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國家 交響樂團

2015 2016 SEASON

樂季 手冊


4 6 12 18 24 26 38 40 44

音樂總監前言 Music Director's Foreword

50 52 54 58 62 66 73 74 80

樂季音樂會 Season Concerts

樂季總表 Season Calendar 音樂總監 呂紹嘉 Music Director Shao-Chia Lü 桂冠指揮 赫比希 Conductor Laureate Günther Herbig 駐團指揮 張尹芳 Resident Conductor Yin-Fang Chang 認識NSO About Taiwan Philharmonic (NSO)

NSO音樂學苑 NSO Orchestra Academy 駐團音樂家 黃若 Artist-in-Residence HUANG Ruo 駐團音樂家 白建宇 Artist-in-Residence Kun Woo Paik

豐富美妙的奇幻天地—令人著迷的「早期浪漫」/焦元溥

Early Romanticism in Music

by Daniel Jaffé

「世紀之子」的告白—白遼士的交響曲、歌劇與藝術歌曲/陳漢金 聲情色狀/顏華容 流浪、悲劇與靈魂的淨滌/車炎江 「政治」成就的交響巨作/焦元溥

The Genius of Berlioz

by Robert Markow

「傳統」—寶藏? 負擔?/焦元溥

82

A Guide to Jörg Widmann's Music

84 87

NSO會客室 NSO Chatroom

90

Verdi's OTELLO

92 102 125 126 130

by Tom Service

從莎劇到歌劇—威爾第的奧泰羅/金慶雲 by Hugo Shirley

演奏廳系列 Lecture & Chamber Concerts 認識客席音樂家 Meet the Guest Artists 票價席次圖 Tickets and Seating Information

NSO樂季套票 NSO Subscription Tickets NSO錄音產品 Discography of the Taiwan Philharmonic (NSO)


音樂總監前言

探訪「浪漫」的源頭

在多年探索十九、二十世紀交接之管絃樂鉅作後,2015/16樂季的NSO,將回到「浪漫」的源 頭,密集的帶給大家多首白遼士、舒伯特、韋伯、孟德爾頌、李斯特、舒曼、布拉姆斯、聖桑 等人的名作。這些十九世紀前半的經典音樂,各以其獨特的方式,傳承、發揚或挑戰貝多芬所 立下之交響樂標竿,兼具古典均衡之美,個人主義抬頭的浪漫芬芳,及指向現代的蓄勢待發, 像是初春蓓蕾綻放,正待爭奇鬥艷的美麗花朵。 我們也不忘持續帶領樂友深度鑽研相對未知之音樂領域。在「樂季精選」系列的四場專題《火 之詩》、《馬勒第六》、《浪漫白遼士》、《雙面魏德曼》裏,我們將以斯克里亞賓、斯特拉 溫斯基、馬勒、荀貝格、整場的白遼士、辛德密特、及德國新一代當紅作曲家約格‧魏德曼的 精彩作品,帶給大家不斷的驚奇與悸動。 非常難得的是,由四位在國際上碩果僅存的指揮大師―格納迪.羅許德茲特溫斯基、根特‧赫 比希、尼姆‧賈維、內維爾‧馬利納爵士所組成的「巨擘系列」。相信以他們千錘百煉的藝術 修鍊及人生智慧,必能帶領NSO締造出令您難以忘懷的深刻感動。 另外,多首蕭斯塔科維契、拉赫瑪尼諾夫、柴科夫斯基、理查.史特勞斯、莫札特、布瑞頓的 傑作,霍爾斯特的《行星》組曲……等,更豐富且多元化了整年的節目。最後,樂季的壓軸, 是結合國內外最佳歌唱家,在音樂廳以semi-stage方式呈現的威爾第歌劇鉅構《奧泰羅》。 如往年一般,多位一流的國內外音樂家將與NSO攜手在舞台上激發出最燦爛的光芒。特別要一 提的是,韓國鋼琴大師白建宇,及近年極受矚目的華人作曲家黃若將在此樂季擔任NSO的駐團 音樂家。我深深相信,透過與偉大傑出藝術靈魂的近距離密切交流,必能讓NSO走得更高、更 遠,也帶給愛樂大眾更豐富的心靈宴饗。

NSO在演奏廳的系列活動:焦點講座、探索頻道、室內樂集、媽媽說故事……等,提供大家在 大廳音樂會外,最佳的另類音樂場域,多年來已在愛樂者中建立口碑。我們希望藉由各式各樣 的途徑與方式,讓音樂成為大家生活裏不可或缺的一部份。 深切期盼與大家一起擁有個感動滿滿的新樂季!

音樂總監


Music Director's Foreword

Following its extensive exploration of fin-de-siècle orchestral music over past seasons, the NSO, in its 2015/16 season, will now lead its audience to the origins of Romanticism, presenting renowned works by Berlioz, Schubert, Weber, Mendelssohn, Liszt, Schumann, Brahms, and Saint-Saëns. These masterpieces, most of which come from the early and mid-19th century, continue, transcend, and sometimes challenge the norms of the symphonic music established by Beethoven. With the symmetric beauty of the Classical era, the individualism much valued in the Romantic era, and the avant garde spirit that foresees Modernism in a distant future, these works bloom like flowers of early spring, each with its unique fragrance and color, competing for attention. We will also explore various brilliant compositions less frequently performed. Our “NSO Classics” series focuses on four events this season: “Fireworks from Russia,” “Mahler’s Sensational Sixth,” “A Berlioz Bash,” and “The Dual Faces of Jörg Widmann.” The programmes include works by Scriabin, Stravinsky, Mahler, Schoenberg, Berlioz, Hindemith, and Jörg Widmann, a highly acclaimed contemporary German composer. These events will introduce you to powerful surprises and artistic stimulation. Four exceptional maestros-Gennady Rozhdestvensky, Günther Herbig, Neeme Järvi, and Sir Neville Marriner -will grace our season with their presence in “The Great Maestros” series. Led by these well-seasoned hands and guided by their wisdom and experience, the NSO is certain to deliver performances that exceed all expectations. Our season program also includes masterworks of Shostakovich, Rachmaninoff, Tchaikovsky, R. Strauss, Mozart, Britten, and Holst, and concludes with Verdi’s opera Otello in concert form, which features domestic as well as an international cast and artists. As in our past seasons, the NSO will collaborate with many outstanding guest artists from home and abroad. Of special interest are our artists-in-residence, Korean-French piano virtuoso Kun Woo Paik and Chinese-American composer Huang Ruo. I truly believe that through working closely with these brilliant minds, the NSO will reap the fruit of our work together and bring profound listening experiences to our audience. In addition to our concerts at the National Concert Hall, the NSO presents several recital series at the National Recital Hall, which open abundant access for classical music lovers. These series (“What is Composition? Lecture Concerts,” “NSO Music Discovery, Lecture Concerts” and “NSO Chamber Concerts”) are designed to introduce classical music to the audiences of every generation and various background, and have earned deep appreciation from music lovers over the years. Our effort is to reach out in every way to make music an indispensable part of everyday life. We look forward to a new season of inspiring and heartwarming musical experiences with you!

Music Director


樂季總表 Season Calendar

09|2015 24 25

樂活天成 幸福人生 開季音樂會 I Season Opening Concerts I

呂紹嘉 嚴俊傑與NSO@中壢 19th Century Treasures 呂紹嘉 嚴俊傑與NSO@高雄 19th Century Treasures 指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 鋼琴/嚴俊傑 CHUN-CHIEH YEN, piano

..........................................................................................................................................................................................................................................................................056

10|2015 2

開季音樂會 II Season Opening Concert II

偉大 A GREAT Symphony

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 管風琴/克利斯汀.舒密特 CHRISTIAN SCHMITT, organ

..........................................................................................................................................................................................................................................................................056

4

NSO探索頻道 I NSO Music Discovery

Lecture Concerts I

黃若的異響世界 The Musical World of Huang Ruo 主講、演唱/黃若 與談人/顏名秀 女高音/林孟君 次女高音/范婷玉 琵琶/王乙曲 小提琴/曾智弘 王致翔 中提琴/呂昭瑩 大提琴/唐鶯綺 長笛/宮崎千佳 單簧管/朱玫玲 低音管/簡恩義 打擊/陳廷銓 鋼琴/許毓婷

..........................................................................................................................................................................................................................................................................093

11

安寧與NSO鋼琴協奏曲之夜 NING AN & NSO An Evening of Piano Concertos 指揮/陳美安 MEI-ANN CHEN, conductor 鋼琴/安 寧 NING AN, piano

(非主辦節目) .........................................................................................................................................................................................................................................................................139

17

幻想.交響 A FANTASTIC Symphony

指揮/賈克.拉孔 JACQUES LACOMBE, conductor 鋼琴/陳毓襄 GWHYNETH CHEN, piano

..........................................................................................................................................................................................................................................................................056

30

11|2015

巡演 Tour

1 3 5 7 13

浪漫.奔騰 Greater China Tour

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 鋼琴/嚴俊傑 CHUN-CHIEH YEN, piano(廈門、香港、昆山 Xiamen, Hong Kong, Kunshan ) 小提琴/林昭亮 CHO-LIANG LIN, violin(上海、北京 Shanghai, Beijing) 小提琴/曾宇謙 YU-CHIEN TSENG, violin(臺中 Taichung)

..........................................................................................................................................................................................................................................................................060


14

焦點講座 I

is Composition? What Lecture Concerts I

蕭邦:永恆的鋼琴詩人

Chopin: Eternal Poet of the Piano

主講/焦元溥 女高音/林玲慧 小提琴/陳偉泓 大提琴/黃日昇 鋼琴/黃時為

..........................................................................................................................................................................................................................................................................093

18 20

巨擘系列 I The Great Maestro I

馬利納爵士與NSO Sir Neville Marriner & NSO 馬利納爵士與NSO Sir Neville Marriner & NSO 2015新營藝術季—齊聚藝堂

指揮/內維爾.馬利納爵士 SIR NEVILLE MARRINER, conductor 大提琴/田博年 BONIAN TIAN, cello

..........................................................................................................................................................................................................................................................................060

29

樂季精選 I NSO Classics I

白建宇& NSO ― 火之詩 Fireworks From Russia 指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 鋼琴/白建宇 KUN WOO PAIK, piano 國立實驗合唱團 TAIWAN NATIONAL CHOIR

..........................................................................................................................................................................................................................................................................062

12|2015 以利亞 Elias - A Glorious Oratorio

5

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 以利亞(男中音)/麥可.庫佛 - 拉德奇 MICHAEL KUPFER-RADECKY, Elias (baritone) 女高音/林慈音 GRACE LIN, soprano 次女高音/翁若珮 JO-PEI WENG, mezzo soprano 次女高音/范婷玉 TING-YU FAN, mezzo soprano 男高音/湯發凱 FA-KAI TANG, tenor 臺北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS 合唱指導/古育仲 YU-CHUNG JOHN KU, chorus master

..........................................................................................................................................................................................................................................................................064

12

室內樂系列 Ⅰ Chamber ConcertsⅠ

樂來.樂想 2015 From Mozart to Brahms 小提琴/鄧皓敦、陳偉泓 中提琴/陳猶白 大提琴/黃日昇 單簧管/朱玫玲

..........................................................................................................................................................................................................................................................................099

17

巨擘系列 II The Great Maestro II

赫比希與NSO Mo. Herbig & NSO

指揮/根特‧赫比希 GÜNTHER HERBIG, conductor

..........................................................................................................................................................................................................................................................................064


19

媽媽說故事 Dear Little Ones

史特勞斯們 Strauss vs. Strauss 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 低音提琴/蘇億容 單簧管/張凱婷 低音管/陳奕秀 法國號/劉宜欣

.........................................................................................................................................................................................................................................................................100

24

赫比希的耶誕祝福 Two FOURTHs

指揮/根特.赫比希 GÜNTHER HERBIG, conductor

.........................................................................................................................................................................................................................................................................064

31

01|2016 1

跨新年音樂會 NSO 2016 New Year Concert

仲夏夜之夢 Midsummer Magic in Winter 指揮/張尹芳 YIN-FANG CHANG, conductor 劇本改編/焦元溥 YUAN-PU CHIAO, script adaptation 戲劇統籌/石佩玉 PEI-YU SHIH, visual director 朗讀/張艾嘉 SYLVIA CHANG, narrator 女高音/林慈音 GRACE LIN, soprano 指揮/張尹芳 YIN-FANG CHANG, conductor 次女高音/翁若珮 WENG, mezzo soprano 劇本改編/焦元溥 JO-PEI YUAN-PU CHIAO, script adaptation 東吳大學音樂系合唱團 SCU DEPARTMENT 戲劇統籌/石佩玉 PEI-YU SHIH, visual directorOF MUSIC CHORAL 合唱指導/林舉嫻 CHU-HSIEN LIN, chorus master 朗讀/張艾嘉 SYLVIA CHANG, narrator 語韻指導/郎祖筠 TSU-YUN 女高音/林慈音 GRACE LIN, LANG, sopranodiction coach 飛人集社劇團 FLYING 女中音/翁若珮 JO-PEIGROUP WENG,THEATRE alto

仲夏夜之夢 Midsummer Magic in Winter

.......................................................................................................................................................................................................................................................................065

10

焦點講座 II

What is Composition?

Lecture Concerts II

樂讀普魯斯特 Musical Proust 主講/焦元溥 女高音/林孟君 小提琴/曾智弘 長笛/宮崎千佳 鋼琴/許惠品

.........................................................................................................................................................................................................................................................................094

02|2016 25

琴(情)挑俄羅斯 Pyotr v.s. Dmitri

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 小提琴/瓦列里.索柯洛夫 VALERIY SOKOLOV, violin

.........................................................................................................................................................................................................................................................................065

03|2016 4

樂季精選 II NSO Classics II

馬勒第六 Mahler's Sensational Sixth

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 朗讀/蔡柏璋 PAO-CHANG TSAI, narrator 拉縴人男聲合唱團 TAIPEI MALE CHOIR 語韻指導/魏樂富 ROLF-PETER WILLE, German diction coach

.........................................................................................................................................................................................................................................................................066


5

NSO探索頻道 II

NSO Music Discovery

Lecture Concerts II

春天裡的花朵與愛情

Blossoms and Love in Springtime 主講/車炎江 女高音/羅明芳 男高音/洪宜德 鋼琴/王佩瑤

.........................................................................................................................................................................................................................................................................094

12

NSO探索頻道 III NSO Music Discovery

Lecture Concerts III

「有言」與「無言」之歌

Lieder mit und ohne Worte

主講/葉綠娜 鋼琴、朗誦/魏樂富 鋼琴/嚴俊傑、廖皎含 女高音/林孟君

.........................................................................................................................................................................................................................................................................095

27

查拉圖斯特拉如是說 Musical Philosophy 指揮/余隆 LONG YU, conductor 大提琴/王健 JIAN WANG, cello 歌者/黃若 HUANG RUO, vocal

.........................................................................................................................................................................................................................................................................068

04|2016 1 2

NSO & 信誼

永遠的童話

NSO & Hsin-Yi Forever Tales

神奇的玩具屋 The Fantastic Toy Shop

指揮/張尹芳 YIN-FANG CHANG, conductor 說書人/龔鈺祺 YU-CHI KUNG, narrator 無獨有偶工作室劇團 THE PUPPET & ITS DOUBLE THEATER

.........................................................................................................................................................................................................................................................................068

9

春天號角 Blast of Spring

指揮/克里斯蒂安.阿閔 CHRISTIAN ARMING, conductor 法國號/拉德克.巴伯羅柯 RADEK BABORÁK, horn

.........................................................................................................................................................................................................................................................................070

10

NSO探索頻道 IV

NSO Music Discovery

Lecture Concerts IV

在音樂裡見到了光 Music and the Divine 主講/顏名秀 女高音/林孟君 大提琴/黃日昇 鋼琴/盧易之、許毓婷

.........................................................................................................................................................................................................................................................................095

15

室內樂系列 Ⅱ Chamber Concerts Ⅱ

華麗木管-首席之聲 The Sound of the Principals 小提琴/李宜錦 中提琴/黃瑞儀 大提琴/連亦先 低音提琴/蘇億容

長笛/安德石 雙簧管/王怡靜 單簧管/朱玫玲 低音管/簡凱玉 法國號/劉宜欣

.........................................................................................................................................................................................................................................................................099

22

巨擘系列 III The Great Maestro III

賈維與NSO Mo. Järvi & NSO

指揮/尼姆.賈維 NEEME JÄRVI, conductor

.........................................................................................................................................................................................................................................................................070


29

爵士.交響 Shostakovich, his Humor and Seriousness 指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 小號/萊因霍爾德.弗里德里希 REINHOLD FRIEDRICH, trumpet

.........................................................................................................................................................................................................................................................................072

05|2016 1

焦點講座 III

What is Composition?

Lecture Concerts III

浪漫主義的火焰:白遼士的人生與音樂

The Flame of Romanticism: The Life and Music of Berlioz 主講/焦元溥 女中音/范婷玉 男高音/湯發凱 中提琴/呂昭瑩 長笛/安德石、宮崎千佳 鋼琴/許毓婷 豎琴/解瑄

.........................................................................................................................................................................................................................................................................096

6

樂季精選 III NSO Classics III

浪漫白遼士 A Berlioz Bash

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 次女高音/伊莉莎白.詹森 ELISABETH JANSSON, mezzo soprano

.........................................................................................................................................................................................................................................................................074

14

白建宇 & NSO ― 琴.鍵.交響 Kun Woo Paik & NSO - An Evening of Symphonic Blast 指揮/里科.斯卡尼 RICO SACCANI, conductor 鋼琴/白建宇 KUN WOO PAIK, piano 管風琴/陳相瑜 HSIANG-YU CHEN, organ

.........................................................................................................................................................................................................................................................................077

20

白建宇 & NSO ―五重奏 Kun Woo Paik & Friends 鋼琴/白建宇 KUN WOO PAIK, piano NSO獨奏家群 NSO MUSICIANS 小提琴/李宜錦、鄧皓敦、陳偉泓 中提琴/黃瑞儀、陳猶白 大提琴/連亦先、黃日昇 低音提琴/蘇億容

.........................................................................................................................................................................................................................................................................078

22

室內樂系列 III Chamber Concerts III

發現義大利 Excavating Italy

男高音/湯發凱 小提琴/洪章文、蔡孟峰 中提琴/蔡秉璋 大提琴/陳怡婷

.........................................................................................................................................................................................................................................................................100

27 28

第二號 Two Great SECONDs

指揮/亞利安.普拉巴伐 ADRIAN PRABAVA, conductor 鋼琴/史帝芬.賀夫 STEPHEN HOUGH, piano

.........................................................................................................................................................................................................................................................................078


06|2016 4

焦點講座 IV

What is Composition?

Lecture Concerts IV

樂讀普希金 Musical Pushkin 主講/焦元溥 女高音/林慈音 男低音/羅俊穎 小提琴/李宜錦 鋼琴/許惠品

.........................................................................................................................................................................................................................................................................096

5

樂季精選 IV NSO Classics IV

雙面魏德曼 The Dual Faces of Jörg Widmann 指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 單簧管/約格.魏德曼 JÖRG WIDMANN, clarinet

.........................................................................................................................................................................................................................................................................080

12

行星組曲 The Planets

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 鋼琴/劉孟捷 MENG-CHIEH LIU, piano 小號/宇新樂 NICOLAS RUSILLON, trumpet 國立實驗合唱團 TAIWAN NATIONAL CHOIR

.........................................................................................................................................................................................................................................................................084

18

巨擘系列 IV The Great Maestro IV

羅許德茲特溫斯基與NSO A Royal Musical Couple ! 指揮/格納迪.羅許德茲特溫斯基 GENNADY ROZHDESTVENSKY, conductor 鋼琴/維多利亞.波絲特妮柯娃 VIKTORIA POSTNIKOVA, piano

.........................................................................................................................................................................................................................................................................084

07|2016 8 10

歌劇音樂會

Opera-in-Concert

奧泰羅 Verdi's OTELLO

指揮/呂紹嘉 SHAO-CHIA LÜ, conductor 戲劇統籌/瑪莉.柏恩鮑姆 MARY BIRNBAUM, stage director 奧泰羅/麥可.雷赫斯基 MICHAL LEHOTSKY, Otello 黛絲德莫娜/希莉亞.科絲提雅CELLIA COSTEA, Desdemona 亞果/鮑里斯.史坦森柯 BORIS STATSENKO, Iago 洛杜維可/羅俊穎 JULIAN LO, Lodovico 卡西歐/王 典 FERNANDO WANG, Cassio 蒙塔諾/葉展毓 CHAN-YU YEH, Montano 愛蜜莉亞/范婷玉 TING-YU FAN, Emilia 羅德利果/湯發凱 FA-KAI TANG, Roderigo 聲樂指導/任美芽 MIAH IM, vocal coach 臺北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS 合唱指導/古育仲 YU-CHUNG JOHN KU, chorus master

.........................................................................................................................................................................................................................................................................087


NSO 2015/2016

音樂總監 呂紹嘉


12

13

呂紹嘉「水到渠成」 的意外 林采韻(資深樂評人)

在音樂總監呂紹嘉帶領下,國家交響樂團( NSO )

中。在建中的日子裡,他擔綱學校合唱團的伴奏,技藝

2013年完成創團以來最大規模的國際巡演。當時呂紹

高超的名聲,也伴隨他考取臺灣大學心理系,傳進臺大

嘉站在柏林愛樂廳的舞臺上,對團員清楚表達他的想

合唱團員耳中。有回一位拉小提琴的朋友邀請呂紹嘉伴

法,「我們來到西方觀眾面前,並非要求獲得肯定,

奏,時任臺北市立交響樂團團長的指揮家陳秋盛聽了他

重要的是展現自信。」

們的排練,直接詢問呂紹嘉對指揮有沒有興趣,也開啟 了呂紹嘉通往指揮的學習大門。呂紹嘉至今仍感念陳秋

「自信」不只是呂紹嘉鼓勵團員的說法,而是出自一

盛在他彈琴的過程中發掘其指揮潛能。

種信念。他深信,古典音樂發展數百年至今,已是全 世界共享的文化資產;尤其偉大作品的精神,往往符

大學四年期間,呂紹嘉對音樂的渴望愈趨強烈,畢業

合普世價值,而非專屬於特定民族或國家。對於古典

後決定轉攻音樂,以鋼琴主修一口氣考取曼哈頓音樂

音樂的詮釋,西方樂團雖享有相對優勢,但沒有絕對

學院、伊斯曼音樂學院等學府,後來選擇當地擁有七

優勢,亞洲樂團一分耕耘也有一分收獲,甚至可就本

個大小樂團的印第安那州立大學深造。一年後,他體

身文化底蘊展現一家之言。

認到學習指揮之前,必需有實務經驗作為基礎,才能 事半功倍。他先是回臺,擔任陳秋盛在北市交的助理

在歐洲闖蕩二十年,呂紹嘉的親身經歷,就是上述信

指揮;1987年五月,27歲的他指揮北市交演出生平第

念的具體見證。身為一位來自亞洲小國的華人指揮,

一齣歌劇―威爾第《弄臣》,同年八月赴維也納音樂

呂紹嘉先後囊獲法國貝桑松、義大利佩卓地、荷蘭孔

學院進修,隔年奪下法國貝桑松指揮大賽首獎,為指

德拉辛三大指揮大賽首獎,隨後出任柏林喜歌劇院首

揮生涯奠定根基。

席駐團指揮、德國萊茵愛樂暨科布倫茲市立歌劇院音 樂總監,進而於2001至2006年擔綱德國一級城市漢諾

隨後呂紹嘉更於1991年獲得義大利佩卓地指揮大賽第一

威歌劇院的音樂總監。放眼兩岸三地,至今還沒有一

名,1994年再下一城,囊獲荷蘭孔德拉辛指揮大賽冠

位華人指揮能夠超越呂紹嘉所寫的生涯紀錄。

軍,同年十月頂替因病不適取消臺灣行的指揮大師傑利 畢達克,在台北國家音樂廳,指揮慕尼黑愛樂演出布魯

回顧呂紹嘉的發跡過程,乍看是生命中的意外,卻是

克納第八號交響曲。次年並出任柏林喜歌劇院首席駐團

「水到渠成」的結果。1960年,呂紹嘉出生竹東,在五

指揮,自此開展了他在歐洲亮麗的指揮生涯。

個孩子中排行老四,五歲開始跟著兄姐到鋼琴老師家報 到,結果嶄露音樂天分,多次在音樂比賽中獲獎。

2010年,呂紹嘉出任NSO音樂總監,可說載譽歸國。 呂紹嘉堅信,一個樂團要卓然出眾,不單靠指揮,團

個性專注的呂紹嘉,高中聯考一舉考上第一志願建國高

體合作重於一切。因此他賦予自己的角色,不是拿著


NSO 2015/2016

指揮棒威風凜凜指使他人的統帥,而是誘導團員發揮

到三十年,還很年輕,優勢在於反應快、可塑性強,

潛力的伯樂,一個開啟觀眾古典音樂之門的引路人。

但往往求好心切而導致心浮氣躁。「如果過去的追求 在於演奏了什麼曲目,現在要問演奏得如何?」

從接掌那刻起,呂紹嘉對樂團的期許和對自我的要 求,充分表露在「精緻‧深刻‧悸動」六個字當中。

呂紹嘉認為 NSO 在歷任音樂總監的帶領下,已累積

這三句印製在NSO所有文宣、看似口號的標語,卻是

可觀曲目,下一階段是步入重量也重質的成熟期。為

呂紹嘉深思熟慮後寫下的文字。「精緻」代表每場音

了挖掘團員潛能,呂紹嘉走進排練室之前,從不預設

樂會有特定主題,曲目安排具有思維邏輯;「深刻」

團員的極限。他總是以鼓勵的方式帶領演奏家,以溝

期許樂團每場演出全力以赴、精益求精;「悸動」力

通、循循善誘,打通樂團任督二脈。到了正式演出

求與樂團同心協力,打造感動觀眾的音符。

時,他充分信任而放手讓團員盡情發揮。他不但相信 團員可以完成使命,甚至期待出乎意料的回饋。

如何將理想落實在舞臺演出,呂紹嘉也有獨到的見 解。相較於歐洲樂團動輒百年歷史,NSO成立至今不

從上任第一個樂季開始,呂紹嘉大膽出招,給樂團行


14

「除了好聽的音樂, 也必需提供應該被聆聽的好音樂。」

銷人員上了一堂震撼教育。除了傳統經典曲目,他安 排荀貝格、魏本、貝爾格、梅湘、舒尼特克、李格替

MEET

MAESTRO LÜ 呂紹嘉時間 2015/7/8 Wed. 19:30

等長期被類歸為票房毒藥的現代樂曲。呂紹嘉堅信,

新樂季巡禮-沙龍音樂會

觀眾是樂團服務的對象,也是樂團存在的基礎。呂紹

Salon Concert for the

嘉渴望觀眾被音樂感動,但從不選擇討好觀眾。他認 為古典音樂具有廣闊浩瀚的領域,指揮有責任帶領觀 眾探索新的世界,「除了給他們好聽的音樂,也必需 提供他們應該聆聽的好音樂。」 不過,在率領觀眾通往現代之門的道路上,演出單位 必需提供足夠的專業與背景知識,才能引導觀眾正確 「解碼」。呂紹嘉個性內向,不習慣上台說話,但為 了引導觀眾,他一次又一次破例舉辦公開講座。他的 辛苦獲得回報,觀眾不但沒有被嚇跑,還吸引了一批 忠實的嘗鮮者。 呂紹嘉在舞台上散發出來的魅力,源自一種對藝術的 執著與追尋。他相信古典音樂是細火慢燉的精緻藝

15

2015/2016 season

主講:呂紹嘉 與談人:焦元溥 鋼琴:葉孟儒、嚴俊傑 聲樂:林慈音、林孟君、柯- 強.杜塞吉、湯發凱 NSO獨奏家群:李宜錦、鄧皓敦 陳猶白、黃日昇

SHAO-CHIA LÜ, lecturer YUAN-PU CHIAO, moderator ANDREI YEH / CHUN-CHIEH YEH, piano GRACE LIN / MENG-CHUN LIN / KOR-JAN DUSSELJEE / FA-KAI TANG, vocal NSO Musicians: I-CHING LI / HAO-TUN TENG, violin JUBEL CHEN, viola JIH-SHENG HUANG, cello

術,表現在瞬間即逝的燦爛火花。指揮台上的他,總 是沉著冷靜,透過優雅的肢體動作,引領樂團展現潛 藏許久的爆發力。在強大的火花推動下,NSO能夠在 宏大的樂曲架構中,舉重若輕,以輕盈的身手處理細

地點:國家戲劇院一樓大廳(請由國家戲劇院G樓1號門入口進場)

Venue: Lobby of the National Theater

※免費入場 Free admission(限200席,額滿為止)

節,又能兼顧雄偉厚實的合奏,讓旋律澎湃流動,營 造出非凡的管絃效果,蘊含深刻細膩的詮釋。 呂紹嘉曾經這樣形容他的樂團特色:反應快、吸收力 強、年輕有活力、曲目多元化;西方經典作品交由

NSO 處理,演奏出來的結果,就是一種特色一抹風 景。如果說,指揮的態度決定了樂團的高度,呂紹嘉 已訂下他和樂團共同追求的目標,「好的音樂是在嚴

2016/6/19 Sun. 14:00

樂季壓軸 歌劇音樂會《奧泰羅》 Verdi's OTELLO

謹的訓練後所呈現出來自由的境界,那是一種基於彼

主講:呂紹嘉

此互信的無為而治、無拘無束。我們窮盡心力,就為

SHAO-CHIA LÜ, lecturer

追求此境界的實現。」

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)

Venue: NSO Rehearsal Studio at the National Concert Hall ※憑2016/7/8, 10《奧泰羅》票券進場,限150席,額滿為止。

(Open to ticket holders of NSO Opera OTELLO)

Lecture in Mandarin


NSO 2015/2016

SHAO-CHIA LÜ Music Director


16

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"The conductor Shao-Chia Lü is a master of nuance."—Süddeutsche Zeitung, Germany "Under Lü, (NSO) made the fin-de-siècle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss' (Elektra's) luscious orchestration." —OPERA, UK

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, Pedrotti and Kondrashin. In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Australian Opera Sydney and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, ShaoChia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre. Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der fliegende Holländer, Wozzeck, Der Rosenkavalier, Elektra and Salome.... In the summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü's recent opera engagements include: Parsifal, Katja Kabanowa and Tosca in Goteborg, Sweden, La fanciulla del West in Stuttgart, Eugene Onegin at the

Komische Oper Berlin, Madama Butterfly, Tosca and La Bohème in Sydney and Melbourne. Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Münchner Philharmoniker by replacing Sergiu Celibidache at the last moment for two unchanged programms (including Bruckner's Symphony No. 8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Münchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia in Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam. In Asia, Shao-Chia Lü has worked with the NHK Symphony Orchestra, New Japan Philharmonic, Tokyo Metropolitan Orchestra, Seoul Philharmonic, Hong Kong Philharmonic, Shanghai Symphony Orchestra and the China Philharmonic, among others. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010. Since September 2014, he also has been appointed as Chief Conductor of the South Denmark Philharmonic in Sonderborg, Denmark.


NSO 2015/2016

桂冠指揮 根特.赫比希


18

一列開往 列寧格勒的火車, 改變了未來……

19

焦元溥(倫敦國王學院音樂學博士)

NSO桂冠指揮根特.赫比希(Günther Herbig, b. 1931-)近年 來每年皆和愛樂者有約,帶來一場又一場精彩演出。此次 在音樂會後的空檔訪問大師,請他談談音樂、學習、人生

焦:您之後也當過劇院總監。

以及和NSO的合作。

是我第一個完全自主的職位。我指揮了非常多歌劇和

赫:是的。我後來成為波茲坦劇院的音樂總監,那也 音樂會,但當時德國的制度是歌劇院有很大量的曲 目,年復一年不斷演出,很多時候沒有時間排練就得

焦元溥(以下簡稱「焦」):可否請談談您的早期音 樂學習?

