演出時間│ 2014年4月18日（星期五）7:30 PM
演出者
指ề揮│加布里耶．費爾茲 Gabriel Feltz, conductor
演出地點│ 國家音樂廳 National Concert Hall, Taipei
大提琴│約翰尼斯．莫瑟 Johannes Moser, cello
主辦單位│
國家交響樂團 National Symphony Orchestra (NSO)
指定住宿│
國立實驗合唱團 Taiwan National Choir
特別感謝│
演出長度│上半場約40分鐘，下半場約40分鐘
1︱東歐經典
演出曲目
Program
安東尼•德沃札克（1841-1904）： B小調大提琴協奏曲
ANTONÍN DVOŘÁK (1841-1904): Cello Concerto, Op. 104, B minor
-- 中場休息 --
-- Intermission --
貝拉•巴爾托克（1881-1945）： 《奇異的滿州人》（完整芭蕾舞劇版）
BÉLA BARTÓK (1881-1945): The Miraculous Mandarin (Complete Ballet)
法蘭茲•李斯特（1811-1886）： 第三號交響詩《前奏曲》
FRANZ LISZT (1811-1886): Symphonic Poem No. 3, Les Préludes
演出者介紹
Profiles
指揮│加布里耶．費爾茲
Gabriel Feltz, conductor
1971 年出生於柏林，德 國指揮加布里耶．費爾茲於 2004 年接任斯圖加特愛樂首 席指揮一職； 2008 年，應聘 為瑞士巴賽爾劇院首席客座 指揮； 2013/14 樂季，他將 出任德國多特蒙德歌劇院音 樂總監。費爾茲指揮過許多一流樂團，包括 德勒斯登國家交響、巴伐利亞廣播、德意志 交響、柏林音樂廳交響、班貝格交響、巴賽 爾交響、安特衛普法蘭德斯歌劇院管絃、貝 爾格勒交響、愛爾蘭國家交響、韓國廣播交 響以及中國國家交響樂團等。他錄製的曲目 兼收並蓄，為中生代指揮中的佼佼者。 2007 年，費爾茲展開斯圖加特愛樂錄製馬勒交響 曲全集的計畫，演奏錄音由德瑞爾 - 蓋多唱片 公司製作發行。
Born in 1971 in Berlin, Gabriel Feltz is the chief conductor of the Stuttgart Philharmonic Orchestra since 2004. In addition, he has taken over the position as Principal Guest Conductor at the Basel Theatre in 2008. From the season 2013/14, Gabriel Feltz will be the General Music Director of the Dortmund Opera. Gabriel Feltz has conducted leading orchestras in Germany and abroad such as the Staatskapelle Dresden, the Bavarian Radio Symphony Orchestra, the Deutsches Symphonie-Orchester Berlin, Konzerthausorchester Berlin, Bamberger Symphoniker, Sinfonieorchester Basel, Orchestra of the Vlaamse Opera Antwerpen, Belgrade Philharmonic Orchestra, RTE National Symphony Orchestra (Ireland), KBS Symphony Orchestra Seoul as well as China National Symphony Orchestra. The extensive Discography of Gabriel Feltz makes him to one of the outstanding conductors of his generation. In 2007 Gabriel Feltz started the recording of all Mahler Symphonies (Dreyer-Gaido) with the Stuttgart Philharmonic Orchestra.
大提琴│約翰尼斯．莫瑟
Johannes Moser, cello
約翰尼斯．莫瑟， 1979 年出生於一個音樂世家，擁 有德國及加拿大雙重國籍。 八歲開始學習大提琴，並投 入名師大衛．葛林格斯門下 習藝。 2002 年，於柴科夫斯 基國際大賽拿下首獎和《洛 可可主題變奏曲》詮釋特別獎。莫瑟曾與許 多頂尖樂團合作，如柏林愛樂、紐約愛樂、 洛杉磯愛樂、芝加哥交響、倫敦交響、巴伐 利亞廣播交響、皇家大會堂管絃樂團等；並 與樂壇重量級指揮包括慕提、馬捷爾、楊頌 斯、葛濟夫、祖賓．梅塔、魏瑟莫斯特、提 勒曼、布列茲、帕佛．亞維等合作。他的演 奏錄音除了榮獲兩座德國古典回聲與德國唱 片樂評大獎外，亦入選「今日經典」樂評網 站的前十大古典專輯。莫瑟目前任教於德國 科隆音樂院。
Johannes Moser has performed with the world's leading orchestras such as the Berliner Philharmoniker, the New York and Los Angeles Philharmonics, the Chicago Symphony and London Symphonies, the Royal Concertgebouw Orchestra, and the Bavarian Radio Symphony Orchestra. He works regularly with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Franz Welser-Möst, Christian Thielemann, Pierre Boulez and Paavo Järvi. He has received two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik for his recordings, which were ranked among Classics Today's Top 10 CDs. Born into a musical family in 1979 as a dual citizen of Germany and Canada, Moser began studying the cello at the age of eight and became a student of David Geringas. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations. He holds a professorship in Cologne, Germany.
