20140516 by NSO國家交響樂團National Symphony Orchestra

主辦單位主要媒體

命運德意志 The Greatness of Beethoven

2014年5月15日（星期四）7:30PM 台中中興堂 Chung Hsin Hall, Taichung

2014年5月16日（星期五）7:30PM 國家音樂廳 National Concert Hall, Taipei 指鋼

揮│根特‧赫比希 Günther Herbig, conductor 琴│亞歷山大‧薩洛 Alexandre Tharaud, piano

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位

主要媒體

指定住宿

特別感謝

電子問券請掃描，支持NSO愛地球。

曲目 PROGRAM

上半場約40分鐘下半場約35分鐘

路得維希．凡．貝多芬（1770-1827）：第三號《蕾歐諾拉》序曲

摩利斯‧拉威爾（1875-1937）：G大調鋼琴協奏曲 I.

輕快的

II.

很慢的慢板

III. 急板

～中場休息～

路得維希．凡．貝多芬：第五號交響曲 I.

燦爛的快板

II.

稍快的行板

III. 快板 IV. 快板

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=201405，並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。

LUDWIG VAN BEETHOVEN (1770-1827): Leonore Overture No. 3, Op. 72b

MAURICE RAVEL (1875-1937): Piano concerto, G major

I. Allegramente

II. Adagio Assai

III. Presto

---Intermission---

LUDWIG VAN BEETHOVEN: Symphony No. 5, Op. 67, C minor

Allegro con brio

II. Andante con moto

III. Allegro

IV. Allegro

For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://serv.lib.ntch.org.tw/related_catalog/index.asp?q=201405

演出者簡介

指揮 conductor

根特‧赫比希 Günther Herbig 「樂團在赫比希的帶領下演奏得非常壯麗動人，在舒曼的第四號交響曲中，他以一種自律動人地演出作了既聰明又溫暖適意的詮釋！」 —《太陽報》「如果你認為那些偉大指揮家的黃金年代已經不再，最好三思一下。赫比希昨晚指揮柴科夫斯基的交響曲《悲愴》充滿了高貴、激情與力量的詮釋，讓我聯想起巴畢羅里與楊頌斯。」 —《曼徹斯特晚報》

赫比希在1984年從東德移居美國之後，開始在歐洲和北美洲地區快速活躍起來。期間，他也親臨亞洲20多次，並與東京的幾個知名樂團，以及香港、新加坡和台灣等地樂團合作演出。在19841994年間，他先後擔任了底特律交響樂團和多倫多交響樂團音樂總監的職務。赫比希在中歐開始了他的音樂教育，事師赫曼．阿本德羅斯、赫伯．馮．卡拉揚與赫曼．舍爾興。他的音樂事業則是開始於東德的威瑪與波茨坦。1972年，他成為德勒斯登愛樂管絃樂團首席音樂總監；1977-1983年間，他則轉任柏林交響樂團首席音樂總監。1979年轉赴西歐的他，受邀擔任英國國家廣播公司愛樂管絃樂團的首席客座指揮。很快地，他開始受邀與英國主要的樂團合作，包括倫敦交響、倫敦皇家愛樂、倫敦愛樂、巴黎管絃、以色列愛樂，以及其他主要城市的知名樂團等等。在美國，他的音樂事業首先開始於受邀擔任達拉斯交響樂團首席客座指揮，隨後並於各大城市與多個知名樂團合作，足跡遍至紐約、芝加哥、波士頓、費城、克里夫蘭、舊金山、洛杉磯、多倫多、巴爾的摩等地。在1984年離開東德之前，他與東德各主要樂團合作錄製了將近40張專輯，其中包括海頓和布拉姆斯的交響曲系列。他的近期錄音，包括了與英國國家廣播公司愛樂管絃樂團合作錄製貝多芬第三號交響曲、第五號交響曲、舒伯特第八號交響曲、布拉姆斯第一號交響曲、馬勒第五號交響曲、理查．史特勞斯《英雄的生涯》交響詩，以及和其他倫敦的管絃樂團所一起合作的錄音作品。在 2001-2006年擔任沙爾布魯克廣播交響管絃樂團首席指揮期間，他也和樂團一起錄製了馬勒與蕭斯塔科維契的重要交響曲作品。在2008年1月，赫比希接受國家交響樂團的邀請，擔任樂團2008-2010年樂季的藝術顧問與首席客座指揮。在和國家交響樂團合作的二年裡，不僅合作演出挑戰性高的經典作品，並以NSO Live品牌實況錄音發行馬勒第六號、第九號及布魯克納第九號交響曲。