上場,演出品質自然愈來愈低。正當我對劇院生活感 到厭煩,我接到來自柏林交響樂團的電話,說兩週後 預定登台的指揮家突然過世,問我能否代打。那場音

赫比希(以下簡稱「赫」):我大概八歲的時候開始 學習樂器,而且是鋼琴、長笛、大提琴同時學。這並

樂會曲目很特別,包括一首東德作曲家作品的柏林首 演,以及尼爾森( Carl Nielsen, 1865-1931 )第五號交

非因為我是神童,而是我總是對音樂很好奇,所以凡

響曲。我完全不知道這些作品,但還是勇敢說了「可

是能夠接觸的樂器都想拿來學學……到了十五歲我就

以」。結果兩週後我全場背譜指揮,音樂會也得到很

清楚知道,我以後想當指揮家。我在威瑪李斯特音樂

大的好評。樂團於是先讓我指揮一週,包括樂季音樂

院待了十年,學到很多,而且還遇見我太太……在德

會、青年音樂會以及在大學舉辦的室內音樂會。我

國的指揮訓練是以歌劇指揮為主,而鋼琴是指揮的必

想這是個考驗,看看我能否在一週內指揮三套不同

備技能,必須有快速視譜、伴奏、配唱的能力,還要

曲目。當時柏林交響樂團的音樂總監是桑德林( Kurt

懂管絃樂團的各個家族,所以我學了兩年的法國號、

Sanderling, 1912-2011),後來他就任用我當副指揮,之

打擊樂與定音鼓和長笛,並學一年聲樂,這樣才能充

後我更繼任成為總監。不過我後來才知道,這些試驗

分了解歌者的呼吸與需求。當然像作曲、分析、管絃

其實只是為了再度確認我的能力罷了。

樂法、指揮法等等,自然也是必修。總之這是非常嚴 格且充實的課程,而在學習五年之後,我從威瑪附近 的小鎮開始我的指揮生涯,不久又回到威瑪擔任威 瑪國立劇院(Deutsche Nationaltheater and Staatskapelle

Weimar)的樂長(Kapellmeister)。

焦:這是什麼意思呢? 赫:因為在此前一年,我參加了老楊頌斯( Ar vd s

Jansons, 1914-1984),也就是今日鼎鼎大名的楊頌斯 (Mariss Jansons, b. 1943-)的父親,在柏林的指揮大師 班。桑德林有次在從莫斯科到列寧格勒的火車上和老 楊頌斯聊天,提到他想找副指揮,問老楊頌斯是否可 以推薦人選。結果老楊頌斯就推薦了我—所以我的任


NSO 2015/2016

用,其實是在遙遠的蘇聯火車上,兩位指揮大師談話

速度該如何決定,該如何打拍子,卡拉揚總是說:「你

間決定的!

想要表現什麼樣的音樂呢?這一切都應該以你心目中的 音樂來決定。」思考音樂,再來思考實現音樂的方法, 思考執行的技巧,但永遠先思考音樂。參加卡拉揚指揮

焦:這真是有趣!不過您曾說過,在指揮藝術上影 響您最大的,要屬阿本羅斯(Hermann Abendroth, 1883-1956)和卡拉揚(Herbert von Karajan, 19081989)這兩位曾經教過您的老師,可否談談他們?

大師班那兩年,我真的學到太多太多,得到藝術上的深 刻刺激與啟發,讓我得以建立自己的藝術觀點。很可惜 因為柏林圍牆,我再也無法到西柏林聽課,損失了最後 一年。到現在我都覺得很遺憾呢!

赫: 阿本羅斯是當時東德最著名的指揮,我在音樂院和 他學了三年。而我當威瑪樂團樂長時,則很幸運地獲選 參加卡拉揚為期三年的大師班。我從阿本羅斯身上學到 一名指揮該有的個性與形象,而卡拉揚則非常重視基本 功和技術,也要學生自己思考……每次我們問他,這段

焦:您怎麼看德國的音樂傳統?是否真有德國式的管 絃聲響?


20

21

我追求能夠把聽眾 「帶到另一個世界」的作品

赫:的確有。傳統德國式的聲響總是很厚實甚至厚

奏曲—這是何等了不起的音樂呀!雖然前奏曲到了最

重、速度中庸,但這樣的風格其實還是要回到音樂—

後高潮一段,那種音型又有點平常而不特殊了,但總

布拉姆斯的作品就是最好的例子。德國傳統強調深刻

而言之,這是首偉大的作品。我常想,如果華格納只

而非表面的感受,注重精神、意志與情感的表達,一

寫了《崔斯坦與伊索德》,那他也足以被稱作史上最

切都要求本質而非花邊……而就情感表現而言,德國

最偉大的作曲家之一。

傳統和俄國傳統倒是接近,法國就是另一個世界。德 國音樂裡鮮少出現法國作品中的「輕」,情感和聲響 都是。比較一下布拉姆斯和拉威爾的協奏曲,我想大 家就很能理解了。

焦:您和 NSO合作七年了,可否談談這個樂團和您的感想? 赫:我非常開心,而且愈來愈開心。NSO不只演奏水 準很高,更重要的是這幾年來不斷進步,每一年我都

焦:對第二維也納樂派,您的觀點如何?您還錄製了 不少荀貝格與魏本的作品。

可以發現他們的成長。這表示樂團有努力向上的心, 加上有好的音樂總監訓練。不是每個樂團都能像NSO 現在這樣,我希望他們保持對音樂以及對進步的堅

赫:包括荀貝格非常非常困難的《管絃樂團變奏 曲》……我年輕的時候極為喜愛第二維也納樂派,非 常熱情地擁抱這些音樂。不過隨著年紀漸長,我的熱 情就有點退燒了。對於第二維也納樂派這三家,我到 現在仍然喜愛魏本。你聽他的《六首管絃樂作品》, 那麼短的篇幅,幾個音出現而已,就把你帶到另一個 世界。這真是不可思議!

焦:您似乎特別喜愛那種能夠把聽眾「帶到另一個世 界」的作品,也追求這樣的美學與表現。 赫:這是藝術作品最偉大的地方啊!要達到這樣的境 界,也的確困難,因為作品必須能和自己的時代溝 通,又要有超越時代的前衛性,還要在情感上能夠撼 動聽眾。比方說華格納《崔斯坦與伊索德》第一幕前

持,繼續努力下去。 節錄自《典藏投資》雜誌,2014年七月號與八月號


NSO 2015/2016

GÜNTHER HERBIG Conductor Laureate


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

Günther Herbig divides his activities today between Europe, North America and the Far East. His conducting career has been equally distinguished on three continents. Herbig's musical training took place in Central Europe where he studied with Herman Abendroth, Herbert von Karajan and Hermann Scherchen. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Konzerthaus Orchester Berlin from 1977 to 1983. In Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979 and was soon invited to conduct such major ensembles as the Philharmonia Orchestra London, the London Symphony, the Royal Philharmonic London, the Orchestre de Paris, the Orchestre de la Swiss Romande in Geneva, the Residentie Orkest in The Hague and the Israel Philharmonic. In 1984 Herbig moved to the United States and served for ten years as Music Director of the Detroit and later of the

Toronto Symphony Orchestra. He has since conducted the orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco and Los Angeles among numerous others. He has toured the US several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on an European tour. 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Singapore, Taiwan and Japan. Herbig has recorded more than 120 works, including cycles of Haydn and Brahms symphonies. His releases include Beethoven's Symphony Nos. 3 and 5, Schubert's Nos. 8 and 9, Brahms' No. 1, Mahler's No. 5 and Strauss' Ein Heldenleben with the BBC Philharmonic and the Royal Philharmonic London. As Chief Conductor of the Deutsche Radio Philharmonie, he recorded between 2001 and 2006 several Symphonies of Bruckner and Shostakovich. He has been the conductor laureate of the Taiwan Philharmonic since 2010.


NSO 2015/2016

駐團指揮 張尹芳

YIN-FANG CHANG Resident Conductor


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「真正的掌聲應該給指揮張尹芳。她帶領10位團員優雅地完成了一場稱得上是音樂 風格的障礙接力賽。…… 團員們順利通過急轉的樂風,從爵士到百老匯到史特拉汶 斯基式的配樂,卻一點也沒有拖累戲劇性的主線。」— 《金融時報》

"The real applause, though, goes to conductor Chang Yin-Fang, 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 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東西方管絃樂團;張尹芳參與規劃、指揮的「NSO 永遠的童話」年度製作與各種大型音樂會演出,均深受好評與肯定。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;兩度受邀指揮臺北市立國樂團《反景入深林―向周文中致敬》音 樂會,其中為多首作品世界首演,獲得台新藝術獎最佳演出節目提名,並出版錄音作品。 張尹芳於2006-2015年擔任國家交響樂團助理指揮,自2015/16樂季起成為NSO駐團指揮。其傑出表現並 可於2012-2015年間擔任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。尹芳指揮啟 蒙於楊仁傑教授,並先後師事徐頌仁及陳秋盛教授,於2004年獲國立臺北藝術大學碩士學位。曾為高雄 市青少年交響樂團與臺大杏林室內樂團指揮。

Yin-Fang Chang is a talented conductor of the younger generation in Taiwan. Starting the 2015/16 season, Yin-Fang becomes the Resident Conductor of the NSO 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. In March 2012, Chang replaced the ailing Gennady Rozhdestvensky on short notice to conduct Shostakovich's Eighth Symphony 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 I & II" concert, 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. 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 Chiu-Sen Chen. After graduation, she appeared as a conductor with the Kaohsiung Youth Orchestra and Hsing-Lin Chamber Orchestra. Since the 2012/13 season, Chang has been the Resident Conductor of the NSO Orchestra Academy, serving as a planner and mentor for the training program.

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NSO 2015/2016

About Taiwan Philharmonic (NSO)

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25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 庭毓也積極致力於教學工作,目前任教於交大研究所、輔大、北藝大以及臺藝大音樂系。

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

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(2014/2015)。 豐富而多元的舞臺經驗,曾與國家交響樂團、台北市立交響樂團、長榮交響樂團、雲門舞集2、高雄市立交響 樂團、臺北市民管樂團、New England Bach Ensemble、New England Conservatory Orchestra合作演出。除樂團演奏 之外,李宜錦亦致力於推廣現代音樂及涉獵各領域演出,受邀發表美國現代作曲家Alan Fletcher、第34屆葛萊 美得主John Corgliano及Johb 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),與雲門舞集2合作【跳Tone】,並在奇美藝術基金會數位典藏計畫中示範演奏名琴,致力 推廣音樂到每個角落。

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 National Symphony Orchestra of Taiwan 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 Compeitition, Massachusetts String Teacher Competition, Heida Hermann International Compeition, and among others. She has premiered the works of Grammy Award Winner John Corgliano, Alan Fletcher, John Harbison, Susan Botti. I-Ching has appeared under the baton of some of the worlds' premier conductors, including Lorin Mazzel, 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.


認識NSO

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NSO 2015/2016

About Taiwan Philharmonic (NSO)


認識NSO

大家的NSO: 側寫 國家交響樂團

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焦元溥(倫敦國王學院音樂學博士)

國家交響樂團(NSO)是臺灣最具代表性的聲音,近

性循環。

年音樂會和歌劇製作都深受好評,更積極拓展演出曲 目並培養聽眾。回顧這幾年來NSO的努力,在曲目規

豐富細膩的NSO之聲

畫、樂團能力與教育計劃等三項,特別可見其卓越成 就,也讓人期待樂團在未來的發展方向。

如此豐富的曲目規畫,其實也反映音樂總監對樂團的 要求。在呂紹嘉的嚴謹訓練,以及桂冠指揮赫比希在

深刻用心的曲目規畫

內的諸多名家帶領下,近年的 NSO 確實展現相當不 同的聲響。不只合奏水準益發卓越,管絃色彩愈見豐

NSO 的曲目規畫,近年來每季都成為臺灣樂界里程 碑。從 2010/11 樂季的維也納後浪漫與第二樂派、 2011/12的斯特拉溫斯基與梅湘到接續的普羅科菲夫與

富,音樂性也更上層樓。樂團的荀貝格《佩利亞與梅 麗桑》就是極其驚人的演出,所發行的現場實況錄

法國作曲家系列、交響里程碑、交響詩等系列,主題

音更忠實呈現 NSO 燦爛且深邃的聲響之美。現在的 NSO ,可以厚實綿延,也可輕盈曼妙,聲響透明而

設計深刻用心且大膽開創,以「重訪、博覽與開拓」

多彩,又能銳利強硬如鑄鐵精鋼。可以精湛詮釋理

的角度,呈現更多元的音樂世界,也屢屢為高難度的

查‧史特勞斯《艾蕾克特拉》、《莎樂美》,也可探

名家經典作臺灣首演,帶領愛樂者前往藝術新境。

索刻畫普契尼《蝴蝶夫人》與華格納《女武神》;德 布西《海》和普羅科菲夫第三號交響曲都有絕佳管絃

除了昔日經典,當代作品的展演也已成為 NSO 引以

表現,布魯克納和拉威爾也有恰如其分的聲響質地。

為豪的強項。近年來樂團有系統地介紹各國當代名

NSO證明沒有傳統也就是沒有包袱,臺灣樂團能夠精

作,每季更委託創作與首演三至四首作品,包括與阿 姆斯特丹皇家大會堂管絃樂團共同委託的譚盾低音提

湛演出各個時代與各種風格的作品。當然對樂團能力 的追求,是沒有止境的努力。NSO這幾年來已經展現

琴協奏曲《狼》、與荷蘭愛樂一同委託的佑斯特《臺

出脫胎換骨的成就,未來也將持續努力,追求更具表

北地平線》,以及洪崇焜的《Vox Naturae》。後者發

現能力的演奏技藝。

表後被「國際作曲家講壇」(International Rostrum of

Composers)評選為(2012)年度十大最佳推薦,更 是臺灣的榮耀。透過精采詮釋和解說,近年來NSO的

誠懇踏實的教育計劃

當代作品與委託創作演出,已成為愛樂者津津樂道的

推出各種不同的音樂作品,包括在臺灣仍屬冷門的現代

話題。不僅啟發國人對現代創作的興趣與討論,更激

創作,仍能得到社會大眾的肯定與支持,除了樂團演出

勵作曲家交出精彩樂曲,持續推動音樂創作而形成良

水準優秀外,呂紹嘉的個人魅力和NSO工作團隊的努


NSO 2015/2016

About Taiwan Philharmonic (NSO)

2014年歌劇製作《莎樂美》NSO opera Salome, 2014

力也是關鍵。從上任開始,呂總監就規畫一系列音樂講

在交響樂之外,NSO也規畫曲目豐富的室內樂演出,

座,親自為樂迷探討作品與介紹樂季。經過幾年努力,

更常邀請國際名家和團員一同演出。有純粹音樂演

如今NSO的新樂季沙龍音樂會,即使不作宣傳一樣場

出,也有搭配演講的解說音樂會,對聽眾的曲目拓展

場爆滿,參與人數年年攀升,是樂迷殷切期盼的年度盛

和知識增長都有相當助益。「 NSO 樂團學苑」則幫

事。而以最近的《女武神》和《莎樂美》為例,NSO安

助年輕音樂家認識樂團工作,培養他們的樂團合奏能

排一系列演講,由各種角度介紹經典歌劇,最後更包括

力。成立兩年來頗有斬獲,再度為樂界立下里程碑與

導演和指揮剖析。跟隨NSO,不只可以聽到精彩音樂

好榜樣。

會,更能從中學習並獲得成長。NSO工作團隊在執行各 類演出與演講計劃之外,更透過各種媒介和樂迷溝通並

綜觀NSO近年來的驚人進步,除了呂紹嘉、工作團隊

解答問題,和企業與學校搭起友誼橋樑,讓藝術深入人

和樂團音樂家的不斷努力,更有賴企業與愛樂者的支

心,古典音樂真正成為愛樂者的生活需求。

持,才能讓NSO每場音樂會,聽眾都有「賓至如歸」 的興奮與溫暖―不只是一個樂團而已,NSO更是愛樂 人的心靈寄託,是學校也是家。如此特別的好樂團,

NSO不只是一個樂團, 更是愛樂人的心靈寄託

值得大家格外愛護與珍惜。祝福NSO持續進步,創造 更美好的聲音與更深刻的感動!


認識NSO

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THE NATIONAL SYMPHONY ORCHESTRA by Robert Markow (Musicologist) IN 2015

My acquaintance with the National Symphony Orchestra (NSO), a.k.a. Taiwan Philharmonic, began nearly five years ago, when I read a glowing report by a colleague, Gil French, in American Record Guide. Eager to hear for myself what French had described, I flew to Taipei from my home city of Montreal, Canada in March of 2011 for concerts that by any standard of measurement would show what an orchestra can do: a semi-staged performance of Strauss's murderously difficult opera Elektra and Mahler's Seventh Symphony, probably the trickiest of this composer's ten symphonies to "bring off." What I heard amounted to a revelation. Here was an orchestra that played with a richly blended, cultured sound, an orchestra that seemed totally at ease with these challenging scores. Violins gave off an elegant sheen, the woodwind choir sounded like a perfectly tuned organ, and horns played with the flair and panache one associates with their counterparts in Chicago and Vienna. The orchestra's personnel is almost entirely Taiwanese; the exceptions can be counted on the fingers of one hand. Many have trained in the best music schools of Europe or the United States.

for them. They're eager to learn." One feels privileged to sit in a hall where performances are of such high caliber and audiences are so eager to absorb what they are hearing. At the Orchestra's sold-out performances of Schoenberg's Gurre-Lieder, given this past December 31 and January 1, I watched in astonishment as crowds rushed for the available

I was equally impressed by the NSO's audience – even quieter than those in Tokyo, and made up mostly of the younger generation. About 60% is under 35 years of age, and nearly two-thirds of that demographic are women. "What's so special about Taipei," commented the NSO's music director, Shao-Chia Lü, "is that audiences here are so wonderfully open-minded. There's little classical music tradition in this city, so everything is fresh and stimulating

seats in the Concert Hall lobby to hear pre-concert lectures. Many had to stand. The open-mindedness and eagerness to learn Lü refers to are reflected in the NSO's programming. In addition to the standard classics, each season sees a healthy infusion of unusual repertory. The 2014-2015 season, for example, included solo works not just for piano, violin and cello (found


NSO 2015/2016

About Taiwan Philharmonic (NSO)

in nearly every orchestra's season line-up), but also for double bass, viola, sheng, trumpet, and percussion. In 2015-2016, solo instruments include organ, horn, clarinet, and again trumpet. How many other orchestras can boast this kind of variety? To instill a thread of continuity in a season, one or two well-known composers are featured. Recent names include Mahler, Shostakovich, Beethoven and Richard Strauss. Contemporary music, from both Taiwanese and foreign sources, is also part of every season, and the NSO always brings at least one work by a composer from its homeland when it tours. Each season closes with an opera, fully or partially staged, and involves international casts and production teams, complemented by the finest of Taiwan's own talent. These productions attract critics from abroad, and are almost always among a season's highlights. Puccini's Madama Butterfly, Wagner's Die Walk端re, Strauss's Salome, and Beethoven's Fidelio are among the bright stars in the firmament of the NSO's operatic ventures. The coming season's Otello, Verdi's supreme tragedy, promises to join this elite circle. At home, the NSO plays in the National Concert Hall, opened in 1987 (one year after the NSO was founded). Its exterior resembles a garish black and vermillion temple, but inside is all elegance and refinement. Its shoebox design boasts an acoustic not unlike Boston's Symphony Hall, with impressive clarity, embracing warmth and highly-tuned response to nuances of balance, color and dynamics. It is one of my favorite halls in the world. It has hosted the likes of the Vienna and Berlin Philharmonics, the Leipzig Gewandhaus Orchestra and the Chicago Symphony. Since my first encounter with the NSO four years ago, I have returned on half a dozen occasions to hear this wonderful orchestra, and each time have been provided with an immensely fulfilling musical experience, most recently at those above-mentioned GurreLieder performances. Schoenberg is regarded as box-office poison by most orchestras in the west. Not so in Taipei. Both concerts were sold out, the audience loved it, and the applause afterwards was long and loud. I can hardly wait until my next visit!


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NSO 2015/2016

About Taiwan Philharmonic (NSO)

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

于爾恩

呂孟珊

林宜嫺

連珮致

陳逸農

康信榮

李思琪

黃日昇

蔡歆婕

卓曉青

李梅箋

陳猶白

蘇酩惠

方俊人

鍾仁甫

蔡秉璋

唐鶯綺

黃佳頎

蔡孟峰

吳彥廷

李庭芳

洪章文

賴佳奇

陳偉泓

林孟穎

王致翔

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 ■留職停薪 ▲樂季合約人員


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認識NSO

安德石

小號

單簧管

長笛 ●

宮崎千佳 李 浚

朱玫玲

張凱婷

定音鼓

宇新樂

連雅文

陳長伯

陳廷銓 ◎

朱偉誼

張景民

孫正茸

鄒儒吉 長號

陳振馨

簡凱玉 ●

宋光清 ●

楊璧慈

雙簧管

陳奕秀 ◎

邵恆發 ◎

王怡靜 ●

高靈風

陳中昇

楊舒婷

低音長號

簡恩義

彭曉昀

鍵盤 許毓婷 ▲

英國管 李明怡

豎琴 解 瑄 ●

倍低音管

法國號

低音號

劉宜欣 ●

宮西純 ●

黃任賢 ○ 國田朋宏 王婉如 曹予勉

企劃演出經理 杜佳舫 整銷推廣經理 王承禹 總監執行祕書 黃毓棻

打擊樂

低音管

阮黃松 ◎

邱 瑗

陳哲輝 ●

短笛 鐘美川

執行長

企劃演出 企劃專員 人事組長 譜務專員 舞台監督 助理舞監 行政助理 整銷推廣 行銷專員

法律顧問 音樂諮詢 錄音製作

謝祥雯 賴盈帆 林碧珠 高婉瑜 高冠勳 潘柏宏 沈靜宜

吳孟珊 賴曉俐

鄭巧琪 曾柏雄 陳玠維

陳卜湄 郭玲孜 林欣儀■

林信和 焦元溥

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NSO 2015/2016

National Symphony Orchestra

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

About Taiwan Philharmonic (NSO)

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 Second Violin Yi-Ju Chen ● Cheng-Mei Sun ◎ I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku ErAn Yu Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai

Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang Viola Grace Huang ● Chi-Chuan Teng ◎ Chao-Ying Lu ○ Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh 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 Ming-Huei Su Ying-Chi Tang

Double Bass Yung-Ho Fu ● Yi-Jung Su ◎ Chun-Shiang Chou ○ Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai 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

★Concertmaster ☆Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musician


認識NSO

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▲

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Executive Director Joyce Chiou Manager, Planning & Production Sarah Tu Manager, Marketing & Development Paul Wang Secretary of Music Director Yu-Fen Huang Planning & Production Programme Coordinator Shelby Hsieh Meng-Shan Wu Ying-Fan Lai Lizi Lai Personnel, Assistant Manager Bibi Lin Librarian Brittney Kao Stage Manager Kuan-Hsun Kao Assistant Stage Manager Odin Pan Administrator Jing-Yi Shen Marketing & Development Marketing Coordinator Chiau-Chi Cheng Pu-Mei Chen Po-Hsiung Tseng Katherine Kuo Chieh-Wei Chen Eileen Lin ■ Legal Consultant Hsin-Ho Lin Concert Dramaturgist Yuan-Pu Chiao Recording Partnership


NSO 2015/2016

About Taiwan Philharmonic (NSO)


認識NSO

NSO 樂團學苑 為培養下一代管絃樂團演奏人才及延續國家交響樂團傳統音色,NSO於2012年9月成立「NSO 樂 團學苑」(NSO Orchestra Academy),期望將學校的科班訓練與職業樂團的專業演奏間,架起一 個以實務演練為主的「跨越」計畫(Leaping Program),讓國內年輕學子能藉由參與樂團或分部 排練(Tutti)、重奏訓練(Ensemble)、音樂會及室內樂演出(Performance)的過程中,進一步 了解職業樂團的夥伴關係與專業精神(fellowship and professionalism)。此外,學員接受國際知名 指揮及獨奏家的指導,曾邀請到包括林以信、Sergei Nakariakov、Viviane Hagner、Jan Vogler、黃心 芸、Alexei Ogrintchouk、Jörgen van Rijen、Johannes Moser、楊文信、Baiba Skride等舉辦大師班以及客 席指揮Fabien Gabel、Nicholas Milton、John Axelrod、Carolyn Kuan(關琦安)、Michael Sanderling、

André de Ridder等指導排練,另藉紐約愛樂、慕尼黑愛樂、費城交響樂團等國際知名樂團來臺演出 之便,舉辦銅管首席大師班。本學苑由張尹芳擔任常任指揮,負責樂團學苑課程規劃及樂團定期 排練指導,NSO各聲部首席也參與不定期之培訓指導,希望讓每位菁英學員在樂團演奏的專業領 域上獲得充分提升,並藉由一脈傳承,讓NSO的音色及精神得以延續。

NSO Orchestra Academy To foster future generations of orchestral musicians, and to pass down the spirit of the NSO’s refined way of playing, the NSO Orchestra Academy was founded in September of 2012 with the goal of helping to bridge the gap between what is taught at school and what musicians need for their fully professional development. The Academy allows members to participate in orchestral, ensemble and chamber music performances to develop further their spirit of collegiality and understanding of professionalism. In addition to sectional coaching, chamber ensembles and sitting in on orchestral sessions, the members also receive instruction from internationally acclaimed soloists such as Joseph Lin, Sergei Nakariakov, Viviane Hagner, Jan Vogler, Hsin-Yun Huang, Alexei Ogrintchouk, Jörgen van Rijen, Johannes Moser, Wen-Sinn Yang and Baiba Skride; and from conductors like Fabien Gabel, Nicholas Milton, John Axelrod, Carolyn Kuan, Michael Sanderling and André de Ridder. In addition, members attended master classes presented by principal brass players from internationally-acclaimed orchestras visiting Taiwan like the New York Philharmonic, Munich Philharmonic, and Philadelphia Orchestra. The Academy’s resident conductor, Yin-Fang Chang, is responsible for planning the training programs and for regular coaching. NSO principal players also contribute to enhancing the trainees’ professionalism. In so doing, they are passing on to future generations the unique sound and style of the NSO.

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NSO 2015/2016

駐團音樂家 黃若

鄉音, 是他天馬行空 李秋玫( PAR表演藝術雜誌音樂編輯) 的根基

當年,他還是個學生,遠赴歐洲拜訪了一位德高望重的藝術節總監。他帶了自 己的創作給對方聽,不料反應雖然好,卻被評為「邊緣性」( oriental )。這樣 的名詞是帶有種族歧視意味的!於是他反問「什麼才是正統」?對方播放了德 國現代作曲家的音樂,認為那是古典音樂的傳承,但他反駁:「對我來說, 這是很德國的音樂,它並不存在正統與否,只不過是一個『風格』而已!」 他是黃若,1976年生於一個音樂世家。上海音樂學院附中畢業後前往美國進修,先 於歐柏林音樂學院取得學士學位,再於茱莉亞音樂學院取得碩士和博士學位。未 滿20歲時,即在瑞士國際電影與音樂節贏得亨利‧曼西尼獎。2008年,獲得了盧森 堡國際作曲大賽首獎而備受矚目。隨後他邀約不斷,不但譜寫數部歌劇,更受邀指 揮……回首那個不向權威低頭的小伙子,如今搖身一變,成為《紐約客》雜誌評論 中「全世界最重要的青年作曲家之一」以及「最令人感興趣的新生代亞裔美國作曲 家之一」,連《華爾街日報》都評價為「具有極度衝擊力和實力的年輕作曲家」。 不僅如此,現任教於美國曼尼斯音樂學院,也是中國廣東星海音樂學院客座教授 的他,將從2016年起,正式受聘擔任阿姆斯特丹皇家大會堂的駐廳作曲家,在此之 前,他早已首肯擔任本樂季NSO的駐團作曲家。 黃若的作品有豐富的視覺、音樂、戲劇性,加上他提出的維度主義 (dimentionalism)的作曲理論,讓音樂的創作、演出和欣賞有了時間和空間的立 體感知,常帶給人們耳目一新的感受。然而這樣的「新」,卻是來自於濃厚的


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NSO 2015/2016

「舊」,也就是「傳統」。黃若猶記2005年阿姆斯特

感官體會它的歷史、習俗與價值。黃若說:「我的

丹的藝術節,他接受委託創作了一首笙與古箏的雙重

靈感並不一定來自於音樂,實際上是來自於文學、繪

協奏曲。那是他第一次將傳統樂器與西洋樂器融合,

畫、建築……我覺得我是一個很視覺的人,哪怕我寫

演出後主辦人拍拍他的肩膀說:「你看你們華人作曲

音樂,我都是先看到一個形象,再用聲音描繪出來。

家,還要我們西方人來委約你們傳統樂器的作品。」

所以音樂對我來說,是啟發而來,要藉著其他的途徑

雖然是個笑話,但聽在他耳裡卻是個震撼。他回想起

去找靈感。」

在上海唸書時,老師鄧爾博曾說過:「你講上海話, 哪怕你在上海住了很多年,也講不過本地人。但如果

「靈感應該五花八門,要在別人不知道的地方找。」

講廣東話或海南話,我肯定講不過你(黃若祖籍海

這是黃若的堅持。在二十一世紀的今天,音樂來自四

南,廣東長大)。所以不管走到哪裡,都不能失去你

面八方,不同國度的界線早已模糊、且兼容並蓄。在

的鄉音。」

藝術領域中,沒有誰是誰非,只有創意與風格。「正 統」,在黃若的心中從來沒有標準答案,但無論想像

的確,再怎麼學習他人的文化都是外在的,唯有「鄉

是多麼地天馬行空,相信「鄉音」,永遠是他創作

音」存在身體中,自然地跟著血液流動。勉強模仿,

時,追尋的根基。

不如從自己的傳統出發、創造出獨特風格,脫穎於世 界舞台上。再者,倘若沒有作曲家為民族樂器這項寶 藏譜寫新樂曲,那麼它就只能停留在過去,不能邁向 將來。因此身為華人作曲家,黃若將這個使命視為他 「扛在肩上的責任」。 當然,他從未刻意將傳統元素放進作品中,每首樂 曲,都是人生旅途的流露。喜愛旅遊的他經常一個人 走,不參加旅遊團、不拿地圖,讓自己在一個陌生的 國度中「迷路」。這時候才能融入當地,張開所有的

時間和空間立體的「新」, 來自於濃厚的「舊」


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HUANG RUO Ar tist-in-Residence Awarded First Prize by the Luxembourg International Composition Prize, Huang Ruo has been cited by The New Yorker as "one of the world's leading young composers" and “one of the most intriguing of the new crop of AsianAmerican composers.” His vibrant and inventive musical voice draws equal inspiration from Chinese ancient and folk music, Western avant-garde, rock, and jazz to create a seamless, organic integration using a compositional technique he calls “Dimensionalism.” Huang Ruo’s writing spans from orchestra, chamber music, opera, theater, and modern dance, to sound installation, multi-media, experimental improvisation, folk rock, and film. Ensembles who have premiered and performed his music include the New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Seattle Symphony, National Polish Radio Orchestra, Kiel Philharmonic Orchestra, Hong Kong Philharmonic, Washington National Opera, Houston Grand Opera, New York City Opera, Opera Hong Kong, Chamber Music Society of Lincoln Center, Asko/Schoenberg Ensemble, Nieuw Ensemble, Remix Ensemble, Quatuor Diotima, and Ethel Quartet, and under conductors such as Wolfgang Sawallisch, Marin Alsop, Michael Tilson Thomas, James Conlon, Dennis Russell Davies, Ed Spanjaard, Peter Rundel, Alexander Liebreich, Xian Zhang, and Ilan Volkov. Huang Ruo's opera Dr. Sun Yat-Sen, has recently given its American premiere by the Santa Fe Opera in 2014, and will be given its Canadian premiere by the Vancouver Opera in 2018. His next opera, Paradise Interrupted, will receive its world-premiere at the Spoleto Festival USA in 2015 and the Lincoln Center Festival in 2016, before going on tour to Asia and Europe. He recently also has been named the composerin-residence for the Concertgebouw in Amsterdam. Huang Ruo's music is published by Ricordi. Huang Ruo was born in Hainan Island, China, in 1976. Growing up in the 1980s and 1990s, when China was steadily opening its gates to the

Western world, he received both traditional and Western education at the Shanghai Conservatory of Music admitted into its composition program at the age of twelve, studying with his mentor Professor Deng Erbo. After winning the Henry Mancini Award at the 1995 International Film and Music Festival in Switzerland, he moved to the United States to further his education. Since then, he has earned a Bachelor of Music degree from the Oberlin Conservatory of Music and Master of Music and Doctor of Musical Arts degrees in composition from the Juilliard School. Huang Ruo is a composition faculty at the Mannes College of Music in NY. He is the artistic director and conductor of Ensemble FIRE, and was selected as a Young Leader Fellow by the National Committee on United States–China Relations.


