2017timf臺灣國際音樂節 by Anne Chen

臺灣國際音樂節

逐聲時代巴黎的當代音樂吸引無數愛樂的癡人逐聲而來，

王瀅絜與 TPMC

Taiwan International Music Festival

A Moment for Music Pursuers

2017

巴黎現代音樂協會

因為這裡的每一道聲響，都是一首時代的有聲詩。

4.17 Mon. 19:30

序

節目介紹

音樂是人類最早用以溝通和傳達情感的方式，臺灣有著多族群、多地貌的天然條件，因此也擁有極為豐富的音樂資源。臺灣音樂

2012年起，TPMC巴黎現代音樂協會獲法國作曲家與作家創作協會（SACEM）和法國表演者版權協會（SPEDIDAM）的支持，於

館多年來努力保存屬於臺灣的音樂文化資產，近年也積極向全世界推廣來自臺灣的聲音，「TIMF臺灣國際音樂節」即為促進臺灣音

法國巴黎展開以二胡演奏家王瀅絜為中心的一系列計畫：「建立二胡當代曲目—將東方樂器二胡介紹至西方」（Création du Réper-

樂家與國際樂壇接軌而策辦：屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦，受邀前往韓國全州清唱藝術節演出，純淨

toire Contemporain Erhu - La contemporanéité d’instrument traditionnel d’Extrême-Orient en Extrême-Occident），計

的歌聲征服了來自全世界的音樂家們，也促成了「TIMF臺灣國際音樂節」的開場音樂會，將由清唱藝術節執行總監、韓國知名擊樂

畫內容包含二胡委託創作、各國音樂家合作演出，及介紹東方樂器至西方音樂院。

家帶領融合大樂團，來到排灣族的故鄉─屏東，與「泰武古謠傳唱」再度攜手，拉開音樂節序幕。此外，代表清唱藝術節前來臺灣交流的

2011至2012年先於巴黎現代音樂作曲界舉辦三場公開座談，介紹二胡這項西方作曲家較不熟悉的東方樂器及其經典曲目。2012至

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

2016年共完成九首二胡新作委託，與法、德、美、台現代音樂演奏家及樂團合作，到音樂院進行教學、演出，並參與歐洲多個現代音

Scholars，將展現韓國傳統樂器的另一面；來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品；以及積極媒合電聲與傳

樂節。至去年為止，共於四個國家、五個城市舉行了八場音樂會與八場研討會。

統絲竹樂器的TPMC巴黎現代音樂協會，將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

此計畫吸引許多委託機構，包括法國各級音樂院、里昂國立高等音樂院、法國巴黎與德國漢堡小型小劇場、現代畫廊，與歐洲國際

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

音樂節；受委託作曲家則包含法籍中國裔作曲家田蕾蕾、哥倫比亞作曲家胡安•卡米羅•耶南德茲•桑切斯（Juan Camilo Hernan-

樂會」五十周年，感念辛勤耕耘創作一甲子的前輩音樂家們，特別策劃一場向日葵樂會專場，向向日葵致敬！同樣令人期待的還有結

dez Sanchez, CNSMDP, IRCAM）、法國作曲家里查•培林（Richard Perrin, CNSMDL）等；合作的音樂家包括吉他演奏家克莉絲

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》，展現新生代創作者融合傳統與當代的才華。

蒂•瑟莉（Christelle Séry）及雷米•朱賽門（Rémi Jousselme）、鋼琴家珍妮佛•海默（Jennifer Hymer）、手風琴演奏家芬妮

藉由國際展會的規劃與辦理，國立傳統藝術中心積極落實國際交流事務，守護傳統、迎向未來!

統

籌

吳榮順

Director

WU Rung-Shun

監

製

鍾寶善王蘭生賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

製

作

翁誌聰

Producer

WENG Chih-Tsung

策

畫

林芳宜

Curator

LIN Fang-Yi

黃珮婕李宥臻鄭詠玹蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

•維森斯（Fanny Vicens）及皮耶•庫薩克（Pierre Cussac）等。本場音樂會中，除了將世界首演三首臺灣音樂館與「大師門徒與夥伴計畫」國際夥伴TPMC合作共製的二胡新創作品之外，也將世界首演多首二胡新作。而此次演出場地十方樂集對本計畫而言格外有歷史意義。2013年12月，TPMC、王瀅絜、吉他演奏家雷米•朱

Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun— a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements. The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

賽門和手風琴演奏家皮耶•庫薩克將第一階段已於巴黎發表過的多首現代作品，於十方樂集舉行原創作品的臺灣首演。當時的音樂會

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

和本場音樂會一樣，結合TPMC對無中場休息，舞台及燈光設計需符合聆聽時音樂流動性的堅持，以視覺來輔助樂曲《連續》（Continuum）聆聽為主導，作為音樂會曲目設計的基礎。本場涵蓋多首世界首演發表的製作，將於今年五月底在巴黎進行法國首演，並

行政協力

於秋季到德國進行巡演。

黃馨瑩蕭啟村許淑慧張翔雲 Administrative Coordinators

洪逸倫歐美蓉柯瓊芬黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司亞洲作曲家聯盟(臺灣)

演出曲目

Production Associates

1.陳珩 / 《備忘錄 C》for erhu, accordion and piano (世界首演，大師門徒與夥伴計畫成果) 2.克勞斯•胡柏 / 《冬籽》for accordion solo

舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

文

案

黃麗琪

翻

譯

鄭鳳珠

Sobright Lighting Asian Composers League (Taiwan)

3.林煒傑 / 《古墟》for erhu and two performers (世界首演) 4.沙查•利諾•雷克 / 《堅定的欲望》for piano solo 阿爾諾六行詩結尾片段摘自阿爾諾•達尼埃爾（Arnaut Daniel）詩作

Nicole’s Creative Artists Agency

5.克里斯帝安•埃洛伊 / 《折疊》acoumatic music (世界首演) 6.陳政文 / 《見證的缺席》for a pianist and grand piano with live-electronics (世界首演、大師門徒與夥伴計畫成果)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

7.王穎 / 《快照》for erhu piano and real-time (世界首演)

Jennifer Hymer

王瀅絜

Fanny Vicens 指導單位 Directed

主辦單位 Hosted

國際夥伴 International Partners

十方樂集 Forum Music

指定住宿 Official accommodation provided

承辦單位 Organized

合辦單位 Co-hosted

特別感謝 Special thanks

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

作曲家簡介 (依演出順序)

樂曲解說備忘錄 C / 陳珩

堅定的欲望 / 沙查•利諾•雷克

「某件物品一但出現在敘事裡，便被賦予一股特殊的力量，

阿爾諾六行詩

像是磁場的兩極，或像無形的網路關係中的環節。物體的象

結尾片段摘自阿爾諾•達尼埃爾（Arnaut Daniel）詩作

徵意義也許並不很明確，但總是存在的。我們甚至可以說，任何物件在敘事中必定具有神奇的魔力。」─ 伊塔爾•卡爾維諾（Italo Calvino）

2016年我寫了一首給女高音、木笛、鋼琴與錄音的作品，該曲的創作基礎為中世紀吟遊詩人阿爾諾•達尼埃爾（Arnaut

我不知道他有什麼含意

Daniel）一首著名的六行詩（Sestina），這種詩以奧克語寫

為串起絲絨般的珍珠，我們用針線；為縫合麵包被切開的傷

作而成，並配上古調。

口，我們用美乃滋；裝飾家裡的馬賽克小浴缸，我們用矽利

後來，鋼琴家珍妮佛•海默（Jennifer Hymer）問我能否將

康，往往卻把自己的指甲也賠上──這樣說吧，用六個連續的段落，致Ｃ與他大無畏的精神。 *本作品為「國立傳統藝術中心音樂人才培育-大師門徒與夥伴計畫專案創作」

鋼琴樂段改成較短的獨奏曲，這件插曲也成為本作品最初的創作動機。當我開始進行創作時，縮減了不少原曲樂段、增加許多鋼琴樂段，並重新製作錄音部分。原本的三重奏靈感

冬籽 / 克勞斯•胡柏

來自於詩人達尼埃爾在結尾數行詩採用嚴謹音節排列處理關

「…..雖然看不見，卻依然傳達我們的藝術，為的是在歌中迎

鍵字（intra,ongla, arma, verga, oncle, cambra）。新作

接嶄新的晨光….」

短得多，因此無法保留這種結構。詩人達尼埃爾的《六行

本曲題獻給手風琴演奏家雨果•諾斯（Hugo Noth）。我非常喜歡手風琴這種樂器，它不像樂器之王鋼琴，反而比較像日本古代以口演奏的「笙」。我努力尋找並拓展它的慣用技巧和音樂語彙。本曲以五組聲響發展成三組序列（sequence），以對稱的十二音為基底，創造出相當穩定的和聲，插入激烈炫技的短樂段、逆行卡農，及西西里風的二聲部倒影卡農。三組音樂序列取材自法國詩人路易•阿拉貢（LouisAra-

詩》有六節六行，結尾會另加三行「托爾納達」（Tornada）並重覆結尾旋律。此處詩人會另加文字並「簽名」，以此問候觀眾，也重覆詩中六個關鍵字。在這個作品中，「托爾納達」的音律貫穿全曲，手法有如中世紀經文歌的固定旋律（cantus firmus），速度先加快，最後回到正常速度結束整首樂曲。

gon）的偉大詩作《詩人霍德林》（Hölderlin）。折疊 / 克里斯帝安•埃洛伊古墟 / 林煒傑作為21世紀的臺灣作曲者，要為二胡這項樂器創作時，必須

這首題獻給二胡演奏家王瀅絜的作品，係由臺灣音樂館與巴黎

面對許多的困難跟挑戰。首先，二胡不是臺灣本土的樂器，

現代音樂協會共同委託創作，並於2017臺灣國際音樂節首

在我們成長的文化環境以及日常生活中，並不是經常能聆聽

演。

到的。此外，二胡的傳統經歷了許多的改革，如定弦跟演奏

《折疊》是一首唯聲音樂作品，其聲響來自於亞洲常見樂器

方式等都已經現代化並趨於西化。所以二胡的本質是由許多

「二胡」，別名又稱中式小提琴。錄音時，二胡展現了自身許

不同層次的文化及歷史建構而成的遺蹟，類似古老的建築經歷各個時代用不同的方式修建或是古籍的重寫本。當然我們可以把二胡當作一個物件，用當代的角度來面對並探索其聲音的可能性，或者延續上一個世紀中國典型二胡的寫作方式

多特色：充滿能量的音調、顯著的音色、綿延不間斷的拉弓、寬廣的音域及多樣的演奏技法。從另一個角度來看，此種鮮明的特色也讓二胡的聲音極有辨識度，有時也能製造絃外之音的

……但這些都是我無法接受的。唯一的方法是把二胡當作古

效果，這項樂器的獨特本質透過各種演奏技法表露無遺。

墟，留住某些可尊重的「傳統」或「基礎」，並將其他部分

《折疊》的創作發想來自於文學家威廉•布洛斯（William

重新設計配置。令我感到最美麗且最有意思的部分，並不是

S. Burroughs）與布萊恩•蓋辛（Brion Gysin）在1950至

二胡這項樂器本身，而是演奏者與二胡之間精巧親密的互動

1960年代合著的《第三意識》（The Third Mind）中的書寫

以及個人詮釋，例如滑音跟裝飾音，這些通常是以個性化或風格化的方式添加到旋律中。當整曲關注於以前被認為是裝飾的元素，再加上聲音的振動，首先通過弦，然後到木頭，最後到表演者的身體，我相信二胡現在終於能夠在一個重新想像的傳統中，唱出內在的靈魂。

排列方式。一開始，我將這些技巧應用於具象音樂的剪輯，之後再用於電聲音樂的處理，透過這些基礎做法發展原創性的音樂語彙，也加入1960年代法國實驗性錄音作品，藉以轉換不同的樂段氛圍，感受多樣的聲響經驗。因此，為了建構精煉的音樂對話，我利用類似「摺疊」的手法，簡化剪輯與混音，同時保留二胡的強烈音樂性格（音

演出者簡介

調、持續音、音色、撥奏等），維持其充滿「誘惑力」的音

陳珩

暈之聲樂團（Ensemble Vertixe Sonora）、俄羅斯莫斯科

ments、Notissimo 及Jobert等出版社發行。其它作品則於

二胡 │ 王瀅絜

奏許多電子音樂曲目，最近在法國參與打造第一個四分音手風琴

樂形態，及其它謝弗（Pierre Schaeffer）為具象音樂定出的

1990年生於台北。自幼習琴，小提琴曾師事林柏山、吳怡宗

當代音樂團、維也納現代樂團（Klangforum Wien）、及福爾

PUF（法國）、Johnston Ed.（愛爾蘭）、MIT Press（美

自幼接受西方古典音樂教育，學習鋼琴、小提琴及理論作

的計畫。她的作品獲德國學術交流總署（DAAD）、巴登—符滕

準則。最後，感謝瀅絜演繹這些寶貴的樂音。

及高安香老師；鋼琴曾受王惠玲、劉本莊及黃麗瑛教授指

摩沙弦樂四重奏等。作品曾獲2011年荷蘭高迪阿姆思音樂節佳

國）、Le Mensuel Littéraire et Poétique（比利時）、

曲，八歲起始習二胡，中國文化大學國樂系畢業後，繼續攻

州藝術基金會（Kunststiftung Baden-Württemberg）、音

作、2010年教育部文藝創作獎、國立臺灣交響樂團 2010及

Confluences（法國）出版。

讀中國文化大學藝術研究所音樂組，是臺灣首位取得二胡演

樂家贊助協會（Mécénat Musical Société Générale）及艾

奏碩士的演奏家。多次以獨奏家身份受邀於國內及德國、法

莉絲•馬瓜特基金會（Fondation Iris Marquardt）支持。

導。除西洋樂器啟蒙外，求學過程曾選修二胡、古琴、管風琴、鑼鼓樂及戲曲唱腔等。國立師大附中音樂實驗班就讀期

見證的缺席 / 陳政文紙卷鋼琴曾經作為一種特殊的媒介，記錄著鋼琴家的演奏風範。不同於唱片（唱盤）等其他形式，音樂仍從飛逝的琴鍵中流瀉（我們甚至看得見）；聽著無人演奏的鋼琴，想像著

間，始隨蕭慶瑜教授修習理論與作曲，並於國立台北藝術大學在學期間受潘皇龍教授、蔡淩蕙副教授指導。畢業後赴

2011「鼓勵創作委託」及國立臺灣交響樂團2012作曲比賽第三名等。期間參與多項現代音樂節活動：如加拿大遺忘之域音

法，於法國國立布洛涅-比揚古國立音樂學院取得作曲專業文

樂節（Domain Forget）、臺灣亞太音樂節、法國IRCAM的宣

憑，師事尚－呂克・埃爾維（Jean-Luc Hervé），並隨皮耶・

言阿孔特音樂節（Manifeste/Acanthes@Ircam）、法國

音樂家「親臨」的風采。

法哈果（Pierre Farago）、楊・瑪黑許（Yan Maresz）學習

洛約蒙新音樂節（Voix Nouvelles in Royaumont），及德國

而喇叭（音箱）則重新定義了鋼琴演奏的本質，疏離了它的

管弦樂法及電子音樂；現就讀巴黎國立高等音樂舞蹈學院作曲

機械原理與聲響結構，壓縮在摩擦（唱針）或電流的轉換中

班，師從傑哈・貝松（Gérard Pesson）。曾參與秦納利•翁

達姆城夏季音樂班（Darmstadt Summer Course）等。

虛構它的蜃象（雖然有時還是很著迷於鏡像）：琴聲脫離了實體，重現在陌生的器材上與時空裡，產生「分裂」的現象（Schizophrenia, R. Murray Schafer）。自動演奏的鍵盤上，琴聲仍由琴槌擊絃而響。對於缺席的雙手，難道也不曾感到困惑─鋼琴這種樂器竟能自己演奏。

陳政文

國、英國、上海等音樂活動及藝術節擔綱演出，並參與「臺

1980年出生於南投。畢業於國立中山大學音樂系及國立臺北

灣文化光點計畫」赴德國海德堡大學交流演出。2016至

藝術大學音樂研究所，之後赴德國漢諾威音樂戲劇與媒體學

2017年，於第五屆香港周以及第45屆香港國際藝術節中，

生於哥倫比亞，畢業於哥國首都波哥大哈維里亞納大學，主

院攻讀作曲及最高獨奏家文憑。自2012年起，於不萊梅藝術

與香港小交響樂團合作，世界首演胡琴協奏曲《月魄》；她

修音樂與音響工程，隨後在巴黎第八大學攻讀音樂技術碩士

與巴黎現代音樂協會（TPMC）合作的一系列委創新作品，

學位。 2002至2004年間曾擔任電子原聲系列周音樂會

即將於2017臺灣國際音樂節首演，並進行歐洲巡迴演出。王

（Colon Eclectronico）的音響工程師，與摩瑞修•貝赫拉

瀅絜也將前往美國及加拿大，參與以東亞民族樂器為主體的

諾（Mauricio Bejarano）等作曲家合作，並兩度參與搖滾公

汎計劃（PAN project），舉辦一系列校園工作坊、專輯錄

園音樂祭（Rock al Parque）的幕後工作。遷往加拿大後，

學院進修電聲音樂創作。獲獎紀錄包括：臺灣音樂館105∼ 106年度「音樂人才培育—大師門徒與夥伴計畫」、米蘭世界

電子音樂工程 │ 蒙妮卡•吉拉多（Monica Gil Giraldo）

（Chinary Ung）、喬爾・霍夫曼（Joel Hoffman）、溫德青

沙查•利諾•雷克（Sascha Lino Lemke）

博覽會「滋養音樂Feeding Music」委託創作、德國不萊梅作

及鍾啟榮等作曲家之短期課程。他的音樂作品與舞蹈音樂設計

生於1976年，先後於德國漢堡、呂內堡（Lueneburg）及法

曲獎、德國下薩克森州作曲獎學金、德意志獎學金（2013

製及巡迴音樂會。她獲選為「文化部第十七屆選送文化相關

在班夫中心（Banff Centre）擔任音響師，曾參與許多ＣＤ

作品曾在臺灣、首爾、巴黎等地演出，並曾與台北室內合唱

國巴黎學習作曲、音樂理論和電子音樂。在學期間曾任德國

German Scholarship）、德國希德斯翰音樂鐘創作比賽（2012

人才出國駐村及交流計畫」駐村藝術家，於2017年赴法國巴

錄音工作，及聲音藝術家與作曲家的合作計畫。之後吉拉多

團，編舞家蘇品文、梁弘卓等藝術家及團體合作。曾參與劇

國家學術基金會（Studienstiftung des Deutschen Volkes）

Hildesheimer Glockenspiel Wettbewerb）第二獎、臺灣

黎西帖藝術中心進行為期半年的創作展演。

前往德國一年，參加包爾錄音室（Bauer Studios）團隊，與

學者並獲多項獎項及獎學金；他的管弦樂作品《...如一首搖籃

教育部「98年留學獎學金」（赴德）、入圍臺灣兩廳院「樂

場演出及參與短片配樂等，並希望能嘗試跨領域之多元題材間的媒合創作。

約翰•佛勒班（Johannes Wohlleben）共同錄製音樂。近鋼琴 │ 珍妮佛•海默（Jennifer Hymer）

期曾參與歌劇《瑪利亞共和國》（Maria Republica）的演出

曲》（...comme une berceuse...”）入選2004年薩爾布呂肯

典」—國人音樂創作甄選決賽音樂會（2010）、臺灣國家文

克勞斯•胡柏（Klaus Huber）

（Saarbrücker）作曲家工作坊，並由薩爾蘭電台交響樂團

化藝術基金會創作補助（2009）、入圍「許常惠音樂創作

美國鋼琴家，目前居住於德國漢堡市。曾就讀柏克萊加州大

製作，並參與過去六屆曼卡音樂節（Manca Festival）的幕

（Orchester des Saarländischen Rundfunks）擔任首演；

獎」決賽音樂會（2006），臺灣教育部「95年文藝作獎」首

學和密爾斯學院（Mills College）學習古典與當代音樂的鋼

後工作。目前吉拉多持續在歐洲參與並推出音樂藝術計畫。

1924年生於瑞士伯恩。在蘇黎士音樂院主修小提琴和作曲。 1955年至柏林跟隨名師布拉赫（Boris Blacher）學習作曲。

曾獲法國龐畢度音樂與聲學研究中心（IRCAM）遴選負責為

獎及高雄市文化局「客家風」客語民謠編創獎（2003）等。

1959年以室內清唱劇《天使對靈魂說》（Des Engels Anre-

期一年的音樂工程與作曲課程（2004/5）。2007年，他與妻

近年於德國勞恩堡、埃肯富德、沃佩斯韋德等藝術村擔任駐村

dung an die Seele）贏得國際新音樂組織（IGNM）作曲比

子瑪莎•雷克－柯恩（Marcia Lemke-Kern）共同成立「混•

藝術家並進行創作與交流活動。

應」的內涵。

賽室內樂組首獎，正式在國際樂壇嶄露頭角。1964年至1973

合」（con:fusion）二重奏，並於荷蘭高地慕斯音樂週的歐洲

*本作品為「國立傳統藝術中心音樂人才培育─大師門徒與夥伴計畫專案創作」

年擔任瑞士巴賽爾音樂院作曲主修老師；曾任荷蘭高地慕斯

「聲、源」的離析以及「魂、體」的辯證成了這首作品的中心主題。透過電子音樂的橋接與音箱的預置，為一架平凡的鋼琴注入生靈的氣息。樂器化身為獨立的個體與演奏家展開對話；擺脫黑白分明的囿限，融合共鳴箱與環繞音響的距離，琴師與樂器在「音聲相和」中探討「有無相生

虛實相

快照 / 王穎

基金會作曲講座講師，並於1969年於瑞士波斯韋爾（Boswil）開設國際作曲講座。1970年，其大型管弦樂作品

新音樂推廣大會（ECPNM）現場電子音樂作品競賽中贏得首獎。2013年起，他成為漢堡自由藝術院（Freie

Akade-

mie der Künste）院士。曾獲邀為德國、荷蘭、法國、維也

按下快門的瞬間，底片上記錄了圖像、事件、人物和情感。

《暗影》（Tenebrae）摘下貝多芬大獎。1973至1990年任

舊物中掉出的一張快照，使往事浮現，按下快門的每個瞬間

教於弗萊堡音樂院新音樂研究中心，多位知名作曲家皆出自他

都留下一個故事。隨著時間，我們容顏改變，親人聚散離

的門下。1978年獲巴賽爾市藝術獎；1979年至1982年擔任瑞士

節進行委託創作及演出。目前在呂北克和漢堡教授音樂理論

合，曾經戰亂爆發，現已恢復和平。那一刻的我們，感受愛

作曲家協會主席，1984年起以客席作曲家身分參與國際音樂活

分析及電子音樂。2011年，他出任呂北克音樂大學（Lübeck

動，1991年從弗萊堡音樂院的教職退休。1975年起，他的作品

University of Music）電子音樂系藝術總監，並於2016年4

樂譜由Ricordi Munich出版發行；手稿由巴賽爾的保羅沙夏基

月起擔任音樂理論教授。

與淚水(tear)、恐懼(fear)、傷痛，並裝滿瞬間的永恆。按下快門的瞬間，我們可以記錄圖像，但卻無法留住聲音。在時間的牽引下我們只能前進，無法後退。當下每一秒的存

金會（Paul Sacher Foundation）收藏。他目前居住於德國不萊梅與義大利帕尼卡萊（Panicale）。

在都將轉瞬成為過去，逝去的聲音都無法被即刻再現。睜大眼睛，伸出雙臂，只想抓住流逝的聲音，而它們還是消失在永恆的混沌中，如同時間在我們指縫中流逝。兩位音樂家，同樣演奏鋼絲的弦，用弓、用琴槌，擊打、震顫、撥、刮，電路信號纏繞在聽覺與視覺的緯度上，指尖競技在速度與力度的激情中。

納、葡萄牙、愛沙尼亞、美國、中國及韓國等多個現代音樂

克里斯帝安•埃洛伊(Christian Eloy) 出生於法國亞眠（Amiens），先後於亞眠音樂院及巴黎國

林煒傑 1982年出生於台中市，曾師事吳丁連及比爾頓 • 巴比特（Milton Babbitt）等教授。其作品曾受許多國內外樂團委託創作，包括國立臺灣交響樂團、台北愛樂管絃樂團、法國現代樂集（Ensemble Intercontemporain）、法國廣播樂團、加拿大蒙特婁新現代樂團（Le Nouvel Ensemble Moderne）、美國警鈴將響樂團（Alarm Will Sound）、瑞士鳳凰樂團（Ensemble Phoenix）、以色列米塔樂團（Ensemble Meitar）、德國慕尼黑藍騎士樂團（Ensemble Blauer Reiter）、西班牙眩

立高等音樂舞蹈學院學習長笛、室內樂、指揮及作曲。他曾擔任職業樂團長笛演奏及音樂學校校長，後來在巴黎的法國廣播電台接觸到電子音樂，並認識作曲家伊夫•馬萊克（Ivo Malec）和巴黎法國廣播公司的GRM音樂科技研究中心。他

琴演奏，1996年遷往德國。海默擅長在作品中擴充鋼琴演奏的可能性，她把焦點放在技巧的擴張和電子裝置的使用，以及利用迷你鋼琴演奏，如玩具鋼琴和稱為kalimba或 m'bira的非洲拇指鋼琴。她曾與多位作曲家合作，由作曲家

王穎

為其量身創作。她的演出經歷豐富，曾於多個音樂節與場地

生於上海，上海音樂學院作曲系畢業後，赴德國科隆音樂學

演出，也曾在墨西哥、愛沙尼亞、特拉維夫與南美洲舉辦音

院並於2007年取得作曲碩士學位，後直升德國最高作曲學位大師班。2010年獲科隆音樂學院作曲大師文憑（等同博士學位）以及電子音樂碩士學位。2009年獲法蘭克福音樂學院特

樂會。2010年由德國Ambitus唱片發行《這不是鋼琴》（Ce n'est pas un piano）個人專輯，收錄譚盾、曼佛瑞德•史坦克（ M a n f re d S t a h n ke ）、吉奧格 • 哈吉杜（Georg Hajdu）等作曲家的作品。海默是德國與奧地利

設的現代音樂碩士學位（Masterstudiegang für Zeitgenössi-

女性藝術組織GEDOK漢堡分會的會員及音樂總監。2014

che Musik）。2011年獲龐畢度藝術中心－Ircam電子音樂研究

年，她成立「非鋼琴/玩具鋼琴音樂週末」（Non-Pi-

所的課程邀請，於2012年赴巴黎繼續深造。2013年起以特聘

ano/Toy Piano Weekend, www.nonpiano-toypia-

教師身分任教於上海音樂學院。曾獲第5屆布蘭登堡雙年作曲

no.de/home/），今年秋天即將邁入第四屆。

比賽唯一作曲家大獎、第35屆入野義郎作曲比賽室內樂作品獎、2013年千兆赫茲電子音樂作曲比賽、2017年海德堡女藝術家大獎，並應邀為多個音樂節及室內樂團、交響樂團委託創作及演出。王穎的音樂創作具有豐富的色彩以及強烈戲劇性效果。對於作品構思，她以本身獨特的視角，用最直接的方法以及多樣化的音樂語言揭示主題的深刻內涵。

手風琴 │ 芬妮•維森斯（Fanny Vicens）手風琴與鋼琴演奏家芬妮•維森斯是同輩音樂家當中的佼佼者，曾獲巴黎大眾銀行基金會與斯圖加曼紐因基金會獎項肯定。2003至2014年間曾到巴黎第四大學、巴黎國立高等音樂舞蹈學院、德國特羅辛根音樂大學（Musikhochschulen of Trossingen）和瑞士琉森等地深入研究表演、教學和音

擔任波爾多第三大學電聲作曲系系主任並負責GRM音樂科技

樂理論。她對自己演奏的曲目有深刻的瞭解，青少年時期便

研究中心的工作坊長達25年。他也是波爾多第三大學電子音

開始在國際舞台演出。她的曲目不僅反映了她對當代音樂與

樂中心SCRIME的共同創辦人，並曾任藝術總監。他曾獲歐

新創作品首演的重視，也反映她對十五至十八世紀鍵盤音樂

洲德魯貝音樂獎的肯定。迄今創作超過五十首樂曲，包含器

復古歷史演出的高度興趣。她曾在許多國家的重要場地舉行

樂、電聲、聲樂及教學作品等。樂譜已由Billaudot、

獨奏會並參與室內樂團演出，至今累積與三十多個歐洲團體

Fuzeau、Lemoine、Combre、Questions de Tempéra-

共同演出的經驗；她曾為多位作曲家擔任新作首演，也能演

燈光設計 │ 班任旅（Jean-Luc Penso）班任旅師承台灣布袋戲大師李天祿，並曾與喬吉歐•思特雷勒（Giorgio Strelher）、尚•皮耶•文森（Jean-Pierre Vincent）以及安東•維特（Antoine Vitez）等著名劇場導演學習；舞台燈光則與湯姆•厄桑（Tom Irthum）和安東• 坎柏（Antoine Campo）學習。除台灣布袋戲與中國皮影戲的創作與演出外，也擔任多齣戲劇的燈光製作，如於巴黎美國大教堂首演的《丹尼爾的遊戲》（Le Jeu de Daniel）、柬埔寨金邊首演的《羅摩耶那》（Le Ramayana）、安諾藝術節（Festival d’Annot）演出的《迎風而立的人民》（Vent Debout Citoyens）、2012年巴黎外國文化週於世界文化館舉辦的王心心南管和現代音樂《時間之流》（Fusion du temps）、巴黎布朗利碼頭博物館（Musée du Quai Branly）演出的《毛伊傳說》（Maui tiki tiki a Taranga）、伊朗哈馬丹藝術節（Festival d'Hamadan）演出的《神箭手》（ L’archerArach）。 2 0 1 0 年起，在 MAS藝術節（Musique d’Aujourd’hui en Scène）參與在 G alerie Hus藝廊及喜劇王國劇場（Comédie Nation）演出、由 TPMC製作的現代音樂系列音樂會的燈光製作。1978年，班任旅在法國共同成立小宛然劇團（T h é â t r e d u P e t i t M i r o i r ），至今已在五大洲八十餘個國家演出。2007年，班任旅獲法國道德和政治科學院（Académie des Sciences morales et politiques）頒發台法文化獎。

About the Concert

Program Notes

In 2012, with the support of SACEM and SPEDIDAM, Tout Pour la Musique (TPMC) initiated a

Aide-mémoire C | Chen Heng

with his name, greets his public and manages to quote all six main words of the poem once more. The melody of

Snapshot | Wang Ying

project called “Création du Répertoire Contemporain Erhu - La contemporanéité d’instrument

I would say that the moment an object appears in a narrative, it is charged with a special force and becomes like

the tornada is stretched over the duration of the piece like a cantus firmus of a medieval motet, speeds up and is

At the click of shutter, we record on the film the images, the events, the persons, and the emotions. A snapshot

traditionnel d’Extrême-Orient en Extrême-Occident” in Paris. Featuring the erhu artist Wang

the pole of a magnetic field, a knot in the network of invisible relationships. The symbolism of an object may be

heard in normal tempo once again as a coda of this piece.

falling out from old stuff always takes us back to the past. Each click keeps a story. As time goes, we change in

Ying-Chieh, the project involves erhu commissions, concerts of international musicians, and an

more or less explicit, but it is always there. We might even say that in a narrative any object is always magic.

education plan aimed at introducing the Eastern instrument to conservatories in the West.

