent, somewhat somber and slightly veiled tone of the viola promises a wonderful discovery for concertgoers unfamiliar with this instrument. Telemann's concerto is the oldest we know of for the viola, composed in the early eighteenth century. While Telemann may not be as well known today as he was in his time, it is worth noting that he was the most renowned and successful German composer of his day, eclipsing even Bach in prestige. His salary was three times what Bach earned! More than two centuries later, Paul Hindemith, a professional violist himself, wrote a superbly evocative work for solo viola and orchestra, Der Schwanendreher , as well as an opera, Mathis der Maler , from which we hear orchestral episodes depicting angels playing musical instruments, unimaginable bereavement, and terrifying nightmarish visions. May of 2014 is German month, packed with audience favorites like Beethoven's Fifth Symphony, Mendelssohn's Violin Concerto and Strauss's Don Juan.

Music from Asian Lands Works by no fewer than five of Taiwan's own composers will be heard, four of them conducted by the NSO's music director Shao-Chia Lü. The first music heard on the first program of the season will be a newly commissioned work by Ming-Hsiu Yen, a work that richly complements Strauss's massive Alpine Symphony . Yen's composition is inspired by construction of the thirteen-kilometer Hsueshan Tunnel (Snow Mountain Tunnel) that runs through the Hsuehshan Mountain Range. The NSO is also taking two Taiwanese works on its European tour. Introducing an adventurous program of mostly Asian music is Shyh-Ji Pan's Huang Zui Capriccio , and introducing the program A Musical Feast on March 28 will be ChingWen Chao's Playdough's Curve . The NSO's former music director Wen-Pin Chien will introduce us to works from other Asian lands by Huang Ruo (China) and Unsuk Chin (Korea), both on February 22. Music for all In short, there's something to entice both casual concertgoers and cognoscenti on virtually every program. The familiar and the unfamiliar, the gentle and the gruesome, the old and the new, the lightweight and the deeply serious are all represented, waiting to provide exceptional musical experiences to all.

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Season Opening Symphonic Peaks 2013 2014 SEASON

開季音樂會 攀峰樂嶺

2013.9.21

國家音樂廳 National Concert Hall

Sat 19:30 400 600 800 1000 1200 1500

「聆聽哈格納的演奏是一個非常迷人的經驗 ...... 她是一位既深思熟慮又技藝高超的小提琴 家。她深諳如何巧妙地將精巧的詮釋與聰慧的光芒融合於演出當中…」—《柏林早報》

''Listening to Viviane Hagner play the violin is an enchanting experience… she is both a thoughtful and brilliant violinist. In her playing, she knows how to combine reflection and luminosity in the most striking way.''— Berliner Morgenpost

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 小提琴 薇薇安.哈格納 VIVIANE HAGNER, violin 顏名秀:《鑿貫》( 世界首演 ) 西貝流士:D 小調小提琴協奏曲 理查.史特勞斯:《阿爾卑斯交響曲》

MING-HSIU YEN: Breaking Through (World Premiere) JEAN SIBELIUS: Violin Concerto, Op. 47, D minor RICHARD STRAUSS: Eine Alpensinfonie , Op. 64, TrV 233 無論作曲家是否刻意描寫,音樂中實有無數好山好水。西 貝流士小提琴協奏曲,旋律於哀艷中挺出霸氣,聲線化百 鍊鋼為繞指柔,非有絕佳技巧否則無以駕馭。作曲家寫盡 芬蘭千湖之國的清冷,地熱爆發的炙燙,也帶出和匈牙利 同源的烏拉爾語系民俗風情,在美聲之外展現獨到的音樂 地誌學。理查.史特勞斯《阿爾卑斯交響曲》管絃配器出 神入化,還要求懾人費事的龐大編制,是作曲家登峰造極 的扛鼎之作。他一脈寫山水風光,一絡寫登山旅途,脈絡 交織互動,自然與人也就合而為一,不愧是寫景訴情的絕 世經典。而同樣是情景交融,顏名秀以《鑿貫》娓娓道來 雪山隧道之工程艱辛,描述人類與自然共存的角力、現實 與理想的矛盾,讓開季音樂會在歐洲景色之外更添台灣故 事,自是讓人萬分期待。

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© Marco Borggreve

Concert

No greater orchestral showpiece could be imagined for a season opening concert than Strauss's colossal Alpine Symphony . It is quite simply one of the most remarkable works ever created to depict nature in sound. Every aspect of the ascent and descent of an Alpine peak, covering a time span of 24 hours, is portrayed, revealing Strauss at the very peak of his powers of orchestration. Instruments are combined in unprecedented variety and pushed to the extremes of their range, requiring the utmost virtuosity and stamina from every player. The oversize orchestra includes such exotica as a heckelphone, a quartet of Wagner tubas, a wind machine, a thunder machine, cowbells and much, much more. An event not to be missed! The program – and the season – begins with a work by one of Taiwan's own composers, MingHsiu Yen. Appropriately entitled Breaking Through , it provides an apt prelude to the Alpine Symphony inasmuch as it was inspired by construction of the thirteen-kilometer Hsueshan Tunnel (Snow Mountain Tunnel) that runs through the Hsuehshan Mountain Range. In between we hear Sibelius' Violin Concerto, one of the most passionate concertos ever written for this instrument.

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2013 2014 SEASON

9.27

國家音樂廳 National Concert Hall

Fri 19:30 400 600 800 1000 1200 1500

指揮 鋼琴

呂紹嘉 SHAO-CHIA LÜ, conductor 路易斯.洛提 LOUIS LORTIE, piano

海頓:第八十八號交響曲 莫札特:第二十五號鋼琴協奏曲 貝多芬:第七號交響曲

JOSEPH HAYDN: Symphony No. 88, G major, Hob.I:88 WOLFGANG AMADEUS MOZART: Piano Concerto No. 25, K. 503, C major LUDWIG VAN BEETHOVEN: Symphony No. 7, Op. 92, A major

維也納三傑

The Classical Viennese Spirit

© Elias

「他的開場猶如糖果罐上的紋飾般明亮。他不只是一位精準的鋼琴家,或許已超過上百次演奏,他仍像初次演奏 這首曲子般的著迷熱情。」─《聖荷西信使報》

"His opening runs were bright as stripes on a candy cane. He is not only an unerring pianist; he played as if newly charmed and enthralled by this concerto, which he probably has played scores if not hundreds of times." — San Jose Mercury News

少了海頓和莫札特,古典也就不成樂派。這兩位大師不只奠定形式 格局,更在成規中求開創。海頓一百多首交響曲,轉調玩得通透, 幽默使得瀟灑,多的是奇思妙想與老練機巧。第八十八號交響曲在 創意之外,又有扎實嚴謹的對位功力,成就第四樂章層層疊疊的多 寶樓台。莫札特不只有交響樂寫作長才,歌劇更是獨步古今。他的 鋼琴協奏曲則兼具兩者之長,第二十五號是他回歸常規之作,音樂 明亮輝煌,端正而顯巍峨大氣,是深受行家愛戴的經典。繼承並延 續前輩心得,貝多芬自古典格式中創出浪漫精神,第七號交響曲自 海頓式序奏開頭,加以媲美莫札特的動聽旋律,最後展現酒神般的 狂放升騰,成為華格納口中「舞蹈的神話」。此場由呂紹嘉和錄音 等身的鋼琴名家洛提攜手詮釋,必是回味無窮的大師禮讚。

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The Haydn symphony and the Mozart concerto we hear on this program were composed in the mid 1780s at the height of the Classical period in music history. Beethoven's Seventh Symphony appeared about 25 years later, but it might as well have been 25 light years later, for the Romantic era was now well underway. While Haydn and Mozart took care to emphasize balance and form and to keep everything in moderation, Beethoven threw all caution to the winds in his Seventh Symphony, emphasizing startling contrasts, raw energy and Dionysian fury. It is interesting to note that Haydn's Symphony No. 88 was one of his few symphonies that enjoyed popularity throughout the Romantic era, and that Mozart's Piano Concerto No. 25 held a special place in Beethoven's heart (he performed it in Vienna). Its aura of majesty, spaciousness of design, heroic fanfares and grand sonorities enhanced by trumpets and drums all contribute to its standing as Mozart's ''Emperor'' concerto. Beethoven incorporated some of its textural features into his own Emperor Concerto.


10.12

指揮 喬治.佩利凡尼安 GEORGE PEHLIVANIAN, conductor 大提琴 楊.沃格勒 JAN VOGLER, cello 布列茲:《符號》,I-IV & VII 舒曼:A 小調大提琴協奏曲 蕭斯塔科維契:第五號交響曲

PIERRE BOULEZ: Notations I-IV & VII ROBERT SCHUMANN: Cello Concerto, Op. 129, A minor DMITRI SHOSTAKOVICH: Symphony No. 5, Op. 47, D minor

國家音樂廳 National Concert Hall

Sat 19:30 400 600 800 1000 1200 1500

A Kaleidoscopic Journey 音樂狂旅─ 布列茲、舒曼、蕭斯塔科維契

© Mat Hennek

© Weigold&Böhm

「佩利凡尼安和諧的指揮,效果單純卻不失熱情,非常適切地展現指揮的意念。」─ 義大利《音樂日報》

"Pehlivanian's balanced conducting, with simple effects but not without warmth, is well-suited to the director's vision."— Il Giornale della Musica 「我們非常享受楊.沃格勒令人讚嘆的詮釋。他展現了多層次變化的音色,兼具流暢與深度的樂句,及無懈可擊的技巧。」 ─ 義大利古典音樂網站《音樂快遞》

"We also had the luxury of the amazing Jan Vogler, who gave a stupendous interpretation of the work, offering astounding shades of timbre, dynamics, with phrasing both fluid and profound, and an impeccable technique." — Il Corriere Musicale 在所有大提琴協奏曲中,大概就屬舒曼此作最為內斂。三個樂章前 後相連,又避免任何浮誇炫技,作曲家將心神全部放在音樂內涵與 形式設計,第二樂章不斷出現的五度動機,以及獨奏家與樂團大提 琴首席的二重奏,更表露對妻子克拉拉的真心情話。同樣是明話暗 說,八十七年後的蘇聯,則有蕭斯塔科維契以第五號交響曲面對共 黨官方的嚴詞批判。雖說是謙卑回應,那音樂裡卻有百折不撓的堅 毅勇氣。作曲家以通俗易懂的音樂語言,寫出模稜兩可的曖昧雙關, 深沉中有狂飆,動聽旋律下竟是驚濤駭浪,不愧出自二十世紀最出 色的交響聖手。而至今活躍的作曲與指揮大師布列茲,將鋼琴曲舊 作重新配器而成的《符號》,展現極其驚人的聲響魔力。此曲問世 後驚豔各方,此次台灣首演,更是不容錯過!

Just what does a ''Notation'' for orchestra sound like? Curious concertgoers can learn for themselves in the first work on this program. In 1944 and 1945, the contemporary French composer Pierre Boulez, who turns 88 this year, wrote a series of extremely brief piano pieces that he called Notations . Subsequently, he not only orchestrated them but recomposed, developed, transformed and expanded them. Boulez employs an oversized orchestra for his purpose in the Notations , but it is used more as a huge palette of colors than for massive blocks of sound or for excessive volume. Nine percussionists are required. Next on the program comes more familiar fare, Schumann's Cello Concerto, with a soloist (Jan Vogler) from Schumann's home country of Germany. Schumann upset convention with his notions of form, as did Shostakovich a century later in his most famous symphony, the Fifth. But there is nothing alarming in this – both concerto and symphony rank among audience favorites around the world.

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2013 2014 SEASON

10.26

指揮 鋼琴

克利斯提安.亞維 KRISTJAN JÄRVI, conductor 范倫提娜.莉西特莎 VALENTINA LISITSA, piano

帕爾特:《兄弟》 葛利格:A 小調鋼琴協奏曲     《皮爾金組曲》第一號 尼爾森:《阿拉丁》組曲

ARVO PÄRT: Fratres EDVARD GRIEG: Piano Concerto, Op. 16, A minor Peer Gynt Suite No. 1, Op. 46 CARL NIELSEN: Aladdin Suite, Op. 34

國家音樂廳 National Concert Hall

Sat 19:30 400 600 800 1000 1200 1500

Tales of the North 北歐傳奇

© Peter Rigaud

© Sam Jones

「在舞台上的一股活躍力量,(亞維)猶如伯恩斯坦再生。」─《紐約時報》

"A kinetic force on the podium, like Leonard Bernstein reborn." — New York Times 「莉西特莎是一位嚴謹認真的藝術家……她的演奏展現出狂熱的渴求,奮力要將作品的精髓汲取出來。」─英國《每日電訊報》

"Lisitsa is a serious artist…Her essential attribute is a fevered urgency, an almost desperate desire to suck the expressive marrow from a piece" — The Daily Telegraph

丹麥作曲家尼爾森,不只有七首交響曲和小提琴協奏曲,更有精彩 的戲劇音樂《阿拉丁》。精選出的組曲涵括諸多異國舞蹈,展現亮 麗光鮮的管絃樂法和多采多姿的音樂狂想。而挪威作曲家葛利格根 據易卜生名作《皮爾金》所寫的戲劇音樂,更有高潮起伏的動人情 節:男主角壞事做盡,天涯流浪後白髮回鄉,卻發現仍有癡心女為 他一生守候;此作旋律優美動聽,想像破格出奇。第一號組曲有摩 洛哥沙漠日出之氣象萬千,浪子母親過世時的哀戚傷痛,迷亂人心 的舞孃魅惑,還有諸鬼現身、群魔亂舞的恐怖驚懼。如此曲目已是 精采無比,再加上清新洗練,匯聚冰川峽灣靈秀之氣的 A 小調鋼琴 協奏曲,以及當代愛沙尼亞巨擘帕爾特的《兄弟》,本場齊聚北國 最佳經典創作,讓聽眾一覽雪地冰天中的燦爛與深情。

32

Estonian-born Kristjan Järvi conducts works by the most famous composer from each of three northern countries, including his own. Most famous of all is Edvard Grieg, from whom we hear two of his best-known and most beloved compositions. It was his piano concerto that brought him international recognition at the age of just 25. Like the incidental music he provided for Ibsen's play Peer Gynt, it is infused with the elements of Norwegian folk music as well as with individual touches of his own musical personality. Tchaikovsky called attention to ''a fascinating melancholy which seems to reflect in itself all the beauty of Norwegian scenery, now grandiose and sublime in its vast expanse, now grey and dull, but always full of charm.'' Like Grieg for Peer Gynt , the Danish composer Carl Nielsen wrote music to accompany a staged drama called Aladdin , from which a suite of excerpts has been drawn. To open the concert, we hear music from the Estonian Arvo Pärt, music that stresses simple materials, pure diatonic harmony, an austere mood, a sense of timelessness and haunting intensity.


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2013 2014 SEASON

精緻 深刻 悸動 的台灣之音 ''I discovered an orchestra which is highly motivated, extremely competent, well-prepared. The performances were enthusiastic, brilliant and replete with admirable musical values.'' — Lorin Maazel ''One could only marvel at the razor-sharp detail and wealth of dynamic nuances (Lü) drew from his orchestra. He…played down the convulsive side of the music to deliver a more cantabile approach; yet the big moments were thrilling beyond belief.''— American Record Guide ''The Elektra at the Taipei International Festival of Arts was an amazing event…The NSO was in brilliant form with Shao-Chia Lü conducting.'' — Opera Insider, Australia NSO 國家交響樂團以「台灣愛樂」之名已成為德國《交響樂》雜誌、英國《金融時報》、《留聲機 雜誌》、法國《歌劇雜誌》、 德國《歌劇世界》雜誌、《美國唱片指南》、《亞洲週刊》、日本《音 樂之友》等專業樂評口中之「亞洲頂尖交響樂團之一」。 自 2007 年以來,NSO 積極拓展於國際樂壇的網絡:2007 年日本北海道太平洋音樂節、2008 年東 南亞(星馬)及日本東京「熱狂之日」與橫濱、2010 年中國廣州亞運音樂節、2012 年東北亞巡迴 演出,已累積相當知名度。在 2013 年歐巡四國五場次的音樂壯遊,我們期待,「台灣愛樂」成為 另一項台灣重要的文化指標。

NSO 2013 歐巡音樂會 @ 台北 NSO Europe Tour Concert

2013.11.3

國家音樂廳 National Concert Hall

Sun 14 :30

300(四樓) 600(二、三樓)

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 女高音 林孟君 MENG-CHUN LIN, soprano 白遼士:《羅馬狂歡節》序曲 錢南章《詩經五曲》 理查 • 史特勞斯:《狄爾愉快的惡作劇》 德沃札克:第八號交響曲

HECTOR BERLIOZ: Le Carnival Roman , Op. 9 NAN-CHANG CHIEN: Five Chinese Songs for Soprano and Orchestra RICHARD STRAUSS: Till Eulenspiegels lustige Streiche , Op. 28 ANTONÍN DVOŘÁK: Symphony No. 8, Op. 88, G major

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2013 Music Journey NSO Europe Tour 音樂壯遊 ─ NSO 2013 歐洲巡演

2013.11.9 2013.11.11 2013.11.12 2013.11.15 2013.11.18

Sat

Mon

Tue

Fri

Mon

巴黎,嘉禾音樂廳 Salle Gaveau, Paris

法國 France

米蘭,米蘭音樂院威爾第廳 Sala Verdi de Conservatorio, Milano

義大利 Italy

猷丁,新喬凡尼劇院 Teatro Nuovo Giovanni da Udine, Udine

義大利 Italy

日內瓦,維多利亞音樂廳 Victoria Hall, Genève

瑞士 Switzerland

柏林,柏林愛樂廳 Berliner Philharmonie, Berlin

德國 Germany

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 小提琴 薇薇安.哈格納 VIVIANE HAGNER, violin 大提琴 楊文信 WEN-SINN YANG, cello 女高音 林孟君 MENG-CHUN LIN, soprano 錢南章:《詩經五曲》 顏名秀:《鑿貫》 佑斯特:《台北地平線》 白遼士:《羅馬狂歡節》序曲 理查.史特勞斯:《狄爾愉快的惡作劇》 西貝流士:D 小調小提琴協奏曲 聖桑斯:第一號大提琴協奏曲 貝多芬:第七號交響曲 德沃札克:第八號交響曲

NAN-CHANG CHIEN: Five Chinese Songs for Soprano and Orchestra MING-HSIU YEN: Breaking Through CHRISTIAN JOST: Taipei Horizon HECTOR BERLIOZ: Le Carnival Roman , Op. 9 RICHARD STRAUSS: Till Eulenspiegels lustige Streiche , Op. 28 JEAN SIBELIUS: Violin Concerto in D minor, Op. 47 CAMILLE SAINT-SAËNS: Cello Concerto No. 1, Op. 33, A minor LUDWIG VAN BEETHOVEN: Symphony No.7, Op. 92, A major ANTONÍN DVOŘÁK: Symphony No. 8, Op. 88, G major

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2013 2014 SEASON

12.14

國家音樂廳 National Concert Hall

Sat 19:30 400 600 800 1000 1200 1500

指揮 萊哈德.戈貝爾 REINHARD GOEBEL, conductor 小提琴 蜜莉安.康岑 MIRIJAM CONTZEN, violin 巴赫:第四號管絃樂組曲 莫札特:D 大調第七號小提琴協奏曲 海頓:第 101 號交響曲《時鐘》

JOHANN SEBASTIAN BACH: Orchestral Suite BWV 1069, D major WOLFGANG AMADEUS MOZART: Violin Concerto No. 7, K. 271a, D major JOSEPH HAYDN: Symphony No. 101, D major, The Clock

The Authentic Classic—Mo. Goebel & NSO 古樂正典─戈貝爾大師與 NSO

© Christina Bleier

© Josep Molina

「毫不意外地,萊哈德.戈貝爾以『重現古樂』的方式詮釋海頓與莫札特 [……]。樂曲聽來毫不乏味或過度引經據典,反如一股清新的風吹散我們自以為是的 閱聽習慣。」—《科隆 - 波昂音樂記事報》

''Erwartungsgemäß stellte Reinhard Goebel Haydn und Mozart in das Licht der 'historisch informierten' Aufführungspraxis (...) Nichts wirkte da betulich und altbacken, hier wehte ein frischer Wind eingefahrene Hörgewohnheiten förmlich hinweg.'' — Köln-Bonner Musikkalende 「( 蜜莉安.康岑 ) 小提琴高音域的演奏,簡直有如天籟;她以高貴深刻、炙熱旋律直觸聽眾心坎 ......」─《南德日報》

''(Mirijam Contzen's) solo violin touched the listener with beguilingly beautiful upper registers, noble depths and melodic fire…" — Süddeutsche Zeitung

巴赫的管絃樂創作寫於任職科騰宮廷樂長之時,結合當時流行的法 蘭西舞蹈形式、義大利旋律風格並添以日耳曼式充實對位,是精練 優雅的出色作品。第四號組曲有獨到的明亮,更有作曲家巧妙安排 的音樂笑語,讓人聽來格外開心。海頓第 101 號交響曲是其六首 「倫敦」交響曲之一,是作曲家以「交響樂至尊」大師之姿所寫下 的傳世妙品。雖是晚年之作,音樂卻始終熱情洋溢,旋律依然奔流 陽光燦爛的青春。第二樂章絃樂撥奏宛如鐘擺滴答而廣受好評,但 第四樂章的活力四射也令人難忘。至於被歸為第七號的「莫札特」 小提琴協奏曲,由於真實性仍有疑義,因此被排除於 1983 年版的 莫札特全集之中,小提琴家也鮮少演奏。但此曲仍有動聽魅力,究 竟真假如何,何妨一同來音樂會欣賞討論?

36

Whether by accident or design, all three works on this program are in the key of D major. Additionally, they were all written in the eighteenth century by what most people would say were the century's three greatest composers. But beyond that they are very different. Bach's suite is a magnificent achievement, opening with a majestic, elaborate overture and continuing with a succession of highly contrasted shorter movements mostly of dance-like character. The authenticity of Mozart's Violin Concerto No. 7 has never been established, and it is performed on only the rarest occasions, so here is your opportunity to decide for yourself whether it is probably by the master. As for Haydn's Clock Symphony, well... the name wasn't his, but there's no mistaking the ticktock effect that runs through the second movement. There are many more surprises as well in this glorious symphony, one of the very best from a composer who wrote over a hundred of them.


指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 中提琴 黃心芸 HSIN-YUN HUANG, viola

12.22

巴赫:D 小調《觸技曲與賦格》( 斯托科夫斯基改編 ) 辛德密特:中提琴協奏曲《烤天鵝的人》 泰勒曼:G 大調中提琴協奏曲 辛德密特:《畫家馬蒂斯》交響曲

JOHANN SEBASTIAN BACH: Toccata and Fugue , BWV 565, D minor (arr. L. Stokowski) PAUL HINDEMITH: Der Schwanendreher GEORG PHILIPP TELEMANN: Viola Concerto, TWV 51:G9, G major PAUL HINDEMITH: Mathis der Maler Symphony

國家音樂廳 National Concert Hall

Sun 19:30 400 600 800 1000 1200 1500

1993 年同時獲慕尼黑 ARD 國際音樂大賽中提琴首獎、日本文化村音樂 廳大獎;1988 年以創下最年輕優勝者之姿,獲萊諾.特堤斯國際大賽金 牌,為該大賽最年輕的金牌得主。

At age 17, violist Hsin-Yun Huang was the youngest-ever winner of the gold medal at the Lionel Tertis International Viola Competition. In 1993, she took the top prize at the ARD Competition in Munich, winning at the same time Japan's prestigious Bunkamura Orchard Hall award.

辛德密特 & 巴洛克

Back to Bach, Forward to Hindemith 本來已照父親指示學習法律,卻因為大學所在地的音樂實在難聽,「迫 不得已」只好投向作曲懷抱—— 泰勒曼這一寫就勢不可擋,以三千多首 作品名列史上最多產的作曲家,G 大調中提琴協奏曲更是現存最早的同 類作品,曲調迷人優雅。二十世紀作曲大師辛德密特也是中提琴好手, 引用多首中世紀德國民歌而成的《烤天鵝的人》,以新古典技法譜出華 麗酣暢,讓人一聽難忘。而色調同樣鮮艷銳亮的,還有他取自同名歌劇 而成的《畫家馬蒂斯》交響曲。從天使聖詠到魔鬼誘惑,作曲家以音畫 繪出詭奇幻夢,對樂團更是嚴苛考驗。適逢辛德密特逝世五十周年,

NSO 排出他兩闕不朽巨作紀念,加上史托科夫斯基改編,迪士尼動畫 《幻想曲》開場巴赫 D 小調《觸技曲與賦格》,原來古典音樂可以如 此自由,錯彩紛呈而目眩神迷! This program alternates between works composed in the early eighteenth century and those composed in the early twentieth. We begin with one of Bach's mightiest organ works arranged for full symphony orchestra. In dramatic power, grandeur and contrapuntal complexity, the Toccata and Fugue in D minor represents the very pinnacle of Bach's genius. Through its use in Walt Disney's Fantasia and more recently Phantom of the Opera , it has become one of the best-known works in all classical music. At the other end of the program is Paul Hindemith's deeply spiritual music inspired by the intensely colorful paintings on the Isenheim altarpiece in Colmar, Germany, created by an early sixteenth-century artist known as Mathis der Maler (Mathis the Painter ). In between come two solo works featuring an instrument that seldom gets a chance in the spotlight, the viola. Hsin-Yun Huang is both conductor and soloist in Telemann's concerto, the earliest we know of for the viola. Der Schwanendrehe r (The Swan-turner ), another work by Hindemith, a professional violist himself, lends a modern touch to a medieval subject – the kitchen aid who roasted swans. Both works are imbued with gentle warmth and exploit the solo instrument's unique tone color.

37


2013 2014 SEASON

NSO 2014 New Year Concert

2013 ► Shall We

NSO 跨 / 新年音樂會

12.31 國家音樂廳 National Concert Hall

Tue 22:00 500 800 1200 1600 2000 2500 3200 ( 企業贊助 )

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 女高音 林惠珍 MEWAS LIN 羅明芳 MING-FANG LO, soprano 次女高音 翁若珮 JO-PEI WENG, mezzo-soprano 男高音 王典 FERNANDO WANG, tenor 男中音 巫白玉璽 WU BAI-YU-HSI     葉展毓 CHAN-YU YEH, baritone 聲樂指導 王佩瑤 PEI-YAO WANG, vocal coach 台北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS 合唱指導 吳尚倫 SHANGLUN WU, chorus master 金希文:《眼窗之舞》(世界首演) 德沃札克:《斯拉夫舞曲》選粹 伯恩斯坦:〈交響舞曲〉,選自《西城故事》 小約翰.史特勞斯:《蝙蝠》序曲及選段

GORDON CHIN: Dance of Mata (World Premiere) ANTONÍN DVOŘÁK: Selections from Slavonic Dances , Op. 46 & 72 LEONARD BERNSTEIN: 'Symphonic Dances' from West Side Story JOHANN STRAUSS JR.: Overture & Excerpts from Die Fledermaus

38


與你共舞

2014 Dance? 1.1 國家音樂廳 National Concert Hall

Wed 19:30 400 600 1000 1500 1800 2400 3000 ( 企業贊助 )

每逢歲末新年,古典樂界總少不了史特勞斯家族的笙歌 舞影。輕歌劇《蝙蝠》故事笑鬧逗趣、唱段花腔滿天, 何時聽來都快意非常、絕對開心。而在唱跳之外,那光 耀聲響中也有雍容大氣,盡展奧匈帝國輝煌尊榮,讓人 神往溫文優雅的黃金歲月。可維也納雖好,歡樂卻各有 巧妙。別只聽波卡與圓舞曲,也請欣賞德沃札克《斯拉 夫舞曲》的波希米亞熱鬧,以及伯恩斯坦《西城故事》 的街頭喧囂:恰恰與曼波舞曲一出,包準你跟著手舞足 蹈,還有情人樓台相會要你為之傾倒。 NSO 久負盛名的 跨年與新年音樂會,場場都得讓人瘋狂搶票。沒辦法, 過年就是要在五光十色中添上一點吵,這次精心奉上嗆 辣蛋糕,還有 NSO 委託創作,金希文《眼窗之舞》也來 報到,歡迎大家把音樂大口咬,和愛樂朋友一起開懷倒 數、大聲歡笑!