2︱東歐經典
國立實驗合唱團
Taiwan National Choir
教育部於民國 74 年輔導成立國立實驗合唱 團。自2007 年起聘請國際知名合唱指揮葛羅絲曼 教授擔任音樂總監。曾應邀至全球十餘國演唱， 包括：美國、加拿大、法國、義大利、西班牙、 日本、韓國、新加坡、馬來西亞、泰國、澳洲、 紐西蘭、夏威夷……等地。2004、2008 年應聯合 國教科文組織之國際音樂教育年會邀請，分別赴 西班牙、義大利演出。2011 年應邀至義大利參加 洛雷托（Loreto）國際聖樂節，優異表現獲國際樂 壇一致讚賞，身兼國家文化大使之任務。
Taiwan National Choir was established under the supervision of the Ministry of Education in 1985. Since 2007, Prof. Agnes Grossmann has become the music director of choir. The Taiwan National Choir has visited Korea, Singapore, Malaysia, France, the United States, Australia, New Zealand, Canada, Spain, and Hawaii, etc. in recent years. Then it had the honor to be the representative of Taiwan to perform in the annual conference for music education of UNESCO held in Spain in 2004 and in Italy in 2008.
樂曲解說
第一樂章完整的樂團呈示部，反映作品宏大 的結構與聲響，第二主題主要由五聲音階組成， 帶有濃厚的波西米亞民族色彩。第二樂章中段引 用德氏〈讓我獨處〉（‘Lasst mich allein’, op. 82, no. 1, 1888）的旋律，是因為在創作期間，傳來 其苦戀已久的大姨約瑟芬妮（Josefína Kounicová, 1849-1895）病危的消息，〈讓我獨處〉即約瑟芬 妮最喜愛的歌曲。樂章後半裝飾奏式的大提琴獨 奏，運用雙音及左手撥奏技巧，隨後長笛加入， 形成精緻優美的二重奏。第三樂章中段，獨奏 大提琴與獨奏小提琴交織出慷慨激昂的二重奏， 樂章結尾係修改於約瑟芬妮過世後，如嘆息一般 地漸弱，再次回顧〈讓我獨處〉以弔念逝去的愛 人，並再現第一樂章第一主題，使作品更具整體 性，最後戲劇化地漸強，以樂團暴風式的聲響結 束全曲。
東歐音樂的發展 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 東歐音樂的發展，受到政治版圖與地緣關係 的影響，長期以來依附在德奧等強權下。直到 十九世紀中期開始，受到民族主義影響，具有 東歐背景的作曲家紛紛在作品裡融入地方元素， 成為十九世紀末一個特殊的現象。但是不能或忘 的是，有許多東歐作曲家，養成於深厚的德奧傳 統中，因此他們亦不願意劃地自限於複製地方色 彩，相反地，他們從民俗中找尋靈感，終至成為 主流樂壇在創新時的一股重要力量。
安東尼•德沃札克：B小調大提琴協奏曲 撰文│張偉明（國立臺灣師範大學音樂學碩士） 「如果我知道大提琴協奏曲能這樣寫，我早 就寫了！」布拉姆斯如此讚嘆，並親自參與樂譜 的校訂。事實上，就連德沃札克原本也不認為大 提琴能勝任協奏曲的獨奏樂器：早在 1865 年， 他就嘗試寫作大提琴協奏曲，但因不滿意成果， 該作品沒有完成管絃樂化；其大提琴家好友威翰 （Hanuš Wihan, 1855-1920）曾多次哀求他寫作 大提琴協奏曲，卻總是遭受拒絕。直到1894年， 他聽了赫伯特（Victor Herbert, 1859-1924）的第 二號大提琴協奏曲後深受啟發，終於再次提筆， 威翰並提供諸多建議。作品於 1895 年 2 月 9 日完 成，並在 6 月 11 日完成修改。雖然創作於美國， 卻洋溢著作曲家濃濃的鄉愁。 這首協奏曲甚至可比擬交響曲：樂團編制龐 大，加入協奏曲不常見的短笛、長號、低音號， 及三角鐵；儘管多位前輩的同類作品都有豐富的 交響聲響，但這首樂曲卻更進一步，在交響曲般 的規模中，完美融合炫技與交響色彩，獨奏與樂 團富有密切對話及強烈對比。
貝拉•巴爾托克： 《奇異的滿州人》（完整芭蕾舞劇版） 撰文│蔡永凱 《奇異的滿州人》為一部芭蕾舞劇，由巴 爾托克在 1918-1924 年間根據匈牙利作家連耶爾 （Melchior Lengyel, 1880-1974）的劇本所完成。 因為當時匈牙利的情勢複雜，作品首演移至德國 科隆舉行，聳動的內容引發抨擊導致被禁演。因 此在巴爾托克生前，這部作品通常是以音樂會組 曲的形式演出，篇幅約為完整芭蕾舞劇的三分之 二。 劇情發生在一個大都會裡，三個流氓打算逼 良為娼，靠一位少女的肉體來賺錢。他們逼她 站在靠窗的地方，以撩人的舞姿勾引路人。這個 「挑逗舞」（ Lockspiel ）以單簧管的獨奏旋律為 代表。第一個上鉤的是位老人，以長號的滑音代 表。少女問道：「你有錢嗎？」老人回答：「錢 有什麼用？沒有愛一切都不行。」老人被流氓轟 了出去。第二個上鉤的是年輕人，以五四拍的舞 曲代表。這位害羞的年輕人與少女共舞，讓她心 蕩神馳，但因為沒錢，也被攆出去。
3︱東歐經典
一個外貌奇異的人在街角出現，是來自滿州的官 吏。他出現時，長號演奏三全音化的五聲音階。少女 雖然一邊挑逗他，一邊卻又懼怕。滿州人開始追逐少 女，作曲家以賦格描繪這個場景。流氓前去搶奪滿州 人身上的財寶，並想要用枕頭悶死他。滿州人掙脫， 始終瞪著少女。流氓在氣憤之下，拔劍殺了滿州人， 他卻在漆黑的房間裡發出可怕的青綠光芒。此時合唱 團加入樂團，演唱無詞之歌。少女要求流氓放開他， 讓滿州人得以與她擁抱。在慾望得到滿足之後，滿州 人開始流血，然後死去。
法蘭茲•李斯特：第三號交響詩《前奏曲》 撰文│黃暐婷（國立臺灣師範大學音樂學碩士） 李 斯 特 在 1856 年 出 版 他 的 第 一 至 六 號 交 響 詩 （Symphonische Dichtungen），做為「標題音樂」 （ Programme Music ）理念下的示範性作品。這些 單樂章管絃樂曲的形式，雖源自「音樂會序曲」 （Concerto Overture），但內涵更接近「交響曲」。 李斯特以交響曲的思維創作交響詩，並強調其中的 「詩意」訴求。 李斯特的交響詩在出版時，大多附有一段「前 言」（ Preface ），用以提供聽者適當的引導，傳達 樂曲中的詩意。第三號交響詩《前奏曲》的完整標 題明確地指出，這部作品是根據拉馬丁（ Alphonse de Lamartine, 1790-1869 ）的詩作而寫，不過，李 斯特並未在前言中引述任何詩句。事實上，作曲家 在 1848 年開始寫作《前奏曲》時，係計劃替清唱 劇《四個元素》（Les quatre elements）寫一首〈前 奏曲〉，這部作品的歌詞來自詩人奧特朗（ Joseph Autran, 1813-1877）。歷經多年的修改，《前奏曲》 在 1854 年於威瑪首演時，曲名已加上「根據拉馬 丁」一句，這之中轉變的原因我們不得而知。 《前奏曲》依速度、主題分為多個段落，全曲可 看出奏鳴曲式的輪廓，也可解釋成，將四樂章的交響 曲濃縮在單樂章中。樂曲開頭，絃樂奏出如問句般的 上行曲調，這是全曲最重要的主題，與李斯特在前言 第一句提出的「人生不就是走向死亡的一系列前奏曲 嗎？」相呼應。第二個重要主題由法國號富表情且恬 靜地奏出，是代表「愛」的主題。