20140920 program note

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開季音樂會 Season Opening Concert

─馬勒第九 A Ninth to Remember

演出時間

2014年9月20日(星期六)7:30PM

演出地點

國家音樂廳 National Concert Hall, Taipei

演 出 者

指揮│呂紹嘉 Shao-Chia Lü, conductor

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位 指定住宿 電子問券請掃描, 支持NSO愛地球。

特別感謝


歡迎

各位親愛的觀眾,您好: 「國家表演藝術中心」於2014年四月正式成立。本中心所屬的場館包括臺北 的國家兩廳院、臺中國家歌劇院、高雄的衛武營國家藝術文化中心。我們期 盼由這北中南串起的平臺成為大家所愛的表演藝術大家庭。誠摯地邀請您來 一同參與!

國家表演藝術中心董事長

Welcome The National Performing Arts Center opened in April, 2014. Our Center, which embodies the National Theater & Concert Hall in Taipei, the National Taichung Theater and the National Kaohsiung Center for the Arts, is dedicated to providing a platform for the performing arts connecting the whole of Taiwan. We welcome you to become part of our performing arts family.

Chairman, National Performing Arts Center

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曲目 PROGRAM 上半場 約15分鐘 下半場 約85分鐘

林京美(b. 1980 ):《舞詠曙光》(世界首演) ~中場休息~

古斯塔夫•馬勒(1860-1911):第九號交響曲 I.

徐緩的行板

II.

以一種舒適的連德勒節奏。些微笨拙且非常粗重的

III.

迴旋曲─戲謔曲:相當快的快板,非常頑強地。

IV.

慢板。非常慢且仍再節制的。

CHING-MEI LIN (b. 1980): Dancing Morning Sunlight (World Premiere) ---Intermission---

GUSTAV MAHLER (1860-1911): Symphony No. 9, D Major I.

Andante comodo

II.

Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb

III. Rondo - Burleske: Allegro assai. Sehr trotzig IV. Adagio. Sehr langsam und noch zurückhaltend

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=201409, 並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。 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=201409

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演出者簡介

呂紹嘉 Shao-Chia Lü

「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》

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,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,曾於英國國家歌劇院、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。歌劇外,呂紹嘉在交響樂指揮的表 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、NHK、新日本愛樂及北京、上海等地的代表 性樂團合作演出。 自2010年8月起接任NSO國家交響樂團音樂總監。

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“The conductor Shao-Chia Lü is a master of nuance.“

—Süddeutsche Zeitung

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). Shao-Chia Lü took the position of General Music Director of the Koblenz Theatre(1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz(1998-2004), and the Staatsoper Hannover between (2001- 2006). 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 SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Goteborg Sinfoniker, the Staatskapelle Weimar, the Frankfurter Museumsorchester and the Royal Concertgebouw Orchestra in Amsterdam. In Asia, Lu has worked with Hong Kong, NHK, New Japan Philharmonic and leading orchestras in China. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010 and the Principal Conductor of the South Denmark Philharmonic starting 2014.

