演出時間│ 2015年5月3日 (星期日) 2:30 PM 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50分鐘，下半場約40分鐘
演 出 者 指 揮│法蘭契斯可•安傑立科 Francesco Angelico, conductor 大提琴│史蒂芬•伊瑟利斯 Steven Isserlis, cello 國家交響樂團 特別感謝│
National Symphony Orchestra (NSO)
1︱英雄與女巫
Welcome
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
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
演出曲目
Program
貝拉•巴爾托克（1881-1945）：舞蹈組曲
BÉLA BARTÓK (1881-1945): Dance Suite
I.
中板
I.
Moderato
II.
甚快板
II.
Allegro molto
III. 活潑的快板
III. Allegro vivace
IV. 甚為平靜
IV. Molto tranquillo
V.
V.
悠然
Comodo
VI. 終曲：快板
VI. Finale: Allegro
德米特里•卡巴列夫斯基（1904-1987）： 第二號大提琴協奏曲
DMITRI KABALEVSKY (1904-1987): Cello Concerto No. 2, C major, Op. 77
I.
I.
Molto sostenuto - Allegro molto e energico - Tempo I -
II.
Presto marcato - Cadenza II (L'istesso tempo - Molto sostenuto)
非常綿延—有力的甚快板—原速—華彩樂段（彈性
Cadenza (Tempo I rubato - Allegro molto agitato)
的原速—甚激動的快板）
II.
加重的急板—華彩樂段二（等速—非常綿延）
III. 動感的行板—平靜—快板—激動—原速—平靜—
III. Andante con moto – Tranquillo – Allegro – Agitato Tempo I – Tranquillo – Allegro – Agitato - Molto tranquillo
快板—激動—甚平靜
~中場休息~
~Intermission~
安東尼•德沃札克（1841-1904）：《正午女巫》
ANTONÍN DVOŘÁK (1841-1904): Polednice (The Noon Witch), Op. 108
萊奧什•楊納捷克（1854-1928）： 《塔拉斯•布巴》狂想曲 I. II.
〈安德烈之死〉 〈奧斯達普之死〉
III. 〈塔拉斯•布爾巴的預言與死亡〉
LEOŠ JANÁČEK (1854-1928) : Taras Bulba I.
‘Smrt Andrijova’
II.
‘Smrt Ostapova’
III. ‘Proroctví a smrt Tarase Bulby’
2︱英雄與女巫
演出者介紹 指揮｜法蘭契斯可•安傑立科
Francesco Angelico
出生於西西里島的卡爾塔吉 羅，法蘭契斯可．安傑立科在完 成大提琴演奏文憑後，轉為鑽研 指揮。 2009 年，安傑立科贏得 了哥本哈根馬爾科國際青年指揮 大賽第二名，同時也榮獲「萊比 錫歌劇院德國輕歌劇青年指揮首 獎」。同年，亦贏得了為表揚傑出青年指揮家所 頒發的「萊茵莫塞大獎」。在他與蘇黎士音樂廳 管絃及北德廣播愛樂首次合作後，他陸續收到萊 比錫布商大廈管絃、波鴻交響樂團、挪威史塔凡 傑交響樂團之首次合作邀請。2013年安傑立科首 次登上巴伐利亞國家歌劇院指揮台，成功地演出 了亨策的《青年戀人的哀歌》後，他經常受邀至 米蘭史卡拉劇院學院邀請，近期並演出了羅西尼 《賽維里亞理髮師》。安傑立科現為茵斯布魯克 提羅爾交響樂團首席指揮。
Born in Caltagirone, Sicily, Francesco Angelico completed his studies in cello and began his conducting studies which completed in 2006. In 2009 Francesco Angelico won second prize in Copenhagen’s Malko Competition and was awarded the “1. Deutschen Operettenpreis für junge Dirigenten der Oper Leipzig”. In the same year, he received the Rhein-Mosel-Preis, an award recognising excellence in young conductors. After giving his debut with such orchestras as the Tonhalle Orchestra Zurich and NDR Radiophilharmonie, he has appeared for the first time with the Gewandhausorchestra Leipzig, Bochumer Symphoniker and Stavanger Symphony. After giving a successful debut in 2013 at Bavarian State Opera with Henze’s Elegy for Young Lovers, he is a frequent guest at the Milan Accademia Teatro Alla Scala, where he recently conducted Rossini’s Il Barbiere di Siviglia. Francesco Angelico is now chief conductor of the Tyrolean Symphony Orchestra Innsbruck.
