赫比希的耶誕祝福 Two FOURTHs
演出時間 2015年12月24日 (星期四) 7:30 p.m. 演出地點 國家音樂廳 National Concert Hall, Taipei 演出者 指 揮 根特．赫比希 Günther Herbig, conductor 國家交響樂團 National Symphony Orchestra (NSO)
主辦單位
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
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曲目
上半場 約 40 分鐘 下半場 約 40 分鐘
菲利克斯．孟德爾頌（1809-1847）：《芬加爾岩洞》 羅伯特．舒曼（1810-1856）：第四號交響曲 I. II. III. IV.
非常緩慢地—活潑地 羅曼史：非常緩慢地 詼諧曲：活潑地 緩慢—活潑地 ∼中場休息∼
約翰．布拉姆斯（1833-1897）：第四號交響曲 I. II. III. IV.
不太快的快板 中庸的行板 詼諧的快板 富有能量且激情的快板
FELIX MENDELSSOHN（1809-1847）: The Hebrides Overture, Op. 26 ROBERT SCHUMANN （1810-1856）: Symphony No. 4, Op. 120, D minor I. II. III. IV.
Ziemlich langsam - Lebhaft Romanze: Ziemlich langsam Scherzo: Lebhaft Langsam - Lebhaft
∼ Intermission ∼
JOHANNES BRAHMS (1833-1897) : Symphony No. 4 in E minor, Op. 98 I. II. III. IV.
Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato
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演出者簡介
指 揮 conductor
根特．赫比希 Günther Herbig
「樂團在赫比希的帶領下演奏得非常壯麗動人，在舒曼的第四號交響曲中，他以一種自 ─ 《太陽報》 律動人地演出作了既聰明又溫暖適意的詮釋！」 「如果你認為那些偉大指揮家的黃金年代已經不再，最好三思一下。赫比希昨晚指揮 柴科夫斯基的交響曲《悲愴》充滿了高貴、激情與力量的詮釋，讓我聯想起巴畢羅里與楊頌 ─ 《曼徹斯特晚報》 斯。」 赫比希在 1984 年從東德移居美國之後，開始在歐洲和北美洲地區快速活躍起來。期間， 他也親臨亞洲 20 多次，並與東京的幾個知名樂團，以及香港、新加坡和臺灣等地樂團合作 演出。1984 至 1994 年間，他先後擔任了底特律交響樂團和多倫多交響樂團音樂總監的職務。 赫比希在中歐開始了他的音樂教育，事師赫曼．阿本德羅斯、赫伯．馮．卡拉揚與赫曼． 舍爾興。他的音樂事業則是開始於東德的威瑪與波茨坦。1972 年，他成為德勒斯登愛樂管 絃樂團音樂總監；1977 至 1983 年間，他則轉任為柏林交響樂團音樂總監。1979 年轉赴西歐 的他，受邀擔任英國國家廣播公司愛樂管絃樂團的首席客座指揮。很快地，他開始受邀與英 國主要的樂團合作，包括倫敦交響、倫敦皇家愛樂、倫敦愛樂、巴黎管絃、以色列愛樂，以 及其他主要城市的知名樂團等等。 在美國，他的音樂事業首先開始於受邀擔任達拉斯交響樂團首席客座指揮，隨後並於各 大城市與多個知名樂團合作，足跡遍至紐約、芝加哥、波士頓、費城、克里夫蘭、舊金山、 洛杉磯、多倫多、巴爾的摩等地。 在 1984 年離開東德之前，他與東德各主要樂團合作錄製了將近 40 張專輯，其中包括海 頓和布拉姆斯的交響曲系列。他的近期錄音，包括了與英國國家廣播公司愛樂管絃樂團合作 錄製貝多芬第三號交響曲、第五號交響曲、舒伯特第八號交響曲、布拉姆斯第一號交響曲、 馬勒第五號交響曲、理查．史特勞斯《英雄的生涯》交響詩，以及和其他倫敦的管絃樂團所 一起合作的錄音作品。在 2001 至 2006 年擔任沙爾布魯克廣播交響管絃樂團首席指揮期間， 他也和樂團一起錄製了馬勒與蕭斯塔科維契的重要交響曲作品。 2008-2010 年樂季赫比希擔任國家交響樂團藝術顧問與首席客座指揮。在和國家交響樂 團合作的二年裡，不僅合作演出挑戰性高的經典作品，並以 NSO Live 品牌實況錄音發行馬 勒第六號、第九號及布魯克納第九號交響曲。自 2010 年起，接受 NSO 音樂總監呂紹嘉邀請 成為桂冠指揮迄今。 4
The Sun beautifully disciplined playing for an interpretation that was as warm as it was intelligent...'' ''If you thought the days of the great conductors were all in the past, then think again. Gßnther Herbig's presentation of the PathÊtique Symphony of Tchaikovsky last night was one of nobility, emotion and power, the sort I remember from Barbirolli and Jansons.'' Manchester Evening News Gßnther Herbig divides his activities today between Europe, North America and the Far East in a career that has been equally distinguished on all three continents. Herbig’s musical training took place in Central Europe where he studied with Hermann Abendroth, Herbert von Karajan and Hermann Scherchen. In 