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NSO法蘭西系列 Kaleidoscopic France

心靈聖詠 Song of Soul

演出時間 演出地點

2012年12月8日(星期六)7:30PM 國家音樂廳 National Concert Hall, Taipei

演 出 者

指 揮│呂紹嘉 Shao-Chia Lü, conductor

女 高 音|林慈音 Grace Lin, soprano

低男中音|蔡文浩 Wen-Hao Tsai, bass-baritone

合唱指導|吳尚倫 Shang-Lun Wu, chorus master

台北愛樂合唱團 Taipei Philharmonic Chorus

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位 指定住宿 特別感謝


曲目 PROGRAM

上半場 約50分鐘 下半場 約45分鐘

洪崇焜(1963- ):《Vox Naturae》(世界首演)

塞扎爾.法朗克(1822-1890):D小調交響曲

I. 緩板─不太快的快板

II. 不太快的稍快板

III. 不太快的快板

~中場休息~

加布里埃爾•佛瑞(1845-1924):《安魂曲》(室內樂版本)

I. 〈進堂詠與垂憐經〉

II. 〈奉獻曲〉

III. 〈聖哉經〉

IV. 〈慈悲耶穌〉

V. 〈羔羊經〉

VI. 〈安所經〉

VII. 〈在天國〉 小提琴獨奏:李宜錦

本中心表演藝術圖書館典藏相關節目資料,詳見http://libserv.ntch.edu.tw/related_catalog/index.asp?q=201212, 並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。

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CHUNG-KUN HONG (1963- ): Vox Naturae (world premiere )

CÉSAR FRANCK (1822-1890): Symphony, D minor

I.

Lento - Allegro non troppo

II. Allegretto, ma non troppo

III. Allegro non troppo

---Intermission---

GABRIEL FAURÉ (1845 –1924): Requiem, op. 48 (chamber version)

I.

‘Introit et Kyrie’

II. ‘Offertoire’

III. ‘Sanctus’

IV. ‘Pie Jesu’

V. ‘Agnus Dei’

VI. ‘Libera me’

VII. ‘In Paradisum’ I-Ching Li, solo violin For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://libserv.ntch.edu.tw/related_catalog/index.asp?q=201212

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演出者簡介

指揮 conductor

呂紹嘉 Shao-Chia Lü 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。 4


“The conductor Shao-Chia Lü is a master of nuance – and an exceptionally gifted conductor.” —Suddeutsche Zeitung “... Lü’s musical watchfulness is 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 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 Hollander, Wozzeck, osenkavalier, Elektra, Salome, to name a few. In summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelleas et Melisande 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 Munchner Philharmoniker by replacing Sergiu Celibidache at the last moment for 2 unchanged programs (including Bruckner Symphony No.8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Munchner 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. 5


演出者簡介

女高音 soprano

林慈音 Grace Lin 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。 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.

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低男中音 bass-baritone

蔡文浩 Wen-Hao Tsai 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。 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 soloist in Bach’s cantatas and oratorios, Mozart’s Requiem, Verdi’s Requiem, Rossini’s Petite Messe Solennelle, Puccini’s Messa Di Gloria, Faure’s Requiem, Steiner’s Crucifixion. He has made recording of Chinese art songs with National Taiwan Symphony Orchestra and Mr. Tyzen Hsiao’s cantata The Prodigal Son with Formosa Singers.

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演出者簡介

合唱指導 Chorus Master

吳尚倫 Shang-Lun Wu 東吳大學音樂藝術碩士;2007年獲全額獎學金赴美攻讀博士學位,現為美國亞利桑納 大學指揮博士候選人。曾任台北愛樂合唱團助理指揮、台北國際合唱音樂節合唱指導。 曾帶領台北愛樂青年合唱團赴美演出,於洛杉磯等地舉行巡迴音樂會。2005年,擔任 指揮大師 Helmuth Rilling之助理指揮,排演布拉姆斯《德文安魂曲》,深受賞識,隔年 旋即受邀前往美國奧勒岡巴赫音樂節,指揮多場音樂會,並受教於巴赫及德奧音樂權威 Helmuth Rilling大師。亦曾多次與兩廳院及國家交響樂團合作,擔任NSO歌劇系列白遼 士《浮士德天譴》、華格納《諸神的黃昏》、史特勞斯《艾蕾克特拉》等之合唱指導。 曾連續兩年獲選入「世界名人錄」(Who's Who in the World, 2007 & 2008)。2010年返 台,現任台北愛樂合唱團指揮。

