馬勒第六 Mahler’s Sensational Sixth
演出時間 2016年3月4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
朗
讀│蔡柏璋 Pao-Chang Tsai, narrator
語韻指導│魏樂富 Rolf-Peter Wille, German diction coach 拉縴人男聲合唱團 Taipei Male Choir 合唱指導│聶焱庠 Yen-Hsiang Nieh, chorus master 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
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曲目
約 90 分 鐘 無中場休息
阿諾 ‧ 荀貝格（1874-1951）：《華沙生還者》
古斯塔夫 ‧ 馬勒（1860-1911）：第六號交響曲 I. II. III. IV.
有能量的快板，但不過份快速 詼諧曲：沈重有力的 中庸的行板 終樂章：中庸的快板
ARNOLD SCHOENBERG (1874-1951): A Survivor from Warsaw, Op. 46
GUSTAV MAHLER (1860-1911): Symphony No. 6 in A Minor I. II. III. IV.
Allegro energico, ma non troppo Scherzo. Wuchting Andante moderato Finale. Allegro moderato
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樂曲解說
流浪、悲劇與靈魂的淨滌 撰文、歌詞中譯．車炎江（國立臺北藝術大學音樂學博士）
維也納作曲家馬勒與荀貝格，二人都是猶太裔。他們為音樂藝術締造無可取代的偉大成就， 卻必須被迫經歷「三重無國籍之人」的困境，因為不論是家鄉維也納或是日後落腳的異國城 市，沒有任何地方願意展開雙臂歡迎他們到來。二人費盡心血在音樂藝術登峰造極，獲得的 報償竟是成為「永世流浪的猶太人」。雖然他們的遭遇令人不勝唏噓，但如今看來，永世流 浪的悲劇宿命不僅熬煉二位大師宏觀超卓的藝術境界，更在他們的創作裡烙下深刻的印記， 最終帶領世人尋找永恆真理的盼望，淨滌靈魂深處的仇恨與傷害。
阿諾．荀貝格：《華沙生還者》 接受庫塞維茨基基金會（Koussevitzky Foundation）委託創作，荀貝格生前最後一闋大型管 絃作品《華沙生還者》是個寫實生動的音樂極短篇，由作曲家本人親撰臺詞，只花費九天時 間就譜寫完成。以音樂作品紀念華沙集中營的悲慘戰俘，靈感來自一位俄裔舞者柯琳．邱倩 （Corinne Chochem）對荀貝格的建議。樂曲完成於 1947 年，1948 年 11 月在新墨西哥大學 首演，結果相當成功。此曲以大型管絃樂團、男聲合唱以及一位「講述者」（Erzähler）一 同呈現二戰期間猶太集中營傳出的駭人景況。在七分鐘左右之內，這位不具名的「講述者」， 透過英文、德文、希伯來文三種語言，模擬其中一位猶太戰俘，向世人訴說二次世界大戰 華沙集中營迫害猶太人的景況。就在納粹德軍要將集中營全體猶太人送進毒氣室施以酷刑 前，全體猶太戰俘齊聲高唱聖經經文（Sh'ma Yisroel）：「以色列啊，你要聽！耶和華我們 的 神是獨一的主……」（申命記 6:4-9）以此顯示他們面臨生死關頭仍不忘記對上主的愛 與信仰，並且向獨裁迫害者伸張自己的生命尊嚴。 荀貝格發揮十二音列作曲法表現人類激烈情感的最大效應，運用一組原始音列貫徹作曲者的 信念（樂曲起始處即由小號、絃樂共同呈現），後續還會在男聲齊唱處再現。排山倒海而來 的不和諧聲響，還原華沙集中營令人不寒而慄的肅殺氛圍，直到曲末呈現出「極度恐怖且殘 忍的勝利」為止。荀貝格發揚人道精神，透過《華沙生還者》向二次大戰期間死於納粹迫害 的猶太同胞表達哀悼與紀念；推而廣之，此曲對全世界遭受邪惡獨裁政權迫害的無辜犧牲者 也具有相同意義。
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《華沙生還者》歌詞
I cannot remember ev'rything. I must have been unconscious most of the time; I remember only the grandiose moment when they all started to sing, as if pre-arranged, the old prayer they had neglected for so many years – the forgotten creed! But I have no recollection how I got underground to live in the sewers of Warsaw so long a time. The day began as usual. Reveille when it still was dark. Get out whether you slept or whether worries kept you awake the whole night. You had been separated from your children, from your wife, from your parents. You don't know what happened to them... How could you sleep? They shouted again: "Get out! The sergeant will be furious!" They came out; some very slow, the old ones, the sick men, some with nervous agility. They fear the sergeant. They hurry as much as they can. In vain! Much too much noise, much too much commotion, and not fast enough! The Feldwebel shouts: "Achtung! Stillgestanden! Na wird's mal, oder soll ich mit dem Gewehrkolben nachhelfen? Na jut; wenn ihr's durchaus haben wollt!" The sergeant and his subordinates hit everyone: Young or old, strong or sick, guilty or innocent – It was painful to hear them groaning and moaning.
