2016
留白部位提供觀眾 打洞收藏之用
演出時間│ 2016年6月5日 (星期日) 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 單簧管│約格•魏德曼 Jörg Widmann, clarinet 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45分鐘，下半場約45分鐘
特別感謝│
1︱雙面魏德曼
演出曲目
Program
法蘭茲•舒伯特（1797-1828）： 第八號交響曲《未完成》
FRANZ SCHUBERT（1797-1828）: Symphony No. 8, D.759, B minor, Unfinished
I. I. 中庸的快板 I. II. 動感的行板
I. I. Allegro moderato
卡爾•馬利亞•馮•韋伯（1786-1826）： 第一號單簧管協奏曲
CARL MARIA VON WEBER（1786-1826）: Clarinet Concerto No. 1, J. 114, Op.73, F minor
I. I. 快板 I. II. 不過份的慢板 III. 輪旋曲：稍快板
I. I. Allegro
~中場休息~
~Intermission~
約格•魏德曼（b. 1973）：《歌》
JÖRG WIDMANN (b. 1973) : Lied
保羅•辛德密特（1895-1963）： 《韋伯主題交響變形》
PAUL HINDEMITH（1895-1963）: Symphonic Metamorphosis of Themes by Carl Maria von Weber
I. I. II. I. III. I. IV.
I. I. Allegro
快板 詼諧曲（杜蘭朵）：中板 小行板 進行曲
I. II. Andante con moto
I. II. Adagio ma non troppo I. III. Rondo: Allegretto
I. II. Scherzo (Turandot): Moderato I. III. Andantino I. IV. Marsch
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。 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、
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 (19982001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004), and the Staatsoper Hannover (2001- 2006). 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
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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。
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.
單簧管｜約格．魏德曼 身兼單簧管演奏家、作曲家和 指揮家等身分的約格．魏德曼， 是同輩藝術家當中最多才多藝且 備受矚目的一位。2014/15樂季他 以單簧管獨奏家的身分，和許多 樂團合作，如：柏林國家管絃樂 團、漢堡愛樂樂團、赫爾辛基愛 樂樂團、柏林德意志交響樂團以及班伯格交響樂 團，他同時也是班伯格交響樂團的駐團作曲家。 他的第一號鋼琴協奏曲由葉芬．布朗夫曼搭配賽 門．拉圖爵士指揮柏林愛樂樂團舉行世界首演。 魏德曼同時也是個活躍的室內樂音樂家。他也是 個指揮家，目前是愛爾蘭室內樂團的首席客座指 揮。魏德曼的作品為他贏得各樣獎項與榮譽。他 的歌劇《鏡子裡的臉》被《歌劇世界》雜誌評選 為2003/04樂季最重要的世界首演作品，他亦曾獲 柏林愛樂樂團學院贈與阿巴多作曲獎。
Clarinet｜Jörg Widmann
Clarinetist, composer and conductor Jörg Widmann is one of the most versatile and intriguing artists of his generation. The 2014/15 season saw him appear as clarinet soloist with orchestras such as the Staatskapelle Berlin, Hamburg Philharmonic, Helsinki Philharmonic, Deutsches Symphonie-Orchester Berlin, and Bamberg Symphony, where he was also composerin-residence. His First Piano Concerto was given its world premiere by Yefim Bronfman and the Berlin Philharmonic under Sir Simon Rattle. Widmann also has an active career as a chamber musician. In his role as conductor, he is Principal Guest Conductor of the Irish Chamber Orchestra. Widmann has received multiple awards and honors for his compositions. His opera Das Gesicht im Spiegel was chosen by Opernwelt magazine as the most important world premiere of the 2003/04 season, and the Berlin Philharmonic Academy bestowed on him the Claudio Abbado Composition Award.
