開季音樂會II Season Openings II
偉大 A Great Symphony
演出時間 2015年10月2日 (星期五) 7:30 p.m. 演出地點 國家音樂廳 National Concert Hall, Taipei 演出者 指 揮│呂紹嘉 Shao-Chia Lü, conductor 管風琴│克利斯汀‧舒密特 Christian Schmitt, organ 國家交響樂團 National Symphony Orchestra (NSO)
主辦單位 指定住宿 特別感謝
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
2
曲目
上半場 約 45 分鐘 下半場 約 55 分鐘
黃若（b. 1976）：《化變》 法蘭茲 ‧ 李斯特（1860-1911）/ 馬塞爾 ‧ 杜普瑞（1886-1971）： 《贖靈作用之水》幻想與賦格，為管風琴與交響樂團而作 ～中場休息～
法蘭茲 ‧ 舒伯特（1797-1828）：C 大調交響曲《偉大》 I. 行板－快板，但不過份快速－速度加快 II. 較快速的行板 III. 詼諧曲：活潑的快板 IV. 活潑的快板
HUANG RUO (b. 1976)：Becoming Another FRANZ LISZT (1860-1911) / MARCEL DUPRÉ (1886-1971)： Ad nos, ad salutarem undam, fantasia and fugue for organ and orchestra ~Intermission~
FRANZ SCHUBERT (1797-1828)：Symphony, D. 944, C major, The Great I. Andante – Allegro ma non troppo – Più moto II. Andante con moto III. Scherzo: Allegro vivace –Trio IV. Allegro vivace
3
演出者簡介
指 揮 conductor
呂紹嘉
Shao-Chia Lü
「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。
4
“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: Besançon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü took the position of General Music Director of the Koblenz Theatre (1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004), and the Staatsoper Hannover between (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 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.
5
演出者簡介
管風琴 organ
克利斯汀．舒密特 Christian Schmitt
舒密特是他同輩當中極受歡迎的管風琴家，曾在亞特蘭大、布魯日、卡加利、費城、東 京等地的國家級與國際級管風琴與音樂大賽，以及 2001 年德國音樂大賽中贏得諸多獎項， 也獲得歐洲文化協會的歐洲專業獨奏家獎。在世界各地的音樂合作中，曾受邀於柏林愛樂、 琉森音樂節、薩爾茲堡音樂節與科隆愛樂廳演奏。舒密特錄製超過 35 張 CD，包括學術性的 韓德爾與布瑞克西管風琴音樂全集；目前正為 cpo 錄製柯克瀾、魏多、古拜杜莉娜與帕海貝 爾的作品全集。舒密特現任教於斯圖加特巴赫國際學院以及薩爾音樂院，並於波士頓、克雷 蒙納、奧斯陸、墨西哥、莫斯科、首爾、塔什干與波哥大的音樂院客座指導。 Christian Schmitt is one of the most sought-after concert organists of his generation. He has won a dozen national and international organ and music competitions held in Atlanta, Bruges, Calgary, Philadelphia, Tokyo, and elsewhere, as well as the German Music Competition in 2001 and the Pro Europa soloist’s prize from the European Cultural Foundation. In his concertizing around the world he has been invited to perform at the Berlin Philharmonie, the Lucerne Festival, the Salzburg Festival, and Cologne’s Philharmonic Hall. His discography consists of over 35 CDs, including a scholarly edition of the complete organ music of Handel and Brixi. He is currently recording the complete works of Koechlin, Widor, Gubaidulina and Pachelbel for the cpo label. He teaches at the Bach International Academy in Stuttgart and at the Saar College of Music. As a visiting instructor Schmitt appears at music schools in Boston, Cremona, Oslo, Mexico, Moscow, Seoul, Tashkent, and Bogota.
