Contents

目錄
004

節目日程表
Schedule008

跨越時空的音樂匯聚，演繹當代音樂美學新風貌 — 專訪衛武營藝術總監簡文彬
A Talk with CHIEN Wen-pin, General and Artistic Director of Weiwuying

010

衛武營國際音樂節藝術總監的話
Preface by the Artistic Director of Weiwuying International Music Festival

012

衛武營國際音樂節藝術總監介紹Introduction of the Artistic Director of Weiwuying International Music Festival016當代音樂不是「佛地魔」！ 首屆衛武營國際音樂節 由歷史還原音樂全貌Contemporary Music isn't "Voldemort"! The first Weiwuying International Music
Festival presents you with a full historical picture of music.

022

開幕音樂會《跨越兩世紀的音樂》
Opening Concert — Music Across Two Centuries

040

聶辛斯基：《管絃樂團》
Film: The Orchestra by Zbig RYBCZYŃSKI

048《極致・純粹 — 魏靖儀與王佩瑤》
William WEI and WANG Pei-yao

062

衛武營當代樂團《憤怒狗》《時空之旅》
Weiwuying Contemporary Music Ensemble — Mad Dog & Time and Space Voyage

098《音樂揭秘：展覽會之 What ？》Beyond the Score® Pictures from an Exhibition — Pictures of What?

114

王佩瑤《浮光流影》音樂會
WANG Pei-yao: Luminous Shadow

134

閉幕音樂會《天方夜譚 — 神話交響詩》
Closing Concert — Scheherazade: The Mythic Symphonic Poem

144

製作團隊
Production TeamSchedule

節目日程表

4.8 Fri.

4.9 Sat.

4.10 Sun.

4.13 Wed.

聶辛斯基：《管絃樂團》
Film: The Orchestra by Zbig RYBCZYŃSKI

11:30

演講廳

聶辛斯基：《管絃樂團》
17:00

Film: The Orchestra by Zbig RYBCZYŃSKI

演講廳

19:30

開幕音樂會《跨越兩世紀的音樂》《極致・純粹 – 魏靖儀與王佩瑤》

Opening Concert —Music Across Two Centuries

William WEI and WANG Pei-yao

$

自由入場
4

音樂廳

$

$

音樂廳

衛武營當代樂團《憤怒狗》
Weiwuying Contemporary Music
Ensemble — Mad Dog
$

表演廳

售票
5

Schedule

節目日程表

4.14 Thu.

4.15 Fri.

4.16 Sat.

4.17 Sun.
閉幕音樂會《天方夜譚 – 神話交響詩》
Closing Concert — Scheherazade:

14:30

The Mythic Symphonic Poem$

衛武營當代樂團《時空之旅》
19:30

Weiwuying Contemporary Music
Ensemble — Time and Space
Voyage
$

自由入場
6

表演廳

$

《音樂揭秘：展覽會之 What ？》Beyond the Score® Pictures from an
Exhibition — Pictures of What?
$

音樂廳

音樂廳

王佩瑤《浮光流影》音樂會
WANG Pei-yao: Luminous Shadow

$

表演廳

售票
7

© 劉振祥跨越時空的音樂匯聚，演繹當代音樂美學新風貌—專訪衛武營藝術總監簡文彬
A Talk with CHIEN Wen-pin, General and Artistic
Director of Weiwuying
撰文 ｜ 陳佩珊
Written by CHEN Pei-shan

第一屆「2022 衛武營國際音樂節」的概念緣起於

簡文彬說：「從今年開始的國際音樂節我們還是衛武營國家文化藝術中心自 2019 年起開辦的「當很強調東方跟西方的交流，雖然今年仍在疫情的

代音樂平台」，此系列集結了各種以音樂為原創壟罩之下，但無論如何我們還是緊抓住這個主軸，核心的當代表演藝術作品展演，並呈現人才培訓

最可能的情況下我們希望能做到在音樂上面的互

工作坊的精彩成果，在實驗與實踐中發揮創意，相 交 流。」 本 次 邀 請 韓 國 知 名 作 曲 家 — 陳 銀 淑

多角化地探索當代音樂的面貌。

(Unsuk CHIN) 擔任音樂節的藝術總監暨策展人便
是為國際化樹立了標竿。

觀察過去連續三年的「當代音樂平台」，比較著
重聚焦在當代音樂作品，在今年不僅更名為「國際音樂節」，也拓展了演出作品的內容，不只受
限於當代音樂，而是擴增時間軸納入更多的音樂作品。

衛武營藝術總監簡文彬表示：「我們希望讓大家知道當代音樂產生的前因後果，現在我們之所以講當代音樂，不可能沒有前面那一段，如同沒有巴哈，就不會有海頓、貝多芬的出現；沒有貝多芬就不會有浪漫樂派，沒有布拉姆斯也就不會有後來的荀白克 ......，所以它其實就是一個潮流，慢
慢地往下滾，因此我們希望藉由一個音樂節的形式，讓觀眾不只是聽到當代的作品，同時也可以聽到這些作品是怎麼來的。」「2022 衛武營國際音樂節」除了在時間上的跨越，也延續了當代音樂平台與國際接軌的一大特色， 跨 越 空 間 讓 國 際 間 的 文 化 藝 術 持 續 交 流，

89

The concept of the Weiwuying International

evolution is a trend that gradually continues

Music Festival, which is to be held for the first

onward, so the festival is aimed at allowing

time this year, was born out of Weiwuying's

listeners to not only hear contemporary music but

Contemporary Music Platform, an annual seriesalso see where it comes from."of events initiated in Weiwuying's first year (2019)that brought together music-based contemporary

Besides being inclusive of numerous eras, theperforming arts pieces of all kinds and presented

festival will also maintain the original platform's

brilliant results from talent workshops. Throughglobal connection through culture and art.

both experimental and practical aspects, creativity

CHIEN explains, "We will continue to emphasize

bloomed as the look of contemporary music wasreciprocation between East and West. Even though

explored in a diversified way.

the cloud of Covid remains above us, we're still
persisting with this theme and hoping to engage inWhile the platform focused on contemporary

exchange as much as possible." The internationalmusic in its three years of existence, this year,

aspect of the event is clearly visible in the choiceaccompanied by its name change to "Weiwuyingof renowned Korean composer Unsuk CHIN as theInternational Music Festival," its scope has been

Artistic Director and Curator.

expanded to include music from previous eras.

Weiwuying General and Artistic Director CHIEN
Wen-pin says of the new event, "We wantpeople to see both the causes and the effects ofcontemporary music. What we call 'contemporary
music' is clearly not without its antecedents, just as
there would be no HAYDN or BEETHOVEN without
BACH, no romantic genre without BEETHOVEN,
and no SCHOENBERG without BRAHMS. This

10

11

©Priska Ketterer

國際音樂節藝術總監的話
Preface by the Artistic Director of Weiwuying
International Music Festival

我非常榮幸能擔任衛武營國際音樂節的藝術總監。

電影《管絃樂團》中，以他獨特的超現實方式向我們展示了與交響樂團有關的有趣聯想。

臺灣朝氣蓬勃的音樂生態及致力投入的精神受到
國際景仰，而其中，衛武營國家藝術文化中心這

這次我們也特別聚焦來自奧地利的作曲家伯恩・座建築不僅美麗且擁有極佳的音響效果，是臺灣理查・多伊奇 （Bernd Richard DEUTSCH） ，與

的一枚瑰寶。

萊比錫布商大廈管絃樂團共同委託這位當今最才華出眾的年輕作曲家，創作充滿異國情調的薩克

衛武營國際音樂節是一個發現與創新的嶄新平台。

斯風四重奏和交響樂團的作品。 另外我們也委託兩位新世代的傑出作曲家：臺灣的林佳瑩和巴西2022 年的首屆音樂節，將獻上來自不同時代、不的保羅・布里托（Paulo BRITO），為本此音樂節

同文化的音樂，除了有國際及臺灣的首演作品，

創作精彩的作品。

更將音樂史上重要的巨作以非比尋常的脈絡及展
演方式呈現。

此次音樂盛會上，非常開心能邀請許多樂團來共襄盛舉：米特薩克斯風重奏團、國家交響樂團，

我們試著讓當代最前線的東西方音樂與古典音

及高雄市交響樂團，更能看到簡文彬、廖國敏和樂 展 開 對 話， 體 驗 迥 然 不 同 的 視 聽 饗 宴； 我 們

楊智欽的精彩指揮。除此之外，新成立的衛武營將海頓與盧托斯瓦夫斯基作對比，讓小提琴家魏當代樂團將由楊書涵指揮，匯集並演出來自臺灣

靖儀演奏魏本及布拉姆斯，使臺灣作曲家林佳瑩

及世界各地的新作品。

與史特拉汶斯基產生交流，我們更找尋著跨文化的連結，推出創新的多媒體音樂會「Beyond the歡迎一同踏上這場全新的藝術冒險之旅！

Score®」，演奏受眾人喜愛的經典作品《展覽會之畫》。

另外，臺灣鋼琴家王佩瑤所策展的《浮光流影》，
靈感源自作家吳明益的暢銷小說《單車失竊記》。
波蘭導演聶辛斯基 （Zbig RYBCZYŃSKI）在實驗

1213

I am honoured to be appointed Artistic Director of

associations with the symphony orchestra in his

the new Weiwuying International Music Festival.

uniquely surreal manner.

T h e m u s i c a l l i f e i n Ta i w a n , i t s s p i r i t a n d

A particular focus is being put on the works ofcommitment, is being admired worldwide, andBernd Richard DEUTSCH from Austria, one of thethe National Kaohsiung Center for the Arts

brightest young composers anywhere: together(Weiwuying) is a real gem with its fantastic

with the Gewandhaus Orchestra from Leipzig,

acoustics and beautiful architecture.

we have commissioned a new piece for the2022 衛武營國際音樂節藝術總監
Artistic Director of 2022 Weiwuying International Music Festival

陳銀淑

Unsuk CHIN

exotic combination of a saxophone quartet and
The Weiwuying International Music Festival is aorchestra. Two other brilliant composers of thebrand-new platform for musical innovation andyoung generation have also been commissioned

discoveries.

new works: LIN Chia-ying from Taiwan and Paulo
BRITO from Brazil.

The first edition of the festival in 2022 presents
a wide variety of music from different epochs

We are happy to present several ensembles,

and cultures, with premieres and Taiwanese

including the MIT Saxophone Ensemble, thefirst performances contrasting with established

National Symphony Orchestra and the Kaohsiung

masterworks of musical history placed in unusual

Symphony Orchestra, with conductors CHIEN

contexts and new concert formats.

Wen-pin, LIO Kuokman and YANG Chih-chin. The
newly founded Weiwuying Contemporary Music

By attempting a dialogue between cutting-Ensemble, conducted by YANG Su-han, becomes aedge new music from East and West withplatform of new musical creation with new music

established classics, we undergo new listening

from Taiwan and other continents.

experiences: whether by juxtaposing HAYDN
with LUTOSLAWSKI, WEBERN with BRAHMS

Welcome to embark on a new artistic adventure

in a recital with William WEI, LIN Chia-ying with

together!

STRAVINSKY, or finding cross-cultural connections
in a beloved classic (Pictures from an Exhibition)in the innovative Beyond the Score® multimedia
concert production.

Luminous shadow, a program curated by pianist
WANG Pei-yao was inspired by WU Mingyi's bestselling novel The Stolen Bicycle. The
experimental film-maker Zbig RYBCZYŃSKI, in
his movie The Orchestra, presents us unusual
14

身兼作曲家與音樂策展人的陳銀淑生於 1961 年的

series of classical music awards. Her music has

韓國首爾，並自 1985 年起旅居德國。其職業生涯

attracted the attention of international conductors.

中曾獲頒許多古典音樂獎項，她的音樂也吸引了

Regularly commissioned by leading performing

許多國際級指揮大師的矚目。陳銀淑更經常受邀organisations around the world, her music has

為許多全球知名樂團譜寫演奏曲目，曾演出其作

been performed by orchestras such as the Berlin

品的樂團有柏林愛樂樂團、紐約愛樂樂團、芝加

Philharmonic, New York Philharmonic, Chicago哥交響樂團以及東京交響樂團等等，並在眾多音Symphony Orchestra, and the Tokyo Symphony,樂節和樂團擔任駐節／團作曲家，如瑞士琉森音

a m o n g o t h e r s . S h e h a s b e e n C o m p o s e r-

樂節、巴黎秋季藝術節、北德廣播交響樂團、柏in- Residence of the Lucer ne Festival, the林德意志交響樂團等等。

NDR Elbphilharmonie Orchestra, the BBC's Total
Immersion Festival, and many more.

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，

In 2007, CHIN's first opera Alice in Wonderland

以 此 揭 開 慕 尼 黑 歌 劇 節 序 幕。 此 外， 陳 銀 淑 也

received its world premiere at the Bavarian

以音樂策展人的身分活躍於樂壇。於 2006 年至State Opera, opening the Munich Opera Festival.

2017 年間在首爾愛樂負責監督現代音樂節「新視CHIN has also been active as a concert curator,

界」系列的演出（該音樂節由她本人所創辦）；

overseeing the Ars Nova series at the Seoul

於 2011 年至 2020 年間，則在倫敦擔任愛樂管弦Philharmonic from 2006 to 2017 - a series

樂團「當代音樂」系列音樂會的藝術總監。此外，

which she founded herself, from 2011 to 2020 as她也在 2021 年出任洛杉磯愛樂樂團首爾音樂節總Artistic Director of the Music of Today series of the

監一職。其作品由英國古典音樂出版商博浩公司

Philharmonia Orchestra in London and in 2021 as獨家代理發行。

Director of the Seoul Festival of the Los Angeles
Philharmonic. Her works are published exclusively

Composer and curator Unsuk CHIN was born inby Boosey & Hawkes.

1961 in Seoul and she has lived in Germany since1985. CHIN's career has been celebrated with a15當代音樂不是﹁佛地魔﹂！
首屆衛武營國際音樂節 由歷史還原音樂全貌
撰文｜ 連士堯︵古典樂網站副總編輯︶
MUZIK AIR16

樂迷間提到當代音樂時，常會有在《哈利波特》的魔法世界中，講到了大反派「佛地魔」之名的感覺：大家都知道他存在、大家也都知道他不可忽視，卻只能用
一個「You Know Who」帶過……這自然也影響了展演單位的音樂會安排，要不就是蜻蜓點水地在常見曲目中放入一首當代或新創作品，要不就是乾脆直接表
明自己就是「當代音樂專場」，警告不喜者勿闖。究竟，讓觀眾能聽進當代音樂的法子，到底是什麼？

Contemporary Music isn't "Voldemort"!
The first Weiwuying International
Music Festival presents you with a full
historical picture of music.
Written by: Eric LIEN (Deputy Editor-in-Chief of the classical music website

介紹當代音樂的「起手式」，大部分會說：「貝多芬、華格納、德布西……他們MUZIK AIR)所寫的音樂，在當時也是『當代音樂』。」但用聽覺的角度來說，自然會偏向「好聽動人的旋律」，在遇到以刺激與衝撞感官的當代音樂時，就會下意識抵抗——

Between classical music aficionados, when "contemporary music" pops into

失去旋律依據後，「不知道自己在聽什麼」，是最常得到的反應。

the conversations, it's like mentioning the villain boss in Harry Potter, the Lord
Voldemort - everyone knows its existence and it cannot be denied or ignored, but

不過，每個時代的當代音樂，都是對於前個時代的反動：貝多芬打破古典時期

they will only say "you know who" to skip more discussion… This attitude deeply

以宮廷及宗教為主的創作核心、華格納統合音樂與戲劇而成的總體藝術、德布affects the presenters' programming. They either quickly insert one contemporary

西遊走調性打破德奧正統框架……要帶領大家聆聽當代音樂，要理解的不只是

work or new composition, or just warn the audience that "this is the contemporary

作曲家「如何」這樣寫，更是「為何」要這樣寫。而要知道「為何」，更要鑑

music concert," don't come in if you don't like it. With all that being said, is there a

往才能知來，了解先前時代到達的極限與侷限，才能夠知道當代作曲家「如何」

way to make the audience enjoy contemporary music?

去挑戰這些高牆。
In "Introduction to contemporary music 101" you would often hear this: the
因此，在看到衛武營國際音樂節的節目規劃時，深刻感受到藝術總監陳銀淑對於

composers you like - BEETHOVEN, WAGNER, and DEBUSSY - also wrote

這份「歷史全貌」的重視。此音樂節雖然以當代音樂為基調，卻絕不只演當代"contemporary music" in their generations. But from the audience's perspective,

音樂，開幕音樂會與閉幕音樂會，就可看到從海頓到史特拉汶斯基，乃至當代people tend to prefer hearing "good and comfortable" music. When hearing

新創曲目的進程；又或是在《極致・純粹》音樂會中，由小提琴家魏靖儀同時

music that is clashing and dissonant, it's very common to resist it subconsciously.

併陳貝多芬、布拉姆斯與魏本的奏鳴曲；以及在鋼琴家王佩瑤啟發於文學的《浮Without the base of the melody, people often find that they're "unsure what

光流影》音樂會中，打散從普羅科菲夫到蒙波的音樂入景；在有著一定歷史認知

they're listening to."後，衛武營當代樂團專場《憤怒狗》與《時空之旅》，正是驗證當代作曲家突破與創新的現場；至於作曲家在創作過程會遭遇的諸多挑戰，可以從與芝加哥

However, the contemporary music of each era is a reaction to or rebellion

交響樂團「Beyond the Score®」系列合作的《展覽會之 What ？》中，得到解答；

against the previous era: BEETHOVEN broke the tradition of writing for royalty,

波蘭導演聶辛斯基《管絃樂團》的影片播映，則是展現音樂在電影藝術出現後，aristocracy, or church. WAGNER integrated theatre and music, and DEBUSSY

遇到的不同載體變化與革新。

thought outside the box of German/Austrian orthodoxy to explore tonalities…
To listen to contemporary music, one needs to understand not only "how" the正如藝術總監陳銀淑所說，這是「音樂創新與發現的全新平台」，透過音樂歷

composer writes, but "why." To know why the composer writes in this way, we

史全貌的展現，觀眾得以知道當代音樂「為何」成為現在的面貌，自然也不會

need to dig into the history, understand the greatest works and composers of

像是「佛地魔」一樣，讓人敬而遠之了！

each era, and their limitations. In that way, we can grasp our future, and can findout "how" the composers are challenging the high wall of limitation.

17

When I saw the programming of the Weiwuying International Music Festival,
I felt that Unsuk CHIN, the Artistic Director of the festival, attached great
importance to the "panorama of history." Although this music festival is basedon contemporary music, that is not the only kind it presents. You can hear from
HAYDN and STRAVINSKY to the contemporary new repertoire in the opening
concert and closing concert. In the concert of William WEI and WANG Pei-yao,
there will be BEETHOVEN, BRAHMS, and WEBERN. In Luminous Shadow, curated
and performed by WANG Pei-yao, you will find PROKOFIEV and MOMPOU's
music in this literature-inspired program. After certain exposure to the historyof contemporary music, one must hear Mad Dog and Time and Space Voyage,
where you'll get a first-hand experience of contemporary composers' creative
process and breakthroughs. If you are curious about what challenges composers
face while composing, you can find a clear answer from the Beyond the Score® Pictures from an Exhibition - Pictures of What? Furthermore, Polish director Zbig
RYBCZYŃSKI's film The Orchestra will expose the development and revolutions
that music faced after the motion picture, a new media form, was invented.

As Artistic Director Unsuk CHIN described, this festival is "a brand-new platform
for musical innovation and discoveries." Through the exhibition of music history,
the audience can understand "why" contemporary music has become what it isnow, so it will not keep people away as Voldemort does!

18

19

開幕音樂會
Opening Concert

跨越兩世紀

的音樂

MUSIC
ACROSSTWOCENTURIES開幕音樂會《跨越兩世紀的音樂》
Opening Concert — Music Across Two Centuries「開始」並不容易但能帶來希望。海頓在神劇《創manifested throughout the piece, and the drama,世紀》中，一開始以多變的調性捕捉天地初始的brought a new aura to religious music.

混沌，過程中輪流閃現不安與優美，戲劇性效果
為宗教音樂帶來新氣象。

Polish composer Witold LUTOSLAWSKI's work
Concerto for Orchestra, citing the traditional music

指揮：簡文彬｜國家交響樂團
Conductor: CHIEN Wen-pin ｜ National Symphony Orchestra

波蘭作曲家盧托斯瓦夫斯基的作品《管絃樂協奏tunes of the Mazowsze region (the province of曲》，引用馬佐夫舍地區（Mazowsze，現華沙所

Mazovian Voivodeship where Warsaw is located.)

在的馬佐夫舍省）的傳統音樂曲調，並以巴洛克

The composer applies the Baroque musical form to

曲式鋪陳，創造新古典主義風格巨作。首屆音樂this piece, creating a masterpiece of Neoclassicism.

節開幕特別邀請近年屢獲大獎、被泰晤士報評為「才情顯赫」的作曲家林佳瑩創作新曲《糖話故For the opening of the first International Music事》，展現臺灣新生代作曲家的高度。

Festival, Weiwuying specially invited LIN Chiaying, the Taiwanese composer who has won

最後，史特拉汶斯基的《火鳥》芭蕾舞劇音樂，

numerous awards in recent years and was hailed

是他初出茅廬時接下「俄羅斯芭蕾舞團」的委託

for "manifest flair" by The Times, to commission a

成果，樂曲以最具原創性的節奏運用和管絃樂法，

new work The Fabricated Sugar-Coat, showing the震撼巴黎藝文界，進而為歐陸樂壇開創新局。

mastery of Taiwan's new generation of composers.

Finally, Igor STRAVINSKY's The Firebird is a ballet"Beginning" is strenuous but it brings hope. In

work commissioned for the Ballets Russes. With

The Creation, Joseph HAYDN used a variety of

its original rhythmic patterns and orchestration,

tonalities to capture the initial chaos of the creation

the music shocked the music circles in Paris, andof heaven and earth. The uneasiness and beauty

opened a new era for classical music in Europe.

演出曲目● 海頓：〈混沌的表現〉，選自神劇《創世紀》，Hob. XXI:2● 盧托斯瓦夫斯基：管絃樂協奏曲● 林佳瑩：《糖話故事》為管絃樂團 （世界首演，衛武營委託創作）● 史特拉汶斯基：《火鳥》組曲（1919 版）

4.8 Fri. 19:30

音樂廳 Concert Hall演出全長約 90 分鐘，含中場休息 20 分鐘
Duration is 90 minutes with a 20-minute intermission.
22

演前導聆
Pre-talk
4.8 Fri. 18:50-19:10
音樂廳三樓大廳Concert Hall 3F Lobby

Program● Joseph HAYDN: 'Representation of Chaos' from The Creation, Hob. XXI:2● Witold LUTOSLAWSKI: Concerto for Orchestra● LIN Chia-ying: The Fabricated Sugar-Coat for Orchestra (World premiere, Commissioned by Weiwuying)● Igor STRAVINSKY: The Firebird Suite (1919 Version)
23

劉

祥

©

振

指揮 Conductor

作曲家 Composer

簡文彬

林佳瑩

CHIEN Wen-pin

LIN Chia-ying

衛武營國家藝術文化中心藝術總監。

CHIEN Wen-pin, General and Artistic Director

臺灣作曲家林佳瑩（1990 年生），創作受到英國Described as having "manifest flair" (The Sunday

簡文彬 1967 年生，國立藝專（今國立臺灣藝術大of the National Kaohsiung Center for the Arts

泰晤士報讚為「才情顯赫」（manifest flair）。自Tim es), LIN Chia - ying is a com pos er f rom

學）鍵盤組畢業，維也納音樂暨表演藝術大學指(Weiwuying), was born in 1967, graduated from2015 年，屢獲芬蘭、義大利、英、美、韓國等多Taiwan. Her works have earned international

揮碩士學位。

the National Taiwan Academy of Arts and awarded

項國際作曲獎，包含 2018 年英國皇家愛樂協會作

recognition since 2015, including the 2018with Master degree at the National University for

曲 獎（RPS Composition Prize）， 為 獎 項 成 立 逾Royal Philharmonic Society Composition Prize,

Music and Performing Arts Vienna.

70 年首位臺灣得主。近年於歐亞間廣獲創作邀約，third prize at the International Jean Sibelius

並於 2021 年榮獲樂界權威西門子音樂基金會委託

Composition Competition (Finland), first prize at

創作。

the International Composition Competition Piero

1996 年起擔任德國萊茵歌劇院〈Deutsche Operam Rhein〉 駐 院 指 揮 長 達 22 年；1998-2004 年
為 日 本 太 平 洋 音 樂 節（Pacific Music Festival）

CHIEN joined the Deutsche Oper am Rhein

駐節指揮；2001-2007 年為國家交響樂團（NSO）(Dusseldorf / Duisburg, Germany) in 1996 and音樂總監，在其任內推動「定期音樂會系列」、

served as "Kapellmeister" for 22 years. 1998-2004

演出足跡遍及歐洲多國、美國和亞洲。合作樂團

Institut Korea for its Asian Composers Showcase

國人作品委託創作及錄製、「歌劇系列」等創舉，

he was Resident Conductor of the Pacific Music

包 含 英 國 Philharmonia Orchestra、 美 國 Seattle

2017, the winner of the Seattle Symphony 2018-

並在 2006 年樂團 20 週年時推出華語地區首次

Festival (Sapporo, Japan), 2001-2007 he was

Symphony、瑞士琉森音樂節當代管弦樂團、國19 Celebrate Asia Composition Competition, among

自製之華格納《尼貝龍指環》四部曲；2014-2016

Music Director of National Symphony Orchestra

家交響樂團 NSO、國臺交 NTSO、巴雀弦樂團、

others.

擔任國立臺灣交響樂團藝術顧問，並於 2014 年(Taiwan Philharmonic), during his tenure the臺 北 市 立 國 樂 團 等 等。 作 品 錄 音 由 倫 敦 Orchid

9 月獲頒第十八屆國家文藝獎。

orchestra has achieved several milestones such

Classics、NMC Recordings、 大 聲 藝 術 等 公 司 發Commissioned by both occidental and oriental

as creating Subscription series, commissioning

行。樂譜由義大利 Ricordi 與 Ermes 404 出版。

orchestras, her works have been performed widely

Farulli (Italy), a commission prize from the Goethe-

Taiwanese composers, introducing an opera

across Europe, Asia and the US by orchestras

series which coroneted with the first productionand ensembles such as the Philharmoniaof the complete Der Ring des Nibelungen byOrchestra (UK), Seattle Symphony, National

Richard Wagner in Chinese speaking areas, upon

Taiwan Symphony Orchestra, Lucerne Festival

orchestra's 20th anniversary in 2006. 2014-2016

Contemporary Orchestra, Taipei Chinese Orchestra,

CHIEN was Artistic Advisor of the National Taiwan

Camerata Taiwan, Ensemble TIMF, HKNME,

Symphony Orchestra. In addition, CHIEN was

Quartetto Maurice, Quatuor Béla, Psappha, among

winner of the "National Award for Arts" in 2014.

others. She received a Composition Commission
awarded by the Ernst von Siemens Music
Foundation in 2021.

