20160612 The Planets Program Note

2016

留白部位提供觀眾 打洞收藏之用

演出時間│ 2016年6月12日 (星期日) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei

指 揮│呂紹嘉 Shao-Chia Lü, conductor 鋼 琴│劉孟捷 Meng-Chieh Liu, piano 小 號│宇新樂 Nicolas Rusillon, trumpet

主辦單位│

國立實驗合唱團 Taiwan National Choir 國家交響樂團 National Symphony Orchestra (NSO)

指定住宿│ 特別感謝│

演出者

教育推廣贊助單位│

演出長度│上半場約40分鐘，下半場約55分鐘

1︱行星組曲

演出曲目

Program

班傑明•布瑞頓（1913-1976）： 《青少年管絃樂入門》

BENJAMIN BRITTEN（1913-1976）: The Young Person's Guide to the Orchestra, Op. 34

德米特里•蕭斯塔科維契（1906-1975）： 第一號鋼琴協奏曲

DMITRI SHOSTAKOVICH（1906-1975）: Piano Concerto No. 1, Op. 35 in C minor

I. 稍快板 II. 緩板 III. 中板 IV. 充滿活力的快板

I. Allegretto II. Lento III. Moderato IV. Allegro con brio

~中場休息~

~Intermission~

古斯塔夫•霍爾斯特（1874-1934）：《行星》組曲

GUSTAV HOLST（1874-1934）: The Planets, Op. 32

I. 火星，戰爭使者 II. 金星，和平使者 III. 水星，飛行使者 IV. 木星，歡樂使者 V. 土星，老年使者 VI. 天王星，魔術師 VII. 海王星，謎

I. Mars, the Bringer of War II. Venus, the Bringer of Peace III. Mercury, the Winged Messenger IV. Jupiter, the Bringer of Jollity V. Saturn, the Bringer of Old Age VI. Uranus, the Magician VII. Neptune, the Mystic

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、柏

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

2︱行星組曲

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.

鋼琴｜劉孟捷 「（劉孟捷）完美無瑕，週衍 且均衡的鋼琴技巧」 —《芝加哥古典音樂報導》 出生於高雄的鋼琴家劉孟捷， 曾於 1993 年以柯蒂斯音樂學院學 生之姿，代替鋼琴大師安德烈． 瓦茲於費城音樂廳演出，贏得高度讚賞。蒸蒸日上 的演奏事業，雖被一場突如其來的罕見疾病中斷， 劉孟捷憑著堅毅的決心，在嚴酷的物理治療後奇蹟 似的恢復健康，繼續活躍在演奏舞台上。浴火重生 之後，除了以獨奏家的姿態演出，亦與克里斯托 夫．艾森巴赫、古斯塔夫．杜達美、艾倫．吉伯特 等知名指揮合作，且於2008年獲選為中華民國第 四十六屆十大傑出青年，肯定他在音樂藝術上的成 就。劉孟捷於2002年獲頒艾維理費雪職業大賞及 費城音樂基金會職業成就獎，時常受邀參與世界各 地的音樂節，並與各國知名音樂家與室內樂團合作 演出。自1993年開始任教於柯蒂斯音樂院，2006 年受邀至芝加哥羅斯福大學擔任鋼琴教授，並於 2014年秋天加入新英格蘭音樂學院的師資陣容。

Piano｜Meng-Chieh Liu

"(Meng-Chieh Liu) Faultless, discreetly balanced pianism." — Chicago Classical Review Accepted by The Curtis Institute at age thirteen, Meng-Chieh Liu first made headlines in 1993 when he substituted at last minute's notice for André Watts at the Academy of Music in Philadelphia. The concert earned high acclaim and brought a stellar beginning to his career, which was abruptly halted by a rare and debilitating illness. With arduous determination and relentless physical therapy, Mr. Liu has been restored to full health and is now once again performing on the concert stage. Since then, he has performed throughout the world as a soloist in recitals and with orchestras under conductors such as Christoph Eschenbach, Gustavo Dudamel and Alan Gilbert.

