2018
演出曲目
Program
芥川也寸志（1925-1989）： 《為交響樂團所寫的音樂》
YASUSHI AKUTAGAWA（1925-1989）: Musica per Orchestra Sinfonica
霍亞金•羅德利哥（1901-1999）： 《阿蘭惠斯》協奏曲(豎琴版)
JOAQUIN RODRIGO（1901-1999）: Concierto de Aranjuez (harp version) I. Allegro con spirit II. Adagio III. Allegro gentile
I. 有精神的快板 II. 慢板 III. 溫和的快板
~中場休息~
~Intermission~
德米特里•蕭斯塔科維契（1906-1975）： 《俄羅斯與吉爾吉斯民歌主題序曲》
DMITRI SHOSTAKOVICH（1906-1975）: Overture on Russian and Kyrgyz Folk Themes
德米特里•蕭斯塔科維契： 第一號交響曲
DMITRI SHOSTAKOVICH: Symphony No. 1
I. II. III. IV.
稍快板—不過快的快板 快板 緩板–廣板–緩板（不間斷繼續演奏） 相當快–緩板–相當快–稍慢–相當快– 緩慢許多–慢板
演出時間│ 2018年4月14日 (星期六) 7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei
I. Allegretto - Allegro non troppo II. Allegro - Meno mosso - Allegro - Meno mosso III. Lento - Largo - Lento (attacca:) IV. Allegro molto - Lento - Allegro molto - Meno mosso - Allegro molto - Molto meno mosso - Adagio
演出者
指 揮｜井上道義 Michiyoshi Inoue, conductor 豎 琴｜薩菲耶．德梅斯特 Xavier De Maistre, harp 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35分鐘，下半場約40分鐘
1︱蕭斯塔科維契第一
演出者介紹 指揮｜井上道義
1946年生於東京，任紐西蘭交 響樂團終身首席客座指揮、新日 本愛樂管絃樂團、京都交響樂團 音樂總監，及大阪愛樂管絃樂團 首席指揮。井上道義在1999/2000 樂季，開始了一系列共十場的音 樂會，與新日本愛樂管絃樂團於 東京墨田三聲音樂廳演出了馬勒全套十部交響曲， 極獲讚賞，被譽為「日本演出史上最高水準的馬 勒」。2007年，「俄日友好蕭斯塔科維契全系列 計劃」中，井上道義指揮俄羅斯與日本的管絃樂團 在東京都日比谷公會堂演出蕭氏所有交響曲，也獲 得廣泛迴響。2007年1月，井上道義成為金澤管絃 暨室內樂團音樂總監以及石川縣立音樂堂的藝術顧 問。
豎琴｜薩菲耶•德梅斯特 享譽國際的法國豎琴大師德梅斯 特是德國回聲大獎、美國國際 豎琴大賽金牌得主、維也納愛樂 管絃樂團首席豎琴。德梅斯特 二十五歲時便成為維也納愛樂的 第一位法國樂手，高大俊朗，琴 藝過人，「法國豎琴王子」的美 名，風靡歐美及亞洲樂迷無數。 德梅斯特九歲學習豎琴，拜於名師波霍與米歇爾門 下，與豎琴名家薩巴列塔師出同門。1998年摘下 第四屆美國國際豎琴大賽的金牌，擔任維也納愛樂 豎琴首席。德梅斯特曾以獨奏家身份與無數頂尖的 樂團及知名指揮家合作，包括拉圖、慕提、普列 文、加蒂及席夫。他經常獲邀參與著名音樂節，包 括什列斯威─霍爾斯坦音樂節、薩爾茲堡音樂節、 萊茵高音樂節、維也納音樂節、韋爾比耶音樂節及 布達佩斯春季藝術節等。
Conductor｜Michiyoshi Inoue Michiyoshi Inoue was born in Tokyo in 1946.
