20160618 100% Водка 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18日 (星期六) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei

演出者

指 揮│安東尼•維特 Antoni Wit, conductor 鋼 琴│葉孟儒 Andrei Yeh, piano 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35分鐘

特別感謝│

1︱百分百伏特加

演出曲目

Program

摩德士特•穆索斯基（1839-1881）： 《荒山之夜》（林姆斯基-高沙可夫改編）

MODEST MUSSORGSKY（1839-1881）: Night on Bald Mountain (arr. Rimsky-Korsakov)

彼得•伊里亞•柴科夫斯基（1840-1893）： 第一號鋼琴協奏曲

PYOTR ILYICH TCHAIKOVSKY（1840-1893）: Piano Concerto No. 1 in B flat minor, Op. 23

I. 莊嚴，不太快的快板 – 有精神的快板 II. 樸素的小行板 – 最急板 III. 火熱的快板

I. Allegro non troppo e molto maestoso – Allegro con spirito II. Andantino semplice – Prestissimo III. Allegro con fuoco

~中場休息~

~Intermission~

德米特里•蕭斯塔科維契（1906-1975）： 第六號交響曲

DMITRI SHOSTAKOVICH（1906-1975）: Symphony No. 6, Op. 54, B minor

I. 廣板 II. 快板 III. 急板

I. Largo II. Allegro III. Presto

演出者介紹 指揮｜安東尼•維特

Conductor｜Antoni Wit

「安東尼•維特無疑是當前極 為出色卻被埋沒的指揮家之一，手 上握有一個優秀的樂團。以《重 生》交響曲為例，其和諧的演奏是 如此不同凡響。在維特指揮下，這 部作品呈現意義深遠的戲劇感。」 ─《今日古典》

Antoni Wit is one of the most highly regarded Polish conductors and a champion of Polish music. He held the post of General and Artistic Director of the Warsaw Philharmonic for twelve years until the end of the 12/13 season. Antoni Wit has enjoyed an international career with major orchestras throughout Europe, America and the Far East. Past highlights have comprised, Dresden Staatskapelle, WDR Sinfonieorchester Köln, Tonhalle-Orchester Zürich, Accademia Nazionale di Santa Cecilia as well as Orchestre symphonique de Montréal, China Philharmonic, Royal Philharmonic, the Philharmonia and the BBC Symphony orchestras. Recent and future orchestral engagements include Radio-Sinfonieorchester Stuttgart and Berliner Philharmoniker, Budapest Festival Orchestra, Malaysian Philharmonic Orchestra, Royal Philharmonic Orchestra, Helsinki Philharmonic Orchestra, Filarmonica della Scala, Prague Radio Symphony, Orchestre National de Lyon, Orquestra Simfònica de Barcelona, St Petersburg Philharmonic, Teatro Colon Buenos Aires, Hong Kong Philharmonic, Indianapolis Symphony Orchestra, New Jersey Symphony Orchestra and Orchestre National de Belgique.

Six times Grammy Award nominated, Antoni Wit has made over 150 recordings for EMI, Sony and Naxos. He has sold close to 5 million records on Naxos.

安東尼•維特是最受尊崇的波蘭指揮家之一， 也是波蘭音樂的倡護者。他擔任華沙愛樂的行政與 藝術總監直至2012/13樂季結束為止，前後共十二 年。他的合作對象囊括了歐美及東亞各地的頂尖樂 團，其中包括德勒斯登國家交響樂團、科隆西德廣 播（WDR）交響樂團、蘇黎世音樂廳管絃，以及 蒙特婁交響、中國愛樂、皇家愛樂、愛樂管絃和英 國廣播公司（BBC）交響樂團。近期與未來將合作 的樂團包括斯圖加廣播交響、柏林愛樂、布達佩斯 節慶管絃、馬來西亞愛樂、斯卡拉愛樂、布拉格廣 播交響、里昂國立管絃、巴塞隆納交響、聖彼得堡 愛樂、布宜諾斯艾利斯哥倫布劇院、香港愛樂以及 布魯塞爾國立管絃樂團。維特曾與百代（EMI）、 索尼（ Sony ）和拿索斯（ Naxos ）等唱片公司合 作，灌錄超過一百五十張專輯，並且六度入圍葛萊 美獎。他在拿索斯公司的唱片銷量已近五百萬張。

