白建宇&NSO
11 29
火之詩
/
Fireworks From Russia 演出曲目
Program
伊果•斯特拉溫斯基（1882-1971）：《煙火》
IGOR STRAVINSKY（1882-1971）: Feu d'artifice, Op. 4
亞歷山大•斯克里亞賓（1872-1915）： 升F小調鋼琴協奏曲
ALEXANDER SCRIABIN（1872-1915）: Piano Concerto, Op. 20, F-sharp minor
I. 快板 II. 行板 III. 中庸的快板
I. Allegro II. Andante III. Allegro moderato
~中場休息~
~Intermission~
亞歷山大•斯克里亞賓：《普羅米修斯：火之詩》
ALEXANDER SCRIABIN : Prometheus: The Poem of Fire, Op. 60 IGOR STRAVINSKY: The Firebird Suite (1919 version) I. Introduction — L’Oiseau de feu et sa danse— Variation de l’Oiseau de feu II. Rondes des Princesses (Khorovod) III. Danse infernale de roi Kachtcheï IV. Berceuse V. Final
伊果•斯特拉溫斯基：《火鳥》組曲 (1919年版本)
ॡΎ௰тಏաᝳ ͭޣЂᕅ˃·
I. 序奏－火鳥之舞－火鳥變奏 II. 公主們的圓圈舞 III. 不死魔王的地獄之舞 IV. 搖籃曲 V. 終曲
演出時間│ 2015年11月29日 (星期日) 7:30 p.m.
演 出 者 指
揮│呂紹嘉 Shao-Chia Lü, conductor
演出地點│ 國家音樂廳 National Concert Hall, Taipei
鋼
主辦單位│
國家交響樂團 National Symphony Orchestra (NSO)
琴│白建宇 Kun Woo Paik, piano
國立實驗合唱團 Taiwan national choir 指定住宿│
特別感謝│
演出長度│上半場約35分鐘 下半場約50分鐘
1︱白建宇&NSO_火之詩
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
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。
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
Conductor｜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: 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 (19982004), 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 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
2︱白建宇&NSO_火之詩
駐團藝術家 鋼琴｜白建宇 白建宇的第一場音樂會是在 十歲時，與韓國國立管絃樂團演 出葛利格的鋼琴協奏曲。十五歲 時，白建宇遷至紐約，於茱麗亞 音樂學院隨羅西娜•雷賓學習， 及於倫敦拜師伊洛娜•卡波斯。他亦曾在義大利 求教於圭多•阿戈斯蒂和威廉•肯普夫。他國際 演奏生涯的起飛，肇始於在紐約的嶄露頭角：在 林肯中心演奏拉威爾全套鋼琴作品，他與樂團的 初登台則使於卡內基廳。 從此白建宇和許多知名指揮合作，諸如：祖 賓•梅塔、羅林•馬捷爾、馬里斯•楊頌斯、余 隆、內維爾•馬利納爵士、沃夫岡•薩瓦利希、 伊里•貝洛拉維克、弗拉基米爾•尤羅夫斯基、 德米崔•契塔顏柯、帕佛•賈維、伊凡•費雪以 及潘德瑞茲基（在他指揮下演奏潘德瑞茲基的鋼 琴協奏曲）；曾與白建宇合作的樂團包括：以色 列愛樂、紐約愛樂、聖彼得堡愛樂、倫敦交響、 英國廣播公司交響（ 1987 年逍遙音樂節最後一 夜）、巴黎管絃、法國國立管絃、柏林交響、匈 牙利國家愛樂、奧斯陸愛樂、鹿特丹愛樂、義大 利國家交響、華沙愛樂以及英國室內等等。 白建宇灌錄的大量作品包括斯克里亞賓、李 斯特（「演奏李斯特對白建宇而言是趟神祕的 旅程，藉此為他的聽眾帶出作品的核心，以感 受 其 基 本 脈 動 …… 」 ─ 布 里 姬 特 • 馬 辛 ， 《 晨 報》）、穆梭斯基以及為博德曼唱片公司灌錄的 拉赫瑪尼諾夫全套鋼琴協奏曲。他浦羅柯菲夫全 套鋼琴協奏曲的錄音，於法國同時奪得「1993年 度金音叉獎」和「新學院錄音獎」。身為迪卡唱 片公司的專屬藝術家，他為之灌錄了布梭尼的巴 赫改編曲、佛瑞的鋼琴作品（在法國贏得所有重 要獎項），並和安東尼•維特及華沙愛樂樂團一 起錄下蕭邦全套鋼琴協奏作品。 2005 年，白建宇開始新的計畫，為迪卡唱 片公司錄製貝多芬所有 32 首奏鳴曲。「白建宇 的戲劇感、他的機智、微妙的神祕、深思熟慮、 重量、和弦，以及敏捷手指的精湛技藝，這全都 非凡卓越」─羅伯•考萬，《獨立報》。近期 的計畫包括卡內基廳的獨奏會、在斯卡拉歌劇院 和尤利•泰米卡諾夫及聖彼得堡愛樂樂團的合作 演出、在聖彼得堡演奏拉赫瑪尼諾夫的全套協奏 曲，以及與新日本愛樂交響樂團、中國愛樂樂 團、上海愛樂樂團、卑爾根愛樂樂團的再次合 作，還有法國、義大利、西班牙等地的獨奏會。 白建宇現居巴黎。他於 2002 年獲法國政府頒 授「法國藝術與文學勳章騎士勳位」。