He has held tenures as Principal Guest Conductor of the New Zealand Symphony Orchestra, Music Director of the New Japan Philharmonic Orchestra, Music Director of the Kyoto Symphony Orchestra and Principal conductor of Osaka Philharmonic Orchestra. During the 1999/2000 season, Maestro Inoue initiated a series of ten concerts during which he performed all of Mahler's 10 symphonies with the New Japan Philharmonic Orchestra at Sumida Triphony Hall, Tokyo. Receiving highest critical acclaim, the concerts were hailed as "the highest level of Mahler performance ever to be heard in Japan". 2007 saw the widely-acclaimed "Russian-Japanese Friendship Shostakovich Complete Series Project" with Russian and Japanese Orchestras performing all symphonies under Michiyoshi Inoue at the Tokyo Metropolitan Hibiya Public Hall. In January 2007, Michiyoshi Inoue became Music Director of Orchestra Ensemble Kanazawa and Artistic Advisor of the Ishikawa Ongakudo.
Harp｜Xavier De Maistre Xavier de Maistre belongs to an elite category
of soloists who are redefining what is possible with their instrument. Aside from commissioning first-rate contemporary composers, he performs works like Smetana's Ma Vlast with breath-taking precision, presenting masterful arrangements of works that are usually played by an entire orchestra. The interpretation of these works, which few harpists before him have even considered playing, has contributed to his reputation as one of the most creative and extraordinary musicians of his generation. Xavier de Maistre was born in Toulon and began studying harp at nine. His studies culminated in Paris with Catherine Michel and Jacqueline Borot. In 1998 he was awarded the first prize at the International Harp Competition in Bloomington, Indiana. He immediately became the first French musician to join the ranks of the prestigious Vienna Philharmonic Orchestra–a position which he left in summer 2010. Xavier de Maistre has appeared with major orchestras under the direction of eminent conductors as Simon Rattle, Riccardo Muti, Andre Previn, Daniele Gatti, and Heinrich Schiff. He performs at many of Europe's leading festivals, including Schleswig-Holstein, Salzburg, Rheingau, Vienna, Verbier, and Budapest Spring Festival.
2︱蕭斯塔科維契第一
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）
