Page 1


目次

Table of Contents

音樂總監前言

Music Director’s Foreword

4

樂季總表

Event Calendar

8

音樂總監 呂紹嘉

Shao-Chia Lü, Music Director

14

桂冠指揮 赫比希

Günther Herbig, Conductor Laureate

16

駐團作曲家 佑斯特

Christian Jost, Composer in Residence

18

樂季音樂會 

探索系列 New Frontier Series

19

專文:以才華和時代對賭─普羅科菲夫 文 焦元溥

20

SYMPOSIA: The Colourful World of Prokofiev by Daniel Jaffé

24

法蘭西系列 Kaleidoscopic France Series

33

專文:「浪漫」的晚霞 「現代」的晨曦─NSO的「世紀末法蘭西系列」 文 陳漢金

34

SYMPOSIA: The Developments in French Orchestral Music after 1870

室內樂及講座

by Lesley A. Wright

38

名家系列 Masters & NSO Series

47

NSO精選 NSO Classics

53

專文:華格納與威爾第 文 金慶雲

54

SYMPOSIA: Poles Apart? by Hugo Shirley

57

專文:華格納的《尼貝龍指環》和其「首日」《女武神》 文 羅基敏

63

SYMPOSIA: An All-Too-Human Drama by Hugo Shirley

67

室內樂系列 Chamber Music Series

71

【NSO 室內樂集】NSO Chamber Concerts

72

【畫說音樂】講座音樂會 Music and Beaux Arts, Lecture Concerts

73

【焦點】講座音樂會 What is Composition? Lecture Concerts

74

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

75

  呂紹嘉時間

Meet Maestro Lü

76

認識音樂家

認識NSO Meet the NSO Musicians and Team

78

認識客席音樂家 Meet the Guest Artists

83

空中導聆

NSO ON AIR

100

套票與座位表

Tickets and Seating Information

101


國家交響樂團 2012/13 樂季手冊

音樂總監 前言

展開另一頁 音樂壯遊

NSO的2012/13樂季,我們懷抱著同樣興奮的心情,本著一貫的精鍊傳統,探索新領域 的信念,以下列幾個節目主題呈現給各位愛樂朋友: 探索系列:以普羅科菲夫為主角的斯拉夫音樂 集狂放不羈,炫麗迷人於一身的普羅科菲夫,從早期(《塞西亞組曲》、第一號小提琴協 奏曲、《古典交響曲》、第三號交響曲……)的叛逆野蠻,到中期以後(《羅密歐與茱麗葉》、 《灰姑娘》、《彼得與狼》、第五號交響曲、《基傑中尉》……)的簡潔雋永、知性深情又不忘 辛辣尖銳,他為20世紀的俄羅斯音樂寫下獨樹一幟的絢爛篇章,也為自己成就了接近普羅大 眾的現代音樂語言。 此外,蕭斯塔科維契的第六號與第九號交響曲、拉赫瑪尼諾夫的第二號鋼琴協奏曲、 李姆斯基 - 柯薩科夫的《天方夜譚》、哈察圖量的小提琴協奏曲、穆梭斯基的《死神歌舞》、 李蓋提的《羅馬尼亞協奏曲》將為此系列注入更多元豐富的活力;而浦朗克的雙鋼琴協奏 曲(拉貝克姐妹演奏)、蕭邦的第一號鋼琴協奏曲(鄧泰山演奏)、史特勞斯的雙簧管協奏曲 (勒樂演奏)與旅美作曲家李元貞的新作《間奏曲:商》則為這慓悍的斯拉夫風味增添幾許 溫婉詩意的異國色彩。 法蘭西系列:德布西、拉威爾、與…… 法國音樂特有的氣韻與美感,到德布西與拉威爾手中達到登峰造極的境界;德布西 《牧神午後前奏曲》中的神祕飄浮,欲言又止的留白,讓近代音樂步入一個全然迥異於德奧 音樂的美學天地,加上拉威爾魔幻奇想的和聲設計與目眩神離的管絃手法,使得世紀交接 之際的法國音樂,釋放著令人無法抗拒的致命吸引力。我們除了德布西與拉威爾的多首名作 外,還安排了法朗克、佛瑞、聖桑斯、盧賽爾、蕭頌、法雅、拉羅等人的精采作品,將帶給大家 一個罕見而純粹的法蘭西音樂宴饗。期盼透過這穿梭神遊於古希臘神話,充滿詩情畫意的 音樂,讓NSO與大家一起經歷一次次很不一樣的,更親密的心靈交會。 特別要一提的是,多次來台,備受推崇的韓國鋼琴家白建宇,將與NSO獨奏家們合作一 場「完全法蘭西」的室內樂音樂會,當今世上兩位大提琴明星卡普頌與嘉碧妲,分別獻演聖 桑斯與拉羅協奏曲,而小號王子納卡里亞可夫的柴科夫斯基《洛可可變奏曲》、法國鋼琴家 巴佛傑的巴爾托克協奏曲與法雅《西班牙花園之夜》、次女高音杜費克絲的蕭頌《愛與海之 詩》與拉威爾《天方夜譚》、與台北愛樂合唱團合作佛瑞的《安魂曲》,都將是光彩迸發,錯 過可惜的音樂盛會。

4

音樂總監前言


名家系列 這是個名家薈萃,以德奧音樂為主體的系列。曲目包括兩部偉大的布魯克納交響曲及多 首莫札特、貝多芬、布拉姆斯、理查.史特勞斯的經典作品。 獨奏家中,年輕一輩鋼琴翹楚史岱費爾德、小提琴巨星賀普、豎笛女王梅耶是引人矚目 的焦點。此外,赫比希的柴科夫斯基第四、簡文彬與陳必先合作的「李斯特之夜」也是同樣 另人期待的黃金陣容。 特別介紹 NSO本樂季駐團作曲家佑斯特(Christian Jost),他是現今德國最活躍、最 具代表性的青壯代作曲家之一,我們將在此系列首演他為NSO所寫的《地平線》(Horizon), 並期待透過研討與講座,能促進東西方作曲界的互動與交流。此外,前輩編舞家劉鳳學、指 揮邱君強與新古典舞團將以舞劇方式演繹馬水龍教授重新修訂的大型管絃樂作品《霸王虞 姬》。 威爾第與華格納

2013年是兩位歌劇巨擘的200年誕辰,我們將以整場威爾第歌劇選曲(包括聲勢浩大的 《阿伊達》第二幕)的新年音樂會,及與多位國際知名歌唱家和台北愛樂合唱團攜手合作的 威爾第《安魂曲》向大師致敬,而在戲劇院推出的華格納《女武神》全新製作,由德國華格 納專家雷曼(Hans-Peter Lehmann)執導,網羅國內外一流歌手與製作團隊,更是NSO本樂 季最具份量的壓軸大戲。 除了主題性的音樂會,我們在每個樂季裡也會為「小樂迷」、愛樂新鮮人們準備跨界、嘗 新形式的演出及深入淺出的講座音樂會。伊古德斯曼與朱鉉基的《古典音樂駭客之夜》、張 尹芳的《永遠的童話—彼得與狼……還有巴巴!》將讓大家歡樂進入音樂世界。一向受愛 樂者喜愛的NSO講座音樂會系列裡,陳漢金將再一次以「畫說音樂」切入古典音樂世界— 【您說是巴洛克?】、焦元溥【音樂與文學的對話】則從文學帶入音樂,NSO獨奏家們也將呼 應本樂季主題,以【探索頻道】、【馬卡龍與伏特加】兩個室內樂系列展現俄國與法國作曲家 們多層次的室內樂作品。 誠摯的邀請您來加入我們的音樂壯遊!

音樂總監

從德布西的《牧神午後》談起—樂季巡禮講座音樂會 2012年7月11日(三)19:30

呂 紹 嘉

華格納歌劇《女武神》 2013年6月22日(六)14:00

詳細資訊請見76頁

s Foreword 5 Music Director´


Music Director´ s Foreword

A New Page of Musical Expedition

For the NSO´ s 2012-13 season, we continue to uphold the refined aspects of tradition whilst exploring new frontiers with the same excitement as before, and will present the following themes: Masters & New Frontier: Featuring Prokofiev Prokofiev´ s works are a mix of wildness and charm. His early works such as Scythian Suite, Violin Concerto No.1, Classical Symphony and Symphony No.3 are rebellious, while his later works like Romeo and Juliet, Cinderella, Peter and the Wolf, Symphony No.5, and Lieutenant Kijé are concise, sensible and sharp. He left a unique page for the 20th century Russian music and created a modern musical language that reaches the heart of the public. Added to this, Shostakovich´ s Symphony Nos. 6 and 9, Rachmaninoff´ s Piano Concerto No.2, Rimsky-Korsakov´ s Scheherazade, Sergey Khachatryan´ s Violin Concerto, Mussorgsky´ s Songs and Dances of Death, and Ligeti´ s Concert Românesc will bring more oomph to the series. Meanwhile, Poulenc´ s Concerto for 2 Pianos (played by Katia and Marielle Labèque), Chopin´ s Piano Concerto No.1 (by Dang Thai Son), Richard Strauss´Oboe Concerto (by François Leleux), and US-based composer Yuan-Chen Li´ s Internezzo: SHANG for symphonic orchestra will add a twist of mellow and exotic flavor to the fierce Slavic music. Kaleidoscopic France: Debussy and Ravel The unique charm and aesthetics of modern French music culminate in the times of Debussy and Ravel. The floating mystery and the expressive silence of Debussy´ s Prélude à l’après-midi d’un faune have brought a new aesthetic into modern music much at variance from Austro-German music. Ravel´ s fascinating presentment of harmony and dazzling orchestration have made French music an irresistible attraction since the turn of the twentieth century. Besides Debussy and Ravel, we also present the works of César Franck, Gabriel Fauré, Camille Saint-Saëns, Albert Roussel, Ernest Chausson, Manuel de Falla and Édouard Lalo for a rare feast in pure French music. We hope that through Greek mythology and poetic music, the NSO will bring audiences various more intimate, heart-to-heart moments. Worth mentioning is popular Korean pianist Kun-Woo Paik, a frequent visitor to Taiwan, will collaborate with NSO Soloists for a“Salon for Virtuosi"chamber concert. Cellists Gautier Capuçon and Sol Gabetta will perform Saint-Saëns´ and Lalo´ s concertos respectively. Other must-hear concerts feature trumpeter Sergei Nakariakov in Tchaikovsky´ s Variations on a Rococo Theme, French pianist Jean-Efflam Bavouzet in Bartók´ s Piano Concerto No. 3 and Falla´ s Nights in the Gardens of Spain, soprano Stella Doufexis in Chausson´ s Poème de l’amour et de la mer, and the Taipei Philharmonic Chorus in Fauré´ s Requiem.

6

音樂總監前言


NSO Classics This series focuses on Austro-German classics. The repertoire includes two great symphonies of Bruckner and classics of Mozart, Beethoven, Brahms and Richard Strauss. German pianist Martin Stadtfeld, violinist Daniel Hope and clarinetist Sabine Meyer star among soloists. Moreover, Günther Herbig´ s Tchaikovsky´ s Symphony No.4, and Chien Wen-Pin and Chen Pi-Hsien´ s “Faust by Liszt – Weimar 1857" both promise to be most rewarding. I would also like to introduce the NSO´ s resident composer Christian Jost, one of Germany´ s most active and representative composers. We will premiere his Horizon, and hope to facilitate interaction and exchange between East and West through discussions and seminars. Meanwhile, choreographer Liu Feng-Shueh, conductor Chiu Chun-Chiang and the Neo-Classic Dance Company will perform Ma Shui-Long´ s newly revised Farewell My Concubine in dance form. Verdi and Wagner 2013 is the 200th anniversary for Verdi and Wagner. We will pay our tribute to the masters in our New Year Concert, featuring a selection of Verdi´ s opera scenes (including Aida the complete Act Two of ) as well as our collaboration with international vocalists and the Taipei Philharmonic Chorus in Verdi´ s Requiem. A brand-new production of Wagner´ s Die Walküre in the National Theater will be directed by Hans-Peter Lehmann and staged by top-notch vocalists and production team. It will be the NSO´ s most spectacular closing performance for the season. Besides theme concerts, we will also prepare crossover and new-form performances as well as lecture concerts for children and newcomers.“Big Nightmare Music-Igudesman & Joo" and Chang Yin-Fang´ s NSO Forever Tales,“Peter, Wolf...and Babar!" , will lead us happily into the music world of the young. For the popular Lecture Concert Series, Chen Han-Jin will talk on the Baroque and Chiao Yuan-Pu will address music from a literary point of view with his“Dialogues between Literature and Music" . The NSO soloists will also correspond to the theme of the season and stage two chamber series— “Music Discovery"and“Macaron and Vodka"to showcase the different layers of Russian and French chamber music. You are cordially invited to join our musical expedition!

s Foreword 7 Music Director´


SEASON OF

2012/2013 CH

9/29/2012

Sat. 19:30

CH

TOUR

法蘭西系列 Kaleidoscopic France

樂季 總表

Sept CH

9/21/2012

2012

Fri. 19:30

探索系列 New Frontier 開季音樂會 Season Opening Concert

永恆羅密歐

Oh, Romeo!

指揮 / 呂紹嘉 小提琴 / 瑟吉.哈察特楊

Shao-Chia Lü, conductor Sergey Khachatryan, violin 李蓋提:《羅馬尼亞協奏曲》 哈察圖量:D小調小提琴協奏曲 普羅科菲夫:《羅密歐與茱麗葉》組曲選段

G. LIGETI: Concert Românesc A. KHACHATURIAN: Violin Concerto, D minor S. PROKOFIEV: Excerpts from Romeo and Juliet Suites 400 600 800 1000 1200 1500 p.28

RH

9/28/2012

Fri. 19:30

【探索頻道】講座音樂會

Music Discovery, Lecture Concerts

叛逆天才─普羅科菲夫 The Striking Rebel ─

Prokofiev

主講 / 焦元溥 Yuan-Pu Chiao, lecturer *Lecture in Chinese

牧神與愛神

NSO精選 NSO Classics

The Greek Myth 指揮 / 呂紹嘉 小號 / 瑟吉.納卡里亞可夫

Shao-Chia Lü, conductor Sergei Nakariakov, trumpet 德布西:《牧神午後前奏曲》 柴科夫斯基: 《洛可可主題變奏曲》(改編給小號) 法朗克:《賽姬》 拉威爾:《達夫尼與克蘿伊》第二號組曲

古典音樂駭客之夜

Big Nightmare Music ─ Igudesman & Joo 指揮 / 張尹芳 小提琴 / 阿雷格西.伊古德斯曼 鋼琴 / 朱鉉基

Yin-Fang Chang, conductor Aleksey Igudesman, violin Hyung-ki Joo, piano

C. DEBUSSY: Prélude à l’après-midi d’un faune P. I. TCHAIKOVSKY: Variations on a Rococo Theme, op.33 (arr. for trumpet) C. FRANCK: Psyché M. RAVEL: Daphnis et Chloé Suite No.2

伊古德斯曼與朱鉉基改編古典經典如:約 翰.史特勞斯《藍色多瑙河》、莫 札特《土 耳其進行曲》、拉赫瑪尼諾夫之鋼琴協奏曲 及他們自己的創作曲

400 600 800 1000 1200 1500

2012/10/13 Sat. 19:30 巡演

Twists and turns of classical masters and pieces by Igudesman & Joo 500 800 1000 1500 1800 2400 3000 p.60

p.42

Oct CH

10/5/2012

CH

2012

Fri. 19:30

探索系列 New Frontier

迷幻奇航─天方夜譚

Fugitive Journey ─ Scheherazade 指揮 / 簡文彬 小提琴 / 曾宇謙

Wen-Pin Chien, conductor Yu-Chien Tseng, violin 普羅科菲夫:《瞬間印象》(巴夏改編) 普羅科菲夫:第一號小提琴協奏曲 李姆斯基 - 柯薩科夫: 《天方夜譚》

S. PROKOFIEV: Visions fugitives (arr. by R. Barshai) Violin Concerto No.1 N. RIMSKY-KORSAKOV: Scheherazade 400 600 800 1000 1200 1500

冰原烈焰

Fire on Ice 指揮 / 奧列格.凱塔尼 鋼琴 / 德傑.拉錫克 男低音 / 阿斯卡.亞德拉札可夫

Oleg Caetani, conductor Dejan Lazić, piano Askar Abdrazakov, bass

普羅科菲夫:《三橘之戀》 拉赫瑪尼諾夫:第二號鋼琴協奏曲 穆梭斯基: 《死神歌舞》(蕭斯塔科維契改編) 蕭斯塔科維契:第九號交響曲

S. PROKOFIEV: The Love for Three Oranges, op.33bis S. RACHMANINOFF: Piano Concerto No.2, op.18, C minor M. MUSSORGSKY: Songs and Dances of Death (orchestrated by D. Shostakovich) D. SHOSTAKOVICH: Symphony No.9 p.29

RH

10/7/2012

Sun. 14:30

Music and Beaux Arts , Lecture Concerts

巴洛克的母邦(一): 義大利的聲樂

RH

10/20/2012

Sat. 14:30

【焦點】講座音樂會

What is Composition? Lecture Concerts

The Mother Land of Baroque Music ─ Vocal Italy

愛聽秋墳鬼唱詩: 音樂鬼故事

主講 / 陳漢金

主講 / 焦元溥

Tales of Ghosts

Han-Jin Chen, lecturer

Yuan-Pu Chiao, lecturer

*Lecture in Chinese

*Lecture in Chinese

400

400

p.73

樂季總表

Fri. 19:30

400 600 800 1000 1200 1500

p.28

【畫說音樂】講座音樂會

8

10/19/2012

探索系列 New Frontier

400 p.75

10/11/2012 Thu. 19:30 10/12 /2012 Fri. 19:30

p.74


*演出場地標示:NT 國家戲劇院;CH 國家音樂廳;RH 演奏廳;TOUR 巡演 *Venues of Performances: NT – National Theater; CH – National Concert Hall; RH – National Recital Hall; TOUR – on tour

CH

11/24 /2012

Sat. 19:30

探索系列 New Frontier

叛逆古典

Classical & Revolt 指揮 / 尼可拉斯.米爾頓 雙簧管 / 馮思瓦.勒樂

Nicholas Milton, conductor François Leleux, oboe 普羅科菲夫:《古典交響曲》 理查.史特勞斯:D大調雙簧管協奏曲 李元貞:《間奏曲:商》,為管絃樂團 蕭斯塔科維契:第六號交響曲

S. PROKOFIEV: Classical Symphony, op.25 R. STRAUSS: Oboe Concerto, D major YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra D. SHOSTAKOVICH: Symphony No.6, op.54, B minor 400 600 800 1000 1200 1500

CH

10/27/2012

Sat. 19:30

法蘭西系列 Kaleidoscopic France

酒神與海妖

An Evening with Bacchus 指揮 / 費比恩.蓋柏 大提琴 / 葛替耶爾.卡普頌 國立實驗合唱團

Fabien Gabel, conductor Gautier Capuçon, cello Taiwan National Choir 拉威爾:《庫普蘭之墓》 聖桑斯:第一號大提琴協奏曲 德布西: 交響組曲《夜曲》 盧賽爾:《酒神與亞麗安娜》第二號組曲

M. RAVEL: Le Tombeau de Couperin C. SAINT-SAËNS: Cello Concerto No.1 C. DEBUSSY: Nocturnes A. ROUSSEL: Bacchus et Ariane Suite No.2, op.43

TOUR

東北亞巡演

RH

Asia Tour

指揮 / 呂紹嘉 小提琴 / 林以信 鋼琴 / 荻原麻未 (11/9)

Shao-Chia Lü, conductor Joseph Lin, violin Mami Hagiwara, piano (11/9)

柴科夫斯基:《羅密歐與茱麗葉》幻想序曲 葛拉祖諾夫:A 小調小提琴協奏曲 葛利格:A 小調鋼琴協奏曲 (11/9) 德沃札克:第九號交響曲《新世界》

P. I. TCHAIKOVSKY: Romeo and Juliet Overture-Fantasy A. GLAZUNOV: Violin Concerto, op.82, A minor E. GRIEG: Piano Concerto, op.16, A minor (11/9) A. DVOŘ ÁK: Symphony No.9, op.95, E minor, From the New World RH

Nov RH

11/3/2012

2012

Sat. 14:30

Music and Beaux Arts, Lecture Concerts

巴洛克的母邦(二): 義大利的器樂

The Mother Land of Baroque Music ─ Instrumental Italy Han-Jin Chen, lecturer *Lecture in Chinese 400 p.73

9 Event Calendar

Sun. 14:30

【探索頻道】講座音樂會

【畫說音樂】講座音樂會

主講 / 陳漢金

11/18/2012

11/25/2012

Sun. 14:30

【探索頻道】講座音樂會

400 600 800 1000 1200 1500 p.42

p.30

11/2-9/2012

Music Discovery, Lecture Concerts

約翰們走路─ 范德騰與老布去散步

Just Keep Talking: A Tale of Two Johnnies 主講 / 范德騰

John Vaughan, lecturer *Lecture in Chinese 400 p.75

NT

11/30-12/1/2012 Fri.-Sat. 19:30 12/2 /2012 Sun. 14:30

舞劇 Dance Drama

(名稱暫定) 《霸王虞姬》

Music Discovery, Lecture Concerts

Farewell My Concubine

色彩斑斕的聲音畫家─ 德布西

指揮 / 邱君強 編舞 / 劉鳳學 新古典舞團 台北愛樂合唱團

The Splendid SoundPainter ─ Debussy 主講 / 焦元溥 Yuan-Pu Chiao, lecturer *Lecture in Chinese 400 p.75

Chun-Chiang Chiu, conductor Liu Feng-Shueh, choreographer Neo-Classic Dance Company Taipei Philharmonic Chorus 馬水龍:《霸王虞姬》

MA SHUI-LONG: Farewell My Concubine 相關資訊詳見www.ntch.edu.tw


SEASON OF

2012/2013

Dec RH

12/1/2012

2012

Sat. 19:30

【NSO室內樂集】

NSO Chamber Concerts

「晚安!帕薩加利亞」 “Night, Passacaglia” 小提琴 / 李宜錦 大提琴 / 連亦先 葛里耶爾:給小提琴與大提琴的八首小品 韓德爾 / 哈爾沃森:《帕薩加利亞舞曲》 歐內格:小奏鳴曲,為小提琴與大提琴 柯大宜:小提琴與大提琴二重奏

CH

Sun. 19:30

名家系列 Masters & NSO

400

Shao-Chia Lü, conductor

p.72

CH

12/8/2012

Sat. 19:30

心靈聖詠

Song of Soul 指揮 / 呂紹嘉 女高音 / 林慈音、林孟君 低男中音 / 蔡文浩 台北愛樂合唱團

Shao-Chia Lü, conductor Grace Lin / Meng-Chun Lin, soprano Wen-Hao Tsai, bass-baritone Taipei Philharmonic Chorus 洪崇焜:《聲音》 法朗克:D小調交響曲 佛瑞:《安魂曲》(室內樂版本)

CHUNG-KUN HONG: VOX C. FRANCK: Symphony, D minor G. FAURÉ: Requiem, op.48 (chamber version) 400 600 800 1000 1200 1500 p.43

RH

12/9/2012

樂起地平線 ─布魯克納第六

Arise from the Horizon 指揮 / 呂紹嘉

莫札特:第三十五號交響曲《哈夫納》 佑斯特:《地平線》(亞洲首演) 布魯克納:第六號交響曲

法蘭西系列 Kaleidoscopic France

Sun. 14:30

【畫說音樂】講座音樂會

W. A. MOZART: Symphony No.35, K.385, D major, Haffner C. JOST: Horizon (Asia premiere) A. BRUCKNER: Symphony No.6, A major 400 600 800 1000 1200 1500 p.48

RH

古典精神的堅持: 法國的「反巴洛克」

The Anti-Baroque Spirit ─ France 主講 / 陳漢金

12/21/2012

Fri. 19:30

【NSO室內樂集】

NSO Chamber Concerts

「日安!伏特加」 “Добрый день! Vodka” 小提琴 / 鄧皓敦、陳偉泓 中提琴 / 黃瑞儀、陳猶白 大提琴 / 連亦先、黃日昇 鋼琴 / 葉孟儒 蕭斯塔科維契:G小調鋼琴五重奏,作品57 柴科夫斯基:D小調絃樂六重奏,作品70, 《佛羅倫斯的回憶》

D. SHOSTAKOVICH: Piano Quintet in G minor, op.57 P. I. TCHAIKOVSKY: String Sextet in D minor, Souvenir de Florence, op.70 400 p.72

Music and Beaux Arts, Lecture Concerts CH

12/31/2012 Mon. 21:45 1/1/2013 Tue. 19:30

NSO 跨 新年音樂會 2013 New Year Concert

威爾第之夜

Han-Jin Chen, lecturer

Forever Love

*Lecture in Chinese

指揮 / 呂紹嘉 女高音 / 安娜列娜.派松、黃莉錦 次女高音 / 維多利亞.利文顧德、石易巧

400 p.73

10

12/16/2012

R. GLIÈRE: 8 Pieces, op.39 J. HALVORSEN: Passacaglia (after G. F. Handel) A. HONEGGER: Sonatina for Violin and Cello Z. KODÁLY: Duet for Violin and Cello, op.7

樂季總表

男高音 / 馬克.海勒、林健吉 男中音 / 巫白玉璽 台北愛樂合唱團

Shao-Chia Lü, conductor Annalena Persson / Li-Chin Huang, soprano Victoria Livengood / I-Chiao Shih, mezzo-soprano Marc Heller / Claude Lin, tenor Wu Bai-Yu-Hsi, baritone Taipei Philharmonic Chorus 威爾第: 《命運之力》序曲 《弄臣》第三幕,四重唱〈世間最美的少女〉 《奧泰羅》第一幕,二重唱〈夜幕已深〉 《遊唱詩人》第二幕,第一景二重唱 《阿伊達》第二幕

G. VERDI: La forza del destino Overture Rigoletto, Act III, quartet ‘Bella figlia dell ’ amore’ Otello, Act I, love duette: ‘Già nella notte’ Il Trovatore, Act II, scene 1, duette: ‘Soli or siamo’ & ‘non son tuo figlio?’ Aida, Act II 400 600 1000 1500 1800 2400 3000 p.61

Jan CH

1/13/2013

2013

Sun. 19:30

名家系列 Masters & NSO

英雄與皇帝

Emperor & Hero 指揮 / 約翰.艾瑟羅德 鋼琴 / 馬丁.史岱費爾德

John Axelrod, conductor Martin Stadtfeld, piano 貝多芬: 第五號鋼琴協奏曲《皇帝》 第三號交響曲《英雄》

L. V. BEETHOVEN: Piano Concerto No.5, op.73, E-flat major, Emperor Symphony No.3, op.55, E-flat major, Eroica 400 600 800 1000 1200 1500 p.48


*演出場地標示:NT 國家戲劇院;CH 國家音樂廳;RH 演奏廳;TOUR 巡演 *Venues of Performances: NT – National Theater; CH – National Concert Hall; RH – National Recital Hall; TOUR – on tour

CH

3/24 /2013

Sun. 19:30

TIFA 2013 台灣國際藝術節 名家系列 Masters & NSO

純淨美聲─ 莎賓.梅耶與NSO

Sabine Meyer & NSO

指揮 / 呂紹嘉 單簧管 / 莎賓.梅耶

Shao-Chia Lü, conductor Sabine Meyer, clarinet

Feb CH

2/28/2013

理查.史特勞斯:《狄爾愉快的惡作劇》 莫札特:A 大調單簧管協奏曲 布拉姆斯:第四號交響曲

2013

Thu. 19:30

法蘭西系列 Kaleidoscopic France

絕技沙龍

Salon for Virtuosi 鋼琴 / 白建宇 NSO 獨奏家群

A. JOLIVET: Pastorales de Noël for Flute, Bassoon & Harp J. FRANÇAIX: Quatuor pour grande flûte, hautbois, clarinette et basson C. SAINT-SAËNS: Caprice on Danish and Russian Airs, for Flute, Oboe, Clarinet and Piano, op.79 M. GLINKA: Trio Pathetique in D minor for Clarinet, Bassoon and Piano 400 p.72

Kun-Woo Paik, piano NSO Musicians 法朗克:《前奏曲、聖詠與賦格》 佛瑞:《敘事曲》,為鋼琴與管絃樂團 蕭頌:D大調協奏曲,為小提琴、鋼琴、  絃樂四重奏

C. FRANCK: Prélude, Choral et Fugue G. FAURÉ: Ballade for Piano and Orchestra, op.19 E. CHAUSSON: Concert for Violin, Piano, String quartet in D major 400 600 800 1000 1200 1500 p.43

RH

3/9/2013

Sat. 14:30

【焦點】講座音樂會

What is Composition? Lecture Concerts

Double Helix: Music and Poetry 主講 / 焦元溥

Yuan-Pu Chiao, lecturer

3/1/2013

CH

TOUR

【NSO室內樂集】

NSO Chamber Concerts

「午安!馬卡龍」 “Bon jour! Macarons” 長笛 / 安德石 雙簧管 / 王怡靜 單簧管 / 朱玫玲 低音管 / 簡凱玉 鋼琴 / 簡美玲 豎琴 / 解瑄 若利韋:《聖誕田園》 法朗謝:木管四重奏 聖桑斯:《綺想曲》 葛令卡:D小調《悲愴三重奏》

11 Event Calendar

3/30/2013

Sat. 19:30

TIFA 2013 台灣國際藝術節

威爾第《安魂曲》 Verdi’ s Requiem Shao-Chia Lü, conductor Taipei Philharmonic Chorus 威爾第:《安魂曲》

G. VERDI: Messa da requiem 相關資訊詳見 www.ntch.edu.tw

RH

3/31/2013

Sun. 14:30

【探索頻道】講座音樂會

Music Discovery, Lecture Concerts

歌劇製造機─威爾第(一) The Opera Jukebox ─ 主講 / 何康婷

3/17/2013

Sun. 19:30

法蘭西系列 Kaleidoscopic France

Fri. 19:30

CH

Verdi (I)

p.74

2013

p.49

詩中有樂 樂中有詩

400

RH

400 600 800 1000 1200 1500

指揮 / 呂紹嘉 台北愛樂合唱團

*Lecture in Chinese

Mar

R. STRAUSS: Till Eulenspiegels lustige Streiche, op.28 W. A. MOZART: Clarinet Concerto, K.622, A major J. BRAHMS: Symphony No.4, op.98, E minor

暮光草原

Twilight in Scythia 指揮 / 呂紹嘉 鋼琴 / 尚-艾弗藍.巴佛傑

Shao-Chia Lü, conductor Jean-Efflam Bavouzet, piano 德布西: 〈伊貝利亞〉,選自《意象》管絃樂曲 巴爾托克:第三號鋼琴協奏曲 法雅:《西班牙花園之夜》 普羅科菲夫:《塞西亞組曲》

C. DEBUSSY: Images: Ibéria B. BARTÓK: Piano Concerto No.3 M. FALLA: Nights in the Gardens of Spain S. PROKOFIEV: Scythian Suite, op.20 400 600 800 1000 1200 1500 2013/3/16 Sat. 19:30 巡演 400 600 800 1000 p.44

Kang-Ting Ho, lecturer *Lecture in Chinese 400 p.75


SEASON OF

2012/2013 RH

4/21/2013

Sun. 14:30

【畫說音樂】講座音樂會

Music and Beaux Arts, Lecture Concerts

矜持與狂放: 英國 vs. 西班牙

Decorum and Verve ─ England vs. Spain 主講 / 陳漢金

Han-Jin Chen, lecturer *Lecture in Chinese 400 p.73

CH

Apr CH

4/6/2013

TOUR

Sat. 19:30

琴劍交鋒

Lightening on Keyboards

2013

指揮 / 尼可萊.阿雷席夫 鋼琴 / 拉貝克姊妹

Sat. 14:30&19'30

Nikolai Alexeev, conductor Katia and Marielle Labèque, piano

探索系列 New Frontier

普羅科菲夫:《基傑中尉》組曲 浦朗克:D小調雙鋼琴協奏曲 普羅科菲夫:第五號交響曲

NSO永遠的童話 NSO Forever Tales

彼得與狼……還有巴巴!

Peter, Wolf...and Babar! 指揮 / 張尹芳 說書人 / 梁坤豪

Yin-Fang Chang, conductor Kun-Hao Liang, storyman

CH

4/19/2013

Fri. 19:30

S. PROKOFIEV: Lieutenant Kijé Suite, op.60 F. POULENC: Concerto for 2 Pianos, D minor S. PROKOFIEV: Symphony No.5, op.100, B-flat major

NSO 精選 NSO Classics

400 600 800 1000 1200 1500

浦朗克:《小象巴巴》(法朗謝改編) 普羅科菲夫:《彼得與狼》

D 吟.曼陀林─

F. POULENC: L' histoire de Babar, le petit éléphant (orchestrated by J. Français) S. PROKOFIEV: Peter and the Wolf

艾維塔與他的新朋友

2013/4/28 Sun. 19:30 巡演 400 600 800 1000

Avi Avital and His New Friends

400 600 800

曼陀林 / 艾維.艾維塔 打擊樂 / 尚恩.夏那漢 NSO首席絃樂團

p.30

CH

4/13/2013

Sat. 19:30

法蘭西系列 Kaleidoscopic France

漫步展覽會

Promenade at the Exhibition 指揮 / 關琦安 大提琴 / 修兒.嘉碧妲

Carolyn Kuan, conductor Sol Gabetta, cello

Avi Avital, mandolin Shane Shanahan, percussion NSO String Ensemble 李和莆:〈卑南-台東蘭嶼〉,選自《臺灣四 季》(世界首演) 巴赫:D小調第一號大鍵琴協奏曲(改編 給曼陀林) 大衛.契斯基:《絃理論》 尚恩.夏那漢:二首給打擊、曼陀林與絃樂 團的新作 斯特拉溫斯基:D大調協奏曲,給絃樂團

G. FAURÉ: Pelléas et Mélisande Suite, op.80 E. LALO: Cello Concerto, D minor M. RAVEL: Alborada del gracioso M. MUSSORGSKY: Pictures at an Exhibition (orchestrated by M. Ravel )

LEE, WEN-PIN HOPE : ‘Puyuma-Orchid Island, Taitun’ from Taiwan Four Seasons (World premiere) J.S. BACH: Harpsichord Concerto No.1, BWV1052, D minor (arr. for mandolin) D. CHESKY: String Theory S. SHANAHAN: Two new pieces for mandolin, percussion and string orchestra I. STRAVINSKY: Concerto in D (Basel Concerto)

400 600 800 1000 1200 1500

400 600 800 1000

佛瑞:《佩利亞斯與梅麗桑德》組曲 拉羅:D小調大提琴協奏曲 拉威爾:《小丑的晨歌》 穆梭斯基:《展覽會之畫》(拉威爾改編)

p.45

12

4/27/2013

探索系列 New Frontier

樂季總表

p.62

p.31

May RH

5/4 /2013

2013

Sat. 14:30

【探索頻道】講座音樂會

Music Discovery, Lecture Concerts

歌劇製造機─威爾第(二) The Opera Jukebox ─

Verdi (II) 主講 / 何康婷

Kang-Ting Ho, lecturer *Lecture in Chinese 400 p.75


*演出場地標示:NT 國家戲劇院;CH 國家音樂廳;RH 演奏廳;TOUR 巡演 *Venues of Performances: NT – National Theater; CH – National Concert Hall; RH – National Recital Hall; TOUR – on tour

CH

5/10/2013

Fri. 19:30

CH

5/31/2013

Fri. 19:30

CH

TOUR

6/14 /2013

Fri. 19:30

名家系列 Masters & NSO

名家系列 Masters & NSO

法蘭西系列 Kaleidoscopic France

蒼穹天河─ 布魯克納第五

威瑪1857─ 李斯特的浮士德 Faust by Liszt ─

海之詩

The Magnificence ─ Bruckner No.5 指揮 / 根特.赫比希

Günther Herbig, conductor 布魯克納:第五號交響曲

A. BRUCKNER: Symphony No.5, B-flat major

CH

p.50

5/17/2013 Fri. 19:30

李斯特: 第二號鋼琴協奏曲 《浮士德》交響曲

名家系列 Masters & NSO

別來無恙,老柴!─ 賀普與NSO

Daniel Hope & NSO

指揮 / 根特.赫比希 小提琴 / 丹尼爾.賀普

Günther Herbig, conductor Daniel Hope, violin 貝多芬:第三號《蕾奧諾拉》序曲 布瑞頓:小提琴協奏曲 柴科夫斯基:第四號交響曲

L. V. BEETHOVEN: Leonore Overture No.3, op.72b B. BRITTEN: Violin Concerto No.1, op.15 P. I. TCHAIKOVSKY: Symphony No.4, op.36, F minor 400 600 800 1000 1200 1500 2013/5/18 Sat. 19:30 巡演 400 600 800 1000 p.50

RH

5/25/2013

Sat. 14:30

【焦點】講座音樂會

What is Composition? Lecture Concerts

托爾斯泰與米蘭昆德拉: 《克羅采奏鳴曲》與 《生命中不可承受之輕》

Great Novels in Great Composers’Eyes 主講 / 焦元溥

Yuan-Pu Chiao, lecturer *Lecture in Chinese 400 p.74

F. LISZT: Piano Concerto No.2, S.125, A major A Faust Symphony, S.108 400 600 800 1000 1200 1500 p.51

6/2 /2013

2013

Sun. 14:30

【畫說音樂】講座音樂會

Music and Beaux Arts, Lecture Concerts

巴洛克的昇華: 德國的新教音樂

The Sublime of Baroque ─ Germany 主講 / 陳漢金

Han-Jin Chen, lecturer *Lecture in Chinese 400

6/7/2013

Fri. 19:30

鐵血柔情

Iron & Poetry 指揮 / 呂紹嘉 鋼琴 / 鄧泰山

Shao-Chia Lü, conductor Dang Thai Son, piano 普羅科菲夫: 《灰姑娘》第一號組曲 第三號交響曲 蕭邦:第一號鋼琴協奏曲

S. PROKOFIEV: Cinderella Suite No.1, op.107 Symphony No.3, op.44, C minor F. CHOPIN: Piano Concerto No.1, op.11, E minor 400 600 800 1000 1200 1500

13 Event Calendar

400 600 800 1000 1200 1500 2013/6/15 Sat. 19:30 巡演 400 600 800 1000

Jul NT

2013

7/10/2013 Wed. 18:00 7/12 /2013 Fri. 18:00 7/14/2013 Sun. 14:30

NSO 歌劇 NSO Opera

Die Walküre

探索系列 New Frontier

p.32

B. BRITTEN: Peter Grimes: 4 Sea Interludes, op.33a E. CHAUSSON: Poème de l’amour et de la mer, op.19 M. RAVEL: Shéhérazade C. DEBUSSY: La mer

《女武神》

p.73

CH

布瑞頓: 四首〈海之間奏曲〉,選自《彼得.格林》 蕭頌:《愛與海之詩》 拉威爾:《天方夜譚》 德布西:《海》

p.45

Jun RH

指揮 / 呂紹嘉 次女高音 / 絲黛拉.杜費克斯

Shao-Chia Lü, conductor Stella Doufexis, mezzo-soprano

指揮 / 簡文彬 鋼琴 / 陳必先 男高音 / 林健吉 拉縴人男聲合唱團

Wen-Pin Chien, conductor Pi-Hsien Chen, piano Claude Lin, tenor Taipei Male Choir

400 600 800 1000 1200 1500

TOUR

Weimar 1857

Poème de la mer

指揮 / 呂紹嘉 導演 / 漢斯- 彼得.雷曼 舞台設計 / 蔡秀錦

Shao-Chia Lü, conductor Hans-Peter Lehmann, director Hsiu-Chin Tsai, set design 齊格蒙 / 沃夫崗.史瓦寧格 渾丁 / 安卓亞斯.霍爾 佛旦 / 貝拉.裴倫茨 布倫希德 / 依姆嘉德.費絲麥爾 國內聲樂家 聲樂指導 / 艾希.凡魏

Wolfgang Schwaninger, Siegmund Andreas Horl, Hunding Béla Perencz, Wotan Irmgard Vilsmaier, Brünnhilde Singers from Taiwan Ansi Verwey, vocal coach 華格納:《女武神》

R. WAGNER: Die Walküre 500 800 1200 1800 2400 3000 3600 5000 p.70


國家交響樂團 2012/13 樂季手冊

音樂總監 呂紹嘉

Shao-Chia Lü, Music Director 出生台灣新竹縣,自幼學習鋼琴。就讀台大心理系期間,受陳秋盛先生之啟發開始鑽研指揮藝術。先後 赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利 Accademia Musicale Chigiana di Siena指揮班,隨大師G. Rozhdestvensky學習。 在連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後,呂紹嘉展開他在歐 洲璀燦的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國萊茵愛樂交響樂團暨科布倫茲市立 歌劇院音樂總監、德國漢諾威國家歌劇院音樂總監,並受邀在英國國家歌劇院、挪威皇家歌劇院、布魯塞爾 皇家歌劇院、澳洲雪梨歌劇院、瑞典哥特堡歌劇院、德國斯圖加特、柏林德意志、漢堡、法蘭克福歌劇院及維 也納夏季音樂節(Klangbogen)擔任客席指揮。此外,他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和 日本東京及名古屋演出《霍夫曼的故事》。 在出任德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間,呂紹嘉以無數精采深刻的音 樂詮釋,獲得了團員及愛樂者的愛戴,他並曾帶領該團於北京、上海、義大利米蘭等地巡迴演奏。呂紹嘉於 2004年5月獲文化部長頒贈象徵該省文化最高榮譽的Peter Cornelius獎章。 在出任德國漢諾威國家歌劇院音樂總監期間,呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧及義大利歌劇 外,他成功的推出了雅納捷克及德布西的作品,使得劇院的名聲更推展至國際化的層次。他所指揮的德布西 歌劇《佩利亞與梅麗桑》,於2004年獲邀赴維也納音樂節及愛丁堡藝術季演出多場,獲得極高讚譽。 除了歌劇領域外,呂紹嘉在音樂會上的表現也同樣耀眼,至今合作的主要交響樂團有:慕尼黑愛樂、柏 林、西南德、中德、巴伐利亞、維也納廣播樂團、法國國家、里昂、杜魯士、史特拉斯堡交響樂團、英國利物浦 愛樂、奧斯陸愛樂、貝爾根愛樂、赫爾辛基愛樂、瑞典廣播、挪威廣播、哥特堡交響樂團、羅馬聖西西里亞樂 團……等。2011年底,呂紹嘉首度在阿姆斯特丹指揮荷蘭皇家音樂大會堂管絃樂團,以斯特拉溫斯基的《春 之祭》博得滿堂彩。在亞洲,他近期將在東京指揮新日本愛樂演出貝多芬第九交響曲。 在睽違台灣多年後,呂紹嘉於2010 年秋返鄉接任國家交響樂團(NSO)音樂總監,期盼以「精緻.深 刻.悸動」之信念,深耕台灣樂壇。

14

音樂總監介紹


National Symphony Orchestra 2012/13 Season

「呂紹嘉是表達音樂意境之大師,也是一位才華卓越的指揮。」

—《南德意志報》

“ The conductor Shao-Chia Lü is a master of nuance – and an exceptionally gifted

conductor."