''The orchestra under Herbig played magnificently...[i]n the Schumann Fourth Symphony, Herbig received beautifully disciplined playing for an interpretation that was as warm as it was intelligent...'' — The Sun ''If you thought the days of the great conductors were all in the past, then think again. Günther Herbig's presentation of the Pathetique Symphony of Tchaikovsky last night was one of nobility, emotion and power, the sort I remember from Barbirolli and Jansons.'' — Manchester Evening News Günther Herbig divides his activities between Europe and North America. His conducting career has been equally distinguished on both continents. He has also visited Asia nearly 20 times working with several Tokyo orchestras and those in Hong Kong, Singapore and Taiwan. In 1984 he moved from East Germany to the United States and served for ten years as Music Director first of the Detroit and later of the Toronto Symphony Orchestra. Herbig's musical training took place in Central Europe, where he studied with Herman Abendroth, Herbert von Karajan and Hermann Scherchen. He began his career with appointments in the East German cities of Weimar and Potsdam. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Berlin Symphony Orchestra from 1977 to 1983. In Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979. Soon he was invited to conduct such major ensembles as the London Symphony, the Royal Philharmonic London, the Philharmonia in London, the Orchestre de Paris, the Israel Philharmonie, and many others in major cities. In the USA he started in 1979 as Principal Guest Conductor of the Dallas Symphony and has since conducted the orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco, Los Angeles, Toronto, Baltimore, and many others. He toured the US several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on an European tour. In 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Japan, Singapore and Taiwan. Herbig made nearly 40 recordings with the leading East German orchestras, including cycles of Haydn and Brahms symphonies before leaving East Germany in 1984. His most recent releases include Beethoven Symphony Nos. 3 & 5, Schubert Symphony No. 8, Brahms Symphony No. 1, Mahler Symphony No. 5 and Strauss Ein Heldenleben with the BBC Philharmonic, and some other recordings with London Orchestras. From 2001 to 2006 he was the Chief Conductor of the Saarbrücken Radio Symphony Orchestra, with which he also recorded symphonies of Mahler and Shostakovich. Herbig was the Artistic Advisor and Principal Guest Conductor of the Taiwan Philharmonic (NSO) from 2008 to 2010. With the NSO, he recorded Mahler's Symphonies Nos. 6 & 9 and Bruckner's Symphony No. 9.

鋼琴 piano

亞歷山大．薩洛 Alexandre Tharaud 亞歷山大．薩洛最新推出的鋼琴專輯《屋頂上的牛》( 由維京/ EMI古典唱片發行)，重溫了法國「狂熱年代」(Années Folles) 時期，巴黎最夯的夜店所流行的音樂風格，在音樂圈刮起了一陣旋風。薩洛曾與德國、英國、法國、加拿大、日本、台灣、新加坡等地的交響樂團合作，並與布漢吉耶、拉巴迪、德布戈斯、富爾內、普萊特、布魯涅、閔可夫斯基、德內夫、弗洛爾等指揮家合作。薩洛不僅精通法國經典作品，亦擅長演奏現代法國作曲家如佩柯、浦松等人的當代鋼琴作品。2012年12月，他在蘇黎世音樂廳為浦松的鋼琴協奏曲舉行世界首演。2012年5月，薩洛首演了名為《鋼琴歌曲》的節目，收錄了一九六○至八○年代流行歌曲的新編鋼琴作品。 Alexandre Tharaud's most recent CD for Virgin/EMI Classics, Le Boeuf sur le Toit, celebrating music making at the famous Cabaret in Paris during the Années Folles, has taken the music world by storm. Alexandre continues to perform worldwide with international orchestras in Germany, UK, France, Canada, Japan, Taiwan, Japan and Singapore, under the baton of Lionel Bringuier, Bernard Labadie, Rafael Frühbeck de Burgos, Jean Fournet, Georges Prêtre, Stefan Blunier, Marc Minkowski, Stéphane Denève and Claus Peter-Flor. His knowledge of French music extends beyond the main repertoire and includes contemporary composers such as Thierry Pécou and Gérard Pesson, whose concerto he premiered in December 2012 with the Tonhalle Orchestra Zurich. In May 2012, he premiered a new programme calld Pianosong, a selection of contemporary works composed after popular songs from the 1960s to 1980s.