Shang-Lun Wu, conductor of the Taipei Philharmonic Chorus, received his M.M. in choral conducting at Soochow University, Taiwan, and is currently the D.M.A. candidate at the University of Arizona. He had been appointed assistant conductor of Taipei Philharmonic Chorus and has been promoted as conductor since 2010. During his tenure, he has also prepared chorus for the National Symphony Orchestra (NSO), the repertoire including Berlioz’s La damnation de Faust, Wagner’s Götterdämmerung, Strauss’ Elektra, and others. Besides, he also serves as chorus master in the Taipei International Choral Festival since 2002. In recent years, he was invited at Oregon Bach Festival and worked with Maestro Helmuth Rilling frequently. Wu has been listed in the “Who’s Who in the World” in 2007 and 2008.

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樂團簡介

台北愛樂合唱團 Taipei Philharmonic Chorus 台北愛樂合唱團創立於1972年,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至 今。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.

演出人員 女高音

王薈榕 何欣蘋 吳佩瑩 吳梅華 林怡吾 范秋屏 梁又中 莊馥瑋 張芷瑄

張鳳吟 陳又慈 陳若婷 陳毓潔 游麗鈴 黃之嬿 謝佩芬 謝斯韻

女低音

王逸琪 江巧文 江秀珠 李文雯 林佑靜 胡 琪 張渝韻 張維君 張蔚慈

許瑋芳 黃弘瑜 黃瑋菁 葉芃均 劉宜欣 劉欣怡 潘蘭馨 蔡宛玲 蔡庭瑊

男高音

何俊緯 呂明霖 李泳杰 林文正 徐孟楷 張 新 潘叡智 穆福淳 鮑恆毅

簡宏維 蘇建林

男低音

丁達明 朱正志 邵憲慶 胡庭維 莊 偉 莊博涵 莊馥鴻 陳宗偉 陳治宇

劉家宏 謝立剛 謝銘謀 羅仲智

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自信而精銳

國家交響樂團 National Symphony Orchestra 「在呂紹嘉指揮下,NSO將十九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(《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,特別是馬勒第五的第三樂章,彷彿是用宗教儀式將折磨著前兩樂章的靈魂 昇華了。」 ─《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,波濤澎湃之中韻律感十足,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 交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「聯合實驗管弦樂團」,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恵、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、二十世紀法國 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,也持續推動國人管弦樂創作之演出、 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、穆勒─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。 10


攝影 Raymond Huang

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

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樂曲解說

法國印象前的曙光 撰文│黃于真 (國立臺灣師範大學音樂系音樂學博士候選人) 1871年普法戰爭慘敗後興起的民族主義,引發法國作曲家對德國音樂傳統(由其是華格 納)的矛盾情結,聖桑斯、丹第、法朗克、佛瑞等人在學生時期皆曾受到華格納的影響, 在主張法國典雅精緻音樂傳統與發展器樂音樂的同時,仍常不經意地透露出德國音樂的結 構性影響;作曲家一方面醉心於半音構築和聲色彩的華格納風格,同時又燃起一股法國巴 洛克時期音樂的復古熱潮,兩者在慘澹的戰後氣氛中,逐漸融合發酵,醞釀出調式音階與 模糊和聲的印象曙光,面對到來的二十世紀,即將開展一場彩炫斑斕的綺麗盛會。

