20131026

演出曲目

Program

阿爾沃‧帕爾特（1935- ）：《兄弟》

ARVO PÄRT (1935- ): Fratres

愛德華‧葛利格（1843-1907）：A小調鋼琴協奏曲

EDVARD GRIEG (1843-1907): Piano Concerto, Op. 16, A minor

I. Allegro molto moderato I. 非常中庸的快板 II. Adagio II. 慢板 III. 非常中庸的快板並富有強音─近乎急板─莊嚴的行板 III. Allegro moderato molto marcato – Quasi presto – Andante maestoso

--中場休息--

--Intermission--

愛德華‧葛利格：第一號《皮爾金》組曲

EDVARD GRIEG: Peer Gynt Suite No. 1, Op. 46

I. II. III. IV.

I. II. III. IV.

〈清晨〉 〈艾塞之死〉 〈安妮塔之舞〉 〈山魔王的大廳〉

‘Morgenstemning’ ‘Åses død’ ‘Anitras dans’ ‘I Dovregubbens hall’

卡爾．尼爾森（1865-1931）：《阿拉丁》組曲

CARL NIELSEN (1865-1931): Aladdin Suite, Op. 34

I. II. III. IV. V. VI. VII.

I. II. III. IV. V. VI. VII.

〈東方節慶進行曲〉 〈阿拉丁的夢與晨霧之舞〉 〈印度舞〉 〈中國舞〉 〈以斯法罕的市集〉 〈囚犯之舞〉 〈黑奴之舞〉

演出時間│ 2013年10月26日（星期六）7:30 PM

‘Orientalsk Festmarsch’ ‘Aladdins Drøm og Morgentaahernes Dans’ ‘Hindu-Dans’ ‘Kineser-Dans’ ‘Torvet i Ispahan’ ‘Fangernes Dans’ ‘Neger-Dans’

演出者

指ề揮│克利斯提安‧亞維 Kristjan Järvi, conductor

演出地點│ 國家音樂廳 National Concert Hall, Taipei

鋼ề琴│范倫提娜‧莉西特莎 Valentina Lisitsa, piano

主辦單位│

國家交響樂團 National Symphony Orchestra (NSO)

指定住宿│ 特別感謝│ 演出長度│上半場約45分鐘，下半場約40分鐘

1︱北歐傳奇

演出者介紹

Profiles

指揮│克利斯提安‧亞維 克利斯提安．亞維出生 於愛沙尼亞，自幼移民美 國，成長於紐約市。亞維是 一位造詣成熟的鋼琴家，從 曼哈頓音樂院畢業後，進入 密西根大學音樂研究所攻讀 指揮；他的事業起點，始於 洛杉磯愛樂擔任音樂總監薩 隆年的助理指揮。他曾指揮過的樂團包括柏林 愛樂、倫敦交響、德勒斯登國家交響、巴伐利 亞廣播、法國國家交響及雪梨交響等樂團。亞 維目前身兼四職，分別是：萊比錫中德廣播交 響音樂總監、瑞士格斯達音樂節管絃樂團首席 指揮、「絕對」室內樂團創辦人暨音樂總監、 波羅的海青年愛樂創團指揮。亞維在演奏錄音 方面得到的肯定，包括瑞典葛萊美獎之「最佳 歌劇演出」項目、德國唱片評論的「最佳專 輯」獎項，亦曾被美國葛萊美音樂獎、英國 BBC唱片獎提名。

Kristjan Järvi, conductor

鋼琴│范倫提娜‧莉西特莎 范倫提娜．莉西特莎出生 於基輔，三歲開始學習鋼琴， 四歲即舉行第一場獨奏會，啼 聲初試便一鳴驚人。於基輔音 樂院就讀時，拜師盧蜜拉• 茨菲爾珂門下； 1991 年，與 鋼琴家庫茲涅索夫聯手奪得 美國莫瑞•詹諾夫雙鋼琴大 賽首獎。2010 年，莉西特莎於荷蘭演奏拉赫瑪 尼諾夫「新第五」鋼琴協奏曲（改編自拉赫瑪 尼諾夫第二號交響曲），由鹿特丹愛樂協奏； 2011 年，她與馬捷爾指揮的巴西交響初次合 作；2012 年，並於倫敦艾伯特音樂廳舉行鋼琴 獨奏會。莉西特莎近幾年重要演出包括與芝加 哥交響、西雅圖交響、科隆西德廣播、舊金山 交響、匹茲堡交響等樂團演出協奏曲，及與霍 內克、聶切瑟昆、薩拉斯特等名指揮家共同合 作。最近剛完成的錄音包括拉赫瑪尼諾夫鋼琴 協奏曲全集、以及由麥可．法蘭西斯指揮倫敦 交響樂團合作演出的《帕格尼尼狂想曲》。