In 2002, Liu received the Avery Fisher Career Grant and the Philadelphia Musical Fund Society Career Advancement Award in recognition of his achievement. Liu has served at The Curtis Institute of Music since 1993, invited to teach at Roosevelt University in 2006, and in the Fall of 2014, joined the faculty at the New England Conservatory.

3︱行星組曲

小號｜宇新樂 宇新樂出生於瑞士法語區， 9 歲起學習小號，從小就隨著瑞士 多位名管風琴師演出。隨Gabriele Cassone 學習教學及巴洛克小號 以及古音樂，於 2003 年獲洛桑音 樂院教學文憑（瑞士）；在 Eric Aubier 指導下，於 1998 至 2001 年在法國國立馬梅森音樂院獲 Perfectionnement 獎（ 2001 ）， Excellence 獎加全體裁判一致通過 （ 2000 ）及第一獎（ 1998 ）。同時和法國國交 副首席Dominique Brunet學習，並在2000年獲得 Paris市音樂院第一獎、1998年獲法國Moulins國際 小號比賽第二名。此外，曾和多位知名演奏家及 教授學習：如Bruno Tomba、Marc Ullrich、Max Sommerhalder、Edward Tarr、Markus Wuersch、 James Thomson等。 2001-2007年活躍於瑞法境內 許多古典與巴洛克管絃樂團，參與宗教音樂節，並 涉及爵士音樂，與Cosa Nostra Jazz Band等團體合 作。2008年三月成為NSO小號首席。

國立實驗合唱團 教育部於1985年輔導成立國立實驗合唱團。現 由國立臺灣藝術教育館鄭乃文館長擔任團長。曾 應邀至全球十餘國演唱，包括：美國、加拿大、 法國、義大利、西班牙、日本、韓國、新加坡、 馬來西亞、泰國、澳洲、紐西蘭、夏威夷等地。 2004、2008 年應聯合國教科文組織之國際音樂教 育年會邀請，分別赴西班牙、義大利演出。2011 年應邀至義大利參加洛雷托（ Loreto ）國際聖樂 節，優異表現獲國際樂壇一致讚賞，身兼國家文化 大使之任務。

Trumpet｜Nicolas Rusillon

Nicolas Rusillon was born in French Speaking Switzerland. He learned to play the trumpet at the age of 9, and performed with a number of organ maestros since he was very young. Nicolas Rusillon studied teaching, baroque trumpet and antique music with Gabriele Cassone, received teaching diplome from conservatoire de Lausanne in Swiss(2003).

Under the guidance of Eric Aubier, achieved awards from conservatoire national de RueilMalmaison: prix de perfectionnement 2001, prix d'excellence à l'unanimité, avec les félicitations du jury 2000, premier prix de trompette 1998.

At the same time he studied with Dominique Brunnet, has awarded the premier prix de trompette from the conservatoire municipale de ville de paris(2000).-2e prix de concours international d’interprétation musicale de Moulins, France(1998)-Also studied with leading professors and performors such as Bruno Tomba, Marc Ullrich, Max Sommerhalder, Edward Tarr, Markus Würsch, James Thomson etc...Between 2001 to 2007, he actively participated in classic and baroque orchestra, religious and jazz music festival in Switzerland and France. Nicolas Rusillon joined NSO as principal trumpet from March 2008.

Taiwan National Choir

Taiwan National Choir was established under the supervision of the Ministry of Education in 1985. Dr. Nai-Wen Cheng, who is also the director of National Taiwan Arts Education Center , is the director currently.

The Taiwan National Choir has visited Korea, Singapore, Malaysia, France, the United States, Australia, New Zealand, Canada, Spain, and Hawaii, etc. in recent years. Then it had the honor to be the representative of Taiwan to perform in the annual conference for music education of UNESCO held in Spain in 2004 and in Italy in 2008.

