2016
ॡΎ௰тಏաᝳ ͭޣЂᕅ˃·
演出時間│ 2016年4月29日 (星期五) 7:30 PM 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 小 號│萊因霍爾德•弗里德里希 Reinhold Friedrich, trumpet 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25分鐘，下半場約60分鐘
特別感謝│
1︱爵士・交響
演出曲目
Program
德米特里•蕭斯塔科維契（1906-1975）： 第一號爵士組曲
DMITRI SHOSTAKOVICH（1906-1975）: Jazz Suite No. 1
I. 華爾茲 II. 波卡 III. 狐步（藍調）
I. Waltz II. Polka III. Foxtrot
貝爾恩德•阿洛伊斯•齊默爾曼（1918-1970）： 《沒人知道我所遭遇過的困難》小號協奏曲
BERND ALOIS ZIMMERMANN（1918-1970）: Nobody knows de trouble I see, Concerto for Trumpet and Orchestra
~中場休息~
~Intermission~
德米特里•蕭斯塔科維契：第十號交響曲 I. II. III. IV.
中板 快板 小快板 行板—快板
DMITRI SHOSTAKOVICH: Symphony No. 10, Op. 93, E minor I. II. III. IV.
Moderato Allegro Allegretto Andante – allegro
演出者介紹 指揮｜呂紹嘉
Conductor｜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》
“The conductor Shao-Chia Lü is a master of nuance." — Süddeutsche Zeitung
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。
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).
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。
Shao-Chia Lü took the position of General Music Director of the Koblenz Theatre (19982001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004), and the Staatsoper Hannover (2001- 2006).
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
Shao-Chia Lü appears regularly as guestconductor 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
2︱爵士・交響
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。
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.
小號｜萊因霍爾德•弗里德里希
Trumpet｜Reinhold Friedrich
自1986年贏得聲望極高的ARD 大賽第二獎後，小號演奏家萊因 霍爾德•弗里德里希便活躍於世 界各地的重要舞台。他的演奏曲 目含括巴洛克音樂到最新的獨奏 作品。他曾世界首演沃夫岡•利 姆、彼得•馬克斯威爾•戴維斯、雷貝卡•桑德 士、漢斯•威拿•亨采、貝爾恩德•阿洛伊斯•齊 默爾曼等作曲家的作品。萊因霍爾德•弗里德里希 曾和許多知名的團體合作，如：柏林巴洛克獨奏家 樂團、維也納室內管絃樂團、巴塞爾室內管絃樂團 以及班伯格交響樂團。他任教於卡爾斯魯厄的音樂 學院，同時擔任倫敦皇家音樂學院的榮譽教授，以 及奧胡斯皇家音樂學院和廣島伊莉莎白音樂大學的 客座教授；除此之外，他也在世界各地開授大師 班。
Since winning Second Prize at the highly prestigious ARD competition in Munich in 1986, trumpet player Reinhold Friedrich has been performing on important stages throughout the world. His repertory ranges from Baroque music to the latest solo compositions. He has given the world premieres of works by composers like Wolfgang Rihm, Peter Maxwell Davies, Rebecca Saunders, Hans Werner Henze, and Bernd Alois Zimmermann. Reinhold Friedrich has performed with such prestigious ensembles as the Berlin Baroque Soloists, Vienna Chamber Orchestra, Basel Chamber Orchestra, and Bamberg Symphony. He teaches at the conservatory in Karlsruhe, is honorary professor at the Royal Academy of Music in London, and serves as guest professor at the Royal Academy of Music in Aarhus and at the Elisabeth School of Music in Hiroshima, all in addition to giving master classes around the world.