大提琴｜史蒂芬•伊瑟利斯
Steven Isserlis
俄裔英籍大提琴演奏家史蒂 芬•伊瑟利斯，以高超的演奏技 巧和過人的音樂素養享譽國際樂 壇；他不僅是一位獨奏家，亦是 位室內樂演奏家及音樂教育家。 他經常與國際各大樂團及指揮合 作演出協奏曲；不論對於正宗 古樂或是現代音樂曲目，伊瑟利斯都興趣濃厚， 屢次參加當代作曲家的作品首演。除了繁重的音 樂會演出，伊瑟利斯也喜歡為兒童寫書、演奏音 樂，向兒童介紹古典音樂和著名作曲家的生平； 曾與鋼琴家霍夫錄製《孩子的大提琴》，由北歐 BIS 唱片公司發行；亦與作曲家安．達德利合作 出版兒童音樂故事。伊瑟利斯獲獎無數，他的錄 音一方面反映他在音樂曲目上的廣博造詣，另一 方面也成為古典錄音重要獎項的常勝軍。伊瑟利 斯目前演奏的大提琴，是由英國皇家音樂院出借 的1726 年斯特拉第瓦利名琴。
Acclaimed worldwide for his technique and musicianship, British cellist Steven Isserlis enjoys a distinguished career as a soloist, chamber musician and educator. As a concerto soloist he appears regularly with the world’s leading orchestras and conductors. Isserlis takes a strong interest in authentic performance and has played with many of the foremost period instrument orchestras. He is also a keen exponent of contemporary music, and has worked with many composers on new commissions. Writing and playing for children is another major interest. Isserlis’ books for children about the lives of the great composers – Why Beethoven Threw the Stew and its sequel, Why Handel Waggled his Wig – are published by Faber and Faber. He has recorded a CD for BIS with Stephen Hough entitled Children’s Cello, and with composer Anne Dudley he has written three musical stories for children. Isserlis plays the Marquis de Corberon (Nelsova) Stradivarius of 1726, kindly loaned to him by the Royal Academy of Music.
樂曲解說 撰文│金立群（國立交通大學音樂研究所）
在國族、政治、音樂之間，俯首貼耳 您也知道，這場屬於本樂季斯拉夫系列的音 樂會，節目的第一個作曲者巴爾托克，其實來自 非斯拉夫族的匈牙利。不過這也無傷大雅，因為 追本溯源，樂曲的地方色彩與作曲者甚至演奏者 的血緣連結，並非自古如此，乃是始自國族主
義熾烈的十九世紀。所謂國民樂派，先是德意志 中心的霸略，後是邊陲的自我定位與謀反。既然 音樂與國族的連結，只是一時一地的建構，非本 質的必然，則音樂會的文宣與我們聆聽的焦點， 無須言必國族，卻也無須忌諱，正如文學理論家 Jonathan Culler所言：「意義以脈絡為邊際，脈絡 卻是無邊無際的」（“Meaning is context bound, but
3︱英雄與女巫
本曲是巴爾托克 1923 年受委約的作品，為要紀 念布達與佩斯兩城合併五十週年（同場還有杜南伊 的《節慶序曲》Festival Overture與柯大宜的《匈牙利 詩篇》Psalmus Hungaricus）。巴爾托克卻政治不正 確地不囿於匈牙利素材，反而加入了自己田野採譜 而來的羅馬尼亞甚至北非阿拉伯的音樂：第一段舞 曲有著部分阿拉伯音樂半音與重覆的特色；第二段 是匈牙利的快舞；第三段舞曲則是匈牙利、羅馬尼 亞、阿拉伯的五聲音階交替；第四段是阿拉伯的慢 舞；第五段是富半音特色的農民舞曲；而五段皆有 幽靜的匈牙利風回復曲作間奏。第六段終曲則將前 面五段的主題串聯成一個多采多姿的結尾，以兼容 普世的歡慶，勝過狹隘的國族情懷。
莫札特最忠實的聽眾也是在布拉格。而德沃札克直 到結束1892-1895三年在美國當音樂學院院長之職、 以五十三歲之齡返鄉後，才再密集寫作本土色彩的作 品。他在 1896 年之內，就一口氣選了捷克民謠收集 者愛爾本（Karel Jaromír Erben, 1811-1870）根據斯拉 夫神話編寫的幾首敘事詩，創作了《水妖》（ NSO 上月 17 日曾演出）、《正午女巫》、《金紡車》和 《野鴿》四首交響詩（Vodník, Polednice, Zlatý kolovrat, Holoubek, opp. 107-110）。 《正午女巫》以十九世紀交響詩的手法，繪聲繪 影地述說這個悲劇。第一段小快板：母親為將要回家 的丈夫備餐時，以女巫嚇唬不聽話的兒子（以雙簧管 代表）；第二段綿延與非常平靜的行板：女巫（以低 音單簧管代表）在正午前真的來奪取小孩；第三段快 板：母親在最後關頭（管鐘響起十二下）因保護兒子 而錯手使他窒息；第四段行板：父親回家時兒子已 返魂無術了。或許《正午女巫》這個「請鬼容易送鬼 難」的故事，也是國族主義的寓言？
如何在1964年的莫斯科寫一首大提琴協奏曲？
亂世多情的狂想曲
因為卡巴列夫斯基長年擔任蘇聯官方音樂組織的 要角，其作品大大挑戰著聽者對詮釋脈絡的選擇。 若把脈絡限於文本與樂種的傳承，則本曲的俄羅斯 色彩，以及不離經叛道、或說不譁眾取寵的中庸風 格，實在可圈可點。若把脈絡擴至生平與時代，則 作品的風格與作人的風骨相應：觀乎歷代勇於創新 者，的確鮮有在亂世中作順民的。這是在面對藝術 與人生，尤其在凸顯個體與群體關係的協奏曲上， 作者與受眾都無可迴避的課題。 卡巴列夫斯基的第二號大提琴協奏曲為三樂章連 續演奏的形式，樂章的邊界也因著首尾樂章都是慢中 有快的速度轉折而模糊。不過第一樂章到第二樂章之 間以獨奏者的華彩樂段為連接，第二樂章到第三樂章 之間也是如此，一方面顯出個體在群體中還是可以自 力更生，另一方面使得居中的第二樂章相對明顯，而 中音薩氏管的獨奏、銅管與擊樂的頑固節奏，也為這 個快板的詼諧曲樂章加添獨特的色彩。 卡巴列夫斯基一生獲得官方不少褒揚，包括最高 榮譽的列寧獎，不過他對權勢妥協，而且不但自己曲 風保守，作為資源分配者也對新音樂多所排斥，以致 晚年被同行所疏遠。這與1956年他的第四號交響曲以 來，曲風越見陰沈哀傷不無關係。1964年第二號大提 琴協奏曲的坎坷多變，末段獨奏大提琴漸慢漸弱地消 逝在最低的C音且無法再掌控的空絃上，似乎暗喻個 人最終面對社會時的怯懦無力，教人掩卷沈思。
楊納捷克 1915 至 1918 年所寫的《塔拉斯•布 爾巴》狂想曲，取材自俄羅斯作家果戈里（ Nikolai Gogol, 1809-1852 ） 1835 年同名歷史小說的三段。 其中投射著楊納捷克一代的捷克人在多年受奧匈帝 國的統治後，視同為斯拉夫族的俄羅斯為救星的情 懷。楊納捷克曾說，他寫這首狂想曲，不是因為哥 薩克英雄塔拉斯•布爾巴大義滅親殺了為愛叛變的 長子安德烈（第一樂章），或他目睹次子奧斯達普 被波蘭敵軍所殺（第二樂章），或最後塔拉斯•布 爾巴自己被熊熊烈焰燒死（第三樂章），而是因為 想呈現「俄羅斯人民不滅的力量」。塔拉斯•布爾 巴臨終對未來勝利的預言、管風琴與管絃樂團交織 的英烈千秋，反映著第一次世界大戰後楊納捷克對 俄羅斯的自作多情、再想到二戰後捷克被蘇聯欺壓 的歷史，實在情何以堪。
context is boundless”）。而我們有多願意去分擔作品 的「包袱」，藝術的昇華與慰藉也會相應的為我們 所分享。
以多元回應國族的《舞蹈組曲》
《正午女巫》的交響寓言 生於布拉格鄉郊的德沃札克，一方面受布拉姆斯 的提點以斯拉夫舞曲起家，另一方面也承繼著布拉姆 斯的德意志音樂傳統。其實捷克地區長久是德意志文 化的重鎮，最早的德語大學在 1348 年創立於布拉格 （ 1882 年族群相爭下才分為德語和捷克語兩半），