- Italo Calvino

Fold-in | Christian Eloy

are touched with love, tears, fear, pain, and the eternity filled with precious instants.

In 2011 and 2012, three forums were held to introduce erhu—an Eastern instrument which the

We string the velvety pearls by needle and thread; we suture the wound on the bread by mayonnaise; we adhere

Dedicated to Ying-Chieh Wang, highly talented ehru performer

At the click we keep the image but not the sound. In the stream of time, we could not return to the past but

Western composers are usually unfamiliar with—and its classic repertoire to the contemporary

mosaic pieces to the little bathtub in our home by silicone. These, however, often result in damaged nails. Let me

Commissioned by Taiwan Music Institute and TPMC for International Taiwan Music Festival 2017

could only move forward. Every single second will always become the past, and the lost sound will never be

dedicate the six successive sections to C and his dauntless spirit.

Fold-in is an acousmatic piece whose sounds come entirely from this instrument, very popular in Asia: the erhu,

recovered. To capture the losing sound, we stretch arms out with eyes wide open, yet it disappears—just like the

sometimes called the Chinese violin. During the sound recordings, some characters of the instrument immediate-

time sifts through fingers—into the eternal chaos.

ly asserted themselves: a very active tone, huge energy, a very marked timbre, a very long and intense sustain of

This piece features two musicians playing steel strings, who beat, vibrate, pluck, and scratch the strings with bow

the bow, a wide register of dynamics and highly varied play modes. The reverse side of these strong characters is

and drum sticks. Electronic signals wind with the visual and audio heights; fingers compete with a passion for speed and strength

music composers in Paris. From 2012 to 2016, nine erhu pieces were created through commission. The compositions were staged in collaboration with musicians and ensembles of contemporary music from France, Germany, America, and Taiwan. Courses were also offered in music

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

academies in addition to participation in a number of contemporary music festivals in Europe.

appearance and families may leave us. Wars become the past and everything is in peace now. In a snapshot, we

Eight concerts and eight forums have been held in five cities and four countries till 2016.

Winter Seeds | Klaus Huber

that here we have a highly identifiable instrument, sometimes connoted, whose genes are perceptible in all the

The commissioners range from French music academies to Conservatoire National Superieur de

“…hide yet transmit our art, in order to welcome the new morning with songs…”

manipulations.

Musique de Lyon (CNSMDL), from small theatres in Paris to Hamburg, and from modern art

This piece is dedicated to Hugo Noth. I was fascinated by the span of this pocket-organ, indeed more linked to

The fold-in refers to techniques used in literature, with permutations, by William S. Burroughs and Brian Gysin in

galleries to art festivals in Europe; the commissioned artists include Chinese-French composer

the very old Japanese mouth-organ Shô (Chinese: sheng) than to the king of instruments. I was looking for a

the years 1950 to 1960, whose work The Third Mind combines these different experiences. These techniques

Tian Leilei, Columbian composer Juan Camilo Hernandez Sanchez (CNSMDP, IRCAM), and

kind of idiomatic music extending widely. Three sequences develop in groups of five sounds, backed by a

naturally bring to mind the techniques for editing concrete music in its beginnings, then for editing electroacous-

French composer Richard Perrin (CNSMDL). Musicians include guitarist Christelle Séry and Rémi

symmetrical twelve-tone Matrix, and create a quite stable harmony. In between, there is a short viruosic Tempes-

tic music with the development of a true language arising from these elementary manipulations; the different

Jousselme, pianist Jennifer Hymer, accordionist Fanny Vicens and Pierre Cussac.

tuoso, a crab canon, and a siciliano-like Bicinium as reversal canon. Three sequences integrate different words

experiences with collective works and exquisite cadavers practised in the nineteen sixties by French experimen-

This concert will premiere three original erhu compositions co-produced by TMI (Taiwan Music

from Louis Aragon’s great poem Hölderlin.

tal studios will also be remembered (GRM, GMEB).

Institute) and TPMC, an international partner of TMI’s “Master, Disciple, and Partner Project,” in addition to several new erhu pieces. The concert will take place at Forum Music, which is a significant venue for the project. At Forum Music in December 2013, TPMC staged the Taiwan premiere of several contemporary pieces which had been performed in Paris. As required by TPMC, the concert had no intermission, and all stage design and lightings had to respect the flow of music for a satisfying listening experience. The performers for that concert included Wang Ying-Chieh, the guitarist Rémi Jousselme, and accordionist Pierre Cussac. Today’s concert will follow the same principle and the design of programs will be based on the form of Continuum, in which visual elements are included as a support. This premiere production will be brought to Paris at the end of May and will tour Germany in fall.

Program

I have therefore retained these strong characters of the erhu (tone, sostenuto, timbre, pizzicato etc.), keeping the Ruins | Lin Wei-Chieh eh)

morphologies, the “allure“ and other Schaefferian criteria, in order then to construct the discourse in a relatively

As a Taiwanese composer in the 21st century, I'm confronted with several challenges in writing for the Erhu. First

simplicity of editing and mixing, including processes similar to fold-in. Thank you to Ying-Chieh, for these

and foremost, Erhu does not originate from Taiwan, and certainly it's not an instrument that we grow up with in

precious sounds.

Sascha Lino Lemke

Christian Eloy

our culture or daily life. Furthermore, Erhu's own tradition has gone through several modifications, where the tuning and playing techniques have been modernized or even Westernized to some extent. What remains is an

Present Absence | Chen Cheng-Wen

instrument built on several layers of historical and culture references, similar to a palimpsest or an ancient

Piano-Roll was once a specific storage form, with it the performance of a pianist could be notated. Unlike a

architecture. One could certainly treat the instrument as an object, explore its sonic possibilities from the

record (tape, LP) or some other media, the music still runs through the moving keys (we are even able to see it),

contemporary perspective, or one could continue the typical Chinese Erhu tradition of melodic writing from the

listening to the playing in the absence of the musician and imagining his/her presence.

last century...none of which are possible for me. The only way is to treat the Erhu as ruins, where certain "tradi-

The speakers (the cases, the membranes) on the contrary, reconstruct the existence of playing piano in means of

tions” or “foundations” are kept and respected while others are reimagined and reconfigured. What struck me as

scratching (the gramophone needle) and transformation of the electronic. The sound of piano, which is isolated

the most beautiful and intriguing aspect of the instrument was not the Erhu itself, but precisely the physical and

from the original mechanism and acoustic, will be thus compressed and performed abstractly on materials, times

interpretive aspect of the intimate interaction between the player and the instrument, such as glissandos and

and spaces, which might be unfamiliar to its initial methods and conditions. They are merely reflections (but may

ornaments, typically added to embellish the melody in a personalized or stylized manner. By focusing on what

still fascinate us). This phenomenon is called “schizophrenia” by R. Murray Schafer.

used to be considered as a decorative element, along with the concentration on vibration, first through the

On the running keyboard, the hammers hit automatically on the strings and produce the music as usual. Were

strings, then to the wood and finally to the body of the performer, I believe the Erhu is now able to vocalize its

we even confused about the missing hands as well: the piano is an instrument and plays alone?

inner soul within a reimagined heritage.

Dealing with separation of sound and its source, the dialectic of body and soul makes the subject of this piece.

王穎

Jean-Luc Penso

陳珩

陳政文

Connecting the electronics to the piano and installing the speakers in it bring the conventional instrument the Arnautz tramet sa chanson | Sascha Lino Lemke (exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

breath of life and change it into an individual, which lives beyond the black and white, grows up between the

In 2016 I wrote a piece for soprano, recorder, piano and tape based on Arnaut Daniel’s famous sestina, which is a

resonance case and the surrounding sounds, and communicates with the pianist through the mutual harmony of

very strictly constructed medieval poem in Occitan language for which exists also an ancient melody. Jennifer

3.Lin Wei-Chieh | Ruins / for erhu and two performers

tone and voice, and holds the conversation about the mutual production of being and nonbeing, imaginary and

Hymer asked me afterwards whether I could turn the piano part into an extra solo piece which was supposed to

4.Sascha Lino Lemke | Arnautz tramet sa chanson

reality, full and empty.

be shorter. This was the starting point of this new piece. Whilst working on it I shortened the original piece a lot,

1.Chen Heng | Aide-mémoire C / for erhu piano and real-time 2.Klaus Huber | Winter Seeds / for accordion solo

(exerpted from Arnaut Daniel’s Sestina Lo ferm voler)

added many things in the piano part and created a completely new tape part. The original trio was inspired by

for pianist and computer

the strict structure of the poem by Daniel using the permutation algorithm he employed for his keywords at the

5.Christian Eloy | Fold-in / for acoumatic music 6.Chen Cheng-Wen | Present Absence for a pianist and grand Piano with live-electronics

林煒傑

*This piece is a commission by National Center for Traditional Arts for the “Mentor and Partnership Program”

end of the lines of his poem (intra, ongla, arma, verga, oncle, cambra). This structure could not be kept in the new composition which is much shorter. The sestina by Daniel has 6 verses with 6 lines each plus a so-called tornada with 3 lines only, which repeats the end of the melody with some extra text in which the poet „signs"

7.Wang Ying | Snapshot / for erhu Piano and real-time

Performers

Composers (listed in the order of performance) Chen Heng Chen Heng (born in Taipei in 1990) was introduced to music in early childhood. He studied violin under the tutelage of Lin Bao-Shan, Wu I-Tsung, and Kao An-Hsiang. He also received piano lessons from Wang Hui-Ling, Liu Ben-Chuang, and Hwang Li-Ying. In addition to Western instruments, Chen also studied erhu, guqin, pipe organ, luogu music, and xiqu vocals. When attending the music program at the Affiliated Senior High School of National Taiwan Normal University, Chen began to study composition and music theory under the guidance of Hsiao Ching-Yu. He then earned the bachelor’s degree in composition with instructions from Pan Hwang-Long and Tsai Ling-Huei at the Taipei National University of the Arts. Chen then went to Paris to pursue further studies in music at the Boulogne-Billancourt National Conservatory, where he studied composition with Jean-Luc Hervé, orchestration with Pierre Farago, and composition of electronic music with Yan Maresz. He is currently enrolled at the Conservatoire de Paris studying composition under the tutelage of Gérard Pesson. Chen has worked with Chinary Ung, Joel Hoffman, Wen De-Qing, and Chong Kee-Yong through short-term workshops and courses. His compositions and music for choreography have been performed in Taiwan, Seoul and Paris, and he has collaborated with the Taipei Chamber Singers and choreographers Su Pin-Wen and Marcus Leung. Chen has engaged in theater performances and even produced music for short films. He is also interested in blending cross-disciplinary elements in his works. Klaus Huber Klaus Huber (born in Bern in 1924) has studied violin and composition at Zurich University of the Arts. In 1955, he continued his studies with Boris Blacher in Berlin. His international breakthrough came in 1959 when his chamber cantata Des Engels Anredung an die Seele was presented with the first prize in the chamber music category at the IGNM Composition Competition. From 1964 to 1973, he taught composition at the City of Basel Music Academy. He was also appointed director of the composition seminars at the Gaudeamus Foundation in Holland and held international composition seminars in Boswill, Switzerland in 1969. In 1970, his large orchestral work Tenebrae was granted the Beethoven Award. From 1970 to 1990, he taught at the Hochschule für Musik Freiburg and several of his students became internationally recognized composers. From 1979 to 1982, Huber was director of Swiss Composers‘ League. Since 1984, he has been participating in international events as a guest composer. He retired from the Hochschule für Musik Freiburg in 1991. Ricordi Munich has published his music scores since 1975, with manuscripts collected by Paul Sacher Foundation in Basel. Currently he is based in Bremen, Germany and Panicale, Italy. Lin Wei-Chieh Lin Wei-Chieh was born in Taichung, Taipei in 1982 and has studied with Wu Ting-Lien and Milton Babbitt. He has received commissions from a number of music groups at home and abroad, including National Taiwan Symphony Orchestra, Taipei Philharmonic Orchestra, Formosa Quartet, Ensemble Intercontemporain (France), Orchestre philharmonique de Radio France, Le Nouvel Ensemble Moderne (Canada), Alarm Will Sound (USA), Ensemble Phoenix (Switzerland), Ensemble Meitar (Israel), Ensemble Blauer Reiter (Germany), Ensemble Vertixe Sonora (Spain), Moscow Contemporary Orchestra (Russia), and Klangforum Wien (Austria). His works have been recognized with Honorable Mention at the 2011 Gaudeamus Muziek Prize, 2010 Literary and Artistic Creation Award of Taiwan Ministry of Education, 2011 National Taiwan Symphony Composition Award for distinctive commission, and the third place in the National Taiwan Symphony Composition Competition. Lin has participated in music festivals including the Domain Forget in Canada, Asian Composers League Music Festival, Manifeste/Acanthes@Ircam, Voix Nouvelles in Royaumont, and Darmstadt Summer Course in Germany. Sascha Lino Lemke Sascha Lino Lemke (born in 1976) studied composition, music theories and electronic music in Hamburg, Lueneburg and Paris. During his studies he was scholar of the Studienstiftung Des deutschen Volkes. His orchestra piece ...comme une berceuse... was selected for the Saarbrücker Komponistenwerkstatt 2004 and was premiered by the Orchester des Saarländischen Rundfunks. The reading panel of IRCAM chose him for the one-year course for music technology and composition 2004/5. In 2007 the duo con:fusion, which was founded by the composer and his wife Marcia Lemke-Kern, obtained the first prize in the Competition for Live Electronic Projects of the ECPNM during the Gaudeamus Music Week. Since 2013 he is a member of the Freie Akademie der Künste Hamburg. He received commissions from/had performances at a number of festivals in Germany, Holland, France, Vienna, Portugal, Estonia, America, China, and Korea.

Currently Sascha Lemke teaches music theories, analysis and electronic music in Lübeck and Hamburg. In October 2011 he became artistic director of the electronic music department, and since April 2016 he is professor for music theory at Lübeck University of Music. Christian Eloy Born in Amiens (France), where he studied flute, chamber music, conducting and composition in Amiens Conservatory and then at Conservatory National Superior of Paris. He was a flutist in a professional orchestra, then director of a music school, before his meeting with electroacoustic music, Ivo Malec and GRM (Groupe de Recherches Musicales) at Radio France in Paris. He was in charge of the electroacoustic composition department of the Conservatoire in Bordeaux and of the workshop at the GRM /City of Paris for 25 years. Christian Eloy was also the co-founder and artistic director of the SCRIME research and creation studio in the University of Bordeaux. He is the winner of the François de Roubaix prize, an award for poetry and music in European community. Composer of over fifty pieces including instrumental, electroacoustic, vocal and pedagogical. Scores published by Billaudot, Fuzeau, Lemoine, Combre, Questions de Tempéraments, Notissimo and Jobert. Other publications at PUF (France), Johnston Ed. (Ireland), MIT Press (US), Le Mensuel Littéraire et Poétique (Belgium), and Confluences (France). Chen Cheng-Wen Chen Cheng-Wen (born in Nantou, Taiwan in 1980) completed his college education at the National Sun Yat-sen University and earned a master’s degree at the Taipei National University of the Arts, following that he studied composition at the Hochschule für Musik, Theater und Medien Hannover, where he was awarded the Soloist Diploma with Distinction. He has been studying electroacoustic composition at Hochschule für Künste Bremen since 2012. His achievements include participation in TMI’s „Master, Disciple, and Partner Project“ (2015-2016), Feeding Music commissioned by Milan Expo, Bremen Composition Prize, Composition Scholarship from the State of Lower Saxony, 2013 Germany Scholarship, and second prize in the 2012 Hildesheimer Glockenspiel Wettbewerb. He also recieved the 2009 Study Abroad Scholarship (to Germany) from Taiwan Ministry of Education. He was shortlisted for the 2010 Taiwan National Symphony Orchestra Music Composition Award and received composition grant from Taiwan National Culture and Arts Foundation in 2009. He was shortlisted for the 2006 Hsu Tsang-Houei International Music Composition Award and presented with the first prize in the 2006 Literary and Artistic Creation Award by Taiwan Ministry of Education. He was granted the Hakka Folk Song Creation Award by Kaohsiung City Government in 2003. He is currently based in Germany, partaking in residency programs and exchanges at art villages in regions such as Lauenburg/Elbe, Eckernförde, and Worpswede. Photo courtesy: LEE Baï (Lauenburg/Elbe, 2015) Wang Ying Wang Ying was born in Shanghai, China. After completing her study at the Shanghai Conservatory of Music, she moved to Cologne, Germany for graduate studies in composition. In 2010, she earned the diploma of master in composition (equivalent to Ph.D.) and a master’s degree in electronic music at the Hochschule für Musik Köln. In 2009, she earned a master's degree in contemporary music at the Frankfurt University of Music and Performing Arts. In 2011 she was chosen to study at the “Cursus de composition et d’informatique musicale” at IRCAM in Paris. Wang has taught as a distinguished professor at the Shanghai Conservatory of Music since 2013. She won the Best Composer Award at the 5th Biennial Brandenburg Symphony Composition Competition. She also won the best chamber composition award at the 35th Irino Prize International Composers Competition. She won the Giga-Hertz Award for electronic music composition in 2013 and was awarded the Künstlerinnen- preis Heidelberg in 2017. She has received commissions from and performed with a number of ensembles, symphony orchestras, and music festivals. Wang’s composition features a combination of rich sound colors and strong dramatic effect. Composing with unfettered imagination and from a unique perspective, she successfully discloses the profundity of music theme in a diverse, direct way.

Erhu | Wang Ying-Chieh

Electronic Music Engineering | Monica Gil Giraldo

Wang Ying-Chieh has received education in Western classical music and has studied piano, violin, and composi-

Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad

tion. At 8, she began to study erhu. After graduating from the Chinese Culture University with a major in Chinese

Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in

music, she continued her pursuit of music at the graduate school of the same university. She is the second

music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon

musician in Taiwan who obtains a master’s degree in erhu performance. She has been invited to perform at

Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such

music events and festivals in Germany, France, Britain, and Shanghai. She has also performed as a soloist at the

as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then

University of Heidelberg under the support of the Spotlight Taiwan project. In 2016 and 2017, Wang premiered

moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a

the erhu concerto Ethereal Is the Moon with Hong Kong Sinfonietta at the 5th Hong Kong Week and the 45th

number of music albums and projects for sound artists and composers. Later she lived in Germany for one year,

Hong Kong Arts Festival. She has also received commissions from the TPMC. The creations will be premiered at

during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She

the 2017 Taiwan International Music Festival and will tour Europe afterwards. She will also go to America and

has joined the production of opera Maria Republica and was part of the production team for the past 6 editions

Canada as a part of the PAN project, a music program focusing on East Asian traditional instruments. She will be

of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe.

giving workshops in schools, making recordings, and holding tour concerts. Being selected in the 17th International Residency and Exchange Programs for Artists held by Taiwan Ministry of Culture, she will create and

Lighting Design | Jean-Luc Penso

perform erhu music as an artist-in-residence in the Cite International des Arts for six month in 2017.

Jean-Luc Penso has studied with Taiwan’s national puppeteer Li Tian-Lu and several renowned theatre directors, including Giorgio Strelher, Jean-Pierre Vincent, and Antoine Vitez. He was taught stage lighting by Tom Irthum

Piano | Jennifer Hymer

and Antoine Campo. In addition to creating and performing Taiwanese glove puppetry and Chinese shadow

Jennifer Hymer was trained as a pianist for classical and contemporary music at the University of California at

shows, Penso has been in charge of lighting design for a number of theatrical productions, such as Le Jeu de

Berkeley and Mills College. She moved to Germany in 1996 and is currently based in Hamburg. Hymer is noted

Danial premiered at the American Church in Paris, Le Ramayana in Phnom Penh, and Vent Debout Citoyens at

for her projects expanding the possibilities of piano performance by focusing on extended techniques, the use of

the Festival d’Annot. In 2012, he joined the technical team for Fusion du temps, a concert featuring Wang Xinxin’s

electronics as well as performance on miniature pianos, such as the toy piano or the African thumb piano, which

nanguan music and contemporary music staged at the Maison des Cultures du Monde during the Semaine des

is also known as kalimba or m’bira. She has been working with a number of composers, who have written pieces

Cultures Étrangères à Paris. He also took part in Maui tiki tiki a Taranga at the Musée du Quai Branly in Paris and

for her repertoire. She has rich experience in piano performance and has presented her talent at numerous

L’archer Arach at Festival d'Hamadan in Iran. Since 2010, Penso has served as a lighting designer for a concert

festivals and venues. She has held concerts in Mexico, Estonia, Tel Aviv, and South America. In 2010, she released

series of contemporary music held by TPMC at the MAS (Musique d’Aujourd’hui en Scène) Festival staged at

an album called Ce n’est pas un piano under the brand of Ambitus with pieces by Tan Dun, Manfred Stahnke, and

Galerie Hus and Comédie Nation. In 1978, he cofounded the Théâtre du Petit Miroir, which has performed in more

Georg Hajdu. Hymer is also a member and musical director of the Hamburg branch of GEDOK, a German/Austri-

than 80 countries in five continents. The achievements brought him the ROC-France Cultural Award presented

an women’s art organization. She founded the Non-Piano/Toy Piano Weekend (www.nonpiano-toypia-

by Académie des Sciences morales et politiques in 2007.

no.de/home/) in 2014. The fourth edition is scheduled to take place in fall, 2017. Accordion | Fanny Vicens Fanny Vicens outshines her peers as an accordionist and pianist and has been recognized with the Fondation Banque Populaire Award for Music (Paris) and Yehudi Menuhin Live Music Now Award (Stuttgart). From 2003 to 2014, she studied music performance, teaching, and theory in Lucerne and at a number of institutions, including the Université Paris-Sorbonne, Conservatoire National Supérieur de Musique et de Danse de Paris, and Musikhochschulen in Trossingen. Vicens shows a deep appreciation of her repertoire and has been performing at international events since her young age. Her repertoire not only reflects her emphasis on contemporary music and premieres of new creations but also indicates her high interest in vintage performance of keyboard music dating back from the 15th to the 18th century. She has held solo concerts or collaborated with chamber ensembles at festivals and prominent venues in numerous countries and has performed with more than 30 European ensembles so far. She has premiered works of a number of composers and has performed many electronic pieces. In recent years she took part in an accordion project in France. Her works are supported by German Academic Exchange Service (DAAD), Kunststiftung Baden-Württemberg, Mécénat Musical Société Générale, and Fondation Iris Marquardt.

Music, Circus, Electronic Vibe 巴黎夜電聲 L'Instant Donné室內樂團整座巴黎都在悄悄地夜因為一場融合科技、聲音藝術與肢體表演的奇幻即將展開

4.20 Thu.19:30 台北市客家音樂戲劇中心 Taipei Hakka Music and Theater Center

臺灣國際音樂節 Taiwan International Music Festival

2017

序

演出曲目 1. 亨利•福瑞 / 《二原則》(2015) <中場休息>

2.哈維爾•阿瓦雷茲 / 《燃燒的水》 (1984) 3.亞歷山大•舒伯特 / 《嚴肅的微笑》 (2013-2014)

的歌聲征服了來自全世界的音樂家們，也促成了「TIMF臺灣國際音樂節」的開場音樂會，將由清唱藝術節執行總監、韓國知名擊樂家帶領融合大樂團，來到排灣族的故鄉─屏東，與「泰武古謠傳唱」再度攜手，拉開音樂節序幕。此外，代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars，將展現韓國傳統樂器的另一面；來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品；以及積極媒合電聲與傳

樂曲解說

統絲竹樂器的TPMC巴黎現代音樂協會，將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年，感念辛勤耕耘創作一甲子的前輩音樂家們，特別策劃一場向日葵樂會專場，向向日葵致敬！同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》，展現新生代創作者融合傳統與當代的才華。藉由國際展會的規劃與辦理，國立傳統藝術中心積極落實國際交流事務，守護傳統、迎向未來!