1972 he was named General Music Director of the Dresden Philharmonic and held the same post with the Konzerthaus Orchester Berlin from 1977 to 1983. In Western Europe Herbig became Principal Guest Conductor of the BBC Philharmonic in 1979 and was soon invited to conduct such major ensembles as the Philharmonia Orchestra London, the London Symphony, the Royal Philharmonic London, the Orchestre de Paris, the Orchestre de la Suisse Romande in Geneva, the Residentie Orkest in The Hague and the Israel Philharmonic. In 1984 Herbig moved to the United States and served for ten years as Music Director of the Detroit and later the Toronto Symphony Orchestra. He has since conducted the orchestras of New York, Chicago, Boston, Philadelphia, Cleveland, San Francisco and Los Angeles among numerous others. He has toured the US several times with the Detroit Symphony Orchestra and in 1989 conducted the orchestra on a European tour. 1991 he led the Toronto Symphony to Europe after having toured with them extensively in the USA, Australia, Singapore, Taiwan and Japan. Herbig has recorded more than 120 works, including cycles of Haydn and Brahms symphonies. His releases include Beethoven’s Symphony Nos. 3 and 5, Schubert’s Nos. 8 and 9, Brahms’s No. 1, Mahler’s No. 5 and Strauss’s Ein Heldenleben with the BBC Philharmonic and the Royal Philharmonic London. As Chief Conductor of the Deutsche Radio Philharmonie, he recorded between 2001 and 2006 several symphonies of Bruckner and Shostakovich. He has been the Conductor Laureate of the Taiwan Philharmonic since 2010.
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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。
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National Symphony Orchestra “To his credit, NSO music director Shao-Chia LĂź was faithful to both SchĂśnbergs, rendering the Wagnerian depth of the opening section with almost Debussy-like transparency while letting the later ďź?Financial Times 2015/1/1 portions unfold with Mahlerian breadth.â€? “The real star of the show was Taiwan Philharmonic. Shao-Chia LĂź 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 LĂź's direction I heard more ďź?derneue Merker 2015/2 than in any recording. “ such ideal balance between stage and pit. Shao-Chia LĂź conducted with total commitment, ensuring ďź?Opera, UK 2015/1 exquisite transparence.â€? 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
! " # $ % Chia Lß 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 worldclass 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), (Opera Australia, 2012), Fidelio (Zurich Operahaus, 2015) as well as in-house production Die Walkßre (2013), and Salome (2014).
