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演出時間 2012年9月21日（星期五）7:30PM演出地點 國家音樂廳 National Concert Hall, Taipei

演出者 指揮│呂紹嘉 Shao-Chia LÜ, conductor

小提琴｜瑟吉‧哈察特楊 Sergey KHACHATRYAN, violin

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位

指定住宿

特別感謝

開季音樂會永恆羅密歐

Season Opening Concert Oh, Romeo!

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曲目 PROGRAM

本中心表演藝術圖書館典藏相關節目資料，詳見http://libserv.ntch.edu.tw/related_catalog/index.asp，

並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。

上半場　約55分鐘下半場　約50分鐘

喬治‧李蓋提（1923-2006）：《羅馬尼亞協奏曲》

第一樂章 小行板

第二樂章 活潑的快板

第三樂章 從容的慢板

第四樂章 非常活潑－急板

亞蘭‧哈察圖量（1903-1978）：D小調小提琴協奏曲

第一樂章 堅定的快板

第二樂章 持續的行板

第三樂章 活潑的快板

～中場休息～

塞爾基‧普羅科菲夫（1891-1953）：《羅密歐與茱麗葉》組曲選段

I. 〈兩個對立的家族〉（第二號組曲）

II. 〈年輕的女孩茱麗葉〉（第二號組曲）

III. 〈面具〉（第一號組曲）

IV. 〈羅密歐與茱麗葉〉（第一號組曲）

V. 〈舞蹈〉（第二號組曲）

VI. 〈狄巴特之死〉（第一號組曲）

VII. 〈羅密歐與茱麗葉分離之際〉（第二號組曲）

VIII. 〈羅密歐與茱麗葉之墓〉（第二號組曲）

IX. 〈茱麗葉之死〉（第三號組曲）

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György LIGETI (1923-2006): Concert Românesc I. Andantino II. Allegro vivace III. Adagio ma non troppo

IV. Molto vivace. Presto

Aram KHACHATURIAN (1903-1978): Violin Concerto, D minor I. Allegro con fermezza II. Andante sostenuto

III. Finale: Allegro vivace

---Intermission---

Sergei PROKOFIEV (1891-1953): Excerpts from Romeo and Juliet Suites I. The Montaques and the Capulets (Suite II) II. Juliet - the young girl (Suite II) III. Masks (Suite I) IV. Romeo and Juliet (Suite I) V. Dance (Suite II) VI. The death of Tybalt (Suite I) VII. Romeo and Juliet before parting (Suite II) VIII. Romeo at Juliet's grave (Suite II) IX. Juliet's death (Suite III)

For related information of the wonderful program of the Center for the Performing Arts Library Collection,

please refer to http://libserv.ntch.edu.tw/related_catalog/index.asp.

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演出者簡介

出生台灣新竹縣，自幼學習鋼琴。就讀台大心理系期間，受陳秋盛先生之啟發開始鑽

研指揮藝術。先後赴美國印第安那大學及維也納國立音樂院主修鋼琴與指揮。曾入義大利

Accademia Musicale Chigiana di Siena指揮班，隨大師G. Rozhdestvensky學習。

在連續贏得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛三大國際指揮大賽首獎後，呂

紹嘉展開他在歐洲璀燦的指揮生涯。他先後獲聘擔任柏林喜歌劇院首席駐團指揮、德國

萊茵愛樂交響樂團暨科布倫茲市立歌劇院音樂總監、德國漢諾威國家歌劇院音樂總監，

並受邀在英國國家歌劇院、挪威皇家歌劇院、布魯塞爾皇家歌劇院、澳洲雪梨歌劇院、

瑞典哥特堡歌劇院、德國斯圖加特、柏林德意志、漢堡、法蘭克福歌劇院及維也納夏季

音樂節（Klangbogen）擔任客席指揮。此外，他也曾率領柏林喜歌劇院於挪威貝爾根國際音樂節和日本東京及名古屋演出《霍夫曼的故事》。

在出任德國國家萊茵愛樂交響樂團與柯布倫茲市立歌劇院音樂總監期間，呂紹嘉以無數

精采深刻的音樂詮釋，獲得了團員及愛樂者的愛戴，他並曾帶領該團於北京、上海、義大

利米蘭等地巡迴演奏。呂紹嘉於2004年5月獲文化部長頒贈象徵該省文化最高榮譽的Peter Cornelius獎章。

在出任德國漢諾威國家歌劇院音樂總監期間，呂紹嘉大力拓寬劇院劇碼。除了傳統的德奧

及義大利歌劇外，他成功的推出了雅納捷克及德布西的作品，使得劇院的名聲更推展至國際

化的層次。他所指揮的德布西歌劇《佩利亞與梅麗桑》，於2004年獲邀赴維也納音樂節及愛丁堡藝術季演出多場，獲得極高讚譽。

除了歌劇領域外，呂紹嘉在音樂會上的表現也同樣耀眼，至今合作的主要交響樂團有：慕

尼黑愛樂、柏林、西南德、中德、巴伐利亞、維也納廣播樂團、法國國家、里昂、杜魯士、

史特拉斯堡交響樂團、英國利物浦愛樂、奧斯陸愛樂、貝爾根愛樂、赫爾辛基愛樂、瑞典廣

播、挪威廣播、哥特堡交響樂團、羅馬聖西西里亞樂團……等。2011年底，呂紹嘉首度在阿姆斯特丹指揮荷蘭皇家音樂大會堂管絃樂團，以斯特拉溫斯基的《春之祭》博得滿堂彩。在

亞洲，他近期將在東京指揮新日本愛樂演出貝多芬第九交響曲。

在睽違台灣多年後，呂紹嘉於2010年秋返鄉接任國家交響樂團（NSO）音樂總監，期盼以「精緻．深刻．悸動」之信念，深耕台灣樂壇。

指揮 conductor

呂紹嘉Shao-Chia Lü

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“The conductor Shao-Chia Lü is a master of nuance – and an exceptionally gifted conductor.”—Suddeutsche Zeitung

“... Lü’s musical watchfulness is terrier-like in its intensity. He pounces on the dramatic shifts in the score with a seemingly feverish energy. His sense of rhythm is exact and he knows how to signal unerringly each of the many small changes of pace in a thoroughly studied interpretation… he is, an deserves to be, the star of this evening.”

