20180615 1905

Page 1

2018

演出曲目

Program

李元貞(b. 1980): 《咿嚕唵》(原住民委員會委託創作,世界首演)

YUAN-CHEN LI(b. 1980): Iluwan (commissioned by Council of Indigenous Peoples, world premiere)

路得維希•凡•貝多芬(1770-1827): 第四號鋼琴協奏曲

LUDWIG VAN BEETHOVEN(1770-1827): Piano Concerto No. 4, Op. 58, G Major I. Allegro moderato II. Andante con moto

I. 中庸的快板 II. 流暢的行板 III. 迴旋曲—甚快板

III. Rondo (Vivace)

留白部位提供觀眾 打洞收藏之用

∼中場休息∼

~Intermission~

德米特里•蕭斯塔科維契(1906-1975): 第十一號交響曲《1905年》

DMITRI SHOSTAKOVICH (1906-1975): Symphony No. 11, Op. 103, G minor, The Year 1905

I. II. III. IV.

I. II. III. IV.

慢板(冬宮廣場) 快板(一月九日) 慢板(安息長存) 不過快的快板(警鐘)

演出時間│ 2018年6月15日 (星期五) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei

Adagio (Palace Square) Allegro (The 9th of January) Adagio (Eternal Memory) Allegro non troppo (Tocsin)

演出者

揮|呂紹嘉 Shao-Chia Lü, conductor

琴|麥可.羅爾 Michael Roll, 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45分鐘,下半場約60分鐘

山海琴原Senay委創計畫│


1︹1905

柔出者䝋級 ćŒ‡ć?Žď˝œĺ‘‚ç´šĺ˜‰

Conductorď˝œShao-Chia LĂź

ĺ‡şčşŤč‡şç ŁďźŒç‚şäşŤč­˝ĺœ‹éš›ć¨‚ĺŁ‡çš„ ć—…ć­?ĺ??ćŒ‡ć?ŽĺŽśă€‚自鋟ç?´ĺ•&#x;č’™ďźŒĺžŒéš¨ é™łç§‹ç››ç ”çż’ćŒ‡ć?ŽďźŒçšźč€Œčľ´çžŽĺ?°çŹŹĺŽ‰ 那大學ĺ?Šçś­äš&#x;ç´?ĺœ‹çŤ‹é&#x;łć¨‚é™˘ćˇąé€ ă€‚ ĺœ¨č´?ĺž—ćł•ĺœ‹č˛?ćĄ‘é Œă€ 瞊大ĺˆŠä˝Šĺ?“ĺœ° ĺ’Œč?ˇč˜­ĺ­”垡拉螛三大ĺœ‹éš›ćŒ‡ć?Žĺ¤§čł˝ 錖ç?ŽĺžŒďźŒĺą•é–‹äş†äť–ĺœ¨ć­?ć´˛çš„ćŒ‡ć?Žç”&#x; 术。旅幅垡ĺœ‹ćœ&#x;é–“ĺ…ˆĺžŒć“”äťťć&#x;?ćž—ĺ–œć­ŒĺŠ‡é™˘éŚ–席é§?ĺœ˜ ćŒ‡ć?Žďźˆ1995-1998〠垡ĺœ‹ć&#x;Żĺ¸ƒĺ€ŤčŒ˛ĺ¸‚çŤ‹ć­ŒĺŠ‡é™˘é&#x;ł 樂總ç›Łďźˆ1998-2001〠垡ĺœ‹ĺœ‹厜č?ŠčŒľć„›ć¨‚交é&#x;żć¨‚ ĺœ˜é&#x;łć¨‚總ç›Łďźˆ1998-2004〠垡ĺœ‹ćź˘čŤžĺ¨ ĺœ‹厜ć­ŒĺŠ‡ 院é&#x;łć¨‚總ç›Łďźˆ2001-2006ďź‰ďźŒ丌ć–ź2004ĺš´5ćœˆç?˛ć–‡ĺŒ– éƒ¨é•ˇé ’č´ˆ蹥垾芲çœ ć–‡ĺŒ–ćœ€éŤ˜挎譽çš„Peter Cornelius ç?ŽçŤ ă€‚ĺœ¨ć­ŒĺŠ‡çš„é ˜ĺ&#x;&#x;中ďźŒć›žć–źč‹ąĺœ‹ĺœ‹厜ć­ŒĺŠ‡é™˘ă€ ĺ¸ƒ é­ŻĺĄžçˆžçš‡厜ć­ŒĺŠ‡é™˘ă€ é›Şć˘¨ć­ŒĺŠ‡é™˘ă€ 垡ĺœ‹ĺ?¸ĺž’ĺŠ ç‰šă€ ć&#x;?ćž—垡ć„?ĺż—ă€ ćź˘ĺ Ąă€ ćł•č˜­ĺ…‹çŚ?ć­ŒĺŠ‡é™˘ĺŽ˘ĺ¸­ç™ťč‡şćŒ‡ ć?Žă€‚ć­ŒĺŠ‡ĺ¤–ďźŒĺ‘‚ç´šĺ˜‰ĺœ¨äş¤é&#x;żć¨‚ćŒ‡ć?Žçš„襨ç?žäš&#x;ĺ?Œ樣耀 çœźă€‚čż‘ĺš´äž†ĺ?ˆä˝œçš„ä¸ťčŚ äş¤é&#x;żć¨‚ĺœ˜ćœ‰ďźšć&#x;?林〠輿ĺ?— 垡〠中垡〠塴äź?ĺˆŠäşž坣ć’­ă€ ćł•ĺœ‹ĺœ‹厜ă€ é‡Œć˜‚ă€ ć?œé­Ż 壍〠ĺ?˛ç‰šć‹‰ć–Żĺ Ąă€ çś­äš&#x;ç´?坣ć’­ă€ č‹ąĺœ‹ĺˆŠç‰ŠćľŚć„›ć¨‚ă€ 弧斯陸愛樂〠č˛?çˆžć šć„›ć¨‚ă€ 辍çˆžčž›ĺ&#x;şć„›ć¨‚〠瑞典坣 ć’­ă€ ćŒŞĺ¨ 坣ć’­ă€ ĺ“Ľç‰šĺ Ąă€ çž…錏č –輿輿é‡Œäşžă€ ĺ?Šč?ˇč˜­ 皇厜é&#x;łć¨‚大ćœƒĺ ‚玥çľƒć¨‚ĺœ˜ç­‰ă€‚ĺœ¨äşžć´˛ďźŒčˆ‡éŚ™港玥埌 ć¨‚ĺœ˜ă€ NHKă€ ć–°ć—ĽćœŹć„›ć¨‚ă€ éŚ–çˆžć„›ć¨‚ă€ é&#x;“ĺœ‹KBS ĺ?ŠĺŒ—亏〠上澡ç­‰ĺœ°çš„䝣襨ć€§ć¨‚ĺœ˜ĺ?ˆä˝œćź”出。自2010 ĺš´8 ćœˆ辡掼䝝NSO ĺœ‹厜交é&#x;żć¨‚ĺœ˜é&#x;łć¨‚總監。