6
駐團作曲家 composer-in-residence
黃若
Huang Ruo
1976 年，黃若生於中國海南。生長於八、九○年代的他於上海音樂學院附中同時接受中 式傳統教育與西方教育，師承鄧爾博教授。1995 年，黃若在瑞士國際電影音樂節上榮獲亨利 ‧ 曼奇尼大獎之後，移居美國深造，在奧柏林音樂學院獲得學士學位，並於茱莉亞音樂學院獲 得音樂碩士學位和作曲博士學位。黃若現任職於紐約曼尼斯音樂院教授作曲，亦是紅火樂團 （Ensemble FIRE）的藝術總監和指揮，曾於 2006 年獲美中關係全國委員會選為傑出青年。《紐 約客》雜誌譽為「世界最傑出的青年作曲家之一」。黃若的歌劇《中山逸仙》的美國首演，於 2014 年由聖塔菲歌劇院舉行，並將於 2018 年由溫哥華歌劇院進行加拿大首演。黃若另一部歌 劇《驚園》明年會在林肯中心藝術節上演，隨之將會在 2017 年來台灣的高雄衛武營藝術文化 中心演出。紐約愛樂，費城交響樂團，三藩市交響樂團，波蘭廣播交響樂團，華盛頓國家歌劇 院，休斯頓大歌劇院，都委約並首演過黃若的作品。 另外，黃若近日被任為阿姆斯特丹皇家 大會堂管絃樂團與 NSO 國家交響樂團的駐團作曲家。黃若的作品由 Ricordi 出版。 Huang Ruo was born in Hainan Island, China in 1976. After winning the Henry Mancini Award at the 1995 International Film and Music Festival in Switzerland, Huang Ruo moved to the United States to further his education. He earned a Bachelor of Music degree from the Oberlin Conservatory of Music and Master of Music and Doctor of Musical Arts degrees in composition from the Juilliard School. Huang Ruo is currently a composition faculty at the Mannes College of Music at the New School in NY. He is the artistic director and conductor of Ensemble FIRE, and was selected as a Young Leader Fellow by the National Committee on United States–China Relations in 2006. He has been lauded by the New Yorker as "one of the world's leading young composers". Huang Ruo's opera Dr. Sun Yat-Sen, had its American premiere by the Santa Fe Opera in 2014, and will receive its Canadian premiere in 2018 performed by the Vancouver Opera. His another opera Paradise Interrupted received its world premiere at the Spoleto Festival USA in 2015. Other performances are coming up at the Lincoln Center Festival in 2016 and National Kaohsiung Center for the Arts in 2017. Huang Ruo’s music has been premiered by the New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, National Polish Radio Orchestra, Washington National Opera, and Houston Grand Opera. In addition, Huang Ruo was recently named the composer-in-residence for Het Concertgebouw Amsterdam and Taiwan Philharmonic (NSO). Huang Ruo’s music is published by Ricordi.
7
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 紹嘉全然投入指揮，確實展現精緻的透明性。」
─英國《歌劇》雜誌 2015.1
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台灣，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「台灣之音」。 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 4 月改隸國家表演藝術中 心，以「台灣愛樂」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 30 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。
8
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 the later －Financial Times 2015/1/1 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 heard more －der neue Merker 2015/2 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, ensuring －Opera, UK 2015/1 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 semistage 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 (Zurich Operahaus, 2015) as well as in-house production Die Walküre (2013), and Salome (2014).
