20160409 Blast of Spring Program Note

2016

演出時間│ 2016年4月9日 (星期六) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei

演出者

指 揮｜克里斯蒂安•阿閔 Christian Arming, conductor 法國號｜拉德克•巴伯羅柯 Radek Baborák, horn 國家交響樂團 National Symphony Orchestra (NSO)

主辦單位│

指定住宿│

演出長度│上半場約30分鐘，下半場約40分鐘

特別感謝│

1ď¸ąć˜Ľĺ¤Šč™&#x;角

柔出曲盎

Program

ĺ?Ąçˆžâ€˘é&#x;‹äźŻďźˆ1786-1826《弧䟯éž?》ĺş?曲

CARL MARIA VON WEBER ďźˆ 1786-1826  : Oberon Overture, J. 306

ç?†ć&#x;Ľâ€˘ĺ?˛ç‰šĺ‹žć–Żďźˆ1864-1949 珏一č™&#x;ćł•ĺœ‹č™&#x;ĺ?”ĺĽ?曲

RICHARD STRAUSSďźˆ1864-1949: Horn concerto No. 1, 7U9 2S ( Ă€DW PDMRU

I.　 忍ć?ż II.　 čĄŒć?ż III.　 忍ć?ż

I.　 Allegro II.　 Andante III.　 Allegro

~ä¸­ĺ ´äź‘ć Ż~

~Intermission~

ć˛ƒĺ¤Ťĺ˛Ąâ€˘é˜żç‘ŞčżŞć–Żâ€˘čŽŤćœ­ç‰šďźˆ1756-1791 珏一č™&#x;ćł•ĺœ‹č™&#x;ĺ?”ĺĽ?曲

WOLFGANG AMADEUS MOZARTďźˆ1756-1791: +RUQ &RQFHUWR 1R . E ' PDMRU

I.　 忍� II.　 迴旋曲忍�

çž…äźŻç‰šâ€˘čˆ’ć›źďźˆ1810-1856珏一č™&#x;交é&#x;żć›˛ă€Šć˜Ľă€‹ I.　 II.　 III.　 IV.　

ĺ¸śéťžčŽŠĺš´çš„čĄŒć?żă€‚é?žĺ¸¸ć´ťć˝‘的忍ć?ż 甚坣ć?ż 芟荧曲。é?žĺ¸¸ć´ťć˝‘ ç”&#x;ć°Łč“Źĺ‹ƒčˆ‡ĺ„Şé›…çš„ĺżŤć?ż

I.　 Allegro II.　 Rondo. Allegro

ROBERT SCHUMANNďźˆ1810-1856: 6\PSKRQ\ 1R 2S % Ă€DW PDMRU Spring I.　 Andante un poco maestoso. Allegro molto vivace II.　 Larghetto III.　 6FKHU]R 0ROWR YLYDFH IV.　 Allegro animato e grazioso

