20140321 by NSO國家交響樂團National Symphony Orchestra

演出時間│ 2014年3月21日（星期五）7:30 PM

演出者

指ề揮│呂紹嘉 Shao-Chia Lü, conductor

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

鋼ề琴│莉莉亞‧齊柏絲坦 Lilya Zilberstein, 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︱浪漫詩人─拉赫瑪尼諾夫

演出曲目

Program

塞爾基‧拉赫瑪尼諾夫（1873-1943）：交響詩《死之島》

SERGEY RACHMANINOFF (1873-1943): Isle of the Dead, Symphonic Poem, Op. 29

塞爾基‧拉赫瑪尼諾夫：第四號鋼琴協奏曲

SERGEY RACHMANINOFF: Piano Concerto No.4, Op. 40, G minor

I. 活潑的快板 II. 最緩板 III. 活潑的快板

I. Allegro vivace II. Largo III. Allegro vivace

-- 中場休息 --

-- Intermission --

塞爾基‧拉赫瑪尼諾夫：第三號交響曲

SERGEY RACHMANINOFF: Symphony No.3, Op. 44, A minor

I. 中庸的快板 II. 不太慢的慢板 III. 快板

I. Allegro moderato II. Adagio ma non troppo III. Allegro

演出者介紹

Profiles

指揮│呂紹嘉

Shao-Chia Lü, conductor

「呂紹嘉是表達音樂意境之大師，也是一位才華卓絕的指揮。」－《南德意志報》

Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon (France), Pedrotti (Italy) and Kondrashin (the Netherlands).

出身台灣，為享譽國際樂壇的旅歐名指揮家。自鋼琴啟蒙，後隨陳秋盛研習指揮，繼而先後赴美印第安那大學及維也納國立音樂院深造。在贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，呂紹嘉展開了他在歐洲的指揮生涯。旅居德國期間先後擔任柏林喜歌劇院首席駐團指揮（1995-1998 ）、德國柯布倫茲市立歌劇院音樂總監（ 1998-2001 ）、德國國家萊茵愛樂交響樂團音樂總監（ 1998-2004 ）、德國漢諾威國家歌劇院音樂總監（ 2001-2006 ），並於 2004 年 5 月獲文化部長頒贈象徵該省文化最高榮譽的 Peter Cornelius 獎章。在歌劇的領域中，先後獲邀在英國國家歌劇院、布魯塞爾皇家歌劇院、雪梨歌劇院、德國司徒加特、柏林德意志、漢堡、法蘭克福歌劇院客席登臺指揮。除了歌劇外，呂紹嘉在音樂會上的表現也同樣耀眼。近年來合作的主要交響樂團有：柏林、西南德、中德、巴伐利亞廣播、法國國家、里昂、杜魯士、史特拉斯堡、維也納廣播、英國利物浦愛樂、奧斯陸愛樂、貝爾根

Shao-Chia Lü took the position of General Music Director of the Koblenz Theatre between 1998 and 2001, the Staatsorchester Rheinische Philharmonie Koblenz between 1998 and 2004, and the Staatsoper Hannover between 2001 and 2006. In summer 2004, Lu and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü appears regularly as guest-conductor at several world renowned opera houses, including the Opera Australian in Sydney and Melbourne, the English National Opera, the Theatre de la Monnaie in Brussels, Den Norske Opera in Oslo, the Gothenburg Opera, the Oper Frankfurt, Staatsoper Hamburg and Stuttgart, the Deutsche Oper and Komische Oper Berlin. Alongside his opera activities, Lü is equally at home on concert podiums. Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Orchestre National de France, the

2︱浪漫詩人─拉赫瑪尼諾夫

（Bergen）愛樂、赫爾辛基愛樂、瑞典廣播、挪威廣播、哥特堡、羅馬聖西西里亞、及荷蘭皇家音樂大會堂管絃樂團等。在亞洲，與香港管弦樂團、新日本愛樂及北京、上海等地的代表性樂團合作演出。

SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Goteborg Sinfoniker, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao- Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam.

自 2010 年 8 月起接任 NSO 國家交響樂團音樂總監。

Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010.