2︱百分百伏特加

鋼琴｜葉孟儒

Piano｜Andrei Yeh

葉孟儒，是台灣中生代鋼琴演 奏家中贏得最好聲譽之一。他演 奏大量俄國作品和西方古典音樂 從巴洛克到現代樂曲目，並且獲 得許多重要評論的讚賞。他的表 現是值得獲得極高推崇的，是一 位有才華並且擁有絕妙技術的音 樂家，其音樂表現具有天賦和多樣性。 1991~99 年就讀莫斯科國立柴可夫斯基音樂院，師承 Lev Naumov 教授，嚴格俄國學派訓練。期間經常受 邀至俄國各城市演出協奏曲與獨奏會。 1999 以 最高分榮譽獲演奏科最高學位藝術博士。曾受邀 在俄、美、法、加、義、南非、中國、香港等獨 奏會及室內樂演出，超過 20 多個樂團合作鋼琴 協奏曲，並在歐洲重要音樂節：德國 SchleswigHolstein Muzic Festival及奧地利Salzburg Summer Muzic Festival 演出。2014年以【貝多芬：迪亞貝 里33段變奏曲】，榮獲第25屆傳藝金曲獎最佳詮 釋獎 。現為文化大學音樂系專任副教授，兼任台 師大、台藝大音樂系。

Andrei Yeh, is a highly-recognized concert pianist in contemporary Taiwan. Pupil to L. Naumov (key figure of the H. Neuhaus school), Yeh achieved the Doctorate of Performing Arts from Moscow State Tchaikovsky Conservatory with Highest Honors in 1999. He performs largescale Russian works and European repertoires ranging from Bach to the contemporaries and gains positive critical acclaim in many concert reviews.

Yeh has performed in renowned concert halls worldwide (Russian cities, Europe, North America, South Africa, and Asia), and in SchleswigHolstein and Salzburg Summer music festivals.

He has collaborated in concerts with more than 20 orchestras around the world, and with famous musicians. Amongst Yeh's recorded works, his interpretation of Beethoven: Diabelli, Op. 120 in his 2013 album (by Archimusic Productions) has won the 25 th Golden Melody Awards for Traditional Arts and Music for "Best Classical Interpretation". Yeh now holds a full-time position as Associate Music Professor at Chinese Culture University, and Adjunct Associate Professor at National Taiwan Normal University and National Taiwan University of Arts.

樂曲解說

撰文│顏華容 （俄羅斯國立莫斯科柴可夫斯基紀念音樂院鋼琴演奏博士）

摩德士特•穆索斯基： 《荒山之夜》（林姆斯基-高沙可夫改編） 《荒山之夜》名氣大，版本多、創作過程也 曲折。其實許多人「習慣」的《荒山之夜》並非 穆索斯基的原作，而是好友林姆斯基－高沙可夫 的補遺。1860年，穆索斯基給恩師巴拉基列夫信 中提到自己由果戈爾的作品發想出一首有關巫術 與安息日的音樂，《荒山之夜》自此醞釀。但穆 索斯基生活相當「隨興」，過了七年才又對林姆 斯基－高沙可夫洋洋得意吹噓自己僅用十二天、 恰好趕在六月二十三日聖約翰節晚上完成「為管 絃樂團譜寫的音畫」《聖約翰節的荒山之夜》， 並指出此作「絲毫不含德國味」，是「俄國土地 種出來的俄國穀物」。 以《展覽會之畫》聞名於世的穆索斯基的獨

