20180525 Maestro Series 6 Graf & NSO

2018

演出曲目

Program

奧本•貝爾格（1885-1935）： 給絃樂團的三首小曲，選自《抒情組曲》

ALBAN BERG (1885-1935): 3 Pieces from the Lyric Suite (arr. for string orchestra) I. Andante amoroso II. Allegro misterioso III. Adagio appassionato

I. 充滿愛情的行板 II. 神秘的快板 III. 熱情的慢板

沃夫岡•阿瑪迪斯•莫札特（1756-1791）： 第二十號鋼琴協奏曲

WOLFGANG AMADEUS MOZART (1756-1791): Piano Concerto No. 20, K. 466, D minor I. Allegro II. Romance III. Allegro assai

I. 快板 II. 浪漫曲 III. 很快的快板

~中場休息~

~Intermission~

路得維希•凡•貝多芬（1770-1827）： 第六號交響曲《田園》

LUDWIG VAN BEETHOVEN (1770-1827): Symphony No. 6, Op. 68, F major, Pastoral

I. II. III. IV. V.

I. Allegro, ma non troppo II. Andante molto mosso III. Allegro IV. Allegro V. Allegretto

從容的快板 稍快的行板 快板 快板 稍快板

演出時間│ 2018年5月25日 (星期五) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei

演出者

指 揮｜漢斯•葛拉夫 Hans Graf, conductor 鋼

琴｜張昊辰 Haochen Zhang, piano

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位│

指定住宿│

演出長度│上半場約50分鐘，下半場約45分鐘

1︱葛拉夫與NSO

演出者介紹 指揮｜漢斯•葛拉夫 奧地利指揮家葛拉夫最先學習 鋼琴，後來在義大利向費拉拉與 傑利畢達克學習指揮，也在俄羅 斯師事老楊頌斯。2001年至2013 年間任休士頓交響樂團的音樂總 監， 2002 年由法國政府提名候頒 法國國家榮譽軍團勳章，並獲頒 奧地利共和國榮譽大獎。葛拉夫是北美各大管絃樂 團的常客，如克里夫蘭和費城管絃樂團；紐約和洛 杉磯愛樂；波士頓、舊金山、辛辛那提交響樂團； 多倫多、蒙特婁和溫哥華交響樂團。在歐洲曾指揮 維也納、倫敦、聖彼得堡愛樂、皇家大會堂、萊比 錫布商大廈管絃樂團等。葛拉夫錄音曲目廣泛，包 括莫札特和舒伯特交響曲全集、都堤岳管絃樂全 集、巴爾托克的《木頭王子》、齊姆林斯基的《抒 情交響曲》、馬勒的《大地之歌》、貝爾格的《沃 采克》等。

鋼琴｜張昊辰

2009年獲得第十三屆范克萊本 國際鋼琴比賽金獎，現年 27 歲的 張昊辰以他對音樂的深刻感觸， 超凡的想像力及華麗的技巧，擄 獲了歐美、亞洲各地的聽眾。受 邀在許多世界頂尖的音樂節和系 列音樂會登台，並在 BBC 逍遙音 樂節上和余隆領軍的中國愛樂樂團合作，演出李斯 特第一號鋼琴協奏曲，《電訊報》資深樂評休伊特 稱譽，「他將小快板舞蹈和孟德爾頌式的明亮以及 李斯特式的魔幻相融合，將『稍似慢板』的旋律演 奏得流動輕柔」。張昊辰畢業於費城寇蒂斯音樂學 院，在校期間師從於名鋼琴教育家蓋瑞•葛拉夫 曼。

Conductor｜Hans Graf Austrian conductor Hans Graf first studied

piano, later studied conducting in Italy with Franco Ferrara and Sergiu Celibidache and in Russia with Arvid Jansons. Graf is a frequent guest with the major North American orchestras, worked with the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonics, the Boston, San Francisco, Cincinnati Symphonies, and the Toronto, Montreal and Vancouver Symphony Orchestras. In Europe, Graf has conducted the Vienna and London Philharmonics, Royal Concertgebouw, Leipzig Gewandhaus Orchestras, St. Petersburg Philharmonic and Russian National Philharmonic of Moscow, the Bavarian and Danish Radio Symphony Orchestras, the Budapest Festival Orchestra, Oslo and Stockholm Philharmonics. Graf's extensive discography includes the complete symphonies of Mozart and Schubert, the complete orchestral works of Henri Dutilleux, Bartok's Wooden Prince, Zemlinsky's Lyric Symphony, Mahler's Lied von der Erde, Alban Berg's Wozzeck, complete works for viola and orchestra by Hindemith with Tabea Zimmermann, Orff's Carmina Burana with the London Philharmonic Orchestra, and a DVD of The Planets - An HD Odyssey. Hans Graf has been the Music Director of Houston Symphony Orchestra from 2001 to 2013, nominated for the Chevalier de l'Ordre de la Legion d'Honneur by the French Government (2002) and was awarded the Grand Decoration of Honour of the Republic of Austria.

