NSO名家系列 Masters & NSO
樂起地平線─布魯克納第六 Arise from Horizon
演出時間 演出地點
2012年12月16日（星期六）7:30PM
演 出 者
指 揮│呂紹嘉 Shao-Chia Lü, conductor
國家交響樂團 National Symphony Orchestra (NSO)
主辦單位 指定住宿 特別感謝
國家音樂廳 National Concert Hall, Taipei
曲目 PROGRAM
上半場 約40分鐘 下半場 約60分鐘
沃夫岡•阿瑪迪斯•莫札特（1756-1791）： 第三十五號交響曲 《哈夫納》
I. 有精神的快板板
II. 行板
III. 小步舞曲
IV. 急板
克里斯蒂安•佑斯特（1963- ）：《台北地平線》(世界首演) NSO國家交響樂團與荷蘭愛樂共同委託創作
～中場休息～
安東•布魯克納（1824-1896）：第六號交響曲
I. 莊嚴的
II. 慢板：非常莊嚴的
III. 詼諧曲：不太快的─緩慢的三重奏
IV. 最終樂章：活躍地，但不要太快
本中心表演藝術圖書館典藏相關節目資料，詳見http://libserv.ntch.edu.tw/related_catalog/index.asp?q=201212， 並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。
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WOLFGANG AMADEUS MOZART (1756-1791): Symphony No.35, K.385, D major, Haffner
I. Allegro con spirito
II. Andante
III. Menuetto
IV. Presto
CHRISTIAN JOST (1963- ): Taipei Horizon (world premiere) commissioned by Taiwan Philharmonic (NSO) and Nederlands Philharmonisch Orkest
---Intermission---
ANTON BRUCKNER (1824-1896): Symphony No.6, A major
I. Majestoso
II. Adagio: Sehr feierlich
III. Scherzo: Nicht schnell - Trio. Langsam
IV. Finale: Bewegt, doch nicht zu schnell
For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://libserv.ntch.edu.tw/related_catalog/index.asp?q=201212
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演出者簡介
指揮 conductor
呂紹嘉 Shao-Chia Lü 出生台灣新竹縣，自幼學習鋼琴。就讀台大心理系期間，受陳秋盛先生之啟發開始鑽 研指揮藝術。先後赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利 Accademia Musicale Chigiana di Siena指揮班，隨大師G. Rozhdestvensky學習。 在連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，呂 紹嘉展開他在歐洲璀燦的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國萊 茵愛樂交響樂團暨科布倫茲市立歌劇院音樂總監、德國漢諾威國家歌劇院音樂總監，並受 邀在英國國家歌劇院、挪威皇家歌劇院、布魯塞爾皇家歌劇院、澳洲雪梨歌劇院、瑞典哥 特堡歌劇院、德國斯圖加特、柏林德意志、漢堡、法蘭克福歌劇院及維也納夏季音樂節 （Klangbogen）擔任客席指揮。此外，他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和 日本東京及名古屋演出《霍夫曼的故事》。 在出任德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間，呂紹嘉以無數精采 深刻的音樂詮釋，獲得了團員及愛樂者的愛戴，他並曾帶領該團於北京、上海、義大利米蘭等 地巡迴演奏。呂紹嘉於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。 在出任德國漢諾威國家歌劇院音樂總監期間，呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧 及義大利歌劇外，他成功的推出了雅納捷克及德布西的作品，使得劇院的名聲更推展至國際 化的層次。他所指揮的德布西歌劇《佩利亞與梅麗桑》，於2004年獲邀赴維也納音樂節及愛 丁堡藝術季演出多場，獲得極高讚譽。 除了歌劇領域外，呂紹嘉在音樂會上的表現也同樣耀眼，至今合作的主要交響樂團有：慕 尼黑愛樂、柏林、西南德、中德、巴伐利亞、維也納廣播樂團、法國國家、里昂、杜魯士、 史特拉斯堡交響樂團、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、哥特堡交響樂團、羅馬聖西西里亞樂團……等。2011年底，呂紹嘉首度在阿 姆斯特丹指揮荷蘭皇家音樂大會堂管絃樂團，以斯特拉溫斯基的《春之祭》博得滿堂彩。在 亞洲，他近期將在東京指揮新日本愛樂演出貝多芬第九交響曲。 在睽違台灣多年後，呂紹嘉於2010年秋返鄉接任國家交響樂團（NSO）音樂總監，期盼 以「精緻．深刻．悸動」之信念，深耕台灣樂壇。 4
“The conductor Shao-Chia Lü is a master of nuance – and an exceptionally gifted conductor.” —Suddeutsche Zeitung “... Lü’s musical watchfulness is terrier-like in its intensity. He pounces on the dramatic shifts in the score with a seemingly feverish energy. His sense of rhythm is exact and he knows how to signal unerringly each of the many small changes of pace in a thoroughly studied interpretation… he is, an deserves to be, the star of this evening.” —The Sydney Morning Herald Taiwan-born 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: Besancon, Trento and Amsterdam. In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Opera Australia and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre. Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der Fliegender Hollander, Wozzeck, osenkavalier, Elektra, Salome, to name a few. In summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelleas et Melisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü’s recent opera engagements include: Parsifal and Katja Kabanowa in Goteborg, Sweden, La fanciulla del west in Stuttgart, Eugene Onegin at the Komische Oper, Berlin, Madama Butterfly and Tosca in Sydney and Melbourne. Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Munchner Philharmoniker by replacing Sergiu Celibidache at the last moment for 2 unchanged programs (including Bruckner Symphony No.8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Munchner Philharmoniker, 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 Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010. 5
演出者簡介
NSO駐團作曲家 NSO composer in residence
克里斯蒂安•佑斯特 Christian Jost 「我不斷尋找神奇的時刻，但唯有透過結構、形式與音調之間複雜又多變的比率，才能 讓我找到。」
—佑斯特
出生於1963年德國特里爾的克里斯蒂安．佑斯特，是其同一世代中最受歡迎的作曲家 之一。他的歌劇作品經常被歐洲歌劇院演出，而他的管絃樂作品在國際間亦不斷地被演 出。2003年，佑斯特獲得西門子基金會作曲家贊助獎的肯定；2009年，他的歌劇《哈 姆雷特》被評選為德國、奧地利、瑞士地區的「年度最佳世界首演製作」。佑斯特經常 獲得世界各地頂尖樂團、音樂節以及歌劇院的委託創作邀約，其中包括柏林愛樂、琉森 音樂節、柏林喜歌劇院、荷蘭愛樂、蘇黎士歌劇院、耶路撒冷室內音樂節、埃森阿爾托 劇院、柏林德意志交響樂團、比利時法蘭德斯歌劇院、梅克倫堡－前波莫瑞州與什列斯 威－霍爾斯坦音樂節、上海交響樂團、格拉茨歌劇院以及國家交響樂團（NSO）等。此 外，佑斯特亦是非常受歡迎的指揮家，曾經指揮過布萊梅愛樂、柏林喜歌劇院樂團、漢 堡愛樂、格拉茨愛樂以及埃森愛樂樂團。
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“I am permanently on the search for the magic moment and can only achieve this through a complex and differentiated ratio between structure, form and tone.” —Christian Jost Born in 1963 in Trier, Christian Jost is one of the well-received composers of his generation. His operas have been included in the repertoire of European opera houses, and his orchestral compositions have been regularly performed worldwide. In 2003, he received the Ernst von Siemens Foundation Encouragement Prize. In 2009, his opera Hamlet was praised as the “World Premiere of the Year” in Germany, Austria and Switzerland. Jost has been commissioned by leading orchestras, festivals and opera houses around the world, including the Berliner Philharmoniker, the Lucerne Festival, the Komische Oper Berlin, the Nederlands Philharmonisch Orkest, the Zurich Opera House, the Jerusalem Chamber Music Festival, the Aalto Theatre Essen, the Deutsches SymphonieOrchester Berlin, the Vlaamse Opera Antwerp / Ghent, Mecklenburg-Vorpommern as well as Schleswig-Holstein Music Festivals, the Shanghai Symphony Orchestra, the Opera Graz and the Taiwan Philharmonic. Christian Jost is also in great demand as a conductor. He has conducted orchestras such as the Bremen Philharmoniker, the orchestra of the Komische Oper Berlin, the Hamburger Philharmoniker, the Graz Philharmonic Orchestra, and the Essener Philharmoniker.
