2015 SILK ROAD No.39 臺北市立國樂團 國樂‧新絲路雙月刊 No.39

Content 04

目 錄

10 13 Cover Story ｜ 封面故事 04

Extraordinary Conducting Competition Held In Taipei 2015 TCO International Conducting Competition Ended Successfully 2015 TCO 國際指揮大賽圓滿落幕 International Conducting Competition First Prize Won By Frans-Aert Burghgraef 首獎由荷蘭指揮 Frans-Aert Burghgraef 奪得 New Vision ｜ 美樂新視野 10

A Music Memo For Young Conductors From Jorma Panula 潘努拉給年輕指揮的音樂備忘錄 People ｜ 人物特寫 13

Violinist Ching-Yun Tu Is Back To Perform Butterfly Lovers With TCO 再現《梁祝》 北市國與杜沁澐攜手

2015 February

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發行人│鍾耀光 總編輯│呂冠儀

Publisher Editor-in-Chief

顧問│吳榮順 林谷芳 徐伯年 蔡宗德 鍾適芳 瞿春泉

Editorial Advisors

編審委員│陳小萍、葉翩翩、鍾永宏、蘇盈恩、 陳慧君、黃平君、鄭聞欣

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SiLK ROAD February 2015 企劃．執行編製│澄石創意經濟體藝術（股）有限公司

Editorial Review Committee

Executive editor ∙ Production

Yiu-Kwong Chung Kuan-Yi Lu Rung-Shun Wu Ku-Fang Lin Bor-Nien Hsu Tsung-Te Tsai She-Fong Chung Chun-Quan Qu Hsiao-Ping Chen, Pien-Pien Yeh, Yung-Hung Chung, Ying-En Su, Hui-Chun Chen, Ping-Chun Huang, Wen-Hsin Cheng Change&Share Creative Group

新

The New Route

思 路

文｜鍾耀光 圖｜臺北市立國樂團

Of Thinking

By Yiu-Kwong Chung Photo ｜ Taipei Chinese Orchestra

In

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2015, the New Silk Road magazine has officially launched it’s electronic, Internet-based version to meet with readers different from those who frequent the paper. The electronic New Silk Road has a comprehensive adjustment in the content, and will be emphasizing on Chinese music related topics and in-depth discussion on an international scale; and will be also serving as an important tool in marketing the Taipei Chinese Orchestra worldwide.

臺北市立國樂團去年的努力成果豐碩，2014 年 度票房超過千萬元，完成預定計畫目標。此外， 國樂器改革計畫也有一定的成效。胡琴及彈撥樂 器的改革在演奏會中表現獲得樂界好評，今年將 持續這項計畫，把改革範圍擴大到管子方面與人 造蛇皮的測試。

Taipei Chinese Orchestra had quite a fruitful previous year, yielding more than ten million NT at the box office, and meeting the set target. In addition, the Chinese instrument reform plans also got favorable results. Both huqin and stringed plucked instruments of reform received raved reviews from their performances. This project will continue this year with plans to expand the scope of reform into tube instruments and artificial snakeskin.

015 年，《新絲路》雜誌正式以電子化、網 路化的型態與讀者見面，針對不同於以往紙 面的閱讀群，電子化的《新絲路》在內容上有全 面性調整，未來強調與國際有關的國樂相關話題 及深度討論；並且將透過網際網路成為行銷臺北 市立國樂團國際化重要的媒介。