Piano｜Haochen Zhang Since his gold medal won at the Thirteenth Van

Cliburn International Piano Competition in 2009, 27-year-old Chinese pianist Haochen Zhang has captivated audiences with a unique combination of deep musical sensitivity, fearless imagination and spectacular virtuosity. He has already appeared in many of the world's leading festivals and concert series and his performance of Liszt Concerto No. 1 at the BBC Proms with Yu Long and the China Philharmonic earned the acclaim: "He made the Allegretto dance with Mendelssohnian lightness and Lisztian diablerie, and played the melody of the Quasi Adagio with melting softness." (Ivan Hewitt, The Telegraph). In past seasons, Haochen Zhang has performed with San Francisco Symphony, LA Philharmonic, Kansas City Symphony, Israel Philharmonic, Philadelphia, Sydney, London Symphony, Munich Philharmonic orchestras. He held recitals at Spivey Hall, La Jolla Music Society, Celebrity Series of Boston, Krannert Center, Lied Center of Kansas, among others. As an avid chamber musician, Haochen Zhang is frequently invited by chamber music festivals in the US. A new CD that includes works of Schumann, Brahms, Janacek and Liszt has been released by BIS in February 2017.

Haochen is a graduate of the Curtis Institute of Music in Philadelphia where he studied under Gary Graffman.

2︱葛拉夫與NSO

樂曲解說 撰文│張欽全 奧本•貝爾格： 給絃樂團的三首小曲，選自《抒情組曲》 維也納作曲家貝爾格（1885-1935）於1925-26 年創作了《抒情組曲》，原來是絃樂四重奏之一首 六樂章組曲，後來貝爾格於1927年親自將其中三 個樂章（第2、3、4樂章）改編成絃樂團作品，命 名：給絃樂團的三首小曲，選自《抒情組曲》。 《抒情組曲》為貝爾格創作生涯中的一大突 破，是他第一次大量使用來自他的老師荀白克 （Arnold Schoenberg, 1874-1951)之12音列技法， 作品同時題獻給奧地利作曲家哲林斯基(Alexander Zemlinsky, 1871-1942)。後來學者發現其實貝爾格 這首作品更是隱秘的為了他的情人漢娜（ Hanna Fuchs-Robettin, 1896-1964)創作的，貝爾格並且將 他們兩個人的縮寫字母A、B、H、F 轉化成旋律主 題頻繁出現於作品當中，不過整體架構仍然是建立 於12音列之基礎上。另外非常特別的是，貝爾格曾 經表示屬於漢娜的數字是10，貝爾格的數字為23， 而這首作品每個樂章都跟這兩個數字緊密相連，如 第一樂章總共150小節，為漢娜數字的15倍，第二 樂章138小節，是貝爾格數字23的六倍，第三樂章 總共69小節，也是23的倍數等。 這三首改編為絃樂團的作品於1929年1月31號 在柏林首演，由霍倫斯坦（Jascha Horenstein, 18981973)指揮柏林愛樂管絃樂團。眾多學者圍繞著這 首作品之背後意涵討論，特別是那些貝爾格不著痕 跡放入之愛情符號跟數字等。普遍在這之前學者總 是認為貝爾格為第二期維也納樂派三位作曲家當中 最為保守的一員，可是在發掘這些隱藏之個人私密 符號後，才領悟到貝爾格的創作雖然是建立在傳統 元素之曲式上，可是作曲家賦予作品內卻是熱烈私 密情感的展現。

沃夫岡•阿瑪迪斯•莫札特：第二十號鋼琴協奏曲 如同大文豪歌德（Johann Wolfgang von Goethe, 1749-1832)心目中之天才翹楚就專屬莫札特（17561791），莫札特留給世人的印象即是光明璀璨的陽 光，青春燦爛的氣息，他的音樂在任何一個年代都 宛如曙光乍現。他的傑作除了傳頌百年的歌劇外， 就屬鋼琴協奏曲為天才向世人展現的另外一項奇 蹟。