Just about everyone likes to dance. Dancing is part of every culture in the world. What better way to watch a new year arrive than to dance the hours away? Music by one of our own most active composers, Gordon Chin, opens the program (Dance of Mata) . From a Czech composer we hear some of his Slavonic Dances that contain a deft combination of folklore, spontaneous inspiration and masterful composition. Much the same could be said for Leonard Bernstein's West Side Story , his bestknown work worldwide. And then there is the music of Johann Strauss, the ''Waltz King.'' In Strauss's most famous operetta, Die Fledermaus , we enter a world of champagne, waltzes, elegant ballrooms, glittering chandeliers, splendid buildings and infectious gaiety. In it we find a joyous, bubbly, totally improbable concoction of mistaken identities, amorous intrigues, mischief and mirth. Excerpts from this delicious comedy are guaranteed to sweep listeners into Fledermaus ' magical orbit and send them home radiantly delighted, looking forward to a Happy New Year.

39


3.7

指揮 麥可.桑德林 MICHAEL SANDERLING, conductor 雙簧管 阿雷西.奧格林卓克 ALEXEI OGRINTCHOUK, oboe 布瑞頓:《音樂晚會》 莫札特:C 大調雙簧管協奏曲 馬勒:第一號交響曲《巨人》

BENJAMIN BRITTEN: Soirées musicales , Op. 9 WOLFGANG AMADEUS MOZART: Oboe Concerto, K. 314, C major GUSTAV MAHLER: Symphony No. 1, D major, Titan

國家音樂廳 National Concert Hall

Fri 19:30 400 600 800 1000 1200 1500

巨人之聲

The Towering ''Titan''

© Marco Borggreve

© Marco Borggreve

「...... 指揮家麥可.桑德林對於力度與節奏的掌握能力,令人欽佩。他精準的手勢讓樂團得以明瞭曲中各種細節、強烈的戲劇性和韻 味 ......」 ─《回聲在線》

"... the conductor Michael Sanderling impressively controls dynamics and rhythm. His precise conducting allowed the orchestra to realise the finest details, dramatic vehemence and verve..."— Echo Online 「奧格林卓克的演奏技巧擷取了各家之長,是雙簧管該有卻很少有人能辦到的聲音:渾圓、開闊、穩定、生動、敏捷,並且足以表現各 種情緒。」─ 荷蘭《電訊報》

"Ogrintchouk combines the best of different schools in his playing. His sound has exactly the quality which an oboe deserves but seldom has: it is round, open, steady, colourful, agile and it can be used for the expression of the greatest variety of emotions."— De Telegraaf 除了原創新曲,作曲家也常借用與改編。布瑞頓從小就展露譜曲才 華,廿三歲以羅西尼作品主題所寫的《音樂晚會》,五個樂章玲瓏 可愛而機智詼諧,是許多輕鬆音樂會的熱門曲目。至於熱情澎湃的 馬勒第一號交響曲,作曲家不但引用「兩隻老虎」,將其改成辛辣 諷刺的小調送葬進行曲,甚至還回收先前《旅人之歌》旋律當成第 一樂章主題和第三樂章素材。新舊樂段彼此融合,不但豐富樂曲內 蘊,最後白熱化的激越爆發,更常是掀翻音樂廳屋頂的驚人震撼。 而在小編制的布瑞頓與大陣仗的馬勒之間,安排的是莫札特宛如巧 囀天籟的雙簧管協奏曲。此曲清新雋永,雖非改寫之作,作曲家之 後卻將其移調改為第二號長笛協奏曲,導致今日兩管演奏家爭相演 奏、各顯神通,聽眾也樂於多方欣賞比較。

Has anyone ever written a more masterful, more powerful, more sensational First Symphony than Gustav Mahler? Composed when he was still in his twenties, this gigantic, hour-long orchestral fresco required the largest forces for a symphony up to that time (1888). Into this towering achievement Mahler incorporated evocations of nature, blazing fanfares, folksong, gypsy music, seismic upheavals, a funeral march, heroic proclamations, and much more. As a prelude to this mighty symphonic adventure, we hear music of more modest proportions: Mozart's delicious Oboe Concerto with the Russian-born Alexei Ogrintchouk, now principal oboist of the Royal Concertgebouw Orchestra in Amsterdam, as soloist; and Benjamin Britten's charming, unassuming Soirées musicales – originally piano pieces by Rossini that Britten turned into orchestral miniatures. Although Britten was only 23 at the time, he already showed a masterly hand with orchestral colors and textures. Come to think of it, all three works on this program were written by composers still in their twenties!

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2013 2014 SEASON

3.14-16 NSO 首席絃樂團 NSO STRING ENSEMBLE

國內巡演

Fri-Sun

曼陀林 艾維.艾維塔 AVI AVITAL, mandolin 打擊樂 尚恩.夏那漢 SHANE SHANAHAN, percussion NSO 首席絃樂團 NSO STRING ENSEMBLE 巴赫 : A 小調協奏曲 ( 改編給曼陀林 ) 尚恩.夏那漢:三首給曼陀林、打擊與絃樂團的作品 津沙茲:五首給曼陀林、打擊與絃樂團的小品 巴爾托克:《羅馬尼亞舞曲》 蒙蒂:《查爾達斯》

JOHANN SEBASTIAN BACH: Concerto in A minor (arr. for mandolin) SHANE SHANAHAN: Three pieces for mandolin, percussion and string orchestra SULKHAN TSINTSADZE: Five Miniatures for mandolin, percussion and string orchestra BÉLA BARTÓK: Romanian Folk Dances VITTORIO MONTI: Csárdás 相關資訊詳見 nso.ntch.edu.tw

Onyx Fantasy–Ensemble of Mandolin, Percussion and Strings 曼陀林 & 擊樂瑪瑙狂想曲

© Todd Rosenberg

© Neda Navaee

曼陀林音樂家艾維.艾維塔,曾獲葛來美獎提名並為《紐約時報》讚許為「獨特而敏銳的演奏」。

Mandolinist Avi Avital, the Grammy award nominee, was recognized by the New York Times for his ''exquisitely sensitive playing'' and ''stunning agility''. 從 2000 年起,尚恩.夏那漢即參加與馬友友的「絲綢之路」樂團,並多次獲葛萊美獎提名。

Since 2000, Shane Shanahan has been touring around the globe performing with Yo-Yo Ma as an original member of Grammy-Nominated Silk Road Ensemble.

繼 2013 年 4 月《D 吟 • 曼陀林-艾維塔與他的新朋友》在國家 音樂廳吹起一股曼陀林風潮後,NSO 首席絃樂團將再度與曾獲葛 萊美獎提名的曼陀林家艾維 • 艾維塔及「絲綢之路」樂團擊樂家 尚恩 • 夏那漢聯手於國內巡迴演出,將這股曼陀林風潮帶往熱 情的南台灣!此次除了巴赫經典曲目 A 小調協奏曲外,艾維塔與 NSO 首席絃樂團將聯手演出多首具有東歐及西亞民俗風格的樂曲。 尚恩 • 夏那漢除了精通於各項打擊樂器外,也是位創作才子,他 將在巡迴演出中將帶來三首給曼陀林、打擊與絃樂團的作品,優雅 的絃樂、細緻的曼陀林與熱情的擊樂,交疊出一場全新動感的聽覺 與視覺饗宴。

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In April 2013, NSO String Ensemble had a sparkling collaboration with Grammy nominee mandolinist Avi Avital and Silk Road Ensemble percussionist Shane Shanahan. This season NSO String Ensemble will go on tour with these two wonderful musicians and bring the mandolin mania to southern Taiwan! In addition to one of J.S. Bach's classics, the Concerto in A minor, Avi Avital and the NSO String Ensemble will perform several pieces based on the folk tunes from Eastern Europe and Western Asia. Not only an avid percussionist but also a talented composer, Shane Shanahan will bring three of his own works for mandolin, percussion, and string orchestra. The elegance of the strings, the delicacy of the mandolin, as well as the vibrancy of the percussion will surely refresh and stir your hearing and visual nerves!


指揮

張尹芳 YIN-FANG CHANG, conductor

3.16

柴科夫斯基:芭蕾舞組曲選段 比才:小組曲 葛利格:《皮爾金》組曲選段 韋瓦第:《四季》小提琴協奏曲選段 以及莫札特、海頓、貝多芬等古典時期交響樂選曲

NSO 永遠的童話 NSO Forever Tales

PYOTR I. TCHAIKOVSKY: Ballet Suites (Excerpts) GEORGE BIZET: Petite Suite (orchestration of Jeux d'enfants) EDVARD GRIEG: Excerpts from Peer Gynt Suites ANTONIO VIVALDI: Excerpts from The Four Seasons And works by Mozart, Haydn, Beethoven, etc.

國家音樂廳 National Concert Hall

Sun 14:00 / 17:00 400 600 800

Little Darling's Music Box 小太陽的音樂屋

「真正的掌聲應該給指揮張尹芳。她帶領 10 位團員優雅地完成了一場稱得上是音樂風格的障礙接力賽。穿戴著大耳鼠帽及淘氣的鼠尾 長外套,團員們順利通過急轉的樂風,從爵士、百老匯到史特拉汶斯基式的配樂,卻一點也沒有拖累戲劇主線。」─ 英國《金融時報》

''The real applause, though, goes to conductor Chang Yin-Fan, who gracefully led her 10-piece ensemble through a veritable obstacle course of musical styles. Wearing mouse-eared bowler hats and a rather playful interpretation of tail-coats, the musicians negotiated quick turns from jazz to Broadway to Stravinsky-like underscoring with no dips in the dramatic through-line.''— Financial Times

音樂的要素包括節奏、旋律、和聲與音色,圖畫的構成則是色彩、 空間、光影、線條和形狀的組合。若是將音樂與圖畫的元素解構後 再隨意重組,將會產生什麼樣的變幻和火花呢?康汀斯基說:「色 彩是鍵盤,雙眼是琴槌,靈魂是琴絃,而藝術家則是按下琴鍵並創 造靈魂共鳴的那隻手。」簡單的美感體驗,就從孩子的生活出發!

NSO 與信誼共同創造出的《小太陽的音樂屋》將古典音樂與童書 繪本緊密結合,並挑選出適合孩子聆聽、且富故事畫面的曲目,如 韋瓦第的《四季》、葛利格的《皮爾金》組曲,讓音樂、故事、圖 畫一同開啟孩子們的想像世界,同時打開小朋友們古典音樂的第一 扇門。

Musical elements include rhythms, melodies, harmonies and timbres while a picture is composed of colors, space, light and shadows, lines and shapes. If musical and pictorial elements are decomposed for further random combinations, what kind of sparkles and excitments will come out of it? Wassily Kandinsky said that ''Colour is the keyboard, the eyes are the hammer, the soul is the strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.'' Children should be exposed to all kinds of beauty in their early life. The NSO and the Hsin-Yi Foundation's ''Little Darling's Music Box'' incorporates classical music with children's picture books. Through selected pictorial books and music like Vivaldi's The Four Seasons and Grieg's Peer Gynt Suite, we want lead our children to a creative life and a musical world.

*繪本圖片引用自李歐.李奧尼(Leo Lionni)著作之《魚就是魚》,由上誼文化提供。

43


2013 2014 SEASON

3.21

國家音樂廳 National Concert Hall

Fri 19:30

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 鋼琴 莉莉亞.齊柏絲坦 LILYA ZILBERSTEIN, piano 拉赫瑪尼諾夫:交響詩《死之島》        第四號鋼琴協奏曲        第三號交響曲

SERGEI RACHMANINOFF: The Isle of the Dead , Op. 29 Piano Concerto No. 4, Op. 40, G minor Symphony No. 3, Op. 44, A minor

400 600 800 1000 1200 1500

Rachmaninoff the Romantic 浪漫詩人─拉赫瑪尼諾夫 © Lisa Kohler

「齊柏絲坦是位完美無瑕、天生的鋼琴家,絕對是世界級的。幸運的,我沒在 1957 年布梭尼鋼琴大賽遇上她這等強敵,否則就有得拚了 !」 ─鋼琴家瑪莎.阿格麗希 義大利《共和報》

"Lilya is a flawless pianist with a completely natural way of playing, simply world class! Luckily she wasn't competing with me in the 1957 Busoni Competition – that would have been really hard for me. " — Martha Argerich in an interview with La Repubblica

不是只有第二和第三號鋼琴協奏曲,《帕格尼尼狂想曲》好聽的也 不僅是第十八變奏,拉赫瑪尼諾夫的音樂雖然家喻戶曉,但他的偉 大往往為人忽視,經典創作也遠較我們所想得豐富。死神擺渡、冥 河之旅,《死之島》以博克林 (Arnold Böcklin) 家喻戶曉的同名 圖畫發想,音樂則用「神怒之日」主題分割開展,別出心裁的五拍 來回果然魅人心弦。第三號交響曲和第四號鋼琴協奏曲則是他的晚 期偉構:前者深邃幽暗,闃黑夢魘裡竟又旖旎翻折出俠骨柔情,管 絃樂之精緻細膩令人嘆為觀止;後者則凝聚作曲家一生超卓鋼琴技 法,樂念看似七彩寶盒光耀照人,錦緞打開卻只見得虛無寂寥,是 作曲家受苦靈魂的忠實記錄。呂紹嘉請來深受國內樂迷愛戴的俄國 名家齊柏絲坦和 NSO 三度合作,必能帶領聽眾一同深入拉赫瑪尼 諾夫最私密的情感。

44

No twentieth-century composer is more beloved than Sergei Rachmaninoff. He was a romantic at heart, ignoring the modern currents that swirled about him and remaining true to his nineteenth-century roots. His Second Symphony, Second and Third Piano Concertos and Rhapsody on a Theme of Paganini (heard later this season on June 7) are among the staples of the symphonic repertory. However, ShaoChia Lü has chosen three less familiar works for this program, each a masterpiece in its own right and guaranteed to expand the audience's awareness of the Russian master. Rachmaninoff's predilection for dark colors, somber moods and pathos found no greater manifestation than in his magnificent symphonic poem The Isle of the Dead . The Fourth and last of his piano concertos may be the least performed, but it reveals a new sophistication in the orchestral writing and dexterous intertwining of piano and orchestra – Rachmaninoff for connoisseurs, it has been called. The Third Symphony, Rachmaninoff's last, is imbued with passionate melancholy, sweeping melodies and Russian spirit, its moods ranging from somber to exultant.


3.28 28

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 男中音 鮑.史科弗斯 BO SKOVHUS, baritone 台北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS 合唱指導 吳尚倫 SHANGLUN WU, chorus master 趙菁文:《黏土的寓言》,為玩具樂器與管絃樂團 ( 世界首演 ) 布瑞頓:《安魂交響曲》 華爾頓:《伯沙撒王的盛宴》

CHING-WEN CHAO: Playdough's Curve for Orchestra (World Premiere) BENJAMIN BRITTEN: Sinfonia da Requiem, Op. 20 WILLIAM WALTON: Belshazzar's Feast

國家音樂廳 National Concert Hall

Fri 19:30 400 600 800 1000 1200 1500

A Musical Feast 英倫盛宴

TIFA 2014 台灣國際藝術節

© Balmer & Dixon

「鮑.史科弗斯的『貝克梅賽爾』(《紐倫堡的名歌手》主角之一 ),唱作俱佳 ...... 將一個自以為聰明的傻瓜詮釋得入木三分。」 -《歌劇新聞》

''His Beckmesser is wonderfully sung and act…a multilayered depiction of a fool who doesn't know he is one.''— Opera News

布瑞頓大型交響樂《安魂交響曲》,構思以「安魂曲」發想,純器 樂而無唱詞,三樂章分別是「淚水之日」、「神怒之日」和「永恆 安息」。雖然譜曲時才二十六歲,此曲卻有難以言喻的深刻省思和 內斂張力,是布瑞頓作品中的里程碑。「巴比倫覆亡夜,牆上現手 寫下崩滅神諭」—— 寫作時也不過二十九歲的華爾頓,清唱劇《伯 沙撒王的盛宴》以古老聖經故事為題,結合爵士手法與英國民歌素 材,加上不惜工本的樂團與合唱編制,最後不但旋律寫得血脈賁 張,古代異教荒淫混搭現代時尚音響,絞盡腦汁的想像更成就不可 思議的音色大觀。此曲氣象莊嚴而磅礡壯闊,加上年輕作曲家獨有 的銳利自信,向來是慶典盛會的不二選擇。同場加上趙菁文新作 《黏土的寓言》,相信更顯多采多姿。

Barbaric splendor, savage outbursts, lamentations, an orgiastic feast, wild songs in praise of heathen gods, divine intervention, the fall of a great city, and an exultant paean of praise are just some of the elements that constitute Belshazzar's Feast , a mighty choral drama abounding in sensational effects and musical imagery. During the 1950s and 1960s, it was one of the most popular large-scale choral works of the twentieth century. Remarkably, its English composer, William Walton, was not yet thirty years old. The Sinfonia da Requiem by Benjamin Britten, born exactly one hundred years ago, also comes from an outstanding English composer still in his twenties. This work of searing power takes its inspiration from the Catholic liturgy. It was Britten's first large-scale, purely orchestral composition not involving a soloist, and it turned out to be one of his best.

45


2013 2014 SEASON

4.11

指揮 安德烈.迪瑞德 ANDRÉ DE RIDDER, conductor 長號 尤根.范雷彥 JÖRGEN VAN RIJEN, trombone 里奧普.莫札特:D 大調長號協奏曲 莫札特:第三十一號交響曲《巴黎》 貝里歐:《孤獨》,為長號與交響樂團 齊姆林斯基:《美人魚》

國家音樂廳 National Concert Hall

Fri 19:30 400 600 800 1000 1200 1500

LEOPOLD MOZART: Trombone Concerto, D major WOLFGANG AMADEUS MOZART: Symphony No. 31, K. 297, D major, Paris LUCIANO BERIO: SOLO , per trombone e orchestra ALEXANDER ZEMLINSKY: Die Seejungfrau (The Mermaid )

The Amazing Trombone Man & 美聲長號與美人魚 the Mermaid

© Marco Borggreve

© Marco Borggreve

「迪瑞德的指揮敏銳流暢,讓音樂有空間呼吸。活力、優雅以及對於音色與聲部均衡極為挑剔的耳朵,是他的指揮特色。」─《電訊報》

"De Ridder conducted with discerning pace and gave the music space to breathe. […] Energy, taste and a discriminating ear for balance and timbre are hallmarks of his conducting.''— The Telegraph 「這張集錦專輯勾勒出一位長號大師的迷人身影 ... 尤根.范雷彥的精湛技巧在長號界恐怕是所向無敵 !」─英國《留聲機》雜誌

"This ragbag provides a fascinating portrait of a master trombonist. [...]Jörgen van Rijen's virtuoso technique need fear no comparison with the best in this field"— Gramophone 長號歷史雖久,在管絃樂團的應用卻發展較遲,論及經典獨奏,更 要到近代才真正出現。義大利巨匠貝里歐的《孤獨》雖為管絃編 制,卻非協奏曲:長號獨奏和樂團各自運行,音符偶爾交會,彼此 卻如陌生人般不曾對話溝通。譜上滿是令人聞之色變的艱難技巧, 表現得卻是人性之清冷寂寥。而在近一百年前,維也納作曲家齊姆 林斯基的幻想交響詩《美人魚》,則以世紀末後浪漫筆法訴說安徒 生令人心碎的愛情童話。三個樂章滿是迷離綺麗的音樂想像,光是 前奏就足以賺人熱淚。這場音樂會不只有這兩首經典台灣首演,阿 姆斯特丹皇家大會堂長號首席范雷彥還將以巴洛克長號帶來老莫札 特《小夜曲》中的長號獨奏樂章,樂團則配以神童兒子至巴黎求職 時所寫下的交響曲。行家精品曲目加上大師名家獻技,錯過只能是 遺憾。

46

Guest conductor André de Ridder has chosen a most unusual and stimulating program for his first appearance with the NSO. The ''big'' work is the 45-minute symphonic poem Die Seejungfrau (The Mermaid ). In music of ravishing beauty and sumptuous orchestral colors, the early-twentieth-century Viennese composer Alexander von Zemlinsky set to music the famous fairy tale ''The Little Mermaid'' by Hans Christian Andersen, about an aquatic creature who longs to acquire a human soul; her bronze statue, perched on a rock in Copenhagen's waterfront, has become Denmark's best known icon. The soloist at this concert is a trombonist – a rare event indeed! Not only that, but Jörgen van Rijen, principal trombonist of the renowned Royal Concertgebouw Orchestra in Amsterdam, stars in a very traditional-sounding concerto by the father of Wolfgang Amadè, which he plays on a baroque trombone, and in a very modern-sounding piece by Luciano Berio performed on a modern instrument. In between we hear one of W. A. Mozart's grandest symphonies, No. 31, commissioned for a concert series in Paris and requiring the largest orchestra this composer had yet used in a symphony. Trombone enthusiasts will also want to attend Jörgen's concert of chamber music with NSO musicians on April 13.


4.18 18

指揮 加布里耶.費爾茲 GABRIEL FELTZ, conductor 大提琴 約翰尼斯.莫瑟 JOHANNES MOSER, cello 國立實驗合唱團 TAIWAN NATIONAL CHOIR 德沃札克:B 小調大提琴協奏曲 巴爾托克:《奇異的滿州人》 李斯特:第三號交響詩《前奏曲》 ANTONÍN DVOŘÁK: Cello Concerto, Op. 104, B minor

國家音樂廳 National Concert Hall

BÉLA BARTÓK: The Miraculous Mandarin FRANZ LISZT: Symphonic Poem No. 3, Les Préludes

Fri 19:30 400 600 800 1000 1200 1500

Legends from Eastern Europe 東歐經典

© Stephan Walzl

© Uwe Arens

「(司圖加特愛樂)首席指揮費爾茲指揮下的貝多芬第五號交響曲,聽起來無比地自然清新,毫不浮誇,充滿生氣,讓這首常見的曲目, 有了新的啟示。」─《斯圖加特日報》

''…Beethoven's Fifth, under the baton of the chief conductor Gabriel Feltz .... sounded fantastic, natural, fresh, without any false pompous importance and with a vitality that this music became a revelation. "— Stuttgarter Zeitung 「聽莫瑟的演奏真是賞心樂事 ! 他熱切地迎向每個樂句的轉折,不費吹灰之力駕馭音樂暢行。他吸引樂團每一位成員,讓他們一起演奏 時似乎變得更趣意盎然。」─ 《洛杉磯時報》

"He was a delight. He enthusiastically anticipated each turn of phrase. His tone sang and carried easily. He engaged the orchestra musicians, and they seemed to grow better by the measure when playing with him. "— Los Angles Times 「人生不過是死亡的前奏」,李斯特心中樂念恰巧呼應詩人拉馬汀 (Alphonse de Lamartine) 的同名作品,《前奏曲》充分發揮作曲 家主題變形的精湛功力,簡單素材卻有多重面貌,沉潛哲思也能盪 氣迴腸。而論及情韻綿長,德沃札克大提琴協奏曲更堪稱古往今來 催淚之最;「如果我知道大提琴協奏曲能寫得這麼美,我自己也會 寫一首」,連布拉姆斯見了樂譜都不得不讚嘆,不愧是同類曲目中 的頂冠。然而情到深處也能成癡成魔,巴爾托克《奇異的滿州人》 宛如中國殭屍的匈牙利變形,千刀萬剮的不死靈魂,最後只求少女 一抱,才願在青綠異光中流血而亡。故事隱喻層層包裹,音樂卻是 銳利刺激,繁弦急管道出所有不可言說的慾望,是所有指揮與樂團 的至高挑戰。此次 NSO 帶來全本演出,機會難得,歡迎體驗巴爾 托克筆下的驚奇與驚嚇!

Macabre, gruesome, lurid, grotesque and devastating are just some of the terms often used to describe Bartók's ballet score The Miraculous Mandarin . All are appropriate, yet none of them does full justice to the qualities of this uniquely bizarre work. Gabriel Feltz conducts a rare performance of the complete score ─ usually we hear just a suite ─ , which includes a wordless chorus near the end. Despite the thrills and horrors of the suite, many of the most fantastical and sensational moments of The Miraculous Mandarin occur in the passages that did not make it into the suite. Much more refined and genteel is Dvořák's Cello Concerto, music brimming with soaring themes and sensuously beautiful sonorities. Many listeners regard it as the greatest concerto ever written for this instrument. Les Préludes is one of Liszt's thirteen symphonic poems, a new orchestral genre whose designation was coined by Liszt himself. The impulse of Les Préludes comes from a poem by Alphonse de Lamartine.

47


五月德意志 The Germanic May series

5.16

國家音樂廳 National Concert Hall

Fri 19:30 400 600 800 1000 1200 1500

指揮 根特.赫比希 GÜNTHER HERBIG, conductor 鋼琴 亞歷山大.薩洛 ALEXANDRE THARAUD, piano 貝多芬:第三號《蕾奧諾拉》序曲 拉威爾:G 大調鋼琴協奏曲 貝多芬:第五號交響曲

LUDWIG VAN BEETHOVEN: Leonore Overture No. 3, Op. 72b MAURICE RAVEL: Piano Concerto, G major LUDWIG VAN BEETHOVEN: Symphony No.5, Op. 67, C minor

命運德意志

The Greatness of Beethoven

「薩洛演奏細膩、觸鍵精緻靈敏,成功地虜獲聽眾全神貫注的欣賞。演奏中讓人恍如置身於靜謐的演奏廳,而並非紐約前衛的音樂沙 龍。」─ 《紐約時報》

"Tharaud played with a subdued sensitivity and delicacy of touch that demanded close attention. He got it. There were times during his performance that Le Poisson Rouge seemed like the most intimate of recital halls." — New York Times

拉威爾是音樂史上氣質最獨特出眾的作曲家。不但是寫作大師,更 是音樂貴族,其筆下旋律清麗古雅,和工筆雕琢的管絃配器相映成 趣,以無可比擬的格調創造屬於自己的世界。他的 G 大調鋼琴協 奏曲有愉悅歡暢的爵士素材,以及甜苦交織的靜謐美感,抒情可愛 還能奔放,是內涵俏麗兼備的美好作品,音樂會上的超級寵兒。貝 多芬第五號交響曲,其三短一長「命運叩門」動機舉世聞名。不僅 從晦暗到光明的轉折感人肺腑,更出眾的是作曲家自小音型構成大 建築,以環環相扣、邏輯縝密的非凡手筆,為音樂寫作立下曠世典 範。第三號《蕾奧諾拉》序曲則有千錘百鍊的思考,讓人見識作曲 家追求完美的決心。截然不同的二位作曲家,加上法國名家薩洛與 德奧大師赫比希首度於 NSO 相會,輕盈芬芳遇上雷霆萬鈞,必能 共譜奇妙和諧。

The framework for Günther Herbig's program is music of Beethoven, a composer with which this German maestro has been identified for many years now. He conducts two of Beethoven's most famous and mightiest orchestral masterpieces. The renowned English critic Sir Donald Francis Tovey wrote of the Leonore Overture No. 3 that ''it is about ten times as dramatic as anything that could be put on the stage.'' The Fifth Symphony, the world's most popular, still retains its power to stir us to wonder and admiration more than 200 years after its premiere. In between we hear Ravel's Piano Concerto in G, one of the most popular concertos of the twentieth century for this instrument, a work that sparkles and glitters in its outer movements and that moves one to tears in its central slow movement.

