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演出時間 2013年9月21日（星期六）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│薇薇安‧哈格納 Viviane Hagner, violin

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位

指定住宿

特別感謝電子問券請掃描，支持NSO愛地球。

開季音樂會攀峰樂嶺

Season Opening Concert Symphonic Peaks

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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?q=201309，

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45分鐘下半場　約50分鐘

顏名秀（1980- ）：《鑿貫》（世界首演）

尚‧西貝流士（1865-1957）：D小調小提琴協奏曲

I. 中庸的快板

II. 非常慢的慢板

III. 不太過份的快板

～中場休息～

理查．史特勞斯（1864-1949）：《阿爾卑斯交響曲》

I. 〈夜晚〉

II. 〈日出〉

III. 〈登山〉

IV. 〈進入森林〉

V. 〈小溪旁步行〉

VI. 〈瀑布〉

VII. 〈幻象〉

VIII. 〈在開滿鮮花的草地上〉 IX. 〈在高山的牧場〉

X. 〈穿過灌木叢和矮林，進入歧路〉

XI. 〈在冰川上〉

XII. 〈危險的剎那〉

XIII. 〈在山頂〉 XIV. 〈景觀〉

XV. 〈起霧〉

XVI. 〈太陽漸暗〉 XVII. 〈悲歌〉 XVIII. 〈風暴前的寂靜〉 XIX. 〈暴風雨，下山〉 XX. 〈日落〉

XXI. 〈尾聲〉 XXII. 〈夜晚〉

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MING-HSIU YEN (1980- ): Breaking Through (World Premiere)

JEAN SIBELIUS (1865-1957): Violin Concerto, Op. 47, D minor I. Allegro moderato II. Adagio di molto III. Allegro ma non tanto

---Intermission---

RICHARD STRAUSS (1864-1949): Eine Alpensinfonie, Op. 64, TrV 233 I. Nacht II. Sonnenaufgang III. Der Anstieg IV. Eintritt in den Wald V. Wanderung neben dem Bache VI. Am Wasserfall VII. Erscheinung VIII. Auf blumigen Wiesen IX. Auf der Alm X. Durch Dickicht und Gestrupp auf Irrwegen XI. Auf dem Gletscher XII. Gefahrvolle Augenblicke XIII. Auf dem Gipfel XIV. Vision XV. Nebel steigen auf XVI. Die Sonne verdustert sich allmahlich XVII. Elegie XVIII. Stille vor dem Sturm XIX. Gewitter und Sturm, Abstieg XX. Sonnenuntergang XXI. Ausklang XXII. Nacht

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?q=201309.

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演出者簡介

呂紹嘉出生台灣新竹縣，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、德國司徒加特、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 年五月獲德國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，他成功的推出了楊納傑克及德布西的作品，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年獲邀在舉世聞名的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（Bergen）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了世界聞名的荷蘭皇家音樂大會堂管絃樂團，以史特拉汶斯基的

《春之祭》博得滿堂彩。2012年底首度在東京指揮新日本愛樂，演出多場貝多芬第九交響曲，2013 及2014 年將陸續赴日指揮東京大都會及NHK 交響樂團。

在睽喡台灣多年後，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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“Refined taste and inherent lyricism are at the heat of Lü's approach (to Suor Angelica), not sentimentality or a heavy handed does of rubato.” —American Record Guide

“Under Lü, (NSO) made the fin-de-siecle sound world idiomatic. He coaxed from them a burnished, glowing sound that showed off Strauss’ (Elektra’s) luscious orchestration.”

—OPERA

Taiwan-born conductor 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 Australian Opera Sydney 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 fliegende Holländer, Wozzeck, Der Rosenkavalier, Elektra and Salome.... In the summer 2004, Shao-Chia Lü and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals.

Shao-Chia Lü's recent opera engagements include: Parsifal , Katja Kabanowa and Tosca in Goteborg, Sweden, La fanciulla del West in Stuttgart, Eugene Onegin at the Komische Oper Berlin, Madama Butterfly, Tosca and La Bohème 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 Münchner Philharmoniker by replacing Sergiu Celibidache at the last moment for two unchanged programms (including Bruckner's Symphony No. 8). The triumph of these concerts brought him several further invitations from this orchestra. Apart from the Münchner Philharmoniker, Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia in 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. In Asia, after his debut with New Japan Philharmonic in December 2012, Shao-Chia Lü was invited to conduct the Tokyo Metropolitan Symphony Orchestra and the NHK Symphony Orchestra, among others, during the 2013/2014 season.

