演出曲目
Program
米奇斯拉夫•卡爾洛維契（1876-1909）：
MIECZYSŁAW KARŁOWICZ (1876 – 1909): Stanisław and Anna of Oświęcim, Op. 12
《奧斯威辛的史坦尼斯拉夫與安娜》 法蘭茲•李斯特（1811-1886）：第一號鋼琴協奏曲 I. II. III. IV.
莊重的快板 如慢板一般 活潑的小快板—興奮地快板 興奮且如進行曲般的快板
~中場休息~
維托爾德•魯托斯拉夫斯基（1913-1994）： 《帕格尼尼變奏曲》 萊奧什•楊納捷克（1854-1928）：小交響曲 I. II. III. IV. V.
小快板 行板 中板 小快板 快板
演出時間│ 2014年12月6日 (星期六) 7:30 PM
FRANZ LISZT (1811 – 1886): Piano Concerto No. 1 in E-flat major, S. 124 I. II. III. IV.
Allegro maestoso Quasi adagio Allegretto vivace - Allegro animato Allegro marziale animato
~Intermission~
WITOLD LUTOSŁAWSKI (1913 -1994): Paganini Variations for Solo Piano and Orchestra LEOŠ JANÁČEK (1854–1928): Sinfonietta I. II. III. IV. V.
Allegretto Andante Moderato Allegretto Allegro
演出者
指 揮│安東尼•維特 Antoni Wit, conductor 鋼 琴│彼德•亞布隆斯基 Peter Jablonski, piano
演出地點│ 國家音樂廳 National Concert Hall, Taipei
國家交響樂團 National Symphony Orchestra (NSO) 特別感謝│
主辦單位│ 指定住宿│
演出長度│上半場約45分鐘，下半場約30分鐘
1︱東歐瑰寶
歡 迎
Welcome
「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！
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.
國家表演藝術中心董事長
Chairman, National Performing Arts Center
親愛的愛樂朋友：
演出者介紹 指揮｜安東尼•維特 「安東尼•維特無疑是當前極為出 色卻被埋沒的指揮家之一，手上握 有一個優秀的樂團。以《重生》交 響曲為例，其和諧的演奏是如此 不同凡響。在維特指揮下，這部 作品呈現意義深遠的戲劇感。」 ─《今日古典》 安東尼•維特是最受尊崇的波蘭指揮家之一， 也是波蘭音樂的倡護者。他擔任華沙愛樂的行政與 藝術總監直至2012/13樂季結束為止，前後共十二 年。他的合作對象囊括了歐美及東亞各地的頂尖樂 團，其中包括德勒斯登國家交響樂團、科隆西德廣 播（WDR）交響樂團、蘇黎世音樂廳管絃，以及蒙 特婁交響、中國愛樂、皇家愛樂、愛樂管絃和英國 廣播公司（BBC）交響樂團。近期與未來將合作的 樂團包括斯圖加廣播交響、柏林愛樂、布達佩斯節 慶管絃、馬來西亞愛樂、斯卡拉愛樂、布拉格廣播 交響、里昂國立管絃、巴塞隆納交響、聖彼得堡愛 樂、布宜諾斯艾利斯哥倫布劇院、香港愛樂以及布 魯塞爾國立管絃樂團。維特曾與百代（EMI）、索 尼（Sony）和拿索斯（Naxos）等唱片公司合作，灌 錄超過一百五十張專輯，並且六度入圍葛萊美獎。 他在拿索斯公司的唱片銷量已近五百萬張。
鋼琴｜彼德•亞布隆斯基 「亞布隆斯基的演奏展現全部所需的 力量。除了清澈透明的開頭和雷霆萬 鈞的結尾之外，最令人激賞的，是他 在這兩個極端之間，對於鋼琴色彩的 細膩掌控。如此的演奏，讓我們見識 到拉赫瑪尼諾夫某種歷久不衰的吸引 力。」 ─《電訊報》
Antoni Wit, conductor "Antoni Wit is unquestionably one of the great, unsung conductors currently working, and he has a terrific orchestra at his disposal. What a difference a sympathetic performance makes in the case of the Rebirth Symphony. In Wit's hands the piece unfolds with a ─Classics Today purposeful sense of drama." Antoni Wit is one of the most highly regarded Polish conductors and a champion of Polish music. He held the post of General and Artistic Director of the Warsaw Philharmonic for twelve years until the end of the 12/13 season. Wit has enjoyed an international career with major orchestras throughout Europe, America and the Far East. Past highlights have comprised Staatskapelle Dresden, WDR Sinfonieorchester Köln, TonhalleOrchester Zürich as well as Orchestre symphonique