49 © Marco Borggreve


6.7 6.

Rhapsodies & Variations 謎與變奏

國家音樂廳 National Concert Hall

Sat 19:30 400 600 800 1000 1200 1500

指揮 鋼琴

呂紹嘉 SHAO-CHIA LÜ, conductor 劉孟捷 MENG-CHIEH LIU, piano

荀貝格:管絃樂變奏曲 拉赫瑪尼諾夫:《帕格尼尼主題狂想曲》 李柏曼:《帕格尼尼主題狂想曲》 艾爾加:《謎之變奏曲》

ARNOLD SCHÖNBERG: Variations for Orchestra, Op. 31 SERGEI RACHMANINOFF: Rhapsody on a Theme of Paganini , Op. 43 LOWELL LIEBERMANN: Rhapsody on a Theme of Paganini , Op. 72 EDWARD ELGAR: Enigma Variations , Op. 36

「(劉孟捷)完美無瑕,週衍且均衡的鋼琴技巧」—《芝加哥古典音樂報導》

"(Meng-Chieh Liu) Faultless, discreetly balanced pianism." — Chicago Classical Review

名為狂想,實為變奏,拉赫瑪尼諾夫開展二十四段轉化,帕格尼尼 主題之外更加入「神怒之日」旋律,雙線縱橫交錯,音樂也就成為 好戲一樁。美國當代作曲家李柏曼,風格浪漫而聲響新奇,不怕在 前輩之後繼續挑戰相同主題,果然也為鋼琴譜出刁鑽炫技,管絃 散射異彩奇光。艾爾加《謎之變奏曲》描寫朋友家人言談笑貌以及 彼此來往故事,曲調優美悅耳,音樂曖內含光,最後變奏更寫回自 己,向來是廣受歡迎的名作。長久以來大家忙著從姓名縮寫中比對 人物,卻誰也沒能找出藏在樂曲中「未被演奏」的主題:那才是真 正的謎語,作品標題的意義,艾爾加一輩子沒說破的局。這場音樂 會請到劉孟捷展現過人身手,再加上荀貝格霸氣逼人的管絃作品, 慷慨呈獻俄奧英美四首變奏經典,絕對令人大開眼界。

Dozens of composers have fallen under the spell of Paganini's 24th Caprice for solo violin, writing all manner of compositions based on its famous, irresistible tune. Best known is surely Rachmaninoff's interpretation, his last work for piano and orchestra. Wit, charm, romance, rhythmic verve and masterly orchestration combine in music of compelling attraction. Barely a dozen years ago (2001), one of America's most celebrated composers, Lowell Liebermann, produced another work with this identical title. Like its predecessor, it bristles with virtuosic flourishes, dazzling orchestration and intriguing manipulations of Paganini's theme, but also incorporates a more upto-date, mildly astringent harmonic language. Comparing the two should prove fascinating. Framing the rhapsodies are two sets of variations composed about thirty years apart in wildly different styles. Schoenberg's score is written with the twelve-tone procedure, whereby the pitches are ordered into a kind of molecular code that determines all motivic, thematic and harmonic structures, while Elgar's variations are romantically-tinged musical descriptions of twelve men and women who played important roles in his life. The ''enigma'' of the title still perplexes us to this day, but in no way lessens the pleasure audiences always derive from this beloved masterpiece.

51


2013 2014 SEASON

6.13

國家音樂廳 National Concert Hall

新竹市文化局演藝廳

Fri 19:30

Sat 19:30

400 600 800 1000 1200 1500

400 600 800 1000

6.14

Return to Leningrad 列寧格勒

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 小提琴 陳銳 RAY CHEN, violin 柴科夫斯基:D 大調小提琴協奏曲 蕭斯塔科維契:第七號交響曲《列寧格勒》

PYOTR ILYICH TCHAIKOVSKY: Violin Concerto, Op. 35, D major DMITRI SHOSTAKOVICH: Symphony No.7, Op. 60, C major, Leningrad

© Chris Dunlop

「就算樂曲極具複雜技巧,(陳銳)仍是個深思熟慮的演奏家,完全能夠擄獲聽眾。他讓炫技的樂段毫不匠氣,聽起來美極了 !」 ─ 英國《留聲機》

"Even when the music is technically complex, he's also a thoughtful player, able to captivate the listener. He makes the virtuoso tricks sound really beautiful." — Gramophone

一度被認為無法演奏的艱難技巧,反映的是無法持續的短命婚姻。 從休憩中復健,柴科夫斯基譜出豐美妖嬈的小提琴協奏曲,酣暢淋 漓又百媚千嬌,是技藝與苦功的試金石,也是作曲家重獲新生的證 言。而身為列寧格勒市民,蕭斯塔科維契獻給故鄉的第七號交響 曲,首演卻在慘絕人寰的圍城九百日,二次大戰最可怨可嘆的淒涼 戰事。全曲壯闊悲傷,第一樂章中段不斷漸強、重複十二次的「入 侵進行曲」,更成眾口討論的名段;但納粹雖然殘酷無道,史達林 亦是陰狠非常,作曲家晚年自謂這「入侵進行曲」實是人性之敵, 所有邪惡的化身。《列寧格勒》交響曲寫的不是德軍圍攻,而是恐 怖統治下的生活實錄。從帝俄到蘇聯,記憶與證言,音符裡藏著個 人和家國的斑斑血淚,就讓 NSO 和陳銳說給你聽。

52

Shao-Chia Lü conducts two monuments of the Russian repertory, both by composers in their thirties: one of the world's most beloved violin concertos and an eighty-minute symphony that stands proudly as one of the most stirring musical testimonies to patriotic fervor ever written. Tchaikovsky's Violin Concerto contains a wealth of pure romantic lyricism for which the composer is so noted. Violinists love to play it, and audiences love to hear it. Shostakovich wrote his Seventh Symphony in Leningrad (today St. Petersburg) against a traumatic background of events. The Germans were shelling the city, bombs were dropping everywhere, but Shostakovich bravely stayed on, alternately writing his Leningrad Symphony and serving in the city's fire brigade. He dedicated the work to his native city, but the music spoke to Russians everywhere, indeed, to the entire Allied world in its struggle against the Germans. It became an instantaneous symbol of courage, defiance, heroism and projected victory. ''Every note in it, everything I have put into it,'' Shostakovich wrote, ''is linked with my native city and with these historic days of its defense against the Fascist barbarians.''


53


SALOME 2013 2014 SEASON

理查.史特勞斯的《莎樂美》—— 色羶腥與歌劇藝術

莫侯 (Gustave Moreau):《顯靈》(L'Apparition),作於 1874-1876,藏於法國巴黎國立莫侯博物館。

54


羅基敏

這是一部有著冷酷的題材且自我完整的戲劇,您將它穿戴上聲音,並且由許 多無法說出的東西中竭掘出內容,賦予您新作以靈魂。

國立臺灣師範大學音樂系教授

─ 拉荷蔓 (Hedwig Lachmann) 1906 年 12 月 6 日致史特勞斯信

1905 年 12 月 9 日, 理 查. 史 特 勞 斯 (Richard Strauss, 1864-1949) 的《莎樂美》(Salome ) 在德勒斯登 (Dresden) 首演,非常成功。歌劇的問世,將歐洲藝術文化史上的話題 女王莎樂美帶上了世界舞台,不僅成為奠定作曲家在歌劇史 上地位的第一部歌劇,也帶動日後不同藝文領域的相關研 究,揭開莎樂美的神秘面紗。 「莎樂美」的故事源出於新約聖經,但是在聖經中,這一段 敘述的重點在黑落德、黑落狄雅以及洗者若翰(註 1)身上。 黑落狄雅的女兒不但沒有名字,亦沒有被黑落德下令處死。 這位無名女兒,根據聖經以外的史家記載,名曰「莎樂美」。 聖經中短短的這一段敘述為後來的許多畫家、文學家帶來

《莎樂美》於 1905 年德勒斯登塞帕歌劇院 (Semperoper) 演出結束場景照片。

了靈感。這一段先知因著一個女孩的舞蹈而失去了頭顱的故 事,在藝術史的每個階段,都成為諸多畫家的題材,產生了 許多有名的作品,這些作品分別以故事中不同的角色命名, 反映了「莎樂美」故事在不同時空被接受的情形。「莎樂 美」在十九世紀象徵主義的畫作裡,達到了高峰。1876 年,

莫侯 (Gustave Moreau, 1826-1898) 的兩幅畫《舞中莎樂

遣詞造句之文字精妙,可與虞士曼先後輝映。馬拉美採用 詩體,名為《黑落狄雅》(Hérodiade ),由 1864 年寫到他 過世,歷經卅餘年,依舊未寫完。雖然在兩人的作品中, 女主角依然是黑落狄雅,但是二者對日後王爾德 (Oscar

方,引起當代文人左拉 (Émile Zola, 1840-1902) 與虞士曼

Wilde, 1856-1900) 的《莎樂美》(Salomé ),均有著不同 層面的影響;而「莎樂美」亦成為法國藝文界融合作者、 藝術與作品的「為藝術而藝術」(l'art pour l'art) 理念的一 個代表性題材。

相形之下,在文學界,「莎樂美」題材的歷史則年輕得多,

嚐試用法文寫他多年滎繞於心頭的《莎樂美》一劇,並將

美 》(Salomé dansant ) 與《 顯 靈 》(L'Apparition ) 驚 艷 各

(Joris-Karl Huysmans, 1848-1907) 的文思,提筆寫下精 美佳句,流傳後世。 並且斷斷續續。在十二世紀的民間傳奇中,可以看到黑落 德因莎樂美愛上洗者若翰,而下令處死先知的說法。在這 裡,傷心的莎樂美懷抱著若翰的頭,打算吻它時,這顆頭

顱突然將莎樂美吹起,捲入天空,莎樂美因此死亡。這一

1891 年,王爾德旅居巴黎,受到當時的藝文氛圍影響, 完成的作品獻給好友魯易 (Pierre Louÿs, 1870-1925),並

打算於 1892 年在倫敦首演此劇。由於劇情的驚世駭俗, 加上英國尚不能接受聖經人物在舞台上出現,不但無法如 期演出,甚至被禁演。好在法文版得以於 1893 年 2 月出

個將愛情織入聖經故事的傳奇,並未在文學界立刻找到傳

版,並立即獲得眾位象徵主義大師如馬拉美、梅特林克

人, 一 直 到 十 九 世 紀, 文 學 界 幾 乎 忘 了 莎 樂 美 的 故 事。

(Maurice Maeterlinck, 1862-1949) 的大加讚賞。1893 年 中,王爾德建議密友道格拉斯爵士 (Lord Alfred Douglas, 1870-1945) 進行英譯,但是王爾德卻對初譯稿甚為不滿, 大加修改,嚴重地傷害了兩人的情感。另一方面,王爾德 相中了比亞茲萊 (Aubrey V. Beardsley, 1872-1898) 為英 譯版畫插畫,但卻對最後完成的插畫很有意見,與出版商 一同要求畫家修改。這一場作者、譯者、出版商和插畫畫 家之間的紛爭,熱鬧非凡,幾經波折後,英譯版方於 1894 年問世,王爾德將它獻給道格拉斯。比亞茲萊的插畫不僅 是王爾德《莎樂美》各種版本不可分割的一部份,更是英 年早逝的畫家本人的重要作品,這一系列黑白插畫經常單 獨在比亞茲利本人的畫冊或其他與主題相關的畫冊出現, 知名度不下於源頭的文學作品。

十 九 世 紀 裡, 海 涅 (Heinrich Heine, 1797-1856) 寫 作 了 一首長詩《阿塔.脫兒,一個仲夏夜之夢》(Atta Troll. Ein

Sommernachtstraum , 1842),針砭古今。在詩作第十九 段 裡, 海 涅 提 了 三 位 女 性, 其 中 一 位 是 黑 落 狄 雅。 全 段 一百三十六行裡,她就佔了七十六行。在海涅筆下,這是位 惡魔與天使綜合體的女性,她因愛洗者若翰而死去,她的幽 靈於夜晚帶著若翰的頭玩耍、親吻,而她必須因著砍頭的 血淋淋罪行奔馳,直至最後的審判日到來。海涅作品中的 小段落在法國文學界引起了大迴響,十九世紀後半裡,福 樓拜 (Gustave Flaubert, 1821-1880) 與馬拉美 (Stéphane

Mallarmé, 1842-1898) 亦以黑落狄雅為中心,寫著他們的

作品。福樓拜的短篇小說《黑落狄雅》(Hérodias , 1877) 註 1. 本文之聖經相關中文名詞皆採天主教譯名

55


另一方面,莎樂美的為愛而亡,固難免有源自海涅之想,但 是王爾德讓她當眾死於士兵的盾牌之下。這些改變不僅是王 爾德《莎樂美》的神來之筆,更成就了這部作品的獨特性。 對照史特勞斯在其使用的拉荷蔓德譯本上寫下的樂思以及其 刪減劇本的方式,可以清楚看到,作曲家在讀文學劇本時, 如何將文字化為聲音的思考,已經成竹在胸,才能「由⋯⋯ 文學中去蕪存菁,讓它成為⋯⋯歌劇劇本」。檢視歌劇即可

(Liebestod),為她寫了將近廿分鐘的獨唱音樂。 在歌劇於各地首演均獲成功後,1906 年 12 月 6 日,拉荷 蔓寫信向史特勞斯道賀,並道謝: 可敬的博士先生 ! 還完全沈浸在您的音詩中,我迫不急待地要向您表示我的驚 喜與感謝,同時對於您的作品激起的可喜的迴響,亦要向您

看到,王爾德作品的特殊戲劇結構亦見諸於歌劇中:《莎樂

表達恭喜之意。

美》是歌劇、甚至戲劇史上少見的「時間寫實」作品,亦即

您完成了一部奇蹟作品,這是一部有著冷酷的題材且自我完

是全劇演出的時間,幾乎就是整個故事實際上發生的時間。

整的戲劇,您將它穿戴上聲音,並且由許多無法說出的東西

原戲劇作品中的怪異人物關係,經過作曲家刪減次要場景

中竭掘出內容,賦予您新作以靈魂。一些段落有著無法不聽

後,更加突顯:女主角 ( 莎樂美 ) 愛上男主角 ( 洗者若翰 ),

到的戲劇張力,例如黑落德與莎樂美的對手戲,她一再地要

男主角卻不肯正眼看她,令女主角由愛生恨。不僅如此,男

求若翰的頭,以拒絕黑落德的建議的那段。全劇結束的驚悚

主角還大部份時間不在台上,聲音主要由舞台外傳來。第二

效果亦很精彩。

男主角 ( 黑落德 ) 試圖染指女主角,卻被其利用為殺害男主

角的工具。第三男主角 ( 納拉伯特,Narraboth) 是個純情小 生,被女主角利用達到觀看男主角的目的,知道自己被利用

闖禍後,就自殺了。史特勞斯在聲音的安排上,就顯示出戲

您完成了一個如此不可能的任務,願您繼續享受您的作品帶 給您的喜悅。 拉荷蔓很清楚,她的譯本因著史特勞斯的《莎樂美》,得以

劇性的思考。在男性角色上,洗者若翰是男中音、納拉伯特

永傳後世。歌劇《莎樂美》的鋒芒固然讓王爾德的戲劇原著

是小生男高音、黑落德則是性格男高音 (Charaktertenor),

幾乎由舞台消失,卻也讓作品本身不朽。對於作曲家而言,

透過高亢的音質顯露出他的神經質,這一份神經質在王爾德

《莎樂美》更是他個人歌劇創作生涯的決定性轉捩點。

的作品中,即處處可見。在女性角色的安排上,除了年輕的 莎樂美是戲劇女高音外,母親身份的黑落狄雅亦是一位戲劇 女高音,才能展現這個角色的歇斯底里。另一方面,王爾德 劇中,侍僮對納拉伯特的愛慕以及兩人之間若隱若現的曖昧 同性戀關係,由於侍僮的部份被大量刪除,在歌劇裡幾乎難 以察覺。 史特勞斯多層次地「聽」出了文學作品的「聲音」,最膾炙 人口的,莫過於將王爾德劇本的短短一句「莎樂美跳起七紗 舞」,寫成歌劇中長長的一段快慢有序、具中東風味且戲劇 性十足的〈七紗舞〉。黑落德要求莎樂美起舞至莎樂美決定 獻舞的一段,史特勞斯則以精心的重唱安排處理,莎樂美為 核心,透過她與不同人的對話或是加背景的若翰聲音,形成 不同的二重唱到四重唱,步步展現莎樂美改變心意起舞的原 因,展現了歌劇有別於戲劇的音樂戲劇質素。在全劇中,史 特勞斯「聽」得最清楚的,則是莎樂美幾段獨白,尤其是 最後一段。在戲劇裡,劊子手走下地牢去取若翰的首級之 後,王爾德為莎樂美寫了一段長大的獨白,呈現她的期待、 害怕以及愛恨交加的種種情緒,終於吻了若翰,激情過後, 莎樂美道出「啊!我吻了你的嘴,若翰,我吻了你的嘴」。 那味道是苦的、帶有血腥味,不過,莎樂美認為那應該是愛 的滋味,「人家說愛情有一種苦澀的滋味」。在一旁的黑落 德看到這情形,毛骨悚然,令人殺了她,全劇就此結束。在 這一段獨白中,史特勞斯「聽」出了莎樂美的「愛之死」

莫侯 (Gustave Moreau):《莎樂美》習作。

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The Semperoper after 1880

from paternal influence, and found another musical father-figure in the form of Alexander Ritter, a violinist and minor composer who was married to Wagner's niece. It was under Ritter's guidance that Strauss was finally fully introduced not only to Wagner, but also Liszt, as well as Wagner's favourite philosopher Arthur Schopenhauer. The result was that the young composer left behind experiments in writing symphonies of the standard, late-19th-century type to embrace his first Tone Poems—a genre more or less invented by Liszt, building on the example of such works as Héctor Berlioz's Symphonie Fantastique (1830), at the middle of the century—and then opera. The early Aus Italien (1886) represents a compromise between symphony and tone poem, presenting poetic evocations of Italian scenes within a four-movement framework; Don Juan (1888), by contrast, saw Strauss break those formal bonds to present an ingenious, brilliantly descriptive work which the musicologist Carl Dalhaus dubbed a ''musical symbol of fin-de-siècle modernism''. The history of Strauss's subsequent Tone

Poems shows him establishing himself as a composer more modern than any of his contemporaries realized. As the 1890s progressed, so Strauss turned away from the pessimistic philosophy of Schopenhauer—for whom the only route to happiness was via the renunciation of an unattainable ''Will''— to the more active, selfdetermining philosophy of Friedrich Nietzsche. Increasingly, Strauss uncoupled the impressive musical apparatus at his disposal from the metaphysical baggage that it had traditionally brought with it. That is to say, the late-19th -century idea of music as the artform best suited to expressing the inexpressible gave way to Strauss to music that renounced the ineffable to embrace the real, the unheroic and the humorous. His tone poem Till Eulenspiegel (1895) told of the ''merry pranks'' of a medieval joker; Also Sprach Zarathustra (1896) is composed ''after'' Nietzsche's now-famous book in which the philosopher announced the death of God; the ironically-titled Ein Heldenleben ('A Hero's Life', 1898), which many did (and still do) interpret as an example of flagrant self-aggrandizement

59


Strauss started composing the score in August 1903, in a tiny room at his in-laws' Bavarian holiday home: ''Salome, like The Rite of Spring, another of the noisiest scores of the 20 century,'' one writer has noted, ''was composed in a room the size of a broom-cupboard.'' Strauss had completed his first composition sketch a little over a year later, and completed the orchestration by mid summer the following year. Strangely perhaps, given its pivotal position in the drama, the Dance of the Seven Veils was composed last, and wasn't completed until August of 1905. The preparations for the premiere, which took place, like that of Feuersnot, at the Dresden Hofoper, presented a great deal for the cast to come to terms with, both musically and morally. ''One just does not write a thing like that, Herr Strauss: either one thing or the other'', the soprano Marie Wittich is reported to have said when presented with ''the part of the 16-yearold princess with the voice of Isolde''; and Strauss remembers that, at one point, she exclaimed, ''I won't do it, I'm a decent woman''. It is part of the lasting power of Strauss's work, however, that it can go very far, visually speaking, through mere suggestion. The composer's own later directions for the famous dance—which, in more recent times has apparently more or less obligated the prima donna to remove all her clothes—are peppered with the language of moderation: ''swaying movements'', ''slight suggestion'', ''a few alluring steps'', ''very alluring, gentle movement'', etc. Only towards the close does the composer suggest ''a much more lively display of her feminine charms''— a direction, which, if communicated to Frau Wittich, would no doubt have been interpreted in a manner befitting the Dresden Burgomeister's wife that she was. The opera's necrophiliac climax, Salome's kissing of Jochanaan's head, is, according to the score, supposed to take place in the dark, out of sight. Even a century later, though, it's not difficult to see how the work had problems with censors, its progress obviously hampered by them wherever it was prevented from appearing (most famously at Vienna's Hofoper, where Mahler tried hard to have it staged), and its success, no less inevitably, intensified in those opera houses that did accept it (most famously in Graz in 1907, in a performance attended by Mahler, Schoenberg, Puccini and many others, including, allegedly, a young Adolf Hitler). Of the work, the Kaiser commented, ''That's a nice snake I've reared in my

Hedwig Lachmann, 1865-1918

bosom'' and reportedly told Strauss that it would do him a lot of damage; ''that damage enabled me to build my village in Garmisch,'' the composer wryly noted in later life. But the Kaiser's first comment was unusually shrewd, and captures the important position of Salome in early modernism as a work that—in operatic terms, at least— reflected a decadent world in moral collapse. The metaphysical certainties on which Wagner's works were founded had crumbled; Strauss had inherited a refined version of the older composer's musical techniques, which he employed with coolly amoral objectivity, skill and unflinching eroticism, particularly in Salome's final monologue—acknowledged from an early stage as a perversion of the Liebestod that had concluded Wagner's Tristan und Isolde . Wagner's widow, Cosima, understood this as the final rejection of her husband's legacy, and there was a sense of horror at Bayreuth that this work might appear on the same operatic stages as Parsifal , over which the Wagner festival was soon to lose its exclusive rights. And the work's lasting potency resides in the phenomenal sensual energy of Salome's final scene, whose power to entice and repulse in equal measure (ironically, a typically Wagnerian dichotomy) continues to enthral audiences, while the dissonant climax of the scene is rightly famous, and arguably played an essential role in loosening tonality's grip on Western music. Over a century after its first performance, it's a work that still shocks, disturbs and enthrals.

61


2013 2014 SEASON

致命吸引力─《莎樂美》

Fatal Attraction ─Salome 「很少有劇場導演能像皮拉瓦奇一般,將音樂如此成功地轉換成畫面與 動作。」─德國《呂貝克日報》

'' Rarely does a stage director manage, to translate music so perfectly well in pictures and motions as Pilavachi'' —Lübeck Nachrichten

2014.7.16 7.18 7.20 國家戲劇院 National Theater

Wed 19:30 Fri 19:30 Sun 14:30 500 800 1200 1800 2400 3000 3600 5000 ( 企業贊助 ) 「看那月亮!多麼奇怪!像從墳墓中升起的女人」—— 月有千面,但讓她皎潔且陰森,歡愉中滲著淒涼的,是王爾德筆下的迷亂奇想,更是「連 一根叉子都能用音樂描寫」的作曲大師理查.史特勞斯:公主狂戀先知被拒,脫衣艷舞媚 惑父王,換來施洗約翰人頭狎玩懷中。《莎樂美》奇情詭局入人心魂,月被誰的目光捕獲, 就成為誰的慾望化身。戲末海島冰輪還是蒸融於戰慄恐懼,先知身首異處,公主也成盾下 殘屍──「愛的神秘比死的神祕更強大」,話題劇碼何其多,但能讓人魂牽夢縈、念念不忘, 甚至一說再說者,也唯有王爾德與史特勞斯的《莎樂美》。駭人聽聞,最後卻成至高藝術。 在作曲家一百五十歲誕辰紀念年,先知不語, NSO 邀您眼見為憑,在國家劇院一同見證世 紀末的華麗與蒼涼。

62


NSO Opera NSO 歌劇

指揮 呂紹嘉 SHAO-CHIA LÜ, conductor 導演 安東尼.皮拉瓦奇 ANTHONY PILAVACHI, stage director 編舞 蘇威嘉 WEI-CHIA SU, choreographer 聲樂指導 艾希.凡魏 ANSI VERWEY, vocal coach 莎樂美 妮娜.華倫 NINA WARREN, Salome 希羅底 羅斯維塔.穆勒 ROSWITHA CHRISTINA MÜLLER, Herodias 希律王 史都華.派特森 STUART PATTERSON, Herodes 施洗者約翰 安東尼歐.楊 ANTONIO YANG, Jochanaan 納拉博特 王典 FERNANDO WANG, Narraboth 理查.史特勞斯:《莎樂美》

RICHARD STRAUSS: Salome

The season comes to a grand finale with a full-length, fully staged opera, an annual event Maesto Lü has overseen since he became the NSO's music director and one that always creates a sensation. This year the opera is Richard Strauss's Salome, a grisly story of ''fatal attraction.'' Short it may be in length–a single act of about 100 minutes–, but it packs a wallop. In fact, many members of the audiences to witness its initial performances over a century ago found it too much to take. There is no denying that there are shocking, perverse, even depraved things in it. In fact, you might go so far as to call it an X-rated opera. But times have changed, and Salome is now regarded as a brilliant, thrilling and totally accessible opera. The title role is one of the most demanding in the entire repertory. The huge orchestra pours forth a stream of luxuriantly sensuous music. At times it is graphically descriptive, as when we are plunged into the sultry, perfumed Middle Eastern night, or when Salome does her seductive 'Dance of the Seven Veils', or when King Herod is tempts her with gorgeous, sparkling jewels. Then there are other times when the orchestra creates moods of nervous excitability, almost unbearable tension and sheer horror. As an orchestral showpiece, Salome is second to none.

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Meet Maestro Lü 2013 2014 SEASON

呂紹嘉時間

2013

6.18 Tue 19:30

新樂季巡禮 ─ 沙龍音樂會 主講 呂紹嘉 與談人 焦元溥 演出者 NSO 獨奏家群 聲樂

林慈音、林孟君 鋼琴

地點:國家音樂廳 ( 請由國家音樂廳 G 樓 1 號門售票口進場 )

2013

9.15 Sun 14:00

2014

6.28 Sat 19:30 64

陳毓襄、許惠品 ※ 免費入場

音畫 ─ 阿爾卑斯與雪山鑿貫 主講 呂紹嘉 與談人 顏名秀 地點:NSO 3 樓排練室 ( 請由國家音樂廳 G 樓 3 號門演職人員出入口進場 ) ※ 憑 9/21《攀峰樂嶺》票券進場,座位有限,額滿為止。

理查.史特勞斯歌劇《莎樂美》 主講 呂紹嘉 與談人 安東尼.皮拉瓦奇 (Anthony Pilavachi) 地點:NSO 3 樓排練室 ( 請由國家音樂廳 G 樓 3 號門演職人員出入口進場 ) ※ 憑 7/16.18.20《莎樂美》票券進場,座位有限,額滿為止。


演奏廳系列

Lecture & Chamber Concerts


2013 2014 SEASON

NSO 室內樂集 NSO Chamber Concerts 2013

10.18 10. 樂想.樂響

2013

演奏廳 Recital Hall

Fri 19:30 400

12.20 12. 來去美國

演奏廳 Recital Hall

Fri 19:30 400

From Beethoven to Dvorák

American Dream

小提琴 鄧皓敦、陳偉泓 中提琴 陳猶白 大提琴 黃日昇 鋼琴 葉孟儒

NSO 3+1 絃樂四重奏 小提琴 洪章文、蔡孟峰 中提琴 蔡秉璋 大提琴 陳怡婷 魏廣晧爵士四重奏 小 號 魏廣晧 鼓 黃瑞豐 鋼 琴 李欣怡 貝 斯 山田洋平

貝多芬:第八號絃樂四重奏,作品 59-2 德沃札克:第二號鋼琴五重奏,作品 81

德沃札克:第十二號絃樂四重奏《美國》 蓋希文:《波吉和貝絲》選曲 ( 蔡孟峰改編 ) 以及艾靈頓公爵、查利·帕克、湯姆.裘賓等爵士名家之樂曲

L. V. BEETHOVEN: String Quartet No. 8 in E minor, Op. 59, No. 2 A. DVOŘÁK: Piano Quintet No. 2 in A major, Op. 81

A. DVOŘÁK: String Quartet No. 12 in F major, Op. 96, B. 179, American G. GERSHWIN: Excerpts from Porgy and Bess (arr. by Meng-Fong Tsai) Jazz pieces by Duke Ellington, Charlie Parker and Antonio Carlos Jobim, etc.

