ॡΎ௰тಏաᝳ ͭޣЂᕅ˃·
演出時間│2015年3月6日 (星期五) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei 主辦單位│
演出者
指 揮│譚 盾 Tan Dun, conductor 低音提琴│傅永和 Yung-Ho Fu, double bass 單 簧 管│朱玫玲 May-Lin Ju, clarinet 打 擊│朱宗慶打擊樂團 Ju Percussion Group, percussion 國家交響樂團 National Symphony Orchestra (NSO)
指定住宿│
演出長度│上半場約45分鐘，下半場約35分鐘
特別感謝│
1︱譚盾與朋友們
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
演出曲目
Program
克勞德．德布西（1862-1918）：單簧管狂想曲
CLAUDE DEBUSSY (1862-1918): Rhapsody for Clarinet and Orchestra
譚盾（b. 1958）：《大自然的眼淚》擊樂協奏曲 I.
〈大自然的威脅〉
TAN DUN (b. 1958): Percussion Concerto The Tears of Nature
II.
〈大自然的眼淚〉
I.
‘Threat of Nature’
II.
‘Tears of Nature’
III. 〈大自然的舞蹈〉
III. ‘Dance of Nature’
~中場休息~
~Intermission~
譚盾：低音提琴協奏曲《狼》（世界首演@亞洲）
TAN DUN: Contrabass Concerto: The Wolf (Asian Premiere)
I.
憂鬱的廣板－快板－活潑的快板
II.
甚為流動的行板
III. 活潑的快板
摩利斯•拉威爾（1875-1937）：《波麗露》
I.
Largo melancolia – Allegro – Allegro vivace
II.
Andante molto
III. Allegro vivace
MAURICE RAVEL (1875-1937): Boléro
2︱譚盾與朋友們
演出者介紹
Profiles
指揮｜譚盾
Tan Dun, conductor The conceptual and multifaceted composer/conductor Tan Dun has made an indelible mark on the world's music scene with a creative repertoire that spans the boundaries of classical music, multimedia performance, and Eastern and Western traditions. A winner of today's most prestigious honors including the Grammy Award, Oscar/Academy Award, Grawemeyer Award for classical composition and Musical America's Composer of The Year, Bach Prize of the City of Hamburg and Moscow’s Shostakovich Award, Tan Dun's music has been played throughout the world by leading orchestras, opera houses, international festivals, and on the radio and television. As a composer/conductor, Tan Dun has led the world's most renowned orchestras, including the Royal Concertgebouw Orchestra, London Symphony Orchestra, New York Philharmonic, Berliner Philharmoniker, Philadelphia Orchestra, Orchestre National de France, BBC Symphony Orchestra, Filharmonica della Scala, and Münchner Philharmoniker, the Santa Cecilia Orchestra, among others. In 2010, Tan Dun served as “Cultural Ambassador to the World” for World EXPO Shanghai.