創性與想像力與他缺乏紮實音樂專業訓練恰成正 比，《聖約翰節的荒山之夜》的和聲與配器的確 粗暴原始，連身為提倡俄國本土音樂的「五人 組」老大哥的巴拉基列夫都搖頭，但穆索斯基仍 愛惜自己的原創不打算修改。 1871 年，穆索斯 基意圖將此舊作與皇家歌劇院恰巧同題材的委託 創作結合，然共同創作計畫無疾而終，悵然所失 的穆索斯基再度嘗試將《荒山之夜》的材料塞 進自己的歌劇《撒拉欽奇的市集》（Sorochyntsi Fair）作為間奏曲，努力仍成空，未能聽到心愛 的題材演出的穆索斯基撒手西歸。1886年，整理 故友遺物的林姆斯基－高沙可夫發現最後版本， 將之修訂並重新配器，此曲在管絃樂配器妙手林 姆斯基－高沙可夫妙手「調整」下大受歡迎。 穆索斯基可說是「音樂點子王」，但轉場、 架構能力顯然非其強項，穆索斯基原作的音程 與刻意以銅管樂器演奏癲狂般快速又極度不和 諧的小二、增四、大七度等素材，都能準確將

3︱百分百伏特加

荒山之巔群魔亂舞的瘋狂場景投射在聆聽者心目 中。比對穆索斯基原版與林姆斯基－高沙可夫改 寫版，原版不僅有合唱團發出強悍咒怨、管絃樂 亦如獸吼般濃烈；女巫們大吼崇拜魔王的爆發力 在改寫版中轉化為神祕的木管重奏、整體聲響清 瘦不少、但也使得音樂輪廓清晰易懂。黑魔王 （ Chornobog ）以長號與低音號齊奏的威嚴旋律 顯現後，樂曲就藉由泛斯拉夫民族歌舞的快舞段 (Friska)風格，音調由低轉高、速度扶搖而上，正 當我們似乎能看到女巫惡魔們在空中隨著絃樂凌 厲弓法在銅管轟隆巨響中呼嘯而過時，微弱清脆 的鐘聲明白指出天已破曉，全曲即以民歌素樸旋 律結束。

林姆斯基－高沙可夫他將穆索斯基最後為歌 劇的合唱版本剪除冗長的轉接段落、以自己著名 的配器技巧將之打亮磨光，然而這種「洗練」感 還是來自深植於相當「德國」的研究結果，而非 穆索斯基原意的俄國土壤；改編重組使得《荒山 之夜》得以走紅且長存音樂史，但若追索穆索斯 基原版那「滿是缺點的完整」的大膽創意亦令人 讚嘆不已。

彼得•伊里亞•柴科夫斯基： 第一號鋼琴協奏曲 以雄壯號聲揭開氣勢磅礡序幕的柴科夫斯基 第一號鋼琴協奏曲不僅是當今最著名的鋼琴協奏 曲之一，也影響了錄音時代許多愛樂者對於鋼琴 協奏曲聲響的印象。不少人知道作曲家原屬意題 贈此曲予莫斯科音樂院的創辦人，尼可萊・魯賓 斯坦（Nikolai Rubinstein），詎料未獲期盼中的 熱烈回應；李斯特的大弟子－鋼琴家兼指揮家， 馮畢羅（Hans von Bülow）慨允為之首演，此曲 一百四十年來受歡迎的程度亦佐證柴科夫斯基勇 敢結合東西歐音樂語彙、跨越時代藩籬的勇氣歷 久彌新。 歷來鋼琴協奏曲以獨奏與樂團競奏、互相呼 應為原則，然而管絃樂團的體積與配器總以眾星 拱月為原則，即便是李斯特、布拉姆斯鋼琴協奏 曲，也很少有長時間以壯大豐厚管絃樂聲響「挑 戰」鋼琴獨奏者體力、更以融入藝術化的俄羅 斯、烏克蘭民樂歌舞素材的複雜韻律表達作曲者 對鋼琴演奏技巧的崇高理想。