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

來自德國慕尼黑的小提琴家薇薇安．哈格納，以其知性和熱情兼具的藝術氣質見長，

《時代》雜誌稱許哈格納的演奏是「穩重與華麗的保證」。

自她十二歲首次在國際舞台上演出，並於一年後受邀參加以色列愛樂與柏林愛樂在樂壇

上極富傳奇性的聯合音樂會後（梅塔擔綱指揮於臺拉維夫演出），她有深度既成熟的演奏

在舞台上更是淋漓盡致地展現。哈格納曾與全球多個頂尖樂團合作演出，包括柏林愛樂、

波士頓交響、BBC廣播交響樂團、萊比錫布商大廈管絃樂團、慕尼黑愛樂與紐約愛樂等。她所演奏的魏奧當第四及第五號小提琴協奏曲，由海柏利昂唱片公司發行；其首張獨奏會

錄音，收錄了巴爾托克、哈特曼以及巴赫的無伴奏小提琴曲目。

小提琴 violin

薇薇安‧哈格納Viviane Hagner

Munich-born violinist Viviane Hagner has won exceptional praise for her highly intelligent musicality and passionate artistry. She performs with the world’s great orchestras and as a committed chamber musician regularly appears at international festivals and venues. Typical comments from critics include “poise and magnificent assurance” (The Times).

Since making her international debut at the age of 12, and a year later participating in the legendary “joint concert” of the Israel and Berlin Philharmonics (conducted by Zubin Mehta in Tel Aviv), Viviane Hagner has acquired a depth and maturity in her playing that is reflected in her serene stage presence. Hagner has appeared with the world’s great orchestras, including the Berlin Philharmonic, the Boston Symphony, the BBC Symphony Orchestra, the Leipzig Gewandhaus, the Munich Philharmonic, and the New York Philharmonic. Her performances of Vieuxtemps Violin Concerti 4 & 5 are available on the Hyperion label and her first recital recording features solo works by Bartók, Hartmann and Bach.

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樂團簡介

「……在呂紹嘉的指揮下，我聽到令人信服的演出，（《修女安潔莉卡》）令人陶醉的甜美，煥發內在的力量和強韌的信念，絃樂有著閃耀如陽光般的光芒，木管樂器合唱著如管風琴般和諧的樂音，而銅管圓潤毫不刺耳。」 ─奧地利《新標點》2012/04

「樂團一直以飽滿的融和、精緻的質感演奏，似乎全然自在的悠遊於惡魔般困難的音樂裡。」 ─《美國唱片指南》雜誌 2011/07

「馬勒第五的第二和第三樂章處理得特別細膩，波濤澎派之中韻律感十足，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「聯合實驗管絃樂團」，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惠、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80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，前底特律及多倫多交響樂團音樂總監赫比希（Günther Herbig）成為NSO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。

自2010年起，在音樂總監呂紹嘉擘劃下, 以多元化主題貫穿樂季, 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、20世紀法國到俄國近代皆有斐然成績，在致力於鞏固精鍊古典經典名作之同時, 也持續委託國人管絃樂創作之演出、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、賀

夫、巴弗傑、寇瓦謝維契、齊柏絲坦、洛堤、歐森、白健宇、拉貝克姐妹、鄧泰山等；大提琴家馬友

友、顧德曼、麥斯基、卡普頌、王健、伊瑟利斯、穆勒-修特、嘉碧妲；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、林以信、哈格納；擊樂家葛蘭妮、葛魯賓格及其

他器樂家莎賓•梅耶、巴伯羅柯、弗黎崔希等逾七百位音樂家。

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 siecle 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, Viviane Hagner, Yo-Yo Ma, Gautier Capuçon, Alban Gerhardt, Mischa Maisky, Sol Gabetta, Evelyn Glennie, Martin Grubinger, Louis Lortie, Kun-Woo Paik, Stephen Hough, Stephen Kovacevich, Katia & Marielle Labèque, Sabine Meyer, Reinhold Friedrich 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 semi-stage 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) as well as in-house production Die Walküre (2013).

