ͭॡ ޣΎ Ђ௰ ᕅт ˃ಏ ·ա ᝳ
演出時間│ 2014年10月4日 (星期六) 7:30 p.m. 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 大提琴│楊文信 Wen-Sinn Yang, cello 中提琴│黃瑞儀 Grace Huang, viola
主辦單位│ 指定住宿│
演出長度│上半場約45分鐘，下半場約50分鐘
國家交響樂團 特別感謝│
National Symphony Orchestra (NSO)
1︱唐吉軻德
Welcome
歡 迎 親愛的愛樂朋友： 「國家表演藝術中心」於2014年四月 成立，本中心所屬單位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 術文化中心及國家交響樂團。期盼這北中南 串連起來的平臺成為大家所愛的表演藝術大 家庭。誠摯地歡迎您來一同參與！
國家表演藝術中心董事長
The National Performing Arts Center opened in April, 2014. Our Center, which embodies the National Theater & Concert Hall in Taipei, the National Taichung Theater, the National Kaohsiung Center for the Arts and the National Symphony Orchestra, 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 Cente
演出曲目
Program
約瑟夫•海頓（1732-1809）： C大調交響曲第60號，《失神者》
JOSEPH HAYDN (1732–1809): Symphony No. 60 in C Major, Il distratto
I. II.
慢板 – 急板
I.
Adagio – Presto
行板
II.
Andante
III. 不太急的小步舞曲 IV.
急板
V.
慢板 – 快板
VI. 終曲：最急板
傑爾吉•李格替(1923–2006)：大提琴協奏曲 I.
＝ݛ40
II.
＝ݛ40
III. Menuetto non troppo presto IV.
Presto
V.
Adagio – Allegro
VI. Finale: Prestissimo
GYÖRGY LIGETI (1923–2006): Cello Concerto I. ＝ݛ40 II. ＝ݛ40 ~Intermission~
--中場休息--
理查•史特勞斯 (1864–1949)： 《唐吉軻德，騎士主題幻想變奏曲》，作品35
RICHARD STRAUSS (1864–1949) : Don Quixote, Fantastische Variationen über ein Thema ritterlichen Charakters, Op. 35
序曲：適中的節奏
I.
Introduction: Mäßiges Zeitmaß
II.
主題：唐吉軻德、桑丘
II.
Thema: Don Quixote & Sancho Panza
III.
變奏一：悠然
III.
Variation I: Gemächlich
IV.
變奏二：好戰的
IV.
Variation II: Kriegerisch
變奏三：適中的節奏
V.
Variation III: Mäßiges Zeitmaß
變奏四：稍寬
VI.
Variation IV: Etwas breiter
I.
V. VI.
VII. 變奏五：甚慢
VII. Variation V: Sehr langsam
VIII. 變奏六：快
VIII. Variation VI: Schnell
IX.
變奏七：較前稍靜
IX.
Variation VII: Ein wenig ruhiger als vorher
X.
變奏八：悠然
X.
Variation VIII: Gemächlich
XI.
變奏九：快而狂飆
XI.
Variation IX: Schnell und stürmisch
XII. 變奏十：更寬
XII.
Variation X: Viel breiter
XIII. 終曲：極靜
XIII. Finale: Sehr ruhig
2︱唐吉軻德
演出者介紹
Profiles
指揮│呂紹嘉 「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》
Shao-Chia Lü 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 (19982004), and the Staatsoper Hannover between (20012006). 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.