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自信而精銳
國家交響樂團 National Symphony Orchestra 「在呂紹嘉指揮下，NSO將十九世紀末的音樂傳神地演繹！呂不僅引導出團員的光與熱，更將史特勞 斯（《艾蕾克特拉》）引人入勝的樂曲發揮地淋漓盡致：絃樂擴散性的逼近，銅管與木管則浸淫在不 安的不和諧音中。」 ─英國《歌劇》雜誌 2011/05 「呂紹嘉有種天賦異稟的流動性節奏，他歡愉、緊湊的節奏與NSO堪稱絕配，樂團節奏敏銳、展現出 的動人音質令人刮目相看，特別是馬勒第五的第三樂章，彷彿是用宗教儀式將折磨著前兩樂章的靈魂 昇華了。」 ─《美國唱片指南》雜誌 2011/01 「馬勒第五的第二和第三樂章處理得特別細膩，波濤澎湃之中韻律感十足，呂紹嘉和樂手們的互動幾 乎到了水乳交融的的境界。（他與）台灣愛樂在廣州的演出，散發出來的吸引力，是一種對藝術美好 的追求。」 ─《亞洲週刊》2010/12 「馬勒第十號交響曲的慢板是很棒的演出，呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素……NSO的荀 貝格改編自布拉姆斯G小調絃樂四重奏的管絃樂演奏則是光芒四射，叫人嘆為觀止。」 ─英國《留聲機》雜誌 2009/09 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。經過二十多年耕耘，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，有文化意識的台灣藝術代表團隊。 國家交響樂團的前身「聯合實驗管弦樂團」，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，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恵、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8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96名團員，每年樂季演出約70場次。在前任總監簡文彬任內（2001～2007）以演出作曲家全 套交響樂的「發現系列」為系統拓展曲目，更以歌劇、「永遠的童話」等跨界製作與國內外劇場菁英合 作，開創多項國內先例。2006年全本《尼貝龍指環》製作，更寫下亞洲歌劇演出里程碑。2008～2010樂 季，樂團由前底特律及多倫多交響樂團音樂總監赫比希（Günther Herbig）擔任藝術顧問暨首席客座指 揮，持續為NSO訓練出堅實的演奏實力與動人音樂性；其任內之駐團作曲家及「NSO Call For Score」計 畫，提供國人作品更多發表空間，並進一步提升NSO的國際樂壇聲望。 在現任音樂總監呂紹嘉擘劃下，NSO循著既有基礎，以多元化的主題貫穿樂季，呈現給聽眾智性與感 性兼具，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。不僅積極拓展NSO演奏近代管絃樂作品的能力，從新維也納樂派、二十世紀法國 到俄國近代皆有斐然成績，同時並致力於鞏固精鍊古典經典名作，也持續推動國人管弦樂創作之演出、 錄音。 20多年來與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、波哥雷里 奇、薇莎拉絲、賀夫、巴弗傑、寇瓦謝維契、齊柏絲坦、洛堤、歐森等；大提琴家馬友友、顧德曼、麥 斯基、朱利安•洛伊韋伯、卡普頌、王健、伊瑟利斯、穆勒─修特；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；擊樂家葛蘭妮、葛魯賓格等逾六百位音樂家。 8
攝影 Raymond Huang
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National Symphony Orchestra “Under the Viennese-trained Lü, (NSO) made the fin de siècle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss’ (Elektra’s) luscious orchestration: the strings rippled with menace and the brass and woodwind relished their angst-filled discords.” - OPERA 2011/05 “Lü has an innate gift for flow and pulse. His tight, buoyant rhythms are the perfect match for this orchestra’s incisive rhythms and astounding ensemble-sine qua non qualities, ...” - American Record Guide 2011/01 “Shao-Chia Lü handled the second and third movements of Mahler’s No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic sense, rendering a powerful delivery... Lü and Taiwan Philharmonic’s concert in Guangzhou epitomized the pursuit of artistic perfec tion.” - Yazhou Zhoukan (Asia Week) 2010/12 “There was also a convincing performance of the Adagio from Mahler’s Tenth Symphony, Lü’s carefully calibrated rendering capturing the angst...The second programme [featured] an utterly dazzling performance of Brahms´ Piano Quartet in G minor arranged by Schoenberg.” - Gramophone 2009/09 Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became an artistic affiliate of the National Chiang Kai-Shek Cultural Center, the nation’s center for the performing arts, in 2005. 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 96 members presents a 40-week musical season of approximately 70 concerts/chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China. The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Yo-Yo Ma, Gautier Capucon, Alban Gerhardt, Misha Maisky, Evelyn Glennie, Martin Grubinger, Louis Lortie, Kun-Woo Paik, Stephen Hough, Stephen Kovacevich, 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 semistage 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) and Madama Butterfly (Opera Australia, 2012).
