交響詩系列 Symphonic Poem Series
家庭交響曲 An Orchestral Spectacular
演出時間
2014年12月11日（星期四）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
小提琴│貝芭‧絲凱德 Baiba Skride, violin
國家交響樂團 National Symphony Orchestra (NSO)
主辦單位 指定住宿 特別感謝
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
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, 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
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曲目 PROGRAM 上半場 約45分鐘 下半場 約40分鐘
理查‧史特勞斯（1864-1949）：《家庭交響曲》 ～中場休息～
布拉姆斯（1833-1897）：D大調小提琴協奏曲 I.
不過份快速的快板
II.
慢板
III. 諧謔的快板，但不過於活潑
RICHARD STRAUSS (1864-1949): Symphonia Domestica, Op. 53 ---Intermission---
JOHANNES BRAHMS
(1833-1897):
Violin Concerto, Op. 77, D Major
I.
II. Adagio
Allegro non troppo
III. Allegro giocoso, ma non troppo vivace
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。 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.
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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, Lü 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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演出者簡介
貝芭‧絲凱德 Baiba Skride
「貝芭．絲凱德的詮釋無比地聰穎慧頡，她熟練精湛的琴技，將柴科夫斯基小提 琴協奏曲的情感面充分地展現出來。」 －《國際唱片評鑑》 貝芭．絲凱德合作的樂團包括柏林愛樂、巴伐利亞廣播交響、萊比錫布商大廈管絃、波 士頓交響、蘇黎世音樂廳管絃、巴黎管絃和倫敦愛樂樂團。與她定期合作的指揮包括，包括 帕沃•亞維、尼姆•亞維、尼爾森斯、約翰．史托加德和馬利歐．凡薩戈。她最近在彼得連 科指揮下與奧斯陸愛樂合作，於BBC逍遙音樂節首次登台。絲凱德的錄音包括與丹麥國家交 響樂團合作的舒曼專輯，與威爾斯BBC國家交響樂團錄製的斯特拉汶斯基及馬坦小提琴協奏 曲、歐拉莫指揮下與斯德哥爾摩愛樂錄製的布拉姆斯專輯、尼爾森斯指揮下與英國伯明罕交 響樂團錄製的柴科夫斯基專輯以及她與妹妹的二重奏專輯。絲凱德出生於里加，來自一個拉 脫維亞音樂家庭，2001年贏得了伊麗莎白女王大賽首獎。目前使用基頓•克萊曼出借於她的 1734年製史特拉底瓦里小提琴Ex Baron Feilitzsch。 “Skride's playing is unfailingly intelligent – her virtuosity is allied to a sure sense of the work's [Tchaikovsky] emotional range.“ —International Record Review Baiba Skride has appeared with orchestras such as the Berlin Philharmonic, Sinfonieorchester des Bayerischen Rundfunk, Gewandhausorchester Leipzig, Boston Symphony Orchestra, Tonhalle Orchester Zürich, Orchestre de Paris and London Philharmonic Orchestra. Conductors she regularly collaborates with include Paavo and Neeme Järvi, Andris Nelsons, John Storgårds and Mario Venzago. Recently, she gave her debut at the BBC Proms with the Oslo Philharmonic and Vasily Petrenko. Skride’s recordings include a Schumann CD with the Danish National Symphony, the Stravinsky and Frank Martin violin concertos with the BBC National Orchestra of Wale, a Brahms CD box with Stockholm Philharmonic and Sakari Oramo, a Tchaikovsky CD with the City of Birmingham Symphony Orchestra and Nelsons and a duo disc with her sister. Skride was born in Riga. In 2001 she won the 1st prize of the Queen Elisabeth Competition. She plays the Stradivarius ‘Ex Baron Feilitzsch’ violin (1734), generously on loan to her from Gidon Kremer. 6
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99名團員，每年樂季演出約75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。 7
