開季音樂會－莫札特三響
Mozart's 39, 40, & 41 - Season Opening Concert
演出時間 2017年9月15日 (星期五) 7:30 p.m. 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 國家交響樂團 National Symphony Orchestra (NSO)
主辦單位 指定住宿 電子問卷請掃描， 支持 NSO 愛地球
曲目
沃夫岡 ‧ 阿瑪迪斯 ‧ 莫札特（1756-1791）：第三十九號交響曲 I. II. III. IV.
慢板－快板 稍快的行版 小步舞曲：稍快板；中段 終曲：快板
沃夫岡 ‧ 阿瑪迪斯 ‧ 莫札特：第四十號交響曲 I. II. III. IV.
頗快的快板 行板 小步舞曲：稍快板；中段 終曲：甚快的快板
～中場休息～
沃夫岡 ‧ 阿瑪迪斯 ‧ 莫札特：第四十一號交響曲 I. II. III. IV.
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活潑的快板 如歌的行板 小步舞曲：稍快板；中段 頗快的快板
上半場 約 65 分鐘 下半場 約 35 分鐘
WOLFGANG AMADEUS MOZART (1756-1791): Symphony No. 39, K. 543, E-flat major I. II. III. IV.
Adagio - Allegro Andante con moto Menuetto: Allegretto - Trio
Finale: Allegro
WOLFGANG AMADEUS MOZART: Symphony No. 40, K. 550, G minor I. II. III. IV.
Molto allegro Andante Menuetto: Allegretto - Trio
Finale. Allegro assai
~Intermission~ WOLFGANG AMADEUS MOZART: Symphony No. 41, K. 551, C major I. II. III. IV.
Allegro vivace Andante cantabile Menuetto: Allegretto - Trio
Molto Allegro
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樂曲解說
撰文．焦元溥（英國國王學院音樂學博士）
莫札特最後三首交響曲 ( 降 E 大調 K.543、G 小調 K.550、C 大調 K.551)，不僅是其管絃 樂的顛峰之作，更是古往今來音樂作品中的不朽經典。讓人驚訝的，是如此傑作竟是在 1788 年夏天於兩個月內譜成 ( 完稿時間分別為 6 月 26 日、7 月 25 日、8 月 10 日 )，莫札特同時還 完成諸多其他創作，委實不可思議。這三部面貌各異的創作再度證明莫札特的絕代天才，更以 偉大音樂讓後世歎服。
第 39 號降 E 大調交響曲：磅礡深刻又活潑靈動 現編為第 39 號的降 E 大調交響曲以生動節奏表現出磅礡氣魄與英雄形象，絕妙融合抒情 美與戲劇性。第一樂章序奏自第 38 號《布拉格》交響曲的經驗更進一步推展，音響恢宏壯麗， 樂句均衡巍峨，可謂站在海頓肩膀上遠望。莫札特在此之前才忙完歌劇《唐喬望尼》演出，若 我們比較其主角下地獄的場景和此曲序奏，皆可發現心跳般的節奏、凌厲的下行音階、三短一 長的重擊節奏與刺激精彩的不和諧音，或許莫札特正是以《唐喬望尼》此段素材變化出另一番 演繹，讓人見到偉大作曲心靈的左右逢源。
之後的第一主題，莫札特以圓舞曲的形式表現優雅情韻，但懾人氣勢並未消退，旋律發展 極為精彩。第二主題以類似過門間奏的面貌登場，隨後變化同樣出色，可見作曲家有意高度整 合整個呈示部，就連發展部都寫得相當簡短，好讓主題盡速於再現部出現。第二樂章的行板仍 保有舞曲節奏，維持一定韻律向前推進，而非單純的慢板。莫札特以小調譜寫第二主題，主題 重現時情感更加激切，藉由調性的強烈轉折表現戲劇張力，效果十分突出。第三樂章的小步舞 曲以軍隊式的節奏表現，中段在原本節奏下又以單簧管引出優美的奧地利傳統蘭德勒舞曲。不 僅設計巧妙，旋律或許也預示其後 C 大調交響曲第二樂章的基本主題。終樂章雖是奏鳴曲式， 第二主題卻為第一主題的變形，等於整個樂章僅以一個旋律譜成。莫札特以千變萬化、推陳出 新的聲部設計與節奏，使聽者絲毫不覺厭煩，果然是藝高人膽大的嘗試。整首交響曲以舞樂節 奏為基調，又將各種複雜情緒整合為一，既展現高超寫作技巧，也表現深刻的內心世界。
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樂曲解說