譚盾的音樂跨越了古典與 現代、東方與西方、多媒體與 表演藝術的眾多界限。他已贏 得多項當今世界最具影響與眾 望的音樂大獎，包括格萊美 獎、奧斯卡最佳原創音樂獎 和格文美爾古典作曲大獎，獲得美國音樂協 會授予年度「最佳作曲家」、德國漢堡「巴 赫大獎」、莫斯科「蕭斯塔科維契大獎」。 譚盾的作品被世界最重要的交響樂團、歌劇 院、藝術節、廣播和電視廣泛演播。身兼作 曲家及指揮家，譚盾曾與世界最著名樂團合 作演出，其中包括：荷蘭皇家大會堂管絃樂 團、倫敦交響樂團、紐約愛樂、柏林愛樂、 費城交響樂團、波士頓交響樂團、法國國家 交 響 樂 團 、 BBC 交 響 樂 團 、 米 蘭 斯 卡 拉 歌 劇院樂團、慕尼黑愛樂、西西里亞管絃樂團 等。 2010 年，譚盾於上海世博會擔任全球文 化大使。
低音提琴｜傅永和 生於宜蘭礁溪，由張月娥 女士啟蒙學習音樂。1976年考 入國立藝專（今之國立台灣藝 術大學），師事計大偉。1983 年考入國立藝術學院（現為國 立台北藝術大學），師事大 提琴家霍慕斯（Reiner Hochmuth）。1986年 考入巴黎高等音樂院（Conservatoire National Superieur de Musiquede Paris ）師事霍列茲 （J. M. Rollez）。1989年獲國立巴黎高等音 樂院第一獎文憑畢業。目前任教於台北藝術 大學、東吳、實踐、文化大學等校。2012 出 版巴赫低音提琴無伴奏組曲全曲樂譜， 2013 年於國立巴黎高等音樂院及柏林藝術大學講 座巴赫無伴奏。 2015 年 3 月與國家交響樂團 合作，演出譚盾低音提琴協奏曲亞洲首演。 2015年7月舉辦蘭陽國際低音提琴夏令營。
單簧管｜朱玫玲 現任國家交響樂團首席。 單簧管師承Henri DRUART、 Guy DEPLUS、薛耀武及賴勇 等教授，獲法國國立瑪爾美松 音樂院卓越演奏獎及金牌演奏 獎。1985年以第一名畢業於國
Yung-Ho Fu, double bass Fu Yung-Ho is one of the most exciting members of the new generation of musicians who was educated in the Taiwanese Conservatory system. He went on to pursue an advanced degree in Europe and America and then returned to Taiwan to make important contributions to the thriving local musical scene. He attended the Taiwan National Institute of Arts and then won a full scholarship from the French government for the continuation of his Diploma, at the Conservatorie de Musique de Paris. At the completion of his Diploma, he was awarded the "Premiere Prix.” His most influential teachers were contrabassist, Jean-Marc Rollez, Chi Ta-Wei and cellist, Reiner Hochmuth. In 1984, he appeared in a public master class of Mstislav Rostropovitch where he received Maestro Rostropovitch's praise and encouragement. He then returned to Taiwan where he serves as Principle Contrabass of the National Orchestra of Taiwan. In 1992, he recorded 2 CDs. In 2012, he edited a new edition of Bach cello suites for double bass. In 2015, he will hold an international double bass summer camp in I-LAN, Taiwan, which is his hometown. He will be joined by world famous double bassists Catalin Rotaru and Thierry Barbé.
May-Lin Ju, clarinet May-Lin Ju, currently the Principal Clarinet Player of the National Symphony Orchestra, graduated number 1 of her class from the Taipei National University of the Arts in 1985. She had studied with Henri Druart, Guy Deplus, Yao-Wu Hsieh, and Yung Lai. Ms. Ju toured with China Youth Corps. Wind Orchestra in south Asia, and performed as soloist in 1984. The next year, she performed L. Spohr’s Clarinet Concerto in E flat Major with Taipei National University of
3︱譚盾與朋友們
立藝專（現國立台灣藝術大學）音樂科，同年 獲「全國豎笛大賽」冠軍。1987年考取教育部 公費留法獎學金赴法進修，在極短時間內連續 晉級畢業。1989年返國進入國家交響樂團擔任 首席迄今。1991年受邀赴日參加「太平洋音樂 節」（Pacific Music Festival），2004年再度受 邀參加，擔任單簧管首席。
the Arts Orchestra and she also won the first prize of the Taiwan National Clarinet Competition. In 1987, she won the scholarship offered by Ministry of Education and went to Conservatoire National de RueilMalmaison in France for her Masters Degree. There, she also won the Gold Medal and Best Performer from school competitions. Upon her return to Taiwan in 1989, Ms. Ju joined the National Symphony Orchestra, and was often invited to perform in chamber music concerts and music composition premiere. In 1991, she was invited to Pacific Music Festival(PMF) in Japan. In 2004, she was re-invited and became the Principal Clarinet Player of the PMF orchestra Ms. Ju has performed Debussy’s First Rhapsody, Mozart’s A Major Clarinet Concerto, and Weber’s Clarinet Concerto No. 2 with the National Symphony Orchestra. In 2000, she was invited to Macau to perform Variations on a theme by Rossini.