NSO 2015/2016

駐團音樂家 白建宇

黑與 白 繽紛的色彩

焦元溥(倫敦國王學院音樂學博士)

白建宇來自一個熱愛音樂的家庭,九歲半便首次登台,十歲與樂團合作葛利格鋼琴協 奏曲,於1961年赴美國茱莉亞音樂學院隨列汶夫人學習,1970年又至歐洲學習,最後 定居法國。白建宇演奏曲目寬廣,勇於挑戰極限,錄音眾多且備受好評。

焦:到紐約學習之後,您的人生觀和藝術觀有怎樣的變化? 白:能和列汶夫人(Rosina Lhévinne, 1880-1976)學習並在茱莉亞求學真的是極佳的經 驗,但我覺得影響我最大的或許還不是在學校的學習,而是紐約的音樂與藝術環境。 就古典音樂而言,那時有伯恩斯坦(Leonard Bernstein, 1918-1990)與紐約愛樂,我也能 夠聽到許多大師的現場演奏,包括霍洛維茲(Vladimir Horowitz, 1903-1989)、魯賓斯坦 (Arthur Rubinstein, 1887-1982)、賽爾金(Rudolf Serkin, 1903-1991)等等。我在學校學 了很多,但真正改變我最大的還是紐約這個城市與那些偉大演奏。

焦:但您最後還是去歐洲了。 白:是的,因為我覺得我需要去歐洲,去西方古典音樂的源頭。我想要去義大利,因 為我喜愛歌劇;我想要去德國,因為我想深入探索德國音樂。而我又特別喜愛法國音 樂,因此我更是不能不去法國……著名的匈牙利鋼琴教師卡博絲(Ilona Kabos, 1902-

1973)女士在倫敦教學。我在茱莉亞就讀時就曾上過她的大師班,深深為其教學法所 利和肯普夫(Wilhelm Kempff, 1895-1991)和阿哥斯帝(Guido Agosti, 1901-1989)學習, 所以我非常幸運地能和如此傑出卻又不同的藝術家請益。

©Woo Ryong Chae

吸引。所以當卡博絲邀請我和她學習時,我也就搬到倫敦。列汶夫人也把我送至義大


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NSO 2015/2016

焦:身為當代最傑出的鋼琴家之一,您為我們展現出極 為卓越的鋼琴演奏藝術。您的琴音色彩豐富,又有透明 的質感。我很好奇您塑造音色與音質的秘訣為何。

焦:除了李斯特以外,您還有其他這類「老師」嗎? 白:斯克里亞賓也是這樣的「老師」。他展現出一個 充滿黑暗與邪惡的世界,讓我知道音樂裡可不是只有

白:我的確有非常多創造色彩的方法,但我必須說這

善良、美好與天使。在學校裡,老師只說音樂是真、

其中並沒有什麼秘訣。我對色彩的感受與想法主要來

是善、是美,而我們應該創造出優美的歌唱性音色和

自我的視覺經驗。我非常喜愛繪畫與攝影,對色彩本

不同色彩,以優美的方式來表現音樂。然而,斯克里

來就非常敏銳。當我演奏鋼琴時,我會試著將我的視

亞賓則教給我們音樂裡也有魔鬼,也可以表現暴力、

覺所得轉化為聲音,按照心中的圖象創造色彩與層

邪惡和黑暗。

次。對一些作曲家而言,他們寫作時甚至已經設想 好特定的色彩,斯克里亞賓(Alexander Scriabin, 1872-

1915)就是最好的例子。像這種例子,鋼琴家必須先 去了解作曲家所感受到,甚至所設定的顏色為何,這 才是首要之務。然而,如何在鋼琴上製造出這些色 彩,卻是非常個人的事。對我而言,我試著用各種可 能的方式來彈出我想要的音色。如果有必要,我甚至 會用指甲演奏。當然,我也可以解釋一些塑造聲音的 方法,像是分析「如何運用不同的肌肉」或是「如何 運用身體的不同重量」等等,但最重要的,還是演奏 者自己必須有這些色彩的概念與想法,而這是不能教 的。這其實正解釋了為何鋼琴家的音色顯示出他/她 的個性與特質。

焦:您也喜愛德國音樂嗎?您似乎很少錄製德國曲目。 白:我當然喜愛德國曲目,但要演奏可不是件容易的 事。就以貝多芬為例,詮釋貝多芬真的需要人生經 驗、成熟與自信,才能夠適當表現他的音樂。直到最 近這幾年,我才覺得我已經年長到可以說我能夠表現 貝多芬的想法,並且和他的作品自由且輕鬆地溝通, 表現出貝多芬的性格,特別是那永不妥協的精神。貝 多芬一生都在寫作奏鳴曲,每一首都不同,我的確感 覺到我能透過這些奏鳴曲體驗貝多芬的人生,為聽眾 提出些新觀點與新想法,為貝多芬詮釋做出新貢獻。

焦: 1972至1973年間,您大量擴展曲目,最後將心 力轉向李斯特。為何李斯特在那時特別吸引您?

焦:您的藝術不只啟發藝術家或愛樂者,甚至還啟發 科學家!在1983年,您受邀至麻省理工學院演奏斯 克里亞賓,而您的演奏被電腦化處理。可否為我們多 談談這個實驗?

白:因為那正是合適的時間!我那時已經超過二十

白:那真是一個非常有趣的實驗!當時我想要解釋聲

歲,也擁有良好的技巧,更重要的,是我比以前成熟

音如何能被改變成符合斯克里亞賓想法的樣子,以及

而且有能力獨立探索李斯特。藉由閱讀他所有的作

聲音的各種轉化可能。如果你仔細聽斯克里亞賓的音

品,我不但更了解李斯特和他的時代,更藉由李斯特

樂,你會聽到他是一位追求超越鋼琴聲響表現極致的

的作品而深入自己的內心世界,而李斯特的作品也能

作曲家。我想他甚至可能在一個音中聽到各種不同的

讓鋼琴家更能和聽眾溝通。此外,藉由研究他同一作

色彩與聲響,感覺到一個音產生時的所有泛音和聲響

品的不同版本,我也能夠了解他的不同想法以及對鋼

層次。我希望能夠藉由最新的科技來實現所有的可能

琴技巧的思考。這真的是我人生中非常重要的經驗。

性,因此當我在彈奏時,我的演奏立即被電腦化並

在某些程度上,我必須說李斯特也是我的「老師」,

以不同方式複製,能夠同時聽到各種不同的聲音變

他的音樂與人生實在教給我太多太多。

化……但即使和麻省理工學院的合作是一個很好的經


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視覺轉化為聽覺, 按心中的圖象創造出鋼琴上的色彩與層次

© 林仁斌

驗,我也不是完全滿意我們實驗的成果。斯克里亞賓

人性,了解音樂就是了解人性,這是超越國籍與種族

的概念實在太難實現了。

的……這也就是為何我現在認為我的亞洲背景不是缺 點而是優點。身為亞洲藝術家,我能夠同時擁抱東方

焦:在您詮釋西方音樂時,您會覺得應該表現出自己 屬於韓國或是亞洲的背景嗎?或是音樂就是音樂,我 們應該同一視之,無所謂不同背景。 白:基本上,我認為音樂就是音樂,但有時候我也會

與西方。我絕對相信亞洲藝術家能夠為西方藝術帶來 創新的觀點,注入更多活水。

焦:什麼是您音樂之旅的下一站?

試著把我的東方觀點與藝術認知帶入我對西方音樂的

白:我不是一個喜歡什麼事都計劃的人,我也真的沒

詮釋之中。舉例而言,「線條的美學」、「無為的意

有一個時刻表,畢竟,生活中有太多事是我們無法掌

義」、「寂靜的聲音」,這些非常東方的美學概念皆

控的。音樂應該是自然的,人生亦是。無論是音樂或

能在我的詮釋中出現,而它們也和西方作品配合地極

人生,我都只想說我們要「求自然、求真誠」。歡迎

好,彼此沒有扞格……當我年輕時,我覺得法國音樂

大家來我的音樂世界,我把所有的話都說在我的音樂

就屬於法國人,而德國音樂則屬於德國人。但後來我

裡。(節錄自《遊藝黑白:世界鋼琴家訪問錄》白建宇 篇)

了解這其實是一個迷思,因為所有偉大的音樂都直指


NSO 2015/2016

© 林仁斌


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KUN WOO PAIK Artist-in-Residence "True, authentic virtuoso! The beast of the piano as well as the perfect musician" ―Le Figaro, France "He can draw enough thunder to raise the phantom of legends" ―New York Times, USA "Is Paik a 'new Busoni'?" ―Fanfare, USA "Paik was simple phenomenal" ―Frankfurt Allgemeine, Germany Kun Woo Paik’s first concert was at the age of 10 performing the Grieg Piano Concerto with the Korean National Orchestra. At the age of 15, Kun Woo Paik moved to New York to study with Rosina Lhevinne at the Julliard School and with Ilona Kabos in London. He also studied in Italy with Guido Agosti and Willhelm Kempff. His international career took off following his New York appearance, in which he performed complete piano works by Maurice Ravel at the Lincoln Centre, and his orchestral debut at the Carnegie Hall. Since then he has collaborated with conductors such as Zubin Mehta, Lorin Maazel, Mariss Jansons, Long Yu, Sir. Neville Marriner, Wolfgang Sawallisch, Jiri Belohlavek, Vladimir Jurowsky, Dmitri Kitaenko, Paavo Järvi, Ivan Fischer, and Penderecki to perform his new piano concerto under his direction and performed with orchestras such as the Israel Philharmonic Orchestra, New York Philharmonic, St. Petersburg Philharmonic, London Symphony, BBC Symphony (Last Night of the Proms 1987), Orchestre de Paris, Orchestra National de France, Berlin Symphony, Hungarian National, Oslo Philharmonic, Rotterdam, Rai Italia, Warsaw Philharmonic, and English Chamber Orchestra, etc. Kun Woo Paik’s numerous recordings include Sciabin, Liszt (“To play Liszt for Kun Woo Paik is a mystical journey, a way of bringing his audience to the very heart of the work, to feel its fundamental pulse…”-Brigitte Massin Le Matin),

Mussorgsky, complete Rachmaninoff piano concertos for BMG. His complete Prokofiev Piano concerto recording received both the “Diapason d’or of the year in 1993” and “Nouvelle Academie du disque” award in France. As an exclusive Decca artist, he recorded Busoni’s transcriptions of Bach, Faure’s piano works, which won all the major prizes in France, complete works for piano and orchestra by Chopin with Antoni Wit and Warsaw Philharmonic. In 2005, Kun Woo Paik started new project to record all 32 Sonatas by Beethoven for Decca. “Paik’s sense of drama, his wit, mastery of nuance, thoughtfully, weighted, chords, and fleet-fingered Virtuosity, all are remarkable”-Rob Cowan, The Independent. Recent engagements include a recital in Carnegie Hall, performance in La Scala with St. Petersburg Philharmonic and Yuri Temirkanoff, the complete Rachmaninoff concerto in St. Petersburg and return to New Japan Philharmonic, China Philharmonic, Shanghai Philharmonic, Bergen Philharmonic, beside recitals in France, Italy, Spain, etc. Kun Woo Paik lives in Paris, and he was made the “Chevalier de l’ordre des arts et des letters” by the French Government in 2002.


Season Concerts

音樂 樂 會季


NSO 2015/2016

Season Concerts

豐 富 美 妙 的 奇 幻 天 地 —

札特的許多作品都很「浪漫」,而活到二十世紀初的 聖桑其音樂仍然「古典」。 但也正因為古典和浪漫並非截然兩分而是彼此交融, 相較於飽經風霜、老於世故的後期浪漫,早期浪漫可 說天地清朗,充滿無限可能。「世界太新,很多事物

令 人 著 迷 的 「 早 期 浪 漫 」

還沒有名字,必須伸手去指。」馬奎斯在《百年孤 寂》的名句,正可描述這段時期的音樂創作。「連篇 歌曲」(舒伯特)、「器樂敘事曲」(蕭邦)、「國 民歌劇」(韋伯)、「固定樂思」(白遼士)、「性 格曲集」(舒曼)……太多新想法和新寫法在早期浪 漫創生,即使可能套了舊名稱,內容卻相當不同。此

焦元溥(倫敦國王學院音樂學博士)

時作曲家可能在不同作品裡展現或偏古典或偏浪漫的 風格,也可隨時間推移而不斷發展。 比方說,舒伯特(Franz Schubert, 1797-1828)可讓浪漫

「古典、浪漫、現代、新浪漫!這些標籤對音樂學者

派的宿命陰影籠罩於《未完成》交響曲,也能在下一

而言或許方便,但對作曲和演奏而言可是一點關係都

首《偉大》揮灑古典風的燦爛陽光。他的美好旋律可

沒有……所有音樂都是情感的表現,而情感並不會隨

以明媚如春花綻放,也能描寫焦慮失神的癲狂和死神

時間而改變。風格和形式會變,人類基本的情感卻不

現身的恐慌。韋伯(Carl Maria von Weber, 1786-1826)

會……我始終認為—從我年輕時就如此—所有時期的

的器樂作品多半華麗暢快,滿是古典風格的流利,但

音樂都是浪漫的……」

歌劇《魔彈射手》(Der Freischütz)的狼谷場面也能有

說這話的,是鼎鼎大名的鋼琴巨匠霍洛維茲(Vladimir

界的奇幻想像。蕭邦(Frédéric Chopin, 1810-1849)雖

Horowitz,1903-1989),而他此言還真是事實。無論是

驚悚的浪漫樂想,《奧伯龍》( Oberon )又見精靈世 是當今世人心中「浪漫」的化身,但他推崇的作曲家

巴赫或巴爾托克,誰能說他們不浪漫?就連刻意杜絕

嚴格來說只有巴赫和莫札特,作品句法嚴謹一如古典

浪漫主義的斯特拉溫斯基,理智外衣下也常見剔透溫

樂派大師,譜曲筆法更常能追溯至巴洛克技巧。和蕭

潤的抒情。不過學者的分期也不是全然無益。畢竟音

邦一樣是鋼琴演奏大師的孟德爾頌(Felix Mendelssohn,

樂寫作技法不斷變化,不同時期各有千秋,能夠提綱

1809-1847)則向來被認為是古典風格的延續者,寫作

挈領抓出特色自是好事。只是若要把十九世紀初當成

精緻典雅而兼有夢幻神秘的仙子舞蹈。第一號鋼琴協

「浪漫時期」的開始(很多人以貝多芬於1805年首演

奏曲即使也有如火熱情,燦爛展技下仍是有節有度的

的第三號交響曲《英雄》為分水嶺),並以此比對之

非凡品味。可你若在不知背景的情況下聽了他的 F 小

前的「古典時期」,我們可以發覺古典和浪漫之間並

調絃樂四重奏,那狂風暴雨所撼動的,可能是你對孟

沒有明確的分隔線,因為兩者的延續其實大於對立。

德爾頌所有的認知。但就算不認識此曲,從熱情洋溢

從莫札特的轉調手法一路到二十世紀初,除少數例

的第四號交響曲《義大利》、繪景絕妙的《芬加爾洞

外,這一百多年的作品都可說在基本的和聲、曲式、

窟》(作曲家本人還真是頗富造詣的水彩畫家)、綺

節奏和聲響規範中創作。甚至就風格而言,海頓和莫

麗雋永的劇樂《仲夏夜之夢》到凝練強勁的神劇《以


樂季音樂會

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「美」加上「怪」的浪漫時期,一反古典的秩序明晰, 就是要超越界限且曖昧不明

利亞》,一路聽來,你也會知道孟德爾頌不只是家境

精純的藝術歌曲《夏夜》,也有獨樹一格的「戲劇交

優渥又事業得意的好命天才,更有將非凡稟賦鍛煉成

響曲」《羅密歐與茱麗葉》;有體裁難以歸類,令人

偉岸崇高的功績。

戰慄心驚的《浮士德的天譴》,更有規模龐大,視野 與境界都超乎想像,長達四小時的巨型歌劇《特洛伊

當然,也不是每位作曲家都能接受新風格與新主張。

人》。李斯特(Franz Liszt, 1811-1886)雖自帕格尼尼演

羅西尼(Gioachino Rossini, 1792-1868)能以迷人旋律

奏中領會到技巧所能帶來的「出神入迷」,也讓自己

和輕妙音響征服歐洲,卻急流勇退在三十七歲就把創

成為鋼琴上的帕格尼尼,但論及音樂創作,仍是白遼

作歌劇的筆停在《威廉泰爾》。或許他正是不願走向

士給他更多啟發,他們也成為十九世紀浪漫主義的代

奔放洶湧的浪漫狂潮,堅持讓自己守在古典樂派的勻

表與象徵。

稱優雅。在他之後稱霸花都的歌劇霸主,就是以「法 式大歌劇」聞名的梅耶貝爾(Giacomo Meyerbeer, 1791-

浪漫主義另一重要特色,就是不同藝術大量交融,特

1864)。梅的作品結合艱深聲樂、華麗聲響、舞臺奇

別是音樂與文學。白遼士和李斯特都是箇中好手,舒

觀、芭蕾舞蹈,是劇情誇張奇突又常怪力亂神的大型

曼(Robert Schumann, 1810-1856)更是行家中的行家。

娛樂,《魔鬼羅伯特》(Robert le diable)、《新教徒》

他文筆了得,是著名樂評,更擔任萊比錫《新音樂雜

(Les Huguenots)和《先知》(Le prophète)都是這類創

誌》編輯十年,其文章和評論是浪漫主義運動的重要

作,而它們也反映了浪漫主義一大風貌。若說十九世

力量。舒曼作品中音樂和文學互相輝映;不只將文字

紀的浪漫時期音樂真有什麼明顯異於過去的特色,或

入樂,還能將文學形式與概念移植到音樂之中。他歌

許還是要回到英國美學評論家帕特(Walter Pater, 1839-

曲創作成就斐然,鋼琴寫作獨樹一格,在室內樂和交

1894)對浪漫主義所下的著名定義:「美加上怪」。

響樂上也有佳績。和白遼士相似,舒曼也是感受彷彿

此時作曲家更留心人性與自然的陰暗面,對魔法與鬼

直接來自天啟,創作能量豐沛無比又不吝展現新奇創

怪別有偏愛,常寫神秘、陰森、恐怖的題材與效果。

意的音樂家。其大提琴協奏曲毫不炫技,卻以內斂深

異想天開與畸形怪狀被認可為美感,哥特體(Gothic)

邃的真摯筆法,讓此曲始終是演奏家的心頭好。他的

文學在音樂裡也得到呼應。一反古典主義的秩序與明

四首交響曲則各有豐富世界。第一號爽朗明亮,滿是

晰,浪漫主義追求打破規矩,就是要超越界限且曖昧

源源不絕的活力;第二號和第四號則有深不可測的幻

模糊。

夢與魔性,可應詮釋者的不同角度而呈現差異甚大的 面貌,愈探索愈有收穫,但也得千萬當心—那深不見

以此觀之,無怪乎白遼士(Hector Berlioz, 1803-1869)

底的意念深處,可藏有最幽微難言的情感暗流,你永

被認為是浪漫派的領航大師。他是神奇想像的高手,

遠不會知道那音樂召喚出來的,究竟會是什麼。

文學造詣深厚的能人,還是傑出管絃樂法大師。貝多 芬過世才三年,他就以大破大立的《幻想交響曲》震

即使在國外,也少見如此豐富的「早期浪漫」系列樂

撼世人。不只「固定樂思」的巧妙用法影響深遠,第

季。欣賞過世紀末的迷離,品嘗了當代音樂的繽紛,

五樂章將《神怒之日》曲調轉化為群魔亂舞主題的手

期待大家跟著NSO的腳步踏向「早期浪漫」的奇妙世

法,更從此讓這段旋律成為魔鬼、死亡、地獄的代名

界,探索這充滿無限可能的新穎天地。

詞。白遼士概念大膽先進,構思宏偉出奇,《安魂 曲》若照他的指示得用上超過四百人,至今也難以經 常實踐。他的作品挑戰常規更挑戰自我,不重複自己 的成功而探索各種不同的表現方式。於是我們有古雅


NSO 2015/2016

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Season Concerts

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R o m a n t i c i s m i n

M u s i c

by Daniel Jaffé

an author (Sergey Prokofiev and Historical Dictionary of Russian Music) and journalist specialising in 19th and 20th century music, writes regularly for BBC Music Magazine.

Most music lovers have a fair idea of Romanticism – the aesthetic of the nineteenth-century – and how it influenced and affected music. One tends to think, above all, of its emotional dramas: that of the individual as represented by Schubert's songs, and those portrayed in Wagner's music dramas, most famously Tristan und Isolde which symbolically breached musical norms with those tonally ambiguous yet emotionally powerful harmonies regularly cited in music history books on that era. Yet there are so many exceptions to this generalisation. What about Brahms, for instance, and his profound grasp of Classical form, as used by Mozart and Haydn in the previous century, evident in his tragic Fourth Symphony? And Mendelssohn, who even in his most inventive and evocative concert overtures – including A Midsummer Night's Dream – worked within the discipline of the sonata form? And going back to the Classical period could one point to any of Mozart's mature symphonies and claim that these are not in effect expressive musical dramas?

Indeed, one must not forget that the music of the early nineteenth century was as much about continuation from what had gone before. Schumann, for instance, was a major figure in the Romantic era, dramatizing his personal creative impulses in his piano music; yet two out of his four symphonies are entirely non-representational, consciously based on the non-programmatic symphonic form and style evolved by Beethoven and Schubert (the latter's final symphony in particular). Even so, there was clearly a major aesthetic shift in the first decades of the nineteenth century that ultimately gave birth to the tone poems of Liszt and the highly expressive and vivid concert overtures of Tchaikovsky. In music at least, this Romantic sensibility can be traced to works by Austro-German composers in the first decade or so of that century. Weber's orchestration, exemplified by the evocative instrumental colours of his overture to Oberon, was hugely admired by Berlioz; four years after the German composer's death in 1826, the Frenchman composed his revolutionary Symphonie fantastique, further expanding and intensifying the orchestral palette revealed in Weber's operas and revealing it as an expressive source in itself. Meanwhile Schubert introduced in his last two symphonies song-like melody – as opposed to instrumental-style themes Haydn and even Mozart had used in their symphonic works. In doing this, Schubert was applying an art he had perfected in his songs, in which he had transformed the genre of German art song – the Lied – into a flexible, varied and profoundly expressive medium. Schubert's settings had proved not only worthy of the greatest poetry, whether Shakespeare or Heinrich Heine, but also became potentially itself the main source of the song's expressive power and


樂季音樂會

greatness. Thus both Schubert's song cycles – Die schöne Müllerin and Winterreise – though setting mediocre poems by Wilhelm Müller, together represent the pinnacle of Schubert's art. The individuals whose drama is portrayed through these cycles are in themselves of no consequence, without even the political significance of Mozart's Figaro; yet they are brought to vivid life through Schubert's music, their individual emotional dramas so expressed that they compel the audience's sympathy. This in itself is a very Romantic achievement, following as it does the aesthetic of such English Romantic poets as Lord Byron and William Wordsworth, who had been stirred by the English industrial revolution. There was a general perception among the intelligentsia – of which these Romantic poets were part – that industrialisation and the concomitant growth of the new cities was a dehumanising process, destroying communities and alienating individuals from human society. Such fears gave force to the Romantic celebration of the individual. Poems were no longer merely about generic situations or conveying morals for the general social good: rather, they typically celebrated or empathised with the individual coping with a hostile or indifferent world, as exemplified by Byron's Childe Harold and Manfred (poems which inspired respectively Berlioz and Tchaikovsky). Equally, there was an idealisation of nature, particularly at its most wild and untrammelled. In practice, this resulted in a vogue across Europe for so-called English gardens, in which plants and shrubs were artfully cultivated and made to appear a primitive natural growth rather than formally arranged. One might say a similarly artful cultivation is at work in Mendelssohn's aural depictions of rural and wild landscapes, whether in Italy (Symphony No. 4) or in

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Scotland: The Hebrides overture, for instance, is a masterful depiction of the sea which is yet contained in sonata form. A major precursor of these symphonic nature portraits is Beethoven's Pastoral Symphony, of which the third movement's bucolic depiction of peasants at leisure set a direct precedent for the rural depictions which feature in Berlioz's works, starting with the dialogue between cor anglais and oboe in the third movement of his Symphonie fantastique (indeed, Berlioz's symphony also follows Beethoven's Pastoral in its five-movement structure). Finally, mention should be made of a strand of Romanticism often taken for granted, but which is perhaps most central to its sensibility. The adjective "romantic" derives from "romance", a literary term originally applied to medieval tales or poems relating the exploits of heroic personages or events. Miguel de Cervantes' seventeenth-century novel Don Quixote is thus one of the earliest anti-Romantic tales, telling as it does about a deluded old man who believes himself to be a hero of such a romance. Effectively, a "romantic" subject is removed from everyday mundane existence – relating to far distant or legendary events, an imaginary retreat from Europe's grim industrialisation and urbanisation: hence the interest in medieval and ancient legends such as inspired Wagner. This was also the era when Shakespeare was rediscovered (inspiring masterpieces by Berlioz and Tchaikovsky, as well as Verdi's final masterpieces), and also such "early" music as Bach, including Mendelssohn's famous revival of the St Matthew Passion. Schumann, too, took a particular interest in Bach and made arrangements of his Violin Sonatas and Partitas. Such explorations were to be continued by Schumann's protégé, Brahms, whose final symphony was to build its finale on a Bach-type structure: the chaconne.


NSO 2015/2016

Season Concerts

呂紹嘉 嚴俊傑與NSO @中壢 (9/24) @高雄 (9/25)

19th Century Treasures 2015/9/24&25

Thu. 19:45 Fri. 19:30 開季音樂會 I

Season Opening Concerts I

指揮/呂紹嘉 鋼琴/嚴俊傑

偉大 A GREAT Symphony

幻想.交響 A FANTASTIC Symphony

2015/10/2

2015/10/17

Fri. 19:30

Sat. 19:30

開季音樂會 II

Season Opening Concert II

指揮/呂紹嘉 管風琴/克利斯汀.舒密特

指揮/賈克.拉孔  鋼琴/陳毓襄 

SHAO-CHIA LÜ, conductor CHRISTIAN SCHMITT, organ

JACQUES LACOMBE, conductor GWHYNETH CHEN, piano

黃若:《化變》 李斯特/杜普瑞:《贖靈作用之 水》幻想與賦格,為管風琴與交 響樂團而作 舒伯特:C大調交響曲《偉大》

雅納捷克:《狡猾的小母狐》組曲 李斯特:第二號鋼琴協奏曲 白遼士:《幻想交響曲》

國家音樂廳

國家音樂廳

400 700 1000 1200 1500

400 700 1000 1200 1500

SHAO-CHIA LÜ, conductor CHUN-CHIEH YEN, piano

羅西尼:《威廉泰爾》序曲 孟德爾頌:第一號鋼琴協奏曲 布拉姆斯:第二號交響曲

GIOACCHINO ROSSINI: William Tell Overture FELIX MENDELSSOHN: Piano Concerto No. 1, Op. 25, G minor JOHANNES BRAHMS: Symphony No. 2, Op. 73, D major

HUANG RUO: Becoming Another FRANZ LISZT / MARCEL DUPRÉ: Ad nos, ad salutarem undam, fantasia and fugue FRANZ SCHUBERT: Symphony, D. 944, C major, The Great

LEOŠ JANÁČEK: The Cunning Little Vixen Suite FRANZ LISZT: Piano Concerto No. 2, S. 125, A major HECTOR BERLIOZ: Symphonie fantastique, Op. 14

中壢 藝術館音樂廳

400 600 800 1000 冠名贊助:天成醫療體系 贊助:財團法人天成雙德社會福 利基金會 高雄 大東文化藝術中心演藝廳

400 700 1000 1500 贊助:法國巴黎銀行財富管理 勇源教育發展基金會


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©Philippe Champaux

賈克.拉孔 JACQUES LACOMBE


NSO 2015/2016

Season Concerts

「 世 紀 之 子 」 的 告 白 —

尼》、德拉克瓦的畫作《自由女神引導群眾起義》, 還促成了白遼士的《幻想交響曲》。《艾納尼》初演 時,引起保守派與激進派觀眾互毆事件,宛如一場戲

劇界的革命;《幻想交響曲》第四樂章〈赴刑進行 曲〉中號聲喧嘩,戰鼓高鳴,馬上激發了首演時聽眾 的情緒,被要求再奏一次!《幻想交響曲》由作曲家 親自撰寫有關樂曲內容的文字說明(program),成為

「標題音樂」( program music )的標竿;該曲以音樂 主觀的敘說著作曲者失戀的夢魘,藉多采多姿的管絃 樂,奇幻多變的旋律、節奏、和聲,天馬行空、層出

陳漢金(音樂學者)

不窮的渲染著情感的調色盤與詭異怪誕的效果,為日 後浪漫式的管絃樂發展,從華格納到所有後浪漫的音 樂家們,開闢出一條可供盡情馳騁的大道。

白遼士(Hector Berlioz, 1803-1869)無疑是法國浪漫時

《幻想交響曲》中所表達的被拋棄的失望、對得不到

期最顯著的音樂家。白遼士誕生、成長的年代,就像

的愛情的狂熱憧憬、浪漫藝術家的孤獨、焦慮,正如

其它數位法國浪漫派的主將,諸如作家繆賽(Alfred de

繆賽所謂,是一種「世紀病」(mal du siècle),它幾

Musset, 1810-1857)、雨果(Victor Hugo, 1802-1885), 畫家德拉克瓦(Eugène Delacroix, 1798-1863)一般,

乎糾纏著每一位浪漫藝術家;激情的白遼士,更是典

是一個新、舊交替的時代,正如繆賽在他的自傳式小

翼」。《幻想交響曲》正是他用音樂寫成的,一連串

說《一位世紀之子的告白》中,以下列充滿感性的詞

失戀創傷交混成的模糊回憶;這些回憶,不只被該曲

句,來描述法國浪漫派的孕育與崛起:「成千上萬出

的「續集」《列里歐回生記》(Lélio ou le retour à la vie)

生於拿破崙戰爭期間,在戰爭中長大的兒童,他們彼

延伸下去,還在《哈洛德在義大利》、戲劇交響曲

此交換著陰鬱的眼光之際,已開始抖動著尚未結實的 肌肉,摩拳擦掌,躍躍欲試的將眼光望向將來…」。

《羅密歐與朱麗葉》中,深受拜侖(George Byron, 17881824)的文學、莎士比亞(William Shakespeare, 15641616)戲劇的啟發影響,讓音樂與文學、戲劇相互激

誕生於拿破崙的時代,沉默寡言,心緒敏銳的白遼士,

盪出燦爛的火花。這種新穎的表達方式,不只直接影

正如繆賽所言,是許多「世紀之子」(enfants du siècle)

響了稍後的李斯特,更為華格納(Richard Wagner, 18131883)的「整體藝術」概念預作準備。

中特別傑出的一位。這些天之驕子,在吸吮著大時代的

型的世紀病患者,他說:「愛情與音樂是我靈魂的雙

奶水長大之後,將逐漸遠離大革命、拿破崙戰爭的混亂 局勢,而在風起雲湧大時代精神的激發下,將藝術發展

「管絃樂會演戲,讓管絃樂演戲」

推向一個洶湧壯濶的新境界 — 浪漫時期。 根據莎士比亞戲劇譜成的《羅密歐與朱麗葉》由於結

愛情與戲劇的交響曲

合了管絃樂與聲樂,造成了一般人的困惑,白遼士因 此解釋說:「大家可別誤解了此曲的體裁,它雖然經

1830 年,巴黎爆發了推翻復辟政權的「光榮三日革

常運用聲樂,卻非音樂會式的歌劇或清唱劇,而是

命」,澎湃的局勢不只激發出雨果的劇作《艾納

一首具有聲樂的交響曲罷了」。如此獨特的作法,


樂季音樂會

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德拉克瓦(E. Delacroix):自由女神引導群眾起義。

封丹-拉圖爾:白遼士的神化

當然令人聯想到先前的貝多芬(Ludwig von Beethoven, 1770-1827 )第九號交響曲。在這首「戲劇交響曲」

法文藝術歌曲的奠基者

中,「聲樂獨唱者主要在曲中提示劇情,而非演唱角

白遼士的藝術歌曲在國內還甚少受到關注,然而它們

色」。也就是說,此曲的劇情由聲樂的歌詞提示出來

也是充滿前瞻性的—事實上白遼士是「法文藝術歌

之後,再藉由管絃樂充份的去描繪、渲染劇情中的氛

曲」(mélodies)的奠基者。德文藝術歌曲(Lieder)

圍與詩意,且營造戲劇性的起伏。關於此,白遼士認

大約在1815年左右,被舒伯特賦予較深刻的表達方式

為,聲樂與器樂存在著本質上的不同,聲樂平舖直敘

之後,已成為重要的樂曲種類,法文藝術歌曲卻必須

的將事情交代清楚,器樂在進行「無言的」描繪與渲

等到1830年代以後,透過白遼士與古諾等幾位作曲家

染時,則呈現出「較豐富、較多變化,無可比擬的強

的開發,才逐漸發展成形。

勢」。因此,白遼士說:「讓管絃樂說話吧!」, 「管絃樂會演戲,讓管絃樂演戲吧!」

在法文藝術歌曲形成之前,法國存在著一種單純天

因此,華格納日後講出的名言:「詞窮之際,正是音

遼士曾譜過幾首這類曲子。後來舒伯特的歌曲被傳入

樂擅場之時」,早在他之前,白遼士已付之實行了。

巴黎,白遼士以浪漫曲為基礎,為之注入舒伯特式的

華格納在1839年聽完了《羅密歐與朱麗葉》之後,寫

深度與豐富,就成了法文藝術歌曲。

真、多愁善感的「浪漫曲」(romances),年輕時的白

下如此的讚語:「身為這個庸俗音樂界的贖罪者, 白遼士值得我們敬重」。華格納此言中,暗示著早

白遼士的藝術歌曲大部份都是聲樂與鋼琴的,後來他

一年白遼士的歌劇《本維努托.切里尼》(Benvenuto Cellini)的演出失敗。白遼士的歌劇創作《切里尼》、

將多首歌曲的鋼琴部份都親自改編成管絃樂,最顯著

《浮士德的天譴》、《特洛伊人》等,其規模都比他

此歌曲集1856年的管絃樂改編,比同樣具有管絃樂的

的交響曲龐大,其天馬行空的語法更加大膽、前衛,

華格納《威森東克歌曲集》(Wesendonck-Lieder, 1857-

它們不為當時因循保守的法國歌劇界,以及小家子氣

1858)早一些。在華格納之後,不論在德國或法國,

的「布爾喬亞」聽眾們所理解,也就不足為奇了。

管絃樂取代鋼琴的藝術歌曲就越來越多了。

的例子是《夏夜》歌曲集(Les Nuits d'été, 1838-1841)。

《浪漫白遼士》 A Berlioz Bash 2016/5/6 Fri. 19:30


NSO 2015/2016

Season Concerts

浪漫.奔騰

Greater China Tour

馬利納爵士與NSO Sir Neville Marriner & NSO

2015/10/30-11/13

2015/11/18

巡演

2015/11/20 (臺南)