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樂曲解說
貝多芬前後的交響曲發展 撰文│陳怡文 (臺師大音樂系音樂學博士候選人)、蔡永凱 (臺師大音樂系音樂學博士候選人) 十八世紀中後期，交響曲地位的急速提升，要歸功於海頓（Joseph Haydn, 1732-1809） 與莫札特兩位作曲家。兩人的交響曲質量俱豐，卻各有特色：海頓不追求優美旋律線條， 多聚焦在動機舖陳及發展，並確立了交響曲的四樂章型式；莫札特的交響曲創作，則較 多屬特定場合、偶發性的創作，因此作品間較少直線發展的軌跡，卻又讓作品各有千秋， 豐富了交響曲的表現力。兩位作曲家在交響曲上的既有成就，奠定了日後貝多芬（Ludwig van Beethoven, 1770-1827）在這個樂曲種類得以發光發熱的基礎。 貝多芬的九首交響曲將交響曲的內在精神與外在形式都推到高峰，卻給後代的作曲家留 下莫大的挑戰。一直到十九世紀七 年代開始，作曲家們終於藉由不同的手法與理念，找 到了突破貝多芬陰影的各種路徑，開啟了交響曲的第二個輝煌時代。交響曲再度成為作曲 家追求歷史定位的場域，在形式與精神上朝向「豐碑性」努力。其中，布魯克納在創作手 法對於「節奏」的重視，成為一個殊異的樣態。
莫札特：第三十五號交響曲《哈夫納》 撰文│陳怡文 莫札特第三十五號交響曲《哈夫納》創作於1782年，由當時薩爾茲堡顯赫的哈夫納家族 委託創作，目的可能是為家族成員在受封爵位慶典上使用。作曲家原本構思一首「夜曲」 （senerade），由進行曲、抖擻的快板、行板、兩首小步舞曲與急板等六個部份組成。但 可能因為工作份量繁重，無法如期完成作品。直到同年12月，莫札特將這部未完成的「夜 曲」改寫成一部交響曲，即這部《哈夫納》交響曲，並在隔年3月23日成功首演。 莫札特於1781年定居維也納，繁忙的工作，讓此時的交響曲創作變得更為偶然。不過 這時期的交響曲，卻仍被視為作曲家在此一樂類的代表作品；《哈夫納》正是此時期的 第一部交響曲。在創作這部作品時，莫札特在新的生活環境裡，接觸了海頓的作品，同 時也忙於修改歌劇《後宮誘逃》（Die Entführung aus dem Serail ）。這些生活裡的點滴都 清楚反映在作品的音樂裡：如第一樂章以全體齊奏八度跳躍音程那般的「戲劇性姿態」 展開，為鮮明的海頓風格；第四樂章裡盛大的土耳其音響，似曾相識的旋律線條，則明 顯地與《後宮誘逃》有關。
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作品有四個樂章。曲風上，第一樂章活力充沛，第二樂章悠閒愜意，第三樂章高貴優 雅，第四樂章輝煌燦爛，樂章間甚具對比性格之特色；聲響上，莫札特在首尾樂章加上 單簧管及長笛，充分展現豐沛飽滿音響。善用木管樂器的多樣音質，在音色及聲響平衡 方面，總表現出令人望塵莫及的脫俗特性，都成為莫札特的特殊風格。
克里斯蒂安•佑斯特：《台北地平線》 撰文│克里斯蒂安•佑斯特
當想像遇上實際 《台北地平線》的誕生 人性最幽微之處，就藏於那神秘的一刻，也就是創意誕生之處。直至今日，我們仍舊 無法得知，靈光在何時與何處會乍現、創意的面紗何時會掀起，文思又何時會泉湧。是 什麼讓我們的思想與情感匯集轉變成聲音，與空氣碰撞，產生出所謂的音樂？抑或是 說，創意只是一種從作曲家的心理與生理狀態轉化而來的過程？所以說，其實並沒有真 正發明出什麼，就只是一直在那裡，就像蛋殼自然破了，讓小雞可以探頭呼吸一樣。這 麼說吧，作曲家、小說家，或是任何形式的創作家，就是一種媒介，把經驗與天賦像雞 尾酒般的混合後，就產生了一首交響曲，或是一本小說。此外，這是否代表，靈感是一 股持續流動的能量，而作曲者的角色就在於形塑這股流動？也許人類的大腦與靈魂是一 種過濾器，越是細緻敏感的過濾器，就越能透過創作的過程產出令人讚嘆的藝術作品。 莎士比亞應該就是這種天才，他的大腦就像高科技電腦的硬碟，能夠觀察到所有的人 類表達形式。但觀察是一回事，把觀察結果轉化成藝術作品又是另一回事。就莎士比亞 來說，兩者是密不可分的。所有他眼睛觀察到的事物，都儲存在他個人的硬碟上，而所 有儲存下來的資料，也都出現在他的戲劇當中。 去年夏天我花了將近兩個月的時間在台北，創作一首新的交響曲《台北地平線》。那 兩個月中，我以莎士比亞硬碟的模式居住在這個美好的城市中。我幾乎沒有闔眼睡覺， 因為我瘋狂希望在有限的時間當中，盡量捕捉我所能記憶的一切。但是用「真實」的活 動把電充滿，並沒有辦法創作出作品，這只能讓「機器」持續運轉，以達到創作的目 的。
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《台北地平線》的結構是架構於持續對位關係中的數個動機。持續流動的張力讓音樂 在大合唱中結束。譜寫動機時，我心中憑藉的是對台北的印象，但是我無法確定，那 是實際的印象，還是我想像玩味後的結果。也許是介於兩者之間吧，但我能確定的是， 《台北地平線》並不是用音樂撰寫的一張台北明信片，雖然這首曲子真真切切地是在台 北創作的。 （中譯｜黃慧真）
