20160506 A Berlioz Bash Program Note

主辦

浪漫白遼士 A Berlioz Bash

演出時間 2016年5月6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

次女高音│歐莉西亞‧佩特洛娃 Olesya Petrova, mezzo-soprano 國家交響樂團 National Symphony Orchestra (NSO)

主辦單位 指定住宿 特別感謝

曲目

赫克塔 ‧ 白遼士（1803-1869）：《班維奴托．切利尼》序曲

赫克塔 ‧ 白遼士：《夏夜》 I. II. III. IV. V. VI.

〈田園歌〉 〈玫瑰幽魂〉 〈潟湖上－哀歌〉 〈離別〉 〈墓園－月光下〉 〈無名島〉

～中場休息～

赫克塔 ‧ 白遼士：《羅密歐與茱麗葉》選曲 〈愛情場景〉，選自第二部份第二樂章 〈夢之女王詼諧曲〉，選自第二部份第三樂章 〈羅密歐在卡普雷家族墓穴〉，選自第三部份第二樂章

赫克塔 ‧ 白遼士：《浮士德的天譴》選段 〈愛的烈焰〉，選自第四部分第十五景 匈牙利進行曲，選自第一部分第三景

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上半場 約 45 分鐘 下半場 約 45 分鐘

HECTOR BERLIOZ

(1803-1869):

Benvenuto Cellini Overture

HECTOR BERLIOZ: Les nuits d'été (Summer Nights), Op. 7 I. II. III. IV. V. VI.

'Villanelle', H. 82 'Le spectre de la rose', H. 83 'Sur les lagunes', H. 84 'Absence', H. 85 'Au cimitière', H. 86 'L'île inconnue: barcarolle', H. 87

~Intermission~ HECTOR BERLIOZ: Excerpts from Roméo et Juliette 'Scène d'amour', from Part 3, mvt II 'La Reine Mab ou la Fée des Songes (Scherzo)', from Part 2, mvt III 'Roméo au tombeau des Capulets' from Part 3, mvt II

HECTOR BERLIOZ: Excerpts from La damnation de Faust, Op. 24 'D'amour l'ardente flamme', from Part 4, scene 15 Marche Hongroise, from Part 1, scene 3

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樂曲解說

走自己的路－白遼士的音樂創作 撰文．車炎江（國立臺北藝術大學音樂學博士）

盱衡歐洲樂壇，要挑出沒有家學淵源、半途轉行的非科班出身作曲家已屬不易，若還要 求此人同時擁有譜曲、寫理論書、寫樂評、指揮樂團的全般能力和專業成就，更是鳳毛麟角。 十九世紀法國作曲家、理論家兼樂評白遼士恰是這類人物的典型。即便白遼士不是出自著名早 慧音樂神童之列，振筆疾書也大多為賺取微薄稿費好替歌劇製作賠錢還債，卻依然寫出自己的 縱橫才氣，顯露對於音樂藝術的狂熱野心、無限想像力、以及表達自我的強烈渴望。他打破傳 統成見，勇敢提出新觀點，為音樂寫下新規則、創造新典範，並且有系統徹底執行，這一切在 作品裡不證自明。「走自己的路」可說是白遼士一路堅持、始終如一的最佳寫照。 身處歐洲浪漫思潮風起雲湧的時空，白遼士 1830 年前後在巴黎習樂，期間接受貝多芬交 響曲、韋伯歌劇德奧音樂的震撼與洗禮，同時深受法國引進英、德浪漫文學與莎翁戲劇影響， 驅使他日後戮力實踐音樂、文學、戲劇融合為一的理想。惟當年法國作曲家只有靠創作歌劇才 可能名利雙收，白遼士一生推出四檔歌劇卻皆以失敗認賠作收，只能徒呼負負，其中前兩檔即 為《班維奴托 ‧ 切利尼》和《浮士德的天譴》。 白遼士曾表示對義大利音樂的不屑，但他在 1830 年代初期短暫停留義大利時，卻深受當 地風土人情與文化藝術吸引，給予他日後一系列與義大利有關的作品豐富的靈感――如《羅密 歐與茱麗葉》、《哈洛德在義大利》，以及一齣用文藝復興一位才華洋溢的佛羅倫斯金匠、畫 家、雕塑家和音樂家為名所寫的歌劇《班維奴托 ‧ 切利尼》。該劇約在 1834-37 年間譜寫， 1838 年 9 月 10 日於巴黎首演。劇中主人翁切利尼多才多藝、熱情率真，似成為白遼士個人形 象的投射。即使歌劇失敗，但其中炫麗浩大的序曲卻令人萬分驚豔。全曲以精神抖擻的軍樂開 場，溫柔抒情和激情的瞬間，則象徵主角切利尼與未婚妻泰瑞莎之間的愛情，莊嚴與興奮交織 的樂音，將序曲本身鋪陳成為一齣迷你戲劇，成為管絃樂團音樂會常見曲目之一。 1828 年，涅瓦爾（Gérard de Nerval, 1808-55）的歌德著名劇作《浮士德》法文譯本，引起 白遼士極大興趣，讓他陸續以此為藍本寫下一系列樂曲，其中包括 1830 年著名的《幻想交響 曲》以及譜寫於 1845-46 年的《浮士德的天譴》。後者於 1846 年 12 月 6 日首演於巴黎喜歌劇院， 全劇分成四部分、而非四幕（起初並非為戲劇演出而寫），白遼士稱之為「音樂會歌劇」（opéra de concert），後又改稱「戲劇傳奇故事」（légende dramatique），意即以不具形體的音樂藝術