de Montréal, China Philharmonic, Royal Philharmonic, the Philharmonia and the BBC Symphony orchestras. Recent and future orchestral engagements include RadioSinfonieorchester Stuttgart, Berliner Philharmoniker, Budapest Festival Orchestra, Malaysian Philharmonic Orchestra, Filarmonica della Scala, Prague Radio Symphony, Orchestre National de Lyon, Orquestra Simfònica de Barcelona, St Petersburg Philharmonic, Teatro Colon Buenos Aires, Hong Kong Philharmonic and Orchestre National de Belgique. Six times Grammy Award nominated, Antoni Wit has made over one hundred and fifty recordings for EMI, Sony and Naxos. He has sold close to 5 million records on Naxos. Peter Jablonski, piano "Jablonski’s performance had all the power required, from the crystalline opening to the thundering close, but what really distinguished it was his command of pianistic colour in between. This was playing to remind one of ─Telegraph Rachmaninov’s enduring appeal." Born in Sweden to Swedish and Polish parents, Peter Jablonski studied piano and percussion at the Malmo Academy of Music, and later piano and conducting
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彼得•亞布隆斯基出生於瑞典，父親是波蘭 人、母親是瑞典人。他在馬爾摩音樂學院學習鋼琴 和擊樂，其後進入倫敦皇家音樂學院學習鋼琴和指 揮。自1992年於美國華府、1993年於倫敦皇家節慶 廳初次登臺以後，亞布隆斯基和許多舉世聞名的樂 團共同演出及錄音，包括：愛樂管絃樂團、英國廣 播公司（BBC）交響、費城管絃、洛杉磯愛樂、萊 比錫布商大廈管絃、皇家斯德哥爾摩愛樂、斯卡拉 愛樂和日本放送協會（ NHK ）交響等。他曾和多 位知名指揮家合作，如：阿胥肯納吉、夏伊、鄭明 勳、杜特華、葛濟夫和薩洛能。他與Decca、Altara和 Octavia唱片公司合作發行唱片，以獲獎新作的發行 與錄製新作品為特色。亞布隆斯基與阿胥肯納吉和 皇家愛樂共同合作，所錄製的蕭斯塔科維奇、拉赫 瑪尼諾夫及魯托斯拉夫斯基作品專輯，獲得他夢寐 以求的愛迪生大獎肯定。亞布隆斯基亦熱衷於室內 樂演出，並為瑞典卡爾斯克魯納室內樂節的創辦人 及藝術總監。
at the Royal College of Music in London. Since his debut in Washington DC in 1992 and at the Royal Festival Hall in 1993, Jablonski has performed and recorded with the world’s finest orchestras including the Philharmonia, BBC Symphony, Philadelphia, Los Angeles Philharmonic, Leipzig Gewandhaus, Royal Stockholm Philharmonic, La Scala Philharmonic and NHK Tokyo among others. He has collaborated with such distinguished conductors as Vladimir Ashkenazy, Riccardo Chailly, Myung-Whun Chung, Charles Dutoit, Valery Gergiev and Esa-Pekka Salonen. His extensive discography on Decca, Altara Records and Octavia Records features award-winning releases and recordings of new works. Jablonski’s disc of Shostakovich, Rachmaninov and Lutosławski with Vladimir Ashkenazy and the Royal Philharmonic went on to win the coveted Edison Award. A passionate chamber musician, Jablonski is the founder and Artistic Director of the Carlscrona Chamber Music Festival in Sweden.
