演出曲目
Program
里奧普•莫札特（1719-1787）： D大調長號協奏曲
LEOPOLD MOZART (1719-1787): Trombone Concerto, D major
I. 快板 II. 慢板 III. 小步舞曲
I. Allegro II. Adagio III. Menuetto
沃夫岡•阿瑪迪斯•莫札特（1756-1791）： 第31號交響曲，《巴黎》
WOLFGANG AMADEUS MOZART (1756-1791): Symphony No. 31, K. 297, D major, Paris
I. 很快的快板 II. 小行板 III. 快板
I. Allegro assai II. Andantino III. Allegro
盧西亞諾•貝里奧（1925-2003）： 《孤獨》，為長號與交響樂團
LUCIANO BERIO (1925-2003): SOLO, per trombone e orchestra
-- 中場休息 --
-- Intermission --
亞歷山大•齊姆林斯基（1871-1942）： 《美人魚》
ALEXANDER ZEMLINSKY (1871-1942): Die Seejungfrau (The Mermaid)
I. 很有節制的活躍 II. 很活潑、喧鬧 III. 放慢且充滿痛苦
I. Sehr mäßig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt – mit schmerzvollem Ausdruck
演出時間│ 2014年4月11日（星期五）7:30 PM
演出者
指ề揮│安德烈•迪瑞德 André de Ridder, conductor
演出地點│ 國家音樂廳 National Concert Hall, Taipei
長ề號│尤根•范雷彥 Jörgen van Rijen, trombone
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50分鐘，下半場約40分鐘
1︱美聲長號與美人魚
演出者介紹
Profiles
指揮│安德烈．迪瑞德
André de Ridder, conductor
安德烈．迪瑞德曾於維也納 及倫敦的音樂學院求學，指揮先 後師承列奧波德．海格及柯林． 戴維斯爵士。音樂院畢業後先 成為伯恩茅斯交響樂團的「年輕 駐團指揮」及海牙管絃樂團副指 揮。迪瑞德博古通今，素以提出 大膽創新的曲目著稱。上個樂季，他在倫敦巴比 肯中心指揮科隆愛樂與德國電子音樂團體「火星 鼠」及科隆現代樂團「音樂工廠」演出，並在芝 加哥交響樂團規劃的「新音樂」系列與該團首度 合作。迪瑞德指揮過的樂團包括英國廣播、布瑞 頓交響、特隆赫姆交響（挪威）、海牙交響以及 薩爾茲堡室內樂團，曾在BBC逍遙音樂節、曼徹 斯特國際藝術節、威尼斯雙年展、雪梨音樂節等 多處演出。
André de Ridder studied at the Music Academies of Vienna and London, under Leopold Hager and Sir Colin Davis. He was Young Conductor in Association with the Bournemouth Symphony Orchestra and also held the position of Assistant Conductor at the Hallé Orchestra. He has become especially known for his bold programming and blurring of traditions; last season he appeared at the Kölner Philharmonie and London’s Barbican Centre with electronica duo Mouse on Mars and Musikfabrik, following their initial collaboration on Chicago Symphony Orchestra’s MusicNOW series. De Ridder has collaborated with orchestras including the BBC Symphony, the Britten Sinfonia, the Trondheim Symphony, the Residentie Orkest Den Haag, and the Camerata Salzburg. In addition, he appears regularly at international festivals, among them the BBC Proms, Manchester International Festival, Venice Biennale and Sydney Festival, where he is Artist in Residence in 2013.