二原則 / 亨利福瑞我與拋接雜技演員傑洛姆•托瑪(Jéróme Thomas)相識多年。我、托瑪和鈴鼓手卡洛•李佐（Carlo Rizzo），曾在1990年代合組

統

籌

吳榮順

Director

WU Rung-Shun

監

製

鍾寶善王蘭生賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

製

作

翁誌聰

Producer

WENG Chih-Tsung

策

畫

林芳宜

Curator

LIN Fang-Yi

黃珮婕李宥臻鄭詠玹蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

鋼琴、拋接雜技和打擊樂的三人團體。我也曾邀請托瑪參與我多部作品的演出。拋接雜技是本作品的肢體語言，它與作品中的音樂部分重要性不相上下。透過整合新科技工具與電腦音樂，便能將肢體動作的特性加以演繹及操縱，也就是說，把它「寫進」純室內樂樂譜中。過去做不到的，如今已可做到了。

此曲的作曲手法新穎，在六人樂團的編制下，從音樂的角度加入馬戲拋接雜技表演，所加入的不只是雜技拋球的動作本身，也包括與

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju

球相連的感應器所製造出來的音響效果。演出的「獲贈時刻」（L'Instant Donné）樂團由於已習慣不用指揮，且長期參與傑洛姆• 托瑪充滿創意與好奇心的音樂，因此成為詮釋這部作品的不二人選。

行政協力

從表演者使用的球與其它拋接物體上的感應器所收集的訊息，是本樂譜創作的先決條件。運用動作辨識、控制各種參數及將動作「聲

黃馨瑩蕭啟村許淑慧張翔雲 Administrative Coordinators

洪逸倫歐美蓉柯瓊芬黃予祈

HSU Shu-Hui CHANG Shiang-Yun

音化」是IRCAM工作室研究的項目，其產生的聲音材料將建構成為一種電子聲音樂的「編曲」。透過雜技演出及舞台四周的擴音器環繞播放，觀眾不僅可以聆聽音樂，也可以觀看台上的表演。

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi

為樂團六位成員譜曲時並未使用任何技術支援，而是由樂團創造出獨立的聲音空間。音樂空間與雜技表演空間的關係是形成本作品戲

有夠亮有限公司亞洲作曲家聯盟(臺灣)

劇張力的基礎元素。我們當然「看」得見雜技表演者的道具、操控技巧及控制道具的肢體動作，但音樂會這個空間讓這些道具與動作擁有一種類似「樂器」的角色。只要這些道具和動作的地位不要那麼像翻譯或說明、不要只是展示聲音與動作之間的絕妙搭配或者變

HUANG Hsin-Ying HSIAO Chi-Tsun

Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

文

案

黃麗琪

翻

譯

鄭鳳珠

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

成一種配合聲音而流動的能量，那麼一種足以表達音樂形態的肢體語言將彷彿在眼前誕生，而我們的耳朵是「聽」得見這種語言的。換言之，並非拋接雜技表演者藉動作「啟動」音場（文字、電子或樂器聲響的片段），而是球或其他物體的動作，共同在視覺畫面中

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

製造出音場。燃燒的水 / 哈維爾•阿瓦雷茲本作品的名稱取自古代阿茲特克文化納華特語，直譯為「會燃燒的水」。作品中的沙錘演奏取材自拉丁美洲大部份地區傳統音樂的節奏模式，這些地區包括加勒比海、墨西哥東南部、古巴、中美洲以及哥倫比亞與委內瑞拉的平原地區等。一般來說，沙錘在這些地區皆作為小型合奏團的伴奏之用，委內瑞拉平原地區也許是唯一的例外，在當地樂曲中，沙錘不僅是用來打拍子和強調樂音，更被當成一種獨奏樂器，這部作品便是由此發想。演奏這部作品時，沙錘演奏者必須能完美呈現短拍節奏，並以精湛技巧將這些短拍結合成更大、更複雜的韻律結構，讓這些韻律節構與預先錄好的類似樂段並行、重疊、互相襯托，創造出多重而濃烈的節奏網。在結尾樂團這些節奏將分解消散，沙錘回到令人懷念的傳統伴奏角色。預錄音樂由豎琴、民謠吉他及低音提琴撥奏的合奏開始，再轉入以竹竿互敲音與沙錘本身的沙沙聲創造的節奏樂段。該錄音是1983 年冬季於皇家音樂學院的電子音樂錄音室錄製。這部作品獻給路易斯•胡立歐•托羅（Luis Julio Toro），並由他本人於1984年在倫敦的歐洲音樂獎進行首演。本作品在1985年法

指導單位 Directed

主辦單位 Hosted

承辦單位 Organized

合辦單位 Co-hosted

國布爾日電子音樂節獲得佳作的殊榮，從此成為當代打擊樂重要曲目之一，經常在全球各地演出或播放。國際夥伴 International Partners

嚴肅的微笑 / 亞歷山大•舒伯特

特別感謝 Special thanks

指定住宿 Official accommodation provided

演出《嚴肅的微笑》的四位演奏者身上皆須裝設感應器捕捉其肢體動作，讓這些動作同步形塑電子音響及其進行。數段融合動作感應的獨奏結束後，本作品進一步探討演奏者在擴增演奏時的互動。就音樂來說，本作品稍微改變素材運用與演奏者互動的方向，偏離前幾部作品的硬蕊（hardcore）

自由爵士美感風格。這類爵士音樂偏重聲音的延伸與樂器的融合，《嚴肅的微笑》則是將聽眾的注

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

意力導向電子與科技互動的人為與非自然特質，亦遊戲於機械與數位呈現方式之間。演奏所使用的程式與音樂素材皆高度數位化。廣告

作曲家簡介 (依演出順序)

Composers (listed in the order of performance)

亨利•福瑞 (Henry Fourés)

阿瓦雷茲1956年生於墨西哥市，先向馬里歐•拉維斯塔（Mario Lavista）學習單簧管與作曲，後移居英國並進入英國皇家音樂學院

1948年生於法國。曾在蒙貝里耶大學（University of Montpellier）主修藝術史，並於巴黎國立音樂院(Conservatoire National de

與倫敦城市大學就讀。他最早的電聲音樂作品，如《燃燒的水》(1984)，即誕生於該期間。曾為墨西哥藝術與文化基金會會員。曾

Musique in Paris)學習音樂。畢業後前往維也納深造，並於柏林大學研究中世紀音樂，1975年至1977年間於音樂研究集團（Groupe

任教於英格蘭哈特福郡大學（University of Hertfordshire）以及瑞典的馬爾摩音樂學院（Malmó Music Academy），同時也在

de Recherches Musicales, INAGRM）實習。

倫敦城市大學、英國皇家音樂學院以及倫敦市政廳音樂暨戲劇學院（Guildhall School of Music）教授作曲和電腦音樂技術。他是

福瑞曾任教法國龐丹音樂院（Conservatory of Pantin）及土魯斯第二大學（University of Toulouse-Le Mirail）。他的主要工

音響藝術網路（Sonic Arts Network）創辦人之一。返回墨西哥後，他成為猶加敦高等藝術學院（Escuela Superior de Artes de

作地點在德國，曾受邀參與多個樂團與交響樂團的演出，也曾擔任馬賽音樂與資訊實驗室的主席。他在許多領域都相當活躍，曾為

Yucatán）音樂藝術系的創始系主任，並曾擔任羅薩斯音樂學院（Conservatorio de las Rosas）的院長。目前居住在猶加敦州，

電視台製作影片以及為電影、舞蹈及舞台劇作品編寫音樂，並為法國及德國多座廣播電台製作廣播音樂。他的作品涵蓋交響樂

身兼作曲家與藝術計畫推手。

、

室內樂、電子互動音樂及人聲混聲音樂，也設計並製作互動式音樂節目與大型音樂活動。 2000年至2009年，亨利•福瑞擔任里昂國立高等音樂舞蹈學院（National Superior Conservatory of Music and Dance Lyon）院

亞歷山大•舒伯特 (Alexander Schubert)

長。目前福瑞全心投入作曲和演出，與作曲家萊恩哈德•富蘭德爾（Reinhard Flender）共同擔任德法音樂學院廿一號作品音樂室內

亞歷山大•舒伯特1979年生於德國，主修生物資訊與作曲，有興趣的領域包括研究結合原聲音樂與電子音樂的介面，以不同音樂風格

樂團（Franco-German Academy XXI OPUS Chamber Music）藝術總監，並曾獲頒法國文藝騎士勳章及德國十字勳章。

（如硬蕊、自由爵士、通俗電子音樂、鐵克諾音樂）結合當代古典音樂。早在年輕時的音樂生涯起步階段，他便開始以個人或樂團的方式參與上述音樂類別的演出。

哈維爾•阿瓦雷茲 ( Javier Alvarez)

表演型音樂是他主要的創作重心。在電子音樂中使用肢體，及透過肢體語言傳達音樂以外的內容是他作品的主要特色，其重點在於透

阿瓦雷茲的音樂深受當代跨越時代與邊界的通俗文化影響。在同輩墨西哥作曲家當中，阿瓦雷茲享有極高知名度。他的作品為數眾

過感應器與視覺媒介增加表演者的力量，讓演出展現最大能量。除了擔任作曲與獨奏演出，舒伯特也是「解碼者」等樂團的創始團

多，當中有許多成功結合複雜的音樂科技以及各種樂器與世界各地音樂。

員。2011年至迄今，他在德國呂北克教授現場電子音樂。他的作品已被許多樂團演出超過400次，演出地點超過25個國家。

演出者簡介

Henry Fourés Henry Fourés, born in 1948, studied art history at the University of Montpellier and music at the Conservatoire National de Musique in Paris. He continued his training at the academy in Vienna and the University of Berlin, where he studied medieval musicology. From 1975 to 1977 he was an intern at the Groupe de Recherches Musicales (INAGRM). Fourés used to teach at the Conservatory of Pantin and the University of Toulouse-Le Mirail. He worked regularly in Germany, where he was invited to various ensembles and Symphony radios. He served as the president of the Laboratoire de Musique et d’Informatique in Marseilles. Being active in many areas, Fourés made films for television and composed music for picture, dance, and stage. He is also the author of numerous radio creations in France and Germany. He writes symphonic works, chamber music, electronic parts, mixed vocal works. He also designs and produces interactive installations and major events. From 2000 to 2009, Henry Fourés was director of the National Superior Conservatory of Music and Dance Lyon. Today, being devoted as a composer and performer, he serves as co-artistic director with the composer Reinhard Flender for the Franco-German Academy XXI OPUS Chamber Music. He was awarded the Knight of the Order of Arts and Letters and the German Cross of Merit. Javier Alvarez The music of Javier Alvarez reveals influences of popular cultures that go beyond the borders of our own time and place. Alvarez is one of the best-known Mexican composers of his generation and many of the works in his prolific oeuvre combine the intricacies of music technology with diverse instruments and influences from around the world. Born in Mexico City in 1956, Alvarez studied clarinet and composition with Mario Lavista before moving to the Great Britain, where he

attended the Royal College of Music and the City University in London. His first electroacoustic works date from this time, such as Temazcal (1984). Alvarez was a fellow of the Mexican Endowment for the Arts and Culture. He has held teaching positions at the University of Hertfordshire and the Malmó Music Academy in Sweden, having also taught composition and computer music technology at the City University, Royal College of Music and the Guildhall School of Music in London. He was a founding member of Sonic Arts Network. Later he returned to Mexico and became the founding director of the Musical Arts Department of the Escuela Superior de Artes de Yucatán. After a period serving as Dean of the Conservatorio de las Rosas in Morelia, Michoacán, he is now living in Mérida in Yucatan, combining activities as a freelance composer and project animateur. Alexander Schubert Born in Germany in 1979, Alexander Schubert studied bioinformatics and composition. He explores cross-genre interfaces between acoustic and electronic music, combining different musical styles (like hardcore, free jazz, popular electronic music, techno) with contemporary classical concepts. Schubert has participated in his youth and early career in the above-mentioned genres both in groups and as a solo artist. Performance pieces are a major focus in his work. The use of the body in electronic music and the transportation of additional content through gestures are key features in his pieces, which aim at empowering the performer and at achieving a maximum of energy. This is done both through the use of sensors and visual media. Apart from working as a composer and solo musician, Schubert is also a founding member of ensembles such as "Decoder". Since 2011 he teaches live-electronics at the conservatory in Lübeck. His works have been performed more than 400 times by numerous ensembles in over 25 countries.

Performers

「獲贈時刻」樂團 (L'Instant Donné)

國家芭蕾舞團與羅馬歐羅巴藝術季（Roma Europa）邀請創作。2004年起，於法國貝桑松大學（Université de Franche-Comté）

來自巴黎的「獲贈時刻」，是一個專門演出當代室內樂的樂團。2002年成軍以來，一直以集體的方式合作，成員固定為九位。該

教授多媒體創作，同時也任教於蒙特貝利雅音樂學院（Conservatoire de Montbéliard）。

樂團以高水準室內樂演出而聞名，演奏時不需指揮，演出曲目涵蓋19世紀末到現代的作品。他們經常推出整場音樂會，為樂迷引薦在世音樂家的作品，與斐德烈•巴塔（Frédéric Pattar）、史蒂凡諾•傑瓦松尼（Stefano Gervasoni）、傑哈•培松（Gérard

貝諾瓦•莫迪（Benoit Meudic）, IRCAM 電腦音樂設計《嚴肅的微笑》

Pesson）、約翰•夏龍（Johannes Schállhorn）與克萊蒙•加丹史塔特（Clemens Gadenstátter）等音樂家的合作尤其密切。

來自法國的莫迪是一位音樂家、治療師，也是電腦音樂設計師。2004年，他完成電腦音樂博士論文，研究音樂結構的自動分析。曾

該團曾在歐洲許多重要表演場地與音樂節演出，包括巴黎的秋季藝術節、英國曼徹斯特國際藝術節、盧森堡愛樂（Luxemburg

為多位作曲家擔任電腦音樂設計師，包括亞歷山卓斯•馬奇亞斯（Alexandros Markea）、揚•馬雷茲（Yan Maresz）、喬琪亞•

Philharmonie）等，演出足跡遍布歐洲，並遠至摩洛哥、阿根廷、巴西、祕魯與墨西哥，長期受到法國法蘭西島大區文化廳、法

史畢羅普羅斯（Georgia Spiropoulos）、陳銀淑（Unsuk Chin）等。2008年與藝術家伊夫馬利•盧爾（Yves Marie L'Hour）創

國文化部、音樂作家版權協會（SACEM）與表演者權益協會（SPEDIDAM）的支持。

立祭司（Hierophantes）合奏團，兩人共同創作多部多媒體作品。

長笛│克萊兒•盧昆斯

打擊│瑪辛•艾夏朵

單簧管│馬修•史蒂凡紐

小提琴│古川紗織

鋼琴│卡洛琳•克恩

大提琴│尼可拉•夏邦提耶

傑洛姆•托瑪(Jérome Thomas) 拋接雜技表演 1992年成立ARMO（物體操控研究協會）與傑洛姆•托瑪表演團，至今推出多場表演作品，這些演出都曾在法國與海外各地巡迴演出，並獲得法國官方藝術行動協會支持。1996年，托瑪首度舉辦「當代與即興拋接雜技藝術節」，曾創作十人拋接雜技芭蕾作品，也曾指導法國艾伯夫雜技劇場（Cirque Théátre d'Elbeuf）的開幕演出。

聲學暨音樂研究協調學會(IRCAM) 聲學暨音樂研究協調學會（Institut de Recherche et Coordination Acoustique/Musique, IRCAM）致力於音樂的表達與科學研究，在全球同類研究中心當中規模數一數二。IRCAM的特別之處在於結合藝術鑑賞與科技創新，2006年起由法蘭克•馬德蘭納（Frank Madlener）主持，迄今在學會從事創作與研究的人士超過160位。每年的IRCAM巴黎音樂季可說是該學三項主要活動（創作、研究、傳承）的成果展，在法國與世界各地都有音樂作品演出。 IRCAM由皮耶•布雷（Pierre Boulez）創辦，在法國文化暨通訊部的指導下與龐畢度中心合作。IRCAM的音樂與聲音科技研究室（STMS）並獲法國國家科學研究中心、巴黎第六大學與法國國家資訊暨自動化研究院的支持。

1989年至1990年曾任教於瑪恩河上夏隆高等雜技學院（Ecole Superieure des Arts du Cirque in Chálons-sur-Marne），並開辦一系列工作坊，傳授拋接雜技獨特的技巧與理念，也曾與莫斯科雜技學校合作數年。2001年10月至11月，他擔任「雜技藝術」活動總監，該活動在巴黎著名的維萊特公園舉行。托瑪是雜技年委員會的榮譽會員，2003年獲頒SACD雜技獎。

Program

奧古斯丹•穆勒（Augustin Muller）, IRCAM電腦音樂設計《二原則》來自法國的穆勒學習科學與音樂（打擊樂、爵士樂和即興演奏），之後進入巴黎國立高等音樂舞蹈學院（CNSMD）研究聲學。他曾在

1.Henry Fourés / Deis dos prineipis (2015)

法國及海外負責多場音樂會與錄音的工作，合作的藝術家與團體包括邁可•勒文納斯（Michael Levinas）、璜巴布羅•卡倫紐（Juan

Pablo Carreño）、勞伯•普拉茨（Robert Platz）、國際當代樂團（l'Ensemble intercontemporain）、史特拉斯堡打擊樂團等。羅倫佐•畢安其（Lorenzo Bianchi）, IRCAM電腦音樂設計《嚴肅的微笑》來自義大利的畢安其具有建築與作曲雙學位，既是作曲家，也是表演者。主要興趣為利用電子裝置，以即時、聲音與影像裝置、以及預錄音響寫作器樂曲，以及為戲劇和舞蹈作曲。曾獲法國的音樂研究集團（GRM）、威尼斯雙年展、瑞典哥特堡歌劇院、馬賽

2.Javier Alvarez / Temazcal (1984) 3. Alexander Schubert / Serious Smile (2013-2014)

L'Instant Donné The Paris-based L'Instant Donné is an instrumental ensemble devoted to the interpretation of contemporary chamber music. Since its foundation in 2002, the ensemble has functioned as a collective, with a fixed line-up of nine musicians, and has built its reputation upon high quality chamber ensemble performances, by preference working without a conductor. L'Instant Donné's repertoire encompasses music from the end of the nineteenth century to the present day. Portrait concerts of living composers form the back-bone of their oeuvre, and they have developed particularly strong collaborative relationships with composers as Frédéric Pattar, Stefano Gervasoni, Gérard Pesson, Johannes Schállhorn and Clemens Gadenstátter among others. L'Instant Donné has appeared at many leading venues and festivals, including Festival d'Automne á Paris, Agora-Ircam (Paris), Manchester International Festival (UK), Luxemburg Philharmonie, and widely across Europe, and as far afield as Morocco, Argentina, Brazil, Peru and Mexico. L'Instant Donné is supported by the Direction Régionale des Affaires Culturelles d'Ile de France - Ministére de la Culture, SACEM, and SPEDIDAM. Flute | Clair Luquiens Clarinet | Mathieu Steffanus

Piano | Caroline Cren Percussion | Maxime Echardour

Violin | Saori Furukawa Cello | Nicolas Carpentier

Jérome Thomas | juggler The year 1992 marks the beginning for the ARMO (Association for Research in the Manipulation of Objects)/Jérome Thomas Company. Within this framework, he has produced several shows till now. All of his productions have been touring in France and performed abroad, often with the support of AFAA. In 1996, Jérome set up the first Festival for Contemporary & Improvised Juggling. He created a juggling ballet for 10 dancers-jugglers. He also directed the show for the launching of Cirque Théátre d'Elbeuf. During teaching at the Ecole Superieure des Arts du Cirque in Chálons-sur-Marne (89-90), Jéróme Thomas initiated a series of workshops to instruct others in his particular method and approach to juggling. He has also worked for several years with the Moscow Circus School. In October/November 2001, he was artistic director for the event called Arts de la Jongle (Juggling Arts) which took place at the Parc de la Villette in Paris. Jéróme Thomas was an Honorary Committee member for the Year of the Circus. He received the SACD Award for Circus in 2003. Augustin Muller | IRCAM Computer Music Designer for Deis dos prineipis After studying both music (percussion, jazz, and improvisation) and science, the French-based Augustin Muller began studying at the Conservatoire de Paris (CNSMDP) in 2006, focusing on sound. He has worked on numerous concerts and recordings in France and abroad, with artists and ensembles such as Michael Levinas, Juan Pablo Carreño, Robert Platz, Le Balcon, l'Ensemble intercontemporain, l'Intenational Contemporary Ensemble, les Pcrcussions de Strasbourg, etc.

Electronic Music Engineering | Monica Gil Giraldo Monica Gil Giraldo (born in Columbia) studied music and sound engineering at the Pontificia Universidad Javeriana in Bogotá, the capital of Columbia. After graduation, she continued to pursue a master’s degree in music techniques at the Université Paris VIII. From 2002 to 2004, Giraldo served as sound engineer for the Colon Eclectronico—a weekly concert series featuring electroacoustic music—where she worked with composers such as Mauricio Bejarano. She has joined the production team two times for the festival of Rock al Prague. She then moved to Canada and worked as sound engineer at the Banff Centre. She has contributed to the recording of a number of music albums and projects for sound artists and composers. Later she lived in Germany for one year, during the period she joined the Bauer Studios’ recording team and collaborated with Johnnes Wohlleben. She has joined the production of opera Maria Republica and was part of the production team for the past 6 editions of the Manca Festival. Currently Giraldo is taking part in a number of music and art programs in Europe. Lorenzo Bianchi | IRCAM Computer Music Designer for Serious Smile With diplomas in architecture and composition, the Italian artist Lorenzo Bianchi is a composer and performer. His interests focus on instrumental composition with electronics in real-time, audio and video installations, recorded sounds, and compositions for theater and dance. He has received commissions from institutions such as the Groupe de Recherche Musicale (GRM), the Venice Biennial, the Göteborg Opera, the Ballet National de Marseille, and Roma Europa. Bianchi has taught multimedia composition at the Université de Franche-Comté since 2004 and is a professor at the Conservatoire de Montbéliard. Benoit Meudic | IRCAM Computer Music Designer for Serious Smile Benoit Meudic is a musician, therapist, and computer music designer in France. In 2004, he completed his doctoral thesis in computer music on the automatic analysis of musical structures. Since then, he has worked as a computer-music designer for several composers including Alexandros Markeas, Yan Maresz, Georgia Spiropoulos, and Unsuk Chin. In 2008, Meudic co-founded the Hierophantes ensemble with the artist Yves Marie L'Hour with whom he has created many multimedia installations. IRCAM IRCAM, or the Institute for Research and Coordination in Acoustics/Music, is one of the world's largest public research centers dedicated to both musical expression and scientific research. It is a unique institute where artistic sensibilities collide with scientific and technological innovation. Frank Madlener has directed the institute since 2006, bringing together over 160 people for art creation and research. IRCAM's three principal activities -- creation, research, transmission -- are visible in IRCAM's Parisian concert season, in productions throughout France and abroad. Founded by Pierre Boulez, IRCAM is associated with the Centre Pompidou, under the tutelage of the French Ministry of Culture and Communication. The mixed STMS research lab (Sciences and Technologies for Music and Sound), housed by IRCAM, also benefits from the support of the CNRS and the University Pierre and Marie Curie, as well as Inria (team-project MuTant).

2017

序

臺灣國際音樂節 Taiwan International Music Festival

Beyond the Border

音樂是人類最早用以溝通和傳達情感的方式，臺灣有著多族群、多地貌的天然條件，因此也擁有極為豐富的音樂資源。臺灣音樂館多年來努力保存屬於臺灣的音樂文化資產，近年也積極向全世界推廣來自臺灣的聲音，「TIMF臺灣國際音樂節」即為促進臺灣音樂家與國際樂壇接軌而策辦：屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦，受邀前往韓國全州清唱藝術節演出，純淨的歌聲征服了來自全世界的音樂家們，也促成了「TIMF臺灣國際音樂節」的開場音樂會，將由清唱藝術節執行總監、韓國知名擊樂家帶領融合大樂團，來到排灣族的故鄉─屏東，與「泰武古謠傳唱」再度攜手，拉開音樂節序幕。此外，代表清唱藝術節前來臺灣交流的還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

Scholars，將展現韓國傳統樂器的另一面；來自法國的國際夥伴則分別為帶領全球音樂

統

籌

吳榮順

Director

WU Rung-Shun

監

製

鍾寶善王蘭生賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

製

作

翁誌聰

Producer

WENG Chih-Tsung

策

畫

林芳宜

Curator

LIN Fang-Yi

Taiwan

黃珮婕李宥臻鄭詠玹蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

越境之聲臺灣

樂會」五十周年，感念辛勤耕耘創作一甲子的前輩音樂家們，特別策劃一場向日葵樂會專場，向向日葵致敬！同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》，展現新生代創作者融合傳統與當代的才華。藉由國際展會的規劃與辦理，國立傳統藝術中心積極落實國際交流事務，守護傳統、迎向未來!

Music is the earliest form of communication and expression, and Taiwan, a beautiful island in the Pacific Ocean, is gifted with a wealth of music heritage thanks to its multi-ethnic background and diverse land features. Taiwan Music Institute (TMI) has been working on the preservation of Taiwanese music and the promotion of it around the world. In 2015, TMI founded the Taiwan International Music Festival (TIMF) to bridge Taiwanese musicians and international artists. Last year, Taiwu Ancient Ballads Troupe—a singing choir consisting of students of the Pingtung Country Taiwu Elementary School—was invited to give a performance at the Jeonju International Sori Festival (JISF) through the recommendation of TMI. Their ethereally pure voice immediately won over the musicians from around the world. This exchange also brings about a Taiwan-Korean collaboration project. A fusion troupe led by Park Je Chun—a renowned Korean percussionist the executive director of JISF—has visited the Paiwan Tribe in Pingtung County and worked with the Taiwu Ancient Ballads Troupe for the opening concert of this year’s TIMF. Another JISF ambassador is the Asian Scholars, a jazz band featuring the traditional Korean instrument of piri. I believe the audience will be surprised by what traditional Korean instruments can achieve. Our French partners IRCAM, which is a pioneer institute in the field of music and technology integration, the L’Instant Donné, and the master juggler Jéróme Thomas will present eye-opening works combining acoustic music and electronics. Another French partner TPMC, which has been working on combining traditional Chinese instruments and electroacoustic music, will show what has been achieved through a concert featuring works of Taiwanese composers and the erhu player Wang Ying-Chieh. TIMF Festival Ensemble, a troupe consisting of young composers and musicians cultivated throguh TMI’s “Mentor and Partnership Program,” will be led by the German-based conductor Ling Liao to present works of young Hungarian and Taiwanese composers. The year of 2017 is also the 50th anniversary of the Sunflower Music Assembly. To celebrate the occasion, we have organized a special concert as a tribute to the senior composers who have been contributing to Taiwan’s music scene for over sixty years. Also highly expected is The Roll Call, which is a collage of Taiwanese exorcist performance and traditional Chinese wind music featuring Seahorse Band’s world music and Huang Yu-lin’s jingqiang singing. The concert will be an illustration to the new-generation artists’ ambition and talents in integrating Chinese arts and contemporary elements. The National Center for Traditional Arts will continue to boost more exchanges through events like this. Traditions will be protected and creative ideas will bloom, yesterday, today, and forever!