朱宗慶打擊樂團
Ju Percussion Group For 28 years, from the first percussion group in Taiwan to the world’s top percussion group, the Taiwan based Ju Percussion Group (JPG) has stepped onto the world stage, toured over 27 countries, and put on more than 2,500 internationally acclaimed performances. The New York Times acclaimed “…has eager, active and highly competent performers.” and Percussive Notes commended “…done an outstanding job of informing the public about percussion music.” In order to root in Taiwan, JPG created the multifaceted style and made innovative breakthroughs every season, including the Beijing-opera-blended percussion theater MuLan and the challenging ten-thousandpeople-venue Super Concert, and explored the potential of percussion constantly to lead the world trends. Feature soloists: Shih- San Wu, Pei- Ching Wu, KuenYean Hwang
從台灣第一個職業打擊樂團，到世界頂尖 打擊樂團，朱宗慶打擊樂團 28 年來持續以台 灣為家、世界為舞台，足跡遍及全球 27 個國 家，演出超過 2,500 場，深獲國際好評，紐約 時報：「擁有高熱誠、活力，團員具高度競爭 力」、國際打擊樂藝術協會特刊：「塑造了國 際上打擊樂藝術節的卓越模範」。為扎根台 灣，打造多面向風格，每季皆有創新突破，包 括打擊樂與京劇融合的《擊樂劇場 - 木蘭》、 挑戰萬人場地的《小巨蛋音樂會》等，不斷挖 掘擊樂潛能，走在世界潮流的前端！ 本場獨奏家：吳思珊、吳珮菁、黃堃儼
樂曲解說 克勞德．德布西：單簧管狂想曲 撰文│陳惠湄（巴黎索邦大學二十世紀音樂與音樂學博士） 佛瑞（Gabriel Fauré, 1845-1924）接掌巴 黎音樂院後，立即著手進行一連串的改革，其 中包括組織有公信力的評議委員會。德布西即 是在佛瑞的邀請下，於1909年擔任評議委員， 擔任管樂器考試的評審工作；這個經驗令他對 長笛、雙簧管、單簧管、低音管的表現力更有 感觸。後來他受音樂院委託創作考試指定曲， 這首《單簧管狂想曲》便是為 1910 年度巴黎 音樂院的單簧管考試而寫，作曲期間為 19091910，題獻給當時的巴黎音樂院單簧管教授密 瑪爾（Prosper Mimart, 1859-1928）。1910年 由杜蘭（ Durand ）出版社發行樂譜。 1911 年 德布西將原本為單簧管與鋼琴寫的這首樂曲改 編成給單簧管和管絃樂團版本。
樂曲在「夢幻般的緩慢」（ Rêveusement lent ）中，由八小節的導奏揭開序幕；單簧管 在管絃樂團以最弱音演奏的聲響背景中緩緩奏 出。慢板樂段溫柔充滿感情，德布西獨特的和 聲語法營造出動人的聲響色彩世界，精巧的 節奏設計讓節拍彷彿即興般自由流動，讓時間 與空間似乎半透明般地暫時處於懸掛不動的狀 態中。輕快又明確的節奏讓詼諧曲般的中段和 前面的慢板樂段形成對比；尾段具有歡樂的色 彩，單簧管獨奏以華麗的炫技結束本曲。這 首具有魅力的狂想曲充滿了自由、變化，與詩 意。作曲家在各個音域裡都將樂器的音響與表 現力推到極致；活潑的性格與夢幻的意境交錯 出現。德布西曾提起這應該是他寫過的樂曲當 中最討喜的一首了；以今天日此曲受熱愛的程 度來看，似乎可以證明作曲家此言不虛。
4︱譚盾與朋友們
譚盾：《大自然的眼淚》擊樂協奏曲 撰文│譚盾 這首擊樂獨奏與管絃樂團的協奏曲是為了一 位好朋友－年輕的傳奇擊樂演奏家馬丁．葛魯賓 格（註：Martin Grubinger為1983年出生於奧地 利薩爾茲堡）所寫的。完成之後，我錄製了一段 展現例如輕彈手指、揉、刮等特殊奏法的影片給 馬丁，跟他分享我描繪打擊樂器不同音響色彩的 方法。在寫作過程中，我思考的是大自然，以及 馬丁．葛魯賓格的熱情演奏。 大自然可說是最適合用來表現擊樂豐富的聲 響以及樂器性能的了。大自然並不是指一年中的四 季而已，也包含了獅子或老虎等以各種形式存在的 動物：有的美麗，有的具威脅性，有的友善，有的 充滿了愛。這首擊樂協奏曲包含三個樂章，分別代 表了大自然的雷鳴、熱情、能量等大自然不同的色 彩，每一種都與人類的心靈緊緊相扣。 第一樂章〈大自然的威脅〉寫作契機來自於 我心中不可磨滅、無可言喻的悲慟記憶，也就是 那場發生於2008年、奪走數千條人命的四川大地 震。曲中由定音鼓來描繪，表現時而溫柔，時而 充滿爆發力威脅的大自然的不同樣貌。定音鼓從 樂章一開始就吸引了注意力：從使用大鼓槌到沒 有鼓槌、只有手指的輕扣，展現了各種深具變化 的不同技巧，象徵着大自然的不同面貌。這個樂 章獻給所有被2008年大自然突如其來的威嚇力所 打擊的受害者。 第二樂章〈大自然的眼淚〉源於從電視螢幕 上看著那令人膽戰心驚的2011年日本海嘯的新聞 畫面時所引起的巨大到令人無法承受的傷痛。每 一次巨浪掀起，捲走了多少條生命？每一次海潮 的起伏，讓多少生靈跟著消失？我相信當大自然 突然任性地闖禍之後，緊接而來的必定是悔恨－ 大自然悔恨的眼淚。在這個樂章中，悲歎般的馬 林巴琴獨奏代表著因海嘯而受苦難的生命；顫音 奏法以及瀑布般連續下行的線條則象徵著大自然 裡水的意象，也就是大自然的眼淚：雨水、河 水，以及海洋。 第三樂章〈大自然的舞蹈〉則來自於我對紐 約這座城市和居民的敬畏以及情感。我愛紐約， 因為紐約不沈溺於淚水之中。桑迪颶風（註： Hurricane Sandy是2012年侵襲美國東部的一個颶 風，造成嚴重損害）重創曼哈頓與其他地區，但 是紐約卻從不喪失活力與信心。〈大自然的舞 蹈〉組合了數種打擊樂器，排列成環狀。前兩個 樂章的影子隱約出現，我將之前出現過的動機素 材混合起來，創造出新的旋律。擊樂家敲打著圍 成一圈的樂器，左掄右轉，像跳舞般地忙碌著，
