演出曲目
Program
博胡斯拉夫•馬替努（1890-1959）：第六號交響曲
BOHUSLAV MARTINŮ (1890-1959): Symphony No. 6 (Fantaisies symphoniques)
I. II. III.
緩板－中庸的行板－略為快速－更快速－快 板－有活力的快板－緩板 略為快速 緩板－快板－活潑的快板－緩板
彼得•伊里亞•柴科夫斯基（1840-1893）： 《洛可可主題變奏曲》 導奏：像中板一樣，接近行板速度─ 主題：單純的中板 第一變奏：主題的速度 第二變奏：主題的速度 第三變奏：持續的行板 第四變奏：優雅的行板 第五變奏：中庸的快板 第六變奏：行板 第七變奏與尾奏：活潑的快板
I. II. III.
Lento-Andante moderato-Poco allegro-Più allegroAllegro-Allegro vivo-Lento Poco allegro Lento-Allegro-Allegro vivace-Lento
PIOTR I. TCHAIKOVSKY (1840-1893): Variations on a Rococo Theme, Op. 33 Intro: Moderato assai quasi Andante - Thema: Moderato semplice Var. I: Tempo della Thema Var. II: Tempo della Thema Var. III: Andante sostenuto Var. IV: Andante grazioso Var. V: Allegro moderato Var. VI: Andante Var. VII e Coda: Allegro vivo
~中場休息~
~Intermission~
摩德士特•穆梭斯基（1839-1881）： 《展覽會之畫》（拉威爾改編）
MODEST MUSSORGSKY (1839-1881): Pictures at an Exhibition (orchestrated by Maurice Ravel)
〈漫步〉 一、〈地底精靈〉 〈漫步〉 二、〈古堡〉 〈漫步〉 三、〈杜勒麗宮花園〉 四、〈波蘭牛車〉 〈漫步〉 五、〈蛋殼中的小雞之舞〉 六、〈山繆•戈登堡與施穆勒〉 七、〈利摩日的市集〉 八、〈羅馬地下墓穴〉 九、〈母雞腳上的女巫小屋〉 十、〈基輔城門〉
演出時間│ 2015年1月16日 (星期五) 7:30 PM
‘Promenade’ I. ‘Gnome’ ‘Promenade’ II. ‘Il vecchio castello’ ‘Promenade’ III. ‘Tuileries’ IV. ‘Bydło’ ‘Promenade’ V. ‘Ballet des Poussins dans leurs Coques’ VI. ‘Samuel Goldenberg und Schmuÿle’ VII. ‘Limoges - Le Marché’ VIII. ‘Catacombæ’ IX. ‘La Cabane sur des Pattes de Poule (Baba - Yaga)’ X. ‘La Grande Porte de Kiev’ 演出者
指 揮│湯瑪斯•道斯加德 Thomas Dausgaard, conductor 大提琴│丹尼爾•繆勒－修特 Daniel Müller-Schott, cello
演出地點│ 國家音樂廳 National Concert Hall, Taipei
國家交響樂團 National Symphony Orchestra (NSO) 主辦單位│ 指定住宿│
演出長度│上半場約50分鐘，下半場約35分鐘
特別感謝│
1︱斯拉夫彩繪
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｜湯瑪斯•道斯加德 「湯瑪斯．道斯加德是一個非常有 魅力的指揮家，他散發著充滿能量 的靈光，樂手們可以非常直接地感 受到他希望他們奏出何種音樂色 彩。」 ─德國《新新聞》報紙 湯瑪斯．道斯加德現為瑞典室 內樂團首席指揮及丹麥國家交響樂 團榮譽指揮。自2014/15樂季起，他亦將擔任西雅圖 交響樂團首席客座指揮。道斯加德以充滿創新的節 目編排、精通丹麥作曲家郎加德(Rued Langgaard)及 尼爾森(Carl Nielsen)之音樂、以及多量的錄音專輯著 名。 曾與國際上各大交響樂團合作，近幾個樂季合 作對象包括慕尼黑愛樂、克里夫蘭管絃樂團、倫敦 交響樂團、BBC交響樂團、法國廣播愛樂、斯德哥 爾摩皇家愛樂、瑞典廣播交響樂團、多倫多交響樂 團、西雅圖交響樂團、香港管絃樂團及雪梨交響樂 團。道斯加德錄有超過50張廣受好評之唱片，他與 瑞典室內樂團錄製的貝多芬和舒曼交響樂全集，以 及與丹麥國家交響樂團合作的郎加德作品專輯特別 受到樂界的讚賞。
大提琴｜丹尼爾•繆勒-修特 「繆勒-修特的演奏，經由他豔麗而 精準控制抑揚頓挫的音色，以及極具 戲劇化的音樂表情，使得大提琴的質 感更充滿了朝氣蓬勃的形象。他優雅 地證明自己是極具天份的創造者。」 ─《法蘭克福廣訊報》 丹尼爾•繆勒-修特被視為現今 同一世代中最優秀的大提琴家之一。2014年1月，
Thomas Dausgaard, conductor "Thomas Dausgaard is an extremely charismatic conductor, from whom radiates an aura of energy, and the musicians instinctively know what colours he wants from ─Neue Presse them." Thomas Dausgaard is Chief Conductor of the Swedish Chamber Orchestra and Conductor Laureate of the Danish National Symphony Orchestra. In October 2003, he has been appointed Principal Guest Conductor of the