執行製作

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

黃馨瑩蕭啟村許淑慧張翔雲 Administrative Coordinators

洪逸倫歐美蓉柯瓊芬黃予祈

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司亞洲作曲家聯盟(臺灣) Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

文

案

黃麗琪

翻

譯

鄭鳳珠

指導單位 Directed

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

主辦單位 Hosted

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

台北市客家音樂戲劇中心

特別感謝 Special thanks

(售票)

Taipei City Hakka Music and Theater Center

4.23 Sun. 14:30

承辦單位 Organized

合辦單位 Co-hosted

國際夥伴 International Partners

4.22 Sat. 14:30

宜蘭蔣渭水演藝廳

指定住宿 Official accommodation provided

(憑傳藝園區入場卷)

Yilan Chiang Wei-shui Theater 樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

希望能夠對傳統的曲調做出改變，並進一步在舞台上嘗試更多音聲組合，跨越「海」與「陸」之間的隔閡。等中國傳統，並結合世界音樂打擊樂器。樂團團長許灝翔擁有音樂實務與劇場背景，更增添了海馬樂團演出的豐富面向。海馬樂團

虎青年Z》、《我妻我母我丈母娘》、《畢方之國》及《降妖者•齊天》等。

海馬樂團的特色，來自音樂原創性與特殊器樂組合；古老而神祕歌唱藝術「呼麥」，加上蒙古樂器馬頭琴，以及胡琴、琵琶、嗩吶

主修京胡，師承吳明生老師、李超老師，在栢優座工羽匠、擔任音樂設計、編曲、編腔，近年設計作品有《刺客列傳─荊軻》、《惡

104學年度臺南市初賽高中A組第一名、全國決賽第三名。現為優樂國樂團及臺南樂集團員。

「馬」。海，象徵6位成員的故鄉臺灣，也象徵如海一樣廣闊、兼容並蓄的精神。馬，狂野而自由的動物，就如同我們的音樂風格。

許家銘樂手

曾獲100學年度全國學生音樂比賽臺南市初賽笛獨奏國小A組第一名；102學年度臺南市初賽國中B組第二名、全國決賽第三名；

成立於1999年，曾在2012年以【旅人．出走】入圍第23屆傳藝金曲獎最佳跨界音樂專輯獎。「海馬」一詞，可以拆為「海」和

軻》、《惡虎青年Z》、《椅子》、《畢方之國》及《降妖者•齊天》等。

就讀國立臺南藝術大學中國音樂學系大學部一年級。國小三年級始學習笛、嗩吶，師事陳中申、杜豐成、劉富吉、陳佳惠等老師。

海馬樂團

《水滸•誰唬》、《京劇小學堂》、《相聲京戲》、《狹義驚懼》、《逝父師•希矣切》、《後臺真煩•看》、《刺客列傳•荊栢優座仲首，國立臺灣藝術大學戲劇學士、國立台北藝術大學劇場藝術創作研究所表演組。栢優座創辦人之一，共同創排栢優座作品王辰驊執行導演

北管嗩吶/笛/簫杜俊寬展真正屬於臺灣的文化，至今我們依然持續地朝著目標邁進。賽獲傳統鼓樂個人組銅鼓王。

如此，我們不為自己設限，而且不斷在作品中嘗試各種可能的結合，例如京劇、崑曲、中西方戲劇…等。我們的目標，是找尋並發

現為青十鼓二團團員及十鼓擊樂團正式演出團員。2012年參加新北市鼓王爭霸比賽獲銀鼓王。2013年參加新北市樂舞節鼓王爭霸

年7月，希望能夠成為一個可以廣納各種表演藝術的平台，藉由結合不同族群、不同國家的文化，進一步描繪出我們自己的。正因為

韓國全州清唱藝術節。因其突破體制自由的創作方式與幼時擅演猴戲，曾被媒體譽為臺灣京劇界的齊天大聖。

就讀國立臺南藝術大學中國音樂學系大學部一年級，主修打擊，師事施德華教授、蕭曉鈴老師、林芝妏老師。2003年學習十鼓，

的。這個世代的重要任務，便是去找尋和進一步發展屬於我們自己的文化，這也是栢優座一直以來努力的方向。栢優座成立於2007

《惡虎青年Z》入選第12及第15屆台新藝術獎，並四度受邀參演大稻埕青年戲曲藝術節。2016年代表臺灣參加日本利賀導演藝術節、

打擊/作曲蔡安

文化非常多元，各種新舊，來自西方、東方的都匯集於此，讓臺灣因此而特別。但在如此不同的文化裡，卻沒有一個是專屬於臺灣

者。以京劇元素融合舞台劇作為創作手段，試圖找到臺灣特有的戲劇表述形式。2013、2016年分別以《獨、角、戲－吉嶽切》、

以臺灣自己的方式說故事，並以臺灣特色進行演出，是栢優座期待的也是不斷嘗試的。因為特殊的歷史背景，臺灣這片土地擁有的

中國戲曲學院戲曲導演碩士、中國戲曲導演學會會員，臺灣藝術大學戲劇學士、國光藝校京劇科六期生。現為栢優座座首、核心創作

栢優座

許栢昂導演

就讀國立臺南術大學中國音樂學系大學部二年級，主修笙，現師事安敬業教授；副修鋼琴，師事陳怡君老師。曾獲100學年度全國

年來延伸其表演觸角，除舉辦多場個人獨奏會，更多次與樂團及劇團合作演出，使音樂內涵更加豐美。

男主角。

北管嗩吶/笙歐慎騏

現專任於臺灣戲曲學院及就讀臺灣藝術大學博士班。其精湛而純熟的演奏技巧，現代與傳統兼具，對音樂詮釋之風格倍受肯定。多

《KANO》、《六弄咖啡館》….等多部電影表演指導，並擔任李安《少年PI的冒險》、《Lucy》電影演員，及微電影《小時光麵館》

陳茗芳樂手

麥（Khoomei, throat singing）吟唱技巧。以【旅人。出走】入圍第23屆傳藝金曲獎「最佳跨界音樂專輯」。《賽德克•巴萊》、海馬樂團團長暨藝術總監，也是電影、電視及劇場演員、樂手、表演指導和音樂設計。曾獲選客委會「築夢計劃」，前往蒙古學習呼徐灝翔樂手習。近年作品跨足影視、劇場及戲曲，為「栢優座」共同創辦人，有「臺灣京劇小天后」之稱。演獎。現為栢優座首屈藝指。為臺灣第一位「傳藝金曲獎最佳新秀獎」的獲獎者。2010年，拜入臺灣京劇大師顧正秋老師門下學大賽螢屏獎、北京青年京劇擂台賽新星獎、以「活捉」一劇獲得兩岸五校藍島盃一等獎。更獲得中國文藝協會第51屆文藝獎章國劇表中國文化大學中國戲劇學系國劇組、復興劇校國劇科宇字班，主修青衣花旦，師承兩岸名師，能戲頗多。曾獲榮譽包括央視青年京劇黃宇琳主唱

名。現為新竹青年國樂團團員、新竹市立青少年國樂團團員。學生音樂比賽新竹市初賽笙獨奏國中B組第一名、全國決賽第二名；102學年度台南市初賽笙獨奏高中職A組第一、全國決賽第一導。2006年參加十鼓擊樂團至今，隨樂團至溫哥華參加冬季奧運開幕會以及馬尼拉、香港及中國等地巡迴演出。笛，師事戴碧吟老師，侯廣宇教授。從小熱愛擊鼓，8歲時在樂器行修習爵士鼓兩年，亦曾接受臺灣著名京劇鼓師呂永輝老師指

樂、民間音樂及現代音樂即興演出。

就讀臺南藝術大學中國音樂學系大學部二年級，主修打擊，中國打擊師事施德華教授，西洋打擊師事蕭曉鈴老師；副修鋼琴、中國

海馬樂團馬頭琴手，擅長融合世界音樂創作編曲，2008年獨自前往外蒙古學習傳統樂器馬頭琴與喉音。活躍於臺灣各地的戲曲、國

打擊王子齊

林宗翰樂手

國立臺南藝術大學中國音樂學系域團隊演出，現為紘采樂集團員、隨心所欲樂團打擊手、G Drumz極鼓擊團員、栢優座樂器人及蝴蝶琴室揚琴樂團團員。《點將》臉譜彩繪師。

遊走在傳統與現代之間的新生代跨界擊樂演奏家。畢業於國立臺灣戲曲學院、國立臺灣藝術大學中國音樂學系。經常受邀參與各領

「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出，並擔任國立臺南藝術大學20週年校慶開幕演出

陳胤錞樂手

重濟陽會的一員出征大大小小的藝陣演出。曾參與新竹義民文化季(2010)、台北燈會(2013)、沖繩國際嘉年華(2014)、三立電視台從小時候就對民俗技藝很有興趣，與濟陽會會長及副會長也是孩提玩伴，因此一直在旁學習相關的知識跟技藝，自然而然地成為三戴欣宏

演出者簡介 | 琳愛特 Blue 子、咔腔、口弦、大小堂鼓及鑼鈸，意圖將國樂吹打樂與傳統官將首結合，以展現傳統廟會文化之新風貌。《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品，使用笛、洞簫、竹塤、37簧笙、嗩吶、管戲曲音樂界優秀青年創作者們，一起重新演繹戲曲舞台上著名的女性角色、每一段憂鬱靈魂的故事。

〈點將〉－給七位吹打樂器演奏者（作曲/陸橒）

“Blue”是藍色、是憂鬱、是一種音樂的曲風以及創作形式。「琳愛特Blue」，以臺灣京劇小天后黃宇琳做為主要演唱者，結合臺灣鬱，一樣是以無翼而飛的美麗音律，唱出古往今來的女人心事。豈是「旦」能夠輕易表述。戲曲中的女人，不外是誰人的母親、妻子、哪方的妖精、何人的情婦。共通點是，她們一樣美麗、一樣憂

《點將》臉譜彩繪師等。三立電視台「藝陣強強盃」(2015)、台北霞海城隍文化節【神遊大稻埕】(2016)等藝陣演出，並擔任第27屆傳藝金曲獎頒獎典禮多場廟會及推廣表演。曾參與台北燈會(2013)、台北大稻埕霞海城隍廟繞境活動(2014至今)、全國城隍廟聯誼會文化交流(2015)、國中時因友人邀約參加廟會活動進而生興趣。退伍後，在一次廟會活動中因緣際會加入三重濟陽會，承蒙會長(洪興)的提攜，參與

狩，與「巡視」同義。本段落以兩位打擊樂者以不同於鼓陣的表演方式展現鼓樂的另一風貌。

朱永益(小朱)

〈巡．狩〉－鼓樂（作曲 / 蔡安）

作，為時尚模特兒畫上官將首臉譜，並與閃靈樂團合作，在演唱會為演出者臉譜彩繪。

的音樂引領觀眾感受廟會陣頭的氛圍。

「旦行」做為一種女性角色的分類，在傳統的社會價值觀下，演繹古代社會的女人樣貌。女人，做為世界上最複雜難懂的一種生物，

境、花博燈會開幕演出、全國藝陣強強杯最佳藝術獎。在傳承傳統陣頭文化之餘，亦嘗試與不同領域合作，曾與Zine國際雜誌合

北管音樂是台灣廟會文化中經常聽見的一種傳統音樂形式，這個段落將演奏北管音樂中著名的曲牌〈一江風〉及〈風入松〉，以原汁

琳愛特 Blue

成名，曾參與2014日本沖繩國際嘉年華演出、「海霞兩岸．漢墨傳情」兩岸文化交流安徽界首表演、廈門廈城城隍廟352週年慶繞

〈樂．陣〉－傳統北管牌子（北管傳授 / 吳千卉）

三重濟陽會會長，從小浸淫於傳統民間宗教信仰，國一起就接觸陣頭文化迄今資歷約19年。民國98年5月5日第一次出軍淡水一戰

開序幕，如出征時欽點之意涵。最後三將結合於遶境過程中之陣行。

節目介紹 | 琳愛特 Blue

蔡芳昇(洪興)

增將軍兩將持手銬、虎牌以出水入水之陣行為開頭，如廟會過程中巡視及嚇阻不淨之物。中段由損將軍手持三叉戟出場，點兵點將拉

三重濟陽會

在廟會中更具有護衛主神及驅鬼逐疫之職能。官將首腳踩三步贊與鈴鐺，於出巡時遠處就能聽到，達到恫嚇之效。加其壽命，而損將軍遇惡人則減其壽命。時一同升天成神。由於增、損將軍於新莊地藏庵文武大眾爺廟出巡中擔任所有陰兵陰將之首，故稱之為官將首。增將軍遇善人時則增官將首發源於新莊地藏庵，相傳原為危害人間的妖魔，受到地藏王菩薩的感化降伏後擔任地藏王菩薩的護法將軍，與地藏王菩薩得道〈官將首〉－以傳統官將首出陣的表演搭配新創作的音樂（音樂設計 / 陸橒）

2.《點將》

個部分。

2016年國樂合奏作品《陣》獲得第27屆傳藝金曲獎最佳創作獎。現為臺南藝術大學七年一貫制中國音樂學系專任助理教授。年5月取得博士學位（D.M.A.）。2015年由顧寶文指揮臺灣愛樂民族管絃樂團演出個人大型國樂作品專場音樂會【臺灣意象】。 2009年起於美國密蘇里大學堪薩斯分校（University of Missouri- Kansas City）攻讀作曲博士，師承周龍、陳怡夫婦，於2014 與《臉譜集》（琵琶與國樂團）獲文建會同一比賽之最高獎項。2004年進入國立臺北藝術大學音樂系碩士班，主修理論與作曲。啼聲榮獲首獎，並入圍第16屆金曲獎傳統暨藝術音樂作品類最佳作曲人獎。2004年及2005年分別以《弄獅》（嗩吶與國樂團）自幼習樂，2000年起向洪崇焜教授學習作曲。2003年以二胡與國樂團作品《西秦王爺》在2003文建會民族音樂創作比賽中初試

《點將》原是由傳統藝術中心為第27屆傳藝金曲獎頒獎典禮委託創作的五分鐘舞台作品，本次演出是將典禮創作之作品延伸成為四

<中場休息>

陸橒音樂設計/作曲

點將

1.《琳愛特Blue 》

節目單

節目介紹 | 點將

演出者簡介 | 點將

Program

Performers | Lin at Blue

1.Lin at Blue 北管嗩吶/管/嗩吶/口弦/咔腔陳冠宏就讀國立臺南藝術大學中國音樂學系高中部三年級，主修嗩吶，師事孫沛元老師；副修笙，師事蔡輝鵬老師。曾獲得102學年度全國學生音樂比賽臺中市初賽嗩吶獨奏國中A組第一名、全國決賽第三名，2013年中華民國國樂協會器樂大賽吹管樂器少年組第一

<Intermission> 2.The Calling (Dianjiang)

Huang Yu-lin | lead vocalist Huang studied theatrical art at the National Taiwan College of Performing Arts and Chinese Culture University with a major in qing-yi and hua-dan in Beijing opera. She has been studying with several great performers both in Taiwan and China and

名， 2014年中華民國國樂學會器樂大賽吹管樂器少年組第三名。現為新竹市立青少年國樂團團員、台中市政府客家事務委員會國

is a highly-regarded performer of a number of Beijing operas. She was granted the on-screen award in the Youth Opera

樂團團員。

Contest held by CCTV and the rising talent award in Beijing Youth Opera Challenge Contest. She was also awarded the first prize in the Blue Island Cup with Taken Alive and was recognized with the 51st Culture and Art Award held by Chinese

打擊/笙黃俊毓就讀國立臺南藝術大學中國音樂學系高中部二年級，主修笙，由陳信志老師啟蒙，現師事安敬業老師，副修鋼琴；現師事潘祖欣老師。曾獲100學年度全國學生音樂比賽臺中市初賽笙獨奏國小B組第二名；104學年度臺南市初賽笙獨奏高中職A組第一名、全國決賽第一名。現為原韻絲竹樂團團員。打擊/笛/竹塤張正佳就讀於國立臺南藝術大學中國音樂學系高中部二年級。主修笛，師事侯廣宇教授，起蒙於李凱琳老師；副修鋼琴，師事潘祖欣老師。曾獲102學年度全國學生音樂比賽臺南市初賽笛獨奏國中B組第一名、全國決賽第五名，2014年中華民國國樂學會器樂大賽吹管樂器少年組第四名。

Program Notes | Lin at Blue

Writer’s & Artist’s Association in the category of Beijing opera performance. She is currently the performance master of Po

“Dan,” the female characters in Chinese opera, represents a kind of female image which reflects the bounded situation of

2010, she formally became an apprentice to Gu Zheng-qiu, a prominent Beijing opera performer. Her recent endeavor

traditional Chinese women. Yet, how could it be possible to encompass women—the most complex, hard-to-understand

includes works in films, television, theatre, and traditional Chinese opera. She is the co-founder of Po You Set and has been

creature in the world—and their experiences with the category of “dan”? In a Chinese opera, a woman usually appears as a

acclaimed as Taiwan’s queen of Beijing opera.

You Set and is the first to win the Best Rising Talent Award of the Golden Melody Awards for Traditional Arts and Music. In

mother, a wife, an enchantress, or a mistress. These female characters are always attractive, but somehow melancholic. With these beautiful melodies, their voice will take wing and soar high to unfold the inner world of women past and present. “Blue” is the color of melancholy as well as a music genre or composition style. Huang Yu-Lin, Taiwan’s queen of Beijing opera, will be the leading singer in Lin at Blue. She will work together with several outstanding young artists to re-interpret some famous female characters in Chinese opera and reveal their melancholic soul.

Hsu Hao-Hsiang | musician Hsu is the leader and art director of Seahorse Band. He also appears in several films and TV productions. He is an actor, a musician, a performing director, and a music designer. He studied khoomei (throat singing) in Mongolia through the support of the “Dreamscope Project” organized by Taiwan’s Hakka Affairs Council. His music album Wanderings of a Traveler was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music in the category of best crossover album. He served as the performing director for a number of films, including Seediq Bale, Kano, and At Café 6, etc. He has

Program Notes | The Calling ( Dianjiang)

joined the cast of Life of Pi and Lucy and was the leading actor in the micro-film House of Little Moments.

The Roll Call was originally a five-minute stage production commissioned by the National Center for Traditional Arts for the

Hsu Po-Ang | director

awarding ceremony of the 27th Golden Melody Awards for Traditional Arts and Music. The piece is expanded into four sections for this performance.

Hsu was graduated from the National Academy of Chinese Theatre Arts with a master’s degree in Chinese theatre directing. He is a member of the Chinese Theatre Directors’ Association and has studied theatrical art at the National Taiwan University of Arts and Beijing opera at the National Kuo Kuang Academy of Arts. Currently he is the head and core creator

“General-Gods”—Taiwanese exorcist performance and new composition (composer/Lu Yun) The culture of general-gods (i.e., General of Gain and General of Loss) was originated from a temple near Taipei worshipping Bodhisattva Ksitigarbha. The legend has it that the Ksitigarbha tamed some demons and monsters, who were then appointed generals protecting the Ksitigarbha and they became heavenly beings after Ksitigarbha’s enlightenment. In Taiwanese religious tradition, the General of Gain and General of Loss lead the King of Ghosts’ Inspection Parade. Good people “gain” longevity while bad ones “lose” their years on earth. In a temple parade, these two deities also serve as protector of the resident deity as

of Po You Set, a theatre troupe trying to build Taiwan-based theatre expressions by combining elements of Beijing opera and Western drama. The troupe was shortlisted with its One-Man-Show and Tiger Youth Z for the 12th and 15th Taishin Arts Award (2013, 2016). The troupe has performed in four editions of the Dadaocheng International Festival of Arts. In 2016, Po You Set performed at the Toga Festival and Jeonju International Sori Festivalon on behalf of Taiwan. Hsu was nicknamed Monkey King of Chinese Theatre by media for his monkey acting games in childhood and his free, unfettered imaginations.

well as responsible for expelling ghosts and plagues. They are heard from distance because of the bells tied to the gener-

Wang Chen-Hua | executive director

al-gods’ feet ringing with their “three-step footwork.”

Wang Chen-Hua, the co-founder and associate head of the Po You Set, was graduated from the National Taiwan University

Two Generals of Gain, who hold a handcuff and a wooden tiger tablet, begin the parade by deterring evil beings. In the middle

of Arts with a major in theatre. He later pursued graduate studies in theatrical performance at the Taipei National University

section the General of Loss appears with a trident for the roll call. The episode ends with the three general-gods joining

of the Arts. Selected collaborative projects with Po You Set include My Brothers, Something to Learn about Beijing Opera,

together in the procession.

A Comic Beijing Opera, Death of Them, Death of My Mentor, Fxxk the Stage, Jingke the Assassinator, Tiger Youth Z, The

“Music & Parade”—traditional beiguan tunes (beiguan instruction/Wu Qian-Hui)

Chair, The Fire Fighter, and The Monkey King Wiping out Devils.

Beiguan is a traditional Chinese music commonly heard in religious festivals in Taiwan. This section features some of the famous tunes, such as “Wind on the River” and “Wind in the Pines.” The genuine music will give the audience an authentic feeling of Taiwanese religious parades. “The Inspection Tour”—Drum music (composer/Tsai An)

Hsu Chia-Ming | musician Hsu is a disciple of jinghu musicians Wu Ming-Sheng and Li Chao. Currently he works for Po You Set as a music designer responsible for arranging music and Chinese operatic tunes. Some of his recent works include Jingke the Assassinator, Tiger Youth Z, My wife & My Mother & My Mother-in-law, The Fire Fighter, and The Monkey King Wiping out Devils.

Two percussionists will present a completely different drum music which departs from what is commonly heard in a traditional parade.

Chen Yin-Chun | musician

“The Calling( Dianjiang)”—For 7 wind musicians and percussionists (composer/Lu Yun)

Chen is a new-generation crossover percussionist who plays between the traditional and the contemporary. He was

This piece combines Chinese wind and percussion instruments—di, xiao, bamboo xun, 37-reed sheng, souna, guanzi, kaqiang,

graduated from the National Taiwan College of Performing Arts and National Taiwan University of Arts with a major in

kouxian, large/small Chinese drums, luo, and ba—with General-gods’ performance to give new expressions to the traditional

music, and has participated in productions of various genres. Hsu is currently a member of the Hon-Tsai Chinese Ensemble,

Taiwanese religious culture.

G Drumz, and Butterfly Zither Studio; a percussionist of the Sui Xin Suo Yu band; and an instrumentalist of Po You Set.

Performers | Lin at Blue

Performers | The Calling ( Dianjiang)

Lin Zong-Han | musician

Lu Yun Music | designer/composer

two years at age 8. He also studied with Lu Yung-Hui, a noted drummer of Beijing opera in Taiwan. Wang attended the Ten

Lin plays matouqin in the Seahorse Band. Known for his world-music style composition, Lin has performed improvisations

Lu Yun has studied music since childhood. From 2000, she began to study composition with Professor Hung Chung-Kun. Her

Drum Art Percussion Group in 2006 and has been performing with the troupe at various events and in many places, including

at music events of different genres, including Chinese xiqu, traditional Chinese music, folk music, and modern music.

work Lord Xinqin for erhu and Chinese orchestra was awarded first prize at the Chinese Music Composition Competition

the opening ceremony of the Olympic Winter Games in Vancouver and other events in Manila, Hong Kong, and China.

organized by Taiwan’s Council for Cultural Affairs (CCA), and she was shortlisted for the Best Composer Award at the 16th Chen Ming-Fang | musician

Golden Melody Awards for Traditional Arts and Music. Lu went on to win the top award for two consecutive years at CCA’s

Beiguan Souna/Sheng Ou Shen-Chi

Currently teaching at the National Taiwan University of Performing Arts and studying for Ph.D. at National Taiwan Universi-

Chinese Music Composition Competition in 2004 and 2005 with Lang Sai (for suona and Chinese orchestra) and The Beijing

Ou Shen-Chi is currently a sophomore in Chinese music at the Tainan National University of the Arts. He majors in sheng and

ty of Arts, Chen is acclaimed for her virtuosity and traditional yet modern interpretation of Chinese music. She has held

Opera Masks (for pipa and Chinese orchestra). She enrolled at the National Taipei University of Arts in 2004, where she

is studying the instrument with An Chin-Ye. He also studies piano under the tutelage of Chen I-Chun. Ou has won first place in

numerous recitals and collaborated with music or theatre troupes in recent years to expand her scope and enrich her

obtained a master’s degree in music theory and composition. She began her Ph.D. studies at the University of Missouri-Kansas

sheng solo in the Hsinchu preliminary contest and second at the final of Taiwan National Music Competition for Students in

interpretation.

City in 2009 and received her DMA in May, 2014 under the tutelage of composers Zhou Long and Chen Yi. She has presented

2011. He also won first place in both the preliminary and final of the competition in 2013. Ou is currently a member of the

a composition concert called “Images of Taiwan” with the Taiwan Philharmonic Chinese Orchestra under the conducting of Ku

Hsinchu Youth Chinese Orchestra and Hsinchu City Chinese Youth Orchestra.

Po You Set Po You Set is a Taiwanese theatre troupe ambitious in telling stories in Taiwan through experimental drama. The troupe is aware of Taiwan’s historical background and its multiculturalism. On this beautiful island, we can find all kinds of cultural elements, traditional and contemporary, Eastern and Western. However, the privileged diversity does not result in a culture

Pao-Wen. One of her latest compositions is City God Procession for orchestra, with which she obtained the 27th Golden Melody Awards for Traditional Arts and Music. She is currently an assistant professor of Chinese music at Tainan National University of the Arts.

Percussion/Composition Tsai An Tsai An is currently a freshman in Chinese music at the Tainan National University of the Arts. He majors in percussion and has been studying with Shih Te-Hwa, Hsiao Hsiao-Ling, and Lin Chi-Wen. He began to learn the art of ten drums in 2003 and is

that belongs to Taiwan itself. Therefore, Po You Set claims that one of the major missions of the present generation is to

San-Chung Ji-Yang Assembly

currently a member of the Ten Drum Art Percussion Group and a member of one of the Junior Ten Drum groups. He has been

figure out and develop such a culture. Founded in July 2007, the troupe regards itself as a platform on which all forms of

Tsai Fang-Sheng

awarded the silver prize in the New Taipei City Drum Competition in 2012. He also won the bronze prize as a solo drummer at

performing arts are welcomed. In order to realize a genuine Taiwanese theatre culture, the troupe integrates elements

Tsai Fang-Sheng is the head of San-Chung Ji-Yang Assembly. Being immersed in Taiwanese religious tradition since childhood,

the competition help during the New Taipei City World Music and Dance Festival in 2013.

drawn from different ethnic groups or countries. Currently the troupe still keeps breaking limits and finding more possibili-

Tsai began to learn the art of temple parade as a teenager 19 years ago. Fame came to him after his first performance in

ties in theatre, such as Beijing opera, Kun opera, and all kinds of Eastern and Western drama, etc.

Danshui on May 5, 1999. He has performed at the 2014 Okinawa International Carnival, the Festival of Cultural Exchange across

Seahorse Band Seahorse Band was founded in 1999 and was shortlisted for the 23rd Golden Melody Awards for Traditional Arts and Music with its album Wandering of a Traveler in 2012. The name “Seahorse” can be understood separately. Sea symbolizes Taiwan—the hometown of the band’s six members. It also suggests a broad-minded, all-embracing spirit just like the open sea. Horse reflects its free, wild music style. The band features the ancient, mysterious khoomei (throat singing) and a

Straits in Anhui China, the Xiamen Temple Parade celebrating the 352nd anniversary of the local City God’s Temple, and the opening ceremony of the Taipei Lantern Festival. He also won the Best Art Award at Taiwan’s Temple Parades Award. In addition to the active participation in traditional religious parades, Tsai is also attempting collaboration with artists from different fields. He has been invited to do face-painting for Zine magazine’s fashion models. He also did face-painting for Chthonic’s musicians for a concert.

combination of creative music and orchestration of special instruments. A combination of the Mongolian instrument

Chu Yung-Yi

matouqin; the Chinese instruments of huqin, pipa, and souna; and percussion from around the world form the major part of

Chu Yung-Yi ignited an interest in temple parades as a teenager. After completing his army service, Chu joined the San-Chung

Seahorse’s music. The leader Hsu Hao-Hsiang’s background in music design and theatre further adds diversity to Seahorse.

Ji-Yang Assembly through a temple parade. Under the guidance and support of the assembly’s leader, Chu has been showing

Currently the band is experimenting on traditional tunes and looking for more sound combinations to bridge the gap

his talents in various temple festivals and activities. He has performed at the Taipei Lantern Festival (2013), Taipei City God

between the sea and the land (horse).