9
攝影 Raymond Huang
10
樂曲解說
黃若：《化變》 撰文．黃若 中譯．車炎江
《化變》的靈感，源自一句古代中國銘文：「陰陽備物，化變乃生。」語出《黃帝四經》 之《十大經》篇〈果童〉。 經過演化與變形的處理程序，《化變》裡的靜態與動態元素持續不斷地相互轉換。二者 共構形塑著生命的循環、化變的平衡。整個作品建構在一股氣息的基礎之上。這股氣息是從 最低層、最深處的空間集結產生，接著蜿蜒迂迴地逐漸爬升到較高的層次。最後，這股永恆 不滅的氣息迸發、釋放、消融於無垠的太空。 《化變》乃是接受國家交響樂團、呂紹嘉總監委託所創作的樂曲。樂曲全長約十五分鐘， 自始至終一氣呵成、毫無間斷。樂團配器包含：長笛 3、雙簧管 3、降 B 調豎笛 3、低音管 3、 F 調法國號 4、C 調小號 3、長號 3、低音長號、低音號、打擊樂器 2 組、絃樂團。
法蘭茲 ‧ 李斯特／馬塞爾 ‧ 杜普瑞： 《贖靈作用之水》幻想與賦格， 為管風琴與交響樂團而作 撰文．車炎江（國立臺北藝術大學音樂學博士）
1849 年，梅耶貝爾（Giacomo Meyerbeer, 1791-1864）的五幕法國大歌劇《先知》（Le prophète）首演。令人掩面嘆息的悲傷劇情，以十六世紀宗教改革重洗禮派（Anabaptism） 嚴格神學教義為背景，其中第一幕出現三位狂熱信徒齊聲吟誦拉丁文聖歌〈贖靈作用之水〉 （旋律出自梅耶貝爾之手），表面上是在呼召眾人重新受洗歸入基督名下，實際卻企圖慫恿 人民針對逆天無道的伯爵發動革命抗爭： "Ad nos, ad salutarem undam, iterum venite miseri ad nos, ad nos venite populi."（來到我們 這裡領受救贖之水，可憐的人啊，再一次到我們這裡來，眾人啊，到我們這裡來。） 當時正在尋思管風琴曲創作靈感的李斯特，顯然對〈贖靈作用之水〉印象深刻；翌年 （1850）便以這段旋律作為主題，譜寫篇幅巨大、演奏時間約近卅分鐘的管風琴幻想曲與賦
11
樂曲解說
格，1852 年 10 月 29 日於威瑪首演。全曲主要分為三大段落，以〈贖靈作用之水〉主題旋 律起始的 C 小調幻想曲作為前導，經過終止裝飾與一小段宣敘調（recitativo）串連進入兼具 抒情性與戲劇表現的慢板樂段（adagio）；隨後速度轉快，變成流暢的稍快板（allegretto con moto），以複附點節奏改編主題旋律，採用形式完整的賦格作為全曲之終結。 身為名聞遐邇的鋼琴炫技大師，李斯特不僅遊刃有餘地在管風琴主鍵盤的手部展現斑 爛華麗的音型、變化萬千的和聲與音色，腳踏低音鍵盤的聲部處理也絲毫不顯窒礙。廿世紀 法國管風琴大師暨作曲家杜普瑞（Marcel Dupré, 1886-1971）接受美國費城旺納梅克基金會 （Wanamaker Foundation）委託，將此曲改編為管風琴與編制龐大的管絃樂團重新演出，更 增此曲恢宏氣勢―原本顯得朦朧黯淡的管風琴低音鍵盤聲部，以木管、銅管聲部強化之後， 變得更加立體清晰。只可惜這個改編版本在當時僅公開演奏過一次後便消失無踪，亦不曾出 版樂譜。原本樂界認為這份杜普瑞的改編譜早已佚失，直到手稿在他巴黎住處的地下室被人 發現後，才在 2007 年重見天日。
法蘭茲 ‧ 舒伯特：C 大調交響曲《偉大》 撰文．車炎江 維也納作曲家舒伯特被封為「歌曲之王」，除了彰顯他在德文藝術歌曲世界的卓越貢獻， 亦表示他擅長創作富歌唱性的旋律，對於譜寫規模編制較小的樂曲頗有獨到之處。但這位只 活了卅一歲便英年早逝的短命天才，並未將自己拒於大型管絃作品之外，一生曾經有十四次 嘗試譜寫交響曲的記錄；已知現存的作品手稿中，扣除後人補遺改編之作，至少有八首已經 完整出版。這首四樂章的 C 大調交響曲，正是其中最完整、篇幅最長的曠世鉅作，連同另一 闋僅二個完整樂章的 B 小調交響曲「未完成」（D. 759），充份向世人展現舒伯特絕對具備 成為貝多芬交響曲繼承人的真本領，並且穩坐德奧浪漫主義交響曲第一人寶座。 近代學者根據廿世紀最新發掘的史料，推斷舒伯特大約在 1825 年夏天開始創作此曲， 直到翌年（1826）完成。他在這段期間與男中音歌唱家弗格（Michael Vogl, 1768-1840）巡迴 演出，獲得可觀收入之餘，據說曾在奧國格蒙頓與加斯坦溫泉區停留時寫過一闋「格蒙頓－ 加斯坦」（Gmunden-Gastein）C 大調交響曲。原本後世學者以為此曲樂譜早已散佚，直到 有確切文獻證實此曲即為世人俗稱的「偉大」交響曲（Große Sinfonie）之前身才揭曉謎底。 這裡使用的德文形容詞（Groß）意義為「大」，添加的原始目的並非強調此曲的浩瀚偉大， 而是後人為了和舒伯特十九歲時譜寫的另一首比較短小的 C 大調交響曲（D. 589）作出區別 所致。
12
