幻想 交響
10 17 /
A FANTASTIC Symphony 演出曲目
Program
萊奧什•雅納捷克（1854-1928）： 《狡猾的小母狐》組曲，改編者：瓦茨拉夫．塔利 希、瓦茨拉茨．斯梅塔茨克
LEOŠ JANÁČEK (1854-1928) : The Cunning Little Vixen Suite (Arranged by Václav Talich
I. II.
and Václac Smetácek)
行板
I.
行板
II. Andante
法蘭茲•李斯特（1811-1886）： A大調第二號鋼琴協奏曲，作品125
Andante
FRANZ LISZT (1811-1886) : Concerto for Piano and Orchestra No. 2 in A Major, S. 125
相當持續的慢板—相當激動的快板—中庸的快板—堅定的
Adagio sostenuto assai – Allegro agitato assai – Allegro moderato –
快板—勇武且稍慢的快板—生動的快板
Allegro deciso – Marziale un poco meno allegro – Allegro animato
~中場休息~
~Intermission~
埃克托•白遼士（1803-1869）： 《幻想交響曲：一位藝術家生命中的插曲，分五個 部份》，作品14
HECTOR BERLIOZ(1803-1860) : Symphonie fantastique: Épisode de la vie d'un artiste ... en cinq parties, Op. 14
I. II. III. IV. V.
I. II. III. IV. V.
〈夢與熱情〉 〈舞會〉 〈鄉村情景〉 〈往斷頭台的進行曲〉 〈女巫夜之夢〉
演出時間│ 2015年10月17日 (星期六) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei 主辦單位│ 指定住宿│
特別感謝│
演出長度│上半場約40分鐘，下半場約50分鐘
演出者
‘Rêveries – Passions’ ‘Un bal’ ‘Scène aux champs’ ‘Marche au supplice’ ‘Songe d'une nuit du sabbat’
指 揮│賈克•拉孔 Jacques Lacombe, conductor 鋼 琴│陳毓襄 Gwhyneth Chen, piano 國家交響樂團 National Symphony Orchestra (NSO)
1︱幻想交響
歡 迎
Welcome
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！
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.
國家表演藝術中心董事長
Chairman, National Performing Arts Center
演出者介紹 指揮｜賈克•拉孔 過去六個樂季，出身加拿大 的紐澤西交響樂團音樂總監拉孔為 這個樂團帶來了藝術成就上的新高 度與樂評的盛讚。他也是備受歡迎 的客席指揮家，常與許多世界知名 的音樂機構合作，包括紐約大都會 歌劇院、檀格塢音樂節、柏林德意 志歌劇院、巴伐利亞國立歌劇院、柯芬園皇家歌劇 院；也與波士頓、辛辛那提、蒙特婁、多倫多等地 的樂團合作，多不勝數。另外，拉孔也在故鄉魁北 克帶領三河城交響樂團。2012年，受封魁北克國家 騎士勳章，為魁北克最高市民榮譽；同年亦獲頒伊 莉莎白女王二世鑽禧獎章。2013年，獲得該國最高 國民榮譽之一的加拿大員佐勳章。 鋼琴｜陳毓襄 九歲時與家人移民美國，跟 隨名師 Robert Turner學習，1990年 莫斯科柴科夫斯基國際鋼琴大賽成 為決賽者，為當年決賽中唯一的 亞洲人，隔年開始於世界各地巡迴 演奏，地點遍及美國、俄羅斯、德 國、法國、波蘭、西班牙、奧地 利、克羅埃西亞、瑞士、日本、中國；1993年奪得 「波哥雷里奇鋼琴大賽」桂冠並同時獲得三個特別 獎，此後成為名鋼琴家波哥雷里奇及其夫人（Alice Kezeradze）傳門弟子，1994年完成茱莉亞音樂學 院碩士學位，師承Martin Canin、殷承宗和 Byron Janis，同年接受名指揮家Mikhail Pletnev邀請，於莫 斯科音樂院大廳合作拉赫瑪尼諾夫第三號鋼琴協奏 曲，合作關係連續長達七年，並於1995年獲選為美 國一百位頂尖成就的華人代表。錄音專輯《珍愛的 蕭邦》獲得2011年台灣金曲獎最佳演奏專輯，2015 年受邀成為史坦威藝術家。
Jacques Lacombe As music director of the New Jersey Symphony Orchestra for the past six seasons, Canadian-born Jacques Lacombe has brought this ensemble to new heights of artistic excellence and critical acclaim. He is also in demand as a guest conductor with many of the world’s most prestigious musical organizations, including the Metropolitan Opera in New York, the Tanglewood Music Festival, the Deutsche Oper Berlin, the Bavarian State Opera, the Royal Opera House Covent Garden, and the major orchestras of Boston, Cincinnati, Montreal and Toronto, among many others. In addition, Lacombe leads an orchestra in his native province of Quebec, the Orchestre symphonique de Trois-Rivieres. Lacombe received Quebec’s highest civilian honor in 2012, when he was named a Chevalier de l’Ordre national du Québec. That same year he received the Queen Elizabeth II Diamond Jubilee Medal. In 2013, he was appointed as a Member of the Order of Canada, one of the highest civilian honors in the country. Gwhyneth Chen Gwhyneth Chen is a Taiwanese-American pianist who was laureates in several piano competitions, including Tchaikovsky International