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。
大提琴│楊文信 1989 年， 24 歲的楊文信成為 巴伐利亞廣播交響樂團的大提琴首 席，於 2005 年轉任為慕尼黑音樂 院大提琴教授。自 1991 年楊文信 獲得日內瓦國際音樂大賽首獎後， 便受邀於全球各地演出，並積極的 推廣二十世紀音樂。楊文信曾經與 許多指揮大師合作，包括馬捷爾、柯林．戴維斯 爵士、沙瓦利許、畢契科夫、泰密卡諾夫以及楊 頌斯；演奏足跡遍及歐洲、加拿大及遠東，並經 常於各大音樂節客座演出。楊文信灌錄發行的CD 已超過30張，曲目包括海頓、德沃札克、玻凱利 尼的協奏曲以及萊曼完整的室內樂作品。另外， 他於巴伐利亞教堂錄製的巴赫大提琴組曲錄音， 亦極受推崇。
Wen-Sinn Yang In 1989, at the age of 24, Wen-Sinn Yang became principal cellist of the Bavarian Radio Symphony Orchestra where he stayed until 2005 when he was offered a chair at University of Music and Performing Arts Munich. In 1991 he won first prize in the Geneva International Music Competition. Since then he has performed in many concerts all over the world, making use of the opportunity to promote 20th century music. Yang has worked with many conductors including Lorin Maazel, Sir Colin Davis, Wolfgang Sawallisch, Semyon Bychkov, Yuri Termirkanov and Mariss Jansons. Invitations from orchestras have taken the experienced musician to Europe, Canada and the Far East. Wen-Sinn Yang has made over 30 CD recordings, including the cello concertos of Haydn, Dvorák and Boccherini and the entire chamber music works of Aribert Reimann. Also there is a very remarkable CD/DVD box of Bach's cello suites recorded in a pilgrimage church in Bavaria in conjunction with Bavarian television.
3︱唐吉軻德
中提琴│黃瑞儀
Grace Huang
出生台灣，六歲學鋼琴，九
Native of Taiwan, NSO Principal Violist
歲學中提琴，從小即有絕對音
Grace Huang won a scholarship from the Young
感，天賦異稟，對樂曲詮釋有其 獨到見解，在台灣。美國比賽均 有優異表現。1990年赴美留學 至加州藝術高中（ Idyllwild Arts
Academy ）。並於 1994 年考入紐
Musician Foundation in 1993, the 2 nd prize winner at the Juilliard concerto competition, the Best Viola Performance Award in the 1995 Texas Corpus Christi Young Artist Competition. She
約茱莉亞學院（The Juilliard School），且獲全額
has performed as a soloist and chamber musician
獎學金，同年11月參加茱莉亞協奏曲比賽獲第二
in Carnegie Hall, Alice Tully Hall, Banff Center
名。留美期間師事於南加大中提琴教授 Donald
for the Arts, Santa Barbara Music Academy of the
McInnes、茱莉亞學院中提琴教授Karen Tuttle、
West, New York String Seminar and Sarasota Music
以及紐約愛樂首席 Cynthia Phelps 。於 1993 年獲
Festival. During 1999-2001, she was invited to be
青年音樂家獎學金 （Young Musician Foundation
the Principal Viola in the Pacific Music Festival in
Award ）。 1995 年獲德州 Corpus Christi Young
Hokkaido, Japan. In February 2001, at the age of
Artist Competition最佳中提琴演奏獎。曾於紐約、 洛杉磯、溫哥華、東京、札幌、京都，參加多次 獨奏及室內樂演出。1999-2001年應邀參加日本札 幌太平洋音樂節擔任首席。2000年五月茱莉亞學 院碩士班畢業即返台擔任國家交響樂團中提琴首
25, she became the Principal Viola of the National Symphony Orchestra of Taiwan. Ms. Huang began her piano lesson at age 6 and viola lesson at age 9. In 1990, she was accepted
席。除了樂團工作外，更致力於獨奏及室內樂演
at the Idyllwild Arts Academy and studying with
出。2003年11月與NSO演出沃頓協奏曲，以扎實
Donald McInnes. In 1994, she received a full
的技巧及穩健台風，驚豔樂壇。目前任教於仁愛
scholarship to attend the Juilliard School to study
國中、武陵高中音樂班。
with Karen Tuttle and Cynthia Phelps.