芥川也寸志：《為交響樂團所寫的音樂》 出生於東京的芥川也寸志是著名文學家芥川龍 之介的三子。在東京音樂學校師從橋本國彥和伊福 部昭，是具有音樂院理論訓練與更深廣跨文化學習 的日本作曲家。如同以《哥吉拉》電影音樂著名的 老師伊福部昭，以及他視之為模範的斯特拉汶斯基 與普羅柯菲夫，芥川的交響樂作品亦以角色個性鮮 明為路線。今晚演出的《為交響樂團寫的音樂》是 芥川年僅25歲的早期作品，卻也是奠定其名聲的重 要作品。
倆因第一胎不幸流產的悲痛；由英國管悠悠道來 的美妙旋律在吉他與弦樂器的伴奏下，在靜謐中 飄散著淡淡哀愁；吉他音樂特有的加花裝飾能夠 讓音樂遊走於吟唱與變奏間素雅。繼而以交錯節 拍、在兩拍子與三拍子之間交替，主題初次出現 時即將九拍安排為3+2+2+2，其後變化更密集，令 音樂在節拍規則變動下呈現不可捉摸的魅力。應 豎琴名家薩巴列塔（Nicanor Zabaleta）之請，羅 德利哥於1974年親自將此曲改編為豎琴協奏曲。
德米特里•蕭斯塔科維契：《俄羅斯與吉爾吉斯民 歌主題序曲》
具有形式架構重量的交響曲在十九世紀下半已 經受到質疑，於是著眼於管弦樂團的配器色彩、發 揚各種樂器特有的音樂語彙但跳脫傳統交響曲式規 格的「交響樂」愈來愈多，荀貝格早在1909年已有 《五首管絃樂曲》、或1943年巴爾托克的《管弦 樂協奏曲》…都屬於此類。這首《為交響樂團寫的 音樂》有兩段分量均衡的樂段，在第一段中庸速度 之後，第二段激動、活力充沛的樂段充滿了短促、 重複的節奏音型，相當「蕭斯塔柯維契」，充分說 明芥川對蘇聯 俄羅斯作曲家們的孺慕與所受的影 響。
1963年，甫完成第十三交響曲的蕭斯塔柯維 契給自己放長假，旅行到了哈薩克、烏茲別克、 塔吉克之間，東鄰中國的內陸國吉爾吉斯。此地 的風土文化顯然令蕭氏大開「耳」界，他除了丈 量自己已經離家超過3000公里之外，還仔細聆聽 觀察吉爾吉斯民族音樂舞蹈。後來蕭氏受託為吉 爾吉斯與俄國「結盟」百年慶譜曲，他遵守對吉 爾吉斯朋友的諾言，以詳實的民族采風、加上西 伯利亞的歐姆斯克非常流行的民謠〈啊！流浪漢 啊你們這些流浪漢〉(«Эх, бродяги вы, бродяги»)，融合為蕭氏作品中少見、散發 著民樂光彩的慶典音樂。
霍亞金•羅德利哥：《阿蘭惠斯》協奏曲(豎琴版)
德米特里•蕭斯塔科維契：第一號交響曲
阿蘭惠斯（Aranjuez）協奏曲原為吉他譜寫。 「阿蘭惠斯」指的是阿蘭惠斯宮—西班牙國王菲利 浦二世的行宮，這個起建於十六世紀下半的宮殿在 十八世紀中又重新修建，匯聚了最華麗的建築藝術 風格，現在已屬聯合國教科文組織登錄的世界文化 遺產。
與其將蕭斯塔科維契視為政治受難者、用悲觀 來看待他的音樂語彙，的確無法涵蓋作曲家特殊 的際遇與反反覆覆的自我革新；或許我們可以從 他面對挫敗或不幸的對應來聆聽他的音樂人生。 蕭斯塔柯維契的阿姨，娜蝶芝妲（Nadezhda GalliShohat）在費城聽到這首交響曲首演時，立刻認出 這其中有許多片段是蕭斯塔柯維契小時候在聽伊 索寓言、安徒生童話的《螞蟻與蚱蜢》、《小美 人魚》時順手創作演奏的片段。
大受演奏家歡迎的獨奏協奏曲大多出自於熟習 該種樂器高超演奏技巧與表現力的作曲家，然而羅 德利哥三歲就不幸失明，他對吉他的演奏想像，除 了成長環境豐富的西班牙吉他音樂之外，吉他演奏 名家馬薩（Regino Sainz de la Maza）指導與建言想 必使得作曲家的聲音想像能落實在演奏實務上，成 就了吉他音樂中膾炙人口的協奏曲。羅德利哥曾提 及，第一樂章建立在活力韻律上，這樣的素材甚至 不需依靠兩個主題。最令人耳熟能詳的第二樂章不 時被賦予暗藏政治抗議聯想，不過作曲家夫人維多 莉亞指出內容其實在回憶兩人蜜月的甜蜜以及夫婦
原本有意成為鋼琴演奏家的蕭斯塔科維契在參 加華沙蕭邦大賽只獲得入選決賽之後，毅然決然 地放棄這條可能較容易得到光彩與掌聲的路，轉 攻俄羅斯音樂院教育理念對鋼琴系學生原本就特 別著重的作曲。 雖然在演奏市場上，「蕭一」可能不如「蕭 五」「蕭七」「蕭八」以及更晚期的「重量級」
3︱蕭斯塔科維契第一
作品那般具有標的性，但「蕭一」首演即獲得成功至 今未衰，說明這位年方十九的年輕作曲家對於交響曲 的重量與架構的研究與透徹認識；也證明了當年力薦 推介，使得此曲不僅能由馬可（Nikolai Malko）指揮 列寧格勒愛樂於1926年首演，繼而華爾特、托斯卡尼 尼、克倫佩勒等指揮大師紛紛加入予以在各地首演的 機會；連貝爾格（Alban Berg）也寫下滿滿稱讚。 第一號交響曲是蕭斯塔科維契在彼得堡音樂院畢 業時的作品，雖然是初試啼聲之作，蕭斯塔科維契拿 手的對位技巧與特別的配器組合，以及在電影院打工 彈現場配樂所鍛鍊出的充滿戲劇趣味與敘事能力的音 樂素材在此已經展現。第一樂章由小號與低音管二重 奏開始，像是默片配樂般天馬行空、搞笑又悲傷的音 樂。第二主題是圓舞曲，由長笛擔任主角，在樂團總 體聲響中多次迂迴「進出」；發展部充滿了馬戲團音 樂特有的具象寫實聲效，在插科打諢中，蕭斯塔科維 契顧全了奏鳴曲式的架構，可說是相當成功的形式新 解。 第二樂章以低音聲部的大提琴與低音管虛情假意 地起始，直到單簧管驚惶失措地進入，才「正式」開 始此樂章。