4︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契 5︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契

自信而精銳 國家交響樂團

教育部於1986年為建立一個指標級交響樂團投下的希望，2005年起成為國立中正文化中心駐國家音樂廳團隊，目前已成為頂

尖的亞洲樂團。樂團歷任音樂總監/藝術顧問包括許常惠、張大勝、林望傑、簡文彬以

及赫比希，自2010年8月起，由呂紹嘉接任音樂總監。20多年來與NSO合作過的知名指揮家有馬捷爾、巴夏潘德瑞茨基、史瓦茲、

羅斯楚波維奇、柯米希奧納、史拉特金等。

除了精緻音樂會，NSO也製作大型歌劇，更以各種推廣講座音樂會、節慶或戶外音樂

會，使NSO的節目成為愛樂大眾樂於參與的活動，形成華人地區古典音樂的新風貌。

National Symphony Orchestra

Founded in 1986 by the Ministry of Education, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became an artistic affiliate of the National Chiang Kai-Shek Cultural Center in 2005. The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Maestro Shao-Chia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan. The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hogwood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong, Guangzhou, Shanghai, Hangzhou, and Beijing.

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=201310.

for example: there is one alto flute in addition to three regular flutes, and two English horns in addition to two oboes. We can see how Boulez—an accomplished conductor as well as an important composer—learns from the gigantic force of Wagner’s orchestration and applies it to his own work.

(Translated by Feng-Shu Lee)

Robert Schumann: Cello Concerto, Op. 129, A minor

Schumann wrote his Cello Concerto in 1850, describing it in his own list of compositions as a Konzerlstück it came, therefore, during the first period of his appointment in Düsseldorf, at the time of composition of his Third Symphony, the Rhenish. He already had some knowledge of the cello, having played it in the 18305, when he was forced to turn his attention away from the piano, at least as a professional performer. The lower register of the cello poses certain problems to composers, since it may all too easily be obscured by the orchestra. This is avoided by Schumann’s scoring, which, nevertheless, has been criticized, leading some to re-orchestrate the concerto in ways that are often interesting, if idiosyncratic.

Woodwind chords, with pizzicato strings, open the concerto, the soloist entering after a brief accompanying figure in the violins. The strongly romantic first theme is proclaimed by the cello, which continues in prominence until the first orchestral tutti, answered by a further solo The rhapsodic material is developed, the solo theme re-appearing in F sharp minor before the recapitulation in the original key, with the secondary theme now in the tonic major. There is an expressive F major slow movement and brief reminiscences of the principal themes of both movements before the launching of the finale, with arpeggios that form part of the cello theme, the basis of the movement, which leads to an accompanied cadenza and an emphatic conclusion.© 2013 Naxos Digital Services Ltd

Dmitri Shostakovich: Symphony No. 5, Op. 47, D minor

Shostakovich wrote the fifth of his fifteen symphonies in 1937 and it was given its first performance in Leningrad in November that year, presented as for the celebration of the twentieth anniversary of the Russian Revolution. It originally carried the sub-title “The practical answer of a Soviet artist to justified criticism”. This, coming after the events of 1936, led to a certain initial coolness towards the symphony outside Russia.

The Fifth Symphony is scored for woodwind in threes (though only two oboes), four horns, three each of trumpets and trombones, tuba, timpani, percussion (four players), celesta, two harps, piano and strings. Its four movements follow the standard classical trajectory (with the scherzo placed second), but Shostakovich’s rethink of first movement sonata-form was to have profound consequences for his later symphonies, while the finale’s radical overhaul of the Beethovenian ‘tragedy to triumph’ model is fully in keeping with the spirit of its times.

The first movement opens with a commanding downward gesture on strings, thrice repeated in the course of a first theme that unfolds hesitantly and with great pathos. Initially on upper strings, it belatedly migrates to woodwind

演出長度│上半場約45分鐘，下半場約45分鐘

演出時間│ 2013年10月12日（星期六）7:30 PM

演出地點│ 國家音樂廳 National Concert Hall, Taipei

主辦單位│

藝文支持│

指定住宿│

特別感謝│

演出者 指ề揮│喬治‧佩利凡尼安 George Pehlivanian, conductor

大提琴│楊‧沃格勒 Jan Vogler, cello

國家交響樂團 National Symphony Orchestra (NSO)

and brass on the way to its nobly wrought apex. The fourth appearance of the initial gesture leads into the second theme, a long-limbed melody for violins over a steady tread on lower strings. Ruminative woodwind comments and a brief recollection of the first theme emerge before it winds down to a pause, whereupon the development commences with the first theme heard balefully on brass over a piano ostinato. Various components now emerge as the music gains in energy, taking in a martial transformation of the theme on brass and percussion, before the reprise is launched at the point of maximum intensity with the first theme in rhythmic unison across the orchestra. It subsides into an idyllic version of the second theme for woodwind and horn, but this is short lived as the coda enters with a haunted recollection of the first theme-replete with plangent echoes of the opening gesture and ending with somnolent chords on celesta.

The second movement is a scherzo whose bluff initial repartee for the strings is complemented by a sardonic theme on woodwind with its portentous rejoinder on horns. This makes way for a trio section where violin then flute unfold a capricious melody, offset by strutting upper strings and woodwind. It alights on a fugitive version of the opening for woodwind and pizzicato strings, leading to the return of the main theme with its rejoinder now on trumpets then horns. An uneasy recall of the trio theme on oboe is impatiently brushed aside at the close.

The third movement-in which brass are silent begins with a heartfelt melody on strings that, unfolding at length, ushers in an evocative, folk-like idea and a rapt theme for divided strings in its wake. Another theme, on flute and harp, eases the tension before a version of the opening melody leads to a brief climax; this dies away to leave muted strings, against which woodwind -oboe, clarinet then flutes muse on the first theme, interspersed with atmospheric chords for strings. The first theme returns on woodwind, then strings entering as the intensity builds to an anguished statement of the third theme on violins against a blizzard of orchestral tremolos. This then migrates to the lower strings as elements of the first three themes are intensively discussed, before the fourth theme-on upper strings at length restores calm. Ethereal echoes of the first theme on celesta and harp bring about the serene ending.

The fourth movement now bursts in with a strident theme on brass and timpani, its components excitedly discussed as the tempo increases. In the process, another (directly related) theme emerges on the trumpets over skirling strings, triumphantly sounded out by the whole orchestra before the pounding opening music returns. Fanfaring brass wind down to an expressive transformation of the second theme on horns over shimmering strings. This latter is reduced to an oscillating phrase that takes in a subdued version of the first theme on strings, before opening onto a plateau of gentle radiance. From this point, the first theme builds steadily to the final climax-capped by a transformation of the first theme (its initial four notes confirmed as an upward reversal of the work’s opening gesture) whose pivoting between affirmation and uncertainty is carried through to the fateful conclusion.© 2013 Naxos Digital Services Ltd

●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　✽NSO樂團學苑學員

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 藍胤萱✽ 紀韋瑄✽ 余琬婷✽

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 王心妤✽ 郭承姍✽

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✽ 蔡享享✽ 陳映蓁✽

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 呂函涓✽ 林君翰✽ 韓如伶

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 洪瑜蔚✽ 林韋滇 許舒涵

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■▲王譽博

英　國　管 李明怡

單　簧　管 ● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 楊雅淳

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

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 洪于雯 余若梅 林君庭✽

豎　　　琴 ● 解　瑄 管伊文 洪乃薇

鍵　　　盤 ▲ 許毓婷 黃時為

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 賴廷恆行銷專員 林欣儀 鄭巧琪 王思懿 方歆婷

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

NSO 樂團學苑 名錄

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)

✽

電子問券請掃描，支持NSO愛地球。

13A03P0067.0N1-0N2.indd 1 2013/10/4 11:03:36 AM

1︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契 3︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契2︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契

演出者介紹

George Pehlivanian, conductor

Born in Beirut, George Pehlivanian is Former Artistic Director and Chief Conductor of the Slovenian Philharmonic Orchestra. He has held Principal Guest Conductor positions with the Residentie Orchestra in the Hague, the Vienna Chamber Orchestra and the Deutsche Staatsphilharmonie Rheinland-Pfalz. Pehlivanian has conducted many of the world’s leading orchestras, including the London Philharmonic Orchestra, the Filarmonica della Scala, the Orchestre Philharmonique de Radio France, the Maggio Musicale Fiorentino, the Orchestra Nazionale della RAI Torino, and the BBC Philharmonic. Pehlivanian is also an experienced opera conductor and has conducted at many important Festivals including the White Nights Festival in St. Petersburg, Maggio Musicale Fiorentino, Ravenna, Ravello and Aspen. In 2010, Pehlivanian has founded the “Touquet International Music Masters” festival in Le Touquet (France), and collaborates regularly with prestigious soloists including Vadim Repin, Jean-Yves Thibaudet, Emanuel Ax, Misha Maisky, Leonidas Kavakos, Janine Jansen, Fazil Say and Vladimir Galuzin.

