演出 曲目 Pro g r a m
白遼士 ：羅馬狂歡節序曲 H . Berlio z : Roman C ar nival Over ture 杜卡斯 ：魔法師的學徒 P. Duk as : L’apprenti Sorcier 夏布里耶 : 西班牙狂想曲 E. Chabr ier : E s pana Rhaps ody 法雅 : 三角帽芭蕾組曲 ( 選曲 ) M . Falla : The three- C or nered Hat 法魯卡舞曲 Farr uca 霍達舞曲 Jota 中場休息 Int ermi ssi on
法雅： 西班牙花園之夜 M . Falla : Nig hts in the Gardens of Spain 第一樂章 在赫內拉利費宮 En el Generalife 第二樂章 遠方的舞蹈 Danza lejana 第三樂章 科爾多巴山麓花園 En los jardines de la Sierra de Córdoba
拉威爾 ：G 大調鋼琴協奏曲 M . Ravel : Piano C oncer to in G major 第一樂章 中板 Moderato 第二樂章 行板 Andante 第三樂章 快板 Allegro
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演出 人員 介紹 Abou t Musi ci an s
2
指揮
楊智欽 Conductor
Chih-Chin Yang
「他對樂團展現高度的掌控能力，指揮技術精準，內斂且富於表情…」 — 聲樂家月刊 台灣雲林人，現任高雄市交響樂團駐團指揮。 畢業於莫斯科 Gnesin 俄羅斯國立音樂學院。曾師事 Miroslav Rusin，陳秋盛教授，András Ligeti，Gunther Herbig， Michael Jurowski…等。曾任臺北市立交響樂團助理指揮，國立中正文化中心兩廳院歌劇工作坊指揮。 音樂風格熱情細膩及流暢優美，具有豐富的管弦色彩與感染能力，嚴謹的工作態度與對樂譜的忠實解讀，使其演出均 獲愛樂者極熱烈的迴響。演出類型曲目廣泛，風格掌握精確。除精彩演繹經典管絃交響樂曲目之外。他對於歌劇及芭蕾的製 作及演出經歷也相當豐富；保留劇目包括：莫札特「唐喬望尼」，「魔笛」，「女人皆如此」；胡伯定克「糖果屋」；普契 尼「強尼史基基」，「波希米亞人」，「瑪儂雷斯考」；奧芬巴哈「霍夫曼的故事」；拉威爾「頑童與魔法」；馬斯康尼「鄉 村騎士」；威爾第「茶花女」，「弄臣」；普羅高菲夫「灰姑娘」… 等。 敏銳的音樂性及靈活的樂團掌握能力，讓他跟世界各地優秀的獨奏家及樂團的合作都相當精采而愉快。曾經合作的音 樂 家 有 Ivo Pogorelich 波 哥 雷 里 奇，Akiko Suwanai 諏 訪 內 晶 子，Tsuyoshi Tsutsumi 堤 剛，Mayuko Kamio 神 尾 真 由 子， Cho-Liang Lin 林昭亮，Nai-Yuan Hu 胡乃元，Yu Kosuge 小菅優，David Grimal 大衛
里摩，Irina Mejoueva 梅優葉娃，
Nino Gvetadze 格韋塔澤，Uri Caine 尤里凱恩，Diethelm Hans-Joachim 狄特爾 約納斯，Kevin Maynor 凱文 梅諾爾，Paul Meyer 保羅 梅耶…等。 樂團方面則有 Svetlanov Symphony Orchestra ( State Academic Symphony Orchestra of Russia )，Voronezh Philharmonic Orchestra (Russia)，Württemberg Philharmonic Reutlingen (Germany) Bulgarian State Opera Burgas (Bulgaria)，台北市立交 響樂團，江蘇南京交響樂團…等。
Resident Conductor of Kaohsiung City Symphony Orchestra, Taiwan. Graduated from The Russian Academy of Gnesin, Moscow, Russia. Studied with Miroslav Rusin, Filex ChiuSheng Chen, András Ligeti, Gunther Herbig, Michael Jurowski…etc. He served as the Assistant Conductor of Taipei Symphony Orchestra, Conductor of Opera Studio of National Chiang Kai-Shek Cultural Center, Taiwan. He obtains very great success in performance from the public by his passion of music, rich orchestral color control capabilities, excellent rhythm, and faithful interpretation of the score. Yang has widely orchestra repertoire, from classical to contemporary music. In addition, he also keeps his passion on opera and ballet. Yang has already successfully performed Mozart’s “Don Giovanni “, “The Magic Flute “,” Cosi fan tutte “; Humperdinck’s” Hansel and Gretel “; Ferrari’s” Susanna’s secret “; Puccini’s” Gianni Schicchi “,” Manon Lescaut “; Offenbach’s” The Tales of Hoffmann “; Ravel’s” L’Enfant et les Sortileges “; Mascagni’s “Rusticana Cavalleria”; Prokofiev’s” The Cinderella”…etc. Yang has performed with many excellent soloists like : Ivo Pogorelich, Akiko Suwanai, Tsuyoshi Tsutsumi , David Grimal, Yu Kosuge, Mayuko Kamio, Cho-Liang Lin, Nai-Yuan Hu, Diethelm Hans-Joachim, Irina Mejoueva ,Nino Gvetadze, Uri Caine, Kevin Maynor…etc. And he also appears actively as guest conductor with State Academic Symphony Orchestra of Russia, Voronezh Philharmonic Orchestra, Württemberg Philharmonic Reutlingen, Bulgarian State Opera Burgas, Taipei Symphony Orchestra, Nanjing, Jiangsu Symphony(China) ...etc. 3