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樂曲解說

自由演繹內心無垠的戲劇想像，且能超越戲劇時空以及舞臺演出現實限制，最後形成這種幾近 「交響化」的歌劇音樂。因此，德國學究浮士德竟然在該劇第一部分身處匈牙利平原、現場響 起匈牙利進行曲也就不足為奇；浮士德最後選擇離開女主角瑪格麗特（Marguerite），她回憶 浮士德的聲音、愛撫和親吻，令她無法自拔陷入愛情，詠唱出抒情深刻的浪漫曲（romance）〈愛 的烈焰〉。 德奧作曲家開發交響曲新藝術不遺餘力，卻讓白遼士進一步邁出全面革新的發展步伐。 他順應貝多芬第九交響曲（特別是第四樂章）的作為――以文學詩作為陳述思想意念情感的主 軸，借用戲劇音樂形式（歌劇）強化演繹詩詞的能力。同時，他也學習貝多芬第六如何預先自 由規劃「標題」交響曲（"programmatic" symphony）形式和內容，以音樂營造氛圍，並輔以文 字說明，以免聽眾無法理解創作者藉由抽象樂音企圖表達的意念與情感。白遼士曾說「管絃樂 會演戲，讓管絃樂演戲」，雖然他的歌劇不見成功，卻意外在交響曲範疇得到眾人肯定與迴響。 1839 年 11 月 24 日，《羅密歐與茱麗葉》於巴黎音樂院首演，劇本由法國文學家德尚（Émile Deschamps, 1791-1871）改編自莎翁著名悲劇而得。全曲共三部份七樂章，完整演出長度大約 九十分鐘以上，在布魯克納、馬勒出現之前尚無人能出其右。 雖然白遼士主要音樂貢獻不在歌曲範疇，但他催生當代法國藝術歌曲（mélodie）的功勞 不應遺忘。當時德奧藝術歌曲已成為歐洲樂壇與沙龍新寵，舒伯特靠著鋼琴與歌者聯合詮釋文 學詩的意境與情感；白遼士選擇更進一步，不僅讓法國歌曲脫離先前浪漫曲傾向媚俗浮濫的弊 病，達到詩樂合一的境界，更將表現力強大的管絃樂團納進歌曲範疇，《夏夜》遂成為十九世 紀管絃歌曲先驅，更成為他唯一以曲集形式出版的一組藝術歌曲。這組歌曲共計六首（H. 8287），不屬定義嚴謹的聯篇歌曲類型，故可挑出選曲單獨演唱；但整組歌曲集一方面有文字標 題指陳其義，另一方面各曲之間隱約似有脈絡可循，故演出時多見挑戰整組歌曲演唱。歌詞選 自白遼士的藝文好友――法國文學家高提耶（Théophile Gautier, 1811-72）於 1838 年出版的詩 作《死亡的喜劇》（La comédie de la mort），於 1840-41 年間譜寫成鋼琴與次女高音（或男高 音）之歌曲集；二年後（1843）先改寫第四首〈離別〉成為管絃歌曲，其餘五首則於 1856 年 改寫完成。六首歌曲以輕快的〈田園歌〉開啟序幕，隨即進入抒情陰鬱且糾結的內在情感世界， 最後再以歡愉的心情向〈無名島〉開航。雖然永恆的愛情能否在遠方延續尚屬未知，但脫離限 制重重的惱人現實、歡樂地實踐初衷，想必這正是白遼士心中嚮往的境界吧！

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《夏夜》歌詞

譯者．歐陽瑞聰（法國圖魯斯第二大學語言學碩士，財團法人語言訓練測驗中心法語研究員）

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Les nuit d’été

夏夜

Villanelle

田園歌

Quand viendra la saison nouvelle, Quand auront disparu les froids, Tous les deux nous irons, ma belle, Pour cueillir le muguet aux bois.

Sous nos pieds égrenant les perles, Que l'on voit au matin trembler, Nous irons écouter les merles Siffler.

當新的一季來臨 寒冷不再 美人兒，我倆一起 去林中採鈴蘭 晨光中顫抖的露珠 紛紛落在腳下 我們聆聽烏鶇 鳴唱

Le printemps est venu, ma belle, C'est le mois des amants béni ; Et l'oiseau, satinant son aile, Dit des vers au rebord du nid.

