2015年9月24日 (星期四) 7:45 p.m. 中壢藝術館 Zhongli Art Hall, Taoyuan 2015年9月25日 (星期五) 7:30 p.m. 大東文化藝術中心 Dadong Arts Center, Kaohsiung 指 揮│呂紹嘉 Shao-Chia Lü, conductor 鋼 琴│嚴俊傑 Chun-Chieh Yen, piano 國家交響樂團 National Symphony Orchestra (NSO) 主辦單位
中壢場共同主辦
中壢場冠名贊助
中壢場贊助單位
高雄場贊助單位
高雄場旅運贊助單位
指定住宿 特別感謝
9/24
9/25
歡迎 各位親愛的愛樂朋友，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
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曲目 上半場 約 35 分鐘 下半場 約 45 分鐘
喬奇諾．羅西尼（1792-1868）：《威廉泰爾》序曲 菲利克斯．孟德爾頌（1809-1847）：第一號鋼琴協奏曲 I. 非常熱情興奮的快板 II. 行板 III. 急板—非常活潑的快板 ～中場休息～
約翰．布拉姆斯（1833-1897）：第二號交響曲 I. 不過度的快板 II. 不過度的慢板 III. 優美的稍快板 ( 類似小行板 ) IV. 精神抖擻的快板
GIOACHINO ROSSINI (1792-1868): William Tell Overture FELIX MENDELSSOHN (1809-1847): Piano Concerto No. 1, Op. 25, G minor I. Molto allegro con fuoco II. Andante III. Presto-molto allegro e vivace ~Intermission~
JOHANNES BRAHMS (1833-1897): Symphony No. 2, Op. 73, D major I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito
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演出者簡介
Conductor
Shao-Chia Lü 指揮
呂紹嘉 「指揮家呂紹嘉是位傳達樂音之間意境氛圍的大師」
─《南德日報》
「在呂紹嘉指揮下，NSO 將十九世紀末的音樂傳神地演繹。他不僅引導出團員的光與熱，更將史特勞 斯（《艾蕾克特拉》）引人入勝的樂曲發揮地淋漓盡致。」
─英國《歌劇》雜誌
呂紹嘉出生臺灣新竹縣，自幼學習鋼琴。就讀臺大心理系期間，受陳秋盛先生之啟發開始鑽研指揮藝術。 先後赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利 Accademia Musicale Chigiana di Siena 指揮班，隨大師 G. Rozhdestvensky 學習。 連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，呂紹嘉展開他在歐洲璀燦 的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國萊茵愛樂交響樂團暨科布倫茲市立歌劇院音樂 總監、德國漢諾威國家歌劇院音樂總監，並受邀在英國國家、挪威皇家、布魯塞爾皇家、澳洲雪梨、瑞典哥特 堡、德國司徒加特、柏林德意志、漢堡、法蘭克福等歌劇院及維也納夏季音樂節（Klangbogen）擔任客席指揮。 此外，他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和日本東京及名古屋演出《霍夫曼的故事》。 任職德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間，呂紹嘉以無數精采深刻的音樂詮 釋，獲得了團員及愛樂者的愛戴，他並曾帶領該團於北京、上海、義大利米蘭等地巡迴演奏。呂紹嘉於 2004 年五月獲德國文化部長頒贈象徵該省文化最高榮譽的 Peter Cornelius 獎章。 在出任德國漢諾威國家歌劇院音樂總監期間，呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧及義大利歌劇 外，他成功的推出了楊納捷克及德布西的作品，使得劇院的名聲更推展至國際化的層次。他所指揮的德布西歌 劇《佩利亞與梅麗桑》，於 2004 年獲邀在舉世聞名的維也納音樂節及愛丁堡藝術季演出多場，獲得極高讚譽。 歌劇領域之外，呂紹嘉與眾多世界知名交響樂團也經常合作，包括：慕尼黑愛樂、柏林、西南德、中德、 巴伐利亞、維也納廣播、法國國家、里昂、杜魯士、史特拉斯堡交響、英國利物浦愛樂、奧斯陸愛樂、貝爾根 （Bergen）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、阿姆斯特丹大會堂、日本 NHK、新日本愛樂等交響樂團。 呂紹嘉於 2010 年秋返鄉接任國家交響樂團（NSO）音樂總監，期盼以「精緻．深刻．悸動」之信念，深 耕臺灣樂壇。
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“The conductor Shao-Chia Lü is a master of nuance."