—The Sydney Morning Herald

Taiwan-born Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington,

USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon, Trento and Amsterdam.

In 1995, he began his opera career as Erster Kapellmeister at the Komische Oper Berlin. Numerous guest performances followed, including the Opera Australia and the English National Opera, the Theatre de la Monnaie in Brussels, the opera houses of Frankfurt, Hamburg and Stuttgart as well as the Deutsche Oper Berlin. In 1998, Shao-Chia Lü took over the position of General Music Director of both the Staatsorchester Rheinische Philharmonie Koblenz and the Koblenz Theatre.

Shao-Chia Lü, as General Music Director of the Staatsoper Hannover between 2001 and 2006, has established himself firmly as an excellent opera conductor through numerous outstanding performances during this period of such repertoire as: Aida, Ernani, Le nozze di Figaro, Jenufa, Vec Makropulos, Fidelio, Turandot, Madama Butterfly, Tosca, Tristan und Isolde, Der Fliegender Hollander, Wozzeck, osenkavalier, Elektra, Salome, to name a few. In summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelleas et Melisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü’s recent opera engagements include: Parsifal and Katja Kabanowa in Goteborg, Sweden, La fanciulla del west in Stuttgart, Eugene Onegin at the Komische Oper, Berlin, Madama Butterfly and Tosca in Sydney and Melbourne.

Alongside his opera activities, Shao-Chia Lü is equally at home on concert podiums. In 1994, he had his debut with the Munchner Philharmoniker by replacing Sergiu Celibidache at the last moment for 2 unchanged programs (including Bruckner Symphony No.8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Munchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Bournemouth Symphony Orchestra, the Goteborg Symphonics, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao-Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam.

Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010.

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演出者簡介

亞美尼亞小提琴家瑟吉．哈察特楊2000年時以15歲之齡贏得了西貝流士小提琴大賽第一名，2005年又拿下伊麗莎白女王小提琴大賽首獎；柏林愛樂、皇家大會堂、法國國家交響、倫敦交響、倫敦愛樂、慕尼黑愛樂及NHK等世界一流樂團經常與他合作。2011/2012樂季重點邀演包括：班貝格交響、柏林廣播、巴黎管絃以及與阿姆斯特丹小交響樂團世界

首演奧赫倫尼的協奏曲。哈察特楊的錄音由Naive發行，曾灌錄西貝流士小提琴協奏曲、兩首蕭斯塔科維契小提琴協奏曲、蕭斯塔科維契奏鳴曲及法朗克奏鳴曲等；最新發行的CD是巴赫的六首無伴奏奏鳴曲及組曲。哈察特楊使用的樂器是由日本音樂基金會所出借的1740年「易薩伊」瓜奈里小提琴。

小提琴 violin

瑟吉‧哈察特楊Sergey Khachatryan

Born in Yerevan, Armenia, Sergey Khachatryan won First Prize in the VIII International Jean Sibelius Competition in Helsinki in 2000, becoming the youngest ever winner in the history of the competition. In 2005 he claimed the First Prize at the Queen Elisabeth Competition in Brussels. Sergey has performed with orchestras such as the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Orchestre National de France, Orchestre de Paris, London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, NHK Symphony in Tokyo, Munich Philharmonic and the Tonhalle Orchestra in Zurich. Sergey´s 2011-12 season includes concerts with the Bamberg Symphoniker under Herbert Blomstedt, Rundfunk Symphonieorchester Berlin with Juraj Valcuha, Orchestre de Paris with Andris Nelsons.

Sergey plays the 1740 "Ysaye" Guarneri violin on kind loan from the Nippon Music Foundation.

©Marco Borggreve

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樂團簡介

「在呂紹嘉指揮下，NSO將十九世紀末的音樂傳神地演繹！呂不僅引導出團員的光與熱，更將史特勞斯（《艾蕾克特拉》）引人入勝的樂曲發揮地淋漓盡致：絃樂擴散性的逼近，銅管與木管則浸淫在不安的不和諧音中。」 ─英國《歌劇》雜誌 2011/05

「呂紹嘉有種天賦異稟的流動性節奏，他歡愉、緊湊的節奏與NSO堪稱絕配，樂團節奏敏銳、展現出的動人音質令人刮目相看，特別是馬勒第五的第三樂章，彷彿是用宗教儀式將折磨著前兩樂章的靈魂昇華了。」 ─《美國唱片指南》雜誌 2011/01

「馬勒第五的第二和第三樂章處理得特別細膩，波濤澎湃之中韻律感十足，呂紹嘉和樂手們的互動幾乎到了水乳交融的的境界。（他與）台灣愛樂在廣州的演出，散發出來的吸引力，是一種對藝術美好的追求。」 ─《亞洲週刊》2010/12

「馬勒第十號交響曲的慢板是很棒的演出，呂紹嘉精準的演出捕捉了樂曲中的憂鬱元素……NSO的荀貝格改編自布拉姆斯G小調絃樂四重奏的管絃樂演奏則是光芒四射，叫人嘆為觀止。」

