外交部長的話
A Message from the Minister of Foreign Affairs
今年 2 月 24 日清晨，俄羅斯向全世界顯露威權主義擴張的野心，大舉入侵烏克蘭，除破壞國際和平與穩定， 並已造成數百萬烏克蘭難民流離失所，逃往中東歐鄰近國家。俄羅斯蠻橫的侵略行為，凸顯人性最黑暗的一 面，但同時也激起全球民主夥伴團結一致、協助烏克蘭對抗威權的決心與力量。 雖然台灣與烏克蘭地理距離十分遙遠，但台烏兩國都身處在捍衛自由民主的最前線，在這危急時刻，台灣人 民心繫烏克蘭，展現「人飢己飢、人溺己溺」的同理關懷，在各方協助下，外交部透過財團法人賑災基金會 成立「賑濟烏克蘭專戶」，募得約新台幣 9 億 4 千萬元，超過 12 萬筆捐款，另外也募得 3 萬 1 千箱、650 噸的 物資，啟運送達烏國難民手中，展現台灣的人道援助精神。 為持續聲援烏克蘭並團結捍衛民主自由，外交部響應波蘭臺北辦事處發起、文化部積極支持、台北愛樂文教 基金會規劃籌辦的「為烏克蘭祈福」慈善音樂會，期盼藉由音樂跨越國界及藩籬的感動力量，傳遞台灣社會 對烏克蘭人民的祝福與支持，並喚醒全世界繼續關注飽受戰火摧殘的烏克蘭人民，期待各界共襄盛舉，並預 祝祈福音樂會圓滿成功，戰火平息，烏克蘭社會恢復和平秩序，人民重享美好生活。
On the morning of February 24, Russia invaded Ukraine, exposing to the world its expansionist authoritarian ambition. The invasion upended world peace and stability and caused millions of Ukrainians to flee to neighboring Eastern and Central European nations. Russia’s ruthless aggression revealed the darkest side of human nature, but also consolidated support among democratic partners around the world for Ukraine’s strong and determined resistance to authoritarianism. While Taiwan and Ukraine are far apart, both countries are on the front lines defending freedom and democracy. At this critical juncture, the people of Taiwan have responded with solidarity and compassion. The Ministry of Foreign Affairs (MOFA), through a special account set up by the Relieve Disaster Foundation, has received 120,000 donations, totaling NT$940 million (equivalent to US$32.8 million), from all corners of society. MOFA also collected 31,000 boxes, totaling 650 tons, of in-kind donations. All donations will go to Ukrainian refugees in the spirit of Taiwan’s humanitarianism. To continuously voice support for Ukraine and stand united in safeguarding freedom and democracy, this Solidarity with Ukraine charity concert is being held. The event was initiated by the Polish Office in Taipei, planned by the Taipei Philharmonic Foundation for Culture and Education, and supported by MOFA and the Ministry of Culture. Through the power of music to inspire people across borders and boundaries, we hope to demonstrate Taiwan’s blessings and support for the people of Ukraine, and rouse the world to further efforts for the war-torn people of Ukraine. I wish the concert great success. May the war soon come to an end, may peace and order be restored soon in Ukraine, and may the people of Ukraine once again enjoy happiness and prosperity.
外交部長 吳釗燮 Jaushieh Joseph Wu, Minister of Foreign Affairs
文化部長的話
A Message from the Minister of Culture
2022 年 2 月 24 日拂曉，距離臺灣八千公里的烏克蘭遭逢俄羅斯侵略戰爭的蹂躪，超過四百萬無辜的民眾流離 失所，更有數千人不幸因戰爭罹難。在這生死存亡的艱困時刻，鄰國波蘭義不容辭地收容了超過百萬名流離 失所的民眾，充分展現人溺己溺的人道關懷。 面對這場侵略戰爭，烏克蘭人民展現誓死捍衛國家主權及自由民主價值的英勇，獲得世人的感佩。但戰爭極 其殘酷，造成國土破壞、生命財產損失、文化資產摧殘，更帶來人民巨大的心靈創傷。依照目前情勢，未來 幾個月烏克蘭境內將有一千二百萬人需要援助和保護，狀況堪憂。 有鑑於此，文化部特別支持波蘭臺北辦事處發起「為烏克蘭祈福 —Solidarity with Ukraine」慈善音樂會，由財團 法人台北愛樂文教基金會製作主辦，以樂音為烏克蘭加油、傳達對於和平的企望、緬懷因戰爭而罹難的逝者。 我們藉著積極響應這項深具意義的行動，以文化人的真摯熱情參與製作，盼望藉由音樂會來集結國內各界的 愛心，將音樂會票房收入作為烏克蘭難民救助之用，以實際行動幫助烏克蘭。 在此向每一位參與本音樂會、為烏克蘭人民挺身而出的朋友致意，您的參與將成為共同復甦、向上、光明的 力量。讓我們共同為烏克蘭及世界和平祈願祝禱，將來自台灣的愛與溫暖傳遞遠揚。
Early on Feb 24, 2022, Ukraine—8,000 kilometers away from Taiwan—was invaded and ravaged fiercely by the Russian troops. Four million people have consequently become displaced, and thousands have perished in the warfare. In this difficult time of grave crisis between life and death, Poland—Ukraine’s neighboring country—has taken in over one million refugees without any hesitation, manifesting the spirit of humanitarian aid at its fullest. In defending their nation’s sovereignty, as well as the values of freedom and democracy, the Ukrainian people have shown their undaunted bravery by keeping fighting at the cost of their own lives, which has won the highest admiration around the world. Sadly, the war is harsh and cruel: Other than causing damage and impact to the territory, population, and economy of a nation, it is even more so an emotional torture to people and a cultural devastation. If the current state continues, there will be 12 million people in need of aid, support, and protection in Ukraine in the coming months, a dire situation which worries many. In light of this, Polish Office in Taipei initiated the charity concert “Solidarity with Ukraine”, and commissioned the Taipei Philharmonic Foundation for Culture and Education to organize the concert in hopes of conveying our support through music, our yearning for peace, and our mourning of those that have passed in this war. The Ministry of Culture (MOC) have also taken part in this meaningful event by putting the sincerest enthusiasm from the MOC into the production and organization of this concert. The ministry hope to utilize this concert to gather kindness from the general public, and the ticket sales generated from this concert will be donate as refugee aid to show support for Ukraine through concrete actions. I wish this concert every success, and I would like to take this opportunity to express my gratitude to all who have come to show their support for the Ukrainian people. Your participation will transform into the power of rehabilitation, elevation, and brilliance. Let’s pray for peace in Ukraine and the world together. Sending our love and blessings from Taiwan all the way to people in Ukraine.
文化部長 李永得 Yung-Te Lee, Minister of Culture
波蘭臺北辦事處長的話
A Message from the Director of the Polish Office in Taipei
今日，我們正在目睹一場歐洲幾十年來從未經歷過的戰爭。 這讓我們感到難過，同時這也是個警示，告訴我 們不能忽視這些手無寸鐵的平民、母親、父親和孩子正目睹和遭受的暴行。 我們為您呈現一場慈善音樂會，以支持烏克蘭公民。 在這場 70 分鐘的節目中，由指揮家吳曜宇領銜的台北愛 樂青年管弦樂團和台北愛樂合唱團以及獨奏家劉愷孟、金昫祈、林玲慧和陳翰威將合作演出演奏烏克蘭與波 蘭古典音樂偉大的作品。 此次音樂會是波蘭臺北辦事處、台北愛樂文教基金會、外交部、文化部合作的成果。 音樂不需要語言。 它是國家、人民和文化之間的橋樑。 讓我們大家團結起來，以這般非凡的姿態聲援烏克蘭。
Today we are witnessing war that Europe has not experienced in several decades. It makes us sad and at the same time it is a warning that we cannot ignore the atrocities that ordinary, defenseless civilians, mothers, fathers and children are subjected to. We present to you a charity concert to support Ukrainian citizens. In a 70 minute program Taipei Philharmonic Youth Orchestra and Taipei Philharmonic Chorus led by conductor Yao-Yu Wu, joined by soloists, Kamil Tokarski, Leta Chin, Ling-Hui Lin and Han-Wei Chen will perform one of the greatest pieces of Ukrainian and Polish classical music. The concert is the result of cooperation between the Polish Office in Taipei, Taipei Philharmonic Foundation for Culture and Education, Ministry of Foreign Affairs and Ministry of Culture, Taiwan. Music needs no language. It is the bridge between countries, peoples and cultures. Let us all unite in this extraordinary gesture of solidarity with Ukraine.