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樂團簡介

自信而精銳

國家交響樂團 National Symphony Orchestra 「(呂紹嘉)帶領著樂團在(柏林)愛樂廳呈現了近乎完美的演出。」 ─德國《每日鏡報》2013.11 「銅管清亮的音色、絃樂流暢的律動、木管無瑕的音準、擊樂群無比的精準,臺灣愛樂毫無疑問 是一流的樂團!」 ─《協奏曲網》2013.11 「樂團所有聲部在德沃札克第八號交響曲呈現了清新的活力及優美樂句,營造出一個精緻氛圍, 特別在終曲輕快如跳舞般的旋律更為顯著。」 ─《音樂美國》2013.11 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臺灣,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「臺灣之音」。 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月改隸國家表演藝術中 心,以「臺灣愛樂」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8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。前任總監簡文彬任內(2001─2007)為樂團系統性拓 展曲目,以各種跨界製作開創多項國內先例;2006年《尼貝龍指環》四部連篇歌劇演出寫下亞洲歌劇 演出里程碑。前底特律及多倫多交響樂團音樂總監赫比希(Günther Herbig)為NSO藝術顧問暨首席 客座指揮(2008-2010),為NSO訓練出堅實的演奏實力與動人音樂性,建立駐團作曲家計畫,提供 國人作品更多發表空間。 2010年起,音樂總監呂紹嘉以多元化主題貫穿樂季,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;歌劇演出從跨國製作到深 耕國內:《艾蕾克特拉》(2011)、《蝴蝶夫人》(2012)、《女武神》(2013)、《莎樂美》 (2014),次次展現令國際樂評驚豔的製作。呂紹嘉不僅積極拓展樂團演奏近代管絃樂作品的能力, 更致力於鞏固精鍊古典經典名作,同時持續國人管絃樂創作之演出、錄音。2011年起,呂紹嘉帶領樂 團積極展開海外巡演,「2013歐洲巡演」獲得德法義樂評的高度讚譽。 近三十年來與NSO合作過的客席指揮家:馬捷爾、巴夏、潘德瑞茨基、史拉特金、羅斯托波維奇、 柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾、麥可•桑德林等;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、巴佛傑、寇瓦謝維契、齊柏絲坦、洛提、歐森、白建宇、拉貝克姐妹、鄧泰山、 薩洛等;大提琴家馬友友、顧德曼、麥斯基、卡普頌、王健、伊瑟利斯、繆勒-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、弗黎崔希等逾八百位音樂家。 6


攝影 Raymond Huang

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National Symphony Orchestra “(Shao-Chia Lü) bietet der Klangkörper in der Philharmonie ein Bild erstrebter Makellosigkeit.“ - Der Tagesspiegel “The burnished sound from the brass; the diaphanous dance rhythms from the strings; the flawless intonation from the woodwinds; and the tight, meticulous execution from the percussion proved beyond a doubt that the Taiwan Philharmonic is a first-class orchestra.” - Concerto Net.com “All sections of the orchestra were in fine form for Dvorak's Eighth Symphony, which unfolded with fresh energy and elegant phrasing, particularly in the lilting dance-like melody of the closing Allegro ma non troppo .” - Musical America Founded in 1986, the Taiwan Philharmonic, also known as the National Symphony Orchestra (NSO), is hailed as one of the best orchestras in the Asian region, and became the resident orchestra of the National Chiang Kai-Shek Cultural Center in 2005. Since April 2014, the NSO has been an affiliate orchestra to the National Performing Arts Center. Led by renowned conductor Shao-Chia Lü as its fifth music director since August 2010, the NSO has increased the country’s cultural richness and music educational strength throughout Taiwan. The 99-member NSO presents a 40-week musical season of approximately 75 concerts/chamber recitals and one opera production each year. It also undertakes a countinuing seriers of educational programs and outreach projects constantly. Tour performances are regularly offered throughout Taiwan and overseas. It has been to Vienna, Paris, Berlin, Geneva, Milan, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works with internationally acclaimed conductors such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky, Michael Sanderling 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. The NSO has extended its artistic reach to involve itself in theater and opera productions, including work 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 semistaged concert operas, Der Ring des Nibelungen and Elektra, the NSO has collaborated with world-class opera houses for 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 productions of Die Walküre (2013) and Salome (2014).