─ Süddeutsche Zeitung, Germany
“Under Lü, (NSO) made the fin-de-siecle sound world idiomatic. He coaxed from them a
burnished, glowing sound that showed off Strauss' (Elektra's) luscious orchestration.”
─ OPERA, UK
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: Besançon, Pedrotti and Kondrashin. In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Australian Opera Sydney and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre. Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der fliegende Holländer, Wozzeck, Der Rosenkavalier, Elektra and Salome.... In the summer 2004, ShaoChia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü's recent opera engagements include: Parsifal , Katja Kabanowa and Tosca in Goteborg, Sweden, La fanciulla del West in Stuttgart, Eugene Onegin at the Komische Oper Berlin, Madama Butterfly, Tosca and La Bohème in Sydney and Melbourne. Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Münchner Philharmoniker by replacing Sergiu Celibidache at the last moment for two unchanged programms (including Bruckner's Symphony No. 8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Münchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia in Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam. In Asia, Shao-Chia Lü has worked with the NHK Symphony Orchestra, New Japan Philharmonic, Tokyo Metropolitan Orchestra, Seoul Philharmonic, Hong Kong Philharmonic, Shanghai Symphony Orchestra and the China Philharmonic, among others. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010. Since September 2014, he also has been appointed as Chief Conductor of the South Denmark Philharmonic in Sonderborg, Denmark.
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演出者簡介
Piano
Chun-Chieh Yen 鋼琴
嚴俊傑 嚴俊傑自十三歲獲第三屆國際柴科夫斯基青少年音樂大賽第三獎起，便活躍於國內外樂壇，其演奏足 跡遍及歐、亞、非、南北美洲世界五大洲；曾與多位指揮家及樂團合作演出：如普雷特涅夫、呂紹嘉、梅哲、 麥爾、赫比希、舒馬富斯等；及俄國國家交響樂團、萊茵愛樂、國家交響及羅馬尼亞愛樂等。榮獲多項國 際大獎的嚴俊傑，1999 年贏得日本第四屆國際浜松鋼琴學院比賽冠軍時，曾獲日本報評譽為「臺灣人的驕 傲」；2004 年獲聖彼得堡普羅柯菲夫國際鋼琴大賽季軍，2004 及 2005 年更連獲兩屆奇美文化藝術獎肯定。 嚴俊傑以各種形式活躍於樂壇，亦曾跨界與導演張艾嘉於上海世博合作演出，現為國立臺灣師範大學專任 助理教授，其專輯曾獲第十九屆金曲獎之「最佳古典演奏獎」。
Chun-Chieh Yen has concertized in Europe, Asia, and America, embracing a wide range of repertoire. Concerto performances take Yen to orchestras all over the world including the Russian National Orchestra, Staatsorchester Rheinische Philharmonie, and the National Symphony Orchestra of Taiwan. He has enjoyed collaborations with many conductors, including Mikhail Pletnev, Henry Mazer, Uri Mayer, Shao-Chia Lü, Gernot Schmalfuss and Günther Herbig. Yen won numerous prizes, including Third Prize at the International Youth Tchaikovsky Competition (1997), First Prize at the 4th Hamamatsu International Academy Piano Competition in Japan (1999), and Third Prize at the 4th Prokofiev International Competition in St. Petersburg (2004). His album on Universal also earned him the award of Best Classical Performer at the 19th Golden Melody Awards in Taiwan. Currently Assistant Professor of Piano at the National Taiwan Normal University.