Oh ! viens donc, sur ce banc de mousse Pour parler de nos beaux amours, Et dis-moi de ta voix si douce : « Toujours ! »

美人兒，春天已到 這是上天恩賜的戀人之月 鳥兒梳亮羽翼 巢邊吟詩作對 哦！請坐上青苔鋪成的長凳 來談情說愛 用無比甜美的嗓音對我說： 「永遠」

Loin, bien loin, égarant nos courses, Faisant fuir le lapin caché, Et le daim au miroir des sources Admirant son grand bois penché, Puis chez nous, tout heureux, tout aises, En panier enlaçant nos doigts, Revenons, rapportant des fraises Des bois.

我們恣意奔跑直到迷失 讓躲藏的兔子都逃出來 黃鹿在明亮如鏡的泉水旁 俯身欣賞自己雄偉的鹿角 然後快樂自在的我們倆 十指交扣提著籃子 將林中的草莓 帶回家

《夏夜》歌詞

Le spectre de la rose

玫瑰幽魂

Soulève ta paupière close Qu'effleure un songe virginal.

Je suis le spectre d'une rose Que tu portais hier au bal.

Tu me pris encore emperlée Des pleurs d'argent de l'arrosoir, Et parmi la fête étoilée Tu me promenas tout le soir.

請抬起閉上的眼簾 處子之夢輕輕拂過 我是一朵玫瑰的魂魄 昨日舞會你配戴的玫瑰 你將我採下時我仍珠光閃閃 沾滿來自灑水器的銀色淚滴 星光閃閃的晚會中 你戴著我漫步一整晚

Ô toi, qui de ma mort fut cause, Sans que tu puisses le chasser, Toutes les nuits mon spectre rose A ton chevet viendra danser.

Mais ne crains rien, je ne réclame Ni messe ni De Profundis, Ce léger parfum est mon âme Et j'arrive du Paradis.

哦！你，我因你而死 你將無法驅逐我 夜夜縈繞的玫瑰幽魂 漫舞在你的枕邊 但別害怕，我不要求 彌撒以及哀悼經文 幽幽香氣是我的靈魂 我從天而降

Mon destin fut digne d'envie, Et pour avoir un sort si beau Plus d'un aurait donné sa vie.

Car sur ton sein j'ai mon tombeau, Et sur l'albâtre où je repose Un poète avec un baiser Écrivit : « Ci-gît une rose Que tous les rois vont jalouser ».

我的命運令人稱羡 擁有如此美麗際遇 願為此付出生命的大有人在 因我的墳在你的胸口 在我安息的雪白石上 一位詩人用他的吻 寫下：「一朵玫瑰長眠於此 所有國王皆嫉妒」

Sur les lagunes – Lamento

潟湖上—哀歌

Ma belle amie est morte, Je pleurerai toujours ; Sous la tombe elle emporte Mon âme et mes amours.

Dans le ciel, sans m'attendre Elle s'en retourna ;

我的美人兒逝去了 我會永遠哭泣 她將我的靈魂與愛情 一同帶進墳墓 天空中，她沒有等我 轉身離開

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《夏夜》歌詞

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L'ange qui l'emmena Ne voulut pas me prendre.

Que mon sort est amer !

Ah ! sans amour s'en aller sur la mer !

引領她的天使 不願帶我走 我命為何如此悲苦 啊！失去愛情獨向大海

La blanche créature Est couchée au cercueil.

Comme dans la nature Tout me paraît en deuil !

La colombe oubliée Pleure et songe à l'absent ; Mon âme pleure et sent Qu'elle est dépareillée.

Que mon sort est amer !

Ah ! sans amour s'en aller sur la mer !

白皙的美人 躺在棺材裡 大自然萬物 皆陷入哀戚 被遺忘的鴿子 哭泣並思念逝者 我的靈魂在哭泣 感覺自己不再完整 我命為何如此悲苦 啊！失去愛情獨向大海

Sur moi la nuit immense S'étend comme un linceul.

Je chante ma romance Que le ciel entend seul.

Ah ! comme elle était belle, Et comme je l'aimais !

Je n'aimerai jamais Une femme autant qu'elle.

Que mon sort est amer !

Ah ! sans amour s'en aller sur la mer !

無盡黑夜籠罩著我 如裹屍布一樣展開 我唱著我的情歌 只有上天聽到 啊！她是如此美麗 我是如此愛她 我從不曾 這麼愛過一個女人 我命為何如此悲苦 啊！失去愛情獨向大海

Absence

離別

Reviens, reviens, ma bien-aimée !

Comme une fleur loin du soleil La fleur de ma vie est fermée Loin de ton sourire vermeil.

回來吧，回來吧，我的愛人！ 如同不見天日的花朵 我生命之花緊緊閉上 不見你豔麗笑顏

Entre nos cœurs quelle distance !

Tant d'espace entre nos baisers ! Ô sort amer ! Ô dure absence !

我倆的心多麼遙遠 我倆的吻遙遙無期 哦悲苦的命運！哦殘酷的離別！

《夏夜》歌詞

Ô grands désirs inapaisés !

哦無法平息的渴望！

Reviens, reviens, ma bien-aimée !

Comme une fleur loin du soleil La fleur de ma vie est fermée Loin de ton sourire vermeil.