Tour

指揮/呂紹嘉 鋼琴/嚴俊傑 (廈門、香港、昆山) 小提琴/林昭亮 (上海、北京) 小提琴/曾宇謙 (臺中)

SHAO-CHIA LÜ, conductor CHUN-CHIEH YEN, piano (Xiamen, Hong Kong, Kunshan) CHO-LIANG LIN, violin (Shanghai, Beijing) YU-CHIEN TSENG, violin (Taichung)

顏名秀:《翔.天際》 黃若:《化變》 葛令卡: 《魯斯蘭與盧蜜拉》序曲 柴科夫斯基:D大調小提琴協奏曲 孟德爾頌:第一號鋼琴協奏曲 布拉姆斯:第二號交響曲 拉赫瑪尼諾夫:第二號交響曲

MING-HSIU YEN: Flying Towards the Horizon HUANG RUO: Becoming Antother MIKHAIL GLINKA: Russlan and Ludmila Overture PYOTR ILYICH TCHAIKOVSKY: Violin Concerto, Op. 35, D major FELIX MENDELSSOHN: Piano Concerto No. 1, Op. 25, G minor JOHANNES BRAHMS: Symphony No. 2, Op. 73, D major SERGEI RACHMANINOFF: Symphony No. 2, Op, 27, E minor

10/30 11/1 11/3 11/5 11/7 11/13

Sat. 廈門閩南大劇場 Xiamen Banlam Grand Theater Sun. 香港文化中心 Hong Kong Cultural Centre Tue. 上海交響樂團音樂廳 Shanghai Symphony Hall Thu. 蘇州昆山文化藝術中心 Kunshan Culture and Arts Centre Sat. 北京國家大劇院 National Centre for the Performing Arts, Beijing Fri. 臺中國家歌劇院 National Taichung Theater (臺中國家歌劇院序曲計畫戶外演出)

Wed. 19:30

Fri. 19:30 2015新營藝術季—齊聚藝堂 巨擘系列 I

The Great Maestro I

指揮/內維爾.馬利納爵士 大提琴/田博年

SIR NEVILLE MARRINER, conductor BONIAN TIAN, cello

莫札特:第三十五號交響曲《哈夫納》 舒曼:A小調大提琴協奏曲 孟德爾頌:第四號交響曲《義大利》

WOLFGANG AMADEUS MOZART: Symphony No. 35, K. 385, D major, Haffner ROBERT SCHUMANN: Cello Concerto, Op. 129, A minor FELIX MENDELSSOHN: Symphony No. 4, Op. 90, A major, Italian

國家音樂廳

400 700 1000 1200 1500 台南 新營文化中心演藝廳

400 700 1000 共同主辦:台南市政府文化局


樂季音樂會

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©Richard Holt

內維爾.馬利納爵士 SIR NEVILLE MARRINER


NSO 2015/2016

Season Concerts

白建宇& NSO ― 火之詩

2015/11/29

Fireworks From Russia Sun. 19:30 樂季精選 I

NSO Classics I

顏華容(俄羅斯國立莫斯科柴科夫斯基紀念音樂學院 鋼琴演奏博士)

指揮/呂紹嘉 鋼琴/白建宇 國立實驗合唱團

SHAO-CHIA LÜ, conductor KUN WOO PAIK, piano TAIWAN NATIONAL CHOIR

在貝多芬的「心耳」裡, B 小調是黑色;以管絃樂色 彩大膽斑斕著稱的李姆斯基-柯薩科夫(Nikolai Rimsky-

Korsakov, 1844-1908 )則認為 D 大調是金黃色的;斯 克里亞賓(Alexander Scriabin, 1872-1915)的「世界」

斯特拉溫斯基:《煙火》 斯克里亞賓:升F小調鋼琴協奏曲 斯克里亞賓:《普羅米修斯:火之詩》 斯特拉溫斯基:《火鳥》組曲(1919年版)

IGOR STRAVINSKY: Feu d'artifice, Op. 4 ALEXANDER SCRIABIN: Piano Concerto, Op. 20, F-sharp minor ALEXANDER SCRIABIN: Prometheus: The Poem of Fire, Op. 60 IGOR STRAVINSKY: The Firebird Suite (1919 version)

中降 A 不但是紫色,還一定得是Пурпурно фиолетово,紫羅蘭一般的紫色。 十八世紀彼得大帝力倡西歐化以來,俄羅斯本土藝術能 量不但未有消逝,反而在文化碰撞中激發出另一股龐大 的藝文潮流;吸取西歐數百年來的藝文形式、技巧、哲 思的俄羅斯藝術家,或拾起人人皆知的形式嫺熟地渲染 聽來似曾相識卻又耳目一新的新浪漫,或亦將種種行之 有年拆筋剝骨、畫下新頁。我們在斯特拉溫斯基(Igor

Strasvinsky, 1882-1971)的《煙火》到《火鳥》間聽到風 格躍進;在斯克里亞賓的升F小調鋼琴協奏曲到《普羅 米修斯:火之詩》間,更聽到脫胎換骨。 提到斯特拉溫斯基,樂友們很容易想起他猶如大鬧天 宮的「豐功偉業」,在二十世紀初對歐美樂壇接連投

「NSO會客室」特別來賓:白建宇 (詳細活動資訊請見p.84)

下三枚震撼彈,1910年的《火鳥》(L'Oiseau de feu)、

1911 年的《彼得洛希卡》( Petrouchka )及 1913 年的 《春之祭》(Le Sacre du printemps)以強悍的俄羅斯魂 憾搖歐美表演藝術美學天平。但斯特拉溫斯基究竟不 是孫悟空,恩師李姆斯基-柯薩科夫的指導仍提攜令這 位性喜高調、不可一世的天才在1908年譜出管絃樂曲 《煙火》(Feu d'artifice)祝賀恩師掌上明珠結婚盛事;

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基於1909年接替李亞多夫(Anatoli Liadov, 1855-1914)

曲優雅得猶如十九世紀晚期老紳士老淑女們的夾鼻眼鏡

擔綱譜寫芭蕾舞劇《火鳥》的芭蕾音樂,造就斯特拉

與嗅鹽盒,美得不適合這不懂得慢活的時代,或許也只

溫斯基提早登上國際樂壇、也提早「進化」。

有願意誠心聆聽蕭邦的二十世紀北國傳人纏綿悱惻的小 確幸的人能與作曲家靈犀一點通。

音、色、聲 斯克里亞賓的戲劇性在眾人耳中像「爆衝」,他的 斯特拉溫斯基帶著俄國音樂色彩長驅直入二十世紀,不

「接近狂喜」被視為「瀕臨瘋狂」……身在紅塵,與

過斯克里亞賓不僅要走入未來,還要超脫塵世與神識。

「一般人」、「正常人」彷彿處於平行宇宙的斯克里

「色彩『勾勒』調性」,斯克里亞賓於1915年接受英國

亞賓從優雅頹廢風的鋼琴協奏曲到《普羅米修斯:火

心理學家麥爾斯(Charles Myers, 1873-1946)訪談自己的

之詩》(Prometheus)逐漸探底,游向不見底的黑洞,

聯覺經驗時提到「『色彩』使得調性更明晰」,在斯克

脫開塵世束縛。

里亞賓的耳中,各種聲響、振動不只是色彩,更具有個 性,色彩只是藉以彰顯並與一般人溝通的介質。 與拉赫瑪尼諾夫(Sergei Rachmaninoff, 1873-1943)同以 金獎畢業於莫斯科音樂院,升F小調鋼琴協奏曲正是這 俄國樂界的天之驕子於1896年起筆、翌年春天完成的 大作,首演由日後接掌莫斯科音樂院院長的薩弗諾夫 (Vassily Safonov, 1852-1918)指揮-斯克里亞賓走的可 說是一條家世與天份鋪出來的黃金坦途。這首鋼琴協奏 曲雖然優美悅耳,無論是鋼琴演奏或管絃樂配器設計可 說既優雅又大膽,但錄音與現場演奏-相對於形式編制 更龐大的拉赫瑪尼諾夫、普羅科菲夫(Sergei Prokofiev, 1891-1953)的鋼琴協奏曲而言-相當鮮少,隱約透露 第二次世界大戰之後藝術品味轉變急遽,原先被斥為鋼 鐵機關槍般的噪音轟隆沓至,斯克里亞賓這首鋼琴協奏 音樂色彩論者I. L. Vanechkina & B. M. Galeev發展出來的調性彩 度圈。有些英文資料將斯克里亞賓的降E大調視為紫紅色, 然而資料中並沒有以顏色稱之的敘述,向來都稱之為「血 肉」,甚有「泛著鋼鐵金屬光澤」之述。 翻譯:顏華容,製圖:陳怡儒


NSO 2015/2016

Season Concerts

以利亞 Elias - A Glorious Oratorio

2015/12/5

Sat. 19:30

赫比希與NSO

Mo. Herbig & NSO

赫比希的耶誕祝福 Two FOURTHs

2015/12/17

2015/12/24

Thur. 19:30

Thur. 19:30

巨擘系列 II

The Great Maestro II

指揮/呂紹嘉 以利亞(男中音)/麥可.庫佛 - 拉德奇 女高音/林慈音 次女高音/翁若珮 次女高音/范婷玉 男高音/湯發凱 臺北愛樂合唱團 合唱指導/古育仲

SHAO-CHIA LÜ, conductor MICHAEL KUPFER-RADECKY, Elias (baritone) GRACE LIN, soprano JO-PEI WENG, mezzo soprano TING-YU FAN, mezzo soprano FA-KAI TANG, tenor TAIPEI PHILHARMONIC CHORUS YU-CHUNG JOHN KU, chorus master

指揮/根特.赫比希

指揮/根特.赫比希

GÜNTHER HERBIG, conductor

GÜNTHER HERBIG, conductor

舒伯特:第六號交響曲 布魯克納:第三號交響曲

孟德爾頌:《芬加爾岩洞》 舒曼:第四號交響曲 布拉姆斯:第四號交響曲

FRANZ SCHUBERT: Symphony No. 6, D. 589, C major ANTON BRUCKNER: Symphony No. 3, D minor

FELIX MENDELSSOHN: The Hebrides Overture (Fingal's Cave), Op. 26 ROBERT SCHUMANN: Symphony No. 4, Op. 120, D minor JOHANNES BRAHMS: Symphony No. 4, Op. 98, E minor

孟德爾頌:《以利亞》 (德文演唱)

FELIX MENDELSSOHN: Elias, Op. 70 (Sing in German)

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Midsummer Magic in Winter 2015/12/31 2016/1/1 Thur. 22:00

Fri. 19:30

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琴(情)挑俄羅斯

Pyotr v.s. Dmitri 2016/2/25 Thur. 19:30

跨新年音樂會

NSO 2016 New Year Concert

指揮/張尹芳 YIN-FANG CHANG, conductor 劇本改編/焦元溥 YUAN-PU CHIAO, script adaptation 戲劇統籌/石佩玉 PEI-YU SHIH, visual director 朗讀/張艾嘉 SYLVIA CHANG, narrator 女高音/林慈音 GRACE LIN, soprano 次女高音/翁若珮 JO-PEI WENG, mezzo soprano 東吳大學音樂系合唱團 SCU DEPARTMENT OF MUSIC CHORAL 合唱指導/林舉嫻 CHU-HSIEN LIN, chorus master 語韻指導/郎祖筠 TSU-YUN LANG, diction coach 飛人集社劇團 FLYING GROUP THEATRE

指揮/呂紹嘉 小提琴/瓦列里.索柯洛夫

SHAO-CHIA LÜ, conductor VALERIY SOKOLOV, violin 蕭斯塔科維契:第一號小提琴協奏曲 柴科夫斯基:《羅密歐與茱麗葉》 柴科夫斯基:《里米尼的弗蘭倩絲卡》

DMITRI SHOSTAKOVICH: Violin Concerto No. 1, Op. 77, A minor PYOTR ILYICH TCHAIKOVSKY: Romeo and Juliet PYOTR ILYICH TCHAIKOVSKY: Francesca da Rimini, Op. 32

孟德爾頌:《仲夏夜之夢》

FELIX MENDELSSOHN: A Midsummer Night's Dream (Complete) 「NSO會客室」特別來賓:張艾嘉 (詳細活動資訊請見p. 84)

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NSO 2015/2016

Season Concerts

馬勒第六

Mahler's Sensational Sixth

2016/3/4 Fri. 19:30

樂季精選 II

NSO Classics II 2016 TIFA 台灣國際藝術節 2016 Taiwan Internationl Festival of Arts

車炎江(國立臺北藝術大學音樂學博士)

指揮/呂紹嘉 朗讀/蔡柏璋 拉縴人男聲合唱團 語韻指導/魏樂富

SHAO-CHIA LÜ, conductor PAO-CHANG TSAI, narrator TAIPEI MALE CHOIR ROLF-PETER WILLE, German diction coach

馬勒( Gustav Mahler, 1860-1911 )與荀貝格( Arnold Schoenberg, 1874-1951 )都是猶太裔維也納作曲家, 他們的音樂啟迪無數心靈,在世時卻都必須被迫經歷 「三重無國籍之人」的困境,因為沒有任何地方願意 展開雙臂歡迎他們到來。二人費盡心血在音樂藝術 登峰造極,獲得的報償竟是成為「永世流浪的猶太

荀貝格:《華沙生還者》 馬勒:第六號交響曲

ARNOLD SCHOENBERG: A Survivor from Warsaw, Op. 46 GUSTAV MAHLER: Symphony No. 6, A minor

人」。雖然他們的遭遇令人不勝唏噓,但如今看來, 永世流浪的悲劇宿命不僅熬煉二位大師宏觀超卓的藝 術境界,更在他們的創作裡烙下深刻的印記。 接受庫塞維茨基基金會(Koussevitzky Foundation)委 託創作,荀貝格生前最後一闋大型管絃作品《華沙生 還者》是個寫實生動的音樂極短篇,由他親寫詞曲, 只花費九天時間就譜寫完成。據荀貝格表示,創作靈 感來自新聞報導的駭人景況。某位被關進納粹政權華 沙集中營的不知名猶太人,因藏身下水道得以幸運生 還。透過他的控訴證詞,讓世人明瞭集中營虐殺猶太 人的惡毒行徑。在黎明破曉前,德軍叫醒所有集中營 裡的猶太人,以粗暴手段威嚇全體戰俘集合點名,以

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確認準備送進毒氣室行刑的人數。進毒氣室前,猶太

個樂章(詼諧曲和抒情慢速樂章)的演奏順序也成為

人放聲高唱經文:「以色列啊,你要聽!耶和華我們

此曲演出的焦點之一。無論如何,此曲延續古典交響

的 神是獨一的主」。即使面臨生死關頭,他們仍不

曲四樂章傳統是不爭事實,主題的型塑方式、打擊樂

放棄 神的愛與民族信仰,並以此向獨裁者主張猶太

器組合與管絃樂技法也都展現馬勒的獨特創意。即使

人的生命尊嚴。此曲透過十二音列作曲技術產生的不

馬勒音樂世界裡巨大的悲劇陰影始終徘徊不去,卻能

和諧聲響排山倒海而來,還原集中營令人不寒而慄的

超越小我限制,以音樂提醒世人不可避免的命運橫逆

肅殺氛圍,真實呈現極度恐怖且殘忍的勝利。荀貝格

與生命困境的意義,以抽象樂音顯現浪漫柔情,揭櫫

發揚人道主義精神,以《華沙生還者》向二次大戰期

孤寂的深層內涵與本相。

間慘死於納粹魔掌的猶太同胞表達哀悼與紀念;推而 廣之,該作品對全世界遭受邪惡獨裁政權迫害的無辜

不可否認,複雜多變的人性本質既抽象虛幻且難以捉

犧牲者也有相同意義。

摸,似乎只有透過最抽象、最複雜的音樂才能表達其 中萬一。對死亡的恐懼令人難以承受,一旦昇華成為

馬勒在 1904 年完成的 A 小調第六號交響曲別名《悲

藝術,卻能讓人從中獲得慰藉、希望與靈魂的淨滌

劇》,可能是因為此曲是他唯一使用小調作為主調性

(catharsis),並賜予人們理性內省的動力。若從馬勒

起始且終結的交響曲引人聯想,也或許此曲冥冥之中

與荀貝格的眼光觀照世界,不分古今中外,對於和自己

預示馬勒後續人生一連串不幸事件的降臨――被維也

政治立場、種族、宗教、性取向不同的族群表現不友善

納歌劇院解職、長女瑪麗么折、以及他罹患心臟病過

態度,皆已算不得新鮮事。若將盲目的仇恨視為理所當

世的噩運。全曲曾引發諸多爭議,因此數次改版,第

然,所有理性辯論、道德勸說都將失去效力。唯有最真

一版終樂章出現不祥惡兆似的三次槌擊最為有名,似

實的藝術才可能振聾發聵,為世人敲響警鐘,藉著愛與

乎象徵英雄即將遭受命運的三次重擊;當然,中間二

犧牲,寬恕和救贖的黎明曙光才會真正來臨!


NSO 2015/2016

Season Concerts

查拉圖斯特拉如是說

神奇的玩具屋

2016/3/27

2016/4/1

Musical Philosophy Sun. 19:30

The Fantastic Toy Shop Fri. 19:45

2016/4/2

Sat. 10:30 15:00 指揮/余隆 大提琴/王健 歌者/黃若

LONG YU, conductor JIAN WANG, cello HUANG RUO, vocal

黃若:《碎步》 蕭斯塔科維契:第一號大提琴 協奏曲 理查.史特勞斯:《查拉圖斯 特拉如是說》

©Xu Bin

王健 JIAN WANG

HUANG RUO: Shattered Steps DMITRI SHOSTAKOVICH: Cello Concerto No. 1, Op.107, E-flat major RICHARD STRAUSS: Also sprach Zarathustra, TrV 176, Op. 30

【NSO & 信誼 永遠的童話】

NSO & Hsin-Yi Forever Tales

指揮/張尹芳 說書人/龔鈺祺 無獨有偶工作室劇團

YIN-FANG CHANG, conductor YU-CHI KUNG, narrator THE PUPPET & ITS DOUBLE THEATER

布瑞頓:《青少年管絃樂入門》 比才:《小組曲》選曲 顏名秀:《玩具萬花筒》 雷史畢基:《神奇玩具屋》選曲 繪本《小丑.兔子.魔術師》 (故事/林秀穗 圖/廖健宏)

《爸爸的紅雨傘》(文.圖/林韋達)

BENJAMIN BRITTEN: The Young Person's Guide to the Orchestra, Op. 34 GEORGES BIZET: Selections of Petite Suite MING-HSIU YEN: Toy Kaleidoscope OTTORINO RESPIGHI: Selections of La boutique fantasque PICTURE BOOKS: The Clown, the Rabbit and the Magician

(Cookie Lin, Story / Chien-hung Liao, Illustrations)

Papa's Red Umbrella

(LIN Wei Da, Story & Illustrations)

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©CAMI Music

余隆 LONG YU


NSO 2015/2016

Season Concerts

春天號角

Blast of Spring 2016/4/9 Sat. 19:30

賈維與NSO

Mo. Järvi & NSO 2016/4/22

Fri. 19:30

巨擘系列 III

The Great Maestro III

指揮/克里斯蒂安.阿閔 法國號/拉德克.巴伯羅柯

指揮/尼姆.賈維

NEEME JÄRVI, conductor

CHRISTIAN ARMING, conductor RADEK BABORÁK, horn

韋伯:《奧伯龍》序曲 理查.史特勞斯:第一號法國號 協奏曲 莫札特:第一號法國號協奏曲 舒曼:第一號交響曲《春》

拉德克.巴伯羅柯 RADEK BABORÁK

CARL MARIA VON WEBER: Oberon Overture, J. 306 RICHARD STRAUSS: Horn Concerto No. 1, TrV 117, Op.11, E-flat major WOLFGANG AMADEUS MOZART: Horn Concerto No. 1, K. 386b, D major ROBERT SCHUMANN: Symphony No. 1, Op. 38, B-flat major, Spring

海頓:第88號交響曲 布拉姆斯:《韓德爾變奏曲》 拉赫瑪尼諾夫:第三號交響曲

FRANZ JOSEPH HAYDN: Symphony No. 88, G major JOHANNES BRAHMS: Handel Variations, Op. 24 (orc. E. Rubbra) SERGEI RACHMANINOFF: Symphony No. 3, Op. 44, A minor

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©Simon van Boxtel

尼姆.賈維 NEEME JÄRVI


NSO 2015/2016

Season Concerts

爵士.交響

Shostakovich, His Humor and Seriousness 2016/4/29 Fri. 19:30

指揮/呂紹嘉 小號/萊因霍爾德.弗里德里希

SHAO-CHIA LÜ, conductor REINHOLD FRIEDRICH, trumpet

蕭斯塔科維契:第一號爵士組曲 齊默爾曼:《沒人知道我所遭遇過的困 難》小號協奏曲 蕭斯塔科維契:第十號交響曲

©Rosa-Frank.com

萊因霍爾德.弗里德里希 REINHOLD FRIEDRICH

DMITRI SHOSTAKOVICH: Suite for Jazz Orchestra, No. 1 BERND ALOIS ZIMMERMANN: Nobody knows de trouble I see, Concerto for Trumpet and Orchestra DMITRI SHOSTAKOVICH: Symphony No. 10, Op. 93, E minor

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焦元溥(倫敦國王學院音樂學博士)

「我只花了四十五分鐘!」

一切也都必須做個了結。在第四樂章蕭斯塔科維契徹 底攤牌,於是我們聽到更可怕駭人的管絃音畫、更淒

蕭斯塔科維契(Dmitri Shostakovich, 1906-1975)年輕時

厲肅殺的聲響嚎叫,以及最後姓名動機狠狠壓制喧

向來以聽力見長。他耳朵絕佳,膽子更大,常常和人

囂,自我安慰卻也振奮人心的精神勝利。

打賭較勁。有次他到一位指揮家中作客,交誼廳放著 美國金曲〈Tea for Two〉。主人問他能否在一小時內編

在很多人心中,這是蕭斯塔科維契最偉大的作品。當

成管絃樂,沒想到這快筆天才竟還沒用到一小時!

年聆聽首演的羅斯卓波維奇(Mstislav Rostropovich, 1927-

這件發生在1928年的趣事,像預言一樣宣告蕭斯塔科

2007),深受震懾到從此放棄作曲,專心鞏固自己的大 提琴。卡拉揚(Herbert von Karajan, 1908-1989)帶領柏林

維契後來在此類「爵士」音樂的發展。蘇聯那時的 「爵士樂」,其實本質是通俗輕音樂。經過多年浸

愛樂訪問蘇聯,千挑萬選後也演奏了第十號交響曲,而 此曲也是這位巨匠唯一指揮的蕭斯塔科維契。

淫,蕭斯塔科維契在1934年寫下的第一號爵士組曲, 以精湛寫作技巧將咖啡館樂曲提升為專業演奏會作

在青春快樂與飽嚐風霜的兩樣蕭斯塔科維契之間,我

品。旋律與聲響迷人,色彩和情調也特殊,這些可愛

們聽的是小號協奏曲《沒人知道我所遭遇的困難》。

樂曲讓人一聽不忘,也記錄了蕭斯塔科維契那段快樂

曲名來自黑人靈歌改成的爵士樂名作,內容可是一語

且恣意的時光,雖然好日子並沒有很長—經歷批鬥,

雙關。二十世紀作曲名家齊莫爾曼以「複合風格」聞

一鬥又二鬥,作曲家索性不再創作交響曲。沉潛八

名,此曲一樣融合各種樂風,先是聖詠曲般的前奏,

年,等史達林一死,他才下筆第十號交響曲,告訴世

繼而自由開展的變奏,最後則為精心構思的現代爵士

人他可有話要說—而這一說還真是令人震撼!蕭斯塔

風,展現變化多端又迷人無比的音樂表現。聽來雖刺

科維契寫個人痛苦也寫時代悲劇,在晦暗沉重到透不

激有趣,作曲家也有微言大義:和蕭斯塔科維契一

過氣來的第一樂章之後,他傳神地在第二樂章描繪極

樣,他把政治立場悄悄藏在音符間。愈仔細聆聽,愈

權獨裁者的猙獰面貌,那管絃咆哮之恐怖,令人瞠目

能知道他對「種族仇恨」的厭惡與反省,欣賞精采華

結舌又膽戰心驚。第三樂章作曲家吐露了心底的秘密

彩也能深獲感動。

感情,又以諷刺手法安插自己的姓名動機「DSCH」, 讓我們知道即使人事已非、老了容顏,那音樂裡頭仍

人生實難。從輕音樂到交響曲,且聽作曲家如何將音

然藏著當年聰明伶俐的少年。只是縱然不堪回首,這

符把玩,帶領聽者度過抉擇的難關。


NSO 2015/2016

Season Concerts

浪漫白遼士

A Berlioz Bash 2016/5/6 Fri. 19:30

樂季精選 III

THE GENIUS OF B E R L I O Z

NSO Classics III

by Robert Markow (Musicologist) 指揮/呂紹嘉 次女高音/伊莉莎白.詹森

SHAO-CHIA LÜ, conductor ELISABETH JANSSON, mezzo soprano

The Quintessential Romantic 白遼士: 《班維奴托.切利尼》序曲 《夏夜》 〈愛的烈焰〉選自《浮士德的天譴》 《羅密歐與茱麗葉》選曲 匈牙利舞曲選自《浮士德的天譴》

HECTOR BERLIOZ: Benvenuto Cellini Overture Les nuits d'été, Op. 7 'D'amour l'ardente flamme' from La damnation de Faust, Op. 24 Excerpts from Roméo et Juliette, Op. 17 Hungarian March from La damnation de Faust, Op. 24

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Hector Berlioz was among the first of the great Romantic figures of the nineteenth century. Here was an artist who did nothing by halves. A burning ambition, boundless imagination and powerful urge for self-expression marked him as a bold new force in the history of musical composition. For Berlioz, order and restraint were out; emotionalism and extravagance were in. He was wildly emotive, uninhibited, and in love with the idea of being different. Berlioz made music something personal, really personal. Not for him the objectified classicism of Haydn, Mozart or Schubert. Like Beethoven, he did not follow rules; he made them. Everything he did was with the utmost enthusiasm and seriousness of purpose. Mendelssohn


樂季音樂會

wrote: "What he hates, he grasps fiercely by the hair; what he loves, he almost crushes in his fervor."

His Own Worst Enemy Berlioz has been called his own worst enemy. He was simply unable to control his temper, hold his tongue or keep his opinions to himself. As a result, he made himself unpopular with many of the leading cultural and political figures around him, effectively closing doors to many opportunities that would have advanced his career as a composer. Since he earned almost nothing from his music, he took to conducting (he was among the first "choreographic conductors,"yet he maintained a clear beat) and to music criticism. For ten years he contributed to various journals, especially the Journal des Débats and the Gazette musicale. Berlioz claimed to dislike writing criticism, yet he turned out some of the freshest, most insightful and fervid prose of its kind ever penned. There is a good dose of humor in it as well, as can be discovered by perusing the volume of collected reviews and essays entitled Les Soirées de l'Orchestre (Evenings with the Orchestra in its English translation).

Student Years Unlike many of the great composers, Berlioz was no child prodigy. His father, a well-respected doctor, ensured that his son was properly educated in literature, history and other subjects. He arranged for Hector to study the flute, but

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this didn't go beyond the elementary level. Dr. Berlioz expected Hector to become a physician, like himself, and in 1821 sent his eighteen-year-old son off to Paris to study medicine. But Berlioz spent more time at the opera house and the conservatory library t han h e d i d i n t h e dissecting room and the hospital. Finally, he won out over the objections o f h i s parents an d enrolled at Paris' famed Conservatoire.

His Instrument? The Orchestra! What Bach was to the organ, Chopin to the piano and Paganini to the violin, Berlioz was to the orchestra. He treated it as a collective virtuoso instrument from which he demanded much and from which drew astonishing new sounds. Ironically, Berlioz was the first major composer not to possess technical proficiency on any instrument. Everyone


NSO 2015/2016

Season Concerts

before him had been a top-notch pianist, organist, violinist, flutist . . . or something. Berlioz played the orchestra. His Treatise on Orchestration served all future generations of composers and is still in use today. In it he opened the doors to a new approach to the orchestra–how to exploit the sound, color, range and special effects of each instrument and how to combine them in unprecedented ways. There is a unique, identifiable quality to the sound of the full Berlioz orchestra–bright, brazen, almost garish. A typical example can be heard in the dazzling opening of the Overture to his opera Benvenuto Cellini or in the final blazing moments of the Symphonie fantastique.

New Directions In matters of form, Berlioz was in the forefront of new paths. He composed four works with the title "symphony" in them, not one of which any of his predecessors – Haydn, Mozart, Beethoven, Schubert included – would have recognized as such. The best-known of these, the Symphonie fantastique, is a fifty-minute, five-movement, frankly autobiographical construct. Here is Berlioz' description of how it all works: "A young musician of morbidly sensitive temperament and fiery imagination poisons himself with opium in a fit of lovesick despair. The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions, during which his sensations, his emotions, his memories are transformed in his sick mind into musical thoughts and images." Only a musical pioneer

and unabashed romantic could have thrust this upon the world. In it, special orchestral effects abound: otherworldly wisps of sound high in the violins in the slow introduction; the distant, plaintive oboe and English horn calls in the countryside; the threatening thunderstorm heard on four differently-tuned timpani; the terrifying brass and drum effects in the March; the Dies irae (the chant for the dead) theme in the tubas accompanied by deep bells at the witches' Sabbath; the list could go on and on . . .

A Different Side There was an intimate side to Berlioz' artistic personality as well. We hear it at its finest in a work like Les Nuits d'été (Summer Nights), a cycle of six marvelously evocative, expressive, imaginative songs that explore the finer shades of atmosphere and meaning. Finesse, restraint, elegance, dreamy nostalgia and a luminous glow color these exquisite gems. Then there is the throbbing passion in the Love Scene of his setting of Romeo and Juliet, or in Marguerite's aria "D'Amour l'ardente" from The Damnation of Faust, suffused with the aura of tender melancholy.

Nights To Remember In his fervent expressiveness, commitment to the personal element in art, wild temperament and uncompromising individualism, Berlioz was one of the towering figures of nineteenth-century music. It is impossible not to be deeply moved by his works. 《幻想.交響》A FANTASTIC Symphony 2015/10/17 Sat. 19:30


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白建宇 & NSO ― 琴.鍵.交響

Kun Woo Paik & NSO - An Evening of Symphonic Blast 2016/5/14 Sat. 19:30

指揮/里科.斯卡尼 鋼琴/白建宇 管風琴/陳相瑜

RICO SACCANI, conductor KUN WOO PAIK, piano HSIANG-YU CHEN, organ

高大宜:《加蘭塔舞曲》 德沃札克:G小調鋼琴協奏曲 聖桑斯:第三號交響曲《管風琴》

里科.斯卡尼 RICO SACCANI

ZOLTÁN KODÁLY: Dances of Galanta ANTONÍN DVOŘÁK: Piano Concerto, Op. 33, G minor CAMILLE SAINT-SAËNS: Symphony No. 3, Op. 78, C minor, avec Orgue

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NSO 2015/2016

Season Concerts

白建宇 & NSO ― 五重奏

第二號

2016/5/20

2016/5/27

Kun Woo Paik & Friends Fri. 19:30

Two Great SECONDs Fri. 19:30

2016/5/28 (新竹) Sat. 19:30

鋼琴/白建宇 小提琴/李宜錦、鄧皓敦 陳偉泓 中提琴/黃瑞儀、陳猶白 大提琴/連亦先、黃日昇 低音提琴/蘇億容

KUN WOO PAIK, piano NSO MUSICIANS

舒伯特:鋼琴五重奏《鳟魚》 布拉姆斯:F小調鋼琴五重奏

FRANZ SCHUBERT: Piano Quintet, D. 667, A major, Trout JOHANNES BRAHMS: Piano Quintet, Op. 34, F minor

指揮/亞利安.普拉巴伐 鋼琴/史帝芬.賀夫

ADRIAN PRABAVA, conductor STEPHEN HOUGH, piano

舒曼:第二號交響曲 布拉姆斯:第二號鋼琴協奏曲

ROBERT SCHUMANN: Symphony No. 2, Op. 61, C major JOHANNES BRAHMS: Piano Concerto No. 2, Op. 83, B-flat major

©René Knoop

亞利安.普拉巴伐 ADRIAN PRABAVA

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史帝芬.賀夫 STEPHEN HOUGH


NSO 2015/2016

Season Concerts

雙面魏德曼

2016/6/5

The Dual Faces of Jörg Widmann Sun. 19:30

寶 藏 ?

負 擔 ?