長號│尤根．范雷彥
Jörgen van Rijen, trombone
尤根．范雷彥現任荷蘭皇家 大會堂管絃樂團長號首席，專精 於巴洛克長號及現代長號之演 奏。范雷彥曾於歐洲各國以及美 國、加拿大、日本、中國、韓 國、蘇俄、新加坡及澳洲演出， 與皇家大會堂管絃、捷克愛樂、 荷蘭交響樂團合作協奏曲。2004 年，范雷彥榮獲 荷蘭文化部頒發的「荷蘭音樂獎」，此獎為荷蘭 官方表揚古典音樂成就的最高榮耀。 2006 年， 並榮獲英國專門支持古典音樂新星的BBT基金會 大獎。此外，許多作曲家亦為范雷彥譜寫長號作 品，其中包括兩首長號協奏曲：一首是由皇家大 會堂管絃樂團委託荷蘭作曲家費爾貝所作，另一 首則是BBT 基金會委託芬蘭作曲家艾賀所作，由 范雷彥與英國BBC 交響於荷蘭及芬蘭舉行首演。 范雷彥目前錄有三張長號專輯，皆由荷蘭海峽經 典唱片公司製作發行。
Principal trombonist of the Royal Concertgebouw Orchestra, Jörgen van Rijen is a specialist on both the modern and baroque trombone. He has performed as a soloist in most European countries and in the United States, Canada, Japan, China, Korea, Russia, Singapore and Australia, with orchestras including the Royal Concertgebouw Orchestra, the Czech Philharmonic, and the Netherlands Symphony Orchestra. Van Rijen was awarded the Netherlands Music Prize in 2004, the highest distinction in the field of music, by the Dutch Ministry of Culture. In 2006 he received the prestigious BorlettiBuitoni Trust Award. Many new pieces have been written for him, including a trombone concerto by Theo Verbey, commissioned by the Royal Concertgebouw Orchestra and a trombone concerto by Kalevi Aho, commissioned by the Borletti-Buitoni Trust with concerts with the BBC Symphony Orchestra and orchestras in Holland and Finland. He has released 3 CDs on the label Channel Classics.
樂曲解說 長號曲目的變遷 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 十五世紀中期，長號就已經大量地被使用在 歐洲宮廷與教會音樂中，也誕生不少純長號的重 奏曲目。長號在十八世紀晚期成為歌劇樂團的固 定成員，通常與「超自然」或「陰間」的意象連 結，例如莫札特就僅在歌劇與宗教音樂裡使用這
樣樂器，象徵著神諭或死亡。十九世紀中，管樂 隊興起，讓長號從固定象徵寓意中解放出來。而 世紀末的爵士樂風潮裡，長號因其特殊的滑管構 造，具有音色和音高的多變性，吸引更多作曲家 探索長號的潛能，由此亦誕生許多獨奏與協奏曲 目，躍升為主角。
2︱美聲長號與美人魚
里奧普•莫札特：D大調長號協奏曲 撰文│張皓閔（國立臺灣師範大學音樂學碩士） 沃夫岡．阿瑪迪斯．莫札特出生那一年， 長號演奏家葛胥拉特（ Thomas Gschladt, 17231806）考入薩爾茲堡宮廷樂團（Salzburger Hofkapelle ）。當時在宮廷樂團擔任小提琴手的 李奧波德．莫札特（阿瑪迪斯的爸爸），深受葛 胥拉特高超演奏技巧的吸引，決定為他創作協奏 作品。1762年，里奧普完成了「D大調小夜曲」 （ Serenade in D major），九個樂章當中，第六 至第八樂章係安排給獨奏長號和樂團。樂譜上， 李奧波德特別註明這三個樂章的長號獨奏，是專 為葛胥拉特寫的，演出時他若不在，獨奏部分 最好改用中提琴代替。 1764 年，米凱耶．海頓 （Johann Michael Haydn, 1737-1806）亦受到葛胥 拉特精湛技藝的啟發，在他的「 D 大調嬉遊曲」 （Divertimento in D major）當中，同樣安排了三 個給獨奏長號和樂團的樂章。 今日，長號演奏家習於抽出兩首作品當中寫 給獨奏長號的樂章，視之為兩首獨立的「長號協 奏曲」。鑒於 D 大調小夜曲的第六至第八樂章分 別為慢板（ G 大調）、小步舞曲（ D 大調）和快 板（ D 大調），且快板樂章的末尾留有裝飾樂段 （ cadenza ），做為長號協奏曲演出時，多數演 奏家會將樂章順序調整為「快板－慢板－小步舞 曲」。
沃夫岡•阿瑪迪斯•莫札特：第31號交響曲， 《巴黎》 撰文│李岱值（國立臺灣師範大學音樂系碩士生） 莫札特的四十一首交響曲，以第三十一號 《巴黎》最為知名。作品完成於 1778 年晚春， 為當時巴黎重要的公眾音樂會「聖靈音樂會」 （Concert Spirituel）所委託創作，因此也被稱為 「巴黎交響曲」。有趣的是，與作曲家齊名的海 頓（Joseph Haydn, 1732-1809）亦譜寫有六首「巴 黎交響曲」。 《巴黎》與第三十五號交響曲《哈夫納》 （Haffner Symphony , 1782）並為莫札特交響曲中 編制最大的兩首，使用了兩支長笛、兩支雙簧 管、兩支單簧管、兩支低音管、兩支法國號、兩 支小號、定音鼓與絃樂。即使是「交響曲之父」 海頓，也要在1793年，即他的第九十九號交響曲 後，才使用如此龐大的編制。 作品共有三個樂章，第一樂章為奏鳴曲式。 樂曲一開始即多次演奏 D 大調主音，接續上行音 階，增添華麗燦爛的風格。第二樂章慢板亦為 奏鳴曲式，管樂編制僅使用長笛、雙簧管與法國 號。首演過後，「聖靈音樂會」的負責人認為該 樂章過於冗長，希望作曲家修改，莫札特因而將
其全面改寫。原始版本為3/4拍，改寫後成為今日 通行版本，呈 6/8 拍。第三樂章也採奏鳴曲式， 卓越的對位以及鮮明的轉調手法展現了「莫札特 式」的創作手法。在這部作品裡，作曲家不僅融 合了德國曼海姆（Mannheim）樂派裡，樂團高超 的演奏技巧與豐富的色彩變化，也營造出巴黎人 喜好熱鬧聲響的品味，讓管樂各聲部間音型獨立 呈現，成為其交響曲創作的里程碑。
盧西亞諾•貝里奧：《孤獨》，為長號與交響樂團 撰文│蔡永凱 貝里奧是廿世紀最重要的義大利作曲家之 一，他的代表作包括 1968 年創作的《交響曲》 （Sinfonia）與一系列為不同獨奏樂器（包括人 聲）所寫的《序列》（Sequenza）。《孤獨》為 貝里歐 1999 年為長號名家林德貝格（ Christian Lindberg, b. 1958）量身訂作，並由林德貝格於同 年首演。