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樂團簡介
自信而精銳 國家交響樂團 「⋯NSO 音樂總監呂紹嘉忠實地呈現出荀白克 ( 音樂 ) 的兩面，在他指揮下，（《古勒之歌》）如華 格納音樂般深厚的前半部，帶著猶似德布西音樂的透明感；並以如馬勒音樂般的寬宏展開後半部。」 ─英國《金融時報》2015.1 「今晚真正的明星是國家交響樂團。呂紹嘉與他訓練有素的團員，傾注全力激情流露。樂曲的高潮令 人震撼，但不咄咄逼人。唯有最好的世界級樂團能夠演奏得如此響亮而不刺耳。此曲有非常豐富的細 節，一般很難被鉅細靡遺的面面俱到，但在呂紹嘉帶領下，我聽到的細節比任何一張唱片都要多。」 ─奧地利《新標點》2015.2 「樂團迸發出如奔流般華麗宏大的音響，然而我幾乎不曾聽過舞台與樂池間如此完美的平衡。呂紹嘉 ─英國《歌劇》雜誌 2015.1
全然投入指揮，確實展現精緻的透明性。」
交響樂團在每個國家有不同的形成背景，在沒有西方管絃樂傳統的臺灣，過去樂團都以文化教育體系營 運。經過近三十年耕耘，我們可以驕傲的說，國家交響樂團（NSO），從交響樂、室內樂到歌劇，是一自信、 精銳，有文化意識的「臺灣之音」。 國家交響樂團的前身「聯合實驗管絃樂團」，是教育部於 1986 年集合優秀新生代音樂家，以打造頂尖 交響樂團為目標所成立。2005 年成為國立中正文化中心附設團隊，2014 年四月改隸國家表演藝術中心，以「臺 灣愛樂」立足國際。歷任常任指揮為 Gerad Akoka、Urs Schneider 及音樂總監包括許常惠、張大勝、林望傑、 簡文彬等人。近十年來 NSO 銳意求變，大步朝專業、開放、勇於創新的職業樂團發展，2010 年八月，旅德知 名指揮呂紹嘉接任 NSO 音樂總監，更將樂團打造為亞洲地區最具指標性樂團之一。 樂團現有 99 名團員，每年樂季演出約 75 場次。在歷任總監、藝術顧問的擘劃下，為樂團系統性拓展曲目， 以各種跨界製作開創多項國內先例；為 NSO 訓練出堅實的演奏實力與動人音樂性，建立駐團作曲家計畫，提 供國人作品更多發表空間。 2010 年起，音樂總監呂紹嘉以多元化主題貫穿樂季，整合與對比並存的廣博曲目， 本著「精緻、深刻、悸動」的信念琢磨出樂團多變細膩的音色與深刻撼人的音樂表現；歌劇演出從跨國製作 到深耕國內：《艾蕾克特拉》(2011)、《蝴蝶夫人》(2012)、《女武神》(2013)、《莎樂美》(2014) 、《費黛里歐》 (2015)，次次展現令國際樂評驚豔的製作。呂紹嘉不僅積極拓展樂團演奏近代管絃樂作品的能力，更致力於鞏 固精鍊古典經典名作，同時持續國人管絃樂創作之演出、錄音。2011 年起，呂紹嘉帶領樂團積極展開海外巡演， 2011 年廣州亞運音樂節、2012 東北亞巡演、2013 歐洲巡演等均獲得亞洲及歐美樂評的高度讚譽。 近三十年來與 NSO 合作過的客席指揮家：馬捷爾、巴夏、潘德瑞茨基、史拉特金、羅斯楚波維奇、柯 米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾、麥可桑德林等；及聲樂家芙雷妮、柯楚芭絲、帕瓦洛帝、 多明哥、卡瑞拉斯、庫拉、特菲爾、波伽利、吉他大師耶佩斯、鋼琴家傅聰、拉羅嘉、提博德、魯迪、賀夫、 巴弗傑、寇瓦謝維契、齊柏絲坦、洛堤、歐森、白建宇、拉貝克姐妹、鄧泰山、薩洛等；大提琴家馬友友、 顧德曼、麥斯基、卡普頌、王健、伊瑟利斯、穆勒 - 修特、嘉碧妲；小提琴家林昭亮、胡乃元、夏漢、明茲、 列賓、希拉蕊 ‧ 韓、宓多里、絲凱德、林以信、哈格納；擊樂家葛蘭妮、葛魯賓格及其他器樂家莎賓 ‧ 梅耶、 巴伯羅柯、弗黎崔希等上千位國際知名音樂家。
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攝影 Raymond Huang
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National Symphony Orchestra “To his credit, NSO music director Shao-Chia Lü was faithful to both Schönbergs, rendering
the Wagnerian depth of the opening section with almost Debussy-like transparency while letting _Financial Times, 2015/1/1 the later portions unfold with Mahlerian breadth.”