Taiwan-born conductor Shao-Chia LĂź studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at Vienna's College of /WUKE *KU VTCKPKPI TGUWNVGF KP KORQTVCPV ĹżTUV RTK\GU CV three renowned international conductor competitions: Besancon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia LĂź accepted positions as )GPGTCN /WUKE &KTGEVQT QH VJG -QDNGP\ 6JGCVTG 2001), the Staatsorchester Rheinische Philharmonie -QDNGP\ CPF VJG 5VCCVUQRGT *CPPQXGT (2001- 2006). Shao-Chia LĂź appears regularly as guest conductor at several world-renowned opera houses, including the Opera Australia in Sydney and Melbourne, the English National Opera, Theatre de la Monnaie in Brussels, Den Norske Opera in Oslo, Gothenburg Opera, Oper Frankfurt, Staatsoper Hamburg and Stuttgart, Deutsche Oper and Komische Oper Berlin. Alongside his opera activities, Lu is equally at home on concert podiums. Lu has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, Orchestra Sinfonica di Santa Cecilia Rome, Norwegian and Swedish Radio Orchestras, Helsinki Philharmonic Orchestra, Royal Liverpool Philharmonic, Orchestre National de France, SWR Stuttgart, Rundfunksinfonieorchster Berlin, the Goteborgs Sinfoniker, Staatskapelle Weimar, Frankfurter Museumsorchester and Royal Concertgebouw Orchestra in Amsterdam. In Asia, Lu has worked with the Hong Kong Philharmonic, NHK, New Japan Philharmonic, Seoul Philharmonic, KBS Symphony Orchestra and leading orchestras in China Shao-Chia LĂź has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra) since August 2010.

é‹źç?´ď˝œ麼ĺ?ŻďźŽçž…爞

Pianoď˝œMichael Roll   Michael Roll's remarkable career started when he won the inaugural Leeds International Piano Competition at the age of 17. Since then he has YQTMGF YKVJ EQPFWEVQTU UWEJ CU $QWNG\ $QWNV &CXKU Gergiev, Giulini, Haitink, Masur, Previn, Sawallisch, Sanderling and Steinberg, and from the younger generation among others Alexander Shelley and #PFTGU 1TQ\EQ 'UVTCFC 1TEJGUVTCU JCXG KPENWFGF the London Symphony, London Philharmonic, Royal 2JKNJCTOQPKE $$% 5[ORJQP[ .GKR\KI )GYCPFJCWU Suisse Romande and Boston Symphony orchestras. He has appeared at international festivals like Vienna, Edinburgh, Hong Kong, Aldeburgh, George Enescu and Klavier-Festival Ruhr, and on sixteen occasions at the Proms. His recording of the Beethoven piano concertos with the Royal Philharmonic Orchestra and Howard Shelley received rave reviews and was 'FKVQT U %JQKEG KP VJG )TCOQRJQPG OCIC\KPG

