4︱叛逆古典 5︱叛逆古典

演出長度│上半場約40分鐘，下半場約50分鐘

演出時間│ 2012年11月24日（星期六）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│

德米特里．蕭斯塔科維契（1906-1975）：第六號交響曲

撰文│張皓閔

蕭斯塔科維契無疑是蘇聯作曲家當中，最具天

才卻也最辛苦的一位。他的作品經常在面對自身的

悲觀內省和討好官方的樂觀簡潔之間掙扎。以他的

十五首交響曲為例，就有像是第二、三、七、十一

和十二等「符合黨國期待」的標題性作品，也有像

是第一、四、六、十、十三、十四等更為個人化的

創作。當然，亦有較難界定的作品，例如著名的第

五，雖不具有標題性，卻受到國家意識型態一定的

影響。然而，無論位在天秤的哪一端，蕭氏的交響

曲創作，總是極富創造力，具有相當高的品質。

1936年，蕭氏遭逢第一次批鬥，許多作品被勒令禁演；隔年，他完成第五號交響曲，作為「對

黨的批評的回應」，作品得到相當正面的評價，暫

時緩解了官方對他的猜疑。1938年，蕭氏宣告他的第六將是一首結合獨唱、合唱和樂團的《列寧》交

響曲；然而，隔年完成的第六，卻完全不是這麼一

回事。樂曲於同年11月21日首演，起初頗受歡迎，但批判亦隨之而來。1948年遇上第二次批鬥時，第六和之後的第八、第九同被批為「形式主義」，遭

到禁演。

樂曲只有三個樂章，從最緩板的慢速樂章開

始，後面跟著快板的詼諧曲和急板的舞曲。慢速的

第一樂章演奏時間超過全曲的一半，憂鬱陰沉的氣

氛裏，蘊含大量巴赫式對位風格的展現。詼諧曲充

滿詭怪的音效，一掃第一樂章的陰霾；之後是具有

加洛普舞曲（Galopp）風格的第三樂章，整個樂章熱鬧緊湊、一氣呵成，最後那進行曲般的歡騰尾

奏，尤其「討人喜歡」。

DMITRI SHOSTAKOVICH: Symphony No. 6, op.54, B minor

Shostakovich wrote his Sixth Symphony in 1939, starting it in April and completing the work in October. The pre-war years had brought great suffering and the death of musicians, actors, writers and poets, in Stalin's desire for political orthodoxy and the establishment of art that reflected the principles of Socialist Realism. By 1939, however, it had proved necessary to consider a non-aggression pact with Hitler's Germany, eventually signed in August 1939, on the eve of Hitler's attack on Poland. Political circumstances dictated a less rigorous control of music, which would prove to have propaganda value abroad, if couched in more conventional bourgeois terms.

The Sixth Symphony, however, written under what might be regarded in part as more favorable conditions, proved puzzling to contemporary critics. It was first performed in Leningrad on 5th November 1939 under the conductor Mravinsky at a Festival of Soviet Music which also included first performances of Prokofiev's Alexander Nevsky cantata and of Shaporin's On the Field of Kulikovo, these two works of obvious and immediate patriotic appeal. Shostakovich, perhaps as a subterfuge, had promised a symphony on the subject of Lenin. The new symphony was no such thing. Instead there was a three-movement work, starting not with a symphonic first movement but an extended brooding Largo, followed by two very much shorter movements, relatively light-hearted in vein.

The Sixth Symphony is scored for an orchestra of piccolo, pairs of flutes and oboes, cor anglais, a pair of clarinets with an additional E-flat clarinet and bass clarinet, two bassoons and double bassoon, three trumpets, four horns, three trombones and tuba, timpani, tambourine, snare drum, triangle, cymbals, bass drum, tam-tam and xylophone, harp, celesta and strings. The instrumentation provides the opportunity for wide varieties of orchestral colour, but is some way from the extravagant instrumentation of the Fourth Symphony. The opening Largo is sombre in mood, based on elements of its principal theme, announced at the beginning of the movement and a later closely related theme for cor anglais. The music leads through an extended meditative passage for two flutes to the return of aversion of the opening, proceeding, as the sound dies away, to the end of the movement. The influence of Bach has been suggested, in particular of the St. Matthew Passion, a work Shostakovich was studying with students at the St. Petersburg Conservatory, where he had recently been appointed professor of composition.