Procession (since 2014), Exchange Forum for Taiwan City God Temples (2015), Taiwan’s Temple Parades Awards organized by Sanli TV (2015), and City God’s Procession at the Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of The Roll Call for the 27th Golden Melody Awards for Traditional Arts and Music. Dai Hsin-Hung Dai Hsin-Hung has been interested in folk arts since childhood. He was a playmate of San-Chung Ji-Yang Assembly’s head leaders and has been learning related knowledge and skills from the two friends. It is a natural result that Dao later became a member of the assembly and performed with it for various occasions and events. He has taken part in the Hsinchu Hakka Yimin Festival (2010), Taipei Lantern Festival (2013), Okinawa International Carnival (2014), Taiwan’s Temple Parades Awards

Beiguan Souna/Di/Xiao

Tu Chun-Kuan

Tu Chun-Kuan is currently a freshman in Chinese music at the Tainan National University of the Arts. He began studies in di and souna at age 10 under the tutelage of Chen Chung-Shen, Tu Feng-cheng, Liu Fu-Ji, and Chen Chia-Hui. He won first place in di solo in the Tainan preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won second in the preliminary and third in the final in 2013. He also won first place in the preliminary and third place in final in 2015. Currently he is a member of the You Yue Chinese Orchestra and Tainan Ensemble. Beiguan Suona/Guanzi/Souna/Kouxian/Kaqiang Chen Kuan-Hong Chen Kuan-Hong is a third-grader of the Affiliated High School of Tainan National University of the Arts. He currently studies souna as a major with Sun Pei-Yuan and sheng as a minor with Tsai Hui-Peng. He won first place in souna solo in the Taichung preliminary contest and third place in the final of the Taiwan National Music Competition for Students in 2013. He then won third place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014. Chen is currently a member of Hsinchu City Chinese Youth Orchestra and Taichung City Hakka Chinese Orchestra. Percussion/Sheng Huang Chun-Yu Huang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to the instrument of sheng through the tutelage of Chen Hsin-Chi and is currently studying with An Chin-Ye. Huang also studies piano with Pan Tsu-Hsin. He won second place in sheng solo in the Taichung preliminary contest of the Taiwan National Music Competition for Students in 2011. He then won first place in sheng solo in both the preliminary and the final in 2015. Huang is currently a member of the Yuan Yun Chinese Ensemble.

organized by Sanli TV (2015), and Dadaocheng City God Festival in Taipei (2016). He also did mask-painting for performers of

Percussion/Di/Bamboo Xun Chang Cheng-Chia

The Roll Call for the opening ceremony celebrating the 20th anniversary of the Tainan National University of the Arts.

Chang is a second-grader of the Affiliated High School of Tainan National University of the Arts. He was introduced to di

Tainan National University of Arts (Chinese Music Department) Percussion Wang Zhi-Chi Wang Zhi-Chi is currently a sophomore majoring in percussion at the Tainan National University of the Arts. Wang has been studying Chinese percussion with Professor Shih Te-Hwa and Western percussion with Hsiao Hsiao-Ling. Wang also studies piano and di with Tai Pi-Yin and Hou Guang-Yu. Being interested in drumming since childhood, Wang studied jazz drum for

through the tutelage of Li Kao-Lin and is currently studying with Hou Guang-Yu. Chang also studies piano with Pan Tsu-Hsin. He won first place in di solo in the Tainan preliminary contest and fifth in the final of Taiwan National Music Competition for Students in 2013. He also won fourth place in wind instrument category in the Chinese Instrument Competition organized by Chinese Music Association in 2014.

2017

臺灣國際音樂節 Taiwan International Music Festival

Fifty Years of Glory

致跨向越日半葵世樂紀會的風華

A Tribute to Sunﬂower Music Assembly 藝術若是陽光，信仰祂的子民就是一株株永遠挺直腰桿的葵花。

序

節目表 1.游昌發四首鋼琴獨奏：《空山松子落》、《和Janacek(Ⅰ)》、《睡著的女人》、《水在溜滑梯》鋼琴｜葉孟儒

Scholars，將展現韓國傳統樂器的另一面；來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品；以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會，將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵樂會」五十周年，感念辛勤耕耘創作一甲子的前輩音樂家們，特別策劃一場向日葵樂會專場，向向日葵致敬！同樣令人期待的還有結合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》，展現新生代創作者融合傳統與當代的才華。藉由國際展會的規劃與辦理，國立傳統藝術中心積極落實國際交流事務，守護傳統、迎向未來!

2.陳懋良：《中國舊詩歌三首》女中音｜范婷玉

鋼琴｜謝欣容

3.馬水龍：《奏鳴曲》小提琴與鋼琴小提琴｜余道昌

鋼琴｜簡美玲

<中場休息> 4.賴德和：《夢》鋼琴三重奏小提琴｜李俊穎大提琴｜劉姝嫥

4.22 Sat. 19:30 台北市客家音樂戲劇中心 Taipei City Hakka Music and Theater Center

籌

吳榮順

Director

WU Rung-Shun

監

製

鍾寶善王蘭生賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

製

作

翁誌聰

Producer

WENG Chih-Tsung

策

畫

林芳宜

Curator

LIN Fang-Yi

黃珮婕李宥臻鄭詠玹蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

鋼琴｜黃貞綾

5.沈錦堂：《慟》為木管五重奏長笛｜江淑君雙簧管｜洪千智

單簧管｜孫正茸

法國號｜陳彥豪

低音管｜張先惠

6.溫隆信：《向大師們致敬》弦樂四重奏小提琴｜薛媛云小提琴｜陳翊婷

統

中提琴｜何佳珍

大提琴｜劉宥辰執行製作

ZHENG Yong-Xuan TSAI Ho-Ju 行政協力

黃馨瑩蕭啟村許淑慧張翔雲 Administrative Coordinators

洪逸倫歐美蓉柯瓊芬黃予祈

樂曲解說

HUANG Hsin-Ying HSIAO Chi-Tsun HSU Shu-Hui CHANG Shiang-Yun

製作協力

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司亞洲作曲家聯盟(臺灣)

游昌發 │ 空山松子落、和 Janacek (I)、水在溜滑梯、睡著的女人 (文/蔡瑋琳) 空山松子落這首作品以唐代詩人韋應物：「空山松子落，幽人應未眠。」詩句為題，描述在松子落地般細微聲響都可聽聞的靜謐山中，獨自思念友人的寂寥。樂曲運用鋼琴力度與和聲變化描繪「空山」，特別是以不諧和的音堆表現安靜，穿插在流動的音群段落間。古琴語彙的曲調，一開始是複音的線條交織、遠距離的八度同音下行，而大幅度的高、低音域來回跳動，速度也越來越快，輕盈的琴聲呈現多變的色彩。最後樂曲開頭的音樂再現，輕聲的、漸漸遠去……。和 Janacek (I) 捷克作曲家楊納傑克（Leoš Janáček, 1854-1928）的鋼琴曲，帶有濃濃民間音樂風格，給聽眾單純卻深刻的感覺。游昌發即以如此

Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

視覺設計

生形設計

文

案

黃麗琪

翻

譯

鄭鳳珠

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

的想法，創作這個作品，故而將作品命名為《和Janacek》。樂曲形式是簡單的A-B-A三段式，源自古琴或古箏語彙的曲調，多次反複、模進的歌唱；複節奏、多個複調的不同五聲音階片段與之對位，交織出具中國風格的特別聲響。再以充滿即興演奏感的自由節奏，穿插快速上下行的複調五聲音階，鋼琴高、低音域的色彩變化，聲部組織與音量的不同，音樂時而模糊時而清晰，是一首風格相當獨特的抒情小品。睡著的女人這是作曲者在大都會博物館觀賞P. Picasso畫作「黃頭髮的女人」（Femme aux cheveux jaunes）後的感動之作。以鋼琴的甜美聲

指導單位 Directed

主辦單位 Hosted

承辦單位 Organized

合辦單位 Co-hosted

響，表現畫中睡得香甜的女人。樂曲開頭以甜美的大三和絃、摻和小三和絃、增三和絃交錯的細微變化，音樂產生暈眩感。隨後片段的五聲音階，平行六和絃搭配快

國際夥伴 International Partners

特別感謝 Special thanks

指定住宿 Official accommodation provided

速變化的複調音群，營造寧靜氛圍中的波動，推移為多個線條交織的複音音樂。運用音域轉換、節奏改變等變奏手法，上行琶音與五聲複調交錯，進入更深遠的感覺。樂曲最後再度以甜美寧靜的大三和絃，帶領聽眾進入安祥悠遠的夢境。樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

樂曲解說

演奏者簡介 (依演出順序)

水在溜滑梯

〈天上人間〉/ 李煜詞

〈今夕〉/ 作詞人不詳

賴德和 │ 鋼琴三重奏《夢》 (文/賴德和)

今夕何夕兮，星稀月明？

本曲是1998年客居紐約時期，由趙子宏先生委託創作。曲成之後一直沒有機緣公開演出。今晚的首演有雙重意義：一則告慰數年前已

這首曲子的發想，源自作曲者的小兒子幼時對水流的觀察。但全曲除開始處有童趣外，是一首鋼琴展技之作。樂曲運用各種複雜而

簾外雨潺潺，

獨自莫憑欄，

流利的五聲音階、多樣的音型與細微節奏變化的效果，表現水從攔砂壩磚塊隙縫中流瀉的瀑布景觀。

春意闌珊，

無限江山，

今夕何夕兮，得與美人同行？

過世的委託者趙先生，二則再續半個世紀前（1968年）「向日葵樂會」的餘緒。鋼琴三重奏《夢》在調性的氛圍下，以簡單的素材做

水流意境以波動較小的曲調開啟，之後出來的快速音群，在不同的音域八度變奏跳動，形容流水濺起陣陣水花；左手片段的五聲音

羅衾不耐五更寒，

別時容易見時難！

蟋蟀在床兮，悠悠則鳴，

多重反覆。在有節制不多做渲染的安排下，期使聆聽者有更多的想像空間。

階下行，加強了「溜」的感覺。進入以震音貫串的段落，一個又一個快速上行的短音群，在高、低音域滑動開展，不同的音色與音

夢裡不知身是客，

流水落花春去也，

江水浩蕩兮，冷冷其聲。

型快速轉換，形容瞬息變幻的水流。最後音樂在強烈的五聲音階下行後漸漸平靜，再現樂曲開頭的音樂，加上更輕聲而緊湊的變

一餉貪歡。

天上人間！

何接美人之殷勤兮，

沈錦堂 │《慟》為木管五重奏

乃使我惆帳而情愴！

親人之離世，大災難之突降，慟這椎心之痛，慟人世之無常，音樂也如此地隨性進行，無所遮掩，盡情揮灑。而不是傳統的包袱，也

化，如輕巧的水流遠去，是一首兼具中國音樂傳統、又能展現鋼琴技巧的樂曲。

不是現代的圖騰，只是內心聲音的宣達，想寫什麼就寫什麼，如此而已。陳懋良 │ 中國舊詩歌曲三首

與作曲者的第一號聲樂曲相比，他在本作品明顯地開始考慮到語言與音樂間的關係。歌者與鋼琴間亦不再是單純的人聲、伴奏關係，

為作品第四號，是一聲樂曲(1961年作，1993-95年修訂)。在歌詞上，分別是由採擷自七首唐詩片段織構而成的〈層層疊疊詩樓

而鋼琴的音型姿態亦隨著詞意轉換，不再如《少年之窗》中以單一形態貫穿全曲。特別值得一提的是，作曲者在〈層層疊疊詩樓中〉

中〉，李煜為詞的〈天上人間〉，以及〈今夕〉所組成。〈層層疊疊詩樓中〉摘自杜甫《登高》、《曲江對酒(二)》李商隱《無

一曲中，將七首唐詩的片段穿插交疊，形成語意上的突兀不連貫，及音樂句法和詩句起始上的矛盾與互鎖效果。這樣「層層疊疊」的

題》二首、《錦瑟》和《登樂遊原》秦韜玉《貧女》

創意，則在鋼琴部份以動機的循環互鎖加以呼應，而聲樂的部分則在這樣的低限手法下，得以浮現彰顯。

1.風急天高猿嘯哀，渚清沙白鳥飛迴。 5.相見時難別亦難，東風無力百花殘。 1.萬里悲秋常作客，百年多病獨登台。 5.曉鏡但愁雲鬢改，夜吟應覺月光寒。無邊落木蕭蕭下，不盡長江滾滾來。

春蠶到死絲方盡，蠟炬成灰淚始乾。

艱難苦恨繁霜鬢，潦倒新停濁酒杯。

蓬萊此去無多路，青鳥殷勤為探看。

2.蓬門未識綺羅香，擬托良媒亦自傷。 6.蓬門未識綺羅香，擬托良媒亦自傷。 2.敢將食指誇鍼巧，不把雙眉鬥畫長。 6.*人生七十古來稀，*不盡長江滾滾來。誰愛風流高格調？共憐時世儉梳妝。

誰愛風流高格調？共憐時世儉梳妝。

苦恨年年壓金線，為他人作嫁衣裳。

*蓬門未識綺羅香，擬托良媒亦自傷。

3.相見時難別亦難，東風無力百花殘。 7.風急天高猿嘯哀，渚清沙白鳥飛迴。 3.曉鏡但愁雲鬢改，夜吟應覺月光寒。 7.穿衣蛺蝶深深見，點水蜻蜓款款飛。春蠶到死絲方盡，蠟炬成灰淚始乾。

無邊落木蕭蕭下，*人生七十古來稀。 *此情可待成追憶，只是當時已惘然。

4.來是空言去絕蹤，月斜樓上五更鐘。夢為遠別啼難喚，*蠟炬成灰成灰……

得與風光共流轉，暫時相賞莫相違。

4.*滄海月明珠有淚，藍田玉暖日生煙。夕陽無限好，只是……

溫隆信 │ 向大師們致敬 (文/溫隆信) 這兩個個別樂章的弦樂四重奏，分別來自兩首不同的四重奏作品。第一個是選自《第2號弦樂四重奏》第四樂章、第二個為選自《第6 號弦樂四重奏》第二樂章。兩個作品創作年代相隔40年，但在作曲者心中，卻始終存在一個莊嚴的思考，在他過去60年的創作歷程中，那些偉大的作曲家，如巴赫、韓德爾、莫札特、貝多芬、布拉姆斯等，從17世紀到19世紀末，這些西洋音樂史上貢獻最多的作曲

馬水龍 │ 奏鳴曲：小提琴與鋼琴

家們，一直是作曲者心中景仰且試圖追趕的對象。自不量力的心境固然有些好笑，但嘗試想突破超越前人的心情亦是一種熱情，一種

這首作品完成於1963-4年之間，是作曲者在藝專學生時代留下來的三首作品之一，也是這三首作品中，對作曲者而言最具意義的一

未曾熄滅的火苗。

首。因為這是結束學生時代為探討個人的音樂語法，企圖放棄西方傳統大小調功能和聲體系，所做另類的嘗試。全曲共分三個樂章，

兩個樂章在形式上完全遵照一直以來的曲式鋪陳，唯獨在配器法上、聲音音色的佈局、有無調性之間的穿插、語法的建構，甚至是演

類似古典時期奏鳴曲形式，和聲結構觀念來自傳統琵琶定弦，所延伸的和聲結構體系，並加以發展。

奏法上的創新，都是作曲者有意創作的前提。透過這些比較現代才會出現的林林總總，配合西洋音樂史上留下來的曲式結構的巧妙運

第一樂章：序曲與起承轉合的小快板

用，讓樂曲產生新的生命和動力。典雅細緻的表現力，是作曲家追求的一個音樂境界。50年前參加「向日葵樂會」，受到許多師長及

第二樂章：如吟誦的慢板詩曲

同學們的鼓勵和期許。期間沒有時刻忘卻創作，「去寫作更多更好的作品」這是一輩子的心願。從1980年至2016年，作曲家溫隆信

第三樂章：快板的迴旋曲

終於完成他一生想完成的六首弦樂四重奏作品，其中第1號、3及4號皆已首演完畢。本場音樂會中，將呈現第2號及第6號所挑選出來

※本曲1964年完成，同年6月間於台北國際學舍世界首演，演出者為小提琴家呂信也、鋼琴家許子珍。

的兩個樂章，衷心盼望樂曲的演出沒有辜負師長們和同學們的期許才好。

鋼琴 │ 葉孟儒畢業於莫斯科國立柴科夫斯基音樂學院，師承Lev Naumov教授。留俄期間，經常以獨奏家身分受邀在俄國主要城市演出協奏曲與獨奏會。1999年以最高分的榮譽畢業；並獲演奏科最高學位藝術博士。曾受邀至許多國家以獨奏會型式以及室內樂型式演出，並以獨奏家身分和超過 20個樂團合作演出協奏曲。2013年發行個人演奏專輯【貝多芬: 迪亞貝里33段變奏曲】(雅砌音樂發行)，並獲第 25屆傳藝金曲獎最佳詮釋獎。現為中國文化大學音樂系專任副教授，並兼任國立臺灣師範大學音樂系及國立臺灣藝術大學音樂系。次女高音 │ 范婷玉國立藝術學院(今國立台北藝術大學)畢業後，赴德國國立漢諾威音樂暨戲劇學院，取得聲樂教育、音樂會演唱家與歌劇獨唱家教育及藝術演唱文憑。2006年至2009年擔任奧地利林茲國家劇院歌劇合唱團次女高音。留德國期間，積極參與音樂會，演出神劇以及藝術歌曲。曾獲多項聲樂比賽獎項，返台後，多次受邀參加國內多個樂團之系列音樂會及歌劇演出；2013年獲輔仁大學音樂學系研究所演奏（唱）組博士學位，是臺灣音樂教育體制，培養出的首位臺灣聲樂博士。目前為輔仁大學音樂系、中山大學音樂系以及清華大學（原新竹教育大學）音樂系兼任助理教授。鋼琴 │ 謝欣容畢業於國立藝術學院（現國立臺北藝術大學），之後取得國立維也納音樂院（現國立維也納音樂大學）聲樂家伴奏文憑。2001年於維也納現代音樂節，擔任中國作曲家郭文景的歌劇《夜宴》之音樂指導與鋼琴排練、並為多位臺灣作曲家首演與演出當代作品。 2002至2003年受聘為俄國聖彼德堡馬林斯基劇院青年歌唱家學院專任伴奏；曾獲國際林姆斯基・高沙可夫聲樂大賽及臺北德文藝術歌曲大賽「最佳伴奏」獎。經常受邀為兩廳院年度工作坊擔任鋼琴排練與音樂會現場演出。2005年起，陸續任職於國立臺灣藝術大學音樂系、國立臺北藝術大學音樂系及臺北市立國樂團附屬合唱團。小提琴 │ 余道昌美國琵琶第音樂院學士及碩士學位、馬里蘭大學音樂藝術博士學位。1997年獲Yale Gordon協奏曲大賽首獎，2000年至2010年曾

此情可待成追憶，只是當時已惘然。

多次擔任海飛茲國際音樂學院教授；2003年曾應聘為馬里蘭州立大學教授。自2003年起至2009應聘為琵琶第音樂院及茱莉亞音

* 屬於不同詩篇之詩句的銜接點。

樂院先修班客座。獨奏及室內樂演出足跡遍及北美，2003年成立普羅米修斯三重奏，於全美各國際音樂節演出,曾獲華盛頓郵報評為「最具潛力青年室內樂團」；2007年參加美國馬里蘭州藝術委員會主辦之「躍起之星」藝術家選拔,以親自改編的卡門幻想曲摘

作曲家簡介 (依演出順序)

下首獎。2011年回國後任教於臺北市立大學。鋼琴 │ 簡美玲

游昌發

馬水龍

沈錦堂

1942年生於廣東省潮陽縣。畢業於臺北師範、國立藝專音樂科、奧地利國立維也納音樂院，以聲樂及作曲為雙主修，回國後隨申

1939年出生於臺灣基隆。畢業於國立藝專，主修作曲，師事蕭而化教授；音樂理論師承許常惠、盧炎等教授。1972年獲西德全額獎

畢業於國立臺灣藝術專科學校音樂科及美國紐約市立大學布魯林學院音樂研究所，並曾於奧地利國立維也納音樂院研習作曲。作品有小提琴

克常先生學習平劇三年。藝術歌曲是他最具獨特個人美感的作品，音樂細緻且充分表現詩句的意境。合唱曲的創作，除嘗試以民族

金，進入雷根斯堡音樂學院就讀，師承奧斯卡•西格蒙（Dr. Oskar Sigmund），於1975年畢業。在校期間，代表學校至雷根斯堡音

奏鳴曲兩首，雙鋼琴《幻想曲》，銅管四重奏兩首、銅管五重奏《合》，芭蕾舞劇樂《虎姑婆》，弦樂四重奏《秋思》、《裂痕》，室內樂作品

素材編寫外，更將民歌融合複音音樂的技法，豐富了合唱曲的效果及音樂感。其歌劇作品是經由獨唱、合唱、兒童音樂劇、戲劇配

樂節、柏林電臺、慕尼黑電臺公開發表作品。馬水龍作品包括管弦樂、室內樂、鋼琴曲、聲樂曲及合唱曲等類型，經常於國內外發

《意念》、《聯綴》、《憶》、《喧與祥》，《玄象》、木管五重奏《慟》，獨唱曲《飄流》、《月下獨酌》、《幻覺》、《問劉十九》、《獨

小提琴 │ 李俊穎(伯牙三重奏)

樂《紅鼻子》的創作，逐漸累積經驗而來，從獨幕作品到2008年的大型歌劇《桃花扇》，以京劇歌唱精神入樂、管弦樂烘托戲劇

表。其作品《梆笛協奏曲》，1983年由羅斯卓波維奇（M. Rostropovich）指揮美國國家交響樂團於臺北國父紀念館演出，並以衛星

坐敬亭下》、《子夜》、《夢回》、《孤獨》及客家藝術歌曲《露水》、《秋思》等，室內樂與獨唱《水調歌頭》，大合唱《正氣歌》、《蜀道

美國琵琶第音樂院演奏碩士、美國明尼蘇達大學博士學位。曾多次應美國明尼蘇達室內樂協會邀請參與室內樂演出、並獲史懷哲音

情節氣氛，再以京劇道白解決中文宣敘調的問題，為中文歌劇提供新的創作方向。年逾七旬，游昌發仍持續創作不懈，除2012年

實況轉播至美國PBS公共電視網。1986年獲美國國務卿傅爾布萊特學術獎赴美研究，並於紐約林肯中心等地區舉行四場個人作品發表

難》，為弦樂團的《幻想曲》，為管樂隊的合奏曲《千禧進行曲》，管弦樂小品《鳳陽花鼓》、《山歌輪旋》、《光明進行曲》，國樂合奏曲

樂學院桑德波音特音樂節（The Festival at Sandpoint-Schweitzer Institute of Music）全額獎學金，參與演出並發表室內樂新

應國立臺灣交響樂團委託創作的《酒歌》，近年亦陸續完成《小提琴奏鳴曲》、弦樂合奏《Bali小夜曲》、客語歌劇《三玉奇

會，他也是首位於林肯中心做整場個人作品發表會的臺灣作曲家。曾任國立藝術學院校長、教務長及音樂系創系主任等職務，1991年

《茶香情懷》，管弦樂序曲《祥瑞》、《飛躍》，交響詩《昇華》、《客家頌》、《客家情》，及獨幕歌劇《魚腸劍》等。

作。返國至今，已舉行34場獨奏會與上百場室內樂音樂會，並受邀與多個國內樂團合作演出協奏曲。2012年獲邀至新加坡楊秀桃

緣》、《八首紀念歌》、九首佛教合唱曲與《蛇郎君組曲》等作品。

被列入「世界名人錄」及「五百名人錄」。曾兩度獲金鼎獎、三項金曲獎，並曾獲中山文藝音樂創作獎、吳三連文藝創作獎、國家文

陳懋良

畢業於福星國小、南門國中及師大附中音樂班，甄試保送國立藝術學院（現國立臺北藝術大學）音樂系，主修鋼琴，並於德國科隆音樂院獲得藝術家及演奏文憑（Konzertexamen）。現任教於國立臺北藝術大學音樂系，並致力於室內樂演出。

國際音樂院擔任小提琴大賽評審並開授大師班。現任國立交通大學音樂研究所專任教授兼所長、國立臺北藝術大學音樂系兼任教

藝獎及行政院文化獎殊榮。此外，曾獲總統府二等景星勳章，以及國立臺北藝術大學、國立臺灣大學、國立臺南大學、國立臺灣藝術

溫隆信

大學名譽博士。2015年辭世，享年76歲。

1944年生於臺北市。高中畢業後進入國立藝專音樂科弦樂組，主修小提琴，並修習作曲，受教於陳懋良，並接受許常惠指導。之後進

授，及伯牙鋼琴三重奏團團長。

入臺灣省交響樂團（今臺灣交響樂團），並成為「向日葵樂會」成員。1975年，大型室內樂作品《作品1974》及為長笛、大提琴、鋼

大提琴 │ 劉姝嫥 (伯牙三重奏)

獎，及十大傑出青年獎。1969年負笈奧地利，進入國立維也納音樂院修習作曲；1972年畢業後，獲頒阿班•貝爾格基金會作曲獎

賴德和

琴、打擊樂的《現象Ⅱ》，雙雙獲得荷蘭高地慕司國際現代音樂作曲比賽入選，《現象Ⅱ》更獲大賽第二獎，成為第一位獲此殊榮的

國立臺北藝術大學專任副教授，維也納市立音樂院演奏家文憑特優獎畢業。曾隨已故大提琴泰斗羅斯卓波維奇前往法國埃維揚音樂

金。1974年起，陸續在維也納布根蘭省及下奧地利省音樂學校教授鋼琴及作曲。1978年入籍奧地利。1984年開始，創作臻於成熟

1943年出生於彰化。畢業於國立藝術專科學校（今國立臺灣藝術大學），在學時期即參加「向日葵樂會」發表作品。1973年，從藝

亞洲作曲家。1974年，與康謳、許常惠、許博允等人籌組亞洲作曲家聯盟。其作品數量繁多且精緻，以室內樂最為大宗。早年創作以

節，為其委託創作的作品進行世界首演；並應邀於國際知名音樂家如亞力山大•魯丁、胡

與活絡。1990年至1996年間，他的創作有如雨後春筍般地蓬勃茂盛，共完成了十一部作品（第十三號至第廿三號）。1996年，在

專助教的工作轉任臺灣省交響樂團，受聘為研究部主任。期間，負責策劃「中國現代樂府」，演出本國作曲家作品和籌設音樂實驗

西洋音樂為主，後創作許多以傳統樂器演奏之作品。1980年獲第二十一屆文藝獎章、1982年獲第三屆吳三連文藝獎。1989年，在輔

年，曾參與「奇美博物館提琴數位典藏計畫」及「臺灣音樂憶像」之錄音，並首演顏名秀、王思雅等作曲家作品。2017年夏天，

得知自己罹患直腸癌後，便停止所有創作計畫，著手修訂、編列自己的作品，毅然決然地割捨自己不滿意的作品，甚至也捨棄所有

班。因受史惟亮與許常惠「音樂民族主義」的創作理念感召，長年聆聽民歌採集的錄音，並向戲劇學者俞大綱學習京劇藝術之美、向

仁大學創立全國首座電子音樂教學中心。1992年移民美國。1997年，應邀至紐約大學擔任駐校作曲家並教授作曲，退休後籌組管弦樂

將受邀於義大利克雷蒙納國際音樂營(Cremona International Music Academy)任教。

已修訂過的作品舊稿，最後僅留下廿二部完整作品。1997年，病逝於維也納。在臺灣，他參加「製樂小集」、「向日葵樂會」，

藝師侯佑宗學習京劇鑼鼓。1978 年，獲德意志學術交流中心 (DAAD ) 獎學金赴奧地利，在奧福學院（Orff Institute）攻讀音樂教

團「柝之響」，舉辦音樂會及夏令營到國內外交流演出。

在奧地利，他亦多次赴德參加達城著名的國際新音樂會研討會、返回學校修習多媒體作曲及電子音樂。

育，並於莫札特音樂院（Mozarteum in Salzburg）研習作曲。1984 年，獲得第七屆吳三連文藝獎；1987年，與「雲門舞集」合作

1937年出生於南京，11歲時，與父母隨國民政府來臺。之後進入國立藝專音樂科就讀，主修作曲。1966年獲第一屆中山文藝作曲

之《紅樓夢》獲國家文藝基金管理委員會的第十二屆國家文藝獎；2010 年，再獲第十四屆國家文藝獎。2014年，其為中提琴與鋼琴而寫的作品《悲歌》獲第二十五屆傳藝金曲獎最佳創作獎。