此外，我們今年有兩項新的計畫，一為「網路 音樂會」；另一項為「Dr. TCO（國樂診療室）」。 「網路音樂會」將會開創臺北市國樂團新的演奏 平台，透過網路播放，讓全球網友都能夠欣賞樂 團的演奏。此舉將打破傳統音樂會的運作方式， 樂團不需要在一個「音樂廳」中進行音樂會，但 所接觸到的觀眾，可達全球每一個角落，跨越了 臺北市的地理限制。這項計畫未來將與網路《新 絲路》跨平台連結，讓網友在欣賞網路音樂會的 同時，也能從《新絲路》中預先了解到音樂會的 內容和相關曲目及人物介紹。另一個計畫稱為 「Dr. TCO（國樂診療室）」，我們把臺北市國樂 團變成診所，樂團資深演奏員利用排練和演出空 檔時間化身為醫生當值，歡迎國樂社團民眾或 相關科系學生都可以問診。國樂診療室還有電 台 call-in 版本，這是臺北市立國樂團走出音樂廳 和排練室，拉近與民眾的距離，實踐近距離推廣 和教學，傳承國樂專業技術和知識所踏出的一大 步。

In addition, this year we have two new plans, one for the "Web Concert"; the other one is "Dr. TCO (Chinese Music examination room)." "Web Concert" will create a new platform for Taipei Chinese Orchestra, letting listeners from all over the world enjoying its performances. This surpasses how the concerts were done traditionally, by operating under the limits of an auditorium, and will be widely accessible by anyone around the world, beyond the geographic limitations of Taipei. This concept will merge with the new electronic New Silk Road platform, so that while the users are enjoying the internet concerts, they can also read up on repertoire and character information. For our other so called "Dr. TCO (Chinese Music examination room)," our musicians will be using their down time to sit-in in a clinic setting to address any inquiries that our audiences or Chinese music students might have. Dr. TCO will also host radio call-ins, allowing the Chinese music to reach beyond the concert halls and rehearsal rooms and get closer to the public. It’s the big step towards teaching and sharing the knowledge and heritage of Chinese music.

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2015 TCO

國際

大賽

圓滿落幕 首獎由荷蘭指揮 Frans-Aert Burghgraef 奪得 文｜ Sunnie Chen 圖｜ 臺北市立國樂團

前排 ( 由左至右 )：簡文彬、 後排 ( 由左至右 )：彭奕凱、

「

2015 TCO 國 際指揮大賽」在 1 月 31 日晚 上 圓 滿 落 幕。 最 後 由 荷 蘭 指 揮 Frans-Aert Burghgraef 奪得冠軍，第二名由來自馬來西亞的彭 奕凱奪得 , 第三名則由俄羅斯的 Anna Leonidovna Rakinita 奪得，而「最佳傳統國樂詮釋獎」則由來 自美國的 Farkhad Adelievich Khudyev 奪得。 這次指揮比賽，收到來自全球 5 大洲 27 個國 家及地區的 107 位參賽者報名參加，是臺灣有 史以來第一次舉辦的國際指揮比賽；而且比賽形 式獨特，在三個回合中，參賽者都需要指揮西洋 交響樂團和傳統國樂團，這種中西混合曲目的模 式，也是全球首創。 團長鍾耀光表示：「作品不但包括中西經典， 同時傳統與現代兼具，對參賽者而言，是一次嚴 峻的考驗，也是一次中西文化差異的體驗。」北 市國特別邀請到國際知名指揮大師約瑪 • 潘努

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拉 (Jorma Panula) 擔任評審團主席，同時邀請到 國際指揮名家陳秋盛、簡文彬、葉詠詩、瞿春泉、 許知俊，及作曲家陳士惠、音樂學者樊慰慈擔任 評審委員，評審陣容相當堅強。 這次比賽，華人社會的國家像臺灣、大陸、香 港、新加坡、馬來西亞共有 61 位參賽者，佔總 參賽人數 57%，但具國樂背景的參賽者僅僅只有 26 名；其他歐美亞洲國家參賽者共 46 名，他們 都沒有國樂背景。因此，具國樂背景的參賽者僅 僅只有 26 名，佔總參賽人數的 24.3%，比例明顯 偏低。 勇奪大賽第一名的荷蘭指揮 Burghgraef 表示： 「參賽前對國樂一竅不通，但這是一場偉大且令 人驚艷的冒險，非常值得，學到很多不一樣的觀 念。」 獲 得「 最 佳 傳 統 國 樂 詮 釋 獎 」 的 美 國 指 揮