柔出者䝋級 ćŒ‡ć?Žď˝œĺ…‹é‡Œć–Żč’‚ĺŽ‰ďźŽé˜żé–” 　　出躍眭äš&#x;ç´?çš„ĺ…‹é‡Œć–Żč’‚ĺŽ‰ďźŽ é˜żé–”ć˜ŻĺĽ§ĺœ°ĺˆŠćœ€ç Ťç´…çš„ćŒ‡ć?ŽĺŽśäš‹ ä¸€ďźŒĺœ¨äş¤é&#x;żć¨‚čˆ‡ć­ŒĺŠ‡ä¸–ç•Œçš†ćĽľĺşŚ ćˆ?ĺŠ&#x;ă€‚äť–çš„ĺżƒé?ˆĺ°Žĺ¸Ťĺ°?ćž¤ĺž çˆžć˜Ż äť–ĺ …ĺźˇçš„ć”ŻćŒ č€…ďźŒäť‹ç´šäť–çľŚćł˘ĺŁŤ é “čˆ‡ć?ąäşŹçš„č ˝çœžă€‚é˜żé–”äťĽ 24 歲䚋 ĺ§żďźŒĺ?—äťťç‚şć?ˇĺ…‹ĺ…ąĺ’Œĺœ‹ć­?斯牚拉瓌ć?šç´?ć?ˇĺ…‹ć„›ć¨‚çš„ ĺ¸¸äťťćŒ‡ć?Žă€‚2002ĺš´äť–ćˆ?ç‚şç?‰ćŁŽĺŠ‡é™˘čˆ‡äş¤é&#x;żć¨‚ĺœ˜çš„ é&#x;łć¨‚ç¸˝ç›Łă€‚ćŽĽä¸‹äž†äť–ĺ‰‡ĺœ¨ć?ąäşŹé ˜ĺ°Žć–°ć—ĽćœŹć„›ć¨‚é•ˇé ” ĺ? ĺš´(2003-2013)。2011ĺš´äš?ćœˆčľˇďźŒć“”äťťćŻ”ĺˆŠć™‚ĺˆ— ć—Ľçš‡ĺŽść„›ć¨‚çŽĄçľƒć¨‚ĺœ˜é&#x;łć¨‚總監直至䝊旼。䝖匂旼中 ĺ¤Šçš„äş‹ćĽ­ç‚şäť–ĺ¸śäž†čˆ‡ä¸–ç•Œä¸€ćľ ć¨‚ĺœ˜çš„ç¨Žç¨Žĺ?ˆä˝œćŠ&#x; ćœƒďźŒĺŒ…ć‹Źçś­äš&#x;ç´?交é&#x;żć¨‚ĺœ˜ă€ č–ŠçˆžčŒ˛ĺ ĄčŽŤćœ­ç‰šĺ?”ćœƒćš¨ é&#x;łć¨‚é™˘çŽĄçľƒć¨‚ĺœ˜ă€ ç‘žĺŁŤçž…ć›źĺžˇçŽĄçľƒć¨‚ĺœ˜ă€ čž›čž›é‚Łć?? 交é&#x;żć¨‚ĺœ˜ă€ éŚŹäž†čĽżäşžć„›ć¨‚äťĽĺ?ŠćşŤĺ“Ľč?Żäş¤é&#x;żć¨‚ĺœ˜ă€‚äť– äš&#x;䝼厢席躍䝽出ç?žĺœ¨ć­ŒĺŠ‡ä¸–ç•ŒčŁĄďźŒčşŤĺ˝ąĺ?ŻčŚ‹ć–źč–Šçˆž čŒ˛ĺ Ąé&#x;łć¨‚çŻ€ă€ ćź˘ĺ Ąĺœ‹ĺŽść­ŒĺŠ‡é™˘ă€ ćł•č˜­ĺ…‹çŚ?ć­ŒĺŠ‡é™˘ďźŒ 䝼ĺ?Šç?‰ćŁŽă€ ĺ?˛ç‰šć‹‰ć–Żĺ Ąčˆ‡ć?ąäşŹç­‰ĺœ°çš„ć­ŒĺŠ‡čŁ˝ä˝œä¸­ă€‚

Conductorď˝œChristian Arming 　　 Viennese-born Christian Arming is one of

$XVWULD V PRVW VRXJKWDIWHU FRQGXFWRUV KLJKO\ successful in both the symphonic and operatic worlds.

Seiji Ozawa, a mentor and strong supporter of his career, introduced him to audiences in Boston and Tokyo. At the age of 24, Arming was appointed Chief Conductor of the JanĂĄek Philharmonic in Ostrava, &]HFK 5HSXEOLF ,Q KH EHFDPH 0XVLF 'LUHFWRU of the Lucerne Theater and Symphony Orchestra. He next led the New Japan Philharmonic in Tokyo for ten years (2003-2013), and since September, 2011 has EHHQ 0XVLF 'LUHFWRU RI WKH 2UFKHVWUH 3KLOKDUPRQLTXH Royal de Liege. His flourishing career has led to HQJDJHPHQWV ZLWK PDQ\ RI WKH ZRUOG V OHDGLQJ orchestras, including the Vienna Symphony, the 6DO]EXUJ 0R]DUWHXP 2UFKHVWUD WKH 2UFKHVWUH GH la Suisse Romande, the Cincinnati Symphony, WKH 0DOD\VLDQ 3KLOKDUPRQLF DQG WKH 9DQFRXYHU Symphony. In the world of opera he has made guest appearances at the Salzburg Festival, Hamburg State Opera, Frankfurt Opera, and at productions in Lucerne, Strasbourg and Tokyo.