樂曲解說
但緊接的快板中失神者就現形了，好幾次像
聽樂逐夢：誰是吉先生？ 撰文│金立群（國立交通大學音樂研究所副教授）
前言：這是「劇透」 想想看，你我讀寫曲目解說，好像都有點問 題：看電影前大多討厭劇情透露，為何音樂會前 卻不嫌「曲解」甚至導聆？或許音樂，就算所謂 標題音樂，還是比電影抽象，知道「劇情」仍 有較多想像空間？又或許少幾分懸疑驚喜能多幾 分靈犀在心？誠然，「智慧多，愁苦亦多；知識 增，憂戚亦增」，但從來知己、知音不也是知情 者嗎？
失神或知情 貝多芬之前的作曲者難得「自由創作」，但 海頓仍常在工作中自娛娛人，與知音同樂。1774 年的第60號交響曲就是一例：這首罕見的六樂章 交響曲，其實是海頓為了五幕喜劇《失神者》在 他受僱的艾斯特哈齊宮上演而寫的序樂、四段間 奏與終曲。劇裡主角粗心大意， 情書竟然誤寄、
序樂大張旗鼓一下便轉為矜持的慢板， 演奏者忘譜般，在上下半音間踟躕不進，最 後卡在一個音上面，漸慢漸弱地停住……半 晌才回過神來。樂章中段海頓也跟自己開了 一個玩笑，「失神地」接到另一首曲子去！ （他的知音當然會心微笑，因為這個激情的 小調主題 [下行的分解和弦]，是海頓兩年前 第45號交響曲《告別》的開頭！） 四段間奏俏皮尖刻，優雅舞曲接通俗歌 謠、吵吵鬧鬧又哭哭啼啼，聽者未必緊扣情 節也可以想像情景。終曲更是「失神」，開 奏一段後小提琴才發覺走音，最低的 G 絃甚 至整整掉了一個全音到 F ，只得重調再來！ 曲子匆匆結束之前，絃樂卻神來之筆地齊奏 一段小調旋律。（知音也即會意：這是海頓 在之前第四樂章以及其他幾首作品裡都引用 過的民謠《守夜者之歌》，似乎提醒著主 角，莫把新婚之夜也忘了！） 但失神者又怎 會注意這些典故？音符內外的樂趣與意義， 愈知情愈能分享與共鳴；吊詭的是，知音者
婚書簽了也忘了；全劇插科打諢流於俗濫，卻也
樂以忘憂出神之際，不也是另類的「失神」
反映著當時婚姻習俗的乖謬。
嗎？
4︱唐吉軻德
非情節的想像
彿始於盤古初開的萬籟無聲，在動與靜、有聲無
李格替1966年的大提琴協奏曲是沒有標題或
聲之間，緣起緣滅，復歸萬籟俱寂。
情節的所謂絕對音樂，兩個樂章開頭甚至都不標
而獨奏大提琴雖然是本曲的始與終，但少了
上表情，只有冰冷的速度： ＝ݛ40 （一個四分音
與樂團的競技對弈，炫技也只於無聲勝有聲的奏
符為1/40分鐘長）。不過，作曲者在譜上有許多
法；傳統協奏曲所講究的「大魚大肉」，在此化
傳神的標示（以下摘要附原文譯出），演奏者幾
為微妙的色彩與氣味。而聽，也在於更有想像、
乎兼奏兼演，賦予抽象的音聲具體的想像，聽者
更出神的聽
未看過譜，應該也能聽
見與聽
聞。
見。
演奏開始，卻仍寂寂無聲，久久獨奏大提琴才
夢想與省思
形成一個單音（E），再漸漸擴散到整個樂團，出
理查•史特勞斯的《唐吉軻德》（唐＝don，
現一個狀如星雲般微微閃動的「音團」（E到A之
西班牙貴族的尊稱） 是本場音樂會中相對平易的
間六個半音）。接著絃樂淡入到一個音色更為深
名曲；曲成於1897年底，翌年便首演並出版了樂
邃的單音（降B，與起初的E是為最魔最險的三全
團總譜與鋼琴改編譜。後者在相應段落為愛樂者附
音關係），再由之前所缺的六個半音（降B到降
加了塞萬提斯原著的劇情提示，以下摘要譯出 [框
E）堆出另一個音團。它逐一吸納前者的音集，但
內為補充說明]：
在只差一音便塞滿十二個半音所有空間時，瞬然 膨脹到極點而「非常刺耳地撕破」（gerissen, sehr schrill），剩下只有極高極低邊框的空洞。不久， 獨奏大提琴「險峻稀薄」（gefährlich-dünn）的高 音也在上昇中「窒息」（erstickt）；先前爆破點 獨缺的音G，現由低音提琴補上，但也隨即「寂寂
● 序曲：唐吉軻德沉迷騎士小說而幻想為騎
士出征江湖 ● 主題兩段：愁容的騎士唐吉軻德與侍從桑丘 ● 變奏十段：
1. 幻想在美麗的杜爾西內亞夫人保佑下出 發…大戰風車 [誤當巨人]
而滅」（morendo … niente）。這樣沒有旋律與拍
2. 戰勝阿利凡法隆大帝的軍隊 [實為羊群]
子、只靠音聲織體與色彩為旨趣的手法，是李格
3. 主僕對話：桑丘提問又討賞，唐吉軻德
替1961年的管絃樂曲《大氣》（Atmosphères）以來 的特色，在1968年電影《2001太空漫遊》（2001: A Space Odyssey）採用為配樂後，更是聞名，為二戰 後側重演算的序列主義以及電子音樂當道的新音 樂，另闢蹊徑。 第二樂章則延續李格替另一種手法：1 9 6 2至 65年間的《探險
新探險》（Aventures／Nouvelles
Aventures），是去語法語義只留下語音、無情節卻 有情景的想像劇場（「雖然語言隔閡你聽不懂細 節，但從聲調你聽得出是在吵架或聊天」）。這裡 表情豐富的動，反襯著前樂章浮雲天際的靜。本章 準確算來共有26個場景，但大半時間彼此相接，到 後部才段落分明。末段為「無聲低語的華彩樂段」 (Flüster-Kadenza … stimmlos spielen)，是主角大提琴各 種細膩指法與弓法的獨白，最後如前樂章般歸於死 寂：morendo … niente。 回顧全曲，起首的獨奏標示著夢幻的、不可 能的極極極……弱：pppppppp，「無聲的進入，
教訓兼安撫
4. 大戰苦行求雨的村民 [誤把他們抬的聖母 像為夫人]
5. 守夜看管武器並幻想對夫人傾訴 6. 與夫人 [實為村姑] 相會 7. 騎神馬 [實為木馬] 飛天救人 8. 上魔船 [實為漁船] 出航征險 9. 打敗兩個術士 [實為教士] 10. 敗於白月騎士 [好友喬裝] 而夢醒回家牧羊 ● 終曲：唐吉軻德之死
本曲以獨奏的大提琴與中提琴分別代表主僕 二人，加上變奏二的羊群大軍、變奏七的飛行風 聲等繪聲繪影手法，比當時剛興起的默片配樂有 過之而無不及；雖然在視覺上仍有想像的空間， 但相較於所謂絕對音樂，內部形式受外部情節較 多牽制，引起不少爭議。到底十九世紀末的史特 勞斯，是否在嘲諷過度英雄式的交響音詩（包括 他自己前一階段未受尼采的批判思想影響時所寫 的《馬克白》、《唐璜》與《死亡與變容》），
彷彿來自於無」（Einsatz unhörbar, wie aus dem
正如十七世紀初的塞萬提斯，宣稱著作品是在嘲
Nichts kommend）；樂章之間則有七小節的全休
諷早已浮濫的騎士小說？抑或《唐吉軻德》這個
