1061125 Vänskä & Sibelius Program Note

2017

Program

演出曲目 卡爾‧尼爾森（1865-1931）：《太陽神》序曲

CARL NIELSEN（1865-1931）: Helios Overture, Op. 17

貝拉‧巴爾托克（1881-1945）： 中提琴協奏曲

BÉLA BARTÓK（1881-1945）:

Viola Concerto, Sz. 120, BB 128 (Tibor Serly Edition)

I. Allegro moderato II. Adagio religioso III. Allegro vivace

I. 中庸的快板 II. 宗教性的慢板 III. 生動的快板

~中場休息~

~Intermission~

楊聰賢（b. 1952）：《悲歌》為中提琴獨奏與絃樂、豎 琴、打擊樂 (1996)

TSUNG-HSIEN YANG（b. 1952）: Elegy

I. Elegy I II. Elegy II

I. 悲歌 第一樂章 II. 悲歌 第二樂章

JEAN SIBELIUS（1865-1957）: Symphony No. 5, Op. 82, E-flat major

尚‧西貝流士（1865-1957）： 第五號交響曲 I. 很中庸的速度—中庸的快板（可是一點一點 加快）--很活潑的—急板—更急板 II. 活躍的行板，幾乎是稍快板—一點一點加快 —平靜的—一點一點加快—放慢到速度一 III. 很快板—神秘的—一點放寬—相當寬—一點 加快

演出時間│ 2017年11月25日 (星期六) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei

I. Tempo molto moderato – Allegro moderato (ma poco a poco stretto) – Vivace molto – Presto – Più Presto II. Andante mosso, quasi allegretto – Poco a poco stretto – Tranquillo – Poco a poco stretto – Ritenuto al tempo I III. Allegro molto – Misterioso – Un pochettino largamente – Largamente assai – Un pochettino stretto 演出者

指 揮｜歐斯莫．凡斯卡 Osmo Vänskä, conductor 中提琴｜黃心芸 Hsin-Yun Huang, viola 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35分鐘，下半場約45分鐘

講座場地協力│

1︱凡斯卡與西貝流士

演出者介紹 指揮｜歐斯莫‧凡斯卡 歐斯莫．凡斯卡任明尼蘇達 管絃樂團音樂總監十多年來，以 他對各時期曲目具公信力的詮釋 而著稱。近期的演出包括凡斯卡 回歸芝加哥交響樂團、克里夫蘭 管絃樂團、以色列愛樂樂團和瑞 士羅曼德管絃樂團。他經常指 揮倫敦交響樂團和倫敦愛樂樂團、維也納交響樂 團和芬蘭廣播交響樂團，並與赫爾辛基愛樂和紐 約Mostly Mozart音樂節建立了穩固的合作關係。 2015 年，他帶領明尼蘇達管絃樂團到古巴，締造 了兩國政府關係正常化以來首次的歷史性訪問。他 曾任冰島交響樂團音樂總監，後來也繼續擔任首席 客座指揮。他素以詮釋西貝流士作品而負盛名，在 2015 年 BBC 逍遙音樂節與日本讀賣交響樂團演出 紀念西貝流士一百五十歲冥誕。

中提琴｜黃心芸 黃心芸是這一輩傑出的中提 琴演奏家。曾以獨奏家身份與柏 林廣播管絃樂團、東京愛樂、扎 格雷布獨奏家樂團、倫敦市立管 絃樂團等樂團演出。她亦經常於 萬寶龍、史波雷托、羅馬、聖塔 菲等音樂節演出。1994 到 2004 年 間，她是巴洛米歐絃樂四重奏的成員。黃心芸積 極演出為中提琴與室內合奏團所寫的曲目。她在 2012年為大橋唱片錄製的Viola Viola，收入了陳士 惠、史帝芬．麥基、艾略特‧卡特、波爾‧魯德斯 與喬治‧班傑明的作品。黃心芸以中提琴詮釋巴哈 無伴奏小提琴奏鳴曲組曲全集，於2017年發行。 黃心芸於1988年成為英國萊諾．特堤斯國際中提 琴大賽最年輕的金牌得主，受到國際矚目。就讀英 國曼紐因音樂學校後，她繼續於美國紐約茱麗亞音 樂院及寇提斯音樂院深造，目前任教於這兩所學 校。

