演出曲目
Program
伊果•史特拉汶斯基（1882-1971）： 《煙火音樂》
IGOR STRAVINSKY (1882-1971): )HX G DUWL¿FH, Op. 4
潘世姬（1957- ）：《大磺嘴隨想》(世界首演)
SHYH-JI PAN (1957- ): +XDQJ =XL &DSULFFLR (World Premiere)
黃若（1976- ）：《玄黃》
HUANG RUO (1976- ): 7KH &RORU <HOORZ, Concerto for Sheng and Chamber Orchestra
--中場休息--
--Intermission--
摩利斯•拉威爾（1875-1937）：《汪洋孤舟》
MAURICE RAVEL (1875-1937): 8QH EDUTXH VXU O RFpDQ
摩利斯•拉威爾：《小丑的晨歌》
MAURICE RAVEL : $OERUDGD GHO JUDFLRVR
陳銀淑（1961- ）：《Šu》
UNSUK CHIN (1961- ): Šu, Concerto for Sheng and Orchestra
演出時間│ 2014年2月22日（星期六）7:30 PM
演出者
I. II.
〈古道〉 〈西北雨〉
I. II.
Ancient Trail Midsummer Thunder Shower
指ề揮│簡文彬 Wen-Pin Chien, conductor
演出地點│ 國家音樂廳 National Concert Hall, Taipei
ề笙ề│吳
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40分鐘，下半場約40分鐘
巍 Wu Wei, sheng
1︱笙聲不息
演出者介紹
Profiles
指揮│簡文彬 簡文彬畢業於國立臺灣藝術大 學鍵盤組，國立維也納音樂暨表演 藝術大學指揮碩士。 1995 年於以色 列榮獲首屆伯恩斯坦指揮大賽特別 獎。 1996 年起擔任德國萊茵歌劇院 駐院指揮迄今，並於 1998 至 2004 年 擔任日本太平洋音樂節常任指揮。 2001 至2007 年任NSO 音樂總監。 簡文彬除以歌劇指揮身分，受邀於奧地利、荷蘭、德 國及瑞士等地劇院指揮演出，也客席指揮包括奧地 利、義大利、捷克、俄國、法國、日本、德國、香港 及中國等地交響樂團。 2009 年與導演Christoph Nel 推出荀白克歌劇《摩西與亞倫》新製作，被德國重要 媒體及評論譽為該劇院近十年來最成功的製作。2010 年帶領德國萊茵歌劇院於德國魯爾區「 2010 年歐洲 文化首都」，演出德國作曲家亨策（ Hans Werner Henze）歌劇《費朵拉》。2012 年受邀指揮英國愛樂 管絃樂團，並擔任奧地利Schwaz 現代音樂節開幕音樂 會指揮。
Wen-Pin Chien, conductor
笙│吳 巍 吳巍是當代活躍於國際樂壇的現 代派笙演奏家，經常與世界頂尖指揮 及管絃樂團合作，包括長野健與柏 林愛樂、杜達美與洛杉磯愛樂、鄭明 勳與法國國家廣播交響、伊蘭．沃 可夫與BBC 交響、蘇珊•瑪姬與斯 德哥爾摩皇家愛樂等。為新作之世界 首演曲目超過二百餘首（十首笙協奏 曲），包括約翰•凱吉、陳銀淑、細川俊夫、朱卡• 蒂耶蘇、約格•魏德曼、譚盾、陳其鋼、郭文景、施 奈德等作曲家作品。曾獲兩屆德國Musica Vitale首獎、 德國世界音樂最高獎Global Root、2011年愛丁堡國際 藝術節先驅天使獎的肯定。 1993 畢業於上海音樂學 院，任上海民族樂團笙獨奏家。1995年獲DAAD獎學 金於柏林漢斯-艾斯勒音樂學院深造。2013榮獲上海東 方學者稱號，受聘為上海音樂學院特聘教授。
Wu Wei, sheng
Kapellmeister of the Deutsche Oper am Rhein (since 1996/1997 season), Resident Conductor of the Pacific Music Festival in Japan (1998-2004) and Music Director of the National Symphony Orchestra of Taiwan (2001-2007). Wen-Pin Chien graduated from the National Taiwan Academy of Arts summa cum laude (1988) with major in piano, and gained his master’s degree in conducting at the National University for Music and Performing Arts in Vienna (1994). He won the first prize at the International Conducting Competition La Bottega, Treviso (1992), Douai (1994), and the only Special Mention in the first Leonard Bernstein Jerusalem International Conducting Competition, Israel (1995). As a guest conductor, Chien has worked with the Wiener Kammeroper, the Nederlands Opera, Hamburgische Staatsoper, Komische Oper Berlin, Opernhaus Graz, Theater Bonn and Grand Théâtre de Genève.
