NSO_20121005Fugitive Journey-Scheherazade program note

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演出時間 2012年10月5日（星期五）7:30PM演出地點國家音樂廳 National Concert Hall, Taipei

演出者指揮│簡文彬 Wen-Pin CHIEN, conductor

小提琴｜曾宇謙Yu-Chien TSENG, violin

國家交響樂團 National Symphony Orchestra (NSO)

主辦單位

指定住宿

特別感謝

迷幻奇航─天方夜譚Fugitive Journey ─Scheherazade

節目冊 1005 迷幻奇航 - 天方夜譚-2.indd 1 2012/10/1 下午 07:51:49

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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50分鐘下半場　約50分鐘

塞爾基‧普羅科菲夫（1891-1953）：《瞬間印象》（巴夏改編）

塞爾基‧普羅科菲夫（1891-1953）：第一號小提琴協奏曲

I. 小行板

II. 詼諧曲

III. 中板

～中場休息～

尼可萊‧李姆斯基–柯薩科夫（1844-1908）：《天方夜譚》

I. 〈大海和辛巴達的船〉

II. 〈卡倫德王子〉

III. 〈年輕的王子和公主〉

IV. 〈巴格達的節日─大海〉

小提琴獨奏:李宜錦

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SERGEI PROKOFIEV (1891-1953): Visions fugitives (arr. by Rudolf Barshai)

SERGEI PROKOFIEV (1891-1953): Violin Concerto No.1, op.19

I. Andantino:Andanteassai

II. Scherzo:Vivacissimo

III. Moderato

---Intermission---

NIKOLAI RIMSKY-KORSAKOV (1844-1908): Scheherazade , op.35

I. ‘TheSeaandShinbad’sShip’

II. ‘TheKalenderPrince’

III. ‘TheYoungPrinceandtheYoungPrincess’

IV. ‘FestivalatBagdad–TheSea’

I-ChingLin,soloviolin

ForrelatedinformationofthewonderfulprogramoftheCenterforthePerformingArtsLibraryCollection,

pleaserefertohttp://libserv.ntch.edu.tw/related_catalog/index.asp.

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演出者簡介

簡文彬生於臺北，國立藝專（現國立臺灣藝術大學）鍵盤組畢業，1990年負笈奧地利進入國立維也納音樂院（現國立維也納音樂暨表演藝術大學）鑽研指揮，1994年取得碩士學位。在校期間，曾於義大利及法國等地國際指揮大賽中獲獎。1995年於以色列榮獲首屆伯恩斯坦指揮大賽特別獎。1996年起擔任德國萊茵歌劇院（Deutsche Oper am Rhein）駐院指揮迄今，並於1998至2004年擔任日本太平洋音樂節（Pacific Music Festival）常任指揮。1999至2001年簡文彬獲邀擔任NSO首席客座指揮，2001至2007年擔任音樂總監。

擔任NSO音樂總監期間，簡文彬以創新思維規劃樂季節目，推出《發現系列》定期音樂會，有系統以西方經典作曲家為主題，搭配講座、專書、音樂會前及廣播空中導聆，讓音樂

會從單純的聆賞拓展為獨特的體驗與學習經驗，成功培養交響樂欣賞人口。以跨界概念推

出的《歌劇系列》、《永遠的童話》，廣邀劇場名家及團體合作，成功擴展新觀眾群，同時

安排國外專家來台培訓，為國內年輕聲樂家打造綻放光彩之舞臺；簡文彬也積極委託國人作

曲家創作，催生臺灣交響樂新作品。2006年帶領NSO挑戰華格納全本《指環》，創亞洲地區自製該劇首例，獲得國際專業媒體大篇幅報導與佳評。2007年受太平洋音樂節之邀，率領NSO成功征戰日本札幌，是至今唯一獲得該音樂節邀請之亞洲職業樂團。