布魯克納：第六號交響曲 撰文│蔡永凱 在十九世紀末的交響曲作家裡，布魯克納為一相當特殊的人物。他的創作範圍，除 了少數宗教歌曲之外，就屬交響曲。在保守的創作範疇下，他卻毫不掩飾對於華格納 （Richard Wagner, 1813-1883）的狂熱，這些矛盾的組合，讓作曲家在當時就在樂壇形成 兩極的評價。音樂學者達爾豪斯（Carl Dahlhaus, 1928-1989）試圖解釋為何布魯克納在樂 壇的爭議。表面上，是因為布魯克納公開地表明自己是華格納的崇拜者，才被擁護布拉 姆斯（Johannes Brahms, 1833-1897）的陣營攻擊得體無完膚，但實際上，這些攻擊卻源於 對於布魯克納作曲手法的不安。 布拉姆斯所抨擊的「交響曲巨蟒」，在達爾豪斯詮釋下，卻是布魯克納最大的成就。 在追求交響曲「豐碑性」的集體風潮裡，布魯克納摸索出一條新的路徑。他改變以「音 高」為主的作曲概念，改以「節奏」做為主要的發展參數，達爾豪斯指出：「不同於布 拉姆斯的室內樂手法，也不同於華格納的音樂戲劇理念，基本上，布魯克納的交響曲風 格是節奏性的，而非在音高層面突顯，以致於習以為常的聲音階層關係，像是被徹底翻 轉了。」 這部長久被忽視的作品，在作曲家有生之年未被演出，也就未被他人的意見左右修 改，可以說保有了作曲家的原初構思。作品為四個樂章。第一樂章由小提琴演奏三連音 節奏動機開啟，延續至呈示部的第一主題段落；而旋律性的第一主題，則是由大提琴與 低音提琴演奏的三連音，與做為背景的小提琴，形成了節奏上的不和諧。到了第二主 題，管樂開始以4/4拍的規則節拍演奏旋律，中低音絃樂則以四分音符的三連音做為背 景，節奏上同樣不和諧。第二樂章為慢板，由絃樂開啟酸楚的旋律，具有模糊的調性。 第三樂章雖然名為「詼諧曲」，以三個風格相異的節奏動機穿插出現，風格上卻不若一 般詼諧曲輕快。終樂章一開始在調式上徘徊，多次被銅管聲響打斷，最後以壯盛的進行 曲結束。
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Wolfgang Amadeus Mozart: Symphony No.35, K.385, D major, Haffner By Robert Markow (Musicologist, Canada) The highly esteemed Haffner family of Salzburg needed some serenade music to accompany the festivities surrounding the ennoblement of one of its sons, set for late July or early August 1782. Mozart agreed to the task, but he was so overworked with other projects that, even with the best of intentions, he could not meet the deadline. The following year he found himself in need of a symphony for a concert in Vienna. Mozart converted the unused serenade music into a symphony, adding pairs of flutes and clarinets to the original instrumentation. These new instruments only double already existing lines and chords in the outer movements, but the symphony owes its enriched sonority to one of the largest wind ensembles (twelve instruments) Mozart ever used. This symphony boasts one of the most striking openings of any Mozart symphony: a bold, ceremonial gesture with flying leaps in the unison strings and a good rhythmic punch to set it off. So effective is this opening flourish that Mozart employs it almost continuously throughout the movement, even to the extent of letting it serve, in slightly modified form, as the “second” principal theme in the contrasting key of A major, and, as the closing theme as well, also modified. The winsome lilt of the opening theme of the Andante sets in motion a movement that conforms perfectly to the image of Mozartian grace. A wide variety of trills and other decorative touches emphasize its rococo delicacy and lighthearted mood. The sturdy, vigorous Menuetto recalls more the dance style of Austrian peasants than of courtly ballrooms. Peeking through the curtains of the operatic stage is the witty tune of the finale, which is too close to Osmin’s aria “Ha, wie will ich triumphieren” from The Abduction from the Seraglio (premiered just three weeks before this movement was written) to be sheer coincidence.
