2017
留白部位提供觀眾 打洞收藏之用
演出時間│ 2017年12月30日 (星期六) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei
演出者
指 揮｜張尹芳 Yin-Fang Chang, conductor 小
號｜萊因霍爾德．弗里德里希 Reinhold Friedrich, trumpet
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60分鐘
1︱西班牙式瘋狂
演出曲目
Program
曼努爾‧德‧法雅（1876-1946）： 《愛情魔法師》選段
MANUEL DE FALLA（1876-1946）: Excerpts from El amor brujo (Orchestra version)
〈序曲與揭幕〉 I. II. 〈在洞窟中－夜〉 IV. 〈亡靈再現〉 V. 〈恐懼之舞〉 VI. 〈魔法之圈〉 VII. 〈午夜〉 VIII. 〈火之祭舞〉 IX. 〈場景〉 XI. 〈默劇〉 XII. 〈愛情遊戲之舞〉 XIII. 〈終曲－晨鐘〉
I. II. IV. V. VI. VII. VIII. IX. XI. XII. XIII.
Introducción y escena (Introduction et scène) En la cueva - La noche (Dans la cave - La nuit) El aparecido (Le Revenant) Danza del terror (Danse de la frayeur) El circulo magico (Le cercle magique) A Media noche (Minuit) Danza ritual del fuego (Danse rituelle du feu) Escena (Scène) Pantomima (Pantomime) Danza del juego de amor (Danse du jeu d'amour) Final - Las campanas del amanecer (Finale - Les cloches du matin)
阿爾坎傑羅‧科雷里（1653-1713）/ 史蒂芬‧維哈特（b. 1969）： 《佛利亞舞曲》主題變奏，給小號與管絃樂團
ARCANGELO CORELLI（1653-1713）/ STEVEN VERHAERT（b. 1969）: Variations on La Follia, for trumpet and orchestra
~中場休息~
~Intermission~
摩利斯‧拉威爾（1875-1937）： 《西班牙狂想曲》
MAURICE RAVEL（1875-1937）: Rapsodie espagnole
I. II. III. IV.
〈夜之前奏曲〉 〈馬拉奎那舞曲〉 〈阿巴奈拉舞曲〉 〈市集〉
法蘭克．普羅托（b. 1941）： 《卡門幻想曲》為小號與管絃樂團 I. II. III. IV.
〈前奏曲〉 〈阿拉岡舞曲〉 〈間奏曲〉 〈阿巴奈拉舞曲〉
朱爾‧馬斯奈（1842-1912）： 《領袖》芭蕾組曲選段 I. II. IV. VI. VII.
〈卡斯替雅諾斯〉 〈安達盧西亞舞曲〉 〈晨歌〉 〈瑪德麗蓮〉 〈納瓦拉姑娘〉
I. II. III. IV.
Prélude à la nuito Malagueña Habanera Feria
FRANK PROTO（b. 1941）: A Carmen Fantasy for trumpet & orchestra I. II. III. IV.