簡文彬除以歌劇指揮身分，受邀於奧地利、荷蘭、德國及瑞士等地劇院指揮演出，也

客席指揮包括奧地利、義大利、捷克、俄國、法國、日本、德國、香港及中國等地交響樂

團。1998年他率領德國萊茵歌劇院於「維也納藝術節」（Wiener Festwochen）演出；2007年帶領德國萊茵歌劇院與NSO首度跨國合作，於臺北國家戲劇院演出全本理查•史特勞斯《玫瑰騎士》；同年率德國萊茵歌劇院於瑞士「九月音樂節」（Septembre musical）演出普羅科菲夫歌劇《三橘之戀》。2009年簡文彬與導演Christoph Nel合作推出荀白克歌劇《摩西與亞倫》新製作，被德國重要媒體及評論譽為該劇院近十年來最成功的製作。《萊茵郵報》讚

道「在簡文彬的指揮下，《摩西與亞倫》綻現出美而優異的全新樣貌，甚至讓聽眾完全忘

記這其實是一部複雜的『無調性音樂』作品。」2010年簡文彬帶領德國萊茵歌劇院於德國魯爾區「2010年歐洲文化首都」（European Capital of Culture）計畫中，演出德國作曲家亨策（Hans Werner Henze）歌劇《費朵拉》（Phaedra）。

指揮 conductor

簡文彬Wen-Pin ChienNSO國家交響樂團音樂總監（2001-2007）及首席客座指揮（1999-2001 & 2007-2008）


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Wen-Pin Chien – Kapellmeister of the Deutsche Oper am Rhein (since 1996/1997 season), Resident Conductor of the Pacific Music Festival in Japan (1998-2004) and Music Director of the National Symphony Orchestra of Taiwan (2001-2007) – was born in Taipei in 1967. He graduated from the National Taiwan Academy of Arts summa cum laude (1988) with major in piano, and gained his Master’s degree in conducting at the National University for Music and Performing Arts in Vienna (1994).

Chien won the first prize at the International Conducting Competition “La Bottega”, Treviso (1992), the second prize at the International Competition for Young Musicians, Douai (1994), and the only Special Mention in the first Leonard Bernstein Jerusalem International Conducting Competition, Israel (1995).

During his tenure as the Music Director of the National Symphony Orchestra, Chien was the central artistic force behind its innovative annual Subscription Concerts and Opera series. Under his direction, the orchestra celebrated its 20th anniversary in 2006 with critically acclaimed production of Wagner’s complete Ring cycle, the first-ever production in the Chinese speaking regions. At the National Theater in Taipei, he conducted the Deutsche Oper am Rhein’s tour production of Der Rosenkavalier (2007) and Opera Australia’s Carmen (2009).

At the Deutsche Oper am Rhein, Chien conducted the world première of Franz Hummel’s Beuys, the German premiere of Peter Eötvös’s Drei Schwestern, Giorgio Battistelli’s Richard III and the world première of Eleni Karaindrou’s ballet Phädra, as well as many revived productions. In 2009, Chien conducted a new production of Schoenberg’s Moses und Aron and, in 2010, a new production of Henze’s Phaedra. In the 2011/12 season, he conducts new productions of Stravinsky’s Le rossignol, Britten’s The Turn of the Screw and the world première of Anno Schreier’s Mörder Kaspar Brand.

As a guest conductor, Chien has worked with orchestras in Italy, Czech, Russia, France, Japan, Germany, Hong Kong, China and Taiwan. He also appeared as a guest conductor at the Wiener Kammeroper; The Nederlands Opera, Amsterdam; Hamburgische Staatsoper; Komische Oper Berlin; Opernhaus Graz and Theater Bonn. At the Grand Théâtre de Genève he has conducted Unsuk Chin’s Alice in Wonderland (2010) and Birtwistle’s Punch and Judy (2011).