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, YoYo 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 Cloud Gate Dance Theatre of Taiwan, 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
撰文│車炎江 （國立臺北藝術大學音樂學博士）
理查‧史特勞斯：《家庭交響曲》 動用大型管絃樂團編制、演奏時間大約45分鐘左右的《家庭交響曲》，是理查•史特勞斯 的第九首交響詩。他以此曲記錄一日之內家居生活瑣事，內容以「爸爸、媽媽和寶寶」為此 曲三個核心主題，皆是作曲者本人喜愛的珍貴回憶。 史特勞斯大約在1902-03年間開始動筆譜寫此曲，直到1903年全數完成。1904年3月21日 於紐約卡內基廳首演此曲時，由史特勞斯本人親自擔任指揮。自從1897年史特勞斯的兒子 法蘭茲（Franz）出生之後，史特勞斯的生活變得更加忙碌。繼上一闋交響詩名作《英雄 的生涯》（Ein Heldenleben, Op. 40, 1898）成功之後，他繼續忙著處理第二齣歌劇《火荒》 （Feuersnot, Op. 50, 1901）的音樂創作和演出，同時還必須兼顧劇院和樂團指揮工作；他 在餘暇時間也不得閒，陸續創作出四十餘首歌曲與合唱曲，在驚人的工作量之下發揮無限 創作動能。歷經忙碌的這段五年光陰，他將《家庭交響曲》題獻給自己珍愛的妻子寶琳娜 （Pauline）和兒子法蘭茲（Meiner lieben Frau und unserm Jungen gewidmet），感謝他們在這 段過程中的陪伴。 寶琳娜為將軍之女，個性果敢堅毅。1887年她接受史特勞斯的歌唱指導，二人初次相會， 直到1894年結為連理。她以強大的意志力支持史特勞斯度過音樂事業與生活層面的各種難 關；當然，她也以善妒聞名，因為隨著史特勞斯音樂事業逐步邁向成功之路，不時傳來劇院 後臺的緋聞八卦經常令她惱怒不已，但這似乎提供了史特勞斯許多作曲的靈感，例如這闋 《家庭交響曲》。 《家庭交響曲》反映史特勞斯婚姻生活的幸福喜悅和變化無常的狀態。其中動用龐大的樂 團編制包括：短笛、長笛3、雙簧管2、柔音管（oboe d'amore）、英國管、D調單簧管、A調 單簧管、降B調單簧管2、低音單簧管、薩氏管4、低音管4、倍低音管、法國號8、小號4、 長號3、低音號、定音鼓4與打擊樂器群（鐘琴、三角鐵、鈸、大鼓、鈴鼓）、豎琴2、絃樂 五部。在全曲導奏裡呈示三組核心動機，第一組動機來自「爸爸」，也就是史特勞斯本人， 包含「輕鬆悠閒的」大提琴、「如夢似幻的」雙簧管、「陰沈慍怒的」單簧管、「激情熱切 的」小提琴、「歡樂的」小號。第二組動機來自「媽媽」寶琳娜，包含「輕快優雅的」長笛 與小提琴、「溫柔和煦的」獨奏小提琴和單簧管，以及「憤怒的」動機──她的憤怒係針對 「爸爸」而來。第三組動機來自兒子「寶寶」，以柔音管吹奏主題，伴隨第二小提琴顫音奏 作為襯底，呈現平靜祥和的睡眠狀態。待寶寶醒來後大哭不止，爸爸媽媽手忙腳亂地為寶寶 準備面見親朋好友，姑姑阿姨覺得寶寶長得像爸爸（加弱音器的小號、單簧管），叔叔伯伯 則覺得他長得像媽媽（長號、法國號、雙簧管）。 10
全曲為單一樂章，在導奏之後分為三個部份：一、詼諧曲；二、慢板；三、雙主題賦格與 終曲。詼諧曲以寶寶柔音管主題進行一系列變奏，描述雙親對於寶寶活潑玩樂的喜悅之情。 英國管、第一小提琴、雙簧管、D調單簧管，陸續承接發展變化後的寶寶主題；直到寶寶玩 累了，柔音管主題伴隨三部單簧管再現。爸爸提議為寶寶取個新名字（獨奏小提琴）；媽媽 則要爸爸快去替寶寶鋪床，但爸爸沒動靜，於是雙親起了爭執。爸媽一邊哼著搖籃曲（單簧 管主奏）、一邊為寶寶鋪床（西西里舞曲）。此時，晚上七點鐘聲響起（鐘琴），雙簧管奏 出爸爸的夢幻主題，媽媽另有意見，將爸爸拉離嬰兒房，二人爭執不休。 接下來的慢板樂段，在史特勞斯的解說內容中寫下「創作與觀看」（Schaffen und Schauen）的標題，主題素材來自爸爸和媽媽的動機元素。寶寶因為正在睡覺，所以這個樂 段的內容沒有出現寶寶主題。爸爸好不容易等到孩子睡著了，終於可以進行譜寫樂曲的工 作，但媽媽卻不時出現，打擾爸爸作曲。雙親的動機不時對立交纏、互相影響，直到二人漸 現情意、繾綣纏綿，進入本段落最華美豐盛的愛情場景；隨後，高潮消褪，二人逐漸睡去， 進入甜蜜夢鄉。樂段結束前，時鐘又敲了七下（鐘琴），瞬間已來到隔日早晨。 終曲樂段寶寶在早晨時醒來，寶寶主題成為雙賦格呈示的第一主題（低音管），伴隨單簧 管、法國號的應答，以及爸爸的動機素材作為陪襯。第二主題則出現在小提琴聲部，由中提 琴和大提琴應答，並且以寶寶主題作為對位主題。爸爸和媽媽的動機素材陸續交織在後續的 音樂內容裡，二人爭吵、爸爸退讓的過程，讓音樂呈現歡樂吵鬧的氛圍。爭吵漸漸褪去，三 人的音樂加總在一起，以木管群主奏旋律與整齊的和聲，反映類似質樸單純的民歌特徵；接 著由長號齊奏寶寶主題，加入爸媽二人和好的樂聲中，最後達到歡樂氛圍的最高潮。雖然家 庭議題的過程總是由媽媽介入主導，但音樂最後卻出現勝利光輝的爸爸動機，似乎暗示著萬 事讓步的爸爸才是最後的勝利者。理查•史特勞斯個人的幽默機智，還有對待妻子的情意與 好脾氣，成了家居生活幸福美滿的最佳保證。
布拉姆斯：D大調小提琴協奏曲 布拉姆斯這首三樂章的D大調小提琴協奏曲創作於1878下半年，題獻給十九世紀小提琴炫技 名家姚阿幸（Joseph Joachim, 1831-1907），翌年（1879）1月1日於萊比錫布商大廈（Gewandhaus Leipzig）首演，由作曲家親自指揮演出。布拉姆斯在首演後曾經多次修改此曲，直到同年 （1879）年底定稿出版。此曲不僅是布拉姆斯唯一的小提琴協奏曲，同時，此曲與貝多芬、柴 科夫斯基、孟德爾頌的同類型樂曲，並列為19世紀小提琴音樂的經典名作。 由於布拉姆斯本身是鋼琴家，對於小提琴的演奏性能和炫技潛力並不十分熟悉，所以他在 譜寫此曲時經常向小提琴演奏名家姚阿幸請益，甚至他還將小提琴炫技裝飾樂段交給姚阿幸 11
