演出曲目
Program
沃夫岡•阿瑪迪斯•莫札特（1756-1791）：第25號交響曲
WOLFGANG AMADEUS MOZART (1756-1791): Symphony No. 25, K.183 (173DB), G minor
I. II. III. IV.
有精神的快板 中板 小步舞曲與三重樂段 快板
I. II. III. IV.
Allegro con brio Andante Menuetto & Trio Allegro
法蘭茲．約瑟夫．海頓（1732-1809）：小號協奏曲
JOSEPH HAYDN (1732-1809): Trumpet Concerto
I. 快板 II. 行板 III. 行板
I. Allegro II. Andante III. Allegro
~中場休息~
約翰•尼波默克•胡麥爾（1778-1837）：小號協奏曲 I. 精神的快板 II. 行板 III. 迴旋曲
理查•史特勞斯（1864-1949）：《玫瑰騎士》組曲 I. II. III. IV. V.
〈導奏〉 〈銀色玫瑰騎士的出現〉 〈巴倫•歐克斯的華爾滋〉 〈「是夢」〉 〈華爾滋〉
演出時間│ 2015年4月25日 (星期六) 7:30 PM
~Intermission~
JOHANN NEPOMUK HUMMEL (1778-1837): Trumpet Concerto I. Allegro con spirit II. Andante III. Rondo
RICHARD STRAUSS (1864-1949) : Der Rosenkavalier Suite, TrV227, Op. 59 I. II. III. IV. V.
Prelude Presentation of the Silver Rose Baron Ochs’s Waltz “Ist ein Traum” Waltz
演出者
小 號│馬替亞斯•赫夫斯 Matthias Höfs, trumpet
演出地點│ 國家音樂廳 National Concert Hall, Taipei 主辦單位│ 指定住宿│
演出長度│上半場約35分鐘，下半場約45分鐘
指 揮│塞巴斯汀•朗-萊辛 Sebastian Lang-Lessing, conductor
國家交響樂團 特別感謝│
National Symphony Orchestra (NSO)
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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 家交響樂團音樂會，由衷感謝您的支持與參 與。本中心所屬單位包括國家兩廳院、臺中 國家歌劇院、衛武營國家藝術文化中心及國 家交響樂團，我們期盼由這北中南串起的表 演藝術平臺，能以最專業的團隊及服務，滿 足大家的期待，共享藝術的美好與感動！
國家表演藝術中心董事長
Welcome Dear Music Lover, Your support and participation toward the performances of the National Symphony Orchestra (NSO) is highly appreciated. The National Performing Arts Center, of which NSO is a part, also includes the National Theater & Concert Hall, Taipei, the National Taichung Theater, and the National Kaohsiung Center for the Arts, all of which are dedicated to providing a platform for the performing arts connecting the whole of Taiwan.
Chairman, National Performing Arts Center
演出者介紹 指揮｜塞巴斯汀•朗-萊辛
Sebastian Lang-Lessing
德國指揮家塞巴斯汀• 朗 - 萊辛是他同輩中最具各方 面才華，且素養深厚的音樂 家之一。 24 歲於柏林獲得弗 利克賽（Ferenc Fricsay）大獎 後，隨即至漢堡國家歌劇院 指揮演出。過去他曾擔任柏 林德意志歌劇院駐團指揮長達八年，亦於法國 南錫市歌劇院暨交響樂團擔任首席指揮與藝術 總監達七年。自 2004 至 2012 年，他亦擔任澳 洲塔斯馬尼亞交響樂團首席指揮與藝術總監。 朗 - 萊辛曾與國際間各大樂團客席合作，其中 包括萊比錫布商大廈管絃樂團、巴黎管絃樂 團、法國廣播愛樂管絃樂團、里昂歌劇院管絃 樂團、馬拉加愛樂管絃樂團，以及澳洲的頂尖 樂團。他在 2010/11 樂季開始了他在聖安東尼 奧交響樂團的音樂總監任期，是該樂團第八位 音樂總監。
German conductor Sebastian Lang-Lessing is among the most versatile and cultivated musical artists of his generation. He was awarded the Ferenc Fricsay Prize in Berlin at the young age of 24, and subsequently took up a conducting post at the Hamburg State Opera. His other previous posts include eight years as resident conductor at Deutsche Oper Berlin, and chief conductor and artistic director of the Orchestre Symphonique et Lyrique de Nancy for seven years. He also served as chief conductor and artistic director of the Tasmanian Symphony Orchestra from 2004 to 2012. As a guest conductor, he has collaborated with major international orchestras, including the Leipzig Gewandhaus Orchestra, Orchestre de Paris, Orchestre Philharmonique de Radio France, Orchestre de l'Opéra de Lyon, Orquesta Filarmonica Malaga and top orchestras in Australia, among others. Lang-Lessing began his tenure as music director of the San Antonio Symphony in the 2010/11 season; he is the orchestra’s eighth director in its history.