—Süddeutsche Zeitung

「呂紹嘉的音樂有極高的專注力與靈敏度。指揮時展現出的旺盛精力將音樂中的各戲劇 性轉移發揮地淋漓盡致。他的節奏感非常精準,透過完整的詮釋,準確無誤地掌握速度上 的細緻變化。」

—《雪梨前鋒報》

“... Lü´ s musical watchfulness if terrier-like in its intensity. He pounces on the dramatic

shifts in the score with a seemingly feverish energy. His sense of rhythm is exact and he knows how to signal unerringly each of the many small changes of pace in a thoroughly studied interpretation… he is, an deserves to be, the star of this evening." —The Sydney Morning Herald

The Taiwan-born Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon, Trento and Amsterdam. In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Opera Australia and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre. Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der Fliegender Holländer, Wozzeck, Rosenkavalier, Elektra, Salome, to name a few. In 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 and Katja Kabanowa in Goteborg, Sweden, La fanciulla del west in Stuttgart, Eugene Onegin at the Komische Oper, Berlin, Madama Butterfly and Tosca 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 2 unchanged programms (including Bruckner 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 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. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010. 15 Music Director


國家交響樂團 2012/13 樂季手冊

桂冠指揮 根特.赫比希

Günther Herbig, Conductor Laureate 赫比希在1984 年從東德移居美國之後,開始在歐洲和北美洲地區快速活躍起來。 期間,他也親臨亞洲20多次,並與東京的幾個知名樂團合作,以及香港、新加坡和台灣 等地樂團合作演出。在1984-1994年間先後擔任了底特律交響樂團和多倫多交響樂團音 樂總監的職務。 赫比希師事赫曼.阿本德羅斯、赫伯.馮.卡拉揚與赫曼.舍爾興。他的音樂事業 則是開始於東德的威瑪與波茨坦。1972年,他成為德勒斯登愛樂管絃樂團音樂總監; 1977-83年間,任柏林交響樂團音樂總監。1979年轉赴西歐,受邀擔任英國國家廣播公 司愛樂管絃樂團的首席客座指揮。很快地,他開始受邀與英國主要的樂團合作,包括倫 敦交響、倫敦皇家愛樂、倫敦愛樂、巴黎管絃、以色列愛樂等知名樂團。 在美國,他的音樂事業首先開始於受邀擔任達拉斯交響樂團首席客座指揮,隨後 並於各大城市與多個知名樂團合作,足跡遍至紐約、芝加哥、波士頓、費城、克里夫蘭、 舊金山、洛杉磯、多倫多、巴爾的摩等地。 在1984 年離開東德之前,他與東德各主要樂團合作錄製了將近40 張專輯,其中包 括海頓和布拉姆斯的交響曲系列。他的近期錄音,包括了與英國國家廣播公司愛樂管 絃樂團合作錄製貝多芬第三號交響曲、第五號交響曲、舒伯特第八號交響曲、布拉姆斯 第一號交響曲、馬勒第五號交響曲、理查.史特勞斯《英雄的生涯》交響詩,以及和其他 倫敦的管絃樂團所一起合作的錄音作品。在 2001-2006 年擔任沙爾布魯克廣播交響樂 團首席指揮期間,他也和樂團一起錄製了馬勒與蕭斯塔科維契的重要交響曲作品。 在 2008 年1月,赫比希擔任國家交響樂團 2008-2010 樂季藝術顧問與首席客座指 揮,並於卸任後受邀擔任NSO桂冠指揮。在和國家交響樂團合作的二年裡,不僅合作演 出挑戰性高的經典作品,並以【NSO Live】品牌實況錄音發行馬勒第六號、第九號及布 魯克納第九號交響曲。

16

桂冠指揮介紹


National Symphony Orchestra 2012/13 Season

「樂團在赫比希的帶領下演奏得非常壯麗動人,在舒曼的第四號交響曲中,他以一種自 律動人地演出作了既聰明又溫暖適意的詮釋!」

—《太陽報》

“The orchestra under Herbig played magnificently...[i]n the Schumann Fourth Symphony, Herbig received beautifully disciplined playing for an interpretation that was as warm as it was intelligent..." —The Sun

「如果你認為那些偉大指揮家的黃金年代已經不再,最好三思一下。赫比希昨晚指揮柴 科夫斯基的交響曲《熱情》充滿了高貴、激情與力量的詮釋,讓我聯想起巴畢羅里與楊頌 斯。」

—《曼徹斯特晚報》

“If you thought the days of the great conductors were all in the past, then think again.

Gunther Herbig's presentation of the "Pathetique" symphony of Tchaikovsky last night was one of nobility, emotion and power, the sort I remember from Barbirolli and Jansons. —Manchester Evening News

Günther Herbig divides his activities between Europe and North America. His conducting career has been equally distinguished on both continents. He has also visited Asia for almost 20 times working with several Tokyo orchestras and those in Hong Kong, Singapore and Taiwan. In 1984 he moved from East Germany to the United States and served for ten years as Music Director first of the Detroit and later of the Toronto Symphony Orchestra. Herbig´ s musical training took place in Central Europe where he studied with Herman Abendroth, Herbert von Karajan and Hermann Scherchen. He began his career with appointments in the East German cities of Weimar and Potsdam. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Berlin Symphony Orchestra from 1977 to 1983. Turning to Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979. Soon he was invited to conduct such major ensembles as the London Symphony, the Royal Philharmonic London, the Philharmonia in London, the Orchestre de Paris, the Israel Philharmonic, and many others in major cities. In the USA he started in 1979 as Principal Guest Conductor of the Dallas Symphony and has since conducted the Orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco, Los Angeles, Toronto, Baltimore, and many others. He toured the US several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on an European tour. In 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Japan, Singapore and Taiwan. Herbig made nearly 40 recordings including cycles of Haydn and Brahms symphonies before leaving East Germany in 1984. His most recent releases include Beethoven Symphony Nos. 3 & 5, Schubert Symphony No.8, Brahms Symphony No.1, Mahler Symphony No.5 and Strauss Ein Heldenleben with the BBC Philharmonic, and some other recordings with London Orchestras. From 2001 to 2006 he was the Chief Conductor of the Saarbrücken Radio Symphony Orchestra with which he also recorded some major symphonies by Mahler and Shostakovich. Mr. Herbig was the Artistic Advisor and Principal Guest Conductor of Taiwan Philharmoric (NSO) from 2008 to 2010. Together with the NSO, Mr. Herbig recorded and released Mahler Symphony Nos. 6 & 9 and Bruckner Symphony No.9 under the brand “NSO Live" . 17 Conductor Laureate


國家交響樂團 2012/13 樂季手冊

駐團作曲家 克里斯蒂安.佑斯特

Christian Jost, Composer in Residence 「我不斷尋找神奇的時刻,但唯有透過結構、形式與音調之間複雜又多變的比率,才能讓我找到。」—佑斯特 “ I am permanently on the search for the magic moment and can only achieve this through a complex and differentiated ratio between structure, form and tone." — Christian Jost

出生於1963 年德國特里爾的克里斯蒂安.佑 斯特,是其同一世代中最受歡迎的作曲家之一。他 的歌劇作品已成為歐洲歌劇院的定劇目,而他的管 絃樂作品在國際間亦不斷地被演出。2003年,佑斯 特獲得西門子基金會作曲家贊助獎的肯定;2009 年,他的歌劇《哈姆雷特》被評選為德國、奧地利、 瑞士地區的「年度最佳世界首演製作」。 佑斯特經常獲得世界各地頂尖樂團、音樂節 以及歌劇院的委託創作邀約,其中包括柏林愛樂、 琉森音樂節、柏林喜歌劇院、荷蘭愛樂、蘇黎士歌 劇院、耶路撒冷室內音樂節、埃森阿爾托劇院、柏 林德意志交響樂團、比利時法蘭德斯歌劇院、梅克 倫堡-前波莫瑞州與什列斯威-霍爾斯坦音樂節、 上海交響樂團、格拉茨歌劇院以及國家交響樂團 (NSO)等。 此外,佑斯特亦是非常受歡迎的指揮家,曾經 指揮過布萊梅愛樂、柏林喜歌劇院樂團、漢堡愛 樂、格拉茨愛樂以及埃森愛樂樂團。

18

駐團作曲家介紹

Born in 1963 in Trier, Christian Jost is one of the well-received composers of his generation. His operas have been included in the repertoire of European opera houses, and his orchestral compositions have been regularly performed worldwide. In 2003, he received the Ernst von Siemens Foundation Encouragement Prize. In 2009, his opera Hamlet was praised as the “World Premiere of the Year"in Germany, Austria and Switzerland. Jost has been commissioned by leading orchestras, festivals and opera houses around the world, including the Berliner Philharmoniker, the Lucerne Festival, the Komische Oper Berlin, the Nederlands Philharmonisch Orkest, the Zurich Opera House, the Jerusalem Chamber Music Festival, the Aalto Theatre Essen, the Deutsches Symphonie-Orchester Berlin, the Vlaamse Opera Antwerp/Ghent, Mecklenburg-Vorpommern as well as Schleswig-Holstein Music Festivals, the Shanghai Symphony Orchestra, the Opera Graz and the Taiwan Philharmonic. Christian Jost is also in great demand as a conductor. He has conducted orchestras such as the Bremen Philharmoniker, the orchestra of the Komische Oper Berlin, the Hamburger Philharmoniker, the Graz Philharmonic Orchestra, and the Essener Philharmoniker.


National Symphony Orchestra 2012/13 Season

探索系列

New Frontier 集狂放不羈、炫麗迷人於一身的普羅科菲夫, 為20世紀的俄羅斯音樂寫下獨樹一幟的絢爛篇章, 也為自己成就了接近普羅大眾的現代音樂語言。 —呂紹嘉

永恆羅密歐

開季音樂會

迷幻奇航—天方夜譚 冰原烈焰 叛逆古典 彼得與狼……還有巴巴! NSO永遠的童話 琴劍交鋒 鐵血柔情

Oh, Romeo! Season Opening Concert Fugitive Journey—Scheherazade Fire on Ice Classical & Revolt Peter, Wolf...and Babar! NSO Forever Tales Lightening on Keyboards Iron & Poetry


國家交響樂團 2012/13 樂季手冊

以才華和時代對賭─普羅科菲夫 文/焦元溥

這是一個有關偉大作曲天才與時代命運的故 事。

鋼琴是 普羅科菲夫自己的 樂 器,他也的確 技 術出群,更以個人特色革新鋼琴音樂。鼎鼎大名的

雖說史上天才真的不少,但要鋒芒銳利如普羅

艾西波華(Anna Essipova),普羅科菲夫的鋼琴老

科菲夫(Sergei Prokofiev, 1891-1953),那也實在罕

師,給他的評語是「才華出眾卻無禮傲慢」。這話一

見— 畢竟,這可是 5歲開始作曲,7 歲學下棋,鬼點

點沒錯。他討厭學院鋼琴比賽中必須演奏古典作品

子無可遏抑的超級神童。彷彿用譜紙寫日記,他何人

的規定,堅持改以自己的第一號鋼琴協奏曲(Piano

何事都能用音符描繪。等到13歲真的要進聖彼德堡

Concerto No.1, op.10),最後還是奪得冠軍,活活

音樂院,這孩子給考官的見面禮竟是兩首奏鳴曲、一

氣死一票老師。沒辦法,普羅科菲夫就是要照自己

部交響曲、諸多鋼琴獨奏小曲與四齣歌劇。帶著過

的方式作曲演奏,把鋼琴當成能歌唱的打擊樂器,

人的自知,炯炯眼神裡他閃爍著自己想要的音樂,這

將不和 諧 音與多重調性玩弄於股掌之間。他大 力

世界只能等著接受。

擊鍵,聲響爽利新奇,節奏宛如鋼鐵工廠,在鐵錘

Piotr Kontschalowski (1934) 普羅科菲夫畫像。

20

探索系列


National Symphony Orchestra 2012/13 Season

與火光中敲出白熱化燦爛。鋼琴曲《四首練習曲》 (Four Etudes, op.2)、《惡魔的唆使》(Suggestion Diabolique, op.4-4)、《觸技曲》(Toccata, op.11)和 《諷刺》(Sarcasms, op.17)等等,都是挑釁刺激、不 懷好意,讓人左支右絀、手忙腳亂的作品。第二號鋼 琴協奏曲(Piano Concerto No.2, op.16)不僅是野 獸派音樂代表,至今仍是鋼琴文獻中技巧最艱深的 作品之一,折磨一代代鋼琴家。 才華洋溢如他,也終究和斯特拉溫斯基一樣, 得到戴亞吉列夫(Sergei Diaghilev)賞識,展開俄國 以外的音樂事業。他們最初合作並未完成,作曲家整 理樂稿成為《塞西亞組曲》(Scythian Suite, op.20), 野性蠻荒又黑暗詭譎,其筆下的異教邪神,確實和斯 特拉溫斯基一時瑜亮,至於完成的《愚人》(Chout ,

op.21)則獲得好評。雖然頭角崢嶸,普羅科菲夫還 是可以譜出清新夢幻,年輕時的他更有朝陽澄澈的 青春。一次大戰時他回學院躲避徵兵,亂世動盪卻 使他神智剔透。二十首鋼琴小曲《瞬間印象》(Visions fugitives, op.22),就是如此迷人經典。回想他叛逆少 年,正規訓練雖然讓他大感無聊,但一如和老師爭吵 不休卻又不斷精進的琴藝,這位罕見天才還是聰明

戴亞吉列夫、斯特拉溫斯基與舞蹈家尼金斯基(由左至右)。

地學會所有使他如虎添翼的技法。第一號交響曲《古 典》(Symphony No.1 Classical, op.25)就是結合現

使以現今眼光觀之,此劇之大膽仍讓人側目驚懼,無

代新穎音響與海頓機敏趣味的名作,至今都是音樂

怪上演機率微乎其微。所幸普羅科菲夫大概也心知

會寵兒;同時寫作的第一號小提琴協奏曲(Violin

肚明,於是選取劇中精彩樂段改寫成第三號交響曲

Concerto No.1, op.19)也能收起張牙舞爪,流露浪 漫情韻。至於《賭徒》(The Gambler, op.24)更滿是

有機會聆賞那邪魔降世的極致恐怖。

讓人瞠目結舌的巧思,果然是「自幼」就擅寫歌劇的 老手。

(Symphony No. 3 in C minor, op.44),讓聽眾還 由於在西方事 業 不如預 期,短 暫回國數次 又 受到熱烈歡 迎,不像拉赫 瑪尼諾 夫或 斯 特 拉溫 斯

然而,共產革命風潮所帶來的變動世局,最終

基,普羅科菲夫最後居然一步步回到已成蘇聯的俄

也讓普羅科菲夫體認,前衛激進祖國不容,必須轉進

國。開始情勢似乎一片大好。電影配樂《基傑中尉》

他鄉方能一展長才。可嘆他運氣實在不佳,首站美國

(Lieutenant Kijé, op.60)和芭蕾舞劇《羅密歐與茱麗

出師不利,最後還是巴黎與歐洲讓他稍得發展。但

葉》(Romeo and Juliet, op.64)是作曲家試探水溫之

無論如何,他寫出比《賭徒》更放肆誇張的歌劇《三

作,普羅科菲夫給了精采異常的絕妙旋律:諷刺之作

橘之戀》(The Love for Three Oranges, op.33),劇本想

《基傑中尉》詼諧又悅耳(現以組曲聞名),《羅密

法之怪,音樂搭配之奇,大概也只有普羅科菲夫有這

歐與茱麗葉》情境設計之巧與樂思內蘊之深,皆讓

本事能夠寫成。至於膾炙人口的第三號鋼琴協奏曲

人嘆為觀止,也是芭蕾舞劇又一里程碑。之後他為電

(Piano Concerto No.3, op.26),則是將古典形式、

影《亞歷山大.涅夫斯基》(Alexander Nevsky, op.78)

民歌素材、原創技巧融整為一的曠世傑作,明朗透亮

譜寫配樂(後改成同名清唱劇),氣勢磅礡且想像新

混搭潑辣恣意,作曲家更親自留下演奏錄音,記錄歷

奇,更是劃時代的超凡成就。

史傳奇。不過這時期最常被忽略的,是驚悚敗德的

但對政治再怎麼天真,普羅科菲夫終究不得不

五幕歌劇《火焰天使》(The Fiery Angel, op. 37)。即

承認,蘇聯統治的真正面目,遠比他所想像地恐怖。

21 New Frontier


國家交響樂團 2012/13 樂季手冊

他的歌劇《賽永.柯特科》(Semyon Kotko, op.81)首

時、上場人物超過七十名的龐大偉構《戰爭與和平》

演因為導演被秘密警察逮捕槍決而延期,他的創作

(War and Peace, op.91)。當創作箝制隨著戰事方酣

自由也越來越受到限制。「形式主義」的指控無所不

而轉移焦點,如同蕭斯塔科維契,稍稍得到呼吸空

在,幾乎任何題材或手法都可能被羅織入罪。即使地

間的普羅科菲夫也道出不少發自內心的真實話語:

位崇高如普羅科菲夫,面對可能的身家危險,仍然不

第一號小提琴奏鳴曲(Violin Sonata No.1, op.80)

得不屈服。迫於無奈,他必須寫作許多為政治服務

的勇敢批判,第二號小提琴(長笛)奏鳴曲(Violin

的樂曲,包括史達林 60 大壽頌歌。但他靈感與技巧

Sonata No.2/ Flute Sonta, op.94)的甜美洗練,清唱

並未衰退。只要時機許可,他也能寫出《彼得與狼》

劇《恐怖伊凡》(Ivan the Terrible, op.116)的劇力萬

(Peter and the Wolf, op.67)如此可愛迷人之作。

鈞,都有爐火純青的筆法。作品編號一百的第五號交

一如一次世界大戰時,普羅科菲夫的創作反而

響曲(Symphony No.5, op.100),更是他最受歡迎的

更為精進,風雲變色、慘絕人寰的二次大戰,也成為

代表作。快意奔放不失深度,信手拈來盡是繽紛,再

他創作生涯的又一高峰。他一口氣寫出十個樂章,慢

一次,普羅科菲夫證明自己絕對名列史上最頂尖的

慢修改組合成第六、七、八號鋼琴奏鳴曲。世人都說

作曲家。只是此時的他,還看不到即將到來的一切。

那是「戰爭奏鳴曲」,內行人才知那其實是「KGB三

1948 年,蘇聯整肅藝術界,共黨中央委員會態

聯作」,訴說極權統治下的人民心聲。納粹入侵激起

度大變,抨擊普羅科菲夫等人為「脫離人民品味」

他的奮發意志,寫出以托爾斯泰小說為本,長達四小

的「形式主義者」,作品帶 有「歐美現代中產階級

電影《亞歷山大.涅夫斯基》劇照。

22

探索系列


National Symphony Orchestra 2012/13 Season

普羅科菲夫與妻兒。

毒素」。普羅科菲夫多數作品被禁,身體健康也每

對他的評價,也把創新前衛的冠冕白白讓給前輩斯

下愈況。所幸在這大難來臨之前,他已完成語彙複

特拉溫斯基與荀貝格。但話說回來,在那往往刻意求

雜且反思戰爭的第六號交響曲(Symphony No.6,

新的時代,能夠堅持自我、始終如一,或許才需要最

op.111),不然我們可能永遠聽不到他對二戰最犀

大的勇氣。而普羅科菲夫之所以到現在都能牽動人

利的評論。面對政治力的殘忍打擊,普羅科菲夫又

心,也必然不只是旋律動聽:可叛逆可理性,能不羈

想著什麼呢?他把冷笑放在大提琴奏鳴曲(Cello

能沉潛,無論面貌如何,在他最好的作品裡,我們永

Sonata in C, op.119)第二樂章,繁複艱深的超技則 留給為大提琴和管絃樂的交響協奏曲(SymphonyConcerto, op.125)。但就像他在二戰末期譜出的 芭蕾舞劇《灰姑娘》(Cinderella , op.87),晚年的普

遠可以聽到發自靈魂深處的真誠情感。那情感何其

羅科菲夫,機鋒終於化為睿智。當桀傲不遜的天才

飽滿強烈,逼得你不得不與之共鳴。 畢竟,當人生過完,時代逝去,聆聽普羅科菲 夫,我們終會也只會明白,那是一個有關偉大作曲天 才的故事。

懂得體察人情世故,作品自也煥發出截然不同的光 輝。1952年10月11日第七號交響曲(Symphony No.7, op.131)首演,音樂青春熱情又甜苦交織,悲歡離合 拼湊出模稜兩可的曖昧,旋律卻掛著淡淡笑意。那是 精於棋戲的作曲家,留給世人的美麗謎語。 那也是他最後一次出席自己的作品發表。1953 年3月5日,普羅科菲夫逝世於莫斯科,當天正好也是 史達林死訊發布,一代藝術巨擘,訃聞就淹沒在獨裁 者的消息裡。 論才華,普羅科菲夫是世紀頂尖。諷刺、賣弄、 溫情、深刻、優雅、精練,只要願意,沒有他寫不來的 樂曲,也沒有他不擅長的領域。或許,有人會遺憾這 百年不遇的造反野小孩,居然沒有走上無調與序列 的道路,一生固守於調性音樂;這既嚴重影響了學界 23 New Frontier

*焦元溥,倫敦國王學院音樂學博士


國家交響樂團 2012/13 樂季手冊

The Colourful World of Prokofiev by Daniel Jaffé

Sergei Prokofiev

Prokofiev´ s musical style is one of the most distinctive amongst 20 t h centur y composers: a gifted and inventive melodist, fond of quirky and unexpected harmonies, he was a lso one of the century´ s most colourful orchestrators. That last quality is all the more remarkable since – unlike his near contemporaries Stravinsky and Shostakovich who both grew up in Russia´ s capital – Prokofiev grew up in a rural estate hundreds of miles away from any city, and therefore did not encounter an orchestra until he was eight years old. The occasion was New Year´ s Eve 1900 when his parents took him to the opera and ballet in Moscow. In an era before the sound of an orchestra could be heard at home with the flick of a switch, either on radio or on the gramophone, one can only guess the effect seeing and hearing a live orchestra for the first time had on the budding musician. His parents took 24

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him to the operas Faust and Prince Igor (the latter with its thrilling Polovtsian Dances), and to Tchaikovsky´ s Sleeping Beauty. Hardly surprisingly, Prokof iev ever afterwards regarded orchestral music first and foremost as a dramatic medium: this remained true even of his work in the relatively abstract genre of symphony – significantly four out of seven of his published symphonies are derived from music he originally composed either for the stage or the cinema screen. One may also sense how the young Prokofiev was impressed by the sheer physical impact of hearing and witnessing such a massed ensemble of players; compared to the more consistently refined orchestral palette of Stravinsky and Shostakovich, the sheer en masse quality of Prokofiev´ s orchestral style in such works as the Scythian Suite, or even in parts of his ballet Romeo and Juliet, shows an unrestrained, even


National Symphony Orchestra 2012/13 Season

greedy relish in the orchestra´ s potential. Yet Prokofiev was equally able to compose some of the most refined instrumental textures, whether the elegant “classical” scoring of his Symphony No. 1, indebted to the late symphonies of Joseph Haydn, or in the ethereal or sometimes eerie colours he created from strings and/ or woodwind: consider the alarming shrieks and gambolings he draws from the 13-part string texture in the remarkable scherzo of his Third Symphony, or the ghostly textures of the last few pages of the Fifth Symphony´ s Adagio. So how did Prokofiev develop his distinctive orchestral style? At the St. Petersburg Conservatory he was, as is often said, one of the last pupils of that legendary master of orchestration, Rimsky-Korsakov; yet, as Prokofiev himself admitted, he found it frustratingly hard to learn from Rimsky-Korsakov´ s highly popular and crowded classes. In fact during those years he gained most from his conducting studies under Nikolai Tcherepnin, in which he studied the scores of the classical composers Mozart

Romeo and Juliet, Sergei Diaghilev’s Ballets Russes

25 New Frontier

and Haydn. He also in his spare time studied scores by the then leading avant-garde composer Scriabin: echoes of The Divine Poem, whose first part Prokofiev transcribed and presented to Scriabin, may be heard some 35 years later in his Fifth and particularly his Sixth Symphonies. He also learnt a great deal from his senior contemporary, Stravinsky, most notably from that most colourful ballet score composed for Sergei Diaghilev´ s Ballets Russes, Petrushka. It was not long after the scandalous premiere of Stravinsky´ s The Rite of Spring that Diaghilev commissioned Prokofiev to compose his first ballet, Ala i Lolli, hoping for a powerful sequel to Stravinsky´ s neo-primitive masterpiece. The result was loud, exuberant but hardly sophisticated or revolutionary, as Diaghilev recognized on hearing the score in progress; he persuaded Prokofiev to drop that ballet in favour of Chout, a ballet based on old Russian folktales more suited to his acerbic wit. Loathe to let his first essay in ballet go to waste, Prokofiev converted his score into the symphonic Scythian Suite, which includes its remarkable evocation of the rising sun through dizzyingly high brass writing. Having built his reputation through shockingly brutal music, Prokofiev, who enjoyed confounding expectations, composed the Classical Symphony even while Petrograd was in the throes of revolution. Prokofiev not only had fun evoking, then subverting, the courtly manners of Haydn´ s style, but he also played various harmonic sleights of hand, most famously in the Gavotte. This is the aural equivalent of an M.C. Escher picture – at first glance physically plausible; Prokof iev´ s cour t ly da nce gives t he impression of balancing one well-turned phrase with another, but, like Escher´ s impossible perspectives, his cadences land on increasingly “incorrect” harmonies before finally reaching the correct key through an abrupt and unlikely modulation. More straightforward is the exuberant finale, composed in response to a musical friend´ s suggestion that there was no true joyfulness to be found in Russian music. Prokofiev took up the challenge, adding the further hurdle of


國家交響樂團 2012/13 樂季手冊

avoiding all minor chords:`I found the movement extraordinarily easy to write,´Prokofiev confided to his diary;`I was hugging myself with delight all the time I was composing it!´ The Classical Symphony turned out to be the last composition of Prokofiev´ s to be performed before he left post-Revolutionary Russia in 1918 to seek his fortune in America and Europe. One of his first commissions abroad, from the Chicago Opera Company, resulted in The Love for Three Oranges, his most successful opera in his lifetime. Based on Carlo Gozzi´ s commedia dell ´ a rte play, The Love for Three Oranges might have tempted another composer to revisit the neo-classical style Prokofiev essayed in the Classical Symphony: indeed, when Stravinsky first ventured into neo-classicism some three years later in his commedia dell ´ a rte-style ballet Pulcinella, he reorchestrated pieces allegedly by the 18th-century composer Pergolesi. But Prokofiev, for whom the neoclassical style was a one-off sport, intensely disliked Stravinsky´ s “grave-robbing” exploits in such works as Oedipus Rex and Apollon musagète; rather, Gozzi´ s fantastical world of magi, devils and jesters inspired his own fantastical soundworld. The suite from his opera includes his jaunty and ever-popular March and the lusciously romantic and yearning music associated with the meeting of the Prince with his Princess (shedding all remnants of parody heard at this point in the opera). Apart from Prokof iev´ s Second Symphony, his nearest approach to a purely abstract orchestral work, all his subsequent symphonies were to be more straight-forwardly dramatic works, three of them even involving themes originally written for stage or screen: No. 3 is based entirely on music he originally composed for his opera The Fiery Angel; No. 4 on music for the ballet The Prodigal Son; No. 5 makes use of music originally destined for the ballet Romeo and Juliet, and also recycles cues from his score for an aborted film version of Pushkin´ s (as opposed to Tchaikovsky´ s) The Queen of Spades; and Symphony No. 7 includes several extracts originally composed for 26

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Sergei Diaghilev

a dramatised version of Pushkin´ s Eugene Onegin. 1929 witnessed both the death of Diaghilev and the Wall Street Crash, plunging Europe and America into economic depression. Finding it increasingly hard to find an outlet for his talent for dramatic works, and failing even to stage his opera The Fiery Angel (which in fact was never to be produced in his lifetime), Prokofiev was increasingly drawn back to his homeland. In 1936 he finally left Paris for Moscow with his family. One of his first major compositions upon returning was his ballet score Romeo and Juliet. Prokofiev´ s singular achievement was to portray not only its action but also Shakespeare´ s vivid gallery of characters entirely through music, most notably Juliet: through Prokofiev´ s music we hear her developing from a mischievously playful girl to a young maiden of deep emotional maturity. A las, the political vicissitudes of Stalin´ s Russia meant the ballet was not staged until 1938, and then in an unauthorized production in Brno, Czechoslovakia. Prokofiev finally saw the ballet staged in Russia in 1940, but not before


National Symphony Orchestra 2012/13 Season

considerable tampering with the orchestration, which was thought too delicate in its original form for the dancers to hear on stage. For this reason the orchestral suites Prokofiev drew from his ballet are of particular value as they enable us to hear the orchestral colours as he originally intended them. From the violence of the Scythian Suite to the grace of the Classical Symphony, Prokofiev appears one of the most protean composers of the last century. One of his achievements during the Soviet years was to marry these extremes into a single style, notably in Romeo and Juliet. In his way, Prokofiev´ s range matched that of Stravinsky´ s, and for all Stravinsky´ s vaunted inf luence on modern orchestral music, Prokofiev´ s has arguably had a wider impact, reaching more listeners today than perhaps any other composer, whether through his original hits – such as the March from The Love for Three Oranges or the stomping `Dance of the Knights´from Romeo and Juliet – or through the more subliminal influence to be heard in

Sergei Prokofiev

27 New Frontier

several dozens of modern film scores including those by John Williams and James Horner. Almost 60 years after his death, Prokofiev´ s orchestral masterpieces seem, if anything, more current and relevant today than they did in the last century. *Daniel Jaffé, reviews editor of BBC Music Magazine


國家交響樂團 2012/13 樂季手冊

探索系列

9/21

2012︱

Fri. 19:30

永恆羅密歐

Oh, Romeo!

開季音樂會

Season Opening Concert

指揮 呂紹嘉 Shao-Chia Lü, conductor 小提琴 瑟吉.哈察特楊 Sergey Khachatryan, violin 李蓋提:《羅馬尼亞協奏曲》 哈察圖量:D小調小提琴協奏曲 普羅科菲夫:《羅密歐與茱麗葉》組曲選段

GYÖRGY LIGETI: Concert Românesc ARAM KHACHATURIAN: Violin Concerto, D minor SERGEI PROKOFIEV: Excerpts from Romeo and Juliet Suites ©Marco Borggreve

國家音樂廳 National Concert Hall

400 600 800 1000 1200 1500

無法預知的節奏,緊密相連不歇的四樂章,鬼才李蓋提的「音樂是精心建 構而成,絕非『極簡』,而是『極繁』!」他的喀爾巴阡山脈企圖尋找繽紛天 籟裡的「不規則碎片」;哈察圖量引用亞美尼亞民族音樂風格,這首小提 琴協奏曲的經典曲碼,在第一樂章揚起時,繆思的雙腳就已經躍起邊疆民 族的靈動舞步;普羅科菲夫採用獨特的主導動機、場景對位以及人物的 音色塑像等手法,讓《羅密歐與茱麗葉》組曲「去借邱比特的翅膀」,旋律 華麗中「負荷著愛的重擔」之陰影與悽愴。「醉心於表達亞美尼亞音樂純 粹性」的小提琴金童瑟吉.哈察特楊,15歲及 20歲時先後於西貝流士、伊 麗莎白女王小提琴大賽奪冠,與頂尖樂團柏林愛樂、皇家大會堂、倫敦交 響、慕尼黑愛樂等同台交鋒,Romeo 丰采迷人;NSO 音樂總監呂紹嘉輕 撥大塊衝突、碎片變速的音樂張力,帶領樂團的開季之夜翱翔於凡俗愛情 的枷鎖之上!

探索系列

10/5

2012︱

Fri. 19:30

瑟吉.哈察特楊

Sergey Khachatryan 「一位擁有驚人控制力的小提琴家,他無 疑地是一位最傑出音樂家。」— 加拿大 《卡加里先鋒報》 “A violinist wit h a n a stonishing

command of the instrument, he is no less a musician of the highest level."— Calgary Herald

迷幻奇航—天方夜譚 Fugitive Journey—Scheherazade

指揮 簡文彬 Wen-Pin Chien, conductor 小提琴 曾宇謙 Yu-Chien Tseng, violin 普羅科菲夫: 《瞬間印象》(巴夏改編) 第一號小提琴協奏曲 李姆斯基—柯薩科夫:《天方夜譚》

SERGEI PROKOFIEV: Visions fugitives (arr. by Rudolf Barshai) Violin Concerto No.1 NIKOLAI RIMSKY-KORSAKOV: Scheherazade 國家音樂廳 National Concert Hall

400 600 800 1000 1200 1500

〈大海與辛巴達的船〉銅管埋伏著蘇丹王弒人的動機,如淒如訴的小提 琴獨奏是雪荷拉莎德溫柔安撫的心聲,迎著定音鼓破浪而來的辛巴達作 了最雄壯蕩氣的開場;〈卡蘭達王子的故事〉小提琴悠悠述說另一場故 事,低音管和雙簧管交替著「冒險家王子」的幽默與滑稽;〈年輕王子與公 主〉撩撥一闕動人的浪漫史詩,濃郁的阿拉伯曲風舞出命運未卜的邂逅; 〈巴格達節慶~大海~青銅戰士所豎巨石上的船難〉陸地到海上,劇力萬 鈞翻轉,聽故事的與說故事的纏綿彼此,木管、絃樂交織一波波打擊浪鳴 與海嘯……一千零一夜的管絃樂故事組曲,也是「配器」專家李姆斯基 柯薩科夫的奇幻扉頁。你的耳朵「迷航」了嗎?當指揮家簡文彬的雙手凌 空、興風作浪帶來瞬間的幻影,不按牌理出牌的普羅科菲夫在浮光中找到 永恆;11歲得曼紐因肯定,15歲奪西班牙薩拉沙泰首獎及最佳演奏獎,16 歲榮獲柴科夫斯基評審團特別獎的台灣之光曾宇謙,今夕領航琴海。

28

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曾宇謙

Yu-Chien Tseng 2011年贏得韓國尹伊桑國際小提琴比賽第 一名暨最佳詮釋獎以及第14 屆國際柴科

夫斯基小提琴大賽評審團獎。

First prize winner of t he Isa ng Yun International Violin Competition and the recipient of the Jury Discretionary A w a r d s a t t h e 14 t h I n t e r n a t i o n a l Tchaikovsky Competition in 2011.


National Symphony Orchestra 2012/13 Season

探索系列

10/19

2012︱

Fri. 19:30

冰原烈焰

Fire on Ice

指揮 奧列格.凱塔尼 Oleg Caetani, conductor 鋼琴 德傑.拉錫克 Dejan Lazić, piano 男低音 阿斯卡.亞德拉札可夫 Askar Abdrazakov, bass 普羅科菲夫:《三橘之戀》 拉赫瑪尼諾夫:第二號鋼琴協奏曲 穆梭斯基:《死神歌舞》(蕭斯塔科維契改編) 蕭斯塔科維契:第九號交響曲

SERGEI PROKOFIEV: The Love for Three Oranges, op.33bis SERGEI RACHMANINOFF: Piano Concerto No.2, op.18, C minor MODEST MUSSORGSKY: Songs and Dances of Death (orchestrated by D. Shostakovich) DMITRI SHOSTAKOVICH: Symphony No.9 國家音樂廳 National Concert Hall

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阿斯卡.亞德拉札可夫

這是一場冰與火的冷競與熱逐!普羅科菲夫所設的「三顆橘子」戀情裡, 堅持為「舞台」寫音樂的五彩歌劇,讓縛咒的王子踩著詼諧進行曲疾呼: 「公主,我為妳走遍天涯!」拉赫瑪尼諾夫的第二號鋼琴協奏曲寫於虛實 破碎、瀕臨崩潰邊緣的迷幻琴鍵,世人如癡如酣於天籟。抑鬱縱醉的穆梭 斯基說:「死神正在歌舞!我要透過嬰兒、農民、歌手、統帥的異色音符, 飆唱生命刻正消亡!」對抗蘇聯政權的熊熊意志力下,蕭斯塔科維契以輕 巧曲風打破「第九」魔咒,從玩笑不羈到哀傷自省,豪嗆辛辣諷刺政局。深 諳音色璀璨堂奧的奧列格.凱塔尼,身兼歌劇與音樂指揮家令人驚豔;鋼 琴王子德傑.拉錫克集《留聲機》雜誌、《紐約時報》「才華橫溢」、「饒富 詩意」讚譽,身價燙金;得獎無數男低音亞德拉札可夫雄渾的北國底蘊, 征服全球觀眾。令人期待「四俄」「三雄」的冰原烈焰!

Askar Abdrazakov 莫斯科拉赫瑪尼諾夫大賽首獎、雅典瑪利 亞.卡拉斯大賽得獎者。

First prize winner of the International S er g ei R a c h m a n i nof f C omp e t it ion Moscow and Grand Prix recipient of the Maria Callas Competition, Athens.

德傑.拉錫克  Dejan Lazić 「這自然、具有個人 獨 特風 格的演出是來自一個具有天 賦的年輕音樂家,他忠實的 對 待 每 一 個 音 符 與音 樂 的 意念。」—英國《留聲機》 雜誌 “ Spontaneous, characterful

per forma nc e s f rom t h is g i f te d you n g mu sici a n, faithful to the spirit and the letter of the score"

©Susie Knoll

—Gramophone

29 New Frontier

奧列格.凱塔尼 

Oleg Caetani


國家交響樂團 2012/13 樂季手冊

探索系列

11/24

2012︱

Sat. 19:30

叛逆古典

Classical & Revolt

指揮 尼可拉斯.米爾頓 Nicholas Milton, conductor 雙簧管 馮思瓦.勒樂 François Leleux, oboe 普羅科菲夫:《古典交響曲》 理查.史特勞斯:D大調雙簧管協奏曲 李元貞:《間奏曲:商》,為管絃樂團 蕭斯塔科維契:第六號交響曲

SERGEI PROKOFIEV: Classical Symphony, op.25 RICHARD STRAUSS: Oboe Concerto, D major YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra DMITRI SHOSTAKOVICH: Symphony No.6, op.54, B minor 國家音樂廳 National Concert Hall

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自嘲「怪誕/滑稽/可笑」的《古典交響曲》,把海頓請到現代,採用古典 時期交響曲的結構/語彙及瞬間逆轉的現代和聲/節奏,是小普對古典 出軌的致敬。理查.史特勞斯二戰期間意外邂逅費城管絃雙簧管首席, 這位天生的melody maker於是創作了如光剔透田園史詩般的雙簧管協 奏曲,反芻生命之秋。蘇維埃政權干涉下,老蕭總是尋求機會訴說內心真 話,這首第六不僅擺脫標題與革命的轄制,更大膽歌頌生之喜悅。以《間 奏曲:參》獲94年教育部文創首獎的新銳李元貞,寫過《晨鐘暮鼓》(打擊 樂)、《花火》(絃樂)、《貓嬉》(箏與鋼琴),她的新作《間奏曲:商》要 顛覆管絃之海?!叛逆,如何界說?喜為曲目注入活水的澳洲指揮家米爾 頓,2004-2010德國耶拿愛樂音樂總監、2007坎培拉交響藝術總監,再次 受邀來台為您揮灑解惑之棒。英國《泰晤士報》讚譽勒樂的明星風範,橫 空盤旋無所限制的音域/力度來自他超凡的雙簧管演奏技巧,無人能及, 非常期待! 探索系列

4/6

2013︱

Sat. 14:30 19:30

馮思瓦.勒樂

François Leleux 「… [ 勒樂 ] 具有明星架式。擁有非凡的技 巧和個性。展現出變化無窮的音色和力度; 繞樑不絕的樂音中處處閃爍 著慧黠的光 芒。」—《泰晤士報》 “... [François Leleux is] a star act. Here

was phenomenal skill and personality, displayed across a vast range of colours and dynamics, delivered with winking wit through an oboe constantly circling the air."—The Times

彼得與狼……還有巴巴!