The second movement, in what might seem ironic juxtaposition, is opened by the pert E-flat clarinet, accompanied by the plucked strings of the violins. A dynamic climax, followed by the timpani, leads to are turn of an inverted version of the opening and finally to an ending marked in the wind pppp. The last movement starts in an ironic mood recalling that of Prokofiev in the Classical Symphony in a world of Mahlerian variety, with elements of the banal included in a truer reflection of the universal than Socialist Realism, with its descent into popular philistinism, could propose.

© 2012 Naxos Digital Services Ltd.

演 出 者

指　揮│尼可拉斯‧米爾頓 Nicholas Milton, conductor

鋼　琴│蓋瑞‧葛拉夫曼 Gary Graffman, piano

國家交響樂團 National Symphony Orchestra (NSO)

演出曲目 Program

塞爾基‧普羅科菲夫（1891-1953）：《古典交響曲》

I. 快板 II. 甚緩板 III. 嘉禾舞曲：不太快的 IV. 最終樂章：十分活躍的

莫里斯‧拉威爾（1875–1937）：左手鋼琴協奏曲

～中場休息～

李元貞（1980- ）：《間奏曲：商》為管絃樂團（世界首演）

I. 〈朝〉 II. 〈心宿二〉 III. 〈新月波羅〉

德米特里．蕭斯塔科維契（1906-1975）：第六號交響曲

I. 最緩板 II. 快板 III. 急板

SERGEI PROKOFIEV: Classical Symphony, op.25 I. Allegro II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace

MAURICE RAVEL: Piano Concerto for the Left Hand

～Intermission～

YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra (World Premiere)

I. 'Onward' II. 'Intermezzo' III. 'Strange Shore'

DMITRI SHOSTAKOVICH: Symphony No. 6, op.54, B minor I. Largo II. Allegro III. Presto

樂章則以絃樂奏出幽明而和諧如聖詠般的合奏。最

後，第三樂章重拾能量，不但回應第一樂章的動

感，並進一步地將樂團推動到全曲的高潮，湧出一

陣又一陣上行爬升的線條。近曲終時，中提琴流露

出如吟唱般的旋律耳語呢喃與不止的擺盪。

管絃樂《間奏曲：商》是國立中正文化中心

暨國家兩廳院陳郁秀前董事長以及邱瑗執行長任內

《樂典》系列的委託。在譜寫的各個階段中，其樂

念的情感轉化與體現，承蒙芝加哥大學音樂系的師

長們的技術指導和支持 — 特別是當時指導我的鈴木琴香教授（Kotoka Suzuki），以及芝加哥交響樂團新音樂系列首席指揮 Cliff Colnot 給與樂譜與管絃樂法的指導。

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 余琬婷✽ 紀韋瑄✽

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 朱品霖✽

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 游婉婷✽

長　　　笛 ●安德石 ◎宮崎千佳 李　浚

短　　　笛 鐘美川

雙　簧　管 ●王怡靜 ◎林麗玥 楊舒婷■

英　國　管 李明怡

單　簧　管 ●朱玫玲 ◎張凱婷 朱偉誼 孫正茸

低　音　管 ●簡凱玉 ◎陳奕秀 高靈風

倍 低 音 管 簡恩義

法　國　號 ●劉宜欣 ◎舒培特 ○黃任賢 國田朋宏 王婉如

曹予勉

小　　　號 ●宇新樂 ◎陳長伯 張景民 吳建銘

長　　　號 ●宋光清 ◎邵恆發 陳中昇

低 音 長 號 彭曉昀

低　音　號 ●宮西純

定　音　鼓 ●連雅文 ◎陳廷銓

打　擊　樂 ●陳哲輝 陳振馨 楊璧慈 王瓊燁

豎　　　琴 ●解　瑄

鍵　　　盤 許惠婷

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 陳世傑助理舞監 顏承宇譜務專員 高婉瑜行政專員 溫慧雯林和億