第 40 號 G 小調交響曲：劇力萬鈞的命運陰影 莫札特交響曲中唯一在知名度上更勝第 41 號《朱彼特》的，就是第 40 號 G 小調。此曲 不僅是莫札特罕見的小調交響曲，第一樂章第一主題更是傳遍世界的知名旋律，甚至被多次改 編為流行歌曲，包括 S.H.E. 的「不要長大」，堪稱莫札特的音樂名片。 不只旋律出名，無論從任何方面討論，此曲都令人驚嘆。數學家發現此曲樂句對比竟是 完美的黃金比例，直呼作曲家下筆確是渾然天成。音樂家則驚訝於此曲的簡練編制：不用小號 與定音鼓，原始版本甚至也沒用到單簧管，就能表現震撼人心的悲劇力量。指揮家對此曲更是 戒慎恐懼，莫札特權威華爾特（Bruno Walter）表示他在 50 歲後才敢指揮此曲，還希望後輩都 能比照辦理。一部交響曲能如此受到關注，其卓越出群不言可喻。 本曲第一樂章籠罩在 G 小調的宿命陰霾，旋律動聽之外更有頂尖譜曲技巧的展現。莫札 特在發展部竟將 G 小調的旋律轉到升 F 小調，從如此誇張的遠系調要回到 G 小調，只見音樂 從 E 小調、D 小調、C 大調、降 E 大調、A 大調等一路行來，過程驚險刺激，更逼出激烈戲 劇張力。好不容易回到第一主題，作曲家又安排了一番發展，再度掀起情感波濤，確實是前所 未見的不凡手筆。第二樂章是西西里舞曲，莫札特又賦予層層疊疊的對位筆法。雖以抒情樂思 平衡前後，隱藏的不安卻貫串全曲，還能聽到宛如哀嘆語氣的樂句。第三樂章的小步舞曲繼續 展現高超對位，更以主題動機分解以及內聲部半音行進技巧逼出強韌勁道，直到中段才稍稍緩 和緊張氣氛。終樂章仍是奏鳴曲式，發展部宛如歌劇中的荒謬場景，曲隨心轉狂放不羈，寫法 更和第一樂章呼應，建立全曲高度統一性的對應式結構。如果我們比較貝多芬《命運》交響曲 第三樂章第一主題和莫札特此曲第四樂章第一主題，以及兩曲第一樂章發展部與再現部的鋪 陳，就會發現貝多芬顯然精研前輩經典，將之轉化為自己創作的重要靈感。
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樂曲解說
第 41 號 C 大調交響曲《朱彼特》：光明燦爛的奇蹟之作 《命運》不只參考 G 小調交響曲，第四樂章第二主題也幾乎就是莫札特《朱彼特》第二 樂章的轉化。接在戲劇化且宿命性的 G 小調後，莫札特接以光明的 C 大調，譜出至為光輝燦 爛的音樂。在奧地利音樂傳統中，C 大調本來就是節慶象徵，莫札特也以大氣直爽的表現開展 全曲，壯麗恢宏的樂想被英國人冠上眾神之主「朱彼特」之名，和第 40 號成為莫札特最受歡 迎的兩首交響曲。
雖然我們不能認為莫札特知道這是自己最後一首交響曲，《朱彼特》卻奇妙地讓人有作 曲家在此總結一生的錯覺。例如第一樂章未使用海頓式的序奏，而是開門見山呈現第一主題。 這個寫法來自莫札特在倫敦學寫交響曲時所習得的義大利式寫法。第一樂章在兩個主題後又加 了第三主題，旋律來自他寫過的替代詠嘆調，把歌劇元素 ( 莫札特最爐火純青的藝術 ) 注入交 響曲。但最特別的仍是終樂章。莫札特採奏鳴曲式又運用賦格技巧，第一主題更有按賦格曲呈 示段寫作的段落。隨著樂曲發展，莫札特將奏鳴曲式與賦格曲融合為一，最後更以神乎其技的 對位結合曲中六個主題裡的五個主題，並以剩下一個主題結束對位賦格。莫札特是否真的想藉 本曲回溯自己的音樂人生？我們唯一能確定的，是他展現出極為精湛的作曲技巧、深刻的音樂 境界、自然流暢的樂思以及源源不絕的創意。這像是作曲家中期盛年集大成之作，只可惜它卻 是句點。
本曲另一特色是引領時代的結構與設計。第三樂章雖然仍是小步舞曲，主題的半音行進卻 絕非傳統，讓此樂章更帶有詼諧曲性格。如果莫札特能繼續活下去，交響樂發展史當會大幅改 觀。此曲四個樂章都意味深長，卻又彼此呼應。柴可夫斯基曾謂它是交響樂中的「奇蹟之作」， 莫札特確實是當之無愧的奇蹟創造者。
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樂曲解說
創作的原因與內涵？ 最後，讓我們重新審視莫札特為何要創作這三部交響曲？三曲內涵又和什麼有關。由於 找不到在莫札特生前的確切首演紀錄，有論者認為這可能是莫札特「寫給自己的作品」，意圖 留給後世的偉大。不過根據常理，如果沒有演出邀約，莫札特不太可能純粹為了個人興趣而譜 出三首規模龐大的創作，特別是此時作曲家財務情況窘迫，甚至必須搬至較便宜的旅館。G 小 調還有加入單簧管 ( 並修改雙簧管樂段配合 ) 的第二版 (1791 年 )，應為實際演出而作。第二 樂章亦有少數修改，可能是莫札特聽過實際演出後做的訂正。因此我們可以大膽推測，此三曲 中至少有一首以上曾於莫札特在世時演出過。 然而三曲齊寫畢竟特別，其中只有降 E 大調有序奏，C 大調又以賦格結尾的做法，更讓 三首在概念上可能是一組創作。為何莫札特會這樣寫？那時他並未放棄至英國發展的念頭，因 此這三曲可能想帶入在英國廣受歡迎的海頓與韓德爾作品風格，以一組創作當成敲門磚。此外 根據書信資料，在降 E 大調寫完但於動筆 G 小調之前，莫札特六個月大的小女兒死去。或許 G 小調交響曲正是反映作曲家的悲傷心靈，第二樂章的哀嘆樂句是小女兒的哭泣？無論如何， 莫札特在這三首交響曲交出超越時代的成績單，證明自己不只是卓越的音樂天才，更是成就斐 然的作曲大師。NSO 在本樂季開幕選擇連演三曲，實現三曲作為一組作品的設想，希望愛樂 者也能趁此機會用心品味。