2︱春天號角

法國號｜拉德克．巴伯羅柯 巴伯羅柯是少之又少可被稱 為國際炫技名家的法國號演奏 家。在擔任柏林愛樂八個樂季的 法國號首席之後，巴伯羅柯為了 專注於獨奏事業而決定離開樂 團。他經常與世界主要樂團同 台，也與許多極富盛名的指揮家 與音樂家合作演出。他的錄音作品中有多項得獎錄 音，由世界一流的古典樂唱片商發行。專業評論 家與聽眾相當欣賞其優雅卻又自然流暢的風格、富 含歌唱性的音樂語法，以及令人讚嘆的技巧。巴伯 羅柯致力拓展並豐富法國號的曲目，常與鋼琴、豎 琴、管風琴與絃樂四重奏合作獨奏會，在管絃樂團 的音樂會中亦常見其身影。室內樂也扮演了他音樂 生活中的重要角色。現任捷克小交響、布拉格獨奏 家室內樂團、捷克法國號重奏團、靈感五重奏以及 巴伯羅柯重奏團的指揮與藝術主導人。現任教於布 拉格音樂學院。

Horn｜Radek Baborak Radek Baborák belongs to that very select

company of musicians who can be called virtuosos of international standing on the horn. After eight seasons as principal horn with the Berlin Philharmonic, Baborák decided to leave the orchestra in order to focus on a solo career. He regularly performs with leading orchestras throughout the world, and collaborates with the most prestigious conductors and musicians. His discography includes prized recordings released by leading publishers of classical music.

Expert critics and listeners appreciate his elegant and spontaneous style, his melodious tone, and his DPD]LQJ WHFKQLTXH ,Q KLV HIIRUW WR EURDGHQ DQG HQULFK the horn repertory, he appears in recitals with piano, KDUS RUJDQ DQG VWULQJ TXDUWHW DV ZHOO DV LQ FRQFHUWRV with orchestra. Chamber music too forms an essential SDUW RI %DERUiN V PXVLFDO OLIH +H LV WKH DUWLVWLF OHDGHU and conductor of the Czech Sinfonietta, Prague Chamber Soloists, Czech Horn Ensemble, Afflatus Quintet, and Baborák Ensemble. Baborák teaches at WKH $FDGHP\ RI 0XVLF LQ 3UDJXH

樂曲解說 撰文│蔡永凱（國立臺灣師範大學音樂學博士）

理查•史特勞斯：第一號法國號協奏曲

卡爾•韋伯：《奧伯龍》序曲

提到理查•史特勞斯的法國號作品，便不能不 提及其父親法蘭茲•史特勞斯（Franz Strauss）。 法蘭茲曾任巴伐利亞宮廷樂團的法國號首席，在樂 團服務長達四十年以上，亦身兼慕尼黑皇家音樂院 教授。他卓越的演奏技巧，被指揮家畢羅譽為「小 提琴的姚阿幸」；但他也有相當固執的音樂品味， 獨尊古典時期的音樂，對當時的華格納風潮則不屑 一顧，甚至當眾給作曲家難堪。華格納就曾經說 過：「法蘭茲•史特勞斯是個麻煩的人物，但是當 他一吹起法國號，沒有人能繼續厭惡他」。

1824年時，韋伯受當時英國柯芬園歌劇院執 行長坎伯（Charles Kemble）的委託，創作一部英 語歌劇。當時作曲家已深受肺結核折磨，但為了經 濟因素，仍勉強接受，並選擇《奧伯龍》這部劇本 來創作。這個故事係衍生自莎士比亞知名的《仲夏 夜之夢》與《暴風雨》，內容敘述波爾多公爵胡翁 (Huon)與巴格達公主蕊沁娜（Rezina）如何順利結 成連理。因為精靈之王奧伯龍（Oberon）亦把他倆 的結合，視為與妻子太坦妮雅（Titania）和解的契 機，為了保證胡翁順利完成任務，奧伯龍在他行前 授與他一支號角，讓他屢屢能化險為夷。 韋伯將歌劇重要的旋律與主題譜寫在〈序曲〉 裡：一開場有如號角的甦醒，點出這部歌劇的關鍵 信物；回應號聲的為加上弱音器的絃樂、長笛與單 簧管，有如精靈般腳步；樂團齊奏刻畫出胡翁的堅 定信念；小提琴的快速音型，則描繪這對愛人倉皇 逃離宮殿；號聲再次出現，象徵著奧伯龍出手拯 救；最後充滿大跳的音型，則取自歌劇裡知名的詠 歎調，蕊沁娜在船難中獲救，高聲地呼喊：「我的 丈夫，我的丈夫！我們得救了！」。

