2017
演出時間│ 2017年6月16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｜呂紹嘉 Shao-Chia Lü, conductor 大提琴｜楊文信 Wen-Sinn Yang, cello 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 愛德華‧艾爾加（1857-1934）： 大提琴協奏曲 I. II. III. IV.
慢板—中板 緩板—甚快板 慢板 快板—中板—不太快的快板—稍緩板—慢板
Program EDWARD ELGAR（1857-1934）: Cello Concerto, Op. 85, E minor I. Adagio – Moderato II. Lento - Allegro molto III. Adagio IV. Allegro - Moderato - Allegro, ma non troppo Poco più lento - Adagio
~中場休息~
~Intermission~
安東‧布魯克納（1824-1896）： 第七號交響曲
ANTON BRUCKNER（1824-1896）: Symphony No. 7
I. II. III. IV.
中庸的快板 慢板。非常莊重且非常緩慢 詼諧曲。非常快 終樂章。流動的，但不太快
I. Allegro moderato
II. Adagio. Sehr feierlich und sehr langsam III. Scherzo. Sehr schnell
IV. Finale. Bewegt, doch nicht schnell
演出者介紹 指揮｜呂紹嘉 「呂紹嘉是表達音樂意境之 大師，也是一位才華卓絕的指 揮。」 －《南德意志報》 出身台灣，為享譽國際樂壇的 旅歐名指揮家。自鋼琴啟蒙，後 隨陳秋盛研習指揮，繼而赴美印 第安那大學及維也納國立音樂院深造。在贏得法國 貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際 指揮大賽首獎後，展開了他在歐洲的指揮生涯。 旅居德國期間先後擔任柏林喜歌劇院首席駐團指 揮（1995-1998）、德國柯布倫茲市立歌劇院音樂 總監（1998-2001）、德國國家萊茵愛樂交響樂團 音樂總監（1998-2004）、德國漢諾威國家歌劇院 音樂總監（2001-2006），並於2004年5月獲文化部 長頒贈象徵該省文化最高榮譽的Peter Cornelius獎 章。在歌劇的領域中，曾於英國國家歌劇院、布魯 塞爾皇家歌劇院、雪梨歌劇院、德國司徒加特、柏 林德意志、漢堡、法蘭克福歌劇院客席登臺指揮。 歌劇外，呂紹嘉在交響樂指揮的表現也同樣耀眼。 近年來合作的主要交響樂團有：柏林、西南德、中 德、巴伐利亞廣播、法國國家、里昂、杜魯士、史 特拉斯堡、維也納廣播、英國利物浦愛樂、奧斯陸 愛樂、貝爾根愛樂、赫爾辛基愛樂、瑞典廣播、挪 威廣播、哥特堡、羅馬聖西西里亞、及荷蘭皇家音 樂大會堂管絃樂團等。在亞洲，與香港管弦樂團、 NHK 、新日本愛樂、韓國 KBS 、首爾愛樂及北 京、上海等地的代表性樂團合作演出。自2010年8 月起接任NSO國家交響樂團音樂總監。
Conductor｜Shao-Chia Lü “The conductor Shao-Chia Lü is a master of nuance." — Süddeutsche Zeitung
Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü took the position of General Music Director of the Koblenz Theatre(1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz(1998-2004), and the Staatsoper Hannover (2001- 2006). Shao-Chia Lü appears regularly as guest-conductor at several world renowned opera houses, including the Opera Australian in Sydney and Melbourne, the English National Opera, the Theatre de la Monnaie in Brussels, Den Norske Opera in Oslo, the Gothenburg Opera, the Oper Frankfurt, Staatsoper Hamburg and Stuttgart, the Deutsche Oper and Komische Oper Berlin. Alongside his opera activities, Lü is equally at home on concert podiums. Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Goteborg Sinfoniker, the Staatskapelle Weimar, the Frankfurter Museumsorchester and the Royal Concertgebouw Orchestra in Amsterdam. In Asia,
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大提琴/駐團音樂家｜楊文信 當今樂壇的大提琴巨匠之 一，楊文信不僅復甦了十九世紀 大提琴炫技名家的音樂，使阿德 里安‧佛朗索華‧謝偉與卡爾‧ 尤里耶維契‧達維朵夫等人的作 品重現於世，也讓他的聽眾們得 以親近阿里貝特‧萊曼和尹伊 桑這些現代作曲家。楊文信曾與諸多名指揮合作 過，包括柯林‧戴維斯爵士、洛林‧馬捷爾、馬 里斯‧楊頌斯、呂紹嘉、傑郭許‧挪華克、丹尼 爾‧克萊納、佐渡裕和米歇爾‧霍夫斯泰特。除 了獨奏家活動之外，楊文信也是炙手可熱的室內 樂合作夥伴。自2004年以來在慕尼黑音樂與戲劇 學院擔任大提琴教授，並經常舉辦國際大師班課 程。在2016/17樂季，他在台北的國家交響樂團台 灣愛樂擔任駐團藝術家。楊文信的曲目豐富而廣 泛，專輯不僅包括了鮑凱里尼、海頓、貝多芬、 舒伯特、聖桑、拉羅、柴可夫斯基和德弗札克等 作曲家的大提琴基本盤重要曲目，還有亨利‧魏 歐當、法蘭克‧馬汀、雷歐尼德‧薩巴涅夫和蘇 菲亞‧顧拜杜里納的作品。2005年，楊文信與巴 伐利亞電視台合作錄製了巴哈六首無伴奏大提琴 組曲。《Alma Brasileira》這張CD收錄了巴西作 曲家拉達美斯‧拿太理的室內樂作品，於2015年 榮獲拉丁葛萊美獎的最佳古典樂專輯。
Lü has worked with Hong Kong, NHK, New Japan Philharmonic, KBS, Seoul Philharmonic and leading orchestras in China. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010 and the Principal Conductor of the South Denmark Philharmonic starting 2014.