Conductor｜Osmo Vänskä Music Director of the Minnesota Orchestra

for over a decade, Osmo Vanska is recognised for his compelling interpretations of repertoire from all ages. Recent and upcoming performances include Vanska's return to the Chicago Symphony, The Cleveland Orchestra, Israel Philharmonic Orchestra and Orchestre de la Suisse Romande. He regularly conducts the London Symphony and London Philharmonic orchestras, Wiener Symphoniker and Finnish Radio Symphony Orchestra, and has developed strong relationships with the Helsinki Philharmonic and the Mostly Mozart Festival, New York. In 2015, he led the Minnesota Orchestra in a historic first visit by a major US orchestra to Cuba since the normalisation of relations between the two governments. He also became Principal Guest Conductor of Iceland Symphony Orchestra, having previously held the position of Music Director. As one of the most renowned interpretors of Sibelius' music, he celebrated the composer's 2015 anniversary among others at the BBC Proms and with the Yomiuri Nippon Symphony Orchestra.

Viola｜Hsin-Yun Huang Hsin-Yun Huang has forged a career as one of

the leading violists of her generation. She has been soloist with the Berlin Radio Orchestra, the Tokyo Philharmonic, Zagreb Soloists and the London Sinfonia, among many others. She performs regularly at festivals, including Marlboro, Spoleto, Rome, Santa Fe, and was a member of the Borromeo String Quartet from 1994 to 2000. She is active in commissioning works for solo viola and chamber ensemble. Her 2012 recording, Viola Viola, for Bridge Records, included commissions from Shih-Hui Chen and Steven Mackey, and works by Elliott Carter, Poul Ruders, and George Benjamin. Additional recording projects include complete Solo Bach Violin Sonatas and Partitas on the Viola to be released in 2017. A native of Taiwan, Ms. Huang first came to international attention as the gold medalist and youngest competitor in the 1988 Lionel Tertis International Viola Competition. She was educated at the Menuhin School in UK prior to received degrees from The Curtis Institute of Music and the Juilliard School. She now serves on the faculties of both schools and lives in New York City.

2︱凡斯卡與西貝流士

樂曲解說 卡爾‧尼爾森：《太陽神》序曲 撰文│沈雕龍 （柏林自由大學音樂學博士）

1903 年，丹麥作曲家尼爾森（ Carl Nielsen, 1865-1931），隨雕塑家妻子赴希臘雅典考察，過 程中被當地的希臘古蹟和文物所感動，而創作了 《太陽神》序曲。赫利奧斯（Helios）是希臘神話 中的太陽神，他的工作是每天將「日車」在天際中 從東邊拉到西邊，也就是太陽在白天劃過天際的情 景。尼爾森曾經為這首序曲的內容，提下了描述的 簡語「靜默與黑暗—太陽在頌歌下昇起—行著它金 色的路—靜默地沉入海中」，勾勒出這首序曲想像 力的軌跡。 序曲由一段慢板導奏展開，大提琴和倍低音提 琴以極弱的音量（ppp-pp），拉出八度和五度的長 音音毯，描繪著低沉有聲的靜默；四支法國號然後 以輪流大跳的音型，帶出光芒散射的效果，光亮中 其他的景象也浮現：模仿水流和其他的音型，逐步 出現在不同的樂器聲部裡。在這些音型蔓生交織 中，法國號齊奏的頌歌旋律穿楊而出，隨後在小號 揚頌般的齊鳴聲中，樂曲進入了奏鳴曲式的快板段 落：第一主題是一段充滿衝勁的大調主題，樂團以 豐沛的織體和音量伴奏著，第二主題則是一段小調 的旋律交替在不同的聲部和獨奏中，樂團以斷奏或 撥奏點狀般地微微地將主題網羅著；在一段漸強之 後，進入了樂團的賦格昇華裡。樂曲的尾聲進入一 段較慢的行板，導奏的頌歌主題再現，並且在低音 弦樂音毯和水流音型的伴奏下緩緩下行消失，一切 回歸低沉的靜默。