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西 班 牙 鋼 琴 詩人
裴瑞亞涅 斯 裴瑞亞涅斯已被觀
及樂評認定為西班
最振奮人心的青年輕演奏家之一。他在西班
廣受歡迎，國際間對他的
好評日益增進。 他經常出現於西班
著名的音樂節，也在世界各地一系列知名的音樂會中演出。紐約卡內基音樂廳、阿姆斯特丹
皇家音樂廳、巴比肯的皇家音樂節、倫敦威格模音樂廳、東京三得利音樂廳、邁阿密新世界中心及巴黎香榭麗舍劇院 也都有他演出的蹤跡。 他已與知名的指揮包括馬澤爾、湯瑪士、梅塔、巴倫勃伊姆、布爾戈斯、洛佩茲．科沃斯、哈汀、泰米卡洛夫、 道斯格德合作演出。 最近的演出包括與巴黎交響樂團、國家里昂交響樂團、聖保羅交響樂團、伯明罕、哥本哈根愛樂、亞特蘭大交響 樂 團、 舊 金 山 交 響 樂 團、 聖 彼 得 堡 愛 樂、 英 國 廣 播 愛 樂、 英 國 廣 播 交 響 樂 團、 蘇 格 蘭 英 國 廣 播 樂 團， 在 馬 德 里、 Ravinia 音樂節、巴黎、邁阿密、里約、馬賽及香港的獨奏會。 他 是 法 國 harmonia mundi 唱 片 公 司 獨 家 發 行 者， 他 之 前 錄 製 了 舒 伯 特、 西 班 Mompou 的作品及法雅的鋼琴作品包含由 Josep Pons 指揮的英國廣播交響樂團的西班 入圍拉丁
作 曲 家 Blasco de Nebram 與 花園之夜現場錄音，
張作品
萊美獎。並錄製了貝多芬奏鳴曲 12 , 17 , 22 , 27 號及蕭邦德布西的鋼琴作品。
他最新的孟德爾鋼琴 CD 將在 2014 年 11 月發行。 他在 2012 年獲得西班
文化部國家音樂獎。
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The acclaim accorded to the pianist Javier Perianes by audiences and critics alike confirms his status as one of Spain’s most exciting young artists. Hugely popular with Spanish audiences, he has a growing international reputation. A familiar and sought-after participant at many renowned festivals within Spain, he has performed in distinguished concert series throughout the world, having made notable appearances in New York’s Carnegie Hall, Concertgebouw in Amsterdam, Royal Festival, Barbican and Wigmore Halls in London, Suntory Hall in Tokyo, New World Center in Miami and the Théâtre des Champs Elysées in Paris. Javier Perianes has worked with leading conductors including Maazel, Tilson Thomas, Barenboim, Mehta, Frühbeck de Burgos, López Cobos, Harding, Mena, Pons, Temirkanov and Dausgaard. Recent and forthcoming highlights include appearances with Orchestre de Paris, Orchestre National de Lyon, Sao Paulo Symphony Orchestra, City of Birmingham, Copenhagen Philharmonic, Atlanta Symphony, San Francisco Symphony, Saint Petersburg Philharmonic, BBC Symphony, BBC Philharmonic, BBC Scottish as well as recitals in Madrid, Ravinia Festival, Saint Petersburg, Paris, Miami, Rio de Janeiro, Marseille and Hong Kong. Javier Perianes records exclusively for harmonia mundi. His previous releases for the label include works by Schubert, Blasco de Nebra, Mompou, the piano music of Manuel de Falla (including a live recording of Nights in the Gardens of Spain with the BBC Symphony Orchestra under Josep Pons), which received a Latin Grammy Nomination, Moto perpetuo – a CD featuring Beethoven Sonatas Nos 12, 17, 22 and 27 and …les sons et les parfums, focuses on the piano music of Chopin andDebussy. Javier´s latest CD is devoted to piano pieces by Mendelssohn will be released in November 2014. In 2012 Perianes received the “National Music Prize” awarded by the Ministry of Culture of Spain. www.javierperianes.com
