2018
演出曲目
Program
亞蘭•哈查都量（1903-1978）：〈斯巴達克斯與弗麗 吉亞的緩板〉，選自《斯巴達克斯》第二號組曲
ARAM KHACHATURIAN （1903-1978） : ‘Adagio of Spartacus and Phrygia’ from Spartacus Suite No. 2
布洛赫•厄內斯特（1880-1959）：《索羅門》—希伯 來狂想曲，寫給大提琴與管絃樂團
ERNEST BLOCH（1880-1959）: Schelomo: Rhapsodie Hébraïque for Violoncello and Orchestra
∼中場休息∼
~Intermission~
林京美（b. 1980）： 《勇士情歌》(原住民委員會委託創作，世界首演)
CHING-MEI LIN（b. 1980）: Paean for Warriors and Love (Commissioned by Council of Indigenous Peoples, World Premiere)
尼可萊•李姆斯基-柯薩科夫（1844-1908）： 《天方夜譚》
N I K O L A I R I M S K Y- K O R S A K O V （ 1 8 4 4 - 1 9 0 8 ） : Scheherazade, Op. 35
留白部位提供觀眾 打洞收藏之用
I. II. III. IV.
（大海與辛巴達的船） （凱蘭達王子） （年輕的王子和年輕的公主） （巴格達的慶典，大海，立有騎士銅像崖壁下 的船難）
演出時間│ 2018年6月24日 (星期日) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei
I. II. III. IV.
'The Sea and Sinbad's Ship' 'The Kalandar Prince' 'The Young Prince and The Young Princess' 'Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman'
演出者
指
揮｜呂紹嘉 Shao-Chia Lü, conductor
大 提 琴｜王健 Jian Wang, 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55分鐘
山海琴原Senay委創計畫│
1︱一千零一夜
演出者介紹 指揮｜呂紹嘉 出身臺灣，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、首爾愛樂、韓國KBS
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
Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at Vienna's College of Music. His training resulted in important first prizes at three renowned international conductor competitions: Besancon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü accepted positions as General Music Director of the Koblenz Theatre (19982001), 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 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 Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra) since August 2010.
2︱一千零一夜
大提琴｜王健 王健四歲即隨父親學大提 琴。於上海音樂學院習琴後，又 進入耶魯音樂學院特別學程向派 瑞索習琴。自1986 年在卡內基音 樂廳登台之後，就開始了國際演 奏的生涯，他曾與阿巴多、夏伊 等指揮名家及諸多世界頂尖樂團 合作，如皇家大會堂管絃樂團、慕尼黑愛樂、倫 敦交響樂團、蘇黎世音樂廳、斯德哥爾摩愛樂、 巴黎管絃樂團、紐約愛樂、NHK交響、多倫多交 響等。他亦在世界各地的許多藝術節上演出獨奏 和室內樂曲目，包括瑞士韋爾比亞、日本宮崎、 英國愛爾堡和美國的譚格塢、Mostly Mozart等音 樂藝術節。2008 年於BBC逍遙音樂節首次登台，
演出巴哈無伴奏大提琴組曲。王健在DG旗下錄製
許多作品，曲目廣泛，他所演奏的琴由華人名琴 收藏家林壽榮先生的遺族慷慨出借。
Cello｜Jian Wang
Jian Wang began to study the cello with his
father when he was four. After his study at the Shanghai Conservatoire, he entered the Yale School of Music under a special programme to study with Aldo Parisot. Wang has embarked on an international career since his debut in Carnegie Hall in 1986, since then, he has worked with renown conductors such as Claudio Abbado, Riccardo Chailly, with orchestras such as Royal Concertgebouw Orchestra, Munich Philharmonic, London Symphony, Zurich Tonhalle, Stockholm Philharmonic, Orchestre de Paris, New York Philharmonic, Los Angeles Philharmonic, NHK Symphony, Toronto Symphony, Swedish, Chamber Orchestra, China Philharmonic, Shanghai Symphony, China National Orchestra, Hangzhou Symphony and orchestras in Singapore, Hong Kong, Seoul and Osaka. Wang has also performed at many festivals throughout the world, as both soloist and chamber musician. These have included Verbier in Switzerland, Miyazaki in Japan, Aldeburgh in the UK and Tanglewood and Mostly Mozart in the USA. In 2008 Jian made his debut at the BBC Proms performing three of Bach's solo Cello Suites. Wang has an extensive discography with DG, his instrument is graciously loaned to him by the family of the late Mr. Sau-Wing Lam.