Piano Competition in 1990, Prokofieff International Piano Competition in 1992, the Ivo Pogorelich International Piano Competition in 1993. Gwhyneth has appeared as a soloist with a number of orchestras, including the Los Angeles Philharmonic, Hong Kong Philharmonic, Moscow Radio Symphony, Bergen Philharmonic, Kyushu Symphony of Japan, Taiwan National Orchestra, Shanghai Symphony and many others. She is also a frequent guest soloist in many international festivals, such as Aspen Music Festival, Montreal Music Festival, Pogorelich Festival, Bowdoin Music Festival, Chopin Festival in Poland, Hanover, and Vienna, and the Lake Placid Music Festival. Chen's CD on the Chimei label, "Gwhyneth Chen: Chopin Favorites" won "Best Performance" in the Golden Melody Awards in 2011 and has become a Steinway Artist since 2015.
2︱幻想交響
樂曲解說 撰文│沈雕龍（德國柏林自由大學音樂學博士）
法蘭茲•李斯特：
萊奧什•雅納捷克：《狡猾的小母狐》組曲，改編 者：瓦莰拉夫•塔利希、瓦莰拉莰•斯梅塔莰克
A大調第二號鋼琴協奏曲，作品125
1924 年，捷克作曲家雅納捷克（Leoš Janáček , 1854-1928 ）創作了他的第七部歌劇《狡猾的小 母狐》（The Cunning Little Vixen）。劇情敘述 一隻小母狐無意間被林場看守員補回，長大後從 看守員身邊脫逃，回到大自然世界。和另外一隻 公狐相戀後，組成了一個家庭，有一窩小狐狸。 同時間，人類世界中正交織著情感的糾葛，包括 林場看守員的眾人共同愛上了一位吉普賽女子， 該女子最後卻與盜獵者訂婚。母狐為了保護小狐 狸不受於盜獵者的傷害，自己命喪於其槍下。見 到母狐毛皮的林場看守員，失落地返回森林，夢 見母狐子孫的他，陷入對大自然循環生生不息的 哲思裡。 雅納捷克的音樂神靈活現地帶出了歌劇中童 話般的大自然氛圍、動物及昆蟲的種種動作性聲 響。為了要讓歌劇院以外的聽眾也能夠欣賞到雅 納捷克出色的管絃音樂，幾位與作曲家友好的指 揮家與音樂家從歌劇中改編出適合音樂會演奏的 管絃樂組曲，至今有多個版本。這次演出《狡 猾的小母狐》組曲，是出自於 1937 年由 Václav Talich 編輯，之後又由 Václac Smetácek 續編的版 本，分為兩個樂章。第一樂章中的音樂皆來自於 歌劇中第一幕第一景小母狐在森林中的遭遇，音 樂按照劇情順序生動地呈現了，林中午後陽光、 蒼蠅、蜻蜓、蚊子、青蛙、狐狸與林場看守員等 種種「聲態」。第二樂章的音樂皆來自歌劇第一 幕第二景小母狐住在林場看守人小屋的生活。一 段描繪從夜晚迎向朝陽的音樂中，恢宏伸展的主 題不斷轉調、模進，變換於不同樂器聲部間，猶 如一襲色彩斑斕的音毯揮灑開來。第二樂章最後 結束在小母狐屠殺雞群並逃離人類的音樂裡。如 是，《狡猾的小母狐》組曲的雙樂章安排，有抒 情、有標題性的聯想，也有最終的熱烈感，可以 說滿足了十九世紀以來音樂會聽眾對管絃音樂所 抱有的多重期待。
李斯特（ Franz Liszt, 1811-1886 ）的第二號 A 大調鋼琴協奏曲最初創作於 1839 年，隨後歷 經長期修改，最後首演於 1857 年，定稿卻直到 1863 年。在這段漫長的修改歲月中，李斯特對 鋼琴協奏曲的思維也在改變。眾所皆知，十九世 紀出現了大量炫技型的鋼琴家，因此，這個時代 鋼琴協奏曲中鋼琴與樂團之間的互動，重心往往 偏向鋼琴那一方。李斯特在他的第一號降 E 大調 鋼琴協奏曲中（ 1830-1849 ），的確展現了那種 以鋼琴為主角的炫技式協奏曲傾向。然而，李斯 特在其第二號鋼琴協奏曲中卻顯示了一種新的思 維，如同他在手稿中曾經親筆寫下的「交響式協 奏曲」（concerto symphonique）。 構成交響性的要件之一，是在樂章間建構出 主題與動機的網路脈絡。李斯特將他運用於「交 響詩」的關鍵性手法「主題變形」，轉換到了他 的鋼琴協奏曲中。相較於第一號鋼琴協奏曲中的 主題變化的幅度有限，第二號鋼琴協奏曲中的主 題變形卻有相當多樣化的型態。例如整曲開始的 慢板中由木管徐徐吹出的三四拍抒情性主題，亦 可以在後面的快板裡由全樂團兇猛地奏出四四拍 進行曲個性變形。 主題變形之技巧貫穿在長篇的樂曲中，營造 明晰的凝聚性，亦使得李斯特的第二號鋼琴協奏 曲在曲式上面能有更大的突破。這首協奏曲從外 觀上看來上只有一個樂章，其內部卻橫跨了六個 速度、表情、拍號、調性相異的段落，彷彿是一 首有鋼琴獨奏的「交響詩」。李斯特的第二號鋼 琴協奏曲，除了鋼琴和樂團燦爛的互動之外，亦 散發著一種無言的交響詩意。
埃克托•白遼士：《幻想交響曲：一位藝術家生命 中的插曲，分五個部份》，作品14
1 8 2 7 年 2 4 歲 的 白 遼 士 （ He c t o r B e r l i o z , 1803-1869）在巴黎觀賞了莎士比亞戲劇的 演 出 後 ， 便 迷 戀 上 劇 中 女 主 角 史 密 森 (Harriet Smithson) 。然這段戀情卻始終未果。 1830 年 初，白遼士寫信給好友，透漏了自己糾結的心境 及新的創作目標：「我又陷入無止盡的痛苦和無 法控制的熱情中，既沒有動機也沒有目標。 [...]
3︱幻想交響
我正要開始我的大交響曲（一位藝術家生命中的 插曲），用來描述我所經歷」。這部 1830 年誕生 的「大交響曲」，就是《幻想交響曲》。 《幻想交響曲》的五個樂章都帶有標題，為 十九世紀標題音樂的發軔性作品之一。標題中清 楚地描述了一位善感的藝術家，苦於單戀而絕望 地吞食鴉片自殺。白遼士設計了一段反覆於每個 樂章的旋律，象徵藝術家想像的情人，並在標題 中將之命名為當時精神醫學所指的強迫性反覆回 憶症狀：「執念」 (idée fixe) ，亦即所謂的「固 定樂思」。正是透過「固定樂思」在五個特色情 境樂章中的聲態與變形，《幻想交響曲》本身有 獨立於標題之外的音樂戲劇興味，以下略述其特 點：第一樂章，夢與熱情，「固定樂思」在呈示 部響起於長笛與第一小提琴中，二二拍下獨特不 規則的旋律，伴奏以絃樂零星的心跳節奏，象徵 藝術家與情人間觀與被觀，隱匿的屏息與壓抑。 第二樂章，舞會：本來二二拍的「固定樂思」， 在長笛和雙簧管聲中融入舞曲的三拍子裡，伴奏 以絃樂震音與心跳節奏，象徵情人華麗的舞步， 在藝術家心裡引起的只是惶惶不安。第三樂章， 鄉村情景：長笛和雙簧管奏出的「固定樂思」直 到樂章中段才響起，和低音管與低音絃樂在音 色、演奏力度與方式（一為圓滑、一為斷奏）中 呈現強烈的對比，呼應標題中「希望與恐懼的交 織」。第四樂章，往斷頭台的進行曲：進行曲結 尾，齊奏的樂團驟然被單簧管以極弱音量獨奏 「固定樂思」接過去，又倏地被樂團齊奏蓋過， 彷彿藝術家臨刑前「最後一絲對情人的回憶」被 「致命的鍘刀所斬斷」。第五樂章，女巫狂舞夜 之夢：此處奏出的「固定樂思」不再優雅，而是 在降 E 調豎笛的半、倚、震音中，發出輕浮怪誕的 聲響；接入〈末日經〉（ Dies Irae ）與狂亂圓舞 之後，情人已化身為惡夜女巫，「固定樂思」的 「聲影」也不復存在。