Born in Estonia, Kristjan Järvi emigrated to the United States as a child and grew up in New York City. He is an accomplished pianist and graduated from Manhattan School of Music as a performance major followed by undertaking conducting studies at the University of Michigan. He began his career as Assistant Conductor to Esa-Pekka Salonen at the Los Angeles Philharmonic. Kristjan Järvi has collaborated with the orchestras including the Berlin Philharmonic Orchestra, the London Symphony Orchestra, the Staatskapelle Dresden, the Bavarian Radio Symphony Orchestra, the Orchestre National de France, and the Sydney Symphony. He currently holds four principal engagements, including Music Director of the MDR Leipzig Radio Symphony Orchestra from the 2012/13 season, Chief Conductor of the Gstaad Festival Orchestra, Founder and Music Director of the Absolute Ensemble, and Founding Conductor of the Baltic Youth Philharmonic. As a recording artist, Järvi has been honored with a Swedish Grammy for “Best Opera Performance”, German Record Critics Prize for “Best Album”, a Grammy nomination and a BBC Record Award nomination.

Kristjan Järvi is represented worldwide by Tanja Dorn at IMG Artists. For more information please visit www.

KristjanJarvi.com.

Valentina Lisitsa, piano Born in Kiev, Valentina Lisitsa began playing the piano at the age of three, performing her first solo recital a year later. She studied at the Kiev Conservatory with Ludmilla Tsvierko, and won the first prize in the Murray Dranoff Two Piano Competition together with Alexei Kuznetsoff in 1991. In 2010, she performed the Dutch premiere of Rachmaninoff's “New 5” Concerto in her debut with the Rotterdam Philharmonic, and in 2011 made her debut with the Orchestra Sinfonica Brasileira under the baton of Lorin Maazel. In 2012, Lisitsa had her recital debut at the Royal Albert Hall in London. Other previous highlights include debuts with the Chicago Symphony, the Seattle Symphony, the WDR Symphony Orchestra Cologne, the San Francisco Symphony and the Pittsburgh Symphony, collaborating with conductors Manfred Honeck, Yannick Nézet-Séguin, and Jukka-Pekka Saraste, among others. Lisitsa has recently completed recordings of the complete concerti of Rachmaninoff and Rhapsody on a Theme of Paganini with the London Symphony Orchestra under Michael Francis.

Valentina Lisitsa is represented worldwide by Tanja Dorn at IMG Artists. For more information please visit www. valentinalisitsa.com.

樂曲解說 北歐音樂的發展 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 北歐音樂的發展在十九世紀中葉之前，幾 乎都籠罩在德、法、義諸國的影響之下。隨著 民族主義的興起，弱勢的局面也有所改變。 挪威作曲家葛利格具備深厚的德奧傳統，融合 挪威的民謠、舞蹈，引發樂壇對北歐音樂的關

注。當民族主義的風潮逐漸消褪，北歐作曲家不再固 守地方風格，丹麥作曲家尼爾森，從布拉姆斯式到新 古典主義，其發展歷程與世紀之交歐陸樂壇的風格嬗 變同步。同屬高緯度的愛沙尼亞，則因為受蘇聯共黨 統治，作曲家被迫放棄前衛音樂的路線，改由傳統吸 取靈感，反而成為主流樂壇中的一道特殊的風景。

