國家交響樂團 National Symphony Orchestra (NSO)

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1 演出時間 2014 年 3 月 21 日 ( 星期五 )7:30 PM 演出地點國家音樂廳 National Concert Hall, Taipei 主辦單位指定住宿特別感謝演出者指 ề 揮呂紹嘉 Shao-Chia Lü, conductor 鋼 ề 琴莉莉亞齊柏絲坦 Lilya Zilberstein, piano 國家交響樂團 National Symphony Orchestra (NSO) 演出長度上半場約 45 分鐘, 下半場約 40 分鐘

1 浪漫詩人拉赫瑪尼諾夫演出曲目塞爾基拉赫瑪尼諾夫 (1873-1943): 交響詩死之島塞爾基拉赫瑪尼諾夫 : 第四號鋼琴協奏曲 I. II. III. Program SERGEY RACHMANINOFF (1873-1943): Isle of the Dead, Symphonic Poem, Op.

2 1 浪漫詩人拉赫瑪尼諾夫演出曲目塞爾基拉赫瑪尼諾夫 ( ): 交響詩死之島塞爾基拉赫瑪尼諾夫 : 第四號鋼琴協奏曲 I. II. III. Program SERGEY RACHMANINOFF ( ): Isle of the Dead, Symphonic Poem, Op. 29 SERGEY RACHMANINOFF: Piano Concerto No.4, Op. 40, G minor I. Allegro vivace II. Largo III. Allegro vivace Intermission -- 塞爾基拉赫瑪尼諾夫 : 第三號交響曲 I. II. III. SERGEY RACHMANINOFF: Symphony No.3, Op. 44, A minor I. Allegro moderato II. Adagio ma non troppo III. Allegro 演出者介紹指揮呂紹嘉呂紹嘉是表達音樂意境之大師, 也是一位才華卓絕的指揮 - 南德意志報 Peter Cornelius Profiles Shao-Chia Lü, conductor 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 (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü took the position of General Music Director of the Koblenz Theatre between 1998 and 2001, the Staatsorchester Rheinische Philharmonie Koblenz between 1998 and 2004, and the Staatsoper Hannover between 2001 and In summer 2004, Lu and the Staatsoper Hannover earned international acknowledgement by performing Pelléas et Mélisande at the renowned Vienna and Edinburgh Festivals. Shao-Chia Lü appears regularly as guest-conductor at several world renowned opera houses, including the Opera Australian in Sydney and Melbourne, the English National Opera, the Theatre de la Monnaie in Brussels, Den Norske Opera in Oslo, the Gothenburg Opera, the Oper Frankfurt, Staatsoper Hamburg and Stuttgart, the Deutsche Oper and Komische Oper Berlin. Alongside his opera activities, Lü is equally at home on concert podiums. Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Orchestre National de France, the

2 浪漫詩人拉赫瑪尼諾夫 Bergen 2010 8 NSO SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Goteborg Sinfoniker, the Staatskapelle Weimar and the Frankfurter Museumsorchester.

3 2 浪漫詩人拉赫瑪尼諾夫 Bergen NSO SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Goteborg Sinfoniker, the Staatskapelle Weimar and the Frankfurter Museumsorchester. In November 2011, Shao- Chia Lü made his much acclaimed debut with the Royal Concertgebouw Orchestra in Amsterdam. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 鋼琴莉莉亞齊柏絲坦 DG 2009 Lilya Zilberstein, piano Lilya Zilberstein got her first taste of international success in 1987 when she won the Busoni Competition in Bolzano. Her victory was a sensation it took five years before the first prize was even awarded again. In 1991, Zilberstein made her debut with the Berlin Philharmonic Orchestra under Claudio Abbado, which formed the basis of a long-term cooperation. In the meantime she has performed with the world's great orchestras, including the Chicago Symphony Orchestra, the London Symphony and the Royal Philharmonic Orchestra as well as the Staatskapelle Dresden, under the direction of conductors such as Semyon Bychkov, Gustavo Dudamel, Christoph Eschenbach, James Levine, and Michael Tilson Thomas. In addition to a recording of the Brahms sonata for two pianos with Martha Argerich released by EMI, Zilberstein has recorded eight CDs for Deutsche Grammophon, including the Second and Third Piano Concertos by S. Rachmaninoff (Abbado, Berlin Philharmonic Orchestra). Since 2009, Zilberstein is professor at the Hamburg University of Music and Theatre. 樂曲解說拉赫瑪尼諾夫塞爾基拉赫瑪尼諾夫 : 交響詩死之島 Arnold Böcklin, Nikolay Struve

4 Senar A A 3 浪漫詩人拉赫瑪尼諾夫 edu.tw/related_catalog/index.asp?q= ( ) A A Dies irae E A

4 浪漫詩人拉赫瑪尼諾夫 Program Notes Sergey Rachmaninoff: Isle of the Dead, Symphonic Poem, Op. 29 In 1909, the symphonic poem Die Toteninsel, the Isle of the Dead was composed.

