20140307

4︱巨人之聲

Part I From the days of youth - Flower, Fruit and Thorn-pieces (Blumen, Früchte und Dornenstücke) 1. Spring and no end to it.

The introduction describes the awakening of nature and earliest dawn.

2. Bluminenkapitel (Andante) 3. In full sail (Scherzo) Part II Commedia umana 4. Shipwrecked. A dead march in the manner of Callot.

The following explanation may be given, if required: The composer found the external inspiration for this piece in a satirical picture well known to all children in South Germany, The Huntsman’s Funeral, from an old book of children’s stories. The animals of the forest escort the body of the dead forester to the grave. Hares carry a little flag, with a band of Bohemian village musicians in front, accompanied by cats, toads, crows, and so on, playing, and by stags, does, foxes and other four-footed and feathered denizens of the forest, in comic guise. Here the music is intended to express ironic jesting alternating with mysterious brooding. This is followed immediately by: 5. Dall'inferno al Paradiso (Allegro furioso), the sudden expression of the feelings of a deeply wounded heart.

The symphony, originally a symphonic poem, although without title, has a more explicit literary source in the work of Jean Paul, an early Romantic writer whose Flegeljahre had had a strong influence on the young Schumann. The programmatic titles of the first two movements are taken from Jean Paul, whose connection with the seventeenth century French artist Jacques Callot is seen in his preface to E. T. A. Hoffmann's Phantasiestücke in Callot's Manier. In short the symphony, in common with Mahler's early songs, has its literary inspiration in writing of the earliest romantics, in the curiously grotesque ironical world of Jean Paul and in the evocative Des Knaben Wunderhorn of Brentano and von Arnim. The later title of the work, Titan, refers not to the struggle between the ancient gods of Greece so much as to the novel of that name by Jean Paul, in which two “titans” or Himmelsstürmer, struggle for their aims of intellectual freedom or pleasure.

The first movement opens with a slow section in which fanfares pierce the summer morning mists, suggesting pictorially the ideas of Mahler’s earlier song “Ging heut’ Morgen über’s Feld”, the melody of which provides the first subject. The slower music returns, but nothing is done to dispel the mood of happy serenity, although, as the movement hurries forward again, we may be aware of more tragic implications, Dornenstücke. A scherzo follows, with a Schubertian trio, completing the first

5︱巨人之聲

section.

After a pause the second part of the symphony opens with a solemn funeral march, making satirical use of a minor version of the children’s song Frere Jacques, and easily intelligible in terms of the composer's explanation. Use is also made of Mahler's song “Die zwei blaue Augen” in music of bitter contrast and heartfelt anguish.

The last movement, to which the Italian explanatory title was later added, is one of great dramatic intensity. Audiences unfamiliar with the work might well be warned by the example of the first performance in Budapest, when a woman jumped out of her seat in alarm as the movement began, an incident that caused the composer some amusement. A march leads to a more lyrical melody, before a renewed storm of sound, in music that is, as Mahler was to claim, a world in itself.

For the first three performances of his first symphony Mahler included a second movement Andante, later to be discarded.

The modern re-discovery of this Blumine movement in 1966 by the Mahler scholar Donald Mitchell led to a performance the following year at Aldeburgh under the direction of Benjamin Britten. For various reasons Donald Mitchell was able to identify this lyrical and romantic movement with its extended trumpet melody with music that Mahler had written in 1884 as part of his now lost incidental music for performances at Cassel of Joseph Scheffel’s popular Der Trompeter von Säkkingen, a work that in its metre must suggest the verse of Longfellow to an English-speaking reader. The hero blows the trumpet, the sound of which is heard through the night, heard by the Rhine and the spirits of the river, carried by the wind to the castle of his master.

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

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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

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=201403.

電子問券請掃描， 支持NSO愛地球。

小 號 長 號 低音長號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 客席助理指揮

○ 陳逸群 陳逸農 賴佳奇 ● 陳怡茹 顧慈美 蔡孟峰 ● 黃瑞儀 謝君玲 蔡秉璋 ● 熊士蘭 陳怡婷 ● 傅永和 連珮致 ● 安德石 鐘美川 ● 王怡靜 李明怡 ● 朱玫玲 ● 簡凱玉 簡恩義 ● 劉宜欣 程筑卿 ● 宇新樂 ● 宋光清 彭曉昀 ● 宮西純 ● 連雅文 ● 陳哲輝 ● 解 瑄 ▲ 許毓婷 許惠品

郭昱麟 林基弘 卓曉青 方俊人 林孟穎 李家豪 ◎ 孫正玫 吳怡慧 于爾恩 康信榮 洪章文 陳偉泓 ◎ 鄧啟全 ○ 呂昭瑩 劉國蘭 呂孟珊 劉詩珊✽ ◎ 連亦先 韋智盈 林宜女閒 黃日昇 ○ 周春祥 王淑瑜 蔡歆婕 洪瑜蔚✽ ◎ 宮崎千佳 李 浚

侯勇光 黃佳頎 郭承姍✽ 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 陳弘之✽

周幼雯 唐鶯綺 王淑宜

◎ 林麗玥

楊舒婷

王譽博

◎ 張凱婷 ◎ 陳奕秀

朱偉誼 高靈風

孫正茸

○ 黃任賢 黃韻真 ◎ 陳長伯 ◎ 邵恆發

◎ 陳廷銓 陳振馨

國田朋宏 李欣頤 張景民 陳中昇

楊璧慈

黃衍繹 鍾仁甫 李靖宜 陳猶白

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

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

王婉如

曹予勉

陳鏡元✽

黃書啟✽

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

演出曲目

Program

班傑明．布瑞頓（1913-1976）：《音樂晚會》

BENJAMIN BRITTEN (1913-1976 ): Soirées Musicales, Op. 9

I. II. III. IV. V.

I. II. III. IV. V.

〈進行曲〉 〈小歌〉 〈提洛子民〉 〈波麗露〉 〈塔朗泰拉〉

沃夫岡•阿瑪迪斯•莫札特（1756-1791）： C大調雙簧管協奏曲，K. 314

WOLFGANG AMADEUS MOZART (1756-1791): Oboe Concerto, K. 314, C major

I. 開朗的快板 II. 不太慢的慢板 III. 輪旋曲：小快板

I. Allegro aperto II. Adagio non troppo III. Rondo: Allegretto

--中場休息--

--Intermission--

古斯塔夫．馬勒（1860-1911）：第一號交響曲

GUSTAV MAHLER (1860-1911): Symphony No. 1, D major

I. II. III. IV.

I. II. III. IV.

延緩的慢板 有力而活躍的，然而不太快 隆重而莊嚴，但不太緩慢 暴風雨般激烈地

演出時間│ 2014年3月7日（星期五）7:30 PM

Langsam. Schleppend - Im anfang sehr gemächlich Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

演出者

指ề揮│麥可‧桑德林 Michael Sanderling, conductor

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

雙簧管│阿雷西‧奧格林卓克 Alexei Ogrintchouk, oboe

主辦單位│

國家交響樂團 National Symphony Orchestra (NSO)

指定住宿│

(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

March Canzonetta Tirolese Bolero Tarantella

特別感謝│ 演出長度│上半場約35分鐘，下半場約55分鐘

1︱巨人之聲

2︱巨人之聲

演出者介紹

Profiles

指揮│麥可．桑德林

Michael Sanderling, conductor

麥可．桑德林出生於柏 林，在柏林受教育，為已故 指揮大師庫爾特．桑德林的 么子。過去十年以來，桑德 林已竄升為同輩中極受歡迎 的指揮家之一。他指揮過蘇 黎世音樂廳管絃、巴伐利亞 廣播、伯恩交響、德勒斯登 國家交響、柏林音樂廳交響、史特拉斯堡愛 樂、荷蘭愛樂等交響樂團。從2006至2010年， 他擔任波茨坦室內樂學院的首席指揮暨藝術 總監，與該團錄製了許多專輯，包括為索尼 古典錄製的蕭斯塔科維契室內交響曲集。自 2011/2012 樂季始，麥可接任德勒斯登愛樂首 席指揮一職。在新樂季中，他將指揮萊比錫布 商大廈管絃、科隆西德廣播交響、班貝格交響 以及倫敦的愛樂管絃樂團。

Born and educated in Berlin, Michael Sanderling is the youngest son of conductor Kurt Sanderling. Throughout the past decade, he has become known as one of the most soughtafter conductors of his generation. Sanderling has appeared with reputable orchestras, among them the TonhalleOrchester Zürich, the Bavarian Radio Symphony Orchestra, the Staatskapelle Dresden, the Konzerthausorchester Berlin, the Bern Symphony Orchestra, the Orchestre Philharmonique de Strasbourg and the Netherlands Philharmonic Orchestra. From the 2011/12 season, he is serving as chief conductor of the Dresden Philharmonic. As artistic director and chief conductor of the Kammerakademie Potsdam between 2006 and 2010, Sanderling has made international guest appearances and recorded several CDs with the ensemble, including a recording of the chamber symphonies of Dmitri Shostakovich for SONY Classical. In forthcoming seasons he will also give a series of important debut performances such as with the Gewandhausorchester Leipzig, the WDR Symphony, Orchestra Cologne, the Bamberger Symphoniker, and the Philharmonia Orchestra London.