Born in China, Wu Wei was involved with many orchestras including Berlin Philharmoniker under Kent Nagano, Orchestre philharmonique de Radio France under Myung-Whun Chung, Los Angeles Philharmonic Orchestra under Gustavo Dudamel, BBC Symphony Orchestra under Ilan Volkov, Royal Stockholm Philharmonic Orchestra under Susanna Mälkki. He has performed world premiere over 200 compositions (10 Concerto for Sheng and Orchestra) by Unsuk Chin, Toshio Hosokawa, Jukka Tiensuu, Jörg Widmann, Tan Dun, Chen Qigang, Guo Wenjing, Enjott Schneider etc. He is winner at Musica Vitale, Global Root and 2011 Herald Angel Award by Edinburgh Festival. 1993 graduated from the Shanghai Conservatory and soloist at Shanghai Chinese Orchestra. In 1995 he received DAAD scholarship to study at Academy of Music Hanns Eisler Berlin. In 2013, Wu is awarded the title of Shanghai Oriental scholar and is hired as Distinguished Professor of the Shanghai Music Conservatory.
樂曲解說 伊果•史特拉汶斯基：《煙火音樂》 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 創作於 1908 年的《煙火音樂》，屬於史特拉 汶斯基早期的作品。他原本想將這首作品獻給他的 老師，作曲家李姆斯基•高沙可夫的女兒為結婚賀 禮，然而他所呈獻的鋼琴版本卻遭李姆斯基•高沙 可夫本人退回。直到他死後，史特拉汶斯基才將這 部作品樂團化。 雖然被作曲者稱為「為大型管絃樂團的幻想 曲」，就風格與形式上，《煙火音樂》實為一首「詼 諧曲」，具有 ABA'的結構。第一段由兩個主要的音
響層構成，先是高音木管與絃樂交織纏繞的快速音 型，接續由法國號強音帶出如號角般的主題，並與 長號交替模仿。B段可依風格細分成幾個小段落。 它從弱聲段落開始，先有絃樂以弓尖快速演奏重複 音，接著則有長笛與鋼片琴的齊奏音響，陸續展 現作曲家在配器上的豐富想像力。B段後方聲量漸 大，導引出A'段。與A段不同的是，此處的樂團不 再分成兩個聲響層，而是以齊奏演出號角般的主題 至光輝燦爛的結束。 這部作品規模雖小，傑出的配器手法卻成功吸 引了當代俄國舞蹈界的注意，催生了作曲家日後的 傑作，尤其是《火鳥》與《春之祭》。
2︱笙聲不息
潘世姬：《大磺嘴隨想》 撰文│潘世姬 有感而發乃人類普同的生命經驗。作曲家藉由 外在景、事、物書寫與表達人類普同的情感。在藝 術的表現上，文化的差異不曾改變人類情感表達的 目標，但可視為一種情感表達的手段。透過共同的 目標與不同的手段，得以傳承與彰顯文化。 本曲的創作靈感，來自閱讀清廷命官郁永河 （b. 1645）《裨海紀遊》中，有關大磺嘴的描述。 大磺嘴溫泉區是兩千三百萬年前，在海底沉積的台 北最古老的地層─五指山層石英砂岩。此區的溫 泉，乃是新北投地區溫泉之源。西元1697年，清 廷派郁永河到台灣採硫，而後完成一本《裨海紀 遊》，對當時北投大磺嘴溫泉有如下的描述： 「他和同伴駕船沿著溪划到內北投社，又往東 邊走了半里路，進入一片芒草叢，草高一丈多，要 用雙手排開茅草，側著身才能前進。這時陽光照在 茅草上，暑氣蒸鬱，感覺很氣悶，又走到一條溪邊 溪，有四、五丈寬，水潺流於巉石間成藍靛色， 帶路的人告訴他，這水是從硫穴中流出來的天然溫 泉，他用手去試，果然很燙。前行到一座小山， 忽然覺得腳底很熱，再看看附近的草色都枯萎，了 無生氣，山坡上白氣縷縷，似山嵐飄揚群峰間，帶 路的人說這裡就是硫穴，正巧這時候吹來一陣風， 硫氣刺鼻，往裡又走了半里路，到處草木不生，地 面熱得燙腳，山谷兩面都是巨大的石頭，經硫氣薰 蝕，表面被剝裂得像粉末，五十幾道白氣從地裡噴 騰而出，沸騰的水珠濺出地面一呎多高，如雷樣的 聲音震盪地底。」─陽明山國家公園，2011。 三百年後，北投地區的自然景觀已不復當年郁 永河筆下所摹寫的景象。工業文明對自然生態的破 壞，是現代人需要共同面對的課題。
2012年夏，陽明山上的蟬鳴，從以往響徹群山 的大合唱，僅剩斷斷續續、稀稀落落的潰不成聲， 嘶啞的蟬鳴，像是對人類的破壞行為所發出的最後 一點卑微抗議。希望這僅是今年特殊的生態現象， 而不是永久的。 第一樂章─古道：描寫夏日遊走於陽明山古道 林間，隨處可聞的蟲鳴鳥叫聲。 第二樂章─西北雨：描寫夏日漫步於大磺嘴溫 泉區的午後隨想。