洪崇焜:《Vox Naturae》 撰文│洪崇焜 《Vox Naturae》原為作曲者所規劃的一首給管絃樂與人聲的作品《Vox》之一部分,標 題「vox」是拉丁文的「voice」,指口中所發出的聲音。嵇康的《聲無哀樂論》說:「口 之激氣為聲,何異籟籥納氣而鳴」(「籟」與「籥」都是似笛子的吹管樂器),他認為口 的發聲與管樂器的發聲同樣都是因為氣流的作用。同理,既然天地之間氣流充斥,天地 之間何嘗不能被視為一個可以發聲的器官或管樂器。老子就直接把天地之間比擬成一個 可以「激氣」[鳴響]的「氣振體」(aerophone),他說:「天地之間,其猶橐籥乎,虛而 不屈,動而愈出」(「橐」是「風箱」;「籥」字同前註,指管樂器。老子這段話的大意 是說天地之間雖如風箱或吹管那般中空,但卻蘊含無窮能量),莊子依循這個「氣振」的 比擬,更進一步區隔出由三種不同「納氣」或「激氣」媒介所產生的聲響:「人籟」、 「地籟」與「天籟」。《Vox》一曲最初的構想即是試圖將這三「籟」共冶於一爐(「籟」 就是「激氣為聲,納氣而鳴」廣義的「vox」),表現三者之間的交感與應和。然而目前的 《Vox Naturae》(「naturae」意謂「大自然」)僅為「天地之籟」,而未納入人聲,乃是未 竟全功的《Vox》。儘管如此,唐寅的《〈嘯旨〉後序》說:「聲音蓋激氣而成者,邵子 謂物理無窮,而音聲亦無窮」,此曲仍試圖以管絃樂來表現天地之間「激氣」而成的無 窮音聲變化。

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塞扎爾.法朗克:D小調交響曲 撰文│蔡永凱 (國立臺灣師範大學音樂學博士候選人) 音樂學者達爾豪斯將十九世紀的七○至九○年代間,稱為交響曲的「第二時期」。在貝多 芬之後沈寂許久、苦尋不得突破的交響曲,在這個時期大量湧出,作曲家們發展出各自的手 法,來達到交響曲樂類的「豐碑性」訴求,這些作品至今仍是管絃樂團音樂會的標準曲目。 作曲家法朗克出生於列日(Liège,時為荷蘭領土),後歸入法國籍。他原以管風琴演奏聞 名,這首創作於1888年的D小調交響曲,則是他創作生涯的顛峰之作。D小調交響曲使用了 「循環主題」手法,將特定的音樂主題做為整部作品的共通主題,在各樂章中出現。這個手 法在當時已非新穎創見,作曲家「如何」使用「循環主題」,才是作品成敗的關鍵。 「循環主題」在這部三樂章作品裡的樣貌如下: 第一樂章:循環主題原型:

第二樂章:循環主題變體a:

第三樂章:循環主題變體b:

第一樂章開頭,低音絃樂奏出循環主題原型。序奏結束之後,進入快板,這個主題保 持原貌,但加快速度,成為該樂章的第一主題。兼具「慢板」與「詼諧曲」功能的第二 樂章裡,一開始由豎琴和弦帶出屬於第二樂章的第一主題。隨後,由英國管獨奏帶出循 環主題的a變體,並在後續進行中,與豎琴的主題形成對位。最有趣的是第三樂章。該樂 章的第一主題為循環主題的b變體,由銅管奏出的半音主題則為第二主題。在第二主題出 14


現後,作曲家引入第二樂章使用過的,循環主題的a變體,成為第三樂章的第三主題。但 是,這個主題在此出現後即消失,並未參與再現。就在期待失落時,作曲家以循環主題 的原型(即第一樂章中的第一主題)開啟了第三樂章的尾聲。於是,在整部作品裡,完 成了細膩的「循環主題」的對稱分佈。 法朗克透過「作品位階」和「樂章位階」主題的相互指涉挪用,細膩地讓三樂章的作 品結合為一個整體。這個手法保留循環主題本身的「抒情性」,但也完成了樂類傳統中 對於「豐碑性」的追求。