Peter, Wolf...and Babar!

NSO永遠的童話 NSO Forever Tales

指揮 張尹芳 Yin-Fang Chang, conductor 說書人 梁坤豪 Kun-Hao Liang, storyman 浦朗克:《小象巴巴》(法朗謝改編) 普羅科菲夫:《彼得與狼》

FRANCIS POULENC: L'histoire de Babar, le petit éléphant (orchestrated by J. Français) SERGEI PROKOFIEV: Peter and the Wolf 國家音樂廳 National Concert Hall

園子裡,狼來了,勇敢的彼得成了英雄! 在城裡,巴巴努力克服恐懼,成了動物們在都市叢林裡的英雄! 浦朗克的《小象巴巴》暢快、自由、明亮,卻仍帶點古典的拘謹,音樂語 法與巴巴個性相仿,完全展露這位沒有完整音樂學院訓練的法國作曲家 的個人風格。而超有玩心與童心的普羅科菲夫以樂器代表角色,開心的 圖畫小男孩彼得與他的動物朋友們:彼得的晨空成了管絃樂器彼此逗陣 的歡騰音籟,長笛吹出樂樂鳥的浮躁欣喜、雙簧管訴說鴨子被吃掉的哀 怨、賊眼狼踩著咆嘯的銅管小調做盡壞事,呵,愛管「絃」事的彼得英雄 救「貓」……。在 NSO「頑皮家族」裡彈唱俱佳的梁坤豪,這次將在 NSO 與多媒體動畫的烘托下,從彼得與狼……到巴巴,一路解放迷人的說書功 力。

30

探索系列

© Librairie Hachette, 1939

400 600 800


National Symphony Orchestra 2012/13 Season

探索系列

4/27

2013︱

Sat. 19:30

琴劍交鋒

Lightening on Keyboards

指揮 尼可萊.阿雷席夫 Nikolai Alexeev, conductor 鋼琴 拉貝克姊妹 Katia & Marielle Labèque, piano 普羅科菲夫:《基傑中尉》組曲 浦朗克:D小調雙鋼琴協奏曲 普羅科菲夫:第五號交響曲

SERGEI PROKOFIEV: Lieutenant Kijé Suite, op.60 FRANCIS POULENC: Concerto for 2 Pianos, D minor SERGEI PROKOFIEV: Symphony No.5, op.100, B-flat major 國家音樂廳 National Concert Hall

400 600 800 1000 1200 1500

基傑中尉是電影裡虛設的人物,普羅科菲夫為表達一連串荒誕諷刺的劇 情,用薩克斯風當主奏大秀管絃樂法的創新,片羽間竟又倚著夢幻華燦的 雪景。反觀寫於二戰德俄對峙的第五號交響曲,作曲家褪去反骨外衣,從 砲火、哀喪、旺盛生命力的深處,譜出樂章間淋漓盡致、綿密緊扣的動機 關聯,大師光芒乍現。被詩人考克多戲稱「半是豬玀半是聖徒」的浦朗克, 駕馭奇特的機智幽默和法蘭西文人的浪漫風景,他的雙鋼琴協奏曲迤邐 於競力、逐鋒的邊境,是莫札特以後琴空變速的霹靂之作。鍵影氤氳的 音浪裡,鋼琴家拉貝克姊妹聯彈,交戰過柏林愛樂、維也納愛樂、倫敦交 響、巴伐利亞廣播、萊比錫布商大廈與美國五大樂團;卡拉揚指揮大賽首 獎得主暨愛沙尼亞國家交響樂團藝術總監阿雷席夫,數次來台風靡島嶼, 他的指揮棒下對「輕」的禮讚,隱含對「重」的敬意。

尼可萊.阿雷席夫

Nikolai Alexeev 「在尼可萊.阿雷席夫的指揮下,交響樂團 營造出溫潤、明亮的樂音。」—《沙加緬 度蜂報》 “ Under conductor Ni kola i A lexee v,

the orchestra affected a lush, burnished sound.”—The Sacramento Bee

2013/4/28 Sun. 19:30 巡演 400 600 800 1000 拉貝克姊妹

Katia & Marielle Labèque 「樂譜上的經緯線很少被如此真實 地呈現,樂曲中的問答對話是如此 地完美與均衡。」—英國《留聲機》 雜誌 “ R arely has the weft and warp

of the score been so realized, its question-and-answer dialogue with such perfect (and natural) evenhandedness.”—Gramaphone

31 New Frontier


國家交響樂團 2012/13 樂季手冊

探索系列

6/7

2013︱

Fri. 19:30

鐵血柔情

Iron & Poetry

指揮 呂紹嘉 Shao-Chia Lü, conductor 鋼琴 鄧泰山 Dang Thai Son, piano 普羅科菲夫: 《灰姑娘》第一號組曲  第三號交響曲 蕭邦:第一號鋼琴協奏曲

SERGEI PROKOFIEV: Cinderella Suite No.1, op.107 Symphony No.3, op.44, C minor FRÉDÉRIC CHOPIN: Piano Concerto No.1, op.11, E minor 國家音樂廳 National Concert Hall

400 600 800 1000 1200 1500

當題材/樂思/表演都十分另類敗德、也非常政治不正確的歌劇《火焰 天使》(The Fiery Angel)被禁演,深怕傑作從此人間蒸發的普羅科菲夫, 萃取其中片段寫成了第三號交響曲。令人不禁暗想,故事裡那個被心魔糾 纏而瘋癲的少女最後被判火刑的吶喊,後來是否僭越了那片鐵血逆流的 交響大海?當維也納熱情歡迎蕭邦的鋼琴曲,那時他也憂鬱單戀著夢中 情人康絲坦斯嘉(Konstancja Gladkowska),生命中唯二的兩首鋼琴協 奏曲於焉誕生,也是他告別家鄉華沙的最後回眸。華麗炫技中,舒曼正以 「他的音樂裡,人們會發現鮮花中藏著槍砲」讚嘆著!鄧泰山,首位奪得 國際蕭邦鋼琴大賽首獎的亞裔鋼琴家,小提琴大師艾薩克.史坦以「天才 音樂家」讚譽他,其名字幾乎等同於鋼琴詩人。鐵血還是柔情,NSO音樂 總監呂紹嘉在探索系列裡,今夜要以「俄」了的心房,深情簇擁琴鍵壓軸的 「波」瀾絢麗。

鄧泰山

Dang Thai Son 「一位天才音樂家。」 —艾薩克.史坦 “A genuine musician" — Isaac Stern

32

探索系列

呂紹嘉

Shao-Chia Lü


National Symphony Orchestra 2012/13 Season

法蘭西系列

Kaleidoscopic France 法國音樂特有的氣韻與美感, 到德布西與拉威爾手中達到登峰造極的境界, 使得世紀交接之際的法國音樂, 釋放著令人無法抗拒的致命吸引力。 —呂紹嘉

牧神與愛神 酒神與海妖 心靈聖詠 絕技沙龍 暮光草原 漫步展覽會 海之詩

The Greek Myth An Evening with Bacchus Song of Soul Salon for Virtuosi Twilight in Scythia Promenade at the Exhibition Poème de la mer


國家交響樂團 2012/13 樂季手冊

「浪漫」的晚霞 「現代」的晨曦 — NSO 的 「世紀末法蘭西系列」 文/陳漢金

法國音樂的發展,在19、20 世紀之交— 也就

是完成於戰後的1870 年代;這兩首協奏曲充分具現

是所謂的「世紀末」,達到了一個巔峰,而被音樂史

出同時期法國一般器樂曲「溫和浪漫」的特徵:古典

家狄福克(N. Dufourcq)稱為「第四個黃金時代」

的形式與小格局;對細緻音色、音質變化的注重;曲

(前三個黃金時代是中世紀、文藝復興以及18 世紀

風相當清澈、明晰、委婉、敏銳、高雅。這些傾向於女

前半)。這個流派紛起,人才輩出的「世紀末」,一方

性化的法蘭西特質,與同時期日耳曼浪漫音樂大起大

面是整個19 世紀浪漫時期的結尾,另方面則是 20 世

落,雄渾壯闊的陽剛氣質,形成了明顯的對比。

紀現代音樂的開端;在其間,傳統與創新彼此激盪, 「浪漫」的晚霞,與「現代」的晨曦交互輝映,將藝術

日耳曼音樂的催化—法朗克與「國協」

的天空照耀得非常絢爛、美麗。NSO新樂季總共7場

普法戰爭的失利不只刺激了拉羅與聖桑斯,事

的「世紀末法蘭西系列」,結合國內外名家的演出,

實上,它影響了日後整個法國音樂的走向。戰敗的

為這個時代的法國音樂提供了一個廣度與深度都相

次一年(1871年),法國的主要音樂家們共同創立

當充分的全景,頗值得我們期待。

一個推展音樂的機構— 國家音樂協會(Société

「溫和的浪漫」:聖桑斯與拉羅

nationale de musique, 以下簡稱「國協」),他們喊出 「振興高盧藝術」(Ars Gallica)的口號,企圖在音

法國藝術的發展,在 1870 年普法戰爭之後,才

樂創作上尋回法蘭西的自尊。「國協」最初幾年的活

逐漸進入所謂的「世紀末」:戰爭的失利,對社會造

動,主要是鼓勵器樂曲與藝術歌曲的創作與演出,這

成重大的衝擊,並激發了知識分子的省思,促成了

兩個領域是日耳曼音樂「霸權」的強項,卻是法國的

藝術創作上的變革。然而在戰前的「第二帝國」時期

弱點。這幾年的努力,主要是由聖桑斯為首,以上述

(1852-1870),法國的藝術卻是相當傳統、保守的。

「溫和浪漫」風格為主流。

在拿破崙三世統治的這個時代,19 世紀初風起雲湧

到了1880 年代前後「國協」逐漸分化成兩派,一

的革命時空早已成為過去,白遼士、李斯特、蕭邦式

派是仍舊以聖桑斯為首,較侷限於發揚法蘭西傳統

的「激情浪漫」也不復可聞,取而代之的是一種太平

精神的「傳統派」;另一派則是以法朗克(C. Franck,

盛世歌舞昇平的、取悅中產階級的藝術,在美術界,

1822-1890)帶頭,主張廣泛學習日耳曼音樂的長處,

「學院風格」(académisme)成為主流,在音樂界,

尤其是華格納與李斯特頗具前瞻性的語法— 華

音樂學者錫雍(M. Chion)稱之為「溫和的浪漫」

格納的音樂尤其在1876 年首屆「拜魯特音樂節」獲

(romantisme modéré)。

得成功之後,聲名大噪,甚至讓法國的許多知識分

「溫和浪漫」的作曲家們熱中於歌劇的創作,而

子、音樂家都深深著迷、廣受影響。這派人士主張,

甚少創作器樂曲—器樂曲沒有歌詞,顯得較抽象,

法國音樂必須同時是「民族的」與「國際的」,必須

一般中產階級較難領受。歐芬巴赫(J. Offenbach)

兼容傳統與現代,在發揚法蘭西的傳統之際,還要

的諧歌劇(opéra bouffe)與古諾(Ch. Gounod)、 托瑪(A. Thomas)、聖桑斯(C. Saint-Saëns)、比 才(G. Bizet)、馬斯奈(J. Massenet)的抒情歌劇 (opéra lyrique)同樣廣受歡迎,然而他們的器樂作 品卻是少之又少,與同時期日耳曼作曲家們以器樂 創作為主的狀況正好相反。 這些「溫和浪漫」作曲家中,較熱衷於管絃樂與 室內樂創作的兩位是拉羅(E. Lalo, 1823-1892)與 聖桑斯(1835-1921)。他們在普法戰前雖已開始嘗 試器樂的創作,但數量甚少,直到戰後,才意識到, 法國在器樂方面遠落後於日耳曼,從此才有系統的 大量創作器樂。例如 NSO 將演出的聖桑斯A 小調第 一號大提琴協奏曲,拉羅的D小調大提琴協奏曲,都 34

法蘭西系列

列維-杜美爾(L. Lévy-Dhurmer):《牧神午後》。


National Symphony Orchestra 2012/13 Season

封丹- 拉圖爾(H. Fantin-Latour):《在鋼琴旁》(1885 年);一群崇拜華格納的人士,恭敬的 聆聽著夏布里耶演奏華格納的樂曲,右邊第二人是作曲家丹弟。

效法華格納「未來音樂」的創新概念。這些人之中,

克的《賽姬》(Psyché, 1887-1888)是一部分成四大

大部分是法朗克的學生,因而被戲稱為「法朗克幫」

段、將近 30 分鐘的大型交響詩,曲中,《崔斯坦與伊

(bande de Franck),他們在1880 年代以後逐漸取

索德》式的激情與《帕西法爾》式的靈性光輝相互消

得優勢,不僅主宰國協,也主導整 個法國樂壇,直

長,此起彼伏。

到 20 世紀初年。法朗克幫之中,較知名的作曲家有

蕭頌的藝術歌《愛與海之詩》(Poème de l’amour

Indy, 迪帕克(H. Duparc, 1848-1933)、丹弟(V. d ´

et de la mer, 1882-1890)的呈現方式相當獨特:它是

1851-1931)、蕭頌(E. Chausson, 1855-1899)、皮耶

為聲樂獨唱、鋼琴與管絃樂而寫的;大起大落的獨

內(G. Pierné, 1863-1937)。夏布里耶(E. Chabrier,

唱令人聯想到華格納的聲樂處理;獨唱帶出來的詩

1841-1894)與佛瑞(G. Fauré, 1845-1924)雖不是

意,被器樂充分加以渲染、擴充,鋼琴與管絃樂激

該幫成員,卻是他們的朋友或「同路人」。年紀較輕

盪出波濤洶湧的、華格納式的激情。蕭頌的《D 大

的德布西(1862-1918)與拉威爾(1875-1937),雖不

調鋼琴、小提琴與絃樂四重奏的協奏曲》(Concert

是法朗克的學生,他們早年的一些創作都深受這位

pour piano, violon et quatuor à cordes, en ré majeur, 1889-

大師的影響。

朗克第一部承受華格納影響的創作。曲中某些具有

1891),在融合德、法音樂精神上,更是處心積慮: 根據蕭頌自己的解釋,「協奏曲」一詞(concert而非 concerto),源自18世紀初庫普蘭(F. Couperin)與 拉摩(J.-P. Rameau)的室內樂處理方式。該曲第二 樂章「西西里舞曲」(Sicilienne)無疑是回到法國古

相當大膽和聲的、顯得相當不穩定的「德式」段落,

代「舞樂組曲」的傳統。

NSO新樂季中,排出了下列多首相關曲目:法朗 克的F小調鋼琴五重奏(1879),雖不像他的鋼琴與 小提琴奏鳴曲那麼著名,卻頗具歷史意義:他是法

(與平靜柔和、晶瑩剔透的「法式」段落形成強烈 的反差。法朗克的鋼琴獨奏曲《前奏,聖詠與賦格》

擺脫華格納的陰影—佛瑞與「獨協」

(1884),同時具有巴赫與孟德爾頌管風琴音樂的影

儘 管「法 朗 克 幫」將法 國 音 樂 帶 離 因 循 與守

子;此曲與法朗克的另一首名作D小調交響曲(1887-

舊,可是在「仇德」情緒 高漲的當時,他們過度日

1888),都採用「循環形式」(forme cyclique)的手

耳曼化、華格納化的表達方式,難免激起批評與責

法,讓一個主要主題在同一首曲子的不同段落,或

難— 音樂界普遍憧憬著某種更純粹的法蘭西音

不同樂章中一再重現、變化;這種手法與李斯特「主

樂;擺脫華格納的陰影應是當務之急。佛瑞原是「國

題變形法」或華格納「主導動機」的應用類似。法朗

協」的成員,眼見著該會過度日耳曼化的傾向,同時

35 Kaleidoscopic France


國家交響樂團 2012/13 樂季手冊

亞斯與梅麗桑德》(1898),是為比利時象徵主義作 家梅特林克(M. Maeterlinck)的劇作譜寫的戲劇音 樂,飄渺、神秘的曲風,將在數年後德布西的同名歌 劇中(1902年),被發揚光大。 「印象派音樂」?— 德布西與拉威爾 在1890 年代前後崛起的德布西,他的作品先是 經常由「國協」演出,後來也在「獨協」演出,他卻不 屬於任何宗派,而能夠博採諸家的長處,發展成獨特 的語法,終在跨入 20 世紀之後,成為影響法國現代 佛瑞與他的學生們;左邊第三人是拉威爾。

音樂最深遠的作曲家。佛瑞的音樂儘管細緻微妙, 他的語法卻總是停留在19 世紀,曲風經常流露出一

也為了更進一步擺脫法國樂壇的因循守舊,於是在

種迎合上流社會品味的「沙龍氣息」,儘管這種氣質

1909年創立「獨立音樂協會」(Société indépendante de musique, 以下簡稱「獨協」)。「獨協」的會員 以佛瑞的學生為主:拉威爾(M. Ravel)、卡普列 (A. Caplet)、柯克瀾(Ch. Koechlin)、史密特(Fl. Schmitt)……。

並不流於俗氣。德布西在旋律、節奏、和聲、音色中 時的藝文界感到無所適從—他的語法雖建築於19

「獨 協」的成 員們 嘗 試 遠 離日耳曼 調 性音 樂

的語法不無受到德布西的影響,然而一等到他充分

(tonality)式的厚重、充滿張力的語法,而以法國古

成長、獨立之後,卻反過頭來影響德布西,兩人甚至

代「調式音樂」(modality)式的靜態、不強調張力,

成為多少具有「瑜亮情結」的朋友與對手。拉威爾繼

所施展的奇幻、多變的「音樂煉金術」,卻一直讓當 世紀的基礎上,卻迎向新的世紀。 拉威爾是佛瑞的學生,比德布西小一輩,他早年

顯的較多彩、較清澈的語法取代之;他們將華格納式

德布西之後研創出來的某些「迷幻」的新穎和聲、音

的誇張風格、大膽的和聲,轉化成饒富法蘭西韻味

響效果,將被德布西沿用;拉威爾較炫技性的、格局

的細緻委婉、富於色調變化的效果。這種「法國風」

較寬廣的鋼琴語法、管絃樂法,尤其激發德布西擺脫

的取向,儘管佛瑞的老師聖桑斯已進行初步的嘗試,

他早年規模較小、過於含蓄委婉的表達方式。拉威爾

卻留下了許多更進一步開發、探究的可能,有待佛瑞

也同時承受恩師佛瑞的影響,在結構與組織上顯現

以及更年輕的德布西與拉威爾去開創出另一片新天

出較明確、較「古典」的傾向,音色較明亮多彩,這些

地。

特點都與德布西較陰鬱、曖昧的「中間色調」(demi事實上,佛瑞早在創立「獨協」之前,已慢慢的

進行著上述的轉化。從 NSO 將演出的他的三部作

teinte)大異其趣。 佛瑞、德布西與拉 威爾 擅場的 19、20 世紀 之

品,可看出這個轉化的歷程:為鋼琴與管絃樂的《敘

交,法國的藝術氣氛已逐漸遠離1850 年到1880 年代

事曲》(Ballade, op.19, 1879-1881)是為「國協」的演

從「寫實主義」到「印象派」一脈相成的表達方式:

出而創作的,而且是題獻給聖桑斯的,該曲普遍洋

那是一種客觀的、分析的、描繪表象的美學。取而

溢著法式魅力的音樂中,某些段落裡卻隱藏著〈林

代之的是一種暗示心境深處細微變化,憧憬著不可

中細語〉(《齊格飛》)的痕跡。再晚幾年完成的巨作

及的幻境與夢境,洋溢著靈性與神祕的「象徵主義」

《安魂曲》(Requiem , 1888-1891),佛瑞「轉化」的

(Symbolisme)。寫實主義與印象派的藝術有如散

更充分了:他避開了傳統安魂曲中固有的死亡的威脅

文般的平鋪直敘,象徵主義的藝術則像詩一般的「言

與恐怖,而強調往生之時的超脫與寧靜,佛瑞的學生

有盡,意無窮」,令人低迴、沉思;印象主義是日常生

伏伊耶莫茲(E. Vuillermoz)因此稱此曲為「往生者

活的、具體的、「白天」的藝術,象徵主義則是脫離日

的搖籃曲」,哲學家楊科勒維契(V. Jankelevitch)則

常生活的、悠遠而抽象的「夜間」藝術,充滿稀罕、神

以「無痛苦死亡」或「安樂死」(euthanasia)這個醫

秘、奇幻的驚訝。

學名詞來形容此曲。比《安魂曲》再遲數年的《佩利

36

法蘭西系列

舉NSO 將演出的德布西、拉威爾的作品為例,


National Symphony Orchestra 2012/13 Season

它們都體現出上述種種「象徵」的特質,欣賞這每

曲》類似,舞劇音樂《達夫尼與克蘿伊》(Daphnis et

一首音樂時,我們好像進入時光隧道,逃脫了現實

Chloé, 1907-1909)也憧憬著悠遠的古希臘,渲染出

世界,到悠遠、子虛烏有的時空中去經歷幻境與夢

古代一部田園劇(pastorale)如夢似幻的意境。畫家

境— 宛如「世紀 末」的「頹廢」人士吸食鴉片或

夏卡爾(M. Chagall)也曾為這部田園劇的現代再版

大麻之後產生的幻覺一般。德布西的成名作《牧神

繪製一系列的版畫插圖(1956 年),這些版畫與拉威

午後》前奏曲(1894)是古希臘神話中的幻象;交

爾的舞劇音樂前後輝映,異曲同工,同樣以敏銳的色

響樂三連作《夜曲》串連了三個大異其趣的「印象」

彩、節奏變化,流暢的線條或旋律,生動的韻律,經

(images),而非「實像」(pictures):〈雲〉、〈節

營出一幅幅引人遐思的幻景。

慶〉與〈海妖〉。〈伊貝利亞〉是三個管絃樂《意象》

「世紀末」的時空被第一次世界大戰終結之後,

(Images)的中間樂章,那是德布西做白日夢式的西

德布西已在1918 年過世,拉威爾則繼續活躍於兩次

班牙「神遊」—德布西並未到過西班牙。三首交響

世界大戰之間的樂壇。在這個被法國人稱為「狂熱

樂素描《海》(1904-1905),正如歌劇《佩利亞斯與

年代」(Années folles)的1920 年代,藝術創作反映

梅麗桑德》中,古堡外遠接天邊的大海一般,充滿著

出一種放鬆的、時髦的、享樂主義式的時代精神,簡

神祕與未知,暗示著情慾的起伏。

潔明晰、亮麗迷人的「新古典主義」成了主流。新古

拉威爾為獨唱與管絃樂的歌曲集《天方夜譚》

典主義的法國音樂仍然延續戰前德布西、拉威爾開

(Shéhérazade, 1903),憧憬著遙遠的東方;《小丑的

發出來的種種新穎的效果,卻將戰前「美好年代」音

晨歌》(Alborada del Gracioso, 1904-1905)與德布西的

樂的繁複簡易化、通俗化了。NSO 將演出的下列三

〈伊貝利亞〉類似,是個西班牙意象;室內樂《序奏

首樂曲,具現出這些特質:拉威爾的《庫普蘭之墓》

與快板》(1905)與上述蕭頌的D大調協奏曲類似,

(1917-1920);盧賽爾(A. Roussel)的《酒神與亞麗

回溯到法國音樂的另一個黃金時代去尋找靈感—

安娜》(1930-1931);浦朗克(F. Poulenc)的雙鋼琴

庫普蘭與拉摩活躍的18 世紀初。與《牧神午後前奏

協奏曲(1932)。

*陳漢金,巴黎第四大學音樂學博士,臺灣師範大 學副教授

夏卡爾(M. Chagall):〈夏日中午〉;夏卡爾為田園劇《達夫尼與克蘿 伊》1956 年再版繪製的一系列插畫之一。

37 Kaleidoscopic France


國家交響樂團 2012/13 樂季手冊

The Developments in French Orchestral Music after 1870 by Lesley A. Wright

Titian: Bacchus et Ariane (1522-23)

Though France has long favored opera and ballet over instrumental genres, in the later nineteenth century an increasing number of French composers turned to writing orchestral music, whether absolute music like symphonies and concertos or (more often) mildly to strongly programmatic works. Through the influence of Wagner and Liszt, cyclical themes and a strong chromaticism also entered their musical vocabulary, and much of this orchestral repertory is dramatic, evocative, and/or colorfully scored. The founding of multiple concert societies had much to do with the explosion in orchestral repertory, because composers eagerly seized upon these new performance opportunities. Of course, French interest in ballet and opera did not disappear either, so orchestral works that transcribed or repackaged material originally conceived for these text and theater-based narratives also became part of concert repertory. In 1877 Édouard Lalo wrote his only cello concerto in collaboration with his soloist, the cellist Adolphe Fischer, and was rewarded with a successful 38

法蘭西系列

premiere at the Concerts Pasdeloup. Though his career had been slow to gain momentum, the support of Jules Pasdeloup and the other conductors of that time, Charles Lamoureux and Édouard Colonne, not to mention access to the Société nationale de musique (founded in 1871) made his name and others familiar to the public. The Concerts Pasdeloup (1861-1884, restarted in 1919), Orchestre Lamoureux (founded in 1881), and Concerts Colonne (founded in 1873/74) still offer performances in Paris. In 1934 Pierre Monteux conducted the premiere of the second suite that Albert Roussel extracted from his sumptuous score of the successful ballet Bacchus et Ariane (premiered at the Paris Opera, 1931) for a performance at the concert series of the Orchestre symphonique de Paris. This short-lived group had been created by wealthy sponsors in 1928 to present little known repertory and new works (much like the nineteenth-century orchestras that supported Lalo’s early career). The two works by Lalo and Roussel are the


National Symphony Orchestra 2012/13 Season

outliers in this concert series that focuses on repertory created during the great spurt of orchestral activity that emerged in Paris after 1870. The repertory also focuses on the principal musical styles that coexisted and competed with one another in the period 1890-1920: French Romanticism (showing more or less inf luence of the New German School) and Impressionism. The outlets for composers of serious orchestral works had not always been so numerous in Paris as they were after 1870, for in the first half of the nineteenth century only one series was active: the Société des concerts du Conservatoire (founded in 1828)—in the 1960s it would become the Orchestre de Paris. Kern Holoman has explained the small number of premieres that took place there because of the society’s view that “the very arrival of a work in the hall of the Conservatoire was tantamount to its canonization.” But in its most significant world premiere, this society in 1889 offered a recently completed piece by the beloved Conser vatoire professor, César Franck— his Symphony in D minor. One of the few Romantic French symphonies after Berlioz to enter the international canon of symphonic music, this three movement work expresses Franck’s reverence for Beethoven and his belief in Lisztian cyclic principles, and also uses Franck’s distinctive musical language of “serene anxiety.”

Claude Debussy

39 Kaleidoscopic France

Of t he groups founded a f ter t he Fra ncoPrussian War, the most significant for young French composers of serious music was the Société Nationale de musique. Its nationalist motto “Ars Gallica” fits with its specific goal of providing the opportunity for performances of works by young French composers. Here, in 1881, Fauré was the soloist for the premiere of his lyrical Ballade, op. 19, for piano and orchestra. Broadening its purview to include works by foreign composers and deceased native sons, the society also gave its first public concerts in the late 1880s, but it retained its commitment to new French works by living composers. In 1888 they presented Franck’s Psyché, his last symphonic poem (for chorus and orchestra), which has been described by some as a love-symphony. Its evocative score features rich, dark sound. The Society later welcomed the Impressionists, too. Debussy, too, wrote a symphonic poem. But his Prélude à l’après-midi d’un faune is tied in mood and structure to Mallamé’s symbolist poem of the same name and the 1894 performance of this landmark composition is said to have begun a new era in music. In 1904 the young Ravel also turned to the Société for the première of his Schéherezade, a song cycle for soprano and orchestra to poetry by Tristan Klingsor; despite the latter’s Wagnerian nom de plume, Ravel’s score, tinged with exoticism, looked to the future in its harmony and orchestration.

Camille Saint-Saëns


國家交響樂團 2012/13 樂季手冊

Ravel also turned to the Association Artistique des Concerts du Châtelet (called the Concerts Colonne), a group that had been founded with the intent of featuring young French composers. Indeed Colonne’s f irst program for the A ssociation in 1874 included Saint-Saëns and Massenet as well as Mendelssohn and Cherubini. Colonne also supported the Russian school, Richard Strauss and Grieg and, as early as 1895, introduced Debussy’s Prélude à l’aprèsmidi d’un faune to the greater public. It was Colonne’s successor, Gabriel Pierné, who in 1911 first conducted Ravel’s Daphnis et Chloé Suite No. 2. Drawing from his largest work and one of most important ballet scores of the twentieth century, Ravel chose excerpts that deal with celebration, including the magical “Lever du jour” and the “Danse générale,” which challenged Sergei Diaghilev’s ballet dancers with its 5/4 meter. The Société des Nouveaux Concerts featured

Katsushika Hokusai (1760–1849) : The Great Wave off Kanagawa The woodblock print inspired Debussy's symphonic sketches La Mer.

40

法蘭西系列

Debussy in the premieres of several orchestral works. During the late nineteenth century, Lamoureux had championed Wagner and other Wagnerians, both French and German. His son-in-law, Camille Chevillard, continued this bent, but also supported his French compatriots, like Debussy, for the first complete performance of the Nocturnes in 1901—three symphonic poems inspired by the canvases of American painter, James Whistler— and the masterful score of La mer (premiere 1905). The latter was programmatic as well, but found its inspiration in nature alone, its “dialogue” one of wind and waves. Neit her Debu s s y nor R avel e ver w rote a symphony. In fact, relatively few works in this concert series are “absolute” music. Certainly SaintSaëns’ accomplished Cello Concerto No. 2 (1902) fits this category, as does Chausson’s Concerto in D (1892). So, too, does Ravel’s lovely Introduction et


National Symphony Orchestra 2012/13 Season

allegro (1905); originally commissioned by Érard, a firm that manufactured the pedal harp, it features the interplay and instrumental colors of harp, flute, clarinet and strings. But though Ravel’s Tombeau de Couperin has neutral titles like Prélude or Forlane, it is programmatic, each piece dedicated to one of Ravel’s friends who died in World War I. This brilliant orchestration/ recomposition (1920) of selections from the piano suite of 1914-17 also pays homage to the great French Baroque master, François Couperin. In his Alborada del grazioso (Morning Song of the Jester), Ravel orchestrates yet another piano piece (from Miroirs, 1904-05, orch. 1918) and creates an image of Spain, a place he visited numerous times, starting in 1911. Debussy, however, never visited Spain, but with Ibéria (premiere 1910) vividly painted its streets and festivals. Fauré’s suite from Pelléas et Melisande, op. 80 is programmatic in a more overt way, for it is drawn from the incidental music (1898) of elegance and refinement for the play by Maurice Maeterlinck. (Debussy actually turned down this commission.) Though more strongly associated with song and chamber music, Fauré created his symphonic masterpiece here. He reorchestrated selections from the incidental music for the suite’s premiere at the Concerts Lamoureux in 1901. Composed after the death of both his parents, Fauré’s Requiem is one score in this concert series whose origin owes nothing to the existence of the Parisian orchestral societies. This monument of the choral repertory, and one of the most original requiems of t he nineteent h centur y, wa s f irst performed in 1888 at the Madeleine church in Paris. The score, originally for organ and chamber orchestra, is characterized by a melodic simplicity and suppleness that ref lect Fauré’s familiarity with plainchant. It teems with the unique and subtle harmonies that add distinctive color to Fauré’s music. The composer reworked the score several times and seems to have also authorized a full orchestra version that had its premiere during the Paris Exposition of 1900. Among these selections of absolute, programmatic 41 Kaleidoscopic France

A scene from the 1902 premiere of Debussy’s opera Pelléas et Mélisande.

and choral music are works that form part of every orchestra’s repertory as well as others that are not as frequently performed as their intrinsic merit would justify. Still, if a French composer is principally concerned with intelligence and the senses (as Martin Cooper has suggested), the music heard in these concerts should satisfy the listener through mind, ear and imagination; at times, it may even reach a sublime and soul-nourishing beauty, “something which the French consider a by-product” (again Cooper). Experiencing their variety and loveliness, however, make it easy to feel gratitude not only to the orchestral societies that served as midwives for this repertory’s birth but also to the performers who bring it to life again today. *Lesley A. Wright, Professor of Musicology at the University of Hawai’i at Mānoa


國家交響樂團 2012/13 樂季手冊

法蘭西系列

9/29

2012︱

Sat. 19:30

牧神與愛神

The Greek Myth

指揮 呂紹嘉 Shao-Chia Lü, conductor 小號 瑟吉.納卡里亞可夫 Sergei Nakariakov, trumpet 德布西:《牧神午後前奏曲》 柴科夫斯基:《洛可可主題變奏曲》(改編給小號) 法朗克:《賽姬》 拉威爾:《達夫尼與克蘿伊》第二號組曲

©Thierry Cohen

CLAUDE DEBUSSY: Prélude à l’après-midi d’un faune PYOTR ILYICH TCHAIKOVSKY: Variations on a Rococo Theme, op.33 (arr. for trumpet) CÉSAR FRANCK: Psyché MAURICE RAVEL: Daphnis et Chloé Suite No.2 國家音樂廳 National Concert Hall

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19世紀末,法國籠罩在一片「印象」中,德布西感受時代的氛圍,呼應馬拉

美詩作,譜寫革命性的《牧神午後前奏曲》,以獨特音樂語彙,在慵懶虛 幻的田園牧歌中,開創古典音樂的全新時代,也為NSO「法蘭西系列」舒 展出第一道音色。同樣和牧神有關,管絃聖手拉威爾,1909年受俄國芭蕾 舞團委託,創作《達夫尼與克蘿伊》舞劇,描述一對苦命戀人、在牧神幫助 下終成眷屬。1912年由當時芭蕾舞界超級巨星尼金斯基首演,斯特拉溫 斯基盛讚為法國最美的音樂。其後作曲家自舞劇選出兩首組曲,第二組曲 如同《波麗露》,是音樂會常客。牧神與愛神丘比特,都是男女情感的促 成者,但在希臘神話中,丘比特也曾陷入情網,愛上絕世美女賽姬,卻遭 受母親維納斯阻撓。這段曲折苦戀,被法朗克靈感的箭射中,譜寫成《賽 姬》,在平緩纏綿中,吹奏人間的至情至性。

瑟吉.納卡里亞可夫

Sergei Nakariakov 「近幾年很難找到如瑟吉.納卡里亞可夫 如此出色、有表現性與風格鮮明的演奏家。 [...] 不僅是技巧,在風格上他亦能透過其 出神入化的演奏能力將作品淋漓盡致的完 美展現。」—《紐倫堡日報》 “ Selten in den letzten Jahren hat man

einen Musiker erlebt, der so virtuos, so ausdruckstark und stilsicher spielen kann wie Sergei Nakariakov. [...] Nicht nur technisch, er stellt seine fulminante Virtuosität auch in den Dienst einer stilistisch perfekten Anverwandlung."

—Nürnberger Nachrichten

法蘭西系列

10/27

2012︱

Sat. 19:30

酒神與海妖

An Evening with Bacchus

指揮 費比恩.蓋柏 Fabien Gabel, conductor 大提琴 葛替耶爾.卡普頌 Gautier Capuçon, cello 國立實驗合唱團 Taiwan National Choir 拉威爾:《庫普蘭之墓》 聖桑斯:第一號大提琴協奏曲 德布西:交響組曲《夜曲》 盧賽爾:《酒神與亞麗安娜》第二號組曲

©Julien Mignot

MAURICE RAVEL: Le Tombeau de Couperin CAMILLE SAINT-SAËNS: Cello Concerto No.1 CLAUDE DEBUSSY: Nocturnes ALBERT ROUSSEL : Bacchus et Ariane Suite No.2, op.43 國家音樂廳 National Concert Hall

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庫普蘭約與巴赫同時代,是鍵盤演奏名家,更是法國音樂先趨,影響後代 深遠。拉威爾譜寫鋼琴曲《庫普蘭之墓》向前輩致意,每首又分別獻給第 一次世界大戰為國捐軀的友人。濃濃思古幽情中,閃現新穎的現代和聲, 樂思更隱含深意。後來作曲家抽選四曲編成管絃樂,一樣是音樂會經典之 作。聖桑斯第一號大提琴協奏曲,力道飽滿,全曲各段相連、一氣呵成近 二十分鐘,在法國大提琴巨星葛替耶爾.卡普頌的執弓下,勢將撼人心絃。 受到畫家惠斯勒作品啟發,德布西《夜曲》以管絃樂素描時、物與自然,從 〈雲〉、〈節日〉,以至第三樂章〈海妖〉,無歌詞的女聲合唱,神秘、充滿 誘惑,聽覺猶如捲入耳堝的神祕漩渦中。酒與海看似危險,都使人心醉神 迷,盧賽爾芭蕾舞劇《酒神與亞麗安娜》取材希臘神話,第二號組曲漸次 醞釀,終至結尾的酒神祭,樂音陷入集體狂歡,相當酣暢淋漓。

42

法蘭西系列

葛替耶爾.卡普頌

Gautier Capuçon 「這位才華洋溢的大提琴家連音階練習的 音色都能讓聽眾著迷:溫柔且明亮、扎實 又深沉、燦爛且強壯有力。」—《舊金山 信使報》 “ This greatly gifted cellist has the kind

of tone that could make a listener swoon if he were only playing scales — a tone tender and bright, firm and deep, lustrous a nd sinew y.. " —Mercur y News San Francisco


National Symphony Orchestra 2012/13 Season

法蘭西系列

12/8

2012︱

Sat. 19:30

心靈聖詠

Song of Soul

指揮 呂紹嘉 Shao-Chia Lü, conductor 女高音 林慈音、林孟君 Grace Lin / Meng-Chun Lin, soprano 低男中音 蔡文浩 Wen-Hao Tsai, bass-baritone 台北愛樂合唱團 Taipei Philharmonic Chorus 洪崇焜:《聲音》 法朗克:D小調交響曲 佛瑞:《安魂曲》(室內樂版本)

CHUNG-KUN HONG: VOX CÉSAR FRANCK: Symphony, D minor GABRIEL FAURÉ: Requiem, op.48 (chamber version) 國家音樂廳 National Concert Hall

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一位大器晚成,在人生黃昏才成名的作曲家,其創作會是多麼誠懇動人? 這就是法朗克。畢生安於工作與生活,篤信宗教,對作品要求完美,直到 60 多歲才發表扛鼎巨作D小調交響曲。此曲以「循環形式」譜成,由三個 動機支配全局,在樂思流動變化中,道出人生的孤獨與幽暗,展望未來生 活之美好。1889年首演,觀眾呵欠連連;隔年再演竟大受歡迎,「人們終於 了解我了!」法朗克如是說。無奈命運捉弄,一個月後他遭馬車撞傷過世, 肯定還是來得太晚太遲。《安魂曲》可說是佛瑞音樂藝術的極致:父親過 世後動筆、母親於譜寫期間往生,最後,卻是在自己的喪禮中被演出,如 同電影《送行者》扭轉世人對殯葬的看法,此曲散發出法國音樂特有的優 美抒情,簡練、寧靜,沒有恐懼只有安慰,在聖潔詠唱中,讓死亡不再是末 日審判,而是心靈的解放與安息。

法蘭西系列

2/28

2013︱

Thu. 19:30

林慈音

Grace Lin 以特優演唱文憑畢業於英國皇家音樂院。 曾獲 2001年世華聲樂大賽新秀獎及 2006 年曼谷國際聲樂大賽季軍。

Gained BMus degree and Performance Diploma w it h Dist inct ion at Roya l Academy of Music in London. Winner of the Young Singer Prize of Taipei Mondial Chinese Vocalist Concours in 2001 and the 3rd Prize of the Bangkok International Vocal Competition in 2006.