樂季精選 IV

NSO Classics IV

指揮/呂紹嘉 單簧管/約格.魏德曼

焦元溥(倫敦國王學院音樂學博士)

SHAO-CHIA LÜ, conductor JÖRG WIDMANN, clarinet 「傳統」是寶藏還是負擔?「新」世代的音樂家會如何 看「舊」作品?在二十一世紀的第二個十年,當代音樂 是什麼景色,我們又可如何同時欣賞過去與現在?回顧

舒伯特:第八號交響曲《未完成》 魏德曼:《歌》 韋伯:第一號單簧管協奏曲 辛德密特:《韋伯主題交響變形》

歷史,除了二次大戰後一小段時間的例外,音樂創作向

FRANZ SCHUBERT: Symphony No. 8, D. 759, B minor, Unfinished JÖRG WIDMANN: Lied CARL MARIA VON WEBER: Clarinet Concerto No.1, J. 114, Op. 73, F minor PAUL HINDEMITH: Symphonic Metamorphosis of Themes by Carl Maria von Weber

命,兩者不停跨時空對話交流。想要知道作曲家如何穿

來延續不斷,新創作並不捨棄舊技法。前輩會影響甚至 預示後輩的發展,後輩也能賦予過去作品新詮釋與新生 越古今,這場音樂會做了最好的示範。 舒伯特在德文藝術歌曲所建立的偉大成就,令人不得 不為他奉上「歌曲之王」的冠冕。他具有不可思議的 旋律才華,在其他類型作品裡也多有不凡創作。交響 曲《未完成》曲調淒美哀絕,既有綿長歌樂線條又有 精彩器樂手筆,是將二者合一的不朽典範。如此筆 法也可見於魏德曼的《歌》。這位國際樂壇當紅炸 子雞,不只豎笛功力了得,作曲更深受肯定。做為 二十一世紀的新銳代表,魏德曼繼承了1970年代以來

「NSO會客室」特別來賓:約格.魏德曼 (詳細活動資訊請見p. 84)

的作曲風潮轉折,認為當代音樂沒有必要放棄旋律與 和聲美感。創新可以有很多種面貌,向傳統致敬並非 就是妥協媚俗。他以器樂組合表現聲樂藝術的三部 曲,就是極受好評的名作。首部曲《歌》現代又懷

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Dares what Beethoven could not

©Marco Borggreve

約格.魏德曼 JÖRG WIDMANN

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舊,既可聞偉大的德語藝術歌曲脈絡,又 是對後期浪漫的誠心禮讚,絕對是傳世之

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作。 既是回顧過去,魏德曼在《歌》中不免引 用了前輩作品。同樣手法當然早有前例,

Jörg Widmann's

亨德密特( Paul Hindemith, 1895-1963 ) 《韋伯主題交響變形》就是膾炙人口的名 作。此曲以德國前輩韋伯作品中諸多好聽

m

u

s

i

c

的主題作自由改寫,充分發揮交響樂團豐 富燦爛的色彩與音響。亨德密特構思高妙 之處,在於他完全不用《魔彈射手》或

by Tom Service

《邀舞》等名作,反而從罕為一般聽眾 所知的樂曲尋找曲調,果然給予聽眾更 新鮮的感受。像第二樂章他就用了韋伯劇 樂《杜蘭朵》中的旋律,聽來果然滿溢濃 濃東方中華風情,整部作品也毫無冷場可 言。既有古雅旋律,又有新穎和聲,《韋 伯主題交響變形》東西融合且穿梭古今, 還要求管絃樂團拿出看家本領炫技,實在 是讓人聽了血潮洶湧、大呼過癮的銳利名 作,每次聽都會有不同的感動。 這場音樂會雖未演出被亨德密特引用的作 品,卻有韋伯名作單簧管協奏曲,加上舒 伯特與魏德曼的前後呼應,曲目設計著實 別出心裁。NSO 不只演出魏德曼的創作, 亦請他擔任單簧管協奏曲演出,讓我們充 分認識這位樂壇俊彥,更是讓人驚喜的好 安排。聽了這場音樂會,您可以知道傳統 與現代能何其自在地交流互通,創作素材 與表現手法又可以何其多元與豐富。這是 最好的音樂穿越之旅,必是您回味無窮的 精神享受。

Widmann's essential project is to reveal the continuing vitality of Mozart or Schubert – and he brings it kicking and screaming into the present day Listen to this. Sound familiar? It both should – and shouldn't. Jörg Widmann's Third String Quartet, the Jagdquartett (Hunt Quartet) is based, as you'll have heard even from just the first few bars, on the obsessive repeated rhythms from the first movement of Beethoven's Seventh Symphony. But the German composer Widmann, who is not yet 40, dares what Beethoven could not, making that infectious, foot-tapping dotted rhythm the basis for an exploration of musical violence, extremity and dissonance; a musical hunt that goes further than the figurative hunt-motives of the classical and romantic periods (Mozart, after all, also wrote a so-called "Hunt Quartet"). Widmann writes out the potential for sadism and humour latent in these archetypes; the piece ends with the rest of the quartet symbolically hunting down and killing the cellist. (As some string quartets may want to actually do in real life … )


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Jörg Widmann, Dares what Beethoven could not.

That piece is the middle panel of Widmann's gigantically expressive and ambitious cycle of five string quartets. But now try this, his orchestral piece, Armonica, composed in 2007. Sound different? It sure does: music scored for large orchestra and glass harmonica (another relic of the 18th century, in fact, and an instrument Mozart wrote for at the end of his life, but which has scarcely been used in the 20th and 21st centuries). The piece casts an ethereal web of sound that seems to radiate from the harmonica's ghostly, almost electronic textures with slow-moving, overlapping chords and sensuous orchestral glitter, and an accordion acting as a kind of sonic intermediary between the glass harmonica and the rest of the orchestra. That kind of expressive diversity and sensitivity to the instruments, forms and traditions for which he is writing is rooted in Widmann's unique musical life as a composer and world-class clarinettist. He's also a useful conductor and an almost equally accomplished pianist, who has pretty well the entire tradition of classical music at his fingertips: he busked through almost the whole of Schumann's piano works when I met him at his home in Freiburg a few years ago. Like his teacher Wolfgang Rihm, Widmann doesn't reject any aspect of musical tradition. His music is a dialogue, homage and continuation of the essential concerns of the music he loves most: Beethoven, Schumann, Schubert, Mozart, Mahler, Berg – as well as Rihm and Lachenmann. But it's much more than that. Born in 1973, Widmann is young enough to be freer than previous generations of German composers of the style-police of modernist

ideology – freer, in other words, to be the musician and composer he wants to be rather than having to obey the diktats of any creative orthodoxy. But the range of Widmann's music anyway makes pigeonholing him or his work an impossible task. Another pair of contrasts: the magnificently opulent orchestral Lied, a dream of late romanticism that manages to be nostalgic and contemporary at the same time, and the splintery energy of the Fünf Bruchstücke for clarinet and piano. The reason I think Widmann's music is so invigorating and important is that it not only charts a new musical and imaginative terrain – one that is joyously free to plunder the entirety of music history from Mozart to Lachenmann for its own ends – but also has so much to say about the way we hear the music of the past. When he played Mozart and late Schumann at the piano for me, Widmann rejoiced in finding the moments of acidulous dissonance, unresolved tensions and modernist style-clashes in music I might have thought I knew. In a sense, those works of his that are obviously based on previous music (like this one, Con Brio, composed as a tribute to Beethoven for the Bavarian Radio Symphony Orchestra) explode their models to create a soundscape of instability and unpredictability. But really, as in the Jagdquartett, what Widmann is doing is revealing the fissures and cracks in the original pieces, asking us to hear Beethoven with the same sense of thrill and novelty with which we listen to new music. For Widmann, honouring that music of the past is the opposite of putting it on a pedestal. His essential project is to reveal the continuing contemporary vitality of Mozart or Schubert. © The Guardian Monday 8 October 2012 15.22 BST


NSO 2015/2016

Season Concerts

NSO會客室

Chatroom

訪談人:焦元溥

行星組曲

The Planets 2016/6/12 Sun. 19:30

羅許德茲特溫斯基 與NSO

A Royal Musical Couple ! 2016/6/18

Sat. 19:30 巨擘系列 IV

The Great Maestro IV

在古典音符的世界裡

NSO與藝術家好朋友們 邀您天南地北聊音樂

2015/11/27 Fri. 19:30 特別來賓:白建宇 ※憑2015/11/29《樂季精選 I ―火 之詩》票券進場,限 150 席,額滿 為止。

2015/12/27 Sun. 14:30 特別來賓:張艾嘉 ※憑2015/12/31、2016/1/1《跨新 年音樂會―仲夏夜之夢》票券進 場,限150席,額滿為止。

指揮/呂紹嘉 鋼琴/劉孟捷 小號/宇新樂 國立實驗合唱團

SHAO-CHIA LÜ, conductor MENG-CHIEH LIU, piano NICOLAS RUSILLON, trumpet TAIWAN NATIONAL CHOIR

布瑞頓:《青少年管絃樂入門》 蕭斯塔科維契:第一號鋼琴協奏曲 霍爾斯特:《行星》組曲

BENJAMIN BRITTEN: The Young Person's Guide to the Orchestra, Op. 34 DMITRI SHOSTAKOVICH: Piano Concerto No. 1, Op.35, C minor GUSTAV HOLST: The Planets, Op. 32

指揮/格納迪.羅許德茲特溫斯基 鋼琴/維多利亞.波絲特妮柯娃

GENNADY ROZHDESTVENSKY, conductor VIKTORIA POSTNIKOVA, piano

拉赫瑪尼諾夫: 《吉普賽綺想曲》 第四號鋼琴協奏曲 蕭斯塔科維契:第六號交響曲

SERGEI RACHMANINOFF: Capriccio on Gypsy Themes, Op. 12 Piano Concerto No. 4, Op. 40, G minor DMITRI SHOSTAKOVICH: Symphony No. 6, Op. 54, B minor

2016/6/3 Fri. 19:30 特別來賓:約格.魏德曼

JÖRG WIDMANN ※憑2016/6/5《雙面魏德曼》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)

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格納迪.羅許德茲特溫斯基 GENNADY ROZHDESTVENSKY


OTELLO 最

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O 奧泰羅 Verdi's OTELLO

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2016/7/8 Fri. 19:30

2016/7/10 Sun. 14:30 歌劇音樂會

Opera-in-Concert

指揮/呂紹嘉 戲劇統籌/瑪莉.柏恩鮑姆 奧泰羅/麥可.雷赫斯基 黛絲德莫娜/希莉亞.科絲提雅 亞果/鮑里斯.史坦森柯 洛杜維可/羅俊穎 卡西歐/王 典 蒙塔諾/葉展毓 愛蜜莉亞/范婷玉 羅德利果/湯發凱 聲樂指導/任美芽 臺北愛樂合唱團 合唱指導/古育仲

SHAO-CHIA LÜ, conductor MARY BIRNBAUM, stage director MICHAL LEHOTSKY, Otello CELLIA COSTEA, Desdemona BORIS STATSENKO, Iago JULIAN LO, Lodovico FERNANDO WANG, Cassio CHAN-YU YEH, Montano TING-YU FAN, Emilia FA-KAI TANG, Roderigo MIAH IM, vocal coach TAIPEI PHILHARMONIC CHORUS YU-CHUNG JOHN KU, chorus master

金慶雲(前國立台灣師範大學音樂系教授,聲樂家)

如果用一位作曲家代表義大利歌劇,必是威爾第 (Giuseppe Verdi, 1813-1901)。如果用一部作品代表威 爾第,必是《奧泰羅》。

1848年董尼才悌(Gaetano Donizetti, 1797-1848)過世 後,威爾第成為義大利歌劇作曲家的第一人。中期 三大名篇《弄臣》、《茶花女》、《游唱詩人》推 出,風格確立,藝術成熟,到《阿依達》登峰造極。 此後16年間再無歌劇新作,重要作品只有一部《安魂 曲》。 然而他的江山並不穩固。阿爾卑斯山北面傳來華格納 隆隆的威脅。1865年《崔斯坦與伊索德》推出。1876 年拜魯特劇院落成,上演全套《指環》。華格納席捲 全歐,文化人為之癡狂。威爾第代表的義大利歌劇被 視為落伍、庸俗、淺薄、陳腐,被革命的對象。 威爾第坐不住了。他需要再一次證明自己。最讓他不 平的,是被譏為抄襲華格納。威爾第是美聲歌劇的終

威爾第:《奧泰羅》

GIUSEPPE VERDI: Otello

結者,是義大利歌劇走向「戲劇」的最大推手。華格 納的「整體藝術」說,他早在嘗試實踐,只不過未能 親自寫劇本。薄伊托(Arrigo Boito, 1842-1918)捧著改 編莎士比亞名劇《奧泰羅》的構想出現,威爾第終於 有了一個稱心的劇作家。

國家音樂廳

400 700 1000 1500 1800 2400 3000(企業贊助)


OTELLO NSO 2015/2016

Season Concerts

薄伊托是義大利「浪蕩派」(Scapigliatura)文學藝術

然不同。缺少重複,聽眾被帶著不斷前進,保持著緊張

運動的代表人物,能詩能曲,正是義大利版華格納,

熱切的期盼,蓄積的能量湧向最後的高潮「一個吻,一

但最終只成為「一劇作家」。 他的《梅菲斯托》是義

個吻,再一個吻。」這一段旋律,到劇終時才又再現,

大利第一部詞曲出於一人之手的歌劇。他的歌劇改革

當初幸福的愛情變成慘劇,令人悵惘。

宣言,曾令威爾第大為惱怒。但當他自甘為大師作嫁 衣,終使威爾第盡釋前嫌。兩人成為莫逆,還繼續合

整個《奧泰羅》就是由層出不窮的新旋律拼接而成。音

作了威爾第的最後偉構《法斯塔夫》。

樂由劇情歌詞衍生,不受形式束縛。管絃樂的作用遠遠 不止于給人聲伴奏,很多時候甚至承載了主旋律。

《 奧 泰 羅 》 就 該 由 威 爾 第 來 寫 。 蕭 伯 納 ( G e o rg e

Bernard Shaw, 1856-1950)曾說,《奧泰羅》是最威爾

奧泰羅是受苦最深的人,他的演唱者們亦然。奧泰羅

第的莎士比亞。威爾第的歌劇從來都是「情節劇」

與崔斯坦並列最困難的男高音角色,卡羅素、畢約

(melodrama)。題材翻新,人物鮮明,衝突不斷,高

林、貝貢齊、帕華洛帝,都不敢在舞臺上演出,過早

潮迭起,而《奧泰羅》的深度前所未及。

嘗試者多因之敗嗓;而蒙納科、多明哥因此成就霸 業。整個第二幕延伸到第三幕,亞果的謊言如一道道

《奧泰羅》包含了威爾第過去歌劇裏的各種成功要

酷刑,抽打著奧泰羅,而威爾第的音樂也是男高音的

素。就看第一幕:暴風雨場景,大合唱,主角在合唱

酷刑。除了少數的抒情唱段,多是暴起暴落,出自肺

中現身,舞蹈場景、飲酒歌、愛情二重唱,都似曾相

腑的嘶吼、咆哮、詛咒、啜泣、呻吟。奧泰羅的難

似,彷彿是威爾第對過去成就的回顧。而這裏還凝聚

唱,在於音程的跳動,情緒的變化,說/唱的轉換,

了多年對歌劇沉潛反思的心得,管絃樂承載著音樂之

而不在有多少高音;奧泰羅不是幾聲痛快的高音就能

流,色彩之豐富較華格納何遑多讓。金鐵交鳴,雷轟

對付的,需要用到全部聲區,整個軀體,胸聲渾厚的

電閃,緊張的弦樂如驚濤駭浪沖上崩下。而比華格納

「雄健男高音」才能勝任。即使具備了合適的音色、

更強大的,是威爾第賴以成名的絕技:人聲合唱(華

音質、音量、技巧,威爾第的藝術性要求更難通過,

格納幾乎不用合唱),威爾第把台上台下的歌者樂手

總譜上指示密佈,第三幕獨唱前,在十二小節中有六

主角配角織成一個整體,隨著劇情推展,在合唱、重

個詳細的表情指示。

唱、獨唱、表演、舞蹈之間自由穿梭,無縫銜接,詠 歎調宣敘調的界限完全泯滅。

如此嚴苛的要求,為的是刻畫一個深沉複雜的人物。奧 泰羅很容易被詮釋為魯莽的武夫,其實他是高尚的基督

義大利歌劇最引以為傲的美麗旋律,在這裏也不一樣

徒,莎士比亞改寫了野蠻人殘忍殺妻的故事原型。「你

了。第一幕的愛情二重唱中奧泰羅的唱段,全是「通

因為我經歷的苦難而愛我,我因為你對我的同情而愛

譜」(through-composed),沒有慣用的重複、變奏,每

你。」這愛情二重唱中的高潮在原劇中是奧泰羅在眾人

一句都是一段新旋律,卻都沒有得到充分的發展,黛絲

面前的辯解,他們的愛情建立在崇拜與同情的高尚情操

德莫娜應和的旋律也是她自己的;這儼然就是華格納主

之上,而亞果要摧毀的,就是高尚的情操,他執意喚醒

張的,按照詩意發展的「無限旋律」,而兩者聽起來截

奧泰羅心中的魔鬼。而莎士比亞告訴我們,這樣的魔


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鬼,並不僅隱藏於野蠻人的黑色皮膚底下,而可以在每

亞果的動機也是嫉妒,見不得人好的嫉妒。嫉妒來自

個人,尤其所謂道德感強烈的文明人心裏。

於自卑。〈信經〉中那句「魔鬼驅使著你, 我就是 你的魔鬼。」暗示著亞果的惡行是一種尼采所謂「權

奧泰羅認為自己被欺騙、被背叛、被羞辱,完全信

力意志」的伸張。一個卑微小人,竟有莫大權力,在

任、完美愛人的夢想破滅,他一步步踏進亞果的陷

暗中決人生死。亞果又是智力型罪犯,他從把所有人

阱,自己心魔的陷阱。亞果警告的,毒蛇一般的嫉

玩弄於股掌的遊戲中獲得樂趣。他老謀深算,隨機應

妒,咻咻吐著紅信逼近(聽聽顫抖的弦樂)。懷疑的

變。藉有限的、偶然的資源發揮出致命的力量。而威

種子一旦萌芽,就迅速生長。奧泰羅的眼中,天使般

爾第對飾演這個大反派演員的補償,是一個可以盡情

的愛妻原來是魔鬼的偽裝,殺妻是維護正義的最後手

揮灑,推動著全劇的男中音角色。

段。莎士比亞揭示了人性的複雜,溝通之困難,自卑 與自負的愚昧,種族界限與社會階級的頑固力量。奧

黛絲德莫娜,這個集善良美麗於一身的女人,卻因為

泰羅是一個可以無限挖掘的人物。

真誠被懷疑而蒙冤。純真的貴族少女,竟愛上曾賤為 奴隸的黑人,為之私奔。奧泰羅辜負了這珍貴的愛

亞果,歌劇中最邪惡的人物,莎士比亞另一個人性樣

情。在這一齣陰暗的歌劇中,她是「島上的陽光」,

本。對為惡的動機,莎士比亞勉強給了一個懷疑妻子

是在戲劇傾軋中抒情的角落,飽受轟炸的觀眾的精神

與奧泰羅有染的理由,但連亞果自己對此都有些心

避難所,每一個安靜恬和的段落都是因為她:第一幕

虛;未得升遷因而怨恨,言之成理,但陷害卡西歐被

的愛情二重唱,第二幕中婦女兒童的合唱,第三幕,

免職時已經報復成功,何必置黛絲德莫娜於死地?

她的苦難降臨,被奧泰羅質疑、諷刺、毆打、公然羞

還有人說,他對奧泰羅暗藏同性戀情,所以視黛為情

辱,威爾第回報給她的是幾乎整個第四幕。前奏裡出

敵。但這純屬臆測,相反的,他言辭中不時流露出對

現了後面「柳樹」的旋律。這一段與劇情全無關係的

奧賽羅的種族偏見。

插曲,在原劇中就有(莎士比亞總是出乎人意料),

第二幕中亞果的〈信經〉是薄伊托添寫的,歌劇中最 徹底的惡之宣言,威爾第擊節讚賞。篤信上帝的他, 和無神論者博依託,共同譜出了這著名的男中音唱 段。音樂完全是通譜,狡黠雄辯地呈現魔鬼的哲學。

後續的祈禱則是添寫的。兩者合成的獨唱部分,是威 爾第為女高音譜寫的最美旋律之一。對死亡的預感, 對失去的愛情的哀悼,無助無奈,不安不解,除了祈 禱,再無憑依,但瀕死她還維護著奧泰羅。

可注意的,宣言的結尾是宗教的沉思:「死亡之後,

黛絲德莫娜睡下到被驚醒之間,是奇特的,近三分鐘

就是虛無,天國是一個古老的故事」。沒有靈魂永

的間奏。奧泰羅無聲潛入臥室,凝視著美麗的、深愛

生,沒有最後審判。亞果的宣言,和尼采喊出「上帝

的妻子,吻她,一如從前,然後宣佈她的死刑。

已死」差不多同時。亞果信奉的「另一個神」,似乎 指向博依託歌劇的主角梅菲斯托,試圖與上帝分庭抗

「你祈禱了嗎?我不願殺死你的靈魂」奧泰羅扼死了

禮的魔鬼。亞果說,我為惡,因為我生來就是惡人。

他的天使、他的幸福,他自己的靈魂。

但這並未完全回答動機問題。


NSO 2015/2016

Season Concerts

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by Hugo Shirley (PhD in musicology from King's College London; Editor of Gramophone magazine)

After Aida, premiered in Cairo in 1871, Verdi had essentially decided to stop composing for the stage. He was a wealthy man, his years of toil, of being subject to the vagaries of unsympathetic impresarios, recalcitrant stars and unpredictable audiences were behind him. He was concerned, moreover, regarding his own position in a fastchanging operatic world, in which a new generation of Italian artists (including the polymath Arrigo Boito, librettist of Otello) started looking north of the Alps for inspiration, to France and, increasingly, Germany. Verdi had completed his Requiem—hardly less operatic than many of his operas, as early critics were quick to point out—in 1874 (and conducted it the following year on tour around Europe). He composed further religious works later in the decade before undertaking wholesale revisions of two earlier scores: a revised Simon Boccanegra was premiered at La Scala in Milan in 1881, where a new four-act Don Carlos

(in Italian) was unveiled three years later. However, Verdi's wily and indefatigable publisher, Giulio Ricordi, had, with Boito, sown the seeds for a new opera to follow Aida as early as 1879. They were aware of the composer's lifelong admiration of Shakespeare (his Macbeth dates from 1847 but was revived for Paris in 1865; he spent a dozen years in the middle of the century trying to get a version of King Lear off the ground). It was Shakespeare's Otello that they suggested, and Boito followed Verdi's guarded enthusiasm with a brilliant first draft of a libretto, which distilled the drama and boldly but ingeniously cut away anything deemed extraneous to the central tragedy. The road to the finished opera was long and treacherous, with Verdi remaining cautious and prickly throughout its gestation. All of Boito's diplomatic skills were called upon to avert one particular disaster in 1884, for example. A comment Boito made at a dinner following a Naples performance of his own Mefistofele (a bold an ambitious operatic adaptation of another literary masterpiece, Goethe's Faust) made it into the press in skewed form. Boito wished, it was reported, to compose Otello himself. When the news reached Verdi, he was understandably angry, and wrote to Franco Faccio—who would go on to conduct the Otello's 1887 premiere at La Scala—that if Boito didn't trust his ability to set the libretto he was welcome to do it himself. Boito wrote a long explanatory letter to Verdi in which he made one thing totally clear: "Only you can compose Otello". With the same letter he also enclosed a revised version of the text for Iago's famous Credo. Verdi reacted positively but suggested a pause in their work. By the end of the year, though, there was no more


樂季音樂會

waiting: "It seems impossible, but it"s true!", Verdi wrote to Boito: "I am busy writing" A year later the score was complete. "The great dream has become a reality," librettist wrote to composer. The 1887 premiere was a triumph, with the interpretations of two of its cast, the leonine Francesco Tamagno (Otello) and the suave Victor Maurel (Iago), going on to achieve something like legendary status—parts of their portrayals would be captured later on early recordings. The work itself went on to conquer the operatic world and immediately establish itself in the repertory, its popularity perhaps only kept in check by the fierce demands made by the title role. For their part, Verdi and Boito would go on to create another masterful Shakespeare adaptation in the composer's final opera, Falstaff. If that work represents an unexpected twist at the tail of Verdi's career—his only other comic opera was his first work for the stage, Un giorno di regno (1842)—then Otello might be seen as a culmination of his career as composer of visceral, heart-stopping drama. But Boito's role in this cannot be underestimated, and the librettist's real stroke of genius was arguably to transform Iago and Desdemona into something approaching archetypes. Iago becomes the embodiment of pure evil, motivated by nothing else, and reminding one of the words of the devil in Boito's own Mefistofele, "Sono lo spirito che nega'"("I am the spirit of negation"). Desdemona in turn becomes a paragon of unimpeachable purity—a womanly ideal more than a flesh-and-blood woman. And what was the effect of these adjustments? Otello, despite his status as a military hero, is rendered all the more vulnerable, his human fallibility—his jealousy in particular,

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of course—no match for the powers around him. He survives the vivid storm Verdi conjures up at the beginning of the opera, announcing his triumph with his thrilling opening "Esultate!", only to find himself helpless with regard to Iago's no less elemental evil. Verdi's score rises magnificently to the challenge that the libretto poses. But Boito also makes life easier for his composer by providing verse that allows for multiple emphases and options for word-setting, a freedom that Verdi exploits to create moments of almost expressionistic power: the free-wheeling anti-philosophy we hear in Iago's famous Credo, for example; Otello's "Dio mi potevi", or his great final aria, in which he seems almost to be trying to wind back to the clock to the magical kiss that crowned his duet with Desdemona in Act 1. At the same time, however, Verdi still harnesses the power of certain operatic conventions, and he and Boito worked especially hard on the grand concertato finale of Act 3, in which Verdi uses what was then an old-fashioned formal device— patiently building a grand musical edifice as if from the ground up—to bring almost unbearable tension to the dramatic situation. Similarly, the contrast between Desdemona's calmly resigned and heartfelt "Ave Maria" and "Willow Song' at the start of Act 4 and the barbarity of her death shows Verdi at his most instinctively dramatic. Few operas have the ability to leave an audience more shaken and shocked, not to mention indignant at the injustice of it all. Nor, arguably, does any opera by Verdi show his dramatic genius better.


Lecture Concerts

音講 樂 會座


演奏廳系列

黃若的異響世界

The Musical World of Huang Ruo 2015/10/4

92

93

蕭邦:永恆的鋼琴詩人

Chopin: Eternal Poet of the Piano 2015/11/14

Sun 14:30

Sat 14:30

NSO探索頻道 I NSO Music Discovery I

焦點講座 I What is Composition? I

主講、演唱/黃若 與談人/顏名秀 女高音/林孟君 琵琶/王乙曲 中提琴/呂昭瑩 長笛/宮崎千佳 低音管/簡恩義 鋼琴/許毓婷

主講/焦元溥 次女高音/范婷玉 小提琴/曾智弘、王致翔 大提琴/唐鶯綺 單簧管/朱玫玲 打擊/陳廷銓

如果您記得2014年初精彩的《玄黃》笙協奏曲,就

女高音/林玲慧 小提琴/陳偉泓 大提琴/黃日昇 鋼琴/黃時為

鋼琴大師魯賓斯坦曾說:「世界各地聽眾喜好不

絕對不能錯過探索黃若的音樂創作世界!如果錯過

同,唯有蕭邦放諸四海皆準。」或許至今再也沒有

了前次,那黃若的「異響世界」絕對是深度了解現

一位作曲家能像他一樣,不只故鄉引以為傲,法俄

在歐美最具話題性作曲家的時刻。被《紐約客》雜

兩國搶著沾光,從南美到東瀛皆為之瘋狂,作品從

誌譽為「世界最優秀的作曲家之一」的黃若,他的

來不曾退流行。然而樂曲夢幻絢爛,旋律絕美出奇

音樂融合了東西方元素,從中國遠古到進代民間音

的蕭邦,卻又是集合各種悖論矛盾的複雜人物:他

樂的啟發,我們可從室內樂協奏曲《岳飛》以及中

思想保守,創作卻精彩大膽;是鋼琴大師,卻幾乎

國民謠搖滾(Chinese Folk-Rock)《Flow》中清楚地

絕足公開演奏;即興演奏驚人,下筆卻精雕細琢;

感受到。在這場講座音樂會中,黃若將親自指揮、

身處風起雲湧,浪漫時代的巴黎,他幾乎不為外界

演唱,並與作曲家顏名秀對談,讓觀眾能輕鬆地進

所動,極端自我本位卻能透過作品撼動世界,讓音

入黃若的音樂世界。

樂從此變了模樣。這場音樂會將為您呈現蕭邦作品 的各種面向,分析其表現手法並介紹其人生旅程, 讓您知其然也知其所以然,領略蕭邦的謎樣美麗。

國家演奏廳

國家演奏廳

400

400


NSO 2015/2016

Lecture & Chamber Concerts

樂讀普魯斯特

春天裡的花朵與愛情

2016/1/10

2016/3/5

焦點講座 II What is Composition? II

NSO探索頻道 II

主講/焦元溥

主講/車炎江

女高音/林孟君 小提琴/曾智弘 長笛/宮崎千佳 鋼琴/許惠品

女高音/羅明芳 男高音/洪宜德 鋼琴/王佩瑤

詩歌一般的語言、超越時空的記憶書寫、透徹分析

克服重重阻礙,舒曼與克拉拉從相知相惜到結為夫

兼以魔法般的場面,《追憶似水年華》讓過去、現

妻,給予舒曼驚人的創作力和豐沛靈感。倆人結婚

在、未來在意識流中交疊滲透,以不可思議的筆法

那年成了他的「歌曲之年」,新婚喜悅讓他譜寫

成為文學史傳奇,令代代讀者為之神魂顛倒。作者

出質量俱佳的藝術歌曲;其中,《女人的愛與生

普魯斯特不只文字洋溢音樂性,音樂更是書中不可

命》、《詩人之戀》、《桃金孃》歌曲集更是列入

或缺的要角。在這場音樂會中,我們將一窺法國沙

舒曼獻給愛妻的結婚賀禮清單。舒曼傳記的作者蕭

龍音樂文化,討論作者虛構的小提琴奏鳴曲身世,

弗勒(R.H. Schauffler)曾對如此獨特的禮物發出讚

以及欣賞書中提到的華格納與德布西作品,具體而

歎:「綜觀過去歷史上的女性,能從丈夫那兒得到

微地探索《追憶似水年華》裡迷人且豐富的音樂天

這樣的禮物者,只怕少之又少。」

Musical Proust Sun 14:30

Blossoms and Love in Springtime Sat 14:30

NSO Music Discovery II

地。音樂會最後以普魯斯特戀人韓恩的經典歌曲壓 軸,在美到無以復加的旋律和詩句中回溯美好時

春天使得萬象更新、百花綻放,象徵人生最美麗的

光,感受音樂與文學交會的永恆光芒。

青春歲月,和那段最初最真摯的青澀戀曲。春天、 花朵和愛情,這些浪漫主義詩歌常見的主題,經由 舒曼、克拉拉夫婦和布拉姆斯三人之手,幻化成絕 美樂曲。外人或許難以解讀電影《琴戀克拉拉》裡 三人錯綜複雜、隱晦抑鬱的情感世界,但愛情早已 真切地為他們的生命烙下無法抹滅的印記,最後在 他們美妙動聽的藝術歌曲裡逐一浮現。

國家演奏廳

國家演奏廳

400

400


演奏廳系列

94

95

「有言」與「無言」之歌

在音樂裡見到了光

2016/3/12

2016/4/10

NSO探索頻道 III NSO Music Discovery III

NSO探索頻道 IV NSO Music Discovery IV

主講/葉綠娜

主講/顏名秀

鋼琴、朗誦/魏樂富 鋼琴/嚴俊傑、廖皎含 女高音/林孟君

女高音/林孟君 大提琴/黃日昇 鋼琴/盧易之、許毓婷

孟德爾頌出生於德國一個非常富裕的猶太家庭,祖

宗教與古典音樂的發展一直有著密不可分的關係,

Lieder mit und ohne Worte Sat 14:30

Music and the Divine Sun 14:30

父摩斯‧孟德爾頌(Moses Mendelssohn)是位重要

亦激發出了許多獨特的音樂風格。如同巴哈的《馬

的哲學家。1825年受洗成為基督徒,並使用非猶太

太受難曲》表述了路德教派的中心思想,在二十世

姓Bartholdy,祖父摩斯憤怒異常說出:「無法有基

紀的作品中,亦有許多令人耳目一新的例子:愛沙

督教的孟德爾頌,就像不可能有猶太孔子一樣」

尼亞作曲家帕爾特與英國作曲家塔文納改信東正教

(There can no more be a Christian Mendelssohn than there can be a Jewish Confucius)。

後,試圖回歸早期音樂的簡約風格;法國作曲家梅 湘結合了宗教與色彩,作品每每傳遞出信仰的喜 樂;俄國作曲家斯克里亞賓對神智學深深著迷後,

自幼即被視為天才兒童,十二歲在威瑪遇見大文豪

經常將「神秘和弦」深藏在作品中,第五號奏鳴曲

歌德,小小孟德爾頌的特殊音樂天賦受到歌德的認

更是歌頌了神秘主義帶給他靈性上的狂喜。信仰洗

同,歌德的思想也影響了這位作曲家。孟德爾頌短

禮後的音樂究竟散發著哪些獨特的色彩呢?邀請您

短一生中創作極為豐富,風格為富於詩意的浪漫樂

一同來揭秘!

