20141017 program note

演出曲目

Program

雷歐納德•伯恩斯坦（1918-1990）： 《憨第德》序曲

LEONARD BERNSTEIN (1918-1990): Candide Overture

喬治•蓋希文（1898-1937）：F大調鋼琴協奏曲

GEORGE GERSHWIN (1898-1937): Piano Concerto in F major

I. 快板 II. 慢板─富動態的行板 III. 激昂的快板 --中場休息--

奧托里諾•雷史畢基（1879-1936）：《羅馬之泉》 I. 〈黎明的朱利亞山谷噴泉〉 II. 〈早晨的特里同噴泉〉 III. 〈正午的特雷維噴泉〉 IV. 〈黃昏的梅迪奇別墅噴泉〉

奧托里諾•雷史畢基：《羅馬之松》 I. 〈鮑格賽別墅之松〉 II. 〈地下墓地旁的松樹〉 III. 〈嘉尼科勒的松樹〉 IV. 〈亞壁古道的松樹〉

演出時間│ 2014年10月17日 (星期五) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall

I. Allegro II. Adagio - Andante con moto III. Allegro agitato ~Intermission~

OTTORINO RESPIGHI (1879-1936): Fontane di Roma I. II. III. IV.

'La fontana di Valle Giulia all'alba' 'La fontana del Tritone al mattino' 'La fontana di Trevi al meriggio' 'La fontana di Villa Medici al tramonto'

OTTORINO RESPIGHI: Pini di Roma I. II. III. IV.

'I pini di Villa Borghese' 'Pini presso una catacomba' 'I pini del Gianicolo' 'I pini della via Appia'

演出者 指 揮│吳曜宇 Yao-Yu Wu, conductor 鋼 琴│紀蒙•巴托 Tzimon Barto, 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40分鐘，下半場約40分鐘

1︱交錯的軸線─新大陸 X 古羅馬

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 Center

演出者介紹

Profiles

指揮｜吳曜宇

Yao-Yu Wu

「吳(曜宇)在最後一輪的表現非

“Mr. Wu has an extremely outstanding performance

常出色，當他指揮史特拉汶斯基

in the final round, when he conducts Stravinsky’s ballet

的芭蕾音樂《火鳥》時，他那優

music Firebird, his elegant, exquisite gestures inspire

雅、講究的手勢鼓舞了樂團的熱

orchestra with enthusiasm.”

情。 」

─Le Figaro

─《費加洛時報》

Born in 1989, Yao-Yu Wu began his study of

自資訊傳播學系畢業後，吳

conducting at the Taipei National University of the Arts.

曜宇以第一名成績考入國立臺北藝術大學音樂研

Within the framework of his studies, he participated in

究所指揮組，師從徐頌仁教授，並於在校期間首

many master classes and received kind appreciations from

演為數眾多的現代音樂。近年曾參與德尼．溫瑟 爾、安德裏斯•戴爾夫斯、呂紹嘉、尼可拉斯• 帕斯克、Dominique Roits指揮大師班，並獲得一 致的肯定。2013年，吳曜宇初試啼聲以24歲的學 生身份贏得了第53屆貝桑頌國際青年指揮大賽首 獎，並同時獲得「觀眾獎」及「樂團獎」，隨即 亦收到世界各地樂團的邀約。2014年間於聖彼得

Rodney Winther, Andreas Delfs, Shao-Chia Lü, Nicolas Pasquet, and Dominique Rouits. In 2013, Wu won the first prize of the 53rd International Besançon Competition for Young Conductors, and also the Prize from Public and Prize from Orchestra. Since then, he has received invitations to work with orchestras in Taiwan and abroad, including the Orchestre National de Lorraine, Orchestre National de Bordeaux, Opera National de Bordeaux,

堡國際音樂奧林匹克音樂節指揮演出，並將受邀

L’Orchestre de Douai, Vienna Chamber Orchestra, and

與洛林國家交響樂團、波爾多國家交響樂團、波

Taiwan Philharmonic. In 2014, Wu is invited to conduct

爾多國家歌劇院、杜埃管絃樂團、維也納室內樂

St. Petersburg Academic Symphony Orchestra in the

團以及NSO國家交響樂團合作。2014年8月，吳

Musical Olympus International Festival, and will be the

曜宇受邀擔任兩廳院歌劇工作坊指揮，將演出胡

conductor of 2014 Opera Studio Taiwan, where he will

伯定克《糖果屋》。

perform Humperdinck Hänsel und Gretel in August.