絕技沙龍

Salon for Virtuosi

鋼琴 白建宇 Kun-Woo Paik, piano NSO 獨奏家群 NSO Musicians 法朗克:《前奏曲、聖詠與賦格》 佛瑞:《敘事曲》,為鋼琴與管絃樂團 蕭頌:D大調協奏曲,為小提琴、鋼琴、絃樂四重奏

CÉSAR FRANCK: Prélude, Choral et Fugue GABRIEL FAURÉ: Ballade for Piano and Orchestra, op.19 ERNEST CHAUSSON: Concert for Violin, Piano, String quartet in D major 國家音樂廳 National Concert Hall

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《前奏曲、聖詠與賦格》,是最能體現法朗克個人獨創性的鋼琴曲。運用 半音化和聲、循環形式、後起拍節奏、簡短的主題動機等技巧,此曲既有 虔誠禱告,又有複雜超技,在平和中流瀉純淨樂音,更有七彩斑斕的夢幻 色彩。佛瑞《敘事曲》追隨蕭邦的步伐,但樂思更幽微曖昧,和聲錯綜迷 離。白建宇2002年曾發行獲獎無數的佛瑞鋼琴獨奏專輯中,《敘事曲》正 是壓軸,此次將帶來室內樂版本,更加令人期待。蕭頌的D大調協奏曲,流 暢中帶著惆悵、淡淡憂鬱中抒發激情,更要求艱深演奏技巧與良好合奏默 契,小提琴、鋼琴、絃樂四重奏絕妙搭配,構築此絕妙超倫的音樂沙龍。

43 Kaleidoscopic France

白建宇

Kun-Woo Paik 「實至名歸的超技大師!他是猛獸與完美 的化身」—法國《費加洛報》 “ True, authentic virtuoso! The beast

of t he pi a no a s we l l a s t he p er fe c t musician.“—Le Figaro


國家交響樂團 2012/13 樂季手冊

法蘭西系列

3/17

2013︱

Sun. 19:30

暮光草原

Twilight in Scythia

指揮 呂紹嘉 Shao-Chia Lü, conductor 鋼琴 尚-艾弗藍.巴佛傑 Jean-Efflam Bavouzet, piano 德布西:〈伊貝利亞〉,選自《意象》管絃樂曲 巴爾托克:第三號鋼琴協奏曲 法雅:《西班牙花園之夜》 普羅科菲夫:《塞西亞組曲》

CLAUDE DEBUSSY: Images: Ibéria BÉLA BARTÓK: Piano Concerto No.3 MANUEL DE FALLA : Nights in the Gardens of Spain SERGEI PROKOFIEV: Scythian Suite, op.20 國家音樂廳 National Concert Hall

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德布西總是宅在故鄉法國,宅到從未踏進西班牙國土一步,卻以《意象》 管絃樂曲的第二樂章〈伊貝利亞〉,讓聆聽者神遊於西班牙的大街小巷, 從芳香的夜晚到節日的清晨—僅依憑天才直覺,就精巧地捕捉到異域 的風土與氣味。而來自西班牙的法雅,則寫出富印象色彩的《西班牙花園 之夜》,融入西班牙的農民音樂,營造詩般的朦朧氣氛,描繪神秘的阿爾 漢布拉宮,還有激情狂野的舞蹈,鋼琴與管絃樂合奏此曲,是高難度的挑 戰。開場氣勢不凡的《塞西亞組曲》,樂風粗獷草莽,是普羅科菲夫筆下驍 勇善戰的中亞遊牧民族,在騷亂狂躁的暮光中崇拜異教邪神,往一望無際 的草原奔馳而去。NSO本樂季兩大「主角」:探索系列的普羅科菲夫,法 蘭西系列的德布西,同場演出,交映出耀眼光輝。 2013/3/16 Sat. 19:30 巡演 400 600 800 1000

呂紹嘉

Shao-Chia Lü 「一場名符其實堪稱最佳品質的表演。這 都要歸功於呂紹嘉指揮與樂團精湛的演 出。表演從頭到尾充滿了柔情似水的音符、 晶瑩剔透的樂章。這是一場讓人嘆為觀止, 擁有絕對音準的聲音饗宴。」—《南瑞典 日報》 “ Föreställningens gedigna kvaliteter är

helt entydiga. Till detta bidrar först som sist Shao-Chia Lüs och orkesterns precisa och genomskinliga spel, fyllt av känslig ömhet och diskret klangparfym." —Sydsvenska Dagbladet

尚-艾弗藍.巴佛傑

Jean-Efflam Bavouzet 「清晰的觸鍵、迅速的思緒以及對聲音的敏感性讓他成為 最貼切的詮釋者……我們能夠從這個傑出的音樂家聽到我 們所期待的技巧與活力。」—英國《Classic FM》雜誌 “ His clarity of touch, quickness of wit and sensitivity

©Paul Mitchell

to different sound worlds make him an empathetic ve come to interpreter... Just the finesse and vibrancy we´ expect from this superb artist."— Classic FM Magazine

44

法蘭西系列


National Symphony Orchestra 2012/13 Season

法蘭西系列

4/13

2013︱

Sat. 19:30

漫步展覽會

Promenade at the Exhibition

指揮 關琦安 Carolyn Kuan, conductor 大提琴 修兒.嘉碧妲 Sol Gabetta, cello 佛瑞:《佩利亞斯與梅麗桑德》組曲 拉羅:D小調大提琴協奏曲 拉威爾:《小丑的晨歌》 穆梭斯基:《展覽會之畫》(拉威爾改編)

©Marco Borggreve

GABRIEL FAURÉ: Pelléas et Mélisande Suite, op.80 ÉDOUARD LALO: Cello Concerto, D minor MAURICE RAVEL: Alborada del gracioso MODEST MUSSORGSKY: Pictures at an Exhibition (orchestrated by M. Ravel ) 國家音樂廳 National Concert Hall

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1893 年,梅特林克(Maeterlinck)推出戲劇《佩利亞斯與梅麗桑德》,故

事與筆法震撼同儕,成為許多作曲家的繆思:德布西譜成同名歌劇,荀貝 格恢宏成交響詩,佛瑞則氣定神閒,以戲劇配樂方式呈現,如佈景緩緩流 動。組曲加入他著名的「西西里舞曲」,更是膾炙人口。拉羅在D小調大提 琴協奏曲中,取材故鄉西班牙的音樂元素,以法國式的優雅細緻呈現。法 俄混血、來自阿根廷的修兒.嘉碧妲,是當今備受矚目的新銳大提琴家,將 演奏這首結構嚴密、緊迫感十足的協奏曲。《小丑的晨歌》本出自鋼琴曲 集《鏡子》,拉威爾特別改編為管絃樂曲,此曲時而滑稽逗趣、時而放肆胡 鬧,描寫心上人不愛我的可憐樣貌,耍弄音符而喜感十足。《展覽會之畫》 大眾耳熟能詳,穆梭斯基原作是鋼琴曲,將之改編為管絃樂者甚多,都不 如拉威爾的大師手筆,讓名曲煥發新色彩,聆聽音樂如漫步畫廊,盡覽萬 象奇觀。

法蘭西系列

6/14

2013︱

Fri. 19:30

修兒.嘉碧妲

Sol Gabetta 「這位傑出的大提琴家以她的完美的音準、 溫暖美妙的音色以及如詩般的表達方式令 人深深著迷。」—《新蘇黎士報》 “ The phenomenal violoncellist enchants

with immaculate intonation, a wonderful warm sound and poetic expression."—

Neue Zürcher Zeitung

海之詩

Poème de la mer

指揮 呂紹嘉 Shao-Chia Lü, conductor 女高音 絲黛拉.杜費克斯 Stella Doufexis, soprano 布瑞頓:四首〈海之間奏曲〉,選自《彼得.格林》 蕭頌:《愛與海之詩》 拉威爾:《天方夜譚》 德布西:《海》

©Milena Schlösser

BENJAMIN BRITTEN:Peter Grimes: 4 Sea Interludes, op.33a ERNEST CHAUSSON: Poème de l’amour et de la mer, op.19 MAURICE RAVEL: Shéhérazade CLAUDE DEBUSSY: La mer 國家音樂廳 National Concert Hall

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歌劇《彼得.格林》,描寫一位被村民排擠的漁夫之悲劇故事,那種不被 時代了解的孤絕,有如同性戀者布瑞頓的心情寫照,四首〈海之間奏曲〉 為歌劇過幕樂段,筆法高超,是 20世紀經典。蕭頌《愛與海之詩》取材自 頹廢派作家布修(Maurice Bouchor)詩歌,〈水之花〉與〈愛之死〉以管 絃樂團伴奏人聲,夾著純器樂的「間奏曲」,緩慢與哀傷是主調,蕭頌以 樂音將文字意境提升得更為悠遠。拉威爾相當沈迷《天方夜譚》,曾寫過 《天方夜譚》序曲,以全音階表現東方風格,之後以好友的三首詩作為本 譜寫新曲,即本場由人聲與管絃樂聯袂演出、那遙遠東方一千零一夜的故 事。德布西曾說,交響素描《海》是無數美好回憶沈澱而成的海,不是現 實的寫真,而是靈性與精神性的海,如此詩意、具象徵性的樂曲,可說是 法國古典音樂的高峰,為NSO的法蘭西系列,拉出開闊浩渺的最後高潮。 2013/6/15 Sat. 19:30 巡演 400 600 800 1000

45 Kaleidoscopic France

絲黛拉.杜費克斯

Stella Doufexis 「杜費克斯完美地詮釋了美狄亞這個角色。 在聲音、肢體以及戲劇上我們見證了一個 真正的女王;一個寂寞的人物形象,一位 愛人與朋友―所有的扮演都達到了完美境 界。」—奧地利《新觀點》雜誌 “ Doufexis is perfect for the leading role

of Medea. In terms of voice, stature and drama we witness a true queen; a lonely figure, a lover and a friend – all performed to the same degree of perfection."—Der Neue Merker


National Symphony Orchestra 2012/13 Season

名家系列

Masters & NSO 這是個名家薈萃,以德奧經典音樂為主體的系列, 獨奏家中,年輕一輩鋼琴翹楚史岱費爾德、小提琴巨星賀普、 單簧管女王梅耶是引人矚目的焦點; 簡文彬與陳必先的李斯特之夜也是令人期待的黃金陣容。 —呂紹嘉

樂起地平線—布魯克納第六 英雄與皇帝 純淨美聲—莎賓.梅耶與NSO 蒼穹天河—布魯克納第五 別來無恙,老柴!—賀普與NSO 威瑪1857—李斯特的浮士德

Arise from the Horizon Emperor & Hero Sabine Meyer & NSO The Magnificence—Bruckner No.5 Daniel Hope & NSO Faust by Liszt—Weimar 1857


國家交響樂團 2012/13 樂季手冊

名家系列

12/16

2012︱

Sun. 19:30

樂起地平線—布魯克納第六

Arise from the Horizon

指揮 呂紹嘉 Shao-Chia Lü, conductor 莫札特:第三十五號交響曲《哈夫納》 佑斯特:《地平線》(亞洲首演) 布魯克納:第六號交響曲

WOLFGANG AMADEUS MOZART: Symphony No.35, K.385, D major, Haffner CHRISTIAN JOST: Horizon (Asia premiere) ANTON BRUCKNER: Symphony No.6, A major 國家音樂廳 National Concert Hall

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接在精采非常的第五號之後,作曲家認為,他的第六號才是自己最大膽的 創作。曲中筆法果然頗見新奇,樂評更曾稱為「哲學」交響曲。第六號交響 曲的音樂色彩從黑暗昇華到明亮,音樂情緒錯綜呼應,最終樂章則堪稱19 世紀最謎樣的交響曲結尾。呂紹嘉總監曾言「布魯克納的交響曲像是觀看 宏偉教堂,時而仰角,亦可俯瞰;教堂雖是同一座,每首交響曲卻只選擇 一個角度,精神固然一致,每曲各有千秋。」第六號,正有布魯克納最特別 的觀看角度!除了經典探索,目前在歐陸最受歡迎作曲家之一的佑斯特, 接受NSO 與荷蘭愛樂共同委託創作的《地平線》,將同步做二地世界首 演,呈現他追求結構、形式、音調變化的創作理念,這場音樂會是 NSO大 步邁向國際樂壇的指標,邀請您一同現場見證!

名家系列

1/13

2013︱

Sun. 19:30

克里斯蒂安.佑斯特

Christian Jost 「克里斯蒂安.佑斯特音樂的厚實織度與 富含暗示性的音樂色彩令人著迷,其作品 給人的感受不時讓人想起浦契尼。」—德 國《焦點週刊》 “ Christian Josts Partitur besticht durch

dicht gewebte, suggestiv insistierende Klänge, deren Sinnlichkeit gelegentlich an Puccini erinnert."—FOCUS

英雄與皇帝

Emperor & Hero

指揮 約翰.艾瑟羅德 John Axelrod, conductor 鋼琴 馬丁.史岱費爾德 Martin Stadtfeld, piano 貝多芬: 第五號鋼琴協奏曲《皇帝》 第三號交響曲《英雄》

LUDWIG VAN BEETHOVEN: Piano Concerto No.5, op.73, E-flat major, Emperor Symphony No.3, op.55, E-flat major, Eroica 國家音樂廳 National Concert Hall

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貝多芬的音樂創作,第三號交響曲《英雄》被認為是其創作生涯古典與浪 漫時期的分水嶺:運用的音樂元素前所未有,開創性與原創性跳脫了過去 莫札特所傳承下來的古典基礎,不為貴族,也不為大眾,是貝多芬為自己而 寫的音樂,獻給「永恆」和「人類」;篇幅長達45分鐘以上,是當時破紀錄 的恢宏作品,也是貝多芬最深刻、最豐富,最家喻戶曉的經典之一。同為降 E大調的貝多芬第五號鋼琴協奏曲《皇帝》,雖然標題為後人所加,但其 中的進行曲、軍隊及戰爭元素,都讓人直接聯想作曲家於1809年創作此曲 時,拿破崙進軍奧地利的背景。大氣壯麗,又有內心私語,第一樂章不設 裝飾奏,第二、三樂章連貫演奏的寫法,更另開新局,深刻影響後輩作曲 家。兩首革命性的時代領航之作,當《英雄》遇上《皇帝》,你可千萬別錯 過!

48

名家系列

馬丁.史岱費爾德

Martin Stadtfeld 「令人無法置信的天賦!當馬丁.史岱費爾 德 在 鋼 琴 前 時,是 無 法 不 讓 人 感 動 的。」—德國《Bild + Funk》雜誌 “ Was für ein unglaubliches Talent! Wenn

Martin Stadtfeld am Flügel sitzt, bleibt niemand ungerührt."—Bild + Funk


National Symphony Orchestra 2012/13 Season

名家系列

3/24

2013︱

Sun. 19:30

純淨美聲—莎賓.梅耶與NSO

Sabine Meyer & NSO

TIFA 2013 台灣國際藝術節

指揮 呂紹嘉 Shao-Chia Lü, conductor 單簧管 莎賓.梅耶 Sabine Meyer, clarinet 理查.史特勞斯:《狄爾愉快的惡作劇》 莫札特:A 大調單簧管協奏曲 布拉姆斯:第四號交響曲

RICHARD STRAUSS: Till Eulenspiegels lustige Streiche, op.28 WOLFGANG AMADEUS MOZART: Clarinet Concerto, K.622, A major JOHANNES BRAHMS: Symphony No.4, op.98, E minor 國家音樂廳 National Concert Hall

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莎賓.梅耶

Sabine Meyer 「簡而言之,她就是一個音樂和技巧的完 美典範。」—《紐約太陽報》 “ She is simply a musical and technical paragon."—The New York Sun

49 Masters & NSO

呂紹嘉

Shao-Chia Lü 「呂紹嘉在指揮時展現了音線變化上極佳 的能力,讓人在靜謐的呼吸中感受到柔和 盪漾的色彩流動。」—《萊茵聶可日報》 “ Shao-Chia Lü showed a good sense to

let pleasantly curved, smoothly flowing colours breathe serenely."

—Rhein-Nechar-Zeitung

© Thomas Rabsch & EMI Classics

莫札特的單簧管協奏曲,曲調低緩繚繞感情豐沛,是他完成的最後一首純 器樂作品。此曲原為好友史塔德勒(Anton Stadler)自製樂器巴塞單簧管 (basset clarinet)所作,莫札特說「沒有任何一種樂器還能比你所演奏的 巴塞單簧管更像是人聲……這麼溫柔的聲音,沒有人的心不會不被它觸 動」。今日通行的單簧管版本,其實是樂譜商修改莫札特原作而成,同樣扣 人心絃。布拉姆斯第四號交響曲也有作曲家的黃昏景色,旋律蕩氣迴腸又 有嚴謹古典架構,大開大闔中又兼具民俗風情和私密獨語,是千錘百鍊下 的曠世巨作。有「單簧管世界首席」之譽的莎賓.梅耶繼 2010 年與BBC 交 響樂團來台後,再度來台與 NSO首次合作,將以重製古樂器再現巴塞管 傳奇美聲。


國家交響樂團 2012/13 樂季手冊

名家系列

5/10

2013︱

Fri. 19:30

蒼穹天河—布魯克納第五 The Magnificence—Bruckner No.5

指揮 根特.赫比希 Günther Herbig, conductor 布魯克納:第五號交響曲

ANTON BRUCKNER: Symphony No.5, B-flat major 國家音樂廳 National Concert Hall

有人冠以「悲劇」,有人稱之為「教會信念」,但真正無與倫比的,則是 布魯克納第五號終樂章的雙賦格壯麗收尾,氣魄之大,為其所有交響 曲之最。這首令人讚嘆佩服的經典以奏鳴曲式揭開天幕,從性靈昇華 在天河遨遊,自悲壯主題而追求崇高的聖潔。作曲家於1875年創作這 首交響曲時,由於官司纏身而收入減少,作品中亦透露出不同的人性 思考過程。布氏藉由音樂的純粹,如反省自身的過程,產生許多複雜的 對位關係,但一次一次回歸宗教性音樂主題,像是最終人皆會面對最 後的審判,回到天主的懷抱,不得不景仰上蒼的偉大及寬容世間一切 的胸襟。層層結構堆砌的結果,讓聽者有進入歌德式教堂尖拱高聳與 天父接近之感,也藉由音樂及信仰的崇高,獲得人性最後的救贖。

©Chen Chien-Chun

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根特.赫比希

Günther Herbig 「樂團在根特.赫比希的帶領下演奏得非常 壯麗動人,在舒曼第四號交響曲中,他以 一種自律動人地演出作了既聰明又溫暖適 意的詮釋!」—《太陽報》 “ The Orchestra under Herbig played

m a g n i f ic ent ly...[i]n t he S c hu m a n n Fou r t h Sy mphony, Herbig rec eived beautifully disciplined playing for an interpretation that was as warm as it was intelligent... "—The Sun

名家系列

5/17

2013︱

Fri. 19:30

別來無恙, 老柴!—賀普與NSO

Daniel Hope & NSO

指揮 根特.赫比希 Günther Herbig, conductor 小提琴 丹尼爾.賀普 Daniel Hope, violin ©Harold Hoffmann & Deutsche Grammophon

貝多芬:第三號《蕾奧諾拉》序曲 布瑞頓:小提琴協奏曲 柴科夫斯基:第四號交響曲

LUDWIG VAN BEETHOVEN: Leonore Overture No.3, op.72b BENJAMIN BRITTEN: Violin Concerto No.1, op.15 PYOTR ILYICH TCHAIKOVSKY: Symphony No.4, op.36, F minor 國家音樂廳 National Concert Hall

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從義大利寄出樂譜,1878首演於聖彼得堡的第四號交響曲,是一場作曲 家本人不在現場的演出,而由作品的被題獻者代為驗收。柴科夫斯基題獻 這首曲子給最親密的摯友,也是他最重要的贊助者—梅克夫人,兩人往 來信件至今尚存五百餘封,在與梅克夫人往來的信中他強調主題是「命 運」,還把主題譜附在信上。這一年經歷婚姻打擊的老柴向摯友解釋,雖 然自己不快樂,但看別人快樂時,「快樂就在那,簡單卻強大有力。沈浸在 他人的快樂裡,生活還是可以過得去的。」命運在此並非宿命捉弄,而是 世界總有其美好的一面。1939年與男高音友人皮爾斯(Peter Pears)及詩 人奧登(W.H. Auden)一同從英國到美國的布瑞頓,在美國寫下這首小提 琴協奏曲。與作曲家同鄉的英國小提琴家賀普,將用英倫本色,詮釋在臺 灣難得一聽的布瑞頓小提琴經典曲目。 2013/5/18 Sat. 19:30 巡演 400 600 800 1000

50

名家系列

丹尼爾.賀普

Daniel Hope 「一個同時具有深入思維及掌握全局能力 的小提琴家……」—《紐約時報》 “ ...a violinist of probing intellect and commanding style..." —The New York Times


National Symphony Orchestra 2012/13 Season

名家系列

5/31

2013︱

Fri. 19:30

威瑪1857—李斯特的浮士德 Faust by Liszt —Weimar 1857

指揮 簡文彬 Wen-Pin Chien, conductor 鋼琴 陳必先 Pi-Hsien Chen, piano 男高音 林健吉 Claude Lin, tenor 拉縴人男聲合唱團 Taipei Male Choir 李斯特: 第二號鋼琴協奏曲 《浮士德》交響曲

FRANZ LISZT: Piano Concerto No.2, S.125, A major A Faust Symphony, S.108 國家音樂廳 National Concert Hall

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「超技名家」,其實只是李斯特豐富人生的其中一面。這位鋼琴、指揮、作 曲兼擅,音樂、藝術、文學皆精的大師,在36歲起離開巡迴獨奏生涯,專心 致力於創作與教學。他於46歲方問世的第二號鋼琴協奏曲,篇幅不長,卻 有史詩般的視野。艱深演奏技法仍在,卻在在為音樂內蘊服務,鋼琴與樂 團合而為一,具有李斯特最精湛的寫作。第二號鋼琴協奏曲於1857 首演, 同年9月,李斯特為德國威瑪市的歌德與席勒雕像揭幕,並譜寫《浮士德》 交響曲搭配儀式。透過交響詩樂章而非線性故事順序,將歌德詩劇三個主 角:男主角浮士德、女主角葛麗卿,與惡魔梅非斯特寫成三段描述。最後 由全男聲合唱團加上男高音獨唱,以《浮士德》最末章的詩句,推崇女性 永恆的偉大做為終結。嚴謹深刻的陳必先加上挑戰巔峰的簡文彬,李斯 特的終極魅力,讓你一次領會!

陳必先

Pi-Hsien Chen 德國慕尼黑聯合廣播公司 (A R D) 國 際大賽、德國荀貝格國際大賽及美國 巴赫國際比賽首獎得主

The first prize winner of the ARD International Music Competition, the International Arnold Schoenberg Competition in Rotterdam and the Johann Sebastian Bach International Piano Competition in Washington D.C.

51 Masters & NSO

簡文彬

Wen-Pin Chien 「一位掌控全局的大師……他就像一部被 注入生命的導航器,樂團也在其帶領下呈 現出前所未有的細緻。」 —《德國萊茵 郵報》 “ Chien, für alle Mitwirkenden fraglos

ein lebendes Navigationssystem, war ein Meister der Umsicht, und die Symphoniker arbeiteten ein ums andere Mal kostbare Details der Partitur heraus."—Rheinische Post


National Symphony Orchestra 2012/13 Season

NSO精選 NSO Classics 2013年是兩位歌劇巨擘的200年誕辰, 我們將以威爾第歌劇選曲、《安魂曲》與華格納《女武神》的 全新製作向大師致敬。 —呂紹嘉

古典音樂駭客之夜 威爾第之夜

NSO 跨 新年音樂會

D吟.曼陀林—艾維塔與他的新朋友 《女武神》NSO歌劇

Big Nightmare Music—Igudesman & Joo Forever Love NSO 2013 New Year Concert Avi Avital and His New Friends Die Walküre NSO Opera


國家交響樂團 2012/13 樂季手冊

華格納與威爾第 文/金慶雲

華格納與威爾第同年(1813),兩人共同代表了

的年代。巨作《尼貝龍指環》的大部分逐漸形成,中

歌劇藝術的極盛期(華格納不會同意,甚至不同意歌

間還橫插了一部《崔斯坦與伊索德》,一部《紐倫堡

劇兩字)。不知該算是並駕齊驅,還是南轅北轍。

的名歌手》。政治革命的失敗者亡命徒如今正籌畫著

不計改寫,威爾第創作了26 部歌劇,和董尼才

一次驚天動地的藝術革命,雖然他以文字不斷宣傳,

第的 70 部相比並不算多,尤其分配在直至80 歲,半

恐怕很少人真把他當一回事,更沒人相信,他能實

世紀多的創作時間裡。1839至1850 年是第一階段,

現。

計15部。初試啼聲的《奧博圖》在史卡拉歌劇院首演

他對歌劇的檢討,總結於1850 年發表的《歌劇

就獲得肯定。3 年後的《拿布果》確立了他的地位。

與戲劇》。歌劇原本是文化復興運動裡,追摹希臘

那是歐洲動盪不安的年代,義大利獨立運動風起雲

戲劇似是而非的產物;華格納要重來一次,實現詩、

湧,他那些振奮人心的合唱成了傳唱大街小巷的愛

舞、樂一體的整體戲劇藝術,欲令其取代宗教。而他

國歌曲。整個1840 年代裡,威爾第幾乎以一年兩部

就是那集詩人、作曲家、導演、哲學家、社會改革家、

的速度,繼承了義大利歌劇的正統。羅西尼金盆洗手

宗教改革家於一身的、超越文藝復興全人的超人。他

(1829),貝利尼英年早逝(1839),董尼才第瘋癲而

炮火四射的批評裏,主要假想敵是梅耶貝爾,而對威

死後(1848),威爾第雄視歌劇樂壇,再無敵手。

爾第置若罔聞。在他處心積慮一舉殲滅歌劇之際,

華格納的起步也未遑多讓,20 歲出頭就寫了兩 部少作。1839至1842年他避債逃往巴黎,幾難糊口,

或許始料未及,一個與他同齡的年輕獅王已經一肩 挑起了鞏固領地的重任,不容外敵侵入。

倒也累積了名聲。1842《黎恩濟》在德勒斯登首演

華格納要革命的遠不只是歌劇,而是整個人類

獲得好評,不到3 個月,《漂泊的荷蘭人》隨之,反應

文明。他以無比的自信與勤奮,雖無人問津,仍孜孜

平平。1845年演出《唐懷瑟》,1848 年完成《羅恩格

創作;更異想天開的是,一個四處碰壁,求售無門的

林》,卻不能親見兩年後李斯特促成的在威瑪的首

作者,竟然打算建造一個專屬的劇院,以祭典似的音

演:1849年德勒斯登革命爆發,他成了通緝犯,從此

樂節,專為演出他的作品。華格納確實是藝術史中最

去國流亡12年,15年間沒有一部他的新劇上演。

荒唐、最狂妄、也最幸運、最尊榮的夢想家,他創造

1851至1853年,威爾第中期三大名作《弄臣》、

的奇蹟,不只因他的想像力,也因他的意志力。

《遊唱詩人》、《茶花女》奠定了他世界性的聲譽。他

1864 年華格納時來運轉,年輕的巴伐利亞國王

的寫作速度放慢,態度越來越慎重,技巧越來越圓

路德維希二世傾一國之力成就了他的殿堂。他的夢

熟,管絃樂更豐美,戲劇性更強烈。威爾第一身鎔鑄

想一一實現。在慕尼黑,1865年《崔斯坦與伊索德》

義大利、法國、德國歌劇的諸種風格,一部比一部更

首演,1868 年《紐倫堡的名歌手》,1869 年《萊茵黃

成熟,更結實。

金》,1870 年《女武神》。1872年59歲生日那天拜魯

威爾第如日中天之際,華格納顛沛流離,窮愁潦

特劇院在滂沱大雨中破土奠基,1876年音樂節開幕,

倒,卻胸懷大志,心比天高,這確也是他創作最豐收

《尼貝龍指環》連演四夜三天。德皇在座,拜魯特儼 如聖壇冠蓋雲集,王公貴族名流文士頂禮膜拜。華格 納實現了他的夢想,但這卻不再是 預想的庶民慶典。 華格納躊躇志滿的最後 18 年 裡,除了完成早已開始的《指環》 後兩部《齊格飛》與《諸神黃昏》, 只有一部《帕西法爾》。如果華格 納 能如他困厄中的 15 年那 樣,心 無旁騖埋頭創作,而不必為劇場建 設、演出籌備、資金票房而煩惱,他 是不是能寫出更多作品?

威爾第。

54

NSO精選

華格納。

華格 納席捲歐 洲文化圈,成


National Symphony Orchestra 2012/13 Season

為崇拜的偶像,進步的代表之時,威爾第一定覺得芒 刺在背。因為他所代表的義大利歌劇正是被革命的 對象,當年那個紙上談兵的妄人如今真的建立了自 己的王朝,義大利歌劇近三百年基業或將毀於一旦。 在華格納眼裏威爾第不過是手搖風琴樂師,其幫眾 們更沒少冷嘲熱諷。畢羅一口咬定他的《安魂曲》是 「套上了教士袍的歌劇」,其實連聽還沒聽過。威爾 第逐漸遠離數碼歌劇,原是一種自覺的對戲劇效果 的追求,被認為追隨華格納。他的管絃樂越來越飽 滿有力,也被看作東施效顰。其實他絕不標新立異, 調性保守,前衛性不如同時期的後輩理查.史特勞斯 或德布西。

1876 年拜魯特劇院演出《萊茵黃金》。

面對華格納的威脅,威爾第未掉以輕心,他的

格納為威爾第提供劇本,肯定要被痛加刪節。華格

鋼琴上擺著《崔斯坦與伊索德》的總譜;1871年《阿

納固然廢除了宣敘調,也消滅了詠歎調,無休無止的

伊達》首演前,他聽了《羅恩格林》。1875 年在維也

旋律或根本不成旋律,滔滔不絕,喋喋不休,幾個鐘

納聽《唐懷瑟》:「我瞌睡了,那些德國人也一樣。」可

頭下來,幾乎找不到可以選出來獨立演唱的段落。而

不是,哪一個人在聽完15個小時的《指環》後不是精

威爾第儘管也是有聲皆歌,但寫出了多少動聽的詠

疲力竭?尼采只熬了兩場就頭痛欲裂,逃入森林。威

歎調!單是寫給男高音的,貝貢齊就錄過 31首,從早

爾第從瞌睡中得到自信:這世界上的凡人還是遠比

期甘美的抒情男高音,到晚期雄健的戲劇男高音(至

瘋子、自虐者、狂熱分子、有慧根者為多。對人間糾

《奧泰羅》而極)。威爾第把承襲自閹人歌手的陰柔

葛的關心還是勝過對文明起源或人類未來的探索。

婉轉,轉變為剛勁挺拔,開啟了20世紀男高音的黃金

對一支蕩氣迴腸的詠嘆調還是不能抗拒,不理那些

時代。

偏執的德國人(誰知道他們將發起兩次大戰,這或也

華格納對這些批評一定嗤之以鼻。他的詩句就

是華格納鼓吹出來的德國精神 ?),歌劇還是義大利

是字字珠璣,非要人細細咀嚼不可,音樂隨著詩的意

的天下,他還是王。

念開展,聽者本來就該全心追隨,忘卻時間。的確,

開羅新歌劇院重金訂製的開幕劇《阿伊達》,

長達 5小時的《崔斯坦與伊索德》,大半是癡戀者荒

包含了威爾第成功歌劇的一切元素:凱旋曲,思鄉合

誕的囈語;可是聽者一旦被捲入那漩渦,就無法解

唱,祭司的審判,英雄男高音有32個高音B,女高音

脫,仿佛一字一句都嘔自胸臆,大有深意。夜暗之國,

與女中音是威爾第最重的戲劇角色。他在這裡把人

死亡之境,是無法饜足的愛欲的唯一解脫。

聲用到了極限,還有大歌劇的舞蹈排場。這外在的宏

詩境衍生音樂,音樂擴展詩境,兩者熔鑄為一體

偉堂皇,正反襯著人物內心的纖細敏感,尼羅河幽暗

(還有那奇幻詭異的舞臺),到後來,其實歌詞已不

的月色,石窟裡的沉黑,威爾第的管絃樂達到他歌劇

必詳辨,音樂駝載著整體的、不可言宣的感覺。我們

中前所未有的多彩細膩與張力,甚至出現了主導動

真的看見聽見,從沙場上把戰死的英雄帶往神國的

機。這是威爾第中期最後一部登峰造極之作,是對華

女武神,金鐵交鳴,馳騁著天馬在空中呼嘯而過。除

格納挑釁的一個響亮的答覆。

了吆喝聲,不需其它語言,她們彷佛真的存在,她們

誰說威爾第的歌劇不是戲劇?他對劇本挑剔至

僅存在於華格納的世界。

極;三部改編自莎士比亞,四部自席勒,還有雨果、

華格 納在異想世界 裡建 立了自己的王國與歷

小仲馬、伏爾泰。厚重的歷史,複雜的故事,激烈的

史,他直溯北歐與日爾曼神話傳說的源頭。聖杯騎

衝突,眾多的人物,而每一個角色都在他賦予的詠歎

士的故事從《羅恩格林》延伸到《帕西法爾》,中古

調或重唱裡活起來;他堅守著義大利傳統,人聲還是

德國的賽歌傳統衍生了《唐懷瑟》和《紐倫堡的名歌

歌劇的中心,只是在他手裡成為戲劇最主要的載具。

手》。漂泊的鬼船傳說,結合了自己飄零的身世,海上

平心而論,威爾第推展情節,比華格納緊湊,設想華

風暴的經歷。華格納無邊的想像力開啟了舞臺設計、

55 NSO Classics


國家交響樂團 2012/13 樂季手冊

教禮俗,乃至人心中的猜忌邪惡所摧殘;華格納的愛 情,則是殉死犧牲,甘之如飴,以完成淨化與救贖。 威爾第令我們感同身受,華格納令我們心嚮往之。我 們同情威爾第的凡人,景慕華格納的超人。 《阿伊達》之後,威爾第16 年未推出新劇,只在

1874 年親自指揮了《安魂曲》。華格納拜魯特音樂節 風靡一世的那些年裡,威爾第選擇沉默與觀望。自己 的地位是否會動搖?或許他也曾自問。1883 年華格 納去世,威爾第深致哀悼:「悲傷,悲傷,悲傷,華格 1893年《帕西法爾》首演圖繪。

納死了。……這是一個偉大人物的消逝。他的名字將

導演與聽眾的想像力;頭戴金盔,足踏天鵝小舟淩波

在藝術史上留下深深的烙印。」

而來的神秘騎士,令少年國王路德維希為之癡迷,恨

1887年,《奧泰羅》首演。威爾第千挑萬選,終

不能自己化身其中。迷霧中驀然出現的船影,維納斯

於得到包益多改編自莎士比亞的完美劇本,創造了

的肉欲城堡,諸神的殿堂,毒龍的洞穴,華格納的舞

義大利男高音無與倫比的悲劇人物。這親手扼殺至

臺是另一種世界。 他的主題都是愛的救贖。羅恩格林要求絕對的 信任,荷蘭船長因仙妲的奉獻解脫魔咒,唐懷瑟為無 邪的愛捨棄肉欲,崔斯坦與伊索德在死亡中滿足愛

愛的獅子,炙熱深情,野蠻殘酷,這才真是尼采所說 可以吹散華格納陰濕迷霧的非洲熱風,威爾第以此 自信地等待歷史的評斷。

1893,八十高齡的威爾第完成了圓熟人生最後

情。《指環》是他的一生偉構,從發想到演出,歷經

的傑作《法斯塔夫》,悲劇大師以喜劇收場,「人生

28年;卻和作者一樣,充滿矛盾與歧義。大神追求統

只是一場玩笑」,他遊嬉回顧各種音樂手法,包括賦

治世界的權力,女兒布倫希德違抗戒命,拯救相戀的

格。華格納的最後作品《帕西法爾》是一個純真愚人

愛侶,保全了人子齊格飛。最終神界在大火中傾覆,

的啟蒙故事,《法斯塔夫》則是世故聰明人的一場蠢

布倫希德投身火窟,帶來新的時代。

事,大多數人對後者更有同感。

華格納的整體藝術,還是歸宗於音樂。他的歌

一百多年過去,星辰仍在各自的位置。或許華格

劇改革,出發點原是反對歌手以聲害義。但到頭來,

納改變了威爾第,或許威爾第因華格納改變了自己,

他真正的成功在器樂更勝於人聲,似乎又反證了音

或許威爾第從來沒變;或許因為威爾第,華格納沒有

樂無言之美的力量。從前義大利歌劇的管絃樂何其

完全改變我們。

簡單,總是由第一小提琴帶出旋律,偶有木管,銅管 幾乎不用。華格納真正解放了器樂,實踐了自己的理 論,不再遵守交響樂固定的樂章格式,而是循著詩的 思路,有無盡的暗示與可能。華格納以音響交織大 網,在不知不覺中四面合圍,其中暗潮洶湧,數不清 的顏色與流向;木管的曖昧,銅管的輝煌,絃樂神經 質的半音振顫。華格納寓言裡的教誨,或都不及他的 音樂直接,我們感受的淨化與救贖,是〈愛之死〉向 上飛升的旋律,如雲朵飛過伊索德腳下的絃樂。是沉 睡在巨岩上,等待真愛喚醒的布倫希德四周騰起的 火焰,是神界。 威爾第的愛情、衝突與掙扎,是血肉凡人的感 情;華格納的愛情則是象徵與隱喻。威爾第的政治 是藉古諷今的歷史故事,華格納的政治是關乎人類 命運的神話傳說。威爾第的愛情總被國仇家恨,宗 56

NSO精選

威爾第《阿伊達》首演圖繪。

*金慶雲,臺灣師範大學音樂系暨研究所退休教授


National Symphony Orchestra 2012/13 Season

Poles Apart? by Hugo Shirley

As the bicentenary of the births of Giuseppe Verdi and Richard Wagner is celebrated in 2013, we are perhaps more in awe than ever of their genius, of their respective achievements, and of the power of their music and personality. We are also better able to disentangle these achievements from the densely woven fabric of music history, and to address, one could say, the men rather than the myths. And, in part due to the extraordinary political turmoil of the mid- to late-nineteenth century, both composers were also inextricably linked with the mythmaking that surrounded the establishment of nations: Verdi’s ‘Va pensiero’, the famous chorus from Nabucco (1842), was quickly claimed as a second national anthem in Italy and has its own mythical status; chants of ‘Viva Verdi!’ were commonplace in 1858-9, the composer’s name standing, during the struggle for unification, for ‘Vittorio Emanuele Re D’Italia’. Wagner’s vast inf luence throughout the whole of Europe as the twentieth century approached was offered as further proof of Germany’s musical pre-eminence during the nineteenth. Tragically, of course, both composers were forced posthumously to lend their musical voices to fascist regimes in Germany and Italy. Their reception was similarly, for a long time, defined along national lines. Musicology, a discipline with origins in German-speaking countries, was slow to a ba ndon a b e l ie f i n i n s t r u m e n t a l m u s i c ’s inherent superiority and was accordingly suspicious of the visceral theatricality of Verdi’s operas. It was also, of course, unapologetica lly snobby about Italian music in general. Wagner’s operas, on the other hand, could be raised to the st at u s of pu re mu sic —it s dramatic content incidental— by complicated a na ly tica l strategies that showed its links Richard Wagner to symphonic techniques. 57 NSO Classics

Yet both men, in the most general terms, had a remarkably similar goal: to employ the vast, expensive apparatus of the opera house to maximum dramatic effect. In achieving this goal, however, they both faced very different obstacles. German opera in the first part of the nineteenth century lagged a long way behind developments in instrumental music, and more often than not German opera was a dramatically unsatisfactor y mixture of musica l numbers or ensembles—sometimes based on Italian models or on instrumental forms—and spoken dialogue that had grown out of the Singspiel (literally, ‘sing-play’). Weber might have attempted something closer to sung recitative in his Euryanthe, but he employed clunky spoken dialogue elsewhere, as did other German opera composers. Italian opera, by contrast, had not taken long, from its first Venetian examples, to master the art of writing flexible libretti that could be set in a flowing sequence of formal numbers and recitative. It is telling to note that while Mozart’s two mature Singspiele, Die Entführung aus dem Serail and Die Zauberflöte, are masterpieces of their type, they achieve nothing of the dramatic continuity and fluidity of the three Da Ponte operas, Le nozze di Figaro, Don Giovanni, and Così fan tutte. The enormous success of Italian opera both at home and abroad had resulted in a veritable

Giuseppe Verdi


國家交響樂團 2012/13 樂季手冊

industry: budding composers had a ready supply of Wagner had died in 1883, ten years before Verdi libretti, which, if not always inspired, were easy to set composed his final opera, but, although the two men to music; there were theatres and singers in all major never met, he can be seen to have played a part in Italian cities and audiences clamouring for the latest the remarkable slowing down of Verdi’s own career. works. Having become established as a ‘classic’ and, to use the The existence of such an opera industry in Italy modern term, something of a national treasure, Verdi’s was not, of course, without its drawbacks, and Verdi new operas from the mid-1850s onwards were judged famously referred to the 1840s, in which he was against earlier works of his that had become newly obliged to produce one opera after another in quick established in the operatic repertory. Furthermore, a succession, as the ‘galley years’. As one biographer younger, rebellious generation, of which Arrigo Boïto, has noted, ‘In the eleven years from March 1842 (the librettist of both Otello and Falstaff, was a prominent première of Nabucco) to March 1853 (the première figure, saw Italian opera as increasingly moribund, of La traviata), Verdi produced sixteen operas, an in desperate of need of rejuvenation by incorporating average of one every nine months.’ After that time, Wagner’s theories of Music Drama. Verdi, who with the start of the so-called ‘middle period’, the increasingly portrayed himself as a simple musician rate of Verdi’s production slowed considerably: he had of Italian peasant stock, was apparently out of tune earned prominence and wealth, was in a position to with the intellectual and philosophical ambitions of pick and choose his assignments and was not required Wagner and he followers. He admitted, late in life, to make concessions to audience taste or theatre to standing ‘in wonder and terror’ before the score managements. But, while it is often suggested that the of Tristan und Isolde and commented, on hearing of ‘galley years’ were a price paid by Verdi to buy artistic Wagner’s death, that he ‘was a name that will leave freedom, there were certain formal devices inherited a most powerful impression on the history of art’; from tradition that he retained until the end of his earlier, however, Verdi had questioned the German career. While the formal layout of composer’s ‘attempting to f ly the aria (a slow cavatina followed, where a rational person would usually after the revelation of walk with better results’. s ome i n f or m at ion, by a f a s t To describe Verdi as a master cabaletta) gradually dissolved, craftsman content with walking is t he concer ta nte f ina le — a to vastly underestimate his genius; grand concluding ensemble to but Wagner’s sense of ambition a central act, featuring soloists knew no bounds. Whereas Verdi and chorus—was rarely absent. charged himself with maintaining Increasingly, too, Verdi was able and improving an existing Italian to demonstrate his mastery of tradition, Wa gner’s a mbition more instrumental writing for the wa s to establish a form of voices, such as in the remarkable German opera that reflected the Rigoletto quartet—which weaves nation’s intellectual and musical individually characterized voices importance. Within a complicated into an ingenious contrapuntal context that placed enormous whole—or the comic fugue that phi losophic a l impor ta nce on concludes his final opera, Falstaff t he idea of progress, Wa gner Francesco Tamagno as Otello in 1887 original production (1893). a r g ue d t h at t he B e e t hoven’s 58

NSO精選


National Symphony Orchestra 2012/13 Season

The auditorium of the Bayreuth Festspielhaus

decision to introduce voices into his Ninth Symphony demonstrated the need to abandon the symphony and employ its musical language in a new sort of opera with subjects drawn from myth. While Verdi in many ways turned the traditional operatic focus away from history onto personal, very present tragedy, Wagner broadened it from the historically specific to the universal. His two great ‘middle period’ works, Tristan and Die Meistersinger von Nürnberg, were the exceptions that proved the rule—the former is an ‘opus metaphysicum’ (Nietzsche) exploring the deepest depths of human psychology; the latter is historically meticulous yet universally relevant. Rather than being co-opted as an emblem of nation like Verdi, Wagner himself took part in the revolutions that swept Europe in 1848-9 and was forced into exile in Switzerland. It was there that he set out, in a series of lengthy essays, his plans for reform of German opera—a primary tenet of this was to be the wholesale rejection of Italian models, perceived to be hopelessly in thrall to the grandstanding of its twittering leading ladies. German opera was to be driven by drama, its singers vocal actors motivated by dramatic truth rather than top-Cs. Finally, this new art form was to help unite a nascent nation; it would inform, improve and inspire—entertainment was of little concern. He steered commentators towards the forward-looking aspects of his pre-1850 operas—Der fliegende Holländer, Tannhäuser, and Lohengrin— and laid the foundations for his Ring cycle, which ballooned to immense proportions from its initial one-opera plan. And it was in the Ring, finally 59 NSO Classics

completed in 1874, a quarter of a century after its first plans, that Wagner perfected the potent symphonicdramatic cocktail that following generations would try to emulate. The vast structures of his operas— virtuosically elongated in Parsifal (1882), his final stage work—were held together by intricate systems of leitmotifs—musical ideas that carried with them parcels of meaning. Such was Wagner’s concern with his works being adequately performed that he built— with financial help from King Ludwig II of Bavaria— his own Festival Theatre in Bayreuth, where a summer festival devoted to the composer still runs today. Wagner’s fierce ambition led to a sense of entitlement that was alien to the more modest, traditionally industrious Verdi. Wagner’s attitude towards many of the basic strictures of society was, put mildly, loose: for much of his life he left trails of debtors, heart-broken mistresses and their disgruntled husbands. The unexpected intervention of the newlycrowned King Ludwig in 1864 raised him once and for all above an ever-swelling tide of debts; his relationship with Cosima—the daughter of Liszt, married at the time to the pianist and conductor Hans von Bülow— started at around the same time and led, after much pernicious duplicity, to their marriage in 1870. Verdi, by contrast was careful with money and, despite an ambivalent attitude towards the moral dictates of the church, lived all aspects of his life modestly and sagely, turning, in later life, to philanthropy. They were incomparable men whose works remain incomparable in all but their dramatic power. Together, however, they changed opera for ever. *Hugo Shirley, PhD in musicology from King's College London; he is assistant editor of OPERA magazine and a critic for the Daily Telegraph.