Seattle Symphony beginning in the 2014/15 season. Dausgaard is renowned for his innovative programmes, his authority on the music of Langgaard and Nielsen, and his prolific recording catalogue. Dausgaard has appeared with many of the world’s foremost musical institutions, including in recent seasons with the Munich Philharmonic, Cleveland Orchestra, the London Symphony Orchestra, BBC Symphony Orchestra, Orchestre Philharmonique de Radio France, Royal Stockholm Philharmonic Orchestra, Swedish Radio Symphony Orchestra, Toronto Symphony Orchestra, Seattle Symphony Orchestra, Hong Kong Philharmonic Orchestra and Sydney Symphony Orchestra. Dausgaard has over 50 critically acclaimed CDs to his name. His complete Beethoven and Schumann symphony cycles with the Swedish Chamber Orchestra and the Rued Langgaard cycle with the Danish National Symphony Orchestra have been particularly singled out for praise. Daniel Müller-Schott, cello “However, the timbre of the cello, played by soloist Daniel Müller-Schott, thrived with even more exuberance from his brilliant, tremendously modulated tone and dramatically shaped musical performance; he simply presented himself as a remarkably talented creator” ─Frankfurter Allgemeine Zeitung Daniel Müller-Schott ranks among the world’s best cellists of his generation. With an outstanding debut with the Berliner Philharmoniker under Alan Gilbert,
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他在吉伯特指揮下完成了與柏林愛樂亮眼的首次合 作。繆勒-修特於2013/14樂季的重要演出包括在杜 特華指揮下與紐約愛樂、波斯頓交響合作、在馬捷 爾指揮下與慕尼黑愛樂演出、在伊凡•費雪指揮下 與布達佩斯節慶管絃樂團巡演，以及在尼爾森斯指 揮下與英國伯明罕交響樂團演出開季音樂會。繆勒修特錄製相當多的唱片，並獲得無數獎項的肯定。 1976年生於慕尼黑，繆勒-修特曾向諾塔斯、席夫、 伊瑟利斯特學習大提琴，並獲得安•蘇菲•慕特基 金會的金學金。1992年繆勒-修特以15歲之齡贏得莫 斯科柴科夫斯基青年音樂家大賽第一獎，引起國際 囑目。繆勒-修特目前使用的大提琴是製琴名家馬泰 奧．葛弗瑞勒於1727年所製作的「夏皮洛」名琴。
he has started the New Year 2014. The high points of his 2013/14 season are concerts with the New York Philharmonic, Boston Symphony Orchestra under Charles Dutoit, with the Munich Philharmonic under Lorin Maazel, a tour with the Budapest Festival Orchestra under Ivan Fischer and the opening of the season with the City of Birmingham Symphony Orchestra under Andris Nelsons. He has already built up a sizeable discography and the recordings have also received numerous awards. Born in Munich in 1976, Daniel Müller-Schott studied under Walter Nothas, Heinrich Schiff and Steven Isserlis and was a scholar recipient of Anne-Sophie Mutter’s Foundation. In 1992, at the age of fifteen, he first caused a sensation internationally by winning the 1 st Prize at the Moscow International Tchaikovsky Competition for Young Musicians. His instrument, the “Ex Shapiro” Matteo Goffriller was made in Venice in 1727.