/ 封面故事 /

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、陳士惠、葉詠詩、Jorma Panula、鍾耀光、陳秋盛、瞿春泉、許知俊 、Farkhad Adelievich Khudyev、Anna Leonidovna Rakinita、Frans-Aert Burghgraef、葉娟礽

Farkhad Adelievich Khudyev 更加積極，去年不但 親自從美國搭機飛到臺北報名，還買了許多北市 國出版的 CD、DVD 帶回美國，希望進一步準備 不曾接觸過的國樂曲目。

得獎名單

雖然比賽的獎牌沒留在臺灣，但能讓很多外國 指揮因而認識到國樂和臺北市，是一次非常有效 的文化輸出和城市宣傳。

第三名 Anna Leonidovna Rakinita / RUSSIA FEDERATIONA

第一名 Frans-Aert Burghgraef / NETHERLANDS 第二名 彭奕凱 / MALAYSIA

最佳傳統國樂詮釋獎 Farkhad Adelievich Khudyev / USA

2015 TCO 國際指揮大賽資料分析 國籍 臺灣 中國 香港 新加坡 馬來西亞 其他 小計

參賽者人數及百分比 36（33.6%） 13（12.1%） 6 3 3 46 107

具國樂背景人數 11 9 2 2 2 0 26（24.2%）

入圍初賽者 4 2 0 1 1 12 20

具國樂背景人數 2 2 0 0 1 0 25% SiLK ROAD

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Extraordinary Conducting Competiti

By Sandy Chen ENDITEM ｜ James Ellett

W

i n n i n g t h e Ta i p e i C h i n e s e O rc h e s t ra International Conducting Competition put Dutch conductor Frans-Aert Burghgraef in the pages of a Netherlands’ newspaper. The event, ended on January 31 in Taipei, was unlike any that Burghgraef had experienced before. In addition to Western Symphony, the entrants also conducted classic Chinese music played on traditional Chinese instruments. The Dutch conductor described the experience as a wonderful and challenging adventure.

This unique contest was a first of its kind held by the Taipei Chinese Orchestra (TCO). More than 100 conductors from around the world entered the International Conducting Competition.Only about a quarter of the participants came to the competition with traditional Chinese music backgrounds.

Frans-Aert Burghgraef/ NETHERLANDS

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Taipei Chinese Orchestra’s new and innovative format included traditional Chinese orchestrations in all three rounds of competition. Competitors conducted Western and Chinese repertories with Western orchestra and traditional Chinese orchestra.

Chung Yiu-kwong, the General Director of TCO, said, “The repertories included Western and Chinese classics, as well as traditional and modern music. This made the competition challenging, but also gave conductors an exciting cultural experience.”

The competition was open to conductors of all nationalities. There were 107 entries from 27 countries and regions across 5 continents. Among them were 61 participants from Chinese societies in Taiwan, Mainland China, Hong Kong, Singapore, and Malaysia. 46 contestants were from Western and other Asia countries. Twenty contestants 彭奕凱 / MALAYSIA

/ 封面故事 /

ion Held In Taipei were selected by the pre-selection committee to compete in the first round.

Chairman of the jury was the illustrious Finnish conductor Jorma Panula. Other renowned jury committee members include, maestro Felix Chen Chiu-sen, Chien Wen-pin, Yip Wing-sie, Qu Chunquan, Xu Zhi-jun, famous composer, Chen Shih-hui, and musicologist Fan Wei-tsu.

One of the competitors, Farkhad Adelievich Khudyev, is a professional conductor in the United States., Originally from Turkmenistan, Khudyev had never conducted any Chinese repertoire prior to entering the competition. When he flew to Taiwan last year to register for the competition, he brought back with him a large number of CDs and DVDs to prepare for the challenge. Khudyev’s diligent Anna Leonidovna Rakinita / RUSSIA FEDERATIONA

Cover Story

preparation paid off. He was the winner of the prize for Best Traditional Chinese Music Interpretation.