Artist-in-residense Piano｜Kun Woo Paik Kun Woo Paik's first concert was at the age of 10 performing the Grieg Piano Concerto with the Korean National Orchestra. At the age of 15, Kun Woo Paik moved to New York to study with Rosina Lhevinne at the Julliard School and with Ilona Kabos in London. He also studied in Italy with Guido Agosti and Willhelm Kempff. His international career took off following his New York appearance, in which he performed complete piano works by Maurice Ravel at the Lincoln Centre, and his orchestral debut at the Carnegie Hall. Since then he has collaborated with conductors such as Zubin Mehta, Lorin Maarel, Mariss Jansons, Long Yu, Sir. Neville Marriner, Wolfgang Sawallisch, Jiri Belohlavek, Vladimir Jurowsky, Dmitri Kitaenko, Paavo Yarvi, Ivan Fischer, and Penderecki to perform his new piano concerto under his direction and performed with orchestras such as the Israel Philharmonic Orchestra, New York Philharmonic, St. Petersburg Philharmonic, London Symphony, BBC Symphony (Last Night of the Proms 1987), Orchestre de Paris, Orchestra National de France, Berlin Symphony, Hungarian National, Oslo Philharmonic, Rotterdam, Rai Italia, Warsaw Philharmonic, and English Chamber Orchestra, etc. Kun Woo Paik's numerous recordings include Scriabin, Liszt ("To play Liszt for Kun Woo Paik is a mystical journey, a way of bringing his audience to the very heart of the work, to feel its fundamental pulse…" _ Brigitte Massin, Le Matin), Mussorgsky, complete Rachmaninoff piano concertos for BMG. His complete Prokofiev Piano concerto recording received both the "Diapason d'or of the year in 1993" and "Nouvelle Academie du disque" award in France. As an exclusive Decca artist, he recorded Busoni's transcriptions of Bach, Faure's piano works, which won all the major prizes in France, complete works for piano and orchestra by Chopin with Antoni Wit and Warsaw Philharmonic. In 2005, Kun Woo Paik started new project to record all 32 Sonatas by Beethoven for Decca. "Paik's sense of drama, his wit, mastery of nuance, thoughtfully, weighted, chords, and fleet-fingered Virtuosity, all are remarkable" _ Rob Cowan, The Independent. Recent engagements include a recital in Carnegie Hall, performance in La Scala with St. Petersburg Philharmonic and Yuri Temirkanoff, the complete Rachmaninoff concerto in St. Petersburg and return to New Japan Philharmonic, China Philharmonic, Shanghai Philharmonic, Bergen Philharmonic, beside recitals in France, Italy, Spain, etc. Kun Woo Paik lives in Paris, and he was made the "Chevalier de l'ordre des arts et des letters" by the French Government in 2002.
