2017
演出曲目
Program
依果‧斯特拉溫斯基（1882-1971）： 嬉遊曲，選自《仙女之吻》
IGOR STRAVINSKY（1882-1971）: Divertimento from Le baiser de la fée (The Fairy’s Kiss)
I. II. III. IV.
I. Sinfonia II. Danses Suisses III. Scherzo (Au Moulin) IV. Pas de deux a. Adagio b. Variation c. Coda
序曲 瑞士舞曲 詼諧曲 （在磨坊） 雙人舞 a. 慢板 b. 變奏 c. 尾聲
彼得‧伊里亞‧柴科夫斯基（1840-1893）：〈塔替安娜 寫信場景〉，選自歌劇《尤金．奧尼金》
PYOTR ILYICH TCHAIKOVSKY（1840-1893）: ‘Tatiana’s Letter Scene’ from Eugene Onegin
~中場休息~
~Intermission~
彼得‧伊里亞‧柴科夫斯基： 第六號交響曲《悲愴》
PYOTR ILYICH TCHAIKOVSKY: Symphony No. 6, Op. 74, B minor, Pathetique
留白部位提供觀眾 打洞收藏之用
I. II. III. IV.
I. Adagio—Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Adagio lamentoso
慢板—不過份的快板 優雅的快板 非常活潑的快板 哀慟的慢板
演出時間│ 2017年12月22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 女高音｜雅思米克 格里哥利安 Asmik Grigorian, soprano 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40分鐘，下半場約50分鐘
1︱向柴科夫斯基致敬
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。
女高音｜雅思米克・格里哥利安 生於立陶宛維爾紐斯，曾就 讀立陶宛音樂與戲劇學院，在學 期間便開始演唱事業。她是維爾 紐斯市立歌劇院的創始成員，分 別以 2005 年首次登台飾唱《茶花
女》女主角薇奧莉塔，及 2010 年
飾唱音樂劇《瘋狂理髮師》中的樂薇太太一角，兩 度獲頒黃金舞台十字獎章，為立陶宛歌者最高榮 譽。2016年，榮獲國際歌劇大獎的傑出青年女歌 者獎項。
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.
Soprano｜Asmik Grigorian Lithuanian soprano Asmik Grigorian was born
in Vilnius and studied at the Lithuanian Music and Theatre Academy, where she started her career whilst still a student. She was a founding member of Vilnius City Opera and has twice been awarded the Golden Stage Cross (the highest award for singers in Lithuania), in 2005 for her debut as Violetta and in 2010 for her performance as Mrs. Lovett Sweeney Todd. In 2016, she was winner of the Young Female Singer prize at the International Opera Awards.
2︱向柴科夫斯基致敬
樂曲解說 撰文│蔡永凱 （國立台灣師範大學音樂學博士）
(Yelizaveta Lavrovskaya)的建議。由於普希金原 著為大部份俄語讀者所熟悉，因此柴氏本人在設
依果‧斯特拉溫斯基：嬉遊曲，選自《仙女之吻》 由斯特拉溫斯基於1928年創作，且由作曲家本
人於該年11月27日在巴黎首演的芭蕾舞劇《仙女 之吻》，係取材自安徒生(Hans Christian Andersen)