樂曲解說 撰文│蔡永凱（國立臺灣師範大學音樂學博士） 米奇斯拉夫•卡爾洛維契：《奧斯威辛的史坦尼 斯拉夫與安娜》 十九世紀末波蘭作曲家卡爾洛維契出身富裕， 既演奏小提琴，又在柏林修習作曲，交響詩《奧斯 威辛的史坦尼斯拉夫與安娜》是他最重要的作品， 也反映出他創作上的紮實訓練。 創作於 1907 年、首演於 1908 年，這部作品係 受到波蘭當代畫家柏格曼（Stanisław Bergman）的 畫作啟發，描繪發生於十七世紀左右民間的兄妹亂 倫傳說：相傳當時身為英雄的哥哥愛上妹妹，動身 前往羅馬並獲得教皇的准許，卻在返家後發覺妹妹 已死，一說是為母親迫害而死。哥哥殉情後，兩人 一同葬在克羅司諾（Krosno）的教堂裡。卡氏巧妙 地使用單一主題，暗示了兄妹血統之同源，再以不 同的變形處理，呈現出這段愛情的甜蜜、慘烈與哀 傷。鮮活的配器手法，頗有理查•史特勞斯與早期 斯特拉溫斯基之風。可惜1909年時，卡氏在一次滑 雪假期時遭遇雪暴喪生，否則波蘭的廿世紀音樂也 可能從此改觀。
法蘭茲•李斯特：第一號鋼琴協奏曲 協奏曲在十九世紀，一向是炫技名家信手拈來 的商業化產品，但對李斯特來說則不然。這部第一 號鋼琴協奏曲，早在1830年左右就開始構思，直到 1849 年才完成，到 1853 年再進一步修改，足見李 斯特的用心。 這部協奏曲篇幅不長，但有著相當特殊的結 構。作品由四個樂章組成，但樂章間不間斷演奏。
第一樂章由樂團低音的附點節奏音型開始，這也 是樂章乃至整首協奏曲的主題；鋼琴隨即以炫技 八度和弦回應，亦可視為第一主題群的一部份。 樂章中不乏歌唱的段落，由單簧管、獨奏小提 琴、大提琴與鋼琴對唱的下行附點線條，可視為 樂章的第二主題。第一樂章的再現部，可以清楚 聽到樂團的第一主題與裝飾奏式的鋼琴，最後由 鋼琴以一連串的琶音結束此樂章。第二樂章可分 成三段，前後兩段較為抒情，中段則較激動。第 三樂章以三角鐵與樂團撥奏開啟，呈現詼諧曲風 格，卻在後半段，由鋼琴在裝飾奏中帶出第一樂 章主題，甚至包括鋼琴在彼時的八度回應。在第 一樂章主題再現的同時，由雙簧管吹出的旋律， 則成為第四樂章的主旋律之一。第四樂章具有軍 樂般的色彩，作曲家在此回顧之前樂章的數個主 題，最後在附點主題中結束全曲。 由此觀來，這部協奏曲的各樂章雖然有其結 構，但四樂章結合在一起，又形成一個大型的奏 鳴曲式。第一樂章、第二樂章至第三樂章前段為 呈示部，帶出不同主題，第三樂章後段以開始至 第四樂章前半為發展部，將各主題發展變化；第 四樂章後半則為再現部，重述附點主題。如此的 緻密的特色，不只書寫了李斯特在協奏曲上的成 就，亦反映了「交響詩」形式的影響。
維托爾德•魯托斯拉夫斯基：《帕格尼尼變奏曲》 魯托斯拉夫斯基年輕時曾在華沙學習鋼琴與 作曲，無奈二次世界大戰爆發，德軍攻佔，他只 好與朋友帕努夫尼克 (Andrzej Panufnik) 在酒吧 裡演奏四手聯彈維生。期間改編了不少古典名
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曲，惜因戰亂流離，留下的僅有這首《帕格尼尼變 奏曲》。 帕格尼尼是十九世紀小提琴炫技的代表人物，他所 作的廿四首無伴奏小提琴《隨想曲》亦為經典，尤其 最終曲明朗活潑的主題，更吸引了李斯特、布拉姆斯、 拉赫瑪尼諾夫等人加以改編、或接續變奏。魯氏此作， 於1941年的原始版本為雙鋼琴版，大致沿用了帕格尼 尼原曲的各變奏的內容，但同時也加進改編者特長的音 堆聲響。1978年時，魯氏應鋼琴家布魯門塔爾（Felicja Blumenthal）邀請，將此作改編為獨奏鋼琴與管絃樂團 的版本。作曲家順勢擴充篇幅，除了主題與第十、十一 變奏外，其餘變奏段落皆重複一次，且在重複時調換鋼 琴與管絃樂團角色，營造出遊戲般的樂趣。
萊奧什•楊納捷克：小交響曲 楊納捷克的小交響曲完成於 1926 年，因係受代 表 捷 克 之 國 家 體 育 發 展 希 望 的 「 索 柯 爾 」 （ Sokol Gymnastic ） 訓練中心邀請所寫，作品因此有「索柯 爾節慶」（Sokol Festival）的副標題。完成後，他一度 將作品命名為「軍隊小交響曲」以彰顯「一個當代的 自由人，他的美麗與歡愉、他的力量、勇氣與為勝利 而戰的決心」，最後卻撤下了「軍隊」，只留下「小 交響曲」。 這部作品最特殊之處，為使用了龐大編制的銅管， 除了常見的法國號、小號、長號、低音號外，還使用了 9把C調小號、2把低音小號、2把上低音號。而上述三 樣樂器，僅在頭尾樂章使用，亦可見其聲響構思。 作品共有五樂章，動機材料環環相扣，為典型的 楊納捷克手法。第一樂章一開始，依序由上低音號、 倍低音號加定音鼓與9把C調小號帶出不同主題，隨後 從這三個主題的片段拼湊出屬於第一樂章的「號角」 主題。作曲家在每個段落，以不同的速度、節拍、運 音方式與伴奏為同一主題變奏，為這個僅使用銅管與 定音鼓的樂章增添趣味。第二樂章特殊之處，在於一 開始所出現的伴奏，係由單簧管的快速音群組成，由 此襯托出雙簧管主題之明亮；類似伴奏音型，在樂曲 中段後改由絃樂與豎琴演奏，同樣是快速音群間的擾 動與交織，卻因樂器差異製造出不同的效果。第三樂 章形同慢板，以樂曲開始至今較少見的絃樂音響開 啟。第四樂章一開始，便由F調小號帶出一具有民俗舞 蹈節奏感的號角主題，貫穿整個樂章，描繪了歡慶的 場面。終樂章一開始時，先後由長笛與單簧管帶出歌 唱式的主題，搭配絃樂（尤其是大提琴）的快速音群 伴奏，抒情中帶著不安，隨著速度加快，在樂章中由 9把C調小號與3把F調小號帶出第一樂章的號角主題， 作曲家採用類似第一樂章的變奏手法，讓主題陸續以 多種形貌出現，最後在莊嚴的慢板中結束整部作品。 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=201412，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 Mieczysław Karłowicz: Stanisław and Anna of Oświęcim, Op. 12 Written during the greater part of 1907, and first performed by the composer himself, Mieczysław Karłowicz in Warsaw on 27 April 1908, Stanisław and Anna of Oświęcim was to become the most successful, both critically and publicly, of Karłowicz's symphonic poems and went on to retain a place in the Polish orchestral repertoire until long after his death. It was inspired by a painting by Stanisław Bergmann, which draws on the seventeenth-century legend concerning the incestuous love between two siblings. Stanisław at length journeyed to Rome where he gained the Pope's blessing on their union, only to return home to find his sister dead. He himself died soon afterwards, and they were buried in the chapel at Krosno. Karłowicz evokes this sad tale in a piece