音樂人與愛樂者就算不太熱衷政治，政治卻是人 生在世無所遁形的脈絡。不過藝術既可以被收編與 利用，也可以作為控訴與抵抗。今天的曲目，邀請 我們在國族、政治、音樂之間，俯首貼耳…
Program Notes Béla Bartók: Dance Suite Written in 1923 to celebrate the union of the cities of Buda and Pest into the present-day Hungarian capital, the Dance Suite immediately established itself as among the most popular of Bartók's works. Two years later, Emil Hertzka, director of the Viennese publisher Universal Edition, suggested that the composer make a 'not too difficult' piano arrangement. The resulting transcription, however, yields little in technical requirement to his original piano works. Interestingly, Bartók never included it in a
4︱英雄與女巫
recital, György Sándor giving the public première as late as March 1945. Although through-composed, the Dance Suite divides into six sections, linked by a ritornello of wistful Hungarian character. The increasingly animated first dance and impetuous second dance are also of Magyar origin, while the energetic third dance draws on Romanian traditional music from the region of Wallachia. The sensuous fourth dance has a pronounced Arabic inflection, in contrast with the primitive peasant archetype of the fifth dance. The finale draws together thematic and rhythmic characteristics of the preceding dances, in an exhilarating synthesis which aptly reflects what Bartók described as "... the brotherhood of peoples ... in spite of all wars and conflicts". © 2014 Naxos Digital Services Ltd
Dmitri Kabalevsky: Cello Concerto No. 2, C major, Op. 77 Kabalevsky's Cello Concerto No.2 in G major, Opus 77, was completed in 1964 and dedicated to the cellist Daniil Shafran. Scored for a larger orchestra than the earlier work and now including an alto saxophone, double bassoon and harp, the concerto is in three linked movements, with cadenzas between the first and second and the second and third. The first movement opens in a sombre and mysterious mood, the principal theme appearing in the plucked notes of the solo cello, before the material is allowed to emerge in the sustained bowed notes of the instrument. This is followed by the vigorous impetus of the Allegro molto e energico, which itself eventually relaxes into the returning Molto sostenuto, in music of heartfelt intensity, subsiding into the cadenza, with its first plucked notes, a reflection of what has passed. There is a fiercely energetic opening to the second movement, although here there are moments when it seems the soloist might briefly draw breath, as the music continues its headlong course. A second cadenza, preceded by strident wind chords, provides a bridge to the last movement, with the help of the orchestra. It is the unaccompanied instrument, slowing now to Molto sostenuto,that leads more gently to a lyrical Andante con moto, in a movement that has at its centre a section of excited intensity. Serenity returns, before a further outburst and a deeply felt conclusion that establishes the nominal mode of the concerto. © 2014 Naxos Digital Services Ltd
Antonín Dvořák: Polednice (The Noon Witch), Op. 108 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 Janácek. 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 second of the set, The Noon Witch, has a very precise programme, outlined in the composer's correspondence. In the opening bars a child plays quietly, turning his attention to a toy cockerel, while his mother prepares dinner. She is cross with the child, who cries. His mother then becomes angrier still and scolds her son, threatening him with the noon witch, whose maleficent activities are confined to the hours between eleven o'clock and midday. The child grows calmer, as the scene is repeated. In what is the equivalent of a slow movement the noon witch, small, brown and wild in