由於無法負擔作品首演經費，所以舒伯特打算將此曲題獻給維也納音樂之友協會 （Gesellschaft der Musikfreunde）並希望對方能主動公開發表此曲，可惜事與願違，該協會 以此曲過於龐大艱澀無法演出為由予以回絕。直到舒伯特過世十年後，舒曼從舒伯特兄長費 迪南（Ferdinand Schubert, 1794-1859）手中取得手稿，才得以在 1839 年 3 月 21 日由孟德爾 頌指揮萊比錫布商大廈管絃樂團公開首演。舒曼在樂評裡宣稱此曲擁有「宛如天一般的長 度」，一方面強調這首交響曲近乎文學巨著般的罕見篇幅，同時也暗喻舒伯特在嚴謹的四樂 章形式架構當中展現的豐富樂思――貝多芬交響曲的壯闊澎湃、強烈戲劇性與節奏特徵、以 及舒伯特最擅長的抒情歌唱風格主題，全部囊括在內。至於令樂團望而生畏、難以跨越的高 難度演奏技術要求（特別是銅管樂器的演奏份量），讓此曲足足等候歐洲樂團將近半世紀的 發展演進才得以列入音樂會的主要曲目。 第一樂章已從過去出版譜的 4/4 拍子修正為舒伯特原始手稿的 2/2 拍子，這使得晚近指 揮與樂團對此曲的演奏詮釋勢必與前人大不相同。法國號吹奏八小節 C 大調主題旋律揭開全 曲序幕，從行板導奏進入快板奏鳴曲式，都可以聽見這個主題陸續演變出不同的面貌特徵， 成為統整該樂章的重要材料；呈示部第二主題轉入 E 小調、後以 G 大調收尾的調性布局， 有別於古典時期交響曲常見手法，顯示舒伯特採用三度音程轉調的個人偏好。以抒情行板為 主的第二樂章，具附點性格的第一主題由 A 小調起始，與歌唱似的第二主題 A 大調調性形 成鮮明對比，這也是舒伯特偏愛的同名大小調性關係。第三樂章詼諧曲回到 C 大調主調性， 主旋律強有力的快速三拍子節奏動感十足，似乎反映貝多芬晚期交響曲的詼諧曲樂章特徵； 中段轉入 A 大調，改為穩定的附點節奏進行，愉悅的舞曲性格昭然若揭。第四樂章以軍樂 般浩大壯盛的管絃樂團語法開場，伴隨極具速度與律動感的快速三連音，呈現持續不輟的動 能。飽滿的樂團聲響、細膩優雅的輕盈旋律，交織在這個龐大的樂章裡。有趣的是在終樂章 不斷出現的相同音高四聲長響，甚至偶然出現與某些貝多芬交響曲旋律神似的剎那，勢將給 予愛樂觀眾許多聯想空間。
13
樂曲解說
Huang Ruo: Becoming Another By Huang Ruo
The inspiration of Becoming Another, （《化變》）, came from an ancient Chinese saying: “From all of Yin and Yang is each becoming and changing generated”（「 陰 陽 備 物， 化 變 乃 生 」) in “Guotong”, Ten Classics, Texts of the Yellow Emperor （《黃帝四經》之《十大經》．《果童》） In Becoming Another, during the process of evolving and transformation, the elements of stillness and motion are constantly exchanging with one another. Together they form the circle of life and balance of change. The entire piece is based on and built on one breath. The energy of breathing gathers and generates from the lowest and deepest space, and then escalates and zigzags onto a higher level. Eventually, this everlasting breath outbursts, releases, and dissolves into the thin high air. Becoming Another is commissioned by and written for maestro Shao-Chia Lü and the National Symphony Orchestra (NSO). The entire work runs around 15 minutes, and should be played without pause. Its instrumentation includes: 3 flutes, 3 oboes, 3 clarinets in Bb, 3 bassoons, 4 horns in F, 3 trumpets in C, 3 trombones, bass trombone, tuba, 2 percussions, and string orchestra.