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顏名秀：《鑿貫》(世界首演)

《鑿貫》的創作靈感來自於雪山隧道這項與大自然角力搏鬥的現代工程奇蹟。雪山隧

道為台灣北宜高速公路的一部分，貫穿雪山山脈北翼，連接新北市坪林區與宜蘭縣頭

城鎮。由於當地地質結構複雜，加上來自地下水層的大量湧泉，使得工程耗時十五年

（1991-2006）才得以完工，雪山隧道也因此被形容為「在水中成長的隧道」。施工期間，不僅鑿穿隧道的大型機具「全斷面隧道鑽掘機（Tunnel Boring Machine）」曾多次遭埋，多位工作人員也不幸殉職。完工時，這座全長將近十三公里的隧道，乃是世界第五

長及東南亞第一長的公路隧道。

《鑿貫》的樂曲開頭是以多種鼓類樂器演奏「短—長」的節奏動機，來描述大型隧道

鑽掘機不斷地進行挖掘工作。此段同時使用向上交疊及不和諧的音響，來象徵雪山嚴峻

的地形與工程的艱巨。

第二大段為一哀傷的慢板，先由低音絃樂器帶出緩慢且沈重的五度音程，並伴隨木管

哀傷的旋律，其後，木管的旋律進一步轉化為半音階的形態，並持續作發展與擴張，藉

以描述工程中山泉不斷湧入隧道中的情景。突然間，所有的聲部同時靜止下來，獨留小

提琴於高音域的微弱長音，就如同一絲光線躡足走入黑暗。

第三大段使用鐘琴與風鈴的金屬音色，加上絃樂極高與極低音域的五度音程，跳脫先

前負面的情緒，將樂曲帶入完全不同的神祕世界。木管演奏由五聲音階轉化而來的旋

律，漸漸發展成重覆出現的快速琶音，此時光線化作溫暖波光，一陣陣湧入長年被黑暗

吞噬的世界，接著，在鑽掘機「短—長」的動機不斷地推進下，燦爛耀眼的光芒終於完

全征服黑暗。在多種素材持續發展下，樂曲在鳥瞰這一壯麗的現代奇景中結束。

《鑿貫》是由NSO國家交響樂團委託創作，並於2013年9月的開季音樂會中首演。

樂曲解說

撰文│顏名秀（國立臺北藝術大學助理教授）

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芬蘭作曲家西貝流士十四歲始習小提琴，從此「小提琴使我神魂顛倒，接下來的十年，

我最深切的願望就是成為一位偉大的炫技名家。」雖然擁有相當的資質且異常努力，但因

起步過晚，他在1891年參加維也納愛樂的甄選，仍是名落孫山，小提琴夢隨之破碎。然而，即便沒有成為頂尖的小提琴演奏家，他卻譜下了被譽為經典的小提琴協奏曲。

1902年9月，西貝流士開始創作D小調小提琴協奏曲，於1904年初完成，原先題獻給享譽全歐的德國小提琴家布爾梅斯特（Willy Burmester，1869-1933），並計畫由他首演。布爾梅斯特對這首樂曲讚譽有加：「太棒了！大師之作！在這之前，我只對一位作曲家說

過這些話，那是當柴科夫斯基把他的協奏曲給我看的時候。」可惜因為種種原因，首演計

畫改變，布爾梅斯特無法配合。1904年2月8日的首演由諾瓦契克（Viktor Nováček，1873-1914）擔任獨奏，然而諾瓦契克並非一流的演奏家，加上準備時間不足，及作品的超高難度，首演相當失敗。隨後西貝流士決定修改作品，於1905年6月完成修訂，同年10月19日在柏林舉行修訂版本首演，由哈里爾（Carl Halíř，1859-1909）擔任獨奏，並由理查．史特勞斯指揮柏林愛樂演出。作品最後題獻給當時年僅12歲的匈牙利小提琴神童維切伊（Franz von Vecsey，1893-1935），似乎用以彌補作曲家小提琴演奏起步過晚的遺憾。