樂團簡介

自信而精銳國家交響樂團 National Symphony Orchestra 「……在呂紹嘉的指揮下，我聽到令人信服的演出，（《修女安潔莉卡》）陶醉的甜美，煥發內在的力量和強韌的信念，絃樂有著閃耀如陽光般的光芒，木管樂器合唱著如管風琴般和諧的樂音，而銅管圓潤毫不刺耳。」 ─奧地利《新標點》2012/04 「樂團一直以飽滿的融和、精緻的質感演奏，似乎全然自在的悠遊於惡魔般困難的音樂裡。」 ─《美國唱片指南》雜誌 2011/07 「馬勒第五的第二和第三樂章處理得特別細膩，波濤澎派之中韻律感十足，呂紹嘉和樂手們的互動幾乎到了水乳交融的的境界。(他與)台灣愛樂在廣州的演出，散發出來的吸引力，是一種對藝術美好的追求。」 ─《亞洲週刊》2010/12 「馬勒第十號交響曲的慢板是很棒的演出，呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素…. NSO的荀貝格改編自布拉姆斯G小調絃樂四重奏的管絃樂演奏則是光芒四射，叫人嘆為觀止。」 ─英國《留聲機》雜誌 2009/09 交響樂團在每個國家有不同的形成背景，在沒有西方管絃樂傳統的台灣，過去樂團都以文化教育體系營運。經過二十多年耕耘，我們可以驕傲的說，國家交響樂團（NSO），從交響樂、室內樂到歌劇，是一自信、精銳，有文化意識的台灣藝術代表團隊。國家交響樂團的前身「聯合實驗管絃樂團」，是教育部於1986年集合優秀新生代音樂家，以打造頂尖交響樂團為目標所成立。2005年成為國立中正文化中心附設團隊，2014年4月起改隸國家表演藝術中心，以「台灣愛樂」立足國際。歷任常任指揮為Gerad Akoka、Urs Schneider及音樂總監包括許常惠、張大勝、林望傑、簡文彬等人。近十年來NSO銳意求變，大步朝專業、開放、勇於創新的職業樂團發展， 2010年八月，旅德知名指揮呂紹嘉接任NSO音樂總監，更將樂團打造為亞洲地區最具指標性樂團之一。樂團現有96名團員，每年樂季演出約80場次。在前任總監簡文彬任內（2001～2007）以演出作曲家全套交響樂的「發現系列」為系統拓展曲目，更以歌劇、「永遠的童話」等跨界製作與國內外劇場菁英合作，開創多項國內先例。2006年全本《尼貝龍指環》製作，更寫下亞洲歌劇演出里程碑。2008～2010 樂季，前底特律及多倫多交響樂團音樂總監赫比希（Günther Herbig）成為NSO藝術顧問暨首席客座指揮，持續為NSO訓練出堅實的演奏實力與動人音樂性；其任內之駐團作曲家及「NSO Call For Score」計畫，提供國人作品更多發表空間，並進一步提升NSO的國際樂壇聲望。自2010年起，在音樂總監呂紹嘉擘劃下，以多元化主題貫穿樂季，呈現給聽眾智性與感性兼具，整合與對比並存的廣博曲目，本著「精緻、深刻、悸動」的信念琢磨出樂團多變細膩的音色與深刻撼人的音樂表現。不僅積極拓展NSO演奏近代管絃樂作品的能力，從新維也納樂派、20世紀法國到俄國近代皆有斐然成績，在致力於鞏固精鍊古典經典名作之同時, 也持續委託國人管絃樂創作之演出、錄音。 20多年來與NSO合作過的客席指揮家：馬捷爾、巴夏、潘德瑞茨基、史拉特金、羅斯楚波維奇、柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾等；及聲樂家芙雷妮、柯楚芭絲、帕瓦洛帝、多明哥、卡瑞拉斯、庫拉、特菲爾、波伽利、吉他大師耶佩斯、鋼琴家傅聰、拉羅嘉、提博德、魯迪、賀夫、巴弗傑、寇瓦謝維契、齊柏絲坦、洛堤、歐森、白建宇、拉貝克姐妹、鄧泰山等；大提琴家馬友友、顧德曼、麥斯基、卡普頌、王健、伊瑟利斯、穆勒-修特、嘉碧妲；小提琴家林昭亮、胡乃元、夏漢、明茲、列賓、希拉蕊•韓、宓多里、絲凱德、林以信、哈格納；擊樂家葛蘭妮、葛魯賓格及其他器樂家莎賓•梅耶、巴伯羅柯、弗黎崔希等逾七百位音樂家。 7