雙簧管│阿雷西．奧格林卓克

Alexei Ogrintchouk, oboe

阿雷西．奧格林卓克從 十三歲開始便在世界各地演 奏，至今仍是當代最出色的 雙簧管演奏之一。畢業自莫 斯科格涅辛音樂院及巴黎音 樂院，為日內瓦國際音樂大 賽雙簧管首獎得主，並拿下 兩座法國古典音樂大獎；英 國廣播公司的「新世代」 獎、 BBT 基金會大獎、德國古典回聲的「明 日之星」等獎座也都是奧格林卓克的囊中物。 奧格林卓克二十歲時，被指揮大師葛濟夫欽點 為鹿特丹愛樂雙簧管首席；2005年，轉任為荷 蘭皇家大會堂管絃樂團雙簧管首席。除了樂團 演奏，奧格林卓克亦是位極受歡迎的獨奏及室 內樂演奏家，曾與許多知名音樂家如克萊曼、 魯普、夸斯托夫合作。奧格林卓克從2011年開 始，於日內瓦音樂院執教。

Alexei Ogrintchouk is one of the most outstanding oboists of our time and has been performing worldwide since the age of 13. Graduated from the Moscow Gnessin School of Music and the Paris Conservatoire, he has received several awards, including the first prize at the Geneva International Music Competition and two “Victoires de la Musique” in France. The BBC New Generation, Borletti Buitoni Trust and ECHO Rising Stars have all awarded him their most coveted prizes. Already appointed principal oboist of the Rotterdam Philharmonic aged 20 by Valery Gergiev, Ogrintchouk has been principal oboist of the Royal Concertgebouw Orchestra since 2005. He is also much in demand as a recitalist and chamber musician and has performed with many distinguished artists such as Gidon Kremer, Radu Lupu and Thomas Quasthoff. Alexei Ogrintchouk has been professor of oboe at the Geneva Conservatoire since 2011.

樂曲解說 班傑明．布瑞頓：《音樂晚會》 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 英國作曲家布瑞頓，是廿世紀英國音樂最 重要的人物之一。他不只成功復興英語歌劇， 在創作風格上，也刻意避免盲從於歐陸的前衛 思考，開發出一種獨有的音樂語言，在專業與 業餘人士間都引起共鳴。

1935 年，布瑞頓應邀為剪影動畫《嫁妝》（The Tocher）撰寫配樂，他決定改編五首義大利歌劇作曲 家羅西尼（Gioachino Rossini, 1792-1868）的作品， 稱這套作品為《羅西尼組曲》（Rossini Suite）。構成 組曲的五首作品當中，第一和第三首出自歌劇《威 廉泰爾》（Guillaume Tell），其餘三首改編自羅西尼 為獨唱與重唱人聲所寫、由鋼琴伴奏的歌曲集《音 樂晚會》（Soirées musicales）。

1936 年時，布瑞頓將《羅西尼組曲》的第 一、第二和第四首重新改編，同時加入兩首同 樣改編自羅西尼作品的樂曲做為第三和第五首， 構成管絃樂組曲《音樂晚會》：第一首〈進行 曲〉（ March ）來自《威廉泰爾》的第三幕； 第二首為〈小歌〉（ Canzonetta ），在羅西尼 《音樂晚會》裡的歌曲標題則為〈誓言〉（ La promessa ）；第三首〈提洛子民〉（ Triolese ） 係新加進的曲目，取自《音樂晚會》裡的〈阿 爾卑斯牧羊人〉（La pastorella dell'Alpi）；第四 首為〈波麗露〉（ Bolero ），歌曲原名〈邀請〉 （L'invito）；第五首〈塔朗泰拉〉（Tarantella） 原本亦未收錄在《羅西尼組曲》裡，係改編自 羅西尼的合唱曲《三首宗教合唱曲》（3 Choeurs religieux）的第三首〈慈愛〉（La charité）。 這套組曲後來也被使用在多部作品當中，包 括1936年的影片《年曆》（Calendar of the Year） 和同年較晚的《阿爾卑斯山子民》（Men of the Alps）。有趣的是， 1941 年，布瑞頓再度循類似 手法，擇羅西尼作品改編為另一套組曲《音樂晨 會》（Matinées musicales），以這兩套組曲搭配巴 蘭欽（George Balanchine, 1904-1983）的編舞， 構成芭蕾舞劇《嬉遊》（Divertimento）。

沃夫岡‧阿瑪迪斯‧莫札特： C大調雙簧管協奏曲，K. 314 撰文│陳怡文（國立臺灣師範大學音樂學博士候選人） 面對莫札特，一般人總再三強調其音樂天賦 或生命遭遇，卻常忽略他的藝術成就。事實上， 以音樂家的身分來看莫札特，會發現他的音樂興 趣廣泛、音樂內涵豐富，絕非只是個多產的音樂 工匠。1773至1777年，莫札特服務於家鄉薩爾茲 堡的宮廷。1777年秋，他離開枯燥、令人煩悶的 薩爾茲堡，幾年內走訪曼海姆（ Mannheim ）、 巴黎和慕尼黑等地，以尋求新的發展機會。生 命最後十年，莫札特定居維也納，在此留下 《唐喬凡尼》（Don Giovanni）、《魔笛》（Die Zauberflöte）等重要的傳世之作。 在準備離開薩爾茲堡的 1777 年春夏之際， 莫札特為該年四月加入薩爾茲堡宮廷樂團的雙 簧管演奏家費蘭迪斯（Giuseppe Ferlendis, 17551810 ），寫下這首 C 大調雙簧管協奏曲。同年十 月底，莫札特於曼海姆將作品贈給知名演奏家拉 姆（Friedrich Ramm, 1744-1813），拉姆相當歡 喜，稱這部作品是他的「最愛名曲」（ cheval de bataille）。1778年，莫札特將作品改編為D大調 長笛協奏曲，做為業餘演奏家德•讓（Ferdinand De Jean, 1731-1797）的其中一首委託創作。

3︱巨人之聲

C 大調雙簧管協奏曲為三樂章，樂團使用絃 樂團、二支雙簧管及二支法國號，聲響織度明晰 細緻。獨奏雙簧管第一樂章第一次進入時，輕巧 的上行音階及持續高音令人印象深刻；第二慢板 樂章為F大調，旋律優美綿長；緊接的第三樂章是 活潑輕快的輪旋曲。整體而言，作品明確展現莫 札特音樂細膩流暢、純淨優美的特質。 古斯塔夫．馬勒：第一號交響曲 撰文│張皓閔（國立臺灣師範大學音樂學碩士）

1884年，馬勒創作了樂團歌曲集《行腳徒工 之歌》（Lieder eines fahrenden Gesellen），並開始 構思一部大型交響作品，但要到 1888 年春季， 這部後來成為第一號交響曲的多樂章作品，才在 一股狂熱之下於短短六週內譜寫完成。對於該如 何定位這部作品，馬勒經過好一番猶豫： 1889 年十一月廿日，共五個樂章的作品於布達佩斯首 演時，馬勒註明這是個「分成兩部分的『交響 詩』」（»Symphoniai költemény« két részben）； 1893年，樂曲於漢堡再次上演時，馬勒改稱這是 「一部交響曲形式的音詩」（ eine Tondichtung in Symphonieform），同時以《巨人》（Titan） 為標題（Titel），並附上詳細的標題文字 （ Programm ）解釋音樂的內容； 1896 年，馬勒 刪除原本的第二樂章，作品於柏林首度以「四樂 章交響曲」的樣貌演出，標題和標題文字亦遭到 撤銷； 1899 年，四樂章的版本以「 D 大調第一號 交響曲」的名稱出版。馬勒之所以撤銷標題文 字，是因為發現它們不夠全面，還會誤導觀眾； 然而，這些馬勒自己提供的文字，仍具一定的價 值，以下各樂章的解說將部份引用。 第一樂章的導奏非常迷人，馬勒以極具原創 性的配器方式，生動描繪「從長久冬眠中甦醒的 大自然」。隨後的奏鳴曲式呈示部沒有對比的兩 個主題，而是頗為完整地引用《行腳徒工之歌》 第二首〈今晨我走過田野〉（Ging heut' morgen über's Feld）數個詩節的音樂。發展部可分三部 份，首先是導奏氛圍的重現、接著帶入一個優美 的新主題、最後以終樂章「地獄」(inferno)的預示 帶向高潮，進入再現部。第二樂章起初標記為詼 諧曲（Scherzo），但樂譜出版時馬勒決定不再使 用此標示。樂章主部很清楚地是段奧地利鄉村舞 曲（Ländler），中段（trio）則較溫雅，可視為慢 速的圓舞曲（Waltz）。 在國內以《兩隻老虎》的版本為人熟知的 法國童謠《雅各修士》（Frère Jacques），被馬 勒引用做為第三樂章的主題。馬勒將原本為大 調的童謠改成小調，配合以其他素材，寫成一 首時而神祕憂傷、時而諷刺輕浮的葬禮進行曲

