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The Beginning of Yet Another Beautiful Chapter —the NSO's 30th Season. This season, the NSO celebrates its 30th anniversary. As one of the representative voices of classical music in Taiwan, we continue our everlasting pursuit of refined and profound music-making at our performances. We also devote ourselves to provide a music-loving environment to nourish heartfelt musical experiences. The journey is long lasting, and the quest leaves no room for either sheer popularism or indulgence in selfadmiration. It is our firm belief that when all people take classical music to heart, the world becomes a better place. The road may be long, but it is definitely a meaningful and joyful journey worth taking. From the day I began my tenure with the NSO, I had but a single wish—that every performance would be a unique experience. Each program, regardless of the repertory, should create a strong spiritual bond between the musicians and audience in an atmosphere free of preaching or persuasion, but rather in one of warmth and sincerity. I invite you, dear friends, to join me for another musical journey that will leave you spiritually fulfilled and with joy in your hearts.


三十而立,

一個

美好的 展開

新的樂季,NSO 要滿三十歲了。 身為臺灣古典音樂的代表聲音之一,三十年來,我們追求的是永無止境、精緻深刻的優質演奏,致力提 供聽眾朋友難忘的聽覺經歷與愛樂環境。這條路任重道遠,它不容許譁眾取寵,但也絕不可孤芳自賞, 我們相信,讓古典音樂深入人心,必能使這個世界更好。這是一條深邃遠長,充滿意義及喜悅的道路。 從上任第一天起,我心中只有一個單純的願望:每一次演出,都是獨一無二、無可取代的心靈之旅。無 論什麼曲目,總讓聽眾在一個不說教,不強迫的溫暖氣氛中,與我們做一次深度的精神交流,音樂會後, 彼此懷抱著溫暖充實的心回家。 今年,也是一樣。

NSO 30 樂季,讓我們持續以精緻、深刻、悸動的初心,與您在音樂中同行!

呂紹嘉總監的「歡迎序曲」 Mo. Lü's greeting


在 NSO 30 樂季手冊裡暗藏「聲音密碼」,簡單三步驟就能立即享受 NSO 的精采影音 ➊下載 marq+ APP

➋啟動 marq+ 並掃描本手冊內標記「 ➌影片或音樂立即出現,即刻聆聽觀賞。

」 「

」 的圖像頁面。


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音樂總監前言:三十而立,一個美好的展開

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認識 NSO:國家交響樂團三十年

Music Director's Foreword: The Beginning of Yet Another Beautiful Chapter: the NSO's 30th Season 文/林采韻

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About Taiwan Philharmonic (NSO): A Fortunate Encounter with the Taiwan Philharmonic

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音樂總監:呂紹嘉談 NSO 的三十年— 成熟 但不變老 文/焦元溥

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Music Director: Shao-Chia Lü, The Master of Nuance

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桂冠指揮:根特.赫比希 烙下風格的印記 文/邱瑗

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Conductor Laureate: Günther Herbig, A Life between Three Continents by Oleg Jampolski

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駐團指揮:張尹芳

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樂團成員

52 58

Resident Conductor: Yin-Fang Chang Orchestra Members 駐團音樂家:布萊特.狄恩

Artist-in-Residence: Brett Dean 駐團音樂家:楊文信

Artist-in-Residence: Wen-Sinn Yang

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樂季音樂會 Season Concerts

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樂季總覽:三十而立,感謝與祝福!

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Season Overview

by Robert Markow

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三岔路口—浦契尼的試探

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Puccini's Il Trittico

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演奏廳系列 Recital Hall Series

116

NSO 樂季套票 NSO Subscription Tickets

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認識客席音樂家

141

票價席次圖

文/金慶雲

by Hugo Shirley

Meet the Guest Artists Tickets and Seating Information

文/焦元溥

by Gil French

by Gil French


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呂紹嘉 Lu & NSO LIVE: Mahler: Symphony No. 9 馬勒第九號交響曲選段


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2013 年 11 月,柏林愛樂廳


國家 交響樂團

三十年

文/林采韻(資深樂評人)

20

13 年底在音樂總監呂紹嘉帶領下,國家交響樂團(NSO)壯遊歐洲五城, 展開創團以來最大規模的海外巡演。2013 年 11 月 18 日樂團來到睽違多年 的柏林愛樂廳,距離上回造訪相隔十六年。1997 年 NSO 剛歡慶十周年,仍處發展 階段,攀登音樂聖殿多少懷抱插旗的快感。如今的 NSO 茁壯挺立,來此尋求的不 再是裝腔作勢的自我陶醉,而是在前輩大師留跡之處透過音樂向他們致敬。 沈著、內斂,奔放、熱情,以及悠揚、閒靜,這條路走了三十年 愛樂廳舞臺上的 NSO,在宏大架構下不失輕盈;著墨細節又能不動搖框架;強力 流動之餘卻無解體危機;動靜間掌握分秒情緒,自在穿梭於沈著、內斂,奔放、熱 情,以及悠揚、閒靜間。如此指揮和樂團合體的完熟狀態,不只出現在柏林愛樂廳, 更是反應在過往數個樂季中。然而,一切並非一蹴可幾,這條路走了三十年。 成功將「國家」兩字從形容詞轉化為名詞,回應初創時外界的冀望。 在臺灣公辦職業樂團中,NSO 年資最淺,國立臺灣交響樂團 1945 年成立,臺北市 立交響樂團 1969 年創辦,而且這位小老弟,有長達十九年身處黑機關,妾身未明,

胡福財 ©

1986 年「聯管時期」,師大排練室


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影響其組織健全的速度,卻不影響其追尋藝術專業

化 藝 術 提 升 的 渴 望。 尤 以 當 時 音 樂 專 業 系 所 培

的企圖心,成為臺灣首個與歐美同步,徹底落實樂

育 出 一 批 優 秀 的 新 生 代 音 樂 家, 加 上 大 批 音 樂

季和音樂總監制度的樂團。2007 年 NSO 歡慶廿周

人 才 學 成 歸 國, 年 輕 人 的 衝 勁 與 國 際 視 野, 需

年,德國古典權威雜誌《Das Orchester》封面故事,

要一個全新舞臺才得以發揮。

以「臺灣製造」為標題,以樂團搬演全本華格納樂 劇《尼貝龍指環》為內容,介紹這個正於亞洲崛起 的交響樂團,此時國家交響樂團成功將「國家」兩 字從形容詞轉化為名詞,回應初創時外界的冀望。

國家交響樂團、NSO 是當下觀眾對它習慣的名稱, 事實上從創立至今,因應階段性變革,一共更名 三次。「聯合實驗管絃樂團」應該是資深樂迷, 對它最初的記憶。「聯合實驗」顧名思義,在教

1986 年,臺灣 宣 告 解 嚴、 國 家 兩 廳 院 開 幕 前 一

育部主導下,樂團由國立臺灣師範大學、國立藝

年,國家交響樂團誕生!它的成立,反應一個大

術學院、國立臺灣藝術專科學校等三校實驗樂團

時代的氛圍。 1980 年代的臺灣,經濟快速起飛,

合併而成。1994 年告別實驗階段,改名「國家音

被譽為「亞洲四小龍」。樂團承載與國際接軌的

樂廳交響樂團」。2002 年正式以「國家交響樂團」

期許,也象徵朝向民主邁進的臺灣社會,對於文

作為團名,並於 2006 年起以「臺灣愛樂」品牌走


@

許 培 鴻

NSO 成為德國《交響樂》雜誌 2007 年 4 月號封面故事。

1997 年簡文彬首次與 NSO 演出。

向世界。2005 年樂團終結黑機關身分成為國立中

位納入團員票選機制出線的指揮,更是第一位具有

正文化中心附設團隊,2014 年 4 月改隸國家表演

安排節目實權的音樂總監,其在位三年,初步勾勒

藝術中心。

出一個專業樂團應有的樂季概念。

音樂總監制奠基專業樂團之樂季運作

2001 年,樂團成立第十五年,告別摸索開啟新頁,

國家交響樂團成立時目標明確,與西方交響樂團看 齊,並和世界舞臺接軌,落實過程,經過幾番轉折。 創團之初,特聘外籍指揮艾科卡(Gerard Akoka)、 史耐德(Urs Schneider)擔任前兩屆常任指揮,捏塑 出樂團雛型。1994 年嘗試引用國外音樂總監制度, 可惜執行上因諸多缺失無法貫徹,歷經許常惠、張 大勝兩位音樂總監後,1998 年上任的華裔指揮林望 傑,時任克里夫蘭管絃樂團駐團指揮,他是樂團首

扭轉關鍵的人物,是樂團遵循遴選機制選出的音樂 總監簡文彬。屆時,臺灣剛歷經政黨輪替,本土意 識抬頭,擔任德國杜塞朵夫萊茵歌劇院駐院指揮的 簡文彬,被視為臺灣之光。簡文彬上任時年輕無 敵,只有三十四歲,至今回溯,不得不佩服,當時 遴選委員的勇氣和遠見,放眼當下,年輕優秀指揮 在國內揮灑舞臺有限,更不用說擔任要職。 簡文彬在位六年,落實音樂總監真正職權,他膽大


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心細創意十足,兼具節目擘畫和領導能力,樂團觸 角發散至藝術教育推廣、國際連結、提攜新秀、鼓

兩個樂季,充分增強樂團演出德奧曲目的深度。

2010 年 8 月在樂迷引頸期盼下,在歐洲發展多年,

勵本土與跨界創作等方面。2002 年,簡文彬上任

曾任德國一級劇院漢諾威歌劇院音樂總監的呂紹

第二樂季,開始推出兩大系列,一是以作曲家為主

嘉,回臺接掌 NSO。他視藝術為最終依歸,站在

題的「發現系列」,二是與劇場導演合作、大力啟

樂團過往的基礎上,挑戰挖掘團員潛能,帶領樂團

用國內聲樂家的「歌劇系列」;加上馬捷爾、巴夏

進入重量也重質的成熟期。他大力拓展曲目廣度,

等世界級名家相繼來訪;與雲門舞集、國光劇團等

精鍊古典經典名作之餘,並將冷門作品炒得發燙,

嘗試性的跨域合作,不僅提振團員的信心和水準,

樂團悠遊於各種風格間,音樂面向更為全方位。樂

也拉抬其在樂迷心中的地位。

季中,可見現代作品以及首次在臺演出的作品數量 大幅提升,包括荀貝格《古勒之歌》、《華沙生還

在一連串的訓練當中,樂團累積扎實的曲目,從演

者》等;與國外歌劇院合作的製作成為每年盛事,

奏技巧、互動默契、音色塑造到音樂詮釋等,具備

諸如《蝴蝶夫人》、《費黛里歐》等;並透過出國

成為亞洲指標性樂團的潛力,下一步力求精益求精。

巡演的機會,將臺灣作曲家作品帶上國際舞臺,同

德國指揮赫比希,2008 年以藝術顧問身分帶領樂團

時投入國人作品的錄音計畫。


上揚唱片提供

1993 年,呂紹嘉。

「臺灣之音」

NSO 現有團員九十九名,每樂季平均演出七十五 場。此時的樂團可以說,羽翼已豐,準備展翅高 飛,從 2011 年起積極展開海外巡演:2011 年廣州 亞運音樂節、2012 年東北亞巡演、2013 年歐洲五 城巡演、2015 年兩岸三地巡演,各地樂評正面的 評價,在團員和音樂總監間產生良好的化學效應。 樂團對外以「臺灣之音」自許,對內以親近姿態和

以國家之名,以臺北為基地,以國家兩廳院為家, 承載音樂的美好,連結臺灣,走向世界。 呂 紹 嘉 首 次 與 樂 團 合 作, 落 在 1991 年, 當 時 的

NSO 才五歲,如今這個牙牙學語的樂團已經長大 成人,在追求音樂極致的同時,也為臺灣樂壇,培 育且建立一支專業、熱忱的樂團行政團隊,他們積 極參與全球性樂團專業組織,戮力與國際分享臺灣 樂團的多元發展。過去三十年,國家交響樂團以臺 北為基地,以國家兩廳院為家,為服務廣大樂迷,

創意頭腦,分享音樂美好,拉近與觀眾的距離。音

每年總會安排數場赴中南部的演出,如今而立之後

樂總監呂紹嘉親自彈琴話說樂季已成常態;樂團內

的 NSO,身為國家表演藝術中心「三館一團」的

部自成室內樂組合,以活潑手法推廣音樂;講座音

成員,以「國家」之名更有責任承載音樂的美好連

樂會以親民的票價吸引民眾嘗鮮;NSO 樂團學苑

結臺灣並走向世界。

的成立,試圖培養下一代樂團演奏的種子。


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簡文彬 Chien & NSO LIVE: Ravel: Bolero 拉威爾《波麗露》


1986/7/19 為提昇國內管絃樂團的演奏水準,及因應國家戲劇院與音樂廳的開幕演出預做準備,將三校之實驗樂團合 併,同時延攬及徵選海內外演奏精英,於 1986 年 7 月 19 日正式成立「聯合實驗管絃樂團」,假國立師範大學進行演 練。是一個僅有團員而沒有行政人員的任務編組的「聯合實驗管絃樂團」。1986/10/25 首任常任指揮艾科卡 (Gerard Akoka) 與樂團於國父紀念館舉行成軍後第一場音樂會,演出:布拉姆斯第一號交響曲、史特拉溫斯基《火鳥》組曲及 拉威爾《波麗露》。第一個樂季共八套曲目九場音樂會。1987/10/7 於國家音樂廳舉行第一場「駐廳」音樂會《歡 騰—新紀元的禮讚》。1988/12/31 首次舉辦《歲末音樂會》,由國內知名父子檔音樂家廖年賦與廖嘉宏分別擔任指 揮與小提琴獨奏,奠基了「NSO 歲末音樂會」的傳統。1989/9/16 1989/1990 樂季為艾科卡的最後一個樂季,以馬勒 第七號交響曲開季,並以《大地之歌》作為任期內壓軸演出 (1990/6/22)。1991/6/20 林望傑首次與 NSO 合作,並於 1998 年獲選為第一位由樂團團員票選出來的音樂總監。1991/8/22 呂紹嘉首次與 NSO 合作,並於 2010 年成為樂團音 樂總監至今。1991/9/1 1991/1992 樂季,史耐德 (Urs Schneider) 成為樂團常任指揮,自此之後樂團不再設常任指揮, 直到 1994 年設立音樂總監。1994/8/1 改名「國家音樂廳交響樂團」。1994/9/1 許常惠擔任本團「臨時」音樂總監。 1995/5/1 張大勝擔任樂團第一位音樂總監任期兩年,後於 1997 年 7 月卸任。1997/3/14 簡文彬首次與 NSO 合作演 出,後於 2001 年以 34 歲入主樂團-創下最年輕的音樂總監記錄。1997/3/30-4/3 首次出國巡迴演出,由樂團第一位 音樂總監張大勝領軍於維也納音樂廳、巴黎香榭里舍劇院及柏林愛樂廳演出錢南章《龍舞》、馬水龍《梆笛協奏曲》 及柴科夫斯基第五號交響曲。1997/1998 第十樂季 28 套曲目 35 場大型演出,平均票房 76.4%。1998/9/11 第二位 音樂總監林望傑的首場開季音樂會,演出全場布拉姆斯作品。1999/12/31 跨年四小時馬拉松音樂會 – 古典音樂一千 年,由簡文彬指揮,以馬勒第二號交響曲《復活》終曲壓軸,創下最長音樂會記錄。2001/7/01 簡文彬就任樂團音樂 總監,二任六年,於 2007 年 8 月卸任。2001/10/27 「超越—NSO 15 周年團慶音樂會」獲國防部禮砲連支援於戶外 演出柴科夫斯基《1812 序曲》。2002/9/13「發現貝多芬」音樂會—首次以主題系列形式完整呈現單一作曲家的管絃 樂作品,其後幾樂季「發現系列」定期音樂會分別推出馬勒、蕭斯塔科維契、理查.史特勞斯、柴科夫斯基等作曲家 系列。2002/12/31「NSO 歌劇」首次登場,邀請有「亞洲英雄」之稱的林懷民跨界導演浦契尼歌劇《托斯卡》,以 一桌二椅 semi-staged 形式於國家音樂廳演出,自此展開樂團的年度歌劇製作傳統。自 2007 年起,樂團於國家戲劇院製 作演出歌劇做為樂季壓軸,包括:《玫瑰騎士》、《卡門》、《畫魂》、《蝴蝶夫人》、《女武神》、《費戴里歐》等。 2003/3/29「永遠的童話」以《彼得與狼》開啟了一年一次為孩子們的跨界製作,從西方經典到國人繪本及音樂創作, 這個樂季企畫裡從沒缺席的親子音樂會寫下 NSO 另一個黃金招牌。2003/9/19 簡文彬第二任期,首次推出了一套十 場的「套票系列」。2004/9/19 2004/2005 樂季以「發現馬勒系列」為主軸,開季音樂會《大地之歌》邀請詩人余光 中「從詩的觀點談《大地之歌》」,創下「音樂會前���聆」風氣之先,也成為 NSO 音樂推廣活動的招牌之一。也寫 下將星期日下午時段的冷門時間轉化為演出的熱門時段。 2005/8/1 改制為行政法人國立中正文化中心附設演藝團隊, 並訂名為「國家交響樂團」,後經董事會同意以「臺灣愛樂」之名出國巡演。( 樂團不再是妾身未明的「黑機關」!) 2006/8/7 樂團二十週年慶歌劇 《尼貝龍指環》因編製龐大,首開於音樂廳大廳排練先例。2006/12/31 跨╱新年音 樂會《風流寡婦》以德文演唱中文對白,簡文彬指揮、漢堡歌劇院駐院導演 Petra Mueller 導演,首次在音樂會結束時 全體觀眾及演出人員齊聲倒數跨年。並在音樂會後舉行「水晶燈華爾滋派對」,觀眾在 NSO 絃樂首席們的伴奏下, 跳起華爾滋,從晚上 9:30 開場到清晨 1:30 舞會結束(音樂廳第一次),成為 NSO 年度最受歡迎的節目之一,也建立 日後新的節慶傳統節目。2007/2/24-28 在新加坡濱海藝術中心及馬來西亞雙子星音樂廳邀請下,樂團首次以「台灣 愛樂 Philharmonia Taiwan」之名出國巡演。音樂總監簡文彬親自率領演出,旅美知名臺籍鋼琴家林佳靜擔任獨奏;曲目 安排包括鍾耀光、馬水龍、潘皇隆及理查.史特勞斯、李斯特、拉赫瑪尼諾夫等管絃樂經典曲目。2007/2008 第二十 樂季 26 套曲目 48 場大型演出,平均票房 85%。2008/1/18 首度發行 LIVE 錄音 CD《簡文彬與 NSO Live 》雙 CD, 迄今已發行超過 20 張 NSO Live、10 套國人作品專輯,及親子系列 CD/DVD 4 張。2008/2/2 特別邀請赫比希 (Günther Herbig) 擔任藝術顧問及首席客座指揮,代理音樂總監的相關工作。2008/9/20 赫比希領軍於高雄戶外演出《衛武營熱 古典》,吸引逾兩萬名觀眾。2009/9/6 赫比希以三場「永遠的第九」大師講座,深入淺出講解貝多芬、布魯克納及 馬勒第九號交響曲,從此「大師講座」又是愛樂者引頸期盼的城中盛事。2010/7/2 呂紹嘉就任音樂總監,並以「樂 季沙龍音樂會」為觀眾深入剖析樂季節目重點,自此成為每樂季套票啟售前最為樂迷期待之盛會。(另一個盛事為樂 季末「呂紹嘉時間」的歌劇講座。)2011/10/9 慶祝建國百年之國慶音樂會 《千人歡唱 馬勒第八》,首次與臺北市 交響樂團聯合演出馬勒第八號交響曲。2011/11/20 為籌募出國巡演費用,舉辦《NSO & Friends Gala Concert》,除「愛 樂知音贊助計畫」外,也不定期邀請企業家代言舉行募款音樂會。因為「藝企夥伴」們的支持,樂團順利完成 2012 東北亞、2013 歐洲四國、2015 兩岸三地等巡演。2013/11/9-18 闊別十六年後重返歐洲,法國解放報以「龍回來了」 為標題四頁專題報導。2014/4/7 國家表演藝術中心成立,NSO 獨立運作成為轄下三館一團成員之一。2015/9/24-25 呂紹嘉音樂總監第二任期的首場-開季音樂會因國家音樂廳四個月大整修,於中壢、高雄展開,並為整修後音樂廳 重新啟用寫下雙開季音樂會紀錄。2016/5/20 駐團音樂家白建宇自 2007 年首次合作以來,以 8 套曲目 11 場次演出, 寫下合作最頻繁的客席音樂家的合作紀錄。2015/11/18 馬利納爵士以九十一高齡寫下 NSO 客席音樂家最高齡紀錄。

2016/2017 第三十樂季 33 套曲目 51 場大型演出……及待完成的紀錄……


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A Fortunate Encounter with the Taiwan Philharmonic By Gil French (Concert Editor, American Record Guide)

L

ast autumn I was invited to join the NSO on its four-city tour of China. As we flew from Taipei to Xiamen via Hong Kong, then Xiamen back to Hong Kong, Hong Kong to Shanghai, train from there to Beijing, and then home to Taipei, the 11 days felt like living with someone, as one does in the military or in a monastery, that is, we got to know one another’s habits, manners, and temperaments. I mention this because, with 99 musicians and 21 additional personnel, I never once heard a raised voice, an argument, wild or drunken voices on busses or in hotels or at meals. No player was ever late for a bus, no luggage was left behind (as a trained professional tour manager, believe me, that’s a major concern), and the players seemed to genuinely like one another. I find that utterly remarkable. Yes, respect is a profound instinct among the Taiwanese, but the degree to which I witnessed this went beyond custom or protocol. I think it was reflected in what I saw on stage during rehearsals. The musicians’ discipline had a special quality: rehearsals were

efficient, orderly, and quiet, yet the atmosphere was always relaxed and respectful. Maestro Lü always used the same vocal volume he uses in a one-on-one conversation. That sounds so serious, doesn’t it! That’s not what I want to imply because I also sensed a buoyant, light touch to the atmosphere at rehearsals—you might say more of the sylph-like touch I often hear in Ravel’s music, the kind that puts a smile inside my spirit. For these musicians rehearsals are business and pleasure. In contrast, I also think of the thunderous power these pleasant souls produced playing Scriabin’s Poem of Fire and Stravinsky’s Firebird Suite at the end of last November, or the sheer virtuosity five years earlier (when the average age of players in the orchestra was only 36) in Mahler’s Symphony No. 5. Yes, I believe it’s the person on the podium who ultimately makes it all happen. But it’s also the players themselves who either possess an innate feeling for pulse and flow, for incisive rhythms, and for melodic ecstasy, or don’t. If they didn’t, this orchestra would never have its extraordinary “ensemble”, that is, togetherness, not just “physically” in terms


Taiwan Philharmonic

National Symphony Orchestra of rhythm and downbeat, but psychologically in terms of developing a united point of view with which they interpret a work. Ensemble is a quality that only the very best orchestras possess. The degree to which this orchestra’s members not only listen to other players as they perform but take pleasure in their successes is evident on stage—it’s in plain sight for anyone who uses their eyes. The NSO’s players love making music together (not all orchestras do). Even though I first attended my first orchestral concerts way back in 1963 with the St. Louis Symphony, even today I am still in awe of how, for example, violinists can play so many notes so fast so accurately for so long. It’s inhuman—people can’t do that! How many American orchestras would kill to have a principal trumpet like Nicolas Rusillon or a principal French horn like Yi-Hsin Cindy Liu (she’s 30 centimeters shorter than I am)! How do such lyrical, soaring, elegantly phrased, profoundly expressive sounds come out of the body behind her horn! How does Shao-Chia Lü get the viola and cello sections to produce such a deep, rich, warm velvet sound! And how does the string bass section produce such a rich, firm foundation for the rest of the orchestra! I know of only one other orchestra whose string basses play without any vibrato in the majority of passages. That’s an important element: the string basses are not playing treble melodies that imitate the human voice by using vibrato; they’re providing a rock-solid foundation from which the rest of the orchestra

gets a firm sense of harmonic movement and flow. The China tour was filled with the challenge of producing sound in four halls with widely varying acoustics, and none of them had anywhere near the familiar acoustics of Taipei’s National Concert Hall. The musicians I got to know best talked about how they listened for acoustic feedback from the auditoriums (if there was any) so that they could adjust the way they projected their instruments’ sound by adjusting the technique with which they played. Adaptation was a constant concern. It reflects how Artist-in-Residence Kun-Woo Paik and guest conductor Neville Marriner both described the NSO during concerts last November: each appreciated the orchestra’s remarkable flexibility. Marriner was even more specific, adding that some orchestras in Germany and Japan are fixed in interpreting a piece “the way it’s always done”, whereas he said the NSO can do anything they’re asked.


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呂紹嘉 Lü & NSO LIVE: Beethoven: Symphony No. 7 貝多芬第七號交響曲選段


成熟 但

不變老

呂紹嘉

三十年

N S O

文/焦元溥(倫敦國王學院音樂學博士)

一轉

眼,NSO 就要邁入第三十個樂季。這一年 多來行政人員拚命工作又腦力激盪,設計

出好多前所未見的精采節目。看著大家忙進忙出,身 為樂團大家長,呂紹嘉老師怎麼看 NSO 三十周年呢? 「這是一個回顧與前瞻,並讓更多人來認識我們的時 刻。我知道大家非常辛苦努力,策劃很多精彩活動,

NSO 也的確應該舉辦這些活動,我自己也出了點子」, 呂老師很靦腆地笑了笑,「但我還是得很誠實地說— 我覺得三十周年,就我們平時所做的事情本質而言, 真的沒有什麼特別,也不應該特別。」冒著被 NSO 同仁斜眼的風險,呂老師說了他的真心話,「因為我 們每一個樂季,都非常認真努力,也都有精彩製作。 第廿九個樂季不會不如第三十樂季,第三十一樂季也 不會比第三十樂季鬆懈。三十年當然值得慶祝,但並 不『特別』,因為 NSO 的每一年都很特別。」 回顧 NSO 這幾年的曲目,呂老師確實所言不虛。《古 勒之歌》、《華沙生還者》、《伯沙撒王的盛宴》……

NSO 演出太多太多精彩作品,很多還是臺灣首演。第 三十樂季當然精采,之後的每一樂季也都值得期待。 但做為樂團,經過風風雨雨,這三十年究竟代表什麼? 「傳統不一定要五十年或一百年,三十年也可以是傳 統」,對於 NSO 現在的演奏與詮釋能力,呂老師肯 定中也有期許,而這反映在三十樂季的曲目規畫。「除 了如往常的多元曲目外,我再度安排了許多 NSO 時 常演奏的經典,交響曲就有布拉姆斯第一、貝多芬第 三、第五、第九、柴科夫斯基第五、白遼士《幻想》 等等,這些作品團員都很熟悉,甚至熟到不用排練就 可直接演奏。會如此安排,是我希望在三十年『而立』


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後的 NSO 團員,已是一群具備成熟的自覺、自信與自我思想

地與當代精神連結,感動人心。一首曲

的音樂家。藉由多年對這些熟悉曲目所累積的經驗與理解,他

子的出身背景是不能被改變的,但正確

們與未來客席指揮的互動方式是更高層次的對話交流、主動參

的音樂風格卻是任何敏感的心靈,經過

與而非被動學習。好的演奏永遠是『活的』,而『活的』就是

用心學習都能達到的。我最在乎的是:

要能隨時『接受』與『給予』、互相影響,甚而碰撞激盪,像

如何以自己的聲音、感情,講出作曲家

一場旗鼓相當的球賽。」

最心底的話。」對呂總監而言,音樂作

對 NSO 團員的期待,其實也是呂老師對聽眾的期待。「我個

品雖有其地域性,但更有其永恆性和普

人不贊同把『某某正統之聲』掛在嘴邊;如以『德國正統之

世性。「畢竟,音樂作品中真正讓我入

聲』或『純粹法國之聲』或『地道俄羅斯之聲』來形容、或要

迷的,其實都是那些放諸四海皆準,人

求樂團的演奏。我覺得這對欣賞與理解音樂而言是危險的。此

性共通且超越時空的情感與思索,而因

說法是將『種族』與『風格』混成一談了。雖然,樂曲風格,

各人之不同,自然又有共鳴強度以及解

與形成它的環境、歷史背景都有密切關係,但好的音樂作品永

釋方式之差異,這使得經典作品永遠是

遠能跨越種族與歷史的藩籬。而且,每一個有思想的詮釋者,

源源不斷的活水,這也是音樂之所以迷

都應能既兼顧風格的純正,更讓樂曲跨越其環境歷史,活生生

人之處。」 做為亞洲代表性樂團之一,NSO 當然 會有自己的聲響特色,也應該有自己 的聲響特色,而不是成為歐洲樂團的 影 子。 在 擔 任 NSO 總 監 六 年 之 後, 呂老師對這個樂團也有非常深厚的感 情。「每次我在國外演出,無論客席指 揮的樂團程度有多好,我總是會想念

NSO。有次我在家播放我指揮法國某樂 團的德布西錄音;那場演出很好,沒什 麼可挑剔,但一換成同曲與 NSO 的演 出錄音,我太太聽了也覺得 NSO 的演 出更好。」這箇中差異,呂老師認為, 就是在經過多年合作默契累積後,音樂 演奏中的「凝聚力」。「法國團演出德 布西,聲音與感覺確實很對,但 NSO


呂紹嘉:「三十年當然值得慶祝,但並不『特 別』,因為 NSO 的每一年都很特別。」

的演出也完全有作品該要的風格,而且又有了屬於自 己的特色。」古典音樂若要在二十一世紀繼續成長, 恰恰需要來自亞洲的能量與活水。「很希望臺灣的愛 樂者漸漸能用這樣的觀點來看自己的樂團,常來欣賞 我們的演出,熟悉我們的聲音—來自臺灣而面向世界 的聲音。」 既然 NSO 每年都有新規畫,呂老師對於曲目又有什 麼想法呢?「回臺灣帶領樂團,心裡多了份在歐洲沒 有的責任感;就是更加推廣古典音樂,包括優質的演 奏及精采多元的節目。我深信,提昇文化素養是讓這 個社會更好的原動力,而我們能做的,就是盡量為大 家提供一個高品味的音樂環境。古典音樂永遠不會是 普羅大眾的主流,但它也是永遠不會消逝的人類珍貴 精神資產。所以我常說,我們走的是不好走,但長遠 的路。經過這幾年,我已感受到有一群瞭解我們在做 什麼,並堅定跟隨我們腳步的固定愛樂者,我希望這 樣的聽眾可以更多。除了熟悉的經典樂曲外,對於罕 見或所謂的冷門曲,也希望大家瞭解我的用心與選 擇—我不會把不好的作品放在樂團曲目裡。無論熟悉 與否,就請大家放開心耳,進音樂廳欣賞 NSO 的演 出,我相信一定會得到很多驚喜。」 從首次指揮 NSO 到現在,呂紹嘉和團員一起成長, 「如今 NSO 已經不是國內團員平均年齡最輕的樂團 了」。歲月帶來歷練與成長,而呂老師對樂團未來的 期許,則是希望 NSO 能夠「成熟但不變老」:「我 知道每位團員都用自己的方式盡力,而我期待 NSO 能不斷進步,更上層樓」。三十樂季還沒開始,樂團 就已在安排第三十二樂季的曲目,究竟呂紹嘉與 NSO 接下來要端出什麼好菜,就讓我們一起期待!

呂紹嘉 Lü & NSO LIVE: Bruckner: Symphony No. 8, Mov. 3 布魯克納第八號交響曲第三樂章


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The Master of Nuance By Gil French (Concert Editor, American Record Guide)

I

n life we tend to like people with whom we agree. That’s the way it is with me and musicians— conductors in particular, since I firmly believe that, in any orchestral performance, it’s the person on the podium who makes all the difference. I remember the first time I encountered Shao-Chia Lü, in September 2010, when I attended the last four rehearsals and his inaugural pair of concerts as music director. How cleverly he programmed the first two works. Mendelssohn’s Hebrides Overture was the perfect reflection of I-Uen Wang Hwang’s Diptych of Taiwan: same size of orchestra, and the same images of an island

in the ocean—sixteenth-notes sizzled, winds blew, the full-voiced sea heaved, like a foretaste of Typhoon Fanapi that swept across Taiwan the next day. Shift to November 29 of last year (2015) for a “fire” concert: the sounds in Stravinsky’s early “Fireworks” were reflected not only in his Firebird but in Scriabin’s Poem of Fire, and Firebird had sounds akin to Scriabin’s Piano Concerto as well. (Forgive my American informality—I feel as if I know him) Shao-Chia helps us see, hear, and feel not just intellectual connections but relationships. And he communicates that personally with you and me, the audience. Doing this means something to him.