德米特里•蕭斯塔科維契：第六號交響曲 若說世界因柴科夫斯基（Пётр Ильич Чаковский, 1840-1893）與拉赫瑪尼諾夫（Сергей

Васильевич Рахманинов, 1873-1943）而 耳聞俄羅斯音樂的魅力，那麼普羅柯菲夫 （Сергей Сергеевич Прокофьев, 1891-1953） 與蕭斯塔科維契（Дмитрий Дмитриевич Шостакович, 1906-1975）之於世界樂壇而 言，可謂之蘇聯時期藝術音樂的代表了。 然而，他們的作品卻也留下 1930~1950 年代間，蘇聯政治明爭暗鬥、權力傾軋對 藝文創作的影響，「大整肅」（Большой террор）時期遭遇的創作箝制與政爭凌虐的 印記，成為他們在二次世界大戰時期的創作 土壤。他們兩人對於新政府、新政體充滿理 想憧憬，卻在這個自己期期以盼的新世界受 到無理的待遇；兩人皆在二次大戰前與後遭 受史達林及其黨羽恣意箝制，創作動輒得 咎，成天擔驚受怕，親朋好友各個「我不殺 伯仁、伯仁因我而死」。 一心想成為作曲家的拉赫瑪尼諾夫以指 揮與鋼琴家走出專業生涯，而一心想成為鋼 琴家的蕭斯塔科維契在蕭邦大賽失利後，轉 而潛心譜曲；來自鋼琴家的演奏訓練使他能 夠多關照器樂操作者的視角，而貝多芬對其 創作理念與技巧的影響，明顯地展現於側重 交響曲與絃樂四重奏寫作上。蕭斯塔科維契 一生共發表過十五部交響曲，其中所謂的蕭 五、七、八、十、十一、十三，近年來由於 研究資材交流愈來愈方便，漸漸不再僅限於 曾經擔任蕭氏作品首演重責的聖彼得堡獨門 絕活，也成其他地區樂團與指揮家的重點曲 目。要認識蕭斯塔科維契的作品，就不能忽 略時空背景對作曲家產生的影響。若說舒曼 是音樂史上最酷愛使用「典故」的作曲家， 那麼蕭斯塔科維契就是承此脈絡，「不得 不」樂此不疲者；因為，在一個動輒得咎的 時空中，似假又真的各種「說法」，作曲家 是無法忠於自己的。 總是洞悉悲傷、斷然不肯乖乖譜寫些洗 腦歌的蕭斯塔科維契一直是史達林的眼中 釘。1936年一月，《真理報》開第一槍，刊 出〈胡搞瞎搞絕非音樂〉（«Сумбур вместо музыки»）及〈山寨芭蕾〉（«Балетная фальшь»）兩篇（很可能是史達林撰寫或授 意的）公開聲討蕭斯塔科維契文章，相當於 宣示史達林掌權的文藝蜜月期結束，蘇共黨 中央正式展開對文藝創作箝制，白色恐怖鋪 天蓋地而來。因《米謙斯克區的馬克白夫 人》（Lady Macbeth of the Mtsensk District） 觸怒當權者，蕭斯塔科維契心知自己的創作 與黨中央的心意之間已經沒有灰色地帶。