4︱行星組曲

樂曲解說 撰文│蔡永凱 （國立台灣師範大學音樂學博士）

班傑明•布瑞頓：《青少年管絃樂入門》 《青少年管絃樂入門》 這部作品，係布列頓於 1946 年應邀為一部名為《樂團裡的樂器》之教 育影片所作。配合影片主題，作曲家決定採用 「變奏」與「賦格」來寫作，對照德奧音樂史上 多部經典的「變奏與賦格」，頗有與其較勁的意 味。除此之外，他取英國巴洛克時代大師珀瑟 爾（Henry Purcell）之劇樂《摩爾人的復仇》中 〈迴旋曲〉旋律成為《青少年管絃樂入門》的主 題，不但藉取材強調英國音樂的偉大傳統，亦可 能著眼於這個旋律係由小三和弦構成音開始，且 和聲結構與句法方正，易於變化。 作品由兩個主線同時發展：布列頓先安排每一段 要突顯的樂器╱樂器組，再安排適合、相應的音 樂內容。作品可分成三大區塊：最前面為「主題 區塊」，前後為樂團齊奏，居中依序為木管、銅 管、絃樂與打擊，每一段的調性與音樂內容有少 量改變；居中的「變奏區塊」裡，則依照上述順 序突顯個別樂器的特性，音樂內容亦具有多元風 格；最後的「賦格區塊」，作曲家別出心裁依照 前段的樂器出現順序，依序構織出龐大的賦格。 就在中段，銅管聲部在繁複的聲部包圍下，再度 揚起變奏曲主題的大調版本，有如重現大英帝國 曾有的音樂榮光。

德米特里•蕭斯塔科維契：第一號鋼琴協奏曲 蕭斯塔科維契的第一號鋼琴協奏曲創作於 1933 年。這部作品雖然名為「鋼琴協奏曲」，但其編 制除了鋼琴與絃樂團之外，僅有一支獨奏小號， 且佔相當重要的份量，因此有人認為作品係具 有巴洛克協奏曲之影響。研究顯示，蕭氏一開 始其實計畫譜寫一部小號協奏曲，後也許因音色 考量，加入他所擅長的鋼琴。特殊的創作過程， 讓這部作品即使最終以「鋼琴協奏曲」的標題完 成，但作品裡兩主奏的比重，卻呈現一種浮動、 若即若離般的曖昧關係。 這部作品具有濃厚的新古典主義影響。在作曲上 雖亦顧及樂章主題的核心發展，但也可見多樣 素材的段落串連。作品由四樂章組成，四樂章並 不間斷。第一樂章使用奏鳴曲式，在簡短的快速 音群開場後，鋼琴演奏出具有小調風味的第一主 題，並由絃樂團重述；第二主題則為多個元素所 組合成的「主題群」：包括大三和弦的火箭音 型；高音下行半音；三對二節拍等。再現部由絃

樂演奏的第一主題開始，第二主題的再現則似乎 僅限於三對二節拍與相關旋律。尾聲由第一主題 構成，回顧了樂章開始的樣貌。 第二樂章為緩板，結構大致呈 ABA'C 。樂章開 始，由第一小提琴帶出 A 段主旋律，隨後由鋼琴 從絃樂所演奏的內容裡，發展其中素材，並漸漸 堆疊出富力度的高潮。 A' 段裡改由獨奏小號吹奏 主旋律，鋼琴再次接續發展，但更為飄渺。第三 樂章由鋼琴的十六分音群與絃樂之答應所組成。 這個樂章並未使用小號，而樂章整體更近似第四 樂章的導奏。第四樂章為整部作品的亮點，樂章 由多個主題連綴而成，呈現出自由鬆散的迴旋曲 式。獨奏鋼琴在這個樂章展現前三樂章未有的炫 技，包括整部作品唯一一次完整的裝飾奏；小號 則以樂章後半連續不斷的反覆節奏，考驗著演 奏者的點舌穩定性。由此亦可想見，首演時擔 任獨奏的蕭氏本人與小號家史密特（ Alexander Schimidt ）是如何獲得滿堂喝采，奠定他在蘇聯 樂壇的地位。