Profiles

指揮│喬治‧佩利凡尼安

喬治．佩利凡尼安出生於貝

魯特，曾任斯洛維尼亞愛樂管絃

樂團藝術總監暨首席指揮，德國

萊茵蘭-法爾茲州國家愛樂、海牙管絃、維也納室內管絃等樂團

之首席客座指揮。他曾指揮多個

首屈一指的交響樂團，如倫敦愛

樂、史卡拉愛樂、法國廣播愛樂、佛羅倫斯五月

音樂節管絃、杜林國家廣播管絃以及英國廣播愛

樂樂團等。佩利凡尼安亦是一位經驗豐富的歌劇

指揮，常應邀於蘇俄聖彼得堡「白夜之星」音樂

節、佛羅倫斯五月音樂節、義大利拉芬納音樂節

及拉維洛音樂節、美國亞斯本音樂節等地演出。

2010年，佩利凡尼安於法國創辦「勒圖凱國際音樂節」，所合作的獨奏家包括列賓、提鮑德、艾

克斯、麥斯基、卡瓦科斯、楊森、賽依、嘉路欽

等，皆為當今樂壇人物的一時之選。

演出曲目

皮埃爾‧布列茲（1925- ）：《符號》，I-IV，VII

I. 異想地─中庸地

II. 非常活潑地

III. 非常慢地IV. 富有節奏地V. 神聖地

羅伯特‧舒曼（1797-1828）：A小調大提琴協奏曲

I. 不太快地

II. 慢板

III. 非常活潑地

--中場休息--

德米特里．蕭斯塔科維契（1906-1975）：第五號交響曲

I. 中板

II. 稍快板

III. 最緩板IV. 不太快的快板

Program

PIERRE BOULEZ (1925- ): Notations I-IV, VII

I. Fantasque – ModéréII. Très vifIII. Assez lentIV. RythmiqueV. Hiératique

ROBERT SCHUMANN (1797-1828): Cello Concerto, Op. 129, A minor

I. Nicht zu schnellII. LangsamIII. Sehr lebhaft

--Intermission--

DMITRI SHOSTAKOVICH (1906-1975): Symphony No. 5, Op. 47, D minor

I. ModeratoII. AllegrettoIII. LargoIV. Allegro non troppo

大提琴│楊‧沃格勒

沃格勒的卓爾不凡可從與其

合作的指揮名單中領略一二，像

是葛濟夫、馬捷爾、路易西、羅

伯森、霍內克；與他同台演出的

樂團則有：紐約愛樂、芝加哥交

響、波士頓交響、匹茲堡交響、

蒙特婁交響、辛辛那提交響、馬

林斯基劇院管絃、德勒斯登國家交響、巴伐利亞

廣播交響、斯圖加特廣播交響、維也納交響樂團

等，皆非等閒之輩。沃格勒最近重要演出行程，

包括與奧斯陸愛樂、慕尼黑愛樂、馬林斯基劇院

樂團（葛濟夫指揮）演出協奏曲；與鋼琴家海

倫．葛莉茉搭檔，於紐約及巴黎舉行大提琴獨奏

會。沃格勒的演奏錄音數量極豐，多由索尼經典

發行，其中不乏國際得獎名碟。2012 年，他出版了巴赫《六首大提琴無伴奏組曲》、2013 年則出版與維也納愛樂共同合作的舒曼大提琴協奏曲。

沃格勒現任德勒斯登音樂節總監，並為莫里茲堡

室內樂節之創辦人及藝術總監。他使用的兩把樂

器分別為史特拉底瓦里1707-1710年製作的「卡斯特巴可」（Ex Castelbarco/Fau）、以及蒙塔耶納1721年製作的「赫金」（Ex-Hekking）大提琴。

Jan Vogler, cello

Jan Vogler’s distinguished career has featured him with renowned conductors Valery Gergiev, Lorin Maazel, Fabio Luisi, David Robertson and Manfred Honeck and internationally acclaimed orchestras such as the New York Philharmonic, the Chicago, Boston, Pittsburgh, Montreal and Cincinnati Symphony Orchestras, the Mariinsky Theatre Orchestra, the Dresden Staatskapelle, the Bavarian Radio Orchestra, the Stuttgart Radio Orchestra and the Vienna Symphony. His recent highlights include concerts with the Oslo Philharmonic Orchestra, the Munich Philharmonic, with Valery Gergiev and the Mariinsky Theatre Orchestra, and recitals in Paris and New York with Hélène Grimaud. A prolific and multi-award-winning recording artist, Volger records exclusively for SONY Classical. Upcoming releases include Bach’s Six Suites for Unaccompanied Cello (2012) and the Schumann’s Cello Concerto with the Vienna Philharmonic (2013). Jan Vogler is the General Director of the Dresden Music Festival, as well as founder and Artistic Director of the Moritzburg Chamber Music Festival. He plays the 1707-1710 Stradivarius “Ex Castelbarco/Fau” cello and 1721 Domenico Montagnana cello “Ex-Hekking”.

Jan Vogler is represented worlde by Tanja Dorn/IMG Artists. For more information please visit www.imgartists.com.樂曲解說

皮埃爾‧布列茲：《符號》，I-IV，VII 撰文│蔡永凱（國立臺灣師範大學音樂學博士）

布列茲可說是當今樂壇最重要的作曲家之一，他的創作生涯亦可說是代表了戰後法國音樂的發展。布列茲早年受教於梅湘，因此受到第二維也納樂派「十二音列」的影響，進而成為「序列主義」（serialisam）的一名大將。五○年代開始，致力「即興」與「開放形式」的多種可能。六○年代後則轉向電子音樂，開發新的聲響。他在樂壇的影響力，亦得到法國總統龐畢度（Georges Pompidou, 1911-1974）的背書，斥資興建當時領先全球的「電子聲響研究中心」（Institut de Recherche et Coordination Acoustique/Musique，簡稱IRCAM）。《符號》創作於1945年，屬於布列茲較早期

的作品，由十二首短小精鍊的鋼琴曲所構成，深受十二音列寫作風格的影響。「Notation」一詞，原為「記譜」之意，循此脈絡亦可看到，作曲家在譜面上精細地標示，尤其在節奏、力度、運音記號上的講究，反映出「序列主義」的思考。

從七○年代起，作曲家陸續把這些鋼琴曲改寫為樂團版本。布列茲的「改寫」，不只將演奏樂器由鋼琴改成樂團，也擴充了音樂內容，增加篇幅。

《符號》的改寫，迄今至少完成七首，但卻只有五首被出版，按作曲家建議，演奏順序可為 I-VII-IV-III-II 或 I-III-IV-VII-II。值得注意的是，雖然各曲短小，布列茲卻採用了大編制的樂團。以管樂為例：長笛家族除了三支一般長笛外，亦使用一支中音長笛；雙簧管家族，除兩支雙簧管外，還使用兩支英國管。由此亦可以看到，身兼當今最傑出指揮家的布列茲，如何吸取華格納至世紀之交大型管絃樂團的管絃樂法，施展在自身的作品裡。

羅伯特‧舒曼：A小調大提琴協奏曲撰文│張偉明（國立臺灣師範大學音樂系碩士生）

協奏曲在十九世紀前半蓬勃發展，但大提琴協奏曲卻留下空白的一頁：「大提琴演奏家」創作的樂曲，作品深度無法通過歷史的考驗；「作曲家」因為對大提琴掌握不足，無法讓大提琴在樂團中有突出的表現，故鮮少嘗試創作。直到舒曼的A小調大提琴協奏曲，才寫下新的一頁。

1850年，舒曼前往杜塞朵夫（Düsseldorf）擔任該市的樂團音樂總監。對全新生活的熱情，使舒曼展現驚人的創作能量，短短半個月即完成A小調大提琴協奏曲。舒曼夫人克拉拉（Clara Schumann,

1819-1896）對這首作品愛不釋手：「這是以真正的大提琴風格寫作的。」、「我再次演奏羅伯特的大提琴協奏曲，並度過真正快樂的音樂時光。大提琴與樂團交織出浪漫、活潑、新鮮、幽默、有趣等令人陶醉的特質，所有旋律，都可以發現極其和諧的聲響與深沉的情感。」但舒曼卻不滿意並持續修改。舒曼去世後，1860年，為紀念作曲家誕生50週年，這首樂曲終於得以首演，獲得成功的迴響：「就像貝多芬和孟德爾頌晚期的協奏曲，這首樂曲具有新穎的交響聲響，獨奏僅比樂團稍微突出。⋯我們可以宣稱這將是最具價值的大提琴曲目。」