2︱交錯的軸線─新大陸 X 古羅馬

鋼琴｜紀蒙•巴托 「在此，紀蒙•巴托掌握了譜上帶來 的每一個挑戰。他偶爾用拳或前臂演 奏，但靠著他極度靈敏的手指讓他演 奏出極為複雜的樂段。」 ─《倫敦旗幟晚報》 生長於佛羅里達的紀蒙•巴托， 被認為是同世代中最優秀的美國鋼琴家之一，曾就讀 茱莉亞音樂學院，亦曾是美國歌劇中心的指揮及聲韻 教師。 1980 年中期，巴托於在卡拉揚邀請下於維也 納黃金廳及薩爾茲堡藝術節演出，自此在國際間打響 名號，此後他經常與世界各地的頂尖樂團合作，其中 包括紐約愛樂、克里夫蘭管絃、費城管絃、芝加哥交 響、舊金山交響、巴黎管絃、馬林斯基劇院管絃、柏 林愛樂、德勒斯登國家管絃、萊比錫布商大廈管絃、 維也納交響、西班牙國立管絃、 NHK 等交響樂團。 巴托曾灌錄無數專輯，包括拉摩、拉威爾、海頓、蕭 邦、舒曼、李斯特的作品，以及普羅科菲夫、拉赫瑪 尼諾夫、李斯特、法雅、聖桑、蕭邦、巴爾托克、拉 威爾、蓋希文、柴科夫斯基和浦費茲納的協奏曲。除 了鋼琴家的身分之外，巴托亦是一位作家。他的第一 本著作《希臘血統的女人》（A Lady of Greek Origin） 出版於2001年。

Tzimon Barto "Here, Tzimon Barto handled every challenge the score threw at him. Occasionally he played with his fists or his forearms, but it was the extraordinary nimbleness of his fingers that got him round the most complex passages." ─London Evening Standard Born and raised in Florida, Tzimon Barto is recognized as one of the foremost American pianists of his generation.

He attended The Juilliard School and was a conducting fellow and coach at the American Opera Center. Barto’s international breakthrough followed in the mid-1980s, when he appeared at the Vienna Musikverein and the Salzburg Festival at the invitation of Herbert von Karajan. He has since performed with major international orchestras including the New York Philharmonic, Cleveland and Philadelphia orchestras; the Chicago and San Francisco symphony orchestras; the Orchestre de Paris, the Mariinsky, Berlin Philharmonic, Staatskapelle Dresden, Leipzig Gewandhaus, Vienna Symphony, Spanish National and NHK Symphony orchestras. Barto has already recorded numerous albums, including works

by Rameau, Ravel, Haydn, Chopin, Schumann, Liszt as well as concertos by Prokofiev, Rachmaninov, Liszt, de Falla, Saint-Saëns, Chopin, Bartók, Ravel, Gershwin, Tchaikovsky and Pfitzner. In addition to his career as a pianist, Barto is also a writer. His first book, A Lady of Greek Origin, was published in 2001.

樂曲解說 撰文│蔡永凱

義大利與美國的新音樂發展 十九世紀後半開始，歐洲的政治版圖變動頻 仍，直至兩次世界大戰，強權起落之間，亦牽動 音樂發展的路線。美國雖然早在 1776 年建國，但 長期重演出輕創作 ， 在演出上，廣大的市場足以重 金挖角歐陸人才 ， 在創作上，則侷限於歐陸學院傳 統，直至特有的爵士樂與藍調，由流行歌曲融入古 典創作後，才找出自己的聲音，甚至返回影響歐陸 之新古典等潮流。至於義大利，在十九世紀即以美 聲歌劇傲視群倫，音樂界重視的不外乎票房的商業 利益，但在1861年統一之後，為求提升國家文化發 展，有志之士開始有計劃地創作被視為菁英音樂類 型的器樂曲，以求迎頭趕上德法的創作水準，許多 室內樂與管絃樂作品也應運而生。

為主。《憨第德》取材自法國啟蒙時代哲學家伏 爾泰（ Voltaire, 1694-1778 ）的中篇小說，敘述 一位抱持絕對樂觀主義的年輕人，如何在現實中 幻滅。原本伯恩斯坦係受邀為該劇之話劇演出譜 寫戲劇配樂，最後卻完成一部「喜劇輕歌劇」 （ comic operetta ）作品。劇本由荷爾曼（ Lilly Hellman, 1905-1984）構思，歌詞則為多人創作， 音樂部份雖由伯恩斯坦譜寫，但除了〈序曲〉之 外，其他均由百老匯的編曲家配器。 雖然作品在1956 年首演後，歷經數次修改才 漸獲成功，但〈序曲〉在 1957 年由作曲家親自 指揮紐約愛樂演出後，遂成為美國樂團的熱門曲 目。序曲的結構具有迴旋曲式的特色，分成三大 段落 ， 作曲家設計了一個如信號聲的主題，並以 此帶出歌劇中幾段膾炙人口的旋律。

