20150329 program note

演出曲目

Program

阿爾弗雷德•舒尼特克（1934-1998）：中提琴協奏曲

ALFRED SCHNITTKE (1934-1998): Viola Concerto

I.

最緩板

I.

Largo

II.

極快板

II.

Allegro molto

III. 最緩板

III. Largo

~中場休息~

~Intermission~

彼得•伊里亞•柴科夫斯基（1840-1893）： 《曼弗雷德》交響曲

PIOTR I. TCHAIKOVSKY ( 1840-1893 ): Manfred Symphony, Op. 58

I.

悲哀的緩板 – 加快的中板 – 行板

I.

Lento lugubre – Moderato con moto – Andante

II.

有精神的甚快板

II.

Vivace con spirito

III. 加快的行板

III. Andante con moto

IV. 魄力的快板

IV. Allegro con fuoco

演出時間│2015年3月29日 (星期日) 7:30 PM 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 中提琴│馬辛•雷薩諾夫 Maxim Rysanov, viola 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40分鐘，下半場約60分鐘

特別感謝│

1︱ 詩人獨白

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│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》

“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).

Sh a o - C h i a Lü t o o k t h e p o s i t i o n o f Ge n e r a l Music Director of the Koblenz Theatre(1998-2001), t h e St a a t s o r c h e s t e r R h e i n i s c h e P h i l h a r m o n i e 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.

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。

2︱ 詩人獨白

中提琴｜馬辛•雷薩諾夫

Maxim Rysanov

「雷薩諾夫是個令人讚嘆的提琴演 奏家；中提琴各個音域的特殊音 色，在他手中獲得完全的發揮，持 續傳遞出情感上與音色上的美麗變 化。」 ─《留聲機雜誌》

“Rysanov is a remarkable string player; in his hands the viola's distinctive voice is explored throughout its range, with consistently beautiful variations of intensity and tone colour” — Gramophone Ukrainian Maxim Rysanov studied at the Guildhall School of Music and Drama and at the Central Special Music School in Moscow. He is a prize-winner of several major international awards, including the Classic FM Gramophone Young Artist of the Year Award and the BBC Radio 3 New Generation Award, as well as the Geneva, Lionel Tertis and Valentino Bucchi competitions. His current and recent engagements include appearances with the Frankfurt Radio Symphony Orchestra (Philippe Herreweghe), NDR Philharmonic Orchestra (Eivind Gullberg Jensen), Gurzenich Orchestra (Sir Mark Elder), Orquesta Sinfónica de Castilla y León (Vasily Petrenko), BBC Symphony Orchestra (Jiří Bělohlávek), Prague Radio Symphony Orchestra (Juraj Valcuha) and many others. Maxim Rysanov has a strong interest in new music. Several works have been dedicated to him. He now combines his viola performance with a career as a conductor. Rysanov plays a viola by Giuseppe Guadanini, 1780, on extended loan from the Elise Mathilde Foundation.

烏克蘭籍的馬辛•雷薩諾夫畢 業於英國市政廳音樂及戲劇學院與莫斯科中央音樂 院，曾獲得多項重要國際大獎的肯定，其中包括： 英國《留聲機》雜誌年度最佳青年演奏家獎、 BBC 電台第三台新秀獎，並在日內瓦、萊諾•特提斯、 瓦倫提諾•布基三項國際中提琴大賽中獲得首獎。 雷薩諾夫近期演出包括與法蘭克福廣播交響樂團 （菲利浦•赫爾維格）、德國廣播交響樂團（愛文 德•加爾伯格•楊森）、科隆愛樂樂團（艾爾德爵 士）、卡斯提亞與里昂交響樂團（佩特連科）、 BBC交響樂團（貝羅拉維克）、布拉格廣播交響樂 團（尤拉•瓦庫）同台合作。雷薩諾夫對新音樂有 著濃厚的興趣，並有作曲家為他譜寫新作；除了中 提琴演出之外，目前亦從事指揮工作。雷薩諾夫目 前使用由艾莉絲•瑪蒂爾德基金會出借之1780年製 瓜達尼尼中提琴。

樂曲解說 撰文│盧文雅（國立臺北藝術大學音樂學研究所副教授） 阿爾弗雷德•舒尼特克：中提琴協奏曲

後，衷心的讚嘆此曲，認為它展現了中提琴新的 一面，並突破了此樂器既有的可能性。

舒尼特克（Alfred Schnittke, 1934-1998），蘇俄 作曲家，出生於曾是德國占領的俄國區域恩格爾市 （ Engels ）。他的音樂養成教育雖全部在蘇俄莫斯科 音樂院，但卻有深厚的德國作曲手法根基。舒尼特克 的作曲風格從早期 60 年代的序列音樂（ serialism ）， 經過 70 年代的「多元風格時期」（ polystylism ），嘗 試將德國傳統的巴赫（J. S. Bach, 1685-1750）、貝多 芬（L. v. Beethoven, 1770-1827）與俄國現代音樂語法 相加混合；這首中提琴協奏曲，完成於80年代（1985 年），展現的是舒尼特克渾然圓熟的作曲精髓，深 邃、優柔，魅力十足。