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Pianist
JAVIER PERIANES
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樂曲 解說 Progr am No tes
中文曲解╱謝佳芳 英文翻譯╱周兆儀
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白遼士：羅馬狂歡節序曲，作品編號九 Hector Louis Berlioz : Roman Carnival Overture, Op. 9 熱情不滅──白遼士 白遼士（Hector Louis Berlioz, 1803 - 1869 ）於十八歲進入醫學院唸書，當他看到解剖屍體的場景 時，發現自己根本無法承受，並徹底感到厭惡。白遼士決心要離開那可怕的世界，雖然
會讓從醫的
父親失望，但若不逃離，最後失去希望的可能會是他自己。 白遼士曾學過好幾項樂器，就是沒學過鋼琴，雖然
在音樂家的圈子中不是常見的事，但
一點
也不影響白遼士傑出的音樂表現。學醫的過程裡，白遼士並不完全專注於他的課業，相對於醫學，他 更熱衷於音樂的探索。二十三歲時，白遼士甚至直截了當地放棄醫學，並考上音樂學子們所夢寐以求 的至高學府──巴黎音樂院（Conservatoire National Superieur de Musique de Paris）。 由法國政府所舉辦的羅馬大獎（Pr ix de R ome ）曾三度與白遼士擦身，但在第四次的角逐當中， 終於讓白遼士如願以償地拿下首獎。白遼士頂著殊榮光環，接受安排前往位於義大利的羅馬進修音 樂。經過溫暖南國的洗禮，白遼士除了吸收到
藝術古都所餽贈的養分之外，他的腦海中也被印刻了
深深的特殊風情。 雖說白遼士的音樂職涯並不順利，但其熱情、詩意、嚴謹態度以及與生
來的天賦仍讓他留下許
多抹不掉的精彩成就，重要作品包括《哈洛德在義大利》（Harold en It a li e, O p. 16 ）、《幻想交響 曲》（Symphonie Fantastique, Op. 14 ）、《羅密歐與茱麗葉》（Roméo et Juliette）與《羅馬狂歡節 序曲》（Roman Carnival Overture）。 《羅馬狂歡節序曲》 《切里尼》（Benvenuto Cellini）是白遼士在一八三八年發表的歌劇，
部歌劇非常可惜地遭到
災難性的失敗，儘管樂團與演唱者已歷經多次排練，但由於某些嚴重的失誤，使得《切里尼》在首演 時失去光彩。 一八四三年，沒有放棄《切里尼》的白遼士，替 安排一首新的序曲，
部歌劇再添上一筆。他於歌劇的第二幕之前，
首序曲也就是《羅馬狂歡節序曲》。
《羅馬狂歡節序曲》展現了白遼士細緻精巧的管絃樂法，美麗的旋律、浪漫的和聲、有趣的音樂 素材、無間斷的狂熱氣息和被設計得略為困難的演奏技巧，皆是
闕序曲的
妙亮點。
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Hector Berlioz’s father was a medical doctor near Grenoble, France. Since his father assumed that young Berlioz would follow his profession, his musical gifts were largely ignored. He never learned to play more than a few chords on the piano, and his abilities were limited to flute and guitar, both of which he played with quite accomplishment, but never the level of virtuosity. Young Berlioz was sent to attend a medical school in Paris at age of 18. He had little tolerant to the anatomy course and found himself completely disgusted. Berlioz then made up his mind to become a musician. Berlioz started with private music studies, and began in 1826, he enrolled the composition curriculum at the Paris Conservatory. After three failed attempts, Berlioz won the prestigious award of Prix de Rome in 1830. The prize came with professional recognition, a welcome source of income, and a residency in Italy, a nation whose cultural lineage was considered at the time to wield an indispensable influence over the formation of the creative intellect. Berlioz spent fifteen months in Italy, and the inspiration to him was just as the Prix de Rome foundation could have hoped for, thought the foundation would be happier if the young composer produced more serious works while there. The architecture of antiquity and vivid modern Italian life definitely left marks on Berlioz’s taste. His music would often depict Italian history, art, landscape