─英國《留聲機》雜誌 2009/09

交響樂團在每個國家有不同的形成背景，在沒有西方管絃樂傳統的台灣，過去樂團都以文化教育體系

營運。經過二十多年耕耘，我們可以驕傲的說，國家交響樂團（NSO），從交響樂、室內樂到歌劇，是一自信、精銳，有文化意識的台灣藝術代表團隊。

國家交響樂團的前身「聯合實驗管弦樂團」，是教育部於1986年集合優秀新生代音樂家，以打造頂尖交響樂團為目標所成立。2005年成為國立中正文化中心附設團隊，以「台灣愛樂」立足國際。歷任常任指揮為Gerad Akoka、Urs Schneider及音樂總監包括許常恵、張大勝、林望傑、簡文彬等人。近十年來NSO銳意求變，大步朝專業、開放、勇於創新的職業樂團發展，2010年8月，旅德知名指揮呂紹嘉接任NSO音樂總監，更將樂團打造為亞洲地區最具指標性樂團之一。

樂團現有96名團員，每年樂季演出約70場次。在前任總監簡文彬任內（2001～2007）以演出作曲家全套交響樂的「發現系列」為系統拓展曲目，更以歌劇、「永遠的童話」等跨界製作與國內外劇場菁英合

作，開創多項國內先例。2006年全本《尼貝龍指環》製作，更寫下亞洲歌劇演出里程碑。2008～2010樂季，樂團由前底特律及多倫多交響樂團音樂總監赫比希（Günther Herbig）擔任藝術顧問暨首席客座指揮，持續為NSO訓練出堅實的演奏實力與動人音樂性；其任內之駐團作曲家及「NSO Call For Score」計畫，提供國人作品更多發表空間，並進一步提升NSO的國際樂壇聲望。

在現任音樂總監呂紹嘉擘劃下，NSO循著既有基礎，以多元化的主題貫穿樂季，呈現給聽眾智性與感性兼具，整合與對比並存的廣博曲目，本著「精緻、深刻、悸動」的信念琢磨出樂團多變細膩的音色與

深刻撼人的音樂表現。不僅積極拓展NSO演奏近代管絃樂作品的能力，從新維也納樂派、二十世紀法國到俄國近代皆有斐然成績，同時並致力於鞏固精鍊古典經典名作，也持續推動國人管弦樂創作之演出、

錄音。

20多年來與NSO合作過的客席指揮家：馬捷爾、巴夏、潘德瑞茨基、史拉特金、羅斯楚波維奇、柯米希奧納、羅許德茲特溫斯基、霍格伍德、譚盾等；及聲樂家芙雷妮、柯楚芭絲、帕瓦洛帝、多明哥、

卡瑞拉斯、庫拉、特菲爾、波伽利；吉他大師耶佩斯；鋼琴家傅聰、拉羅嘉、提博德、魯迪、波哥雷里

奇、薇莎拉絲、賀夫、巴弗傑、寇瓦謝維契、齊柏絲坦、洛堤、歐森等；大提琴家馬友友、顧德曼、麥

斯基、朱利安•洛伊韋伯、卡普頌、王健、伊瑟利斯、穆勒─修特；小提琴家林昭亮、胡乃元、夏漢、

明茲、列賓、希拉蕊•韓、宓多里、絲凱德；擊樂家葛蘭妮、葛魯賓格等逾六百位音樂家。

自信而精銳

國家交響樂團National Symphony Orchestra

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攝影 Raymond Huang

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National Symphony Orchestra

“Under the Viennese-trained Lü, (NSO) made the fin de siècle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss’ (Elektra’s) luscious orchestration: the strings rippled with menace and the brass and woodwind relished their angst-filled discords.” - OPERA 2011/05

“Lü has an innate gift for flow and pulse. His tight, buoyant rhythms are the perfect match for this orchestra’s incisive rhythms and astounding ensemble-sine qua non qualities, ...” - American Record Guide 2011/01

“Shao-Chia Lü handled the second and third movements of Mahler’s No.5 with tremendous finesse; conductor and musicians interacted in perfect synthesis, fusing rhythmic and melodic sense, rendering a powerful delivery... Lü and Taiwan Philharmonic’s concert in Guangzhou epitomized the pursuit of artistic perfection.” - Yazhou Zhoukan (Asia Week) 2010/12

“There was also a convincing performance of the Adagio from Mahler’s Tenth Symphony, Lü’s carefully calibrated rendering capturing the angst...The second programme [featured] an utterly dazzling performance of Brahms´ Piano Quartet in G minor arranged by Schoenberg.” - Gramophone 2009/09

Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, is hailed as one of the best orchestras in the Asian Region and became an artistic affiliate of the National Chiang Kai-Shek Cultural Center, the nation’s center for the performing arts, in 2005. Led by renowned conductor Shao-Chia Lü as its 5th music director starting August 2010, the NSO has increased the country’s cultural richness and music educational strength throughout Taiwan.

The NSO with 96 members presents a 40-week musical season of approximately 70 concerts/chamber recitals and one to two operas each year. It also launched educational programs and outreach projects mostly at its resident venue, the National Concert Hall in Taipei. Tour performances are regularly offered throughout Taiwan and overseas. It has toured to Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and major cities in China.

The NSO works regularly with internationally acclaimed conductors, such as Lorin Maazel, Krzysztof Penderecki, Rudolf Barshai, Leonard Slatkin, Christopher Hogwood, Oleg Caetani, Gennady Rozhdestvensky and soloists, including Midori, Vadim Repin, Hilary Hahn, Baiba Skride, Yo-Yo Ma, Gautier Capucon, Alban Gerhardt, Misha Maisky, Evelyn Glennie, Martin Grubinger, Louis Lorti, Kin-Woo Paik, Stephen Hough, Stephen Kovacevich, and many others.

The NSO has extended its artistic reach, involving in theater and opera productions, such as working with Lin Hwai-Min, the world-renowned choreographer and founder of Taiwan’s Cloud Gate Dance Theatre, Austrian digital artist Klaus Obermaier, and opera stage directors Tobias Richter, Moffatt Oxenbould, and Hans-Peter Lehmann. In addition to its record-breaking semistage concert operas Der Ring des Nibelungen, and Elektra, the NSO has collaborated with world-class opera houses for its multinational productions, such as Der Rosenkavalier (Deutsche Oper am Rhein, 2007), Carmen (Royal Opera House Covent Garden, Norwegian National Opera and Opera Australia, 2009) and Madama Butterfly (Opera Australia, 2012).

