2017
留白部分提供觀眾 打洞收藏之用
演出時間 | 2017 年 6 月 9 日 ( 星期五 ) 7:30 PM
演出者
指 揮 | 麥可．桑德林 Michael Sanderling, conductor 單簧管 | 莎賓．梅耶 Sabine Meyer, clarinet
演出地點 | 國家音樂廳 National Concert Hall, Taipei
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 30 分鐘，下半場約 45 分鐘
特別感謝 |
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演出曲目
Program
武滿徹 (1930–1996)：《奇幻詩章》
Toru Takemitsu (1930–1996):：Fantasma/Cantos
卡爾 ‧ 馬利亞 ‧ 馮 ‧ 韋伯 (1786–1826)： 單簧管小協奏曲，Eb 大調，作品 26
Carl Maria von Weber (1786–1826)： Clarinet Concertino, J.109, Op. 26, E-flat major
~ 中場休息 ~
~Intermission~
約翰尼斯 ‧ 布拉姆斯 (1833–1897)： 第一號交響曲，C 小調，作品 68
Johannes Brahms (1833–1897)： Symphony No. 1, Op. 68, C minor
I. II. III. IV.
有點綿延的—快板—稍快 綿延的行板 有點優雅的小快板 慢板—更多的行板—不過份的快板，但有活力 —更多的快板
I. II. III. IV.
Un poco sostenuto – Allegro – Meno allegro Andante sostenuto Un poco Allegretto e grazioso Adagio – Più Andante – Allegro non troppo, ma con brio – Più Allegro
演出者介紹 指
揮 | 麥 可．桑德林
麥可 ‧ 桑德林 2011 年起接任 德勒斯登愛樂的首席指揮。同時他 也是世界著名音樂表演中心爭相競 邀的客席指揮家，指揮諸多知名樂 團，如：蘇黎世音樂廳管絃樂團、 位於東京的日本讀賣交響樂團與 NHK 交響樂團、慕尼黑愛樂、維也 納交響樂團、多倫多交響樂團、萊比錫布商大廈管 絃樂團，以及德國各大廣播樂團。 桑德林生於柏林，是少數從樂團成員躍身而成 世界頂尖指揮家的音樂人。 桑德林相當熱衷於跟年輕音樂家為伍，經常與 德國國家青年交響樂團、德國青年愛樂，以及石勒 斯威格 - 荷仕登節慶管絃樂團合作。 他曾以大提琴家與指揮家的身份，錄製過德弗 札克、舒曼、蕭士塔科維契、浦羅高菲夫、柴可夫 斯基等作曲家的重要作品。近期重要錄音有為索尼 唱片錄製的貝多芬與蕭士塔科維契的交響曲。
單簧管 | 莎賓．梅耶 莎賓 ‧ 梅耶是名揚全球的器 樂獨奏家。有一部份是是因為早先 稍受冷落的單簧管，在她的貢獻下 重新獲得了獨奏樂器舞台的光環。 梅耶生於克賴爾斯海姆市，分 別到司圖嘉特與漢諾威師從赫曼與 丹澤，接著展開她職業樂團成員的
Conductor | Michael Sanderling Michael Sanderling has been Principal Conductor at the Dresden Philharmonic since 2011. At the same time, he is a sought-after guest conductor in the world’s greatest music centers and directs renowned orchestras such as the Zurich Tonhalle Orchestra, the Yomiuri Nippon Symphony Orchestra in Tokyo, the Munich Philharmonic Orchestra, the Vienna Symphony Orchestra, the Toronto Symphony Orchestra, the NHK Symphony Orchestra in Tokyo, the Leipzig Gewandhaus Orchestra and Germany’s great radio orchestras. Born in Berlin, he is one of the few who made their way from being orchestra musicians into the top league of conductors. O n e o f M i c h a e l S a n d e r l i n g ’s p a s s i o n s i s working with young musicians. He regularly works with the Bundesjugendorchester, the Junge Deutsche Philharmonie and the Schleswig-HolsteinFestivalorchester. As cellist and conductor, he recorded important works by Dvorak, Schumann, Shostakovich, Prokofiev, Tchaikovsky and many others on CD. Of particular note are the current recordings of Beethoven and Shostakovich’s symphonies for Sony Classical.