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樂曲解說 撰文│焦元溥 （倫敦國王音樂學院音樂學博士） 「傳統」是寶藏還是負擔？「新」世代的音樂家 會如何看「舊」作品？在二十一世紀的第二個十 年，當代音樂是什麼景色，我們又可如何同時欣 賞過去與現在？回顧歷史，除了二次大戰後一小 段時間的例外，新創作並不捨棄舊技法，創作之 流延續不斷。前輩會影響甚至預示後輩的發展， 後輩也能賦予過去作品新詮釋與新生命；作曲家 不停跨時空交流，詮釋者更縱橫東西並穿梭古 今。這場音樂會精選四首作品呈現世代對話，彼 此環環相扣且互為註解，既呈現膾炙人口的經典 名作，也讓我們品味當代創作的迷人風景。
法蘭茲•舒伯特：第八號交響曲《未完成》 由於編號觀點不同，舒伯特的 B 小調交響曲可見 第八號或第七號兩種序號，共同的別稱則是「未 完成」。寫於1822年的這首交響曲並非作曲家遺 作—舒伯特還有六年的生命—而是他答謝格拉茲 音樂社團（Graz Music Society）贈予他榮譽證書 的回禮。當年作曲家將手稿寄給好友也是社團成 員許騰別納（Anselm Hüttenbrenner），後者卻 遲至舒伯特過世三十七年後才公布樂譜，且只有 完成的前二樂章以及第三樂章詼諧曲的兩頁管絃 配器，第三樂章的鋼琴稿（含缺漏）則存於舒伯 特家中。雖不乏補完全曲的嘗試，對於此曲絕大 多數指揮僅演奏完稿的兩個樂章，包括今天的演 出在內。至於舒伯特是否真的未完成此曲，或是 此曲第三、四樂章其實遺失於許騰別納之手，至 今仍無定論。 就形式而言，《未完成》交響曲的兩個樂章都很 古典，情感表現卻非常浪漫，樂思淒美哀絕， 既有綿長歌樂線條又有精彩器樂手筆，常被視為 「首部浪漫樂派交響曲」。第一樂章的低音序引 宛如地獄開門，幽暗且充滿掙扎衝突的第一主 題也是險象環生。第二主題在切分節奏上舒緩 開展，聽來祥和愉悅，但美好休憩並沒有停留太 久，威脅與陰影又接踵而來。發展部構思相當特 別，舒伯特用開頭序引（而非兩個主題）為發 展，絃樂催魂索命般層層交疊，情感張力之強令 人瞠目。作曲家那年不過二十五歲，竟寫出這樣 震懾人心、把自己全然掏空的音樂，果然是足稱 樂史里程碑的經典。 在極其戲劇化的第一樂章之後，第二樂章以抒情 美好的氣氛開場，和之前形成明確對比。然而， 如果這第二樂章只是抒情美好，那此曲的確予人
「未完成」之感。舒伯特在此最不凡的手 筆，就是第二樂章的中段轉折。那天地浩 瀚、宇宙蒼茫之感，不僅提升了音樂的深度 與表現力，更使這兩個樂章皆有豐富內蘊， 足以自成一格而無須其他樂章「補足」。許 多人認為「未完成」其實「已寫完」，原因 就在於此。無論持何種看法，此曲目前的兩 個樂章都有直指心靈的偉大音樂，也給予演 奏者與欣賞者寬廣的詮釋空間。
卡爾•馬利亞•馮•韋伯： 第一號單簧管協奏曲 是作曲家、指揮家、鋼琴家、甚至還是樂評 人，日耳曼音樂家韋伯堪稱多才多藝。他的 鋼琴作品華麗絢爛，至今仍受歡迎，更以敘 事圓舞曲《邀舞》和以德語寫成的歌劇《魔 彈射手》聞名於世。然而在音樂會曲目上， 出現率能和《邀舞》與《魔彈射手》序曲鼎 足而三的，大概得屬他的兩首單簧管協奏曲 與小協奏曲。 從十七世紀末的夏盧摩笛（ Chalumeau ）發 展而來，單簧管（或稱為豎笛、黑管）到 十八世紀末才逐漸成為管絃樂團固定編制。 現代單簧管則是在十九世紀上半發展而成， 管身通常用非洲黑檀木製造，有鳥嘴形吹口 和圓形接駁筒，管體成圓筒形並可裝拆。單 簧管音域寬闊，可近四個八度，在不同音區 又有不同音色，能表現不同音樂性格。韋伯 的三首單簧管協奏作品皆為演奏名家貝爾 曼（Heinrich Joseph Bärmann, 1784-1847） 所寫，因而得以充分探索此樂器的演奏性 能。第一號 F 小調完成於 1811 年，形式設計 雖維持古典傳統，三樂章為快 - 慢 - 快的基本 樣貌，風格卻和之前輕快的小協奏曲截然不 同，首樂章格外嚴肅深沉，章法也頗見創 新，是韋伯數一數二的傑作。第二樂章情感 表達相當濃烈，宛如歌劇詠嘆調，中段單簧 管和法國號的對話更別出心裁。終樂章倒是 回到輕快曲調，樂曲也在華麗展技中收尾， 是單簧管曲目中不容錯過的名作。
約格•魏德曼：《歌》 魏德曼是當今國際樂壇炙手可熱的音樂家， 不僅豎笛功力了得，作曲更深受肯定。做為 二十一世紀的新銳音樂代表，他繼承了1970 年代以來的風潮轉折，認為當代音樂沒有必 要放棄旋律與和聲美感。創新可以有很多種
4︱雙面魏德曼
面貌，向傳統致敬並非就是妥協媚俗。他的作品 是具體而微的西方音樂史，包含各式各樣的傳 統語彙，又能以多元想法和創新技巧展現自己的 觀點。他以器樂組合表現聲樂藝術的三部曲，就 是極受好評的名作。首部曲《歌》現代又懷舊， 以「舒伯特」為概念進行交響變形。曲名雖是 「歌」，運用素材卻來自舒伯特的絃樂五重奏、 八重奏和《未完成》交響曲，以二十至二十一世 紀的角度重新審視。既可聞偉大的德語藝術歌曲 脈絡，又是對後期浪漫—包括馬勒—的誠心禮 讚，當然還有自己浸淫其中的反思。全曲長約 二十五分鐘，首演後就獲得熱烈好評，是當代最 常被演出的作品之一。
有古雅旋律亦有新穎和聲，《韋伯主題交響變 形》還可見到作曲家以美國名團為設想（辛德密 特於1940年為逃離納粹德國而移居美國），展現 超技樂團燦爛色彩與炫技本領的寫作。全曲毫無 冷場，總能令聽眾大呼過癮，其中諸多特殊配器 技法，更是只有現場聆聽方能充分體會其妙處。 這場音樂會以韋伯單簧管協奏曲和辛德密特《韋 伯主題交響變形》作風格對照，加上舒伯特與魏 德曼的前後呼應，曲目設計別出心裁。我們不只 能聽到魏德曼的創作，更能欣賞他做為演奏家的 風采。聽了這場音樂會，您可以知道傳統與現代 能何其自在地交流，創作素材與表現手法又可以 何其多元豐富。
保羅•辛德密特：《韋伯主題交響變形》 魏德曼的《歌》，我們聽到作曲家巧妙引用前輩 作品，吸收其文化精神後再以二十一世紀的概念 表達。同樣手法當然早有前例，辛德密特《韋伯 主題交響變形》就是膾炙人口的名作。 作曲家先是在1940年接到編舞家馬希那 （ Léonide Massine ）邀請，希望他能選擇韋伯 樂曲做管絃新編以為芭蕾演出之用，於是辛德密 特譜出如今此曲第一、三樂章的鋼琴草稿。不過 編舞家並不喜歡，認為他改寫太多，不是單純的 管絃編曲，兩人最後也未合作。辛德密特繼而在 1943 年另譜出兩個樂章，全曲以《韋伯主題交 響變形》定名，於隔年一月由羅金斯基（ Artur Rodziński）指揮紐約愛樂做世界首演，初登場就 大獲好評，成為辛德密特最受歡迎的作品之一。 本曲之所以叫做「交響變形」，在於作曲家以高 度原創的方式將旋律素材反覆與增刪，銳化其中 的和聲結構並設計對比強烈的調性關係，更在節 奏組合與對位聲部設計上多所用心，使原旋律脫 胎換骨。此外，辛德密特構思高妙之處，在於他 從罕為一般聽眾所知的韋伯樂曲尋找曲調，給予 聽眾更新鮮的感受。《韋伯主題交響變形》旋律 主要來自韋伯的鋼琴四手聯彈作品，第一樂章出 自作品 60 之 4 的匈牙利風樂曲，果然洋溢濃厚異 國情調。宛如間奏曲的第三樂章抒情迷人，轉化 自作品 10 之 2 的鋼琴小曲，終樂章威風凜凜的進 行曲則取材於作品 60 之 7 。第二樂章的旋律素材 比較特別，來自韋伯為義大利作家勾季（ Carlo Gozzi）之《杜蘭朵》（Turandot，正是普契尼同 名歌劇的靈感來源）所作的戲劇音樂序曲，聽來 滿是中國趣味。韋伯所用的旋律其實也是引用盧 梭（Jean-Jacques Rousseau, 1712-1778）所著的 《音樂字典》（Dictionnaire de musique）；曲調 代代相傳，在辛德密特手上竟翻轉出如此精彩變 化，更添欣賞趣味。