小號｜馬替亞斯•赫夫斯
Matthias Höfs By the age of six, Matthias Höfs declared the trumpet his instrument, “because it shines so nicely”. He received his musical education from Professor Peter Kallensee at Hamburg University of Music and Theatre, as well as from Professor Konradin Groth at the Karajan Academy of the Berlin Philharmonic Orchestra. Just being eighteen years old, Höfs was already engaged as solo-trumpeter at the Philharmonic State Orchestra in Hamburg, where he enjoyed the fascinating world of opera for sixteen years. At the same time, Höfs became a member of the GERMAN BRASS Ensemble, with whom he continues to
馬替亞斯•赫夫斯6歲 起即被小號「閃亮的外表」 吸引，踏上演奏家之路，後 於德國漢堡音樂戲劇學院接 受彼得•卡倫斯指導，在柏 林愛樂交響樂團的卡拉揚學 院，師從首席小號孔拉汀•格羅斯。18歲時開 始了獨奏家生涯，與漢堡國立愛樂交響樂團合
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作長達16年，浸淫在歌劇的世界中，同年亦加 入世界著名的「德國銅管重奏團」，自1985年 起為該團量身編寫新作，以跨界曲風引領銅管 音樂的新發展，至今已合作灌錄20餘張專輯。 赫夫斯長年致力於拓展小號音樂的可能 性，以自身高超的技巧、樂於開創的實驗精 神，與當代作曲家緊密合作，催生新曲目，並 以家鄉─德國北部什列斯威•霍爾斯坦邦「小 號大使」的身份，偕同樂器製造商─馬克斯& 海恩里希•鈦，發展新式小號。2000年起任教 於德國漢堡音樂戲劇學院，持續指導、啟發新 一代的小號演奏家，並於繁忙的獨奏、室內樂 演出行程外，灌錄多張個人專輯。
achieve worldwide successes. Since their first joint concert in 1985, he has been writing costumized and innovative arrangements for his colleagues and himself, which span more than one genre and continue to inspire the world of brass. Matthias Höfs always proved to be a pioneering spirit by consistently widening the horizon of his instrument. These continuous developments are encouraged by a close cooperation with other composers, who feel themselves inspired by his incomparable virtuosity and joy of experimentation. Additionally inspired by his position as “trumpet ambassador” in his home state Schleswig-Holstein in Northern Germany as well as the cooperation with the instrument makers Max and Heinrich Thein. Starting in 2000, Matthias Höfs has been teaching as a Professor at Hamburg University of Music and Theatre, where he continues to inspire his students with enthusiasm, passion for his instrument, and great knowledge. In addition to his extensive concert performances as solo-trumpeter and chamber musician, Höfs recorded numerous solo-albums, as well as over twenty recordings with GERMAN BRASS.
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）
法蘭茲•約瑟夫•海頓：小號協奏曲
沃夫岡•阿瑪迪斯•莫札特：第25號交響曲
海頓小號協奏曲為小號演出曲目中相當受歡迎 的一部作品，也是海頓寫給小號唯一的一首協奏 曲。此曲使用的是當時維也納宮廷樂團小號手威丁 格爾（Anton Weidinger, 1767-1852）所發明的按鍵 式小號（keyed trumpet，五個按鍵），按鍵的發明是 用來解決當時的自然小號（nature trumpet），因為 只能演奏泛音，在低音域無法吹出有音階式或半音 的旋律。威丁格爾發明此按鍵式小號的時間為1792 年，海頓於1796年從英國回到歐洲後，隨既嘗試以 此小號作出他生平中最後一首協奏曲。曲中他賦予 b 小號大音域的展現，從中央C以下的b 音，到高過兩 b 個八度以上的D 音均涵蓋在內；海頓還寫作半音、 顫音、大跳音程、快速的十六分音符等，來展現小 號的特色。此曲成為後來愛樂者十分喜愛的作品。 全曲延續傳統的協奏曲三樂章型態。第一 樂章快板（Allegro）奏鳴曲式；第二樂章行板 （Andante）三段體歌謠曲式；最後一樂章則呈現海 頓個人擅長的迴旋奏鳴曲式（Sonata rondo form）， 小號在此樂章的主題快速歡樂，有多處在高音域展 現的技巧，結束時小號嘹亮的聲響餘音繞樑，是一 部令人感到歡愉快樂的作品。
莫札特（W. A. Mozart, 1756-1795）第25 號，作品編號K. 183號交響曲名聲僅次於他最 後三首交響曲（No. 39, 40, 41）。此交響曲詳 細作曲時間無法確定，一般認為是作於1773年 十月，莫札特17歲時所作。另外此曲也因與第 40號交響曲（作於1788年）同為g小調，所以 也被暱稱為「小g小調交響曲」（Kleine g-moll Symphonie）。 全曲四樂章，第一樂章有精神的快板 （Allegro con brio），第二樂章中板（Andante）， 第三樂章小步舞曲與三重樂段（ Menuetto & Trio），第四樂章快板（Allegro）。在這看似傳 統的古典樂派交響曲式裡，已含有青年莫札特諸 般的巧思。首先突顯的是第一樂章樂曲開頭的主 題，在小調的色彩中，大膽的使用切分音，並 在由四個音組成的主要旋律中使用減七度的音 程。這些作法讓樂曲不因小調的使用而呈現憂鬱 色彩，反之，顯現出與世界黑暗勢力相抗禮的 憤慨。這樣的呈現，即是1770年代「狂飆主義」 （Sturm und Drang）精神。再來的特色是在於配 器的使用。此曲的管樂一反古典早期交響曲的配 器常態，使用四支法國號（一般為兩支）；特別 的是兩支低音管的使用方式，低音管在古典早期 交響曲中，多半延續巴洛克時期的用法，被視為 數字低音樂器來使用。但此曲中第三樂章的三重 樂段，莫札特讓低音管有獨自發揮之處，此時的 法國號反之扮演數字低音的角色，形成漂亮的管 樂室內樂樂段。第四樂章，莫札特也運用不同的 配器奏出不同的節奏組合，使音樂呈現豐富的聲 響色彩。