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樂曲解說
Wolfgang Amadeus Mozart: Symphony No. 39, K. 543, E-flat major By Robert Markow WOLFGANG AMADEUS MOZART: Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791
During the incredibly brief period of less than two months, Mozart turned out his last three symphonies: No. 39 in E-flat, No. 40 in G minor, and No. 41 in C (Jupiter). Equally incredible is
the fact that these works – all monuments of the genre – were written for no apparent immediate purpose, and that Mozart quite possibly never heard any of them played.
Symphony in E-flat has inspired numerous Mozart scholars to heights of praise: “The locus classicus for euphony” (Tovey); “the most limpid and lyrical music in existence” (Eric Blom); “an
immense portico through which the composer reveals to us all the warm and poetic beauty thronging through his mind” (Saint-Foix); “love and melancholy breathe forth in purest spirit tones” (E.T.A.
Hoffmann). Even Richard Wagner, not a man disposed to generous praise, felt the symphony expressed “the unfathomable depths of the heart”.
These qualities are in large part attributable to the special woodwind coloration in this work. Mozart dispenses with oboes; in their place he prominently employs two clarinets, instruments still not in
general use at the time. A flute and two bassoons are also included. Thus, a softer, more diffuse tone color is achieved.
The symphony opens with a lengthy, imposing slow introduction strongly reminiscent of the
Baroque French overture, with its dotted rhythms, scales, full orchestral chords, grinding
dissonances and sharp contrasts of loud and soft. All this serves as a perfect foil for the gentle,
lyrical first theme of the Allegro that follows, a theme that slips in so gently and unassumingly that
one is apt to miss it entirely. Note the finesse with which Mozart subdivides this theme into little three- and four-note segments for violins, horns and various woodwinds in turn - each color coming momentarily to the fore and contributing to, but never interrupting, the smoothly unfolding melody.
