20130927p by NSO國家交響樂團National Symphony Orchestra

維也納三傑 The Classical Viennese Spirit

演出時間演出地點

2013年9月27日（星期五）7:30PM

演出者

指揮│呂紹嘉 Shao-Chia Lü, conductor

鋼琴│路易斯‧洛提 Louis Lortie, piano

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位指定住宿電子問券請掃描，支持NSO愛地球。

國家音樂廳 National Concert Hall, Taipei

特別感謝

曲目 PROGRAM

上半場約55分鐘下半場約40分鐘

法蘭茲．約瑟夫．海頓（1732-1809）：第八十八號交響曲 I.

慢板─快板

II.

最緩板

III.

小步舞曲：稍快板

IV.

終樂章：充滿精神的快板

沃夫岡‧阿瑪迪斯‧莫札特（1756-1791）：第二十五號鋼琴協奏曲 I.

莊嚴的快板

II.

行板

III.

稍快板

～中場休息～

路得維希．凡．貝多芬（1770-1827）：第七號交響曲 I.

稍為減緩地─活潑地

II.

稍快板

III.

詼諧曲─急板

IV.

充滿活力的快板

本中心表演藝術圖書館典藏相關節目資料，詳見http://libserv.ntch.edu.tw/related_catalog/index.asp?q=201309，並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。

FRANZ JOSEPH HAYDN (1732-1809 ): Symphony No. 88, G major, Hob.I:88

Adagio-Allegro

II.

Largo

III.

Menuetto: Allegro

IV.

Finale: Allegro con spirito

WOLFGANG AMADEUS MOZART (1756-1791): Piano Concerto No. 25, K. 503, C major

Allegro maestoso

II.

Andante

III.

Allegretto

---Intermission---

LUDWIG VAN BEETHOVEN (1770-1827): Symphony No. 7, Op. 92, A major

Poco sostenuto-Vivace

II.

Allegretto

III.

Scherzo: Presto

IV.

Allegro con brio

For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://libserv.ntch.edu.tw/related_catalog/index.asp?q=201309.

演出者簡介

指揮 conductor

呂紹嘉 Shao-Chia Lü 呂紹嘉出生台灣新竹縣，自幼學習鋼琴。就讀台大心理系期間，受陳秋盛先生之啟發開始鑽研指揮藝術。先後赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利 Accademia Musicale Chigiana di Siena 指揮班，隨大師G. Rozhdestvensky 學習。在連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，呂紹嘉展開他在歐洲璀燦的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國萊茵愛樂交響樂團暨科布倫茲市立歌劇院音樂總監、德國漢諾威國家歌劇院音樂總監，並受邀在英國國家歌劇院、挪威皇家歌劇院、布魯塞爾皇家歌劇院、澳洲雪梨歌劇院、瑞典哥特堡歌劇院、德國司徒加特、柏林德意志、漢堡、法蘭克福歌劇院及維也納夏季音樂節（Klangbogen）擔任客席指揮。此外，他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和日本東京及名古屋演出《霍夫曼的故事》。在出任德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間，呂紹嘉以無數精采深刻的音樂詮釋，獲得了團員及愛樂者的愛戴，他並曾帶領該團於北京、上海、義大利米蘭等地巡迴演奏。呂紹嘉於2004年五月獲德國文化部長頒贈象徵該省文化最高榮譽的Peter Cornelius 獎章。在出任德國漢諾威國家歌劇院音樂總監期間，呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧及義大利歌劇外，他成功的推出了楊納傑克及德布西的作品，使得劇院的名聲更推展至國際化的層次。他所指揮的德布西歌劇《佩利亞與梅麗桑》，於2004年獲邀在舉世聞名的維也納音樂節及愛丁堡藝術季演出多場，獲得極高讚譽。除了歌劇領域外，呂紹嘉在音樂會上的表現也同樣耀眼，至今合作的主要交響樂團有：慕尼黑愛樂、柏林、西南德、中德、巴伐利亞、維也納廣播樂團，法國國家、里昂、杜魯士、史特拉斯堡交響樂團，英國利物浦愛樂、奧斯陸愛樂、貝爾根（Bergen）愛樂、赫爾辛基愛樂、瑞典廣播、挪威廣播、哥特堡交響樂團、羅馬聖西西里亞樂團... 等。2011年底呂紹嘉首度在阿姆斯特丹指揮了世界聞名的荷蘭皇家音樂大會堂管絃樂團，以史特拉汶斯基的《春之祭》博得滿堂彩。2012年底首度在東京指揮新日本愛樂，演出多場貝多芬第九交響曲，2013 及2014 年將陸續赴日指揮東京大都會及NHK 交響樂團。在睽喡台灣多年後，呂紹嘉於2010年秋返鄉接任國家交響樂團（NSO）音樂總監，期盼以「精緻．深刻．悸動」之信念，深耕台灣樂壇。 4