攝影 Raymond Huang

National Symphony Orchestra

“The Strings had an incandescent sheen, the woodwind choir sounded as balanced as a finely turned organ, the brass never blared.” - Der neue Merker 2012/04 “The orchestra played at all times with a richly blended, cultured quality and seemed completely at ease with the friendly difficult music...” - American Record Guide 2011/07 “Shao-Chia Lü handled the second and third movements of Mahler’s No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic sense, rendering a powerful delivery... Lü and Taiwan Philharmonic’s concert in Guangzhou epitomized the pursuit of artistic per fection.” - Yazhou Zhoukan (Asia Week) 2010/12 “There was also a convincing performance of the Adagio from Mahler’s Tenth Symphony, Lü’s carefully calibrated rendering capturing the angst...The second programme [featured] an utterly dazzling performance of Brahms´ Piano Quartet in G minor arranged by Schoenberg.” - Gramophone 2009/09

Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became an artistic affiliate of the National Performing Arts Center in April 2014. Led by renowned conductor Shao-Chia Lü as its 5th music director starting August 2010, the NSO has increased the country’s cultural richness and music educational strength throughout Taiwan. The NSO with 96 members presents a 40-week musical season of approximately 70 concerts/chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Viviane Hagner, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Evelyn Glennie, Martin Grubinger, Louis Lortie, Kun-Woo Paik, Stephen Hough, Stephen Kovacevich, Katia & Marielle Labèque, Sabine Meyer, Reinhold Friedrich and many others. The NSO has extended its artistic reach, involving in theater and opera productions, such as working with Lin Hwai-min, the world-renowned choreographer and founder of Taiwan’s Cloud Gate Dance Theatre, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, and Hans-Peter Lehmann. In addition to its record-breaking semi-stage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009), and Madama Butterfly (Opera Australia, 2012) as well as in-house production Die Walküre (2013).

樂曲解說

貝多芬的中期創作撰文│張皓閔（國立臺灣師範大學音樂學碩士）

十九世紀以來，研究者習於將貝多芬的創作分成三個時期：1802年之前的創作主要承襲維也納古典傳統；1803至1812年的中期創作確立其個人風格；1813年之後的作品則變得內省、深刻而崇高。貝多芬大多數的管絃樂作品，均屬於中期創作，當中包含許多大眾最為熟悉的作品，如：《英雄》（ Eroica ）、第五號、《田園》（ Pastorale ）和第七號交響曲，小提琴協奏曲和《皇帝》（ Emperor ）鋼琴協奏曲，及《蕾歐諾拉》、《柯里奧蘭》（ Coriolan ）和《艾格蒙》（Egmont ）序曲等等。