Cello/Artist-in-Residence｜Wen-Sinn Yang Wen-Sinn Yang as one of the most versatile
cellists of the present day. In his original, moderated concerts, he not only revives the music of nineteenth-century cello virtuosos such as Adrien François Servais and Karl Yulievich Davydov, but also enables his audience to find access to such modern composers as Aribert Reimann and Isang Yun. Alongside his activities as an internationally renowned soloist under conductors including Sir Colin Davis, Lorin Maazel, Mariss Jansons, ShiaoChia Lü, Grzegorz Nowak, Daniel Klajner, Yutaka Sado and Michael Hofstetter. Wen-Sinn Yang is also a highly sought-after chamber music partner. Yang has been Professor of Violoncello at the Academy of Music and Theatre in Munich since 2004 and also regularly gives international master courses. During the 2016/17 season he will be Artist-in-Residence with the Taiwan Philharmonic. Wen-Sinn Yang's widely ranging repertoire is documented more than 30 CDs. These include not only the principal works for violoncello by Boccherini, Haydn, Beethoven, Schubert, Saint-Saens, Lalo, Tchaikovsky and Dvořák, but also compositions by Henri Vieuxtemps, Frank Martin, Leonid Sabaneev and Sofia Gubaidulina. Many of these recordings are premiere recordings. Yang recorded the six solo suites of J.S. Bach in 2005 in cooperation with Bavarian Television. The CD "Alma Brasileira" with chamber works of the Brazilian composer Radames Gnattali was honoured with the Latin Grammy Award as the best classical album in 2015.
樂曲解說 撰文│蔡永凱 （國立台灣師範大學音樂學博士）
旋律配器。作品完成後在1919年十月於倫敦首演 時，因指揮疏於排練，經歷慘痛的失敗。
愛德華‧艾爾加：大提琴協奏曲
1918年，時年六十一的艾爾加入院切出扁桃 腺，根據家人記載。艾爾加在手術的痛苦中起 身，要來紙和筆，寫下了一段旋律，即日後大提 琴協奏曲首樂章的主題。到了同年夏天， 他與家 人一起來到鍾愛的布瑞克威爾斯(Brinkwells)，在 靜謐的田野景色中，他再度嘗試為之前所寫下的
作品由四個樂章組成。第一樂章可分成三大 部份：第一部份在主奏大提琴演奏出一段高貴的 宣敘調後，樂團由單簧管、低音管與法國號回 應，是為導奏。「中板」的樂段，由中提琴演奏 9/8拍的旋律，亦是艾爾加所最鍾愛的。在1933年 病重時，他曾經哼著這部協奏曲的主題說：「如 果在我死後，你聽有人在馬爾文丘(Malvern Hills)
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吹著這個旋律的哨音，不要被嚇到，那只會是我。」 第二段的主題，雖亦具有三拍韻律但較為靈活。它 先在單簧管與低音管聲部出現，隨後則由主奏大提琴 與絃樂其他聲部模仿。9/8旋律再現，標誌第三段的 到來。在堆疊力度後，音樂不間斷地直接導入第二樂 章。 短小的第二樂章裡，主奏大提琴頻繁地快速弓奏 與撥奏，亦有人將其詮釋為描繪夏日群鳥聚集的盛 況。第三樂章則以絃樂聲響為主體，綿延不絕的深情 旋律，其實中暗藏反覆與變奏。第四樂章具有迴旋曲 的架構，作曲家以主奏與樂團間靈活的互動關係，讓 整體顯得豐富多元。樂章開始由絃樂帶出的第一主 題，有鄉土的野性，其實也看為脫胎自第一樂章之開 場主題；第二主題則有分解和弦外型，較為甜美。此 樂章中段突然顯得抒情，有第三樂章遺風。之後，首 樂章開始的宣敘調再現，強調整部作品的首尾關連， 再由第一主題簡短地結束整部作品。
安東‧布魯克納：第七號交響曲 布魯克納的生涯與作品，在音樂史上都是一個殊 異的現象。他以教會司琴職務發跡，並私下拜師學 習對位、配器與指揮，甚至說服維也納音樂院開創 先例為他舉辦教授資格考試，並在之後提供他教學 機會，他卻未馬上放棄教會工作。在他終於於1875 年接任維也納音樂教職時，他已發表多部創作，卻 始終將自己界定為音樂理論教師，未敢以作曲家自 居，這讓他特別在意同儕對作品的評價，往往密 集、不間斷地持續修改舊作，這也讓「版本學」成 為布魯克納研究中的重心。此外，布魯克納有著鮮 明的華格納擁護者立場，不惜與當時維也納樂壇的 主流勢力為敵，犧牲了許多自己作品演出的機會。 即使如此，他的創作，除宗教音樂外，卻又都是屬 「絕對音樂」領域的交響曲。在美學信念與實際創 作的矛盾，亦頗讓人玩味。 約莫在1881年九月初，即使先前完成的兩首交響 曲，都尚未得到出版機會，布魯克納仍起筆第七號 交響曲，並於1883年九月完成，適逢他59歲生日的 次日。如前所述，當時布魯克納的俗世作品少有機 會在維也納正式演出，包括新完成的交響曲。然而 是年年底，作曲家的支持者夏爾克(Joseph Schalk)， 在旅行至德國萊比錫途中，帶著新作的四手聯彈版 本拜會當時任職萊比錫省屬劇院首席指揮的尼金許 (Arthur Nikisch)。尼金許當時年僅29，他就讀維也納 音樂院時曾是布魯克納理論班裡的學生，在仔細研 究後大感振奮，決定要在劇院安排一場演出，向過 世不久的華格納致敬。由於事出突然，打破了劇院 原本排定的檔期，一波三折後，這部交響曲終於在 1884年十二月於華格納的出生地首演，獲得極大成 功。挾著首演餘威，作曲家接續將樂譜寄給慕尼黑 皇家樂團的首席指揮列維(Hermann Levy)。這位在華 格納生前受欽點為《帕西法爾》首演的指揮家，隨 即於1885年三月安排演出，甚至巴伐利亞國王路德