SHAO-CHIA LÜ

2016 年 4 月 29 日國家音樂廳

Even more important is the way he makes music. In Mahler’s Symphony No. 5 in 2010, he had an innate gift for flow and pulse, and for tight, incisive, buoyant rhythms. In the third movement he made over 100 musicians dance on the head of a pin one moment (that’s a miracle that still leaves me in awe) and sound like slashing demons the next. Yet he’s not a show-off. His balletic body can writhe gracefully like a cobra to evoke lyricism, movement, and dance with his disciplined yet flexible tempos, like he did in The Firebird (it is ballet music, after all). But when I asked him, he said he’s not a good dancer at all. His skills are geared toward the

podium, probably strengthened by his experience in the opera house, where vocal lyricism and high drama are most essential. Furthermore, he hears far more than just the obvious things. We all hear certain things instinctively. For example, we all hear the melody line. For me, because I was always a bass in any chorus, I inevitably listen to the bass line. On the orchestra’s China tour last autumn, I experienced once again how Shao-Chia hears “everything in between” as well. In Brahms’ Symphony No. 2 he sustained two and three levels of terraced activities at once; woodwind colors sang their own lines (often smothered by a fat


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呂紹嘉 Lü & NSO LIVE:Debussy: La Mer, Mov. 3 德布西《海》第三樂章


string sound) as the string basses underpinned Brahms’ rich harmonic movement and the violins lyrically waxed and waned, giving expression to their own melody line. At times, some might describe Shao-Chia’s conducting as “octopus style” like some Hindu deity with eight arms; to me he is directing multiple elements at the same time, weaving them into an integral flowing whole, and all with very tight orchestral ensemble. I’m convinced that one main reason for the difference between conductors is that some (like Shao-Chia) hear far more than others—and they can only elicit from an orchestra the things they hear. He’s especially brilliant at drawing forth contrasts. I remember in the last movement of that Brahms Symphony played in Xiamen and Hong Kong, he took the first two themes at exactly the same tempo; most conductors slow down for the second theme, thinking that Brahms’ marking of “largamente” is a tempo change, but it’s not—it’s a stylistic change, meaning “more broadly”. And that’s what Shao-Chia did—same tempo but a buoyant style versus a lyrical one—and he did it so effectively that it was like hearing the music for the first time. “I was blind, but now I see.” I’ve found this

to be a routine experience with him. He’s a master of styles—that’s plural, as in the different character found in German vs. British vs. American vs. Taiwanese vs. Czech styles (ah, nobody dances like the Czechs!). I’m sure his time abroad has strengthened this gift. Above everything, what counts most for me in a performance is interpretation. Does the conductor weave all the parts into a whole, and does he do it in such a way that it moves me? The composer and critic Virgil Thomson once said, “Music either moves you emotionally or it doesn’t move you at all.” ShaoChia Lü for me is the master weaver of whole cloths. In China he swept me away with Ming-Hsiu Yen’s marvelous Flying Toward the Horizon, Rachmaninoff ’s Symphony No. 2, and the Brahms, and in Taipei with Mendelssohn, Stravinsky, Scriabin, and above all Mahler. In America, black people’s ethnic cooking is called “soul food”. I call classical music “God’s original soul food”. So when it comes to music, I guess that makes Shao-Chia Lü my “soul brother”. No one hears it “all”, but Shao-Chia hears more than most, which is why I consider him one of the world’s top conductors.


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音樂總監

呂紹嘉

SHAO-CHIA LÜ Music Director

出身臺灣,為享譽國際樂壇的旅歐名指揮家。自鋼琴啟蒙,後隨陳秋盛研習指揮,繼而赴美印 第安納大學及維也納國立音樂院深造。在贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大 國際指揮大賽首獎後,展開了他在歐洲的指揮生涯。 旅居德國期間先後擔任柏林喜歌劇院首席駐團指揮(1995-1998)、德國柯布倫茲市立歌劇院音樂總 監(1998-2001)、德國國家萊茵愛樂交響樂團音樂總監(1998-2004)、德國漢諾威國家歌劇院音樂 總監(2001-2006),並於 2004 年 5 月獲文化部長頒贈象徵該省文化最高榮譽的 Peter Cornelius 獎章。 在歌劇的領域中,曾於英國國家歌劇院、布魯塞爾皇家歌劇院、雪梨歌劇院、德國斯圖嘉特、柏 林德意志、漢堡、法蘭克福歌劇院客席登臺指揮。歌劇外,呂紹嘉在交響樂指揮的表現也同樣耀 眼。近年來合作的主要交響樂團有:柏林、西南德、中德、巴伐利亞廣播、法國國家、里昂、杜魯士、 史特拉斯堡、維也納廣播、英國利物浦愛樂、奧斯陸愛樂、貝爾根愛樂、赫爾辛基愛樂、瑞典廣播、 挪威廣播、哥特堡、羅馬聖西西里亞、及荷蘭皇家音樂大會堂管絃樂團等。在亞洲,與香港管弦 樂團、NHK、新日本愛樂、首爾愛樂、韓國 KBS 及北京、上海等地的代表性樂團合作演出。 自 2010 年 8 月起接任 NSO 國家交響樂團音樂總監。

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: Besançon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü took the position of General Music Director of the Koblenz Theatre (1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004), and the Staatsoper Hannover (20012006). Lü appears regularly as guest-conductor at several world renowned opera houses, including the Opera Australian in Sydney and Melbourne, the English National Opera, the Theatre de la Monnaie in Brussels, Den Norske Opera in Oslo, the Gothenburg Opera, the Oper Frankfurt, Staatsoper Hamburg and Stuttgart, the Deutsche Oper and Komische Oper Berlin. Alongside his opera activities, Lü is equally at home on concert podiums. Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Goteborg Sinfoniker, the Staatskapelle Weimar, the Frankfurter Museumsorchester and the Royal Concertgebouw Orchestra in Amsterdam. In Asia, Lü has worked with Hong Kong Philharmonic, NHK, New Japan Philharmonic, Seoul Philharmonic, KBS Symphony Orchestra and leading orchestras in China. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010 and the Principal Conductor of the South Denmark Philharmonic starting 2014.


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赫比希 Herbig & NSO LIVE: Brahms: Symphony No. 2 布拉姆斯第二號交響曲選段


桂冠指揮

根特.赫比希

烙下 風格

的印記

文/邱瑗(國家交響樂團執行長)

每年

像候鳥般飛來臺北的赫比希大師,是 NSO 團 員與樂迷們口中的「爺爺」!而「赫爺爺」與

NSO 的音樂會早已是 NSO 之友們行事曆上的必要行程。這 個「不打不相識」要從 2007 年說起…… 早就聽說來自「東德的指揮大師」赫比希對樂團排練的要 求非常嚴厲,當他第一次來臺時,大家都特別緊張—因為 赫比希大師與 NSO 的第一次合作正是樂團以國家音樂廳觀 眾席外大廳(Lobby)為主要排練場地的尷尬期。排練前, 先跟大師「打了個預防針」,並祈求排練平安順利;可怎 料到第二天,大師說「沒舞臺就不用排練了!」,費盡唇 舌好不容易讓大師重回排練場……。幸好這首次合作演出 的《阿爾卑斯交響曲》讓雙方「賓主盡歡」,從此展開長 年的合作契機! 赫比希說他不像現在的年輕指揮可以有很多機會看指揮大 師排練,並從中學習;對他影響最深的指揮是阿本羅斯 (Hermann Abendroth,1883-1956) 和 卡 拉 揚(Herbert von

Karajan,1908-1989)。阿本羅斯是東德時期最著名的指揮, 也是赫比希唯一的指揮老師,從他身上赫比希學到一名指 揮該有的個性與形象;而與卡拉揚的兩年大師班工作中, 赫比希則學到跟樂團的相處與排練,還有「把想像中的樂 曲音色正確的實現出來」。赫比希最常分享的例子是看卡 拉揚跟柏林愛樂排練莫札特《安魂曲》: 卡拉揚每個音挑剔,仔細調整句法、平衡、強弱、音 色,任何細節都不放過,練了十五分鐘只排練了前 12 個小節。十五分鐘之後,柏林愛樂從「好」變成「極 好」,脫胎換骨成完全不一樣的樂團。……(怎麼會 這樣呢?!)因為柏林愛樂的團員都是優秀且認真的 音樂家。當卡拉揚在指導中提琴的分句和音色的時候, 其他樂手可沒有放空,也都在認真聆聽,因此他們不 會重蹈覆轍。卡拉揚知道他的團員如此,所以才可以 這樣在前 12 小節如此精雕細琢,最後仍能在既定的時 間內完成排練。(註)


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也是在這樣的精神下,從赫比希與 NSO 的排練中,

德國派指揮,因為傳統上德國音樂不要花俏與

我們看到了一位大師的風格:從第一次排練起,

燦爛,不要那麼豐富的色彩。如果福特萬格勒

NSO 音樂家們見識到,赫比希的排練讓大家在自

(Wilhelm Furtwängler,1886-1954)活在今天,

己聲部的分譜上「看見了總譜」,聲部之間的音

我敢說他根本沒有指揮事業可言,因為團員一

樂互動、樂曲的結構,都被赫比希引導得清楚分

定受不了他不清楚的拍子,但他是那麼偉大的

明,音樂也自然的流轉在各聲部之間。慢慢的,

音樂家,創造出何其偉大的音樂。(註)

帶著總譜來排練或觀摩的人多了,NSO 的演奏與 音色也漸漸轉變了。2008 到 2010 年,赫比希擔任

NSO 的藝術顧問期間,他把自己的工作定位在「為 NSO 塑型」。

曾經擔任德勒斯登愛樂(1972-1977)、柏林交響樂 團(1977-1983)、底特律及多倫多交響樂團(19841994)音樂總監的赫比希深知「藝術要與人發生關 聯」的必要性。他關心時事、社會、生活等議題,

赫比希口中的「風格(style)」對其他歐洲樂團可

並將從這些議題中獲得的啟發導入音樂,跟我們分

能是自然發生的事,但在亞洲,因為文化不同,

享。他認為每個人都能指揮,差別在於能否把音符

音樂風格這件事是很難自然發生,而是必須要「說

要傳達的訊息有效的讓演奏者同步感受。也因此當

(教)」才帶得出來。他經常樂於和團員分享經驗

德國媒體問他,如何將深厚傳統的德國浪漫派音樂

和見解,也經常寫一些「小抄」夾在樂譜上跟大家

教給一個不到三十歲的年輕樂團時,赫比希說:

分享,引領著 NSO 自發地做音樂,主動演奏出自

「NSO 雖然是個年輕的樂團,卻是一個擁有非常

己的想法。

好的質地與充沛知識的樂團」。這麼多年與 NSO

在 NSO 30 樂季裡,我們還要繼續「蒐集」爺爺的 德奧樂派作品,包括貝多芬第九與馬勒第一交響 曲,因為那是他沉浸超過六十年的音樂涵養,他說 德國式聲響厚實、深刻,非表面的感受:

的合作,赫比希持續以為 NSO『烙下風格的印記』 出發。終於,在 2013 年他指揮 NSO 布魯克納第五 號交響曲的音樂會上,爺爺說這是在他與德勒斯登 愛樂演出同一首作品之後,第一次再聽到的「德國 音色」。

傳統的德國音樂……注重精神、意志與情感的 表達,一切都要求本質而非花邊。卡拉揚大概 是第一位被批評為「太華麗」或「太優雅」的

註 : 節錄自《典藏投資》雜誌,2014 年 7 月號焦元溥訪問指揮大師赫比希


赫比希:「NSO 雖然是個年輕的樂團,卻是一個 擁有非常好的質地與充沛知識的樂團」。

赫比希 Herbig & NSO LIVE: Mendelssohn: Fingal's Cave Overture 孟德爾頌《芬加爾岩洞》序曲


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A Life between Three Continents By Oleg Jampolski (Journalist)


GÜNTHER HERBIG Conductor Laureate

Maestro Günther Herbig is sitting in the executive director’s office of the Taiwan Philharmonic a.k.a. National Symphony Orchestra (NSO) in Taipei. Friendly, happy, smiling, he is following the conversation with an noncha-lant attitude. Wide awake, his eyes focus everyone in the room while he talks. Günther Herbig, 84, has just finished several hours of rehearsal for the upcoming concert. Herbig is a globetrotter, a powerhouse, full of romantic sensitivity which comes across on stage. His eyes are full of life, his life is full of travel. While many conductors’ careers are connected to one country, or even to one orchestra, Günther Herbig’s life is linked to more than six orchestras, located on three continents. The story of this cosmopolitan maestro started in Europe. Herbig was born in Bohemia. He studied in Weimar, Germany, and learned to conduct from Hermann Abendroth. “I didn’t have the possibilities young students have nowadays, seeing numerous conductors at work. Abendroth was probably my only inspiration”, he remembers. Herbig later had the possibility to learn from Herbert von Karajan. Beside his studies, he was one of the few people who had attended rehearsals of the great maestro. “A precise work on a sound he had in mind to achieve exactly what he imagined. This is what I learned from him, and how I am still working myself.” In 1966, Herbig became the second conductor of the Berliner Sinfonie-Orchester which Kurt Sanderling led at that time. After almost six years in Berlin, he finally got his own orchestra: Herbig succeeded Kurt Masur at the Dresden Philharmonic Orchestra in 1972. His first big job, full of responsibility, he says. Although Herbig did numerous recordings and world tours with the Dresden Philharmonics, he stayed in Dresden for five years only. In 1977, he moved back to Berlin to take Kurt Sanderling’s place: Maestro Herbig became the principal conductor of the Berliner Sinfonie-Orchester. Here, in Berlin, the capital of classical music in East Germany at that time, Herbig had a big job to do: The diligent man had not only his orchestra work to do—­­rehearsals, concerts and tours. He was also working on a new concert hall for the SinfonieOrchester. Six years of detailed planning with the architects, day and night, just to get an


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unforgettable, tailored sound experience. Herbig was led by an idea. “I had the chance to finally get my own space. In Dresden, we always had to schedule our concerts with an eye on important political events, which always had the first priority in the city concert hall. Here, in Berlin, I was promised to have my own house, just to be filled with music.” His eyes are still twinkling when he remembers the final, big disappointment: one year before the opening, Herbig was informed that the concert hall would be led by a politician, not by the Artistic Director himself. For Herbig, that was not only a breach of contract, but also a breach of trust. He quit his job, left the orchestra, and was abandoned by the politburo. After that, Herbig experienced the full power of the Socialist Unity Party: he became persona non grata. No invitation to any orchestra, no tours, his recordings disappeared off the shelves and windows of the music stores nationwide. Herbig left the GDR shortly after, in 1984, receiving numerous offers in America. He became the principal conductor of the Detroit Symphony Orchestra. America became his new homeland. Herbig has lived in a small, picturesque town near Detroit now for almost 30 years, when his schedule allows it. At the top of his career, Herbig had been conducting 45 weeks per year. In 1989, he also became principal conductor in Toronto, and once again,

after the German reunion, was leading the Orchestra of Saarbrücken, Germany. In 1972, almost 50 years ago, Herbig had his first encounter to Asia during a tour with the Dresden Philharmonic Orchestra in Japan. After numerous invitations, he discovered Taiwan and its “young, admiring, technically highly versatile” musicians. This connection was reciprocal from the first moment — the musicians of the NSO love their maestro, the audience celebrates him like a pop-star. For almost two years (2008-2010), Herbig temporarily served as principal conductor of the orchestra. A special connection, which has been strong since. But Herbig does not only conduct the NSO. He does a lot of rehearsal work with the musicians. “Style moulding” he calls this job. “In Europe, especially in Germany, we have a big classical tradition. Orchestras, sometimes more than 300 years old, have their own sound. I am working on a special sound of the NSO”, he says. The choice of compositions he performs with the orchestra show Herbig’s deep connection with the German Romantic period. What is the feeling of a conductor who is used to work with orchestras with great traditions, suddenly standing in front of an orchestra that is not even 50 years old? “I don’t feel a difference. The musicians have an enormous quality and knowledge”, Herbig says.


The conductor has made over 100 recordings with many orchestras all over the world. But that is impossible to see when one talks to him. His deeply emotional understanding of music is full of understatement: “You don’t need to study to know how to conduct a bar. You can simply learn it, even as a cleaning lady”. Herbig smiles, “The

赫比希 Herbig & NSO LIVE: Wagner: Overture to Tannhäuser 華格納《唐懷瑟》序曲

most important thing is to have an idea of the little black dots in between those five lines on the music sheet. And then you must put this idea into effect with the orchestra musicians.” Maestro Herbig, the guardian of the German Romantic idea, smiles and takes a big sip of Oolong tea.


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張尹芳 & NSO: Tyzen Hsiao: The Angel from Formosa 蕭泰然:《福爾摩沙的天使》


駐團指揮

張尹芳

YIN-FANG CHANG Resident Conductor

「真正的掌聲應該給指揮張尹芳。她帶領十位團員優雅 地完成了一場稱得上是音樂風格的障礙接力賽。……團 員們順利通過急轉的樂風,從爵士到百老匯到斯特拉溫 斯基式的配樂,卻一點也沒有拖累戲劇性的主線。」

"The real applause, though, goes to conductor Yin-Fang Chang , who gracefully led her 10-piece ensemble through a veritable obstacle course of musical styles.... (T)he musicians negotiated quick turns from jazz to Broadway to Stravinsky-like underscoring with no dips in the dramatic

—英國《金融時報》

through-line."—Financial Times, UK

以創意的音樂會節目企劃、多元的指揮風格遊走於

Yin-Fang Chang is a talented conductor of the younger generation in Taiwan. Starting the 2015/2016 season, Yin-Fang becomes the Resident Conductor of the Taiwan Philharmonic (National Symphony Orchestra) of which she was Assistant Conductor in 2006-2015. Yin-Fang earned high praise for the series "NSO Forever Tales" and various large-scale concerts, such as her collaboration with Sylvia Chang in the NSO 2016 New Year Concert "Midsummer Magic in Winter". In March 2012, Chang replaced the ailing Gennady Rozhdestvensky on short notice to conduct Shostakovich's Symphony No. 8 in the Kaohsiung Spring Arts Festival to great acclaim. In the same year, she made her debut with the Taipei Chinese Orchestra, conducting the world premieres of seven contemporary works in the "Tribute to Wen-Chung Chou" concerts, which were nominated for the Taishin Arts Award in Performing Arts. Chang was invited to conduct the same program again the following year and to record several works of Wen-Chung Chou.

東西方管絃樂團;自 2007 年起張尹芳參與策劃、 指揮「NSO 永遠的童話」年度製作、指揮各種節 慶及推廣音樂會,均深受好評;其中與國際知名導 演張艾嘉合作,製作演出 2016 NSO 跨新年音樂會 《仲夏夜之夢》,以朗讀與音樂的跨界演出深獲國 際媒體肯定。 曾 於 2012 年 3 月「 高 雄 春 天 藝 術 節 」, 臨 陣 替 代身體不適的俄國指揮大師羅許德茲特溫斯基 (Gennady Rozhdestvensky)指揮蕭斯塔科維契第八 號交響曲,受到樂界極大肯定;曾受邀客席國立臺 灣交響樂團及臺北市立國樂團,其與臺北市國演出 《反景入深林―向周文中致敬》音樂會,不僅為多 首作品世界首演,更獲得台新藝術獎最佳演出提 名,並錄音發行。2015 年起,擔任臺北藝術大學 客座講師,活躍於當代臺灣樂壇。 張尹芳於 2006-2015 年擔任國家交響樂團(NSO) 助理指揮,於 2012 年起擔任 NSO 樂團學苑常任指 揮,負責樂團學苑之訓練及演出中看出成效;其傑 出表現令其於 2015 年 8 月起成為 NSO 駐團指揮。 張尹芳的指揮學習啟蒙於楊仁傑, 並先後師事徐 頌仁及陳秋盛。

樂團學苑計畫贊助:

Yin-Fang graduated from Taipei National University of the Arts in 2004 with a Master of Fine Arts degree in orchestral conducting, and studied with Sung-Jen Hsu and Felix ChiuSen Chen. Since the 2012/2013 season, Chang has been the Chief Conductor of the NSO Orchestra Academy, serving as a planner and mentor for the training program.


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M A S T E R


樂團首席

吳庭毓

TING-YU WU Concertmaster

出生於高雄,1982 年畢業於國立藝專音樂科(現 國立臺灣藝術大學),曾任國防部示範樂隊、臺 北市立交響樂團首席,1988 年赴法國馬爾梅頌國 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。累積近三十年豐富的舞臺經驗,經常獲邀至國 內外演出。2002 年應法國在臺協會之邀錄製法國 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 臺灣」(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,吳庭毓更積極致力於教學,於交通 大學研究所、輔仁、臺北藝術、臺灣師範以及臺灣 藝術等大學授課。

Born in Kaohsiung, Taiwan, 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 Concertmaster of the Taiwan Philharmonic (National Symphony Orchestra), a position he still holds today. With nearly 30 years experiences with orchestras, Wu has been invited to various countries to perform, including China and Russia. In 2002 he recorded for the French ThreeHundred 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. As an incisive soloist as well as participant in recitals and chamber music performances, Wu has received much critical acclaim. In addition, Wu is committed to educating young talents in Taiwan, serving in renowned institutes such as National Chiao Tung University, Fu Jen Catholic University, Taipei National University of the Arts, National Taiwan University of Arts and National Taiwan Normal University.


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M A S T E R


樂團首席

李宜錦

I-CHING LI Concertmaster

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。曾師事蔡文河、方永信及小提琴大 師 Ivan Galamian 嫡傳弟子 James Buswell;其精湛琴藝 屢獲國際樂壇肯定:Musicorda Concerto Competition 首獎、Fischoff International Chamber Music Competition 銀牌;亦受邀於泛太平洋音樂季(1998)、檀格塢 音樂季(2000)以及德國什列斯威-霍爾斯坦音樂 節(2001)及日本霧島國際音樂祭(2014-2016)。 在樂團演奏之外,李宜錦亦致力於推廣現代音樂及 涉獵各領域演出,累積豐富而多元的舞臺經驗,曾 受邀發表美國現代作曲家 Alan Fletcher、第三十四屆 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 Susan Botti 小提琴協奏 曲《在黑暗中》(Within Darkness)。 起因於身為兩個孩子的母親,近年熱心推廣兒童音 樂教育,參與發想「NSO 媽媽說故事」系列音樂會, 錄製出版《頑皮的莫札特》CD 及製作雲門劇場親 子音樂會《給孩子的第一個音樂禮物》,廣受大小 朋友的歡迎。

A native of Kaohsiung, Taiwan, violinist I-Ching Li began her violin studies at age of nine. I-Ching has been praised for her depth of insight, virtuosity and creative flair. Her virtuosic performances had gained her top prizes at numerous competitions, both as a soloist and chamber musician. She started her position at the Taiwan Philharmonic (National Symphony Orchestra) first as the associate concertmaster in 2002, and since 2004 became to serve as the concertmaster. I-Ching enjoyed having a multifaceted career as soloist, orchestra member, chamber musician and teacher. She has won prizes including Musicorda Concerto Competition, Massachusetts String Teacher Competition, Heida Hermann International Competition, and among others. She has premiered the works of Grammy Award Winners: John Corgliano, Alan Fletcher, John Harbison and Susan Botti. I-Ching has appeared under the baton of some of the world's premier conductors, including Lorin Maazel, Seigi Ozawa, James Levine, Christopher Eschenbach, Wen-Pin Chien, and among others. She is excited about the prospect of developing her skills as an artist and collaboration with musicians both locally and abroad. Being a mother, I-Ching recently devoted herself on children music education programs. She has coproduced and perform in the NSO Kids Concert series “Dear Little Ones”, a CD album The Naughty Mozart and took parts on Cloud Gate Theater production for Kids “The Gift of Music” all with great success.


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國家交響樂團 音樂總監

呂紹嘉

桂冠指揮

根特.赫比希

駐團指揮

張尹芳

第一小提琴

第二小提琴

中提琴

大提琴

低音提琴

吳庭毓 ★

陳怡茹 ●

黃瑞儀 ●

熊士蘭 ●

傅永和 ●

李宜錦 ★

孫正玫 ◎

鄧啟全 ◎

連亦先 ◎

蘇億容 ◎

鄧皓敦 ☆

吳怡慧

呂昭瑩 ○

韋智盈 ○

周春祥 ○

陳逸群 ○

李京熹

黃雅琪

呂明美

王淑瑜

郭昱麟

黃衍繹

李靖宜

周幼雯

黃筱清

林基弘

顧慈美

謝君玲

陳怡婷

王淑宜

梁坤豪

康信榮

呂孟珊

林宜嫺

連珮致

陳逸農

李梅箋

李思琪

黃日昇

蔡歆婕

卓曉青

鍾仁甫

陳猶白

蘇品維

方俊人

蔡孟峰

蔡秉璋

唐鶯綺

黃佳頎

洪章文

吳彥廷

李庭芳

陳偉泓

賴佳奇

王致翔

林孟穎 李家豪 曾智弘 蔡竺君

★樂團首席 ☆樂團副首席 ●首席 ◎副首席  ○助理首席 ▲樂季合約人員


長笛

單簧管

小號

定音鼓

安德石 ●

朱玫玲 ●

宇新樂 ●

連雅文 ●

宮崎千佳 ◎

張凱婷 ◎

陳長伯 ◎

陳廷銓 ◎

李 浚

朱偉誼

張景民

孫正茸

鄒儒吉

打擊樂 陳哲輝 ●

短笛 鐘美川

低音管

雙簧管 王怡靜

阮黃松

楊舒婷

長號

陳振馨

簡凱玉

宋光清

陳奕秀

邵恆發

高靈風

陳中昇

豎琴 解 瑄 ●

倍低音管

低音長號

簡恩義

彭曉昀

鍵盤

邱 瑗

企劃演出經理 整銷推廣經理 行政管理經理 音樂總監執行祕書

杜佳舫 王承禹 王雲玉 黃毓棻

企劃演出 企劃組長 企劃專員 譜務專員 舞臺監督 助理舞監 整銷推廣 行銷組長 行銷專員

許毓婷 ▲

英國管 李明怡

楊璧慈

執行長

法國號

低音號

劉宜欣 ●

宮西純 ●

黃任賢 ○

行政管理 人事組長 法務專員 行政專員

謝祥雯 賴盈帆 賴曉俐 鍾子韶 高婉瑜 高冠勳 潘柏宏 蘇敬涵 鄭巧琪 陳卜湄 曾柏雄 郭玲孜 潘薇方 劉安綺 林碧珠 劉善謙 林欣儀 苗媛如

國田朋宏 王婉如 曹予勉

法律顧問 音樂諮詢 錄音製作

林信和 焦元溥


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National Symphony Orchestra

Music Director Shao-Chia Lü Conductor Laureate Günther Herbig Resident Conductor Yin-Fang Chang

First Violin Ting-Yu Wu ★ I-Ching Li ★ Hao-Tun Teng ☆ Yi-Chun Chen ○ Yu-Lin Kuo Ji-Hung Lin 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 Chih-Hong Tseng Chu-Chun Tsai

Executive Director Joyce Chiou Manager, Planning & Production Sarah Tu Manager, Marketing & Development Paul Wang Manager, Administration Yun-Yuh Wang Secretary of Music Director Yu-Fen Huang

Second Violin Yi-Ju Chen ● Cheng-Mei Sun ◎ I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku 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 Meng-San Lu Szu-Chi Li

Jubel Chen Ping-Chang Tsai Yen-Ting Wu Cello Lana Hsiung ● Yi-Shien Lien ◎ Chih-Yi Wei ○ Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Pin-Wei Su Ying-Chi Tang Double Bass Yung-Ho Fu ● Yi-Juan Su ◎ Chun-Shiang Chou ○ Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai

Planning & Production Assistant Manager Shelby Hsieh Programme Coordinator Ying-Fan Lai Lizi Lai Eden Chung Librarian Brittney Kao Stage Manager Kuan-Hsun Kao Assistant Stage Manager Odin Pan Ching-Han Su


Flute Anders Norell ● Chika Miyazaki ◎ Chuin Lee Piccolo Mei-Chuan Chung Oboe I-Ching Wang ● Tung Nguyen Hoang ◎ Shu-Ting Yang English Horn Ming-I Lee Clarinet May-Lin Ju ● Kai-Ting Chang ◎ Wei-I Chu Cheng-Jung Sun

Bassoon Kai-Yu Jian ● I-Hsiu Chen ◎ Ling-Feng Kao Contrabassoon En-Yi Chien Horn Yi-Hsin Cindy Liu ● Jen-Hsien Huang ○ Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao Trumpet Nicolas Rusillon ● Chang-Po Chen ◎ Ching-Min Chang Loo-Kit Chong

Trombone Kuang-Ching Sung ● Hang-Fat Shiu ◎ Chung-Sheng Chen Bass Trombone Hsiao-Yun Peng Tuba Jun Miyanishi ● Timpani Ya-Wen Lien ● Ting-Chuan Chen ◎ Percussion Jer-Huei Chen ● Chen-Hsing Chen Pi-Tzu Yang Harp Shuen Chieh ● Keyboard Yu-Ting Hsu▲

★Concertmaster ☆Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal

Marketing & Development Assistant Manager Chiau-Chi Cheng Marketing Coordinator Pu-Mei Chen Po-Hsiung Tseng Katherine Kuo Wei-Fang Pan Angel Liu

Administration Assistant Manager, Personnel Bibi Lin Legal Affairs Cary Liu Administrator Eileen Lin Yuan-Ju Miao

▲Season Contracted Musician

Legal Consultant Hsin-Ho Lin Concert Dramaturgist Yuan-Pu Chiao Recording Partnership


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© Pawel Kopczynski

從中提琴手到作曲家: 一段尋找自己聲音的歷程 文/曾柏雄(國立臺灣師範大學表演藝術碩士)


駐團音樂家

布萊特.狄恩

「充滿想像力、原創性,以及敏銳表現力的聲音。」—《芝加哥論壇報》 「高聳參天的大師之作,多層次與複雜的節奏,《火之音樂》的深度想像力、精密與純粹的影響力,足 以成為這位澳洲作曲家最重要的作品之一。」—《澳洲人報》

腦中一直有個聲音,他將布輕輕蓋在絃上,提起琴 盒,對自己說:「時候到了。」

與一位聲音藝術家、搖滾樂手西蒙.杭特(Simon

Hunt)組成了即興的演出團體,而這直接成為我開 始作曲的契機。」

四十歲時的布萊特.狄恩就這樣離開那個有著許多 傳奇的頂尖樂團,也就是他擔任中提琴手已經十四 年的柏林愛樂—成為一位作曲家。 福特萬格勒、克倫培勒、庫貝力克……我們曾聽過

「這不是件能輕輕放下的決定」對於離開人人欽羨 的柏林愛樂,狄恩說。

許多指揮大師從事作曲的故事,但似乎難想像一位

狄恩入團時是卡拉揚執掌柏林愛樂的晚期,在阿巴

交響樂團團員能在作曲世界綻放強烈的創作能量。

多的帶領下渡過大部份的樂團生涯,離開樂團確實

事實上,狄恩對他稍晚的起步卻一點也不遲疑,

為狄恩帶來一些不適應:「離開後的第一年真是很

至今已創作了協奏曲、管絃作品、清唱劇、室內

難熬,沒有柏林愛樂團員這些家人在舞臺上圍繞,

樂……等超過六十部作品,其中包括了一部歌劇

而是在一個小房間裡面對自己工作,你知道這些家

《喜樂》(2010)。

人是多麼有才華又激勵人心!但適應之後,我並未

這讓旁人瞠目的跑道轉換對狄恩並不算意外,狄恩 說:「即便我在求學時所受的訓練是成為專業的演

對過去眷戀—更何況偶爾也可以加入這個偉大樂 團的行列,當一個自在的演奏家。」

奏家,作曲的意念卻早就開始了。在布里斯本時,

就像所有作曲的道路一樣,創作是一種找尋自己聲

我有位棒極了的『老派』老師,總是熱切地與我們

音的過程,探尋自身,也吸收他人的影響。狄恩從

解釋樂曲的格式與架構;大學時代,我埋頭演奏新

待了十四年的樂團中受惠很多,它既受人尊敬又傳

音樂,甚至有些作曲系學生寫給我的作品我同樣樂

統,意味著時時刻刻浸淫在大師的作品中;狄恩認

此不疲,當然,自己也燃起嘗試創作的興趣,但那

為:「在那段時間裡,我意識到透過人的身體,音

時身邊似乎彌漫著一股術業有專攻的風氣,作曲家

樂的架構在時間中攤開,這些都是跟創作音樂有關

作曲、演奏家演奏,社會的秩序好像就是這樣各司

的深層行為。此外,在柏林的樂團生活讓我認識了

其職,我承認這讓當時的我有點灰心。值得慶幸的

許多活躍的作曲家,像庫塔格(György Kurtág)、

是,這種態度逐漸被打破,現在身兼作曲與演奏的 人愈來愈多。有趣的是,當初鼓勵我從事作曲的並

亨策(Hans Werner Henze)、柯林.馬修斯(Colin Matthews),這些當代的大師對我產生了非常正向

不是古典音樂圈內人。八〇年代後期,我在西柏林

影響,是很棒的經驗。」聽了狄恩的作品後,立刻


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可以明白在柏林愛樂的十四年完全沒有白費,他的

出特殊的音色,而若隱若現的絃樂四重奏《拉茲莫

配器充滿了可能性,卻又合理,而確實明白「舞臺

夫斯基》主題也形成了聲音上的隱喻,不只為了表

上會發出什麼聲音」的經驗也讓他對各聲部所能構

現貝多芬在撰寫這篇狂躁又激昂的書信時,鵝毛筆

築的世界比更多人都刻劃入微。

在羊皮紙上的猛烈刮痕,也象徵他不斷遠去的聽

狄恩對電影與電視影集一直相當有興趣,曾在訪談 中特別提到喜歡以《軍官與魔鬼》、《白宮夜未 眠》、《新聞急先鋒》等劇作聞名的作家艾倫.索

覺,德國《鏡報》稱讚狄恩:「觸及了貝多芬風格 的深處」,狄恩也在此作成功發表後六年,再度編 寫了管絃樂版本。

金(Aaron Sorkin),在轉換跑道至作曲之初,他就

狄恩的作品中常出現精細的泛音交織,初聽即可感

為十二把大提琴寫了一部作品《十二怒漢》(Twelve

受到這些曲子是多麼強烈並精鍊,充滿自信並富想

Angry Men,1996),正如其名,靈感來自於 1957 年盧梅(Sidney Lumet)執導、亨利.方達(Henry Jaynes Fonda)主演的同名電影,講述十二人的陪審

