演出時間│ 2014年5月4日（星期日）14:30 PM
演出者
指揮│傑拉德．史瓦茲 Gerard Schwarz, conductor
演出地點│ 國家音樂廳 National Concert Hall, Taipei
鋼琴│佛洛里安•烏利希 Florian Uhlig, 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45分鐘
1︱德意志雙峰
演出曲目
Program
路得維希．凡•貝多芬（1770-1827）： 《史提芬王》序曲
LUDWIG VAN BEETHOVEN (1770-1827): König Stephan Overture, Op. 117
路得維希．凡•貝多芬： 第三號鋼琴協奏曲
LUDWIG VAN BEETHOVEN: Piano Concerto No. 3, Op. 37, C minor
I. 燦爛的快板 II. 最緩板 III. 迴旋曲，快板
I. Allegro con brio II. Largo III. Allegro
-- 中場休息 --
-- Intermission --
理查•史特勞斯（1864-1949）：《蛻變》
RICHARD STRAUSS (1864-1949): Metamorphosen, TrV 290
理查•史特勞斯：《唐璜》
RICHARD STRAUSS: Don Juan, Op. 20, TrV 156
演出者介紹
Profiles
指揮│傑拉德．史瓦茲
Gerard Schwarz, conductor
美國指揮家傑拉德．史瓦 茲，現任美國明星管絃樂團、北 卡羅萊納州東岸音樂節音樂總 監，西雅圖交響樂團榮譽指揮。 他曾任紐約莫札特音樂節管絃樂 團、皇家利物浦愛樂、洛杉磯室 內樂團、紐約室內交響、西雅 圖交響樂團之音樂總監。客席指揮過柏林廣播交 響、倫敦交響、蒙特婁交響、新加坡交響、舊金 山交響、明尼蘇達管絃、費城管絃、法國國家交 響、聖馬丁學院等樂團。史瓦茲獲頒的獎項不可 勝數，包括兩座艾美獎、十三次葛萊美獎提名、 六座 ASCAP（美國作曲家、作家與出版商協會） 傑出音樂成就獎、《立體聲評論》、《喝采》古 典音樂評論雜誌的多項讚譽，是史上第一位榮登 《音樂美國》雜誌「年度指揮風雲榜」的美國籍 指揮。史瓦茲灌錄發行的唱片數量繁多，約達 三百五十張，分別由拿索斯、哥倫比亞 / 索尼、 EMI、RCA 等唱片公司發行。
American conductor Gerard Schwarz serves as Music Director of the All-Star Orchestra and the Eastern Music Festival. He is also Conductor Laureate of the Seattle Symphony. His previous positions as Music Director include New York's Mostly Mozart Festival Orchestra, the Royal Liverpool Philharmonic, the Los Angeles Chamber Orchestra, the New York Chamber Symphony as well as the Seattle Symphony. As guest conductor he has collaborated with the orchestras, including the Berlin Radio, London, Montreal, Singapore, and San Francisco Symphonies; the Minnesota and Philadelphia Orchestras; the Orchestre National de France, and the Academy of St. Martin in the Fields. Schwarz has received hundreds of honors and accolades, including two Emmy Awards, 13 GRAMMY nominations, six ASCAP Awards and numerous Stereo Review and Ovation Awards. In addition, he was the first American named Conductor of the Year by Musical America. Schwarz's total discography numbers nearly 350 on labels such as Naxos, EMI, RLPO Classics, Columbia/Sony and RCA.