路得維希．凡．貝多芬：第三號《蕾歐諾拉》序曲撰文│張皓閔

《費黛里歐》（ Fidelio , Op. 72）完成於1805年，是貝多芬唯一的歌劇。因首演的失敗，貝多芬曾於1806年和1814年兩度大幅修改並重新上演。修改的過程中，貝多芬也一再重寫序曲：首演用的序曲今日慣稱「第二號《蕾歐諾拉》序曲」（Op. 72a）；1806年版搭配的則是「第三號《蕾歐諾拉》序曲」（Op. 72b）；另有一首「第一號《蕾歐諾拉》序曲」（Op. 138）過去以為是首演前遭捨棄的版本，後經研究，認為更可能是1807年為了布拉格的演出所作；最後，1814 年定稿的序曲，名為「《費黛里歐》序曲」。蕾歐諾拉係劇中主角的本名，費德里歐則是她女扮男裝時用的化名。四首序曲當中，第三號《蕾歐諾拉》序曲可視為第二號的修訂版，兩者的主要結構和主題運用大致相同，惟第三號補上了第二號故意省略的再現部，且在細節上有大量的改動，使音樂更加緊湊。第一號和《費黛里歐》序曲，則各自是全新的創作。三首《蕾歐諾拉》序曲都採用第二幕弗羅列斯坦（Florestan）的詠唱調〈在這生命的春日裡〉（In des Lebens Frühlingstagen）做為最重要的主題素材；此外，第二號和第三號還引用了第二幕進入終曲（Finale）之前宣告大臣（Minister）到臨的號角聲。到了1814年，對於歌劇序曲的角色和功能，貝多芬的想法顯然有了改變：《費黛里歐》序曲的主題素材和其後的歌劇全無關聯。第三號《蕾歐諾拉》被公認是四首序曲當中最宏偉精彩的一首。然而，因為序曲之後是個相當輕鬆的開場，不那麼厚重的《費黛里歐》序曲，更適合為這部歌劇揭開序幕。從十九世紀末以來，演出《費黛里歐》時出現一項作法：於第二幕終曲前演奏第三號。如此一來，第三號不但成為剛結束的黑牢場景的回顧，其歡慶的尾聲（Coda）也預示著即將到來的勝利。這項作法經馬勒（Gustav Mahler, 1860-1911）確立後，蔚為流行，直到廿世紀末才漸漸消失。

摩利斯‧拉威爾：G大調鋼琴協奏曲撰文│李宜芳（真理大學音樂應用學系副教授）

此曲作於1929至1932年間，與拉威爾另一協奏曲名作《左手鋼琴協奏曲》的創作同時進行。原是作曲家為了自己的巡迴演出所寫，後來因健康狀況不佳，改由鋼琴家瑪格麗特•隆（Marguerite Long）於1933年一月十四日在巴黎首演，作曲家本人擔任指揮。與《左手鋼琴協奏曲》嚴峻憂鬱的性格相對比，此曲的原始構想是一首明亮愉快的「嬉遊曲」（Divertissment），一首「展現『協奏曲』一詞真正意義」的作品。拉威爾本人曾表示，此曲師法莫札特與聖賞斯協奏曲的精神，慢板樂章則以莫札特的單簧管五重奏為範本。對他而言，協奏曲音樂的本質應是輕鬆、明亮的，不須刻意追求深度或戲劇效果的展現。基於上述的構想與理念，此曲不但長度簡潔，樂團編制亦相當輕巧：木管採兩管編制，銅管只用了兩支法國號、一支小號和一支長號，絃樂亦刻意限縮人數。樂曲充滿特殊效果：鋼琴部份的敲擊與滑奏音型、各種打擊樂器的運用（使用了三角鐵、小鼓、鈸、大鼓、鑼、木魚、鞭子等樂器）、銅管樂器的花舌吹奏、木管樂器超高音域的特殊音色等，都為樂曲帶來獨樹一格的色彩與趣味。第一樂章融入了西班牙巴斯克地區民謠旋律、以及美國作曲家蓋希文爵士風格的影響；第二樂章優美抒情而充滿懷舊風的旋律詠唱，被譽為廿世紀音樂的絕美時刻；第三樂章華麗而燦爛，同樣展現爵士音樂的影響，不斷驅動的音樂脈搏與精彩的切分節奏將樂曲帶向高潮。拉威爾以超凡的品味和精巧的技法實踐了他對於協奏曲的理念，創作出這闕融合了古典精神、現代技法、法式品味與多元趣味的雋永名作。