回來吧，回來吧，我的愛人！ 如同不見天日的花朵 我生命之花緊緊閉上 不見你豔麗笑顏

D'ici là-bas, que de campagnes, Que de villes et de hameaux, Que de vallons et de montagnes, A lasser le pied des chevaux!

從這裡到那裡，隔了多少原野 多少城市、多少村莊 多少山谷、多少山岳 讓馬兒疲於奔命

Reviens, reviens, ma bien-aimée !

Comme une fleur loin du soleil La fleur de ma vie est fermée Loin de ton sourire vermeil.

回來吧，回來吧，我的愛人！ 如同不見天日的花朵 我生命之花緊緊閉上 不見你豔麗笑顏

Au cimetière – Clair de lune

墓園—月光下

Connaissez-vous la blanche tombe Où flotte avec un son plaintif L'ombre d'un if ?

Sur l'if, une pâle colombe, Triste et seule, au soleil couchant, Chante son chant :

您認得那座白色墳墓嗎？ 那兒飄蕩著一株紫杉的影子 伴隨一縷怨聲 紫杉上有一隻白鴿 憂傷且孤單，夕陽下 唱著牠的歌：

Un air maladivement tendre, A la fois charmant et fatal Qui vous fait mal Et qu'on voudrait toujours entendre ; Un air, comme en soupire aux cieux L'ange amoureux.

令人心碎的溫柔樂曲 迷人又傷人 刺痛著您 卻仍想一聽再聽 這樂曲像是天上 戀愛天使的嘆息

On dirait que l'âme éveillée Pleure sous terre à l'unisson De la chanson, Et du malheur d'être oubliée

甦醒的靈魂 彷彿在地下 隨著歌曲一同哭泣 被遺忘的痛苦

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《夏夜》歌詞

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Se plaint dans un roucoulement Bien doucement.

於鴿子咕咕聲中 幽幽泣訴

Sur les ailes de la musique On sent lentement revenir Un souvenir.

Une ombre, une forme angélique Passe dans un rayon tremblant En voile blanc.

乘著音樂的翅膀 感覺慢慢回復的 記憶 一個影子，貌似天使 在搖曳的光線中經過 批著白紗

Les belles de nuit, demi-closes Jettent leur parfum faible et doux Autour de vous, Et le fantôme aux molles poses Murmure en vous tendant les bras : « Tu reviendras ! »

半開的紫茉莉 散發幽微甜香 圍繞著您 弱不禁風的幽靈 展開雙臂在您心裡輕喚： 「你會再回來！」

Oh jamais plus, près de la tombe Je n'irai, quand descend le soir Au manteau noir, Écouter la pâle colombe Chanter sur la pointe de l'if Son chant plaintif !

哦！當夜幕低垂 我再也不會來到墓邊 身穿黑衣 聆聽白鴿 在紫杉枝頭 唱著悲歌

L'île inconnue

無名島

Dites, la jeune belle, Où voulez-vous aller ?

La voile enfle son aile, La brise va souffler.

美麗的姑娘，請告訴我 您要去向何方 帆船鼓起翅膀 風兒即將吹拂

L'aviron est d'ivoire, Le pavillon de moire, Le gouvernail d'or fin.

J'ai pour lest une orange, Pour voile une aile d'ange, Pour mousse un séraphin.

我的划槳是象牙製成的 旗幟是綢緞織成的 舵輪是金子鑄成的 壓艙石是一顆柳橙 風帆是天使的翅膀 船僮是撒拉弗

《夏夜》歌詞

Dites, la jeune belle, Où voulez-vous aller?

La voile enfle son aile, La brise va souffler.

美麗的姑娘，請告訴我 您要去向何方 帆船鼓起翅膀 風兒即將吹拂

Est-ce dans la Baltique?

Dans la mer Pacifique?

Dans l'île de Java?

Ou bien est-ce en Norvège, Cueillir la fleur de neige, Ou la fleur d'Angsoka?

您要去波羅的海？ 太平洋？ 爪哇島？ 或是去挪威 摘取雪之花 或安格斯卡之花

Dites, la jeune belle, Où voulez-vous aller?

美麗的姑娘，請告訴我 您要去向何方？

Menez-moi, dit la belle, À la rive fidèle Où l'on aime toujours!

Cette rive, ma chère, On ne la connaît guère Au pays des amours.

美麗的姑娘說：「請帶我到 忠貞的彼岸 在那兒人們永不變心」 那個地方，我親愛的， 在愛情的國度裡 不太為人知悉

Où voulez-vous aller?

La brise va souffler.

您要去向何方？ 風兒即將吹拂

11

《愛的烈焰》歌詞

12

D'amour l'ardente flamme

愛的烈焰

D'amour l'ardente flamme, Consume mes beaux jours.

Ah ! la paix de mon âme A donc fui pour toujours !

Son départ, son absence Sont pour moi le cercueil, Et loin de sa présence, Tout me paraît en deuil.

Alors ma pauvre tête Se dérange bientôt, Mon faible cœur s'arrête, Puis se glace aussitôt.

Sa marche que j'admire, Son port si gracieux, Sa bouche au doux sourire, Le charme de ses yeux, Sa voix enchanteresse, Dont il sait m'embraser, De sa main, la caresse, Hélas ! et son baiser, D'une amoureuse flamme, Consument mes beaux jours !

