20160327 Musical Philosophy Program Note

2016 3 27 /

柔出曲盎

Program

éťƒč‹Ľďźˆb. 1976《碎歼》

RUO HUANGďźˆb. 1976: Shattered Steps

ĺžˇçąłç‰šé‡Œâ€˘č•­ć–ŻĺĄ”ç§‘çś­ĺĽ‘ďźˆ1906-1975 珏一č™&#x;大ć??ç?´ĺ?”ĺĽ?曲

DMITRI SHOSTAKOVICHďźˆ1906-1975: &HOOR &RQFHUWR 1R 2S ( Ă€DW

I.　 II.　 III.　 IV.　

I.　 II.　 III.　 IV.　

ĺ°?忍ć?ż 中版 čŁ?飞ĺĽ? ćœ‰ĺ‹•ĺŠ›çš„ĺżŤć?ż

Allegretto Moderato Cadenza Allegro con moto

~ä¸­ĺ ´äź‘ć Ż~

~Intermission~

ç?†ć&#x;Ľâ€˘ĺ?˛ç‰šĺ‹žć–Żďźˆ1864-1949 《ć&#x;Ľć‹‰ĺœ–ć–Żç‰šć‹‰ĺŚ‚ć˜ŻčŞŞă€‹

RICHARD STRAUSSďźˆ1864-1949: Also sprach Zarathustra, TrV 176, Op. 30 I. II. III.　 IV.　 V. VI. VII. VIII. IX.

I.　 ă€ˆĺ°ŽĺĽ?ďźŒćˆ–ć—Ľĺ‡şă€‰ II.　 ă€ˆčƒŒĺžŒä¸–ç•ŒčŤ–č€…ă€‰ III.　 ă€ˆĺ ‰ĺ¤§çš„ć¸´ćœ›ă€‰ IV.　 ă€ˆć­Ąć„‰čˆ‡ćż€ćƒ…ă€‰ ă€ˆĺ˘“ć­Œă€‰ V. VI. ă€ˆç§‘ĺ­¸ă€‰ VII. ă€ˆćź¸ç™’č€…ă€‰ VIII. ă€ˆčˆžčšˆć­Œă€‰ IX. ă€ˆĺ¤œé Šč€…ă€‰

柔出時間│ 2016ĺš´3ćœˆ27ć—Ľ (ć˜&#x;ćœ&#x;ć—Ľ) 7:30 PM ćź”ĺ‡şĺœ°éťžâ”‚ ĺœ‹ĺŽśé&#x;łć¨‚ĺťł National Concert Hall, Taipei

柔出者

'Einleitung, oder Sonnenaufgang' 'Von den Hinterweltlern' 'Von der groĂ&#x;en Sehnsucht' 'Von den Freuden- und Leidenschaften' 'Das Grablied' 'Von der Wissenschaft' 'Der Genesende' 'Das Tanzlied' 'Nachtwandlerlied'

ćŒ‡ă€€ć?Žď˝œä˝™éš† Long Yu, conductor 大ć??ç?´ď˝œçŽ‹ĺ Ľ Jian Wang, cello ć­Œă€€č€…ď˝œéťƒč‹Ľ Ruo Huang, vocal ĺœ‹ĺŽśäş¤é&#x;żć¨‚ĺœ˜ National Symphony Orchestra (NSO)