Clarinet | Sabine Meyer Sabine Meyer is one of the world’s most renowned instrumental soloists. It is partly due to her that the clarinet, a solo instrument previously underestimated, recaptured the attention of the concert platform. Born in Crailsheim, she studied with Otto Hermann in Stuttgart and Hans Deinzer in Hanover, then embarked on a career as an orchestral musician and became member of the Bavarian Radio Symphony Orchestra. This was followed by an engagement as
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生涯，任職於巴伐利亞廣播交響樂團，隨後獲聘為 柏林愛樂單簧管獨奏家，因她的獨奏家事業愈發蒸 蒸日上，便離開樂團。此後以獨奏家身份鼎立於歐 洲樂壇數十年，演出無數場音樂會與廣播邀約，樂 音揚遍北美、日本、中國與澳洲。 梅耶備受全球逾三百個樂團一致讚譽。她的室 內樂曲目研究涉獵也相當寬廣，經常與她的「梅耶 單簧管三重奏」夥伴及其他知名演奏家探索室內樂 世界。
樂曲解說 撰文｜沈雕龍 ( 柏林自由大學音樂學博士 ) 武滿徹：《奇幻詩章》 武滿徹熟稔西方二十世紀的當代音樂語法，並 能從自己的文化的底蘊之中重新獲得創作的靈感， 創作不囿於東西方的傳統，而形成一種個人獨有的 特質，成為二十世紀二次大戰後最有代表性的日本 作曲家。 《奇幻詩篇》是武滿徹受 BBC 委託，完成並首 演於 1991 年的一部單樂章單簧管協奏曲。作曲家自 己生動地描述這首樂曲：「 樂曲題名中的兩個拉丁 字 Fantasma( 幻想 ) 和 Cantos( 歌 )，是同義的。在 一段短暫的導奏之後，從充滿色彩的管弦樂音形中 出現了一條清楚的旋律線，接著進行變形。這部作 品的結構是受到日本庭園地景“繞遊”(go-round) 風格的影響。支身信步於小徑上，佇足這裡或那裡， 讓心靈沉思，最後返回了出發的原點，卻發現那裡 已全然不同。」 樂曲在天鵝絨般的管絃樂聲響中展開，單簧管 以優雅的姿態昇浮出來，走著琶音和 Z 字般曲折的 路徑。相對的樂團聲響，時而像是靜謐的湖面輕起 漣漪，時而像是驟然掀起的浪濤，管絃樂器在聚起 與灑落間，始終不濁不雜，保持著清晰透明的聲響。 單簧管的旋律在伸展的時候，屢屢被不同的樂器以 齊奏加入變化了獨奏的色彩，宛如獨行者在背景映 照下重新反思自己。單簧管從容地進行了展技的獨 奏裝飾段後，樂團乍現浪漫的調性旋律動機；在音 色旋律的迭起變化之後，獨奏與樂團共構出最終寬 廣致遠的聲響，然後漸漸歸於茫然不語。 武滿徹將這部單簧管協奏曲獻給史托茲曼 (Richard Stolzman, 1942)。這位獨奏家神遊著作曲家 的音景：「 單簧管走在這座豐富的聲響庭園中，這 裡佇足那裏停留，為了歌唱，也為了傾聽歌聲的迴 響。」
卡爾 ‧ 馬利亞 ‧ 馮 ‧ 韋伯： 單簧管小協奏曲，Eb 大調，作品 26 音樂生涯相當漂泊的韋伯，1811 年來到了慕尼 黑找尋下一段發展。那時的他尚未寫出任何成名之
solo clarinettist at the Berlin Philharmonic which she abandoned, as she was more and more in demand as a soloist. For almost a quarter of a century, numerous concerts and broadcast engagements led her to all musical centres of Europe, to North America, Japan and China and Australia. Sabine Meyer has been a much-celebrated soloist with more than three hundred orchestras internationally. She also has explored a wide range of chamber repertoire with renowned colleagues as well as with her “Trio di Clarone”.