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樂團簡介
攝影 Raymond Huang
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樂曲解說
蹲下、躍起̶貝多芬後交響曲的困境與超越 撰文．蔡永凱（國立臺灣師範大學音樂學博士）
貝多芬的九大交響曲，奠定了交響曲在樂種間至高無上的地位，卻也為十九世紀的交 響曲設下難以超越的標準。他逝世後，即使眾多作曲家持續寫作交響曲，然而都擺脫不了他 的陰影，僅法國的白遼士尚稱創新。不過，就現今的觀點來看，當時的困境實有其價值，它 激勵了作曲家更深刻地探索貝多芬的內在手法與精神，而非直接的外觀模仿。因此，例如孟 德爾頌，雖然他也寫交響曲，卻在「音樂會序曲」達到最大成就，其中「標題內容」與「奏 鳴曲式」的密切融合，甚至引發「交響詩」的誕生；舒曼著眼於貝多芬作品中強烈的目的論 與有機特質，試圖將多樂章融合為一龐大整體。即使對舒曼創作成果評價不一，其理念卻成 為十九世紀末最常見的手法；貝多芬在《英雄》交響曲終樂章使用了變奏曲式，讓終樂章逐 漸成為交響曲寫作的重心。布拉姆斯在第四號交響曲的終樂章，亦採用變奏曲式向貝多芬致 敬。然而他的「變奏手法」，卻又脫胎自比貝多芬更早之巴哈等人。如此重審交響曲的困境， 毋寧是蹲下之後的躍起，光輝不減。
菲利克斯．孟德爾頌：《芬加爾岩洞》 孟德爾頌有幸生在富裕之家，父母亦支持習樂，讓他得以無虞展現其優越的資質。他自 十二歲起，曾譜寫多首絃樂交響曲；十五歲就完成了第一號交響曲，並馬上首演。然而他並 不滿足於這些依傳統程式所撰寫出的作品。1826 年，他以德譯本的莎翁喜劇《仲夏夜之夢》 為靈感，創作了單樂章的作品《仲夏夜之夢》序曲，其成功激發了孟德爾頌對於同一樂類的 探索。1829 年，他造訪英國，除了倫敦與愛丁堡之外，也北行尋訪斯塔法島 (Staffa) 與島上 知名的芬加爾岩洞。壯闊的海景與暈船症，都帶給作曲家新的人生體驗，成為新作的主題。 但這部新作的創作過程卻一波三折，顯示出孟德爾頌對於此作的重視。1830 年時，作 曲家於義大利完成這部作品，取名為《為一孤寂島嶼的序曲》；次月，更名為《赫布里底群 島》(Die Hebriden)，即以包含斯塔法島的一整塊之海岸地域為名；到 1832 年，他在第三版 本中將標題改為《芬加爾島群》；到了 1832 年的最終版本，作曲家先將作品標題改回《赫 布里底群島》，隔年在倫敦首演時，卻由採用《芬加爾岩洞》之名，造成至今在德語地區，
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樂曲解說
此作習被以前者稱之；在英語地區，則以《芬加爾岩洞》聞名。 孟德爾頌使用奏鳴曲式架構這個作品。作品開始即呈示了 b 小調上的第一主題，其下行 音型由低音管、中提琴與大提琴拉出，晦暗的調性與音色，都傳達了北海的冷冽；第二主題 時轉到了 D 大調，由上行分解和弦開啟的音型，首先由低音管與大提琴帶出，之後則慢慢轉 化為小提琴演奏，有如撥雲見日；呈示部的第三段裡，第一主題強勢回歸，同時亦出現了號 角主題，以猛烈的氣氛結束呈示部。發展部裡，孟德爾頌以多元的手法處理上述三個主題： 或將其散佈在不同聲部輪流出現；或改變主題的節奏與運音，頗有「主題變形」手法的架勢。 再現部的開始，再次回到陰鬱的第一主題與 b 小調，但與呈示部相比，作曲家在此安排其他 的聲部以顫音伴奏，讓整體聲響較為流動。在第一與第二主題再現後，作曲家轉換速度，可 以視為尾聲。尾聲的素材以第一主題和號角主題為主。直至最後，在壯烈的樂團齊奏聲響中， 先由第一單簧管帶出第一主題、再由長笛的第二主題與其疊置，巧妙地總結這艱辛卻又欣喜 的旅程。
羅伯特．舒曼：第四號交響曲 舒曼在十九世紀的三０年代，以樂評的身份達到其人生成就的高峰。然而對他來說，真 正的志業仍是作曲，因此他努力在不同的樂種上實現其理想，形成明確的階段軌跡。如果說 1840 年是他的「藝術歌曲之年」，1841 年就是他的「交響曲之年」。在這一年中，他把醞 釀多年的靈感傾洩而出，在年初先完成了第一號交響曲《春》，之後寫作了鋼琴協奏曲的前 身《為鋼琴與管絃樂團的幻想曲》，在下半年則完成了 d 小調交響曲。這部交響曲，依創作 順序，實屬作曲家之「第二號交響曲」，然而因為首演結果並不理想，被舒曼擱置，尋求修 改之道，直至 1851 年才完成，成為他最後一部正式出版的交響曲，故現今被稱為「第四號 交響曲」。 第四號交響曲的第一版由四個獨立樂章組成：第一樂章包含導奏與快板，在快板處引入 了一斷奏主題，成為整個樂章的基礎。但特殊的是，當樂章進入發展部後，舒曼又帶進一抒 情的主題，而這個「第二主題」在樂章後半段被緻密使用，重要性直逼斷奏主題。第二樂章 為〈羅曼史〉，其中使用了前樂章導奏中的旋律；第三樂章〈詼諧曲〉，其「中間段落」使 用了〈羅曼史〉中的旋律。在〈詼諧曲〉結束後有一段類似過渡段落的「緩板」樂段，並接
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續至第四樂章的快板。正是在這個過渡段落，作曲家明確地呈示第一樂章中的斷奏主題，成 為遲來的再現。而終樂章中的斷奏主題，則明顯脫胎自第一樂章的抒情「第二主題」。 由此可以窺知，這部作品各樂章有其組織，但樂章材料環環相扣，並且在作品的前後框 架中，以同一主題形成頭尾梁柱，成為一「雙層奏鳴曲式」的結構。舒曼在 1851 年修改的 版本裡，最重要的修改，係將原本獨立的前三樂章全改為雙線結束，即將四個樂章構築為不 中斷的整體。此舉無疑強化了舒曼原先的思考，也讓許多十九世紀末的交響曲作曲家找到了 靈感的泉源。
約
．布拉姆斯：第四號交響曲 布拉姆斯的第四號交響曲創作於 1884/85 年。這部交響曲共有四個樂章。第一樂章採用
e 小調，為標準的奏鳴曲式。樂章開頭，小提琴兩部帶出主旋律，並由木管穿插唱和，聽似 抒情，在結構上卻已簡潔地直陳第一主題。而第一主題，以下行三度與上行六度組成，看似 交錯，實乃同一音型之翻轉，直接地展現了布拉姆斯的特長，即被荀白克推崇之「持續發展 中的變奏」(developing variation) 手法，以此獨門絕技將細碎音型變化、翻轉，無間隙地編織 出悠長旋律。第二主題則為號角般的音型，由雙簧管、單簧管與低音管帶出，並由法國號支 撐。發展部同樣由 e 小調開始，原本如呈示部開始般的音型，迅速轉變，兩主題的片段得到 細緻地發展，尤以第二主題的號角音型特別突顯。再現部的開始亦相當清晰，所不同是，第 一主題的 B-G-E-C 四音，經過增值，且由雙簧管、單簧管與低音管兩部各呈空心八度演奏， 疊置出有如管風琴般的聲響。 第二樂章「中庸的行板」之主題使用手法，亦接近奏鳴曲式。雖然樂章調性標示為 E 大 調，但一開始，由法國號、低音管、雙簧管與長笛帶出的第一主題，卻是在 C 音上的弗里幾 安 (Phrygian) 調式，加上絃樂撥奏伴奏，充滿異國情調。第三樂章詼諧曲為 C 大調，速度標 示為「歡快的快板」，同樣也可以奏鳴曲式來理解。樂章開始齊奏為下行八分音符加上兩個 四分音符重音，具有民俗舞蹈的韻味，為第一主題。第二主題相對來說，則較為輕巧優雅， 由第一小提琴演奏。 布拉姆斯第四號交響曲最重要的成就，非終樂章莫屬。布拉姆斯在第四號交響曲的終樂