2︱北歐傳奇

阿爾沃‧帕爾特：《兄弟》 撰文│蔡永凱

利格在1888年及1891年擷選其中八首，分別改編成 為第一、第二號組曲。

帕爾特1935年出生於愛沙尼亞，八○年代為了 逃脫蘇聯的控制，前往維也納，隨後移居德國，近 年則活躍於祖國與柏林間。他早年受到東歐與俄國 新古典主義的影響，創作風格類似蕭斯塔科維契、 普羅科菲夫等人，但因為這些較前衛的創作風格被 共黨禁止，他轉而研究葛麗果聖歌等早期音樂，配 合「極簡主義」的創作手法，在廿世紀末「心靈音 樂」的風潮裡，成為最受矚目的作曲家之一。

第 一 號 組 曲 共 有 四 首 ： 〈 清 晨 〉 （Morgenstemning）取自第四幕前奏，描寫皮爾金 旅行到摩洛哥的某個早晨，從樹上看到清晨的景 象，一開始由長笛與雙簧管接續奏出逐漸攀升的旋 律，而後由樂團銜接開展，呈現出日出大地的新 生朝氣；〈艾塞之死〉（Åses død）取自第三幕結 尾，是皮爾金的母親艾塞去世時的悲歌，由絃樂五 部演奏，簡短的旋律隨著音域與力度的逐次遞增 與消減，緩慢沉重地推進著送葬進行曲；〈安妮 塔之舞〉（Anitras dans）描寫冒充酋長女兒安妮塔 的舞孃，虛情假意地在皮爾金身邊起舞，趁其不備 偷走他的馬匹與金錢，本曲與前首一樣為絃樂編 制，外加三角鐵，絃樂各部分別以拉奏及撥奏的方 式，展現舞孃的萬種風情；〈山魔王的大廳〉（I Dovregubbens hall）取自第二幕，描寫魔窟大廳驚 嚇的景象，一開始由大提琴及低音大提琴撥奏，與 倍低音管輪流低聲唱出詭異的主旋律，隨著主旋律 音域逐漸地攀升，樂曲速度也愈加急促，最後在木 管及高音部提琴奔逃似地快速旋律中結束。

《兄弟》展現出帕爾特運用和弦寫作的特殊手 法。垂直來看，有個在A/E兩音上的低音，持續至 曲終；中間具有三個旋律聲部。橫向來看，則具有 九個段落，即九次和弦的發展，中間以打擊樂器的 聲響來分割。這些和弦的組成音，其實可分成兩個 來源，中間聲部均為a小調三和弦的組成音；低音 與高音兩線條，則為d小調音階的組成音。藉由兩 調性的交集，讓樂曲在緩慢之於，以簡單的模式拼 湊多彩的和弦。 創作於1977年的《兄弟》原為絃樂五重奏或 「古代管樂器五重奏」所作，之後則改編成多個版 本，各版本間的音樂內容都有所差異。現今最常被 演出的為1980年改編，為獨奏小提琴與鋼琴的版 本，以及1983年為絃樂團與打擊樂器的版本。

愛德華‧葛利格：A小調鋼琴協奏曲 撰文│李宜芳（真理大學音樂應用學系副教授） 此曲完成於1868年，是葛利格唯一的鋼琴協 奏曲，也是浪漫時期最具代表性的協奏曲之一。初 次聆聽者很少有人不被開頭一連串的下行八度所震 懾，並留下深刻的印象。葛利格雖以抒情小品的創 作聞名於世，然而少年時期於萊比錫音樂院所受德 奧作曲技法的堅實訓練，使他亦能遊刃有餘地駕馭 大型曲式的創作。

卡爾．尼爾森：《阿拉丁》組曲 撰文│蔡永凱 尼爾森的管絃樂作品，除了六首交響曲外，至 今最常被演出的就屬1919年創作的《阿拉丁》。 這部作品原先為戲劇音樂，根據丹麥劇作家歐倫許 勒格（Adam Oehlenschläger, 1779-1850）的同名詩 劇所作。尼爾森在創作這部劇樂時，因為與戲劇導 演蒲爾森（Johannes Poulsen, 1881-1938）的理念差 異，遭致不少困難。導演將劇院的樂團池挪用為舞 台的延伸，樂團只好被隱藏在舞台後方階梯下方。 此外，導演也堅持刪減許多音樂段落，導致作曲家 要求在首演海報上，將自己的名字移除。