約翰•尼波默克•胡麥爾：小號協奏曲 胡麥爾（ Johann Nepomuk Hummel, 17781837 ）是與貝多芬同時期的作曲家，自小才華橫 溢，備受各界讚賞。他以鋼琴家的身分巡迴於歐洲 各國，寫作不少鋼琴作品。此首小號協奏曲，寫作 於 1803 年，是他唯一的一部小號協奏曲。但是這 部作品在首演後隨即沉寂近一百多年，直到 1958 年才被重新發現。其中的原因可能在於首演時所用 的小號尚在發展階段，演出時氣聲過多而無法優美
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的呈現此部作品，所以在 1804 年首演後便不再被人 演出。 首演時的小號同樣使用改良的按鍵式小號，當 時胡麥爾正接續海頓（Joseph Haydn, 1732-1809）於 艾斯特哈齊公爵（Esterházy）宮廷樂長的職位，他使 用威丁格爾所新創的小號，寫作此首E大調小號協奏 曲，在他就任第一年的新年音樂會時演出。（此曲再 被發現後，被改為 Eb 大調）此曲雖然在首演後並未 受到好評，但他為威丁格爾還另外寫作了一首小號三 重奏（失傳）。連同上一曲海頓小號協奏曲，可以看 見當時大家對小號改良性的發展，有相當的支持。 全曲三樂章，第一樂章有精神的快板（ Allegro con spirit），使用奏鳴曲式；第二樂行板（Andante） 為二段體；第三樂章迴旋曲（Rondo），主題輕快， 曲中多處展現小號的雙吐音技巧。
理查•史特勞斯：《玫瑰騎士》組曲 《玫瑰騎士》（Der Rosenkavalier）是史特勞斯 （Richard Strauss, 1864-1949)於1911完成的歌劇，這 部歌劇劇作家為德國文學家霍夫曼史塔（ Hugo von Hofmannsthal，1874－1929）。故事情節仿若《費 加洛婚禮》（Le Nozze di Figaro），敘述宮廷中混亂的 戀情。《玫瑰騎士》組曲（Der Rosenkavalier Suite）即 是由歌劇中的音樂片段組合而成，史特勞斯在 1940 年代就已初步完成， 1945 年出版。由於歌劇劇情相 當長，演出時間超過三小時，而此組曲總長度約只有 24分鐘左右，所以相當受愛樂者歡迎。 《玫瑰騎士》組曲的樂曲組合，並不依照歌劇的 劇情來排列，乃是呈現歌劇中幾個重要人物的性格與 一些較特別的高潮段落。 此部組曲分別有以下重要段落： 1 . 導 奏 （ Pr e l u d e ） - 原 本 的 第 一 幕 之 前 奏 曲，展現元帥夫人（ Marshallin ）與情人奧克塔文 （ Octavian ）的一夜激情。 2. 銀色玫瑰騎士的出現 （Presentation of the Silver Rose） – 音樂取自第二幕 奧克塔文與蘇菲（ Sophie ）二人相戀的段落。 3. 巴 倫•歐克斯的華爾滋（Baron Ochs's Waltz） – 歐克斯 (Baron Ochs, 蘇菲的未婚夫)的出現，樂曲出於歌劇第 二幕。4.「是夢」（“Ist ein Traum”）–原第三幕的三 重唱與二重唱。5. 華爾滋（Waltz），是特別為此組 曲再創作的尾段。 曲中最漂亮的段落是組曲中的兩段華爾滋，分別 位於第三段與尾段。樂曲的第三段華爾滋，長度較 長，史特勞斯以不同的風情來表現這盛行於 19 世紀 末的交際舞蹈，此種舞蹈從民間流行到上流貴族，表 現出世紀末的頹廢與歡愉。音樂由弦樂以室內樂型態 溫柔的開始，中段時轉變為熱情洋溢，打擊樂盡出， 音樂到達熱情的最高潮時，才再降回溫文的華爾滋。 第二段華爾滋在結尾處，樂譜上標示為「快速的華爾 滋」（ Quick Waltz ），音樂在此處輝煌美麗，管、 絃、擊樂齊聲鳴響。接近樂曲終了處，樂音突然全然
暫停（ G.P. ），譜上還特別寫上「安靜」（ silent ） 一字，兩小節後，樂音齊響，亮麗輝煌的結束此部 作品。
Program Notes Wolfgang Amadeus Mozart: Symphony No. 25, K.183 (173DB), G minor The Symphony No.25 in G Minor, K. 183, was completed on 5th October, 1773, in Salzburg, shortly after Mozart's return from a visit with his father to Vienna, where it had been hoped he might secure some position at court. The new symphony, his first in a minor key, shows a new passion and urgency, a mood evident in the syncopation of its opening and the falling interval of a seventh in the first theme. The work is scored for pairs of oboes and bassoons, four horns and the usual strings, and was among those that Mozart asked his father to send him ten years later, in Vienna. The first movement of the little G Minor Symphony, so called to distinguish it from the greater work in the same key that was to be one of the last three symphonies Mozart wrote, is in the usual form, its dramatic first subject contrasted with a second theme in B Flat Major, marked by the repetition of a short rhythmic figure. An E flat major slow movement follows with all the simple yet subtle clarity of Haydn, in its close imitation of a figure played by the violins, followed by the bassoons, which in the first movement merely doubled the bass line and were consequently omitted from the surviving autograph score. The Minuet returns to the key of G minor, with a G major Trio scored for wind only, allowing the bassoons once more to enjoy brief independence. The last movement offers its first theme in bold outline and a gentler contrasting second subject, which is to return in the final section of the movement in the dramatic rather than triumphant key of G minor. © 2014 Naxos Digital Services Ltd