接著，進入暴風雨 的快板樂段，在此，絃樂使用緊湊的顫音，全樂團皆 以大量的重音、漸強，激動地演奏上行曲調，將氣氛 推向高潮。緊張的情緒在「田園風格」的樂段中得到 紓解，最後是「進行曲」的段落，在這兩個樂段中， 兩個重要的主題都以其他形式再現，全曲在勝利的氣 氛中結束。 本中心表演藝術圖書館典藏相關節目資料，詳見http://serv.lib.ncth.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 Antonín Dvořák: Cello Concerto, Op. 104, B minor Dvořák wrote his B minor Cello Concerto, his second attempt at the form, in America during the winter months of his new contract, at the request of his colleague in Prague, the cellist Hanus Wihan. After his return home, Wihan suggested various changes, including additional cadenzas written by himself, but these Dvořák adamantly rejected. The first performance of the concerto took place not in Prague but at the Queen's Hall in London on 19 March 1896, with the English-born cellist Leo Stern, who played the work on subsequent tours. Wihan first performed the concerto in public three years later, although he had in fact been the first to play through the work with the composer in the previous August. In June, after his return from America, the composer had already rewritten the ending of the work. The first movement of the concerto opens with an orchestral exposition, the first theme played by the clarinets and restated emphatically by the rest of the orchestra before the appearance of the second theme, introduced by a solo French horn. The solo cello enters with the first theme, subject thereafter to a number of improvisatory variations, before the soloist plays the second subject. In the central development section remoter keys follow, the cello playing the principal theme in a poignantly slower version, and providing an accompaniment to further variations by the wind instruments of the orchestra. The soloist finally ushers in the last section with a repetition of the second theme, an unexpected turn of events. It is, however, the first theme that re-appears to end the movement. The slow movement opens with the principal theme played by the clarinet, accompanied by bassoons and oboes. The theme is then taken up by the solo cello. A middle section, in marked dramatic contrast, makes use of the opening phrase of a song written by Dvořák in 1887. The principal theme appears again, played by three French horns, to be followed by a cello cadenza and a brief coda. The finale of the concerto is in free rondo form, its principal theme finally appearing in its full form when the soloist enters. This theme serves as a link between a series of episodes, rich in variety and in opportunities for the soloist. The extended coda includes a reference to the opening of the first movement, played by the clarinets before the triumphant conclusion of the whole work. © 2013 Naxos Digital Services Ltd
Béla Bartók: The Miraculous Mandarin (Complete Ballet) Stage music plays a relatively brief but crucial role in the work of Béla Bartók. Having finished the one-act opera Duke Bluebeard’s Castle in 1911, he composed little until the summer of 1914, when he embarked on the ballet The Wooden Prince. Completed two years later, its première at the Budapest Opera in 1917 was one of the composer’s few great successes in his lifetime. The company proceeded to stage the opera the following year, but it met with an equivocal reception and was withdrawn after eight performances, not to be heard again in Hungary for almost two decades.