for years, including works as the symphony Harold in Italy, the “dramatic symphony” Romeo and Juliet, and the opera Benvenuto Cellini. Other than winning Prix de Rome, there was another qualification for musicians of Berlioz’s time to meet – a great success in the opera house. Berlioz composed three operas, but he never quite achieved the success he wanted. Benvenuto Cellini was his first opera, Berlioz called it a two-act “opera semi-seria.” When choosing the subject, Berlioz went directly to his Italian inspiration: the autobiography of the sixteen-century Italian sculptor, goldsmith, and musician, Cellini was an iconoclastic, egotistical artist, and Berlioz viewed him as a kindred Romantic character, swept up in a world of art and ardor, a genius forever trying the limits of politics and social propriety. And there is more, like Berlioz did, Cellini played flute. The opera, received only four performance at its 1838premiere, went through several revisions and performed a few times in 1852. Berlioz composed Roman Carnival with the subtitle as “a characteristic overture for large orchestra,” in 1843-44 as a separate piece to be performed in a concert of his own compositions. The overture was composed in the fashion of Benvenuto Cellini, and it served as a prelude to the second act for productions of the opera later. The opera’s second act is set in a carnival in Rome – hence the overture’s title. The overture quotes the love duet “OTeresa, vous qui j’aime,”; here it is transformed 10
into a lovely solo for English horn. Berlioz’s also quotes choral and love arias. The overture concludes with a flurry of energy and excitement. Roman Carnival quickly became one of Berlioz’s most popular works. And yet, not all performances met composer’s standard. In his Memoirs, Berlioz wrote: In Austria the “Roman Carnival” overture was for long the most popular of my compositions. It was played everywhere. I remember several incidents connected with it during my stay in Vienna. One evening Haslinger, the music publisher, gave a soirée at which the pieces to be performed included this overture, arranged for two pianos (eight hands) and physharmonica [a kind of harmonium]. When its turn came, I was near the door which opened onto the room where the five performers were seated. They began the first allegro much too slowly. The andante was passable; but the moment the allegro was resumed, at an even more dragging pace than before, I turned scarlet, the blood rushed to my head and, unable to contain my impatience, I shouted out, “This is the carnival, not Lent.” You make it sound like Good Friday in Rome.” The hilarity of the audience at this outburst may be imagined. It was impossible to restore silence, and the rest of the overture was performed in a buzz of laughter and conversation, amid which my five interpreters pursued their placid course imperturbably to the end.