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樂曲解說

林京美:《舞詠曙光》(世界首演) 撰文│林京美 (國立臺北藝術大學音樂系助理教授) 《舞詠曙光》由國家交響樂團委託創作,音樂總監呂紹嘉指揮國家交響樂團,於2014 年9月20日開季音樂會首演於臺北國家音樂廳。 《舞詠曙光》的創作靈感源自於我從臺北到臺東的飛行途中,在飛機上見到曙光乍現 的感動,曙光劃過濃密陰霾的瞬間,將人生所有的痛苦掙扎,昇華為充滿希望的堅定信 念,每當我陷於人生的低谷時,這樣無比純粹、炙熱的陽光,總是能重新給予我生命的 力量,正如同陽光以寬廣的胸懷,無私地照耀著後山澄澈、一望無際的天空及海。 本曲開始於陰鬱的慢板,銅管的低音籠罩著神秘氛圍,緩慢的三拍子踏著沉重的步伐 從遠處走來,暗示著極其絕望的生命逆境。隨後一系列上行的音型開展了飛行的旅程, 雖然不時遭逢阻饒,音樂的張力仍不斷堆疊,在一陣寂靜後,由絃樂泛音所描繪的曙光 驟然出現。樂曲隨即轉為溫暖的慢板,然而,如烏雲籠罩般的不諧和樂段多次打斷充滿 愛的旋律,最終,充滿陽光的和煦旋律終究克服逆境,逐漸主導樂曲。慢板之後,以大 跳音程組成的旋律線條努力攀越了無數高山,終於看見充滿希望之地—臺東,心中的陰 霾早已轉為光明,充滿著希望的炙熱陽光照耀著壯闊的山脈及海洋。《舞詠曙光》全曲 所呈現的不只是一次旅行的經驗,更是心靈內在的旅程,經歷痛苦掙扎後的豁然開朗, 帶來人生另一個嶄新的開始。

古斯塔夫•馬勒:第九號交響曲 撰文│蔡永凱 (國立臺灣師範大學音樂學博士) 馬勒的第九號交響曲創作於1909至1910年之間,雖然當時飽受身體病痛與妻子外遇衝擊, 在這一段時間,卻因獨處於托布拉赫(Toblach)的工作小屋,創作力再次顯得旺盛活絡。 與馬勒其他交響曲相比,這部作品只有四個樂章,未使用人聲,在編制與長度上都不 算大。第一樂章為徐緩的行板(Andante comodo)。大提琴與法國號以弱聲輪流吹奏A音, 豎琴加入,以低音奏出升F- A- B- A,最後一音並串接至第二法國號以堵塞音吹奏的升F-

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D- 升D- G音。此時中提琴以波浪音型加入,但時時中斷,待第二小提琴帶出升F- E動機, 在重複二次後,漸漸地拼湊出一段旋律,卻仍是欲言又止。這一個精心設計的聲響畫面, 不僅成為這個樂章在各段落轉換間的關鍵聲響,它在作曲手法上亦有多層意義:首先,升 F-E這個全音下行音型,是這個樂章的詩意總結。手稿裡,作曲家本樂章後端的同一音型 上方,寫下了「再見、再見!」(Leb wohl, Leb wohl!),指涉了貝多芬的《告別奏鳴曲》 (Op. 81a, Les Adieux)的前三個和弦;其次,此音型做為整部交響曲的最基礎動機,馬勒 先現了許多旋律片段來帶鋪陳,之後亦有多段不同樣貌的旋律,都源自於同一音型。最 後,就調性來說,第一樂章開頭所設計的調性為D大調,升F- E代表了該音階的第三至第二 音。馬勒並未為第二音的屬和弦功能安排解決,藉著調性張力讓速度緩慢的段落能夠往前 滑行,漫延出的龐大樂章。樂章的第二個主題群則在d小調的陰暗聲響中由小提琴帶入。由 升G開啟並跳進上行,同樣具有導音的推進力,在尚未充份發展時,第三主題,一個兩次 半音下行組成的六音強音,由法國號吹奏,強勢地將音樂推到另一個主要調性—降B大調, 樂曲卻巧妙地回到開始的聲響。 最初聲響的再現,說明本樂章特殊的結構概念。雖然在動機與主題上,仍具有一般交響 曲第一樂章「奏鳴曲式」之呈示、發展與再現框架,但各主題群的呈示音響出現多次,超 過三大段落的空間,讓樂章亦呈現出迴旋曲般的效果。因此,曲初的聲響在第二、三主題 呈示後再次出現,彷彿作曲家重新開始以更細膩、周到的方式重新述說三個主題之加入與 特性,造成「雙呈示」般結果。值得一提的是,在第二次呈示部裡,馬勒也突兀地加入慣 用的號角聲響,看似沒頭沒尾,卻在樂章後半扮演了重要角色。 發展部由降B音開啟,定音鼓取代了曲初的豎琴,敲擊著四音音型。馬勒將上述三個主題 以多樣的風格、速度變化,如一連串變奏。其中仍不乏最初聲響畫面的再現,但因再現後 隨即被帶往嶄新的安排,因此可視為刻意製造的「回憶」效果。在高峰落下後,由一段「 如沈重的送葬隊伍」(wie ein schwerer Kondukt)承接,所使用的除了樂曲開頭的豎琴聲響 外,就是第二次呈示突然出現的號角音型。 再現部開始於由低音管、法國號與第二小提琴演奏升F-E音。少了豎琴音響,多了許多填 充聲部,整體聲響顯得較為豐滿。第二與第三主題的再現相當簡短。作品的尾奏標示「驟 然顯著地變慢且輕巧」(Plötzlich bedeutend langsamer und leise),但馬勒卻在緩慢的節拍 裡以細碎的音型填滿,並使用大量的木管樂器獨奏,編織出與樂章主體截然不同的音響色 澤。最後,法國號重述升F-