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二十世紀的東歐風情－前衛之音的先聲

東歐國家的古典音樂發展，自十九世紀起逐漸浮現於歐洲音樂史之中，以帶有民謠風

味的音樂元素，鑲嵌進源自西歐音樂文化的音樂架構中，塑造出異於德奧古典傳統的

「地方色彩」。伴隨著作曲技巧及曲式、調性的逐漸解放，這些被認為純為「地方色

彩」的特殊音樂元素，逐漸醞釀成為反思傳統調性及和聲的趨力，成為主導歐洲現代音

樂發展的主要動能之一。二戰後政治版圖的變動，使得東歐古典音樂的發展，走向一條

與西歐現代音樂截然不同的路徑。在共黨政治的文化政策下，作曲家不得不停止對於前

衛音樂的實驗追求，轉向簡單明瞭的音樂語言，以創作出符合民族精神和無產階級藝術

的作品。儘管在嚴格的管控之下，一些具有前衛精神的音樂家們，仍以敏銳的音樂天

賦，在樂器的編制及演奏技巧上投注巧思，甚至改變樂器構造，試圖創造出各種新穎的

音響色澤，間接承繼了巴爾托克、高大宜等前輩們的音響實驗路徑。十九世紀末以來對

於音響色澤的各種探試，終於在二十世紀六０年代百花盛開，當代音樂家們紛紛投入各

種聲響的測試與創作，其中，李蓋提即是自共黨文化脫身，成為當代音樂家追求新聲的

先驅。

樂曲解說

撰文│黃于真 (國立台灣師範大學音樂系博士班)

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匈牙利裔的奧地利作曲家李蓋提，是廿世紀最重要的作曲家之一。無論早期對於「音

堆」（cluster）和「微多聲部」（micro-polyphony）的概念，或是晚期擷取傳統素材與前衛手法進行「拼貼」的後現代思考，在今日，他的作品與理念都相當受到重視。

李蓋提的發跡與德國新音樂的搖籃「達姆斯特學派」有密切關係，在達姆斯特之

前的作品，則充分反映出時代的氛圍。李蓋提為猶太人，從小生長於特蘭西瓦尼亞

（Transylvania）地區（原屬匈牙利，一戰後被劃分為羅馬尼亞的一部份）。在二次世界大戰時，他的家人幾乎都在納粹集中營遇害，僅剩下母親與作曲家兩人倖存。二戰後，

匈牙利落入共黨手中，他到首都布達佩斯的李斯特音樂院學習，所跟隨的老師包括被視

為振興匈牙利音樂最知名的高大宜。就在那個時期，李蓋提不僅開始學習作曲，也仿效

高大宜與巴爾托克等人，進行民謠採集與研究，也把這些民謠旋律做為創作的素材。這

部創作於1951年的《羅馬尼亞協奏曲》，就是該時期的代表作品。然而即使採用民謠為創作素材，這部作品仍被認為過於前衛，僅經過一次預演，隨即被禁止演出。直到作曲

家於1956年逃往自由世界後，才得以重見天日，1971年正式首演之後，一躍成為李蓋提最常被演奏的作品之一。

作品有四個樂章，所有樂章接續演奏，中間並無停頓。作曲家採用真實的民謠旋律寫

作，並搭配新創作的仿民謠風味素材。第一樂章為慢板，唱出悠揚的旋律，點綴了法國

號的號角聲。第二樂章則為生動的快板，加上手鼓的節奏，傳達出舞曲的風味。第三樂

章以豎笛和法國號的獨奏開始，由不同的管樂器獨奏帶出近東風味的旋律。最後一樂章

則以急速的三連音開啟，小提琴的舞曲主題隨後加入。

雖然在創作素材與和聲語言上都稱不上前衛，但在樂器使用上，卻可以看到李蓋提對

於「音響色澤」的敏感與實驗性。在第三樂章的法國號旋律裡，他特別要求演奏者在第

5與第7個泛音時，不要把右手伸進號口控制音高，而是要以不準確的「自然」音高來吹奏。在第四樂章裡，中提琴、大提琴與低音提琴必須以非常精準的撥絃，做出類似定

音鼓的效果。在樂曲結束前，襯托法國號獨奏的，則是絃樂的泛音長音。種種特殊的音

效，都讓這部從「傳統」出發的作品，在細節上卻充滿了求新的企圖心。

喬治‧李蓋提（1923-2006）：《羅馬尼亞協奏曲》撰文│蔡永凱 (國立台灣師範大學音樂學博士候選人)

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György LIGETI (1923-2006) : Concert Românesc

György Ligeti followed in the line of distinguished twentieth-century Hungarian composers that runs from Bartók and Kodály through Sándor Veress and Miklós Rózsa. When he died six years ago at the age of 83, he was internationally recognized as one of the leading composers of his generation. Since the early 1960s, Ligeti (pronounced LIG-ih-tee) had been on the cutting edge of experimental music as one of the leaders in the emancipation of sound effects, timbres and textures from their traditionally subordinate roles, giving them a raison d'être of their own. Many of us became aware of his music through Stanley Kubrick’s 1968 film 2001: A Space Odyssey, in which the instrumental sonoric tapestries of Atmosphères (1961), the Requiem for voices and orchestra, and the choral Lux aeterna (1966) were used as fitting backdrops for desolate moonscapes. Twelve years later, Kubrick used Ligeti’s Lontano to help create the eerie, spooky atmosphere in The Shining.