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樂曲解說
章裡亦使用變奏曲式，但係「固定低音」(ostinato) 手法。「固定低音」之變奏，有人稱之為 「夏康舞曲」(chaconne)，亦有研究者稱其為「帕薩噶利雅舞曲」(passacaglia)。無論名稱為何， 「固定低音」之採用都反映出布拉姆斯對巴洛克音樂的理解與喜愛；e 小調的調性，使人聯 想起巴洛克中期知名德國作曲家布克斯胡德為管風琴所作的 e 小調《夏康舞曲》；布拉姆斯 曾將巴哈著名的無伴奏小提琴之〈夏康舞曲〉改編為左手獨奏的鋼琴版本，該作品則為 d 小 調；布拉姆斯曾編訂法國作曲家庫普蘭，而庫普蘭大鍵琴組曲中的〈帕薩噶利雅迴旋曲〉， 似乎也反映在第四號交響曲終樂章各變奏之間的關係上；至於做為固定低音的八小節旋律， 則修改自巴哈的清唱劇《主啊！我渴求你》的結尾合唱。布拉姆斯讓這個主題進行卅次變奏， 後接一段尾奏。總共卅一次的主題呈現，按照音型，亦可視為具有呈示部、發展部與再現部 特色，即布拉姆斯所尊崇之「奏鳴曲式」之基本架構。
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Felix Mendelssohn: The Hebrides Overture, Op. 26 By Robert Markow (Musicologist, Canada) FELIX MENDELSSOHN: Born in Hamburg, February 3, 1809; died in Leipzig, November 4, 1847 In 1829, the twenty-year-old Felix Mendelssohn embarked on a long Grand Tour of Europe. Some of the composerâ&#x20AC;&#x2122;s best-known works were inspired by these travels, including the Italian Symphony (No. 4) and two works from Scotland, the Scottish Symphony (No. 3) and the overture The Hebrides. Scotland especially appealed to Mendelssohnâ&#x20AC;&#x2122;s romantic sensibility and penchant for picturesque landscapes as musical stimuli. He wrote rapturously of the waterfalls, valleys, # * # + < = + " > or smoke or fog.â&#x20AC;? In early August, Mendelssohn and his traveling companion Karl Klingemann (a young German diplomat and poet) reached the western coast and took a boat to the Hebrides,
" ? # @ # + people still live much as they have for hundreds of years, tending cattle and sheep, weaving Harris tweed, and raising crops such as barley, oats and potatoes. Best known of the islands is Skye, but it was Staffa that left the deepest impression on young Mendelssohn, for here was located the spectacular cavern named after the folk hero Fingal. The vast cave, open to the sea, measures 227 feet by 42*, and rises to a height of 66 feet. The sea forms the floor; along the walls stand towering pillars of basalt lava, inspiring Klingemann to describe the scene as resembling â&#x20AC;&#x153;the interior of an immense organ. It lies there alone, black, echoing, and entirely purposeless - the grey waste of the sea in and around it.â&#x20AC;? Mendelssohn put his own impression into tone instead, noting down a twenty-one-measure passage that became the opening of his overture and perfectly captures the air of hushed mystery, dark mists and the restless sea. Two main musical ideas are developed within the context of a sonata-form movement: the â&#x20AC;&#x153;lapping waveâ&#x20AC;? idea mentioned above, and a long-breathed, rising melody for the lower strings and woodwinds, which Donald Francis Tovey considered "the greatest melody Mendelssohn ever wrote." The development section concentrates on the first subject, a remarkably malleable little motif that Beethoven too might well have enjoyed developing. The recapitulation begins as did the overture, but the second theme is given over to the solo clarinet. A coda brings the music to its emotional climax, followed by a quiet, haunting close "like a gull skimming before a breaking wave" (George H. L. Smith). * In meters, thatâ&#x20AC;&#x2122;s 69 by 13 . . . and rises to a height of 20 meters 13