雖然理查•史特勞斯之後被視為繼承華格納配 器法的傳人，不過在這部寫於1882至1883年間的早 期作品中，還未見到華格納的影子，反而是深刻體 現了父親對於十八歲兒子的影響。法國號主奏充滿 靈活跳躍的音型，考驗演奏者的技巧，也有莫札特 法國號協奏曲的影子。整體的音樂則具有濃厚的孟 德爾頌風格，樂團以齊奏為主，在浪漫的情緒張力 中，不失古典的均衡與典雅。作品為三樂章，樂章 間不間斷地連續演奏。第一樂章為快板，在樂團精 簡的齊奏和弦後，法國號主奏呈示出號角式旋律， 是為導奏。隨即樂團呈示第一主題，同樣具有號角 音型與附點節奏。第二樂章行板為ABA曲式，各 段的旋律類似，藉由調性來製造出樂曲高潮。第三

3ď¸ąć˜Ľĺ¤Šč™&#x;角

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Program Notes Carl Maria Von Weber: Oberon Overture, J. 306 :HEHU V ODVW RSHUD Oberon, with a libretto by Planche after Wieland, was written for London and staged at Covent Garden in 1826, at a time when the composer was already seriously ill.

Like Euryanthe, the opera has a medieval origin in a chanson de geste, embroidered by Wieland, who knew his Shakespeare.

The piece opens with Oberon asleep, separated, as Puck LQIRUPV XV IURP 7LWDQLD ZLWK ZKRP KH KDV TXDUUHOHG WR EH UHFRQFLOHG RQO\ LI WKH\ FDQ ÀQG D FRQVWDQW FRXSOH D VHDUFK WKDW HQGV LQ WKH SURYHG ÀGHOLW\ RI +XRQ RI %RUGHDX[ ZKR ZLWK WKH aid of a magic horn survives to be united once more with his beloved Reiza. Š 2015 Naxos Digital Services Ltd

Richard Strauss: Horn concerto No. 1, TrV 117, 2S ( Ă DW PDMRU

By Robert Markow 5,&+$5' 675$866 %RUQ LQ 0XQLFK -XQH GLHG in Garmisch-Partenkirchen, September 8, 1949 The repertory of concertos for horn is a surprisingly large one, but only a half dozen or so are performed with any degree of UHJXODULW\ WKH IRXU RI 0R]DUW WKH WZR RI 6WUDXVV DQG SHUKDSV one or two others. For a composer who did so much to push the capability of the instrument to its limits, it seems strange WKDW 6WUDXVV ZURWH MXVW WZR FRQFHUWRV IRU WKH KRUQ ERWK LQ ( à DW major), one at the very beginning and one at the very end of his long life─in his nineteenth and seventy-eighth year.

5LFKDUG V IDWKHU )UDQ] ZDV D KRUQ SOD\HU JHQHUDOO\ FRQVLGHUHG WR EH WKH ÀQHVW LQ *HUPDQ\ LQ KLV GD\ VR LW LV KDUGO\ VXUSULVLQJ that young Richard wrote his First Horn Concerto for his own father. Yet Franz never played the work except in the privacy of KLV KRPH 7KH ÀUVW SHUIRUPDQFH RI DQ\ NLQG ZDV JLYHQ E\ RQH of his students, Bruno Hoyer, with piano accompaniment. The ÀUVW RUFKHVWUDO SHUIRUPDQFH WRRN SODFH LQ 0XQLFK RQ 0DUFK 1885, with soloist Gustav Leinhos.

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Though designated to be played on a Waldhorn ("forest horn," or a natural horn without valves), the concerto is in truth impossible to play properly on such an instrument. Perhaps it was in deference to his father, who staunchly refused to switch to the modern valve horn (capable of playing all notes of the chromatic scale with an even tone throughout the entire range) that Strauss used this term. Perhaps it was only as a private joke. Nevertheless, the nature of the thematic material distinctly recalls the style of music traditionally written for the Waldhorn, evoking as it does the prevalent fanfares, hunting calls and soaring romantic themes so evocative of forest scenes.