像力,他熟練地使用了管絃樂團的完整編制,令人

團對於即將被判死刑的少年能否在唯一一名陪審

樣的問題,狄恩這樣回答:「人們常說我太太海瑟

員的力排眾議下重新被決定生死,交織著對正義與

就像我一樣,可以在我們作品的質地與線條發現共

法律,無辜與錯放的討論,本片大部份的場景均在

通之處,例如海瑟在繪畫上處理譬喻的方式和我音

同一個房間中,仍舊張力十足,對每個角色的刻劃

樂中的動機和旋律線相似。事實上,我在錄音室堆

鮮明,影響了後續許多電影與舞臺劇作品,而狄恩

疊層層的音軌時,發現那跟海瑟準備作畫用的帆

的音樂則被雪梨《晨鋒報》評為:「這部作品善用

布,為其打底有類似的感覺,我並未真的看到,或

十二把大提琴的表現力,並將之化身為以音樂為形

是聽見我的作品中的視覺表現,但有意識到海瑟和

的十二名陪審員……狄恩精密的音樂直覺將絃樂

我的互補性,在尊敬彼此專長的領域中並肩而行。」

的聲響轉變為感受得到的劇場。

聯想到複雜的織物或是油畫的筆觸,不免讓人想起 他的夫人畫家海瑟.貝茲(Heather Betts)。面對這

目前,他正著手創作下一步歌劇作品,源自偉大的 莎士比亞—《哈姆雷特》(於 2016 年 11 月世界首演)。

「啊!我怎麼可能承認本該比旁人更加完美的這 個感官上有所缺陷呢? 我辦不到,所以,當你們 看到我在該一起笑談時退縮,請原諒我吧!」 —貝多芬《海利根城遺書》,1802 年

布萊特.狄恩 隨後,狄恩對過去做了更進一步的對話,在與柏林 愛樂演奏許多貝多芬作品後,他送中提琴聲部的 前同事們一份禮物—寫給十二把中提琴的作品《遺 書》(2002),創作靈感來自貝多芬動人的《海利 根城遺書》。這首曲子使用不塗抹松香的弓以製造

1961 出生於澳洲布里斯本 1985-1999 柏林愛樂管絃樂團中提琴團員 2002/3 墨爾本交響樂團駐團藝術家 2007/8 德國斯圖嘉特廣播交響樂團駐團藝術家 目前為 BBC 交響樂團、雪梨交響樂團駐團藝術家 2016/2017 國家交響樂團駐團音樂家


BRETT DEAN

Artist-in-Residence Composer, Violist, Conductor (Artist-in-Association, BBC Symphony Orchestra/ Artist-in-Residence, Sydney Symphony Orchestra/ Artist-in-Residence, Swedish Chamber Orchestra)

© Pawel Kopczynski

Brett Dean studied in Brisbane before moving to Germany in 1984 where he performed as violist within the Berlin Philharmonic for fourteen years. Now one of the most internationally performed composers of his generation, much of Dean’s work draws from literary, political, environmental or visual stimuli, including a number of compositions inspired by paintings by his wife Heather Betts. His music is championed by many of the leading conductors and orchestras worldwide, including Sir Simon Rattle, Andris Nelsons, Marin Alsop, David Robertson and Simone Young. Brett Dean began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. Dean’s reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel's Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo, that he

gained international recognition. In 2000 Dean returned to his native Australia to concentrate on his composition, and he now shares his time between homes in Melbourne and Berlin. In 2009 Dean won the Grawemeyer Award for music composition for his violin concerto The Lost Art of Letter Writing. His first opera, Bliss, was premiered in 2010 by Opera Australia and has since been performed at the

Brett Dean's music clip 布萊特.狄恩作品選段


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Hamburg Opera and the Edinburgh International Festival. Recent commissions include The Last Days of Socrates, a large-scale choral-orchestral work premiered in 2013 by the Berliner Philharmoniker/Berlin Rundfunkchor/ Rattle and co-commissioned by Melbourne Symphony and Los Angeles Philharmonic. Most recently, Dean’s new trumpet concerto Dramatis Personae was premiered by soloist Håkan Hardenberger at the 2013 Grafenegg Festival and with Leipzig Gewandhaus Orchestra, Danish National Symphony and the City of Birmingham Symphony Orchestras. Dean is currently working on a new opera based on Shakespeare’s Hamlet with a libretto by Matthew Jocelyn, to be premiered at Glyndebourne in 2017. Hamlet will be conducted by Vladimir Jurowski and directed by Neil Armfield, with Allan Clayton in the title role leading a cast which also includes Barbara Hannigan, Sarah Connolly and John Tomlinson.

career as conductor is also blossoming alongside his work as composer and performer, his imaginative programs usually centered around his own works combined with other composers’. Recent conducting highlights include the Sydney Symphony, Los Angeles Philharmonic, Concertgebouw Orchestra, Melbourne Symphony, BBC Philharmonic, Gothenburg Symphony, TonkünstlerOrchester, Royal Northern Sinfonia and as Artist in Residence with the Swedish Chamber Orchestra.

Dean enjoys a busy performing career as violist and conductor, and since 2005 has been performing his own Viola Concerto with many of the world’s leading orchestras. Dean is a committed and natural chamber musician, frequently collaborating with other ensembles and orchestral musicians to perform both his own chamber works and standard repertoire. Recent and upcoming highlights include projects with the Doric Quartet, Scharoun Ensemble and Alban Gerhardt. Dean’s

Brett Dean’s music has been recorded for BIS and ABC Classics, with a new BIS release in 2013 of works including The Lost Art of Letter Writing, Testament and Vexations and Devotions, performed by the Sydney Symphony and BBC Symphony Orchestras. Dean’s Viola Concerto has also been released on BIS with the Sydney Symphony, with Dean reviewed as “a formidable and musical player as well as an impressive composer… an excellent showcase of Dean's range as a composer”

Brett Dean is Artist-in-Association with the BBC Symphony Orchestra, a role to encompass premieres of his works, commissions and performances as violist and conductor. He will also begin as Artist-in-Residence with Taiwan Philharmonic (National Symphony Orchestra) and the Sydney Symphony from 2016 which will involve conducting, performing and creative programming in collaboration with David Robertson.


© Pawel Kopczynski


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音樂, 是人類最棒的發明 —專訪楊文信 文╱蔡永凱(國立臺灣師範大學音樂學博士)


駐團音樂家

楊文信

蔡:楊文信先生,您在這個樂季即將擔任 NSO 的

他的作品裡,充滿了絕佳、高度的浪漫情懷。我

「駐團音樂家」,您對這個邀約的想法與期待?

這次即將演出的大提琴協奏曲,它的篇幅並不長。

楊:對這個邀請感到相當榮幸。我和 NSO 已有過 多次合作,不只在臺北,前兩年甚至一起在日內瓦 演出。去年,我也和呂總監與 NSO 一起灌錄金希 文的大提琴協奏曲。錄音的過程非常順利、愉快, 是一個絕佳的經驗,所以非常期待這個樂季的再次 合作。您知道我自己也曾經在交響樂團工作過很多 年,期間遇到不少客席指揮家或藝術家,但是不見 得每一位都能跟樂團構成一種和諧、一種我以「共

這部非常精鍊的作品,其實是改編自他為電影《騙 局》(Deception)所寫的配樂。這部電影是關於一 個女人與兩個男人的故事。在電影中,一個男人 是指揮家、另一個男人則是大提琴家,整部電影就 跟一部大提琴協奏曲有關。另外,就音樂來說,這 部作品的音樂非常精彩,它每秒鐘都在變化,有時 候幽默,有時候抒情,演奏起來富有挑戰。這些原 因,讓我想把這部作品介紹給臺灣的聽眾們。

振」來形容的狀態—也就是指揮、團員與獨奏者都

蔡:舒曼的大提琴協奏曲在問世當時,曾經被批評

覺得舒服的狀態。所以我把「駐團音樂家」的身

為是一部「無法演奏的作品」,然而近二十年,卻

份,視為一種特別的機會,來強化樂團和我之間的

成為音樂會的常客,您對這部作品的看法,它有何

關係,讓彼此有更深的認識。

魅力,吸引眾多的大提琴家爭相演奏?

蔡:近幾年來,康果爾德 (Erich Wolfgang Korngold)

楊:很多人在討論舒曼這首大提琴協奏曲時,都會

的器樂作品開始在國際樂壇嶄露頭角,但臺灣的聽

強調舒曼晚年時的精神狀態。不過對我自己來說,

眾對他的作品仍不熟悉。請您談談演出這部作品的

我把這部協奏曲看作第一部具有「浪漫」精神的大

動機?

提琴協奏曲。它的音樂從單一的主題出發,構築出

楊:對我而言,康果爾德是位非常有意思的作曲 家。我現在任教的學校,一直以來都持續舉辦名為

ODEON 的室內樂系列音樂會,由音樂系的教授和 室內樂學程的學生共同演出。這一系列的節目內容 裡,都會刻意安排一些來自在納粹時期受難、或受

整部作品。在過去,許多大提琴家認為這部作品的 裝飾奏太短,因此常常自創裝飾奏來展現演奏技 術,成為這作品獨特的演出傳統。但在這次,我選 擇按照原譜演出,想要呈現作品裡面各元素環環相 扣的關係。

牽連的作曲家之作品。例如說亨德密特,雖然他不

的確,在舒曼譜寫這部作品時,大提琴的演奏技

是猶太人,但因為他的妻子具有一點猶太血統,導

術還沒發展到像現在這麼完備,因此對多數大提

致當時他被迫離開德國。另一位我們常演出的,就

琴家來說,這部作品相當困難。當時還是有許多

是康果爾德。他與亨德密特不同,他是確確實實的

卓越的大提琴家,如斯威爾特(Jules de Swert)、

猶太人,所以在納粹政權時處境更艱難,只好���亡

大 衛 朵 夫(Karl Yulievich Davydov) 或 包 佩(David

美國,為好萊塢的電影音樂奠定基礎。或許如此,

Popper),然而他們多半只演奏自己所譜寫的作品。


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一直到二十世紀,舒曼這部大提琴協奏曲的價值才

楊:的確,我將與 NSO 單簧管首席朱玫玲女士(及

慢慢被肯定。但我必須說,在德國,舒曼的大提琴

鋼琴家廖皎含女士)共同演出布拉姆斯的單簧管三

協奏曲被重視的程度並不遜於德沃札克。德沃札克

重奏。提到單簧管三重奏,除了莫札特,就屬布拉

大提琴協奏曲的音樂比較清晰,易於表現;而舒曼

姆斯這部作品最重要。跟莫札特相較,布拉姆斯筆

的作品感情則非常纖細,要用不一樣的角度來演奏

下呈現出更深刻、更憂鬱的感覺。在這場音樂會

與欣賞。換句話說,像是一部讓人永遠研究不盡的

裡,我也安排了布魯赫的三重奏。(蔡:這是個很

傑作。

有意思的安排,因為布魯赫畢生都活在布拉姆斯的

蔡:艾爾加的大提琴協奏曲自從杜普蕾的經典詮釋 後,也成為最知名的大提琴協奏曲之一。然而從您 的演出紀錄裡,即使在歐洲也未曾演出這部作品。 請問是什麼原因呢? 楊:其實我是拉這首協奏曲長大的!它是我學習的 第一部浪漫派大提琴協奏曲。我自己也覺得很特 別,因為大部份的學生都從拉羅或柴科夫斯基的 《洛可可變奏曲》開始,再慢慢進展到艾爾加;我

陰影下。)嗯,這的確是一個現實的情形。當有一 位天才時,同時代的人就會比較辛苦。但我想,身 為一個現代的演奏者,我們其實可以嘗試介紹這些 少為人知的作品,讓更多的人瞭解這些被遺忘的作 品。這個想法,也符合我想要把康果爾德協奏曲帶 給大家的原因。 蔡:您曾長期在樂團裡擔任大提琴首席。就您的樂 團經驗來說,一個好的樂團要有哪些條件?

的順序則跟他們不大一樣。我自己也曾經將這部作

楊:我必須負責任地說,我自己並不十分瞭解臺灣

品改編為四把大提琴的重奏作品,常常和學生們一

與 NSO 的詳細情形,所以無法馬上就給出很具體的

起演奏。

想法。但就我目前的感受而言,我認為臺北已經具

至於為什麼很少演出這一部作品,讓我告訴你原 因,是因為這部作品還有著作權保障,演出必須要 付很高的版稅,讓很多演奏會的主辦單位望之卻 步。哈哈!所以,這次我也希望把握難得的機會, 與臺灣的聽眾分享這部對我具有特別意義的作品。

有很好的條件,特別是你們有好幾個很不錯的樂團。 我認為一個好的樂團必須具備兩個條件:第一是團 員的素質。我所謂的「素質」,不只指演奏技術, 還包括團員們是否願意一同來貢獻、成就出一場完 整的表演。當我們是獨奏者時,我們把自己的個性 放在演奏中;但當我們是樂團團員時,我們便要瞭

蔡:您這次除了三部協奏曲之外,還將舉行一場室

解,這是個團隊。過去當我在樂團裡演奏時,也常

內樂的演出。

常遇到團員們覺得不開心,不滿意工作的條件。但


© Wildundleise

呂紹嘉、楊文信 & NSO LIVE: R. Strauss: Don Quixote 理查·史特勞斯《唐吉軻德》選段


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我常常跟他們說,不是每個人都具有 演奏的能力與機會,因此應該要覺得 幸福。另一方面,一個好的樂團也需 要有好的指揮,帶領團員嘗試各種不 同的作品。我想,這些你們都有了。 還有必須要提的是,即使慕尼黑有 三個頂尖的樂團,但我們還沒有像 國家音樂廳一樣那麼具有規模的場 地。 我 認 為「 場 地 」 的 確 是 樂 團 發展的關鍵。好的樂團都要有一個 「家」,這個家不是為了把辦公室 集中在一起,而是要有一座好的表 演廳,讓樂團能夠在熟悉的地方練 習、演出,長時間下來與場地共生 出一種屬於「家」的聲音。我希望 政府的文化部門與整個社會可以了 解,「音樂」是人類最棒的「發明」, 人生不是只有吃東西和生小孩而已。 音樂不只是娛樂,它也在互不認識 的人之間製造共鳴,而這種「同理」 正是現代社會裡最缺乏的。 音樂是很特別的東西,可以說是人 類最棒的發明,它兼具了「智性」 與「感情」,如果政府能意識到, 他們或許就能瞭解如何支持音樂的 發展。


WEN-SINN YANG Artist-in-Residence

Enthusiasm for the unknown and indefatigable research distinguish Wen-Sinn Yang as one of the most versatile cellists of the present day. In his original, moderated concerts, he not only revives the music of nineteenth-century cello virtuosos such as Adrien François Servais and Karl Yulievich Davydov, but also enables his audience to find access to such modern composers as Aribert Reimann and Isang Yun. Alongside his activities as an internationally renowned soloist under conductors including Sir Colin Davis, Lorin Maazel, Mariss Jansons, Shao-Chia Lü, Grzegorz Nowak, Daniel Klajner, Yukata Sado and Michael Hofstetter and with such orchestras as the Bavarian Radio Symphony Orchestra, the Shanghai Symphony, the NHK Tokyo, the Royal Philharmonic Orchestra, the Russian State Orchestra of Moscow and Taiwan Philharmonic a. k. a Natianal Symphony Orchestra (NSO), Wen-Sinn Yang is also a highly sought-after chamber music partner. His particularly sensitive, highly virtuoso and strongly expressive playing at the highest technical level continues to open up ever new listening perspectives. Yang has been Professor of Violoncello at the Academy of Music and Theatre in Munich since 2004 and also regularly gives international master courses. During the 2016/2017 season he will be Artist-in-Residence with NSO. Wen-Sinn Yang's widely ranging repertoire is documented more than 30 CDs. These include not only the principal works for violoncello by Boccherini, Haydn, Beethoven, Schubert, SaintSaëns, Lalo, Tchaikovsky and Dvořák, but also compositions by Henri Vieuxtemps, Frank Martin, Leonid Sabaneev and Sofia Gubaidulina. Many of these recordings are premiere recordings.

© Wildundleise

Yang recorded the six solo suites of J. S. Bach in 2005 in cooperation with Bavarian Television. This DVD, released by Arthaus, was praised by the critics as a valid interpretation of how these works can be performed anew on modern instruments and yet with a profound awareness of historically informed performance practice. The CD Alma Brasileira with chamber works of the Brazilian composer Radames Gnattali was honoured with the Latin Grammy Award as the best classical album in 2015.


樂季音樂會


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而立,感謝與祝福! 文/焦元溥(倫敦國王學院音樂學博士)

交響曲實在深入人心,當史特勞斯構思心中的英雄 形象,他延用和貝多芬第三號交響曲一樣的降 E 大 調以創造他的英雄主題,果然能立即召喚出宏偉非 凡的主角氣勢。他筆下的「英雄」就是自己,在愛 侶陪伴下迎戰敵人,凱旋而歸後回顧功業,並以退

2016/2017 樂季是 NSO 第三十樂季。歷史雖非最

隱達觀作結。史特勞斯向來以管絃技法見長,「英

久,卻肩負著最大的期許,NSO 這一路行來嘗遍

雄的戰鬥」一段寫得令人嘆為觀止,確實是一等一

憂歡起落,心底則是滿滿的感謝。在這個樂季讓我

的聲響魔術師。

們以精彩曲目為大家獻上誠摯祝福,期待和樂迷一 同慶祝這難得的三十年。 英雄主題,歡慶周年

面對逆境,勇往直前 也從這兩部作品,我們得以認識「英雄」此一概 念,可有各種層次與面向。「英雄」不一定要是家

三十樂季若有何概念主軸,那就是從開季音樂會就

喻戶曉的偉人;他或她可以只是一位「主角」,透

登場的「英雄」。理查.史特勞斯交響詩《英雄生

過面對困境,或犧牲、或重塑自己。綜觀整個三十

涯》和貝多芬第三號交響曲《英雄》,將在本樂季

樂季,若說有何主角,那必然是貝多芬。作為作曲

前後各自開展「英雄」主題。什麼是「英雄」?這

家,他不斷追求創新,即使面對聽力喪失此等重

兩部作品告訴我們,主角必須面對困難凶險,以自

創,仍能從死地堅強重生,本身就是不折不扣的英

己的能力、勇氣、意志力對抗逆境。貝多芬在第三

雄形象。這次 NSO 將演出他第三、四、五、九號

號交響曲第一樂章,把英雄與其內在徬徨、英雄的

交響曲以及第三、五號鋼琴協奏曲,相信樂迷可會

奮鬥抗爭、英雄的勝利與省思,整合於奏鳴曲式的

大呼過癮。而就面對困境此一標準而言,蕭斯塔科

傳統架構中表現。形式雖舊,概念卻推陳出新,篇

維契也是我們絕對無法忽略的音樂家。身為當時蘇

幅之長也前所未見,開樂界之先河。由於《英雄》

聯最耀眼的作曲新生代明星,極權共產主義對世界


樂季 總覽

展現的一張臉,他不只得承擔巨大的審查壓力,更

《交響舞曲》也有不可思議的優美旋律。拉赫瑪尼

得時時和自己的良知奮鬥。他的第五號交響曲就是

諾夫將心血盡匯於此,更徹底面對纏繞一生的鄉

在遭受史達林嚴詞打壓批判後的「反省之作」。很

愁與心魔—他在第一樂章結尾引用了自己第一號

可惜,蕭斯塔科維契的音樂創作的確從此改變了方

交響曲的片段,更在終樂章再次導入「神怒之日」

向,無法往更前衛更大膽的領域探索,但這位什麼

主題。此主題堪稱拉赫瑪尼諾夫的人生主題曲,在

都能寫的作曲奇才,終歸找到自己的音樂語言,在

他大大小小創作中皆可見其身影。但這次作曲家在

夾縫中綻放獨特的花朵。口頭上妥協,內心仍然頑

此主題最後一次出現後,接著引用了東正教聖歌旋

強,當你聽到第五號交響曲結尾,在那響亮卻空洞

律,並在譜紙上寫下「哈利路亞」。這果然是他最

的大調和絃裡,相信你能領會作曲家正話反說的絕

後一部作品,拉赫瑪尼諾夫決定做個了結,向一生

妙諷刺,索命刀口下陳述的微言大義。

執念就此告別。

回顧省思,功業總集

三十而立,英雄現身

一如《英雄》交響曲和《英雄生涯》都花了大量篇

既然有回顧與總結,我們也該傾聽主角最初是如

幅回顧並省思「英雄」—或說「主角」—的人生歷

何現身,才能更清楚他們日後的成長發展。本樂

程與功業得失,「英雄之作」可以呈現作曲家的人

季安排了拉赫瑪尼諾夫第一號交響曲以及巴爾托

生轉捩點,也可展現作曲家的經歷總結。 巴爾托

克第一號鋼琴協奏曲,讓我們得以和其最後創作

克《管絃樂協奏曲》和拉赫瑪尼諾夫《交響舞曲》,

對照。前者因為首演失敗,導致作曲家精神崩潰,

都是這樣的經典。由於政治情勢,這兩人不得不

失去創作能力三年,藉由催眠療法才恢復譜曲信

離開家園,晚年都在美國發展。《管絃樂協奏曲》

心。此曲真有那麼不堪,還是受到指揮酒醉拖累,

和《交響舞曲》都可聽到些許新大陸音樂風格的影

或純粹是樂評惡意攻訐?親自聆聽,相信您會有自

響,但更有作曲家深刻的懷鄉之情,以及他們集其

己的看法;後者對鋼琴家而言是相當考驗,對指揮

創作技法大成的手筆。兩曲都展現作曲家對管絃配

家更是難曲中的難曲。巴爾托克以古典形式展現極

器的深厚功力,筆法之刁鑽簡直是要演奏者在鋼索

具原創性的聲響和思考,從簡約素材轉折出繁複變

上跳芭蕾,卻又有神乎其技、令人不得不佩服的絕

化,手法巧妙令人驚嘆。三十是「而立之年」,本

妙創見。《管絃樂協奏曲》不只旋律動聽,對位寫

樂季也排出許多作曲家的「立足之作」,讓我們再

作更極其深厚。作曲家將民族音樂完全內化成自身

一次見證他們起身向這世界說話的姿態。布拉姆斯

語彙,還在第四樂章以幽默手法遙祝匈牙利祖國,

第一號交響曲和白遼士《幻想交響曲》是 NSO 這

堅信納粹必亡。終樂章之精彩刺激,更是舉世難再

幾年來的常客,愈琢磨相信滋味愈出,溫故知新總

的奇蹟。

有助益。馬勒第一號交響曲雖是作曲家二十八歲的


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創作,風格卻極為成熟,還施展個性強烈的拼貼融 合技法,呈現另闢蹊徑的一家之言。斯特拉溫斯基 《火鳥》是作曲家到西方世界揚名立萬之作,節奏 設計顛覆傳統,配器招式五花八門,風格銳利卻歷 久彌新,是百聽不厭的樂團炫技曲。 歷久彌新的里程碑

NSO 精挑細選的這些「立足之作」,不只標示作

現代經典與當代新作

NSO 近年來最顯著的改變之一,即是曲目往當代 靠近並委託更多國人新創作。三十樂季一方面延續 上一季的早期浪漫主題,帶來韋伯與孟德爾頌的協 奏曲和序曲,同時也上探巴赫和莫札特,呈現樂團 的精緻細膩和明晰句法;另一方面,仍要持續帶 來現代與當代作品,和愛樂者一起立足二十一世 紀。新樂季在此領域的曲目格外繽紛,有美國當紅

曲家的個人成就,幾乎也都是音樂史上的里程碑。

作曲家席格東(Jennifer Higdon)與甘杜菲(Michael

對於許多生前即享盛名的作曲家,NSO 也排出他

Gandolfi),涉足各種領域,已然成為當今文化偶

們的得意代表作,展現其膾炙人口的傲人成就。布

像的低限主義大家格拉斯(Philip Glass),俄國巨

魯克納之前雖獲得些許成功,但要到第七號交響曲

擘顧拜杜里納(Sofia Gubaidulina),加上日本的武

才爆得讚譽,成為眾所推崇的作曲名家。此作曲調

滿徹、法國的梅湘與都堤岳(Henri Dutilleux)、國

悠長且旋律深情,無論是第一樂章美得不可思議的

內青壯派金希文的經典作品,以及錢南章為 NSO

開頭,氣象萬千的壯闊結尾,還是第二樂章令人聞

30 的新創作首演,如此堪稱環遊世界的名家名曲

之落淚,悼念華格納的真摯輓歌,第七號交響曲在

安排,定能讓聽眾一飽耳福。至於 NSO 邀請六年

在顯露無可取代的魅力,不愧是布魯克納最受歡

才終償宿願,擔任本季駐團音樂家的澳洲作曲家狄

迎的創作之一。 柴科夫斯基第五號交響曲結構嚴

恩(Brett Dean),又會帶來什麼新奇有趣的創作?

謹,哀艷淒絕混搭壯志豪情,人望甚至高過第六號

就讓我們拭目以待吧!

交響曲《悲愴》,是上演機率最高的交響曲之一。 說到如此「一曲入魂」的魅力,拉威爾創作類型雖

名曲星海中的閃爍亮點

多,下筆卻更是嚴謹小心,作品幾乎都能達到如此

除了上述眾多名作,NSO 也排出不少不容錯過的

效果,使他成為法國版稅收益最高的作曲家。論及

樂季亮點,使曲目更為增色。德沃札克第七號交響

管絃樂,拉威爾更是舉世難再的配器大師,作品無

曲近年來愈來愈流行,知名度終於能和第八號《英

一不精雕細琢。芭蕾舞劇《達夫尼與克蘿伊》是他

吉利》與第九號《來自新世界》鼎足而三。此曲深

最為得意的創作,曲調古雅精純,效果千變萬化,

入作曲家難得的陰暗面,旋律之美卻讓人難以忘

還要搭配合唱團增潤聲響,成就確實令人難望其項

懷。勁力收放自如,旋律張弛靈活,無論是第三樂

背。由於編製龐大、勞師動眾,此作多半以組曲方

章靈思泉湧的舞蹈節奏,或第四樂章粗獷狂放的爆

式出現,這次 NSO 難得演出全本舞劇,是內行愛

發力,第七號交響曲都有德沃札克所有交響曲中

樂者聽門道的機會。

僅此一家的設計,絕對是愛樂者應該認識的傑作。


丹麥作曲家尼爾森個人特色鮮明,堅持理念毫不妥

面藝文涵養的音樂家。康果爾德兩度到好萊塢寫作,

協。他的六首交響曲處處驚奇,長笛協奏曲更廣受

第二次更因躲納粹之禍而以美國為家,結果就是以

歡迎,是二十世紀赫赫有名的木管代表作。米堯

其出眾非凡的驚人手筆,大幅提升好萊塢的電影音

《屋頂上的牛》原是為卓別林默片所寫的小提琴與

樂水準。約翰.威廉斯寫《星際大戰》時也以康

鋼琴合奏曲,後來改成超現實主義芭蕾舞劇。一如

果爾德的作品為師,延續這一脈豐富輝煌的壯麗絢

逗趣的曲名,作曲家把在巴西所見所聞融入音樂,

爛。可嘆如此奇才,最後竟也因為這段好萊塢經驗,

南美探戈與通俗曲調皆是素材,才有這好聽又好玩

戰後被歐洲樂壇輕視,認為他不過是「電影配樂作

的創作。後來巴黎開了家以此曲為名的酒館,逐漸

曲家」。這個標籤一貼就是三、四十年,要到最近

發展為各類創作者的群集之地,甚至成為一種風

二十年,樂界才開始重新正視其作品真價,彌補過

格—「來牛一下!」成了當時藝文圈的流行語,而

去的偏見與錯誤。他這兩首協奏曲主題都來自其電

這一切的源頭就是《屋頂上的牛》。這是無論聽多

影配樂。小提琴協奏曲由於技巧艱深,已成當代名

少次都會覺得開心歡樂的樂曲!

家炫示能力的愛曲,堪稱國際樂壇顯學。大提琴協 奏曲知名度稍遜,但樂曲改自以大提琴家為主角的

從電影到音樂廳:康果爾德的經典創作

電影配樂,戲劇效果可想而知。這次 NSO 請到楊文

最後必然得好好介紹的,是康果爾德的小提琴協奏

信擔任駐團音樂家,特別帶來這首難得一聞的作品。

曲和大提琴協奏曲。這位罕見的維也納作曲神童,

不可多得的曲目規畫是 NSO 30 樂季向臺上臺下致

十歲的作品就讓馬勒與理查.史特勞斯大感驚奇。

敬與致謝的誠意邀約,靜候愛樂朋友到音樂廳和我

那不只是技法高超和旋律動聽,還有遠遠超越實際

們享受這所有美好,和 NSO 一起邁向下一個三十

年齡的老練與成熟,證明他是教養深厚,具有全方

年!

Lecture in Mandarin

呂紹嘉時間

MEET MAESTRO LÜ

2016/7/9 Sat. 19:30

2016/7/9 Sat. 19:30

新樂季巡禮—沙龍音樂會

Salon Concert for the 2016/2017 Season

主講 呂紹嘉 與談人 焦元溥

SHAO-CHIA LÜ, lecturer YUAN-PU CHIAO, moderator

地點:國家音樂廳一樓大廳

Venue: Lobby of the National Concert Hall

免費入場(限 200 席,額滿為止)

Free admission


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SEASON OVERVIEW By Robert Markow (Musicologist)

In 2016-2017, the Taiwan Philharmonic a.k.a. National Symphony Orchestra (NSO) embarks on its 30 th anniversary season and its seventh with Maestro ShaoChia Lü at the helm. The Orchestra has come far in its thirty years, and even farther in the seven short years it has been led by Maestro Lü. The NSO has joined the ranks of Asia’s best, and now enjoys an international reputation earned from tours abroad, recordings, and the foreign press. The Orchestra has grown significantly in size, sound and sophistication. It is totally at ease with the most challenging scores. Its sound is now full, rich, well-rounded and well-balanced in the tradition of the best German orchestras, and has been singled out as having the most European sound of any major orchestra in Asia. The season ahead promises to shine with a special luster.

THE OPENING CONCERT Shao-Chia Lü has chosen an exceptional program to open the season. Underscoring the Orchestra’s sense of national pride, the first work is fittingly by a Taiwanese

composer. This is a newly minted composition by NanChang Chien (b. 1948), an award-winning composer who has contributed greatly to the musical landscape of Taiwan. The guest soloist is one of the world’s finest violinists, the Greek-born Leonidas Kavakos, who plays the richly romantic concerto by Erich Wolfgang Korngold. The “big” work on the program is Strauss’s forty-minute symphonic poem Ein Heldenleben (A Hero’s Life), which might well serve as a metaphor for NSO's heroic ascent to the ranks of the world’s top orchestras in so short a time.

FAVORITE REPERTORY The season will include no shortage of repertory favorites by famous composers: Bach, Mozart, Beethoven, Berlioz, Weber, Brahms, Dvořák, Rachmaninoff, Tchaikovsky, Bruckner, Mahler, Shostakovich, Stravinsky, Ravel, Prokofiev and Bartók are all represented, an array spanning well over two centuries of music. The earliest works come from Bach, his Double Violin Concerto and Third Brandenburg Concerto, the latter scored for nine string parts, which can of course be doubled or tripled for larger ensembles. Mozart takes a bow with four different kinds of concerto: one for one soloist, (the elegant Oboe Concerto, the best-known example of its kind); two for two soloists (the all-time-favorite concerto for two violins and the sublimely beautiful Concerto for Flute and Harp, the first of its kind ever written); and one for four(!) soloists (oboe, clarinet, bassoon, horn), the Sinfonia Concertante.


Orchestral showstoppers include Bartók’s Concerto for Orchestra, in which everyone gets to be a soloist, and Berlioz’ Symphonie fantastique (fantastique in the French sense of something really strange or weird—the symphony traces a musical journey through the mind of someone who has taken an overdose of opium!). Two of the world’s most beloved symphonies, Dvořák’s Ninth (From the New World) and Shostakovich’s Fifth, take pride of place as repertory for NSO next European tour in March. More great symphonies are seen in Brahms’s First (one of the two or three greatest First Symphonies ever written), Mahler’s First (another of those two or three greatest Firsts), Tchaikovsky’s Fifth, and Bruckner’s Seventh. And Beethoven? See below!

BEETHOVEN Beethoven is represented by six works – more than any other composer this season. Four of his symphonies are scheduled: the mighty Eroica (No. 3), the longest, most powerful, most emotionally engaging symphony written to date (1805); the Fourth, so wrongly considered by some to be one of Beethoven’s “lesser” symphonies; the Fifth, probably the world’s most popular symphony; and the titanic Ninth, a performance of which is always a special occasion, and which will be conducted by a special conductor, the highly esteemed Conductor

Laureate of NSO, Günther Herbig. Two piano concertos round out the Beethoven profile: the Third and the Fifth (Emperor). The latter forms part of the NSO’s New Year’s Eve program, which always takes on the nature of a party as well as of a concert.