國家交響樂團 2012/13 樂季手冊

NSO精選

10/11-12

2012︱

Thu. & Fri. 19:30

古典音樂駭客之夜

Big Nightmare Music—Igudesman & Joo

指揮 張尹芳 Yin-Fang Chang, conductor 小提琴 阿雷格西.伊古德斯曼 Aleksey Igudesman, violin 鋼琴 朱鉉基 Hyung-ki Joo, piano 伊古德斯曼與朱鉉基改編古典經典如: 約翰.史特勞斯《藍色多瑙河》、莫札特《土耳其進行曲》、拉赫瑪尼諾夫之鋼琴協奏曲,及他們自己的創作曲。

Twists and turns of classical masters and pieces by Igudesman & Joo. 國家音樂廳 National Concert Hall

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伊古德斯曼與朱鉉基這對古典駭客二人組,遇上 NSO 大軍,史無前例要來搞破壞。上次來台讓基頓.克萊曼對 自己的身分嚴重錯亂,這次要把他們過去玩笑般的古典 音樂小惡夢,放大到交響樂團規模的古典音樂大惡夢。 是的,本場音樂會將演出以下作曲家曲目:莫札特、拉赫 瑪尼諾夫、巴赫、韋瓦第、史特勞斯、貝多芬等偉大作曲 家—及他倆的創作。全都是你耳熟能詳的古典音樂熱 門曲目,但也全都被他們兩人「殘、駭」到不見原形。大音 樂家們如果都還在世,會狂哭加狂笑。NSO 這次還「被 迫」要跟兩位音樂家合作小提琴及鋼琴協奏曲,全團團 員無一倖免,一起跟著下海!到底是作曲家被駭,樂團被 駭,還是演奏家被駭?已經駭遍歐美各大樂團的伊古德 斯曼與朱鉉基的駭客二人組將使出渾身解數讓大師們也 瘋狂! 2012/10/13 Sat. 19:30 巡演

伊古德斯曼與朱鉉基

Aleksey Igudesman & Hyung-ki Joo 「伊古德斯曼與朱鉉基以獨特的個人 風格,將 ( 音樂 ) 技巧忠誠且自然的 融 入, 展 現 了 完 美 的 喜 劇 效 果……」—《洛杉磯時報》

"Igudesman & Joo personif y the idea that with skill and devotion and a good nature and prefect comic timing..." —Los Angeles Times

鋼琴/鄧泰山

Dang-Thai Son, piano

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NSO精選


National Symphony Orchestra 2012/13 Season

NSO精選

12/31

2012︱

Mon. 21:45

1/1

威爾第之夜

Forever Love

2013︱

Tue. 19:30

NSO跨/新年音樂會 2013 New Year Concert

指揮 呂紹嘉 Shao-Chia Lü, conductor 女高音 安娜列娜.派松、黃莉錦 Annalena Persson / Li-Chin Huang, soprano 次女高音 維多利亞.利文顧德、石易巧 Victoria Livengood / I-Chiao Shih, mezzo-soprano 男高音 馬克.海勒、林健吉 Marc Heller / Claude Lin, tenor 男中音 巫白玉璽 Wu Bai-Yu-Hsi, baritone 台北愛樂合唱團 Taipei Philharmonic Chorus 威爾第: GIUSEPPE VERDI:  《命運之力》序曲  La forza del destino Overture   《弄臣》第三幕,四重唱〈世間最美的少女〉 Rigoletto, Act III, quartet ‘Bella figlia dell’ amore’  《奧泰羅》第一幕,二重唱〈夜幕已深〉 Otello, Act I, love duette:‘Già nella notte’  《遊唱詩人》第二幕,第一景二重唱 Il Trovatore, Act II, scene 1, duette:‘Soli or siamo’&‘non son tuo figlio?’  《阿伊達》第二幕 Aida, Act II 國家音樂廳 National Concert Hall

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「你愛誰?」在這送舊迎新的節慶之夜,NSO音樂總監呂紹嘉精選經典威爾第情歌,讓我們好好問自己「愛」 的真義:有《弄臣》好色公爵酒店尋歡的遊戲人間,有《奧泰羅》夫妻之間危疑暗藏的互信互愛,《命運之力》 錯愛令人嘆息,《遊唱詩人》母子恩仇難說……藝術家不斷追尋「愛」的魔力,在威爾第的音樂魔法下,無論午 夜12 點你是否能找到人一起擁抱,都歡迎你和NSO盡情享用流金樂聲與跨年Party,在水晶燈之下慶祝2013 翩然降臨!音樂會下半場更將演出《阿伊達》經典第二幕,大將軍拉達梅斯光榮回到埃及,全國歡唱「榮耀! 榮耀!」壯麗凱旋場景,尼羅河太陽金芒綻放大地,光輝燦爛邁入全新開始,也揭開威爾第200歲生日年序 幕!

©Lenz Lee

指揮/ 呂紹嘉 Shao-Chia Lü, conductor

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國家交響樂團 2012/13 樂季手冊

NSO精選

4/19

2013︱

Fri. 19:30

D吟.曼陀林—艾維塔與他的新朋友 Avi Avital and His New Friends

曼陀林 艾維.艾維塔 Avi Avital, mandolin 打擊樂 尚恩.夏那漢 Shane Shanahan, percussion NSO首席絃樂團 NSO String Ensemble 李和莆:〈卑南-台東蘭嶼〉,選自《臺灣四季》(世界首演) 巴赫:D小調第一號大鍵琴協奏曲(改編給曼陀林) 大衛.契斯基:《絃理論》 尚恩.夏那漢:二首給打擊、曼陀林與絃樂團的新作 斯特拉溫斯基:D大調協奏曲,給絃樂團 LEE, WEN-PIN HOPE‘ : Puyuma-Orchid Island, Taitun’from Taiwan Four Seasons (World premiere)

JOHANN SEBASTIAN BACH: Harpsichord Concerto No.1, BWV1052, D minor (arr. for mandolin) DAVID CHESKY: String Theory SHANE SHANAHAN: Two new pieces for mandolin, percussion and string orchestra IGOR STRAVINSKY: Concerto in D (Basel Concerto) 國家音樂廳 National Concert Hall

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曼陀林在台灣並不是一項主流樂器,也因為它的稀少更顯得特別,艾維塔所用的曼陀林更是少數中的少數, 並不是一般我們常見的美式平背或是義式圓背,他所用的是以色列的曼陀林,相當特別,有兩層琴面板並多 了兩側的出音孔,增大了曼陀林的音量,音色也更增添了民族性的味道。此次艾維塔與NSO首席絃樂團聯手 演出,將以右手持撥片方式演奏巴赫的D小調大鍵琴協奏曲,這會是一首十足展現艾維塔個人魅力的超炫技 改編曲,相信在與絃樂團的配合下,更能彰顯曼陀林彈撥樂器的特色。尚恩.夏那漢再次展現他的打擊與作 曲才華,兩首打擊、曼陀林與絃樂團的特殊配器創作更將為這場音樂會帶來新的感官享受。

艾維.艾維塔

尚恩.夏那漢

Avi Avital

Shane Shanahan

曼陀林音樂家艾維.艾維塔,曾獲 葛萊美獎提名並為《紐約時報》 讚許其琴藝為「獨特而敏銳的演 奏」。

從 2000 年起,尚恩.夏那漢即 參與馬友友的「絲路」樂團 , 並多次獲葛萊美獎提名。

M a ndol i n i st Av i Av it a l, t he Grammy award nominee, was recognized by the New York Times for h is“ e xqu isitely sen sit ive . playing"and“stunning agility"

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NSO精選

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


National Symphony Orchestra 2012/13 Season

華格納的《尼貝龍指環》和其「首日」《女武神》 文/羅基敏

1 9 世 紀 前 半 的 歐 洲,政 治 動 盪。華 格 納 (Richard Wagner, 1813-1883)即是在如此的環境 裡長大,在發展個人對藝文多方面的興趣和才能之 餘,年輕的華格納不乏對政治的抱負和理想,導致 日後的長期四處流浪。然而,外在物質生活的不順 遂,並未動搖他對音樂藝術的堅定不移信念,棄政 治、全力就藝術的決定,終於讓他開創出一條前無 古人的革命性道路。在他的創作生涯裡,全本四晚 的《尼貝龍指環》(Der Ring des Nibelungen,以下簡 稱《指環》)以及為了演出該作創立的拜魯特音樂節 (Bayreuther Festspiele),在他生前身後,不僅對音 樂界,也對文學界、美術界、表演藝術界,甚至電影 界,都有著莫大的影響,至今未休。 《尼貝龍指環》與拜魯特音樂節

1848 年10月,華格納擬了一個故事《尼貝龍神 話》(Der Nibelungen-Mythus , 以下簡稱《神話》)。 以它 為大 綱,很 快地 完 成了正 式 的 劇 本,命 名 為 《齊格飛之死》(Sieg frieds Tod)。之後約半年,華

華格納。

格納因參加革命被通緝,倉皇離開工作地德勒斯登 (Dresden),開始流亡生涯。1850 年 8月,他開始作

1862 年底,眼看《指環》的夢想幾乎不可能實

曲,但隨即中斷;同時間,要以一個專門的音樂節演

現,華格納決定將劇本單獨出版,並且寫了一個很

出這部作品的構想,也開始萌芽。

長的《前言》,闡述自己的音樂節理念。在接近結束

華格納中斷作曲的主要原因在於,他發覺僅只

時,華格納提了個問題:找得到這位領主嗎?很快地,

《齊格飛之死》一劇,實不足以完全表 達構想,於

他有了答案。

是決定在前面加上一部《年輕的齊格飛》(Junger 結論是,這必須是一個三日加上序夜(Vorabend),

1864年3月10日,巴伐利亞國王路德維希二世即 位,年方18歲半。國王自小喜歡藝文,很早就是華格 納迷,也一直希望有朝一日,能親眼見到偶像。1863

也就是要演上4天的作品,他將整部作品定名為《尼

年出版的《指環》劇本,自也在他的收藏之列,在讀

貝龍指 環》,每一部又各 有名稱,分別是《萊茵黃

到華格納《前言》裡提的問題時,他即強烈地自許為

Sieg fried)。1851年 8月,他確定必須再擴大,最後的

金》(Das Rheingold)、《女武神》(Die Walküre)、

這位領主,雖然當時他並不知道自己即將接位。即位

《年輕的齊格飛》和《齊格飛之死》;在寫作前兩

後,他四處打聽華格納的下落。1864 年5月3日,國王

部劇本的過程中,華格納也改寫了後面兩部劇本。

特使找到華格納,連夜接他到慕尼黑。第二天早上,

1852 年11月,所有的劇本都完成了;1856 年,後面

國王見到偶像,華格納則終於結束了流亡的生涯。

兩部被改名為《齊格飛》(Sieg fried)和《諸神黃昏》

好景不常,喜好文藝的國王掌控不住重臣之間

(Götterdämmerung)。至此,《指環》的劇本可稱底

的權力鬥爭,華格納也被捲入其中。為求息事寧人,

定。

他於1865年年底轉赴瑞士,定居琉森(Luzern),繼 全劇的譜曲則在1853 年9月,由《萊茵黃金》開

續創作《齊格飛》。1869年2月,國王告訴華格納,要

始,一直到1874 年11月,才完成《諸神黃昏》,主要原

在慕尼黑演出已譜寫完成的《萊茵黃金》,作曲家一

因在於,音樂節的構想實行一直無法有所突破。1857

本《指環》全劇要整體演出的堅持,大加反對,卻也

年 6月28日,華格納決定停止寫《齊格飛》;此時,他

無力阻止。1869年9月22日,《萊茵黃金》在慕尼黑首

已寫到了第二幕的開始。

演;1870 年 6月26日,《女武神》也在慕尼黑首演。為

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國家交響樂團 2012/13 樂季手冊

而言,《指環》四部以齊格飛之死做結,只用了《尼 貝龍之歌》的前半。另一方面,華格納重新鎔鑄神 話人物和情節,並將眾人覬覦的對象,在尼貝龍寶 藏外,再加上一個具有統治世界力量的指環,隱喻 人世間無止盡追求金錢與權力的宿命;然而,最終 這些都得回歸大自然。如此的轉化,將華格納個人 的人生觀注入了作品中。將「指環」擺在故事情節的 核心,明顯地,源頭來自神話故事,其中,布倫希德 (Brünnhilde)因認出「證物」指環,決定要殺掉齊 格飛。但是,在各種版本神話裡,無論各個指環原來 的主人為何,指環本身都沒有統治世界的力量,也不 是各方追逐的目標。「指環」在華格納作品中具有的 這一個多方面意義,正是他的《指環》與其他尼貝龍 作品之不同關鍵處,也是作曲家用以貫穿四部作品 的利器。

1848 年完成的《神話》,呈現了華格納最早的 戲劇構思,日後《指環》劇中各主要人物的關係,以 及主要的劇情進行,都已經清楚地存在。相較於《神 話》,《指環》的主要劇情以及絕大部分的人物,並 無重大改變,但是,《神話》中並沒有大地之母艾兒 妲(Erda),諸神中只見佛旦(Wotan)之名,巨人則 封丹- 拉突爾(H. Fantin-Latour):《萊茵黃金》第一景(1888年)。

沒有名字,亦無爭鬥之事。此外,二者間尚有其他人 物互動及情節上的差異,這些改變均可在不同的北

了表示抗議,首演時,華納納都未在場。

方神話裡,找到來源。但是,華格納將這些神話故事

眼看著《指環》全本以音樂節方式首演的計畫,

段落,散放在四部作品,精心編排後,重組出來的新

在慕尼黑已難以進行,華格納開始另覓目標。1871

故事,則有了新的戲劇面貌。由《神話》到《指環》的

年 4月,華格納赴拜魯特(Bayreuth)實地勘察,獲得

過程裡,四部作品中,《女武神》改變最大。

了當地政商界人士的支持,音樂節的理想終於開始 逐步實現。由於音樂節有了眉目,華格納也繼續寫作 《諸神黃昏》,在1874年11月21日完成了全劇。

人性的女武神 華格納《神話》裡,與日後《女武神》相關的情

1876 年8月13日至8月17日,《指環》在新蓋好的

節,篇幅相當少,並且,依舊是依著各種北方神話的

拜魯特慶典劇院做全劇的首演,也揭開了拜魯特音

版本,布倫希德僅是位違背大神命令的女武神。這

樂節的序幕,華格納的夢想終於實現。

段故事在各種版本的神話裡,都非常短,係出現在齊 古兒(Sigurd)的故事裡,在他解開她的盔甲,她醒來

由神話到歌劇

後,由她口中講出的故事:布倫希德違反了大神的命

19 世紀裡,不僅中古德文《尼貝龍之歌》(Das

令,在戰爭中保護了不該保護的一方,因而被大神用

Nibelungenlied),還有北歐各種版本的神話記述,如

睡眠刺處罰長睡;但她發誓不嫁膽小的人,於是大神

《艾妲》(Edda)等等,因著與日耳曼民族起源的關

在她四周築起火牆。至於布倫希德抗命保護的對象

係,引起德語文學界的高度興趣。結合《尼貝龍之

是齊格蒙(Sigmund),則是華格納的《神話》中才

歌》、《艾妲》以及其他所謂「北方尼貝龍」神話的

有的轉化。

各種版本,創作完成的德語文學作品,數不勝數;華

中古德文《尼貝龍之歌》係以齊格蒙和齊格琳

格納的《指環》亦是這股風潮的一個產品。就情節

德(Sieglinde)的王國開始,齊格飛是他們的兒子。

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National Symphony Orchestra 2012/13 Season

華格納的《指環》「首日」《女武神》以齊格蒙和齊

齊格蒙的故事最後一段,係年長的齊格蒙向一

格琳德的故事為中心,應肇源自此。作品裡,華格納

位女子求婚,同時求親者尚有其他人,其中一人是渾丁

用了親子關係和名字,故事內容卻是由《佛松傳奇》

(Hunding)。該女子選擇了最英勇的齊格蒙,於是

(Völsungssaga)裡擷取。在這裡,齊格蒙占了很大的篇

渾丁興兵來攻,又是血戰多場。原本不敗的齊格蒙,

幅,有過多次婚姻,並且有許多兒子。

在戰場上 遇到一位老人,穿著大衣、獨眼、手 持長

齊格蒙的故事裡,有一段是關於他和他妹妹的。

矛,齊格蒙的寶劍遇上老人的長矛,斷成數片,於是

齊格蒙的父親未經得唯一的女兒同意,即將她出嫁。

齊格蒙戰敗。當他的妻子找到垂危的先生時,他交待

婚禮上,一位老人將劍插入樹幹,齊格蒙拔出了劍,

她收好劍,將腹中兒子產下,兒子會將劍鑄合,再創

他的妹婿試圖向他買劍,卻被拒絕,親家立刻成了仇

基業。齊格蒙去世後,妻子果然產下一子,命名齊古

家。一場血腥混戰後,只有齊格蒙被妹妹救下,兩人

兒,也就是齊格飛。這位穿著大衣、獨眼、手持長矛

決定復仇。妹妹發覺自己生的兒子不能為他們復仇,

的老人,正是大神歐丁(Odin);《指環》裡佛旦的造

於是喬裝打扮後,至森林中找齊格蒙,後者沒有發覺

型,無疑地,源出於此。

她的真正身分,於是和她生了一個孩子。妹妹將孩子

《女武神》裡,華格納將兩段齊格蒙的故事移

送至森林中,讓齊格蒙養大。父子二人打算復仇,卻

花接木,合成一個,但是讓兄妹自小失散,寶劍則是

被活捉,並被活埋。緊要關頭時,妹妹將寶劍丟入兩

兩人日後相認的證物。這一段故事,在舞台上看不

人被活埋處,救出二人。父子二人放火燒大廳,並守

到,華格納安排由兄妹二人相見時,分別敘述各人的

住出口,不讓任何人逃出來。妹妹雖然從未愛過自己

版本,告知觀者過去的事情,同時間,並由樂團暗示

的丈夫,但畢竟參與了謀殺親夫的計畫,決定留在廳

著寶劍和佛旦的關係。不巧借宿仇人家,是神話裡

內,終被燒死。

別處的動機,被轉用到齊格蒙身上,呈現一個天生苦 命的英雄。妹妹背叛親夫的情節,固也出於神話,但 是,華格納讓渾丁成為她的夫婿,由此接上渾丁與齊 格蒙大戰,後者寶劍斷於大神之矛,戰敗而死的情 節。這一場兩個男人的戰爭,則在舞台上呈現。華格 納並讓布倫希德在與齊格蒙一段感性對話後,決定 保護齊格蒙,又在行動敗露後,落荒而逃,並帶走齊 格蒙的斷劍和昏倒的齊格琳德,為故事的後續留下伏 筆。 不僅如此,無論在原來的神話或華格納的《神 話》中,佛旦和雙胞胎以及布倫希德之間,都沒有任 何家庭甚至親戚關係。在《女武神》中,故事細節雖 然並無改變,但人物被簡化,致使恩怨集中在少數幾 個角色身上。並且,因著華格納賦予人物之間親密的 父女、父子關係,致使全劇充滿了人間感情,並有著 強烈的戲劇張力。佛旦為了要多知道未來的事,與艾 兒妲生了布倫希德;又因為要培養自由意志的人,為 諸神頂罪,與威松族(Wälsung)生了雙胞胎。他的 「風流」行為讓齊格蒙與布倫希德成為同父異母兄 妹,也讓神話故事中,高高在上的大神人性化了。 佛旦身為統治者,在以詭計和暴力取得指環的 同時,即種下了諸神滅亡的必然後果。他雖嘗試以 其他的方式挽救,但自欺欺人的伎倆,在他與佛利卡

馬卡特(H. Makart)《齊格蒙之死》(《女武神》第二幕第五景,1883年)。

65 NSO Classics

(Fricka)夫妻口角的對話裡,被一語道破。他不得


國家交響樂團 2012/13 樂季手冊

不手刃親子、放逐親女,最終依舊無法改變結果。華 格納試圖藉著這個故事,表露統治者亦不能違反律 法的理念,它透過諸神的行為和一再強調的諸神滅 亡,直接、間接地傳達出來。 一生音樂終不悔 華格納一生努力強調的是,歌劇藝術裡的音樂 與詩作係密不可分的。他之所以一直堅持自己寫劇 本,著眼點亦在於此。如何將詩作入樂,傳遞更深的 詩意,其重點不僅在於呈現台詞,還在於劇本架構以 及其中的場景描述等等;諸多環節,環環相扣,缺一 不可,才成就出他與眾不同的作品。由華格納自己的 話語,更可以看到,他將觀眾也視為歌劇演出的重要 一環,要大家「張大眼睛看、豎起耳朵聽」,並且還要 同時思考,因為「沒有思考,是不可能有真正的藝術印 象的」;換言之,華格納認為,聽眾在接觸他的作品 時,也要有「總體藝術」(Gesamtkunstwerk)的精 神,以人類最敏銳的感官加上頭腦的智慧,才能深刻 體會到藝術的真諦。

*羅基敏,臺灣師範大學音樂系教授

位於拜魯特的華格納別墅(Wahnfried House),現為拜魯特華格納博物館。

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An All-Too-Human Drama by Hugo Shirley

The Grave of Richard Wagner by the Wahnfried Houseat, Bayreuth.

It s h o u l d c om e a s n o s u r p r i s e t h a t t h e compositional history of Wagner’s four-part Der Ring des Nibelungen (The Ring of the Nibelung), of which Die Walküre forms the second installment, should be complicated. The first jottings for the cycle date from 1848; Wagner completed Götterdämmerung (The Twilight of the Gods), its final part, in 1874. Composition had been broken up by the standard elements of the composer’s colourful biography: revolution, exile, numerous affairs, the accrual of debts and the evasion of debtors. In addition, Wagner had downed his pen after the first act of the third part, Siegfried, for the first of two interim projects, initially planned—with characteristically wild optimism—as small-scale, money-making endeavours: Tristan und Isolde and Die Meistersinger von Nürnberg. A s t he g re a t G e r m a n mu s ic olo g i s t C a rl Dahlhaus has noted, however, ‘More amazing than the inconsistencies throughout the work is the degree of unity it displays, a unity less dramatic than epic and symphonic’. This unity was, in many ways, a result of Wagner’s process of composition, which grew backwards from just one opera—provisionally entitled Siegfrieds Tod (Siegfried’s Death)—that was to portray on the stage the final drama of an epic saga. With the earliest prose draft of that opera, penned in 1849, the composer already had many of the main plot details

67 NSO Classics

worked out. However, he realised, as is clear from an aborted musical sketch, that it would be impossible, as he planned, to have these events simply recounted in the early stages of Siegfrieds Tod. As such, to that opera was added first Der junge Siegfried (The Young Siegfried, later just Sieg fried ), then Die Walküre and Das Rheingold. The latter was finally designated ‘Vorabend’ (a preliminary evening) to the subsequent three ‘Tage’ (days) of the tetralogy. Like all Wagner’s mature dramas, the Ring reflects much of the turmoil of its composer’s life. The cycle’s early gestation is intimately and inextricably linked with Wagner’s notorious engagement in the revolutions that spread across Europe in 1848-9. The exact extent of his engagement with the revolution in Dresden in 1849 has been the subject of a great deal of (auto-) biographical fabrication and speculation, but the earliest sketches of the cycle date from the previous year, where the composer’s revolutionary fervour— fanned by the iconoclastic, anti-establishment philosophy of Ludwig Feuerbach (1804-1872)—had emphasised the cycle’s narrative of tearing down and replacing the existing power structures of society: the conflagration of Valhalla was to lead the way for a new political age. Wagner’s revolutionary activities led to a warrant for his arrest being issued on 16 May 1849, forcing him to flee Dresden—and an enviable


國家交響樂團 2012/13 樂季手冊

post in the employ of the very court he had wanted to overthrow—and head to Zurich to start 12 years of exile. Zurich was clearly viewed as a temporary stop, and Wagner made further attempts to establish himself in Paris in early 1850, and also to escape East with a married woman he met there. A series of disappointments led to his greater belief in the need to reform the theatre. The first of his so-called Zurich essays followed, and they laid out in impassioned and, in the case of the notorious ‘Das Judentum in Musik’ (completed August 1850), vindictively odious terms exactly what he felt was wrong with the state of opera. In his most important theoretical essay, ‘Oper und Drama’, he took issue with the term ‘opera’ itself, complaining that it promoted superficial musical niceties ahead of dramatic truth, which should always serve as the ‘fertilizing seed’ of musical invention. ‘Oper und Drama’ was completed early in 1851, and a few months later Wagner set about expanding Siegfrieds Tod into two operas, adding Rheingold and Die Walküre the following year. He explained his rationale in a letter to his friend, Theodor Uhlig, in

November 1851: [It was] clear to me, as I dwelt on [the] realization [of Siegfrieds Tod] in terms of musical theatre, that it was more than ever necessary to present the whole tale and its background in a directly perceptible form. I see now that to be perfectly understood in the theatre I must have the whole myth performed on the stage.

The is exactly what he did. The new libretto—or Dichtung (poem), to use the term Wagner preferred— for the cycle was completed by 15 December 1852. And Das Rheingold, whose score was completed less than two years later on 26 September 1854, begins not just with the start of the myth but, in a prelude that grows organically out of nothing but a sustained e-flat pedal, with the beginning of existence itself. Das Rheingold deals exclusively with mythical characters— gods, giants, Rhine Maidens, Nibelung dwarves—in mythical spaces: beneath the Rhine, in the lofty heights of Valhalla, in the subterranean realm of the Nibelungs. As a work, too, it is the instalment of the Ring that comes nearest to Wagner’s theoretical ideal: the music grows exclusively out of the drama and is

The original staging of Wagner’s Die Walküre, Act III. A favourite set at the premiere, is seen here in the Leipzig production (1878), modeled on the Bayreuth original production.

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Siegfried awakens Brünnhilde

determinedly welded to the words, which are in turn cast in the composer’s knotty and alliterative Stabreim. The work also sets out the complex web of leitmotifs that would be used to tie the whole cycle—and its uniquely compelling mixture of epic and dramatic modes—together. Die Walküre introduces us to t he hu ma n protagonists of the myth, and in its whole first act the only reference to earlier characters comes in veiled form during Sieglinde’s ‘Der Männer Sippe’, linkable, with help from repeated iterations of the Valhalla motif, to the identity of the mysterious guest who thrust Notung into the trunk of the ash-tree during Hunding and Sieglinde’s wedding party. When we meet Wotan and Fricka in Act Two, they appear in very different guises to those in Rheingold: here we are thrust into an all-too-human domestic argument about bourgeois morality. Even the fearless Valkyrie, Brünnhilde, herself a product of Wotan’s rebellious attitude to marriage, knows not to intervene in the dispute. But it is in the work’s seamless shifts between the human and divine—or, perhaps, the public and private—that much of its power lies. Wotan might be the most powerful of the gods, but he is also the most fallible; he, like so many in positions of power, has become corrupted. And in his remarkable act-2 monologue he makes this realization and resolves to do his duty and right the wrongs he has unleashed. Brünnhilde’s own resolve in ca rr ying out this duty disappears during her revelatory scene 69 NSO Classics

with Siegmund, the so-called Todesverkündigung; subsequently, during the course of the act-3 farewell, Wotan’s resolve in punishing her disappears in turn. In Die Walküre, as so often throughout the whole Ring cycle, human weakness dictates that each opportunity to divert from the course of disaster is passed by; t he greater good is subordinated— sometimes knowingly—to selfish concerns. But such is Wagner’s genius, that these moments of weakness are clothed in the most affecting and persuasive music. We, in the audience, are convinced too by Siegmund’s noble rhetoric in the Todesverkundigung; we can see that Wotan has no choice in his farewell but to preserve Brünnhilde in fire until a suitable hero—Siegfried, of course, as the music has hinted through a great deal of the act—is able to collect her (as happens in two and a half acts’ time, in Act 3 of Siegfried). Wagner had himself shown fallibility in failing to resist the siren song of music by the time he composed Die Walküre, too. The lofty theoretical stance of the Zurich essays, put into practice in the tautly dramaled Rheingold, was compromised in the second work of the cycle. In the interim Wagner had discovered the work of Arthur Schopenhauer. This not only set out the philosophy of renunciation that would seep, above all, into Tristan, but it also claimed music’s position at the head of the arts: it was, Schopenhauer wrote, the only art form that could hope to reflect the inexpressible nature of existence—what he termed the Will. It was a happy discovery, for it resulted in Die Walküre in a new musical freedom and lyricism that was all the better able to portray the full beauty of the humanity that betrays us. *Hugo Shirley, PhD in musicology from King's College London; he is assistant editor of OPERA magazine and a critic for the Daily Telegraph.


國家交響樂團 2012/13 樂季手冊

NSO精選

7/10,12,14

2013︱

Wed. & Fri. 18:00 Sun. 14:30

《女武神》

Die Walküre

NSO 歌劇 NSO Opera

指揮 呂紹嘉 Shao-Chia Lü, conductor 導演 漢斯-彼得.雷曼 Hans-Peter Lehmann, director 舞台設計 蔡秀錦 Hsiu-Chin Tsai, set design 齊格蒙 沃夫崗.史瓦寧格 Wolfgang Schwaninger, Siegmund 渾丁 安卓亞斯.霍爾 Andreas Horl, Hunding 佛旦 貝拉.裴倫茨 Béla Perencz, Wotan 布倫希德 依姆嘉德.費絲麥爾 Irmgard Vilsmaier, Brünnhilde 國內聲樂家 Singers from Taiwan 聲樂指導 艾希.凡魏 Ansi Verwey, vocal coach 華格納:《女武神》

RICHARD WAGNER: Die Walküre (全劇約 4.5 小時) 國家戲劇院 National Threater

500 800 1200 1800 2400 3000 3600 5000

2006 年NSO以音樂會形式挑戰華格納史詩巨作《尼貝龍指環》全本,本樂季再度由音樂總監呂紹嘉執起指

揮棒進入戲劇院演出《女武神》舞台版。《女武神》看似爭戰氣氛濃厚,卻有極其深刻動人的愛情描寫:兩個 世代、兩段愛情,串起正義與復仇的糾葛迷亂。眾神之王佛旦與齊格蒙的跨越神人界父子情誼,齊格蒙與齊 格琳德的兄妹失散與重聚,布倫希德為愛感動不惜違抗父命,佛旦與愛女在魔火環繞中永遠告別……這錯 綜複雜的關係,不僅僅是愛情的難解,更是親情與家庭關係的放大與矛盾。NSO邀請到1972年為碧納.鮑許 (Pina Bausch)開啟聲名的德國歌劇導演漢斯-彼得.雷曼(Hans-Peter Lehmann),以及多位國內外重量級 歌手在台北推出劇院版《女武神》,再創國內歌劇演出里程碑,也是華格納200歲冥誕紀念年不可錯過的盛 會。

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National Symphony Orchestra 2012/13 Season

室內樂系列

Chamber Music Series

【NSO 室內樂集】馬卡龍與伏特加 【畫說音樂】您說是巴洛克? 【焦點講座】音樂與文學的對話 【探索頻道】

NSO Chamber Concerts ─ Macaron and Vodka Music and Beaux Arts ─ So You Call It“Baroque”? What is Composition? ─ Dialogues between Literature and Music Music Discovery


國家交響樂團 2012/13 樂季手冊

NSO 室內樂集|NSO Chamber Concerts

馬卡龍與伏特加

Macaron and Vodka

17

世紀時即引領世界流行、充滿浪漫意象的法國,其特質可以化為色彩繽紛、味道多樣細膩的馬卡龍,也可變成色調 層次豐富的映象音樂世界。在高緯度的西伯利亞,必須對抗酷寒才得以生存的俄國,在嚴峻的自然環境中,鍛鍊 出剛烈堅毅的意志,一杯伏特加酒,則是他們濃烈性格的代表,同樣的特質在俄國音樂中亦充分展現;法國的馬卡龍配 上俄國的伏特加,是怎麼樣的一個滋味?一個鮮明的對比,卻又在各自的極端中,找到了共通的連結性。NSO獨奏家群將 以「早安!伏特加」、「午安!馬卡龍」、「晚安!帕薩加里亞」三場室內樂音樂會,連結聽覺與味蕾記憶,串連出別出心裁 的法俄風情,讓觀眾品嚐含藏在音樂裡的香淳甜蜜與嗆辣濃烈。

2012/12/1 Sat. 19:30 小提琴 大提琴

李宜錦 連亦先

「晚安!帕薩加利亞」 “Night, Passacaglia” 葛里耶爾:給小提琴與大提琴的八首小品 韓德爾/哈爾沃森:《帕薩加利亞舞曲》 歐內格:小奏鳴曲,為小提琴與大提琴 柯大宜:小提琴與大提琴二重奏

R. GLIÈRE: 8 Pieces, op.39 J. HALVORSEN: Passacaglia (after G. F. Handel) A. HONEGGER: Sonatina for Violin and Cello Z. KODÁLY: Duet for Violin and Cello, op.7

2012/12/21 Fri. 19:30 小提琴 中提琴 大提琴 鋼琴

鄧皓敦、陳偉泓 黃瑞儀、陳猶白 連亦先、黃日昇 葉孟儒

2013/3/1 Fri. 19:30 長笛 雙簧管 單簧管 低音管 鋼琴 豎琴

安德石 王怡靜 朱玫玲 簡凱玉 簡美玲 解瑄

「日安!伏特加」 “Добрый день! Vodka” 蕭斯塔科維契:G小調鋼琴五重奏,作品57 柴科夫斯基:D小調絃樂六重奏,作品70,《佛羅倫斯的回憶》

D. SHOSTAKOVICH: Piano Quintet in G minor, op.57 P. I. TCHAIKOVSKY: String Sextet in D minor, Souvenir de Florence, op.70

「午安!馬卡龍」 “Bon jour! Macaron” 若利韋:《聖誕田園》  法朗謝:木管四重奏  聖桑斯:《綺想曲》  葛令卡:D小調《悲愴三重奏》

A. JOLIVET: Pastorales de Noël for Flute, Bassoon & Harp J. FRANÇAIX: Quatuor pour grande flûte, hautbois, clarinette et basson C. SAINT-SAËNS: Caprice on Danish and Russian Airs , for Flute, Oboe, Clarinet and Piano, op.79 M. GLINKA: Trio Pathetique in D minor for Clarinet, Bassoon and Piano

●演出地點︱國家演奏廳 Natinoal Recital Hall

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室內樂系列

●單場票價︱400


National Symphony Orchestra 2012/13 Season

畫說音樂|Music and Beaux Arts, Lecture Concerts 策劃 主講

陳漢金

您說是巴洛克? So You Call It“Baroque”?

者們經常將17世紀初到18世紀中葉的西方藝術發展泛稱為「巴洛克時期」,然而它卻是一個不穩定而充滿變化的時

學代。「巴洛克風格」雖源自義大利,卻不是「放諸四海皆準」的單一風格;在義大利之外,法國是「反巴洛克」的;英 國則是顯得相當矜持保守,與西班牙強烈的民族色彩、德國新教藝術的精煉深沉大異其趣。  同是「北方」新教的藝術家,侖布蘭特(Rembrandt)的畫作與巴赫的音樂有何類似之處?這種北方的內斂與靈性, 與「南方」舊教式的傾向於「享樂主義」;―例如魯本斯(Rubens)的畫與韋瓦第的音樂―,有何不同?法國路易十四宮 廷中,政治掛帥之下所產生的凡爾賽宮的美術與音樂,它們堅持著古典精神的延續,例如勒布朗(Le Brun)的畫與盧利 (Lully)的音樂,應該相當另類…… * Lectures in Chinese 演講以中文進行

2012/10/7 Sun. 14:30

巴洛克的母邦(一):義大利的聲樂

The Mother Land of Baroque Music — Vocal Italy .演 出 者︱女高音:林孟君 女中音:范婷玉 男高音:張成璞、楊家禹 男低音:林中光       吉他:黃修禮 大鍵琴:蔡佳璇 NSO樂團學苑 .演出曲目︱德普瑞、蒙特威爾第、卡契尼、韋瓦第等作曲家作品       Works by Desprez, Monteverdi, Caccini and Vivaldi etc.

2012/11/3 Sat. 14:30

巴洛克的母邦(二):義大利的器樂

The Mother Land of Baroque Music — Instrumental Italy .演 出 者︱大鍵琴:蔡佳璇 NSO樂團學苑 .演出曲目︱威拉爾特、馬利尼、柯雷里、韋瓦第之作品       Works by Willaert, Marini, Corelli and Vivaldi

2012/12/9 Sun. 14:30

古典精神的堅持:法國的「反巴洛克」 The Anti-Baroque Spirit — France .演 出 者︱女高音:林孟君 女中音:范婷玉、鄭海芸 大鍵琴:蔡佳璇 NSO樂團學苑 .演出曲目︱隆貝爾、盧利、庫普蘭、拉摩之作品       Works by Lambert, Lully, Couperin and Rameau

2013/4/21 Sun. 14:30

矜持與狂放:英國vs.西班牙 Decorum and Verve — England vs. Spain .演 出 者︱女中音:鄭海芸 吉他:黃修禮 大鍵琴:蔡佳璇 NSO樂團學苑 .演出曲目︱拜爾德伯、珀瑟爾、斯卡拉第、歐爾蒂斯等作曲家作品       Works by Byrd, Purcell, Scarlatti and Ortiz etc.