3︱白建宇&NSO_火之詩
國立實驗合唱團
Taiwan National Choir
教育部於 1985 年輔導成立國立實驗合唱團。 現由國立臺灣藝術教育館鄭乃文館長擔任團長。曾 應邀至全球十餘國演唱，包括：美國、加拿大、法 國、義大利、西班牙、日本、韓國、新加坡、馬來 西亞、泰國、澳洲、紐西蘭、夏威夷等地。2004、 2008 年應聯合國教科文組織之國際音樂教育年會 邀請，分別赴西班牙、義大利演出。2011 年應邀 至義大利參加洛雷托（Loreto）國際聖樂節，優異 表現獲國際樂壇一致讚賞，身兼國家文化大使之任 務。
Taiwan National Choir was established under the supervision of the Ministry of Education in 1985. Dr. Nai-Wen Cheng, who is also the director of National Taiwan Arts Education Center , is the director currently. The Taiwan National Choir has visited Korea, Singapore, Malaysia, France, the United States, Australia, New Zealand, Canada, Spain, and Hawaii, etc. in recent years. Then it had the honor to be the representative of Taiwan to perform in the annual conference for music education of UNESCO held in Spain in 2004 and in Italy in 2008.
樂曲解說
壇、或許也提早「進化」。 迪亞基列夫的藝術觀點或許不夠前衛， 卻是雄才大略的策展人：他大膽促使視覺與 表演藝術密切結合，又嗅得到該用什麼素材 迷住西歐觀眾，在迪亞基列夫策畫下，融合 多種「浴火之鳥」神話傳說的《火鳥》應運 而生。《煙火》中還能聽到的傳統和聲背影 在《火鳥》中被刻意保留三和絃、以激化調 性對比營造出既和諧又怪誕的新種和聲取 代，存留的則是來自林姆斯基．高沙可夫的 豐富又「跳 tone 」的配器色彩。無論是芭蕾 或是管絃樂組曲都有多種版本，可見得《火 鳥》音樂本身的敘事能量之強。今晚演奏的 是三個主要管絃樂組曲之中最頻繁演出的 1919 年版，此版本可說是《火鳥》全劇精 華版，除最火鳥主題之外，還包括〈公主之 舞〉（The Princesses' Khorovod）、〈魔王之 舞〉（Infernal dance of King Kashchei）、及 搖籃曲與終曲。
撰文│顏華容（俄羅斯國立莫斯科柴可夫斯基紀念音樂院鋼琴演奏博士） 十九世紀的「世紀末」（fin-de-siècle）議題 衍生出諸多華麗與凋敝，而象徵詩與畫的影響直 接沁入傳達方式與文本更加抽象的音樂中。幾個 世紀前，音樂家們－或致力於音樂的有識之士－ 嘗試訂出音高、記譜法、音準、編制、曲式、用 聲部間對應的關係定下對位法、以邏輯推移立定 和聲規則，這些規則又在下一個世代被質疑、革 新、甚至揚棄。 斯克里亞賓與斯特拉溫斯基兩位曲風殊異， 卻也以其大膽、縱放個人風格的曲風，使俄羅斯 音樂在二十世紀初探索現代與前衛的音樂運動中 佔有一席之地。 伊果•斯特拉溫斯基：《煙火》 《火鳥》組曲
(1919年版本)
提到斯特拉溫斯基，樂友們很容易想起他 猶如大鬧天宮般、在二十世紀初對歐美樂壇接 連投下三枚震撼彈： 1910 年《火鳥》 ( L'Oiseau de feu ) 以迷人的異國神話挑起西歐藝術圈的好奇 心、繼而 1911 年的《彼得洛希卡》 ( Petrouchka ) 連戰皆捷，而 1913 年的《春之祭》 ( Le Sacre du printemps)更憾搖歐美表演藝術美學天平的豐功偉 業。 其實，家有聲樂家父親的斯特拉溫斯基是 十四歲就登台演奏孟德爾頌的g小調鋼琴協奏曲的 早慧小天才，而立之年已經震懾歐洲樂壇；並經 由迪亞基列夫(Sergei Diaghilev)精準的投資與規劃 眼光，自巴黎開始朝歐美藝術界輻射俄羅斯強悍 的表演藝術能量；斯特拉溫斯基甚而坦言「我生 命中最大的危機是離開俄羅斯」 1908年，史特拉溫斯基以管絃樂曲《煙火》 ( Feu d'artifice ) 祝賀恩師林姆斯基．高沙可夫的 女兒結婚盛事；正因為此曲，藝文經紀人迪亞 基列夫（ Sergei Diaghilev ）對其才華大感驚艷， 大膽指定斯特拉溫斯基於 1909 年接替李亞多夫 （Anatoli Liadov）擔綱譜寫芭蕾舞劇《火鳥》的 芭蕾音樂，而造就斯特拉溫斯基提早登上國際樂
亞歷山大•斯克里亞賓： 升F小調鋼琴協奏曲 《普羅米修斯：火之詩》 「我是神造物的典範、宗旨中的宗旨、 盡頭的盡頭。」－斯克里亞賓 當今斯克里亞賓與拉赫瑪尼諾夫的知名 度簡直不可相比，拉赫瑪尼諾夫五首鋼琴協 奏曲編制作品就有三首長據古典熱門金曲 榜。然而 1896 年起筆、翌年首演的升 f 小調 鋼琴協奏曲在當年可是代表了莫斯科樂界的 長輩們對斯克里亞賓的厚愛呢！由作曲家親 自擔任獨奏、由日後接掌莫斯科音樂院院長 的薩弗諾夫指揮的升 F 小調鋼琴協奏曲有著 典型「世紀末」音樂柔腸寸斷纏綿悱惻之 美；作曲家不但「任性地」採用對於樂團－ 尤其銅管樂器群－相對不方便的升 F 小調， 還恣意以美麗如最細緻蕾絲般的花奏音型通 通灑上琴鍵，通常在一般協奏曲中形式厚實 或材料對比明顯的第一樂章在此曲中反而成
4︱白建宇&NSO_火之詩