我依稀只記得某些事。多數時間我一定是 處於無意識狀態；我只記得那個偉大的時 刻，像是預先安排好似的，就是當大伙兒 開始唱出那被忽視許久的古老祈禱詞時 ──（那）被遺忘的信條！ 但我對於自己究竟如何潛入地底下、躲進 華沙下水道存活多時，卻一點也記不得。 那天一如往常般開始。天還沒亮就吹響了 起床號。不論你是睡著的、還是煩惱得徹 夜難眠的人，都得出去。你被迫與你的孩 子、妻子、雙親分開。你無從得知他們發 生了什麼事……你怎麼睡得著啊？ 他 們 再 次 喊 叫 著：「 出 來！ 士 官 要 發 飆 了！」他們走出來；有些人走得慢，像老 人或病患，有些人則緊張地飛奔。他們都 畏懼那士官。他們儘可能快步走出。但徒 勞無功！太多噪音、太過騷亂，他們根本 快不起來！士官喊道：「注意！立正！就 是現在，不然是要我用槍托來幫你嗎？很 好；看來你們真想如此！」士官和他的下 屬開始動手毆打每個人：不論老少、強壯 或病弱、有罪或無辜──聽著他們呻吟嗚 咽的聲音，真是苦啊！ 雖然我被重重毆打，以至於不支倒地，但 我都聽見了。因為我們都被毆倒在地，那 些無法起身的就被擊打頭部。
I heard it though I had been hit very hard, so hard that I could not help falling down. We all on the ground who could not stand up were then beaten over the head.
我一定是失去了意識。接下來我所知道 的，就是有個士兵說：「他們都死了！」 於是，士官下令把我們處理掉。我意識模
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《華沙生還者》歌詞
I must have been unconscious. The next thing I knew was a soldier saying, "They are all dead!" Whereupon the sergeant ordered to do away with us. There I lay aside half conscious. It had become very still – fear and pain. Then I heard the sergeant shouting: "Abzählen!"
糊地往一旁倒去。周遭變得非常安靜──
They started slowly, and irregularly: one, two, three, four... "Achtung!" The sergeant shouted again: "Rascher! Nochmals von vorn anfangen! In einer Minute will ich wissen wieviele ich zur Gaskammer abliefere! Abzählen!"
要知道我得把多少人送進毒氣室裡！報
They began again, first slowly: one, two, three, four, became faster and faster, so fast that it finally sounded like a stampede of wild horses, and all of a sudden, in the middle of it, they began singing the Sh'ma Yisroel.
恐懼與痛苦。接下來我聽見士官喊：「報 數！」 他們緩慢且不規則地開始：一、二、三、 四……「注意！」士官再次喊道：「再快 一點！再次從頭開始數！一分鐘之內我就 數！」 他們重新開始，起初緩慢：一、二、三、四， 然後逐漸加快，最後速度快到聽起來像是 野馬奔騰四散的聲音，就在這個時候，人 群之中，有人開始唱起《以色列啊，你要 聽！》（申命記 6:4-9） 以色列啊，你要聽！耶和華我們的 神是 獨一的主。你要盡心、盡性、盡力愛耶和 華你的 神。我今日所吩咐你的話都要記
Sh'ma Yisroel, Adonoy elohe noo, Adonoy Echod. V'ohavto es Adonoy elohecho b'chol l'vov' cho oov'chol nafsh'cho, oov'chol m'o decho. V'hoyoo hadd'voreem hoelleh asher onochee m'tsav'cho hayyom al l'vovecho. V'shinnantom l'vonecho, v'dibbarto bom b'shivt'cho b'vetecho oov'lecht'cho badde rech, oov'shochb'cho oov'koomecho…
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在心上，也要殷勤教訓你的兒女。無論你 坐在家裡、行在路上、躺下、起來，都要 談論…… （此時，歌唱的猶太戰俘已走入毒氣室， 後半部經文 [ 申命記 6:8-9] 略）
樂曲解說
古斯塔夫．馬勒：第六號交響曲 馬勒的 A 小調第六號交響曲別名《悲劇》，可能是因為此曲是他唯一使用小調起始作終的交 響曲引人聯想，也或許此曲冥冥之中預示馬勒人生即將面對的一連串不幸──被維也納歌劇 院解職、女兒么折、以及他罹患心臟病過世的噩運──正如馬勒妻子阿爾瑪（Alma）日後對 於這闋作品音樂所作的回顧與闡釋一般。馬勒的交響曲經常反映他的人生景況與哲學，但這 闋第六交響曲與馬勒此時此刻的人生，卻顯出難以解釋的反差。馬勒第六交響曲主要創作於 1903-04 年夏季渡假期間，此時的他正值家庭事業兩得意的人生高點：有愛妻、女兒伴隨身 旁，維也納歌劇院指揮工作穩定；然而，馬勒這段時間的樂曲創作──包括聯篇歌曲《悼亡 兒之歌》（Kindertotenlieder, 1901-04）和第六交響曲──卻展現出某種無以挽回的、灰澀深 沈的巨大悲傷。無論如何，此曲展現馬勒對樂團技法的獨特創意，即使巨大的陰影不時橫亙 徘徊於樂音之間，馬勒依然透過第六交響曲提醒世人不可避免的命運橫逆與生命困境，揭櫫 孤寂的深層內涵與本相。 這闋第六交響曲，可以說是馬勒所有交響曲之中最接近古典交響曲傳統形式者：它是典型的 四樂章交響曲，沒有任何明顯預設的故事情節、戲劇場景，也沒有任何明確的文學作品作為 音樂創作的藍圖，無法提供聽眾按圖索驥。同時，這闋交響曲與過往德奧大師立下的典範迥 然不同，在龐大的終樂章結尾處，既缺乏象徵肯定情感的興奮高潮，也不見「出黑暗、入光 明」帶來的正向盼望或安息的可能性，反倒像是留下一道無人可解答的問題。無怪乎布魯諾． 華特（Bruno Walter）曾經稱此曲為音樂史上首見的「虛無主義」之作。歷來研究馬勒的方 家學者，對此曲各擁不同觀點，抽象隱晦的音樂意念、難以確切描述的象徵或隱喻，有如應 驗了馬勒對此曲的比喻：「我的第六（交響曲），就像是樂評家脆弱微渺的牙齒無法咬破的 一顆堅硬核桃」。 雖然馬勒妻子阿爾瑪曾經解釋馬勒第六交響曲的音樂象徵意義，但學者專家不僅對於是否應 將此曲詮釋為英雄生涯的故事、甚至作為音樂內容的梗概意見相左。還有另一項關於此曲的 著名歧異，就是實際演奏時第二樂章究竟應該安排行板樂章？還是詼諧曲樂章？馬勒親自於 埃森（Essen）擔任此曲 1906 年 5 月 27 日首演的指揮，他在首演前就已出版樂譜（1906 年 3 月首版譜 [ 萊比錫，C. F. Kahnt]，以詼諧曲為第二樂章）；但馬勒在首演時改變主意，將 中間二樂章的原訂順序顛倒（改為先演奏抒情樂章，將詼諧曲改為第三樂章），同年年底出 版之修訂版本（第二版）亦與首演之樂章順序相同。光是馬勒自己就曾經數次更換過中間 這二個樂章的順序，樂章布局牽涉的深沈繁複思維──究竟應該優先反映馬勒創作樂曲時的 幸福時光（行板樂章先演奏）？還是應該呈現他對於未來命運接二連三嘲弄與打擊的諷刺意 義、並且考慮各樂章在調性關性與主題素材之間的合理邏輯（詼諧曲樂章先演奏）？這在專