RUSSIAN REPERTORY Russian music plays a key role in this season’s programming. Works by no fewer than seven composers are on tap: Tchaikovsky (Fifth Symphony and First Piano Concerto), Rachmaninoff (Symphonic Dances and First Symphony), Prokofiev (Second Violin Concerto, Third Piano Concerto), Shostakovich (Fifth Symphony), and Stravinsky (complete Firebird ballet) are names most regular concertgoers recognize; then there are also a couple of lesser-known figures, one from the late nineteenth century (Anatoly Lyadov) and one from the late twentieth (Sofia Gubaidulina). Actually, Lyadov’s music rarely turns up on symphony concerts for the simple reason that he has gone down in musical history as one of the laziest and most dilatory of composers, plus he wrote little for orchestra. Gubaidulina (pronounced goo-bye-DOOlee-na) was one of the most distinguished and highly


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respected Russian composers of the post-Shostakovich generation.

BRETT DEAN—ARTIST-IN-RESIDENCE Each year NSO invites a prominent foreign artist to serve as its Artist-in-Residence. For the 2016/2017 season, it is Australian-born Brett Dean. Dean’s professional career first took him to Germany, where he served as a member of the Berlin Philharmonic’s viola section for fourteen years (1985-1999), then returned to his native land to become a full-time composer. Like Handel, he has written a Water Music, and like Beethoven a Pastoral Symphony, but he is a composer with a brave and distinctive voice of his own, and self-taught at that. Dean is currently writing his second opera, Hamlet, from which his From Melodious Lay will appear on a NSO concert in January, two months after its world premiere in London. A lecture-concert on Dean’s chamber music works will be performed and lectured by the composer himself in January. Dean’s string ensemble work Short Stories will be offered in April as well.

CONCERTOS Every season has its quota of concertos, but this one stands out for the breadth and variety on offer. Of course there are concertos for piano (Tchaikovsky, Beethoven, Bartók, Ravel, Philip Glass) and violin (Bach, Beethoven, Mendelssohn, Brahms, Tchaikovsky), as there are every year, but we also encounter concerted works for

instruments that only occasionally, or in some cases rarely get into the spotlight: cello (Elgar), flute (Nielsen), clarinet (Weber and Takemitsu), trumpet (Penderecki), and even percussion (Jennifer Higdon), not forgetting the three aforementioned works by Mozart (for oboe, for flute and harp, and for four winds).

CONTEMPORARY MUSIC Music by modern masters has long played an important role in NSO season programming since Lü’s tenure in 2010. For 2016/2017, Jennifer Higdon, Michael Gandolfi, and Philip Glass (the United States), Olivier Messiaen and Henri Dutilleux (France), Sofia Gubaidulina (Russia), Brett Dean (Australia), Krzysztof Penderecki (Poland), and Tōru Takemitsu (Japan) are the composers selected from four continents. Works by four Taiwanese composers will be presented this season. A brand new work Ila Musica Festival Overture by Nan-Chang Chien celebrates the 30th season of the NSO. Ke-Chia Chen’s Broken Crystal will have its Asian premiere. When the NSO goes on its first-ever tour to North America in December, it will take along a violin concerto by the late Tyzen Hsiao (he died in 2015). And three months later, in March 2017, Gordon Chin’s Third Symphony, Taiwan, will go to Europe with the orchestra.


TAIWANESE CONDUCTORS Four Taiwanese conductors will take to the podium to lead the NSO. Yin-Fang Chang, the NSO’s Resident Conductor since 2015, puts her interpretative stamp on Bartók’s brilliant Concerto for Orchestra as well as on a Taiwanese work. Mei-Ann Chen has been Music Director of the Chicago Sinfonietta since 2011 and of the Memphis Symphony (USA) between 2010 and 2011. Her program reflects her strong American connection with two very recent works by Americans, one of which she premiered in Memphis (Michael Gandolfi’s Fourth Chickasaw Variations). Felix Chen, now in his seventies, has a long and distinguished history of service to Taiwan’s classical music scene as conductor, violinist and teacher. Among his conducting students was Shao-Chia Lü. The charismatic TungChieh Chuang was top prize winner in both the Solti Competition and the Malko Competition in 2015, and is well on his way to worldwide fame. Stravinsky’s complete Firebird ballet score provides him with ample opportunity to demonstrate his considerable talent. Another of Taiwan’s outstanding young conductors is Chin-Chao Lin, the 1st Kapellmeister at the Südthüringisches Staatstheater—Das Meiningen

Theater starting 2016/2017. His program is a most unusual one in that most of it consists of music that amuses, entertains and tickles your funny bone as opposed to the more serious fare usually offered.

TAIWANESE SOLOISTS Taiwanese soloists play a big role in the NSO’s 30th anniversary season. Well over twenty will take part, including all four soloists in Beethoven’s Ninth and most of the leading roles in Puccini’s operatic trilogy Il Trittico. Ray Chen, the Taiwan-born violin virtuoso, joins the NSO for its European tour playing Prokofiev’s Violin Concerto No. 2. Shuen Chieh, the NSO’s principal harpist, teams up with principal flutist Anders Norell in Mozart’s Concerto for Flute and Harp. Cynthia Yeh, principal percussionist in the Chicago Symphony, returns to her homeland to star in Jennifer Higdon’s Percussion Concerto. Violinist Richard Lin, first prize winner of the 2013 Sendai Competition, is one


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of the new generation’s most promising and gifted young concert soloists. He plays the ever-popular Mendelssohn Concerto. Wen-Sinn Yang, for sixteen years principal cellist in Germany’s famed Bavarian Radio Symphony Orchestra, stars in concertos by two early twentieth composers, Erich Wolfgang Korngold and Edward Elgar, both drenched in ravishing romanticism. In the NSO 30 New Year’s Concerts, Yang joins violinist Nai-Yuan Hu for Brahms’s Double Concerto, pianist Yu-Chiou Tchen is the soloist in Beethoven’s Emperor Concerto, NSO string principals play Bach’s Brandenburg Concerto No. 3, and four wind principals (oboe, clarinet, bassoon, and horn) come forward to star in Mozart’s Sinfona concertante.

OTHER GUEST CONDUCTORS AND SOLOISTS In addition to the Taiwanese stars, NSO will be joined throughout the season by renowned guest conductors and soloists. These include the sensational violinist Leonidas Kavakos, pianists Freddy Kempf, Yujia Wang and the Labèque Sisters; and conductors Vassily Sinaisky, Carl St. Clair, Gabriel Feltz, Oleg Caetani,

Pascal Rophé and Michael Sanderling. The remarkable Kolja Blacher comes wearing two hats, of both violinist and conductor.

OPERA Now that renovations to the National Theater are over, the NSO annual operatic production can return to this welcoming venue. For July 2017, Shao-Chia Lü has chosen Il Trittico by Puccini, a trilogy of short operas each about an hour in length. Puccini is a composer close to Maestro Lü’s heart, and he is jumping the gun on the centenary of Il Trittico’s world premiere by a year. (It was first performed by New York’s Metropolitan Opera on December 14, 1918) One opera (Il Tabarro) is a tragedy that ends in murder, one (Suor Angelica) is a tragedy that ends in salvation, and one (Gianni Schicchi) is an outright


comedy, one of the few in the operatic repertory that ranks as a true masterpiece. Internationally recognized director James Robinson comes to Taipei from his home base at Opera Theatre of St. Louis.

TOURS The NSO will undertake no fewer than five tours this season—three domestic and two international. The Orchestra makes its first-ever visit to North America in December, when it journeys to 3 cities on the West Coast (Vancouver, Los Angeles, and San Diego) for performances of Tchaikovsky’s Violin Concerto with the top prize winner in last year’s International Tchaikovsky Competition, Taiwanese-born Benny Yu-Chien Tseng. Also on the program will be the violin concerto by Taiwanese composer Tyzen Hsiao, a new piece inspired by an indigenous theme, and Dvořák’s Symphony No. 9 (From the New World). The Orchestra last visited Europe in 2013, when it played five concerts in four countries. This time it will offer six concerts in five countries: Austria (Linz and Vienna), Germany (Berlin), France (Lyon), Belgium

(Brussels) and Poland (Warsaw). The repertory will comprise two big, popular symphonies (Dvořák’s From the New World and Shostakovich’s Fifth), two concertos (Prokofiev ’s Second Violin Concerto with internationally renowned Taiwanese Australian violinist Ray Chen, and Ravel’s Piano Concerto in G with Alexandre Tharaud), and a composition by the prominent Taiwanese composer Gordon Chin: his Third Symphony, subtitled Taiwan, a powerful work that explores his native country’s turbulent history.

LOOKING TO THE FUTURE … Engaging the audience in close dialogue with musical experiences has always been a priority of Shao-Chia Lü, a pursuit enhanced by the open-mindedness he perceives in concertgoers in Taiwan. In looking to the future, he will naturally continue to guide the NSO’s artistic integrity and to balance programming between established repertory and popular favorites on the one hand, and surprises and revelations on the other. The season ahead fulfills these goals splendidly, and all Taiwanese can be proud of its national orchestra on the occasion of its 30th anniversary.


Linz

Vancouver

Orange County

Vienna

From

FORMOSA NSO 30 首次美加登臺、三訪歐陸 音樂總監呂紹嘉&國家交響樂團 北美&歐陸巡演

呂紹嘉 & NSO: Gordon Chin: Symphony No. 3 Taiwan, Mov. 3

金希文:第三號交響曲《臺灣》,第三樂章


Lyon

2016.12.9~13

Warsar

Berlin

Brussels

《來自臺灣》美加巡演

From Formosa – Taiwan Philharmonic 2016 North America Tour

小提琴╱曾宇謙

YU-CHIEN TSENG, violin

蕭泰然:D 小調小提琴協奏曲 德沃札克:第九號交響曲《來自新世界》

TYZEN HSIAO: Violin Concerto in D, Op. 50 ANTONÍN DVOŘÁK: Symphony No. 9, Op. 95, E minor, From the New World

12/9 加拿大溫哥華,UBC 表演藝術中心 12/12 美國加州橘郡,塞格斯仲音樂廳 12/13 美國加州聖地牙哥,巴爾波亞劇院

Chan Centre for the Performing Arts, Vancouver Renée and Henry Segerstrom Concert Hall, Orange County Balboa Theatre, San Diego

《來自臺灣》歐洲五國巡演

2017.3.19~31

From Formosa – Taiwan Philharmonic 2017 Europe Tour

小提琴╱陳銳 鋼琴╱亞歷山大.薩洛

RAY CHEN, violin ALEXANDRE THARAUD, piano

金希文:第三號交響曲《臺灣》 普羅科菲夫:第二號小提琴協奏曲 拉威爾:G 大調鋼琴協奏曲 蕭斯塔科維契:第五號交響曲 德沃札克:第九號交響曲《來自新世界》

GORDON CHIN: Symphony No. 3, Taiwan SERGEI PROKOFIEV: Violin Concerto No. 2, Op. 63, G minor MAURICE RAVEL: Piano Concerto, G major DMITRI SHOSTAKOVICH: Symphony No. 5, Op. 47, D minor ANTONÍN DVOŘÁK: Symphony No. 9, Op. 95, E minor, From the New World

3/19 比利時布魯塞爾,克拉勒國際音樂節 3/21 波蘭華沙,華沙愛樂廳 3/23 奧地利林茲,布魯克納音樂廳 3/26 德國柏林,柏林音樂廳 3/28 奧地利維也納,維也納音樂廳 3/31 法國里昂,里昂國家交響樂團音樂廳

Klara Festival, Brussels Warsar Philharmonic Brucknerhaus Linz Konzerthaus Berlin Wiener Konzerthaus Auditorium Orchestre National de Lyon


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A Hero's Life 30th Season Opening Concert

2016/9/17 Sat. 19:30

Concerto for Orchestra 2016/10/12 Wed. 19:30

Hero 30

Hero 30

英雄生涯— 三十樂季開季音樂會

英雄競技

指揮 呂紹嘉 小提琴 列奧尼達斯.卡瓦科斯

指揮 鋼琴

錢南章:《璀燦三十》(委託創作) 康果爾德:D 大調小提琴協奏曲 理查.史特勞斯:《英雄的生涯》

陳可嘉:《是璀璨,也是殞滅》 貝多芬:第三號鋼琴協奏曲 巴爾托克:管絃樂協奏曲

SHAO-CHIA LÜ, conductor LEONIDAS KAVAKOS, violin

YIN-FANG CHANG, conductor FREDDY KEMPF, piano

NAN-CHANG CHIEN: Philharmonia Festival Overture (World Premiere) ERICH WOLFGANG KORNGOLD: Violin Concerto, Op. 35, D major RICHARD STRAUSS: Ein Heldenleben, TrV 190, Op. 40

KE-CHIA CHEN: Broken Crystal LUDWIG VAN BEETHOVEN: Piano Concerto No. 3, Op. 37, C minor BÉLA BARTÓK: Concerto for Orchestra

張尹芳 弗雷迪.肯普夫

贊助 國家音樂廳

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©Marco Borggreve

列奧尼達斯.卡瓦科斯 LEONIDAS KAVAKOS

Kavakos' music clip 卡瓦科斯演奏選段


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2016 National Taichung Theater Opening Season 2016 臺中國家歌劇院開幕季

西班牙瓦倫西亞蘇菲亞皇后劇院與拉夫拉前衛劇團 《指環》系列

亞洲首演

Palau de les Arts Reina Sofia, Valencia and La Fura dels Baus | The Ring Cycle Asian Premiere

華格納歌劇《萊茵黃金》

Das Rheingold

德文演唱|中英文字幕|演出全長約 2 小時 30 分,無中場休息

Performed in German with Chinese/English surtitles Approx. 2 hours & 30 minutes without intermission

特別感謝|台北華格納圖書館執行長詹益昌授權中譯字幕

©Tato Baeza


2016/9/30 Fri. 19:30

2016/10/2 Sun. 14:30

導演 卡盧斯.帕德利薩(拉夫拉前衛劇團) 舞臺設計 羅朗.歐貝特 燈光設計 彼得.凡派瑞 服裝設計 裘.烏洛茲 影像設計 法朗.埃勒 共製單位 西班牙瓦倫西亞蘇菲亞皇后劇院 義大利佛羅倫斯五月音樂節

CARLUS PADRISSA, stage director (La Fura dels Baus) ROLAND OLBETER, stage design PETER VAN PRAET, lighting design CHU UROZ, costume design FRANC ALEU, video design A co-production of Palau de les Arts Reina Sofia and Maggio Musicale Fiorentino

指揮

SHAO-CHIA LÜ, conductor NATIONAL SYMPHONY ORCHESTRA

呂紹嘉

NSO 國家交響樂團 神祇 佛旦 尤卡.拉斯勒能 佛麗卡 蘿絲維特.穆勒 洛格 約翰.達斯札克 佛萊亞 林玲慧 佛洛 洪宜德 東內 葉展毓 艾妲 石易巧 侏儒 阿伯利希 高登.霍金斯 迷魅 胡中良 巨人 法夫納 安迪亞.席維斯特利 法索德 蔡文浩 萊茵少女 佛格琳德 中村惠理 薇昆德 凱瑟琳.瑪坦 佛洛絲德 瑞娜.托頓 聲樂指導 馬丁.安德森 聲樂指導、鋼琴排練 王佩瑤 特技空間與戊己劇場

臺中國家歌劇院.大劇院

Grand Theater at the National Taichung Theater 票價及票券啟售資訊請密切關注臺中國家歌劇院官方網站

www.npac-ntt.org

GODS & GODDESSES JUKKA RASILAINEN, Wotan ROSWITHA C. MÜLLER, Fricka JOHN DASZAK, Loge LING-HUI LIN, Freia YI-TE HUNG, Froh CHAN-YU YEH, Donner I-CHIAO SHIH, Erda NIBELUNGS GORDON HAWKINS, Alberich JOSEPH HU, Mime GIANTS ANDREA SILVESTRELLI, Fafner WEN-HAO TSAI, Fasolt REINEDAUGHTERS ERI NAKAMURA, Wolglinde CATHERINE MARTIN, Wellgunde RENEE TATUM, Floßhilde MARTIN ANDERSSON, vocal coach PEI-YAO WANG, vocal coach & piano accompanist Acrodynamic & Wugi Troupe


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Titan Arise 2016/10/22 Sat. 19:30

The Immortal 9th 2016/10/29 Sat. 19:30

2016/10/23

Sun. 15:30(高雄至德堂)

Hero 30

經典 Classics 30

英雄崛起

貝多芬 9

指揮 長笛 豎琴

指揮 根特.赫比希 小提琴 吳庭毓、李宜錦 女高音 林玲慧 女中音 翁若珮 男高音 王典 男低音 葉展毓 國立實驗合唱團 合唱指導 賴淑芳

根特.赫比希 安德石 解瑄

韋伯:《阿布.哈森》序曲 莫札特:長笛與豎琴協奏曲 馬勒:第一號交響曲 《巨人》

GÜNTHER HERBIG, conductor ANDERS NORELL, flute SHUEN CHIEH, harp CARL MARIA VON WEBER: Abu Hassan, J. 106: Overture WOLFGANG AMADEUS MOZART: Concerto for Flute & Harp, K. 299, C major GUSTAV MAHLER: Symphony No. 1, D major

巴哈:雙小提琴協奏曲 貝多芬:第九號交響曲

GÜNTHER HERBIG, conductor TING-YU WU, I-CHING LI, violin LING-HUI LIN, soprano JO-PEI WENG, mezzo-soprano FERNANDO WANG, tenor CHAN-YU YEH, bass TAIWAN NATIONAL CHOIR SHU-FANG LAI, chorus master JOHANN SEBASTIAN BACH: Concerto for 2 Violins, BWV 1043, D minor LUDWIG VAN BEETHOVEN: Symphony No. 9, Op. 125, D minor

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高雄至德堂

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Dance of Drums 2016/11/11 Fri. 19:30

愛樂臺灣 The Philharmonic Series

鼓.舞 指揮 打擊

陳美安 葉孟芸

麥可.甘杜菲:《下契卡索變奏曲》 珍妮佛.席格東:擊樂協奏曲 拉赫瑪尼諾夫:《交響舞曲》

MEI-ANN CHEN, conductor CYNTHIA YEH, percussion MICHAEL GANDOLFI: Fourth Chickasaw Variations JENNIFER HIGDON: Percussion Concerto SERGEI RACHMANINOFF: Symphonic Dances, Op. 45 ©Todd Rosenberg

葉孟芸 CYNTHIA YEH

國家音樂廳

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Tchaikovsky 5 2016/11/17 Thur. 19:30

經典 Classics 30

柴科夫斯基 5 指揮 鋼琴

瓦希利.辛奈斯基 賽佛林.馮.艾克哈斯坦

安納托里.里亞多夫:《魔幻湖泊》 普羅科菲夫:第三號鋼琴協奏曲 柴科夫斯基:第五號交響曲

VASSILY SINAISKY, conductor SEVERIN VON ECKARDSTEIN, piano ANATOLY LYADOV: The Enchanted Lake SERGEI PROKOFIEV: Piano Concerto, No. 3, Op. 26, C major PYOTR ILYICH TCHAIKOVSKY: Symphony No. 5, Op. 64, E minor

國家音樂廳

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賽佛林.馮.艾克哈斯坦 SEVERIN VON ECKARDSTEIN


Symphonie Fantastique

Cello & Symphony

2016/11/ 25

2016/12/23

Fri. 19:30

2016/12/22

Thur. 19:45(中壢藝術館音樂廳) Fri. 19:30

愛樂臺灣 The Philharmonic Series

愛樂臺灣 The Philharmonic Series

青春幻想曲

琴韻交響

指揮 陳秋盛 小提琴 林品任

指揮 呂紹嘉 大提琴 楊文信

舒曼:《麥西納新娘》序曲 孟德爾頌:E 小調小提琴協奏曲 白遼士:《幻想交響曲》

理查.史特勞斯:《唐璜》 舒曼:大提琴協奏曲 康果爾德︰大提琴協奏曲 貝多芬:第五號交響曲《命運》

FELIX CHEN, conductor RICHARD LIN, violin ROBERT SCHUMANN: Braut von Messina, Op. 100, Overture FELIX MENDELSSOHN: Violin Concerto, Op. 64, E minor HECTOR BERLIOZ: Symphonie Fantastique, Op. 14

SHAO-CHIA LÜ, conductor WEN-SINN YANG, cello RICHARD STRAUSS: Don Juan, TrV 156, Op. 20 ROBERT SCHUMANN: Cello Concerto, Op. 129, A minor ERICH WOLFGANG KORNGOLD: Cello Concerto, Op. 37, C major LUDWIG VAN BEETHOVEN: Symphony No. 5, Op. 67, C minor

NSO Chatroom 會客室 訪談人 焦元溥

2016/12/18 Sun. 14 :30 特別來賓:楊文信 憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室

(請由國家音樂廳 G 樓 3 號門演職人員出入口進場)

冠名贊助: 贊助:財團法人天成雙德社會福利基金會 國家音樂廳

中壢藝術館音樂廳

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NSO 30 New Year's Concert 2016/12/31 Sat. 22:00

2017/1/1 Sun. 19:30

NSO 30 跨新年音樂會  指揮 呂紹嘉 鋼琴 陳郁秀(12/31) 小提琴 胡乃元(1/1) 大提琴 楊文信(1/1) NSO 獨奏家群 台北愛樂合唱團 合唱指導 古育仲

SHAO-CHIA LÜ, conductor YU-CHIOU TCHEN, piano (12/31) NAI-YUAN HU, violin (1/1) WEN-SINN YANG, cello (1/1) NSO MUSICIANS TAIPEI PHILHARMONIC CHORUS Y. C. JOHN KU, chorus master

12/31

12/31 Opening by audience voting LUDWIG VAN BEETHOVEN: Piano Concerto, No. 5, Op. 73, E-flat major (Emperor) JOHANN SEBASTIAN BACH: Brandenburg Concerto No.3, BWV 1048, G major Symphonic piece by audience voting GUSTAV MAHLER: Symphony No. 2 (Finale)

序曲︰ ☐ ? # ☁♥你作主 ! 貝多芬︰第五號鋼琴協奏曲《皇帝》 巴哈︰《布蘭登堡協奏曲》 交響曲︰ ☐ ? # ☁♥你作主 ! 馬勒:《復活》(終曲)

1/1

序曲︰ ☐ ? # ☁♥你作主 ! 布拉姆斯:雙重協奏曲 莫札特︰小交響協奏曲 交響曲︰ ☐ ? # ☁♥你作主 ! 馬勒:《復活》(終曲)

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1/1 Opening by audience voting JOHANNES BRAHMS: Double Concerto, Op. 102, A minor WOLFGANG AMADEUS MOZART: Sinfonia Concertante, K. 297b, E-flat major Symphonic piece by audience voting GUSTAV MAHLER: Symphony No. 2 (Finale)


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5.

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4F

交 誼 廳: 茶、 咖啡與歌劇齊 飛; 花 式 溜 冰 與料理旅遊共 治的跨界對 談; 歌 劇 電 影 欣賞不古典的 音樂講堂

2F

GF

B1

大廳與綠牆:深夜 DJ、樂器體驗活動、 晨間 Yoga、親子繪本工作坊、手做工坊 : 十指編織、綠手指、剪刀指與 Henna

演奏廳:鋼琴馬拉松—840 人接力 演出薩替《麻煩事 Vexations》, 還原 原曲演出 840 次的終極版。

音 樂 廳 舞 台: 2 場跨 / 新年音 樂 會; 深 夜 Big Band 爵士樂團; Piano Battle ; 兒 童天地鋼琴四手 聯彈;台前幕後 裝 / 拆台秀

五處大小舞臺,連續 30 小時 28 項展演,從古典、爵士、跨界搖滾到鋼琴 PK,從手作體驗、 兒童天地、到知性與感性對談,就是要跟您拼熱情、拚體力、拼感動∼

鋼琴馬拉松

號召 840 人共同演出薩替《麻煩事 Vexations》,於國家演奏廳以接力方式,

還原原曲演出 840 次的終極版。參與者可獲得「證書」與在演奏廳演出的實況紀實照片。

報名

音樂會我做主 《NSO 30 跨新年音樂會》隱藏版曲目由大家票選! NSO 跨新年音樂會「管絃樂曲曲目」全民公投,讓您做主 ! 交響曲選單

序曲選單 ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

白遼士:特洛伊進行曲,選自《特洛伊人》 白遼士:《羅馬狂歡節》 伯恩斯坦:《憨第德》序曲 布拉姆斯:大學慶典序曲 布拉姆斯:匈牙利舞曲,第一、五首 德沃札克:《狂歡節》序曲 德沃札克:《斯拉夫舞曲》選粹 葛令卡:《魯斯蘭與盧蜜拉》序曲 孟德爾頌:《仲夏夜之夢》序曲 莫札特:《費加洛婚禮》序曲 羅西尼:《威廉泰爾》序曲

☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐

12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

羅西尼:《塞爾里亞的理髮師》序曲 羅西尼:《阿爾及利亞的義大利女郎》序曲 西貝流士:《芬蘭頌》 史麥塔納:〈莫爾道河〉,選自《我的祖國》 小約翰.史特勞斯:《蝙蝠》序曲 柴科夫斯基:波蘭舞曲,選自《尤金.奧涅金》 威爾第:《命運之力》序曲 韋伯:《魔彈射手》序曲 韋伯:《奧伯龍》序曲 蕭泰然:《福爾摩沙的天使》 江文也:臺灣舞曲

網路票選期間:10 月 10 日 ~11 月 11 日,每周公告一次排行榜。 歡迎拉票、買票、搶票!完整曲目將於演出日揭曉!

☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐ ☐

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

伯恩斯坦:交響舞曲,選自《西城故事》 蓋希文:《乞丐與蕩婦》交響音畫 蓋希文:《一個美國人在巴黎》 李斯特:《前奏曲》 拉威爾:《達夫尼與克蘿伊》第二號組曲 拉威爾:《波麗露》 雷史畢基:《羅馬之松》 雷史畢基:《羅馬節慶》 柴科夫斯基:《胡桃鉗》組曲 柴科夫斯基:《天鵝湖》組曲 普羅科菲夫:《羅密歐與茱麗葉》第一號組曲 鮑羅定:韃靼人舞曲,選自《伊果王子》

※ 感謝國家兩廳院特別支持


N S O 3 0 2 0 1 6 › 2 0 1 7 S E A S O N

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90 / 91

Hero Reborn

Russian Riches

2017/1/13

2017/2/24

Fri. 19:30

2017/1/14

Fri. 19:30

Sat. 19:30(臺中國家歌劇院.大劇院)

Hero 30

樂季精選 NSO's Choice

英雄再起

俄羅斯狂焰

指揮 呂紹嘉 鋼琴 王羽佳 駐團音樂家 布萊特.狄恩

指揮 鋼琴

狄恩:《哈姆雷特》連篇歌曲 巴爾托克:第一號鋼琴協奏曲 蕭斯塔科維契:第五號交響曲

SHAO-CHIA LÜ, conductor YUJIA WANG, piano BRETT DEAN, artist-in-residence BRETT DEAN: From Melodious Lay (A Hamlet Diffraction for Soprano, Tenor and Orchestra) BÉLA BARTÓK: Piano Concerto, No. 1 DMITRI SHOSTAKOVICH : Symphony No. 5, Op. 47, D minor

加布里耶.費爾茲 艾莉索.薇莎拉絲

顧拜杜里納:《童話詩篇》 柴科夫斯基:第一號鋼琴協奏曲 拉赫瑪尼諾夫:第一號交響曲

GABRIEL FELTZ, conductor ELISSO VIRSALADZE, piano SOFIA GUBAIDULINA: Marchenpoem (Fairytale poem) PYOTR ILYICH TCHAIKOVSKY: Piano Concerto No. 1, Op. 23, B-flat minor SERGEI RACHMANINOFF: Symphony No. 1, Op. 13, D minor

NSO Chatroom 會客室 訪談人 焦元溥

2017/1/12 Thur. 19 :30 特別來賓:王羽佳 憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室

(請由國家音樂廳 G 樓 3 號門演職人員出入口進場)

國家音樂廳

國家音樂廳

400 700 1000 1200 1500

400 700 1000 1200 1500

臺中國家歌劇院.大劇院

400 700 1000 1200 1500


© Norbert Kniat

王羽佳 YUJIA WANG


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92 / 93

Blazing Masterpieces! 2017/3/4 Sat. 19:30

愛樂臺灣 The Philharmonic Series

馭火飛翔 指揮 莊東杰 小提琴 朱利安.拉赫林 梅湘:《一個微笑》 柴科夫斯基︰小提琴協奏曲 斯特拉溫斯基:《火鳥》全曲

TUNG-CHIEH CHUANG, conductor JULIAN RACHLIN, violin OLIVIER MESSIAEN: Un Sourire PYOTR ILYICH TCHAIKOVSKY: Violin Concerto, Op. 35, D major IGOR STRAVINSKY: The Firebird (Complete version)

國家音樂廳 © Janine Guldener

400 700 1000 1200 1500

朱利安.拉赫林 JULIAN RACHLIN


From Formosa –Pre-tour Concert 2017/3/15 Wed. 19:30

2017 TIFA 臺灣國際藝術節

來自臺灣— 2017 歐巡行前音樂會 指揮 呂紹嘉 小提琴 陳銳 金希文:第三號交響曲《臺灣》 普羅科菲夫:第二號小提琴協奏曲 德沃札克:第九號交響曲《來自新世界》

SHAO-CHIA LÜ, conductor RAY CHEN, violin GORDON CHIN: Symphony No. 3, Taiwan SERGEI PROKOFIEV : Violin Concerto No. 2, Op. 63, G minor ANTONÍN DVOŘÁK: Symphony No. 9, Op. 95, E minor, From the New World

國家音樂廳 ©Julian Hargeaves

400 700 1000 1200 1500

陳銳 RAY CHEN


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94 / 95

My LittleBIG World

Eroica

2017/4/14

2017/4/22

Fri. 19:45

2017/4/15

Sat. 19:30

Sat. 10:30 & 15:00

NSO 永遠的童話 Forever Tales

Hero 30

小童心大世界

英雄貝多芬

指揮 張尹芳 說書人 林小杯、劉清彥、安德石 無獨有偶工作室劇團

指揮 卡爾.聖克萊爾 雙簧管 阿爾柏特.麥耶

陳廷銓:《喀噠 喀噠 喀噠》 李奇曼:《快!攔住那隻大象∼》 韓德爾:〈席巴女王的進場〉,選自神劇《所羅門》 巴哈:B 小調第二號管絃樂組曲選段 高橋宏樹:《藏寶圖》打擊四重奏 繪本 《喀噠 喀噠 喀噠》(文.圖 林小杯) 《亞斯的國王新衣》(文 劉清彥,姜義村 圖 九子) 《今天是沙鈴表演會》(文.圖 樋勝朋巳)

YIN-FANG CHANG, conductor BEI LYNN, CHING-YEN LIU, ANDERS NORELL, narrator THE PUPPET AND ITS DOUBLE THEATER

狄恩:《短篇故事》 海頓:C 大調雙簧管協奏曲 貝多芬:第三號交響曲《英雄》

CARL ST. CLAIR, conductor ALBRECHT MAYER, oboe BRETT DEAN: Short Stories FRANZ JOSEPH HAYDN: Oboe Concerto, Hob. VIIg:C1, C major LUDWIG VAN BEETHOVEN: Symphony No. 3, Op. 55, E-flat major, Eroica

TING-CHUAN CHEN: Ka-Da Ka-Da Ka-Da LUCAS RICHMAN: Behold the Bold Umbrellaphant GEORGE FRIDERIC HANDEL: 'The Arrival of the Queen of Sheba' from Solomon JOHANN SEBASTIAN BACH: Excerpts from Orchestral Suite No. 2, in B minor, BWV 1067 HIROKI TAKAHASHI: Treasure Island Map for Four Percussions PICTURE BOOKS: Granny's Favorite Toy (Bei Lynn, story & illustrations) Aspeen and The Emperor's New Clothes (Ching-Yen, Liu I-Tsum Chiang, story / Jiu-Zi, illustrations) Today is the Day for Maracas (Tomomi Hikatsu, story & illustrations)

國家音樂廳

國家音樂廳

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©Marco Borggreve

卡爾.聖克萊爾 CARL ST. CLAIR


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96 / 97

Who Is Afraid of Shostakovich? 2017/4/28 Fri. 19:30

樂季精選 NSO's Choice

跨越後浪漫 指揮 小號

奧列格.凱塔尼 嘉柏.柏多斯基

舒伯特:第三號交響曲 潘德瑞茨基︰小號協奏曲 蕭斯塔科維契:第十五號交響曲

OLEG CAETANI, conductor GÁBOR BOLDOCZKI, trumpet FRANZ SCHUBERT: Symphony No.3, D. 200, D major KRZYSZTOF PENDERECKI: Trumpet Concerto DMITRI SHOSTAKOVICH: Symphony No. 15, Op. 141, A major

國家音樂廳

400 700 1000 1200 1500

嘉柏.柏多斯基 GÁBOR BOLDOCZKI


The Arts of Play & Lead - Blacher & NSO 2017/5/5 Fri. 19:30

樂季精選 NSO's Choice

領奏的藝術— 布拉赫與 NSO 小提琴、領奏

柯爾亞.布拉赫

布列頓:《法蘭克.布利基主題變奏曲》 布拉姆斯︰ D 大調小提琴協奏曲 貝多芬:第四號交響曲

KOLJA BLACHER, violin/direct BENJAMIN BRITTEN: Variations on a Theme of Frank Bridge, Op. 10 JOHANNES BRAHMS: Violin Concerto, Op. 77, D major LUDWIG VAN BEETHOVEN: Symphony No. 4, Op. 60, B-flat major