Program Notes Franz Schubert: Symphony No. 8, D.759, B minor, Unfinished
Schubert's Symphony in B minor was the work of 1822 and only two of the expected four movements were finished, with part of a scherzo. These movements were not played in Schubert's life-time, but were rediscovered 43 years later and given their first performance in Vienna in 1865. The manuscript had been given by Schubert to his friend Josef Huettenbrenner as a present for his brother Anseim in Graz. The latter had later arranged a piano duet version of the movements, which he and his brother played together. For years the manuscript remained in Anseim Huettenbrenner's possession, its existence only known to a few, until it came to the attention of the conductor Johann Herbeck. Later writers have offered various explanations of the fragmentary nature of the symphony, none completely convincing. It has been suggested. Improbably, those four movements were actually completed and sent to Anseim Huettenbrenner, who then lost two of the movements. More plausibly others have found a reason for not finishing the symphony in the composer's preoccupation with other work. Certainly Schubert could never be sure that larger scale works would ever be performed. It might be added that in 1822 Schubert contracted venereal disease and that the serious nature of this incurable disease and its probable fatal outcome affected him very deeply. This so-called Unfinished Symphony of Schubert is among the best loved orchestral compositions of all, although it lay undiscovered for years after the composer's early death in 1828. Two of the movements of the Unfinished Symphony, of which the Andante con moto is the second, were completed and sketches made for two more movements. © 2015 Naxos Digital Services Ltd
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Carl Maria Von Weber: Clarinet Concerto No. 1, J. 114, Op.73, F minor By Robert Markow (Musicologist, Canada)
CARL MARIA VON WEBER: Born in Eutin, Germany, December 18, 1786; died in London, June 5, 1826 The early nineteenth century saw rapid developments in the design and construction of many instruments. One of the greatest beneficiaries of this technical progress was the clarinet, for which Weber wrote no fewer than seven compositions between 1811 and 1816 featuring the instrument in concerted or chamber music. These include a Quintet, two Concertos and the Concertino, one of Weber's best-known works for any instrument. All but the Grand Duo Concertant were written for the virtuoso Heinrich Bärmann. According to Weber's biographer John Warrack, Bärmann acquired in 1809 "a ten-key clarinet that allowed greater flexibility and smoothness; and in Bärmann's