Program Notes L e o š J a n á č e k : T h e C u n n i n g L i t t l e Vi x e n Suite (Arranged by Václav Talich and Václac Smetácek) The Cunning Little Vixen composed in 1924 is derived from a series of cartoons. In 1920 the popular Brno newspaper Lidové noviny serialised Vixen Bystrouska, a joyful and quixotic tale by Rudolf Tĕsnohlídek (based
on pictures by Stanislav Lolek). Tĕsnohlídek originally suggested that the Vixen (and his story) was rather unsophisticated material for an opera, which certainly showed how unaware he was of the refined work that Janáček would tease out of a simple newspaper story. The Cunning Little Vixen, although thoroughly imbued with the humor and spirit of the original cartoons, is a more serious work. Over the course of the drama (and particularly after the death of the eponymous heroine) it becomes clear that through this charming little story Janáček is uncovering a more fundamental truth about the natural world. The suite begins in the late afternoon sun of the forest. The chattering of the animals can be heard against the lull of the heat as the Forester begins his journey home. Of particular note here is a dragonfly, heard flying around the forest. Although it meets its end during the course of the overture, its brief life hints at the pervasive mortality and cycle of nature at the heart of the opera. In the second movement we join the Vixen after the Forester has captured her, at first stymied by her domestication and then, in a numinous interlude, dreaming of escape. This break-out is realized in the final moments of the movement, as she kills the entire chicken coup, breaks her leash and bolts over the fence back into the forest. Back in her natural habitat, the Vixen meets a dashing young fox and the third movement is based on music from their lush courtship duet at the close of Act Two. Recalling the late summer heat in Act Two of Kát'a Kabanová, there is a heavy sense of melancholy about the musical language, with pining woodwind solos overlapping as the harmonies become more heightened. Moving back with the tap of xylophone we hear the Vixen's triumphal dance as she evicts the Badger from his set. Taking possession of his former home, the Vixen stamps out a vicious Charleston, before the music returns to the string-based love music of before. The fourth movement is a further development of themes from the second act, ending in the Vixen and Fox's sunny wedding celebrations. After the heady second act, the fifth movement returns us to the brutality of nature, heard first in the depiction of winter in the forest. The Vixen is desperately searching out food for her burgeoning young family and the Entr'acte to the third act depicts the capture and death of a small hare. The poacher Harasta can be heard stalking through the forest, singing a lilting folk-song. A second section recalls the music that sounds after the death of the Vixen by Harasta's hand. Ethereal woodwind and strings ululate as plangent clarinet and oboe solos alternate, beautifully describing the tragedy of the piece. The final movement moves towards more hopeful morals, with the vivacious chorus of the fox cubs, the rattle of percussion picking out