波蘭臺北辦事處長 高則叡 Cyryl Kozaczewski, Director of the Polish Office in Taipei
曲目 PROGRAM 鋼琴 / 劉愷孟 Kamil Tokarski, pianist
前奏曲，作品 33 第一號 Prelude, op.33 no.1
波特凱維茨 Sergei Bortkiewicz
指揮 / 吳曜宇 Yao-Yu Wu, conductor 台北愛樂青年管弦樂團 Taipei Philharmonic Youth Orchestra
流暢的行板與華麗大波蘭舞曲 鋼琴 / 劉愷孟 Kamil Tokarski, pianist Andante Spianato and Grand Polonaise Brillante, op.22
蕭邦 Frederic Chopin
喀爾巴阡狂想曲 小提琴 / 金昫祈 Leta Chin, violinist Carpathian Rhapsody
斯科里克 Myroslav Skoryk
A 大調華麗波蘭舞曲 小提琴 / 金昫祈 Leta Chin, violinist Polonaise Brillante in A major, op. 21
韋尼奧夫斯基 Henryk Wieniawski
— 中場休息 Intermission —
指揮 / 吳曜宇 Yao-Yu Wu, conductor 台北愛樂青年管弦樂團 Taipei Philharmonic Youth Orchestra
歌劇《塔拉斯．布爾巴》序曲 Overture from Taras Bulba 弦樂慢板 Adagio for Strings
米可拉．李森科 Mykola Lysenko 巴伯 Samuel Barber
指揮 / 吳曜宇 Yao-Yu Wu, conductor 台北愛樂合唱團 Taipei Philharmonic Chorus 台北愛樂青年管弦樂團 Taipei Philharmonic Youth Orchestra
《安魂曲》選粹 Excerpts from Requiem
佛瑞 Gabriel Fauré
慈悲耶穌 女高音 / 林玲慧 Ling-Hui Lin, soprano Pie Jesu 安所經（拯救我） 男中音 / 陳翰威 Han-Wei Chen, baritone Libera me 告別曲（進入天國） In Paradisum 為烏克蘭祈禱 Prayer for Ukraine
米可拉．李森科 Mykola Lysenko
樂曲解說
Program Notes
前奏曲，作品 33 第一號 Prelude, op.33 no.1
波特凱維茨 Sergei Bortkiewicz
謝爾蓋．波特凱維茨（Sergei Bortkiewicz, 1877-1952）出生於烏克蘭哈爾科夫（Kharkiv）的一個波蘭裔貴族家庭。 其父親 Edward Bortkiewicz 原為一名地主，但因參與反對俄羅斯帝國的一月起義（1863-1864）而被捕、受審並被 判處流放托木斯克（Tomsk）省，同時也被剝奪貴族權利並沒收財產。其母親 Zofia Bortkiewicz née Uszyńska 則是 一位著名的鋼琴家，也是哈爾科夫音樂學院的聯合創辦人。波特凱維茨不僅是一位作曲家，也是指揮家、教 育家、作家及評論家。波特凱維茨作品很大程度上受李斯特、蕭邦及其他浪漫主義作曲家以及烏克蘭民間傳 說影響，其音樂風格集抒情、敏感與懷舊於一身。波特凱維茨的大部分作品均為鋼琴而創作，這些作品往往 都為一個較大曲集中的小品作品，包含馬祖卡舞曲、夜曲、練習曲、前奏曲和圓舞曲等，其中也有規模較大 的作品，包含兩首鋼琴奏鳴曲和一部敘事曲。 前奏曲，作品 33 第一號為十首前奏曲中的第一首，寫於 1926 年，那一年波特凱維茨成為了奧地利公民，在那 之前他曾經歷因十月革命及俄羅斯內戰而遭受流放克里米亞及君士坦丁堡。十首前奏曲中有幾首明顯是以蕭 邦的鋼琴音樂為藍本，其他則毫無疑問是以波特凱維茨自己的音樂語言加以創作。
Sergei Bortkiewicz (1877-1952) was born in Kharkiv, Ukraine in a noble family of Polish origin. Sergei's father, Edward Bortkiewicz, was a landowner and a participant in the January Uprising against the Russian Empire (1863-1864), for which he was arrested, tried and sentenced to exile in the Tomsk province, with deprivation of rights and confiscation of property. Sergei's mother - Zofia Bortkiewicz née Uszyńska was a famous pianist and co-founder of the Music School in Kharkiv. He was not only a composer, but also a conductor, pedagogue, author and critic. Bortkiewicz's compositions were much based on Liszt and Chopin and other Romantic composers as well as Ukrainian folklore. His style was lyrical, sensitive and nostalgic. By far the largest quantity of his works were composed for piano which tend to include smaller character pieces within larger sets such as mazurkas, nocturnes, etudes, preludes, and waltzes but also larger, namely two piano sonatas and a ballade. Prelude op. 33 no. 1 is the first of the Ten Preludes, Op. 33, written in 1926, the year Bortkiewicz became an Austrian citizen after living in exile in Crimea and then Constantinople due to the October Revolution and Russian Civil War. Several of Ten Preludes are modelled on Chopin’s piano music, others are unmistakably in Bortkiewicz’s own musical language.
流暢的行板與華麗大波蘭舞曲 Andante Spianato and Grand Polonaise Brillante, op.22
蕭邦 Frederic Chopin
弗雷德里克．蕭邦（Frederic Chopin, 1810-1849）出生於華沙附近的熱拉佐瓦沃拉。他被認為是最偉大的浪漫主 義作曲家之一，也是波蘭歷史上最重要的作曲家之一。蕭邦的大部分作品包括馬祖卡舞曲、波蘭舞曲、前奏 曲、練習曲、夜曲、圓舞曲、奏鳴曲和民謠形式的鋼琴獨奏。 1830 年，20 歲的蕭邦離開波蘭去旅行，這成為他終生流亡生活的開始。十一月起義開始後，他的朋友們鼓勵 他返回家鄉加入戰鬥，並希望透過他的音樂持續為波蘭發聲。蕭邦而後抵達巴黎，在那裡度過了他成年後的 大部分時光。儘管他未曾如願回到波蘭，但在他的作品中，他不斷地從波蘭民族的記憶中汲取靈感，透過使 用波蘭傳統音樂（如馬祖卡舞曲和波蘭舞曲）中的風格模式，暗指波蘭歷史上的事件。蕭邦的波蘭舞曲在波 蘭歷史上具有重要的象徵意義，並且如同其馬祖卡舞曲一般引起了其他作曲家對該曲種的極大興趣。 波蘭舞曲與波蘭民族文化密切相關。在 18 和 19 世紀，它是波蘭身份、人民、文化和習俗的象徵。波蘭舞曲 是一種起源於波蘭鄉村的傳統舞蹈，但在 18 世紀下半葉，它在皇家舞會中佔有一席之地。這些原處於沙龍舞 蹈的音樂作品藉由傑出的鋼琴家創作和錄製，如蕭邦、魯賓斯坦（Artur Rubinstein, 1887-1982）及當代的齊瑪曼 （Krystian Zimerman, 1956-）等人而廣為全世界人所知。波蘭舞曲採用每小節三拍（3/4）的韻律組織，節奏適中， 一般作為舞會的開場舞。蕭邦於 1830 年至 1831 年之間完成華麗大波蘭舞曲，而流暢的行板則於 1834 年末至 1935 年初完成。流暢的行板部分具有夜曲的特徵，同時也是搖籃曲，G 大調，6/8 拍。波蘭舞曲以一個如同號 角般吟唱的英雄主題開始，精神抖擻並充滿勇氣。
Frederic Chopin (1810-1849) was born in Żelazowa Wola, near Warsaw. He is considered one of the greatest Romantic composers, as well as one of the most important composers in Polish history. Most of Chopin’s works include solo for piano in form of mazurkas, polonaises, preludes etudes, nocturnes, waltzes, sonatas and ballades. In 1830 at the age of 20, Chopin left Poland for a journey, which turned out to be the beginning of his life-long residency in exile. After the outbreak of the November Uprising he was encouraged by his friends who returned home to join the fight to remain in exile and give voice to Poland’s struggle through his compositions. Chopin reached Paris, where he spent most of his adult life. Although he never returned to Poland, in his work he constantly drew inspiration from his reminiscence of Poland, using stylistic patterns found in traditional Polish music (the mazurkas and polonaises) and referring to events from Polish history. Chopin's polonaises have had major symbolic significance in the Polish history and like his mazurkas - aroused huge interest in the genre in other composers. The polonaise is very strongly associated with Polish national culture. In 18th and 19th centuries it was a symbol of Polish identity, its people, culture and customs. The polonaise was a traditional dance originated in the Polish countryside however in the second half of the 18th century it found its place in royal ballrooms. The musical pieces that accompanied these salon dances have been composed and recorded by outstanding pianists including Frederic Chopin, Arthur Rubinstein (1887-1982) and recently Krystian Zimerman (1956-). It employs a metrical organization of three beats per measure (3/4), moderate in tempo, serving as a ceremonial opening dance of the ball. Chopin wrote the Grande Polonaise Brillante op. 22 in 1830-31, but Andante Spianato, the introduction, was finished in late 1834/early 1935. The Andante Spianato has the character of a nocturne but also a lullaby. Performed by solo piano, is in G major key and in 6/8 metre. It is an excellent introduction to the exceptional display of bravado, the Grande Polonaise Brillante op. 22 which starts with a heroic motif intoned by the horns.