丝螌喎�│

ćŒ‡ĺŽšä˝?县│

柔出镡庌│上ĺ?Šĺ ´ç´„40ĺˆ†é?˜ďźŒä¸‹ĺ?Šĺ ´ç´„35ĺˆ†é?˜

ç‰šĺˆĽć„&#x;čŹ?│

1ě‡ŤĐˇÓ˜Ę?ŮžĚ–Ó˜Ć§Ä„Äš

步　　迎

Welcome

ĺ?„ä˝?čŚŞć„›çš„ć„›ć¨‚ćœ‹ĺ?‹ďźŒć‚¨ĺĽ˝ďźš ć­ĄčżŽč’žč‡¨ćŹŁčłžă€Œĺœ‹ĺŽśčĄ¨ćź”č—?čĄ“ä¸­ĺżƒă€?ĺœ‹ĺŽś 交é&#x;żć¨‚ĺœ˜é&#x;łć¨‚ćœƒďźŒç”ąčĄˇć„&#x;čŹ?ć‚¨çš„ć”ŻćŒ čˆ‡ĺ?ƒčˆ‡ă€‚ ćœŹä¸­ĺżƒć‰€ĺąŹĺ–Žä˝?ĺŒ…ć‹Źĺœ‹ĺŽśĺ…Šĺťłé™˘ă€ č‡şä¸­ĺœ‹ĺŽść­Œ 劇院〠襛歌ç‡&#x;ĺœ‹ĺŽśč—?čĄ“ć–‡ĺŒ–ä¸­ĺżƒĺ?Šĺœ‹ĺŽśäş¤é&#x;ż ć¨‚ĺœ˜ďźŒćˆ‘ĺ€‘ćœ&#x;ç›źç”ąé€™ĺŒ—ä¸­ĺ?—串辡的襨柔č—?襓嚳 č‡şďźŒčƒ˝äťĽćœ€ĺ°ˆćĽ­çš„ĺœ˜éšŠĺ?Šćœ?ĺ‹™ďźŒćťżčśłĺ¤§ĺŽśçš„ćœ&#x; ĺž…ďźŒĺ…ąäşŤč—?čĄ“çš„çžŽĺĽ˝čˆ‡ć„&#x;ĺ‹•ďź

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.

ĺœ‹ĺŽśčĄ¨ćź”č—?čĄ“ä¸­ĺżƒč‘Łäş‹é•ˇ

Chairman, National Performing Arts Center

柔出者䝋級 ćŒ‡ć?Žď˝œä˝™éš† 　　ç?žäťťä¸­ĺœ‹ć„›ć¨‚ć¨‚ĺœ˜çš„č—?襓總 ç›Łćš¨ĺ¸¸äťťćŒ‡ć?Žă€ 上澡交é&#x;żć¨‚ĺœ˜é&#x;ł ć¨‚ç¸˝ç›ŁďźŒäťĽĺ?ŠéŚ™ć¸Żć„›ć¨‚的錖席厢 ĺ¸­ćŒ‡ć?ŽďźŒć­¤ä¸‰ć¨‚ĺœ˜ç‚şä¸­ĺœ‹ä¸€ćľ ć¨‚ ĺœ˜ďźŒä¸Śçś“ĺ¸¸ć–źĺœ‹ĺ…§ĺ¤–ĺˇĄćź”ă€‚é™¤ć­¤ äš‹ĺ¤–ďźŒä˝™éš†äš&#x;ć˜ŻĺŒ—äşŹé&#x;łć¨‚節的剾 ĺ§‹ç¸˝ç›ŁďźŒčŠ˛é&#x;łć¨‚節盎ĺ‰?為珏ĺ? äş”ĺ€‹ć¨‚ĺ­ŁďźŒć˜ŻĺŒŻč šé&#x;ł 樂ç”&#x;ĺ‘˝č‡łĺŒ—äşŹçš„ć¨žç´?ďźŒĺ?—ĺˆ°ĺœ‹éš›č‚ŻĺŽšă€‚ä˝™éš†čˆ‡ć?œç‰š č?Żĺ?Œäťťä¸Šćľˇĺ¤?ć—Ľé&#x;łć¨‚節č—?čĄ“ç¸˝ç›ŁďźŒĺ°‡ĺ?¤ĺ…¸ć¨‚帜羌上 澡的嚴蟕人們。曞ç?˛ćł•ĺœ‹č—?čĄ“čˆ‡ć–‡ĺ­¸é¨ŽĺŁŤĺ‹łçŤ ă€‚ 2005ĺš´ďźŒç?˛ćł•ĺœ‹ć”żĺşœé ’ćŽˆćœ€éŤ˜ćŚŽč­˝ĺ‹łä˝?ĺ‹łçŤ ďźšćł• ĺœ‹ćŚŽč­˝čť?ĺœ˜ĺ‹łçŤ ă€‚ä˝™éš†çś“ĺ¸¸ćŒ‡ć?Žä¸–ç•Œé‡?čŚ ć¨‚ĺœ˜ďźŒĺŒ… ć‹ŹčŠ?ĺŠ ĺ“Ľäş¤é&#x;żć¨‚ĺœ˜ă€ č˛ťĺ&#x;ŽçŽĄçľƒć¨‚ĺœ˜ă€ ç´?約愛樂〠慕 尟靑愛樂䝼ĺ?Šć–°ĺŠ ĺ?Ąäş¤é&#x;żć¨‚ĺœ˜ă€‚