了夢幻旋律的綿延堆砌；第二樂章堪稱蕭邦以來 最美妙的協奏曲夜曲類篇章，樂團演奏主題之 後，鋼琴展現寬大音域與音色的優勢，彷彿用之 不盡的變奏創意每每令人稱奇，五次變奏猶如五 次造訪世外桃源；第三樂章充滿炫技音型與長短 不一的旋律片段、以忽而波蘭舞曲忽而馬厝卡舞 曲的暢快節奏伴隨由第一樂章起始終縈繞在耳邊 的華麗旋律與複雜的複音音樂織度，可說是十九 世紀末鋼琴作曲家對蕭邦最佳致敬之作！斯克里 亞賓應是藝術作品完全貼近生命曲線的代表人 物，這首升 F 小調協奏曲如今面臨的冷清寂寥或 許也起因於過於順遂的人生－人人稱羨的莫斯科 音樂院教職、重大演出、門當戶對的婚姻接踵而 至…自小受寵溺、言談間流露著不可一世的斯克 里亞賓終究還是面臨所有的倉促與得意的後果－ 迷失。1897年夏天方與琴藝精湛的第一任妻子薇 拉結婚，1902年又結識烈火情人塔提安娜．史略 策（Tatiana Schlözer），自認為生命與創作熱情 重燃的斯克里亞賓從此更加確切的自世道常理出 走，以自己的生命與創作體現「超越」。 斯克里亞賓的音樂再怎麼仿效蕭邦，都掩不 住的是那種關不住的、雖顯現於譜面但實則應存 在著一種即興的、隨時湧現的、無法克制的渴 望；他的「接近狂喜」在他人耳中實則「瀕臨 瘋狂」，這種不見容於世，竟在客居巴黎時接 觸到的布拉瓦茨基夫人（Blavatsky）這個參雜道 聽塗說各種極為迷人的神祕東方信仰、哲學混 合的神秘理論中得到安適之所。具有「聯覺」 （ synesthesia ）的斯克里亞賓聽音是光、是色、 是香，和聲對他而言不是音的堆疊或簡單的和諧 與不和諧，而是足以令其身心神思共感、甚至通 往無限極樂之境。無怪乎斯克里亞賓走出現實世 界，走出屬於自己獨特和聲世界，調製出八音和 絃，用以點燃人類盜那創造者之火的野心、炫幻 不屬於這世間的聲色，於是，《普羅米修斯－火 之詩》寫的不僅是神話，而是認定自己已經掌握 世外幻境之音的斯克里亞賓。 《普羅米修斯》是由《神性之詩》（The Divine Poem, 1905）、《狂喜之詩》（The Poem of Ecstasy , 1908 ）直到未完成的《秘》 （ Mysterium ）攀向超越人類神智四部曲中的第 三步，然而《秘》僅有斷簡殘篇、而即便斯克里 亞賓生前也從未看過《普羅米修斯》結合光色的 完整演出，正因為《普羅米修斯》是個以音樂與 彩光為「雙」材料的交響曲，「色光」的部分－ 至少在現場演出時，音樂廳中適度與必要的照 明、還有觀眾實際上「看」到色光與聽到音樂時 能夠分辨的所有聲音訊息，都足以影響這個既龐 大又敏感脆弱的作品。斯克里亞賓的野心之一， 就是將視覺質素提煉出，讓「聲音交響」與「色 光交響」互相對置，有如對位般呈現前所未有的 聲光概念。 然而，斯克里亞賓對於調性與色彩的定
義卻又不是始終如一：《普羅米修斯》的巴黎 版樂譜於 1978 問世之前，大眾對斯克里亞賓所 知近乎完全來自薩巴涅耶夫於 1911 年發表於莫 斯 科 的 《 音 樂 》 （ Mu z y k a ） 期 刊 上 的 圖 表 。 兩者相較之下差異不大，薩巴涅耶夫大部分陳 述相當忠實，例如，降A是Пурпурнофиолетово，紫羅蘭一般的紫 色，而薩巴涅耶夫則記載為лиловый красноватый，這兩個字，若 在字典裡會被翻譯為「紫紅色」，但實際上 лиловый這個字卻得用兩種花：紫丁香 （сирень）和堇（Фиалка）來說明 「那種紫фиолетовый」；但升 C/ 降 D 則又是「純然的紫羅蘭」。至於 C 大調，在斯克 里亞賓的敘述中則不僅只是「紅色」，還得寫上 其實相當情緒化的「『純粹（就是）』」紅色； 不過，仔細分析可以看出，斯克里亞賓認的不是 色，而是色的質，他的色彩根植於三種調：紅、 黃、藍，然後依照五度圈次第轉出七彩斑斕。 雖非鋼琴協奏曲，但鋼琴獨奏在《普羅米修 斯》已經相當龐大的樂團編制中佔有舉足輕重的 地位，以其獨立於管絃樂器音色之外的特色參與 這色彩斑斕的作品。樂曲伊始，我們會聽到斯克 里亞賓自創的「神秘和絃」－一個由各種四度音 組成的不和諧聲響－這個樂譜上標示著「灰霧」 的「混沌」開始，音樂漸速漸激；其中法國號被 認為是「尚未開化的、尚未成人形」、小號則代 表創造之思，而鋼琴代表人，柔和的長笛象徵人 智開化之始，稍晚之後小提琴獨奏則訴說人類之 愛；絕大多數的動機都－就像在鋼琴協奏曲已經 多次聽到的－有著「博扶搖之上」之勢，以成就 那令人渴望殷切的高潮－在有合唱團參與的演 中，僅只演唱母音的人聲與色光管風琴聲與色大 鳴大放，樂團則將普羅米修斯帶向極樂之巔的升F 大調和弦。 斯克里亞賓於 1915 年接受英國心理學家麥爾 斯(Charles Myers)訪談自己的聯覺經驗時提到「色 彩『勾勒』調性」，「（色彩）使得調性更明 晰」，斯克里亞賓的耳中，各種聲響、振動不只 是色彩，更具有個性，色彩只是藉以彰顯並與一 般人溝通的介質；斯克里亞賓的音樂吸引了許多 研究、興起了不少分析方法，就連斯克里亞賓自 己也說過許多「理論」、甚至是大話，但除了演 奏與聆聽之外，沒有哪一種方法最能復原斯克里 亞賓的靈光一現。
Program Notes Igor Stravinsky: Feu d'artifice, Op. 4
As mentioned earlier, it was a performance of Stravinsky's Fireworks (along with his Scherzo fantastique) that first gave Dyagilev a glimpse of the
5︱白建宇&NSO_火之詩
composer's genius. Stravinsky completed Fireworks in about six weeks during the summer of 1908 and eagerly sent it to Rimsky-Korsakov. But instead of his teacher's comments, as he expected, Stravinsky received a telegram informing him of his mentor's death. Though Stravinsky did not write the piece as homage, Fireworks nevertheless pays tribute to his teacher. It is a brilliant showpiece, and it shares the penchant for vibrant instrumental color that characterizes Rimsky-Korsakov's music. The work's atmospheric opening gives