20150417 program note

演出時間│ 2015年4月17日 (星期五) 7:30 PM

演出者

指 揮│洪毅全 Darrell Ang, conductor 小提琴│宗緒嫻 Nancy Tsung, violin

演出地點│ 國家音樂廳 National Concert Hall, Taipei

笙 │黃朧逸 Lung-Yi Huang, sheng 主辦單位│ 指定住宿│

演出長度│上半場約55分鐘，下半場約40分鐘

國家交響樂團 特別感謝│

National Symphony Orchestra (NSO)

1︱水影•黎明—敘事交響詩

歡 迎 各位親愛的觀眾，您好： 歡迎蒞臨欣賞「國家表演藝術中心」國

Welcome Dear Music Lover, Your support and participation toward the performances of the National Symphony Orchestra

家交響樂團音樂會，由衷感謝您的支持與參

( N S O ) i s h i g h l y a p p re c i a t e d . T h e Na t i o n a l

與。本中心所屬單位包括國家兩廳院、臺中

Performing Arts Center, of which NSO is a part,

國家歌劇院、衛武營國家藝術文化中心及國

also includes the National Theater & Concert

家交響樂團，我們期盼由這北中南串起的表

Hall, Taipei, the National Taichung Theater, and the National Kaohsiung Center for the Arts, all of

演藝術平臺，能以最專業的團隊及服務，滿

which are dedicated to providing a platform for the

足大家的期待，共享藝術的美好與感動！

performing arts connecting the whole of Taiwan.

國家表演藝術中心董事長

Chairman, National Performing Arts Center

演出曲目

Program

安東尼•德沃札克（1841-1904）：《水怪》

ANTONÍN DVOŘÁK (1841-1904): The Water Goblin, Op.107

潘皇龍（b. 1945）：

HWANG-LONG PAN (b. 1945):

《玉芙蓉》，為獨奏小提琴、笙與管絃樂團的雙協奏

Double Concerto for Solo Violin, Sheng and

曲（2010 11，國家兩廳院委託創作）（世界首演）

Orchestra (2010/11, Commissioned by National

I.

慢板 ─ 最緩板 ─ 行板

Theater & Concert Hall) (World Premiere)

II.

緩板 ─ 甚緩板

I.

Adagio - Grave - Andante

II.

Lento - Lento assai

III. 行板 ─ 快板 ─ 中板 ─ 慢板 ─ 行板

III. Andante - Allegro - Moderato - Adagio - Andante ~中場休息~ ~Intermission~

德米特里•蕭斯塔科維契（1906-1975）： 第十二號交響曲 I.

〈革命在彼得格勒〉

II.

〈拉茲列夫〉

III. 〈曙光號巡洋艦〉 IV. 〈人類的黎明〉

DMITRI SHOSTAKOVICH (1906-1975 ): Symphony No. 12, Op. 112, D minor I.

‘Revolutionary Petrograd’

II.

‘Razliv’

III. ‘Aurora’ IV. ‘The Dawn of Humanity’

2︱水影•黎明—敘事交響詩

演出者介紹 指揮│洪毅全 出生於新加坡，洪毅全畢 業於聖彼得堡國立音樂學院及 美國耶魯大學，並曾向馬捷 爾、戴維斯爵士、薩洛寧、亞 維學習指揮。他曾獲得貝桑頌 國際青年指揮大賽首獎、安東 尼•佩特羅帝指揮大賽、托斯卡尼尼國際指揮 家大賽、以及安聯文化基金會指揮獎項的肯 定；並因此與愛樂樂團及倫敦愛樂有緊密的合 作。自2012年起，洪毅全接任為布列塔尼交響 樂團音樂總監，並經常受邀與歐亞洲重要樂團 擔任客席指揮，其中包括法國廣播愛樂、倫敦 愛樂、以及愛樂樂團。洪毅全為當代亞洲交響 音樂最重要的詮釋者之一，並開始為 Naxos 唱 片及ARS Produktion中國與法國作曲家作品進 行錄音計畫。