大ć??ç?´ď˝œçŽ‹ĺ Ľ ă€€ă€€çŽ‹ĺ Ľĺœ¨ä¸Šćľˇé&#x;łć¨‚é™˘ĺ°ąčŽ€ć™‚ďźŒ ĺ?łćˆ?ç‚şč‘—ĺ??ç´€éŒ„ç‰‡ă€ŠĺžžćŻ›ćž¤ć?ąĺˆ° čŽŤćœ­ç‰šâ€”ĺ?˛ĺ?Śĺœ¨ä¸­ĺœ‹ă€‹ä¸­çš„一 哥。ĺ?˛ĺ?ŚäťĽéź“ĺ‹ľčˆ‡ć”ŻćŒ ç‚şçŽ‹ĺ Ľé‹Ş čˇŻďźŒĺ?”ĺŠŠäť–čľ´çžŽĺˆ°č€śé­Żĺ¤§ĺ­¸é&#x;łć¨‚ 院斟ç&#x;Ľĺ??大ć??ç?´ĺŽść´žç‘žç´˘é–€ä¸‹ćˇą é€ ă€‚çŽ‹ĺ Ľć­¤ĺžŒčˆ‡ä¸–ç•Œč¨ąĺ¤šä¸ťčŚ ć¨‚ ĺœ˜ĺ?ˆä˝œćź”ĺ‡şďźŒĺŚ‚ĺ…‹é‡Œĺ¤Ťč˜­ă€ č˛ťĺ&#x;Žă€ čŠ?ĺŠ ĺ“Ľă€ ç´?約〠洛ć?‰çŁŻă€ ćł˘ĺŁŤé “ç­‰ĺœ°ć¨‚ĺœ˜ďź›äš&#x;čˆ‡ć&#x;?林愛樂〠č?ˇč˜­çš‡ ĺŽśĺ¤§ćœƒĺ ‚çŽĄçľƒć¨‚ĺœ˜ă€ ĺ€Ťć•Śäş¤é&#x;żć¨‚ĺœ˜ă€ ćł•ĺœ‹ĺœ‹çŤ‹çŽĄçľƒ ć¨‚ĺœ˜ç­‰ć¨‚ĺœ˜ĺ?ˆä˝œé Žă€‚䝖的柔出蜳补äš&#x;é ?ĺ?Šĺ…śçĽ–ĺœ‹ä¸­ ĺœ‹ďźŒć›žĺœ¨ĺŒ—äşŹĺœ‹ĺŽśĺ¤§ĺŠ‡é™˘ćź”ĺ‡şĺˇ´čľŤĺ¤§ć??ç?´çľ„曲全 é›†ă€‚çŽ‹ĺ Ľćœ‰č¨ąĺ¤šéŒ„é&#x;łďźŒĺ…śä¸­ćœ‰ć•¸ĺźľç”ąDGç™źčĄŒďźŒćœ€ čż‘çš„éŒ„é&#x;łç‚şă€Šĺ¤˘ĺšťć›˛ă€‹ďźˆReverieďź‰ďźˆĺ¤§ć??ç?´čˆ‡ĺ?‰

Conductorď˝œLong Yu 　　Conductor Long Yu is Artistic Director and Chief

Conductor of the China Philharmonic, Music Director of the Shanghai Symphony, and Principal Guest Conductor of the Hong Kong Philharmonic. All three HQVHPEOHV DUH DPRQJ &KLQD V ÀQHVW DQG WRXU UHJXODUO\ at home and abroad. In addition, Yu is the Founding Artistic Director of the Beijing Music Festival which, now in its fifteenth season, is the internationally recognized hub of musical life in China's capital.

Long Yu shares the position of Artistic Co-Director of the MISA Festival with Charles Dutoit, bringing classical music to the young people of Shanghai. He is a Chevalier in the Ordre des Arts et des Lettres.

In 2005, he was awarded France's highest honor of merit, membership in the LĂŠgion d'Honneur. Maestro Yu regularly conducts the world's leading orchestras, including the Chicago Symphony, the Philadelphia Orchestra, the New York Philharmonic, the Munich Philharmonic, and the Singapore Symphony.