加布里埃爾•佛瑞:《安魂曲》(室內樂版本) 撰文│黃于真 與其他作曲家的安魂曲相比,佛瑞的《安魂曲》顯得特別精巧平和,充分發揮了佛瑞在 聽眾眼中柔美抒情的個人風格。佛瑞自1887年起開始創作本曲,他曾表示,該曲的寫作並 非為了獻給特定對象或是情境,而是個人喜好。然而,佛瑞在這段時間內的確陷入自稱的 低潮(spleen)。他遲遲無法創作出大型管絃樂作品,以晉升當時所謂的「成功作曲家」 之列;而父母親先後在兩年內去世,亦不得不令人將之與樂曲的創作動機有所聯想。 1888年的首演版本只有五首樂曲,樂器僅用絃樂加上管風琴伴奏,之後經過了數次的擴 展。1900年,在樂譜出版商的要求下,才由學生協助改編為管絃樂團版本出版。1980年代裡, 佛瑞於1893年改編首演的室內樂版本手稿被發現。相較於應付出版商的厚重管絃樂團版本,室 內樂版本精簡的配器,更細緻地展現出佛瑞的音樂理念,很快地成為最常被演出的版本。 佛瑞選用安魂彌撒中的七段經文:〈進堂詠與垂憐經〉‘Introït et Kyrie’、〈奉獻曲〉 ‘Offertoire’、〈聖哉經〉‘Sanctus’、〈慈悲耶穌〉‘Pie Jesu’、〈羔羊經〉‘Agnus Dei’、〈 安所經〉‘Libera me’、〈在天國〉‘In paradisum’,最大的特點莫過於屏除過去安魂曲中 最受重視、最能發揮戲劇性的末日經,全曲充滿撫慰人心的平和樂聲。樂曲模仿葛利果 聖歌的曲調與語韻型態,緩慢級進的音程仿若平穩的經文唱頌,同時亦顯現出佛瑞的聲 樂作品特色:長樂句的型態呈現舒緩柔和的效果,調式與半音的運用,產生輕微卻豐富 的和聲變化,樂句線條在其中獲得極度的延展,模糊了節奏與節拍性。 〈在天國〉中,佛瑞用30個小節的長樂句來延展最末句的經文:「天使歌唱歡迎你, 使你與曾受貧困的拉匝祿,同享永遠的安息。」平靜又深遠的旋律線條,體現出作曲家 的創作初衷:死亡是歡愉而非痛苦,在彼岸迎接的,不是恐懼的審判號角,而是引領進 入安息之所的搖籃曲。

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I. ‘Introit et Kyrie’

1. 〈進堂詠與垂憐經〉

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam; ad te omnis caro veniet.

主啊,請賜與他們永遠的安息, 並且讓永恆的光照在他們身上。 主啊,我以讚美獻給在錫安的你, 以誓言呈致在耶路撒冷的你。 請聽我的祈禱 凡人終將歸於你跟前。

Kyrie eleison. Christe eleison. Kyrie eleison.

上主求你垂憐 基督求你垂憐 上主求你垂憐

II. ‘Offertoire’

2. 〈奉獻曲〉

Domine Jesu Christe, Rex gloriae, Libera animas defunctorum de poenis inferni, et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis quarum hodie memoriam facimus. Face as, Domine, de morte transpire ad vitam, quam olim Abrahae promisisti, et semini eius. O Domine Jesu Christe, etc. Amen.

啊,耶穌基督,榮耀之主, 請將死者的靈魂 從地獄之苦 深淵、從猛獅之口拯救出來吧! 不要讓冥府吞食他們, 也不要讓他們陷入黑暗, 我們謹向你呈獻上祈禱與奉獻 還有那讚美,主啊, 主啊,我們奉獻; 請接受這些奉獻吧, 為我們今天追思的靈魂; 准許他們,主啊, 讓他們從死亡走向永生。 就如你當初答應亞伯���罕 與他的子孫。 啊,耶穌基督,阿們。

III. ‘Sanctus’

3. 〈聖哉經〉

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

聖哉、聖哉、聖哉, 潔是萬軍之神的主 天上地下盡是你的榮耀。 讚美最崇高的主!

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IV. ‘Pie Jesu’

4. 〈慈悲耶穌〉

Pie Jesu Domine, dona eis requiem, sempiternam requiem.

慈悲的主耶穌, 請賜他們安息, 請賜他們永恆的安息。

V. ‘Agnus Die et Lux Aeterna’

5. 〈羔羊經與永恆光輝〉

Agnus Die, qui tollis peccata mundi, dona eis requiem, requiem sempiternam. Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam, dona eis, Domine, et lux perpetua luceat eis.

神的羔羊, 帶走塵世之罪的你, 賜給他們安息。 永遠的安息。 上主,求祢以永恆的光輝照耀他們 並讓他們與你的聖徒長相左右, 因為你是慈悲的。 天主,賜予他們永恆的安息吧, 也讓永續之光芒照耀他們。

VI. ‘Libera me’

6. 〈安所經〉

Libera me, Domine, de morte aeterna, in die illa tremenda quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem Tremens factus sum ego, et timeo dum discussion venerit, atque ventura ira. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Requiem aeternam, dona eis, Domine, et lux perpetua luceat cis.