Christian Jost:Taipei Horizon By Christian Jost Imagination vs. Reality Composing Taipei Horizon One of the last hidden places of human nature is the secret moment, the place where creativity is giving birth. Until today we are incapable to define the exact space where the first flame of inspiration, the moment an idea appears the very first time, the veil of creation opens, gets enlightened. What brings out thoughts, and emotions to be structured and transformed into sound, oscillating air, so called music? Or is creativity just a process of transformation through the mental and physical condition of the composer? Therefore nothing gets really invented, or is simply just there, like an egg which breaks to let the chick breath. Let’s say the 14
composer or a novelist, or anybody else who creates something is a kind of medium, the turning point where experience and talent mixing a kind of cocktail which ends up being a Symphony, or a novel. Furthermore does that mean everything is in a constant flow, where the composer is the station to give this flow a structure and a form? Maybe the human brain and soul is some kind of filter and the more subtle and sensitive this filter is, the more capacity the filter is able to submit, the most talented work of art will come out at the end of the creative process. William Shakespeare was supposed to be this kind of genius whose brain functioned like a high tech computer hard disk able to observe any possible human expression. But to observe is one thing. Transforming it into a piece of art would be the next step. In the case of Shakespeare both parts are indestructible. Nothing human did pass his eye without having saved on his personal hard disk and nothing that having saved once, what did not find the way into his plays. Past summer I’ve spent almost two months in Taipei to compose a new orchestral piece Taipei Horizon. For these two months I lived in this wonderful town with the Shakespearean hard disk inside me. I almost didn’t sleep, since I was crazy to catch up as much as I could within this limited timeframe of my stay. But filling you up batteries with “real” activity doesn’t create a piece of art. It only keeps the “machine” going in order to do so. The composition of Taipei Horizon is within his form and structure built on several motives that I put into constant contrapuntal relations. A constant flow of tension and release leads into a giant choral at the end. By creating these motives I was rethinking the inner picture of the impressions I had. But I can not tell, if they were real or invoked images. Maybe the truth is somewhere in the middle but for sure is the fact, that Taipei Horizon is not a musical postcard of Taipei, although it could have never been more authentic Taipei-composed as it is.
Anton Bruckner: Symphony No.6, A major Bruckner called the Sixth Symphony his boldest. It certainly is one of his most beautiful, yet it is not as frequently performed as most of its sisters. Perhaps the reason is that the Finale in contrast to the perfect first three movements is not absolutely satisfactory. In spite of this, Bruckner who sometimes created as many as three versions of a symphony, wrote only one version of this one. The arrangement by his pupil Hynais, though its changes are less drastic than those perpetrated elsewhere by the Schalk brothers and Ferdinand Loewe, is obsolete, despite the fact that the master may have tolerated it. Instead of the usual tremolo, the work begins with a complex rhythmical figure in the violins. Bruckner's predilection for two notes against three, either behind each other or on top of one another, is particularly important in this symphony and in the Adagio of the Fifth Symphony. Celli and basses sing to this rhythmical figure an (even for Bruckner) outstandingly beautiful tune. It is in the Phrygian mode, the same as in the wonderful second movement of Brahms's Fourth Symphony. After an energetic continuation the theme recurs in full splendour. Gradually a transition leads us to the lovely and complex second tune, four notes against six, which is played considerably slower and which-in 15