clarinet Weber found an instrument that with its French incisiveness and vivacity and its German fullness seemed to express a new world of feeling, and to match both the dark romantic melancholy and the extrovert brilliance of his own temperament." Such was the success of the first work Weber composed for Bärmann, the Concertino Op. 26, that he wrote to a friend: "Since I composed the Concertino for Bärmann, the whole orchestra [in Munich] has been the very devil about demanding concertos from me … two Clarinet Concertos (of which one in F minor is almost ready), two large arias, a Cello Concerto for Legrand [never written], a Bassoon Concerto. You see, I'm not doing at all badly, and very probably I'll be spending the summer here, where I'm earning so much that I've something left over after paying my keep." Both clarinet concertos date from 1811, were commissioned by the King of Bavaria, and were written in tandem shortly after the Concertino. The first performance of the F-minor Concerto was given on June 13, 1811 in Munich. The soloist was, of course, Bärmann.
Years later, in 1831, Bärmann arranged this solemn, chorale-like section for clarinet and three male voices, to be played at a concert in homage to the composer. The Finale, as is customary in Weber's concerted works, is a brilliant rondo featuring a peppy main theme, catchy rhythms and a spirit of boundless gaiety.
Jörg Widmann: Lied By Robert Markow JÖRG WIDMANN: Born in Munich, June 19, 1973; now living in Freiburg, Germany Many composers, now and in the past, have careers as performers in addition to their creative work. As performers, most of them are (or were) pianists. Jörg Widmann is different. He has a double career, but his main instrument is the clarinet, on which he performs at the virtuoso level. At these NSO concerts we get to hear him in both roles. Furthermore, Widmann is also an accomplished pianist and conductor. Widmann studied both clarinet and composition from an early age. As a clarinetist he studied in Munich with Gerd Starke and in New York with Charles Neidich. His composition teachers included Hans Werner Henze, Heiner Goebbels and Wolfgang Rihm. He currently teaches both disciplines at the Staatliche Hochschule für Musik in Freiburg, Germany. Widmann is known above all for his five string quartets and for opera. Das Gesicht im Spiegel was chosen by Opernwelt magazine as the most significant first performance of the season 2003-2004. His sensational second opera, Babylon, written for a large cast and huge orchestra, was commissioned and premiered by the Bavarian State Opera in Munich in 2012.
The concerto opens with a darkly serious subject in the tonic key of F minor. This subject, which serves as the sole melodic material for the orchestral exposition, recurs periodically throughout the movement, though it is never played by the soloist. The soloist's lines are predominantly lyrical, though there are frequent opportunities for virtuosic display.