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樂曲解說
家學者以及世界知名樂團指揮心目中，似乎各有定見。 另外，樂譜留下許多有待指揮與樂團決定的演出現場細節，使得此曲每一次的演出都可能 是獨一無二的結果。像是經過馬勒多次刪改的打擊樂器種類、數量（部分樂器未指定）， 終樂章著名的槌擊也有三次（首版樂譜）與二次（首演與第三版樂譜 [ 刪除第三次 ]）的差 異。馬勒的演奏指示考驗每一位指揮對此曲的理解，以及詮釋馬勒時最需要的智慧，例如： 要求豎琴和鋼片琴要盡可能地多（安排幾架琴才夠？），阿爾卑斯山牛鈴架設在遠處（in Entfernung aufgestellt，要置放在多遠處才夠遠？），還有最著名的終樂章槌擊，馬勒在總譜 上註記要求「短促、有力卻悶鈍的聲響，不是來自金屬敲擊的音色」（Kurzer, mächtig, aber dumpf hallender Schlag von nicht metallischem Charakter）。由於暗悶的槌擊音色即使再怎麼 有力也難以傳遠，在首演時就已經是個敗筆，於是後世指揮在演出此曲時，只得各出奇招讓 槌擊聲得以突破樂團重圍，這也成為討論此曲演奏詮釋時的另一項焦點話題。 第一樂章奏鳴曲式以進行曲作為起始，在頑固低音 A 上展現一種堅持向前邁進的執念，與激 情的第二主題（象徵馬勒的妻子阿爾瑪）形成對比。中段發展部的新素材兼容並蓄，宛如室 內樂的某些親密瞬間，涵括了雜亂、隨機、無秩序的異質性現實世界（例如遠處傳來的阿爾 卑斯牛鈴聲響）以及美好清亮的昇華極樂世界（例如鋼片琴、小提琴獨奏）二者間的辯證。 詼諧曲樂章（A 小調）彷彿直接出自第一樂章發展變奏之後的結果，馬勒要求樂團強力的演 奏，使得詼諧曲樂音顯得更加辛辣、怪異。然而根據阿爾瑪的說法，這是馬勒看到一雙稚齡 女兒在沙地上走路蹣跚搖晃的可愛模樣而得到的靈感，這似乎符合中段（trio）優雅俏皮、 不斷改變節奏模式的音樂特徵。馬勒在此處標示「老派風格的」（Altväterisch），更增樂音 的奇異趣味。 行板樂章轉入降 E 大調，與全曲主調性（A 小調）相隔遙遠，彷彿馬勒正以平靜的姿態為 此曲搭建起一處絕美的憩息綠洲。在樂章終了之前才顯現激情感人的片刻，最後樂聲漸行漸 遠、沒入彼岸消失無踪。 奏鳴曲式終樂章極為龐大，幾乎占去全曲將近四成的演奏長度。將行板樂章（降 E 大調）的 關係小調（C 小調）作為終樂章導入部（中庸的快板）的主調性；此處由銅管群主導的合奏， 儼然像一組莊嚴的聖歌合唱。後續逐漸導入充滿能量的 A 小調快板奏鳴曲式主部，彷彿第一 樂章各式素材的強力再現與最後回顧。槌擊聲出現在發展部的樂音高潮瞬間共計二次（首演 版本則在尾奏處還會再安排第三次槌擊），是終樂章最具戲劇色彩的獨特設計，對馬勒本人、 或是對聽眾而言，具有強烈的象徵意義，不論詮釋為命運的無情打擊、或是英雄反擊揮出的 拳頭，都在最後三小節化為一道輕喟般的無解問句，以痛心的悲劇結束全曲。
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Arnold Schoenberg: A Survivor from Warsaw, Op. 46 A Survivor from Warsaw, composed in 1947, is a fully formed music drama of only six minutes duration. The economy of statement and formal compression are extreme, even for Schoenberg. The effectiveness of the work depends on dramatic contrasts: speaking (narration) versus singing (the chorus); English (past-tense recollections in the narration) versus German (present-tense reality, in the impersonation of the Sergeant); the association of bugle calls and military drum rhythms with the Germans, and of irregular, limping rhythms in the strings with their Jewish victims; the fragmentation of the first part of the piece versus the unity and continuity of the ending; the limitation to small combinations of instruments in the first part versus the full orchestra in the last part; the fluctuating tempi and metres in the first part versus the constant metre and slightly inflected tempo in the last. The horror of the scene is established in the first few seconds by dissonant (twelve-tone) bugle calls accompanied by violins and basses playing comminatory tremolandos at extreme ranges, and by a piercing snare-drum roll. The picture is filled out and intensified by nerve-shattering instrumental effects: sudden, rhythmically separated outbursts of trills in the upper woodwinds and trombone; muted trumpet flutter tonguing; rapidly repeated notes in bassoons, oboe, and high xylophone; the high, needlelike punctures of violin harmonics; tapping on the strings with the wood of the bow (col legno battuto); sul ponticello squeaks in the cello; loud detonations in basses and trilling shrieks in the high range of the winds. The most effective orchestral scene changing is in the accompaniment by percussion alone of the Sergeant's first command, and in the characterization of his robotic emptiness and rigidity through the hollow click of the xylophone. The most dramatic moment in the Survivor is the entrance of the male chorus near the end singing the Hebrew prayer Sh'ma YisroÍl (Deuteronomy 6), traditionally recited at the immanence of death, here accompanied by the full orchestra. Š 2015 Naxos Digital Services Ltd