在臺灣，簡文彬帶領NSO與國光劇團於2007年合作推出交響京劇《快雪時晴》；2008年推出金希文歌劇《黑鬚馬偕》世界首演；2009年與澳洲歌劇團於臺灣首次合作，演出比才歌劇《卡門》。2012年簡文彬於德國萊茵歌劇院指揮史特拉汶斯基《夜鶯》及布禮頓《壁廬冤孽》之新製作演出、浦契尼《蝴蝶夫人》以及德國新銳作曲家Anno Schreier根據愛倫坡推理小說《一桶阿蒙蒂亞度酒》創作之歌劇《殺人犯Kaspar Brand》世界首演，此外亦受邀於英國倫敦與英國愛樂管絃樂團首度合作演出，並擔任奧地利「Klangspuren」現代音樂節開幕音樂會指揮，繼續為臺灣指揮家寫下新紀錄。


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演出者簡介

1994年出生於台北，5歲開始學琴。曾宇謙在台灣時受教於林柏山、沈英良、李宜錦、陳沁紅等人，2008年前往美國寇蒂斯音樂院跟隨小提琴家Ida Kavafian學習。

曾宇謙從小即獲得多項全國性及國際性比賽的榮譽，包括2004年榮獲全國學生音樂比賽第一名、2006年榮獲曼紐因國際青少年小提琴大賽第三名、2009年榮獲美國費城管弦樂團協奏曲比賽第一名、西班牙薩拉沙泰國際小提琴大賽第一名及最佳演奏獎，並受

邀前往西班牙舉行巡迴獨奏會、2010年榮獲義大利帕格尼尼國際小提琴比賽協奏曲最佳演奏獎、2011年榮獲俄國柴科夫斯基國際小提琴比賽評審特別獎、2011韓國尹伊桑國際小提琴比賽第一名及最佳詮釋獎等獎項，並曾多次受邀與台北市立交響樂團、台灣絃樂

團、台北愛樂青年管弦樂團、美國費城管弦樂團、西班牙納瓦拉交響樂團、海峽和平交

響樂團、國家交響樂團合作擔任獨奏演出。

本場音樂會曾宇謙使用之小提琴由奇美文化基金會贊助提供。

小提琴 violin

曾宇謙Yu-Chien Tseng

©Philip Van Ootegem


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Yu-Chien Tseng was born in Taipei, Taiwan. He began playing violin at the age of five and entered the Curtis Institute of Music in United States in 2008, he is currently studying with Ms. Ida Kavafian. Before going to US, he studied violin with Po-Shan Lin, Ying-Liang Shen, I-Ching Li and C. Nanette Chen in Taiwan.

Seventeen-year-old Yu-Chien had just won the first prize and the best interpreting prize of works by Isang Yun in the 2011 Isang Yun International Violin Competition in Korea. At the same year, he also got the jury discretionary award in the 14th International Tchaikovsky Competition in Russia. He was one of the winners of the 53rd Premio Paganini International Violin Competition and got the prize of the best performance of the Paganini Concerto in Italy in 2010. In 2009, he was the first prize winner of the 10th Pablo Sarasate International Violin Competition in Spain and became the youngest first prize winner ever in the Competition, he also got the best performance prize of works by Sarasate and soon he had his debut with the Navarra Symphony Orchestra playing Mendelsshon Violin Concerto. He got the first prize of the junior division of the Philadelphia Orchestra Albert M. Greenfield Competition in 2009 and played the Dvorak's Violin Concerto with Philadelphia Orchestra in 2011.

He has performed as a soloist with the Philadelphia Orchestra in United States and played with the Taipei Symphony Orchestra, the Academy of Taiwan Strings, the Taipei Philharmonic Youth Orchestra, the National Symphony Orchestra in Taiwan, the Navarra Symphony Orchestra in Spain and the Cross-Strait Peace Symphony Orchestra, he was also invited to give some concerts in Taiwan, Spain and United States.