在手稿中，舒曼將這首作品命名為「小協奏曲」（Konzertstück），反映出其特殊形式：雖然有三個樂章，卻如同單一樂章無法分割，並有許多貫穿全曲的動機。這樣「統一」的概念，是為了彌補作品強調抒情歌唱，卻缺乏對比與戲劇發展的缺失。第一樂章以木管與絃樂撥奏的三個和弦溫柔地拉開序幕，和弦最高音（E-A-C）更預示緊接的第一主題（E-A-B-C），最後同樣利用三個和弦導入第二樂章。三個和弦填補第二樂章獨奏旋律間的空檔，更成為第三樂章樂團的強烈齊奏。第一樂章第一主題在第二樂章中段，由木管與獨奏大提琴再現。在第三樂章，第一樂章第一主題動機更與第三樂章第一主題動機並置發展。第一樂章第二主題的下行大跳音程，成為開啟第二樂章主題的重要動機，並在第三樂章第二主題中應用。第二樂章獨奏主題以絃樂撥絃伴奏，但另有一部樂團大提琴與獨奏大提琴共同拉奏，形成優美的大提琴二重奏。第三樂章成功融合炫技素材與交響聲響，最後的裝飾奏附有樂團伴奏，是由舒曼親自譜寫，樂團以節制的聲響點綴，獨奏大提琴強調中低音域，帶有沉思氛圍，卻又不失狂想。

德米特里．蕭斯塔科維契：第五號交響曲

撰文│張皓閔（國立臺灣師範大學音樂學碩士）

1936年，蕭斯塔科維契的歌劇《穆森斯克郡的馬克白夫人》（Lady Macbeth of the Mtsensk District）觸怒了史達林（Joseph Stalin, 1878-1953），蕭氏因此遭到官方無情的批鬥，許多作品被勒令禁演，第四號交響曲的首演也被迫取消。1937年4月至7月，蕭氏創作了他的第五號交響曲，以之做為「對黨的批評的回應」。作品於1937年11月21日由穆拉汶斯基（Yevgeny Mravinsky, 1903-1988）指揮列寧格勒愛樂管絃樂團（Leningrad Philharmonic Orchestra）首演於列寧格勒。這部交響曲不但有效地緩解了官方對蕭氏的猜疑，在公眾之間也大受歡迎，成為蕭氏最成功的作品之一。

作品的第一樂章為奏鳴曲式。呈示部的兩個主題各有鮮明的伴奏音型，第一主題以大跳和附點節奏為特徵，第二主題則以同音反覆的「長短短」音型做為伴奏。進入發展部後，氣氛在越來越快的速度帶動下，不斷拉升，最終隨著熱烈的進行曲徹底爆發。再現部以極具蕭氏個人特色的樂團大齊奏開啟，接著慢慢減弱，直至空幻的尾聲。

第二樂章是個圓舞曲似的詼諧曲，主題源自第一樂章的第一主題；其諷刺、喧鬧又神經質的喜劇風格，成為深沉的第一和第三樂章之間一個輕鬆的插曲──普羅科菲夫（Sergey, Proko�ev, 1891-1953）或馬勒（Gustav Mahler, 1860-1911）的作品中也常有類似的安排。

完全不使用銅管樂器，且絃樂細分成八個聲部的第三樂章，係由三個綿長優美的主題構成；其中，第二主題同樣變化自第一樂章第一主題。樂章的情感表達內斂豐沛且略帶哀傷；調性採升f小調，但最終昇華似地結束以升F大三和弦，預告著第四樂章的凱歌。第四樂章大致上採ABA'三段式。A段重拾第一樂

章高潮樂段的氛圍，呈現一段猛烈而肅殺的進行曲。壓抑的B段充滿了不安的情緒；段落最後，豎琴的加入似乎帶來一線曙光，但很快被A'段開頭那暗潮洶湧的進行曲打斷。進入A'段後，原本一直落在小調上的進行曲，突然在情緒推升至高潮時，轉入D大調，以閃耀的凱歌，盛大地結束全曲。

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=201310，並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。

Program NotesPierre Boulez: Notations I-IV, VIIBy Yun-Kai Tsai (PhD in Musicology, National Taiwan Normal University)

Pierre Boulez is considered as one of the most significant composers of our time. The developmental trajectory of his work represents the development of French music after WWII. A student of Olivier Messiaen, Boulez was under the influence of the second Viennese school, hence the vast amount of his serial works. From the 1950s, Boulez was devoted to other possibilities in music, including improvisation and open form. In the 1960s, he turned to electronic music, exploring the new sounds it potentially promised. His influence on modern music was recognized by the French president Georges Pompidou (1911-1974), who supported the building of the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), an avant-garde research centre of electronic sounds.

Composed in 1945, Notations is Boulez’s early work. This serial work consists of twelve short piano pieces. The title “notation” literally means the “recording” of notes. This title may also speak for the extremely precise markings (or notation) in Boulez’s score. With its specific markings in rhythm, dynamics, and articulation, Notations reflects Boulez’s serial mode of thinking.

From the 1970s, Boulez gradually orchestrated Notations. However, his “rewriting” of Notations involves not only orchestration, but also the enrichment of the work’s content and expansion of its scope. Even though Boulez has hitherto completed the transformation (or rewriting) of at least seven pieces from Notations, he has published only five of them. According to Boulez, the order of the pieces in Notations can be either I-VII-IV-III-II or I-III-IV-VII-II. It is worth noting that, despite the brevity of each piece in Notations, Boulez’s orchestration involves a large performing force. Take the wind,

13A03P0067.0N1-0N2.indd 2 2013/10/4 11:03:36 AM

1︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契 3︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契2︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契

演出者介紹

George Pehlivanian, conductor

Born in Beirut, George Pehlivanian is Former Artistic Director and Chief Conductor of the Slovenian Philharmonic Orchestra. He has held Principal Guest Conductor positions with the Residentie Orchestra in the Hague, the Vienna Chamber Orchestra and the Deutsche Staatsphilharmonie Rheinland-Pfalz. Pehlivanian has conducted many of the world’s leading orchestras, including the London Philharmonic Orchestra, the Filarmonica della Scala, the Orchestre Philharmonique de Radio France, the Maggio Musicale Fiorentino, the Orchestra Nazionale della RAI Torino, and the BBC Philharmonic. Pehlivanian is also an experienced opera conductor and has conducted at many important Festivals including the White Nights Festival in St. Petersburg, Maggio Musicale Fiorentino, Ravenna, Ravello and Aspen. In 2010, Pehlivanian has founded the “Touquet International Music Masters” festival in Le Touquet (France), and collaborates regularly with prestigious soloists including Vadim Repin, Jean-Yves Thibaudet, Emanuel Ax, Misha Maisky, Leonidas Kavakos, Janine Jansen, Fazil Say and Vladimir Galuzin.

