2021 Weiwuying TIFA Contemporary Music Platform Program Calendar

04

總監的話
Preface by General and Artistic Director

06

策展人的話
Preface by Curator

12

解密當代音樂
Decoding Contemporary Music

16《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談36

《當代大師的極簡世界－林佳靜鋼琴獨奏會》

54

《共鳴体》

Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk

The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano RecitalResonance: Into the Maze62

柏林新音樂室內樂團《閱讀音樂》計畫

KNM BERLIN - Tunings of the World 2.0

78《在．不在》

84

學習推廣活動

86

活動地圖

88

Here and Now

Learning and Participation Activities

Maps

製作團隊

Production Team

開館時間

快快搜尋，活動訊息不漏接！

Operation Hours

For more information

11:00-21:00

衛武營國家藝術文化中心
衛武營國家藝術文化中心

服務中心時間（售票）weiwuying_centerforthearts

Service Center ( Box O�ﬁce )@weiwuying

11:00-21:00@weiwuying_tw

目錄2021 衛武營 TIFA 當代音樂平台活動總覽Contents02

《當代大師的極簡世界－
林佳靜鋼琴獨奏會》

2021 衛武營 TIFA 當代音樂平台
2021 Weiwuying TIFA Contemporary Music Platform活動總覽

The Minimalism World ofContemporary Virtuosos Jenny LIN Piano Recital

Program Calendar

4.18 Sun. 14:30
表演廳 Recital Hall
⬤ 演後座談 Post-talk

柏林新音樂室內樂團《閱讀音樂》計畫《共鳴体》
Resonance:
Into the Maze

KNM BERLIN Tunings of the World 2.0

4.12 Mon.-4.25 Sun.
11:00-17:00

4.24 Sat. 14:30 / 19:30
4.25 Sun. 11:00 / 14:30

藝術迴廊 Art Gallery

戲劇院 Playhouse⬤ 作曲家面對面 Talk
©KNM BERLIN⬤ 演前導聆 Pre- talk© 林育全

《開幕音樂會》
陳銀淑管絃樂作品專場 ×
演後座談《在．不在》
Here and Now

Opening Concert The Orchestral Worksby Unsuk CHIN×Open-talk

4.24 Sat. 17:00
4.25 Sun. 17:00

4.17 Sat. 14:30
音樂廳 Concert Hall榕樹廣場西側平台 Banyan Plaza⬤ 演後座談 Open-talk©Priska Ketterer©KEN Photography

總監的話
Preface by General and Artistic Director

衛 武 營 的 舞 蹈、 馬 戲 與 當 代 音 樂 三 大 平

柏林新音樂室內樂團的《閱讀音樂》計畫放

台，扮演著串連國內外專業表演藝術社群映，包括來自臺灣、德國、阿根廷與墨西的重要角色，2019 年首次舉辦的「衛武營哥的六位作曲家參與，他們以錄像規格創

TIFA 當代音樂平台」透過音樂展演、人才

作，企圖凸顯當代音樂「以文本替代五線譜」

培訓、創意實驗與實踐，由多面向破解當的獨特之處。選擇在藝術迴廊播映，更讓

代音樂密碼，降低大眾對當代音樂的陌生

觀眾感受當代音樂在非典型空間的非常規與恐懼。2020 年，諸多表演節目因政府防創作方式與結果。

疫措施而取消，經過了一年，臺灣不但疫
情控制卓著，藝文活動也能正常進行，「2021
衛武營 TIFA 當代音樂平台」也回來了。

無論是業界人士，或是有點好奇卻又有點恐懼的初來者，我們都誠摯歡迎大家踏出一步，進入「衛武營 TIFA 當代音樂平台」「2021 衛武營 TIFA 當代音樂平台」的系

的繽紛世界，在這裡隨著音樂與身體脈動，列節目分布在衛武營五個不同的表演場域，

一起呼吸、一起聆聽。

並以「女性」、「亞洲力量」為兩大策展概念。在音樂廳舉行的開幕音樂會，以目前
全球樂壇最具代表性與影響力的韓裔旅德
作曲家陳銀淑之重要管絃樂作品貫穿全場；
在高雄出生、基隆成長、目前定居紐約的
鋼琴家林佳靜將在表演廳帶來兩位當代音
樂巨人的鋼琴作品。在戲劇院登場的是《共鳴体》，由動見体核心藝術家林桂如、聲音
裝置藝術家王仲堃和打擊樂團「自由擊」攜
手合作，透過機械裝置、燈光、擊樂、肢衛武營國家藝術文化中心藝術總監體等形塑出由聽覺、視覺、觀演關係組成

簡文彬

的演出。在榕樹廣場呈現的《在．不在》由三位舞蹈家與四位演奏家共同打造，以「樂舞共生」的本質，讓觀眾零距離感受表演
中的「身聲交流」。在藝術迴廊則有 KNM
042021 衛武營 TIFA 當代音樂平台Taiwan Dance Platform, Weiwuying Circus
Platform, and TIFA Contemporary Music
Platform in Weiwuying play an important rolein connecting Taiwanese and International
professional performing arts communities.
Inaugurate d in 2 0 19 , Weiw u ying T IFA
Contemporar y Music Platform had
successfully led the public to understandand overcome the fear of contemporary
music through holding a variety of events andactivities, including music exhibitions andperformances, talent cultivation workshops,
creative experiments and practices. In 2020,
many art programs were cancelled due to thegovernment’s pandemic prevention policies.
However, in the past year, Taiwan has
exhibited great control of the pandemic, withmany art events taking place as planned,
including the return of the Weiwuying TIFA
Contemporary Music Platform.

to present a performance consisting ofaural and visual experiences as well asinteractions between the performers andthe audience. Here and Now at Banyan Plaza
will be presented by three dancers and four
instrumentalists and uses the essence of“coexistence of music and dance” to allow
the audience to closely observe how bodyand sound interact. Weiwuying Art Gallery
will show a screening of KNM Berlin’s
Tunings of the World 2.0, which involved six
composers from Taiwan, Germany, Argentina,
and Mexico who used the composition
method of video recordings to show theuniqueness of substituting staff with text
in contemporary music. The Art Gallery was
selected as the location for the screening so
as to allow the audience to experience howcontemporary music is performed and how itsounds in an uncommon performing space.

The 2021 Weiwuying TIFA Contemporary
Music Platform takes place in Weiwuying’s
five different venues and are based on thetwo major curation themes of “female” and“Asian strength”. The Opening Concert willtake place in the Concert Hall, featuring theimportant orchestral works of German-based
Unsuk CHIN, one of the most representativeand impactful ethnic-Korean composers
globally today. In the Recital Hall, New
York-based Jenny LIN, born in Kaohsiungand raised in Keelung, will present the
piano works of two leading contemporarycomposers. In the Playhouse, artist LIN Kueiju from M.O.V.E. Theatre will collaborate withsound installation artist WANG Chung-kun
and percussion ensemble Freedom Beatto present Resonance: Into the Maze, which
combines mechanical devices, lighting,percussion sounds, and body movements

Whether you are a professional musician, ora newcomer with a little bit of curiosity andfear, we welcome you to step into the colorfulworld of Weiwuying TIFA Contemporary
Music Platform, where we can breatheand listen together with music and bodily
rhythms.

2021 Weiwuying TIFA Contemporary Music Platform

CHIEN Wen-pin
General and Artistic Director
National Kaohsiung Center for the Arts
(Weiwuying)05

策展人的話Preface by Curator

國際當代樂壇的亞洲女力
Asian Female Powerin the International Contemporary Music World© 攝影：陳又維

文／衛武營 TIFA 當代音樂平台策展人 林芳宜
Written by Weiwuying TIFA Contemporary Music Platform Curator, LIN Fang-yi「亞洲文化」與「女性」，一向是藝術研究

最悠久的現代音樂節——多瑙耳辛根音樂

的兩大領域，而亞洲女性作曲家在當代音日（Donaueschinger Musiktagen） 發 表

樂上的成就，亦是國際樂壇的發展脈絡裡，

大型管絃樂作品《Sori》，受到樂壇矚目，

極被注目的一環。從透過西方學院系統的並以此開啟作曲家生涯。朴泳姬的作品緊訓練，傳達自身的文化基因，到全球化之密結合韓國傳統文化的涵養和西方音樂學

後開始回溯母文化的探索與滋養，亞洲女

的嚴謹，從藝術品鑑賞的角度來說，正是

性作曲家在西方龐大的音樂產業網絡中，

能夠窺見創作者美學風格和藝術哲思，同以獨特的美學和藝術語彙，在一百年的新時又禁得起學術分析、具備技術含量的作音樂史上寫下豐富的篇章。

品，這讓她在幾乎清一色男性作曲家的年

德 國 音 樂 學 學 者 狄 貝 流 士（Ulrich

DIBELIUS）以 第 二 次 世 界 大 戰 結 束 的1945 年作為當代音樂的起始點，以區分大戰前的「現代音樂」（Moderne Musik），
戰爭帶給整個社會結構與人文發展巨大的影響，其中國家之間的交流和人口的遷移，
對於藝術發展更帶來推波助瀾的效能。戰
後首位名列樂壇的亞洲女性作曲家為來
自 南 韓 的 朴 泳 姬（Younghi Pagh-Paan,

1945-）。一如亞洲許多戰後第一代的藝術家，朴泳姬在首爾大學完成西方音樂學與
作曲的完整教育後，獲得德國學術交流總

代，樹立日後成為典範的基礎。朴泳姬同
時也是當代音樂史上，不可忽略的一位教師，多年在德國不來梅音樂院（Hochschulefür Künste Bremen） 任 教 並 在 該 校
創 立「新 音 樂 工 作 坊」（Atelier Neue

Musik）， 透 過 作 品 演 練 與 實 踐， 培 訓 新
生代創作者與演奏者，同時也多年於最重
要的當代音樂人才搖籃－達姆城假日學校（Darmstädter Ferienkurse）擔任導師，2020 年她獲頒「柏林藝術大獎」（Großer
Berliner Kunstpreis），是該獎項自 1948
年創立至今唯一亞洲女性。

署 獎 學 金（DAAD）， 帶 著 母 文 化 的 美 學薰陶，赴歐洲歷練東西方的文化衝擊與最前 衛 的 藝 術 創 作 方 法。1980 年 她 在 德 國
062021 衛武營 TIFA 當代音樂平台“Asian culture” and “female” have persisted
as two major fields in art studies. Moreover,
the achievements of Asian females
in contemp orar y music have re ceive dtremendous attention within the developing
context of the international music world.
From expressing one’s cultural inheritancethrough systematic training in Westernschools, to returning to the explorationand nurturing of one’s mother culture postglobalization, Asian female composers have,within the colossal network of the Westernmusic industry, created a rich collectionof works in 100 years of new music history
through their unique aesthetic and artistic
vocabularies.
German music scholar Ulrich Dibelius
used 1945, the ending year of W WII, as
the starting point for contemporary music
an d th e p oint of dif fe re ntiatio n fro mModerneMusik (modern music) before
WWII. The War brought a huge impact onsocial structure and cultural development,
wherein the interaction and immigration
between countries further accelerated
artistic development. Korean composer
Younghi Pagh-Paan (1945-) was the firstrenowned Asian female composer postwar. Like many first-generation artists
after the war, after completing her studyof musicology and composition at Seoul
National University, she won the German
Academic Exchange Service and carried theaesthetic influence of her mother culture
with her as she headed to Europe, where she
2021 Weiwuying TIFA Contemporary Music Platform

learned the cultural impact between Eastand West and the most avant-garde musicalstyles. In 1980, she received the attentionof the musical world when she presented
her large-scale orchestral work Sori at
DonaueschingerMusiktagen, the most longstanding modern music festival in Germany,with her composing career thus taking
off. Younghi Pagh-Paan’s works combine
the restraint of traditional Korean culture
and the rigorousness of Western music.
From the perspective of art-appreciation,
one is precisely able to see the artist’s
aesthetic style and artistic thinking. At thesame time, her works withstand academic
analysis and are rich in artistic techniques,laying the foundation for her to become aparagon in the later era made up almost
exclusively of male composers. Younghi
Pagh-Paan is also a prominent teacher incontemporary music history. She has taught
for many years at Hochschule für Künste
Bremen in Germany, where she created thecontemporary music workshop Atelier Neue
Musik, which cultivates new composers
and performers through the practice andactualization of works. She was also a longtime mentor at Darmstädter Ferienkurse,
the most important spot for the cultivationof contemporary music talents. In 2020, she
was awarded Großer Berliner Kunstpreis(Berlin Art Prize) and is the only Asian woman
to receive the award since the award’s
establishment in 1948.

07繼朴泳姬之後，來自中國的陳怡（CHEN

其中最具代表性的人物當屬來自韓國的陳Yi, 1953-）為中國文化大革命之後第一批得

銀 淑（Unsuk CHIN, 1961-）和 來 自 日 本

以接受大學教育的音樂家，她與中央音樂

的 向 井 山 朋 子（Tomoko MUKAIYAMA,院 的 同 班 同 學 譚 盾（TAN Dun, 1957-）、

1963-）。陳銀淑先於首爾大學主修作曲，

郭文景（GUO Wen-jing, 1956-）、陳其綱

極 早 即 獲 得 國 際 獎 項， 後 取 得 德 國 學 術（CHEN Qi-gang, 1951-）等人被稱為「中交 流 總 署 獎 學 金 前 往 德 國 深 造。1985 年

國第五代作曲家」，都在文革期間歷經「知1988 年師從李蓋悌（György LIGETI）期

青下鄉」並擁有豐富的民族音樂采風經驗。

間，她並無繼續參賽和正式發表作品，而

第五代作曲家在完成國內教育後，大部分前

是潛心解構僵化的後音列技法，在理論與

往美國與歐洲，接收西方前衛音樂的創作

美學實踐之間，找到自己的音樂語彙。這訓練，而他們所帶來的中國元素與中國絲個蛻變過程，常可見於來自理論先行於創

竹樂器，為西方樂壇帶來一股風潮。陳怡

意表達的國家——通常也是非西方古典音

於 1986 年前往美國，拜在周文中（CHOU

樂的主流國家，而這也正是學習一種「外Wen-chung）門下，作為第五代曲家在西來文化」藝術創作方法的必經過程。陳銀

方國家發展的唯一女性，她不似譚盾等人在淑的作品並不特別標榜亞洲素材，亦不強

作品中大量引用民樂，而是承襲周文中以西

調文化根源，而是以精湛的創作技法實踐方前衛技法探究中國美學的發展路線，加上聲響藝術。陳銀淑的作曲家生涯發展緊密

陳怡自幼學習小提琴，西樂基礎和樂團經驗連結當代音樂的產業網絡，是現今當代樂

深厚，讓她的作品無論是在技法或架構格局壇最活躍、也最受矚目的亞洲女性作曲家。

上，都能呈現更高的藝術性。陳怡於 2006
以作品《四季》獲頒普立茲音樂獎（Pulitzer

Prize for Music），是首位獲得此獎項的亞裔作曲家。
戰後第一代的藝術家背靠傳統、面向前衛、大破大立，無論是西方音樂的傳統或是母

generation, with globalization and themultimedia brought about by technologicaladvancements , initiated an era where
many sch o ols of th oughts prosp ere d .
The most representative among thesecomposers were Unsuk CHIN (1961-) andTomoko MUKAIYAMA(1963-). Unsuk CHIN
majored in composition in Seoul National
University and was awarded an international
award at an early age. She later received
the German Academic Exchange Service
to study in Germany. While studying with
György LIGETI from 1985 to 1988, she
did not participate in any competitions or
premier any works; instead, she committed
h erself to de c o nstr u cting p o st serial
te c h ni q u e s th at h a d alre a d y b e c o m erigid, and through a balance of theory andaesthetic practice, finding her own musicallanguage. Such a metamorphosis is often
seen in countries where theory comes before
creative expression, which are usually not
the mainstream countries that come tomind when one thinks of Western classicalmusic. This is also a necessary process
for learning the composition methods ofa foreign culture. Unsuk CHIN’s works do
not specifically feature Asian elements
or cultural origins; instead, sound art isdemonstrated through the use of virtuosic
composing techniques. The development of
Unsuk CHIN’s composition career is closely
tied with the network of the contemporary
music industry, and she is the most active andprominent Asian female composer in today’scontemporary music world.

The first post-war generation was rooted in
tradition and progressed towards the avantgarde and breaking the norm; thus, one
sees both Western musical traditions andtraditions of the composers’ own countries
in their works . Meanwhile the s e c o n d

文化傳統，都不難在其作品中窺見，而第
二代藝術家則乘著全球化的風潮與隨著科技而來的多媒材，開啟百家齊鳴的世代，

08

In su c c e s sio n to P agh - P aan , Chin e secomposer CHEN Yi (1953-) was among
the first generation to be able to attend
university after the Cultural Revolution. She,
together with her classmates at Central
Conservatory of Music, TAN Dun (1957-),
GUO Wen-jing (1956-), and CHEN Qi-gang(1951-), were named by the people as the“5th generation composers of China”; they
all experienced the “sent-down educatedyouth” program and had rich experiencesin ethnomusicology. Composers of the 5th
generation usually go to the US or Europe
after completing education in China to learn
the avant-garde style of Western music,
where the Chinese musical elements andChinese traditional instruments that theybring along also became a trend in theWestern music world. CHEN Yi went to the
US in 1986, where she studied with CHOU
Wen-chung. As the only female among the
5th generation composers, CHOU did notincorporate large amounts of Chinese folk
music in her works like TAN Dun, but instead
inherited CHOU Wen-chung’s development
p a t h o f u s i n g W e s t e r n a v a n t- g a r d etechniques to explore Chinese aesthetics.
CHEN Yi also started playing the violin at a
young age and thus had a solid foundationin Western music as well as abundant
ex p e r i e n c e p l ay i n g i n th e o r c h e str a .
Therefore, her works demonstrate a sublime
level of artistry in terms of techniques andstructures. CHEN Yi was awarded the 2006
Pulitzer Prize for Music with Si Ji and was thefirst Asian composer to win this award.

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform09

相較於陳銀淑，以演奏當代音樂崛起歐洲

作者、表演者與策展人，作品風格涵蓋嘻哈、

樂壇的鋼琴家向井山朋子，嚴格說來並不戲曲、古典和流行，透過策展與製作，她開

在作曲家之列，然而多年來，她融合演奏、

啟一個新世代——不再以外來者角度，融入

視覺藝術、劇場藝術與行為藝術的跨域製歐美音樂產業與網絡，而是以個人的藝術實作，無論是創意、藝術性或數量、製作規模，

踐，在縝密的既有產業結構中，建立新的社

放眼國際樂壇，鮮少音樂家能夠與之比擬。

交與發展網絡，進而站在世界的高度探索自向井山朋子的作品無疑完全展現「國際公身的文化淵源。杜韻的多功發展讓她成為第民」的特點：不以國界自限、不以文化特二位普立茲音樂獎的亞洲女性藝術家。

色為訴求，而是直取各藝術領域的本質，
並扣緊各類藝術的當代脈動。

亞洲女性作曲家的數量並不少，然而即使當代音樂是極小眾的藝術，創作者仍無法

同樣來自日本的望月京（Misato MOCHIZUKI,

自外於社會連結，綜觀這幾位作曲家的職

1969-）屬於接收全球化隨之而來的大量文

涯發展，不難發現創作與社交網絡是相輔

化資源、同時也開始回望母文化相貌的世

相成的，她們都是在亞洲完成大學教育、代。她在東京大學取得碩士學位後，前往巴

成年後才移居歐洲繼續深造，對她們而言，

黎深造，承襲了法國當代音樂的聲響色彩與

難以克服的從來不是創作技法的學習和演

東方的美學哲思，因此在她的作品中，可看練，而是由主流國家和男性掌握多數發語到西方的精準和東方的自由並存。這種反應權的產業暨社交結構。她們目前各居一方、

全球人文發展的特質，一直延續至今，相較

作品在全球不間斷被演出，同時也持續書

於獲得主流國家的認可，新世代的亞洲作曲

寫音樂史中，屬於亞洲女性的章節。

家更追求自我的表達和個人風格。來自中國的王穎（WANG Ying, 1976-）和杜韻（DU

Yun, 1977-）同樣畢業於上海音樂院，王穎
前往德國、杜韻則選擇美國，兩人朝截然不同的美學風格發展，卻都不再乘載亞洲文化
的傳承包袱。 王穎結合德法當代音樂的優點、掌握西方樂器、絲竹樂器、電聲與多媒材，兼具嚴謹結構和聲響創意的作品，不刻意鋪排設計屬於中國或亞洲的傳統，但來自傳統的美學語彙卻也不時顯露在作品的脈絡中。杜韻則將一位藝術家的國際性發揮得淋漓盡致，並在高度國際化的同時，直面非主
流文化的發展議題。杜韻可謂最不設限的創

102021 衛武營 TIFA 當代音樂平台C o m p a r e d t o U n s u k C H I N , To m o k o
MUKAIYAMA, a pianist who emerged in theEuropean music world as a contemporary
music performer, is not a composer strictly
speaking. However, she has participatedin interdisciplinary projects that combine
music performance, visual art, theater art
and the behavioral art for many years. In theinternational music world, few musicians cancompete with her in regards to creativity,a r t i s t r y, a n d n u m b e r s a n d s c a le s o fcreation. Tomoko MUKAIYAMA’s works fully
demonstrate the characteristics of what itmeans to be an international citizen: free ofself-imposed national boundaries and theseeking of cultural characteristics; instead,she directly touches upon the core of eachart field and closely follows their modern
developments.
Also from Japan, Misato MOCHIZUKI(1969-)
belongs to the generation that began
looking back at one’s mother culture after
receiving huge amounts of cultural resources
due to globalization. After receiving hermaster’s degree from University of Tokyo,
she continued her studies in Paris, inheriting
both French contemporary acoustic colors
and Eastern aesthetic thinking. Therefore,
in her works one sees both the precisionof the West and the freedom of the East.
Such a quality that reflects the global
cultural development has continued to
today. Compared to gaining recognition frommainstream countries, Asian composersof the new generation focus more on selfexpression and the development of theirown styles. Chinese composers WANG Ying
(1976-) and DU Yun (1977) both graduatedfrom the Shanghai Conservatory of Music,
after which WANG Ying went to Germany
and DU Yun went to the US. Though they
undertook drastically different paths ofaesthetic development, neither continued
to undertake the burden of passing on the
Asian culture. WANG Ying combines the
merits of German and French contemporary
music with Western instruments, traditional
Chinese instruments , electronics , and2021 Weiwuying TIFA Contemporary Music Platform

multimedia, creating works with precise
structures and acoustic creativity. She
does not intentionally exhibit Chinese or
Asian traditions, but the Chinese traditional
aesthetic language does occasionallypresent itself in her works. DU Yun, on theother hand, brings the internationality of anartist into full play; and amidst a high-degreeof internationalization, she also directly
addresses the development topics of nonmainstream culture. DU Yun can be said tobe the artist, performer, and curator with theleast boundaries, with her works including
the styles of hip-hop, Chinese dramas,
Western classical music, and pop music.
Through curating for and producing projects,
she opened a new era where one no longer
incorporates the European/ American musicindustry and network as an outsider; instead,the actualization of one’s own art is used
to establish a new social and development
network within the closely knitted structureof the music industry, which is further used
to explore one’s own cultural context from a
global perspective. DU Yun’s multi-functional
development allowed her to become thesecond Asian female artist to win the Pulitzer
Prize for Music.
Although Asian female composers are notsmall in number, it is still hard for them toconnect with society despite contemporary
music being a non-mainstream art form.
From the career development of the above
composers, we can see how work creationand social network are closely related. They
all continued their studies in Europe andthe US after coming of age and completingcollege education in Asia. For them, thereal challenge does not lie in learning newcomposition techniques and practices, but
in the industrial and social structure whose
speaking rights are predominantly controlled
by mainstream countries and males. They
have each built their own reputations andstatuses, and as their works continue to be
performed around the world, they continue
to write new chapters for the Asian female inmusic history.
11

解密當代音樂Decoding Contemporary Music:當代音樂大解密—由三個關鍵字看當代音樂發展Looking at the Development of Contemporary Music
Through Three Keywords

文 / 周昭均（巴黎第八大學音樂學博士）
Written by CHOU Chao-chiun (Ph.D. in Musicology from University of Paris VIII)「當 代 音 樂」（Contemporary music）往遇與各種開放形式；在音樂時間上，出現

往被與複雜難懂、難聽劃上等號，令人卻

高度非連續性、垂直沈浸等多樣的時間感。

步。不過，若以 1945 年作為當代音樂之始在器樂或聲樂寫作上，不再受限於傳統的（二十世紀初至 1945 年間的作品則歸為「現演唱奏方式，開拓新的技法與聲音效果，代音樂」），在近八十年且仍在發生的歷史

抑或更直接運用演奏者的身體。

中，雖曾有較主流的趨勢（如二戰後的序列主義），但各種不同潮流、「主義」或「樂「聲音」

派」同時並存或相繼發展。因此，當代音而當代音樂中一項關鍵或根本的斷裂，在樂無法以單一音樂風格或美學來界定。然於 音 樂 中「聲 音」地 位 的 改 變。 法 國 音 樂而，我們或許能以幾個關鍵詞簡單地一窺

學 家 索 羅 摩 斯（M. SOLOMOS）在 著 作

究竟。

《從音樂到聲音》中便指出，二十世紀音樂經歷了範式（paradigm）的改變，由以音「斷裂」（調）為中心轉變為以聲音為中心。他更認音樂史的斷代總難脫武斷之嫌，不過，以為「非調性」一詞只對應了二十世紀音樂破

1945 年作為當代音樂的起點，也凸顯了西

壞過去的潛能，聚焦於聲音則是其建設性方，特別是歐洲，在經歷納粹浩劫後重新的一面，甚至能斷定這種改變會與十七世

開始的迫切性。與現代音樂作品相較，二紀調性音樂的確立同樣具奠基性。 的確，戰後的許多音樂作品（特別是戰後第一代

在二十世紀初音色旋律、噪音藝術開啟了

作曲家的作品）展現了與過去西方音樂更翻轉音高／音色、樂音／噪音關係的概念

明顯或刻意的「斷裂」。在形式上，探索機

後，1945 年後，作曲家對音色或聲響有了122021 衛武營 TIFA 當代音樂平台For many people, contemporar y music
is of te n e q u ate d w ith c o m p lex it y,i n c o m p r e h e n s i b i l i t y, a n d a g e n e r a l
u n p le a s a ntn e s s th at is dif f i c u lt toaccept. However, if we use 1945 as thecontemporary music’s starting point (works
composed from the early 20th century to1945 are categorized as “modern music”),
in the almost 80 years up to now, although
there have been considerably mainstream
trends (such as serialism after WWII), various
movements—“-isms”, or musical schools,
have continued to coexist or come into being
after one another. Therefore, contemporary
music cannot be defined by a single musicalstyle or aesthetic school. That said, we canstill create a rough context through a few
keywords.