contrast to the main tune-consists almost exclusively of steps. After a rather heroic theme the exposition ends quietly. The development is in the slower tempo of the second melody. After a new, beautiful melody we hear a great increase in intensity and speed and the main tune returns in a remote key but in the original faster tempo. By an extremely simple device reinforced by the timpani we are back in the main key for the recapitulation. The lovely coda unfolds still in the slower tempo of the second tune, leading to the faster triumphant ending which slows down considerably at the very end. The serene first melody of the second movement is accompanied in slow steps by the lower strings. An unexpected lament in the oboe disturbs the serenity. Gradually we are led to one of Bruckner's greatest tunes, led by the celli and first violins. Eventually the tempo gets even slower, leading into a kind of funeral march. The recapitulation starts in the original tempo; later the main theme reappears, richly embroidered. The second melody sings this time in the main key of the movement. The coda is very serene and remains for a long time in the principal key, an unusual procedure for Bruckner. The frightening Scherzo is along with that of his Ninth Symphony, his most original. It is slower than most and as with that of his Eighth Symphony, has to be beaten in three beats, in contrast to most scherzos that are conducted in one. Over a constant pulse in the basses, triplet quavers in the middle strings and a phrase of repeated notes in the woodwind, the short motif in the violins sound like cries for help. Even the two powerful endings in major keys fail to supply relief from the oppressive atmosphere. In the more positive Trio, plucked strings softly playa dotted rhythm and are answered by loud calls from three horns. A startling quotation of the main theme of the first movement of his Fifth Symphony proves to me that the tempo of the Trio must not be too slow. The Trio's quiet ending is followed once more by the expressionistic Scherzo. The Finale starts interestingly enough. A rather austere tune in the violins is seconded by the second clarinet. After its repeat in the subdominant it is rudely interrupted by the trumpets and horns, who assert the main key in a very loud and rhythmical fashion. The whole orchestra then plays a new brass tune full of semitones and brings forth-another rather heroic melody. After all these monumental utterances a charming, dance-like melody beguiles us. Then over a soft major chord in the horns, the oboes and clarinets introduce a new tune as from far away (it is a distant relation to the oboe lament in the second movement, but here is in major). Bruckner must have been in love with this melody, but the more often it appears, the richer and louder it is orchestrated and (it seems to me) the more banal it becomes. Now the first tune is played considerably slower by the celli accompanied by the trombones, the second violins also in the slower tempo play the main tune, richly embroidered, in a remote key. The brass tunes are also slower here until the whole orchestra asserts the main key once more in the faster, original tempo. After a rather virtuosic passage in the violins (a rarity in Bruckner's works) the charming country tune reappears in the home key. The final loud and rhythmical assertion of the main key appears rather unexpectedly and perhaps not quite convincingly. Not even the quotation of the main tune of the first movement in the trombones can obliterate a feeling of slight dissatisfaction. So in the Sixth Symphony we have three perfect movements and one that is somewhat problematical - at least to me. Š 2012 Naxos Digital Services Ltd. 16