比較原始版本與修訂版本，可發現原始版本較為冗長，除了較厚重的樂團聲響，獨奏

更炫技地一發不可收拾：就第一樂章而言，原始版本再現部第二主題後，尚有另一段裝

飾奏；在許多樂團齊奏為主的段落，作曲家都還再加上小提琴獨奏的炫技裝飾，讓獨奏

者幾乎沒有休息的機會。原始版本第一樂章長達20分鐘的炫技呈現，不難發現作曲家昔日「成為一位偉大的炫技名家」之夢想。原始版本首演的失敗，也可想而知。

作品極富表現力，包含抒情旋律、炫技，及戲劇化聲響。獨奏與樂團並非以對話關係

刻劃，而是呈現對比，並共同交織出豐富的交響色彩。就曲式而言，係受到孟德爾頌同

類作品影響：奏鳴曲式的第一樂章省略了樂團呈示部，並將裝飾奏移至再現部前。在這

樣的基礎下，作曲家更進一步擴充裝飾奏，藉此取代傳統的發展部，並利用自由發展的

裝飾奏保留發展部的特質。第一樂章以作曲家口中「非凡的開場構想」展開：由加上弱

音器的樂團小提琴伴奏，呈現霧氣瀰漫的奇境氛圍，獨奏隨即演奏孤寂淒美的第一主

題。獨奏以雙音拉奏情緒奔放的第二主題，再加上樂團的豐富聲響與對位旋律，使聽者

無不感動落淚。第二樂章浪漫迷人，但依然有炫技展現。作曲家將第三樂章描述為「骷

髏之舞」，英國音樂學家托維（Donald Francis Tovey，1875-1940）則逗趣地稱第一主題為「北極熊的波蘭舞曲」，富有濃厚的北歐民族色彩、強烈的節奏感，及各種超技，為

全曲畫下燦爛的句點。

尚‧西貝流士：D小調小提琴協奏曲撰文｜張偉明（國立臺灣師範大學音樂系音樂學碩士生）

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《阿爾卑斯交響曲》是理查．史特勞斯所有「音詩」（Tondichtung）中，規模最大、演出時間最長的一部，同時也是最後一部音詩作品。「音詩」一詞由史特勞斯自創，專指稱其

交響詩類的創作。雖然作曲家賦予作品標題「交響曲」，卻捨棄傳統多樂章之交響曲曲式，

以二十二個連續樂段組成樂曲，刻繪旅人攀登阿爾卑斯山脈所見，深夜經黎明，再進入日落

間，各時辰的山林景色。樂曲維持單樂章形式，一氣呵成表達景象及意念，故此作總被歸屬

至「音詩」樂類。

《阿爾卑斯》源頭可追溯至1900年左右，當時作曲家正草擬的歌劇旋律，後來成為《阿爾卑斯》其中的主題。但直至1911年，作品才有具體進展；於1915年初完成，與前一部音詩《家庭交響曲》（Symphonia Domestica），時距長達十一年。《玫瑰騎士》（Der Rosenkavalier）於1911年初首演大獲全勝後，史特勞斯的創作重心，更是明顯地由音詩轉移至歌劇，他甚至逗趣地

對劇作家霍夫曼斯塔（Hugo von Hofmannsthal，1874-1929）吐露：「我擔心我的交響曲，它帶給我的樂趣，比我從樹上搖出金龜子，來得要少。」其後，作曲家很快地投入於創作歌劇《

納克索斯島上的阿麗亞娜》（Ariadne auf Naxos）及舞劇《約瑟夫傳奇》（Josephslegende），將《阿爾卑斯》暫置一旁。《阿爾卑斯》的創作，遲遲未有定稿，但作曲家真正著手處理時，

大師一貫風範，立即表露無遺，過程總是自然且順暢，恰如自身所言，猶「乳牛泌乳」那般

容易。自1914年11月1日至1915年2月8日，史特勞斯即完成作品管絃樂化，共耗時一百日而已。

從夜晚至日出，抵山頂後日落，各種自然幻變景象，如小溪與瀑布、草地與冰川、迷霧

與暴風雨等，全都收錄於《阿爾卑斯》一日行程。《阿爾卑斯》依循華格納以來的傳統，樂

團規模龐大，聲響色彩濃厚。作品之基本配器，除了絃樂外，管樂編制為四管，另使用管風

琴及兩架豎琴；樂團人數百餘人。另又增添其他特殊樂器，如黑克管（Heckelphone）、Eb調單簧管及上低音號（Tenortuba）。史特勞斯的音詩，比起交響詩創始者李斯特（Franz Liszt，1811-1886）的音樂，有更多栩栩如生的描繪意圖：如第三段「登山」（Der Anstieg），幕後再使用十二把法國號、二把小號及二把長號，表示遠方的狩獵隊伍；於第十九段「暴