Break
Though the divides in music history areoften subject to dogmatism, the use of1945 as contemporary music’s starting
p oint accentuates the urgency in theWest, especially in Europe, to start anew
after the Nazi catastrophe. Compared
to contemporar y musical works, manymusical works after WWII (especially theworks of composers of the first post-war
2021 Weiwuying TIFA Contemporary Music Platformgeneration) exhibited a more prominent andintentional “break” from the Western musicof the past. In terms of form, they exploredchance music and open arrangements, andin terms of musical time, discontinuous andvertical-immersive senses of time weredevised. Instrumental and vocal musicbroke from traditional ways of playing,and new techniques and sound effects
were developed. Perhaps more directly,
performers’ bodies were even used as
instruments.

Sound
In contemporary music, an essential andfundamental “break ” is the change indesignation of “sound” in music. Frenchmusicologist M. Solomos indicates in From
Music to Sound that 20th century music
un der went a paradigm change where
the focal point shifted from tone(key) tosound. He believes that “atonality” onlyreflects the potential of 20th centur ymusic for destroying past customs, with aconstructive side of it being the focus onsound, even surmising that such a change
is as foundational as the establishment of
tonal music in the 17th century. Indeed, after
tone melodies and noise arts in the early13

更系統性的認識、思考和探索，「聲音」取處：豐富與擴大我們的感知經驗，而越來

代「音高」成為許多作品的發展主體或結構

越普遍的跨域合作也反映了這一點。然而，基礎。而伴隨著對聲音的重視與認識，聲

如何運用新科技與跨域合作，將其整合為

音的空間性或空間化也成為當代音樂創作

真正的藝術表現形式或形成真正的新音樂

的重要議題。

語言，是藝術家必須思索的重要課題。而
對聽眾來說，新的聲響、曲式、時間結構、「科技」

科技運用等確實帶來了聆聽時的挑戰，然促 成 上 述 範 式 轉 變 的 一 項 重 要 因 素， 是

而「心 懷 恐 懼 者， 一 切 皆 噪 音。」我 們 可

二十世紀聲音相關科技的發展。1940 年代

以先拋除「當代音樂＝複雜難懂」的刻板印

後，新的儀器與分析技術使我們更了解聲象，打開耳朵，細聽新聲響的各種型態，

音的動態性質，影響了作曲家對音樂結構

進而感受作曲家如何組織這些聲音，來達

的思考。而如果模仿器樂或人聲是電子音

成美學目標。

樂發展初期的重點之一，從磁帶操控、類比或數位合成製造的新聲響，也反過來成
為作曲家創作器樂時的參考。而時至今日，
互動裝置、虛擬實境等最新科技在當代音
樂中的運用，更將進一步改變甚至顛覆我
們熟悉的創作、演出與聆聽經驗。
以上三個關鍵詞當然無法包含當代音樂的全貌，但卻揭示了當代音樂必要與迷人之
142021 衛武營 TIFA 當代音樂平台20th century triggered the overturningof the pitch/tone quality and music/noise
hierarchies, after 1945, composers had amore systematic understanding, thinking,and exploration of tone quality and sounds
in general. “Pitch” was substituted by “sound”
as the main subject or foundational structure
in many works. Additionally, as composers
have continued to put more emphasis on andlearn more about sounds, the spatial quality
or spatialization of sounds have also become
important topics in contemporary music.

Technology
An imp or tant factor that in du ce d theaforementioned paradigm change was
the development of sound technology inthe 20th century. After the 1940s, newequipment and analysis technology allowed
us to understand the dynamic quality ofsounds , af fecting the way composers
viewed musical structures. And if imitating
the sound of instruments or the humanvoice was an important part in the earlystage of electronic music, new sounds
created from the manipulation and analog
of magnetic tapes or digital synthesis havein turn become references for composers
in instrument writing. Today, the use of2021 Weiwuying TIFA Contemporary Music Platform

state-of-the-art interactive devices andvirtual reality technology in contemporary
music will further change, or even overturnthe works, performances, and listening
experiences that are familiar to us.
Without any doubt, the above three keywords
cannot present a comprehensive view ofcontemporary music. But they do show thenecessity and fascination of contemporary
music: to enrich and expand our sensual
experiences, with the increasing numberof cross-over collaborations also echoing
such a position . Thus, how to use andintegrate new technology and cross-overcollaborations to create real art forms or new
musical languages is an issue that requires
important consideration from artists. For
the audience, new sounds, forms, time
structures, and technology uses, etc, dopose aural challenges—after all, “everythingsounds like noise when one is scared of thenew.” Let us put aside the stereotype that
contemporary music equates to “complexity
and incomprehensibility”, open our ears, andlisten attentively to the various forms of new
sounds; in so doing, we may be able to feel
how composers put together these sounds toachieve aesthetic goals.

15

《開幕音樂會》
陳銀淑管絃樂作品專場 × 演後座談Opening Concert The Orchestral Works by Unsuk CHIN × Open-talk

2021 衛武營當代音樂平台邀請當前國際樂
壇最具代表性的亞洲女性作曲家陳銀淑，
作為駐節作曲家，本場演出由衛武營藝術
總監簡文彬、鋼琴家林佳靜與高雄市交響樂團，演出陳銀淑管絃樂作品專場。
這場創作年代跨越二十多年的作品展演，
從 1996 年展露純熟管絃樂技法的鋼琴協奏曲，到 2019 年由北德廣播交響樂團委託
創作的《卷首》，不僅能夠聽到作曲家創作
脈絡的演進，更能一覽陳銀淑以一位亞洲
女性作曲家在當代音樂主戰場的歐洲崛起，從崛起到屹立不搖的藝術深度。
音樂會後將由衛武營藝術總監簡文彬邀請
陳銀淑進行對談，從兩人相似的人文背景
和專業養成，探討亞洲 DNA 在國際樂壇、
尤其是當代音樂領域中的優勢與劣勢，同時更近一步從人才培育、場館機制等面向，提出兩人對當代音樂現況與下一個世代的觀察。
演出曲目● 歌劇《愛麗絲夢遊仙境》第五景前奏曲● 鋼琴協奏曲●《卷首》管絃樂曲（亞洲首演）●《人型》給管絃樂團的生動音畫（亞洲首演）

I. 〈音樂盒－噩梦〉
II. 〈睡魔與孩童〉
III. 〈發條女孩之舞〉
IV. 〈被盜的眼睛〉

The 2021 Weiwuying TIFA Contemporary
Music Platform will be presenting
internationally-renowned composer Unsuk
CHIN as the resident composer. Artistic
Director CHIEN Wen-pin will be leading KSO
in staging the Taiwan premiere of Unsuk
CHIN’s orchestra concert. Pianist Jenny LIN
will perform Unsuk CHIN’s Piano Concerto asa soloist.
The program includes works that span across
two decades that not only manifest themusician’s creative context but also provide
a viewpoint into CHIN’s status as a female
Asian composer in Europe, the arena forcontemporary music.
After the concert, Artistic Director CHIEN
Wen-pin will invite Unsuk CHIN for an Opentalk for the audiences. The two artists will
explore the advantages of the Asian DNA
in the international music stage, especially
its a d vantage s an d dis a d vantage s incontemporary music, from their similar
cultural and professional backgrounds.
F u r t h e r m o r e , t h e t w o s p e a ke r s w i l lshare ideas on contemporary music, theresponsibility of venues, and education.
Program
Alice in Wonderland - Prelude to Scene V
Piano Concerto
Frontispiece for Orchestra (Asia Premiere)
Mannequin - Tableaux vivants for orchestra(Asia Premiere)
I. Music Box - Fever Dream
II. Sandman and Child
III. Dance of the Clockwork Girl
IV. The Stolen Eyes

4.17 Sat. 14:30
音樂廳 Concert Hall演出全長約 75 分鐘，無中場休息
Duration is 75 mins without intermission.
演後 座談 Open-talk
4.17 Sat. 16:00-17:00
音樂廳 1 樓大廳Concert Hall Lobby

合作夥伴：高雄春天藝術節
Partner: Kaohsiung Spring Arts Festival

16© Priska Ketterer

2021 衛武營 TIFA 當代音樂平台

指揮：簡文彬｜鋼琴：林佳靜｜樂團：高雄市交響樂團
Conductor: CHIEN Wen-pin ｜ Piano: Jenny LIN
Orchestra: Kaohsiung Symphony Orchestra
2021 Weiwuying TIFA Contemporary Music Platform

更多節目資訊For More Information17

《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk

作曲家簡介 Composer Biography

陳銀淑
Unsuk CHIN

©kim moon jong

身兼作曲家與音樂策展人的陳銀淑生於團，以及東京交響樂團等等。她也曾在不1961 年的韓國首爾，並自 1985 年起旅居

同音樂節或樂團擔任駐場或駐團作曲家，德國。其職業生涯中曾獲頒許多古典音樂

前者如瑞士琉森音樂節、巴黎秋季藝術節、

獎項，包含 1985 年荷蘭葛第姆斯作曲獎、BBC 交響樂團舉辦的沉浸式音樂節，而後

2004 年格文美爾作曲獎（以小提琴協奏曲者則如北德廣播交響樂團、柏林德意志交

奪 下 該 獎 項）、2005 年 荀 貝 格 獎、2010

響樂團等等。

年摩納哥皮埃爾王子基金會音樂作曲獎、

2012 年韓國湖岩獎、2017 年西貝流士獎、
2018 年克拉維斯獎、2019 年巴赫獎，以及 2021 年丹麥森寧音樂獎。她的音樂也
吸引了許多國際級指揮大師的矚目，其中包括賽門．拉圖爵士、埃薩 - 佩卡．薩洛寧、
長野健、古斯塔沃．杜達美、艾倫．吉伯特、
鄭明勳、蘇珊娜．麥爾基、大衛．羅伯森、
尤卡 - 佩卡．薩拉斯特，以及漢努．林圖、彼得．于特福許、喬治．班傑明和弗朗索
瓦 - 澤維爾．羅斯。陳銀淑更經常受邀為
許多全球知名樂團譜寫演奏曲目，曾演出
其作品的樂團有柏林愛樂、紐約愛樂、愛樂管絃樂團、阿姆斯特丹皇家大會堂管絃
樂團、芝加哥交響樂團、萊比錫布商大廈
管絃樂團、倫敦愛樂樂團、洛杉磯愛樂樂

2007 年，陳銀淑的首部歌劇作品《愛麗絲夢遊仙境》在德國巴伐利亞國立歌劇院舉
行全球首演，並由此揭開了慕尼黑歌劇節的序幕。該作品隨後以 DVD 和藍光形式發
行，如德意志唱片公司、凱羅斯唱片和艾
納列克塔公司等歐美唱片廠牌，也紛紛推
出其個人作品精選專輯。此外，陳銀淑同
時也以音樂策展人的身分活躍於樂壇。於2006 年至 2017 年間，她在首爾愛樂樂團
負責監督現代音樂節「新視界」系列的演出（該音樂節由她本人所創辦）；於 2011 年
至 2020 年間，則在倫敦擔任愛樂管絃樂
團「當代音樂」系列音樂會的藝術總監。此外，她也在 2021 年出任洛杉磯愛樂樂團
首爾音樂節總監一職。

團、BBC 交響樂團、波士頓交響樂團、法其作品目前均由英國古典音樂出版商博浩

國廣播愛樂樂團、皇家斯德哥爾摩愛樂樂公司獨家代理發行。

18

2021 衛武營 TIFA 當代音樂平台Composer and curator Unsuk CHIN wasborn in 1961 in Seoul and she has lived
in Germany since 198 5 . CHIN’s career
has b e en celeb rate d with a serie s ofclassical music awards, so far receiving
the 1985 Gaudeamus Award, the 2004
Grawemeyer Award for Music Composition
for her Violin Concerto, the 2005 Arnold
Schoenberg Prize, the 2010 Prince Pierre
Foundation Music Award, the 2012 Ho-Am
Prize, the 2017 Wihuri Sibelius Prize, the2018 Kravis Prize, the 2019 Bach-Preisand the 2021 Léonie Sonning Music Prize.
Her music has attracted the attentionof international conductors including Sir
Sim o n R AT T LE , Es a- P ekka SALO NEN ,Kent NAGANO, Gustavo DUDAMEL, Alan
GILBERT, Myung-Whun CHUNG, Susanna
Mälkki, David ROBERTSON, Jukka-Pekka
SARASTE, Hannu LINTU, Peter Eötvös,
George BENJAMIN and François-Xavier
ROTH. Regularly commissioned by leading
performing organisations around the world,her music has been performed by orchestras
such as the Berlin Philharmonic, New York
Philharmonic, Philharmonia Orchestra,C o n c e r t g e b o u w, C h i c a g o S y m p h o n yOrchestra, Leipzig Gewandhaus, London
P hilharm onic O rche stra , Los Angele s
Philharmonic Orchestra, BBC SymphonyOrchestra, Boston Symphony Orchestra,
Orchestre Philharmonique de Radio France,
Royal Stockholm Philharmonic, and theTokyo Symphony, among others. She has
been Composer-in-Residence of the Lucerne
2021 Weiwuying TIFA Contemporary Music Platform

Festival, the NDR Elbphilharmonie Orchestra,
the Deutsches Symphonie-Orchester Berlin,
the Festival d’Automne, the BBC’s Total
Immersion Festival, and many more.
I n 2 0 0 7, C H I N ’s f i r s t o p e r a A l i c e i n
Wonderland received its world premiereat the Bavarian State O pera , opening
the Munich Opera Festival, and it was
subsequently released on DVD and BluRay. Portrait CDs of CHIN’s music haveappeared on Deutsche Grammophon, Kairos
and Analekta. CHIN has also been active asa concert curator, overseeing the Ars Nova
series at the Seoul Philharmonic from 2006
to 2017 - a series which she founded herself,from 2011 to 2020 as Artistic Director of theMusic of Today series of the Philharmonia
Orchestra in London and in 2021 as Directorof the Seoul Festival of the Los Angeles
Philharmonic.
Her works are published exclusively by
Boosey & Hawkes.

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《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk

指揮 Conductor

簡文彬
CHIEN Wen-pin

衛武營國家藝術文化中心藝術總監。簡文樂會系列」、國人作品委託創作及錄製、「歌彬 1967 年生，國立藝專（今國立臺灣藝術

劇系列」等創舉，並在 2006 年樂團 20 週

大學）鍵盤組畢業，維也納音樂暨表演藝

年時推出華語地區首次自製之華格納《尼術大學指揮碩士學位。1996 年起擔任德國貝龍指環》四部曲；2014-2016 擔任國立

萊茵歌劇院〈Deutsche Oper am Rhein〉

臺 灣 交 響 樂 團 藝 術 顧 問， 並 於 2014 年 9駐院指揮長達 22 年；1998-2004 年為日

月獲頒第十八屆國家文藝獎。

本太平洋音樂節（Pacific Music Festival）
駐節指揮；2001-2007 年為國家交響樂團（NSO）音樂總監，在其任內推動「定期音General and Artistic Director of the National
Kaohsiung Center for the Arts (Weiwuying),
CHIEN Wen-pin was born in 1967, graduatedfrom the National Taiwan Academy of Arts
and awarded with Master degree at the
National University for Music and Performing
Arts Vienna. CHIEN joined the Deutsche Operam Rhein (Dusseldorf / Duisburg, Germany)in 1996 and ser ved as “Kapellmeister”
for 22 years. 1998-2004 he was Resident
Conductor of the Pacific Music Festival(Sapporo, Japan), 2001-2007 he was Music
Director of National Symphony Orchestra(Taiwan Philharmonic), during his tenure theorchestra has achieved several milestones
su ch as creating Subscription series ,202021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform2018 年 10 月「衛武營國家藝術文化中心」
正式啟用後，成為該場館首任藝術總監。

commissioning Taiwanese composers ,introducing an opera series which coronetedwith the first production of the complete“Ring des Nibelungen” by Richard Wagner in
Chinese speaking areas, upon orchestra’s
20th anniversary in 2006. 2014-2016 CHIEN
was Artistic Advisor of the National Taiwan
Symphony Orchestra. In addition, CHIEN was
winner of the “National Award for Arts” in2014.
Also, he was the first-ever General and Artist
Director after the National Kaohsiung Centerfor the Art (Weiwuying) opened on October
2018.

21

《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk

高雄市交響樂團
Kaohsiung Symphony Orchestra

樂在，你也在。

Wherever there is music, there is you.
A young orchestra which marches on steadily——年輕的樂團 堅定向前行
對一個城市而言，有專屬的樂團是難得珍

出許多與國內外名家聯演的系列音樂會；貴的。高雄市交響樂團是一個年輕有活力2018 年底，參與衛武營國家文化藝術中心

的樂團，與國際級指揮與名家大師們合作

的啟用典禮演出，未來在這座音樂廳中，共鳴，勇於嘗試多元型態的演出，古典與

高雄市交響樂團將扮演更多重要的角色。

跨界同時是樂團發展的主軸，為樂迷創造
更多優質的音樂饗宴，也培育無數表演與
欣賞的種子，延展古典音樂創新的鴻翅。

在國際舞臺上，樂團不斷獲邀至多個國際
城市演出，逐步跨越城市與國界，以國際
級樂團為自我提升與成長目標，堅定向前。

1981 年成立，2009 年與高雄市國樂團基
金會整併為「財團法人高雄市愛樂文化藝術基金會」。2009 年起迄今，擔任高雄春

The Kaohsiung Symphony Orchestra wasfounded in 1981. It was merged with the
Kaohsiung Chinese Orchestra in 2009 as“Kaohsiung Philharmonic Culture and Arts
Foundation”. Since 2009, the KSO has made天藝術節重要演出角色，成功打響「高雄春天藝術節草地音樂會」品牌；近十年來，
不斷地迎接國際各方的深礪與琢磨，創造22

It is an asset for a city to have an orchestraof it s ow n . Yo u n g a n d e n e rgeti c , th e
Kaohsiung Symphony Orchestra (KSO)
invites world-class conductors and masters
for collaboration and challenges itself bystaging performances of diversified styles.
The development of the orchestra focuseson both classical and crossover genres;it has not only created increasingly morehigh quality musical miscellanies for music
enthusiasts but also planted numerous seeds
for music appreciation and performance,
contributing to the innovation of classicalmusic.

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform

considerable contribution in the Kaohsiung
Spring Arts Festival, successfully promoting
its grassland concerts. In the last decade, theKSO has collaborated with renowned local
and international artists and music groups
and staged numerous concert series. The
end of 2018 marked the grand opening of
the National Kaohsiung Center for the Arts
(Weiwuying), where the KSO participatedin the center’s inauguration. KSO wishes tocontinue playing an important role in thecenter’s concert hall.
The KSO has been invited to perform on
international stages regularly. Reaching
beyond city and country borders, the KSO
advances steadily with the self-developmentg o a l o f b e c o m i n g a n i nte r n at i o n a l ly
acclaimed orchestra.