Throughout the movement passages of elegant simplicity and refined beauty alternate with music of
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樂曲解說
martial exuberance. The rich sonorities, great breadth and almost epic sweep of this movement have led some to see in it a predecessor to Beethoven’s Eroica Symphony, also in E-flat major.
The Andante is in simple binary form, and again, like the first movement, is replete with startling contrasts. It opens in the unusual key of A-flat major with a melody of embracing warmth and
beauty, then plunges unexpectedly into a defiant and dramatic episode in F minor. A lyrical third
idea exploits the three colors of the woodwind section (bassoon-clarinet-flute). The entire structure
heard so far then undergoes a modified repeat, the most striking departure being perhaps the episode formerly in F minor now in the remote key of B minor.
The robust Minuet frames a delightful Trio with its famous clarinet duet: one instrument plays a
lyrical melody while the other accompanies in the chalumeau (low) register. Contrasts of high and low, as well as of legato and détaché style are observed throughout the Minuet.
The monothematic finale employs a sprightly motif for its solo thematic material, the second “theme” being in reality only a variant of the first.
Wolfgang Amadeus Mozart: Symphony No. 40, K. 550, G minor It was during the space of a few weeks that Mozart wrote down his last three symphonies, of which the Symphony in G minor, K. 550, is the penultimate. The first of the group, the Symphony in E
flat, in which oboes are replaced by clarinets, was finished on 26th June, the second, in G minor, on 25th July and the third, the so-called Jupiter Symphony, two weeks later. The G minor Symphony,
originally written without clarinets, had these instruments added in a later revision. Unlike its
companions, it makes no use of trumpets and drums. Presumably the three symphonies were intended to form part of concerts to be given in Vienna in the coming season. In fact Mozart was to give no more concerts of his own music, as he had done in earlier years in Vienna. His last Piano Concerto, K. 595, was performed as part of a programme arranged by the clarinettist Joseph Bähr in
March, 1791. The G minor Symphony probably formed part of a concert conducted by Salieri, the
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樂曲解說
court Kapellmeister, with an orchestra of 180 players in April of the same year. The symphony opens with an intensely dramatic theme, presented by strings, leading to a gentler second theme, shared with the wind. The central development traces the opening figure through
various keys, introducing a strongly contrapuntal element. The recapitulation, reached through a
descending woodwind sequence, completes the movement, with the second theme now assuming
particular poignancy in the minor key. The E-flat major Andante suggests not only by its key
something of the mood of the preceding E-flat Symphony. It is followed by a Minuet with a contrasting G major Trio. The finale remains in the minor key, contrary to the more usual practice
that preferred to dispel tragedy by optimistic triumph at the end of a symphony. The second subject,
in the key of B flat major, still retains an air of melancholy, a characteristic properly maintained when it makes its re-appearance in the final section of the movement. © 2017 Naxos Digital Services Ltd
Wolfgang Amadeus Mozart: Symphony No. 41, K. 551, C major It was during the space of a few weeks in the summer of 1788 that Mozart wrote down his last three symphonies. The first of the group, the Symphony in E flat, in which oboes are replaced by clarinets, was finished on 26 June, the second, in G minor, on 25 July and the third, the so-called
Jupiter Symphony, two weeks later. Presumably the three symphonies were intended to form part of concerts to be given in Vienna in the coming season. In fact Mozart was to give no more concerts
of his own music, as he had done in earlier years in Vienna. His last piano concerto, K. 595, was performed as part of a programme arranged by the clarinettist Joseph Bähr in March, 1791.
The so-called Jupiter Symphony, the Symphony in C major, K. 551, bears the date 10 August, 1788,
and is scored for flute, oboes, bassoons, horns, trumpets and drums, and strings. The first movement opens with an immediate and striking call to our attention, followed by a gentler addition from the
strings, elements of great importance in what is to come. The strings introduce a second theme and
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樂曲解說
a third, towards the close of the exposition. It is this last that opens the central development section of the movement, contrapuntal activity leading to the premature re-appearance of the opening figure and ultimately to the recapitulation proper.