愛德華‧葛利格：第一號《皮爾金》組曲 撰文│黃于真（國立臺灣師範大學音樂學博士候選人）

雖然創作經驗不甚愉快，但劇作推出後，音樂 受到相當大的歡迎，風潮從丹麥蔓延到國外，作曲 家也曾多次應邀親自指揮演出這部作品的片段。 《阿拉丁》組曲於1940年出版，由劇樂中的七首 作品構成，按順序分別為〈東方節慶進行曲〉、 〈阿拉丁的夢與晨霧之舞〉、〈印度舞〉、〈中國 舞〉、〈以斯法罕的市集〉、〈囚犯之舞〉與〈黑 奴之舞〉。作曲家以擅長的大型樂團齊奏營造出節 奏感，再以木管的個別音色，搭配不同調式，營造 出對東方的想像。值得一提的是第五首〈以斯法罕 的市集〉，管絃樂團被分成四群，第三群甚至使用 「有聲無詞」的合唱團。這四群樂器組合各自有自 己的音樂內容，次序加入，讓互不相關的音樂彼此 疊置。彷彿東方市集裡各式各樣的人生故事，在同 一時間裡，兀自發生、消逝。

《皮爾金》是挪威文學家易卜生1867年出版的 劇本，描寫愛幻想、不切實際的皮爾金他一生的冒 險故事。1876年該劇首演時，請來當時已經頗具名 氣的葛利格編寫配樂，全劇共有二十三首樂曲。葛

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=201310，並歡迎親洽表演藝術圖 書館(國家戲劇院地下層)借閱使用。

作品流露著鮮明的北歐情懷，無論是第一樂章 溫暖深刻的第二主題，冷冽蕭瑟的第二樂章，或是 取材自挪威民族舞蹈Halling的節奏，揮灑著馳騁曠 野豪情的第三樂章，都充滿了獨特的北國氣息。樂 曲的創作深受舒曼鋼琴協奏曲的啟發，無論在結構 的呈現、調性的選擇、乃至於鋼琴的織體寫法上， 處處可見舒曼的影響。儘管係師法大師之作，葛利 格音樂中特有的抒情溫暖特質與民族色彩，才是 此曲歷久彌新的重要元素。誠如柴科夫斯基所說， 「他的音樂充滿迷人的特質，能在人們的內心產生 立即而溫暖的共鳴！」

3︱北歐傳奇

Program Notes Arvo Pärt: Fratres

By Yun-Kai Tsai (Ph.D. in Musicology, National Taiwan Normal University) Arvo Pärt was born in Estonia in 1935. In the 1980s, to escape the Soviet Union, he moved first to Vienna, then to Germany. In recent years, he was most active in his homeland as well as in Berlin. At the early stage of his career, Pärt was under the influence of neo-Classicism; his compositional style then was similar to such composers as Shostakovich and Prokofiev.

However, such avant-garde approach was discouraged by the Soviet’s communist party. Consequently, he turned to early music, especially Gregorian chant. Complementing this new interest with minimalism, Pärt played a crucial part in the trend of “spiritual music” and is considered to be one of the most significant composers in the late 20th century.

Fratres shows Pärt’s special approach to chordal harmony.

Viewing this work from a harmonic (or vertical) perspective, we hear “pedal tones” on A and E throughout; between the two tones are three voices. Viewing the piece from a linear (or horizontal) perspective, we see nine sections; each section presents one harmony. These sections are separated from each other by the percussion’s timbre. The pitches, of which the harmonies consist, derive from two sources. The middle voice includes the pitches from an A minor triad; the upper and power voices, the pitches from a D minor scale. Combining the two keys and keeping the tempo slow, Pärt creates a colorful harmony in a simple yet effective manner in Fratres.

Composed in 1977, Fratres was originally written for either string quintet or wind quintet (early music ensemble).

Various arrangements were created later on. The most popular arrangements are the 1980 version (for solo violin and piano) and the 1983 version (for string orchestra and percussion).