E音型,在這懸浮調性張力中,短笛、豎琴與所有絃樂的泛音

撥奏間,追尋超過廿分鐘的主音(D),乍現芳蹤,卻隨即消逝。

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第二樂章具有怪異的風格,又被稱為「死亡之舞」(Totentanz)。它由三種舞曲拼接 而成,以不同的速度來代表。最先出現的是「連德勒」(Ländler),一種德語地區的民 謠舞曲,亦是馬勒交響曲常使用的元素,馬勒指示以「些微笨拙且非常粗重的」(Etwas täppisch und sehr derb)風格演奏;接續是象徵維也納精神的圓舞曲,但卻一反高貴典雅, 和聲浮動而調性模糊;之後再一個連德勒舞曲則為慢速的。整個樂章充斥旋律片段,一再 啟動卻一再中斷如音樂之廢墟。馬勒原本將標題訂為「詼諧曲」,之後修改成「無盡的小 步舞曲」(Menuetto infinito),對照樂曲風格,有極強的諷刺含意。 第三樂章標題為「迴旋曲。戲謔曲」(Rondo-Burleske)。同樣為快板,且為「固執、頑 強的」(trotztig)。樂曲開始,由小號帶出一簡短音型,成為全樂章的主要動機,發展出 隨後由全體小提琴拉奏的迴旋曲疊句旋律。雖然節奏與對位方式具有巴洛克風格,在和聲 上卻屢屢出現不和諧的疊置。特別的是,在中段突然出現一個如聖詠般潔淨的段落,第一 小號緩慢地吹出升F- G- 升F- E- 升F- D- A的旋律,其中的「迴音」音型,不僅即刻得到緻 密的發展,亦成為末樂章的主要材料。 終樂章為慢板,使用降D大調,比第一樂章低半音,並未遵守交響曲首尾樂章調性一致 的成規。小提琴一開始就帶出包含上述迴音音型的旋律。事實上,這個音型雖與第三樂章 相關,但也屬於馬勒常用的語彙,在馬勒的第三號交響曲第六樂章與《大地之歌》(Das Lied von der Erde)之終曲〈道別〉('Der Abschied')裡,都可見到。樂章的最後,由第一小 提琴在高音演奏的旋律,係出自《悼亡兒之歌》(Kindertotenlieder)的第四曲〈我常以為, 她們只是外出了〉('Oft denk' ich, sie sind nur ausgegangen')最後的旋律,甚至連中提琴在 作品結尾的最後四音,亦與歌曲的結尾安排類似。 這部作品於1912年六月於維也納首演時,馬勒已逝世。種種的引用與文字指涉,滿溢了 「道別」與「死亡」的詮釋。但其中種種創新之處,如後設手法般迴繞的動機與片段,與 大膽突兀的不和諧與拼貼手法,卻也被視為新音樂的先聲。大師道別的手勢,也以堅實的 力道揮出了新音樂的時代。