“Refined taste and inherent lyricism are at the heat of Lü's approach (to Suor Angelica), not sentimentality or a heavy handed does of rubato.” —American Record Guide “Under Lü, (NSO) made the fin-de-siecle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss’ (Elektra’s) luscious orchestration.” —OPERA

Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon, Trento and Amsterdam. In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Australian Opera Sydney and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre. Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der fliegende Holländer, Wozzeck, Der Rosenkavalier, Elektra and Salome.... In the summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü's recent opera engagements include: Parsifal , Katja Kabanowa and Tosca in Goteborg, Sweden, La fanciulla del West in Stuttgart, Eugene Onegin at the Komische Oper Berlin, Madama Butterfly, Tosca and La Bohème in Sydney and Melbourne. Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Münchner Philharmoniker by replacing Sergiu Celibidache at the last moment for two unchanged programms (including Bruckner's Symphony No. 8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Münchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia in Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam. In Asia, after his debut with New Japan Philharmonic in December 2012, Shao-Chia Lü was invited to conduct the Tokyo Metropolitan Symphony Orchestra and the NHK Symphony Orchestra, among others, during the 2013/2014 season. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010. 5

演出者簡介

鋼琴 piano

路易斯‧洛提 Louis Lortie 出生於蒙特羅，路易斯．洛提於十三歲時首次與蒙特羅交響樂團登台演出，並於1984 年獲得布梭尼鋼琴大賽首獎，及里茲鋼琴大賽優勝。他的演奏在歐洲、亞洲及美國皆獲得極大的好評，並獲得倫敦《泰晤士報》「擁有偉大鋼琴家特質」的讚譽。洛提曾與許多世界頂尖知名的指揮家同台演出，包括夏伊、馬捷爾、庫特．馬殊、小澤征爾與杜特華；並曾與音樂家如卡瓦科斯、卡普頌兄弟與基頓．克萊曼等共同演出室內樂。洛提錄製發行了 30 多張專輯，涵蓋莫札特到史特拉汶斯基等作曲家作品，並榮獲多項大獎肯定，包括英國《BBC 雜誌》「年度最佳專輯」與愛迪生大獎等。他最近期發行的蕭邦唱片專輯被《紐約時報》獲選為2012 年最佳錄音之一。 French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. Born in Montreal, he made his debut with the Montreal Symphony at the age of thirteen. In 1984 he won First Prize in the Busoni Competition and was a prize-winner at the Leeds Competition. The London Times has identified the artist’s “combination of total spontaneity and meditated ripeness that only great pianists have.” Lortie has performed with the world’s leading conductors, including Riccardo Chailly, Lorin Maazel, Kurt Masur, Seiji Ozawa, and Charles Dutoit. He has also been involved in many chambermusic projects with such musicians as Leonidas Kavakos, Renaud and Gautier Capuçon, and Gidon Kremer. Lortie has made over 30 recordings on the Chandos label, ranging from Mozart to Stravinsky, which have won many awards such as BBC Magazine “Best CDs of the Year” and the Edison Award. His most recent Chopin recording was named one of the best recordings of 2012 by the New York Times.