（ Todtenmarsch ）。第四樂章曾帶有〈從地獄到天 堂〉（Dall Inferno al Paradiso）的標題，以鬆散的奏 鳴曲式構成。樂章以「恐怖呼喊」開啟，並以第一主 題描繪的地獄景象呈現「英雄的苦難」。發展部裡， 「勝利動機」輕輕出現，但旋即遭受「無情命運的痛 擊」；接著，勝利動機的重現帶來令人屏息的大膽轉 調，象徵英雄終於「戰勝自己」。第二主題先行再現 後，第一主題才以極弱的音量再現，像是從天堂遠眺 地獄；最後，勝利動機第三度呈現，帶出「壯麗的勝 利聖詠」。 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=201403，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 Benjamin Britten: Soirées Musicales, Op. 9

By Yung-Kai Tsai (PhD in Musicology, National Taiwan Normal University) British composer Benjamin Britten is one of the most renowned figures in the history of 20th-century British music.

Not only did he revive the tradition of British operas, but he also avoided to blindly follow the avant-garde trend in contemporary European music. He developed a unique style much appreciated by the audience, including both the connoisseurs and amateurs of music.

In 1935, Britten was invited to compose for the animation The Tocher. For this project, he adapted five works by the Italian opera composer Gioachino Rossini (1792-1868), entitling them Rossini Suite. Among the five pieces in this suite, the first and third derive from Rossini’s opera, Guillaume Tell. The remaining three are Britten’s re-arrangements of the works from Rossini’s Soirees musicales, a collection of songs for voice and piano.

In 1936, Britten rewrote no. 1, 2, and 4 of his Rossini Suite and added two works—also by Rossini—into it. He orchestrated this newly arranged work, now known as the orchestral suite, Soirees musicales. No. 1 comes from a March from Guillaume Tell, Act III. No. 2 is a Canzonetta, which originates from “La promessa” in Rossini’s Soirees musicales. “Triolese” (no. 3), a newly added piece, is “La pastorella dell’Alpi” from Rossini’s Soirees musicales. No. 4 is a Bolero, deriving from “L’invito” in Rossini’s Soirees musicales. No. 5, a Tarantella, is, like no. 3, initially not included in Britten’s Rossini Suite. It is Britten’s adaptation of “La charité,” a choir piece from Rossini’s 3 Choeurs religieux.

This orchestral suite was included in such films as Calendar of the Year (1936) and Men of the Alps (1936). Interestingly, Britten in 1941 once again adapted Rossini’s works. In a manner similar to his (orchestrated) Soirees musicales, Britten turned Rossini’s works into yet another suite, Matinées musicales. Along with the choreography of George Balanchine (1904-1983), these two suites became the ballet, Divertimento.

Translated by Feng-Shu Lee

Wolfgang Amadeus Mozart: Oboe Concerto, K. 314, C major

By Yi-Wen Chen (Ph.D. candidate from the Department of Music at National Taiwan Normal University)

Mozart’s musical talent and his life tend to be stressed at the expense of his artistic achievement. An artist with broad interest in music, Mozart is however a composer with depth rather than a mere prolific craftsman. Between 1773 and 1777, he served at the court of Salzburg, his hometown. In the autumn of 1777, he left Salzburg, an environment that he had deemed dull and boring. In the next few years, Mozart visited Mannheim, Paris, and Munich, seeking new opportunities for his career. In the last ten years of his life, he settled in Vienna. There he created such masterworks as Don Giovanni and Die Zauberflöte, works that not only earned him posterity, but also became his important legacy.

Between the spring and summer of 1777, Mozart was about to leave Salzburg. In April, he created his Oboe Concerto in C major K. 314 for Giuseppe Ferlendis (1755-1810), an oboe player that recently joined the court orchestra of Salzburg. In late October of the same year, Mozart dedicated this concerto to Friedrich Ramm (1744-1813), a renowned musician. Ramm was pleased, claiming that this concerto was his favorite work (“cheval de bataille”). In 1778, Mozart turned this oboe concerto into a flute concerto in D major, one of the works commissioned by Ferdinand De Jean (1731-1797), a music amateur.

This oboe concerto has three movements. Its instrumentation includes the strings, two oboes, and two French horns, an instrumentation that creates clarity in sound and subtlety in texture. The solo oboe’s first entrance in the first movement makes a great impression with its swift ascending scale and its sustained high pitches. The second movement (in F major) brings in a graceful, lengthy melody. The third movement is a Rondo. This work exemplifies the characteristics of Mozart’s music: subtlety, fluency, purity, and grace.

Translated by Feng-Shu Lee

Gustav Mahler: Symphony No. 1, D major Mahler’s Symphony No.1 in D Major was completed, in its first version, in 1888, incredibly enough five years before Dvorak’s Symphony From the New World and only five years after the last symphony of Brahms. It was first performed the following year in Budapest, where Mahler had been appointed director of the Hungarian opera, before an audience that became increasingly restive as the work proceeded.

For the symphony Mahler had drawn up a programme, although he strongly believed that, whatever literary programme might lie behind a composition, the music should be able to stand on its own, without verbal explanation. No narrative element was given to the first audience in Budapest, but later performances were at first helped by a sketched description of the work:

1︱巨人之聲

2︱巨人之聲

演出者介紹

Profiles

指揮│麥可．桑德林

Michael Sanderling, conductor

麥可．桑德林出生於柏 林，在柏林受教育，為已故 指揮大師庫爾特．桑德林的 么子。過去十年以來，桑德 林已竄升為同輩中極受歡迎 的指揮家之一。他指揮過蘇 黎世音樂廳管絃、巴伐利亞 廣播、伯恩交響、德勒斯登 國家交響、柏林音樂廳交響、史特拉斯堡愛 樂、荷蘭愛樂等交響樂團。從2006至2010年， 他擔任波茨坦室內樂學院的首席指揮暨藝術 總監，與該團錄製了許多專輯，包括為索尼 古典錄製的蕭斯塔科維契室內交響曲集。自 2011/2012 樂季始，麥可接任德勒斯登愛樂首 席指揮一職。在新樂季中，他將指揮萊比錫布 商大廈管絃、科隆西德廣播交響、班貝格交響 以及倫敦的愛樂管絃樂團。

Born and educated in Berlin, Michael Sanderling is the youngest son of conductor Kurt Sanderling. Throughout the past decade, he has become known as one of the most soughtafter conductors of his generation. Sanderling has appeared with reputable orchestras, among them the TonhalleOrchester Zürich, the Bavarian Radio Symphony Orchestra, the Staatskapelle Dresden, the Konzerthausorchester Berlin, the Bern Symphony Orchestra, the Orchestre Philharmonique de Strasbourg and the Netherlands Philharmonic Orchestra. From the 2011/12 season, he is serving as chief conductor of the Dresden Philharmonic. As artistic director and chief conductor of the Kammerakademie Potsdam between 2006 and 2010, Sanderling has made international guest appearances and recorded several CDs with the ensemble, including a recording of the chamber symphonies of Dmitri Shostakovich for SONY Classical. In forthcoming seasons he will also give a series of important debut performances such as with the Gewandhausorchester Leipzig, the WDR Symphony, Orchestra Cologne, the Bamberger Symphoniker, and the Philharmonia Orchestra London.