drawing on elements of sonata design to give it formal focus and expressive consistency. The work is launched on strings and brass with impetuous music that soon assumes a more sinister hue on lower woodwind before easing into the expressive melody that is first heard on oboe. Commented on by the other woodwind and horn, this presently migrates to the full orchestra where muted brass sound a note of incipient danger, before heading into a fervent climax on the oboe melody. Dying down slowly, a pensive pause is reached before the central section sees first an intensive reworking of the initial music, then the radiant reappearance of the oboe theme on woodwind and strings. Uneasy gestures on muted strings and bass clarinet at length provoke the work's main climax, in which the thematic material becomes irredeemably tinged with tragedy. From here, a funeral march sets out with stark phrases from the upper woodwind and strings over a tolling accompaniment; building to a culmination of anguished inevitability, this soon subsides into a sombre postlude that closes the work in duly fatalistic terms. © 2014 Naxos Digital Services Ltd
Franz Liszt: Piano Concerto No. 1 in E-flat major, S. 124 By the age of fourteen Liszt had written two piano concertos, now lost. The first surviving concerto was sketched out in 1832, but only orchestrated in 1849, with the help of the young composer Joachim Raff, revised in 1853, and given its first performance in Weimar in February 1855 with Berlioz conducting, before further revision and publication in 1857. The concerto is novel in form, with movements that are cyclically connected, and caused some scandal by its inclusion of a triangle in the Scherzo, leading Hanslick, a hostile critic in Vienna, to describe the work as a 'triangle concerto'. The opening motif played by the strings has an important role to play in the concerto, answered by the octaves of the solo piano, which goes on to a cadenza, before the opening motif continues to be transformed in various ways. Muted strings open the B major Quasi adagio, before a rhapsodic passage for the solo piano and elements of quasirecitative. A solo viola and then a solo clarinet lead to the soft triangle rhythms that introduce the Allegretto vivace, followed by the return of the opening motif, softly at first from the soloist, and then with full force from strings and
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trombones, before woodwind echoes of the Quasi adagio. The concerto ends with a virtual summary of what has gone before. Themes from the Quasi adagio are transformed, and elements derived from the opening motif of the whole work return, leading to a brilliant conclusion. © 2014 Naxos Digital Services Ltd
Witold Lutosławski: Paganini Variations for Solo Piano and Orchestra The theme, marked Allegro capriccioso, and the twelve variations that constitute the work are written with exceptional bravura virtuosity. In a masterly way, one might say, he juggles with three elements, violin music, piano music and orchestral writing, allotting these in alternation or in counterpoint to the solo instrument and to particular sections of the orchestra. The principle of alternation of melodic and harmonic material in the score for two instruments is enriched, in the orchestral version, by instrumental colouring. The