The week of conducting competition was intense, especially for the three that made it into the final round; the process was an arduous test of both body and mind. The grand prize winner Burghgraef said it was a “great adventure” for him and a “very instructive experience.”

The winner admitted still not having complete acquaintance with all traditional Chinese instruments, but said, “I have learned many different musical ideas from this competition.” Second place went to Aik Khai Pung of Malaysia. Pung was the only award winner in the competition that came in with a Chinese music background. Third place overall was awarded to Anna Leonidovna Rakinita from Russia.

While the medals did not stay in Taiwan, the contest was a tremendous success both for Taipei Chinese Orchestra and Taipei City. The competition was an outstanding Chinese cultural introduction for the professional conductors. Chung felt that it is not only the importance of international cultural exchange, but also believed this competition will promote the discovery of eminent traditional Chinese music talents and cultivation future conductors for traditional Chinese orchestras.

2015 TCO International Conducting Competition Data Analysis Nationality

Number and Percentage of Applicants

With Chinese Music Background

First Round Qualifier

With Chinese Music Background

Taiwan China Hong Kong Singapore Malaysia Other

36(33.6%) 13(12.1%) 6 3 3 46 107

11 9 2 2 2 0 26 (24.2%)

4 2 0 1 1 12 20

2 2 0 0 1 0 25%

Total

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音樂無界 彰顯樂之包容 2015 TCO 國際指揮大賽賽後觀察與思考 文｜ 楊偉傑（香港演藝學院音樂學院碩士生導師） 圖｜ 臺北市立國樂團

筆並重的比賽曲目，每一位參賽者都需要分

者認為，這次指揮大賽的開創思維在於中西

別指揮國樂團與西方管弦樂團，演繹國樂曲與管 弦樂曲。這也是大賽的最大特點，在全球各大指 揮比賽中獨樹一幟，極具指標意義。加上以芬蘭 指揮學派代表人物約瑪•潘努拉（Jorma Panula） 為首，雲集兩岸三地的知名指揮家陳秋盛、葉詠 詩、瞿春泉、簡文彬、許知俊，臺灣音樂學者樊 慰慈與旅美臺灣作曲家陳士惠，評審陣容也是一 時之選。筆者與不少音樂界朋友在比賽之前，都 對外國選手指揮國樂團演奏國樂曲抱有疑問，但 是在國樂部分的初賽開始不久，筆者已逐漸消除 這個疑問。

由左至右：Jorma Panula 、瞿春泉、簡文彬

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筆者驚嘆這些來自全球各地，大部分是首次接 觸國樂的指揮家，對於《月兒高》、《亂雲飛》 這兩首國樂界公認的高難度作品都能夠了然於 胸，可以清晰地指揮樂隊演奏；筆者更驚艷他們 除了熟知樂譜外，更有自己的理解，對樂隊有所 要求，而樂隊也反應迅速，十分專業地奏出指揮 所希望出來的聲音。 入選決賽的三位選手，來自荷蘭的 Frans-Aert Burghgraef、馬來西亞的彭奕凱、俄羅斯聯邦的 Anna Leonidovna Rakitina 對鍾耀光的《動感飛天》 以及陳士惠的新作《廣陵散的迴響》均有其個人 詮釋。每首樂曲在每一次的演奏裡，樂隊都會發