Profiles

指揮│喬治‧佩利凡尼安

喬治．佩利凡尼安出生於貝

魯特，曾任斯洛維尼亞愛樂管絃

樂團藝術總監暨首席指揮，德國

萊茵蘭-法爾茲州國家愛樂、海牙管絃、維也納室內管絃等樂團

之首席客座指揮。他曾指揮多個

首屈一指的交響樂團，如倫敦愛

樂、史卡拉愛樂、法國廣播愛樂、佛羅倫斯五月

音樂節管絃、杜林國家廣播管絃以及英國廣播愛

樂樂團等。佩利凡尼安亦是一位經驗豐富的歌劇

指揮，常應邀於蘇俄聖彼得堡「白夜之星」音樂

節、佛羅倫斯五月音樂節、義大利拉芬納音樂節

及拉維洛音樂節、美國亞斯本音樂節等地演出。

2010年，佩利凡尼安於法國創辦「勒圖凱國際音樂節」，所合作的獨奏家包括列賓、提鮑德、艾

克斯、麥斯基、卡瓦科斯、楊森、賽依、嘉路欽

等，皆為當今樂壇人物的一時之選。

演出曲目

皮埃爾‧布列茲（1925- ）：《符號》，I-IV，VII

I. 異想地─中庸地

II. 非常活潑地

III. 非常慢地IV. 富有節奏地V. 神聖地

羅伯特‧舒曼（1797-1828）：A小調大提琴協奏曲

I. 不太快地

II. 慢板

III. 非常活潑地

--中場休息--

德米特里．蕭斯塔科維契（1906-1975）：第五號交響曲

I. 中板

II. 稍快板

III. 最緩板IV. 不太快的快板

Program

PIERRE BOULEZ (1925- ): Notations I-IV, VII

I. Fantasque – ModéréII. Très vifIII. Assez lentIV. RythmiqueV. Hiératique

ROBERT SCHUMANN (1797-1828): Cello Concerto, Op. 129, A minor

I. Nicht zu schnellII. LangsamIII. Sehr lebhaft

--Intermission--

DMITRI SHOSTAKOVICH (1906-1975): Symphony No. 5, Op. 47, D minor

I. ModeratoII. AllegrettoIII. LargoIV. Allegro non troppo

大提琴│楊‧沃格勒

沃格勒的卓爾不凡可從與其

合作的指揮名單中領略一二，像

是葛濟夫、馬捷爾、路易西、羅

伯森、霍內克；與他同台演出的

樂團則有：紐約愛樂、芝加哥交

響、波士頓交響、匹茲堡交響、

蒙特婁交響、辛辛那提交響、馬

林斯基劇院管絃、德勒斯登國家交響、巴伐利亞

廣播交響、斯圖加特廣播交響、維也納交響樂團

等，皆非等閒之輩。沃格勒最近重要演出行程，

包括與奧斯陸愛樂、慕尼黑愛樂、馬林斯基劇院

樂團（葛濟夫指揮）演出協奏曲；與鋼琴家海

倫．葛莉茉搭檔，於紐約及巴黎舉行大提琴獨奏

會。沃格勒的演奏錄音數量極豐，多由索尼經典

發行，其中不乏國際得獎名碟。2012 年，他出版了巴赫《六首大提琴無伴奏組曲》、2013 年則出版與維也納愛樂共同合作的舒曼大提琴協奏曲。

沃格勒現任德勒斯登音樂節總監，並為莫里茲堡

室內樂節之創辦人及藝術總監。他使用的兩把樂

器分別為史特拉底瓦里1707-1710年製作的「卡斯特巴可」（Ex Castelbarco/Fau）、以及蒙塔耶納1721年製作的「赫金」（Ex-Hekking）大提琴。

Jan Vogler, cello

Jan Vogler’s distinguished career has featured him with renowned conductors Valery Gergiev, Lorin Maazel, Fabio Luisi, David Robertson and Manfred Honeck and internationally acclaimed orchestras such as the New York Philharmonic, the Chicago, Boston, Pittsburgh, Montreal and Cincinnati Symphony Orchestras, the Mariinsky Theatre Orchestra, the Dresden Staatskapelle, the Bavarian Radio Orchestra, the Stuttgart Radio Orchestra and the Vienna Symphony. His recent highlights include concerts with the Oslo Philharmonic Orchestra, the Munich Philharmonic, with Valery Gergiev and the Mariinsky Theatre Orchestra, and recitals in Paris and New York with Hélène Grimaud. A prolific and multi-award-winning recording artist, Volger records exclusively for SONY Classical. Upcoming releases include Bach’s Six Suites for Unaccompanied Cello (2012) and the Schumann’s Cello Concerto with the Vienna Philharmonic (2013). Jan Vogler is the General Director of the Dresden Music Festival, as well as founder and Artistic Director of the Moritzburg Chamber Music Festival. He plays the 1707-1710 Stradivarius “Ex Castelbarco/Fau” cello and 1721 Domenico Montagnana cello “Ex-Hekking”.

Jan Vogler is represented worlde by Tanja Dorn/IMG Artists. For more information please visit www.imgartists.com.樂曲解說

皮埃爾‧布列茲：《符號》，I-IV，VII 撰文│蔡永凱（國立臺灣師範大學音樂學博士）

布列茲可說是當今樂壇最重要的作曲家之一，他的創作生涯亦可說是代表了戰後法國音樂的發展。布列茲早年受教於梅湘，因此受到第二維也納樂派「十二音列」的影響，進而成為「序列主義」（serialisam）的一名大將。五○年代開始，致力「即興」與「開放形式」的多種可能。六○年代後則轉向電子音樂，開發新的聲響。他在樂壇的影響力，亦得到法國總統龐畢度（Georges Pompidou, 1911-1974）的背書，斥資興建當時領先全球的「電子聲響研究中心」（Institut de Recherche et Coordination Acoustique/Musique，簡稱IRCAM）。《符號》創作於1945年，屬於布列茲較早期

的作品，由十二首短小精鍊的鋼琴曲所構成，深受十二音列寫作風格的影響。「Notation」一詞，原為「記譜」之意，循此脈絡亦可看到，作曲家在譜面上精細地標示，尤其在節奏、力度、運音記號上的講究，反映出「序列主義」的思考。

從七○年代起，作曲家陸續把這些鋼琴曲改寫為樂團版本。布列茲的「改寫」，不只將演奏樂器由鋼琴改成樂團，也擴充了音樂內容，增加篇幅。

《符號》的改寫，迄今至少完成七首，但卻只有五首被出版，按作曲家建議，演奏順序可為 I-VII-IV-III-II 或 I-III-IV-VII-II。值得注意的是，雖然各曲短小，布列茲卻採用了大編制的樂團。以管樂為例：長笛家族除了三支一般長笛外，亦使用一支中音長笛；雙簧管家族，除兩支雙簧管外，還使用兩支英國管。由此亦可以看到，身兼當今最傑出指揮家的布列茲，如何吸取華格納至世紀之交大型管絃樂團的管絃樂法，施展在自身的作品裡。

羅伯特‧舒曼：A小調大提琴協奏曲撰文│張偉明（國立臺灣師範大學音樂系碩士生）

協奏曲在十九世紀前半蓬勃發展，但大提琴協奏曲卻留下空白的一頁：「大提琴演奏家」創作的樂曲，作品深度無法通過歷史的考驗；「作曲家」因為對大提琴掌握不足，無法讓大提琴在樂團中有突出的表現，故鮮少嘗試創作。直到舒曼的A小調大提琴協奏曲，才寫下新的一頁。

1850年，舒曼前往杜塞朵夫（Düsseldorf）擔任該市的樂團音樂總監。對全新生活的熱情，使舒曼展現驚人的創作能量，短短半個月即完成A小調大提琴協奏曲。舒曼夫人克拉拉（Clara Schumann,

1819-1896）對這首作品愛不釋手：「這是以真正的大提琴風格寫作的。」、「我再次演奏羅伯特的大提琴協奏曲，並度過真正快樂的音樂時光。大提琴與樂團交織出浪漫、活潑、新鮮、幽默、有趣等令人陶醉的特質，所有旋律，都可以發現極其和諧的聲響與深沉的情感。」但舒曼卻不滿意並持續修改。舒曼去世後，1860年，為紀念作曲家誕生50週年，這首樂曲終於得以首演，獲得成功的迴響：「就像貝多芬和孟德爾頌晚期的協奏曲，這首樂曲具有新穎的交響聲響，獨奏僅比樂團稍微突出。⋯我們可以宣稱這將是最具價值的大提琴曲目。」

在手稿中，舒曼將這首作品命名為「小協奏曲」（Konzertstück），反映出其特殊形式：雖然有三個樂章，卻如同單一樂章無法分割，並有許多貫穿全曲的動機。這樣「統一」的概念，是為了彌補作品強調抒情歌唱，卻缺乏對比與戲劇發展的缺失。第一樂章以木管與絃樂撥奏的三個和弦溫柔地拉開序幕，和弦最高音（E-A-C）更預示緊接的第一主題（E-A-B-C），最後同樣利用三個和弦導入第二樂章。三個和弦填補第二樂章獨奏旋律間的空檔，更成為第三樂章樂團的強烈齊奏。第一樂章第一主題在第二樂章中段，由木管與獨奏大提琴再現。在第三樂章，第一樂章第一主題動機更與第三樂章第一主題動機並置發展。第一樂章第二主題的下行大跳音程，成為開啟第二樂章主題的重要動機，並在第三樂章第二主題中應用。第二樂章獨奏主題以絃樂撥絃伴奏，但另有一部樂團大提琴與獨奏大提琴共同拉奏，形成優美的大提琴二重奏。第三樂章成功融合炫技素材與交響聲響，最後的裝飾奏附有樂團伴奏，是由舒曼親自譜寫，樂團以節制的聲響點綴，獨奏大提琴強調中低音域，帶有沉思氛圍，卻又不失狂想。