“The real star of the show was Taiwan Philharmonic. Shao-Chia Lü drew a full measure of
passionate outpouring from his superbly trained musicians. Climaxes were overwhelming but
never overbearing. Only world's greatest orchestras can play so loud without becoming garish. The score is so rich in detail that no single interpretation can reveal it all, but under Lü's direction I _der neue Merker, 2015/2 heard more than in any recording. “
“The orchestra poured out great torrents of magnificent sound, and yet seldom have I heard
such ideal balance between stage and pit. Shao-Chia Lü conducted with total commitment, _Opera, UK 2015/1 ensuring exquisite transparence.”
Founded in 1986, the National Symphony Orchestra, also known as the Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became the resident orchestra of the National Chiang Kai-Shek Cultural Center in 2005. Starting April 2014, the NSO has become an affiliate orchestra to the National Performing Arts Center. Led by renowned conductor Shao-Chia Lü as its 5th music director starting August 2010, the NSO has increased the country's cultural richness and music educational strength throughout Taiwan. The NSO with 99 members presents a 40-week musical season of approximately 75 concerts/chamber recitals and one opera production each year. It also launched educational programs and outreach projects constantly. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Geneva, Milan, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky, Michael Sanderling and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Viviane Hagner, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Evelyn Glennie, Martin Grubinger, Louis Lortie, Kun Woo Paik, Stephen Hough, Stephen Kovacevich, Katia & Marielle Labèque, Sabine Meyer, Reinhold Friedrich and many others. The NSO has extended its artistic reach, involving in theater and opera productions, such as working with Lin Hwai-min, the world-renowned choreographer and founder of Taiwan's Cloud Gate Dance Theatre, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, and Hans-Peter Lehmann. In addition to its record-breaking semi-stage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009), Madama Butterfly (Opera Australia, 2012), Fidelio (Opernhaus Zürich, 2015) as well as in-house production Die Walküre (2013), and Salome (2014).
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樂曲解說
撰文
焦元溥 倫敦國王學院音樂學博士
喬奇諾．羅西尼：歌劇《威廉泰爾》序曲 論及史上最富有的作曲家，羅西尼 (Gioachino Rossini, 1792-1868) 絕對榜上有名。他的作品本著於古典 樂派的勻稱優雅，以輕盈明媚又不失莊重的悅耳旋律迅速征服歐洲。才華出眾又敏於時潮，他三十七歲就 譜出自己最後一部歌劇宣告退休；坐吃山不空，繼續過了近四十年的快活人生。
這退休之作就是《威廉泰爾》。此劇從首演開始就是票房保證，從巴黎一路暢銷到義大利，紅到被大 仲馬寫進《基督山恩仇記》，是十九世紀賺錢大戲代表名作。可嘆《威廉泰爾》要求艱深唱技，加上約四 個小時的恢弘篇幅，現在已鮮少出現於歌劇院，只剩序曲仍然雄踞音樂會舞台。
《威廉泰爾》改自席勒劇本，講述瑞士反抗奧國暴政史實，兼以敵對雙方的兒女情長。序曲分成四段： 先由大提琴和低音提琴奏出暗夜黎明，接著遠方雷聲招來狂風暴雨，象徵瑞士人民所面對的哈布斯堡王朝 統治。第三段眾木管輪番演奏瑞士牧歌，唱頌此地風光美好、人情溫厚，最後在小號引領的鼓號聲中導入 膾炙人口的抗暴進行曲。此曲常被引用，鼓號段還曾是昔日中廣的報時音樂，堪稱家喻戶曉。它既代表羅 西尼以才華與經驗錘煉而出的譜曲工藝，也是他輝煌歌劇事業的完美休止符。
菲利克斯．孟德爾頌：第一號鋼琴協奏曲 現在臺灣青年旅行蔚然成風。無論是細看故鄉還是天涯行腳，都是成長過程中可貴的記憶風景。昔日 歐洲則流行「壯遊」(Grand Tour)；自英國風行到歐陸北部新教國家，從貴族仕紳逐漸遍及平民階層，青年 把遊歷各地當成教育性的成年禮，以行萬里路豐厚自己的博雅教育。出身富商賢哲名門的孟德爾頌 (Felix Mendelssohn，1809-1847) 也不例外。1829 年起，二十歲的他從英國開始進行長達多年的旅遊，果然因見聞 大增而快速成長，也沿路寫下精彩創作。鼎鼎大名的《芬加爾洞窟》和第三號交響曲《蘇格蘭》，自是拜 訪大不列顛的成果；第四號交響曲《義大利》，當然也是風光明媚的景物紀實。義大利對他的寫作風格影 響尤為明顯—自此之後，孟德爾頌作品中就常出現「火焰般的」(con fuoco) 表情指示，南國熱情成為他極重 要的音樂素材。 第一號鋼琴協奏曲正是在如此背景中誕生。此曲起草於 1830 年的秋天，作曲家至羅馬遊歷之時。從首