The slow movement, in the key of F major, makes use of a richness of harmony that sets off the
characteristic pathos of the melodic material. It is followed by a Minuet and Trio that lead to the
final movement, the contrapuntal features of which persuaded later commentators to describe the work as the symphony with a closing fugue. Some element of counterpoint is not altogether unusual
in the last movement of a symphony, but Mozart here provides an inspired example of the technique, with a remarkable series of canonic imitations in the coda, as the instruments imitate in turn a series of thematic fragments from earlier in the movement. © 2017 Naxos Digital Services Ltd
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演出者簡介
指 揮 conductor
呂紹嘉
Shao-Chia Lü
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。
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Taiwan-born conductor Shao-Chia L端 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 L端 accepted positions as General Music Director of the Koblenz Theatre (1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004), and the Staatsoper Hannover (2001- 2006). Shao-Chia L端 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 L端 has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra) since August 2010.
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樂團簡介
自信而精銳 國家交響樂團 「許多精良的樂團展現了亞洲古典音樂的茁壯，然而臺灣愛樂以卓越、純淨、質樸的音樂表現其更令人 印象深刻。」
─《美國唱片指南》雙月刊 2017.3 - 4
「在美國加州的首次登臺是其北美小規模巡演的一站……呂紹嘉與其被低估的臺灣愛樂卻以驚人、突 出、充滿豐富音色變化的柴可夫斯基第五號交響曲獲得一次非凡的勝利。」 ─《音樂美國》雜誌 2016.12
交響樂團在每個國家有不同的形成背景，在沒有西方管絃樂傳統的臺灣，過去樂團都以文化教育 體系營運。經過三十年耕耘，我們可以驕傲的說，國家交響樂團（NSO），從交響樂、室內樂到 歌劇，是一自信、精銳，有文化意識的「臺灣之音」。 國家交響樂團的前身「聯合實驗管絃樂團」，是教育部於 1986 年集合優秀新生代音樂家，以打造 頂尖交響樂團為目標所成立。2005 年成為國立中正文化中心附設團隊，2014 年 4 月改隸國家表演 藝術中心，以「臺灣愛樂」立足國際。歷任常任指揮為 Gerard Akoka、Urs Schneider 及音樂總監 包括張大勝、林望傑、簡文彬等人。近十年來 NSO 銳意求變，大步朝專業、開放、勇於創新的職 業樂團發展，2010 年 8 月，旅德知名指揮呂紹嘉接任 NSO 音樂總監，更將樂團打造為亞洲地區 最具指標性樂團之一。 樂團現有 99 名團員，每年樂季演出約 75 場次。2010 年起，音樂總監呂紹嘉以多元化主題貫穿樂季， 整合與對比並存的廣博曲目，本著「精緻、深刻、悸動」的信念琢磨出樂團多變細膩的音色與深 刻撼人的音樂表現；歌劇演出從跨國製作到深耕國內：《艾蕾克特拉》(2011)、《蝴蝶夫人》(2012)、 《女武神》(2013)、《莎樂美》(2014) 、《費黛里歐》(2015) 、《奧泰羅》(2016) 及三聯篇歌劇《外 套》、《修女安潔麗卡》、《強尼 ‧ 史基基》(2017)，次次展現令國際樂評驚豔的製作。呂紹嘉 不僅積極拓展樂團演奏近代管絃樂作品的能力，更致力於鞏固精鍊古典經典名作，同時持續國人 管絃樂創作之演出、錄音。2011 年起，呂紹嘉帶領樂團積極展開海外巡演，2011 年廣州亞運音樂 節、2012 年東北亞巡演、2013 及 2017 歐洲巡演、2015 年兩岸三地巡演與 2016 年首次美加巡演等， 均獲得歐美亞洲樂評的高度讚譽。 近 30 年來與 NSO 合作過的客席指揮家：馬捷爾、巴夏、馬利納爵士、潘德瑞茨基、史拉特金、 羅斯托波維奇、柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾、麥可．桑德林等；及聲樂家 芙雷妮、柯楚芭絲、帕瓦洛帝、多明哥、特菲爾、吉他大師耶佩斯、鋼琴家傅聰、拉羅嘉、提博德、 寇瓦謝維契、齊柏絲坦、洛堤、歐森、白建宇、鄧泰山、薩洛、王羽佳等；大提琴家馬友友、顧德曼、 麥斯基、卡普頌、王健、伊瑟利斯、穆勒 - 修特、嘉碧妲；小提琴家卡瓦科斯、林昭亮、胡乃元、 夏漢、明茲、列賓、希拉蕊．韓、宓多里、林以信、陳銳；擊樂家葛魯賓格及其他器樂家莎賓．梅耶、 巴伯羅柯、弗里德里希等千餘位國際知名音樂家。