童話裡〈冰姑娘〉(The Ice Maiden)之故事。就音
計劇本時，決定擷取大量普希金原文，以求呈現 原文之美，成為了「詩意場景」(lyric scenes)。 歌劇裡最知名的段落〈寫信場景〉位在第一幕第 二場，為熱愛小說、喜好幻想的女主角塔替安 娜聽及奶媽順從命運安排的無奈之後，勇敢提筆 寫信給初識的奧尼金以追求自己的幸福。首先，
樂上來說，則充滿向柴科夫斯基致敬之意。他曾回
絃樂的大跳旋律，傳達她強烈的決心，在之後歌
憶起幼年時期，隨同父母前往馬林斯基歌劇院欣賞
劇片段中亦多次出現，可稱為「寫信」主題；樂
葛令卡歌劇，在中場休息時瞥見觀眾席中的柴科夫
團隨後慢慢醞釀，猶如再也按耐不住靈感；在一
斯基。該場演出後兩星期，柴氏瘁逝更讓年幼的他
段由絃樂演奏的「幻想」主題後，她似乎冷靜下
大為震驚。除此之外，柴氏的《睡美人》始終是他
來，不知道如何開口；雙簧管的旋律搭配絃樂的
最喜愛的音樂作品之一，還曾經協助編舞家狄雅基
音型，是振筆疾書的動作；在連兩聲「就是他！
列夫(Sergei Diaghilev)，將《睡美人》手稿中原本 被柴氏刪去的兩段落，重新配器整理，讓全劇得 以「完整」演出。直到1928年，當舞者伊達‧魯
賓斯坦(Ida Rubinstein)的舞團邀請斯氏創作一部芭
蕾舞劇，以紀念柴科夫斯基逝世35週年，作曲家 於是取了至少十四段柴氏早期作品中的旋律，加上
就是他！」後，速度加快，旋律爬升，塔替安娜 確認奧尼金就是她畢生所追求；由雙簧管演奏的 「命運」主題，聽似淡然，塔替安娜卻不禁懷疑 「你是我的守護天使？還是陰險的誘惑者？」。 疑惑並不能澆熄她的熱情，最後在音樂高峰中， 她完成了這封信，等待奧尼金的回應。
斯氏個人的和聲和配器語彙，完成了這部獨幕舞劇 《仙女之吻》。1934年時，作曲家再將這部作品
讓我死去吧！但，先
整理為供音樂會演出的組曲，留下的大多為前三
讓我抱著一絲明亮的希望
景的音樂內容。1945年他正式將其命名為《嬉遊
那未顯明的幸福
曲》。
我所知道的甜蜜生活！
作品由四樂章組成。第一樂章〈序曲〉取自舞
我啜飲慾望的毒藥
劇開場，描寫母親在風暴裡失去孩兒的哀傷。小男
我沉浸在幻夢裡
孩被鬼怪們帶到精靈前，精靈在其前額一吻，放他
無論我望向何處
回到人間。第二樂章〈瑞士舞曲〉裡，已成年的男
我都看到那致命的誘惑者
孩與未婚妻在舞會中。未婚妻隨人群散去，精靈則
出現在我眼前。
假扮為吉普賽女人，並且承諾會帶給男子幸福。第 三樂章〈詼諧曲〉裡，精靈領年輕人到未婚妻居住
不！不是的！重來一次！
的磨坊，她正與姊妹們玩樂。第四樂章〈雙人舞〉
啊！我到底怎麼了！我像著火一樣！
出自舞劇的第三景，從甜美精緻的旋律直到最後尖 銳的和弦，年輕人直到最後才發覺自己所娶的女子 竟是精靈假扮，仍然逃不了廿年前那個吻。
我不知道該怎麼開始……。 我寫信給你，然後呢？ 接下來該說什麼？ 如今我知道，你擁有能力 以嘲笑來懲罰我
彼得‧伊里亞‧柴科夫斯基：〈塔替安娜寫信場
倘若你能對我悲慘的命運
景〉，選自歌劇《尤金．奧尼金》
施捨一絲的憐憫
根據弟弟莫捷斯特(Modest Ilyich Tchaikovsky)
的記載，柴科夫斯基將普希金(Alexander Pushkin)
你便不會離棄我。 起初我欲保持沉默 相信我，你就不會發現
的韻文小說《尤金．奧尼金》創作為歌劇，係
我的羞恥。
緣於一次飯局中知名次女高音拉夫羅芙絲卡雅
永不！
3︱向柴科夫斯基致敬
哦！是的，我發誓將之緊鎖心房
讓我不再懷疑。
這個充滿熱情和瘋狂的愛情告白
也許一切都是空
唉！但我無法禁錮我的靈魂
無知心靈的自我欺騙
就讓該發生的發生吧！
或是會有不同？
我承認一切！去吧！
讓它去吧！我的命運
讓他發現一切！
從今交付予你 我流著淚在你的面前
“為什麼？哦！為什麼你要來拜訪我們呢？
懇求你的保護
到這個遙遠的鄉下村莊
我懇求！
我不該認識你
想像：我單獨在這裡
我也不會感受如此痛苦的折磨
無人了解
年少輕狂的悸動
我無法思考
時間也許會平復，誰知道呢？
只能在孤寂中死去！
也許我的心會找到另一位
我等待著你，
我會成為一個忠貞的妻子
我等待著你！一句話
和慈愛的母親……。
讓我心裡的希望復甦 或是重重地打碎這個幻夢 以我應得的責難！
“
另一位！不！這世上絕不會有另一位 讓我付出我的全心 一切已註定
完成了！我不敢再讀
上天讓我屬於你！
我因羞愧和懼怕而恍惚
我的人生的存在
但你的榮譽是我的保障
都是為了要遇見你
因此我深深信任著