9
樂曲解說
Gustav Mahler: Symphony No. 6 in A Minor The new century brought a marked change in Mahler's life. In 1902, to the amazement of all Vienna, he married the twenty-year-old Alma Schindler, daughter of the painter Anton Schindler and a composition pupil of Zemlinsky, future wife of the architect Walter Gropius and later of the writer Franz Werfel. Summer holidays were spent at a villa Mahler had had built at Maiernigg on the Wörthersee. Here he was able to work in a garden chalet with relative lack of disturbance. In the summer of 1903 he worked on his Sixth Symphony, writing three of the four movements in that year and completing the whole work in the summer of 1904, at a period when the birth of the second of his two daughters brought some happiness amid the inevitable frustrations and difficulties of Vienna and the relatively minor but irritating disturbances of his peace at Maiernigg from holidaymakers. Alma Mahler later wrote of the symphony, which her husband had played through to her as the summer drew to a close. The second subject of the first movement, he told her, represented Alma herself, while the third movement (now the second) represented the rhythmic games of the two children, walking with uneven steps on the sands of the lake-shore - an unlikely event, in view of the fact that the second child was born only in June 1904. The fading of the childish voices at the end of the movement seemed, like the Kindertotenlieder completed in the same summer, to have, with hindsight, an ominous nature, since the elder of Mahler's daughters died suddenly in 1907. The last movement, according to Alma Mahler, described the composer himself, his downfall or that of his hero, with three blows of Fate, the last of which, later omitted, was fatal. Again with hindsight, these three blows she saw as the death of their daughter, the diagnosis of Mahler's heart ailment and his resignation from the Court Opera, events of 1907. The Sixth Symphony was first performed in 1906 in Essen at a generally undistinguished festival of contemporary music given by the Allgemeiner deutsche Musikverein. The programme opened with a performance of Mozart's Masonic Funeral Music, conducted by Richard Strauss, followed by the new symphony under the composer's own direction. It was well received in the concert-hall but had a very mixed wider critical reception, puzzling many, as Mahler had said it would. The symphony, conceived on a vast scale, is scored for piccolo and four flutes, two also doubling on piccolo, four oboes, two players doubling on cor anglais, cor anglais, clarinet in D and in E flat, three clarinets in A and in B flat, bass clarinet, four bassoons, double bassoon, eight French horns, six trumpets, three trombones and bass trombone, bass tuba, two pairs of timpani, a percussion section of glockenspiel, cow-bells, deep tubular bells, whip, hammer, xylophone, cymbals, triangle, side-drum, bass drum, tam-tam, two harps, celesta and strings. Some have chosen to use the distinguishing title Tragic for Mahler's Sixth Symphony. This echoes the composer's own description of the work and the mood of pessimism that prevails in the last movement of the symphony, with the ominous hammer-blows of Fate, prefiguring, as Alma Mahler