喀爾巴阡狂想曲 Carpathian Rhapsody
斯科里克 Myroslav Skoryk
米羅斯拉夫 ‧ 斯科里克（Myroslav Skoryk, 1938-2020）出生於利沃夫（Lviv，當時為波蘭領土，現於烏克蘭境內）， 為烏克蘭知名作曲家、鋼琴家和指揮家。他被授予烏克蘭人民藝術家和烏克蘭英雄稱號。他來自一個烏克蘭 知識份子家庭，其祖母為 20 世紀最著名的烏克蘭女高音 Solomiya Krushelnytska 胞妹。1945 年，他開始在利沃夫 的音樂學校學習音樂。1947 年，斯科里克因政治原因受到鎮壓並被流放到西伯利亞。直到史達林死後，他被 允許返回利沃夫，並在利沃夫音樂學院繼續深造。他的作品包括各種音樂類型：歌劇、芭蕾舞、安魂曲、協 奏曲、管弦樂曲、各種合奏曲、鋼琴獨奏等，並為眾多電影和戲劇寫作配樂；同時也創作多部爵士樂和流行 音樂。 《喀爾巴阡狂想曲》是一部精采萬分，毫無冷場的炫技之作，其靈感來自烏克蘭西部地區的文化和民間傳說， 主要是生活在烏克蘭喀爾巴阡山脈的赫蘇爾人的旋律主題和節奏， 為大型交響樂團及小提琴獨奏所創作。這 部作品創作於 1972 年，屬於烏克蘭作曲家中的「民族新浪潮主義」時期，也使他獲得了世界性的認可。在這 部作品中，斯科里克有機地將民族音樂元素與新古典主義（大協奏曲型式）及當時歐洲隨機的前衛聲學完美 結合。
Myroslav Skoryk (1938-2020), born in Lviv (then Poland, now Ukraine) was a Ukrainian composer, pianist and conductor. He was awarded the titles People’s Artist of Ukraine and Hero of Ukraine. He came from an educated Ukrainian family (his grandmother was a sister of an eminent opera singer Solomea Krushelnytska). He began learning music at music school in Lviv in 1945. In 1947 the Skoryks were repressed on political grounds and deported to Siberia. After J.Stalin’s death they were allowed to return to Lviv, where he studied at the Lviv State Conservatory. His output includes various musical genres: an opera, a ballet, a “Requiem”, concertos, pieces for orchestra, various ensembles, solo for piano, music to numerous films and theatre plays, jazz and popular music. Carpathian Rapsody is a temperamental, boisterous showpiece, inspired by culture and folklore of the western region of Ukraine, mainly the melodic motifs and rhythms of the Hutsuls, who live in the Ukrainian Carpathians. The work, written in 1972, completes the period of the "new wave of folklore" in the works of the Ukrainian composer, bringing him worldwide recognition. In this work Myroslav Skoryk combined national sources with neoclassical tendencies (concerto grosso principle) and achievements of the European avant-garde – aleatorics and sonoristics.
A 大調華麗波蘭舞曲 Polonaise Brillante in A major, op. 21
韋尼奧夫斯基 Henryk Wieniawski
亨里克．韋尼奧夫斯基（Henryk Wieniawski, 1835-1880）是 19 世紀最著名的小提琴家、作曲家和音樂教育家之一。 作為小提琴家，韋尼奧夫斯基因其豐富、溫暖的音色、閃閃發光的氣質和完美的技巧而備受推崇。其小提琴 作品具有濃厚的浪漫主義風格，旨在展示他的精湛技藝。他曾創作兩首小提琴協奏曲，一首是升 F 小調（作 品 14），另一首是頗受歡迎的 D 小調（作品 22）。他的其他著名作品還有練習曲、馬祖卡舞曲和波蘭舞曲等。 韋尼奧夫斯基曾寫作兩首波蘭舞曲。A 大調波蘭舞曲是典型的小提琴炫技作品，小提琴獨奏佔有決定性作用。 它有兩個版本，小提琴和管弦樂版及小提琴和鋼琴版。波蘭舞曲並不是韋尼奧夫斯基作品中的主要曲種，但 卻構成了他藝術遺產的重要地位。
Henryk Wieniawski (1835-1880) was one of the most celebrated violinists of the 19th century, composer and teacher. As a violinist Wieniawski was admired for his rich, warm tone, glowing temperament, and perfect technique. His own compositions for violin are Romantic in style with an intention to display his virtuosity. He composed two violin concertos, one in F-sharp Minor (Opus 14) and one in D Minor (Opus 22). His other compositions include etudes, mazurkas, and polonaises. Henryk Wieniawski wrote only two Polonaises. The Polonaise in A-major is a typical virtuoso style piece, where the solo violin decisively plays a dominant role. It had been composed in two versions, for the violin and orchestra and for the violin and piano. Polonaise was not the dominant genre in Wieniawski’s compositions however it constitutes an essential part of his artistic inheritance.
歌劇《塔拉斯．布爾巴》序曲 Overture from Taras Bulba
米可拉．李森科 Mykola Lysenko
米可拉．李森科（Mykola Lysenko, 1842-1912）為烏克蘭晚期浪漫主義時期的作曲家、鋼琴家、指揮家和民族音 樂學家，也是烏克蘭音樂復興的關鍵人物。他是烏克蘭音樂的核心人物，作品包括歌劇、合唱作品、管弦樂 和室內樂作品及獨奏鋼琴作品。後世普遍認為，在烏克蘭民族復興期間，是因為李森科的存在方才建立了烏 克蘭的民族音樂傳統。李森科通過學習和借鑒烏克蘭民間音樂，促進烏克蘭語言的使用，透過他的作品形塑 了後世人們認為的烏克蘭音樂精髓。 《塔拉斯．布爾巴》（Taras Bulba） 是一部史詩般的歌劇，但是因其中使用烏克蘭語而無法順利上演，直到李 森科死後方才得以演出。《塔拉斯．布爾巴》是烏克蘭歌劇形成的重要里程碑，為一部經典的民族英雄歷史 題材民間戲劇。歌劇序曲由雷夫茨基（Levko Revutsky, 1889-1977）及利亞托申斯基（Borys Lyatoshynsky, 1895-1968） 根據李森科歌劇手稿為本所編寫，主要以歌劇的主題為基礎。開頭以一個英勇、動人的主題開始，與整部歌 劇的英雄愛國主題相關。這個最初的動機成為了主旋律，並在其他部分反復出現。
Mykola Lysenko (1842-1912) was a Ukrainian composer, pianist, conductor and ethnomusicologist of the late Romantic period and a key figure in the Ukrainian musical resurgence. He was the central figure of Ukrainian music, with an oeuvre that includes operas, choral works, orchestral and chamber pieces, and a wide variety of solo piano music. He is often credited with founding a national music tradition during the Ukrainian national revival. By studying and drawing from Ukrainian folk music, promoting the use of the Ukrainian language, his compositions form what many consider the quintessential essence of Ukrainian music. Taras Bulba is an epic opera in which the grandeur, complexity and use of Ukrainian language prevented its staging until after Lysenko's lifetime. It is an important stage in the formation of Ukrainian opera and a classic national heroic-historical folk drama. The overture to the opera was written by L. Revutsky and B. Lyatoshynsky based on the introduction of Mykola Lysenko and is based mainly on the themes of the opera. The introductory chapter begins with a heroic, appealing theme related to the heroic and patriotic theme of the whole opera. This initial intonation became the leitmotif and will appear repeatedly in other parts.
弦樂慢板 Adagio for Strings
巴伯 Samuel Barber
美國作曲家巴伯（Samuel Barber, 1910-1981）出身自費城的寇帝斯音樂院（The Curtis Institute of Music），是一位才 華洋溢的音樂家，除了作曲之外，他在鋼琴及聲樂上也有不錯的表現。他早期的作品較為接近十九世紀的浪 漫風格，後來才逐漸變得富有現代的色彩。 他於 1936 年前往歐洲度假時寫下了《第一號弦樂四重奏》（op. 11），其中第二樂章慢板獲得了當時樂壇著名 指揮家托斯卡尼尼（Arturo Toscanini, 1867-1957）極高的評價，於是邀稿請巴伯將之改編成樂團演奏的版本，並 於 1938 年首演，該作品的成功不但使巴伯聲名大噪，更使他享譽於二十世紀樂壇。1967 年，巴伯將此作品填 上了《羔羊經》的拉丁文歌詞，改編為合唱曲。 〈弦樂慢板〉由第一小提琴輕柔的降 B 開始，並以反覆上升下降的級進旋律，細膩且溫柔地扣著聆聽者的心 情，使聞者不安、猶豫的靈魂，隨著樂音逐漸得到昇華而釋放。此曲曾於英國 BBC 舉辦的「最悲傷的樂曲」 票選中獲得第一名，也經常於重大災難的悼念儀式及葬禮中被演奏。
American composer Samuel Barber (1910-1981) was a talented musician, professionally trained at the Curtis Institute of Music. In addition to composition, Barber also showed outstanding performance in piano and singing. His early works demonstrate the romantic style of the 19th century, while elements of modernism were gradually adopted in his later compositions. During his vacation in Europe in 1936, Barber composed String Quartet Op. 11. The second movement of the piece received extraordinary recognition from the well-known conductor of the time, Arturo Toscanini (1867-1957), who invited Barber to rearrange it for string orchestra. The rearranged version, Adagio for Strings, was premiered in 1938, which acquired great popularity and earned him legendary status in the 20th century. In 1967, Barber set the lyric of “Agnus Dei” to this piece and made it a choral work. Adagio for Strings begins softly with a B-flat played by the first violins. The melody that ascends and descends in a stepwise fashion evokes an uneasy, hesitant suspension, and finally takes the audience to the journey of release and transcendence of the soul. The piece was voted “the saddest classical” by listeners of BBC, and has been constantly performed in mourning ceremonies of major disasters or on funerals.