在這個交響曲中，蕭斯塔科維契賦予鋼琴 相當吃重的獨奏片段，在此鋼琴快速飛奔的音階音型 將帶著音樂落腳於稍慢中段；蕭斯塔科維契將這段三 拍子刻意寫成兩拍韻律，並將旋律線條有如絲線般由 長笛、單簧管、弦樂、雙簧管、短笛、再回到單簧管 接力，穿梭於弦樂與三角鐵鋪陳的背景中，直到低音 管將第一主題快板帶回，而此樂章的高潮就在兩個主 題「疊影」的交戰後，由鋼琴寬大音域與小提琴的泛 音和弦形成的大膽結尾。在創作此交響曲期間，完成 了前兩個樂章的蕭斯塔科維契在信中對朋友提到，此 曲應命名為「怪奇交響曲」（symphony-grotesque） 「我心情低落，有時候真想大叫，把恐懼吼出來。疑 惑與問題處處，我快被這樣的黑暗窒息。正因為絕 望，我已經著手起筆末樂章—果然十分晦暗」的確， 這首以尖酸譏嘲黑色幽默開始的交響曲，行至後半， 闇黑憂鬱如濃霧升起。與第四樂章接續演奏的第三樂 章將音樂帶入黝黑深淵，由雙簧管悠遠音色吟唱轉 入大提琴獨奏，逐漸加強的音量引出擷取自華格納的 《齊格飛》的元素；在鼓聲隆隆之後第四樂章由另一 段慢而莊重的音樂伊始，不久之後旋即飛升轉而極度 快速，即便其後的樂段又再度引用華格納歌劇，年輕 的作曲家以速度感與戲劇張力而非全然依靠主題或動 機來述說且建構大作品的創意堅持到底，大獲成功。
Program Notes Yasushi Akutagawa: Musica per Orchestra Sinfonica By Robert Markow YASUSHI AKUTAGAWA: Born in Tokyo, July 12, 1925; died in Tokyo, January 31, 1989 Japanese composer and conductor studied with Kunihiko Hashimoto and Akira Ifukube at Tokyo's famous music school, the Toho Gakuen. His musical influences came especially from Ifukube and the Russians Stravinsky, Prokofiev and especially Shostakovich. He was a major player in reestablishing cultural relations with the West after the war. In 1954, when Japan still did not have diplomatic relations with the Soviet Union, he sneaked into Russia to meet and make friends with Shostakovich, Khachaturian, and Kabalevsky. Akutagawa's music was widely performed in the Soviet Union, and many of his works were published there, making him one of the few Japanese composers known in the Eastern bloc lands. Akutagwa's output includes the important opera Orpheus in Hiroshima, set to a libretto by Kenzaburo Ooe (1960). Otherwise, his catalogue is heavily weighted in favor of orchestral music and film scores. Musica per Orchestra Sinfonica is an early work, written in 1950 when Akutagawa was just 25. It was his first important orchestral composition and one of his earliest successes. It was premiered in Tokyo by the NHK Symphony Orchestra conducted by Hidemaro Konoe. It subsequently came to the attention of the American conductor Thor Johnson, who programmed often it with the Symphony of the Air; it thus became one of the first Japanese classical compositions many Americans heard. The ten-minute work is in two equal parts, the first in moderate tempo, the second energetic, exuberant, strongly rhythmic and brilliantly orchestrated. The influence of Shostakovich, with its emphasis on rhythmic propulsion and obsessive repetition of short melodic phrases, is apparent.