樂曲解說 撰文│車炎江（國立臺北藝術大學音樂學博士） 博胡斯拉夫•馬替努：第六號交響曲 捷克裔作曲家馬替努出身貧寒，卻是早慧的 音樂奇才。他以交響曲揚名新大陸，馬替努原本 是以每年一闋的速度連續寫出五首交響曲（194246 ）；但他在第五交響曲完成後不慎墜樓身受重 傷，甚至失去記憶和聽力。漫長的醫療復健後， 終於重拾創作能量。 1951 年，波士頓交響樂團 （Boston Symphony Orchestra）為該團即將到來的 七十五年團慶（1881-1956）預作準備，委託馬替 努創作。他花費二年時間，1953年5月在巴黎完成 他人生最後一首交響曲。馬替努不願稱此曲為第六 交響曲，改稱《交響幻想曲》，甚至一反往常寫 出他唯一不使用鋼琴的交響曲，似乎和題獻對象 ──當時擔任波士頓交響樂團的法裔音樂總監孟許 （Charles Munch, 1891-1968）有關。馬替努表示： 「我希望能為孟許寫曲…因為我喜歡他自由形塑音 樂的方式，能夠隨著樂章的進行而流轉如意。他那 令人意想不到的減速或加速，讓旋律瞬間有了新生 命。所以我想要為他寫一闋名為『幻想』的交響 曲，我的意念起初相當恢宏，打算在一組很大的管 絃樂團裡放置三架鋼琴。這真是夠幻想了，但我在 創作過程中相當實際。我不把它看作交響曲，而是 和孟許的音樂概念、指揮風格有關的作品。最後我 放棄了原先的標題，甚至把三架鋼琴也取消了，免 得舞臺上出現三個龐然大物令人恐懼…我稱此曲為 三樂章的『幻想曲』，它果真如此。我還有個小小 幻想──想在這個作品裡引用我的歌劇《茱莉葉》 （Juliette）當中的幾個小節，我覺得結果完美極 了。那就是來自幻想的本質。」 馬替努《交響幻想曲》展現自由幻想與陰鬱深 沈的特質，或許和他先前頭部創傷的痛楚、暈厥 與幻聽經驗有關。全曲三樂章皆屬自由形式。第
一樂章導入部 C 調小號重覆吹奏著起始動機（ F降 G ），同時絃樂與木管以飄忽不定的細膩音群 作為陪襯，使用主題變形技法編織出心理層次 的幻覺國境。隨後由大提琴獨奏揭示本樂章動機 （F-G-E-F），不免令人聯想德沃札克《安魂曲》 的起始素材。後續各樂段漸次加快，達到高潮後 再回到樂章起始的緩板樂段素材作收尾。類似詼 諧曲效果的第二樂章（ 6/8 拍子），由絃樂顫音 奏和長笛堆疊音堆成一系列進入本樂章，並以打 擊樂器增強節奏律動感。管絃樂法色彩層次富變 化，偶爾現身的藍調和聲亦令人驚豔不已。終樂 章的佈局和第一樂章相似，用來起始與終結本樂 章的緩板樂段，管絃樂團宛如吟誦一闋莊嚴華美 的聖詠曲，這也是馬替努為自己的生命和交響曲 創作所下的最後註解。
彼得•伊里亞•柴科夫斯基： 《洛可可主題變奏曲》
1876年，柴科夫斯基將《洛可可主題變 奏曲》題獻給他在莫斯科音樂院的同事兼好 友─德裔大提琴家威廉•費岑哈根（ Wilhelm Fitzenhagen, 1848-1890）。過去二人長期合作， 他常為柴科夫斯基室內樂曲首演。 1877 年 11 月 30日，費岑哈根為《洛可可主題變奏曲》舉行首 演。由於柴科夫斯基不懂大提琴，便向費岑哈根 求助，並放手給他處理大提琴獨奏部份。結果費 岑哈根不光是將主題長度擴充，甚至把原本的八 段變奏刪改為七段、重新調整變奏順序、還增添 許多細節。最後，無奈的柴科夫斯基只得接受這 個結果，並且成為後世演出此曲的形式。 洛可可主題變奏曲配器包括絃樂五部、長 笛、雙簧管、A調單簧管、低音管、F調法國號各 二，屬於古典晚期雙管編制，和當時漸趨極端的 管絃樂團龐大規模明顯不同。「洛可可」─纖細