黃若：《玄黃》 撰文│蔡永凱 華裔美籍作曲家黃若，1976年生於海南島，他 先在上海音樂院接受傳統與西方音樂的訓練，之後 前往美國就讀於歐柏林音樂院，並在茱利亞音樂院 取得作曲博士。2007年所創作的《玄黃》是一首笙 與室內管絃樂團的協奏曲，為笙名家吳巍所作，並 由其在紐約州奧貝尼（Albany）市首演。
笙，因其使用簧管，因此也常被認為是管風琴 之類樂器的始祖。黃若自述道，由於音色與風格差 異，要把中國樂器的笙與西方樂器融合，並非易 事。他所採取的方式是徹底解構樂器與音樂風格的 元素。他讓笙與樂團樂器皆放棄傳統的調音方式， 各樂器演奏微分音（即介於常見音高之間「不準」 的音高），讓樂器的聲響重新地自由融合。為了達 到這個效果，黃若不僅大量地使用打擊樂器，並且 也讓銅管演奏者兼吹海螺，不論在聲響與吹奏姿勢 上，都與笙形成有趣的對照。另外，他在中段安排 樂團絃樂演奏者，以嘴巴製造雜音，也諧擬了笙吹 奏時特殊的氣聲。 至於選擇「黃」做為標題，黃若則解釋道， 「黃」色代表膚色、也代表黃土地、還有黃河、黃 山等等。而這部作品，回顧了歷史，描述了現在， 也預知了未來。至於這樣的概念如何展現於作品 中，則須由聽者自己體會。
摩利斯•拉威爾：《汪洋孤舟》、《小丑的晨歌》 撰文│蔡永凱 法國作曲家拉威爾的鋼琴作品以艱難著稱，於 1904-1905年所創作的《鏡像》曲集為一代表。不 過，因為作曲家只將該曲集的第三、四首（即《汪 洋孤舟》與《小丑的晨歌》）樂團化，其他三首則 由他人改編，這也說明為什麼這套曲集的樂團版本 演出，常常僅見上述兩首。 《汪洋孤舟》鋼琴版本的特色，在於左手不間 斷的分解和弦琶音，為「印象派」慣用手法。作曲 家指示，整部作品必須要籠罩在踏板製造出的霧靄 中。樂團版本裡，作曲家以絃樂來再現這個效果。 樂曲開始處，第一、二小提琴、中提琴與大提琴都 被分成四個聲部。兩兩以平行演奏分解和弦，並使 用弱音器，營造出朦朧，如平滑水波的效果。曲中 亦有其他大膽的配器使用，例如鋼片琴純黑鍵的滑 奏，以及絃樂以泛音，快速來回跨絃演奏，搭配同 樣加上弱音器的小號，輕聲呼喚，係以聲響的清晰 與模糊，製造出空間的距離感。 《小丑的晨歌》則呈現完全不同的風格。這裡 的「小丑」源於西班牙戲劇的丑角，而「晨 歌」則 為情人午夜幽會，在黎明之前不得不分開的情歌。 標題所揭示的對立情感，詼諧與柔情之間的矛盾， 表現在音樂上，成為嚴謹規律的舞蹈節奏，對上抒 情的旋律。要在片刻間即放即收，是這部作品在 詮釋上最大的挑戰。拉威爾在樂團化時，加入大量 的打擊樂器，包括鐃鈸、三角鐵、巴斯克手鼓、響 板、軍鼓、鈸和大鼓，同時在配器上借重豎琴與絃 樂的撥絃效果，還原鋼琴版本中所難以完整呈現的 華麗拍點。此外，在鋼琴上艱難的快速重複單音， 交由小號與長笛演奏，同樣需要高超的演奏技巧。
3︱笙聲不息
陳銀淑：《Šu》 撰文│蔡永凱 韓國作曲家陳銀淑在2009 年創作《Šu》前，她 一直避免採用非歐洲傳統的樂器，以免陷入浮面的 「異國情調」氛圍。直到聽到吳巍的演奏後，她回憶 起兒時聽見山頭上的「笙簧」（係韓語對「笙」的稱 呼），將此經驗轉化為「對遠方聲響的一種渴望」， 成為這部作品的概念。
Šu（讀音近「須」）來自古埃及神話，代表「空 氣」。就如同兒時記憶裡，飄散在空氣中的旋律與音 色。打擊樂器的使用，模擬出由遠方傳來的韓國傳統 「四物打擊樂」（Samulnori）。數字「七」則在這部 作品中佔重要的份量，一個小節被劃分成4+3個單位。 作品為單樂章，一開始時，笙獨奏圍繞著一個中 心音，變化雙音，發出猶如帶著光暈的聲響。樂團裡 不同樂器在不同時段加入獨奏，也帶進旋律片段。喧 鬧的片段由打擊樂主導隨後加入，實在與虛幻的對 比，讓一開始的旋律猶如幻影一般。在如裝飾奏的 段落裡，笙演奏出嚴格反覆的節奏型態，累積能量。 高潮後隨即靜止。靜止之後，樂曲開始的綿長聲響再 現，如再現部般，光暈漸漸黯淡，直至靜寂。 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=201402，並歡迎親洽表演藝術圖書館(國 家戲劇院地下層)借閱使用。
Program Notes Igor Stravinsky: Feu d'artifice, Op. 4 As mentioned earlier, it was a performance of Stravinsky’s Fireworks (along with his Scherzo fantastique) that first gave Dyagilev a glimpse of the composer’s genius. Stravinsky completed Fireworks in about six weeks during the summer of 1908 and eagerly sent it to Rimsky-Korsakov. But instead of his teacher’s comments, as he expected, Stravinsky received a telegram informing him of his mentor’s death. Though Stravinsky did not write the piece as homage, Fireworks nevertheless pays tribute to his teacher. It is a brilliant showpiece, and it shares the penchant for vibrant instrumental