作，和別人合作不失為一個良策。韋伯在很短的時 間內，替他任職於慕尼黑宮廷樂隊的好友，亦是當 代的單簧管名家貝爾曼 (Joseph Bärmann, 1784-1847) 創作了一首單樂章的小協奏曲。不直接譜寫協奏曲， 讓韋伯有相當大的空間靈活創作單簧管，並添入自 己獨特的音樂想像。 樂曲在帶有附點節奏和顫音的樂團慢板中開 始，散發著莊嚴的氣氛，單簧管在這個導奏段落中 就已經展現了音階跳躍和各種力度與表情的靈活轉 換。之後接入的主體部份較非獨奏與樂團的競奏， 而比較是管弦樂伴奏的主題與四段變奏。主題段落 呈現了單簧管的歌唱性和快速跑句之性能，之後則 出現三連音、十六分音符等音型變奏，第四段快板 要處理的彷彿是六八拍節拍下的切分音變奏，卻出 現了新的旋律材料，在走過琶音、十五甚至十六連 音的展技段落之後，樂曲結束在活潑的慶典氣氛之 中。 值得注意的是在第三段變奏中，韋伯讓大部分 的樂團樂器休止，以凸顯兩隻中提琴三度伴奏著單 簧管獨奏低音的音色效果，過程中還穿插著減和絃 聲響和弱音的定音鼓滾奏。這些特色聲響的組合， 幾乎是韋伯 1821 年的浪漫歌劇《魔彈射手》(Der Freischütz ) 中魔鬼「薩米爾動機」的前兆，成為這 部器樂作品小協奏曲中最獨特的一段神秘音景：就 在氤氳的音響色澤之中，浪漫的種子開始破土萌芽。
約翰尼斯 ‧ 布拉姆斯： 第一號交響曲，C 小調，作品 68 「 我永遠寫不出一部交響曲的！你不懂那種一 直在身後聽見巨人腳步聲的感覺。」在完成第一號 交響曲之前，布拉姆斯對友人寫下了這句話，其所 反映的，是貝多芬九大交響曲的成就不僅替德奧音 樂的發展劃下了一個新的里程碑，亦帶給後來十九 世紀作曲家創作交響曲時的莫大壓力。 貝多芬交響曲能夠持續讓爾後的作曲家「在身 後聽見巨人的腳步聲」的原因之一，是那些不斷敲 邊鼓的音樂評論。貝多芬之後十九世紀德奧的交響 曲樂評，可以說盡圍繞著以下幾個面向對新交響 曲百般挑剔：樂曲的規模、主題動機的處理和適切 性、作品整體的凝聚力。這些觀點，使得日後的音 樂學家將十九世紀的「交響風格」詮釋為「豐碑
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性 」(monumentality) 和 主 題 動 機 處 理 (thematischmotivische Arbeit) 兩個特徵的綜合體。十九世紀上半 葉指標性樂評家之一的舒曼，還呼籲時人要超越前 人的成就：「 交響曲在貝多芬之後註定要用新的準 則來編排。我們預祝德國交響曲長存並且重新繁盛 地發展起來。」舒曼 (Robert Schumann, 1810 – 1856) 也把這種期望放在布拉姆斯身上，在那篇著名的《新 道路》(Neue Bahnen , 1853) 一文中，他寄望這位漢 堡來的年輕人能夠「 以理想的方式，表達出這個時 代最高等級的表現力。」偏偏這個備受期許的時代， 據統計，是整個十九世紀德奧地區交響曲出版最少 的十年 (1850–1859，共十九首 )。可見，到了十九世 紀中沒有作曲家不對交響曲又敬又畏，卻都不敢輕 舉妄動輕易嘗試。不難體會，在貝多芬的巨人的影 子下被舒曼高舉的布拉姆斯，想到要點下交響曲的 音符，是多麼沈重而艱鉅的一個任務。最終，布拉 姆斯在 1876 年寫出了他的第一號交響曲；只是，從 構思到完成的這個過程，足足花了二十幾年之久。 布拉姆斯絕不願意被形容為模仿前人，但是他 的第一號交響曲確有幾個特色讓人聯想到貝多芬。 第一，整部作品以 c 小調開始，結束在 C 大調。這 種「行過襤褸，邁向星辰」(per aspera ad astra) 的小 調至大調的調性發展象徵，是貝多芬影響深遠的第 五、九交響曲亦具有的。在布拉姆斯第一樂章中顯 著的半音階進行，部份地涵蓋了其他的樂章，讓有 些評論家將之和貝五中貫穿整曲的命運動機相比擬； 事實上，命運動機三短一長的特色節奏，確實有類 似的動機。 在布拉姆斯第一樂章第二主題群中，巨觀結構 上和貝多芬不同的，是布拉姆斯利用三度調性關係 (c-E-Ab-C)，緊密地把四個樂章鏈接在一起。另一方 面他將頭尾樂章用顯著的定音鼓加上絃樂高音的激 情，配合其他銅管樂器的鳴響 ( 長號只出現在第四 樂章 )，以及樂章的長度，營造出整首交響曲向外散 發的恢弘遼闊之豐碑感。微觀之處的布拉姆斯亦顯 不凡，例如第一樂章的第一主題，其實是多個包括 半音、特色音型、節奏與旋律等，以對位手法組合 成的綜合動機群；此外，布拉姆斯傾向在呈式部中 就進行些微的動機發展，然後在發展部中將某些呈 式部破碎的動機發展出明確的主題外貌，也具有新 意。第四樂章中，在長號與絃樂震音的伴奏下，法 國號驟然在 C 大調上明亮地以抒情的姿態躍起，勾 勒出一個富有畫面的場景，讓人見識到布拉姆斯其 實有創作歌劇的潛力。 布拉姆斯的第一號交響曲延展了貝多芬的傳統， 又略探了標題音樂那種代表當代前衛風的手法，完 成了舒曼寄望他以當代「最高等級表現力」承先啟 後的期許。十九世紀後半的著名樂評家漢斯立克 (Eduard Hanslick, 1825 – 1904)，在蒞臨首演之後見 證了這個命定的傳承：「 布拉姆斯新的交響曲，是 一個民族可引以為傲的資產，注定要留下，並且成 為嚴肅享受與豐碩研究的未來長久的無盡泉源！」