3︱斯拉夫彩繪
華美的裝飾，襯托出輕盈、機智、純真、優雅的藝術 特質，來自十八世紀歐洲宮廷極致品味。柴科夫斯基 對此相當喜愛，尤其是莫札特品味優雅、形式清晰、 獨具靈性巧思的音樂創造力，成了柴科夫斯基效法的 典範。本曲採用古典時期常見的主題與變奏曲式，作 曲家僅靠一段單純的二段體主題，就能在後續的變奏 樂段展現天馬行空的創意巧思，同時開發新演奏技術 和新聲響。 在導奏之後，洛可可風格二段體主題（ A 大調、 2/4拍子）由大提琴獨奏陳述。第一變奏（三連音）與 第二變奏皆為獨奏大提琴展技。第三變奏轉變音樂特 徵和氛圍，和緩之後逐漸增強獨奏難度。第四變奏伴 隨絃樂團撥奏，大提琴奏出富表情的變奏旋律。第五 變奏主題在長笛，與炫技獨奏大提琴進行對話，直到 獨奏大提琴的華麗裝飾奏結束本段。第六變奏轉入徐 緩陰鬱的 D 小調，表現大提琴音色的深沈抒情特質。 第七變奏轉回主調性 A 大調，以活潑的快板進行高難 度大提琴炫技。
摩德士特•穆梭斯基：《展覽會之畫》（拉威爾改編） 俄羅斯建築師暨畫家哈特曼（ Viktor Hartmann, 1834-1873 ）英年早逝。翌年春季藝術界友人舉辦哈 特曼畫展以茲紀念。 1874 年 6 月，穆梭斯基在短短三 星期左右譜成鋼琴組曲《展覽會之畫》。以畫展作品 為主題寫成音樂作品，他認為是悼念亡友的最佳方 式，所以他挑選十幅畫作進行譜曲，並以〈漫步〉 （Promenade）主題將這十首樂曲串在一起。〈漫步〉 主題每次出現都有不同的變化，呈現穆索斯基觀畫過 程受到不同畫作引發的心理變化，整套鋼琴組曲兼具 變化和統一的要素。 雖然這是穆索斯基名符其實的「音畫」作品， 但他在世時從未首演全套樂曲，甚至在過世五年後 （1886）《展覽會之畫》才得以出版。後人改編《展 覽會之畫》的版本眾多，其中以拉威爾在1922年夏季 完成的管絃樂版本最具代表性，經過這位史上著名的 法國管絃樂法名家處理後顯得更具震撼力，《展覽會 之畫》因而成為當代極負盛名的大型管絃樂曲。拉威 爾改編時儘可能忠實呈現原本穆索斯基的原始想法。 以下為拉威爾版本的曲目說明： 〈漫步〉：標示為準確的快板（allegro giusto），而非 正常的漫步速度（andante）。五聲音階旋律以11拍為 單元，由C調小號與銅管群呈現。 一、〈地底精靈〉：呈現醜怪滑稽的地底侏儒；半音 技法、驚異的強烈節奏，仿效奇形怪狀的精靈蠢蠢欲 動的模樣。 〈漫步〉：F調法國號和木管群主奏，田園風的漫步主 題引至下一幅詩意畫作。 二、〈古堡〉：遺世獨立的古老城堡。中音薩氏管主 奏，模擬古代歐洲吟遊詩人憂鬱的歌唱旋律，發思古 之幽情。 〈漫步〉：沈重，速度略快。 三、〈杜勒麗宮花園〉：隨想曲風格的稍快板。巴黎塞
納河岸宮廷花園裡一群兒童嬉戲爭吵又和好的速寫。 四、〈波蘭牛車〉（Bydło）：厚重的頑固音型模擬 車輪滾動的噪音。 〈漫步〉：D小調調性，透露寧靜、魅惑氛圍。 五、〈蛋殼中的小雞之舞〉：哈特曼之兒童舞蹈演 員造型設計圖，幽默曲風顯現舞姿輕盈卻滑稽可愛 的特色。 六、〈山繆•戈登堡與施穆勒〉：猶太人山繆•戈 登堡是趾高氣揚的暴發戶，施穆勒則是哀聲嘆氣的 窮光蛋。音樂將二位畫中人物組合在一起，窮光蛋 （反覆細碎的小號音型）向暴發戶（東方風格低音 旋律）開口要錢未果憤恨離去。 七、〈利摩日的市集〉：進行曲風，活潑詼諧的快 速樂章（Allegretto vivo, sempre scherzando）。