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Taiwan Philharmonic, the National Symphony Orchestra “Many fine groups have demonstrated how classical music is thriving in Asia. The Taiwan Philharmonic demonstrated something even more impressive: excellence, pure and simple.” －American Record Guide, 2017/3-4 “(US debut) as part of its first mini-tour of North America…Shao-Chia Lü and the underrated Taiwan Philharmonic scored a triumph with a stunning, fervently-played, meticulously nuanced －Musical America, 2016/12 performance of Tchaikovsky’s Symphony No. 5.” Founded in 1986, the Taiwan Philharmonic, also known as the National Symphony Orchestra at home, is hailed as one of the best orchestras in the Asian Region and became the resident orchestra of the National Chiang Kai-Shek Cultural Center in 2005. Starting April 2014, the NSO has become an affiliate orchestra to the National Performing Arts Center. Led by renowned conductor ShaoChia Lu as its 5th music director starting August 2010, the NSO has increased the country's cultural richness and music educational strength throughout Taiwan. The NSO with 99 members presents a 40-week musical season of approximately 75 concerts/ chamber recitals and one opera production each year. It also launched educational programs and outreach projects constantly. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Geneva, Milan, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works with internationally acclaimed conductors, such as Lorin Maazel, Sir Neville Marriner, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky, Michael Sanderling, Vassily Sinaisky and soloists, including Midori, Vadim Repin, Hilary Hahn, Ray Chen, Yo-Yo Ma, Gautier Capucon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Martin Grubinger, Louis Lortie, Kun-Woo Paik, Stephen Hough, Stephen Kovacevich, Sabine Meyer, Reinhold Friedrich, Leonidas Kavakos, Yuja Wang and many others. The NSO has extended its artistic re ach, involving in theater and opera productions, such as working with Lin Hwai-min, the world-renowned choreographer and founder of Taiwan's Cloud Gate Dance Theatre, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, and Hans-Peter Lehmann. In addition to its record-breaking semistage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with worldclass opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009), Madama Butterfly (Opera Australia, 2012), Fidelio (Zurich Operahaus, 2015) as well as in-house production Die Walkure (2013), Salome (2014) Otello (2016) and Il Trittico (2017).
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樂團簡介
攝影 王永年
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國家交響樂團 音樂總監 桂冠指揮
呂紹嘉 根特‧赫比希
駐團指揮
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
第二小提琴
● 陳怡茹 ◎ 孫正玫 ○陳玟佐 吳怡慧 李京熹 黃衍繹 顧慈美 康信榮 李梅箋
鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔
中 提 琴
● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 李靖宜 謝君玲 呂孟珊 李思琪 陳猶白
蔡秉璋 吳彥廷
大 提 琴
● 熊士蘭 ◎ 連亦先 ○ 韋智盈 周幼雯 陳怡婷 林宜嫺 黃日昇 蘇品維 唐鶯綺
▲劉純妤 ▲丁莉齡
低 音 提 琴
● 傅永和 ◎ 蘇億容 ○ 周春祥 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕
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
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
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
長 號
◎ 邵恆發 陳中昇
低音長號
彭曉昀
低 音 號
楊舒婷
TBA
定 音 鼓
● 賽巴斯汀·艾佛勒
打 擊 樂
● 陳哲輝 陳振馨 楊璧慈
豎 琴
● 解 瑄
鍵 盤
▲ 許毓婷
執行長 企劃演出經理 整銷推廣經理 行政管理經理