rise to rapid figures for the winds, and the music builds in volume and intensity. Somewhat surprising here is Stravinsky's resort to imitative counterpoint in developing his ideas. Rimsky-Korsakov had little interest in this aspect of composition and even sent Stravinsky to an assistant for counterpoint lessons. Those lessons were well learned, however, and contrapuntal writing would remain an important feature of Stravinsky's work throughout his career. Soon the tempo slows for a passage featuring a melody for English horn and, later, a lyrical theme given out over rippling accompaniment. Following a reprise of the opening material, Stravinsky again turns to canonic counterpoint, though not in the manner of a dry exercise. Rather, the tightly knit echoes produce virtual explosions of soundsomething entirely consistent with the title and conception of the piece-in the work's closing paragraph. © 2015 Naxos Digital Services Ltd
Alexander Scriabin: Piano Concerto, Op. 20, F-sharp minor
By Robert Markow (Musicologist, Canada) Alexander Scriabin: Born in Moscow, January 6, 1872; died in Moscow, April 27, 1915 This year, 2015, marks the centenary of the death of Alexander Scriabin, whose life constituted one of the most fascinating chapters in the history of music. The fact that Scriabin was born on Christmas Day (in the old Julian calendar) led him to assume a messianic role. He started out by writing graceful, sensuous little piano pieces in a quasi-Chopin style and ended up totally, even maniacally, absorbed in mysticism and the occult. He absorbed into his philosophical system elements of Oriental religions, the Nietzschean Superman, theosophy and Marxist socialism. Towards the end of his life, he thought of sound in terms of colors, eroticism and planes of ecstasy."I wish I could possess the world as I possess a woman,"he once said. "An ocean of cosmic love encloses the world and in the intoxicated waves of this ocean of bliss is felt the approach of the Final Act-the act of union between the Male-Creator and the Woman-World." Scriabin's visionary mind looked forward to the day when spirit and matter would unite in a Final Mystery, a sacramental act to take place at a specially built temple in India, where
the senses (sound, smell, color) plus poetry, dance, music and mime would be bound together in one vast experience of unbridled sensuous expression. The Piano Concerto belongs to Scriabin's early period. It adheres to the time-honored format of three movements (fast-slow-fast), is tonally oriented (though the keys are admittedly unusual: basically F-sharp minor and F-sharp major), and there are many echoes of the