樂團簡介

自信而精銳

國家交響樂團 National Symphony Orchestra 「……在呂紹嘉的指揮下，我聽到令人信服的演出，（《修女安潔莉卡》）令人陶醉的甜美，煥發內在的力量和強韌的信念，絃樂有著閃耀如陽光般的光芒，木管樂器合唱著如管風琴般和諧的樂音，而銅管圓潤毫不刺耳。」 ─奧地利《新標點》2012/04 「樂團一直以飽滿的融和、精緻的質感演奏，似乎全然自在的悠遊於惡魔般困難的音樂裡。」 ─《美國唱片指南》雜誌 2011/07 「馬勒第五的第二和第三樂章處理得特別細膩，波濤澎派之中韻律感十足，呂紹嘉和樂手們的互動幾乎到了水乳交融的的境界。(他與)台灣愛樂在廣州的演出，散發出來的吸引力，是一種對藝術美好的追求。」 ─《亞洲週刊》2010/12 「馬勒第十號交響曲的慢板是很棒的演出，呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素…. NSO的荀貝格改編自布拉姆斯G小調絃樂四重奏的管絃樂演奏則是光芒四射，叫人嘆為觀止。」 ─英國《留聲機》雜誌 2009/09 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台灣，過去樂團都以文化教育體系營運。經過二十多年耕耘，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，有文化意識的台灣藝術代表團隊。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，以「台灣愛樂」立足國際。歷任常任指揮為Gerad Akoka、Urs Schneider及音樂總監包括許常恵、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96名團員，每年樂季演出約80場次。在前任總監簡文彬任內（2001～2007）以演出作曲家全套交響樂的「發現系列」為系統拓展曲目，更以歌劇、「永遠的童話」等跨界製作與國內外劇場菁英合作，開創多項國內先例。2006年全本《尼貝龍指環》製作，更寫下亞洲歌劇演出里程碑。2008～ 2010樂季，前底特律及多倫多交響樂團音樂總監赫比希（Günther Herbig）成為NSO藝術顧問暨首席客座指揮，持續為NSO訓練出堅實的演奏實力與動人音樂性；其任內之駐團作曲家及「NSO Call For Score」計畫，提供國人作品更多發表空間，並進一步提升NSO的國際樂壇聲望。自2010年起，在音樂總監呂紹嘉擘劃下，以多元化主題貫穿樂季, 呈現給聽眾智性與感性兼具，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。不僅積極拓展NSO演奏近代管絃樂作品的能力，從新維也納樂派、20世紀法國到俄國近代皆有斐然成績，在致力於鞏固精鍊古典經典名作之同時，也持續委託國人管絃樂創作之演出、錄音。 20多年來與NSO合作過的客席指揮家：馬捷爾、巴夏、潘德瑞茨基、史拉特金、羅斯楚波維奇、柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾等；及聲樂家芙雷妮、柯楚芭絲、帕瓦洛帝、多明哥、卡瑞拉斯、庫拉、特菲爾、波伽利、吉他大師耶佩斯、鋼琴家傅聰、拉羅嘉、提博德、魯迪、賀夫、巴弗傑、寇瓦謝維契、齊柏絲坦、洛堤、歐森、白健宇、拉貝克姐妹、鄧泰山等；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；小提琴家林昭亮、胡乃元、夏漢、明茲、列賓、希拉蕊•韓、宓多里、絲凱德、林以信、哈格納；擊樂家葛蘭妮、葛魯賓格及其他器樂家莎賓•梅耶、巴伯羅柯、弗黎崔希等逾七百位音樂家。 7

攝影 Raymond Huang

National Symphony Orchestra “Under the Viennese-trained Lü, (NSO) made the fin de siecle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss’ (Elektra´s) luscious orchestration: the strings rippled with menace and the brass and woodwind relished their angst-filled discords.” - OPERA 2011/05 “Lü has an innate gift for flow and pulse. His tight, buoyant rhythms are the perfect match for this orchestra’s incisive rhythms and astounding ensemble-sine qua non qualities, ...” - American Record Guide 2011/01 “Shao-Chia Lü handled the second and third movements of Mahler’s No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic sense, rendering a powerful delivery... Lü and Taiwan Philharmonic’s concert in Guangzhou epitomized the pursuit of artistic pe rfection.” - Yazhou Zhoukan (Asia Week) 2010/12 “There was also a convincing performance of the Adagio from Mahler’s Tenth Symphony, Lü’s carefully calibrated rendering capturing the angst...The second programme [featured] an utterly dazzling performance of Brahms´ Piano Quartet in G minor arranged by Schoenberg.” - Gramophone 2009/09 Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became an artistic affiliate of the National Chiang Kai-Shek Cultural Center, the nation’s center for the performing arts, in 2005. Led by renowned conductor Shao-Chia Lü 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 96 members presents a 40-week musical season of approximately 70 concerts/chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Viviane Hagner, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Evelyn Glennie, Martin Grubinger, Louis Lortie, KunWoo Paik, Stephen Hough, Stephen Kovacevich, Katia & Marielle Labèque, Sabine Meyer, Reinhold Friedrich and many others. The NSO has extended its artistic reach, 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 semi-stage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class 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), and Madama Butterfly (Opera Australia, 2012) as well as in-house production Die Walküre (2013). 9