繼 2012/2013 樂季的《早安!伏特加》,NSO 獨奏家群與旅俄鋼 琴家葉孟儒將再次以經典室內樂篇章與樂迷分享絃樂四重奏的精 妙。1806 年春,三十六歲的貝多芬以半年的時間譜寫了一組共三 首的絃樂四重奏,題獻給當時俄羅斯駐奧地利大使拉祖莫夫斯基 伯爵,第八號絃樂四重奏,便是其中之一;深邃的情感樂思,流 暢的音樂語言,成為貝多芬絃樂四重奏作品中不可不聽的經典之 一。八十一年後,四十七歲的德沃札克寫下了生命中最後一首樂 曲,亦是最受歡迎的鋼琴五重奏,融入捷克傳統音樂元素,濃濃 的波西米亞情懷就此展開。

美國建國近兩百三十年的歷史中,大量的原創音樂隨著歲月相繼 產生;它不僅多元,且富創造性,讓人不禁感嘆其驚人的藝術生 命力。德沃札克客居美國時譜出了《美國》絃樂四重奏,道出了 他的美國印象;蔡孟峰改編蓋希文的音樂劇《波吉和貝絲》選曲, 則以音樂刻畫出時代下的一隅生活寫照。爵士樂可說是最富獨創 性的美國音樂代表,《來去美國》的下半場曲目將由魏廣晧爵士

66

四重奏帶領觀眾共同體驗從三 〇 年代到近代的爵士樂多元發展。 從古典到藍調、鄉村、莎莎、饒舌樂、嬉蹦樂 ......,今年耶誕, 一起來一趟美國音樂之旅。


2014

4.13 4. 絕技長號

演奏廳 Recital Hall

Sun 14:30 400 600 800

The Virtuoso Trombone 長號 尤根.范雷彥 (Jörgen van Rijen) 小提琴 鄧皓敦、陳偉泓 中提琴 陳猶白 大提琴 黃日昇 低音提琴 蔡歆婕 大鍵琴 蔡佳璇 伯特利:D 大調奏鳴曲 拉松:小協奏曲  林柏格:《阿拉伯尼》 卡斯特羅:第四號奏鳴曲 貝里歐:《繼敘詠 V》 畢柏:給三聲部的奏鳴曲 梅耶爾:《氣流》 伯特利:A 大調奏鳴曲 皮耶佐拉:《遺忘》 ANTONIO BERTALI: Sonata à 3 in D LARS ERIK LARSSON: Concertino CHRISTIAN LINDBERG: Arabenne DARIO CASTELLO: Sonata quarta LUCIANO BERIO: Sequenza V HEINRICH VON BIBER: Sonata a 3 FLORIAN MAIER: Slipstream ANTONIO BERTALI: Sonata a 3 in A ASTOR PIAZZOLLA: Oblivion

阿姆斯特丹皇家大會堂管絃樂團長號首席范雷彥,將帶著他的巴 洛克及現代長號來台,除了協奏曲音樂會外,亦將與 NSO 獨奏 家們展開一場別具匠心的室內樂音樂會,以長號的兩個黃金時代 ──巴洛克與當代作品,讓國內樂迷體驗不同時代下的「絕技」 定義。范雷彥精湛的技巧以及對於音色變化精確的掌握,將是他 與 NSO 獨奏家群迸發音樂火花的引線,這會是一場驚喜不斷、不 容眨眼錯過的音樂饗宴!

67


2013 2014 SEASON 焦點講座

What is Composition? Lecture Concerts 演奏廳 Recital Hall

400

* 演講以中文進行 Lectures in Mandarin

2013

2013

10.5 10.

Sat 14:30

11.23 11.

Sat 14:30

香水、香檳、香榭大道: 浦朗克與巴黎時光

英倫榮耀:布瑞頓百歲生日快樂

Voyage à Paris de Francis Poulenc

Happy 100th, Benjamin Britten!

主講 焦元溥 女高音 單簧管 李昱柔 鋼琴

林孟君 長笛 吳思慧

安德石

主講 焦元溥 女高音 大提琴 蘇酩惠 鋼琴

林慈音 許惠品

薩替:第一號《吉姆諾佩第》、《官僚小奏鳴曲》 歐內格:《道德小學堂》 米堯:《丑角》 浦朗克:長笛奏鳴曲     〈酒店〉、〈到巴黎旅行〉,選自《禁令》     《那就是你》     〈不,我的丈夫大人,我受夠了〉,選自歌劇《特雷斯      西亞的乳房》

布里吉:大提琴奏鳴曲,第一樂章 布瑞頓:〈航行〉、〈園遊會〉,選自《假期日記》 大提琴奏鳴曲,第三、四、五樂章 〈夜曲〉、〈讓這華麗的音樂頌讚!〉,選自《在這島嶼》 〈刺繡在童年〉,選自歌劇《彼得.格林》 〈論仇敵…啊上帝,我的天主,世間唯一的統治者〉, 選自歌劇《葛羅莉安娜》

É. SATIE: Gymnopédies No.1 Sonatine Bureaucratique A. HONEGGER: Petit Cours de morale D. MILHAUD: Scarmouche F. POULENC: Flute Sonata 'Hôtel and Voyage À Paris' from Banalités C'est Ainsi Que Tu Es 'Non, Monsieur Mon Mari' from Les Mamelles de Tirésias

F. BRIDGE: Cello Sonata, 1st mov. B. BRITTEN: 'Sailing', 'Funfair' from Holiday Diary , Op. 5 Cello Sonata, 3rd, 4th, 5th mov. 'Nocturne', 'Let the Florid Music Praise!' from On this Island , Op. 11 'Embroidery in Childhood' from Peter Grimes 'On rivalries....O God, my king, sole ruler of the world' from Gloriana , Op. 53

浦朗克,「法國六人組」中「頑皮的小孩」,或許是巴黎最才華 洋溢的音樂時尚。雖然詼諧有趣是他一大特質,這位作曲家可絕 不只是丑角—— 浦朗克之品味超群與感受纖細,固然是其創作的 先天稟賦,但他爽朗瀟灑,融合抒情、深思、創意和美麗言詞的 音樂語法,卻也是不斷精修技法,苦心思考後的成果。一個最初 以新潮摩登自許,唾棄傳統的急先鋒,最後竟沒有一味栽進現代 主義充斥不諧和音、捨棄旋律的音響汪洋,反而完美融合了古典 曲式和優美樂念,以奇穎清新的和聲寫下新世代花都的動人詩篇。 不得不說,這真是一件好事。為紀念浦朗克逝世五十年,這場音 樂會排出他的室內樂作品、歌曲和歌劇選曲,以及「六人團」兩 位好友與其精神導師薩替的創作,美好旋律加上歡笑一籮筐,絕 對要讓你聽得開心過癮!

作曲家、鋼琴家、指揮家三位一體,布瑞頓從小就是音樂神童, 風格銳利個性鮮明,更一路發展成深刻內省的曠世巨擘。如果他 願意,布瑞頓隨時可以寫出迷人至極的旋律,但他更在意思索與 表達。藉由厚實的文學素養,他總能見人所未見,勇於挑戰種種 他人難以譜曲的題材。想想《碧蘆冤孽》或《魂斷威尼斯》,若 非布瑞頓出手,簡直不能想像這能成為經典歌劇。為慶祝這位英 國二十世紀最偉大的作曲家百年誕辰 (11 月 22 日 ),這場音樂會 將為聽眾整理布瑞頓的創作人生,從其作曲老師布里吉的作品, 布瑞頓早期的鋼琴獨奏與歌曲,一直到他中後期的室內樂與歌劇, 包括以伊莉莎白一世故事寫成的《葛羅莉安娜》,具體而微呈現 作曲家的人生歷程與重要作品。歡迎大家一起向布瑞頓說聲:生 日快樂!

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倫敦國王學院音樂學博士,著有《遊藝黑白》、《聽見蕭邦》、

焦元溥│《樂來樂想》等八本專書,台中古典音樂電台和 Taipei Bravo 都會生活台節目主持人。

2014

2014

3.23 3.

Sat 14:30

5.10 5.

Sat 14:30

樂讀莎士比亞 ( 上 )

樂讀莎士比亞 ( 下 )

The Musical Shakespeare I

The Musical Shakespeare II

主講 焦元溥 女高音 男中音 李增銘 鋼琴

主講 焦元溥 女高音 許育甄 男高音 莊舜旭 小提琴 NSO 樂團學苑 鋼琴 許惠品

林玲慧 嚴俊傑

舒伯特:《致席薇亞》 奎爾特:《三首莎士比亞之歌》 威爾第:〈但這還有斑痕〉( 夢遊場景 )、 〈叛徒…同情、榮譽與愛〉,選自歌劇《馬克白》 〈我母親有過這樣一位侍女…聖母頌〉,選自歌劇 《奧泰羅》 孟德爾頌 / 拉赫瑪尼諾夫:〈詼諧曲〉,選自《仲夏夜之夢》 德布西:《前奏曲》第一冊第十一首〈帕克之舞〉 孟德爾頌 / 李斯特 / 霍洛維茲:〈婚禮進行曲〉,選自《仲夏夜之夢》

康果爾德:《無事生非》組曲 布拉姆斯 / 理查.史特勞斯:《奧菲莉亞之歌》 白遼士:《奧菲莉亞之死》 普羅科菲夫:〈蒙塔鳩和卡普列家族〉、〈場景〉、〈面具〉,選自 十首鋼琴作品《羅密歐與茱麗葉》 古諾:〈愛情!愛情…啊,太陽升起!〉,選自歌劇《羅密歐與茱麗葉》 詹多奈:〈茱麗葉,我在這裡〉,選自歌劇《茱麗葉與羅密歐》 伯恩斯坦:〈瑪麗亞〉,選自《西城故事》 艾爾加:〈莎士比亞的王國〉,選自《帝國盛會》

F. SCHUBERT: An Sylvia R. QUILTER: Three Shakespeare Songs , Op. 6 G. VERDI: 'Una Macchia E Qui Tuttora', 'Perfidi!... - Piesta, Rispetto, Amore' from Macbeth 'Mia Madre Aveva Una Povera Ancella…Ave Maria' from Otello F. MENDELSSOHN / S. RACHMANINOFF: Scherzo from A Midsummer Night's Dream C. DEBUSSY: Prelude Book 1 No.11, 'La danse de Puck' F. MENDELSSOHN / F. Liszt / V. Horowitz: Wedding March from A Midsummer Night's Dream

E. W. KORNGOLD: Much Ado about Nothing Suite J. BRAHMS / R. STRAUSS: Ophelia Songs H. BERLIOZ: La mort d'Ophélie S. PROKOFIEV: 'Montagues & Capulets', 'Scena', 'Masks' from Ten Pieces from Romeo and Juliet , Op. 75 C. GOUNOD: 'L'amour, L'amour... Ah Leve Toi Soliel !' from Romeo et Juliette R. ZANDONAI: 'Giulietta, Son Io, Zandonai' from Giulietta e Romeo L. BERNSTEIN: 'Maria' from The West Side Story E. ELGAR: 'Shakespeare's Kingdom' from Pageant of Empire

無論是否最偉大,但絕對最具影響力:莎士比亞的魅力無遠弗屆, 作品遣詞用字已是英文辭語之源,譬喻涵義之深更成不朽典範。他 的作品被一次次搬演,又被一次次改編:迪士尼《獅子王》是非洲 草原上的《哈姆雷特》,黑澤明《蜘蛛巢城》則是日本戰國版的《馬 克白》。正因為莎士比亞已成經典,所以他永遠年輕,成為各類藝 術的靈感,甚至日常生活裡的話語。2014 年是莎士比亞四百五十 歲誕辰年,在這場慶生音樂會中,我們將欣賞以莎士比亞作品譜成 的歌曲,接著進入改編莎士比亞最具心得的威爾第歌劇,最後則聽 孟德爾頌與德布西如何捕捉《仲夏夜之夢》的精靈魔法,更看拉赫 瑪尼諾夫和李斯特 / 霍洛維茲等鋼琴聖手馳騁鍵盤炫技。精彩選曲 加上頂尖音樂家,就是要和莎士比亞說我愛你!

莎士比亞名著眾多,衍生經典無窮無盡,音樂名曲又怎能一場 聽完!在這開心的四百五十誕辰年,NSO 第二場慶生音樂會 中,我們將先欣賞優美曼妙的《無事生非》組曲,傾聽康果爾 德筆下的浪漫與詼諧。《哈姆雷特》的悲情女主角奧菲莉亞, 命運多舛令人嘆息。透過布拉姆斯和理查.史特勞斯選用歌詞 的巧思,以及白遼士筆下扣人心弦的哀戚旋律表露無遺。《羅 密歐與茱麗葉》在家族仇恨中寫出蕩氣迴腸的生死愛戀,就讓 我們以普羅科菲夫芭蕾舞劇穿針引線,交織法國、義大利與美 國三種改編,從歌劇聽到音樂劇,欣賞作曲家的音樂比武,更 聽羅密歐情歌大會串。音樂會最後以艾爾加歌曲壓軸,回到大 不列顛的帝國榮光。有膾炙人口經典名曲,也有罕見演出的美 麗珠玉,歡迎大家繼續欣賞莎翁樂史第二篇!

69


2013 2014 SEASON 探索頻道 Music Discovery 講座音樂會 Lecture Coucerts 演奏廳 Recital Hall

400

* 演講以中文進行 Lectures in Mandarin

2013

9.28 9.

2013

Sat 14:30

拉.啦.LA.拉威爾

Sat 14:30

「女人心底事」: 理查.史特勞斯的歌樂世界

UnRAVELing Ravel 主講、鋼琴 范德騰 男中音 王凱蔚 小提琴 大提琴 黃日昇 鋼琴 盧易之

11.09 11. Songs & Scenes of Richard Strauss

梁坤豪

主講 鋼琴

車炎江 女高音 王佩瑤

陳美玲、羅明芳

拉威爾: 小提琴與大提琴奏鳴曲,第二樂章 《吉普賽人》,為小提琴與鋼琴 小提琴、大提琴、鋼琴三重奏,第一樂章 《以佛瑞之名的搖籃曲》,為小提琴與鋼琴 《唐吉訶德的杜西妮亞》,為男中音與鋼琴 前奏與快板,為雙鋼琴

理查.史特勞斯: 〈矢車菊〉、〈罌粟花〉,選自藝術歌曲《少女與花》 《小夜曲》、《愛神》、《最後四首歌》 〈有一個純淨的國度〉、〈偉大的公主〉,選自歌劇《納克索斯 島上的阿麗亞娜》

M. RAVEL: Sonata for Violin and Cello, 2nd movement Tzigane for Violin and Piano Trio for Piano, Violin and Cello, 1st movement Berceuse sur le nom de Gabriel Fauré , for Violin and Piano Don Quichotte à Dulcinée , for Baritone and Piano Introduction and Allegro for two Pianos

R. STRAUSS: 'Kornblumen', 'Mohnblumen', from Mädchenblumen , Op. 22, TrV 153 Ständchen (Mach' auf ), Op. 17 (TrV 149), No. 2 Amor , Op. 68, No. 5 Vier letzte Lieder , TrV 296 'Es gibt ein Reich, wo alles rein ist', 'Großmächtige Prinzessin', from Ariadne auf Naxos , Op. 60, TrV 228

1875 年除了是機械不停創新的時期,也是拉威爾出生的年代。拉 威爾小的時候,經常和發明家爸爸去參觀工廠,一起觀察機械的 運作與齒輪的運轉。拉威爾精雕細琢的音樂線條,層層堆疊的精 準音樂展現,就宛如一部完美的機器。也因此,史特拉汶斯基稱 他為「最完美的手錶工匠」。拉威爾的作品在他完美的構思下, 旋律線條顯示出一種機械式的精準,但他音樂所呈現的節奏,卻 展現出大自然的律動,反而帶來了一種豐富和聲效果的自然美感。 本場講座音樂會,將由五位型男,上緊發條、帶著「機私頭」、 為齒輪抹油,用盡全力,彈、唱、轉、擦、撥、抹、踩 ...,來拉、 啦、LA 這些拉威爾的室內樂作品。

屈指算來,理查.史特勞斯應該能在「最懂女人的作曲家」排行 榜上名列前茅。他和女高音寶琳娜 (Pauline de Ahna,1863-1950) 結縭數十載,不僅是史特勞斯理想樂音的靈感泉源,也是他許多 作品的重要元素和題獻對象。透過藝術歌曲和歌劇,理查.史特 勞斯展現女人的心理與情感,以充滿官能美感的樂音,模擬女性 令人迷醉神往的千萬風情,散發的魅力絕不下於「嬛嬛一裊楚宮 腰」的修辭境界。從《莎樂美》倏忽多變的致命情慾、一直到《納 克索斯島上的阿麗亞娜》二種截然不同的女性愛情觀,他的歌劇 訴盡女人多少心底事。此外,理查.史特勞斯身兼藝術歌曲大師, 曾以女性歌聲寫下繽紛無限。早期歌曲《少女與花》透過花語破 解少女情意密碼;唯待人生閱盡繁華三千,他的《最後四首歌》 娓娓道出人生平靜的永恆歸宿。

70


范德騰│琵琶第音樂院博士、美籍鋼琴家、東吳大學副教授 車炎江│臺北藝術大學音樂學博士 顏華容│俄羅斯國立莫斯科柴科夫斯基音樂學院鋼琴演奏博士

2013

12.21 12.

2014

Sat 14:30

4.12 4.

Sat 14:30

天才與北國的未竟之緣

理查.史特勞斯的室內樂世界

From Russia with Mozart

Richard Strauss's Chamber Music

主講、鋼琴 顏華容 女高音 林玲慧 小提琴 李宜錦 大提琴 韋智盈

主講 車炎江 小提琴 大提琴 連亦先 鋼琴

拉赫瑪尼諾夫:第一號鋼琴奏鳴曲,第三樂章 莫札特:〈我雖然被他遺棄過〉,選自歌劇《唐喬望尼》 柴科夫斯基:〈啊!哀莫大於心死〉,選自歌劇《黑桃皇后》 拉赫瑪尼諾夫:《紫丁香》 莫札特:G 大調鋼琴三重奏,K 564,第二樂章 柴科夫斯基:A 小調鋼琴三重奏,作品 50,第二樂章之主題與變奏 拉赫瑪尼諾夫:D 小調鋼琴三重奏,作品 9,第二樂章

理查.史特勞斯: 第一號 A 大調鋼琴三重奏,第一樂章 第二號 D 大調鋼琴三重奏,第二樂章 《阿拉伯舞曲》,選自鋼琴四重奏二首 C 小調鋼琴四重奏,作品 13,第一、三樂章 E 大調稍快板 降 E 大調小提琴奏鳴曲,作品 18,第三樂章

S. RACHMANINOFF: Piano Sonata No. 1, 3rd mov. W. A. MOZART: 'Mi tradi quell'alma ingrata', from Don Giovanni ягopeм', from Pikovaya Dama P. I. TCHAIKOVSKY: 'Ax!истoмилacь (Queen of Spade ) S. V. RACHMANINOFF: Lilacs, Op. 21 No. 5 W. A. MOZART: Piano Trio in G major, K 564, 2nd mov.: Andante con variazioni P. I. TCHAIKOVSKY: Piano Trio in A minor, Op. 50, II.(A) Tema con variazioni: Andante con moto S. V. RACHMANINOFF: Piano Trio in D minor, Op. 9, 2nd mov. : Quasi variazione

R. STRAUSS: Piano Trio No. 1 in A Major, TrV 53, 1st mov. Piano Trio No. 2 in D Major, TrV 71, 2nd mov. Arabischer Tanz , from Two Pieces for Piano Quartet, TrV 169, AV 182 Piano Quartet in C Minor, Op. 13, TrV 137, 1st & 3rd mov. Allegretto in E Major (for solo violin), TrV 295 Sonata in E-flat Major for Violin and Piano, Op. 18, TrV 151, 3rd mov.

新古典主義、浪漫主義、二十世紀、美麗新世界 ...... 嚼著這些名詞 的我們沒有嘗過人們如何從自由平等博愛到紅星與鐮刀,怎麼在思 潮與革命紛至雜沓當中體會愛與死。動盪時代下,音樂出塵吟詠完 美境界;悲慘世界中,音樂亦入世鐫刻艱苦殘酷。若非命運捉弄, 莫札特或許會改寫俄羅斯音樂史,欽慕西歐的柴科夫斯基或許能聽 到鋼鐵現代之聲,而拉赫瑪尼諾夫或許不致遠走他鄉 ...... 歷史斷面 能改變生命軸線,一個錯身能造就意外的美麗;音樂能跨越文化成 見,跳脫時空際限──彷彿天使們的交談──在音樂中,我們聽得 到天使冷眼看人間,在音樂中,有最優雅的訕笑、最犀利的剖析、 最溫柔的繾綣。三個世代的管絃交響觀、三種姿態的室內樂對談, 三位作曲家體貼兩百年來受困情愛嗔癡的小女人心情,也在澎湃與 私密對談中交換音樂家的英雄惜英雄。

理查.史特勞斯在世享壽八十五載,是最具代表性、也是最多 產的德奧音樂大師之一。愛樂者大多熟悉他的交響詩和歌劇作 品,卻不太清楚他早期創作的藝術歌曲、鋼琴曲和室內樂曲, 其實是他日後綻放光芒的源頭。原因在於理查.史特勞斯的室 內樂曲多數譜寫於三十歲前,屬於他的學生時期和早期創作; 但是,透過他的室內樂曲,我們可以了解十九世紀德奧室內樂 曲的傳承,自貝多芬到布拉姆斯的成就,是如何成為鞏固理查. 史特勞斯作曲技術的嚴謹基礎,同時也展現他年輕時就已經不 可抑遏的過人才氣,以及充滿官能美感的樂音,這正是造就他 日後在管絃樂曲和歌劇裡出類拔萃的要素之一。有趣的是,歷 經滄桑的理查.史特勞斯,在人生最後階段留下的壓箱創作, 竟是一闋清新可人的 E 大調稍快板 (1948) 小提琴協奏曲,室 內樂曲終究成了他音樂藝術返璞歸真的最後落腳處,頗堪世人 71 玩味。

李宜錦 中提琴 湯婉君

黃瑞儀


2013 2014 SEASON 探索頻道 Music Discovery

鋼琴家,任教國立臺灣師範大學

葉綠娜│台北愛樂電台《黑白雙人舞》節目主持人

講座音樂會 Lecture Coucerts 演奏廳 Recital Hall

400

* 演講以中文進行 Lectures in Mandarin

2014

4.26 4.

Sat 14:30

自由的靈魂,無界的藝術

"Frei aber einsam" — German Romanticism 主講、鋼琴 葉綠娜 朗讀、鋼琴 魏樂富 小提琴 吳庭毓 鋼琴 嚴俊傑、黃俊瑜 舒曼:〈夢幻曲〉,選自《兒時情景》    〈約瑟比烏斯〉、〈弗洛斯坦〉,選自《狂歡節》 霍夫曼:F 小調鋼琴奏鳴曲 舒曼:《克萊斯勒魂》選曲 舒曼:《逃亡者》 布拉姆斯:C 小調詼諧曲,選自《自由卻孤單》奏鳴曲 尼采:《英雄怨》、《就笑一次嘛》     交響詩《Ermanarich》、《在 Puszta 草原月光下》 華格納 / 李斯特:《唐懷瑟》序曲

R. SCHUMANN: 'Träumerei', from Kinderszenen 'Eusebius' & 'Florestan', from Carmavel , Op. 9 E. T. A. HOFFMANN: Piano Sonata No.1 in F R. SCHUMANN: Excerpts from Kreisleriana , Op. 16 (Der Kapellmeister J. Kreisler) Die Flüchtlinge , Op. 122, No. 2 (Melodrama, Text by Percy Shelly) J. BRAHMS: Scherzo in C minor for Violin and Piano, from F-A-E Sonata F. NIETZSCHE: Heldenklage So lach doch mal Ermanarich (Symphonische Dichtung) Im Mondschein auf der Puszta R. WAGNER / F. LISZT: Ouvertüre zu Tannhäuser, paraphrase for piano

十八、十九世紀之浪漫主義 (Romanticism) 並非一種派別, 而是一種精神思想的潮流與形態。追求浪漫主義的藝術家, 嘗試著以一種囊括全部的生命感受,並融合對大自然與人類 文化的體歷,表達於各種藝術形態中。德國浪漫時期作曲家 舒曼,以獨特創新的文學語法譜寫音樂,他自己寫作,也被 許多作家的文學作品引發靈感而譜出各種形態的樂曲。曾經 影響舒曼及俄國文學甚深的幻想風作家 E.T.A. 霍夫曼,亦 創作過許多樂曲、並寫過甚多樂評。哲學家尼采也在寫作之 餘,嘗試以音樂的形式來表達情感。浪漫時期很多的音樂家 是詩人、詩人是音樂家,哲學家是音樂家、音樂家也是哲學 家。這些追尋著浪漫主義的偉大「文人」,毫不拘束地用盡 十八般武藝來訴說他們對生命與藝術的認知,有如東方宗教 裏整體合一的精神領悟。這些藝術形式或許在表達手法上有 優有劣,只有從各種角度審視,才能全盤體會這些理想家自 由的創作意念。

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2013/14 「NSO 演奏廳系列」套票 2013.8.1 啟售 全套共

12 場

選購任一主題系列 可享

8 折優惠

10 場 ( 含 ) 以上節目 可享 7.5 折優惠 任選

單場於 2013.8.1 起陸續啟售


認識音樂家

Meet the Musicians


''The Strings had an incandescent sheen, the woodwind choir sounded as balanced as a finely tuned organ, the brass never blared.'' — Der neue Merker 2012/04 ''The orchestra played at all times with a richly blended, cultured quality and seemed completely at ease with the fiendishly difficult music…'' — American Record Guide 2011/07 ''Shao-Chia Lü handled the second and third movements of Mahler's No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic sense, rendering a powerful delivery……. Lü and Taiwan Philharmonic's concert in Guangzhou epitomized the pursuit of artistic perfection.'' — Yazhou Zhoukan (Asia Week) 2010/12 ''There was also a convincing performance of the Adagio from Mahler's Tenth Symphony, Lü's carefully calibrated rendering capturing the angst. … The second programme [featured] an utterly dazzling performance of Brahms' Piano Quartet in G minor arranged by Schoenberg.'' — Gramophone 2009/09

National Symphony Orchestra Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became an artistic affiliate of the National Chiang Kai-Shek Cultural Center, the nation's center for the performing arts, in 2005. Led by renowned conductor Shao-Chia Lü as its 5th music director starting August 2010, the NSO has increased the country's cultural richness and music educational strength throughout Taiwan. The NSO with 96 members presents a 40-week musical season of approximately 70 concerts/ chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiw an and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Viviane Hagner, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Evelyn Glennie, Martin Grubinger, Louis Lortie, Kun-Woo Paik, Stephen Hough, Stephen Kovacevich, Katia & Marielle Labèque, Sabine Meyer, Reinhold Friedrich and many others. The NSO has extended its artistic reach, involving in theater and opera productions, such as working with Lin Hwai-min, the world-renowned choreographer and founder of Taiwan's Cloud Gate Dance Theatre, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, and Hans-Peter Lehmann. In addition to its record-breaking semi-stage concert operas Der Ring des Nibelungen , and Elektra , the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009), and Madama Butterfly (Opera Australia, 2012) as well as in-house production Die Walküre (2013).