24

25

國家交響樂團

Taiwan Philharmonic, the National Symphony Orchestra「 豐潤的音色。」─《舊金山古典之聲》2018「 不需西方世界的背書，這個樂團在音樂舞台絕對佔有一席之地。」─奧地利《信使報》2017"Lush Playing." ─ San Francisco Classical Voice , 2018"… vor allem bei Schostakowitsch' Symphonie Nr. 5 d-moll war das Ergebnis mitreißend: Es geriet eine
Orchestermaschine ins Arbeiten, mit fliegenden Bögenund wuchtigem Wollen, deren Produkt auf (fast)
ganzer Linie überzeugen konnte. Da brauchtes kein gut gemeintes westliches Wohlwollen: Das Orchester
hat seinen Platz im Konzerthaus wohl verdient. " ─ Kurier, 2017

國 家 交 響 樂 團（NSO） 的 前 身「 聯 合 實 驗 管 絃Founded in 1986, the Taiwan Philharmonic, also

樂團」成立於 1986 年，以打造頂尖交響樂團為目

known as the National Symphony Orchestra

標；2014 年 4 月改隸國家表演藝術中心，以「臺(NSO) at home, has been hailed as one of the best

灣愛樂」立足國際。經過三十多年耕耘，NSO 參

orchestras in Asia. Under the leadership of music與交響樂、室內樂、歌劇、舞蹈、跨界製作。樂

director Jun MÄRKL since January 2022, the NSO

團在歷任音樂總監張大勝、林望傑、簡文彬、呂aspires to resonate throughout the world as the

紹嘉共同悉心呵護下成長，以專業、開放、勇於cultural ambassador of Taiwan. As the orchestra

創新的職業樂團為發展核心，現已成為亞洲地區

affiliated with the National Performing Arts Center,

最 具 指 標 性 的 樂 團。2021 年 8 月， 德 國 指 揮 家

the NSO performs throughout Taiwan, but also

準・馬寇爾（Jun MÄRKL）接任 NSO 藝術顧問，

tours regularly overseas, having performed in

2022 年 1 月起擔任音樂總監，期望以樂團獨特的such musical centers as Paris, Vienna, Berlin,聲音擔任臺灣的文化大使，向全世界表達特有的Tokyo, and Los Angeles. The NSO works regularly

身份和情感。

with internationally acclaimed conductors andsoloists like Lorin MAAZEL, Luciano PAVAROTTI,
Mirella FRENI, and Mstislav ROSTROPOVICH. The
orchestra's extensive and varied activities include
much chamber music, work with dance companies,o p e ra p ro d u c t i o n s , a n d eve n t s a t n u rs i n ghomes, mountain villages, and underprivileged
communities.

26

27

國家交響樂團名錄★ 樂團副首席 Associate Concertmaster● 首席 Principal◎ 副首席 Associate Principal○ 助理首席 Assistant Principal

Members of Taiwan Philharmonic,
the National Symphony Orchestra
音樂總監 Music Director
準 ‧ 馬寇爾 Jun MÄRKL
榮譽指揮 Conductor Emeritus■ 留職停薪 On Leave▲ 樂季合約人員 Season Contracted Musician＊ TNUA 樂團職銜學程學員 TNUA & NSO Internship Program
劃底線者為本場協演人員 Auxiliary

第一小提琴 First Violin

中提琴 Viola

低音提琴 Double Bass單簧管 Clarinet

長號 Trombone★ 鄧皓敦 TENG Hao-tun●黃瑞儀 HUANG Grace●傅永和 FU Yung-ho●朱玫玲 JU May-lin●李昆穎○ 陳逸群 CHEN Yi-chun◎鄧啟全 TENG Chi-chuan◎蘇億容 SU Yi-juan◎賴俊諺 LAI Chun-yen◎邵恒發

SHIU Hang-fat

郭昱麟 KUO Yu-lin○呂昭瑩 LU Chao-ying○周春祥 CHOU Chun-shiang

朱偉誼 CHU Wei-i＊陳志承

CHEN Chih-cheng

林基弘 LIN Ji-hung黃雅琪 HWANG Yea-chyi

王淑瑜 WANG Su-yu

梁坤豪 LIANG Kun-hao

李靖宜 LEE Jing-yi

黃筱清 HUANG Hsiao-ching

陳逸農 CHEN Yee-nong

謝君玲 SHIEH Juin-ling

王淑宜 WANG Shu-yi

卓曉青 CHO Hsiao-ching

呂孟珊 LU Meng-san

連珮致 LIEN Pei-chih

低音管 Bassoon

方俊人 FANG Cecilia

李思琪 LI Szu-chi蔡歆婕 TSAI Hsin-chieh●簡凱玉 JIAN Kai-yu

駐團指揮 Resident Conductor黃佳頎 HUANG Jia-chi

陳猶白 CHEN Jubel＊ 許芳庭 HSU Fang-ting◎陳奕秀 CHEN I-hsiu

張尹芳 CHANG Yin-fang

李庭芳 LEE Ting-fang

蔡秉璋 TSAI Ping-chang＊羅仕奇 LO Shih-chi

賴佳奇 LAI Chia-chi吳彥廷 WU Yen-ting

林孟穎 LIN Meng-ying黃亞漢 HUANG Ya-han

呂紹嘉 LÜ Shao-chia
桂冠指揮 Conductor Laureate
根特 ‧ 赫比希 Günther HERBIG

協同指揮 Associate Conductor吳曜宇 WU Yao-yu

李家豪 LEE Chia-hao

楊書涵 YANG Su-han

曾智弘 TSENG Chih-hong

大提琴 Cello蔡竺君 TSAI Chu-chun◎連亦先 LIEN Yi-shien＊王珮珊 WANG Pei-shan○韋智盈 WEI Chih-yi＊林允中 LIN Yun-chung周幼雯 CHOU Yu-wen
陳怡婷 CHEN I-ting

孫正茸 SUN Cheng-jung

LEE Kun-ying

中里孝智子 Nakazato SACHIKO＊黃郁雯 HUANG Yu-wen
低音長號 Bass Trombone

高靈風 KAO Ling-feng

彭曉昀 PENG Hsiao-yun
低音號 Tuba●藤田敬介 Keisuke FUJITA＊李佳霖 LEE Jia-lin
長笛 Flute

定音鼓 Timpani●安德石 NORELL Anders

倍低音管 Contrabassoon●艾庭安 Sebastian EFLER◎宮崎千佳 MIYAZAKI Chika

簡恩義 CHIEN En-yi◎陳廷銓 CHEN Ting-chuan

李 浚 LEE Chuin
短笛 Piccolo
鐘美川 CHUNG Mei-chuan

法國號 Horn

打擊樂 Percussion●劉宜欣 LIU Yi-hsin Cindy●陳哲輝 CHEN Jer-huei◎劉品均 LIU Pin-chun

陳振馨 CHEN Chen-hsing○黃任賢 HUANG Jen-hsien

楊璧慈 YANG Pi-tzu

第二小提琴 Second Violin

林宜嫺 LIN Yi-hsien●陳怡茹 CHEN Yi-ju黃日昇 HUANG Jih-sheng雙簧管 Oboe黃哲筠 HUANG Jer-yun

王瓊燁 WANG Chiung-yeh◎孫正玫 SUN Cheng-mei

蘇品維 SU Pin-wei●王怡靜 WANG I-ching

王婉如 WANG Wan-ju

吳欣怡 WU Hsin-yi○陳玟佐 CHEN Wen-tso

唐鶯綺 TANG Ying-chi◎阮黃松 HOANG Tung NGUYEN張顥嚴 CHANG Hao-yan

吳怡慧 WU I-hui＊游承霖 YU Cheng-lin

豎琴 Harp楊舒婷 YANG Shu-ting
小號 Trumpet

李京熹 LEE Ching-hsi
黃衍繹 HUANG Yen-yi

英國管 English Horn●宇新樂 RUSILLON Nicolas

顧慈美 KU Tsu-mei

李明怡 LEE Ming-i◎陳長伯 CHEN Chang-po●解 瑄 CHIEH Shuen
鍵盤 Keyboard

康信榮 KANG Hsin-jung

張景民 CHANG Ching-min▲許毓婷 HSU Yu-ting

李梅箋 LI Mei-jain

鄒儒吉 CHONG Loo-kit

方怡婷 FANG Yi-ting

鍾仁甫 CHUNG Jen-fu
蔡孟峰 TSAI Meng-fong
洪章文 HUNG Chang-wen
陳偉泓 CHEN Wei-hong
王致翔 WANG Chih-hsiang
28

29

國家交響樂團名錄

Members of Taiwan Philharmonic,
the National Symphony Orchestra
執行長 Executive Director

整銷推廣 Marketing & Development

郭玟岑 Lydia KUO Wen-chen整銷專案經理 Project Manager, Marketing公關推廣經理 Manager, Public Relations

行銷專員 Marketing Coordinator

羅文君 Gloria LO
王承禹 Paul WANG

林柏年 Bernie LIN

行政管理經理 Manager, Administration

李心如 LEE Hsin-ju

張念慈 Gail CHANG

陳沁意 CHEN Shing-yii

節目行銷經理 Manager, Marketing
林欣儀 Eileen LIN
音樂總監執行祕書 Secretary of Music Director
石玲玲 SHIH Ling-lin

法律顧問 Legal Consultant
林信和 LIN Hsin-Ho
平面視覺顧問 Graphic Design Consultant
兩個八月 Biaugust公關專員 Developing Coordinator
劉亭妤 LIU Ting-yu
愛樂實驗室 Music Lab
研究員 Specialist
陳奇蕙 CHEN Ci-huei

企劃演出 Planning & Production企劃專員 Programme Coordinator
楊宇晴 YANG Yu-ching
温家琪 Peggy WEN
許品萱 Zoe HSU

簡佑丞 Arthur CHIEN專案執行專員 Project Coordinator
紀 琪 CHI Chi
駐團攝影 Resident Photographer
鄭達敬 KENG Tey-tat

陳建澤 CHEN Chien-tze
李亭儀 LEE Ting-yi
奚慧如 HSI Hui-ju
譜務專員 Librarian高婉瑜■ Brittney KAO
陳筱淇

CHEN Hsiao-chi

舞台監督 Stage Manager
李艷玲 LI Yen-lin
周仁慈 CHOU Ren-tsz

行政管理 Administration

錄音製作
Recording Partnership

人事組長 Assistant Manager, Personnel
林碧珠 Cheryl LIN Pi-chu
人事專員 Personnel
陳宛瑜 CHEN Wan-yu

NSO Live 講座計畫贊助NSO-on-Campus Lecture
Series Sponsored by法務專員 Legal Affairs
劉善謙 Cary LIU
行政專員 Administrator
陳靜怡 Sharon CHEN

2021 IMEI 藝脈傳承計畫贊助I-Mei NSO Conducting Fellowship
Programme Sponsored by

義美文教基金會

張筑昀 Yuny CHANG
詹懿玲 ZHAN Yi-ling
行政助理 Administrator Assistant

NSO 教育計畫夥伴
NSO Education Partnership

呂欣庭 LYU Hsin-ting

30

31樂曲解說 Program Notes

樂曲解說 Program Notes

海頓：〈 混沌的表現〉，選自神劇《創世紀》

盧托斯瓦夫斯基：管絃樂協奏曲

撰文｜吳毓庭Written by WU Yu-ting

撰文｜吳毓庭Written by WU Yu-ting

Joseph HAYDN: 'Representation of Chaos' fromThe Creation, Hob. XXI:2海頓晚年在英國旅行演奏時，聆聽到巴洛克大家韓an orchestral piece.) The whole play depicts theI. 開場樂

I. Intrada

德爾多部神劇，受到前輩氣勢滂薄的樂風與精細的

process of God's creation of the world through three

II. 隨想的夜曲和詠敘調

II. Capriccio notturno e Arioso

音畫手法啟發，他開始創作人生首部直接以神劇為archangels (Raphael, Uriel and Gabriel), Adam, Eve.

III. 帕薩卡亞舞曲、觸技曲與聖詠

III. Passacaglia, Toccata e Corale

形式的作品《創世紀》（較早的《基督十架七言》

The structure consists of three sections: the first是從管絃樂曲改編過來）。整部劇透過三位天使、

section covers the first through fourth days, the在《當代音樂字典》（Dictionary of Contemporary

作品共有三樂章，第一樂章分為 ABA 三段，A 段

亞當、夏娃等角色，講述神創造世界的過程。結構

second covers the fifth and sixth days, and the third

Music，John VINTON 主編）中，「管絃樂協奏曲」

為一穩定、莊嚴的行進，由定音鼓頑固低音開啟，

共有三大段：第一段為第一到第四天，第二段為第portrays the scene of the Garden of Eden.

的解釋如下：「源於新古典主義，它代表典型的隨後可聽見各聲部相互模仿民歌主題。B 段以數個五到第六天，第三段描寫伊甸園場景。

32

Witold LUTOSLAWSKI: Concerto for Orchestra

懷舊與完美的歷史素材融合：十九世紀的樂團、

性格衝突的素材交織，包括高歌般的長音旋律、"Representation of Chaos" is the opening of the

十八世紀的交響樂和十七世紀的協奏曲。」由此可

鮮活的跳動音群和暴風式的重複節奏。再重回的 A〈混沌的表現〉是整部劇的開頭，海頓先以全體總oratorio. HAYDN first brings out a powerful sound

知標題裡的「協奏曲」並非現代人熟悉的獨奏協

段織度變薄，充滿風雨肆虐後重生的新鮮感。

奏 Do 帶出開天闢地般的強大聲響，隨後加入其他like the ground breaking with a tutti C, and then

奏曲，而是對應到巴洛克「大協奏曲」（concerto

音高緩慢堆疊成和弦，但這些和弦時而和諧、時而adds other notes to slowly stack into chords,

grosso）的概念：「獨奏群」與「合奏群」交替出第二樂章類似交響曲的詼諧曲樂章，開頭像昆蟲靈

刺耳，就像天地之初尚無秩序的狀態。樂思在弦樂

but these chords are sometimes harmonious

現以形成音色音量變化，現代作曲家是讓樂團各聲

動飛舞，中段則由小號帶出嘹亮激昂的旋律，但調

奏出持續的八分音符伴奏後，變得較有秩序，然而and sometimes harsh, like the state of disorder

部輪流展技（virtuosic）擔綱主角。

性很模糊，讓人想起戰爭場面。第三樂章幾乎佔了

木管群的樂句仍然很破碎，聽起來就像散落的物件

at the beginning of the world. The musical idea

等待組合。整個音樂會在激動的 Do 同音反覆後，

becomes more orderly through the continuous

最早嘗試這種體裁的作曲家包括亨德密特、高大主題先由豎琴與低音提琴撥絃小心翼翼帶出，接續再一次從無序慢慢變得有序，只是過程較短，為第eighth-note accompaniment, while the woodwinds

宜，至 1943 年，巴爾托克以獨樹一格的民間音

的段落充滿精湛的管樂炫技；第二大段表現出紛繁

一首男低音獨唱〈神創造天與地〉做準備。

are still playing broken phrases, like scattered樂取材與管絃樂法留下里程碑式經典。近十年後（觸技曲段落）和統一（聖詠）的對比，兩者最終

objects waiting to be arrayed. After the exciting C

波蘭作曲家盧托斯瓦夫斯基在巴爾托克影響下，會融合成盛大結尾。

When HAYDN toured in England in his later years,

homophonic repetition, the whole concert slowly

於 1950 到 1954 年間也完成了一部同類型創作，

he listened to many oratorios by the Baroquechanges from disorder to order again, but the他 同 樣 引 用 了 許 多波蘭傳統音樂——主要來自

In the Dictionary of Contemporary Music (edited

master George Frideric HANDEL. Inspired byprocess is short, in preparation for the first bass

民 俗 學 家 Oskar KOLBERG 採 集 到 馬 佐 夫 舍 地 區

by John VINTON), "Concerto for Orchestra" ishis predecessor's majestic musical style andsinging solo - "In the beginning God created Heaven（Mazowsze）的曲調，不過卻以巴洛克曲式鋪陳，

explained: "Born of neoclassicism, it represents

delicate tone painting techniques, he began toand Earth."

重新把握住新古典主義風格。

both a quintessential nostalgia and a consummate

全曲的一半，分為兩大段：第一大段為變奏曲形式，

create his first oratorio, The Creation. (The earlier

integration of historical elements: the nineteenth-

The Seven Last Words of Christ was adapted from

century orchestra, the eighteenth-century33樂曲解說 Program Notes

林佳瑩：《糖話故事》為管絃樂團 (2022)

LIN Chia-ying: The Fabricated Sugar-Coat for
Orchestra (2022)
撰文｜林佳瑩
Written by LIN Chia-ying

34

symphony, and the seventeenth-century concerto."

The work has three movements. The first is divided

在一個遙遠冰封的記憶裡、佈滿糖霜的世界中，

Once upon a time—from a frozen memory—in a

From the description above, one can understand theinto three sections, ABA. Opened by the basso

孩子們聽說一名著名的仙子即將到來，於是歡欣

faraway land full of icing sugar, the children rejoiced"concerto" in the title is not the solo concerto people

ostinato from the timpani, section A is a steady

鼓舞地準備迎接，共同為她織造新的糖衣。其中

to learn about the coming of a famous fairy, and thus

refer to nowadays, but corresponds to the concept

and solemn march. Later, each instrument section

一個童子在鋼片琴的音聲中躑躅摸索著，無邪的delightedly prepared for her arrival by collectivelyof the "concerto grosso" in the Baroque period. The

starts imitating the theme of folk songs. Section

靈魂在鍵盤中找尋向這名仙子致意的音語…。

making her a brand new coat from sugar. Amonginterchanging between a small group of soloists

B is interwoven with several conflicting materials,(the concertino) and full orchestra (the ripieno

including chantlike long-note melodies, lively

就這樣，作曲家以童話般的意象與童年片段記憶

front of a celesta, trying to figure out the keyboard's

or concerto grosso) creates dynamic and timbre

staccatos, and stormy repeating rhythms. Then in

為靈感，讓音樂自行訴說音樂的軼事，建構想像

language—phrase by phrase—in order to greet thechanges. Modern composers let each part of thethe last A section, the texture becomes thinner, and的糖話。故事的發源即從鋼片琴與豎琴等靈動的

fairy when she would finally arrive....

orchestra take turns to demonstrate their virtuosic

it is full of the freshness of rebirth after the raging

高音音色變換交織而成；滿滿的糖霜或似冰雪，

skills as the protagonist.

storm.

從風凍凝結的記憶中，逐漸溶解，進而帶動敘事。

Inspired by fairytale images and fragmented

曲中經過多樣的音樂景觀，引發出繽紛又具衝突

childhood memories, the composer seeks to let

the many children, there was this little one sitting in

The earliest composers to try composing in

The second movement is similar to a symphony's性的開展。最終，特製的衣裳完成了，而仙子究

the music tell its own anecdotes, weaving into an

this form included Paul HINDEMITH and Zoltán

scherzo. The intro resembles the swift dance of竟有沒有現形呢？

imaginary story in the making of a sugar-coat. The

KODÁLY. By 1943, Béla BARTÓK had composed

insects, and in the middle section, the trumpet plays

birthplace of the story is orchestrated by celestial

remarkable classics of the concerto with his uniqueout a loud and exciting melody with vague tonality,

sounds with various timbres intertwined as thefolk music elements and orchestrations. A decade

reminiscent of war scenes. The third movement issonic world dissolves from a frozen moment. With

later, the Polish composer Witold LUTOSŁAWSKI,

almost as long as the others together. The first of

the frosty air and sugary images, the narrative isunder the influence of BARTÓK, between 1950 and

its two sections is in variation form with a theme

driven forward. The piece later expands without

1954 completed a composition in a similar style.

carefully brought out by harp and double bass

boundary through various musical landscapes

He likewise quoted lots of traditional Polish musicpizzicatos, continuing with a marvelous virtuoso

and uncannily sparks conflicting development in- mainly from the tunes in the Mazowsze region

performance from the winds. The second section

the musical textures. In the end, the new couturecollected by the folklorists Oskar KOLBERG. He,shows a contrast between complexity (the toccata)

is freshly made; one may wonder: did the fairy

however, recaptured Neoclassicism by composing

and unity (the chorale), which eventually merge into

actually appear?

the work in a Baroque form.

a grand ending.

35樂曲解說 Program Notes

史特拉汶斯基：《火鳥》組曲（1919 版）

Igor STRAVINSKY: The Firebird Suite (1919 Version)
撰文｜吳毓庭Written by WU Yu-ting● 序奏● Introduction

In 1909, Russian ballet manager Sergei DIAGHILEVwith everyone in a round dance. In this section,● 火鳥和牠的舞蹈● L'oiseau De Feu Et Sa Danse (The Firebird and its Dance)

set up Ballets Russe in Paris, striving to breakeach part of the orchestra plays in the style of a

● 火鳥獨舞● Variation De L'oiseau De Feu (The Firebird's Variation)from the conservative environment at that time.

folk tune, full of intimacy. 'Infernal Dance of King● 公主們的圓環舞● Rondes Des Princesses (The Princesses' Khorovod)

DIAGHILEV's approach included seeking more

Kashchei' takes a twist where the prince flutters● 卡斯奇主題的地獄之舞● Danse Infernale De Roi Kachtcheï (Infernal Dance of King Kashchei)novel and bold works, and attempting to integrate

his feathers and summons firebirds to fight the● 搖籃曲● Berceuse

the by-then-popular "Oriental sentiment" withmagician. The intense and violent syncopated● 終曲● Finale

European music. The Firebird was created in therhythm shows that Kashchei and the monsters

ballet company's second year. The story combines

dance frantically under the temptation of theseveral Russian folktales. STRAVINSKY, who

firebird, and the fast chromatic scale represents

was only 28 years old at the time, used inventive

the firebird swirling back and forth. All the chaos

rhythms and virtuosic orchestration, giving new

finally calms down as the evils are exhausted. In

images to the old narrative.

'Berceuse,' a quiet tune played by the bassoon

俄羅斯芭蕾舞經紀人狄亞基列夫在 1909 年，因極

第四首「公主們的圓環舞」非常抒情，王子在森

欲擺脫當時國內保守的風氣，選擇在巴黎創立「俄林遇到了被魔法師控制的公主們，他對其中一位

In the 'Introduction,' you can hear the slow

'Finale,' the horn solos a dawn-like passage. The羅斯芭蕾舞團」（Ballets Russe），一方面追求

一見傾心，並與大家跳起圓環舞。此時各聲部會

and continuous bass strings and rhythmicallyincreasingly powerful brass ensemble symbolizes

更大膽的創作，一方面也試圖以流行的「東方情相互模仿民歌風味的曲調，充滿親密感。

interlaced winds laying out the eerie atmosphere.

that the magic was finally dispelled by the prince,

Next, 'The Firebird and Its Dance' depicts theand the world returned to normal again.

調」打開歐洲市場。《火鳥》創作於舞團成立第36

hypnotizes all enemies to sleep. Lastly in

二年，故事融合了數則俄羅斯民間傳說，當時年

第五首「卡斯奇主題的地獄之舞」帶出了王子揮protagonist Prince Ivan catching a glimpse of the

僅二十八歲的史特拉汶斯基，則以深富原創性的

動羽毛、召來火鳥對抗魔法師的轉折。激烈狂暴

firebird. In 'The Firebird's Variation,' the bright and

節奏運用與管絃樂法，為古老敘事賦予嶄新想像。

的切分節奏，表現出卡斯奇與妖怪們在火鳥誘使

fast clarinet sound expresses the dancing of a

下瘋狂起舞，代表火鳥的快速半音階則頻繁穿梭

flock of rare birds.

第一首「序奏」可以聽見緩慢綿延的低音弦聲和

其中，一切混亂終於在妖怪們筋疲力竭後逐漸安

節奏交錯的管樂，鋪陳出詭譎氛圍。第二首「火靜。第六首「搖籃曲」可以聽見低音管奏出沈靜'The Princesses' Khorovod' is very lyrical. In the

鳥和牠的舞蹈」描繪主角伊凡王子窺見火鳥蹤影。

曲調，催眠所有敵人睡著。第七首「終曲」由法

forest, the prince meets the princesses who were

第三首「火鳥獨舞」以單簧管亮麗的快速音群表

國號獨奏出破曉般的樂段，越來越雄渾的銅管合

controlled by the evil magician Kashchei. He fell

現珍禽飛舞。

奏象徵魔法最終被王子破解，世界再度回歸常軌。

in love with one of them at first sight and danced

37

聶辛斯基
管絃樂團
FILM: THE ORCHESTRA
by Zbig RYBCZYNSKI

聶辛斯基：《管絃樂團》
Film: The Orchestra by Zbig RYBCZYŃSKI

撰文｜吳毓庭Written by WU Yu-ting

出生於波蘭的聶辛斯基無疑是當代最有想像力的Born in Poland, RYBCZYŃSKI is undoubtedly

導演之一，他除了從七〇年代就開始鑽研電影特

one of the most imaginative directors of the效，比如大量運用綠幕拍攝，最特別的是，他的contemporary era. Ever since the 70's he has

作品常會從現實場景衍生出許多超現實情節，形dug deep into special effects, such as extensive

成高度個人化的世界觀。他曾在訪談中提到：「我use of green screen shooting. The most special

喜歡『當代』這個概念，我的影片會融合各種不thing in his works is that they often start from

同的時間。我不想直接描繪『現在』，因為現在

real scenarios, then veer into many surreal plots,

和過去是一體的。」

forming a highly personal worldview. He once
mentioned in an interview: "I like the concept of《管絃樂團》是他在 1990 年完成的代表作，影'contemporary'. My videos will integrate different

片由六段幻想式短片接續而成。不把音樂作為配

times. I don't want to directly portray the 'current

樂，聶辛斯基的每個段落，都讓影像與音樂互為time' because the present and the past are one as

對位，像是第五段出現的新婚夫妻，他們裸身飛a whole."

舞在教堂裡，搭配的是舒伯特的〈聖母頌〉，或是最末段以拉威爾〈波麗露〉舞曲，描繪共產制The Orchestra is his masterpiece completed in

度的進程與衰亡，皆創造出飽滿、動人的意象。

1990. The film is a combination of six fantasy shortfilms. Instead of using music as the backgroundsoundtrack, each section makes the image and themusic counterpoint each other. For example, inthe fifth part, when the newlyweds dance naked in
the church, the music is SCHUMERT's Ave Maria.
The last part features RAVEL's Boléro mixed with
depictions of the rise and fall of the communist
system, a vivid and stunning image.