樂曲解說

維也納三傑撰文│張皓閔（國立臺灣師範大學音樂系音樂學碩士生）

海頓、莫札特和貝多芬是維也納古典樂派（Wiener Klassik）的代表人物，他們確立了古典時期各種樂類的風格與形式，為後輩作曲家樹立典範。除了神劇《創世紀》（Die Schöpfung，Hob. XXI:2）之外，海頓的傳世之作係以器樂作品為主，其中又以交響曲和絃樂四重奏最為重要；在這兩個樂類的創作上，再沒有任何人像海頓這般多產、質優且深具影響力。優美的旋律、均衡的形式、豐富的和聲與織體，是莫札特成熟作品的共同特色；這些作品以奧地利和德國南部的器樂傳統為根基，同時深深受到義大利歌劇的影響。不同於海頓或貝多芬，莫札特的創作幾乎含括當時所有樂類，且樣樣都有傑出的作品流傳於世。貝多芬早年的創作，主要承襲自海頓和莫札特所確立的維也納古典傳統。隨著耳疾逐漸奪去他的聽力，貝多芬開始更具個人風格的創作，並在生命的最後幾年裡，寫出極為崇高而深刻的作品。在貝多芬的創作當中，對後世影響最深的包括九部交響曲、三十二首鋼琴奏鳴曲和十六首絃樂四重奏等等。

法蘭茲．約瑟夫．海頓：第八十八號交響曲撰文｜張偉明（國立臺灣師範大學音樂系音樂學碩士生）

海頓被譽為「交響曲之父」，其106首交響曲的創作時間橫跨近四十年，交響曲這個樂類，的確也隨著海頓的創作漸趨成熟。海頓早期的交響曲是由義式歌劇序曲發展而來，為「快－慢－快」三樂章的形式，管樂編制僅有雙簧管及法國號各兩支。在發展為我們所熟知較大編制的「快－慢－小步舞曲－快」四樂章形式前，海頓也對交響曲進行了許多實驗，例如以慢板樂章開啟整首交響曲、第二樂章為小步舞曲、終樂章使用賦格曲式、六個樂章的形式，以及使用協奏曲素材、卡農、定旋律（cantus firmu）等手法，展現相當驚人的多樣性。第八十八號交響曲不屬於海頓最著名的六首「巴黎交響曲」及十二首「倫敦交響曲」，也沒有令人印象深刻的獨特名稱，但依舊是極受樂迷喜愛的樂曲。這首交響曲創作於1787

年，海頓將作品賣給原本在海頓的交響樂團擔任小提琴手的托斯特（Johann Tost）。除了小提琴家的身分外，托斯特更是不折不扣的商人，他將作品又轉賣給其他出版商，藉此大賺一筆。第八十八號交響曲呈現許多海頓最具代表性的創作手法。第一樂章以慢板序奏拉開序幕，並強調屬和弦，接著是單一主題的奏鳴曲式，其主要動機僅有短短七個音、三個音高，但並不單調乏味，反而展現出海頓動機發展的深厚功力，以相同的主題出發，做出多采多姿的音樂風貌。依交響曲的傳統，第二樂章為抒情精緻的慢板，海頓雖無意改變這個由他自己確立的傳統，但卻藉由第八十八號交響曲的第二樂章，開了演出者與觀眾一個玩笑：在抒情優美的旋律裡，穿插突如其來的樂團爆發，像是預示著日後的《驚愕交響曲》（Hob. I:94）；第一樂章安靜無聲的小號及定音鼓更在此現「聲」，較適合在第一樂章展現其壯闊聲響的兩樣樂器，作曲家反其道而行，將它們保留到第二樂章，成為整首樂曲的最大驚喜，足見海頓的幽默。第三樂章為小步舞曲，極具鄉村的質樸色彩，中段由低音管、法國號、中提琴演奏的持續長音（drone），帶有濃濃的民族風笛味，同時預示了《倫敦交響曲》（Hob. I:104）的終樂章。第四樂章為海頓相當擅長的輪旋奏鳴曲式，中間一度運用卡農手法呈現主題；樂章最後為光輝燦爛的尾聲（coda），為整首交響曲畫下絢麗的句點。