特約音樂諮詢 焦元溥

✽NSO樂團學苑名錄指揮 張尹芳

小提琴 玉　珊 吳宛蓁余琬婷侯亨翰 紀韋瑄 張暐姍黃思瑋駱思云 賴思伃 藍胤萱蘇品嘉

中提琴 朱品霖 袁繹晴黃亞漢劉詩珊 羅培菁

大提琴 丁莉齡 呂函涓李　茜黃瓊毅

低音提琴陳美君 游婉婷

長　　笛洪佑寧 徐鈺甄

雙簧管 胡子涵 鄭化欣

單簧管 李昱柔 楊曼君

低音管 林煜勛 簡瑜萱

法國號 陳建維 廖培佑劉佩穎鄭瑞舜

小　　號徐雲修 黃貞綸黃書啟羅　丹

長　　號田智升 楊錦龍簡晟軒

低音號 高霆翰

打擊樂 林君庭 洪詩瑜

豎　　琴劉馨澧

●首席　◎副首席　○助理首席　■留職停薪　▲樂季合約　劃底線者為本場協演　✽NSO樂團學苑

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 Günther 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 and Guangzhou.

12B15P0338.0N1-0N2.indd 1 2012/11/15 12:12:12 PM

1︱叛逆古典 3︱叛逆古典2︱叛逆古典

指揮│尼可拉斯‧米爾頓

澳洲出生的指揮家米爾頓於2004年至2010年擔任德國耶拿愛樂管絃樂團音樂總監，以活潑的指揮風格聞名，為他所指揮的曲目注入一股新的活力。米爾頓曾與倫敦愛樂管絃、漢諾威北德廣播愛樂、威斯巴登歌劇院管絃、斯圖加特南德廣播交響、柏林音樂廳管絃樂團、薩爾布呂肯德意志廣播愛樂等合作演出。在新樂季中，米爾頓將首度與斯圖加特愛樂管絃樂團、匈牙利MAV交響樂團（布達佩斯）、瑞士洛桑室內管絃樂團演出。米爾頓同時也致力於歌劇指揮工作，近期將會於慕尼黑演出《魔笛》、柏林喜歌劇院演出《蝙蝠》、以及維也納演出《魔笛》與《茶花女》。米爾頓同時擁有小提琴、指揮、音樂理論、哲學等碩士，及紐約市立大學音樂博士學位；亦是1999年澳洲交響樂團年度指揮家大賽首獎得主，並於瑪塔契克國際青年指揮家大賽中獲獎。

演出者介紹

Nicholas Milton, conductor

Of Hungarian and French parentage, Australia-born Nicholas Milton enjoys a flourishing European conducting career, working with many of the continent’s most prestigious orchestras and theaters. He is renowned for his dynamic conducting style and his fresh and invigorating approach to a repertoire of unusual breadth and variety. General Music Director of the Jena Philharmonic Orchestra from 2004 to 2010, the Germany-based conductor is renowned for his charismatic stage presence and a fresh and invigorating approach to a repertoire of unusual breadth and variety. Milton’s forthcoming engagements include return visits to the NDR Radiophilharmonie Hannover, Deutsche Radio Philharmonie Saarbrucken, Staatsphilharmonie Rheinland-Pfalz, Dortmunder Philharmoniker, Orchestra della Svizzera Italiana, and the Sydney Symphony, debuts with orchestras including the Stuttgarter Philharmoniker, MAV Symphony Orchestra Budapest, Orchestre de Chambre de Lausanne, and concert tours of Japan and Switzerland.