維希二世還接受了作曲家題獻。這些榮耀，才逼使 李希特(Hans Richter)於1886年於維也納的愛樂音樂 會中安排這部作品，作曲家也因而受約瑟夫皇帝贈 騎士勳章。 這部作品呈現了布氏交響曲典型的豐碑性與爐火 純青的動機發展手法。第一樂章主題為E大調主和弦 的分解和弦，橫跨兩個八度為交響曲少見；第二主 題由雙簧管與單簧管帶出，為一級進上行音階，以 附點與迴音裝飾；第三主題的節奏活潑，位於b小調 上。發展部以上述三主題構成，主題與倒影疊置、 模仿，堆疊出不同風格的段落。再現部的出現係與 發展部一氣呵成，並未回到呈示部的最初型態，尤 以第一主題與第三主題段落變化最大。尾聲先由第 三主題的對題開始，接續為第一主題的重複，在銅 管的鳴響與樂團襯底下壯闊地完結。 第二樂章慢板可視為變化詩節曲式。作曲家在本 樂章加入了四部華格納號，三詩節的主旋律都由第 一華格納號呈現。第三樂章為詼諧曲，狂暴的氣氛 中仍見緻密地主題發展工法。樂章的「中間段落」 則轉為充滿歌唱性的風格，由絃樂線條的綿密對位 主導。終樂章亦具有奏鳴曲式架構。第一主題與首 樂章第一主題相似，亦是E大調主和絃之分解和弦， 但此次採附點節奏；第二主題與第三主題出自同一 樂段前後句，前者為絃樂演奏的舒緩上行級進旋 律，後者則為四分音符的下行旋律。發展部以第一 主題的甚強聲齊奏開始，銅管的運用再次提醒布魯 克納典型的管風琴式聲響。發展部後端，雖有甚多 第一主題齊奏段落，但在調性上卻一直浮動。再現 部係由第二與第三主題開始、第一主題居次。尾聲 由第一主題組成，作曲家先設計其以法國號獨奏， 在絃樂底色下出現，之後漸漸擴大並增值，以輝煌 的氣勢走向終點。
Program Notes Edward Elgar: Cello Concerto, Op. 85, E minor
The Cello Concerto, written after the First World War, was influenced by the relative economy of means that the composer had discovered in his String Quartet and Piano Quintet of the preceding year. It differs from the Violin Concerto in particular in its intense concentration of material. He worked on the composition during the summer of 1918 with the collaboration of the cellist Felix Salmond, the cellist in earlier performances of Elgar's Quartet and Piano Quintet and later an influential teacher at the Juilliard School and the Curtis Institute. The first performance was grossly underrehearsed, since the conductor of the rest of the programme, Albert Coates, described in her diary by Lady Elgar as "that brutal selfish ill-mannered bounder Coates", used rehearsal time allocated to the concerto for Scriabin's Poem of Ecstasy, keeping Elgar waiting for an hour. The public reception of
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the work was, in consequence, lukewarm, while some critics at least correctly apportioned the blame for the inadequate first performance of a major work by the greatest of living English composers. The first movement opens with a grandiose statement by the soloist, leading, in almost improvisatory style, to a lilting melody announced by the violas. This is repeated by the soloist, who continues to dominate the movement. Plucked chords by the soloist lead to the second movement, a melancholy Scherzo, in which the soloist is again to the fore, with orchestration of the greatest economy. There is still greater poignancy in the brief slow movement, a continuous solo for the cello. The final Rondo opens with eight bars in which the first theme is suggested, to be interrupted by a declamatory statement from the soloist, before the movement is allowed to take its full course. Even then the excitement and joy of the principal theme are broken by references to earlier themes in the concerto and the mood of autumnal introspective melancholy that make this one of Elgar's greatest works. At the end of the score, where Haydn might have written Deo gratias, Elgar wrote the words Finis. R.I.P., intentionally or not signalling the concerto as the end of his creative life, the end of a war but also the end of an age. © 2016 Naxos Digital Services Ltd