沃夫岡‧阿瑪迪斯‧莫札特：第二十五號鋼琴協奏曲撰文│李宜芳（真理大學音樂系助理教授）

從1784到1786年，短短兩年多的時間，莫札特以驚人的創作力完成了十二首鋼琴協奏曲：從第十四號（K. 449）至第廿五號（K. 503），當中包含多首膾炙人口的名曲。此曲即為這一系列俗稱「維也納協奏曲」的最後一首。樂曲完成於1786年12月4日，完成隔天即進行首演，由作曲家本人擔任鋼琴獨奏。數月後，莫札特於1787年4月7日再度演出此曲。然而，據傳自此之後，一直到許納貝爾（Artur Schnabel）1934年的公開演出，一百多年期間，此曲再未出現在維也納的任何公開音樂會中。在莫札特諸多名作中，此曲是較冷門的一首。知名音樂學者羅森（Charles Rosen）即指出，有些聽者認為此曲帶有一種超然、冷漠的特質，因此並不是人人都會喜歡。確實，此曲乍聽之下較有距離感，不若莫札特許多作品那般親密、宜人。不過，這其實是一首相當卓越的創作，只是需要反覆地聆聽，才能理解作曲家的整體創作概念並領會其美感與動人之處。

此曲是莫札特協奏曲中最長、最宏大、最交響化的一首，反映了作曲家晚期的創作風格，也預示了1788年完成的，同為C大調的第四十一號交響曲《朱彼得》。相較於之前幾首協奏曲，莫札特致力於開發第二、三樂章的表現可能；此曲中，莫札特再度回到較早的方式，將主要的創作重心放在第一樂章。第一樂章不含裝飾奏共432小節的長度，是莫札特當時寫過的管絃樂作品中最長的。三個樂章都採用奏鳴曲式，也是其不尋常的特色。第一樂章，由於其燦爛恢弘的開場陳述，被一些音樂學者歸類為「軍隊風」的協奏曲；中段細緻、進行曲風的主題，莫札特巧妙地以大小調的交替，塑造出特殊的氛圍，這是他相當愛用的手法。細緻而富於個性美的第二樂章，鋼琴與樂團間有著親密的對話與融合，優美之外也展現了情感的深度。精神抖擻、活潑嬉鬧風的第三樂章，是此曲中較為大眾所熟悉的；鋼琴部份各種奔跑、大跳、迴旋詠唱的音型，細膩的運音與和聲轉換，帶出豐富細緻的表達與變化。在莊嚴客觀的第一樂章之後，作曲家以第二樂章的鋪陳、第三樂章的昂揚熱情，再度拉近與聽眾的距離，也為全曲劃下完美的句點。

路得維希．凡．貝多芬：第七號交響曲撰文│張皓閔

1811年，貝多芬於波希米亞小鎮特普利采（Teplice）療養身體時，開始了他第七號交響曲的創作。作品完成於1812年4月13日，並題獻給弗里斯伯爵（Moritz Reichsgraf von Fries，17771826）。 1813年12月8日，第七號交響曲於維也納一場為傷兵募款的慈善音樂會上，由貝多芬指揮首演。貝多芬的管絃作品《威靈頓的勝利》（Wellingtons Sieg，op. 91）亦首演於同一場音樂會。根據貝多芬日記上的記載，首演當天的大編制管絃樂團裡，包含多位知名音樂家，如：史波爾（Louis Spohr，1784-1859）、胡麥爾（Johann Nepomuk Hummel，1778-1837）、梅耶貝爾（Giacomo Meyerbeer，1791-1864）、薩里耶利（Antonio Salieri，1750-1825）等；此外，據說知名吉他演奏家朱利亞尼（Mauro Giuliani，1781-1829）當天亦在臺上拉奏大提琴。首演極為成功，第二樂章更在聽眾熱情的要求下，一連奏了兩次。透過第七號交響曲，貝多芬再次將交響曲的創作提升至新的境界。作品最大的特色，在於舞曲般的節奏設計，及其所帶來的活力與動能。第七號或許不如《英雄》（Eroica，op. 55）或第五號（op. 67）那麼容易感染聽者的情緒，然在貝多芬對音樂各個層面的純熟掌握之下，第七號展現的簡潔與流暢，超越他先前任何一部交響曲創作。