伯恩斯坦：《憨第德》序曲

蓋希文：F大調鋼琴協奏曲

伯恩斯坦是廿世紀最重要的指揮家之一，他的 音樂創作則以兼具藝術與商業價值的百老匯歌舞劇

主奏的《藍色狂想曲》（Rhapsody in Blue）於紐約首

1924年2月12日，由作曲者蓋希文自己擔任鋼琴

3︱交錯的軸線─新大陸 X 古羅馬

演成功，隔天他隨即受紐約交響樂團（New York Orchestra Symphony）指揮丹若須（Walter Damrosch, 1862-1950）邀 請，譜寫一部鋼琴協奏曲。

這部作品延續了蓋氏專長的爵士與藍調風格，在形 式上則更接近傳統的協奏曲框架。作品共有三個樂章， 第一樂章由樂團開始，定音鼓的重擊與低音管吹奏的附 點旋律形成第一主題群；鋼琴加入之後，則發展出較為 抒情的切分音旋律，是為第二主題。在一段小型的裝飾 奏後，發展部開啟。再現部由第二主題先現，原本鋼琴 的抒情切分旋律改由樂團宏偉地（grandioso）齊奏，鋼 琴接續以肥厚的八度和弦奏出第一主題的附點旋律，明 快地結束此樂章。 第二樂章為具有藍調風格的慢板。獨奏小號搭配毛氈 弱音器帶出主旋律，並由單簧管家族伴奏，其中的重複四 音音型，亦為本樂章主題，鋼琴獨奏以此音型加入後，速 度轉為輕快。鋼琴在裝飾奏中，左手帶入一個藍調風味的 上行主題，在樂章後段被頻繁使用，裝飾奏後曲風漸漸回 復抒情，最後由長笛模仿曲初的小號歌唱作結。 第三樂採為散拍（ragtime）風格，使用大量切分音 且頻繁變換拍號，鋼琴則以重複和弦展技。在迴旋曲的 結構中，前兩樂章的主題亦以富有節奏感的變貌出現， 樂章後段再現了第一樂章的再現部：樂團齊奏出第一樂 章的第二主題，近結尾處，定音鼓聲與上下行旋律則提 示了第一樂章的開頭，首尾相扣地結束全曲。 值得一提的是，《藍色狂想曲》的樂團版本尚由他 人捉刀，短短一年後的鋼琴協奏曲已由蓋希文親自配 器。靈動的打擊樂與銅管語法，可清楚看到他從流行歌 曲寫手晉身為嚴肅音樂作曲家的天份與用心。

雷史畢基：《羅馬之泉》、《羅馬之松》 廿世紀初義大利作曲家雷史畢基，自幼學習小提琴， 曾在聖彼得堡與德國以小提琴家的身份參與樂團演出，或 許因為這層旅外的經驗，讓他更瞭解國際樂團的脈動，導 致他之後開始全心作曲時，不若其他義大利作曲家只侷限 於歌劇創作。先後於1916與1924年創作的《羅馬之泉》和 《羅馬之松》，堪稱十九世紀後義大利最具有代表性的器 樂作品，這兩者與1928年的《羅馬節慶》（Feste Romane） 組成了「羅馬三部曲」。

兩作皆由四個樂章組成，各樂章均有標題，但因樂 章間不停頓，篇幅亦都不大，因此也可視為四段「音樂 寫景」。《羅馬之泉》即藉音樂描繪，在白日的不同時 段裡，四座羅馬地區的噴泉呈現的不同景致，與觀者的 觸動。〈黎明的朱利亞山谷噴泉〉呈現出曙光中的羊群 與牧者來回逡巡的身影，被清晨的霧氣遮掩，代表田園