象徵著大自然和人類心靈也一塊兒起舞；這令我 想起紐約以及她那能夠在失去的痛苦中仍保持喜 樂與舞蹈的能力－紐約的精神總是那麼地強。 即使這協奏曲的三個樂章描繪了三個大自然 在不同的地區所造成的災難和傷害，但同時也訴 說了共同的經驗：人們在艱困中依然挺立。這首 協奏曲紀念的是人類的精神：在大自然中生存， 與其奮戰，與之共舞。 （中譯│陳惠湄）
譚盾：低音提琴協奏曲《狼》 撰文│Peggy Monastra 譚盾的《低音提琴協奏曲：狼》是應阿姆斯 特丹皇家音樂廳管絃樂團、利物浦皇家愛樂、聖 路易交響樂團、臺灣國家交響樂團（NSO）與塔 斯馬尼亞交響樂團共同委託創作的作品。今晚是 亞洲的首演。 這部作品的主題是表達作曲家對大自然生態， 人與自然和動物生命的保護和關愛的情懷。在譚盾 的個人微博中他如此說道，「草原沒了，森林沒 了，狼也沒有了…羊年也再不用擔心狼來了。讓我 們一起來關注人類和大自然的生態、環境。」對譚 盾來說，狼的象徵及其在草原上的生命就是人類與 自然的一面鏡子，也是折射我們人類「狼性的」一 面－自由獨立，桀驁不馴，頑抗不屈，多疑憂鬱但 又團結互助的這些複雜的精神氣質。 低音協奏曲《狼》充滿了古絲路文化史的色 彩，作曲家刻意地穿梭於「古代」和「現代」的 元素之間（這是他大型管絃樂作品中常見的特 色）。格外值得注意的是，在整部作品中，絃樂 器所採用的指法技巧以及音型，是受古時蒙古馬 頭琴和中國的胡琴的演奏風格啟發而創作的。 《狼》是三樂章的傳統協奏曲形式，除了作 曲家在開頭加了一個引子外，均由富含強烈色彩 與節奏動力的首尾兩樂章包圍動人的抒情慢板中 間樂章。 第一樂章由神秘而憂鬱的引子開始，獨奏低 音提琴和群奏低音提琴的對話，如同人類與自然 的對話，非常的動人。接續著，音樂漸漸擴展到 狼群與野馬奔跑在草原上的呼嘯的音景。銅管、 木管、打擊樂的節奏音型與絃樂撥奏一齊帶著樂 章往前躍動。旋律穿梭於樂團段落間，而低音提 琴獨奏─狼─也接續奔跑的音型，愈跑愈快，將 曲子帶到樂章結尾，幽野的蹄步漸漸遠去… 如歌般的第二樂章裡，獨奏以悠長的旋律線 出現在前面與中間，伴以和樂團的對奏，描繪著 幼狼想念母狼、想念失去的自己家鄉大草原的孤 獨。這相當抒情而溫柔的樂章使獨奏家得以沉浸 於低音提琴醇厚的吟唱中。
5︱譚盾與朋友們
終樂章帶我們回到了狼群疾馳的歡樂場景， 在獨奏交替於抒情段落與加入樂團節奏段落之 間，可以聽到樂團的呼嘯音型。對比前一樂章， 獨奏線條主要由大跳音程構成，並間歇性出現脈 搏般的跳動音做出色澤變化，其中法國號和長號 奏出的幽野的狼呼嘯，令人難忘並觸發起人類對 大自然生態的憐憫和夢幻。 （中譯│鄭可喬）
摩利斯•拉威爾：《波麗露》 撰文│陳惠湄 要怎麼樣來形容《波麗露》這首人盡皆知的 樂曲呢？縱使不知道作曲家與曲名，但是沒聽過 《波麗露》旋律的人應該不多吧；不僅是音樂演 奏會或舞團表演，也透過藝術或商業的管道，諸 如廣播電臺、電影、電視劇等各種媒體，讓這首 音樂無所不在。
1927年，舞者伊達．魯賓斯坦（Ida Rubinstein, 1885-1960）請拉威爾為她正在策劃的一齣芭蕾 舞劇寫作「具有西班牙音響」的音樂。拉威爾決 定採用西班牙波麗露舞蹈的節奏。他想了一個簡 單的主題，完全不加以發展，讓這個主題一直重 覆，以始終不變的速度，在小鼓從頭到尾完全相 同的偏執節奏中，讓整個管絃樂團一點一點地慢 慢加進來，力度、音響織理、音樂情緒都以「漸 強」的方式一直擴大到最飽和點精彩地結束。原 本是拉威爾實驗配器法的一個遊戲之作，沒想到 竟然成為管絃樂配器法的最佳示範教材，他本人 更沒想到此曲今天已經成為全世界演奏次數最多 的樂曲了。 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=201503，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 Claude Debussy: Rhapsody for Clarinet and Orchestra The Première Rapsodie pour orchestre avec clarinette principale was published in 1910 in its first version, for clarinet and piano, and in the orchestral version the following year. The work was intended for use in a Conservatoire competition, together with a short test of sight-reading. It was dedicated to Prosper Mimart, the professor for whose class it was designed, and it was Mimart who gave the first performance of the original version in January 1911 for the Société Musicale Indépendante. Debussy was pleased with the work, if not with most of the Conservatoire competitors. Marked at the beginning Rêveusement lent, the Rapsodie offers the
contrasts of tempo and mood necessary in a competition piece, but it is the feeling of the opening, dreaming, that predominates. © 2014 Naxos Digital Services Ltd