第一樂章以長達六十二個小節的慢速導奏開啟。開始於A大調的導奏，透過連串上行音階的運用，先後轉至C大調和F大調，最後則以不斷重複的E音（A大調屬音），為進入A大調的樂章主部做準備。甚快板（vivace）的奏鳴曲式主部，以帶有附點的活潑節奏型、突然的力度變換及令人意外的轉調為特色。樂章最後篇幅相當長的尾聲（coda）裡，有一個相當著名的樂段：以跨越數個八度的長音E為背景，中低音絃樂連續十次頑固地奏著由半音進行構成的兩小節動機，創造令人難忘的氛圍與張力。標示為稍快板（allegretto）的第二樂章，採複合曲式寫成，既是「主題與變奏」，也是「三段體」。中低音絃樂在a小調上奏出葬禮進行曲似的主題，隨後是越來越豐富激昂的變奏一至三；至此是三段體的A段。接著，調性轉向了A大調，相當於三段體B段的變奏四，呈現完全不同於前的柔美氛圍。調性轉回a小調後，是織體繁複的變奏五、六和綿長的尾聲，其中，變奏六是一個精彩的賦格風樂段（fugato）。詼諧曲第三樂章的中段共呈現兩次，像這樣將ABA三段體擴充成ABABA五個段落的做法，在貝多芬此時期的作品中相當常見。第四樂章採奏鳴曲式。在不斷旋轉的舞曲驅動之下，整個樂章一氣呵成，展現酒神式的狂喜；樂章的尾聲，譜上甚至兩度出現貝多芬很少用到的fff的力度。樂章的第一主題，和貝多芬隔年譜寫的蘇格蘭民謠編曲〈從死亡和明智中拯救我〉〈Save Me from the Grave and Wise，WoO 154，No. 8）頗為相似。

Franz Joseph Haydn: Symphony No. 88, G major, Hob.I:88 Symphony No. 88 in G Major was one of a pair of symphonies that the violinist Johann Tost took to Paris from Esterháza. Tost had led the second violins in Haydn’s orchestra for five years and was later to be the recipient of the set of string quartets known as the Tost Quartets. From Haydn’s correspondence we gather that he may not have been entirely trustworthy, a conclusion that could be drawn from his later suggestion of setting up a business for pirating the musical manuscripts at Esterháza, and, indeed, from his arrangement with Spohr for the exclusive right to his compositions. Tost, in fact, became a business-man, when he left the Esterháza orchestra, marrying a former housekeeper to Prince Esterházy and winning a degree of prosperity that a mere violinist, even of his obvious proficiency, could hardly hope to attain. The G Major Symphony opens with a slow introduction, proceeding to a cheerfully robust Allegro, scored for the Esterháza resources of single flute, oboes, bassoons, horns and strings. Contrary to all expectation trumpets and drums appear in the D Major slow movement, in which solo oboe and cello announce the principal theme, which is followed by variations. There is a pleasant Minuet and Trio and a brilliant Rondo in conclusion. © 2013 Naxos Digital Services Ltd

Wolfgang Amadeus Mozart: Piano Concerto No. 25, K. 503, C major The Piano Concerto in C major, K. 503, is entered in Mozart’s list of his compositions with the date 4th December 1786 and was performed the following day at one of the four Advent concerts arranged at the Casino belonging to Mozart’s earlier landlord, the publisher Johann Thomas von Trattner, whose wife was one of his pupils. The Concerto was played by Mozart in his Leipzig concert in 1789 and by his young pupil Hummel in Dresden in the same year. The concerto is scored for flute, pairs of oboes, bassoons, horns, trumpets and drums, with strings, and opens with a grand declamatory statement from the whole orchestra, suiting well the key of C major. The jubilation of the opening is belied by the immediate intrusion of the minor, an element that also adds a darker color to a new theme, introduced by the strings. The soloist makes an at first hesitant appearance, growing in confidence and elaboration, before the orchestra breaks in with the first subject, now extended by the soloist, who is later to introduce a second solo subject in the key of E flat, a natural move from C minor, but unexpected in a C major concerto. There are to be other surprises and elements of counterpoint that add weight to a musically substantial movement. 14

The F major Andante is again on a large scale, its principal material announced by the orchestra and answered by the soloist in a movement that is broadly in sonata form, with the briefest of central development sections. The opening of the final rondo is deceptively cheerful, soon acquiring a tinge of melancholy with references to the minor key. Here, as in the earlier movements, there is scope for considerable virtuosity from the soloist in music that encompasses a variety of moods before its triumphant ending. © 2013 Naxos Digital Services Ltd