國家交響樂團
音樂總監 桂冠指揮
呂紹嘉 根特‧赫比希
樂團首席 樂團副首席 助理指揮
吳庭毓 李宜錦 鄧皓敦 張尹芳
第一小提琴
○ 陳逸群 郭昱麟 林基弘 侯勇光 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 吳宛蓁＊ 玉 珊＊
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 劉國蘭 呂孟珊 李思琪 陳猶白 蔡秉璋 羅培菁＊
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 蘇酩惠
低 音 提 琴
● 傅永和 ○ 周春祥 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕 陳美君＊
長 笛
● 安德石 ◎ 宮崎千佳 李 浚
短 笛
鐘美川
雙 簧 管
● 王怡靜 ◎ 林麗玥 楊舒婷■
英 國 管
李明怡
單 簧 管
● 朱玫玲 ◎ 張凱婷 朱偉誼
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 ◎ 舒培特 ○ 黃任賢
小 號
● 宇新樂 ◎ 陳長伯 張景民
長 號
● 宋光清 ◎ 邵恆發 陳中昇
低 音 長 號 彭曉昀 低 音 號
● 宮西純
定 音 鼓
● 連雅文 ◎ 陳廷銓
打 擊 樂
● 陳哲輝 陳振馨 楊璧慈
豎 琴
● 解 瑄
鍵 盤
▲ 陳丹怡
執行長
邱 瑗
企劃製作經理 公關專案經理
杜佳舫 王承禹
企劃行銷 企劃/音樂總監特助 謝祥雯 企劃專員 吳孟珊 劉子瑛 賴盈帆 整合行銷專員 陳卜湄 行銷組長 許匯真 行銷專員 鄭巧琪 林欣儀 陳偉馨 演出及行政 人事組長 舞台監督 譜務專員 行政專員 音樂諮詢
林碧珠 陳世傑 高婉瑜 溫慧雯 林和億 顏承宇 焦元溥
＊NSO 樂團學苑 名錄
指 揮 張尹芳 小 提 琴 玉 珊 吳宛蓁 余琬婷 侯亨翰 紀韋瑄 張暐姍 黃思瑋 駱思云 賴思伃 藍胤萱 蘇品嘉 孫正茸 中 提 琴 朱品霖 袁繹晴 黃亞漢 劉詩珊 羅培菁 大 提 琴 丁莉齡 呂函涓 李 茜 黃瓊毅 國田朋宏 王婉如 低音提琴 陳美君 游婉婷 吳建銘 黃貞綸＊ 長 笛 洪佑寧 徐鈺甄 雙 簧 管 胡子涵 鄭化欣 單 簧 管 李昱柔 楊曼君 低 音 管 林煜勛 簡瑜萱 法 國 號 陳建維 廖培佑 劉佩穎 鄭瑞舜 小 號 黃貞綸 黃書啟 徐雲修 羅 丹 長 號 田智升 楊錦龍 簡晟軒 低 音 號 高霆翰 打 擊 樂 林君庭 洪詩瑜 豎 琴 劉馨澧 (按筆劃排序)
●首席 ◎副首席 ○助理首席 ■留職停薪 ▲樂季合約 ＊NSO樂團學苑學員
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National Symphony Orchestra Music Director SHAO-CHIA LÜ Conductor Laureate GÜNTHER HERBIG
Assistant Conductor YIN-FANG CHANG
Chen Yu-Lin Kuo Ji-Hung Lin Yung-Kuang Hou 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 Wan-Tsun Wu＊ Shan Yu＊
SECOND VIOLIN ● Yi-Ju
Chen ◎ Cheng-Mei 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
●Principal ◎Associate
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JOYCE CHIOU
SARAH TU PAUL WANG
SHELBY HSIEH MENG-SHAN WU AMY LIU YING-FAN LAI PU-MEI CHEN EMILY HSU EILEEN LIN CHIAU-CHI CHENG CINDY CHEN
Assistant Manager, Personnel Stage Manager Librarian Production & Administration Coordinator
BIBI LIN SHIH-CHIEH CHEN BRITTNEY KAO HUI-WEN WEN HO-YI LIN CHENG-YU YEN
Concert Dramaturgist
YUAN-PU CHIAO
Programme Coordinator/ Special Assistant to MD Programme Coordinator PR & Project Coordinator Assistant Manager, Media & Marketing Marketing & Publications Coordinator Marketing & Media Coordinator
Associate Concertmaster HAO-TUN TENG
FIRST VIOLIN
Manager, Planning & Production Manager, PR & Development Artistic Planning & Marketing
Concertmaster TING-YU WU I-CHING LI
○ Yi-Chun
Executive Director
Production & Administration
VIOLA
DOUBLE BASS
CLARINET
TROMBONE
● Grace
Huang ◎ Chi-Chuan Teng ○ Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Guo-Lan Liu Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Pei-Ching Lo＊
● Yung-Ho
● May-Lin
● Kuang-Ching
Norell Miyazaki Chuin Lee
CONTRABASSOON
TIMPANI
◎ Chika
En-Yi Chien
● Ya-Wen
CELLO
PICCOLO
HORN
PERCUSSION
● Lana
Mei-Chuan Chung
● Yi-Hsin
Cindy Liu ◎ Supreeti Ansvananda ○ Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang
● Jer-Huei
TRUMPET
Hsiung ◎ Yi-Shien Lien ○ Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Li Jih-Sheng Huang Ming-Huei Su
Fu ○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai Mei-Jun Chen＊
FLUTE ● Anders
OBOE ● I-Ching
Wang Lin Shu-Ting Yang ■ ◎ Li-Yueh
ENGLISH HORN Ming-I Lee
Ju ◎ Kai-Ting Chang Wei-I Chu Cheng-Jung Sun
BASSOON ● Kai-Yu
Jian ◎ I-Hsiu Chen Ling-Feng Kao
● Nicolas
Rusillon Chen Ching-Min Chang Chien-Ming Wu Chen-Lun Huang＊ ◎ Chang-Po
Sung Shiu Chung-Sheng Chen
◎ Hang-Fat
BASS TROMBONE Hsiao-Yun Peng
TUBA ● Jun
Miyanishi Lien
◎ Ting-Chuan
Chen
Chen Chen-Hsing Chen Pi-Tzu Yang
HARP ● Shuen
Chieh
KEYBOARD ▲ Dan-Yi
Chen
Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians ＊NSO Orchestra Academy
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