德米特里．蕭斯塔科維契：第五號交響曲

撰文│張皓閔（國立臺灣師範大學音樂學碩士）

1936年，蕭斯塔科維契的歌劇《穆森斯克郡的馬克白夫人》（Lady Macbeth of the Mtsensk District）觸怒了史達林（Joseph Stalin, 1878-1953），蕭氏因此遭到官方無情的批鬥，許多作品被勒令禁演，第四號交響曲的首演也被迫取消。1937年4月至7月，蕭氏創作了他的第五號交響曲，以之做為「對黨的批評的回應」。作品於1937年11月21日由穆拉汶斯基（Yevgeny Mravinsky, 1903-1988）指揮列寧格勒愛樂管絃樂團（Leningrad Philharmonic Orchestra）首演於列寧格勒。這部交響曲不但有效地緩解了官方對蕭氏的猜疑，在公眾之間也大受歡迎，成為蕭氏最成功的作品之一。

作品的第一樂章為奏鳴曲式。呈示部的兩個主題各有鮮明的伴奏音型，第一主題以大跳和附點節奏為特徵，第二主題則以同音反覆的「長短短」音型做為伴奏。進入發展部後，氣氛在越來越快的速度帶動下，不斷拉升，最終隨著熱烈的進行曲徹底爆發。再現部以極具蕭氏個人特色的樂團大齊奏開啟，接著慢慢減弱，直至空幻的尾聲。

第二樂章是個圓舞曲似的詼諧曲，主題源自第一樂章的第一主題；其諷刺、喧鬧又神經質的喜劇風格，成為深沉的第一和第三樂章之間一個輕鬆的插曲──普羅科菲夫（Sergey, Proko�ev, 1891-1953）或馬勒（Gustav Mahler, 1860-1911）的作品中也常有類似的安排。

完全不使用銅管樂器，且絃樂細分成八個聲部的第三樂章，係由三個綿長優美的主題構成；其中，第二主題同樣變化自第一樂章第一主題。樂章的情感表達內斂豐沛且略帶哀傷；調性採升f小調，但最終昇華似地結束以升F大三和弦，預告著第四樂章的凱歌。第四樂章大致上採ABA'三段式。A段重拾第一樂

章高潮樂段的氛圍，呈現一段猛烈而肅殺的進行曲。壓抑的B段充滿了不安的情緒；段落最後，豎琴的加入似乎帶來一線曙光，但很快被A'段開頭那暗潮洶湧的進行曲打斷。進入A'段後，原本一直落在小調上的進行曲，突然在情緒推升至高潮時，轉入D大調，以閃耀的凱歌，盛大地結束全曲。

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=201310，並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。

Program NotesPierre Boulez: Notations I-IV, VIIBy Yun-Kai Tsai (PhD in Musicology, National Taiwan Normal University)

Pierre Boulez is considered as one of the most significant composers of our time. The developmental trajectory of his work represents the development of French music after WWII. A student of Olivier Messiaen, Boulez was under the influence of the second Viennese school, hence the vast amount of his serial works. From the 1950s, Boulez was devoted to other possibilities in music, including improvisation and open form. In the 1960s, he turned to electronic music, exploring the new sounds it potentially promised. His influence on modern music was recognized by the French president Georges Pompidou (1911-1974), who supported the building of the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), an avant-garde research centre of electronic sounds.

Composed in 1945, Notations is Boulez’s early work. This serial work consists of twelve short piano pieces. The title “notation” literally means the “recording” of notes. This title may also speak for the extremely precise markings (or notation) in Boulez’s score. With its specific markings in rhythm, dynamics, and articulation, Notations reflects Boulez’s serial mode of thinking.

From the 1970s, Boulez gradually orchestrated Notations. However, his “rewriting” of Notations involves not only orchestration, but also the enrichment of the work’s content and expansion of its scope. Even though Boulez has hitherto completed the transformation (or rewriting) of at least seven pieces from Notations, he has published only five of them. According to Boulez, the order of the pieces in Notations can be either I-VII-IV-III-II or I-III-IV-VII-II. It is worth noting that, despite the brevity of each piece in Notations, Boulez’s orchestration involves a large performing force. Take the wind,

13A03P0067.0N1-0N2.indd 2 2013/10/4 11:03:36 AM

1︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契 3︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契2︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契

演出者介紹

George Pehlivanian, conductor

Born in Beirut, George Pehlivanian is Former Artistic Director and Chief Conductor of the Slovenian Philharmonic Orchestra. He has held Principal Guest Conductor positions with the Residentie Orchestra in the Hague, the Vienna Chamber Orchestra and the Deutsche Staatsphilharmonie Rheinland-Pfalz. Pehlivanian has conducted many of the world’s leading orchestras, including the London Philharmonic Orchestra, the Filarmonica della Scala, the Orchestre Philharmonique de Radio France, the Maggio Musicale Fiorentino, the Orchestra Nazionale della RAI Torino, and the BBC Philharmonic. Pehlivanian is also an experienced opera conductor and has conducted at many important Festivals including the White Nights Festival in St. Petersburg, Maggio Musicale Fiorentino, Ravenna, Ravello and Aspen. In 2010, Pehlivanian has founded the “Touquet International Music Masters” festival in Le Touquet (France), and collaborates regularly with prestigious soloists including Vadim Repin, Jean-Yves Thibaudet, Emanuel Ax, Misha Maisky, Leonidas Kavakos, Janine Jansen, Fazil Say and Vladimir Galuzin.

Profiles

指揮│喬治‧佩利凡尼安

喬治．佩利凡尼安出生於貝

魯特，曾任斯洛維尼亞愛樂管絃

樂團藝術總監暨首席指揮，德國

萊茵蘭-法爾茲州國家愛樂、海牙管絃、維也納室內管絃等樂團

之首席客座指揮。他曾指揮多個

首屈一指的交響樂團，如倫敦愛

樂、史卡拉愛樂、法國廣播愛樂、佛羅倫斯五月

音樂節管絃、杜林國家廣播管絃以及英國廣播愛

樂樂團等。佩利凡尼安亦是一位經驗豐富的歌劇

指揮，常應邀於蘇俄聖彼得堡「白夜之星」音樂

節、佛羅倫斯五月音樂節、義大利拉芬納音樂節

及拉維洛音樂節、美國亞斯本音樂節等地演出。

2010年，佩利凡尼安於法國創辦「勒圖凱國際音樂節」，所合作的獨奏家包括列賓、提鮑德、艾

克斯、麥斯基、卡瓦科斯、楊森、賽依、嘉路欽

等，皆為當今樂壇人物的一時之選。

演出曲目

皮埃爾‧布列茲（1925- ）：《符號》，I-IV，VII

I. 異想地─中庸地

II. 非常活潑地

III. 非常慢地IV. 富有節奏地V. 神聖地

羅伯特‧舒曼（1797-1828）：A小調大提琴協奏曲

I. 不太快地

II. 慢板

III. 非常活潑地

--中場休息--

德米特里．蕭斯塔科維契（1906-1975）：第五號交響曲

I. 中板

II. 稍快板

III. 最緩板IV. 不太快的快板

Program

PIERRE BOULEZ (1925- ): Notations I-IV, VII

I. Fantasque – ModéréII. Très vifIII. Assez lentIV. RythmiqueV. Hiératique

ROBERT SCHUMANN (1797-1828): Cello Concerto, Op. 129, A minor

I. Nicht zu schnellII. LangsamIII. Sehr lebhaft

--Intermission--

DMITRI SHOSTAKOVICH (1906-1975): Symphony No. 5, Op. 47, D minor

I. ModeratoII. AllegrettoIII. LargoIV. Allegro non troppo

大提琴│楊‧沃格勒

沃格勒的卓爾不凡可從與其

合作的指揮名單中領略一二，像

是葛濟夫、馬捷爾、路易西、羅

伯森、霍內克；與他同台演出的

樂團則有：紐約愛樂、芝加哥交

響、波士頓交響、匹茲堡交響、

蒙特婁交響、辛辛那提交響、馬

林斯基劇院管絃、德勒斯登國家交響、巴伐利亞

廣播交響、斯圖加特廣播交響、維也納交響樂團

等，皆非等閒之輩。沃格勒最近重要演出行程，

包括與奧斯陸愛樂、慕尼黑愛樂、馬林斯基劇院

樂團（葛濟夫指揮）演出協奏曲；與鋼琴家海

倫．葛莉茉搭檔，於紐約及巴黎舉行大提琴獨奏

會。沃格勒的演奏錄音數量極豐，多由索尼經典

發行，其中不乏國際得獎名碟。2012 年，他出版了巴赫《六首大提琴無伴奏組曲》、2013 年則出版與維也納愛樂共同合作的舒曼大提琴協奏曲。

沃格勒現任德勒斯登音樂節總監，並為莫里茲堡

室內樂節之創辦人及藝術總監。他使用的兩把樂

器分別為史特拉底瓦里1707-1710年製作的「卡斯特巴可」（Ex Castelbarco/Fau）、以及蒙塔耶納1721年製作的「赫金」（Ex-Hekking）大提琴。

Jan Vogler, cello

Jan Vogler’s distinguished career has featured him with renowned conductors Valery Gergiev, Lorin Maazel, Fabio Luisi, David Robertson and Manfred Honeck and internationally acclaimed orchestras such as the New York Philharmonic, the Chicago, Boston, Pittsburgh, Montreal and Cincinnati Symphony Orchestras, the Mariinsky Theatre Orchestra, the Dresden Staatskapelle, the Bavarian Radio Orchestra, the Stuttgart Radio Orchestra and the Vienna Symphony. His recent highlights include concerts with the Oslo Philharmonic Orchestra, the Munich Philharmonic, with Valery Gergiev and the Mariinsky Theatre Orchestra, and recitals in Paris and New York with Hélène Grimaud. A prolific and multi-award-winning recording artist, Volger records exclusively for SONY Classical. Upcoming releases include Bach’s Six Suites for Unaccompanied Cello (2012) and the Schumann’s Cello Concerto with the Vienna Philharmonic (2013). Jan Vogler is the General Director of the Dresden Music Festival, as well as founder and Artistic Director of the Moritzburg Chamber Music Festival. He plays the 1707-1710 Stradivarius “Ex Castelbarco/Fau” cello and 1721 Domenico Montagnana cello “Ex-Hekking”.