雙簧管│阿雷西．奧格林卓克

Alexei Ogrintchouk, oboe

阿雷西．奧格林卓克從 十三歲開始便在世界各地演 奏，至今仍是當代最出色的 雙簧管演奏之一。畢業自莫 斯科格涅辛音樂院及巴黎音 樂院，為日內瓦國際音樂大 賽雙簧管首獎得主，並拿下 兩座法國古典音樂大獎；英 國廣播公司的「新世代」 獎、 BBT 基金會大獎、德國古典回聲的「明 日之星」等獎座也都是奧格林卓克的囊中物。 奧格林卓克二十歲時，被指揮大師葛濟夫欽點 為鹿特丹愛樂雙簧管首席；2005年，轉任為荷 蘭皇家大會堂管絃樂團雙簧管首席。除了樂團 演奏，奧格林卓克亦是位極受歡迎的獨奏及室 內樂演奏家，曾與許多知名音樂家如克萊曼、 魯普、夸斯托夫合作。奧格林卓克從2011年開 始，於日內瓦音樂院執教。

Alexei Ogrintchouk is one of the most outstanding oboists of our time and has been performing worldwide since the age of 13. Graduated from the Moscow Gnessin School of Music and the Paris Conservatoire, he has received several awards, including the first prize at the Geneva International Music Competition and two “Victoires de la Musique” in France. The BBC New Generation, Borletti Buitoni Trust and ECHO Rising Stars have all awarded him their most coveted prizes. Already appointed principal oboist of the Rotterdam Philharmonic aged 20 by Valery Gergiev, Ogrintchouk has been principal oboist of the Royal Concertgebouw Orchestra since 2005. He is also much in demand as a recitalist and chamber musician and has performed with many distinguished artists such as Gidon Kremer, Radu Lupu and Thomas Quasthoff. Alexei Ogrintchouk has been professor of oboe at the Geneva Conservatoire since 2011.

樂曲解說 班傑明．布瑞頓：《音樂晚會》 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 英國作曲家布瑞頓，是廿世紀英國音樂最 重要的人物之一。他不只成功復興英語歌劇， 在創作風格上，也刻意避免盲從於歐陸的前衛 思考，開發出一種獨有的音樂語言，在專業與 業餘人士間都引起共鳴。

1935 年，布瑞頓應邀為剪影動畫《嫁妝》（The Tocher）撰寫配樂，他決定改編五首義大利歌劇作曲 家羅西尼（Gioachino Rossini, 1792-1868）的作品， 稱這套作品為《羅西尼組曲》（Rossini Suite）。構成 組曲的五首作品當中，第一和第三首出自歌劇《威 廉泰爾》（Guillaume Tell），其餘三首改編自羅西尼 為獨唱與重唱人聲所寫、由鋼琴伴奏的歌曲集《音 樂晚會》（Soirées musicales）。

1936 年時，布瑞頓將《羅西尼組曲》的第 一、第二和第四首重新改編，同時加入兩首同 樣改編自羅西尼作品的樂曲做為第三和第五首， 構成管絃樂組曲《音樂晚會》：第一首〈進行 曲〉（ March ）來自《威廉泰爾》的第三幕； 第二首為〈小歌〉（ Canzonetta ），在羅西尼 《音樂晚會》裡的歌曲標題則為〈誓言〉（ La promessa ）；第三首〈提洛子民〉（ Triolese ） 係新加進的曲目，取自《音樂晚會》裡的〈阿 爾卑斯牧羊人〉（La pastorella dell'Alpi）；第四 首為〈波麗露〉（ Bolero ），歌曲原名〈邀請〉 （L'invito）；第五首〈塔朗泰拉〉（Tarantella） 原本亦未收錄在《羅西尼組曲》裡，係改編自 羅西尼的合唱曲《三首宗教合唱曲》（3 Choeurs religieux）的第三首〈慈愛〉（La charité）。 這套組曲後來也被使用在多部作品當中，包 括1936年的影片《年曆》（Calendar of the Year） 和同年較晚的《阿爾卑斯山子民》（Men of the Alps）。有趣的是， 1941 年，布瑞頓再度循類似 手法，擇羅西尼作品改編為另一套組曲《音樂晨 會》（Matinées musicales），以這兩套組曲搭配巴 蘭欽（George Balanchine, 1904-1983）的編舞， 構成芭蕾舞劇《嬉遊》（Divertimento）。

沃夫岡‧阿瑪迪斯‧莫札特： C大調雙簧管協奏曲，K. 314 撰文│陳怡文（國立臺灣師範大學音樂學博士候選人） 面對莫札特，一般人總再三強調其音樂天賦 或生命遭遇，卻常忽略他的藝術成就。事實上， 以音樂家的身分來看莫札特，會發現他的音樂興 趣廣泛、音樂內涵豐富，絕非只是個多產的音樂 工匠。1773至1777年，莫札特服務於家鄉薩爾茲 堡的宮廷。1777年秋，他離開枯燥、令人煩悶的 薩爾茲堡，幾年內走訪曼海姆（ Mannheim ）、 巴黎和慕尼黑等地，以尋求新的發展機會。生 命最後十年，莫札特定居維也納，在此留下 《唐喬凡尼》（Don Giovanni）、《魔笛》（Die Zauberflöte）等重要的傳世之作。 在準備離開薩爾茲堡的 1777 年春夏之際， 莫札特為該年四月加入薩爾茲堡宮廷樂團的雙 簧管演奏家費蘭迪斯（Giuseppe Ferlendis, 17551810 ），寫下這首 C 大調雙簧管協奏曲。同年十 月底，莫札特於曼海姆將作品贈給知名演奏家拉 姆（Friedrich Ramm, 1744-1813），拉姆相當歡 喜，稱這部作品是他的「最愛名曲」（ cheval de bataille）。1778年，莫札特將作品改編為D大調 長笛協奏曲，做為業餘演奏家德•讓（Ferdinand De Jean, 1731-1797）的其中一首委託創作。

3︱巨人之聲

C 大調雙簧管協奏曲為三樂章，樂團使用絃 樂團、二支雙簧管及二支法國號，聲響織度明晰 細緻。獨奏雙簧管第一樂章第一次進入時，輕巧 的上行音階及持續高音令人印象深刻；第二慢板 樂章為F大調，旋律優美綿長；緊接的第三樂章是 活潑輕快的輪旋曲。整體而言，作品明確展現莫 札特音樂細膩流暢、純淨優美的特質。 古斯塔夫．馬勒：第一號交響曲 撰文│張皓閔（國立臺灣師範大學音樂學碩士）

1884年，馬勒創作了樂團歌曲集《行腳徒工 之歌》（Lieder eines fahrenden Gesellen），並開始 構思一部大型交響作品，但要到 1888 年春季， 這部後來成為第一號交響曲的多樂章作品，才在 一股狂熱之下於短短六週內譜寫完成。對於該如 何定位這部作品，馬勒經過好一番猶豫： 1889 年十一月廿日，共五個樂章的作品於布達佩斯首 演時，馬勒註明這是個「分成兩部分的『交響 詩』」（»Symphoniai költemény« két részben）； 1893年，樂曲於漢堡再次上演時，馬勒改稱這是 「一部交響曲形式的音詩」（ eine Tondichtung in Symphonieform），同時以《巨人》（Titan） 為標題（Titel），並附上詳細的標題文字 （ Programm ）解釋音樂的內容； 1896 年，馬勒 刪除原本的第二樂章，作品於柏林首度以「四樂 章交響曲」的樣貌演出，標題和標題文字亦遭到 撤銷； 1899 年，四樂章的版本以「 D 大調第一號 交響曲」的名稱出版。馬勒之所以撤銷標題文 字，是因為發現它們不夠全面，還會誤導觀眾； 然而，這些馬勒自己提供的文字，仍具一定的價 值，以下各樂章的解說將部份引用。 第一樂章的導奏非常迷人，馬勒以極具原創 性的配器方式，生動描繪「從長久冬眠中甦醒的 大自然」。隨後的奏鳴曲式呈示部沒有對比的兩 個主題，而是頗為完整地引用《行腳徒工之歌》 第二首〈今晨我走過田野〉（Ging heut' morgen über's Feld）數個詩節的音樂。發展部可分三部 份，首先是導奏氛圍的重現、接著帶入一個優美 的新主題、最後以終樂章「地獄」(inferno)的預示 帶向高潮，進入再現部。第二樂章起初標記為詼 諧曲（Scherzo），但樂譜出版時馬勒決定不再使 用此標示。樂章主部很清楚地是段奧地利鄉村舞 曲（Ländler），中段（trio）則較溫雅，可視為慢 速的圓舞曲（Waltz）。 在國內以《兩隻老虎》的版本為人熟知的 法國童謠《雅各修士》（Frère Jacques），被馬 勒引用做為第三樂章的主題。馬勒將原本為大 調的童謠改成小調，配合以其他素材，寫成一 首時而神祕憂傷、時而諷刺輕浮的葬禮進行曲

（ Todtenmarsch ）。第四樂章曾帶有〈從地獄到天 堂〉（Dall Inferno al Paradiso）的標題，以鬆散的奏 鳴曲式構成。樂章以「恐怖呼喊」開啟，並以第一主 題描繪的地獄景象呈現「英雄的苦難」。發展部裡， 「勝利動機」輕輕出現，但旋即遭受「無情命運的痛 擊」；接著，勝利動機的重現帶來令人屏息的大膽轉 調，象徵英雄終於「戰勝自己」。第二主題先行再現 後，第一主題才以極弱的音量再現，像是從天堂遠眺 地獄；最後，勝利動機第三度呈現，帶出「壯麗的勝 利聖詠」。 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=201403，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 Benjamin Britten: Soirées Musicales, Op. 9

By Yung-Kai Tsai (PhD in Musicology, National Taiwan Normal University) British composer Benjamin Britten is one of the most renowned figures in the history of 20th-century British music.