Prelude Aragonaise Intermezzo Habanera
JULES MASSENET（1842-1912）: Excerpts from Le Cid Ballet Suite I. Castillane II. Andalouse IV. Aubade VI. Madrilène VII. Navarraise
2︱西班牙式瘋狂
演出者介紹 指揮｜張尹芳 以創意的音樂會節目企劃、 多元的指揮風格遊走於東西方管 絃樂團；自 2007 年起張尹芳參與 策劃、指揮「 NSO 永遠的童話」 年度製作、指揮各種節慶及推廣 音樂會，均深受好評；其中與國 際知名導演張艾嘉合作，製作演 出2016 NSO跨新年音樂會《仲夏夜之夢》，以朗 讀與音樂的跨界演出深獲國際媒體肯定。2012年 3月，張尹芳於「高雄春天藝術節」臨陣替代身體 不適的俄國指揮大師羅許德茲特溫斯基指揮蕭斯塔 科維契第八號交響曲，深受樂界肯定。曾受邀客席 國立臺灣交響樂團及臺北市立國樂團，與臺北市國 演出之《反景入深林―向周文中致敬》音樂會，不 僅為多首作品世界首演，更獲得台新藝術獎最佳 演出提名，並已發行錄音。2017年5月，受邀於屏 東演藝廳指揮演出總統府音樂會，廣受好評。自 2006年至2015年擔任國家交響樂團助理指揮，並 於2012年起擔任NSO樂團學苑常任指揮，負責樂 團學苑的訓練。2015年8月成為NSO駐團指揮。現 兼任於臺北藝術大學、輔仁大學音樂系，並活躍於 當代臺灣樂壇。
小號｜萊因霍爾德．弗里德里希 自1986年贏得慕尼黑國際 ARD 大賽二等獎以來，弗里德里 希便經常受邀登上重要的國際舞 台。演奏曲目與風格廣泛，從當 代獨奏作品到使用巴洛克小號或 有鍵小號等古樂器的古樂曲目都 有。 1982 年，他在柏林慶典週演 出了貝里歐的《Sequenza X》，1994 年在維也納 音樂協會演出海頓的有鍵小號協奏曲。自2003 年 琉森藝術節成立以來，他便是樂團的常任首席小 號，並任該樂團銅管合奏團的藝術總監。曾以古樂 器與巴澤爾奇想曲巴洛克樂團、香榭麗舍樂團與維 也納音樂院合作，另外也首演黎姆爵士、彼得‧麥 斯威爾．戴維斯爵士、蕾貝卡‧桑德斯、亨澤、胡 柏、霍茨基等當代作曲家作品。威利的協奏曲《艾 璉娜》和齊默爾曼的《沒人知道我所遭遇過的困 難》（獲 ECHO經典錄音獎）也是他眾多曲目中 的壓箱寶。
Conductor｜Yin-Fang Chang Yin-Fang Chang is a talented conductor of younger generation in Taiwan. Starting with the 2015/16 season, she became Resident Conductor of the NSO of which she was Assistant Conductor from 2006 to 2015. Chang earned high praise for the series "NSO Forever Tales" and various large-scale concerts, such as her collaboration with Sylvia Chang in the NSO 2016 New Year Concert "Midsummer Magic in Winter". In March 2012, she stepped in for ailing Gennady Rozhdestvensky at short notice to conduct Shostakovich's Symphony No. 8 in the Kaohsiung Spring Arts Festival to great acclaim. In the same year, she made her debut with the Taipei Chinese Orchestra, conducting world premieres of seven contemporary works in "Tribute to WenChung Chou" concerts, which were nominated for the Taishin Arts Award in Performing Arts. Chang was invited to conduct the same programme again the following year and to record several works of Wen-Chung Chou. In May 2017, she was invited to conduct the Concert of the Presidential Office at Pingtung Performing Arts Center. Since the 2012/13 season, Chang has been the Chief Conductor of the NSO Orchestra Academy, serving as a planner and mentor for the training programme.
Trumpet｜Reinhold Friedrich Since his second prize in the international
ARD competition in Munich in 1986, Reinhold Friedrich has been presented on all important stages of the national and international music scene. His spectrum goes from the latest solo compositions to ancient music and its historical original instruments, such as the baroque trumpet and the keyed trumpet. In 1982 he debuted at the Berliner Festwochen performing Luciano Berio's Sequenza X and 1994 at the Musikverein in Vienna playing Joseph Haydn's Concerto on the keyed trumpet. Since the founding of Lucerne Festival Orchestra in 2003, Reinhold Friedrich is a permanent principal trumpet of the Orchestra and artistic director of the Lucerne Festival Orchestra Brass Ensemble. Reinhold Friedrich has played with Capriccio Basel, the Orchestre des Champs-Elysees or the Vienna Academy on historical original instruments as well as premiered works of composers like Wolfgang Rihm, Sir Peter Maxwell Davies, Rebecca Saunders, Hans Werner Henze, Nicolaus A. Huber, and Adriana Holszky. The concertos Eirene by Herbert Willi and Nobody knows de trouble I see by Bernd Alois Zimmermann (recording awarded ECHO Classic) form important parts of his wide-ranging repertoire.