Profiles

蘇聯的交響曲創作撰文│張皓閔（國立臺灣師範大學音樂系音樂學碩士生）

處在極權政體下的蘇聯作曲家，創作時經常受到來自政府的干預。因著文字的使用，受到最嚴厲監控的自然是聲樂作品；除此之外，像交響曲這樣的大型器樂作品，亦是當權者熱切關注的對象。各種來自官方的「建議」當中，對創作者而言，最難以忍受的，應是當權者對於樂觀正向的內容和通俗化風格的堅持。在如此嚴峻的環境下，仍有少數幾位作曲家，奮力在自我表述的衝動和宣告愛國心的要求之間，尋求平衡。

在眾多交響曲作曲家當中，蕭斯塔科維契經常擺盪在天秤的兩端。因著國際間的名聲，普羅科菲夫自1936年回到蘇聯後的交響曲創作，第五至第七號，較之其他作曲家享有更多創作自由。然而，即便是他，也逃不過1948年的大整肅。

樂曲解說

塞爾基‧普羅科菲夫（1891-1953）：《古典交響曲》

撰文│張皓閔

普羅科菲夫的第一號交響曲完成於1917年，並由作曲家本人賦予「古典」的標題。根據普氏的

自傳，這首交響曲的構想源自他就讀聖彼得堡音樂

院時，跟隨指揮教授齊爾品（Nikolai Tscherepnin, 1873-1945）學習的經驗。在齊爾品的熱心教導下，普氏熟習且熱衷於古典時期風格，《古典交響曲》

便是這份熱情的成果：一部刻意模仿海頓（Joseph Haydn, 1732-1809）的形式與幽默，並融合大量現代技法的精巧交響曲。此外，作曲家故意選在沒有

鋼琴的鄉間創作此曲，是他首部不透過鋼琴來構思

的作品。1918年4月21日，樂曲由普氏親自指揮首演。首演後不久，因俄國政局混亂，普氏轉往西方

發展，至1936年才回國定居。

鋼琴│蓋瑞‧葛拉夫曼

蓋瑞‧葛拉夫曼出生在紐約一個俄羅斯家庭，3歲開始彈奏鋼琴。他父親是一位小提琴家，並曾給了他一把兒童小提琴，但這樂器對年幼的葛拉夫曼顯得過於笨重，致使他很快對鋼琴產生熱情並表現出了極大的天賦。7歲時，葛拉夫曼被寇蒂斯音樂學院錄取，後於1949年獲得著名的「雷文特力特獎（Leventritt Award）」，使他一躍成為了音樂界舉足輕重的人物，並與世界上眾多偉大的樂團合作，在音樂會上演奏高難度的鋼琴作品。1979年，葛拉夫曼因右手受傷，轉而鑽研專為左手創作的精緻且輝煌的協奏曲。除演奏外，葛拉夫曼在1995年被任命為寇蒂斯音樂院院長，任期直至2006年。並被賓州大學和茱莉亞音樂院等眾多高等學府授予榮譽博士學位。賓州更授予其政府藝術大獎，以表彰他對寇蒂斯音樂學院的傑出貢獻以及多方面的藝術成就。

Gary Graffman, piano

Gary Graffman was born in New York, of Russian parents, and began to play the piano at age three. His father, a violinist, gave him a small fiddle, but when the instrument proved too cumbersome, he began piano lessons. The young Graffman’s affinity for the piano soon became evident, however, and at seven the Curtis Institute accepted him to study with the renowned Isabelle Vengerova. The celebrated pianist Gary Graffman has been a major figure in the music world since winning the prestigious Leventritt Award in 1949. For the next three decades he toured almost continuously, playing the most demanding works in the piano literature both in recital and with the world’s great orchestras. In 1979, however, Mr. Graffman’s performing career was curtailed by an injury to his right hand. He was appointed President of The Curtis Institute in 1995, a position he served until 2006. He has received honorary doctorates from the University of Pennsylvania and The Juilliard School, among others. He has received honors from the City of New York with its Handel Medallion, and the Commonwealth of Pennsylvania as recipient of the Governor’s Arts Award, recognizing him for his varied accomplishments, including his “leadership of Curtis.”