4︱百分百伏特加

蕭斯塔科維契上承貝多芬遺澤，精確深刻研 究作曲家的創見與曲式的互動關係，或許也由於 蕭斯塔科維契如此明顯而確切地承接貝多芬的音 樂理想，自詡為貝多芬愛好者、經常潛入劇院、 音樂廳「檢查」創作者思想的史達林對蕭斯塔科 維契益發憎恨吧？ 蕭斯塔科維契只得轉而進行更加抽象、較難 以被入罪的器樂曲、電影配樂、爵士樂隊組曲、 甚至也開始依革命先賢馬亞科夫斯基的詞來創作 「列寧交響曲」，不過最後刪除文字，第六號交 響曲仍舊以純器樂曲面貌出現。 「第六號交響曲與第五號的悲劇與張力極強 個性截然不同。我最新的這部交響曲以沉思與抒 情為基調。我想表達的是春天、快樂、青春。」 蕭斯塔科維契在廣播訪談中這樣描述第六號交響 曲。 於是，在列寧格勒的首演大獲成功，第三樂 章還被拿來當作返場（安可）曲，當地樂評盛讚 作曲家朝向脫離形式主義又邁進了一大步，可別 認為這樣就能躲過指謫，第六號交響曲仍動輒得 咎、隨時被拿出來鞭：它只有三個樂章（傳統交 響曲有四個樂章）、第一樂章比第二、第三樂章 加起來還長（形式主義）、第一樂章竟是慢速度 而第二樂章是詼諧曲（破壞交響曲應有的形式、 聽起來好像從第二樂章開始演奏）…到底作曲家 想以這種以曲式結構的潛台詞批評（意料中的） 無知迂腐的評論，還是用表面的輕巧「易消化」 嘲笑「只能聽得懂這麼多」的黨中央呢？ 蕭斯塔科維契在第六號交響曲改變交響曲結 構思維，揚棄一般奏鳴曲快板一剛一柔主題互相 映照、各自陳述的二元論形式：第一樂章的第 一、二主題間沒有橋段，而是利用核心動機技巧 將第一主題建立於小三度音程、第二主題圍繞減 七度生成，第一與第二主題的核心動機相融生成 一個「超級」主題，彷彿蕭斯塔科維契指導有耐 心聆聽的聽眾如何聽音樂似的，這些主題材料由 低音絃樂器獨白開始，漸次向外擴張似地，一下 子就得到了整個樂團極頂與極低音域的回應；在 第一樂章彰顯的不是主題與主題各顯個性的概 念，反而是各個樂器一次又一次對各主題材料陳 述的反思過程。 第二樂章亦以樂器獨白開始，這次由素來被 賦予活潑個性的降 E 調單簧管擔任，在一個總長 約三十分鐘的交響曲中，作曲家強烈要求聽者給 第一樂章近乎二十分鐘的耐心，接下來爆出「蕭 迷」們必定認得出、充滿典型蕭斯塔科維契快速 樂章中快速且毫不斷句、奔跑式的音樂，樂團中 各種高音域樂器無不輪番上陣，各個接手空中飛

人的高空鞦韆槓，在敲擊樂器與絃樂器高亢的滑 音、與銅管樂器助陣下，不畏艱難地盪來盪去。 如是，蕭斯塔科維契手下的三拍子若非悲傷 的慢速圓舞曲，就是狂到極點，猶如馬戲團音樂 般，乍聽之下非常滑稽毫無心機，其實卻說著小 丑冷眼旁觀的一切；其二拍子樂曲更經常故作狂 亂、無厘頭，只有深諳十八世紀清晰的古典風格 者能分辨出這是如何高明的謔仿（ parody ）。若 由這個角度來看，與第一號鋼琴協奏曲末樂章非 常相近的這的六號交響曲末樂章中到處飛上飛下 的簡單音階，或許就是能令普羅大眾認為自己聽 懂了的糖衣，而出神入化的配器，才是為共黨服 務的審查人、樂評難以分辨的真正專業的高度與 作曲家不肯妥協的初心吧？難怪作曲家語帶玄機 地自述「我第一次譜出如此成功的末樂章。我想 就算是最嚴苛的評論人也無法挑剔。」

Program Notes Modest Mussorgsky: Night on Bald Mountain (arr. Rimsky-Korsakov)

In a July 5, 1867 letter to Nikolay Rimsky-Korsakov, Modest Mussorgsky wrote "(I have) finished St. John's Night on Bald Mountain, a musical picture with the following program: (1) assembly of the witches, their chatter and gossip; (2) cortege of Satan; (3) unholy gratification of Satan; and (4) witches' sabbath."