©marco borggreve

國家音樂廳

400 700 1000 1200 1500 ©BerndBuehmann

柯爾亞.布拉赫 KOLJA BLACHER


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98 / 99

©Anders-Krison

雪倫.貝札里 SHARON BEZALY


French Masterpieces

French Forlics

2017/5/13

2017/6/2

樂季精選 NSO's Choice

樂季精選 NSO's Choice

Sat. 19:30

Fri. 19:30

法蘭西經典

鋼琴雙后—拉貝克姊妹

指揮 帕斯卡.羅非 長笛 雪倫.貝札里 台北愛樂合唱團 合唱指導 古育仲

指揮 鋼琴 繪本

都堤岳:《變形》 尼爾森:長笛協奏曲 拉威爾:《達夫尼與克蘿伊》

PASCAL ROPHÉ, conductor SHARON BEZALY, flute TAIPEI PHILHARMONIC CHORUS Y. C. JOHN KU, chorus master HENRI DUTILLEUX: Métaboles CARL NIELSEN : Flute Concerto MAURICE RAVEL: Daphnis et Chloé

林勤超 拉貝克姊妹 幾米

米堯:《屋頂上的牛》 浦朗克:《牡鹿》組曲 格拉斯:雙鋼琴協奏曲 聖桑:《動物狂歡節》

CHIN-CHAO LIN, conductor LABÉQUE SISTERS, piano duo JIMMY LIAO, illustration DARIUS MILHAUD: Le bœuf sur le toit, Op. 58 FRANCIS POULENC: Les biches suite for orchestra (From the ballet) PHILIP GLASS: Concerto for Two Pianos CAMILLE SAINT-SAËNS: Le carnaval des animaux

NSO Chatroom 會客室 訪談人 焦元溥

2017/5/31 Wed. 19:30 特別來賓:拉貝克姊妹 憑本場次票券進場,限 150 席,額滿為止。 地點:NSO 三樓排練室

(請由國家音樂廳 G 樓 3 號門演職人員出入口進場)

國家音樂廳

400 700 1000 1200 1500

國家音樂廳

400 700 1000 1200 1500


N S O 3 0 2 0 1 6 › 2 0 1 7 S E A S O N

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100 / 101

Extreme Classical 2017/6/9 Fri. 19:30

2017/6/10

Sat. 19:30(新竹市文化局演藝廳)

經典 Classics30

極致古典 指揮 麥可.桑德林 單簧管 莎賓.梅耶 武滿徹:《奇幻詩章》 韋伯:降 E 大調單簧管小協奏曲 布拉姆斯:第一號交響曲

MICHAEL SANDERLING, conductor SABINE MEYER, clarinet TORU TAKEMITSU: Fantasma/Cantos CARL MARIA VON WEBER: Clarinet Concertino, J. 109, Op. 26, E-flat major JOHANNES BRAHMS: Symphony No. 1, Op. 68, C minor

©Thomas Rabsch&EMI Classics

國家音樂廳 400 700 1000 1200 1500 新竹市文化局演藝廳 400 700 1000 1200

莎賓.梅耶 SABINE MEYER


Bruckner 7

Lü & NSO at the South

2017/6/16

2017/6/24

Fri. 19:30

Sat. 19:30 屏東

2017/6/25 Sun. 19:30 臺東

經典 Classics 30

經典 Classics 30

布魯克納 7

呂紹嘉與 NSO — 三十樂季南方壓軸

指揮 呂紹嘉 大提琴 楊文信 艾爾加:大提琴協奏曲 布魯克納:第七號交響曲

指揮 呂紹嘉 小提琴 李宜錦 中提琴 黃瑞儀

SHAO-CHIA LÜ, conductor WEN-SINN YANG, cello

羅西尼:《賽蜜拉米德》序曲 莫札特:小提琴,中提琴與樂團的小協奏曲 貝多芬:第五號交響曲

EDWARD ELGAR: Cello Concerto, Op. 85, E minor ANTON BRUCKNER: Symphony No. 7, E major

SHAO-CHIA LÜ, conductor I-CHING LI , violin GRACE HUANG, viola GIOACHINO ROSSINI: Semiramide Overture WOLFGANG AMADEUS MOZART: Sinfonia Concertante for Violin, Viola and Orchestra, K. 364, E-flat major LUDWIG VAN BEETHOVEN: Symphony No. 5, Op. 67, C minor

國家音樂廳

巡演

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400 600 800 1000


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102 / 103

C O N C E R T S


G. PUCCINI: Il Trittico — Il Tabarro, Suor Angelica & Gianni Schicchi 2017/7/19 Wed. 19:30 2017/7/21 Fri. 19:30 2017/7/23 Sun. 14:30 NSO 歌劇 Opera

浦契尼三部曲: 《外套》、《修女安潔麗卡》、《強尼.史基基》 指揮 呂紹嘉 導演 詹姆斯.羅賓森 舞臺設計 亞倫.繆耶爾

SHAO-CHIA LÜ, conductor JAMES ROBINSON, stage director ALLEN MOYER, set design

《外套》 米凱列 孔炳宇 喬潔塔 左涵瀛 路易吉 海克特.桑多佛 《修女安潔麗卡》 安潔麗卡 林玲慧 公爵夫人 翁若珮 《強尼.史基基》 強尼.史基基 鮑里斯.史坦森柯 李努奇歐 王典

Il Tabarro: BYUNGWOO PAUL KONG, Michele HANYING TSO-PETANAJ, Giorgetta HECTOR SANDOVAL, Luigi Suor Angelica: LING-HUI LIN, Angelica JO-PEI WENG, Principessa Gianni Schicchi: BORIS STATSENKO, Gianni Schicchi FERNANDO WANG, Rinuccio

聲韻指導 朱蕙心 台北愛樂合唱團 合唱指導 古育仲

KATHERINE CHU, vocal coach TAIPEI PHILHARMONIC CHORUS Y. C. JOHN KU, chorus master

國家戲劇院 500 800 1200 1800 2400 3000 3600 5000 Lecture in Mandarin

呂紹嘉時間

MEET MAESTRO LÜ

2017/6/30 Fri. 19:30

2017/6/30 Fri. 19:30

浦契尼歌劇人生盡在「三部曲」

G. PUCCINI: Il Trittico

主講 呂紹嘉

SHAO-CHIA LÜ, lecturer

地點:NSO 三樓排練室 ( 請由國家音樂廳 3 號門進入)

Venue: NSO Rehearsal Studio at the National Concert Hall

憑《浦契尼三部曲》票券進場,限 200 席, 額滿為止。

Open to ticket holders of NSO Opera Il Trittico


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三岔路口— 浦契尼的試探

浦契尼沒有真正完成《杜蘭朵》就去世了。《三 部曲》該算是他最後一部完整的歌劇—或說三部, 雖然本意是一體,要在一晚節目中盡窺全貌卻非 易事。三劇各長近一小時,加上兩次休息換景(也 轉換情緒),對觀眾耐受極限的挑戰堪比華格納樂

文/金慶雲(前國立臺灣師範大學 音樂系教授,聲樂家)

劇。況且角色多達 39 個,主角由一人兼飾,是演 出難度最高的歌劇之一。因此不幸經常被拆分。從

1918 年 12 月 14 日在紐約大都會首演以來,最受 歡迎的是《強尼.史基基》,近年《外套》也愈受 重視,最常被犧牲的反倒是浦契尼自己的最愛《修 女安潔麗卡》。被拆分的主要原因還是三劇間沒有 必然的聯繫,無論劇情上或是音樂上。所謂「都以 死亡為主題」的說法不免牽強,畢竟浦契尼的歌劇 那一個不涉及死亡?《三部曲》是一部精彩的短篇 小說集,不是長篇,差異對比遠超過統一。 自從《鄉村騎士》註 1 大獲成功,獨幕歌劇就成為 年輕作曲家的敲門磚。浦契尼的第一部歌劇《維 莉》(Le villi)就是為參加這種比賽而作(後改寫 為二幕劇)。雖未獲獎, 卻得到演出機會,一舉 成名。在完成《托斯卡》之後浦契尼又有了獨幕劇 的構想,打算用三段劇情合成一整晚節目,《霍夫 曼故事》註 2 是他的榜樣。 雖然浦契尼很早確立了威爾第繼承人的地位,對他 的評價卻褒貶不一。題材單一,格局太小。在嚴肅 的音樂家與文化人眼中,他的作品庸俗、淺薄、煽 情、商業化,與輕歌劇只有一線之隔。1898 年《波 西米亞人》維也納首演,馬勒就在演出中不時嗤 笑。二十世紀初新一代的義大利音樂家、批評家不 滿歌劇的缺乏新意,他被視為罪魁禍首。1912 年,

Faust Torrefranca 在《浦契尼與國際歌劇》一書中抨 擊他沒有思想,缺乏理想。浦契尼對此保持緘默, 但內心不可能沒有衝擊,身為創作者,他只能以新 的創作來反駁。

註 1《 鄉 村 騎 士 》(Cavalleria Rusticana, 1890) 為 馬 斯 卡 尼 (Pietro Mascagni) 榮獲義大利譜商主辦的羅馬獨幕歌劇創作比賽首獎作 品。 註 2 奧芬巴赫 (Jacques Offenbach): Les Contes d' Hoffmann


但浦契尼終究是浦契尼。他就是偏愛小東西,寧取 身邊的平凡人與事,而非宏大的題材。這本來是義 大利寫實主義對浪漫主義的改革,竟又成了罪狀。 藝術不是以題材來決定的。一個誠實的藝術家只能 隨著自己的感覺走。從《瑪儂雷斯考》起,他的故 事都是自己千挑萬選,改編自當代的小說或戲劇。 這些故事感動了他,為什麼就不能成為感動人的歌

飽,不堪重負的搬運工。出軌、酗酒、兇殺,貧窮 是犯罪的溫床;不可遏抑的情慾,偷歡—他們只能 從無望的生活裏「偷得一點幸福」。從前奏開始, 浦契尼如印象主義繪畫般渲染著不可捉摸的塞納 河氛圍,蜿蜒流淌過全劇。德布西的手法隱約可 見。岸上行人的對話(還提及了咪咪的故事),近

劇?或許癥結在於,通過音樂的放大,這些小兒女

在咫尺,遙不可及;沒有音樂的跳舞,苦中作樂,

的故事變得格外纏綿悱惻,催人淚下。這正是浦契

掃興而止。人群散去,夜色漸濃,劇情集中,音樂

尼的拿手本領。然而一再般弄,賺來的觀眾眼淚就

收束。情人的熱情宣洩,無論如何激憤,依然膽怯

過於廉價了。

壓抑,如牢籠裏野獸的悲鳴。這種效果,或許正

1913 年 2 月,他提出改編話劇《外套》的構想。 幾 個 月 後 確 定 劇 本, 開 始 作 曲, 旋 即 中 斷。 到

1915 年 10 月重新拾起,1916 年 11 月完成。中斷

來自管絃樂的制約而非放大。夫妻間溝通之艱難, 對話成了獨白。明知姦情的丈夫仍圖挽回,音 樂徘徊在爆發與克制之間,直到最後短暫

的主要原因是他接受了維也納的邀約,寫一部「像

的高潮,嘎然而止。「外套裏裹著的有

《玫瑰騎士》那樣,但更有娛樂性」的輕歌劇。《燕

歡樂,有悲哀」,「也有罪行」,還有

子》(La Rondine)在 1916 年完成。由於政治環境

夢想和幻滅。這是浦契尼最有深度的作

丕變(義大利與奧匈帝國分屬一戰的敵對陣營),

品。沉痛、灰暗、無限悲哀。

1917 年在蒙地卡羅首演。這可能是浦契尼最弱的 一部歌劇。更坐實了那些批評,但人們不知道,浦 契尼的反擊還在後頭。 《外套》依然是個小東西。但結結實實,不再虛張 聲勢。故事讓人聯想到經常與《鄉村騎士》搭配 演出的二幕歌劇《丑角》(Pagliacci)。 《丑角》令人 震撼之處在於戲中戲,那舞臺上公然殺妻的過程。 《外套》的暴力雖怵目驚心,但點到即止,重心更 在於全劇的壓抑氣氛和心理煎熬的過程。音樂的手

《修女安潔麗卡》完成於 1917 年 9 月,浦 契尼自認是三部中最好的。這或許源於私人的 感情。他最喜愛的妹妹就是修女,身為最重要 的歌劇創作者,嚴守清規的妹妹卻不能踏入劇 院,著實遺憾。於是浦契尼特地在修道院以 鋼琴伴奏搬演,讓修女們同情落淚。他對 修女日常生活親切溫馨的描寫,或許啟 發了後來紅極一時的音樂劇電影《真

段極其節制,不浪費一個音符,樂團經常節省到只

善 美 》(The Sound of Music)。 這

如室內樂,力量保留給真正的高潮。精準、恰到好

是在暗淡的《外套》和諧趣的

處,如精心剪裁的短篇小說。場景設在往來於塞納

《強尼.史基基》中間,一

河的駁船上,9 月初涼,從日落到夜半,這不是小

個抒情的過度。說是抒情,

兒女的清純愛情,而是如左拉自然主義小說的社會

因為劇情和人物的簡單。

檔案;社會底層的駁船主夫婦,望著不屬於他們的

這 是 浦 契 尼 僅 有 的, 也

都市,無根地漂泊;還有比他們更底層的,但求溫

是罕有的全女角歌劇。


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一個俗世姑母的來訪,打破了一群白衣修女的安靜

的部分則都留給那一對年輕情侶,但也是無頭無

生活。而唯其簡淨,撞擊力度更為集中。姑母是

尾,淺嘗即止,吊人胃口。好不容易來到了勞蕾塔

浦契尼女低音角色中最具分量的,可與威爾第筆

的詠歎調〈親愛的爸爸〉(O mio babbino caro),

下的大祭司相提並論。而其冷酷無情,面目可憎,

儘管短小,聽眾總算遇到了久違的浦契尼的動聽旋

讓人想起《托斯卡》中的惡人 Scarpia。在《外套》

律,自此傳唱不歇。這究竟是作曲家的有意討好或

的對照下,《修女安潔麗卡》一塵不染。絃樂幾

是賣弄手段,不必深論。然而這只是偶然的回顧。

乎是透明的,女高音的獨白單純、絕對,捨棄一

浦契尼遠遠走在前面,甚至用上了多調性和聲,

切的專注,可以穿透一切。《修女安潔麗卡》是

開場的快速節奏,被稱之為「幾乎有斯特拉溫斯

一條雪白的天國之路;在濃洌如酒的種種歌劇間,

基的銳利」。他在傳統與現代之間穿梭自如。奇

一杯獨一無二的甘泉。

思妙想處處埋伏,挖掘不盡。呈現著成熟、真誠、

《強尼.史基基》完成於 1918 年 4 月。取材於但

知性,別處不能見到的浦契尼。簡約而豐富。

丁《神曲》,下地獄的主角卻成了討喜的人物。這

一個無可比擬的風格家,一絲不苟的完美主義者,

是浦契尼唯一的喜劇,堪與華格納的《紐倫堡的

用自己的方式,創造了超越自己的傑作。在俗與

名歌手》,威爾第的《法斯塔夫》相提並論。篇

不俗之間,試著給出一個回答。在三岔路口上,

幅雖小,立意卻高。它承繼了義大利「即興喜劇」

浦契尼曾經試探過新的方向。

(commedia dell'arte)的傳統,即興喜劇沒有固定 劇本,倒有固定的面具、服裝、造型、道具,分 別代表典型的角色—小丑、貪婪老頭、年輕情侶、 醫生。遺產爭奪本來就是即興喜劇最流行的題材, 劇中人物也一一對應著典型角色,然而這裏的音樂 是全新的,一個全新的浦契尼,在他的其他作品 中沒有一點跡象。有學者將此劇比擬為三樂章交 響樂最後的急板樂章,由於急促,旋律短小簡單, 鮮少發展;一閃而逝的詼諧片段,欲 言又止的對位,就如主角的機智 狡猾;一系列動機貫穿全劇, 時時再現,提示著角色或情 景; 包 括 強 尼. 史 基 基 動 機、情侶動機,還有不時 出現的哀樂動機,提醒著 喪家應有的哀戚氣氛。抒情


Puccini's Il Trittico By Hugo Shirley (PhD in musicology from King's College London; Editor of 30-Second Opera, Ivy Press, 2015)

Only in recent years has it become usual to see the three panels of Puccini’s Trittico (or Triptych) performed together as he originally conceived them. The composer’s critical fortunes were decidedly mixed in the second decade of the 20th century. His previous two works, La fanciulla del West (1910) and La rondine (1917), had had lukewarm receptions, the first deemed simultaneously both insufficiently Italian and American, and the second dismissed as too conservative. And right from the very start, with the premiere in New York in 1918 and then the first European performance, in Rome the following year, the reaction to Puccini’s new tripartite work was mixed. Moreover, the reviews served to force Gianni Schicchi away from the other two works straight away. This last panel of the three was seen as an unequivocal triumph, a work of consummate craftsmanship and a sign for the more nationalistic Italian critics, in particular, of the greatness of the Italian nation, of the robust health of the Italian character. It underlined the genius of Dante and the beauty of Florence (it was no coincidence that the most complimentary review came in a Florentine paper), and some even felt that it surpassed Verdi’s Falstaff for its combination of wit and verve. For much of the 20th century, then, the works would be performed in double bills with other operas. Gianni Schicchi was the most popular, with Il tabarro (‘The

Cloak’) and Suor Angelica lagging some way behind. And the desire to split the works up is easy to understand. On the surface these three operas would seem to have little in common, and to perform them together is quite an undertaking, requiring a large number of singers, or singers with the versatility to take on more than one roles, and —if traditionally staged —three lavish sets. Right from the very start, however, Puccini conceived them to be performed together. Indeed, the idea of an evening made up of three separate but connected operas went back as far as the beginning of the century. Oneact operas were very much in vogue at that time, in part following the success of the competition set up by publisher Edoardo Sonzogno whose second winner in 1889 was Pietro Mascagni’s Cavalleria rusticana (Puccini had himself entered with first opera, Le villi, in 1883, but with little success). But Puccini’s triple bill idea, based on a desire to create an evening of three distinct tinte (tinta was a favourite Verdian term used to describe the characteristic colour of any one opera), was unique. His initial plan was for a work based on episodes from Alphonse Daudet’s novel Tartarin of Tarascon, something which, the Puccini scholar Michele Girardi has suggested, would have been along the lines of Offenbach’s Les Contes d’Hoffmann. A later plan was to adapt stories by Maxim Gorky, but that came to nothing because Puccini was unable with that author to find a suitably powerful opening story. This he eventually did find in Dider Gold’s La Houpellande, which had his librettist Giuseppe Adami trimmed down—removing another murder that takes place before what would become Michele’s climactic killing of Luigi—to create Il tabarro. Il tabarro was completed in November 1916, and with the war and work on La rondine interfering, Puccini for a short time considered having it performed with another existing two-act work, or even at one stage with his own


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Le villi. Enter Giavacchino Forzano, however, former baritone and then one of Italy’s most important opera directors, as well as being a man of significant nationalistic bent. Suor Angelica and Gianni Schicchi were his suggestions (his coming from near Florence undoubtedly a factor with the latter), and he ended up being the librettist of both, with Puccini fulfilling his side of the bargain without any major difficulties—the geographical proximity of the two men means that they met largely in person, denying us the documentary record of composition that a correspondence would have provided. Suor Angelica was completed in July 1917 and Gianni Schicchi a little over six months later, less than a year ahead of the start-studded New York. Despite the immediate popularity of Gianni Schicchi, though, it was actually Suor Angelica, the least

popular of the three, that Puccini professed to be his favourite. This remarkable work recaptured some of the same tragedy of Madame Butterfly to show a delicate but determined title character crushed by cruel circumstance. Whether or not Puccini fully believed in the miracle at the close— and several recent productions have staged this as a hallucination rather than a fully-fledged divine intervention—the cumulative power of the work from the confrontation with the Zia Principessa, through Angelica’s heart-rending ‘Senza mamma’, to her suicide attempt and salvation is visceral, arguably unmatched in anything else the composer wrote. And its impact is in many ways due to the slow-moving nature of what precedes it; this patient build-up and scene-setting that was an essential part of the work’s ultimate effectiveness, even if it earned Puccini the censure of his critics.


In fact, the importance of scene setting and location was a key uniting factor in all three works. And as Girardi has argued, they are all more broadly share a concern with place and time, with each opera discussing time differently: Il tabarro is filled with wistful reminiscences of how things used to be, Suor Angelica makes us aware of how slowly time passes in the convent (the excitement and hubbub that greets the arrival of a guest makes this clear), while Gianni Schicchi, to borrow Girardi’s phrase, unfolds in the ‘whirl of the present’. When it comes to place, Puccini is expert in Il tabarro in his evocation of a Paris defined by drudgery and a

lack of opportunity. He was criticised by Italian critics for his ‘international’ touches in this score—for the Debussian washes of colour and the Stravinskian street music—but there is no denying the skill with which he creates his urban soundscape. And it is this skilfully evoked sense of backbreaking toil and hopelessness against which the longing—less a romantic longing per se than a shared longing for a better life—of Luigi and Giorgetta’s wonderful duet, ‘È ben altro il mio sogno’, gains such potency. This is also what allows the characters in this Verismo-like first panel the ability to engage our sympathy so effectively. If Paris is a place of hopelessness in Il tabarro, Florence, by contrast, is a place of sun-drenched wonder in Gianni Schicchi. It is no accident that the opera’s most famous extract, Lauretta’s ‘O mio babbino caro’, was used extensively for the Merchant Ivory film of E.M. Forster’s A Room with a View, set in the historical Tuscany city. The famous theme from that aria also floods in earlier at the close of her lover Rinuccio’s short solo in praise of Florence: ‘Avete torto... Firenze è come un albero fiorito’. It is typical of this wily opera, though, that we do not fully trust Rinnuccio’s sincerity, and then know full well that ‘O mio babbino caro’ is designed as a piece of pure manipulation—Lauretta’s of her father as well as Puccini’s of us in the audience. It is irresistible nonetheless. But the great achievement of Gianni Schicchi is perhaps that in it Puccini manages to touch us as well as make us laugh, despite the venality of the characters and the dirty trick that Schicchi ultimately plays. Indeed, the audience, knowing his motivations, tends to have forgiven him for his treachery long before he seeks forgiveness from Dante himself in the final moments.


演奏廳系列

Series


BETWEEN NOTES 音樂與朗讀

2012 年萬聖節前夕,藉李斯特「音樂朗讀作品」《蕾諾兒》,我 們不僅見識張艾嘉「聲飾」少女、母親、死神與旁白的聲音魅力, 也認識「朗讀」在音樂中的力量。2015 年跨新年音樂會《仲夏夜 之夢》,張艾嘉更以極度聲腔演出 14 個角色,觀眾笑得眼角都是 淚,內心卻有滿滿的感動與幸福。2016 年 3 月,蔡柏璋以「德國 腔的英文」把荀貝格《華沙生還者》演繹得令人潸然淚下;字音 與樂曲緊密扣合,音樂說的不只是故事,更把聽者推向情境(事 件)的核心。這,就是 NSO 30 樂季推出新系列「音樂與朗讀」 的緣起!這次藉由作家們的既有創作,邀請焦元溥博士規劃與之 相互輝映的室內樂作品,期待不一樣的「聲歷其境」,激盪出另 一種「音樂與朗讀」的聲音美學與音樂感動。

2017/2/26 Sun. 14:30

春天,讀書天? 林奕華的選擇

Spring Time− Time for Read ? 朗讀 林奕華 音樂策劃 焦元溥 演出 NSO 獨奏家群

2017/4/9 Sun. 14:30

我的世界都是你

All of My World Is You 國家音樂廳 演奏廳 400

朗讀 幾米 音樂策劃 焦元溥 演出 NSO 獨奏家群


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IS COMPOSITION ? 焦點講座 冠名贊助

主講 焦元溥

2016/10/16 Sun. 14:30

由民歌聽世界: 巴爾托克音樂宇宙

From Folk Song to Bartók NSO 獨奏家群 鋼琴 巴爾托克: 第一、四、六號絃樂四重奏,選段 手杖舞曲,選自《六首羅馬尼亞民間舞曲》 《來自契克地區的三首匈牙利民歌》 《三首斯洛伐克民謠旋律的輪旋曲》之二 「六首保加利亞節奏舞曲」之六, 選自《小宇宙》第六冊 鋼琴奏鳴曲第一樂章 無伴奏小提琴奏鳴曲,第四樂章 第三號鋼琴協奏曲,第三樂章(盧易之改編 鋼琴獨奏版) 國家音樂廳 演奏廳 400

盧易之

「世界上沒有什麼絕對新的東西可被發明;那些看起來最特別的 主意,其實都必有前身可循。」這段匈牙利音樂大家巴爾托克對 當代同行的評論,其實也正說明他的作曲藝術與創作脈絡。他精 研傳統,作品受新古典主義影響但也探索不諧和音,更和柯大宜 (Zoltan Kodaly) 一起採集研究匈牙利與周邊地區民俗音樂,將 之整理成自己的創作語彙,透過舊素材與技巧提出原創性的新成 果。本場音樂會將透過巴爾托克的室內樂作品,為大家介紹這位 演奏、創作、教學、研究面面俱到,是音樂家也是民族音樂學家 的大師,傾聽他非凡的藝術與人生。


2016/11/13 Sun. 14:30

魔女、巫女和瘋女

Evil Spirit, Witch & Insane Woman 女高音 林孟君 女中音 長笛 宮崎千佳 雙簧管

翁若珮 阮黃松 鋼琴

許惠品

「永恆的女性,引領我們高升。」歌德《浮士德》的結尾,其 實也反映了世人對女性形象的著迷。這場音樂會將討論女性在 音樂與文學創作中的奇幻形象,聽「瘋狂場景」如何風靡歌劇 世界,女巫如何溝通人類與神靈,柔弱女性如何因愛情而轉 化,復仇意志又如何藉由藝術表達。有宗教狂熱,有民間傳說, 還有不可思議的炫目超技,透過各式各樣的音樂作品,我們探 索作曲家如何以聲音曲調表現魔法力量,女性如何展現或魅惑 徬徨人心。這是一場以音樂進行的奇幻之旅,精彩創作搭配動 人故事,絕對令您一飽耳福、大呼過癮!

布洛德:《拉梅墨的露琪亞》之瘋狂場景幻想曲 舒曼:〈在異鄉〉、〈林中對話〉,選自《聯篇歌曲》 藍乃克:長笛奏鳴曲《水精靈》第一樂章 法雅:〈受苦的愛情之歌〉、〈火祭之舞〉、〈鬼 火之歌〉,選自《愛情魔法師》 威爾第:〈熊熊烈火在燃燒〉,選自歌劇《遊唱 詩人》 穆索斯基:〈女巫瑪法的預言場景〉,選自歌劇《柯 文斯基事件》 李格悌:《滅絕大師之謎》 國家音樂廳 演奏廳 400

2017/4/29 Sat. 14:30

小說與音樂: 格雷畫像和歌劇魅影

Enchanted Love & Obsession 女高音 小提琴

林慈音 李宜錦 鋼琴

王佩瑤

愛爾蘭大作家王爾德 (Oscar Wilde) 才華橫溢,故事、劇本、 詩文、警句都聞名於世。他唯一一部長篇小說《格雷的畫像》

(The Picture of Dorian Gray) 情節懸疑,優美文句混搭驚悚轉折, 令無數讀者著迷稱奇。同樣是懸疑驚悚,法國作家勒胡 (Gaston Leroux) 融合新聞紀實和偵探筆法,以巴黎歌劇院為背景寫出 《歌劇魅影》(Le Fantôme de l'Opéra),不僅成為包括《夜半歌聲》 在內的諸多影視作品靈感,其同名音樂劇更成為暢銷經典。 這兩部小說都引用不少音樂作品,後者更和歌劇舞臺密不可 分,究竟作者用意為何,提到的樂曲能否對應情節?歡迎大 家到音樂廳和我們一起猜謎解題,讀小說也聽音樂!

舒曼:〈入口〉、〈預言鳥〉,選自《森林情景》 華格納:〈艾兒莎之夢〉,選自歌劇《羅恩格林》 華格納:〈全能的聖女,請聽我的乞求!〉,選 自歌劇《唐懷瑟》 蕭邦:G 大調夜曲,作品 37 之二 古諾:〈杜勒王之歌〉、〈珠寶之歌〉,選自歌 劇《浮士德》 薩拉撒特:《古諾歌劇浮士德幻想曲》 韋伯:〈願你在此〉,選自韋伯《歌劇魅影》 國家音樂廳 演奏廳 400


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NSO Music

探索頻道

2017/1/8 Sun. 14:30

狄恩的「樂」世界

The Creations of Brett Dean 主講 顏名秀 中提琴 & 與談人 NSO 獨奏家群

布萊特.狄恩(Brett Dean)

本樂季駐團音樂家布萊特.狄恩(Brett Dean)於九 〇 年代末期離開柏 布萊特.狄恩: 《信仰的證明》─寫給十二把中提琴 《摯友素描》 《墓誌銘》

林愛樂之後,以作曲家、指揮家、中提琴演奏家多重角色,縱橫樂壇近

Brett Dean: Testament —Music for twelve violas Skizzen für Siegbert for solo viola Epitaphs for two violins, two violas and cello

包羅萬象,有關於二十一世紀的人類生活、實境電視節目、企業景願、

二十載,以絃樂演奏家的獨特視角,創作許多優秀的室內樂作品,取材 於文學、視覺藝術、時事、政治,用音樂描寫自己身處的世界,主題 自然生態、逐漸失去的手寫書信……都可入題,他不只是當代音樂作曲 家,更是用音樂作品描繪、反映當代生活的藝術家。本節目邀請臺灣優 秀的青年作曲家―顏名秀與狄恩對談,並由狄恩本人演出為紀念旅居德

國家音樂廳 演奏廳 400

國時的恩師摯友 Siegbert Ueberschaer 所寫作的中提琴獨奏小品《摯友素 描》,與 NSO 獨奏家群演出絃樂四重奏 +1(作曲家擔任第二中提琴) 作品《墓誌銘》,並由本團中提琴聲部呈現狄恩特別為柏林愛樂同儕所 創作的《信仰的證明》—寫給十二把中提琴。


2017/5/6 Sat. 14:30

浦契尼歌劇之女英雄記事簿

Puccini and His Heroines 主講

車炎江

女高音 羅明芳、林慈音 次女高音 翁若珮 鋼琴 王佩瑤 浦契尼這位義大利歌劇藝術的終極傳人,不僅是歐美古典樂界的人 氣王,具有引動眾家樂迷粉絲歡笑和眼淚的超強能耐,更享有難以 撼動的歷史地位。在他的生花妙筆刻劃之下,音樂彷彿成了映照女 主角的聚光燈,讓她們一個個顯得性格鮮明、模樣生動有致。細數 那些令人難忘的婀娜身影—安娜、瑪儂、咪咪、穆賽塔、托斯卡、 蝴蝶、蜜妮、瑪格達、柳兒、杜蘭朵……裡面沒有不食塵世煙火的 神祇,只見數不盡的繁花落葉、道不完的愛恨情仇。浦契尼將這些 凡間女人為真愛犧牲的勇氣與事蹟,全數寫進他的女英雄記事簿,

浦契尼: 〈假如我像你一樣渺小〉,選自《女妖》 〈在那些柔軟的絲帶中〉、〈你在山頂之上漫遊〉, 選自《瑪儂.雷斯科》 〈是的,我的名字叫咪咪〉、〈當我走在街上〉, 選自《藝術家的生涯》 〈為了藝術,為了愛〉,選自《托斯卡》 〈美好的一日〉、〈櫻花二重唱〉,選自《蝴蝶夫人》 〈喔,我親愛的爸爸〉,選自《強尼.史基基》 〈多蕾塔的美夢〉,選自《燕子》 〈主人,請聽我說!〉,選自《杜蘭朵公主》

贏得全體樂迷的由衷敬佩與疼惜。 身處寫實主義歌劇的潮流中,浦契尼使用不具形體的抽象樂音作為

國家音樂廳 演奏廳 400

創作工具,卻能聲聲扣人心弦,精準且迅速地表現這些女性角色幽 微曲折的情感。且讓我們細細品味,探索浦契尼的成功之道。

2017/5/20 Sat. 14:30

重奏二三事

Why Chamber ?! 主講

焦元溥

小提琴 蔡竺君 中提琴 呂昭瑩 大提琴 唐鶯綺 鋼琴 翁重華 室內樂(chamber music)堪稱歷史最悠久的表演形式,也是昔日音 樂演奏的主力。在沒有錄音的時代,演奏音樂常是為了自娛,就像 邀約三五好友玩牌打球。相較於獨奏的孤單與管絃樂的眾多,室內

葛里耶爾:八首樂曲,作品 39,第三、五、六號 貝多芬:C 小調絃樂三重奏,作品 9,第三號 葛拉茲諾夫:《悲歌》,作品 44 舒曼:降 E 大調鋼琴四重奏,作品 47

樂一方面有其親密性,讓作曲家透過如此形式吐露內心秘密,亦可 由小編制練筆,實驗新語彙與新技法。愈探索室內樂,就愈知道那 世界之繽紛燦爛。在這場音樂會中我們將從二重奏、三重奏、四重 奏一路走來,傾聽作曲家的有趣試驗以及不為人知的內心話。有罕 見珠玉,也有膾炙人口的名曲,共同的是美妙旋律與精采構思,歡 迎大家和我們一起享受室內樂的豐富與美好!