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2013 14 SEASON

吳庭毓 樂團首席 Ting-Yu Wu Concertmaster

李宜錦 樂團首席 I-Ching Li Concertmaster

張尹芳 助理指揮 Yin-Fang Chang Assistant Conductor

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出生於高雄,1982 年畢業於國立藝專音樂科 ( 現 國立台灣藝術大學 ),曾任國防部示範樂隊、台 北市立交響樂團首席,1988 年赴法國馬爾梅頌 音樂院國立音樂院 (Conservatoire National de Région de Rueil-Malmaison) 最高級班留學,隨 教授 Melle Brignon 學琴。 1989 年畢業返國後, 擔任國家交響樂團首席至今。累積 25 年豐富的舞 台經驗,經常獲邀至國內外演出。2002 年應法國 在台協會之邀錄製法國三百年繪畫展音樂 CD 以 及音樂會演出,並與俄羅斯愛樂室內樂團錄製韋 瓦第的《四季》專輯;2007 年起擔任「夏綠 台灣」 (Salut Taiwan) 國際音樂節的音樂總監,2008 年 創立「NSO 首席絃樂團 」,其淋漓盡致的演奏 技術備受肯定。除了各項音樂活動及指揮演出, 吳庭毓也積極致力於教學工作,目前任教於交大 研究所、輔大、北藝大以及台藝大音樂系。

Born in Kaohsiung, Ting-Yu Wu graduated from the Conservatoire National de Région de RueilMalmaison in 1989 and studied violin with Melle Brignon in France. Upon returning to Taiwan in 1989, he was appointed the concertmaster of the National Symphony Orchestra, a position he still holds today. Having 25 years of experiences appearing on stage with orchestras, Wu has been invited to various countries to perform, including China and Russia. In 2002 he recorded for the French Three-Hundred Years Art Exhibition music CD, as well as performing at the Exhibition's concert. In May 2002, he recorded Vivaldi's Four Seasons with the Philharmonic Chamber Orchestra of Moscow. Since 2007, he has been Music Director of the ''Salut Taiwan Music Festival'', and founded the ''NSO String Ensemble'' in 2008. His incisive soloist performance received critical acclaims. As a soloist with recitals and chamber music activities, Wu is also committed to educate young talents in Taiwan.

2002 年 以 碩 士 學 術 科 特 優 獎 畢 業 於 新 英 格 蘭 音 樂 學 院, 同 年 成 為 國 家 交 響 樂 團 副 首 席, 2004 年受聘為樂團首席至今。精湛琴藝屢獲國 際 樂 壇 肯 定, 包 括 榮 獲 Musicorda Concerto Competition 首獎、Fischoff International Chamber Music Competition 銀牌;亦受邀於泛太平洋音樂 節 (1998)、坦格鎢音樂節 (2000) 以及德國什列 斯威-霍爾斯坦音樂節 (2001) 擔任樂團首席之 殊榮。除樂團演奏之外,李宜錦亦致力於推廣現 代音樂及涉獵各領域演出,受邀發表美國現代作 曲 家 Alan Fletche、 第 34 屆 葛 萊 美 得 主 John Corgliano 及 John Harbison 等人之作品,並亞 洲首演美國作曲家蘇珊.鮑提小提琴協奏曲《在 黑暗中》(Within Darkness )。應小提琴家胡乃元 之邀成為 Taiwan Connection 創團成員之一,並 參與雲門舞集 II《跳 TONE》及奇美藝術基金會 數位典藏計畫示範演奏名琴,致力推廣音樂到每 個角落。

Having completed both bachelor and master degree with academic honor at the New England Conservatory, I-Ching Li started her position at the National Symphony Orchestra of Taiwan first as the associate concertmaster in 2002, and since 2004 became to serve as the concertmaster. Her virtuosic performances had garnered her top prizes at numerous competitions in the States and Asia, both as a soloist and chamber musician. I-Ching Li has been performing in music festivals as a soloist, concertmasters, and orchestra section members all over the world, including Tanglewood Music Festival, Pacific Music Festival, Sarasota Summit Music Festival, Schleswig-Holstein Orchestral Academy, Banff Music festival, and many others. She was honored to have worked with great maestros such as Seiji Ozawa, James Levine, Christoph Eschenbach, Lorin Maazel, WenPin Chien, Shao-Chia Lü and among others. She is excited about the prospect of developing her skills as an artist and collaborating with musicians both locally and abroad.

2004 年畢業於國立臺北藝術大學 ( 原國立藝術 學院 ) 碩士班。指揮啟蒙於楊仁傑教授,並先後 師事於徐頌仁及陳秋盛教授。畢業後,隨即任職 於高雄市青少年交響樂團與台大杏林室內樂團; 2006 年 獲 聘 為 NSO 助 理 指 揮 至 今, 其 參 與 規 劃、指揮的「NSO 永遠的童話」系列節目與各 種大型音樂會演出,皆深受好評與肯定。2012 年 3 月,於「高雄春天藝術節」替臨時身體不 適的俄國指揮大師羅許德茲特溫斯基 (Gennady Rozhdestvensky) 代打指揮蕭斯塔科維契第八號 交響曲,受到樂界極大肯定;同年 5 月並受台北 市立國樂團邀請指揮《反景入深林─向周文中致 敬》音樂會,世界首演多首委託創作。自 2012 年 NSO 樂團學苑成立後,張尹芳擔任該團常任 指揮,負責樂團訓練規劃及演出,成果斐然。

Yin-Fang Chang is a talented conductor of young generation in Taiwan. She graduated from Taipei National University of the Arts in 2004 with Master of Fine Arts degree in orchestral conducting, and studied with Sung-Jen Hsu and Felix Chiu-Sen Chen. After graduation, she has appeared as a conductor with the Kaohsiung Youth Orchestra and Hsing-Lin Chamber Orchestra, and received lots of recognition. Since 2006, Chang has been appointed as the Assistant Conductor of the NSO, with which she has received extraordinary acclaim for the ''NSO Forever Tales'' series. In March 2012, Chang replaced ailing Gennady Rozhdestvensky at short notice to conduct Shostakovich's Eighth Symphony in Kaohsiung Spring Arts Festival. In the same year, she made her debut with the Taipei Chinese Orchestra, conducting the world premieres of seven contemporary works. Since 2012, Chang has been the Principal Conductor of NSO Orchestra Academy, serving as a planner and mentor for the training program.


國家交響樂團

邱 瑗

音         樂 總 監 呂紹嘉 桂         冠 指 揮 根特.赫比希 樂         團 首 席 吳庭毓

杜佳舫 王承禹

樂         團副首席 鄧皓敦 助         理 指 揮 張尹芳

         李宜錦 企 劃 製 作 經 理 公 關 專 案 經 理 企 企

劃 劃

行 專

銷 員

整 合 行 銷 專 員 行 銷 專 員

第        一小提琴 ○ 陳逸群  郭昱麟  林基弘  侯勇光  梁坤豪 

劉子瑛 吳孟珊 賴盈帆 陳卜湄 林欣儀 鄭巧琪 王思懿

演 出 及 行 政 舞 人 譜

台 事 務

監 組 專

督 長 員

行 助

政 理

專 舞

員 監

陳世傑 林碧珠 高婉瑜 溫慧雯 陳玠維

焦元溥

         陳逸農  卓曉青  方俊人  黃佳頎  李庭芳           賴佳奇  林孟穎  李家豪   第        二小提琴 ● 陳怡茹 ◎ 孫正玫  吳怡慧  李京熹  黃衍繹           顧慈美  于爾恩  康信榮  李梅箋  鍾仁甫          蔡孟峰  洪章文  陳偉泓  王致翔 中        提 琴 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩  黃雅琪  李靖宜          謝君玲  劉國蘭  呂孟珊  李思琪  陳猶白          蔡秉璋 大        提 琴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈  呂明美  周幼雯          陳怡婷  林宜嫺  黃日昇  蘇酩惠  唐鶯綺 低        音 提 琴 ● 傅永和 ○ 周春祥  王淑瑜  黃筱清  王淑宜          連珮致  蔡歆婕 長        笛 ● 安德石 ◎ 宮崎千佳 李 浚 短         笛 鐘美川 雙        簧 管 ● 王怡靜 ◎ 林麗玥  楊舒婷 英         國 管 李明怡 單        簧 管 ● 朱玫玲 ◎ 張凱婷  朱偉誼  孫正茸 低        音 管 ● 簡凱玉 ◎ 陳奕秀  高靈風 倍         低 音 管 簡恩義 法        國 號 ● 劉宜欣 ○ 黃任賢  國田朋宏 王婉如  曹予勉 小        號 ● 宇新樂 ◎ 陳長伯  張景民  吳建銘 長        號 ● 宋光清 ◎ 邵恆發  陳中昇 低         音 長 號 彭曉昀 低        音 號 ● 宮西純 定        音 鼓 ● 連雅文 ◎ 陳廷銓 打        擊 樂 ● 陳哲輝  陳振馨  楊璧慈 豎        琴 ● 解 瑄

●首席 ◎副首席 ○助理首席 

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2013 14 SEASON

National Symphony Orchestra SHAO-CHIA LÜ GÜNTHER HERBIG TING-YU WU I-CHING LI HAO-TUN TENG YIN-FANG CHANG Executive Director JOYCE CHIOU

Manager, Planning & Production SARAH TU

Manager, PR & Development PAUL WANG

Artistic Planning & Marketing Programme Coordinator AMY LIU MENG-SHAN WU YING-FAN LAI

PR & Project Coordinator PU-MEI CHEN

Marketing & Media Coordinator EILEEN LIN CHIAU-CHI CHENG SANDY WANG

Production & Administration Stage Manager SHIH-CHIEH CHEN

Assistant Manager, Personnel BIBI LIN

Librarian BRITTNEY KAO

Production & Administration Coordinator HUI-WEN WEN

Assistant Stage Manager CHIEH-WEI CHEN

Concert Dramaturgist YUAN-PU CHIAO

FIRST VIOLIN ○ Yi-Chun Chen  Yu-Lin Kuo  Ji-Hung Lin  Yung-Kuang Hou  Kun-Hao Liang  Yee-Nong Chen  Hsiao-Ching Cho  Cecilia Fang  Jiachi Huang  Ting-Fang Lee  Chia-Chi Lai  Meng-Ying Lin  Chia-Hao Lee

SECOND VIOLIN ● Yi-Ju Chen ◎ Cheng-Mei Sun  I-Hui Wu  Ching-Hsi Lee  Yen-Yi Huang  Tsu-Mei Ku  ErAn Yu  Hsin-Jung Kang  Mei-Jain Li  Jen-Fu Chung  Meng-Fong Tsai  Chang-Wen Hung  Wei-Hong Chen  Chih-Hsiang Wang

VIOLA ● Grace Huang ◎ Chi-Chuan Teng ○ Chao-Ying Lu  Yea-Chyi Hwang  Jing-Yi Lee  Juin-Ling Shieh  Guo-Lan Liu  Meng-San Lu  Szu-Chi Li  Jubel Chen  Ping-Chang Tsai

Music Director Conductor Laureate Concertmaster Concertmaster Associate Concertmaster Assistant Conductor

CONTRABASSOON

CELLO ● Lana Hsiung ◎ Yi-Shien Lien ○ Chih-Yin Wei  Ming-Meei Lieu  Yu-Wen Chou  I-Ting Chen  Yi-Hsien Lin  Jih-Sheng Huang  Ming-Huei Su  Ying-Chi Tang

 En-Yi Chien

HORN ● Yi-Hsin Cindy Liu ○ Jen-Hsien Huang  Tomohiro Kunita  Wan-Ju Wang  Yu-Mien Tsao

TRUMPET

DOUBLE BASS ● Yung-Ho Fu ○ Chun-Shiang Chou  Su-Yu Wang  Hsiao-Ching Huang  Shu-Yi Wang  Pei-Chih Lien  Hsin-Chieh Tsai

FLUTE

 Hsiao-Yun Peng

TUBA ● Jun Miyanishi

PICCOLO  Mei-Chuan Chung

OBOE

 ENGLISH HORN  Ming-I Lee

CLARINET ● May-Lin Ju ◎ Kai-Ting Chang  Wei-I Chu  Cheng-Jung Sun

TROMBONE ● Kuang-Ching Sung ◎ Hang-Fat Shiu  Chung-Sheng Chen  BASS TROMBONE

 Anders Norell ◎ Chika Miyazaki  Chuin Lee

● I-Ching Wang ◎ Li-Yueh Lin  Shu-Ting Yang

● Nicolas Rusillon ◎ Chang-Po Chen  Ching-Min Chang  Chien-Ming Wu

TIMPANI ● Ya-Wen Lien ◎ Ting-Chuan Chen

PERCUSSION ● Jer-Huei Chen  Chen-Hsing Chen  Pi-Tzu Yang

HARP ● Shuen Chieh

BASSOON ● Kai-Yu Jian ◎ I-Hsiu Chen  Ling-Feng Kao ● Principal ◎ Associate Principal ○ Assistant Principal

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NSO 樂團學苑

NSO Orchestra Academy

為培養下一代管絃樂團演奏人才及延續國家交響樂團傳統 音 色,NSO 於 2012 年 9 月 成 立「NSO 樂 團 學 苑 」(NSO Orchestra Academy),期望將學校的科班訓練與職業樂團 的專業演奏間,架起一個以實務演練為主的「跨越」計畫 (Leaping Program),讓國內年輕學子能藉由參與樂團或分 部排練 (Tutti)、重奏訓練 (Ensemble)、音樂會及室內樂演出 (Performance) 的過程中,進一步了解職業樂團的夥伴關係與 專業精神 (fellowship and professionalism)。 第一屆 NSO 樂團學苑在研華文教基金會、信誼基金會及邱再 興文教基金會的贊助下展開運營,從近三百名競爭者中,選 出 43 名學員,並於 2013 年 6 月首次公演,更在三個基金會 的支持下,對表現優異學員頒發 Academy Fellowship 獎學 金。2013/2014 樂季的第二屆起,以兩年為期展開培訓計劃, 繼續培養國內音樂系所在學學生及海外學成歸國菁英。培訓計 畫除管絃樂分部練習、室內樂重奏演出、參與樂團排練旁聽 外,學員並將接受國際知名指揮及獨奏家的指導,已參與樂團 學苑指導排練的客席音樂家包括小提琴家林以信、小號演奏家 Sergei Nakariakov 的大師班以及客席指揮 Fabien Gabel、 Nicholas Milton、John Axelrod、關琦安 (Carolyn Kuan) 等 的排練指導。 本學苑之常任指揮由 NSO 助理指揮張尹芳擔任,負責樂團學 苑課程規劃及樂團定期排練指導,此外 NSO 各聲部首席也參 與不定期之培訓指導,希望讓每位菁英學員在樂團演奏的專業 領域上獲得充分提升,並藉由這一脈傳承,讓 NSO 的音色及 傳統得以綿延。

To preserve, promote, and present the art of orchestral performance, in September 2012, the NSO started offering emerging professionals and music students a specially designed training program and the opportunity to rehearse and perform alongside members of the National Symphony Orchestra. Academy members will receive guidance, master-classes and section rehearsals from the NSO principals as well as internationally acclaimed guest artists, such as Joseph Lin, Sergei Nakariakov, Fabien Gabel, Nicholas Milton, John Axelrod and Carolyn Kuan from the season of 2012/2013. Completion of curriculum will receive the NSO Orchestra Academy Certificate and potentially the Academy Fellowship in recognition of ones who demonstrate ability of the outstanding artistic standard. The NSO Orchestra Academy is supported by HIM Cultural Foundation(研華文教基金會), Hsin-Yi Foundation (信誼基金會 ) and Chew's Culture Foundation(邱再興文 教 基 金 會 ). With the generosity of three foundations, the true spirit of the NSO will be sustained and a vital form of human expression will be passed on.

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2013 14 SEASON

認識客席音樂家 MEET THE GUEST ARTISTS 薇薇安.哈格納 小提琴 Viviane Hagner Violin

路易斯.洛提 鋼琴 Louis Lortie Piano

喬治.佩利凡尼安 指揮 George Pehlivanian Conductor

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2013/9/21 來自德國慕尼黑的小提琴家薇薇安.哈格納,以 其知性和熱情兼具的藝術氣質見長,《時代》雜 誌稱許哈格納的演奏是「穩重與華麗的保證」。 自她十二歲首次在國際舞台上演出,並於一年後 受邀參加以色列愛樂與柏林愛樂在樂壇上極富傳 奇性的聯合音樂會後 ( 梅塔擔綱指揮於臺拉維夫 演出 ),她有深度既成熟的演奏在舞台上更是淋漓 盡致地展現。哈格納曾與全球多個頂尖樂團合作 演出,包括柏林愛樂、波士頓交響、BBC 廣播交 響樂團、萊比錫布商大廈管絃樂團、慕尼黑愛樂 與紐約愛樂等。她所演奏的魏奧當第四及第五號 小提琴協奏曲,由海柏利昂唱片公司發行;其首 張獨奏會錄音,收錄了巴爾托克、哈特曼以及巴 赫的無伴奏小提琴曲目。

Munich-bor n violinist Viviane Hagner has won exceptional praise for her highly intelligent musicality and passionate artistry. She performs with the world's great orchestras and as a committed chamber musician regularly appears at international festivals and venues. Typical comments from critics include ''poise and magnificent assurance'' (The Times ). Since making her international debut at the age of 12, and a year later participating in the legendary ''joint concert'' of the Israel and Berlin Philharmonics (conducted by Zubin Mehta in Tel Aviv), Viviane Hagner has acquired a depth and maturity in her playing that is reflected in her serene stage presence. Hagner has appeared with the world's great orchestras, including the Berlin Philharmonic, the Boston Symphony, the BBC Symphony Orchestra, the Leipzig Gewandhaus, the Munich Philharmonic, and the New York Philharmonic. Her performances of Vieuxtemps Violin Concerti 4 & 5 are available on the Hyperion label and her first recital recording features solo works by Bartók, Hartmann and Bach.

2013/9/27 出生於蒙特羅,路易斯.洛提於十三歲時首次與 蒙特羅交響樂團登台演出,並於 1984 年獲得布 梭尼鋼琴大賽首獎,及里茲鋼琴大賽優勝。他的 演奏在歐洲、亞洲及美國皆獲得極大的好評,並 獲得倫敦《泰晤士報》「擁有偉大鋼琴家特質」 的讚譽。洛提曾與許多世界頂尖知名的指揮家同 台演出,包括夏伊、馬捷爾、庫特.馬殊、小澤 征爾與杜特華;並曾與音樂家如卡瓦科斯、卡普 頌兄弟與基頓.克萊曼等共同演出室內樂。洛提 錄製發行了 30 多張專輯,涵蓋莫札特到史特拉 汶斯基等作曲家作品,並榮獲多項大獎肯定,包 括英國《BBC 雜誌》「年度最佳專輯」與愛迪生 大獎等。他最近期發行的蕭邦唱片專輯被《紐約 時報》獲選為 2012 年最佳錄音之一。

French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. Born in Montreal, he made his debut with the Montreal Symphony at the age of thirteen. In 1984 he won First Prize in the Busoni Competition and was a prize-winner at the Leeds Competition. The London Times has identified the artist's ''combination of total spontaneity and meditated ripeness that only great pianists have.'' Lortie has performed with the world's leading conductors, including Riccardo Chailly, Lorin Maazel, Kurt Masur, Seiji Ozawa, and Charles Dutoit. He has also been involved in many chambermusic projects with such musicians as Leonidas Kavakos, Renaud and Gautier Capuçon, and Gidon Kremer. Lortie has made over 30 recordings on the Chandos label, ranging from Mozart to Stravinsky, which have won many awards such as BBC Magazine ''Best CDs of the Year'' and the Edison Award. His most recent Chopin recording was named one of the best recordings of 2012 by the New York Times .

2013/10/12 喬治.佩利凡尼安出生於貝魯特,曾任斯洛維尼 亞愛樂管絃樂團藝術總監暨首席指揮,德國萊茵 蘭 - 法爾茲州國家愛樂、海牙管絃、維也納室內 管絃等樂團之首席客座指揮。他曾指揮多個首屈 一指的交響樂團,如倫敦愛樂、史卡拉愛樂、法 國廣播愛樂、佛羅倫斯五月音樂節管絃、杜林國 家廣播管絃以及英國廣播愛樂樂團等。佩利凡尼 安亦是一位經驗豐富的歌劇指揮,常應邀於蘇俄 聖彼得堡「白夜之星」音樂節、佛羅倫斯五月音 樂節、義大利拉芬納音樂節及拉維洛音樂節、美 國亞斯本音樂節等地演出。2010 年,佩利凡尼安 於法國創辦「勒圖凱國際音樂節」,所合作的獨 奏家包括列賓、提鮑德、艾克斯、麥斯基、卡瓦 科斯、楊森、賽依、嘉路欽等,皆為當今樂壇人 物的一時之選。

Born in Beirut, George Pehlivanian is Former Artistic Director and Chief Conductor of the Slovenian Philharmonic Orchestra. He has held Principal Guest Conductor positions with the Residentie Orchestra in the Hague, the Vienna Chamber Orchestra and the Deutsche Staatsphilharmonie Rheinland-Pfalz. Pehlivanian has conducted many of the world's leading orchestras, including the London Philharmonic Orchestra, the Filarmonica della Scala, the Orchestre Philharmonique de Radio France, the Maggio Musicale Fiorentino, the Orchestra Nazionale della RAI Torino, and the BBC Philharmonic. Pehlivanian is also an experienced opera conductor and has conducted at many important Festivals including the White Nights Festival in St. Petersburg, Maggio Musicale Fiorentino, Ravenna, Ravello and Aspen. In 2010, Pehlivanian has founded the ''Touquet International Music Masters'' festival in Le Touquet (France), and collaborates regularly with prestigious soloists including Vadim Repin, Jean-Yves Thibaudet, Emanuel Ax, Misha Maisky, Leonidas Kavakos, Janine Jansen, Fazil Say and Vladimir Galuzin.


楊.沃格勒 大提琴 Jan Vogler Cello

克利斯提安.亞維 指揮 Kristjan Järvi Conductor

范倫提娜.莉西特莎 鋼琴 Valentina Lisitsa Piano

2013/10/12 沃格勒的卓爾不凡可從與其合作的指揮名單中領略 一二,像是葛濟夫、馬捷爾、路易西、羅伯森、霍內克; 與他同台演出的樂團則有:紐約愛樂、芝加哥交響、 波士頓交響、匹茲堡交響、蒙特婁交響、辛辛那提交 響、馬林斯基劇院管絃、德勒斯登國家交響、巴伐利 亞廣播交響、斯圖加特廣播交響、維也納交響樂團等, 皆非等閒之輩。沃格勒最近重要演出行程,包括與奧 斯陸愛樂、慕尼黑愛樂、馬林斯基劇院樂團 ( 葛濟夫 指揮 ) 演出協奏曲;與鋼琴家海倫.葛莉茉搭檔,於 紐約及巴黎舉行大提琴獨奏會。沃格勒的演奏錄音數 量極豐,多由索尼經典發行,其中不乏國際得獎名碟。 2012 年,他出版了巴赫《六首大提琴無伴奏組曲》、 2013 年則出版與維也納愛樂共同合作的舒曼大提琴 協奏曲。沃格勒現任德勒斯登音樂節總監,並為莫里 茲堡室內樂節之創辦人及藝術總監。他使用的兩把樂 器分別為史特拉底瓦里 1707-1710 年製作的「卡斯特 巴可」(Ex Castelbarco/Fau)、以及蒙塔耶納 1721 年 製作的「赫金」(Ex-Hekking) 大提琴。

Jan Vogler's distinguished career has featured him with renowned conductors Valery Gergiev, Lorin Maazel, Fabio Luisi, David Robertson and Manfred Honeck and internationally acclaimed orchestras such as the New York Philharmonic, the Chicago, Boston, Pittsburgh, Montreal and Cincinnati Symphony Orchestras, the Mariinsky Theatre Orchestra, the Dresden Staatskapelle, the Bavarian Radio Orchestra, the Stuttgart Radio Orchestra and the Vienna Symphony. His recent highlights include concerts with the Oslo Philharmonic Orchestra, the Munich Philharmonic, with Valery Gergiev and the Mariinsky Theatre Orchestra, and recitals in Paris and New York with Hélène Grimaud. A prolific and multi-award-winning recording artist, Volger records exclusively for SONY Classical. Upcoming releases include Bach's Six Suites for Unaccompanied Cello (2012) and the Schumann's Cello Concerto with the Vienna Philharmonic (2013). Jan Vogler is the General Director of the Dresden Music Festival, as well as founder and Artistic Director of the Moritzburg Chamber Music Festival. He plays the 1707-1710 Stradivarius ''Ex Castelbarco/Fau'' cello and 1721 Domenico Montagnana cello ''Ex-Hekking''.

克利斯提安.亞維出生於愛沙尼亞,自幼移民美 國,成長於紐約市。亞維是一位造詣成熟的鋼琴 家,從曼哈頓音樂院畢業後,進入密西根大學音樂 研究所攻讀指揮;他的事業起點,始於洛杉磯愛樂 擔任音樂總監薩隆年的助理指揮。他曾指揮過的樂 團包括柏林愛樂、倫敦交響、德勒斯登國家交響、 巴伐利亞廣播、法國國家交響及雪梨交響等樂團。 亞維目前身兼四職,分別是:萊比錫中德廣播交響 音樂總監、瑞士格斯達音樂節管絃樂團首席指揮、 「絕對」室內樂團創辦人暨音樂總監、波羅的海青 年愛樂創團指揮。亞維在演奏錄音方面得到的肯 定,包括瑞典葛萊美獎之「最佳歌劇演出」項目、 德國唱片評論的「最佳專輯」獎項,亦曾被美國葛 萊美音樂獎、英國 BBC 唱片獎提名。

Born in Estonia, Kristjan Järvi emigrated to the United States as a child and grew up in New York City. He is an accomplished pianist and graduated from Manhattan School of Music as a performance major followed by undertaking conducting studies at the University of Michigan. He began his career as Assistant Conductor to Esa-Pekka Salonen at the Los Angeles Philharmonic. Kristjan Järvi has collaborated with the orchestras including the Berlin Philharmonic Orchestra, the London Symphony Orchestra, the Staatskapelle Dresden, the Bavarian Radio Symphony Orchestra, the Orchestre National de France, and the Sydney Symphony. He currently holds four principal engagements, including Music Director of the MDR Leipzig Radio Symphony Orchestra from the 2012/13 season, Chief Conductor of the Gstaad Festival Orchestra, Founder and Music Director of the Absolute Ensemble, and Founding Conductor of the Baltic Youth Philharmonic. As a recording artist, Järvi has been honored with a Swedish Grammy for ''Best Opera Performance'', German Record Critics Prize for ''Best Album'', a Grammy nomination and a BBC Record Award nomination.