4.9 Sat. 11:30 4.10 Sun. 17:00

演講廳 Lecture Hall演出全長約 60 分鐘，無中場休息
Duration is 60 minutes without intermission.
40

演後座談
Post-talk
4.10 Sun. 18:00-18:30
演講廳 Lecture Hall
講者 Lecturer ｜藍祖蔚 LAN Tsu-wei
41

導演 Director

薩比格 ‧ 聶辛斯基
Zbig RYBCZYŃSKI

薩比格 ‧ 聶辛斯基是聞名全球的電影導演，同時1985 年至 2013 年間，薩比格在美國、德國和波

也是高畫質影片的先鋒以及技術領域的創新者。其蘭發展視覺特效製作的創新方法及系統。這段期

作品在美國、歐洲、亞洲和南美洲等地獲得許多知

間內，其主要貢獻在於發展出獨特的電影工作室，

名業界大獎的肯定，包含奧斯卡金像獎、艾美獎、

以電子技術配備即時創作並合成多層影像。此舉

三座 MTV 獎、坎城影展金棕櫚獎等殊榮。他也為大幅降低了後製的需求，從根本上改變了創意過

米克・賈格、小野洋子、閃耀大師、頭腦簡單樂團

程的方法，也減少了整體的製作費用。薩比格在等音樂人製作 MV，更是 MTV 名人堂的入圍者。

2010 年至 2013 年間於波蘭樂斯拉夫工作，並在迄今為止，薩比格所執導與製作的電影已逾 50 部。

此設計、打造出一間特別的工作室「視聽科技中心」。該中心的設備新穎而先進，可即時製作多許多電視頻道與節目中都可看見薩比格的作品，如層影像。

美國的公共電視台《偉大的表演》、國家廣播公司《今夜秀》、《20/20》、《夜間飛行》、MTV 音

薩比格的學術職涯也同樣出色。他在紐約哥倫比樂頻道；歐洲和亞洲則包含法國電視台 CANAL+、

亞大學、德國科隆媒體藝術學院以及波蘭洛茲電

義大利廣播公司、德國電視二台、日本 NHK、波影學院授課，並在日本東京女子美術大學擔任客

蘭電視台第二台、波蘭電視頻道 POLSAT 等等。

座教授。

1985 年，薩比格在紐約成立了自己的電影工作室

薩比格與其妻子多蘿塔 ‧ 茲格羅比卡定居於美「薩比格影像」，並在此產出不少重要又創新的高國。夫妻倆目前則正在製作共同編導的劇情片《設解析度影片——《階梯》（1987）、《第四維度》

計師》。

（1988）、《管絃樂團》（1990）、《曼哈頓》（1991）以及《卡夫卡》（1992），也獲得了熱烈
的迴響與無數的獎項。薩比格是高解析度電視技術
的先鋒，也是技術領域的創新者和實驗者。他坐擁美國許多電影技術方面的專利，包含運動控制、光學及影像合成。

Zbig RYBCZYŃSKI is an internationally renowned

was developing a one-of-a kind film studio,

filmmaker, HD pioneer and an innovator in theequipped with electronic technology for creating

film's technical field. He received numerous

and compositing multi-layer images in real time.

prestigious awards, including- Oscar, Emmy,It largely eliminates the need for post-production,

3xMTV's, Cannes Silver Palm, among many others

which fundamentally changes the methodology

in the USA, Europe, Asia, and South America.

of the creative process, efficiently reducing overall

He created music videos for Mick JAGGER, Yoko

production costs. 2010-2013, RYBCZYŃSKI worked

ONO, GrandMasterFlash, Simple Minds, andin Wroclaw, Poland, where he designed, build, andmany others. He is an MTV Hall of Fame inductee.

directed a unique studio – Audiovisual Technology

RYBCZYŃSKI directed and produced over 50 film

Center. CeTA is a novel, state of-the-art facility

titles so far.

for the production of real-time, multi-layer film
images.

RYBCZYŃSKI's work was seen on many TV
Channels and TV programs in the USA, includingHis distinguished academic career include

Great Performances PBS, Tonight Show NBC,

teaching at the Columbia University in New York,

20/20, Night Flight, MTV, as well as in Europe andthe Academy of Media Arts in Cologne, Germany,

Asia: CANAL+, RAI, ZDF, NHK JAPAN, TVP2, TV

Poland's Lodz Film School and visiting professor

POLSAT, and more.

at Joshibi University of Art and Design in Tokyo,
Japan.

In 1985, he launched his film studio – ZBIGVISION – in New York, where he created his

RYBCZYŃSKI lives and works in the USA with his

most important and innovative HDTV films: Steps

wife Dorota ZGLOBICKA, where they work on their(1987), The Fourth Dimension (1988), The Orchestra

feature film Thee Designer, co-written and co-(1990), Manhattan (1991), and Kafka (1992), all of

directed with Dorota.

which were showered with enthusiastic criticalacclaim and numerous awards. RYBCZYŃSKI isa pioneer of HDTV technology, an innovator andexperimentator in the film's technical field. He's
the author of several US patents regarding film
techniques, including motion control, optics, andcompositing.

Between 1985-2013, RYBCZYŃSKI worked in theUSA, Germany, and Poland, developing innovative
methods and systems to produce visual special
effects. His major contribution during this period

42

43

演後座談講者 Lecturer

藍祖蔚

LAN Tsu-wei

一位電影書寫人、一位電影解說人。

LAN Tsu-wei is one of the important media

一位電影愛好者、一位電影音樂迷。

professionals in Taiwan. He was the production
manager of Central Pictures Corporation in 1996, the藍 祖蔚為臺灣重要資深媒體 人， 曾 任 中 影 公 司

deputy editor-in-chief of Liberty Times from 1998

製片經理 (1996)、《自由時報》副總編輯 (1998-

to 2020, and the producer and host of the Public2020)、公共電視《電影音樂精靈》節目製作人主

Television Service in 1999. In the field of TV and持人 (1999)。戲劇電影方面，他曾多次擔任電視

films, he has served on the juries of the Golden Bell金鐘獎評審 (2005、2009、2015)、臺灣電影節評

Awards in 2005, 2009, 2015, the Taipei Film Festival

審 (2007-2008)、金馬獎國際影評人費比西獎國際from 2007 to 2008, the Golden Horse Film Festival

評審 (2011)、高雄電影節評審 (2013)，電視金鐘獎

- International Film Critics Awards (the FIPRESCI

評審團主任委員 (2015)，並多年擔任文化部及國藝

Prize) in 2011, the Kaohsiung Film Festival in 2013,

會的輔導金、短片、紀錄片評審。同時亦主持許and served as the jury chairman of the Golden Bell多廣播節目，包括臺北愛樂電台「電影最前線」

Awards for television industry in 2015. He also has(1996 - 2015)、國立教育電台「藍色電影院」 (2015been serving as juror for the Ministry of Culture and- 2020)，並以「電影最前線」獲得 2004 年廣播金the National Culture and Arts Foundation subsidiary

鐘獎最佳流行音樂節目主持人。

grant programs for many years. In addition, LAN
hosted many radio programs, including Movie

為國家電影及視聽文化中心董事長。知名著作包括

Forefront at Philharmonic Radio Taipei from 1996 to《與電影握手：藍祖蔚的藍色電影夢》、《王童七2015, and Blue Cinema at National Education Radio日談》《光影上路》、《奧斯卡獎作曲家的故事》、

from 2015 to 2020. The former won him Best DJ at《聲與影：20 位作曲家談華語電影音樂創作》、《日the Golden Bell Awards in 2004.

出》�等。
LAN is currently the chairman of the Taiwan Filmand Audiovisual Institute. He has published many

44

A film writer, a film commentator.

well-known books as well, including On the RoadA film lover, a film score fan.

with Cinema, Film Music Composers…and more.

45

極致·純粹｜魏靖儀與王佩瑤WILLIAM WEI
AND
WANG PEI-YAO

極致・純粹 — 魏靖儀與王佩瑤
William WEI and WANG Pei-yao

帶著 2015 年比利時伊莉莎白大賽桂冠得主的實力，

the former Berlin Philharmonic concertmaster

小提琴家魏靖儀近年以獨樹一幟的琴音與充滿感情

Kolja BLACHER, which assuredly deepened his

的詮釋，在國際間展開了極為亮眼的獨奏事業。他

understanding and mastery of German and Austrian

在賽後選擇移居柏林，繼續與前柏林愛樂首席布拉classics.

赫（K. BLACHER）習琴，無疑深化了他對德奧經

鋼琴：王佩瑤｜小提琴：魏靖儀
Piano: WANG Pei-yao ｜ Violin: William WEI

典的認識與掌握。這次音樂會他將攜手鋼琴家王佩

In this concert, WEI will collaborate with the pianist

瑤，演奏貝多芬第一號及第四號小提琴奏鳴曲，兩

WANG Pei-yao to play BEETHOVEN 's Sonata for

首曲目不僅開拓了小提琴的語法，更以劇烈、快速

violin and piano, full of intense and stormy spirit.

的情緒變化，考驗演奏者對貝多芬內在的理解，是This music not only opens up the grammar of the器樂獨奏曲中的試金石。下半場則安排了布拉姆斯violin, but is also considered a touchstone of the

唯一一首四樂章的小提琴奏鳴曲，展現近乎交響曲

violinist, because of its rapid emotional changes, and般恢宏的樂思。穿插在這兩首之間的還有奧地利作

the requirement for a deep understanding of the

曲家魏本的《四首小品》，作曲家在極有限的篇幅

author's musical point of view. In the second half,中（四首分別為九、二十四、十四和十五個小節），

BRAHMS's Sonata for violin and piano, the only violin

挖掘出小提琴的各種新鮮音響，流露出世紀末的反

sonata BRAHMS ever wrote, will demonstrate the

動活力。

magnificence, almost symphonic like masterpiecethrough these four movements. Between the two

As the laureate of the 2015 Queen Elisabeth

pieces is the Austrian composer WEBERN's FourInternational Violin Competition in Brussels, Taiwan

Pieces for violin and piano. The composer uses very

violinist William WEI has developed a very "ear-limited space (the four pieces are only 9, 24, 14, andcatching" sound and expression, launching a brilliant

15 bars, respectively) to explore all kinds of freshinternational soloist career. Moving to Berlin aftersounds of the violin, revealing the rebellious vitality

the competition, WEI continued to apprentice underof the end of the century.

演出曲目● 貝多芬：第一號 D 大調小提琴奏鳴曲，作品 12● 貝多芬：第四號 a 小調小提琴奏鳴曲，作品 23● 魏本：給小提琴與鋼琴的四首小品，作品 7● 布拉姆斯：第三號 d 小調小提琴奏鳴曲，作品 108

4.9 Sat. 19:30

Program

音樂廳 Concert Hall演出全長約 90 分鐘，含中場休息 20 分鐘
Duration is 90 minutes with a 20-minute intermission.
48● Ludwig van BEETHOVEN: Sonata for Piano and Violin No.1 in D Major, Op.12

本節目演出後將於音樂廳舉辦座談
Post-talk will be arranged after the
performance at the Concert Hall.

● Ludwig van BEETHOVEN: Sonata for Piano and Violin No.4 in a minor, Op.23● Anton von WEBERN: Four Pieces for Violin and Piano, Op.7
● Johannes BRAHMS: Sonata for Piano and Violin No.3 in d minor, Op. 108
49

n

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io

©J
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鋼琴家 Pianist

小提琴家 Violinist

王佩瑤

魏靖儀

WANG Pei-yao

William WEI

王佩瑤出生於臺北，自幼鋼琴師承林琼華，陳郁與女高音林玲慧、男高音崔勝震同台演出，現為魏靖儀 1994 年生於臺灣臺南，先後師事鍾佳妙、Born in Taiwan, WEI began his violin studies at the

秀及小提琴李淑德。小學畢業後以資賦優異兒童國立臺灣藝術大學音樂系客座教授。

許恕藍、吳孟平與陳鈺雯；亦曾於大師班接受胡

age of five. He is a proud recipient of the Jerome L.

乃元大師指導。16 歲的魏靖儀遠赴茱莉亞音樂GREENE Foundation Scholarship at the Juilliard

身份，至美國寇提斯音樂院和耶魯大學研究所深造。 留 美 近 三 十 年， 受 紐 約 時 報、 舊 金 山 時 報Having studied and lived in the US for close to 30

院就讀，爾後獲得學校 Jerome L. GREENE 基金

School, where he earned his Bachelor's degree

和華盛頓時報推崇「如詩人般的獨特風格和細膩years, WANG was hailed by The New York Times,會獎學金以及奇美基金會藝術獎學金，師事 Hyo

under Hyo KANG. He is currently pursuing his

的觸鍵，加上充滿張力的詮釋，是位傑出的音樂

The San Francisco Times, and The Washington

KANG 及 I-hao LEE 教授。目前於德國柏林 Hanns

Master's degree at the Hochschule für Musik家。」曾受聘為紐約林肯中心長駐室內樂鋼琴家，Times as "an exceptional musician with a poetically

EISLER 藝 術 學 院， 師 從 前 柏 林 愛 樂 首 席 Kolja

Hanns EISLER in Berlin under Kolja BLACHER,

並於 2006 年起於紐約大都會歌劇院擔任聲樂指

unique style, delicate touch, and an interpretation

BLACHER 門下。2021 四月底，臺北市立交響樂

former concertmaster of the Berlin Philharmonic.

導，為歌劇院少數受聘之華人。活躍於全世界各

full of drama." She was a resident pianist for

團合作的音樂會，因緊急狀況，當下短短兩日內

WEI's recent highlights have included concert

大廳院，且合作過無數知名音樂家；返臺後，擔

chamber music in Lincoln Center in New York, and緊急代打演出柴可夫斯基小提琴協奏曲，成功完

series, stepping in for violinist Shlomo MINTZ in

任諸多歌劇演出之聲樂指導。

starting in 2006, served as one of the few vocal

美的演出之後深獲樂界好評。也受到指揮 Eliahu

TCHAIKOVSKY Violin Concerto in D Major withcoaches of Chinese descent for Metropolitan

INBAL 青睞，在同年 11 月三度合作貝多芬小提琴

Eliahu INBAL. NSO with HU Nai-yuan and Ray王佩瑤曾受聘為紐約林肯中心長駐室內樂鋼琴家，

Opera in New York. She regularly performs in

協奏曲。作為炙手可熱的小提琴家，亦受邀在多

CHEN, and Baden-Baden Philharmonic with

並於 2006 年起於紐約大都會歌劇院擔任聲樂指major concert halls around the world and has

個音樂節與音樂廳演出，甫於 2018 年獲得 Salon

Pavel BALEFF. William plays on a 1761 Tomasso

導，為歌劇院少數受聘之華人。期間所參與製作

collaborated with numerous renowned musicians,de Virtuosi 藝術事業獎，魏靖儀在音樂上的成就更BALESTRIERI loaned from the Chimei Foundation

並發行之歌劇 《原子彈之父》（Doctor Atomic）

including LU Shao-chia, CHIEN Wen-pin, LIN Cho-

受到著名的《紐約時報》以及 Robert SHERMAN

in Taiwan.

DVD，榮獲第 54 屆美國葛萊美最佳歌劇錄音獎。

liang, TSENG Yu-chien, and Hilary HAHN. Since讚賞，後者邀請魏靖儀在美國電臺 WQXR 節目上

返台後，擔任聲樂指導之歌劇演出和兩廳院新點moving back to Taiwan, she has served as the演出。目前使用由奇美基金會贊助提供的 1761 年

子樂季《遶境共聲》等……。

vocal coach for many opera performances and

BALESTRIERI 名琴。

is currently a visiting professor at Department of
近年王佩瑤亦致力於當代音樂推廣與跨界演出。

Music in National Taiwan University of Arts.

2018 年參與藝術家李明維在荷蘭的行動藝術作品「森之聲」。2016 年起受雲門劇場之邀，與編舞家王宇光和蘇威嘉合作，策劃並演出融合音樂與舞蹈的家庭音樂會。2020 年，參與林懷民導演之
歌劇《大家都叫我咪咪—浦契尼愛的詠嘆調》，

50

51

樂曲解說 Program Notes

貝多芬：第一號 D 大調小提琴奏鳴曲，作品 12

Ludwig van BEETHOVEN: Sonata for Piano and Violin No.1
in D Major, Op.12

撰文｜鄭可喬Written by CHENG Ke-chiao

I. 燦爛的快板

I. Allegro con brio

Written in 1798, this sonata has neatly structured

rondo in D Major. The sforzandos added afterII. 主題與變奏：稍快的行板

II. Tema con variazioni: Andante con motocomposition and rhythm, a typical Classical work.

the on-beat are a fun touch. Both the transition

III. 輪旋曲：快板

III. Rondo: Allegro

The piece begins with a resolute and powerful

and the development section are lengthened tounison. This brief introduction then follows the

explore different tonalities, which also marks

first theme consisting of syncopated rhythms

BEETHOVEN's pioneering of new styles within

and notes in octave intervals. The rhythm is eventhe classical period.

and delicate, and the triplets are used to drive theflow of the piece.
此曲作於 1798 年，結構與節奏方正整齊，屬於不終樂章為 D 大調快板，採輪旋曲式。作曲家刻意折不扣的古典風格。

於正拍後突強，營造出詼諧感。過渡樂段與發展部都篇幅加長，探索調區走向，也標誌著貝多芬樂曲以堅決有力的齊奏開始，這段簡短的導奏隨
即接入以附點節奏和八度音程為動機的第一主
題， 節 奏 均 勻 細 密， 佐 以 三 連 音 段 落 帶 動 樂 曲
流動。

第二樂章為主題加上四段變奏。第一變奏附點個性明顯，由鋼琴主導，小提琴擔任點綴角色，第二變奏則角色對調，鋼琴以琶音音型伴奏，左手多以八度為聲部厚度加乘。第三變奏則強調力度
變化，突強與漸強的指示經常出現，力度的差距
也有極大差異，是古典時期「狂飆風格」（Sturm
und Drang）的展現。第四變奏則將原本第三變奏特徵的三連音變換為切分音，又回到鋼琴主導，並於鋼琴增加聲部，織體全面增厚，以飽滿聲響沉穩地結束樂章。

52

探索著古典時期的新走向。

The second movement adds four variations to
the theme from the first movement. The firsthas a distinct syncopated character led by the
piano, with the violin adding embellishments.
The roles reverse in the second variation:
piano accompanies with arpeggios and the left
hand plays in octaves to thicken the sound.
The third variation emphasizes the change ofdynamics with many sforzandos and crescendos,presenting a huge dynamic range, which is also
the expression of "Sturm und Drang" (storm andstress) from the Classical period. The fourthvariation transforms the triplets from the third
variation into syncopations, then the piano
starts leading with more voicing, thickens the
texture, and ends the movement calmly witha full sound. The final movement is an Allegro53樂曲解說 Program Notes

貝多芬：第四號 a 小調小提琴奏鳴曲，作品 23

Ludwig van BEETHOVEN: Sonata for Piano and Violin
No.4 in a minor, Op.23

撰文｜鄭可喬Written by CHENG Ke-chiao

I. 急板

I. Presto

In 1800, when BEETHOVEN wrote this piece,

In the last movement, BEETHOVEN continued theII. 詼諧曲風的行板，近稍快板

II. Andante scherzoso, più allegretto

his hearing was rapidly deteriorating, and his

fugue style of the second movement's second

III. 甚快板

III. Allegro molto

frustration, powerlessness, and anger were

theme, using counterpoint to develop the musicalreflected in his music. Taking the first movement

idea. The movement is a rondo. It starts with theas an example, the key is in A minor, the tempo ispolyphonic piano, introduces the violin melody,1800 年，創作此曲時的貝多芬聽力正急遽退化，

樂章採用輪旋曲式，先以鋼琴雙聲部旋律引領小

Presto, and the huge dynamics change sharply.

then the two instruments interweave with each

難以言喻的挫敗無力、忿忿不平等情緒，反映在提琴加入，彼此交織詠唱，聲響飽滿但不厚重；In terms of melody arrangement, contraryother, creating a full but unheavy sound. In

音樂的表現上。以第一樂章為例，調性為 a 小調，

另外加上聖詠（chorale）風格的段落，輕盈安寧

to the Classical style of each part presenting

addition, the chorale style passage is light and

速度則採用了急板，力度的差距變化急遽且差距

平和；另一段落則是充滿激動急切情緒，以連續consecutively, the melody here is frequently

peaceful, whereas the passage that follows is full

甚遠；在旋律安排方面，則一反古典風格文雅的兩組四分音符斷奏為音樂特徵，聲響質地著重顆interchanging the parts, pausing the flow of theof excitement and eagerness, characterized by two

聲部輪流呈現的方式，反而是採用頻繁的聲部交

粒感，織度濃密而厚實。

music, as if the piano and the violin are in an

consecutive quarter notes staccatos. The sonicargument. As for the articulation, the frequent

texture is dense and thick, emphasizing graininess.

換，打斷音樂進行，鋼琴與小提琴有如爭論般交
在十首小提琴奏鳴曲中，作品 23 是貝多芬從早期

staccatos show excitement and eagerness. To

在演奏詮釋上，大至樂句，小至音符，都須維持

風格跨越到中期的里程碑作品。作品 23 原指的是

perform this piece, from the phrases to the notes, itOf his ten violin sonatas, Opus 23 is BEETHOVEN's

情緒的飽滿張力。

第四號與第五號「春」，惟因譜商弄錯了印製的is necessary to maintain full emotional tension.

landmark work marking the transition from his

疊；在運音方面，頻繁使用斷奏，以顯示激動急切。

early to middle style. Opus 23 originally referred

尺寸，只好將兩首曲子分開出版。這兩首作品一
到了二拍子的第二樂章，樂曲轉為 A 大調。這個明一暗：明朗歡快的第五號討喜，而第四號則有The second movement changes to A Major, duple

to both No. 4 and No. 5 Frühlingssonate (Spring

樂章採奏鳴曲式。第一主題以連續兩組八分音符

著作曲家於文字中經常流露的鬱鬱多慮。音樂之meter, and is in a sonata form. The first theme

Sonata) together, but because the music publisher

為樂曲發展動機；第二主題則是賦格手法譜成的所反映，有如每人個性和情緒的不同面向，構築

uses two consecutive eighth notes as the motif;

made a mistake in the size of the print, the two

旋律主題。發展部以此二主題在升 f 小調的基底上出完整的人性。

the second theme is written as a fugue. The

pieces had to be published separately. The two

進行轉調發展，搭配節奏動機的發展變化；最後，

development section modulates the two themes

works display different moods; No. 4 is dark and再現部引領音樂到 E 大調上，音量漸弱至微小結from f sharp minor, adding rhythmic motif andgloomy like the composer often expressed in his

束。

its variation. Finally, the recapitulation section

words, and No. 5 is bright and cheerful. Music

leads the music to the key of E Major, and withreflects the different aspects of each person's

decrescendo, the music ends in pianissimo.

personality and emotions, building their complete

貝多芬在終曲第三樂章延續了第二樂章第二主題的賦格特色，採用對位手法進行樂思發展。整個

54

nature.

55樂曲解說 Program Notes

魏本：給小提琴與鋼琴的四首小品，作品 7

Anton von WEBERN: Four Pieces for Violin and Piano, Op. 7

撰文｜馮天彥
Written by FENG Tian-yan

I. 非常緩慢

I. Sehr langsam

Among the string works of Anton von WEBERN

flexible speed. The violin's pizzicato and its melody

II. 急促II. Rasch(1883-1945), the Four Pieces Opus 7 can be seenline illustrate various characteristics. The third

III. 非常緩慢

III. Sehr langsam

as the most exquisite. WEBERN began writing thispiece returns to the sense of time as stagnant,

IV. 快速且富有感情

IV. Bewegt

piece in June 1910; it was two years later that part

juxtaposing fragmented rhythms, melodic cells,

was first published, in the academic journal Der

and block chords. In the finale, the dynamics create

Ruf (The Call). The composer himself continued toa sense of interlacing between the virtual and the綜 觀 魏 本（1883-1945） 的 弦 樂 作 品， 編 號 7 的

核心音降 E 愈加顯著，讓全曲有個較穩定的方向。

edit the scores until 1914. Opus 7 was an important

real, forming a strong contrast with the previous

四首小品可說是其中的「精巧之作」。1910 年 6

對比下，第二曲強調了力度強弱上的對比，速度

opening landmark for the composer's career. In

song.

月，魏本開始執筆創作此曲，兩年後，他先將其

也較為彈性，不僅如此，小提琴的撥奏或是片段

Opus 7, WEBERN focused on the music structure

中部分發表在具有學術性的期刊／報刊中 （Der的旋律線條也強化不同性格的運音技法。第三曲

design, mulled it over with the instrumentations,

Ruf），事實上這也是他的作品首次被正式付梓。

又回到第一首那般停滯的時間感，魏本再次將零

and experimented with different aspects of music -作曲者本人將其餘首持續編修至 1914 年才全數完碎的節奏、旋律單元以及塊狀和聲並置其中。終all of which sublimated to the later Six Bagatelles,

稿。值得一提的是，作品編號 7 在他的作曲生涯

曲，音量的強弱造成樂音有虛實的交錯感，整體

Op. 9, String Trio, Op. 20, String Quartet, Op. 28 and

是個重要開端：魏本專注在樂曲結構上的設計、

仍與前一曲形成強烈對照。

more.

琢磨樂器運音的聲響、甚至探求音樂不同面貌而
進行實驗性的創作——這些皆影響了日後的「六Each piece is short and delicate. The first song is首小品」（Six Bagatelles, Op. 9）、「弦樂三重奏」

very slow, as if time has stopped. It starts with the（String Trio, Op. 20）、以及「弦樂四重奏」（String

extremely pure tone of the violin, then extended by

Quartet, Op. 28） 等。

piano chords. From notes to chords, from chords
to the musical space, there are rich transmutations

56

每首小品皆簡短精緻。第一首速度相當緩慢，宛in just a few bars. In the middle section, the violin

如靜止的時間。開頭由小提琴極純淨的音揭開，

plays ostinatos, leading to a clear melody line.

再由鋼琴的和弦延續聲響：「音 – 和弦 – 空間」，

Over the course of the first piece, the tonic flat

短短幾小節內就有豐富的嬗變。接著中段處由小E becomes ever more pronounced, giving the

提琴演奏多次回返的固定音組（音程／高組合），

whole piece a more stable direction. The second

引領出較明確的旋律線條。直至第一曲結尾，其song emphasizes dynamic contrast, with more57樂曲解說 Program Notes

布拉姆斯：第三號 d 小調小提琴奏鳴曲，作品 108
Johannes BRAHMS: Sonata for Piano and Violin No.3
in d minor, Op. 108

撰文｜馮天彥
Written by FENG Tian-yan

I. 快板

I. Allegro

Johannes BRAHMS (1833-1897) composed threeechoes and gradients between themes. In the

II. 慢板II. Adagio

numbered violin sonatas in his lifetime. Thesefour-movement structure, the second and third

III. 多愁善感的稍急板

III. Un poco presto e con sentiment

sonatas are as meticulous as his symphonies,

have different characters: the second is serene

IV. 激動的急板

IV. Presto agitato

and by the time he completed the Violin Sonata

and sweet, like a cavatina, while the third, led by

No. 1, he had passed forty years old. Among thethe piano, is light and witty. Music form-wise,

three, No. 3 is particularly special. It is the only

the middle two movements are both ternary. In布拉姆斯（1833-1897）一生譜寫了三闋具編號的

與主題間有了豐富的呼應與遞變。四樂章結構中，

one of the three sonatas in a minor key, and it has

the final movement, the music combines various

小提琴奏鳴曲。這些奏鳴曲如同他創作交響曲那二、三樂章呈現不同的性格：第二樂章的旋律靜

four movements rather than three like the others;

emotions such as lyricism and excitement.

般謹慎與縝密，待他完成第一號小提琴奏鳴曲時，

謐且甜美，猶如抒情短歌（cavatina），而第三樂in addition, the Piano Trio No. 3 (Op. 101) and the

The theme is alternately belted out by the two

早已年過不惑。而其中第三號可說是這三首中較章鋼琴引領主題卻較為輕快詼諧。曲式上，中間

Violin Sonata No. 2 (Op. 100) were performed

instruments, building up the emotional energy

為特殊的一首。首先，這是三部中唯一的一首小兩個樂章皆是三段體。終章，音樂揉合了抒情、

around the same time in 1887, while the debut of

until the end.

調、其樂章安排上亦以四樂章呈現，並非如前兩

激昂等各種情緒，主題由兩個樂器彼此交替互唱，

the third was delayed for a long time. BRAHMS

首三樂章之編制；此外，同時期創作的鋼琴三重

能量持續堆砌至最終結束。

had it performed privately in October 1888, then at

奏（Op.101） 與 A 大 調 小 提 琴 奏 鳴 曲（Op.100）

the end of that year finally debuted it in Budapest

都於 1887 年同時演出，而第三號卻延宕多時才with Jenö HUBAY. BRAHMS and Joseph JOACHIM

發表。1888 年 10 月布拉姆斯先舉辦了一場私人

performed this piece together publicly in Vienna

演出，年末才與胡拜（Jenö HUBAY）在布達佩斯

the following year, and the famous Austrian music

進行首演。值得一提的是，隔年布拉姆斯曾與姚

critic Eduard HANSLICK praised: "This is one of

阿幸在維也納公開演出此曲，漢斯利克（Eduard

the best chamber music pieces he [BRAHMS] ever

HANSLICK）給予如此評價：「這是我認為他（布wrote."拉姆斯）創作最好的室內樂之一」。
The first movement is a typical sonata form.