Jan Vogler is represented worlde by Tanja Dorn/IMG Artists. For more information please visit www.imgartists.com.樂曲解說

皮埃爾‧布列茲：《符號》，I-IV，VII 撰文│蔡永凱（國立臺灣師範大學音樂學博士）

布列茲可說是當今樂壇最重要的作曲家之一，他的創作生涯亦可說是代表了戰後法國音樂的發展。布列茲早年受教於梅湘，因此受到第二維也納樂派「十二音列」的影響，進而成為「序列主義」（serialisam）的一名大將。五○年代開始，致力「即興」與「開放形式」的多種可能。六○年代後則轉向電子音樂，開發新的聲響。他在樂壇的影響力，亦得到法國總統龐畢度（Georges Pompidou, 1911-1974）的背書，斥資興建當時領先全球的「電子聲響研究中心」（Institut de Recherche et Coordination Acoustique/Musique，簡稱IRCAM）。《符號》創作於1945年，屬於布列茲較早期

的作品，由十二首短小精鍊的鋼琴曲所構成，深受十二音列寫作風格的影響。「Notation」一詞，原為「記譜」之意，循此脈絡亦可看到，作曲家在譜面上精細地標示，尤其在節奏、力度、運音記號上的講究，反映出「序列主義」的思考。

從七○年代起，作曲家陸續把這些鋼琴曲改寫為樂團版本。布列茲的「改寫」，不只將演奏樂器由鋼琴改成樂團，也擴充了音樂內容，增加篇幅。

《符號》的改寫，迄今至少完成七首，但卻只有五首被出版，按作曲家建議，演奏順序可為 I-VII-IV-III-II 或 I-III-IV-VII-II。值得注意的是，雖然各曲短小，布列茲卻採用了大編制的樂團。以管樂為例：長笛家族除了三支一般長笛外，亦使用一支中音長笛；雙簧管家族，除兩支雙簧管外，還使用兩支英國管。由此亦可以看到，身兼當今最傑出指揮家的布列茲，如何吸取華格納至世紀之交大型管絃樂團的管絃樂法，施展在自身的作品裡。

羅伯特‧舒曼：A小調大提琴協奏曲撰文│張偉明（國立臺灣師範大學音樂系碩士生）

協奏曲在十九世紀前半蓬勃發展，但大提琴協奏曲卻留下空白的一頁：「大提琴演奏家」創作的樂曲，作品深度無法通過歷史的考驗；「作曲家」因為對大提琴掌握不足，無法讓大提琴在樂團中有突出的表現，故鮮少嘗試創作。直到舒曼的A小調大提琴協奏曲，才寫下新的一頁。

1850年，舒曼前往杜塞朵夫（Düsseldorf）擔任該市的樂團音樂總監。對全新生活的熱情，使舒曼展現驚人的創作能量，短短半個月即完成A小調大提琴協奏曲。舒曼夫人克拉拉（Clara Schumann,

1819-1896）對這首作品愛不釋手：「這是以真正的大提琴風格寫作的。」、「我再次演奏羅伯特的大提琴協奏曲，並度過真正快樂的音樂時光。大提琴與樂團交織出浪漫、活潑、新鮮、幽默、有趣等令人陶醉的特質，所有旋律，都可以發現極其和諧的聲響與深沉的情感。」但舒曼卻不滿意並持續修改。舒曼去世後，1860年，為紀念作曲家誕生50週年，這首樂曲終於得以首演，獲得成功的迴響：「就像貝多芬和孟德爾頌晚期的協奏曲，這首樂曲具有新穎的交響聲響，獨奏僅比樂團稍微突出。⋯我們可以宣稱這將是最具價值的大提琴曲目。」

在手稿中，舒曼將這首作品命名為「小協奏曲」（Konzertstück），反映出其特殊形式：雖然有三個樂章，卻如同單一樂章無法分割，並有許多貫穿全曲的動機。這樣「統一」的概念，是為了彌補作品強調抒情歌唱，卻缺乏對比與戲劇發展的缺失。第一樂章以木管與絃樂撥奏的三個和弦溫柔地拉開序幕，和弦最高音（E-A-C）更預示緊接的第一主題（E-A-B-C），最後同樣利用三個和弦導入第二樂章。三個和弦填補第二樂章獨奏旋律間的空檔，更成為第三樂章樂團的強烈齊奏。第一樂章第一主題在第二樂章中段，由木管與獨奏大提琴再現。在第三樂章，第一樂章第一主題動機更與第三樂章第一主題動機並置發展。第一樂章第二主題的下行大跳音程，成為開啟第二樂章主題的重要動機，並在第三樂章第二主題中應用。第二樂章獨奏主題以絃樂撥絃伴奏，但另有一部樂團大提琴與獨奏大提琴共同拉奏，形成優美的大提琴二重奏。第三樂章成功融合炫技素材與交響聲響，最後的裝飾奏附有樂團伴奏，是由舒曼親自譜寫，樂團以節制的聲響點綴，獨奏大提琴強調中低音域，帶有沉思氛圍，卻又不失狂想。

德米特里．蕭斯塔科維契：第五號交響曲

撰文│張皓閔（國立臺灣師範大學音樂學碩士）

1936年，蕭斯塔科維契的歌劇《穆森斯克郡的馬克白夫人》（Lady Macbeth of the Mtsensk District）觸怒了史達林（Joseph Stalin, 1878-1953），蕭氏因此遭到官方無情的批鬥，許多作品被勒令禁演，第四號交響曲的首演也被迫取消。1937年4月至7月，蕭氏創作了他的第五號交響曲，以之做為「對黨的批評的回應」。作品於1937年11月21日由穆拉汶斯基（Yevgeny Mravinsky, 1903-1988）指揮列寧格勒愛樂管絃樂團（Leningrad Philharmonic Orchestra）首演於列寧格勒。這部交響曲不但有效地緩解了官方對蕭氏的猜疑，在公眾之間也大受歡迎，成為蕭氏最成功的作品之一。

作品的第一樂章為奏鳴曲式。呈示部的兩個主題各有鮮明的伴奏音型，第一主題以大跳和附點節奏為特徵，第二主題則以同音反覆的「長短短」音型做為伴奏。進入發展部後，氣氛在越來越快的速度帶動下，不斷拉升，最終隨著熱烈的進行曲徹底爆發。再現部以極具蕭氏個人特色的樂團大齊奏開啟，接著慢慢減弱，直至空幻的尾聲。

第二樂章是個圓舞曲似的詼諧曲，主題源自第一樂章的第一主題；其諷刺、喧鬧又神經質的喜劇風格，成為深沉的第一和第三樂章之間一個輕鬆的插曲──普羅科菲夫（Sergey, Proko�ev, 1891-1953）或馬勒（Gustav Mahler, 1860-1911）的作品中也常有類似的安排。

完全不使用銅管樂器，且絃樂細分成八個聲部的第三樂章，係由三個綿長優美的主題構成；其中，第二主題同樣變化自第一樂章第一主題。樂章的情感表達內斂豐沛且略帶哀傷；調性採升f小調，但最終昇華似地結束以升F大三和弦，預告著第四樂章的凱歌。第四樂章大致上採ABA'三段式。A段重拾第一樂

章高潮樂段的氛圍，呈現一段猛烈而肅殺的進行曲。壓抑的B段充滿了不安的情緒；段落最後，豎琴的加入似乎帶來一線曙光，但很快被A'段開頭那暗潮洶湧的進行曲打斷。進入A'段後，原本一直落在小調上的進行曲，突然在情緒推升至高潮時，轉入D大調，以閃耀的凱歌，盛大地結束全曲。

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=201310，並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。

Program NotesPierre Boulez: Notations I-IV, VIIBy Yun-Kai Tsai (PhD in Musicology, National Taiwan Normal University)

Pierre Boulez is considered as one of the most significant composers of our time. The developmental trajectory of his work represents the development of French music after WWII. A student of Olivier Messiaen, Boulez was under the influence of the second Viennese school, hence the vast amount of his serial works. From the 1950s, Boulez was devoted to other possibilities in music, including improvisation and open form. In the 1960s, he turned to electronic music, exploring the new sounds it potentially promised. His influence on modern music was recognized by the French president Georges Pompidou (1911-1974), who supported the building of the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), an avant-garde research centre of electronic sounds.