Ludwig van Beethoven: Symphony No. 7, A major, Op. 92 Symphony No.7 in A major, Opus 92, was completed in the spring of 1812, but sketches for some of the material used occur as early as 1809, the year of Haydn’s death. In spite of his deafness Beethoven, in his forties, was at the height of his powers, but the new symphony was greeted by some contemporary critics as the work of a drunkard. Weber summed up this opinion of the work: The extravagances of Beethoven’s genius have reached the ne plus ultra in the Seventh Symphony, and he is quite ripe for the mad-house. At the first performance, however, in December 1813, the work was received with considerable enthusiasm. The occasion was a patriotic one, a concert organized by Maelzel, inventor of the new metronome, in aid of the wounded at the battle of Hanau, and the program included Beethoven’s new Battle Symphony, Wellington’s Victory, a programme piece in which some of the most distinguished musicians of the day took part. Repetitions of the same programme proved much less successful, although the Seventh Symphony was popular enough in Vienna. It is scored for pairs of flutes, oboes, clarinets, bassoons, trumpets and drums, with strings. The first movement of the symphony opens with a massive introduction, recalling the beginning of Mozart’s Symphony No. 39. A Vivace follows that has all the exuberance of a peasant dance. The slow movement, marked Allegretto, suggests in its dominant dactylic rhythmic figure, the rhythm so often favoured by Beethoven’s younger contemporary, Franz Schubert. Here, however, the suggestions of a somber march suits well the patriotic mood of 1812. The F major Scherzo is again dominated by a particular rhythmic figure, modified in the contrasting Trio, which is repeated a second time and seems about to emerge once more, to be interrupted by the brusque final chords of the movement. There follows the final Allegro con brio, in the original key of A major, but with harmonic surprises. The whole movement moves to a great climax, a mighty conclusion to a symphony that had made astonishingly powerful use to relatively limited and conventional resources. © 2013 Naxos Digital Services Ltd 15

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音樂總監呂紹嘉桂冠指揮根特‧赫比希樂團首席吳庭毓李宜錦樂團副首席鄧皓敦助理指揮張尹芳

第一小提琴 ○ 陳逸群郭昱麟林基弘侯勇光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藍胤萱✽ 第二小提琴 ● 陳怡茹 ◎ 孫正玫吳怡慧李京熹黃衍繹顧慈美于爾恩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劉國蘭呂孟珊李思琪陳猶白蔡秉璋羅培菁✽ 劉詩珊✽

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邱瑗

企劃製作經理杜佳舫公關專案經理王承禹企劃行銷企劃/音樂總監特助黃毓棻企劃專員吳孟珊劉子瑛賴盈帆整合行銷專員陳卜湄行銷專員林欣儀鄭巧琪王思懿演出及行政舞台監督陳世傑人事組長林碧珠譜務專員高婉瑜行政專員溫慧雯助理舞監陳玠維林哲正顏承宇

音樂諮詢焦元溥法律顧問林信和大提琴 ● 熊士蘭 ◎ 連亦先■ ○ 韋智盈呂明美周幼雯陳怡婷林宜女閒黃日昇蘇酩惠唐鶯綺 ✽NSO 樂團學苑名錄曾鈺婷指揮張尹芳低音提琴 ● 傅永和 ○ 周春祥王淑瑜黃筱清王淑宜小提琴王心妤玉珊江敏連珮致蔡歆婕游婉婷✽ 余琬婷吳宛蓁吳庭芳長笛 ● 安德石 ◎ 宮崎千佳李浚呂昉紀韋瑄張暐姍梁艷梁鈺函郭承姍短笛鐘美川陳又寧楊晏如廖元宏雙簧管 ● 王怡靜林麗玥楊舒婷■ 謝宛臻潘俊蓁蔡承宏鄭囿蓉駱思云藍胤萱魏苡庭英國管李明怡蘇品嘉單簧管 ● 朱玫玲 ◎ 張凱婷朱偉誼孫正茸中提琴陳映蓁劉詩珊蔡享享賴昱如羅培菁低音管 ● 簡凱玉 ◎ 陳奕秀高靈風大提琴王甯嫻王鈺淩呂函涓倍低音管簡恩義李茜林君翰低音提琴伏芯洪瑜蔚陳弘之法國號 ● 劉宜欣 ○ 黃任賢國田朋宏王婉如曹予勉陳美君游婉婷小號 ● 宇新樂 ◎ 陳長伯張景民吳建銘長笛石詠萱吳媖蕎徐鈺甄陳瀅涵長號 ● 宋光清 ◎ 邵恆發陳中昇雙簧管李立品周羽庭低音長號彭曉昀單簧管李昱柔李璧任低音管黃晟育陳芊彣溫家琪低音號 ● 宮西純法國號陳冠余定音鼓 ● 連雅文 ◎ 陳廷銓小號江帛軒徐雲修陳鏡元黃書啟打擊樂 ● 陳哲輝陳振馨楊璧慈長號毛介中李季鴻羅文宏豎琴 ● 解瑄低音號潘將鍵盤 ▲ 許毓婷打擊樂林君庭張瑜蓁莊穎臻陳又誠豎琴林玉婷劉馨澧 ※ 感謝謝宛臻女士應邀擔任本場次雙簧管客席音樂家