Solo一字在義大利文中除了「孤獨」之外，也 有「僅是」或「獨奏」之意。廿世紀作曲家裡， 貝里奧少見地譜寫大量獨奏曲目，即使在這首採 用協奏曲形式的《孤獨》裡，也可見獨奏創作的 影響。作曲家自述道：「這部作品並不真的是一 首協奏曲，即使獨奏的部份極端地、甚至是荒謬 地艱難。樂團的元素有一部份來自長號，但其發 展與實質卻與長號大相逕庭。長號與樂團間或在 同一關鍵音上，但是他們並不彼此聯繫。《孤 獨》與其說是一首協奏曲，不如說它是兩脈孤獨 （solitude）的相遇。」 作品中，貝里奧大膽地挑戰長號的演奏技 巧，包括驟然地同時變換音域與音量、快速點舌 與滑管等，都考驗長號演奏的穩定度。此外，樂 團除了一般常見的樂器外，也使用了中音薩克斯 風、高音薩克斯風與中音長笛等，以擴充管樂樂 器家族由高至低的音域。由音色的觀點亦可以看 到，獨奏者並不如作曲家自述般的「孤獨」，因 為他不僅與樂團於同一音開始、結束在同一音， 在樂曲中也不時與樂團呼應、競爭著。
亞歷山大•齊姆林斯基：《美人魚》 撰文│蔡永凱 奧國作曲家暨指揮家齊姆林斯基，是世紀末 時期維也納樂壇的核心人物。他曾經是荀貝格 （Arnold Schönberg, 1874-1951）的老師，荀白克 亦娶其妹為妻。他所苦戀的學生阿爾瑪．辛德勒 （Alma Schindler, 1879-1964）則嫁與馬勒（Gustav Mahler, 1860-1911）。他也曾經創作不少成功的作 品，但在納粹政權崛起後，猶太人的背景迫使他 流亡美國，終至為人淡忘。
3︱美聲長號與美人魚
齊姆林斯基自認相貌醜陋，導致在情愛關係上始 終不順遂，這個自卑情結反覆出現在多部作品中，包 括 1902 至 1903 年間創作的《美人魚》。這部為管絃 樂團所作的幻想曲，採用丹麥知名童話作家安徒生 （Hans Christian Andersen, 1805-1875）的同名故事。 作曲家雖未提供明確的「標題內容」，不過生動的音 樂敘事，仍給予聽者清晰的線索。至於作品的題材以 及旋律輪廓，則明顯受到華格納《崔斯坦與伊索德》 的影響。 第一樂章開始的場景在深海裡，獨奏小提琴帶出 象徵美人魚的旋律。中段樂團描寫海上風暴，美人魚 旋律驟然出現，落水的王子被美人魚所救。第二樂章 如圓舞曲般，呈現戀人雀躍又難分難捨的情緒。第三 樂章仍由美人魚旋律開始。小調的段落具有詭異氣 氛，似乎代表巫婆，提議美人魚以聲音交換雙腳。之 後，幾聲貧瘠的號角，象徵王子的婚禮音樂，美人魚 的情感卻已經澎湃不能自抑。最終，深海場景再現， 美人魚已化為泡沫，回歸大海。 本中心表演藝術圖書館典藏相關節目資料，詳見http://serv.lib.ntch.org. tw /related_catalog/index.asp?q=201404，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 Leopold Mozart: Trombone Concerto, D major By Hao-Min Chang (Master in Musicology, National Taiwan Normal University) In the year, in which Wolfgang Amadeus Mozart was born, trombonist Thomas Gschladt (1723-1806) joined Salzburger Hofkapelle (Salzburg’s court orchestra). A violinist in the same orchestra, Leopold Mozart—father of Amadeus—was highly impressed and inspired by Gschladt’s virtuosity. In the year of 1762, he completed his Serenade in D major. Movements six, seven, and eight of this Serenade’s nine movements are for solo trombone and orchestra. In his performance instructions in the score, Leopold Mozart indicates that the solo trombone part in these three movements was written for Gschladt, specifically. Were Gschladt unavailable, the solo trombone part should be played by a solo viola instead. In 1764, Johann Michael Haydn (1737-1806), also inspired by Gschladt, likewise created three movements for solo trombone and orchestra in his Divertimento in D major. Nowadays trombone players tend to extract the movements for solo trombone from the two above-mentioned works, turning these movements into two independent trombone concerti. The tempo designation for movements six, seven, and eight from the Serenade in D major is Adagio (in G major), Minuet and Trio (in D major), and Allegro (in D major); and a cadenza is placed at the end of the Allegro movement. Treating these movements as components of a concerto, most musicians would re-order them as follows: Allegro-Adagio-Minuet and Trio. Translated by Feng-Shu Lee