Franz Liszt / Marcel Dupré: Ad nos, ad salutarem undam, fantasia and fugue for organ and orchestra Franz Liszt was commissioned to compose a fantasia on the motif B-A-C-H (= B-flat, A, C, B-natural) for the dedication of the new organ in Merseburg Cathedral. However, he was unable to finish it in time; he replaced it with his Fantasia and Fugue on the chorale Ad nos, ad salutarem undam (from Meyerbeer’s opera Le Prophète) on the programme. This “Prophet Fugue,” as Liszt called it, is one of the most impressive works of secular character in the entire organ literature. Marcel Dupré, one of the 20th century’s greatest organists, arranged it for organ and orchestra, but there was only one documented performance of his version; he played it on a concert tour of the U.S.A., after which it disappeared.
14
This version of the “Prophet Fugue” for organ and orchestra was played for the first time in Europe on 23 September 2007 in Merseburg, the same venue where the solo work was first given in 1855; the performers were Olivier Latry and the Anhaltische Philharmonie Dessau, Michael Schönheit conducting. © Universal Edition
Franz Schubert: Symphony, D. 944, C major The Great The Great C major Symphony marks the summit of Schubert's achievement in the form. The work was completed in the spring or summer of 1826, based on sketches made the previous summer during holidays in the Austrian countryside with Johann Michael Vogl, now considerably revised, with the conclusion added. Schubert approached the Gesellschaft der Musikfreunde (Philharmonic Society of Vienna) for a performance and there was a run-through later in the following year, but the idea of a public performance was postponed, owing to the length and apparent difficulty of the symphony. It was not until 1839 that the symphony was given its first public performance, on that occasion by the Leipzig Gewandhaus Orchestra conducted by Mendelssohn. The Gesellschaft, to which Schubert dedicated the symphony, gave him an honorarium of a hundred florins. The work makes use of only a pair of French horns and three trombones, with the usual pairs of woodwind instruments and strings. The slow introduction to the first movement starts with a French horn statement of the theme, then taken up by the woodwind and elaborated by the strings, before an emphatic statement of the theme and a passage accompanied by violin triplets that leads to the Allegro ma non troppo. Here the principal theme is stated with some urgency, followed by oboes and bassoons declaring an E minor secondary theme that proceeds to a G major codetta before the central development. After this further exploration of the thematic material the principal theme returns in recapitulation, followed by the secondary theme, now offered by oboes and clarinets in the tonic minor. A change to the major allows a triumphant conclusion to the movement. The second movement, marked Andante con moto, is opened by the strings with a solemn A minor march, the melody first suggested by cellos and double basses before the entry of the oboe, later doubled by the clarinet. This is contrasted with a more lyrical melodic continuation in A major. The central section of the movement introduces a contrast of key and mood with a new melody based on a descending figure. The march returns, heralded by the French horn, in syncopation with string chords.