4︱幻想交響
their simple ditty, before the full orchestra (with the shimmer of cymbals) rings out the final hymn to the glories of nature, which sounds after the Forester realizes that nature has an eternal cycle, if we could only look after it. © 2015 Naxos Digital Services Ltd
Franz Liszt: Concerto for Piano and Orchestra No. 2 in A Major, S. 125 Liszt wrote his Piano Concerto No. 2 in A major in 1839 and revised it during the Weimar years. It was published in 1863. Liszt had conducted the work in public for the first time in Weimar in 1857 with his pupil Hans von Bronsart as soloist. Str ucturally the concer to is in one continuous movement. Two thematic elements are presented in the opening Adagio, the first heard at the outset from the clarinets and the second with sharply marked accompanying figuration. A descending display of chromatic octaves leads to the B flat minor Allegro agitato assai, which introduces third and fourth thematic elements, the latter offered emphatically by the strings, reinforced by the bassoons. A brief cadenza leads to an E major section, marked Allegro moderato, which opens with the fourth theme now transformed, with the direction dolce espressivo. Here the first theme is heard again from a solo cello and the piano introduces a fifth theme, marked con abbandono. A brilliant cadenza is followed by a D flat major Allegro deciso, in which the fourth theme can be heard in another transformation, accompanying a metamorphosis of the second theme. The first theme undergoes a further transformation into a march in the final Marziale in A major, capped by the concluding Allegro animato, with its glissandi and stretto, providing a triumphant ending., S. 125, A major. © 2015 Naxos Digital Services Ltd
extend the scope of musical expression in the generation after Beethoven. Described as An Episode in the Life of an Artist, the symphony is haunted by an idée fixe, a recurrent fragment of melody, symbolizing the beloved, a prototype of the Leitmotiv, to be developed by Wagner. In 1830 the autobiographical nature of the symphony represented something entirely new. A young musician, in despair, has poisoned himself with opium and in a long sleep has a series of vivid dreams and nightmares, the idea of his beloved coming again and again to his mind. He recalls the joys and depressions of the past, before she came into his life, and then the neurotic despair and jealousy that her appearance brought him, with passing consolation in religious serenity. The second movement evokes the music of a ball, at which, in the swirl of the dance, he catches glimpses of his beloved again. This is followed by a third movement that cost the composer much labour. In the countryside two shepherd boys play a melody to call the cows, and all is tranquility until the beloved appears