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《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk

本場代理首席 Acting Concertmaster◎樂團副首席 Associate Concertmaster○聲部首席 Principal●樂團助理首席 Assistant Principal▲協演人員 Guest Orchestra Member

高雄市交響樂團名錄
Kaohsiung Symphony Orchestra Members

執行長 CEO

中提琴 VIOLA

長笛 FLUTE

長號 TROMBONE

朱宏昌 CHU Hung-chang○蕭寶羚 HSIAO Pao-ling○林文苑 LIN Wen-yuan○田智升 TIEN Chih-sheng陳曉芸 CHEN Hsiao-yun

葉瓊婷 YEH Chiung-ting

駐團指揮 RESIDENT CONDUCTOR王弈萱 WANG Yi-hsuan

吳建慧 WU Chien-hui

楊智欽 YANG Chih-chin尤鄭詔駿 CHENG Chao-chun▲劉亦倫 LIU I-lun

媛 YU Yuan

林楷訓 LIN Kai-shun

雙簧管 OBOE

低音長號 BASS TROMBONE

第一小提琴 FIRST VIOLIN

陶泓憬 TAO Hung-ching○王慧雯 WANG Hui-wen

林禹慈 LIN Yu-tzu◎葉翹任 YEH Chiau-ren▲黃文翔 HUANG Wen-hsiang●張恆碩 CHANG Hen-shuo▲林宜蓓 LIN Yi-pei

李純欣 LEE Chun-hsin▲鄭農樺 CHENG Nung-hua

郭洹佐 KUO Huan-tso▲林燁均 LIN Yeh-chun

蔡宗言 TSAI Tsung-yen

鄭化欣 CHENG Hua-hsin▲翁悠芳 WENG Yu-fang

潘慈洞 PAN Tzu-tung單簧管 CLARINET○莊維霖 CHUANG Wei-lin

范翔硯 FAN Hsiang-yen

大提琴 CELLO

黃郁盛 HUANG Yu-sheng○林采霈 LIN Tsae-pey

韓健峰 HAN Chien-feng

劉彥廷 LIU Yen-ting

陳冠甫 CHEN Guan-fu

陳怡靜 CHEN I-chin

低音管 BASSOON▲郭承姍 KUO Cheng-shan

林威廷 LIN Wei-ting○劉君儀 LIU Chun-yi▲蘭馨 LAN Shin莊名媛 CHUANG Ming-yuan▲陳妍蓉 CHEN Yen-jung

陳又誠 CHEN Yu-cheng打擊 PERCUSSION
洪瑞辰 HUNG Jui-chen▲廖邦豪 LIAO Pang-hao

鄭斐文 CHENG Fei-wen▲顏宛揚 YEN Wan-yang▲施孟昕 SHIH Meng-shin▲顏婉清 YEN Wan-ching▲許婉柔 HSU Wan-jou▲呂第二小提琴 SECOND VIOLIN▲陳沛琤 CHEN Pei-cheng

法國號 HORN○陳思圻 CHEN Szu-chi▲陳普欣 CHEN Pu-Shin○陳冠豪 CHEN Kuan-hao

蕭曼林 HSIAO Man-lin▲黃展鴻 HUANG Chan-hung

薛程元 HSUEH Cheng-yuan

張瓊紋 CHANG Chiung-wen▲黃譯漫 HUANG Yi-man黃姿菁 HUANG Tzu-ching黃俊翰 TOMAS KARL Daniel

定音鼓 TIMPANI▲林育謙 LIN Yu-chien

熊書宜 HSIUNG Shu-i▲陳楷薇 CHEN Kai-wei

低音號 TUBA泠 LU Ling

豎琴 HARP
管伊文 KUANG Yi-wen

傅宗琦 FU Tsung-chi

曼陀林 MANDOLIN

陳麗薰 CHEN Li-hsun

低音提琴 DOUBLE BASS

賴衍學 LAI Yen-hsueh▲黃剛毅 HUANG Kang-yi

葉家銘 YEH Chia-ming○阮晉志 JUAN Chin-chih▲黃意茹 HUANG Yi-ru

陳人瑋 CHEN Jen-wei

趙紋孜 CHAO Wen-tzu

鋼琴 PIANO▲游傑安 YU Chieh-an曾兆瑒 TSENG Chao-yang

小號 TRUMPET▲侯啟琳 HOU Qi-lin

汪育萱 WANG Yu-shuan○唐大衛 ARGENTA David Melchior▲吳亞欣 WU Ya-hsin▲林麥麥 LIN Mai-mai▲周云捷 CHOU Yun-chieh

陳鏡元 CHEN Ching-yuan

鋼片琴 CELESTA▲劉寧昀 LIU Ning-yun▲王暘琳 WANG Yang-lin

陳亭安 CHEN Ting-an▲曹銘倉 TSAUR Ming-tsang▲林靖偉 LIN Ching-wei▲邱宇君 CHIU Yu-chun▲蘇俊維 SU Chun-wei▲邱筑渝 CHIU Chu-yu

手風琴 ACCORDION▲蔡偉靖 TSAI Wei-ching24

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform25

《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk樂曲解說 Program Notes

歌劇《愛麗絲夢遊仙境》
第五景前奏曲
Alice in Wonderland - Prelude to Scene V
作曲／陳銀淑Composer / Unsuk CHIN

陳銀淑的歌劇《愛麗絲夢遊仙境》，2007

語。帽子先生告訴愛麗絲，他們之所以整

年在巴伐利亞國立歌劇院首演，是少數改天都喝茶，因為「時間」懲罰他並永遠定

編路易斯．卡羅（Lewis CARROLL）經典

格在下午六點（英國傳統的下午茶時間）。

小說的音樂作品。作曲家透過音樂讓更多而此曲以超現實主義手法混合著不同音樂人懂得欣賞愛麗絲這個極富藝術性的傑作，

風格，呼應卡羅故事中像夢一樣的顛倒世其複雜程度遠超過兒童讀物的水平，並同界。

時被其他許多藝術家、科學家及讀者們咀
嚼品味著。故事的小主人公，愛麗絲，在充滿著奇異動植物的世界展開冒險。這個世界有著千奇百怪的邏輯，雖不是稀奇的題材，但作者卻是用特別現代及前瞻性的手法著筆。

作曲家曾如此解釋自己與卡羅的連結：「夢的存在感超越任何日常的實體經驗，違背物理法則地與另個世界相遇。夢之複雜，
有時只能在醒後留下片段回憶，試圖講述則聽起來像是胡言亂語，因為語言本身受
限於現實中的邏輯。這是卡羅書中所表達第五景對應書中「瘋狂下午茶」的章節，其的主旨，我在成年後發現此書，才完全領管絃樂演奏的前奏曲長約五分鐘。愛麗絲悟其中奧義並內化到作品中。」

為下午茶會的坐上賓，三個古怪角色：三月兔、帽子先生及睡鼠（大多時間都是睡
著的）不停詢問著愛麗絲荒唐又無解的謎
262021 衛武營 TIFA 當代音樂平台Unsuk CHIN’s opera Alice in Wonderland,premiered at the Bavarian State Opera in2007, is one of the surprisingly few musicaladaptations of Lewis CARROLL’s classic.
With this, the composer joined the long lineof artists, scientists, and other readers wholearned to appreciate Lewis CARROLL’s Aliceas a complex artistic creation that has far
exceeded its original function as a piece ofchildren literature. The heroine, little Alice,
experiences many adventures in a realm
in the world of animals and plants with astrange logic of its own - not an uncommon
topic in the literature but handled in a very
modern and pioneering way.
The five-minute-long Prelude to Scene V,for orchestra, is an offspring of the opera,
preceding a scene that relates to a chapter
named “A Mad Tea-Party”. Alice is a guest
at a “mad” tea-drinking session, where
three eccentric characters - a March Hare,the Hatter, and a Dormouse, who is asleep
most of the time - keep asking Alice absurd,unanswerable riddles. The Hatter tells Alice2021 Weiwuying TIFA Contemporary Music Platformthat they have tea all day because Time has
punished him by always standing still at 6 pm
(traditional English evening meal tea-time).
The music reflects the upside-down world of
this scene and the dream-like world of Lewis
Carroll by juxtaposing different musicalgestures and styles in a surrealist manner.
The composer has explained her affinity
with CARROLL as follows: “The visions of
my dreams represent a far more existential
level of experience than anything I have
known in my everyday life. For me, dreams
are an encounter with another world, inwhich utterly different physical laws prevail.
Sometimes a dream is so complex that only
a vague memory of it remains as soon as you
wake up. When you try to describe such acomplex dream-state in words, the result isinevitably what we call “nonsense”, because
our language is subject to a very different
type of logic. These are central themes also
in CARROLL’s books, and I was completely
absorbed when I first discovered CARROLL’s‘Alice’ books, as an adult rather than a child”.

27

《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk樂曲解說 Program Notes《鋼琴協奏曲》
Piano Concerto
作曲／陳銀淑Composer / Unsuk CHIN

此作品是繼我最初的三首鋼琴練習曲之後，家演奏的展現，探索著鋼琴的百變聲響，

再次以鋼琴為主角的重要創作。從四歲起而結尾的部分則是由樂章開頭變形而成。

我便迷上了這個樂器，我所接觸每個不同
時代的鋼琴作品風格，從史卡拉第至今，全部精髓都反映在此創作中。在這裡我特別想強調鋼琴所帶來的活力、動感，及高度的演奏技巧，簡而言之，就是鋼琴生動
有趣的那一面。在浪漫主義傳統上，樂團
通常都僅是獨奏的陪襯，但在這個作品裡，每個樂團聲部都有自己重要的表現。
四個樂章都有其鮮明的特色，且有一個共同特徵；就是架構上並非預設好的。每個
樂章都是從一個相同的最小單元自發發展而成，運用簡單的規則產生了高度複雜且
不可預測的結果。

第二樂章是一個音畫作品，包含了技巧性
演奏的間奏。間奏將樂章分為兩個部分；
第一部分引入了無數種聲音，它們彼此互補且對立。 間奏則強烈對比了樂章開始及結束的寧靜聲響。第三樂章鑲嵌了三十個
明顯不同的動機，並以兩個不斷出現的，整團合奏的和弦為樁柱，支撐著整個樂章。
最終的第四樂章，以維持了近兩分鐘的持續音Ｆ為鋪陳。鋼琴帶有即興色彩，並伴隨著持續重複的旋律。弦樂漸漸地發展出
節奏上的規律性，最終偏離了Ｆ主調，變
成短促且環環相扣的動機。樂章的結尾是
半即興的裝飾樂段，由鋼琴、銅管和打擊

第一樂章為作品的序幕。開頭為四個由三
和弦組成的動機，像是拼圖謎題般，幾何似地組在一起。這些段落被遠處的聲響打
斷，隨著遠處音量俱增，重要性也隨之增加。這些不同層次的聲音各有不同的節奏

樂器所演奏，最終以傳統的古典尾聲作結。
本協奏曲創作於 1996 年至 1997 年的冬天，
由英國廣播公司（BBC）為威爾斯 BBC 國立交響樂團委託創作。

形狀。樂章結尾時，先前由打擊樂器帶入的節奏動機被鋼琴取代，進而蛻變為獨奏28

2021 衛武營 TIFA 當代音樂平台Following my first three etudes for piano,
this is my second major work for piano – an
instrument which has fascinated me since
the age of four. This composition reflects theinfluences of every epoch in piano literature- from Scarlatti to the present. I wanted toemphasize particularly the vitality, kinetic
and virtuoso aspects - in short, the playful
side - of the piano. The solo part shows noevidence of the Romantic tradition, where thebrilliant solo line is merely accompanied by
the orchestra. Here every orchestral part has
an important function.
The four movements each have a ver ydistinctive character. A common feature,
however, is that none has a predetermined
structure . Each movement develops
spontaneously from a common cell, where
simple rules pro du ce highly complex ,unpredictable results.
First movement: a prelude to the work. At
the beginning there are four motives basedon a triad, which - like a puzzle - are put
together geometrically. These passages
are interrupted by far-away sounds, which
gradually increase in volume and importance.
These varying layers of sound also havevarying rhythmic patterns. At the end of
the movement a rhythmic motif previously
introduced in the percussion section is takenover by the piano and transformed into avirtuoso display by the soloist, exploring

2021 Weiwuying TIFA Contemporary Music Platform

all the sonorities of the instrument. The
conclusion consists of a metamorphosis of
the beginning of the movement.
The second movement is a tone painting
with a virtuoso interlude, which divides
the movement into two segments. In thefirst section numerous layers of sound are
introduced, complementing and opposing
one another. The interlude presents a marked
contrast to the static sonorities at the
opening and closing of the movement.
In the third movement 30 markedly differing
motives are introduced in mosaic fashionand two constantly recurring tutti chords
act as pillars, holding the entire movement
together.
In the concluding fourth movement anapproximately two-minute long sustained
F provides the pedal point for a gradualbuild-up. The piano has passages that soundimprovisatory, with accompanying ostinato.
Gradually a rhythmic pattern develops in thestrings, eventually veering away from thecentral pitch of F and changing into shortand interlocking motives. The movement
concludes with a quasi improvised cadenza
for piano, brass and percussion, followed by atypically classical coda.
This concerto was written in the winter of
1996-97, commissioned by the BBC for the
BBC National Orchestra of Wales.

29

《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk樂曲解說 Program Notes《卷首》管絃樂曲
Frontispiece for Orchestra
作曲／陳銀淑Composer / Unsuk CHIN《卷 首》管 絃 樂 曲 是 由 北 德 廣 播 交 響 樂

這種「翻譯」的過程發生在數種層面，從巴

團 委 託 創 作， 為 首 席 指 揮 吉 伯 特（Alan洛克音樂一直到前衛音樂，種種多元的素

GILBERT）上任後的就職開季音樂會帶來材跟型態，都以怪異的方式被記錄著及被序幕。利用這個機會，我寫了一個如同縮

改變著，相互影響後誕生了一些截然不同

時般的小品，它融匯了古今音樂歷史，運的產物。

用不同時期重要交響作品的獨特風格，重新鑄入新的造模，彼此影響互動著。我絕不是特別想引述哪些音樂風格，而僅是一
些模糊的暗喻及參考。

這些所有的變化都是相當細微的；先前所提到的那些暗喻，都不能夠立即被察覺，也絕無必要一一勘究典故地去理解這首作品。 宏觀層面來說，作品的架構是由某個

從細節上來看，此作品由許多微小的片段

和弦（可以稱為它的支撐樑柱）固定在一

組成，帶入了某些作品及作曲家的特色，

起，而該和弦罕見的自成一格。《卷首》體

以許多截然不同，甚至是是意想不到的方

現了我數十年來作為重要交響樂作品的作

式相互「翻譯」著。舉幾個例子來說，我以曲家及聽眾的經驗。在汲取不同作曲家作

魏本的神韻去詮釋布魯克納的某些和弦序品獨特風格之時，我將衛本的音樂風格視列，又讓史特勞斯、史克里亞賓及史特拉

作此作品的重要靈感來源。他將音樂極度

汶斯基不同的派別彼此間激發出火花。又壓縮至基本元素，符合我所追尋的「一沙比方說，我透過艾伍士的音樂稜鏡看到布一世界」的精神。

拉姆斯的和聲，最異想天開的，是我運用
柴科夫斯基第六號交響曲的元素以比耶的Frontispiece for orchestra was commissionedby the NDR Elbphilharmonie Orchestra toopen Alan GILBERT’s inaugural season
as their Chief Conductor. This occasion
prompted me to write a short piece which
presents a time lapse of a kind of the historyof music: certain aspects of a number of key
symphonic works of different epochs arebeing evoked and poured into new moulds
by letting them interact and comment
upon each other. These are never actual
style quotations - mere allusions, and faintreferences.
On the level of details, the work consistsof many tiny fragments which all referto gestures typical to certain works andcomposers, and these are being “translated”
to each other in numerous different andoccasionally unexpected ways. As to give but
a few examples: certain chord sequencesby Anton BRUCKNER are interpreted in amanner akin to Anton von WEBERN, splintersof STRAUSS, SCRIABIN and STRAVINSKY
collide, Brahmsian harmony passes throughthe prisms of, say, Charles IVES, and certain
material from Tchaikovsky’s Sixth Symphony– Heaven forbid – is being presented a lamanière de Pierre Boulez.

This process of “translating” happens
on several levels: diverse materials andgestures, ranging from Baroque music all theway to the avant-garde, are being transcribed
and transformed in an alienating manner sothat something very different arises as a sumof their interactions.
All of this happens at a rather microscopic
level: all aforementioned allusions, as well asother ones, are not immediately perceivable,
and it is most certainly not necessary to trace
them in order to be able to “understand” thepiece. On the level of the macrostructure,
the work’s form is being held together
by a certain chord, which could be called
its supporting pillar – a chord which, by
way of exception, is completely autarchic.
Frontispiece reflects on my decades-longexperiences with landmark works of thesymphonic literature as composer andrecipient. In extracting distinct aspectsof works of certain composers, Anton von
WEBERN’s art of revealing a ‘universe in anutshell’ by means of extreme compression
served as a particular inspiration.

特色呈現出來。
30

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform31

《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk樂曲解說 Program Notes《人型》給管絃樂團的生動音畫
Mannequin - Tableaux vivants for orchestra
作曲／陳銀淑Composer / Unsuk CHIN

I. Music Box - Fever Dream
II. Sandman and Child
III. Dance of the Clockwork Girl
IV. The Stolen Eyes

I. 〈音樂盒－噩梦〉
II. 〈睡魔與孩童〉
III. 〈發條女孩之舞〉
IV. 〈被盜的眼睛〉

跟隨著陳銀淑的腳步，我們遊覽過街頭劇（E. T. A. Hoffmann）（1776-1822）， 他院（Gougalon）、啞劇（Cosmigimmicks）

同時是一名作家、作曲家、音樂評論家、

以及街頭藝術塗鴉（Graffiti）。而這首管

律師、歌舞表演藝術家和專業繪圖員。

絃作品－《人型》給管絃樂團的生動音畫，
是作曲家首次帶我們看見舞蹈。它可以被想作是「幻想的編舞藝術」，呈現出對人體運動潛能及其表達張力的著迷，並特別強調身體裡的高能量。

身為作家，他遭到了同時代旁人的排擠：歌德和華特．司各特爵士及其他多位人士
稱霍夫曼的小說為「病態」，暗示他應該接受治療。 然而，霍夫曼死後被公認為是怪
誕及混沌的大師，受他影響的重要人物相

這個動感十足的音樂旨在使人隨之起舞，當廣泛，包括舒曼、華格納、愛倫坡、果但卻是「不能用腳去跳」的。 這個特別的戈里、卡夫卡、弗洛伊德、伯格曼、塔可靈感來自偉大的編舞家和舞蹈家，他們將

夫斯基及大衛．林奇。《睡魔》大概是霍夫

不可能化為可能，與自然法則抗衡，簡言之，曼最具前瞻性和膽識的作品。在這個魔幻他們挑戰了時間與空間的概念。 這部作品

現實主義的故事中，作者不斷地使讀者懷與古典芭蕾舞的制式結構沒有任何關係，

疑到底發生了什麼事及為何發生，並讓故它主要是探索著不同張力拉扯間所形成色

事有多種解讀方式（且每種方式彼此都是

彩、速度及動作上的強烈對比。

互斥的）。

It is highly gestural music intended to bedanced, but “without feet”, as it were; aparticular inspiration came from the great
choreographers’ and dancers’ pursuit ofmaking the impossible appear possible, of
defying natural physical laws; in short: theirability to challenge perceptions of time andspace. The work has no relation whatsoever
to the codified structures of classical ballet;
instead, it explores extreme contrasts ofcolour, speed and gesture with a constanttension between forces.

A. HOFFMANN(1776-1822).
A s a w r i t e r, h e w a s r e j e c t e d b y h i scontemporaries: Johann Wolfgang von
GOETHE and Sir Walter SCOT T, among
many others, called HOFFMANN’s fiction“sick”, insinuating that he should undergo
medical treatment. Posthumously, however,
HOFFMANN has been recognized as themaster of the uncanny and the ambiguous,
influencing figures as diverse as Robert
SCHUMANN , Richard WAGNER , Edgar
Allan POE, Nikolai GOGOL, Franz KAFKA,
Sigm u n d FREU D, Alfre d HI TCH C O CK ,Ingmar BERGMAN, Andrei TARKOVSKY andDavid LYNCH. The Sandman might well be
HOFFMANN’s most forward-looking anddaring creation: in this almost magical realist
story, the author constantly leaves the reader
unsure of what is actually happening andwhy, and it is possible to be read in a numberof (mutually exclusive) ways.

Mannequin tells a story, though neither in theform of a linear narrative nor in the mannerof illustrative programme music: the line
between dreams and reality is being crossed
in a surreal manner, with the main themes ofthe scenario being problems of perception
and of personal identity. It is freely based on
the fantastical novella The Sandman, writtenby German writer, composer, music critic,
lawyer, cabaret artist and draughtsman E. T.

《人 型》講 述 了 一 個 故 事， 但 它 既 非 線 性敘事，也沒有為曲目作說明。夢與現實之間的界線以超現實的手法變得模糊不清，
而認知及自我定位的喪失成為創作的主軸。此曲大約是根據奇幻短篇小說《睡魔》
改 編， 其 書 的 作 者 為 來 自 德 國 的 霍 夫 曼

32

Following Unsuk CHIN’s excursions into
street theatre (Gougalon), pantomime(cosmigimmicks), and street art (Graffiti),
the orchestral work Mannequin – Tableauxvivants for orchestra is the composer’s firstreferring to dance. It could be likened toan “imaginary choreography”, reflecting
as it does a fascination for the movementp ote nti a l of t h e h u m a n b o d y a n d it s
expressive capabilities, with a special stresson high-energy physicality.