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由左至右：許知俊、葉詠詩、陳秋盛

出不同的聲音，有不同的效果。這些選手雖然在 不同地方接受教育，指揮風格也各有不同，但他 們都有一個共通點，就是指揮技術都具有一定水 平，其中有不少在大學時期已主修指揮，打下了 良好的基礎。國樂與西樂，對他們來說，看來只 是樂曲與樂隊的不同，指揮的基本技術是並無二 致的。 對於評審而言，筆者從數日來的賽事情況以及 與他們的訪談中了解到，他們著重的是參賽者的 指揮技術、對樂譜的熟悉度，以及與樂隊的溝通 方法、排練能力與效率等。至於選手是什麼國籍、 來自什麼地方、具有什麼音樂背景，則並不在考 慮之列，一切都在指揮臺上見真章！ 由此引發起筆者對國樂發展的一些思考。自上 世紀二十年代至今，現代國樂走過近百年的發展 歷程，已循更專業更全面的方向往前走。現在國 樂的綜合條件已較為完備，我們更應該在前人的 足跡下攜手並進，把現代國樂做得更好。這次指 揮大賽，筆者深深感受到北市國對國樂未來的遠 見和憧憬，也印證了以鍾耀光團長為首的團隊策 劃舉辦這次比賽的初衷與目的。 現代國樂本來就是創新之物，當年劉天華的 「國樂改進」思想，放諸現在還是有其可取之處。 指揮藝術源於西方，中國固然也有司鼓藝術，兩

者皆有共通之處，但指揮的學習系統在西方行之 已久，也甚具規模，以之作為基本功，再涉獵各 個門類的音樂，則無往而不利。我們必須要了解 到，指揮技術本就無分中西，音樂的概念均基本 一致，不同之處就是在於曲目與演繹。 我們不要把中西音樂陷入二元對立面，晚清時 期的「洋為中用」、「中學為體，西學為用」等 思想自有其歷史原因。然而，在一百多年後的今 天，通訊網絡的廣泛應用，讓地域界線變得模糊， 如果我們還繼續抱有「中國音樂落後論」或者「漢 族音樂中心論」等論調，國樂發展只會裹足不前。 世界上各種音樂並無高低之分，好聽與否也是取 決於個人的主觀標準。 現代國樂雖然已近百歲高齡，但在音樂的歷史 長河中，還是年青的小伙子，它的定義還是可變 的，國樂的內容還是在不斷的豐富與充實當中。 指揮藝術，簡而言之就是技巧與詮釋。只要有紮 實的基礎，加上對不同民族音樂風格的理解，就 如潘努拉再三強調的「Study」，愈加鑽研，行之 有法，所得的必定愈為豐碩。《周易》之乾卦有 言：「天行健，君子以自強不息。」坤卦亦言：「地 勢坤，君子以厚德載物。」音樂無界，國樂如能 兼收並蓄，彰顯包容，定能面向更廣闊的天地邁 進！ SiLK ROAD

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New Vision

/ 美樂新視野 /

給年輕指揮的音樂備忘錄

潘努拉：指揮的責任 就是帶領樂團演奏 潘努拉口述，陳君笠撰文 圖│臺北市立國樂團

A Music Memo For Young Conductors From Jorma Panula

By Christie Chen

很

高興臺北市立國樂團能夠舉辦一個跨越中 西音樂的比賽。其實，任何類型的音樂，對 指揮來說，都是一樣的。我個人認為，指揮最重 要工作，就是將樂譜上謄寫與記載的任何資訊， 透過與樂團合作，忠實地傳遞出來。所以，無論 音樂素材來自何處，指揮所肩負的責任，就是帶 領樂團演奏。 透過每位參賽者與樂團的排練，我們可以觀察 到樂曲速度是否恰當，預備拍手勢是否清晰，樂 團各聲部之間音量是否達到平衡，是否有做出樂 曲中音量或音色的強弱變化等細節。上述幾點， 是演奏音樂最基本的條件與要求，透過指揮動作 或手勢，並能夠傳達訊息給團員，由樂團演奏出 來。 慶賀比賽圓滿結束，在此也要給新秀指揮一些 建議： ( 一 ) 有效率的排練： 分配好樂曲每個段落所需要的排練時間，並關

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潘努拉說， Panula sa

I

am very glad that the Taipei Chinese Orchestra has organized an international conducting competition that saw contestants conducting both Chinese and Western music pieces. In fact, the responsibility of a conductor is the same no matter what the genre of music. In my view, the most important task of a conductor is to collaborate with the orchestra to faithfully relay whatever is written on the sheet music to the audience.