演奏出的主題，有清晰的旋律輪廓和節奏，之後延 伸出一段宛如裝飾奏的獨奏，音型不斷加快變奏之 後，旋律轉為散發出強烈的民謠風味，並且帶有五 聲音階。這個主題在之後不斷以變奏的型態再現， 成為強烈的聲響特徵。 一段標示為「緩板，說話般的」（Lento, parlando）的間奏後，接入了第二樂章。中提琴在 這個宗教性氣氛的慢板樂章中，有著孑然遠望的聲 型，伴奏多為淡雅清晰的和弦，樂團不時以管樂閃 過著宛若流星劃過天際般的音型，或突發出粗重怪 異的聲響。這個樂章對中提琴而言，彷彿是夜裡一 場暗藏玄機的月下獨行。 一段「稍快板」（Allegretto）的間奏導入了第 三樂章。這個樂章的特色為帶有匈牙利風味的舞 曲，主要由三段主題構成。樂團以粗野蠻踏的衝 力，襯托中提琴的炫技和譏諷幽默的氣質。在競協 交替中朝向高潮的奔馳最後一齊戛然而止，那瞬間 的脫出的靜默，其實拋出了對狂歡的無限遐思。 委託人中提琴家 Primrose 於 1970 年回憶到： 「當我委託巴爾托克寫一部協奏曲時，大家都覺得 我做了個錯誤的決定。【…】天底下誰會請我演出 巴爾托克的協奏曲呢？當初，我按作曲家的要求支 付給他1000美金，而往後，我卻演出了這首協奏 曲遠遠超過一百次，而且每次都有相當可觀的酬 勞。」

貝拉‧巴爾托克：中提琴協奏曲

楊聰賢：《悲歌》為中提琴獨奏與絃樂、豎琴、打 擊樂 (1996)

撰文│沈雕龍（柏林自由大學音樂學博士）

撰文│楊聰賢

1945年二月，美籍蘇格蘭裔中提琴家William Primrose向巴爾托克（Béla Bartók, 1881-1945）委 託創作了一首中提琴協奏曲。該年9月8號，作曲 家寫信給委託人：「草稿已經完成了，只差寫成總 譜，不過是一些純粹機械性的工作，也就是說，如 果沒有什麼意外的話，我可以在五六個星期後完 成。」然而，計畫趕不上變化，十八天後的9月26 號意外發生：巴爾托克因白血病逝世於紐約。 最後將這部作品續完的，是巴爾托克的學生暨 朋友Tibor Serly（1901-1978）。Serly參考了巴爾托 克生前同時進行中的鋼琴協奏的模式，將中提琴協 奏曲也分成清楚簡潔的三個樂章，第二樂章的標題 與鋼琴協奏曲一模一樣，亦稱作「宗教性的慢板」 （Adagio religioso），讓這部中提琴協奏曲在1949 年完整地由Primrose首演。 第一樂章為一鬆散的奏鳴曲式。中提琴一開始

生命的短暫以及隨之而來的無奈是我們這一生 唯一所真正學習到者。而人類歷史上的許多悲劇則 源於我們這種對於自己必然死亡的認知。眾多人士 在無能掌控自己生命的永續之時，便以掌控他人的 生命來掩飾其無奈。「二二八事件」便是如此的一 齣悲劇，然而在這一事件中，如此野蠻非理性的發 洩只是益發彰顯這些人士對於死亡的恐懼與失態罷 了。畢竟死亡依然擄走了他們！所幸藝術創作提供 了我們另類的選擇；經由創作過程的省思，我們得 以學習如何去坦然地面對自己生命的必然終結，進 而將潛藏其中的無奈昇華為對人的關懷與希望。悲 歌便是我對「二二八事件」的省思。 楊聰賢 (b. 1952) 生於屏東，現居新竹。 歷經 三十年國內外教學生涯後，選擇常駐於家裡舒適但 不奢華的工作室，偶爾離開僅為了探視兩位在外生 活的兒子們。 截至目前，曾寫了一些曲子，教過 一些學生，也種植了滿陽台的花木。