color that characterizes Rimsky-Korsakov’s music. The work’s atmospheric opening gives rise to rapid figures for the winds, and the music builds in volume and intensity. Somewhat surprising here is Stravinsky’s resort to imitative counterpoint in developing his ideas. Rimsky-Korsakov had little interest in this aspect of composition and even sent Stravinsky to an assistant for counterpoint lessons. Those lessons were well learned, however, and contrapuntal writing would remain an important feature of Stravinsky’s work throughout his career. Soon the tempo slows for a passage featuring a melody for English horn and, later, a lyrical theme given out over rippling accompaniment. Following a reprise of the opening material, Stravinsky again turns to canonic counterpoint, though not in the manner of a dry exercise. Rather, the tightly knit echoes
produce virtual explosions of sound-something entirely consistent with the title and conception of the piece-in the work's closing paragraph. © 2013 Naxos Digital Services Ltd
Shyh-Ji Pan: Huang Zui Capriccio By Shyh-Ji Pan This work was inspired by reading the Travel Notes of Bei-Hai (1697). Yu Yong-he (b. 1645), the author, who was sent by the Qing court to investigate the sulfur mining in Beitou area. The following is a brief depiction of the scene in Beitou area from Yu’s book. “Yu and his companions sailed along the creek, drawing them to an inner Beitou village. They continued to walk toward east for half a mile and entered bushes of ten feet tall silvergrass. They had to use both hands to partition the thatch, and swayed their bodies sideways to move forward. When the sun shines on the thatch, the steaming heat made Yu feeling very tense. They came to a small creek which was forty to fifty cubits in width. The water trickling flowed onto the precipitous stones, turning them into indigo color. Yu was told that it is hot spring water. They walked towards a hill, then suddenly felt the soles of their feet were very hot. A gusty wind began to blow with a pungent sulfur smell. Both sides of the valleys had piles of large rocks. More than fifty vents of white gas came outburst from the ground. Boiling water issued out, splashing the ground for a foot tall, as if rolling sound of thunder coming out from the ground.” – as quoted from Yangmingshan National Park Guidebook , 2011.