鋼琴│弗洛里安．烏利希
Florian Uhlig, piano
英國歷史悠久的《音樂評 論》雜誌稱讚烏利希為「年輕一 輩中，極為獨特、極富有想像 力的鋼琴家」。烏利希出生於德 國杜賽朵夫，先是跟隨鋼琴大師 佛耶特旺格學習，之後進入倫敦 英國皇家音樂學院就讀。 1997 年，烏利希初次在倫敦巴比肯音樂廳登台彈奏協 奏曲，成為他職業演奏生涯的起點，迄今他幾乎 彈遍全球最富盛名的音樂廳。烏利希合作過的樂
Florian Uhlig is "one of the most individual and imaginative young pianists of our time", hailed by the British magazine Musical Opinion. Born in Düsseldorf, Uhlig studied with Peter Feuchtwanger and continued his studies at the Royal College of Music and the Royal Academy of Music in London. He made his orchestral debut at the Barbican in London in 1997. Since then he has performed extensively at the world's foremost concert venues. He has appeared with orchestras such as the BBC Symphony Orchestra, the Deutsche Radio Philharmonie, the Dresden Philharmonic, the Munich
2︱德意志雙峰
團包括：英國廣播交響、德國廣播愛樂、德勒斯 登愛樂、慕尼黑交響、巴伐利亞廣播室內樂團、 斯圖加特室內樂團、維也納室內樂團等。烏利希 的演奏錄音由EMI及漢斯勒經典唱片發行。他錄 製過蕭斯塔科維契、舒曼為鋼琴與管絃樂團所作 的鋼琴作品全集，以及舒曼、拉威爾的鋼琴獨奏 曲集。自2008 年起，烏利希擔任約翰尼斯堡莫札 特國際音樂節的藝術總監。
Symphony Orchestra, the Bavarian Radio Chamber Orchestra, the Stuttgart Chamber Orchestra, and the Vienna Chamber Orchestra. He has recorded for EMI and Hänssler Classic, including complete works for piano and orchestra by Shostakovich and Schumann, as well as piano solo by Schumann and Ravel. Since 2008 Florian Uhlig is Artistic Director of the Johannesburg International Mozart Festival.
樂曲解說 從音樂會序曲到交響詩 撰文│陳怡文（國立臺灣師範大學音樂學博士候選人） 十九世紀的德語地區，管絃樂作品發達，如 序曲、交響曲、協奏曲、以及稍晚的交響詩。 十九世紀前半，序曲甚受音樂家青睞，逐漸脫 離原本專用於戲劇或歌劇開演前的功能，成為 音樂會開場曲目，是名符其實的「音樂會」「序 曲」，亦是交響詩前身。 「交響詩」概念，在於以音樂表達「詩 意」，是浪漫主義盛行下的產物。標題性交響曲 雖是開啟交響詩潮流之第一道曙光，但「序曲」 之單一樂章結構，及豐沛的敘述力，才是交響 詩的最直接源頭。世紀中，李斯特確立交響詩 形式；世紀末，理查•史特勞斯將之發揚光大。 十九世紀後半興起的交響詩熱潮，以單樂章之純 粹的、無文字的管弦樂樣態，博得比歌曲、歌劇 及交響曲，具更崇高意義，象徵「詩意」境地， 成為強調詩意世代裡鋒芒畢露的樂類。
路得維希．凡•貝多芬：《史提芬王》序曲 撰文│黃暐婷（國立臺灣師範大學音樂學碩士） 貝多芬除了為他唯一的歌劇《費黛里奧》寫 過四首序曲之外，也曾為慶典活動或戲劇演出創 作序曲，像是著名的《艾格蒙特》和《柯里奧 蘭》，及這次音樂會曲目《史蒂芬王》，最初都 是在戲劇開始前演奏的序曲。 《史蒂芬王》創作於 1811 年，包含一首管 絃樂序曲及九首聲樂曲，現今只有序曲較常被演 出，但仍稱不上是作曲家的重要作品。史蒂芬 國王是匈牙利的第一位國王，德國劇作家科策 布（August von Kotzebue）根據他的事蹟創作戲 劇，並委託貝多芬譜曲。 這首序曲是降E大調，由不同速度的兩個段落 頻繁地交替組成。樂曲從「稍快的行板」開始， 由法國號和小號吹奏的長音拉開序幕，長笛演奏 行板主題。接著進入「急板」，此段具有鮮明的 節奏感，樂團全體以甚強的音量演奏盛大輝煌的
曲調。之後，回到最初的行板，雙簧管吹奏行板 主題。在逐漸加快、漸強之下，氣氛慢慢推向高 潮，而在此段的最後一小節忽然漸弱且漸慢，隨 後立即進入更澎湃的急板。接在全樂團停留的延 長強音之後，單簧管吹奏的行板主題再度響起， 將激昂的情緒舒緩下來，短暫的四小節後又接向 急板，全曲結束在沸騰的氣氛中。
路得維希．凡•貝多芬：第三號鋼琴協奏曲 撰文│李宜芳（真理大學音樂應用學系副教授） 貝多芬的五首鋼琴協奏曲，如同他的三十二 首奏鳴曲般，標誌著作曲家各階段的風格。此曲 題獻給普魯士王子費迪南德（Louis Ferdinand）， 從構思到完成跨越了六、七年之久（約1796年至 1802年）；1803年四月五日，由作曲家本人在維 也納劇院首演。 創作期間，貝多芬曾飽受耳疾折磨，甚至萌 生自殺念頭，但終以勇氣及意志戰勝絕望，迸發 對生命與創作的炙烈情感。這是貝多芬唯一的小 調協奏曲，與其它「C 小調」名曲一樣，是貝多 芬藉以表達最內在本質的調性；樂曲最終結束在 明亮燦爛的 C 大調，手法與其後創作的第五號交 響曲《命運》相同，展現著典型的貝多芬性格： 對命運控訴與抗爭，以堅韌的意志力超越苦痛及 安慰心靈，終而表達對生命的熱愛與光明的渴 求。
理查•史特勞斯：《蛻變》 撰文│蔡永凱（國立臺灣師範大學音樂學博士）
1945年二月十二日，聯軍的炸彈轟炸將德東 大城德勒斯登城區幾乎夷為平地，嚴重斲傷納粹 政權的銳氣，卻也讓德國頓失許多重要的歷史文 化資產。史特勞斯曾慨嘆： 我是如此地沮喪！歌德之家—世界上最重 要的殿堂被摧毀了。我美麗的德勒斯登— 威瑪—慕尼黑，都消失了。
3︱德意志雙峰
同年三至四月，他快速地完成了《蛻變》，一 首「為廿三把獨奏絃樂的練習曲」（ Studie für 23 Solostreicher），包括10把小提琴、5把中提琴、5把 大提琴與3把低音提琴。
Metamorphosen 意為「變形」，如歌德便曾以 「變形」為基礎，發展出生物「變形學」。在音樂 上，「變形」為動機發展的重要手法。以「變形」做 為標題，可見這部作品蘊含著作曲家對於祖國文化的 認同。 樂曲由大提琴與低音提琴開始，隨後由第四、五 中提琴帶出主題：重複四分音符後接下行的連續附點 動機。當同一主題緊接著被第一、二中提琴重述時， 附點的節奏馬上被改成三連音，開始「變形」。一直 到作品最後十小節，低音提琴奏出貝多芬《英雄交響 曲》第二樂章〈送葬進行曲〉的主題，作曲家在樂譜 上標記「以茲紀念！」（In Memorian!），謎語才解 開：原來這部作品的「原型」主題，係出自貝多芬主 題的「變形」。