2013/10/26

2013/10/26 范倫提娜.莉西特莎出生於基輔,三歲開始學習鋼 琴,四歲即舉行第一場獨奏會,啼聲初試便一鳴驚 人。於基輔音樂院就讀時,拜師盧蜜拉.茨菲爾珂 門下;1991 年,與鋼琴家庫茲涅索夫聯手奪得美 國莫瑞.詹諾夫雙鋼琴大賽首獎。2010 年,莉西 特莎於荷蘭演奏拉赫瑪尼諾夫「新第五」鋼琴協奏 曲 ( 改編自拉赫瑪尼諾夫第二號交響曲 ),由鹿特 丹愛樂協奏;2011 年,她與馬捷爾指揮的巴西交 響初次合作;2012 年,並於倫敦艾伯特音樂廳舉 行鋼琴獨奏會。莉西特莎近幾年重要演出包括與芝 加哥交響、西雅圖交響、科隆西德廣播、舊金山交 響、匹茲堡交響等樂團演出協奏曲,及與霍內克、 聶切瑟昆、薩拉斯特等名指揮家共同合作。最近剛 完成的錄音包括拉赫瑪尼諾夫鋼琴協奏曲全集、以 及由麥可.法蘭西斯指揮倫敦交響樂團合作演出的 《帕格尼尼狂想曲》。

Born in Kiev, Valentina Lisitsa began playing the piano at the age of three, performing her first solo recital a year later. She studied at the Kiev Conservatory with Ludmilla Tsvierko, and won the first prize in the Murray Dranoff Two Piano Competition together with Alexei Kuznetsoff in 1991. In 2010, she performed the Dutch premiere of Rachmaninoff's ''New 5 th '' Concerto in her debut with the Rotterdam Philharmonic, and in 2011 made her debut with the Orchestra Sinfonica Brasileira under the baton of Lorin Maazel. In 2012, Lisitsa had her recital debut at the Royal Albert Hall in London. Other previous highlights include debuts with the Chicago Symphony, the Seattle Symphony, the WDR Symphony Orchestra Cologne, the San Francisco Symphony and the Pittsburgh Symphony, collaborating with conductors Manfred Honeck, Yannick Nézet-Séguin, and JukkaPekka Saraste, among others. Lisitsa has recently completed recordings of the complete concerti of Rachmaninoff and Rhapsody on a Theme of Paganini with the London Symphony Orchestra under Michael Francis.

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2013 14 SEASON

林孟君 女高音 Meng-Chun Lin Soprano

萊哈德.戈貝爾 指揮 Reinhard Goebel Conductor

蜜莉安.康岑 小提琴 Mirijam Contzen Violin

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2013/11/3 林孟君畢業於國立台灣師範大學音樂系、國立台 北藝術大學音樂碩士,為美國辛辛那提大學音樂 院聲樂博士候選人。曾獲 2001 台北德文藝術歌 曲大賽專業組第四名,奇美文化基金會聲樂類藝 術人才培訓獎金,2003 聲協新秀,教育部公費留 學,Tanglewood Music Center 聲樂獎學金,美 國聲樂教師協會比賽俄亥俄州第一名等獎項。擅 長曲目涵蓋巴洛克至二十一世紀的聲樂室內樂及 當代作品,多次參與 NSO 國家交響樂團 201112 / 2012-13 樂季節目演出;目前任教於實踐大 學音樂學系暨碩士班、國立臺灣師範大學音樂系 及台北城市科技大學。

Lin is one of most active sopranos in Taiwan and regularly appears in NSO's concerts in 2011~2013 seasons. Her repertoire includes chamber music from all historical periods to contemporary. Lin has won numerous awards and scholarships, including the Tanglewood Music Center Fellowship, the CCM in Barbara Cook's Master-Class at Zankel Hall in Marilyn Horne Foundation Master-Class Series in 2007. She is now a candidate of Doctor of Musical Arts at the College-Conservatory of Music in University of Cincinnati. Lin obtained Masters of Fine Arts from Taipei National University of the Arts, and Bachelor of the Fine Arts from National Taiwan Normal University. Meng-Chun Lin is currently an adjunct instructor at Shih-Chien University, National Taiwan Normal University and Taipei Chengshih University of Science and Technology, where she teaches Voice Lesson, Vocal Chamber Music and Liberal Arts Courses.

2013/12/14 萊哈德.戈貝爾生於 1952 年,主修小提琴及音 樂學,對西方早期音樂涉獵尤深,夙負盛名的「科 隆古樂團」,便是戈貝爾於 1973 年所創立,並 由 Archiv 唱片公司獨家發行其錄音,獲得無數國 際獎項,包括 2008 及 2010 年分別以《莫札特 在巴黎》與《法國詩壇》專輯榮獲法國金音叉獎 之肯定。除了演出古樂,戈貝爾亦是一位及受推 崇的「現代」交響樂團指揮,曾與許多歐陸知名 樂團合作,包括漢堡交響、英國皇家愛樂及法國 國家交響樂團等;在歐陸之外亦極受歡迎,如與 墨爾本交響以及美國大提頓音樂節樂團之合作。 2012 年,戈貝爾以指揮約翰.克利斯欽.巴赫歌 劇《第米斯托克利》,為曼海姆莫札特夏季音樂 節展開序幕。自 2010 年起,戈貝爾擔任薩爾茲 堡莫札特音樂院「復古風格演奏」課程教授。

Born in 1952, Reinhard Goebel studied violin and musicology and developed a very exclusive interest in Early Music. Furthermore, he has established himself as a highly regarded conductor of 'modern' orchestras. In 1973, he established the famous Musica Antiqua Köln in an exclusive contract with the Archiv label. These recordings received many international awards, such as the Diapason d'Or for the recordings Mozart in Paris in 2008 and again for Le Parnasse français in 2010. Goebel has performed with various major orchestras in Europe, among others the Hamburger Symphoniker, the Royal Philharmonic Orchestra London and the Orchestre National d'Île de France. He is also highly demanded outside Europe. For instance, he performed with the Melbourne Symphony Orchestra and the Grand Teton Festival Orchestra in the United States. In 2012 Goebel opened the ''Mannheimer Mozartsommer'' and conducted a new production of Johann Christian Bach's Temistoclé at Nationaltheater Mannheim. Since 2010, Reinhard Goebel is professor historically informed performance at the Mozarteum Salzburg.

2013/12/14 蜜莉安.康岑七歲時即與樂團演出協奏曲,早以 神童之姿側目樂壇。她的曲目寬廣,無論是獨奏 或室內樂,俱各擅勝場;發行的唱片錄音亦備受 讚揚。康岑贏得 2001 年古典回聲「明日之星」 獎項後,演奏事業扶搖直上。她曾與萊比錫布商 大廈管絃、柏林廣播交響、利物浦皇家愛樂及墨 爾本交響先後合作,並經常於瑞士韋比爾音樂節、 薩爾茲堡音樂節演奏。2011/12 樂季在復古風格 演奏的權威戈貝爾指揮下,康岑與巴伐利亞愛樂 室內樂團共同合作,演出並錄製莫札特作品。康 岑亦是許多音樂節的創辦者,如 2005 年創立了 德國卡本山城堡音樂節並擔任其藝術總監。她使 用的樂器為卡洛.白貢齊於 1733 年製作之名琴。

Mirijam Contzen began her career as child prodigy, playing her orchestral debut at the age of seven. She established herself since as a multifaceted artist performing concerts and chamber music. Her performances and recordings have earned her the highest praise from audiences and music critics alike. In 2001, Mirijam Contzen won the ECHO Klassik in the category ''Rising Stars'' marking the beginning of her impressive career. Since then, she performed with major orchestras worldwide, such as the Gewandhausorchester Leipzig, Radio Symphony Orchestra Berlin, Royal Liverpool Philharmonic and Melbourne Symphony. Also, Contzen performs regularly at various music festivals, such as the Verbier Festival and the Salzburg Festival. During the season 2011/2012 she performed and recorded various works by Mozart with the historical performance practice specialist Reinhard Goebel and the Bavarian Chamber Philharm onic. She also has a career as festival director establishing various music festivals, such as the festival Schloss Cappenberg (2005). Mirijam Contzen plays a Carlo Bergonzi violin dated 1733.


黃心芸 中提琴 Hsin-Yun Huang Viola

林惠珍 女高音 Mewas Lin Soprano

羅明芳 女高音 Ming-Fang Lo Soprano

2013/12/22 黃心芸為國際中備受推崇的中生代中提琴演奏 家。曾獲 1993 慕尼黑國際音樂大賽中提琴首獎、 日本文化村音樂廳大獎,並因此獲得獎學金並於 日本演出協奏曲、獨奏會之榮譽。1988 年,她更 成為萊諾.特堤斯國際大賽最年輕的金牌得主, 此傲人的成績使其演出邀約不斷,曾於慕尼黑與 巴伐利亞廣播交響樂團協奏演出,並由電視台轉 播。其他合作過的樂團包括札格瑞獨奏家樂團、 東京愛樂管絃樂團、柏林廣播交響樂團、俄羅斯 國家愛樂交響樂團。出生於台灣的黃心芸,目前 定居紐約,是活躍的獨奏家,在歐美等地舉辦多 場獨奏會、室內樂,更多次受邀於介壽館音樂會 演出。黃心芸曾多年任教於紐約曼尼斯音樂院, 目前任教於費城寇蒂斯音樂院及紐約茱麗亞音樂 院,並致力於中提琴教育推廣。

At age 17, violist Hsin-Yun Huang was the youngestever winner of the gold medal at the Lionel Tertis International Viola Competition. In 1993, she took the top prize at the ARD Competition in Munich, winning at the same time Japan's prestigious Bunkamura Orchard Hall Award. She has appeared as a soloist with the Berlin Radio Symphony, the City of London Sinfonia, the Russian State Symphony, the Tokyo Philharmonic, the Zagrab Soloists, and the Bavarian Symphony Orchestra amongst many others. Recent highlights include concerto appearance in New York's Central Park and Alice Tully Hall, collaboration with the Guaneri, the Juilliard, the Brentano and the St. Lawrence String Quartets. Huang is also an eminent chamber musician. She has made appearances in numerous international chamber music f estivals, including the Marlboro Festival, the Rome Chamber Music Festival, the Vancouver Chamber Music Festival and the Moritzburg Festival in Dresden. She is also the professor at the Curtis Institute of Music and the Juilliard School.

林 惠 珍 畢 業 於 羅 馬 S. Cecilia 音 樂 院, 曾 獲 V. Bellini 國 際 聲 樂 大 賽 第 四 獎 , 以 及 入 選 G. B. Viotti 國際聲樂大賽決賽。1992 年曾於舊金山歌 劇院接受歌劇舞台演出訓練。曾擔任十餘齣歌劇 之主要角色演出,包括普契尼《杜蘭朵公主》、 《蝴蝶夫人》、古諾《羅蜜歐與茱麗葉》、威爾 第《弄臣》、《法斯塔夫》、莫札特《魔笛》、 沃爾夫.費拉里《蘇珊娜的秘密》、雷昂卡發洛 《丑角》,並曾為當代創作歌劇世界首演,包 括錢南章的《雷雨之夜》、《畫魂》 ; 楊耀章和 Frank Maus 的《萬里長城》、馬水龍《霸王虞 姬》、郭芝苑《許仙與白娘娘》;蔡盛通《逐鹿 傳說》。歌劇之外,其他聲樂曲目涵蓋巴洛克至 二十世紀之藝術歌曲、安魂曲等。現為國立臺北 藝術大學音樂學系專任教授。

Ggraduated from Conservatorio di Santa Cecilia at Roma in Italy, Mewas has been praised by her clear and sweet voice. She made her recital debut at Weill Recital Hall at New York in 1989. Since then she has sung various opera leading roles such as Liù and Cio-Cio San of Puccini, Gilda of Verdi, Juliette of Gounod, Belinda of Purcell, Susanna of Wolf-Ferrari, Nedda of Leoncavallo among many others. In addition, she has also in the leading roles for several Chinese operas' world premiere, including Emperor and The Concubine by Ma Hsui-lung, The Great Wall by Yang Yao-chang and Frank Maus, La Peintre,Yu-Lin by Chien Nan-Chang. Lin is one of the most active sopranos both on opera production as well as in concert stage in Taiwan.

2013/12/31 & 2014/1/1

2013/12/31 & 2014/1/1 活躍於樂壇的女高音羅明芳畢業於美國紐約曼哈 頓音樂院聲樂碩士及義大利國立米蘭威爾第音樂 院聲樂家文憑。至今仍與旅義女高音朱苔麗教授 學習,期間對於演唱技巧與樂曲詮釋能力的精進, 具深遠的影響,開啟聲樂另一新境界。2011 年六 月受邀於美國洛杉機及聖地牙哥兩地獨唱會演出 深獲好評,2004 年至 2013 年與 NSO 合作歌劇 包括《唐.喬望尼》、《法斯塔夫》、《女人皆 如此》、《費加洛的婚禮》、《齊格飛》、《風 流 寡 婦 》、《 蝙 蝠 》 及《 修 女 安 潔 莉 卡 》 等。 2005 年至 2008 年與北市交合作演出歌劇《茶花 女》、《魔笛》、《糖果屋》及《強尼史基基》等。 目前任教於國立台灣藝術大學、實踐大學,並為 中華民國聲樂家協會會員。

Ming-Fang Lo obtained her master's degree from the Manhattan School of Music, in New York, and a vocalist diploma from the Conservatorio di G. Verdi di, in Milano, Italy. Lo won second prize at the American 1st International Vocal Competition and was invited to attend the winners' concert at New York's Carnegie Weil Hall. Lo's performances regularly bring her praise in the opera world. In recent years, she has worked with the National Symphony Orchestra (NSO), the Taipei Symphony Orchestra (TSO), the Taipei Opera Theater in many operas. Lo currently teaches at the National Taiwan University of Arts and Shih-Chien University. She is also a member of the Association of Vocal Artists of the R.O.C.

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翁若珮 次女高音 Jo-Pei Weng Mezzo-soprano

王典 男高音 Fernando Wang Tenor

巫白玉璽 男中音 Wu Bai-Yu-Hsi Baritone

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2013/12/31 & 2014/1/1 翁若珮於 2005 年取得美國約翰霍普金斯大學琵 琶蒂音樂院碩士文憑,同年 10 月更獲得第四屆 建華愛樂古典菁英聲樂首獎。2007 年 5 月赴日 本橫須賀參加第十二屆新聲歌唱大賽,榮獲亞洲 區優勝。曾參與重要演出包括馬斯卡尼歌劇《鄉 村騎士》;浦契尼歌劇《修女安潔莉卡》、《強 尼史基基》、《蝴蝶夫人》、《瑪儂.雷斯柯》; 漢普丁歌劇《韓賽與葛麗特》;華格納歌劇《尼 貝龍根指環》;莫札特歌劇《魔笛》、《費加洛 婚禮》;小約翰史特勞斯歌劇《蝙蝠》;韓德爾 神劇《猶大馬加比斯》、《彌賽亞》、《所羅門》 等,並於金希文歌劇《黑鬚馬偕》及錢南章歌劇 《畫魂》世界首演中擔綱演出。2012 年她獲國立 臺北藝術大學頒發傑出校友獎。

In 2005, Jo-Pei Weng received her Master of Music degree in Vocal Performance from the Peabody Conservatory of Johns Hopkins University in Baltimore, and won the first prize of the Young Artists Show Case from Bank SinoPac. Weng is also the winner of the 12 th New Voice competition (Asia region) in Yokosuga Japan in 2007. Her oratorio credits include performances with the Taipei Gloria Oratorio Choir, Moment Musical Orchestra, Taipei Symphony Orchestra and Taipei National University of the Arts, Peabody Institute, Baltimore Concert Singners. As an opera singer, Weng has performed the role of Principessa from Puccini's Suor Angelica , Zita from Gianni Schicchi , Suzuki from Madama Butterfly , and many other roles. She was awarded the Outstanding Alumni Award by National Taipei University of the Arts in 2012.

2013/12/31 & 2014/1/1 2014/7/16,18, 20 王典畢業於中國文化大學及國立盧森堡音樂院, 1999 年以第一名成績取得盧森堡音樂院兩項最 高演唱文憑。1998 年應男高音多明哥之邀,於 萬人露天演唱會中與多明哥同台演唱威爾第之二 重唱。王典具備少有的華美音色及寬廣音域,在 辛永秀、Arrigo Pola、Gianni Raimondi、Ionel Pantea、Camille Kerger、Edoardo Lanza 等多 位大師指導下,技巧更臻完備。曾獲得 1994 年 香港亞洲聲樂大賽第四獎、1996 年義大利 Santa Margarita International Vocal Competition 第一 獎。他於台灣、盧森堡演唱之《波西米亞人》、《蝴 蝶夫人》、《浮士德》等皆獲得高度讚賞。溫暖 而澄澈的音色加上完整的技巧及豐沛的涵養,使 他的神劇演唱如《彌賽亞》、《以利亞》等皆令 人為之動容。亦曾演唱多部清唱劇及彌撒曲,並 多次演唱異常艱難的卡爾.奧福的《布蘭詩歌》。

Fernando Wang graduated from Chinese Culture University and Luxembourg Conservatory of Music. In 1999, Wang also acquired highest degree in diplomas in singing of Chant and Art lyric categories from Luxembourg Conservatory of Music. In 1998, he was invited by Placido Domingo to sing the duet from Verdi's Macbeth in his open-door concert. Under the guidance of Yun-Hsio Hsin, Arrigo Pola, Gianni Raimondi, Ionel Pantea, Camille Kerger and Edoardo Lanza, he has perfected his skills that won him many awards, among them are No. 4 in 1994's Hong Kong Asian Singing Competition, Laureate in 1996's Santa Margarita International Vocal Competition, Italy, to name but a few. Wang specializes in Bel Canto operas, but he can take on parts by spinto tenors with ease as well. Wang has also proved himself to be an excellent oratorio singer with his warm timbre, well-informed vocal technique, and rich cultural background.

2013/12/31 & 2014/1/1 「一位具優越成就的聲樂家,兼具機智敏捷而自 信。」《台北時報》(Taipei Times) 的藝文評論 曾如此讚譽巫白玉璽的演出。男中音巫白玉璽曾 為多屆國內音樂比賽及台北市傳統藝術季民歌大 賽首獎得主。1989 年獲選為國家戲劇院歌劇工作 室成員,並隨導演 Bernhard Hermich、Winfried Bauerfeind 及唱法指導 Joseph Giardina、Herman Bauer、Frank Maus 等教授研習歌劇理論及舞台 表演,並同時展開職業演唱工作。1996 年以幾 近滿分取得義大利國立米蘭威爾第音樂院演唱文 憑,回國後與國家交響樂團、台北市立交響樂團、 台北市立國樂團、國立台灣交響樂團、台北愛樂 交響樂團、高雄市立交響樂團、台北樂興之時管 絃樂團等有多次合作經驗,多年來累積上百場次 的演出。目前任教於實踐大學音樂系、國防大學 應用藝術系及新店高中音樂班。

The impressive effect of his full, resounding voice and natural ease on stage have made Wu Bai-Yu-Hsi one of the most captivating performers in Taiwan. He graduated from the Milan National Academy of Music, Italy, in 1996. He received many invitations to perform while in Italy, and was received enthusiastically by Italian audiences. He was honored by the Opera Association of Bergamo with the award of ''Best Opera Singer'' in 1994. Wu has 25 years of experience performing both in Taiwan and around the world. He has performed with many well-known conductors, symphonies, and choruses.


葉展毓 男中音 Chan-Yu Yeh Baritone

王佩瑤 聲樂指導 Pei-Yao Wang Vocal coach

簡文彬 指揮 Wen-Pin Chien Conductor

2013/12/31 & 2014/1/1 葉展毓畢業於東海大學音樂研究所,曾師事徐 以 琳, 陳 振 芳 老 師。 曾 獲 世 華 聲 樂 大 賽 Paolo Silveri 美聲特別獎及第四名,全國學生音樂比賽 男中低音組冠軍、聲樂家協會南海扶輪社聲樂類 獎學金第一名以及德文藝術歌曲獎學金甄選第二 名。與 NSO 國家交響樂團演出《跨 / 新年音樂會 一威爾第之夜》,飾演《阿伊達》中祭司 Ramfis 一角,演出原住民歌劇《逐鹿傳說》飾演巫師 Rahan 一角。與東海大學歌劇團合作飾演莫札特 《費加洛婚禮》Figaro 與 Antonio 二角。擔任過 貝多芬《莊嚴彌撒》、韓德爾《彌賽亞》選粹男 低音獨唱以及布魯克納《感恩讚歌》男低音獨唱。 為中華民國 2013 聲樂家協會年度新秀,目前為 中華民國聲樂家協會會員。

Graduated from the Master program in Voice at Tunghai University , where Chan-Yu Yeh studied with Dr. Hsu YiLin. Yeh is a current member of the Association of Vocal Artists. Yeh won the Fourth Prize and also received the Special Prize of Paolo Silveri for Bel Canto Singing in the Mondial Chinese Vocalist Concours ,and also awarded the first prize of National Student Competition of Music, first prize of AVA Nanhai Rotary Scholarship Awards Competition in Vocal Music and second prize of German Lieder Scholarship Awards Competition. In addition, he was selected as one of the 2013 AVA New Voices.He played as Rahan in The Legend of Deaar Hunting, Ramfis in Aida , Figaro and Antonio in Le Nozze di Figaro. Yeh also performed as a soloist in Beethoven's Missa Solemnis, Handel's Messiah, and Bruckner's Ten Deum Ladamus.

2013/12/31 & 2014/1/1 王佩瑤出生於台北,五歲習琴,八歲即登台演出。 小學畢業後以資賦優異兒童身份出國留學,先後 以全額獎學金和優異的表現畢業於美國寇蒂斯音 樂院和耶魯大學研究所,於耶魯大學就讀時雙修 音樂和建築科系。以詩人般的獨特風格和細膩 的詮釋,受邀於全世界之各大廳院演出。20042007 年受聘為林肯中心長駐室內樂鋼琴家,為 台灣唯一獲此殊榮之鋼琴家。王佩瑤於 2006 年 起受聘為紐約大都會歌劇院之聲樂指導,合作過 之世界知名聲樂家和指揮家不計其數。其參與製 作 並 發 行 DVD 的 歌 劇《 原 子 彈 之 父 》(Doctor Atomic) 於 2012 年 2 月榮獲美國葛來美最佳歌 劇錄音獎。2012 年起,每週一在漢聲電台頻道分 享個人音樂的獨特經歷與見聞,普獲好評。

Born in Taipei, at the age of 12 Pei-Yao Wang was invited to study at the Curtis Institute of Music, where she worked with Seymour Lipkin and Institute Director Gary Graffman. She then studied with Claude Frank at Yale University, where she received the Master of Music degree, and also pursued a concentration in architecture. For several years she was under the tutelage of celebrated pianist Richard Goode. She has worked with noted conductor throughout the world, such as James Levine, New York Philharmonic Conductor Alan Gilbert to name a few. As part of the production team at the Metropolitan Opera, the noted opera production of Doctor Atomic by John Adams won a Grammy Award for Best Opera Recording in February of 2012.

2014/2/22 簡文彬畢業於國立臺灣藝術大學鍵盤組,國立維 也納音樂暨表演藝術大學指揮碩士。1995 年於以 色列榮獲首屆伯恩斯坦指揮大賽特別獎。1996 年 起擔任德國萊茵歌劇院駐院指揮迄今,並於 1998 至 2004 年 擔 任 日 本 太 平 洋 音 樂 節 常 任 指 揮。 2001 至 2007 年任 NSO 音樂總監。簡文彬除以 歌劇指揮身分,受邀於奧地利、荷蘭、德國及瑞 士等地劇院指揮演出,也客席指揮包括奧地利、 義大利、捷克、俄國、法國、日本、德國、香港 及中國等地交響樂團。2009 年與導演 Christoph Nel 推出荀白克歌劇《摩西與亞倫》新製作,被 德國重要媒體及評論譽為該劇院近十年來最成功 的製作。2010 年帶領德國萊茵歌劇院於德國魯爾 區「2010 年歐洲文化首都」,演出德國作曲家 亨策(Hans Werner Henze)歌劇《費朵拉》。 2012 年受邀指揮英國愛樂管絃樂團,並擔任奧地 利 Schwaz 現代音樂節開幕音樂會指揮。

Kapellmeister of the Deutsche Oper am Rhein (since 1996/1997 season), Resident Conductor of the Pacific Music Festival in Japan (1998-2004) and Music Director of the National Symphony Orchestra of Taiwan (20012007). Wen-Pin Chien graduated from the National Taiwan Academy of Arts summa cum laude (1988) with major in piano, and gained his master's degree in conducting at the National University for Music and Performing Arts in Vienna (1994). He won the first prize at the International Conducting Competition La Bottega, Treviso (1992), Douai (1994), and the only Special Mention in the first Leonard Bernstein Jerusalem International Conducting Competition, Israel (1995). As a guest conductor, Chien has worked with the Wiener Kammeroper, the Nederlands Opera, Hamburgische Staatsoper, Komische Oper Berlin, Opernhaus Graz, Theater Bonn and Grand Théâtre de Genève.

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吳巍 笙 Wu Wei Sheng

麥可.桑德林 指揮 Michael Sanderling Conductor

阿雷西.奧格林卓克 雙簧管 Alexei Ogrintchouk Oboe

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2014/2/22 吳巍是當代活躍於國際樂壇的現代派笙演奏家, 經常與世界頂尖指揮及管絃樂團合作,包括長野 健與柏林愛樂、杜達美與洛杉磯愛樂、鄭明勳與 法國國家廣播交響、伊蘭.沃可夫與 BBC 交響、 蘇珊.瑪姬與斯德哥爾摩皇家愛樂等。為新作之 世界首演曲目超過二百餘首 ( 十首笙協奏曲 ),包 括約翰.凱吉、陳銀淑、細川俊夫、朱卡.蒂耶 蘇、約格.魏德曼、譚盾、陳其鋼、郭文景、施 奈德等作曲家作品。曾獲兩屆德國 Musica Vitale 首獎、德國世界音樂最高獎 Global Root、2011 年愛丁堡國際藝術節先驅天使獎的肯定。1993 畢 業於上海音樂學院,任上海民族樂團笙獨奏家。 1995 年獲 DAAD 獎學金於柏林漢斯 - 艾斯勒音 樂學院深造。2013 榮獲上海東方學者稱號,受聘 為上海音樂學院特聘教授。

Born in China, Wu Wei was involved with many orchestras including Berlin Philharmoniker under Kent Nagano, Orchestre philharmonique de Radio France under Myung-Whun Chung, Los Angeles Philharmonic Orchestra under Gustavo Dudamel, BBC Symphony Orchestra under Ilan Volkov, Royal Stockholm Philharmonic Orchestra under Susanna Mälkki. He has performed world premiere over 200 compositions (10 Concerto for Sheng and Orchestra) by Unsuk Chin, Toshio Hosokawa, Jukka Tiensuu, Jörg Widmann, Tan Dun, Chen Qigang, Guo Wenjing, Enjott Schneider etc. He is winner at Musica Vitale, Global Root and 2011 Herald Angel Award by Edinburgh Festival. 1993 graduated from the Shanghai Conservatory and soloist at Shanghai Chinese Orchestra. In 1995 he received DAAD scholarship to study at Academy of Music Hanns Eisler Berlin. In 2013, Wu is awarded the title of Shanghai Oriental scholar and is hired as Distinguished Professor of the Shanghai Music Conservatory.