Tan Dun: Percussion Concerto By Tan Dun I wrote this piece for my dear friend, a true percussion artist, Martin Grubinger. Upon conclusion of this work I made a video demonstration for Martin, sharing the methods I used to draw out the many colors of percussion, using the video to show the unique techniques such as finger flicking, rubbing, scraping etc. While composing I thought about nature and focused on the passion of Martin Grubinger. Nature is the only suitable illustrator for the richness of percussion sounds and instruments. Nature does not just represent four seasons in a year, it also can depict the many animals it holds such as lions or tigers, animals that can take on many forms, that can be beautiful, threatening, friendly or loving. My Percussion Concerto is divided into three movements, each one representing a different color of nature; the color of nature’s thunder, the color of nature’s passion and the color of nature’s energy – each united with the human spirit. The first movement, Threat of Nature, was prompted by my unforgettable memories and the unbearable, instantaneous loss of thousands, during the Sichuan earthquake in 2008.Threat of Nature is depicted using the timpani, which shows both the gentle and explosive power of nature. The transformation from the beginning of the movement to end employs various techniques on the timpani, from large mallets to finger flicking, symbolizes the taming of nature. This movement honors all spirits touched by the brutal force of nature in 2008. The second movement, Tears of Nature, was born as I watched the enormously heart-wrenching live broadcast of the tsunami in Japan on television. For every inhale of the tsunami waves – how many lives vanished? For every exhale how many spirits were washed away? I believe after nature’s brutality must come nature’s regret, it’s tears. The tragedy of the tsunami is represented by a sorrowful marimba solo crying for all of the victims of the tsunami. Tremolos and cascading lines mirror the images of water in nature, nature’s tears: rain, rivers, and oceans. The third movement, Dance of Nature, comes from my awe and affection for New York City and its residents. I love New York because it does not believe in wallowing in tears. After Hurricane Sandy all of lower Manhattan and many others were without power, but New Yorkers never lost their energy and confidence. Dance of Nature uses assorted percussion instruments, all placed in a circle. Shadowing the first two movements, I bring their motives back and mix
6︱譚盾與朋友們