Lied für Orchester, as the title implies, is an instrumental rendering of the vocal idiom. Schubert, the unparalleled Lied-Meister, served as Widmann’s point of departure. In 2002, Jonathon Nott, principal conductor of the Bamberg Symphony Orchestra, arranged to record all the Schubert symphonies, juxtaposing them with newly-commissioned works by nine prominent German composers. Lied was premiered in December of 2003. Nine years later, Widmann revised and shortened the work, in which form it was first heard in London on April 23, 2010 by the BBC Symphony Orchestra conducted by Lawrence Renes.
The slow movement exploits the solo instrument's lyrical qualities to the fullest. Following a deeply contemplative main theme comes a more turbulent passage in which the soloist assumes the role of accompanist. Then, in one of the most imaginatively scored pages in all of Weber, the solo clarinet is heard in an extended dialogue with a horn trio.
The 25-minute Lied might be described as a tonepoem whose “subject” is the transformation of Schubert through the alembic of twentieth- and twenty-first-century compositional procedures. Surprisingly, it is not Schubert’s songs that are incorporated into Lied, but rather instrumental works-snatches of the String Quintet, the Octet,
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and the Unfinished Symphony are presumably there, though perceived “through what seems like occluded glass,” as one writer noted. Some listeners hear more Mahler than Schubert in this score, with its longarching lines, kaleidoscopic orchestration, mysterious tremolos, violently contrasting tone colors, and dramatic rises and collapses of tension. Tom Service, whose essay about Widmann can be found in the NSO’s current season concert brochure, writes that “the magnificently opulent Lied [is] a dream of late romanticism that manages to be nostalgic and contemporary at the same time. … The reason I think Widmann’s music is so invigorating and important is that it not only charts a new musical and imaginative terrain … but also has so much to say about the way we hear the music of the past.” Lied begins as if heard from far away, with the sound of horns filtering through the trees of a dark, romantic forest. Expansive, wide-arching melodic lines extend the notion of romanticism – the kind of lines Berlioz or Wagner or Mahler liked to write. The music is at first quiet and slow-moving, but there is an undercurrent of restlessness and mystery, later of shadowy images trying to emerge from the depths of the psyche, of haunting memories buried in the recesses of the mind, or of disturbing, even frightening mental landscapes. Yet, in keeping with its title, Lied remains, despite moments of grave tension and anxiety, never far from vocal inspiration, imbued as it is with tendrils, stems, branches and strands of melody. Perhaps it is even music Schubert might have written, had he lived into the twentieth century.
Paul Hindemith: Symphonic Metamorphosis of Themes by Carl Maria von Weber Hindemith's Symphonic Metamorphosis on Themes of Carl Maria von Weber was written in 1943. In 1941 Massine had been in Buffalo with a ballet of the Bacchanale from Wagner's Tannhäuser, for which Salvador Dali had provided décor that Hindemith found simply ridiculous. Massine now wanted music based on themes by Weber for a ballet and Hindemith sketched a work using themes from Weber's Turandot, a Chinese Peking opera theme included in Rousseau's Dictionary, and from the Piano Duets, Opp.10 & 60. When it became clear that Dali was to be involved, Hindemith cancelled the contract, but later completed the composition, colourful music of considerable ingenuity, as a concert work. It was first performed by the New York Philharmonic Orchestra under Artur Rodzinsky on 20th January 1944. © 2015 Naxos Digital Services Ltd
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7︱雙面魏德曼
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 第一小提琴
呂紹嘉 根特•赫比希 張尹芳 ★ 吳庭毓 ★ 李宜錦 方俊人 黃佳頎 ＊ 白浩胤
☆ 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
▲藍胤萱
卓曉青
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 林怡君
李靖宜
謝君玲
呂孟珊
李思琪
陳猶白
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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
蘇品維
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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
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安德石 ◎ 宮崎千佳
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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▓
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朱玫玲 ◎ 張凱婷
朱偉誼
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簡凱玉 ◎ 陳奕秀
高靈風
法 國 號
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劉宜欣 ○ 黃任賢
國田朋宏
王婉如
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宇新樂 ◎ 陳長伯
張景民
鄒儒吉
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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
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宮西純
定 音 鼓
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連雅文 ◎ 陳廷銓
打 擊 樂
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陳哲輝
陳振馨
豎 琴
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解 瑄
陳淑杏
鍵 盤
▲ 許毓婷
手 風 琴
潘默士
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
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 劉安綺
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