2014/3/7 麥可.桑德林出生於柏林,在柏林受教育,為已 故指揮大師庫爾特.桑德林的么子。過去十年以 來,桑德林已竄升為同輩中極受歡迎的指揮家之 一。他指揮過蘇黎世音樂廳管絃、巴伐利亞廣播、 伯恩交響、德勒斯登國家交響、柏林音樂廳交響、 史特拉斯堡愛樂、荷蘭愛樂等交響樂團。從 2006 至 2010 年,他擔任波茨坦室內樂學院的首席指 揮暨藝術總監,與該團錄製了許多專輯,包括為 索尼古典錄製的蕭斯塔科維契室內交響曲集。自 2011/2012 樂季始,麥可接任德勒斯登愛樂首席 指揮一職。在新樂季中,他將指揮萊比錫布商大 廈管絃、科隆西德廣播交響、班貝格交響以及倫 敦的愛樂管絃樂團。

Born and educated in Berlin, Michael Sanderling is the youngest son of conductor Kurt Sanderling. Throughout the past decade, he has become known as one of the most sought-after conductors of his generation. Sanderling has appeared with reputable orchestras, among them the Tonhalle-Orchester Zürich, the Bavarian Radio Symphony Orchestra, the Staatskapelle Dresden, the Konzerthausorchester Berlin, the Bern Symphony Orchestra, the Orchestre Philharmonique de Strasbourg and the Netherlands Philharmonic Orchestra. From the 2011/12 season, he is serving as chief conductor of the Dresden Philharmonic. As artistic director and chief conductor of the Kammerakademie Potsdam between 2006 and 2010, Sanderling has made international guest appearances and recorded several CDs with the ensemble, including a recording of the chamber symphonies of Dmitri Shostakovich for SONY Classical. In forthcoming seasons he will also give a series of important debut performances such as with the Gewandhausorchester Leipzig, the WDR Symphony Orchestra Cologne, the Bamberger Symphoniker, and the Philharmonia Orchestra London.

2014/3/7 阿雷西.奧格林卓克從十三歲開始便在世界各地 演奏,至今仍是當代最出色的雙簧管演奏之一。 畢業自莫斯科格涅辛音樂院及巴黎音樂院,為日 內瓦國際音樂大賽雙簧管首獎得主,並拿下兩座 法國古典音樂大獎;英國廣播公司的「新世代」 獎、BBT 基金會大獎、德國古典回聲的「明日之 星」等獎座也都是奧格林卓克的囊中物。奧格林 卓克二十歲時,被指揮大師葛濟夫欽點為鹿特丹 愛樂雙簧管首席;2005 年,轉任為荷蘭皇家大會 堂管絃樂團雙簧管首席。除了樂團演奏,奧格林 卓克亦是位極受歡迎的獨奏及室內樂演奏家,曾 與許多知名音樂家如克萊曼、魯普、夸斯托夫合 作。奧格林卓克從 2011 年開始,於日內瓦音樂 院執教。

Alexei Ogrintchouk is one of the most outstanding oboists of our time and has been per for ming worldwide since the age of 13. Graduated from the Moscow Gnessin School of Music and the Paris Conservatoire, he has received several awards, including the 1 st prize at the Geneva International Music Competition and two ''Victoires de la Musique'' in France. The BBC New Generation, Borletti Buitoni Trust and ECHO Rising Stars have all awarded him their most coveted prizes. Already appointed principal oboist of the Rotterdam Philharmonic aged 20 by Valery Gergiev, Ogrintchouk has been principal oboist of the Royal Concertgebouw Orchestra since 2005. He is also much in demand as a recitalist and chamber musician and has performed with many distinguished artists such as Gidon Kremer, Radu Lupu and Thomas Quasthoff. Alexei Ogrintchouk has been professor of oboe at the Geneva Conservatoire since 2011.


莉莉亞.齊柏絲坦 鋼琴 Lilya Zilberstein Piano

鮑.史科弗斯 男中音 Bo Skovhus Baritone

安德烈.迪瑞德 指揮 André de Ridder Conductor

2014/3/21 俄羅斯鋼琴名家齊柏絲坦在 1987 年贏得了布梭 尼鋼琴大賽金牌後,五年間該獎項未產生第二位 金牌得主。1991 年,齊柏絲坦首次與柏林愛樂合 作,在阿巴多指揮下登台演出,奠定了他們長期 的合作關係。齊柏絲坦曾經與國際間各大管絃樂 團共同演出,包括芝加哥交響、倫敦交響、皇家 愛樂以及德勒斯登國家交響樂團,並曾與指揮家 如畢契科夫、杜達美、艾森巴哈、李汶與提森. 湯瑪斯同台合作。除了與阿格麗希發行布拉姆斯 雙鋼琴奏鳴曲外,也曾為德國 DG 唱片灌錄過八 張唱片,其中包括與柏林愛樂及阿巴多合作的拉 赫瑪尼諾夫第二、三號鋼琴協奏曲。自 2009 年 起,齊柏絲坦為漢堡歌劇暨戲劇大學教授。

Lilya Zilberstein got her first taste of international success in 1987 when she won the Busoni Competition in Bolzano. Her victory was a sensation – it took five years before the first prize was even awarded again. In 1991, Zilberstein made her debut with the Berlin Philharmonic Orchestra under Claudio Abbado, which formed the basis of a long-term cooperation. In the meantime she has performed with the world's great orchestras, including the Chicago Symphony Orchestra, the London Symphony and the Royal Philharmonic Orchestra as well as the Staatskapelle Dresden, under the direction of conductors such as Semyon Bychkov, Gustavo Dudamel, Christoph Eschenbach, James Levine, and Michael Tilson Thomas. In addition to a recording of the Brahms sonata for two pianos with Martha Argerich released by EMI, Zilberstein has recorded eight CDs for Deutsche Grammophon, including the Second and Third Piano Concertos by S. Rachmaninoff (Abbado, Berlin Philharmonic Orchestra). Since 2009, Zilberstein is professor at the Hamburg University of Music and Theatre.

2014/3/28 丹麥男中音鮑.史科弗斯,曾於奧胡斯音樂院、 哥本哈根皇家歌劇學院以及紐約研習聲樂;經常 於維也納國家歌劇院、維也納金色大廳及維也納 音樂廳登台演唱。1997 年,史科弗斯獲得奧地利 官方頒贈「室內樂聲樂家」榮銜。除了在歐美與 日本一流的歌劇院或樂團演出外,史科弗斯亦致 力於藝術歌曲之演唱,並被公認為是當代最優秀 的藝術歌曲詮釋者之一,受邀至各個著名的音樂 節及音樂重鎮演唱。著名鋼琴家德以志、弗拉達、 海夫里格、布朗夫曼、安斯涅、艾森巴哈及巴倫 波因等人均曾擔任過他的聲樂伴奏,演唱足跡遍 及歐洲、美洲及遠東各國。

Born in Denmark, Bo Skovhus studied at the Music College of Aarhus, at the Royal Academy for Opera of Copenhagen and in New York. He regularly appears at the Vienna State Opera, the Vienna Musikverein and the Vienna Konzerthaus. In 1997, the title of an Austrian ''Kammersänger'' was bestowed on him. Besides his performing with the leading opera houses and orchestras in Europe, America and Japan, Skovhus devotes a large part of his time to Lieder recitals. The artist is considered as one of the top Lieder interpreters of his generation and has been invited to the important festivals and music centres all over the world. Bo Skovhus is appearing in recitals partnered by pianists such as Helmut Deutsch, Stefan Vladar, Andreas Haefliger, Yefim Bronfman, Leif Ove Andsnes, Christoph Eschenbach and Daniel Barenboim. In concert, Bo Skovhus has performed with the most distinguished orchestras throughout Europe, the U.S., and the Far East.

2014/4/11 安德烈.迪瑞德曾於維也納及倫敦的音樂學院求 學,指揮先後師承列奧波德.海格及柯林.戴維 斯爵士。音樂院畢業後先成為伯恩茅斯交響樂團 的「年輕駐團指揮」及海牙管絃樂團副指揮。迪 瑞德博古通今,素以提出大膽創新的曲目著稱。 上個樂季,他在倫敦巴比肯中心指揮科隆愛樂與 德國電子音樂團體「火星鼠」及科隆現代樂團「音 樂工廠」演出,並在芝加哥交響樂團規劃的「新 音樂」系列與該團首度合作。迪瑞德指揮過的 樂團包括英國廣播、布瑞頓交響、特隆赫姆交響 ( 挪威 )、海牙交響以及薩爾茲堡室內樂團,曾在 BBC 逍遙音樂節、曼徹斯特國際藝術節、威尼斯 雙年展、雪梨音樂節等多處演出。

André de Ridder studied at the Music Academies of Vienna and London, under Leopold Hager and Sir Colin Davis. He was Young Conductor in Association with the Bournemouth Symphony Orchestra and also held the position of Assistant Conductor at the Hallé Orchestra. He has become especially known for his bold programming and blurring of traditions; last season he appeared at the Kölner Philharmonie and London's Barbican Centre with electronica duo Mouse on Mars and Musikfabrik, following their initial collaboration on Chicago Symphony Orchestra's MusicNOW series. De Ridder has collaborated with orchestras including the BBC Symphony, the Britten Sinfonia, the Trondheim Symphony, the Residentie Orkest Den Haag, and the Camerata Salzburg. In addition, he appears regularly at international festivals, among them the BBC Proms, Manchester International Festival, Venice Biennale and Sydney Festival, where he is Artist in Residence in 2013.

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2013 14 SEASON

尤根.范雷彥 長號 Jörgen van Rijen Trombone

加布里耶.費爾茲 指揮 Gabriel Feltz Conductor

約翰尼斯.莫瑟 大提琴 Johannes Moser Cello

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2014/4/11 尤根.范雷彥現任荷蘭皇家大會堂管絃樂團長號 首席,專精於巴洛克長號及現代長號之演奏。范 雷彥曾於歐洲各國以及美國、加拿大、日本、中 國、韓國、蘇俄、新加坡及澳洲演出,與皇家大 會堂管絃、捷克愛樂、荷蘭交響樂團合作協奏曲。 2004 年,范雷彥榮獲荷蘭文化部頒發的「荷蘭音 樂獎」,此獎為荷蘭官方表揚古典音樂成就的最 高榮耀。2006 年,並榮獲英國專門支持古典音樂 新星的 BBT 基金會大獎。此外,許多作曲家亦為 范雷彥譜寫長號作品,其中包括兩首長號協奏曲: 一首是由皇家大會堂管絃樂團委託荷蘭作曲家費 爾貝所作,另一首則是由 BBT 基金會委託芬蘭作 曲家艾賀所作,由范雷彥與英國 BBC 交響於荷蘭 及芬蘭舉行首演。范雷彥目前錄有三張長號專輯, 皆由荷蘭海峽經典唱片公司製作發行。

Principal trombonist of the Royal Concertgebouw Orchestra, Jörgen van Rijen is a specialist on both the modern and baroque trombone. He has performed as a soloist in most European countries and in the United States, Canada, Japan, China, Korea, Russia, Singapore and Australia, with orchestras including the Royal Concertgebouw Orchestra, the Czech Philharmonic, and the Netherlands Symphony Orchestra. Van Rijen was awarded the Netherlands Music Prize in 2004, the highest distinction in the field of music, by the Dutch Ministry of Culture. In 2006 he received the prestigious Borletti-Buitoni Trust Award. Many new pieces have been written for him, including a trombone concerto by Theo Verbey, commissioned by the Royal Concer tgebouw Orchestra and a trombone concerto by Kalevi Aho, commissioned by the Borletti-Buitoni Trust with concerts with the BBC Symphony Orchestra and orchestras in Holland and Finland. He has released 3 CDs on the label Channel Classics.

2014/4/18 1971 年出生於柏林,德國指揮加布里耶.費爾 茲於 2004 年接任斯圖加特愛樂首席指揮一職; 2008 年,應聘為瑞士巴賽爾劇院首席客座指揮; 2013/14 樂季,他將出任德國多特蒙德歌劇院音 樂總監。費爾茲指揮過許多一流樂團,包括德勒 斯登國家交響、巴伐利亞廣播、德意志交響、柏 林音樂廳交響、班貝格交響、巴賽爾交響、安特 衛普法蘭德斯歌劇院管絃、貝爾格勒交響、愛爾 蘭國家交響、韓國廣播交響以及中國國家交響樂 團等。他錄製的曲目兼收並蓄,為中生代指揮中 的佼佼者。2007 年,費爾茲展開斯圖加特愛樂錄 製馬勒交響曲全集的計畫,演奏錄音由德瑞爾 蓋多唱片公司製作發行。

Born in 1971 in Berlin, Gabriel Feltz is the chief conductor of the Stuttgart Philharmonic Orchestra since 2004. In addition, he has taken over the position as Principal Guest Conductor at the Basel Theatre in 2008. From the season 2013/14, Gabriel Feltz will be the General Music Director of the Dortmund Opera. Gabriel Feltz has conducted leading orchestras in Germany and abroad such as the Staatskapelle Dresden, the Bavarian Radio Symphony Orchestra, t h e D e u t s c h e s S y m p h o n i e - O rc h e s t e r B e r l i n , Konzerthausorchester Berlin, Bamberger Symphoniker, Sinfonieorchester Basel, Orchestra of the Vlaamse Opera Antwerpen, Belgrade Philharmonic Orchestra, RTE National Symphony Orchestra (Ireland), KBS Symphony Orchestra Seoul as well as China National Symphony Orchestra. The extensive Discography of Gabriel Feltz makes him to one of the outstanding conductors of his generation. In 2007 Gabriel Feltz started the recording of all Mahler Symphonies (DreyerGaido) with the Stuttgart Philharmonic Orchestra.

2014/4/18 約翰尼斯.莫瑟,1979 年出生於一個音樂世家, 擁有德國及加拿大雙重國籍。八歲開始學習大提 琴,並投入名師大衛.葛林格斯門下習藝。2002 年,於柴科夫斯基國際大賽拿下首獎和《洛可可 主題變奏曲》詮釋特別獎。莫瑟曾與許多頂尖樂 團合作,如柏林愛樂、紐約愛樂、洛杉磯愛樂、 芝加哥交響、倫敦交響、巴伐利亞廣播交響、皇 家大會堂管絃樂團等;並與樂壇重量級指揮包括 慕提、馬捷爾、楊頌斯、葛濟夫、祖賓.梅塔、 魏瑟莫斯特、提勒曼、布列茲、帕佛.亞維等合 作。他的演奏錄音除了榮獲兩座德國古典回聲與 德國唱片樂評大獎外,亦入選「今日經典」樂評 網站的前十大古典專輯。莫瑟目前任教於德國科 隆音樂院。

Johannes Moser has performed with the world's leading orchestras such as the Berliner Philharmoniker, the New York and Los Angeles Philharmonics, the Chicago Symphony and London Symphonies, the Royal Concertgebouw Orchestra, and the Bavarian Radio Symphony Orchestra. He works regularly with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Franz Welser-Möst, Christian Thielemann, Pierre Boulez and Paavo Järvi. He has received two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik for his recordings, which were ranked among Classics Today's Top 10 CDs. Born into a musical family in 1979 as a dual citizen of Germany and Canada, Moser began studying the cello at the age of eight and became a student of David Geringas. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations . He holds a professorship in Cologne, Germany.


傑拉德.史瓦茲 指揮 Gerard Schwarz Conductor

弗洛里安.烏利希 鋼琴 Florian Uhlig Piano

亞歷山大.薩洛 鋼琴 Alexandre Tharaud Piano

2014/5/4 美國指揮家傑拉德.史瓦茲,現任美國明星管絃 樂團、北卡羅萊納州東岸音樂節音樂總監,西雅 圖交響樂團榮譽指揮。他曾任紐約莫札特音樂節 管絃樂團、皇家利物浦愛樂、洛杉磯室內樂團、 紐約室內交響、西雅圖交響樂團之音樂總監。客 席指揮過柏林廣播交響、倫敦交響、蒙特婁交響、 新加坡交響、舊金山交響、明尼蘇達管絃、費城 管絃、法國國家交響、聖馬丁學院等樂團。史瓦 茲獲頒的獎項不可勝數,包括兩座艾美獎、十三 次葛萊美獎提名、六座 ASCAP ( 美國作曲家、作 家與出版商協會 ) 傑出音樂成就獎、《立體聲評 論》、《喝采》古典音樂評論雜誌的多項讚譽, 是史上第一位榮登《音樂美國》雜誌「年度指揮 風雲榜」的美國籍指揮。史瓦茲灌錄發行的唱片 數量繁多,約達三百五十張,分別由拿索斯、哥 倫比亞 / 索尼、EMI、RCA 等唱片公司發行。

American conductor Gerard Schwarz serves as Music Director of the All-Star Orchestra and the Eastern Music Festival. He is also Conductor Laureate of the Seattle Symphony. His previous positions as Music Director include New York's Mostly Mozart Festival Orchestra, the Royal Liverpool Philharmonic, the Los Angeles Chamber Orchestra, the New York Chamber Symphony as well as the Seattle Symphony. As guest conductor he has collaborated with the orchestras, including the Berlin Radio, London, Montreal, Singapore, and San Francisco Symphonies; the Minnesota and Philadelphia Orchestras; the Orchestre National de France, and the Academy of St. Martin in the Fields. Schwarz has received hundreds of honors and accolades, including two Emmy Awards, 13 GRAMMY nominations, six ASCAP Awards and numerous Stereo Review and Ovation Awards. In addition, he was the first American named Conductor of the Year by Musical America . Schwarz's total discography numbers nearly 350 on labels such as Naxos, EMI, RLPO Classics, Columbia/ Sony and RCA.

2014/5/4 英國歷史悠久的《音樂評論》雜誌稱讚烏利希為 「年輕一輩中,極為獨特、極富有想像力的鋼琴 家」。烏利希出生於德國杜賽朵夫,先是跟隨鋼 琴大師佛耶特旺格學習,之後進入倫敦英國皇家 音樂學院就讀。1997 年,烏利希初次在倫敦巴比 肯音樂廳登台彈奏協奏曲,成為他職業演奏生涯 的起點,迄今他幾乎彈遍全球最富盛名的音樂廳。 烏利希合作過的樂團包括:英國廣播交響、德國 廣播愛樂、德勒斯登愛樂、慕尼黑交響、巴伐利 亞廣播室內樂團、斯圖加特室內樂團、維也納室 內樂團等。烏利希的演奏錄音由 EMI 及漢斯勒經 典唱片發行。他錄製過蕭斯塔科維契、舒曼為鋼 琴與管絃樂團所作的鋼琴作品全集,以及舒曼、 拉威爾的鋼琴獨奏曲集。自 2008 年起,烏利希 擔任約翰尼斯堡莫札特國際音樂節的藝術總監。

Florian Uhlig is "one of the most individual and imaginative young pianists of our time", hailed by the British magazine Musical Opinion . Born in Düsseldorf, Uhlig studied with Peter Feuchtwanger and continued his studies at the Royal College of Music and the Royal Academy of Music in London. He made his orchestral debut at the Barbican in London in 1997. Since then he has performed extensively at the world's foremost concert venues. He has appeared with orchestras such as the BBC Symphony Orchestra, the Deutsche Radio Philharmonie, the Dresden Philharmonic, the Munich Symphony Orchestra, the Bavarian Radio Chamber Orchestra, the Stuttgart Chamber Orchestra, and the Vienna Chamber Orchestra. He has recorded for EMI and Hänssler Classic, including complete works for piano and orchestra by Shostakovich and Schumann, as well as piano solo by Schumann and Ravel. Since 2008 Florian Uhlig is Artistic Director of the Johannesburg International Mozart Festival.

2014/5/16 亞歷山大.薩洛最新推出的鋼琴專輯《屋頂上的 牛》( 由維京 / EMI 古典唱片發行 ),重溫了法國 「狂熱年代」(Années Folles) 時期,巴黎最夯的 夜店所流行的音樂風格,在音樂圈刮起了一陣旋 風。薩洛曾與德國、英國、法國、加拿大、日本、 台灣、新加坡等地的交響樂團合作,並與布漢吉 耶、拉巴迪、德布戈斯、富爾內、普萊特、布魯涅、 閔可夫斯基、德內夫、弗洛爾等指揮家合作。薩 洛不僅精通法國經典作品,亦擅長演奏現代法國 作曲家如佩柯、浦松等人的當代鋼琴作品。2012 年 12 月,他在蘇黎世音樂廳為浦松的鋼琴協奏曲 舉行世界首演。2012 年 5 月,薩洛首演了名為《鋼 琴歌曲》的節目,收錄了一九六零至八零年代流 行歌曲的新編鋼琴作品。

Alexandre Tharaud's most recent CD for Virgin/EMI Classics, Le Boeuf sur le Toit , celebrating music making at the famous Cabaret in Paris during the Années Folles, has taken the music world by storm. Alexandre continues to perform worldwide with international orchestras in Germany, UK, France, Canada, Japan, Taiwan, Japan and Singapore, under the baton of Lionel Bringuier, Bernard Labadie, Rafael Frühbeck de Burgos, Jean Fournet, Georges Prêtre, Stefan Blunier, Marc Minkowski, Stéphane Denève and Claus Peter-Flor. His knowledge of French music extends beyond the main repertoire and includes contemporary composers such as Thierry Pécou and Gérard Pesson, whose concerto he premiered in December 2012 with the Tonhalle Orchestra Zurich. In May 2012, he premiered a new programme calld Pianosong , a selection of contemporary works composed after popular songs from the 1960s to 1980s.

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亨寧.克拉格魯德 小提琴 Henning Kraggerud Violin

劉孟捷 鋼琴 Meng-Chieh Liu Piano

陳銳 小提琴 Ray Chen Violin

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2014/5/25 小提琴家亨寧.克拉格魯德, 1973 年出生於奧 斯陸,以精準犀利的演奏風格揚名樂壇。他榮獲 挪威的葛利格音樂獎,2007 年獲頒西貝流士音樂 成就獎。他 2012 年最受矚目的演出包括臨時接 獲代打邀約,與指揮佩特連科及愛樂管絃樂團同 台演出,以及首次與洛杉磯愛樂合作於好萊塢碗 型劇場演奏。除此以外,亦包括與波昂貝多芬音 樂節管絃及波茲南愛樂 ( 波蘭 ) 樂團的首度合作, 與倫敦愛樂及英國哈雷管絃樂團的再度合作。克 拉格魯德對室內樂情有獨鍾,經常於聲譽崇隆的 國際音樂節中演出,如萊茵高音樂節、倫敦交響 樂團主辦的聖路克音樂節、BBC 音樂節的室內樂 系列等。2012 年 9 月,克拉格魯德擔任挪威瑞 瑟室內樂節藝術總監及特羅姆瑟室內樂團藝術總 監。他所使用的樂器為耶穌.瓜奈里 1744 年製 作的小提琴,由挪威 Dextra Musica AS 基金會 提供。

Born in Oslo in 1973, Henning Kraggerud is an artist of exquisite musicianship. He is a recipient of Norway's prestigious Grieg Prize and in 2007 was awarded the Sibelius Prize. His performance highlights in 2012 included stepping in at late notice with the Philharmonia Orchestra under Vasily Petrenko, and the Hollywood Bowl debut with the Los Angeles Philharmonic. Other highlights include returns to the London Philharmonic and Hallé orchestras, and debuts with the Beethoven Orchestra Bonn and the Poznan Philharmonic. With his strong commitment to chamber music, Kraggerud performs regularly at the major international festivals, including appearances at the Rheingau Festival and LSO St Luke's in the BBC's chamber concert series. Kraggerud is Co-Artistic Director of the Risør Festival of Chamber Music and from September 2012, Artistic Director of the Tromsø Chamber Orchestra. Henning Kraggerud plays on a 1744 Guarneri del Gesu, provided by Dextra Musica AS.

2014/6/7 出生於高雄,劉孟捷於十三歲進入寇蒂斯音樂學 院,前後向波雷、弗蘭克及索寇洛夫學習鋼琴; 並於十四歲獲得亞太少年鋼琴大賽冠軍,十六歲 時榮獲米耶克茲洛孟茲鋼琴比賽及史特拉汶斯基 分齡國際大賽首獎。劉孟捷曾在世界各地受邀獨 奏演出,並曾在艾森巴赫、杜達美與吉伯特指揮 下演出協奏曲。1993 年畢業於寇蒂斯音樂學院 時,也同時成為該校最年輕的教授。2002 年,劉 孟捷獲頒艾維理費雪職業大賞及費城音樂基金會 職業成就獎;2006 年受邀至芝加哥羅斯福大學擔 任專任鋼琴教授。2009 年秋,劉孟捷加入芝加哥 室內樂團,現並為該團之音樂總監,其演出被《芝 加哥古典樂評》讚譽為「完美無缺、謹慎平衡的 鋼琴演奏」。

Born in Kaohsiung, Taiwan, Meng-Chieh Liu was accepted by the Curtis Institute of Music at age thirteen to study with Jorge Bolet, Claude Frank, and Eleanor Sokoloff, and received first prizes in the Stravinsky, Asia Pacific and Mieczyslaw Munz piano competitions. He has performed throughout the world as a soloist in recitals and with orchestras under conductors Christoph Eschenbach, Gustavo Dudamel and Alan Gilbert. Since 1993, Liu served on the piano and chamber music faculties at the Curtis Institute of Music. In 2002, he received the Avery Fisher Career Grant and the Philadelphia Musical Fund Society Career Advancement Award, and in 2006, he joined the faculty at Roosevelt University. Liu also joined Chicago Chamber Musicians in the fall of 2009, and now serves as Artistic Director of the ensemble, where performances have already been acclaimed for his "faultless, discreetly balanced pianism" (Chicago Classical Review ).

2014/6/13 出生於台灣、生長於澳洲,陳銳於八歲時即獲邀 與昆士蘭愛樂管絃樂團同台獨奏表演,並於十五 歲時進入寇蒂斯音樂院。身為 2008 年曼紐因小 提琴大賽與 2009 年伊莉莎白女王國際小提琴大 賽之得獎者,陳銳已是現今最受矚目的年輕小提 琴家之一。他的首張唱片於 2011 年由索尼唱片 發行並獲得國際各大主要媒體包括《泰晤士報》、 《芝加哥論壇報》的熱烈好評,並成為「本週嚴 選推薦唱片」之一。近期,他將在卡內基廳、維 也納黃金廳、英國威格摩爾音樂廳、好萊塢露天 劇場及琉森音樂節中首次登台演出;另外也將在 夏伊指揮下與萊比錫布商大廈管絃樂團合作,以 及於艾森巴哈指揮下與石荷州音樂節交響樂團錄 製莫札特作品錄音。

Born in Taiwan and raised in Australia, he made his solo orchestral debut with the Queensland Philharmonic Orchestra when he was eight, and was accepted to the Curtis Institute of Music at the age of 15. As the Prize Winner of the Queen Elisabeth Competition (2009) and the Yehudi Menuhin Competition (2008), Ray Chen is among the most compelling young violinists today. Chen's premiere album Virtuoso , released worldwide on Sony Classical in January 2011, received glowing reviews from a range of major publications including The Times and Chicago Tribune , which named it the ''CD of the week''. Currently, he is looking forward to his debut performances at Carnegie Hall, Musikverein, Wigmore Hall, Hollywood Bowl and Lucerne Festival. Other highlights of the current season include his collaboration with Riccardo Chailly and the Gewandhaus Orchestra and an all-Mozart recording with Christoph Eschenbach and the SchleswigHolstein Festival Orchestra, featuring Ray's own cadenzas.