them with the new melodies introduced. The motives dance together causing the percussionist, in turn to whirl around within the circle of percussion instruments symbolizing both nature and the human spirit dancing together – reminding me of New York and its ability to keep cheerful in spirits and dance even while suffering from loss – the spirit of New York is always strong. Although the three movements in this concerto about three natural disasters in different cities, they all share in the same memory, one where the human spirit stays strong. This concerto commemorates human spirit as it lives, fights and dances with nature. Tan Dun: Contrabass Concerto: (Composed in 2014) By Peggy Monastra Tan Dun’s Contrabass Concerto: The Wolf was co-commissioned by Royal Concertgebouw Orchestra Amsterdam, Royal Liverpool Philharmonic, St. Louis Symphony, Taiwan Philharmonic (NSO), and the Tasmanian Symphony Orchestra. Tonight is its Asian premiere. The piece expresses the composer’s concern and love for the environment, and reflects upon the relationship humans have with nature. In Tan Dun’s own words, “there is no more grassland, there are no more forests, and there are no more wolves. Sheep will no longer need to be fearful of a wolf ’s arrival. Let us all embrace our humanity, nature and the environment.” In crafting the instrumental gestures of both the solo and orchestral writing, Tan intentionally weaves together Ancient/Modern elements (a frequent characteristic of his larger orchestral compositions) and here more specifically the ancient techniques of traditional Silk Road instruments with those of the modern orchestra. In particular in The Wolf fingering techniques in the string writing and rhythmic gestures throughout are adapted from the styles of ancient Mongolian Horse Fiddle and Chinese Hu Qin playing. The Wolf is in the traditional concerto format of three movements with an opening introduction – two outer movements full of dynamic colors and rhythmic drive surround a slow and strikingly lyrical middle movement. The first movement opens quietly with an atmosphere of mystery and melancholy of the bass soloist accompanied by the orchestral bass section in harmonics, together they sound like a mother talking to her children, or the conversation between human beings and Mother Nature. Following this extended song in the solo bass, the music expands gradually into a depiction of the running of the wolves and wild horses across the Mongolian grasslands. Rhythmic patterns in the brass, winds, percussion, and pizzicato strings drive the movement forward. The melodies travel around the orchestral sections while the solo bass – the wolf – also takes up the running gestures to drive the movement faster and faster to its close. The song-like second movement which places the