11


Ching-Mei Lin: Dancing Morning Sunlight (World Premiere) By Ching-Mei Lin (Assistant Professor, Department of Music, Taipei National University of the Arts) Dancing Morning Sunlight has been commissioned by the Taiwan Philharmonic, the National Symphony Orchestra, premiering at the 2014-2015 season opening concert with Music Director Shao-Chia Lü conducting. Dancing Morning Sunlight was inspired by a touching experience I had on a flight to Taitung, Taiwan. As the plane ascended above the clouds, the dawn’s light broke through the dense cloud cover as if, in an instant, all of the pain and struggles of life were channeled into a firm belief of the promise of hope. Whenever I am caught in the mires of life, the pure and vibrant sunshine of Taitung strengthens my convictions. On the rocky terrain of Taitung, its people put their love of the land into practice through earthly industriousness and tender care. These memories, of Taitung’s people and its purity, have given me abundant energy, as the sun does to the ocean, the mountains and the green earth. That moment on route to Taitung, as the sun first peeked above the darkness, signaling a new day for the people of Taitung and a new journey for me, is the inspiration for this piece. The piece begins with a melancholic Adagio. Low brass punctuate the foggy atmosphere with languorous, heavy steps from a distance, representing the toil and hardship of life. A series of fast, upward gestures lift us off into the sky. They dart in and out like beams of light peeking through the clouds. In an instant, the transcendent radiance of dawn breaks through the clouds, played by the strings in harmonics. We are transported into a warm, leisurely tempo: the “love” theme, like the all-encompassing warmth of the sun above the clouds. This theme is interrupted by rapid, dissonant sonorities, symbolizing harsh, capricious winds, and dense, foreboding clouds looming. Beyond the towering mountains, capped with snow and ice, the land of hope, Taitung, appears in the distance. We have transcended the shadows of mind into the bright, elevated realm of the spirit. Dancing Morning Sunlight takes us on two journeys: a journey above the clouds, revealing the dazzling majesty of the sun’s first light, and also an inner journey beyond daily struggle, reaffirming the eternal promise of hope.

12


Gustav Mahler: Symphony No. 9, D Major Mahler's marriage in 1902 to the twenty-year-old Alma Schindler, daughter of the painter Anton Schindler and a composition pupil of Zemlinsky, caused astonishment in Vienna. The marriage brought its pleasures and difficulties, not least with the death of the older of Mahler's two daughters in the summer of 1907. Alma's mother suffered a heart-attack, and Alma herself was found to be suffering from nervous strain and was ordered complete rest. The doctor attending Alma Mahler and her mother was asked to examine Mahler, and at once diagnosed serious weakness of the heart, a verdict confirmed shortly afterwards by eminent specialists in Vienna. The same year had brought his resignation from the Court Opera, where he directed his last performance in October, moving thereafter to New York, where he had a contract with the Metropolitan Opera at an uneasy time in its history. At the end of the New York opera season he returned to Austria, spending the summer at Toblach, where he also spent the following summer, after a further Metropolitan season in the winter of 1908- 1909. It was at Toblach in the summer of 1908 that Mahler started work on his Ninth Symphony. He had entertained reservations about the composition of a ninth symphony. Beethoven had completed only nine symphonies, and there was something ominous about the number. Das Lied von der Erde, on the composition of which he was also engaged all his time, was originally conceived as a symphony, which it is in all but name. The Ninth Symphony was completed in New York in 1910, a year that brought unpleasant conflict with the ladies who controlled the New York Philharmonic Orchestra, with which Mahler had a new contract, after the end of his agreement with the Metropolitan Opera, where Toscanini now presided. In the summer he worked on a Tenth Symphony, a work he never finished. The Ninth Symphony was only performed after the composer's death, when Bruno Walter introduced the work to Vienna in the spring of 1912. The Ninth Symphony is scored for an orchestra of piccolo, four flutes, four oboes, with cor anglais, three clarinets, an E flat and bass clarinet, four bassoons, with a double bassoon, four horns, five trumpets, three trombones, bass tuba, a percussion section of timpani, bass drum, snare drum, triangle, cymbals, tam-tam and glockenspiel, three deeper bells, harp and strings. It opens with a movement of surpassing beauty. A brief introduction, containing the seeds of much that follows, leads to the principal theme, played by the second violins, with a counter-melody entrusted to the French horn. The movement, a farewell to the world, is in broadly sonata-allegro form, with a complex development of the very varied thematic and motivic material followed by a final recapitulation that brings the movement to a gently wistful conclusion after music that has moments of intense conflict. The second movement, in the speed of a relaxed L채ndler, marked somewhat clumsy and very coarse, opens, at least, in accordance with these instructions. The farewell motif, derived perhaps from Beethoven's Das Lebewohl Sonata, is heard from the clarinets in a very different mood, before the 13