K.466鋼琴協奏曲是全部莫札特所創作鋼琴協 奏曲中兩首小調作品之其中一首，而他採用了在 他創作當中有特別意義的D小調，跟他《安魂彌撒 曲》(Requiem)為同一調性，由此可見他特別鍾意 於此調性那帶有音樂革命性之意涵。

1785 年 2 月 11 號於維也納首演，據悉當時抄 譜員在觀眾入場時還勤於奮力謄寫，不知道是不 是倉促上台的原因，莫札特並沒有寫下通常會出 現在第一樂章的裝飾奏（cadenza) ，不過莫札特 親自彈奏了此重要作品之首演音樂會，音樂會隔 日在維也納享譽盛名之音樂家海頓(Franz Joseph Haydn, 1732-1809)公開盛讚此傑作：「莫札特是 我認識最傑出的作曲家！」而後代大音樂家貝多 芬（Ludwig van Beethoven, 1770-1827)跟布拉姆斯 (Johannes Brahms, 1833-1897)，及其他五位作曲 家，包含莫札特的其中一位兒子，也相繼譜寫了 此協奏曲之裝飾奏。 第一樂章Allegro，開場樂團奏出恍如烏雲壓日 般之不安定D音，製造出極其神秘之詭譎氛圍，之 後鋼琴以抒情細膩之主旋律開場，特別的是，此 旋律主題專屬鋼琴，莫札特並未給予樂團演奏此 旋律主題之機會。莫札特運用多主題之呈現於樂 團跟鋼琴交織當中，創造出此樂章豐富層次之魅 力。 第二樂章Romance，如標題所示此樂章為浪漫 曲，鋼琴以降B大調抒情細緻旋律展開，而樂團隨 即再次歌唱此旋律主題，獨奏與重奏相互編織此 輪旋曲式（ABACA），充分將莫札特擅長於歌劇 詠嘆調之抒情手法移植到鋼琴作品中。 第三樂章Allegro assai，莫札特仍舊採用輪旋 曲式，調性回到第一樂章之 D 小調，由鋼琴帶領 陸續呈現出幾個重要主題，在鋼琴裝飾奏段落之 後，木管樂器組合成一段愉快明亮之旋律，緊接 著鋼琴獨奏重複此旋律，旋即伴隨樂團最終以令 人驚訝之D大調精彩結束。 路得維希•凡•貝多芬：第六號交響曲《田園》

1808 年 12 月 22 號於維也納劇場首演貝多芬 （1770-1827）F大調第六號交響曲《田園》，這 場破紀錄冗長之盛大演出歷時約4小時，曲目同時 包含第五號交響曲、第四號鋼琴協奏曲、《合唱 幻想曲》及其他樂曲等，同時貝多芬並當場即興 一首鋼琴作品於這場歷史性音樂會。 這首交響曲總共五個樂章，第三、四、五樂章 連續演出不間斷。貝多芬於此首交響曲原稿上面 寫著：「紀念鄉居生活之田園交響曲，注重情操 的表現而非繪畫式的描寫。」德國哲學家阿多諾 （Theodor W. Adorno, 1903-1969)曾表示：「此首 交響曲有田園風味的理想及其技術上的對應做法單純化-主導，卻沒有犧牲其複雜性：此作主要是 情境（zustandlich)音樂，卻充滿淋漓盡致的交響 曲張力。」