Joaquin Rodrigo: Concierto de Aranjuez (harp version) Concierto de Aranjuez, destined to be the most celebrated
guitar work of the twentieth century, takes its name from the magnificent Aranjuez palace (once a royal summer residence), fifty kilometres south of Madrid. Since its première by Regino Sáinz de la Maza, its dedicatee, the work has received hundreds of performances and innumerable recordings, as well as being used for a ballet, in films and jazz contexts and also heard in a variety of popular arrangements. Rodrigo's notes for the
4︱蕭斯塔科維契第一
première envisaged his concerto as being ideally performed by an 'imaginary instrument which might be said to possess the wings of the harp, the heart of the grand piano and the soul of the guitar'. Thus it is not surprising that in 1974 the composer presented his friend, Nicanor Zabaleta, with a harp transcription of the famous work. Rodrigo commented that while the guitar 'has its strings saturated in the roots of the spirit of Spanish music, and this is where the classical and flamenco traditions converge', the harp is also 'full of the spirit of crystalline brightness possessing elements of distant evocations'. Each of the three movements creates impressions of the glories of eternal Spain, whether past or present. The first movement, a whirl of colour and excitement, leads on to the soulful Adagio, the heart of the work with its intricately ornamented themes, its reflective cadenza, and the superb climax, resolving out of passion into serenity. The final movement is both vigorous and sophisticated, demonstrating many technical devices integrated into a delightful musical structure where soloist and orchestra unite to express the sheer vivacity of the courtly dance. © 2015 Naxos Digital Services Ltd
Dmitri Shostakovich: Overture on Russian and Kyrgyz Folk Themes By Robert Markow DMITRI SHOSTAKOVICH: Born in St. Petersburg, September 25, 1906; died in Moscow, August 9, 1975 Most people have a vague idea where Kyrgyzstan is. This rugged, mountainous, landlocked Central Asian country of six million people lies nestled against the northwest border with China along the ancient trade route known as the Silk Road. Kyrgyzstan's history goes back over 2,000 years, but this has been an independent nation-state only since the breakup of the Soviet Union in 1991. Shostakovich's composition based on native folk songs was written in 1963 (his only new composition of that year) to commemorate the centenary of Kyrgyzstan's "voluntary incorporation into Russia." Shostakovich had visited the region in June to attend a festival of folk music, then spent more than a week visiting factories, schools, collective farms and the like. He was impressed with Kyrgyzstan as a place "where everyone sings." The first performance was given on November 2, 1963 in Fruenze (today Bishkek, capital of Kyrgyzstan). This seldom-heard, ten-minute composition incorporates one Russian and two Kyrgyz folk songs, taken from existing collections. The first of the Kyrgyz tunes is heard in the Overture's quiet, slow introduction. "Tryrldan" is about a mythological creature. The other, "Op Maida," is a thresher's
song. The Russian song, "O You Tramps," comes from the Omsk region in Siberia.