3︱凡斯卡與西貝流士

尚‧西貝流士：第五號交響曲 撰文│沈雕龍 西貝流士（Jean Sibelius, 1865-1957）的第五號 交響曲，是芬蘭政府為了慶祝作曲家五十歲生日而委 託的創作，由西貝流士親自指揮，首演於自己1915年 的生日當天12月8日。然而，西貝流士自己並不很滿 意這個四樂章的版本，而在1916年改編出了第二個版 本，直到 1919 年才確立了今日所見的三樂章版本。 1918年，當西貝流士正在進行改版時，寫下了他的感 受：「比起我的其他作品，這些交響曲更是信念的告 白。」 第一樂章前28小節內，出現了四個主題，讓大部 分的分析家認為這個樂章為雙呈示部；之後的發展過 程中，新出現了一段3/8拍的中庸的快板，常被分析家 以「詼諧曲」（Scherzo）稱之；之後，預期的再現部 顯得相當模糊，各種分析對這段的開始莫衷一是，可 見西貝流士突破傳統奏鳴曲式的意圖。 第二樂章為一首變奏曲，變奏的材料為一開始出 現在小提琴及長笛的撥/斷奏旋律。此外這個樂章也展 現了西貝流士配器的獨到之處：以法國號為基底，混 合了其他木管，營造出來霧氣泱泱之氛圍；高音木管 不時發出小二度的不諧和音，額外地醒耳，讓此樂章 的靜態質感，還閃爍出神秘的光暈。 在創作此交響曲時，西貝流士在日記寫下：「今 天我看到十六隻天鵝。是我最恢宏的記憶之一，上天 吾主啊，那麼美麗！」這段經驗，常被用來想像第三 樂章的特色：絃樂以陣音（tremolo）開始，混合了八 分音符循環，並逐步提升的旋律，彷彿是群鳥振翅起 飛的窸窣作響。緊接著這個段落的，是法國號以二分 音符，吹出五度、六度、七度的大跳音程旋律，呈現 的恢宏姿態，讓人想起天鵝在空中揮動翅膀的情景； 同時間，木管和大提琴奏出一段弱起拍的悠長旋律， 在聽覺中營造遼闊感。三個動機持續以變奏、發展、 換部的交響的手法，將有形的畫面提升到精神的昇華 裡。

Program Notes Carl Nielsen: Helios Overture, Op. 17

Of the shorter orchestral works, the most famous is the overture Helios (FS32) which Nielsen wrote in 1904, the result of a journey to Greece with his wife, the sculptress Anne Marie Brodersen. The chief inspiration was the sun rising and setting over the Aegean Sea, and it is this image that opens and closes the piece. Over undulating strings, divided horns sound in evocative polyphony, while upper strings and woodwind outline a melodic idea of burnished richness. This rises to a serene climax for full orchestra, from which fanfaring trumpets initiate

a striding theme which returns later in the piece. After this first appearance, a graceful idea for woodwind ensues; then, after a further brass entry, strings begin a lively fugato which draws the full orchestra into a reprise of the striding theme and its associated fanfare. From here the music subsides into its initial calm, solo horn and woodwind musing on the opening motifs as lower strings effect a return to darkness. © 2017 Naxos Digital Services Ltd

Béla Bartók: Viola Concerto, Sz. 120, BB 128 (Tibor Serly Edition)

By Robert Markow BÉLA BARTÓK: Born in Nagyszentmiklós, Hungary (now Sinnicolau Mare, Romania), March 25, 1881; died in New York City, September 26, 1945 During the final two years of his life, which were spent largely in a hospital in New York City, Bartók worked on three different concertos: the Concerto for Orchestra, which was written in 1943 and went on to a brilliant success as his best-known work; the Third Piano Concerto, which Bartók finished except for the final seventeen bars; and the Viola Concerto, which was left in a tangle of sketches. But thanks to the dedication and tedious editorial work of Tibor Serly, we are able to hear today at least a close approximation of what Bartók had in mind before death interrupted his final composition.

Serly (1901-1978) was uniquely qualified for the task. He had studied composition and harmony with Kodály and Bartók in Hungary; he had played viola in the Cincinnati, Philadelphia and NBC Orchestras; he had been a close friend of Bartók for years; he was also a friend of the violist for whom the concerto was being written, the famous William Primrose; and he had acted as associate and amanuensis for Bartók during the final years of his life. Serly worked for two years on his labor of love. The concerto was finally premiered in Minneapolis on December 2, 1949. Antal Dorati conducted the Minneapolis Symphony, and the soloist was of course Primrose.

The concerto conforms closely to classic principles of concerto construction: a sonata-form first movement with two themes of contrasting tonality and character that return in proper sequence in the recapitulation; a ternary-form middle movement, and a rondo-finale. All three movements are linked by transition passages (as in Mendelssohn's Violin Concerto).

The soloist adumbrates the first movement's principal theme in a solo introduction, a favorite device in concerto writing ever since Beethoven's Fourth Piano Concerto. The second theme, built around the secondary tonality of E, is by contrast sweetly lyrical, with overtones of intense yearning. The development is devoted to melodic variations of the first theme, and the recapitulation culminates in the movement's biggest climax.