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尾樂章刺激有勁且活潑爽利的樂想看來，義大利的確給予孟德爾頌滿是昂揚朝氣的創作靈感，激發出格外 青春燦爛的火花。論及鋼琴協奏曲，孟德爾頌之前已寫了為小提琴、鋼琴和絃樂團的協奏曲 (1823) 與雙鋼 琴協奏曲 (1824)，對此曲類並不陌生。當年不過十四、五歲的他，出手即成妙品。如今邁入成年，孟德爾頌 更要推陳出新，寫出和先前二曲都不一樣的巧思：鋼琴獨奏在第一樂章七小節序引後即華麗現身，省略樂 團呈示主題的管絃導奏。樂曲結構也高度整合：不但三樂章前後相接，演奏時中間不停頓，甚至第一樂章 第二主題也會在第三樂章再度現身，旋律環環相扣，可說開時代風氣之先。此曲題獻給年僅十六歲的女鋼 琴家 Delphine von Schauroth。她是孟德爾頌在慕尼黑指導的學生，兩人之間或許也有浪漫情愫。在此曲清 新美妙，聲響效果又頗見神來之筆的第二樂章，你是否也聽到了扣人心絃的溫柔？
在古典樂派與後期浪漫之間，孟德爾頌第一號鋼琴協奏曲可說是完美的過渡—它鋒芒銳利又清朗甜潤， 句法工整而有靈妙遐思，其於精緻風格中煥發的狂放華麗，寫作者青春無敵的顧盼自得，總能在名家手下 展現迷人光彩，不愧是從問世之始就大獲佳評的傑作，也是歷久不衰的美好珠玉。
約翰．布拉姆斯：第二號交響曲 若把十九世紀初當成「浪漫時期」的開始 ( 很多人以貝多芬於 1805 年首演的第三號交響曲《英雄》為 分水嶺 )，並以此比對之前的「古典時期」，我們可以發覺古典和浪漫之間並沒有明確的分隔線，因為兩者 的延續其實大於對立。從莫札特的轉調手法一路到二十世紀初，除少數例外，這一百多年的作品都可說在 基本的和聲、曲式、節奏和聲響規範中創作。很多愛樂者或許會驚訝布拉姆斯竟然比華格納小二十歲，甚 至也比布魯克納小九歲。此一事實，正是這個時代創作風格多元繽紛的最好證明。和孟德爾頌一樣，布拉 姆斯精研昔日經典且擁抱保守價值，又能以自身才華呼應時代趨勢，讓傳統與現代交融為一。在布拉姆斯 身上，我們可以同時見到早期浪漫與後期浪漫的特色，聽到精雕細琢又不失狂放的聲音。
傳統可以是助力也可以是壓力。在貝多芬的巨大身影下，從草稿到完稿，布拉姆斯前後竟花了二十一 年方出手自己的第一號交響曲，即使他已是少年老成，年紀輕輕就能譜出深刻內涵的作曲奇才。千斤重擔 一旦解除，隔年 (1877) 他就寫下第二號交響曲，而且揮筆即就。這是布拉姆斯寫得最愜意愉快的作品之一， 音樂洋溢自在的悠閒感，以及遊歷山水的快活心得。不過布拉姆斯畢竟是布拉姆斯，即使輕鬆快活，音樂 裡仍有深刻感受和內省思索，情景交融而有獨到創見，果真是千錘百鍊下的大師手筆。
比方說，第一樂章自絃樂低音和法國號悠揚聲響開始，立即給予聽眾山林田野的美好感覺。但主題其 實以三拍寫成，可說象徵繁華首都的維也納圓舞曲。城市鄉村彼此融合，確實創造出極為特殊迷人的感受。 第二主題由大提琴歌唱出淡淡憂傷，筆法宛如舒伯特，又帶有民俗音樂的特質。兩個主題沒有真正的衝突，
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樂曲解說
中段布拉姆斯仍能以高超技法開展以第一主題為本的發展部，調度轉折渾然天成。再現部他在聲響效果上 多所變化，尾奏又讓第一主題重現，成為詩意盎然的雋永收筆。只是在那法國號盤旋繚繞的獨奏中，作曲 家可寫了曖昧難言的絃外之音，留給聽眾自己猜謎解題。
第二樂章是全曲風格最特殊的一段。不同於前後的明朗自然，此一樂章是作曲家的深刻省思。他以嚴 謹對位鋪陳其縝密想法，句句皆簡潔凝練，更不時流露嚴峻神情與戲劇性的緊張激越。篇幅雖短卻意味深 長，展現布拉姆斯的過人識見。第三樂章作曲家回到愉悅心情，宛如慢速的藍德勒舞曲或圓舞曲，中段有 孟德爾頌的幻想風，又接以匈牙利吉普賽音樂的曲調，將抒情、感傷、幽默、民俗各種素材精湛組合，筆 法極為巧妙。第四樂章是布拉姆斯四首交響曲中最活潑快意的樂章之一，我們可以聽到奔放熱情，如同民 間狂歡節慶的爆發張力，但撐持樂曲的又是沉潛穩固的持續內勁。不但能動能靜，快慢交織轉換自然，此 段節奏更有老練精到的設計，再度展現作曲家的深厚功力。
從首演就獲得巨大成功，第二號交響曲不只是聽眾的心頭好，也是布拉姆斯身心休憩後的新出發。 NSO 新樂季以此曲開場，相信也是對未來的美好預言。
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Gioachino Rossini: William Tell Overture Gioachino Rossini's last opera was Guillaume Tell, written for Paris, where he had settled, and also familiar in an Italian version. It was first performed at the Paris OpÊra in August 1829. The action is set in thirteenth-century Switzerland, where the young Swiss patriot Arnold, in love with the Austrian noblewoman Matilde, seeks revenge for the death of his father through a rising against Austrian domination of his country. The overture is different in character from earlier Rossini operatic overtures, consisting as it does of four sections of programmatic music. Five solo cellos suggest alpine calm, followed by a storm and a pastoral scene in which cor anglais, flute and triangle join. This leads to the well known music to the sound of which so many celluloid heroes have ridden to the rescue of the spuriously innocent. In Act IV Arnold, standing outside his father's house, laments his father's fate and realizes that, with William Tell captured by the enemy, it is he who must lead the conspirators. Š 2015 Naxos Digital Services Ltd