Mussorgsky proclaims "in form and character my composition is Russian and original. Its tone is hot and chaotic.... St. John's Night is something new and is bound to produce a satisfactory impression...."

The impression was not so satisfactory for Mily Balakirev, who rejected the work in 1869 from consideration for a Free School concert. Balakirev sent the manuscript back to Mussorgsky bearing handwritten marks such as the comment "Rubbish!" in the margins. Later, under the spell of Liszt's Totentanz, Mussorgsky considered refashioning the movement as a piano/orchestral work, but nothing came of this plan.

In May 1877, Mussorgsky drew up the scenario of his comic opera Sorochintsy Fair, proposing an extensive revision of the St. John's Night music as an Intermezzo opening the third act. Mussorgsky completed this part of the opera in 1880, retaining music from (1) and (3) of the original work, and adding new material. Identified as "Dream of the Young Peasant Lad," this also had a new program: as a boy dreams on a hill, he is threatened by inhuman voices and finds himself mocked in the realm of shadows. The voices warn of the Devil and the "Black God" Chernobog; as the shadows fade, both

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appear. Chernobog is glorified, a Black Mass is sung, and a Witches' Sabbath breaks out. As a church bell intones, Chernobog disappears and the demons writhe in agony. A church choir sings, the demons fade away, awakening the boy. Mussorgsky was never to complete Sorochintsy Fair.

In 1867 letter quoted above, Mussorgsky wrote RimskyKorsakov "I should like us to examine the orchestration together (...) we might clear up many things." RimskyKorsakov fulfilled his end of the bargain in 1886, five years after Mussorgsky's death, in producing Night on Bald Mountain (also "Night on the Bare Mountain"). This was the "Lad's Dream" music, minus its choral parts and with its abrupt, dramatic effectual "stings" removed. The first half of the second section was removed, and RimskyKorsakov dropped most of the major-key material save a brief fanfare figure. The whole work was subjected to a streamlining of orchestration and meter, and divided into symmetrical sections. Rimsky-Korsakov has often been accused of "composing" the "Matins Bell" section that concludes Bald Mountain, but in truth the music is all Mussorgsky's save the final flute trio at the very end. The Rimsky-Korsakov edition was an immediate worldwide success from the day it was launched and helped to establish Mussorgsky's name. It remains the most popular version of Mussorgsky's famous piece, although the original versions are available in modern editions and are revived to acclaim as well. Some conductors, such as Claudio Abbado and Esa-Pekka Salonen, have made personal specialties of the 1867 version.

concerto to Taneyev, but eventually decided to show his gratitude with a dedication to Hans von Bülow.

Various revisions were made before publication in 1879 and again before a further publication of the work in 1889 in which the familiar opening piano chords were differently arranged over a wider range of the keyboard and without arpeggiation.

The first movement starts with an opening section in the relative major key of D flat and originally marked Andante non troppo e molto maestoso, with the first word later modified to Allegro. This very memorable introduction is followed by the exposition, marked Allegro con spirito. Here the first subject, derived from a Ukrainian folk-song, leads to a more lyrical second subject, introduced by the orchestra and taken up by the soloist, before the orchestra moves to the second part of the subject.

This material provides the substance of the central development and the recapitulation, which includes a written cadenza. The slow movement has a gently lilting first theme, introduced by the flute, and includes, at its centre, a scherzo-like Prestissimo, based on a French tune, Il faut s'amuser et rire. The finale starts with a theme based on a Ukrainian folksong and a secondary element, both of which are fully exploited in a conclusion of great brilliance. © 2015 Naxos Digital Services Ltd

© All Music Guide

Dmitri Shostakovich: Symphony No. 6, Op. 54, B minor Pyotr Ilyich Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23