Program Notes Toru Takemitsu: Fantasma/Cantos By Robert Markow Toru Takemitsu: Born in Tokyo, October 8, 1930; died in Tokyo, February 20, 1996 Not only was Tōru Takemitsu Japan’s greatest composer of the late twentieth century, but, in his own quiet, unassuming way, he was one of the preeminent musical figures of our time. Takemitsu’s great achievement was to synthesize with a high degree of success aspects of both Western and Oriental esthetics and techniques. Some think of him as an ambassador between musical cultures. A preoccupation with timbres, textures, colors and evanescent sonorities is the hallmark of Takemitsu’s style. Freely evolving musical material, contemplative moods and a sensation of quasi-spatial experience inform most of his music. In addition, there is a sense of profound reserve and self-control in this music, which is often dreamy, sensuous, delicate and imbued with a huge palette of delicate pastels. Fantasma/Cantos is about texture and color, not rhythm and melody. The instrumental palette is truly kaleidoscopic – constantly shifting in subtle patterns, never the same (aside from the opening and closing bars, which serve as a framework and are nearly identical). The work requires a large orchestra, but it is used with great restraint. Only rarely is the full ensemble employed, and then only for brief moments at a time. The dynamic level is generally soft, but the full gamut runs from ppp to fff . Every page of the score is peppered with dynamic markings, with different instruments simultaneously at different levels – the solo clarinet may be forte , the flutes mezzo-forte , the harp mezzo-piano , the violins fortissimo , etc. The time signature changes constantly, nearly every bar (2/8, 5/8, 3/8, 6/8/ etc.), but there is no sense of pulse, only a free-floating, continuous, fluid motion that invites contemplation and rest. Listeners will eventually come to recognize the motif that constitutes the soloist’s first seven notes, a vocally-conceived idea heard nine times in the course of the work. This motif might be regarded as a series of anchors, each of which “undergoes metamorphosis” (Takemitsu’s words) as dialogues with the orchestra. Takemitsu explained that “the structure of the work is influenced by Japanese landscape gardens in the go-round style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.” American clarinettist Richard Stoltzman gave the first performance on September 14, 1991 with Tadaaki Otaka conducting the BBC Welsh Symphony Orchestra in Cardiff.