4︱凡斯卡與西貝流士

The second movement is marked Adagio religioso. Over the barest orchestral support, the viola weaves a poignant, recitative-like line. Suddenly we are thrown into a flurry of whirling, buzzing effects, an example of Bartók's highly atmospheric "night music." Music of poetic expressiveness returns, at times strongly suggestive of the concerto's opening theme.

The finale is in Bartók's characteristic style of an Eastern European folk dance. Quick-note repetitions, stomping effects, motoric energy, drones and multiple stops (several notes played together) for the soloist all contribute to the excitement.

Tsung-Hsien Yang: Elegy

By Tsung-Hsien Yang

Tsung-Hsien Yang: Elegy for Viola and Strings, Harp, and Percussion (Commissioned by Contemporary Chamber Orchestra Taipei) (1996) The only thing we will ever learn about life is how brief and full of helplessness it is. And out of this sad realization of our mortality arised numerous tragedies in human history. Not being able to have a hand on their own lives' eternity, many so-called leaders instead tried to control others' lives, a way of covering up their frustration. The February 28th Incident was one such tragedy. Sadly enough, such spree of irrational and barbaric behavior turned out to tell us more about the fear and stupidity of these so-called leaders when they faced the thought of death. Eventually they would all be taken by death regardless how much control they have had on others' lives. It is then fortunate for us human being that there exist artistic creativities; they provide us another choice. Through the contemplation during our creative process, we learn to accept the reality of our mortality and so transfigure our feeling of helplessness into love and hope. Elegy has been my contemplation on the February 28th Incident.

Tsung-Hsien Yang (b. 1952), originally from Pingtung City, is currently living in the City of Hsinchu. After thirty years of teaching at various colleges in the United States and Taiwan, he has now retired from full-time teaching and devotes most of his time to composing.

Jean Sibelius: Symphony No. 5, Op. 82, E-flat major Sibelius had contemplated a Fifth Symphony as early as 1912.

The first version, written largely in 1915, had been given its first performance in December of that year in a celebration of the composer's fiftieth birthday. A second version, combining the first and second movements into one and extending the finale to make a balancing second half to the work, was first

heard in 1916, but still failed to satisfy Sibelius. The final revision was delayed by the aftermath of the revolution in Russia and the resulting civil war in Finland but completed in 1919.

The first movement opens with the horns in expansive mood, followed by the woodwind in thirds, the entry of the strings delayed. The dramatic tension of tremolo strings leads to a second subject. The centre of the movement takes the place of a scherzo, with a solo trumpet theme, a suggestion of what is to follow in the last movement. The second movement is in the form of a G major theme and variations, its opening melody given to plucked strings and flutes in thirds, moving, as the music proceeds, from the idyllic to the passionate.

The massive finale starts with the busy, swelling activity of the strings, after which the well-known theme that dominates the movement emerges in all its strength, with a secondary, complementary theme from the woodwind, as the trumpets declare what had become known to Sibelius and his friend and adviser Baron Axel Carpelan, who died before the new version was finished, as the 'swan-theme'. This had been suggested to Sibelius by the sight and sound of swans circling above him in the haze of early spring sunshine. It remains the most familiar of all themes in a symphony that has always enjoyed popularity. © 2017 Naxos Digital Services Ltd

5︱凡斯卡與西貝流士

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 潘俊蓁 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 黃亞漢 林宜女閒 黃日昇 蘇品維 唐鶯綺 大 提 琴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 周幼雯 陳怡婷 ▲ 劉純妤 ▲ 丁莉齡 ● 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 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 ● 李昆穎 ◎ 邵恆發 陳中昇 低 音 長 號 彭曉昀 低 音 號 盛心禹 定 音 鼓 ● 塞堤恩 ◎ 陳廷銓 打 擊 樂 ● 陳哲輝 陳振馨 楊璧慈 豎 琴 ● 解 瑄 鍵 盤 ▲ 許毓婷

執行長 整銷推廣經理 行政管理經理

邱 瑗 王承禹 王雲玉

企劃演出 企劃組長 賴盈帆 企劃專員/總監助理 郭奕飛 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 蘇敬涵 助理舞監 陳殿够

整銷推廣 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 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 NSO Live 講座計畫贊助

★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