理查•史特勞斯：《唐璜》 撰文│陳怡文 歌曲、歌劇及交響詩，是史特勞斯作品的三大樂 類。史特勞斯終其一生，陸續創作歌曲，但生命前期 著重於創作交響詩，中後期則逐漸將重心擺在歌劇的 創作。《唐璜》屬史特勞斯早期的交響詩作品，創作 於 1888 年，雖是作曲家第一部首演的交響詩，卻有 著成熟的音樂筆觸。 「唐璜」是位傳說人物，也常是文學家筆下的角 色。史特勞斯寫作《唐璜》的靈感，乃出自 19 世紀 詩人尼可拉斯•萊瑙（Nikolaus Lenau, 1802-1850） 的同名詩作，並將節錄自萊瑙的詩篇，置於《唐璜》 樂譜前。萊瑙筆下的唐璜，是個憤世嫉俗的人，總是 「真心」喜歡每位女性，「求新求變」與「即時享 樂」是他的生存哲學；他的行徑往往傷害深情的女 性，並使他自己深感挫折。諸如此事件一再反覆循 環，唐璜因而不斷累積低落及不滿情緒，終而期待自 己在決鬥中死去。 《唐璜》的曲式與常見的交響詩相同，為奏鳴曲 式，但作品中的主題數目多，關係錯綜複雜。下列主 題是眾多主題中的一段，也是貫串樂曲的主題，於樂 曲開頭即出現。其結構可分成a、b、c、d四個部分； a段又可再細分為α、β、γ三組。彼此各具特色。 作曲家以這些個性各異的音型為基礎，發展出其他主 題，並將之運用於各段落中，傳神刻劃唐璜多個愛情 橋段，及墓園、爭鬥與死亡之意象。史特勞斯以音樂 描述畫面的功力，將交響詩創始者李斯特遠遠拋諸腦 後。
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Program Notes Ludwig van Beethoven: König Stephan Overture, Op. 117 As the Napoleonic wars turned nineteenth-century Europe inside out, members of the nobility and the well-todo found themselves with increasingly fewer locations at which to spend their summer holidays. Because it was in neutral territory, Teplitz (Teplice, now in the Czech Republic) became the destination of choice for numerous Viennese aristocrats and other citizens. It was here, in the summer of 1811, that Beethoven quickly composed the incidental scores to both König Stephan, Op. 117, and Die Ruinen von Athen, Op. 113 while taking "the cure" under doctor's orders. Both works had been commissioned for the opening of the new imperial theater in Pest on February 10, 1812. The occasion was patriotic, and though König Stephan is ostensibly a tribute to an earlier Hungarian king (the work's subtitle is "Hungary's First Benefactor"), it actually pays homage to the then-current Austro-Hungarian Kaiser, Franz. The overture, in the key of E flat major, is the only section of König Stephan that is still regularly performed. Marked Andante con moto -- Presto, it opens with a brief brass outburst that initiates a slow introduction. The main theme is a syncopated, arpeggiated tune that almost immediately dissolves into a transition to a new key. An arching melody in which each note is of equal duration heralds the second theme group; the closing theme is similarly built of equal note values. Typically, overtures in sonata-allegro form forego a repeat of the exposition, and König Stephan is no exception, though a return of the introductory material momentarily suggests that a return of the exposition will follow. Woodwinds initiate the development with part of the first theme, and an exhilarating dynamic expansion from pianissimo abruptly halts at total silence before the recapitulation. A further key change marks the beginning of a coda that further develops themes from all three parts of the exposition. The women's choruses in the body of the work owe a debt to similar sections in Haydn's oratorio The Seasons (1799 - 1801). Most curious to twentieth-century listeners are the melodramas of numbers 5, 7, and 8, in which spoken dialogue is accompanied by the orchestra -- a common form of entertainment in eighteenth-century Austria that was only occasionally revisited in subsequent centuries. ©2013 All Music
4︱德意志雙峰