Carl Maria Von Weber: Clarinet Concertino, J.109, Op. 26, E-flat major By Robert Markow Carl Maria Von Weber: Born in Eutin, Germany, December 18, 1786; died in London, June 5, 1826 The early nineteenth century saw rapid developments in the design and construction of many instruments. One of the greatest beneficiaries of this technical progress was the clarinet, for which Carl Maria
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von Weber wrote no fewer than seven compositions between 1811 and 1816 featuring the instrument in concerted or chamber music. These include a Quintet, two Concertos and the Concertino, one of Weber’s bestknown works for any instrument. All but the Grand Duo Concertant were written for the virtuoso Heinrich Bärmann. According to Weber’s biographer John Warrack, Bärmann acquired in 1809 “a ten-key clarinet that allowed greater flexibility and smoothness; and in Bärmann’s clarinet Weber found an instrument that with its French incisiveness and vivacity and its German fullness seemed to express a new world of feeling, and to match both the dark romantic melancholy and the extrovert brilliance of his own temperament.” Such was the success of the first work Weber composed for Bärmann, the Concertino Op. 26, that he wrote to a friend: “Since I composed the Concertino for Bärmann the whole orchestra [in Munich] was been the very devil about demanding concertos from me … two Clarinet Concertos (of which one in F minor is almost ready), two large arias, a Cello Concerto for Legrand [never written], a Bassoon Concerto. You see, I’m not doing at all badly, and very probably I’ll be spending the summer here, where I'm earning so much that I’ve something left over after paying my keep.” The Concertino opens with a short, darkly serious slow introduction which leads directly into a brilliant allegro, featuring peppy themes, catchy rhythms, boundless gaiety and plenty of opportunities for virtuosic display.
Johannes Brahms: Symphony No. 1, Op. 68, C minor Brahms's symphonic aspirations went back at least to the time when Robert Schumann in 1853 had introduced him to the musical world in his press article 'New Paths', in which he described Brahms's piano sonatas as 'veiled symphonies' and publicly encouraged the young composer to write for larger forces. It took Brahms another 23 years and several attempts which led elsewhere before he fully came to terms with writing a symphony 'after Beethoven', as he put matters. This is the anxiety of influence, or, perhaps better, the responsibility of influence, writ large: how to make oneself a worthy part of a tradition one admires, how to respond to one's chosen past with the originality and power it ineluctably demands. During composition of both the First Piano Concerto, Op. 15, and the First Serenade, Op. 11, Brahms thought of each work as a potential symphony, then in summer 1862 he showed the first movement of the First Symphony to friends, as yet without its slow introduction. Almost nothing is known of his work on the symphony in the intervening years to 1876, though for her birthday in 1868 he sent Clara Schumann the alphorn theme used in the finale. He titled it for her on this occasion: 'Thus the alphorn sounded forth today', and gave it a poetic text, but, as far as we know, melody and poem are Brahms's own. By the beginning of the next decade he seemed to have lost heart entirely, remarking to his friend the conductor Hermann Levi: 'I shall never write a symphony! You have no idea what it feels like, for someone like me always to hear such a giant as Beethoven marching along behind'. Brahms completed the work in October 1876, very probably in part under felt competitive pressure from Wagner's opening of Bayreuth and presentation of the first complete Ring Cycle. This