止符；曲末獨奏的華彩樂段結束，譜上仍要求約
始於幻想終於幻滅的反英雄敘述，也有著對逐夢
十秒的「絕對靜止」（absolute Stille）。整曲彷
者的憐惜，以及對識時務者的控訴？這是「旁
5︱唐吉軻德
聽」唐吉軻德的生平，尤其終曲彌留之際，各段 主題回光返照，最後幾小節卻以序曲已多次出現 的三全音關係魔幻地完結時，足堪我們玩味省思 之處。如此一想，「享樂」變得有點沉重，但這 是靈魂的重量、品味的分量。
聽樂逐夢 整場曲目，想來也都有點「問題」，需要用 唐吉軻德的想像去聽：按之後的成規，海頓這套 劇樂組曲難登交響曲的絕對音樂殿堂；按之前的 先例，李格替這首音聲作品也缺了協奏曲的競奏
is a similar lapse as the development comes to an end. The second, slow movement, marked Andante, or, in some sources, Adagio, is in G major and offers a gentle enough melody, interrupted more forcefully by the wind instruments and in the middle section by what one source describes as an old French melody. There is a Minuet and a Trio, the latter, in the key of C minor, suggesting local peasant influence. The strings enter in unison in the C minor Presto that follows, with its unexpected introduction of other melodies and keys. The drama now continues with an Adagio that in one source carries the subtitle di Lamentatione. © 2014 Naxos Digital Services Ltd
與炫技；實在本曲的細針密縷，對演的與聽的來 說，一如不可能的夢。最後，《唐吉軻德》本來 就標明是變奏曲不是協奏曲；而曲中高難度的獨 奏，原意是由樂團中人擔綱，既挑戰又肯定著 「平凡」的人來當唐吉軻德。 再回想文首比較的另一面向：看電影其實好 像直接看見夢已成真，「作夢」的過程（拍攝剪 輯等等） 是觀眾看不見也玩不到的——劇透之討 厭正在於把我們想像劇情發展這個空間也奪去； 音樂會卻展示著彈奏這個「生產勞動」，「夢」 則是邀請聽者來共構——不是失神入夢，而是出 神逐夢，在音符與樂思之間、具體情節與抽象情 景之間、以至美學的輕與人生的重之間，又儘量 知情又想像地聽與玩味省思，我們都可以是知音 的吉軻德先生。 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=201410，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 Joseph Haydn: Symphony No. 60 in C Major, Il distratto In 1774 Haydn, now established at Esterháza, provided music for the play Der Zerstreute, an adaptation of the French comedy Le distrait, by Jean François Regnard, presented by the theatre troupe led by Carl Wahr, who was engaged by Prince Nikolaus in successive summers. The absent-mindedness of the principal character, on which the comedy revolves, is echoed in Haydn's incidental music, the basis of his Symphony No.60 in C major, otherwise known as Il Distratto. Scored for an orchestra that includes trumpets and drums, it opens with an introductory movement, an overture, that has a stately initial Adagio and a lively Allegro, the latter fading to nothing in momentary forgetfulness, before resuming with a forceful conclusion to the opening exposition. There
György Ligeti: Cello Concerto In the two-movement Cello Concerto (1966), Ligeti continued to develop his personal notion of musical gesture as an almost linguistic or semantic unit, which he had previously explored in the vocal/ensemble works Aventures (1962) and Nouvelles aventures (1962 - 65). The cello begins the work on a single pitch at a virutally inaudible pppppppp dynamic. From this focal point the first movement intensifies, expanding into dense, amorphous textures reminiscent of the