風雨，下山」（Gewitter und Sturm），則大量使用打擊樂器或器材，以製造聲效，如產生風聲、雷聲的機器、鐵琴、鈸、鑼、三角鐵及牛鈴等。

1911年，摯友馬勒（Gustav Mahler，1860-1911）逝世，喚起史特勞斯的創作動機，及潛藏於內心的尼采精神。《阿爾卑斯》不但代表史特勞斯向馬勒告別，更向大自然致敬。同時，

亦象徵作曲家創作方向，揮別音詩，將重心轉移至歌劇。史特勞斯自言「我終於知道如何將

作品管絃樂化！」時的滿意神態，恰似宣告自己未來終能邁向另一里程巔峰。

理查．史特勞斯：《阿爾卑斯交響曲》撰文│陳怡文（國立臺灣師範大學音樂系音樂學博士候選人）

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Ming-Hsiu Yen: Breaking Through (World Premiere)

Breaking Through is inspired by the modern marvel, Hsuehshan (or Snow Mountain) Tunnel. Built on the Taipei-Yilan Freeway in Taiwan, the tunnel is a symbol of human ingenuity overcoming great challenges of nature. Construction lasted from 1991 to 2006 and was plagued by complications from fractured rock and massive inflows of water. As a result, the Tunnel Boring Machine (TBM), which formed the tunnel, was buried several times and the project became known as “the tunnel that grew up in water.” Even more tragic, several workers lost their lives during construction. When completed, the nearly thirteen kilometer-long tunnel, bored through the Hsuehshan Range, was the longest road tunnel in East Asia and the fifth longest road tunnel in the world.

Breaking Through begins with a strong, “short-long” rhythmic motive performed by various drums, symbolizing the gigantic TBM continuously breaking through rock. In the first section, dissonant chords, piled up and performed by various instruments, represent the high altitude of the steep Snow Mountain.

The beginning of the second section, marked Dolente (sorrowful) and Adagio, conveys a mournful tone with low strings playing in fifths and woodwinds playing weeping, chromatic melodic lines. Through development, these chromatic melodic lines transform into chromatic scales, representing the water ceaselessly flowing into the tunnel. Suddenly, the action comes to an abrupt halt, except for the sound of high-pitched, sustained notes in the violins, like a thin beam of light peering through the darkness.

The timbres of the glockenspiel and wind chimes, combined with strings playing in fifths in extreme high and low registers, transcend the frustration of the previous sections. Woodwinds join with melodic lines transformed from pentatonic scales, which later transform into repetitive, arpeggio-like patterns to depict the light as it begins to perpetually flow into the tunnel. Finally, with the development of the TBM’s “short-long” rhythmic motive, the light overtakes the darkness. The music ends as if overlooking this modern marvel from the sky.

Breaking Through was commissioned by the Taiwan Philharmonic, the National Symphony Orchestra, for its season opening concert in September 2013.

By Ming-Hsui Yen (Assistant Professor, Taipei National University of the Arts)

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Jean Sibelius: Violin Concerto, Op. 47, D minor

Richard Strauss: Eine Alpensinfonie, Op. 64, TrV 233

Sibelius completed the first version of his Violin Concerto in 1903 and it was first performed in Helsinki with indifferent results. The concerto was revised and successfully performed in Berlin in 1905 by Karl Halir, under the direction of Richard Strauss. The choice of soloist, however, offended the violinist Willy Burmester, who had originally been promised the work. The earlier version of the concerto was technically ambitious, and as a violinist Sibelius had needed no help with the lay-out of the solo part, although this presented technical difficulties that were beyond his own command. The later version made necessary revisions in the solo part and it is in this definitive form that the work has become a standard part of the solo repertoire. The work was dedicated to the young Hungarian virtuoso Ferenc Vecsey, who had given a later performance of the concerto in Berlin in the presence of Sibelius.