邱 瑗 石玲玲 王承禹 王雲玉
◎ 陳廷銓
企劃演出
整銷推廣
企劃組長 賴盈帆 企劃專員 賴曉俐 吳孟珊 郭奕飛 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 陳殿够
行銷組長 鄭巧琪 行銷專員 王思懿 黃郁雯 劉世玥 戴瑜均 林洪儀 行政管理
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 計畫贊助
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
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National Symphony Orchestra Music Director Conductor Laureate Resident Conductor
First Violin
Second Violin
Viola
Shao-Chia Lü Günther Herbig Yin-Fang Chang
★Ting-Yu Wu
Hao-Tun Teng
○Yi-Chun Chen
Yu-Lin Kuo
Yee-Nong Chen
■ Hsiao-Ching Cho
Cecilia Fang
Jiachi Huang
Chia-Chi Lai
Meng-Ying Lin
Chia-Hao Lee
Chih-Hong Tseng
Chu-Chun Tsai
I-Hui Wu
Ching-Hsi Lee
Yen-Yi Huang
Jen-Fu Chung
Meng-Fong Tsai
Chang-Wen Hung Juin-Ling Shieh
●Yi-Ju Chen
Hsin-Jung Kang
Wei-Hong Chen
Chih-Hsiang Wang
●Grace Huang ●Lana Hsiung Jih-Sheng Huang
Double Flute
◎Cheng-Mei Sun
Tsu-Mei Ku
Meng-San Lu Cello
★I-Ching Li
Kun-Hao Liang
○Wen-Tso Chen Mei-Jain Li ○Chao-Ying Lu
Yea-Chyi Hwang
Jing-Yi Lee
Szu-Chi Li
Jubel Chen
Ping-Chang Tsai
Yen-Ting Wu
◎Yi-Shien Lien
○Chih-Yin Wei
◎Chi-Chuan Teng
PinWei Su
●Yung-Ho Fu Pei-Chih Lien
◎Yi-Jung Su
●Anders Norell
◎Chika Miyazaki
Ying-Chi Tang ○Chun-Shiang Chou
Yi-Hsien Lin
Su-Yu Wang
Hsiao-Ching Huang
Shu-Yi Wang
Wan-Ju Wang
Yu-Mien Tsao
Chuin Lee
◎Tung Nguyen Hoang ▲Kai-Ting Yang
●I-Ching Wang
English Horn
■ Ming-I Lee
Shu-Ting Yang
Clarinet
●May-Lin Ju
◎Kai-Ting Chang
Wei-I Chu
Bassoon
●Kai-Yu Jian
◎I-Hsiu Chen
Ling-Feng Kao
Cheng-Jung Sun
En-Yi Chien
Contrabassoon Trumpet
●Yi-Hsin Cindy Liu ◎Pin-Chun Liu ◎Chang-Po Chen ●Nicolas Rusillon
Trombone
◎Hang-Fat Shiu
○Jen-Hsien Huang Ching-Min Chang
Tomohiro Kunita Loo-Kit Chong
Chung-Sheng Chen
Hsiao-Yun Peng
Bass Trombone
TBA
Tuba Timpani
●Sebestian Efler
◎Ting-Chuan Chen
Percussion
●Jer-Huei Chen
Chen-Hsing Chen
Harp
●Shuen Chieh
Keyboard
▲Yu-Ting Hsu
Executive Director Joyce Chiou Manager, Planning & Production Linglin Shih Manager, Marketing & Development Paul Wang Manager, Administration Yun-Yuh Wang
★Concertmaster
I-Ting Chen ▲ Li-Ling Ting
Hsin-Chieh Tsai
Oboe
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Ting-Fang Lee ▲Yin-Hsan Lan
Mei-Chuan Chung
Piccolo
Horn
You-Wen Chou ▲ Chun-Yu Liu
Ji-Hung Lin
Pi-Tzu Yang
Planning & Production Assistant Manager Ying-Fan Lai Programme Coordinator Lizi Lai Meng-Shan Wu Koay Yee Fei Librarian Brittney Kao Stage Manager Kuan-Hsun Kao Production Coordinator Ching-Han Su Assistant Stage Manager Dian Guo Chen
Marketing & Development Assistant Manager Chiau-Chi Cheng Marketing Coordinator Sandy Wang Laila Huang Ariel Liu Carol Tai Xenia Lin Administration Assistant Manager, Personnel Bibi Lin Legal Affairs Cary Liu Administrator Eileen Lin I Ching Chen Administration Assistant Yuny Chang
Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians
Legal Consultant Hsin-Ho Lin Concert Dramaturgist Yuan-Pu Chiao Art Design Jim Huang Recording Partnership
NSO-on-Campus Lecture Series Sponsored by:
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