Composed in 1945, Notations is Boulez’s early work. This serial work consists of twelve short piano pieces. The title “notation” literally means the “recording” of notes. This title may also speak for the extremely precise markings (or notation) in Boulez’s score. With its specific markings in rhythm, dynamics, and articulation, Notations reflects Boulez’s serial mode of thinking.

From the 1970s, Boulez gradually orchestrated Notations. However, his “rewriting” of Notations involves not only orchestration, but also the enrichment of the work’s content and expansion of its scope. Even though Boulez has hitherto completed the transformation (or rewriting) of at least seven pieces from Notations, he has published only five of them. According to Boulez, the order of the pieces in Notations can be either I-VII-IV-III-II or I-III-IV-VII-II. It is worth noting that, despite the brevity of each piece in Notations, Boulez’s orchestration involves a large performing force. Take the wind,

13A03P0067.0N1-0N2.indd 2 2013/10/4 11:03:36 AM

4︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契 5︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契

自信而精銳 國家交響樂團

教育部於1986年為建立一個指標級交響樂團投下的希望，2005年起成為國立中正文化中心駐國家音樂廳團隊，目前已成為頂

尖的亞洲樂團。樂團歷任音樂總監/藝術顧問包括許常惠、張大勝、林望傑、簡文彬以

及赫比希，自2010年8月起，由呂紹嘉接任音樂總監。20多年來與NSO合作過的知名指揮家有馬捷爾、巴夏潘德瑞茨基、史瓦茲、

羅斯楚波維奇、柯米希奧納、史拉特金等。

除了精緻音樂會，NSO也製作大型歌劇，更以各種推廣講座音樂會、節慶或戶外音樂

會，使NSO的節目成為愛樂大眾樂於參與的活動，形成華人地區古典音樂的新風貌。

National Symphony Orchestra

Founded in 1986 by the Ministry of Education, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became an artistic affiliate of the National Chiang Kai-Shek Cultural Center in 2005. The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Maestro Shao-Chia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan. The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hogwood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong, Guangzhou, Shanghai, Hangzhou, and Beijing.

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=201310.

for example: there is one alto flute in addition to three regular flutes, and two English horns in addition to two oboes. We can see how Boulez—an accomplished conductor as well as an important composer—learns from the gigantic force of Wagner’s orchestration and applies it to his own work.

(Translated by Feng-Shu Lee)

Robert Schumann: Cello Concerto, Op. 129, A minor

Schumann wrote his Cello Concerto in 1850, describing it in his own list of compositions as a Konzerlstück it came, therefore, during the first period of his appointment in Düsseldorf, at the time of composition of his Third Symphony, the Rhenish. He already had some knowledge of the cello, having played it in the 18305, when he was forced to turn his attention away from the piano, at least as a professional performer. The lower register of the cello poses certain problems to composers, since it may all too easily be obscured by the orchestra. This is avoided by Schumann’s scoring, which, nevertheless, has been criticized, leading some to re-orchestrate the concerto in ways that are often interesting, if idiosyncratic.

Woodwind chords, with pizzicato strings, open the concerto, the soloist entering after a brief accompanying figure in the violins. The strongly romantic first theme is proclaimed by the cello, which continues in prominence until the first orchestral tutti, answered by a further solo The rhapsodic material is developed, the solo theme re-appearing in F sharp minor before the recapitulation in the original key, with the secondary theme now in the tonic major. There is an expressive F major slow movement and brief reminiscences of the principal themes of both movements before the launching of the finale, with arpeggios that form part of the cello theme, the basis of the movement, which leads to an accompanied cadenza and an emphatic conclusion.© 2013 Naxos Digital Services Ltd

Dmitri Shostakovich: Symphony No. 5, Op. 47, D minor

Shostakovich wrote the fifth of his fifteen symphonies in 1937 and it was given its first performance in Leningrad in November that year, presented as for the celebration of the twentieth anniversary of the Russian Revolution. It originally carried the sub-title “The practical answer of a Soviet artist to justified criticism”. This, coming after the events of 1936, led to a certain initial coolness towards the symphony outside Russia.

The Fifth Symphony is scored for woodwind in threes (though only two oboes), four horns, three each of trumpets and trombones, tuba, timpani, percussion (four players), celesta, two harps, piano and strings. Its four movements follow the standard classical trajectory (with the scherzo placed second), but Shostakovich’s rethink of first movement sonata-form was to have profound consequences for his later symphonies, while the finale’s radical overhaul of the Beethovenian ‘tragedy to triumph’ model is fully in keeping with the spirit of its times.

The first movement opens with a commanding downward gesture on strings, thrice repeated in the course of a first theme that unfolds hesitantly and with great pathos. Initially on upper strings, it belatedly migrates to woodwind

演出長度│上半場約45分鐘，下半場約45分鐘

演出時間│ 2013年10月12日（星期六）7:30 PM

演出地點│ 國家音樂廳 National Concert Hall, Taipei

主辦單位│

藝文支持│

指定住宿│

特別感謝│

演出者 指ề揮│喬治‧佩利凡尼安 George Pehlivanian, conductor

大提琴│楊‧沃格勒 Jan Vogler, cello

國家交響樂團 National Symphony Orchestra (NSO)

and brass on the way to its nobly wrought apex. The fourth appearance of the initial gesture leads into the second theme, a long-limbed melody for violins over a steady tread on lower strings. Ruminative woodwind comments and a brief recollection of the first theme emerge before it winds down to a pause, whereupon the development commences with the first theme heard balefully on brass over a piano ostinato. Various components now emerge as the music gains in energy, taking in a martial transformation of the theme on brass and percussion, before the reprise is launched at the point of maximum intensity with the first theme in rhythmic unison across the orchestra. It subsides into an idyllic version of the second theme for woodwind and horn, but this is short lived as the coda enters with a haunted recollection of the first theme-replete with plangent echoes of the opening gesture and ending with somnolent chords on celesta.

The second movement is a scherzo whose bluff initial repartee for the strings is complemented by a sardonic theme on woodwind with its portentous rejoinder on horns. This makes way for a trio section where violin then flute unfold a capricious melody, offset by strutting upper strings and woodwind. It alights on a fugitive version of the opening for woodwind and pizzicato strings, leading to the return of the main theme with its rejoinder now on trumpets then horns. An uneasy recall of the trio theme on oboe is impatiently brushed aside at the close.

The third movement-in which brass are silent begins with a heartfelt melody on strings that, unfolding at length, ushers in an evocative, folk-like idea and a rapt theme for divided strings in its wake. Another theme, on flute and harp, eases the tension before a version of the opening melody leads to a brief climax; this dies away to leave muted strings, against which woodwind -oboe, clarinet then flutes muse on the first theme, interspersed with atmospheric chords for strings. The first theme returns on woodwind, then strings entering as the intensity builds to an anguished statement of the third theme on violins against a blizzard of orchestral tremolos. This then migrates to the lower strings as elements of the first three themes are intensively discussed, before the fourth theme-on upper strings at length restores calm. Ethereal echoes of the first theme on celesta and harp bring about the serene ending.