The concerto opens with no lengthy orchestral introduction, the soloist making an almost immediate appearance, accompanied by a Scandinavian mist of muted strings. Although the movement is in the traditional tripartite form, the central development section is replaced by a cadenza-like passage for the violinist. The lyrical slow movement brings a deeply romantic melody, the soloist proceeding to weave his own fantasies above the orchestra. There follows a finale which the composer once described as a danse macabre, providing an opportunity for virtuoso display in a work in which the solo part is generally intertwined with the orchestral texture.

© 2013 Naxos Digital Services Ltd

Strauss started the composition of his Alpine Symphony, the last of his tone-poems, in 1911, working on it intermittently until its completion in 1915. The work, even less of a symphony than the Symphonia Domestica of 1903, drew its original inspiration from a schoolboy mountaineering expedition, during which the participants had at one point lost their way, and on their descent had been drenched in a thunder-storm. An equally important source for the work is to be found in Nietzsche. Strauss had wholeheartedly embraced the latter’s philosophy and was notably influenced by his attack on Christianity, Der Antichrist: Fluch auf das Christentum (The Antichrist: Curse on Christianity).

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The Alpine Symphony follows the earlier Nietzschean work of 1896, Also sprach Zarathustra, and had been under consideration for some years, at one time to be given the title The Antichrist and to follow a plan much more closely associated with its literary source. In 1902 he had begun to sketch a symphonic poem under the title Künstler-Tragödie (Artist’s Tragedy), also set at first in the Alps. The idea was suggested by the sad fate of Karl Stauffer-Bern, an artist who had enjoyed some success, to be taken up by a wealthy Swiss couple. Stauffer’s affair with the wife of his new patron led to the suicide of Stauffer and his mistress. The first part of this planned work was to be the source of the opening of the Alpine Symphony nine years later. In the new work Nietzsche’s idea of freedom in Nature and liberation from the outdated chains of Christianity come together with earlier interests, the Alpine adventure, and, with the unfortunate Stauffer, early happiness in the mountains.

For the new tone-poem very considerable resources were needed. It is scored for a very large orchestra with double woodwind and eight extra players, a brass section of fourteen players, including four tenor tubas, four harps, a large and varied percussion section including a thunder and a wind machine, twelve horns, two trumpets and two trombones off-stage, five dozen or so string players and, an element of particular importance in the storm scene, a concert organ. Strauss was now Kapellmeister to the Prussian Court and the first performance of the new work was given in October 1915 at the Berlin Philharmonie by the Dresden Court Orchestra, to which Strauss had a particular debt. His operas Feuersnot, Salome, Elektra and Der Rosenkavalier had had their premières at the Dresden Court Opera under Ernst von Schuch, and Strauss would have dedicated the Alpine Symphony to him, prevented only by Schuch’s sudden death in 1914. The dedication was made instead to the Dresden Intendant, Count Nicolaus Seebach.

An Alpine Symphony consists of 22 linked episodes, each identified with a stage in a climb in the Alps, an expedition starting with night, then sunrise, and finishing at nightfall. At the same time there are elements of symphonic structure. The first two sections, night and sunrise may be heard as a slow introduction, leading to the ascent, marked Sehr lebhaft und energisch, an Allegro.

Night opens with a sustained B flat and the descent of the strings, each section divided into four, and stopping on a sustained chord that will finally include all the notes of the scale, against which is heard a Straussian motif from the brass. This section builds up to sunrise, with its similar descending scale figure, soon followed by a new theme. The ascent is introduced by a lively theme, the opening figure entrusted to the harps and lower strings. An emphatic motif from horns and trombones is followed by the sound of distant hunting-horns from the off-stage players, and the brass motif leads to the entry into the wood, with a theme that may be heard as the counterpart of the second subject. The woodland brings other melodic elements, including bird-calls, one suggesting, as sometimes happens here, the world of Mahler, so recently dead. The ascent theme returns, to start what might be heard as a development section, with contrasts of texture as the strings give way to a solo string quartet. The mountain stream is aptly evoked, with reminiscences of earlier thematic material, with the violin

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climbing motif leading to a waterfall, graphically depicted in brilliant orchestral colors, descending harp and violin glissandos, through which an apparition, the spirit of the Alps, is seen. A new melody for horn and then violin takes the climbers to flowering meadows, with the ascent theme heard again. In the alpine pastures cow-bells are heard, with the transformation of the earlier Mahlerian bird-call, the calm of the scene pierced by a descending figure from the woodwind, leading to a new theme from the first horn. This theme mingles with earlier material as the party loses its way amid thickets and undergrowth of contrapuntal complexity, before bursting through onto the glacier. An earlier motif, now heard from the first bassoon, suggests a dangerous moment, in a fragmented texture.