小提琴│宗緒嫻 「充滿活力、熱情洋溢的演奏及 大匠的琴藝…自信與技巧成熟的 樂風，一種毫無隱瞞的表現，誠 實明朗地展現了多種風格之韻味 …」─《紐約時報》，首演獨奏會 「這位獨奏家，帶給人泰然自 若，賞心悅目的演出」 ─《紐約時報》，卡內基音樂廳 華裔小提琴家宗緒嫻，畢業於紐約茱麗亞 音樂學院。1987年首次回台後，曾為國家交響 樂團首席，並數次擔任國際巨星音樂節「節慶 管弦樂團首席。1997年榮獲第38屆「中國文藝 協會文藝獎章 之傑出音樂演奏獎。宗緒嫻演 出經驗豐富，曾以獨奏及室內樂家身份至美國 卡內基廳、甘迺迪中心、波士頓交響廳、艾弗 里•費雪廳、國家大劇院等重要場地演出；並 曾與波蘭阿瑪迪斯室內樂團、紐約絃樂團、昆 士蘭交響樂團、亞斯本巴洛克樂團、NSO國家 交響樂團等國內外樂團合作演出協奏曲。同台 合作演出音樂家包括傅聰、林昭亮、胡乃元、 夏漢、Sanderling、Jahja Ling及巴洛克小提琴 家Simon Standage等。興趣廣泛的宗緒嫻多次 應邀擔任現代作曲家作品首演的發表演出、包

Darrell Ang Born in Singapore, Darrell Ang studied at the St. Petersburg State Conservatory and Yale University, and has been mentored by Lorin Maazel, Sir Colin Davis, EsaPekka Salonen and Neeme Järvi. He won the Besançon, Pedrotti and Toscanini competitions and was the recipient of the Allianz Cultural Foundation Conductors’ Award in 2010/2011, which allowed him to conduct and work closely with the Philharmonia Orchestra and the London Philharmonic Orchestra. Since 2012 Darrell Ang has been the Music Director of the Orchestre Symphonique de Bretagne and is frequently in demand as a guest conductor with some of the most important European and Asian orchestras, such as the Orchestre Philharmonique de Radio France, the London Philhamonic Orchestra and the Philharmonia Orchestra. One of the foremost interpreters of contemporary Asian symphonic music, he will also embark on several recording projects for Naxos Records and ARS Produktion of works by Chinese and French composers.

Nancy Tsung “Miss Tsung played with energy, enthusiasm and virtuoso technique….secure and musically effective; this was straightforward playing that recreated a variety of styles in a clear and honest way.” —The New York Times, Debut Recital, New York “…Nancy Tsung, soloist in a poised, enchanting performance…”—The New York Times, Carnegie Hall, New York CHINESE VIOLINIST, Nancy Tsung has concertized to much public acclaim in the United States, Europe, Asia & Australia. Embarking upon the musical scene in Taiwan in the late 1980’s, following the invitation of the National Symphony Orchestra of Taiwan to hold the Concertmaster position, Ms. Tsung continues to collaborate & tour with Ensembles, Conductors and Performing Artists from Europe, Asia, Canada & the United States ~ in the roles of an accomplished Soloist, Recitalist & Chamber Musician.

Ms. Tsung embraces being an advocate for the Voice & Music of Today, resulting in multiple invitations to present World Premiere performances of Contemporary works for Violin & Piano, Violin & Orchestra, & Chamber Ensembles.

Recent world premiere performances have taken Ms. Tsung from the Concert Hall of Taipei National University of the Arts to Singapore, Shanghai, ShengZhen & Beijing.

Performances with world renowned musicians include Fou Tsong, Cho-Liang Lin, Nai-Yuan Hu, Gil Shaham, David Chan, Simon Standage, Paul Katz, Jahja Ling, Thomas Sanderling, Gerard Akoka & Ohyama Heichiro, Rohan De Silva & Kyoko Hashimoto, amongst others.