The Concert Românesc is one of Ligeti’s earliest surviving works, composed in 1951 and hence far more akin stylistically to the conservative, folk-inspired music of Bartók and Kodály than to Ligeti’s better-known works built from densely textured cloudlike sonorities and complex polyphony. The score was lost during the composer’s flight from Hungary in 1956, then reconstructed in the 1960s from the orchestral parts and given its first official public performance on August 21, 1971 in Fish Creek, Wisconsin, with Thor Johnson conducting the orchestra of the Peninsular Music Festival. The composer claimed that there had been earlier public performances in the early 1950s in Hungary, but these are unconfirmed.

The four short movements are played continuously and run about twelve minutes in performance. They divide into two pairs of short-fast movements. The first pair is an orchestration of a Ballad and Dance for violin duo; the influence of Romanian folk music is keenly felt. The second pair, beginning with a solo horn call, explores the use of the natural harmonic series. The horns are played here in “natural” fashion, i.e., without the use of valves, which means some notes will seem “out of tune” to our ears. According to the composer, these horn calls were inspired by the sound of the Alphorn, which he first heard at the age of three in the Carpathian Mountains. The horn calls in the Concert Românesc create echo effects simulating the Alphorns sounding across great distances through mountain peaks and valleys.

© Naxos Music Library

by Robert Markow (Musicologist, Canada)

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比起俄國前輩斯特拉溫斯基的大膽腳步，以及普羅科菲夫和蕭斯塔科維契的獨特自我

風格，哈察圖量的音樂則較為保守，不脫十九世紀末俄國的音樂風格。

這首小提琴協奏曲完成於1940年，題獻給二十世紀的小提琴巨擘歐斯特拉赫（David Oistrakh, 1908-1974），1940年11月16日由歐斯特拉赫於莫斯科首演，獲得相當高的評價，並獲得史達林獎，之後於1968年改編為長笛協奏曲。哈察圖量曾描述他的創作過程：「我創作得毫不費勁，有時我的思維及想像超越了寫作樂譜的手，旋律湧現在我腦海，

甚至豐富到難以組織。」相較於其他二十世紀的小提琴協奏曲，呈現新的聲響或內斂的

表現氛圍，這首小提琴協奏曲明顯與十九世紀後半的協奏曲創作美學呼應，追求炫技與

豐富的管絃樂色彩，接續十九世紀末大規模的架構與輝煌燦爛的精神。

身為亞美尼亞人的哈察圖量，自小就對亞美尼亞民謠十分著迷，這首協奏曲也加入許

多民謠素材，例如頑固節奏、切分音、持續音、下行音型，及四音音階等，洋溢著濃濃

的亞美尼亞民謠風味。

作品遵循傳統的「快─慢─快」三樂章，第一樂章為奏鳴曲式，在節奏感強烈的樂團

序奏後，即由小提琴獨奏奏出強而有力的第一主題，以頑固節奏及四音音階為主，第二

主題則與第一主題呈現對比的詩意，木管及絃樂以持續音及切分節奏伴奏。第二樂章為

迴旋二段式，民謠式的主題充滿哀愁並富神祕感，樂團的頑固節奏令人聯想起圓舞曲。

第三樂章為輪旋曲，充滿節慶式的歡愉氣氛，以民謠式的舞曲為主題，中段旋律與第一

樂章的第二主題有直接關連，但韻律感卻截然不同。尾奏裡，樂團使用第一樂章序奏及

第一主題的素材，形成頭尾遙相呼應，加深全曲的整體感。

亞蘭‧哈察圖量（1903-1978）：D小調小提琴協奏曲撰文│張偉明 (國立台灣師範大學音樂系碩士班)

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Aram KHACHATURIAN (1903-1978) : Violin Concerto, D minor

Composed in two months during the summer of 1940, and first performed in Moscow on 16th

November of that year by its dedicatee David Oistrakh, the Violin Concerto in D minor is the second in a triptych of concertos which Khachaturian wrote over the decade from the mid-1930s, and which helped seal his reputation as the leading Armenian composer of his generation. Continuing directly the lineage of large-scale Romantic violin concertos (not least that by Tchaikovsky), the work was quickly taken up by soloists from both East and West, and retains much of its popularity today.

The opening Allegro con fermezza sets off with a brusquely descending orchestral gesture, after which the soloist leads off with an incisive, folk-inflected theme. A plaintive oboe introduces the second theme, the soloist pensive over pulsating flute and harp chords, before a return to the initial activity and a central development section, imaginatively scored, which resourcefully contrasts and combines both themes. The cadenza, occupied mainly with the second theme, arrives mid-way through the movement; then a reference to its unmistakable rhythm brings back the first theme, as part of a modified reprise. The movement closes with an agile and peremptory coda. Bassoon and lower strings, succeeded by stabbing brass chords, usher in the Andante sostenuto, the soloist entrusted with a melody of pronounced Slavic brooding. Strings intensify the prevailing mood, while woodwind interjections offset any tendency towards the lachrymose. A brief orchestral outburst is followed by a recall of the lower strings from the opening, then the soloist resumes, leading to a heartfelt treatment of the main theme by the whole orchestra. The close, however, returns to the shadows from which the movement emerged (and note the insinuating presence of the descending figure from the previous movement's main theme at the very end). The Allegro vivace finale begins with the strongest possible contrast, a haunting orchestral tutti which sets the scene for the soloist's lively and memorable main melody, often modified in its figuration during the course of the movement. In the central section, a soulful theme, derived directly from that in the first movement, offers some respite, though the frequently syncopated accompaniment ensures the main theme remains at least a background presence. A brief orchestral climax brings it back in full, then both themes are combined as the movement comes full circle in a forceful and decisive conclusion.