A bright F major chord marks the achievement of the summit, the trombones followed by an oboe melody heard against tremolo violin accompaniment, before full realization of the scene is given more brilliant orchestral color, as various earlier thematic elements are heard in a section that marks the central climax of the whole work, in which the theme that led to the flowering meadows assumes particular prominence. The vision continues, with trill after trill, until trumpets proclaim the sun theme of the second section, while the violins, tremolo in double stopped octaves, ascend. At this point the organ enters at last, with an E pedal-point, joined by two bass tubas and the double bassoon. The violins ascend to the heights, and the brass suggests a recapitulation with the phrase first heard from them in the opening section of the work, but now marked fff. The mood suddenly changes, as mists descend on the climbers, the divisi strings now muted. The sun shines bleakly through, and in the elegy is heard once more, with a new theme, entrusted first to the strings, and then, in the calm before the storm, to a clarinet, after a distant clap of thunder. There are isolated bird-calls before the descending theme of the opening appears once more, as the storm rises, with thunder and the howling wind. It is in the storm, with its raging and momentary lulls, that the climbers make their descent, passing through the stages of their ascent. The storm dies down, with isolated raindrops falling one by one, and the brass play their theme from the first section, a symbol of the mountain itself. The sun sets, its theme augmented, while the strings recall other elements and trumpets and trombones introduce a hymn-like theme. The organ, which has had a vital part to play in the second half of the symphony, introduces the final sounds, with the apparition of the spirit of the mountain recalled thematically, and the climbing motif and other elements, remembered now in a final coda. Night returns and with it the music of the opening and, in the last bars, a concluding reminiscence of the climb itself.

© 2013 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 羅培菁✽ 劉詩珊✽

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 唐鶯綺 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■ 鄭化欣

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 ○黃任賢 國田朋宏 王婉如 曹予勉 陳彥豪 黃韻真 陳信仲 黃昕誼 崔文瑜 黃哲筠 賴衍學 黃姿菁 程筑卿 李欣頤

小　　　號 ●宇新樂 ◎陳長伯 張景民 吳建銘 楊　捷 黃書啟✽

長　　　號 ●宋光清 ◎邵恆發 陳中昇 李季鴻✽ 羅文宏✽

低 音 長 號 彭曉昀

低　音　號 ●宮西純 寺山香澄

定　音　鼓 ●連雅文 ◎陳廷銓

打　擊　樂 ●陳哲輝 陳振馨 楊璧慈

豎　　　琴 ●解　瑄 劉馨澧✽

鍵　　　盤 ▲許毓婷

管　風　琴 陳相瑜

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 黃毓棻企劃專員 吳孟珊劉子瑛 賴盈帆整合行銷專員 陳卜湄行銷專員 林欣儀鄭巧琪 王思懿演出及行政舞台監督 陳世傑人事組長 林碧珠譜務專員 高婉瑜行政專員 溫慧雯助理舞監 陳玠維林哲正 顏承宇

音樂諮詢 焦元溥法律顧問 林信和

●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　＊NSO樂團學苑學員

指　　揮 張尹芳小提琴 王心妤　玉珊　江　敏 余琬婷　吳宛蓁　吳庭芳 呂　昉　紀韋瑄　張暐姍 梁艷　梁鈺函　郭承姍 陳又寧　楊晏如　廖元宏 潘俊蓁　蔡承宏　鄭囿蓉 駱思云　藍胤萱　魏苡庭 蘇品嘉中提琴 陳映蓁　劉詩珊　蔡享享 賴昱如　羅培菁大提琴 王甯嫻　王鈺淩　呂函涓 李　茜　林君翰低音提琴 伏　芯　洪瑜蔚　陳弘之 陳美君　游婉婷長　　笛 石詠萱　吳媖蕎　徐鈺甄 陳瀅涵雙簧管 李立品　周羽庭單簧管 李昱柔　李璧任低音管 黃晟育　陳芊彣　溫家琪法國號 陳冠余小　　號 江帛軒　徐雲修　陳鏡元 黃書啟長　　號 毛介中　李季鴻　羅文宏低音號 潘　將打擊樂 林君庭　張瑜蓁　莊穎臻 陳又誠豎　　琴 林玉婷　劉馨澧