Celloď˝œJian Wang 　　While a student at the Shanghai Conservatory,

cellist Jian Wang was featured in the celebrated GRFXPHQWDU\ ÀOP From Mao to Mozart: Isaac Stern in China. Stern's encouragement and support paved the way for him to go to the United States to study at the Yale School of Music with the renowned cellist Aldo Parisot. Wang has since performed with the world's leading orchestras, including those of Cleveland, Philadelphia, Chicago, New York, Los Angeles, Boston and Detroit, as well as with the Berlin Philharmonic, Royal Concertgebouw Orchestra of Amsterdam, London Symphony, Orchestre National de France and many more. He has also performed extensively throughout his native China, including the complete Bach Cello Suites at the National

2ě‡ŤĐˇÓ˜Ę?ŮžĚ–Ó˜Ć§Ä„Äš

äť–ć”šçˇ¨ç‰ˆďź‰ďźŒäťĽĺ?Šç”ąé˜żčƒĽč‚Żç´?ĺ?‰ćŒ‡ć?Žé›Şć˘¨äş¤é&#x;żć¨‚ĺœ˜ çš„č‰žçˆžĺŠ ĺ¤§ć??ç?´ĺ?”ĺĽ?曲。

Center for the Performing Arts in Beijing. Wang's discography includes numerous releases on the Deutsche Grammophon label, most recently Reverie (arrangements for cello and guitar) and the Elgar concerto with the Sydney Symphony conducted by Vladimir Ashkenazy.

NSOé§?ĺœ˜ä˝œć›˛ĺŽś ć­Œč€…ď˝œéťƒč‹Ľ

NSO Residence // Vocalď˝œ NSO Composer-in Composer-in-Residence Vocalď˝œ Ruo Ruo Huang Huang 　　Huang Ruo was born in Hainan Island, China

　　1976ĺš´ďźŒéťƒč‹Ľç”&#x;ć–źä¸­ĺœ‹ćľˇ ĺ?—。ç”&#x;镡斟免〠äš?○嚴䝣的䝖斟 上澡é&#x;łć¨‚學院附中ĺ?Œć™‚掼ĺ?—中ĺź? ĺ‚łçľąć•™č‚˛čˆ‡čĽżć–šć•™č‚˛ďźŒĺ¸Ťć‰żé„§çˆž ĺ?šć•™ćŽˆă€‚199ĺš´ďźŒéťƒč‹Ľĺœ¨ç‘žĺŁŤĺœ‹éš› 雝役é&#x;łć¨‚節上挎ç?˛äş¨ĺˆŠâ€˘ć›źĺĽ‡ĺ°ź 大ç?Žäš‹ĺžŒďźŒç§ťĺą…çžŽĺœ‹ćˇąé€ ďźŒĺœ¨ĺĽ§ć&#x;?ćž—é&#x;łć¨‚學院ç?˛ĺž— 學壍學ä˝?ďźŒä¸Ść–źčŒąčŽ‰äşžé&#x;łć¨‚學院ç?˛ĺž—é&#x;łć¨‚碊壍學ä˝? ĺ’Œä˝œć›˛ĺ?šĺŁŤĺ­¸ä˝?ă€‚éťƒč‹Ľç?žäťťč ˇć–źç´?約曟尟斯é&#x;łć¨‚院 ć•™ćŽˆä˝œć›˛ďźŒäşŚć˜Żç´…ç Ťć¨‚ĺœ˜ďźˆEnsemble FIRE的č—? čĄ“ç¸˝ç›Łĺ’ŒćŒ‡ć?ŽďźŒć›žć–ź2006ĺš´ç?˛çžŽä¸­é—œäż‚ĺ…¨ĺœ‹ĺ§”ĺ“Ą ćœƒé ¸ç‚şĺ‚‘ĺ‡şé?’嚴。《ç´?ç´„ĺŽ˘ă€‹é›œčŞŒč­˝ç‚şă€Œä¸–ç•Œćœ€ĺ‚‘ 出的é?’ĺš´ä˝œć›˛ĺŽśäš‹ä¸€ă€?ă€‚éťƒč‹Ľçš„ć­ŒĺŠ‡ă€Šä¸­ĺąąé€¸äť™ă€‹ çš„çžŽĺœ‹éŚ–ćź”ďźŒć–ź2014ĺš´ç”ąč –ĺĄ”č?˛ć­ŒĺŠ‡é™˘čˆ‰čĄŒďźŒä¸Ś 將斟2018嚴甹溍哼č?Żć­ŒĺŠ‡é™˘é€˛čĄŒĺŠ ć‹żĺ¤§éŚ–ćź”ă€‚éťƒ č‹Ľĺ?Śä¸€éƒ¨ć­ŒĺŠ‡ă€ŠéŠšĺœ’ă€‹ć˜Žĺš´ćœƒĺœ¨ćž—č‚Żä¸­ĺżƒč—?襓節上 ćź”ďźŒéš¨äš‹ĺ°‡ćœƒĺœ¨2017嚴䞆ĺ?°ç Łçš„éŤ˜é›„čĄ›ć­Śç‡&#x;č—?襓 ć–‡ĺŒ–ä¸­ĺżƒćź”ĺ‡şă€‚ç´?ç´„ć„›ć¨‚ďźŒč˛ťĺ&#x;Žäş¤é&#x;żć¨‚ĺœ˜ďźŒä¸‰č—Šĺ¸‚ 交é&#x;żć¨‚ĺœ˜ďźŒćł˘č˜­ĺťŁć’­äş¤é&#x;żć¨‚ĺœ˜ďźŒč?Żç››é “ĺœ‹ĺŽść­ŒĺŠ‡ é™˘ďźŒäź‘ć–Żé “ĺ¤§ć­ŒĺŠ‡é™˘ďźŒéƒ˝ĺ§”ç´„ä¸ŚéŚ–ćź”é Žéťƒč‹Ľçš„ä˝œ ĺ“ ă€‚ ĺ?Śĺ¤–ďźŒéťƒč‹Ľčż‘ć—Ľč˘Ťäťťç‚şé˜żĺ§†ć–Żç‰šä¸šçš‡ĺŽśĺ¤§ćœƒ ĺ ‚çŽĄçľƒć¨‚ĺœ˜čˆ‡NSOĺœ‹ĺŽśäş¤é&#x;żć¨‚ĺœ˜çš„é§?ĺœ˜ä˝œć›˛ĺŽśă€‚ éťƒč‹Ľçš„ä˝œĺ“ ç”ąRicordiĺ‡şç‰ˆă€‚

