20150528 program note

Page 1

演出曲目

Program

安東•布魯克納(1824-1896):第8號交響曲

ANTON BRUCKNER (1824-1896): Symphony No. 8, C minor

I.

中庸的快板

I.

Allegro moderato

II.

中庸的快板(3/4拍子)-緩慢(2/4拍子)

II.

Allegro moderato in 3/4-Langsam in 2/4

III. 慢板

III. Adagio

IV. 莊嚴的,不快速

IV. Feierlich, nicht schnell

演出時間│ 2015年5月28日 (星期四) 7:30 PM

演出者

指 揮│呂紹嘉 Shao-Chia Lü, conductor 國家交響樂團 National Symphony Orchestra (NSO)

演出地點│ 國家音樂廳 National Concert Hall, Taipei 特別感謝│ 主辦單位│ 指定住宿│ 演出長度│節目長度約80分鐘,無中場休息


1︱布魯克納第八

歡 迎 各位親愛的觀眾,您好:

Welcome Dear Music Lover,

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!

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.

國家表演藝術中心董事長

Chairman, National Performing Arts Center

演出者介紹 指揮│呂紹嘉 「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》 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

Shao-Chia Lü “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 (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


2︱布魯克納第八

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。

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.

樂曲解說 撰文│車炎江 (國立臺北藝術大學音樂學博士;輔仁大 學、新竹教育大學音樂系兼任助理教授)

安東•布魯克納:第8號交響曲 十九世紀德奧交響曲執歐洲樂壇牛耳,繼 往開來者不計其數。其中,布魯克納的成就倍 受今人尊崇,除了有編號的九首之外,他還 有另外兩首年輕時期寫就的交響曲(F小調和 D小調);但在他身處的時空卻有著另一番故 事。布魯克納的年紀只比另一位交響樂巨擘布 拉姆斯(Johannes Brahms, 1833-1897)略長一 些,但此二人在樂壇的際遇卻有如天壤之別。 當 1876 年布拉姆斯第一交響曲首演後被譽為 「貝多芬第十」時,布魯克納已完成的五首交 響曲,只有第二號曾在維也納首演,並遭冷 眼對待。布拉姆斯受舒曼(Robert Schumann, 1810-1856)的提攜與讚揚,還得到維也納樂 評家漢斯利克(Eduard Hanslick, 1825-1904) 的青睞,聲望蒸蒸日上;反觀布魯克納卻是一 路坎坷,只因為年輕時曾經景仰華格納的成 就,並且將第三交響曲題獻給華格納,就被 漢斯利克等人抵制或打壓。由於漢斯利克是極 具影響力的維也納學院派領袖,地位崇高,同 時也是音樂形式主義美學的領導人物,對李斯 特、華格納改變傳統、創新風格的音樂路線極 端反感。個性謙遜的布魯克納被漢斯利克視為 華格納跟隨者,因而淪為當時維也納學院派排 擠抵制的標靶之一。 布魯克納出生於奧地利安斯菲登 (Ansfelden)。6歲開始學習鋼琴、管風琴和 小提琴。 13 歲時父親過世,不得不開始半工 半讀分攤家中經濟。 16 歲( 1840 )前往林茲 ( Linz )學習和聲學等音樂專業科目。 31 歲

( 1855 )前往維也納學習音樂理論與管風琴演奏, 布魯克納曾在這座音樂與帝國之都寫下他最精采的樂 曲,同時卻飽受打擊。在漢斯利克和維也納樂評們冷 酷的鋒利筆尖下,他成了一位出身鄉下、保守迂腐、 退縮笨拙的教會樂師,因而無法找到合適工作,甚至 連維持生計都有困難。實際上,正因為布魯克納的虔 誠天主教徒與教堂管風琴師身份,他的教會音樂不僅 傑出,甚至讓他的交響曲經常流露出管風琴的聲響特 徵,以及深沈的宗教思維。擇善固執的布魯克納,在 維也納樂界負評與否定聲中,為求盡善盡美,經常花 費大量時間對先前已完成的交響曲進行修改,版本眾 多是他交響曲的特色。他經常在樂曲裡反覆琢磨某個 特定動機或主題,看看究竟能變化出多少花樣。和先 前同類型作品不同,第八交響曲(和第九交響曲)採 用三管編制,不僅規模更龐大,在配器處理上的變化 空間也更加多元,為樂曲令人讚歎之處。不同於過去 他在同類型作品的虔誠肅穆,布魯克納第八交響曲顯 得極其浪漫─不論和聲或音色的變化、乃至部份旋律 輪廓走向,皆隱約透露來自華格納的巨大影響。布魯 克納顯然已將景仰對象的音樂語法內化成自己的第八 交響曲,創作者的宗教信仰與音樂藝術理念之間毫無 扞格矛盾處。 布魯克納開始構思第八交響曲時,正是他前一 首第七交響曲在雷維( Hermann Levi)指揮的萊比 錫首演( 1884 )大獲成功、佳評如潮之年,這似乎 讓他獲得繼續譜寫交響曲的動力。費時三年完成全 曲初稿,但當他將第八交響曲總譜交給雷維,想請 他負責首演指揮時,樂曲的龐大規模和高難度似乎 讓雷維無法駕馭,尷尬地拒絕之餘,竟找來布魯克 納的弟子夏克(Joseph Schalk)幫忙老師重新刪改總 譜。布魯克納因而深受打擊,作曲能力再度遭到否 定,加上過去長期累積的負面陰影,讓他完全陷入