Not only did he revive the tradition of British operas, but he also avoided to blindly follow the avant-garde trend in contemporary European music. He developed a unique style much appreciated by the audience, including both the connoisseurs and amateurs of music.

In 1935, Britten was invited to compose for the animation The Tocher. For this project, he adapted five works by the Italian opera composer Gioachino Rossini (1792-1868), entitling them Rossini Suite. Among the five pieces in this suite, the first and third derive from Rossini’s opera, Guillaume Tell. The remaining three are Britten’s re-arrangements of the works from Rossini’s Soirees musicales, a collection of songs for voice and piano.

In 1936, Britten rewrote no. 1, 2, and 4 of his Rossini Suite and added two works—also by Rossini—into it. He orchestrated this newly arranged work, now known as the orchestral suite, Soirees musicales. No. 1 comes from a March from Guillaume Tell, Act III. No. 2 is a Canzonetta, which originates from “La promessa” in Rossini’s Soirees musicales. “Triolese” (no. 3), a newly added piece, is “La pastorella dell’Alpi” from Rossini’s Soirees musicales. No. 4 is a Bolero, deriving from “L’invito” in Rossini’s Soirees musicales. No. 5, a Tarantella, is, like no. 3, initially not included in Britten’s Rossini Suite. It is Britten’s adaptation of “La charité,” a choir piece from Rossini’s 3 Choeurs religieux.

This orchestral suite was included in such films as Calendar of the Year (1936) and Men of the Alps (1936). Interestingly, Britten in 1941 once again adapted Rossini’s works. In a manner similar to his (orchestrated) Soirees musicales, Britten turned Rossini’s works into yet another suite, Matinées musicales. Along with the choreography of George Balanchine (1904-1983), these two suites became the ballet, Divertimento.

Translated by Feng-Shu Lee

Wolfgang Amadeus Mozart: Oboe Concerto, K. 314, C major

By Yi-Wen Chen (Ph.D. candidate from the Department of Music at National Taiwan Normal University)

Mozart’s musical talent and his life tend to be stressed at the expense of his artistic achievement. An artist with broad interest in music, Mozart is however a composer with depth rather than a mere prolific craftsman. Between 1773 and 1777, he served at the court of Salzburg, his hometown. In the autumn of 1777, he left Salzburg, an environment that he had deemed dull and boring. In the next few years, Mozart visited Mannheim, Paris, and Munich, seeking new opportunities for his career. In the last ten years of his life, he settled in Vienna. There he created such masterworks as Don Giovanni and Die Zauberflöte, works that not only earned him posterity, but also became his important legacy.

Between the spring and summer of 1777, Mozart was about to leave Salzburg. In April, he created his Oboe Concerto in C major K. 314 for Giuseppe Ferlendis (1755-1810), an oboe player that recently joined the court orchestra of Salzburg. In late October of the same year, Mozart dedicated this concerto to Friedrich Ramm (1744-1813), a renowned musician. Ramm was pleased, claiming that this concerto was his favorite work (“cheval de bataille”). In 1778, Mozart turned this oboe concerto into a flute concerto in D major, one of the works commissioned by Ferdinand De Jean (1731-1797), a music amateur.

This oboe concerto has three movements. Its instrumentation includes the strings, two oboes, and two French horns, an instrumentation that creates clarity in sound and subtlety in texture. The solo oboe’s first entrance in the first movement makes a great impression with its swift ascending scale and its sustained high pitches. The second movement (in F major) brings in a graceful, lengthy melody. The third movement is a Rondo. This work exemplifies the characteristics of Mozart’s music: subtlety, fluency, purity, and grace.

Translated by Feng-Shu Lee

Gustav Mahler: Symphony No. 1, D major Mahler’s Symphony No.1 in D Major was completed, in its first version, in 1888, incredibly enough five years before Dvorak’s Symphony From the New World and only five years after the last symphony of Brahms. It was first performed the following year in Budapest, where Mahler had been appointed director of the Hungarian opera, before an audience that became increasingly restive as the work proceeded.

For the symphony Mahler had drawn up a programme, although he strongly believed that, whatever literary programme might lie behind a composition, the music should be able to stand on its own, without verbal explanation. No narrative element was given to the first audience in Budapest, but later performances were at first helped by a sketched description of the work:

1︱巨人之聲

2︱巨人之聲

演出者介紹

Profiles

指揮│麥可．桑德林

Michael Sanderling, conductor

麥可．桑德林出生於柏 林，在柏林受教育，為已故 指揮大師庫爾特．桑德林的 么子。過去十年以來，桑德 林已竄升為同輩中極受歡迎 的指揮家之一。他指揮過蘇 黎世音樂廳管絃、巴伐利亞 廣播、伯恩交響、德勒斯登 國家交響、柏林音樂廳交響、史特拉斯堡愛 樂、荷蘭愛樂等交響樂團。從2006至2010年， 他擔任波茨坦室內樂學院的首席指揮暨藝術 總監，與該團錄製了許多專輯，包括為索尼 古典錄製的蕭斯塔科維契室內交響曲集。自 2011/2012 樂季始，麥可接任德勒斯登愛樂首 席指揮一職。在新樂季中，他將指揮萊比錫布 商大廈管絃、科隆西德廣播交響、班貝格交響 以及倫敦的愛樂管絃樂團。

Born and educated in Berlin, Michael Sanderling is the youngest son of conductor Kurt Sanderling. Throughout the past decade, he has become known as one of the most soughtafter conductors of his generation. Sanderling has appeared with reputable orchestras, among them the TonhalleOrchester Zürich, the Bavarian Radio Symphony Orchestra, the Staatskapelle Dresden, the Konzerthausorchester Berlin, the Bern Symphony Orchestra, the Orchestre Philharmonique de Strasbourg and the Netherlands Philharmonic Orchestra. From the 2011/12 season, he is serving as chief conductor of the Dresden Philharmonic. As artistic director and chief conductor of the Kammerakademie Potsdam between 2006 and 2010, Sanderling has made international guest appearances and recorded several CDs with the ensemble, including a recording of the chamber symphonies of Dmitri Shostakovich for SONY Classical. In forthcoming seasons he will also give a series of important debut performances such as with the Gewandhausorchester Leipzig, the WDR Symphony, Orchestra Cologne, the Bamberger Symphoniker, and the Philharmonia Orchestra London.

雙簧管│阿雷西．奧格林卓克

Alexei Ogrintchouk, oboe

阿雷西．奧格林卓克從 十三歲開始便在世界各地演 奏，至今仍是當代最出色的 雙簧管演奏之一。畢業自莫 斯科格涅辛音樂院及巴黎音 樂院，為日內瓦國際音樂大 賽雙簧管首獎得主，並拿下 兩座法國古典音樂大獎；英 國廣播公司的「新世代」 獎、 BBT 基金會大獎、德國古典回聲的「明 日之星」等獎座也都是奧格林卓克的囊中物。 奧格林卓克二十歲時，被指揮大師葛濟夫欽點 為鹿特丹愛樂雙簧管首席；2005年，轉任為荷 蘭皇家大會堂管絃樂團雙簧管首席。除了樂團 演奏，奧格林卓克亦是位極受歡迎的獨奏及室 內樂演奏家，曾與許多知名音樂家如克萊曼、 魯普、夸斯托夫合作。奧格林卓克從2011年開 始，於日內瓦音樂院執教。

Alexei Ogrintchouk is one of the most outstanding oboists of our time and has been performing worldwide since the age of 13. Graduated from the Moscow Gnessin School of Music and the Paris Conservatoire, he has received several awards, including the first prize at the Geneva International Music Competition and two “Victoires de la Musique” in France. The BBC New Generation, Borletti Buitoni Trust and ECHO Rising Stars have all awarded him their most coveted prizes. Already appointed principal oboist of the Rotterdam Philharmonic aged 20 by Valery Gergiev, Ogrintchouk has been principal oboist of the Royal Concertgebouw Orchestra since 2005. He is also much in demand as a recitalist and chamber musician and has performed with many distinguished artists such as Gidon Kremer, Radu Lupu and Thomas Quasthoff. Alexei Ogrintchouk has been professor of oboe at the Geneva Conservatoire since 2011.