3ď¸ąč‘›ć‹‰ĺ¤Ťčˆ‡NSO

çŹŹä¸€ć¨‚çŤ Allegro, ma non troppoďźŒć¨™éĄŒă€Œä¸‹é„‰ć™‚ĺżŤ 樂的ĺ?°čąĄă€?ă€‚ć­¤ć¨‚çŤ ĺ…ąćœ‰ĺ…Šĺ€‹ä¸ťéĄŒďźŒç”ąçľƒć¨‚ćź”ĺĽ?ĺ‡şç”œ çžŽč€Œčź•ĺżŤäš‹ä¸ťéĄŒďźŒć—‹ĺ?łé€˛ĺ…Ľé?žĺ‡Ąç˛žĺ˝Šäš‹ç™źĺą•éƒ¨ćŽľč?˝ďźŒ ç™źĺą•éƒ¨ä¸ťéĄŒĺ‰‡ć˜Żç”ąĺ‘ˆç¤şéƒ¨äš‹é–‹ĺ ´ä¸ťéĄŒç‰‡ćŽľć§‹ćˆ?。 çŹŹäşŒć¨‚çŤ Andante molto mossoďźŒć¨™éĄŒă€Œćš–ç•”ĺ°? 景ă€?。č˛?ĺ¤ščŠŹć–źć­¤ć¨‚çŤ é ‹ç”¨ä¸ťéĄŒčˆ‡čŽŠĺĽ?曲ĺź?果構ćˆ?ć­¤ ć…˘ć?żć¨‚çŤ ă€‚ĺœ¨ĺŽ&#x;ć‰‹ç¨żä¸­ďźŒč˛?ĺ¤ščŠŹć›žçś“ĺœ¨é•ˇçŹ›éƒ¨ĺˆ†ĺŻŤä¸‹ ă€Œĺ¤œéśŻă€?ă€ é›™ç°§çŽĄçš„éƒ¨ĺˆ†ć˜Żă€ŒéľŞéś‰ă€?ă€ ĺ–Žç°§çŽĄçš„éƒ¨ĺˆ† ĺ‰‡ć˜Żă€Œĺ¸ƒçŠ€éłĽă€?等形厚。 çŹŹä¸‰ć¨‚çŤ AllegroďźŒć˜Żä¸€ĺ€‹čŠźčŤ§ć›˛ďźŒć¨™éĄŒă€Œé„‰äşşĺżŤ ć¨‚çš„ĺŽ´ćœƒă€?。ç”&#x;動洝潑充板鄉ć?‘čˆžčšˆçš„ć°›ĺœ?ďźŒĺœ¨ĺżŤ ć¨‚čˆžčšˆć°›ĺœ?çľ?ć?&#x;ĺžŒçˇŠćŽĽč‘—ä¸‹ĺ€‹ć¨‚çŤ äž†č‡¨ă€‚çŹŹĺ››ć¨‚çŤ AllegroďźŒéŚŹä¸Šĺ‘ˆç?žĺ‡şĺ˝ąĺ°„é č™•é›ˇé›ťäş¤ĺŠ äš‹č ˛é&#x;żć•ˆćžœďźŒ ć¨™éĄŒă€Œćš´é˘¨é›¨ă€?ďźŒć ?ćƒšç‹‚ç†ąćš´é›¨čˆŹçš„ćŽľč?˝ďźŒç™˝é źĺŁŤ ďźˆHector Berlioz, 1803-1869)ć›žĺŚ‚ć­¤ĺ˝˘ĺŽšďźšă€Œé€™ĺˇ˛çś“ä¸? ĺƒ…ĺƒ…ć˜Żç‹‚é˘¨ćš´é›¨ďźŒč€Œć˜ŻĺŚ‚ĺ?Œä¸–ç•ŒćœŤć—Ľäš‹é™?臨ă€?。狂野 é ŽĺžŒé&#x;łć¨‚ć—‹ĺ?łéš¨č‘—Cĺ¤§čŞżäš‹ä¸ŠčĄŒé&#x;łéšŽĺ°Žĺ…Ľć’Ľé›˛čŚ‹ć—Ľć™´çŠş č?Źé‡Œäš‹ç•Ťé?˘ă€‚çŹŹäş”ć¨‚çŤ AllegrettoďźŒć¨™éĄŒă€Œç‰§ć­ŒďźŒé›ˇé›¨ äš‹ĺžŒçš„ĺżŤć…°čˆ‡ć„&#x;激ă€?ă€‚ć­¤ć¨‚çŤ čˆ‡ĺ‰?ć¨‚çŤ ä¸?間斡連çľ?ćź” ĺ‡şďźŒç‹‚é‡Žé ŽĺžŒäš‹ĺŻ§é?œĺŽ‰čŠłć°›ĺœ?ĺ……ĺˆ†ĺą•ç?žďźŒé˘¨é›¨é ŽĺžŒçš„ č?‰ĺŽ&#x;ć•Łç™źĺ‡şć¸…ç”œéŚ™ĺ‘łç€°ćźŤçŠşä¸­ďźŒç‰§çžŠäşşć ?ćƒščˆ‡ä¸Šĺ¸?č™” čŞ ćş?é€šç›¸äş’ć‡‰ç­”ďźŒčŽšçžŽć­Œé ŒĺŽ‡ĺŽ™ĺ¤§ĺœ°äš‹ć Šćƒ ĺ?ŠçžŽĺĽ˝ă€‚ č˛?ĺ¤ščŠŹĺ……ĺˆ†ĺĽ ĺŽšäş†ć¨™éĄŒé&#x;łć¨‚䚋崛辡čˇ&#x;ĺ…§ćśľç˛žçĽžďźŒ ä¸Śä¸”ĺžžéšąĺ–ťĺ¤§č‡Şç„śč ˛é&#x;żĺ?ŠĺŚ‚čŠŠä¸”ĺ¤ščŽŠäš‹é˘¨ć™Żćƒ…ĺ˘ƒä¸­ć?? ĺ?‡č‡łäşşć€§çžŽçš„ć˜‡č?Żčˆ‡éŤ˜č˛´ćƒ…ć“?䚋襨ç?žďźŒĺ˝ąé&#x;żčś…蜊至19 世紀ĺ?ŠćœŞäž†ă€‚