3︱爵士・交響
樂曲解說 撰文│金立群 （國立臺灣師範大學音樂學博士）
凝聽那聲聲哀樂 「情動於衷而形於言，言之不足，故嗟嘆 之，嗟嘆之不足，故咏歌之，咏歌之不足，不知 手之舞之，足之蹈之也」：〈詩大序〉的這一 段，舞蹈界有人引用，不過他們演出時，你敢手 舞足蹈嗎？源於十九世紀歐洲的音樂會禮節，固 然有神秘化等等傾向，「綁手綁腳」卻利於「異 想天開」，讓感性與理性的雙翼，自由翱翔。 也無不可；以下也非 （白日夢 不打鼾的 限制想像，只是作為「暖身」。）
亂世曼舞 輕飄飄的華爾茲、蹦蹦跳的波卡、軟綿綿的 狐步：誰不覺得坐在音樂廳真是「綁手綁腳」！ 但蕭斯塔科維契賦予樂器眾生面相，尤其許多獨 奏段落，在想像的舞池，邀你共舞。本組曲三支 舞都各由一個「角色」帶頭：華爾茲是小號、波 爾卡是木琴、狐步是次中音薩氏管。其中狐步較 長，中段穿插夏威夷吉他和長號、鐵琴和小提琴 兩對絕配，但藍調總是鬱鬱，歌舞也婆娑而止。 這套1934年的組曲其實不太「爵士」，輕音 樂所流露的自由夢卻是真情。不過1930年起，蘇 維埃管控鬆鬆緊緊，蕭氏也曾因這類作品的布爾 喬亞情調公開（被）請罪。到1936年史達林策動 批鬥，箭靶是蕭氏的一部歌劇，輕歌曼舞的自由 也連帶打住。
戰後靈歌 中提琴的微顫、豎琴的泛音、鑼鼓的低擊、 長號不安的滑音、絃樂近琴馬的嘶噪：齊默爾曼 瞬間搭出廢墟場景，時空轉到1950年代的西德。 二戰後納粹的劫灰，較一戰後艾略特描繪的《荒 原》（T. S. Eliot, The Waste Land, 1922）更甚。 獨奏小號以深情的下行六度登場，但前衛的十二 音列雖經調性稀釋，仍久久唱不出心曲。幾番折 騰，下行六度由爵士樂風的中音薩氏管接力，靈 歌Nobody Knows de Trouble I See終得暫現。歌名 本來是完成式的「I've seen」，改為現在式的「I see 」 是借昔日的黑奴喻當前的困境，而古今相 連正是齊氏的「球狀」時間觀。 樂章經過爵士樂的「解放」達至中段高潮， 再以持續的搖擺節奏與行走低音展開下半段。黑 人教堂常用的電風琴以正歌首句「sometimes I'm up, sometimes I'm down 」的小三度動機重複作
引，小號終於完整唱出副歌：「無人知我困 苦 除了耶穌 無人知我困苦 榮耀哈利路 亞」。不過前段薩氏管的預告和這裡電風琴 的導奏都在一個升號的 G 調上，現在小號卻 提到三個升號的E調，聲調更鋒 、更迫切。 最後華彩樂段小號再補上正歌：「我時而高 昂時低落 主啊是的 我時而幾乎要倒地 主啊是的」。尾奏回復 G 調唱完副歌下句， 安靜地以「哈利路亞」作結，此時柔聲伴奏 的絃樂，化動態的十二音列為靜態的十二音 和弦，先前惶惑的前衛，於此終得安頓。 齊氏比布列茲（P. Boulez）、史托克豪 森（ K. Stockhausen ）一輩年長約十年，希 特勒上台時他已十五歲，二戰結束便快三十 了。青少年期沉重的經歷，為作品注入更多 人文關懷。雖然前衛派對他的「樂以載道」 不以為然，使他沮喪多年，他卻也不甘於小 圈子的玄奧。這個融合不同文化的樂章，不 僅預示了齊氏的多元作曲手法，更為其所憂 心的族群狂熱，揭示和解之路。
交響交鋒 回到蘇聯。1953年，三月史達林之死仍 未帶來春天，十二月蕭斯塔科維契卻熬過二 戰以及個人幾度被鬥的嚴寒，發表八年以來 第一首交響曲：他的第十號。 第一樂章以低音絃樂迂迴起伏的導奏 （小三度級進與減三和弦分解上行）、單簧 管的哀歌（如馬勒第二交響曲第四樂章「人 在急難中」一句）和長笛的急舞開展；三者 交迭再交疊，把樂章推到中段高了半個調的 關卡。一陣擂鼓篩鑼之後，各主題倒序再 現，F小調也輾轉回到主調E小調；拱形曲式 穩住了外在的均勢，尾奏卻剩下短笛暗自孤 鳴。 第二第三樂章少有地同為快板，也都延 用三度上下行的動機，但若第二樂章為暴力 的獨舞（「史達林肖象說」卻未必屬實）， 第三樂章則是善惡的對舞，是為全曲轉捩 點。首先絃樂開頭的 C-D-Eb-B ，由短笛、 長笛和雙簧管重組，成為蕭氏從此常用的代 號D-Eb-C-B（=D SCH其德文姓名的縮寫)。 再來是上行四度五度的號角主題E-A-E-D-A （如馬勒《大地之歌》曲首；據說也是蕭氏 紅顏知己Elmira Nazirova的暗號），與第一 樂章再現所代表的過去交鋒。所衍生的短笛 與長笛插曲，在經過衝突更顯完美的「阿 門」終止（IV–I）後，則以全曲最慢的廣板 短暫「顯靈」，預告終章主題作為未來的盼
4︱爵士・交響
望。然而號角十二次響起，樂章仍如《大地之 歌》般，留下懸而未決的聲響。 第四樂章再陷鬱結，終於五度跳進的快板主 題破繭而出，還是不敵往日的陰影。最後關頭 DSCH重現江湖，似乎個人征服天下，但其中第 二樂章的交響助勢（尤其軍鼓）怎能聽而不聞？ 當然本曲「小調始大調終」的路線，承自貝多芬 第五交響曲以來的英雄典範，然而該曲第三樂章 的詭魅在終章復出，最後還是「邪不勝正」；本 處第二樂章再現而DSCH竟然與之「合流」，是 為英雄論的反諷。無論如何，「與魔交鋒，當心 成魔」是尼采的警語。而曲終人未散，1953年年 底第十成功首演，次年春天卻被圍攻，但夏天又 獲封「蘇聯人民藝術家」──與權力周旋是蕭氏 的宿命，而譏誚與暗昧成了他的風格。 亂世之中，聲有哀樂。世界擾擾攘攘，藝術 界不但無法置身事外，自身也有各種慾望、各種 意識形態。所以音樂會要「綁手綁腳」地凝聽， 以情以理上下求索，直視真假、善惡、美醜；音 樂會後繞梁三日，也讓我們三省自身的品味與境 界。
Program Notes Dmitri Shostakovich: Jazz Suite No. 1
Despite his immersion in popular theatre and vaudeville during the late 1920s and early 1930s, Shostakovich did not attempt a specifically jazz-orientated work until 1934, when he entered a competition in Leningrad whose aim was to elevate jazz from café music to a more serious status. The three-movement Jazz Suite No. 1 achieves this with deft precision. After the languorous Waltz, with its indelible trumpet melody, the Polka presents a brittle but humorous façade. The mock-pathos of the Foxtrot closes the suite, with enough ambivalence in its bluesy harmonies to indicate that Shostakovich was capable of investing the jazz idiom with altogether more serious emotions. © 2015 Naxos Digital Services Ltd
Bernd Alois Zimmermann: Nobody knows de trouble I see, Concerto for Trumpet and Orchestra By Robert Markow (Musicologist, Canada)
BERND ALOIS ZIMMERMANN: Born in Bliesheim (near Cologne), Germany, March 20, 1918; died in Königsdorf, August 10, 1970 Bernd Alois Zimmermann was one of the most