描述 法國瓷都利摩日（Limoges）露天市場趕集的熱鬧景 象。 八、〈羅馬地下墓穴〉（ Catacombae [Sepulcrum Romanum]）：古羅馬帝國潛藏地底、停放死屍的墓 穴（ Catacombae ），在屠殺基督徒時期，教徒經常 隱身墓穴聚會禮拜。銅管樂器模仿管風琴聲響，展 現莊嚴神秘的宗教氣氛。此曲後半段〈與講著死語 的死者一起〉（Con mortuis in lingua mortua），拉 丁文曾是西羅馬帝國官方語言，但隨著帝國滅亡逐 漸式微，故暱稱「死語」；本段為〈漫步〉主題變 形，描述經過墓穴時傳來古羅馬人的低語聲。 九、〈母雞腳上的女巫小屋〉：哈特曼設計民俗 風格時鐘，造型仿自俄羅斯女巫巴巴雅嘎（ BabaYagá）居處。樂曲呈現奇幻詭異的氣氛和時鐘運轉的 動態。 十、〈基輔城門〉：「城門」主題呈現壯觀建築的 景象，鐘聲齊鳴，東正教節慶氛圍與遊行隊伍出現 在城門，壯闊氣勢達到至高點。 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=201501，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 Bohuslav Martinů: Symphony No. 6 (Fantaisies symphoniques) Martinů completed his Sixth Symphony, the Fantaisies Symphoniques, in 1953 in Paris. He had started the work in New York in 1951 and had written the whole work by April 1953, two years after he had started it. The following month in Paris he had only to make revisions in orchestration. Dedicated to Charles Munch, the work was written for the 75th anniversary of the Boston Symphony Orchestra and was first performed by the orchestra under Munch in Boston on 7th January 1955. Five days later it was given its first performance in New York and was later awarded the New York Critics' Circle prize as the best orchestral work first performed in New York that year. Martinů had considered various titles for the work, avoiding, for obvious reasons, the suggested Fantastic Symphony in favour of the present title. It is scored for a large orchestra of triple woodwind, brass, percussion and strings.