云等人之臺灣音樂會中合作演出。近

演奏者簡介 (依演出順序) Program 鋼琴 │ 黃貞綾(伯牙三重奏)

小提琴 │ 陳翊婷

美國琵琶第音樂院鋼琴演奏碩士。曾獲ICRT「青春之星」藝術獎學金「國內獎」與「國外獎」、1995年國立臺灣交響樂團「樂壇

畢業於東吳大學音樂系研究所及東吳大學音樂系。2002年，擔任省青交響樂團首席，赴美加巡迴演出；2006年獲美國密西根州立

新秀」、1999年中華開發「音樂人才潛力獎」及2001年官邸藝文沙龍室內樂特優第一獎等。返國至今，演出已逾百場；曾受邀與

大學博士班入學許可，研究所在學期間，曾考入臺北市立交響樂團、國家交響樂團和長榮交響樂團協演人員迄今。目前任教於私立康

高雄市立交響樂團、國立新竹教育大學管絃樂團及文化大學華岡交響樂團協奏演出，更遠赴美國明尼蘇達卅立大學、麻省理工學院

橋中小學、蘆洲忠義國小、石牌國中、介壽國中分部、私立輔大聖心小學、安坑國小和宜蘭公正國小B團指揮。目前為臺北愛樂管弦

及愛達華州演出。現任教於國立臺灣藝術大學、中國文化大學音樂系、中正高中等校，並為伯牙三重奏團團員及臺灣室內樂藝術推

樂團及藝享愛樂團員。

1.Yu Chang Fa | In Silence the Pine Nuts Fall / Femme aux cheveux jaunes To Janacek (I) / Water Coming down the Slide

2.Chen Mao-Liang | Drei Lieder nach alten chinesischen Gedichten

廣協會監事。

3.Ma Shui-Long | Sonata for Violin and Piano

中提琴 │ 何佳珍

長笛 │ 江淑君

畢業於國立臺北藝術大學，獲英國皇家音樂學院中提琴碩士演奏文憑。2004年獲選參與皇家音樂學院交響樂團和艾爾頓•強於倫

英國皇家音樂學院高級演奏家文憑，臺灣師範大學音樂系畢業。1987年獲日本全國長笛大賽「觀眾票選獎」與「決賽入選獎」，

敦、伯明罕及紐約演出。2006年應邀與國際節日合唱與管弦樂團在上海和北京中山堂演出，並多次參與台北愛樂、青年愛樂、樂興

4.Lai De-He | Dream for piano trio

並兩度獲選參加「日本國際神戶大賽」。曾任職臺北市立交響樂團長笛助理首席，多次受文建會之邀，於紐約、西雅圖、巴黎等地

之時、歐亞管弦樂團、臺北人室內樂團及長榮交響樂團的演出。目前為臺北愛樂管弦樂團團員，並任教於天母國小、士東國小、蘆洲

5.Shen Chin-Tang | Dung for wood quintet

演出。曾與多個樂團合作演出長笛協奏曲，並有超過20首作品為其委託創作。近年，其國際邀約活動橫跨美國、日本、大陸、新

仁愛國小、宜蘭公正國小、介壽國中、蘆洲國中、恆毅中學和大同大學。

6.Wen Loong-Hsing | Amiez-Vous Les Grant Compositeur

加坡等地，並受邀赴美參與美國長笛年會之音樂會演出。現任職臺北市立大學音樂學系專任教授，並為閃亮木管五重奏團團長。大提琴 │ 劉宥辰雙簧管 │ 洪千智

現就讀臺北藝術大學管弦與擊樂所碩士班。2004年與前金國中國樂團合作演出小提琴改編之梁祝小提琴協奏曲，2007年獲校內協

獲法國巴黎師範音樂院雙簧管最高級演奏家文憑及一致通過獎，並獲法國國立Rueil-Malmaison音樂院卓越演奏獎文憑及一致通

奏曲大賽第一名，並與鳳新高中管弦樂團合作演出艾爾加《大提琴協奏曲,Op.85》第四樂章，同年獲高雄縣音樂比賽榮優等第一名；

過獎，與室內樂高級班金牌獎章與一致通過獎、巴黎市立高等音樂院英國管最高級演奏文憑、瑞士蘇黎世高等音樂院演奏家文憑及

2010年考取霧島Kirishima國際音樂節。曾與臺北藝術大學管弦樂團赴法國、奧地利巡迴演出。曾於臺北及高雄舉辦個人獨奏會，並

最優等之評鑑結果。曾獲法國Ile de France音樂大賽雙簧管組第一名，並受法國崇民交流協會之邀錄製【法國經典音樂】專輯(風

擔任多個國內樂團大提琴團員。目前任教於秀山國小，並與好友組成Amour艾茉兒室內樂團，計畫未來積極參與各種形式的演出。

潮唱片發行)。現任臺北市立大學音樂系暨研究所、實踐大學音樂系、國立臺南藝術大學音樂學系暨研究所及台南應用科技大學音樂系暨研究所雙簧管兼任副教授。

Composers (listed in the order of performance)

單簧管 │ 孫正茸畢業於德國國立德特摩音樂院，曾多次獲臺灣音樂比賽單簧管獨奏冠軍。留德期間活躍於校內外演出活動，為木管室內樂團 “Gran Partita Detmold”成員，曾受邀至薩爾茲堡、慕尼黑、漢堡、漢諾威、貝爾格勒等地演出。1994年獲威瑪-李斯特音樂院

Yu Chang-Fa

and Sunflower Music Assembly in Taiwan and studied multimedia composition and electronic music at the Darmstadt

第三屆「二十世紀音樂詮釋比賽」獨奏樂器項目第三名。1995年返國獲臺北市立交響樂團任聘一年。現為國家交響樂團團員，閃亮

Yu was born in Chaoyang, Guangdong in 1942 and has studied music at Provincial Taipei Normal College and National

International Summer Courses for New Music.

木管五重奏團及臺北單簧管樂集成員，並任教於臺北市立大學、文化大學、師大附中。2013年臺北單簧管樂集【Live Recording】

College of Arts. Afterwards he studied at the Vienna Conservatory with a double major in voice and composition. After

獲第24屆金曲獎最佳古典音樂專輯。

returning to Taiwan, Yu studied Beijing opera with Shen Ke-Chang for three years. His artistic beauty is best conveyed in his

Ma Shui-Long

subtle, poetic art songs. He also borrows from Chinese elements and blends Chinese folk songs with polyphonic music to

Ma Shui-Long was born in Keelung, Taiwan in 1939. He studied composition with Xiao Er-Hua, music theory with Hsu

enrich the choral effect and musicality in his works. Through the years, he has also tried to expand the scope of his vocal

Tsang-Houei and Lu Yan at the National Taiwan College of Arts. In 1972, he attended the College of Catholic Church Music

works—from voice solo to choral singing, from children’s music to incidental music for The Red Nose, from one-act operas

and Musical Education in Regensburg, West Germany with a full scholarship and was graduated in 1975. During years as a

to the large-scale opera The Peach Blossom Fan, in which Yu incorporates Beijing opera singing and uses orchestra to

student at the college, he had studied composition with Dr. Oskar Sigmund and presented works in the Regensburg Music

create the right atmosphere and set off the plot. Yu also employs the techniques used in spoken parts of Beijing opera to

Festival, Radio Berlin International, and Radio Munich. Ma has a broad repertoire which includes orchestral music, chamber

improve the dry recitation commonly seen in traditional Chinese drama. This creative arrangement opens up a new

music, and pieces for piano, voice, and choir, which have been performed for many times both in Taiwan and abroad. In

direction for composers of Chinese operas. In his seventies, Yu Chang-Fa is still composing music with full energy. One of

1983, Ma’s Concerto for Bamboo Flute was performed by the American National Symphony Orchestra under the conduct-

低音管 │ 張先惠

his recent works is Song of Wine by commission from Taiwan National Symphony Orchestra, in addition to Violin Sonata,

ing of Mstislav Rostropovich at the Sun Yat-Sen Memorial Hall in Taipei, with a live broadcast of the concert by the Ameri-

先後畢業於臺中市光復國小、雙十國中、曉明女中等音樂班，1988年甄試進入東吳大學音樂系。1992年獲臺北市立交響樂團協奏

Bali Serenade for string ensemble, Hakka opera Legend of Three Jades and Eight Memorial Songs, nine Buddhist choral

can PBS. In 1986, Ma received the Fulbright grant and went to American for music research. He then became the first

曲比賽第一名，同年考入德國國立德特摩音樂院。留德期間，經常參與校內外各類型室內樂及樂團演出，1997年5月以優異成績取

pieces, and Snake Husband Suite.

Taiwanese artist who held a composition concert at the Lincoln Center with another three concerts staged at other venues.

法國號 │ 陳彥豪現任國立臺北藝術大學專任助理教授，1999年至2012年曾任台北市立交響樂團法國號首席，2009年起擔任Taiwan Connection 室內樂團法國號首席。2016年受中華人民共和國國務院僑務辦公室之邀，擔任全球華人精英交響樂團法國號首席；2015年擔任臺北市立交響樂團於法國漢斯音樂節演出之客席法國號首席；2011年擔任「臺灣壹佰號」首席，於太魯閣峽谷音樂季及國家音樂廳演出，同年與臺北市立交響樂團合作理查•斯特勞斯《第一號法國號協奏曲》，及臺北市立交響樂團附設管樂團合作演出作曲家 Florian Brambock寫給四把法國號與管樂團的協奏曲。

He served as dean of academic affairs and principal of the National Institute of the Arts. He became a member of World

得德國藝術家演奏畢業文憑。自1997年7月起至今，擔任臺北市立交響樂團低音管首席。除樂團演奏外，活躍於各類型室內樂演出 Chen Mau-Liang

Hall of Fame and 500 Leaders of Influence in 1991. He was granted two Tri-pod Awards and three Golden Melody Awards

Chen Mau-Liang was born in Nanking, China. He followed the Kuomintang government moving to Taiwan with his parents

for Traditional Arts and Music. He was also presented with the Sun Yat-Sen Award for Arts, Wu San Lien Award for Litera-

小提琴 │ 薛媛云

at age 11 and later attended the National College of Arts with a major in composition. In 1966, he was presented with the 1st

ture and Art, National Award of Arts, and National Cultural Award of R.O.C. In addition to the honors, Ma was also presented

東吳大學音樂系研究所演奏碩士。畢業於國立屏東女中音樂班、鳳西國中音樂班、仁愛國小音樂班。1992年至2002年間，每年暑

Sun Yat-Sen Award for Art and Literature and Ten Outstanding Persons Award. In 1969, Chen studied composition at the

with the Second Order of the Brilliant Star by President Lee Teng-hui and honorary doctorate by Taipei National University

假隨NTYO(臺灣省青少年管弦樂團)於世界各國巡迴演出。2004年，考取長榮交響樂團演奏團員工作至今。多次參與國家交響樂

Vienna Conservatory and was graduated with a composition scholarship from the Alban Berg Foundation in 1972. From

of the Arts, National Taiwan University, National University of Tainan, and National Taiwan University of Arts. He died in 2015

團、臺北市立交響樂團、臺北縣立交響樂團、臺北世紀交響樂團等樂團、臺北愛樂交響樂團、樂興之時交響樂團、普羅交響樂團及

1974, he began teaching piano and composition at music schools in Vienna, Burgenland, and Niederosterreich. He obtained

at the age of 76.

阿瑪提室內樂團之演出。

Austrian citizenship in 1978, and from 1984, he grew more ambitious and mature with his composition. From 1990 to 1996,

及低音管教學，目前為徐家駒低音管室內樂團及閃亮木管五重奏團之固定成員。

his creativity exploded with 11 pieces (from No. 13 to No. 23). In 1996, after being diagnosed with rectum cancer, he canceled all composition plans and began to edit and number his works. He decidedly discarded the unsatisfactory ones, even those he had edited before, keeping only 22 works. In 1997, Chen passed away in Vienna. He had joined the Composers Assembly

Composers (listed in the order of performance)

Program Notes

Lai Te-He

Yu Chang Fa |

Lai De-He was born in Changhua in 1943. He studied music at the National College of Arts (now known as National Taiwan

In Silence the Pine Nuts Fall, To Janacek (I), Femme aux cheveux jaunes, Water Coming down the Slide

(Text by Tsai Wei-Lin)

University of Arts) and became a member of the Sunflower Music Assembly during his college years. In 1973, Lai quitted the

Chen Mao-Liang | Drei Lieder nach alten chinesischen Gedichten

No. 2 String Quartet and the second piece the second movement from No. 6 String Quartet. The two pieces were completed

This vocal piece is No. 4 on Chen’s composition list (completed in 1961, edited between 1993 and 1995). The work consists of

between a long period of 40 years, during which the composer kept hoping for one thing: In his last 60 years of career, he grew

three sections, and the lyrical part is excerpted from several ancient Chinese poems.

great respect for and have been trying to follow the steps of greatest composers between the 17th century and the end of 19th

post of teacher’s assistant at the college and accepted the position of director to the research department at the National

In Silence the Pine Nuts Fall

Compared with the No. 1, which is also vocal, this piece apparently shows Chen’s awareness of the relationship between language

century, such as Bach, Handel, Mozart, Beethoven, and Brahms. All of them made significant contribution to the history of Western

Taiwan Symphony Orchestra. During his tenure, he founded the “Chinese Modern Yuefu”—a program aimed at introducing

The titled of this piece is adapted from “In silence the pine nuts fall/My friend, you must not be asleep yet ”—part of a poem written by

and music. The singer and the piano are beyond a combination of voice and accompaniment. Unlike the unitary expression of

music. Maybe it’s beyond the composer’s ability. You can laugh at it, but for him, it’s a passion, a never-dying flame.

Taiwanese composers’ works to the public—and several experimental music classes around Taiwan. Inspired by the “music

the Tang poet Wei Ying-Wu missing a friend. Thinking of his friend, the poet feels very lonely in the silent mountain at night. Even the

piano in his earlier A Young Boy’s Window, the techniques in this piece alternate according to the meaning of lyrics. It is worthy

The two movements elaborate on the form commonly seen in my other compositions, but the orchestration, timber, alternation

nationalism” proposed by Shih Wei-Liang and Hsu Tsang-Houei, Lai has devoted himself to the collection of Taiwanese folk

slightest sound like a pine nut falling on the ground can disturb him.

to mention that the composer interweaves and overlaps seven excerpts from Tan poems. The arrangement gives rise to a

between the tonal and the atonal, construction of music syntax, even the arrangement of instrumental performance are all

songs. He also studied Beijing opera with the drama scholar Yu Da-Gang and Chinese gong-drum music with the master

This piece employs different sound manipulations of piano and variation in harmony to describe the soundless mountain, with

discontinuity and abruptness of meaning as well as creates a paradoxical, interlocking effect between music syntax and the

different. This transformation is the prerequisite for creating this work. A combination of the modern techniques and conventional

drummer Hou You-Zong. In 1978, Lai went abroad to study music education at the Orff Institute in Austria and composition

specially-designed sound heaps mixing with sections of flowing sound groups to express the quiet atmosphere in the mountain. The

poems. This creative “layering” and “tiering” of music and meaning can be detected in the piano part, in which the piano repeats

Western music forms endows the music a new life and energy. From the elegant, exquisite expressions arises a music-scape which

guqin begins with polyphonic, interweaving lines of sound and the sharp downward parallel octaves. The speed accelerates with notes

and interlocks with the motivation. The technique allows the voice part to emerge up over the low-profiled accompaniment.

he intended for. The composer has been receiving encouragement and anticipation from many teachers and friends since he joined

at Mozarteum in Salzburg through the support of a full scholarship from the German Academic Exchange Service (DAAD). In 1984, he was granted the 7th Wu San Lien Award for Literature and Art. In 1987, he was granted the 12th National Award of Arts by National Culture and Arts Foundation with The Dream of Red Chamber, a collaboration project with the Cloud

leaping between the high and low ranges. The guqin then plays softly to create a colorful sound picture and lead to the coda, in which the music in the beginning section recapitulates and then gradually, gently fades out….

the Sunflower Music Assembly five decades ago. In the long 50 years, he has always kept composition in his mind, regarding Ma Shui-Long | Sonata for Violin and Piano

“composing more, composing better” as mission for life. From 1980 to 2016, he finally completed six string quartets he had planned

This piece was composed between 1963 and 1964. It is one of the three works I created when I was still a student at the National

for, among them premieres had been given to No. 1, No. 3, and No. 4. This concert will present two movements from No. 2 and No. 6. The composer earnestly hopes that the music will not disappoint his teachers and friends.

Gate Dance Theatre. In 2010, he won the 14th National Award of Arts. 2014, he was granted the Best Composition Award of

To Janáček (I)

Taiwan Academy of the Arts, and also the most significant one among the three. The Sonata for Violin and Piano was an attempt

the 25th Golden Melody Awards for Traditional Arts and Music with An Elegy, a piece written for viola and piano.

The Czech composer Leoš Janáček (1854-1928) is known for piano works which feature the simplicity and profundity of Czech folk

I made upon my graduation, when I decided to abandon the function harmony of the Western traditional major-minor system, in

music. Yu Chang-Fa composed this piece to express the feeling, hence the name “To Janáček.”

order to explore a personal musical language.

This piece employs the simple A-B-A form featuring tunes extracted from guqin and guzheng as well as repetitive sequences of

The piece comprises three movements, like a sonata in the Classical period. The idea of constructing its harmonic vocabulary

singing, which is counterpointed by various poly-rhythmic, polyphonic five-tone fragments. These composition techniques blend into

comes from the traditional fixed tuning of the pipa.

Shen Chin-Tang Shen Chin-Tang was graduated from the National Taiwan Academy of Arts and the graduate school for music studies at Brooklyn College, NYU. He also studied composition at the Vienna Conservatory. His repertoire includes two violin sonatas; Fantasia for two pianos; two brass quartets; Union for brass quintet; Lady Tiger for ballet; Autumn Thoughts and Crevice for string quartet; A Thought, Linking, A Memory, Xuan and Xiang, and The Universe for chamber ensemble; Dung for wood

upwards and downwards. The tonal variation in high and low ranges, the change of sound texture and volume, and the interlacing

First Movement: Introduction—Allegretto with four stages of opening, elucidation, development, and conclusion

clarity and obscurity makes this work a distinctive piano piece.

Second Movement: Intoning Poem (Adagio)

quintet; vocal solos including Drifting, Drinking Alone with the Moon, Illusion, Inviting Liu Shijiu, Alone at the Mount Jingting, Femme aux cheveux jaunes

for chamber orchestra and solo voice; Song for Righteous Spirit and Hard Roads in Shu for choir; Fantasia for orchestra;

This piece was inspired by P. Picasso’s painting Femme aux cheveux jaunes, which the composer encountered at the Metropolitan

* This piece was completed in 1964 and was premiered by the violinist Lu Hsin-Ye and pianist Hsu Zhi-Chen at the International

March for the Millennium for wind ensemble; orchestral pieces including Feng Yang Drums, Folk Song Rondo, and March for

Museum of Art. The composer employs sweet piano sound to depict the woman in a deep sleep. The piece begins with a dizzy

House of Taipei in June.

a Promising Future; Love for the Tea Town for Chinese orchestra; orchestral overtures including Good Signs and Leap;

atmosphere created by blending dainty major triads, minor triads, and augmented triads, which proceed with subtle changes. Then

symphonic poems of Transcendence, Ode to Hakka, and Love for Hakka; and one-act opera Fish Sword.

comes some five-tone fragments, in which parallel sixth chords combine fast-changing polyphonic groups and then move to a multi-linear polyphonies to indicate the disturbed tranquility. The composer employs variation techniques such as changing ranges

Lai De-He | Dream for piano trio (Text by Lai De-He)

Wen Loong-Hsing

and rhythms and the mixture of upward arpeggio and five-tone polyphonies for a more profound deepness. In the coda section, the

This piece was completed in 1998 during my stay in New York by commission from Mr. Chao Zhi-Hung. However, the piece hasn’t

Wen Loong-Hsing was born in Taipei in 1944. He studied string music at the National College of Arts with a major in violin

piano plays again with serene major triads, leading the audience into a peaceful, carefree dream.

been performed in public since its completion. The premiere tonight is especially meaningful for two reasons: Firstly, it is a

Symphony Orchestra and became a member of the Sunflower Music Assembly in 1974. In 1975, his large chamber piece Composition 1974 and Phenomena II for flute, cello, piano, and percussion were shortlisted in the International Gaudeamus Composer's Competition, with Phenomena II winning the second prize, which making Wen the first Asian composer awarded in the competition. In 1974, Wen co-founded the Asian Composers League with Kang Ou, Hsu Tsang-Houei, and Hsu Po-Yun. Wen Loong-Hsing has a broad, exquisite repertoire which is made primarily of chamber music. His early composition was focused on Western music and he later turned to compose pieces for traditional Chinese instruments. Wen obtained the 21st Chinese Literary Award in 1980 and the 3rd Wu San Lien Award for Literature and Art in 1982. In 1989, he established Taiwan’s first electronic music center at Fu Jen Catholic University. In 1992, Wen immigrated to the United States, and in 1997, he taught composition as resident composer at New York University. After retirement, he founded the Clap & Tap Chamber Orchestra, which has been holding concerts and summer camps. He has also been engaging in other exchange activities.

沈錦堂

賴德和(劉振祥攝影國藝會提供)

Third Movement: Rondo (Allegro)

Midnight, Dreaming the Past, Solitude; Hakka art songs including Dew and Autumn Thoughts; Prelude to the Water Tune

and minor in composition, with instructions from Chen Mau-Liang and Hsu Tsang-Houei. He joined the Taiwan National

陳懋良(臺灣音樂群像提供)

a beautiful Chinese-style sound picture. The improvised free beats go between the polyphonic five-tone scales which play fast

consolation to Chao, who had died several years ago; secondly, it is a continuation of the Sunflower Music Assembly, which was Water Coming down the Slide

founded more than five decades ago (in 1968). This piano trio employs a tonal structure with various forms of repetition on

This piece was inspired by the childhood memory of the composer’s youngest son, who had observed that the water flows as if riding

simple materials. The moderate, tamed arrangement gives the audience a larger space for their unbridled imagination.

on the slide. However, this childlike fun can only be detected at the beginning section. This piece is a toccata in its own right. A number of complex and fast-moving five-tone scales, diversified sound combinations and subtle changes in rhythm together create a

Shen Chin-Tang | Dung for wood quintet

picture of water shooting from the crevices between bricks of the check dam.

Death of loved ones and unexpected disasters always bring heart-piercing grief. The world is impermanent, so as the music. It

The flowing of water is first depicted by smooth tunes and then followed by fast sound groups leaping with variation of octaves

flows freely and randomly without any disguise or restriction. Without the burden of tradition, not an expression of modern

between different ranges to depict the dance of splashes. The downward five-tone scale performed by the left hand strengthens the

concept, this piece is just a record of what I hear in my mind. I just write down what comes to my pen. It’s as simple as that.

feeling of “sliding.” Then comes fragments connected by vibratos, with upward short sound groups one after another sliding on both the high and low ranges. This rapid transformation of timber and sound combination perfectly conveys the dramatic water flow. The

Wen Loong-Hsing | Amiez-Vous Les Grant Compositeur (Text by Wen Long-Xin)

intense five-note scale plays downward and returns to serenity in the coda section. The theme at the beginning recapitulates with

1. Passacaglia- Amiez-Vous Brahms (Symphony no.4, op.98, 4th movement )

smaller volume and terse variations, just like water delicately flowing into distance. In this piece, the composer simultaneously

2. Fuge - Amiez-Vous Beethoven (GroBe Fuge op.133 )

maintains the characteristics of Chinese music and gives a full expression to piano techniques.

This string quartet consists of two independent movements taken from two quartets. The first piece is the fourth movement from

馬水龍

溫隆信

游昌發

2017 臺灣國際音樂節 Taiwan International Music Festival

A Journey of Sound : Taiwan to Hungary 首度在TIMF亮相的音樂節節慶室內樂團將為臺灣與匈牙利的現代音樂合作，開啟新的聲景。

聲音行旅從臺灣到匈牙利｜｜音樂節節慶室內樂團

4.23 Sun. 19:30

序

演出曲目

音樂是人類最早用以溝通和傳達情感的方式，臺灣有著多族群、多地貌的天然條件，因此也擁有極為豐富的音樂資源。臺灣音樂

1劉韋志 /《譫妄》為八位演奏家（大師門徒與夥伴計畫成果)

館多年來努力保存屬於臺灣的音樂文化資產，近年也積極向全世界推廣來自臺灣的聲音，「TIMF臺灣國際音樂節」即為促進臺灣音

長

樂家與國際樂壇接軌而策辦：屏東縣泰武國小的「泰武古謠傳唱」去年由臺灣音樂館推薦，受邀前往韓國全州清唱藝術節演出，純淨的歌聲征服了來自全世界的音樂家們，也促成了「TIMF臺灣國際音樂節」的開場音樂會，將由清唱藝術節執行總監、韓國知名擊樂

笛｜周少葳

雙簧管｜李珮琪

單簧管｜高承胤

鋼

琴｜何婉甄

中提琴｜林倢伃

打

小提琴｜林佳霖

大提琴｜陳世霖

擊｜余若玫

家帶領融合大樂團，來到排灣族的故鄉─屏東，與「泰武古謠傳唱」再度攜手，拉開音樂節序幕。此外，代表清唱藝術節前來臺灣交流的

2.Péter Eötvös / PSY給長笛、大提琴和馬林巴

還有以韓國傳統樂器篳篥為主奏的爵士樂團Asian

長

Scholars，將展現韓國傳統樂器的另一面；來自法國的國際夥伴則分別為帶領全球音樂

與科技技術先鋒的IRCAM與室內樂團L'Instant Donné、雜耍大師 Jéróme Thomas攜手打造的精彩音樂科技作品；以及積極媒合電聲與傳統絲竹樂器的TPMC巴黎現代音樂協會，將由二胡演奏家王瀅絜同時呈現臺灣青年作曲家的作品。由「大師門徒與夥伴計畫」的青年作曲家

笛｜周少葳

大提琴｜張智惠

打

擊｜洪于雯統

籌

吳榮順

Director

WU Rung-Shun

監

製

鍾寶善王蘭生賴銘仁

Supervisors

ZHONG Bao-ShanB WANG Lan-Sheng LAI Ming-Jen

製

作

翁誌聰

Producer

WENG Chih-Tsung

<中場休息>

策

畫

林芳宜

Curator

LIN Fang-Yi

5.Balázs Horváth：Dualith 給長笛、兩位打擊和鋼琴

執行製作

黃珮婕李宥臻鄭詠玹蔡和儒

Executive Producers

HUANG Pei-Jie LEE Yu-Chen

3.林佳瑩 /《凝視》給鋼琴獨奏（2014芬蘭西貝流士作曲比賽第三名作品）

及音樂家們所組成的「TIMF節慶樂團」則將由旅德指揮家廖曉玲帶領研讀詮釋匈牙利與臺灣兩地青年作曲家作品。今年適逢「向日葵

鋼

樂會」五十周年，感念辛勤耕耘創作一甲子的前輩音樂家們，特別策劃一場向日葵樂會專場，向向日葵致敬！同樣令人期待的還有結

4.Máté Balogh / Jam Quartet 給長笛、打擊、大提琴和鋼琴

合世界音樂與京腔的黃宇琳與海馬樂團、結合民間祭典的官將首與吹管樂器的《點將》，展現新生代創作者融合傳統與當代的才華。藉由國際展會的規劃與辦理，國立傳統藝術中心積極落實國際交流事務，守護傳統、迎向未來!