在舒尼特克完成此作品的幾天後，心臟病發 （1985年7月21日），在一番生死交戰後，舒尼 特克為這部中提琴作品寫下一段說明：

此部作品贈送給在 1970 年代已十分活躍於世界樂 壇的蘇俄中提琴家巴舒梅特（Yuri Bashmet, 1953-）， 兩人相識於1977年。不同於一般作曲家禮貌性的或尊崇 式的將作品「題獻」給某人，這部作品可說是為巴舒梅 特量身訂作，展現艱難的演奏技巧，樂曲中的主要主題 b 還是由巴舒梅特的名字轉化成音名形成主題旋律 B – A – Eb – C – B – E = Bash(m)e(t)。此主題除了成為第一樂 章的主要主題，也出現在其他樂章中。巴舒梅特在演出

全曲為慢快慢三樂章，無調性。第一樂章最 緩板（Largo），十分短，只有60小節。彷彿是一 段人生的前奏曲，樂曲由中提琴獨奏開始，好似 一個孤獨靈魂的獨白。第17小節起奏出「巴舒梅 特主題」（Bashmet theme），樂團以輕柔的和聲 共同吟唱。樂曲中段，樂團突然以極強的聲響伴 以中提琴於高把位拉奏的高音，令人振奮，但隨 後出現一連串的下行音型，又將音樂帶至沉寂，

這部作品在某方面看來具有-短暫的-告別性 格；在完成此作品的十幾天，一場心臟病使我陷 入一種景況中，在哪裡我很難找到出路。我只能 緩慢的進入人生的第二階段，這階段，我正在經 歷。此曲的音樂如預言般，預告著將發生的事， 其中有著對歲月無盡追逐的性格(第二樂章)，也 有在死亡之門前，對人生展開緩慢而憂傷的巡禮 (第三樂章)。

3︱ 詩人獨白

樂章結尾「巴舒梅特主題」再度響起，結束了這段孤獨 靈魂的獨白。

段，短而激烈，管絃齊鳴的奏出「曼弗雷德主題」，音 樂陷入無限的狂亂，震耳欲聾的結束第一樂章。

第二樂章極快板（Allegro molto），此樂章以段落 性的方式，陳述英雄一生的故事。樂曲開頭激烈的快速 音群段落，在曲中以變奏的方式出現四次，中間穿插入 傾訴人生各種不同情懷的樂段，第三段還出現「巴舒梅 特主題」。在一段中提琴的華彩樂段（Cadenza）之後， 樂曲進入尾聲，此時音樂管絃齊鳴，但最後終歸寧靜， 在中提琴輕柔的撥絃中，結束此樂章。

第二樂章有精神的甚快板（Vivace con spirito），樂 譜上標題提示為「阿爾卑斯山的精靈，被彩虹包圍，出 現在曼弗雷德面前」，由詼諧曲加上三重樂段（Trio） 的三段體組成。第一段主要由木管樂器與絃樂展開對 話，輕巧如瀑布瀉落，飛鳥穿梭。第二段（Trio），精 靈的主題由兩支豎琴烘托絃樂主奏，典雅脫俗的精靈恍 然若現。第三段重現第一主題樂曲，最後樂曲在「曼弗 雷德主題」中結束。

第三樂章回到最緩板（Largo），陳述一段死亡前的 悲傷，中提琴在此樂章中插入數段獨白，深沉的泣訴一 生的末了。樂曲除了再次出現「巴舒梅特主題」，還出 現第一樂章的音樂元素，另外也透過精闢的配器，如雙 簧管高音域的二重奏、銅管尖銳強勢的齊奏，管鍾、鋼 琴等如送葬般的音樂陪襯，陪伴這中提琴英雄走完這段 人生。