2013/6/2 Sun. 14:30

巴洛克的昇華:德國的新教音樂 The Sublime of Baroque — Germany .演 出 者︱女高音:林孟君 男高音:林健吉 男低音:林中光 大鍵琴:蔡佳璇 NSO樂團學苑 .演出曲目︱韓德爾、畢柏之作品及巴赫《咖啡清唱劇》       Works by Handel, Biber and J. S. Bach's Coffee Cantata

陳漢金 法國巴黎第四大學音樂學博士,目前任教於國立臺灣師範大學音樂系,著有《音樂獨行俠―馬水龍》、《發現貝多芬》、《您說是 「印象派音樂」?―德布西的室內樂與管絃樂》。 ●演出地點︱國家演奏廳 Natinoal Recital Hall

73 Chamber Music Series

●單場票價︱400


國家交響樂團 2012/13 樂季手冊

焦點講座音樂會|What is Composition? Lecture Concerts 策劃 主講

焦元溥

音樂與文學的對話

Dialogues between Literature and Music 音透過焦元溥的精心策劃,在這三場「音樂與文學的對話」講座音樂會中,我們將傾聽作曲家如何以音符說故事、誦 樂與文學,各自精彩又密不可分。可這兩大藝術究竟如何互動,彼此又能激盪出何等刺激火花?

詩歌、講小說—那是晚期貝多芬與米蘭昆德拉的意念融會,托爾斯泰與雅納捷克的跨國對話;蕭邦敘事曲中的朗誦音 調,拉威爾三重奏裡的迴文詩篇;南來北往,自東徂西,既有舒伯特、華格納耳熟能詳的經典名曲,也有李斯特歌德恐怖 美學《蕾諾兒》(Lenore)台灣首演。不只請到NSO卓越團員與客席名家熱情參演,更邀來導演張艾嘉、詩人楊佳嫻、小說 家紀大偉,或表演或討論,帶來前所未見、音樂與文學的美好饗宴。  鑽石陣容、燦爛曲目、靈光乍現、機智交鋒,三場講座音樂會,獻給愛聽音樂愛讀書的你! * Lectures in Chinese 演講以中文進行

2012/10/20 Sat. 14:30

愛聽秋墳鬼唱詩:音樂鬼故事

Tales of Ghosts .演 出 者︱朗讀:張艾嘉(電影人) 小提琴:李宜錦 男中音:王凱蔚 鋼琴:嚴俊傑 .演出曲目︱舒伯特:《魔王》         華格納:〈期限已到了〉,選自《漂泊的荷蘭人》       伊撒意:第二號小提琴奏鳴曲       李斯特:《蕾諾兒》       F. SCHUBERT: Der Erlkönig       R. WAGNER: ‘Die Frist ist um’ , from Der fliegende Holländer       E. YSAŸE: Violin Sonata No.2       F. LISZT: Lenore

2013/3/9 Sat. 14:30

詩中有樂 樂中有詩

Double Helix: Music and Poetry .演 出 者︱對談人:楊佳嫻(詩人)       小提琴:吳庭毓 中提琴:陳猶白 大提琴:黃日昇 鋼琴:林慧英 .演出曲目︱德布西:〈暮色中的聲音與香味〉、〈棕髮少女〉,選自前奏曲       蕭邦:第一號敘事曲       武滿徹:《飛下雲端漫步的鳥兒》       李斯特:《修道院的僧房》         聖桑斯:《骷髏之舞》       拉威爾:鋼琴三重奏,第二樂章       C. DEBUSSY:       Prelude No.4 ‘Les Sons Et Les Parfums Tournent Dans L’ air Du Soir’       Prelude No.8 ‘La Fille Aux Cheveux De Lin’       F. CHOPIN: Ballade No.1       T. TAKEMITSU: A Bird Came Down the Walk       F. LISZT: Die Zelle in Nonnenwerth       C. SAINT-SAËNS: Danse Macabre       M. RAVEL: Trio for Piano, Violin and Cello, 2nd mvt.

2013/5/25 Sat. 14:30

托爾斯泰與米蘭昆德拉:《克羅采奏鳴曲》與《生命中不可承受之輕》 Great Novels in Great Composers’Eyes .演 出 者︱對談人:紀大偉(小說家)       小提琴:李宜錦、鄧皓敦 中提琴:黃瑞儀 大提琴:連亦先 .演出曲目︱雅納捷克:《克羅采奏鳴曲》       貝多芬:第15號絃樂四重奏,作品132       L. JANÁČEK: The Kreutzer Sonata       L. V. BEETHOVEN: String Quartet No.15, op.132

焦元溥 倫敦國王學院音樂學博士。著有《遊藝黑白》、《聽見蕭邦》、《樂來樂想》等八本專書,台中古典音樂台和Taipei Bravo都會生活台 節目主持人。 ●演出地點︱國家演奏廳 Natinoal Recital Hall

74

室內樂系列

●單場票價︱400


National Symphony Orchestra 2012/13 Season

講座音樂會|Lecture Concerts

探索頻道

Music Discovery 想才華洋溢卻又桀驁不馴的普羅科菲夫令人瞠目結舌的音樂巧思在何處,印象派大師德布西如何用音符施展他奇幻、 知道……

多變的「音樂煉金術」,熱情又內斂的布拉姆斯如何把他的心情故事偷偷地在音樂之中傾訴,堪稱歌劇製造機的威爾第 又創造了哪些耳熟能詳、感人肺腑的經典老情歌呢?在這些作品背後又隱藏了哪些不為人知的故事?何以膾炙人口?為 何永垂不朽?「探索頻道」的音樂解密專家―焦元溥、范德騰、何康婷將與大家一同來發掘這些藏在樂譜背後的秘密,在 聆聽美妙的音樂同時,享受「知」的樂趣。  NSO邀請您共赴這結合感性與知性的旅程,一起探究四位作曲家的音樂密碼。 * Lectures in Chinese 演講以中文進行

2012/9/28 Fri. 19:30

叛逆天才—普羅科菲夫 The Striking Rebel — Prokofiev .演 出 者︱主講:焦元溥 小提琴:鄧皓敦 大提琴:蘇酩惠 長笛:安德石 鋼琴:葉孟儒、林慧英 .演出曲目︱普羅科菲夫:D小調觸技曲,作品11 // 為小提琴與鋼琴的五首無言歌,作品35,第一、 二、五首 // 進行曲,選自《三橘之戀》//〈離別前的羅密歐與茱麗葉〉,選自《羅密歐與 茱麗葉》,作品75,改編自芭蕾舞劇的10首鋼琴曲 // 長笛奏鳴曲,作品94,第三、四樂 章 // 大提琴奏鳴曲,作品119,第二、三樂章       S. PROKOFIEV: Toccata in D minor, op.11 // Five Melodies without words for violin and piano, I, II, V, op.35 //‘March’from The Love of Three Oranges (for violin and piano) // ‘Romeo and Juliet before Parting’from Romeo & Juliet, op.75 // Sonata for Flute III, IV, op.94 //

Cello Sonata II, III, op.119

2012/11/18 Sun. 14:30

色彩斑斕的聲音畫家—德布西 The Splendid Sound-Painter — Debussy .演 出 者︱主講:焦元溥 女高音:許育甄 雙鋼琴:王佩瑤、許惠品 大提琴:陳怡婷 .演出曲目︱德布西:《美麗的夜晚》,作品6 // 〈徒勞歲月〉,選自《浪子》,作品57 // 《三首比莉蒂絲 歌曲集》,作品90 // 〈節日〉,選自《夜曲》,作品91(雙鋼琴版,拉威爾改編)// 給雙鋼琴 的《黑與白》,作品134,Ⅱ:緩慢憂鬱的 // 大提琴奏鳴曲,作品135       C. DEBUSSY: Beau Soir, L.6 // ‘Air de Lia: L'annee en vain chasse l'annee!’ from L'enfant

prodigue, L.57 // Trois Chansons de Bilitis, L.90 // Nocturnes, II Fètes, L.91 (two pianos version, arr. by Ravel) // En Blanc Et Noir, Lent. Sombre, L.134 (two pianos) // Cello Sonata, L.135

2012/11/25 Sun. 14:30

約翰們走路—范德騰與老布去散步

Just Keep Talking: A Tale of Two Johnnies .演 出 者︱主講:范德騰 小提琴:陳逸群 中提琴:呂昭瑩 大提琴:韋智盈 .演出曲目︱布拉姆斯:B大調鋼琴三重奏,作品8,第一樂章 // A大調小提琴奏鳴曲,作品100,第二 樂章 // E小調大提琴奏鳴曲,作品38,第一樂章 // D小調小提琴奏鳴曲,作品108,第一 樂章 // F大調大提琴奏鳴曲,作品99,第三樂章 // G小調鋼琴四重奏,作品25,第四樂章       J. BRAHMS: Trio in B major, op.8, 1st mvt. // Sonata for Violin and Piano in A major,

2nd mvt. // Sonata for Cello and Piano in E minor, op.38, 1st mvt. // Sonata for Violin and Piano in D minor, op.108, 1st mvt. // Sonata for Cello and Piano in F major, op.99, 3rd mvt. // Piano Quartet in G minor, op.25, 4th mvt. (Rondo alla Zingarese)

2012/3/31 Sun. 14:30 2013/5/4 Sat. 14:30

歌劇製造機—威爾第(一) & (二) The Opera Jukebox — Verdi (I) & (II) .演 出 者︱主講:何康婷 女高音:羅明芳、林玲慧、李佳蓉 男高音:孔孝誠 男中音:許德崇       鋼琴:蔡世豪 .演出曲目︱威爾第:《茶花女》、《命運之力》、《弄臣》、《假面舞會》、《遊唱詩人》、《阿伊達》等       歌劇選粹。       G. VERDI: Highlights from La Traviata, La forza del destino, Rigoletto, Un ballo in maschera,        Il Trovatore and Aida etc.

●演出地點︱國家演奏廳 Natinoal Recital Hall

75 Chamber Music Series

●單場票價︱400


呂紹嘉時間

Meet Maestro Lü 2012年7月11日(三) 19:30

從德布西的《牧神午後》談起 ─ 樂季巡禮講座音樂會 主 講:呂紹嘉 與談人:焦元溥 演出者:NSO獨奏家群     鋼琴 嚴俊傑、陳丹怡 簧風琴 許惠品     聲樂家 羅明芳、翁若珮、林健吉、巫白玉璽 地 點:國家音樂廳 (請由國家音樂廳G樓1號門售票口進場) ※ 免費入場

2013年6月22日(六)14:00

華格納歌劇《女武神》 主 講:呂紹嘉 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) ※ 憑《女武神》票券、NSO講座PASS進場,座位有限,額滿為止。


認識音樂家

Meet the Musicians


國家交響樂團 2012/13 樂季手冊

自信而精銳 國家交響樂團 「在呂紹嘉指揮下,NSO將19世紀末的音樂傳神地演繹!呂不僅引導出團員的光與熱,更將史特 勞斯(歌劇《艾蕾克特拉》)引人入勝的樂曲發揮地淋漓盡致:絃樂擴散性的逼近,銅管與木管則 浸淫在不安的不和諧音中。」 —英國《歌劇》雜誌 2011/05 「呂紹嘉有種天賦異稟的流動性節奏,他歡愉、緊湊的節奏與NSO堪稱絕配,樂團節奏敏銳、 展現出的動人音質令人刮目相看。」 —《美國唱片指南》雜誌 2011/01 「馬勒第五的第二和第三樂章處理得特別細膩,波濤澎派之中韻律感十足,呂紹嘉和樂手們的 互動幾乎到了水乳交融的的境界。(他與)台灣愛樂在廣州的演出,散發出來的吸引力,是一種對 藝術美好的追求。」 —《亞洲週刊》2010/12 「馬勒第十號交響曲的慢板是很棒的演出,呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素…。NSO 的荀貝格改編自布拉姆斯G小調絃樂四重奏的管絃樂演奏則是光芒四射,叫人嘆為觀止。」 —英國《留聲機》雜誌 2009/09

響樂團在每個國家有不同的形成背景, 在 沒有 西 方 管 絃 樂 傳 統 的 台灣,過 去 樂團都以文化教育體系營運。經過二十 多 年 耕 耘,我們可以 驕 傲 的 說,國家 交 響 樂 團 (NSO),從交響樂、室內樂到歌劇,是一自信、 精銳,有文化意識的台灣藝術代表團隊。 國家交響樂團的前身「聯合實驗管絃樂團」, 是教育部於1986 年集合優秀新生代音樂家,以打 造頂尖交響樂團為目標所成立。2005年成為國立 中正文化中心附設團隊,以「台灣愛樂」立足國 際。歷任常任指揮為Gerad Akoka、Urs Schneider 及音樂總監包括許常惠、張大勝、林望傑、簡文彬 等人。近十年來 NSO 銳意求變,大步朝專業、開 放、勇於創新的職業樂團發展,2010 年 8月,旅德 知名指揮呂紹嘉接任NSO音樂總監,更將樂團打 造為亞洲地區最具指標性樂團之一。 樂團現有 96 名團員,每年樂季演出約 70 場 次。在前任總監簡文彬任內(2001-2007)以演出 作曲家全套交響樂的「發現系列」為系統拓展曲 目,更以歌劇、「永遠的童話」等跨界製作與國內 外劇場菁英合作,開創多項國內先例。2006 年全 本《尼貝龍指環》製作,更寫下亞洲歌劇演出里程 碑。2008-2010樂季,樂團由前底特律及多倫多交 響樂團音樂總監赫比希(Günther Herbig)擔任 藝術顧問暨首席客座指揮,持續為NSO訓練出堅 78

NSO國家交響樂團

實的演奏實力與動人音樂性;其任內之駐團作曲 家及「NSO Call For Score」計畫,提供國人作品 更多發表空間,並進一步提升NSO的國際樂壇聲 望。 在現任音樂總監呂紹嘉擘劃下, NSO 循著既 有基礎, 以多元化的主題貫穿樂季 , 呈現給聽眾 智性與感性兼具, 整合與對比並存的廣博曲目,本 著「精緻、深刻、悸動」的信念琢磨出樂團多變細 膩的音色與深刻撼人的音樂表現。不僅積極拓展 NSO演奏近代管絃樂作品的能力,從新維也納樂 派、20 世紀法國到俄國近代皆有斐然成績,同時 並致力於鞏固精鍊古典經典名作, 也持續推動國 人管絃樂創作之演出、錄音。 20多年來與NSO合作過的客席指揮家:馬捷 爾、巴夏、潘德瑞茨基、史拉特金、羅斯楚波維奇、 柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾 等;及聲樂家芙雷妮、柯楚芭絲、帕瓦洛帝、多明 哥、卡瑞拉斯、庫拉、特菲爾、波伽利;吉他大師耶 佩斯、鋼琴家傅聰、拉羅嘉、提博德、魯迪、波哥雷 里奇、薇莎拉絲、賀夫、巴弗傑、寇瓦謝維契、齊 柏絲坦、洛堤、歐森等;大提琴家馬友友、顧德曼、 麥斯基、朱利安.洛伊韋伯、卡普頌、王健、伊瑟利 斯、繆勒-修特;小提琴家林昭亮、胡乃元、夏漢、 明茲、列賓、希拉蕊.韓、宓多里、絲凱德;擊樂家 葛蘭妮、葛魯賓格等逾六百位音樂家。


National Symphony Orchestra 2012/13 Season

National Symphony Orchestra “ Under the Viennese-trained 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: the strings rippled with menace and the brass and woodwind relished their angst-filled discords." —OPERA 2011/05 “ Lü has an innate gift for flow and pulse. His tight, buoyant rhythms are the perfect match for this orchestra´ s incisive rhythms and astounding ensemble-sine qua non qualities, ..." —American Record Guide 2011/01 “Shao-Chia Lü handled the second and third movements of Mahler´ s No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic sense, rendering a powerful delivery... Lü and Taiwan Philharmonic´ s concert in Guangzhou epitomized the pursuit of artistic perfection." —Yazhou Zhoukan (Asia Week) 2010/12 “ There was also a convincing performance of the Adagio from Mahler´ s Tenth Symphony, Lü ´ s carefully calibrated rendering capturing the angst... The second programme [featured] an utterly dazzling performance of Brahms´ Piano Quartet in G minor arranged by Schoenberg." —Gramophone 2009/09

F

ounded in 1986, the National Symphony

Slatkin, Christopher Hogwood, Oleg Caetani,

Orchestra (NSO), also known as Taiwan

Gennady Rozhdestvensky and soloists, including

Philharmonic, is hailed as one of the best

Midori, Vadim Repin, Hilary Hahn, Baiba Skride,

orchestras in the Asian Region and became an artistic

Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt,

affiliate of the National Chiang Kai-Shek Cultural

Misha Maisky, Evelyn Glennie, Martin Grubinger,

s center for the performing arts, in Center, the nation´

Louis Lorti, K in-Woo Paik, Stephen Hough,

2005. Led by renowned conductor Shao-Chia Lü as

Stephen Kovacevich, and many others.

th

its 5 music director starting August 2010, the NSO

The NSO has extended its artistic reach,

s cultural richness and music has increased the country´

involving in theater and opera productions,

educational strength throughout Taiwan.

such as working with Lin Hwai-Min, the world-

The NSO with 96 members presents a 40-

s renowned choreographer and founder of Taiwan´

week musical season of approximately 70 concerts/

Cloud Gate Dance Theatre, Austrian digital artist

chamber recitals and one to two operas each year. It

Klaus Obermaier, and opera stage directors Tobias

also launched educational programs and outreach

R ichter, Moffatt Oxenbould, and Hans-Peter

projects mostly at its resident venue, the National

Lehmann. In addition to its record-breaking semi-

Concert Hall in Taipei. Tour performances are

stage concert operas Der Ring des Nibelungen , and

regularly offered throughout Taiwan and overseas.

Elektra, the NSO has collaborated with world-class

It has toured to Vienna, Paris, Berlin, Singapore,

opera houses for its multinational productions,

Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong

such as Der Rosenkavalier (Deutsche Oper am

Kong and major cities in China.

Rhein, 2007), Carmen (Royal Opera House Covent

The NSO works regularly with internationally

Garden, Norwegian National Opera and Opera

acclaimed conductors, such as Lorin Maazel,

Australia, 2009) and Madama Butterf ly (Opera

Krzysztof Penderecki, Rudolf Barshai, Leonard

Australia, 2012).

79 National Symphony Orchestra


國家交響樂團 2012/13 樂季手冊

1989 年畢業於法國Ville de Rueil-Malmason Conservatoire National de Region 國立音樂院 最高級班,回國後受聘為NSO樂團首席至今。累積22年豐富的舞台經驗,經常獲邀至大陸 與俄羅斯等地演出。2002年應邀錄製法國三百年繪畫展音樂CD以及音樂會演出,同年5月 與俄羅斯愛樂室內樂團錄製韋瓦第《四季》專輯,2005 年參加花蓮國際藝術節獨奏演出, 2007年以「發現理查.史特勞斯―提琴在炫技」以及2008年「NSO 首席絃樂團―創團 音樂會」淋漓盡致的獨奏琴藝備受肯定。從2007年開始擔任「夏綠 台灣」(Salut Taiwan) 國 際音樂節的音樂總監至今。目前並致力於教學、室內樂及指揮演出。 樂團首席

吳庭毓 Concertmaster

Ting-Yu Wu

樂團首席

李宜錦 Concertmaster

I-Ching Li

Ting-Yu Wu graduated with Soloist Diploma from the Conservatoire National de Region de RueilMalmaison in 1989 and studied violin under Prof. Melle Brignon in France. Upon returning to Taiwan in 1989, he was appointed the concertmaster of Taiwan Philharmonic, a position he still holds today. Having 22 years of experiences appearing on stage with orchestras, Wu has been invited to various countries to perform, including China and Russia. In 2002 he recorded for the French Three-Hundred Years Art Exhibition music CD, as well as performing at the Exhibition´ s concert. In May 2002, he recorded Vivaldi´ s Four Seasons with the Philharmonic Chamber Orchestra of Moscow. In 2005 Wu gave a recital at Hualien International Art Festival. His incisive soloist performance in Heroic Virtuoso in 2007 and “NSO String Ensemble"in 2008, all received critical acclaims. As a soloist with recitals and chamber music activities, Wu is also committed to educate young talents in Taiwan.

2 0 02 年以碩 士 學 術 科 特 優 獎 畢 業 於 新英 格 蘭 音 樂 學 院,同 年 成 為 國 家 交 響 樂 團 副 首 席,2004 年受聘為 樂團首席至今。精湛琴藝屢 獲國際樂壇肯定:Musicorda Concer to Competition首獎、Fischoff International Chamber Music Competition銀牌;亦受邀於泛太 平洋音樂季(1998)、坦格塢音樂季(2000)以及德國什列斯威-霍爾斯坦音樂節(2001)擔 任樂團首席之殊榮。除樂團演奏之外,李宜錦亦致力於推廣現代音樂及涉獵各領域演出,受 邀發表美國現代作曲家 Alan Fletche、第34屆葛萊美得主John Corgliano及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)。應 小提琴家胡乃元之邀成為Taiwan Connection創團成員之一,並參與雲門舞集II《跳 TONE》 及奇美藝術基金會數位典藏計畫示範演出名琴,致力推廣音樂到每個角落。 Having completed Master's degree with academic honor at the New England Conservatory, I-Ching Li started her position at Taiwan Philharmonic first as the associate concertmaster in 2002, and since 2004 became to serve as the concertmaster. Her virtuosic performances had garnered her top prizes at numerous competitions in the States and Asia, both as a soloist and chamber musician. I-Ching Li has performed in music festivals as a soloist, concertmaster, and orchestra section member all over the world, including Tanglewood Music Festival, Pacific Music Festival, Sarasota Summit Music Festival, Schleswig-Holstein Orchestral Academy, Banff Music festival, and many others. She was honored to have worked with great maestros such as Seiji Ozawa, James Levine, Christoph Eschenbach, Lorin Maazel, Wen-Pin Chien, Shao-Chia Lü and among others. She is excited about the prospect of developing her skills as an artist and collaborating with musicians both locally and abroad.

國立台北藝術大學碩士。先後從楊仁傑、徐頌仁以及陳秋盛學習指揮。曾任職高雄市青少年 交響樂團與台大杏林室內樂團等。2006 年獲聘為國家交響樂團助理指揮,指揮 NSO【永遠 的童話】及推廣音樂會演出,如《古典動物園》、《皮爾金—昆蟲的異想世界》、《鼠際大 戰》、《古典音樂 72 變》、《交響奧林匹克》、《音樂航海王》等,均獲好評。求學期間除獨奏 表現優異以外,亦致力於室內樂及樂團演出,曾多次參與個人獨奏及室內樂比賽獲獎,更數次 參加亞洲青少年管絃樂團、台北愛樂管絃樂團等演出,樂團經驗豐富。

助理指揮

張尹芳 Assistant Conductor

Yin-Fang Chang

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NSO國家交響樂團

Ying-Fang Chang is a talented conductor of young generation in Taiwan. Graduated from Taipei National University of the Arts in 2004 with Bachelor's degree in the viola and Master's degree of Fine Arts in orchestral conducting. She learned conducting from Sung- Jen Hsu and Felix Chiu-Sen Chen. Since 2006, Chang has been the Assistant Conductor of the Taiwan Philharmonic. She has led works within the“NSO Forever Tales"series including Carnival of Animals, Peer Gynt in Wonderland and The Mice War. She has been appeared as a conductor with the Kaohsiung Youth Orchestra and HsingLin Chamber Orchestra of National Taiwan University College of Medicine, and received lots of recognition.


National Symphony Orchestra 2012/13 Season

國家交響樂團 音樂總監 桂冠指揮

呂紹嘉 根特.赫比希

樂團首席

吳庭毓 李宜錦 鄧皓敦 張尹芳

樂團副首席 助理指揮 第一小提琴 第二小提琴 中提琴 大提琴 低音提琴 長笛 短笛 雙簧管 英國管 單簧管 低音管 倍低音管 法國號 小號 長號 低音長號 低音號 定音鼓 打擊樂 豎琴 鍵盤

○陳逸群 郭昱麟 林基弘 侯勇光 梁坤豪 陳逸農 卓曉青  方俊人 黃佳頎 李庭芳 賴佳奇 林孟穎 李家豪 ●陳怡茹 ◎孫正玫 吳怡慧 李京熹 黃衍繹 顧慈美 于爾恩  康信榮 李梅箋 鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔 ●黃瑞儀 ◎鄧啟全 ○呂昭瑩 黃雅琪 李靖宜 謝君玲 劉國蘭 呂孟珊 李思琪 陳猶白 蔡秉璋 ●熊士蘭 ◎連亦先 ○韋智盈 呂明美 周幼雯 陳怡婷 林宜嫺 黃日昇 蘇酩惠 ●傅永和 ○周春祥 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕 ●安德石 ◎宮崎千佳 李浚  鐘美川 ●王怡靜 ◎林麗玥 楊舒婷  李明怡 ●朱玫玲 ◎張凱婷 朱偉誼 孫正茸 ●簡凱玉 ◎陳奕秀 高靈風  簡恩義 ●劉宜欣 ◎舒培特 ○黃任賢 國田朋宏 王婉如 ●宇新樂 ◎陳長伯 張景民 吳建銘 ●宋光清 ◎邵恆發 陳中昇  彭曉昀 ●宮西純 ●連雅文 ◎陳廷銓 ●陳哲輝 陳振馨 楊璧慈 ●解瑄 ▲陳丹怡

●首席 ◎副首席 ○助理首席 ▲樂季合約人員 

執行長—邱瑗 企劃製作經理—杜佳舫 公關專案經理—王承禹 企劃行銷 企劃/音樂總監特助—謝祥雯 企劃專員—吳孟珊 劉子瑛 整合行銷專員—陳卜湄 行銷組長—許匯真 行銷專員—林欣儀 陳偉馨 演出行政 人事組長—林碧珠 舞台監督—陳嘉宏 譜務專員—高婉瑜 行政專員—溫慧雯 音樂諮詢—焦元溥

81

National Symphony Orchestra


國家交響樂團 2012/13 樂季手冊

National Symphony Orchestra SHAO-CHIA LÜ Music Director GÜNTHER HERBIG Conductor Laureate TING-YU WU I-CHING LI HAO-TUN TENG YIN-FANG CHANG

Concertmaster Concertmaster Associate Concertmaster Assistant Conductor

FIRST VIOLIN

○Yi-Chun Chen Yu-Lin Kuo Ji-Hung Lin Yung-Kuang Hou Kun-Hao Liang Yee-Nong Chen  Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee ●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 ●Grace Huang ◎Chi-Chuan Teng ○Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Guo-Lan Liu  Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai ●Lana Hsiung ◎Yi-Shien Lien ○Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Li  Mei-Jain Li Jih-Sheng Huang Ming-Huei Su ●Yung-Ho Fu ○Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien  Hsin-Chieh Tsai ●Anders Norell ◎Chika Miyazaki Chuin Lee  Mei-Chuan Chung ●I-Ching Wang ◎Li-Yueh Lin Shu-Ting Yang  Ming-I Lee ●May-Lin Ju ◎Kai-Ting Chang Wei-I Chu Cheng-Jung Sun ●Kai-Yu Jian ◎I-Hsiu Chen Ling-Feng Kao  En-Yi Chien ●Yi-Hsin Cindy Liu ◎Supreeti Ansvananda ○Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang ●Nicolas Rusillon ◎Chang-Po Chen Ching-Min Chang Chien-Ming Wu ●Kuang-Ching Sung ◎Hang-Fat Shiu Chung-Sheng Chen  Hsiao-Yun Peng ●Jun Miyanishi ●Ya-Wen Lien ◎Ting-Chuan Chen ●Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang ●Shuen Chieh △Dan-Yi Chen

SECOND VIOLIN VIOLA CELLO DOUBLE BASS FLUTE PICCOLO OBOE ENGLISH HORN CLARINET BASSOON CONTRABASSOON HORN TRUMPET TROMBONE BASS TROMBONE TUBA TIMPANI PERCUSSION HARP KEYBOARD ● Principal  

◎ Associate Principal ○ Assistant Principal △Season Contracted Musicians

JOYCE CHIOU—Executive Director

SARAH TU— Manager, Planning & Production PAUL WANG—Manager, PR & Development Artistic Planning & Marketing SHELBY HSIEH—Programme Coordinator/ Special Assistant to MD MENG-SHAN WU—Programme Coordinator AMY LIU—Programme Coordinator PU-MEI CHEN—PR & Project Coordinator EMILY HSU— Assistant Manager, Media & Marketing EILEEN LIN—Marketing & Publications Coordinator CINDY CHEN—Marketing & Media Coordinator Production & Administration BIBI LIN—Assistant Manager, Personnel CHIA-HUNG CHEN—Stage Manager BRITTNEY KAO—Librarian WEN WEN—Production & Admin. Coordinator YUAN-PU CHIAO—Concert Dramaturgist

82

NSO國家交響樂團


National Symphony Orchestra 2012/13 Season

認識客席音樂家 MEET THE GUEST ARTISTS 亞美尼亞小提琴家瑟吉.哈察特楊,2000年時以15歲之齡贏得了西貝流士小提琴大賽第一名, 2005年又拿下伊麗莎白女王小提琴大賽首獎;柏林愛樂、皇家大會堂、法國國家交響、倫敦交 響、倫敦愛樂、慕尼黑愛樂及NHK等世界一流樂團經常與他合作。2011/2012樂季重點邀演包 括:班貝格交響、柏林廣播、巴黎管絃以及與阿姆斯特丹小交響樂團世界首演奧赫倫尼的協奏 曲。哈察特楊的錄音由 Naïve發行,曾灌錄西貝流士小提琴協奏曲、兩首蕭斯塔科維契小提琴協 奏曲、蕭斯塔科維契奏鳴曲及法朗克奏鳴曲等;最新發行的CD是巴赫的六首無伴奏奏鳴曲及組 曲。哈察特楊使用的樂器是由日本音樂基金會所出借的1740年「易薩伊」瓜奈里小提琴。 小提琴

瑟吉.哈察特楊 violin

Sergey Khachatryan 2012/9/21

Born in Yerevan, Armenia, Sergey Khachatryan won First Prize in the VIII International Jean Sibelius Competition in Helsinki in 2000, becoming the youngest ever winner in the history of the competition. In 2005 he claimed the First Prize at the Queen Elisabeth Competition in Brussels. Sergey has performed with orchestras such as the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Orchestre National de France, Orchestre de Paris, London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, NHK Symphony in Tokyo, Munich Philharmonic and the Tonhalle Orchestra s 2011-12 season includes concerts with the Bamberg Symphoniker under Herbert in Zurich. Sergey ´ Blomstedt, Rundfunk Symphonieorchester Berlin with Juraj Valcuha, Orchestre de Paris with Andris Nelsons.

1977年生於高爾基,從小學習鋼琴。1986年,因背部受傷,轉而向父親米凱爾.納卡里亞可夫學 習小號。10歲開始參加在聖彼德堡舉行的多項青年音樂家比賽,1991年於波哥雷里奇音樂節的演 出大獲成功,並於同年8月與立陶宛室內管絃樂團於薩爾茲堡音樂節演出。一年後,納卡里亞可 夫獲得大衛杜夫獎的肯定,此後便經常受邀於世界各地主要的音樂廳與音樂節中演出,並與各地 主要樂團合作。2002年獲得德國唱片協會ECHO大獎肯定。納卡里亞可夫在25歲便打破樂界對 小號演奏已知的種種限制;他已發展出個人獨特的聲音,不再只是令人驚奇的超凡技藝;除了擅 長演奏傳統的經典曲目,也不斷開發新作品與尋找新的表現方式。 小號

瑟吉.納卡里亞可夫 trumpet

Sergei Nakariakov 2012/9/29

指揮

簡文彬 conductor

Wen-Pin Chien 2012/10/5 2013/5/31

83 Meet the Guest Artists

Dubbed“The Paganini of the trumpet"by the Finnish press after a performance at the Korsholm Festival, and in 1997“Caruso of the Trumpet"by Musik und Theater, Sergei has developed a unique musical voice, which is, much more than a vehicle for astonishing virtuosity. Born in Gorky, Sergei started to perform with orchestras in major concert halls of the Soviet Union. In 1991 he enjoyed great success at the Ivo Pogorelich Festival in Bad Wörishofen. In August of the same year he made his debut together with the Lithuanian Chamber Orchestra at the Salzburg Festival. In 1992 Sergei was a guest at the“Schleswig . Since then he has appeared in many Holstein Musikfestival"where he was awarded the“Prix Davidoff" s most feted musicians, orchestras of the worlds leading centers of music and collaborated with the world´ and conductors. On Oct. 13, 2002 Sergei Nakariakov received the ECHO Klassik Award on ZDF as instrumentalist of the year from the German Phono-Academy.

畢業於國立臺灣藝術大學鍵盤組,國立維也納音樂暨表演藝術大學指揮碩士。1995年於以 色列榮獲首屆伯恩斯坦指揮大賽特別獎。1996年起擔任德國萊茵歌劇院駐院指揮迄今,並 於1998至2004年擔任日本太平洋音樂節常任指揮。2001至2007年任NSO音樂總監。簡文 彬除以歌劇指揮身分,受邀於奧地利、荷蘭、德國及瑞士等地劇院指揮演出,也客席指揮 包括奧地利、義大利、捷克、俄國、法國、日本、德國、香港及中國等地交響樂團。2009 年與導演Christoph Nel推出荀白克歌劇《摩西與亞倫》新製作,被德國重要媒體及評論譽 為該劇院近十年來最成功的製作。2010年帶領德國萊茵歌劇院於德國魯爾區「2010年歐洲 文化首都」,演出德國作曲家亨策(Hans Werner Henze)歌劇《費朵拉》。2012年受邀指 揮英國愛樂管絃樂團,並擔任奧地利Schwaz現代音樂節開幕音樂會指揮。 Kapellmeister of the Deutsche Oper am Rhein (since 1996/1997 season), Resident Conductor of the Pacific Music Festival in Japan (1998-2004) and Music Director of Taiwan Philharmonic of Taiwan (20012007). Chien graduated from the National Taiwan Academy of Arts summa cum laude (1988) with s degree in conducting at the National University for Music and major in piano, and gained his master´ Performing Arts in Vienna (1994). Chien won the first prize at the International Conducting Competition “La Bottega" , Treviso (1992), Douai (1994), and the only Special Mention in the first Leonard Bernstein Jerusalem International Conducting Competition, Israel (1995). As a guest conductor, Chien has worked with the Wiener Kammeroper, The Nederlands Opera, Hamburgische Staatsoper, Komische Oper Berlin, Opernhaus Graz, Theater Bonn and Grand Théâtre de Genève.


國家交響樂團 2012/13 樂季手冊

1994年出生於台北。曾受教於林柏山、沈英良、李宜錦、陳沁紅,2008年前往美國寇蒂斯音樂院 跟隨小提琴家Ida Kavafian學習。從小即獲得多項全國性及國際性比賽的榮譽,2004年榮獲全國 學生音樂比賽第一名,2006年榮獲曼紐因國際青少年小提琴大賽第三名,2009年榮獲美國費城管 絃樂團協奏曲比賽第一名、西班牙薩拉沙泰國際小提琴大賽第一名及最佳演奏獎,2010年榮獲義 大利帕格尼尼國際小提琴比賽協奏曲最佳演奏獎,2011年榮獲俄國柴科夫斯基國際小提琴比賽評 審特別獎,榮獲2011韓國尹伊桑國際小提琴比賽第一名及最佳詮釋獎,曾受邀與台北市交、台灣 絃樂團、美國費城、西班牙納瓦拉、及國家交響樂團擔任協奏曲獨奏。 小提琴

曾宇謙 violin

Yu-Chien Tseng 2012/10/5

Born in Taipei, Taiwan, Yu-Chien Tseng began playing violin at the age of five and now studies at the Curtis Institute of Music with Ida Kavafian. Yu-Chien is the winner of numerous competitions, including the first prize and the best interpreting prize of Isang Yun International Violin Competition in Korea, and the jury discretionary award in the 14th International Tchaikovsky Competition in Russia. In 2011, one of the winners of the 53rd Premio Paganini International Violin Competition and the best performance of the Paganini Concerto in Italy in 2010, and the first prize winner of the 10th Pablo Sarasate International Violin Competition in Spain and the first prize of the junior division of the Philadelphia Orchestra Albert M. Greenfield Competition in 2009. He has performed as a soloist with the Philadelphia Orchestra, the Navarra Symphony Orchestra in Spain, the Taipei Symphony Orchestra, the Academy of Taiwan Strings and Taiwan Philharmonic in Taiwan.

伊古德斯曼出生於列寧格勒,從未贏過任何比賽,因為他不曾參賽。就讀於曼紐因音樂院期間, 讀完蕭伯納、王爾德及契訶夫的戲劇全集,雖對他的小提琴琴藝並無幫助,但讓他愚蠢地自覺比 那些沒那麼聰明但勤於練習的同儕更高一等。於維也納音樂院師事鮑利斯.庫胥納,在不同的人 分別表示擔憂他的前途後,他展開成功的音樂生涯,為他的絃樂三重奏團「三部曲」演奏、作 曲及編曲。他們為BMG錄製多張專輯,赴好萊塢與奧斯卡金像獎得主漢斯.秦默共事,並與鮑 比.麥克菲林、朱利安.拉赫林及簡琳.詹森同臺演出。在學期間,他邂逅了日後成為「伊古德 斯曼&朱」搭檔的夥伴朱鉉基。他們聯手創作的《來一點夢魘音樂》巡迴各地,逗得觀眾捧腹大 笑。阿雷格西.伊古德斯曼使用由維也納第一銀行慷慨借予的1717年製「聖撒拉弗」小提琴。 小提琴

阿雷格西.伊古德斯曼 violin

Aleksey Igudesman 2012/10/11-13

Igudesman was born in Leningrad. He has never won any competitions, mainly because he has never entered any. During his studies at the prestigious Yehudi Menuhin School, he read the entire plays of t improve his violin playing, but made him Bernhard Shaw, Oscar Wilde, and Anton Chekhov, which didn´ feel foolishly somewhat superior to other less intellectually endowed, yet harder practising, colleagues. After studying with Boris Kuschnir at the Vienna Conservatoire and being told many times by many people that they were rather worried about his future, he embarked on a successful career playing, composing, , recording several CD´ s for BMG, working in Hollywood with and arranging for his string trio,“Triology" Academy Award winner. Igudesman plays on a Santo Seraphin violin from the year 1717, which is kindly loaned to him by ERSTE BANK.

朱鉉基在襁褓時期即展現出喜劇本能,不久之後更顯露出對音樂的愛好。他的父母發現他流連唱 片行數小時,傾聽從莫札特到比吉斯合唱團的音樂(儘管比吉斯合唱團和莫札特很不同,朱鉉基 的父母仍發現他竟能以比吉斯的風格演唱《唐.喬望尼》)。8歲開始學鋼琴,兩年半之後獲得曼 紐因音樂院的入學許可,但他發現同學們不是天才就是神童,讓他不時擔心自己程度太差,會被 退學。事實上,他沒被退學,而是被老師及同學們踢來踢去,沒有老師想教他,也沒有同學想和 他同組,這些痛苦的經驗讓朱鉉基發展出他稱之為「空手道鋼琴」的全新演奏方式。他也了解到 古典音樂世界與音樂精髓不太相關,於是他開始構想如何將古典音樂帶給更多的新聽眾―他在 推出的《來一點夢魘音樂》中終於實現夢想。 鋼琴

朱鉉基 piano

Hyung-ki Joo 2012/10/11-13

84

認識客席音樂家

He showed his first signs of a sense of comedy whilst nappy-changing and shortly thereafter, showed his love for music when his parents would find him at the record store listening for hours to everything from Mozart to Bee Gees. He started piano lessons at the age of eight and a half and two years later won a place at the Yehudi Menuhin School. There, he discovered that he was among geniuses and child prodigies and was convinced he would be kicked out of school, year after year. In fact, he was not kicked“out"but kicked “around"by teachers and fellow students, such as Aleksey Igudesman. After these painful experiences, Joo . He began dreaming of a way to bring this invented a new type of piano playing known as“Karate Piano" great music to a wider and newer audience– a dream which has recently been realized through his show:“A . Little Nightmare Music"


National Symphony Orchestra 2012/13 Season

凱塔尼身兼歌劇與音樂會指揮家,他對於這兩種領域的指揮工作皆投注了相同的關注力。在羅馬 聖西利亞音樂院時,追隨法蘭科.費拉拉學習指揮,並向厄爾馬.拉維那勒學習作曲。其後轉赴 莫斯科音樂院跟隨奇瑞爾.孔德拉辛鑽研指揮,並隨娜潔絲達.尼可拉耶夫學習音樂學;隨後投 入伊利亞.慕辛門下攻讀指揮,畢業於聖彼得堡音樂院。凱塔尼贏得杜林義大利國家廣播電視指 揮大賽,以及柏林卡拉揚指揮大賽,他曾經擔任威瑪德國國家歌劇院首席指揮、法蘭克福歌劇院 資深指揮,並先後成為威斯巴登歌劇院、開姆尼茨歌劇院與羅伯特.舒曼愛樂管絃樂團的音樂總 監。凱塔尼與墨爾本交響管絃樂團錄製的湯斯曼交響曲作品,贏得了2006年與2008年金音叉大 獎。 指揮

奧列格.凱塔尼 conductor

Oleg Caetani 2012/10/19

Oleg Caetani is an opera and concert conductor. He considers these two aspects of his work equally s conducting class and important. At the Rome Conservatory of Santa Cecilia he attended Franco Ferrara´ studied composition with Irma Ravinale. He then went to the Moscow Conservatory to study conducting with Kyrill Kondrashin and musicology with Nadezhda Nikolaev. He graduated from the St Petersburg Conservatory in conducting with Ilya Musin. Winner of the RAI Turin competition and Karajan Competition in Berlin, he started his career at the Berlin State Opera“Unter den Linden"as repetiteur and assistant of Otmar Suitner. Since then he has been Chief Conductor at the German National Theatre in Weimar, First Conductor at the Frankfurt Opera House, Music Director first at the Wiesbaden Opera House, later at the Chemnitz Opera House and of the Robert Schumann Philharmonic Orchestra. His s Symphonies, released by Chandos, have won the Diapason d´ Or in 2006 and three recordings of Tansman´ 2008.