Anton Bruckner: Symphony No. 7 Symphony No. 7 (actually his ninth symphony) is perhaps Anton Bruckner's most beautiful work and with his Fourth Symphony certainly his most popular. After a gentle tremolo in the violins the first horn and the cellos (the most euphonious orchestral instruments) sing a rising very wide E major arpeggio; in its continuation the violas quietly take over from the horn; this peaceful melody (repeated by the full orchestra) gently leads to the dominant key, where a very different second tune begins. It has a restless character, modulating incessantly starting in steps with a Wagnerian turn (as in Bruckner's Second Symphony and in Wagner's Rienzi). Also unexpectedly a third melody, very different from either the first or the second, appears like an austere rhythmic dance. With these three building-blocks, the composer gives us one of the loveliest first movements in all music. Robert Haas is right in ignoring the many tempo modifications added (or at least suggested) by lesser men. They disturb the flow of the music. Bruckner's adoration of Wagner (who was eleven years his senior) is well known. He had the premonition that his beloved "master of all masters" might soon die. This fear inspired the main tune of the second movement. The composer employed for the first time four "Wagner tubas" which Wagner had specially invented for the Ring cycle. Their sound is across between horns and trombones. They intone a funereal melody answered by the strings. One great melody is followed by the next without ever turning back to the main tune, until the
low notes in the brass lead to the slightly faster, much happier second tune (one of Bruckner's greatest inspirations). Here may I point to the similarity in form between this movement and the slow movement in Beethoven's Ninth Symphony. Also there the slow 4/4 tune is twice followed by a slightly faster 3/4 after which the substantial part of the movement does not mention the second melody again. The first melody reappears with developmental episodes, then the lovely second section is played atone higher with wonderful counterpoints. The main tune appears (highly embroidered) a third time, leading to Bruckner's most successful Steigerung (increase) to a shattering climax. It needs to be mentioned that Nikisch persuaded our very insecure master to add a cymbal, triangle and timpani (none of which are in the original score) to this tremendous moment. They should be discarded, especially as Bruckner afterwards wrote over these added parts gilt nicht (not valid), though it must be said that some people question that this is Bruckner's handwriting. (Unfortunately the six rather grotesque cymbal strokes in the 1887 Eighth Symphony cannot be eliminated because Bruckner did write them in the score, which only shows how lasting and often pernicious the influence of the socalled "experts" could be.) A heart-rending coda leads to the first theme in the major. Bruckner wrote double note values here; it is unfortunately impossible to obey this literally, because