Ludwig van Beethoven: Piano Concerto No. 3, Op. 37, C minor The C minor Piano Concerto, which recalls in key and conception, as well as in its opening theme, the great C minor concerto of Mozart, was first performed in Vienna by Beethoven in one of those impossibly long programmes which he seemed to favour. In this case the oratorio Christus am Oelberg (Christ on the Mount of Olives) was given, with the first two symphonies, rehearsed by an increasingly disgruntled orchestra from eight o'clock in the morning, until the composer's patron, Prince Karl Lichnowsky, called for a break and provided picnic refreshments. Beethoven's pupil Ferdinand Ries left an account of this first performance of the concerto, in 1803, and of his own appearance as soloist in the concerto later in the same year, under Beethoven's nominal direction. It was for Ries that the solo piano part was first committed to paper. The imposing first movement, with its impressively strong first theme and contrasting subject of calm intensity are announced first by the orchestra, before the entry of the soloist with a version of the two themes on which the movement is built. The slow movement has one of those themes of protracted beauty of which Beethoven was a master. The E major theme is introduced first by the soloist, who opens the final rondo with a principal melody of bold outline. The movement is broadly conceived and contains striking moments of contrapuntal invention and a rapid closing section that transforms the two main themes. © 2013 Naxos Digital Services Ltd
Richard Strauss: Metamorphosen, TrV 290 Strauss dated the beginning of the composition of Metamorphosen to 13 March 1945 and its completion to 12 April. Described as a study for 23 solo strings, ten violins, five violas, five cellos and three double basses, it was dedicated to Paul Sacher and the Zürich Collegium Musicum who gave the first performance at the Zürich Tonhalle on 25 January 1946. The period was one of the greatest difficulty, not only in the material shortages and the problems of the occupation of Germany by foreign powers, but one of moral suffering with the destruction of many of the great monuments of German culture, the opera houses and theatres, the Goethe house in Frankfurt and the historic city of Dresden. To Strauss it must have seemed that the world he had known had been destroyed. It was from his reading of Goethe that Strauss drew inspiration for Metamorphosen, its title an allusion to Goethe's Die Metamorphose der Pflanzen and Die Metamorphose der Tieren, his German answer to the De rerum natura of Lucretius. It has been suggested that Metamorphosen, not in the Lisztean sense of the metamorphosis of a theme, arose from the idea of setting a late poem by Goethe, whose works Strauss was reading again, taken from Zahme Xenien, fourteen lines starting "Niemand wird sich Selber kennen / Sich von seinem Selbst-