《安魂曲》選粹 Excerpts from Requiem
佛瑞 Gabriel Fauré
法國作曲家佛瑞（Gabriel Fauré, 1845-1924）師承聖桑（Charles Camille Saint-Saëns, 1835-1921），並在 1905 到 1920 年 任職於巴黎音樂學院院長期間，提拔了拉威爾（Joseph-Maurice Ravel, 1875-1937）及德布西（Achille-Claude Debussy, 1862-1918）等重要作曲家。他雖然曾隨聖桑成為「國民音樂協會」（Societe Nationale de Musique，成立於 1871 年） 第一代成員，但他作品中旋律線條優美及和聲豐富的特質，使他成為了法國國民樂派及印象樂派之間樞紐般 的重要存在。 佛瑞的《安魂曲》和莫札特（Wolfgang Amadeus Mozart, 1756-1791）、威爾第（Giuseppe Fortunino Francesco Verdi, 18131901）的並列為三大安魂彌撒曲，但有別於後兩者的作品，佛瑞的《安魂曲》呈現出平靜、虔誠的氛圍。佛 瑞曾說：「別人批評我的樂曲沒有表現出對死亡的恐懼，被人稱之為死亡的搖籃曲，事實上、這正是我對死 亡的看法：一種快樂的救贖希望，一種能觸及永恆的未來，而不是為了逝去的人哀傷 …。」 全曲包括了〈進堂詠〉與〈垂憐經〉（Introit et Kyrie）、〈奉獻曲〉（Offertory）、〈聖哉經〉（Sanctus）、〈慈 悲耶穌〉（Pie Jesu）、〈羔羊經〉（Agnus Dei）、〈拯救我〉（Libera me）及〈進入天國〉（In Paradisum）七個樂章。 編制上則以女高音獨唱、男中音獨唱、混聲合唱、管弦樂團及管風琴組成。 〈慈悲耶穌〉，降 B 大調，全曲分為四個段落，先由女高音獨唱唱出向耶穌祈求安息，第二段再以較高的跳 進音型唱出同樣的歌詞；第三段雖然歌詞上加入了「永恆的」（sempiternam），但卻以反覆的起伏旋律線條， 試圖表現內心更深的渴望；最後一段則是回到了第一段的旋律，並在樂曲的最後，以一個上行的音型表達對 上主的仰望。 〈拯救我〉則是安魂彌撒經文中的〈安所經〉，d 小調，全曲分為六個段落，先由男中音獨唱唱出「上主、求 祢從永恆的死亡中拯救我」；第二、三段由混聲合唱以從 pp 到 ff 的強烈力度變化，唱出面對死亡審判的恐懼 與顫抖，而此段落也是整部安魂曲中最富戲劇張力的一段；第四段唱到「願永恆的光照耀他們」時，音樂再 次轉回柔美；第五段則由全體合唱團齊唱第一段的旋律，表現出眾人齊心祈禱的虔敬，最後再由男中音獨唱 與眾人回歸平靜。 〈進入天國〉是整部安魂曲中最為柔美的樂章，讓人對天堂懷抱著無限的憧憬。全曲分為四個段落，D 大調， 先由女高音獨唱唱出當亡者進入天堂時，眾天使們前來歌唱祝福的情景，第二段則加入混聲合唱歌頌著聖城 耶路撒冷；第三段女高音再唱出天使組成的詩班來迎接聖者們，並給予他們平靜的安息；最後混聲合唱再呼 應著「請賜予他們永恆的安息。」
French composer Gabriel Fauré (1845-1924) studied with Charles Camille Saint-Saëns (1835-1921), and promoted important composers such as Joseph-Maurice Ravel (1875-1937) and Achille-Claude Debussy (1862-1918) during his time as the director of the Paris Conservatoire. Fauré followed the footsteps of Saint-Saëns and became one of the founding members of Societe Nationale de Musique (established in 1872). However, his music is known for elegant melody lines and rich harmonies, making him an important link between the French musical nationalism and impressionism. Fauré’s Requiem, along with the ones composed by Mozart (1756-1791) and Verdi (1813-1901), are the three most known Requiems. Different from the other two, however, Fauré’s piece displays an atmosphere of serenity and piety. Fauré once commented, “it has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.” Comprised of seven movements, including Introit et Kyrie, Offertory, Sanctus, Pie Jesu, Agnus Dei, Libera me, and In Paradisum, the work is scored for soprano and baritone soloists, mixed choir, orchestra and organ. Pie Jesu, written in B-flat major, is divided into four sections. The solo soprano first sings the prayer to Jesus for rest, then the same line of text is repeated in the following section in similar but higher notes with melody moving by leaps. In the third section, the word “sempiternam”, meaning everlasting, is added to the lyrics, and the deeper longing is expressed through repeating and moving melody lines. The final section returns to the
melody in the first section, ending with an upward motion to present the call for God. Libera me, composed in D minor and divided in six sections, sings the text of Exsequiae. It starts with the baritone soloist singing “Libera me, Domine, de morte aeterna” (Free me, Lord, from eternal death). The choir continue to sing the terror and tremble facing death in the second and third sections, the part with the strongest dramatic tension throughout the whole piece, with dynamics ranging from pianissimo to fortissimo. In the fourth section, the music softens on the line “et lux perpetua luceat eis” (May everlasting light shine upon them). Then the choir repeats the opening statement of the baritone fully in unison to show the faith towards God. Finally, the soloist and the choir end the movement softly, gradually return to peace. In Paradisum is the gentlest movement of Requiem, depicting the endless longing for heaven. It is sung in D major in four sections, beginning with the soprano singing the scene when angels come give blessings to the deceased on their way to the paradise. Then, mixed choir joins in in the second section, praising the holy city of Jerusalem. The soprano continues to sing about choirs of angels receiving the saints and granting them peaceful rest. The movement ends with the choir singing “æternam habeas requiem” (May thou have eternal rest).
Pie Jesu
慈悲耶穌
Pious Jesus
Pie Jesu Domine, Dona eis requiem. Sempiternam requiem.
慈悲的主耶穌 求你賜給他們永遠的安息
Pious Lord Jesus, Give them rest. Give them everlasting rest.
Libera me
安所經 ( 拯救我 )
Deliver me
Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra. Dum veneris judicare saeculum per ignem.
上主，求你從永死中拯救我
Deliver me, O Lord, from death eternal on that fearful day, When the heavens and the earth shall be moved, When thou shalt come to judge the world by fire.
Tremens factus sum ego, et timeo, dum discussio venerit atque ventura ira.
我顫慄恐懼
Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde.
那是一個震怒的日子
Requiem aeternam dona eis, Domine et lux perpetua luceat eis.
上主，求你賜給他們永遠的安息
Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra. Dum veneris judicare saeculum per ignem.
上主，求你從永死中拯救我
你要帶火來審判世界
Deliver me, O Lord, from death eternal on that fearful day, When the heavens and the earth shall be moved, When thou shalt come to judge the world by fire.
In Paradisum
告別曲 ( 進入天國 )
Into paradise
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, æternam habeas requiem.
願天使領你進入天國
May the angels lead you into paradise; may the martyrs greet you at your arrival and lead you into the holy City of Jerusalem. May the choir of Angels greet you and like Lazarus, who once was a poor man, may you have eternal rest.
求你賜給他們安息
在那恐怖的日子 天地將震動搖撼 你要帶火來審判世界
面對審判的來臨和即將到來的憤怒
災患和苦難 事關重大，悲苦萬分的日子
並以永恆的光輝照耀他們
在那恐怖的日子 天地將震動搖撼
殉道諸聖前來迎接 領你到 聖城耶路撒冷 天使歌唱歡迎你 讓你與曾受貧困的拉匝錄 同享永遠的安息
I am made to tremble, and I fear, till the judgment be upon us, and the coming wrath. That day, day of wrath, calamity and misery, day of great and exceeding bitterness, Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.
為烏克蘭祈禱 Prayer for Ukraine
米可拉．李森科 Mykola Lysenko
《為烏克蘭祈禱》於 1885 年首次出版，歌詞出自烏克蘭愛國詩歌「為烏克蘭祈禱」，由 亞歷山大．科尼斯基 （Oleksandr Konysky, 1836-1900 ）創作，流傳至今已成為烏克蘭人民的精神國歌。李森科創作時原先考慮寫給兒 童合唱團，這首詩歌至今成為烏克蘭希臘正教教會、烏克蘭東正教教堂和其他教堂的常規閉幕讚美詩。
Prayer for Ukraine first published in 1885 is a musical setting of a patriotic poem known as the Prayer for Ukraine and has become the country's spiritual anthem. The text was written by Oleksandr Konysky, Lysenko composed the music, first with a children's choir in mind. The song became the regular closing hymn in services of the Ukrainian Greek Catholic Church, the Orthodox Church of Ukraine and other churches.
Молитва за Україну
為烏克蘭祈禱
Prayer for Ukraine
Боже великий, єдиний, Нам Україну храни, Воли і світу промінням Ти її осiни.
主啊，偉大而全能的主啊
Lord, oh the Great and Almighty, Protect our beloved Ukraine, Bless her with freedom and light Of your holy rays.
Світлом науки і знання Нас, дітей, просвіти, В чистій любові до краю, Ти нас, Боже, зрости.
你用學習與知識啟發我們
Молимось, Боже єдиний, Нам Україну храни, Всі свої ласки й щедроти Ти на люд наш зверни.
我們祈禱，喔全能的主
Дай йому волю, дай йому долю, Дай доброго світу, щастя, Дай, Боже, народу І многая, многая літа.
保佑我們的自由，保佑我們的智慧
願你保佑我們心愛的烏克蘭 用你神聖與自由的光芒 保佑她
啟發你的孩子們 在純潔與永恆的愛中 賜予我們，喔主，讓我們成長
保佑我們心愛的烏克蘭 賜予我們的人民和國家 所有的善意和恩典
引導人民進入善良世界 請保佑我們，喔主 保佑我們擁有永遠的好運
With learning and knowledge enlighten Us, your children small, In love pure and everlasting Let us, oh Lord, grow. We pray, oh Lord Almighty, Protect our beloved Ukraine, Grant our people and country All your kindness and grace. Bless us with freedom, bless us with wisdom, Guide into kind world, Bless us, oh Lord, with good fortune For ever and evermore.