鋼琴│莉莉亞‧齊柏絲坦

Lilya Zilberstein, piano

俄羅斯鋼琴名家齊柏絲坦在 1987 年贏得了布梭尼鋼琴大賽金牌後，五年間該獎項未產生第二位金牌得主。 1991 年，齊柏絲坦首次與柏林愛樂合作，在阿巴多指揮下登台演出，奠定了他們長期的合作關係。齊柏絲坦曾經與國際間各大管絃樂團共同演出，包括芝加哥交響、倫敦交響、皇家愛樂以及德勒斯登國家交響樂團，並曾與指揮家如畢契科夫、杜達美、艾森巴哈、李汶與提森．湯瑪斯同台合作。除了與阿格麗希發行布拉姆斯雙鋼琴奏鳴曲外，也曾為德國 DG 唱片灌錄過八張唱片，其中包括與柏林愛樂及阿巴多合作的拉赫瑪尼諾夫第二、三號鋼琴協奏曲。自 2009 年起，齊柏絲坦為漢堡歌劇暨戲劇大學教授。

Lilya Zilberstein got her first taste of international success in 1987 when she won the Busoni Competition in Bolzano. Her victory was a sensation – it took five years before the first prize was even awarded again. In 1991, Zilberstein made her debut with the Berlin Philharmonic Orchestra under Claudio Abbado, which formed the basis of a long-term cooperation. In the meantime she has performed with the world's great orchestras, including the Chicago Symphony Orchestra, the London Symphony and the Royal Philharmonic Orchestra as well as the Staatskapelle Dresden, under the direction of conductors such as Semyon Bychkov, Gustavo Dudamel, Christoph Eschenbach, James Levine, and Michael Tilson Thomas. In addition to a recording of the Brahms sonata for two pianos with Martha Argerich released by EMI, Zilberstein has recorded eight CDs for Deutsche Grammophon, including the Second and Third Piano Concertos by S. Rachmaninoff (Abbado, Berlin Philharmonic Orchestra). Since 2009, Zilberstein is professor at the Hamburg University of Music and Theatre.

樂曲解說拉赫瑪尼諾夫撰文│黃暐婷（國立臺灣師範大學音樂學碩士）俄國音樂家拉赫瑪尼諾夫在二十世紀前半葉，以鋼琴家、作曲家與指揮家的三重身分活躍於樂壇，是當時最具盛名的演奏家，也是俄國浪漫派後期最偉大的作曲家。因政治因素離開祖國後，拉赫瑪尼諾夫最終歸化於美籍。他的早期作品受柴可夫斯基及其他俄國作曲家的影響，富有濃厚的俄國音樂色彩，之後建立獨有的風格，以具感染力的抒情性質及色彩豐富的管絃語彙著稱。

塞爾基‧拉赫瑪尼諾夫：交響詩《死之島》撰文│黃暐婷《死之島》是瑞士畫家阿諾德•博克林（Arnold Böcklin, 1827-1901 ）最著名的作品，

他在1880至1886年間，以此為標題創作五種不同版本的油畫，其中一幅是黑白版、另外四幅都是彩色版。這些畫作在色彩和細節上有著些許的差異，但都描繪一座被深色的水環繞的岩石小島，和一艘即將靠岸的小船，船上除了划槳手之外，還有一位身穿白袍的人站立著，令人聯想至希臘神話中冥河的場景。

1907 年，正為交響詩尋找創作題材的拉赫瑪尼諾夫，在巴黎看到了這幅畫，當時他欣賞的是黑白版的複製品。之後，他又在柏林和萊比錫看到其他版本的真跡，但都不及前者讓他印象深刻。 1909 年，拉赫瑪尼諾夫接受朋友史特路福（ Nikolay Struve ）的建議，在 1 月至 3 月間，以《死之島》為名創作交響詩，並將它題獻給史特路福。手稿上標示的完成日期為4月17日，隔天由作曲家指揮首演。

3︱浪漫詩人─拉赫瑪尼諾夫

《死之島》為A小調，五八拍，大多用二拍加三拍的韻律來表現小船在水中漂浮的情形。樂曲開頭，大提琴拉奏五拍不斷反覆的動機，倍低音管吹奏主音 A的持續低音，營造出沉重、靜止的氣氛。如同作曲家在其它作品中，引用「震怒之日」（Dies irae）象徵死亡的手法，這個動機也片段地、不時出現在《死之島》裡，加深死亡的意象。與博克林畫作不同的是，拉赫瑪尼諾夫在交響詩的中段加入「生命」的描繪。當拍號改為三四拍後，調性轉至降E大調，長笛和小提琴奏出歡愉的「生命主題」。作曲家解釋，這個對比的樂段應該更快、更加緊張、更富有感情，它並不屬於博克林的畫，可視為對畫作的一種補充。然而，生命的喜悅是短暫的，當調性回到A小調，陰暗的死亡再度透過「震怒之日」及開頭不斷反覆的五拍動機籠罩時，我們知道人類終究無法逃過死亡一途。