symphony was the only work for which Brahms fixed a first performance before finishing the composition, and he delivered the score in installments to his friend Otto Dessoff, who conducted the première on 4th November in the Great Hall of the Museum in Karlsruhe. That year the University of Cambridge offered Brahms and his friend the violinist Joseph Joachim honorary doctorates. Brahms could not bring himself to visit England, so was unable to accept the honour. Joachim on the other hand came, and he performed Brahms's Symphony at Cambridge on 8th March 1877. The early press reception in both countries was very warm, and recurrent points of focus were: the chamber music aspect of the orchestral writing, speculation concerning a possible secret programme, and the relationship to Beethovenian heritage. This last issue became especially important for Wagner and his followers, for he maintained that after Beethoven's Ninth Symphony, only the Music Drama and Symphonic Poem could be justified in the realm of orchestral music. Thus Brahms's competition with Wagner had its profound side, and his achievement in this symphony constitutes a reaffirmation and revitalization of the four-movement purely instrumental symphony as a traditional form made new. Brahms begins with a powerful slow introduction, in which chromatic lines in woodwind and strings diverge over relentless drum beats; this becomes a type of pre-thematic motto for the whole work — these sinuous chromatic lines surround the themes in the first movement, interrupt the sumptuous opening melody of the slow movement, punctuate the phrases of the intermezzo-like third movement, and reach their apotheosis in the dramatic introduction to the finale, where they are at last dismissed by the appearance of the alphorn melody. This evolution is emblematic of the narrative trajectory of the work as a whole: from darkness to light, from strenuous drama to triumphant joy. Brahms gives this narrative an extra dimension in the last movement: his customary practice was to write movements which diversify out from their opening by variation and extension; in this finale, on the other hand, he sets out by presenting a diverse range of material — the dark, foreboding introduction, the alphorn theme (a nature topos, of course), the brass chorale (an ecclesiastical topos),the march-like Allegro theme a Beethovenian topos — which, during the course of the movement, he proceeds to relate and integrate, before closing with surely the most overtly euphoric peroration he ever gave us, in musical (and personal) triumph. © 2016 Naxos Digital Services Ltd
5 | 極致古典
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 Shao-Chia 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
呂紹嘉 根特 ‧ 赫比希 張尹芳
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 倍低音單簧管 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
★ 吳庭毓 方俊人 ▲ 張暐姍 ● 陳怡茹 鍾仁甫 ● 黃瑞儀 蔡秉璋 ● 熊士蘭 唐鶯綺 ● 傅永和 ● 安德石 鐘美川 ● 王怡靜 ■ 李明怡 ● 朱玫玲 鄭哲男 ● 簡凱玉 簡恩義 ● 劉宜欣 ● 宇新樂 ● 宋光清 彭曉昀 ▲ 廖偉強 ● 連雅文 ● 陳哲輝 ● 解 瑄 ▲ 許毓婷
執行長
邱
整銷推廣經理 行銷管理經理
王承禹 王雲玉
音樂總監特助
陳依君
瑗
★ 李宜錦 黃佳頎
☆ 鄧皓敦 李庭芳
○ 陳逸群 賴佳奇
郭昱麟 ■ 林孟穎
林基弘 李家豪
梁坤豪 曾智弘
陳逸農 蔡竺君
■ 卓曉青 ▲ 藍胤萱
◎ 孫正玫 蔡孟峰 ◎ 鄧啟全 吳彥廷 ◎ 連亦先
○ 陳玟佐 洪章文 ○ 呂昭瑩 袁繹晴 ○ 韋智盈
吳怡慧 陳偉泓 黃雅琪
李京熹 王致翔 李靖宜
黃衍繹
顧慈美
康信榮
李梅箋
謝君玲
呂孟珊
李思琪
陳猶白
呂明美
周幼雯
陳怡婷
林宜嫺
黃日昇
蘇品維
◎ 蘇億容 ◎ 宮崎千佳
○ 周春祥 李 浚
王淑瑜
黃筱清
王淑宜
連珮致
蔡歆婕
◎ 阮黃松 楊舒婷 ◎ 張凱婷
▲ 楊凱婷
◎ 陳奕秀
高靈風
◎ 劉品均 ◎ 陳長伯 ◎ 邵恆發
○ 黃任賢 張景民 陳中昇
王婉如 ＊ 黃書啟
曹予勉
◎ 陳廷銓 陳振馨
楊璧慈
朱偉誼
孫正茸
國田朋宏 鄒儒吉 ＊ 李季鴻
企劃演出 企劃組長 賴盈帆 企劃專員 賴曉俐 吳孟珊 石玲玲
整銷推廣 行銷組長 鄭巧琪 行銷專員 曾柏雄 郭玲孜 王思懿 陳勁澔
譜務專員 高婉瑜 樂團舞監 高冠勳 統籌舞監 潘柏宏 蘇敬涵
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 陳靜怡 張筑昀
法律顧問 林信和 音樂諮詢 焦元溥 美術設計 黃志勳 錄音製作
★樂團首席
☆樂團副首席
●首席 ◎副首席 ○助理首席
■留職停薪
▲樂季合約人員
＊ NSO 樂團學苑學員
樂團學院計畫贊助