The concerto is in three movements, all played without pauses in between. Strauss conferred unity on the music by using essentially the same theme as both the opening fanfare and, rhythmically altered, as the principal theme for the third movement, a rondo. In this rondo, the horn must often play ZLWK WKH HOĂ€Q OLJKWQHVV DQG DJLOLW\ RI VWULQJV DQG ZRRGZLQGV The hushed, faintly mysterious slow movement, which begins and ends in the highly unusual key of A-flat minor (seven Ă DWV DOVR HYRNHV WKH ZRUOG RI 0HQGHOVVRKQ SDUWLFXODUO\ LQ many of the accompanying orchestral touches.

Robert Schumann: Symphony No. 1, Op. 38, B-flat major, Spring 7KH 6SULQJ 6\PSKRQ\ UHFHLYHG LWV ILUVW SHUIRUPDQFH RQ 0DUFK MXVW WHQ GD\V DIWHU WKH YHUQDO HTXLQR[ ZKHQ 6FKXPDQQ V GHYRWHG FKDPSLRQ )HOL[ 0HQGHOVVRKQ FRQGXFWHG it during a concert by the famed Gewandhaus Orchestra of Leipzig. The composer reported to his diary that the work ZDV UHFHLYHG ZLWK VXFK HQWKXVLDVP DV , GRQ W WKLQN KDV EHHQ accorded any symphony since Beethoven". That statement probably exaggerates the matter, though reviews of the concert FRQÀUP WKDW WKH DXGLHQFH DFFRUGHG WKH ZRUN D UREXVW RYDWLRQ $V LQ PDQ\ V\PSKRQLHV RI +D\GQ 0R]DUW %HHWKRYHQ DQG their successors, an introduction in slow tempo prefaces the main body of the first movement. The initial sound we hear is trumpets and horns giving out a clarion call that Schumann GHVFULEHG DV D VXPPRQV WR OLIH 7KDW ÀJXUH SURYHV QRW MXVW a poetic symbol but the motif from which much of symphony grows. The principal subject of the ensuing Allegro is a close variant of the opening fanfare, and portions of that theme run throughout the movement.

The challenges to the soloist are formidable, and indicate in no uncertain terms the direction in which Strauss was heading with regard to writing for one of his favorite instruments.

In years to come, even more difficult music would appear, particularly in some of the operas. To horn players everywhere, Strauss became almost a magical name, and their world would EH D VLJQLĂ€FDQWO\ SRRUHU RQH KDG WKH FRPSRVHU RI Don Juan, Till Eulenspiegel, Symphonia domestica, Ein Heldenleben, An Alpine Symphony, Salome, Elektra, Der Rosenkavalier, Die Frau ohne Schatten and a dozen other "lip busters" never existed.

The Larghetto second movement begins with a veiled recollection of the fanfare that opened the symphony. The rest of this movement evokes the spirit of Romantic song, a genre with which Schumann was deeply familiar. (He had already devoted considerably creative energy to song composition, writing dozens of vocal settings of poems by Romantic writers.) Next comes a scherzo cast essentially as a minor-key minuet with a somewhat demonic character. We find similar PRYHPHQWV LQ 0R]DUW V 6\PSKRQ\ 1R DQG 6FKXEHUW V )LIWK Symphony, though Schumann expands on the examples of those works by having his main paragraphs alternate with two contrasting sections, or Trios.

W. A. Mozart: Horn Concerto No. 1, K. 386b, D major

The finale recaptures the exuberant spirit of the initial movement. It starts with a sonorous flourish whose conspicuous tail of three ascending notes links it to the opening fanfare. The music that follows is lithe and robust by turns, WKH ODWWHU TXDOLW\ VXSSOLHG PRVWO\ E\ YDULHG UHFXUUHQFHV RI the flourish that opened the movement. Schumann takes the unusual step of pausing for a cadenza, scored for horns and flutes, just before the recapitulation, and an accelerated coda brings the symphony to a stirring conclusion.