Ah ! le paix de mon âme A donc fui pour toujours !

Je suis à ma fenêtre, Ou dehors, tout le jour C'est pour le voir paraître, Ou hâter son retour.

Mon cœur bat et se presse Dès qu'il le sent venir, Au gré de ma tendresse, Puis-je le retenir ! Ô caresses de flamme !

Que je voudrais un jour Voir s'exhaler mon âme Dans ses baisers d'amour !

愛情的熾熱之火 將我美好的生活燃燒殆盡 啊！我心靈的平靜 一去不返 他的離去，他的缺席 讓我生不如死 因他在遠方 一切皆陷入哀戚 我可憐的腦袋 沒多久即錯亂 我脆弱的心休止不動 接著馬上結冰 我喜歡他的步履 他如此優雅的舉止 帶著甜美笑意的唇 充滿魅力的眼睛 迷人動聽的嗓音 他總能將我點燃 用他的手，他的撫摸 唉！還有他的吻 用一把愛情之火 將我美好的生活燃燒殆盡 啊！我心靈的平靜 一去不返 我一整天都守候 窗邊或門外 只為了看他出現 或加速他的回程 我的心會越跳越快 一旦感覺他即將到來 能否順著我的心意 讓我留住他 哦！火的撫摸 我多希望有一天 看到我的靈魂 在愛情之吻中傾洩而出

樂曲解說

Hector Berlioz: Benvenuto Cellini Overture From 1834 to 1837, Berlioz struggled with his opera Benvenuto Cellini. It premiered on the 10th September, 1838 in Paris. This had become the subject of much revision.

This overture opens Berlioz's two-act opera about the life of the 16th-century, Florentine sculptor, as recounted in Cellini's autobiography. The censors turned the Pope into a cardinal, and the conductor Habeneck helped turned the premiere into a shambling failure.

It was expanded to three acts in 1850's in Weimar. The buoyant overture survives. © 2015 Naxos Digital Services Ltd

Hector Berlioz: Les nuits d'été (Summer Nights), Op. 7 Berlioz's literary interests are apparent in his songs and choral works. For Les nuits d'été (The Nights of Summer), a group of songs rather than a unified cycle, he chose to set verses by the romantic poet and writer Théophile Gautier, a near neighbour in Paris, whose poems La comédie de la mort (The Comedy of Death) were published in 1838, although it is said that Berlioz may have read some of these in manuscript and set them before the completion of the set of songs in 1841. Written for mezzo-soprano or tenor and piano the original songs were dedicated to Louise Bertin, daughter of Louis Bertin, editor of the Journal des débats, to which Berlioz was a contributor, and composer of four operas of romantic ambition but varied success. It was in 1843 that Berlioz orchestrated the fourth song, 'Absence', for his mistress Marie Recio, his marriage now at an end, and the other songs, on the suggestion of a publisher, were orchestrated for publication in 1856, now variously dedicated.

The first of the set, 'Villanelle', a celebration of spring and love, was dedicated to Louise Wolf, Chamber Singer to the Archduchy of Weimar, where Liszt had seen to the performance of music

by Berlioz. It reflects the spirit of the poem. 'Le spectre de la rose' ('The Spectre of the Rose') was dedicated to the Gotha contralto Anna-Rose Falconi, whom he had heard in London, specifically for a concert of his music in Gotha. The poem, later the inspiration for Fokine's ballet, danced, famously, by Karsavina and Nijinsky, tells of a girl's dreams of the ghost of the rose she had worn

13

樂曲解說

to the ball the previous evening. For the orchestral version Berlioz added an introduction for muted solo cello, flute and clarinet, including a harp in the orchestration. 'Sur les lagunes: Lamento' ('On the Lagoons: Lament'), with its dark-coloured textures, imbued with melancholy, was dedicated to the Weimar singer Feodor von Milde. Gautier's original title was 'Lamento: La chanson du pêcheur' ('Lament: The Fisherman's Song'), and there is a suggestion in the accompaniment of the movement of the waves. The rhetorical 'Absence', dedicated to the Hanover singer Madeleine Nottès, who had sung Marguerite in his Faust there in 1853, pleads for the return of the beloved. Dedicated to the tenor Caspari in Weimar, 'Au cimetière: Clair de lune' ('At the Cemetery: Moonlight'), is a further lament, its intense sadness dispelled by 'L'île inconnue' ('The Unknown Island'), dedicated to Rosa von Milde of Weimar, setting a poem with the original title Barcarolle. The song suggests the unattainable, a place where love might be eternal. © 2015 Naxos Digital Services Ltd

Hector Berlioz: Excerpts from Roméo et Juliette At his best, Berlioz illuminated virtually every element of the Romantic Century: its national pulse and revolutionary ardour; the power of literature and its transformation in music and program; industry, invention, new instruments and sounds of every sort; vivid colour and bold harmonic design tinged with melancholy; and, above all, a sense of the obligations of Genius.