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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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從「國民樂派」到「現代」：

李姆斯基–柯薩科夫與普羅科菲夫

相較於歐洲主要的國家，俄國音樂起步較晚。所謂的「俄國音樂」之基礎，由葛令卡

（Mikhail Glinka, 1804-1857）的俄語歌劇所奠定。換句話說，俄國音樂創作的發展，從一開始就由「國民樂派」理念出發。不過因為俄國的幅員廣闊，往南達高加索山區與裏

海邊境（如今喬治亞共和國一帶），因此，對於西歐國家有些距離的阿拉伯文化，在俄

國的文化概念裡，卻似乎可以視為國家特色的範疇。這種結合「東方主義」與「國族主

義」思考的情形，成為俄國國民樂派的一大特色，《天方夜譚》也就誕生在這樣的文化

背景中。

做為泛歐洲的一員，世紀之交的俄國也無法自外於新音樂的發展。就在法國的印象

派、德奧的無調性音樂大放異彩的同時，俄國的新銳作曲家，也試圖從傳統中解放，尋

找自己的聲音，普羅科菲夫即為其中一位重要的代表性人物。他的作品，包括歌劇、交

響曲、鋼琴奏鳴曲與協奏曲等，到今日都常被演出，儼然成為二十世紀俄國音樂的代

表。但是在特殊音程關係建構出的冷峻、諷刺外表下，普羅科菲夫的創作仍然不脫傳統

的影響。

樂曲解說

撰文│蔡永凱 (國立臺灣師範大學音樂系音樂學博士候選人)

創作於1915至17年間的《瞬間印象》為普羅科菲夫早期的作品，曲集的標題來自俄國象徵主義詩人巴爾蒙特（Konstantin Balmont, 1867-1942）的詩句：「我在每個轉瞬看到世界，充滿各個頻譜色彩轉變的遊戲。」

作曲家創作了20首鋼琴曲，各曲不僅篇幅短小，在速度、音型風格上，也大異其趣，反映出「大千世界」般的樂趣。從詩文出發，在音樂上呈現出的「斷簡」風格，頗有舒

曼（Robert Schumann, 1810-1856）之風。值得一提的是，這部作品在調性、和聲與節奏上的強烈不和諧，與作曲家中晚期漸趨保守的走向對比，更可以反襯出作曲家在創作初

期的前衛特質。

塞爾基‧普羅科菲夫（1891-1953）：《瞬間印象》（巴夏改編）

撰文│蔡永凱

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1915年，普羅科菲夫開始著手他的第一首小提琴作品，以小協奏曲（Concertino）為構想，但因忙於歌劇《賭徒》（The Gambler），暫時中斷這部作品的寫作。再回頭進行時，決定發展為規模較龐大的協奏曲，即為「第一號小提琴協奏曲」。

普羅科菲夫並非小提琴家，創作期間，曾請教在聖彼得堡音樂院任教的小提琴家柯襄

斯基（Paul Kochanski, 1887-1934），並在1917年完成這首樂曲。原先打算由柯襄斯基首演，無奈同年爆發十月革命，首演被迫取消。之後，作曲家決定前往美國及西歐。幾經

輾轉，這部作品終於得以於1923年在巴黎，由庫塞維茨基（Sergei Koussevitzky）指揮巴黎歌劇院管絃樂團首演，樂團首席達籲（Marcel Darieux）擔任獨奏。當時法國樂壇是「六人組」的時代，追求新的聲響與現代元素，這讓帶有印象樂派抒情色彩的第一號小提琴

協奏曲無法即刻獲得認同。所幸，同年在蘇聯的鋼琴版本首演相當成功，擔綱的兩位即

將嶄露頭角的十九歲音樂家，分別是小提琴家米爾斯坦（Nathan Milstein, 1903-1992）及鋼琴家霍洛維茲（Vladimir Horowitz, 1903-1989）。隔年，小提琴家席格悌（Joseph Szigeti, 1892-1973）也開始在各地演出這首樂曲，得到非常熱烈的迴響。

儘管在巴黎被批為過於傳統，但這首作品卻反映了二十世紀協奏曲創作美學的轉變，

不再只追求獨奏樂器的炫技與豐富的管絃樂色彩，也不再完全遵循三樂章快—慢—快的

形式。第一樂章為小行板，開頭獨奏小提琴如夢似幻的第一主題，立刻將聽眾帶進另一

塞爾基‧普羅科菲夫（1891-1953）：第一號小提琴協奏曲

撰文│張偉明（國立臺灣師範大學音樂系音樂學碩士生）

知名俄國作曲家巴夏（Rudolf Borisovich Barshai, 1924-2010）於1955年創立了「莫斯科室內樂團」（Moskow Chamber Orchestra）。為了增加樂團的演出曲目，他將許多俄國作曲家的室內樂作品改編為室內樂團版本，包括改編給絃樂團的《瞬間印象》。原作的20首曲子中，他改編了15首；未被改編的為第7首和第17至20首。絃樂團的音響特色，由於發聲原理近似，特別適合演奏複雜的織體，在各聲部獨立之餘，又能夠形成圓潤飽滿的