拯救我,主啊, 從永恆的死之中 在那可怕的時刻; 當天與地一起震動; 當你以永劫之火前來審判, 我充滿著恐懼 恐怖於即將來臨的審判與憤怒。 那一天,是憤怒之日, 災難與苦難, 是可怕與不幸的日子, 請賜他們永遠的安息,主啊; 並且讓永恆之光照在他們身上。

VII. ‘In Paradisum’

7. 〈在天國〉

In paradisum deducant te angeli, in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam Jerusalem. Chorus angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.

願天使引導你進入天堂, 殉教者將來到你的身邊, 接見你,將你帶往耶路撒冷的聖城 或許那裡會有天使的合唱迎接你, 還有那曾經為乞丐的拉扎勒人, 祝你永遠安息。 17


Chung-Kun Hong: Vox Naturae By Chung-Kun Hong Vox Naturae originally belongs to a larger project for voice and orchestra, titled Vox (Latin for “voice”). Xi Kang (A.D. 223-263), the literate also musician of ancient China, mentions in his article On the Emotionlessness of Music, “The function of airflow through the mouth cavity in voice generation is not unlike that through the wind instrument in tone production”. By the same token, the airflow in the natural world can function similarly. Laozi (Lao-tzu) thus says, “The space between heaven and earth can be compared to the bellows of an aerophone. However empty, it is never exhausted…” Zhuangzi (Chuang-tzu) furthers the idea by distinguishing in the world three categories of “lai” (i.e., voice; vox in Latin) produced by three main kinds of “medium” through airflow: “renlai” (vox humana), “dilai” (vox terra) and “tianlai” (vox celeste) respectively. Inspired by such ideas, Vox attempts to integrate in the work the three categories of “lai” (vox), envisioning how they can interact with and respond to one another. Vox Naturae, being part of Vox and with no vocal in it, however, only depicts the “voice” from the natural world. Nonetheless, as the poet Tang Yin (1470-1524) suggests, “Airflow can generate an infinite variety of sound”, Vox Naturae aims to create as manifold varieties of sound as in the natural world with the exuberant orchestral forces.

César Franck: Symphony, D minor The three-movement Symphony in D minor (summer 1887-22 August 1888), inscribed "to my dear friend" (and pupil) Henri Duparc, was Franck's last orchestral composition. D'lndy related how the occasion of the chilly first performance, at the Paris Conservatoire under Jules Garcin, Sunday 17 February 1889, Lamoureux having refused to take it on, was against the wishes of the orchestra: "the subscribers could make neither head nor tail of it, and the musical authorities were in much the same position. I inquired of one of them - a professor at the Conservatoire, and a kind of factotum on the Committee - what he thought of the work. 'That, a symphony?' he replied in contemptuous tones. 'But my dear sir, who ever heard of writing for the cor anglais in a symphony? Presumably this unidentified gentleman had no time for Berlioz's Fantastique either; Dvořák's New World was yet to come. Cyclic unification and the Beethovenian importance Franck placed on tonality rather than melody are central to the work. Notably audible is his recurrent use of dotted rhythmic figures and syncopated accents on the weak beats of the bar - the former illustrated in the first movement by the opening two bars of the lento motto by the lower strings; the latter by the climactic second subject (the so-called "faith" or "Credo" motif, a short-longshort pattern). The development of themes between movements is virtually non-existent. When Franck recalls material in the finale, he quotes rather than metamorphosizes, on his own admission drawing his inspiration like the groundswell of his coda more from the model of Beethoven than Liszt, the Ninth rather than Faust. Orchestrally, the music is scored for modestly Romantic forces: double woodwind, cor anglais, bass 18