我知道，上天讓我和你相遇 你將會守護我直到我逝去 你曾出現在我的夢裡 雖未相識，你卻如同親近 你迷人的眼神充滿渴望地凝視著 你的聲音迴盪在我的心底 許久以前……，不！那不是夢！ 你一到來，我就認出了你 我愣住了！熱情燃燒
彼得‧伊里亞‧柴科夫斯基： 第六號交響曲《悲愴》 在第五號交響曲於 1888 年首演後，柴科 夫斯基持續思考著交響曲創作的可能性。 兩年後，他在給康斯坦丁大公 (Grand Duke
Konstantin Konstantinovich)的信上透露：「正
我心裡想著：是他！
寫作一部宏偉的交響曲，來做為我整個創作
是他！ 我知道！我聽過你的聲音！ 你曾經在靜默中對我說話
生涯的總結。」作曲家為交響曲新作構思 了標題內容：第一樂章由衝動的、自信的、
當我探訪窮苦人
渴望活動的心態走向死亡，呈現出摧毀的結
在我為著心靈的煩憂
果；第二樂章展現的是愛；第三樂章則關於
祈禱尋求平靜時
失望；第四樂章以逐漸逝去的姿態完結。雖
在這些時刻
然這部作品的計畫最後遭作曲家捨棄，然而
難道不是你，美麗的幻影，
標題內容，卻似乎催生了《悲愴》交響曲之
在微幽的黑暗中
誕生。這部作品完成後，題獻給作曲家姪兒 大衛朵夫(Vladimir Davydov)，並由作曲家親
悄悄地貼近我的床頭 對我絮說希望的話語？
“
帶著愛與喜悅
自指揮，1893年10月28日在聖彼得堡首演。
首演時觀眾反應平平，但作曲家卻認為這已 是他的代表作。至於目前通用的《悲愴》
“你是誰？你是我的守護天使
(Pathétique)一名，根據作曲家之弟莫捷斯特的
或是狡詐的引誘者？
說法係出自他的建議。然而俄語Патетическая
4︱向柴科夫斯基致敬
原意指「熱情、多感的」，並無太多「悲」意， 亦讓莫捷斯特說法出現漏洞。
approached him in 1927 for a ballet for her new company, he responded eagerly to the suggestion that he compose
something inspired by the music of his compatriot. Both
完成後的作品為四個樂章。第一樂章為清楚的 奏鳴曲式。樂章開始的慢板導奏，由低音管獨奏 出弱聲旋律，其中級進音型係樂章主題的主要構 成元素。樂章的快板主體，b小調上的第一主題由
the subject and the scenario were for Stravinsky to choose, and for these he went to the world of fairy tales, just as
Tchaikovsky had for his Snow Maiden music. In fact, both
composers used similar tales.
中提琴與大提琴呈現；蕩氣迴腸的第二主題，則 先以小提琴與大提琴帶出。第二樂章為D大調，雖
For his musical source material, Stravinsky decided upon an
味仍不減如《胡桃鉗》裡〈花之圓舞曲〉的典雅
were woven together with Stravinsky's deft compositional
然使用了東歐地區常見的5/4拍的韻律，但整體韻 宜人。作品呈ABA'結構，由大提琴主奏的A段主
旋律，與第一樂章導奏之旋律有密切關連。而B段 的下行旋律，則似脫胎自第一樂章的第二主題。 第三樂章具有詼諧曲性格。雖然整個樂章由
相似的數個元素反覆串連而成，精彩的配器影響 史特拉汶斯基的成名作《煙火》(Feu d'artifice)。
本交響曲的慢板終樂章「輓歌般的慢板」(Adagio
lamentoso) ，引發最多討論。康斯坦丁大公在 聆聽總彩排後，對作曲家說道：「你在寫些什 麼？這根本就是一部安魂曲，不折不扣的安魂
assemblage of Tchaikovsky's piano and vocal pieces, which
hand. Ideas from no fewer than eleven piano pieces and five songs were incorporated into the complete, forty-fiveminute ballet Le Baiser de la fée (The Fairy's Kiss).