整體，這個優勢從第1首就可以看出。不過，嫻熟樂器性能的巴夏，也善用絃樂器獨奏特有的穿透力，以第2首與第6首為例，類似的歌唱線條，前者獨奏演出，後者則為群奏。第13與14首的音量對比，可以看到編曲者如何細緻地安排中間聲部。除此之外，還有特殊演奏效果（撥奏、泛音）等的加入，這些都讓巴夏的改編，在有限的樂團條件上，拼

組出萬花筒般的音響色澤世界。

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個世界，樂團配器上呈現室內樂般的精緻聲響；透過拍號改變，第二主題有著截然不同

的韻律感，細碎的跳躍音型及大量的裝飾音，與第一主題的長線條旋律形成對比，樂章

最後由長笛吹奏第一主題，搭配加上弱音器的小提琴獨奏以快速音群伴奏，呈現晶瑩剔

透的聲響。第二樂章為詼諧曲，是作曲家的典型風格，充滿戲謔諷刺的色彩，更與第一

及第三樂章的抒情呈現對比。第三樂章開頭結合舞曲般的斷奏主題及長線條旋律，並用

木管樂器與獨奏小提琴對唱，尾奏小提琴獨奏以震音呈現第一樂章第一主題，在寧靜的

氛圍中，結束全曲。

俄國國民樂派大將李姆斯基-柯薩科夫是十九世紀末俄國最有影響力的一位作曲家。由於家庭的關係，他從小進入俄國海軍學習，音樂則為自學。初試啼聲後，結識了巴拉基

雷夫（Mily Balakirev, 1837-1910），後來，二人都成為俄國「強力五人組」的成員。巴拉基雷夫一方面灌輸他國族主義的理念，鼓勵他使用俄國的民間題材寫作音樂；另一方面，