(Translated by Feng-Shu Lee)

Edvard Grieg: Piano Concerto, Op. 16, A minor When the Norwegian composer Edvard Grieg was still a student in Leipzig he had heard Schumann’s widow Clara play her husband’s piano concerto. His own piano concerto, written in 1868 during the course of a holiday in Denmark, is very much in the style suggested by the earlier work. The idiomatic piano-writing may well owe something to Liszt, who had seen the concerto in manuscript and to the composer’s astonishment had played it through faultlessly at sight. Grieg had been equally impressed by Liszt’s sight-reading of a violin sonata of his, in which every detail was included.

Grieg revised his Piano Concerto several times, as he did a number of his other compositions. He rejected at least one of Liszt’s suggestions on orchestration, the use of trumpets for the second theme in the first movement, eventually given to the cellos, but was grateful for the encouragement Liszt gave him.

The concerto came at a time when the composer was turning away from the predominantly Danish atmosphere of his middleclass Norwegian childhood and the German emphasis of his later musical education towards the music of Norway itself. Whatever its formal debt to Schumann the Piano Concerto has about it much that is purely Norwegian, particularly in its wealth of melodic material.

The concerto opens with a drum-roll leading to the entry of the solo piano, descending the keyboard, followed by a theme given first to the wood-wind, repeated by the piano, which later takes up the second theme, suggested by the cellos. There is a development section which develops relatively little and in the final section a rhapsodic cadenza, followed by a brief coda.

The second movement shifts to the key of D flat major, to be heard as the middle note of the chord of A major. The effect of the change is one of relief from the tumultuous activity that had gone before, orchestra and soloist proposing different melodies, but with no sense of conflict.

The finale is dominated by a Norwegian dance-rhythm, that of the halling, but has time for the kind of rhapsodic pianowriting that has made the concerto one of the most successful and popular in the romantic repertoire. © 2013 Naxos Digital Services Ltd

Edvard Grieg: Peer Gynt Suite No. 1, Op. 46 The innovation, imagination and shocking effects of Edvard Grieg’s musical response to Henrik Ibsen’s play Peer Gynt never cease to amaze many people. The music casts a subtle and manysided spell together with the text. But we hear the music through many historical filters which threaten to rob it of the power it had and can have. It is generally considered to be one of the foremost expressions of Norwegian ‘national identity’, and is thus often understood one-dimensionally. By no means is it selfevident that we as listeners today are open to the many different meanings of this music’s radical tonal effects. The music is greatly loved by many, but is also seen as a Romanticization of Ibsen’s sometimes blunt text.

The Suites live separate lives from the play, connected only indirectly to the text and the stage - through Grieg’s original inspiration, and through listeners who know the Ibsen. But Grieg said: ‘If you could attend a production of the play, you would see that my musical intentions become clear only in the context of the stage.’

Peer Gynt (1867) is Ibsen’s second ‘dramatic poem’, following Brand (1866). In the summer of 1862 Ibsen had made a trip to Gudbrandsdal, one of the valleys of central Norway, north of Oslo, and his studies there meant he was able to give Peer Gynt a genuine historical basis. But Ibsen’s highly individual mythical world goes far beyond actual folklore. He also made critical and ironic comments about narrow nationalism. Throughout, his epic poem is a dramatic dialogue with multifarious implications.

The literary historian Edvard Beyer (1920-2003) says it is both ‘fairytale and picture of folk-life; tragedy and fantastical, satirical, Aristophanic comedy; dream play and morality’. Its portrayals of erotic yearning have features in common with earlier European Romanticism. Biting intellectual irony, humour and wit mingle with poetic and compassionate insight. Peer Gynt leaves his loved ones in the lurch, like a modern-day chameleon, without scruples. Grieg saw in this a philosophical critique of contemporary ethics: ‘the performance of Peer Gynt can do some good just now in Kristiania [Oslo], where materialism is on the up and is trying to choke everything we find best and most sacred; what we need, is a mirror in which all this egotism can be seen, and Peer Gynt is just such a mirror.’ Through satire, the play shows up our (self-) destructive side and the falsehoods within us.

But it has a serious and constructive message too, which Grieg played his part in developing and expressing.