3︱水影•黎明—敘事交響詩

含小提琴與管絃樂團，小提琴與鋼琴及各種 室內樂型式的組合。最近應邀在星加坡、 上海東方藝術中心、國家音樂廳、 國家大 劇院以及香港演藝中心演出。 宗緒嫻教學經驗豐富、在紐約攻讀博 士、應指導教授邀為母校先修班教師；自

1987 年宗緒嫻將時間與精神投入培育下一 代的音樂家。多位現在活耀於音樂舞台的 年輕音樂家們都屬於宗緒嫻回國後投資的 心血。 自 2008 年起，宗緒嫻應邀至中國北京 長城國際音樂夏令營演出及任教，宗緒嫻 也同時應國際知名音樂家林昭亮邀請，擔 任國立臺灣交響樂團「NTSO國際青少年管 絃樂團」暑期音樂營教師及演出者。 自1988年為國立臺北藝術大學音樂系教 授，亦同時稱職地扮演五個小孩的母親。

After 30 years of performing & teaching, Ms. Tsung continues to share her wealth of experience by being a dedicated teacher; her students grace the musical establishments as well respected performers, chamber musicians, teachers & educators. While at Juilliard, Ms. Tsung was invited to join the Pre-College Faculty of The Juilliard School, where she assisted in teaching the PreCollege Violin Class of Dorothy DeLay. In 1997, Ms. Tsung was awarded the 38 th Chinese Cultural Medal for Outstanding Performance in Music.

A Graduate of The Juilliard School, Ms. Tsung received her training in the studio of world- renowned pedagogues Dorothy DeLay and Hyo Kang. Chamber music studies nurtured at Juilliard with legendary chamber musicians Felix Galimir, Claus Adam, Lillian Fuchs, The Juilliard String Quartet, The Budapest String Quartet & Jacob Lateiner.

Since 2008, Ms. Tsung has joined the faculty of the Great Wall International Music Academy in Beijing, Ms. Tsung has also joined the faculty of the National Taiwan Symphony Orchestra International Youth Festival and Camp, under the Musical Direction of Cho-Liang Lin. Ms. Tsung is currently Professor of Violin at the Taipei National University of the Arts, and is blessed to be the mother of 5 young children.

笙│黃朧逸

Lung-Yi Huang

「笙這樣古老的樂器，透過他

“Sheng, this ancient musical instrument, by his excellent performances showing a charming style ....”

—Houston Chronicle Graduated from Fo Guang University and Chinese Culture University (Chinese Music Division), LungYi Huang won the first prize twice in National Music Competitions in Taiwan. As a recipient of the 1998 Young Star Series, he made his debut at the National Recital Hall in Taipei. In addition to traditional Chinese music, Huang also has a strong interest in contemporary m u s i c a n d h a s p re m i e re d s e ve r a l c o n t e m p o r a r y compositions. Huang has appeared at the festivals such as the Contemporary music festival in Grenoble (France), the Hudders field Contemporary Music Festival in UK, the March Festival in Berlin and the Viktring Modern Music Festival in Vienna. He also had recitals in Vienna in 2003 as well as in Texas in 2009. LungYi Huang is currently the CEO and Artistic Director of Taipei Harmony Ensemble, and has a lectureship at the Chinese Culture University, National Taiwan College of Performing Arts, and Hua Gang Art School.

精湛的演繹，展現出迷人的風 采…」

─《休士頓記事報》

黃朧逸畢業於佛光大學 藝術學研究所，中國文化大 學音樂系國樂組。曾二度獲 得台灣區音樂比賽笙獨奏第一名。 1998 年 獲選為兩廳院樂壇新秀，於國家演奏廳舉辦 獨奏會。 2003 年獲邀於維也納演出笙獨奏 會，2009年受文建會推薦赴美國德州代表台 灣參加「聖安東尼奧∼手風琴藝術節」，並 演出六場笙獨奏會。黃朧逸擅長傳統樂曲之 演繹，並長期接觸現代音樂，曾獲邀至歐、 亞、美各國演出。參與過的藝術節包含法國

Grenoble現代音樂節、英國Huddersfield現代 音樂節、柏林三月音樂節、維也納 Viktring 現代音樂節。近年來創辦笙樂團，不斷從事 笙專業演奏及研究，並為國內外作曲家首演 多首當代作品。現為台北和樂集團長暨藝術 總監，並任教於中國文化大學中國音樂學 系、國立台灣戲曲學院戲曲音樂系、復興高 中音樂班、華岡藝校國樂科。