樂曲解說 班傑明．布瑞頓：《音樂晚會》 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 英國作曲家布瑞頓，是廿世紀英國音樂最 重要的人物之一。他不只成功復興英語歌劇， 在創作風格上，也刻意避免盲從於歐陸的前衛 思考，開發出一種獨有的音樂語言，在專業與 業餘人士間都引起共鳴。

1935 年，布瑞頓應邀為剪影動畫《嫁妝》（The Tocher）撰寫配樂，他決定改編五首義大利歌劇作曲 家羅西尼（Gioachino Rossini, 1792-1868）的作品， 稱這套作品為《羅西尼組曲》（Rossini Suite）。構成 組曲的五首作品當中，第一和第三首出自歌劇《威 廉泰爾》（Guillaume Tell），其餘三首改編自羅西尼 為獨唱與重唱人聲所寫、由鋼琴伴奏的歌曲集《音 樂晚會》（Soirées musicales）。

1936 年時，布瑞頓將《羅西尼組曲》的第 一、第二和第四首重新改編，同時加入兩首同 樣改編自羅西尼作品的樂曲做為第三和第五首， 構成管絃樂組曲《音樂晚會》：第一首〈進行 曲〉（ March ）來自《威廉泰爾》的第三幕； 第二首為〈小歌〉（ Canzonetta ），在羅西尼 《音樂晚會》裡的歌曲標題則為〈誓言〉（ La promessa ）；第三首〈提洛子民〉（ Triolese ） 係新加進的曲目，取自《音樂晚會》裡的〈阿 爾卑斯牧羊人〉（La pastorella dell'Alpi）；第四 首為〈波麗露〉（ Bolero ），歌曲原名〈邀請〉 （L'invito）；第五首〈塔朗泰拉〉（Tarantella） 原本亦未收錄在《羅西尼組曲》裡，係改編自 羅西尼的合唱曲《三首宗教合唱曲》（3 Choeurs religieux）的第三首〈慈愛〉（La charité）。 這套組曲後來也被使用在多部作品當中，包 括1936年的影片《年曆》（Calendar of the Year） 和同年較晚的《阿爾卑斯山子民》（Men of the Alps）。有趣的是， 1941 年，布瑞頓再度循類似 手法，擇羅西尼作品改編為另一套組曲《音樂晨 會》（Matinées musicales），以這兩套組曲搭配巴 蘭欽（George Balanchine, 1904-1983）的編舞， 構成芭蕾舞劇《嬉遊》（Divertimento）。

沃夫岡‧阿瑪迪斯‧莫札特： C大調雙簧管協奏曲，K. 314 撰文│陳怡文（國立臺灣師範大學音樂學博士候選人） 面對莫札特，一般人總再三強調其音樂天賦 或生命遭遇，卻常忽略他的藝術成就。事實上， 以音樂家的身分來看莫札特，會發現他的音樂興 趣廣泛、音樂內涵豐富，絕非只是個多產的音樂 工匠。1773至1777年，莫札特服務於家鄉薩爾茲 堡的宮廷。1777年秋，他離開枯燥、令人煩悶的 薩爾茲堡，幾年內走訪曼海姆（ Mannheim ）、 巴黎和慕尼黑等地，以尋求新的發展機會。生 命最後十年，莫札特定居維也納，在此留下 《唐喬凡尼》（Don Giovanni）、《魔笛》（Die Zauberflöte）等重要的傳世之作。 在準備離開薩爾茲堡的 1777 年春夏之際， 莫札特為該年四月加入薩爾茲堡宮廷樂團的雙 簧管演奏家費蘭迪斯（Giuseppe Ferlendis, 17551810 ），寫下這首 C 大調雙簧管協奏曲。同年十 月底，莫札特於曼海姆將作品贈給知名演奏家拉 姆（Friedrich Ramm, 1744-1813），拉姆相當歡 喜，稱這部作品是他的「最愛名曲」（ cheval de bataille）。1778年，莫札特將作品改編為D大調 長笛協奏曲，做為業餘演奏家德•讓（Ferdinand De Jean, 1731-1797）的其中一首委託創作。

3︱巨人之聲

C 大調雙簧管協奏曲為三樂章，樂團使用絃 樂團、二支雙簧管及二支法國號，聲響織度明晰 細緻。獨奏雙簧管第一樂章第一次進入時，輕巧 的上行音階及持續高音令人印象深刻；第二慢板 樂章為F大調，旋律優美綿長；緊接的第三樂章是 活潑輕快的輪旋曲。整體而言，作品明確展現莫 札特音樂細膩流暢、純淨優美的特質。 古斯塔夫．馬勒：第一號交響曲 撰文│張皓閔（國立臺灣師範大學音樂學碩士）

1884年，馬勒創作了樂團歌曲集《行腳徒工 之歌》（Lieder eines fahrenden Gesellen），並開始 構思一部大型交響作品，但要到 1888 年春季， 這部後來成為第一號交響曲的多樂章作品，才在 一股狂熱之下於短短六週內譜寫完成。對於該如 何定位這部作品，馬勒經過好一番猶豫： 1889 年十一月廿日，共五個樂章的作品於布達佩斯首 演時，馬勒註明這是個「分成兩部分的『交響 詩』」（»Symphoniai költemény« két részben）； 1893年，樂曲於漢堡再次上演時，馬勒改稱這是 「一部交響曲形式的音詩」（ eine Tondichtung in Symphonieform），同時以《巨人》（Titan） 為標題（Titel），並附上詳細的標題文字 （ Programm ）解釋音樂的內容； 1896 年，馬勒 刪除原本的第二樂章，作品於柏林首度以「四樂 章交響曲」的樣貌演出，標題和標題文字亦遭到 撤銷； 1899 年，四樂章的版本以「 D 大調第一號 交響曲」的名稱出版。馬勒之所以撤銷標題文 字，是因為發現它們不夠全面，還會誤導觀眾； 然而，這些馬勒自己提供的文字，仍具一定的價 值，以下各樂章的解說將部份引用。 第一樂章的導奏非常迷人，馬勒以極具原創 性的配器方式，生動描繪「從長久冬眠中甦醒的 大自然」。隨後的奏鳴曲式呈示部沒有對比的兩 個主題，而是頗為完整地引用《行腳徒工之歌》 第二首〈今晨我走過田野〉（Ging heut' morgen über's Feld）數個詩節的音樂。發展部可分三部 份，首先是導奏氛圍的重現、接著帶入一個優美 的新主題、最後以終樂章「地獄」(inferno)的預示 帶向高潮，進入再現部。第二樂章起初標記為詼 諧曲（Scherzo），但樂譜出版時馬勒決定不再使 用此標示。樂章主部很清楚地是段奧地利鄉村舞 曲（Ländler），中段（trio）則較溫雅，可視為慢 速的圓舞曲（Waltz）。 在國內以《兩隻老虎》的版本為人熟知的 法國童謠《雅各修士》（Frère Jacques），被馬 勒引用做為第三樂章的主題。馬勒將原本為大 調的童謠改成小調，配合以其他素材，寫成一 首時而神祕憂傷、時而諷刺輕浮的葬禮進行曲

（ Todtenmarsch ）。第四樂章曾帶有〈從地獄到天 堂〉（Dall Inferno al Paradiso）的標題，以鬆散的奏 鳴曲式構成。樂章以「恐怖呼喊」開啟，並以第一主 題描繪的地獄景象呈現「英雄的苦難」。發展部裡， 「勝利動機」輕輕出現，但旋即遭受「無情命運的痛 擊」；接著，勝利動機的重現帶來令人屏息的大膽轉 調，象徵英雄終於「戰勝自己」。第二主題先行再現 後，第一主題才以極弱的音量再現，像是從天堂遠眺 地獄；最後，勝利動機第三度呈現，帶出「壯麗的勝 利聖詠」。 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=201403，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 Benjamin Britten: Soirées Musicales, Op. 9

By Yung-Kai Tsai (PhD in Musicology, National Taiwan Normal University) British composer Benjamin Britten is one of the most renowned figures in the history of 20th-century British music.

Not only did he revive the tradition of British operas, but he also avoided to blindly follow the avant-garde trend in contemporary European music. He developed a unique style much appreciated by the audience, including both the connoisseurs and amateurs of music.

In 1935, Britten was invited to compose for the animation The Tocher. For this project, he adapted five works by the Italian opera composer Gioachino Rossini (1792-1868), entitling them Rossini Suite. Among the five pieces in this suite, the first and third derive from Rossini’s opera, Guillaume Tell. The remaining three are Britten’s re-arrangements of the works from Rossini’s Soirees musicales, a collection of songs for voice and piano.

In 1936, Britten rewrote no. 1, 2, and 4 of his Rossini Suite and added two works—also by Rossini—into it. He orchestrated this newly arranged work, now known as the orchestral suite, Soirees musicales. No. 1 comes from a March from Guillaume Tell, Act III. No. 2 is a Canzonetta, which originates from “La promessa” in Rossini’s Soirees musicales. “Triolese” (no. 3), a newly added piece, is “La pastorella dell’Alpi” from Rossini’s Soirees musicales. No. 4 is a Bolero, deriving from “L’invito” in Rossini’s Soirees musicales. No. 5, a Tarantella, is, like no. 3, initially not included in Britten’s Rossini Suite. It is Britten’s adaptation of “La charité,” a choir piece from Rossini’s 3 Choeurs religieux.