  麼ĺ?ŻďźŽçž…çˆžäťĽĺ? ä¸ƒć­˛äš‹齥č´?ĺž— éŚ–ĺą†é‡ŒčŒ˛ĺœ‹éš›é‹źç?´ĺ¤§čł˝ďźŒäš‹ĺžŒäžżé–‹ 始了䝖ä¸?ĺ?Œĺ‡Ąé&#x;żçš„č ˇćĽ­ćź”ĺ‡şç”&#x;术。 äť–ć›žčˆ‡ĺ¸ƒĺˆ—čŒ˛ă€ ĺ?šçˆžç‰šă€ ćˆ´çś­ć–Żă€ č‘›ćż&#x;复ă€ ćœąé‡Œĺ°źă€ 澡湀克〠錏čˆ’ çˆžă€ ć™Žĺˆ—ćąśă€ č–Šç“ŚĺˆŠč¨ąă€ ćĄ‘垡林〠ĺ?˛ĺ?ŚäźŻć źç­‰ćŒ‡ć?Žĺ??厜ďźŒ䝼ĺ?Šĺš´čź• 一䝣çš„ćŒ‡ć?Žĺ?ˆä˝œďźŒĺŚ‚äşž歡幹大雪č?Šĺ’ŒĺŽ‰垡çƒˆďźŽ弧 çž…čŒ˛ç§‘ďź?ĺ&#x;ƒć–Żç‰šć‹‰é ”。ĺ?ˆä˝œé Žçš„ć¨‚ĺœ˜ćœ‰ĺ€Ťć•Śäş¤é&#x;żć¨‚ ĺœ˜ă€ ĺ€Ťć•Ść„›ć¨‚ć¨‚ĺœ˜ă€ çš‡厜ć„›ć¨‚ć¨‚ĺœ˜ă€ BBC 交é&#x;żć¨‚ ĺœ˜ă€ č?ŠćŻ”éŒŤĺ¸ƒĺ•†大ĺťˆ玥çľƒć¨‚ĺœ˜ă€ ç‘ž壍çž…ć›źĺžˇĺ’Œ波壍 é “交é&#x;żć¨‚ĺœ˜ă€‚äť–çš„躍役äš&#x;常茋斟ĺ?„大ĺœ‹éš›é&#x;łć¨‚çŻ€ďźŒ 匂眭äš&#x;ç´?ă€ ć„›ä¸ ĺ Ąă€ éŚ™港ă€ ć„›çˆžĺ Ąă€ ć Šĺ…§ć–Żč€ƒé&#x;łć¨‚ çŻ€ă€ é­Żçˆžé‹źç?´é&#x;łć¨‚çŻ€ç­‰ďźŒ丌ĺ?—é‚€ĺ?ƒčˆ‡é€?é ™é&#x;łć¨‚節柔 ĺ‡şé ”ĺ? ĺ…­ćŹĄäš‹ĺ¤šă€‚äť–éŒ„製甹éœ?č?ŻďźŽé›Şč?ŠćŒ‡ć?Žçš‡厜ć„› 樂玥çľƒć¨‚ĺœ˜çš„č˛?多芏鋟ç?´ĺ?”ĺĽ?曲漾ç?˛ç››čŽšďźŒ丌ĺ…Ľé ¸ 垡ć„?ĺż—ç•™č ˛ćŠ&#x;é›œčŞŒçš„ă€Œçˇ¨čźŻç˛žé ¸ćŽ¨č–Śă€?。


2︱1905

樂曲解說

李元貞在芝加哥大學博士班期間曾修習歌劇、音 樂多媒體研究、劇本與表演研究,並以猶太人大

李元貞:《咿嚕唵》(世界首演) 撰文│李元貞

屠殺相關的音樂作品著文 "The Difficult Voice in Vocal Composition, Composers' Aesthetic Responses to Secondhand Holocaust Experiences"。以精神分析的