It was Ibsen’s own initiative to ask Grieg to write the music - in a long and detailed letter in 1874. Grieg said ‘yes please’, but was somewhat ambivalent about the work. He called it ‘the most unmusical of all subjects’, ‘terrifyingly intractable’. ‘The text is such that you really have to kill all thoughts of writing true music, and concentrate merely on the external effect.’

Theatre music can tend towards anonymity or towards independence. Grieg’s Peer Gynt music is sometimes suitably anonymous, sometimes fascinatingly independent. It responds to many layers in the play, forming a musical counterpart to the text, rather than imposing a particular interpretation upon it.

Together, text and music create a ‘musical drama’, each helping the other to win popular success. As a written verse-play, the text was at first unsuccessful with the reading public, but Norway had no ‘national opera’, so this quickly became the ‘Norwegian National Drama’. As time went on, Peer Gynt stagings became almost ‘national gala evenings’, generally featuring new theatrical techniques, colourful folkloric costumes and large numbers of performers. The true nature of the text was buried, and Peer Gynt was turned into - as the great Norwegian writer Arne Garborg warned it would be - a ‘costume drama’.

4︱北歐傳奇

Before the Second World War the music was highly praised, and was an important part of the play’s attraction, but since then voices have been raised claiming that the music practically paralyses our imagination. The mid-twentiethcentury critic Hans Heiberg felt that Peer Gynt had become an ‘idyllic festival play’, and that the music is ‘sugary’, while ‘Ibsen’s text is bitter’. Bland performances, and the fact that audiences had become less easy to shock, may have muted the effect of the satire and irony that is certainly present in Grieg's music. Attitudes towards incidental music in general had also changed.

At first Grieg undervalued his Peer Gynt music, as he later did with the Holberg Suite. Both were created in circumstances he had not chosen for himself, so he felt that the musical results could not be any good! He did not dare show up at the première of Peer Gynt in 1876. It was a huge success, and he gradually came to recognize the power of the music. The Peer Gynt Suite No. 1 was finished on 18 January 1888, and immediately triumphed in the concert hall. Grieg’s selection of music for the first Suite seems to have been a deliberate attempt to bring together the ‘best’ and most popular numbers, building to a climax In the Hall of the Mountain King. Grieg also made a piano arrangement of this piece.

‘Morning’ (or Morning Mood) comes from the fourth act, and there has been much debate about whether this music fits with the relatively grotesque scenes in the Sahara.

It uses the pentatonic scale, perhaps suggesting Arabian connections. Or is this Norwegian pentatonicism with its roots in the second act and the mountains of Dovre?

Thematically there is a close kinship here with the music of Peer Gynt and the Woman in Green. ‘Morning Mood’ is a nature-idyll in E major, with (Grieg said) ‘the sun breaking through the clouds at the first forte’. This produces an unusual musical form: the climax comes early on, and the day then settles down to rest. Towards the end we hear imitations of birdsong. The incessant flowing figures suggest associations with waves on the seashore, or with wind. Or they could be sounds in Peer Gynt’s head. Grieg asked that the piece ‘be treated as pure music’, and as such it has a unique place in the drama.

The second movement, ‘The Death of åse’, is heard in the theatre as a soft, distant echo, possibly from behind the scenes, during Peer Gynt’s fantasy-monologue to his mother åse. He imagines himself carrying her away in a horse-drawn sleigh to St Peter, and at first he is unaware that she has died.

Peer’s ‘artistic’ flight of fantasy is contrasted with the grave reality of death. In this way, music and text work powerfully together and against each other. The music is like a chorale or a funeral march that rises and falls, in a dark B minor, maybe connected both with åse’s suffering and with Peer’s own tragedy. In the Suite we hear this music differently, without the dramatic irony of its juxtaposition with the stage picture.

It becomes more about our feelings - in which case it can be natural for the performance to be more expressive.

The elegant, exotic and sensual mazurka ‘Anitra’s Dance’ was also written as background music, for speech and dance, using similarly gentle string sounds (here with triangle).