no brass-player could sustain such an incredibly slow pace. Though the Scherzo is in the minor it makes a very joyful impression. A stamping rhythm pervades the whole piece and accompanies the main tune played by the trumpet. It is said that the crowing of a cockerel inspired this splendid, somewhat cheeky melody. The elegant Trio (a little slower) offers a complete contrast. Its second pan is based on Bruckner's beloved contrary motion (which is also used profusely in the first movement). The Finale starts with the same two-note tremolo as the first movement, except an octave higher and only in the second violins. The main theme in the first violins starts with the same five notes that the horn and cellos played at the beginning, only the rhythm is utterly different and very sprightly. It is repeated by the cellos and brass in the dominant key. Soon the second, constantly modulating, chorale theme accompanied by Schubertian pizzicati follows. Quite unexpectedly the first cheerful tune is played by the whole orchestra in a rather incongruously heroic vein. Soon in a kind of development the first tune in contrary motion is played in two-part writing and in minor. (To me it has a slightly ironic expression here.) The heroic version of the first tune reappears, this time further developed; after a climax and a break the chorale returns. The second section of the first melody gradually leads to the triumphant Coda. In Bruckner's Fifth and Eighth Symphonies the Finale is the crowning glory of the whole work. This is not the case in No. 7. Its main weight rests in the first and second movements. The lovely Finale is in relation to the rest of the symphony more like the Finale in a Haydn symphony. © 2016 Naxos Digital Services Ltd
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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
呂紹嘉 根特‧赫比希 張尹芳
第 一 小 提 琴 ★ 吳庭毓 ★ 李宜錦 ☆ 鄧皓敦 ○ 陳逸群 郭昱麟 林基弘 梁坤豪 陳逸農 ▓卓曉青 方俊人 黃佳頎 李庭芳 賴佳奇 ▓ 林孟穎 李家豪 曾智弘 蔡竺君 ▲藍胤萱 ▲ 張暐姍 黃衍繹 顧慈美 康信榮 李梅箋 第 二 小 提 琴 ● 陳怡茹 ◎ 孫正玫 ○ 陳玟佐 吳怡慧 李京熹 鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔 謝君玲 呂孟珊 李思琪 陳猶白 中 提 琴 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 李靖宜 蔡秉璋 吳彥廷 袁繹晴 林怡君 陳怡婷 林宜女閒 黃日昇 蘇品維 大 提 琴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 周幼雯 唐鶯綺 ● 傅永和 ◎ 蘇億容 ○ 周春祥 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕 低 音 提 琴 長 笛 ● 安德石 ◎ 宮崎千佳 李 浚 短 笛 鐘美川 雙 簧 管 ● 王怡靜 ◎ 阮黃松 ▲楊凱婷 英 國 管 ▓ 李明怡 楊舒婷 單 簧 管 ● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 低 音 管 ● 簡凱玉 ◎ 陳奕秀 高靈風 倍 低 音 管 簡恩義 林安緹 李欣頤 法 國 號 ● 劉宜欣 ◎ 劉品均 ○ 黃任賢 國田朋宏 王婉如 曹予勉 小 號 ● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉 ＊黃書啟 長 號 ◎ 邵恆發 陳中昇 ＊李季鴻 低 音 長 號 彭曉昀 低 音 號 ▲ 廖偉強 定 音 鼓 ● 連雅文 ◎ 陳廷銓 打 擊 樂 ● 陳哲輝 陳振馨 楊璧慈 豎 琴 ● 解 瑄 鍵 盤 ▲ 許毓婷 ‧特別感謝德國廣播愛樂終身法國號首席韓小明、新加坡交響樂團長號副首席Damian Patti客席演出。 執行長
邱 瑗
整銷推廣經理 行政管理經理
王承禹 王雲玉
音樂總監執秘
陳依君
企劃演出 企劃組長 賴盈帆 企劃專員 賴曉俐 吳孟珊 石玲玲 譜務專員 高婉瑜 樂團舞監 高冠勳 統籌舞監 潘柏宏 蘇敬涵
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 黃郁雯 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
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 樂團學苑計畫贊助
★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 劃底線者為本場協演人員