3︱布魯克納第八

缺乏自信的泥淖,甚至意圖尋短,第八交響曲首演事 宜也只能暫時擱置。在此同時,他動筆譜寫第九交響 曲,並且針對第一、第三和第八交響曲進行修改,其 中第八交響曲第一樂章結尾處、第二樂章中段完全重 寫,並且刪減其餘樂章長度或改變調性。修改後的 版本大約1890年完成,由李希特(Hans Richter)在 1892 年 12 月 18 日指揮的維也納首演,再次讓辛勤工 作的布魯克納享受到成功果實。布魯克納將修改後的 第八交響曲題獻給奧匈帝國皇帝法蘭茲•約瑟夫一世 (Franz Joseph I),期盼能得到皇帝出錢贊助出版樂 譜的經費。

Program Notes

全曲包含四樂章,演奏總長約80分鐘左右,堪稱 布魯克納所有交響曲中最大規模的傑作。第一樂章 (C小調)是布魯克納典型的奏鳴曲式樂章,由微弱 的絃樂顫音導奏進入,隨後呈示三組不同個性的主 題,其中以如歌似的第二主題旋律(G大調)呈現的 「布魯克納節奏」(二個四分音符之後跟隨三個四分 音符三連音)最具代表性。陰沈莊嚴的第一主題和高 潮迭起的第三主題成為後續發展部的主要素材,經過 刪減後更凝聚樂章結構。布魯克納將再現部銅管群吹 奏的附點節奏音型稱為「死亡宣告」,結尾處從第一 版手稿極強的驚人聲量,改寫成安靜的結束(三次極 弱的定音鼓滾奏),卻製造出更強烈的精神張力。第 二與第三樂章的順序安排,和貝多芬第九交響曲相 同。第二樂章為「詼諧曲-中段-詼諧曲」三段體樂 章。詼諧曲( C 小調、 3/4 拍子)從絃樂顫音音階開 始不斷重覆的音型逐漸累積猛烈動能,最後在C大調 結束;布魯克納為此樂章新改寫的中段(Trio)變為 降 A 大調、 2/4 拍子,突然出現的溫和迷人風貌與前 後的詼諧曲樂段形成鮮明對比。第三樂章為慢速樂 章,由降D大調啟始冥想似的第一主題,豐厚的絃樂 和豎琴撥奏,為這個樂章帶來絕美的抒情表現,宛如 華格納歌劇勾勒的浪漫情愛世界。終樂章為三主題奏 鳴曲式,尺度龐大,布魯克納特別由節奏密集的絃樂 齊奏升F音導入,銅管加入後,第一主題浩壯的氣勢 猶如千軍萬馬。第二主題較為和緩抒情,隱含華格納 半音手法;第三主題在絃樂之上加入豎笛與低音管等 吹奏。最後,就像貝多芬第九交響曲的終樂章回顧先 前樂章的主題一樣,布魯克納在第四樂章龐大的尾奏 終結樂段,將先前四個樂章的主題全部再現,並利用 他高超的對位技巧將所有素材巧妙融合為一體,最後 如同高奏凱歌一般,在C大調上結束全曲。繼貝多芬 第五和第九交響曲之後,布魯克納再次引領全人類出 黑暗、入光明,以大無畏的精神迎向生命一切橫逆挑 戰。