派,較同時期作曲家顯得嚴謹而保守,創作鋼琴獨 奏曲集《無言歌》,深深影響了日後鋼琴彈奏藝術 與標題音樂的發展。他也是鋼琴家、指揮、教師 等,創立了萊比錫音樂院,姊姊芬妮 (Fanny)也 是位極有天份的鋼琴家與作曲家。 在第二次世界大戰時期的德國,孟德爾頌的作品因他 的猶太身份被禁演,並未因成為基督徒而有所改變, 直到戰爭結束他的音樂才又重新得到大眾的喜愛。 國家演奏廳

國家演奏廳

400

400


NSO 2015/2016

Lecture & Chamber Concerts

浪漫主義的火焰: 白遼士的人生與音樂

The Flame of Romanticism: The Life and Music of Berlioz 2016/5/1 Sun 14:30

焦點講座 III What is Composition? III

主講/焦元溥 女中音/范婷玉 男高音/湯發凱 中提琴/呂昭瑩 長笛/安德石、宮崎千佳 鋼琴/許毓婷 豎琴/解瑄

樂讀普希金

Musical Pushkin 2016/6/4 Sat 19:30

焦點講座 IV What is Composition? IV

主講/焦元溥 女高音/林慈音 男低音/羅俊穎 小提琴/李宜錦 鋼琴/許惠品

創作一如熱情,洶湧澎湃始終不息,白遼士的人生

「從普希金起,才開始有了俄羅斯文學。」如此褒

就像熊熊烈火,燒出浪漫主義最深邃昂揚的情感,

揚並非讚譽,而是事實。這位作家以不世出的天

在藝術裡爆發前所未見的燦爛激情。即使名聲幾度

分展現俄文的全面力量和靈動美好,不只廣泛吸取

起落,他始終堅持創作的誠實信念,不隨波逐流亦

民間語言的精華,更將書寫與口語完美結合,融會

不重複已有的成功,更不斷逼使自己挑戰想像與表

浪漫主義與寫實筆法,以絕妙想像與創造天賦寫下

現的極限,以無比恢弘的視野呈現壯闊又陰暗、美

眾多不朽詩歌、戲劇與小說。他是俄羅斯文學的太

麗且深沉的藝術天地。這場少見的全場白遼士作品

陽,也讓全世界為之傾倒,更成為諸多作曲家的靈

音樂會,將為您整理這位作曲家的創作之路與人生

感。這場音樂會分成三部分,依次介紹以普希金詩

故事,呈現他從年輕到晚年的各色作品,透過經典

作譜寫的藝術歌曲,由普希金劇作所改成的歌劇,

與罕聞創作多方剖析他的思想理路。既是小巧的

以及根據普希金作品改編成的音樂作品,內容涵括

白遼士音樂會,也是「2016/5/6《浪漫白遼士》」

政治史詩大戲、男女情愛糾葛與奇幻寓言故事,歡

(詳見p. 74)的導聆場,歡迎大家一起深入浪漫時

迎大家一起以音樂欣賞普希金,體會俄羅斯文學特

代,全面認識這位不朽作曲家的豐富與精彩。

有的色調和面貌。

國家演奏廳

國家演奏廳

400

400


演奏廳系列

96

97

©鄭巧琪

《呂紹嘉時間》Meet Maestro Lü


室內樂系列

Chamber music Chamber Concerts

系室 內 列樂


演奏廳系列

98

99

樂來.樂想 2015

華麗木管―首席之聲

2015/12/12

2016/4/15

小提琴/鄧皓敦、陳偉泓 中提琴/陳猶白 大提琴/黃日昇 單簧管/朱玫玲

小提琴/李宜錦 中提琴/黃瑞儀 大提琴/連亦先 低音提琴/蘇億容

莫札特:豎笛五重奏,作品581號 舒伯特:第十二號絃樂四重奏,作品703號 布拉姆斯:豎笛五重奏,作品115號

許伯爾:九重奏,作品31號 布拉姆斯:第一號小夜曲,作品11號(九重奏版本)

國家演奏廳

國家演奏廳

400

400

From Mozart to Brahms

Sat 19:30

WOLFGANG AMADEUS MOZART: Clarinet Quintet in A major, K. 581 FRANZ SCHUBERT: String Quartet No. 12, in C minor, D. 703, Quartettsatz JOHANNES BRAHMS: Clarinet Quintet, Op. 115

The Sound of the Principals Fri. 19:30

長笛/安德石 雙簧管/王怡靜 單簧管/朱玫玲 低音管/簡凱玉 法國號/劉宜欣

LOUIS SPOHR : Nonet in F Major, Op. 31 JOHANNES BRAHMS: Serenade No. 1 Op. 11 (nonet version)


NSO 2015/2016

Lecture & Chamber Concerts

發現義大利

史特勞斯們

2016/5/22

2015/12/19

Excavating Italy Sun 14:30

Strauss vs. Strauss Sat 14:00 & 17:00 【媽媽說故事】 Dear Little Ones

男高音/湯發凱 小提琴/洪章文、蔡孟峰 中提琴/蔡秉璋 大提琴/陳怡婷

羅西尼:第三號絃樂奏鳴曲 馬里培洛:絃樂四重奏〈里斯佩提與斯特蘭波提〉 威爾第:絃樂四重奏 丹札:《纜車之行》

GIOACHINO ROSSINI: String Sonata No. 3 GIAN FRANCESCO MALIPIERO: Quartet per archi N. 1 "Rispettie strambotti" GIUSEPPE VERDI: String Quartet LUIGI DENZA: Funiculi Funicula

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 低音提琴/蘇億容 單簧管/張凱婷 低音管/陳奕秀 法國號/劉宜欣

史特勞斯們?他們是誰啊?是一家人嗎? 不,不,不,小約翰.史特勞斯( Johann Strauss

II)與理查.史特勞斯(Richard Strauss)不僅不是 一家人,還是不同國家的人呢!上個樂季, NSO 音樂家爸爸媽媽們說了「頑皮的莫札特」後,這次 要帶大家認識兩個叫史特勞斯的家族。奧地利出生 的「小」約翰比理查早出生39年;因為「小」約翰 的爸爸也叫約翰,為了不要認錯人,所以大家才叫 他小約翰,並被尊稱為「圓舞曲之王」。理查則是 有個很會吹法國號爸爸的德國作曲家,這次要跟大 家說他的一個很有名的作品《狄爾的惡作劇》的故 事,小朋友們準備好了嗎?

國家演奏廳

國家演奏廳

400

350


演奏廳系列

100

101

©陳建蓉

實驗音場《指尖上的幻象》 NSO Sound-Box Theater Illusion, 2014


Meet the Guest Artists 認識客席 音 樂 家


認識客席音樂家

102

103

指揮賈克.拉孔 JACQUES LACOMBE, conductor

指揮內維爾.馬利納爵士 SIR NEVILLE MARRINER, conductor

2015/10/17

2015/11/18, 20

過去六個樂季,出身加拿大的紐澤西交響樂團音樂總監拉

馬利納爵士跟他心目中的精神導師與英雄-皮耶.蒙都相

孔為這個樂團帶來了藝術成就上的新高度與樂評的盛讚。

同,都是以小提琴家身份開啟職業生涯,一開始在絃樂四

他也是備受歡迎的客席指揮家,常與許多世界知名的音樂

重奏與三重奏中演奏,接著任職於倫敦交響樂團,期間並

機構合作,包括紐約大都會歌劇院、檀格塢音樂節、柏

創立聖馬丁學院管絃樂團。在赴美跟隨蒙都指揮大師學習

林德意志歌劇院、巴伐利亞國立歌劇院、柯芬園皇家歌劇

後,於1969年開始他的指揮生涯,同年創立洛杉磯室內管

院;也與波士頓、辛辛那提、蒙特婁、多倫多等地的樂團

絃樂團,另一方面同時拓展學院管絃樂團的規模與曲目,

合作,多不勝數。另外,拉孔也在故鄉魁北克帶領三河城

並客席指揮世界各地樂團。1979年,他成為明尼亞波里交

交響樂團。2012年,受封魁北克國家騎士勳章,為魁北克

響樂團 (今明尼蘇達管絃樂團) 與斯圖加特西南德廣播交響

最高市民榮譽;同年亦獲頒伊莉莎白女王二世鑽禧獎章。

樂團的音樂總監與首席指揮,直至80年代後期。隨後繼續

2013年,獲得該國最高國民榮譽之一的加拿大員佐勳章。

與全球各地樂團合作,足跡遍及維也納、柏林、巴黎、米 蘭、雅典、紐約、波士頓、舊金山與東京。兩度因對英國

As music director of the New Jersey Symphony Orchestra for the past six seasons, Canadian-born Jacques Lacombe has brought this ensemble to new heights of artistic excellence and critical acclaim. He is also in demand as a guest conductor with many of the world’s most prestigious musical organizations, including the Metropolitan Opera in New York, the Tanglewood Music Festival, the Deutsche Oper Berlin, the Bavarian State Opera, the Royal Opera House Covent Garden, and the major orchestras of Boston, Cincinnati, Montreal and Toronto, among many others. In addition, Lacombe leads an orchestra in his native province of Quebec, the Orchestre symphonique de Trois-Rivières. Lacombe received Quebec’s highest civilian honor in 2012, when he was named a Chevalier de l’Ordre national du Québec. That same year he received the Queen Elizabeth II Diamond Jubilee Medal. In 2013, he was appointed as a Member of the Order of Canada, one of the highest civilian honors in the country.

音樂貢獻而獲得榮譽,近期也於法國、德國與瑞典獲獎, 並在2014年倫敦留聲機大獎中,因錄音作品豐碩獲得特殊 傑出成就獎的肯定。

Like his mentor and hero, Pierre Monteux, Sir Neville Marriner began life as a violinist, playing first in a string quartet and trio, then in the London Symphony Orchestra, during which period he founded the Academy of St Martin in the Fields. After his studies in America with Maestro Monteux, he began his conducting career in 1969, when he founded the Los Angeles Chamber Orchestra, at the same time developing and extending the size and repertoire of the Academy, and guest conducting orchestras all over the world. In 1979 he became Music Director and Principal Conductor of both the Minneapolis Symphony Orchestra and the Südwest Deutsche Radio Orchestra, Stuttgart, positions he held until the late into the 1980’s. Subsequently he has continued to work with orchestras round the globe–Vienna, Berlin, Paris, Milan, Athens, New York, Boston, San Francisco and Tokyo. His recording career is well documented and his touring schedule extensive. Twice honoured for his services to music in his own country, he has recently been awarded honours in France, Germany and Sweden and was honoured with a special Outstanding Achievement Award in recognition of his prolific recording career at the 2014 Gramophone Awards in London.


NSO 2015/2016

Meet the Guest Artists

指揮余隆 LONG YU, conductor

指揮克里斯蒂安.阿閔 CHRISTIAN ARMING, conductor

2016/3/27

2016/4/9

現任中國愛樂樂團的藝術總監暨常任指揮、上海交響樂團

出身維也納的克里斯蒂安.阿閔是奧地利最火紅的指揮家

音樂總監,以及香港愛樂的首席客席指揮,此三樂團為中

之一,在交響樂與歌劇世界皆極度成功。他的心靈導師小

國一流樂團,並經常於國內外巡演。除此之外,余隆也是

澤征爾是他堅強的支持者,介紹他給波士頓與東京的聽

北京音樂節的創始總監,該音樂節目前為第十五個樂季,

眾。阿閔以24歲之姿,受任為捷克共和國歐斯特拉瓦揚納

是匯聚音樂生命至北京的樞紐,受到國際肯定。余隆與杜

捷克愛樂的常任指揮。2002年他成為琉森劇院與交響樂團

特華同任上海夏日音樂節藝術總監,將古典樂帶給上海的

的音樂總監。接下來他則在東京領導新日本愛樂長達十年

年輕人們。曾獲法國藝術與文學騎士勳章。2005年,獲法

(2003-2013)。2011年九月起,擔任比利時列日皇家愛樂管

國政府頒授最高榮譽勳位勳章:法國榮譽軍團勳章。余隆

絃樂團音樂總監直至今日。他如日中天的事業為他帶來與

經常指揮世界重要樂團,包括芝加哥交響樂團、費城管絃

世界一流樂團的種種合作機會,包括維也納交響樂團、薩

樂團、紐約愛樂、慕尼黑愛樂以及新加坡交響樂團。

爾茲堡莫札特協會暨音樂院管絃樂團、瑞士羅曼德管絃樂 團、辛辛那提交響樂團、馬來西亞愛樂以及溫哥華交響樂

Conductor Long Yu is Artistic Director and Chief Conductor of the China Philharmonic, Music Director of the Shanghai Symphony, and Principal Guest Conductor of the Hong Kong Philharmonic. All three ensembles are among China’s finest, and tour regularly at home and abroad. In addition, Yu is the Founding Artistic Director of the Beijing Music Festival which, now in its fifteenth season, is the internationally recognized hub of musical life in China’s capital. Long Yu shares the position of Artistic Co-Director of the MISA Festival with Charles Dutoit, bringing classical music to the young people of Shanghai. He is a Chevalier in the Ordre des Arts et des Lettres. In 2005, he was awarded France’s highest honor of merit, membership in the Légion d’Honneur. Maestro Yu regularly conducts the world’s leading orchestras, including the Chicago Symphony, the Philadelphia Orchestra, the New York Philharmonic, the Munich Philharmonic, and the Singapore Symphony.

團。他也以客席身份出現在歌劇世界裡,身影可見於薩爾 茲堡音樂節、漢堡國家歌劇院、法蘭克福歌劇院,以及琉 森、史特拉斯堡與東京等地的歌劇製作中。

Viennese-born Christian Arming is one of Austria’s most soughtafter conductors, highly successful in both the symphonic and operatic worlds. Seiji Ozawa, a mentor and strong supporter of his career, introduced him to audiences in Boston and Tokyo. At the age of 24, Arming was appointed Chief Conductor of the Janáček Philharmonic in Ostrava, Czech Republic. In 2002 he became Music Director of the Lucerne Theater and Symphony Orchestra. He next led the New Japan Philharmonic in Tokyo for ten years (20032013), and since September, 2011 has been Music Director of the Orchestre Philharmonique Royal de Liège. His flourishing career has led to engagements with many of the world’s leading orchestras, including the Vienna Symphony, the Salzburg Mozarteum Orchestra, the Orchestre de la Suisse Romande, the Cincinnati Symphony, the Malaysian Philharmonic and the Vancouver Symphony. In the world of opera he has made guest appearances at the Salzburg Festival, Hamburg State Opera, Frankfurt Opera, and at productions in Lucerne, Strasbourg and Tokyo.


認識客席音樂家

指揮尼姆.賈維 NEEME JÄRVI, conductor

指揮里科.斯卡尼 RICO SACCANI, conductor

2016/4/22

2016/5/14

104

105

賈維是當今最受人景仰的指揮大師之一。在他成就非凡的

義大利指揮家里科.斯卡尼於1984年奪得柏林卡拉揚國際

長年事業生涯中,曾就任世界各地樂團,包括:荷蘭海

指揮大賽首獎。隔年他在維洛納愛樂劇院初次登台指揮歌

牙愛樂、底特律交響樂團、瑞典哥德堡交響樂團以及皇

劇,劇目為威爾第的《一日國王》。隨後,他在巴黎歌劇

家蘇格蘭國家管絃樂團。最近期的職位為瑞士羅曼德管絃

院和維也納國家歌劇院指揮《茶花女》、在佩沙洛羅西尼

樂團音樂總監與愛沙尼亞國家交響樂團藝術總監。他以客

歌劇節指揮《在義大利的土耳其人》,並在費城歌劇院指

席指揮的身份領導過幾乎每個歐洲主要樂團,包含柏林愛

揮帕華洛帝主演的《波希米亞人》。斯卡尼的合作對象還

樂、阿姆斯特丹皇家大會堂管絃樂團以及萊比錫布商大廈

包括紐約大都會歌劇院、漢堡國家歌劇院、里昂歌劇院、

管絃樂團。賈維錄音作品繁不勝數,與DG、BIS、EMI、

蒙地卡羅歌劇院、尼姆競技場音樂節、巴黎喜歌劇院,以

Chandos等各大唱片公司合作,積累了將近500張錄音。他 與Chandos的合作關係已超過三十年。賈維身負諸多獎項與

及羅馬、德勒斯登、科隆等地的歌劇公司。斯卡尼於1985

榮譽,曾獲瑞典卡爾王十六世古斯塔夫頒贈皇家北極星司 令官勳章,祖國愛沙尼亞也稱他為「世紀愛沙尼亞人」之

1996至2005年間擔任布達佩斯愛樂樂團的音樂總監與藝術 顧問。他於2005年獲頒匈牙利榮譽軍團獎,以表彰他「超

一。

過二十年來對匈牙利文化生活的卓越貢獻」。里科.斯卡

至2004年間擔任匈牙利國家歌劇院的首席客座指揮,並於

尼的錄音作品至目前已超過100張。

Neeme Järvi is one of today's most maestros. Over his long and highly successful career he has held positions with orchestras around the world. These include the Residentie Orkest, Detroit Symphony, Gothenburg Symphony and Royal Scottish National Orchestra. His most recent appointments include Music Director of the Orchestre de la Suisse Romande and Artistic Director of the Estonian National Symphony Orchestra. As guest conductor, he has led nearly every major orchestra in Europe, including the Berlin Philharmonic, Royal Concertgebouw Orchestra of Amsterdam, and the Leipzig Gewandhaus Orchestra. A prolific recording artist, Järvi has amassed a discography of well nearly 500 recordings on Deutsche Grammophon, BIS, EMI and Chandos. His relationship with the latter label has extended over thirty years. Among his many awards and honors he has received the Commander of the North Star Order from King Karl XVI Gustaf of Sweden, and his native country has declared him one of the "Estonians of the Century."

The Italian conductor Rico Saccani won top prize in the Herbert von Karajan International Conducting Competition in Berlin in 1984. The following year saw his operatic debut with Verdi's Un Giorno di Regno at the Teatro Filarmonico di Verona. Soon thereafter he led La Traviata at the Paris Opera and the Vienna State Opera, Il Turco in Italia at the Rossini Festival in Pesaro, and La Bohème at the Philadelphia Opera starring Luciano Pavarotti. Saccani has also appeared at the Metropolitan Opera in New York, the Hamburg State Opera, the Lyon Opera, the Monte-Carlo Opera, the Arena de Nîmes Festival, the Opéra Comique in Paris, and with companies in Rome, Dresden and Cologne. From 1985 to 2004 Saccani served as Principal Guest Conductor of the Hungarian State Opera, and from 1996 to 2005 he was also Music Director and Artistic Adviser of the Budapest Philharmonic. In 2005 he received Hungary's Legion of Honor award in recognition of "distinguished contributions to Hungary's cultural life for over twenty years". His discography is comprised of over 100 recordings.


NSO 2015/2016

Meet the Guest Artists

指揮亞利安.普拉巴伐 ADRIAN PRABAVA, conductor

指揮格納迪.羅許德茲特溫斯基 GENNADY ROZHDESTVENSKY, conductor

2016/5/27, 28

2016/6/18

出生於印尼的指揮家亞利安.普拉巴伐於2005年奪得第49

格納迪.羅許德茲特溫斯基毫無疑問地是當今最偉大的指

屆貝桑松國際青年指揮大賽第二獎,自此邁向國際。隨

揮家之一。年僅20歲,尚就學於莫斯科音樂學院時,他就被

後,於2006至2008年間,他成為庫特.馬殊在法國國家管

簽進了波修瓦劇院,初次登台時指揮的是柴科夫斯基的芭蕾

絃樂團的助理指揮,並於2007年成為貝納德.海汀克青年

2010年。在那之後,他帶領過歐洲各地許多管絃樂團,包

舞劇《睡美人》。這開啟了他和波修瓦的長期關係:1964至 1970年間擔任波修瓦的首席指揮,2000年起被任命為音樂總 監。1956年起,他定期帶領波修瓦芭蕾舞團巡迴歐、亞、美 各大洲。他活躍於指揮台上至今已超過60年。羅許德茲特溫

括巴黎管絃樂團、法國國家管絃樂團、奧斯陸愛樂樂團、

斯基是第一位獲聘擔任多個外國樂團首席指揮的蘇聯指揮

皇家蘇格蘭國家管絃樂團、倫敦愛樂樂團以及漢諾威北德

家,這些樂團包括:倫敦英國廣播公司交響樂團、維也納交

廣播愛樂樂團等,也曾和南非、加拿大與土耳其的管絃樂

響樂團以及斯德哥爾摩皇家愛樂樂團。他也是史上灌錄最多

天資基金的第一受益人。以此身分,他跟在海汀克身邊, 擔任阿姆斯特丹皇家大會堂管絃樂團的助理指揮,直至

團合作。

專輯的指揮家之一,共收錄將近800部不同的作品。羅許德 茲特溫斯基是法國榮譽軍團勳章和日本旭日章的受勳者。他

The Indonesian-born conductor Adrian Prabava made his international breakthrough in 2005 when he won Second Prize at the 49th International Competition for Young Conductors in Besançon. He then became assistant conductor to Kurt Masur at the Orchestre National de France in Paris from 2006 to 2008, and subsequently became the first beneficiary of the Bernard Haitink Fund for Young Talent in 2007. In this position he worked closely with Haitink as assistant conductor with the Royal Concertgebouw Orchestra in Amsterdam until 2010. Since then he has led orchestras all over Europe, including the Orchestre de Paris, Orchestre National de France, Oslo Philharmonic, Royal Scottish National Orchestra, London Philharmonic and NDR Hanover Orchestra, as well as orchestras in South Africa, Canada, and Turkey.

也是斯德哥爾摩和英國學院的榮譽成員。

Gennady Rozhdestvensky is indubitably one of the greatest living conductors. At the unusually early age of 20, while still a student at the Moscow Conservatory, he was engaged by the Bolshoi Theater, where he made his début conducting Tchaikovsky's ballet The Sleeping Beauty. This began a long-term relationship with the Bolshoi: he was its principal conductor from 1964 and 1970, and in 2000 was appointed General Music Director. From 1956 onward, he toured regularly with the Bolshoi ballet throughout Europe, Asia and America. By now he has been on the podium for well over 60 years. Rozhdestvensky was the first Soviet conductor to be appointed principal conductor of various foreign orchestras: the BBC Symphony Orchestra in London, the Vienna Symphony, and Stockholm’s Royal Philharmonic. He is one of the most recorded conductors of all time, with a catalogue of nearly 800 different works. Rozhdestvensky is recipient of the French Legion of Honor and of the Japanese Order of the Rising Sun. He is an Honorary Member of the Stockholm and British Academies.


認識客席音樂家

106

107

鋼琴嚴俊傑 CHUN-CHIEH YEN, piano

管風琴克利斯汀.舒密特 CHRISTIAN SCHMITT, organ

2015/9/24, 25, 10/30, 11/1, 5

2015/10/2

嚴俊傑自十三歲獲第三屆國際柴科夫斯基青少年音樂大賽

舒密特是他同輩當中極受歡迎的管風琴家,曾在亞特蘭

第三獎起,便活躍於國內外樂壇,其演奏足跡遍及歐、

大、布魯日、卡加利、費城、東京等地的國家級與國際

亞、非、南北美洲世界五大洲;曾與多位指揮家及樂團合

級管風琴與音樂大賽,以及2001年德國音樂大賽中贏得諸

作演出:如普雷特涅夫、呂紹嘉、梅哲、麥爾、赫比希、

多獎項,也獲得歐洲文化協會的歐洲專業獨奏家獎。在世

舒馬富斯等;及俄國國家交響樂團、萊茵愛樂、國家交響

界各地的音樂合作中,曾受邀於柏林愛樂、琉森音樂節、

及羅馬尼亞愛樂等。 浜松鋼琴學院比賽冠軍時,曾獲日本報評譽為「台灣人

薩爾茲堡音樂節與科隆愛樂廳演奏。舒密特錄製超過35張 CD ,包括學術性的韓德爾與布瑞克西管風琴音樂全集; 目前正為cpo錄製柯克瀾、魏多、古拜杜莉娜與帕海貝爾的

榮獲多項國際大獎的嚴俊傑,1999年贏得日本第四屆國際 的驕傲」;2004年獲聖彼得堡普羅柯菲夫國際鋼琴大賽季

作品全集。舒密特現任教於斯圖加特巴赫國際學院的薩爾

軍,2004及2005年更連獲兩屆奇美文化藝術獎肯定。嚴俊

音樂院,並於波士頓、克雷蒙納、奧斯陸、墨西哥、莫斯

傑以各種形式活躍於樂壇,亦曾跨界與導演張艾嘉於上海

科、首爾、塔什干與波哥大的音樂院客座指導。

世博合作演出,現為國立台灣師範大學專任助理教授,其 專輯曾獲第十九屆金曲獎之「最佳古典演奏獎」。

Chun-Chieh Yen has concertized in Europe, Asia, and America, embracing a wide range of repertoire. Concerto performances take Yen to orchestras all over the world including the Russian National Orchestra, Staatsorchester Rheinische Philharmonie, and the National Symphony Orchestra of Taiwan. He has enjoyed collaborations with many conductors, including Mikhail Pletnev, Henry Mazer, Uri Mayer, Shao-Chia Lü, Gernot Schmalfuss and Günther Herbig. Yen won numerous prizes, including Third Prize at the International Youth Tchaikovsky Competition (1997), First Prize at the 4th Hamamatsu International Academy Piano Competition in Japan (1999), and Third Prize at the 4th Prokofiev International Competition in St. Petersburg (2004). His album on Universal also earned him the award of Best Classical Performer at the 19th Golden Melody Awards in Taiwan. Currently Assistant Professor of Piano at the National Taiwan Normal University .

Christian Schmitt is one of the most sought-after concert organists of his generation. He has won a dozen national and international organ and music competitions held in Atlanta, Bruges, Calgary, Philadelphia, Tokyo, and elsewhere, as well as the German Music Competition in 2001 and the Pro Europa soloist’s prize from the European Cultural Foundation. In his concertizing around the world he has been invited to perform at the Berlin Philharmonie, the Lucerne Festival, the Salzburg Festival, and Cologne’s Philharmonic Hall. His discography consists of over 35 CDs, including a scholarly edition of the complete organ music of Handel and Brixi. He is currently recording the complete works of Koechlin, Widor, Gubaidulina and Pachelbel for the cpo label. He teaches at the Bach International Academy in Stuttgart and at the Saar College of Music. As a visiting instructor Schmitt appears at music schools in Boston, Cremona, Oslo, Mexico, Moscow, Seoul, Tashkent, and Bogota.


NSO 2015/2016

Meet the Guest Artists

鋼琴陳毓襄 GWHYNETH CHEN, piano

小提琴林昭亮 CHO-LIANG LIN, violin

2015/10/17

2015/11/3, 7

陳毓襄被讚譽為「台灣之光」。九歲時與家人移民美國,

林昭亮,出生於台灣的小提琴家,其具說服力的演奏和一

跟隨名師 Robert Turner,1990年莫斯科柴科夫斯基國際鋼琴

流的音樂技巧廣受世人認可。在超過三十年的演奏生涯

大賽成為決賽者,為當年決賽中唯一的亞洲人,隔年開始

中,以獨奏家的身分自在優遊於管絃協奏、獨奏會、室

於世界各地巡迴演奏,地點遍及美國、俄羅斯、德國、法

內樂及教學等舞台。作為當代音樂的倡導者,林昭亮樂於

國、波蘭、西班牙、奧地利、克羅埃西亞、瑞士、日本、

和作曲家合作,曾首演如譚盾、約翰.哈比森、克里斯朵

中國;1993年奪得「波哥雷里奇鋼琴大賽」桂冠並同時獲

夫.盧瑟、拉羅.席弗林、盛宗亮等人的作品。2001年起

得三個特別獎,此後成為名鋼琴家波哥雷里奇及其夫人

擔任加州拉荷雅音樂協會夏日音樂節音樂總監,將這個過

(Alice Kezeradze)傳門弟子,1994年完成茱莉亞音樂學院碩

去僅以室內樂為主的音樂節,發展成為多學科的節慶,

士學位,師承Martin Canin、殷承宗和 Byron Janis,同年接受

內容含括舞蹈、爵士樂以及迅速發展的新音樂節目。他亦

名指揮家Mikhail Pletnev邀請,於莫斯科音樂院大廳合作拉赫

活躍於亞洲樂壇,經常與環太平洋地區的各大重要樂團合

瑪尼諾夫第三號鋼琴協奏曲,合作關係連續長達七年,並

作,並擔任香港國際室內樂節的藝術總監。

於1995年獲選為美國一百位頂尖成就的華人代表。錄音專 輯《珍愛的蕭邦》獲得2011年台灣金曲獎最佳演奏專輯,

2015年受邀成為史坦威藝術家。

Gwhyneth Chen is a Taiwanese-American pianist who was laureates in several piano competitions, including Tchaikovsky International Piano Competition in 1990, Prokofieff International Piano Competition in 1992, the Ivo Pogorelich International Piano Competition in 1993. Gwhyneth has appeared as a soloist with a number of orchestras, including the Los Angeles Philharmonic, Hong Kong Philharmonic, Moscow Radio Symphony, Bergen Philharmonic, Kyushu Symphony of Japan, Taiwan National Orchestra, Shanghai Symphony and many others. She is also a frequent guest soloist in many international festivals, such as Aspen Music Festival, Montreal Music Festival, Pogorelich Festival, Bowdoin Music Festival, Chopin Festival in Poland, Hanover, and Vienna, and the Lake Placid Music Festival. Chen's CD on the Chimei label, "Gwhyneth Chen: Chopin Favorites" won "Best Performance" in the Golden Melody Awards in 2011 and has become a Steinway Artist since 2015.

Taiwanese-born violinist Cho-Liang Lin is recognized the world over for the eloquence of his playing and superb musicianship. In a career spanning more than thirty years, he is equally at home as soloist with orchestra, in recital, playing chamber music, and teaching. As an advocate for music of our time, Lin has enjoyed collaborations and premieres with composers such as Tan Dun, John Harbison, Christopher Rouse, Lalo Schifrin, and Bright Sheng. As Music Director of La Jolla Music Society’s SummerFest in California since 2001, Lin has helped develop a festival that once focused primarily on chamber music into a multidiscipline festival featuring dance, jazz and a burgeoning new music program. Among his activities in Asia, he performs regularly with leading orchestras throughout the Pacific rim and serves as Artistic Director of the Hong Kong International Chamber Music Festival.


認識客席音樂家

108

109

小提琴曾宇謙 YU-CHIEN TSENG, violin

大提琴田博年 BONIAN TIAN, cello

2015/11/13

2015/11/18, 20

從小就以最年輕的參賽者在各國際小提琴大賽中展露頭 角,2006年(11歲)即獲曼紐因國際小提琴比賽青少年組

旅德大提琴家田博年,曾先後師從王基福、娜木拉、David Geringas及Frans Helmerson教授。獲得柏林音樂學院大提琴碩

第三名、2009年獲薩拉沙泰國際小提琴比賽首獎及最佳演

士學位,科隆音樂學院大提琴博士學位及克隆伯格獨奏家

奏獎、2010年帕格尼尼大賽協奏曲最佳演奏獎、2011年柴

學位。現任職於德國科隆愛樂樂團及科隆國家歌劇院終身

科夫斯基小提琴大賽評審團特別獎、韓國尹伊桑國際小提

大提琴首席及任教法蘭克福音樂學院。曾在柴科夫斯基國

琴大賽首獎及最佳詮釋獎、2012年伊莉莎白國際小提琴大

際青少年比賽、達維多夫國際大提琴比賽、安東尼奧.楊

賽第五名及觀眾票選獎、及2015年新加坡首屆國際小提琴

尼格洛國際大提琴比賽、喬爾切.埃內斯庫國際音樂節大

大賽首獎。曾與國家交響樂團、台北市交、費城管絃、比

提琴比賽、第三屆法國安德列.那瓦勒國際大提琴比賽中

利時國家交響、新加坡交響等樂團,及台灣絃樂團、比利

榮獲金獎。田博年的演出足跡遍佈中外各國,常受邀於各

時瓦隆尼亞皇家室內樂團等共同演出。目前就讀於寇帝斯

大音樂節,並與Gidor Kremer、Yuri Bashmet、András Schiff、

音樂院,並由比利時Fuga Libera唱片公司錄製發行個人首張

Steven Isserlis及眾多著名樂團合作演出,並舉辦公開課教

專輯。

學,是目前在國際大提琴界享有很高聲譽的華人大提琴 家。

Yu-Chien 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 Third Prize in the junior division of Menuhin Competition at the age of 11, he won 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, Yu-Chien took 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. Recently, 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 five and now a student at the Curtis Institute.