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Robert Schumann: Symphony No. 4, Op. 120, D minor Schumann wrote the first version of his Symphony in D minor in Leipzig during the early months of his marriage, calling it his Clara Symphony, but put it aside after the cool reception
# + \ " ]^_] " ! > # dazzled and overwhelmed the audience to the exclusion of all else. He revised it in December, 1851,
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{| \ " ]^}~ $ Â&#x20AC;
 The work is scored for pairs of flutes, oboes, clarinets and bassoons, with four horns, two trumpets, three trombones, two timpani and strings. There is a certain thematic unity in the
# # movement and in the Trio of the Scherzo. The opening movement has no recapitulation, but moves after the development, with its new theme, to the Romance. The Scherzo has two Trios and is + # # +% opening of the work giving way to the cheerful variety of its energetic conclusion. Š 2015 Naxos Digital Services Ltd
Johannes Brahms: Symphony No. 4, Op. 98, E minor It was in the aftermath of the great success of the Third Symphony that Brahms wrote his Fourth, during the summers of 1884 and 1885 at the Styrian village of MĂźrzzuschlag. As with his other paired works, the sequel is in strong contrast to its predecessor. That Brahms aimed at such expressive difference is clear from later remarks, while exploring the idea of writing further symphonies (sketches survive for a Fifth): 'more than four symphonies are not really possible for the modern musician who would give each a characteristic content, after that one is forced to repeat oneself.' Brahms announced the new work to friends with his customary mixture of irony, humour and self-deprecation. To Elisabeth von Herzogenberg he wrote: 'In general, and unfortunately, my
14
Â&#x201A;Â&#x192; Â&#x201E; not ripen, do not become edible - if the item doesn't taste good to you, don't be embarrassed; I'm not at all keen to write a bad number 4.' He asked Hans von BĂźlow whether he could rehearse the work with the Meiningen Orchestra in the following terms: a pair of Entr'actes are to hand - such as together one commonly calls a symphony. I don't know whether a wider public will get to hear it. I
% # " # Â&#x192;Â&#x2026; his friend Franz WĂźllner he wrote: 'I am about to try over in Meiningen a kind of No. 4, for which no word-text is appropriate; there it can be done very thoroughly without a concert becoming the ? Â&#x192;Â&#x2026; Â&#x201E; + < Â&#x2026; #