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform33

《開幕音樂會》陳銀淑管絃樂作品專場 × 演後座談Opening Concert - The Orchestral Works by Unsuk CHIN × Open-talk《睡魔》的年輕主角納沙奈爾（Nathanael）

奈爾家族的衰落，並不停地以許多幽靈分身掙扎於妄想和現實之間，全然無法適應整纏繞著納沙奈爾的成年生活。

個社會。但究竟是他瘋了或是周遭的社會，
這個問題就留白給觀眾去思考了。 這種模
棱兩可及相對主義的內容使作者當時所處的社會感到震驚，但恰巧是這些面向，再加上霍夫曼充滿實驗性和晦澀的風格，才闡明了這個故事的現代性與特色。 有許多人試圖以不同的角度解釋這本迷宮般的小說，但沒有人掌握到關鍵，他們削足適履
地把善惡真偽硬生生劃了二分法。的確，要從中尋求某種道德或是明朗的情節是毫
無意義的，因為霍夫曼的成就正是在於他
對「不確定的智慧」和 「人類事物的本質
相對性」的探索。《睡魔》以一種令人難以忘懷的方式點破現實其實是主觀的。
《人型》有四個樂章。前兩個樂章分別名為〈音樂盒－噩梦〉及〈睡魔與孩童〉，內容講
述著納沙奈爾的童年，他的保姆將恐懼透過
警世寓言故事灌輸至他內心；睡魔會偷走頑皮孩子的雙眼，餵食住在新月的後代子孫。
納沙奈爾將睡魔的臉與一位神秘又險惡，名叫科佩利烏斯（Coppelius）的人聯繫在一

第三樂章〈發條女孩之舞〉講述納沙奈爾與
一個如真人女性，名為奧林匹亞（Olimpia）
的機器人墜入愛河，直到最後才發現其真
面 目， 奧 林 匹 亞 在 其 發 明 者 斯 帕 蘭 扎 尼（Spalanzani）與一名可疑的助視器商人科
波拉（Coppola）決鬥中被摧毀（這兩個角色很明顯都是睡魔 / 科佩利烏斯的分身）。
最後一個樂章的標題：〈被盜的眼睛〉，點
出無所不在的「眼睛之主導動機」。在霍夫
曼的整個故事中，睡魔和他的幽靈分身（斯帕蘭扎尼、科佩利烏斯及科波拉）都在偷竊、
發明或出售眼睛，而這樣的動機也如同陳
銀淑的作品標題 ─《人型》，寓意十足。
《人 型》是 由 南 岸 中 心、 波 士 頓 交 響 樂團、丹麥國家交響樂團，墨爾本交響樂團
和北德廣播交響樂團共同委託創作。此作
品由英國國家青年樂團，在沃可夫（Ilan

Volkov）的指揮下，於蓋茲賀音樂廳及倫
敦的南岸中心首演。
馬里斯．歌通尼， 2015 年

起。科佩利烏斯在某種程度上導致了納沙34

2021 衛武營 TIFA 當代音樂平台Nathanael, the young protagonist in The
Sandman, seems torn between delusions
and reality and is not conforming to society.
But whether it is him who is “mad”, or thesociety around him, is left open as well as
so much more. This ambiguity and relativism
much horrified the author’s contemporaries
but it is precisely these aspects, combinedwith HOFFMANN’s experimental and highly
elliptical style, that explain the story’s
modernity and its spell. Many contradictoryinterpretations have been written about thislabyrinthine novella, but most of them missthe point by forcing it into a Procrustean
bed of either-or by clearly distinguishinggood and evil, real and unreal. Indeed, itwould be senseless to attempt to find amoral or a clear-cut plot, for it is precisely his“wisdom of uncertainty” and his explorationof “the essential relativity of things human”(Milan KUNDERA) where HOFFMANN’s
achievement lies: The Sandman hauntingly
illuminates what a subjective affair reality is.
Mannequin consists of four movements. The
first two movements, respectively titledMusic Box – Fever Dream and Sandman andChild refer to Nathanael’s childhood andhow his nanny used to instil terror in him
by a cautionary tale about the Sandman
who steals misbehaving children’s eyes andfeeds them to his offspring who live in the
crescent moon. Nathanael associates the
Sandman’s figure with a half-mythical andsinister person named Coppelius, who seems
in some way connected with the decline of2021 Weiwuying TIFA Contemporary Music Platform

Nathanael’s family and who continues tohaunt the adult Nathanael’s life in the guiseof a number of grotesque “doppelgangers”.
The third movement, Dance of the Clockwork
Girl, refers to Olimpia, a female life-size
automaton, with whom Nathanael falls in
love, without realizing its true nature until it
is being destroyed during a fight between its
inventor Spalanzani and Coppola, a dubious
seller of optical aids (both apparently being
doubles of Sandman/Coppelius). The title ofthe last movement, The Stolen Eyes, refers
to the ubiquitous “eye leitmotif”: throughout
H O F F M A N N ’s t a le , S a n d m a n a n d h i s“doppelgangers” (Spalanzani, Coppelius andCoppola) are stealing, inventing or sellingeyes – a motive that, similarly to the title of
CHIN’s work (Mannequin), might of course
also be understood allegorically.
Mannequin was jointly commissioned by
the Southbank Centre, Boston SymphonyOrchestra, Danish National SymphonyOrchestra, Melbourne SymphonyOrchestra and NDR. The work was given
first performances by the National Youth
Orchestra of Great Britain under Ilan Volkov’s
direction at Sage Gateshead and at theSouthbank Centre in London.
Maris GOTHÓNI, 201535

《當代大師的極簡世界－
林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos- Jenny LIN Piano Recital生於臺灣、長於奧地利、定居於紐約，林佳靜可說是「世界的鋼琴家」，今年不但要為衛武營 TIFA 當代音樂平台揭開序幕，
更要獻上在衛武營的第一場獨奏會！遊走於各大古典、即興、爵士甚至是融合音樂
節的她，排出了耳目一新的曲目：匈牙利
作曲家李蓋悌最早期的《音樂習作》與最晚
期的《鋼琴練習曲》，對照出大師歷經數十年探索後，在音色表現上的返樸歸真；葛拉斯寫給鋼琴獨奏的帕薩卡亞舞曲《遙遠的人影》與《鋼琴練習曲》，則呈現出極微
主義如何在從一而終的實踐裡，讓聽者感
受到織體的細微變化。更值得一提的是，林佳靜自 2014 年來便與葛拉斯合作緊密，
固定在各地演出其《鋼琴練習曲》，自成一
家 權 威。 今 年 4 月， 且 聽 林 佳 靜 讓 20 世紀兩大作曲巨匠面對面，呈現出當代音樂
世界無限可能中的兩個極點。
演出曲目● 捷爾吉．李蓋悌《音樂習作》

I. 持續的—嚴格按照節拍的—最急板
II. 憂傷、精密且具儀式感III. 有精神的快板
IV. 如華爾滋的速度（稍微活潑，如演奏手搖風琴）
V. 較自由且悲傷
VI. 極具隨想曲風格的快板
VII. 如歌、極圓滑
VIII. 活躍有力
IX.（紀念貝拉．巴爾托克）慢板，憂傷的—莊嚴的快板
X. 活躍生動的隨想曲
XI. （向吉羅拉馬．富雷斯可巴第致敬）嚴
格按照節拍、寧靜的行板
第十六號鋼琴練習曲《獻給艾琳娜》
第一號鋼琴練習曲《混亂》● 菲利普．葛拉斯寫給鋼琴獨奏的帕薩卡亞舞曲《遙遠的人影》（亞洲首演）
第十三號鋼琴練習曲
第二號鋼琴練習曲
第六號鋼琴練習曲

4.18 Sun. 14:30
表演廳 Recital Hall演出全長約 70 分鐘，無中場休息
Duration is 70 mins without intermission.
本節目演出後將於表演廳舉辦座談。
Post-talk will be arranged after the recital.
36

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform

Born in Taiwan and raised in Austria, Jenny
LIN currently lives in New York. Known asa “pianist of the world”, she will not only
be playing for the opening concert of TIFA
Contemporary Music Platform, but will begiving her first solo concert at Weiwuying! As
an experienced performer at major classical,
improvisation, jazz, and even mixed-styled
music festivals, she will be presenting a
fresh and diverse program: from Hungariancomposer György LIGETI’s earliest work
Musica ricercata to his later Etudes, we
see how this master returned to tones ofsimplicity after decades of exploration. Philip
GLASS’s Passacaglia for Solo Piano DistantFigure and his Etudes allow listeners toperceive how minimalism expresses subtle
changes in texture within the frameworkof consistent practice. What’s more, Jenny
LIN has been working closely with GLASS
since 2014 and regularly performs his Etudes
around the world, becoming an expert of hismusic. In April this year, let’s listen to how
Jenny LIN juxtaposes the works of two greatcomposers to show the two extremes in theinfinite possibilities of contemporary music.
ProgramGyörgy LIGETIMusica ricercata
I. Sostenuto – Misurato – Prestissimo
II. Mesto, rigido e cerimoniale
III. Allegro con spirito
IV. Tempo di valse (poco vivace – “à l’orguede Barbarie”)
V. Rubato. Lamentoso
VI. Allegro molto capricciosoVII. Cantabile, molto legato
VIII. Vivace. Energico
IX. (Béla BARTÓK in Memoriam) Adagio.
Mesto – Allegro maestoso
X. Vivace. Capriccioso
XI. (Omaggio a Girolamo FRESCOBALDI)
Andante misurato e tranquillo
Piano Etude No. 16 “Pour Irina”
Piano Etude No. 1 “Désordre”
Philip GLASS
Passacaglia for Solo Piano “Distant Figure”(Asian Premiere)
Piano Etude No. 13
Piano Etude No. 2
Piano Etude No. 6

更多節目資訊For More Information
37

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital

鋼琴家│林佳靜「鋼琴家林佳靜作為今晚的主要表演者，以身影中彷彿可窺見巴哈的影子……這一夜，
她完美詮釋了蕭士塔高維契作品中的新古典
藝術協會、加拿大溫尼伯新音樂節、美國
莫里斯博物館及聖奧拉夫學院。

「……鋼琴家林佳靜以堪稱本年度最富想像她也持續與美國作曲家菲利普．葛拉斯合

力的曲目組合，為自身在樂壇中確立了一席

作，在世界各地的音樂會上彈奏其譜寫的之地……任何有幸在現場聆賞其表演的聽

練習曲。而這次的合作經歷更激發她創立眾……可能會一致同意，這場獨奏會可說是了「練習曲計畫」，藉此攜手眾多當代作曲

餘音繞樑，具有令人難以忘懷的魅力。」

家創作新的鋼琴練習曲，並將每首新作品「鋼琴家林佳靜的獨奏會……構思縝密，並以優美的旋律呈現在眾人面前。……她動人
心弦的演出……讓今晚在座的聽眾們都一飽
耳福。」—《華盛頓郵報》
鋼琴家林佳靜不僅擁有敏銳的音樂性和精
湛的演奏技巧，更以其對全球各地文化的深刻認識，形塑出一套自成一格、引人入
勝的音樂語彙。生於臺灣、長於奧地利的林佳靜，曾在歐洲和美國接受教育，並因
此而活躍於國際樂壇。她與眾多藝術家和創作者間的創新合作，更讓其成為眾所矚目的焦點。

與古典樂中的正統練習曲進行配對。相關作品收錄在知名唱片品牌 Sono Luminus所發行的專輯中：第一輯展示了林佳靜與
紐約冰山新音樂創作團體間的合作成果；
第二輯則預計將於 2021 年發行。
林佳靜也在作曲家艾略特．高登索所譜寫
的電影配樂原聲帶中，擔綱主要鋼琴演奏
者的工作；該配樂是為 2020 年由導演茱
莉． 泰 莫 執 導 的 電 影《我 的 行 進 人 生》所作。此外，她近期也與手風琴家古伊．克
魯傑夫塞克共同錄製了一張專輯（以「零接觸」方式製作），並在其中演奏喬治亞作曲
家吉雅．坎切利的作品。她的錄音作品（與漢斯勒古典唱片、eOne 唱片、BIS 唱片、
新世界唱片、阿爾巴尼唱片等廠牌合作，

在這個極不尋常的樂季期間，林佳靜將以發行超過 30 張專輯）涵蓋了奧地利作曲家

數位和現場表演兩種型態在各地進行演出，

阿圖爾．施納貝爾的創作、蕭邦的夜曲、

包括紐約莫札特音樂節、美國華盛頓表演

蕭士塔高維契的前奏曲與賦格、華語歌手

38

德國什列斯威 - 霍爾斯坦音樂節等場合登更搭配了知名插畫家作品，為兒童精心演

臺表演。

2021 衛武營 TIFA 當代音樂平台林佳靜精通英語、德語、中文和法語，擁林佳靜曾與全球各地知名樂團同臺演出，有約翰霍普金斯大學德國文學學士學位，

如美國交響樂團、北德和西南德廣播交響並曾在維也納音樂大學和美國琵琶地音樂樂團、義大利廣播電視公司國家交響樂團

學院研習音樂。

肯中心、甘迺迪中心，以及布魯克林音樂

前奏曲與賦格》中的五首曲目，從其演出的—《舊金山觀察家報》

畫日記》鋼琴小品輯，不僅是一張專輯，等等。此外，她也曾在卡內基音樂廳、林靈活的指法彈奏了蕭士塔高維契《二十四首—《紐約時報》

學院下一波藝術節、美國斯波萊多藝術節、

繹一場多媒體音樂會。

Pianist, Jenny LIN

主義形式與高雅氣質……」

鄧麗君作品的改編曲，以及《小音符的圖

“ BACH’s presence a lso hovered over t hefeatured artist of the evening, the dynamic
pianist Jenny LIN, who played 5 of the 24
Preludes and Fugues by SHOSTAKOVICH…
On this night she was beautifully at tentive to
the Neo-Classical formalities and elegance of
the SHOSTAKOVICH works.”—The New York Times“…pianist Jenny LIN may have establishedherself with the most imaginatively conceived
program of the year… Anyone lucky enough tohave been there … will probably agree that thiswas a recital that will not easily be forgot ten.”—The San Francisco Examiner“Pianist Jenny LIN gave a recital…that was asthought fully conceived as it was beautifullye xe c u t e d . … d e epl y f e lt p e r f or m a n c e s …
extraordinarily satisfying evening.”—The Washington Post
Pianist J enny LIN is an ar tist of keenmusicianship, brilliant technique, and acompelling perspective shaped by a deep
fluency in global culture. Born in Taiwan,
raised in Austria, educated in Europe andAmerica, LIN has built a vibrant international
career, notable for innovative collaborations
with a range of artists and creators.
In this m o st unusual seaso n , LIN has
performances – both digital and in person –at the Mostly Mozart Festival, Washington
Performing Arts, Winnipeg New Music,
the Morris Museum, St. Olaf College, andelsewhere.
Jenny LIN also continues her collaboration
with Philip GLASS, performing his Etudes inconcerts around the globe. This experience
inspired LIN to create The Etudes Project,in which she works with a range of living
2021 Weiwuying TIFA Contemporary Music Platform目前與家人定居紐約。

composers to create new technical piano
etudes, pairing each new piece with an etudefrom the classical canon. The results arefeatured on Sono Luminus albums; Volume
1 showcases LIN’s work with ICEBERG New
Music, and Volume 2 will be released in 2021.
Jenny LIN is the featured pianist in Elliot
GOLDENTHAL’s original motion picture score
for Julie TAYMOR’s 2020 film, The Glorias andrecently recorded an album with accordionist
Guy KLUCEVSEK (created in “contactless”
fashion) featuring the music of Giya KANCHELI.
Her catalogue (which includes more than
30 albums, on Hänssler Classic, eOne, BIS,
New World, Albany, et al) includes the musicof Arthur SCHNABEL, CHOPIN’s Nocturnes,
SHOSTAKOVICH’s Preludes and Fugues,
transcriptions of the songs of Chinese pop
singer Teresa TENG, and Melody’s MostlyMusical Day, an album, picture book, andmultimedia children’s concert.
LIN has performed with orchestras
throughout the world, including theAmerican Symphony Orchestra, NDR andSWR German Radio Orchestras, the RAI
National Symphony Orchestra, and others.
She has performed at Carnegie Hall, Lincoln
Center, the Kennedy Center, at BAM Next
Wave, Spoleto USA, the Schleswig-Holstein
Festival, and elsewhere.
Fluent in English, German, Mandarin, andFrench, Jenny LIN holds a bachelor’s degree
in G erman Literature fro m T h e J o hns
Hopkins University and studied music at the
Hochschule für Musik, and at the Peabody
Conservatory.
Jenny LIN currently resides with her family in
New York City.

39

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital

作曲家簡介 Composer Biography樂曲解說 Program Notes

捷爾吉．李蓋悌 (1923-2006)《音樂習作》(1951-1953)

György LIGETI (1923-2006)

Musica ricercata (1951-1953)
作曲／捷爾吉．李蓋悌Composer / György LIGETI

二十世紀前衛音樂場景裡最特立獨行的作

其音樂常展現作曲家本人對文學、科學、曲家。生於羅馬尼亞外西凡尼亞，於匈牙

哲學、荒謬劇場與世界音樂等不同領域的

利布達佩斯李斯特音樂院求學，早年受巴

深厚素養。代表作尚有管絃樂曲《氣氛》、爾托克影響甚深。在 1956 年離開受蘇聯《遠離》，音樂劇場《冒險》，以及《鋼琴協管轄的匈牙利後，先於科隆研究電子音樂，奏曲》、《小提琴協奏曲》、《鋼琴練習曲》

而後運用創作電子音樂的思維探索傳統管等。李蓋悌也因名導庫柏利克在《2001 太絃 樂 團 聲 響 與 織 度 的 可 能。1977 年 完 成

空漫遊》與《大開眼戒》中使用他的音樂而「反反歌劇」《滅絕大師》後，便將興趣轉

進入流行文化視野，近年如《哥吉拉》與《聖往探索複雜節奏與更旋律性的表達方式。

鹿之死》等不同類型電影也能聽到其作品。

LIGETI was the most distinctive composerin the Avant-garde music scene. Born inTransylvania, Romania, he finished his musiceducation in Franz Liszt Music Academy in
Budapest, Hungary, and his earlier style
was deeply influenced by BARTÓK. In 1956,
after leaving Hungary, where was under
the governing of Soviet, LIGETI headed
for Cologne in Germany and delved into
electronic music. Later he applied themindset of composing electronic music
to traditional orchestra, further exploring
the possibilities of sonority and texture.
After he had finished the “anti-anti-opera”
Le Grand Macabre in 1977, he turned to40

a more rhythmically complex yet more
melodic approach. His music often shows
strong associations with literature, science,philosophy, absurd theater, world music,
and so on. His representative work includes
orchestra pieces Atmosphere and Lontano,musical theater Adventures, as well as
several concertos and Études for Piano, etc.
Thanks to the notable film director Stanley
KUBRICK who incorporated LIGETI’s music in
2001: A Space Odyssey and Eyes Wide Shut,the composer has come into the sight of pop
culture. His music can still be heard in recent
film productions like Godzilla (2014) and The
Killing of a Sacred Deer (2017).
2021 衛武營 TIFA 當代音樂平台《音樂習作》是一組包含十一首短曲的鋼琴李蓋悌為《音樂習作》設計出的限制既單純套曲，為李蓋悌最具代表性的早年作品。

又巨大：第一首樂曲只能使用兩個音名、二戰後的匈牙利作曲家在蘇聯政府監控下，

第二首只能使用三個音名……以此類推，難以接觸西方現代音樂思潮，若作品顯得

直到第十一首樂曲才能使用半音階中的全

太過「西方」或「現代」，也隨時會遭受檢

部十二個音名。樂章間依照素材由簡至繁禁。如何在諸多現實限制下創作，成為當

的佈局，不免讓人聯想到巴爾托克的鋼琴

時作曲家的首要難題。然而李蓋悌進一步

曲集《小宇宙》。事實上，李蓋悌坦言這部

問：作曲家可能面臨的最大限制是什麼？

作品風格確實深受巴爾托克與斯特拉汶斯

又該如何在最大的限制下創作—如何無中

基影響，不過也認為開頭與最後的幾首樂

生有？他嘗試回答這個問題的努力體現在

曲，已經展露某些他在離開匈牙利後確立《音樂習作》中。

的音樂特質。

Musica ricercata, a set of 11 short piano
pieces , is the most representative
composition among LIGETI’s earlier works.

The restriction LIGETI set for Musica ricercata
is simple yet huge: only two pitch-classes
can be used in the first movement, three
in the second, and so on. All twelve pitchclasses in the chromatic scale show atonce only in the eleventh piece. The orderof movements is arranged according to
the material, from the simplest to the more
complicated. Such design is prone to be
associated with BARTÓK’s Mikrokosmos.
In fact, LIGETI admitted the music style isdeeply under the influence of BARTÓK and
STRAVINSKY. But he also suggested that thefirst and last few pieces had revealed somecharacteristics he later established after
leaving Hungary.

Under the surveillance of Soviet, Hungariancomposers after WWII were restrained from
Western modern music trends, while musicthat sounded too “Western” or too “modern”
was to be censored at any time. How tocompose under such multiple restrictions
p o s e d th e p rim ar y q u e stio n to th o s ecomposers. Yet LIGETI pushed this question
further: what is the biggest restriction could
a composer be placed under, after all? How
to compose under such restriction - thatis to say, how to compose from nothing?
His efforts answering the question wereembodied in Musica ricercata.
2021 Weiwuying TIFA Contemporary Music Platform41

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital

或 許 是 同 時 期 創 作 的《大 提 琴 奏 鳴 曲》
（1948-1953）先一步遭受檢禁之故，李蓋悌完成《音樂習作》後並未發表，而是將其中六首較具民俗色彩的樂曲改編為《木管五重奏小品》再行發表，完整原作直到 1969
年才於瑞典首演。

IV. 如華爾滋的速度（稍微活潑，如演
奏手搖風琴）
此曲使用 B ♯、A、G、F ♯加上 G ♯（A ♭）五個音。李蓋悌用前四個音寫出了似乎有調性的輕快圓舞曲，並時常改變速度、以

2/4 拍打斷節拍，營造出街頭藝人「手搖風I. 持續的—嚴格按照節拍的—最急板
此 曲 使 用 A 加 上 D 共 兩 個 音； 不 過 D 音
只在結尾出現，基本上可以算是只用 A 音
建構全曲。在沒有旋律的情況下，只以音
域、節奏型、速度變化與音色營造出張力
起伏。最後 D 音的功能只是引出殘響中的泛音 A。

II. 憂傷、精密且具儀式感
此 曲 使 用 E ♯、F ♯加 上 G 三 個 音。 作 曲
家以 E ♯與 F ♯唱出如踱步般沈重的旋律，
而高音域的 G 音逐漸干擾旋律，並發展出「警鈴」般的反覆音型響至結尾，踱步旋律
深藏低音域。

琴」的 趣 味。G ♯的 作 用 在 於 偽 裝 出 一 段

I. Sostenuto – Misurato – Prestissimo「轉調」，使得全曲在風格與形式上都讓人

此曲使用 A ♭、B、C ♯、D、F、G 六個音，The first movement uses only A and D
two pitch-classes - primarily A, since D
only appears as the ending note to trigger
hamonic A. The music fluctuates without
melody, instead develops with changes
in register, rhythm pattern, tempo andarticulation.

包含三組增四度，與第二樂章同樣是「嚴肅」

II. Mesto, rigido e cerimoniale

的樂章，甚至可以視為第二樂章的發展。

The second movement use E ♯ , F ♯ and G.
Like the first movement, the composer use
E ♯ and F ♯ to sing ponderous melodies.
The G in high register serves only as anintervention of melody, then develops into
the “alarm” pattern, with the melody lurking
deep in the low register.

難以察覺音高資源有限。

V. 較自由且悲傷

開頭以類似第二樂章的半音動機唱出旋律，
增四度逐漸出現，增添不和諧感，最後發
展為高、中、低三個音域三種「鐘聲」齊響的高潮，又逐漸消失在 G 音當中。

VI. 極具隨想曲風格的快板
此曲使用 A、B、C ♯、D、E、F ♯、G 七

III. 有精神的快板

個音，即為 A 米索利地安調式的七個音。

此曲使用 C、E ♭、E 與 G 四個音，是前作《鋼琴四手聯彈小奏鳴曲》（1950）第一樂

LIGETI’s Cello Sonata which finished aroundth e s am e tim e ( 19 4 8 -19 5 3) h a d b e e ncensored earlier. Bearing it in mind, perhaps,
LIGETI chose not to publish Musica ricercata
right after its completion . Instead, headapted six movements of more folk nature
into Bagatelles for Woodwind Quintet. The
complete original version was not premiered
until 1969, in Sweden.

全曲帶有明快質樸的田園氣氛，以音域、力度、速度的突然變化營造趣味。

III. Allegro con spirito
T his movement is a re -work based on
Sonatine for Piano Four Hands (1950). The
pitch-class material includes C, E ♭ , E andG, assorted into C Major chord and c minor
chord. Along with the folk-dance rhythm andcounter-punctual texture, the movement
presents some Bartók-ish quality.

IV. Tempo di valse (poco vivace – ”àl’orgue de Barbarie”)
B ♭ , A, G, F ♯ and G ♯ (A ♭ ) are presented inthis movement. LIGETI wrote a quasi-tonalwaltz by only the first four notes. By frequentchanges in tempo, and the interruption by
2/4 meter, the composer simulated the styleof “barrel organ” music. G ♯ serves imitatinga “modulating” passage. The overall styleand form is so natural that one can hardly
perceive the limitation of pitch materials.

V. Rubato. Lamentoso
A ♭ , B, C ♯ , D, F and G used in this movement
includes three pairs of augmented fourth.
The movement shares the same “seriousness”
with the second movement, and can even beconsidered as its development. The opening
sings the similar semitone melody, withaugmented fourth gradually emerging in. The
climax rings three kinds of “bells” across the
keyboard, then everything vanishes into the
G again.

VI. Allegro molto capriccioso
The movement uses A, B, C ♯ , D, E, F ♯ andG, that is A Mixolydian mode. Overall mood isbright, simple and pastoral, featuring many
sudden changes in register, dynamic andtempo.