Program Notes Alban Berg: 3 Pieces from the Lyric Suite (arr. for string orchestra) Alban Berg's Lyric Suite, a masterpiece of new music. This highly ambitious work is based on a secret but well-developed programme. Its six movements are like an autobiographical novel that tells the tale of the composer's unfulfilled love for Hanna Fuchs-Robettin, the wife of a Prague industrialist. Hanna reciprocated Berg's feelings. The mutual love was as full of pathos as it was mutual, but doomed from the start because Berg did not want to leave his wife, Helene, nor did Hanna want to leave her husband and two small children. Even so, Berg was driven into a serious crisis by his feelings for Hanna. For several years love letters travelled from Vienna to Prague.

7KH ÂżUVW PRYHPHQW RI WKH SLHFH WKH $OOHJUHWWR JLRYLDOH VHUYHV DV a kind of introduction. The second movement, Andante amoroso, is conceived of as a scene in Hanna's house. The third movement, Allegro misterioso, signals the confession of love. The fourth movement, Adagio appassionato, envisages a dialogue of love.

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of near insanity of the composer after he left Prague and returned to Vienna. Berg thought of the finale as a song without words.

In the copy of the printed score, which was intended for Hanna Fuchs-Robettin, the words from a poem by Charles Baudelaire, De profundis clamavi (Out of the depths have I cried) have been written underneath the music in several of the particularly melodious spots for all four of the instruments. This Largo desolato closes, "dying in love, longing, and grief".

The Lyric Suite ZULWWHQ LQ ¹ ZDV JLYHQ LWV ¿UVW SHUIRUPDQFH by the famous Kolisch Quartet on 8 January 1927. Shortly thereafter Berg arranged the second, third and fourth movements for string orchestra. This arrangement had its première in Berlin on 31 January 1929, under the baton of Jascha Horenstein.

In a letter to Hanna, Berg said that the Andante amoroso was the most beautiful music that he had ever written. This music, in the form of a rondo, presents a portrait of Hanna and her two children, seven-and-a-half year old Munzo, and four year old Dorothea.

In the annotated copy mentioned above, Berg inscribed above the top of this movement: "This 'Rondo' is dedicated to you and your children: a musical form in which the themes (particularly yours) constantly return, closing the lovely circle". Whereas Hanna's Theme (Tempo I) is characterized by expressiveness and tenderness, Munzo's Theme (Tempo II) has the feel of a Ländler.

The theme for Dodo (the pet name for Dorothea, Tempo III) is nothing more than an ostinato repetition of the syncopated note "c" ("do").

One of the exceptional things about the tripartite Allegro misterioso is the tone character of the outer parts. Their music seems like an ostinato, like a perpetual motion machine, with semiquavers (sixteenth notes) in restless motion. The dynamic level almost never leaves the realm of pianissimo and the entire movement is played with mutes. The score abounds with relatively unusual technical directions about how to play the music. In the annotated copy Berg himself summarised the movement's tone character as "like a whisper", and "whispered". The narrator confesses the story of his love in a whisper.

The Adagio appassionato finally leads into the emotional high point of the work. The idea of wave-like music was important to the musical-poetical conception of the movement, which is characterized from the start by surging, by ascent and descent. The movement grows out of the vision of a passionate love dialogue, one that finally "completely ebbs into the spiritual, soul-filled VXSHUQDWXUDO ,Q WZR SODFHV LQ WKH PRYHPHQW ÂżUVW WKH YLROD DQG then the second violin, cite a phrase from Zemlinksky's Lyric Symphony, none other than the meaningful assertion, "you are my own, my own".