For the scenario, Stravinsky turned to another great artistic figure of the nineteenth century, Hans Christian Andersen, with whom Tchaikovsky, in Stravinsky's words, "had so much in common... a great poet with a gentle, sensitive
soul whose imaginative mind was wonderfully akin to that of the musician." From Andersen, Stravinsky chose as his theme the story of "The Ice Maiden."
曲。」，可見其特殊與深沈。樂章以主題劃分， 約呈ABA'B'形式。A段主題為在b小調上；在B段
出現時，則具有D大調的色彩。在經歷兩次力度的
堆疊與崩頹後，轉為小調，並以此終結樂章。若 按照音樂語彙傳統，將緩慢下行的旋律視為死亡 符號，整個樂章無疑是「糾結」與「釋懷」的辯
Six years after the world premiere in Paris (November
27, 1928), the composer created a shortened version of The Fairy's Kiss for concert performance only (not to be
danced). Using about two-thirds of the original material, he assembled the four-movement Divertimento.
證。而最後，「釋懷」仍被「糾結」所滲透，任 憑低音提琴的連結音型，掙扎至最後一刻。
The action runs as follows: The "Sinfonia" opens with
music suggestive of a lullaby. A woman carries a child in
Program Notes Igor Stravinsky: Divertimento from Le baiser de la fée (The Fairy’s Kiss)
By Robert Markow IGOR STRAVINSKY: Born at Oranienbaum (a resort
near St. Petersburg), June 17, 1882; died in New York City, April 6, 1971
It is entirely appropriate that this "Salute to Tchaikovsky"
program open with a work by Stravinsky, for since
childhood Stravinsky had been a fond admirer of Tchaikovsky's music. So when the dancer Ida Rubinstein
her arms through the windswept snow. The Snow Fairy's
attendants appear and kidnap the child, bringing it to the Fairy. To the lullaby music (solo flute), she imprints
a kiss on the child's forehead. The child is abandoned,
then found and rescued by passing peasants. Without a
break in the music, the scene shifts to a village fair twenty years later. The former child, now grown, is seen dancing
with his betrothed in "Danses suisses" (Swiss dances).
Stravinsky cleverly evokes sounds of a village band, which
provides various dance steps in duple and triple meter. The
"Scherzo" takes place by the mill. The young man watches his betrothed and her friends preparing for the wedding.
The girls dance gaily and leave. The "Pas de deux" for the two lovers consists of three sections: a tenderly lyrical Adagio with ornate arabesques in the woodwinds, a solo
Variation for the fiancée danced to a lightly tripping melody
5︱向柴科夫斯基致敬
for two flutes, and a vigorous dance in which the lovers are joined again by the crowd of peasant girls.
In the preface to the score, Stravinsky wrote: "I dedicate
this ballet to the memory of Peter Tchaikovsky by relating the Fairy to his Muse, and in this way the ballet becomes an
allegory, the Muse having similarly branded Tchaikovsky
with her fatal kiss, whose mysterious imprint made itself felt in all this great artist's work."
and provides a soprano with one of her most deeply-felt and cherished moments of operatic impersonation.
The composer obviously sympathized with Tatiana's
plight from first-hand experience. Here, in verse he took directly from Pushkin's epic poem, Tatiana reveals herself with compelling realism as a young, naïve girl who has
impulsively fallen in love with a handsome man she
hardly knows. In Tchaikovsky's best lyrical vein, she pours out her feelings as she struggles to find the right
words to put into her impassioned declaration of love (the
Pyotr Ilyich Tchaikovsky:
‘Tatiana’s Letter Scene’ from Eugene Onegin By Robert Markow
PIOTR ILYICH TCHAIKOVSKY: Born in Votkinsk, May 7, 1840; died in St. Petersburg, November 6, 1893
Tchaikovsky, like Mozart, wrote music in every musical
letter). Tchaikovsky's sensitivity to orchestral colors is also superbly demonstrated in this scene, where woodwind and horn timbres are delicately limned to coordinate with the wistful vocal writing.