拉錫克出生於克羅埃西亞的札格拉布,成長於薩爾茲堡,曾就讀國立莫札特音樂暨表演藝術大 學。近年來迅速在國際樂壇崛起,英國《留聲機》雜誌盛讚他為一位「不凡、才華橫溢的鋼琴 家,以琴聲打動了群眾」;而美國《紐約時報》曾為其精湛演出評論道:「饒富詩意、優美的音 色,熱烈且興味盎然的樂音,如此真摯!」除了個人獨奏會,拉錫克也頻繁受邀以獨奏家的身分 與樂團合作演出,包括與伊凡.費雪/布達佩斯節慶管絃樂團、彼得連科/倫敦愛樂、萊比錫中 德廣播交響樂團、丹麥國家交響樂團、巴西聖保羅交響樂團等。他在彼得連科指揮下與倫敦愛樂 管絃樂團共同演出的拉赫瑪尼諾夫第二號鋼琴協奏曲音樂會實況錄音,則榮獲2009年德國《古典 回聲》唱片大獎的肯定。 鋼琴

德傑.拉錫克 piano

Dejan Lazić 2012/10/19

Born in Zagreb, Croatia, and grew up in Salzburg, Lazić studied at the Mozarteum. He has quickly established a reputation worldwide as“a brilliant pianist and a gifted musician full of ideas and able to project them persuasively"( Gramophone ). The New York Times hailed his performance as“full of poetic, shapely phrasing and vivid dynamic effects that made this music sound fresh, spontaneous and impassioned."After a highly successful Edinburgh Festival recital, The Scotsman wrote recently:“Dejan Lazić shines like a new star."As recitalist and soloist with orchestra, Dejan Lazić has often played with the Budapest Festival Orchestra, the London Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, MDR Leipzig, Danish National Symphony Orchestra, Orquestra Sinfônica do Estado de São Paulo, BBC Philharmonic Orchestra, and many others. He records exclusively for Channel Classics. His live recording of Rachmaninov Piano Concerto No.2 with London Philharmonic Orchestra under Kirill Petrenko received the prestigious German Echo Klassik Award 2009.

俄羅斯男低音,生於烏法,亞德拉札可夫在烏法國立音樂院取得音樂學位,再於國立莫斯科音樂 院進修。除了在俄羅斯國內獲獎無數外,他擁有贏得卡拉斯聲樂大賽(1995)和拉赫瑪尼諾夫國 際聲樂大賽(1998)首獎之輝煌紀錄。他在職業演唱生涯曾經飾演過的著名歌劇男低音角色難 以計數,其中當以義大利歌劇(威爾第、浦契尼)和俄羅斯民族歌劇曲目最具代表性。例如威爾 第《唐.卡羅》的國王腓力普二世、《阿伊達》的大祭司拉姆菲斯、浦契尼《杜蘭朵公主》裡的 國王帖木兒、穆梭斯基《玻利斯.戈都諾夫》的同名領銜主角等;此外,莫札特《唐.喬望尼》 裡的唐.喬望尼和僕人雷波列洛,白遼士《浮士德的天譴》裡的魔鬼梅菲斯特也都是他的拿手劇 目。 男低音

阿斯卡.亞德拉札可夫 bass

Askar Abdrazakov 2012/10/19

85 Meet the Guest Artists

Askar Abdrazakov was born in Ufa of the Republic of Bashkortostan, Russia. He received his music degree at the Ufa Institute of Arts and then studied at the Moscow Conservatory. In addition to numerous awards in Russia, he also won the first prizes of the Maria Callas Competition in 1995 and the International Sergei Rachmaninov Competition in 1998. He has played countless bass roles in famous operas. The most representative ones are Italian operas (Verdi and Puccini) and Russian folk operas. His career highlights s Don Carlo, Ramfis of Aida, Timur of Puccini´ s Turandot, Boris of Mussorgsky´ s include Philip II of Verdi´ Boris Godunov, the title role and Leporello of Mozart´ s Don Giovanni, and Méphistophélès of Berlioz´ s Faust.


國家交響樂團 2012/13 樂季手冊

出身巴黎音樂世家,以小號主修畢業於喀斯魯音樂院與巴黎國立高等音樂院,1996年獲得巴黎國 立高等音樂院頒贈小號第一獎。2002年參加亞斯本夏日音樂節並事師大衛.辛曼,開始對指揮工 作產生興趣,爾後受教於艾明.喬登,也與伯納德.海丁克、柯林.戴維斯爵士與帕弗.賈維等 人密切合作。蓋柏為當今各大樂團爭相邀請的年輕指揮家之一,經常受邀為歐洲各主要樂團擔任 客席指揮,近期內與許多知名樂團首次合作演出,包括德勒斯登國家管絃、英國BBC、奧斯陸愛 樂、皇家蘇格蘭國家管絃、倫敦愛樂管絃、法國廣播愛樂、及台灣國家交響樂團合作演出。未來 兩年蓋柏也將與許多知名獨奏家包括葛替耶爾.卡普頌、尼可拉斯.阿爾斯達德、法朗克-彼得. 齊瑪曼、娜塔莉.曼費勞等人合作。他合作過的獨奏家包括了尚-伊孚.提鮑德、基頓.克萊曼、 瑟吉.哈察特楊等。 指揮

費比恩.蓋柏 conductor

Fabien Gabel 2012/10/27

A guest conductor of such orchestras as the London Symphony Orchestra, the London Philharmonic Orchestra, the Rotterdam Philharmonic Orchestra, the Orchestre de Paris, the Royal Philharmonic Orchestra, the Orchestre National de France, the Orchestre Philharmonique de Radio-France, the Orchestre Métropolitain de Montréal, Gabel first attracted international attention in 2004 winning the s assistant Donatella Flick competition in London, which subsequently led to his appointment as the LSO´ conductor for the 2004-2006 seasons. Since then, the LSO has engaged him regularly as a guest conductor. The next two seasons will see prestigious debuts for Fabien Gabel with such orchestras as the Staatskapelle Dresden, the BBC Symphony Orchestra, the Oslo Philharmonic, the Royal Scottish National Orchestra. Among the soloists he will work with in these seasons, are Gautier Capuçon, Nicolas Altstaedt, Frank-Peter Zimmermann or Nathalie Manfrino. Fabien Gabel has collaborated with a number of renowned musicians such as Pierre-Laurent Aimard, Jean-Yves Thibaudet, Gidon Kremer and Sergey Katchatryan, among many others. 《留聲機》雜誌讚譽為「大提琴穹倉中的一顆年輕之星」,2001年2月獲頒有法國葛萊美獎之稱 的「音樂之光」的「年度新秀獎」後,卡普頌成為了年輕一代最負盛名的大提琴家之一。在就讀 夙負盛名的國立巴黎高等音樂學院時,即於1999年贏得法國聖占路茲拉威爾音樂學院的首獎,及 土魯斯的納瓦拉大賽冠軍。2000年6月,他贏得國立巴黎高等音樂院的大提琴及室內樂獎,2004 年贏得Burlotti-Buitoni Trust的藝術家大獎。近年演出合作包括:杜達美/洛杉磯愛樂管絃樂團、 杜特華/舊金山及費城管絃、賈維/慕尼黑愛樂、巴黎管絃、鄭明勳/法國廣播愛樂管絃樂團等 等。卡普頌致力於室內樂,並和許多頂尖的音樂家合作演出,例如阿格麗希、巴倫波因、寇瓦謝 維契、普雷特涅夫、齊柏絲坦、拉貝克等,以及和他音樂淵源最深的兄長,也就是知名小提琴家 雷諾.卡普頌。

大提琴

葛替耶爾.卡普頌 cello

Gautier Capuçon 2012/10/27

小提琴

林以信 violin

Joseph Lin 2012/11/2-8

(東北亞巡演)

86

認識客席音樂家

Gautier Capuçon has been called“A young star in the cello firmament"by Gramophone. Since winning the French Victoires de la Musique as“New Talent of the Year"in 2001 he has quickly established himself as one of the leading cellists of his generation. Gautier Capuçon studied in Paris at the Conservatoire National Supérieur de Paris with Philippe Muller, Annie Cochet-Zakine and Christophe Egiziano, as well as Heinrich Schiff in Vienna. In addition to numerous first and second prizes in international competitions, Gautier won the Cello and Chamber Music Prize at the Conservatoire in June 2000 and received a Burlotti-Buitoni Trust award in 2004. His musical experiences progressed greatly while playing in the European Community Youth Orchestra and the Gustav Mahler Jugendorchester, as he was afforded opportunities to work with Bernard Haitink, Kent Nagano, Pierre Boulez, Daniele Gatti, Seiji Ozawa and Claudio Abbado, with whom he has taken part in two European tours. Gautier Capuçon plays a 1701 Matteo Goffriler cello. 林以信以兼具獨奏與室內樂演奏家的身分活躍於國際樂壇。近期於東京三多利音樂廳、台北國家 音樂廳、倫敦威格摩爾音樂廳、阿姆斯特丹大會堂、華盛頓甘迺迪中心等地的演出,皆獲好評。 曾與波士頓交響樂團、新日本愛樂、台灣國家交響樂團、奧克蘭愛樂等樂團合作協奏曲,並經常 參與國際著名音樂節,如萬寶路音樂節、西雅圖室內樂音樂節等。2011年,林以信成為歷史悠 久、享譽國際的茱莉亞絃樂四重奏第一小提琴演奏家。他也是2006年「倫敦國際絃樂四重奏大 賽」首獎得主、「福爾摩沙絃樂四重奏」的創始團員之一。1996年獲得「音樂家協會國際大賽」 首獎,同年並獲得美國「總統藝術家獎」。2001年於第一屆紐西蘭「麥可.希爾世界小提琴大 賽」中獲得首獎。除獲獎無數外,亦有不少的個人錄音作品出版,包括N&F唱片發行的「巴赫與 易沙意無伴奏小提琴奏鳴曲」、Naxos唱片發行的「布梭尼與康果小提琴曲集」等。

An active solo and chamber musician, Joseph Lin´ s performances this past year have taken him to Suntory Hall, the National Concert Hall in Taipei, the Concertgebouw, and the Kennedy Center. He has appeared as soloist with the Boston Symphony, the New Japan Philharmonic, the Sapporo Symphony, the Taiwan Philharmonic and many others. His regular festival appearances include Marlboro, the Seattle Chamber Music Festival, and the Tucson Winter Festival. In 2011, Joseph Lin joined the renowned Juilliard String s new first violinist. Along with the Quartet´ s extensive performing schedule, Mr. Quartet as the ensemble´ Lin teaches violin and chamber music as a faculty member of the Juilliard School. Mr. Lin was a founding member of the Formosa Quartet, winner of the 2006 London International String Quartet Competition. His recordings include the music of Korngold and Busoni on the Naxos label, the unaccompanied works s debut CD released by EMI. of Bach and Ysayë on the N&F label, and the Formosa Quartet´


National Symphony Orchestra 2012/13 Season

澳洲出生的指揮家米爾頓經常受邀於歐洲知名樂團與歌劇院演出。於2004年至2010年擔任德國 耶拿愛樂管絃樂團音樂總監,米爾頓以活潑的指揮風格聞名,為他所指揮的曲目注入一股新的活 力。米爾頓曾與倫敦愛樂管絃、漢諾威北德廣播愛樂、威斯巴登歌劇院管絃、斯圖加特南德廣播 交響、柏林音樂廳管絃樂團、薩爾布呂肯德意志廣播愛樂等合作演出。在新樂季中,米爾頓將首 度與斯圖加特愛樂管絃樂團、匈牙利MAV交響樂團(布達佩斯)、瑞士洛桑室內管絃樂團演出。 米爾頓同時也致力於歌劇指揮工作,近期將會於慕尼黑演出《魔笛》、柏林喜歌劇院演出《蝙 蝠》、以及維也納演出《魔笛》與《茶花女》。米爾頓同時擁有小提琴、指揮、音樂理論、哲學 等碩士學位,及紐約市立大學音樂博士;1999年獲澳洲交響樂團年度指揮家大賽首獎,並於瑪塔 契克國際青年指揮家大賽中獲獎。 指揮

尼可拉斯.米爾頓 conductor

Nicholas Milton 2012/11/24

Of Hungarian and French parentage, Australian-born Nicholas Milton enjoys a flourishing European s most prestigious orchestras and theaters. He conducting career, working with many of the continent´ is renowned for his dynamic conducting style and his fresh and invigorating approach to a repertoire of unusual breadth and variety. General Music Director of the Jena Philharmonic Orchestra from 2004 to 2010, the Germany-based conductor is renowned for his charismatic stage presence and a fresh and s forthcoming engagements invigorating approach to a repertoire of unusual breadth and variety. Milton´ include return visits to the NDR Radiophilharmonie Hannover, Deutsche Radio Philharmonie Saarbrücken, Staatsphilharmonie Rheinland-Pfalz, Dortmunder Philharmoniker, Orchestra della Svizzera Italiana, and the Sydney Symphony, debuts with orchestras including the Stuttgarter Philharmoniker, MAV Symphony Orchestra Budapest, Orchestre de Chambre de Lausanne, and concert tours of Japan and Switzerland. 勒樂是當代公認最卓越的雙簧管演奏家。演奏曲目涵蓋巴洛克到當代作品;經常受邀與柏林愛 樂、德意志交響、維也納交響、及NHK 交響等國際名團協奏演出,並與布列茲、楊頌斯、戴維 斯爵士、鄭明勳、哈丁、薩瓦利許等知名指揮合作。18歲時,即擔任巴黎歌劇院的雙簧管首席, 三年後轉任巴伐利亞廣播交響相同職位至2004年;自2003年起,又擔任歐洲室內樂團的雙簧管首 席。在索尼古典音樂發行了三張專輯,最新的專輯收錄了理查.史特勞斯雙簧管協奏曲及管樂小 夜曲。勒樂相當熱中於室內樂,定期與〈巴黎-巴士底〉八重奏及法國木管六重奏合作;在他的獨 奏會上,經常與豎琴家莫瑞蒂及小提琴家妻子巴蒂雅許薇莉搭檔。從2012-13樂季開始,勒樂將 成為巴黎室內管絃樂團的一員,目前他執教於慕尼黑音樂與戲劇大學。

雙簧管

馮思瓦.勒樂 oboe

François Leleux 2012/11/24

Recognised throughout the world as the best oboist of his generation, François Leleux enjoys an international career appearing with major orchestras and at important venues and festivals performing repertoire from the baroque to newly commissioned works. He has worked with leading conductors such as Pierre Boulez, Mariss Jansons, Sir Colin Davis, Myung-whun Chung, Daniel Harding, Thomas Dausgaard, Wolfgang Sawallisch and Alan Gilbert. From season 2012/13 Leleux will be Artist in Association with the Ensemble Orchestral de Paris. Leleux began his professional career when, aged eighteen, he was appointed Principal Oboe at Opéra de Paris. Three years later he won the solo position in Bayerischer Rundfunk Symphonieorchester, a position he held until 2004. His musical activities are now split between solo appearances, playing/directing, chamber music, recitals and concerts with the Chamber Orchestra of Europe, of which he was appointed Principal Oboe in 2003. He is also a Professor at the Hochschule für Musik und Theater München.

英國皇家音樂院特優演唱文憑,英國皇家音樂院音樂學士學位,國立藝專音樂科畢業。自2000年 返台以來,活躍於國內外歌劇、神劇、藝術歌曲等演唱領域,近期演出包括《修女安潔莉卡》、 《聖馬太受難曲》(台灣首演)、與馬勒第二號交響曲《莎弗》、《鄉村騎士》、古諾的《莊 嚴彌撒》等。2010年間受澳門樂團之邀,參與演出《彌賽亞》,同年並與NSO演出馬勒第四號 交響曲、孟德爾頌第二號交響曲和《詩篇42 篇》等。歌劇演出包括《霍夫曼的故事》、《糖果 屋》、《唐.喬望尼》、《茶花女》、《指環》、《女人皆如此》、《強尼史基基》、《夢遊 女》、《魔笛》、《黛朵與艾涅斯》等。林慈音對藝術歌曲推廣也不遺餘力,除了個人獨唱會之 外,並參與室內樂、講座音樂會,飽受好評。 女高音

林慈音 soprano

Grace Lin 2012/12/8

87 Meet the Guest Artists

Graduated from the Royal Academy in Music in London with performance diploma with distinction, Grace Lin has engaged in various performances and has become one of the most sought-after singers in Taiwan. She has been invited to sing in concerts and operas with Taiwan Philharmonic, Taipei Symphony Orchestra(TSO), Taipei Philharmonic Foundation, Bangkok Opera and MidWales Opera etc. Her most recent performances include Taiwan premier of Bach St. Matthew Passion, Mahler Symphony No. 2, Puccini's opera Suor Angelica. Past performances include Mahler's Symphony No. 4 with Taiwan Philharmonic, Messiah with the Macao Symphony Orchestra, and also Mendelssohn Symphony No. 2 “Lobgesang"and Psalm 42, again with Taiwan Philharmonic and Taipei Philharmonic Chorus. Her operatic performances include: Sapho, Les contes d’Hoffman, Hansel und Gretel, Don Giovanni, Die Walkuere, Das Rheingold, Gianni Schicchi, Cosi fan tutte, La sonnambula, Die Zauberfloete , etc. Apart from concerts and operas, Grace Lin also devoted herself to art songs and recitals and lecture recitals.


國家交響樂團 2012/13 樂季手冊

台灣彰化人。林孟君為美國辛辛那提大學聲樂博士候選人,畢業於國立臺灣師範大學音樂系、國 立臺北藝術大學音樂碩士班,目前任教於實踐大學音樂系以及台北城市科技大學。曾獲2001台北 德文藝術歌曲大賽專業組第四名,奇美文化基金會聲樂類藝術人才培訓獎金,2003年聲協新秀, 教育部公費留學,坦格塢音樂中心聲樂獎學金,美國聲樂教師協會比賽俄亥俄州第一名等獎項。 演出曲目涵蓋巴洛克至當代作品,尤其擅長聲樂室內樂以及現代音樂之詮釋。

女高音

林孟君 Soprano

Meng-Chun Lin

Meng-Chun Lin is currently an adjunct instructor at Shih-Chien University and Taipei Chengshih University of Science and Technology, where she teaches vocal chamber music and liberal arts courses. She is also a candidate of Doctor of Musical Arts in University of Cincinnati. While her repertoire includes music from all historical periods, her specialty is in vocal chamber and contemporary music. Lin has won numerous awards and scholarships, and was chosen to represent CCM in Barbara Cook's masterclass at Zankel Hall in Marilyn Horne Foundation Masterclass Series in 2007. Lin received Masters of Fine Arts from Taipei National University of the Arts in vocal performance, and Bachelor of the Fine Arts from National Taiwan Normal University in vocal performance.

2012/12/8

國立臺灣大學土木工程學系畢業後,蔡文浩赴英國深造聲樂,受教於知名男中音 Brian Rayner Cook。一年之內取得伯明罕音樂院表演及教學文憑,目前旅居倫敦。在英演出歌劇及擔任多齣 神劇與彌撒之獨唱,並應駐英代表處邀請於「旅英傑出音樂家聯合音樂會」中演唱;曾參與現代 舞團 Dance Continuuuum 舞碼《Artsong》中之音樂及舞蹈演出。多次應邀回國演出《費加洛婚 禮》、《後宮誘逃》、《奧泰羅》、《阿依達》、《茶花女》、《卡門》、《杜蘭多公主》、《波 希米亞人》、《托斯卡》、《漂泊的荷蘭人》、《浮士德的天譴》之主要角色;並曾擔任韓德爾 《彌賽亞》、貝多芬《合唱交響曲》、《合唱幻想曲》、白遼士《莊嚴彌撒》等神劇、彌撒、大 型合唱作品之獨唱,均獲好評。 低男中音

蔡文浩 bass-baritone

Wen-Hao Tsai 2012/12/8

After graduating from the National Taiwan University, Wen-Hao Tsai was offered a special scholarship at Birmingham Conservatoire to study with Brian Rayner Cook. Whilst at the Conservatoire, he was awarded three vocal diplomas, two with distinction. He has returned to Taiwan frequently to take part in operas and as bass soloist in oratorios, masses and large scale choral works, and made his London South Bank solo debut in the Queen Elizabeth Hall in 1992 with the London Festival Orchestra. He has sung as bass s cantatas and oratorios, Mozart´ s Requiem, Verdi´ s Requiem , Rossini´ s Petite Messe Solennelle, soloist in Bach´ s Messa Di Gloria, Fauré´ s Requiem, Steiner´ s Crucifixion. He has made recording of Chinese art songs Puccini´ s cantata The Prodigal Son with Formosa with National Taiwan Symphony Orchestra and Mr. Tyzen Hsiao´ Singers.

派松於拜魯特贏得第四屆(2003)華格納國際聲樂大賽首獎。2006年,魯伯特.克利斯提安森在 倫敦《每日電訊報》讚譽「安娜列娜.派松詮釋出一位極其動人的伊索德。」派松近期演出包括 在尼德蘭歌劇院首次擔綱演出莎樂美、布魯塞爾皇家鑄幣局歌劇院飾演《艾蕾克特拉》中的克莉 索緹米絲、哥登堡歌劇院演出《唐.卡羅》中瓦洛亞王朝的伊莉莎白公主、西雅圖歌劇院演出伊 索德、馬德里皇家歌劇院演出莎樂美等。在家鄉瑞典,她幾乎已經和所有主要的歌劇團隊和樂團 合作過,也曾與阿胥肯納吉和雪梨交響管絃樂團、亞倫.吉伯特和斯德哥爾摩愛樂管絃樂團、杜 達美和哥登堡交響管絃樂團及赫伯特.布隆斯泰德和芝加哥交響管絃樂團等合作演出。

女高音

安娜列娜.派松 soprano

Annalena Persson 2012/12/31 & 2013/1/1

88

認識客席音樂家

Annalena Persson studied at the University College of Opera in Stockholm and graduated in June 2002. In 2003, she won the fourth international competition for Wagner voices in Bayreuth. In 2006 Rupert , Annalena Persson has the makings of a magnificent Christiansen wrote in the London Daily Telegraph“ . Her recent opera productions include Salome for Netherlands Opera, Chrysothemis (Elektra) Isolde" at La Monnaie, Brussels, Elisabeth de Valois (Don Carlos) for Gothenburg Opera, and Isolde for Seattle Opera and Salome for the Teatro Real in Madrid. In her native Sweden, Annalena has appeared with most of the major opera companies and orchestras. She has also sung with Vladimir Ashkenazy and the Sydney Symphony Orchestra, the Stockholm Philharmonic Orchestra and Alan Gilbert, the Gothenburg Symphony Orchestra and Gustavo Dudamel, the Chicago Symphony Orchestra with Herbert Blomstedt and with the London Symphony Orchestra at the Daytona Beach Festival, USA.


National Symphony Orchestra 2012/13 Season

曾經榮獲葛萊美獎提名的次女高音維多利亞.利文顧德,在她璀璨的演出生涯當中,包括了在大 都會歌劇院超過百場以上的演出。她所擔綱演出過的角色,包括了歌劇《卡門》、《莎樂美》、 《命運之力》、《霍夫曼的故事》、《弄臣》、《蝙蝠》、《戰爭與和平》、《尤金.奧尼根》、 《穆森斯克的馬克白夫人》、《女武神》、《莉西翠妲》、《伊底帕斯王》、《艾蕾克特拉》、 《聯隊之花》等。維多利亞.利文顧德錄製過的作品,包括了里程碑唱片旗下發行梅諾第《領事 館》,以及在納克索思唱片旗下,與倫敦交響樂團合作錄製並榮獲葛萊美獎提名的《榆樹下的慾 望》。她亦於 Albany唱片旗下發行過個人演唱專輯《穿透之眼》等。 次女高音

維多利亞.利文顧德 mezzo-soprano

Victoria Livengood

Praised for“wonderfully sultry low passages"by the Washington Post. Career highlights for this Grammynominated artist have included over 100 appearances with the Metropolitan Opera - the opera of Carmen, Salome, La Forza del Destino, Les Contes D´ hoffmann, Rigoletto, Die Fledermaus, War and Peace, Eugene Onegin, Lady Macbeth of Mtsensk, Die Walküre, Lysistrata, Oedipus Rex, Elektra, La Señorita Cristina. Her discography includes s The Consul for Chandos, and Grammy-nominated Desire under the Elms with the London Symphony Menotti´ for Naxos. Solo releases include Piercing Eues for Albany Records.

2012/12/31 & 2013/1/1

2006年,黃莉錦以第一獎畢業於法國巴黎國立高級音樂院,於2008年獲得巴黎國立高級音樂院之 演奏家文憑。2006至2007年間,她獲選為法國馬賽歌劇院歌劇工作室成員;2007及2008年,並 成為奇美藝術獎學金的得主。黃莉錦曾獲得第十屆馬賽歌劇聲樂國際大賽評審獎、第四屆 Jaume Aragall國際歌劇聲樂比賽第二名,並與l´ Orchestre Symponie del Vallém於巴塞隆納的音樂廳演 出;2008年,她亦獲選為兩廳院樂壇新秀。2009年,黃莉錦成為瑞士伯恩歌劇工作室成員,並受 邀於法國、瑞士與義大利的歌劇院演唱。

女高音

黃莉錦 soprano

Li-Chin Huang 2012/12/31 & 2013/1/1

Huang graduated from Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), and the first prize (mention trés bien) in France in 2006 and the diploma of performance (Le cycle de perfectionnement) in 2008. Huang gained the Chi-Mei Artistic Scholarship in 2007 and 2008. She won the Prize of Jury in the 10th International Opera Singing Competition in Marseille, and the second prize in the IX Jaume Aragall International Singing Competition in Barcelona, Spain in 2008. As a professional Artistes Lyriques singer, Huang was one of the under-studio members in Centre National Professionnelle d´ (CNIPAL) in Opera House of Marseille in 2006-2007. Huang has performed in several opera houses in France, Switzerland, and Italy. Huang also sang with many renowned conductors such as Kurt Masur, Laurence Equilbey, Lucas Vis, Théodor Guschlbauer, André Bernard, Alain Altinoglu, Renée Jacobs, Nicolai De Figueredo, Sigiswald Kuijken, and Louis Langres.

石易巧曾獲台灣區音樂比賽女中音獨唱第一名、世華聲樂大賽優勝新秀獎、全世界華人聲樂大 賽女子美聲組銀牌、2008永豐愛樂古典菁英獎聲樂組首獎及「NSO最佳潛力新人獎」。石易巧 畢業於台南女子技術學院、東海大學音樂系以及國立台北藝術大學音樂研究所。獲德國國立特 羅辛根音樂院藝術家演唱文憑,並持續攻讀獨奏家文憑,同時也在柏林 Hanns Eisler音樂院就讀 室內樂藝術歌曲碩士班。參與演出的歌劇有《波佩亞的加冕》、《蝙蝠》、《女武神》、《頑童 與魔咒》、《卡門》、《魔笛》、《狄多與安涅亞斯》、《茶花女》,神劇《保羅》以及《彌賽 亞》。曾應邀至香港及日本沖繩藝術大學演唱。現為德國Pforzheim劇院獨唱歌手,自2012年樂 季獲聘為德國Ulm劇院駐院歌手。 次女高音

石易巧 mezzo-soprano

I-Chiao Shih 2012/12/31 & 2013/1/1

89 Meet the Guest Artists

I-Chiao Shih received her Bachelor and Master degrees in vocal performance from Tunghai University and National Taipei University of the Arts. She also received Künstliche Ausbildung in Staatlichen Hochschule für Musik Trossingen in Germany. She is currently studying with Professor Monika Moldengauer for Konzertexam Ausbildung. In 2011 she started Kammenmusik Lieder Duo Master in Berlin Hanns Eisler with Wolfram Rieger. Shih has won many awards including 1st Prize for 2008 Young Artist Showcase Competition and the Prize of“the New Best Musician"for National Symphony Orchestra in 2008, Silver Award for Bel Canto of Chinese International Vocal Competition in New York in 2007, Honorable Mention Award for Mondial Chinese Vocalist Concours Taipei in 2003, and 1st Prize for Alto Solo of Taiwan Students´Music Competition in 2002. Shih has been appointed as an ensemble member of the Theater Ulm since the 2012 season.


國家交響樂團 2012/13 樂季手冊

美國男高音馬克.海勒多次在大都會歌劇院演出,與多明哥、安娜.聶翠柯,以及阿藍尼亞演出 對手戲;在譚盾《秦始皇》以及《羅密歐與茱麗葉》的全球廣播、衛星與電影同步轉播,海勒也 參與演出,並定期在全球重複播放。海勒在世界各地演出歌劇與音樂會。近期值得注意的是,他 在倫敦的皇家阿爾伯特音樂廳,將參與全新製作的威爾第《阿伊達》,演出埃及軍官拉達梅斯一 角,極獲好評。至於錄製唱片方面,海勒曾在多張全球發行的專輯中擔任主角或獨唱,近期錄音 演出約翰.亞當斯的歌劇《尼克森在中國》之毛澤東一角,這張Naxos唱片公司發行之錄音獲得 葛萊美獎提名。

男高音

馬克.海勒 tenor

Marc Heller 2012/12/31 & 2103/1/1

American Tenor Marc Heller has appeared several times at the Metropolitan Opera, opposite Placido Domingo, Anna Netrebko, and Roberto Alagna, in worldwide Radio, Satellite and Cinematic simulcasts of s The First Emperor and of Romeo et Juliette, re-broadcast regularly internationally. performances of Tan Dun´ Mr. Heller has sung operas and concerts all over the world. Recently of note, he appeared as Radames in s Aida in a brand new production at the Royal Albert Hall in London to great critical acclaim. As a Verdi´ recording artist, Mr. Heller has appeared as principal or solo artist on several internationally distributed albums, the latest of which is as Chairman Mao in John Adams´Nixon in China , available on Naxos, only the second recording ever done of the opera, Grammy nominated for its production.

林健吉為花蓮縣阿美族原住民,師從於西班牙籍女高音Luisa Maria Genovese,曾參與國內外歌 劇製作《塞爾維亞的理髮師》、《指環》、《唐.喬望尼》、《魔笛》、《無人島》、《在阿爾 及利亞的義大利女郎》、《玫瑰騎士》、《莎樂美》等十餘齣歌劇之主要角色。2011年間參與德 國哈根市立歌劇院演出《杜蘭朵》歌劇音樂會,中華民國聲樂家協會「百年系列—歌劇選粹: 《波希米亞人》」(演出魯道夫),兩廳院歌劇工作坊之馬斯奈歌劇《莎弗》,與指揮簡文彬/台 南藝大術大學歌劇選粹《風流寡婦》,以及高雄春天藝術季與法國默劇大師Phlilippe Bizot及對位 室內樂團共同演出。畢業於東海音樂研究所,曾於東華大學教授聲樂法文語韻,曾獲中華民國聲 樂家協會第一屆年度新秀。 男高音

林健吉 tenor

Claude Lin 2012/12/31 & 2013/1/1 2013/5/31

Claude Lin is an indigenous from Amis in Hualien, Taiwan, during his time in Europe, studied with Spanish soprano Luisa Maria Genovese. In 2000, he made his opera debut as Count Almaviva of Il Barbiere di silvigila with the National Taiwan Symphony Orchestra. Since then he has been seen in many opera productions in both Taiwan and Germany, including the Ring cycle, Don Giovanni, The Magic Flute, L’isola disabitata -Gernando, L’italiana in Algeri-Lindoro, Rosenkavalier, and Salome. In addition to opera, Lin also s Ninth symphony, Samuel Adler´ s Oratorio Choose life, sings in many symphonies including Beethoven´ s Elijah, Mozart´ s Requiem . Lin was named the Special Prize Hans Gabor Belvedere singing Mendelssohn´ competition in Wien 2005, the finalist in New voice at Yokosuka, the 19th and 20th Chi-Mei Arts Award, the new-artist award association of vocal artists of R.O.C. 2000.

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

巫白玉璽 baritone

Wu Bai-Yu-Hsi 2012/12/31 & 2013/1/1

90

認識客席音樂家

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


National Symphony Orchestra 2012/13 Season

艾瑟羅德現為法國羅亞爾省國立管絃樂團音樂總監;2011/12樂季開始,米蘭威爾第交響亦聘請 他為首席指揮。指揮過的樂團包括柏林廣播交響、漢堡交響、萊比錫布商大廈管絃、德勒斯登愛 樂、巴黎管絃、國立里昂管絃、英國皇家愛樂、斯德哥爾摩皇家愛樂、丹麥國家交響、奧斯陸愛 樂、瑞典廣播管絃、里斯本交響、維也納廣播交響、華沙室內樂團、美國國家交響、洛杉磯愛 樂、費城管絃、芝加哥交響、NHK 交響、京都交響、上海交響等樂團。艾瑟羅德曾接受伯恩斯 坦的指揮訓練,1988年從哈佛大學畢業;1996年赴俄國聖彼得堡音樂院進修,跟隨俄國指揮教父 穆辛研習。

指揮

約翰.艾瑟羅德 conductor

John Axelrod 2013/1/13

With an extraordinarily diverse repertoire, innovative programming and charismatic performance style, s leading conductors, and is sought after John Axelrod continues to increase his profile as one of today´ by orchestras throughout the world. After a successful five-year tenure as Music Director and Chief Conductor of the Lucerne Symphony Orchestra and Theater, and the election as Music Director of the Orchestre National des Pays de la Loire (ONPL), based in Nantes and Angers with more than 10,000 l´ subscribers, in April 2011 John Axelrod was appointed Principal Conductor of Orchestra Sinfonica , beginning with the 2011-2012 season for a minimum three-year commitment. di Milano“G.Verdi" Since 2000, John Axelrod has conducted over 130 orchestras, most of which include multiple repeat engagements, emphasizing both his success and European credibility in the core classical repertoire. Such prestigious orchestras include Leipzig Gewandhaus Orchestra, Dresdner Philharmonic, Orchestre de Paris, London Philharmonia Orchestra, Salzburg Mozarteum, and Sinfonia Varsovia, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony and NHK Symphony Orchestra Tokyo among many others.

史岱費爾德出生於1980年,13歲就讀於法蘭克福音樂院,拜在名師納托錢尼門下。2002年時成 為首位拿下萊比錫國際巴赫大賽冠軍的德國鋼琴家,中斷了大賽首獎從缺 14 年的紀錄。除了在 歐洲各個重要音樂廳巡迴演奏,史岱費爾德曾與慕尼黑愛樂、倫敦皇家愛樂、新日本愛樂、薩爾 茲堡室內樂團、海牙愛樂、德勒斯登國家管絃等樂團合作演出。史岱費爾德的錄音由索尼古典發 行,2003年發行的首張專輯為巴赫的《郭德堡變奏曲》,立即在德國古典音樂排行榜竄升至第一 名的位置。2004年10月,史岱費爾德被《古典回聲》授予古典專輯之「年度青年藝術家」獎項。 2005年獲頒《古典回聲》之「年度獨奏錄音」獎;2007年「最佳協奏曲錄音」獎;2008年,他 的舒伯特奏鳴曲獲《古典回聲》「最佳 19世紀作品錄音」獎項。 鋼琴

馬丁.史岱費爾德 piano

Martin Stadtfeld 2013/1/13

Stadtfeld (b. 1980) was only 13 when he enrolled at the Musikhochschule Frankfurt to study with Lev Natochenny. He created a stir in 2002 when he became the first German pianist to win the International Bach Competition in Leipzig. First prize in this prestigious contest, which had not been awarded for 14 years, opened the doors to the leading Bach festivals (Ansbach, Stuttgart, Köthen) for the young artist, as well as to other important music festivals. He has played in orchestral concerts together with the Munich s Royal Philharmonic Orchestra, Camerata Salzburg, the Salzburg Mozarteum Philharmonic, London´ Orchester and the Dresden Staatskapelle. Martin Stadtfeld records exclusively for Sony Classical. His début s Goldberg Variations was released in 2003 to effusive praise from the critics. In October CD with Bach ´ , and 2004 Martin Stadtfeld was awarded the“Echo Klassik"prize for this CD as“Young artist of the year" . in 2005, another“Echo Klassik"prize for the“Solo recording of the year"

白建宇是美國納姆伯格(Naumburg)獎得主、也是布梭尼鋼琴大賽金牌。他幾乎已與世界上所 有重要樂團合作過,也是首位獲中國政府正式邀請演出的韓國音樂家。白建宇的曲目廣泛,由巴 赫到史托克豪森、布梭尼到斯克里亞賓、李斯特到梅湘,幾乎無所不能。白建宇灌錄的普羅科菲 夫全套鋼琴協奏曲的錄音獲得1993年度法國「金音叉獎」及Nouvelle Academie du disque獎;曾 為2000年的「巴赫年」錄製布梭尼改編巴赫管風琴曲,他的佛瑞鋼琴作品集並席捲法國所有唱片 獎項。白建宇現擔任法國迪拿的「翡翠海岸音樂節」藝術總監,2000年法國政府頒授「藝術及文 學部級騎士勳章」殊榮。

鋼琴

白建宇 piano

Kun-Woo Paik 2013/2/28

91 Meet the Guest Artists

Kun-Woo Paik is considered one of the most important pianists of his generation. He is the winner of the Naumburg and Gold Medallist at the Busoni International Piano Competitions. Paik has performed with the most important orchestras all over the world. He was the first Korean artist to be officially invited by the Chinese government. His repertoire is extensive from Bach to Stockhausen, from Busoni to Scriabin, or" from Liszt to Messiaen. His complete Prokofiev Piano Concerto recording received both the“Diapason d´ of the year in 1993 and“Nouvelle Academie du disque"Award in France. As an exclusive Decca artist, to s year in 2000, he recorded Busoni´ s Transcriptions of Bach´ s organ works followed by an celebrate J.S Bach´ s Piano works, which won all the major prizes in France. Kun Woo Paik lives in Paris, and album of Fauré´ is the Artistic Director of the Emerald Coast Music Festival in Dinard, France. He was made the“Chevalier ordre des arts et des lettres"by the French Government in 2000. de l´


國家交響樂團 2012/13 樂季手冊

巴佛傑畢業於巴黎音樂學院,師事桑康,後追隨艾爾德門與巴許基洛夫。1995年與指揮大師蕭堤 爵士相識,同時首次與巴黎管絃樂團合作演出。1986年在科隆奪得國際貝多芬大賽首獎,並於 范克萊本國際鋼琴大賽中獲得葛魯泰室內樂獎。巴佛傑為目前國際樂壇聲譽卓著的重要鋼琴家之 一,演奏風格雅致,音樂涵養深厚,演奏曲目涵蓋了海頓、貝多芬、巴爾托克、普羅科菲夫,以 及曼托凡尼與維德曼等當代作曲家作品。巴佛傑灌製過為數眾多的唱片,他所錄製的海頓作品, 被《世界音樂雜誌》選為「150張史上最佳鋼琴演奏唱片」之一。巴佛傑目前為Chandos旗下音樂 家,他與指揮托特里耶及BBC交響樂團錄製的德布西與拉威爾作品專輯,榮獲2011《留聲機》大 賞。 鋼琴

尚-艾弗藍.巴佛傑 piano

Jean-Efflam Bavouzet 2013/3/16 & 17

French pianist Jean-Efflam Bavouzet was introduced to Sir Georg Solti in 1995, who invited him to give s last discovery. In 1986 his debut with the Orchestre de Paris; Bavouzet is considered as the Maestro´ Bavouzet took the first prize in the International Beethoven Competition in Cologne. He has also been awarded the Steven de Groote Chamber Music Prize at the Van Cliburn Competition, and is a Professor for Life in the Piano Department of the Hochschule für Musik in Detmold, Germany. Bavouzet combines a rare elegance and clarity in his playing with a deep and thoughtful musicality. His insatiable enthusiasm and artistic curiosity has led him to explore a repertoire ranging from Haydn, Beethoven, Bartok and Prokofiev to contemporary works by composers such as Bruno Mantovani and Jörg Widmann. Jean-Efflam Bavouzet received a Gramophone Award in 2011 for his recording of works by Debussy and Ravel (with the BBC Symphony Orchestra and Yan Pascal Tortelier).