國家音樂廳 演奏廳 400


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Concerts 室內樂集 2016/10/7 Fri. 19:30

紀傑爾的異想世界

The Amazing Zygel~ 鋼琴 尚-沃朗索瓦.紀傑爾(Jean François Zygel) 小提琴 洪章文、蔡孟峰 中提琴 蔡秉璋 大提琴 陳怡婷 蕭斯塔科維契:G 小調鋼琴五重奏,作品 57 紀傑爾:鋼琴即興(即興改編蕭斯塔科維契:鋼琴五重奏 ) DMITRI SHOSTAKOVICH : Piano Quintet, in G minor, Op. 57 JEAN FRANÇOIS ZYGEL: Piano Improvization based on Shostakovich Piano Quintet 國家音樂廳 演奏廳 400 600

主要贊助:寰宇音樂交流有限公司

2017/3/11 Sat. 19:30

號角琴絃的時空漫步

A Mellow Walk in Time 小提琴 李宜錦 法國號 劉宜欣 鋼琴 王佩瑤 徹尼爾:大三重奏,為小提琴、法國號與鋼琴,作品 105 布拉姆斯:法國號三重奏,作品 40 CARL CZERNY: Grand Trio, for Violin, Horn And Piano, in E-flat major, Op. 105 JOHANNES BRAHMS: Horn Trio, in E-flat major Op. 40 國家音樂廳 演奏廳 400 600


Little Ones

媽媽說故事

2017/6/18

2016/12/24

沁.如歌

聽見貝多芬

Trio Cantabile

Do You Hear Beethoven?

大提琴 楊文信 單簧管 朱玫玲 鋼琴 廖皎含

小提琴 & 說書人 說書人 張尹芳 鋼琴 許惠品 NSO 獨奏家群

Sun. 19:30

布魯赫:單簧管三重奏,作品 83 布拉姆斯:單簧管三重奏,作品 114 MAX BRUCH: Clarinet Trio, Op. 83 JOHANNES BRAHMS: Clarinet Trio, Op. 114 國家音樂廳 演奏廳 400 600

Sat. 14:00 17:00

李宜錦

在孩子們的早期音樂世界裡,神童莫札特、 海頓爸爸跟樂聖貝多芬都是缺一不可的「鐵 三角」!聽完全部貝多芬的作品須要 100 小 時,但,這次我們要讓孩子們在 60 分鐘「聽 見貝多芬的世界」!二百多年來,貝多芬的 作品充滿在我們生活中:《歡樂頌》、《給 愛麗絲》、《月光》、《命運》都是貝多芬 的神來之筆;孩子們可能不知道,這許多作 品竟然是在他逐漸失去聽力以後創作出來的 偉大音樂。「媽媽說故事」是 NSO 駐團指揮 尹芳媽媽與樂團首席宜錦媽媽以身為幼兒的 母親為所有的孩子設計製作的,藉由「美好 的音樂、動聽的故事」,讓音樂成為最好的 禮物,陪伴著孩子們長大。 國家音樂廳 演奏廳 350


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the Guest Artists

認識 客席音樂家 小提琴 列奧尼達斯.卡瓦科斯 LEONIDAS KAVAKOS, violin 2016/9/17

卡瓦科斯出生於雅典的音樂世家,是世界公認不可多得 的優秀藝術家,他以精湛技巧、超凡的音樂實力與真摯 的演奏而聞名。在二十一歲時,卡瓦科斯已經贏得了三 個大賽的獎項:西貝流士(1985)、帕格尼尼和瑙姆堡 大賽(同於 1988)。這些成功使他得以為西貝流士小提 琴協奏曲錄製首版唱片發行,也就是這部作品的初次錄 音,也為他贏得了 1991 年留聲機年度最佳協奏曲大獎。 近年來,卡瓦科斯也建立了自己身為指揮家的堅實經 歷,與倫敦交響、波士頓交響、維也納交響、布達佩斯 節慶管絃等樂團合作。他在雅典主辦了一年一度的小提 琴和室內樂大師班,吸引了來自世界各地的小提琴家與 室內樂團,反映了他對傳承音樂知識與古典樂傳統的深 度投入。Decca、BIS、ECM 與 Sony Classical 各大唱片皆 有他的錄音。

Born into a musical family in Athens, Leonidas Kavakos is recognized around the world as an artist of rare quality, known for his virtuosity, superb musicianship and the integrity of his playing. By the age of 21, Kavakos had already won three major competitions: Sibelius (1985), Paganini, and Naumburg (both in 1988). These successes led to his recording of the original version of the Sibelius Violin Concerto, the first-ever of this work. This won him the Gramophone Concerto of the Year Award in 1991. In recent years Kavakos has also built a strong profile as a conductor, working with the London Symphony, Boston Symphony, Vienna Symphony, and Budapest Festival Orchestra, among many others. He curates an annual violin and chamber music master class in Athens, attracting violinists and ensembles from all over the world and reflecting his deep commitment to the handing down of musical knowledge and traditions. His discography can be found on the Decca, BIS, ECM, and Sony Classical labels.


鋼琴 弗雷迪.肯普夫

女高音 林玲慧

FREDDY KEMPF, piano

LING-HUI LIN, soprano

2016/10/12

2016/10/29, 2017/7/19, 21, 23

弗雷迪.肯普夫是當今頂尖的鋼琴家。有著超凡天賦的 他累積了極為廣泛的曲目,不僅具有強健爆發力、勇於 冒險挑戰,也有嚴謹敏銳、深思熟慮的一面,至今已 建立了獨一無二的音樂家聲譽。肯普夫與許多世界知名 的樂團與指揮家合作多時,包括杜特華指揮皇家管絃樂 團、辛奈斯基指揮俄羅斯國家交響樂團、夏伊指揮史卡 拉愛樂、托特里耶指揮舊金山交響樂團、薩瓦利許指揮 費城管絃樂團,以及西蒙諾夫指揮 NHK 交響樂團。肯 普夫並經常以獨奏音樂會於柏林音樂廳、雪梨市政廳、 柴科夫斯基音樂廳、東京三得利音樂廳等地演出。

林 玲 慧 2000 年 留 學 義 大 利 考 入 布 雷 夏 國 立 音 樂 院 (Conservatorio di Musica di Brescia)聲樂組,隨旅義女高 音朱苔麗教授學習。在校攻讀聲樂、室內樂雙主修學 位,2007、2011 年夏天以最高成績「嘉獎滿分」取得 聲樂與室內樂最高雙文憑。在義大利多年與名歌劇導演 Enrico Conforti 學習歌劇詮釋。國內重要演出包括:2012 年與 NSO 國家交響樂團錄製【樂典 08 錢南章】《四首 原住民藝術歌曲》、擔任 NSO 跨國歌劇製作《蝴蝶夫 人》之女主角;2013 年於國家兩廳院主辦《樂之禮讚》 貝多芬第九號交響曲、《威爾第安魂曲》擔任女高音獨 唱;2014 年與國立臺灣交響樂團合作演出《蝴蝶夫人》 歌劇音樂會,擔任女主角「蝴蝶」等。

Freddy Kempf is one of today's most successful pianists. Exceptionally gifted with an unusually broad repertoire, Freddy has built a unique reputation as an explosive and physical performer not afraid to take risks as well as a serious, sensitive and profoundly musical artist. Freddy works with some of the world's most prestigious orchestras and conductors including Royal Philharmonic Orchestra/Dutoit, Russian State Symphony/ Sinaisky, La Scala Philharmonic/Chailly, San Francisco Symphony/Tortelier, Philadelphia Orchestra/Sawallisch and NHK Symphony/Simonov. In recitals, Freddy appears on stages including Berlin Konzerthaus, Sydney's City Hall, Tchaikovsky Concert Hall, Tokyo's Suntory Hall and City Concert Hall in Hong Kong among others. Born in London in 1977, Freddy made his debut with the Royal Philharmonic Orchestra at the age of 8 and subsequently came to national prominence in 1992 when he won the BBC Young Musician of the Year Competition. In 1998 Freddy was awarded a third prize in the Tchaikovsky International Piano Competition in Moscow.

Ling-Hui Lin went to Italy in 2000, was admitted to Vocal Music of Conservatorio di Musica di Brescia, and studied with Italybased Taiwanese soprano Chu Tai-Li. Lin continued to study PhD programs of vocal music and chamber music in the same conservatory, and graduated in summer 2007 with honors again. She appeared in the Verona Eximia Forma, an opera workshop, for many years to study the interpretation of operas with opera director Enrico Conforti. Upon graduation, she was invited by the Conservatory as a vocal assistant to Chu and a vocal teacher at the school chorus. She also taught at some other conservatories in Brescia and conducted choruses. During her stay in Italy, she was active in the music community and received acclaims from the press for her numerous collaborations with music groups.


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女中音 翁若珮

男高音 王典

JO-PEI WENG, mezzo soprano

FERNANDO WANG, tenor

2016/10/29, 2017/7/19, 21, 23

2016/10/29, 2017/7/19, 21, 23

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《修女安潔麗 卡》、《強尼.史基基》、《蝴蝶夫人》、《瑪儂.雷 斯考》;漢普丁歌劇《韓賽與葛麗特》;華格納歌劇《尼 貝龍指環》;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》之世界首演擔綱演 出。2012 年她獲國立臺北藝術大學頒發傑出校友獎。 2014 年 3 月受北京國家大劇院邀請,參與大劇院與馬林 斯基歌劇院共同製作歌劇《尤金.奧涅金》,飾演奧爾 嘉。並獲葛濟夫大師邀請赴俄羅斯參加聖彼得堡白晝音 樂節。

王典畢業於中國文化大學,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臺演唱威爾第 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、IonelPantea、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。他於臺灣、盧森堡參與演出之《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。目前於 中國文化大學專任助理教授,國立臺灣海洋大學兼任助 理教授。

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 12th New Voice competition (Asia region) in Yokosuga Japan in 2007. 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. In March of 2014, Weng was invited to play Olga in a performance of Tchaikovsky's Eugene Onegin at Beijing's National Centre for the Performing Arts. In July of 2014, the renowned conductor and opera director, Valery Gergiev, invited Weng to perform at the Mariinsky Theatre in Russia, making her the first Taiwanese vocalist to perform in St. Petersburg's White Nights Festival.

Fernando Wang graduated from Chinese Culture University and Luxembourg Conservatory of Music with the highest degree in diplomas in singing of Chant and Art lyric categories. In 1998, he was invited by Placido Domingo to sing the duet from Verdi's Macbeth in his outdoor concert. Under the guidance of YunHsio 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 the fourth prize in Hong Kong Asian Singing Competition (1994), Laureate in Santa Margarita International Vocal Competition (1996), Italy, to name but a few. Wang has also proved himself to be an excellent oratorio singer with his warm timbre, well-informed vocal technique, and rich cultural background. He is a full-time assistant professor at the Chinese Culture University.


男低音 葉展毓

指揮 陳美安

CHAN-YU YEH, bass

MEI-ANN CHEN, conductor

2016/10/29

2016/11/11

葉 展 毓 畢 業 於 東 海 大 學 音 研 所, 師 事 徐 以 琳、 陳 振 芳。 曾 獲 世 華 聲 樂 大 賽 Paolo Silveri 美 聲 特 別 獎 及 第 四名。多次與 NSO 國家交響樂團合作演出,包括威 爾第歌劇《奧泰羅》的 Montano,並於其跨新年音樂 會中之《蝙蝠》的典獄長 Frank,《阿伊達》之祭司 Ramfis;與 TSO 臺北市立交響樂團演出《尤金.奧涅 金》中殺手 Zaretsky;《納克索斯島上的阿莉亞德妮》 中僕人 Lakai;長榮交響樂團演出歌劇《蝙蝠》中典獄 長 Frank;創世歌劇團演出莫札特《女人皆如此》中 Guglielmo;《魔笛》中捕鳥人 Papageno;臺北愛樂歌劇 坊演出《唐喬望尼》中 Leporello;並參與巴哈《聖誕神 劇》、浦契尼《光榮彌撒》、布拉姆斯《德意志安魂曲》、 貝多芬《莊嚴彌撒》、韓德爾《彌賽亞》以及布魯克納 《感恩讚歌》等之男低音獨唱。

創新和激情的力量在指揮臺上起起落落,臺灣出生的陳 美安是美國最有活力的年輕指揮家之一。曾為孟菲斯交 響樂團的音樂總監 (2010-2016),2011 年接任芝加哥小 交響樂團音樂總監至今,將能量、熱情和高水準的音樂 注入了這兩個樂團。2015 年夏天,陳美安接下了 2016 年國立臺灣交響樂團夏季管絃音樂節藝術總監兼指揮一 職。這位炙手可熱的客座指揮,以她總令眾人心服口服 的溝通之道在海內外的樂團圈聲譽鵲起。最近的重要演 出有:德國巴登國家管絃樂團、國家交響樂團(臺灣)、 舊金山交響樂團著名的春節慶祝活動、荷蘭愛樂、芝加 哥交響樂團,以及底特律、辛辛那提和印第安納波利斯 交響樂團。2015 年 12 月,美國音樂協會將陳美安譽為 2015 年的前 30 大影響力人物之列。

Graduated from the Master program in Voice at Tunghai University, where Chan-Yu Yeh studied with Dr. Hsu Yi-Lin. 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. In addition, he was selected as one of the 2013 AVA New Voices. He played as Montano in Otello, Zaretsky in Eugene Onegin, Ramfis in Aida, Figaro and Antonio in Le Nozze di Figaro, Alfonso and Gulielmo in Cosi fan Tutte, Lakai in Ariadne auf Naxos, Frank in Die Fledermaus, Papageno in Die Zauberfloete. Yeh also performed as a soloist in Bach's Weinachsoratorium, Brahms' Ein detusches Requiem, Puccini's Messa di Gloria, Beethoven's Missa Solemnis, Handel's Messiah, and Bruckner's Ten Deum Ladamus.

An innovative and passionate force on and off the conductor's podium, Taiwan-born Mei-Ann Chen is one of America's most dynamic young conductors. Music Director of the Memphis Symphony between 2010 and 2016 and of the Chicago Sinfonietta since 2011, she has infused both orchestras with energy, enthusiasm and high-level music-making. This summer, Mei-Ann Chen takes on the post of Artistic Director and Conductor for the 2016 National Taiwan Symphony Orchestra Summer Orchestra Festival. A sought-after guest conductor, Ms. Chen's reputation as a compelling communicator has resulted in growing popularity with orchestras both nationally and internationally. Recent performance highlights include Germany's Badische Staatskapelle Karlsruhe, the Taiwan Philharmonic (National Symphony Orchestra), San Francisco Symphony's renowned Chinese New Year celebration, the Netherlands Philharmonic at the Concertgebouw, Chicago Symphony Orchestra, and the Detroit, Cincinnati and Indianapolis symphonies. In December 2015, Musical America named MeiAnn Chen one of its 2015 Top 30 Influencers.


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打擊 葉孟芸

指揮 瓦希利.辛奈斯基

CYNTHIA YEH, percussion

VASSILY SINAISKY, conductor

2016/11/11

2016/11/17

葉孟芸於 2007 年 6 月成為芝加哥交響樂團打擊樂首席, 之前則為聖地牙哥交響樂團打擊樂首席(2004-2007)。 生於臺灣臺北的葉孟芸是英屬哥倫比亞大學的音樂演奏 學士,並在費城天普大學的阿貝爾門下攻讀,取得音樂 演奏碩士學位。葉孟芸是相當活躍的獨奏家,曾與多個 樂團合作,包括芝加哥交響樂團、墨西哥國家交響樂 團、芝加哥小交響樂團和伊利諾州愛樂樂團。她也是芝 加哥 WFMT 電臺節目《列汶錄音室直播》(Live from Levin

沐浴在培養出穆辛和孔德拉辛等俄國指揮名家的教育傳 統裡,瓦希利.辛奈斯基以俄、德、英曲目的詮釋而聞 名。辛奈斯基也是位相當傑出的歌劇指揮家。從 2010 年到 2013 年間,他曾任莫斯科波修瓦劇院管絃樂團的 首席指揮與音樂總監,並帶領該樂團演出許多知名歌劇 製作。辛奈斯基的國際演出生涯在 1973 年卡拉揚指揮

Studio) 的演出來賓,並經常與芝加哥交響樂團的室內樂 團 MusicNOW 以及其他室內樂團在芝加哥各地演出, 也在美國國家青年管絃樂團、亞斯本音樂節、太平洋音 樂節與救世谷打擊研討會擔任指導教師。 Cynthia Yeh joined the Chicago Symphony Orchestra as principal percussionist in June 2007. She previously served as principal percussionist for the San Diego Symphony Orchestra from 2004 to 2007. Born in Taipei, Taiwan, Ms. Yeh received a Bachelor of Music performance degree from the University of British Columbia and a Master of Music performance degree from Temple University in Philadelphia, where she studied with Alan Abel. As an active soloist, Ms. Yeh performed with the Chicago Symphony, the National Orchestra of Mexico, the Chicago Sinfonietta and the Illinois Philharmonic. Ms. Yeh has been featured Chicago's WFMT program Live from Levin Studio. She performs regularly with the CSO's MusicNOW ensemble as well as various chamber ensembles throughout Chicago. Ms. Yeh has served on the faculty of the National Youth Orchestra, USA, Aspen Music Festival, Pacific Music Festival as well as the Chosen Vale Percussion Seminar.

大賽奪金後一飛沖天。在那不久之後即被任命為拉脫維 亞國家交響樂團的首席指揮,接著又接下莫斯科愛樂的 首席指揮與音樂總監之位。辛奈斯基目前擔任 BBC 愛 樂名譽指揮和捷克馬爾默交響樂團榮譽指揮。他經常指 揮洛杉磯愛樂、克里夫蘭管絃樂團和倫敦愛樂,最近也 與阿姆斯特丹皇家大會堂管絃樂團和 NHK 交響樂團合 作。

Schooled in the tradition of great Russian conductors like Musin and Kondrashin, Vassily Sinaisky is known for his interpretations of works from the Russian, German and English repertories. Sinaisky also has a distinguished career as an operatic conductor. From 2010 to 2013, he was Chief Conductor and Music Director of the Bolshoi Theater in Moscow, where he led many acclaimed productions. Sinaisky's international career was launched in 1973, when he won the Gold Medal at the prestigious Karajan Competition in Berlin. Soon after his success there, he was appointed Chief Conductor of the Latvian National Symphony Orchestra, then Music Director and Principal Conductor of the Moscow Philharmonic. Sinaisky currently holds the positions of Conductor Emeritus of the BBC Philharmonic and Honorary Conductor of the Malmö Symphony. He enjoys regular collaborations with such orchestras as the Los Angeles Philharmonic, Cleveland Orchestra, and London Philharmonic, and has recently led the Royal Concertgebouw Orchestra of Amsterdam and the NHK Orchestra in Tokyo.


鋼琴 賽佛林.馮.艾克哈斯坦

指揮 陳秋盛

SEVERIN VON ECKARDSTEIN, piano

FELIX CHEN, conductor

2016/11/17

2016/11/25

艾克哈斯坦於 1978 年生於杜塞朵夫,獲獎無數,如布 梭尼大賽(1998)、英國里茲國際鋼琴大賽(2000)、 荷西.伊圖比大賽(2002)、ARD 大賽(1999)和伊莉 莎白女王大賽(2003 )。艾克哈斯坦亦曾數度榮獲「當 代音樂最佳詮釋」特別獎,出席各大音樂節,包括魯爾 鋼琴音樂節、美國吉爾摩音樂節、法國拉羅克當泰龍國 際鋼琴音樂節,以及石勒斯威格荷仕登音樂節和邁阿密 國際鋼琴音樂節。他與多位指揮家合作過,如葛濟夫、 赫爾維格、查格羅賽克、雅諾夫斯基、辛奈斯基、加德 納、拉圖等等。此外,他也與各大樂團合作演出,例如 皇家大會堂管絃樂團、達拉斯交響樂團等。

陳秋盛所受的正規音樂訓練始於其出生地臺灣。1969 年 畢業於慕尼黑國立音樂學院,其指揮曲目非常廣泛,從 巴洛克時期到二十一世紀不一而足,並以其高超的音樂 技巧詮釋臺灣作曲家的創作。1986-2003 年間擔任臺北 市立交響樂團音樂總監一職,指揮交響作品之外,也製 作及演出了多齣歌劇,例如:《阿依達》、《奧泰羅》、 《丑角》等,拓展了臺灣觀眾的音樂視野,並首度將歌 劇以戶外演出的方式—臺北中山堂廣場呈現給觀眾。陳 秋盛曾客席指揮英國皇家愛樂、莫斯科愛樂、新日本愛 樂、日本 NHK、俄羅斯聖彼得堡愛樂等國際知名樂團,

Born in Dusseldorf in 1978. Severin von Eckardstein has won prizes at numerous international competitions, e.g. Ferruccio Busoni (1998), the Leeds International Piano Competition (2000), José Iturbi (2002), the ARD Competition (1999) and the Queen Elisabeth Competition (2003). On several occasions he has been awarded special prizes for the "Best Interpretation of Contemporary Music" . He appeared on many great music festivals including Klavier-Festival Ruhr, in Aldeburgh/UK, the Gilmore Festival/USA, La Roque d'A nthéron/France, the SchleswigHolstein Music Festival and the Miami International Piano Festival. He has performed with conductors such as V. Gergiev, P. Herreweghe, L. Zagrosek and M. Janowski, V. Sinaisky, E. Gardner, S. Rattle, and many others. Also he made important debuts with many orchestras, for example with the Royal Concertgebouw Orchestra in 2007 and with the Dallas Symphony Orchestra in 2012.

錄音作品包含臺灣與西方曲目,其嫻熟的指揮功力贏得 樂論喝采。

Felix Chen began his formal music training in his homeland Taiwan and graduated from Munich Conservatory of Music in 1969. Chen conducted for an extensive array of pieces, from Baroque to music from the 21st century, as well as works by Taiwan local artists. During his tenure in the Taipei Symphony Orchestra, his accomplishments range beyond conducting symphony pieces. He also successfully produced and performed in several operas such as Aida, Otello, Pagliacci, offering Taiwan audience a broader perspective of music. He is the first to present operas in the format of outdoor presentations, held at the plaza of the historical Taipei Zhongshan Hall. Chen has guest conducted many world renowned orchestras, such as Royal Philharmonic Orchestra, Moscow State Philharmonic Symphony Orchestra, New Japan Philharmonic Orchestra, Japan NHK and St. Petersburg Philharmonic Orchestra, recording credit includes Taiwan and Western works, in which his experienced conducting has won praises from music critics.


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小提琴 林品任

小提琴 曾宇謙

RICHARD LIN, violin

YU-CHIEN TSENG, violin

2016/11/25

2016/12/9-13

臺灣小提琴家林品任近幾年成為國際樂壇上最受矚目 的小提琴新星,他曾贏得德國漢諾威、日本仙台、新 加坡、紐西蘭麥可希爾等國際知名小提琴大賽大獎, 曾與多個國際大樂團合作演出,也多次受邀在世界各 地舉辦個人獨奏會。日本 Fontec 唱片公司為林品任發 行過兩張個人專輯。此外他亦獲得行天宮文教發展促 進基金會長期培育獎學金,且連續二年贏得奇美藝術 獎,也曾獲第四屆東森育英獎學金。他畢業於寇蒂斯音 樂院(Curtis Institute of Music)並師事小提琴大師亞倫. 羅桑(Aaron Rosand),之後於紐約茱莉亞音樂院(The Juilliard School)取得碩士學位。

2015 年榮獲俄國柴科夫斯基國際小提琴大賽首獎(銀 牌)、新加坡首屆國際小提琴比賽第一名的曾宇謙,從 小就經常以締造「最年輕參賽及得獎者紀錄」之姿榮獲 多項國內外大獎,包括 2006 年(十一歲)曼紐因國際 小提琴比賽青少年組第三名,2009 年西班牙薩拉沙泰國 際小提琴比賽第一名及最佳演奏獎;2011 年韓國尹伊桑 國際小提琴比賽第一名及最佳詮釋獎;2012 年比利時 伊莉莎白國際小提琴比賽第五名及觀眾票選第一名等。 曾與國家交響樂團、臺北市交、費城管絃、比利時國家 交響、西班牙納瓦拉交響、新加坡交響、莫斯科愛樂交 響、馬林斯基管絃等樂團,及臺灣絃樂團、比利時瓦隆 尼亞皇家室內樂團等共同演出。目前就讀於寇蒂斯音樂 院,並由比利時 Fuga Libera 唱片公司錄製發行個人首張

Taiwanese-American violinist Richard Lin has already amassed a startling collection of top prizes at major international competitions, including the Joseph Joachim International Violin Competition in Hannover, Singapore International Violin Competition, Sendai International Violin Competition, and Michael Hill International Violin Competition, among others. Lin made his Tokyo debut at Suntory Hall in November, 2014, when he performed the Bartók Violin Concerto No. 2 with the Tokyo Symphony Orchestra and conductor Norichika Iimori. He has also given many recitals in distinguished venues in America, Europe, and Asia. In addition, Lin has released two albums in Japan on the Fontec label. Born in Phoenix, Arizona and raised in Taiwan, Lin began his violin studies at the age of four. At sixteen, Lin was accepted to the Curtis Institute of Music, where he studied with respected pedagogue Aaron Rosand. In 2015, he received his Master's degree at The Juilliard School, where he studied with renowned professor Lewis Kaplan.

專輯。

Yu-Chien Tseng won the second prize of the 2015 International Tchaikovsky Competition, the highest prize in the violin competition since there was no first prize that year. Tseng has already set more than his share of records in his young life, triumphing in many international violin competitions as the youngest participant. After winning the third prize in the junior division of Menuhin Competition at the age of 11, he won the first prize of the Sarasate Competition and the special prize for the best performance of Sarasate's works. In 2010, he won the prize for the best performance of the Paganini Concerto at the Premio Paganini Competition. In 2011, Tseng took the first prize in the Isang Yun International Violin Competition in Korea, the best interpretation prize of works by Isang Yun, as well as the Jury Discretionary Award at the 14th International Tchaikovsky Competition. In 2012, Tseng was the fifth laureate and won the audience prize at the Queen Elisabeth Competition. In 2015, he took the first prize in the inaugural Singapore International Competition. Born in Taipei, Taiwan, Tseng began to play the violin at the age of 5 and is now a student at the Curtis Institute.


鋼琴 陳郁秀

小提琴 胡乃元

YU-CHIOU TCHEN, piano

NAI-YUAN HU, violin

2016/12/31

2017/1/1

法國國立巴黎音樂院鋼琴(Prix de Piano)及室內樂(Prix de Musique de Chambre)第一獎畢業,陳郁秀為知名鋼琴 家、音樂教育家、文化行政首長。曾任文建會主委、總 統府國策顧問、外交部無任所大使、國家文化總會秘書 長、國立中正文化中心董事長、國立臺灣師範大學音樂 系主任、研究所所長及藝術學院院長。現為財團法人白 鷺鷥文教基金會董事長、臺灣法國文化協會理事長、國 立臺灣師範大學及國立政治大學兼任教授等職。曾在法 國、比利時、義大利、美國等歐美國家舉辦獨奏會,並 與德國慕尼黑室內樂團、柏林愛樂木管五重奏團、日本 名古屋愛樂管絃、日本大阪交響、上海交響、國立臺灣 交響樂團、臺北市交及國家交響樂團等合奏演出。曾獲 頒法國「國家典範騎士勳章」、法國「國家榮譽軍團騎 士勳章」、法國「文化部文化藝術軍官勳章」等。

胡乃元自贏得 1985 年比利時伊莉莎白女王國際大賽首 獎後,就經常在世界級的音樂廳演出。合作對象包括倫 敦皇家愛樂、多倫多交響、西雅圖交響、荷蘭羅特丹愛 樂、比利時國家、法國 Lille 國家交響、奧匈海頓室內、 東京愛樂、東京大都會交響等樂團。他的獨奏會遍及世 界各重要的音樂廳,其中包括阿姆斯特丹皇家大會堂、 紐約林肯中心、巴黎 Cité de la Musique、東京三得利廳等。

Ms. Yu-Chiou Tchen is an accomplished pianist, music educator, and cultural administrator. She graduated from the Conservatoire Nationale Superieur de Musique de Paris, earning the Prix de Piano and Prix de Musique de Chambre. She has served as Minister of the Council for Cultural Affairs; National Policy Advisor to the Office of the President of the R.O.C.; Ambassadorat-large; Chairperson of the National Chiang Kai-Shek Cultural Center among many others. She has held the positions of Chair of the Department of Music, Dean of the Graduate School of Music and Dean of the College of Fine and Applied Arts at National Taiwan Normal University (NTNU). She is currently Chairwoman of Egret Culture and Education Foundation and President of Alliance Francaise de Taiwan. Her rich performance experience includes recitals in France, Belgium, Italy and the US and collaborations with numerous world renowned orchestras. She has been recognized with many prestigious awards including from the government of France.

2004 年,胡乃元集合一群優秀海內外音樂家成立 Taiwan Connection,並擔任總監,每年舉辦以室內樂為主的音 樂節。他和西雅圖交響樂團錄製的 Goldmark 協奏曲和 布魯赫第二號協奏曲(由國際 Delos 公司發行),獲留 聲機雜誌樂評家之選,同時也獲企鵝指南三星帶花,

Since winning the first prize of the prestigious Queen Elisabeth Competition in 1985, violinist Nai-Yuan Hu has appeared on many of the world's stages, including the Concertgebouw in Amsterdam, Avery Fisher Hall in New York, Cité de la Musique in Paris, Suntory Hall in Tokyo and other major venues in Europe, North and South Americas and Asia. Hu has appeared with such orchestras as the Royal Philharmonic Orchestra of London, Toronto Symphony, Seattle Symphony, Netherland and Rotterdam Philharmonic orchestras, Belgian National Orchestra, Orchestre National de Lille in France, Austro-Hungarian Haydn Chamber Orchestra, Tokyo Philharmonic and Tokyo Metropolitan Symphony and others. Mr. Hu is the Music Director of Taiwan Connection, a music festival he founded in 2004 to promote chamber music. Hu's recording of Goldmark's Concerto and Bruch's Second Concerto with Gerard Schwarz and the Seattle Symphony (Delos label) garnered "Critics' Choice" from Gramophone as well as praises from many publications including BBC Music Magazine, The Times of London, and The Washington Post.


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鋼琴 王羽佳

指揮 加布里耶.費爾茲

YUJIA WANG, piano

GABRIEL FELTZ, conductor

2017/1/13 , 14

2017/2/24

自從與波士頓交響樂團於 2007 年的首次登臺後,當時還 是寇蒂斯音樂院學生的王羽佳,已經建立了轟動國際的 聲譽,也成為世界頂尖樂團的常客,包括芝加哥、克里 夫蘭、洛杉磯、紐約、費城、舊金山和華盛頓等樂團; 此外也與倫敦交響、巴黎管絃、皇家大會堂管絃、柏林 愛樂、慕尼黑愛樂、馬林斯基管絃、以色列愛樂、中國 愛樂、NHK 交響、墨爾本交響、雪梨交響,以及西蒙玻 利瓦交響等樂團。受到杜達美、提爾森湯瑪斯、與已故 的阿巴多等諸位卓越的指揮大師提攜,她已晉身當今各 地爭相競邀的獨奏家之列。2009 年起,王羽佳成為德意 志留聲機獨家簽約的音樂家,目前發行了三張獨奏專輯 和兩個協奏曲錄音,入圍兩項葛萊美提名。1987 年出生 於北京王羽佳在北京中央音樂學院、卡加利皇家山音樂 學院和費城的寇蒂斯音樂學院完成學業。

費爾茲於 1971 年生於柏林,現任多特蒙歌劇院音樂總 監以及多特蒙愛樂管絃樂團的首席指揮。繼阿騰堡蓋哈 愛樂管絃樂團(2001-2005)與斯圖嘉特愛樂管絃樂團 (2004-2013)後,這已經是他第三個德國樂團首席指揮 之職。2007 年,費爾茲與斯圖嘉特愛樂管絃樂團獲「拉 赫瑪尼諾夫基金會」頒贈「拉赫瑪尼諾夫大獎」。除此 之外,費爾茲也受任命為巴澤爾劇院(2008-2013)的首 席客座指揮,並負責部分歌劇製作,巴澤爾劇院在他帶 領之下,於 2009 年與 2010 年被封為「年度歌劇院」。 2013/2014 樂季,費爾茲首次於柏林喜歌劇院演出貝恩 德.阿洛斯.齊瑪曼的歌劇《大兵》,相當成功;同 一樂季,他也在巴伐利亞國立歌劇院演出《漂泊的荷蘭 人》。費爾茲在 2014/2015 樂季的精采高潮是演出馬勒 的第八號交響曲,以茲慶祝格拉茨金色大廳二百週年。

Since Yujia Wang's breakthrough debut with the Boston Symphony Orchestra in 2007 while still a student at the Curtis Institute of Music, she has established herself as an international sensation and a fixture among the world's leading orchestras, including those of Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco and Washington; the London Symphony Orchestra; Orchestre de Paris; Royal Concertgebouw Orchestra; Berlin and Munich Philharmonics; Mariinsky Orchestra; the Israel and China Philharmonics; NHK Symphony; Melbourne and Sydney Symphonies; and Orquesta Sinfónica Simón Bolívar. Championed early on by preeminent maestros including Gustavo Dudamel, Michael Tilson Thomas, and the late Claudio Abbado, she is one of today's most sought after soloists. An exclusive Deutsche Grammophon artist since 2009, Yujia has released three solo albums and two concerto recordings to date, garnering two Grammy nominations. Born in Beijing in 1987, Yujia completed studies at Beijing's Central Conservatory of Music, Calgary's Mount Royal College Conservatory, and Philadelphia's Curtis Institute.