Eugene Onegin received its first professional production
on January 23, 1881 (a student production had been given two years earlier).
genre and is remembered for significant contributions to
each. In the world of opera, Tchaikovsky's approach was a highly personal one. He tended to avoid spectacular
battle scenes, marches, exotic locales, large contingents
of supernumeraries and other trappings of "grand" opera. "Give me a subject in which the human element will
predominate: love, jealousy, ambition," he wrote. "I search for powerful, yet intimate drama, based on a conflict of
situations which I have experienced and that I feel." These words offer a custom-made prescription for Eugene Onegin
(1879), Tchaikovsky's fifth completed opera and the best known.
In 1877, shortly after he had begun composition of Eugene
Onegin, Tchaikovsky became romantically involved with
a former student, Antonina Milyukova. By letter she sent avowals of love, but Tchaikovsky was not prepared to
reciprocate. He tried to cool her ardor with words that
could have come from Onegin himself: "I told her," he related afterward, "that I could offer only gratitude and sympathy in exchange for love... I could not love her. I
described to her my irritability, my nervous temperament, my misanthropy." In the opera, Onegin rejects his would-be
lover (Tatiana) until the events of Act IV, when it is too late.
Tchaikovsky, however, foolishly married this girl for whom he had little feeling, and the union ended traumatically just weeks later. But the opera's
Letter Scene became its focal point, its very heart and soul,
Pyotr Ilyich Tchaikovsky:
Symphony No. 6, Op. 74, B minor, Pathetique Tchaikovsky's last symphony, called, at the prompting of his brother Modest, the Pathetique, rather than simply
"Programme Symphony", as the composer had originally
intended, was first performed in St. Petersburg under Tchaikovsky's direction on 16th October (28th October on the Western calendar), 1893. The programme of the work, which had been sketched earlier in the year and orchestrated
during the summer, was autobiographical. Tchaikovsky
had jotted down a rough plan in 1892. The whole essence of the plan of the symphony is Life. First movement: all
impulsive, confidence, thirst for activity and must be short. (Finale - Death - result of collapse). Second movement
love; Third disappointments; Fourth ends dying away
(also short). In a letter to his nephew Bob Davidov he had
suggested that the programme of the symphony was to be a secret, but subjective to the core. This it remained, although the details of the original scheme were to be modified.
The first movement opens with a slow introduction, in which the bassoon, over divided double basses,
prefigures the first theme of the following Allegro. Here there is conflict for life, leading to the tenderness of the
6︱向柴科夫斯基致敬
second subject, a love theme. This in turn fades into a
whispered bassoon fragment, marked, with characteristic
exaggeration, pppppp, in a symphony that is later to reach the other dynamic extreme of ffff. Compressed in its use
of traditional symphonic form, the movement interrupts the surge of life with the presence of death and with overt references to elements of the Russian Orthodox Requiem.
The second movement is in unconventional 5/4 time,
something that Hanslick, in his hostile review of the first
performance in Vienna in 1895, found loathsome. The melody, however, must seem a particularly fine example of
Tchaikovsky's powers of invention, a gift allowed such apt expression in his ballet scores. The middle section of the
movement admits the intrusion of an ominous element of mortality, with its descending scale of death.
There follows a scherzo, its first subject leading to a march in which triumph is tinged with irony. In the succeeding
final movement there is a stark confrontation with death, as the music, entrusted as at the beginning to the darker toned lower instruments of the orchestra, fades to nothing. © 2017 Naxos Digital Services Ltd
7︱向柴科夫斯基致敬
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
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
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
謝君玲
呂孟珊
李思琪 陳猶白
林宜女閒
黃日昇
蘇品維 唐鶯綺
王淑宜
連珮致
蔡歆婕
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 蔡秉璋 吳彥廷 黃亞漢 林怡君
大 提 琴
● 熊士蘭
◎ 連亦先 ○ 韋智盈 周幼雯 陳怡婷
李梅箋
▲ 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
長 笛
● 安德石
◎ 宮崎千佳 李 浚
短 笛
鐘美川
雙 簧 管
● 王怡靜
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
◎ 阮黃松 ▲ 楊凱婷
法 國 號
● 劉宜欣
◎ 劉品均 ○ 黃任賢 國田朋宏 王婉如 ▓曹予勉 ▲張穎嚴
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
夏目友樹
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/ 總監執秘
邱 瑗 王承禹 王雲玉
企劃演出
整銷推廣
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
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
★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