Berg was a friend of Zemlinsky, and the Lyric Suite is dedicated to him, but in reality, the work was a tribute to Hanna Fuchs-Robettin, the distant and immortal beloved. Berg wrote in a letter to her that every note of the work was consecrated to her. Š 2015 Naxos Digital Services Ltd

4︱葛拉夫與NSO

Wolfgang Amadeus Mozart: Piano Concerto No. 20, K. 466, D minor

Ludwig Van Beethoven: Symphony No. 6, Op. 68, F major, Pastoral

Mozart entered the Piano Concerto in D minor, K. 466, in his new catalogue of compositions on 10th February, 1785. It received its first performance at the Mehlgrube in Vienna the following day in a concert at which the composer's father, the Salzburg Vice-Kapellmeister Leopold Mozart, was present.

The sixth of Beethoven's nine symphonies, the Pastoral, was first performed at a concert in Vienna in December 1808.

The occasion was an important one for the composer, since it was likely to prove the only significant source of income for him that year. In preparation for the event he had put aside work on his projected opera Macbeth and on the alternative text of Bradamante, both supplied by Heinrich von Collin, and assembled a programme of phenomenal length. The works played included the Fifth Symphony, the Fourth Piano Concerto, a piano fantasia, items for soloists and chorus and, in conclusion, a Fantasia for the Pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of the choruses as a finale, the Choral Fantasia.

Leopold Mozart sent his daughter a description of the first of his son's Lenten subscription concerts, remarking particularly on the fine new concerto that was performed, a work that the copyist was still writing out when he arrived, so that there had been no time to rehearse the final rondo. He found his son busy from morning to night with pupils, composing and concerts, and felt out of it, with so much activity round him. Nevertheless he was immensely gratified by Wolfgang's obvious success.

The next day Haydn came to the apartment in Schulerstrasse and Mozart's second group of quartets dedicated to the older composer were performed, to Haydn's great admiration.

The D minor Piano Concerto, the first of Mozart's piano concertos in a minor key, to be followed a year later by the C minor Concerto, adds a new dimension of high seriousness to the form, a mood apparent in the dramatic orchestral opening, with its mounting tension as the wind instruments gradually join the strings. The concerto is scored for trumpets and drums, as well as the now usual flute, pairs of oboes, bassoons and horns, with strings, the violas divided. The soloist enters with a new theme, after an orchestral exposition that has announced the principal material of the movement, and later extends the second subject in a work in which the recurrent sombre mood of the opening is only momentarily lightened by reference to brighter tonalities, these too not without poignancy.

The slow movement, under the title Romance, is in the form of a rondo, in which the principal theme, announced first by the soloist, re-appears, framing intervening episodes. Its key of B flat major provides a gentle contrast to the first movement, with a dramatic return to the minor, G minor, in the second episode.

Trumpets and drums are, according to custom, omitted from the movement, but return for the final rondo, into which the soloist leads the way, again in the original key of D minor.

A triumphant D major version of an earlier theme interrupts a repetition of the minor principal subject, after the cadenza, and brings the concerto to an end. Cadenzas were presumably improvised by Mozart, and not written out, as they would have been for his pupils or for his sister, and do not survive.

Beethoven, who had narrowly been prevented by his mother's final illness from studying with Mozart in Vienna, provided cadenzas for the first and last movements. © 2015 Naxos Digital Services Ltd

Predictably the concert was an embarrassment to Beethoven's friends, compelled to sit for four hours in the bitterly cold Theater-an-der-Wien. As one otherwise sympathetic observer reported, it proved possible to have too much of a good thing, and still more of a loud. The concert was under-rehearsed, and Beethoven had met considerable opposition from members of the orchestra. In the Choral Fantasia, instructions about repeats had been misunderstood, so that the work had to be started again, and Beethoven intervened with audible comments on mistakes. Nevertheless the Sixth Symphony, which happily opened the concert, was well enough received, in spite of its unusual length.