The fourth movement now bursts in with a strident theme on brass and timpani, its components excitedly discussed as the tempo increases. In the process, another (directly related) theme emerges on the trumpets over skirling strings, triumphantly sounded out by the whole orchestra before the pounding opening music returns. Fanfaring brass wind down to an expressive transformation of the second theme on horns over shimmering strings. This latter is reduced to an oscillating phrase that takes in a subdued version of the first theme on strings, before opening onto a plateau of gentle radiance. From this point, the first theme builds steadily to the final climax-capped by a transformation of the first theme (its initial four notes confirmed as an upward reversal of the work’s opening gesture) whose pivoting between affirmation and uncertainty is carried through to the fateful conclusion.© 2013 Naxos Digital Services Ltd

●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　✽NSO樂團學苑學員

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 藍胤萱✽ 紀韋瑄✽ 余琬婷✽

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 王心妤✽ 郭承姍✽

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✽ 蔡享享✽ 陳映蓁✽

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 呂函涓✽ 林君翰✽ 韓如伶

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 洪瑜蔚✽ 林韋滇 許舒涵

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■▲王譽博

英　國　管 李明怡

單　簧　管 ● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 楊雅淳

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

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 洪于雯 余若梅 林君庭✽

豎　　　琴 ● 解　瑄 管伊文 洪乃薇

鍵　　　盤 ▲ 許毓婷 黃時為

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 賴廷恆行銷專員 林欣儀 鄭巧琪 王思懿 方歆婷

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

NSO 樂團學苑 名錄

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)

✽

電子問券請掃描，支持NSO愛地球。

13A03P0067.0N1-0N2.indd 1 2013/10/4 11:03:36 AM

4︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契 5︱音樂狂旅─布列茲、舒曼、蕭斯塔科維契

自信而精銳 國家交響樂團

教育部於1986年為建立一個指標級交響樂團投下的希望，2005年起成為國立中正文化中心駐國家音樂廳團隊，目前已成為頂

尖的亞洲樂團。樂團歷任音樂總監/藝術顧問包括許常惠、張大勝、林望傑、簡文彬以

及赫比希，自2010年8月起，由呂紹嘉接任音樂總監。20多年來與NSO合作過的知名指揮家有馬捷爾、巴夏潘德瑞茨基、史瓦茲、

羅斯楚波維奇、柯米希奧納、史拉特金等。

除了精緻音樂會，NSO也製作大型歌劇，更以各種推廣講座音樂會、節慶或戶外音樂

會，使NSO的節目成為愛樂大眾樂於參與的活動，形成華人地區古典音樂的新風貌。

National Symphony Orchestra

Founded in 1986 by the Ministry of Education, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became an artistic affiliate of the National Chiang Kai-Shek Cultural Center in 2005. The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Maestro Shao-Chia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan. The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hogwood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong, Guangzhou, Shanghai, Hangzhou, and Beijing.

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=201310.

for example: there is one alto flute in addition to three regular flutes, and two English horns in addition to two oboes. We can see how Boulez—an accomplished conductor as well as an important composer—learns from the gigantic force of Wagner’s orchestration and applies it to his own work.

(Translated by Feng-Shu Lee)

Robert Schumann: Cello Concerto, Op. 129, A minor

Schumann wrote his Cello Concerto in 1850, describing it in his own list of compositions as a Konzerlstück it came, therefore, during the first period of his appointment in Düsseldorf, at the time of composition of his Third Symphony, the Rhenish. He already had some knowledge of the cello, having played it in the 18305, when he was forced to turn his attention away from the piano, at least as a professional performer. The lower register of the cello poses certain problems to composers, since it may all too easily be obscured by the orchestra. This is avoided by Schumann’s scoring, which, nevertheless, has been criticized, leading some to re-orchestrate the concerto in ways that are often interesting, if idiosyncratic.

Woodwind chords, with pizzicato strings, open the concerto, the soloist entering after a brief accompanying figure in the violins. The strongly romantic first theme is proclaimed by the cello, which continues in prominence until the first orchestral tutti, answered by a further solo The rhapsodic material is developed, the solo theme re-appearing in F sharp minor before the recapitulation in the original key, with the secondary theme now in the tonic major. There is an expressive F major slow movement and brief reminiscences of the principal themes of both movements before the launching of the finale, with arpeggios that form part of the cello theme, the basis of the movement, which leads to an accompanied cadenza and an emphatic conclusion.© 2013 Naxos Digital Services Ltd

Dmitri Shostakovich: Symphony No. 5, Op. 47, D minor

Shostakovich wrote the fifth of his fifteen symphonies in 1937 and it was given its first performance in Leningrad in November that year, presented as for the celebration of the twentieth anniversary of the Russian Revolution. It originally carried the sub-title “The practical answer of a Soviet artist to justified criticism”. This, coming after the events of 1936, led to a certain initial coolness towards the symphony outside Russia.

The Fifth Symphony is scored for woodwind in threes (though only two oboes), four horns, three each of trumpets and trombones, tuba, timpani, percussion (four players), celesta, two harps, piano and strings. Its four movements follow the standard classical trajectory (with the scherzo placed second), but Shostakovich’s rethink of first movement sonata-form was to have profound consequences for his later symphonies, while the finale’s radical overhaul of the Beethovenian ‘tragedy to triumph’ model is fully in keeping with the spirit of its times.

The first movement opens with a commanding downward gesture on strings, thrice repeated in the course of a first theme that unfolds hesitantly and with great pathos. Initially on upper strings, it belatedly migrates to woodwind

演出長度│上半場約45分鐘，下半場約45分鐘

演出時間│ 2013年10月12日（星期六）7:30 PM

演出地點│ 國家音樂廳 National Concert Hall, Taipei

主辦單位│

藝文支持│

指定住宿│

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演出者 指ề揮│喬治‧佩利凡尼安 George Pehlivanian, conductor

大提琴│楊‧沃格勒 Jan Vogler, cello

國家交響樂團 National Symphony Orchestra (NSO)

and brass on the way to its nobly wrought apex. The fourth appearance of the initial gesture leads into the second theme, a long-limbed melody for violins over a steady tread on lower strings. Ruminative woodwind comments and a brief recollection of the first theme emerge before it winds down to a pause, whereupon the development commences with the first theme heard balefully on brass over a piano ostinato. Various components now emerge as the music gains in energy, taking in a martial transformation of the theme on brass and percussion, before the reprise is launched at the point of maximum intensity with the first theme in rhythmic unison across the orchestra. It subsides into an idyllic version of the second theme for woodwind and horn, but this is short lived as the coda enters with a haunted recollection of the first theme-replete with plangent echoes of the opening gesture and ending with somnolent chords on celesta.

The second movement is a scherzo whose bluff initial repartee for the strings is complemented by a sardonic theme on woodwind with its portentous rejoinder on horns. This makes way for a trio section where violin then flute unfold a capricious melody, offset by strutting upper strings and woodwind. It alights on a fugitive version of the opening for woodwind and pizzicato strings, leading to the return of the main theme with its rejoinder now on trumpets then horns. An uneasy recall of the trio theme on oboe is impatiently brushed aside at the close.

The third movement-in which brass are silent begins with a heartfelt melody on strings that, unfolding at length, ushers in an evocative, folk-like idea and a rapt theme for divided strings in its wake. Another theme, on flute and harp, eases the tension before a version of the opening melody leads to a brief climax; this dies away to leave muted strings, against which woodwind -oboe, clarinet then flutes muse on the first theme, interspersed with atmospheric chords for strings. The first theme returns on woodwind, then strings entering as the intensity builds to an anguished statement of the third theme on violins against a blizzard of orchestral tremolos. This then migrates to the lower strings as elements of the first three themes are intensively discussed, before the fourth theme-on upper strings at length restores calm. Ethereal echoes of the first theme on celesta and harp bring about the serene ending.

The fourth movement now bursts in with a strident theme on brass and timpani, its components excitedly discussed as the tempo increases. In the process, another (directly related) theme emerges on the trumpets over skirling strings, triumphantly sounded out by the whole orchestra before the pounding opening music returns. Fanfaring brass wind down to an expressive transformation of the second theme on horns over shimmering strings. This latter is reduced to an oscillating phrase that takes in a subdued version of the first theme on strings, before opening onto a plateau of gentle radiance. From this point, the first theme builds steadily to the final climax-capped by a transformation of the first theme (its initial four notes confirmed as an upward reversal of the work’s opening gesture) whose pivoting between affirmation and uncertainty is carried through to the fateful conclusion.© 2013 Naxos Digital Services Ltd

●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　✽NSO樂團學苑學員

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 藍胤萱✽ 紀韋瑄✽ 余琬婷✽

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 王心妤✽ 郭承姍✽

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✽ 蔡享享✽ 陳映蓁✽

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 呂函涓✽ 林君翰✽ 韓如伶

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 洪瑜蔚✽ 林韋滇 許舒涵

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■▲王譽博

英　國　管 李明怡

單　簧　管 ● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸 楊雅淳

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

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 洪于雯 余若梅 林君庭✽

豎　　　琴 ● 解　瑄 管伊文 洪乃薇

鍵　　　盤 ▲ 許毓婷 黃時為

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 賴廷恆行銷專員 林欣儀 鄭巧琪 王思懿 方歆婷

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

NSO 樂團學苑 名錄

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

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13A03P0067.0N1-0N2.indd 1 2013/10/4 11:03:36 AM