長

琴｜何婉甄

笛｜鄭宇泰

大提琴｜張智惠

打擊I｜余若玫

打

擊｜洪于雯

鋼

琴｜黃英樺

ZHENG Yong-Xuan TSAI Ho-Ju

打擊II｜洪于雯

鋼

琴｜黃英樺

行政協力

6.高愷怡 /《白露》單簧管獨奏（大師門徒與夥伴計畫成果)

黃馨瑩蕭啟村許淑慧張翔雲 Administrative Coordinators

洪逸倫歐美蓉柯瓊芬黃予祈

HSU Shu-Hui CHANG Shiang-Yun

單簧管｜蔡佩倫製作協力

7.羅仕偉 / [de]construction - SoundScripts I-II 為十二位演奏家

HUANG Yi-Lun OU,Mei-Rong

尼可樂表演藝術有限公司

KO Chiung-Fen HUANG Yu-Chi 有夠亮有限公司亞洲作曲家聯盟(臺灣)

小提琴｜林佳霖

中提琴｜林倢伃

大提琴｜陳世霖

二胡｜蔡炫沅

長笛｜周少葳

單簧管｜高承胤

笙

｜林亦輝

琵琶｜高意涵

古箏｜郭岷勤

打擊I｜洪于雯

打擊II｜余若玫

鋼琴｜顏琬蕙

Production Associates 舞台技術

鴻琦國際藝術有限公司

宣傳協力

艾斯博媒體有限公司

｜任重

中

阮｜潘宜彤

古

箏｜郭岷勤

視覺設計

生形設計

文

案

黃麗琪

翻

譯

鄭鳳珠

指導單位 Directed

主辦單位 Hosted

Nicole’s Creative Artists Agency Sobright Lighting Asian Composers League (Taiwan)

8.劉韋志 /《運動狀態》為笛、中阮和古箏笛

HUANG Hsin-Ying HSIAO Chi-Tsun

Stage Installation

HungChi Art Group

Marketing Coordinator

ISPOT Media

Visual Designer

Innate Studio

Copywriter

HUANG Li-Chi

Translator

CHENG Feng-Chu

承辦單位 Organized

合辦單位 Co-hosted

國際夥伴 International Partners

特別感謝 Special thanks

台北市客家音樂戲劇中心 Taipei Hakka Music and Theater Center

指定住宿 Official accommodation provided

樂器協力 Instrument

新北市深坑國小

國立臺北教育大學

樂曲解說演出者簡介劉韋志 │ 譫妄「譫妄（英語：delirium）是一種急性發作的症候群，特徵主要為意識清醒程度降低、注意力變差、失去定向感、情緒激動或呆滯、睡眠─清醒週期混亂、有時清醒有時又變得昏睡，常常伴隨著妄想（例如相信有人要害他）、幻覺（例如看到不存在的東西，

林佳瑩 │ 凝視

降，天氣逐漸轉涼，清晨的露水隨之日益加厚，凝結成一層白白的水滴，所以便稱之為「白露」。人們可明顯地感覺到炎熱的夏天已

本作品描繪了一個旁觀者的凝視狀態。凝視，一種鎮靜且專注的眼神，有著兩個不同的觀點。當凝視者被觀察時，它看似是靜態的，

過，而涼爽的秋天已經到來。這時，也正是鴻雁與燕子等候鳥南飛避寒，百鳥開始貯存乾果糧食以備過冬的時節。此曲藉由單簧管不

可以被凝視者內心多變的情緒所填滿。外觀上的靜態，則反映在使用的基本素材─開放且對稱的和弦─具和諧與永恆的音色。從內在

同的吹奏技巧，將露水、秋風等狀聲化；並透過不同的音響效果，模擬候鳥南遷，讓人從中感受由夏入秋帶來的些許涼意！

來看，凝視則會讓觀察者想像出許多不可捉摸的情緒：冷淡、騷動或是存乎其間的任何情緒。這些都在音樂的過程中逐一揭示，最後

指揮 │ 廖曉玲原於國立臺北藝術大學主修理論作曲，後赴奧地利入國立維也納音樂暨表演藝術大學鑽研指揮，並以最高榮譽獎畢業。曾任德國克

羅仕偉 │ ﹝解﹞構研究—一首聲音書法

姆尼茨歌劇院擔任歌劇伴奏兼指揮、中德維滕貝格州立歌劇院及北德Schleswig-Holstein 州立歌劇院首席駐院指揮。2015年起應

除了扮演溝通與文件的角色，東亞書法本身也是一種精緻的藝術形式；每一種風格都各自代表獨特的美學，且其形式也呈現多樣化。

邀擔任Ensemble Laboratorium之藝術總監及常任指揮。曾與德國具權威性的Ensemble Modern, Kammerensemble Neue

每種風格皆有其不同程度的特性、技巧，與心靈的解放。而書法在書寫時，被掩藏在外觀下的動作感、節奏性、呼吸、暫停與思考，

Musik Berlin, Ensemble Aventure 及Ensemble Avantgarde合作，並受邀於MACHTMUSIK, Festival Klangspuren及

2016年夏天我在接受彼得•艾特沃許指導期間，完成了這首寫給長笛、3個三角鐵、鋼琴與大提琴的作品完，並將之獻給THReN-

與音樂演奏十分相像。本作品是我試圖嘗試用聲音來寫書法的音樂創作，目前《[解]構研究─一首聲音書法》聚焦於中國書法。本系

ManiFeste等現代音樂節中指揮演出。2007年，獲Pierre Boulez與Péter Eötvös青睞，於琉森音樂節指揮Karlheinz Stock-

seMBLe樂團。本曲的形式與強烈風格酷似即興爵士（jam session），但也僅限於相似，而非完全模仿。每位演奏者都身兼主奏和伴

列共有三曲：

hausen的“Gruppen”。2009年，應Eötvös之邀，協助排練Edgar Varése全套作品，並在荷蘭音樂節中同台演出。同年，首

彼得•艾特沃許 │ 內心

奏的角色，即使是三角鐵也有自己的獨奏段落。曲中的後現代思考、緩慢的樂段發展、特殊器樂技巧和極端的時間處理讓曲子變得更

往事何其美好！在我17歲那一年，蘇聯太空人加加林（Yuri Alexseyevich Gagarin）飛上太空了，世界從此不再有邊界。1961

有實驗性，而非只是一首回顧之作。

過世的親友）等；病情起伏不定，時好時壞。」（摘自「維基百科」）八年前，當我讀到一篇關於法國詩人韓波（Arthur Rimbaud）的文章時，我第一次注意到「譫妄」這個詞。他提到在寫作《地獄的一季》（Une Saison En Enfer）時，罹患了「譫妄」。因為這個緣由，促使我想探索這種心理狀態，並在2016年初，受啟發而撰寫了這個作品。

年，「大爆炸理論」的出現讓我興奮不已，因而寫下鋼琴曲《宇宙》（Kosmos），藉此一窺浩瀚無垠的四方。32年後，我重新回顧這段時光、觀察當時的心情、回到當時的心理狀態，並將未完成的管弦樂作品《心內宇宙》（Psychokosmos）縮編成三重

在一系列強而有力的演奏中結束全曲。馬修•巴洛格 │ 即興四重奏 (文

馬修•巴洛格)

野草

II.

雁尾

III.

次在萊比錫布商大廈登台，至今每一季皆受邀於此演出。迄今，曾與中德廣播交響樂團、維也納國家廣播電臺交響樂團、荷蘭鹿特

快雪時晴

丹愛樂交響樂團等眾多知名樂團合作。

每首曲子都體現了中國書法別具風格的特色與時間性的特徵。第一首〈野草〉，旨在以對比的樂句和不可預知的和聲（解）壓縮，來巴拉茲•霍瓦特 │ 雙岩 (文

巴拉茲•霍瓦特)

展現草書高度風格化的外觀。重要的是，嘗試去探索可塑性音樂素材在模糊的邊界

開端，但仍維持音樂的一貫性。激發第二首曲子

長笛 │ 周少葳

本作品編制為長笛、鋼琴及二種打擊樂器。一般而言，標題通常會在作曲完成後才決定，因為標題可以傳達作曲過程中的各種感受與想

〈雁尾〉創作的隸書，與草書發乎自然與變化無常的特性完全相反。隸書的特徵為「「蠶頭雁尾」。藉由每項打擊樂器持續性的敲奏，

旅居法國，現任巴黎 20°dans le noir 現代室內樂團長笛演奏家，並任教於法國 Gennevilliers省立音樂院。曾先後取得巴黎師範

法。對我來說，音樂標題命名的方式有二種，至少在經驗中是如此。一個是描述作品的作曲方式和功能；另一種方式則比較接近本能：

營造出穩定和勻稱的音樂連結與結構，讓〈雁尾〉彷彿呈現出一種永恆之感。快雪時晴〉曲名源自書聖王羲之的同名手帖。在王羲之這

音樂院長笛演奏和高級教育文憑、巴黎市立音樂院長笛文憑、法國克拉瑪音樂院短笛文憑、巴黎第八大學音樂學學士、法國國家高

藉由標題傳達聲音感覺和素材，可能透過聽覺、視覺或觸覺去描述。以本曲而言，標題《雙岩》的命名屬於第二種，它表達的比較是作

封以行書書寫，一般人容易識讀的作品中，我們能領會他的意念，並感受其書寫的流暢與節奏感。從他這封手帖的上下文，可感知到時

等音樂文憑及法國國家長笛教育文憑。積極與作曲家合作發表新品、參加歐洲各地音樂節演出，也曾受邀於西班牙蘇菲亞當代美術

品的整體聲音及感受，而非作曲方法或結構。

間的變化，而這樣的時間感也嵌入本樂章中，樂曲由兩種不同類型的音樂─暴力和混亂、嬉戲和流暢交替呈現，並逐漸整合。

館和巴黎愛樂廳與歐洲音樂家合作表演。2014年獲文化部國際交流補助，赴西班牙巴賽隆納「Mixtur」現代音樂節獨奏演出；同

旅行啟發而創作的鋼琴曲《宇宙》；時年17歲的作曲者，以聲音的形式表現對「無垠」的想像。在《心內宇宙》這首作品中，樂團

英文的「Monolith」指的是巨大的石頭或岩石。」（見維基百科），所以我用「Dualith」這個字來表達事物的二元特性。這部作品中有

劉韋志 │ 運動狀態

以簡短動機、原始曲調和廣納各種音色的結合音開展音聲空間。在這個空間裡，聽者被四周湧流的聲音完全震懾住，讓音樂上的所

許多常見的龐大音聲，這些音聲隨著曲子行進逐漸被其它音型覆蓋，創造出一種壯大的二元現象。不過這兩種素材最後會歸向同一種面

有動作似乎變得永恆。相較於管弦樂版，他在1996年寫給長笛、短笛、大提琴與欽巴隆揚琴的三重奏版《內心》（題獻給Márta

相。（這種現象類似任何事物經過一定的分析之後，會發現它們彼此相關。）

奏，曲名簡稱《內心》（PSY）。─文

彼得•艾特沃許

彼得•艾特沃許曾形容他在1993年寫給欽巴隆揚琴（cimbalom）與管弦樂團的作品《心內宇宙》是「進入未知的無限內在的一種自省」。標題點明作品是一首欽巴隆揚琴協奏曲，是作曲者對於33年職業生涯的雙重回顧。一方面，這部作品微妙地暗示艾特沃許有意以此作品總結數十年來的思想發展、並簡單描繪創作成熟的過程。另一方面，本作品參考了他在1961年受加加林的太空

Fábián）中，以更嚴謹的方式展現了《心內宇宙》中最重要的音樂思想。這不是改編（三重奏版短許多，音樂結構因此變得更快、更密集）而是演繹，拿掉管弦樂版的雄渾聲響，重點改成器樂與旋律的精巧安排，以更簡練巧妙的方式傳達原作的精神。─文敦德•斯加（Tünde Szitha）*本場音樂會欽巴隆揚琴改用馬林巴演奏

高愷怡 │ 白露「白露」為中國二十四節氣中的第十五個節氣，約在每年國曆9月7日至9日之間開始，並於9月23日左右結束。此時，氣溫開始下

年亦獲國藝會和西班牙菲格雷斯文化藝術贊助、參與「Escarxofffes!!!達利的聲響世界」跨域創作和公演，並與臺灣作曲家和音樂

曲名運動狀態，顧名思義，即是以聲音展現運動作用時的狀態，我們可以看作是非關風花雪月的物理運動，也可當作是暗湧迭起的心理運動，然而無論是哪一種，在這部作品裡呈現的，都是劇烈地起伏。而客家老山歌的音高結構，和下滑音的特色，皆提供了這首曲

家共同創辦「長笛有聲書」系列音樂會。長笛 │ 鄭宇泰

子微觀上的基底。好似我們目前的生活，在全球化、現代化的影響下，傳統文化或許不再清楚易見，卻仍隱藏在思想的細胞裡，仔細

旅法十餘年，曾任法國史特拉斯堡音樂院長笛及實驗劇場助教，專精於當代音樂研究及基本功訓練。曾獲日本大阪國際音樂大賽第

品嚐，仍可發現蹤跡。

二名、法國Picardie歐洲長笛大賽優等獎、法國 Roger Bourdin長笛大賽銀獎，並獲日本 Fuji TV 和SPEDIDAM法國演奏家協會研究生獎學金。先後畢業於法國巴黎市立音樂院、法國巴黎師範音樂院，及法國史特拉斯堡音樂院，取得長笛及室內樂碩士學位。現任高雄鳳新高中音樂班及新興國中音樂班長笛及室內樂教師、Mr. Voice 聲音人文創有限公司長笛及阿卡貝拉教師、新竹實驗中

作曲家簡介 (依演出順序)

學阿卡貝拉社教師，及The Corner 人聲樂團團員。2014年返臺後，積極與各類型音樂家合作，表演形態橫跨古典與現代音樂乃至跨界表演。單簧管 │ 蔡佩倫（大師門徒夥伴計劃成員）

劉韋志（大師門徒夥伴計劃成員）

Hämeenlinna市政廳、佛羅倫斯威爾第歌劇院等；演奏團體包含國立臺灣交響樂團、義大利Maurice弦樂四重奏、英國Psappha樂團、英國

別獎。他曾與許多著名的指揮和國際樂團合作，並經常以指揮和演出者的身份，參與當代音樂作品演出。2009年，與六位青年音樂家共

1985年生於花蓮。國立臺北藝術大學音樂系作曲碩士和東吳大學音樂系作曲學士。作曲先後師事陳州麗、嚴福榮、羅白華(Christo-

Vaganza樂團等。重要作品包含弦樂四重奏由義大利權威出版商Casa Ricordi出版、管弦樂作品《模稜之界》由國立臺灣交響樂團出

同創立以演奏青年作曲家作品為主的THReNSeMBLe。2000至2002年，獲柯大宜獎學金。2004年及2007年獲Benedek Istvánffy

1986年出生於日本福岡市。2012年獲第18屆「日本沖繩新人演奏會」第二名優秀新人獎。2011至2013年間，受邀擔任加拿大班芙

pher Roberts)、張玉樹與洪崇焜等老師。曾獲2015年美國第三十一屆艾利亞三國際作曲大賽亞軍、新加坡國際華樂作曲大賽亞軍、

版。現居羅馬，近期榮譽包含：獲韓國歌德學院委託創作，將於2017南韓統營國際音樂節「亞洲作曲家單元」中發表；最新作品《埃

獎。2012年起，Horváth成為彼得•艾特沃許當代音樂基金會董事會成員。

藝術中心(Banff Centre for Arts and Creativity)駐節藝術家；2014年受邀至德國科隆史托克豪森基金會(Stockhausen Foun-

新加坡第二屆「作彈會」－國際作曲大賽亞軍，和2012年臺灣采風樂坊絲竹作曲大賽冠軍、國立臺灣交響樂團「新樂•星躍」青

特納》(Etna)，於2016年12月2日之義大利納瓦羅國際作曲比賽決賽音樂會，首演於義大利杜林(Turin)，並榮獲第二名。

dation)研究及錄製史托克豪森的作品。近年來，應邀於臺灣、泰國、韓國、馬來西亞、上海、北京及美國等重要音樂活動演出。高愷怡（大師門徒夥伴計劃成員）

曾師事宋威德及林佩筠教授。2008年畢業於國立臺北藝術大學音樂系，師事陳威稜教授。2011年畢業於美國西北大學音樂系研究

屆台新藝術獎提名。曾獲臺灣傳藝金曲獎、兩廳院新點子樂展、國家交響樂團、臺灣國樂團、朱宗慶打擊樂團等邀請創作及演出；

馬修•巴洛格 (Máté Balogh)

1984年生於臺中市。高中畢業後赴奧地利求學，先後取得維也納舒伯特音樂學院作曲家、鋼琴演奏家雙文憑，並取得國立維也納音樂

所，師事Steven Cohen教授。2015年取得密蘇里大學堪薩斯分校博士學位，師從Jane Carl教授。留美期間，於密蘇里大學堪薩

並曾獲德國柏林新音樂合奏團 (KNM Berlin)、美國艾利亞三、奧地利國際文化平台、新加坡華樂團、新加坡鼎藝團、中國大陸「撒

布達佩斯李斯特音樂院的博士班學生及講師，布達佩斯Hermina藝廊藝術總監，也在彼得•艾特沃許當代音樂基金會接受指導。

暨表演藝術大學作曲藝術碩士。2007年，作品曾受邀為列支敦斯登瓦都茲國際大師班演出之指定曲。2014年獲德國第十四屆「卡

麗不跳舞」音樂節、香港兒童合唱團、香港一舖清唱和美國臺灣線上圖書館等國際團體邀請創作及演出作品。

爾・馮・奧西茨－奧登堡國際作曲比賽」第二名；同年參與“re:construction 2014 Japan | Austria”日奧音樂交流演出。2015年參

斯分校擔任單簧管助理教師及室內樂講師，並於密蘇里大學社區藝術學院教授單簧管。目前旅居日本，並任教於國際基督學院日本

1990年出生於匈牙利的焦爾(Győr)。畢業於匈牙利佩奇音樂院(Conservatory of Pécs)，主修音樂理論與作曲，師事István Győrffy。之後於李斯特音樂院，隨Zoltán Jeney研習作曲。目前正在攻讀博士學位的他，也在李斯特音樂院擔任作曲課的助理教授。同時他也是布達

與由奧地利廣播集團舉辦之“15 th Auftakt”音樂會演出。2016年獲「馬爾他戈左聽見奧菲斯作曲比賽」第二名；同年入選為國立維

彼得•艾特沃許（Péter Eötvös）

佩斯的CentriFUGA當代工作坊的共同創辦人。他的作品已在許多國際音樂節中演出，如巴黎的Manifeste音樂節, 布魯塞爾的歐洲作曲

也納音樂暨表演藝術大學“Gender-Projekt 2016”委託創作計畫。作品橫跨古典與現代領域，範圍涵蓋不同樂器的獨奏曲、不同編

雙簧管 │ 李珮琪

在彼得•艾特沃許輝煌的音樂生涯中，他將作曲家、指揮與教育家這三個角色合而為一發揮地淋漓盡致。艾特沃許1944年出生於

家與作詞者聯盟(ECSA)、伊斯坦堡的Opus Amadeus室內樂音樂節、伯恩的Kurtág&Ungarn音樂節、捷克的Ostrava Days,波蘭的

制的室內樂曲、聲樂曲及大編制管絃樂曲等，其作品曾於奧地利、德國、希臘、列支敦斯登、英國、馬爾他、日本、臺灣等地演出。

國內最活躍的雙簧管演奏家之一。目前為新逸交響樂團、台北大眾交響樂團、普羅藝術家樂團雙簧管首席。畢業於德國國立埃森福克

匈牙利外西凡尼亞。長久以來，他一直都被認為是音樂界中最具代表性和最有影響力的人物之一，他不僅是國際知名指揮家，為世

Axes Kraków匈牙利塞格德的St. Gellert音樂節、巴爾托克音樂節、Korunk Zenéje音樂節、布達佩斯Tavaszi音樂節及Minifesztivál

2011年起任教於維也納舒伯特音樂學院。2017年將參與「環太平洋徵曲」於溫哥華的音樂會演出。

旺音樂院（Folkwang Hochschule Essen）。師事高德興、劉廷宏及Prof. Pierre W. Feit等教授。曾多次應Prof. Pierre W. Feit

界各地著名音樂團體而創作的歌劇、管弦樂和協奏曲也都十分成功。艾特沃許非常重視他個人的知識和經驗的傳承，曾任教於科隆

音樂節等。作品並曾在許多歐洲國家及美國演出。2015年獲GENERACE作曲比賽榮譽獎；同年10月在UMZF作曲比賽，以室內樂作

與卡爾斯魯爾的音樂院，並在歐洲各地定期舉辦大師班和研討會。1991年，他在布達佩斯創辦「國際艾特沃許協會」，並為青年作

品獲絕對首獎、管弦樂作品獲二獎。2016年獲最佳年度青年古典作曲家Artisjus獎。

羅仕偉（大師門徒夥伴計劃成員）

巴拉茲•霍瓦特 (Balázs Horváth)

究所，師事Huck Hodge與Juan Pampin，並於該校數位藝術與實驗媒體中心從事教學與研究工作。近年，致力於科際整合領域藝術

年音樂創作競賽佳作，及2011年臺灣音樂中心國際作曲獎、2009年臺灣采風－五行作曲獎。作品曾獲得臺灣第十一、十二與十三

曲家及指揮在2004年成立「艾特沃許當代音樂基金會」。此外，艾特沃許也一再受邀以客席指揮的身份，與許多重要的樂團及歌劇院合作演出。

1985年生於臺灣，國立臺灣師範大學音樂系就讀期間，師事趙菁文教授以及克里斯・褔克(Kris Falk)。畢業後赴美國華盛頓大學音樂研

1976年出生於布達佩斯。曾師事Zoltán Jeney, Attila Bozay與János Vajda。2005年，於李斯特音樂院取得博士學位，並留校任教。曾

的研創與合作，結合器樂、人聲、電子音樂、數位媒介與機電藝術裝置。目前於美國紐約哥倫比亞大學攻讀作曲博士學位，隨作曲家暨

林佳瑩（大師門徒夥伴計劃成員）

獲1997年及1999年李斯特音樂院作曲比賽二獎，1999年獲匈牙利Kecskemét舉行的作曲比賽三獎，2002年與2006年，獲Vántus

長號即興家George Lewis學習。曾多次與知名音樂家與樂團合作，並受邀為其寫作，包括荷蘭新室內樂團中提琴家Frank Brakkee、華

1990年生於臺灣。畢業於國立臺北藝術大學，主修理論作曲，師事楊聰賢教授。2012年負笈英國曼徹斯特大學攻讀作曲，並以最

István Társaság作曲比賽二獎。他的作品曾入圍波士頓第十七屆ALEA III國際作曲比賽決賽。2000年，獲匈牙利Törökszentmiklós的

盛頓大學中提琴教授米Melia Watras、國家交響樂團豎琴首席解瑄、十方樂集、臺北室內合唱團、阿姆斯特丹Atlas樂團、荷蘭新室內樂

優異等第獲頒碩士學位。2015年獲義大利法魯利國際作曲比賽首獎，及芬蘭西貝流士國際作曲大賽第三名。作品曾於臺灣、英

Megváltás作曲比賽主要獎項，翌年在西班牙Orquestas de Jóvenes Murcia國際音樂節的作曲比賽獲優異獎。2007年，在柏林的紀念

團等。曾贏得2014荷蘭豎琴音樂節暨作曲大賽首獎與2015美國電聲音樂協會(SEAMUS)委託作曲比賽首獎；同時也在2009-2010兩廳院

國、芬蘭與義大利等地發表，包含芬蘭曼塔音樂節、義大利佛羅倫斯Play It！音樂節、英國Vaganza新音樂節；演出地點包含芬蘭

李蓋悌作曲比賽獲首獎。2008年，在布達佩斯美術館的合唱歌曲比賽獲二獎。2016年，於第二屆Péter Vallai 當代藝術節獲RS9劇院特

「樂典」－國人音樂創作甄選與教育部文藝創作獎中獲獎，並兩度獲教育部「99年、103年留學獎學金」。

分校及東京中華學校。

邀請至奧地利音樂營擔任助理講師。1996年考入台北市立交響樂團至今，1997年加入台北木管五重奏團。曾應自由人室內樂團、臺灣室內樂團、世紀交響樂團、臺灣縣立交響樂團、樂興之時室內樂團及國立臺灣藝術大學交響樂團之邀合作演出協奏曲。現任教於臺灣師範大學、交通大學音樂研究所、東吳大學等校。

指揮 / 廖曉玲

Program

演出者簡介

Conductor / Lin Liao

1.Liu Wei-Chih | Délire / for 8 musicians

大提琴│張智惠

二胡 │ 蔡炫沅

奧地利國立薩爾茨堡莫札特音樂藝術大學-演奏家文憑和藝術家文憑及美國印第安納國立大學演奏家文憑。1995-2005年間，在奧

生於臺東，成長於臺南。曾任南瀛民族樂團、臺南市青年國樂團首席，現為臺灣愛樂民族管弦樂團胡琴演奏員。9歲始習胡琴，先後

3.Lin Chia-Ying | The Gaze / for piano solo

地利薩爾茨堡莫札特大學隨D. Gahl、西班牙加泰隆尼亞音樂院隨Lluis Claret、美國印第安納大學隨泰斗史塔克習琴，分別完成碩

師承楊正安、歐光勳、高揚、王瀅絜老師；曾受蔡鎮宇、葉文萱、王銘裕、彭苙榳、蕭白鏞老師指導。就讀經歷為復興國中、臺南藝

4.Máté Balogh | Jam Quartet / for flute, percussion, violoncello and piano

士學位和演奏文憑。2000-2006年擔任薩爾茨堡Aspekte新音樂樂團大提琴手。2001年加入西班牙加泰隆尼亞愛樂樂團。2003

術大學七年一貫制中國音樂學系、臺灣藝術大學中國音樂學系。以獨奏家身分與臺南藝術大學民族管弦樂團、臺灣藝術大學民族管弦

年考入德國Schleswig-Holstein音樂節樂團。2010年上海世博會，擔任奧地利館的音樂主題，演出三重奏。2006-2010年，加入

樂團、臺南市青年國樂團、新竹青少年國樂團、長榮交響樂團、北達科他大學音樂系室內樂團合作演出。

2.Péter Eötvös | PSY / for flute, violoncello and marimba

Gunnar Berg Ensemble樂團演出當代音樂，並任教於Sinne Nommine Musikschule。2009-2010年成為維也納IIX Jahrhun-

5.Balázs Horváth | Dualith / for flute, 2 percussions and piano 6.Kao Kai-Yi | Bailu / for clarinet solo

dert Ensemble樂團成員。2011年返台定居，加入小提琴家胡乃元帶領的Taiwan Connection樂團。定期與Gunnar Berg Ensem-