15
The second movement, marked Andante con moto, is opened by the strings with a solemn A 樂曲解說 minor march, the melody first suggested by cellos and double basses before the entry of the oboe, later doubled by the clarinet. This is contrasted with a more lyrical melodic continuation in A major. The central section of the movement introduces a contrast of key and mood with a new melody based on a descending figure. The march returns, heralded by the French horn, in syncopation with string chords. The cellos, with a song-like version of the theme, lead to an A major version of the secondary theme. The A minor principal theme returns in conclusion. The strings unite in the first four bars of the C major Scherzo, answered by wind instruments and timpani in a movement imbued with the spirit of Beethoven. The strongly marked opening is counterbalanced by a lyrical element that follows. Horns, joined by trombones and clarinets, introduce the A major Trio with repeated notes, with lilting thematic material, suggesting once again a song. The repetition of the Scherzo is followed by the final Allegro vivace, loudly proclaimed, an energetic theme succeeded by the swaying theme offered by oboes, clarinets and bassoons. Subtle connections with earlier movements are apparent, in rhythms, forms of melody and contrast. The music sweeps all before it, as it takes its course to a conclusion that can bear the weight of what has preceded it.
© 2015 Naxos Digital Services Ltd
16
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 ＊林君翰
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 ＊ 游婉婷
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
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 ＊王濟揚
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 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
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 許方姸 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
National Symphony Orchestra Music Director Shao-Chia Lü
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 ● 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 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
◎ Chi-Chuan ○
●
Cello
● Shuen
Chieh
Keyboard ▲Yu-Ting Hsu
Executive Director
◎ Chika
Joyce Chiou
Norell Miyazaki Chuin Lee
Piccolo Mei-Chuan Chung
Oboe
Manager, Planning & Production Sarah Tu
Manager, Marketing & Development Paul Wang
Secretary of Music Director
● I-Ching
Yu-Fen Huang
◎
Planning & Production Programme Coordinator
Wang Tung Nguyen Hoang Shu-Ting Yang
English Horn Ming-I Lee
Clarinet Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun
Shelby Hsieh Ying-Fan Lai Lizi Lai
Assistant Manager, Personnel Bibi Lin
Legal Affairs Cary Liu
Librarian
Bassoon
Brittney Kao
Jian ◎ I-Hsiu Chen Ling-Feng Kao
Stage Manager
● Kai-Yu
Contrabassoon En-Yi Chien
Kuan-Hsun Kao
Assistant Stage Manager Odin Pan Ching- Han Su
Administrator
Horn
Yuan-Ju Miao
Cindy Liu ◎ Lewis Yeo Meng Poh ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ＊ Chih-Yang Wang
Administration Assistant
● Yi-Hsin
Trumpet Rusillon Chen Ching-Min Chang Loo-Kit Chong
● Nicolas
◎ Chang-Po
Trombone Sung Hang-Fat Shiu Chung-Sheng Chen
● Kuang-Ching
●
★Concertmaster
Harp
● Anders
◎
Lana 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 ＊Chun-Han Lin
Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang
Flute
● May-Lin
Second Violin
Percussion
Fu ◎ Yi-Juan Su ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai ＊ Wan-Ting Yu ● Yung-Ho
Conductor Laureate Günther Herbig
●
Double Bass
Bass Trombone
Jing-Yi Shen
Marketing & Development PR & Project Coordinator Pu-Mei Chen
Marketing Coordinator Chiau-Chi Cheng Po-Hsiung Tseng Katherine Kuo Ashley Yeh Fang-Yen Hsu Eileen Lin■
Legal Consultant Hsin-Ho Lin
Concert Dramaturgist Yuan-Pu Chiao
Recording Partnership
Hsiao-Yun Peng
Tuba ● Jun
Miyanishi
Timpani Lien Ting-Chuan Chen
● Ya-Wen ◎
Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians Auxiliary ＊NSO Orchestra Academy
18
19