4︱水影•黎明—敘事交響詩

樂曲解說

譜例四：搖籃曲

安東尼•德沃札克：《水怪》 撰文│顏名秀（國立臺北藝術大學專任助理教授） 作曲家德沃札克（ Antonín Dvo řák ； 18411904）出生於奧匈帝國的布拉格（現屬捷 克），受到民族主義的影響，作品中經常使用 波西米亞地區的民謠，有著非常獨特的民族風 格。他曾受聘至紐約市的美國國家音樂學院工 作，也因此於 1892 年至 1895 年間，於美國短暫 停留。在這期間，他最為人熟知的一首作品就是 他於 1893 年譜寫的第九號交響曲（別名《新世 界》），其中融合了當地素材，使用了美國印地 安人與黑人靈歌的旋律。 1895 年回國後，他告 別了絕對音樂，從文學中汲取素材，創作了多 首交響詩，其中包含了他於 1896 年譜寫的《水 怪》。 歐洲各地都有「水怪」相關的民間傳說，捷 克所流傳的「水怪」是一綠皮膚的人形妖怪，專 門收集溺斃而亡之人的靈魂，在故事中經常是以 一喜劇角色呈現。然而，德沃札克《水怪》的創 作靈感則是來自一駭人的版本，源自捷克詩人艾 爾本（Karel Jaromír Erben；1811-1870）以民間 傳說創作的詩作Kytice 。 作品開頭開門見山地呈現了「水怪」的主題 （譜例 1 ），在故事中，母親（譜例 2 ）因為夢 到了水怪，囑咐女兒（譜例 3 ）千萬不要靠近湖 邊。然而不聽勸的女兒，在湖邊洗衣服的時候， 不幸跌入水中。水怪強娶她為妻，並與她生下一 子。女子哀傷地唱著搖籃曲（譜例 4 ），激怒了 水怪。挨不住對母親的思念，女子要求回家見見 母親，水怪雖答應了，卻提出了三個要求：一、 不可親吻任何人；二、必須在傍晚鐘聲響起前回 來；三、她必須將孩子留下當人質。 女子與母親的團聚非常令人動容，然而，當 鐘聲響起時，母親卻不捨女兒再度離開。水怪氣 急敗壞地找上門來，此時水怪的主題化為沈重的 敲門聲（譜例 5 ）。水怪三番兩次的敲門，母親 卻說什麼都不開門，並且要求水怪將孩子送還給 她們。最後，極盡憤怒的水怪帶著狂風暴雨再度 回到門前，並在門口留下了孩子後就離開了；不 幸的是，當她們開門時，卻發現心愛的孩子早已 成為一具無頭屍。 譜例一：水怪主題

譜例五：水怪主題 / 敲門聲

潘皇龍：《玉芙蓉》，為獨奏小提琴、笙與管絃 樂團的雙協奏曲（2010 11，國家兩廳院委託創 作）（世界首演） 撰文│潘皇龍 《玉芙蓉》雙協奏曲是作曲家進入二十一世 紀以來，繼《普天樂》與《一江風》之後，運用 北管著名曲牌所創作的第三首「北管協奏曲」。 第一樂章 慢板 ─ 最緩板 ─ 行板 絃樂如夢似幻的泛音與逐漸流竄擴展的瞬息， 搭配著獨奏小提琴與笙的平緩背景與漸次累積的和 聲，構築了序幕。接著由笙主導下，牽引出厚實而 沉穩的塊狀音響層面，間或穿插著雙獨奏樂器的獨 白和對話，或它們與管絃樂團間的互動。 第二樂章 緩板 ─ 甚緩板 銅管樂器重疊敲擊樂器，與木管樂器重疊絃樂器 的兩種色澤音響輪替更迭，營造了雙獨奏樂器的競逐 和音響層面的擴充，與陌生化的節奏律動，以及音色 張力的循環，創造了較為寧謐悠遠的音響意境。 第三樂章 行板 ─ 快板 ─ 中板 ─ 慢板 ─ 行板 各族群樂器間扮演著分競合擊的「音響終止 式」，牽引出獨奏小提琴與笙間的分分合合，以及 它們與管絃樂團間的音響循環。接著點狀色澤節奏 的替換，與線性動機的交織，構築了急遽戲劇性的 變化。爾後類似雙獨奏樂器的裝飾奏，導引出北管 曲牌旋律片斷的音響層面渲染，形成較為凝聚的畫 境。緊接著笙與管絃樂團部份獨奏樂器間的室內樂 性格，創造了較為寧靜的片刻，酷似笙的裝飾奏。 最終再回覆到首段的「音響終止式」，牽引出獨奏 小提琴的裝飾奏，和獨奏小提琴與笙，和六隻法國 號間的北管曲牌旋律片斷的交溶與擴充，再度融入 音響意境多重層面的洪流中。 本曲係「國家兩廳院」委託創作，演奏長度 約33分鐘。