Grieg called it ‘a little darling’, saying the music should sound ‘completely ppp’: possibly performed by a group of soloists and/or offstage. It should work both with and against what we see and hear in the theatre: the Bedouin chieftain's rather grimy daughter Anitra belly-dancing, and Peer, extremely attracted, allured, seduced until he barely hears the music any more. Again, in the Suite these contrasts and parallels with the visual action disappear. Sly, seductive Anitra works her power on us directly, in musical attire - though she probably seems a bit cleaner than the text suggests! Melodically the dance is

related to both In the Hall of the Mountain King and Solveig’s Song.

The pause on the opening chord, redolent of sun and sand, is typical of many kinds of dance music, as the instruments strike up.

In 1876 the barbaric ‘In the Hall of the Mountain King’ was, modernistic and innovative. The curtain is down when the music starts, so our imagination can get to work before we emerge into the netherworld landscape and its swarming trolls. The theatre version includes a part for troll chorus as they chase and menace Peer Gynt ever more wildly, until the Mountain King himself has to bellow ‘Isvann I blodet!’ – ‘Cool it!’ (literally ‘Ice water in the blood!’). The simple musical form, a long build-up to a climax, is found in later pieces like Dukas’s The Sorcerer's Apprentice, Honegger’s Pacific 231, Ravel’s Bolero, Harald Sæverud’s Kjempeviseslåtten (known in English as The Ballad of Revolt, Naxos 8.557018) and Geirr Tveitt’s Haringøl. The crescendos in such works are of various kinds: magical, mechanical, erotic or tragic. In Grieg it is not easy to decide the relative degrees of humour and seriousness. Norwegian children sing rude songs to this tune! Does the music portray our selfishness and malevolence, or is it merely comic and harmless? Destructive forces are hard to define, and can even be very fascinating. ‘In the Hall of the Mountain King’ is often played as an orchestral showpiece, which pretty much guarantees smiles and applause. Grieg wrote that, after a performance in London, the audience bellowed their enthusiasm like wild beasts. In his day the music also aroused anger and was seen as shocking. The musical element in the trolls’ realm was ‘pure parody’, Grieg said – ‘so I came up with something for the Mountain King’s hall that I literally can't bear to listen to: it reeks of cow pies, exaggerated Norwegian provincialism and trollish selfishness!’ After all the music is over, Peer says: ‘Both the dancing and the playing - may the cat claw my tongue - were utterly delightful.’’ © 2013 Naxos Digital Services Ltd

Carl Nielsen: Aladdin Suite, Op. 34 Despite the success of Maskarade, Nielsen’s disenchantment with the workings of an opera house meant that he composed no more operas. Instead, he concentrated on incidental music for theatre productions, of which his score to Adam Oehlenschläger’s play Aladdin (FS89) is the most important. First heard in February 1919 at Copenhagen’s Royal Theatre (the commissioner six years later of Sibelius’s similarly lavish score for Shakespeare’s The Tempest), the elaborate nature of the production made it impossible for Nielsen’s music to be realised in the way he intended. Overcoming his initial chagrin, he extracted several orchestral items (notably from the extensive dance sequence in Act Three) for concert performance, and these were finally published as the Aladdin Suite in 1940.

This begins with the ‘Oriental Festival March’, its minor tonality evoking a harsh splendour beyond the merely ceremonial. There follows Aladdin’s ‘Dream and Dance of the Morning Mist’, a rapt passage for strings, followed by the gently animated dance with its winsome instrumentation for flutes and violins. The ‘Hindu Dance’ is a graceful number where woodwind engage in delicately wistful exchanges, and while the ‘Chinese Dance’ is more spirited rhythmically, its harmonies are equally, and unmistakably, those of Nielsen. ‘The Marketplace in Ispahan’ is the most famous number in the suite - on account of its superimposition of four different musical ideas, so as to evoke the sensation of sound coming from all sides of the market arena. The vividly dramatic ‘Dance of the Prisoners’ is a reminder of the more descriptive passages in some of Nielsen’s symphonies, before the ‘Negro Dance’ rounds off the suite in increasingly energetic abandon.

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=201310.

電子問券請掃描， 支持NSO愛地球。

5︱北歐傳奇

自信而精銳

National Symphony Orchestra

國家交響樂團

Founded in 1986 by the Ministry of Education, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became an artistic affiliate of the National Chiang Kai-Shek Cultural Center in 2005. 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 Shao-Chia 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.