巴拉基雷夫始終對近東的題材具有強烈的興趣，例如他的代表作鋼琴曲《以斯拉美》

（Islamey）與交響詩《塔馬拉》（Tamara）等，這也影響到李姆斯基–柯薩科夫，他將

西歐主流音樂文化所陌生的阿拉伯元素，納入了自己「國民樂派」的範疇，完成的代表

作，就是1888年創作的《天方夜譚》（原文名稱直譯為《雪赫拉莎德》，即是每晚講故事給國王聽的女子之名）。

《天方夜譚》為由四個樂章組成的組曲。作曲家自述，這部作品並沒有一個連貫敘述的「情節」，用以忠實呈現文學原作。他清楚交代的只有五段：「海與辛巴達的船」、

「卡蘭德王子的故事」、「王子與公主」、「巴格達之節慶」與「海難」。在音樂結構

安排上，如同李斯特交響詩的形式與「循環曲式」，他一方面以奏鳴曲式出發，擴大成

為「幻想曲」式的鬆散型態。另一方面，作曲家賦予故事最主要的兩位主人翁，國王與

雪赫拉莎德，各有一個鮮明的音樂主題（見譜例）。尤其是後者，由小提琴獨奏演奏，

在樂曲中不停出現，不僅在敘事結構上，提醒著「說故事的人」與「故事內容」的差

異，藉由時時再現的主題，也在音樂上串連起不具有明確邏輯的情節，為這部具有鬆散

結構的多樂章作品，建構出一致性。

尼可萊•李姆斯基–柯薩科夫（1844-1908）：《天方夜譚》

撰文│蔡永凱


14

對於隨意的情節與複雜的主題結構，作曲家進一步指出：「想要在我的組曲裡找尋主

要的動機，辨認它們對應、或者再現哪些詩文概念，是無用的。相反地，大部分看起來

是主要動機的，它們只不過是音樂的材料，是交響性發展的動機。這些動機散落在組曲

的樂章裡、改變、交纏。每一次，它們都點亮新的光芒、提供不同的角度、表達不同的

情緒；同一個動機與主題，其實適用於不同的意象、動作與畫面。」

值得一提的是，李姆斯基–柯薩科夫亦是當代俄國音樂的配器法大師。他所綜整的俄國

式配器概念，甚至風靡了彼時刻意排除華格納（Richard Wagner, 1812-1883）影響的法國樂壇。在這部作品裡，也可以看到作曲家試圖將主題與個別樂器的音色連結，或者使用

不同的樂器色彩，為單一主題取得不同的風貌，呈現出多元豐富的音響世界。

無論將這部作品視為「強力五人組」的「國族主義」產物，或者作曲家個人「東方主

義」的幻想，這些地方色彩所提供的材料，係體現在主題的形構以及提供色彩的特殊和

弦與半音處理上。至於支撐音樂結構的，仍然是深受西歐管絃樂作品裡「交響詩」與「

循環曲式」的思考。

譜例：上方為國王主題，下方為雪赫拉莎德主題。


15

Sergei Prokofiev (1891-1953): Visions fugitives (arr. by Rudolf Barshai)

While Prokofiev had written many provocative and often masterful piano compositions in his early career, this set of 20 pieces, along with the Piano Sonata No. 2, Op. 14 (1912), may have been his most important works in the solo realm until he produced his cycle of so-called "War Sonatas," Nos. 6 (1940), 7 (1942) and 8 (1944). Certainly the range of mood and the subtle gradations of color found in the Visions Fugitives show a deepening of expression in the young composer, not evident in his other piano music from the period with the exception of the Piano Concerto No. 2, Op. 16 (1913; rev. 1923) and the Piano Sonata No. 2.

This set of many very short piano sketches was composed at roughly the same time Schoenberg was struggling with tonality and tending to construct works of very short atonal units. Prokofiev's work, also constructed of short units, is far from atonal. But it does share some harmonic restlessness with the nearly contemporary works of Scriabin. This strange gem of piano writing, in many very tiny movements, evokes a half-dream in which one mood or impression is quickly replaced by a contrary or illogical leap out of the subconscious. It is one of Prokofiev's most striking and individual creations, unlike not only any other composer's piano music in tone and structure, but quite unlike much of Prokofiev's own music. It is certainy suited to listening with the lights dimmed and in a mood for free association. Incidentally, conductor Rudolf Barshai has arranged approximately the first two thirds of this set into an evocative orchestral version.

The title of the work, Visions Fugitives, is French for "Fleeting (or Fugitive) Visions." It derives from the words of Russian poet Konstantin Balmont: "In every fugitive vision I see worlds, full of the changing play of rainbow hues." Prokofiev thus fashioned an appropriate moniker for this assorted collection of short pieces, which in spirit—though not in style—are close to some of Schumann's piano compositions, like Carnaval.

Each of the 20 pieces bursts with musical ideas, and each conveys such vivid colors despite their generally short length—the entire collection lasts about 20 to 22 minutes in a typical performance. Only two or three of the pieces run over two minutes, with most of the others having a duration of around a minute. Several clock in at about a half minute.

Of those in this last group, No. 5, marked Molto giocoso, is perky and not a note too short or too long in its 25-second length. No. 7 (Pittoresco) is dreamy and serene, and sounds close to the hazy but slightly darker No. 20 (Lento Irrealmente). The tart dissonances that lead off No. 9 (Allegretto tranquillo) sound almost gentle, even cute, but never threatening. Threatening is how No. 14 (Feroce) begins, but its middle section features a subtle and arresting lyrical theme. The gloomy and


16

Sergei Prokofiev (1891-1953): Violin Concerto No. 1, op.19

By the time he composed the first concerto, he had already divided critical opinion, the second piano concerto having created a major scandal, with most critics vehement in their condemnation of this music which looked so much towards the future. Then came the violent ballet scores which even rival Stravinsky's pagan The Rite of Spring.