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suggested, the tragedy of Mahler's final years. The first movement is marked Allegro energico, ma non troppo, with the added direction Heftig, aber markig (violently, but pithy). There is a brief introduction of five bars of march rhythm before the appearance of the first of the three principal subjects, the second prefaced by a loud trumpet chord, but introduced gently enough by the flutes and woodwind. Shortly after this Alma Mahler's theme, the true second subject, is heard, marked schwungvoll (energetic). The exposition is repeated, followed by a central development section, with Alma Mahler's theme and the cow-bells suggesting the simple joy of the countryside. The recapitulation starts with the first subject now in A major, almost at once returning to the minor. Alma Mahler's theme leads to a coda that starts with the insistent rhythm of repeated notes on double bassoon and double basses, but is eventually dominated by this theme. Tragic march, its rhythm stressed by the drum. The mood changes with the Trio, marked Altväterisch (old-fashioned), in olden style, introduced by the oboe, a satirical view of an elegant past, in music that now turns again into the threatening and eerie. To this the muted strings offer a gentle contrast in the opening of the lyrical Andante moderato, characteristically marked zart und ausdrucksvoll (tender and expressive). The second theme is introduced by the cor anglais and the mood is continued in music that grows in intensity of feeling and yearning, redolent of the countryside in which the symphony was written. The last movement, the longest of the four, is one of strong and violent contrasts. Structurally it is of some complexity, opening with a Sostenuto introduction. This consists of five elements, the first introduced by harp and celesta and characterised by the first violin theme. A sudden burst of sound leads to a fragmentary theme for bass tuba, followed by a third element, a woodwind and brass chorale. A heavy drum-beat opens the fourth section of the introduction, while the insistent rhythm of the Allegro moderato provides the fifth element. There follows a series of three thematic groups, the first, marked Allegro energico. There is a repetition of material derived from the introduction and a part of the following Allegro, before the first hammer-blow signals a development, followed by a second hammer-blow and a further development of the material. Earlier elements again return, to be followed by a recapitulation proper, marked Molto pesante. A third hammer-blow, or in a revised version the sound of the tam-tam, starts the coda. It will be seen that this movement, which defies brief analysis or explanation, has about it the elements of a rondo, although of a very complex and novel kind. At the same time its reminiscences of what has passed serve to draw together the whole massive work into a remarkable unity, in spite of its bewildering variety of material and mood.
Š 2015 Naxos Digital Services Ltd
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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。
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“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.