© 2012 Naxos Digital Services Ltd

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十九世紀中葉起，歐洲逐漸發展出浪漫芭蕾、古典芭蕾風潮，不僅奠定了今日芭蕾舞

及現代舞的基礎，也將過去僅由小作曲家配合舞蹈編寫的芭蕾音樂，提升到芭蕾舞劇的

作曲層級，吸引許多重要的作曲家創作舞劇音樂，芭蕾組曲也因之順勢而生。雖然芭蕾

舞劇在十九世紀末的俄國已經非常興盛，但如柴科夫斯基這般有名的作曲家，仍顧慮到

舞蹈與音樂本質上的差異，為芭蕾編寫的音樂有可能隨著舞碼的停演而被遺忘，因此他

仿效德利伯《柯蓓莉亞組曲》，將芭蕾舞劇音樂改編為組曲，藉組曲的方式保留音樂。

自此，將音樂改編為組曲，成為創作芭蕾舞劇常見的副產品，有些甚至超越芭蕾舞劇，

單獨成為出色的音樂作品。

《羅密歐與茱麗葉》（op.64）舞劇由基洛夫舞團委託普羅科菲夫創作音樂，並於1935年完成全劇編曲，然因普氏一開始將悲劇結局改為喜劇收場，且音樂內容被舞團認為過於複雜，遂連續遭到基洛夫和波修瓦兩大芭蕾劇團的拒絕。在芭蕾演出遙遙無期的

狀況下，普氏挑選劇中的音樂改編成第一號（op.64bis）、第二號組曲（op.64ter），以及十首鋼琴曲（op.75），分別於1936、1937年首演，皆獲得廣大好評；而舞劇則遲至1938年底，才得以進行縮編內容的首演。1940年，普氏配合基洛夫芭蕾舞團的演出，對該劇進行修訂，並增加了兩首新的樂曲，這個大規模的製作終於使該劇獲得成功。

1946年，作曲家再由劇中挑選數個樂段，改編為第三號組曲（op.101）。

普羅科菲夫自1917年俄國十月革命後轉赴美國、西歐十餘載，《羅密歐與茱麗葉》是他於1936年返鄉定居第一年完成的作品，但卻也是他自此以後少數未受政治影響的作品。不同於自俄國出走前的嘲諷、戲謔風格，也異於美國、西歐時期趨向前衛、非調性

的創作元素，《羅密歐與茱麗葉》是作曲家在經歷新音樂浪潮後及思鄉情懷發酵下的融

合之作。全劇採用調性音樂方式創作，普氏運用清晰流暢且帶有民謠風格的主題旋律，

表現劇中不同的角色特徵及情節發展。在親切平穩的旋律素材中，他則巧妙使用特殊的

音程、和聲變化及轉調，使樂曲在抒情與激烈的交錯情節中，偶然透露出如同過去作品

般神來一筆的詼諧情趣；而全劇濃烈及不規律的節拍特性，則依舊深刻地烙印著普氏特

有的律動風格。

塞爾基‧普羅科菲夫（1891-1953）：《羅密歐與茱麗葉》組曲選段撰文│黃于真 (國立台灣師範大學音樂系博士班)

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Sergei PROKOFIEV (1891-1953) : Excerpts from Romeo and Juliet Suites

The ballet Romeo and Juliet, based on Shakespeare's play, was suggested to Prokofiev during a visit to Russia in 1934 on the suggestion of the stage-director Sergey Radlov, who had staged the first Russian performance of The Love for Three Oranges in Leningrad in 1926. Radlov was artistic director of the Leningrad State Academic Theatre of Opera and Ballet, which in late 1934 became the Kirov Theatre, after the assassination of Sergey Kirov, party secretary in the Leningrad area and later a member of the Politburo. The murder of Kirov brought the beginning of the Great Purge and there were swift changes in the Leningrad Theatre that led to the rejection of Prokofiev's proposed ballet, which was then taken up by the Bolshoy in Moscow.

Prokofiev completed the piano score in a relatively short time, occupying himself with the work during the summer months of 1935 spent at Tarussa, where other members of the Bolshoy Theatre had holiday accommodation. By October he had started work on the orchestration, but when he played the music through in Moscow to the dancers they pronounced it undanceable. More sensibly they insisted that the happy ending that Prokofiev had proposed should be replaced by the original Shakespearean tragic conclusion and the death of the lovers, an episode the composer had at first considered impossible in a ballet.

In the event, music from Romeo and Juliet was given concert performance in Russia before the ballet could be staged there. The first production was, in fact, in the Moravian provincial capital of Brno in December 1938. Thirteen months later it was danced at the Kirov, with Ulanova as Juliet and Sergeyev as Romeo. The choreography was by Lavrovsky, who annoyed the composer by making changes in the score without previous consultation, a procedure very different from that of the reputedly dictatorial Dyagilev, who had always discussed matters with his composers and choreographers. The Kirov took the production to Moscow, where, in 1946, it became part of the Bolshoy repertoire.

The three suites that Prokofiev arranged from the complete ballet do not follow the order of events in the tragedy itself. This opens with Romeo at the fountain, taken from the Introduction and the second number of the complete, ballet score. This is followed by the introduction of Tybalt, a Capulet and sworn enemy to Romeo and the Montagues. The Morning Dance from Act I follows. The young heroine Juliet is shown in an ante-room in the Capulet house, with her nurse, an amiable busybody. The Capulet's guests arrive at the ball to the sound of a Minuet, proceeding to the Masks, and the intrusion of Romeo and his friends, enemies of the house in their endless feuding. The episode generally known as Montagues and Capulets is the Prince's Order and the Dance of the Knights at the Capulet ball, where Juliet, dancing with her betrothed, Paris, first sees her Romeo. The famous Balcony Scene,

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in which Romeo declares himself to Juliet, and the Love Dance follow the departure of the guests. When Mercutio, Romeo's friend and kinsman, is killed, Romeo is compelled to take revenge by killing the murderer, Juliet's kinsman Tybalt, thus precipitating the final tragedy. Romeo is banished from Verona in this final scene of the second act.