Felix Mendelssohn: Piano Concerto No. 1, Op. 25, G minor The G Minor Concerto is unusual in a number of ways. In particular Mendelssohn dispenses with the customary orchestral exposition, as he was to do in the later Violin Concerto, allowing the orchestra a mere seven bars of introduction, before the brilliant intervention of the soloist. The stormy first theme leads to a second subject that is gentler in character, experimenting in the use of less usual keys. The central development section of the movement is followed by the briefest of recapitulations, ending in a fanfare, before the pianist leads the way into the E major slow movement, which might almost be an orchestrated Song without Words. The trumpets and French horns herald the start of the last movement, with its reminiscences of the first, its lightness of touch and brilliance, and concluding operatic panache. Š 2015 Naxos Digital Services Ltd
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樂曲解說
Johannes Brahms: Symphony No. 2, Op. 73, D major Having successfully completed his First Symphony after a fifteen-year struggle, Brahms began composing his Second almost immediately, working on it in the summer of 1877 at Portschach-am-Wörthersee and finishing the score that October at Baden-Lichtenthal. Brahms's friend, the scholar Philipp Spitta noted that 'the first two symphonies form a contrasted imaginative pair entirely characteristic of the composer, and they must be regarded as stemming from a single deeply hidden root'. The Second Symphony opens with a four-note figure in the cellos and basses which, in various guises, acts as starting-point for other themes in the work, and this 'pre-thematic' motto has its immediate origins in the main theme of the finale of the First Symphony. Furthermore, the lyricism and joy of the Second (Brahms called it 'the happy Symphony') surely complements the dramatic journey from darkness to light of its predecessor. Brahms invoked a sense of place for the work, writing to his friend the critic Eduard Hanslick: 'you will say: this is not a serious work of art, Brahms has been sly, the Wörthersee is virgin territory, with melodies flying around all over, such that one has to be careful not to tread on any.' Later Brahms teased friends who had not yet heard the symphony by characterizing it as particularly mournful, writing, for instance, to his publisher Fritz Simrock: 'The new Symphony is so melancholic that you will not be able to bear it. I have not yet written anything quite so sad, so 'minor': the score must appear with black borders and in mourning.' Brahms was clearly delighted with his new work, yet, as he revealed in a letter to his friend Vincenz Lachner, he regarded it as having a dark side also: 'I had very much wanted and attempted to get through the first movement without trombones. [...] But their first entry, that belongs to me and thus I cannot do without it and also the trombones. If you wanted me to defend that passage I would have to go further. Then I would have to acknowledge that I am in addition a deeply melancholic person, that the black wings flutter continually over us, that — perhaps not completely accidentally