Wolfgang Amadeus Mozart: Symphony No. 31, K. 297, D major, Paris In a letter home from Paris to his father in June, 1778, Mozart expresses the belief that his new symphony, Symphony No. 31 in D Major, K. 297, later known as the Paris Symphony, will please the few intelligent French people who will hear it and that even the asses will find something to admire. The performance a week later at the Concert Spirituel was more successful than the composer had dared to imagine from the inadequate rehearsal. After it was over, Mozart told his father in a further letter of 3rd July, he treated himself to an ice and said the rosary, as he had vowed to do. The same letter attempts to prepare Leopold Mozart for news of the death of his wife, Mozart's mother, who had in fact died that day. The Paris Symphony was written for the larger orchestra available in Paris at the Concert Spirituel, where there were some forty string players and a wind section with clarinets, which Mozart here included for the first time in the scoring of a symphony. Some concessions were made to French taste, which favoured the grandiose and noisy, but there is above all the more significant influence of Mannheim, with its disciplined virtuoso orchestra that Mozart had heard before he set out for Paris. The first movement of the symphony has no repetition of the exposition, the first subject serving as an introduction to the central development. Mozart was to provide an alternative slow movement for Le Gros, director of the Concert Spirituel, who had found the original Andante too long and complex. It is the first version that is generally performed today. The final allegro avoids the expected French premier coup d’archet, the unison opening on which, to Mozart's contempt, French musicians prided themselves, in favour of a subtler approach, with the violins only, soon to be joined by the rest of the orchestra. The contrapuntal possibilities of the second subject are explored and this material is used to open the central development section, to be omitted from the final recapitulation. © 2013 Naxos Digital Services Ltd
Luciano Berio: SOLO, per trombone e orchestra By Yung-Kai Tsai (PhD in Musicology, National Taiwan Normal University) Luciano Berio is one of the most important Italian composers in the 20th century. His representative works include Sinfonia (1968) as well as Sequenza, a series of works for various solo instruments, including human voice. SOLO, per trombone e orchestra was written in 1999 for the renowned trombonist, Christian Lindberg (b. 1958); it was premiered by Lindberg in the same year. In Italian, “solo” means “lonely” as well as “merely” (or “only”) and “playing alone.” Berio is one of the few 20thcentury composers that create solo pieces so profusely. His style of solo writing shows even in the case of Solo, a concerto. He describes SOLO in the following: “Even though its solo part is extremely—and absurdly—difficult, this work is not exactly a concerto. The orchestra’s music derives partly from the music
4︱美聲長號與美人魚