$ $ # Â&#x2026; and doubts the 52-year-old composer had over his latest masterpiece - doubts about whether it was good, whether it would please, whether it hung together adequately ('a pair of Entr'actes'), whether, while being 'sad', it was nevertheless too abstract ('for which no word-text is appropriate'). Early in January 1882 Brahms had discussed the last movement of J. S. Bach's Cantata No. 150, a choral and instrumental chaconne, with Hans von BĂźlow and Siegfried Ochs in the following < Â&#x2026;Â&#x2020; # + " # Â&#x201A; Â&#x201E; clumsy, too straightforward. One would have to alter it chromatically in some way'. Thus, while the Third Symphony was still to come, Brahms had already made a key decision in respect of the Fourth. He was well-versed in the form of the chaconne: he knew examples by Muffat, Couperin, Buxtehude; he had written his own chaconnes in the finales to the Haydn Variations and to the ! " # >
" Â&#x20AC; $ Â&#x2021; arranged Bach's Chaconne from the D minor Partita for solo violin in 1877 for piano left-hand. For the Fourth Symphony Brahms transformed Bach's cantata theme in several respects, giving it a new rhythm, making it melodic, adding an A sharp (with a corresponding F natural in the new harmony). Following the lead of Bach's violin movement, he chose to use major-key variations in the centre and recapitulatory variations later, and to group variations in fours and pairs. The sequence of Brahms's 32 variations also however serves a post-Beethovenian purpose, since it "
# * # trombone variations as a lyrical second-subject group, with fragmenting, modulatory variations as development, with recapitulatory variations followed by a canonic and modulating climactic coda. While the finale was in fact the third movement to be finished, Brahms's conception of the symphony was oriented towards it from an early stage, and it surely gave him the impetus to base his " ? ? ? any other extended work of Brahms: sequence forms the basis of all the themes, their treatments, and it conditions the structure of the development section. Having set out with this one baroque
15
ć¨&#x201A;ć&#x203A;˛č§ŁčŞŞ
feature predominant, Brahms supplemented it with others: he introduced canon into the initial repeat of the opening theme, imitation by inversion into the development, and the very opening of the symphony uses, as the foundation of its sequence, a harmonic gambit often used by J. S. Bach to begin his preludes: chords I-IV-V-I. In the second movement Brahms carried this synthesis of the archaic and contemporary further, opening with a Phrygian mode horn call, and extending the modal influence into the harmony of his main theme. He was working on the complete edition of Schubert's music at this time, and the second movement of the Fourth has several Schubertian features: the introduction on horn, the overwhelming melodic beauty of the second subject, the explosive developmental outburst late in the movement, and the pizzicato accompaniment to the
#
+ Allegro giocoso, denoting the comic episode in the tragic symphony, but its lightness and jollity are mixed with an expansive symphonism, including thematic transformations, inversions and other contrapuntal treatments. All four movements use sonata form, in the second and third movements #
For Brahms a late-romantic symphony needed meaningful relationships between movements, and there was clearly a time when he worried about the way the movements of the Fourth Symphony "