in my oeuvre this Symphony is followed by a small discourse on the great question 'Why' [the Motet: Warum ist das Lichtgegeben dem Muhseligen?, Op. 74, No. 1]. If you do not know it (the motet) I will send it you. It throws the necessary deep shadow onto the happy Symphony and perhaps explains those kettledrums and trombones. Brahms's characteristic integration of variation procedures into sonata form takes on new fluidity in this work, creating expressively rich diversifications of the prevailing idyllic mood. Thus in the first movement the gentle pastoral opening leads to the melancholy low brass chords, followed by a sinuous legato violin melody, an emphatic, almost violent arpeggio variant, and a brief scherzo interlude, before the second subject emerges—as a minor version of Brahms's famous cradle-song (a resonance noted by the composer himself). The development grows in energy, including strict fugato, grinding trombone and tuba entries, and a passage of climactically wide-ranging fortissimo arpeggios. The coda maintains this impetus to variation with a yearning horn solo, a waltz-like version of the opening, and more scherzo music, now combined with a brief quotation from his song 'Es liebt sich so lieblich im Lenze!' Brahms uses his four low brass instruments in the slow movement to enrich the sumptuous opening melody on cello and so point up the contrast with the lighter dance-like middle section on woodwind; but he also characteristically infused his contrast-based forms with sonata-style developments and, during a violent working-out here, the low brass give the pre-thematic motto a sinister twist. For the third movement Brahms inverts and extends
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this motto into a graceful minuet melody, which he transforms in the contrasted faster sections, bringing new dancetypes into play
— a gallop including march-like material, and a fast waltz. In the finale each of the sonata-form
sections opens quietly with a thematic elaboration of the motto; in exposition this leads to a jovial energetic variant, a sweeping largamente second subject, and a lively scotch-snap conclusion. The development introduces a more serious feel, splitting up motives, altering the key to minor, and using inversions, diminutions and augmentations. As further contrast Brahms includes a tranquillo lyrical episode here, which recurs in the coda just before the final blaze of glory, in which trombone scales and trumpet fanfares ultimately resolve the earlier, more troubled world of the low brass. The first performance was given by the Orchestra of the Philharmonic Concerts (today known as the Vienna Philharmonic) conducted by Hans Richter on 30th December 1877; the third movement was encored. Š 2015 Naxos Digital Services Ltd
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國家交響樂團
音樂總監 桂冠指揮
呂紹嘉 根特‧赫比希
駐團指揮
張尹芳
第一小提琴
★ 吳庭毓 ★ 李宜錦 ☆鄧皓敦 ○ 陳逸群 郭昱麟 林基弘 梁坤豪 陳逸農 卓曉青
方俊人 黃佳頎 李庭芳 賴佳奇 林孟穎 李家豪 曾智弘 蔡竺君 ＊ 白浩胤
第二小提琴
● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 黃衍繹 顧慈美 于爾恩 康信榮 李梅箋
鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔
中 提 琴
● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 李靖宜 謝君玲 呂孟珊 李思琪 陳猶白