4︱東歐經典
An even worst fate awaited Bartók’s last stagework, the pantomime The Miraculous Mandarin. Begun as the third part of an intended triple bill, it was drafted in 1918-19 but only orchestrated five years later. Apart from its composer’s ongoing uncertainty as to musical direction, the scenario by Menyhért Lengyel was unlikely to pass muster with the Hungarian censor. The work was finally given its first performance in Cologne during 1926, but banned immediately on moral grounds (by the then Mayor of the city Konrad Adenauer) and not staged again in Bartók’s lifetime. Although an orchestral suite consisting of almost the first two-thirds of the work quickly found a place in the modern orchestral repertoire, the pantomime has only latterly come into its own, and full stagings remain infrequent. As with Stravinsky’s The Rite of Spring, to which it is indebted in certain particulars, The Miraculous Mandarin has a rapid pace and density of musical incident which are difficult to render visually, and indeed are probably best appreciated by the ‘mind’s eye’. As envisaged by Lengyel, a recipient of Freudian psychoanalysis and Hungary’s chief Expressionist writer, the scenario is more concerned with mimed than danced drama, hence the designation ‘pantomime’ rather than ‘ballet’, and focuses on the irreconcilability of intuitive nature and corrupt civilisation. The latter is accorded graphic depiction in the Introduction, where insistent rhythmic patterns and grinding dissonance evoke the sound of traffic in a busy thoroughfare. The curtain rises on an upstairs room in a shabby apartment, occupied by three ruffians and a girl. Having no money, the thugs coerce the girl into attracting ‘passing trade’. There follow three seduction sequences, each introduced by a clarinet solo. The first sequence lures a shabby old rake (denoted by trombone glissandi), who, penniless, is summarily ejected by the gang. The second sequence lures a shy young man (oboe and cor anglais), whose waltz with the girl suddenly gains in ardour until, also penniless, he is ejected. The third sequence lures the mandarin, his exotic appearance vividly evoked by brass. There follows an extended sequence in which the girl gradually overcomes her repugnance towards the mandarin, embarking on a waltz which mounts in urgency as the latter’s responses become more impulsive. A chase ensues (fugato in strings, woodwind, then brass), building an unstoppable momentum and curtailed only when the thugs pounce on the mandarin. Robbing him of his possessions, they make three attempts to kill him, a dramatic and musical parallel to the three lurings: first they suffocate him under the bedding, but to no avail; then they stab him, only for him to break free and rush at the girl; finally, they hang him from a light fitting, whereupon his body begins to glow with ‘greenish-blue’ light (wordless chorus). Only now does the girl realize what must happen. The mandarin is duly taken down and his embrace reciprocated; satiated, his wounds begin to bleed and, with a series of shudders, he dies. © 2013 Naxos Digital Services Ltd