In his symphonic poem Roméo et Juliette, Berlioz demonstrates an astonishing mastery of episode, expression, and impulse. It is a dramatic realisation of a familiar tale, drawn from Berlioz' powerful grasp of the meta-human personalities within, and is coloured by the hand of one of the great innovators of orchestration.

Across his career, in overture, song, symphony, and opera, Berlioz was inspired by literary themes and models. Although impelled by Shakespeare, his Romeo and Juliet was in fact made possible by the violinist Nicolà Paganini.

Recounts Berlioz in his Memoirs: "I hit upon the idea of a symphony with choruses, vocal solos, and choral recitatives on the sublime and ever-novel theme of Shakespeare's Romeo and Juliet.

I wrote in prose all the text intended for the vocal pieces which come between the instrumental sections. Emile Deschamps, with his usual delightful good nature and marvellous facility, set it to

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樂曲解說

verse... Paganini had given me money that I might write music, and write it I did."

It was composed from 20 January to 8 September, 1839, and given three try-outs at the Paris Conservatoire, these on 24 November, 1 and 15 December. Romeo and Juliet at first met bad reviews. One critic described it as "an ill-greased syringe." Berlioz in turn praised the critic as a "toad, swollen with imbecility." Even so, the composer privately acknowledged that "I should have to improve it a great deal." After performances in Berlin,Vienna, and Prague, numerous revisions were made.

It is a difficult score and Berlioz as a conductor recognised this from the first: "To interpret it properly, the artists - conductor, singers, and orchestra - must all be first-rate, and prepared to study it as a new opera is studied in good lyrical theatres... very nearly as though it were to be played by heart. It will, therefore, never be played in London, where the necessary rehearsals are not to be had.

In that country, musicians have no time to make music."

Described variously as a choral symphony, symphonic poem, and symphonie dramatique, Romeo and Juliet is in seven parts: Introduction; Capulet's House; Balcony Scene; Queen Mab; Funeral Procession; Tomb Scene; and, Finale. Remarkably, the four 'traditional' movements of the nineteenth century symphony are embedded in its Andante malincolico — Allegro, Adagio, Scherzo prestissimo and Allegro agitato sections. In the remaining first, fifth, and seventh movements Berlioz employs solo voices (alto, tenor and bass) and six-part chorus.

Berlioz' Romeo and Juliet owes its dramatic structure as much to English actor David Garrick (1717-1779) as to Shakespeare. The tomb scene, funeral march, and double chorus oath of reconciliation were adopted from the stage tradition of Garrick, who in turn simply made them up.

They appear nowhere in the Folio.

The orchestra makes an Introduction, violas naming the dark frantic energy of the town, weighted by grim descending low brass. The chorus enters in Prologue, ending a family celebration and foretelling catastrophe. Berlioz conjures the adolescent charm and over-reacting anguish of Romeo's soul, most naïvely in the solo oboe. The 'Scène d'amour' follows, and here the chorus briefly quotes popular tunes heard at the Capulet celebrations.

Through the fantastic dance and sarcasm of 'La reine Mab' we hear Berlioz' voice at its strongest.

Queen Mab descended from Celtic myth. 'Medb'to the Irish and 'Maben' to the Welsh, this character was a deliverer of dreams, equally adroit in mischief and reverie, midwife to the faeries. How does Berlioz' Queen Mab enchant the dreamer? Listen to her rapid mood swings and irregular rhythms, the darting voices, the sudden episodes of alarm and energy. Woodwinds and strings serve Mab's

15

樂曲解說

rough humour. Orchestral texture remains light until a strange call in the English horn, luring the dreamer headlong into Mab's empire of insensibility. Rapid fugal replies in the strings change the mood again, and the surprising cry of a French horn alters the spell once more. Timpani and bass drum rumble and, after an unprepared loud climax, the mood veers into a clearing of violas and a brief allusion to its only rival in this strange field, Mendelssohn's Overture to A Midsummer Night's Dream. After an odd, stumbling hesitation, the last of Mab's jokes is told: her spell ends with a harmonic progression which, after all, plays by the rules of the waking world.

In his last and most moving scene, 'Roméo au tombeau', Berlioz adds to the pain of Romeo our pain in witness of his terrible misjudgment. From a desperate searching in the strings to the choral harmonies of horns and woodwinds in procession, in a return of Romeo's solitary oboe and the lonely waltz which follows, and finally in muted colour and Juliet's own call in the solo clarinet, this work is an astounding feat of musical incarnation. © 2015 Naxos Digital Services Ltd

Hector Berlioz: Excerpts from La damnation de Faust, Op. 24 It was in 1828 that Berlioz first discovered Goethe's Faust, which he read in a French prose translation by Gérard de Nerval. This served as the inspiration for his ambitious Huit scènes de Faust (Eight Scenes from Faust), using the Gérard de Nerval translation of Part I of Goethe's Faust, which had been published in 1827. With some audacity he issued the work in 1829 as his Opus 1, but later withdrew it, absorbing much of the material into his later La damnation de Faust. This last was largely sketched during a concert tour in 1845 and 1846 that took Berlioz to Vienna, Prague, Pest, Breslau (Wrocław) and Brunswick, and using a libretto on which he had at first sought the help of Almire Gandonnière, who made some contribution to the first three parts of the new work.