clarinet, four (chromatic) valve horns, two trumpets and two cornets-à-pistons, three trombones and tuba, kettledrums, harp and strings. Franck achieves some splendid moments with these forces -from the harp, pizzicato string chords and solo cor anglais of the central Allegretto to triumphantly brazen tutti resonances, via Brucknerian terraces of block sounds and colours reminiscent of different organ registrations. The architecture is personal. The first movement is nearly as long as the second and third combined, sign-posted by an opening and closing motto idea, Lento, that turns out to be the first subject. The second movement is an episodic, dance-like Allegretto in B flat minor/major, telescoping elements of meditative lyric movement and intermezzo/scherzo in the manner of Berwald and Tchaikovsky, not forgetting Franck's own Grande Pièce Symphonique for organ. A finale in the tonic major is the optimistic crown of the work where Franck overcomes doubts and uncertainties. All is bright and positive, with a closing peroration affirmed in a dazzling blaze of D major sunrise colour that has lost nothing of its impact with the passing of time. Franck himself provided a detailed, if routine, analysis of the work, published after his death. More revealing was what he had to say to his composition student Pierre de Bréville, particularly concerning the unusual duality of the middle movement - "an andante [sic] and a scherzo. It was my great ambition to construct them in such a way that each beat of the andante should be exactly equal in length to one bar of the scherzo, with the intention that after the complete development of each section one could be superimposed on the other. I succeeded in solving the problem" © 2012 Naxos Digital Services Ltd.

Gabriel Fauré : Requiem, op. 48 (chamber version) Fauré's Requiem, a setting of funeral rites rather than the full Requiem mass of tradition remains a standard work in choral repertoire. This was generally known as a concert piece for large choir and full orchestra.The original instrumentation was, however, quite different, in some performances using a choir of around thirty singers accompanied by four violas, four cellos, solo violin, and organ. The intimacy of the scoring was a deliberate reaction against Berlioz's Requiem which Fauré detested because of its use of massed forces to emphasize the horror of purgatorial suffering. The first performance of the Requiem took place liturgically at the Madeleine in Paris in 1888. There were at that stage only five movements; the Offertoire and Libera me (the two movements involving the Baritone soloist) were added later. In fact, the Libera me had been completed as an independent work for voice and organ ten years before; the Offertoire was the only movement to postdate the first performance of the Requiem. The appearance of Fauré's Requiem in the 1880s, a decade during which the composer's most successful compositions were songs and piano pieces, can onIy be explained by the fine choral music which preceded it. © 2012 Naxos Digital Services Ltd. 19


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 樂團副首席 助理指揮

吳庭毓 李宜錦 鄧皓敦 張尹芳

第一小提琴

○ 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 蘇品嘉* 藍胤萱*

第二小提琴

● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 黃衍繹 顧慈美 于爾恩 康信榮 李梅箋 鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔

中 提 琴

● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 李靖宜 謝君玲 劉國蘭 呂孟珊 李思琪 陳猶白 蔡秉璋 黃亞漢*