(按筆劃排序)

NSO 樂團學苑名錄✽

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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

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

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 Pei-Jing Luo＊ Shi-Shan Liu＊

CELLO●Lana Hsiung◎Yi-Shien Lien■○Chih-Yin Wei Ming-Meei Lieu Yu-Wen Chou I-Ting Chen Yi-Hsien Lin Jih-Sheng Huang Ming-Huei Su Ying-Chi Tang Yu-Ting Zeng

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

PICCOLOMei-Chuan Chung

OBOE●I-Ching Wang Li-Yueh Lin Shu-Ting Yang ■ Hua-Hsin Cheng

ENGLISH HORNMing-I 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

HORN●Yi-Hsin Cindy Liu○Jen-Hsien Huang Tomohiro Kunita Wan-Ju Wang Yen-Hao Chen Yun-Chen Huang Hsin-Chung Chen Hsin-I Huang Wen-Yu Tsui Che-Yun Huang Yen-Hsueh Lai Tzu-Ching Huang Chu-Ching Cheng Hsin-I Lee

TRUMPET●Nicolas Rusillon ◎Chang-Po Chen Ching-Min Chang Chien-Ming Wu Chieh Yang Shu-Chi Huang＊

TROMBONE●Kuang-Ching Sung ◎Hang-Fat Shiu Chung-Sheng Chen Chi-Hung Lee＊ Wen-Hung Lo＊

BASS TROMBONEHsiao-Yun Peng

TUBA●Jun Miyanishi Kasumi Terayama

TIMPANI●Ya-Wen Lien◎Ting-Chuan Chen

PERCUSSION●Jer-Huei Chen Chen-Hsing Chen Pi-Tzu Yang

HARP●Shuen Chieh Hsin-Li Liu＊ KEYBOARD▲Yu-Ting Hsu

ORGANHsiang-Yu Chen

National Symphony Orchestra

Music Director SHAO-CHIA LÜ

Conductor LaureateGÜNTHER HERBIG

ConcertmasterTING-YU WUI-CHING LI

Associate ConcertmasterHAO-TUN TENG

Assistant ConductorYIN-FANG CHANG

●Principal ◎Associate Principal ○Assistant Principal ■On Leave ▲Season Contracted Musicians Auxiliary ＊NSO Orchestra Academy

Executive Director JOYCE CHIOU

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

Artistic Planning & MarketingProgramme Coordinator/ Special Assistant to MD YUFEN HUANGProgramme Coordinator MENG-SHAN WU AMY LIU YING-FAN LAIPR & Project Coordinator PU-MEI CHENMarketing & Publications Coordinator EILEEN LINMarketing & Media Coordinator CHIAU-CHI CHENG SANDY WANG

Production & AdministrationStage Manager SHIH-CHIEH CHEN Assistant Manager, Personnel BIBI LIN Librarian BRITTNEY KAOProduction & Administration Coordinator HUI-WEN WENAssistant Stage Manager CHIEH-WEN CHEN JE-JENG LIN CHENG-YU YEN

Concert Dramaturgist YUAN-PU CHIAOLegal Consultant HSIN-HO LIN

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Executive Director JOYCE CHIOU

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

Artistic Planning & MarketingProgramme Coordinator/ Special Assistant to MD YUFEN HUANGProgramme Coordinator MENG-SHAN WU AMY LIU YING-FAN LAIPR & Project Coordinator PU-MEI CHENMarketing & Publications Coordinator EILEEN LINMarketing & Media Coordinator CHIAU-CHI CHENG SANDY WANG

Production & AdministrationStage Manager SHIH-CHIEH CHEN Assistant Manager, Personnel BIBI LIN Librarian BRITTNEY KAOProduction & Administration Coordinator HUI-WEN WENAssistant Stage Manager CHIEH-WEN CHEN JE-JENG LIN CHENG-YU YEN

Concert Dramaturgist YUAN-PU CHIAOLegal Consultant HSIN-HO LIN

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