路得維希．凡．貝多芬：第五號交響曲撰文│張皓閔

1804年，忙於歌劇《費黛里歐》之創作的同時，貝多芬已開始構思他的第五和第六號交響曲；兩部作品於1808年先後完成，並安排在同一場音樂會首演。這場極具歷史意義的音樂會，舉辦於1808年十二月廿二日的維也納河畔劇院（Theater an der Wien）。貝多芬為這麼個得來不易、專屬於他的夜晚，安排了份量驚人的曲目──上半場：1. 第六號交響曲《田園》（Op. 68）、 2. 詠唱調〈啊！背信者〉（Ah! perfido, Op. 65）、3. C大調彌撒曲（Op. 86）的〈光榮頌〉（Gloria）、4. 第四號鋼琴協奏曲（Op. 58）；下半場：1. 第五號交響曲、2. C大調彌撒曲的〈歡呼歌〉（Sanctus）和〈讚美歌〉（Benedictus）、3. 鋼琴幻想曲、4. 給鋼琴、合唱和管絃樂的幻想曲（Fantasie für Klavier, Chor und Orchester, Op. 80）。除詠唱調和彌撒曲外，其他曲目皆為首演。音樂會由作曲家本人兼任指揮與鋼琴獨奏。曲目過重與排練不足，讓這場「歷史盛會」以失敗收場。不過，隨著後續的演出與樂譜的出版，人們逐漸發現第五號交響曲的獨特與偉大。1810年七月，霍夫曼（E. T. A. Hoffmann, 17761822）發表專文，詳盡剖析這部「大師最重要的作品」，點出造就作品獨特性的各項突出設計。例如：第一樂章沒有優美的主題旋律，僅依靠一個簡單的四音動機及其各種變化構築而成；兩個中間樂章均以巧妙的調性轉換帶動情緒起伏；第三樂章末尾，作曲家運用不斷重複的動機和微妙的和絃變化，創造出一個令人屏息的過渡樂段，累積巨大的能量，迎向輝煌的終樂章。

Ludwig van Beethoven: Leonore Overture No. 3, Op. 72b There are no fewer than four separate overtures for Beethoven's only opera Fidelio. This unusual state of affairs can be attributed to the extremely long and convoluted evolution of the opera, which actually began life as Leonore, the first version of which was staged in 1805, when Napoleon's troops were overrunning Vienna. The work concerns the Spanish nobleman Florestan, who has been wrongfully imprisoned by his enemy Don Pizarro. Leonore, Florestan's wife, is keen to help, and disguises herself as Fidelio, and wins the trust of the jailer Rocco, who employs her (believing Fidelio to be a man) as his assistant. Also unaware of the subterfuge, and entirely convinced by the disguise, Rocco's daughter Marzelline falls in love with Fidelio, and their match is encouraged by Rocco, though her real suitor Jaquino is understandably confused. In any event, Fidelio wins the confidence of her employer, and is finally allowed to see the imprisoned Florestan. Pizarro arrives at the jail, resolved to kill Fidelio, but he is prevented and all the prisoners are freed. It is not clear when the first two Leonore overtures were written, but Beethoven quickly suppressed No. 1; it was not published until 1838, long after his death. Leonore No. 2 (1805) is much longer, and like No. 3, it conveys the themes of the opera, and suggests its overall dramaturgy in microcosm. The Leonore Overture No. 3, Op. 72, was composed in 1806, and is much the most successful of the three Leonore overtures. One important distinction between the Leonore overtures and the Fidelio overture of 1814 is that the later work makes no attempt at a prĂŠcis of the whole opera, but instead it provides the powerful curtain-raiser that Beethoven by now sensed was needed to properly complete the piece. Mendelssohn was the first conductor to program all four overtures together, during a concert at the Leipzig Gewandhaus given in 1840. Leonore No. 3 opens with a solemn slow introduction, entirely fitting given the lofty themes of personal freedom under review in the opera. The main C major allegro begins softly, in unison on the strings, but develops into a magnificent heraldic hymn to liberty. Further points to note are the two off-stage trumpet fanfares heard in the central development section, the second sounding closer, thus signifying the moment of approaching release. The coda begins with a spectacular rising passage for the violin section, a virtuoso ensemble device that was again designed to make the climax of the overture prefigure the ultimate outcome of the opera as decisively as possible. ÂŠ2013All Music

Maurice Ravel: Piano Concerto, G major The two piano concertos of Ravel, the second, for left hand, commissioned by Paul Wittgenstein, brother of the philosopher, who had lost his right arm in the war, were written between 1929 and 1931. The G major Concerto, at first conceived as a Basque Rhapsody, was dedicated to Marguerite Long, who was the soloist in the first performance at the Salle Pleyel in Paris on 14th January 1933. Originally conceived as a Divertissement for Ravel's own concert use, it is relatively lightly scored, although the percussion section includes triangle, drum, cymbals, side-drum, gong, wood-block and whip. Ravel claimed to have taken the slow movement of Mozart's Clarinet Quintet as a model for his Adagio, and for the composition of the whole work, which took him some time, made a close study of scores of concertos by Mozart and Saint-SaĂŤns. The 12

jazz element of the first movement, with suggestions of Gershwin, yet fully absorbed into Ravel's own idiom, leads to the beautiful and nostalgic piano solo that starts the second movement. The motor rhythms of the last movement and the lively syncopations complete a concerto of elegance, brilliance and wit. ÂŠ 2013 Naxos Digital Services Ltd