Tian began studying cello with Wang Jifu, Na Mula, David Geringas and Frans Helmerson. Bonian was awarded First Prize at the International Tchaikovsky Competition for Young Musicians, Davidoff International Competition, Antonio Janigro International Cello Competition, George Enescu International Competition and André Navarra International Cello competition. Bonian has performed as a soloist with the Zagreb Philharmonic, the Latvian National Orchestra, and the Shanghai Symphony Orchestra, the China Philharmonic, Amadeus Orchester Salzburg, Toulouse Symphony Orchestra and has given recitals at the Philharmonie in Berlin, Copenhagen's Tivoli, the Seoul Centre for Culture and Music, and in a private audience for Queen Margrethe of Denmark. Bonian has worked with Christoph Eschenbach, Christoph von Dohnanyi, Gidor Kremer, Yuri Bashmet, Andras Schiff, Steven Isserlis and Christian Tetzlaff, among others, and in January 2010, joined the Gürzenich Orchestra in Cologne as Principal Cellist. 2012 became Cello Faculty at the Hochschule für Musik in Frankfurt am Main.


NSO 2015/2016

Meet the Guest Artists

男中音麥可.庫佛 - 拉德奇 MICHAEL KUPFER-RADECKY, baritone

女高音林慈音 GRACE LIN, soprano

2015/12/5

2015/12/5, 12/31, 2016/1/1

德國男中音庫佛 - 拉德奇曾贏得華格納協會、巴伐利亞國立

林慈音-英國皇家音樂院特優演唱文憑,英國皇家音樂

劇院之友等重要大賽的諸多獎項。2009年,德語歌劇期刊

院音樂學士學位,國立藝專音樂科畢業。自2000年返臺以

《歌劇世界》(Opernwelt) 稱他是「本樂季最閃耀新星」。 庫佛 - 拉德奇於寇布連茲市立劇院取得第一個永久席位,接

來,活躍於國內外歌劇、神劇、藝術歌曲等演唱領域,近

著成為不來梅哈芬駐院歌者。庫佛 - 拉德奇唱過許多重要德

灣首演)、馬勒第二號交響曲、馬斯奈《莎孚》、許常惠紀

期演出包括《修女‧安潔莉卡》、《聖馬太受難曲》 ( 台

語歌劇中的角色,包括《萊茵的黃金》裡的佛旦、《崔斯

念音樂會、古諾《莊嚴彌撒》、《鄉村騎士》等。2010年

坦與伊索德》的庫威納爾、《帕西法爾》的柯凌索、《諸

並受澳門樂團之邀,參與演出《彌賽亞》,同年並與NSO

神的黃昏》中的昆特、《唐懷瑟》裡的渥夫藍、《伊蕾克

演出馬勒第四號交響曲、《天方夜譚》,以及孟德爾頌第

特拉》的奧瑞斯提斯、《玫瑰騎士》的法尼納爾、《莎樂

二號交響曲和《詩篇42篇》等。歌劇演出包括《霍夫曼的

美》的洗者若翰等等。音樂會類型的演出對庫佛 - 拉德奇來

故事》、《糖果屋》、《唐喬凡尼》、《茶花女》、《女

說也有如家常便飯,曲目包含巴赫受難曲、海頓的《創世

武神》、《萊茵黃金》、《女人皆如此》、《強尼史基

紀》、貝多芬第九號交響曲以及孟德爾頌的《以利亞》。

基》、《夢遊女》、《魔笛》、《黛朵與艾涅斯》等。除

來自世界各地的演出邀約不斷,使他身影遍及聖保羅、莫

了大型演出之外,對藝術歌曲推廣也不遺餘力,除了個人

斯科、東京,還有現在來到的臺北。

獨唱會之外,並參與室內樂型式的講座音樂會,演出內容 及型式多樣化,飽受好評。

German baritone Michael Kupfer-Radecky has won numerous important competitions, including prizes from the Richard Wagner Foundation and the Freunde der Bayerischen Staatsoper. The German opera journal Opernwelt called him “best rising artist of the season” in 2009. Kupfer-Radecky ’s first permanent position was with the City Theater in Koblenz. He was subsequently engaged at the Bremerhaven City Theater. Kupfer-Radecky ’s roles include those in many of the major German operas, including Wotan (Das Rheingold), Kurvenal (Tristan und Isolde), Klingsor (Parsifal), Gunther (Götterdämmerung), Wolfram (Tannhäuser), Orestes (Elektra), Faninal (Der Rosenkavalier) and Jochanaan (Salome), among many others. Kupfer-Radecky is equally at home on the concert stage, where his repertory includes both Bach Passions, Haydn’s Creation, Beethoven’s Ninth Symphony, and Mendelssohn’s Elias. His worldwide commitments take him from Europe to São Paulo to Moscow to Tokyo, and now to Taipei.

Grace Lin graduated from the Royal Academy in Music in London with performance diploma with distinction. Since coming back to her home country Taiwan in 2000, she has enganged in various performances and has become one of the most sought-after singers in the country. Her most recent performances include Bach St. Matthew Passion (Taiwan premiere), Mahler Symphony No. 2, Puccini opera Suor Angelica, Mahler Symphony No. 4, Messiah, Mendelssohn Symphony No. 2 and Psalm 42, etc. Her operatic performances include: Sapho, Santuzza, Les contes d’Hoffman, Hansel und Gretel, Don Giovanni, Die Walkuere, Das Rheingold, Gianni Schicchi, Cosi fan tutte, La sonnambula, Die Zauberfloete, etc. And in opera excerpts as Madame Butterfly, Mimi, Marie (Wozzeck) and Bess (Porgy and Bess). Apart from concerts and operas, Grace Lin also devoted herself to art songs, recitals and lecture recitals.


認識客席音樂家

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次女高音翁若珮 JO-PEI WENG, mezzo soprano

次女高音范婷玉 TING-YU FAN, mezzo soprano

2015/12/5, 12/31, 2016/1/1

2015/12/5, 2016/7/8, 10

翁若珮於2005年取得美國約翰霍普金斯大學琵琶蒂音樂院

國立藝術學院(今國立臺北藝術大學)聲樂組畢業後,便

碩士文憑,同年十月更獲得第四屆建華愛樂古典菁英聲樂

赴德繼續進修;先後於德國國立漢諾威音樂暨戲劇學院拿

首獎。2007年五月赴日本橫須賀參加第十二屆新聲歌唱大

下聲樂教育、聲樂演唱及該校歌劇組之獨唱家三項文憑。

賽,榮獲亞洲區優勝。曾參與重要演出包括馬斯卡尼歌劇

留學德國期間多次獲得比賽獎項,並於2006年獲選國立中

《鄉村騎士》、浦契尼歌劇《修女安潔莉卡》、《強尼史

正文化中心主辦之兩廳院樂壇新秀,舉辦個人獨唱會,表

基基》、《蝴蝶夫人》、《瑪儂.雷斯柯》、漢普丁歌劇

現優異;2007年又再度受邀舉辦兩廳院樂壇新秀音樂會-

《韓賽與葛麗特》、華格納歌劇《尼貝龍根指環》、莫札

室內樂篇。2006年六月至2009年八月受聘為奧地利林茲國

特歌劇《魔笛》、《費加洛婚禮》、小約翰史特勞斯歌劇

家劇院(Landestheater Linz)歌劇合唱團的次女高音。2009

《蝙蝠》、韓德爾神劇《猶大馬加比斯》、《彌賽亞》、

年九月後返回臺灣,多次受邀參與國家交響樂團、長榮交

《所羅門》等,並於金希文歌劇《黑鬚馬偕》及錢南章歌

響樂團、臺北愛樂文教基金會及輔仁大學音樂系主辦之系

劇《畫魂》世界首演中擔綱演出。2012年她獲國立臺北藝

列音樂會及活動演出,於2013年五月獲得輔仁大學演奏組

術大學頒發傑出校友獎。

音樂藝術博士學位。目前為輔仁大學及中山大學音樂系兼 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. Her oratorio credits include performances with the Taipei Gloria Oratorio Choir, Moment Musical Orchestra, Taipei Symphony Orchestra and Taipei National University of the Arts, Peabody Institute, Baltimore Concert Singners. As an opera singer, Weng has performed the role of Principessa from Puccini’s Suor Angelica, Zita from Gianni Schicchi, Suzuki from Madama Butterfly, and many other roles. She was awarded the Outstanding Alumni Award by National Taipei University of the Arts in 2012.

Ting-Yu Fan entered the Bachelor of Fine Arts at National Institute of the Arts (now National Taipei University of Arts), where she majored in voice. And then Fan continued her study with Michaela Krämer in Cologne, Germany and later completed her degrees majoring in Voice, Vocal Eudcation and Opera Performance with Professor Gerhard Faulstich and Astrid Schirmer in Hochschule für Musik und Theater Hannover in Germany. Since 2006, Fan has developed her career as an choirsinger in Landestheater Linz, Austria. At the same time she sang actively in Concerts and Operas in Germany, Austria and Taiwan. After returning to Taiwan in August 2009, she continued her studies and earned the Doctor of Musical Arts (D.M.A.) at the Department of Music of Fu Jen Catholic University in May 2013. Currently she is Adjunct Assistant Professor at the Department of Music of Fu Jen Catholic University and National Sun Yat-Sen University.


NSO 2015/2016

Meet the Guest Artists

男高音湯發凱 FA-KAI TANG, tenor

朗讀張艾嘉 SYLVIA CHANG, narrator

2015/12/5, 2016/7/8, 10

2015/12/31, 2016/1/1

曾師事鄧吉龍、何康婷及唐鎮等教授,2012年以優秀成績

生於台灣嘉義,七十年代於台灣及香港兩地開展其演藝事

獲得德國國立漢堡音樂暨戲劇學院歌劇碩士;於2013年獲

業,從影四十年,主演過的電影超過一百部,屢獲台灣金

取該校之歌劇類最高演唱文憑。湯發凱獲得獎項無數,包

馬獎、香港金像獎及多個電影節的獎項提名,並曾得最佳

括2007年Francesco Palo Tosti聲樂大賽最佳亞洲獎與日本歌曲

女主角,最佳女配角及最佳編劇等殊榮。1981年導演了第

獎;同年11月,第一屆新唐人國際聲樂大賽最佳演唱獎及

一部電影《舊夢不須記》,自始醉心於幕後的工作。執導

關渡新聲協奏曲比賽優勝;2008年台灣聲樂家協會舉辦之

電影包括《最愛》、《少女小漁》、《今天不回家》、

德國藝術歌曲大賽青年組首獎、香港國際青年合唱及獨唱

《心動》、《20 30 40》、 《一個好爸爸》、《念念》等。

大賽金獎、2011年漢堡莫札特聲樂大賽第二獎、2012與2014

除了取得亞洲區觀眾之讚賞外,她在電影圈的成績在國際

年獲台南奇美藝術獎。目前任教於東海大學與實踐大學、

上亦有相當的聲譽。倫敦電影節及多倫多電影節分別於

私立天主教光仁中學;並擔任拉縴人男聲合唱團、八角塔

1989年及1992年都曾舉辦「張艾嘉電影回顧展」。自編、

男聲合唱團及輔大合唱團聲樂指導。

自導、自演的《20 30 40》入選2004年柏林電影節其中一部 競賽片,柏林電影節1992年亦曾邀請她作為評審。

Tang studied vocal music in the Taipei National University of the Arts and the graduate school, under David Ji-Lung Teng, Kang-Ting Ho, and Chen Tang. With his excellent performance, Tang achieved his master’s degree in opera from Hochschule für Musik und Theater Hamburg in 2012. Subsequently, in 2013, he gained the highest diploma in opera singing from HFMT Hamburg. In 2007, Tang won the Best Asian Prize and Akishino Prize of Japanese Song in the International Francesco Paolo Tosti Singing Competition, the Best Singing in the NTD Television International Vocal Contest and the TNUA Concerto Contest of New Artists. In 2008, he was awarded the Gold C Prize in solo singing in Hong Kong International Youth & Children Choir Festival, and the second prize in Mozart Vocal Contest in Hamburg in 2011. Tang is a faculty in Tunghai and Shih Chien University.

Sylvia Chang began her career in both Taiwan and Hong Kong in the 1970s. For the past forty years, Chang has appeared in more than 100 film projects, has been repeatedly nominated for Taipei Golden Horse Awards and Hong Kong Film Awards, among others, and has won several awards for Best Actress, Best Supporting Actress, and Best Screenplay. Since her directorial debut with Once Upon a Time in 1981, Sylvia Chang has been absorbed in writing, directing, and producing her own works, including Passion, Siao Yu, Tonight Nobody Goes Home, Tempting Heart, 20 30 40, Run Papa Run, and Murmur of the Hearts. In addition to the praise her films received in Asia, Sylvia Chang’s achievements also earned her acclaim in the Western world. The London Film Festival and the Toronto International Film Festival presented special programs featuring Chang’s work in 1989 and 1992 respectively. 20 30 40, the film she wrote, directed and starred in as the 40-year-old woman, was nominated for the Golden Bear at the 2004 Berlin International Film Festival. In 1992, she was a member of the jury at the 42nd Berlin International Film Festival.


認識客席音樂家

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小提琴瓦列里.索柯洛夫 VALERIY SOKOLOV, violin

朗讀蔡柏璋 PAO-CHANG TSAI, narrator

2016/2/25

2016/3/4

小提琴家索柯洛夫生於烏克蘭卡爾可夫,近期因其協奏曲

臺灣劇場難得一見集編導演唱才華於一身的創作者,現任

重要曲目的詮釋而不斷竄紅。「他是了不起的典型名匠,

臺南人劇團聯合藝術總監。臺灣大學戲劇學系畢業,英國

似乎全不費吹灰之力,每個音精鍊優美、閃閃發亮。」

倫敦中央演說暨戲劇學院音樂劇碩士,並以全班最優異成

2010年《City Life》雜誌如此報導。ClassicFM稱他巴爾托克

績畢業。2011/12獲得亞洲文化協會贊助,至美國哈佛大學

的演出「驚艷人心。在開頭從容卻又精準敏銳地拉出匈牙

的美國定目劇團和俄國的莫斯科藝術劇院進修聲音訓練課

利節奏之後,第二樂章寂靜的張力令人屏息,直到第三樂

程。蔡柏璋曾獲選PAR表演藝術雜誌2011年戲劇類年度代表

章沸騰而激奮的律動讓你快從椅子上站起來。」2005年九

人物、2015年獲選文化部巴黎西提駐村藝術家;由他擔綱

月,索柯洛夫奪得艾內斯科國際大賽首獎。他經常與世界

演出的作品更是屢獲台新藝術獎肯定,其中創作《嬉戲:

頂尖樂團合作,諸如英國倫敦愛樂、歐洲室內管絃樂團、 克里夫蘭管絃樂團、蘇黎世音樂廳管絃樂團、鹿特丹愛

who-ga-sha-ga》榮獲第三屆表演藝術的百萬首獎、《莎士比 亞不插電3:馬克白》第六屆表演藝術十大作品。此外,他

樂、伯明罕市立交響、東京交響、布萊梅德意志室內愛樂

的音樂劇劇本《木蘭少女》,不僅獲得府城文學獎首獎,

管絃樂團。現為EMI/Virgin獨家旗下古典樂演奏家,正拓展

也被挑選作為臺大戲劇系創系十週年的紀念演出,由他開

堅強深厚的多元錄音曲目。

創的電視影集型式舞台劇《K24》,更是創造臺灣劇場史上 第一齣連演六小時喜劇的新記錄,演出成果深受兩岸學者

Born in Kharkov, Ukraine, violinist Valery Sokolov is in everincreasing demand for his interpretations of the major works in the concerto repertory. “He’s a wonderful technician in the classic mold – nothing seems too difficult, every note emerges polished and glowing,” reported City Life in 2010. ClassicFM called his performance of Bartók’s concerto “a revelation. After the opening Hungarian rhythms played with easy flair, the second movement’s hushed intensity takes your breath away, until the thrill and dynamism of the third movement keeps you on the edge of your seat.” In September 2005, Sokolov won the Grand Prize in the Georges Enesco International Competition. He works regularly with the world’s leading orchestras, including the Philharmonia Orchestra, Chamber Orchestra of Europe, Cleveland Orchestra, Tonhalle Orchestra Zurich, Rotterdam Philharmonic, City of Birmingham Symphony Orchestra, Tokyo Symphony and Deutsche Kammerphilharmonie Bremen. As an exclusive EMI/Virgin Classics artist, Sokolov is developing a strong and varied catalogue of recordings.

專家與媒體觀眾的讚賞與好評。

Pao-Chang Tsai is co-artistic director of the Taiwan-based theatre company Tainaner Ensemble, recognized as one of Taiwan’s finest ensembles. He directed their productions of K24 (2005/2007), Mulan (2011) which was considered to be one of the most distinguished Chinese Musical, Re/turn (2011), which has won critical appraisals. He also played the title roles of Tainaner Ensemble’s Hamlet (2005) and Macbeth (2007), the latter was appointed the Top 10 annual production of Tai-Shin Award. He has gained grants from the Ministry of Culture (Taiwan) and Asian Cultural Council to support his vocal training in Paris, U.S.A and Russia respectively. He has received awards in Taiwan, including the annual People of PAR magazine and Tai-Shin Award.


NSO 2015/2016

Meet the Guest Artists

大提琴王健 JIAN WANG, cello

說書人龔鈺祺 KUNG YU-CHI, narrator

2016/3/27

2016/4/1, 2

王健在上海音樂院就讀時,即成為著名紀錄片《從毛澤東

龔鈺祺畢業於福星國小、師大附中、臺北藝術大學研究

到莫札特—史坦在中國》中的一員。史坦以鼓勵與支持為

所,主修鋼琴。曾師從於周蓮芬、朱象泰、吳漪曼、陳蓉

王健鋪路,協助他赴美到耶魯大學音樂院於知名大提琴家

蕙、陳美鸞等教授。副修中提琴,曾師事吉永禎三、陳

派瑞索門下深造。王健此後與世界許多主要樂團合作演

恆明、楊瑞瑟等教授。現為「蘇打綠樂團」鍵盤/中提琴

出,如克里夫蘭、費城、芝加哥、紐約、洛杉磯、波士頓

手。隨樂團發行錄音作品包括:《蘇打綠同名專輯》、

等地樂團;也與柏林愛樂、荷蘭皇家大會堂管絃樂團、倫

《小宇宙》、《無與倫比的美麗》、《陪我歌唱》、

敦交響樂團、法國國立管絃樂團等樂團合作過。他的演出

《春.日光》、《夏/狂熱》、《你在煩惱什麼》、

足跡也遍及其祖國中國,曾在北京國家大劇院演出巴赫大

《秋:故事》;影音產品《 That moment is over 》、《十

提琴組曲全集。王健有許多錄音,其中有數張由DG發行,

年一刻》、《Walk together live》、《空氣中的視聽與幻覺

最近的錄音為《夢幻曲》(Reverie)(大提琴與吉他改編 版),以及由阿胥肯納吉指揮雪梨交響樂團的艾爾加大提

Live》;2014年完成蘇打綠十週年演出之後,現正舉辦2015

琴協奏曲。

大學、文化大學、中正高中、華岡藝校。致力跨界製作,

《再遇見》世界巡迴演唱會。龔鈺祺目前任教於臺北藝術 參與電影《幸福額度》、《百日告別》配樂。

While a student at the Shanghai Conservatory, cellist Jian Wang was featured in the celebrated documentary film From Mao to Mozart: Isaac Stern in China. Stern’s encouragement and support paved the way for him to go to the United States to study at the Yale School of Music with the renowned cellist Aldo Parisot. Wang has since performed with the world’s leading orchestras, including those of Cleveland, Philadelphia, Chicago, New York, Los Angeles, Boston and Detroit, as well as with the Berlin Philharmonic, Royal Concertgebouw Orchestra of Amsterdam, London Symphony, Orchestre National de France and many more. He has also performed extensively throughout his native China, including the complete Bach Cello Suites at the National Center for the Performing Arts in Beijing. Wang’s discography includes numerous releases on the Deutsche Grammophon label, most recently Reverie (arrangements for cello and guitar) and the Elgar concerto with the Sydney Symphony conducted by Vladimir Ashkenazy.

Born in 1980, Kung Yu-Chi graduated from Taipei National University of Arts, major in piano under professor Chen Mei-Luan, and minor in viola. Currently play piano and viola in “Sodagreen” band, which has already released eight albums and three live DVDs. After celebrating the band’s 10th anniversary in 2014, Kung is with “Sodagreen” on its 2015 tour, And Met Again, now. He has also served as a professional dance piano accompaniment, coaching and designing courses with many dancers and performances. Dedicated to cross-border production, Kung participated the original scores in the films Happiness Quota and Zinnia Flower. In collaboration with musical brands in recent years, Kung performed with Bösendorfer and Fazioli pianos in “Sodagreen” performances, in hoping classical and pop music can be more practical combined.


認識客席音樂家

114

115

法國號拉德克.巴伯羅柯 RADEK BABORÁK, horn

小號萊因霍爾德.弗里德里希 REINHOLD FRIEDRICH, trumpet

2016/4/9

2016/4/29

巴伯羅柯是少之又少可被稱為國際炫技名家的法國號演奏

自1986年贏得聲望極高的ARD大賽第二獎後,小號演奏家

家。在擔任柏林愛樂八個樂季的法國號首席之後,巴伯羅

萊因霍爾德.弗里德里希便活躍於世界各地的重要舞台。

柯為了專注於獨奏事業而決定離開樂團。他經常與世界主

他的演奏曲目含括巴洛克音樂到最新的獨奏作品。他曾世

要樂團同台,也與許多極富盛名的指揮家與音樂家合作

界首演沃夫岡.利姆、彼得.馬克斯威爾.戴維斯、雷貝

演出。他的錄音作品中有多項得獎錄音,由世界一流的古

卡.桑德士、漢斯.威拿.亨采、貝恩德.阿洛伊斯.秦

典樂唱片商發行。專業評論家與聽眾相當欣賞其優雅卻又

摩曼等作曲家的作品。萊因霍爾德.弗里德里希曾和許多

自然流暢的風格、富含歌唱性的音樂語法,以及令人讚嘆

知名的團體合作,如:柏林巴洛克獨奏家樂團、維也納室

的技巧。巴伯羅柯致力拓展並豐富法國號的曲目,常與鋼

內管絃樂團、巴塞爾室內管絃樂團以及班伯格交響樂團。

琴、豎琴、管風琴與絃樂四重奏合作獨奏會,在管絃樂團

他任教於卡爾斯魯厄的音樂學院,同時擔任倫敦皇家音樂

的音樂會中亦常見其身影。室內樂也扮演了他音樂生活中

學院的榮譽教授,以及奧胡斯皇家音樂學院和廣島伊莉莎

的重要角色。現任捷克小交響、布拉格獨奏家室內樂團、

白音樂大學的客座教授;除此之外,他也在世界各地開授

捷克法國號重奏團、靈感五重奏以及巴伯羅柯重奏團的指

大師班。

揮與藝術主導人。現任教於布拉格音樂學院。

Radek Baborák belongs to that very select company of musicians who can be called virtuosos of international standing on the horn. After eight seasons as principal horn with the Berlin Philharmonic, Baborák decided to leave the orchestra in order to focus on a solo career. He regularly performs with leading orchestras throughout the world, and collaborates with the most prestigious conductors and musicians. His discography includes prized recordings released by leading publishers of classical music. Expert critics and listeners appreciate his elegant and spontaneous style, his melodious tone, and his amazing technique. In his effort to broaden and enrich the horn repertory, he appears in recitals with piano, harp, organ, and string quartet as well as in concertos with orchestra. Chamber music too forms an essential part of Baborák’s musical life. He is the artistic leader and conductor of the Czech Sinfonietta, Prague Chamber Soloists, Czech Horn Ensemble, Afflatus Quintet, and Baborák Ensemble. Baborák teaches at the Academy of Music in Prague.

Since winning Second Prize at the highly prestigious ARD competition in Munich in 1986, trumpet player Reinhold Friedrich has been performing on important stages throughout the world. His repertory ranges from Baroque music to the latest solo compositions. He has given the world premieres of works by composers like Wolfgang Rihm, Peter Maxwell Davies, Rebecca Saunders, Hans Werner Henze, and Bernd Alois Zimmermann. Reinhold Friedrich has performed with such prestigious ensembles as the Berlin Baroque Soloists, Vienna Chamber Orchestra, Basel Chamber Orchestra, and Bamberg Symphony. He teaches at the conservatory in Karlsruhe, is honorary professor at the Royal Academy of Music in London, and serves as guest professor at the Royal Academy of Music in Aarhus and at the Elisabeth School of Music in Hiroshima, all in addition to giving master classes around the world.


NSO 2015/2016

Meet the Guest Artists

次女高音伊莉莎白.詹森 ELISABETH JANSSON, mezzo soprano

管風琴陳相瑜 HSIANG-YU CHEN, organ

2016/5/6

2016/5/14

2003年,生於瑞典的次女高音伊莉莎白.詹森於丹麥皇家

國立臺北藝術大學音樂系畢業,鋼琴師事林和惠教授,大

劇院初次登台,飾唱莫札特歌劇《費加洛的婚禮》的凱魯

鍵琴師事宋允鵬教授。美國西北大學鋼琴暨管風琴演奏

碧諾。2005年起,她受聘為該劇院的獨唱家。她曾就讀於

碩士,鋼琴師事Prof. Carmen Or,管風琴及大鍵琴師事Prof.

慕尼黑理查.史特勞斯音樂學院、倫敦皇家音樂學院,以

Wolfgang Rübsam。兩廳院「樂壇新秀」及「中興文藝獎」音

及哥本哈根歌劇學院。她也曾參與安東尼.羅菲.強生、

樂類得主。曾多次擔任臺灣作曲家管風琴作品首演,並先

芭芭拉.邦妮、布吉特.法斯班德與菲利普.朗格瑞吉等

後與臺北愛樂管絃、國家交響、北藝大絃樂團等演出協奏

名家的大師班。此外,伊莉莎白.詹森還是個忙碌的神劇

曲。現任臺北景美浸信會風琴師,國家交響樂團、臺北市

獨唱家,並和若干斯堪地那維亞與英國的管絃樂團合作。

立交響樂團及長榮交響樂團管風琴家,並任教於東吳大學

她獲得的許多獎項包括埃蓮娜.蓋哈特藝術歌曲獎、伊莎

音樂系,教授鋼琴、管風琴及室內樂。

貝爾.傑歌劇獎、喬爾.貝格倫德獎學金、麥可.黑德 歌唱獎、2004雷姆特天資獎,以及數個皇家音樂學院的獎 項。

Swedish-born mezzo-soprano Elisabeth Jansson made her debut at the Royal Danish Theater in 2003 as Cherubino in Mozart’s opera The Marriage of Figaro. Since 2005 she has been engaged by the theater as a soloist. She was trained at the Richard Strauss Conservatory in Munich, the Royal Academy of Music in London, and the Opera Academy in Copenhagen. She has also participated in master classes with Anthony Rolfe Johnson, Barbara Bonney, Brigitte Fassbaender and Philip Langridge. In addition, Elisabeth Jansson is a busy oratorio soloist, and has worked with a number of Scandinavian and English orchestras. Her many awards include the Elena Gerhardt Lieder Prize, the Isabel Jay Operatic Prize, the Joel Berglund Scholarship, the Michael Head Prize for Singing, the Reumert Talent Prize 2004, and several prizes at the Royal Academy.

Winner of "Young Prominent Musician" of the National Theater & Concert Hall, and "Chung-Hsing Literature & Art Medal", Chen graduated from National Taipei University of the Arts , then received her master degree in Piano Performance & Organ Performance from Northwestern University, Il., USA. As a concert organist, Chen has premiered many organ works by Taiwanese composers, and also collaborated with Taipei Philharmonic Orchestra, National Symphony Orchestra, Taipei Chinese Orchestra, String Orchestra of National Taipei University of the Arts, Taipei Civic Symphony Orchestra, Taiwan National Choir, Taipei Philharmonic Chorus, Formosa Singers, Taipei Male Choir, etc. Currently, Chen is organist & pianist of Taipei Ching-Mei Baptist Church, freelance organist of National Symphony Orchestra, Taipei Symphony Orchestra, Evergreen Symphony Orchestra, and faculty of Soochow University, Department of Music.


認識客席音樂家

116

117

鋼琴史帝芬.賀夫 STEPHEN HOUGH, piano

單簧管約格.魏德曼 JÖRG WIDMANN, clarinet

2016/5/27, 28

2016/6/5

史提芬.賀夫不僅是個卓越的鋼琴獨奏家,還是個成功的

身兼單簧管演奏家、作曲家和指揮家等身分的約格.魏德

作曲家與作家。被《經濟學人》評選為當今世上最博學的

曼,是同輩藝術家當中最多才多藝且備受矚目的一位。

二十位人物之一,賀夫是第一位榮獲麥克阿瑟獎的古典音

2014/15樂季他以單簧管獨奏家的身分,和許多樂團合作,

樂演奏家,和科學家、作家及其他對當代生活作出獨特貢

如:柏林國家管絃樂團、漢堡愛樂樂團、赫爾辛基愛樂樂

獻的傑出人物並列。2014年,賀夫獲頒大英帝國司令勳章

團、柏林德意志交響樂團以及班伯格交響樂團,他同時

(CBE)。自1983年奪得紐約瑙姆堡大賽首獎後,賀夫陸續

也是班伯格交響樂團的駐團作曲家。他的第一號鋼琴協奏

和世界各地一流的管絃樂團合作,並在許多知名的音樂廳

曲由葉芬.布朗夫曼搭配賽門.拉圖爵士指揮柏林愛樂樂

舉辦獨奏會。他是許多音樂節的常客,在薩爾茲堡、非常

團舉行世界首演。魏德曼同時也是個活躍的室內樂音樂

莫札特、檀格塢、愛丁堡和BBC逍遙等音樂節,演出協奏

家。他也是個指揮家,目前是愛爾蘭室內樂團的首席客座

曲逾二十場。賀夫錄製的五十多張專輯當中,有許多獲得

指揮。魏德曼的作品為他贏得各樣獎項與榮譽。他的歌劇

國際獎項的肯定,包括法國金音叉獎、數次葛萊美獎提名

《鏡子裡的臉》被《歌劇世界》雜誌評選為2003/04樂季最

及八次留聲機獎,當中包含年度最佳錄音(兩次)和金唱

重要的世界首演作品,他亦曾獲柏林愛樂樂團學院贈與阿

片。

巴多作曲獎。

Stephen Hough combines a distinguished career as a concert pianist with parallel careers as composer and writer. Named by The Economist as one of Twenty Living Polymaths, Hough was the first classical performer to be awarded a MacArthur Fellowship, joining scientists, writers and others who have made unique contributions to contemporary life. He was made a Commander of the Order of the British Empire (CBE) in 2014. Since winning first prize at the 1983 Naumburg Competition in New York, Hough has performed with many of the world’s major orchestras and has given recitals at the most prestigious concert halls. He is a regular guest at festivals such as Salzburg, Mostly Mozart, Tanglewood, Edinburgh and the BBC Proms, where he has made over twenty concerto appearances. Hough’s catalogue of over fifty CDs has garnered international awards, including the Diapason d’Or de l’Année, several Grammy nominations, and eight Gramophone Awards, including Record of the Year (twice) and the Gold Disc.

Clarinetist, composer and conductor Jörg Widmann is one of the most versatile and intriguing artists of his generation. The 2014/15 season saw him appear as clarinet soloist with orchestras such as the Staatskapelle Berlin, Hamburg Philharmonic, Helsinki Philharmonic, Deutsches Symphonie-Orchester Berlin, and Bamberg Symphony, where he was also composer-in-residence. His First Piano Concerto was given its world premiere by Yefim Bronfman and the Berlin Philharmonic under Sir Simon Rattle. Widmann also has an active career as a chamber musician. In his role as conductor, he is Principal Guest Conductor of the Irish Chamber Orchestra. Widmann has received multiple awards and honors for his compositions. His opera Das Gesicht im Spiegel was chosen by Opernwelt magazine as the most important world premiere of the 2003/04 season, and the Berlin Philharmonic Academy bestowed on him the Claudio Abbado Composition Award.


NSO 2015/2016

Meet the Guest Artists

鋼琴劉孟捷 MENG-CHIEH LIU, piano

鋼琴維多利亞.波絲特妮柯娃 VIKTORIA POSTNIKOVA, piano

2016/6/12

2016/6/18

出生於高雄的鋼琴家劉孟捷,曾於1993年以柯蒂斯音樂學

受世界各地樂評讚譽為當代最偉大的鋼琴家之一,維多利

院學生之姿,代替鋼琴大師安德烈.瓦茲於費城音樂廳演

亞.波絲特妮柯娃在她漫長的演奏生涯中,走遍了世界各

出,贏得高度讚賞。蒸蒸日上演奏事業,雖被一場突如

大音樂中心。與她合作過的樂團包括柏林愛樂樂團、阿姆

其來的罕見疾病中斷,劉憑著堅毅的決心,在嚴酷的物理

斯特丹皇家大會堂管絃樂團、捷克愛樂樂團、倫敦交響

治療後奇蹟似的恢復健康,繼續活躍在演奏舞台上。浴火

樂團、維也納愛樂樂團、紐約愛樂樂團,以及波士頓、芝

重生之後,除了以獨奏家的姿態演出,亦與克里斯托夫.