《咿嚕唵》採用的旋律取材於臺灣作曲家許常惠等

方法,利用聲樂、用字、器樂、多媒體等材料,來

於1976年在屏東縣來義鄉的中排灣族古樓部落所

討論樂曲結構和作曲家的歷史觀點和體現。李元貞

採集的歌謠錄音,為無伴奏的男中音獨唱。歌謠的

也對政治和戰爭移民、殖民的二代及後代的精神、

語音聽來柔軟,多為一字一音。旋律以上型或下行

文化和藝術有相當興趣,並以大提琴與室內樂協

的分散和絃音型所組成,像是自然泛音列裡第五至

奏曲《漂點》來表現主奏者 (即主人翁) 在歷經矛

十分音所排列的音律。謠曲約每三至四個樂句為一

盾、統一、辯證等而最後達到包容與和諧的狀態。

段,共四段。這首歌謠,排灣語叫作「iluwan」,

繼2015年取得芝加哥大學音樂博士學位以後,為

意思是「思念女友之歌」,是首情歌:第二和第四

自由作曲家。李元貞並於2016-2017年間,聘為客

段為大量無意義但充滿情緒的虛詞,第一和第三段

座教授,任職於里德學院 (Reed College) 的藝術學

則以第一人稱,敘述主角欲與過去的戀人再次復

院音樂系。

合,方才領悟的傷痛。

借用-擷取耳熟能詳的馬勒第五號交響曲小慢板的

路得維希•凡•貝多芬:第四號鋼琴協奏曲 撰文│顏華容(俄羅斯國立莫斯科柴可夫斯基紀念音樂院

管絃樂音響(無和聲功能)來暗示「iluwan」的本

鋼琴演奏博士)

管絃樂版的新編Iluwan,使用了多樣的作曲手法:

質是與情人有關的音樂;象徵-以平均律F 與自然 泛音律F 的差異為樂思,除了用來劃分樂曲段落以

「我已無法滿足於過去種種,從今之後我要走自己

外,兩音之合音所產生的不和諧音響,用以象徵歌

的路」-貝多芬

詞裡情人「同屬性」卻互相傷害的劇痛感;情緒轉 化-原曲中使用了許多無意義但充滿情緒「虛詞」

雖然被稱為「皇帝」的貝多芬第五號降E大調鋼琴

的歌唱技巧,則用銅管以誇張地、即興式地、較片

協奏曲光奪目、膾炙人口,不過也有不少樂迷獨鍾

段地手法,來仿同那些嘆息般自由卻不自主的處理

相對「低調」的第四號協奏曲。

音量變化和音型;音色轉化-為了反映排灣語的特 色,則以管弦樂器純淨、圓滑的音色呈現;感官刺

因著華德斯坦( Count Ferdinand E. G. von

激-將聆聽原歌謠聲樂所產生的身心理共感,移植

Waldstein)的建議,二十八歲的貝多芬來到維也

到管絃樂的運弓和運氣,讓樂句多以一口氣的長度

納、很快地人生與事業都扶搖直上、眼看著就能與

為主,藉由演奏者屏氣凝神的演出,捕捉聽者的呼

窮困卑微道別,旋即遭受人生最大打擊—聽力逐漸

吸與感受。

喪失。1802年,三十二歲的貝多芬走過自殘絕境,

----

定以生命與命運奮戰,開始了一般稱為「中期」或

寫下「聖城遺書」(Heiligenstadt Testament),決 「英雄」名作連連的創作時期;舉凡第三號《英 作曲者家李元貞自從於2000年的琵琶與西室內樂

雄》、第五號《命運》、第六號《田園》交響曲連

作品《葬》採用台灣北管、喪事、無調性音樂、

番問世,也就是兩百多年來許多人「認識」的,以

舞台走位、拼貼等材料之後,便無獨有偶的推出

毅力擊潰殘酷命運的貝多芬;而第四號鋼琴協奏曲

劇場、肢體、傳統音樂、與西洋樂器等跨界的作

就屬於此時期開端代表作。

品。2003年的古箏獨奏《貓嬉》以及2007年的二 重奏《貓兒嬉》更是為台灣與中國傳統音樂界的古

若第五號協奏曲像是無畏大將軍,那麼第四號就是

箏獨奏作品注入了音樂與表演的新血。2006年,

將勇氣化諸輕盈與昇華。第四號無論在獨奏的技巧

教育部文化藝術獎 — 古琴與十件西洋樂器的室內

與表現力、曲式設計、配器…皆是影響深遠的寧靜

樂《間奏曲:參》— 李子聲評:「此種大膽的舉

革命;身為絕佳鋼琴的貝多芬不但增加樂團的參與

動,反映了作曲者對於各種樂器性能有著相當的

度、每個樂器聲部的獨立性;更將鋼琴每個音域的

掌握能力...」同年李元貞與國家國樂團為客家歌謠

特色大幅增加,在第三號鋼琴協奏曲第一與第二樂

所改編長達40分鐘的國樂伴奏,風格從客家絲竹

章稍有,並於中期、晚期的鋼琴作品中頻繁出現的

化、低限音樂、以及複音轉支聲複調的寫法,是客

「極高、極低音域對應或對比」的寫作,在第四號

家音樂與國樂跨界最早的例子之一。

協奏曲中就有許多經典例子。


3︱1905

第四號協奏曲不再服膺常規,貝多芬捨棄樂團提示

德米特里•蕭斯塔科維契:

主題綱要,繼而鋼琴禮貌入場的次序;亦未以燦爛

第十一號交響曲《1905年》 撰文│顏華容

奪目攫取主導權,整個協奏曲以一個彷彿在眾目睽 睽下與自身對話的長音—一個寧靜致遠的G大調主 三和絃開始;這個和絃來來回回,像是在聆聽、檢

「他把靈魂賣了!」首演後有人這樣大罵,

視、自問自省之後走到屬和絃,給樂團一個問題,

但二十世紀最重要詩人阿赫瑪托娃卻對友人

樂團的回應遠遠地以一模一樣的高音旋律,卻來到

說「那些(革命)歌就像飛過恐怖漆黑天際

B大調和絃上回應—同樣的旋律抹上不同和聲、指 向不同調性,有著不同的風景,多麼令人振奮的靈 感!

的白色鳥兒」。 莫斯科有一個地鐵站就叫做1905年,莫斯科 音樂院的學生宿舍就在這一站;但聖彼得堡 或莫斯科卻沒有地鐵站叫做1917年,或許能

第四號與第五號鋼琴協奏曲成功開創了「有鋼琴獨

夠說明1905年的神聖重要性。

奏的交響曲」類型的鋼琴協奏曲典範。第四號協奏 曲的慢板樂章,尤更進一步確立言簡意賅取代了優

1956年蕭斯塔科維契著手譜寫第十一號交響

美詠嘆的方向,如同作品五十三C大調鋼琴奏鳴曲

曲, 1957 年仲夏八月完工,於同年十月底

那彷彿精確到了不能增減一分一毫,已然去蕪存

於莫斯科首演。第十一號交響曲編制龐大,

菁的簡潔與凝聚力的慢板樂章,在這首超過半小時

管擊樂陣容浩大,連豎琴都用上兩把;演奏

的協奏曲中,貝多芬只用五分鐘就將古往今來重要

時間雖非史上最長,但也超過一小時。首演

的「慢板」體裁風格匯聚其中,尤其絃樂齊奏的導

時,只有蘇聯黨中央甚為讚賞,公眾反應則

奏,以及樂團與鋼琴的對話中,明顯聽得到巴洛克

喜憂參半—明顯的蘇聯寫實主義使蕭氏支持

歌劇遺留的典範;難怪讀遍經典、深諳典故的李斯

者們不安、亦不滿。

特將第四號協奏曲第一樂章比喻為希臘神話中的音 樂之神奧菲斯(Orpheus)以里爾琴(lyre)美妙琴聲安

史達林早已於1953年去世,為何蕭氏卻未像

撫收服怒吼野獸的第二樂章,並非穿鑿附會。貝多

一般人想像地,在近二十年的白色恐佈惡魔

芬為終結樂章仍舊選擇了輪旋曲,不過不同於其他

消失後歡慶創作力大爆發呢?蕭氏傾力譜寫

快速歡樂甚至到了嬉鬧的輪旋曲,第四號協奏曲的

第十號交響曲、發表(早已完未發表的)第

終樂章既歡暢又典雅,這也提供了我們觀察貝多芬

一號小提琴協奏曲、絃樂四重奏…後,反而

對調性的多面設計的觀察素材—G大調是貝多芬鋼

寫了電影配樂、政治正確的音樂、甚至還有

琴奏鳴曲中數量最多的調性(而不是有名的C大調

歌頌共青精神的流行歌…為何蕭斯塔柯維契

或降E大調),第四號鋼琴協奏曲沒有作品31-1的

像是「空掉」了呢?

那種慧黠,或許接近第九號小提琴奏鳴曲的靈性高 遠,或許也因此,小提琴在眾合奏群中被凸顯出來 演奏反覆出現的主題。 第四號協奏曲的裝飾奏版本數量堪稱史上一奇,或 許與前三首協奏曲那種典型豐厚的、充塞熱血論 述的第一樂章截然不同的第四號協奏曲第一樂章的 「空氣感」吸引橫跨兩百年、二十位鋼琴家、作曲 家紛紛譜下裝飾奏,抒寫感想。 第四號協奏曲的公開首演也是貝多芬最後一次親自

1954年底,在長期迫害他的史達林之後,蕭 氏的太太妮娜辭世。兩人的婚姻非屬親密、 也有出軌,然而個性強烈的妮娜過世後,蕭 斯塔柯維契似乎魂魄也失了一角,朋友們明 顯感到他的茫然;而「後史達林」的修正主 義的「赫魯雪夫」文藝解凍新態度下,新生 代們無不躍上大鳴大放的契機,年僅五十歲 的蕭斯塔柯維契反而又墮入時代潮流錯接的 坑洞陷阱,在西方被視為「歌功頌德的共產 黨樣板作曲家」,在國內則被視為老派。