in 1976. After winning the Henry Mancini Award at the 1995 International Film and Music Festival in Switzerland, Huang Ruo moved to the United States to further his education. He earned a Bachelor of Music degree from the Oberlin Conservatory of Music and Master of Music and Doctor of Musical Arts degrees in composition from the Juilliard School.

Huang Ruo is currently a composition faculty at the Mannes College of Music at the New School in NY. He is the artistic director and conductor of Ensemble FIRE (Future In REverse), and was selected as a Young Leader Fellow by the National Committee on United States–China Relations in 2006. He has been lauded by the New Yorker as "one of the world's leading young composers". Huang Ruo's opera Dr. Sun Yat-Sen, had its American premiere by the Santa Fe Opera in 2014, and will receive its Canadian premiere in 2017 performed by the Vancouver Opera. In addition, Huang Ruo was recently named the composer-in-residence for Het Concertgebouw Amsterdam and Taiwan Philharmonic. Huang Ruo's music is published by Ricordi.

樂曲解說 ć’°ć–‡â”‚ć˛ˆé›•éž?ďźˆć&#x;?林自甹大學é&#x;łć¨‚ĺ­¸ĺ?šĺŁŤďź‰

éťƒč‹Ľďźšă€Šç˘Žć­Ľă€‹ďź?ă€ŒçľŚĺ¤§çŽĄçľƒć¨‚ĺœ˜čˆ‡ä¸­ĺœ‹ć°‘čŹ ć?–ćťž 柔唹ă€? éťƒč‹Ľçš„ä˝œĺ“ éĄžĺž‹ĺ¤šĺ…ƒďźŒĺŒ…ć‹ŹçŽĄçľƒć¨‚ă€ ĺŽ¤ĺ…§ć¨‚ă€ ć­ŒĺŠ‡ă€ ćˆ˛ĺŠ‡é&#x;łć¨‚ă€ čˆžčšˆé&#x;łć¨‚ă€ čˇ¨ç•Œé&#x;łć¨‚ă€ č ˛é&#x;łčŁ?罎 č—?襓〠多媒鍔é&#x;łć¨‚〠富銗性ĺ?łčˆˆĺ‰ľä˝œă€ ć°‘čŹ ć?–ćťžĺ’Œ 雝役é…?樂等多税形ĺź?。《ç´?ç´„ĺŽ˘ă€‹ďźˆNew Yorker é›œčŞŒč­˝ĺ…śç‚şă€Œä¸–ç•Œćœ€ĺ‚‘ĺ‡şçš„é?’ĺš´ä˝œć›˛ĺŽśäš‹ä¸€ă€?。