藝術總監 Artistic Director
杜 黑 Dirk DuHei
杜黑先生榮獲第一屆國家文化藝術基金會文藝獎、第八屆金曲獎最佳製作人、中國文藝協會九十四年榮譽文 藝獎章，並曾出版傳記『樂壇黑面將軍』，更多次應邀擔任國內外重要聲樂、合唱等比賽活動之評審。 美國伊利諾大學合唱指揮碩士班畢業並進入博士班，1981 年返國，1983 年接任台北愛樂合唱團指揮至今。 1988 年創立「財團法人台北愛樂文教基金會」，主辦「台北愛樂國際合唱音樂營」、「台北國際合唱音樂節」 及「樂壇新秀」等活動，2018 年創辦「台北國際合唱大賽」，開啟國內首度舉辦大型國際合唱賽事之濫觴， 對於合唱音樂推廣及國際交流，培養優秀音樂人才等不遺餘力。 多年來積極致力於開拓國人合唱音樂作品，製作之『映象中國』專輯獲得第八屆金曲獎「最佳古典音樂唱片」、 「最佳演唱人」及「最佳唱片製作人」等三項大獎；與作曲家錢南章老師長期合作，『馬蘭姑娘』獲第九屆 金曲獎四項提名並獲「最佳作曲人」；許雅民大型劇場合唱作品『六月雪』更獲第十一屆金曲獎「最佳作曲 人」、「最佳古典唱片」提名，為台灣合唱音樂加入新血脈；2001 年出版之錢南章『佛說阿彌陀經』為佛教 2500 多年來的首部安魂曲，獲得第十三屆金曲獎「最佳宗教音樂專輯」、「最佳作曲人」兩項大獎；2012 年 首演之錢南章大型國樂合唱作品『十二生肖』獲得第 25 屆傳藝金曲獎最佳藝術音樂專輯、最佳專輯製作人、 最佳錄音三項提名肯定，更受邀於北京國家大劇院八月合唱節及香港光華新聞文化中心第十一屆「台灣月」 盛大巡演。 目前擔任財團法人台北愛樂文教基金會、台北愛樂合唱團、台北愛樂室內合唱團、台北愛樂青年管弦樂團、 愛樂劇工廠及台北愛樂歌劇坊藝術總監。
Dirk DuHei, who won the National Culture and Art Prize in 1997, is devoted music education and choral music. Although born in China, he received his Master of Music in conducting at the University of Illinois, U.S.A., and then returned to Taiwan to become actively involved in choral directing. Since 1983 Dirk DuHei has been the permanent Music Director and conductor of the Taipei Philharmonic Chorus. In 1988 he launched the Taipei Philharmonic Foundation for Culture and Education to promote choral and other musical activities in Taiwan. This foundation has over these years been involved in presenting hundreds of famous artists and ensembles, both local and foreign. And the foundation has successfully promoted for international cultural exchange such as the “Taipei International Choral Festival”, “Taipei Philharmonic Summer Festival”, “Taipei Philharmonic International Music Workshop”. Dirk DuHei contributes to the musical life of Taiwan by premiering new pieces and organizing educational performances and seminars. He has often been invited to be a member of the jury at prestigious international choral competitions (Fulda, Germany; Riva Del Garda, Italy; Budapest, Hungary; Sydney, Australia; Hong Kong to name a few). From England to Australia, Korea to the U.S.A, Dirk DuHei and his chamber choir have performed at various international festivals with enormous success. He is currently Artistic Director of the Taipei Philharmonic Foundation for Culture and Education, Taipei Philharmonic Chorus, Chamber Choir, Youth Choir, Taipei Philharmonic Youth Orchestra, Taipei Philharmonic Theater, and Taipei Philharmonic Opera Studio.
指揮 Conductor
吳曜宇 Yao-Yu Wu
現任國家交響樂團協同指揮及台北愛樂青年管弦樂團音樂總監暨首席指揮，臺灣指揮家吳曜宇在贏得了第 53 屆貝桑松國際青年指揮大賽的 Grand Prix de Direction（首獎），Coeur de Coeur L'Orchestre（樂團獎）和 Coup de Coeur du Public（觀眾獎）後引起國際樂壇關注，並在和眾多世界知名樂團合作後開啟了自己的職業生涯。 由已故名師徐頌仁教授啟蒙，吳曜宇在臺北國立藝術大學開始了指揮的學習，並於 2017 年負笈維也納國立表 演藝術大學。2014 年，受邀在著名的聖彼得堡愛樂音樂廳指揮聖彼得堡交響樂團。2018 年，他受邀與盧瓦爾 河國家樂團（Orchester National des Pays de la Loire）在盧昂盧瓦爾河地區（RégionPays de la Loire）舉行一系列音樂會 巡迴演出。 近年來，他的合作樂隊包括：聖彼得堡交響樂團，波蘭國家廣播交響樂團，洛林國家管弦樂團，波爾多國家 管弦樂團，盧瓦爾河國家管弦樂團，澳門交響樂團，國家交響樂團，臺北交響樂團，國立臺灣交響樂團，台 北 愛 樂 ... 等。 合 作 的 藝 術 家 包 括：Tzimon Barto、Jean-Daniel Bugaj、Maria Cabeza、Oliver Charlier、Elisa Cho、Claire Huangci、Jakub Jakowicz、Do An Jong、Adam Laloum、Nemanja Radulovic、Alexie Volodin、楊文信、吳蠻、李鰲、林易、 劉孟捷、盧易之、侯傳安、曾宇謙 ...... 等。 歌劇方面，吳曜宇也有相當活躍的表現。2013 年，他與臺北國立藝術大學合作，演出《貝利尼：夢遊女 》 ( Bellini: La Sonnambula)。2014 年指揮兩廳院歌劇工作坊，在臺灣巡迴演出《胡伯定克：糖果屋》 ( Humperdinck: Hänsel und Gretel)。 2019 年，在國家交響樂團《浦契尼：托斯卡》( Puccini: Tosca) 的製作中擔任呂紹嘉的助理指揮， 同時也在該製作巡迴時擔任客席指揮。 2019 年，吳曜宇應國立臺灣交響樂團邀請錄製臺灣民謠專輯。同年，他與琵琶演奏家吳蠻和巴伐利亞廣播交 響樂團前大提琴首席楊文信合作，錄製了作曲家陳士惠作品，該專輯由美國新世界唱片公司發行。作為年輕 一代的指揮家，吳曜宇往往帶著熱情分享自己對音樂的見解。基於對大眾傳達音樂的感染力，他幾次受台北 市立交響樂團與國立臺灣交響樂團邀請指揮臺灣新年音樂會及國慶音樂會。吳曜宇對年輕人的影響力也讓他 受《表演與藝術》雜誌評選為 “ 2013 年度音樂人物 ”，並受政府提名為 2014 年十大傑出年輕人的候選人。 為了尋求更高的藝術價值，吳曜宇推辭了 2017/18 樂季的大部分音樂會，並選擇再次在維也納學習。2020 年， 吳曜宇受邀擔任台北愛樂青年樂團音樂總監暨首席指揮。2021/22 樂季受藝術顧問準．馬寇爾邀請，擔任國家 交響樂團協同指揮。
Yao-Yu Wu, currently the Associate Conductor of National Symphony Orchestra ( Taiwan Philharmonic ), came to international attention with his winning of 53rd Besançon International Competition for Young Conductors, including Grand Prix de Direction (First Prize,) Coup de Coeur L’Orchestre (Prize from Orchestra,) and Coup de Coeur du Public (Prize from Public) in 2013. After this competition, Wu began his career by cooperated with numerous world-known orchestras. In recent years his cooperated orchestras included: St. Petersburg Symphony Orchestra, Polish National Radio Symphony Orchestra, National Orchestre de Lorraine, National Orchestre de Bordeaux, Orchestre National des Pays de la Loire, Macao Symphony Orchestra, Taiwan Philharmonic (National Symphony Orchestra,) Taipei Symphony Orchestra, National Taiwan Symphony Orchestra, Taipei Philharmonic...etc. The cooperated artists included: Tzimon Barto, Jean-Daniel Bugaj, Maria Cabeza, Oliver Charlier, Chung-Shen Chen, Elisa Cho, Chuan-An Hou, Claire Huangci, Jakub Jakowicz, Do An Jong, Adam Laloum, Ao Li, Ling-Hui Lin, Steven Lin, Men-Chieh Liu, Yi-Chih Lu, Nemanja Radulovic, Yu-Chien Tseng, Alexie Volodin, Man Wu, Wen-Sinn Yang...etc. Additionally, Wu has conducted in numerous important Venue, such as St. Petersburg Symphony Orchestra Concert Hall, Claude-Nicolas Ledoux's Theatre of Besancon, Arsenal de Metz, Katovice NOSPR Concert Hall, Nort-Sur-Erdre Cap Nort, Théâtre de l'Espace de Retz, Théâtre Quartier Libre, Haute-Goulaine Le Quatrain, Taiwan National Concert Hall, National Theater, Taichung National Theater...etc. In 2014 he was invited to conduct St. Petersburg Symphony Orchestra at renowned St. Petersburg Philharmonic Hall.In 2018, he was invited to present a series of concert tour in Région Pays de la Loire with Orchestre National des Pays de la Loire. Wu is also an energetic opera conductor. In 2013, he collaborated with Taipei National University of Arts to conduct “Bellini: La Sonnambula”. In 2014, he conducted Taiwan Opera Studio to perform “Humperdinck: Hänsel und Gretel” and had a concert tour in Taiwan. In 2019, he is the assistant conductor of Maestro Shao-Chia Lü, collaborated with Taiwan Philharmonic to perform "Puccini: Tosca", in the same production he is also the guest conductor to conduct serie tour. In 2019, Wu was invited by National Taiwan Symphony Orchestra to record a Taiwanese folk music album. In the same year, he collaborated with world known pipa player Wu Man and former principal Cellist of Bavarian Radio Symphony Orchestra, Wen-Sinn Yang,recorded a contemporary music by composer Shih-Hui Chen and be published by American New World Records company. As a young generation conductor, Wu popularized music with enthusiasm, especially for childrens. Also, he has been invited to conduct national concert like Taiwan’s New year Concert and National Day Concert due to his energy of spreading music. For his influence on young person, he was named by Perform and Arts Magazine as “2013 People of the year in music”, and nominated by government as candidate of Ten Outstanding Young Persons in 2014. For the purpose of seeking higher value of arts, Wu rejected most of concerts in 2017/18 season and chose to study again in Universität für Musik und darstellende Kunst Wien.In 2020, Wu was invited to serve as music director and chef conductor of Taipei Philharmonic Youth Orchestra.Currently served as Associate Conductor of National Symphony Orchestra ( Taiwan Philharmonic ).