piano part has its origin in the best models of virtuosity stemming from Liszt and Rachmaninov, enriched, always, by the influence of Bartok and, to some extent, of Prokofiev. The orchestral part owes its brilliance to the fact that its neo-classical vitality is embellished by elements of colour and articulation that come not only from the orchestra of Ravel but also from twentieth century scores that draw on folk traditions and the sonorities of the modern orchestra. The harmonic system of the work rests naturally on the original A minor theme, in relationship with chords that have very little in common with major-minor tonality, becoming a sort of atonal variation purely in sound. The mood of Vigore in the Tempo allegro that dominates the score only changes in the sixth variation, marked poco lento, a lyrical cantilena, where one can observe a reference to the lyrical work of Karel Szymanowski, who wrote in 1918 variations on the same theme of Paganini. This contrasting variation at the centre of the work and a miniature cadenza for the piano at the end of the last, twelfth variation, give the impression, elsewhere hardly apparent, of a miniature piano concerto. © 2014 Naxos Digital Services Ltd
Leoš Janáček: Sinfonietta If the Glagolitic Mass gives vent to Janáček's often professed pan-Slavism, then the Sinfonietta is an avowed statement of belief in the Czechoslovak nation. Its origin came through the composer's hearing a military band in the town of Písek at the outset of 1926, soon after which he was commissioned to write some fanfares for the opening of the Sokol Gymnastic Festival and responded with an initial version of what became the present work's initial movement. The piece as it then evolved was initially titled 'Military Sinfonietta' and dedicated to the Czech army, but this title had been altered by the time of the première by Václav Talich in Prague on 26 June 1926. Indeed, central to its conception were Janáček's responses to the buildings in Brno alluded to in the subheadings of the latter four movements: buildings which he had known from adolescence but whose more affirmative qualities he had only come to realize in the years following Czech independence. Despite its relative brevity, the Sinfonietta is scored for one of the largest orchestras Janáček was to use, expanded in the opening movement and the second half of the finale by the deployment of an additional nine trumpets, two bass trumpets
and two tenor tubas. The initial motif heard on the tubas provides the basis for the whole of the first movement as well as most of what follows, making this the most overtly symphonic and integrated among the composer's larger orchestral pieces. It was also among the earliest of Janáček's works to establish his reputation in Western Europe, not least through the advocacy of the late Sir Charles Mackerras. Allegretto (Fanfare) builds from antiphonal responses over a slowly revolving rhythm, via rhythmically more animated exchanges, to a powerful brass outpouring which 'circulates' several times before its sudden close. Andante (The Castle) commences with glancing gestures from woodwind and brass, soon leading into a lively theme for upper woodwind then strings which is complemented by a more pensive theme, itself subjected to a constantly changing accompaniment. Tension