安東尼.皮拉瓦奇 導演 Anthony Pilavachi Stage director

妮娜.華倫 女高音 Nina Warren Soprano

羅斯維塔.穆勒 次女高音 Roswitha Christina Müller Mezzo-soprano

2014/7/16, 18, 20 安東尼.皮拉瓦奇生於賽普勒斯,定居德國科隆 已有二十六年之久。其導演之《尼貝龍指環》以 「近幾年最重要、最成功的製作」之姿獲得 2012 年 德 國 古 典 回 聲 大 獎。 皮 拉 瓦 奇 從 1987 年 到 1992 年間,擔任波昂歌劇院的助理總監與總監職 位,並於 1992 至 1995 年期間,擔任科隆歌劇 院的總監。從那時起,他共執導七十五齣歌劇, 並受邀至德國、歐洲與其他國家的歌劇院擔任客 座導演。他曾多次被《歌劇世界》雜誌提名,由 五十位歌劇評論家票選為「最佳歌劇導演」。他 享譽全球的《尼貝龍指環》獲得 2011 年德國錄 音獎的最佳 DVD 製作獎,以及古典回聲 2012 年 全球最佳歌劇 DVD 獎。

Born in Cyprus and has been living in Cologne/Germany for 26 years, Anthony Pilavachi is winner of the Echo Klassik Award 2012, for the ''most important, the most successful and most important Ring des Nibelungen production of the last years.'' He was the Assistant and House Director at the Bonn Opera House from 1987 to 1992 and the House Director at the Cologne Opera House from 1992 to 1995. Since then, he has staged 75 opera productions and proofed himself as a welcomed guest to many opera houses in Germany, Europe and abroad. Pilavachi has also been nominated many times by the Opernwelt Annual Magazin , and voted by 50 Opera Critics in the category ''Best Opera Director.'' His worldwide acclaimed Der Ring des Nibelungen was given the German Record Award 2011 as best DVD Production and also the Echo Klassik Award 2012 for the Best Opera DVD 2012 worldwide.

2014/7/16, 18, 20 妮娜.華倫以擅長詮釋困難的曲目著稱,她精彩 的演出包括《女武神》的布倫希德、《西部黃金 女郎》的米妮、《伍采克》的瑪莉、《費黛里奧》 的蕾奧諾拉、《托斯卡》、《莎樂美》與《顏如 花》的柯斯托妮卡等。曾參與譚盾《馬可波羅》 的世界首演,在慕尼黑、香港、阿姆斯特丹,以 及挪威的卑爾根 ( 為「索尼古典音樂」錄音 ) 演出。 在與漢堡歌劇院的首次合作中,演出齊姆林斯基 《坎道勒斯王》的妮西亞,該歌劇為「隨想曲唱 片公司」收錄發行,之後她亦於布宜諾斯艾利斯 與德國科隆歌劇院演出,並在林肯中心艾莉絲塔 利廳演出史帝芬.艾博特的《樹石》。2012/13 樂季,華倫第三次於紐約大都會歌劇院登台,演 出羅伯.勒帕吉的《尼貝龍指環》,及參與挪威 卑爾根國立歌劇院的譚盾歌劇《馬可波羅》。

Nina Warren is an internationally acclaimed artist known for her interpretations of the most demanding repertoire. Career highlights include Brünnhilde in Die Walküre , Minnie in La Fanciulla del West, Marie in Wozzeck, Leonore in Fidelio , Tosca , Salome , Kostelnička in Jenufa, and many others. Her world premieres include Tan Dun's Marco Polo in Munich, Hong Kong and Amsterdam, Bergen, Norway (recorded for Sony Classics), and her debut with Hamburg opera in the world premiere of Zemlinsky's Der König Kandaules as Nyssia, which was televised and recorded for the Capriccio label which she later reprised at the Teatro Colon and Cologne Opera, and Stephen Albert's Treestone at Alice Tully Hall. For 2012/13, she returned to the MET for the third consecutive season for the Robert Lepage's Ring, she reprises her world premiere roles in Tan Dun's Marco Polo with the Bergen National Opera of Norway.

2014/7/16, 18, 20 出生於慕尼黑,穆勒在 1995 年於慕尼黑音樂院 及薩爾茲堡莫札特大學以優等成績完成學業, 並曾獲奧地利文化部頒發「特殊榮譽獎」。穆 勒最受矚目的歌劇角色包括《費加洛婚禮》的 Cherubino、《糖果屋》的 Hansel、羅西尼《夏 布朗的馬蒂爾德》的 Edoardo、《賽爾維亞理髮 師》的 Rosina 以及李柏曼歌劇《太太學堂》的 Georgette 等。2007 至 2009 年間,她在呂貝克 歌劇院演唱時期,大大拓展了更艱難的角色,包 含《莎樂美》的希羅底 (Herodias),及《尼貝龍 指 環 》 中 的 Wellgunde、Siegrune 與 第 二 位 命 運之女,此製作並獲得 2012 年古典回聲大獎的 肯定。除歌劇演出外,穆勒亦特別致力於音樂會 古典曲目之演唱。自 2012/2013 樂季起,她成為 紐倫堡國家歌劇院的駐院歌手。

Born in Munich, Roswitha Christiua Müller completed her training in 1995 after studying at the city's musical academy and the Mozarteum University in Salzburg, graduating with honours. She was subsequently awarded the "onorary Prize" granted by the Austrian Federal Ministr y of Culture in Vienna. Her most successful parts include: Cherubino, Hansel, Edoardo in Rossini's Matilde di Shabran , Rosina, and Georgette in Liebermann's The School for Wives , and many others. During a period at the Lübeck Theatre (2007-2009), she expanded her repertoire, adding Herodias in Salome and Wellgunde, Siegrune and the second Norn in Der Ring des Nibelungen , which was awarded the 2012 Echo Prize. In addition to opera, Müller concentrates particularly on concert and classical singing. She is also a new ensemble member at the Nuremberg State Theatre from the 2012/13 season onwards.

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史都華.派特森 男高音 Stuart Patterson Tenor

安東尼歐.楊 男中音 Antonio Yang Baritone

艾希.凡魏 聲樂指導 Ansi Verwey Vocal coach

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2014/7/16, 18, 20 生於蘇格蘭,派特森在英國格拉斯哥學習聲樂, 師事卜立德、德斯德里與布福雷。最近的重要演 出包括柯芬園英國皇家歌劇院《維特》的舒密特、 馬賽歌劇院《伍采克》的納爾、里昂歌劇院《曼 儂·萊斯科》的舞蹈大師、巴黎喜歌劇院《阿西斯 與加拉蒂亞》的戴蒙與《迪冬》的雅伯 / 艾奈亞; 他亦在喜歌劇院演出《後宮誘逃》的佩德里洛、 《藥劑師》的塞普羅尼奧、《美麗的海倫》的帕 里斯、《狐狸》的公雞與《可憐的水手》的主角。 其他值得注意的演出包括在比薩威爾第歌劇院、 杜林皇家劇院、墨西哥城的國家美術宮、巴士底 歌劇院、雅典藝術節,以及德國呂貝克劇院之演 出。近期歌劇演出包括日內瓦歌劇院、洛桑歌劇 院、挪威新劇院,以及里昂歌劇院等之製作。

Born in Scotland, Stuart Patterson studied singing in Glasgow and with David Pollard, Claudio Desderi and Peggy Bouveret. He was a member of the Teatro Verdi di Pisa. His recent career highlights include SCHMIDT Werther Royal Opera House Covent Garden, NARR Wozzeck Opéra de Marseille, MAESTRO DI BALLO Manon Lescaut Opéra de Lyon, DAMON Acis and Galatea and IARBA/ ENEA La Didone Opéra Comique, where he also sang PEDRILLO Die Entführung aus dem Serail , SEMPRONIO Lo Speziale, PARIS La Belle Hélène, LE COQ Le Renard and Le Pauvre Matelot (title). Other notable engagements were with Teatro Verdi di Pisa, Teatro Regio di Torino, Palacio de Bellas Artes, Mexico City, Opéra de la Bastille, Athens Festival and Theater Lübeck. Current and future engagements include appearances at the Grand Théâtre de Genève, the Opéra de Lausanne, the Den Nye Opera, and the Opéra de Lyon.

2014/7/16, 18, 20 1974 年出生於南韓首爾,楊在首爾延世大學學習 聲樂。曾獲得多項聲樂比賽優勝,包括義大利提 芭蒂國際聲樂大賽的第三名、慕尼黑 ARD 國際 音樂大賽的第一名與觀眾票選獎,以及 2007 年 SWR 艾默里克斯莫拉才藝大獎的第一名。20082013 年 為 德 國 的 呂 貝 克 歌 劇 院 駐 院 歌 手, 於 2013/2014 樂季起加入紐倫堡國家劇院,將演出 佛旦、阿貝里希與傑爾蒙等角色。他的近期演出 包括:2010/2011 樂季首次於漢堡國家歌劇院演 出,2011/2012 樂季於漢堡演出波羅梅爾與克林 索的角色,並在雅諾夫斯基指揮下首次與柏林廣 播交響樂團演出。

Born in Seoul, South Korea in 1974, the baritone Antonio Yang first studied singing at Yonsei University in Seoul. His competition successes include third prize at the Renata Tebaldi International Singing Competition in Italy, first prize and audience prize at the ARD International Music Competition in Munich and first prize at the 2007 SWR Emmerich Smola Talent Competition. He has been a member of the ensemble at the opera house in Lübeck since 2008. In the 2010/2011 season Yang made his debut at the Hamburg State Opera. In the 2011/2012 season he returned to Hamburg in the roles of Borromeo and Klingsor and made his debut with the Radio Symphony Orchestra of Berlin under Marek Janowski. From the season 2013/2014, he will be member of the Staatstheater Nürnberg with roles as Wotan, Alberich and Giorgio Germont.

2014/7/16, 18, 20 出生於南非,艾希.凡魏於史德蘭博胥大學學習 鋼琴、管風琴以及大鍵琴。完成學業後在南非德 本、開普敦以及比勒陀利亞的歌劇院中擔任駐院 鋼琴伴奏暨聲樂指導。1995 年首次於德國威斯 巴登國家歌劇院參與歌劇《崔斯坦與伊索德》之 製作;自 1995 至 2009 年,凡魏任聘於漢諾威 國家歌劇院,並與導演漢斯 - 彼得.雷曼合作, 擔任其華格納歌劇製作之聲樂指導。自 2007 至 2009 年,凡魏在漢諾威國家劇院裡創立了「凡魏 的華格納工作坊」,其音樂會大受當地聽眾喜愛。 2010 年,凡魏受聘於法蘭克福歌劇院,並開始她 「凡魏的華格納」系列獨唱會。自 2012 年 9 月起, 她成為斯徒加特國立歌劇院的首席聲樂指導,並 持續其音樂會演出。

Born in South Africa, Ansi Verwey commenced her studies of the piano, organ and harpsichord at the University of Stellenhosch. After completion of her studies, she was appointed as repetiteur and vocal coach at the Durban Opera House, the Nico Malan Theatre of Cape Town, and the State Theatre Pretoria (1985-1995). In 1995, Verwey was engaged at the Staatstheater Wiesbaden, participating in her first production of Tristan and Isolde . From 1995 to 2009, she was engaged at the Staatstheater Hannover, working with director Hans-Peter Lehmann on Wagner's opera. From 2007 to 2009, she initiated the Verwey's Wagner Workshop during her engagement with the Staatstheater Hannover and its concerts were well-received by the local audience. In 2010, Verwey was engaged at the Frankfurt opera house, where she began her solo evenings of ''Verwegenes Zu Wagner''. Since September 2012, Verwey has been head of musical studies at the Staatstheater Stuttgart, continuing her concert appearances.


2013/10/19-20 2013/12/31 & 2014/1/1 2014/3/28

台北愛樂合唱團 Taipei Philharmonic Chorus 1972 年創團,1983 年聘請自美學成歸國,專攻合唱指揮的杜黑教 授擔任指揮。2008 年起,聘任古育仲為常任指揮,於 2010 年起, 聘任吳尚倫為常任指揮。1993 年嚴選團員 40 人成立「台北愛樂室 內合唱團」,每年皆獲邀參加國際重要音樂節之演出。曾與 NSO 合 作過威爾第《安魂曲》、馬勒「第二、三、八號交響曲」、孟德爾 頌《以利亞》、韓德爾《彌賽亞》等;更經常為國內作曲家作品首演, 如錢南章《馬蘭姑娘》、《佛教涅盤曲》、《娜魯灣第二號交響曲》、 馬水龍《無形的神殿》等;得獎錄音專輯不少,近期作品《世紀歸零》 獲第十四屆金曲獎最佳古典音樂專輯、演唱人、作曲人等三項肯定。

Taipei Philharmonic Chorus was founded in 1972 and, through the efforts of its previous conductors, has established an extensive repertoire and a reputation as one of the most prestigious choruses in Taiwan. Since it is one of the leading performing groups in Taiwan, the Taipei Philharmonic Chorus is awarded and sponsored by the Council for Cultural Affairs from 1994 to date as an "Outstanding Performing Groups". From the 140-voice chorus, a smaller 40-voice choir is selected to tour and to perform more select musical works. This group, known as "Taipei Philharmonic Chamber Choir" has an impressive history of overseas performances. The chorus and the chamber choir together have been collaborated or invited to perform with famous conductors and orchestras in many different festivals and countries.

國立實驗合唱團 Taiwan National Choir

2014/4/18

教育部於民國 74 年輔導成立國立實驗合唱團。自 2007 年起聘請 國際知名合唱指揮葛羅絲曼教授擔任音樂總監。曾應邀至全球十餘 國演唱,包括:美國、加拿大、法國、義大利、西班牙、日本、韓 國、新加坡、馬來西亞、泰國、澳洲、紐西蘭、夏威夷……等地。 2004、2008 年應聯合國教科文組織之國際音樂教育年會邀請,分 別赴西班牙、義大利演出。2011 年應邀至義大利參加洛雷托 (Loreto) 國際聖樂節,優異表現獲國際樂壇一致讚賞,身兼國家文化大使之 任務。

NSO Live 雲端音樂廳 主持人 焦元溥

好家庭聯播網 台北都會音樂台 FM 91.3 週日 20:00~21:00 ( 大台北地區 ) 古典音樂台 FM 97.7 週日 21:00~22:00 ( 大台中地區 ) 空中重現 NSO 音樂會實況 網路延續 NSO 音樂會感動 http://www.family977.com.tw/

Taiwan National Choir was established under the supervision of the Ministry of Education in 1985. Since 2007, Prof. Agnes Grossmann has become the music director of choir. The Taiwan National Choir has visited Korea, Singapore, Malaysia, France, the United States, Australia, New Zealand, Canada, Spain, and Hawaii, etc. in recent years. Then it had the honor to be the representative of Taiwan to perform in the annual conference for music education of UNESCO held in Spain in 2004 and in Italy in 2008.

「NSO 企 業快遞— 和古典樂 的美好相 遇」 不需樂理 不用五線 譜 心房不設 限 凡聚集 2 5 人以上 我們就把 古典樂快 遞到辦公 室 相關資訊 歡迎至 nso

.ntch.ed

u.tw 查詢

93


Discography of Taiwan Philharmonic, NSO 國家交響樂團錄音產品 下列錄音皆可於拿索斯網上唱片室 (Naxos Music Library) 聆聽,或於 ClassicsOnline 線上下載 實體 CD,請至 par.ntch.edu.tw/publish/ 線上訂購 To download: www.classicsonline.com/ To purchase: par.ntch.edu.tw/publish/

NSO LIVE

呂紹嘉與 NSO LIVE 2012 布魯克納:第四號交響曲《浪漫》 荀貝格:《佩利亞與梅麗桑》

指揮

October 2012

西貝流士:《圖奈拉之天鵝》

MU 120003

呂紹嘉

Shao-Chia Lü & NSO LIVE 2012 A. Bruckner: Symphony No. 4, Romantic / J. Sibelius: The Swan of Tuonela / A. Schoenberg: Pélleas und Mélisande Shao-Chia Lü, conductor

安東 • 布魯克納:第九號交響曲 指揮

根特 • 赫比希

May 2010 nso017

Anton Bruckner: Symphony No. 9 in D minor Günther Herbig, conductor

古斯塔夫 • 馬勒:第九號交響曲 指揮

根特 • 赫比希

May 2010 nso015-nso016

Gustav Mahler: Symphony No. 9 in D major Günther Herbig, conductor

古斯塔夫 • 馬勒:第六號交響曲 指揮

根特 • 赫比希

October 2009 nso011-nso012

Gustav Mahler: Symphony No. 6 in A minor Günther Herbig, conductor

呂紹嘉與 NSO LIVE

October 2008

蕭斯塔可維奇:第四號交響曲

指揮

呂紹嘉

小提琴

理查.史特勞斯:《英雄生涯》

nso007-8

李宜錦

Shao-Chia Lü & NSO LIVE D. Shostakovich: Symphony No. 4 / R. Strauss: Ein Heldenleben Shao-Chia Lü, conductor I-Ching Li, violin

簡文彬與 NSO LIVE 馬勒:第四號交響曲

指揮

簡文彬

January 2008

蕭斯塔可維奇:第八號交響曲

女高音

吳青

Shao-Chia Lü & NSO LIVE 94

G. Mahler: Symphony No. 4 / D. Shostakovich: Symphony No. 8 Wen-Pin Chien, conductor Ching Wu, soprano

nso005-6


樂典—珍藏當代台灣的聲音 樂典 08 -錢南章 指揮

呂紹嘉

June 2012

女高音

MD008

林孟君、林玲慧

The Voices of Taiwan 08: Nan-Chang Chien Shao-Chia Lü, conductor

Meng-Chun Lin, Ling-Hui Ling, soprano

樂典 07 -許常惠

March 2012 MD007

指揮 簡文彬 女高音 林慈音、陳美玲 男中音 林中光 臺北市立國樂團 台北愛樂合唱團 台北華新兒童合唱團

The Voices of Taiwan 07: Tsang-Houei Hsu Wen-Pin Chien, conductor Grace Lin, Mei-Lin Chen, soprano Chung-Kuang Lin, baritone Taipei Chinese Orchestra Taipei Philharmonic Choir Taipei HuaXin Children's Choir

樂典 06 -郭芝苑、徐頌仁 指揮

簡文彬、洪毅全

鋼琴

December 2011 MD006

許惠品

The Voices of Taiwan 06: Chih-Yuan Kuo & Sung-Jen Hsu Wen-Pin Chien / Darrell Ang, conductor

Vera Hui-Pin Hsu, piano

樂典 05 -蕭泰然 指揮

林望傑、簡文彬

April 2010

小提琴

林以信

大提琴

The Voices of Taiwan 05: Tyzen Hsiao Jahja Ling / Wen-Pin Chien, conductor

Joseph Lin, violin

熊士蘭

鋼琴

Lana Hsiung, cello

張巧縈

Chiao-Ying Chang, piano

樂典 04 -盧炎 指揮

簡文彬

MD005

April 2010

鋼琴

MD004

諸大明

The Voices of Taiwan 04: Yen Lu Wen-Pin Chien, conductor

Daming Zhu, piano

樂典 03 -賴德和 指揮

簡文彬

琵琶

December 2009 MD003

王乙曲

The Voices of Taiwan 03: Deh-Ho Lai Wen-Pin Chien, conductor

I-Chu Wang, pipa December 2009

樂典 02 -潘皇龍 指揮

簡文彬

MD002

邱火榮 & 亂彈嬌北管劇團

The Voices of Taiwan 02: Hwang-Long Pan Wen-Pin Chien, conductor

Chiu Huo-Rong & Beiguan Ensemble

樂典 01 -馬水龍 指揮

簡文彬

鋼琴

December 2009

林佳靜

古箏

黃好吟

梆笛

劉貞伶

MD001

The Voices of Taiwan 01: Ma, Shui-Long Wen-Pin Chien, conductor

Jenny Lin, piano

Hao-Yin Huang, guzheng

Chen-Ling Liu, bamboo flute

95


2013 14 SEASON 節目名稱

空中導聆 NSO ON AIR

2013/9/21 Sat. 19:30 NSO 開季音樂會—攀峰樂嶺 2012/9/27 Fri. 19:30 維也納三傑 2013/10/12 Sat. 19:30 音樂狂旅—布列茲、舒曼、蕭斯塔科維契 2013/10/26 Sat. 19:30 北歐傳奇 2013/11/3 Sun. 14:30 NSO 2013 歐巡音樂會 @台北 2013/12/14 Sat. 19:30 古樂正典─戈貝爾大師與 NSO 2013/12/22 Sun. 19:30 辛德密特 & 巴洛克 2013/12/31 Tue. 22:00 2014/1/1 Wed. 19:30 NSO 跨 / 新年音樂會—與你共舞 2014/2/22 Sat. 19:30 笙聲不息 2014/3/7 Fri. 19:30 巨人之聲 2014/3/16 Sun. 14:00、17:00 NSO 永遠的童話—小太陽的音樂屋 2014/3/21 Fri. 19:30 浪漫詩人—拉赫瑪尼諾夫 2014/3/28 Fri. 19:30 英倫盛宴 2014/4/11 Fri. 19:30 美聲長號與美人魚 2014/4/18 Fri. 19:30 東歐經典 2014/5/4 Sun. 14:30 德意志雙峰

主講 王世強 愛樂電台 台北 FM99.7 新竹 FM90.7 「音樂線上」演出前兩週 週三 19:00

主講 柳百珊 IC 之音電台 新竹 FM97.5

「百珊 Fun 音樂」演出前一週 週四 21:15

主講 楊照、焦元溥、詹怡嘉 BRAVO 電台 台北 FM91.3 「BRAVO 音樂會 - 最愛 NSO」 演出前一週 週三 16:40

96

2014/5/16 Fri. 19:30 命運德意志 2014/5/25 Sun. 19:30 浪漫德意志 2014/6/7 Sat. 19:30 謎與變奏 2014/6/13-14 Fri. - Sat. 19:30 列寧格勒 2014/7/16、18、20 Wed. Fri. 19:30 Sun. 14:30 NSO 歌劇 致命吸引力—《莎樂美》

電台 愛樂電台

2013/09/04 週三 19:00

BRAVO 電台

2013/09/11 週三 16:40

愛樂電台

2013/09/11 週三 19:00

BRAVO 電台

2013/09/18 週三 16:40

愛樂電台

2013/09/25 週三 19:00

IC 之音電台

2013/10/03 週四 21:15

愛樂電台

2013/10/09 週三 19:00

BRAVO 電台

2013/10/16 週三 16:40

愛樂電台

2013/10/16 週三 19:00

IC 之音電台

2013/10/24 週四 21:15

愛樂電台

2013/11/27 週三 19:00

BRAVO 電台

2013/12/04 週三 16:40

愛樂電台

2013/12/04 週三 19:00

IC 之音電台

2013/12/12 週四 21:15

愛樂電台

2013/12/18 週三 19:00

BRAVO 電台

2013/12/25 週三 16:40

愛樂電台

2014/02/05 週三 19:00

愛樂電台

2014/02/19 週三 19:00

IC 之音電台

2014/02/27 週四 21:15

愛樂電台

2014/02/26 週三 19:00

愛樂電台

2014/03/05 週三 19:00

BRAVO 電台

2014/03/12 週三 16:40

愛樂電台

2014/03/12 週三 19:00

IC 之音電台

2014/03/20 週四 21:15

愛樂電台

2014/03/26 週三 19:00

BRAVO 電台

2014/04/02 週三 16:40

愛樂電台

2014/04/02 週三 19:00

IC 之音電台

2014/04/10 週四 21:15

愛樂電台

2014/04/16 週三 19:00

BRAVO 電台

2014/04/23 週三 16:40

愛樂電台

2014/04/30 週三 19:00

BRAVO 電台

2014/05/07 週三 16:40

愛樂電台

2014/05/07 週三 19:00

IC 之音電台

2014/05/15 週四 21:15

愛樂電台

2014/05/21 週三 19:00

IC 之音電台

2014/05/29 週四 21:15

愛樂電台

2014/05/28 週三 19:00

IC 之音電台

2014/06/05 週四 21:15

愛樂電台

2014/07/02 週三 19:00

BRAVO 電台 IC 之音電台

2014/07/09 週三 16:40 2014/07/10 週四 21:15


2013 14 SEASON

國家音樂廳座位圖

National Concert Hall seating plan 舞台 STAGE

2F

3F

4F

1500

1200

1000

800

600

400

NSO 2013/14 樂季音樂會 NSO 2013/14 Season Concerts

*詳細票價資訊請參閱 nso.ntch.edu.tw

98


國家音樂廳座位圖

National Concert Hall seating plan 舞台 STAGE

舞台 STAGE

2F

2F

3F

3F

4F 3200 3000

2500 2400

2000 1800

1600 1500

4F 1200 1000

800 600

500 400

800

NSO 跨 / 新年音樂會—與你共舞 NSO New Year Concert — Shall We Dance?

600

400

NSO 永遠的童話—小太陽的音樂屋 NSO Forever Tales — The Little Darling's Music Box 舞台 STAGE

1F

國家戲劇院座位圖

National Theater seating plan

2F

3F

4F 5000

3600

3000

2400

1800

1200

800

NSO 歌劇 致命吸引力 —《莎樂美》 NSO Opera Fatal Attraction — Salome

500

99


C

M

Y

CM

MY

CY

CMY

K


C

M

Y

CM

MY

CY

CMY

K


愛樂知音贊助回函 Donation Form 請將此單填寫後傳真到 02-3393-9669, 我們會主動與您聯絡 Please FAX to 02-3393-9669

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□訂閱 NSO 電子報 通訊地址 Mailing Address: 電話 Tel: (O)

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請留下至少一個能聯繫到您的電話,以方便我們在資料核對時能和您聯絡 It's important for us to be in contact with you.

因捐款收據可以抵稅,請您將以下資料詳細填好,我們會在收到捐款後近期內將收據寄給您。且會將此份資 料保密好,不做其他用途。 The donation is tax-deductible. Please fill up all blanks in detail. All information will be kept confidential. 收據抬頭 Donor's name:

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捐款金額 With donation of NT$: 捐款方式 Ways of Donation 1. 銀行匯款 2. 信用卡 3. 現金 / 支票 ( 請擇一在以下方框內打勾 )。 如有任何問題,請與我們聯絡。王承禹 02-3393-9661 陳卜湄 02-3393-9652 You can make a donation by one of the following ways: 1.Bank Transfer 2. Credit card 3. Cash/Cheque. Please contact Paul Wang at 02-3393-9661 for further assistance. □銀行匯款捐款 Bank transfer:( 匯款完成請連同憑證一起傳真至 02-3393-9669) 匯款銀行:臺灣銀行南門分行 Bank of Taiwan, Nanmen Branch 戶名 Account Name / 國立中正文化中心 National Chiang Kai-shek Cultural Center 匯款帳號 Account NO./033036070072 □信用卡捐款 Credit card:□ VISA □ MASTER □ JCB 信用卡卡號 Card number ____________________________________________ 月 Month 年 Year 有效日期 Expiry Date _______________________________________________ 持卡人簽名 Signature

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感謝以下機構及個人對 NSO 國家交響樂團的支持 藝企夥伴 Partner of NSO

財團法人杜萬全慈善公益基金會  國立陽明大學愛杏校友絃樂團 楊文貞 朱俊誠 林子欽 姜文智

守護者 Patron of NSO

立多祿工業股份有限公司

國立中壢高商第六屆甲班 王志榮 王儷玲 李松季 巫慧燕 卓訓裕 林怡呈 邱 瑗 張佳美  彭以豪 湯月碧

好朋友 Pal of NSO 築夢者 Star of NSO

華邦廣告事業有限公司  Steven Wu 王 卿 王植熙 吳庭毓 卓 玲 邱垂元

當代牙科醫療體系 模懋實業股份有限公司 景懋科技有限公司 桃園縣私立大華中學高中部 樂禾樂器行 瑞塘國小家長會 王玉芬老師師生們 米瑞國際設計有限公司 誠至設計工程有限公司

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2013 2014 SEASON

NSO 2013/14 season Brochure  

國家交響樂團 2013/14樂季 樂季手冊 音樂總監 呂紹嘉

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