important composers of mid-twentieth century Germany. He was associated mostly with the city of Cologne, nearby where he was born and died. There he undertook part of his musical training, taught (Cologne University from 1950-1952 and Cologne Conservatory from 1957 until his death in 1970) and saw the premiere in 1965 of his opera Die Soldaten, generally regarded as one of the greatest German operas of the twentieth century. A manic-depressive tendency, horror and disgust over the atrocities of war, death of a daughter, and encroaching blindness all contributed to Zimmermann's decision to commit suicide at the age of 52. Studies with twelve-tone composers like Wolfgang Fortner and René Leibowitz, early experience playing in jazz bands, work as an arranger for Cologne Radio, and a deeply personal response to the "racial madness" he saw everywhere in Germany as well as in the United States all came together in Zimmermann's trumpet concerto Nobody Knows de Trouble I See. In this work, identified by tonight's soloist Reinhold Friedrich as "one of the most important concertos of the twentieth century for the trumpet," Zimmermann displays his collage technique in the unlikely combination of jazz and twelve-tone elements along with quotation and variation procedures: the freely-used tone row is from his Oboe Concerto of 1952; the Negro spiritual from which the work takes its title originated among American slaves in the nineteenth century and was first published in 1867. To Zimmermann, combining these disparate elements together in one score represents a state of idealized racial harmony. "Nobody Knows de Trouble I See" (the title has several variants) is a well-known song, and has been performed by such artists as Paul Robeson, Lena Horne, and Marian Andersen as well as by many instrumentalists, notably jazz trumpeter Louis Armstrong. In the classical world, Michael Tippett used it in his oratorio A Child of Our Time (1944). Zimmermann's concerto, though not often performed due partly to the extreme difficulty of the solo writing, has been the subject of numerous published articles as well as a doctoral dissertation by Matthew Haley (2013). The first performance was given in Hamburg on October 11, 1955 with Ernest Bour conducting the North German Radio Symphony Orchestra and soloist Adolf Scherbaum. The orchestra combines elements of a classical ensemble (a full body of strings plus flute, oboe, bassoon, horn, tuba) and a jazz Big Band (clarinet, five saxophones, three tr umpets, trombone, Ha m m o n d o r g a n ) . Gu i t a r, p i a n o , h a r p a n d percussion round out the instrumentation. For listeners searching for the "big tune"(the theme of the spiritual) it first arrives about three minutes into the score, played softly by the alto saxophone (it begins with a downward swoop, followed by a slow climb back up to the top note). The solo trumpet takes it up a few minutes later, extending and developing
5︱爵士・交響
the melody. The tune is "sung" twice more by the trumpet near the end of the thirteen-minute work. The full range of jazz techniques abounds: trills, glissandos (slides), tremolos (shakes), bending of pitches, stabbing accents, tremolo, fluttertonguing, the extensive use of mutes, and improvisatory-style passages. Reinhold Friedrich states in his recording of Nobody Knows de Trouble I See that to him, "it expresses sadness and joy, resignation and strength, fear and hope better than any other piece ever written for the trumpet."