全權處理。最後，此曲最為人稱道的話題之一，正是這些出於姚阿幸之手的精彩裝飾樂段。 實際上，布拉姆斯原先打算將此曲寫成四樂章的交響曲規格，因此，不論在樂曲長度和實際 聲響效果，此曲皆顯出交響曲的磅礡氣勢與巨大分量，特別是他在譜寫此曲之前，才剛剛以 費時二十年完工的第一交響曲（1876）奠定他成為貝多芬交響曲與德奧音樂傳人的地位。但 在姚阿幸的建議與影響下，才將這首小提琴協奏曲改寫成為現在熟知的三樂章形式。其中， 小提琴獨奏難度之高令人咋舌，不僅炫技演奏充斥全曲，千變萬化的節奏型態（這在布拉姆 斯的鋼琴曲裡是基本音樂特徵之一）經常與樂團針鋒相對，小提琴獨奏者必須兼具高超的演 奏技術和優異的音樂能力與品味，方能勝任此曲。 第一樂章為D大調主調性，在音樂行進間不時可以感覺到貝多芬唯一的小提琴協奏曲（D 大調，Op. 61）對於此曲的影響；巧合的是，這兩人的小提琴協奏曲在十九世紀公認的最佳 代言人都是姚阿幸。第一樂章主題豐富多元，由低音管、法國號與低音絃樂引入活潑的主 題，隨後由雙簧管接手。華麗的小提琴獨奏樂段與長度驚人的精彩終止奏，多數來自姚阿 幸的建議，除了令人屏息的炫技表現，還展現氣質雍容高雅的抒情樂風。在第一樂章之後， 第二樂章轉入F大調，像是民間歌謠一般的田園曲風，是典型的慢速抒情樂章；音樂表面上 似乎顯得質樸單純，但內容潛藏布拉姆斯苦心孤詣、多次修改後的細膩處理。終樂章再度 回到主調性（D大調），驚心動魄的小提琴炫技表現，來自布拉姆斯極為擅長的吉普賽風格 （alla zingarese）。
Richard Strauss: Symphonia Domestica, Op. 53 Strauss made the first sketches for his Symphonia domestica in 1902 and 1903, completing the work in the latter year. It was first performed under the composer's direction at Carnegie Hall in New York on 21 March 1904. He had completed Ein Heldenleben five years before and had been occupied in the intervening years in the composition of his second opera, Feuersnot. The period brought, as always, a number of songs, and Strauss was heavily engaged in his duties as a conductor. In 1897, his son Franz had been born and the Symphonia domestica was dedicated to him and to Strauss's formidable wife Pauline. He had first met Pauline de Ahna, daughter of a Major-General, when she came to him for singing lessons in 1887, but it was not until 1894 that they married, after she had put aside her immediate misgivings at what she saw as the possible end to a hitherto successful career. Her strength of character was of continued support to Strauss, in spite of the occasional difficulties that arose, not the least of these her sudden request for a divorce in the summer of 1902, while Strauss was staying on the Isle of Wight, after conducting engagements in London. The immediate cause of Pauline Strauss's jealousy, which provided the subject for the opera Intermezzo, had been a misdirected message from which she inferred that her husband had been conducting an illicit affair. 12
The delights and vicissitudes of married life are reflected in the Symphonia domestica, scored for a large orchestra of piccolo, three flutes, two oboes, oboe d'amore, cor anglais, D and A clarinets, two B flat clarinets, bass clarinet, four saxophones, four bassoons, double bassoon, eight horns, four trumpets, three trombones, bass tuba, timpani, glockenspiel, triangle, cymbals, bass drum, two harps and strings. The first series of motifs making up the first theme represents different elements in the character of Papa, Strauss himself, by turns gemächlich, easy-going - cello; träumerisch, dreamy - oboe; mürrisch, sulky - clarinet; feurig, ardent – violins and lustig, cheerful – trumpet. The group of motifs associated with Pauline Strauss constituting the second theme include grazioso, flutes and violins; gefühlvoll, tender - solo violin and clarinet; and zornig; angry. Her anger is deflected by Papa, and the two converse before the appearance of their son, known as Bubi in the family, his theme, the third, given to the oboe d'amore, accompanied first by tremolo