look, with a sheet drawn over her head, slowly opens the door and approaches the mother, this represented by bass clarinet and muted strings, followed by the witch motif from bassoon and bass clarinet. In livelier music from horns and trombones the witch demands the child, but the mother in desperation holds the child to her, while the witch tries to seize him. An Allegro, with piccolo, flute and oboe, describes the witch, as she dances round. The mother screams and almost dead and scarcely breathing collapses. At this point the noontide bell is heard, deterring the witch. In the following Andante the father of the family prays, not knowing what has happened. He opens the door of his house and comes in to find his wife lying without sign of life. He tries to revive her and she starts to breathe again. He becomes more agitated, more particularly when he finds his child dead. In the final bars the witch vanishes. © 2014 Naxos Digital Services Ltd
Leoš Janáček: Taras Bulba The Rhapsody Taras Bulba is based on Gogol. It was written in 1918. Typically the composer chose a romantic historical novel by a Russian writer as the frame-work for his creation. His interests were Pan-Slav, embracing the unity of the Slav peoples, and under similar impetus he had turned to Ostrovsky's play The Storm for his opera Kátya Kabanová and to Dostoyevsky for his last opera, From the House of the Dead. His attempt to make an opera of Tolstoy's Anna Karenina, with a Russian libretto of his own devising, remained unfinished. For Taras Bulba, Janáček takes three episodes in the violent life of the Cossack leader Taras Bulba in his struggle against the Poles in 1682. In the first the son of Taras Bulba, Andrij, is put to death by his father for the disloyalty that his love has brought about. The Cossacks had laid siege to the town of Dubno, where Andrij's beloved is among those besieged. The young man enters the town by a secret passage and joins with the Poles in the subsequent battle with his own people. The second episode shows the death of his second son Ostap, tortured and put to death by the victorious Poles, an event witnessed by the disguised Taras Bulba, mingling with the crowd. The third movement, with its organ part, depicts the prophecy and death of Taras Bulba himself, nailed to a tree and condemned to be burned to death. As he dies, he foretells the future liberation of the Cossacks. © 2014 Naxos Digital Services Ltd
5︱英雄與女巫
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
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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
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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
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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
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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
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安德石 ◎ 宮崎千佳
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王怡靜
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
陳逸倫 ●
倍 低 音 管
簡凱玉 ◎ 陳奕秀
高靈風
簡恩義
法 國 號
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劉宜欣 ○ 黃任賢
國田朋宏
王婉如
小 號
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宇新樂 ◎ 陳長伯
張景民
鄒儒吉
長 號
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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
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連雅文 ◎ 陳廷銓
打 擊 樂
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陳哲輝
豎 琴
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解 瑄
鍵 盤
▲ 許毓婷
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
曹予勉
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