章的改寫。此四個音分別能組成 C 大和弦與 C 小和弦，曲中的民族舞曲節奏與對位
等元素，極具巴爾托克色彩。
422021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform43

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano RecitalVII. 如歌、極圓滑

X. 活躍生動的隨想曲

此 曲 使 用 B ♭、C、D、E ♭、F、G、A 加

此曲使用除了 C 以外的十一個音，以連續上 A ♭八個音，即為 B ♭大音階加上小七度

的二度或三度音程作為主要素材，也帶有音。全曲左手以自由反覆的快速七連音作

濃厚巴爾托克「野蠻」性格。樂曲開頭以低為伴奏，右手唱出優美綿長的民俗風格旋音 D 作為持續音，中段轉以中音 G 作為持律，並逐漸加入聲部成為三重唱，最後奔續音。尾段二度音響逐漸發展為「瘋狂」的流般的伴奏逐漸縮減，並接連演奏下樂章。

音堆，又突然以三度下行旋律悄悄結束。

這首旋律取自前作《鋼琴四手聯彈小奏鳴曲》第二樂章，並於晚年《小提琴協奏曲》（1989-1993）第二樂章再次出現。

XI.（向吉羅拉馬．富雷斯可巴第致敬）嚴格按照節拍、寧靜的行板「音 樂 習 作」（musica ricercata）是 個 帶

VIII. 活躍有力有歧義的詞，字面意義是「經研究所得的

此 曲 使 用 A、B、C ♯、D、E、F ♯、G ♯音樂」，同時也能指一種結構自由、各聲部加上 C、G 九個音，可分為 A 大音階以及彼此模仿的早期巴洛克複音音樂，而十七

大提琴空弦（C、G、D）兩組素材。本曲

世 紀 義 大 利 作 曲 家 富 雷 斯 可 巴 第（1447-

旋律與巴爾托克《小宇宙》第一二六號〈節1553）認為此樂種集大成者。此曲主題為拍變化〉有相似之處，為一首極富民族色

包含十二個半音、外廓呈半音階反向進行

彩的歡快七拍子舞曲，以 E 作為持續音，的旋律，每次都以上行五度關係在其他聲時而加入大提琴空弦的五度干擾 A 大調音

部應答，並以半音階下行作為對旋律，整響，營造節慶般的熱鬧感。

體氣氛陰鬱綿長。接著主題以五度卡農、

IX. （紀念貝拉．巴爾托克）慢板，憂傷的—莊嚴的快板

增減值卡農等手法加以發展，最後在高音
域重述主題，以呼應第一樂章的 A 音安靜VII. Cantabile, molto legato – attacca

X. Vivace. Capriccioso

The movement uses B ♭ , C, D, E ♭ , F, G, A andA, that is B ♭ major scale plus minor seventh.
The rapid pattern in the left hand runs freely
throughout the piece, and the right handsings an elegant, extending folk song over it.
With voices coming in, the song grows into
a trio. Eventually the running accompanying
pattern reduces to trills, attaching to thecoming movement. The melody featured
here stems from the second movementof Sonatine for Piano Four Hands, and will
be featured again later in Violin Concerto(1989-1993).

The movement uses all pitches other thanC. The main material consists of parallel
seconds and thirds. The characteristic ismuch of the “barbarian” BARTÓK. The firstsection holds E as ostinato, then G in thesecond section. The motive of seconds
develops into crazy tone-clusters near theend, then closing the movement with afurtive passage of descent of thirds.

VIII. Vivace. Energico
The movement uses A, B, C ♯ , D, E, F ♯ ,G ♯ (A Major scale) and C, G (the first two
open strings of cello). The melody in 7/8
meter shares some similarity with BARTÓK’s
Mikrokosmos no.126 “Change of Time”, whichis also a festival folk dance. E serves as
an ostinato, while the “open string” figure
interrupts the A Major sound at times.

IX. (Béla BARTÓK in Memoriam) Adagio.
Mesto – Allegro maestoso
The movement uses all pitches other thanE and G. The material and the structure
evoke the march section in BARTÓK’s String
Quartet No. 6, Mov. 2. The “funeral” mood is
supported by “bell” figures.

XI. (Omaggio a Girolamo FRESCOBALDI)
Andante misurato e tranquillo
Musica ricercata is ambiguous in its meaning.
It literally means “researched music”, but at
the same time a form of Baroque polyphonymusic (“ricercar”) which features imitations
between voices in free plans. FRESCOBALDI(1447-1553) is considered an important
figure in the field of ricercar. The movement
exposes a subject containing all 12 pitchclasses, with the outlines moving in contrary
directions. The subject is answered byanother voice, transposed to fifth above.
The countersubject features a descending
chromatic scale. The subject is further
developed into counter-punctual flourishes
such as canon in fifth and proportional canon.
The subject restates as fragments in the highregister, then concludes the whole cycle in A
- the pitch where Musica ricercata starts.

地結束全曲。

此曲使用除了 E、G 以外的十個音，素材
與布局跟巴爾托克《第六號弦樂四重奏》第二樂章的進行曲段落有相似之處。此外加
上各種象徵鐘聲的元素，營造送葬進行曲
的氣氛。
44

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform45

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital樂曲解說 Program Notes《鋼琴練習曲》(1985-2001)
第十六號鋼琴練習曲《獻給艾琳娜》&
第一號鋼琴練習曲《混亂》
Selections from Etudes for Piano (1985-2001)
Piano Etude No. 16 “Pour Irina” & Piano Etude No. 1 “Désordre”
作曲／捷爾吉．李蓋悌Composer / György LIGETI李蓋悌晚年創作的《練習曲》包含三冊、共十八首樂曲。在離開匈牙利後，李蓋悌專
注於開發音色與織度上的可能性，使用人
耳難以區辨的快速音群與緻密對位，在器
樂上營造出宛若電子音樂、靜態而漸變的聲音連續體。然而在 1972 年造訪美國成為第十六號鋼琴練習曲《獻給艾琳娜》
此曲題獻給鋼琴家艾琳娜．卡塔耶娃，現
為鋼琴家皮耶—洛宏．艾瑪爾之妻。夫妻
兩人都是活躍的當代鋼琴作品名家，也是都是李蓋悌的忠實擁護者。

史丹佛大學駐校作曲家時，極簡主義音樂

位於第三冊的此曲，開頭以六聲音階下行

以及康倫．南卡洛的自動鋼琴音樂，讓李（D ♭、C、B ♭、G ♭、F、E ♭）與均分節奏

蓋悌在節奏中看到新的可能性。

唱出柔美旋律。第二段由雙手八度齊奏開

李蓋悌寫作《練習曲》的出發點相當單純：
因為自己鋼琴彈得不夠好，所以想寫炫技
曲作為補償。以往包裹在靜態音響內部的
快速音群與複雜節奏，在《練習曲》中重新
成為焦點，靈感則取自蕭邦、舒曼、爵士
鋼琴家塞隆尼斯．孟克、印尼甘美朗以及中非阿卡矮人族傳統音樂等。

始，以更快的速度演奏前段素材，其後節
奏不斷倍增、音量持續漸弱，最後在 E 大和絃上結束。

第一號鋼琴練習曲《混亂》
李蓋悌在 1960 年發表了一篇對皮耶．布列茲整體序列主義手法代表作《結構 Ia》
的分析，結論是：儘管樂曲每個參數都受《練習曲》的技巧雖難，但李蓋悌表示自己

到嚴密規則控制，聽覺上仍是純粹的混亂。

是在鋼琴上寫作的，確保每個環節在技術

時隔多年，李蓋悌不無諷刺意味地，以相上都是可行的。樂曲順序直到出版前才定

當「不前衛」的素材和相對自由的手法，創案，每首都帶有技術性、甚至是詩意的標題，

作了第一號練習曲，命名為「混亂」，題獻

不過都只是曲成後才加上的描述。

給曾撕破臉的布列茲。

462021 衛武營 TIFA 當代音樂平台

主要音型素材得自蕭邦《第二號鋼琴奏鳴盤兩端分開，同時透過縮減節奏讓音樂更曲》終樂章，右手演奏 C 大音階、左手演加緊湊。最後，開頭的素材在高音區再現，奏 B 大音階，以非洲鼓樂自由附加節奏的

左右手同時往鍵盤最高的 C 音結束全曲。

手法，讓左右手從齊奏逐漸錯開，並往鍵

LIGETI composed Etudes for piano in his later
years consists of 3 volumes and 18 pieces intotal. After leaving Hungary, LIGETI focusedon exploring the possibility of timbre andtexture. By employing fast patterns anddense counterpoint that is almost impossible
to be discerned by the human ear, he createdelectronic-like, static and gradually changing
sonic continuums on acoustic instruments.
However, when he visited the U.S. as resident
composer of Stanford University in 1972, hediscovered Minimalism music and, above
all, the music for player piano by Conlon
NANCARROW. All of those prompted LIGETI
to explore new possibilities in rhythm.
LIGETi’s motivation to write Etudes is quite
simple: because he was never good enoughat piano, so he wanted to write virtuosic
piano music as compensation. The rapid
pattern and complex rhythm that were onceenveloped in the static sound, now return
to foreground as main features in Etudes.
Their inspiration source includes CHOPIN,
SCHUMANN, Thelonious MONK, IndonesianGamelan music, as well as central African
traditional music of Aka Pygmy tribe.
Etudes is doubtlessly difficult in piano
techniques, but LIGETI said he composed
every passage on piano keyboard to ensure
every sequence is technically feasible. The
order of pieces was not decided until the
publication. Each piece bears a technical,
even poetic title, but the titles were added
only after LIGETI had finished the piece.

Piano Etude No. 16 “Pour Irina”
This Etude is dedicated to pianist Irina
KATAEVA, now Irina KATAEVA-AIMARD after
her marriage with pianist Pierre-Laurent
2021 Weiwuying TIFA Contemporary Music Platform

AI MAR D. T his c o u p le are b oth a cti ve
experts of contemporary piano music, andaficionados of LIGETI.
The Etude is selected from Book 3. The firstpart opens with a descend of Hexatonic scale(D ♭, C, B ♭, G ♭, F, E ♭)in equal rhythm, singing
tender melodies. The second part starts withoctave unison, developing the material of
the former section in a faster tempo. Thenthe duration of notes keep diminishing, andthe volume becomes quieter, till the ending E
Major chord.

Piano Etude No. 1 “Désordre”
LIGETI published an essay on the totalserialism monument Structure Ia for two
pianos by Pierre BOULEZ. He arrived at
the conclusion that, despite every musicalfactor being governed under strict plans andrules, the result is nonetheless purely auralchaos. After dozens of years, not without asense of irony, LIGETI used rather “not-avantgarde” materials and relatively free approachto compose his first etude, named it as“disorder”, and dedicated it to BOULEZ, who
was irritated by LIGETI’s essay.
The main pattern is derived from the last
movement of CHOPIN’s Piano Sonata No. 2,
with the right hand playing in C Major andthe left hand playing in B Major. Additive(and distractive) rhythm technique borrowed
from African drum music is then introduced
to disrupt the unison and intensify the pulse,with two hands moving toward opposing
directions. Finally, the opening material
recurs in a rather high register. Then both
hands run toward the highest C on the
keyboard to conclude the music.

47

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital

作曲家簡介 Composer Biography

菲利普．葛拉斯 (b. 1937)
Philip GLASS (b. 1937)

公認為極簡主義音樂的先鋒之一，但音樂

斯坦》一炮而紅。與克羅諾斯弦樂四重奏家本人認為「創作具有反覆結構音樂的作

展開合作後，於 90 年代逐漸轉向更為「嚴曲家」更能描述他的風格。由於葛拉斯的肅」的絕對音樂，寫作包括八首弦樂四重音樂語彙通俗近人，為當今商業上最成功

奏、十二首交響曲、多部名人傳記歌劇與

的古典作曲家。生於美國巴爾的摩，曾赴《鋼琴練習曲》。此外葛拉斯還是知名電影

巴黎向有「現代音樂教母」的娜迪雅．布蘭配樂家，《達賴的一生》、《楚門的世界》、

潔學習，布蘭潔帶著他分析的巴赫與莫札《時時刻刻》、《驚奇四超人》等，並多次入特作品是他終身受用的資產。早年作品以圍或榮獲各大電影配樂獎。

劇場音樂為主，並以歌劇《沙灘上的愛因482021 衛武營 TIFA 當代音樂平台Widely acknowledged as one of pioneersof Minimalism music, Philip GLASS rather
describes himself as a composer of “musicwith rep etitive str u cture s .” He is th e
most commercially successful composer
nowadays for his simple and accessible
musical language. Born in Baltimore, USA, hewent to Paris to study under “godmother ofmodern music” - Nadia BOULANGER, whose
analysis on music by BACH and MOZART
remains inspiring throughout GLASS’ career.
His early projects are mainly theatrical,
among them is opera Einstein on the Beach,2021 Weiwuying TIFA Contemporary Music Platform

which boosted his popularity. After several
collaborations with Kronos Quartet, GLASS
has focused on more “serious” music genres
since the 1990s. The titles include 8 string
quartets , 12 symphonies , a number of
biographical operas, as well as 2 books of
Études for Solo Piano. Meanwhile, GLASS
is also an important figure in the field offilm music. He wrote many film scores suchas Kundun, The Truman Show, Hours andeven Fantastic 4 (2015), and is frequently
nominated and awarded in prominent filmawards.
49

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital樂曲解說 Program Notes

寫給鋼琴獨奏的帕薩卡亞舞曲《遙遠的人影》
Passacaglia for Solo Piano “Distant Figure”
作曲／菲利普．葛拉斯
Composer / Philip GLASS

葛 拉 斯 的 鋼 琴 獨 奏 曲《遙 遠 的 人 影》， 為更寬廣，右手有了更活躍的旋律活動。接2017 年受丹麥奧胡斯市委託所寫，題獻給

著葛拉斯選擇讓音樂「原路返回」，再次演

鋼琴家安東．巴塔戈夫，同年底由巴塔戈

奏主題，並以導奏作結，讓曲式呈現拱形夫於奧胡斯音樂廳首演。

結構（ABCBA；也是巴爾托克很喜歡的曲帕薩卡亞舞曲源於十七世紀西班牙串場音樂，傳進義大利後成為是一種不斷反覆同一段終止式和弦進行的音樂。富雷斯可巴第用這個標題寫出的作品，則是建立在一段不斷反覆的頑固低音主題或和弦進行上的連續變奏曲，此後所謂的帕薩卡亞舞曲，多是根據富雷斯可巴第的體例所寫的變奏曲。
葛拉斯在《遙遠的人影》中採取了較為寬鬆的變奏手法。此曲變奏主題—或說前身，
是為華納 Nonesuch 唱片公司總裁鮑伯．
赫維茲的退休派對所寫的短曲《第二號晚式）。儘管葛拉斯應克羅諾斯四重奏之邀將
此曲改編為弦樂四重奏，但作曲家認為《第二號晚歌》還能繼續發展，於是又加入三段聲響與技巧更加華麗的變奏，建構規模
更宏大的拱形曲式，最終成為這首「帕薩卡亞舞曲」。
與葛拉斯關係緊密的事業夥伴理查．蓋林
認為此曲能視為 1979 年大型鋼琴獨奏作品《狂奔》的下篇：《狂奔》宛若啟動一架永不停止的機器，而《遙遠的人影》則如一趟
令人滿足的歸途。

歌》。這首短曲選用溫暖的 F 大調與平穩的

4/4 拍，導奏由左手緩緩演奏八分音符反覆
音型，右手以六對四的節奏加入，隨後展
示主題，並接著一段變奏。這段變奏音域
50

2021 衛武營 TIFA 當代音樂平台GLASS’ Distant Figure for piano solo iscommissioned by Aarhus City, Denmarkin 2017, and is dedicated to pianist AntonBATAGOV. Later in 2017, this piece waspremiered by BATAGOV in Musikhuset
Aarhus.
Passacaglia originated in Spain in the early
17th century, it was a type of interlude
between other performances. Spread into
Italy, a passacaglia was written as a piecethat repeats the same cadence over again.
When FRESCOBALDI adopted this title,
what he created was a series of continuous
variations based on a repeating bass ostinato
or progression of chords. Henceforth, socalled passacaglia is mostly constructed
as continuous variations in FRESCOBALDI’s
model.
GLASS adopted a relatively loose approachof variation in Distant Figure. The themeof variations - rather, the past life of themusic, is a short piano piece named Evening
Song No. 2, written for the President ofNonsuch label, Bob HURWITZ to celebrate
his retirement. Evening Song No. 2 unfolds inwarm F major and stable 4/4/ meter. In the
introductory passage, the left hand slowly
plays a repetitive pattern, then the right2021 Weiwuying TIFA Contemporary Music Platform

hand joins in 6:4 rhythm. GLASS exposed a
nostalgic theme and gave it a variation, in
which the sound is broader, and the melodic
material in the right hand becomes more
active. Then GLASS chose to “return in thesame route”, he let the theme played again,
finally ended the music by introductory
section, constructing an “arch-form” (ABCBA;
which is happened to be BARTÓK’s favorite
form.) Although GLASS had been asked by
Kronos Quartet to transcribe Evening SongNo. 2 for string quartet, the composer still
saw something more to be developed in thisshort piece. As a result, GLASS added three
more variations, much more brilliant in bothsonority and technique, constructing a largescaled arch-form, therefore completed this“passacaglia”.
Richard GUÉRIN, a close business partnerof GLASS, suggested that Distant Figure
can be considered as the latter sequenceof Mad Rush, another large piano solo piececomposed in 1979. While Mad Rush turns on
a machine that won’t stop, Distant Figure isa satisfying end of journey back to where it
started.

51

《當代大師的極簡世界－林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital樂曲解說 Program Notes《鋼琴練習曲》(1991-2012)
P. Glass: Selections from Etudes for Solo Piano (1991-2012)
作曲／菲利普．葛拉斯
Composer / Philip GLASS

葛拉斯一共寫作了二十首鋼琴練習曲，分

大小和弦間擺盪的和弦。全曲性格輕快詼為兩冊各十首。他在此前的鋼琴作品大多諧，甚至帶有藍調色彩，最後在右手 F 大是從自己其他編制的樂曲改編而來（如前和弦與左手 F ♯間的不和諧音當中充滿懸

述 的《狂 奔》原 版 為 電 風 琴 演 奏）， 而 在念地結束。

1990 年代登臺演奏鋼琴機會增加後，他決心開始研究「創作鋼琴曲」這件技藝本身。
作曲家原本計畫創作一組二十首的鋼琴前奏曲，後來才改稱為練習曲，不過由於工
作繁忙，花了二十餘年才完成。第一冊的前十號《練習曲》有著雙重目的，一是探索
不同的速度、織體與鋼琴技巧，二是為了
自我教育成為一個更好的演奏者—也認為
這個目的有確實達成。第二冊《練習曲》風
格則更加大膽，有如一場和聲與結構的冒
險。每一首練習曲都在短短篇幅中藉由不斷反覆的素材展現獨特的抒情性格，這一特徵令人聯想到舒伯特—葛拉斯也的確從
這位與他同一天生日的作曲大師身上學到不少。

第十三號鋼琴練習曲
此曲由鋼琴家布魯斯．萊文斯頓委託，寫
於 2007 年。開頭由左手演奏一段伴奏音型，調性在 A 大小和弦之間擺盪不定，隨

第二號鋼琴練習曲
此曲為最早完成的一首練習曲，C 大調，
帶有夜曲般恬靜優美的特質。樂曲開頭以型後，右手以反覆音演奏情緒激動的主歌，

At first, the composer intended to write a setof 20 “preludes” for piano, later calling them
“Etudes”. But the completion took over 20
years due to heavy workload. The first bookserves double purposes: one is “to explore
a variety of tempi, textures and techniqueson piano”; the other is “to become a better
player” - and the composer thought the goal
was well reached. On the other hand, thesecond book is a much bolder adventurein harmony and structure. Each Etude
conveys its unique lyrical quality by recurring
materials within a rather brief span. Suchtrait evokes piano pieces by SCHUBERT indeed, GLASS has learned a lot from theMaestro, with whom he shares the samebirthday.

隨後發展為分解和弦，並迎來以大跳與厚

Piano Etude No. 13

重和弦為特色、帶有浪漫派風格的副歌。

Commissioned by pianist Bruce
LEVINGSTON, this etude was written in2007. It opens with the left hand playing anaccompanying pattern, the tonality swings
between A Major and a minor. Then the righthand enters in 2:3 rhythm, presenting thesame ambiguous Major-minor sound. The

4+3+4+2+2 的節奏型演奏分解和弦呈示一段和聲主題，然後進行八次變奏。第四至
六段變奏速度增快，採用穩定感更強的 4/4
拍以及更厚重的和弦音型，最後兩段變奏
又回到開頭的節奏型，可視為以速度與織度做區分的 ABA’三段體。

第六號鋼琴練習曲
此曲受紐約公共電臺委託，寫於 1994 年，
原題《此去已久》，F 小調。在左手伴奏音第二段主歌以音階衍生的音型加以變奏，數次導向副歌後，又返回第一段主歌，最後在屬七和弦上戛然而止。

後右手以二對三的節奏加入，演奏同樣在
52

GLASS wrote 20 Etudes for solo piano,
divided into 2 books with 10 pieces in each.
Before Etudes, piano pieces of GLASS are
mostly transcribed from other music by thecomposer for different instruments (forexample, the original version of Mad Rush is
written for electronic organ.) In the 1990s,
with more opportunity to play piano on stage,
GLASS decided to further explore the art of“creating piano music.”

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platformoverall mood is bright and humorous, with a
bit of blue feeling. Finally, with the F of theright hand and the F ♯ of the left hand, themusic ends in suspense.

Piano Etude No. 2
Etude No.2 - actually the first etude doneby GLASS - is in C Major with a nocturnal
nature. The chord progression theme is
exposed in broken chords divided into a
4+3+4+2+2 rhythm pattern, then derives 8
variations following. The variations no. 4-6
flows in a faster tempo, using the more stable
4/4 meter and thicker texture of chords.
However, the last two variations return to the
opening pattern. Therefore, the whole piececan be viewed as an ABA’ form in the light of
tempo and texture.

Piano Etude No. 6
This Etude in f minor was commissioned
in 1994 by WNYC, premiered under theprevious title Now So Long after That Time.
The right hand plays an intense verse
melody in repetitive notes after a few barsof accompanying pattern by the left hand.
The verse develops into broken chords, thenarrive at the chorus featuring Romanticism
techniques evolving leaps and thick chords.
The second verse develops with fragments ofscale. Having arrived at chorus over and overagain, the first verse recaps, then suddenly
ends on the dominant seventh chord.

53

The artistic team of 2013 Taishin Art Awardwinner Dear J ohn, comp oser LIN Kueiju, sound installation artist WANG Chungkun, together with innovative percussion
ensemble Freedom Beat, choreographer
TUNG I-fen and Fangas Nayaw as dramaturg,
jointly create the Resonance: Into the Maze.

繼榮獲 2013 年台新藝術獎年度五大作品

動見体 × 王仲堃 × 自由擊
M.O.V.E. Theatre×WANG Chung-kun×Freedom Beat

《凱吉一歲》後，動見体核心藝術家林桂如，《共鳴体》

與聲音裝置藝術家王仲堃攜手合作，邀請
具跨界創作經驗的打擊樂團「自由擊」，與

Resonance: Into the Maze擅長以身體及社會議題共編的董怡芬與陳
彥斌（Fangas Nayaw），攜手合作結合原創音樂、互動探索與聲音裝置的全新作品《共鳴体》。
《共鳴体》以聲音的「振動」與「共鳴」為
創作核心，以「空間」與「觀眾參與」為發
展軸線，透過機械裝置、燈光、打擊肢體等多元創作表現，聽見音樂的色彩， 觸碰聲波的流動，打造一個由聽覺、視覺、觀演關係三種不同的層面形塑的大型共鳴箱。

The creation focuses on “vibration” and“resonance” of sounds and develops alongwith space and audience’s participation.
T h ro ugh kin etic in stallatio n , lighting ,percussion and body movement, it builds
up a large-scale resonance box shaped bysound, visual and spectatorship. It amplifies
the colors of music and embodies the flowof sound waves. This is an exciting dialogue
between contemporary music and theater,
turning the space into a resonance agent andleading us to explore various possible paths
for perception.