樂曲解說 亞蘭•哈查都量： 〈斯巴達克斯與弗麗吉亞的緩板〉，選自《斯巴 達克斯》第二號組曲 撰文│沈雕龍（柏林自由大學音樂學博士）
哈查都量在1955年時，將這部芭蕾舞劇改編成四 首《斯巴達克斯組曲》，其中最有名的一首單曲就 是第二號組曲中的第一首〈斯巴達克斯與弗麗吉亞 的緩板〉。在整部主要被戰爭與不安氣氛壟罩的舞 劇中，這一段斯巴達克斯與妻子弗麗吉亞分別逃出
《斯巴達克斯》是俄國作曲家哈查都量（ Aram
Khachaturian, 1903–1978）創作於1954年的三幕芭 蕾舞劇，劇情敘述的是，羅馬共和國末期（前73 年－前71年），身為色雷斯國王的斯巴達克斯被羅 馬人俘虜，淪落為角鬥士，為反抗羅馬人的殘暴對 待，斯巴達克斯領導其他角鬥士和奴隸揭竿起義， 然而，最後由於反抗軍自身的內鬨，斯巴達克斯終 究抵擋不了羅馬軍隊的襲擊，壯烈成仁。歷史上， 斯巴達克斯所領導的起義，是古羅馬三次奴隸戰爭 中規模最大的一次。哈查都量的《斯巴達克斯》， 可以說是二戰後俄國最成功的芭蕾舞劇之一，連蕭 士塔高維契都稱讚這部作品到：「這部芭蕾作品中 最有價值的，就是音樂中沛然莫之能禦的表現力、 說服力和靈巧性」。
羅馬人控制後相逢的緩板音樂，顯得格外突出。淒 美的主題，以個別的樂器接續又交疊地獨奏而出， 轉進一陣具有危機感的段落後，又以整體絃樂托著 銅管樂器的輝煌重回主題，讚頌著自由與愛情的綻 放。最後，小提琴再一次娓娓地獨奏出主題，宛如 斯巴達克斯與弗麗吉亞之間的私密絮語。
布洛赫•厄內斯特：《索羅門》—希伯來狂想 曲，寫給大提琴與管絃樂團 撰文│沈雕龍 瑞士裔美國作曲家布洛赫（1880-1959），在1910 年代為了尋找自己的音樂認同，創作了一系列的 「猶太篇章」（Jewish Cycle），由於當時並不存
3︱一千零一夜
在以色列國家，布洛赫就以聖經的題材，來作為自 己的精神歸屬。這個系列的最後一首，就是1915到
1916完成的，給大提琴與管絃樂的《索羅門》—希 伯來狂想曲。
著，樂器齊鳴，宏亮地奏出《獵獲誇耀戰功 歌》主旋律，宛如戰士們開闊胸襟地高唱， 那是對造物主創造萬物的感激與沈醉，同時 也是狩獵豐收後，欣喜豪飲的歡慶場景。
布洛赫雖然無意要把這首曲子譜成全然描述性的標
最後，樂曲引用魯凱族《情歌》的旋律，這
題音樂，但他的確曾經對這首「狂想曲」有以下的
是魯凱勇士在心儀的女孩子面前所唱的繾綣
描述：
情歌，同時展現英武的戰士形象和似水的柔 情篇章，這個樂段也像是吶喊高唱後的餘
「我們可以想像大提琴代表的是所羅門王的聲音，
韻，意味著內心期待的情愛歸屬，洋溢著沉
管絃樂團的複雜聲響是他的年代、世界和經歷。大
靜卻幸福的滿足感。
提琴若是他的話語，管絃樂團則反映了他的思緒。 導奏包括了幾個主要動機，是訴苦、悲嘆、獨白。
《勇士情歌》展現了魯凱族中最純粹的奮
氣氛突然轉變了……是悠悠的舞曲的節奏嗎？還是
鬥、勇敢與柔情。
虛榮的象徵？狂想曲似乎說著：『我嚐過這些了， 這些只是虛榮而已。』……管絃樂團在主題上延展
--
開來，變得豐富，宛如所羅門的妻子和嬪妃要改變 他的思緒。他踏入她們誘人的舞蹈中，……眼前是
林京美活躍於歐、美、亞、澳洲，屢獲國際獎
一陣華麗的東方異國世界。……所羅門暝想著，在
項，包括美國國家作曲協會 (NACUSA) 作曲