德米特里•蕭斯塔科維契：第十二號交響曲 撰文│顏名秀

譜例二：母親主題

譜例三：女子主題

蕭斯塔科維契（Dmitri Shostakovich，19061975 ）可說第一次世界大戰後最純正的俄國作 曲家，相較於同時期流亡在外的前輩俄國作曲家 史特拉汶斯基（ Igor Stravinsky ）、普羅科菲夫 （Sergei Prokofiev）等，蕭斯塔科維契從未到過歐 陸。在當時的政治壓迫下，他一生中都在找尋藝 術自由意識與政治間的平衡點。他事業的起起伏 伏，也可以從他的交響曲中一窺端倪。

5︱水影•黎明—敘事交響詩

當他完成第一號交響曲時，立刻成為俄國的 明日之星；第二號《十月》與第三號《五月一 日》雖表達了對共產黨的高度忠誠，後者及歌劇 《馬克白夫人》卻還是慘遭批判，最後只能取消 第四號的首演，並以創作第五號來表達悔過之 意。二戰期間他創作了第七號《列寧格勒》成為 了政府的宣傳工具，他立刻躍升為了國家英雄。 然而，二戰結束後，他與多位藝術家被扣上「形 式主義者」的罪名，直到史達林於 1953 年去世 前，受到社會嚴正批判，他只好將事業重心轉向 電影配樂與及與愛國相關的創作。史達林去世 後，他又再次獲得肯定，不僅於1957年獲選為作 曲家聯盟的秘書，1966年甚至獲頒「社會主義勞 工英雄」與「列寧勳章」。 蕭斯塔科維契的第七、八、九號交響曲有 「戰爭三部曲」之稱；第十一、十二、十三號則 是以革命為題的「革命三部曲」。其中的第十二 號交響曲有著 「1917年」（The Year 1917）的副 標題，以俄國十月革命與列寧為背景，作品題獻 給列寧。 蕭斯塔科維契早在列寧於 1924 年過世之前， 即有把列寧當題材來創作的想法，然而一直到了 1940 年，整個作品的架構才逐漸成熟。他將四 個樂章視為一連篇歌曲：第一樂章講述列寧的年 輕時候；第二樂章中列寧化身為十月革命的領導 者；第三樂章代表列寧之死；第四樂章表達人已 去但精神長存的列寧。當時他甚至計畫使用與列 寧相關的詩詞與流行歌，但最後並沒有使用人 聲。第二次世界大戰的爆發耽誤了創作的計畫， 一直到1960年才再度拾起先前的構思，於1961年 完成了這首四樂章之間不停頓，一氣呵成的交響 曲，作品長約40分鐘。同年10月1日，由列寧格勒 愛樂樂團（Leningrad Philharmonic Orchestra）於 列寧格勒首演。 第一樂章〈革命在彼得格勒〉（列寧格勒的 舊稱）長約 14 分鐘。先由低音絃樂器呈現哀傷 的旋律，接著，隨即由小鼓等擊樂器引領進入快 板，頗有蓄勢待發之感。接著，又回到了低音絃 樂器，唱出抒情的主題。旋律線不斷地交疊，織 度不斷地擴張，接著走進另一個快板樂段。連續 的八分音符成為音樂背後的推進力，在這裡可以 聽到軍隊的號角聲、槍聲、行進聲，暗示著革命 正在不停地擴展。 第二樂章〈拉斯列夫〉（列寧於布爾什維克 革命失敗後地躲藏之地）長約 12 分鐘。承接著 第一樂章持續的八分音符動機，配合著絃樂的撥 弦，先由低音絃樂器緩緩奏出抒情的伴奏式旋律 後，法國號接著加入引出第一段的主題。中段由 長笛與單簧管吹奏出綿長的旋律線，此時的絃樂 以齊奏的方式，與木管的旋律線相互對唱。樂章 開頭的主題再現時，由單簧管於低音域演奏先前 低音絃樂器的伴奏式旋律，由長號吹奏先前法國 號的旋律。樂章最後再次由低音絃樂器撥奏，加 上定音鼓的滾奏。