加哥、克里夫蘭和費城等地的管絃樂團。她經常以協奏曲

艾森巴赫、古斯塔夫.杜達美、艾倫.吉伯特等知名指揮

獨奏家的身分和她的丈夫―指揮家格納迪.羅許德茲特溫

合作,且於2008年獲選為中華民國第四十六屆十大傑出青

斯基同台演出。維多利亞.波絲特妮柯娃在室內樂方面

年,肯定他在音樂藝術上的成就。劉孟捷於2002年於獲頒

亦著力甚深。和小提琴家耶胡迪.曼紐因合作的多場獨奏

艾維理費雪職業大賞及費城音樂基金會職業成就獎,演出

會,是她演奏生涯的偉大時刻之一。她於2004年獲得人民

行腳遍及美國各大城市、臺、港、日、韓、中、英、法、

藝術家榮銜。在她無數的錄音當中,具代表性的包括柴科

西、紐、澳等地,自 1993 年開始任教於柯蒂斯音樂院,

夫斯基鋼琴作品全集(埃拉托唱片)、穆索斯基鋼琴作品

2006 年受邀至芝加哥羅斯福大學擔任鋼琴教授,並將在 2014年秋天加入新英格蘭音樂學院的師資陣容。

全集、普羅科菲夫的五首鋼琴協奏曲以及孟德爾頌《無言

Accept by The Curtis Institute at age thirteen, Meng-Chieh Liu first made headlines in 1993 when he substituted at last minute's notice for André Watts at the Academy of Music in Philadelphia. The concert earned high acclaim and brought a stellar beginning to his career, which was abruptly halted by a rare and debilitating illness. With arduous determination and relentless physical therapy, Liu has been restored to full health and is now once again performing on the concert stage. Since then, he has performed throughout the world as a soloist in recitals and with orchestras under conductors such as Christoph Eschenbach, Gustavo Dudamel and Alan Gilbert. In 2002, Liu received the Avery Fisher Career Grant and the Philadelphia Musical Fund Society Career Advancement Award in recognition of his achievement. Liu has served at The Curtis Institute of Music since 1993, invited to teach at Roosevelt University in 2006, and join the faculty at the New England Conservatory in the Fall of 2014.

Acclaimed by critics around the world as one of the greatest pianists of our time, Viktoria Postnikova can look back on a long career that has taken her to every major music center in the world. She has given concerts with the Berlin Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, Czech Philharmonic, London Symphony, Vienna Philharmonic, New York Philharmonic and the orchestras of Boston, Chicago, Cleveland and Philadelphia. As a concerto soloist she often appears with her husband, conductor Gennady Rozhdestvensky, on the podium. Viktoria Postnikova also devotes part of her time to chamber music. Among the great moments of her career were the recitals she gave with violinist Yehudi Menuhin. In 2004, she was awarded the Peoples Artist Award. Among her numerous recordings are the complete piano works by Tchaikovsky on the Erato label, the complete piano works of Mussorgsky, the five Prokofiev piano concertos, and Mendelssohn’s complete Songs Without Words.

歌》全集。


認識客席音樂家

戲劇統籌瑪莉.柏恩鮑姆 MARY BIRNBAUM, stage director 2016/7/8, 10

118

男高音麥可.雷赫斯基 MICHAL LEHOTSKY, tenor 2016/7/8, 10

瑪莉.柏恩鮑姆是個以紐約市為根據地的歌劇導演。懷著

斯洛伐克男高音麥可.雷赫斯基的職業生涯,在兩度打入

對戲劇質素的興趣,她專攻新音樂和戲劇。她曾負責茱莉

維也納貝芙戴芮歌唱大賽的準決賽(1996和1997年)之後

亞學院、墨爾本歌劇工作室、美國歌劇計畫、洛杉磯塞墨

正式展開。1996至2001年間,他受聘於斯洛伐克科西策的

勒之子劇院、新當代藝術博物館和布萊恩公園等地的演出

歌劇公司,2004至2008年間,他成為布拉提斯拉瓦斯洛伐

製作。2009至2012年間,柏恩鮑姆女士創立並帶領「藝術

克國家劇院的獨唱家,2008年起他以自由藝術家的身分繼

集會劇場公司」,一個受《安可雜誌》讚譽為「天才」

續演唱。他曾在維也納國家歌劇院、柏林德意志歌劇院、

的互動式說故事公司。她也和劇作家合作,為蘇活換劇目

匈牙利國家劇院、布加勒斯特國家劇院以及中國和日本的

劇場、劇作家王國以及倫敦老維多劇場開發新劇。她曾在

劇院登台演出。2002至2011年間,他是布拉格國家歌劇院

聖塔菲歌劇院、紐約大都會歌劇院和西雅圖歌劇院擔任

的固定客座演唱家。他飾唱過的角色包含大多數的偉大義

助理。身為茱莉亞學院藝術家文憑歌劇研究學分班的副導

大利男高音曲目:奧泰羅、《阿依達》的拉達梅斯、《弄

演,柏恩鮑姆女士教授並指導歌者表演,受指導者包含大

臣》的公爵、《蝴蝶夫人》的平克頓、《杜蘭朵公主》的

學生和研究生。她擁有哈佛大學的學位,以及巴黎賈克樂

卡拉富、《遊唱詩人》的曼利可和《丑角》的卡尼奧等。

寇學校動作與設計的證書。

他還飾唱過《卡門》的唐.荷塞、彼得.葛萊姆,以及德 沃札克和斯梅塔納的歌劇的角色。

Mary Birnbaum is a New York City-based stage director of theater and opera. With an interest in dramaturgy, she specializes in new music and plays. She has created productions for Juilliard, the Melbourne Opera Studio, American Opera Projects, Los Angeles’ Son of Semele Theater, the New Museum, and Bryant Park. Ms. Birnbaum founded and led Art Party Theater Company, an interactive storytelling company that was hailed as “genius” (Encore Magazine), from 2009-2012. She has also collaborated with playwrights to develop new plays for Soho Rep, the Playwright’s Realm, and The Old Vic in London. She has assisted at Santa Fe Opera, the Metropolitan Opera in New York, and Seattle Opera. As Associate Director of the Artist Diploma in Opera Studies program at Juilliard, Ms. Birnbaum teaches and coaches acting for singers at the undergraduate, masters, and post-graduate level. She has a degree from Harvard University and a certificate in movement and design from the École Jacques Lecoq in Paris.

Slovak tenor Michal Lehotský’s professional career took off after he was twice named semifinalist in the Hans Gabor Belvedere Competition in Vienna (in 1996 and 1997). From 1996-2001, he was engaged by the opera company of Košice in Slovakia, between 2004 and 2008 he was a soloist with the Slovak National Theatre in Bratislava, and since 2008 he has pursued a career as a free-lance artist. He has appeared at the Vienna State Opera, the Deutsche Oper in Berlin, the Hungarian State Opera, and the National Theater in Bucharest as well as in China and Japan. From 2002 to 2011 he was a permanent guest of the Prague State Opera. His many roles include most of the great Italian tenor repertory–Otello, Radames (Aida), the Duke (Rigoletto), Pinkerton (Madama Butterfly), Calaf (Turandot), Manrico (Il Trovatore), and Canio (Pagliacci), among others. Also in his repertory are Don José (Carmen), Peter Grimes, and roles in operas by Dvořák and Smetana.

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NSO 2015/2016

Meet the Guest Artists

女高音希莉亞.科絲提雅 CELLIA COSTEA, soprano 2016/7/8, 10

男中音鮑里斯.史坦森柯 BORIS STATSENKO, baritone 2016/7/8, 10

羅馬尼亞女高音希莉亞.科絲提雅是弗朗西斯科.維亞斯

俄國男中音鮑里斯.史坦森柯畢業於莫斯科國立柴科夫

大賽(巴塞隆納)、蒙特賽拉特.卡芭葉大賽(沙拉哥

斯基音樂學院。1987至1990年間於波里斯.波克羅夫斯基

薩)、北京大賽以及朱利安.加亞瑞大賽(潘普羅納)的

室內音樂劇院擔任駐院獨唱家;1991至1995年間轉任波修

首獎得主。自那時起,她陸續登上許多知名劇院的舞台,

瓦劇院駐院獨唱家,期間曾飾唱柴科夫斯基《尤金.歐內

諸如:倫敦柯芬園皇家歌劇院、巴塞隆納利塞奧大劇院、

金》的男主角、羅西尼《塞維亞理髮師》的費加洛,以及

維也納國家歌劇院、柏林德意志歌劇院、卡塔尼亞馬西莫

古諾《浮士德》的瓦倫丁等角色。曾於1993年於德勒斯登

貝利尼劇院、雅典國家歌劇院、法蘭克福歌劇院、奧斯

音樂節演出後,獲邀至肯尼茲歌劇劇院。目前是杜塞爾多

陸歌劇院、阿姆斯特丹皇家歌劇院以及馬賽市立歌劇院

夫德國萊茵歌劇院的駐院獨唱家以及波修瓦劇院的客席獨

等。她飾唱過的著名角色包括《托斯卡》的托斯卡、《奧

唱家。史坦森柯也舉辦過多場獨唱會,且經常於德國盧威

泰羅》的黛絲德蒙娜、《蝴蝶夫人》的蝴蝶夫人、《阿依

斯堡音樂節登台演唱。他是許多著名比賽的首獎得主,如

達》的阿依達、《唐.喬望尼》的艾維拉、《唐.卡羅》

葛令卡國際大賽、雅典瑪麗亞.卡拉絲國際大賽以及莫斯

的伊利莎貝塔、《浮士德》的瑪格麗特、《波希米亞人》

科柴科夫斯基國際大賽等。

的咪咪、《杜蘭朵公主》的柳兒、《西蒙.波卡涅拉》的 艾蜜莉亞及《西西里晚禱》的艾蓮娜。

Romanian soprano Cellia Costea was first prize winner in the Francisco Viñas competition in Barcelona, the Montserrat Cabellé competition in Saragossa, the Beijing competition, and the Julian Gayarre competition in Pamplona. Since that time she has starred in prestigious theaters such as London’s Royal Opera House Covent Garden, the Liceu de Barcelona, Vienna State Opera, Deutsche Oper Berlin, Teatro Massimo Bellini in Catania, Athens National Opera, Frankfurt Opera, Oslo Opera Theater, Royal Opera Amsterdam, and Opera Municipal de Marseille. Notable roles in her repertory include Tosca(Tosca), Desdemona(Otello), Cio Cio (Madama Butterfly), Aida, Donna Elvira (Don Giovanni), Elisabetta (Don Carlo), Marguerite (Faust), Mimi (La Bohème), Liù (Turandot), Amelia (Simon Boccanegra) and Elena (I Vespri Siciliani).

Russian baritone 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, where his roles included the title role in Tchaikovky’s Eugene Onegin, Figaro in Rossini’s Barber of Seville, and Valentin in Gounod’s Faust. Following performances at the Dresden Festival in 1993, he was invited to the Chemnitz Opera Theater. He is currently a soloist of the Deutsche Oper am Rhein in Düsseldorf and a guest soloist at the Bolshoi Theater. Statsenko also gives numerous recitals, performing often at the Ludwigsburg Festival in Germany. 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.


認識客席音樂家

男低音羅俊穎 JULIAN LO, bass

120

121

男高音王 典 FERNANDO WANG, tenor

2016/7/8, 10

2016/7/8, 10

男低音羅俊穎畢業於東吳大學音樂系研究所碩士班。 2005

王典畢業於中國文化大學及國立盧森堡音樂院,1999年以

年於「全日本演奏家協會」主辦之第二屆歌劇詠嘆調大賽

第一名成績取得盧森堡音樂院兩項最高演唱文憑。1998年

中獲得首獎,並獲頒「年度新人獎」。隨後考入日本「藤

應男高音多明哥之邀,於萬人露天演唱會中與多明哥同台

原歌劇團」(The Fujiwara Opera Company & The Japan Opera

演唱威爾第之二重唱。王典具備少有的華美音色及寬廣音

Foundation)成為正式團員。2005年在歌劇《魔笛》中擔任 大祭司Sarastro一角,首度登上日本歌劇舞台。此後陸續在

域,在辛永秀、Arrigo Pola、Gianni Raimondi、IonelPantea、

露琪亞》、《馬克白》、《阿依達》等多齣歌劇中擔任主

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

角,以深沉濃郁的歌聲及超群的存在感廣受好評,特別擅

於台灣、盧森堡演唱之《波西米亞人》、《蝴蝶夫人》、

長威爾第的作品。近期重要的演出包括有《唐卡洛》中的

《浮士德》等皆獲得高度讚賞。溫暖而澄澈的音色加上完

菲立普王二世、《納布果》中的先知薩加利亞、《費黛里

整的技巧及豐沛的涵養,使他的神劇演唱如《彌賽亞》、

歐》中的獄卒洛可。2014年亦在台北參與了兩齣理查.史

《以利亞》等皆令人為之動容。亦曾演唱多部清唱劇及

特勞斯的作品,分別是由NSO製作《莎樂美》及TSO製作

彌撒曲,並多次演唱異常艱難的卡爾.奧福的《布蘭詩

《納克索斯島的阿德麗亞娜》。

歌》。

Julian Lo (Bass) Graduated from Taiwan Soochow University with a Master degree in Music. Lo won the first prize in an opera competition of Japan Performers Association in 2004 and started his professional singing career in Japan. He then became a main member of Fujiwara Opera Company and Japan Opera Foundation. Lo's operatic performances include Die Zaoberflöte, Rigoletto, La Boheme, Lucia di Lammermoor, Macbeth and Aida etc. Lo is known for his rich velvety voice and strong stage presence and his insightful interpretation of Verdi roles. His recent opera performances include Filippo II in Don Carlo, Zaccharia in Nabucco, Rocco in Fidelio and also in 2014 he sung two Richard Strauss’s works Salome (NSO) and Ariadne auf Naxos (TSO).

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

《弄臣》、《茶花女》、《波西米亞人》、《拉美莫爾的


NSO 2015/2016

Meet the Guest Artists

男低音葉展毓 CHAN-YU YEH, bass 2016/7/8, 10

畢業於東海大學音研所,曾師事徐以琳、陳振芳老師。曾 獲世華聲樂大賽Paolo Silveri美聲特別獎及第四名,全國學生 音樂比賽男中低音組冠軍。與NSO國家交響樂團演出《跨 新年音樂會―與你共舞》飾演《蝙蝠》中典獄長 Frank 、 《跨新年音樂會―威爾第之夜》、《阿伊達》中祭司

Ramfis,與TSO台北市立交響樂團演出《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《魔笛》中捕鳥人

Papageno,台北愛樂歌劇坊演出《唐喬望尼》中Leporello一 角;分別擔任浦契尼《光榮彌撒》與布拉姆斯《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》男低音獨唱。為中華民國2013聲樂家 協會年度新秀,目前為中華民國聲樂家協會會員。

Graduated from the Master program in Voice at Tunghai University, where Chan-Yu Yeh studied with Dr. Hsu 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 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 Brahms’ Ein detusches Requiem, Puccini’s Messa di Gloria, Beethoven’s Missa Solemnis, Handel’s Messiah, and Bruckner’s Ten Deum Ladamus.


認識客席音樂家

國立實驗合唱團 TAIWAN NATIONAL CHOIR 2015/11/29, 2016/6/12

教育部於1985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.

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123

臺北愛樂合唱團 TAIPEI PHILHARMONIC CHORUS

東吳大學音樂系合唱團 SCU DEPARTMENT OF MUSIC CHORAL

2015/12/5, 2016/7/8, 10

2015/12/31, 2016/1/1

1972年創立,1983年由杜黑教授擔任藝術

東吳大學音樂系合唱團於 1972 年成

總監至今,現由古育仲擔任常任指揮。

立,原為純女聲組成的合唱團,自

1993年成立「台北愛樂室內合唱團」,每

1999年起納入了主修與選修的男聲,

年獲邀參與國際音樂節,於國內各地巡

成為混聲合唱團。創團以來,歷經

演,深耕合唱音樂。曾與NSO國家交響

黃奉儀主任、李靜恩、邱賢英、孫清

樂團合作演出威爾第《安魂曲》、貝多

吉、林麗瑛等多位老師指導。自1991

芬第九號交響曲、比才歌劇《卡門》、

年起,即由林舉嫻老師擔任指揮迄

布瑞頓《戰爭安魂曲》、韓德爾《彌賽

今。音樂系合唱團在課程中,涉獵曲

亞》、孟德爾頌《以利亞》、第二號交

目廣泛―由文藝復興時期的合唱作

響曲《頌歌》、馬勒第二、三、八號交

品到近代;同聲到混聲;小組重唱到

響曲、浦契尼歌劇《蝴蝶夫人》等,此

大合唱,藉著演唱不同時期的經典作

外亦經常首演國內外經典作品,如錢南

品,來學習不同音樂風格的詮釋,鍛

章《馬蘭姑娘》、《佛教涅盤曲》、歌

鍊歌唱的能力與合唱技巧,享受合唱

劇《畫魂》、《十二生肖》、許常惠歌

音樂之美!

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年獲台北市政府 譽揚,訂定捷運東區地下街七號廣場為 「台北愛樂合唱廣場」,肯定本團對台 灣音樂界的卓越貢獻。

Founded in 1972, Taipei Philharmonic Chorus was 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.

Founded in 1972, the university choral was at first women’s choral ensemble. Not until 1999 did the choral recruit men in. The choral has experienced the instruction under Director Huang, Fong-Yi, Ching-En Li, Hsien-Ying Chiu, Ching-Chi Sun, LiYing Lin. Since 1991, professor Lin, ChuHsien has conducted the choral. Through the courses, the choral learns various music styles- from Renaissance to Modern, from male/women’s choral to mixed choral. By performing works from different age, the choral acquires diverse interpretations for the styles, the singing skills of both personal and ensemble, and enjoys the beauty of choral music.


NSO 2015/2016

Meet the Guest Artists

飛人集社劇團 FLYING GROUP THEATRE

拉縴人男聲合唱團 TAIPEI MALE CHOIR

2015/12/31, 2016/1/1

2016/3/4

成立於 2004 年 5 月。「飛人」取其諧

拉縴人男聲合唱團的前身是「成功高

無獨有偶工作室劇團 THE PUPPET AND ITS DOUBLE THEATER 2016/4/1, 2

音「非人 = 偶」,意指在劇場自由飛

中校友合唱團」, 2003 年起連續 13

行的藝術創作者集合之所。主要創作

年獲選為文化部(前行政院文建會)

形為「偶」,作品曾多次獲台新藝術

扶植演藝團隊,2005年起也開始招收

獎提名,並受邀臺灣、北京、荷蘭、

非成功高中畢業的團員。歷經唐天

法國、新加坡各藝術節演出。製作規

鳴老師指揮,現由聶焱庠老師擔任

格定位為「以多元複合的精神製作/

指揮暨藝術總監。根據2006年的歐洲

創作小規模、並挑戰傳統觀賞距離的 表演藝術作品」。成立至今,作品發

INTERKULTUR Foundation所公佈的世 界合唱團排名中,榮獲世界TOP 500

表多元,涵蓋現代偶戲、聽覺作品、

合唱團之第六名,更在世界男聲合唱

裝置作品《打包》/北美館,團長石

團排名中名列第一,躋身成為世界高

佩玉同時擔任偶戲導演作品包括NSO

水準的著名合唱團之一。首張專輯

《鼠際大戰》、《萬聖派對》、《指

《In Love With You》,入圍2008年第

尖上的幻象》光影設計。2010年主辦

19屆金曲獎中傳統暨藝術類「最佳古

首屆《超親密小戲節》( Close to YOU

International Puppet Festival)推動迷你偶 戲,第六屆將於2016年舉辦。策畫跨 國合作案,包括2011-2013「台法合作 案《一睡一醒三部曲》」,2015-2016 「台馬合作案《赤鬼》」。

典音樂專輯獎、最佳演唱獎以及最佳 專輯製作人獎」,並榮獲「最佳演唱 獎」。2012年,第二張專輯《千縷清 風》入圍23屆金曲獎「最佳古典音樂 專輯獎、最佳演唱獎以及最佳專輯製 作人獎」三項大獎,並二度榮獲「最 佳演唱獎」。

Flying Group Theatre was established in May of 2004. In Chinese, its name is a phonetic wordplay on "non-human," suggesting puppetry, while at the same time evoking the image of a place of gathering for artists and creative talents who fly around freely within the theatre. In the earlier years following the group's inception, puppetry was the main focus of creative expression. The group's work was nominated for the Taishin Art Award numerous times, and was invited to take part in art festivals in Taiwan, Beijing, the Netherlands, France and Singapore. Flying Group Theatre strives to produce performance pieces which follow the spirit of multimedia integration, are intimate in scale, and challenge the traditionally accepted distance between performer and spectator.

The forerunner of Taipei Male Choir was Cheng-Gong High School Alumni Chorus. The choir was selected as one of the nurtured art groups by the government for 13 years consecutively, because of extending male chorus, creating performance, and introducing elegant choral art to the public. It was also accepted members who are not Cheng-Gong High School graduates, since 2005. After Tien-ming Tang, Yen-hsiang Nieh is the present artistic director and conductor. According to the world chorus ranking by INTERKULTUR Foundation, Taipei Male Choir is the sixth among to 500 choruses, and it ranks the first among male choruses. This record not only attests Taipei Male Choir's achievements in the choral music, but also represents the world high level of Taiwanese choruses. In 2008, A Crush on Male Voice, the first recording of TMC was nominated for three categories and awarded "Best Performance" at the 19th Golden Melody Awards in Taiwan. In 2012, A Thousand Winds, its second recording was nominated for three categories and awarded "Best Performance" again.

無獨有偶創團16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年兩度入圍台新藝術獎「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 台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60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 發平台,引領台灣當代偶戲創作風 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.


票價席次圖

Seating Plan

兩廳院售票系統

國家音樂廳

NATIONAL CONCERT HALL

For Ticket Information: www.artsticket.com.tw 除上述票級外,各場次請依 售票網公告為準。


2015/16 Season

M NS 愛樂套票

7/8-7/22 熱烈啟售

限量600套


126

127

「NSO指定曲」+「愛樂自選曲」共23套曲目

7折優惠, 並加贈【精選好禮】。如每場購買最高票級,同享 6折優惠 ※自選20場 以上可享 6折優惠,並加贈【Bravo好禮】 ※自選10場(含) +1場「NSO指定曲」,可享

(僅限20組)

(含)

NSO指定曲 2015/10/2 2015/11/29 2016/3/27 2016/4/9 2016/4/29 2016/5/20 2016/6/5

開季音樂會 II ― 偉大 樂季精選 I ― 白建宇&NSO ― 火之詩 查拉圖斯特拉如是說 春天號角 爵士.交響 白建宇 & NSO ― 五重奏 樂季精選IV ― 雙面魏德曼

愛樂自選曲

2015/9/24 2015/9/25 2015/10/17 2015/11/18 2015/11/20 2015/12/5 2015/12/17 2015/12/24 2016/1/1 2016/2/25 2016/3/4 2016/4/22 2016/5/6 2016/5/14 2016/5/27 2016/6/12 2016/6/18 2016/7/8

開季音樂會 I ― 呂紹嘉 嚴俊傑與NSO@中壢 開季音樂會 I ― 呂紹嘉 嚴俊傑與NSO@高雄 幻想.交響 巨擘系列I ― 馬利納爵士與NSO 巨擘系列I ― 馬利納爵士與NSO@臺南 以利亞 巨擘系列II ― 赫比希與NSO 赫比希的耶誕祝福 跨新年音樂會 ― 仲夏夜之夢 琴(情)挑俄羅斯 樂季精選II ― 馬勒第六 巨擘系列III ― 賈維與NSO 樂季精選III ― 浪漫白遼士 白建宇 & NSO ― 琴.鍵.交響 第二號 行星組曲 巨擘系列IV―羅許德茲特溫斯基與NSO 歌劇音樂會―《奧泰羅》

2015/16 演奏廳系列套票

買套票,贈好禮 【精選好禮】

My NSO隨聽隨寫隨身本

每場購買最高票級,加贈My NSO 紀念鉛筆組

【Bravo好禮】

My NSO隨聽隨寫隨身本 My NSO 紀念鉛筆組 ※ 套票不得單場退換票 ※ 套票贈禮請於2015/10/1起至兩廳院服務台兌換 票價及多場次的演出時間依各場次公告為準, 單場於2015/8/1起陸續啟售 特別感謝|金革唱片、麗音影音 售票處|兩廳院售票系統 02-3393-9888

2015.8.1~10/4 啟售

全套共12場

8折優惠 任選8場(含)以上節目可享 7.5折優惠 任選4場(含)以上節目可享

「本團保留演出異動權利」NSO reserves right to further changes.


NSO Live

雲端音樂廳

校園講座

秘密樂園


Beingfor there you

除了音樂感動, 你還可以怎麼「利用」NSO ……

企業快遞

電子節目單

粉絲專頁


NSO 2015/2016

NSO錄音產品 Discography of the Taiwan Philharmonic, NSO

呂紹嘉與NSO LIVE 2012

Shao-Chia Lü & NSO LIVE 2012 布魯克納:第四號交響曲《浪漫》 西貝流士:《圖奈拉之天鵝》 荀貝格:《佩利亞與梅麗桑》 A. Bruckner: Symphony No.4, Romantic J. Sibelius: The Swan of Tuonela A. Schoenberg: Pelleas und Melisande 指揮 呂紹嘉

貝多芬:第七號交響曲 L. V. Beethoven: Symphony No.7 in A major, Op. 92 理查.史特勞斯:《狄爾愉快的惡作劇》 R. Strauss: Till Eulenspiegels lustige Streiche, Op. 28 指揮 呂紹嘉

Shao-Chia Lü, conductor October 2013 MU 130002 nso021

Shao-Chia Lü, conductor October 2012 MU 120003

安東.布魯克納:第九號交響曲 Anton Bruckner: Symphony No. 9 in D minor 指揮 根特.赫比希

Günther Herbig, conductor May 2010 nso017

普羅科菲夫 Prokofiev Album

古斯塔夫.馬勒:第六號交響曲

第三號交響曲 《灰姑娘》第一號組曲選段 《塞西亞組曲》

指揮 根特.赫比希

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

Gustav Mahler: Symphony No. 6 in A minor

Günther Herbig, conductor October 2009 nso011-nso012

指揮 呂紹嘉

Shao-Chia Lü, conductor October 2013 MU130003 nso023

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, poème chorègraphique C. Franck: Psyché M. Ravel: Daphnis et Chloé Suite No.2 指揮 呂紹嘉

Shao-Chia Lü, conductor October 2013 MU130004 nso024

樂典─珍藏當代臺灣的聲音

The Voices of Taiwan 樂典10─楊聰賢、洪崇焜、曾毓忠、鍾耀光 指揮│林望傑、呂紹嘉、鄭立彬 雙簧管│謝宛臻 楊聰賢:失落之歌 洪崇焜:《Vox Naturae》 曾毓忠:《光影》 鍾耀光:北管交響曲


130

所有錄音產品皆可於拿索斯網上唱片室(Naxos Music Library)聆聽, 或於ClassicsOnline下載;實體CD請至par.npac-ntch.org/publish/ 線上訂購。

To download: www.classicsonline.com/

To purchase: par.npac-ntch.org/publish/

May 2014 MD010

樂典09-王怡雯、李元貞、洪千惠

樂典05-蕭泰然

指揮│呂紹嘉、尼可拉斯‧米爾頓、鄭立彬 二胡│王銘裕 箏│葉娟礽 長笛│安德石

指揮│林望傑、簡文彬 小提琴│林以信 大提琴│熊士蘭 鋼琴│張巧縈

王怡雯:《台灣雙連畫》 李元貞:《間奏曲:商》 洪千惠:《默娘傳奇》

蕭泰然:D調小提琴協奏曲、 C小調鋼琴協奏曲、C調大提琴協奏曲 April 2010 MD005

December 2013 MD009

樂典04-盧炎 樂典08-錢南章 指揮│呂紹嘉 女高音│林孟君、林玲慧 錢南章:《常動曲》、《詩經五曲》、 《四首原住民藝術歌曲》

指揮│簡文彬 鋼琴│諸大明 盧炎:第二號鋼琴協奏曲、 管絃幻想曲II《撫劍吟》、《憶江南》 April 2010 MD004

June 2012 MD008

樂典03-賴德和 樂典07-許常惠 指揮│簡文彬 女高音│林慈音、陳美玲 男中音│林中光 臺北市立國樂團 臺北愛樂合唱團 臺北華新兒童合唱團 許常惠:《葬花吟》為女高音獨唱、女聲合唱、 引磬、木魚,作品13 慶典序曲《錦繡乾坤》,作品18 舞劇音樂《嫦娥奔月》,為管絃樂團,作品22 歌劇《白蛇傳》,作品33,序幕 清唱劇《獅頭山的孩子》,作品37 舞劇音樂《桃花姑娘》,作品38

指揮│簡文彬 琵琶│王乙曲 賴德和:《紅樓夢》交響曲、《鄉音IV》 December 2009 MD003

樂典02-潘皇龍 指揮│簡文彬 邱火榮 & 亂彈嬌北管劇團 潘皇龍:《普天樂》 December 2009 MD002

March 2012 MD007

樂典01-馬水龍 樂典06-郭芝苑、徐頌仁 指揮│簡文彬、洪毅全 鋼琴│許惠品 郭芝苑:管絃樂組曲《回憶》、《民歌與採茶舞》 管絃樂曲《三首台灣民間音樂》 徐頌仁:鋼琴協奏曲-《落大雨》主題變奏 徐頌仁:《客家平板調》 December 2011 MD006

指揮│簡文彬 鋼琴│林佳靜 古箏│黃好吟 梆笛│劉貞伶 馬水龍:鋼琴協奏曲《關渡隨想》、 古箏協奏曲《尋》、梆笛協奏曲 December 2009 MD001

131


天成醫療體系

Facebook


An Evening

of Piano Concertos

安寧與NSO鋼琴協奏曲之夜 鋼琴 安寧 NING AN,piano 指揮 陳美安 MEI-ANN CHEN, conductor NSO 國家交響樂團

拉威爾:G大調鋼琴協奏曲 Ravel:Piano Concerto in G Major 蓋希文:一個美國人在巴黎 Gershwin:An American in Paris 拉赫瑪尼諾夫:第二號鋼琴協奏曲 Rachmaninoff: Piano Concerto No.2

2015 10-11

SUN

19:30

台北國家音樂廳 主辦:華雅精典藝術公司、五一五七整合行銷有限公司

兩廳院售票 ArtsTicket.com.tw


感謝以下機構及個人對NSO國家交響樂團的支持

藝企夥伴

財團法人杜萬全慈善公益基金會 李光陸 陳建平 陳致遠 楊文貞 守護者

安信商務法律事務所 財團法人建弘文教基金會 劉思楨許永川皮膚科診所 關東鑫林科技股份有限公司 王志榮 王哲祥 王儷玲 巫慧燕 李松季 李鎗吉 邱 瑗 侯錦雄 莊宗憲 彭鴻俊 樓海鳥 蔡淑惠

好朋友

合晶科技股份有限公司 王植熙 余忠直 劉豪上 賴張亮

築夢者

財團法人阿瘦文化藝術基金會

ALEXANDRE THARAUD 余倩文 張瑀真 韓昆舉


親愛的朋友: 103年4月2日國家表演藝術中心掛牌成立,中心所屬單位包括國家兩廳院、臺中國家歌劇院、衛 武營國家藝術文化中心及國家交響樂團 (NSO),這北中南串起的表演藝術平臺,將會是與您共享 藝術的美好與感動的夥伴! NSO在音樂總監呂紹嘉的帶領下,本著「精緻、深刻、悸動」的核心精神,不僅代表臺灣最精 緻的聲音,也已成為亞洲最具代表性的樂團之一。樂團獨立、位階提昇,更彰顯我們所代表的 「臺灣之聲」。未來與其它三場館的密切合作、並轡奔馳,期冀能更扎根國內、展翅國外。除 了持續開創臺灣古典音樂環境新潮流外,我們將配合中心與國際接軌計劃,逐步建立起NSO在全 球樂壇的版圖。 而這些願景,都將因您的贊助支持而獲得源源不絕的力量,也期望我們的音樂演奏,讓您的生 活充滿能量與活力。

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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NSO 2015/2016

國家交響樂團 樂季手冊 發行所

國家表演藝術中心 國家交響樂團

發行人

呂紹嘉

企劃統籌

邱瑗

執行編輯

林怡芳 賴曉俐 王思懿

中譯

張皓閔 鄭可喬 李奉書

英文審譯

Robert Markow

美術編輯

黃志勳

攝影

王永年 林德培 林勝發 林敬原 顏涵正 Carole Parodi Thomas Bartilla

國家交響樂團 National Symphony Orchestra 100台北市中山南路21-1號 TEL:+886-2-3393-9888 FAX:+886-2-3393-9669 http://nso.npac-ntch.org/index.php 2015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

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2015/16 國家交響樂團樂季手冊  

2015/16 National Symphony Orchestra (Taiwan Philharmonic) Season Brochure

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