3︱西班牙式瘋狂
樂曲解說 撰文│陳惠湄 （實踐大學音樂系專任助理教授） 曼努爾‧德‧法雅：《愛情魔法師》 法雅（Manuel De Falla, 1876-1946）是二十 世紀前半西班牙最重要的代表作曲家之一，他於
1907-1914旅居巴黎期間，和德布西、拉威爾等一 些法國作曲家都是好朋友。《愛情魔法師》是法雅 在1914年受一位著名的佛朗明哥舞者－茵培瑞歐 （Pastora Imperio, 1887-1979）－委託而創作的獨 幕芭蕾舞劇。法雅曾聽到茵普瑞歐的母親唱了吉普 賽古老曲調，因而要求劇本作家將故事寫成能夠加 入三首吉普賽歌謠的情節。雖然1915年在馬德里 的首演失敗，不過，1916年法雅把樂曲改成管絃 樂組曲，其中加入由次女高音（mezzo soprano） 演唱的歌曲，這個版本在同年首演，大獲成功。 1928年在巴黎演出由法雅再更動後的芭蕾舞劇版 本也大受歡迎。《愛情魔法師》芭蕾舞劇以安達盧 西亞的吉普賽人之間流傳的傳說為劇本來源，管絃 樂組曲則分別以十三個樂段串成。在交響樂團音樂 會中常見的純管絃樂演奏版本則是其中一個段落： 〈火之祭舞〉（danza ritual del fuego）。這是整個 管絃樂組曲中最戲劇化的一段，原本故事情節中是 女主角吉普賽女孩在午夜時圍著營火跳起祭舞的場 景。法雅這段音樂的靈感來自一首吉普賽冶鐵匠的 歌曲，而依照吉普賽傳統，這首歌曲可以在冶鐵時 祛除惡靈。主題旋律先由雙簧管吹出，再由樂團齊 奏，與絃樂器的顫音（象徵火）以及鋼琴的節奏一 起（象徵打鐵）。管絃樂團非常具有描述性，模仿 打鐵的聲音漸漸增加張力與強度、速度，節奏不斷 加快、力度不斷增加，一直到激動狂亂的高潮結束 全曲。這首〈火之祭舞〉帶領聽眾在短短的幾分鐘 內讓想像力馳騁，從神秘的氣氛開始，到狂熱的情 緒結束，是一首在音樂會中非常受歡迎的樂曲。
（Chaconne）。在科雷里寫作的《佛利亞舞 曲》主題變奏曲中，他透過多種不同的伴奏 變化，巧妙地避開了單調的反覆。獨奏聲部 的小提琴展現高超的技巧：高音聲部的雙音 分散和弦、十六分音符的琶音跳音、快速跳 音等等，最後幾段變奏的技巧更是特別困 難，考驗獨奏者的技術。原本是為小提琴與 伴奏低音樂器所作，低音樂器可自由選擇， 魯特琴或鍵盤樂器是較為常見的。今晚演奏 的是小號演奏家史蒂芬·維哈特 （ Steven
Verhaert）改編給小號與管絃樂團的版本。
摩利斯‧拉威爾：《西班牙狂想曲》 《西班牙狂想曲》是法國作曲家拉威爾 （Maurice Ravel, 1875-1937）的首部大型管 絃樂曲，寫作於1907年，原本寫給雙鋼琴，
題獻給拉威爾在巴黎音樂院的鋼琴老師貝里 歐（Charles Wilfrid de Bériot, 1833-1914）， 後由拉威爾自己改編成管絃樂版本， 1908
年由柯隆納（Eduard Colonne, 1838-1910）
指揮他所創立的柯隆納樂團（Orchestre
de Concerts Colonne ）在巴黎夏特雷劇院
（ Théâtre du Châtelet ）首演。樂曲分為四 個樂章。 A 大調、 3/4 拍的第一樂章〈夜之
前奏曲〉（Prélude à la nuit），由加上弱音
器的高音絃樂器在平緩速度中奏出四個均等 的下行八分音符（ F-E-D-C# ），這單純的 音型動機貫穿整個樂章；在持續的動機反覆 中，短暫出現單簧管、巴松管的獨奏；低音 絃樂器的撥奏、鋼片琴和竪琴的加入，都增 強了神秘、感性的氣氛。透明的音色、安靜 的力度、極致的簡潔手法，讓這短小的樂章 像水一般美麗而純淨。 第二樂章〈馬拉奎 那舞曲〉（ Malagueña ）立即銜接下去，同
樣是 A 大調、 3/4 拍。在這愉悅活潑的舞曲 中，管絃樂法豐厚，也使用了多樣化的打擊 阿爾坎傑羅‧科雷里/史蒂芬‧維哈特：《佛利亞舞 曲》主題變奏，給小號與管絃樂團 義大利作曲家科雷里（Aracangelo Corelli, 1653-
1713）以十四世紀以來流行的葡萄牙《佛利亞舞 曲》（La Follia）旋律為主題所寫作的二十三段變 奏曲，是眾多《佛利亞舞曲》主題變奏曲中非常 著名的一首。以《佛利亞舞曲》旋律作為頑固低 音（basse obstinée）主題的器樂演奏型態從十六 世紀開始風行，許多作曲家都寫作了這樣的器樂 曲，到了十八世紀，演變成《西班牙佛利亞舞曲》 （La Follia d'Espagne），其風格接近莊重慢速的 《薩拉邦德舞曲》（Sarabande）或《夏康舞曲》
樂器，第一樂章的持續動機也短暫出現。
F#大調、2/4拍的第三樂章〈阿巴奈拉舞曲〉
（Habanera）是將1898年首演的雙鋼琴樂曲 改編成的管絃樂版本。樂曲由木管樂器的
C#持續音展開，旋律主題在慵懶的舞曲節奏 上由不同的樂器詠唱，然後慢慢在越來越安 靜的氣氛中消失。在三個短小樂章之後出現 的，是較長的、C大調、6/8拍、較為激動的 第四樂章〈市集〉（Feria）。饒舌歡愉的短 笛揭開序奏，在如火般的熱情舞蹈節奏中， 各種管樂家族樂器獨奏的特殊音色、旋律， 跟樂團對唱著；第一樂章的頑固動機間歇出 現，激動的舞曲樂段和神秘氣氛的樂段以配
4︱西班牙式瘋狂