# + Â&#x201E;` # $ " #
commentator to point out that Brahms's opening uses a chain of descending thirds. These thirds act
# # In spite of Brahms's doubts and the negative response of his Viennese friends to an early try # # " given at Meiningen on 25 October 1885 with Brahms conducting, and on the subsequent European tour. 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
● 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
● 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
鄧宛雯
● 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
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
鍾筱萱
孫正茸
王婉如
曹予勉
＊王濟揚
第二小提琴
中 提 琴
大 提 琴
英 國 管
李明怡
單 簧 管
● 朱玫玲
◎ 張凱婷
朱偉誼
低 音 管
● 簡凱玉
◎ 陳奕秀
高靈風
倍低音管
簡恩義
法 國 號
● 劉宜欣
◎傅后銘
○ 黃任賢
小 號
● 宇新樂
◎ 陳長伯
張景民
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
豎 琴
● 解 瑄
鍵 盤
▲ 許毓婷
執行長 企畫演出經理 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
國田朋宏 鄒儒吉
楊璧慈
企畫演出
整銷推廣
企畫組長 謝祥雯 企劃專員 賴盈帆 賴曉俐 林珊卉 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
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National Symphony Orchestra Music Director Shao-Chia Lü
Double Bass
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 ● ◎
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 ● ◎ ○
Flute ● ◎
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 Wan-Wen Eve Teng
Mei-Chuan Chung
Oboe ● ◎
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
Ming-I Lee
Clarinet ◎
★Concertmaster
May-Lin Ju Kai-Ting Chang Wei-I Chu Cheng-Jung Sun
Bassoon ● ◎
Kai-Yu Jian I-Hsiu Chen Ling-Feng Kao
Contrabassoon En-Yi Chien
Horn Yi-Hsin Cindy Liu ◎ Lewis Yeo Meng Poh ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ＊ Chih-Yang Wang ●
Trumpet ● ◎
Nicolas Rusillon Chang-Po Chen Ching-Min Chang Loo-Kit Chong
Trombone ● ◎
Kuang-Ching Sung Hang-Fat Shiu Chung-Sheng Chen
Bass Trombone
◎
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I-Ching Wang Tung Nguyen Hoang Shu-Ting Yang Hsiao-Hsuan Chung
English Horn
Cello ●
Anders Norell Chika Miyazaki Chuin Lee
Piccolo
●
Second Violin
Yung-Ho Fu Yi-Juan Su Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai
Percussion ●
Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang
Harp ●
Shuen Chieh
Keyboard ▲Yu-Ting Hsu
Executive Director Joyce Chiou
Manager, Planning & Production Sarah Tu
Manager, Marketing & Development Paul Wang
Secretary of Music Director Yu-Fen Huang
Planning & Production Assistant Manager Shelby Hsieh
Programme Coordinator Ying-Fan Lai Lizi Lai Sophie Lin
Assistant Manager, Personnel Bibi Lin
Librarian Brittney Kao
Stage Manager Kuan-Hsun Kao
Assistant Stage Manager Odin Pan Ching- Han Su
Legal Affairs Cary Liu
Administrator Yuan-Ju Miao
Administration Assistant Jing-Yi Shen
Marketing & Development Assistant Manager Chiau-Chi Cheng
Marketing Coordinator Pu-Mei Chen Po-Hsiung Tseng Katherine Kuo Ashley Yeh Wei-Fang Pan Eileen Lin■
Legal Consultant 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 ＊NSO Orchestra Academy Auxiliary
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