然而 2020 年首演之後，疫情持續改變了我們所有的日常，人與人之間、創作與觀眾之間的關係，持續地浮動變化。《共鳴体》
的創作團隊，企圖在不同的隔離或孤寂狀
態中，再次討論並提出，對於「共鳴」與「共感」的渴望，思考另一種詮釋、另一種意義、以及新的經驗可能；在 2021 年衛武營當
代音樂平台中，以特別演出的版本，回應此時此刻的狀態與疫情，持續以當代音樂

4.24 Sat. 14:30 / 19:30
4.25 Sun. 11:00 / 14:30

For this year’s Weiwuying Contemporary
Music Platform, the creative team together
offered this special edition as a responseto the C OV ID -19 p an demic . W hen theaudience participation is no longer allowed
through freely wondering around during
the performance, we hope to offer anotherinterpretation of “togetherness” as a way toemphasize people’s longing for resonanceand gathering. Let’s travel with the sounds
together to explore the experiences in thesounds!

與劇場激盪對話，想像空間成為共鳴体，
引領我們踏出各種各樣的感知路徑。

戲劇院 Playhouse

驚喜交疊原本就是創作的常態，而聲音，
其實一直都在，只是取決於我們是否選擇

節目全長約 60 分鐘，無中場休息。
Duration is 60 mins without intermission.

去聆聽；也盼望這個作品，有緣翻攪了一
些，你心底的共鳴。

演前導 聆 Pre-talk
4.24 Sat. 13:50 / 18:50
4.25 Sun. 10:20 / 13:50
戲劇院大廳Playhouse Lobby

54

© 林育全

2021 衛武營 TIFA 當代音樂平台

更多節目資訊For More Information

委託製作：
2021 Weiwuying TIFA Contemporary Music Platform55

《共鳴体》
Resonance: Into the Maze

作曲│
林桂如

聲音裝置設計│王仲堃Composer, LIN Kuei-ju

Sound Installation Design,
WANG Chung-kun

國立藝術學院理論與作曲學士，加州大學
聖 地 牙 哥 分 校 作 曲 博 士， 曾 獲 選 於 法 國

IRCAM 電腦音樂中心研習進修。現為動
見体劇團核心藝術家及實踐大學音樂系專
任助理教授。
音樂創作型態多元，除器樂創作外，亦投身音樂劇場、電腦音樂、裝置藝術等跨領
域創作，並為電影、紀錄片、劇場及舞蹈
作品擔任音樂設計工作，近期參與之作品
持續於國內外藝術節演出，包括法國外亞維儂藝術節、澳洲 OzAsia 藝術節、韓國
釜山國際表演藝術節、西班牙 Murcia 藝術節、西班牙 Palma 舞蹈節、臺灣國際藝術節、
臺 北 藝 術 節、 上 海 藝 術 節 等。 曾 獲 委 託
創 作 包 括 : 美 國 La Jolla Symphony and

LIN holds a Bachelor degree in Composition
from the Taipei National University of theArts and a Ph.D. in Composition from the
University of California, San Diego. She iscurrently the music director of the M.O.V.E.
Theatre and an assistant professor in musicat the Shih-Chien University.
As a composer, LIN Kuei-ju enjoys working
with acoustic and electroacoustic
in str u m e nts , s o u n d in stall atio n s an dinterdisciplinary collaborations in boththeater and dance. Her music has been
performed in concerts and music festivals in
Taiwan, Japan, Korea, Israel, Australia, France,
Poland, Canada and across the USA. She isalso an improviser on piano. Her debut album“Classy Bluster– Improvised Music by Kuei-ju
and Friends” was released in December 2010.
Her collaborative project Dear John received
the Taishin Arts Awards’ best five artworks of2013.

Chorus 、 Nouvel Ensemble Moderne 、Born in 1982, Taipei-based artist WANG
Chung-Kun works across media art in thedevelopment of sound, sculpture, video,
kinetic art, and installation. He has createdvarious forms of machiner y that haveconsistently maintained an intriguing purity
and peculiar sense of beauty. His soundartwork possesses a musicality, consciously
liberating the abstract nature of sound andconverting it into a more concrete form ofmusic.

臺北藝術大學美術系及科技藝術研究所畢，「噪咖藝術」藝術總監。他創造各式各樣單純而耐人尋味、具獨特美感的機器，其聲
音作品具有一種音樂性，刻意把「聲音」的
抽象性解放出來，轉化為較為具象的音樂。

近 期 個展：「聆聽的機器 – 紀伯豪、王仲堃雙個展，臺北國際藝術村（2019）」、「台新銀行個展 – 風聽（2018）」「造聲 – 王仲堃個展，就在藝術空間（2016）」「另一種
音景系列 – 王仲堃個展，新畫廊（2013）」；「+ - * / 王仲堃 - 聲音裝置個展，臺北數位
藝術中心（2010）」。近期聯展：「城市之音 國際聲音藝術節，蒙斯，比利時（2015） 」；

Recent solo exhibition: 2016 Making Sound,
Project Fulfill Art Space, 2013 series of“another Soundscape” Neu Gallery, 2010 [+ - */] Digital Art Center. Recent group exhibition:2016 Life between delight and discomfort,
Gwang ju Museum of Ar t , Korea . 2 015
CitySonic: InternationalSound ArtFestival,Mons, Belgium. 2013 inToAsia: Time-Based
Art Festival Stephan Stoyanov Gallery, New
York. 2012 TRANSJOURNEY – Future MediaFestival, Kuandu Museum, Taipei.

「2013 亞洲時基：新媒體藝術節 – 微型城十方樂集、打擊樂家黃皚雲等。亦熱衷於市，紐約，美國（2013）」；「超旅程 – 未

鋼琴即興演奏，2010 年底發行首張專輯「林來媒體藝術節，關渡美術館（2012）」。

桂如音樂即興現場實錄─古典音噪」。
56

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform57

《共鳴体》
Resonance: Into the Maze

肢體編創設計│
董怡芬

構作協作│
陳彥斌

Choreography, TUNG I-fen

Dramaturg, Fangas Nayaw

現任軟硬倍事聯合藝術總監、動見体核心藝術家、舞蹈空間及安娜琪舞蹈劇場客席編舞家。於臺灣大學、清華大學、臺北藝術大學、
臺灣藝術大學等兼任講師。曾為巴黎西帖
駐村藝術家、美國科羅拉多學院及喬治華
盛頓大學駐校藝術家。作品多次赴國際藝術節演出，並任藝文活動策劃與主持工作。

2014、2018 二度獲得羅曼菲獎助金赴歐洲進修。近年參與劇場、音樂劇舞蹈設計與
動作指導，另專研聲音、物件與肢體連結，發展相關系列及參與式作品。

58

Receiving her Master degree from the
Graduate Institute of Dance at Taipei
National University of the Art and the BA
degree from the Queensland University ofTechnology, TUNG I-fen is the co-artistic
director of Fist & Cake Production, principal
ar tist of M . O .V. E . T h e atre , an d g u e stchoreographer of Anarchy Dance Theatre.
Has been teaching in art schools in Taiwan,
she was an artist-in-residence at Cite
Internationale des Arts in Paris, Colorado
College and George Washington University.
Her signature physic al ch ore ography
often integrates multiple elements fromtheatre, film, and contemporary art. Asa choreographer, dancer, performer, andmovement director, she collaborates withartists from Taiwan and overseas and has
actively participated in various international
workshops and festivals in Britain, France,
Spain, USA, Greece, South Korea, H.K.,
Philippines, India, and Singapore.

2021 衛武營 TIFA 當代音樂平台

軟 硬 倍 事 聯 合 藝 術 總 監。 原 住 民 籍 表 演
藝 術 創 作 工 作 者。 演 出、 編 導 及 創 作 領域 橫 跨 影 像、 戲 劇 及 舞 蹈， 探 討 分 享「人」的 趨 性、 動 向。 導 演 作 品《牆 上。
痕 Mailulay》獲 第 十 四 屆 台 新 藝 術 獎 提名、入圍並榮獲年度五大作品獎。執導之《Oli 邊境》入圍 SXSW、高雄電影節 VR
競 賽 影 片。2017 年 臺 北 世 大 運 開 幕 編 舞
家。 2018 年巴黎西帖國際藝術村駐村藝術家。 策 展 暨 導 演 作 品《masingkiay, 嗨 歌三百首》受邀至巴黎龐畢度藝術中心 2019

Cosmopoli #2 雙年展。2020 臺北白晝之
夜表演藝術策展統籌。

2021 Weiwuying TIFA Contemporary Music Platform

Co-artistic director of Fist & Cake Production.
Born in Taitung, Taiwan. Fangas is an artist,
director, choreographer and performer. Hisversatile practices probe into dynamics ofaudience participation and new technology
i n p e r fo r m i n g a r t s , w h i le c o n st a ntly
reflecting on his indigenous identity andcultural tradition as Amis. These are seen
in Don’t worry, be happy (2009), Farewell,
Lin-Ban (2013), Tsou (“Name of Tribe”, 2015),
Maataw (“Floating Island”, 2016), si, kaen(“Eating”, 2017), XXIX Summer Universiade
Opening Program I (2017 ) and Alikakay(“The Giant”, 2019). His VR film work, ASong within Us, was selected in the SXSWVR competition 2020; the performance
work, masingkiay:Co-creating a Collective,
was invited to Cosmopolis #2 in Pompidou
Centre, Paris in 2019. His directorial andchoreographic work, Mailulay, won the 14th
Taishin Arts Award in 2016.

59

《共鳴体》
Resonance: Into the Maze

擊樂共同創作暨演出│自由擊《共鳴体》製作團隊
Resonance: Into the Maze Production Team

Percussion Collaborative & Performers, Freedom Beat

於 2010 年 成 立， 現 由 葉 柏 岑、 朱 純 瑩 與劉冠萍組成。三名受完整學院科班訓練之打擊樂演奏家累積十多年打擊樂器舞臺表演經驗，自由擊演出曲目皆為自創或量身
訂做的委託創作，是臺灣少見的創作型打擊樂團。擅長改造、自製樂器的自由擊，
經常利用日常生活中的物品，加工重製為
音響效果有趣特別的樂器。

60

Freedom Beat is an innovative percussion
ensemble founded in 2010. With morethan ten years of percussion performanceexperiences, Freedom Beat presents a new,creative fusion of percussion music styles.
In 2012 and 2013, Freedom Beat performedat the Festival d’Avignon Off as one of therepresentative troupes of Taiwan. In 2018,
the OzAsia Festival invited Freedom Beatto perform at the Moon Lantern Paradeand Lucky Dumpling Market. Freedom Beat
expertly fuses contemporary percussion
with all types of electronic music, pops, rock‘n’ roll and psychedelic, bringing percussion
music to a new horizon. It’s a true feast for
the eyes and ears alike. Currently, Freedom
Beat is consisted of 3 members: CHU Chunying (Clara), YEH Po-tsen (Xero), and LIU
Kuan-ping (Gray).
2021 衛武營 TIFA 當代音樂平台

製作團隊 Production Team

服裝設計 Costume Design

動見体 M.O.V.E. Theatre

范玉霖 FANN Yu-lin

作曲 Composer攝影 Photographer

林桂如 LIN Kuei-ju

林育全 LIN Yu-quan

聲音裝置設計 Sound Installation Design錄影 Videographer

王仲堃 WANG Chung-kun

陳冠宇 CHEN Kuan-yu

肢體編創設計 Choreography

舞臺監督 Stage Manager

董怡芬 TUNG I-fen

陳正華 CHEN Cheng-hua

戲劇構作 Dramaturgy

舞臺技術指導 Technical Director

陳彥斌 Fangas Nayaw

陳人碩 CHEN Ren-shou

擊樂共同創作暨演出

製作人 Producer

Percussion Collaborative & Performers

黃雯 HUANG Wen

自由擊 Freedom Beat
朱純瑩 CHU Chun-ying, (Clara)

執行製作 Production Manager

葉柏岑 YEH Po-tsen (Xero)吳伯山 WU Po-shan

劉冠萍 LIU Kuan-ping (Gray)
自由擊行政聯繫 Freedom Beat Admin
裝置設計執行 Installation Execution林靜蓉 Jamie LIN

王量 WANG Liang
劇團製作人 Company Producer
燈光設計 Lighting Design

藍浩之 LAN Hao-chih賴科竹 LAI Ke-chu
劇團經理 Company Manager
音響設計 Sound Engineer

張乃惠 CHANG Nai-hui

鐵吹製作 Feblow Production
2021 Weiwuying TIFA Contemporary Music Platform

61

「閱 讀 音 樂」是 一 個 以 文 本 式 創 作（text柏林新音樂室內樂團《閱讀音樂》計畫

compositions）出發、持續進行的系列作品集。2019 年捌號會所與柏林新音樂室內樂團（KNM Berlin）共同製作，以史托克KNM BERLIN - Tunings of the World 2.0

豪 森（K. STOCKHAUSEN） 於 1968 年
德國達姆城（Darmstädter）作曲大師班中
提出的《音樂之屋》（Music for a House）
為概念，邀請來自臺灣、德國、阿根廷與
墨西哥等六位作曲家，為衛武營歌劇院全空間創作：《給歌劇院的音樂 Music for an

Opera House》。原先已累積一年的文本研讀與創意發展，無奈卻遇上全球疫情持續
延燒，遲遲無法於實際展演空間落地演出。
製作團隊不改其志，更持積極態度，以錄
像規格的方式，推出中繼創作作品《調聲世界 2.0—閱讀音樂 III - VIII》，並於柏林
進行錄製。全球疫情著實了斷許多實體演
奏及創作契機，但創作者本於對藝術的熱情，找到更多對應的展演方式。這並非「替代方案」，而是創作者們積極反向思索，用©Thomas Bruns

非常規的空間與實驗精神，體現史托克豪
森於上世紀提出的音樂展演型態思維，讓
藝術創作超脫邊界，成為新可能。
演出曲目● 高愷怡《對位》● 卡洛斯．伊圖拉得《彈性轉譯》● 安娜．瑪麗亞．路德里格《金與銀》

Reading Music is a colle ction of text
composition works and an ongoing project.
It explores how composers and musiciansreach mutual comprehension without thescore as a medium and further elaborates
on the relationship between sound art andspace.
Based on the concept of German master
K. STOCKHAUSEN’s Music for a House,
Studio Acht and KNM Berlin invited six
composers from Taiwan, Germany, Argentina,
and Mexico in 2019 to create Music for
an Opera House, a work tailor-made forthe spaces in Weiwuying Opera House.
Music for an Opera House is completed
af te r a ye a r of d i s c u s s i o n , r e s e a r c h ,and creative brainstorming. Due to thepandemic, this piece is unable to perform
live; however, the challenge of the reality,
in fact, spurred the team to go deeper into
Stockhausen’s groundbreaking concept ofmusical composition. They thus filmed theexperimental results into Reading Music IIIVIII in Berlin. It serves not only as a recordof the creating process of Music for an
Opera House but a way for composers
and performers to profoundly present thethinking of musical performing styles put
for ward by STOCKHAUSEN in the lastcentury through unconventional space andthe sense of space.
Program
KAO Kai-yi: Counterpoint
Carlos LTURRALDE: Elastic Semantic Transfer
Ana Maria RODRIGUEZ: Gold and Silver
LIU Wei-chih: Burst ForthLIN Fang-yi: Let’s Read Some Poems
Laure M. HIENDL: Practice● 劉韋志《迸發》● 林芳宜《一起來唸些詩吧》

4.12 Mon. - 4.25 Sun.
11:00-17:00● 勞爾．亨德爾《練習時刻》

藝術迴廊 Art Gallery
Partners

作曲家面 對面 TALK
4.18 Sun. 11:00-12:00
對談人：林芳宜、高愷怡、劉韋志
Panelist: LIN Fang-yi, KAO Kai-yi, LIU Wei-chih

Funded by the German
Federal Cultural Foundation

3 樓樹冠大廳西側（樹冠露台旁）
3F Crown Hall (West Terrace)
62

更多節目資訊For More Information
2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform

63

柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0

作曲家簡介 Composer Biography

高愷怡
KAO Kai-yi
高愷怡，1984 生於臺灣臺中，目前旅居奧地賽」第二名；同年參與國立傳統藝術中心

利維也納，除持續創作作品自 2011 年起任臺 灣 音 樂 館「大 師 門 徒 與 夥 伴 計 畫」， 以large orchestra. Her piece was selected as
an assigned piece of Vaduz international
masterclass 20 07 in Liechtenstein . In2009 she was a finalist of the International
Music Prize for Excellence in Compositionin Greece and also received the Special
Award. In 2014 she won the 2nd prize forthe 14th Carl von Ossietzky Composition
Competition Oldenburg and also won the
2nd prize in 2016 of the Hearing Orpheus
Today composition competition in Malta.
In the same year, she was selected as thecomposer for the program TMI (MasterDisciples and Companion) of the National
Center for Traditional Arts, as well as the
Gender-Projekt Holz-Blech-Schlag in 2017and 2018 commissioned by the University ofMusic and Performing Arts Vienna. In 2017
She won the 3rd prize for the Voice of the
New and Brilliant- Composition Competition
2017- NTSO (National Taiwan SymphonyOrchestra) in Taiwan. In 2019 she won the 1st
prize for the Augusto Massari Composition
Competition in Italy. The piece was also
published by the publisher Diaphonia Music
Edition. In the same year, her piece waspublished by the publisher Redshift Music in
the CD-album “Lutalica”, which was playedby the flutist Mark McGregor, as well as theother pieces were published by the publisher
Doblinger. Her compositions have been
performed in Austria, German, Switzerland,
Liechtenstein, Greece, Italy, Malta, England,
Canada, Japan and Taiwan.

教於奧地利維也納舒伯特音樂學院（Wiener

及入選國立維也納音樂暨表演藝術大學

Franz Schubertkonservatorium）， 教 授「Gender-Projekt」2017、2018 年 度 委

鋼琴、作曲及音樂理論等課程；2019 年起

託 創 作 計 畫。2017 年 獲「國 立 臺 灣 交 響參與臺灣藝術策展平台捌號會所之「藝術陪樂 團 2017 青 年 音 樂 創 作 競 賽」第 三 名，

伴計畫」，拓展國際網絡與投入多項新創製2019 年 獲 得「義 大 利 Augusto Massari

作計畫。於臺灣求學期間就讀臺中曉明女中

作曲比賽」第一名。作品也由歐美多家音

音樂班，主修鋼琴，師事郭宗愷、艾嘉蕙教

樂 出 版 社， 如 Doblinger、Diaphonia、

授；及理論作曲，師事熊澤民、施孟玟教

Redshift 等，為之出版樂譜及專輯。其作《對位》

授。隨後赴奧地利，先後取得奧地利維也納

品橫跨古典、現代等領域，涵蓋中西方不Counterpoint舒伯特音樂學院作曲家、鋼琴演奏家雙文

同樂器的獨奏曲、不同編制的室內樂曲、憑；以及國立維也納音樂暨表演藝術大學

聲 樂 曲 及 大 編 制 管 絃 樂 曲 等； 曾 與 歐 洲（Universität für Musik und darstellende

知名現代音樂室內樂團 Ensemble Lux、

「對位」，以音樂上的對位為構想主軸，由此，作品涵蓋了極高的即興和機率音樂的Kunst Wien）作曲藝術碩士學位，師事 D.

Platypus Ensemble 、 Ensemble N 、

三個段落合併在一起所組成。打破傳統制

不確定性元素。文本中，除了允許使用可

Schermann、M. Jarrell 教授。

KNM Ensemble 以 及 陳 必 先、 李 秀 芬、

式化的譜上標準譜音符，改使用文字譜，移動樂器的演奏者，在演奏時根據指令動陳 敏 華、 孫 莉、 蔡 佩 倫、 王 瀅 絜、 黃 鈺

演奏者僅根據文本裡的引導文字、指令動

作在舞臺空間範圍中移動，也引導演奏者

婷、Berndt THURNER、Mark Takeshi

作等，配合演奏者本身當下的情緒抒發，

做出些特殊的聲音共鳴，從而透過不同聲

MCGREGOR、Sophie DERVAUX、岩瀬

以及四位演奏者彼此間的默契和反應，運音線條交錯和整個展演空間的交織融合，龍太、真鍋尚之等音樂家合作，於世界各用所有可能的演奏技巧，猶如一場對話般，呈現一個空間與音響的意象式對位作品。

地演出。

做出演出當時自己認為合適的聲響，也因

於 2009 年入選「希臘傑出作品國際音樂獎」， 並 獲 特 別 獎 殊 榮。2014 年 獲「德 國第 14 屆 卡 爾． 馮． 奧 西 茨 - 奧 登 堡 國 際
作 曲 比 賽」第 二 名。2016 年 獲 得「馬 爾他 戈 左 Hearing Orpheus Today 作 曲 比KAO Kai-yi was born in Taiwan in 1984. She
graduated in 2009/10 with distinction- Artist
Diploma for piano and composition fromthe Vienna’s Franz Schubert Conservatory,
as well as master degree for composition(with prof. Michael Jarrell) in 2014 from the
University of Music and Performing Arts
Vienna. She works as composer and musician
in Vienna and has also been teaching piano,
composition, music texture and ear training64

at the Vienna’s Franz Schubert Conservatory
since 2011. In 2019, KAO joined the “We Art
Together Project” organized by Taiwanese art
curatorial platform Studio Acht, expanding
the international network and starting indifferent projects.
Her compositions include solo pieces
for various instruments, chamber musicpieces, vocal music pieces and works for2021 衛武營 TIFA 當代音樂平台樂曲解說 Program Notes

T he main content of the text score is“counterpoint”. I would like to present a workwith imagery counterpoint as a basic methodin three phases. Not the counterpoint on thescore with notes, but directly with sounds
in the entire space where we exist. Not only
break away from standard music texture
and notes, also incorporate the elements ofimprovisation and uncertainty possibility ofsounds.