風味的雙簧管吹奏出主旋律，續由其他木管模仿， 在此景末端，該旋律再由長笛回顧；第二景為〈早 晨的特里同噴泉〉，響亮的法國號與顫抖的樂團， 代表海神的威力，長笛和豎笛演奏的輕快音型，則 描述輕佻的水妖們競逐玩樂，直至群舞；〈正午的 特雷維噴泉〉亦與海神與海神之子特里同有關，以 雄壯穩健的步伐，描繪神聖的隊伍通過，中間則穿 插壯麗的水花嬉戲；最後一景〈黃昏的梅迪奇別墅 噴泉〉音樂結構與第一景類似，由長笛與英國管演 奏的旋律帶有感傷氣氛，在一陣樹葉與群鳥的聲響 後，長笛以同一旋律結束全曲，夜幕降臨。 《羅馬之松》亦採類似角度，音樂結構也相 似。第一景〈鮑格賽別墅之松〉描繪孩童玩耍，加 上軍隊進行曲與戰役之喧鬧；〈地下墓地旁的松 樹〉則由法國號與長號，以不同旋律暗喻聖徒之死 的神聖與痛苦；〈嘉尼科勒的松樹〉裡，樂團先勾 勒出黃昏的光影與微風，作曲家在景中還指定加入 真實鳥鳴之錄音；最後，〈亞壁古道的松樹〉的進 行曲裡，雷史畢基加入管風琴與在觀眾席的翼號， 在迴繞的聲響中遙想帝國榮景，也反映出一次大戰 後義大利面對國際局勢動盪與國家前途間的焦慮與 失落。

Program Notes Leonard Bernstein: Candide Overture Candide is a comic operetta based on the work by Voltaire.

The work was extremely unsuccessful during its Broadway premiere in 1956, and it is primarily only as an overture that the music is remembered at all today. The overture was premiered by the New York Philharmonic Orchestra in 1957 with Bernstein conducting and became almost an instantaneous orchestra and concert band staple. The work is extremely quick-paced, with a feverish excitement that begins from the first breath of sound. Each player of the ensemble, whether an orchestra or concert band, is required to perform with the utmost of virtuosity, and the work requires an immensely together ensemble. Many of the meters are in seven beats or of other non-traditional types, and they quickly change. Short, full ensemble statements open the work, and this beginning idea intermittently appears several times throughout the work, almost as a reminder of what has been and that it is still the same work. While there are some melodic ideas, as well as some wonderful harmonic textures, it is clear that the main stylistic character of the music must be its rhythmic use. Strong percussion accents, writing in orchestrational groupings and families such as brasses, and harsh attacks from the ensemble as an entity are apparent

4︱交錯的軸線─新大陸 X 古羅馬

throughout. The form of the piece is as scattered as the music itself. Most of the ideas are short and sporadic. When an idea is presented, there is usually little time for it to be developed, but instead the music quickly changes direction to some other idea.

Oddly, this lack of development of ideas has not deterred from the music's popularity; with the Overture to Candide still a popular favorite among concert programmers, it is doubtful that this music will die away anytime soon. © 2014 All Music

George Gershwin: Piano Concerto in F major One immediate result of the appearance of the Rhapsody in Blue, which incidentally owes its first famous clarinet glissando to the inspiration of Whiteman's clarinettist Ross Gorman, whose light-hearted addition replaced a simple chromatic scale, was a commission from Walter Damrosch, conductor of the New York Symphony Orchestra, for another concerto. Gershwin claimed to have orchestrated the Concerto in F himself, although it has been suggested that he may have had help here and elsewhere from one of his former teachers, Joseph Schillinger. The composer was anxious enough to show that the Rhapsody in Blue had been no mere accident and set out, with the aid of a text-book on concerto form, to prove himself. The Concerto opens in unmistakably jazz idiom. The first movement, which makes considerable use of the fashionable Charleston, is an attractive excursion into virtuoso piano writing, cunningly blended with the language of the jazz piano, that for contemporary European composers had been little more than a superficial influence. It has, at the same time, other elements that we might associate with Broadway, rather than with the big band, with which the work opens. The slow movement is a languishing blues, which finds a place for characteristic instrumental solos from the orchestra, before the emergence of the piano, against a stepping bass. This is followed by a lively final movement, depending, as does the rest of the concerto, on its tunes as much as their musical treatment or attempted development. The Concerto has had a variable reception over the years and has never proved a serious rival to the Rhapsody in Blue.

Nevertheless it offers music in a thoroughly American language that is much more than a flash in Tin Pan Alley. © 2014 Naxos Digital Services Ltd

Ottorino Respighi: Fontane di Roma Respighi's international reputation, which still exceeds that of any other Italian composer of his generation, depends very largely on the symphonic poems that offer evocative and pictorial representations of Rome. Fontane di Roma, four vivid pictures of the fountains of the city, was completed in 1916. Pini di Roma, an evocation of Roman scenes associated with the pines of the city and its surrounding countryside, followed in 1924, and this was succeeded in 1929 by Feste Romane, a work coloured by a certain contemporary political optimism.