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Program Notes Ruo Huang: Shattered Steps, for Large Orchestra and Chinese Folk-Rock Singing

By Diau-Long Shen Huang Ruo's diverse compositional works span from orchestra, chamber music, opera, theater, and dance, to cross-genre, sound installation, multi-media, experimental improvisation, folk URFN DQG ÀOP +XDQJ 5XR KDV EHHQ ODXGHG E\ WKH New Yorker as "one of the world's leading young composers."

The Shattered Steps, which is finished in 2016, is a large orchestral work combined with Chinese folk rock in voice. The piece is in three parts: it starts with a passage of improvising folk rock in monophony, followed by a competing chatter of oriental percussion instruments; as soon as the large western orchestra enters, the intervals and motives from the voice passage are immediately developed (especially an intervallic motif in third); later on, the oriental percussion group regains the attraction with its sound, and the vocal Chinese folk rock is also recaptured as a collaged multi-layer sound-cluster. At the end, the orchestra gradually increases to the volume of ffff, and plays the sixteenth notes in tutti repeatedly, uniting the hybrid utterance from the East and the West.

(English translation by Ke-Chiao Cheng)

Dmitri Shostakovich: &HOOR &RQFHUWR 1R 2S ( Ă DW PDMRU 6KRVWDNRYLFK ZURWH KLV &HOOR &RQFHUWR 1R LQ ( Ă DW PDMRU Opus 107, in 1959 for the cellist Mstislav Rostropovich, with whom he had toured in recitals that included his Cello Sonata. Rostropovich had been warned not to ask directly for a concerto, and was, therefore, all the more pleased when Shostakovich wrote a concerto for him. The score was handed to him in Leningrad on 2nd August 1959 and four days later he had memorized it, playing it through to the composer in

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his dacha at Komarovo. It was given its first performance in Leningrad by Rostropovich, with the orchestra under the direction of Yevgeny Mravinsky.

The concerto owes much to Prokofiev's SymphonyConcertante, a work that Shostakovich greatly admired.

The opening four-note motif, which is of great importance, is announced by the cello, accompanied by the woodwind, and this material is developed. Other thematic material is introduced, marked by an insistent falling third. A clarinet assumes prominence, followed by the restatement of the opening theme by the French horn, which repeats the theme, allowing the soloist a section of rapid passage-work, later shared by the upper woodwind. The French horn restates the theme once more, followed by the soloist, with a passage for solo cello and French horn based on the same material. The impetus that has compelled the movement forward is briefly relaxed, as the theme winds downwards, before the brusque conclusion.

The second movement opens with a heartfelt A minor string melody, followed by the evocative notes of the French horn, before the cello enters, with its elegiac melody, accompanied by lower strings, the violas providing a moving counterpoint.

The melancholy theme is taken up by the clarinet, accompanied by the solo cello, which then resumes prominence. There is a change of key to F sharp minor, as the strings repeat their opening material, to which the solo cello adds a melody of great intensity, leading to a passage in which the soloist is DFFRPSDQLHG E\ WKH JHQWOH V\QFRSDWLRQ RI à XWH FODULQHWV DQG bassoons. The material is developed, before the original string melody returns, followed, as at the beginning, by the solo French horn. Now the soloist plays again the melancholy tune RI WKH ÀUVW VROR HQWU\ LQ KDUPRQLFV ZLWK D PRYLQJ ÀUVW YLROLQ accompaniment and the colouring of the celesta. A sustained note from the cello leads directly to the cadenza, a movement in itself, based on earlier thematic material, with the motif that opened the concerto gradually assuming prominence.