Joseph Haydn: Trumpet Concerto By Robert Markow (Musicologist, Canada) Haydn’s Trumpet Concerto is not only his most famous concerto for any instrument; it is the most popular trumpet concerto by any composer right up to the present day. It is also Haydn’s last surviving purely orchestral work. Over a hundred symphonies and approximately two dozen concertos for a wide variety of instruments were now behind him. But whereas the symphony was an important medium in which Haydn had proved himself endlessly inventive, the concerto never held much attraction for him. Since he was not a virtuoso performer himself on any instrument, he generally wrote such works only when required for or requested from others. (How this came about is recounted in the program note for Hummel’s concerto above.) The first performance of the Trumpet Concerto was probably on March 28, 1800 in Vienna’s Burgtheater, though this seems
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a long time for Weidinger to have waited after creating the instrument. (Perhaps there was an earlier, undocumented performance?) Haydn’s concerto was not published until 1929, when it appeared in a Belgian edition for trumpet and piano. Two years later it was published in Berlin for full orchestra. A 1938 recording of the second and third movements by the English trumpeter George Eskdale brought the work to the attention of the public, and became such a “hit” that Haydn scholar H. C. Robbins Landon believes it to be “the first instance of a standard work being resuscitated permanently by means of a recording.” The first complete recording, made by Helmut Wobisch in 1951, sold over 30,000 copies in its first four years alone. Currently there are more than fifty recordings to choose from, not counting those that have gone out of print. As Haydn aficionados know, the listener can expect a few surprises in most works by this composer. The concerto opens with the main theme played not with fanfare and brilliance, but in the subdued tones of quiet violins. The soloist’s first entry is not to this theme, but rather on a few “warm-up” notes during the orchestral exposition. The orchestra is no mere accompaniment to the soloist; the whole movement is solidly constructed on symphonic principles, almost on the level of a full-fledged symphony movement with trumpet obbligato. The second movement is typically songful in nature and exploits the soloist’s new-found ability to play lyrical chromatic lines in its middle range. Robbins Landon has surmised that the tradition of expressively poetic, lyrical trumpet music by Viennese composers such as Bruckner and Mahler began right here. The finale is chock full of sparkling humor, high spirits, dramatic surprises (sudden alternation of loud and soft, full texture and thin), harmonic detours, and bravura work for the soloist, a splendid and fitting conclusion to a path-breaking work. Johann Nepomuk Hummel: Trumpet Concerto By Robert Markow Hummel was born a generation after Mozart, but in numerous ways their lives ran parallel. To many, Hummel represented the greatest composer of his time, as had Mozart in his. As a boy, Hummel, like Mozart, toured the length and breadth of Europe as a pianist under the guidance of his father. In the charm and elegance of his music, Hummel is stylistically closer to Mozart than to his much-nearer contemporary Beethoven. Geoffrey Crankshaw describes his music as “consistently remarkable for its taut construction, fluent melodies and lucid textures; though he rarely disturbs his listeners' deepest feelings, he is unfailingly good company.” Between the ages of eight and ten, Hummel even lived in the Mozart household and received free instruction. Aside from the Trumpet Concerto, he also wrote seven piano concertos, nine operas and numerous works for piano solo. It is ironic that the Trumpet Concerto should be Hummel’s best-known work today, for it lay in obscurity for a century and a half after its initial performances in 1804, and has only in recent decades found its way into