第三樂章〈曙光號巡洋艦〉象徵十月革命的 開始。當時，曙光號象徵性的發出了一空砲彈 後，開始向冬宮（Winter Palace）的臨時政府開 戰。定音鼓接續上個樂章的結尾，與絃樂的撥奏 相互呼應。經過短暫的發展後，織度擴張，木 管、銅管與絃樂齊奏，同時與擊樂相互抗衡，樂 曲越來越激昂。這是四樂章中最短的樂章，長約 4分鐘，激昂奮張的姿態持續接入第四樂章。 第四樂章〈人類的黎明〉長約10分鐘。由法 國號吹奏第一段主題，接續上樂章激昂的情緒。 第二段由絃樂帶出三拍舞曲般的樂段。第一段主 題再現，由法國號再度呈現。短暫的激昂後，樂 曲再度回到舞曲樂段，但樂曲更富激昂，最後加 入定音鼓與小鼓，將情景拉回戰爭與革命。樂曲 最後在多個動機串連與並置下激昂的結束。

Program Notes Antonín Dvořák: The Water Goblin, Op.107 Dvořák was a prolific composer for the orchestra and his nine symphonies form an essential part of symphonic repertoire, although the overwhelming popularity of the last, From the New World, has tended to distract attention from the earlier symphonies. The group of symphonic poems written in 1896 and 1897 are of particular interest, coming as they do three years after the last symphony and exhibiting a musical language based to some extent on the intonations of speech and generally associated therefore rather with the work of Mussorgsky and Janáček. These compositions in any case represent a departure into territory more familiar from Liszt or Richard Strauss in their use of extra-musical elements.

Four of the five symphonic poems of Dvořák are based on poems by Karel Jaromír Erben, a collection of ballads published under the collective title of The Garland. The first of these, Vodnik, The Water Goblin, finds the malicious spirit of the title singing of his coming marriage on the following day. The girl he is to marry has been irresistibly drawn to the goblin in the water, although her mother has warned her not to go near the lake. As she approaches the water, the ground sinks beneath her feet and she is drawn down into the water, where she becomes the goblin's wife. In the depths of the lake she grows sad, since it is in this gloomy place that the goblin holds the souls of those who have drowned. She sings a song to her child in which she regrets what has happened. When the goblin hears her complaint, he is angry and threatens to change her into a fish, but is persuaded to allow her to return for one day to dry land, although he keeps her child as a hostage against her return. The girl and her mother are overjoyed that they are together again, and when the goblin angrily knocks at the door, he is turned away by

6︱水影•黎明—敘事交響詩

the girl's mother. At this he raises a great storm, during the course of which something is hurled against the door of the house: it is the body of the child, its head cut from the body. The tragic and gruesome story is reflected in the musical narrative.

This work is commissioned by the National Theater & Concert Hall. Approximate length of performance: 33 minutes.

Translated by Feng-Shu Lee

© 2014 Naxos Digital Services Ltd

Dmitri Shostakovich: Symphony No. 12, Op. 112, D minor If the Sixth Symphony abandoned any attempt to portray Lenin, the Twelfth Symphony of Shostakovich, completed in 1961, returned initially to this once declared intention. In the end, however, the new symphony, although dedicated to the memory of Lenin, reflects the events of its title, The Year 1917. The original intention had been to open the work with music recalling Lenin's youth, going on in a second movement to portray Lenin as leader of the October Revolution.

The third movement would commemorate the death of Lenin and the fourth life after Lenin, following the path that he had revealed. The earlier idea of using poetic texts by Mayakovsky and others was abandoned, and the symphony was completed as a purely instrumental work, opening with Revolutionary Petrograd. Razliv is the place near which Lenin remained in hiding and the "Aurora" was the battle-cruiser that fired the shots at the Winter Palace that started the October Revolution.