fiddles strike up their heavy-footed Ländler. There is a waltz worthy of Baron Ochs and a gentle reappearance of the Ländler, before the rumbustious return of the waltz. The final section of the Scherzo brings back the Ländler of the opening, a distorted waltz and reminiscences of the beginning of the movement in conclusion. In the Rondo-Burleske, marked Sehr trotzig, very defiant, idea follows idea. There is a strong call to attention at the start that returns with emphatic force from the horns, leading to a second thematic element and a complexity of contrapuntal suggestion. A passage of intense feeling, implicit with yearning, is rudely interrupted by the E flat clarinet, but continues until the grotesque dance resumes, leading to a final Presto. Something of the mood of the first movement is restored in the final Adagio, very slow and restrained, a hymn of tranquility that increases in intensity. This opening theme is transformed in various ways in the music that follows, a poignant summary and farewell to a world of joy and pain, now transfigured. The symphony was written in the shadow of death, but in the last movement these shadows are dispersed, overwhelmed by a spirit of tranquil resignation and a perception of the eternal. © 2014 Naxos Digital Services Ltd

14


國家交響樂團

音樂總監 桂冠指揮

呂紹嘉 根特‧赫比希

助理指揮 樂團首席 樂團副首席

張尹芳 吳庭毓 李宜錦 鄧皓敦

第一小提琴

○ 陳逸群 郭昱麟 林基弘 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 曾智弘 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 吳彥廷 ▲ 袁繹晴

大 提 琴

● 熊士蘭 陳怡婷

低 音 提 琴

● 傅永和 王淑宜

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 楊舒婷

英 國 管

李明怡

單 簧 管

● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 楊雅淳

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 王婉如 曹予勉 ▲ 程筑卿

小 號

● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉

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

執行長

邱 瑗

企劃演出經理 整銷推廣經理

杜佳舫▓ 王承禹

音樂總監執行祕書 黃毓棻 企劃演出 企劃專員 行政助理 舞台監督 助理舞監 人事組長 譜務專員 行政專員

吳孟珊 賴盈帆 賴曉俐 鍾宇揚 陳世傑▓ 陳玠維 高冠勳 林碧珠 高婉瑜 溫慧雯

整銷推廣 公關整銷專員 行銷專員 ◎ 連亦先 ○ 韋智盈 呂明美 周幼雯 林宜女閒 黃日昇 蘇酩惠 唐鶯綺 音樂諮詢 ◎ 蘇億容 ○ 周春祥 王淑瑜 黃筱清 法律顧問 連珮致 蔡歆婕

陳卜湄 林欣儀 鄭巧琪 王思懿 曾柏雄 郭玲孜 焦元溥 林信和

錄音製作

✽NSO 樂團學苑 名錄 指 揮 小 提 琴 中 提 琴 大 提 琴 低音提琴 長 笛 雙 簧 管 單 簧 管 低 音 管 法 國 號 小 號 長 號 低 音 號 打 擊 樂 豎 琴