悲傷和絕望中，他說：『一切都是虛榮。……權勢
比賽首獎、21世紀音樂作品首獎、New Music
和王位總會頹圮』，所羅門在管絃樂團中思索著；
on the Block 創作首獎、ASCAP Morton Gould
大提琴喊出他的詛咒，管絃樂團揮揚著他的思緒：
作曲獎、中國三川獎。作品受邀演出於美國
『虛榮，一切都是虛榮！』
底特律交響樂團新音樂樂展、水牛城愛樂交 響樂團作曲家樂展、美國作曲家交響樂團新
即使我的作品再昏暗，也會以希望結局。……唯一
音樂樂展、北美薩克斯風雙年展、美國中西
光明的片刻在所羅門的沉思後降臨。……那些是古
部作曲家樂展、Aspen 音樂節、Bowdoin 音
代祈禱者充滿希望的話語，要大家認識到人與人之
樂節、亞洲作曲家聯盟音樂節、亞洲雙簧音
間的手足之情，並祝福大家在和平與諧和之中永遠
樂節、臺灣國家交響樂團2014開季音樂會、
共存。」
臺北市立交響樂團與朱宗慶打擊樂團—激• 擊、國立臺灣交響樂團—傳統與傳承等。林 京美也積極參與鋼琴及管風琴演出，同時投
林京美：《勇士情歌》(原住民委員會委託創作，
身於音樂教育，受邀至國立臺灣交響樂團、
世界首演) 撰文│林京美
國立臺灣師範大學音樂研究所等演講。 林京美為美國密西根大學作曲博士，美國伊
《勇士情歌》由原住民族委員會委託而創作。樂曲
士曼音樂學院作曲碩士，國立臺灣師範大學
以臺灣原住民魯凱族《獵獲誇耀戰功歌》(Palaiera)
音樂學系學士。目前為國立臺北藝術大學音
的曲調為主要素材，加以變化與轉型，描繪出勇士
樂學系理論作曲專任副教授。
報戰功的ㄧ幕幕畫面，結尾引用魯凱族的《情歌》
(Matamatidalame) 曲調，餘韻繞樑。整首作品同時 呈現出魯凱勇士表現於外的驍勇善戰，以及隱含在 內心的豐沛情感。 造物主創造了我們的大地……原始的大地，是如此
尼可萊•李姆斯基-柯薩科夫：《天方夜譚》 撰文│沈雕龍
1887年，李姆斯基－柯薩科夫（1844-1908）
地純樸。
獲知俄國五人組之一的鮑羅定（ Alexander
《獵獲誇耀戰功歌》的旋律在幽遠寧靜的山林裡傳
的整夜無法闔眼。他決定暫時放下手邊的
唱。漸漸的，主題旋律開始變化，像是萬物逐漸甦
工作，先完成鮑羅定身後留下的未完成歌劇
醒的清晨，穩重的法國號帶出如矯健腳步的低音域
《依果王子》（Prince Igor）。歌劇裡中亞游
主題，斷奏、同音反覆的聲響，表現魯凱戰士「勇
牧民族和土耳其人的中東世界，激發了他自
者不懼」的情緒與「報戰功」的勇猛場景。緊接
己的異國幻想，而以文學作品《天方夜譚》
Borodin, 1833-1887 ）去世的消息時，難過
4︱一千零一夜
（又稱《一千零一夜》）的故事為靈感來源，創
後回到小提琴獨奏的「雪赫拉莎德主題」，宛如在
作了管絃樂作品《天方夜譚》。其實本曲的曲名
星空下，那位說書女子最後吐出的綺麗話語，強調
原來是《雪赫拉莎德》，也就《天方夜譚》中，
了《雪赫拉莎德》是此曲真正的標題。
那位對蘇丹王夜夜說書，最後免於一死的機智女 主角之名。 李姆斯基－柯薩科夫在第一版樂譜的前言中，曾 提到這首樂曲是關於「數個不相連的故事和景
Program Notes
象」，並賦予每個樂章特定的標題。然而，在他
ARAM KHACHATURIAN:
日後寫自傳時，卻否認他的音樂與這些標題字面
‘Adagio of Spartacus and Phrygia’ from
間的關係，他說：「在大多數的情況下，這些外
Spartacus Suite No. 2
貌是主導動機的主題，就僅僅是交響曲發展的音 樂性材料而已」。在這個理念下，李姆斯基－柯
The ballet Spartacus, the score of which was
薩科夫在樂譜第二次出版時，刪掉了原本的標題
completed in 1954, deals with the slave rebellion led
（本節目單保留），作曲家日後又說到：「我所
by the hero of that name against Roman domination.
希望的是，聽眾把這首曲子當作交響音樂來欣
The historical Spartacus himself was Thracian by
賞，應該把它想像成一個充滿著無窮變化的童話
birth, a shepherd who became a robber. He was taken
奇蹟的東方故事，而不是僅僅有共同主題的四個
prisoner and sold to a trainer of gladiators in Capua,
故事。」
but in 73 B.C. he escaped, with other prisoners, and led a rebellion during the course of which he defeated
李姆斯基－柯薩科夫很成功地在《天方夜譚》中
the Roman armies and caused devastation throughout
塑造了異國的氣氛。第一樂章一開始的四小節下
Italy. He was eventually defeated by Crassus, a
行蜿蜒旋律，每一小節第一拍的音符連起來，剛
general well known for his wealth, and put to death
好是 E-D-C-Bb 四個音，是又稱「音樂的魔鬼」
by crucifixion, together with his followers. It should
的不和諧三全音音階，這個主題以低音管樂和絃
be added that to Karl Marx Spartacus was the first
樂猛力地齊奏響起，一般被認為是《天方夜譚》
great proletarian hero, a champion of the people,
故事中殘忍的蘇丹王的主題。隨後馬上出現了一
while the ultimate fate of Crassus, killed in 53 B.C.
段豎琴伴奏下，小提琴獨奏的多里安調式音階旋
during the course of a campaign that had taken him to
律，其輕盈繚繞的特質，散發著異國女子的撫媚
Armenia, might have had a particular significance for
姿態，作曲家曾指明這的確是「雪赫拉莎德主
Khachaturian.