Franz Liszt: Symphonic Poem No. 3, Les Préludes After his early career as a virtuoso pianist, Liszt took up a full-time conducting post at the court of Weimar. Here he wrote both of his piano concertos, his Dante and Faust Symphonies and twelve of his thirteen symphonic poems. The term ‘symphonic poem’ was Liszt’s own invention and denoted a one-movement orchestral work, which did not adhere strictly to traditional structure and was based on a literary or pictorial stimulus. At first he sought help with orchestration, but as he grew in confidence and experience he subsequently often made his own orchestral versions. Les Préludes has an interesting history. It was originally written in 1848 as the prelude to a cantata Les Quatre Elemens: the four poems were called La Terre (The Earth), Les Aquilons (North Winds), Les Flots (Waves) and Les Astres (Heavenly Bodies). Raff made an orchestral version of Les Quatre Elemens in 1850; but in 1851 Liszt referred to it as Symphonic Meditations. Between 1852 and 1854 he made his own entirely new orchestral version, and it was performed in Weimar in February 1854 under its present title Les Préludes (d’après Lamartine). As Humphrey Searle explains, the link with Lamartine is curious: “Lamartine’s poem Les Préludes is a very long meditation in which warlike and pastoral subjects are closely linked, but it is clear that Liszt’s Les Préludes was originally conceived as a portrayal of Mediterranean scenes and was only associated with Lamartine’s poem afterwards”. Despite Liszt’s progressive attitude to structure, the work’s final one-movement form has clear links with sonata form; but in its detail it owes as much to Liszt’s technique of ‘thematic transformation’, in which short ideas are subjected to “changes of mode, rhythm, metre, tempo or accompaniment”. The orchestra is of normal mid-nineteenth-century dimensions: three flutes (otherwise double woodwind); four horns, two trumpets, three trombones and tuba; three timpani, with bass drum, cymbals and side drum for the final climax; harp and strings. © 2013 Naxos Digital Services Ltd
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5︱東歐經典
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 Concert Hall 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, WenPin Chien and Güther Herbig. Since August 2010, Maestro ShaoChia 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
○ 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 第二小提琴 ● 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 中 提 琴 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 謝君玲 劉國蘭 呂孟珊 蔡秉璋 羅培菁✽ 劉詩珊✽ 大 提 琴 ● 熊士蘭 ◎ 連亦先 韋智盈 陳怡婷 林宜女閒 黃日昇 低音提琴 ● 傅永和 ○ 周春祥 王淑瑜 連珮致 蔡歆婕 陳美君✽ 長 笛 ● 安德石 ◎ 宮崎千佳 李 浚 短 笛 鐘美川 雙 簧 管 ● 王怡靜 林麗玥 楊舒婷 英 國 管 李明怡 單 簧 管 ● 朱玫玲 ◎ 張凱婷 朱偉誼 低 音 管 ● 簡凱玉 ◎ 陳奕秀 高靈風 倍低音管 簡恩義 法 國 號 ● 劉宜欣 ○ 黃任賢 國田朋宏 李欣頤 小 號 ● 宇新樂 ◎ 陳長伯 張景民 長 號 ● 宋光清 ◎ 邵恆發 陳中昇 低音長號 彭曉昀 低 音 號 ● 宮西純 定 音 鼓 ● 連雅文 ◎ 陳廷銓 打 擊 樂 ● 陳哲輝 陳振馨 楊璧慈 豎 琴 ● 解 瑄 ▲ 許毓婷 鍵 盤 黃時為 管 風 琴 許惠婷 ✽感謝張嘉芳女士擔任本場客席雙簧管首席
侯勇光 黃佳頎 魏苡庭✽ 李京熹 李梅箋 王致翔 黃雅琪 李思琪 呂明美 蘇酩惠 黃筱清 陳弘之✽
梁坤豪 李庭芳 黃衍繹 鍾仁甫 李靖宜 陳猶白 周幼雯 唐鶯綺 王淑宜
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 賴盈帆 賴曉俐 陳卜湄 林欣儀 鄭巧琪 王思懿 方歆婷 曾柏雄
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
孫正茸
李壁任✽
王婉如
曹予勉
王瓊燁
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