58

本曲第一 樂章是個工整的奏鳴曲式。樂曲伊始

It starts with a depressing and mysterious

帶 有 抑 鬱 且 神 秘 的 音 樂 感， 與 F 大 調 的 第 二 主mood, contrasting to the second theme in F

題呈現對照。布拉姆斯使用了他慣用的主題變形

Major. BRAHMS applied his common "thematic（thematic transformation） 手法在此曲，讓主題

transformation" technique in this piece, creating

59

憤怒狗
時空之旅

衛武營當代樂團
Weiwuying Contemporary
Music Ensemble

MAD DOG
TIME ANDSPACE VOYAGE衛武營當代樂團Weiwuying Contemporary Music Ensemble

策展人陳銀淑在首屆音樂節策展論述中提到：「我creation." Embracing such expectation, the festival

們將與國際音樂界接軌，進行密集對話，讓這個音

specially arranges the Weiwuying Contemporary樂節成為臺灣音樂家和新藝術創作的平台。」懷抱

Ensemble allowing Taiwanese performers to connect《憤怒狗》Mad dog《時空之旅》Time and Space Voyage這份期待，音樂節特別組成了衛武營當代樂團，同to the global music industry by performing new時也讓臺灣演奏家們透過演奏新作，深入世界樂壇

works.

脈動。
In the two performances, Taiwanese composers

指揮：楊書涵 | 衛武營當代樂團
Conductor: YANG Su-han | Weiwuying Contemporary Music Ensemble

本次兩場演出，都委託了臺灣作曲家創作新曲，且are commissioned to create new composition, and將分別舉行奧地利作曲家多伊奇過往代表作的臺灣

there will be Taiwan premieres of iconic works by

首演，以及榮獲武滿徹作曲大賽首獎的巴西裔美籍Austrian composer Bernd Richard DEUTSCH. Also,

作曲家保羅·布里托為衛武營國際音樂節創作的新曲

a new commission Ornithomancy for Weiwuying《鳥占》。第一天演出的《憤怒狗》，是一首聲響

International Music Festival by Brazilian-American

豐富、逗趣橫生的作品。第二天演出的《未來博士》

composer Paulo BRITO will be performed.

則是德意志受美國科幻作家迪克同名小說啟發之成果，聽眾將在繽紛跳動的音響中聽見一則時空旅行

DEUTSCH's Mad Dog performed on the first day was

故事。

inspired by Italian artist Giacomo BALLA's painting
Dynamism of a Dog on a Leash. The second day's

2022 Weiwuying International Music Festival Artistic

performance, DEUTSCH's Dr. Futurity, was inspired

Director Unsuk CHIN, in the curatorial discussion,by the novel of the same title written by American

promised, "we will have an intense dialogue with thescience fiction writer Philip K. DICK. The audience willinternational music world and use the festival as ahear a story of time and space travel in colorful andplatform for Taiwanese musicians and new artistic

lively sounds.

演出曲目
4.13 《憤怒狗》

4.14《時空之旅》● 張婉俞：《恬靜世界》給琵琶與弦樂四重奏● 熊仁岳：《冬天的腳步》● 趙立瑋：《颯》為中西樂器之十一重奏● 徐敬彤：《餘波》● 伯恩．理查．多伊奇：《憤怒狗》（臺灣首演）● 陳以軒：《爍》● 保羅．布里托：《鳥占》（世界首演，為衛武營國際● 伯恩．理查．多伊奇：《未來博士》（臺灣首演）

音樂節創作）

4.13 Wed. 19:30《憤怒狗》Mad dog
4.14 Thu. 19:30 《時空之旅》Time and Space Voyage
表演廳 Recital Hall演出全長約 60 分鐘，無中場休息
Duration is 60 minutes without intermission.
62

Program兩檔節目演出後都將
於表演廳舉辦座談
Post-talks will bearranged after the
performances at the
Recital Hall.

4.13 Mad dog

4.14 Time and Space Voyage● Renee CHANG: Silent World for String Quartet and Pipa

● HSIUNG Jen-yueh: Winter Footsteps● CHAO Li-wei: Soughing for Flute, Clarinet, Horn, Trombone,● HSU Ching-tung: Residual Waves for 7 instrumentalists

21-String Zheng, Pipa, Percussion and Strings● Bernd Richard DEUTSCH: Mad Dog (Taiwan Premiere)● Paulo BRITO: Ornithomancy● CHEN Yi-hsien: Sparking for ensemble● Bernd Richard DEUTSCH: Dr. Futurity for ensemble(Taiwan Premiere)(World Premiere, commissioned by Weiwuying)63鄭衛武營當代樂團
Weiwuying Contemporary Music Ensemble

敬

©

達

指揮 Conductor楊書涵YANG Su-han

小提琴 Violin

張庭碩

CHANG Ting-shuo

現任 NSO 國家交響樂團協同指揮，於第十屆波蘭Orchestra, the Brandenburger Symphoniker, and

費特伯格國際指揮大賽贏得首獎，曾受邀客席指many others. Since 2016 he regularly works with

揮波蘭西利西亞愛樂、波蘭波羅的海愛樂、匈牙

the Camerata Taiwan. In August 2022 he will

利廣播交響樂團、德國布蘭登堡交響樂團…等樂

conduct performances of Hänsel und Gretel at就讀最高演奏家文憑於德國漢堡音樂與戲劇學院，師隨 Prof. Andreas RÖHN。為瑞士琉森音樂節當代樂

團，並長期與巴雀 Camerata Taiwan 合作演出。

the National Taichung Theater. His appearance at團及韋爾比耶音樂節樂團團員。

2022 年 8 月將於臺中國家歌劇院指揮演出歌劇

music festival includes the Taiwan International

CHANG Ting-shuo is pursuing his Konzertexamen degree at the University of Music and Theater Hamburg《糖果屋》。曾受邀於 TIFA 臺灣國際藝術節、臺Festival of Arts, the Taipei International New Music

where he studies with Prof. Andreas RÖHN. CHANG was a member at the Lucerne Festival Academy, Gstaad

北國際現代音樂節、亞洲作曲家聯盟大會暨亞太Festival, the Asian Composers League's Conference

Festival Orchestra, Lucerne Festival Contemporary Orchestra, Verbier Festival Orchestra in Switzerland.

音樂節、格地尼亞新古典音樂節，以及克拉科夫and Festival, the Classica Nova in Gdynia, and the

波蘭音樂節指揮演出。 2018 年獲選由作曲暨指揮

Festival of Polish Music in Kraków. He was one

家 Peter EÖTVÖS 創辦之培訓計畫。2017 年受邀

of the two conductors selected for the Mentoring赴日參加太平洋音樂節，接受指揮家 Jun MÄRKL

Program of Peter EÖTVÖS Contemporary Music

指 導。2015 年 獲 選 參 加 義 大 利 歌 劇 學 院， 由 指Foundation in 2018. In 2017 he was invited to study

揮家 Riccardo MUTI 親自指導威爾第歌劇《法斯with Jun MÄRKL at the Conducting Academy of塔夫》。畢業於柏林音樂學院、臺灣師範大學音Pacific Music Festival. He was chosen as conductor

樂系碩士班，以及東海大學音樂系，與 Christian

to work with Riccardo MUTI on the production of

EHWALD、Hans-Dieter BAUM、許瀞心教授，以VERDI's Falstaff at the Italian Opera Academy in

及鍾安妮教授學習指揮。

2015. He graduated from the Hochschule für Musik

小提琴 Violin

蔡承宏

TSAI Cheng-hung

Hanns Eisler Berlin, the National Taiwan Normal

64

YANG Su-han currently serves as Associate

University, and the Tunghai University, where he

蔡承宏，臺灣桃園人。在臺師事劉志清、陳秋盛教授。2014 年負笈德國留學，2021 年於科隆音樂暨舞Conductor of Taiwan Philharmonic. He won

studied conducting with Christian EHWALD, Hans-

蹈學院取得學士與碩士，師從 Prof. Geza KAPÁS、Prof. Barnabás KELEMEN。現就讀於杜塞多夫羅伯特

first prize in the 10th International Grzegorz

Dieter BAUM, Apo HSU, and Annie CHUNG.

舒曼音樂院 與北萊茵威斯法倫邦樂團學院樂團演奏碩士，師從于雅媚教授。

FITELBERG Competition for Conductors in 2017

TSAI Cheng-hung is a Taiwanese violinist. He began his violin lesson at the age of 7. He is currently

and received numerous invitations to collaborate

studying with Prof. Yamei YU at (Robert Schumann Hochschule / Orchesterzentrum NRW). In 2014, hewith the Silesian Philharmonic, the Polish Baltic

entered Hochschule für Musik und Tanz Köln for Bachelor and Master degree, with Prof. Geza KAPÁS andPhilharmonic, the Hungarian Radio SymphonyProf. Barnabás KELEMEN, and graduated in 2021.

65

中提琴 Viola

低音提琴 Double Bass

郭珮容

簡敏卉

GUO Pei-rong

CHIEN Min-hui

郭珮容，畢業於德國國立特羅辛根音樂院管弦樂團碩士畢業，師事 James CREITZ， 2021 年於德國國立

簡敏卉 2019 甄選上衛武營當代音樂平台演奏培訓工作坊，並完成完整培訓。目前為衛武營當代樂團的特羅辛根音樂院取得最高演奏文憑等同博士學位。

低音提琴樂手。

GUO Pei-rong graduated from her master's degree at Staatliche Hochschule für Musik Trossingen under

CHIEN Min-hui was drafted through the WCMP Ensemble Academy Workshop as a double bass

the tutelage of James CREITZ. GUO has received her doctoral Konzertexamen degree in 2021.

member in 2019. After completing the full training, she is now a double bass player at the Weiwuying
Contemporary Music Ensemble.

大提琴 Cello

長笛 Flute黃子維吳正宇

HUANG Tzu-wei

66

WU Cheng-yu茱莉亞音樂學院音樂碩士，師承 Richard AARON。2021 年考取曼哈頓音樂學院博士班，拜師 Julia

長笛演奏家吳正宇於荷蘭阿姆斯特丹音樂院獲得長笛演奏文憑，活躍於歐洲和亞洲樂壇。2013 年吳正宇

LICHTEN。目前擔任對位室內樂團大提琴首席，並加入 Taiwan Connection 音樂推廣計畫。

籌組現代樂團『時間藝術工作室』，積極推廣古樂及現代音樂。

HUANG Tzu-wei has received his Master of Music from The Juilliard School under the tutelage of Richard

WU Cheng-yu earned his master's degree in Music from Conservatorium van Amsterdam, and studied

AARON. He is currently studying with Julia LICHTEN, pursuing his Doctoral of Musical Arts at Manhattan

contemporary music with Mr. Harrie STARREVELD, and Baroque flute with Mr. Marten ROOT. In addition

School of Music. Since 2021, he serves as cello principal of Counterpoint Ensemble and a member ofto concert performance, WU formed a modern music ensemble, TimeArt Studio, in 2013. WU is currently

Taiwan Connection.

active as a flute soloist and a music educator.
67雙簧管 Oboe單簧管 Clarinet

鍾筱萱

莊凱圍

CHUNG Hsiao-hsuan

CHUANG Kai-wei

曾 就 讀 法 國 馬 爾 梅 森 音 樂 院， 師 事 Daniel ARRIGNON、Niki HAUTFEUILLE， 室 內 樂 師 事 Michel

莊凱圍，目前任職於國立臺灣交響樂團擔任單簧管演奏團員。曾師事楊道鑌、蕭也琴、陳威稜、Elsa

MORAGUES。曾為臺北市交響樂團雙簧管協演人員、國家交響樂團雙簧管特約協演人員。

VERDEHR、Franklin COHEN、Alexander FITERSTEIN。於 2020 年開始擔任美國 Royal Global Clarinet
合作藝術家。

CHUNG Hsiao-hsuan, oboist, was born in Tainan City. She received the first prize with felicitations
in Diplôme D'etudes Musicales of Conservatory of Rueil-Malmaison, and Master's of Arts degree in

CHUANG Kai-wei currently holds the Clarinet / Bass Clarinet position of National Taiwan Symphonyorchestra music from Haute école de musique de Genève. Enthusiastic in solo, chamber, and orchestra

Orchestra. Before joining the NTSO, he won the same position of Evergreen Symphony and Macaumusic, she has been appointed as English Horn player with Kaohsiung Symphony Orchestra, and National

Orchestra. CHUANG Kai-wei has been the collaborative artist of Royal Global Clarinets since 2020.

Symphony Orchestra.

單簧管 Clarinet

薩克斯風 Saxophone

王冠傑

顧鈞豪

WANG Kuan-chieh

KU Chun-hao

瑞士國立伯恩藝術大學藝術碩士，單簧管及低音單簧管演奏家。2007 年赴歐留學，師事當代樂名家

i-Saxo 國際音樂工作坊企劃執行人、中華民國現代音樂協會樂團音樂家、薩克幫重奏團音樂總監。近年Prof. Ernesto MOLINARI， 畢業返國後積極參與各項演出。現為透鳴單簧管重奏團成員及時間藝術工作經常參與當代音樂即興與音樂劇場之演出。

室團員。
As an active soloist and executive producer, KU is one of the concert-saxophonist who passionately
WANG Kuan-chieh was born in Changhua, Taiwan in 1991. He studied clarinet in Vienna and contemporary

participates in most of the new music premiere events, working with contemporary composers in Taiwan.

music in Bern. Graduated from the Bern University of the Arts, Switzerland, and currently a freelancemusician, he focuses on contemporary music performances.
68

69

低音管 Bassoon

法國號 Horn歐易欣蘇毓婷

OU Yi-hsin

Tina SU畢業於德國國立羅斯托克音樂暨戲劇學院。並獲選為德國羅斯托克北德交響樂團實習團員，現為國臺交

現任國立臺灣師範大學音樂學系法國號專任副教授，曾為美國北艾荷華州立大學音樂系法國號專任教授

附設青年交響樂團低音管團員。

以及臺北市立交響樂團團員。

OU Yi-hsin, bassoonist, was born in Taichung, Taiwan. In 2017, OU finished her degree forTina SU is an associate professor of horn music at the National Taiwan Normal University. She is a former

Masterstudiengang Orchester at Hochschule für Musik und Theather Rostock.

faculty member of University of Northern Iowa and a former member of the Taipei Symphony Orchestra.

小號 Trumpet

長號 Trombone

查修齊

楊錦龍

CHA Hsiu-chi

法國亞眠音樂院小號演奏文憑畢業，現任臺灣銅管樂團高音小號演奏員。

YANG Chin-lung德國國立漢堡音樂與戲劇大學，長號演奏碩士文憑。 現任臺北市立交響樂團特約協演人員及 NTSO 臺灣
管樂團團員。

CHA Hsiu-chi was conferred his diploma in trumpet performance by the Conservatory of Music in Amiens,
France and currently the soprano trumpet player in Taiwan Brass Band.

YANG Chin-lung finished his master's degree in Trombone Performance by Hochschule für Musik und
Theater Hamburg. He is the member of National Taiwan Symphony Orchestra and served as the contract
trombone musician with Taipei Symphony Orchestra.

70

71

低音號 Tuba

打擊 Percussion

林昀宏

張瑜蓁

LIN Yun-hung

林昀宏，美國伊士曼音樂院低音號演奏碩士，現任實踐大學音樂系專任助理教授，臺灣低音號暨上低音

CHANG Yu-chen

張瑜蓁 擊樂，東海大學音樂所碩士。

號協會理事長。
CHANG Yu-chen is a percussionist who got her Master's degree at Tung-Hai University Music Department.
LIN Yun-hung holds a master's degree in tuba performance from the Eastman School of Music. Currently,

In 2019, she was selected to enter the Weiwuying Contemporary Music Platform Performance Training

he is a full-time assistant professor in the Department of Music, Shih-Chien University, and also theWorkshop.

president of the Taiwan Tuba and Euphonium Association.

打擊 Percussion

豎琴 Harp余若玫廖主恆YU Rho-mei

余若玫以擊樂為本，兼具當代音樂演奏、教學與創作身分，勇於探索並致力多元表演藝術領域。

LIAO Chu-heng

廖主恆出生於臺灣臺北市，於 2019 年獲評審一致滿分成績取得德國科隆音樂學院最高演奏文憑，於2018 年三月受邀以獨奏家身份與德國國立 Sondershausen 交響樂團合作演出 GLIÈRE 豎琴協奏曲。

YU Rho-mei is a percussionist based in Taiwan. As a contemporary chamber music performer, educator,and creator, YU is dedicated to exploring diverse performances with an interdisciplinary nature.

LIAO Chu-heng, born in Taipei, Taiwan. She graduated from Cologne Conservatory of Music and Universityof Music and Performing Arts Graz with master's degree in 2015 and got the Konzertexamen degree from
Cologne Conservatory of Music in 2019. In 2018, she was invited as a soloist with Sondershausen Loh
Orchestra to perform GLIÈRE Harp Concerto in Sondershausen Lohberg Concert Hall in Germany.

72

73

鋼琴 Piano

手風琴 Bandoneon

許毓婷

吳詠隆

HSU Yu-ting

許毓婷為國家交響樂團（NSO）鍵盤特約人員。

WU Yung-lung數度遠赴阿根廷，師事班多鈕手風琴大師 W. RIOS、R. MEDEROS。多次於香港阿根廷文化週及布宜諾斯艾利斯探戈節演出，為臺灣首位受邀至阿根廷國際探戈節演出之班多鈕演奏者。

HSU Yu-ting is a versatile pianist who switches her roles as a recitalist, collaborative pianist, chambermusician professionally as well as she does in orchestral musician and has served as the contract

Born in Taiwan, WU Yung-lung is an arranger and performer of bandoneon and has studied with W. RIOS

keyboard musician with National Symphony Orchestra since 2013.

and R. MEDEROS. He has been invited as a performer to many milonga and tango festivals in Asia (including
China, Japan, Hong Kong), Buenos Aires and radio broadcast in Taipei.

鋼琴 Piano

琵琶 Pipa

翁重華

趙怡然

WENG Chung-hua

CHAO I-jan

翁重華致力於鋼琴合作藝術的演出，以室內樂鋼琴家的身份經常受邀於各類聲器樂獨奏（唱）會與室內

現任高雄市國樂團琵琶首席暨彈撥聲部長；並先後任教於北藝大傳音系、南藝大國樂系、中山大學、屏樂音樂會。

東大學及高屏各級音樂班。

As a professional chamber musician, WENG Chung-hua has been frequently invited to join duo recitals

CHAO I-jan is the head of the plucked-string section and Pipa Principal in Kaohsiung Chinese Orchestra.

and chamber concerts.

CHAO has dedicated herself to teaching music for years in many colleges and high school music classes
and was a faculty of the Department of Traditional Music at Taipei National University of the Arts.

74

75

箏 Zheng

郭靖沐

KUO Jing-mu

郭靖沐，宜蘭人。 近年致力於箏樂的探索與創作，投身於當代音樂演奏，摸索自身／箏樂與這個時代的關係，形塑出屬於自己的語彙。

KUO Jing-mu was born in Yilan, Taiwan. Over the past few years, he has devoted himself to playing,creating Zheng music, and studying contemporary music performing. Through playing music, KUO
explores the relationship among Zheng music, the times, and himself to find his own expressive language.

執行單位

Implemented by

時間藝術工作室

TimeArt Studio

時間藝術工作室作為音樂藝術的先驅 , 包含演奏、企劃、作曲以及跨域藝術顧問團隊。成立後，歷經國內外音樂節邀約、當代音樂推廣系列、古詩詞融合當代音樂、傳統文化結合音樂與影像的多媒體企劃，
迄今已舉辦超過五十場的演出，遍佈世界。立足臺灣，放眼世界 , 象徵著二十一世紀的音樂精神！

TimeArt Studio is a collaborative group of musicians and artists who aim to inherit, innovate and develop
the tradition embedded in contemporary music and other performance arts. Based in Taiwan, they pursue
the goal of supporting New Music and giving it appropriate performances.
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樂曲解說 Program Notes©

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作曲家 Composer

伯恩．理查．多伊奇：《憤怒狗》

伯恩．理查．多伊奇

Bernd Richard DEUTSCH: Mad Dog

Bernd Richard DEUTSCH

伯恩．理查．多伊奇為當代知名作曲家。為管絃(Die Presse). He has received commissions from

I. 緊迫

I. Incalzante

樂團、協奏曲和室內樂團創作，其作品具備高度

renowned festivals and institutions worldwide,

II. 做夢II. Sognando

技巧性和趣味性，「似乎有源源不絕的生動音樂

including Wien Modern, ECLAT Stuttgart, ORF,

III. 憤怒

III. Irato

角色、情境和手勢」（《新聞報》）。曾受維也

the Schleswig-Holstein Music Festival and

納現代音樂節、斯圖加特新音樂節、石荷州音樂the Cleveland Orchestra. His works have been《憤怒狗》為 2011 年的委託創作。用單簧管和次

臘腸狗的腿和尾巴重疊著不同動態，如長時間曝

節、克里夫蘭管絃樂團等委託。他的作品被世界

performed by many of the best orchestras,

中音薩克斯風取代雙簧管及低音管，用豎琴和預

光的拍攝。創作時我經常想起這張圖。

知名的樂團與指揮，如魏瑟－莫斯特、邦尼曼、

ensembles as well as conductors across the globe.

置鋼琴添加特別的顏色。 本曲由打擊聲主導，特斯圖加特廣播交響樂團、維也納廣播交響樂團、

The Philharmonia Orchestra London devoted a

別是預置鋼琴的演奏。

薩爾茲堡莫札特音樂學院管絃樂團、首爾愛樂樂portrait concert to him in 2017. Since 2018/19,

團、東京愛樂樂團、阿迪蒂四重奏等演出。2017

Bernd Richard DEUTSCH has been working with

「自然為物種間的差異提供了極小幽微的細節。」

年，倫敦愛樂樂團特別為他舉辦一場生涯音樂會。

the Cleveland Orchestra as their Composer Fellow.

－拉馬克，1817

強調角色的特徵，例如充滿能量、愛玩、喜怒無

自 2018–19 樂季起，多伊奇擔任克里夫蘭管絃樂
團特邀作曲家。

常、憤怒。

第二樂章是做夢。以泛音開頭，接著以滑音和木
Bernd Richard DEUTSCH has received numerous

一段音樂，彷彿取自現實生活……三個樂章包括管快速堆疊至如噩夢般的高潮。尾聲僅有極少的
和弦，緩緩消失，最後只剩呼吸聲。

awards for his works, such as the Australian Paul

一個 24 小時循環，忙碌的午後到夜晚做夢，直至多伊奇獲獎無數，包含 2015 年澳洲 Paul LOWIN

LOWIN Prize for Orchestral Composition in 2015

早上短暫的憤怒，週而復始。人把狗擬人化，還管絃樂作曲獎，2014 年 Paul HINDEMITH 獎。多and the Paul HINDEMITH Prize in 2014.

是狗教化了人？

伊奇自維也納音樂暨表演藝術大學畢業，主修作
曲。現定居維也納。

我的作品是抽象音樂；我不講述故事或圖片，而

第三樂章是憤怒，音樂聽來有威脅和逃離之感。
中段由六音符的主題發展；從點交織成交響樂的

所謂取自現實生活，是在日常中找尋啟發創作的密度。預置鋼琴奏出裝飾樂段後，以舞步般的快聲音。

速節奏作結。

the top internationally successful composers of第一樂章有緊迫如馬達般的節奏，但又十分靈活，I composed Mad Dog in 2011 as a commission. In

his generation. His highly virtuosic, playful music

節拍不停地變動。開始的混亂預告了音樂主題。

the orchestration, I chose a tenor saxophone andranging from works for orchestra, ensemble, solo

從小提琴起，弦樂各自逐一加入巴洛克式的穩定

second clarinet rather than more typical oboe andconcertos and chamber music, is distinguished by

節奏。

bassoon, for a very specific sound. Percussiveness

Bernd Richard DEUTSCH is celebrated as one of"a seemingly almost inexhaustible abundance ofvivid musical characters, situations, and gestures"78

dominates this work, including the use of a
未來學家巴拉有幅畫叫《繫繩狗的動力》，畫中

prepared piano.

79

作曲家 Composer

保羅．布里托
Paulo BRITO“For determining differences between species,

My works are absolute music: not concerned

巴西裔美國作曲家保羅・布里托近年在國際上嶄Brazilian-American composer Paulo BRITO's

nature provides us only minute, trivial details.”

with story or illustration, but rather with depiction

露鋒芒，突破文化及音樂領域界線，將當代音樂

emerging international profile reflects his- Jean-Baptiste LAMARCK, 1817of character - energy, playfulness, moodiness,

以更多元的樣貌帶給不同觀眾。布里托曾以管絃

commitment to crossing cultural and disciplinary

inclination to choleric outbreaks.

樂作品《看殺衛玠》，榮獲武滿徹國際作曲大賽boundaries in bringing contemporary music to new

一等獎，由世界級作曲家陳銀淑親自頒發獎項，and diverse audiences. First-Prize Winner of theI imagine three movements covering a 24-hourcycle: hyperactive afternoon, night of dreams and

The second movement is a dream piece. It starts

並在上海音樂學院當代音樂週、多倫多大學新音Tōru TAKEMITSU Composition Award - awardednightmares, morning feelings of temporary anger.

with overtone harmonies, then glissandos and樂節及遇見當代（梅塔爾合奏音樂節）演出。他

by world-renowned composer Unsuk CHIN for his

Man likes to humanize the dog. Or is it rather thequick woodwind figures leading up to a dramatic的音樂曾由日本能樂家青木涼子、東京愛樂樂團

orchestral work Staring Wei Jie to Death, he has

dog who "dogifies" the man?...

climax that evokes nightmare. The epilogue of the

和以色列鋼琴家奧列格・亞克列維奇演奏。 2021

been featured at venues including the Shanghai

movement circles around just a few chords that年，布里托擔任法國洛約蒙新音樂節駐節青年作Conservatory New Music Week, University offade away until only breathing sounds are audible.

曲家，他的作品《顏色…苦惱》在此首演，由法Toronto New Music Festival, and Contemporary

國利尼雅當代樂團演奏，並由該團藝術總監尚－

Encounters / Meitar Ensemble Festival. His music

The beginning of the third movement, "Irato," is菲利浦・沃爾茲指揮。布里托將於 2022 年 6 月於

has been performed notably by Japanese Nō

Urging, motor-like rhythms with simultaneous

characterized by a "threatening" and a "fleeing"

多倫多大學完成作曲博士學位。

performer Ryoko AOKI, the Tokyo Philharmonic

rhythmic flexibility permeate the first movement,element. The middle has a chaconne developed

Orchestra, and Israeli pianist Oleg YAKEREVICH.

which is marked by almost permanent changes offrom a six-note motif; the texture grows fromIn 2021, he was a resident of the Royaumont

meter. The beginning "chaos" contains the motifs:

pointillistic to nearly orchestral density. After aFestival's "Voix Nouvelles" young composer

the strings enter one by one, building motor-likelong cadenza by the prepared piano, a step-dance-

showcase, where his piece Couleurs…angoisse

baroque rhythms.

like coda concludes the piece in a quick tempo.

was premiered by France's Ensemble Linéa andIt was sounds from everyday life that inspired thiscomposition.

conductor Jean-Philippe WURTZ. Paulo BRITO will
Futurist Giacomo BALLA in 1912 painted

receive his doctorate in Music Composition from

"Dynamism of a Dog on the Leash," a dachshundthe University of Toronto in June 2022.

in motion, with overlapped movement phases ofthe legs and the tail. I thought of it often while
composing this piece.