教育部於1986年為建立一個指標級交 響樂團投下的希望，2005年起成為國立中正 文化中心駐國家音樂廳團隊，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。20多年來與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

呂紹嘉 根特‧赫比希

樂團首席 樂團副首席 助理指揮

吳庭毓 李宜錦 鄧皓敦 張尹芳

第一小提琴

第二小提琴

中 提 琴

大 提 琴

低 音 提 琴

長 笛 短 笛 雙 簧 管 英 國 管 單 簧 管 低 音 管 倍 低 音 管 法 國 號 小 號 長 號 低音長號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤

○ 陳逸群 郭昱麟 林基弘 侯勇光 陳逸農 卓曉青 方俊人 黃佳頎 賴佳奇 林孟穎 李家豪 藍胤萱✽ ● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 顧慈美 于爾恩 康信榮 李梅箋 蔡孟峰 洪章文 陳偉泓 王致翔 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 謝君玲 劉國蘭 呂孟珊 李思琪 蔡秉璋 劉詩珊✽ 蔡享享✽ ● 熊士蘭 ◎ 連亦先■○ 韋智盈 呂明美 陳怡婷 林宜女閒 黃日昇 蘇酩惠 呂函涓✽ ● 傅永和 ○ 周春祥 王淑瑜 黃筱清 連珮致 蔡歆婕 王暘琳 ● 安德石 ◎ 宮崎千佳 李 浚 鐘美川 ● 王怡靜 林麗玥 楊舒婷■▲王譽博 李明怡 ● 朱玫玲 ● 簡凱玉 簡恩義 ● 劉宜欣 ● 宇新樂 ● 宋光清 彭曉昀 ● 宮西純 ● 連雅文 ● 陳哲輝 ● 解 瑄 ▲ 許毓婷

執行長

梁坤豪 李庭芳 黃衍繹 鍾仁甫 李靖宜 陳猶白 周幼雯 唐鶯綺 王淑宜

◎ 張凱婷 朱偉誼 孫正茸 ◎ 陳奕秀 高靈風 ○ 黃任賢 國田朋宏 王婉如 曹予勉 ◎ 陳長伯 張景民 吳建銘 ◎ 邵恆發 陳中昇

◎ 陳廷銓 陳振馨 楊璧慈 王瓊燁 許惠婷

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 賴廷恆 行銷專員 林欣儀 鄭巧琪 王思懿

方歆婷 演出及行政 舞台監督 人事組長 譜務專員 行政專員 助理舞監

陳世傑 林碧珠 高婉瑜 溫慧雯 陳玠維 林哲正 顏承宇

音樂諮詢 法律顧問

焦元溥 林信和

錄音製作

✽ NSO 樂團學苑 名錄 指 揮 張尹芳 小 提 琴 王心妤 玉 珊 江 敏 余琬婷

吳宛蓁 吳庭芳 呂 昉 紀韋瑄

張暐姍 梁 艷 梁鈺函 郭承姍

陳又寧 楊晏如 廖元宏 潘俊蓁

蔡承宏 鄭囿蓉 駱思云 藍胤萱

魏苡庭 蘇品嘉 中 提 琴 陳映蓁 劉詩珊 蔡享享 賴昱如

羅培菁 大 提 琴 王甯嫻 王鈺淩 呂函涓 李 茜

林君翰 低音提琴 伏 芯 洪瑜蔚 陳弘之 陳美君

游婉婷 長 笛 石詠萱 吳媖蕎 徐鈺甄 陳瀅涵 雙 簧 管 李立品 周羽庭 單 簧 管 李昱柔 李璧任 低 音 管 黃晟育 陳芊彣 溫家琪 法 國 號 陳冠余 小 號 江帛軒 徐雲修 陳鏡元 黃書啟 長 號 毛介中 李季鴻 羅文宏 低 音 號 潘 將 打 擊 樂 林君庭 張瑜蓁 莊穎臻 陳又誠 豎 琴 林玉婷 劉馨澧 (按筆劃排序)

●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 ✽NSO樂團學苑學員