The Allegro of K. 412, completed by a Rondo K. 514 (386b), emanates from Vienna in 1791. For many years it was deemed DV 0R]DUW V ILUVW YHQWXUH LQWR D KRUQ FRQFHUWR 7KLV FDPH about as a result of a misreading of the year 1797 for 1787. ,W ZDV LQ IDFW WKH IRXUWK WR EH FRPSRVHG 0R]DUW GUDIWHG ERWK movements but the composer changed some of the solo writing when completing his draft. The Rondo was completed by Sßssmayr in a version dated 6 April 1792. His score differs IURP WKH 0R]DUW YHUVLRQ ZLWK FKDQJHG VWULQJ ZULWLQJ DQG WKH deletion of low notes for the horn, as well as the introduction of the Lamentations of Jeremiah (normally sung at the Good Friday service) which resulted in an extension of the movement E\ VL[ EDUV 6 VVPD\U PLVUHDG 0R]DUW V GUDIW DQG RPLWWHG WKH two bassoons in this movement. The work is scored for two oboes, two bassoons and strings. Š 2015 Naxos Digital Services Ltd

Š 2015 Naxos Digital Services Ltd

5︱春天號角

自信而精銳

National Symphony Orchestra

國家交響樂團

Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became the resident orchestra of the National Concert Hall, and an artistic affiliate of the National Performing Arts Center in April 2014. The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Maestro ShaoChia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan. The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hogwood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong, Guangzhou, Shanghai, Hangzhou, and Beijing.

於1986年為建立一個指標級交響樂團而 投下的希望，2005年起成為駐國家音樂廳團 隊，2014年4月起改隸國家表演藝術中心，目前 已成為頂尖的亞洲樂團。樂團歷任音樂總監/ 藝術顧問包括許常惠、張大勝、林望傑、簡文 彬以及赫比希，自2010年8月起，由呂紹嘉接任 音樂總監。近30年來與NSO合作過的知名指 揮家有馬捷爾、巴夏、潘德瑞茨基、史瓦茲、羅 斯楚波維奇、柯米希奧納、史拉特金等。除了 精緻音樂會，NSO也製作大型歌劇，更以各種 推廣講座音樂會、節慶或戶外音樂會，使NSO 的節目成為愛樂大眾樂於參與的活動，形成華 人地區古典音樂的新風貌。 音樂總監 桂冠指揮 駐團指揮

呂紹嘉 根特•赫比希 張尹芳

第一小提琴

★ 吳庭毓 ★ 李宜錦 方俊人 黃佳頎 ▲ 藍胤萱

☆ 鄧皓敦 李庭芳

○ 陳逸群 賴佳奇

郭昱麟 林孟穎

林基弘▓ 李家豪

梁坤豪 曾智弘

陳逸農 蔡竺君

卓曉青 ＊ 白浩胤

第二小提琴

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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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黃瑞儀▓◎ 鄧啟全 蔡秉璋 吳彥廷

○ 呂昭瑩 劉詩珊

黃雅琪 羅培菁

李靖宜

謝君玲

呂孟珊

李思琪

陳猶白

大 提 琴

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熊士蘭 ◎ 連亦先 唐鶯綺 ＊ 林君翰

○ 韋智盈

呂明美

周幼雯

陳怡婷

林宜女閒

黃日昇

蘇酩惠

低 音 提 琴

●

傅永和 ◎ 蘇億容

○ 周春祥

王淑瑜

黃筱清

王淑宜

連珮致

蔡歆婕

長 笛

●

安德石 ◎ 宮崎千佳

●

王怡靜

楊舒婷▓ ▲鍾筱萱

孫詩涵

短 笛 雙 簧 管

李 浚

鐘美川

英 國 管

◎ 阮黃松

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

法 國 號

●

劉宜欣 ○ 黃任賢

國田朋宏

王婉如

小 號

●

宇新樂 ◎ 陳長伯

張景民

鄒儒吉

長 號

●

宋光清 ◎ 邵恆發

陳中昇

倍 低 音 管

孫正茸

簡恩義

低 音 長 號

曹予勉

＊王濟揚

彭曉昀

低 音 號

●

宮西純

定 音 鼓

●

連雅文 ◎ 陳廷銓

打 擊 樂

●

陳哲輝

豎 琴

●

解 瑄

鍵 盤

▲ 許毓婷

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

陳振馨

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 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