8081樂曲解說 Program Notes

保羅 ‧ 布里托：《鳥占》（為衛武營國際音樂節創作）

Paulo BRITO: Ornithomancy（commissioned by Weiwuying）

世界首演
World Premiere

撰文｜保羅 ‧ 布里托
Written by Paulo BRITO

鳥占 —— 以鳥占卜。在古羅馬是一種官方占卜

swoosh 表示翅膀顫動的聲音，而此曲利用樂器

Ornithomancy—fortune-telling using birds—wasflight trajectory, and even its specific call (among

儀式，在中國則是相當流行的算命形式。雖然鳥

述說各種鳥語，讓我們觀察周遭抽象的萬物，無formerly practiced by cultures throughout Eurasia,

others), as auspicious signs for a happy marriage. I

占不再是當今顯學，但直到今天，許多臺灣原住論是音樂或鳥，都能賦予主觀的情感意義。

from ancient Rome to China. Largely absent fromsee parallels between our modern-day, emotional

our modern consciousness, ornithomancy is still

reception of music and the ancient practice of using

practiced to this day by Indigenous peoples ofthe behavior of wild birds to interpret personal

Taiwan like the Truku, Sediq, and Atayal.

events: fundamentally, both grasp subjectively for

民部落仍使用著，例如太魯閣族。

根據古代文字記載，我為鳥占寫出動態的聲像。

definite meaning where none is forthcoming.

中國古代鳥占並沒有系統性記錄，但我們能從
古典詩詞中觀察鳥和人類之間的聯繫。鳥在《詩I draw on ancient texts to create mobile sound-經》中象徵著預兆，並以鳥鳴揭開序幕：「關關images of bird divination. In ancient China,

As creatures of song, birds have probably featured

雎鳩，在河之洲。窈窕淑女，君子好逑。」

ornithomancy was a relatively popular practice,in modern Western music even more than inwhich we know today mainly from culturalancient Chinese poetry. There is, however, an

表面上看似純粹的鳥景，其實隱喻著鳥類與佳偶

artefacts, like classical poetry. The Classic ofimportant difference between the traditional

的關係；這種鳥在古代，其樣貌及生活習性被視

Poetry (Shih-ching) often features birds as portents

musical evocation of birdsong and the Shih-為是婚姻幸福的象徵。在我看來，以鳥類的自然

for human events; its famous opening poem evenching's ornithomantic portrayal of birds, because行為來解釋人世，就好比人類在音樂中找尋主觀

begins by evoking a bird call:the poems are concerned with the full rangeof bird activity (flight, migration, roosting,

情感。我運用抽象音樂中的意義，來挖掘古代人
在鳥類活動中尋找命運線索的主觀條件，並激發

Kwan-kwan (cries) the ts'ü-kiu bird, on thenesting, etc.) in addition to "vocal" sounds.

我們在音樂中找到情感共鳴。

islet of the river; the beautiful and good girl,

The texts render these behaviors acousticallyshe is a good mate for the lord. (Translation:

through unique onomatopoeias (somewhat like

Bernhard KARLGREN)

the English words "swoosh," "swoop," "swish

作為愛歌唱的動物，鳥類在現代西方音樂與在中"), which embody sounds like fluttering wings

國古代詩歌中一樣重要。然而，比起西方看重的音樂性，後者更強調鳥類的行為及發出的聲音，W h a t a p p e a rs to u s a s a n a r t i s t i c d ev i ce ,or rustling tree branches, among others. I have

包括飛行及遷徙、棲息及築巢所發出的鳥語，比metaphorically linking a well-matched couple

inserted some of these as vocal interjections

方說詩經開頭的「關關」。

to a joyful birdcall, originally held far greaterw i t h i n t h e m u s i c a l t ex t u re t o c o m p l i c a t e

s i g n i f i c a n ce : a n c i e n t re a d e rs wo u l d h ave

subjective hearing of the music with both abstract

collectively understood the bird's appearance,(instrumental) and concrete (verbal) sounds.

詩 經 將 鳥 鳴 搭 配 擬 聲 的 漢 字， 就 像 是 英 文 的8283樂曲解說 Program Notes
作曲家 Composer

張婉俞：《恬靜世界》給琵琶與弦樂四重奏

Renee CHANG: Silent World for String Orchestra and Pipa

張婉俞

Renee CHANG
撰文｜張婉俞
Written by Renee CHANG

張婉俞，現就讀臺北市立大學音樂學系碩士班作

Renee CHANG is a Master student studying

當自己的心沈靜下來，才會發現這個世界有多美。

Only a heart with tranquility discovers the beauty

曲組，師從潘家琳教授，2013 年由陸橒教授啟蒙

composing in National Taipei University of

作曲。曾就讀臺南藝術大學中國音樂學系，主修

Education. She was taught by Professor PAN Chia-

作曲者引用《老六板》中的五聲音階用音 E、A、

笙，師從蔡輝鵬老師，另隨中國笙名家─翁鎮發

lin and her road of composing started in 2013

D、C、G 作為琵琶的核心音高，輔以散落在弦樂The composer utilizes the pentatonic scale (E, A, D,

老師學習笙藝術。

when she was being taught by Professor LU Yun.

上密集或分散的音堆使用，造成織度上緊張及鬆C, G) quoted from the traditional piece Lao Liu Ban

within the world.

She majored in Sheng when she was studying

散之感。在音樂的點與線以外，如何有效地運用

as the core tone of the pipa section. Accompanying

近年除持續熱愛笙演奏外，更希冀透過創作，將

under TSAI Hui-peng in Tainan National University

時間感而組成整體畫面，成為此首作品主要探討with intensive and scattered tone clusters of

音樂與中華文化底蘊相結合。曾於 2014 年以國of the Arts. She also learned the art of Sheng之議題。《恬靜世界》為深潛系列（中西混合室

strings, the pipa and string quartet produce both

際青年大使身分至中南美洲進行音樂巡演。2015

under Professor WENG Zhen-fa.

內樂編制）的第二首，透過中西方不同音樂傳統senses of intensity and tranquility. The main而誕生的語彙、空間感及演奏技法，探索不同音

proposition of this piece is to depict an image

閉 幕音樂會中首演創作曲《 笙 色 》。2016 年 舉

Aside from composing, she wishes to combine

色在分離與交會、相似音色在分化與融合中的可

through utilizing the sense of time in addition

辦個人首場笙、作曲音樂會「笙獻竽」。2017 年

Chinese culture with music by composing. She能性。

to the contour of music. As the second work of

37 簧笙獨奏作品《笙 ‧ 聲幔》，榮獲中央音樂was one of the Youth Ambassadors of Taiwan andthe Deep Thinking series, composed for a mixed

學院民樂系「學院盃」作曲比賽「優秀獎」之佳

performed in South America and she was invitedensemble of Chinese and Western instruments,

績。2018 年受邀至加拿大與現代音樂演奏團體

to perform her work of The Color of Sheng on the

Silent World explores the possibilities of not

Turning Point Ensemble 演出中西室內樂之現代音

closing ceremony of the first Chinese Sheng Art

only the interplay and dissociation of dissimilar

樂專場。

Festival.

timbres but the differentiation and fusion of similar

年受邀至上海音樂學院首屆笙藝術周「新笙代」

timbres through the interaction between different
She held her first concert in 2016 and her work

vocabularies, concepts of musical spatiality andof Shengboyant was awarded the excellent prize

performance techniques of East and West.

on the House Cup composing competition heldby the Central Conservatory of Music in 2017. In
2018, she was invited to Canada to perform with
contemporary art band Turning Point Ensemble.

84

85樂曲解說 Program Notes
作曲家 Composer

趙立瑋：《颯》為中西室內樂之十一重奏

趙立瑋

CHAO Li-wei

CHAO Li-wei: Soughing for Flute, Clarinet, Horn,
Trombone, 21-String Zheng, Pipa, Percussion and Strings
撰文｜趙立瑋
Written by CHAO Li-wei

趙立瑋近年來作品多以中體西用之思維，將東方League National Committee (ACL), Taiwan division,

此首作品為一首中西大型室內樂作品，為作曲家

Soughing written for Flute (alto), Clarinet, Horn,

的作曲語彙以西方之作曲技術來進行實踐，並透and the International Society of Contemporary

用來描寫對於竹林中竹葉磨擦聲響的聲音摹寫。

Trombone, 21-string Zheng, Pipa, Percussion and過樂音與噪音之音色融合手法，作為自身之創作

Music (ISCM), Taiwan division since 2010, and he我嘗試透過音樂的時間與空間，來平衡中西樂器Strings from my imagination of wind blowing

理念。

is a music teacher at Ci-Xin Waldorf senior high之間力度和聲音的姿態差異。

through the bamboo forest that brings theschool in Taiwan.

sound of bamboo leaves. The piece is written in
我使用了許多非傳統之音色技術去模仿自然界的composing-out. I try to balance the dynamic and

以及 TMC 國際作曲大賽優選，並入選世界各地音Since 2010, he has received several prizes,

聲音元素，例如：風聲、水聲以及樹葉聲，也透static gestures through musical time and spacing.

樂節：包括 2022 衛武營國際音樂節、2017 TIFA

including 1st Prize of Asian Composers League

過絃樂的許多泛音和噪音音色去創造出更多的聲

國際藝術節、2016 臺北現代音樂節、2015 年菲

Young Composers Awards (Yokohama,2014),

音想像及聲音色彩。

律賓曲盟音樂節、2014 年 ISCM 波蘭音樂節、東Excellent work of National Taiwan Symphony

instrument techniques to imitate the sound of

京曲盟音樂節 、 2013 年新加坡曲盟音樂節以及

Orchestra Composition (2013), TMC National

natural elements include wind, water and leaves;2012 年國際電腦音樂研討會聲音藝廊等。

Composer Competition Preferred piece (2012)

but also explore the possibilities of the string

and some other prizes in Taiwan. He works were

instrument's timbre and overtone series with noise

趙立瑋為國立臺北藝術大學博士，國立交通大學

also performed at several festivals, including

to create more colorful sound imagination.

碩士，作曲師事馬定一、李子聲、江易錚、王思International Society for Contemporary Music雅及黃思瑜教授。自 2011 年起加入成為亞洲作曲

Festival (Wroclaw, 2014), the 31th, 32th and 33th

家聯盟暨中華民國作曲家協會，以及國際現代音Asian Composers League Conference and Festival樂協會臺灣分會會員。並於 2016 年獲選臺灣傳統(Philippines, 2015, Japan, 2014 & Singapore, 2013),

藝術中心人才培育庫之作曲家。

Taipei international new music festival (Taiwan,

曾榮獲第三十二屆東京曲盟音樂節青年作曲首獎I not only attempt to use many non-traditional

2017, 2016 and 2013) and International Computer
Born in Kaohsiung, Taiwan, CHAO received hisMusic Workshop Sound Gallery (Taiwan, 2012).

M.F.A. at the Graduate School of music at the
Taiwan Chiao-Tung National University (20102013), and D.M.A. at the Taipei National Universityof Arts (2015-2022) in composition. CHAO has
been an active member of the Asian Composers'

8687樂曲解說 Program Notes
作曲家 Composer

熊仁岳：《冬天的腳步》

HSIUNG Jen-yueh: Winter Footsteps

熊仁岳

HSIUNG Jen-yueh
撰文｜熊仁岳Written by HSIUNG Jen-yueh

1994 年生於臺灣臺北，以竹笛演奏畢業於國立臺

His work Ylang-ylang was awarded First prize

五重奏《冬天的腳步》試圖傳達於深冬之中的旅

Quintet Winter Footsteps tries to convey the

灣藝術大學中國音樂學系，於 2021 年在蔡佳璇與and published by Diaphonia Edizioni 2020 call for

人見聞，描摹冬日中清冷孤獨之音景情感，及旅

feelings of the travel in the deep winter, depicting

呂武恭的指導下完成該校碩士學位。在學期間即score, Seeking Light was awarded Second prize of

人心中的想像與高潔的歌詠。

the cold and lonely soundscapes of the winter, and對當代音樂具有高度興趣並開始嘗試寫作，學習

National Taiwan Symphony Orchestra Composition

啟蒙於鄭建文。

Competition (2018). In addition, HSIUNG also

以音類集 （0, 3, 4）作為主要音響，並強調小三度

the winter dreams and noble and unsullied songsin the hearts of traveler.

participates in music events and performance

之輪廓，樂曲以弦樂帶有突強的短音開始，接著

作品《依蘭依蘭》曾獲義大利 Diaphonia Edizioni

exchanges, his work When the Ocean Whispering

是沉靜的長音，並逐漸加入虛實音的轉換與顫動，This work uses the pitch set (0, 3, 4) as the main2020 徵曲比賽第一名並出版樂譜，管弦樂《尋was selection of 2022 Taipei International New

描繪寒冷寂靜的氛圍，鋼琴似訊號的裝飾音群則

sound, and emphasizes the outline of the minor

光》榮獲 2018 國立臺灣交響樂團音樂創作競賽第Music Festival, Fire Spell was Nomination and描寫落雪之姿，且因沉靜的音響使豎笛的旋律線

3rd. The music begins with a string of short sounds,

二名。此外亦積極探求音樂活動與演出交流機會，

selection of Weiwuying TIFA － Contemporary條得以凸顯，藉由長笛與之對答，逐漸加厚音樂

connecting the quiet long note D, and gradually

作品曾入選 2022 臺北國際現代音樂節演出曲目、Music Platform － Peter EÖTVÖS Master Class. Fly

織體趨於緊溱、作為高潮點的設計，並在尾段使

adding the virtual sound, tremolo, ricochet,2020 衛武營 TIFA 當代音樂平台－彼得．于特福

fire was Nomination and selection of BEIJING －音高控制趨向音類集 （0, 1, 5），出現大三度之輪

depicting the frigid and quiet atmosphere, and許作曲大師班，及受邀 2018 北京國際電子音樂MUSICACOUSTICA 2018.

廓，喻示初春將要來臨，並以淡去的織度，直至

depicting the snowfall with a piano like decorative

剩下豎笛弱奏消失，描寫旅人走遠的的淡影。

sound group. The melody lines of the clarinet

節，於中國中央音樂學院發表等。
Furthermore, he also composes for Chinese music,

are highlighted by the quiet sound, with the flute

近年也開始接受音樂團體的委託創作，曾與國立

such as the commissioned double concerto Weaveand its development answering then gradually

臺灣藝術大學演出雙協奏曲《紡》為笛、箏與國by the National Taiwan Arts University Chinese

thickens the music texture which makes the sound

樂團，首演於高雄衛武營音樂廳，中華民國國樂Orchestra, work for Chinese ensemble by thedense and the design of the local climax. In the

學會委創絲竹室內樂等。

Taiwan Chinese Music Association, and the Pipa

tail section, the pitch tends to the pitch set (0, 1, 5),trio by PIPA- ensemble, etc.

and the outline of the Major 3rd, indicating that the

HSIUNG Jen-yueh was born in 1994, Taipei city,

early spring is coming. And with the faint sound of

Taiwan. He completed a master's degree (M. A.)

the sound, until the left clarinet high-range weakfrom National Taiwan University of Arts in 2021,

sound disappears, depicting the light shadow ofmajor in Dizi (Chinese flute), under the TSAI Chia-

the traveler's long distance.

hsuan and LU Wu-kuan's guidance, and study
music composition initiated by CHENG Chien-wen.

8889樂曲解說 Program Notes
作曲家 Composer

徐敬彤：《餘波》

HSU Ching-tung: Residual Waves

徐敬彤

HSU Ching-tung
撰文｜徐敬彤
Written by HSU Ching-tung

徐敬彤，出生於臺灣臺中市，2020 年取得德國

HSU Ching-tung, born in Taiwan in 1996, began

此曲的創作靈感源於對地震的恐懼。臺灣是一個

The total length of the piece Residual Waves is紐倫堡音樂院鋼琴演奏碩士，跟隨 Prof. Bernhard

her studies in piano and composition at the

位於地震帶的島國，發生於西元 1999 年的「921

about ten minutes. It is written for flute, clarinet,

ENDRES 學習。

Music School in Taichung. From 2014-2018 she

大地震」在大多數人心中留下深刻的記憶。偶然

violin, viola, cello, piano and a set of percussion

studied piano with Prof. YEN Chun-chieh and also

一次的機會我走訪了現存於南投九份二山的地震

instruments.

曾就讀臺中市光復國小音樂班，臺中市曉明女中

composition with Prof. CHAO Ching-wen at the

遺址，看見地震時走山的痕跡、歪斜變形的房屋

音樂班國中部、高中部，國立臺灣師範大學音樂National Taiwan Normal University. From 2018

殘骸，以及緬懷罹難者的紀念碑，有感而發寫作

The idea of this piece came from the fear of系，鋼琴先後師事陳香樺老師、蔡昭慧老師、呂until 2020 she studied piano with Prof. Bernhard

了此曲《餘波》。

earthquakes. Taiwan is an island country located瑞芬老師、葉綠娜教授、嚴俊傑教授，作曲師事

ENDRES at the College of Music Nuremberg in

蔡宜真老師、趙菁文教授。

Germany. She then holds a Master of Music degree

在樂曲中，中提琴好似行走在廢墟中的旅人，心a psychological impact on most people, and thein an earthquake zone. "The 921 Earthquake" hadfrom the College of Music Nuremberg and a

有餘悸…它獨立於其他樂器，存在於不同的時間

piece Residual Waves is just the aftermath of a visit

個人創作曾入選國家兩廳院新點子樂展《德奧經Bachelor of Music degree in the music department

和空間，感受著周遭細微聲響和瞬息萬變的一切。

to the wreckage and ruins after the earthquake.

典 跨界童趣》－魏本《兒童鋼琴小品》之跨界實of the National Taiwan Normal University.

全 曲 透 過「 微 光 」（Glimmering）、「 預 兆 」

驗創作徵選，作品由鋼琴家陳必先和科隆愛樂獨（Omen）、「誦經」（Chanting）三個階段，勾Viola plays the pedestrian in the music, as well as

奏家首演。畢業返臺後，積極投入鋼琴教學及音In addition to piano performance, she devoted

勒出旅人在殘骸中所感受到的光影細微變化和地

you and me with lingering fears. It is independent樂創作，並參與室內樂演出及策劃，目前為臺中

herself to creating and performing new music.

震後留下的痕跡，以及對地震前大自然預兆的追of other instruments, living in different times and市清水高中、光復國小音樂班鋼琴兼任老師。

In 2016, she participated in and was selected by

憶和不安時刻的不斷祈禱。在這個過程中，人們

spaces, feeling the subtle sounds around and

WEBERN's project "German and Austrian Classics

一次次消化內心的恐懼，尋求著慰藉。

everything that changes rapidly. From the three

Cross-Border Children's Fun Concert" in the New

stages of "Glimmering", "Omen", and "Chanting", theIdeas Music Exhibition of the National Theater andwhole piece lays out the slight changes in light

Concert Hall. Her pieces are then performed byand shadow felt by pedestrians in the wreckage

pianist CHEN Pi-hsien and Cologne Philharmonic

and the traces left after the earthquake, as well as

soloist.

recalling the portents of the earthquake and theprayers in times of restlessness at the end. In thisprocess, people digest their inner fears and seek
solace repeatedly.

9091樂曲解說 Program Notes
作曲家 Composer

陳以軒：《爍》

CHEN Yi-hsien: Sparking for ensemble

陳以軒

CHEN Yi-hsien
撰文｜陳以軒Written by CHEN Yi-hsien

陳以軒，臺灣青年作曲家。畢業於國立臺北藝術

CHEN Yi-hsien, as a Taiwanese composer, is active

此部作品受啟發自「南管」與詩人與理論家—葉

I'm always inspired by Nanguan music and YIP

大學與國立臺灣師範大學，2016 年獲得美國加州

in participating in various musical and research

威廉。他在著作 "Diffusion of Distances" 中提及詩

Wai-lim, a bilingual poet, when I compose. He

大學聖地牙哥分校全額獎學金攻讀理論作曲博士，

projects. His works have been presented at the與讀者心理在文字、聲音、記憶及美學體驗上的

proposes in Diffusion of Distances, that the words

於 2021 年取得博士學位。

June in Buffalo, NTSO competition, and he is相互激盪，猶如交響曲般，各聲部一同匯流形成in a poem constantly interact and echo with othercurrently a participant of Taiwan C-Lab 2021

密集的音樂體驗。

voices in the past and our aesthetic consciousness

近 年 積 極 投 入 音 樂 節 及 比 賽， 曾 參 與 NTSO

workshop.

新樂・星躍、美國音樂節 June in Buffalo、臺灣

to create a double image. It is like a "huge這種內在對話，與作曲者聆聽「南管」的經驗有

symphony playing inaudibly to our inner ear."聲響實驗室 x 法國 IRCAM 工作坊等，並於 2019

In 2019, CHEN received the commission from著強烈共鳴。「南管」歌唱中的歌詞不僅是傳遞

年獲美國音樂機構─柯普蘭之家聘為訪問作曲家，

Aaron Copland House as part of their teaching

戲劇敘事內容，我們更能從字詞變化與歌者運腔

This inner dialogue between reader and poet also

帶領聖地牙哥城市大學高中創作大班課與展演發

project, "What's the Score" . Also active as an技巧，聽到更深層次的線條與音色的抑揚頓挫。

resonates with me. As we listen to Nanguan music,表。 在 跨 領 域 合 作 方 面， 於 2018 至 2021 年 積interdisciplinary artist, from 2018-2021, CHEN

每當聆聽「南管」，歌者的色彩轉化總能引起作

its sonic color of voice flows into my mind echoing

極投入自然科學與聲響實驗合作，參與傾聽海景

participated in the project, Hearing Seascape, and

曲者在音樂上的多元想像，與內在聲音產生迴響。

with the aesthetic experience. In Nanguan tradition,（Hearing Seascape）計畫，與斯克利普斯海洋研

collaborated with scholars from Scripps Institute

此作品建立在對南管唱腔的頻譜分析之基礎下，each syllable of lyric plays an important role in

究所及高通研究所共同探討音樂與科技之創意融of Oceanography and Qualcomm Institution to從閩南語的字詞變化觀察其聲響特性，並將之轉

providing unique sonic gesture to rich the melodic

合，並於 2019 年以《借聲景創作・聽見自然》研

create music based on mixed-media. With this

化至器樂語彙中，試圖引出更豐富的聲響層次。

lines. The lyric not only conveys its meaning, but

究計畫獲兩年「教育部留學獎學金」補助。

experience, his research project, Composing with

樂曲中引用了五種「南管」字音，以作為抽象的

also contains rich timbral motives, allowing theSoundscapes, received a two-year scholarship聲音素材。

singer to interact with other instrumentalists. In

from the Ministry of Education of Taiwan.

this piece, I select five Nangaun syllables with
distinct sonic characteristics to serve as abstract

CHEN is a Ph.D. from University of California,

musical materials.

San Diego. He also holds a master's degreefrom National Taiwan Normal University andan undergraduate degree from Taipei National
University of the Arts.

9293樂曲解說 Program Notes

伯恩．理查．多伊奇：《未來博士》
Bernd Richard DEUTSCH: Dr. Futurity
for ensemble

臺灣首演
Taiwan Premiere

作曲｜伯恩．理查．多伊奇
Composer ｜ Bernd Richard DEUTSCH《未來博士》是 2012-2013 年維也納聲響論壇的委

第三樂章〈紅色警戒！〉使用兩種元素：不安的警Dr. Futurity, one of DICK 's early novels, is a time-

initiates a coda in which the two fundamental

託創作。

報聲咆哮、令人訝異的手風琴獨奏。後者隨著合奏travel story. My composition is however notelements finally merge.

加入，再現開頭的動機，直到爆炸般的高潮。下行

program music. It is rather intended as a homage

創作《未來博士》時，我閱讀了許多科幻作家狄克

的長號獨奏象徵「最後的撤退」，尾聲由低音管展

to the author, linked only atmospherically with的小說。他的許多作品被翻拍成電影，例如銀翼開，巧妙融合了先前的兩個元素。

individual scenes.

殺手。
The title of the first movement, "... trip – from Mars to
書中的背景大多為後末日反烏托邦，在科幻情境中Dr. Futurity was a commission for the Klangforum

here," is a quote from Do Androids Dream of Electric

討論哲學及神學問題。開頭的現實，往往隨著故事

Vienna in 2012–2013.

Sheep? The music is predominantly vigorously
pulsating and marked by numerous sharp rhythmic發展被證明是一種幻覺。書中對消費主義的批判及對國家監控的恐懼，幾乎如預言般準確。

Around that time, I read several novels and shortcontrasts.

stories by legendary American science fiction《未來博士》是狄克早期作品，一個穿越時空的故

author Philip K. DICK (1928–1984), one of the mostThe second movement, "Chimaera," is tripartite: it

事。我的作品並不是描述這個故事，而是向作者致influential and prolific representatives of this genre.

begins with the ethereal murmur of rainsticks and敬，並引用書中的幾個場景及氛圍。

A number of his works were made into film (eg,soft shimmering timbre trills. The double bass solos

Blade Runner).

in its high register, then a descending horn solo
ends the first section. In the middle section appears

第一樂章的標題：〈…旅行，從火星到這兒〉，

94

引用了狄克相當著名小說《仿生人會夢見電子羊

In his dystopian stories, frequently set in post-

a cantilena in the oboe d'amore. The third section is

嗎？》中的一段話。音樂呈現出劇烈的脈動，並有apocalyptic worlds, the science fiction ambiancea variation of the first.

著強烈的節奏對比。

serves mostly as a backdrop for philosophicalexistential and theological questions. Often, theThe third movement, "Red Alert!," is based on

第二樂章 〈喀邁拉〉 共有三部分；以雨聲器的呢

initially-depicted reality proves in the course of thea howling alarm, and the accordion solo that喃和柔和閃爍顫音開始，營造出虛幻氛圍。低音提

story to be an illusion (not seldom drug-induced).

surprisingly follows. The latter is further developed

琴獨奏一段高音後，法國號下行的獨奏結束第一部

Many elements, such as criticism of consumerism

by the ensemble, then a reprise of the beginning分。接著是一段奇特的柔音雙簧管無伴奏歌詠。最and supposedly paranoid fear of a total surveillanceleads to an explosive climax. After a descending

後則是第一部分的重複及變化。

state, in retrospect appear prophetic.

trombone solo, evoking a "final exitus," the bassoon

95

Beyond the Score®

音樂揭秘：展覽會之What ？

PICTURESFROM ANEXHIBITION —PICTURES
OF WHAT?

《音樂揭秘：展覽會之 What ？》Beyond the Score®
Pictures from an Exhibition —Pictures of What?