琵琶 │ 高意涵

7.Liu Wei-Chih | State of Motion / for di, zhongruan and guzheng

ble巡迴於歐洲與亞洲。2015年加入臺灣絃樂團。2017年6月受邀於Salzburg Bloomsday，演出以文學為題材的新作(世界首演)。

現為臺灣藝術大學中國音樂學系碩士生，主修琵琶，師事賴秀綢老師，曾師事湯良興、杜潔明、朱漢霖和毛國偉老師。目前為行天宮資

8.Lo Shih-Wei | [de]construction - SoundScripts I-II / for 12 performers

優學生長期培育「藝術才能組」之學生，曾獲全國學生音樂比賽琵琶獨奏高中A組及大專A組第一名。現為桃園市國樂團琵琶演奏員。鋼琴 │ 何婉甄（大師門徒夥伴計劃成員）以第一獎成績畢業於法國國立巴黎高等音樂院（CNSMDP）。自幼由母親啟蒙學習鋼琴，曾師事梅明慧、李婧慧、陳郁秀、黃如

笙 │ 林亦輝

杏及陳泰成等教授。旅法期間，師事以精湛琴藝詮釋法國與俄羅斯作品著稱的法國鋼琴大師Brigitte ENGERER及Emmanuel

現就讀於國立臺灣師範大學音樂學系碩士班指揮組，主修管弦樂指揮，師事廖嘉弘教授，啟蒙於顧寶文教授。畢業於國立臺南藝術大

MERCIER教授，專注於演奏技巧及精準的詮釋能力；並隨Pierre-Laurent Aimard, Jean MOUILLER及Alain MEUNIER等

學中國音樂學系，主修笙，師事任燕平老師。曾多次獲選臺灣國樂團青年指揮家培訓計畫及指揮研習營正式學員，接受音樂總監閻惠

教授修習室內樂。1995年獲臺北市市長陳水扁先生邀請同行，赴波蘭首都華沙訪問，於蕭邦故居演出蕭邦鋼琴獨奏及室內樂作

昌大師指導。2015年錄取新加坡華樂團指揮工作坊正式學員，接受音樂總監葉聰大師指導，同年更獲選中華民國外交部104年國際青

品。1998年以所有裁判一致通過的榮譽，獲得巴黎師範音樂院(Ecole Normale de Musique Paris)室內樂高等演奏文憑。返國

年大使交流計畫赴北美地區參訪交流，亦曾獲全國音樂比賽高中、大專笙A組特優第一名，現為行天宮文教發展促進基金會資優學生

Liu Wei-Chih | Délire

balanced and timeless quality. Internally, the gaze is filled with enigmatic emotions imaginable for an observer: nonchalance,

後，除了活躍於獨奏與其他各種形式的表演外，亦積極參與國內外現代音樂作品的發表演出，為少數跨足古典與現代音樂的優異演

長期培育計畫成員之一。

Délire (English: Delirium, an acutely confused state of mind), is an organically caused decline from a previously attained

turbulence or any emotions in between. These are revealed in the course of music which ends with a series of dynamic

baseline level of cognitive function. It is typified by fluctuating course, attentional deficits and generalized severe disorganiza-

gestur

奏家。現任國立臺南藝術大學音樂系專任副教授。三個人樂團（大師門徒夥伴計劃成員）鋼琴 │ 顏琬蕙

tion of behavior. It typically involves other cognitive deficits, changes in arousal (hyperactive, hypoactive, or mixed), perceptual deficits, altered sleep-wake cycle, and psychotic features such as hallucinations and delusions. (From Wikipedia)

Máté Balogh | Jam Quartet

圖化為行動，於2013年11月共同成立創作型室內樂團體「三個人3PEOPLEMUSIC」。

Eight years ago when I read an article about Arthur Rimbaud, the French poet, I noticed this term, “délire,” for the first time. He

This piece of mine for flute, 3 triangles, piano and violoncello was written in the summer of 2016, during the mentorship

「三個人」演出曲目皆為團員創作及改編的作品，題材多源自生活的感動或體悟；他們將經典民謠、古曲重新編創，是臺灣傳統樂器

expressed that he got “délire” when writing his work Une Saison En Enfer. That caught my attention to explore this state of

under Péter Eötvös and dedicated to the THReNseMBLe. The form and declamation of the piece are reflected to improvis-

組合中少見的以當代思維重塑傳統音樂感官體驗的清新組合。創團至今已譜寫多首跨越時代記憶、玩轉不同風格，並創作世界唯一由

mind. As a step forward, I was inspired to compose this piece earlier in 2016.

ing jazz-musicians, however it remains a reflection instead of imitation of the jam session. Every musician is equally able to

三位熱愛生命的國樂音樂家：郭岷勤(箏)、潘宜彤(中阮)及任重(笛簫)，各自擁有完整豐富的音樂專業與創作熱情，他們將對音樂的藍

高雄市人，國立臺灣師範大學鋼琴演奏碩士。畢業於高雄市立鹽埕國小及新興國中音樂班，通過教育部資賦優異甄試保送國立台中二中音樂班及國立臺灣師範大學音樂系。主修鋼琴，曾師事張春惠、向書中、曾馨葵、林和惠、王青雲、葉綠娜、Ruth Slenczynska. 副修中提琴，曾為臺北愛樂室內及管絃樂團、宙斯愛樂管弦樂團團員，參與捷克「布拉格之春」國際音樂節、楊納傑克音樂節、德國「布朗斯威克」國際音樂節、東歐「珠戲」音樂節於歐洲各地巡迴演出。現專職於各項樂器的鋼琴合作及教學。

箏、中阮及笛簫而成的三重奏樂曲。不定期推出主題式音樂會，並積極參與不同形式之藝術展演、邀請音樂家合作演出，也委託作曲家量身譜曲，激發出更加多元且精彩的音樂火花。此外，「三個人」也主動走訪各地，帶給觀眾溫暖、零距離的親切感，為國樂開創

鋼琴 │ 黃英樺

不同的音樂道路，也為自己定義「三個人」的音樂。

國立交通大學音樂研究所鋼琴演奏碩士，曾師事鄭素美、Victor Karpovich Merzhanov、王珊珊、黃如杏及辛幸純教授。喜歡與

Program Notes

(Text by Máté Balogh)

represent both the melodical and accompaniment-like musical materials, even the triangle-player has its own solo. Along Péter Eötvös | PSY

with the postmodern ideas; the slow developments, special instrument-techniques and the extreme time-management

What good times those were! I was seventeen years old, and Gagarin took off. The world had no outer limits. In 1961, excited

create the piece more experimental than retrospective.

by the Big Bang theory, I wrote a piano piece with the title Kosmos. It was a glance into the infinity surrounding us. Thirty-two years later, a retrospect, looking inwards, into the personal psyche of those days. A fragment from the orchestral work

Balázs Horváth │ Dualith

出；同年8月與蘭陽舞蹈團合作，赴日本北海道參與2015函館國際民俗藝術祭演出。2015年9月受上海邀請，參與首屆「半度音樂

Psychokosmos, adapted for three instruments, has the brief title PSY." — Peter Eötvös

It is typical that the title of a piece is given after composing because it can express the feelings and the knowledge about

節( Bandu Music Festival )∼阮」演出。2016年5月受國家兩廳院邀請，於2016室內樂系列演出民謠變奏《三個人與他們的神秘

Peter Eötvös described his composition, Psychokosmos (1993) for cimbalom and orchestra as an introspection into the

the compositional process. For me there are two ways to give title for a composition, at least in my experience. One is when

擊樂 │ 余若玫（大師門徒夥伴計劃成員）

嘉賓》，並發行首張專輯【三個人3PEOPLEMUSIC】。

unknown inner infinity. This title, which essentially covers a cimbalom concerto, is a twofold retrospection into the 33 years of

the compositional methods and the function of the work are described. The other is a more instinctive way: the feeling of

國立臺北教育大學畢業後，赴法國布隆尼音樂院及瑞士日內瓦高等音樂院，取得擊樂演奏碩士學位。2010年為德國「摩登樂集」

the composer’s career to that point. On the one hand, it is a subtle allusion to the compositional idea that the composition is

the sound, the musical material are suggested by the title. This may be an auditive, visual or a tactile description. In the

對位室內樂團（大師門徒夥伴計劃成員）

各種不同的音樂家合作，並致力參與當代音樂演出。2015年8月起，往返於緬甸臺灣，現為仰光緬甸神學院 (Myanmar Institute of Theology)之客座學者，也為Gitameit音樂中心(Gitameit Music Center)全體鋼琴教師之技術指導。

「三個人」的重要紀實包括：2014年11月製作《藝響對話》，邀請韓國篳篥演奏家嘉玟(Gamin Kang)合作，於采風101表演廳演

(Text by Balázs Horváth)

basically a summary of Eötvös’s thoughts and sketches matured through many decades. On the other, it is a reference to the

present case the title “Dualith” belongs to the second category thereby more representing the overall sound and feeling of

「對位」二字，為一首樂曲中數條旋律線或不同旋律的音符之間，對應、交織而成和諧動人的音樂。1997年成立以來，藝術總監梁孔

piano work Kosmos, which was inspired by Gagarin’s 1961 space voyage, and in which the 17-years-old composer formed the

the piece than the structure or compositional methods.

玲集結一群熱愛音樂的老師們，持續深耕南臺灣的音樂環境，曾獲選高雄市優良扶植團隊及文化部「演藝團隊分級獎助計畫」團隊。

illusion of the outer infinity into sounds. The Psychokosmos orchestra’s acoustic space unfolds from short motifs, germinal

“A monolith is a geological feature consisting of a single massive stone or rock [...]”(http://en.wikipedia.org/wiki/Monolith).

2014年與頑劇場於「超親密小戲節」創演《島》，2015年製作演出《出入。遊樂間》獲臺新藝術獎年度入圍、臺原基金會「藝想

對位室內樂團擅長推出雙主軸的音樂會系列，例如親子童話室內樂歌劇系列和精緻室內樂音樂會系列；在音樂會製作中巧妙融合跨界

tunes and joint sounds through countless plays with tones. In this space, all musical action seems to become timeless, since

Consequently, “dualith” is the same thing with duality in its features. In my piece there are typical monolithic sounds which

天開─偏鄉藝術教育工作坊」、TPMC臺法器樂與電子音樂工作坊。現為「出入游樂」成員，目前與團隊進駐臺北寶藏巖藝術村微

的元素，呈現豐富多元、專業精緻的藝術演出。除演出西方作曲家之作品外，也演奏國人作曲家的創作，並致力於將國人的音樂推至

the listener is literally stupefied by the surrounding gush of sounds. The trio version called Psy (dedicated to Márta Fábián)

are more and more hidden by other type of sounds to create a dualithic surface. But finally both kinds of materials turn into

型聚落，致力於當代音樂創作演出與教學。

國際舞台；並為親子設計結合多領域的古典音樂會，此系列自2010年起連續7年受邀於高雄春天藝術節演出，並於高雄、臺北及臺南

written in 1996 for flute, piccolo, cello and cimbalom, shows the Psychokosmos’s most important musical ideas in an environ-

something common. (Similarly to the phenomenon when after a certain amount of analysis everything seems to be related.)

巡演。

ment more puritan than the orchestral version. This is not a transcription (the trio version is much shorter, and accordingly, all

學院團員 (IEMA ensemble)。2011年與Onyx三重奏於柏林獲Boris Pergamenschikow基金會室內樂首獎。2013年取得法蘭克福高等音樂院擊樂最高演奏家文憑。旅歐期間，獲邀於Jardin Musicaux, Musica, Cresc Biennale及Manifeste等國際音樂節演出。曾參與Klangspuren與Darmstadt現代音樂營，並於德國黑森州與SWR合製的廣播劇“Büchners

Bote”擔任配音及配樂。

擊樂 │ 洪于雯（大師門徒夥伴計劃成員）

2016年《春天在唱歌》與俄國女高音安娜．維洛芙蘭絲姬(Anna Virovlansky)合作演出；2012年以室內樂歌劇的形式演出國人作品

臺北教育大學音樂教育系畢業後，赴法國學習現代音樂，於2012年獲法國國立里昂高等音樂院擊樂最高演奏文憑及國立巴黎高等

《江文也與兩位夫人》，獲2013台新藝術獎提名，於臺南藝術季「臺灣精湛」演出，並獲日本Mostly古典音樂雜誌「海外音樂情

音樂院室內樂文憑。同年返台，與友人共同創立「出入游樂」，以打擊樂為根本，參與其他藝術領域合作，作品包括擊樂舞蹈劇場

報」專文報導。2012年受邀參與台積電心築藝術季演出；2015年起，受邀赴中國於北京國際音樂節、上海、蘇州及中山等地巡演。

形式的「無間」、獲國藝會新人新視野專案補助及台新藝術獎提名的“Neverland”；於法國里昂、日內瓦等地演出的兒童音樂劇 “2+2=…?”；參與「出入游樂」視覺藝術跨界作品，如2013兩廳院新點子樂展「奇幻音畫」、2015共同製作暨演出，獲台新藝術

單簧管/ 高承胤

小提琴/ 林佳霖

中提琴/ 林倢伃

manner, in which the focus is on the instrumental and melodic virtuosity instead of the orchestral work’s acoustic bravuras. — Tünde Szitha *Cimbalom is replaced by marimba in this concert.

大提琴/ 陳世霖 Lin Chia-Ying | The Gaze for piano solo

獎年度入圍的「出入。遊樂間」，以及個人獨奏會擊．製系列<獨白>。現與「出入游樂」於臺北寶藏巖藝術村微型聚落駐地，並任教於臺北海洋技術學院表演藝術系及臺南大學音樂系。

Program Notes

events are quicker and denser), but a paraphrase conveying the original work’s spirit in a more succinct and more virtuoso

Kao Kaiyi | Bailu for clarinet solo A year is divided into 24 solar terms in the traditional East Asian calendar and Bailu is the 15th. In the Gregorian calendar, it usually begins during 7th -9th September and ends around 23th September. At this time, the temperature starts to drop, the weather is cooler, and the dew becomes copious in the morning. The heavy dew condenses into a white layer of water droplets, hence the name Bailu (literally white dew). People have an obvious feeling that the hot summer is about to be replace by the cool autumn. It is the time for those migratory birds, such as wild geese and swallows, to fly to the south to

This work depicts a spectator’s state of gazing. The gaze—a steady intent look—possesses two different aspects. It is seem-

avoid the cold, and the time when birds begin to store food for the winter. In this composition, the clarinet imitates the dew

ingly static when the gazer is being observed, while it can be filled with mobile emotions from the inner world of the gazer.

and the sound of autumn through various manipulations, and different sound effects are employed to simulate the migra-

The externally static aspect is reflected in the use of the basic material—the opening symmetrical chords—which as a

tion of birds. All of the gestures give the audience a hint of the welcomed coolness of early autumn!

Composers (listed in the order of performance)

Lo Shih-Wei | [de]construction -SoundScripts In East Asian countries, Chinese calligraphy plays the role of communication and/or documentation, but this writing form is also a fine art in its own right. The script styles are diverse, with each one expressing a unique aesthetics. Different styles require different levels of focus, technique, and freedom of mind. When writing in calligraphy, the underlying pulses, rhythm, breaths, pauses, and thinking are amazingly similar to that of music performance. With this composition, I make the attempt to “write calligraphy in music.” Focusing on Chinese calligraphy, the de]construction –SoundScripts consist of three pieces as follows: I.

“Wild Cursive”

II.

“Goose Tail”

III.

“Sunny after Snow”

Each piece embodies the features and temporal characteristics of a particular Chinese calligraphy script. The first one, “Wild Cursive,” manifests the highly stylized cursive script with contrast phrasing and unexpected harmonic (de)compression. For the composer, it is important to maintain the coherence of music while pushing the malleable sound materials to the boundary/threshold. This second piece “Goose Tail” is inspired by clerical script, in which the spontaneous and capricious qualities of the cursive script are absent. The clerical script is known for strokes containing “silkworm head and goose tail.” In this piece, the persisting sounds of percussion instruments create a stable, balanced music connection and structure, implying the beauty of infinity in “goose tail” strokes. The title “Sunny after Snow” is adapted from a famous short letter by the calligraphy master Wang Hsi-chih. Written in semi-cursive script, the characters in this letter are clear and discernable, making it easy for us to follow the artist’s thoughts and the fluency and rhythm in his writing. Readers can find the changes in time from the context. In this piece, the

Liu Wei-Chih

Festival in Finland, “Play It!” Music Festival in Florence, and the Vaganza Festival in the UK at venues including the Hämeenlin-

Taiwanese composer Liu Wei-Chih was born in Hualien in 1985. He was awarded a bachelor in composition at Soochow

na Town Hall and the Teatro Verdi. She has collaborated with a number of ensembles, including Taiwan Symphony Orchestra

and performing various contemporary music works. In 2009 he founded THReNSeMBLe with six young musicians with

University in 2008 and a master in composition at Taipei National University of the Arts in 2011. His composition mentors

in Taiwan, Quartetto Maurice in Italy, and the Psappha and Vaganza in the UK. Her important compositions, including the

whom they perform contemporary music. Between 2000 and 2002 Balázs Horváth was recipient of the Zoltán Kodály

include Chen Jou-Li, Yim Fuk-Wing, Christopher Roberts, Chang Yu-Shu, and Hung Chung-Kun. He also received instruction

String Quartet, were published through Casa Ricordi and her orchestral work Occultra by the National Taiwan Symphony

Scholarship. From 2012 Horváth is the member of the Board of Trustees of the Eötvös Peter Contemporary Music Founda-

from world-famous composers such as Péter Eötvös from Hungary, Toshio Hosokawa from Japan, Pan Hwang-Long from

Orchestra. Lin is currently based in Rome. Some of her recent works include a commission from the Goethe-Institut Korea.

tion.

Taiwan, Chen Hsiao-Yong from China, and Chong Kee-Yong from Malaysia at a number of composition camps and workshops.

The composition will be premiered at the "Asian Composers Showcase" in the 2017 Tongyeong International Music Festival in

His accolades include second prize at the 31st ALEA III International Composition Competition in the US in 2015, second prize

South Korea.

Kao Kai-Yi

at the Singapore International Competition for Chinese Orchestra in 2015, first prize at the 2012 Chai Found International

Her latest composition Etna made its world debut in Turin and captured second prize at the Michele Novaro International

Kao Kai-Yi is a Taiwanese composer born in Taichung City in 1984. After completing the music program at Stella Matutina

Composition Competition in Taiwan, and the fourth prize at the 2012 National Taiwan Symphony Composition Competition.

Composition Competition in Italy on Dec. 2, 2016.

Girls’ High School in Taichung, she traveled to Austria to pursuit further study at the Franz Schubert Conservatory, graduat-

Liu is also the winner of the 2011 Taiwan Music Center International Composition Competition and the 2009 Chai Found

ing in 2009 with distinction (Artist Diploma for piano and composition). She then studied at the University of Music and

International Composition Competition in Taiwan. Moreover, he was nominated for the 11th, 12th, and 13th Taishin Arts Award in

Máté Balogh

Performing Arts Vienna, graduating with a Master’s degree in composition. In 2007, her composition was performed as an

Taiwan from 2012 to 2014.

DLA-student and lecturer of the Franz Liszt Academy of Music, Budapest. Artistic director of the Hermina Gallery, Budapest.

assigned piece at the Vanduz International Masterclass in Liechtenstein. She then captured Second Prize in the 14th Carl von

He has received commissions and collaborative opportunities from the Golden Melody Awards for Traditional Arts and Music,

Mentored by the Peter Eötvös Contemporary Music Foundation. He was born in 1990, in Győr, Hungary. Graduated of the

Ossietzsky Composition Competition Oldenburg in 2014 and performed at the “re:construction 2014 Japan | Austria”

Liu Wei Chih | State of Motion for di, zhongruan, and guzheng

the Innovation Series of the National Theater and Concert Hall, National Symphony Orchestra, and National Chinese Orchestra

Conservatory of Pécs, where he specialized in the theory of music and composition with István Győrffy, he finished his studies

concert. She was also invited to join the 15th Auftakt concert organized by Austrian national public service broadcaster

As the title suggests, this piece is an attempt to convey the state of motion through sounds. We can interpret the “motion”

Taiwan. He has also worked with Ju Percussion Group, Chai Found Music Workshop Ensemble, Forum Music Ensemble, Studio

in composition at the Liszt Academy of Music in Budapest under Zoltán Jeney. Currently he is working on his doctoral degree

Österreichischer Rundfunk. In 2016, she came second place in the Hearing Orpheus Today Composition Competition in

either as concrete, physical movements or as undercurrents of emotional fluctuations, no matter which one, drastic change

Acht-Platform für kunstprojekte, Taipei Sinfonietta & Philharmonic Orchestra, Ensemble ISCM-Taiwan, 3PEOPLEMUSIC,

and besides he is a professor-assistant in composition subjects at the Liszt Academy. In 2013, he spent a semester in Trieste,

Malta. She was then selected to join a composition commission program titled Gender-Projekt 2016 held by the University of

is a feature which applies to both. The pitch structure of ancient Hakka folk songs and downward notes form the

National Performing Arts Center, Counterpoint Ensemble, Shuangsi Music Forum, and Taichung Society of Contemporary

Italy, studied composition with Fabio Nieder. He is co-founder of the so-called CentriFUGA contemporary-workshop which

Music and Performing Arts Vienna. Kao’s compositions encompass both classical and contemporary music, gracefully

micro-foundation for this piece, which also depicts the situation of people. Living in a modern, globalized society, traditional

Music. Liu has composed or performed for the KNM Berlin (DE), ALEA III (US), International Cultural Platform - iKultur (AT),

takes place in Budapest.

incorporating elements from a wide range of instrumental solos, chamber music arrangements, vocal pieces, symphonies,

culture may appear less and less palpable; however, culture is still firmly rooted in the cells of consciousness. Feel it with

Singapore Chinese Orchestra (SG), Ding Yi Music Company (SG), Sally Can’t Dance Festival (CH), Hong Kong Children’s Choir,

His pieces has been presented in many international festivals, such as: Manifeste Festival (IRCAM-Paris), ECSA (Bruxelles),

and orchestral music. Her compositions have been performed in Austria, Germany, Greece, Japan, Liechtenstein, Malta,

heart, and you will see the traces it left.

Yat Po Singers (HK), and Taiwan Online Library, Minnesota (US).

Opus Amadeus (Istanbul), Kurtág&Ungarn (Bern), Ostrava Days, Axes Kraków, St. Gellert Festival, Bartók Szeminárium,

Taiwan, and the UK. She is currently based in Vienna, working as an instructor of piano, composition, and music theory at

Korunk Zenéje, Budapesti Tavaszi Fesztivál, Minifesztivál.

the Franz Schubert Conservatory. She will be performing at the 2017 Pacific Rim Call for Scores in Vancouver.

composer embeds this change of time into music, with two distinct types of music—violent and chaotic versus playful and flowing—alternating and gradually integrating at the end.

Performers Conductor | Lin Liao Lin Liao majored in composition at the Taipei National University of the Arts and then studied conducting at the Universität für Musik und darstellende Kunst Wienand, where she was graduated with the highest honor. She was the opera accompanist and conductor of the Opernhaus Chemnitz and the chief conductor-in-residence of the Opernhaus Lutherstadt Wittenberg and Opernhaus Schleswig-Holstein. Liao has been the artistic director and conductor-in-residence of the Ensemble Laboratorium since 2015. She has collaborated with several critically-acclaimed ensembles in Germany, including Ensemble Modern, Kammerensemble Neue Musik Berlin, Ensemble Aventure, and Ensemble Avantgarde. She has also been

Péter Eötvös

His pieces have been performed in Europe and the United States. His accolades include honorary award of the so-called

Composer, conductor and teacher: the Hungarian Peter Eötvös combines all three functions in one very high-profile career.

GENERACE composer competition and Absolute 1st prize of the UMZF Competition in with his ensemble-piece and also 2nd

Lo Shih-Wei

Born in Transylvania in 1944, he has long been considered one of the most significant and influential personalities on the music

prize for his orchestral piece in 2015, and the Best Junior Classical-composer of the Year in 2016.

Lo Shih-Wei is a Taiwanese composer born in 1985. He studied with Chao Ching-Wen and Kris Falk at the National Taiwan

scene as both an internationally recognized conductor and a composer of successful operas, orchestral works and concertos,

Normal University, and with Huck Hodge and Juan Pampin at the University of Washington. He also taught at the UW

written for well-known artists from all over the world. Eötvös attaches great importance to passing on his extensive knowl-

Balázs Horváth

Center for Digital Arts and Experimental Media (DXARTS). Lo is known for creating music that involves acoustic instru-

edge and experience to others. He taught at the music college in Cologne and Karlsruhe and gives regular masterclasses and

He was born in Budapest in 1976. His professors included Zoltán Jeney, Attila Bozay, and János Vajda. He has finished his DLA

ments, vocals, digital media, mechatronic art, and interdisciplinary collaboration. He is currently a Dean’s Fellow in the

seminars throughout Europe. He established his “International Eötvös Institute” in 1991 and the “Eötvös Contemporary Music

in Composition at the Liszt Academy in 2005, while teaching there as well. In 1999, he was awarded 3rd prize with at the

Graduate School of Arts and Science (GSAS) at Columbia University, pursuing a DMA in Composition under the tutelage of

Foundation” in 2004 in Budapest for young composers and conductors. In addition to his roles listed above, Peter Eötvös is

Composition Competition of the city Kecskemét, Hungary in 1999, 2nd prize at the composers' contest of Vántus István

George Lewis. He has received commissions from a number of musicians and ensembles, including violinist Frank Brakee of

regularly re-invited as guest conductor by the most important orchestras and opera houses.

Társaság, Szeged in 2002 and 2006. His work was selected as a finalist at the 17th ALEA III International Composition

Nieuw Ensemble, violin professor Melia Watras of the University of Washington, harpist Shannon Chieh of the National

Competition, Boston, USA. In 2000 Petrus-Passio won the main prize of the competition "Megváltás" in the Hungarian city of

Symphony Orchestra in Taipei, Taiwan’s Forum Music Ensemble, Taipei Chamber Singers, and Amsterdam’s Atlas Ensemble

invited to conduct at various contemporary music festivals, such as Nachtmusik, Festival Klangspuren, and ManiFeste. In

Lin Chia-Ying

Törökszentmiklós and the following year he won "Consolation Prize" at the International Composition Prize of the Festival

2007, Liao conducted Karlheinz Stockhausen’s “Gruppen” at the Lucerne Festival through the recommendations from

and Nieuw Ensemble. He was also the recipient of both the First Prize and Audience Award in the 2014 Dutch Harp Festival

Lin Chia-Ying is a composer born in Taiwan in 1990. She studied composition at the Taipei University of the Arts with Yang

Internacional de Orquestas de Jóvenes Murcia (Spain). He won the 1st Prize with his composition POLY at the 'In Memoriam

Pierre Boulez and Péter Eötvös. In 2009, she was invited by Eötvös to help prepare the complete works of Edgar Varése,

and Composition Contest; First Prize in the ASCAP/SEAMUS Student Commission competition; and Honorable Mention in

Tsung-Hsien and then at the University of Manchester with Philip Grange, where she was graduated with a MMus (Distinction)

György Ligeti' composition contest in Berlin in 2007 and 2nd prize at the Choir-song competition of the Museum of Fine Arts,

which were staged at the Eurosonic Noorderslag later. In the same year, she went on the stage at the Gewandhaus zu

the 2015 American Composers Forum’s National Composition Contest. Lo also holds the distinction for being the only

in 2012. In 2015, Lin garnered first prize at the International Composition Competition Piero Farulli and third prize at the First

Budapest in 2008. Special Prize of RS9 Theatre was given to Horváth in 2016 by the occasion of the 2nd Péter Vallai Contem-

Leipzig for the first time, and was invited to conduct there each season ever since. The orchestras she has been working

composer who has received the Study Abroad Scholarship twice - in 2010 and 2014 - from the Taiwan Ministry of Education.

International Jean Sibelius Composition Competition. Her compositions have been performed in Taiwan, the Mänttä Music

porary Performing Festival. As a composer he worked with renowned conductors and ensembles and has been conducting

with include MDR-Sinfonieorchester, Radio-Symphonieorchester Wien, and Rotterdams Philharmonisch Orkest.