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演出者簡介
朗 讀 narrator
蔡柏璋
Pao-Chang Tsai
臺灣劇場難得一見集編導演唱才華於一身的創作者，現任臺南人劇團聯合藝術總監。臺灣大 學戲劇學系畢業，英國倫敦中央演說暨戲劇學院音樂劇碩士，並以全班最優異成績畢業。 2011-12 年獲得亞洲文化協會贊助，至美國哈佛大學的美國定目劇團和俄國的莫斯科藝術劇 院進修聲音訓練課程。蔡柏璋曾獲選 PAR 表演藝術雜誌 2011 年戲劇類年度代表人物、2015 年獲選文化部巴黎西提駐村藝術家；由他擔綱演出的作品更是屢獲台新藝術獎肯定，其中創 作《嬉戲：who-ga-sha-ga》榮獲第三屆表演藝術的百萬首獎、《莎士比亞不插電 3：馬克白》 獲第六屆表演藝術十大作品。此外，他的音樂劇劇本《木蘭少女》不僅獲得府城文學獎首獎， 也被挑選作為臺大戲劇系創系十週年的紀念演出，由他開創的電視影集型式舞台劇《K24》， 更是創造臺灣劇場史上第一齣連演六小時喜劇的新記錄，演出成果深受兩岸學者專家與媒體 觀眾的讚賞與好評。 Pao-Chang Tsai is co-artistic director of the Taiwan-based theatre company Tainaner Ensemble, recognized as one of Taiwan’s finest ensembles. He directed their productions of K24 (2005/2007), Mulan (2011) which was considered to be one of the most distinguished Chinese Musical, Re/turn (2011), which has won critical appraisals. He also played the title roles of Tainaner Ensemble’s Hamlet (2005) and Macbeth (2007), the latter was appointed the Top 10 annual production of TaiShin Award. He has gained grants from the Ministry of Culture (Taiwan) and Asian Cultural Council to support his vocal training in Paris, U.S.A and Russia respectively. He has received awards in Taiwan, including the annual People of PAR magazine and Tai-Shin Award.
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語 韻 指 導 German diction coach
魏樂富
Rolf-Peter Wille
德籍鋼琴家魏樂富（Rolf-Peter Wille）1978 年畢業於漢諾威音樂院後即應邀來臺任教，後於 1987 年獲紐約曼哈頓音樂院鋼琴演奏博士學位。魏樂富曾跟隨俄籍鋼琴家艾羅諾夫、美國 鋼琴家葛拉夫曼、法國作曲家拉威爾的嫡傳弟子裴勒繆特及德國名師凱默林等國際名家研習 琴藝，並曾受教於姜凱基及艾里奧·卡特。魏樂富曾先後巡迴歐美及亞洲、南非各地演出， 亦經常與世界知名音樂家合作室內樂及現代音樂之首演。其所著述作品包括：《李斯特悲愴 協奏曲研究》、《冷笑的鋼琴》、《怎樣暗算鋼琴家》、《台北沙拉》。魏樂富目前執教於 國立臺北藝術大學，為 1990 年國家文藝獎得主，是第一位獲此殊榮之外籍人士。在臺定居 三十五年，視臺灣為家鄉，並時時刻刻以提倡發展臺灣的國際音樂地位為目標，希望能對臺 灣樂壇有所貢獻。 Born in Braunschweig (Brunswick), Germany (1954), Rolf-Peter Wille, pianist and piano teacher, has lived in Taipei since 1978. He studied music in Hannover, Germany, and later in Canada and New York (Doctor of Musical Arts, Manhattan School of Music, 1987). Since 1987 he is professor at the Taipei National University of the Arts. Wille’s literary activity began with the publication of music reviews and satirical short stories in Taiwanese newspapers and magazines. His works include The Cold Smiling Piano (satirical short stories, 1988), How to Sabotage the Pianist (satirical short stories, 1991), Taipei Salad (satirical short stories, 1994), Pianist: Wake Up and Dream! (2001). In 2002 satirical short stories appeared in the Project Gutenberg-DE and since 2003 short stories have been published in anthologies (Leselupe, Webstories, Betzel, Meiendorfer Drucke). In Taiwan Wille and his wife, Lina Yeh have been awarded the National Cultural Award in 1988 and the Friendship Medal of Diplomacy in 2010.