本節目是美國芝加哥交響樂團（CSO）專門為大context, revealing illuminating stories, intriguing眾「音樂揭秘」的製作，該系列會透過戲劇、投perspectives and thoughtful insights within a

影、燈光等多媒體，結合現場演出的形式，帶領

musical score. In the festival, Curator and Artistic

聽者深入樂譜細節與作曲家的內在世界。在這次

Director Unsuk CHIN particularly selected Pictures的音樂節中，策展人陳銀淑特別安排了著重「視、from an Exhibition, focusing on "symphony with

聽交響」的《展覽會之畫》經典製作，拓展第一visual and listening experience," which expands

指揮：楊智欽｜鋼琴：廖培鈞｜演員：許逸聖｜說書人：藍貝芝｜高雄市交響樂團
Conductor: YANG Chih-chin ｜ Piano: LIAO Pei-chun ｜ Actor: HSU Yi-sheng ｜Narrator: Betsy LAN ｜ Kaohsiung Symphony Orchestra

屆活動風貌。

the style of classical music events.

《展覽會之畫》是俄羅斯作曲家穆索斯基受哈特

Pictures from an Exhibition is a piano piece by曼畫作啟發完成的鋼琴曲，曲中有活潑熱鬧的〈雛Russian Composer Modest MUSSORGSKY inspired雞之舞〉、雄偉壯麗的〈基輔城門〉，極簡與極by the paintings of Viktor HARTMANN. There is

繁的聲響設計，惟妙惟肖傳達出原畫氣韻。後來the lively and jubilant Ballet of Unhatched Chicks,

善於配器的法國作曲家拉威爾將之改成了樂團版

as well as the majestic The Great Gate of Kiev.

本，精妙的編曲使該作品一躍成為現代管絃樂音The suite has the sounds of both minimalism樂會中最常見的曲目之一。而透過這場 CSO 製

and extreme complexity, which vividly convey

作的節目，我們將聽見人聲旁白與樂團娓娓道出

the detailed characters of the original paintings.

作曲家的創作初衷、拉威爾如何將鋼琴譜「交響The French Composer Maurice RAVEL, who was

化」，再次領略「音畫」的魅力。

skilled at orchestration, later adapted it for fullorchestra. The subtle arrangement made the work
become one of the most popular repertoires inorchestral concerts. Today, we will be hearing the4.15 Fri. 19:30

合作夥伴Partner音樂廳 Concert Hall演出全長約 120 分鐘，含中場休息 20 分鐘
Duration is 120 minutes with a 20-minute intermission.
98

Beyond theScore®

Journey into the heart of the music with Beyond

vocal narration along with the music, explaining

the Score®. Live actors, musical examples, andthe original intention of the composer, how RAVEL

breathtaking projections set the basis for this"symphonized" the piano score, allowing us tocomprehensive multimedia experience that

appreciate the charm of the tone painting oncebrings the listener through a lively historic

again.

演出曲目

本節目上半場呈現《音樂揭秘》製作，下半場演出管絃樂版● 穆索斯基－拉威爾：《展覽會之畫》

完整曲目。
This performance consists of a first-half of Beyond the Score®

Programand a second-half of the complete piece of Pictures from an● MUSSORGSKY / RAVEL: Pictures from an Exhibition

Exhibition arranged by Maurice RAVEL.

Beyond the Score® is a production of the Chicago Symphony Orchestra
Gerard McBurney, Creative Director for Beyond the Score®
99

指揮 Conductor

鋼琴家 Pianist

楊智欽

廖培鈞

YANG Chih-chin臺灣雲林人，現任高雄市交響樂團駐團指揮；曾任YANG obtains very great success in performance

廖培鈞被鋼琴家 Paul BADURA-SKODA 讚譽為「傑and second prize overall as well as prizes for臺北市立交響樂團助理指揮，國立中正文化中心兩

from the public by his passion of music, rich

出成熟」的青年鋼琴家。榮獲如臺灣蕭邦青少年

best concerto and musician with the greatest

廳院歌劇工作坊指揮。

orchestral color control capabilities, excellent

鋼琴大賽、兩廳院樂壇新秀、英國伯明罕交響音

potential at the Mauro Paolo Monopoli Prize Pianorhythm, and faithful interpretation of the score.

樂廳鋼琴獨奏會獎和義大利馬諾保羅 ‧ 摩諾波利Competition.

畢業於莫斯科葛涅辛俄羅斯國立音樂學院。其音樂

國際鋼琴大賽第二名、最佳協奏曲演奏與最有潛

風格熱情細膩及流暢優美，結構清晰完整，具有豐YANG has performed with many excellent soloists

力音樂家之特別獎等。演奏足跡遍及世界各地，

She has performed in Salzburg, Paris, Berlin,

富的管絃色彩與感染能力，嚴謹的工作態度與對樂

including Vadim REPIN, Ivo POGORELICH, Andrei

也常受邀至美國、義大利國際音樂節擔任駐節藝

Birmingham, Manchester, and Castilla y León

譜的忠實解讀，使其演出均獲愛樂者極熱烈的迴

GAVRILOV, Sergei NAKARIAKOV, Akiko SUWANAI,

術家或校際演出教學，近期合作對象有小號演奏in Spain; and has been frequently invited to

響；敏銳的音樂性及靈活的樂團掌握能力，讓他跟Valentina LISITSA, Konstantin LIFSCHITZ, Gavriel

家 Reinhold FRIEDRICH、小提琴家 Benny KIM 和

festivals in the US and Italy as a resident artist

世界各地優秀獨奏家的合作每每激盪出精彩火花；

LIPKIND, Alban GERHARDT, YANG Wen-Sinn, Ilya

鋼琴家 Peter DONOHOE、 Benjamin FRITH 等；亦

and performance instructor. Recent collaborations

2017 年受邀與高雄市交響樂團赴日本金澤貝多芬

GRINGOLTS, Alexei VOLODIN, Tsuyoshi TSUTSUMI,

多次與知名樂團合作，如臺北愛樂青年管絃樂團、

have been with trumpeter Reinhold FRIEDRICH,

音樂節演出，獲得聽眾及樂評一致的讚賞；近期，LIN Cho-liang, HU Nai-yuan, and LIU Meng-chieh.

國立臺灣交響樂團、桃園春之聲管絃樂團、伯明

violinist Benny KIM, and pianists Peter DONOHOE

罕音樂院交響樂團、樂興之時管絃樂團、中國長

and Benjamin FRITH. She has performed with the

YANG has worked with and conducted Svetlanov

沙交響樂團、臺灣國樂團與 Bacau Philharmonic

Taipei Philharmonic Youth Orchestra, National

Symphony Orchestra of Russia, Voronezh

Orchestra。 先 後 師 事 陳 泰 成、Philip MARTIN、

Taiwan Symphony Orchestra, National Chinese

Principal Conductor of Kaohsiung Symphony

Philharmonic Orchestra, Württemberg

Malcolm WILSON 和 Vitali BERZON 等教授，為英

Orchestra in Taiwan, Birmingham Conservatoire

Orchestra (KSO), YANG Chih-chin is a renowned

Philharmonic Reutlingen, Bulgarian State Opera

國伯明罕音樂院獨奏家文憑與音樂藝術碩士，並Symphony Orchestra, Philharmonia Moments

conductor in his generation in Taiwan. Born in 1969,

Burgas, Filarmonica Brasov, Orchestra Ensemble

獲德國弗萊堡音樂院最高獨奏家文憑，現為臺北Musicaux, and Bacau Philharmonic Orchestra.

he graduated from The Russian Academy of Gnesin,

Kanazawa of Japan, Taipei Symphony Orchestra,

市立大學音樂學系專任助理教授。

Moscow, Russia, and studied with Miroslav RUSIN,

National Taiwan Symphony Orchestra and Nanjing

She studied under CHEN Tai-cheng, Philip

Filex CHEN Chiu-sheng, András LIGETI, Gunther

Jiangsu Symphony. Highlights in recent season,

MARTIN, Malcolm WILSON, and Vitali BERZON,HERBIG, and Michael JUROWSKI. Before joining

2017, YANG was invited to Kanazawa Japan with

Hailed as a "truly matured pianist" by pianist

received bachelor's and master's degrees in music

KSO, YANG served as the Assistant Conductor

KSO, performing in Spring Green Music Festival

BADURA-SKODA, LIAO Pei-chun has won a prize

performance from the Birmingham Conservatoireof Taipei Symphony Orchestra, the Conductor ofwhere they were highly acclaimed by critics andat the International Chopin Competition in Taiwan;

and the highest honor from the Musikhochschule

Opera Studio of National Chiang Kai-Shek Culturalreviews.

recognition at NTCH's Young Stars Series; in soloin Freiburg. She is currently an assistant professor

performance from the Birmingham Conservatoire;at the University of Taipei.

更受邀指揮高雄市交響樂團於衛武營音樂廳演出《晨曦．高雄－ 2020 總統府音樂會》，深獲好評。

Center, Taiwan.

100

LIAO Pei-chun

101

演員 Actor

說書人 Narrator

許逸聖

藍貝芝

HSU Yi-sheng

Betsy LAN大 學 講 師、 劇 場 工 作 者， 畢 業 於 國 立 臺 北 教 育

A university lecturer, stage performer, playwright,

資深劇場演員及製作人。曾演出莎妹劇團《膚色的Crisis (named one of the 2009 Top Ten Performing

大 學 音 樂 研 究 所， 主 修 聲 樂。 為 2009 聲 協 新and director, HSU Yi-sheng received a master's in時光》和《殘， 。》分別榮獲台新藝術獎 2010 首Arts Acts). Other major performances are the

秀；2009 兩 廳 院 歌 劇 工 作 坊 成 員。2008 年

vocal performance from National Taipei University

獎及評審團特別獎、同黨劇團《飛天行動》2009

monologue Nostalgia, Assignment Theatre's Hot與 臺 北 市 立 交 響 樂 團 合 作《 強 尼 史 基 基 》， 飾of Education. In 2009, he won the Newcomer

年度十大表演藝術。其它重要演出有獨角戲《無枝Time and The Corruption Opera, Riverbed Theatre's

SPINELLOCCIO，開始了歌劇的演出，2012 年開Award at the Association of Vocal Artists of ROC

nostalgia》、差事劇團《麻辣時代》、《敗金歌劇》、Life and Times of Robert Wilson and One Hundred

始積極參與劇場演出，並擔任編導工作。重要演

and worked at the Opera Workshop of the National

河床劇團《羅伯威爾森的生平時代》、《百夜之Nights' Dreams, HSU Yen-ling's Sisters Trio and Skin

出作品：2017 年 TIFA 果陀劇場音樂劇《愛呀！我Theater and Concert Hall. His opera career started

夢》、徐堰鈴《三姊妹》、《踏青去》、黎煥雄《幾Touching, and LI Huan-hsiung's Jimmy's Subway

的媽！》；2018 年衛武營開幕季輕歌劇《憨第德》

by playing SPINELLOCCIO in Gianni Schicchi in

米地下鐵：一個音樂的旅程》皆於戲劇中有歌唱演

Book—A Musical Journey. She has been recorded

中飾演說書人、潘格羅斯、馬丁；2019 年諾貝爾

2008. He became more active in stage drama in

出。聲音作品曾出現於夾子電動大樂隊《地下人》、

for The Clippers' album Underground Man, THE

文學獎得主高行健教授劇作《獨白》世界首演；2012 and started his career as a playwright and《THE SOUND 陳建騏劇場音樂 1997 － 2007》和

SOUND: Chien-chi Chen Music 1997–2007, and

屏東阿卡貝拉音樂劇《阿爸掠魚的時陣攏咧唱歌》

director.

公視單元劇《偵探物語》原聲帶。並曾持續演出由

Public Television Service's A.S.T. She managed

義大利導演姬雅拉．瑰蒂執導之臺北兒童藝術節定several different voices as the narrator in

編導；2020 年國家交響樂團歌劇推廣《小齊的煩惱》編導。現任教於南臺科技大學流行音樂產業His major works include Godot Theatre Company's

目劇《拇指小英雄》，以說書人一人聲音分飾多角。

Buchettino (directed by Chiara GUIDI) at the Taipei

系、實踐大學音樂系、臺灣師範大學表演藝術研

Kiss Me Nana and Love Ya Mom. In 2018, he played

重要藝術行政經歷包括：臺北 V-Day《陰道獨白》

Children's Arts Festival and was instrumental in

究所。

the storyteller, Pangloss, and Martin in Weiwuying's

發起人、2008 年女節製作人、臺北詩歌節國際連

bringing The Vagina Monologues to V-Day in Taipei.

Candide. In 2019, he received high acclaim for his

絡人、臺灣國際女性影展選片人、衛武營藝術文化

Besides, she has been a producer for the 2008

performance in the global debut of Nobel laureate

中心童樂節特約策展及臺北藝穗節協同策展人。現

Taiwan Women Theatre Festival, the international

GAO Xingjian's The Monologue; he worked as a

職樹德科技大學表演藝術系助理教授，亦為亞洲製

contact for the Taipei Poetry Festival, a member

playwright and director in the a cappella musical

作人平台籌辦委員。

of the film selection committee for Women Make

Dad Sings When Stealing Fish. In 2020, he was

102

Waves, a curator for the Weiwuying Children's

the playwright and director in Qi's Trouble for the

Betsy LAN, a highly experienced stage performer

Festival and Taipei Fringe Festival. She is currently

National Symphony Orchestra.

and producer, performed in Shakespeare's Wild

an assistant professor at Shu-Te University and a

Sisters Group's Once, upon Hearing the Skin Tone

founding member of the Asian Producers' Platform.

He currently teaches at Southern Taiwan University

and Tsen,。 (which respectively won the top prizeof Science and Technology, Shih Chien University,and the special jury prize at the 2010 Taishin Arts

and National Taiwan Normal University.

Awards) and The Party Theatre Group's The Sky

103高雄市交響樂團

Kaohsiung Symphony Orchestra

Wherever there is music, there is us.

Spring Arts Festival Grassland Concert." Over the─ A young orchestra moving forward withpast decade, the KSO has continued to absorb

determination.

the encouragement and tempering of various
international personalities to create a series of

A c i t y 's o rc h e s t r a i s a r a re a n d p re c i o u s

concerts performed jointly by famous domestic

樂在，你也在。

attribute for any place to have. The Kaohsiungand foreign artists. During the pandemic, there was── 年輕的樂團 堅定向前行

Symphony Orchestra is a young, talented,

a series of online concerts that connected musicand energetic orchestra that cooperates with

with fans to soothe their hearts with the energy ofinternationally renowned conductors. The KSO

music.

對一個城市而言，有專屬的樂團是難得珍貴的。

在國際舞台上，樂團不斷獲邀至多個國際城市演

strives to incorporate classical and cross-border

高雄市交響樂團是一個年輕有活力的樂團，不斷出，逐步跨越城市與國界，以國際級樂團為自我

performances into their repertoire, permeated

On the international stage, the KSO orchestra

的與國際級指揮與名家大師們合作共鳴，勇於嘗

提升與成長目標，堅定向前。

with their unique passion. The KSO creates high-continuously receives international invitations to

試多元型態的演出，兼具古典與跨界是樂團發展

quality themes for the fans of music; they cultivate

perform in many cities, gradually reaching beyond

的主軸，為樂迷創造更多優質的音樂饗宴，也培

countless seeds of appreciation in every person

the borders and proudly taking the name of an

育無數表演與欣賞的種子，延展古典音樂創新的

who sees them perform and thus extend the wings

international-level orchestra. The KSO moves

鴻翅。

of classical music innovation.

firmly onwards with talent and strength while
striving for growth.

104

1981 年成立，2009 年與高雄市國樂團基金會整併

The KSO was founded in 1981 and merged with

為「財團法人高雄市愛樂文化藝術基金會」，現

the Kaohsiung Chinese Orchestra Foundation

任董事長為高雄市文化局局長王文翠。2009 年起

in 2009 to form the "Kaohsiung Philharmonic迄今，擔任高雄春天藝術節重要演出角色，成功

Cultural and Art Foundation." The Chairperson

打響「高雄春天藝術節草地音樂會」品牌；十餘of Foundation is WANG Wen-tsui, Director of

年來，不斷地迎接國際各方的深礪與琢磨，創造

Kaohsiung City's Bureau of Cultural Affairs Since

出許多與國內外名家聯演的系列音樂會；疫情期

2009, the orchestra has played a pivotal role in the

間也持續以各種線上模式音樂會與樂迷們見面，

Kaohsiung Spring Arts Festival and successfully

以音樂的能量撫慰人心。

established the reputation of the "Kaohsiung

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

執行長 CEO
朱宏昌 CHU Hung-chang
指揮 Conductor
楊智欽 YANG Chih-chin◎ 樂團副首席 Associate Concertmaster● 樂團助理首席 Assistant Concertmaster○ 聲部首席 Principal▲ 協演人員 Guest Orchestra Member

第二小提琴 Second Violin

大提琴 Cello雙簧管 Oboe

長號 Trombone○ 陳思圻 CHEN Szu-chi○林采霈 LIN Tsae-pey○王慧雯 WANG Hui-wen○田智升 TIEN Chih-sheng

熊書宜 HSIUNG Shu-i

劉彥廷 LIU Yen-ting

蕭曼林 HSIAO Man-lin

陳怡靜 CHEN I-chin

張瓊紋 CHANG Chiung-wen

林威廷 LIN Wei-ting黃俊翰 Daniel TOMAS KARL莊名媛 CHUANG Ming-yuan

鄭化欣 CHENG Hua-hsin

鄭詔駿 CHENG Chao-chun▲李立品 LI Li-pin
低音長號 Bass Trombone
單簧管 Clarinet

第一小提琴 First Violin

葉家銘 YEH Chia-ming▲鄭宇彤 CHENG Yu-tong○莊維霖 CHUANG Wei-lin◎ 葉翹任 YEH Chiau-ren

陳麗薰 CHEN Li-hsun▲張慈珊 CHANG Tzu-shan

韓健峰 HAN Chien-feng▲林蕙萱 LIN Hui-hsuan

林禹慈 LIN Yu-tzu
低音號 Tuba
潘慈洞 PAN Tzu-tung▲ 鄭淳云 CHENG Chun-yun▲陳沛琤 CHEN Pei-cheng

李純欣 LEE Chun-hsin▲ 侯啟琳 HOU Qi-lin▲許婉柔 HSU Wan-jou

郭洹佐 KUO Huan-tso▲ 林麥麥 LIN Mai-mai▲鄭皓云 CHENG Hao-yun

低音管 Bassoon

定音鼓 Timpani范翔硯 FAN Hsiang-yen▲ 章筱萱 CHANG Hsiao-hsuan▲陳普欣 CHEN Pu-shin○劉君儀 LIU Chun-yi○ 陳又誠 CHEN Yu-cheng

蔡宗言 TSAI Tsung-yen▲ 劉寧昀 LIU Ning-yun▲陽雨玹 YANG Yu-hsuan

陳冠甫 CHEN Guan-fu▲ 陳錦祥 CHEN Chin-hsiang

黃郁盛 HUANG Yu-sheng▲ 陳一萱 CHEN I-hsuan

低音提琴 Double Bass

陳人瑋 CHEN Jen-wei▲ 陳致誠 CHEN Chih-cheng● 張恆碩 CHANG Hen-shuo▲郭承姍 KUO Cheng-shan▲李凌霄 LI Ling-shiau

中提琴 Viola▲蔡依芸 TSAI I-yun

施孟昕 SHIH Meng-hsin▲曾昱承 TSENG Yu-cheng打擊 Percussion○阮晉志 JUAN Chin-chih

薩克斯風 Saxophone▲廖邦豪 LIAO Pang-hao

趙紋孜 CHAO Wen-tzu▲賴昕瑜 LAI Hsin-yu▲陳 揚 CHEN Yang

洪瑞辰 HUNG Jui-chen▲顏宛揚 YEN Wan-yang

曾兆瑒 TSENG Chao-yang
法國號 Horn○蕭寶羚 HSIAO Pao-ling

汪育萱 WANG Yu-hsuan▲吳維菁 WU Wei-ching陳曉芸 CHEN Hsiao-yun▲周云捷 CHOU Yun-chieh▲黃大唐 HUANG Ta-tang

王弈萱 WANG Yi-hsuan▲邱宇君 CHIU Yu-chun

薛程元 HSUEH Cheng-yuan▲徐 行 HSU Hsing○陳冠豪 CHEN Kuan-hao▲張子萱 CHNG Tzu-hsuan

尤媛 YU Yuan▲朱芝屏 CHU Chih-ping黃姿菁 HUANG Tzu-ching▲ 歐佩怡 OU Pei-i

林楷訓 LIN Kai-shun▲簡敏卉 CHIEN Min-hui

傅宗琦 FU Tsung-chi▲林靖偉 LIN Ching-wei

陶泓憬 TAO Hung-ching▲徐子昀 HSU Tzu-yun

賴衍學 LAI Yen-hsueh▲陳婉真 CHEN Wan-chen▲黃文翔 HUANG Wen-hsiang▲周 琪 CHOU Chi▲陳 蔯 CHEN Chen

長笛 Flute

小號 Trumpet▲余青黛 YU Ching-tai○林文苑 LIN Wen-yuan○唐大衛 David Melchior ARGENTA

豎琴 Harp管伊文 KUANG Yi-wen▲吳亭儀 WU Ting-i
鋼琴 Piano▲蔡學民 TSAI Hsueh-min▲盧玥綝 LU Yueh-lin

葉瓊婷 YEH Chiung-ting

陳鏡元 CHEN Ching-yuan

鋼片琴 Celesta▲呂宛霓 LU Wan-ni

吳建慧 WU Chien-hui

蘇勤硯 SU Ching-yen▲曹銘倉 TSAO Ming-tsang▲林仕恩 LIN Shih-en▲陳昱安 CHEN Yu-an

106

107

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

行政團隊
副執行長 Deputy Chief Executive
陳紹元 CHEN Shao-yuan
代理副執行長暨表藝製作中心主任
Acting Deputy Chief Executive/
Chief of Programming Department
柏碧玲 PO Pi-ling

表藝製作中心 Programming Department
蔡詠蓁 TSAI Yung-chen李秐槿 LI Yun-chin
劉為烽 LIU Wei-feng
余祐瑋 YU You-wei
洪靖雅 HUNG Ching-ya

演出事務部 Orchestra Operations Department

行政管理部 Administration Department

組長 Cheif of Orchestra Operations Department

主任 Chief of Administration Department

黃惠鈴 HUANG Huei-ling

尹紫瀞 YIN Zih-jing

王文妮 WANG Wen-ni
莊淑惠 CHUNG Shu-huei
翁靖媛 Joanna WENG

黃兆慶 HUANG Jhao-cing

孫思齊 SUN Szu-chi黃麗紅 HUANG Li-hung

戴羽伸 TAI Yu-shen

許芳瑩 HSU Fang-ying

李兆鈞 LEE Jau-jiun
王詩捷 Christine WANG
熊玉梅 HSIUNG Yu-mei
彭啟容 PENG Chii-rong
陳羽妙 CHEN Yu-miao

108

109

樂曲解說 Program Notes

穆索斯基－拉威爾：《展覽會之畫》

MUSSORGSKY / RAVEL: Pictures from an Exhibition

撰文｜連士堯
Written by Eric LIEN

「曲目導聆」逐漸成為臺灣音樂會的標準配備，

the Score®」， 下 半 場 完 整 搬 演 全 曲， 是 重 新The pre-concert talk has become the norm in

HARTMANN, MUSSORGSKY was inspired and許多觀眾會提早半小時抵達音樂廳，欣賞由音認識《展覽會之畫》的最佳契機！

Taiwan, with many members of the audience

started composing the piano suite. The work樂家或是音樂學者針對當晚曲目的詳細介紹，

arriving at the concert hall early to learn more

became very popular after RAVEL adapted it

但有時等到觀眾實際聆聽曲目時，導聆內容似

about the program. But by the time the concert

to an orchestral piece, commissioned by the乎變成「記憶大考驗」，如何能將曲目介紹的

starts, this becomes a memory test - how muchconductor Serge KOUSSEVITZKY. The piano suite效用增加到最大化呢？世界知名的芝加哥交響

of what they have learned is already forgotten,

has also been regarded as a piano classic ever樂團推出一系列「Beyond the Score®」節目，

or will be recalled at the right moment in thesince. Beyond the Score® not only introduces the可說是「高級配置版」的曲目導聆，不但有指music? How do we make introduction talks morecompositions and the stories behind them but

揮及樂團即時演出，更搭配解說、演員及投影，

effective? The world-famous Chicago Symphonyalso explains the differences between the piano讓觀眾能夠輕鬆無礙地得知名曲背後的創作故

Orchestra has presented a series called Beyond

version and the symphony version. You will be

事，更透過現場演出加深記憶，成為芝加哥交

the Score®, a multimedia excursion that provides

amazed by the composer's connotations, and in

響樂團極受歡迎的推廣系列。

insight and context surrounding the composition.

awe of the arranger's magical transformation

Not only does it bring you the live orchestra

skill. This program presents Beyond the Score®

衛武營國際音樂節，率先在臺灣引進「Beyond

performance, but live commentary, acting,in Chinese in the first half, and the orchestra will

the Score®」 系 列， 以《 音 樂 揭 秘 》 為 名， 選and projections, allow the audience to easily

be performing live in the second half. It is the

用穆索斯基作曲、拉威爾編曲的《展覽會之畫》

follow the backstory behind the classics. All

best opportunity to gain a new understanding of

為本次主題。此作為穆索斯基在 1874 年參觀已the programs are more memorable with the live

this masterpiece that no one should miss!

逝畫家好友哈特曼的畫展後，為鋼琴譜寫的一

performances. It has been very well-received.

段標題套曲，原本不甚出名的原作，在 1922 年

110

由指揮家庫塞維茲基委託法國作曲家拉威爾改

The Weiwuying International Music Festival is

編給管絃樂團後一炮而紅，連帶讓鋼琴原版成the first to present Beyond the Score® in Taiwan.

為 傳 世 經 典。「Beyond the Score®」 除 了 介

This time, we'll be hearing and watching the

紹曲目內容與創作故事外，還會同時呈現鋼琴

piece Pictures from an Exhibition, composed版與管絃樂團版的諸多差異，讓觀眾驚訝於穆

by Modest MUSSORGSKY and arranged by

索斯基的作曲內涵，以及拉威爾如魔法般的轉

Maurice RAVEL. After attending the posthumous

化功力。本節目在上半場以中文呈現「Beyond

exhibition of his deceased good friend Viktor

111

王佩瑤
浮光流影 音樂會

WANG Pei-yao:
LUMINOUSSHADOW王佩瑤《浮光流影》音樂會
WANG Pei-yao — Luminous Shadow

記憶是明亮的，才能在時光中投下陰影。生命中

Memory can be luminous so as to cast shadow in

有某些記憶太深刻，必須慢慢醞釀、仔細品味，time. Certain memories in life are so profound that

就像是寫作、作曲或是沖洗照片的過程。

they need to be slowly brewed and carefully tasted,

鋼琴：王佩瑤 | 小提琴：魏靖儀 | 大提琴：高炳坤Piano: WANG Pei-yao | Violin: William WEI | Cello: Victor COO

受吳明益暢銷小說《單車失竊記》啟發，鋼琴家＊王佩瑤、魏靖儀亦參與《極致．純粹 – 魏靖儀與王珮瑤》演出，個人簡介詳見 p.50 與 p.51
＊ WANG Pei-yao and William WEI also perform in William WEI and WANG Pei-yao concert, for biographies please refer to p.50 and p.51.

音符，尋覓文學與音樂的全新面貌。王佩瑤、伊Inspired by the bestselling novel The Stolen Bicycle

莉莎白女王國際音樂大賽優勝得主魏靖儀、菲律

written by WU Ming-yi, pianist WANG Pei-yao

賓華裔大提琴家高炳坤等音樂家，聯手演奏東歐

seeks to explore a new dimension of literature and作曲家楊納傑克、李蓋悌、艾內斯科、高大宜等

music through the complexity of life itself. Musicians

人的作品。部份作品的靈感來自於這些作曲家蒐

WANG Pei-yao, William WEI, laureate of the Queen

集到的鄉間民謠，據以創作出他們自己的曲子。

Elisabeth International Violin Competition, and

這個過程類似讀者體驗小說中不同語言的發音。

Victor COO, the Filipino-Chinese cellist, perform

similar to the process how literature is penned,
music is composed, or photography is developed.