A conductor’s job is to lead the orchestra, regardless of where the music comes from.

By sitting in for the rehearsals of each contestant, we were able to learn if the tempo of the music was appropriate; if the preparatory beat gesture was clear; if the volume was balanced among the different parts of the orchestra; and if the timbre was right.

These are the basic components of music performance. Through his or her gestures, a

/ 美樂新視野 /

New Vision

，指揮的責任就是帶領樂團演奏。 aid,the most important task of a conductor is to collaborate with the orchestra to the audience.

心時間。 舉例來說，比賽中有參賽者未注意時間，反而 詢問主辦單位，他還可以練多久，這是非常嚴重， 不可犯的錯誤之一。這個錯誤，顯示出對時間掌 握的能力太差。 ( 二 ) 隨時注意團員體力： 演出難度較高的曲目，會將團員專注力消耗得 比較快，樂團片段較難的聲部，對演奏者來說， 也是一次次的挑戰，尤其當銅管必須演奏高音樂 句時，若是演出當天的彩排，切記不要讓團員重 覆太多次，否則會提早將演出時的氣力用盡，留 下遺憾。 ( 三 ) 切勿模仿學習指揮名家動作： 指揮比賽的第一階段通常是影片審核，評審經 常可以看到熟悉的樣板動作或手勢，馬上就能讓 人聯想到是某某某指揮大師。對每一個成熟的指 揮來說，都應該擁有自己獨特的語言，而非做個 卡拉揚第二。

conductor aims to convey this information to members of the orchestra, which then plays the music to the audience.

Congratulations to a successful event. Below are some of my suggestions to these promising conductors: 1. Effective rehearsals : Conductors should be time conscious and be able to arrange the appropriate time needed to rehearse each part of the music piece. During the competition, some contestants made the glaring mistake of asking the organizers how much rehearsal time they had left. This is a very serious mistake that shows a lack of control over time.

2. Do not overdo rehearsals : It takes a lot of energy to perform difficult pieces.

Playing high notes is especially a drain of energy for brass players. Therefore, in rehearsals that take place on the day of the performance, a conductor

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New Vision

/ 美樂新視野 /

潘努拉（右）在座談中給年輕指揮備忘錄，左為團長鍾耀光。 Panula recommended to young conductors in the forum, the left was Chung Yiu-Kwong.

( 四 ) 精讀樂譜： 這是身為指揮，畢生奉行的唯一信仰，只有透 過熟練與詳實地精讀樂譜，才能夠確實傳達出作 曲家在樂曲中所譜寫下的每一顆音符，大師認為： 音樂能夠表現它們本身。因此將作品按照樂譜上 記載的表情記號，力度記號等等忠實演奏出來， 並融入其時代背景與風格語法，便是指揮所必須 完成的工作。

should limit the time of rehearsals to preserve the energy of the musicians.

3. Do not imitate famous conductors : When reviewing videos submitted by contestants in the first phase of a conducting competition, judges can usually spot a familiar movement or gesture that reminds them of a famous conductor.

Every sophisticated conductor should develop his or her unique body language. The aim is not to be Herbert von Karajan II. 4. Master the sheet music : A conductor should dedicate his or her life to mastering the sheet music. Only through careful and thorough reading of the sheet music can a composer accurately pass on the notes to the audience. Great conductors believe that music can show itself. Therefore, a conductor’s job is to give a faithful rendition of the expression marks and dynamics symbols on the sheet music, with a combination of his or her own style and the language of the time period.