器法、音色、節奏、速度、力度做出對比。這感 情豐富、激烈的音樂，栩栩如生地描繪節日、市 集，充滿鮮艷的色彩與活力，將整首樂曲帶到高 潮後結束。即使拉威爾認為這首樂曲只是一首管 絃樂法練習曲，但其中精巧的音階、旋律、舞蹈 節奏、管絃樂法的運用等等，無不使這充滿著西 班牙舞蹈與風情的樂曲，有如一幅幅以音樂描繪 的油畫，令人愛不釋手。在法國作曲家以西班牙 為靈感來源的作品中，這首樂曲經常被拿來與前 輩夏布里耶（Emmanuel Chabrier,1841-1894）的
《西班牙狂想曲》，以及後來德布西1908年左右 寫作的〈伊貝利亞〉（Ibéria）相提並論。
法蘭克．普羅托： 《卡門幻想曲》為小號與管絃樂團 法國作曲家比才（Georges Bizet, 1838-1875）
於1875年首演的歌劇《卡門》，雖然首演失敗， 令作曲家抑鬱而終，但重演後廣受喜愛，一直到 今天幾乎已成為家喻戶曉的歌劇；其中的主題旋 律實在太受歡迎，被許多演奏家拿來改編創作成 不同樂器版本的《卡門幻想曲》。今天演奏的是 美國低音提琴家、作曲家法蘭克．普羅托（Frank Proto, 1941年出生）寫給小號與管絃樂團的版本。 在1970年代中期，普羅托以歌劇《卡門》中的主 題編寫樂曲給他自己的爵士樂隊演奏。1986年， 小號演奏家瑟維瑞森（Doc Severinsen, 1927年出 生）聽了普羅托《取自歌劇卡門的組曲》錄音之 後，便要求普羅托為自己寫作爵士樂隊與管絃樂 團合奏的版本，這個樂曲在各處巡演都受到歡 迎。1989年，瑟維瑞森又要求普羅托為他寫一個 較為傳統的版本，以便讓他以獨奏者身份與辛辛 那提流行管絃樂團錄製唱片，這就是今天演奏的 版本。這版本一方面讓小號獨奏家展現優異的樂 器吹奏技巧，另一方面也顯示出改編者的管絃樂 法功力。樂曲由小號獨奏的一段佛拉門歌舞曲風 格（Flamenco style）的裝飾樂段（Cadenza）揭 開序幕，而樂團則以原本歌劇序曲的管絃樂主題 回應。之後樂團奏出阿拉岡舞曲（Aragonaise） 主題，也就是原本歌劇第四幕的序曲。絃樂器演 奏的一段原創音樂帶出間奏曲，回憶著開頭的序 曲，在這其中浮現出歌劇第三幕序曲中的安詳旋 律。在這個樂章中，普羅托將原歌劇曲中的和 聲與節奏都做了不少變化，但不改變原本音樂 的性格。第三樂章由雙簧管和英國管奏出幻想 曲主題；在竪琴以及絃樂的伴奏下，小號奏出 歌劇女主角卡門所唱的著名〈阿巴奈拉舞曲〉 （ Habanera ）主題，以及隨後的炫技變奏。最 後，小號精彩的裝飾樂段，引領樂曲進入到阿拉 岡舞曲旋律的結尾。
朱爾‧馬斯奈：《領袖》芭蕾組曲選段 法國作曲家馬斯內（ Jules Massenet, 1842-
1892）對愛樂大眾來說，最為知名的作品應該就 是《泰伊絲的冥想曲》這首出自歌劇《泰伊絲》 （Thaïs）中的間奏曲了吧。馬斯奈一生寫了超 過三十部歌劇，《瑪儂》（Manon）是其中較為 人所知的。在《瑪儂》之後，馬斯奈馬上著手構 思這部歌劇《領袖》，並於 1885 年在巴黎歌劇 院首演，獲得成功，之後在歐洲各地，甚至到美 國巡演，都受到熱烈歡迎。在演出超過一百五十 場之後，沈寂了一段時間，近年來才又慢慢開始 被演出。《領袖》也被馬斯奈自己改寫成給管絃 樂團演奏的芭蕾組曲，成為交響樂團音樂會中經 常出現的曲目。這套寫給管絃樂團的芭蕾組曲選 自原本歌劇的第二幕，共有七首，分別是〈卡斯 替雅諾斯〉（ Castilane）、〈安達盧西亞舞曲〉 （Andalouse）、〈阿拉岡舞曲〉（Aragonaise）、 〈晨歌〉（Aubade）、〈卡塔蘭〉（Catalane）、 〈瑪德麗蓮〉（ Madrilene ）、〈納瓦拉姑娘〉 （Navarraise）。就像法國作曲家比才在歌劇《卡 門》中展現了西班牙風味的聲響一樣，馬斯奈也在 《領袖》管絃樂組曲中透過多彩的管絃樂法以及各 地區的舞蹈節奏，展現西班牙風情。這七首描繪性 強的樂章曲風華麗，是非常具有音樂會聲響效果的 樂曲。在國內演出此曲的機會不多，值得聽眾期 待。
Program Notes Manuel De Falla: El amor brujo (Orchestra version) The one-act El amor brujo is the story of Candelas, a gypsy girl haunted by her dead lover, a ghost as jealous in death as he was in life. The attempts of her new suitor, Carmelo, to woo Candelas are frustrated by the ghost, so that they are unable to seal their love with the kiss which would rid them of this power from beyond the grave. The seductive Lucía is persuaded to act as a decoy and beguile the spirit with her charms. The ballet begins with a brilliant Introduction and Scene 1 in which a dotted-note theme