Ludwig van Beethoven: Symphony No. 5, Op. 67, C minor Beethoven worked on the Fifth Symphony for more than four years, completing it in 1808, and introducing it on December 22 of that year at what must have been one of the most extraordinary concerts in history. The marathon program included the Fifth and Sixth Symphonies; the Choral Fantasy, Op. 80; the Fourth Piano Concerto; and parts of the Mass in C. Vienna was in the grip of exceptionally cold weather, the hall was unheated, and the musicians woefully under-prepared. As Schindler noted, "the reception accorded to these works was not as desired, and probably no better than the author himself had expected. The public was not endowed with the necessary degree of comprehension for such extraordinary music, and the performance left a great deal to be desired." Following early indifference, the public only gradually began to come to terms with the Fifth. One of its earliest proponents, the poet and composer E. T. A. Hoffmann wrote, "How this magnificent composition carries the listener on and on in a continually ascending climax into the ghostly world of infinity!...the human breast, squeezed by monstrous presentiments and destructive powers, seems to gasp for breath; soon a kindly figure approaches full of radiance, and illuminates the depths of terrifying night." In his Howard's End, E. M. Forster writes of the work, suggesting that it satisfies "all sort and conditions." The characters of Helen and Tibby know the work well, the latter even describing "the transitional passage on the drum" before the finale. That Forster dwelt at such length on the work shows the extent to which it had become absorbed into the Romantic consciousness. Hermann Kretzschmar wrote of the "stirring dogged and desperate struggle" of the first movement, one of the most concentrated of all Beethoven's symphonic sonata movements. It is derived almost exclusively from the rhythmic cell of the opening, which is even felt in the accompaniment of the second subject group. There follows a variation movement in which cellos introduce the theme, increasingly elaborated and with shorter note values at every reappearance. A second, hymn-like motif is heard as its counterfoil. The tripartite scherzo follows; the main idea is based on an ominous arpeggio figure, but we hear also the omnipresent "Fate" rhythm, exactly as it is experienced in the first movement. The central section, which replaces the customary trio, is a pounding fugato beginning in the cellos and basses, and then running through the rest of the orchestra. Of particular structural interest is the inter-linking bridge passage which connects the last two movements. Over the drumbeat referred to by Forster's Tibby, the music climbs inexorably toward the tremendous assertion of C major triumph at the start of the finale. The epic grandeur of the music, now with martial trombones and piccolo added (the Fifth also calls for contrabassoon), has irresistible drive and sweep, though that eventual victory is still some way off is suggested by the return of the ominous scherzo figure during the extended development. ÂŠ2013All Music

國家交響樂團

音樂總監呂紹嘉

執行長

桂冠指揮根特‧赫比希樂團首席吳庭毓李宜錦樂團副首席鄧皓敦助理指揮

張尹芳

第一小提琴 ○ 陳逸群郭昱麟林基弘侯勇光梁坤豪陳逸農卓曉青方俊人黃佳頎李庭芳賴佳奇林孟穎李家豪藍胤萱✽ 第二小提琴 ● 陳怡茹 ◎ 孫正玫吳怡慧李京熹黃衍繹顧慈美于爾恩康信榮李梅箋鍾仁甫蔡孟峰洪章文陳偉泓王致翔中提琴 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩黃雅琪李靖宜謝君玲劉國蘭呂孟珊李思琪陳猶白蔡秉璋羅培菁✽ 大提琴