王佩瑤將盤根錯節的生命軸線中的「記憶」化成© 鄭達敬

pieces by the Eastern European composers
音樂反映出小說中的精心設計，觸動深藏在聽眾JANÁČEK, LIGETI, ENESCU, and KODÁLY. Some of內心的情感。音樂會開始時台灣攝影藝術家會啟

the pieces were based on rural folk songs collected

動箱式相機，紀錄音樂會的片段。所拍的影像為

by the composers, which then inspired them to當天與觀眾的共同記憶，看似相同的照片，卻是

produce compositions of their own. This process

在場每個人各自擁有的獨特體驗。音樂會後將郵is akin to the way readers experience different

寄底片至馬來西亞，由攝影藝術家 Jeffrey 重新創languages phonically throughout the novel. The作與手工沖洗黑白照片，作為限量 100 份私房禮，music reflects the elaborate setup of the novel to

限定給本場音樂會觀眾。 （※ 私房禮為限量發

evoke the audience's deep hidden emotions.

送，有關獲取方式後續公布。）

演出曲目●楊納傑克：《在迷霧中》，第一樂章：行板 ●普羅科菲夫：f 小調第一號小提琴奏鳴曲，作品 80，第一樂章：相當
的行板 ●高大宜：無伴奏大提琴奏鳴曲，作品 8，第二樂章：極富表情的慢板 ●李蓋悌：〈華沙的秋天〉，選自第一冊，《第六號鋼琴練習曲》 ●齊馬諾夫斯基：〈羅莎之歌〉，改編給小提琴與鋼琴，選自歌劇《羅傑國王》，作品 46●艾內斯科：第三號小提琴奏鳴曲，第二樂章：持續神秘的行板 ●巴巴扎年：升 f 小調鋼琴三重奏，第一樂章：有表情的快板＆第二樂章：行板 ●蒙波：如天使般，選自《沉默的音樂》

4.16 Sat. 19:30

Program● Leoš JANÁČEK: In the Mists, I. Andante ● Sergei PROKOFIEV: Violin Sonata No.1 in f minor, Op. 80, I. Andante assai表演廳 Recital Hall演出全長約 70 分鐘，無中場休息。
Duration is 70 minutes without intermission.
114● Zoltán KODÁLY: Sonata for Solo Cello, Op. 8, II. Adagio con gran espressione ● György LIGETI: 'Automne à Varsovie,' from

本節目演出後將於表演廳舉辦座談
Post-talk will be arranged after the
performance at the Recital Hall.

Piano Etudes, Book 1 No.6 ● Karol SZYMANOWSKI: 'Chant de Roxane,' Transcription for Violin and Piano, from King Roger,
Op.46 ● George ENESCU: Violin Sonata No.3, II. Andante sostenuto e misterioso ● Arno BABADJANIAN: Piano Trio in
f-sharp minor, I. Largo- allegro espressivo & II. Andante ● Federico MOMPOU: 'Angelico,' from Musica Callada115

︽浮光流影︾是獻給所有會讀譜的朋友們的一封情書© 鄭達敬

對我而言，閱讀最迷人之處在於作家透過文字與讀者產生私密的對話。文字經慢慢咀嚼後，於每位讀者腦海中浮現獨特的樣貌。

這場音樂會的靈感來自於吳明益老師的《單車失竊記》，但非直接反映書中的故事情節。而是藉由寫作架構，讓大家了解音樂家是如何利用讀譜，詮釋出樂
曲的情感。這也與寫作有著微妙相仿之處。

除了寫作架構之外，「記憶」也是探討的主題。音樂會全程會有箱式相機於廳
內進行長時間曝光攝影。因疫情而無法來台的攝影藝術家林猷進 (Jeffrey LIM)，將會在收到底片後，於馬來西亞創作出限量 100 份的影像作品。當記憶逐漸被
遺忘時，手中模糊的照片正象徵音樂會正式結束。

Luminous Shadow: a love letter toeveryone who reads music.
For me, what fascinates me the most about literature is how writers use words
to create intimate dialogues with the readers, evoking unique imagery in every
reader's mind after careful contemplation.

Although inspired by the novel The Stolen Bicycle written by WU Ming-yi, thisconcert was not a direct adaptation of the novel's story, but rather used thenovel's literary structure to help the audience understand how a musician reads
music and interprets the emotions within. This is a bit similar to how writers
create literature.
撰文｜ 王佩瑤

Written by WANG Pei-yao
116

In addition to the literary structure, "memory" was another topic explored in theconcert, which was recorded with long-exposure photos taken with box cameras
placed inside the venue. The negatives were then sent to photographer Jeffrey
LIM, who was unable to come to Taiwan due to the pandemic, in order for him
to produce 100 limited edition photographic works in Malaysia. As our memory
fades, the blurred photos in our hands symbolize the official end of the concert.

117

導演 Director

大提琴家 Cellist

黃郁晴

高炳坤

HUANG Yu-ching

118

Victor COO

1985 年生，基隆人。劇場導演、演員、劇本翻譯、Born in 1985 in Keelung. Theater director, actress,

出生於菲律賓華裔之音樂世家，足跡遍及亞洲，music at the Taipei National University of the Arts,

策展人與戲劇教育工作者。15 歲開始接觸戲劇，script translator, curator, and drama educator. Yu-

北美洲，及歐洲。自青少年時期年年屢獲全額獎and also teaches at the National Kaohsiung Normal

共參與超過 50 個劇場製作；作品包括《星期一猴ching was exposed to drama at 15 and has since

金受邀參與歐美著名音樂節：包括 Interlochen、

University. An active chamber musician, he is a子死翹翹》（吳明倫編劇）、《同棲時間》（林participated in more than 50 theater productions.

Masterworks、Fontainebleau、 及 Bowdoin 等。 以

founding-member and cellist of the Voyage String孟寰編劇）、《春眠》（簡莉穎編劇）等。目前

Her works include Monkey Business (by playwright室內樂演奏家身分受邀演出於 Taiwan Connection、Quartet, and principal cellist of Taiwan Connection

任教於國立臺北藝術大學戲劇學系，曾任臺大話

WU Ming-lun), The Brotherhood (by playwright LIN

Cello Plus Series 等。 合 作 過 的 國 際 級 著 名 音Chamber Orchestra, he has collaborated with both

劇社、清大人社公演、復興高中戲劇班、Studio Q

Meng-huan), and Spring Sleeping (by playwright樂 家 包 括：Ilya KALER、Marc DANEL、Yuri

international and local musicians. Also a regular

表演教室之指導老師。現為國家兩廳院「藝術基CHIEN Li-ying). She currently teaches at School

GANDELSMAN、 Suren BAGRATUNI、Sung-won

recitalist and soloist, he recently performed the地計畫」駐館藝術家（2021-2022 年）。

of Theatre Arts in Taipei National University of

YANG、Quatuor Diotima、Joseph ROBINSON、Tyzen Hsiao Cello Concerto with the Taipei Chinese

the Arts, and previously served as an instructor

Ralph VOTAPEK、HASHIMOTO Kyoko、Paul

Orchestra.

for NTU Drama Club—the annual production of

EDMUND-DAVIES、華裔小提琴家胡乃元。

A Doctoral of Musical Arts graduate at the Michigan

NTHU's Interdisciplinary Program of Humanities

畢業於美國密西根州立大學音樂藝術博士學位及馬State University, he also obtained degrees at theand Social Sciences, the drama program at Fuxing

里蘭州立大學音樂碩士。曾師事 Suren BAGRATUNI

University of Maryland, Columbia Union College (nowHigh School, and Studio Q. She's currently the

及 Evelyn ELSING。 基 於 對 音 樂 教 育 的 熱 情，

Washington Adventist University) and a graduate ofresident artist for National Theater & Concert Hall's亦 曾 與 許 多 著 名 演 奏 家 及 學 者 包 括：Orlando

the Philippine High School for the Arts. His principal

Art Base Program (2021-2022).

COLE、Ronald LEONARD、Timothy EDDY、Steventeachers include Suren BAGRATUNI, Evelyn ELSING,

DOANE、Peter WILEY、Herre-Jan STEGEBGA、

Johanne PERRON, Wilfredo PASAMBA, and Amador

Henri DEMARQUETTE、Diana LIGETI 和 Dominique

TAMAYO. He attended music festivals such as

de WILLIENCOURT 研習。

Fontainebleau, Sarasota, Bowdoin, MasterWorks,

現為 Taiwan Connection Chamber Orchestra 大提琴

and Interlochen; working with cellists such as Peter首席與 Voyage String Quartet 之大提琴家，國立臺

WILEY, Steven DOANE, Ron LEONARD, Timothy

北藝術大學音樂系專任副教授，並兼任於國立高雄

EDDY, Henri DEMARQUETTE, and Herre-Jan

師範大學音樂系。

STEGENGA.

Taiwan-based Filipino cellist Victor COO is currently

He is based in Kaohsiung, Taiwan, with his pianist-a full-time Associate Professor for cello and chamber

wife, Ya-hsin WU, and two kids.

119攝影藝術家 Photography Artist

攝影藝術家 Photography Artist

陳姿華

林猷進

Luc CHEN (Uselrepe)Jeffrey LIM

影像書寫者、紀錄片導演及相機製造者，左偏影

Cloud Gate Wanderer Project and returned to the

馬來西亞藝術家林猷進於傳播設計領域的耕耘已With a career in communication design, LIM's

像共同創辦人。第十四屆雲門流浪者計畫獲選，Drekai community in Wutai, Pingtung to explore

久。近來，他透過文化地景繪測、裝置藝術以及

foray into activism and artistic expression only

返回位於屏東霧台的魯凱族部落進行身份的探索。

her own identity. Her works include classic portrait

攝影等藝術表現形式，展開其對社會運動以及藝

came later through social art projects using

創作以古典攝影方式拍攝肖像，釀造自處時間開photos that let one exchanges gazes and dialogues

術表達的多元嘗試。林猷進近期的作品《Kanta 人

cultural mapping, installation and photography.

啟對話與凝視，近期作品多拍攝原住民議題之紀with oneself. Recently, she is more focused on

像》攝影計畫，內容取材於馬來西亞與臺灣兩地

LIM's recent work with Kanta Portraits has seen

錄片。

making documentaries on subjects related to the

原住民族群社會交流的敘事內涵與民族建構概念，

him travel between Malaysia and Taiwan in a social

Indigenous peoples.

使用其自行研發製作、可以即刻沖印人像的暗箱

exchange of indigenous communities on their

CHEN is a photography writer, documentary

照相機。林猷進的知名作品包含：《自行車旅吉

narratives & the nationalisticconstruct with instantdirector, camera craftsman, and co-founder of隆坡》（2014）：為了自行車所計劃的參與式地

portrait prints using his self-made box camera.

Dubbing PHOTO. She was selected for the 14th

景繪測活動、《ISD 計畫》（2016）：探討城市
流動性與可親近性的報告、《附件》（2017）：

Notable work–Cycling Kuala Lumpur (2014),

有關移民議題與回憶的參與式及展演式裝置作品、

participatory mapping exercise for cycling《Dinding Potret Kanta》（2017）： 人 像 攝 影 牆

advocacy; Project ISD (2016) urban mobility &裝置作品以及《Kanta 人像》攝影計畫（2018）：

accessibility report; Attachment (2017) participatory

在社會交流過程中探尋自我、《Kanta Manuscript& performative installation on migration and20》（2020）：箱型相機的肖像攝影。

recollection; Dinding Potret Kanta (2017) portrait
wall installation; Kanta Portraits (2018) social
exchange on the search for self; Kanta Manuscript
20 (2020) photobook with a selection of portraits
from a box camera.

120

121

製作團隊 credit樂曲解說 Program Notes

王佩瑤《浮光流影》音樂會 製作團隊

楊納傑克：《在迷霧中》，第一樂章：行板製作單位 Produced by ｜國家兩廳院 National Theater & Concert Hall (NTCH)

撰文｜吳毓庭Written by WU Yu-ting

Leoš JANÁČEK: In the Mists, I. Andante

藝術總監暨鋼琴 Artistic Director & Piano ｜王佩瑤 WANG Pei-yao
小提琴 Violin ｜魏靖儀 William WEI

在迷霧中，並非暗不可見，只是無法辨明前方的music perhaps was some emotional relief. In路。楊納傑克在 1912 年以此為鋼琴曲集標題，透this piece, although the composer frequently

露出他仍走不出喪女之痛（女兒 Olga 在 1903 年

uses short, unrestricted phrases in the style

導演 Director ｜黃郁晴 HUANG Yu-ching

因病過世），以及作曲事業遭遇瓶頸的心境。也

of ballads, many of the harmonic passages are

概念來源 Inspired by ｜吳明益《單車失竊記》The Stolen Bicycle from WU Ming-yi

或許為了抒發更多內在情感，作曲家雖然頻繁使

full of post-romantic colors, so it sounds more

用民謠式簡短、自由的樂句，但許多和聲段落都

intimate than his other piano works.

大提琴 Cello ｜高炳坤 Victor COO

製作人 Producer ｜吳昀璇 Annie WU
攝影藝術家 Photography Artist ｜林猷進 Jeffrey LIM、陳姿華 Luc CHEN (Uselrepe)

洋溢著後浪漫色彩，因此比他其他的鋼琴作品聽
起來更為私密。

The bass accompaniment swings repeatedly,
bringing out a lonesome searching experience

影像設計 Video Designer ｜徐逸君 HSU Yi-chun
燈光設計 Lighting Designer ｜胡翊潔 HU Yi-jie
舞臺監督 Stage Manager ｜鄒昌荃 JHU Chang-chuan
影像執行 Projection Operator ｜何欣蓓 HO Hsin-pei
燈光工作人員 Lighting Technician ｜陶曉慧 TAO Siao-huei、段功芸 TUAN Kung-yun

低音伴奏重複地擺盪，帶出第一樂章尋尋覓覓的

in the first movement. The treble is a clear

感受。高音為清晰的單音旋律，不過會隨調性浮

monophonic melody, but it sounds flickering

動聽起來忽明忽暗。中段是全曲最激動處，不斷with the tonality changes. The middle section

向下滾動的音型令人想起蕭邦《革命》練習曲，is the most exciting part of the piece. The

隨後帶出的飽滿和弦彷彿終於看見光亮。然而喜continuously descending rolling musical figure

悅的時刻轉瞬即逝，樂曲最後重回開頭，在沉落is reminiscent of CHOPIN's Revolutionary Étude,

的音群中結束。

followed by rich chords that evoke hope and製作助理 Production Assistant ｜呂怡青 LU I-ching
攝影助理 Photography Assistant ｜李映嫻 LEE Ying-hsien、楊皓婷 YANG Hao-tinglight. Yet the moment of joy is fleeting, and theIn the Mists, it is not so dark that you can see

music finally returns to the beginning, ending innothing, but the road ahead cannot be discerned.

sinking notes.

Leoš JANÁČEK used this as the title of his pianocollection in 1912, revealing that he still could
not get over the loss of his daughter Olga, whodied of illness in 1903. The bottlenecks heencountered in his composing career at the sametime may have felt connected to similar themes
2021 年 4 月 23 日於 2021 台灣國際藝術節（TIFA）首演

of unnavigability. Turning these struggles into

Luminous Shadow had its world premiere in 2021 Taiwan International Festival of Arts（TIFA）in April 23rd, 2021.
122

123

樂曲解說 Program Notes

樂曲解說 Program Notes

普羅科菲夫：f 小調第一號小提琴奏鳴曲，
作品 80，第一樂章：相當的行板

高大宜：無伴奏大提琴奏鳴曲，作品 8，
第二樂章：極富表情的慢板

撰文｜吳毓庭Written by WU Yu-ting

撰文｜吳毓庭Written by WU Yu-tingSergei PROKOFIEV: Violin Sonata No.1 in f minor, Op. 80,
I. Andante assai

Zoltán KODÁLY: Sonata for Solo Cello, Op. 8,
II. Adagio con gran espressione

樂章開始的五度起伏旋律，聽來肅穆近乎哀悼。

The undulating melody of fifths at the beginning

一次大戰爆發，改變了世界的局勢，也改變了每

music intensively from all the materials he had

如果要說普羅科菲夫在史達林政府控制下如何生of the movement sounds solemn, like mourning.

個人的日常。高大宜原本與同儕巴爾托克持續在

collected over the years, and one of the most活， 恐 怕 這 幾 個 小 節 是 絕 佳 註 腳。 小 提 琴 在 零

If you want to describe how Sergei PROKOFIEV

鄉間採集農民歌曲，但受戰事影響，計畫不得不representative works is Op. 8.

星的斷奏與顫音（trill）後，奏出雙音旋律，兩

l i v e d u n d e r J o s e p h S TA L I N 's c o n t r o l l i n g

中斷，於是他重回書房提筆，開始密集把長年吸

條線屢屢不和諧的音程帶出壓抑難耐的糾葛情

government, these few bars are the perfect

收的素材化做新曲，Op.8 就是其中極具代表性的

The choice of the unaccompanied cello to感。 直 到 小 提 琴 裝 上 弱 音 器， 帶 出 快 速 的 跑 動

commentary. After sporadic staccatos and一首。

express the musical idea is probably because

音 階， 情 況 才 稍 微 好 轉。 不 過 作 曲 家 形 容 這 裡trills, the violin plays a double-stop melody,

是「 吹 過 墓 地 的 風 」（wind passing through aand the repeated dissonant intervals evoke an

選擇無伴奏大提琴表現樂思，很可能是作曲家

effect by imitating the "scordatura" used often ingraveyard），儼然仍是描繪感傷的場面。

unbearably entangled emotion. Though the

想 模 仿 東 歐 民 間 樂 器 常 使 用 的「 變 格 定 絃 」

Eastern European folk music. In this piece, themood seemingly brightens a tiny bit when the（scordatura）來創造特殊音效——在此曲中作

composer requires the performer to lower the

作曲家開始創作此曲時，才從巴黎搬回莫斯科定violin is fitted with a mute and starts playing the

曲家要求演奏者需將最低的兩條絃調鬆半音，以

two bottom strings by one semitone for a wider

居不久，滿足了思鄉思情，卻得面對思想上的箝

fast-running scales, the composer described this

獲得更寬的音域和質樸的音色。

range and a pristine tone.

制。諷刺的是，他這部充滿失望與哀戚的作品，

part as "wind passing through a graveyard." It is讓他再度獲得頒發自政府的史達林獎，這份收編

still a sad scene.

第二樂章的結構為 ABA。A 段由即興般的樂句組

The structure of the second movement is ABA.

成，低音撥絃不時傳來，彷如鼓聲；B 段會聽見

Section A is composed of impromptu phrases,

When the composer started this piece, he had

大幅起落的雙音，令人感受到民謠抒發苦痛的一with bass plucks appearing from time to time likejust moved back to Moscow from Paris and面；回來的 A 更激動，近末尾的重複高音可說直

the sound of drums. In section B, the oscillating

settled in. His homesickness was cured, but擊聽者靈魂。

double stop evokes the pain the peasants似乎又更加印襯了作品背後的意思。

the composer wanted to create a special soundchanneled into the folk tunes that helped themhe had to then face ideological repression.
Ironically, this work full of disappointment

The outbreak of World War I changed thethrough their days. The second A is quite excited.

and grief won him the Stalin Prize from theworld and impacted everyone's daily life.

The repetitive high notes in the end seem togovernment, and this "inclusion" seems to

Zoltán KODÁLY and his colleague Béla BARTÓK

pound directly on the audience's soul.

further embody the meaning behind the work.

were originally collecting folk songs from thecountryside, but due to the war, their plan wasinterrupted. KODÁLY then began to compose

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樂曲解說 Program Notes

樂曲解說 Program Notes

李蓋悌：〈華沙的秋天〉，
選自第一冊，《第六號鋼琴練習曲》

齊馬諾夫斯基：〈羅莎之歌〉，改編給小提琴與鋼琴，選自歌劇《羅傑國王》，作品 46

撰文｜吳毓庭Written by WU Yu-ting

撰文｜吳毓庭Written by WU Yu-ting

György LIGETI: 'Automne à Varsovie,' from Piano Etudes,
Book 1 No.6

Karol SZYMANOWSKI: 'Roxana's Song,'
Adaptation for Violin and Piano, from King Roger, Op.46

李蓋悌對他三冊、共十六首鋼琴練習曲這樣說道：

György LIGETI once commented on his sixteen《羅傑國王》在講述一則掙扎於基督教與酒神信King Roger tells a story of struggles between「這些作品的誕生是在探索與融合兩種不同的作

piano etudes: "For these works, I have combined

仰之間的故事。十二世紀西西里的羅傑王，聽聞

C h r i s t i a n i t y a n d D i o n y s i a n b e l i e fs . I n t h e

曲概念：以固定節拍製造的『三比二』（hemiola）

two distinct musical ideas: the hemiola of

牧羊人崇拜古希臘異教，便命他入宮受審，沒想

twelfth century, King Roger of Sicily heard of a效果，如同舒曼和蕭邦的手法；以及非洲音樂擁

SCHUMANN and CHOPIN, which depends on

到在對方的感染下，國王最後也來到古希臘劇場

shepherd worshiping ancient Greece paganism,

有的附加脈動（additive pulsation）原則。」從

the meter, and the additive pulsation principle of中，跟隨大家狂舞。作曲家齊瑪諾夫斯基並非推and ordered him to be put on trial in the palace.

樂譜中可清楚見到，不同聲部各自以不同節拍進African music." It is clear from the score that the

崇酒神的狂歡，而是一直醉心古代地中海區域融

U n ex p e c t e d ly , u n d e r t h e i n f e c t i o n o f t h e

行，卻又彼此疊合為一體，形成作曲家稱作的「節different parts play at different beats, but they

合了多民族、多信仰的狀態，他在這部作品中試

shepherd, the king came to the ancient Greek

拍的賦格」（tempo fugue）。

are superimposed on each other, forming what

圖捕捉一種文化相互滲透的神秘性。

theater and danced with everyone. Composer

the composer calls the "tempo fugue."〈華沙的秋天〉可以說是前述概念的典範，一開Karol SZYMANOWSKI does not advocate the〈羅莎之歌〉出自第二幕後半，羅傑王的太太羅

celebration of Dionysus, but has always been

始聽者會被固定的分解八度音吸引，隨後則會注

Automne à Varsovie (Autumn in Warsaw) can莎比丈夫早一步受到牧羊人吸引，陸續以夜鶯般

fascinated by the multi-ethnic and multi-faith

意到右手帶出的下行旋律，該旋律不只會越來越

be seen as a model of the aforementioned

的花腔和優美的調式旋律，表達對酒神生活的嚮

state of the ancient Mediterranean region. In this長，也會不斷從不同起音「落下」。最精采處莫technique. At first, the listener will be attracted

往。改由小提琴演奏時，編曲者加入了大量的雙work, he tries to capture the mystery of cultural

過於這條旋律會在不同音域「長」出不同模樣，by the arpeggiated octave, and then will start

音技巧，像是二聲部進行或連續八度音聲響，堆interpenetration.

但每一條線又隱隱呼應，共組成一個小宇宙。所

noticing the descending melody played by the疊出濃烈情感。

有樂思待到最後才融合為一條激烈的下行半音

right hand, which will get longer and longer,'Roxana's Song' comes from the second half

階，俐落地結束一切。

continually "falling" from different attacks. Mostof the second act. King Roger's wife, Roxana,

brilliantly, this melody will "grow" into different

was attracted by the shepherd earlier thangestures, but each line faintly echoes withher husband, and successively expressed herothers, forming a small universe. All the musicalyearning for the life of Dionysus with a beautiful

ideas merged into a fierce descending chromaticnightingale-like melody. When switching toscale at the end, ending everything neatly.

violin, the arranger Paul KOCHÁNSKI added a
lot of double-stop techniques, such as two-partprogression or continuous octave chords, which
intensify the emotional expression.

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樂曲解說 Program Notes

樂曲解說 Program Notes

艾內斯科：第三號小提琴奏鳴曲，
第二樂章：持續神秘的行板

巴巴扎年：升 f 小調鋼琴三重奏，第一樂章：有表情的快板 ＆ 第二樂章：行板

撰文｜吳毓庭Written by WU Yu-ting

撰文｜吳毓庭Written by WU Yu-tingGeorge ENESCU: Violin Sonata No.3,
II. Andante sostenuto e misterioso

Arno BABADJANIAN: Piano Trio in f-sharp minor,
I. Largo- allegro espressivo & II. Andante在艾內斯科早期的創作中，就可見到他把家鄉羅George ENESCU had used a lot of traditional亞美尼亞作曲家巴巴扎年出生於一戰後，學生時

Armenian composer Arno BABADJANIAN was

馬尼亞的旋律與節奏放進小提琴曲中。但第三號Romanian tunes and rhythm in his early violin

代在莫斯科音樂院主修作曲，畢業後回到家鄉任born just a few years after World War I. He studied

奏鳴曲他特別加上了「以羅馬尼亞的民謠風格」

works before Violin Sonata No. 3. But for this教。在這樣的經歷中，他沒有追隨二十世紀各種

composition at the Moscow Conservatory, and（dans le caractère populaire roumain） 演 奏，piece, he particularly added the directive

繁複、推陳出新的創作技法，而是停留在後期浪

returned to Armenia to teach after graduation.

更強化了作品的民族色彩，也深掘羅馬尼亞地方"dans le caractère populaire roumain" (play in

漫派的風格，特別是來自拉赫曼尼諾夫的美學，With this more traditional musical background,音樂家（被稱作 Lăutari）的獨特演奏法。

Romanian folk style) to further strengthen the

為新時代留下了珍貴的懷舊之美。

BABADJANIAN did not rapidly embrace theethnic color of the work, and also dig deep into

complicated innovative new composing techniques

第二樂章開頭的小提琴泛音，率先召喚出 Lăutari

the unique performance style of Lăutari (Romani

這首三重奏創作於 1952 年，共有三個樂章。第一of the twentieth century, but stayed in the style

樂團常用的排笛音色（fluier），鋼琴持續的頑固musicians.)

樂章採用奏鳴曲式，在沈重的前奏後，第一主題

of the late Romantics. He especially favored

由大提琴和鋼琴共同展開，樂句以層層遞進的模the aesthetics of RACHMANINOFF, which left a
precious nostalgic beauty for the new era.

伴奏，也是羅馬尼亞民謠常見的音型。中段樂聲
會越來越激動，並出現大量滑音、用弓根演奏等

The second movement begins with the violin

進手法鋪陳，洋溢熱烈的情感。第二主題轉至 F

指示，創造奔放、直接的音響。在最後一個段落，

overtones, resembling the sound of the fluier (a大調，鋼琴獨奏出的切分旋律與半音級進線條，

還可以聽見樂曲在短時間內，漸快又漸慢的即興kind of pipe) commonly used by the Lăutari. The

舒緩了前面的情緒，從而引入富有幻想性的段落。

This trio was composed in 1952 and consists of

風格，在在流露出民間音樂的生命力。

persistent accompaniment style of the piano

第二樂章以小提琴悠揚的旋律為主導，它飄浮在three movements. The first is in a sonata form.

is also a common music figure in Romanian

鋼琴和緩的伴奏中，拉開了遼闊的空間感。

After a heavy and dark prelude, the first theme isfolk music. The middle section becomes more

jointly developed by the cello and the piano. The

and more exciting, adding portamentos and sul

phrases are laid out in sequence, filled with fiery

ponticello articulations to create an unrestrained

emotions. The second theme shifts to F Major, andand direct sound. The last passage achieves

the syncopated melody and chromatic progression

an improvisational feel through the use ofof the piano solo relieve the previous tension into

accelerando and ritardando in rapid succession,a passage that is quite fantastical. The second

revealing the vitality of folk music.

movement is led by the melodious violin, which
floats in the gentle accompaniment of the piano,
opening up a vast sense of space.