For much of the work, however, Berlioz eventually provided his own text. He explains in his Mémoires, not always a reliable document, how he wrote Faust's 'Invocation to Nature' in a German post-chaise, explaining how other parts of the work were written in coaches, trains and steamboats, the Introduction in an inn at Passau, the 'Scene on the Banks of the Elbe', 'Voici des roses' and the 'Dance of the Sylphs' in Vienna, and the Hungarian March, with its initial transposition of the action to Hungary, to the dismay of some German critics, to make use of a march written for performance in Pest, where he wrote the 'Peasants' Dance'. He completed his task in Paris, where the work

16

樂曲解說

was first performed in December 1846, to be received with disappointing indifference. During a further concert tour in the new year he conducted the first two parts of La Damnation de Faust in St Petersburg and during a longer stay in Berlin was able to present the whole work.

For his purposes Berlioz took episodes based on or from Part One of Goethe's Faust, of which Part Two was completed only in 1831, a year before Goethe's death. Berlioz, unlike Goethe in Part Two of his Faust, allows the protagonist to end in damnation, while Marguerite is duly saved. Part One of Goethe's Faust ends with some abruptness, as a deus ex machina, in the final lines, declares Marguerite saved, while Mephistopheles and Faust vanish together. Berlioz provides a musically more satisfactory conclusion in a final scene that finds Marguerite among the saints in Heaven, after Faust's descent into Hell. The whole work is marked by Berlioz's usual skill in orchestration, presenting a number of ideas, in his Dramatic Legend, that had been clear elsewhere in his writing, and offering a remarkable musical picture of Faust, the romantic hero, a rebel in his aspirations, seduced by the Devil and finally damned.

‘D'amour l'ardente flamme’, from Part 4, scene 15 The fifteenth scene, Romance, largely taken from the 1828 version, opens the fourth part of La damnation de Faust. Marguerite suffers the pangs of loss, in the absence of her lover, whose every feature and gesture she had so admired. She watches always at her window, awaiting Faust's appearance, and longing for his kisses again Marche Hongroise, from Part 1, scene 3 Hector Berlioz did some violence to the geography of Goethe's great drama Faust in order to introduce the famous Rákóczy March where Faust leaves the scene as this is heard in the first part of La damnation de Faust, Op. 24.

He had arranged and used this for a successful concert in the capital Pest. The march itself, by an anonymous Hungarian composer, celebrates the Hungarian patriot Count Rákóczy, who led a rising against Austrian rule in the early eighteenth century. © 2015 Naxos Digital Services Ltd

17

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。

18

“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.

19

演出者簡介

次 女 高 音 mezzo-soprano

歐莉西亞·佩特洛娃 Olesya Petrova

歐莉西亞 ‧ 佩特洛娃出生於俄國聖彼得堡，2008 年畢業於聖彼得堡音樂學院，在學期間師 事伊莉娜 ‧ 波嘉切娃教授，於 2006 年獲得維什涅夫斯卡亞國際歌劇大賽第二名、2007 年 獲第 11 屆柴科夫斯基大賽聲樂組第二名，畢業後演出足跡遍及美國、南美洲各國、韓國、 中國及日本，於 2011 年晉級 BBC 卡地夫世界歌手大賽準決賽，於蘇黎世劇院 2011/12 樂季 以鮑羅定《伊果王子》的可汗女兒―孔切克烏娜獲得國際樂壇注目，並獲邀於雅典的希臘國 家歌劇院演出《假面舞會》的烏麗卡。 歐莉西亞於 2013 年受邀於義大利的維洛納愛樂劇院的歌劇明星音樂會中演唱，並於雪梨及 阿姆斯特丹皇家大會堂兩地演唱威爾第的《安魂彌撒》；2014 年演出《遊吟詩人》的阿蘇 切娜、《弄臣》的瑪達蕾娜、於紐約大都會歌劇院演出喬爾達諾《安德烈 ‧ 謝尼埃》的瑪 德倫、蒙特婁歌劇院演出《納布科》的菲妮娜等；2015 年於紐約大都會歌劇院演出奧芬巴 哈《霍夫曼的故事》、巴黎夏特雷劇院演出威爾第的《安魂彌撒》、於雪梨與指揮家大衛 ‧ 羅伯遜演出貝多芬的《莊嚴彌撒》、於里雅斯特的威爾第劇院演出馬斯內《維特》的夏綠蒂。 2016 年，歐莉西亞將參與威爾第劇院《路易莎 ‧ 米勒》的菲德麗卡、巴塞隆納的利賽奧大 劇院《奧泰羅》、蒙特婁《阿依達》等演出。

20

Olesya Petrova was born in Saint Petersburg, Russia. She graduated from the St. Petersburg State Rimsky-Korsakov Conservatoire in 2008, class of Professor Irina Bogacheva. She is a prize winner at the XI International Tchaikovsky Competition (Moscow, 2007, 2nd prize) and at the International Competition of Galina Vishnevskaya (Moscow, 2006, 2nd prize). In 2011 she reached the final in Cardiff Singer of the World. Olesya Petrova has toured in Europe, the USA, South America, Korea, China and Japan and the 11/12 season marks her international breakthrough as Konschakowna in Borodin’s Prince Igor at Zurich Opera House. That season she also sang Ulrica/Ballo in Maschera at Greek National Opera in Athens.