題」。整個樂章充斥著「蘇丹王主題」的模進轉 調，該主題的個性，從強硬逐漸發展到柔軟而富
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有變化。 第二樂章以小提琴獨奏的「雪赫拉莎德主題」開 始，然後導入一個具舞蹈個性的小調的主題，輪
ERNEST BLOCH:
流以低音管和雙簧管獨奏而出；該主題在其後的
Schelomo: Rhapsodie Hébraïque for Violoncello
變奏中，和「蘇丹王主題」及「雪赫拉莎德主
and Orchestra
題」既交纏又對立，情景時而遲滯懸疑，時而冒
By Robert Markow
險突進，充滿了幻想與故事性。 第三樂章一開始的絃樂旋律混合了小調及五聲音 階，呈現出溫暖的異國柔情，和之後小鼓伴奏下
ERNEST BLOCH: Born in Geneva, July 24, 1880; died in Portland, Oregon, July 15, 1959
富有精神的進行曲般木管旋律，相互交織；其 間，不時放射出長笛和單簧管快速流動的音階， 宛如神奇莫測的夜空光影。
Ernest Bloch was Swiss by birth, Jewish by race, mostly French by musical training (with a little Belgian and German thrown in), and American
第四樂章以「蘇丹王主題」及「雪赫拉莎德主
by adoption. As a composer too, Bloch was an
題」的尖銳的對立開始，之後是連續三連音的節
“international eclectic,” as David Mason Greene
奏急速狂舞，搭配之前樂章其他的主題和音型再
designates him. His early works show influence
現，以交響化的手法堆砌出音樂的高潮。整曲最
from Richard Strauss and Brahms. He paid tribute
5︱一千零一夜
to the land of his birth in the “symphonic fresco”
CHING-MEI LIN:
Helvetia, which incorporates Swiss folksongs, and
Paean for Warriors and Love (Commissioned
to his adopted country in America: An Epic. In the
by Council of Indigenous Peoples, World
last phase of his career, he focused his attention more
Premiere) By Ching-Mei Lin
and more on the principles of classical design and objectivity. But above all, Bloch is known for the cycle of works he produced between approximately
Paean for Warriors and Love was commissioned
1912 and 1935 that evoke his Jewish heritage. These
by The Council of Indigenous Peoples, Taiwan.
include the Israel Symphony, Three Jewish Poems,
The main compositional materials are based on a
the Baal Shem Suite, the Sacred Service, Voice in
traditional song of the Rukai Tribe in Taiwan, The
the Wilderness and his most frequently performed
Exploit-Praising Ritual. It presents various scenes of
orchestral work, Schelomo.
praise for the achievements of a hunter. Another song of the Rukai, Love Song, is quoted at the end of the
Despite the deep Jewish vein Bloch tapped in
composition.
Schelomo, there are no actual Jewish liturgical chants or folksongs. What gives Schelomo its “Jewish”
The melody of The Exploit-Praising Ritual has
character are the suggestive melodic contours
been heard and sung from generation to generation
combined with moods of introspective sadness and
in the mountains of Taiwan. As all things on Earth
rhapsodic sweep. “I am not an archeologist,” Bloch
gradually come back to life, a new morning arrives
proclaimed. “It is the Jewish soul that interests
over the mountains, a merry scene of praise for the
me; the complex, glowing, agitated soul, that I feel
brave exploits of a warrior. The horns begin at a
vibrating throughout the Bible.” Bloch acknowledged
sedate pace.
that “if one likes, one may imagine that the voice of the solo cello is the voice of King Solomon. The
They are joined by low strings and bassoons in
complex voice of the orchestra is the voice of his age
short, repeated notes. The warriors sing the song
… his world … his experience.”
loudly and confidently, as if disinhibited from unrestrained drinking; an intoxication of gratitude for
Bloch’s acquaintance with the scores of Richard
God's beautiful creation.
Strauss put him in good stead for his sumptuous, luxuriant orchestral vision of Solomon’s court.
Love Song, the last section of the composition,
Exuberant in color, grandiose in conception, it
presents the spirit of a brave warrior standing before
superbly conjures up images of Middle Eastern
a girl as if his charm from singing still lingers. This
opulence. Though called a “rhapsody,” implying
gradually transforms into a feeling of love in his
looseness of structure and spontaneity of expression,
heart, after which he has been eternally longing.
Schelomo in fact displays a well-organized formal layout. It is divided into three large sections, all
P a e a n f o r Wa r r i o r s a n d L o v e c e l e b r a t e s
framed by an introduction and a coda. Each main
the purity of the cycle of struggle, courage, and
section culminates in a grandiose orchestral climax.
tenderness.