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/ 人物特寫 /

Peopl e

跨越 啟程 南臺灣

《梁祝》再現 北市國與杜沁澐攜手 文│ Rose Chen 圖│ 臺北市立國樂團

文│ Rose Chen 圖│杜沁澐

杜

沁澐出生臺北，1991 年榮獲教育部「資賦 優異生赴法研究音樂獎學金」前往法國深 造，2000 年畢業於瑞士日內瓦音樂院，隨後進 入巴黎師範音樂學院，取得小提琴及室內樂最高 獨奏家文憑。2008 年獲法國第七屆 GérardmerKichompré 國際弦樂比賽第二名，對於法國古典 與現代作品有深入詮釋與表現。目前任教於巴黎 師範音樂學院教授小提琴與室內樂，巴黎 LéonBARZIN 交響樂團首席。 再度演奏《梁祝》，杜沁澐深覺「戲如人生」， 「世人追求的愛情，即使有美好的相遇，也不代 表一定是歡喜的結局。」然而令人感傷的愛情故 事，最後能化成彩蝶雙雙飛舞翱翔於空中，「我 們應該轉化自己的想法，用祝福的心境去看待彼 此相知相守、自由的那一刻。」 再次和國樂團合作《梁祝》這首協奏曲，杜沁 澐表示自己在演奏的處理上除了考慮中國音樂的 五聲音調外，也會在更細部的地方以胡琴的演奏 技巧表現女性對愛情的婉約，希望這首耳熟能詳 的旋律，有更多來自花都巴黎的浪漫情懷。

杜沁澐再次和 TCO 合作演奏《梁祝》。

音樂 便 利 貼 跨越－ TCO 2015 臺灣巡迴音樂會 時地： 2015 年 3 月 7 日臺南文化中心演藝廳 3 月 8 日嘉義縣表演藝術中心演藝廳

杜沁澐近期的安排，除了自己的樂團和教授巴 黎師範音樂學院的課程外，還會和曾到訪台灣演 出的假聲男高音 Jaroussky、巴洛克團合作，到奧 地利、德國及土耳其等國家展開巡迴演出。

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Peopl e

/ 人物特寫 /

Violinist Ching-Yun Tu Is Back To Perfor

By Rose Chen

F

rance -based violinist Ching-Yun Tu will cooperate with the Taipei Chinese Orchestra (TCO) for the second time to perform the celebrated Chinese orchestral piece, The Butterfly Lovers' Violin Concerto, in two concerts in March.

“Life is like drama, and drama is like life,” the Taiwan-born violinist said of the concerto. “When it comes to love, a beautiful beginning does not guarantee a happy ending.”

The concerto, created by Chinese composers Chen Gang and He Zhanhao in the late 1950s, tells the tragic Chinese legend of a pair of lovers who fought feudal norms to pursue love in the Eastern Jin dynasty (265-420 CE).

including Liu Yuan’s Train Toccata, Francine Aubin’s concerto for saxophone, and Liu Wenjin and Zhao Yongshan’s Ambush from All Sides, during the concerts.

Yen Ching-shyan will play the saxophone, Huang Chen-chi will play the erhu and Lin Jui-ping will play the suona.

Born in Taipei to a music family, Tu started her music education at the age of six.

She was awarded a scholarship in 1991 by the Taiwanese government to study in France. After

It is written in pentatonic scale and uses melodies from traditional Chinese folk songs.

Despite their tragic love, Zhu Yingtai and her lover Liang Shanbo eventually transformed into butterflies and roamed freely in the air.

“We should change our mindsets and view their understanding and love for each other, and their moment of freedom in a positive light,” Tu said.

To express the graceful and restrained emotions of women at the time, Tu said she will play the violin with techniques used in the playing of Chinese spike fiddle huqin.

She will also incorporate the romantic sentiments of Paris into the Chinese piece, the musician added.

The concerts will take place at the Tainan Cultural Center on March 7 and the Chiayi Performing Arts Center the following day.