divided second violins. The child wakes and cries out loudly, and mother and father make him ready to be shown to his relations. The aunts think him just like his father,muted trumpets and clarinets, while the uncles think him just like his mother; trombones, horns and oboes. In a continuing synthesis of symphony and symphonic poem, a Scherzo follows, with a variant of the son's theme heard from the oboe d'amore, a depiction, according to Strauss, of the child playing and the parents' happiness. The oboe d'amore Bubi theme, doubled by the cor anglais and first violin, is heard in conjunction with its variant, given to the oboes and D clarinet. The child grows tired and his theme is heard again, played by the oboe d'amore, accompanied by three clarinets. His father suggests a new game, an idea given to a solo violin, and father and mother prepare the child for bed, his father delaying and his mother firmly intervening, while the boy voices his own objections. Bathtime now over, the child is put to bed, with a cradle-song played by the clarinets, accompanied by the child's theme from oboe d'amore, bassoons and violas. The glockenspiel strikes seven and the oboe introduces the father's dreamy motif, accompanied by A clarinet and bass clarinet. His reverie is interrupted by his wife, who draws him away from the cradle. Strauss gave the title Schaffen und Schauen or Creating and Looking to the Adagio. The thematic material is taken from the motifs of the father and mother, while the child, now asleep, is not heard. For the father this should be a time of creative work, while his wife interrupts. The whole section represents a musical development of the two thematic groups and his wife's return marks the beginning of the Liebesszene or Scene of Love, with suggestions of that erotic element soon to find expression in Salome. The couple sleep, dreams and worries put aside as the clock strikes seven. In the Finale the boy wakes up and a variant of his theme provides the first subject of a double fugue, entrusted to four bassoons, answered by clarinets and horns, with father's motifs used in the fugal exposition. The second fugal subject is introduced by the violins, answered by violas and cellos, while the child's theme makes its return. The motifs of father and mother provide the movement with its figurative element as cheerful quarrel and reconciliation. The latter seems to be marked by the yielding of the father. Eventually the three voices come together in a simple folk-like passage for woodwind. Father and mother unite and to them is added the child's theme, proclaimed by the trombones. There are references to what has passed. The child's theme is heard. Mother breaks in, but it seems that father has the last word in the triumphant closing bars. © 2014 Naxos Digital Services Ltd