古斯塔夫•霍爾斯特：《行星》組曲 霍爾斯特為廿世紀的英國作曲家，雖然他曾有 大量的創作，但《行星組曲》卻始終是他唯一 受到肯定，且持續被演奏的作品。霍爾斯特的 個人風格，可概括為幾個元素：他對復興英國 民謠有著使命感，但對印度等東方哲學亦具有 強烈興趣；他的創作手法主要承襲自華格納 （Richard Wagner）與理查•史特勞斯（Richard Strauss），但他對於當代作曲家，如荀白克 （ A r n o l d S c h o e n b e rg ） 、 拉 威 爾 （ M a u r i c e Ravel）與史特拉溫斯基（Igor Stravinsky）等人 亦密切關注；此外，霍爾斯特長期在交響樂團演 奏長號，因此對銅管樂器的嫻熟與掌握，慢慢形 成依賴，亦充份在作品中展現。 霍爾斯特在早期，就傾向寫作多樂章的「組曲」 類型作品。而七樂章的大型組曲《行星》則成為 他的代表作。 1913 年，霍爾斯特受作家巴克斯 （Clifford Bax）的建議，將兩人熱中的星座話題 做為音樂創作的題材。1914至1916年間，他先以 雙鋼琴版本草擬整部作品，〈海王星〉一樂章則 先係為管風琴獨奏所作。之後，他再將這七個樂 章的編制改為大型樂團，使用多種樂器，猶如當 代管樂器大觀。 在現今版本裡，作品的七個樂章，各以一行星命 名，並附上一簡要的說明，例如第一樂章為〈火 星，戰爭使者〉。但作曲家在創作時，係先有 「戰爭使者」等說明，在第一次公開演出後，才 又加上星體名稱。由於他的第一樂章與戰爭的關

5︱行星組曲

連，導致有人認為，《行星組曲》係受第一次世 界大戰爆發之影響所作；然而，若對照作曲家創 作歷史，卻是《行星組曲》預告了戰事。 這七個樂章，在配器與音樂風格上各有千秋，彷 彿作曲家多元的性格。〈火星〉以雙調性製造出 尖銳的不諧和；〈金星〉呈現出他作品中少見的 抒情；同樣以雙調性為本，〈水星〉則因鍵盤樂 器而顯得機靈、敏捷；〈木星〉氣勢恢弘，常被 獨立演奏；〈土星〉傳達出衰老，亦有如哀傷的 朝聖隊伍；〈天王星〉以頻繁的配器轉換傳達神 秘的特質；〈海王星〉則寧靜和緩。在樂章尾 端，還加入女聲合唱，另人不禁聯想起英吉利海 峽另一頭的德布西與他的《海》。 《行星組曲》跳脫了當代英國音樂發展中強烈的 意識型態，如此訴求，反倒讓這部作品成為廿世 紀英國作品中最常被演出者。

for double basses. Four French horns introduce the brass section, with its second variation for trumpets and its third for trombones and bass tuba. The percussion instruments share the next variation. The kettle-drums (timpani) are joined by the bass drum and cymbals, tambourine and triangle, side drum and Chinese block, xylophone, castanets and gong, and, finally, the whip, simulated by hinged slats of wood brought smartly together.