Her engagements in 2014 included Azucena/Trovatore at Outdoor Opera Hedeland, Maddalena/ Rigoletto, Madelon/Andrea Chenier and Khowanschina at The MET in New York, Ulrica/Ballo in Maschera at Deutsche Oper am Rhein and at Greek National Opera in Athens, Suzuki/Butterfly at Greek National Opera in Athens and Fenena/Nabucco at Opera de Montreal. Petrova also took part in an opera gala concert at Teatro Filarmonico di Verona and she sang two celebrated Requiem di Verdi in Sydney and at Concertgebouw Amsterdam in 2013.

In 2015 she performed among others Tales of Hoffman at the MET in New York, Verdi Requiem at Theatre des Chatelet in Paris, Beethoven's Missa Solemnis with David Robertson in Sydney and Charlotte/Werther at Teatro Verdi di Trieste.

Future engagements include also Federica/Luisa Miller at Teatro Verdi di Trieste in 2016, Emilia/ Otello at Liceu de Barcelona in 2016, Amneris/Aida in Montreal in 2016, Amelfa/The Little Golden Cockerel at Teatro Real de Madrid in 2017, Verdi's Requiem with Placido Domingo conducting Danish Radio Symphony Orchestra in Copenhagen in 2017.

She is a very sought after concert singer with many Russian Orchestra’s and Chamber Ensembles and her concert repertoire includes cantatas and oratorio works by Bach, Pergolesi, Mozart, Beethoven, Verdi, Berlioz, Wagner, Mahler and Prokofiev with conductors such as Valery Gergiev, Leo Kremer, Fabio Mastrangelo and Vladimir Fedoseev.

21

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 劉詩珊

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 蘇品維

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

英 國 管

李明怡▓

單 簧 管

● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸

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 國田朋宏 王婉如 曹予勉 ＊王濟揚

小 號

● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉 何敏慈 江帛軒

長 號

● 宋光清 ◎ 邵恆發 陳中昇

低音長號

彭曉昀

低 音 號

● 宮西純 翁林玄維

定 音 鼓

● 連雅文 ◎ 陳廷銓

打 擊 樂

● 陳哲輝 陳振馨 楊璧慈 王瓊燁

豎 琴

● 解 瑄 石楓鈺

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 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

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

Chen 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

◎ Cheng-Mei

Viola ●

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 Shih-Shan Liu

◎ Chi-Chuan ○

Percussion

Fu ◎ Yi-Juan Su ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai

●

Flute

Keyboard

Norell ◎ Chika Miyazaki Chuin Lee

▲Yu-Ting Hsu

Piccolo

Manager, Planning & Production

● Yung-Ho

Conductor Laureate Günther Herbig

Double Bass

● Anders

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 Pinwei Su Ying-Chi Tang ＊Chun-Han Lin

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★Concertmaster

Harp Chieh Feng-Yu Shih

● Shuen

Executive Director Joyce Chiou Sarah Tu

Manager, Marketing & Development Paul Wang

Wang ◎ Tung Nguyen Hoang Shu-Ting Yang■ ▲ Hsiao-Hsuan Chung

Manager, Administration

English Horn

Planning & Production Assistant Manager

● I-Ching

Ming-I Lee■

Clarinet ● May-Lin

Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun

Bassoon Jian ◎ I-Hsiu Chen Ling-Feng Kao ● Kai-Yu

Contrabassoon En-Yi Chien

Horn Cindy Liu ◎ Lewis Yeo Meng Poh ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yu-Mien Tsao ＊ Chih-Yang Wang ● Yi-Hsin

Trumpet Rusillon ◎ Chang-Po Chen Ching-Min Chang Loo-Kit Chong Min-Tzu Ho Po-Hsuan Chiang ● Nicolas

Trombone Sung Hang-Fat Shiu Chung-Sheng Chen

● Kuang-Ching ◎

Cello ●

Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang Chiung-Yeh Wang

Bass Trombone

Yun-Yuh Wang

Secretary of Music Director Yu-Fen Huang

Shelby Hsieh

Programme Coordinator Ying-Fan Lai Lizi Lai Eden Chung

Librarian

Brittney Kao

Stage Manager Kuan-Hsun Kao

Assistant Stage Manager Odin Pan Ching- Han Su

Marketing & Development Assistant Manager Chiau-Chi Cheng

Marketing Coordinator Pu-Mei Chen Po-Hsiung Tseng Katherine Kuo 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

Hsiao-Yun Peng

Tuba Miyanishi Hsuan-Wei Weng Lin

● Jun

Timpani Lien Ting-Chuan Chen

● Ya-Wen ◎

Associate Concertmaster ●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians ＊NSO Orchestra Academy Auxiliary

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