of the solo trombone, yet its development is essentially entirely different from the solo trombone’s music. For example, the orchestra and the solo trombone may share the same pitches at certain points, yet the two parties are in no way connected. Rather than calling SOLO a concerto, I would describe it as an encounter of two parties of ‘solitudes’.” In this work, Berio boldly challenges the technical capacity of the solo trombonist. For example, he creates sudden shifts of register, which take place at the same time as sudden alteration of dynamics, the use of fast tonguing, and slides. These features test the technical stability of a trombonist. The orchestra incorporates unusual instruments such as alto saxophone, soprano saxophone, and alto flute, thus expanding on the range of wind instruments. Listening to this work from the perspective of its timbre, we may sense that the solo trombone is in fact not as “lonely” (or “solo”) as the composer puts it: not only does the solo trombone start and end the work with the same pitch(es) as the orchestra, but it also makes frequent calland-response with the orchestra and even competes with it. Translated by Feng-Shu Lee
Alexander Zemlinsky: Die Seejungfrau (The Mermaid) Die Seejungfrau is termed a ‘Symphonic fantasy’: one that has its origins in the aftermath of Zemlinsky’s ill-fated affair with his pupil Alma Schindler, whose attentions had latterly been drawn to his sometime advocate Gustav Mahler. In 1902 Zemlinsky embarked on a sizeable project inspired by Hans Christian Andersen’s fairy-tale, completing it a year later. The work received its first performance in Vienna on 25 January 1905, the composer conducting, and was well received, but critical attention was largely focused on Arnold Schoenberg’s symphonic poem Pelléas et Mélisande that occupied the second half. After further performances in Prague and Berlin, Zemlinsky seems to have lost interest in Die Seejungfrau, with the result that it was allowed to languish in obscurity until many years after his death. The first two movements had been taken to the United States in 1938 but the third remained in Europe, giving rise to much confusion as to whether it had survived complete. Only in 1984 were the separate scores reunited and the piece given its fourth performance. Since then Die Seejungfrau has established itself as the most often heard of Zemlinsky’s large-scale works beside the Lyric Symphony. The three movements closely follow the course of Andersen’s story: the first depicts the mermaid’s life in the ocean, her saving the prince from drowning in a storm and her decision to seek an earthly existence with him; the second depicts her pact with the sea-witch who cuts out her tongue in return for human guise, whereon she is received at the royal palace only to find that the prince is betrothed to another; while the finale depicts her sorrowful return to the sea, where she is transformed into foam and borne away on the wind. The idea of one who is and must remain apart was one to which Zemlinsky often returned, yet his treatment places far greater
emphasis on thematic elaboration than on mere illustration. Had he chosen to describe the work as a symphony, few would surely have objected. The first movement begins with sombre undulating lower strings and woodwind, an atmospheric theme emerging on higher instruments. Solo violin and woodwind sound a more expressive note before the initial music is elaborated and gains in intensity. A recall of the solo violin ushers in a theme which is more emotionally charged as well as opulently scored (and not