導聆 Speaker
古育仲 YuChung John Ku
指揮家古育仲為美國辛辛那提大學音樂藝術博士，主修指揮。 自 2002 年起便受邀於世界各地指揮音樂會，包括美國、加拿大、俄羅斯、中國、香港、澳門、日本、韓國、 菲律賓、印尼、奧地利、匈牙利、保加利亞、義大利、波蘭 … 等，曲目博古通今，還跨足指揮音樂劇與流行、 爵士、跨界音樂會，是活躍於多元舞台的指揮家。除指揮外，也常於各國擔任大師班指導老師，並多次出任 國際音樂比賽評審，包括世界合唱大賽、新加坡國際合唱大賽、峇里島國際合唱大賽、釜山國際合唱大賽 … 等十餘項賽事。 古育仲博士現為台北愛樂音樂總監暨指揮，台北國際合唱音樂節暨合唱大賽音樂總監，世界合唱理事會（World Choral Council）理事，國際合唱聯盟（International Federation for Choral Music）亞太執行委員會成員，世界合唱冠軍 賽（World Choral Championship）聯合發起人，亞洲合唱協會（Asian Choral Association）創會理事，台灣合唱協會 常務理事，夢蓮花讚頌合唱團指揮，並任教於國立臺灣藝術大學及中國文化大學。
Dr. Yu-Chung John Ku is the Music Director of Taipei Philharmonic Chorus, an executive board member of Taiwan Choral Association, the conductor of Dream Lotus Chorus, and an assistant professor in the National Taiwan University of Arts and Chinese Culture University. He is also a member of the World Choral Council, a member of the Asia-Pacific working committee in the International Federation for Choral Music, co-founder of the World Choral Championship, and one of the founding directors of the Asian Choral Association. Dr. Ku has conducted concerts around the world, including Austria, Bulgaria, Canada, China, Hong-Kong, Hungary, Indonesia, Italy, Korea, Macao, Philippines, Poland, Russia, Singapore, U.S.A., and so on. He is an adjudicator in the World Choir Games, Bali International Choral Competition, Singapore International Choral Competition, and several other competitions around the world, and has led master classes and workshops in many countries. Dr. Yu-Chung John Ku received his DMA from the College-Conservatory of Music in University of Cincinnati, and holds a master degree from Temple University.
鋼琴 Pianist
劉愷孟 Kamil Tokarski
劉愷孟博士是一位傑出的波蘭鋼琴家，指揮，大鍵琴演奏家和鋼琴教師，在歐洲，美國和亞洲擁有豐富的演 出經驗。劉愷孟曾在波蘭、瑞士、捷克、西班牙、義大利、美國、日本和台灣發表獨奏會，包含美國芝加哥 市中心的普雷斯頓．布拉德利音樂廳，威斯康辛州的波蘭中心，日本東京市谷路德會中心，瑞士日內瓦紅十 字會博物館，台灣功學社音樂廳、誠品表演廳、士林官邸公園露天音樂台、高雄衛武營表演廳、台北國家音 樂廳及紐約市中心卡內基音樂廳的威爾演奏廳。劉愷孟師事華沙蕭邦大學 Maciejewski 教授，由於音樂方面的 傑出成就曾獲得了多項獎學金，包括波蘭文化部的獎學金以及瓦西基金會獎學金。2017 年於美國完成鋼琴演 奏和交響樂指揮博士學位，求學過程中在歐洲和美國眾多比賽中獲獎，曾與聖克勞德交響樂團獨奏演出，並 與多位傑出藝術家一起演出，包含葛萊美獎作曲家 Eric Whitacre 和匈牙利作曲兼鋼琴家 Istvan Benedekfi，也曾擔 任交響樂團指揮。目前定居台灣，定期演出並創辦 Tokarski Piano Studio 教授下一代台灣優秀學子。
Dr. Kamil Tokarski is a distinguished pianist, conductor, harpsichordist, and teacher with rich musical experience covering Europe, The United States, and Asia. Kamil Tokarski has appeared in solo recitals in Poland, Switzerland, Czech Republic, Spain, Italy, The United States, Japan, and Taiwan. His piano recitals included appearances in Preston Bradley Hall in Chicago, The Polish Center of Wisconsin, the Lutheran Ichigaya Center in Tokyo, the Red Cross Museum in Geneva, KHS Performance Hall in Taipei, Eslite Hall in Taipei, National Hall in Taipei, Weiwuying National Recital Hall in Kaohsiung, and Carnegie Hall’s Weill Recital Hall in New York City. He attended Arthur Rubinstein School of Music in Bydgoszcz, Poland. Dr. Tokarski continued his musical education at Grażyna & Kiejstut Bacewicz Academy of Music in Łódź as a piano student of Prof. Tadeusz Chmielewski and Prof. Jerzy Maciejewski at The Fryderyk Chopin University of Music in Warsaw. In 2008, Kamil Tokarski was awarded the Music Scholarship and a full academic scholarship by The Wasie Foundation to continue his musical education under Dr. Robert Koopmann at Saint John's University in the USA. In 2009, he received the Grand Prix in the Minnesota Music Teachers Association Piano Competition, first place in the Saint Cloud Symphony Competition, followed by the performance of Camille Saint-Saens Piano Concerto no.2 with the Saint Cloud Symphony Orchestra. He was a finalist of the Schubert Piano Competition and was awarded a second place in the Thursday Musical Piano Competition (Saint Paul, MN). In 2009 and 2010, Kamil Tokarski won the first place in the Music Teachers National Association Minnesota Piano Competitions and received an Honorable Mention award in both Divisional Competitions (Columbia, MO; Sioux Falls, SD). In May of 2013, Kamil Tokarski received his master's degree in piano performance from the University of Wisconsin-Milwaukee: Peck School of the Arts, where he studied with a Venezuelan concert pianist, Judit Jaimes. Tokarski began work on his doctorate in piano performance and orchestra conducting at Ball State University in Indiana under Dr. Robert Palmer and Prof. Douglas Droste. During his doctoral studies, Dr. Tokarski appeared as a conductor of the Ball State Symphony Orchestra, performed and recorded harpsichord solo repertoire, collaborated with Hungarian pianist, and composer Istvan Benedekfi, as well as Grammy-winning American composer, and conductor Eric Whitacre. Tokarski graduated with his Doctorate degree in the late 2017. Having been deeply involved in exploring cognitive aspects of playing and learning piano, his doctoral dissertation dealt with the effective memorization techniques of the harmonically complex “Masques” op.34 by Karol Szymanowski. Currently Dr. Tokarski resides in Taipei, Taiwan leading a teaching and recording studio.