擔任協奏曲的獨奏,在這場音樂會中還首演了《合 唱幻想曲》、第五、第六號交響曲…等作品。這幾

不但為了 1917 年革命四十週年而寫,也為

首跳脫尋常曲式的曠世傑作在首演當時受到質疑,

了 1905 年革命(別忘了,蕭斯塔柯維契生

即使過了兩百年還耐人尋味。

於革命後一年)。以如此重大的事件為題, 音樂中的符號自不會少—與其說這是一首交 響曲,不如說這是一首歷史題材的電影史詩 音樂;蕭斯塔柯維契使用大量懷舊革命歌曲 作為主題素材、很直接地與人民大眾取得情 感連結,無論配器或和聲語彙,都能明顯聽 到十九世紀晚期、俄羅斯管絃樂語法的獨特


4︱1905

民族色彩。除此之外,善造「典故」也善於用典

雙贏,停在G音上,彷彿過去凝視著遠方的未來。

的蕭斯塔柯維用上了《十首革命詩》無伴奏合唱 曲的第六首,以及無論是音樂或題材對俄國人

龐大的第十一號交響曲最後以蕭氏1951年的唱著

們都甚為重要的《包利斯•戈都諾夫》( Boris

「低下頭來!低下頭來!」的合唱曲結束。低下頭

Godunov),劇中的革命、加冕鐘聲動機素材響盪

來到底是謙卑、認輸、還是對先烈的敬意、在奮起

於交響曲所有樂章—如此說來,蕭斯塔柯維契強

前的沉思呢?蕭斯塔柯維契的取材無不是陳述不受

調的,並不是共黨中央這些政客們所要的「革命

限於「慶祝獲得政權」的1917革命四十周年,卻以

四十周年」,而是俄羅斯近千年歷史中一次又一

音樂娓娓道來歷史觀點,提醒眾人因1905這個失敗

次的革命血痕。

的革命而引起更大浪潮,使得1917年的十月革命徹 底改變俄國命運—沒有永遠的贏家,只有一次又一

第一樂章以 1905 年一月九日破曉前冬日黑夜的

次的教訓。

凝重開始,絃樂器的弱奏、像是遠方傳來的號角 聲,都將「場景」拉到冷冽冰凍的涅瓦河畔的聖 彼得堡;在東正教為死者祝禱的聖詠之後,隨著 小鼓聲,第一首革命歌曲〈聽啊!〉劃破天際, 這是政治犯「代代相傳」的歌曲,由十九世紀晚

Program Notes

期一直到古拉格,聽到這首犯人轉述即將在清晨

Yuan-Chen Li: Iluwan (commissioned by the

被處決的「同梯」過程的歌曲就「懂了」(如同

NSO, world premiere)

〈綠島小夜曲〉的某種意義)。〈聽啊!〉瀰

By Yuan-Chen Li

漫於第一樂章,直到這個旋律由低音管、小提 琴與中提琴再次唱起時,第二首歌曲、流行自

1850年的〈被逮捕者〉方響起。在樂譜上印著的 “Дворцовая площадь”,英文 標題翻譯為Palace Square,但這裡指的不是任何一 個宮殿的廣場,而是「發生革命」的、那個聖彼 得堡人、俄國人們所知的「冬宮廣場」。 第二樂章的素材來自前述的《十首革命詩》無伴 奏合唱曲的第六首,以1905年1月9日血洗聖彼得 堡冬宮廣場的革命為題的克茨( #TMCF[ -QV\ ) 的詩,就像《包利斯•戈都諾夫》人民大眾合 唱,充滿節慶般的龐大管絃樂聲響,歌詞唱的卻

Iluwan ( 咿嚕唵 ) is an orchestral arrangement of the tune "naluwan" adapted from the Taiwanese indigenous tribe Pai-Wan. Despite of variations of the tune, the particular one which the arrangement is based on was sang by a male, recorded by ethnomusicologist/composer Chang-Houei Hsu in 1967. The characteristics of this tune include the initial leap, long held straight tone, and series of broken-chord arpeggiations that roughly match the natural harmonic series. The lyrics describe the reminiscence of the lost love and alters with vocalise after every stanza.