In the third act Friar Laurence tries to help the couple and is here visited by Romeo. The Friar gives Juliet a potion which, if taken, will give the appearance of death. By feigning death she will be able to avoid marriage to Paris, a match on which her parents insist. The parting of the lovers combines the scene in Juliet's chamber, the farewell itself and an Interlude. In the Epilogue Romeo, who knows nothing of the plot, returns secretly from banishment and finds Juliet seemingly dead and laid in the tomb. The music for Romeo at the tomb of Juliet is that for Juliet's funeral in the complete ballet. In grief he takes his own life and when Juliet revives and finds her lover dead she follows his example, stabbing herself with his dagger.

© 2012 Naxos Digital Services Ltd

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國家交響樂團

音樂總監 呂紹嘉

桂冠指揮 根特‧赫比希

樂團首席 吳庭毓李宜錦

樂團副首席 鄧皓敦

助理指揮 張尹芳

第一小提琴 ○陳逸群 郭昱麟 林基弘 侯勇光 梁坤豪 陳逸農 卓曉青 方俊人 黃佳頎 李庭芳 賴佳奇 林孟穎 李家豪

第二小提琴 ●陳怡茹 ◎孫正玫 吳怡慧 李京熹 黃衍繹 顧慈美 于爾恩 康信榮 李梅箋 鍾仁甫 蔡孟峰 洪章文 陳偉泓 王致翔

中　提　琴 ●黃瑞儀 ◎鄧啟全 ○呂昭瑩 黃雅琪 李靖宜 謝君玲 劉國蘭 呂孟珊 李思琪 陳猶白 蔡秉璋 林怡君

大　提　琴 ●熊士蘭 ◎連亦先 ○韋智盈 呂明美 周幼雯 陳怡婷 林宜女閒 黃日昇 蘇酩惠 曾鈺婷

低 音 提 琴 ●傅永和 ○周春祥 王淑瑜 黃筱清 王淑宜 連珮致 蔡歆婕 游婉婷

長　　　笛 ●安德石 ◎宮崎千佳 李　浚

短　　　笛 鐘美川

雙　簧　管 ●王怡靜 ◎林麗玥 楊舒婷■

英　國　管 李明怡

單　簧　管 ●朱玫玲 ◎張凱婷 朱偉誼 孫正茸

低　音　管 ●簡凱玉 ◎陳奕秀 高靈風

倍 低 音 管 簡恩義

法　國　號 ●劉宜欣 ◎舒培特 ○黃任賢 國田朋宏 王婉如

小　　　號 ●宇新樂 ◎陳長伯 張景民 吳建銘

長　　　號 ●宋光清 ◎邵恆發 陳中昇

低 音 長 號 彭曉昀

低　音　號 ●宮西純

定　音　鼓 ●連雅文 ◎陳廷銓

打　擊　樂 ●陳哲輝 陳振馨 楊璧慈 王瓊燁

豎　　　琴 ●解　瑄

鍵　　　盤 ▲陳丹怡

執行長 邱瑗

企劃製作經理 杜佳舫

公關專案經理 王承禹

企劃行銷

企劃/音樂總監特助 謝祥雯

企劃專員 吳孟珊劉子瑛

賴盈帆

整合行銷專員 陳卜湄

行銷組長 許匯真

行銷專員 鄭巧琪林欣儀

陳偉馨

演出及行政

人事組長 林碧珠

舞台監督 陳嘉宏陳世傑

譜務專員 高婉瑜

行政專員 溫慧雯林和億

音樂諮詢 焦元溥

●首席　◎副首席　○助理首席　■留職停薪　▲樂季合約人員　（劃底線者為本場協演人員）

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National Symphony Orchestra

Executive Director JOYCE CHIOU

Manager, Planning & Production SARAH TUManager, PR & Development PAUL WANG

Artistic Planning & MarketingProgramme Coordinator/ Special Assistant to MD SHELBY HSIEHProgramme Coordinator MENG-SHAN WU AMY LIU YING-FAN LAIPR & Project Coordinator PU-MEI CHENAssistant Manager, Media & Marketing EMILY HSUMarketing & Publications Coordinator EILEEN LINMarketing & Media Coordinator CHIAU-CHI CHENG CINDY CHEN

Production & AdministrationAssistant Manager, Personnel BIBI LINStage Manager CHIA-HUNG CHEN SHIH-CHIEH CHENLibrarian BRITTNEY KAOProduction & Administration Coordinator HUI-WEN WEN HO-YI LIN

Concert Dramaturgist YUAN-PU CHIAO

Music Director SHAO-CHIA LÜ

Conductor LaureateGÜNTHER HERBIG

ConcertmasterTING-YU WUI-CHING LI

Associate ConcertmasterHAO-TUN TENG

Assistant ConductorYIN-FANG CHANG

FIRST VIOLIN○ Yi-Chun Chen Yu-Lin Kuo Ji-Hung Lin Yung-Kuang Hou Kun-Hao Liang Yee-Nong Chen Hsiao-Ching Cho Cecilia Fang Jiachi Huang Ting-Fang Lee Chia-Chi Lai Meng-Ying Lin Chia-Hao Lee

VIOLA●Grace Huang◎Chi-Chuan Teng○ Chao-Ying Lu Yea-Chyi Hwang Jing-Yi Lee Juin-Ling Shieh Guo-Lan Liu Meng-San Lu Szu-Chi Li Jubel Chen Ping-Chang Tsai Yi-Chun Lin

DOUBLE BASS●Yung-Ho Fu○ Chun-Shiang Chou Su-Yu Wang Hsiao-Ching Huang Shu-Yi Wang Pei-Chih Lien Hsin-Chieh Tsai Wan-Ting Yu