glacially changing sonic clusters of works such as Atmosphères (1961). This process of growth continues throughout most of the movement, which ends with a high cello harmonic and a low bass note bounding a gulf of emptiness. The expressively kinetic second movement begins with the presentation and apparent rejection of several ideas that ultimately return in new contexts. The solo cello remains at the fore, though the orchestra likewise teems with activity. Complex polyphony and mechanistic polyrhythms dominate the texture; the overall impression is one of limitless possibility, in which anything can happen, including musical events that have already taken place. The movement ends with frantic ponticello scraping that fades into the nothingness that began the concerto. The fifteen-minute Cello Concerto was premiered in Berlin on April 19, 1967. The orchestra calls for flute, oboe, two clarinets, horn, trumpet, trombone, and a small string section. © 2014 All Music
Richard Strauss: Don Quixote, Fantastische Variationen über ein Thema ritterlichen Charakters, Op. 35 Don Quixote, Fantastic Variations on a Theme of Knightly Character, was written in 1897 and first performed on 8th March the following year in Cologne at the Gürzenich under Franz Wüllner. The work is the whimsical counterpart of Ein Heldenleben, first performed a year later. Don Quixote was not originally conceived as a
6︱唐吉軻德
concerto and the solo cello part was at first intended for the leader of the cello section. Eventually, however, Strauss conceded the part to a soloist, in view of the technical demands it made and the prominence of the instrument through much of the work. The picaresque novel by Miguel Cervantes, El Ingenioso Hidalgo Don Quijote de la Moncha, was published in two parts, in 1605 and 1615. A simple country gentleman has his head turned by reading too many romantic tales of chivalry and misguidedly sets out as a knight errant, dedicated to the righting of wrongs. The book itself has been seen most as a criticism of contemporary romances of chivalry and, indeed, of the pastoral romance, offering at the same time a contrast between the real and the ideal, the reality of Don Quixote's actual world and that of his imagination. There is humor and pathos in Don Quixote himself, his delusions and his nobility of Intention: On his second expedition he is accompanied by Sancho Panza as his squire, a villager who combines a degree of common sense and sententiousness with care for his master. The Introduction at first offers three themes associated with the protagonist. The first, marked ritterlich und galant (knightly and gallant) is introduced by the woodwind. Second violins and