The climax of the entire work involves the same music as that which concluded the first section; earlier
--
it was played by the violins, but now it is hurled forth by the full orchestra in unison in a spectacular blaze of sound. The last word goes to Solomon, once again lost deep in thought over the vanity of material wealth and physical splendor. Hans Kindler, principal cellist of the Philadelphia Orchestra, was soloist in the world premiere, which was conducted by the composer in New York on May 3, 1917.
Ching-Mei Lin is a Taiwanese-born composer. In her music Lin incorporates innovative and international techniques that combine local dissonances with large-scale consonant structures, and pentatonic modality within a chromatic pitch language. She has composed for soloists and ensembles in the North America, Europe, Australia, and Asia. Her works have been performed by the Detroit Symphony Orchestra, the Buffalo Philharmonic Orchestra, the Taiwan Philharmonic, the Taipei Symphony Orchestra, the National
6︱一千零一夜
Taiwan Symphony Orchestra, the YinQi Chorus and Symphony Orchestra, the Aspen Contemporary Music Ensemble, and the Ju Percussion, among others. Lin was the sole recipient of the String Quartet award at the Emerging Composers Competition, and has received numerous other distinctions: an ASCAP Morton Gould Young Composer Award; 1st Prize in the NACUSA Young Composers Competition; 1st Prize in New Music on the Block competition; a Government Literary and Artistic Creation Award, Taiwan; and Third Place in the Sun River Prize, China. Ms. Lin holds degrees in composition from the University of Michigan (DMA), the Eastman School of Music (MM) and the National Taiwan Normal University (BFA). She is also an active pianist, organist, improviser, and collaborator. She is currently Associate Professor of Music Theory and Composition at The Taipei National University of the Arts in Taiwan.
and the night after that to a total of a thousand nights. By this time, she had borne him a son, the King had come to love her, and he finally renounced his categorical hatred of women. The Queen had in the meantime won the love and gratitude of the people as well, and they named her Scheherazade, which means “Savior of the City.” Wo n d r o u s t o h e a r w e r e S c h e h e r a z a d e ’s marvelously colored tales of intrigue and adventure set in exotic lands. Rimsky-Korsakov, with his masterful ability to exploit dazzling orchestral colors and sonorities, was just the composer to set these tales to music. Scheherazade, his four-movement “narrative” of scenes from the Arabian Nights, was written during the summer of 1888. It was first performed in St. Petersburg on October 22, 1888 with the composer conducting.
NIKOLAI RIMSKY-KORSAKOV: Scheherazade, Op. 35 By Robert Markow The two hundred or so dramatically linked stories that constitute the Thousand and One Nights (or Arabian Nights) originated in Eastern lands centuries ago. The stories were handed down over the years and embroidered by each storyteller in his or her own fashion. A raconteuse named Scheherazade provided a convenient framework on which to drape a rich and colorful tapestry of these stories, folk tales, poems and dramatic narratives. In the form she related them, we are indebted to the misogynistic Persian king Shahriar. Having been outraged by his faithless wife, Shahriar resolved to avenge himself on the entire female population of his city. Each night he would marry a beautiful young woman, only to kill her the following day. After some time, a girl of exceptional charm, wit and intelligence came forward with a plan to end this reign of terror. She offered herself to the King as his next bride, and the King gladly accepted, though he warned her that she would die on the following day. When bedtime approached, the girl began to relate an enthralling story to the King, but broke off just at the most exciting part, with a promise to continue the next day. The King postponed her execution so as to hear the outcome of this story, but the girl repeated her tactic the following night,
A lengthy description of each movement would serve little purpose; the individual imagination must be free to roam. Nevertheless, one cannot miss the recurring “voice” of the lovely, seductive, mysterious Scheherazade, represented by a sinuous theme played by the solo violin, just one of the many tantalizing touches of orchestration found in the magnificently colored score.
7︱一千零一夜
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
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 曾鈺婷 ● 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 梁嘉芫 ▲ 許毓婷 范紋綺
○ 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