piano writing of Chopin and Rachmaninoff. The concerto was Scriabin's first completed orchestral work, composed during 189697 and first performed in Odessa on October 23, 1897 with the composer as soloist. "Few piano concertos [of the 1890s] can emulate the restraint and finesse of Scriabin's concerto," asserts musicologist Hugh Macdonald, – "three beautifully balanced, thematically unrelated movements, and the orchestral touch is already assured." Frequent solo passages for the clarinet and horn, often in conjunction with the piano, are another feature of the concerto. The orchestra rarely plays alone, yet is frequently engaged with the soloist in true concerto fashion. Although there are no cadenzas, the piano is busy almost continuously throughout the work's 25-minute span. The first movement is in traditional sonata form with few surprises. The second movement consists of a theme and four variations. The haunting theme, presented by muted violins in the rare key of F-sharp major, is said to date from the composer's youth. The first variation features the solo clarinet against which the piano plays delicate filigree; the second is an Allegro scherzando for the soloist, the third an Adagio for piano and muted strings in alternation, and the final variation brings both soloist and orchestra together in a placid nocturne. In the sonata-form finale we find a second theme strongly suggestive of a theme from the finale of Rachmaninoff's Third Concerto (written in 1909). Also like Rachmaninoff 's Third, Scriabin's is full of the virtuosic fireworks we expect in a romantic concerto, which ends with grandiose splendor in F-sharp major. Alexander Scriabin: Prometheus: The Poem of Fire, Op. 60
By Robert Markow Prometheus (The Poem of Fire) comes from the other end of Scriabin's output. It was his last orchestral composition and the last of his three "poems"for orchestra. The first of these was the Divine Poem (Symphony No. 3, of 1903-04; the second was the Poem of Ecstasy from 1908. The Poem of Fire (1911) calls for an oversized orchestra including quadruple woodwinds, eight horns, five trumpets and a prominent solo piano part. Optional, and usually omitted in performance, are an organ and mixed chorus, employed only in the ecstatic final pages. In keeping with Scriabin's belief in synesthesia (the correlation between or equivalence of different senses), there is also a role for a "color keyboard" (again, this is usually omitted in
6︱白建宇&NSO_火之詩