5 4 浪漫詩人拉赫瑪尼諾夫 Program Notes Sergey Rachmaninoff: Isle of the Dead, Symphonic Poem, Op. 29 In 1909, the symphonic poem Die Toteninsel, the Isle of the Dead was composed. The latter was based on a wellknown painting, or rather a black-and-white reproduction of a painting, by the Swiss-German artist Arnold Boecklin, the leading German Romantic painter of the late nineteenth century. The picture shows Charon, the ferryman of the dead of Greek mythology, who rows the dead across the River Styx on their journey to the Underworld and to the crags and cliffs of the ominous Island of the Dead of Boecklin s imagination Naxos Digital Services Ltd Sergey Rachmaninoff: Piano concerto No. 4, Op. 40,G minor Rachmaninoff completed his Piano Concerto No. 4 in G minor between January and August 1926 and gave the first performance the following March in Philadelphia, with the orchestra conducted by Leopold Stokowski. He revised the concerto in 1941, giving the first performance of the revised version in October that year, again in Philadelphia, the performance now conducted by Eugene Ormandy. On neither occasion was the work particularly well received. The revision had responded to criticisms of the work's length, which was now much reduced, but the expectations aroused, with a knowledge of the earlier concertos and, by 1941, of the Paganini Rhapsody, were not met. He dedicated the work to the emigre Russian composer Nikolay Medtner. The first movement opens with a brief orchestral introduction of six bars, after which the soloist enters with a heavy series of solid and dramatic chords, the substance of the first principal theme, derived from the Étude tableau in C minor, Opus 33, No. 3 of The piano later introduces a more lyrical secondary theme, as the movement develops. The slow movement need not suffer by the chance resemblance of the first three notes of the principal theme to the opening of the nurseryrhyme Three Blind Mice. The resemblance is superficial and irrelevant and should not detract from the expressive dialogue between soloist and orchestra. The final Allegro vivace follows without a break, abruptly introduced by the orchestra, and then, more delicately, by the piano, which goes on to more elaborate technical display, to a lyrical chordal episode and to reminiscences of the first movement that provide the concerto with an over-all thematic unity. It should be said that although the Fourth Concerto is the least popular and least often heard of Rachmaninoff s concertos, it nevertheless has much to be said for it. It may still lack the tautness of construction that the composer strove to impart in his revision of the work, but in its lyricism and in its exploration of a still further extended harmonic language, it remains an attractive work of considerable interest Naxos Digital Services Ltd Sergey Rachmaninoff: Symphony No. 3, Op. 44, A minor The symphony starts with a distant Russian motto theme, played pianissimo by a muted solo cello, horn and two clarinets, followed by a more emphatic outburst from the orchestra. The first subject, which has still further importance in the central development of the first movement is announced by oboes and bassoons, a theme characteristic of the composer in its lyrical implications, an element still more evident in the second subject, introduced by the cellos and suggesting to some an American folk-song, much as the slow movement of the Fourth Piano Concerto had brought a less desirable resemblance. The motto theme, which has had its part to play in the development, returns to preface the recapitulation, with prominence now given to the second subject. The motto theme brings the movement to a close. In the second movement Rachmaninoff follows the precedent of the concertos in which he had included a scherzo in the slow movement. The French horn introduces the motto theme, with the accompaniment of the harp, before the entry of a solo violin, to be joined by the other violins, as the thematic material is developed. A solo flute suggests a second subject and the movement moves on to the jaunty and emphatic rhythms of a colorful Allegro vivace, framed by a return of the original material of the movement. The symphony ends with a movement of some variety, opening with a flourish and containing concealed references to the Dies irae and a related fugal section. It is the Dies irae theme that starts the recapitulation and assumes further importance as the symphony draws to a brilliant and optimistic close Naxos Digital Services Ltd For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to related_catalog/index.asp?q= 電子問券請掃描, 支持 NSO 愛地球

6 5 浪漫詩人拉赫瑪尼諾夫自信而精銳國家交響樂團 / NSO NSO NSO 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 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. 音樂總監桂冠指揮樂團首席樂團副首席助理指揮呂紹嘉根特赫比希吳庭毓李宜錦鄧皓敦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魏苡庭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弘之伏芯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程筑卿小號宇新樂陳長伯張景民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許毓婷客席助理指揮許惠品 NSO 執行長企劃製作經理公關專案經理邱瑗杜佳舫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賴曉俐整合行銷專員陳卜湄行銷專員林欣儀鄭巧琪王思懿方歆婷曾柏雄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高冠勳音樂諮詢法律顧問錄音製作焦元溥林信和 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 ( )

演出時間 2013 年 12 月 19 日 ( 星期四 ) 7:30PM 演出地點國家音樂廳演奏廳. 演出者女高音 / 林孟君 (LIN Meng-chun, soprano) 法國號 / 劉宜欣 (LIU Yi-hsin, horn) 鋼琴 / 許惠品 (HSU Hui-pin, piano)

演出時間 2013 年 12 月 19 日 ( 星期四 ) 7:30PM 演出地點國家音樂廳演奏廳主辦單位演出者女高音 / 林孟君 (LIN Meng-chun, soprano) 法國號 / 劉宜欣 (LIU Yi-hsin, horn) 鋼琴 / 許惠品 (HSU Hui-pin, piano) 35 20 Approx. 35 minutes for each half with an