Dmitri Shostakovich: Symphony No. 10, Op. 93, E minor Shostakovich may have conceived a Tenth Symphony around 1946/47, while pianist Tatyana Nikolayeva recalled hearing him play the opening of the first movement in 1951. It was not until June 1953, however, that he worked on the symphony in earnest, completing the first movement on 5 August and the second movement on the 27th. The third movement emerged in September and the fourth movement was finished on 25 October, Shostakovich traveling to Leningrad with his protégé Mieczysław Weinberg to 'try out' the new work in an arrangement for piano duet. Yevgeny Mravinsky conducted the public première in Leningrad, with the Leningrad Philharmonic Orchestra, on 17 December; the Moscow première, with Mravinsky conducting the USSR State Symphony, followed on 29 December. The Tenth Symphony is scored for woodwind in threes, four horns, three each of trumpets and trombones, tuba, timpani, percussion (three players) and strings. The first movement brings to a peak Shostakovich's personal recasting of sonata-form, while the second is a scherzo that stands in total contrast, and the third is more of an intermezzo than a slow movement, the finale moving between relative stasis and dynamism to end the work with a determinedly 'Classical' energy. Once viewed as the climax of an autobiographical sequence that had commenced with the Fifth Symphony, the Tenth exhibits much less of Mahler's influence than do its predecessors-Tchaikovsky, in particular, often to the fore such as to link it with the 'Russian period' that included Shostakovich's next three symphonies. The first movement, Moderato, opens with a long breathed theme on lower strings whose initial three notes are germinal to the whole work: each of the following movements begins with a variant of it. Upper strings respond with impassive gestures before solo clarinet has a ruminative version of this first subject, activity in the strings gradually increasing to a climax where the theme is stated forcefully on strings and brass. This dies down to leave gaunt brass figures, clarinet continuing its rumination against lower strings, a transition, in fact, to the
second subject-given initially to flute and pizzicato violins then taking on a waltz-like manner when transferred to the strings. The clarinet briefly takes up the theme, which reaches its brief culmination on strings and woodwind. This evens out rhythmically as it subsides, making way for the opening theme in austere dialogue between woodwind and marking the onset of the development. This takes in horns and strings as it builds to the main climax, trumpets and trombones balefully intoning the theme as it assumes increasing animation in strings and woodwind. Confrontational brass and strings are goaded on by martial percussion, bringing about the start of the reprise at a point of maximum intensity (as at the equivalent points of the Fifth, Seventh and Eighth Symphonies). Descending horns and ascending strings alternate with brass in a vastly expanded version of the first theme, strings carrying the momentum through to its defiant restatement on full orchestra, before tension subsides into a pensive recall of the theme on clarinets. This duly segues into the second subject, haltingly on clarinets before transferring to strings and woodwind. A gaunt transition on lower strings brings back the first theme, and a coda in which the opening is evocatively evoked. This climbs higher in the strings to leave flutes and piccolo plangent above strings and timpani as the movement reaches a subdued close. The second movement, Allegro, is a tensile scherzo whose hectic activity for strings is seized upon by woodwind then brass as an aggressive climax is reached. This hurtles into a seething fugato for upper strings against woodwind and brass over impulsive lower strings, side-drums heralding an implacable climax where the main motifs are hurled across the orchestra. This dies down into quietly pulsating activity on strings, surging forth again on woodwind and