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演出者簡介
拉縴人男生合唱團 Taipei Male Choir 拉縴人男聲合唱團的前身是「成功高中校友合唱團」， 2003 年起連續 13 年獲選為文化部 （前行政院文建會）扶植演藝團隊，2005 年起也開始招收非成功高中畢業的團員。歷經唐 天鳴老師指揮，現由聶焱庠老師擔任指揮暨藝術總監。根據 2006 年的歐洲 INTERKULTUR Foundation 所公佈的世界合唱團排名中，榮獲世界 TOP 500 合唱團之第六名，更在世界男聲 合唱團排名中名列第一，躋身成為世界高水準的著名合唱團之一。首張專輯《In Love With You》，入圍 2008 年第 19 屆金曲獎中傳統暨藝術類「最佳古典音樂專輯獎、最佳演唱獎以 及最佳專輯製作人獎」，並榮獲「最佳演唱獎」。2012 年，第二張專輯《千縷清風》入圍 23 屆金曲獎「最佳古典音樂專輯獎、最佳演唱獎以及最佳專輯製作人獎」三項大獎，並二 度榮獲「最佳演唱獎」。 The forerunner of Taipei Male Choir was Cheng-Gong High School Alumni Chorus. The choir was selected as one of the nurtured art groups by the government for 13 years consecutively, because of extending male chorus, creating performance, and introducing elegant choral art to the public. It was also accepted members who are not Cheng-Gong High School graduates, since 2005. After Tien-ming Tang, Yen-hsiang Nieh is the present artistic director and conductor. According to the world chorus ranking by INTERKULTUR Foundation, Taipei Male Choir is the sixth among to 500 choruses, and it ranks the first among male choruses. This record not only attests Taipei Male Choir's achievements in the choral music, but also represents the world high level of Taiwanese choruses. In 2008, A Crush on Male Voice, the first recording of TMC was nominated for three categories and awarded "Best Performance" at the 19th Golden Melody Awards in Taiwan. In 2012, A Thousand Winds, its second recording was nominated for three categories and awarded "Best Performance" again.
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第一男高音
賴建邑 徐人偉 鄧志明 胡延志 巫鴻瑜 賴世壕 莊智文 卓冠甫 詹子毅 黃于洲 李承恩
第二男高音
湯發凱 林政勛 陳凱斌 游博能 陳秉麟 陳駿騏 韓智淳 黃建勛 管翊翔 羅 謙
男
中
音
周文安 黃世雄 錢皓哲 Cameron Golinsky 游家晧 孫育韋 吳士弘 黃崇博 蔡育愷 林柏諺
男
低
音
康基祐 彭志宇 高永霈
鄭少伯 顏家佑 李孟峰 鄭晟杰 張博翔 張恩碩
合 唱 指 導 Chorus master
聶焱庠
Yen-Hsiang Nieh
聶焱庠，1977 年生於台北，輔仁大學合唱指揮碩士，師事蘇慶俊教授，為台灣優秀的合唱 指揮，合唱比賽的常勝軍。2009 年指揮拉縴人男聲合唱團，於「第廿五屆寶塚國際室內合 唱比賽」獲得總冠軍；2011 年率領同團參加德國「哈莫尼音樂節」合唱比賽，榮獲「男聲組」 冠軍及「最佳浪漫歌曲詮釋獎」，個人獲得「最佳指揮獎」；2013 年指揮拉縴人青年合唱團， 參加韓國「釜山國際合唱節」，獲得「古典混聲組」金牌；指揮成功高中合唱團，獲得「青 年合唱組」金牌暨總冠軍，個人獲得「最佳指揮獎」。目前為拉縴人合唱藝術中心藝術總監， 旗下共有拉縴人男聲合唱團、拉縴人青年合唱團、拉縴人少年兒童合唱團、拉縴人風雅頌 合唱團、拉縴人歌手、上海拉縴人室內混聲合唱團。此外為成功高中合唱團、光仁高中合 唱團、東湖國中男聲合唱團指揮，以及大湖國小合唱團客席指揮。同時擔任真理大學應用 音樂學系兼任講師，亦為台灣合唱協會理事。 Yen-Hsiang Nieh was born in Taipei in 1977. He received a Master’s Degree in Choral Conducting from Fu-Jen Catholic University, where he studied under Prof. Su Chin-Chun. He is a multi-award winner and one of the outstanding Taiwanese choral conductors of his generation. In 2009, Taipei Male Choir was the winner of Grand Prix of "25th Takarazuka Chamber Choir Contest" under Nieh's direction. In 2011, he lead Taipei Male Choir to win first prize of the male category and "Best interpretation of Romatic songs" and was awarded “Best Conductor." In 2013 "Busan Choral Festival", South Korea, he conducted Taipei Youth Choir to win the gold medal of classical mixed choir category, and Chenggong High School Choir won the gold medal of youth choir category and the Grand Prix. Nieh was once again the winner of the conductor prize of the festival. Nieh is currently the Artistic Director of TMC Choral Institution, including Taipei Male Choir, Taipei Youth Choir, Taipei Sängerknaben, Taipei Elegant-Song Choir, Taipei Male Singers and TMC Shanghei Mixed Choir. He is also the conductor of several school choirs. Nieh has been appointed Adjunct Lecturer of Department of Applied Music, Aletheia University and the executive director of Taiwan Choral Association.