4︱斯拉夫彩繪
The Fantaisies symphoniques, in effect a series of variations in three movements, opens with a movement framed by a Lento in which muted trumpets are heard over the murmur of muted violins and violas, with three flutes, then joined by the bassoon. A solo cello leads into the Andante moderato. The trumpet motif of the opening provides the seed from which the whole work grows, transformed in the Andante moderato into a reminiscence of the opening of Dvořák's Requiem. Now Allegro, pace and intensity increase, moving forward to an Allegro vivo, a violin solo accompanied by timpani, bass drum, side drum and muted strings, before other instruments join in to lead back to the final Lento. The second movement, in 6/8, is introduced by tremolo violins and cellos, with flute tonal clusters, and suggests, in its rhythm, a scherzo. Various effects of orchestral timbre are explored, with divided cello and double bass sections, clustered semitones and conflicting false relations between semitones, but the movement retains elements of lyricism, references to Martinů's own Field Mass and a consequent suggestion of some personal programme in this memory of a home-country now under Communist domination. The composer himself confessed that the Fantaisies symphoniques had a personal meaning for him, as his Symphonie fantastique had had for Berlioz, but this was never divulged. There is a Lento prelude and postlude to the last movement, with its various shifting episodes and more or less overt reference to the Bohemian chorale heard in the First Symphony and elsewhere in the music of Czech composers. Dominant throughout, of course, is the Dvořák Requiem motif that recalls in its chromatic outline the musical signature of Shostakovich. © 2014 Naxos Digital Services Ltd
Piotr I. Tchaikovsky: Variations on a Rococo Theme, Op. 33 Variations on a Rococo Theme was presumably commissioned by Tchaikovsky's Conservatory colleague, the German cellist Wilhelm Fitzenhagen. The work, couched largely in the composer's own idiom, expresses his admiration for Mozart and is modestly scored for an eighteenth century orchestra, with pairs of woodwind instruments, horns and the usual complement of strings. The Variations, to Tchaikovsky's dismay, were revised and re-ordered by Fitzenhagen, although in the end he allowed the revision to stand. A brief introduction is followed by the solo cello statement of the theme. The first variation is in triplet rhythm, while the soloist shares the second variation with the orchestra. The third variation, marked Andante sostenuto, changes the mood and key, restored in the fourth Andante grazioso variation. In the fifth the cello enjoys a more decorative role, while the flute maintains the theme. A cadenza leads to the sixth variation, in D minor, and the seventh, with its opportunities for technical brilliance. © 2014 Naxos Digital Services Ltd
MODEST MUSSORGSKY: Pictures at an Exhibition (orchestrated by Maurice Ravel) Pictures at an Exhibition, a set of piano pieces written in 1874, is intensely original in its use of texture, and has lent itself well enough to re-arrangement for all the colour of a full orchestra. It is a translation into music of paintings, designs, models and drawings by Mussorgsky's friend Victor Hartmann,