performance). The light emanating from this device was also meant to underscore the subject matter: the god Prometheus of Greek mythology, who stole fire (or light, and by extension enlightenment) from the gods and delivered it to mankind. The twentyminute score consists of a continuously evolving web of sound derived from the so-called "mystic chord" heard quietly at the beginning. Critic Royal S. Brown notes that "this chord represents the cosmos out of which everything takes form, just as almost every musical structure, horizontal or vertical, in the work can be traced back to this chord." The first performance of Prometheus took place on March 15, 1911 in Moscow, with Serge Koussevitzky conducting and the composer at the piano. When the work was given its American premiere four years later by the Russian Symphony Orchestra in New York's Carnegie Hall, the conductor Modest Altschuler claimed that this was the true world premiere since it included the color keyboard (omitted at the Moscow premiere). In any case, though, the apparatus did not work properly. Some observers who attended both performances in New York noted that the colors were different second time around. Successful color renditions of the score have been effected in recent years, including a spectacularly beautiful production realized at Yale University in 2010 by a doctoral candidate in music, Anna Gawboy (viewable on YouTube). Igor Stravinsky: The Firebird Suite (1919 version)
By Robert Markow Igor Stravinsky: Born in Oranienbaum, June 17, 1882; died in New York City, April 6, 1971 Stravinsky's Firebird Suite makes a fitting conclusion to a program that began with the same composer's Fireworks and includes another Russian composer's Poem of Fire. Aside from the obvious relationship of subject matter in their compositions, Stravinsky and Scriabin both used the orchestra in riotous displays of tone color. The Firebird was Stravinsky's first extensive ballet score and the first work to bring him international acclaim. The commission to write The Firebird arrived late in 1909, but only via a series of defaults and accidents. Early in 1908, impresario Serge Diaghilev and choreographer Michel Fokine began preparing for the first Paris season of the Ballets russes. In discussing repertory, they realized that the company had nothing descriptive of Russia's rich folklore. Fokine suggested the Firebird legend, and began investigating Afanasiev's large anthology of Russian fairy tales in order to provide a scenario. What he eventually produced was a synthesis of several stories centering around the figures of the wonderful Firebird, the terrible ogre Kashchei and the hunter Prince Ivan. The premiere on June 25, 1910 at the Théâtre National de l'Opéra in Paris was an enormous success, and catapulted Stravinsky into the international spotlight.