soloist front and center with long melodic lines over a simple orchestral accompaniment, depicts the loneliness of a young wolf missing it’s mother; missing the sky and grasslands of its home. This intensely lyrical and tender movement offers the soloist an opportunity to revel in the rich singing sound of the contrabass. The final movement returns us to the scene of the running wolves, rhythms of the orchestra while the soloist alternates between the lyrical and percussive capabilities of the instrument. In contrast to the previous movement, the solo line is dominated by large interval leaps alternating with pulsing notes reaching a dramatic heart shaking climax, like a howling wolf, passionately calling upon us with compassion in our hearts to protect Mother Nature.
Maurice Ravel: Boléro, which Ravel himself described as an orchestrated crescendo, was written in 1928, commissioned by Ida Rubinstein for her ballet company. Décor and costumes were by Alexandre Benois and choreography by Bronislava Nijinska, and it was danced by Ida Rubinstein, with Anatole Vitzak. In a Spanish tavern a dancer starts tentatively, trying out her steps on a large table, and as she gathers confidence the drinkers from the surrounding tables gather round her, joining her in their growing enthusiasm. The music relies on a single theme, with two parts, and the constant rhythm of the snare drum, over which instrument after instrument enters as the texture thickens and the volume increases. Ravel had a very clear idea of the tempo at which Boléro should be performed, making this clear to Toscanini, who had claimed to 'save the work' by taking it at a faster pace. Boléro won immediate popularity, which it has retained, and has provided a basis for various choreographers and dancers, from Lifar to Béjart. © 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. 電子問券請掃描， 支持NSO愛地球。 asp?q=201503.
7︱譚盾與朋友們
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 方俊人 黃佳頎 李庭芳 潘俊蓁✽ 鄭囿蓉✽
○ 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 羅培菁✽
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
陳美君✽
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 ●
高音薩氏管
孫正茸
李承育
中音薩氏管 低 音 管
李 浚
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▓ ▲ 廖偉強
定 音 鼓
●
連雅文 ◎ 陳廷銓
打 擊 樂
●
陳哲輝
陳振馨
豎 琴
●
解 瑄
梁嘉芫
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
楊璧慈▓
王瓊燁
謝宛錚
企劃演出
整銷推廣
企劃專員 謝祥雯 吳孟珊 賴盈帆 賴曉俐 人事組長 林碧珠 譜務專員 高婉瑜 舞台監督 高冠勳 助理舞監 毛聖文 行政專員 溫慧雯 行政助理 沈靜宜
公關整銷專員 陳卜湄 行銷專員 鄭巧琪 王思懿 曾柏雄 郭玲孜 陳玠維 林欣儀▓ 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