without its Tchaikovskian overtones), unfolding at some length before the main climax is reached, its initial ecstasy rapidly taking on a more desperate intensity. A brief pause, then the music continues its sensuous course but is again undermined by unrest. This time the tension evaporates and the music regains its earlier calm as it heads on to a conclusion with the atmospheric tolling of bells and in a mood of eloquent repose. The second movement bursts into life with a surging motion across the whole orchestra, albeit briefly interrupted by a recall of the work’s opening theme. At length an expressive and even capricious theme emerges, decorated with graceful woodwind arabesques, which draws on the Tchaikovskian aspect heard earlier before passing into music whose underlying melancholy is itself offset by a significant hymn-like phrase from the brass that soon builds to a noble apotheosis. The livelier music resumes, heading towards an animated climax which brings numerous motifs into play before subsiding. The hymn-like phrase is heard afar on upper strings, but the prevailing calm is unexpectedly shattered by the peremptory final chords. The third movement commences with melancholic transformations of earlier themes, the solo violin melody prominent among them. This presages greater activity as the music passes through some of its most resourceful scoring on the way to a powerful climax before dying down to muted brass. From here a further climax is suddenly cut off to reveal a musing uncertainty that gradually builds to a climax of impassioned intensity. This subsides into recollections of the undulating music from the work’s opening, over which solo horn is heard in pensive regret. A pause, then the hymnlike phrase is magically reasserted by harps and violins, the movement heading to its final climax in which the salient motifs are transformed and any lingering anxiety is laid to rest in a mood of serene acceptance. © 2013 Naxos Digital Services Ltd
本中心表演藝術圖書館典藏相關節目資 料，詳見http://serv.lib.ntch.org.tw /related_ catalog/index.asp?q=201404，並歡迎親洽 表演藝術圖書館(國家戲劇院地下層)借閱 使用。
電子問券請掃描， 支持NSO愛地球。
5︱美聲長號與美人魚
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 the resident orchestra of the National Chiang Kai-Shek Cultural Center in 2005 and an artistic affiliate of the National Performing Arts Center in April 2014. 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，2014年4月起改隸國家表 演藝術中心，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 薩 氏 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 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 張文君 ● 簡凱玉 簡恩義 ● 劉宜欣 李欣頤 ● 宇新樂 ● 宋光清 彭曉昀 ● 宮西純 ● 連雅文 ● 陳哲輝 ● 解 瑄 ▲ 許毓婷
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 羅培菁✽ 劉詩珊✽ ◎ 連亦先 韋智盈 黃日昇 林宜女閒 ○ 周春祥 王淑瑜 蔡歆婕 陳弘之✽ ◎ 宮崎千佳 李 浚 林麗玥
楊舒婷
◎ 張凱婷 周至信 ◎ 陳奕秀
朱偉誼
○ 黃任賢
侯勇光 黃佳頎 廖元宏✽ 李京熹 李梅箋 王致翔 黃雅琪 李思琪
梁坤豪 李庭芳 玉 珊✽ 黃衍繹 鍾仁甫
呂明美 蘇酩惠 黃筱清 周芳如 徐鈺甄✽
周幼雯 唐鶯綺 王淑宜
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 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
孫正茸
李璧任✽
國田朋宏
王婉如
曹予勉
◎ 陳長伯 ◎ 邵恆發
張景民 陳中昇
黃書啟✽
◎ 陳廷銓 陳振馨 陳淑杏
楊璧慈
高靈風
✽感謝張嘉芳女士擔任本場客席雙簧管首席
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