It was almost inevitable that a suite be extracted from the 45-minute work, and within a year, Stravinsky had done just that. This first concert suite was published in 1912; a second suite, somewhat different from the first, and with considerably reduced orchestral forces, was prepared in 1919. This 1919 version – the one we hear tonight – is the most popular of the Firebird suites, and one of the most frequently performed works in the entire orchestral repertory. (There is also a third suite, prepared in 1945, incorporating all the music of the 1919 suite plus additional passages from the complete ballet.) Stravinsky poured his utmost creative talents into The Firebird, resulting in music of sumptuous hues, exotic fantasy and orchestral enchantment. The plot can be briefly summarized as follows: It is night (Introduction). An atmosphere of mystery and evil are conjured up by the hypnotic ostinato pattern in the double basses. Prince Ivan, after a day of hunting, chances upon the walled-in garden of the green-taloned, ferocious monster Kashchei. Shivering, eerie orchestral effects stimulate fantastic images in the mind. Ivan spies a wondrous creature, half-bird, half-woman. After observing its dance, depicted in splendid colors by woodwinds, celesta and percussion, Ivan pursues the Firebird and captures it. The creature begs to be set free. Ivan releases it and, as a reward, is presented with one of the bird's golden feathers, which he may wave in time of need to summon the Firebird's magical assistance. At dawn, a bevy of beautiful enchanted princesses emerges from Kashchei's palace. They dance with golden apples before Ivan, who promptly falls in love with one of them. Ivan advances, but his way is blocked by Kashchei's terrifying retainers. A moment later, the great demon himself appears. Kashchei's creatures try to bewitch Ivan, but with the magic feather, he summons the Firebird, who sends all the monsters into a wild, frenzied dance (Infernal Dance). She then lulls them all into a deep sleep with a lullaby (Berceuse). The Firebird helps Ivan to discover an egg within which is contained Kashchei's soul and the secret of his immortality. Ivan smashes the egg, whereupon Kashchei expires (not part of the Suite). With the spell broken, Kashchei's zombies resume human form, the castle becomes a cathedral, and all rejoice in a glorious Finale, replete with massive, gleaming brass chords, as Ivan and his favorite princess are married.
電子問券請掃描， 支持NSO愛地球。
7︱白建宇&NSO_火之詩
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 第一小提琴
第二小提琴 中 提 琴 大 提 琴 低 音 提 琴 長 笛 短 笛 雙 簧 管 英 國 管 單 簧 管 低 音 管 倍 低 音 管 法 國 號 小 號 長 號 低 音 長 號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 鋼 片 琴 管 風 琴 執行長 企劃演出經理 整銷推廣經理
呂紹嘉 根特•赫比希 張尹芳 ★ 吳庭毓 方俊人 藍之妤 ● 陳怡茹 鍾仁甫 ● 黃瑞儀 蔡秉璋 ● 熊士蘭 唐鶯綺 ● 傅永和 ● 安德石 鐘美川 ● 王怡靜 李明怡 ● 朱玫玲 ● 簡凱玉 簡恩義 ● 劉宜欣 ● 宇新樂 ● 宋光清 彭曉昀 ● 宮西純 ● 連雅文 ● 陳哲輝 ● 解 瑄 ▲ 許毓婷 劉惠珊 陳相瑜 邱 瑗 杜佳舫 王承禹
音樂總監執行祕書 黃毓棻
★ 李宜錦 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
吳怡慧 蔡孟峰 洪章文 ◎ 鄧啟全 ○ 呂昭瑩 吳彥廷 鄧宛雯 ◎ 連亦先 ○ 韋智盈 ＊ 林君翰 呂函涓 ◎ 蘇億容 ○ 周春祥 ◎ 宮崎千佳 李 浚
李京熹 陳偉泓 黃雅琪
黃衍繹 王致翔 李靖宜
顧慈美
于爾恩
康信榮
李梅箋
謝君玲
呂孟珊
李思琪
陳猶白
呂明美
周幼雯
陳怡婷
林宜女閒
黃日昇
蘇酩惠
王淑瑜
黃筱清
王淑宜
連珮致
蔡歆婕
＊游婉婷
◎ 阮黃松
楊舒婷
李斐雯
◎ 張凱婷 ◎ 陳奕秀
朱偉誼 高靈風
孫正茸
○ 黃任賢 ◎ 陳長伯 ◎ 邵恆發
國田朋宏 張景民 陳中昇
王婉如 鄒儒吉
曹予勉 何敏慈
＊王濟揚
◎ 陳廷銓 陳振馨 陳淑杏
楊璧慈
王瓊燁
林君庭
張瑜蓁
◎ 孫正玫
企劃演出
整銷推廣
企劃組長 謝祥雯 企劃專員 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 蘇敬涵 法務專員 劉善謙 行政專員 苗媛如 行政助理 沈靜宜
行銷組長 鄭巧琪 行銷專員 陳卜湄 曾柏雄 郭玲孜 葉儒芯 潘薇方 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 ＊NSO樂團學苑學員 劃底線者為本場協演人員