7KH VRORLVW OHDGV WKH ZD\ LQWR WKH ÀQDO $OOHJUR FRQ PRWR LWV busy angular theme heard first from oboe and clarinet, then MRLQHG E\ à XWH DQG SLFFROR 7KHUH LV D TXRWDWLRQ IURP 6WDOLQ V favourite song, Suliko, used before by Shostakovich in his private satire on the idiocies of Soviet officialdom, Rayok, before the timpani calls a halt, allowing the entry of the solo cello. New thematic material, in a changed rhythm, is introduced by the strings, followed by the cello, with echoes of the first movement, the first motif assuming more and more importance, as the concerto is impelled onwards to its conclusion, once again reinforced by the timpani.　

and space documentary.

Also sprach Zarathustra (Thus spoke Zarathustra), a tone poem after Friedrich Nietzsche, was written in 1896, during the period Richard Strauss spent as conductor at the opera in his native city of Munich. It is based on the rhapsodic expression of Nietzsche's KLJKO\ SHUVRQDO SKLORVRSK\ ÀQDOO\ SXEOLVKHG LQ LQ ZKLFK Christian virtues are rejected in favour of the power of the Superman (ßbermensch), a concept that with his notions of die blonde Bestie, Herrenmoral and Christian Sklavenmoral, proved useful to later political extremists.

Zarathustra, a mouthpiece for Nietzsche, took himself to the mountains, staying there for ten years in solitude. Then, one morning, he arose and addressed the Sun, seeking his blessing, as he proposes to descend once more among men to impart to them his wisdom, setting as the Sun sets and pouring out to mankind his accumulated understanding.

Strauss makes use of an unusually large orchestra, deployed in the most varied way, while there is a tonal ambiguity that remains to the final bars. The work opens with the rising of the sun and emergent nature, over a note sustained by double basses, organ and double bassoon. The climax of the rising sun is followed by Von den Hinterweltlern, the inhabitants of the unseen world, a mysterious theme, leading to the sound of the Credo and song of faith, scored for strings and organ. The great longing brings together a theme of yearning, briefly touched on before, and the nature theme, the Credo, and now, from the RUJDQ WKH 0DJQLÀFDW 7KLV PDWHULDO ZLWK D VWRUPLHU HOHPHQW leads to a passage Von den Freuden und Leidenschaften. Das Grablied, employs two of the preceding motifs and leads, in the section Von den Wissenschaften, to a fugue, its development interrupted by the appearance of another, triumphant theme, and resuming with a motif representing satiety. These motifs and the fugue combine in the convalescent, Der Genesende. The dancesong brings together the earlier motifs, dwindling to the nightsong, a preparation for the song of the night-wanderer. The ÀQDO HSLORJXH OHDYHV XQUHVROYHG WKH FRQà LFW RI WRQDOLW\ DQG WKH FRQà LFW RI QDWXUH DQG VSLULW The complex process of the tone poem takes Zarathustra from the splendour of sunrise through a rejection of those who look to the past, to longing, joys and passions. He turns from satiety DQG GHVSDLU LQ WKH IXQHUDO VRQJ DQG ÀQGV QR FRPIRUW LQ VFLHQFH Falling as one dead, he is revived and finds joy in the dance of laughter, in which all human aspirations may be combined.

Night comes and the song of the watcher, as midnight renews its eternal enigma. Š 2015 Naxos Digital Services Ltd

Š 2015 Naxos Digital Services Ltd

Richard Strauss: Also sprach Zarathustra, TrV 176, Op. 30 Richard Strauss, no relation of the waltz composers of the same name, was the son of a distinguished horn-player in Munich.

He won an early reputation for himself as a conductor and as a composer of symphonic poems, music in which he claimed to express everything. Also sprach Zarathustra (Thus spake Zarathustra), completed in 1896, challengingly translates into music the rhapsodic philosophizing of Nietzsche, the opening of the work familiar from its association with television drama

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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 ▲ 藍胤萱

☆ 鄧皓敦 李庭芳

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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

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熊士蘭 ◎ 連亦先 唐鶯綺 ＊ 林君翰

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呂明美 曾鈺婷

周幼雯

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蔡歆婕

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高靈風

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劉宜欣 ○ 黃任賢

國田朋宏

王婉如

曹予勉

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張景民

鄒儒吉

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陳中昇

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執行長

邱 瑗

企劃演出經理 整銷推廣經理 行政管理經理

杜佳舫 王承禹 王雲玉

音樂總監執行祕書 黃毓棻

高霆翰 楊璧慈

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 劃底線者為本場協演人員 ＊NSO樂團學苑學員