彼得•伊里亞•柴科夫斯基：《曼弗雷德》交響曲 《曼弗雷德》交響曲是柴科夫斯基（Piotr I. Tchaikovsky, 1840-1893）唯一的一部標題交響曲。在 十九世紀標題音樂盛行之際，此曲延續了白遼士《幻 想交響曲》（Symphonie fantasique）、《哈洛德在義大 利》（Harold in Italien），以及李斯特《浮士德交響曲》 （Faust Symphony）的作曲手法，以拜倫的詩劇《曼弗雷 德》為主體，在四個樂章中，分別展示曼弗雷德一生的 四個景緻，並且由「曼弗雷德主題」串聯全曲。 此部作品完成於柴科夫斯基第四號與第五號交響曲 之間，寫作動機源起於1885年初春時巴拉基列夫（Mily Alexeyevich Balakirev, 1837-1910）的邀約，柴科夫斯基於是 年十月完成此部作品，題贈給巴拉基列夫。此部作品花費 柴科夫斯基莫大的心血，他曾表示：「在我一生中從來沒 有這樣努力過，也沒有由於工作而覺得這樣疲倦…」，但 是這部作品也帶給他無限的滿足，他曾自稱此作品是他最 好、最美的交響曲。 全曲十分龐大，龐大的層面可以顯現在樂曲的長 度，此曲為柴科夫斯基所有交響曲中最長的一首。另外， 此曲的配器也是他使用最多的一首。曲中管絃樂法的運用 有著柴科夫斯基一貫的精闢、卓越，以及艱深的手法。 第一樂章分三段落，以悲哀的緩板（Lento lugubre） 開始。樂曲一開頭即奏出「曼弗雷德主題」，四小節的 「曼弗雷德主題」顯現出主角的人格特色，以及他衝 突、徬徨、卻得不到解脫的人生困境。隨後出現第一段 落的重要樂念，顯現主角獨居於阿爾卑斯山的孤寂，與 內心交戰的激情。第二段音樂突然轉變，曼弗雷德回憶 他愛戀的女子「愛斯塔德」（Astarte），溫柔的絃樂以 室內樂的型態演奏，配上豎琴，音樂中迴盪出無限的柔 情與哀思（愛斯塔德已死，為曼弗雷德所殺）。最後一

第三樂章加快的行板（Andante con moto），三段 式歌謠曲式，田園風格。樂曲前後兩段呈現安靜甜美的 田園景致，中間則是由銅管突然以強烈的聲響奏出「曼 弗雷德主題」作對比，表現主角曼弗雷德的混亂思緒。 終曲，有魄力的快板（Allegro con fuoco）。場景彷 彿在地獄宮殿，樂曲以激動狂亂的「曼弗雷德之死」作 為開始，仿若群魔亂舞。樂曲中穿插入對戀人愛斯塔德 的招喚，第一樂章的主題片段也出現在此樂章中。隨後 「曼弗雷德之死」的主題以複格的方式呈現，隨後「曼 弗雷德主題」激烈再現。曲末，豎琴帶下天堂般的安 慰，但是曼弗雷德並不受安慰，樂音中充滿「曼弗雷德 主題」，最後他以自殺結束生命，了卻他無解的一生， 曲終簧風琴（Harmonium）以宗教般的慰藉，接引曼弗 雷德。

Program Notes Alfred Schnittke: Viola Concerto

By Robert Markow (Musicologist, Canada) Alfred Schnittke ranks as one of the most distinguished and highly respected Russian composers of the postShostakovich era. Through unremitting pursuit of a personal voice and strength of character, he charted for himself a course that has attracted increasing attention over the past several decades. Schnittke was born of German parents in Engels, a city on the Volga River. His father, a Jew born in Frankfurt, emigrated to Russia in 1926 and there married a Russian-born German woman. Schnittke’s musical studies began at age twelve, when he went to Vienna for a twoyear sojourn. Later he studied at the Moscow Conservatory (1953-58) and was on its faculty from 1961 to 1972. He spent the last nine years of his life in Hamburg.

Schnittke’s catalogue of works is extensive and varied, numbering more than 250 opus numbers. Like Bruckner a century earlier, he was working on a Ninth Symphony when he died. Additionally he wrote six concerti grossi, four violin concertos, four string quartets, three piano concertos, three operas, 66 film scores, incidental music for Peer Gynt and many works for chorus, chamber ensembles, piano and voice.

4︱詩人獨白

The Viola Concerto was commissioned in 1977 by violist Yuri Bashmet, who gave the first performance with the Royal Concertgebouw Orchestra of Amsterdam led by Lukas Vis in January of 1986. Schnittke described the work as a “temporary farewell” in light of the near fatal heart attack he suffered shortly after finishing it, after which he passed through a long, slow recovery into a new phase of his life.

“Like a premonition of what was to come,” he wrote, “the music took on the character of a restless chase through life (in the second movement) and that of slow and sad overview of life on the threshold of death (in the third movement).”

The concerto is written in three movements played without pauses, and lasts slightly over half an hour. It has proven to be one of Schnittke’s most popular works, with at least half a dozen recordings to its credit. Orchestral colors tend toward the darker end of the spectrum (there are no violins in this score). In addition, Schnittke explores unusual instrumental effects, such as the sardonic contrabassoon solos in the central waltz movement, the lugubrious trombone chorales in the third movement and the fearsome crescendo of percussion instruments in the same movement.

In addition, there is much imaginative use of piano and harpsichord throughout.