128

129

樂曲解說 Program Notes

蒙波：〈如天使般〉，選自《沉默的音樂》

Federico MOMPOU: 'Angelico,' from Música Callada© 鄭達敬

撰文｜吳毓庭Written by WU Yu-ting「這些音樂（《沉默的音樂》）沒有空氣也沒有光。

"This music (Música Callada) has no air nor light.

它是虛弱的心跳。我們不該期待它會回響到很遠

It is a gentle throbbing of the heart. It does not

的地方，但它的任務是要穿透靈魂至深處，直到

seek to reach beyond some minutes in space, but

精神最秘密的地方。這些音樂之所被稱作『沈默』

to try to penetrate the great depths of our soul to（callada），是因為我們需要用身體內在聆聽。」

the most secret regions of our spirit. This music

作曲家蒙波受到十六世紀聖十字若望神父（Johnis silent (callada) because one listens to it within."of the Cross）寫下的宗教詩啟發，在六〇年代陸Inspired by the poetry of the 16th-century Spanish

續寫下二十八首、共四冊的《沉默的音樂》曲集。

mystic, St. John of the Cross, Federico MOMPOU

整套樂曲的聲響普遍來說相當簡約，但深藏著幼has written twenty-eight Música Callada (Voices of

年在母親家族工廠難忘的鐘聲，以及故鄉加泰隆

Silence), collected into four volumes. The collection

尼亞地區的民謠片段，使全本直指生命內在。

has a minimal sound arrangement, but there
are unforgettable bell sounds embedded in the

第一首〈如天使般的〉從頭到尾沒有小節線，樂

music, symbolizing the bells from the composer's

曲只有兩個元素，第一個是平穩、如述說的旋律，

mother's factory, engraved in his memory, as well

它稍後會以多聲部型態出現；第二個則是左手持

as fragments of folk songs from his hometown of續奏出的和弦，其二度、三度音程交疊的效果，

Catalonia, echoing important details of life.

為樂曲鋪陳出空靈的基調。
'Angelico' has no bar lines from beginning to end,
and the composition has only two elements. The
first is a smooth, narrated melody, which willappear in a multi-voice form later; the second is
the continuous chords played by the left hand,which uses second and third intervals to lay out an
ethereal tone for the music.

130

131

SCHEHERAZADE:THE MYTHICSYMPHONIC
POEM

神話交響詩
—

閉幕音樂會
Closing Concert

天方夜譚

閉幕音樂會《天方夜譚 — 神話交響詩》
Closing Concert — Scheherazade: The Mythic
Symphonic Poem

林姆斯基 - 高沙可夫二十四歲時，就曾在同儕鼓勵

German and Austrian music, this music incorporates

下，以俄羅斯作家森科夫斯基（O. SENKOVSKY）

the style and the stories of Arabia. Years later,

的奇幻故事為題材，寫作第二號交響曲《安塔爾》

RIMSKY-KORSAKOV was intrigued by the Arabian（後改為交響組曲），試圖從阿拉伯騎士故事出發，

folk literature Arabian Nights and wrote a four-找出與德奧音樂迥異的風格。多年以後，他又受到

movement symphonic suite Scheherazade. The music

指揮：廖國敏｜四重奏：米特薩克斯風重奏團｜客席樂團首席（天方夜譚）：魏靖儀｜高雄市交響樂團
Conductor: LIO Kuokman | Quartet: MIT Saxophone Ensemble |Guest Concertmaster (Scheherazade): William WEI | Kaohsiung Symphony Orchestra

阿拉伯民間文學《天方夜譚》吸引，寫作四樂章交continues the same exotic mode of the previous, with

響組曲。整體樂思延續了之前濃厚的調式風味，但more sophisticated and unconstrained orchestration管絃樂法運用得更加自如；無論是代表蘇丹王的銅

techniques. Whether it is the brass ensemble＊魏靖儀亦參與《極致．純粹 – 魏靖儀與王珮瑤》、《浮光流影》演出，個人簡介詳見 p.51
＊高雄市交響樂團亦參與《音樂揭密：展覽會之 What ？》演出，樂團簡介詳見 p.104

管合奏、代表女主角雪赫拉查德的小提琴獨奏，或representing the sultan, the violin solo representing

是表現公主王子天真爛漫的木管斷奏，都帶出生動

the heroine Scheherazade, or the staccato woodwinds

的畫面感。

depicting the innocent princess and prince, all bring

同場另外安排的兩首現代作品，一首是策展人陳銀

out vivid and dramatic scenes.

淑在 2020 年，慶祝貝多芬週年紀念完成的新作《突Two other contemporary works will be presented:

然使勁》。她擷取貝多芬眾多經典樂曲，像是〈科Subito con Forza is the new work composed in

里奧蘭序曲〉、《皇帝》鋼琴協奏曲片段，重組、2020 by the Festival Artistic Director Unsuk CHIN發展成馬賽克般的音畫。另一首則是奧地利年輕作

to celebrate the anniversary of BEETHOVEN. She

曲家多伊奇的《給薩克斯風四重奏與管絃樂團的協

extracted many of BEETHOVEN's classic pieces, such奏曲》，該作為衛武營國家藝術文化中心與萊比錫

as fragments from the Coriolan Overture and the

布商大廈管絃樂團共同委託創作，2021 年底在萊比Emperor piano concerto, reorganized and developed錫發表世界首演。

them into a mosaic-like tone painting. The Concerto＊ William WEI also performs in William WEI and WANG Pei-yao and Luminous Shadow concerts, biography please refer to p.51
＊ Kaohsiung Symphony Orchestra also performs in Beyond the Score® Pictures from an Exhibition — Pictures of What?, biography pleaserefer to p.104

for Saxophone Quartet and Orchestra by the young
At the age of twenty-four, Nikolai RIMSKY-

Austrian composer Bernd Richard DEUTSCH, which

KORSAKOV, encouraged by his peers, wrote

is co-commissioned by National Kaohsiung Center for

Symphony No. 2 Antar (later changed to a symphonic

the Arts (Weiwuying) and the Gewandhaus Orchestra

suite), based on the fantasy stories of Russian writerfrom Leipzig, will also be presented. It had its world

Osip SENKOVSKY. Differing from the traditional

premiere in Leipzig at the end of 2021.

演出曲目● 陳銀淑：《突然使勁》 ( 臺灣首演 )● 伯恩．理查．多伊奇：《給薩克斯風四重奏與管絃樂團的協奏曲》（亞洲首演，由衛武營與萊比錫布商大廈管絃
樂團共同委託創作）● 林姆斯基 - 高沙可夫：交響詩《天方夜譚》，作品 35

4.17 Sun. 14:30

音樂廳 Concert Hall演出全長約 110 分鐘，含中場休息 20 分鐘
Duration is 110 minutes with a 20-minute intermission.
134

演前導聆
Pre-talk
合作夥伴
Partner

4.17 Sun. 13:50-14:10
音樂廳三樓大廳Concert Hall 3F Lobby

Program● Unsuk CHIN: Subito con Forza (Taiwan Premiere)● Bernd Richard DEUTSCH: Concerto for Saxophone Quartet and Orchestra (Asian Premiere, joint commission by
Weiwuying with Gewandhaus Orchestra)● Nikolai RIMSKY-KORSAKOV: Scheherazade, Op.35

135

c

Lo

米特薩克斯風重奏團

©

Ri

ky

指揮 Conductor

MIT Saxophone Ensemble

廖國敏

LIO Kuok-man

Performers

高音薩克斯風：陳力鋒

Soprano Saxophone: CHEN Li-fong

中音薩克斯風：陳品樺

Alto Saxophone: CHEN Pin-hua

次中音薩克斯風：黃珮涵

Tenor Saxophone: HUANG Pai-haw

上低音薩克斯風：張柏方

Baritone Saxophone: CHANG Po-fang

現任澳門國際音樂節節目總監及香港管絃樂團駐the second prize winner of the third Svetlanov2013 年成立，由團長陳冠文號召 12 位留學自歐美emerging chamber group, the MIT has held over團指揮的廖國敏曾獲美國《費城詢問報》譽為「令International Conducting Competition in Paris with

歸國的青年演奏家組成。背負著提升臺灣古典薩克

240 concerts and events since forming in 2013.

人矚目的指揮奇才」，2014 年法國巴黎國際使雲audience prize and orchestra prize and has served

斯風之國際能見度、推廣薩克斯風重奏的使命，成As a pioneer saxophone ensemble in Taiwan, the蘭諾夫指揮大賽勇奪亞軍、觀眾大獎及樂團大獎，as the first Chinese Assistant Conductor with the

立八年多來，不斷舉辦各種形式的演出，廣邀國外MIT Saxophone Ensemble takes on the duty of

並獲美國費城交響樂團委任為助理指揮，為該團

Philadelphia Orchestra.

知名音樂家來臺交流，也持續委託臺灣作曲家譜寫

expanding the saxophone ensemble repertoire.

史上首位華人助理指揮。

LIO has successfully collaborated with many

原創作品。

In addition to arranging works for the ensemble,

廖國敏活躍於國際舞台，近期重要演出包括獲邀

leading orchestras across the globe. This season

2017 年受國際大師文森．大衛 （Vincent DAVID）

they continuously commission new works by

指揮維也納交響樂團，為樂團成立 121 年來樂季音

he was invited as the first Chinese conductor to邀請，於香港、澳門、臺灣三地舉辦巡迴演出；

active composers, including Philippe GEISS, CHIU

樂會上首位華人指揮；獲法國政府委派與圖盧茲conduct subscription concert with the Vienna

2018 年獲選為臺灣有史以來第一個進入文化部「演Hao-yuan, LEE Che-yi, CHOU Hsuan-hung, LIANG

國家交響樂團首度出訪沙特阿拉伯；韓國平昌音Symphony; Invited by the French government

藝團隊分級獎助計畫」的薩克斯風重奏團；並於同

Wan-yun, LIN Ying-ting, and WANG Chih-yun. The

樂節；國立臺灣交響樂團共十場及香港管絃樂團to lead the first Saudi Arabia performance tour年七月參加「第 18 屆國際薩克斯風年會」，登上MIT also devotes to promoting the saxophone in樂季閉幕音樂會等演出。

with Orchestre National du Capitole de Toulouse;克羅埃西亞國家劇院演出，發表作曲家邱浩源融

Taiwan and bringing it into the mainstream, by

歌劇指揮也備受矚目，近期與臺中歌劇院合作《塞Completed 10 performances in Taiwan with NTSO;

合臺灣元素之創作《慶長生》，將臺灣獨有之音樂

holding masterclasses, lectures, recitals, and out-維亞理髮師》。其他歌劇指揮作品包括《波西米Appearance at Music in PyeongChang Festival and特色及演奏水平展現於國際舞台，其收錄於同年發

reaching concerts. The most successful among all

亞人》、《愛情靈藥》、《小丑》、《杜蘭朵》、

conducted the season closing concert with Hong行的首張同名專輯內；十二月與日本薩克斯風大師

is currently there are more than 25 ensembles, over

《遊唱詩人》、《弄臣》、《蝴蝶夫人》、《卡門》

Kong Philharmonic.

須川展也合作，米特首度登上國家音樂廳；2019250 players, coached by MIT. Members of these等；並獲指揮家瓦列里 . 格吉耶夫邀請客席指揮俄

LIO recently collaborated with National

年，首次評選進入國藝會年度獎助團隊（Taiwan

ensembles vary from youth to adult, and beginners

羅斯馬林斯基劇院。

Taichung Theater on a production of Il Barbiere diTop）；並於同年八月代表臺灣首次受邀前往新加

to music-major students.

Siviglia. Other opera performances including La坡，參與第九屆國際研討會，且首度舉辦國表藝三

Defined themselves a versatile chamber group, thebohème, L'elisir d'amore, Pagliacci, Turandot, Il

館巡迴演出；2020、2021、2022 年，亦連續獲選

MIT Saxophone Ensemble always enjoys innovating

Trovatore, Rigoletto, Madama Butterfly, Carmen; And

為國藝會年度獎助團隊。

their performance, teaching, and all other aspects.

廖國敏獲選為 2021 香港十大傑出青年。

Currently serving as Programme Director of thewas invited by Valery GERGIEV as guest conductor

Macao International Music Festival and Resident

at the Mariinsky Theatre.

Conductor of the Hong Kong Philharmonic

136

演出人員

The broad interests of members contribute to thisMIT (Made in Taiwan) Saxophone Ensemble wascharacteristic, and lead the group to have wider andformed in 2013 by talented Taiwanese saxophonists

deeper influences that are essential to improve thelocal saxophone society toward its audience.

Orchestra, LIO is praised by the Philadelphia

LIO is the recipient of the 2021 Hong Kong

who have studied in the United States, France,

Inquirer as "a startling conducting talent." He was

Ten Outstanding Young Persons award.

Japan, Thailand, and the Netherlands. As an137樂曲解說 Program Notes

樂曲解說 Program Notes

陳銀淑：《突然使勁》

伯恩．理查．多伊奇：《給薩克斯風四重奏與管絃樂團的協奏曲》

Unsuk CHIN: Subito con Forza

Bernd Richard DEUTSCH: Concerto for Saxophone Quartet
and Orchestra

撰文｜陳銀淑Written by Unsuk CHIN138

撰文｜伯恩 ‧ 理查 ‧ 多伊奇（博浩樂譜出版社提供）
Written by Bernd-Richard DEUTSCH (Reproduce with the approval of Boosey & Hawkes.)

我 的 管 絃 樂 作 品《 突 然 使 勁 》（Subito con

My orchestral work Subito con Forza is

I. 果斷地 – 生動地

I. Risoluto–Vivace

Forza） 是在 2020 年某個特別的紀念日創作的。

composed on the occasion of a certain

II. 冷靜地 – 激動地

II. Calmo–Agitato

作品隱藏著關於貝多芬音樂的典故，引用了他在

anniversary in 2020. There are hidden allusions

III. 瘋狂地

III. Frenetico

喪失聽力後，與親友書寫溝通的「對話書」。書

to BEETHOVEN's music, and it refers to his so-

中的內容不僅記載著平凡的瑣事，更有高深的奧

called Conversation Books, which the composer樂曲包含三個樂章。最短的第一樂章約七分鐘。

終樂章，「瘋狂地」(Frenetico) ，薩克斯風以歡快、秘。其中有這麼一句話，讓我深受啟發：「無論used off to communicate with visitors once his

始於「果斷地」(Risoluto) 導奏，由管絃樂團呈示

驚人的快速音群，展現高超的演奏技巧，終樂章

大小（調），我都是贏家。」貝多芬一生飽受聽

hearing began to decline. Its content ranges

整部作品最重要的動機，以四度音程的結構，內

透過與第一樂章相似的節奏，使整部作品前後呼力及溝通障礙的折磨，導致他內心的憤怒和沮from the mundane to the profound, and is often

部又可細分為二度與三度音程相連，在和聲上扮應，圓滿結束。這部新作於 2021 年 10 月 21 日首

喪，這些情緒起伏可能反映在他的寬廣的音樂語

enigmatic. In particular, I was 'inspired' by the

演決定性的聲響並貫穿全曲。導奏由次中音及上演，由法國指揮家弗朗索瓦 - 克薩維耶 ‧ 羅特，

言中，從火山爆發到極致寧靜的情緒。它深刻又

following sentence: "Major or minor. I am the

低音薩克斯風擔綱要角，以各自的獨奏開展而來，指揮萊比錫布商大廈管絃樂團與拉榭爾薩克斯風

令人心碎地講述了人類不可或缺的重要事物，並winner." BEETHOVEN's struggle to communicate

又以十二／八拍形塑短促、快速與精巧，預示接四重奏演出。

讓我對創作有更深的體悟。這首作品是我對這位

and his loss of hearing frequently resulted in an下來第二樂章的「生動活潑」(Vivace)。

堪稱是音樂史上第一位現代主義作曲家的致意，

inner rage and frustration which may have found

因為他不斷地突破音樂界線，執著地追求原創

its reflection in the extreme range of his musical

做為全曲的核心，第二樂章共長 11 分鐘，分為慢－

consists of three movements, with the first

性，才徹底改變了音樂史的進程。

language, spanning emotions from vulcano-like

快－慢三個段落，亦可拆分為「緩版」(Adagio) 和

movement being the shortest at 7 minutes.

eruptions to utmost serenity. It tells profoundly「詼諧」(Scherzo) 的交替組合。本樂章先由獨奏

Beginning with an introduction Risoluto, thea n d p o i g n a n t ly s o m e t h i n g i n d i s p e n s a b l e

中音薩克斯風帶出「冷靜」(Calmo) 氛圍，伴著弦

orchestra opens with the most important motif

about the human condition. This was a further

樂簡單的長和弦，配器上偶爾加入鋼琴或豎琴，of the entire piece, an interval of second andinspiration for my piece which is a homage for隨後交給高音薩克斯風。快速的中間段落標註「激third disguised within the frame of an interval of

the arguably first modernist composer in musical動」(Agitato) ，由次中音與上低音薩克斯風以舞

fourth. This motif runs like a thread throughout

history, a composer who constantly felt the urge

曲般的節奏、持續變換的拍號，讓曲風走向怪誕、

the piece and is crucial for its harmonization. Hereto stretch boundaries of musical language, and丑角式的嬉鬧。隨後進入管絃樂團的過門，回到

the tenor and baritone saxophone solo are in thewhose quest for originality completely changed

再現部。第三段落以慢速基調，回應第一段中音

spotlight, after allowing both to shine individually

the course of music history.

和高音薩克斯風獨奏，同時融入第二段落的音型，and exchanging brief episodes, the movement

流暢地向前推進。最後進入舒緩的尾聲，結束此moves towards a fast 12 / 8 tempo (Vivace), before

樂章。

announcing the second movement.

The Concerto for Saxophone Quartet and Orchestra139樂曲解說 Program Notes

林姆斯基 - 高沙可夫：交響詩《天方夜譚》，作品 35
Nikolai RIMSKY-KORSAKOV: Scheherazade, Op.35
撰文｜吳毓庭Written by WU Yu-ting

At 11 minutes, the second movement is the longest

rhythm with a slight modification, and thus forms aI. 大海與辛巴達的船隻

I. The Sea and Sinbad's Ship

and at the heart of the concerto. Divided into threecomplete circle for the whole piece to a satisfying

II. 卡蘭達王子的傳說

II. The Legend of the Kalendar Princeparts: slow–quick–slow, with two interlocking

ending.

III. 年輕的王子與公主

III. The Young Prince and The Young Princess

IV. 巴格達的盛宴—海—船撞上有

IV. Festival at Baghdad. The Sea. Ship Breaks upon a Cliff

movements, Adagio and Scherzo integrated within
it. The movement (Calmo) begins with a very simple

The premiere took place on 28 October 2021 in theaccompaniment of underlying strings, piano,

Gewandhaus, Leipzig with the Raschèr Saxophone

and harp, as the solo alto saxophone unfolds,

Quartet and the Gewandhaus Orchestra conducted

quickly taken up by the soprano saxophone. Thisby von François-Xavier ROTH.

青銅騎士雕像的峭壁

Surmounted by a Bronze Horseman《天方夜譚》大約在 18 世紀初開始廣泛流傳於持續奏出大幅起落的波濤線條，配合高音樂器的is followed by a middle section Agitato, the rapid

歐洲，其「故事中有故事」的敘事技巧以及童話

顫音、半音階三連音，形成充滿動態感的音畫。

movement of the lower saxophones (tenor and內涵（conte de fées），皆帶給各地的藝術家們

bass) gives way to the development of dance-like

許多新刺激。在古典音樂領域，先有韋伯寫下歌

由於「卡蘭達王子」在書中有三位，因此第二樂

textures characterized by frequent changes of

劇《阿布．哈桑》（Abu Hassan），後來有舒曼

章確切描述哪段情節並不清楚，我們只知道他厭meter, with increasingly grotesque or even clown-

以《天方夜譚》中講述故事的雪赫拉查德為標題，

倦宮中生活，扮成苦行僧行旅各處，作曲家特別like features in its textures. A brief orchestral寫作給青少年的鋼琴曲。

使用低音管高音域製造出尋尋覓覓的姿態。第三樂章同樣沒有確切情節，但優美、繾綣的旋律帶

interlude leads to a reprise of the first section of
the movement, in which the solo alto and soprano

不過這一系列中最有名的，當推由俄羅斯作曲家

出全曲最浪漫的段落。第四樂章以急促的節奏營

saxophone are combined with patterns from the林姆斯基．高沙可夫完成的交響組曲。作曲家在造出慶典氛圍，中間有許多精彩的銅管樂器合

middle section. A coda that proceeds tentatively

1887 年整理完同儕鮑羅定的遺作歌劇《伊果王奏，將樂曲的華麗感推向高潮。

at a measured tempo concludes the second

子》後，綜合自身對東方題材的興趣，與過去曾

movement.

擔任海軍軍官的經驗，在隔年就完成了這部充滿
畫面感的作品。

The Arabian Nights) began to circulate widely in

In its gestural character, the finale (Frenetico)140

One Thousand and One Nights (also known as

is often euphoric and marked by a mostly rapid

第一樂章開始會聽見代表蘇丹王的威武主題，和Europe at the beginning of the 18th century, andtempo. Here the saxophones are required to

代表女主角的小提琴敘事主題，兩主題會貫穿全

its narrative technique of "story within a story"

negotiate passages of considerable virtuosity.

曲，不過每次出現都會些微改變，比如在全曲末

and the "conte de fées"(fairy tale) content both

The movement ends by quoting the opening

尾，可以聽見蘇丹王的暴虐已被女主角感化。接brought many new stimuli to artists everywhere.

下來整個樂章基本上都在描繪海上航行，低音部

In the music world, Carl Maria von WEBER
141

first wrote the opera Abu Hassan, and laterwith the tremolo and chromatic triplets of the

SCHUMANN's piano piece for teenagers, titledtreble instruments, it forms a dynamic soundScheherazade, after the narrator of The Arabian

image.

Nights.
Since there are three Prince Kalendars in the
The most famous among all is definitely thisbook, it is not clear which episode the second

symphonic suite, Scheherazade, by the Russian

movement depicts exactly. We only know thatcomposer Nikolai RIMSKY-KORSAKOV. Afterhe was tired of living in the palace and traveled

posthumously finishing his colleague Alexander

eve r y w h e re a s a n a s c e t i c . T h e c o m p o s e r

BORODIN's opera Prince Igor in 1887, RIMSKY-

especially uses the bassoon's higher register to

KORSAKOV became more interested in oriental

narrate all the seeking and traveling. The third

stories, and using his own experience as a naval

movement also has no exact plot reference, but

officer, the composer completed this work full of

the beautiful and sentimental melody brings

images the following year.

out the most romantic part of the whole piece.
The fourth movement creates a celebratory

At the beginning of the first movement, you willatmosphere with a rapid rhythm. There arehear the mighty theme representing the Sultan,

many brilliant brass ensemble passages in thisand the violin narrative theme representing the

movement, pushing the magnificence to theheroine. The two themes will run through the

pinnacle.

whole piece, but they will change slightly eachtime they appear. For example, at the end of the
movement, it can be heard that the tyranny of
the Sultan has been mollified by the heroine.
The entire movement that follows is depicting
sailing at sea, and the bass part continues toplay wavy lines with sharp ups and downs, and

142

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製作團隊

Production Team衛武營國際音樂節藝術總監
Artistic Director of

藝術事務組長 Head of Artistic Services
蔡紫縈 May TSAI

Weiwuying International Music Festival
陳銀淑 Unsuk CHIN
藝術顧問 Artistic Advisor
馬里斯．戈托尼 Maris GOTHONI

技術協調組長 Head of Technical Coordination
顏嘉煌 Juan YEN
舞台經理 Stage Manager

後台規劃 Backstage Coordinator陳芃蓁 CHEN Peng-chen蔡宛臻 Jane TSAI黃春華 HUANG Chun-hua

鄭宇淑 ZHENG Yu-shu黃宥綝 HUANG Yu-lin

周羽聞 CHOU Yu-wen

李立菁 Regin LEE（《音樂揭秘：展覽會之 What ？》）藝術總監 General and Artistic Director
簡文彬 CHIEN Wen-pin
副總監 Production Director

張家禎 CHANG Chia-chen專案協力 Programmer Assistant

燈光技術組長 Head of Lighting

節目部經理 Director of Artistic Planning林娟代 Elise LIN
音樂企劃組長 Head of Music

陳達章 CHEN Ta-chang
賀淑媛 Lilianna HO行銷統籌 Marketing Coordinator
任立譽 JEN Li-yu
林玫茵 LIN Mei-yin
楊綿霈 Manson YANG

郭建豪 KUO Chien-hao

節目冊編輯 Copy Editor
張思誼 CHANG Sih-yi

黃羽菲 Faye HUANG

李奕萱 LI I-hsuan

蔡念容 TSAI Nien-rong

特約撰文 Feature Article

許雅筑 Ashley HSU

陳炳宏 CHEN Ping-hung吳毓庭 WU Yu-ting

謝昇紘 HSIEH Sheng-hung李德馨 LI De-xin

鄭可喬 CHENG Ke-chiao

張雅涵 ZHANG Ya-han

馮天彥 FENG Tian-yan

翁寧 WUNG Ning

連士堯 Eric LIEN
陳美玲 CHEN Mei-lin
技術統籌 Head of Technical Coordinator視聽技術組長 Head of Audio & Video
許志偉 HSU Chih-wei
視聽技術 Audio&Video Staff

翻譯 Translation
謝綾 HSIEH Lin

陳芃蓁 CHEN Peng-chen

劉東信 LIU Tung-hsinyu

立言翻譯有限公司 Liitrans Translations

許志偉 HSU Chih-wei（《音樂揭秘：展覽會之 What ？》）陳威聰 CHEN Wei-tsing

蔡格爾 Hegel TSAI王怡潔 WANG Yi-chieh

加州翻譯社 California Translations

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邱映潔 CHIU Ying-chieh樂器統籌 Instrument coordinator陳芃蓁 CHEN Peng-chen黃健欣 May WONG

黃緯騰 Denny HUANG
節目企劃 Programmer

昕 Cynthia CHIANG

黃健欣 May WONG

技術部經理 Director of Technical Managemrnt
黃國威 Raymond WONG

蔣

燈光技術 Lighting Staff

郭遠仙 KUO Yuan-hsien營運副總監 Deputy General Director

朱逸群 CHU Yi-chun
行銷策略組長 Head of Strategic Marketing

平面設計 Graphic Design

林家妤 LIN Jia-yu

衛武營國家藝術文化中心
National Kaohsiung Centert for
the Arts (Weiwuying)

行銷部經理 Director of Marting & Communication

舞台技術組長 Head of Stage & Rigging
李慧玲 LEE Hui-ling
舞台技術 Stage & Rigging Staff

丘秝溱 CHIU Li-chen

傅冠威 Gino FU

李侑庭 Sylvia LEE

陳一靈 CHEN l-ling

郭書愷 KUO Su-kai
湯又明 Youming TANG

144

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