Ich trennen" No one can know himself / separate himself from his very self ). Metamorphosen starts with the cellos and basses before the fourth and fifth violas announce the theme, a reminiscence of his reworked Trauer um München (Lament over Munich) and a clear reference to the Funeral March from Beethoven's Eroica Symphony, a theme heard, prefixed by the words In Memoriam, from the lower strings in the closing bars of the work. The viola theme seems about to be repeated, but instead a new theme is introduced by the first and second violas with the first cello. A change to G major allows the appearance of a new theme, marked etwas fliessender. These themes, with other motifs, variously treated, provide the substance of the work. The opening Adagio is heard again in a form of recapitulation, followed by the principal motto theme and the theme that followed from it. The third theme, ‘allmählich etwas fliessender’, returns, but breaks off. After a silence, the opening material starts the coda, leading finally to the motto theme, accompanied by the Eroica theme, molto lento, ending the major achievement of Strauss's old age. © 2013 Naxos Digital Services Ltd
Richard Strauss: Don Juan, Op. 20, TrV 156 The symphonic poem Don Juan takes for its hero not so much the figure dramatised by Tirso de Molina in the seventeenth century or of Mozart and Lorenzo da Ponte in the eighteenth as Lenau's hero, a man of very different character, an introspective lover of beauty, who avoids satiety and boredom, the blunting of his taste, by constant change. This first important essay by Strauss in the form of the symphonic poem was written in 1888. Lenau's Don Juan, published posthumously in 1851, is incomplete, but records the amorous exploits of its hero and his final disillusionment, after which he allows himself to be killed by the son of the man he has murdered, father of a woman he had wronged, the Commendatore of Mozart's opera Don Giovanni. The theme that represents Don Juan himself, a motif that is to recur, is easily identifiable. Attempts to suggest precise episodes in the hero's amatory career with the secondary themes is possibly beyond the composer's original intentions, which seem to have been of a more general kind. The work is, in fact, no naïve piece of programme music, although three of the Don's conquests seem to make their appearance, to be recalled after a carnival scene. The final death of the protagonist takes place at night in a churchyard, a moment for him of final resignation. © 2013 Naxos Digital Services Ltd
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電子問券請掃描， 支持NSO愛地球。
5︱德意志雙峰
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, 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 陳逸農 賴佳奇
郭昱麟 卓曉青 林孟穎
林基弘 方俊人 李家豪
侯勇光 黃佳頎 蘇品嘉✽
梁坤豪 李庭芳
第二小提琴
● 陳怡茹 ◎ 孫正玫 顧慈美 于爾恩 蔡孟峰 洪章文
吳怡慧 康信榮 陳偉泓
李京熹 李梅箋 王致翔
黃衍繹 鍾仁甫
中 提 琴
● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 謝君玲 劉國蘭 呂孟珊 蔡秉璋 陳映蓁✽
黃雅琪 李思琪
李靖宜 陳猶白
大 提 琴
● 熊士蘭 ◎ 連亦先 陳怡婷 林宜女閒
韋智盈 黃日昇
呂明美 蘇酩惠
周幼雯 唐鶯綺
低音提琴
● 傅永和 ○ 周春祥 連珮致 蔡歆婕
王淑瑜 陳美君✽
黃筱清
王淑宜
長 笛
● 安德石 ◎ 宮崎千佳
李 浚
短 笛 雙 簧 管 英 國 管
林麗玥
楊舒婷 孫正茸
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
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
豎 琴
● 解 瑄 ▲ 許毓婷
鍵 盤
王婉如
曹予勉
高霆翰 陳振馨
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
鐘美川 ● 王怡靜 ◎ 阮黃松
執行長
楊璧慈
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