The Young Person's Guide ends with a fugue, a traditional

form of composition in which one part enters after another, using the same theme, so that the music grows gradually in size and intensity. The piccolo starts and the other instruments enter in order - flutes, oboes, clarinets and bassoons, lead to violins, violas, cellos, double basses and harp, and then French horns, trumpets, trombones and tuba, followed by the percussion. At the most exciting part of the fugue, the brass instruments play again the original theme, leading to a grand conclusion. © 2015 Naxos Digital Services Ltd

Dmitri Shostakovich: Piano Concerto No. 1, Op. 35 in C minor

Program Notes Benjamin Britten: The Young Person's Guide to the Orchestra, Op. 34

Ten years after the premiere of Peter and the Wolf, in 1946, the English composer Benjamin Britten was asked to write music for an educational film introducing the instruments of the orchestra. For the purpose he chose a theme by the great 17th century English composer Henry Purcell and wrote a set of variations, each of which shows the characteristics of a particular instrument or group of instruments. The alternative title of the work, Variations and Fugue on a Theme of Purcell, is an exact description.

The other title, The Young Person's Guide to the Orchestra, makes fun of the titles much favoured by writers of moral tales in the 19th century, providing "young persons" with advice on how to regulate every aspect of their lives.

The theme, taken from music Purcell wrote for Aphra Behn's play Abdelazar or The Moor's Revenge, is played six times. At first the full orchestra plays the theme, followed by the woodwind (flutes, oboes, clarinets and bassoons). The theme is played a third time, this time by the brass (horns, trumpets, trombones and tuba), and then by the strings (violins, violas, cellos, double basses, and, as an extra, by the harp, an instrument not generally included in the string section of the orchestra). The percussion (drums, triangle, tambourine and cymbals) does what it can with the melody before the return of the full orchestra.

The first variation starts with the highest woodwind instrument, the piccolo, and two flutes, accompanied by the harp and violins. The oboes are given fuller accompaniment, leading to the clarinets demonstrating their agility, and to the deepest instruments of the woodwind section, the bassoons. The string section is allowed four variations, for violins, for violas, for cellos and

The Piano Concerto No. 1 in C minor was written in 1933 and performed with considerable success, becoming a continuing part of Shostakovich's repertoire as a pianist. The concerto, scored for piano and strings, otherwise includes an important part for solo trumpet, written for the principal trumpet of the Leningrad Philharmonic Orchestra, Alexander Schmidt. It is a lively work, full of capricious humour, its mood established at the outset by the soloist. A second element, in E flat major, is introduced by the piano, one of those melodies characteristic of Shostakovich, with an unexpected twist of harmony. The Lento, centering on the key of E minor, is introduced by the orchestra and allows the solo piano moments of romanticism, before embarking on the introduction to the brief third movement which serves itself as a prelude to the final energetic Allegro con brio. © 2015 Naxos Digital Services Ltd

Gustav Holst: The Planets, Op. 32 Holst's reputation depends very largely on The Planets: few composers have achieved such success with a single work. As a result, the rest of his music has been overshadowed, and The Planets often regarded as if it came from nowhere. Yet the music fits naturally into Holst's output, a logical development from his earlier works, and a pointer to much that he was to achieve subsequently.

If the musical language of The Planets might have been predicted, it remains a work that has few antecedents. No one had written a multi-movement work on this scale before. The character studies of Mussorgsky's Pictures at an Exhibition or Elgar's

6︱行星組曲

Enigma Variations might point in the same direction, but their individual movements are on a much smaller scale. As 'sound pictures', the three movements of Debussy's La Mer or Nocturnes, which Holst probably heard Debussy conduct in 1909, and whose women's voices in Sirènes surely influenced Neptune, are closer in form. Holst was certainly impressed

by Schoenberg's Five Orchestral Pieces, which he heard in 1914 — the original title of The Planets was 'Seven Pieces for Large Orchestra' (with the names of the planets omitted).

The work, however, is one of the great originals.

Holst called it a 'Suite' and while some have gone on to call it a 'Symphonic Suite', this is not really an appropriate subtitle. Holst preferred to work spontaneously, without great regard for strict formal procedures. Nearly all of his music, like the individual movements of The Planets, is built from relatively short structures which are self-contained, and create their own logic.