In this scenario, and amidst in the bloody revolution which brought the communists to power in Russia, the First Violin Concerto must have come as something of a surprise, with the violin floating upwards like a bird ascending, and some of the most gorgeous and rhapsodic music composed during the first quarter of the 20th century. It is true that the central movement has an aggressive and abrasive atmosphere, but the whole work was to end in tranquility, and his mastery of the violin concerto would have led the listeners to believe that there would have been another work soon to follow.

In fact it was 20 years later before he once again returned this medium, and it was a commission from Robert Soetans, the French violinist, that was to be the stimulus. Opinions are divided as to how technically brilliant Prokofiev considered Soetans, but he certainly concentrated on the lyrical aspects of the instrument, the broad melodic line for unaccompanied solo violin, which opens the first movement, setting the tone for the whole work. It is redolent with typical Prokofiev melodies, the slow movement unashamedly beautiful, the solo instrument weaving imaginative figurations over the orchestral accompaniment.

© 2012 Naxos Digital Services Ltd.

mysterious No. 12 (Assai moderato) contrasts nicely with its predecessor, the buoyant and playful No. 11 (Con vivacita). The innocence and peacefulness of No. 1 is quite appealing, but probably the most popular and one of the finest of the 20 pieces here is No. 16 (Dolente), whose falling theme has an air of gloomy meditation about it.

This work was first published in Russia in 1917 and is today among Prokofiev's most popular piano works, though the pieces are often played in recitals only as excerpts. Performances of the whole collection are relatively rare.

© All Music Guide


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Nikolai Rimsky-Korsakov (1844-1908): Scheherazade, op.35

The two hundred or so dramatically linked stories that constitute the Thousand and One Nights (or Arabian Nights) originated in Eastern lands centuries ago. The stories were handed down over the years and embroidered by each storyteller in his or her own fashion. A raconteuse named Scheherazade provided a convenient framework on which to drape a rich and colorful tapestry of these stories, folk tales, poems and dramatic narratives. In the form she related them, we are indebted to the misogynistic Persian king Shahriar.

Having been outraged by his faithless wife, Shahriar resolved to avenge himself on the entire female population of his city. Each night he would marry a beautiful young woman, only to kill her the following day. After some time, a girl of exceptional charm, wit and intelligence came forward with a plan to end this reign of terror. She offered herself to the King as his next bride, and the King gladly accepted, though he warned her that she would die on the following day. When bedtime approached, the girl began to relate an enthralling story to the King, but broke off just at the most exciting part, with a promise to continue the next day. The King postponed her execution so as to hear the outcome of this story, but the girl repeated her tactic the following night, and the night after that to a total of a thousand nights. By this time, she had borne him a son, the King had come to love her, and he finally renounced his categorical hatred of women. The Queen had in the meantime won the love and gratitude of the people as well, and they named her Scheherazade, which means “Savior of the City.”

Wondrous to hear were Scheherazade’s marvelously colored tales of intrigue and adventure set in exotic lands. Rimsky-Korsakov, with his masterful ability to exploit dazzling orchestral colors and sonorities, was just the composer to set these tales to music. Scheherazade, his four-movement “narrative” of scenes from the Arabian Nights, was written during the summer of 1888. It was first performed in St. Petersburg on October 22, 1888 with the composer conducting. A lengthy description of each movement would serve little purpose; the individual imagination must be free to roam. Nevertheless, one cannot miss the recurring “voice” of the lovely, seductive, mysterious Scheherazade, represented by a sinuous theme played by the solo violin, just one of the many tantalizing touches of orchestration found in the magnificently colored score.