The advertisement for Beethoven's December concert billed the Pastoral Symphony as A Recollection of Country Life, to be described by the composer, in a careful attempt to dispel any suspicion that he had written a crude imitation of nature, as more an expression of feeling than tone-painting. In some ways the work may be seen as a conclusion and summary of a tradition of music inspired by the country, although the Wordsworthian suggestion of emotion recollected in tranquility is very much of its period. © 2015 Naxos Digital Services Ltd

5︱葛拉夫與NSO

自信而精銳

National Symphony Orchestra

國家交響樂團

Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became the resident orchestra of the National Concert Hall, and an artistic affiliate of the National Performing Arts Center in April 2014. The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Maestro ShaoChia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan. The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hogwood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong, Guangzhou, Shanghai, Hangzhou, and Beijing.

於1986年為建立一個指標級交響樂團而 投下的希望，2005年起成為駐國家音樂廳團 隊，2014年4月起改隸國家表演藝術中心，目前 已成為頂尖的亞洲樂團。樂團歷任音樂總監/ 藝術顧問包括許常惠、張大勝、林望傑、簡文 彬以及赫比希，自2010年8月起，由呂紹嘉接任 音樂總監。近30年來與NSO合作過的知名指 揮家有馬捷爾、巴夏、潘德瑞茨基、史瓦茲、羅 斯楚波維奇、柯米希奧納、史拉特金等。除了 精緻音樂會，NSO也製作大型歌劇，更以各種 推廣講座音樂會、節慶或戶外音樂會，使NSO 的節目成為愛樂大眾樂於參與的活動，形成華 人地區古典音樂的新風貌。 音樂總監 桂冠指揮 駐團指揮 第一小提琴 第二小提琴 中 提 琴 大 提 琴 低 音 提 琴 長 笛 短 笛 雙 簧 管 英 國 管 單 簧 管 低 音 管 倍 低 音 管 法 國 號 小 號 長 號 低 音 長 號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 執行長 整銷推廣經理 企劃演出經理 行政管理經理/ 總監執秘

呂紹嘉 根特•赫比希 張尹芳 ★ 吳庭毓 ★ 李宜錦 ☆ 鄧皓敦 方俊人 黃佳頎 李庭芳 ● 陳怡茹 ◎ 孫正玫 ○ 陳玟佐 鍾仁甫 蔡孟峰 洪章文 ● 黃瑞儀 ◎ 鄧啟全 ▓ 呂昭瑩 蔡秉璋 吳彥廷 黃亞漢 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 ▲ 劉純妤 ▲ 丁莉齡 ● 傅永和 ◎ 蘇億容 ○ 周春祥 ● 安德石 ◎ 宮崎千佳 李 浚 鐘美川 ● 王怡靜 ◎ 阮黃松 ▲楊凱婷 ▓ 李明怡 楊舒婷 ● 朱玫玲 ◎ 張凱婷 朱偉誼 ● 簡凱玉 ◎ 陳奕秀 高靈風 簡恩義 ● 劉宜欣 ◎ 劉品均 ○ 黃任賢 ● 宇新樂 ◎ 陳長伯 張景民 ● 李昆穎 ◎ 邵恆發 陳中昇 彭曉昀 ● 藤田敬介 ● 塞堤恩 ◎ 陳廷銓 ● 陳哲輝 陳振馨 楊璧慈 ● 解 瑄 ▲ 許毓婷 邱 瑗 王承禹 賴盈帆 王雲玉

○ 陳逸群 賴佳奇 吳怡慧 陳偉泓 黃雅琪 ▲劉詩珊 周幼雯

郭昱麟 林孟穎 李京熹 王致翔 李靖宜

林基弘 李家豪 黃衍繹

梁坤豪 曾智弘 顧慈美

陳逸農 蔡竺君 康信榮

卓曉青

謝君玲

呂孟珊

李思琪

陳猶白

陳怡婷

林宜女閒

黃日昇

蘇品維

唐鶯綺

王淑瑜

黃筱清

王淑宜

連珮致

蔡歆婕

王婉如

▓曹予勉

李梅箋

孫正茸

國田朋宏 鄒儒吉

企劃演出 企劃專員/總監助理 郭奕飛 企劃專員 賴曉俐 石玲玲 溫慧雯 譜務專員 高婉瑜 樂團舞監 高冠勳 統籌舞監 蘇敬涵 助理舞監 李艷玲

整銷推廣 行銷組長 鄭巧琪 行銷專員 王思懿 劉世玥 林洪儀 行政管理 人事組長 林碧珠 法務專員 劉善謙 行政專員 林欣儀 行政助理 張筑昀

▲張顥嚴

黃郁雯 戴瑜均 劉姿伶

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