This orchestral suite was included in such films as Calendar of the Year (1936) and Men of the Alps (1936). Interestingly, Britten in 1941 once again adapted Rossini’s works. In a manner similar to his (orchestrated) Soirees musicales, Britten turned Rossini’s works into yet another suite, Matinées musicales. Along with the choreography of George Balanchine (1904-1983), these two suites became the ballet, Divertimento.

Translated by Feng-Shu Lee

Wolfgang Amadeus Mozart: Oboe Concerto, K. 314, C major

By Yi-Wen Chen (Ph.D. candidate from the Department of Music at National Taiwan Normal University)

Mozart’s musical talent and his life tend to be stressed at the expense of his artistic achievement. An artist with broad interest in music, Mozart is however a composer with depth rather than a mere prolific craftsman. Between 1773 and 1777, he served at the court of Salzburg, his hometown. In the autumn of 1777, he left Salzburg, an environment that he had deemed dull and boring. In the next few years, Mozart visited Mannheim, Paris, and Munich, seeking new opportunities for his career. In the last ten years of his life, he settled in Vienna. There he created such masterworks as Don Giovanni and Die Zauberflöte, works that not only earned him posterity, but also became his important legacy.

Between the spring and summer of 1777, Mozart was about to leave Salzburg. In April, he created his Oboe Concerto in C major K. 314 for Giuseppe Ferlendis (1755-1810), an oboe player that recently joined the court orchestra of Salzburg. In late October of the same year, Mozart dedicated this concerto to Friedrich Ramm (1744-1813), a renowned musician. Ramm was pleased, claiming that this concerto was his favorite work (“cheval de bataille”). In 1778, Mozart turned this oboe concerto into a flute concerto in D major, one of the works commissioned by Ferdinand De Jean (1731-1797), a music amateur.

This oboe concerto has three movements. Its instrumentation includes the strings, two oboes, and two French horns, an instrumentation that creates clarity in sound and subtlety in texture. The solo oboe’s first entrance in the first movement makes a great impression with its swift ascending scale and its sustained high pitches. The second movement (in F major) brings in a graceful, lengthy melody. The third movement is a Rondo. This work exemplifies the characteristics of Mozart’s music: subtlety, fluency, purity, and grace.

Translated by Feng-Shu Lee

Gustav Mahler: Symphony No. 1, D major Mahler’s Symphony No.1 in D Major was completed, in its first version, in 1888, incredibly enough five years before Dvorak’s Symphony From the New World and only five years after the last symphony of Brahms. It was first performed the following year in Budapest, where Mahler had been appointed director of the Hungarian opera, before an audience that became increasingly restive as the work proceeded.

For the symphony Mahler had drawn up a programme, although he strongly believed that, whatever literary programme might lie behind a composition, the music should be able to stand on its own, without verbal explanation. No narrative element was given to the first audience in Budapest, but later performances were at first helped by a sketched description of the work:

4︱巨人之聲

Part I From the days of youth - Flower, Fruit and Thorn-pieces (Blumen, Früchte und Dornenstücke) 1. Spring and no end to it.

The introduction describes the awakening of nature and earliest dawn.

2. Bluminenkapitel (Andante) 3. In full sail (Scherzo) Part II Commedia umana 4. Shipwrecked. A dead march in the manner of Callot.

The following explanation may be given, if required: The composer found the external inspiration for this piece in a satirical picture well known to all children in South Germany, The Huntsman’s Funeral, from an old book of children’s stories. The animals of the forest escort the body of the dead forester to the grave. Hares carry a little flag, with a band of Bohemian village musicians in front, accompanied by cats, toads, crows, and so on, playing, and by stags, does, foxes and other four-footed and feathered denizens of the forest, in comic guise. Here the music is intended to express ironic jesting alternating with mysterious brooding. This is followed immediately by: 5. Dall'inferno al Paradiso (Allegro furioso), the sudden expression of the feelings of a deeply wounded heart.

The symphony, originally a symphonic poem, although without title, has a more explicit literary source in the work of Jean Paul, an early Romantic writer whose Flegeljahre had had a strong influence on the young Schumann. The programmatic titles of the first two movements are taken from Jean Paul, whose connection with the seventeenth century French artist Jacques Callot is seen in his preface to E. T. A. Hoffmann's Phantasiestücke in Callot's Manier. In short the symphony, in common with Mahler's early songs, has its literary inspiration in writing of the earliest romantics, in the curiously grotesque ironical world of Jean Paul and in the evocative Des Knaben Wunderhorn of Brentano and von Arnim. The later title of the work, Titan, refers not to the struggle between the ancient gods of Greece so much as to the novel of that name by Jean Paul, in which two “titans” or Himmelsstürmer, struggle for their aims of intellectual freedom or pleasure.

The first movement opens with a slow section in which fanfares pierce the summer morning mists, suggesting pictorially the ideas of Mahler’s earlier song “Ging heut’ Morgen über’s Feld”, the melody of which provides the first subject. The slower music returns, but nothing is done to dispel the mood of happy serenity, although, as the movement hurries forward again, we may be aware of more tragic implications, Dornenstücke. A scherzo follows, with a Schubertian trio, completing the first

5︱巨人之聲

section.

After a pause the second part of the symphony opens with a solemn funeral march, making satirical use of a minor version of the children’s song Frere Jacques, and easily intelligible in terms of the composer's explanation. Use is also made of Mahler's song “Die zwei blaue Augen” in music of bitter contrast and heartfelt anguish.

The last movement, to which the Italian explanatory title was later added, is one of great dramatic intensity. Audiences unfamiliar with the work might well be warned by the example of the first performance in Budapest, when a woman jumped out of her seat in alarm as the movement began, an incident that caused the composer some amusement. A march leads to a more lyrical melody, before a renewed storm of sound, in music that is, as Mahler was to claim, a world in itself.

For the first three performances of his first symphony Mahler included a second movement Andante, later to be discarded.

The modern re-discovery of this Blumine movement in 1966 by the Mahler scholar Donald Mitchell led to a performance the following year at Aldeburgh under the direction of Benjamin Britten. For various reasons Donald Mitchell was able to identify this lyrical and romantic movement with its extended trumpet melody with music that Mahler had written in 1884 as part of his now lost incidental music for performances at Cassel of Joseph Scheffel’s popular Der Trompeter von Säkkingen, a work that in its metre must suggest the verse of Longfellow to an English-speaking reader. The hero blows the trumpet, the sound of which is heard through the night, heard by the Rhine and the spirits of the river, carried by the wind to the castle of his master.

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

© 2013 Naxos Digital Services Ltd

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

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=201403.

電子問券請掃描， 支持NSO愛地球。

小 號 長 號 低音長號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 客席助理指揮

○ 陳逸群 陳逸農 賴佳奇 ● 陳怡茹 顧慈美 蔡孟峰 ● 黃瑞儀 謝君玲 蔡秉璋 ● 熊士蘭 陳怡婷 ● 傅永和 連珮致 ● 安德石 鐘美川 ● 王怡靜 李明怡 ● 朱玫玲 ● 簡凱玉 簡恩義 ● 劉宜欣 程筑卿 ● 宇新樂 ● 宋光清 彭曉昀 ● 宮西純 ● 連雅文 ● 陳哲輝 ● 解 瑄 ▲ 許毓婷 許惠品

郭昱麟 林基弘 卓曉青 方俊人 林孟穎 李家豪 ◎ 孫正玫 吳怡慧 于爾恩 康信榮 洪章文 陳偉泓 ◎ 鄧啟全 ○ 呂昭瑩 劉國蘭 呂孟珊 劉詩珊✽ ◎ 連亦先 韋智盈 林宜女閒 黃日昇 ○ 周春祥 王淑瑜 蔡歆婕 洪瑜蔚✽ ◎ 宮崎千佳 李 浚