FLUTE●Anders Norell◎Chika Miyazaki Chuin Lee

CLARINET●May-Lin Ju◎Kai-Ting Chang Wei-I Chu Cheng-Jung Sun BASSOON●Kai-Yu Jian◎I-Hsiu Chen Ling-Feng Kao

CONTRABASSOONEn-Yi Chien

TROMBONE●Kuang-Ching Sung ◎Hang-Fat Shiu Chung-Sheng Chen

BASS TROMBONEHsiao-Yun Peng

TUBA●Jun Miyanishi

TIMPANI●Ya-Wen Lien◎Ting-Chuan Chen

PERCUSSION●Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang Chiung-Yeh Wang

HARP●Shuen Chieh KEYBOARD▲Dan-Yi Chen

HORN●Yi-Hsin Cindy Liu◎Supreeti Ansvananda○Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang

TRUMPET●Nicolas Rusillon ◎Chang-Po Chen Ching-Min Chang Chien-Ming Wu

PICCOLOMei-Chuan Chung

OBOE●I-Ching Wang◎Li-Yueh Lin Shu-Ting Yang ■

ENGLISH HORNMing-I Lee

CELLO●Lana Hsiung◎Yi-Shien Lien○Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Li Jih-Sheng Huang Ming-Huei Su Yu-Ting Tseng

SECOND VIOLIN● Yi-Ju Chen ◎ Cheng-Mei Sun I-Hui Wu Ching-Hsi Lee Yen-Yi Huang Tsu-Mei Ku ErAn Yu Hsin-Jung Kang Mei-Jain Li Jen-Fu Chung Meng-Fong Tsai Chang-Wen Hung Wei-Hong Chen Chih-Hsiang Wang

●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians (Auxiliary)

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Partner of NSO 藝企夥伴

LEXUS北都汽車股份有限公司‧JTI台灣‧大眾商業銀行股份有限公司‧台積電文教基金會‧台灣大哥大‧台灣安吉斯媒體集團‧打里摺建築藝術有限公司‧明門實業股份有限公司‧法國巴黎銀行‧財團法人萬海航運社會福利慈善事業基金會‧財團法人杜萬全慈善公益基金會‧泰安產物保險股份有限公司‧富邦人壽保險股份有限公司‧豪勉科技股份有限公司‧雙燕樂器股份有限公司‧王文洋 先生‧林子欽 先生‧陳致遠 先生‧陳朝亨 先生‧楊文貞 女士

Patron of NSO 守護者LVMH Watch & Jewelry Taiwan‧大億企業集團‧仁寶電腦工業股份有限公司‧財團法人台灣工業銀行教育基金會‧財團法人玉溪有容教育基金會‧財團法人邱再興文教基金會‧財團法人勇源教育發展基金會‧展悅建設股份有限公司‧普陽廣告股份有限公司‧瑞士銀行‧經典美學音響有限公司‧優特半導體（上海）有限公司‧聯測科技股份有限公司‧穩懋半導體股份有限公司‧王志榮 先生‧王筱卿 女士‧王楊秀蘭 女士‧王儷玲 女士‧李松季 先生‧李博文 先生‧李隆廣 先生‧李鐘培 先生‧吳永豐 先生‧陳鳳文 女士‧黃宗仁 先生‧黃明仁 先生‧黃琴方 女士‧潘彥呈 先生‧魏應交 先生

Pal of NSO 好朋友上海阿卡見拉文化藝術有限公司‧上海曦爵文化藝術交流有限公司‧瓦城泰統集團‧中華暢聲亞洲音樂協會‧台灣聚合化學品股份有限公司‧甘泉國際事業有限公司‧英商怡和有限公司台北分公司‧律宇國際商務法律事務所‧財團法人春之文化基金會‧財聖國際保險經紀人股份有限公司‧特群機電股份有限公司‧榮成紙業股份有限公司‧德翔海運股份有限公司‧鴻霖全球運輸‧寶豐隆地產股份有限公司‧曦爵股份有限公司‧王植熙 先生‧江松樺 先生‧衣治凡 先生‧呂學圖 先生‧余忠直 先生‧李廣益&鄭時寧 夫婦‧邱 瑗 女士‧林瑞益 先生‧林顏華美 女士‧林峰正 先生‧吳俊彥 先生‧荊慧琳 女士‧莊雅婷 女士‧陳國和 先生‧黃聰達 先生‧張文正 先生‧潘思亮 先生‧蔡志汶 女士‧錢國維 先生‧簡明仁 夫婦

Star of NSO 築夢者合 順 投 資 有 限 公 司 ‧ 花 蓮 美 崙 大 飯 店 ‧ 保 瑞 國 際 股 份 有 限 公 司 ‧ 智 盛 全 球 股 份 有 限 公 司 ‧Heng Wui Kiat‧Laurence Lee‧王富民 先生‧朱博瑋 先生‧余淑美 女士‧邱羅火 先生‧林杏秋 女士‧周戎智 先生‧施養謙 先生‧孫培秋 女士‧徐維聯 先生‧郭為藩 先生‧郭菉猗 女士‧陳仁毅 先生‧陳達雄 先生‧黃珮璘 女士‧黃仁宗 先生‧黃　河 先生‧曾伯毅 先生‧張家祝 先生‧張延平 先生‧張粲鶯 女士‧童兆勤 先生‧楊麗音 女士‧趙偉中 先生‧劉在武 先生‧劉漢玉 女士‧鄧富吉 先生‧賴源和 先生‧蘇建興 先生

走出台灣 踏上國際舞台

以「台灣愛樂」之名發聲

躍進TOP20

登上世界樂團的高峰

─感謝以下機構及個人對NSO國家交響樂團的支持─

您可於NSO的網頁Http://www.nso.ntch.edu.tw下載捐款單以信用卡或匯款進行捐款程序，成為NSO「愛樂知音」贊助人！

NSO愛樂知音贊助專線(02)3393-9661 3393-9652

(以上依筆畫順序)

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