the repertory (The first modern performance was given in 1958 by Armando Ghitalla of the Boston Symphony.) The explanation lies in the nature of the instrument for which it was originally written. About 1794, the Viennese court trumpeter Anton Weidinger had developed a new kind of trumpet with keys, allowing for a greatly extended range of pitches and increased melodic capability in all registers. The first concerto written for this greatly improved instrument was by Haydn (1796). After more improvements to his instrument, Weidinger asked Hummel for a concerto, and that was first performed on New Year’s Day, 1804, at the Esterházy palace in Eisenstadt. But the invention of valves in 1813 effectively made Weidinger’s trumpet obsolete, and both Haydn’s and Hummel’s concertos were not played again until well into the twentieth century (Haydn’s was published only in 1929, Hummel's in 1957). However, these have now become the two most popular concertos by a large margin for this instrument. Hummel originally wrote his concerto in the key of E major, but most soloists today prefer to play it in E-flat major, which avoids awkward fingerings on the modern trumpet. Hummel was inspired to write even more daringly and chromatically than Haydn, and he exploits the instrument’s lower range to a greater degree as well. The work follows the standard concerto format of lively outer movements with brilliant technical demands, and a lyrical central movement, this one patterned closely on the slow movement of Mozart’s Piano Concerto No. 21 in C, K. 467. Richard Strauss: Der Rosenkavalier Suite, TrV227, Op. 59 The first performance of Der Rosenkavalier took place in Dresden in 1911 and further performances followed at other major opera houses. The work is a miraculous blend of comedy and gentle melancholy, with its story of the love of the Marschallin and the young Octavian, whom she renounces to allow him to marry Sophia, daughter of a newly ennobled merchant. Coupled with this is the intrigue that leads to the deception practiced on the boorish Baron Ochs, induced to make an assignation with Octavian, who has met Ochs when disguised as a maid-servant of the Marschallin to avoid detection. The third act, from which the so-called second Rosenkavalier Waltz Sequence is taken, is set in an inn, where the disguised Octavian plans to turn the tables on Baron Ochs, who has planned to make a financially advantageous marriage with Sophia. The gulling of the Baron is accompanied by a series of waltzes, culminating in the appearance of ghostly figures and one claiming to be his wife, accompanied by four young children, who greet him as their father. The discomfiture of the Baron leads to a happy ending, at least for Octavian and Sophia. © 2014 Naxos Digital Services Ltd
電子問券請掃描， 支持NSO愛地球。
5︱號聲響起
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 潘俊蓁＊
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 曾鈺婷
○ 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
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
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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
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
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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
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解 瑄
石楓鈺
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
林君庭＊
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