Dmitri Shostakovich: Symphony No. 1 The¥ First Symphony¥ of Shostakovich is a remarkable achievement as the work of a nineteen-year-old student. The work, as many have pointed out, shows the influence of Stravinsky's¥Petrushka, of Prokofiev's¥Classical Symphony¥and of the Russian theatre of the time, as well as that of Tchaikovsky, notably in the second half of the symphony. Elements of¥ Petrushka¥are apparent in the opening, with its bassoon solo, leading to a march theme for the clarinet, followed by a waltz introduced by the flute. Ironic march and waltz continue to provide, in juxtaposition, the substance of the movement. The second movement scherzo continues the mood of irony, the piano now making its appearance with all the verve of Prokofiev. A central passage of contrasting mood, entrusted principally to the woodwind is followed by the return of the scherzo theme and the movement ends as the pianist, using the right hand, plays a loud bottom A, the sound of which dies away to the diminishing sound of violin and viola harmonics. The symphony now changes in mood, as the plangent melody of the oboe opens the slow movement, echoed by the solo cello, the texture pierced from time to time by a rhythmic figure in the brass, the second theme transformed finally by a muted trumpet into an elegiac slow march. The last movement persists in tragedy in its introductory Lento, clarinets and piano serving to reintroduce something of the irony of the first movement, now tempered by tragedy and death, and finding a place for the questioning figure of the timpani that goes on to accompany a gently poignant cello solo. A gradual increase in speed and volume leads to the final Presto, leaving in its ambiguity of final mode, a possibility of the triumph of death rather than life. © 2015 Naxos Digital Services Ltd
5︱蕭斯塔科維契第一
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
呂紹嘉 根特•赫比希 張尹芳
第一小提琴
★ 吳庭毓 ★ 李宜錦 ☆ 鄧皓敦 ○ 陳逸群 郭昱麟 方俊人 黃佳頎 李庭芳 賴佳奇 林孟穎 ● 陳怡茹 ◎ 孫正玫 ○ 陳玟佐 吳怡慧 李京熹 第二小提琴 鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔 ● 黃瑞儀 ◎ 鄧啟全 ▓ 呂昭瑩 黃雅琪 李靖宜 中 提 琴 蔡秉璋 吳彥廷 黃亞漢 ▲劉詩珊 ● 熊士蘭 ◎ 連亦先 ○ 韋智盈 周幼雯 陳怡婷 大 提 琴 ▲ 劉純妤 ▲ 丁莉齡 ● 傅永和 ◎ 蘇億容 ○ 周春祥 王淑瑜 黃筱清 低 音 提 琴 ● 安德石 ◎ 宮崎千佳 李 浚 長 笛 短 笛 鐘美川 ● 王怡靜 ◎ 阮黃松 ▲楊凱婷 雙 簧 管 ▓ 李明怡 楊舒婷 英 國 管 ● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 單 簧 管 ● 簡凱玉 ◎ 陳奕秀 高靈風 低 音 管 倍 低 音 管 簡恩義 ● 劉宜欣 ◎ 劉品均 ○ 黃任賢 國田朋宏 王婉如 法 國 號 ● 宇新樂 ◎ 陳長伯 張景民 鄒儒吉 小 號 ● 李昆穎 ◎ 邵恆發 陳中昇 長 號 低 音 長 號 彭曉昀 低 音 號 黎文忠 ● 塞堤恩 ◎ 陳廷銓 定 音 鼓 ● 陳哲輝 陳振馨 楊璧慈 王瓊燁 打 擊 樂 ● 解 瑄 豎 琴 鍵 盤 ▲ 許毓婷 ※特別感謝國立臺灣藝術大學音樂系副教授黃荻客席本場單簧管副首席 執行長 整銷推廣經理 企劃演出經理 行政管理經理/ 總監執秘
邱 瑗 王承禹 賴盈帆 王雲玉
企劃演出 企劃專員/總監助理 郭奕飛 企劃專員 賴曉俐 石玲玲 譜務專員 高婉瑜 樂團舞監 高冠勳 統籌舞監 蘇敬涵 助理舞監 李艷玲
林基弘 李家豪 黃衍繹
梁坤豪 曾智弘 顧慈美
陳逸農 蔡竺君 康信榮
卓曉青
謝君玲
呂孟珊
李思琪
陳猶白
林宜女閒
黃日昇
蘇品維
唐鶯綺
王淑宜
連珮致
蔡歆婕
▓曹予勉
李梅箋
▲張顥嚴
整銷推廣 行銷組長 鄭巧琪 行銷專員 王思懿 黃郁雯 劉世玥 戴瑜均 林洪儀 行政管理 人事組長 林碧珠 法務專員 劉善謙 行政專員 林欣儀 陳靜怡 行政助理 張筑昀
法律顧問 林信和 音樂諮詢 焦元溥 美術設計 黃志勳 錄音製作 NSO LIVE 講座計畫贊助
★樂團首席 ☆樂團副首席 ●首席 ◎副首席 ○助理首席 ▓留職停薪 ▲樂季合約人員 ＊NSO樂團學苑學員 劃底線者為本場協演人員