是人民的悲鳴。〈聽啊!〉的旋律再次迴盪後, 進入稱為「永憶」(Eternal Memory)的第三樂 章。「永憶」或「安息長存」是東正教葬禮的告 別辭,「憶」指的是「安息主懷」,而不是永遠 懷念死者的意思。這段聖詠在第一樂章伊始已經 出現,在此由為革命烈士送葬進行曲〈您們是戰 鬥犧牲者〉起始,接著蕭斯塔柯維契將兩首歌曲 融合,一面是讚揚「同志們,勇敢向前」,接著 是「讚頌自由」,而末樂章則以革命戰鬥進行曲 「怒吼!你這暴君」開始,接著是最膾炙人口 的、1905-1907年華沙革命期間工人示威歌曲〈華 沙歌〉(8CTUJCXKCPMC 9CTU\CYKCPMC)唱著:「敵 方烽火在身邊吹襲,黑暗勢力以恨意壓制我們。 我們敵人拼鬥決生死,勝負命運尚且未明…」。 在英國管陰鬱的旋律之後,倍低音管那更加闇黑 的音色將音樂帶回慘烈氣氛,進行曲又再度回 返,這次擊樂鏗鏘大作,蕭斯塔科維契加入G小調 的警鐘(tocsin)鐘聲,與樂團堅持著的,或許是 具有人性與希望理想的G大調互槓,最後當然沒有

Although the symbolisms of the Western culture is unavoidably imbedded with the orchestra, The composition/arrangement concept of Iluwan attempts to realize the solo vocal tune of Taiwanese indigenous people with various orchestral settings and compositional techniques. First of all, the choice of the instrumentation reflects the physicalpsychological condition of the human voice, breath, and vowel sounds by employing winds, extending fermatas, changing the combination of instruments on every unison to mimic the changes of phonemes. Second, the orchestration emulates works known to orchestra concert goers, such as Mahler's Adagietto, to evoke the association with the emotion - the reminiscence of the lost love - similar to the subject of the Taiwanese lyrics. Moreover, the "feeling of hurting again" as portrayed in the lyrics, finds its musical expression as a disturbing dissonance


5︹1905

between the F# of the well-tempered tuning and the F# as the fifth partial in the natural harmonic series of D fundamental. Iluwan is commissioned by National Symphonic

Orchestra and Council of Indigenous Peoples. It is completed and recorded in 2016 under the baton of Yin-Fang Chang. --Yuan-Chen Li's musical style and language is cultivated

through a sensitivity to human expression. Her Taiwanese

upbringing, a Buddhist spirit, Western musical knowledge, and the symbolic aspects of nature and art, have inspired her

work. The sense of time and momentum in her music is not

easily categorized as purely classical or contemporary. Her

appreciation of principles about transformation, often found in classical Chinese poetry, brings an inclusiveness to modern music valuing both discipline and emancipation.

The range of Li's repertoire extends from large-scale

force, such as orchestra and concerto to more sensitive

chamber and solo music. Western and Chinese instruments have been used in selected pieces: Awakening premiered by

Tokyo Philharmonia Orchestra (2003), Intermezzo: SHANG

Ludwig van Beethoven: Piano Concerto No. 4, Op. 58, G Major

There were extreme misjudgements of planning in the concert in 1808 at which the Piano Concerto in G was first played. The Burgtheater had been engaged for an important charity concert on the same evening, so that Beethoven made use once more of the suburban Theater-an-der-Wien, which had opened in 1801 under the management of Emanuel Schikaneder, author of The Magic Flute. Here the audience was obliged to sit in a bitterly cold auditorium - the month was December from half-past six until half-past ten, and that at a time in the history of music when the patience of audiences had not yet been tried by the gargantuan works of later nineteenth century symphonists. The programme included the Pastoral Symphony, an Italian scena, shivered through by a cold soprano, the Gloria from the Mass in C, the new piano concerto, the Fifth Symphony (described by a member of the audience as very elaborate and too long), the Sanctus from the Mass, a Fantasy for solo piano and the Choral Fantasia. The last item, as under-rehearsed as much of the rest of the programme, brought catastrophic confusion.

commissioned by National Symphony Orchestra (Taiwan) premiered by Maestro Nicholas Milton (2012), the Guzheng

concerto Hovering in the Air receiving an Israeli premiere

during the conference and festival of Asian Composers' League (2012), and Spell for solo saxophone performed by

acclaimed saxophonist Timothy McAllister at Northwestern University New Music Conference (2014). Digitally cataloged

in the classical score library by Alexander Street Press, Li's works have been programmed and researched by musicians

Johann Friedrich Reichardt, former Kapellmeister to Frederick the Great, whose opinion of the Fifth Symphony has already been quoted, described the piano concerto as terribly difficult, but allowed that Beethoven played astonishingly well, in the fastest possible tempi, praising in particular the singing tone that the composer elicited from the piano in the slow movement.

and musicologists around the world.