Led by general director and conductor Chung Yiu-kwong, the orchestra will also perform pieces,

Violinist Ching-Yun Tu is back to perform Butterfly Lovers with

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/ 人物特寫 /

Peopl e

rm Butterfly Lovers With TCO graduating from the Conservatory of Geneva in 2000, she enrolled in the National School of Music of Paris, where she earned a diploma in violin and chamber music.

In 2008, Tu won the second prize of the 7th International Gérardmer-Kichompré String Competition in France.

She currently teaches violin and chamber music at the National School of Music of Paris and serves as a concertmaster of the Leon Barzin Orchestra.

She has also served as the concertmaster of Paris Conservatory Orchestra and the first violin of Quartet ARTE and Européen Romantique Orchestra.

She performs regularly in France and around the world, in countries including Austria, Finland, Germany, Italy, Taiwan and Japan.

In addition to performing with the TCO, Tu will also embark on a music tour recently with French countertenor Philippe Jaroussky and the Venice Baroque Orchestra, to Austria, Germany, Turkey and other countries.

Founded in 1979, the Taipei Chinese Orchestra is the first professional Chinese orchestra in Taiwan. It gives over 50 concerts each year and has performed in over 20 countries.

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TAIPEI CHINESE ORCHESTRA BRIEF INTRODUCTION In

1979, the Taipei Chinese Orchestra (TCO) became the first Taiwan professional Chinese orchestra to be established and supported as an official entity of the government. Annually it performs over 50 concerts of various types at many venues,serving close to 100,000 audiences. Internationally, it has visited over 20 countries in Asia, Europe, and the US for cultural interchanges.

Since 2007 when the noted composer Chung Yiu-Kwong was appointed the General Director, the TCO has entered a heretofore unseen era of artistic development, redefining the meaning of traditional Chinese music in terms of its creative crossover programming and transcending of nations, and establishing TCO's unique style and artistic direction. In so doing, it has unshackled itself from the reliance on the support of “traditional Chinese music” fans; rather, it has successfully extended its audience pool to other music lovers, both in Taiwan and abroad. The evidence of the success of this new direction is the increasing box office income.

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TCO Music CD Albums In

the past eight years, the TCO and the Swedish recording company BIS have cooperated to produce six albums: expected in June this year the publication of Lu Siqing violin album The Butterfly Lovers, the flutist Sharon Bezaly's Whirling Dance, the saxophonist Claude Delangle's Harmonious Breath, the trombonist Christian Lindberg's Trombone Fantasy, the percussionist Evelyn Glennie's Ecstatic Drumbeat, and the pianist Chen Sa's Memories Lost, which are distributed worldwide and are mostly virtuosic repertoire of technicallychallenging new compositions.

Whirling Dance SHARON BEZALY flute

Taipei Chinese Orchestra CHUNG YIU-KWONG conductor http://www.bis.se//index.php?op=album&aID=BIS-SACD-1759

Harmonious Breath CLAUDE DELANGLE saxophones

Taipei Chinese Orchestra EN SHAO conductor http://www.bis.se//index.php?op=album&aID=BIS-CD-1790

Trombone Fantasy CHRISTIAN LINDBERG trombone

Taipei Chinese Orchestra EN SHAO conductor http://www.bis.se//index.php?op=album&aID=BIS-CD-1888

Ecstatic Drumbeat EVELYN GLENNIE percussion

Taipei Chinese Orchestra EN SHAO conductor CHUNG YIU-KWONG conductor http://www.bis.se//index.php?op=album&aID=BIS-SACD-1599

Memories Lost CHEN SA piano

Taipei Chinese Orchestra CHUNG YIU-KWONG conductor http://www.bis.se//index.php?sokTyp=titel&sokText=Memories&Skicka=Search%21

The Butterfly Lovers LU SIQING violin

Taipei Chinese Orchestra CHUNG YIU-KWONG conductor BIS-2104

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