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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 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 －derneue 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 semi-stage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009), Madama Butterfly (Opera Australia, 2012), Fidelio (Zurich Operahaus, 2015) as well as in-house production Die Walküre (2013), and Salome (2014).
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樂團簡介
攝影 Raymond Huang
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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
▲ 藍胤萱 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 袁繹晴
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 曾鈺婷
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 蕭雅心
短 笛
鐘美川
雙 簧 管
● 王怡靜 ◎ 阮黃松 楊舒婷 鍾筱萱 朱貞吟 李斐雯
英 國 管
李明怡▓
單 簧 管
● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 陳遵弘
低 音 管
● 簡凱玉 ◎ 陳奕秀 高靈風 鍾宜君
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 梁應婷 陳建維
李欣頤 小 號
● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉 何敏慈 Daniel Deysher
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 王瓊燁 張瑜蓁
豎 琴
● 解 瑄 梁嘉芫
鍵 盤
▲ 許毓婷
執行長 企劃演出經理 整銷推廣經理 行政管理經理
邱 瑗 杜佳舫 王承禹 王雲玉
音樂總監執行祕書 黃毓棻
企劃演出
整銷推廣
行政管理
企劃組長 謝祥雯 企劃專員 賴盈帆 賴曉俐 鍾子韶 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
人事組長 林碧珠 法務專員 劉善謙 行政專員 林欣儀 苗媛如 行政助理 沈靜宜 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
Tuba
Fu ◎ Yi-Juan Su ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai
● Jun
● Yung-Ho
Conductor Laureate Günther Herbig Resident Conductor Yin-Fang Chang First Violin ★ Ting-Yu Wu ★ I-Ching Li Hao-Tun Teng ○ Yi-Chun Chen Yu-Lin Kuo Ji-Hung Lin■ Kun-Hao Liang Yee-Nong Chen Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee Chih-Hong Tseng Chu-Chun Tsai ＊Hao-Yin Pai ▲Yin-Hsuan Lan
Second Violin ● Yi-Ju
Flute Norell Miyazaki Chuin Lee Ya-Hsin Hsiao ● Anders ◎ Chika
Piccolo Mei-Chuan Chung
Oboe Wang Nguyen Hoang Shu-Ting Yang Hsiao-Hsuan Chung Fei-Wen Li Chen-Yin Chu ● I-Ching ◎ Tung
English Horn Ming-I Lee■
Clarinet
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
Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun Tsun-Hung Chen
Viola
Horn
● 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 I-Ching Yuan ◎ Chi-Chuan
● 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 Yu-Ting Tseng ★Concertmaster
● May-Lin
Bassoon Jian ◎ I-Hsiu Chen Ling-Feng Kao I-Chun Chung ● Kai-Yu
Miyanishi
Timpani ● Ya-Wen
Lien
◎ Ting-Chuan
Chen
Percussion ● Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang Chiung-Yeh Wang Yu-Chen Chang
Harp Chieh Chia-Yuan Liang
● Shuen
Keyboard ▲Yu-Ting Hsu
Executive Director Joyce Chiou
Manager, Planning & Production Sarah Tu
Manager, Marketing & Development Paul Wang
Manager, Administration Yun-Yuh Wang
Secretary of Music Director Yu-Fen Huang
Planning & Production Assistant Manager Shelby Hsieh
Programme Coordinator Ying-Fan Lai Lizi Lai Eden Chung
Librarian
Brittney Kao
Stage Manager
Contrabassoon
Kuan-Hsun Kao
En-Yi Chien
Odin Pan Ching- Han Su
Cindy Liu Lewis Yeo Meng Poh ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ＊ Chih-Yang Wang Ying-Ting Liang Chien-Wei Chen Hsin-Yi Li ● Yi-Hsin ◎
Trumpet Rusillon Chen Ching-Min Chang Loo-Kit Chong Min-Tzu Ho Daniel Deysher ● Nicolas
◎ Chang-Po
Cello
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Double Bass
Trombone Sung ◎ Hang-Fat Shiu Chung-Sheng Chen ● Kuang-Ching
Bass Trombone Hsiao-Yun Peng
Assistant Stage Manager
Marketing & Development Assistant Manager Chiau-Chi Cheng
Marketing Coordinator Pu-Mei Chen Po-Hsiung Tseng Katherine Kuo Ashley Yeh Wei-Fang Pan
Administration Assistant Manager, Personnel Bibi Lin
Legal Affairs Cary Liu
Administrator Eileen Lin Yuan-Ju Miao
Administration Assistant Jing-Yi Shen
Legal Consultant Hsin-Ho Lin
Concert Dramaturgist Yuan-Pu Chiao
Recording Partnership
Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians ＊NSO Orchestra Academy Auxiliary
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