2021 Weiwuying TIFA Contemporary Music Platform

作曲／高愷怡
Composer / KAO Kai-yi

Performers make sounds according to theguide text. Some of them with movable
instruments have to move in the spaceaccording to the instruction while playing.
Through the sounds made by performers,
to interlace different lines in the space ascounterpoint with vertical, horizontal andslash, etc. Using the combination of thespace and the sounds, a dialogue generated
between each performer, which based on theimagery counterpoint.
65柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0

作曲家簡介 Composer Biography

卡洛斯．伊圖拉得
Carlos LTURRALDE (Mexico City. 1976)

卡洛斯．伊圖拉得 1976 年生於墨西哥市。

卡洛斯由自學開始接觸音樂，隨後於墨西

受到不可能性與人為錯誤等概念的啟發，

哥市幾所音樂機構以及私人教師的教導下

卡洛斯．依圖拉得將自己的作品視為重新學習古典吉他與作曲。他在該市的音樂學檢視日常聲響物件的放大鏡，並在其中納

習與研究中心取得了作曲學士學位，師事

入了器樂、電子、即興與跨領域等元素。

維克多．里德。畢業之後，他繼續於墨西他曾獲得奧地利伊伯斯獎，而其作品曾於澳洲、歐洲、北美及南美洲演出，足跡遍佈眾多博物館、音樂廳與音樂節，包含卡內基音樂廳、賽萬提斯國際藝術節、費因梅音樂節 、紐約瑪塔音樂節、莫札特音樂
廳、墨西哥大學當代音樂博物館、荷蘭 IJ
灣音樂廳、今日音樂藝術節（卡洛斯本人

哥克雷塔羅州向伊格納西奧．巴卡．洛貝
拉學習作曲，爾後則在墨西哥文化藝術基金會獎學金的支持下，於荷蘭海牙皇家音樂學院主修超聲學，主要師從理查德．艾
爾斯、克拉倫斯．巴洛、保羅．伯格與吉
魯斯．範．貝吉耶克，並取得了作曲碩士
學位。

創辦）等等。此外，他的作品曾由荷蘭榮

自 2007 年起定居墨西哥市，並於近期獲

譽樂團、國際當代音樂團、克朗樂團、維墨西哥文化藝術基金會頒發的青年創作者

也納克朗論壇、限制樂團、模型 62、新模獎金。接下來，他將旅居紐約、芝加哥與

組樂團、荷蘭新室內樂團、海牙打擊樂團聖地牙哥等地，擔任國際當代音樂團的駐與佛塔斯等團體演出。

團音樂家。

Inspired by concepts like impossibility andhuman error, he thinks of his work, which
includes instrumental, electronic, improvised
and interdisciplinary pieces, as a magnifying
glass that provides a new context for his
everyday life sound objects.
He has won awards like Impuls (Austria), andhis work has been performed in Australia,
Eu r o p e a n d N o r th / S o uth A m e r i c a , inmuseums, halls and festivals like “Carnegie
Hall”, Festival Cervantino, FIMNME, Mata
NY, “Mozart Hall”, MUAC, “Muziekgebouw”,
MATA Festival, Today’s Art, by himself andensembles such as de Ereprijs, ICE, Klang,
Klangforum Wien, Liminar, Modelo 62, NEM,
Nieuw Ensemble, Slagwerk Den Haag andVortex among others.
He began his musical studies as a selftaught musician. Later, he studied classicalguitar and composition privately, as well as at樂曲解說 Program Notes《彈性轉譯》

several institutions in Mexico City, where heobtained a Bachelor’s degree in composition
from the Musical Studies and ResearchCentre under the wing of Victor Rasgado.
After graduating, he first continued studying
composition in Querétaro, Mexico with
Ignacio Baca Lobera, and later at the RoyalConservatory of The Hague, Holland, where
thanks to a scholarship from the Mexican
Fund for Culture and Arts, he specialized
in sonolog y and obtained a master incomposition, having Richard Ayres, Clarence
Barlow, Paul Berg, Gilus van Bergeijk among
others as main teachers.
Since 2007 he is based in Mexico City, where
he recently earned the “Jovenes Creadores”
grant from the Mexican Fund for Culture andArts. Upcoming projects include a residency
in N.Y., Chicago and San Diego with the ICE
ensemble.

作曲／卡洛斯．伊圖拉得
Composer / Carlos LTURRALDEElastic Semantic Transfer
首先，從心智轉移成書寫，然後昇華為聲音。
延伸字意之時，語境迷失，卻在下一個簡
單的指令裡，新的意義從聲音中誕生。
66

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform

First, transferred from the mind to
handwriting, and then to sound.
When stretching a word, semantic field is
lost, but with a simple instruction, a newmeaning expressed in sound emerges.

67柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0

作曲家簡介 Composer Biography

安娜．瑪麗亞．
路德里格
Ana Maria RODRIGUEZ

曲、音樂會裝置、混合媒體與音樂劇作品。

2005 年，安娜．瑪麗亞．路德里格創立了女子樂團「智者」，並以物品、鍵盤與筆電
演奏家之姿參與演出。她曾與梅麗塔．達爾、安德烈亞斯．科普尼克、喬安娜．拉科夫斯卡（影片形式），以及詩人羅恩．溫
克勒等風格各異的藝術家合作。自 2015 年

空間—詩—自發性安娜．瑪麗亞．路德里格將即興的自發性與
完整樂譜創作連結，並常以鍵盤樂手或筆電
藝術家的身份參與自身作品的演出。在創作樂曲、裝置藝術與舞台藝術時，她也會將演
出場地的音響效果與結構納入考量。而在主
題方面，她近期的作品多著重於詩與科技之起，她便與比利時導演英格麗．馮．萬托
克．雷科夫斯基與美國舞台設計師弗雷德．
波米爾合作，一同製作結合音樂劇場與裝置
藝術的《立體鏡》，並於蘭斯（2015）、馬賽（2016）、柏林（2016）、漢諾威（2017）
與高雄臺灣（2019）等地演出。

間的關係，而這層關係不僅影響了字詞、詩其作品曾於歐洲與世界各地的主要音樂節文與文學作品在作曲上的使用，並促使她以

演出，包含光之柏林藝術節（紐約卡內基音

更抽象的方式將科技運用於音樂之中，豐富樂廳）、科隆橋樑音樂節、奇夫蘭雙年展、

了詩文的各個解讀面向。她致力於藉由多層

唐納艾辛格音樂日、墨西哥市弗羅國際新音

次時間軸、多元空間與不合邏輯、詩意的情樂節、新音樂論壇（德國廣播電臺，科隆）、

節設計，精確且充滿美感地表達自我意識。

柏林女英雄聲音藝術節、赫倫豪森藝術節、安娜．瑪麗亞．路德里格於布宜諾斯艾利
斯學習作曲、鋼琴、歷史與哲學，隨後遷居至巴塞隆納，於聲音工作室學習電子電腦音樂作曲。1993 年，她受德國弗勞恩霍馬賽音樂、柏林三月音樂節，以及埃森十一
月音樂節、柏林詩歌節、歐洲場景藝術節、
維滕當代室內樂音樂節、柏林新媒體藝術節、維也納藝術節、維也納現代音樂節等Ana Maria RODRIGUEZ studied composition,
piano, history, and philosophy in Buenos
Aires . She moved to Barcelona where
she additionally studied electronic music
and algorithmical composition at Phonos
Studios. In 1993 the Fraunhofer Gesellschaft(Germany) invited her to develop several
audio projects for its Artificial Intelligencef a c u lt y. S i n c e t h i s t i m e R O D R I G U E Z
h a s c o m p o s e d m a ny p i e c e s , c o n c e r t
installations, mixed media or music theater
works for a wide range of instruments using
live-electronics and computer technology.
In 2 0 0 5 she founded the only women
ensemble “Les Femmes Savantes” in which
Ana Maria performs as an object, keyboard
and laptop player. She collaborated withmany artists from different genres like
Melita DAHL, Andreas KÖPNICK, Joanna
RAJKOWSK A (video) and the poet Ron
WINKLER. Since 2015 she develops in close
cooperation with the Belgian director Ingrid

von Wantoch REKOWSKI and the Americanstage designer Fred POMMEREHN theMusicTheaterInstallation “The StereoscopeCity” with performances in Reims (2015),
Marseille (2016), Berlin (2016), Hannover(2017) and Kaohsiung (Taiwan/2019).
Ana Maria RODRIGUEZ’ works has been
performed at the major festivals throughout
Europe and abroad: Berlin in Lights (CarnegieHall NYC), Brückenmusik Köln, Chiffren
Biennale Kiel, Donaueschinger Musiktage,
Foro International de Música Nueva Mexico
City, Forum Neuer Musik (DLF Köln), Heroinesof Sound Festival Berlin, KunstFestspiele
Herrenhausen, Les Musiques Marseille,
M a e r z M u s i k- F e s t i v a l f ü r Z e it f r a g e n ,November Musik Essen, Poesiefestival
Berlin, Scènes d’Europe Reims, Tage für neue
Kammermusik Witten, Transmediale Berlin,
Wiener Festwochen, Wien Modern…
Ana Maria RODRIGUEZ lives and works in
Berlin.

樂曲解說 Program Notes《金與銀》
Gold and Silver
創造容易產生回聲的空間。

作曲／安娜．瑪麗亞．路德里格Composer / Ana Maria RODRIGUEZ

Create a sensitive space of resonance.
Use gongs of different sizes, brass mutes,
transducers and microphones.
You might add some electronic filters tochange the qualities of feedback.

等。

使用不同尺寸的鑼、銅管弱音器、換能器與麥克風。

音響專案。自此，路德里格便持續使用現安娜．瑪麗亞．路德里格現居柏林並在此或許能夠藉由電子濾波器改變回授的音質。

Structure the piece by performing a larger
gong.

場電子樂與電腦技術，為各種樂器創作樂

工作。

使用較大的鑼作為演出基底。

Which is not part of the feedback system.

Space – Poetry – Spontaneity

around the relation between poetry andtechnology. This relationship does not only
comprise the compositional use of words,
poetry and literary sources, but also in amore abstract way the musical utilization oftechnological means to create a richness ofperspectives based on poetry. Heterogeneoustime layers, diverse spaces, plots running
contrary to logic as in poetry—Ana MariaRODRIGUEZ is committed to expressing
herself in a precise and sensuous way.

而鑼並不屬於回授系統。

This piece can be performed by any numbersof per formers corresponding to thedimension of the performing space. In larger
halls performers should be distributed in thespace.

夫爾協會之邀，為人工智慧部門推行數項

Ana Maria RODRIGUEZ links the spontaneityof improvisation with fully composed scores.
Often she takes part in the performances ofher own works and can be seen on stage on
the keyboards or as a laptop artist. At the sametime, she also works with the acoustic andarchitectural conditions of the performance
space when creating her compositions,installations and scenic works. Thematically,
her latest pieces could be said to revolve
68

2021 衛武營 TIFA 當代音樂平台

這首作品可根據演出場地規格增減演出人
數。若場地較大，則表演者應散佈於場內各處。
《金與銀》是系列創作中的第二首作品，
旨在探索物品與樂器間的共鳴。

Gold and Silver is the 2nd work of a series ofcompositions exploring resonances between
objects and instruments.

本作品獻給王芃惠與西奧．納比赫特。

It is dedicated to Peng-Hui Wang and Theo
Nabicht.

安娜．瑪麗亞．路德里格，2020 年

AMR 2020

2021 Weiwuying TIFA Contemporary Music Platform69

柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0

作曲家簡介 Composer Biography

劉韋志
LIU Wei-chih

劉 韋 志，1985 年 出 生 於 臺 灣 花 蓮， 畢 業

臺灣現代音樂協會室內樂團、風之舞形舞於國立臺北藝術大學音樂系作曲碩士和東團、巴洛克機器工作室、三個人、對位室吳 大 學 音 樂 系 作 曲 學 士， 在 學 期 間 師 事

內 樂 團， 與 德 國 KNM Berlin、 匈 牙 利

洪 崇 焜、 張 玉 樹、 羅 白 華（Christopher

THReNSeMBLe、 美 國 Alea III、 奧 地

Roberts）、 嚴 福 榮 與 陳 州 麗 等 老 師； 於利 iKultur、 奧 地 利 Ovocu�ters、 義 大 利

國內外作曲課程中，受 Péter EÖTVÖS、

Composit 新音樂節、新加坡華樂團、新加

Pierluigi BILLONE、細川俊夫、潘皇龍、

坡鼎藝團、中國撒麗不跳舞音樂節、香港創陳曉勇和鐘啟榮等作曲家指導。2016 年入樂團、香港兒童合唱團和香港一舖清唱等，

選國立傳統藝術中心、臺灣音樂館與彼得國內外表演藝術相關單位委創或演出作品。

艾特沃許當代音樂基金會（International

Eötvös Institute Foundation） 合 作 之「大 師 與 門 徒 計 畫」赴 歐 洲 培 訓， 作 品 獲
選於基金會作曲工作坊閉幕音樂會演出，其創作技巧和作品表現受到作曲家 Péter

EÖTVÖS 與細川俊夫高度讚賞。

L I U We i - c h i h ( 1 9 8 5 -) i s a Ta i w a n e s ecomposer. He has received commissioned
or his works have b een p er formed by
National Symphony Orchestra (Taiwan), theSingapore Chinese Orchestra (Singapore),
the National Chinese Orchestra Taiwan(Taiwan), the Golden Melody Awards for
Traditional Arts and Music (Taiwan), theKNM Berlin (Germany), the Alea III (USA), the
THReNSeMBLe (Hungary), Composit (Italy),
duo ovocutters (Austria), the International
Cultural Platform - iKultur (Austria), theD i n g Y i M u s i c C o m p a n y ( S i n g a p o r e ),the Ju Percussion Group ( Taiwan), theShakespeare’s Wild Sisters Group (Taiwan),
the Taipei Sinfonietta & Philharmonic
Orchestra (Taiwan), the Taipei Philharmonic
Chamber Choir (Taiwan), the 3peoplemusic(Taiwan), the Chai Found Music Workshop
Ensemble (Taiwan), Forum Music Ensemble(Taiwan), Counterpoint Ensemble (Taiwan),the Hong Kong Children’s Choir (Hong Kong)and Yat Po Singers (Hong Kong).
His composition were selected torepresent Taiwan at the 2018 UNESCO
International Rostrum of Composers. He
was also recognized with second prize atthe 31st ALEA III International Composition
Competition in the United States of America

We i - c h ih wa s awa r d e d a B a c h e lo r in
Composition at Soochow University in2008 and a Master in Composition at Taipei
National University of the Arts in 2011. His
composition teachers include HUNG Chungkun, CHANG Yu-shu, Christopher ROBERTS,YIM Fuk-wing and CHEN Jou-li. He has spent
6 months by Taiwan Music Institute in Europe
to gain varied professional experiencesin cooperation with Péter EÖT VÖSContemporary Music Foundation in 2016.
Liu was also instructed by the composers
such as Péter EÖTVÖS, Toshio HOSOKAWA,
Pierluigi BILLONE, PAN Hwang-long, CHEN
Hsiao-yong and CHONG Kee-yong when heattended composition workshops.

曾獲選為 2018 聯合國教科文組織下的國
際作曲家廣播會議之臺灣代表、2015 美國

Alea III 國際作曲大賽亞軍、2015 新加坡
國際華樂作曲大賽亞軍、2015 新加坡作彈樂曲解說 Program Notes

會國際作曲大賽亞軍、2012 臺灣采風樂坊《迸發》

絲竹作曲大賽冠軍、2012 國立臺灣交響樂

Burst Forth曾受臺灣的傳藝金曲獎、兩廳院新點子樂

團音樂創作競賽佳作、2011 臺灣音樂中心

展、國家交響樂團、臺灣國樂團、朱宗慶

國際作曲獎、2009 臺灣采風─五行作曲獎，打擊樂團、春秋樂集、采風樂坊、十方樂以及臺灣第 11、12、13、16 與 17 屆台新藝

本作品的靈感、呈現時的聲響、肢體律動

集、莎士比亞的姊妹劇團、臺北愛樂室內術獎提名等。

與表情，皆取自情慾經驗與藥物使用。

合唱團、臺北愛樂室內樂團、捌號會所、70

in 2015, second prize at the Singapore
International Competition for ChineseOrchestra Composition in 2015, and second
prize at the 2nd Singapore International
Competition of Composium 2015. In addition,
his piece was selected to be featured
in program of the closing concert of thecomposition workshop by Peter EÖTVÖS
Contemporary Music Foundation in 2016.
During this course, both his skills and works
have been positively recognized from thecomp osers Péter EÖT VÖS an d Toshio
Hosokawa.

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform

作曲／劉韋志Composer / LIU Wei-chih

The inspiration for this work, as well as thesounds, body movements or expressions
presented when performing it, all come fromthe process of sex and drug use.
71

柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0

作曲家簡介 Composer Biography

林芳宜
LIN Fang-yi
林 芳 宜， 獨 立 策 展 人、 表 演 藝 術 評 論 者

2014 年獲選雲門文化藝術基金會第 10 屆

與 作 曲 家。 奧 地 利 國 立 維 也 納 音 樂 大 學「流浪者計畫」，她同時也是臺灣表演藝術（Universität für Musik und darstellende

界資深評論家，曾擔任多年台新藝術獎觀察

Kunst Wien）藝術碩士，主修作曲，師承員、表演藝術評論臺駐臺樂評。

瑞 士 作 曲 家 Michael JARRELL 與 Klaus

HUBER。曾獲奧地利教育部傑出外國學生
獎學金、奧地利文化部創作獎學金，並獲維
也納市節慶日（Graben Fes�tage）委約作
曲，為該節首次委約之亞裔作曲家。

於 2007 至 2017 年服務公職，先後擔任國
立臺灣交響樂團擔任研究發展組組長與臺灣音樂中心編審、國立傳統藝術中心助理研究員。任內推動與創建多項重要計畫與政策，並成功引進國際資源，催生臺灣音

2002 年返臺定居後，開始投入劇場與舞蹈樂人才國際合作。曾策劃與統籌執行臺灣

作品的參與，曾與莎士比亞妹妹們劇團及國際音樂節（Taiwan International Music

導演 BABOO LIAO、編舞家鄭宗龍等人合Festival)、傳藝金曲獎等大型展演活動，

作。2011 年 擔 任 亞 洲 作 曲 家 聯 盟 （ACL,為臺灣少數集創作、評論、出版、行銷宣傳、

Asia Composer League） 年度大會與亞太策展與公共事務等完整經驗於一身的音樂音樂節執行長、2012 年獲選歐盟藝術組織人。現為捌號會所藝術總監，2018 年起擔「歐洲藝術網絡」EU ART NETWORK 亞

任衛武營當代音樂平台策展人。

洲地區邀請藝術家，參與 2012 年這項由歐海經》為靈感的作品《一縷嘆息．神話》。

72

In 2007-2019, LIN served in government
music and culture organization. During
her service, she initiated many innovative
initiatives and mega-event, including theGolden Melody Awards for Traditional Arts
and Music and Taiwan International Music
Festival. LIN’s strength lies in integrating
her specialization in music with industry andpolicy needs, to create innovative projects,

including the organizational transformationof the Taiwan Music Institute, while she
actively extending her international network
to introduce Taiwanese music to a global
audience.
From 2013, LIN took on the role of artistic
director of Studio Acht; and in 2017, shefounded the Taiwan Musician and Artists
Promotion , which is committed to thenurturing and international development of
Taiwanese musicians and artists. At the sametime, she remained an independent curator,
performance art critic, and composer. Since
2017 she has been curator of National
Kaohsiung Center for Arts Weiwuying, where
she is building up “Weiwuying Contemporary
M u sic P l at fo r m . Sh e is als o strateg ycommittee of National Performing Arts
Center Taiwan since 2019.

樂曲解說 Program Notes《一起來唸些詩吧》

盟主辦之國際交流創作計劃，並發表以《山LIN Fang-yi studied at the Universität fürMusik und darstellende Kunst, Vienna,
under Michael JARREL and Klaus HUBER,
g r a d u at i n g w it h a n M FA m a j o r i n g i ncomposition. LIN received numerous awards,
including the scholarship for outstanding
overseas students from the Austrian Ministryof Education, and the creative scholarshipfrom the Austrian Ministry of Culture. She
was also invited by the Graben Festtageorganisers to compose for their events,
making her the first Asian composer to everbe commissioned for the festivities.

(Classic of Mountains and Seas). In 2014, LIN
was selected for the tenth Wanderer Projectby the Cloud Gate Dance Cultural Foundation.
LIN is also an important senior critic of
the Taiwanese performance art world andhas acted as a member of the nominationcommittee and observer for the Taihsin Art
Award in Performance Art on numerous
occasions, as well as a jury member andperformance art critic in residence for the
National Cultural and Arts Foundation.

作曲／林芳宜Composer / LIN Fang-yi

Let’s Read Some Poems
After relocating back to Taiwan in 2002, LIN
began to participate in theatre and dance
performances, including the collaborations
with SHAKESPEARE’s Wild Sisters, director
BABOO, choreographer ZHENG Tsong-long.
In 2011, LIN became the Chief Executive
Producer of the annual Asia Composer
League (ACL) conference. In 2012, she wasinvited by the EU ART NETWORK as therepresentative artist of Taiwan to participate
in an international creative exchange
program, and published her composition “EinHauch des Mytos”, inspired by Shan Hai Jing
2021 衛武營 TIFA 當代音樂平台靈感取材自鈞特．葛拉斯創作的詩畫集《拾來之物——給不讀書的人》，這本詩集收錄
作家的水彩畫，每一幅水彩畫上都寫著一
首詩，文字是畫作的一部分、畫作也是文
字的延伸。畫作和詩的內容，怪誕但也直率，讓讀者讀到另一種風格的鈞特．葛拉斯。作曲家以這本詩畫集裡文字與圖像的I n s p i r e d b y G ü n t e r G R A S S ’s p o e t r y“Fundsachen für Nichtleser ”. This is acollection of Günter GRASS’s watercolor
paintings together with poems; the words arepart of the paintings and the paintings areextensions of words. The contents of thesepaintings and poems are weird but honest,
and reveal another veil of Günter GRASS toreaders.