evokes the ghost's jealous nature. This contrasts with the nocturnal and sinister atmosphere of the gypsy's home of In the Cave, penetrated suddenly by a melody on the oboe in Andalusian style. The Song of a Broken Heart is heard, a lament with dance rhythms reminiscent of flamenco cante jondo. After a few moments of swirling activity, The Apparition, gives way to Dance of Terror. The Magic Circle offers momentary
5︱西班牙式瘋狂
serenity as Candelas draws a magic circle on the ground and prepares to exorcize the ghost just as Midnight sounds. The famous Ritual Fire Dance follows, driving away evil spirits with its percussive cross-rhythms, vivid contrasts, and rich orchestral effects. The dance ends with hammerlike blows, as if victory over the disruptive force has been won. After an intermezzo designated as Scene 9, with quasiimprovisatory solos from the oboe and flute, it seems the ghost has not yet been exorcized. Song of the Will-o'-theWisp tells that love is elusive. The haunting spirit is still potent as Pantomime reiterates the ghost's theme from the Introduction, but the mood changes into a restrained tango in 7/8 time indicating that Lucía's charms are succeeding and the influence of the jealous spirit is fading. Dance of the Game of Love, completes the process, with words directed at the evil spirit: I am the voice of your destiny, I am the fire in which you burn, I am the wind in which you sigh, I am the sea in which you are shipwrecked. The music begins reticently but mounts to a climax as bells ring out and Candelas and Carmelo can at last embrace in uninterrupted bliss. The Finale, subtitled The Bells of Dawn, proclaims the return of happiness with a song and chiming of bells symbolic of daybreak and the triumph of love. © 2015 Naxos Digital Services Ltd
Arcangelo Corelli/Steven Verhaert: Variations on La Follia, for trumpet and orchestra By Robert Markow ARCANGELO CORELLI: Born in Fusignano, Italy, February 17, 1653; died in Rome, January 8, 1713 The vicissitudes of fame and popularity have not been kind to Arcangelo Corelli. Apart from the Christmas Concerto, his orchestral works are pretty much ignored today by all but Baroque specialty ensembles, yet in his own day he was regarded as one of the