● 熊士蘭 ◎ 連亦先 ○ 韋智盈呂明美周幼雯陳怡婷林宜女閒黃日昇蘇酩惠唐鶯綺

低音提琴 ● 傅永和 ○ 周春祥王淑瑜黃筱清王淑宜連珮致▓ 蔡歆婕王暘琳周芳如長笛

● 安德石 ◎ 宮崎千佳李浚吳媖蕎✽

短笛鐘美川雙簧管

● 王怡靜 ◎ 阮黃松林麗玥楊舒婷李立品✽

英國管李明怡單簧管 ● 朱玫玲 ◎ 張凱婷朱偉誼孫正茸李昱柔✽ 李璧任✽ 低音管

● 簡凱玉 ◎ 陳奕秀高靈風黃晟育✽

倍低音管簡恩義法國號

● 劉宜欣 ○ 黃任賢國田朋宏王婉如曹予勉

小號

● 宇新樂 ◎ 陳長伯張景民李珊

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

鍵盤

▲ 許毓婷

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

▲樂季合約人員劃底線者為本場協演人員＊NSO樂團學苑學員

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珊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 ▓留職停薪

邱瑗

National Symphony Orchestra

Music Director SHAO-CHIA LÜ Conductor Laureate GÜNTHER HERBIG Concertmaster TING-YU WU I-CHING LI Associate Concertmaster HAO-TUN TENG Assistant Conductor YIN-FANG CHANG

Executive Director

JOYCE CHIOU

Manager, Planning & Production Manager, PR & Development

SARAH TU PAUL WANG

Artistic Planning & Marketing Programme Coordinator/ Special Assistant to MD Programme Coordinator PR & Project Coordinator Marketing & Publications Coordinator Marketing & Media Coordinator

YUFEN HUANG MENG-SHAN WU AMY LIU YING-FAN LAI LIZI LAI PU-MEI CHEN EILEEN LIN CHIAU-CHI CHENG SANDY WANG HSIN-TING FANG PO-HSIUNG TSENG

Production & Administration Stage Manager Assistant Manager, Personnel Librarian Production & Administration Coordinator Assistant Stage Manager

SHIH-CHIEH CHEN BIBI LIN BRITTNEY KAO HUI-WEI WEN CHIEH-WEI CHEN KUAN-HSUN KAO

Concert Dramaturgist Legal Consultant

YUAN-PU CHIAO HSIN-HO LIN

Recording Partnership

FIRST VIOLIN

VIOLA

DOUBLE BASS

CLARINET

TROMBONE

○ Yi-Chun

● Grace

● Yung-Ho

● May-Lin

Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun Yu-Rou Lee✽ Pi-Jen Lee✽

● Kuang-Ching

BASSOON

TUBA

● Kai-Yu

● Jun

Chen Yu-Lin Kuo Ji-Hung Lin Yung-Kuang Hou Kun-Hao Liang Yee-Nong Chen Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee Yin-Hsuan Laun✽

Huang ◎ Chi-Chuan Teng ○ Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Guo-Lan Liu Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Pei-Ching Lo✽

Fu ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien▓ Hsin-Chieh Tsai Yang-Lin Wang Fang-Ju Chou

FLUTE ● Anders

Norell ◎ Chika Miyazaki Chuin Lee Ying-Chiao Wu✽

PICCOLO

HORN

Mei-Chuan Chung

● Yi-Hsin

●Principal ◎Associate

Wang ◎ Tung Nguyen Hoang Li-Yueh Lin Shu-Ting Yang Li-Ping Lee✽

ENGLISH HORN Ming-I Lee

Principal

○Assistant

Principal

▓On

TIMPANI ● Ya-Wen

Lien Chen

En-Yi Chien

● Lana

● I-Ching

Miyanishi

CONTRABASSOON

CELLO

OBOE

Hsiao-Yun Peng

◎ Ting-Chuan

● Yi-Ju

Hsiung ◎ Yi-Shien Lien ○ Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang

BASS TROMBONE

Jian ◎ I-Hsiu Chen Ling-Feng Kao Cheng-Yu Huang✽

SECOND VIOLIN Chen ◎ Cheng-Mei Sun I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku ErAn Yu Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai

Sung Shiu Chung-Sheng Chen

◎ Hang-Fat

PERCUSSION

Cindy Liu ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao

● Jer-Huei

Chen

Chen-Hsing Chen Pi-Tzu Yang

HARP ● Shuen

Chieh

TRUMPET

● Nicolas

KEYBOARD

◎ Chang-Po

▲ Yu-Ting

Rusillon Chen Ching-Min Chang Shan Lee

Leav ▲Season Contracted Musicians Auxiliary

＊NSO

Hsu

Orchestra Academy