小提琴 Violinist
金昫祈 Leta Chin
從小由母親啟蒙，在台期間接受紀珍安、宗緒嫻指導。2000 年赴美學習，14 歲參加 BYSO 協奏曲比賽榮獲首獎， 與樂團擔任獨奏演出，並接受西雅圖 King FM 古典音樂電台訪問。於西雅圖期間師事 Ilkka Talvi（海飛茲嫡傳弟 子）、Margaret Pressley，並獲西雅圖青少年藝術家獎以及知名獎學金 Dorothy Delay Scholarship。 於紐約期間，師事 Curtis Macomber、Grigory Kalinovsky。2010 年於紐約曼哈頓音樂院畢業，2011 年同時獲得美國 密西根大學（UM School of Music）以及卡內基音樂院（Carnegie Mellon School of Music）研究所全額獎學金及入學 許可，也在當年獲選為台灣古典音樂協會樂壇新秀。在卡內基音樂院研究所求學期間，師事 Cyrus Forough（大 衛．奧伊斯特拉赫嫡傳弟子），同時擔任該校樂團首席 / 副首席，贏得巴洛克協奏曲比賽首獎、匹茲堡藝術 家首獎。 自 2016 年起，多次與音契交響樂團於台中國家歌劇院、衛武營藝文中心等音樂廳擔任獨奏演出。因喜愛室內 樂，也曾成立 I.F. 鋼琴三重奏，於上海東方藝術中心以及國家演奏廳演出；除此之外，也參與錄製 2020 年由 Naxos 發行的巴拉達單簧管作品集。金昫祈多次在美國各地參賽得獎，並經常受邀參加小提琴國際大賽。赴美 期間受過 Lorin Maazel, Maxim Vengerov, Joseph Silverstein、Lewis Kaplan、Lucie Robert、Noah Bendix-Bagley（柏林愛樂首 席）、Rodney Friend、林昭亮等大師指導。演奏足跡遍台灣、美國、加拿大、阿曼、亞美尼亞、烏克蘭、英國、 德國 、韓國、日本等地。
Leta Chin, a Taiwanese American violinist, was born in California to a musical family and began playing violin at age 3. At age 14, She made her solo debut with orchestra. Her principal teachers were Ilkka Talvi, Grigooriy Kalinovsky and Cyrus Forough. She graduated from the Manhattan School of Music, and Carnegie Mellon University with full scholarship. During her studies in Pittsburgh, Leta won first prize in the CMU Baroque Concerto Competition, Pittsburgh Concert Society Competition and the Young Artist Competition hosted by Taiwan’s Classical Music Association. From 2016 until 2021, Leta had performed as a soloist with the YinQi Symphony Orchestra in many concert venues around Taiwan, including the National Taichung Concert Theater and the National Kaohsiung Center of the Arts. As a passionate chamber musician, she had also performed chamber music concerts at the National Recital Hall and the Shanghai Oriental Art Center. Leta has participated in numerous international competitions and given performances in Armenia, Canada, China, Germany, Japan, Korea, Taiwan, Oman, US, and Ukraine. In Leta’s spare time, she enjoys traveling, photography and a good cup of coffee. Leta performs on an Italian violin made in 1830 by Joseph Marconcini.
女高音 Soprano
林玲慧 Ling-Hui Lin
曾就讀義大利布雷夏國立音樂院，師事朱苔麗教授。2007 年、2011 年以最高成績取得聲樂與室內樂最高雙文 憑。現為國立臺北教育大學音樂系專任教授暨系主任。 2012 年與國家交響樂團 NSO 錄製《樂典 08 －錢南章》 專輯之《四首原住民藝術歌曲》入圍金曲獎「最佳演唱獎」；2013 年 NSO 與國家兩廳院 TIFA 台灣國際藝術節 威爾第《安魂曲》擔任女高音獨唱；多次擔任浦契尼歌劇女主角：2012 年 NSO 跨國歌劇《蝴蝶夫人》飾女主 角蝴蝶；2017 年國立臺灣交響樂團 NTSO 主辦《瑪儂雷斯考》擔任女主角、NSO 主辦《修女安潔莉卡》擔任 女主角 ；2019 年 NSO 與國家兩廳院 TIFA 台灣國際藝術節《托斯卡》飾女主角托斯卡，衛武營國家藝術文化 中心主辦《杜蘭朵》飾柳兒；2020 年臺中國家歌劇院主辦《波西米亞人》飾女主角咪咪。
Ling-Hui Lin went to Italy in 2000, was admitted to Vocal Music of Conservatorio di Musica di Brescia, and studied with Italy-based Taiwanese soprano Chu Tai-Li. Lin continued to study in PhD programs of vocal music and chamber music in the same conservatory, and graduated in summer 2007 with honors again. She appeared in the Verona Eximia Forma, an opera workshop, for many years to study the interpretation of operas with opera director Enrico Conforti. Her important performances includes: recording of Four aboriginal Lieder for Soprano and Orchestra by Nan-Chang Chien in 2012, nominated for The Best Concert Award in the 24th Golden Melody Awards; female lead Butterfly in Puccini's Madama Butterfly by NSO in 2012; soprano solo in Verdi's Requiem during Taiwan International Festival of Arts in 2013; the Manon Lescaut in Puccini's Manon Lescaut by NSO in 2017; Tosca in Puccini's Tosca by the NSO's 2018 opera production.
男中音 Baritone
陳翰威 Han-Wei Chen
美國新英格蘭音樂院 (New England Conservatory) 聲樂演唱文憑 (Graduate Diploma of Voice Performance)，獲得近全額獎 學金並師從羅西尼男高音 Bradley Williams。在台畢業於國立台北教育大學音樂系、台北藝術大學音樂系碩士班。 2020 年夏季獲取美國中央市歌劇院 (Central City Opera) 青年藝術家計畫 (Young Artist Program) 當季唯一入選華人歌 手。近年在台灣積極參與多項聲樂賽事榮獲佳績，包括 2021 邱玉蘭女士贊助獎學金計畫首獎、2020 法文聲樂 大賽藝術歌曲組貳獎、2017 年台北第一屆國際重唱大賽首獎、台灣中文歌曲大賽首獎。 演出方面近年也受邀與國家交響樂團（NSO）、北市交（TSO）、高市交（KSO）、兩廳院歌劇工作坊、台北 愛樂歌劇工作坊、北藝大歌劇團隊、國防部示範樂隊管弦樂團、幼獅管樂團演出包刮《強尼史基基》、《月 亮》、《卡門》、《波西米亞人》、《愛情靈藥》、《灰姑娘》、《睡美人》、《唐喬望尼》等多部歌劇中 擔綱主要角色及多場音樂會。任教於台北市內湖社區大學、信義社區大學擔任講師、新竹縣嘉興國小合唱團 指揮、台北市立國樂團附設合唱團副指揮、音契合唱團聲樂指導。
Bariton Han-Wei, Chen, studied the Graduate Diploma of Voice Performance at New England Conservatory. Study with the chair of voice apartment Bradley Williams. Han-Wei got the Central City Opera Summer Young Artist Program contract in 2019. Han Wei graduated the master program at Taipei National University of the Arts. His previous teachers include Hai-Yun Tseng, Yong-Chen Chen, Li-Mei Chang, and Mewas Lin. At present, he works as a vocalist at the Taiwan National Theater & Concert Hall Opera Studio, Taipei Philharmonic Opera Studio and Association of Vocal Artists of R.O.C. As a singer, he has obtained several prizes in singing competitions held in Taiwan. He has won 1st prize at the Taipei Vocal Competition and 2nd prize at the National Vocal Competition in 2014, 1st prize at the Taipei National University Newcomer of the Year Award in 2015, 1st prize at the Taiwan Vocal Association Chinese Art Song Competition (Youth Category), the Rotary Club Scholarship in 2016 and 1st prize in the Taipei Operatic Duets Competition in 2017, won 1st prize at R.O.C Ministry National Defence Symphony Orchestra concerto competition. Han-Wei performed “Creation” by Haydn with the New England Academy of Music Symphony OrchestraIn in 2020 as solist of Bass. He has been perform a lot of opera performance opportunities with National Symphony Orchestra(NSO), Taipei Symphony Orchestra(TSO), Kaohsiung Symphony Orchestra(KSO), Taiwan National Theater &Concert hall Opera Studio, Taipei Philharmonic Opera Studio perform about leading roles in operas in Taiwan such as Giovanni in Don Giovanni, Dulcamara in L'elisir d'amore, Colline in La bohème, Vater in Hansel and Gretel, Germont in La Traviata, Bob in The Old Maid and the Thief , Morales in Carman, Rodolfo in La Sonnambula and so on.
合唱指導 Chorus master
張維君 Wei-Chun Regina Chang
畢業於國立台灣師範大學音樂研究所，主修合唱指揮，師事翁佳芬博士。指揮技巧啟蒙於連芳貝老師。學習 過 程 中 曾 接 受 Kurt Suttner、Anthony Leach、Henry Gibbons、Gábor Hollerung、Joseph Flummerfelt、Anton Armstrong、 Maria Guinand 等合唱大師個別指導。 曾擔任聖家堂聯合合唱團、新北市教師合唱團、青韵室內合唱團、世紀合唱團、台北愛樂室內合唱團女低音； 台北醫學大學杏聲合唱團、長庚大學曉韻合唱團、天主教台北教區慶典合唱團、中正高中合唱團指揮，及台 北愛樂室內合唱團波蘭及加拿大巡演伴奏。2011-2014 年擔任台灣青年節慶合唱團助理指揮。2014 年起擔任台 北國際合唱音樂節師資。 自 2016 年起擔任台北愛樂合唱團合唱指導，曲目遍及：威爾第《奧泰羅》、馬勒第二號交響曲《復活》、威 爾第《安魂曲》、艾爾加《創樂者》、普羅科菲夫《亞歷山大 ‧ 涅夫斯基》、拉赫瑪尼諾夫《鐘》、布魯克 納《第三號彌撒曲》、海頓《創世記》、孟德爾頌《以利亞》、浦朗克《光榮頌》、交響京劇《快雪時晴》、 錢南章《十二生肖》、李哲藝《瘋原祭》、錢南章《大悲咒與我的釋文》等製作之合唱指導，並與呂紹嘉、 林勤超、邱君強、吳曜宇、莊東杰、張佳韻、鄭立彬、閻惠昌、簡文彬、Jānis Liepiņš、Jan Schumacher、Gábor Hollerung、Günther Herbig、Jun Märkl 等國際指揮合作。 現任台灣合唱協會理事，台北市婦女合唱團、華岡唱友合唱團、台北愛樂合唱團常任指揮。
Received a master’s degree in choral conducting from National Taiwan Normal University, where she studied with Dr. Weng Chia-fen. Her conducting techniques were also inspired by her teacher Lien Fang-pei. During her studies, she had the great opportunities to be mentored by various choral conducting masters, such as Kurt Suttner, Anthony Leach, Henry Gibbons, Gábor Hollerung, Joseph Flummerfelt, Anton Armstrong and María Guinand. Chang is currently one of the directors of Taiwan Choral Association, and the conductor of Taipei Women's Singing Society, Hwa-Kang Alumni Chorus and the resident conductor of Taipei Philharmonic Chorus.