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高雄市交響樂團 Kaohsiung Symphony Orchestra
高雄市交響樂團 Kaohsiung Symphony Orchestra 1981 年成立，2000 年正名為「高雄市交響樂團」。2009 年，高雄市交響樂團及高雄市國樂團基金會整併為「財 團法人高雄市愛樂文化藝術基金會」，並由高雄市文化局史哲局長出任董事長，擴大社會參與。2010 年，由朱宏昌 先生出任基金會執行長。2011 年，由楊智欽先生出任駐團指揮。 每年演出近百場，包含與國內外名家聯演之【名家系列】，如：指揮家馬卡爾、譚盾、陳秋盛、曹鵬、簡文彬、 西本智實、陳美安；演唱家卡列拉斯；小提琴家明玆、諏訪內晶子、林昭亮、阿卡多、安梅耶、寧峰、艾琳娜．瓦 哈拉、伊凡諾夫；大提琴家麥斯基、堤剛、楊文信、阿爾班．蓋哈特；鋼琴家波哥雷里奇、加伏里洛夫、傅聰、李 雲迪；小號巨星納卡里亞可夫、豎笛騎士保羅．梅耶等。 亦規劃【跨界及專案】活動，延伸古典樂生命力。如先後演出高雄春天藝術節舉辦之「臥虎藏龍」、「魔戒首 部曲 - 魔戒現身」、「賽德克．巴萊」、「Nasa 星世界」、「提姆波頓─影展交響草地音樂會」、「哈利波特─好 萊塢十大魔幻電影音樂」等影音交響音樂會。或結合話題日劇「馬卡爾的交響情人夢」；融合在地特色演出─明華 園歌仔戲團「白蛇傳」及原住民歌舞劇「很久沒有敬我了你」。也曾與當代流行樂壇代表合作，如：五月天、江蕙等。 同時致力【校園及社區推廣】，如舉辦「古典點點名」校園巡迴及帶領學童認識音樂廳之「古典任意門」等兒 童音樂會。並走進社區或地方表演廳，如：「岡東有樂町」系列演出。 成立以來，屢受邀國內重要盛會演出，如正副總統就職
會及高雄世運開幕式。亦先後獲邀至美國、澳門、南
京、上海、青島、蘇州、新加坡演出。2013 年，更以「跨樂」為名巡演高雄、上海及北京等兩岸一級城市，舉辦售 票音樂會，樂團演奏實力已備受肯定。
Formerly known as Kaohsiung City Symphony Orchestra (KCSO), the orchestra was founded in 1981 and experienced steady growth under the leadership of conductor Henry Mazer. The orchestra was renamed the ‘Kaohsiung City Experimental Symphony Orchestra’ in 1991, a step towards becoming a professional orchestra. Violinist, Pang-Hsiang Hsiao was appointed as conductor in 1993, and Shu-Si Chen succeeded as the General Director in 1999. By 2000 the Kaohsiung City Music Center was completed and the orchestra took resident at the newly built center. At the same time, the orchestra was officially renamed the ‘Kaohsiung City Symphony Orchestra’. In July 2007, Hung-Chang Chu was publically selected as the general director of the orchestra; while in January 2011, Chih-Chin Yang was appointed as the new conductor for the orchestra, finally renamed as Kaohsiung Symphony Orchestra (KSO). In April 2009, Kaohsiung City Mayor, Chu Chen integrated the Kaohsiung Symphony Orchestra and the Kaohsiung Chinese Orchestra into one organization, namely the ‘Kaohsiung City Philharmonic Culture and Arts Foundation’. The foundation is now state funded with Che Shih, the Director General of Cultural Affairs Bureau, 14
appointed as the president of the foundation. In July 2010, Hung-Chang Chu was appointed by the foundation’s committee to become the new Chief Executive of the Arts foundation, overlooking both orchestras, the KSO and KCO. For the past few years, the KSO has collaborated with many world renowned conductors, including Zdenek Macal, Erich Kunzel, George Fenton, Christoph Poppen, Chiu-Shen Chen, Tsao Pen, Wen-Pin Chien and KangMing Chen. Apart from collaborating with different conductors, KSO has also performed with many artists including Tenor Jose Carreras, Russell Watson, Soprano Natalie Choquette. Instrumentalist includes violinist Shlomo Mintz, Ryu Goto, Reiko Watanabe, Akiko Suwanai, Ilya Gringotls, Mayuko Kamio, Cho-Liang Lin, NaiYuan Hu, Xiao- Cao Sha, Keng-Yuen Tseng, Rafael Gintoli, Sayaka Shoji, Salvatore Accardo, Ann Akiko Meyer, Elina Vähälä and Yossif Ivanov; cellists include Mischa Maisky, Tsuyoshi Tsutsumi, the 2011 International Tchaikovsky Competition Gold Medalist, Narek Hakhnazaryan and Alban Gerhardt. KSO has also collaborated with many pianist including Ivo Pogorelich, Russian pianist Andrei Govrilov, “Pianist-Poet” Fu Tsong, “Genius Pianist” Yundi Li, Alicia Terzian, Lukas Vondracek, Chen Sa, Meng-Chieh Liu, Piano Prodigy- Niu Niu, Jazz pianist Makoto Ozone and 2008 International Franz List Piano Competition Second prize winner Nino