who had died the year before. The exhibits are linked by a ‘Promenade’, as the visitor to the exhibition goes from exhibit to exhibit. The titles of the works are largely selfexplanatory. Gnomus is a design for nutcrackers in the shape of a gnome; ‘The Old Castle’ shows a troubadour singing outside the castle walls and the ‘Tuileries’ depicts children at play and quarrelling, while nursemaids gossip, in the famous Paris gardens. ‘Bydło’ is a traditional Polish peasant ox-cart, with its creaking wooden wheels slowly turning; ‘Ballet of the Chickens in their Shells’ shows designs for children's costumes, as described in the title, and Samuel Goldenberg and Schmuyle, the names of those portrayed the invention of the painter, is a picture of two Jews, one rich, one poor, a present by Hartmann to the composer. In Limoges market-place old women gossip, discussing the fate of an escaped cow, and more trivial nonsense, while the Roman Catacombs, subtitled Sepulchrum Romanum, are lit by a flickering lamp, the skulls piled on either side beginning to glow in the light from within. This is linked to the eerie ‘With the Dead in the Language of the Dead.’ The macabre continues with ‘The Hut on Fowl's Legs’, a clock in the form of the hut of the witch Baba Yaga, who crunches up children's bones and flies through the night on a pestle. The triumphant conclusion offers a design for a triumphal gate in Kiev, to commemorate the escape of Tsar Alexander II from assassination in 1866. The music contrasts the massive structure with the sound of a solemn procession of chanting monks. Pictures at an Exhibition is equally well known in the colourful orchestration of the work by the French composer Maurice Ravel. The work commemorates an exhibition of the work of the artist Victor Hartmann, who had died a year before, the exhibits linked by a ‘Promenade’, with which the work opens. The first picture is a design for nut-crackers in the shape of a gnome, and the second of an old castle, before the gates of which a troubadour sings. The visitor moves on to a picture of the Tuileries Gardens, where children quarrel and play and nursemaids gossip, and this is followed by a picture of a Polish peasant ox-cart, its heavy wooden wheels slowly turning. The ‘Promenade’ leads now to a costume sketch for children, chickens in their shells, with arms and legs protruding, and to a picture of two Jews, one rich and one poor, a present from Hartmann to the composer, who invented his own names for the two represented. In the market at Limoges old women gossip, discussing the fate of an escaped cow and more trivial nonsense, as Mussorgsky suggested. The ‘Catacombs’, subtitled ‘Sepulchrum Romanum’, are lit by a flickering lamp. The skulls stacked on each side begin to glow, lit from within, as the music sets out to suggest the eerie scene, with the dead, in the language of the dead. The macabre continues in the clock in the form of a hut on fowl's legs, the hut of the Russian witch Baba Yaga, who crunches the bones of her victims and flies through the night on a pestle. The triumphant conclusion shows a design for the Great Gate at Kiev, a monument to commemorate the escape of Tsar Alexander II from the hands of assassins in 1866. The music contrasts the solemnity of a liturgical procession with the massive domes and columns of the projected gateway. © 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=201501.
5︱斯拉夫彩繪
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 方俊人 黃佳頎
☆ 鄧皓敦 李庭芳
○ 陳逸群 賴佳奇
郭昱麟 林孟穎
林基弘 李家豪
梁坤豪 曾智弘
陳逸農 蔡竺君
卓曉青 藍胤萱✽
第二小提琴
●
陳怡茹 ◎ 孫正玫 鍾仁甫 蔡孟峰
吳怡慧 洪章文
李京熹 陳偉泓
黃衍繹 王致翔
顧慈美
于爾恩
康信榮
李梅箋
中 提 琴
●
黃瑞儀 ◎ 鄧啟全 陳猶白 蔡秉璋
○ 呂昭瑩 吳彥廷
黃雅琪 ▲ 袁繹晴
李靖宜 賴昱如✽
謝君玲
劉國蘭▓
呂孟珊
李思琪
大 提 琴
●
熊士蘭 ◎ 連亦先 唐鶯綺
○ 韋智盈
呂明美
周幼雯
陳怡婷
林宜女閒
黃日昇
蘇酩惠
低 音 提 琴
●
傅永和 ◎ 蘇億容
○ 周春祥
王淑瑜
黃筱清
王淑宜
連珮致
蔡歆婕
長 笛
●
安德石 ◎ 宮崎千佳
●
王怡靜
曹予勉
王濟揚
短 笛 雙 簧 管
鐘美川
英 國 管 單 簧 管
◎ 阮黃松
楊舒婷
朱玫玲 ◎ 張凱婷
朱偉誼
李明怡 ●
中音薩氏管 低 音 管
李 浚
孫正茸
張文君 ●
倍 低 音 管
簡凱玉 ◎ 陳奕秀
高靈風
簡恩義
法 國 號
●
劉宜欣 ○ 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
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
林玉婷✽
鍵 盤
▲ 許毓婷
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
林一帆 楊璧慈
林君庭✽
王瓊燁
企劃演出
整銷推廣
企劃專員 吳孟珊 賴盈帆 賴曉俐 助理舞監 陳玠維 高冠勳 人事組長 林碧珠 譜務專員 高婉瑜 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 法律顧問 林信和 音樂諮詢 焦元溥 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