Three hundred years later, the natural surroundings and the landscape of Beitou are no longer of the same scene described by Yu. The development and ecological damage by the current industrial civilization is the issue for modern people needing to face. The beautiful a cappella singing of cicadas in the summer of 2012 in the Yangmingshan area, is heard only scattered here and there, unlike their loud chorus chanting in the past. The scattered calling of the hoarse-sounding cicadas is the last and the humblest protest against human destruction of the natural environment. I only hope it is just that year’s special ecological phenomenon, rather than a permanent situation. The First Movement: Description of a summer walk in the Yangmingshan Trail Forest, listening to the sound of insects and bird calls everywhere. The Second Movement: Description of a summer afternoon stroll and Capriccio in Huang Zui hot spring area. Huang Rou: The Color Yellow, Concerto for Sheng and Chamber Orchestra By Yung-Kai Tsai (PhD in Musicology, National Taiwan Normal University) An American citizen of Chinese origin, composer Huang Rou was born in 1976 in Hainan Island. He received his early training in Western art music at the Shanghai Conservatory of Music. He proceeded to study at The Oberlin Conservatory of Music, and received his doctorate in composition from The Julliard School. The Color Yellow, his 2007 work, is a concerto for the Chinese instrument sheng and chamber orchestra. It was written for Wei Wu, a renowned musician of sheng. The work was premiered in Albany, New York, with Wu as the soloist.
4︱笙聲不息
As a sheng includes double reeds, it is often considered an early form of organ. Huang considers it to be a challenging task to combine sheng, a Chinese instrument, with Western instruments, as the two parties differ in terms of both timbre and musical style. He resorted to a deconstruction of the components of these instruments as well as their inherent musical styles. In this concerto, both the sheng and the orchestra conform to no traditional tuning system. Instead, every instrument is tuned according to the microtonal system, in which the pitches derive from between the smallest regular intervals, pitches appear to sound “out of tune.” This way, Huang freely combines the sound and timbre of the sheng and the orchestral instruments. For the same purpose, Huang incorporates a large percussion section. The brass players are also in charge of blowing the shells of sea snails, the sound and performance gesture of which contrast the sheng. Furthermore, the middle part of the concerto involves noises coming from the string players’ mouths, which imitates the peculiar, air-blown sound of the sheng. Regarding The Color Yellow, the title of this concerto, Huang explains that “yellow” in this context refers to yellow skin color. It also symbolizes the yellowish color of the earth, as well as Yellow River and Yellow Mountain (aka. Mt. Huangshan), etc. This concerto, the composer claims, thus looks back to the history, describes the present, and foreshadows the future. Translated by Feng-Shu Lee
Maurice Ravel: Une barque sur l'océan & Alborada del gracioso By Yung-Kai Tsai French composer Maurice Ravel’s piano works are known for their technical difficulty. This is especially true in his Miroirs (1904-5). Among the pieces in this set of piano works, Ravel created orchestral arrangement for no. 3 (Une barque sur l'océan) and no. 4 (Alborada del gracioso). The remaining three pieces were orchestrated by others. That is why a performance of Miroirs (orchestral version) often includes only the two above-mentioned pieces. A feature that stands out in the piano version of Une barque sur l'océan is the inclusion of incessant arpeggios in the lefthand part, a common device in Impressionist music. According to Ravel’s performance instruction, the entire piece should be immersed in the (sonic) mist produced by the pedals. In the orchestral version, Ravel presents this effect by means of the strings. The opening shows four-part voice in the first and second violins, violas, and celli. We can hear arpeggios in parallel motion and muted sound (con sordino), which create a misty effect. There is also the daring use of timbre, including the celesta’s glissando (exclusively on the black keys), the violins’ harmonics (complemented by fast string crossing), and the soft call of muted trumpets. By means of the clarity and obscurity in sound, Ravel produced an audible spatial distance. Alborada del gracioso shows an entirely different style. “Alborada” refers to the clown figure in Spanish plays. “Gracioso” refers to a love song that portrays the lovers’ parting—lovers who meet at midnight—at dawn. The polarizing emotions in the work’s title, namely, the juxtaposition between humor and affection manifests, musically, in the work’s rigid dance rhythm,