The music is fraught with mournful brooding, emotional turbulence, frenzied outbursts and expressive intensity. The Concerto’s angst-ridden world is enhanced by such effects as the menacing clanging of bells, huge sound clusters, ghostly wraiths of sound as if arising from a surreal dream world, and startling moments of tender lyricism juxtaposed with the fierce dissonance that dominates the score (the harshly grating interval of the minor second is especially exploited).

It is a tribute to Schnittke’s artistry that this music can be so deeply unsettling and at the same time esthetically fulfilling.

Piotr I. Tchaikovsky: Manfred Symphony, Op. 58 Byron, above all other English poets of the early nineteenth century, exercised a fascination over the European imagination, seeming to writers such as Goethe or to Mazzini to be the epitome of the age. The French composer Berlioz had, in Harold in Italy, drawn inspiration from Byron's Childe Harold, and his visit to Russia in the winter of 1867 and a performance of the work had suggested to Vladimir Stasov, mentor and inspiration to the Five, the group of Russian nationalist composers, the possibility of a work based on Byron's poetic drama Manfred.

Stasov sketched a possible programme for such a composition, and proposed to Balakirev, leader of the Five, that he should attempt the work. The latter thereupon urged Berlioz, now near the end of his life, to undertake such a composition, providing him, without acknowledgement to Stasov, with a plan for the work. Berlioz was unable to oblige him. It was some fifteen years later that Balakirev renewed proposals for a symphonic poem on the subject of Manfred, this time to Tchaikovsky, who had been bullied by Balakirev into the composition of Romeo and Juliet in 1870, followed in 1876 by Francesca da Rimini. 'Your Francesca suggested to me that you would be able to tackle this subject brilliantly— provided, of course, that you make an effort and criticize

your own work strictly', Balakirev wrote, assuming once again the habit of command, after a break in relations with Tchaikovsky of a decade. This was in 1882. Tchaikovsky, however, rejected the notion, having no copy to hand of Byron's poem, and finding the outline proposed uninspiring.

Two years later Tchaikovsky was to meet Balakirev in St. Petersburg, his own religious doubts and uncertainties receiving some answer from the latter's newly found brand of Christianity. The subject of Manfred was again raised, and Tchaikovsky, summoned to the deathbed of his friend, the young violinist Kotek, in Switzerland, took the opportunity of reading Byron's poem. In 1885 he embarked on the work of composition, and the symphony was completed in September of the same year, to be performed in Moscow for the first time the following March. The next year he could describe it as his best symphonic work, yet by 1889 he was writing of it as 'an abominable piece', and planning its destruction. The composer's ambivalence towards his own work was characteristic.

Goethe, in an article written in 1808, described Byron's Manfred as a derivative of his own Faust. For Tchaikovsky, as for Byron, Manfred represented the figure of the outsider, an outcast from society, a role in which the composer, haunted by his own homosexuality, saw himself. In the first movement of the symphony Manfred, at midnight in a Gothic gallery in his Alpine castle, seeks self-oblivion, haunted by memories of forbidden love. He calls up seven spirits to his aid, one of which takes the shape of his beloved Astarte. At this Manfred falls senseless to the ground.

The second movement, the third in Stasov's original outline, evokes the spirit of the Witch of the Alps, appearing in a rainbow through the spray of a waterfall, but imposing conditions on Manfred in his quest that he is unwilling to fulfill, so that he must continue fatal and fated in his suffering.

There follows a pastoral Andante con moto, a colorful picture of rural Alpine simplicity, the counterpart of Act II, Scene 1, of Byron's work, where a chamois hunter offers Manfred what comfort he can, his wine seeming to the latter blood that mingled as he and his beloved 'loved each other as we should not love'.

The final movement opens in the subterranean hall of Arimanes, in the form of a globe of fire, surrounded by spirits with Nemesis and the Destinies. The spirit of Astarte is summoned, an ideal vision, who announces Manfred's coming death, an equivocal end. In the concluding words of the Abbot in Byron's poem: He's gone—his soul hath ta'en its earthless flight; Whither? I dread to think—but he is gone. © 2014 Naxos Digital Services Ltd

電子問券請掃描， 支持NSO愛地球。

5︱詩人獨白

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 呂 昉✽

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

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

程筑卿

短 笛 雙 簧 管

李 浚

鐘美川

英 國 管

◎ 阮黃松

楊舒婷

李明怡

單 簧 管

●

朱玫玲 ◎ 張凱婷

朱偉誼

低 音 管

●

簡凱玉 ◎ 陳奕秀

高靈風

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

倍 低 音 管

簡恩義

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

鋼 片 琴

劉惠珊

大鍵琴/簧風琴

陳相瑜

執行長

邱 瑗

企劃演出經理 整銷推廣經理

孫正茸

杜佳舫 王承禹

音樂總監執行祕書 黃毓棻

楊璧慈▓

王瓊燁

張瑜蓁✽

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 潘柏宏 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