greatest living composers. In the words of his contemporary Francesco Geminiani, he possessed "the most delicate taste which led him to select the most pleasing harmonies and melodies and to construct the parts so as to produce the most delightful effect upon the ear." On the very first day of the eighteenth century (January 1, 1700), a publication appeared in Rome from the pen of Archangelo Corelli, a set of 12 sonatas Op. 5 for violin and keyboard. The last of this set was a theme and variations set known as "La Folia" (or "La Follia"), which quickly became a hit throughout Europe. By 1720 it had already
been through twenty reprintings, mostly in London and Amsterdam. "La Folia" itself is nothing more than a harmonic pattern that was used by many composers in the seventeenth and eighteenth centuries as the basis for constructing a series of variations. La Folia's origin is believed to have been in fifteenth-century Portugal as a "fool's dance." Eventually one particular melody became associated with the "Folia" harmonic pattern, the melody used by Corelli in his twelfth violin sonata and by dozens of other composers famous and obscure. These include Bach (Peasant Cantata), Cherubini (Overture to L'Hotellerie portugaise), Liszt (Rapsodie espagnole), Nielsen (the opera Maskerade) and Rachmaninoff (Variations on a Theme by Corelli for piano). The initial theme, set to the sarabande rhythm (stately triple meter and a characteristic rhythmic pattern of long-longpause-short) is subjected to a series of brief variations, some simple and straightforward, some virtuosic, some of considerable textural and contrapuntal complexity, the whole coalescing into a great edifice of constructional skill, coloristic variety and fantasy. Many and varied are the arrangements of the Folia motif. Liszt used it in his Rhapsodie espagnole. Rachmaninoff used it as the basis of his Variations on a Theme of Corelli. Fritz Kreisler (among others) arranged it for violin and piano. Salieri for orchestra, and C.P.E. Bach for keyboard. There are arrangements for solo clarinet (with piano), violin duo, flute trio, and saxophone quartet. The arrangement we hear tonight is by the Belgian trumpet player, conductor and arranger Steven Verhaert.