The title of the last movement, The Dawn of Humanity, is self-explanatory. The symphony was first performed on 1st October 1961 in Leningrad, where it was well received. In Western Europe the following year it was greeted coldly as an exercise in political conformism.

The Twelfth Symphony is scored for a less elaborate orchestra than the Sixth. It opens in sombre Russian mood, its first subject announced by cellos and double basses, leading to a second subject, both associated with the popular struggle, then developed in an excited central section. Drums briefly introduce Razliv, a slow movement, Lenin's dark night of the soul before the October Revolution. It is difficult not to suspect a tongue-in-cheek element in the music, particularly when reference is made to the Funeral March for the Victims of the Revolution, a work long discarded in which Shostakovich commemorated the death of a boy whom he had seen killed by a Cossack sabre in St. Petersburg. This may, with hindsight at least, suggest that Shostakovich saw Lenin as the cause of the slaughter and suffering that the Revolution brought. The third movement is marked by cross rhythms in music that is again thematically related to what has gone before. The banal seems to intrude further into the last movement of what is in many ways a very Russian symphony, although one may still suspect the irony here perceived by some in the conclusion of Tchaikovsky's Fifth Symphony.

Hwang-Long Pan: Double Concerto for Solo Violin, Sheng and Orchestra (2010/11, Commissioned by National Theater & Concert Hall) (World Premiere)

By Hwang-Long Pan Double Concerto, for Solo Violin, Sheng and Orchestra, is Pan’s third concerto for Beiguan—a genre of traditional Taiwan Music—in the 21st century. Preceded

by Pan’s Heterophony for Orchestra and Beiguan Ensemble and Concerto for Bass Clarinet and Chinese Orchestra, this concerto is based on a renowned tradition tune from Beiguan repertory in Taiwanese music.

1st movement: Adagio - Grave - Andante This movement opens with the strings’ mysterious, dreamy harmonics that expands and flows. The strings are complemented by the solo violin and the Sheng’s calm music; the harmony of both instruments accumulates. The Sheng then takes charge, bringing in solid, chunky layers of sound. Interpolated into these layers are the two solo instruments’ “monologues,” conversations with each other, or their interaction with the orchestra.

2nd movement: Lento - Lento assai Overlapped with percussion instruments, brass take turns with wind instruments, which double the strings.

The two types of timbre contribute to the competition between the two solo instruments, the expansion of depth of their sound, the alienation rhythmic pulse and the cycle of timbral tension, together creating a quieter, calmer sound movement.

3 rd movement: Andante - Allegro - Moderato Adagio - Andante The Klangkadenz by various families of instruments— one competing with the other—leads to the interaction between the solo violin and the solo Sheng as well as the acoustic cycle between the soloists and the orchestra.

Then follows the pointillistic timbral rhythm, which, along with the linear movement of the motives, contributes to dramatic changes to the music. A quasi cadenza by the two solo instruments then leads to the traditional Beiguan melody, which is presented in fragmentary form and layers of sounds, displaying a more concentrated aura. The chamber music-like character of the following part—consisting of solo Sheng and several other solo instruments—creates a quieter moment akin to a cadenza for the Sheng. The conclusion repeats the Klangkadenz of the opening, eliciting a cadenza by the solo violin. The solo violin, solo Sheng, and six French horns interact with and expand on fragments of the traditional Beiguan tune, taking the music, once again, into a torrent of sounds in multiple layers.

© 2014 Naxos Digital Services Ltd

7︱水影•黎明—敘事交響詩

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

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

王濟陽

短 笛 雙 簧 管

李 浚

鐘美川 ●

英 國 管

王怡靜

◎ 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

倍 低 音 管

孫正茸

簡恩義

法 國 號

●

劉宜欣 ○ 黃任賢

國田朋宏

王婉如

曹予勉

小 號

●

宇新樂 ◎ 陳長伯

張景民

鄒儒吉

江帛軒

長 號

●

宋光清 ◎ 邵恆發

陳中昇

王瓊燁

林君庭＊

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

豎 琴

●

解 瑄

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

陳振馨

楊璧慈▓

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 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