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Johannes Brahms: Violin Concerto , Op. 77, D Major Brahms completed his Violin Concerto in 1878 and dedicated it to his friend Joseph Joachim. The relationship with the violinist was later to suffer through the composer's lack of tact, when he tried to intervene in a dispute between Joachim and his wife, the singer Amalie Joachim, who brought evidence of her husband's faults of character in a letter written to her by Brahms. The breach was in part repaired by the later composition of the Double Concerto for violin and cello in 1887, a peace offering. Following his usual custom, Brahms worked on the Violin Concerto during his summer holiday at PÜrtschach, where in 1877 he had started his Second Symphony. The first performance of the work was given in Leipzig on New Year's Day, 1879, with Joachim as the soloist. The concerto combines two complementary aspects of the composer: that of the artist concerned with the great and serious, as a contemporary critic put it, and that of the lyrical composer of songs. As always Brahms was critical of his own work, and the concerto, long promised, had been the subject of his usual doubts and hesitations. Originally four movements had been planned, but in the end the two middle movements were replaced by the present Adagio, music that Brahms described as feeble but that pleased Joachim as much as it has always pleased audiences. The first movement opens with an orchestral exposition in which the first subject is incompletely presented in the initial bars. Its full appearance is entrusted to the soloist, after the orchestra has offered a second subject and other themes that will later seem eminently well suited to the solo violin. The actual entry of the soloist and the approach to it must remind us of Beethoven's Violin Concerto, with its rather longer orchestral exposition that had so taxed the patience of Viennese audiences seventy years earlier. The cadenza Brahms left to Joachim, whose advice on this and other matters he was willing to heed. The slow movement is splendidly lyrical, based on a melody of great beauty, which is expanded and developed by the soloist and the orchestra, dying away before the vigorous opening of the Hungarian-style finale. This, in rondo form, is of great variety, intervening episodes providing a contrast with the energetic principal theme, leading to a conclusion of mounting excitement. Š 2014 Naxos Digital Services Ltd
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國家交響樂團 音樂總監 桂冠指揮 助理指揮 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 高音薩氏管 中音薩氏管 上低音薩氏管 低音薩氏管 低 音 管 倍 低 音 管 法 國 號 小 號 長 號 低 音 長 號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 執行長 企劃演出經理 整銷推廣經理