Born in 1971 in Berlin, Gabriel Feltz is Generalmusikdirektor of the Dortmund Opera and Chief Conductor of the Dortmund Philharmonic Orchestra. After the Philharmonic Orchestra Altenburg-Gera (2001-2005) and the Stuttgart Philharmonic Orchestra (2004-2013) this is his third position in a row as Chief Conductor of a German Orchestra. In 2007, the "Sergej Rachmaninow Foundation" awarded Gabriel Feltz and the Stuttgart Phiharmonic Orchestra the "Prix Rachmaninow." In addition, Feltz was made Principal Guest Conductor at the Basel Theatre (2008-2013) and had been responsible for several opera productions, which led to the Basel Theatre being named "Opera House of the year" in 2009 and 2010. In 2013/2014 season, Gabriel Feltz gave his highly successful debut at the Komische Oper Berlin with Bernd Alois Zimmermann's Die Soldaten and in the same season he conducted the Flying Dutchman at the Bavarian State Opera. Gabriel Feltz' personal highlight of the 2014/2015 season was Gustav Mahler's 8th Symphony for the 200 Anniversary celebrations of the Musikverein Graz.


鋼琴 艾莉索.薇莎拉絲

指揮 莊東杰

ELISSO VIRSALADZE, piano

TUNG-CHIEH CHUANG, conductor

2017/2/24

2017/3/4

艾莉索.薇莎拉絲出生於喬治亞共和國首府提比利希, 一個承襲悠久的藝術文化世家。在二十歲時,她獲得了 柴科夫斯基鋼琴大賽第三名,並在二十四歲時獲得德國 茨維考舒曼鋼琴大賽冠軍。她在莫斯科師從傳奇名家紐 豪斯與查克。這兩位巨匠之師,不僅深深影響了她音樂 藝術的發展,更讓她浸淫在舉世聞名的俄派鋼琴教育傳 統中。因此,她自己本身亦是當今公認的一位成就非凡 的教育者,她的許多學生在久負盛名的比賽中都獲得了 肯定。薇莎拉絲現任教於莫斯科音樂院和慕尼黑音樂學 院,並於世界各大鋼琴比賽擔任評審。她的許多錄音由 Live Classical 發行。

三十二歲的臺灣指揮家莊東杰是 2015 年馬爾科指揮大 賽首獎得主。獲獎後與慕尼黑愛樂、維也納愛樂等國際 頂尖樂團的合作機會接踵而至。在馬爾科大賽奪冠前, 他已贏得法蘭克福蕭提國際指揮大賽二獎以及觀眾票選 獎。另外他也是馬勒大賽與布加勒斯特青年指揮新銳大 賽的獎項得主。過去數月來,莊東杰擔任過邦貝格交 響、萊比錫 MDR 交響、布萊梅德意志室內愛樂的客席 指揮。曾與柏林愛樂十二把大提琴合作,並指揮國家交 響樂團(臺灣)、北市交、恩內斯考愛樂等樂團。生於 音樂世家的他自小習鋼琴與法國號,十一歲便初次登臺 演出協奏曲。曾就讀寇蒂斯音樂院及威瑪音樂院。師從 吉布森、邁爾、穆勒與帕斯凱等人。

Elisso Virsaladze was born in Tbilisi into a family that for generations had been involved in the art and culture of Georgia. At the age of twenty she won third prize at the Tchaikovsky Competition, and at 24 first prize at the Schumann Competition in Zwickau, Germany. In Moscow she studied with the legendary Heinrich Neuhaus and Yakov Zak. These gifted teachers not only deeply influenced her artistic development, but also immersed her in the renowned tradition of Russian piano pedagogy. As a result, she is recognized today as an exceptional teacher, many of whose students have won recognition at prestigious competitions. She teaches at the Moscow Conservatory and the Hochschule für Musik in Munich, and has served on the jury for nearly every important piano competition in the world. Her numerous recordings can be heard on the Live Classics label.

Tung-Chieh Chuang is the celebrated winner of the Malko Competition 2015 in Copenhagen. Connected with the prize are numerous engagements with leading international orchestras including Munich Philharmonic, Royal Stockholm Philharmonic, Helsinki Philharmonic and the Vienna Philharmonic. Before he won the Malko Competition, Mr. Chuang took the 2nd prize, as well as the Audience Award, of the International Solti Competition in Frankfurt, prize winner of the Gustav-Mahler-Competition in Bamberg and the Jeunesse Musicales Conducting Competition in Bucharest. Over the last months Tung-Chieh has been guest conductor with Bamberg Symphony, MDR Symphony Orchestra Leipzig and Deutsche Kammerphilharmonie Bremen. He worked with the 12 Cellists of the Berlin Philharmonic and conducted Taiwan Philharmonic, Taipei Symphony Orchestra, Filharmonica George Enescu Bucharest. Tung-Chieh Chuang displayed musical talent at a young age. Born into a family of musicians he learned to play piano and horn and had his first concerto appearance at the age of 11. His mentors include Mark Gibson, Gustav Meier, OttoWerner Mueller and Nicolás Pasquet.


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小提琴 朱利安.拉赫林

小提琴 陳銳

JULIAN RACHLIN, violin

RAY CHEN, violin

2017/3/4

2017/3/15, 19-28

身兼小提琴、中提琴與指揮家多重身份的朱利安.拉赫 林,總是能以他獨特的音樂魅力擄獲全球樂迷的心。 2015/2016 樂季裡,拉赫林是夏伊指揮史卡拉愛樂的開季 音樂家,接著回到楊頌斯指揮的巴伐利亞廣播交響樂團, 以及包列伊科指揮的多倫多交響樂團。在 2015/2016 樂 季,拉赫林在他擔任首席客座指揮的英國皇家北方交響 樂團完成了第一個樂季的演出,期間也指揮了杜塞朵夫 交響樂團、以色列愛樂、布拉格愛樂和英國皇家利物浦 愛樂等其他樂團。拉赫林於 1974 年出生於立陶宛,1978 年移民維也納。師事包瑞斯.庫喜納和平夏斯.祖克曼 學習小提琴,並在 1988 年參加歐洲音樂大賽,因獲得「年 度青年音樂家」獎項而一夕成名。接著他成為與維也納 愛樂共同演出的最年輕獨奏家,在慕提指揮下登臺演出。 拉赫林也與索尼古典、華納古典、德意志留聲機等唱片 公司合作錄音。

陳銳是伊莉莎白女王大賽和曼紐因大賽的冠軍得主,為 當今頂尖實力派年輕小提琴家。致力於從教育和社群媒 體推廣古典音樂。陳銳曾在索尼發行了三張連樂評人都 連連讚譽的專輯,其中《炫技》的獨奏曲目錄音,榮獲 著名的古典回聲大獎。他的最新錄音是與艾森巴哈及石 勒斯威格荷仕登節慶管絃樂團合作的莫札特專輯。過去 一個樂季的精采演出包括了在巴黎的國慶日表演,在戰 神廣場上,與加提及法國國家交響樂團合作演出電視轉 播音樂會。陳銳生於臺灣,在澳洲長大,十五歲時進入 寇蒂斯音樂院就讀,於該校師從亞倫.羅桑,並獲得「青 年音樂家」獎助。他所演奏的史特拉第瓦里名琴為 1715 年的「姚阿幸」,由日本音樂財團出借。

Julian Rachlin captivates international audiences with his distinctive musicianship as violinist, violist and conductor. Mr. Rachlin also opens the season of the La Scala Philharmonica with Riccardo Chailly, and returns to the Bayerischer Rundfunk Symphony with Mariss Jansons, and the Toronto Symphony with Andrey Boreyko. In 2015-2016 season, Mr. Rachlin performs his first season as Principal Guest Conductor of the Royal Northern Sinfonia, and conducts among others: the Dusseldorf Symphony, Israel Philharmonic, Prague Philharmonia and Royal Liverpool Philharmonic. Born in Lithuania in 1974, Julian immigrated to Vienna in 1978. He studied violin with Boris Kuschnir and Pinchas Zukerman and gained international acclaim overnight in 1988 by winning the "Young Musician of the Year" Award at the Eurovision Competition. He then became the youngest soloist ever to play with the Vienna Philharmonic, debuting with Riccardo Muti. Julian Rachlin can be heard on Sony Classical, Warner Classics and Deutsche Grammophon.

Winner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today. He is dedicated to expanding the reach of classical music through education and social media. Ray has released three critically acclaimed albums on Sony including a recital program titled "Virtuoso" which was distinguished with the prestigious ECHO Klassik award. His latest release features an all-Mozart program recorded with Christoph Eschenbach and the SchleswigHolstein Festival Orchestra. Other highlights of the past season include a rousing performance on Bastille Day in Paris, where he joined Daniele Gatti and the Orchestre National de France for a televised concert on the Champs-de-Mars. Born in Taiwan and raised in Australia, Ray was accepted to the Curtis Institute of Music at age 15, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 "Joachim" Stradivarius violin on loan from the Nippon Music Foundation.


鋼琴 亞歷山大.薩洛 ALEXANDRE THARAUD, piano

說書人 林小杯 BEI LYNN, narrator

2017/3/31

2017/4/14, 15

薩洛的錄音作品在國際間備受讚譽,不僅對特定作曲家 深刻理解(史卡拉第),也具備了詮釋不同作曲家的豐 富多元,例如:拉摩、庫普蘭、史卡拉第、巴哈、莫札特、 海頓和蕭邦。薩洛曾與巴伐利亞廣播交響、幕尼黑廣播 交響、法國國家管絃、法國國立里昂管絃、波修瓦劇院 管絃樂團等一流樂團合作,近來演出足跡遍及美國、斯 堪的納維亞、德國、波蘭、瑞士、比荷盧、義大利、英 國、���地利、中國、韓國和日本。薩洛也開始了許多計 劃,包括中國巡演、BBC 逍遙音樂節初登臺、寫作、在 電影《失去的時間》中參與演出,此外,他也被邀請修 訂新版的拉威爾鋼琴獨奏全集。

在臺北出生長大。從 1999 年的《假裝是魚》至近年的 《非非和她的小本子》、《宇宙掉了一顆牙》,林小杯 在圖畫書的世界,不但享受於繪畫圖像,也樂在琢磨文 字。繪畫及文字的風格自由、清新,畫面流露率性不拘 束的線條和筆觸,內容多為溫馨並富想像力的生活故 事。常用媒材有透明水彩、鉛筆,以及電腦拼貼。作品 獲得信誼幼兒文學獎首獎、開卷、好書大家讀年度最佳 童書的肯定,並於 2015 年以《喀噠喀噠喀噠》獲豐子 愷兒童圖畫書獎首獎。故事的內容常是幻想和生活的結 合,相信一朵花開和小雞破蛋而出這些藏在平凡裡的事 物,才是真正動人的神奇。

Alexandre Tharaud, internationally acclaimed discography demonstrates comprehensive studies of individual composers, such as his recordings of Ravel's complete piano works, as well as a diverse spectrum of different composers include Rameau, Couperin, Scarlatti, Bach, Mozart, Haydn and Chopin. As a soloist, Alexandre has performed with the Symphonieorchester des Bayerischen Rundfunks, Münchner Rundfunkorchester, Orchestre National de France, Orchestre National de Lyon, Estonian National Symphony Orchestra and the Bolshoi Theatre Orchestra. Tours abroad include the US, Scandinavia, Germany, Poland, Switzerland, Benelux, Italy, the UK, Austria, China, South Korea and Japan. Alexandre has embarked on a variety of exciting projects including a major tour to China, his BBC Proms orchestral debut, writing his book (Piano Intime) and featuring in the film Le Temps Dérobé. Alexandre has been asked to revise a new edition of Maurice Ravel's complete solo piano works.

Bei Lynn has degrees in both Art and Children's Literature. She has published about 20 picture books, many of which she also wrote herself, including the most recent Fei Fei and Her Notebooks. She likes to write warm and imaginative stories and illustrate with transparent watercolors, pencils and a mixture of hand drawn collage on the computer. She is a three-time winner of the Hsin Yi Picture Book Award in Taiwan, and her books have been selected for the Booklist for Children and the China Times Best Children's Book of the Year. Her recent work Granny's Favorite Toy won the 2015 Feng Zikai best Chinese Children's Picture Book Award. Bei Lynn now lives in Taipei and enjoys working on books for children.


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說書人 劉清彥

指揮 卡爾.聖克萊爾

CHING-YEN LIU, narrator

CARL ST. CLAIR, conductor

2017/4/14, 15

2017/4/22

劉清彥從事童書創作、翻譯、導讀、評論和推廣兒童閱讀 等工作。說了三十多年故事,翻譯三百多本書,創作近 五十本。喜歡安靜的閱讀、翻譯和創作,經常到國內外各 地演講。得過「好書大家讀」、開卷年度好書獎,近年將 童書與傳播專業結合,主持電視兒童閱讀節目【烤箱讀書 會】,和廣播節目【閱讀推手】,分別獲得 2013 年最佳 電視兒少節目主持人金鐘獎和 2014 年最佳廣播教育文化

擔任太平洋交響樂團的音樂總監逾二十五年,卡爾.聖 克萊爾以卓越的音樂演出、創新的曲目編排,以及對傑 出的音樂教育計劃所投入的心力備受盛讚。位於南加 州的太平洋交響樂團在聖克萊爾的精明領導下,其藝術 成就快速成長。受到他與伯恩斯坦密切交情的影響,他 對美國作曲家新作品的曲目開拓與創作相當用心,這一 點一窺太平洋交響樂團大量的委託演出與錄音便顯而易 見。在歐洲,聖克萊爾曾於斯圖嘉特廣播交響樂團任職 首席客席指揮,工作包含為期三年的魏雅—羅伯士全套 交響曲錄音計劃;亦曾任威瑪德意志國立歌劇院音樂總 監(2005-2008)以及柏林喜歌劇院的音樂總監(20082010)。2013 年,他成為哥斯大黎加國家交響樂團的音 樂總監。

主持人金鐘獎。《小喜鵲和岩石山》獲得 2015 年豐子愷 兒童圖畫書獎。

Having worked as a prolific translator, critic, reviewer, and as a Children book creator, Ching-Yen Liu won prizes as Good Books for Everyone Award, "Open Book" Annual Best Books Prize, the Feng Zikai Chinese Children's Picture Book Award, and two Golden Bell Awards. Liu has been telling stories for more than three decades, and has translated over 300 books and created nearly fifty books. Liu enjoys reading, translating, and creating books quietly, but he still spends time traveling all over places in Taiwan and abroad giving lectures. In recent years, he has integrated his two professions, broadcasting and children books, and has hosted a TV program named The Oven Book Club, and a broadcasting program, Readers Promoter, winning the Golden Bells for Best Presenter of children's television programs in 2013 and Best Presenter of educational and cultural broadcasting programs in 2014. His book The Little Magpie and the Rock Mountain won the Outstanding Chinese Children's Picture Book Award of the Feng Zikai Chinese Children's Picture Book Award in 2015.

Music Director of the Pacific Symphony for more than a quarter of a century, Carl St. Clair is widely recognized for his musically distinguished performances, innovative approaches to programming, and commitment to outstanding educational programs. The Pacific Symphony, located in southern California, owes its rapid artistic growth to Mr. St. Clair's astute leadership. Influenced by his close association with Leonard Bernstein, his commitment to the development and performance of new works by American composers is evident in the wealth of commissions and recordings by the Pacific Symphony. In Europe Carl St. Clair has held the positions of Principal Guest Conductor of the Stuttgart Radio Symphony, where his work included a three-year recording project of all the symphonies of Villa-Lobos; General Music Director of the Staatskapelle Weimar (2005-2008); and General Music Director of the Komische Opera Berlin (20082010). In 2013 he became Music Director of the National Symphony in Costa Rica.


雙簧管 阿爾柏特.麥耶

指揮 奧列格.凱塔尼

ALBRECHT MAYER, oboe

OLEG CAETANI, conductor

2017/4/22

2017/4/28

阿爾柏特.麥耶師從碩伊爾、梅爾汶、布克和郭利茲基, 1990 年起在邦貝格交響樂團擔任雙簧管首席,開始了自 己的職業生涯。1992 年開始,也接下了柏林愛樂雙簧 管首席的位置。曾與阿巴多、拉圖、哈農庫特等名指揮 同臺演出的麥耶,在今日躋身當紅雙簧管獨奏家之列毫 不出奇。除了獨奏演出計劃外,麥耶認為撥出時間從事 室內樂與指揮的工作也很重要。他為 Decca 和德意志留 聲機唱片公司錄製的曲目相當廣泛。分別在 2004、2008 和 2010 年被選為「年度器樂演奏家」,並獲德國唱片 學會頒發古典回聲獎;2006 年 12 月榮獲自己家鄉邦貝 格頒授霍夫曼大獎。2014 年,名列德意志留聲機的「名 人堂」,並獲巴伐利亞文化獎。麥耶演奏的柔音管由 Mönnig 所製作。他是麥耶基金會的創始人。

凱塔尼不論是指揮歌劇或交響樂皆相當出色。在羅馬音 樂學院攻讀指揮後,他轉至莫斯科音樂院與孔德拉辛學 習指揮,接著在聖彼得堡音樂院師事穆辛。凱塔尼贏得 RAI 都靈大賽與卡拉揚指揮大賽後,先後獲任威瑪國家 管絃樂團首席指揮、法蘭克福歌劇院首席指揮、威斯巴 登歌劇院音樂總監、舒曼愛樂樂團音樂總監及墨爾本交 響樂團音樂總監(2005-2009)。凱塔尼經常與德勒斯登 國家管絃、慕尼黑愛樂、巴伐利亞廣播交響、維也納交 響、馬林斯基管絃、雪梨交響、讀賣交響等知名樂團合 作,更與威爾第管絃樂團合作錄製蕭士塔科維契的交響 曲全集,在全球已成為蕭氏作品的指標錄音。凱塔尼的 湯斯曼交響曲(Chandos)和古諾交響曲(CPO)錄音, 皆獲得了法國金音叉唱片大獎。

Albrecht Mayer studied with Gerhard Scheuer, Georg Meerwein, Maurice Bourgue and Ingo Goritzki and began his professional career in 1990 as principal oboist of the Bamberg Symphony Orchestra. Since 1992 he has occupied the same position with the Berlin Phiharmonic. It's no wonder that Albrecht Mayer ranks today among the most sought-after oboists and has appeared as a soloist with Claudio Abbado, Sir Simon Rattle and Nikolaus Harnoncourt. Along with his solo projects, Mayer considers it is important to find time for chamber music and works regularly as conductor in the meantime. He has recorded extensively with Decca and Deutsche Grammophon. In 2004, 2008 and 2010, Mayer was elected "Instrumentalist of the Year" and was rewarded with an ECHO Klassik Prize by the German Phono-Akademie; in December 2006 he was awarded the E.T.A. Hoffmann Prize by his German hometown Bamberg. In 2014, he entered the Gramophone "Hall of Fame" and received the Kulturpreis Bayern. Mayer plays an oboe d'amore by Mönnig. He is founder of the Albrecht Mayer Foundation.

Oleg Caetani is equally considered as an opera and symphonic conductor. He has studied conducting at the Rome Conservatory then went to the Moscow Conservatory to study with Kyrill Kondrashin and graduated at the St. Petersburg Conservatory with Ilya Musin. Winner of the RAI Turin Competition and Karajan Competition in Berlin, he started his career as Chief Conductor of the Staastkapelle Weimar. After that he has been appointed First Conductor at the Frankfurt Opera, Music Director at the Wiesbaden Opera, then MD of the Robert Schumann Philharmonic Orchestra and Music Director of the Melbourne Symphony Orchestra (2005-2009). Caetani regularly conducts the world's leading orchestras such as Staatskapelle Dresden, Munich Philharmonic, Bayerischen Rundfunks Orchestra, Wiener Symphoniker, Mariinsky Orchestra, and Yomiuri Orchestra. He has recorded a complete cycle of Shostakovich's symphonies with La Verdi Orchestra which is a worldwide reference in the discography of the composer. Caetani's recordings of Tansman's Symphonies (Chandos) and Gounod Symphonies (CPO), have all won the Diapason d'Or Award in France.


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小號 嘉柏.柏多斯基

小提琴 領奏 柯爾亞.布拉赫

GÁBOR BOLDOCZKI, trumpet

KOLJA BLACHER, violin/direct

2017/4/28

2017/5/5

匈牙利出身的嘉柏.柏多斯基贏得慕尼黑 ARD 音樂大 賽的桂冠後為他帶來職業生涯的突破。緊接又獲得小號 演奏界最高榮譽的第三屆莫里斯.安德烈大賽第一名 「巴黎大獎」。柏多斯基曾與多個知名樂團合作,包括 巴伐利亞廣播、國立俄羅斯管絃、柏林交響團、維也納 交響等樂團。經常受邀於各地知名音樂廳演出:維也納 音樂協會黃金廳、荷蘭皇家大會堂、柏林愛樂音樂廳、 香榭大道劇院,亦遠至南美、日本與中國。柏多斯基參 與當代音樂演出及當代作品世界首演的時間亦相當可 觀。除了在 2010 年首演薩伊的小號協奏曲之外,去年 也在德國薩爾音樂節上首演了潘德列茨基的首部小號協 奏曲。柏多斯基為李斯特音樂院藝術博士學位,並任教 於該校。另外,他也獲得了匈牙利文化部的最高獎項 「李斯特榮譽大獎」。

柯爾亞.布拉赫師事狄蕾和威格。他以獨奏家之姿於世 界各地演出,並與柏林愛樂樂團、慕尼黑愛樂、北德廣 播交響樂團、柏林德意志交響樂團、萊比錫布商大廈、 聖塞西莉亞管絃樂團、巴爾的摩交響樂團等諸多樂團合 作。他也曾與多位指揮大師合作,如:阿巴多、品徹、 契塔顏科、楊頌斯、哈丁和史坦茲。布拉赫的音樂會曲 目相當廣泛,囊括了巴哈到貝里歐的獨奏曲目、古典及 浪漫時期核心曲目,以及為小提琴與管絃樂團的當代音 樂作品。過去這幾年,「領奏」形式的音樂會成為了布 拉赫音樂活動的新焦點,他也因此特色而備受讚揚。他 經常以同時身兼獨奏家與樂團首席的「領奏」之姿,與 諸多樂團演出,如:墨爾本交響樂團、馬勒室內管絃樂 團、香港愛樂、斯圖嘉特室內管絃樂團、德勒斯登愛樂。 身為土生土長的柏林人,父親是波羅的海日耳曼一宗的 作曲家玻利斯.布拉赫,柯爾亞演奏的 1730 年史特拉 第瓦里名琴「特利頓」,是來自鮑爾斯女士的慷慨出借。

The Hungarian Gábor Boldoczki is the exceptional trumpeter of his generation. By winning the internationally renowned music competition of the ARD in Munich, Boldoczki celebrated his final breakthrough. He then received the "Grand Prix de la Ville de Paris" at the Third International Maurice André Competition in Paris. He performs with well-known orchestras like the Bavarian Radio Symphony Orchestra, the Russian National Orchestra, Konzerthausorchestra Berlin and Vienna Symphony Orchestra among many others. Furthermore, he gives performances at the renowned concert halls such as Musikverein Vienna, Concertgebouw Amsterdam, Philharmonie Berlin and Théâtre des Champs-Elysées and follows concert invitations to South America, Japan and China. Besides premiering Fazil Say's trumpet concerto in 2010, he gave the world premiere of Krzysztof Penderecki's first trumpet concerto at the Musikfestspiele Saar. Gábor Boldoczki was awarded the title "Doctor Liberalium Artium" by the famous Franz-Liszt Music Academy where he has a professorship. Further on, Gábor Boldoczki was awarded the "Franz Liszt Honor Prize", the most important prize of the Hungarian Ministry of Culture in the music-sector.

Kolja Blacher studied with Dorothy DeLay and with Sandor Vegh. He performed as a soloist all over the world, with orchestras such as Berlin Philharmonic, Munich Philharmonic, NDR Symphony, Deutsches Symphonie-Orchester Berlin, Gewandhaus Leipzig, Orchestra di Santa Cecilia and Baltimore Symphony. He has worked with conductors including Claudio Abbado, Matthias Pintscher, Dmitry Kitajenko, Mariss Jansons, Daniel Harding and Markus Stenz. Blacher's programmatic spectrum comprises works for solo violin from Bach to Berio, the classical-romantic core repertoire, and contemporary music for violin and orchestra. In the past years "Play-Lead" concerts have become the new focus in Blacher's artistic activities for which he is highly acclaimed. As a leader—both as a soloist and from the concertmaster's chair— he worked regularly with, for example, Melbourne Symphony Orchestra, Mahler Chamber Orchestra, Hong Kong Philharmonic, Stuttgart Chamber Orchestra, Dresden Philharmonic. A born and bred Berliner—his father was the Baltic-German composer Boris Blacher—Kolja Blacher lives with his family in Berlin and teaches at the Hochschule für Musik "Hanns Eisler." He plays a 1730 "Tritton" Stradivari, generously on loan from Ms. Kimiko Powers.


指揮 帕斯卡.羅非

長笛 雪倫.貝札里

PASCAL ROPHÉ, conductor

SHARON BEZALY, flute

2017/5/13

2017/5/13

帕斯卡.羅非是法國炙手可熱的指揮家。從 2014/2015 樂季開始,擔任羅亞爾省國立愛樂管絃樂團的音樂總 監。1988 年贏得貝桑松國際大賽亞軍後,他於「當代室 內樂集」與布列茲合作。羅非經常指揮各大管絃樂團, 包括法國廣播樂團和 BBC 交響樂團、RTE 國家交響樂 團、當代室內樂集、瑞士羅曼德管絃樂團、都靈市廣播 交響樂團、挪威廣播交響樂團、NHK 交響樂團,以及蒙 地卡羅愛樂樂團。羅非致力於歌劇劇目演出,曾在英國 格蘭堡歌劇節指揮《佩利亞與梅麗桑》、於羅馬歌劇院 指揮《泰伊絲》、於布達佩斯之春音樂節指揮《漂泊的 荷蘭人》與《走上斷頭臺的修女》、於日內瓦大劇院指 揮米歇爾.賈雷爾的《加利���》、於夏特萊雷歌劇院指 揮艾哈邁德.耶希雅德的《愛洛綺斯與阿貝拉》、於里 昂歌劇院指揮米歇爾.瑞佛第的《梅蒂亞》。 2016 年由 BIS 所發行的新錄音作品是杜悌尤的百歲冥誕紀念專輯。

《時代》雜誌將貝札里譽為「神賜給長笛這項樂器的禮 物」,並曾獲德國「年度器樂演奏家」與坎城古典樂大 獎的「年度青年藝術家」的榮銜。她的演出鼓舞了顧拜 杜里納、阿侯等多位作曲家為她創作,她在世界各地演 出題獻給她的協奏曲就有 18 首。她是首位受荷蘭海牙 官邸管絃樂團之邀駐團的管樂演奏家。貝札里曾與萊比 錫布商大廈管絃樂團、皇家愛樂、辛辛那提管絃樂團合 作,於維也納黃金廳、BBC 逍遙音樂節及雪梨歌劇院 演出。亦曾在卡內基廳進行瑟瑞畢利爾協奏曲的美國首 演,也曾在倫敦威格摩爾音樂廳及阿姆斯特丹皇家大會 堂演出。她在 BIS 的錄音榮獲了法國金音叉獎、法國世 界音樂獎、留聲機唱片大獎的編輯推薦獎以及德國音樂 雜誌《唱片論壇》(Fono-Forum)的每月之星。她演奏 的是 24 K 金長笛,由 Muramatsu 團隊特別為她量身打造。

Pascal Rophé is one of France's most sought after conductors. He has been Music Director of the Orchestre National des Pays de la Loire since the 2014/2015 season. After winning second prize at the 1988 Besançon International Competition, he collaborated with Pierre Boulez at the Ensemble Intercontemporain. Pascal Rophé regularly conducts orchestras including Orchestra Philharmonique de Radio France, the BBC, the Philharmonia, RTE National Symphony, Ensemble Intercontemporain, Orchestre de la Suisse Romande, RAI Torino, Norwegian Radio Symphony, NHK Symphony, Monte-Carlo Philharmonic. Committed to the operatic repertoire, Pascal has conducted Pélléas with Glyndebourne Touring Opera, Thaïs for Opera di Roma, Der fliegende Holländer and Dialogue des Carmélites at the Budapest Spring Festival, Michael Jarrell's Galilée for Geneva's Grand Théâtre, Ahmed Essyad's Héloïse et Abélard for the Châtelet, Michèle Reverdy's Medée for Opéra de Lyon. A new recording has been released on BIS in 2016 to celebrate Dutilleux's centenary.

Described by The Times as "God's gift to the flute", Sharon Bezaly was chosen "Instrumentalist of the Year" in Germany and "Young Artist of the Year" at Cannes Classical Awards. Sharon inspired renowned composers as Sofia Gubaidulina and Kalevi Aho to write for her, and has 18 dedicated concertos which she performs worldwide. Sharon Bezaly was also the first wind player to be elected artist in residence by the Residentie Orchestra, Hague. She played with Leipzig Gewandhaus, Royal Philharmonic and Cincinnati, at the Musikverein in Vienna, the BBC Proms, and Sydney Opera House. She gave the US premiere of Serebrier's Concerto at Carnegie Hall. She also played at the Wigmore Hall, London and Concertgebouw, Amsterdam. Sharon Bezaly's recordings on BIS have won the Diapason d'or, Choc, Editor's Choice (Gramophone) and Stern des Monats (Fono Forum). She plays on a 24-carat gold flute, specially built for her by the Muramatsu team.


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指揮 林勤超

鋼琴 拉貝克姊妹

CHIN-CHAO LIN, conductor

LABÉQUE SISTERS, piano duo

2017/6/2

2017/6/2

自二十四歲獲波蘭第五屆盧托斯瓦夫斯基國際指揮大賽 第三名和評審獎後,林勤超開始活躍於歐洲樂壇,並自 2016/2017 樂季起獲聘擔任德國邁寧根劇院第一任駐院 指揮。2013-2015 年擔任德國科布倫茲萊茵愛樂助理指 揮,期間曾與多個交響樂團和歌劇院合作演出,包括法 蘭克福廣播、西南德愛樂、捷克楊納傑克愛樂、波蘭比 亞韋斯托交響、哈薩克阿拉木圖愛樂、國立臺灣交響樂 團、奧地利格拉茲歌劇院、德國邁寧根劇院、捷克特普 利采劇院等。林勤超指揮曲目範圍廣泛並積極推廣現代 音樂,曾帶領瑞士琉森音樂節現代室內樂團於 2014 年 琉森音樂節演出。林勤超畢業於瑞士蘇黎世音樂學院, 曾接受過伯納德.海汀克、皮耶.布列茲、庫特.馬舒、 大衛.辛曼等多位指揮大師親自指導,也於 2010 年參 與根特.赫比希與 NSO 的指揮大師班並獲大師青睞, 指定擔任 NSO 之代理指揮一職。

卡蒂亞.拉貝克和瑪麗爾.拉貝克這對姊妹鋼琴搭檔以 她們的絕佳默契與充沛活力而聞名。她們自小即嶄露在 音樂上的求知欲及表現欲。這對姊妹檔在 1980 年代以 雙鋼琴版的蓋希文《藍色狂想曲》打響名號,是少數榮 膺黃金唱片榜的古典樂錄音專輯,銷售紀錄超過 50 萬 張。自此之後,即展開她們精彩的演奏生涯,與眾多知 名樂團在全球各地演出,包括波士頓交響樂團、芝加哥 交響樂團、克里夫蘭管絃樂團、柏林愛樂、萊比錫布商 大廈交響樂團、倫敦交響樂團、維也納愛樂等等。她們 也跟當代許多頂尖作曲家合作,如阿德斯、貝里歐、布 列茲、葛拉斯、高利霍夫、李格悌與梅湘。拉貝克姊妹 也投身於傳統古典曲目之外的鑽研,對爵士、拉格泰姆 (散拍音樂)、佛朗明哥、極簡音樂、早期樂器演出的 巴洛克音樂,甚至是流行音樂與實驗搖滾均有涉獵。

Chin-Chao Lin was born in Taitung, Taiwan. Starting 2016/2017 season, Lin becoms the first Kapellmeister by the Südthüringisches Staatstheater–Das Meiningen Theater in Germany. He served as Assistant Conductor of Staatsorchester Rheinische Philharmonie Koblenz from 2013 to 2015. Lin has conducted Frankfurt Radio Symphony Orchestra, Südwestdeutsche Philharmonie, Janáček Philharmonic Orchestra, Bia ystok Symphonic Orchestra, Almaty Philharmonic Orchestra, National Taiwan Symphony Orchestra, Graz Opera, Meiningen Theater, Teplice Theater, etc. He also made his debut at Lucerne Festival in Switzerland (2014) and Klangspuren Festival in Austria (2014). Lin received numerous prizes, including 3 rd prize and Jury Prize at 5 th Lutost awski International Conducting Competition (2011), Audience Award at Operetta Competition in Leipzig (2014), and 2nd prize at 1st National Taiwan Symphony Orchestra Conducting Competition (2010).