侯勇光 黃佳頎 郭承姍✽ 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 陳弘之✽

周幼雯 唐鶯綺 王淑宜

◎ 林麗玥

楊舒婷

王譽博

◎ 張凱婷 ◎ 陳奕秀

朱偉誼 高靈風

孫正茸

○ 黃任賢 黃韻真 ◎ 陳長伯 ◎ 邵恆發

◎ 陳廷銓 陳振馨

國田朋宏 李欣頤 張景民 陳中昇

楊璧慈

黃衍繹 鍾仁甫 李靖宜 陳猶白

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

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

王婉如

曹予勉

陳鏡元✽

黃書啟✽

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

演出曲目

Program

班傑明．布瑞頓（1913-1976）：《音樂晚會》

BENJAMIN BRITTEN (1913-1976 ): Soirées Musicales, Op. 9

I. II. III. IV. V.

I. II. III. IV. V.

〈進行曲〉 〈小歌〉 〈提洛子民〉 〈波麗露〉 〈塔朗泰拉〉

沃夫岡•阿瑪迪斯•莫札特（1756-1791）： C大調雙簧管協奏曲，K. 314

WOLFGANG AMADEUS MOZART (1756-1791): Oboe Concerto, K. 314, C major

I. 開朗的快板 II. 不太慢的慢板 III. 輪旋曲：小快板

I. Allegro aperto II. Adagio non troppo III. Rondo: Allegretto

--中場休息--

--Intermission--

古斯塔夫．馬勒（1860-1911）：第一號交響曲

GUSTAV MAHLER (1860-1911): Symphony No. 1, D major

I. II. III. IV.

I. II. III. IV.

延緩的慢板 有力而活躍的，然而不太快 隆重而莊嚴，但不太緩慢 暴風雨般激烈地

演出時間│ 2014年3月7日（星期五）7:30 PM

Langsam. Schleppend - Im anfang sehr gemächlich Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

演出者

指ề揮│麥可‧桑德林 Michael Sanderling, conductor

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

雙簧管│阿雷西‧奧格林卓克 Alexei Ogrintchouk, oboe

主辦單位│

國家交響樂團 National Symphony Orchestra (NSO)

指定住宿│

(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

March Canzonetta Tirolese Bolero Tarantella

特別感謝│ 演出長度│上半場約35分鐘，下半場約55分鐘

4︱巨人之聲

Part I From the days of youth - Flower, Fruit and Thorn-pieces (Blumen, Früchte und Dornenstücke) 1. Spring and no end to it.

The introduction describes the awakening of nature and earliest dawn.

2. Bluminenkapitel (Andante) 3. In full sail (Scherzo) Part II Commedia umana 4. Shipwrecked. A dead march in the manner of Callot.

The following explanation may be given, if required: The composer found the external inspiration for this piece in a satirical picture well known to all children in South Germany, The Huntsman’s Funeral, from an old book of children’s stories. The animals of the forest escort the body of the dead forester to the grave. Hares carry a little flag, with a band of Bohemian village musicians in front, accompanied by cats, toads, crows, and so on, playing, and by stags, does, foxes and other four-footed and feathered denizens of the forest, in comic guise. Here the music is intended to express ironic jesting alternating with mysterious brooding. This is followed immediately by: 5. Dall'inferno al Paradiso (Allegro furioso), the sudden expression of the feelings of a deeply wounded heart.

The symphony, originally a symphonic poem, although without title, has a more explicit literary source in the work of Jean Paul, an early Romantic writer whose Flegeljahre had had a strong influence on the young Schumann. The programmatic titles of the first two movements are taken from Jean Paul, whose connection with the seventeenth century French artist Jacques Callot is seen in his preface to E. T. A. Hoffmann's Phantasiestücke in Callot's Manier. In short the symphony, in common with Mahler's early songs, has its literary inspiration in writing of the earliest romantics, in the curiously grotesque ironical world of Jean Paul and in the evocative Des Knaben Wunderhorn of Brentano and von Arnim. The later title of the work, Titan, refers not to the struggle between the ancient gods of Greece so much as to the novel of that name by Jean Paul, in which two “titans” or Himmelsstürmer, struggle for their aims of intellectual freedom or pleasure.

The first movement opens with a slow section in which fanfares pierce the summer morning mists, suggesting pictorially the ideas of Mahler’s earlier song “Ging heut’ Morgen über’s Feld”, the melody of which provides the first subject. The slower music returns, but nothing is done to dispel the mood of happy serenity, although, as the movement hurries forward again, we may be aware of more tragic implications, Dornenstücke. A scherzo follows, with a Schubertian trio, completing the first

5︱巨人之聲

section.

After a pause the second part of the symphony opens with a solemn funeral march, making satirical use of a minor version of the children’s song Frere Jacques, and easily intelligible in terms of the composer's explanation. Use is also made of Mahler's song “Die zwei blaue Augen” in music of bitter contrast and heartfelt anguish.

The last movement, to which the Italian explanatory title was later added, is one of great dramatic intensity. Audiences unfamiliar with the work might well be warned by the example of the first performance in Budapest, when a woman jumped out of her seat in alarm as the movement began, an incident that caused the composer some amusement. A march leads to a more lyrical melody, before a renewed storm of sound, in music that is, as Mahler was to claim, a world in itself.

For the first three performances of his first symphony Mahler included a second movement Andante, later to be discarded.

The modern re-discovery of this Blumine movement in 1966 by the Mahler scholar Donald Mitchell led to a performance the following year at Aldeburgh under the direction of Benjamin Britten. For various reasons Donald Mitchell was able to identify this lyrical and romantic movement with its extended trumpet melody with music that Mahler had written in 1884 as part of his now lost incidental music for performances at Cassel of Joseph Scheffel’s popular Der Trompeter von Säkkingen, a work that in its metre must suggest the verse of Longfellow to an English-speaking reader. The hero blows the trumpet, the sound of which is heard through the night, heard by the Rhine and the spirits of the river, carried by the wind to the castle of his master.

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

© 2013 Naxos Digital Services Ltd

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

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=201403.

電子問券請掃描， 支持NSO愛地球。

小 號 長 號 低音長號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 客席助理指揮

○ 陳逸群 陳逸農 賴佳奇 ● 陳怡茹 顧慈美 蔡孟峰 ● 黃瑞儀 謝君玲 蔡秉璋 ● 熊士蘭 陳怡婷 ● 傅永和 連珮致 ● 安德石 鐘美川 ● 王怡靜 李明怡 ● 朱玫玲 ● 簡凱玉 簡恩義 ● 劉宜欣 程筑卿 ● 宇新樂 ● 宋光清 彭曉昀 ● 宮西純 ● 連雅文 ● 陳哲輝 ● 解 瑄 ▲ 許毓婷 許惠品

郭昱麟 林基弘 卓曉青 方俊人 林孟穎 李家豪 ◎ 孫正玫 吳怡慧 于爾恩 康信榮 洪章文 陳偉泓 ◎ 鄧啟全 ○ 呂昭瑩 劉國蘭 呂孟珊 劉詩珊✽ ◎ 連亦先 韋智盈 林宜女閒 黃日昇 ○ 周春祥 王淑瑜 蔡歆婕 洪瑜蔚✽ ◎ 宮崎千佳 李 浚

侯勇光 黃佳頎 郭承姍✽ 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 陳弘之✽

周幼雯 唐鶯綺 王淑宜

◎ 林麗玥

楊舒婷

王譽博

◎ 張凱婷 ◎ 陳奕秀

朱偉誼 高靈風

孫正茸

○ 黃任賢 黃韻真 ◎ 陳長伯 ◎ 邵恆發

◎ 陳廷銓 陳振馨

國田朋宏 李欣頤 張景民 陳中昇

楊璧慈

黃衍繹 鍾仁甫 李靖宜 陳猶白

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

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

王婉如

曹予勉

陳鏡元✽

黃書啟✽

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

演出曲目

Program

班傑明．布瑞頓（1913-1976）：《音樂晚會》

BENJAMIN BRITTEN (1913-1976 ): Soirées Musicales, Op. 9

I. II. III. IV. V.

I. II. III. IV. V.

〈進行曲〉 〈小歌〉 〈提洛子民〉 〈波麗露〉 〈塔朗泰拉〉

沃夫岡•阿瑪迪斯•莫札特（1756-1791）： C大調雙簧管協奏曲，K. 314

WOLFGANG AMADEUS MOZART (1756-1791): Oboe Concerto, K. 314, C major

I. 開朗的快板 II. 不太慢的慢板 III. 輪旋曲：小快板

I. Allegro aperto II. Adagio non troppo III. Rondo: Allegretto

--中場休息--

--Intermission--

古斯塔夫．馬勒（1860-1911）：第一號交響曲

GUSTAV MAHLER (1860-1911): Symphony No. 1, D major

I. II. III. IV.

I. II. III. IV.

延緩的慢板 有力而活躍的，然而不太快 隆重而莊嚴，但不太緩慢 暴風雨般激烈地

演出時間│ 2014年3月7日（星期五）7:30 PM

Langsam. Schleppend - Im anfang sehr gemächlich Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt

演出者

指ề揮│麥可‧桑德林 Michael Sanderling, conductor

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

雙簧管│阿雷西‧奧格林卓克 Alexei Ogrintchouk, oboe

主辦單位│

國家交響樂團 National Symphony Orchestra (NSO)

指定住宿│

(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

March Canzonetta Tirolese Bolero Tarantella

特別感謝│ 演出長度│上半場約35分鐘，下半場約55分鐘