By Robert Markow (Musicologist, Canada)


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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玉姍＊紀書瑄＊

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袁繹晴＊

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丁莉齡＊

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陳美君＊

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 ◎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黃書啟＊

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　＊NSO樂團學院學員　（劃底線者為本場協演人員）

12A01P0011.01-20.indd 18 2012/10/2 下午1:46

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National Symphony Orchestra

Executive Director JOYCECHIOU

Manager, Planning & Production SARAHTUManager, PR & Development PAULWANG

Artistic Planning & MarketingProgrammeCoordinator/SpecialAssistanttoMD SHELBYHSIEHProgrammeCoordinator MENG-SHANWU AMYLIU YING-FANLAIPR&ProjectCoordinator PU-MEICHENAssistantManager,Media&Marketing EMILYHSUMarketing&PublicationsCoordinator EILEENLINMarketing&MediaCoordinator CHIAU-CHICHENG CINDYCHEN

Production & AdministrationAssistantManager,Personnel BIBILINStageManager SHIH-CHIEHCHENLibrarian BRITTNEYKAOProduction&AdministrationCoordinator HUI-WENWEN HO-YILIN

Concert Dramaturgist YUAN-PUCHIAO

Music Director SHAO-CHIALÜ

Conductor LaureateGÜNTHERHERBIG

ConcertmasterTING-YUWUI-CHINGLI

Associate ConcertmasterHAO-TUNTENG

Assistant ConductorYIN-FANGCHANG

FIRST VIOLIN○Yi-ChunChen Yu-LinKuo Ji-HungLin Yung-KuangHou Kun-HaoLiang Yee-NongChen Hsiao-ChingCho CeciliaFang■ JiachiHuang Ting-FangLee Chia-ChiLai Meng-YingLin Chia-HaoLee ShanYu＊ Wei-HsuanChi＊

VIOLA●GraceHuang◎Chi-ChuanTeng○Chao-YingLu Yea-ChyiHwang Jing-YiLee Juin-LingShieh Guo-LanLiu Meng-SanLu Szu-ChiLi JubelChen Ping-ChangTsai Yi-ChingYuan＊

DOUBLE BASS●Yung-HoFu○Chun-ShiangChou Su-YuWang Hsiao-ChingHuang Shu-YiWang Pei-ChihLien Hsin-ChiehTsai Mei-JunChen＊

FLUTE●AndersNorell◎ChikaMiyazaki ChuinLee

CLARINET●May-LinJu◎Kai-TingChang Wei-IChu Cheng-JungSunBASSOON●Kai-YuJian◎I-HsiuChen Ling-FengKao

CONTRABASSOONEn-YiChien

TROMBONE●Kuang-ChingSung◎Hang-FatShiu Chung-ShengChen

BASS TROMBONEHsiao-YunPeng

TUBA●JunMiyanishi

TIMPANI●Ya-WenLien◎Ting-ChuanChen

PERCUSSION●Jer-HueiChen Chen-HsingChen Pi-TzuYang Chiung-YehWang

HARP●ShuenChiehKEYBOARD▲Dan-YiChen

HORN●Yi-HsinCindyLiu◎SupreetiAnsvananda○Jen-HsienHuang TomohiroKunita Wan-JuWang

TRUMPET●NicolasRusillon◎Chang-PoChen Ching-MinChang Chien-MingWu Shu-ChiHuang＊

PICCOLOMei-ChuanChung

OBOE●I-ChingWang◎Li-YuehLin Shu-TingYang■ Hua-HsinCheng＊

ENGLISH HORNMing-ILee

CELLO●LanaHsiung◎Yi-ShienLien○Chih-YinWei Ming-MeeiLieu Yu-WenChou I-TingChen Yi-HsienLi Jih-ShengHuang Ming-HueiSu Li-LingTing＊

SECOND VIOLIN●Yi-JuChen◎Cheng-MeiSun I-HuiWu Ching-HsiLee Yen-YiHuang Tsu-MeiKu ErAnYu Hsin-JungKang Mei-JainLi Jen-FuChung Meng-FongTsai Chang-WenHung Wei-HongChen Chih-HsiangWang

●Principal◎AssociatePrincipal○AssistantPrincipal■OnLeave▲SeasonContractedMusicians＊NSOOrchestraAcademy(Auxiliary)

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NSO_20121005Fugitive Journey-Scheherazade program note

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