excisions (the 1890 version is some 164 bars shorter than the

Anton Bruckner: Symphony No. 8, C minor Beethoven's Leonore has the same relationship to Fidelio as the almost unknown 1887 first version of Bruckner's Symphony No. 8 has to that of 1890. In both cases wellmeaning friends pressed for changes and cuts and inspired both composers to some great new ideas, such as the end of the first Finale in Fidelio, or the Trio in the Bruckner - but there was also a loss in both cases. Beethoven omitted some wonderful pieces, and the much more pliable Bruckner not only agreed but actually participated in unreasonable 1887). Robert Haas, the brilliant first editor of Bruckner's original scores, claimed to know which changes were imposed on Bruckner in this symphony and which of those he himself felt the need for; his version presents the 'best of both worlds'. He restores sections that were excised from the 1887 version which he rightly considered essential. However his method may be objected to from the 'scientific' point of view, his is the best of the three versions. But the 1887 symphony, written without interference from anyone and inspired by his first great success with Symphony No. 7, shows an almost primitive spontaneity. It is (in hindsight) not at all surprising that when he sent the score (with the humble inscription "may it find mercy") to Hermann Levi, who had just led No. 7 to an enormous success, the great conductor (who had given the first performance of Parsifal) simply could not understand the very different tragic world of this enormous new work. His rejection of it drove the insecure master almost to suicide. Though he lost all confidence, he immediately set to work to 'improve' his masterpiece, not always to its advantage. For instance, when the magnificent first theme reappears loudly in bar 24 of the first movement the orchestration of the brass is more simple and in my opinion more effective in the 1887 version. The beginning is the only one in Bruckner's eleven symphonies that leaves us guessing for quite a while in which key we actually are. Very soon Bruckner's favorite rhythmical patterns (two notes followed by triplets) appears, and it is also the basis of the second theme, this time in the major. A third melody accompanied by pizzicato strings leads to a loud clash between long slow trumpet notes and faster unisono descending five-note scales. The development begins quietly with a more lyrical version of the main tune. Another


4︱布魯克納第八

favorite device follows the second melody in contrary

to omit that cymbal stroke in No. 7, if one wants to conduct

motion. Three desperate repeats of the first tune in the bass

Bruckner and not Nikisch, but what can the poor conductor

line pitched against the others (again, duplet and triplet)

do with these six strokes? He has to do them, because they

introduce the recapitulation. The fortissimo ending of this

are in Bruckner's original manuscript.

movement comes as a complete surprise to all who are used

The coda of the Adagio is, with that of its equivalent

to the 1890 version where the movement ends pianissimo. It

in the Adagio of Bruckner's Seventh Symphony, one of the

seems, at first, an unnecessary 'addition', yet it was his first

greatest inspirations in all music.

conception.

The gigantic Finale starts with a 'riding' rhythm in the

Bruckner felt the need (as he did in his Second

strings and the proclamations in the brass leave us guessing

Symphony, and of course as Beethoven did in his Ninth)

once more in which key we actually are. A slower lyrical

for putting the Scherzo after this terrifying first movement.

tune follows in strings and first horn. Next we hear a march-

It seems to have the stubbornness of the Upper Austrian

like melody. After a short break, strings, flute and clarinet

character. Here in a few places listeners will discover slight

accompanied by trombones playa solemn melody. The march

differences in the harmony (and here the later version is

returns. After an extensive development the greatly varied

definitely an improvement). The second part of the Scherzo

recapitulation starts. The coda builds up very gradually

has the string figure going up instead of down. The Trio is

and in the end Bruckner fills the C major chord with most

almost completely different from its 1890 replacement; it is

themes of all the movements. This finale was particularly

marked Allegro moderato (Langsam (slowly) in 1890), and

truncated in the 1890 version and it is important to hear the

we may miss the harps of the later version. The Adagio is in my opinion, with that of Beethoven's

way the master originally designed it. © 2014 Naxos Digital Services Ltd

Ninth Symphony, the greatest symphonic slow movement ever written. Over a triplet-duplet accompaniment (related to Tristan's love duet) the first violins sing the unique melody based largely on one sustained note that finally steps up only one semitone, and then is repeated but stepping down one semitone. Two heart-rending modulatory phrases lead back to the first tune; an increase leads to a climax in a key (the first inversion of A major) very remote from the main key of D flat major. A new tune introduces mysterious chords where we hear the harps for the first time. All this is repeated; whereupon the cellos intone one of Bruckner's greatest melodies. After a solemn brass episode we are gradually led to fourteen bars in 3/4 time (the rest of this enormous movement is in 4/4) leading back to the beginning. After a development of a theme near the start the tempo quickens leading to the chords with harp. The glorious cello tune (this time reinforced by the violas) returns a semitone lower. Once more the tempo quickens. The first part reappears embroidered by the violas. Increases in tempo and intensity lead to a tremendous climax (in a different key from 1890) accompanied by six rather grotesque cymbal strokes. Here we see the influence of others once more. The conductor Nikisch had practically black-mailed the master for a cymbal stroke in No. 7. It is easy, and very necessary,

電子問券請掃描, 支持NSO愛地球。


5︱布魯克納第八

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 蔡秉璋 吳彥廷

○ 呂昭瑩 ▲ 袁繹晴

黃雅琪

李靖宜

謝君玲

呂孟珊

李思琪

陳猶白

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

莊于輝

賴敬文

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

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

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

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

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


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.