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●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＊NSO樂團學苑學員

National Symphony Orchestra

Music Director SHAO-CHIA LÜ

Executive Director Manager, Planning & Production Manager, PR & Development

Conductor Laureate GÜNTHER HERBIG

Artistic Planning & Marketing

Programme Coordinator/ Special Assistant to MD Programme Coordinator PR & Project Coordinator Marketing & Publications Coordinator Marketing & Media Coordinator

Concertmaster TING-YU WU I-CHING LI Associate Concertmaster HAO-TUN TENG Assistant Conductor YIN-FANG CHANG

FIRST VIOLIN ○ Yi-Chun

Chen Yu-Lin Kuo Ji-Hung Lin Yung-Kuang Hou Kun-Hao Liang Yee-Nong Chen Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee Yin-Hsuan Laun✽

SECOND VIOLIN ● Yi-Ju

Chen ◎ Cheng-Mei Sun I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku ErAn Yu Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai

JOYCE CHIOU

Production & Administration

SARAH TU PAUL WANG YUFEN HUANG MENG-SHAN WU AMY LIU YING-FAN LAI PU-MEI CHEN EILEEN LIN CHIAU-CHI CHENG SANDY WANG

Stage Manager Assistant Manager, Personnel Librarian Production & Administration Coordinator Assistant Stage Manager

SHIH-CHIEH CHEN BIBI LIN BRITTNEY KAO HUI-WEN WEN CHIEH-WEN CHEN JE-JENG LIN CHENG-YU YEN

Concert Dramaturgist Legal Consultant

YUAN-PU CHIAO HSIN-HO LIN

VIOLA

DOUBLE BASS

CLARINET

TROMBONE

● Grace

Huang ◎ Chi-Chuan Teng ○ Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Guo-Lan Liu Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Pei-Ching Lo✽ Shih-San Liu✽

● Yung-Ho

● May-Lin

● Kuang-Ching

Norell Miyazaki Chuin Lee

CONTRABASSOON

TIMPANI

◎ Chika

En-Yi Chien

● Ya-Wen

CELLO

PICCOLO

HORN

PERCUSSION

● Lana

Mei-Chuan Chung

● Yi-Hsin

Cindy Liu ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang

● Jer-Huei

TRUMPET

● Shuen

Hsiung ◎ Yi-Shien Lien ■ ○ Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang Yu-Ting Tseng

Fu ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai Wan-Ting Yu✽

FLUTE ● Anders

OBOE ● I-Ching

Wang Li-Yueh Lin Shu-Ting Yang ■ Wan-Chen Hsieh

Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun

BASSOON ● Kai-Yu

Jian ◎ I-Hsiu Chen Ling-Feng Kao

ENGLISH HORN Ming-I Lee

● Nicolas

Rusillon ◎ Chang-Po Chen Ching-Min Chang Chien-Ming Wu

Sung Shiu Chung-Sheng Chen

◎ Hang-Fat

BASS TROMBONE Hsiao-Yun Peng

TUBA ● Jun

Miyanishi Lien

◎ Ting-Chuan

Chen

Chen Chen-Hsing Chen Pi-Tzu Yang

HARP

Chieh

KEYBOARD ▲ Yu-Ting

Hsu

※ Special thanks to Ms. Wan-Chen Hsieh as the guest oboist for this concert. ●Principal ◎Associate

Principal

○Assistant

Principal

■On

Leave ▲Season Contracted Musicians Auxiliary

＊NSO

Orchestra Academy