The Fountains of Rome, a work that met a hostile reception at its first performance, owed its later success to a performance under Toscanini in Milan in 1918. The four movements offer pictures of the famous fountains of the Eternal City at different periods of the day and night. The first shows the Valle Giulia fountain at daybreak, a pastoral landscape, in which herds of cattle pass and disappear into the morning mist. In the second Naiads and Tritons dance in the morning light, figures of the great Bernini fountain commissioned

by Cardinal Borghese, the sea-gods making use of their characteristic instrument, the conch-shell, here represented by the French horns in textures that owe much to RimskyKorsakov. At noon the ornate Trevi fountain is displayed, a solemn theme followed by the trumpets that announce the triumph of the sea-god Neptune, in his chariot drawn by seahorses. As the sun sets, the music depicts the fountain of the Villa Medici, a scene of nostalgic melancholy: bells toll and birds sing, while the leaves rustle and all sounds dwindle into the tranquility of night. © 2014 Naxos Digital Services Ltd

Ottorino Respighi: Pini di Roma The first movement of Pini di Roma, the Pines of the Villa Borghese, shows children playing by the pine-trees at the great Villa Borghese, monument to the patronage of the Borghese family, who dominated the city in the early seventeenth century. It is a sunny morning and the children sing nursery rhymes and play soldiers. Pines near a Catacomb conjures up the picture of a solitary chapel in the deserted Roman Campagna, open land, with a few pine-trees silhouetted against the sky. A hymn is heard, the sound rising and sinking again into some sort of catacomb, the subterranean cavern in which the dead are immured. The 'Pines of the Janiculum' is a night-piece. The full moon shines on the pines that grow on the hill of the Temple of Janus, the double-faced god of doors and gates, and of the New Year. A nightingale is heard, the composer demanding a recording of the real bird, where this is possible, rather than the artificial birdsong of Vivaldi or of Beethoven. The 'Pines of the Appian Way' is a representation of dawn on the great military road leading into Rome.

Respighi recalls the past glories of the Roman Republic. The legions approach to the sound of trumpets, where possible in the form of ancient Roman buccine, instruments best imitated by the modern flügelhorn, and the Consul, elected leader of the Republic, advances, as the sun rises, mounting in triumph to the Capitol. © 2014 Naxos Digital Services Ltd

5︱交錯的軸線─新大陸 X 古羅馬

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 第二小提琴

中 提 琴

大 提 琴 低 音 提 琴 長 笛 短 笛 雙 簧 管 英 國 管 單 簧 管 低 音 管 倍 低 音 管 法 國 號 小 號 長 號 低 音 長 號 粗管上低音號 細管上低音號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 管 風 琴

○ 陳逸群 郭昱麟 林基弘 卓曉青 方俊人 黃佳頎 林孟穎 李家豪 曾智弘 ● 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 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 謝君玲 劉國蘭▓ 呂孟珊 蔡秉璋 吳彥廷 ▲ 袁繹晴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 陳怡婷 林宜女閒 黃日昇 ● 傅永和 ◎ 蘇億容 ○ 周春祥 王淑宜 連珮致 蔡歆婕 ● 安德石 ◎ 宮崎千佳 李 浚 鐘美川 ● 王怡靜 ◎ 阮黃松 楊舒婷 李明怡 ● 朱玫玲 ◎ 張凱婷 朱偉誼 ● 簡凱玉 ◎ 陳奕秀 高靈風 簡恩義 ● 劉宜欣 ○ 黃任賢 國田朋宏 ● 宇新樂 ◎ 陳長伯 張景民 亞尼克•巴爾曼 ● 宋光清 ◎ 邵恆發 陳中昇 彭曉昀 伊東明彥 羅文宏✽ 李佳燁 ● 宮西純 ● 連雅文 ◎ 陳廷銓 ● 陳哲輝 陳振馨 楊璧慈 ● 解 瑄 林玉婷✽ ▲ 許毓婷 黃時為 陳相瑜

梁坤豪 李庭芳 蔡竺君 李京熹 李梅箋 王致翔 黃雅琪 李思琪 賴昱如✽ 呂明美 蘇酩惠 王淑瑜

陳逸農 賴佳奇 黃衍繹 鍾仁甫 藍胤萱✽ 李靖宜 陳猶白 周幼雯 唐鶯綺 黃筱清

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

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

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 孫正茸

王婉如 鄒儒吉

王瓊燁

指 揮 小 提 琴 曹予勉 李 珊

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 (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

張尹芳 王心妤 余琬婷 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 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