violas follow with Don Quixote the courteous gentleman and a descending clarinet figure introduces a glimpse of his way of thinking. The violas continue with his reading of romances of chivalry, leading to an oboe theme suggesting courtly love for a noble mistress and muted trumpets reflect a challenge to rescue her from dangers suggested by the monsters of the lower register brass and strings. Their idealized love dissolves, as delusion follows delusion in a contrapuntal complexity of motifs and themes. The theme of Don Quixote, the Knight of the Sorrowful Countenance, is now stated by the solo cello, with the help of the solo violin, a sorrowful transformation of the opening material. This is followed by Sancho Panza, with a rustic bass clarinet and tenor tuba, a chatterbox solo viola and a sententious conclusion, three aspects of his character. The first variation depicts the adventure of the windmills. Don Quixote sees on the plain below some thirty or forty windmills which he takes for giants and resolves to attack, in spite of Sancho Panza's assurance that these are windmills and that what Don Quixote thinks are arms are their sails, turning in the wind. The knight falls at the first encounter with a sail that shatters his lance, leading him to believe that the giants had been transformed by a wicked magician. The second variation represents the adventure of the sheep in which
Don Quixote, represented now by three cellos, sees clouds of dust approaching from each side, clearly the opposing armies of the Emperor Alifanfaron and of Pentapolin of the Bare Arm. Even Sancho is persuaded that these are not the flocks of sheep they seem, bleating in the woodwind, with the dust cloud of the violas and the pipes of the shepherds. The disastrous conclusion of the episode is omitted. The third variation brings a conversation between Sancho and his master, the earthy common sense of one contrasted with the quixotic love of knight errantry of which the squire is almost persuaded. The fourth variation finds Don Quixote set on rescuing a supposed lady in distress, in fact a statue of the Madonna carried by a procession of penitents. Provoked, one of the bearers aims a blow at the knight, who falls to the ground, apparently dead, mourned by Sancho as the flower of chivalry, as the procession moves on. The meditative fifth variation finds Don Quixote, at the start of his adventures, keeping vigil over his sword and armour, and thinking of his imagined lady, the peasant girl to whom he would give the title of Dulcinea del Toboso. In the sixth variation Don Quixote attempts to pay his respects to his supposed Dulcinea, a country girl, apparently bewitched and