which goes with a lyrical melody. The most challenging aspect in a performance of this work lies on the instantaneous switch between these two moods and, consequently, the constant alternation between the two musical elements associated with these moods. In his orchestral arrangement, Ravel includes a large section of percussion, including small cymbals (crotales), triangle, tambourine (tambour de Basque), castanets, side drum (tambour militaire), cymbals, and bass drum (grosse caisse). He also emphasizes on the pizzicato by harps and strings, thereby presenting a brilliant articulation, which the piano version cannot convey. The technically demanding fast, repeated notes in the piano version are delegated to trumpets and flutes in the orchestral version, an arrangement technically no less challenging than the piano version. Translated by Feng-Shu Lee
Unsuk Chin: Šu, Concerto for Sheng and Orchestra By Yung-Kai Tsai Before working on her Šu (2009), Korean composer Unsuk Chin had avoided any non-Western instruments in her work so as not to fall into the category of shallow exoticism. A performance of Wei Wu—a renowned musician of sheng— changed her mind. This performance brought back memories of a childhood experience, in which she heard the sound of sheng on the mountaintop. Transforming this experience into a “longing for a distant sound,” Chin found her inspiration for Šu. Šu (pronounced as “xu”)—meaning “air”—comes from ancient Egyptian mythology. Chin compared the concept of “šu” with the melody and timbre that floated in the air in her childhood memory. The percussion instrument in this work imitates Samulnori—a type of traditional Korean music— coming from afar. The number seven plays a crucial role in this work’s structure: the rhythmic designation in each measure is 4+3 (units). A one-movement work, Šu starts with the solo sheng circling around a tonal center with its constantly changing double-stops. This creates a sound with a “haloed” aura. Various instruments from the orchestra join in with fragments of the main melody. A clamorous passage follows, played by the percussion. This passage creates a contrast between reality and illusion, the latter of which recalls the phantom-like opening. In a quasi-cadenza part later on, the solo sheng plays a rhythmic pattern that is constantly repeated: this accumulates the musical energy and culminates into a climax. The climax is followed by complete silence. Proceeding it comes the long, stretching, and continuous music of the opening, which seems to function here as a recapitulation of some sort. The musical “halo” gradually dims, leading to the conclusion, where silence once again falls. Translated by Feng-Shu Lee
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=201402.
電子問券請掃描， 支持NSO愛地球。
5︱笙聲不息
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 高音薩克管 中音薩克管 次中音薩克管 上低音薩克管 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 陳逸農 卓曉青 方俊人 賴佳奇 林孟穎 李家豪 ● 陳怡茹 ◎ 孫正玫 吳怡慧 顧慈美 于爾恩 康信榮 蔡孟峰 洪章文 陳偉泓 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 謝君玲 劉國蘭 呂孟珊 蔡秉璋 羅培菁✽ ● 熊士蘭 ◎ 連亦先 韋智盈 黃日昇 陳怡婷 林宜女閒 呂函涓✽ ● 傅永和 ○ 周春祥 王淑瑜 連珮致 蔡歆婕 陳美君✽ ● 安德石 ◎ 宮崎千佳 李 浚 鐘美川 ● 王怡靜 ◎ 林麗玥 楊舒婷 李明怡 ● 朱玫玲 ◎ 張凱婷 朱偉誼 陳奕倫 張文君 譚文雅 周至信 ● 簡凱玉 ◎ 陳奕秀 高靈風 簡恩義 ● 劉宜欣 ○ 黃任賢 國田朋宏 程筑卿 ● 宇新樂 ◎ 陳長伯 張景民 ● 宋光清 ◎ 邵恆發 陳中昇 彭曉昀 ● 宮西純 寺山香澄 ● 連雅文 ◎ 陳廷銓 ● 陳哲輝 陳振馨 楊璧慈 ● 解 瑄 陳淑杏 ▲ 許毓婷 許惠品
✽感謝溫以仁先生擔任本場次助理指揮
侯勇光 黃佳頎 魏苡庭✽ 李京熹 李梅箋 王致翔 黃雅琪 李思琪
梁坤豪 李庭芳
呂明美 蘇酩惠 黃筱清
黃衍繹 鍾仁甫
執行長
邱 瑗
企劃製作經理 公關專案經理
杜佳舫 王承禹
企劃行銷 企劃/音樂總監特助 企劃專員 整合行銷專員 行銷專員
黃毓棻 吳孟珊 劉子瑛 賴盈帆 陳卜湄 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 高冠勳
周幼雯 唐鶯綺
音樂諮詢 法律顧問
焦元溥 林信和
王淑宜
錄音製作
李靖宜 陳猶白
NSO 樂團學苑 名錄
孫正茸
王婉如
曹予勉
李 珊
王瓊燁
林君庭✽
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