Maurice Ravel: Rapsodie espagnole The Rapsodie espagnole was completed in 1908, after a two-piano version of the work the previous October. It consists of four movements, the evocative Prélude à la nuit, Malagueña, Habanera, and Feria. The Habenera had originally been written in 1895 as a work for two pianos. With Entre cloches, written two years later, it formed the Sites auriculaires, first imperfectly performed in 1898 by Ricardo Viñes and Marthe Dron on a newly devised instrument, a piano with two keyboards, at a Société nationale de musique concert, to conservative disapproval. Debussy showed interest and borrowed the score of Habanera and it has been widely supposed that the piece gave rise to Debussy's own Soirée dans Grenade a few years later. Rapsodie espagnole was Ravel's first major orchestral work, a demonstration of his originality
6︱西班牙式瘋狂
and of his gifts as an orchestrator. The music moves from the stillness of night, with its four-note descending motif, to be heard again in the second and fourth movement, to two characteristic Spanish dances and a final celebratory Spanish fiesta. © 2015 Naxos Digital Services Ltd
Frank Proto: A Carmen Fantasy for trumpet & orchestra By Robert Markow FRANK PROTO: Born in Brooklyn, July 18, 1941; now living in Cincinnati Frank Proto is a composer who refuses to regard classical music as an entity separate from the worlds of jazz, popular and other kinds of music. He might write a work for Doc Severinson or Cleo Laine one day, and follow it with something for Sherrill Milnes or the Cincinnati Symphony shortly thereafter. He is entirely comfortable working in a wide variety of styles, and many of his works incorporate diverse elements. Although Proto attended the Manhattan School of Music, graduating with degrees in both double bass and music education in 1963, he is completely self-taught as a composer. Thirty-one years as a bass player in the Cincinnati Symphony (he retired in 1997) surely taught him something as well, but his first composition dates back to his college days, when he needed a contemporary work to play at his graduation recital. Finding nothing he liked for his instrument, he wrote one of his own. Sonata 1963 for double bass and piano has since become a staple of the bass repertory. Since then, Proto has become among the most prolific composers of music for the double bass. His catalogue includes seven works with orchestra, including three concertos and over thirty solo and chamber music compositions. One of Proto's most popular works is the Carmen Fantasy for Trumpet and Orchestra, with over 500 performances around the world in both its orchestral and piano accompaniment forms. The Fantasy grew out of two earlier works, one from the mid-seventies, Suite from the Opera Carmen scored for eight-piece jazz ensemble, and one from the mid-eighties, Carmen Fantasy for Jazz Ensemble and Orchestra, written for trumpeter Doc Severinsen. In 1989, Severinsen requested another Carmen Fantasy from Proto in connection with a recording project being planned with the Cincinnati Pops Orchestra, something more traditional, and something in which he would be the soloist throughout.
The resulting Telarc CD, Trumpet Spectacular, became one of the Cincinnati Pops best sellers. The work opens with trumpet cadenzas in flamenco style; the orchestra responds with material from the opera's prelude. Proto then proceeds to present and develop in his own manner set pieces from the opera; Carmen aficionados will recognize the Aragonaise, Intermezzo, Prelude to Act III, and Habanera, among others.
Here is the composer's description of the Fantasy: "The work begins with trumpet cadenzas in a flamenco style which are answered by orchestra material from the opera's prelude. As the soloist soars to a high A, the orchestra launches into the first set-piece -the Aragonaisewhich serves as the prelude to Act IV of the opera. The Intermezzo also begins with a freely-composed string introduction reminiscent of the opening prelude. This moody, idiomatic section then gives way to the serene melody from the Act III prelude. In this movement, Proto experiments with the harmonies and rhythms of the original music without straying far from the work's basic character. An oboe and an English horn open the third movement with the fantasy theme. The heroine's sensuality is insinuated by the oscillating harp figure and unusual string writing as the trumpet proclaims the famous Habanera melody in a series of virtuosic variations. A long cadenza of great rhythmic and melodic interest brings the work to a stirring conclusion amid the insistent castanets of the Aragonaise."
Jules Massenet: Excerpts from Le Cid Ballet Suite Le Cid, based on the play by Corneille, has a libretto by
Adolphe d'Ennery, Louis Gallet and Edouard Blau, was first staged at the Opéra in November 1885. Loved by Chimène, Rodrigue swears to avenge his father's honor, an oath that leads him to kill Chimène's father, the Count of Gormas, who has insulted Rodrigue's father. Rodrigue leads the Spanish armies against the Moors, leaving Chimène to resolve the conflict in her heart between filial duty and love. Matters seem to have been settled when news is brought of Rodrigue's death in battle, but finally he returns triumphant, to be forgiven by Chimène. The ballet-music of the second act of Le Cid, marking popular celebration, includes a series of typical Spanish dances, popular elements of standard concert repertoire. © 2015 Naxos Digital Services Ltd
7︱西班牙式瘋狂
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 劉詩珊 賴俞君
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 曾鈺婷 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 ▲張顥嚴
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
林一帆
定 音 鼓
● 塞堤恩
打 擊 樂
● 陳哲輝
陳振馨 楊璧慈 王瓊燁 許嘉哲
豎 琴
● 解 瑄
曾韋晴
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
◎ 陳廷銓
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