Born and raised in Taiwan, Li holds a B.A. and M.A. in

music composition and theory from the Taipei National

University of the Arts (Taiwan) and an Artist Diploma from the Yale University School of Music. In 2015, she completed

her Ph.D. at the University of Chicago, where she studied

The concerto opens,contrary to the general practice of the time, with a brief statement of part of the first subject by the soloist. The orchestral exposition follows, after which the soloist is heard again, in a more elaborate role, which is maintained in a movement of imposing conception.

composition with Marta Ptaszynska and orchestration with conductor Cliff Colnot. Relevant honors, awards, and grants include Artist Residency at CitĂŠ Internationale des Arts, Jacob

Druckman Scholarship, University of Chicago Scholarship, and National Culture and Arts Foundation (Taiwan). In 2016, Li joins the Department of Music at Reed College as a visiting professor where she teaches music theory, composition, and

conducts the orchestra. For more information, please visit her website http://yuanchenli.wordpress.com.

The relatively short E minor slow movement, in which Liszt imagined Orpheus taming the Furies by his music, has all that deep serenity that Beethoven knew so well how to conjure. A brief introduction by the strings leads to the entry of the soloist, a pattern that is then repeated. The movement is scored only for piano and strings.


6︹1905

The second movement is linked to the third by a brief passage of singular poignancy, allowing the discreet entry of the orchestra in the final rondo, quickly dispelling the previous mood with a principal theme of cunning harmonic originality. There are episodes of a more serious cast to come in a movement in which traditional optimism finally prevails. Š 2015 Naxos Digital Services Ltd

Dmitri Shostakovich: Symphony No. 11, Op. 103, G minor, The Year 1905

In Testimony Solomon Volkov understands the Eleventh Symphony of Shostakovich as a direct contemporary response to the events of 1956 in Hungary, concealed under the guise of a work recalling the tragedy of 1905. Bloody Sunday, on 9th January 1905, was a disturbing precursor of the revolution to come. Two years earlier Father Georgy Apollonovich Gapon had organized an Assembly of Russian Factory and Mill-Workers. A strike at the Putilov factory in St. Petersburg in 1905 over suspected victimization of members of the Assembly led to an illegal march by some 200,000 workers and intellectuals to present a petition to the Tsar at the Winter Palace. Troops opened fire on the crowd and many demonstrators were killed, leading to further strikes and demonstrations throughout the country, and to a resolve by exiled Bolsheviks to resort to force in order to overturn the regime. The autumn brought concessions in the form of a representative assembly and the first Duma met in 1906, although dissent continued to be suppressed through the relatively moderate politician Stolypin, eventually assassinated in 1911. Bloody Sunday and the march on Palace Square, at which the father and uncle of Shostakovich had both been present, marked an important stage in the emergence of Russia into what promised to be an age of greater political and social justice. Whatever views Shostakovich may later have held about the Revolution of 1917, 1905 was a year remembered in his family, as it was by others, as a year of tragic sacrifice in a rightful cause. In Testimony Volkov's Shostakovich talks of the recurrence of such events in Russian history, equating the happenings of 1905 in St. Petersburg with those of Budapest in 1956.

The work is scored for a large orchestra, which includes xylophone, celesta, tubular bells and a possible four harps, in addition to the usual woodwind and brass and a suggested total of eighty string players. The sombre first movement opens with muted strings and harps, followed by the entry of the timpani with a triplet rhythm figure and the Mahlerian sound of a muted trumpet fanfare. Into the texture he weaves two songs of nineteenth century political prisoners, Listen and The Prisoner. The second movement, introduced now by unmuted strings, brings the agitation and terror of the Cossack assault on the peaceful demonstrators, including here references to earlier compositions. In Memoriam mourns the victims of oppression, entrusted at first to the lower strings, and the composer continues to make use of themes popularly associated with the incidents of 1905 and the aspirations of the people. The last movement of a work that offers a vast canvas of historical and contemporary relevance, never descending to the level of a programmatic collage, has the title Nabat (Tocsin), a warning bell, the name of a review published by the exiled revolutionary Tkachev in Geneva, advocating violence in the cause of reform. The chosen title may be understood in a double sense in a movement that transcends the circumstances of its composition. Š 2015 Naxos Digital Services Ltd


7︱1905

National Symphony Orchestra

自信而精銳

國家交響樂團 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 鋼 片 琴

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.

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 陳淑杏 ▲ 許毓婷 翁重華

○ 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

李梅箋

孫正茸

國田朋宏 鄒儒吉

王婉如

曹予勉

王瓊燁

*特別感謝國立臺灣藝術大學音樂系副教授黃荻客席本場單簧管副首席

執行長

郭玟岑

整銷推廣經理 企劃演出經理 行政管理經理/ 總監執秘

王承禹 賴盈帆 王雲玉

企劃演出

整銷推廣

企劃專員/總監助理 郭奕飛 企劃專員 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

行銷專員 黃郁雯 劉世玥 戴瑜均 林洪儀 劉姿伶 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 行政助理 張筑昀

★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 劃底線者為本場協演人員

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 NSO Live 講座計劃贊助


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.