梅耶出生於德國中部,曾於斯圖加特和漢諾威習樂,分別師事赫曼和戴因策。畢業後曾在巴伐 利亞廣播交響樂團工作,之後放棄柏林愛樂的工作合約,轉入單簧管獨奏領域。歷經近 30 年的 積累和努力,她已成為世界各大音樂舞台與頂尖樂團演奏邀約的主要對象,倫敦、維也納、柏 林愛樂、芝加哥交響樂團等都列名其內。又因她個人特別偏愛室內樂曲,她曾經成立室內樂團 體(1983 & 1988),投注心力在室內樂演出和EMI唱片錄音,並因此獲獎無數,亦獲布拉姆斯 協會獎(2001)以及八次德國《古典回聲》大獎肯定,最近更獲得法國政府頒發藝文騎士勳章 (2010)。除了多次擔任現代作曲家單簧管作品首演外,她近年在跨界爵士樂演奏方面也多有涉 獵。1993年成為呂貝克音樂院教授至今。 單簧管

莎賓.梅耶 clarinet

Sabine Meyer 2013/3/24

Sabine Meyer is one of the world´ s most renowned instrumental soloists. Born in Crailsheim, Germany, she studied with Otto Hermann in Stuttgart and Hans Deinzer in Hanover, then embarked on a career as an orchestral musician and became member of the Bavarian Radio Symphony Orchestra. For almost a quarter of a century, numerous concerts and broadcast engagements led her to all musical centers of Europe as well as to Brazil, Israel, Canada, Africa and Australia, and, for twenty years, equally regularly to Japan and the USA. Meyer has given guest performances with all the top-level orchestras in Germany and has s leading orchestras such as the Vienna Philharmonic, the Chicago Symphony been engaged by the world´ Orchestra, the London Philharmonic Orchestra, the NHK Symphony Orchestra Tokyo, the Berlin Philharmonic Orchestra as well as numerous additional ensembles. Sabine Meyer has been appointed to a professorship at the Hochschule für Musik in Lübeck since 1993.

關琦安現為美國哈特福交響樂團的第十任音樂總監。近期來自美國的演出邀約包括巴爾的摩、舊 金山、底特律、西雅圖、密爾瓦基、北卡羅來納、佛羅里達、路易斯維爾管絃樂團,及紐約市立 芭蕾、紐約市立歌劇院等;國際間的邀約則有英國波恩茅斯交響、瑞士羅曼德交響、香港愛樂和 墨西哥猶加敦交響等樂團。畢業於美國史密斯學院,擁有伊利諾大學音樂碩士及琵琶蒂音樂院演 奏文憑,是卡拉揚指揮獎學金首位女性得主,曾任西雅圖交響樂團副指揮,紐約市立芭蕾舞團駐 團藝術家,巴爾的摩歌劇院助理指揮等職務。展望關琦安本樂季最新的演出動態,除了指揮哈特 福交響樂團的新樂季節目之外,還將首次指揮海牙愛樂、丹麥皇家管絃及國家交響樂團。關琦安 指揮紐西蘭交響樂團的錄音將於2012年1月由Naxos唱片發行。 指揮

關琦安 conductor

Carolyn Kuan 2013/4/13

92

認識客席音樂家

Carolyn Kuan is increasingly recognized as one of the most exciting, innovative and outstanding conductors of her generation. Newly appointed the 10th Music Director of the Hartford Symphony s recent North America engagements have included concerts with the Baltimore, San Orchestra, Ms. Kuan´ Francisco, Detroit, Seattle, Milwaukee, North Carolina, and Toledo symphonies; the Florida and Louisville orchestras; the New York City Ballet; and the New York City Opera. Recent international engagements have included concerts with the Bournemouth Symphony, Orchestre de la Suisse Romande, Hong Kong Philharmonic, and Orquesta Sinfónica de Yucatán. In her debut album to be released in January 2012, Ms. Kuan conducts the New Zealand Symphony Orchestra for the Naxos label.


National Symphony Orchestra 2012/13 Season

嘉碧妲2004年在葛濟夫指揮下與維也納愛樂首度合作,立即引起國際樂壇矚目。出生於阿根廷 哥多華,嘉碧妲10 歲時即在比賽中脫穎而出,之後在顧德曼大提琴比賽、柴科夫斯基大賽及慕 尼黑大賽中連續奪獎。她是史上最年輕的Aargau獎(瑞士最重要的藝術大獎)得主,也是阿根廷 KONEX 獎得主;2010年獲選為《留聲機》雜誌之年度新秀。近期,她的艾爾加大提琴協奏曲獲 得《古典回聲》大獎,與慕尼黑愛樂灌錄的蕭斯塔科維契第二號大提琴協奏曲也博得樂界極高讚 譽。嘉碧妲與世界各地的指揮和樂團合作,如:伯明罕市交、英國皇家愛樂、法國國家廣播、捷 克愛樂、俄國國家管絃、費城交響、底特律交響、首爾愛樂等。2005年起任教於瑞士的巴賽爾音 樂院。嘉碧妲目前使用拉恩文化基金會提供的1759年G.B. 瓜達尼尼大提琴。 大提琴

修兒.嘉碧妲 cello

Sol Gabetta 2013/4/13

Internationally acclaimed since her 2004 debut with the Wiener Philharmoniker and Valery Gergiev and winner of the Crédit Suisse Young Artist Award, cellist Sol Gabetta already holds several impressive awards. Born in Cordoba, Argentina, she won her first competition at the age of ten. This was soon followed by the Natalia Gutman Award and commendations at the Moscow Tchaikovsky Competition as well as the ARD International Music Competition in Munich. A Grammy Award nominee, Sol Gabetta became the youngest award winner of the Aargau Kulturpreis in 2008, one of the most important arts prizes in s KONEX prize and, in 2010, received the renowned Switzerland. She has also been awarded Argentina´ Gramophone Young Artist of the Year Award. Sol Gabetta plays one of the very rare and precious cellos by G.B. Guadagnini from 1759. She has taught at the Basel Music Academy since 2005.

曾獲葛萊美獎提名的曼陀林音樂家艾維.艾維塔,被《紐約時報》讚許為「獨特而敏銳的演 奏」,他是全球最令人期待、最具冒險精神的年輕音樂家之一。他透過技巧卓越的演奏與令人期 待的新曲目,致力於為曼陀林建立嶄新的傳統。曾以獨奏家的身分與以色列愛樂、舊金山室內樂 團,以及柏林交響樂團合作,並與羅斯托波維奇、賽門.拉圖爵士、菲利浦.安特蒙等指揮家同 台演出。艾維塔曾應邀到美國坦格塢、瑞士琉森、義大利斯波萊托與拉文納夏日音樂節演出。艾 維.艾維塔獲獎無數,包括2008年與大衛歐洛夫斯基三重奏的錄音獲得德國的《古典回聲》大 獎,還有以色列獨奏家最重要的全競賽-阿維夫比賽。艾維.艾維塔畢業於耶路撒冷音樂學院與 義大利帕多瓦音樂學院。 曼陀林

艾維.艾維塔 mandolin

Avi Avital 2013/4/19

Praised by The New York Times for his“Exquisitely sensitive playing" , Grammy nominee mandolinist Avi s most exciting musical entrepreneurs. Avi Avital has Avital has been recognized as one of the world´ performed widely in Israel, Europe, the US, South Africa and Asia in venues including Carnegie Hall and Lincoln Center in New York, Berlin Philharmonie Hall and Wigmore Hall in London. He has played as soloist with leading orchestras across the globe, including the Israeli Philharmonic Orchestra, National Symphony Orchestra of Latvia and the Berliner Symphoniker, collaborating with prominent musicians including Sir Simon Rattle, Dawn Upshaw, Giora Feidman, Frank London and others.

尚恩.夏那漢將他從世界各地學來的擊鼓傳統,結合他在爵士、搖滾與西方藝術音樂的背景,培 養出他獨特又大受好評的風格。從2000年開始,尚恩.夏那漢與馬友友組成曾獲葛萊美獎提名的 「絲綢之路」樂團,而其中兩張專輯也展現了他的編曲技巧。他的編曲讓北美、歐洲與亞洲的音 樂會觀眾為之瘋狂、欲罷不能。馬友友的節慶專輯DVD《喜悅與和平之歌》也可以欣賞到他的演 奏,而這張專輯後來獲得葛萊美獎。尚恩.夏那漢參加過北美、歐洲與亞洲的電視與廣播節目, 包括《大衛賴特曼》、《柯伯報告》,以及《早安美國》。他曾在世界各地大學授課,包括普林 斯頓、哈佛與紐約大學。他擁有伊士曼音樂學院學士以及哈特音樂碩士學位。

打擊樂

尚恩.夏那漢 percussion

Shane Shanahan 2013/4/19

93 Meet the Guest Artists

Since 2000, Shane Shanahan has been touring around the globe performing with Yo-Yo Ma as an original member of Grammy-Nominated Silk Road Ensemble. He can also be heard and seen on Mr. s Grammy Award winning holiday CD/DVD release,“Songs of Joy And Peace."He has performed Ma´ and/or recorded with Philip Glass, Alison Krauss, Deep Purple, Jordi Savall, Sonny Fortune, Fantasia, Chaka Khan, and Glen Velez, among others. He was also one of two featured musicians in Sam Medes´ 2010 Bridge Project. He has taught and presented workshop at universities around the world including s Degree from the Eastman School of Music and Princeton, Harvard, and NYU. He received his Bachelor´ s Degree from The Hartt School. his Master´


國家交響樂團 2012/13 樂季手冊

阿雷席夫為聖彼得堡愛樂管絃樂團終生指揮,於1982年贏得卡拉揚指揮大賽首獎而開啟了他在歐 洲各主要音樂廳指揮的大門。他對俄國音樂界的貢獻,獲得俄羅斯政府封為「人民的藝術家」。 他於2001-2010年擔任愛沙尼亞國家交響樂團藝術總監,並獲頒愛沙尼亞國家獎章,以表彰他於 任期間的藝術成就。此外,亦與聖彼得堡愛樂管絃樂團巡迴至美國、德國、以及法國等地的知名 音樂廳。除了與俄國頂尖樂團合作演出外,阿雷席夫也曾與阿姆斯特丹皇家大會堂管絃樂團、鹿 特丹愛樂管絃樂團、德勒斯登愛樂管絃樂團、斯圖加特愛樂管絃樂團、哥本哈根愛樂管絃樂團、 柏林交響樂團、巴爾的摩交響樂團、利物浦皇家愛樂管絃樂團、BBC蘇格蘭交響樂團、新日本愛 樂管絃樂團等合作演出。 指揮

尼可萊.阿雷席夫 conductor

Nikolai Alexeev 2013/4/27 & 28

Nikolai Alexeev is the permanent conductor of the St. Petersburg Philharmonic Orchestra, position succeed from Mariss Jansons. After winning the first prize on Herbert von Karajan Competition in Berlin (1982) he has been a very demanded conductor in many countries with many prominent orchestras. For s Artist of his fruitful work and touching music-making Nikolai Alexeev has been given a title of People´ the Russian Federation. For his work as the Music Director of the Estonian National Symphony Orchestra s most (2001-2010), he was awarded the State Prize of the Republic of Estonia for bringing Estonia´ prominent orchestra to a completely new level. Besides working with the top Russian orchestras Nikolai Alexeev has conducted Royal Concertgebouw Orchestra, Rotterdam, Dresden, Stuttgart and Copenhagen Philharmonic Orchestras, Berlin, Göteborg and Baltimore Symphony Orchestras, Liverpool Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, New Japan Philharmonic and many others.

拉貝克姊妹由母親啟蒙學習鋼琴,1968 年自巴黎音樂院畢業後就搭檔演出,在鋼琴重奏領域中成 為國際樂壇最炙手可熱的組合。她們不斷超越自我,曲目從古樂到爵士,從巴洛克到貝里歐,無所 不包,更積極催生大量創作/改編曲目供鋼琴重奏演出,大幅拓展鋼琴重奏的表現可能,是有史以 來演奏最精湛、影響力最巨大的鋼琴重奏演奏家。拉貝克姐妹以精湛的技巧和無所比擬的默契聞 名樂壇,和全世界著名樂團(如柏林愛樂、維也納愛樂、倫敦交響、巴伐利亞廣播、萊比錫布商大 廈、史卡拉愛樂與美國五大樂團)與諸多頂尖指揮(如拉圖、沙羅年、柯林.戴維斯、畢契可夫等) 皆定期合作。除了演奏與錄音,她們更成立拉貝克基金會(The KML Foundation),為鋼琴重奏曲 目以及音樂教育持續貢獻。她們最新計畫是「低限主義之夢想屋」,也歡迎愛樂者造訪她們的網站 www.labeque.com。

鋼琴

拉貝克姊妹 piano

Katia & Marielle Labèque 2013/4/27 & 28

Katia and Marielle Labèque are sibling pianists renowned for their ensemble of synchronicity and energy. Daughters of Ada Cecchi (who was, herself, a pupil of Marguerite Long), Katia and Marielle had a childhood filled with music. They are regular guests with the most prestigious orchestras such as the Berlin Philharmonic, Bayerischer Rundfunk, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Leipzig Gewandhaus, London Symphony, London Philharmonic, Los Angeles Philharmonic, Dresden Staatskapelle and Vienna Philharmonic. They launched the KML Foundation (www.fondazionekml.com) aimed at furthering research and developing awareness of the duo piano repertory through meetings between artists of all fields. The Labèques created KML Recordings to reflect their aspiration to build a bridge crossing all aspects of contemporary creation.

賀普於英國皇家音樂院師事俄國著名小提琴教育家布隆,為有史以來最年輕的美藝三重奏成員。 倫敦《觀察家》周報稱為「自杜普蕾之後,最令人激動的英國絃樂演奏家」。賀普為DG唱片的 簽約藝術家,獲得無數次葛萊美獎提名,也贏得英國古典音樂BRIT大獎以及五座《古典回聲》 音樂獎項。賀普經常以獨奏家的身分指揮室內樂團演出,也經常參與世界各地著名的音樂節。他 跟波士頓、芝加哥、多倫多、亞特蘭大、底特律、達拉斯、柏林、伯明罕、德勒斯登、倫敦、以 色列、莫斯科、奧斯陸、巴黎等地的交響樂團一起合作。賀普為美國薩瓦那音樂節的副音樂總 監,德國梅克倫堡夏日藝術節的藝術總監,他也是三本暢銷書的作者。

小提琴

丹尼爾.賀普 violin

Daniel Hope 2013/5/17 & 18

94

認識客席音樂家

British violinist Daniel Hope has toured the world as a virtuoso soloist for more than twenty years, and as the youngest ever member of the Beaux Arts Trio during its last six seasons. He is renowned for his musical versatility and creativity and for his dedication to humanitarian causes. Hope performs as soloist with the s major orchestras and conductors, directs many ensembles from the violin, and plays chamber music world´ in a wide variety of traditional and new venues. Raised and educated in England, Hope earned degrees at s the Royal Academy of Music, where he studied with renowned Russian pedagogue Zakhar Bron. London´ Observer called Hope“the most exciting British string player since Jacqueline du Pré,"and recent New York Times reviews summarized his unique attributes:“... a violinist of probing intellect and commanding style… In a business that likes tidy boxes drawn around its commodities, the British violinist Daniel Hope resists categorization."


National Symphony Orchestra 2012/13 Season

曾被歐洲媒體譽為「中國的奇蹟」的鋼琴家陳必先,9歲時成為台灣第一位以音樂天才兒童身分 赴德國科隆深造。21歲時獲得慕尼黑ARD聯合廣播公司國際比賽首獎,1972年參加布魯塞爾的 伊莉莎白大賽得獎,之後又陸續獲得鹿特丹的「國際荀白克大賽」與美國首府華盛頓的「國際巴 赫大賽」等國際大賽首獎。陳必先近年積極投入室內樂演出以及研究推廣現代音樂,並與許多現 代音樂作曲家共同合作,如:布列茲、史托克豪森、庫爾塔格等。曾任德國國立科隆音樂學院鋼 琴教授,自2004年起轉任德國弗萊堡音樂院教授,2003年起亦擔任國立交通大學音樂研究所客座 教授。她演奏的巴赫作品被《波士頓環球報》(Boston Globe)樂評讚譽為「陳必先偉大地創造了 巴赫」。 鋼琴

陳必先 piano

Pi-Hsien Chen 2013/5/31

Pi-Hsien Chen was born in Taiwan in 1950. At the early age of five, she gave her first public performance. At the age of nine, she was sent to Germany to continue her studies at the Musikhochschule in Cologne with Hans-Otto Schmidt-Neuhaus and later with Hans Leygraf, Wilhelm Kempff, Tatjana Nikoiajewa and Geza Anda. In 1972 she won international appreciation with a prize at the Concours Reine Elisabeth and the first prize in the competition of the Rundfunkanstalten in Munich. Since then she has given performances at important places such as London, Amsterdam, Zurich, Berlin, Munich and Tokyo as well as at the Festivals of Lucerne. Pi-Hsien Chen has played with famous orchestras and conductors, such as the London Symphony Orchestra, the BBC Symphony Orchestra, the Concertgebouw Orchestra and the Collegium Musicum Zurich, appearing with conductors Haitink, Davis, Martinon, Leitner, Neumann, Klee, Rieger, Janowski, lnbai, Sacher, de Stoutz, Bour, Stein, Eotvos and Foster.

越南裔鋼琴家鄧泰山,是史上首位奪得國際蕭邦鋼琴大賽首獎的亞裔鋼琴家。生長在河內,由母 親啟蒙學習鋼琴,1974年被蘇聯鋼琴家卡茲發掘,說服他離開北越,到莫斯科的柴科夫斯基音 樂院跟隨納坦森及巴許基洛夫兩位名師深造。足跡遍及全球四十幾個國家。鄧泰山合作的樂團皆 為一時之選,如 BBC愛樂、德勒斯登愛樂、奧斯陸愛樂、華沙國家愛樂、布拉格交響、NHK交 響、雪梨交響、赫爾辛基交響、莫斯科愛樂以及其他著名室內樂團體。合作的指揮有馬利納爵 士、祖克曼、楊頌斯、伊凡.費雪、史畢瓦科夫等人。鄧泰山的鋼琴錄音眾多,2009年10月甫發 行了蕭邦馬祖卡舞曲全集,並擔任許多國際鋼琴大賽的評審(如克里夫蘭、蕭邦、魯賓斯坦等大 賽);近期獲得波蘭比得哥什音樂院授予榮譽博士學位,目前任教於加拿大蒙特婁大學。 鋼琴

鄧泰山 piano

Dang Thai Son 2013/6/7

Vietnamese pianist Dang Thai Son was propelled to the forefront of the musical world in October 1980, when he was awarded the First Prize and Gold Medal at the 10th International Chopin Piano Competition in Warsaw. He began piano studies with his mother in Hanoi. Discovered by the Russian pianist Isaac Katz, who was on visit in Vietnam in 1974. He pursued his advanced training at the Moscow State Tchaikovsky Conservatory in Russia with Vladimir Natanson and Dmitry Bashkirov. Since winning the Chopin Competition, his international career has taken him to over forty countries and has played with numerous world-class orchestras such as Dresden Philharmonic, Staatskapelle Berlin, Baden-Baden Symphony Orchestra, Warsaw National Philharmonic, Prague Symphony, NHK Symphony, Helsinki Philharmonic, Sydney Symphony, and many others. Dang Thai Son has recently received the“Doctor Honoris Causa"from the Music Academy in Bydgoczsz, Poland.

由費雪迪斯考和萊曼等大師親炙調教,德國與希臘混血的杜費克斯具備優越語言和演唱詮釋能 力,在歌劇、藝術歌曲和音樂會曲目表現精湛,並成為揚名國際樂壇的次女高音。曾與海汀克、 梅塔、肯特長野、馬殊、畢契柯夫等多位著名指揮合作,古樂領域則涵蓋霍格伍德、瑞霖諸位 大師。她擅長的曲目既多且廣,從巴洛克古樂到現代音樂無所不包,讓她名列國際歌劇舞臺和 各大音樂節邀演的首選名單,莫札特筆下的凱魯比諾、朵拉貝拉都是她擅長的角色。近期樂季 ( 2011-12 )演唱的歌劇曲目包括比才的《卡門》、韓德爾的《塞爾瑟斯》、理查.史特勞斯 《玫瑰騎士》的奧塔維安等,其他音樂會曲目則包括斯圖加特愛樂演出雷斯匹基的大型管絃組曲 《希芭女王》以及法國管絃歌曲的演唱錄音等。 次女高音

絲黛拉.杜費克斯 soprano

Stella Doufexis 2013/6/14 & 15

95 Meet the Guest Artists

The German-Greek mezzo-soprano Stella Doufexis is one of the most sought-after singers in her field, both on the operatic stage and on the concert podium. She has given guest performances with renowned German orchestras as well as the BBC Symphony Orchestra, Israel Philharmonic Orchestra, Orchestre de Paris, London Symphony Orchestra and Mahler Chamber Orchestra, amongst others. This has given her the opportunity to work with famous conductors such as Bernard Haitink, Zubin Mehta, Semyon Bychkov, Kent Nagano, Kurt Masur, Roger Norrington, Christopher Hogwood, Ingo Metzmacher, Ivor Bolton, Helmuth Rilling, Jukka-Pekka Saraste, Christoph Eschenbach and Gustavo Dudamel. Doufexis has given guest performances at many opera houses including Deutsche Staatsoper Berlin, Scottish Opera, Gran Teatro del Liceu in Barcelona, Gran Théatre de Genève and the Bavarian State Opera Munich. The CD recording of Brahms´Liebesliederwalzer released by Harmonia mundi France was awarded the Or. prestigious Diapason d´


國家交響樂團 2012/13 樂季手冊

1934年生於卡塞爾。雷曼曾於代特莫爾德學習音樂,後轉入柏林研習藝術史和戲劇。雷曼先在 柏林市立歌劇院(現為德意志歌劇院)擔任塞爾納的導演助理,1960-70年代轉往拜魯特節慶劇 院,擔任維藍.華格納和沃夫崗.華格納旗下的助理導演;此外,他曾任烏爾姆、麥因茨、弗萊 堡和紐倫堡歌劇院舞臺總監。1977年進而受聘為維斯巴登國家歌劇院戲劇導演,並自1980年起擔 任漢諾威國家歌劇院藝術總監,長達21年之久。2001年卸任漢諾威歌劇院藝術總監一職,開始以 資深歌劇導演身分活躍於歐美各大歌劇院,德國包括柏林、法蘭克福、慕尼黑等歌劇院;其他則 包括蘇黎世、米蘭、威尼斯、巴黎、芝加哥歌劇院等。此外,他在漢諾威音樂與戲劇學院等多校 任教。 導演

漢斯-彼得.雷曼 director

Hans-Peter Lehmann 2013/7/10,12,14

Hans-Peter Lehmann was born in Kassel, Germany in 1934. He studied singing, flute and Pantomime in Detmold and art history and theater in Berlin. Lehmann has had a rich experience in opera production: s assistant to G. R. Sellner at the Municipal Opera House, assistant director to Wieland Wagner director´ and Wolfgang Wagner at the Bayreuther Festspiele in the 1960s; and stage director at opera houses in Ulm, Mainz, Freiburg and Nuremberg. In 1977 he became opera director at Staatstheater Wiesbaden, and artistic director since 1981 at Staatsoper Hannover for 21 years. Since his resignation in 2001, he started to be involved in major opera houses in Europe and the US as a senior opera director including Berlin, Frankfort, Munich, Zurich, Milan, Venice, Paris and Chicago. In addition, he teaches as a professor in a number of universities including the Hanover University of Music, Drama and Media.

畢業於奧地利格拉茲音樂暨表演藝術大學(MA&MFA),現任職國立中山大學劇藝系專任副教 授,致力於藝術創作與推廣,長期在國內外劇院從事舞台、燈光及服裝設計。其設計作品包括: 《莎樂美》、《弄臣》、《丑角》 、《鄉村騎士》、《波希米亞人》、《微笑之國》、《奧菲 歐與尤里迪切》、《阿伊達》、《奧賽羅》、《杜蘭朵》、《頑童驚夢》、《鄭成功》、《韓 賽兒與葛蕾特》、《飛行的荷蘭人》、《迪朵與安涅斯》、《卡門》……等,演出地點如:德國 Dortmund、Giessen與Erfurt歌劇院,新加坡大劇院與台北國家戲劇院等。2009年,更導演及翻 譯劇本,亞洲首演歌劇教育劇場《女巫希拉蕊進歌劇院》。蔡秀錦深諳音樂、戲劇與美學,並 具豐富的國內外劇場實務經驗,同時亦擔任國內新建劇場的空間規劃及演出設備之評審委員與顧 問。 舞台設計

蔡秀錦 set design

Hsiu-Chin Tsai 2013/7/10,12,14

Tsai received her MA&MFA from the University of Music and Performing Arts Graz in Austria. Currently Associate Professor at the Theatre Arts Department of the National Sun Yat-Sen University, she has devoted to art creating and promoting as well as stage designing, lighting and custom designing in and out of Taiwan. Her design works include Salome, Rigoletto, Pagliacci, Cavalleria Rusticana, La Bohème, Das Land des Lächelns, Orfeo ed Euridice, Aida, Othello, Turandot, L’Enfant et les Sortileges, Koxinga, Hansel und Gretel, The Flying Dutchman, Dido & Aeneas and Carmen at opera houses in Dortmund, Giessen, Erfurt, Singapore and the National Theater in Taipei. In 2009, she directed, translated the script of, and premiered Hexe Hillary geht in die Oper in Asia. With profound expertise in music, theater and aesthetic as well as rich experience in theater, she often serves as jury member and consultant for space planning and performance facilities of new theaters in Taiwan.

德國男高音史瓦寧格以抒情男高音的歌喉在慕尼黑國家劇院首度登臺,飾演的歌劇角色包括《魔 笛》的塔米諾王子、《後宮誘逃》的貝爾蒙特、《卡門》的荷西、《霍夫曼的故事》的霍夫曼等。隨著 歌聲的日精月進,他的演唱足跡遍及國際各大劇院,並在歌劇舞台成功挑戰戲劇男高音曲目,如貝 多芬《費戴里歐》的弗羅雷斯坦、《魔彈射手》的馬克斯、理查.史特勞斯《納克索斯島的亞麗阿德 妮》的酒神等,2007年起演出華格納男高音角色如火神洛格、齊格蒙、崔斯坦、名歌手瓦特等也都 成為他的強項。2010-12 年間,他以戲劇男高音歌喉征服韓國首爾國家歌劇院(貝爾格《露露》) 和達姆史達特國家劇院(華格納《齊格飛》)。他卓越的歌唱表現,曾獲《歌劇世界》「2009年度歌 手」提名肯定。 男高音

沃夫崗.史瓦寧格 tenor

Wolfgang Schwaninger 2013/7/10,12,14

96

認識客席音樂家

Schwaninger´ s career began as a lyric tenor at the State Theater Gärtnerplatz in Munich, Germany where he performed roles such as Tamino, Belfiore, Belmonte, and later Duke, Don Jose, Hoffmann and Canio. He subsequently expanded his repertoire into the German fach including roles such as Max (Dresden), Florestan (Leipzig and Tokyo), and Bacchus (Munich, Wiesbaden, Darmstadt, and Leipzig). Guest engagements then led the tenor to perform throughout the greater part of Europe, Korea, Japan, the United States, and Canada. Mr. Schwaninger has worked with renowned directors such as August Everding, John Dew, Claus Guth, Hans-Peter Lehmann, Loriot, and Klaus Maria Brandauer, as well as prominent conductors such as Herbert Blomstedt, Lawrence Foster, Gustav Kuhn, and Constantinos s Siegfried at the State Carydis, among others. In the 2011/2012 season, he sang the title role in Wagner´ Theater in Darmstadt as well as guest engagements as Jim in Mahagonny in Istanbul.


National Symphony Orchestra 2012/13 Season

費絲麥爾生於德國巴伐利亞,曾經先後入選為慕尼黑巴伐利亞國家歌劇院和茵斯布魯克歌劇工作 室成員。2001年劇院合約滿後,以自由歌手身分活躍在國際各大舞台和拜魯特節慶劇院( 200204)。她擁有宏偉壯闊的戲劇女高音歌喉,尤其擅長華格納女高音曲目,如《指環》系列的布琳 希德和齊格琳德,《崔斯坦與伊索德》的伊索德。其他曲目還包括普羅科菲夫《三橘之戀》的女 巫、理查.史特勞斯《玫瑰騎士》的伯爵夫人和《莎樂美》的母后希羅迪亞絲、馬斯卡尼《鄉村 騎士》的珊杜札等。她近期的演出計畫則包括史特勞斯《艾蕾克特拉》女主角、華格納《羅恩格 林》的歐楚德、雅納傑克《顏如花》的柯絲特妮契卡和貝爾格非調性歌劇《伍采克》的女主角瑪 麗等。 女高音

依姆嘉德.費絲麥爾 soprano

Irmgard Vilsmaier 2013/7/10,12,14

Born in Frontenhausen/Bavaria and studied in Wuerzburg and Nuernberg, Vilsmaier was member of the opera studio of the Bavaria State Opera in Munich and afterwards of the Landestheater Innsbruck. From 2001 she has worked as a free artist. Her voice is dramatic to high dramatic soprano. She has studied with Astrid Varney, Josef Loibl, Gregory Lamar and Ada Zaperi. Her repertory list includes Sieglinde and Bruennhilde (Die Walkuere), Isolde, Brangaene (Tristan und Isolde), Norn, Gutrune (Goetterdaemmerung), Goneril (Lear), Fata Morgana (Love to the three oranges), Mother and Witch (Haensel and Gretel), Marschallin and Leitmetzerin (Der Rosenkavalier), Mere Marie (Dialogue des Carmelites), Kundry (Parsifal), Venus (Tannhaeuser), Santuzza (Cavalleria rusticana), Ghita (The dwarf), Marie(Wozzeck), and many others. Opera houses where she sung for example Bayreuth(2000-2004), Salzburg, State Operas of Munich, Berlin, Hamburg, Budapest, Vienna, Nationaltheater Mannheim and Weimar.

裴倫茨為捷克裔男中音,雙親皆為聲樂家,自小對歌劇藝術耳濡目染。就讀巴爾托克音樂院,原 本主修小提琴和中提琴,畢業後旋即前往布達佩斯李斯特音樂學會轉攻歌劇演唱,後成為維也納 國家歌劇院歌劇工作室成員。他聲樂演唱主要師承來自義大利男中音巴蒂斯提尼(M. Battistini) 的美聲學派,以義大利歌劇男中音詮釋見長,拿手劇目包括威爾第歌劇《弄臣》主角、《茶花 女》傑蒙伯爵、《馬克白》伊亞哥、浦契尼《托斯卡》史卡皮亞等;他卓越的演唱能力還延伸到 德語歌劇重量級角色,如《尼貝龍指環》佛旦、《名歌手》薩克斯、《莎樂美》的施洗約翰、 《艾蕾克特拉》奧瑞斯特等。近二年逐漸將重心放在布達佩斯國家歌劇院,並受邀演出捷克作曲 家如高大宜《哈利.雅諾斯》等歌劇作品。 男中音

貝拉.裴倫茨 baritone

Béla Perencz 2013/7/10,12,14

Béla Perencz was influenced by classical music since his early childhood. As son of two opera singers he received a musical education in his early childhood, followed by studying violin and viola at the Bartok Béla Conservatory. After graduating from the conservatory he studied opera singing at the Liszt Ferenc Music Academy in Budapest, as well as in Dresden where he received a one year stipendium. He then became a member of the opera studio at the State Opera of Vienna. Béla Perencz was educated by several representatives of the pre-war era and the“Battistini Belcanto School"like Magdalena Maroti, Nicola Sabo and Marta Lantieri. Furthermore he was tutored by great artist in the Wagner tradition like Rosette Tutschek and Ernst Hermann. In the 2011/12 season he sang Walküre/Wotan in Great Britain and Mandryka/Arabella in the Budapest National Opera´ s new premiere. Béla Perencz worked together with such outstanding conductors as Mo. Giuseppe Patane, Horst Stein, Lorin Maazel, Claudio Abbado and Tomomi Nishimoto.

出生於南非,艾希.凡魏於史德蘭博胥大學學習鋼琴、管風琴以及大鍵琴。完成學業後在南非德 本、開普敦以及比勒陀利亞的歌劇院中擔任駐院鋼琴伴奏暨聲樂指導。1995年首次於德國威斯巴 登國家歌劇院參與歌劇《崔斯坦與伊索德》的製作;自1995至2009年,凡魏任聘於漢諾威國家歌 劇院,並為導演漢斯-彼得.雷曼的華格納歌劇製作《尼貝龍指環》、《羅恩格林》、《紐倫堡名 歌手》擔任聲樂指導。自 2007至2009年,凡魏在漢諾威國家劇院裡創立了「凡魏的華格納工作 坊」,其音樂會大受當地聽眾喜愛。一年後,她於法蘭克福首次登台,演唱「凡魏的華格納」系 列獨唱會,同年並參與NSO歌劇音樂會《艾蕾克特拉》之製作。 聲樂指導

艾希.凡魏 vocal coach

Ansi Verwey 2013/7/10,12,14

97 Meet the Guest Artists

Born in South Africa, Ansi Verwey commenced her studies of the piano, organ and harpsichord at the University of Stellenhosch. After the completion of her studies, she was appointed as repetiteur and vocal coach at the Durban Opera House, the Nico Malan Theatre of Cape Town and the State Theatre Pretoria. In 1995, she participated in the production of her first Tristan and Isolde at the State Theatre Wiesbaden. s Wagner´ s operas, Der Ring des From 1995 to 2009, she is the vocal coach for director Hans-Peter Lehmann´ Nibelungen, Lohengrin and Die Meistersinger von Nürnberg in the Staatstheater Hannover. From 2007 to 2009, s Wagner Workshop"during her engagement with the State Theatre in Hannover she initiated the“Verwey´ and its concerts were well-received by the local audience. In 2010, she began her solo evenings of her “Verwegenes Zu Wagner"in Frankfurt and was also invited for the Taiwan Philharmonic´ s production of Elektra.


國家交響樂團 2012/13 樂季手冊

國立實驗合唱團

Taiwan National Choir 2012/10/27 & 28

台北愛樂合唱團

Taipei Philharmonic Chorus 2012/12/8 2012/12/31 & 2013/1/1 2013/3/30

拉縴人男聲合唱團

Taipei Male Choir 2013/5/31

98

認識客席音樂家

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

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

1972 年創的台北愛樂合唱團,1983 年聘請自美學成歸國,專攻合唱指揮的杜黑教授擔任指揮。 2008年起,聘任古育仲為常任指揮,於2010年起,聘任吳尚倫為常任指揮。1993年嚴選團員40人成 立「台北愛樂室內合唱團」,每年皆獲邀參加國際重要音樂節之演出。曾與NSO國家交響樂團合作 過威爾第《安魂曲》、馬勒第二、三、八號交響曲、孟德爾頌《以利亞》、韓德爾《彌賽亞》等;更經 常為國內作曲家作品首演,如錢南章《馬蘭姑娘》、《佛教涅盤曲》、《娜魯灣第二號交響曲》、馬水 龍《無形的神殿》等;得獎錄音專輯不少,近期作品《世紀歸零》獲第14屆金曲獎最佳古典音樂專 輯、演唱人、作曲人等三項肯定。

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

拉縴人男聲合唱團的前身是「成功高中校友合唱團」,自1998年首場音樂會之後,即深獲各方好評 和讚許,2003年起連續八年獲選為行政院文建會扶植演藝團隊,持續致力於推廣男聲合唱及創新 展演,現由聶焱庠擔任藝術總監暨指揮。據 2006 年的歐洲INTERKULTUR Foundation所公佈的 世界合唱團排名中,拉縴人男聲合唱團榮獲世界TOP 500 合唱團之第六名,更在世界男聲合唱團 排名中名列第一。

Taipei Male Choir(TMC) was founded in 1994. In the past few years, the TMC has been invited to many choral festivals and won the gold metals in several international choir competitions, including the Choir Olympic Competition in 2002 and 2004, Takarazuka International Chamber Chorus Contest in Japan in 2003 and 2009, and the 36e Florilège Vocal de Tours in France in 2007 among many others. In the latest world chorus ranking list by INTERKULTUR Foundation, the TMC is listed No.6 s unique among 500 top choirs in the world, and No. 1 of the male choir. The TMC is known for it´ performance in a cappella, sacred music and chamber choir.


國家交響樂團 2012/13 樂季手冊

空中導聆 講座 愛樂電台 | 台北 FM99.7 新竹 FM90.7 音樂線上 | 演出前兩週 週三 19:00 主講:王世強

IC 之音電台 | 新竹 FM97.5 百珊 Fun 音樂 | 演出前一週 週四 21:15 主講:柳百珊 愛樂

IC之音

2012/09/05 Wed. 19:00 2012/09/13 Tue. 21:15

開季音樂會—永恆羅密歐

愛樂

IC之音

2012/12/19 Wed. 19:00 2012/12/20 Tue. 21:15

愛樂

琴劍交鋒

新年音樂會—威爾第之夜 愛樂

愛樂

IC之音

2012/09/12 Wed. 19:00 2012/09/20 Tue. 21:15

愛樂

2013/04/10 Wed. 19:00

2012/12/26 Wed. 19:00

英雄與皇帝

IC之音

2013/04/24 Wed. 19:00 2013/05/02 Tue. 21:15

蒼穹天河—布魯克納第五

牧神與愛神 愛樂 愛樂

IC之音

2012/09/19 Wed. 19:00 2012/09/27 Tue. 21:15

絕技沙龍

迷幻奇航—天方夜譚

愛樂

IC之音

2012/09/26 Wed. 19:00

愛樂

2013/02/13 Wed. 19:00

2013/02/27 Wed. 19:00 2013/03/07 Tue. 21:15

愛樂

2012/10/03 Wed. 19:00

IC之音

別來無恙,老柴! —賀普與NSO 愛樂

2013/03/06 Wed. 19:00 2013/03/14 Tue. 21:15

愛樂

愛樂

2012/10/10 Wed. 19:00

愛樂

酒神與海妖

愛樂

2013/03/20 Wed. 19:00

彼得與狼……還有巴巴!

2012/11/07 Wed. 19:00

愛樂

愛樂

2013/03/27 Wed. 19:00

漫步展覽會

叛逆古典

2013/05/15 Wed. 19:00

2013/05/22 Wed. 19:00

鐵血柔情

純淨美聲—莎賓.梅耶與NSO

冰原烈焰

2013/05/01 Wed. 19:00

威瑪1857—李斯特的浮士德

暮光草原

古典音樂駭客之夜 愛樂

愛樂

IC之音

2013/05/29 Wed. 19:00 2013/06/06 Tue. 21:15

海之詩 愛樂

IC之音

2013/06/19 Wed. 19:00 2013/06/27 Tue. 21:15

歌劇《女武神》 愛樂

IC之音

2012/11/21 Wed. 19:00 2012/11/29 Tue. 21:15

心靈聖詠 愛樂

愛樂

D吟.曼陀林── 艾維塔與他的新朋友

2012/11/28 Wed. 19:00

樂起地平線—布魯克納第六

Live

雲端音樂廳 好家庭聯播網 北部地區 FM 91.3 每週日 23:00~24:00 中部地區 FM 97.7 每週日 20:00~21:00

NSO 音樂會前導聆 於演出前 30 分鐘舉行

「NSO 企業快遞—

和古典樂的美好相遇」

不需樂理 不用五線譜 心房不設限

空中重現 NSO 音樂會實況

凡聚集 25 人以上 我們就把古典樂快遞到辦公室

http://www.family977.com.tw/

相關資訊歡迎至 nso.ntch.edu.tw 查詢

網路延續 NSO 音樂會的感動

100

2013/04/03 Wed. 19:00

空中導聆講座


國家音樂廳座位圖

National Concert Hall seating plan 4F ▼

3F ▼

2F ▼

▲ 舞台 STAGE

1500

A

1200

1000

800

600

400

探索系列 / 法蘭西系列 / 名家系列

New Frontier / Kleidascopic France / Masters & NSO

國家音樂廳座位圖

國家戲劇院座位圖

National Concert Hall seating plan

National Threater seating plan

4F

4F

3F

3F

2F ▼

2F ▼

▲ 舞台 STAGE

▲ 舞台 STAGE

B 3000 2400 1800 1500 1000 威爾第之夜 NSO跨 / 新年音樂會

600

Forever Love 2013 New Year Concert

400

C 5000 3600 3000 2400 1800 1200 NSO 歌劇 女武神 NSO Opera Die Walküre

800

500


國家音樂廳座位圖

National Concert Hall seating plan 4F

4F

3F

3F

2F

2F

▲ 舞台 STAGE

▲ 舞台 STAGE

D 3000 2400 1800 1500 1000

800

500

E

800

600

400

未開放

NSO永遠的童話—彼得與狼……還有巴巴! NSO Forever Tales—Peter, Wolf...and Babar!

古典音樂駭客之夜

Big Nightmare Music—Igudesman & Joo

4F ▼

3F ▼

2F ▼

▲ 舞台 STAGE

F

1000

800

600

400

未開放

D吟.曼陀林—艾維塔與他的新朋友 Avi Avital and His New Friends

*詳細票價資訊請參閱 nso.ntch.edu.tw


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特價

99 元


NSO 2012/13 Season brochure  

從布拉姆斯交響曲到經典歌劇蝴蝶夫人 我們驕傲的揮別2011/12樂季 並展開另一頁音樂壯遊

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