Holst's initial ideas came from his interest in astrology, a by-product of the study of Sanskrit literature which had influenced a great deal of his earlier music. It was not an obsessive interest — Holst wrote only that astrology had 'suggested' the characters of the planets — but it gave him a convenient hook on which to hang the musical structure and appropriate titles for the movements, expressing a mood rather than painting a picture. In an age where we are now so familiar with remarkable images of the planets, we should not forget that they were far more mysterious and remote to Holst's generation, and that the pictures that may come to our minds are quite different from the characteristics that Holst intended to portray.

Holst conceived The Planets at least as early as 1913, and the work was completed in 1917. Although the first public performance did not take place until 1920, a private performance in 1918, and several performances of parts of the work, had already established a reputation for the music, which it was never to lose. Holst recorded the work twice, in 19223 and in 1926, both times with the London Symphony Orchestra.

The individual movements were not composed in the order in which they are performed (Mercury was the last movement to be written) but Mars, the Bringer of War was completed first. Often taken to be a picture of mechanised warfare, it was in fact finished well before the outbreak of the First World War. Its pounding rhythms and forceful dissonance have become a template for film composers, but the originality of Holst's conception remains remarkably fresh. In contrast, Venus, the Bringer of Peace shows Holst at his most relaxed and lyrical — something he did not easily achieve in later life. This is the gentlest of the seven pieces, with no moments of unease or any climactic point Neptune follows the same pattern, but, where it is cold and passion-free, Venus is full of

warmth.

Mercury, the Winged Messenger has an appropriately quicksilver lightness of touch. As in Mars and Neptune, Holst uses bitonality, music written simultaneously in two different keys, but in those two movements he is employing deliberately dissonant harmony (although achieving quite opposite effects); here its use is effortless and elusive. Jupiter, the Bringer of Jollity is full of extravert good humour, and full too of memorable tunes. Ever since the most expansive of them was appropriated for a patriotic hymn, there has been a tendency to over-solemnise the mood, but Holst is not asking anyone to stand to attention: this is simply the more serious side of good humour.

Holst's own favourite movement was Saturn, the Bringer of Old Age. Its sad processional music is very characteristic of the composer, although nowhere else did he allow his processions to reach such a terrifying climax. The lapping waves of sound that follow are like a serene echo, receding into the far distance. Uranus, the Magician reveals another side of Holst, where the humour is more blatant, almost parodistic. The most dance-like of the movements, the music becomes increasingly heavyfooted until a climax sweeps all away into oblivion.

Neptune, the Mystic takes up the other-worldliness that has ended the previous two movements, and sustains it throughout, remote, mysterious, and free of emotion. Out of the void the distant, ethereal sound of women's voices is heard, and the chorus ends the movement, returning to the emptiness from which the voices came. © 2015 Naxos Digital Services Ltd

7︱行星組曲

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 黃亞漢

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

蘇品維

低 音 提 琴

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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

單 簧 管

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朱玫玲 ◎ 張凱婷

朱偉誼

低 音 管

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簡凱玉 ◎ 陳奕秀

高靈風 曹予勉

＊王濟揚

泉 毅

短 笛 雙 簧 管

李 浚

鐘美川

英 國 管

◎ 阮黃松

楊舒婷▓ ▲鍾筱萱

李明怡

倍 低 音 管

孫正茸

簡恩義

法 國 號

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劉宜欣 ○ 黃任賢

國田朋宏

王婉如

小 號

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宇新樂 ◎ 陳長伯

張景民

鄒儒吉

長 號

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宋光清 ◎ 邵恆發

陳中昇

低 音 長 號 低 音 號

彭曉昀 ●

上 低 音 號

宮西純 李佳燁

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

管 風 琴

陳相瑜

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

王瓊燁

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