塞爾基•拉赫瑪尼諾夫：第四號鋼琴協奏曲撰文│李宜芳（真理大學音樂應用學系副教授）拉赫瑪尼諾夫共創作了五首為鋼琴與樂團的大型作品，其中第二、三號鋼琴協奏曲與《帕格尼尼主題狂想曲》皆為當今舞台上熱門的演出曲目，而較冷門的第一、四號協奏曲中，又以後者最少被演出。樂曲創作於 1926 年，問世的過程並不順利，首演後也並未如預期地得到好評，因此有了 1928 年及 1941 年的兩次修訂。從前後相距十五年的改版，可以看出此曲在拉赫瑪尼諾夫心中的份量與牽掛。在此曲中，儘管拉赫瑪尼諾夫特有的綿長旋律及俄式的恢弘磅薄氣勢依然，但更令人留下印象的，恐怕是其晦暗不明的半音、大膽的和聲進行、詭變的快速音群和難以預測的節奏變化。如此的轉變，其實從之前的練習曲和前奏曲中已能略見端倪；而樂曲甚至反映了爵士樂的影響，儘管在呈現上較米堯或拉威爾等作曲家的方式含蓄得多。種種風格的轉變，都與我們所熟悉的拉式風格相異其趣，呈現出一番新的面貌。這或許是此曲始終無法如作曲家其它樂曲那般「親民」的原因，卻說明了拉赫瑪尼諾夫在創作上的不斷探索與尋求突破。儘管此曲較為晦澀，然而冷冽中的熱情依舊，鋼琴技巧的繁複也未曾稍減。這或許不是一首讓人聽到馬上會著迷的協奏曲，但絕對是一首值得仔細聆聽，讓您全面認識拉赫瑪尼諾夫音樂風格的一塊重要版圖！

塞爾基•拉赫瑪尼諾夫：第三號交響曲撰文│黃暐婷拉赫瑪尼諾夫在1917年離開俄國後，先後定居於丹麥及美國。 1929 年他返回歐洲、定居瑞士，住在

一棟他稱作「Senar」的別墅裡，對這樣的舒適環境他感到相當滿意，1935至1936年，第三號交響曲在此創作完成，同年由作曲家最喜愛的費城管絃樂團首演。接在《帕格尼尼主題狂想曲》（ 1934 ）之後，評論家和愛樂大眾對拉赫瑪尼諾夫的新作品有著不同的期待，然而，兩者對第三號交響曲都不甚滿意。樂評家認為它了無新意，愛樂大眾則因其缺乏《帕格尼尼》的浪漫風格而感到失望。作曲家對這樣的結果頗意外，即便如此，他仍確信這是自己最好的作品之一，並在 1939 年親自指揮費城交響樂團，完成唱片的錄音。第三號交響曲是 A 小調，與傳統交響曲的四樂章架構不同，此作品只有三個樂章。第一樂章由單簧管、法國號和大提琴奏出的緩板「導奏主題」開啟，之後立即進入「中庸的快板」。快板包含兩個主題，第一主題由雙簧管和低音管吹奏，以平行的三度音程組成；第二主題則由低音管和弦樂奏出，是個溫柔如歌的主題。發展部以第一主題為主要素材作變化，隨著速度轉至「很快的快板」，黑暗與緊張的情緒也更加強烈。激情耗盡後，「導奏主題」響起，進入再現部。樂章的最後又再次使用「導奏主題」作結。第二樂章同時扮演「慢板」與「詼諧曲」的雙重角色。法國號在開頭即奏出「導奏主題」。緩慢、安靜的氣氛在甚快板的詼諧曲插入時被打斷，第二樂章最終仍回到慢板，並在「導奏主題」的再現下結束。第三樂章是快板，調性轉至明亮的A大調，作曲家繼續使用第一樂章的素材。與第二樂章相似的是，此樂章也安排了一個較為快速的中段，並以賦格的形式表現。交響曲最終在喧鬧的氣息下總結。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。