台北愛樂合唱團 Taipei Philharmonic Chorus 台北愛樂合唱團成立於 1972 年，曾蒙李抱忱、戴金泉、包克多（Robert W.Proctor）等教授悉心指導，1983 年聘 請自美學成歸國專攻合唱指揮的杜黑教授擔任藝術總監至今，現由指揮家古育仲擔任音樂總監，指揮家張維 君擔任常任指揮。1993 年成立「台北愛樂室內合唱團」，每年皆獲邀參與國際重要音樂節，並於國內各地巡 演，深耕推廣合唱音樂。經常與國內外主要樂團合作，包含國家交響樂團、臺北市立交響樂團、國立臺灣交 響樂團、長榮交響樂團、臺北市立國樂團、臺灣國樂團、中國廣播民族樂團、香港中樂團、香港管弦樂團、 俄羅斯國家交響樂團、澳門樂團、亞洲青年管弦樂團、布達佩斯杜南伊管弦樂團等樂團；客席指揮包括林望傑、 呂紹嘉、呂嘉、簡文彬、鄭立彬、林勤超、莊東杰、吳曜宇、嚴良堃、閻惠昌、瑞霖 (Helmuth Rilling)、赫比希 (Günther Herbig)、豪勒隆 (Gábor Hollerung)、貝爾紐斯 (Frieder Bernius)、馬寇爾 (Jun Märkl)、皮克特 (Philip Pickett) 等， 演出作品包括巴赫《B 小調彌撒》、《聖約翰受難曲》、《聖馬太受難曲》、貝多芬第九號交響曲、布拉姆斯《德 文安魂曲》、比才歌劇《卡門》、布瑞頓《戰爭安魂曲》、奧福《布蘭詩歌》、韓德爾《彌賽亞》、莫札特《安 魂曲》、孟德爾頌《以利亞》、第二號交響曲《頌歌》、馬勒第二、三、八號交響曲、威爾第《安魂曲》及 華爾頓《伯沙撒王的盛宴》等；並於台灣首演洗星海《黃河大合唱》、錢南章《馬蘭姑娘》、《佛教涅盤曲》、 《娜魯灣》、歌劇《畫魂》、《十二生肖》、許常惠歌劇《鄭成功》、馬水龍《霸王虞姬》、《無形的神殿》、 金希文歌劇《黑鬚馬偕》等。歷年來出版多張專輯，多獲金曲獎肯定。2007 年受台北市政府譽揚，訂定捷運 東區地下街七號廣場為「台北愛樂合唱廣場」，肯定本團對台灣音樂界的卓越貢獻。
Taipei Philharmonic Chorus, founded in 1972, has established an extensive repertoire and a reputation as one of the most prestigious choruses in Taiwan. Members of the chorus are music lovers from all walks of life. Their love of music, combined with the vision of the conductors, has allowed the Taipei Philharmonic Chorus to greatly increase the number of performances it gives each year. Since it is one of the leading performing groups in Taiwan, Taipei Philharmonic Chorus is awarded and sponsored by the Ministry of Cultural from 1994 to date as an “Outstanding Performing Group”. The chorus has been collaborated or invited to perform with famous orchestras and conductors in many different festivals and countries, such as Russian State Symphony Orchestra, Asian Youth Orchestra, Macao Orchestra, Hong Kong Chinese Orchestra, Dohnányi Orchestra Budafok, Taiwan National Symphony Orchestra, Taipei City Orchestra, National Taiwan Symphony Orchestra, and Evergreen Symphony Orchestra, under the direction of Helmuth Rilling, Günther Herbig, Gilbert Kaplan, Frieder Bernius, Jahja Ling, Shao-Chia Lü, Wen-Pin Chien, among others. The repertoire of the Chorus includes Bach’s “B Minor Mass”, “St. John Passion”, “St. Matthew Passion”, “Christmas Oratorio”, Mozart’s Requiem, Beethoven’s Symphony No.9, Mendelssohn’s Symphony No.2, “Elijah”, “Midsummer Nights’ Dreams”, Brahms’ Requiem, Verdi’s Requiem, Mahler’s Symphony No.2, No.8, Orff ’s “Carmina Burana”, to name a few. From the 140-voice chorus, a smaller 40-voice choir is selected to tour and to perform more selected musical works. This group, known as “Taipei Philharmonic Chamber Choir”, has an impressive history of overseas performances, and had become the major professional choir in Taiwan. The chorus’ current music director is Yu-Chung John Ku, with resident conductor Wei-Chun Regina Chang, under the artistic direction of Prof. Dirk DuHei.
台北愛樂青年管弦樂團 Taipei Philharmonic Youth Orchestra 台北愛樂青年管弦樂團首次組成於 1989 年，當時是為搭配台北愛樂合唱團大型音樂會所採的任務編組樂團。 2004 年春季，樂團重新改組及擴編為常設樂團，由藝術總監杜黑與指揮鄭立彬共同促成，2020 年 8 月由新銳 青年指揮吳曜宇接掌音樂總監暨首席指揮。台北愛樂青年管弦樂團可說是目前匯集國內最多優秀青年演奏家 的樂團，團員皆為各級學校管弦樂團最優秀的演奏精英，在嚴格的訓練下，近年來樂團的演奏已初具職業樂 團水平，亦兼具青年音樂家的熱情及活力，音樂會後都能得到各界極大的迴響及讚嘆！ 十七年來與樂團合作過的音樂家有：指揮家 Helmuth Rilling、Gábor Hollerung、Kåre Hanken、Fred Sjöberg、Robert Emery、Pierre Bleuse、卞祖善、陳樹熙、邱君強、林勤超、張宇安、古育仲、吳尚倫、悟朗；鋼琴家胡瀞云、 胡志龍、嚴俊傑、葉孟儒、盧易之、盧佳慧、廖皎含、廖培鈞、林容光、陳苑芝、胡榮、龔鈺祺；小提琴家 Vilde Frang、Maria Solozobova、曾耿元、曾宇謙、鄧皓敦、黃義方、歐陽慧剛、徐晨又、盧佳君、蘇子茵；大提 琴家陳瑾平、歐陽慧儒；雙簧管演奏家謝宛臻；長笛演奏家陳廷威；小號演奏家侯傳安；吉他演奏家福田進一、 莊村清志、劉士堉、大荻康司；擊樂演奏家王小尹、林威震；聲樂家 Russell Watson、Sarah Brightman、徐以琳、 林慈音、陳美玲、陳珮琪、范婷玉、翁若珮、王典、鄧吉龍、姚盈任、廖聰文；國樂演奏家王正平、吳宗憲； 跨界樂團 Video Game Orchestra 等。 台北愛樂青年管弦樂團以培育青年音樂家為一貫之理念，期望提供更多的演出舞台予國內優秀的青年指揮家、 獨奏家、及各級學校優秀的樂團團員，並讓國內年輕作曲家有發表新作的管道與機會。在國際合作方面，本 團每年均辦理亞洲青年管弦樂團 (Asian Youth Orchestra) 在台的音樂會及團員甄選會，也在適當時機出訪國外， 擴大國際交流。本團目前由杜黑擔任藝術總監，鄭立彬擔任樂團顧問，游家輔、黃思瑋擔任助理指揮，並邀 請陳仕杰、蔣宗憲、黃亞漢、謝宜璇、陳怡伶、莊廷義、王采綺、陳建安、石楓鈺等國內新生代優秀演奏家 擔任駐團音樂家協助訓練。
Founded in the year of 1989, serving the purpose of accompanying the Taipei Philharmonic Chorus during performances. In the fall of 2004, the Artistic Director of Taipei Philharmonic, Dirk Du, expanded the orchestra to become an orchestra that meets on regular basis. The Taipei Philharmonic Youth Orchestra had gathered the most talented young musicians from all over the country. The artistic committee, including Artistic Director Dirk DuHei, music director Yao-Yu Wu, artistic advisor Li-Pin Cheng, assistant conductor Chia-Fu Yu, Szu-Wei Huang, and resident musicians Shih-Chieh Chen, Yi-Ling Chen, Tsung-Hsien Chiang, Tsai-Chi Wang, Chien-An Chen , Feng-Yu Shih, Ya-Han Huang, Ting-I Chuang, and I-Hsuan Hsieh helps training the members of the orchestra. Under the strict training, the orchestra has reached the level of a professional orchestra. And, with the vitality and passion of the young musicians, they really gain respect from the audience. This orchestra’s main purpose is to provide opportunities for young conductors, soloists, and performers to have a stage to perform, and for young composers’ new compositions as well. They have worked with internationally renowned young artists such as violinists Vilde Frang, Maria Solozobova, Yu-Chien Tseng, Keng-Yuen Tseng, pianist Ching-Yun Hu, Chun-Chieh Yen, Yi-Chih Lu, and composers Nan-Chang Chien, Huang-Long Pan, Che-Yi Lee, Shueh-Shuan Liu, Da-Wei Kao, among others. Meanwhile, the orchestra started to collaborate with youth orchestra all over the world. They host the audition for the Asia Youth Orchestra (AYO) in Taiwan since 2005, and arranged the Asian tour for AYO in Taipei since 2006.