交疊，轉譯為音符與文字、演奏與表演的交替作用。
2021 Weiwuying TIFA Contemporary Music Platform73

柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0

作曲家簡介 Composer Biography樂曲解說 Program Notes

勞爾．亨德爾《練習時刻》

Laure M. HIENDL

Practice
作曲／勞爾．亨德爾Composer / Laure M. HIENDL勞 爾． 亨 德 爾（1986 年 生， 提 及 時 使 用節、紐約輪盤節，以及柏林藝術學院等等。

上臺演出前，在準備室練習

代 名 詞「他 們」而 非「他」）為 居 於 德 國

歌劇裝置藝術《天堂》則於 2016 年的施泰

練習與戀人調情柏林的作曲家與表演者，作品橫跨音樂會、

爾馬克之秋藝術節進行首演。

上臺演出前，在準備室練習

表演、音樂劇場、裝置藝術與其他跨領域範疇。主要以樂器與電子裝置互動為主，
探索音樂中空間、時間與人體在現場的可
表演性，並將其視為本身具戲劇性與政治
性的事件中，在時間上各個身體間的共享空間。

曾在紐約哥倫比亞大學師事喬治．伊曼紐
因．路易斯，並於 2020 年取得作曲博士；
在加州大學聖地牙哥分校則師從羅傑．雷諾 茲， 並 取 得 作 曲 碩 士。 2012 年 則 自 法
蘭克福音樂與表演藝術大學取得作曲碩士
學 位（師 事 貝 艾 特． 福 瑞）， 並 於 2009

他們的作品曾於多個音樂節與場館演出，

年於該校取得鋼琴與指揮的準碩士學位資如柏林超聲波音樂節、葛拉茨衝動音樂節、格。

當樂團在你周圍暖身時練習
在上個別課時練習在樂團排練的休息時間練習晚上十點後在家練習在樂團演奏某一個樂段時練習另一個樂段
在大眾運輸上練習在伴侶入睡時練習達姆施塔特夏季新音樂節、紐約廚房音樂
Laure M. HIENDL (*1986, pronouns: they/them) is a composer and performer basedin Berlin. Their work is situated between
concert music, performance, music theater,
installation and other interdisciplinary
realms, employing instruments mainly ininteraction with electronic means, andexploring the performativity of the spacetime-body relationship in music as a live act— as a shared space in time between bodies
for an event that is inherently theatrical andpolitical.
Their works have been presented at festivals
and institutions like Ultraschall (Berlin),
Impuls (Graz), Darmstädter Ferienkursen
74

für Neue Musik, The Kitchen (New York),
Roulette (New York), Akademie der Künste
(Berlin) and others. Their opera installation
PARADISE was premiered at musikprotokoll /steirischer herbst 2016.
They were awarded a doctorate in Music
Composition , with George E. LEWIS , from
Columbia University New York in 2020, andmaster in Music Composition, with Roger
Reynolds , from University of California San
Diego. They graduated in 2012 with diploma
in Music Composition (with Beat Furrer), as
well as Vordiplom in Piano and Conducting in2009 from Frankfurt University of Music andPerforming Arts.
2021 衛武營 TIFA 當代音樂平台practice in a warm-up room, before you are going on stagepractice to flirt with your lover
practice in a warm-up room, before you are going on stagepractice while the orchestra is warming up around youpractice during your lesson
practice during a rehearsal breakpractice at home after 10 pm
practice while the orchestra is playing another partpractice in public transport
practice while your partner is sleeping

2021 Weiwuying TIFA Contemporary Music Platform

75

柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0

柏林新音樂室內樂團

影像作品演出Ensemble KNM Berlin

Performer List

柏林新音樂室內樂團 Ensemble KNM Berlin
長笛 Flute
蕾貝卡．蘭頓 Rebecca LENTON
低音單簧管與倍低音單簧管 Bass Clarinet& Contrabass Clarinet
西奧．納比希特 Theo NABICHT

柏 林 新 音 樂 室 內 樂 團（Ensemble KNM

該 團 成 立 至 今 總 共 錄 製 過 15 張 專 輯， 其Berlin）成立於 1988 年，由現任樂團經理

與作曲家貝艾特．福瑞合作的作品分別於

馬修．康利 Matthew CONLEY

Thomas BRUNS 發起，邀集畢業自柏林

2009 年及 2010 年 3 月榮獲德國唱片評論

小提琴 Violin

國立艾斯勒音樂院的音樂家們，以柏林為據獎。 近 年 多 次 受 邀 來 臺， 如 2019 年 於 衛

迪奧多．佛林德爾 Theodor FLINDELL

點，戮力展演當代作品，與全球知名的作曲

武營當代音樂平台的經典音樂劇場作品《立家、作家、指揮家、藝術家和製作人們密切體鏡》，以及與旅德編舞家孫尚綺合作之作

合作，透過各種創新製作，累積了十分多元品《Spur ／溯形》和《攝影師》，每次演出

且兼具廣度與深度的作品。身兼藝術總監

後迴響不斷，以當代音樂之多元性與可塑

低音大提琴 Double Bass暨製作人 Thomas BRUNS 以開拓當代音性，充分表現出迷人的藝術魅力。

喬納森．希爾布隆 Jonathan HEILBRON小號 Trumpet

中提琴 Viola克莉絲汀．瑪麗亞．皮耶得卡 Maria PIENTKA
大提琴 Violoncello科西瑪．哥哈德 Cosima GERHARDT樂新面貌的理念，每年策畫並推出各種主題
的展演，近年更將觸角延伸至不同的領域與

衛武營當代音樂平台演奏培訓工作坊音樂家媒材。

Weiwuying Academy Ensemble Musicians

Proposed by current manager Thomas
BRUNS, Ensemble KNM Berlin was founded
in 19 8 8 . T h ey, b as e d in B e r lin , inv ite
musicians graduated from Hochschulefür Musik Hanns Eisler Berlin to commit
themselves to performing contemporary
works and have closely collaborated withfamous composers, writers, conductors,
artists, and producers to create innovative,and diverse works with great scope anddepth. With the vision to develop a new faceof contemporary music, artistic director
and producer Thomas BRUNS plans andlaunches performances of various themes
every year, with new attempts to incorporate
other fields and media in recent years.
76

The Ensemble has produced 15 albums,with works collaborated with composer
B e at Fu r re r in 2 0 0 9 a n d M a rc h 2 0 1 0
winning German Record Critics Award.
They have been regularly invited to Taiwan
in recent years to participate in works
such as Stereoscope performed at TIFA
Contemporary Music Platform at Weiwuying
in 2019, and Spur and The Photographer
i n c o l l a b o r ati o n w it h G e r m a n - b a s e dch o re ograp h e r SU N S h an g- chi . T h eir
performances have been well-received, andthey fully demonstrate the allure of thearts through exhibiting the diversity andplasticity of contemporary music.

低音管 Basson
王芃惠 WANG Peng-hui
鋼琴 Piano黃鈺婷 HUANG Yu-ting

音響工程與錄影 Sound, Camera
安德烈．巴帖茲基 Andre BARTETZKI
湯姆士．布恩斯 Thomas BRUNS

導演 Direction
湯姆士．布恩斯 Thomas BRUNS

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform*《調 聲 世 界 2.0》由 柏 林 新 音 樂 室 內 樂 團 與
歌 德 學 院（臺 北）德 國 文化 中心，歌 德 學 院／
Max Mueller Bhavan Chennai，捌號會所和韓 國 晉 州 音 樂 節（JMF）共 同 製 作。由 德 國 聯
邦文化基金會，柏林參議院之文化部和歐洲事
務部以及臺灣國家文化藝術基金會贊助。
*Tunings of the World 2.0 is a project by
the Ensemble KNM Berlin in cooperation
w i t h t h e G o e t h e - I n s t i t u t Ta i p e i , t h e
G o ethe - Institut / Max Mueller Bhavan
Chennai, Studio Acht Taiwan and Jinju
Music Festival (JMF ). Funded by theGerman Federal Cultural Foundation, theBerlin Senate D epar tment for Culture
and Europe and the National Culture andArts Foundation (Taiwan)77

《在．不在》《在．不在》回歸純粹意識與肉身的存在關

Here and Now

聯，強調每位表演者當下的主體性與創造性。場上的表演者們傾聽彼此的呼吸，共享彼此的脈動，再來一點腎上腺素的衝撞。

七位表演者來自捌號會所與雲門劇場於2020 年 共 同 主 辦 的「樂 舞 跨 域 大 師 工 作坊」，為推動音樂家與舞蹈家的藝術理解與
合作，邀請舞蹈導師古名伸與音樂導師林
芳宜的交叉教學、創作陪伴與引導，讓兩
個領域的藝術家從彼此的角度建立新的交
流方法、共同實踐與創作，回歸音樂與舞蹈共生與互文的本質，再度相遇。

榕樹廣場過去曾邀請大眾參與許多不同的肢體課程，使各年齡族群的觀眾都能相遇尬舞或輕鬆搖擺，這次當代音樂平台推出的現場音樂 vs. 舞蹈共創作品，邀請大家
享受在青年舞蹈家與音樂家的相乘時光，在與表演者零距離的呼吸裡，找尋最純粹
的樂舞關係，觀察眼前的身聲交流，沈浸In Here and Now, the connection between
consciousness and the physical body is used
to emphasize the subjectivity and creativityof every performer at the present time. The
performers hear each other’s breathing andshare in each other’s pulses, in addition tosome collisions of adrenaline.
In 2 0 2 0 , Stu dio Acht an d Clo u d Gate
Theater jointly organized a music anddance workshop to promote mutual artistic
understanding and collaboration between
musicians and dancers. The workshop
employed dancer mentor KU Ming-shen andmusic mentor LIN Fang-yi to conduct crossteaching, assist in the creative process, andprovide guidance, allowing the artists ofthe two fields to establish new methodsof communication and engage in mutual
application and creation, thereby restoring
the intrinsic symbiosis and interconnection
between music and dance.
Banyan Plaza has hosted numerous physicalactivities for the public in the past, where
people of all ages were introduced to dancemoves or given the opportunity to lightly
sway around. This time, the Weiwuying TIFA
Contemporary Music Platform is launching
live , joint music an d dance creations .
Everyone is invited to come and watch thesynergy creation of young musicians anddancers.

在無與倫比的餘暉時刻。

4.24 Sat.
4.25 Sun.
17:00
榕樹廣場西側平台 Banyan Plaza
節目全長約 50 分鐘，無中場休息。
Duration is 50 mins without intermission.
78

更多節目資訊For More Information©KEN Photography

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform79

《在．不在》Here and Now

音樂家介紹 Musician Biography©KEN Photography©yuchungchen嗩吶 Suona

電聲 Electro Acoustics

小提琴 Violin

電貝斯 Electro Bass

黃雅農

張君慈

戴孜嬣

何侊倢

HUANG Ya-nung

CHANG Chun-tzu

TAI Zih-ning

HO Guang-jie

視覺藝術家，英國曼徹斯特設計與藝術指跨領域藝術工作者。作品以繪畫、詩句、

在創作裡力求尋找更多聲音的可能性，更穿梭於文字、音樂、影像、舞蹈之間，常導碩士。專長橫跨插畫、設計、攝影、錄像，裝置、田野錄音與即興演出等形式，探索純粹的與空間、環境、人對話，喚醒聽者

無意間神遊在重疊時空之中，因為時常記

擅長以簡潔具質感的畫面敘事；同時也是

在空間中可聽與不可聽之間的身體感知以心中某些生命片刻。從古典音樂的養分，

得夢，所以寫夢，偶爾也幫自己解夢。當

一位音樂家，專職演奏國樂嗩吶。以社會

及意識流動。近期關注於聲音與個體記憶

跨足實驗與當代聲音創作，創作多參與實她聽到時她看見，當她書寫時她聽見，她

理論為基礎，視覺藝術為工具，漸發展出的互動性和訊息傳遞失真的主體性再造，

驗音樂，將物件作為預置提琴作為發聲，

用最獨立的態度去安靜，用最熱烈的靜默

結合影像、聲音、及肢體即興的創作模式，

也將聲音記憶的脆弱性視為一種自我治療、以 21 世紀當代演奏技法，發展出具當代聲

去舞蹈。創作時她成長，即興時她享受當

創作過程中，穿梭鏡頭前與後，在觀看與

一種形成、重組與消逝的反覆過程。作品

響特質的實驗音樂，並長期關注與多種藝下。

被觀看的定位中來去自如。

曾於國內外各地展出發表，其中「月潮搖術媒材、不同語法、風格的聲響跨域合作。

A visual artist who received her master’s
degree of design and art direction from
Manchester Metropolitan University in the
UK. With a talent in expression throughimages through a simple yet refined style,she specializes in illustration , design ,photography, and video recording. She isalso a professional suona player. Using social
theories as the foundation and visual arts as
the tool, she has developed an improvisatorystyle of creation that combines image, sound,and body movements. During the process ofcreating artworks, she wanders in and out of
the camera and oscillates freely between thepositions of the viewer and the viewed.

80

籃曲」甫獲 2020 南瀛獎新媒體類首獎。
An art worker that specializes in manyf ie ld s of ar t . W ith wo r ks in p aintin g ,poetry, installation, field recording, andimprovisatory performance, she explores
audible and inaudible bodily senses andconsciousness flows in space. Her recent
works focus on the interaction between
sound and individual memories and thesubjectivity reconstruction of message
distortion. She considers the fragility ofsonic memories a form of self-healing
and a repeated pro cess of formation ,reconstruction, and disappearance. Herworks have been exhibited in venues both in
Taiwan and abroad, with Moon Tide Lullaby:
Fragility of Sonic Memory receiving the firstprize in the new media category of the 2020
Nanying Awards.
2021 衛武營 TIFA 當代音樂平台TAI constantly explores the possibilities
of sound in the art-creating process, andby way of having purer dialogues with thespace, environment, and people, evokes
the specific life memories of the audience.
With a background in classical music, she
now explores experimental and modern
sound works. She has participated in many
experimental work creations, in which
prepared violins were combined with 21st
centur y playing techniques to develop
experimental music that is representativeof modern sound qualities. In addition, sheplaces great attention to the long-termcross-collaboration between artists ofdifferent sounds, art media, languages andstyles.

2021 Weiwuying TIFA Contemporary Music Platform

A constant shuttler between writing, music,
images, and dancing, HO often inadvertently
dwells in overlapping times and dimensions.
Because she often recalls her dreams,
she sometimes writes about them, andoccasionally, tries to interpret them. She sees
when listening, and listens when writing;additionally, she uses the most independent
attitude to calm herself and the fiercest
silence to dance. She grows when creatingand enjoys the moment when improvising.

81

《在．不在》Here and Now

舞蹈 家介紹 Dancer Biography

郭箏

黃韋捷

田孝慈

HUANG Wei-jie

TIEN Hsiao-tzu

生於蘭嶼，成長過程中接觸最多的即為與身體表演藝術工作者、阿卡西紀錄三階能國立臺灣藝術大學舞蹈系研究所畢業。現蘭嶼有關的社會議題，對於原住民族的自者、人體模特兒。1991 年出生臺灣臺北，為 自 由 藝 術 工 作 者， 近 年 專 注 於 觀 察 時

我認同、島嶼文化的生成與轉變、以及蘭國立中央大學大氣科學學系畢業，2012 年

代、歷史文化與環境形塑出之建立於人之嶼與臺灣本島的對應關係與歷史，有著遠接觸舞蹈劇場、表演藝術。2015-2019 年

上的情感以及其透過身體表述之形式。作

超過實際年齡的思慮。近年透過閱讀、書擔任布拉瑞揚舞團專職暨創團舞者，常任品曾受邀至法國亞維儂國家編舞中心、釜寫、影像紀錄與舞蹈嘗試爬梳從自身到蘭

獨舞段落。現為自由工作者，曾參與戲劇、

山藝術市集、印度加爾各答 Dance Bridge

嶼的文化脈絡，進而建構藝術創作的論述

音樂、影視、展覽、音樂劇等不同類型表演、Festival 及深圳戲劇雙年展。2008 年起於

與方法。對各類藝術領域有濃厚興趣，主創作，及身體課程分享教學。

國內外諸多平臺發表個人創作，如墨爾本Si Pehbowen©KEN Photography要專注於當代舞蹈及身體劇場的工作，其他如攝影、電影、音樂等創作也一直持續關注學習，現為維也納表演藝術大學所主
持的「創作性的（誤）理解」藝術研究計畫成員。
Born in Lanyu. Growing up, social issues
regarding Lanyu were what she was most
exposed to, and therefore she has deep
understanding far beyond her years ofaboriginal self-identity, the formation andchange of island culture, and the relationshipand history between Lanyu and the islandof Taiwan. Through reading, writing, video
recording, and dancing, she tries to map thecultural context spanning from herself to
Lanyu in order to establish descriptions andmethods of artistic creation. She is highlyinterested in many fields of art, with a focus
on modern dance and physical theater. On
the side, she also studies and follows trendsin photography, films, and music. She iscurrently a member of the University of Musicand Performing Arts Vienna’s art research
program “Creative (Mis)Understandings”.
82

2021 衛武營 TIFA 當代音樂平台Body-performing artist, level-3 practitionerof Akashic Records, and model. Born in Taipei
in 1991 and graduated from the Department
of Atmospheric Sciences of National Central
University in Taiwan, he was exposed todance theater and the performing arts in2012. He was a the founding member andfull-time dancer of Bulareyaung Dance
Company from 2015 to 2019, during which
he often took on the role of solo dancer. He
is now a freelancer, and has participated
as a performer and creator in the fields oftheater, musical performance, filmmaking,exhibitions, and musicals, and teacher ofbody-related courses.

2021 Weiwuying TIFA Contemporary Music Platform

Dance Massive、美國舞蹈節、臺北藝術
節、兩廳院新人新視野、下一個編舞計畫、
嘉義新舞風及草草戲劇節等。
Graduated from the master’s program of the
Department of Dance of National Taiwan
University of Arts in Taiwan. She is currently
a freelancer who focuses on human emotionss h ap e d by dif fe re nt tim e s , histo rie s ,cultures, and environments, and how suchemotions are expressed through body
movements. Her works have been presented
in National Choreographic Development
Center in Avignon in France, Busan Art Fair,
Dance Bridges Festival in Kolkata in India,
and Contemporary Theater Biennale inShenzhen. Since 2008, she has published
her works on many platforms both in Taiwan
and abroad, including Dance Massive in
Melbourne, American Dance Festival, Taipei
Arts Festival, Young Stars New Vision by
National Theater & Concert Hall in Taiwan,
Next Choreography Project, Chiayi New Style
Choreography, and The Grasstraw Festival.

832021 學習推 廣 2021 Learning and Participation

2021 學習推 廣 2021 Learning and Participation

衛 武營樹洞 Weiwuying Wonderland

衛 武營樹洞 Weiwuying Wonderland

樹洞聲活律動樹洞耳機電影院

Dance with Sound

Headphone Cinema

4.25 Sun. 15:30-17:00

在開闊的榕樹廣場，發現創意的藝術體驗。
午後不如來衛武營榕樹廣場做瑜珈、看電影、打盹、畫畫或聽音樂，與各式各樣的4.24 Sat. 19:30

Hong Kong Sinfonietta Back On Stage Concert

Hong Kong Sinfonietta Back On Stage II (Quarantined!)

19:00 領號碼牌 Take a number plate ｜ 19:30 放映 Showtime
榕樹廣場 Banyan Plaza ｜自由參與 Free Entry

榕樹廣場 Banyan Plaza ｜自由參與 Free Entry

喚起好奇心、走進樹洞、探索生活趣味，

4.23 Fri. 19:30

Fuel your curiosity and explore the intriguing
nuances of life at Weiwuying Wonderland
for an afternoon of yoga, movies, napping,drawing, music, meeting different people,
and making new friends!

人交朋友吧！

在 2020 年疫情肆虐下，縱使音樂廳對外關閉，香港小交響樂團卻驚喜現身電影院大銀幕，推出音樂會電影「Back On Stage」及
「Back On Stage II （Quarantined ！）」，
成為香港首個破格與電影院合作的本地樂

春暖花開的周日午後，現場西塔琴、澳洲
吹管 、手碟、擊樂與手風琴的演奏聲中，在丞舞製作團隊專業舞者的引導下，收集
起眾人對音樂的想像力與創造力，透過舞
者的吸吐中轉化，將音符化成肢體律動，交織成不規則的協調聲活律動美感，讓身體沉浸感受在音樂與舞蹈意境之中。

Envision the melody of the sitar, didgeridoo,
handpan, percussion, and accordion on a
warm, Spring afternoon paired with theprofessional dance teachings of B.DANCE.
This event is designed to inspire musicalimagination and creativity through dance
movements that encourage the body to
immerse into imageries inspired by dance
and music.

團，為樂迷與影迷在「疫」境下打造耳目一
新 的 音 樂 饗 宴 !「Back On Stage」節 目 主打全弦樂作品，由桂冠音樂總監葉詠詩指揮，樂團首席格德霍特擔任獨奏，帶來跨越
四個世紀，四首風格迥異的樂曲。而「BackOn Stage II (Quarantined!)」則由樂團全體樂師上陣，加上首席客席指揮柏鵬及鋼
琴家克里奇無懼一切隔離措施專誠從德國
來港，演奏扣人心弦的拉赫曼尼諾夫之帕
格尼尼主題狂想曲及貝多芬的第八交響曲；
此電影亦透過多部攝錄器材和嶄新的 4K 技術，原汁原味呈現整個演出，為觀眾帶來嶄
新的光影音樂會體驗。

2020 – a year marked by a global pandemic– saw Hong Kong Sinfonietta making
groundbreaking appearances on the cinema
screen with the concert films “Back On
Stage” and “Back On Stage II (Quarantined!)”while concert halls were closed to live
audiences. As the first orchestra in Hong
Kong to join forces with a cinema, theypresent a programme of some of the best
strings-only music spanning four centuries
under the baton of Music Director Emeritus
Y IP Wing-sie and with C oncer tmasterJames CUDDEFORD in “Back On Stage”. The
subsequent production, “Back On Stage II(Quarantined!)”, features the entire orchestra
with Principal Guest Conductor Christoph
POPPEN and pianist Alexander KRICHEL,
who travelled all the way from Germany
and braved through the 14-day quarantine,in order to perform with the orchestra
RACHMANINOV’s luminous Rhapsody on
a Theme of Paganini and BEETHOVER’s
sparkling Symphony No 8. Captured usingstate-of-the-art cameras equipped with thelatest 4K technology, this promises a concert
experience like no other.

非售票活動且不需事先報名，敬請現場直接參與。
Events are not ticketed and no registration
required.
戴上專屬無線耳機、窩進舒適躺椅，曲面牆的 400
吋投影，耳內流竄的飽滿聲音，樹洞耳機電影院歡樂呈現！
Put on your wireless headphones and snuggle
into the comfortable deck chairs. The 400-inch
curved projection screen and rich acoustics
invite you to a pleasant cinematic experience.
84

2021 衛武營 TIFA 當代音樂平台

2021 Weiwuying TIFA Contemporary Music Platform

85

活動地圖

1-2F 榕樹廣場

Maps

1-2F BANYAN PLAZA《在．不在》
Here and Now
4.24 SAT. 4.25 SUN. 17:00
非售票樹洞聲活律動Dance with Sound
4.25 SUN. 15:30 - 17:00

3F 樹冠大廳
3F CROWN HALL

《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》
The Minimalism World of Contemporary Virtuosos- Jenny LIN Piano Recital
4.18 SUN. 14:30

非售票

樹洞耳機電影院
Headphone Cinema
4.23 FRI. 19:30 4.24 SAT. 19:30

售票

非售票

作曲家面對面
Talk
4.18 SUN. 11:00

榕樹廣場
西側平台

非售票

《開幕音樂會》陳銀淑管絃樂作品專場×演後座談Opening Concert - The Orchestral Worksby Unsuk CHIN × Open-talk《共鳴体》
4.17 SAT. 14:30
Resonance: Into the Maze
4.24 SAT. 14:30 / 19:30 - 4.25 SUN. 11:00 / 14:30
售票售票

柏林新音樂室內樂團《閱讀音樂》計畫
KNM BERLIN - Tunings of the World 2.0
4.12 MON. - 4.25 SUN. 11:00 - 17:00

兩廳院售票系統高雄服務處Arts Ticketing Service Kaohsiung Office

非售票

服務中心 Service Center

營運辦公室 Operation Office

售票

非售票

2021 Weiwuying TIFA Contemporary Music Platform

87

製作團隊
Production Team衛武營國家藝術文化中心
National Kaohsiung Center for the Arts (Weiwuying)
藝術總監 General and Artistic Director
簡文彬 CHIEN Wen-pin
製作人 Producer
郭遠仙 Jack KUO林娟代 Elise LIN黃緯騰 Denny HUANG
策展人 Curator
林芳宜 LIN Fang-yi
節目統籌 Chief Program Coordinator
陳代欣 Daisy CHEN
節目協力 Program Coordinator
葉 穎 Emily YEH
陳達章 Jeff CHEN
楊珺涵 Jessica YANG
賀淑媛 Lilianna HO
技術統籌 Technical Management
陳美玲 CHEN Mei-lin
許志偉 Slash HSU
曾俊融 Masato ZENG
技術協力 Technical Coordinator
陳一靈 CHEN Yi-ling陳彥璿 Maru CHEN
黃盈昇 Iano HUANG

行銷宣傳 Marketing Coordinator朱逸群 CHU Yi-chun
蔣昕 Cynthia CHIANG

林嘉琪 Kela LIN
視覺設計 Graphic Design顏銘毅 YEN Ming-yi
手冊編排 Layout
海流設計 Flowing Design
手冊編輯 Booklet Editor
呂亞璇 LU Ya-shiuan
營運協調 Business Services
吳欣伶 Shirl WU
洪嘉蔓 HUNG Chia-man
陳怡安 CHEN I-an
前台服務 Front House Service
黃淑綾 HUANG Shu-lin
蔡宇傑 TSAI Yu-chieh
侯妍蓁 HOU Yan-jhen
曾御俊 TSENG Yu-chun

陳炳宏 CHEN Ping-hung

票務 Ticketing李德馨 LI De-xin

張開祖 CHANG Kai-zu

張雅涵 ZHANG Ya-han

張瓊文 C.W. Carol CHANG

程德彬 CHENG Te-pin

蘇雲柔 SU Yuen-rou

鍾德諺 CHUNG Te-yen
陳威璁 CHEN Wei-tsung
陳冠羽 CHEN Kuan-yu黃尉育 HUANG Wei-yu
王怡潔 WANG Yi-chieh蔡斯涵 TSAI Si-han
黃敬智 Luca HUANG
黃春華 HUANG Chun-hua
黃宥綝 HUANG Yu-lin