4︱浪漫詩人─拉赫瑪尼諾夫

Program Notes Sergey Rachmaninoff: Isle of the Dead, Symphonic Poem, Op. 29 In 1909, the symphonic poem Die Toteninsel, the Isle of the Dead was composed. The latter was based on a wellknown painting, or rather a black-and-white reproduction of a painting, by the Swiss-German artist Arnold Boecklin, the leading German Romantic painter of the late nineteenth century. The picture shows Charon, the ferryman of the dead of Greek mythology, who rows the dead across the River Styx on their journey to the Underworld and to the crags and cliffs of the ominous Island of the Dead of Boecklin’s imagination. © 2013 Naxos Digital Services Ltd

Sergey Rachmaninoff: Piano concerto No. 4, Op. 40,G minor Rachmaninoff completed his Piano Concerto No. 4 in G minor between January and August 1926 and gave the first performance the following March in Philadelphia, with the orchestra conducted by Leopold Stokowski. He revised the concerto in 1941, giving the first performance of the revised version in October that year, again in Philadelphia, the performance now conducted by Eugene Ormandy. On neither occasion was the work particularly well received. The revision had responded to criticisms of the work's length, which was now much reduced, but the expectations aroused, with a knowledge of the earlier concertos and, by 1941, of the Paganini Rhapsody, were not met. He dedicated the work to the emigre Russian composer Nikolay Medtner. The first movement opens with a brief orchestral introduction of six bars, after which the soloist enters with a heavy series of solid and dramatic chords, the substance of the first principal theme, derived from the Étude tableau in C minor, Opus 33, No. 3 of 1914. The piano later introduces a more lyrical secondary theme, as the movement develops. The slow movement need not suffer by the chance resemblance of the first three notes of the principal theme to the opening of the nurseryrhyme Three Blind Mice. The resemblance is superficial and irrelevant and should not detract from the expressive dialogue between soloist and orchestra. The final Allegro vivace follows without a break, abruptly introduced by the orchestra, and then, more delicately, by the piano, which goes on to more elaborate technical display, to a lyrical chordal episode and to reminiscences of the first movement that provide the concerto with an over-all thematic unity. It should be said that although the Fourth Concerto is the least popular and least often heard of Rachmaninoff ’s concertos, it nevertheless has much to be said for it. It may still lack the tautness of construction that the composer strove to impart in his revision of the work, but in its lyricism and in its exploration of a still further

Sergey Rachmaninoff: Symphony No. 3, Op. 44, A minor The symphony starts with a distant Russian motto theme, played pianissimo by a muted solo cello, horn and two clarinets, followed by a more emphatic outburst from the orchestra. The first subject, which has still further importance in the central development of the first movement is announced by oboes and bassoons, a theme characteristic of the composer in its lyrical implications, an element still more evident in the second subject, introduced by the cellos and suggesting to some an American folk-song, much as the slow movement of the Fourth Piano Concerto had brought a less desirable resemblance. The motto theme, which has had its part to play in the development, returns to preface the recapitulation, with prominence now given to the second subject. The motto theme brings the movement to a close. In the second movement Rachmaninoff follows the precedent of the concertos in which he had included a scherzo in the slow movement. The French horn introduces the motto theme, with the accompaniment of the harp, before the entry of a solo violin, to be joined by the other violins, as the thematic material is developed. A solo flute suggests a second subject and the movement moves on to the jaunty and emphatic rhythms of a colorful Allegro vivace, framed by a return of the original material of the movement. The symphony ends with a movement of some variety, opening with a flourish and containing concealed references to the Dies irae and a related fugal section. It is the Dies irae theme that starts the recapitulation and assumes further importance as the symphony draws to a brilliant and optimistic close. © 2013 Naxos Digital Services Ltd

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。

5︱浪漫詩人─拉赫瑪尼諾夫

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陳弘之✽ ◎ 宮崎千佳李浚

執行長

侯勇光黃佳頎魏苡庭✽ 李京熹李梅箋王致翔黃雅琪李思琪

梁坤豪李庭芳黃衍繹鍾仁甫李靖宜陳猶白

呂明美周幼雯蘇酩惠唐鶯綺黃筱清王淑宜伏芯✽

林麗玥楊舒婷王譽博 ◎ 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 ◎ 邵恆發陳中昇

◎ 陳廷銓陳振馨楊璧慈王瓊燁

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賴曉俐整合行銷專員陳卜湄行銷專員林欣儀鄭巧琪王思懿方歆婷曾柏雄演出及行政舞台監督陳世傑人事組長林碧珠譜務專員高婉瑜行政專員溫慧雯助理舞監陳玠維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 ▲樂季合約人員劃底線者為本場協演 ✽NSO樂團學苑學員

邱瑗