ending with explosive brass chords. Whether or not a 'portrait' of Stalin, it is certainly among the most graphic musical evocations of violence. The third movement, Allegretto, is among the most distinctive in Shostakovich's output. It opens with a capricious theme on upper strings, complemented by an insouciant idea on woodwind. This latter features the four-note motif D-E flat-C-B which, in German nomenclature, becomes D-S-C-Hyielding the composer's initial and first three letters of his surname. This monogram had appeared in several post-war works, but it only here enjoys the prominence it retained in his later music. It dies down on flutes as strings return to the first theme, further build-ups being curtailed by the appearance of a five-note motif E-A-E-D-A on horn. This is a musical translation of the first name of Elmira Nazirova, a pianist from Baku who had studied with Shostakovich in the late 1940s and with whom he had an intense correspondence during the symphony's composition. Her 'motto' is heard twelve times during this movement: in the middle section, it alternates first with a transformed recall of the work's opening then a breathtaking switch from minor
6︱爵士・交響
to major which is topped off by artless woodwind arabesques. It is then heard against pizzicato strings in a transition to the opening theme on woodwind. Suddenly the music bursts into life as the insouciant idea returns on violins against syncopated trumpets and percussion, building to a climax where the D-S-C-H motif on strings is angrily confronted by brass and percussion; the E-A-E-D-A motif vividly interposes itself on horns, the composer's motif subsiding as tension eases off into a coda where the 'Elmira' motif alternates with the initial theme on violin. A final horn call ends the movement with an unresolved string chord, against which flutes sound D-S-C-H into nothingness. The fourth movement, Andante-Allegro, begins with a slow section that twice alternates sombre lower strings with plaintive soliloquies for oboe and bassoon. Clarinet then flute trades a questioning three-note motif that, after more intensely undulating passages for the strings, is extended into a seven-note motif. This becomes a playful theme for the strings then woodwind as the fast section is finally launched, taking in a robust folk-like idea before arriving at an increasingly forceful interplay on strings and woodwind of ideas heard in the movement so far. A further, more determined build-up sees the opening theme enter the conflict as the music reaches a forceful climax in which the D-S-C-H motif is shouted out by the whole orchestra. Aspects of the slow section now return, mingling with recalls of D-S-C-H before the playful theme is brought back on woodwind. The tempo again increases, as this theme is inter-cut with D-S-C-H in a climax of mounting excitement: despite the major-key close, the final bars are a masterly equivocation between triumph and defeat-the composer's motif defiant on timpani to the last. © 2015 Naxos Digital Services Ltd
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7︱爵士・交響
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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 第一小提琴 第二小提琴 中 提 琴 大 提 琴 低 音 提 琴 長 笛 短 笛 雙 簧 管 英 國 管 單 簧 管 高音薩氏管 中音薩氏管 上低音薩氏管 低音薩氏管 低 音 管 倍 低 音 管 法 國 號 小 號 長 號 低 音 長 號 低 音 號 定 音 鼓 打 擊 樂 豎 琴 鍵 盤 吉他＆斑鳩琴
呂紹嘉 根特•赫比希 張尹芳 ★ 吳庭毓 ★ 李宜錦 ☆ 鄧皓敦 ○ 陳逸群 方俊人 黃佳頎 李庭芳 賴佳奇 ▲ 藍胤萱 ● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 鍾仁甫 蔡孟峰 洪章文 陳偉泓 ● 黃瑞儀▓◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 蔡秉璋 吳彥廷 羅培菁 袁繹晴 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 唐鶯綺 ＊ 林君翰 ● 傅永和 ◎ 蘇億容 ○ 周春祥 王淑瑜 ● 安德石 ◎ 宮崎千佳 李 浚 鐘美川 ● 王怡靜 ◎ 阮黃松 楊舒婷▓ ▲鍾筱萱 李明怡▓ ● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 張文君 譚文雅 陳逸倫 楊曉恩 周至信 ● 簡凱玉 ◎ 陳奕秀 高靈風 簡恩義 ● 劉宜欣 ○ 黃任賢 國田朋宏 王婉如 ● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉 ● 宋光清 ◎ 邵恆發 陳中昇 彭曉昀 ● 宮西純 ● 連雅文 ◎ 陳廷銓 ● 陳哲輝 陳振馨 楊璧慈 ● 解 瑄 ▲ 許毓婷 李芳旭
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★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