呂紹嘉 根特‧赫比希 張尹芳 ★ 吳庭毓 ★ 李宜錦 ☆ 鄧皓敦 ○ 陳逸群 陳逸農 卓曉青 方俊人 黃佳頎 李家豪 曾智弘 蔡竺君 藍胤萱✽ ● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 康信榮 李梅箋 鍾仁甫 蔡孟峰 ● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 呂孟珊 李思琪 陳猶白 蔡秉璋 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 黃日昇 蘇酩惠 唐鶯綺 ● 傅永和 ◎ 蘇億容 ○ 周春祥 王淑瑜 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 孫正茸 陳逸倫 張文君 周至信 陳冠文 ● 簡凱玉 ◎ 陳奕秀 高靈風 林容孜 簡恩義 ● 劉宜欣 ○ 黃任賢 國田朋宏 王婉如 陳思宇 賴敬文 ● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉 ● 宋光清 ◎ 邵恆發 陳中昇 彭曉昀 ● 宮西純▓ 廖偉強 ● 連雅文 ◎ 陳廷銓 ● 陳哲輝 陳振馨 楊璧慈 ● 解 瑄 石楓鈺 ▲ 許毓婷 邱 瑗 杜佳舫 王承禹
音樂總監執行祕書 黃毓棻
郭昱麟 林基弘 梁坤豪 李庭芳 賴佳奇 林孟穎 黃衍繹 顧慈美 洪章文 陳偉泓 李靖宜 謝君玲 吳彥廷 ▲袁繹晴 周幼雯 陳怡婷
于爾恩 王致翔 劉國蘭▓
黃筱清
連珮致
王淑宜
林宜女閒
楊雅淳
曹予勉 ▲程筑卿
梁嘉媛
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
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National Symphony Orchestra Music Director Shao-Chia Lü Conductor Laureate Günther Herbig Assistant Conductor Yin-Fang Chang First Violin ★Ting-Yu Wu ★I-Ching Li Hao-Tun Teng ○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 Chu-Chun Tsai 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
● 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
Hsiao-Yun Peng
Tuba ● Jun
Miyanishi■
Wei-Chiang Liao ● Ya-Wen Lien ◎ Ting-Chuan Chen
Piccolo
Percussion
Oboe
Chen-Hsing Chen Pi-Tzu Yang
Mei-Chuan Chung ● I-Ching Wang ◎ Tung Nguyen Hoang
Shu-Ting Yang
English Horn Ming-I Lee
Clarinet
● May-Lin Ju ◎ Kai-Ting Chang
Wei-I Chu Cheng-Jung Sun Ya-Chun Yang
● Jer-Huei
Harp
● Shuen
Chen
Chieh
Feng-Yu Shih Keyboard
▲Yu-Ting Hsu
Executive Director Joyce Chiou
Manager, Planning & Production Sarah Tu
Manager, Marketing & Development Paul Wang
Soprano Saxophone Yi-Lun Chen
Secretary of Music Director
Alto Saxophone Wen-Chun Chang
Planning & Production Programme Coordinator
Baritone Saxophone Chih-Hsin Chou
Bassoon
● Lana Hsiung ◎ Yi-Shien Lien ○ Chih-Yi Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang
Chung-Sheng Chen
Bass Trombone
Timpani
Viola
Cello
● Kuang-Ching Sung ◎ Hang-Fat Shiu
Chuin Lee
Bass Saxophone Kuan-Wen Chen
▲Yi-Ching Yuan
Trombone
● Anders Norell ◎ Chika Miyazaki
Wei-Hong Chen Chih-Hsiang Wang
● 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
16
Double Bass
● Kai-Yu Jian ◎ I-Hsiu Chen
Ling-Feng Kao Jung-Tzu Lin
Contrabassoon En-Yi Chien
Horn
● Yi-Hsin Cindy Liu ○ Jen-Hsien Huang
Yu-Fen Huang
Meng-Shan Wu Ying-Fan Lai Lizi Lai Yi-Ling Chen
Assistant Manager, Personnel
Bibi Lin
Librarian
Brittney Kao
Assistant Stage Manager
Chieh-Wei Chen Kuan-Hsun Kao Administrator Hui-Wen Wen
Stage Assistant Shih-Yu Lin
Marketing & Development PR & Project Coordinator Pu-Mei Chen
Marketing Coordinator
Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ▲Chu-Ching Cheng Chia-Yuan Liang Si-Yu Chen Ching-Wen Lai
Concert Dramaturgist
Trumpet
Legal Consultant
● Nicolas Rusillon ◎ Chang-Po Chen
Ching-Min Chang Loo-Kit Chong
Eileen Lin Chiau-Chi Cheng Sandy Wang Po-Hsiung Tseng Katherine Kuo Yuan-Pu Chiao
Hsin-Ho Lin
Recording Partnership
★Concertmaster Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians Auxiliary ＊NSO Orchestara Academy