Tchaikovsky wrote his Piano Concerto No. 1 in B flat minor towards the end of 1874 and played it through to Nikolay Rubinstein, director of the Moscow Conservatory, on Christmas Eve, 5th January 1875 in Western dating, seeking advice on the lay-out of the solo part. Rubinstein's response was one of utter and devastating condemnation. The concerto was worthless and unplayable, with trite and awkward passages, bad, tawdry and borrowed. Tchaikovsky, diffident at the best of times, was appalled by this reaction, which he took personally, later attributing it to Rubinstein's petty tyranny. Nevertheless the work survived, with a successful first performance by Hans von Bülow in Boston in October, followed by a performance in St Petersburg and a more successful performance in Moscow under Nikolay Rubinstein, with the composer's young pupil Sergey Taneyev as the soloist. Rubinstein later took the work into his own concert piano repertoire. Its immediate reception was mixed. The concerto has gone on, however, to arouse popular enthusiasm, and, in consequence, occasional critical disdain, the latter stemming largely from the wide popularity of the work and, not least, from the brood of lesser concertos that it has in part inspired. Tchaikovsky contemplated dedicating the

Shostakovich wrote his Sixth Symphony in 1939, starting it in April and completing the work in October. The pre-war years had brought great suffering and the death of musicians, actors, writers and poets, in Stalin's desire for political orthodoxy and the establishment of art that reflected the principles of Socialist Realism. By 1939, however, it had proved necessary to consider a nonaggression pact with Hitler's Germany, eventually signed in August 1939, on the eve of Hitler's attack on Poland. Political circumstances dictated a less rigorous control of music, which would prove to have propaganda value abroad, if couched in more conventional bourgeois terms.

The Sixth Symphony, however, written under what might be regarded in part as more favorable conditions, proved puzzling to contemporary critics.

It was first performed in Leningrad on 5th November 1939 under the conductor Mravinsky at a Festival of Soviet Music which also included first performances of Prokofiev's Alexander Nevsky cantata and of Shaporin's On the Field of Kulikovo, these two works of obvious and immediate patriotic appeal.

Shostakovich, perhaps as a subterfuge, had promised a symphony on the subject of Lenin. The new symphony was no such thing. Instead there was a three-movement work, starting not with a symphonic

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first movement but an extended brooding Largo, followed by two very much shorter movements, relatively light-hearted in vein.

The Sixth Symphony is scored for an orchestra of piccolo, pairs of flutes and oboes, cor anglais, a pair of clarinets with an additional E flat clarinet and bass clarinet, two bassoons and double bassoon, three trumpets, four horns, three trombones and tuba, timpani, tambourine, snare drum, triangle, cymbals, bass drum, tam-tam and xylophone, harp, celesta and strings. The instrumentation provides the opportunity for wide varieties of orchestral colour, but is some way from the extravagant instrumentation of the Fourth Symphony. The opening Largo is sombre in mood, based on elements of its principal theme, announced at the beginning of the movement and a later closely related theme for cor anglais. The music leads through an extended meditative passage for two flutes to the return of aversion of the opening, proceeding, as the sound dies away, to the end of the movement. The influence of Bach has been suggested, in particular of the St. Matthew Passion, a work Shostakovich was studying with students at the St. Petersburg Conservatory, where he had recently been appointed professor of composition.

The second movement, in what might seem ironic juxtaposition, is opened by the pert E flat clarinet, accompanied by the plucked strings of the violins.

A dynamic climax, followed by the timpani, leads to are turn of an inverted version of the opening and finally to an ending marked in the wind pppp. The last movement starts in an ironic mood recalling that of Prokofiev in the Classical Symphony in a world of Mahlerian variety, with elements of the banal included in a truer reflection of the universal than Socialist Realism, with its descent into popular philistinism, could propose. © 2015 Naxos Digital Services Ltd

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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

▲

卓曉青 藍胤萱

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 楊凱甯

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

●

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

曹予勉

＊王濟揚

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

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

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

倍 低 音 管

簡恩義

低 音 長 號

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

豎 琴

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解 瑄

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

孫正茸

邱 瑗 杜佳舫 王承禹 王雲玉

音樂總監執行祕書 黃毓棻

陳振馨

楊璧慈

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