張尹芳 王心妤 余琬婷 吳宛蓁 吳庭芳 呂 昉 張暐姍 梁 艷 陳又寧 楊晏如 廖元宏 潘俊蓁 鄭囿蓉 藍胤萱 陳映蓁 劉詩珊 蔡享享 賴昱如 羅培菁 王甯嫻 呂函涓 李 茜 伏 芯 游婉婷 吳媖蕎 陳瀅涵 李立品 李昱柔 李璧任 陳芊彣 溫家琪 陳冠余 江帛軒 黃書啟 毛介中 李季鴻 羅文宏 潘 將 林君庭 張瑜蓁 莊穎臻 陳又誠 林玉婷

(按筆劃排序) ●首席 ◎副首席 ○助理首席 ▓留職停薪 ▲樂季合約人員 劃底線者為本場協演人員 *NSO樂團學苑學員

15


National Symphony Orchestra

Music Director SHAO-CHIA LÜ Conductor Laureate GÜNTHER HERBIG

Executive Director

JOYCE CHIOU

Manager, Planning & Production Manager, Marketing & Development

SARAH TU■ PAUL WANG

Secretary of Music Director

YUFEN HUANG

Planning & Production Programme Coordinator

Assistant Conductor YIN-FANG CHANG

MENG-SHAN WU YING-FAN LAI LIZI LAI YU-YANG CHUNG SHIH-CHIEH CHEN■ CHIEH-WEI CHEN KUAN-HSUN KAO BIBI LIN BRITTNEY KAO HUI-WEN WEN

Administration Assistant Stage Manager Assistant Stage Manager

Concertmaster TING-YU WU I-CHING LI

Assistant Manager, Personnel Librarian Administrator

Associate Concertmaster HAO-TUN TENG

Marketing & Development PR & Project Coordinator Marketing Coordinator

PU-MEI CHEN EILEEN LIN CHIAU-CHI CHENG SANDY WANG PO-HSIUNG TSENG KATHERINE KUO

Concert Dramaturgist Legal Consultant

YUAN-PU CHIAO HSIN-HO LIN

Recording Partnership FIRST VIOLIN ○ Yi-Chun

Chen Yu-Lin Kuo Ji-Hung Lin 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 Chih-Hong Tseng Yin-Hsuan Laun✽

SECOND VIOLIN ● Yi-Ju 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 Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang

●Principal ◎Associate

16

VIOLA

● Grace 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 Yen-Ting Wu ▲Yi-Ching Yuan

CELLO

● Lana Hsiung ◎ Yi-Shien Lien ○ Chih-Yin Wei

DOUBLE BASS ● Yung-Ho Fu ◎ Yi-Juan Su ○ Chun-Shiang

Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai

FLUTE

TROMBONE

● May-Lin Ju ◎ Kai-Ting Chang

● Kuang-Ching Sung ◎ Hang-Fat Shiu

Wei-I Chu Cheng-Jung Sun Ya-Chun Yang

Chung-Sheng Chen

BASS TROMBONE Hsiao-Yun Peng

BASSOON

TUBA

● Kai-Yu Jian ◎ I-Hsiu Chen

● Jun

Ling-Feng Kao

● Anders Norell ◎ Chika Miyazaki

CONTRABASSOON

PICCOLO

HORN

Chuin Lee Ying-Chiao Wu✽

Mei-Chuan Chung

Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang

CLARINET

OBOE

En-Yi Chien

● Yi-Hsin Cindy Liu ○ Jen-Hsien Huang

● I-Ching Wang ◎ Tung Nguyen Hoang

Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ▲Chu-Ching Cheng

ENGLISH HORN

TRUMPET

Shu-Ting Yang

Ming-I Lee

● Nicolas Rusillon ◎ Chang-Po Chen Ching-Min Chang

Miyanishi

TIMPANI

● Ya-Wen Lien ◎ Ting-Chuan Chen

PERCUSSION ● Jer-Huei

Chen Chen-Hsing Chen Pi-Tzu Yang

HARP

● Shuen

Chieh

KEYBOARD

▲Yu-Ting Hsu

Loo-Kit Chong

Principal

○Assistant

Principal

■On

Leave ▲Season Contracted Musicians Auxiliary

*NSO

Orchestra Academy


17



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