transformed. Sancho, however, assures his master that this is his lady. They are entertained in the seventh variation by the Duke and Duchess, who convince both squire and master, blindfold that they are traveling on a flying horse to save from enchantment the Afflicted Waiting-Woman, to the amusement of the whole court. The eighth variation is the adventure of the enchanted boat, in which they find a boat moored by the river-bank and allow it to take them downstream, to some great exploit, but in fact to a weir, from which millers, earlier supposed to be devils, rescue them, an outcome for which Sancho gives thanks in a final prayer. From earlier in the book comes the adventure in which Don Quixote attacks two Benedictine monks, whom he takes for magicians, providing the excitement of the ninth variation. The final variation brings Don Quixote almost to his senses, when Sampson Carrasco disguises himself as the Knight of the White Moon, engaging Don Quixote in combat and defeating him, persuading him to spend a year of relative repose as a shepherd rather than a knight errant. The tale ends with the final illness and death of the hero, as earlier events are recalled in relative tranquility. © 2014 Naxos Digital Services Ltd
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=201410.
電子問券請掃描， 支持NSO愛地球。
7︱唐吉軻德
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, TsangHouei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, 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年起正式成為駐國家 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之一。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
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
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
吳孟珊 賴盈帆 賴曉俐 陳世傑▓ 陳玠維 高冠勳 林碧珠 高婉瑜 溫慧雯 林詩祐
○ 陳逸群 卓曉青 林孟穎 ● 陳怡茹 顧慈美 蔡孟峰
郭昱麟 方俊人 李家豪 ◎ 孫正玫 于爾恩 洪章文
林基弘 黃佳頎 曾智弘 吳怡慧 康信榮 陳偉泓
梁坤豪 李庭芳
陳逸農 賴佳奇
李京熹 李梅箋 王致翔
黃衍繹 鍾仁甫
● 黃瑞儀 謝君玲 蔡秉璋
◎ 鄧啟全 ○ 呂昭瑩 劉國蘭▓ 呂孟珊 吳彥廷 ▲ 袁繹晴
黃雅琪 李思琪
李靖宜 陳猶白
大 提 琴
● 熊士蘭 陳怡婷
◎ 連亦先 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 王淑宜
◎ 蘇億容 連珮致
○ 周春祥 蔡歆婕
王淑瑜
黃筱清
長 笛
● 安德石
◎ 宮崎千佳
李 浚
錄音製作
短 笛
鐘美川
雙 簧 管
● 王怡靜
◎ 阮黃松
楊舒婷
NSO 樂團學苑 名錄
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 ▲ 程筑卿
○ 黃任賢
國田朋宏
王婉如
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
第二小提琴
中 提 琴
粗管上低音號
舞台監督 助理舞監 人事組長 譜務專員 行政專員 舞台助理 整銷推廣 公關整銷專員 行銷專員
音樂諮詢 法律顧問
指 揮 小 提 琴
孫正茸
中 提 琴
羅文宏＊
低 音 號
● 宮西純
定 音 鼓
● 連雅文
◎ 陳廷銓
打 擊 樂
● 陳哲輝
陳振馨
豎 琴
● 解 瑄
鍵 盤
▲ 許毓婷
楊璧慈
曹予勉 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 (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
陳卜湄 林欣儀 鄭巧琪 王思懿 曾柏雄 郭玲孜 焦元溥 林信和
張尹芳 王心妤 余琬婷 吳宛蓁 吳庭芳 呂 昉 張暐姍 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 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