again, with all the anxious questioning that that must provoke. A shepherd plays his pipe, but this time there is no answer, and as the sun sets distant thunder is heard, followed by silence. The March to the Scaffold, written in one night, brings a dream of the murder of the beloved, for which the hero is condemned to death. The march, with its steady tread, has its wilder moments, as the procession makes its way through the crowd. The beloved appears at the moment before the axe falls. The final movement is a Witches' Sabbath, a wild orgy of diabolic celebration, the idée fixe of the beloved now a shrill mockery. The death knell is heard and the sound of the traditional chant of the Dies irae, the hymn of the Day of Judgement from the Requiem Mass, mingles with the dance, as the work draws to an end. © 2015 Naxos Digital Services Ltd
Hector Berlioz: Symphonie fantastique: Épisode de la vie d'un artiste ... en cinq parties, Op. 14 The Symphonie fantastique was written in reaction to the intense and unreciprocated passion Berlioz felt for Harriet Smithson, and with something of the resentment he felt, possibly augmented by his brief association with Camille Moke, who was to marry the piano manufacturer Pleyel. In the end Berlioz was to marry his Ophelia, a match that brought neither of them any lasting satisfaction, as her own career waned into querulous drunkenness and his musical and extra-marital amatory preoccupations assumed greater importance. The Symphonie fantastique is a remarkable work, autobiographical in content and immensely influential in the path it suggested to future composers, anxious to
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5︱幻想交響
自信而精銳
National Symphony Orchestra
國家交響樂團
Founded in 1986, 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, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Maestro ShaoChia 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.
於1986年為建立一個指標級交響樂團而 投下的希望，2005年起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。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。近30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 駐團指揮
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 ＊ 白浩胤
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 鄧宛雯
黃雅琪 羅培菁
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 ＊ 林君翰
○ 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
＊游婉婷
長 笛
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安德石 ◎ 宮崎千佳
●
王怡靜
王婉如
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
李斐雯 孫正茸
李明怡
單 簧 管
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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
簡恩義
法 國 號
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劉宜欣 ◎ 傅后銘 ○ 黃任賢
國田朋宏
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
●
宮西純
定 音 鼓
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連雅文 ◎ 陳廷銓
打 擊 樂
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陳哲輝
陳振馨
豎 琴
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解 瑄
陳淑杏
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
陳建勛 楊璧慈
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 許方䭰 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