Katia and Marielle Labèque are sibling pianists renowned for their ensemble of synchronicity and energy. Their musical ambitions began at an early age. The sisters rose to international fame with their 1980 recording of Gershwin's Rhapsody in Blue for two pianos alone, one of the first classical recordings to go Gold (over half a million copies sold). Since then they have developed a stunning career with performances worldwide and appearances with the most prestigious orchestras, including those of Boston, Chicago, Cleveland, Berlin, Leipzig London, Vienna and many others. They have worked with many leading contemporary composers like Thomas Adès, Luciano Berio, Pierre Boulez, Philip Glass, Osvaldo Golijov, György Ligeti, and Olivier Messiaen. Beyond the traditional classical repertoire the Labèques indulge in jazz, ragtime, flamenco, minimal music, Baroque music on period instruments, and even pop music and experimental rock.


繪本畫家 幾米

指揮 麥可.桑德林

JIMMY LIAO, illustration

MICHAEL SANDERLING, conductor

2017/4/9, 6/2

2017/6/9, 10

1998 年開始出版繪本,幾米把原先童書領域的繪本延伸 到普羅讀者群裡,開成人繪本創作之先,至今出版各式 作品逾 50 種。幾米的作品被翻譯成英、法、荷、西、 葡、義、日、希、德、韓、泰、俄、波蘭、愛沙尼亞、 瑞典等多種語言,也與英國、美國、日本的出版社合作 原創繪本。幾米多部作品被改編成音樂劇、電視劇及電 影,《微笑的魚》改編動畫曾獲柏林影展獎項。幾米曾 被 Studio Voice 雜誌選為「亞洲最有創意的五十五人」之 一,亦為 Discovery 頻道選為「臺灣人物誌」六位傑出 人物之一。幾米作品得過多座金鼎獎,也獲得比利時維 塞勒青少年文學獎、西班牙教育文化體育部主辦的出版 獎之藝術類圖書年度首獎,瑞典彼得潘銀星獎,也入圍 林格倫紀念獎,這是國際上最大的兒童及青少年文學獎 項。

麥可.桑德林 2011 年起接任德勒斯登愛樂首席指揮。 同時他也是世界著名音樂表演中心爭相競邀的客席指揮 家,指揮諸多知名樂團,如:蘇黎世音樂廳管絃樂團、 日本讀賣交響樂團與 NHK 交響樂團、慕尼黑愛樂、維 也納交響樂團、多倫多交響樂團、萊比錫布商大廈管絃 樂團,以及德國各大廣播樂團。桑德林生於柏林,是少 數從樂團成員躍身而成世界頂尖指揮家的音樂人。桑德 林相當熱衷於跟年輕音樂家為伍,經常與德國國家青年 交響樂團、德國青年愛樂,以及石勒斯威格荷仕登節慶 管絃樂團合作。他曾以大提琴家與指揮家的身份,錄製 過德沃札克、舒曼、蕭斯塔科維契、普羅科菲夫、柴科 夫斯基等作曲家的重要作品。近期重要錄音有為索尼唱 片錄製的貝多芬與蕭斯塔科維契的交響曲。

Jimmy began creating illustrated books in 1998, expanding the readership of picture books beyond children to general audiences. Since he began to devote himself to picture books, he has published more than 50 works in all. His books have been translated into numerous languages, including English, French, Dutch, Spanish, Portuguese, Italian, Japanese, Greek, German, Korean, Thai, Russian, Polish, Estonian, and Swedish. He has also created original works for British, American, and Japanese publishers. Many of Jimmy's works have been turned into musicals, television dramas, and films. A Fish that Smiled at Me won the prize for best short film at the 56th Berlin International Film Festival. Jimmy's works have won several Golden Tripods Awards in Taiwan, the Belgian literary prize Le Prix Versele, the First Prize for artistic illustration from Spain's Ministry of Education, Culture and Sport, and Peter Pan's Silver Stars Prize from Sweden. He has also been nominated for the Swedish Astrid Lindgren Memorial Award, which is the world's most prestigious prize for literature aimed at children and youths.

Michael Sanderling has been Principal Conductor at the Dresden Philharmonic since 2011. At the same time, he is a sought-after guest conductor in the world's greatest music centers and directs renowned orchestras such as the Zurich Tonhalle Orchestra, the Yomiuri Nippon Symphony Orchestra in Tokyo, the Munich Philharmonic Orchestra, the Vienna Symphony Orchestra, the Toronto Symphony Orchestra, the NHK Symphony Orchestra in Tokyo, the Leipzig Gewandhaus Orchestra and Germany's great radio orchestras. Born in Berlin, he is one of the few who made their way from being orchestra musicians into the top league of conductors. One of Michael Sanderling's passions is working with young musicians. He regularly works with the Bundesjugendorchester, the Junge Deutsche Philharmonie and the Schleswig-Holstein-Festivalorchester. As cellist and conductor, he recorded important works by Dvořák, Schumann, Shostakovich, Prokofiev, Tchaikovsky and many others on CD. Of particular note are the current recordings of Beethoven and Shostakovich's symphonies for Sony Classical.


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單簧管 莎賓.梅耶

導演 詹姆斯.羅賓森

SABINE MEYER, clarinet

JAMES ROBINSON, stage director

2017/6/9, 10

2017/7/19, 21, 23

莎賓.梅耶是名揚全球的器樂獨奏家。有一部份是因為 早先稍受冷落的單簧管,在她的貢獻下重新獲得了獨奏 樂器舞臺的光環。梅耶生於克賴爾斯海姆市,分別到 斯圖嘉特與漢諾威師從赫曼與丹澤,接著展開她職業樂 團成員的生涯,任職於巴伐利亞廣播交響樂團,隨後獲 聘為柏林愛樂單簧管獨奏家,因她的獨奏家事業愈發蒸 蒸日上,便離開樂團,此後以獨奏家身份鼎立於歐洲樂 壇數十年,演出無數場音樂會與廣播邀約,樂音揚遍北 美、日本、中國與澳洲,備受全球逾 300 個樂團一致讚 譽。她的室內樂曲目研究涉獵也相當寬廣,經常與她的 「梅耶單簧管三重奏」夥伴及其他知名演奏家探索室內 樂世界。

美籍導演詹姆斯.羅賓森現任聖路易歌劇院的藝術總 監,於該劇院已累積多齣製作:包括陳銀淑《愛麗絲夢 遊仙境》(美國首演)、艾許《幸運金卡》(世界首演)、 柯瑞良諾《凡爾賽之魂》、亞當斯《克林霍夫之死》和 《尼克森在中國》。即將推出作品包括:皮克《熱淚傷 痕》舊金山歌劇院世界首演、黃若《中山.逸仙》於聖 塔菲歌劇院的美國首演,以及由爵士樂和電影作曲家泰 倫斯.布藍查創作的《冠軍》於聖路易歌劇院世界首演。 羅賓森曾為休士頓大劇院、加拿大歌劇公司、紐約市歌 劇院、澳大利亞歌劇院、華盛頓歌劇院、洛杉磯歌劇院、 西雅圖歌劇院、瑞典皇家歌劇院、達拉斯歌劇院、明尼 蘇達歌劇院和芝加哥歌劇院等執導多齣歌劇。

Sabine Meyer is one of the world's most renowned instrumental soloists. It is partly due to her that the clarinet, a solo instrument previously underestimated, recaptured the attention of the concert platform. Born in Crailsheim, she studied with Otto Hermann in Stuttgart and Hans Deinzer in Hanover, then embarked on a career as an orchestral musician and became member of the Bavarian Radio Symphony Orchestra. This was followed by an engagement as solo clarinettist at the Berlin Philharmonic which she abandoned, as she was more and more in demand as a soloist. For almost a quarter of a century, numerous concerts and broadcast engagements led her to all musical centres of Europe, to North America, Japan and China and Australia. Sabine Meyer has been a much-celebrated soloist with more than three hundred orchestras internationally. She also has explored a wide range of chamber repertoire with renowned colleagues as well as with her "Trio di Clarone."

American stage director James Robinson is the Artistic Director of the Opera Theatre of St. Louis where he has mounted such productions as Chin Alice in Wonderland (American premiere), Ash The Golden Ticket (world premiere), Corigliano The Ghosts of Versailles, and Adams The Death of Klinghoffer and Nixon in China. Recent projects included the world premiere of Picker Dolores Claiborne for San Francisco Opera, the American premiere of Huang Ruo Sun Yat Sen for Santa Fe Opera and the world premiere of Champion by jazz and film composer Terence Blachard for the Opera Theatre of St. Louis. Robinson has directed new productions for Houston Grand Opera, the Canadian Opera Company, the New York City Opera, the Australian Opera, the Washington Opera, the Los Angeles Opera, the Seattle Opera, the Royal Swedish Opera, the Dallas Opera, the Minnesota Opera and Chicago Opera Theater.


男中音 孔炳宇

女高音 左涵瀛

BYUNGWOO PAUL KONG, baritone

HANYING TSO-PETANAJ, soprano

2017/7/19, 21, 23

2017/7/19, 21, 23

孔炳宇是南韓青壯世代中首屈一指的男中音,活躍於歐 洲各大舞臺,如挪威的奧斯陸國家劇院、法國的亞維 儂、蒙佩利爾、土魯斯、波爾多、奧朗日音樂節,還有 德國的萊比錫。他的招牌角色包括《波希米亞人》中的 馬切羅、《唐喬凡尼》的唐喬凡尼、《賽維里亞理髮師》 的費加洛、《費加洛的婚禮》中的公爵、《唐卡羅》裡 的羅德里哥,以及《尤金.奧涅金》的奧涅金。孔炳宇 近期與多位指揮名家演出:由鄭明勳指揮韓國國家劇院 以及北京國家大劇院,於《波希米亞人》中飾唱馬切羅; 由呂紹嘉指揮首爾愛樂,飾唱《尤金.奧涅金》中的奧 涅金。他曾獲土魯斯國際大賽以及首爾國際大賽的大獎 殊榮。他也是維也納貝芙黛瑞大賽的獎項得主。孔炳宇 畢業於國立���爾大學與法國的國立馬賽音樂院。

左涵瀛活躍於歐洲舞臺,1990 年赴義大利深造,畢業於 國立佛羅倫斯音樂學院研究所,獲米蘭歌劇院歌劇獨唱 演員文憑、國立佛羅倫斯演唱家文憑以及佛羅倫斯 5 月 音樂節歌劇院巴洛克時期作品鑽研證書。於 2003 年得 史卡拉歌劇院獨唱家國家獎學金,為第一位以獨唱歌手 合約在史卡拉歌劇院演出的臺灣人,也在此展開歌劇生 涯。曾經飾唱過《納布果》的阿碧凱拉、《茶花女》的 維歐蕾塔、《遊唱詩人》的蕾歐諾拉、《波西米亞人》 的咪咪、《修女安潔麗卡》的安潔麗卡、《杜蘭朵公主》 的杜蘭朵以及《托斯卡》的佛羅里亞.托斯卡等。義大 利樂評曾說「左涵瀛聲音中雷射般的銳利是義大利歌劇 中典型並少有的戲劇女高音音色」。

A leading baritone of the new generation in Korea, Baritone ByungWoo Paul Kong has appeared on important stages throughout Europe such as Oslo National Theatre in Norway; Avignon, Monpellier, Toulouse, Bordeux, Orange Festival in France; Leipzig in Germany. His signature roles include Marcello in La Bohème, Don Giovanni in Don Giovanni, Figaro in Il barbiere di Siviglia, Conte in Le nozze di Figaro, Rodrigo in Don Carlo, and Onegin in Eugene Onegin. Kong has recently made important appearances with important conductors: Marcello in Korea National Opera and Beijing NCPA's La Bohème with Maestro Myung-Whun Chung; and Onegin in Seoul Philharmonic's Eugene Onegin with Maestro Shao-Chia Lü. He was the winner of prestigious Toulouse International Competition and Seoul International Competition. He also was a prize winner of Belvedere Competition in Vienna. He graduated from Seoul National University and Marseille National Conservatoire.

Hanying Tso-Petanaj, who's now active in Europe, studied abroad in Italy since 1990, and graduated from the graduate school at Conservatorio di Musica di Luigi Cherubini, Firenze, and received her diploma for the biennial academy training for opera solo singers in Teatro alla Scala in Milan, professional singer diploma from Conservatorio di Musica di Luigi Cherubini and the advanced study certificate of works in Baroque period in Florence May Festival (Maggio Musicale Florentino). She won the national scholarship for solo singers from Teatro alla Scala, and became the first Taiwanese singer who has the engagement with Teatro alla Scala as a solo singer and started her opera career ever since. She used to sing Abigaille (Nabucco), Violetta (La Traviata), Leonora (Il Trovatore), Mimi (La Bohème), Angelica (Suor Angelica), Principessa Turandot (Turandot), Floria Tosca (Tosca), and so on. According to a review in Italy, the laser-like sharpness in her voice is the kind of typical but rare timbre of a dramatic soprano in Italian operas.


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男高音 海克特.桑多佛

男中音 鮑里斯.史坦森柯

HECTOR SANDOVAL, tenor

BORIS STATSENKO, baritone

2017/7/19, 21, 23

2017/7/19, 21, 23

海克特.桑多佛的職業生涯始於他的家鄉墨西哥市。師 事知名教授安立奎.哈叟。曾參與的演出包括丹麥黑德 蘭歌劇院戶外廣場演出《遊唱詩人》中的曼利可,芬 蘭國家歌劇院及科隆歌劇院演出《外套》中的路易吉一 角,莫斯科大劇院演唱《唐.卡羅》,布雷根茨音樂節 的《安德烈.謝尼埃》,摩德納歌劇院、瑞吉歐艾米利 亞歌劇院、維也納國家歌劇院演出《阿依達》的拉達美 斯,塞維里亞騎士大劇院及哥本哈根皇家歌劇院演出 《蝴蝶夫人》。近期的演出邀約包括在土倫歌劇院《西 蒙.波卡涅拉》、哥本哈根皇家歌劇院《蝴蝶夫人》、 比利時皇家鑄幣局劇院《瑪儂.雷斯考》、莫斯科大劇 院《唐.卡羅》,以及在芬蘭圖爾庫音樂節演出。即將 受邀演出的計劃有布拉格國家劇院《安德烈.謝尼埃》, 以及與國家交響樂團(臺灣)《外套》中的路易吉一角。

Hector Sandoval started his career in his native city Mexico. He took lessons at the National Conservatory of Music in Mexico City from 1987-1993. His teacher was the well-known professor Enrique Jaso. Recent engagements include Opèra de Toulon, the Royal Opera in Copenhagen, La Monnaie de Bruxelles with Carlo Rizzi, two concert respectively in Stockholm with Jussi Björling Selskapet and in Finland at Turku Music Festival and also singing Don Carlo at Bolshoi Theater in Moscow. Other engagements in 2014 include Outdoor Hedeland in Summer of 2014, Bolshoi Theater in Moscow, Finnish National Opera in Helsinki, Bregenzer Festspiele, Weiner Staatsoper, Teatro La Maestranza de Sevilla, Copenhagen Royal Opera and Cologne Opera. Future engagements include Andrea Chenier at National Theater Praque and Luigi in Il Tabarro with the Taiwan Philharmonic (National Symphony Orchestra).

鮑里斯.史坦森柯畢業於莫斯科國立柴科夫斯基音樂 院。1987-1990 年為波里斯.波克羅夫斯基室內音樂劇 院獨唱家;1991-1995 年為莫斯科大劇院獨唱家。現任 杜塞朵夫德國萊茵歌劇院獨唱家以及莫斯科大劇院客席 獨唱家。他是葛令卡、瑪麗亞.卡拉絲和莫斯科柴科夫 斯基國際大賽的大獎得主。拿手角色包括《拉美莫的露 琪亞》安利可、《法斯塔夫》福特、《採珠人》祖爾加、 《蝙蝠》艾森斯坦、《浮士德》瓦倫坦、《費加洛婚禮》 阿馬維瓦公爵、《灰姑娘》丹迪尼、《藝術家的生涯》 馬切羅、《卡門》艾斯卡米洛、《賽維里亞理髮師》費 加洛、《強尼.史基基》強尼.史基基、《茶花女》傑 爾蒙、《唐喬凡尼》唐喬凡尼、《迪多與阿伊尼》阿伊 尼、《丑角》西維歐及《尤金.奧涅金》奧涅金等。

Boris Statsenko graduated from the Tchaikovsky State Conservatory in Moscow. From 1987 to 1990 he was a soloist at the Boris Pokrovsky Chamber Musical Theater, and from 1991 to 1995 he was a soloist at the Bolshoi Theater. He is currently a soloist of the Deutsche Oper am Rhein in Düsseldorf and a guest soloist at the Bolshoi Theater. He has been a prize-winner at numerous prestigious competitions, including the Glinka International Competition, the Maria Callas International Competition in Athens and the Tchaikovsky International Competition in Moscow. His repertoire includes, among others, Enrico in Lucia di Lammermoor, Ford in Falstaff, Zurga in Les pêcheurs de perles, Eisenstein in Die Fledermaus, Valentine in Gounod's Faust, Count Almaviva in Le Nozze di Figaro, Dandini in La Cenerentola, Musiklehrer in Ariadne auf Naxos, Marcello in La Bohème, Escamillo in Carmen, Figaro in Il barbiere di Siviglia, Gianni Schicchi in Gianni Schicchi, Germont in La Traviata, the Bebaritone part in Carmina Burana, Don Giovanni in Don Giovanni, Aeneas in Dido and Aeneas, Silvio in Leoncavallo's Pagliacci, Pantalone in The Love for Three Oranges, Onegin in Eugene Onegin.


國立實驗合唱團

台北愛樂合唱團

TAIWAN NATIONAL CHOIR

TAIPEI PHILHARMONIC CHORUS

2016/10/29

2016/12/31, 2017/1/1, 5/13, 7/19, 21, 23

教育部於民國七十四年輔導成立國立實驗合唱團。現由 國立臺灣藝術教育館鄭乃文館長擔任團長。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。

Taiwan National Choir was established under the supervision of the Ministry of Education in 1985. Dr. Nai-Wen Cheng, who is also the director of National Taiwan Arts Education Center, is the director currently. 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.

1972 年創立,1983 年由杜黑教授擔任藝術總監至今,現 由古育仲擔任音樂總監暨指揮。1993 年成立「臺北愛樂 室內合唱團」,每年獲邀參與國際音樂節,於國內各地 巡演,深耕合唱音樂。曾與 NSO 國家交響樂團合作演 出威爾第《安魂曲》、貝多芬第九號交響曲、比才歌劇 《卡門》、布瑞頓《戰爭安魂曲》、韓德爾《彌賽亞》、 孟德爾頌《以利亞》、第二號交響曲《頌歌》、馬勒第二、 三、八號交響曲、浦契尼歌劇《蝴蝶夫人》等,此外亦 經常首演國內外經典作品,如錢南章《馬蘭姑娘》、《佛 教涅盤曲》、歌劇《畫魂》、《十二生肖》、許常惠歌 劇《鄭成功》、馬水龍《霸王虞姬》、《無形的神殿》、 金希文歌劇《黑鬚馬偕》及巴赫《B 小調彌撒》、《聖 約翰受難曲》、《聖馬太受難曲》、華爾頓《伯沙撒王 的盛宴》等。歷年出版專輯多獲金曲獎肯定。2007 年獲 臺北市政府譽揚,訂定捷運東區地下街七號廣場為「臺 北愛樂合唱廣場」,肯定本團對臺灣音樂界的卓越貢獻。 Founded in 1972, Taipei Philharmonic Chorus has established a reputation as one of the most prestigious choruses in Taiwan. The Chorus is awarded and sponsored by the Ministry of Cultural from 1994 to date as an "Outstanding Performing Group." The chorus has collaborated with NSO for several events, repertoire include Beethoven Symphony No. 9, Mendelssohn Elijah and Symphony No. 2, Mahler Symphony No. 2, 3, 8, Bizet Carmen, Puccini Madama Butterfly, Britten War Requiem, Orff Carmina Burana, to name a few. From the 140-voice chorus, a 40-voice chamber choir is selected to tour and to perform more selected works, and has an impressive history of overseas performances. Together with the chorus, both groups have been invited to perform in many different festivals and countries.


N S O 3 0 2 0 1 6 › 2 0 1 7 MEET THE GUEST ARTISTS

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無獨有偶工作室劇團 THE PUPPET AND ITS DOUBLE THEATER 2017/4/14,15

無獨有偶創團十六年,大力推展偶劇在當代表演藝術裡的 自由空間,將情感注入戲偶靈魂,找到人與偶互動的和諧 感動。演出形式涵蓋手套偶、懸絲偶、杖頭偶、執頭偶、 光影劇場等,以精緻戲偶工藝著稱,獨特的劇場敘事手 法,並積極跨界實驗、開發「人」所不能為的無限想像。 2002 與 2009 年兩度入圍臺新藝術獎「年度十大表演藝術」; 並屢獲海內外藝術節邀演,足跡遍布歐亞美 30 座城市, 是臺灣最具國際知名度的當代偶劇團。2013 年無獨有偶搬 遷宜蘭縣五結鄉,花費兩年時間整建閒置穀倉成為「利澤 國際偶戲藝術村」,園區備有六十坪排練場、專業製偶工 廠以及小型展演空間,提供海內外偶戲工作者創意開發平 臺,引領臺灣當代偶戲創作風潮。

The Puppet and Its Double Theater was launched in September 1999. This group is dedicated to an experimental approach and a belief that all possible things can be formed into puppets, exploring the possibilities of puppetry in contemporary performing art. The Puppet and Its Double is known for filling puppets with souls and looking into the interactions between real persons and puppets so as to find new interpretations of puppet performance. The group incorporates various forms of puppetry, including glove puppets, string puppets, rod puppets, table-top puppets; its performance also draw techniques and inspirations from shadow theater and co-staging actors and puppets. With professional and delicate puppetry skills, creative design, and poetic presentation on stage, the Puppet and Its Double brings forth an imaginary space that humans alone cannot realize. With this merit the group has received numerous invitations to perform at international art festivals and is a distinctive group of contemporary Taiwanese theater that crosses many boundaries.


, Always NSO LIVE 雲端音樂廳 音樂廳就是你家!每周日 20:00Bravo FM91.3、21:00 於台 中古典音樂台 97.7,由焦元溥博士解說,溫故嚐新雲端 上的 NSO Live 音樂會。

NSO LIVE 講座 不論你的學生是高國中小哪個年齡,只需由老師提出申 請,NSO 就帶著幽默風趣的講師到校深入淺出開講;為 鼓勵學生首次進音樂廳欣賞交響樂團演出,NSO 將提供 限量百元票券,讓孩子們輕鬆賞樂!

電子節目單 / 問卷 你知道 2100 年時全球平均氣溫,會比目前升高至少 3.7℃ 至 4.8℃、南北極的冰川融化、北極熊將無家可歸嗎?邀 請你為地球和孩子們盡一份心。 請掃描節目單上的 QR-CODE 填寫電子問卷,減少紙張, 力行環保生活。


with you be

NSO總是與你在一起 …… 音樂會前導聆 自 2003/2004 樂季起,NSO 為讓愛樂的你發現樂曲裡 蘊藏的有趣密碼,展開了音樂會前「引導聆賞」小講 座。別忘了提早半小時進音樂廳,我們大廳見囉!

NSO 之友 成為兩廳院之友,別忘了立刻加入 NSO 之友。雖然加入方 式有點曲折,但有不少好康喔! 憑會員卡可使用加水站、兌換免費節目單、NSO 音樂會 5 折生日券、當月壽星禮、優先參加開放彩排、2016 年 12 月

31 日前還可享信誼購書 9 折優惠。 曲折一下,是值得的!

NSO 之友加水站 於 2008 年開張,位於音樂廳三樓單號側的小房間。音樂會 前及中場休息時間,歡迎你攜帶會員卡與環保杯,來用點 飲料、與同好聊聊天!


NSO 錄影音產品 Discography of the Taiwan Philharmonic, NSO 樂無止盡

世紀交響

指揮 呂紹嘉 Shao-Chia Lü, conductor

指揮 呂紹嘉 Shao-Chia Lü, conductor

貝多芬 第七號交響曲

理查.史特勞斯:絃樂六重奏,選自歌劇《綺想曲》( 絃樂團版本 )

貝多芬:第七號交響曲 理查.史特勞斯:《狄爾愉快的惡作劇》

理查.史特勞斯:《家庭交響曲》

L. V. Beethoven: Symphony No. 7 in A major, Op. 92 R. Strauss: Till Eulenspiegels lustige Streiche, Op. 28

尚.西貝流士:第二號交響曲

普羅科菲夫 Prokofiev Album

塞爾基.拉赫瑪尼諾夫:交響詩《死之島》

R. Strauss:String Sextet from Capriccio, Op. 85 (played by string orchestra) R. Strauss:Symphonia Domestica, Op. 53 S. Rachmaninoff:Isle of the Dead, Symphonic Poem, Op. 29 J. Sibelius:Symphony No. 2, Op. 43, D Major

第三號交響曲 《灰姑娘》第一號組曲選段 《塞西亞組曲》

S. Prokofiev: Symphony No. 3 Excerpts from Cinderella Suite No.1, Op. 107 Scythian Suite, Op. 20

樂典─珍藏當代臺灣的聲音

NSO 法國系列 French Works 德布西:《海》

拉威爾:《圓舞曲》 法朗克:《賽姬》 拉威爾:《達夫尼與克蘿伊》第二號組曲

C. Debussy: La mer M. Ravel: La Valse, poeme choregraphique C. Franck: Psyche M. Ravel: Daphnis et Chloe Suite No. 2

樂典 01 -馬水龍 樂典 02 -潘皇龍 樂典 03 -賴德和 樂典 04 -盧炎 樂典 05 -蕭泰然 樂典 06 -郭芝苑、徐頌仁 樂典 07 -許常惠 樂典 08 -錢南章 樂典 09 -王怡雯、李元貞、洪千惠 樂典 10 -楊聰賢、洪崇焜、曾毓忠、鍾耀光


NAXOS 系列

親子系列

金希文 Gordon Chin 第三號交響曲《臺灣》與第一號大提琴協奏曲

Symphony No. 3 Taiwan & Cello Concerto No. 1 指揮 呂紹嘉 Shao-Chia Lü, conductor 大提琴 楊文信 Wen-Sinn Yang, cello

媽媽說故事《頑皮的莫札特》 由 NSO 宜錦媽媽、小毛叔叔親自解說,以美好的音樂、 動聽的故事,讓音樂成為最好的禮物,陪伴著孩子們成長中的每一個重要時刻。 莫札特:F 大調嬉遊曲,第一樂章《土耳其進行曲》 第 21 號小提琴奏鳴曲,第���樂章《小星星變奏曲》 小夜曲,作品 K. 525,第一樂章 歌劇《魔笛》選曲〈這聽起來多麼愉快〉《費加洛婚禮》序曲

Mozart:Divertimento in F Major, K. 138, Mvt.1 Rondo alla turca Violin Sonata No. 21, K. 304, Mvt.2 Twelve Variations on Ah vous dirai-je, Maman Serenade in G major, K. 525, Mvt.1 'Das klingt so herrlich' from Die Zauberflöte Le nozze di Figaro Overture, K. 492 小提琴 & 說書人 李宜錦、梁坤豪 小提琴 鄧皓敦 中提琴 黃瑞儀 大提琴 連亦先

陳其鋼 Qigang Chen 《失樂園》、《二黃》、《逝去的時光》

Enchantements oubliés, Er Huang, Un temps disparu 指揮 呂紹嘉 Shao-Chia Lü, conductor 鋼琴 嚴俊傑 Chun-Chieh Yen, piano 二胡 嚴潔敏 Jiemin Yan, erhu

永遠的童話 鼠際大戰 (DVD) Cheese 為什麼是黃色的嗎?紅老鼠和藍老鼠為什麼要打仗? 一場趣味十足的鼠役戰爭即將展開,你決定好要支持哪一邊了嗎? 大衛.契斯基:兒童歌劇《鼠際大戰》

David Chesky: Children Opera The Mice War 指揮 張尹芳 導演 石佩玉

NSO 獨奏家群 鞋子兒童實驗劇團 ‧2009 年 TIFA 台灣國際藝術節兒童戲劇類節目 ‧2009 年獲第八屆台新藝術獎表演藝術類提名

更多 NSO 文創商品,歡迎上 國家交響樂團官網查詢。


這裡是一座很輕鬆、很自然的複合式親子生活空間。 大量的自然材質,藝術家的作品妝點在各角落, 營造出全家一起參與的美好氛圍。 結合了永豐餘與信誼基金會專業資源與服務, 歡迎親子一起遊戲、一起閱讀、品味真食物…

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全新打造的幼兒遊戲世界

踏出孩子自信學習的第一步

小太陽親子書房 多元的親子共讀、共玩資源

親子友善的健康飲食空間

知新劇場 適合全家人藝文與藝術欣賞

各種有機、安心的真實物

地址:台北市中正區重慶南路二段51號1樓、B1(中正紀念堂捷運站2號出口、郵政博物館旁) 親子館預約:02-2395-2028 轉 1588

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Fax:886-2-2704-0707

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RX RX

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內湖營業所 02-2658-9778 台北市內湖區瑞光路356號 新店營業所 02-2911-7551 新北市新店區北新路三段195號


NSO,臺灣最具指標性的職業交響樂團。從經典曲目到新作發表、從歌劇到跨界製作,搭配多元 講座、廣播、專書、開放彩排等相關推廣活動,令愛樂大眾樂於參與更引申與論述,不僅形成 國內音樂欣賞的新風貌,更成為國內藝術愛好者的集體記憶。 創團十週年首次歐洲三場巡演;二十週年隨即以全本華格納歌劇《尼貝龍指環》創下亞洲首演 紀錄,接續展開東南亞、日、韓到歐洲四國五場、兩岸三地巡演,在在引起德、法、中、澳、 港、日等地媒體藝評熱烈迴響;三十週年,NSO將首次登上美加與三訪歐洲,期待立足亞洲之 後,與歐美接軌。 NSO 30,我們將以多項大膽活潑的南北展演計畫讓音樂與國人生活更緊密的連結。我們深信, 和NSO音樂家們一起為美好樂音佇足停留,會讓我們的社會更和諧、美好。 誠摯邀請您成為與NSO共同寫下歷史的重要推手,更希望NSO成為您生活中的心靈養分。

國家交響樂團 執行長

Partner of NSO 藝企夥伴

NT$250,000 以上

票券回饋>>得禮遇國家音樂廳貴賓包廂VIP Family計畫,或NSO全樂季節目50張貴賓票券。 愛樂回禮 >>獲邀參加NSO 節慶酒會。 得安排至企業或團體進行專屬音樂導聆課程二次。

NSO守護者愛樂回禮。

Patron of NSO 守護者

NT$100,000 以上

票券回饋 >>獲得NSO樂季節目20張貴賓票券。 愛樂回禮 >>得安排專屬至企業或團體音樂導聆課程一次。 獲得心儀音樂家「To Dear Friend」簽名NSO樂季節目冊二款。 或另案依贊助者需求客製回禮。

NSO好朋友愛樂回禮。

Pal of NSO 好朋友

NT$50,000 以上

票券回饋>>獲得NSO樂季節目10張貴賓票券。 愛樂回禮 >>可於票券啟售前,享指定座位等尊榮會員服務。 獲得NSO製作之限量紀念品及CD、DVD…等。

NSO 築夢者愛樂回禮。

Star of NSO 築夢者

NT$1,000 ~ NT$49,999

愛樂回禮 >>於NSO 樂季手冊及音樂會節目單上,冠名感謝。 於NSO 音樂會中場休息時使用知音沙龍。

請上NSO網頁下載捐款單,成為NSO「愛樂知音」贊助人! NSO 愛樂知音贊助專線 02-3393-9661 02-3393-9663


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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

李光陸 陳建平 陳致遠 楊文貞 守護者

中租迪和股份有限公司 安信商務法律事務所 財團法人建弘文教基金會 財團法人邱再興文教基金會 源大環能股份有限公司 關東鑫林科技股份有限公司 王靜雯 王儷玲 巫慧燕 李松季 李鎗吉 莊宗憲 劉思楨 樓海鳥 蔡淑惠

好朋友

臺北市電器商業同業公會 台灣日立綜合空調股份有限公司 王植熙 余忠直 邱 瑗 姚鈴芝 辜一峯 楊逸楓 楊鎮源 劉豪上 關錦龍

築夢者

余倩文 周戎智 韓昆舉 羅基敏 蘇慧君


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NSO 2016/2017

國家交響樂團 樂季手冊 發行所   發行人  

國家表演藝術中心 國家交響樂團 呂紹嘉

總 編 輯

邱瑗

執行編輯 

林怡芳

企畫編輯

杜佳舫 鄭巧琪 謝祥雯

美術編輯

黃志勳

英文編審

Robert Markow

中英翻譯

鄭可喬

影    王永年 林尚余 林勝發 林敬原 許斌 顏涵正 Thomas Bartilla Eric Dahan (依筆劃順序)

兩廳院售票系統 NTCH Ticketing Service http://www.artsticket.com.tw/ 國家交響樂團 National Symphony Orchestra 100 臺北市中山南路 21-1 號 TEL:+886-2-3393-9888 FAX:+886-2-3393-9669 http://npac-nso.org

2016 年 7 月出版 本團保留演出異動權 All details are correct at the time of printing. NSO reserves the rights to further changes. 本書曲目寫法依據 David Daniels: Orchestral Music, 4th edition



國家交響樂團 2016/17樂季手冊