Gvetadze. Apart from the above, KSO has also collaborated with the following instrumentalist, including Swedish guitarist Yngwie Johann Malmsteen, trumpeters Sergie Nakariakov, as well as conductor and clarinetist, Paul Meyer. KSO has also collaborated with many international groups such as Canadian Royal Winnipeg Ballet, English National Ballet, Ming Hwa Yuan Taiwanese Opera, Taiwan National Choir, Suzho Science & Culture Arts Center’s Ballet, Neo-Classic Dance Company and Kaohsiung City Ballet. In recent years, KSO had been on tour to many Asian cities including Nanking, Shanghai, Qingdao, Suzhou and Singapore. Apart from being on tour, in 2008 KSO was also invited to perform at the inaugural ceremony of the president and vice-president of Taiwan. Beyond performing under the usual orchestral repertoire, KSO has in recent years, expands its collaboration with different genre, namely the Ming Hwa Yuan Arts and Cultural Group (A Taiwanese Opera Company) for a production of the “Legend of the White Snake”, Tan Dun’s “Crouching Tiger and Hidden Dragon”, the joint production of BBC and Discovery’s “Blue Planet”, “Warner Brothers’ Bugs Bunny at the Symphony”, Makoto Ozone’s “George Gershwin’s Rhapsody in Blue” Jazz Concert, “Romeo and Juliet” Ballet with Suzho Science & Culture Arts Center’s Ballet Company, The 50th year anniversary debut of “The Butterfly Lovers’ Violin Concerto”, “Love Songs of the Mandarin and Taiwanese” concerts, “Video Games Live Concert”, “Messiah”, “ May Day Band” live concerts etc. Those concerts have drawn a large number of music lovers. KSO also performed two concerts as part of the movie symphonic concert evening last year, which featured the most memorable movies scene from “The Lord of the Rings” and “Seediq Bale”, a Taiwanese epic historical film. Both concerts were an instant hit which draw in large crowds. To continue the tradition, this year KSO performed “NASA – The Planet and the Orbit” open-air concert as part of the 2013 Kaohsiung Spring Art Festival. This open-air concert was the first in Taiwan and was proved to be very popular as numbers reach ten thousand people over the course of two days. Throughout its seasonal performances, the KSO also regularly bring classical music including chamber and solo works to local schools and communities while share their knowledge and enthusiasm for music with the less privileged. By introducing classical music to communities who has little knowledge of the classical music world, not only does it provide them with a new experience, it also fostered a lasting and meaningful relationship between the orchestra and the local community. The KSO has developed its great popularity by its diversified programming and performing styles. 15
樂團名錄 執
行
朱宏昌
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李宗芝
曾柏肇
李純欣
黃奐瑋
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蔡恆禛
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王瀅卿
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林詩韻
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第二小提琴
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提
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王慧雯
鄭化欣
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劉凱妮
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鄭斐文
王昱蘋
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16
楊智欽
◎樂團副首席
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蔡佳潓
敏
鍾家怡
吳國瑄
郭哲誠
白佩蕾