蔡秉璋 吳彥廷
大 提 琴
● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 周幼雯 陳怡婷 林宜女閒 黃日昇 蘇酩惠
唐鶯綺
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 李 浚
短 笛
鐘美川
雙 簧 管
● 王怡靜 ◎ 阮黃松 楊舒婷 朱貞吟
英 國 管
李明怡
單 簧 管
● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸
低 音 管
● 簡凱玉 ◎ 陳奕秀 高靈風
倍 低 音 管
簡恩義
法 國 號
● 劉宜欣 ◎傅后銘 ○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
長 號
● 宋光清 ◎ 邵恆發 陳中昇
低音長號
彭曉昀
低 音 號
● 宮西純
定 音 鼓
● 連雅文 ◎ 陳廷銓
打 擊 樂
● 陳哲輝 陳振馨 楊璧慈
豎 琴
● 解 瑄
鍵 盤
▲ 許毓婷
執行長
邱 瑗
企劃演出經理 整銷推廣經理
杜佳舫 王承禹
音樂總監執行祕書 黃毓棻
企劃演出
整銷推廣
企劃專員 謝祥雯 賴盈帆 賴曉俐 人事組長 林碧珠 法務專員 劉善謙 譜務專員 高婉瑜 舞台監督 高冠勳 助理舞監 潘柏宏 蘇敬涵 行政專員 苗媛如 行政助理 沈靜宜
公關整銷專員 陳卜湄 行銷專員 鄭巧琪 曾柏雄 郭玲孜 葉儒芯 許方妍 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
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National Symphony Orchestra Music Director Shao-Chia Lü
Double Bass
Percussion
Fu ◎ Yi-Juan Su ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai
● Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang
● Yung-Ho
Conductor Laureate Günther Herbig Resident Conductor Yin-Fang Chang First Violin ★ Ting-Yu Wu ★ I-Ching Li Hao-Tun Teng ○ Yi-Chun Chen Yu-Lin Kuo Ji-Hung Lin Kun-Hao Liang Yee-Nong Chen Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee Chih-Hong Tseng Chu-Chun Tsai ＊ Hao-Yin Pai
● Shuen
● Yi-Ju
Chen ◎ Cheng-Mei Sun I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku ErAn Yu Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang
Viola ● Grace
Huang ◎ Chi-Chuan Teng ○ Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Yen-Ting Wu ▲ Yi-Ching Yuan
▲Yu-Ting Hsu
Flute Norell Miyazaki Chuin Lee ● Anders
Executive Director
◎ Chika
Joyce Chiou
Manager, Planning & Production
Piccolo
Sarah Tu
Mei-Chuan Chung
Manager, Marketing & Development
Oboe
Paul Wang
Wang ◎ Tung Nguyen Hoang Shu-Ting Yang Chen-Yin Chu
Secretary of Music Director
● I-Ching
Yu-Fen Huang
Planning & Production Programme Coordinator Shelby Hsieh Meng-Shan Wu Ying-Fan Lai Lizi Lai
English Horn Ming-I Lee
Clarinet Ju Chang Wei-I Chu Cheng-Jung Sun
Assistant Manager, Personnel
Bassoon
Librarian
Jian ◎ I-Hsiu Chen Ling-Feng Kao
Stage Manager
Bibi Lin
◎ Kai-Ting
Legal Officer Cary Liu Brittney Kao
● Kai-Yu
Kuan-Hsun Kao
Assistant Stage Manager
Contrabassoon
Odin Pan Ching- Han Su
En-Yi Chien
Administrator
Horn
Hui-Wen Wen
Cindy Liu ◎ Lewis Yeo Meng Poh ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ● Yi-Hsin
Administration Assistant Jing-Yi Shen
Marketing & Development PR & Project Coordinator Pu-Mei Chen
Marketing Coordinator
Trumpet
Chiau-Chi Cheng Sandy Wang Po-Hsiung Tseng Katherine Kuo Chieh-Wei Chen Eileen Lin■
Rusillon ◎ Chang-Po Chen Ching-Min Chang Loo-Kit Chong ● Nicolas
Trombone
Cello
Sung ◎ Hang-Fat Shiu Chung-Sheng Chen
● Lana
Bass Trombone
Hsiung ◎ Yi-Shien Lien ○ Chih-Yi Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang
Chieh
Keyboard
● May-Lin
Second Violin
★Concertmaster
Harp
Legal Consultant
● Kuang-Ching
Hsin-Ho Lin
Concert Dramaturgist Yuan-Pu Chiao
Recording Partnership
Hsiao-Yun Peng
Tuba ● Jun
Miyanishi
Timpani ● Ya-Wen
Lien
◎ Ting-Chuan
Chen
Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians Auxiliary ＊NSO Orchestra Academy
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