大 提 琴

● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 周幼雯 陳怡婷 林宜女閒 黃日昇 蘇酩惠 黃瓊毅*

低 音 提 琴

● 傅永和 ○ 周春祥 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕 游婉婷*

長   笛

● 安德石 ◎ 宮崎千佳 李 浚

短   笛

鐘美川

雙 簧 管

● 王怡靜 ◎ 林麗玥 楊舒婷■

英 國 管

李明怡

單 簧 管

● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸

低 音 管

● 簡凱玉 ◎ 陳奕秀 高靈風

倍 低 音 管

簡恩義

法 國 號

● 劉宜欣 ◎ 舒培特 ○ 黃任賢 國田朋宏 王婉如

小   號

● 宇新樂 ◎ 陳長伯 張景民 吳建銘

長   號

● 宋光清 ◎ 邵恆發 陳中昇

低 音 長 號 彭曉昀 低 音 號

● 宮西純

定 音 鼓

● 連雅文 ◎ 陳廷銓

打 擊 樂

● 陳哲輝 陳振馨 楊璧慈 傅奕涵 洪詩瑜*

豎   琴

● 解 瑄

鍵   盤

▲ 陳丹怡 謝欣容

執行長

邱 瑗

企劃製作經理 公關專案經理

杜佳舫 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 賴盈帆 整合行銷專員 陳卜湄 行銷組長 許匯真 行銷專員 鄭巧琪 林欣儀 陳偉馨 演出及行政 人事組長 舞台監督 譜務專員 行政專員 音樂諮詢 *NSO 樂團學苑 名錄 指 揮 張尹芳 小 提 琴 玉 珊 吳宛蓁 余琬婷 侯亨翰 紀韋瑄 張暐姍 黃思瑋 駱思云 賴思伃 藍胤萱 蘇品嘉 中 提 琴 朱品霖 袁繹晴 黃亞漢 劉詩珊 羅培菁 大 提 琴 丁莉齡 呂函涓 李 茜 黃瓊毅 低音提琴 陳美君 游婉婷 長  笛 洪佑寧 徐鈺甄 雙 簧 管 胡子涵 鄭化欣  單 簧 管 李昱柔 楊曼君 低 音 管 林煜勛 簡瑜萱  法 國 號 陳建維 廖培佑 劉佩穎 鄭瑞舜 小  號 黃貞綸 黃書啟 徐雲修 羅 丹 長  號 田智升 楊錦龍 簡晟軒 低 音 號 高霆翰 打 擊 樂 林君庭 洪詩瑜  豎  琴 劉馨澧 (按筆劃排序)

●首席 ◎副首席 ○助理首席 ■留職停薪 ▲樂季合約 *NSO樂團學苑學員 劃底線者為本場協演

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林碧珠 陳世傑 高婉瑜 溫慧雯 林和億 顏承宇 焦元溥


National Symphony Orchestra Music Director SHAO-CHIA LÜ Conductor Laureate GÜNTHER HERBIG

Assistant Conductor YIN-FANG CHANG

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 Pin-Chia Su* Yin-Hsuan Laun*

SECOND VIOLIN ● Yi-Ju

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

JOYCE CHIOU

SARAH TU PAUL WANG

SHELBY HSIEH MENG-SHAN WU AMY LIU YING-FAN LAI PU-MEI CHEN EMILY HSU EILEEN LIN CHIAU-CHI CHENG CINDY CHEN

Production & Administration Coordinator

BIBI LIN SHIH-CHIEH CHEN BRITTNEY KAO HUI-WEN WEN HO-YI LIN CHENG-YU YEN

Concert Dramaturgist

YUAN-PU CHIAO

Programme Coordinator/ Special Assistant to MD Programme Coordinator PR & Project Coordinator Assistant Manager, Media & Marketing Marketing & Publications Coordinator Marketing & Media Coordinator

Associate Concertmaster HAO-TUN TENG

FIRST VIOLIN

Manager, Planning & Production Manager, PR & Development Artistic Planning & Marketing

Concertmaster TING-YU WU I-CHING LI

○ Yi-Chun

Executive Director

Production & Administration Assistant Manager, Personnel Stage Manager Librarian

VIOLA

DOUBLE BASS

CLARINET

TROMBONE

● 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 Ya-Han Huang*

● Yung-Ho

● May-Lin

● Kuang-Ching

Norell Miyazaki Chuin Lee

CONTRABASSOON

TIMPANI

◎ Chika

En-Yi Chien

● Ya-Wen

CELLO

PICCOLO

HORN

PERCUSSION

● Lana

Mei-Chuan Chung

● Yi-Hsin

Cindy Liu ◎ Supreeti Ansvananda ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang

● Jer-Huei Chen

TRUMPET

HARP

● Nicolas

● Shuen

Hsiung ◎ Yi-Shien Lien ○ Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Li Jih-Sheng Huang Ming-Huei Su Chiung-Yi Huang*

Fu ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai Wan-Ting Yu*

FLUTE ● Anders

OBOE ● I-Ching

Wang Lin Shu-Ting Yang ■ ◎ Li-Yueh

ENGLISH HORN Ming-I Lee

Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun

BASSOON ● Kai-Yu

Jian ◎ I-Hsiu Chen Ling-Feng Kao

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

Sung Shiu Chung-Sheng Chen

◎ Hang-Fat

BASS TROMBONE Hsiao-Yun Peng

TUBA ● Jun

Miyanishi Lien

◎ Ting-Chuan

Chen

Chen-Hsing Chen Pi-Tzu Yang Yi-Han Fu Shih-Yu Huang*

Chieh

KEYBOARD ▲ Dan-Yi

Chen Shin-Rung Shie

●Principal ◎Associate *NSO

Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians Orchestra Academy Freelance Musicians

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NSO_ 20121208Song of Soul _program note