now increases as the music gains in ardor, the upper strings pushed to the extremes of their compass on the way to a resplendent brass climax with trumpets to the fore. This climax is repeated even more ecstatically, the trumpets at length dying down over suspended strings prior to a restrained and atmospheric coda for solo woodwind and harp which is brusquely rounded off. Moderato (The Queen's Monastery) begins with languorous gestures from strings and harp over somber brass, presently becoming the backdrop to an eloquent melody for cor anglais then oboe. Mused on by strings and woodwind, it merges into a somber passage for brass then strings, topped off by shrill woodwind as the music takes on a dance-like gait. This soon gains a dizzying momentum on brass and strings, again countered by woodwind, before subsiding into a serene recollection of the opening music on solo woodwind and strings. Allegretto (The Street Leading to the Castle) is the shortest movement and centers on an impetuous trumpet theme, underpinned by lower strings, that presently passes all around the orchestra with its rhythmic profile unchanged but its accompaniment in a constant state of flux. Finally returning to trumpet, there is a moment of calm before the them e strikes out in new directions, only to be forestalled by a curt orchestral response. Allegro (The Town Hall) commences with poetic gestures on woodwind against undulating strings, the latter gaining in intensity as the music moves into expressive woodwind writing over simmering lower strings. The latter briefly continue this alone, but an increase in tempo finds both upper woodwind and strings racing away towards a heated confrontation at the extremes of their registers. This surges on to an emphatic response from trumpets, which duly sets in motion a full reprise of the opening movement on brass and timpani though now with an excited underpinning from woodwind and strings. This time, moreover, the music heads into a sequence of cadential chords on full orchestra that provides the most unequivocal of conclusions. © 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=201412.
5︱東歐瑰寶
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 助理指揮
呂紹嘉 根特•赫比希 張尹芳
第一小提琴
★ 吳庭毓 ★ 李宜錦 ☆ 鄧皓敦 ○ 陳逸群 方俊人 黃佳頎 李庭芳 賴佳奇 ● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 第二小提琴 鍾仁甫 蔡孟峰 洪章文 陳偉泓 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 中 提 琴 陳猶白 蔡秉璋 吳彥廷 ▲ 袁繹晴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 大 提 琴 唐鶯綺 ● 傅永和 ◎ 蘇億容 ○ 周春祥 王淑瑜 低 音 提 琴 ● 安德石 ◎ 宮崎千佳 李 浚 長 笛 短 笛 鐘美川 ● 王怡靜 ◎ 阮黃松 楊舒婷 雙 簧 管 英 國 管 李明怡 ● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 單 簧 管 ● 簡凱玉 ◎ 陳奕秀 高靈風 低 音 管 倍 低 音 管 簡恩義 ● 劉宜欣 ○ 黃任賢 國田朋宏 王婉如 法 國 號 ● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉 小 號 李 珊 古嘉訢 陳昱伶 江帛軒✽ 低 音 小 號 伊東明彥 蔡怡文 ● 宋光清 ◎ 邵恆發 陳中昇 長 號 低 音 長 號 彭曉昀 粗管上低音號 李佳燁 羅文宏✽ ● 宮西純▓ 林一帆 低 音 號 ● 連雅文 ◎ 陳廷銓 定 音 鼓 ● 陳哲輝 陳振馨 楊璧慈 打 擊 樂 ● 解 瑄 陳淑杏 豎 琴 鍵 盤 ▲ 許毓婷 △感謝台北市立交響樂團小號團員陳昱伶協助演出。 執行長 企劃演出經理 整銷推廣經理
邱 瑗 杜佳舫 王承禹
音樂總監執行祕書 黃毓棻
郭昱麟 林孟穎 黃衍繹 王致翔 李靖宜
林基弘 李家豪 顧慈美
梁坤豪 曾智弘 于爾恩
陳逸農 蔡竺君 康信榮
卓曉青 李梅箋
謝君玲
劉國蘭▓
呂孟珊
李思琪
周幼雯
陳怡婷
林宜女閒
黃日昇
蘇酩惠
黃筱清
王淑宜
連珮致
蔡歆婕
曹予勉 ▲程筑卿 丹尼爾•戴瑟
何敏慈
陳建安
黃盈綺
企劃演出
整銷推廣
企劃專員 吳孟珊 賴盈帆 賴曉俐 人事組長 林碧珠 譜務專員 高婉瑜 助理舞監 陳玠維 高冠勳 行政專員 溫慧雯 舞台助理 林詩祐
公關整銷專員 陳卜湄 行銷專員 林欣儀 鄭巧琪 王思懿 曾柏雄 郭玲孜 音樂諮詢 焦元溥 法律顧問 林信和 錄音製作
★樂團首席 ☆樂團副首席 ●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