Program Notes

SERGEI PROKOFIEV: Classical Symphony, op.25

"In the field of instrumental or symphonic music," Prokofiev told Olin Downes of the New York Times in 1930, "I want nothing better, nothing more flexible or complete than the sonata form, which contains everything necessary for my structural purpose". The traditional rigours of symphony and sonata attracted him from childhood, many of his early sketches being usefully mined for later works. His First Symphony proper, however - the fresh, balletic D major, Op. 25 - was a later manifestation, from 1916-17. In the shorter of his two autobiographies (up to 1937, written 1941, published 1956), we read: "I spent the summer of [post-February Revolution] 1917 in the country near Petrograd all alone, reading Kant and working a great deal. I deliberately did not take my piano with me, for I wished to try composing without it. Until this time I had always composed at the piano, but I noticed that thematic material composed without the piano was often better ... I had been toying with the idea of writing a whole symphony without the piano. I believed that the orchestra would sound more natural. That is how the project for a symphony in the Haydn style came into being: I had learned a great deal about Haydn's technique from Tcherepnin, and hence felt myself on sufficiently familiar ground to venture forth on this difficult journey without the piano. It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work I called it the Classical Symphony: in the first place because that was simpler, and secondly for the fun of it, to 'tease the geese', and in the secret hope that it would prove me right if the symphony really did turn out to be a piece of classical music. I composed [it] in my head during my walks in the country ... the Gavotte had ... been written earlier, and later on, in 1916, I sketched the first and second movements. But a good deal of work still remained to be done when I returned to it in the summer of 1917. I crossed out the first version of the finale and wrote a completely new one, endeavouring, among other things, to avoid all minor chords ..." Scored for the same classical double wind / brass, string and timpani forces of Haydn's D major Clock Symphony, with a triple-time minuet-Larghetto in A major (the influence of Beethoven's Second?), the first performance was conducted by the composer in Petrograd on 21st April 1918, with members of the former Court orchestra who a decade earlier (under Glazunov's watchful eye) had rehearsed his youthful E minor effort. Some years later the popular Gavotte was re-worked for the first act of Romeo and Juliet: Prokofiev, like the baroque masters, was never one to waste a good tune.

© 2012 Naxos Digital Services Ltd.

莫里斯‧拉威爾（1875–1937）：左手鋼琴協奏曲

撰文│顏綠芬（國立台北藝術大學音樂學研究所 / 音樂系教授）

在西洋鋼琴音樂發展史上，法國作曲家拉威

爾（Maurice Ravel，1875-1937）一直扮演著重要的角色。他本身是極出色的鋼琴家，作曲方面先

是承繼了德奧理論的訓練，而更多的影響則來自

聖桑斯（Camille Saint-Saëns，1835-1921）、德布西（Claude Debussy，1862-1918）、薩替（Eerik Satie，1866-1925）等法國作曲家。他在第一次大戰前的鋼琴作品，已有許多傑作，如《小奏鳴曲》

（Sonatine，1905）、《鏡》（Miroirs，1905），《加斯帕之夜》（Gaspard de la nui，1908）、《高貴憂傷的圓舞曲》(Valses nobles et sentimentales，1911)、《庫普蘭之墓》（Le tombeau de Couperin， 1917）等，百年來，都已成了鋼琴家必彈的曲目了。

這首D大調左手鋼琴協奏曲，是一位在第一次世界大戰中失去右手的奧地利鋼琴家維根斯坦

（Paul Wittgenstein）所委託的，1930年完成，1932年元月在維也納由委託者擔任主奏首演；巴黎，則

遲至1937年才演出。拉威爾在接受委託後，他曾仔細的研究聖桑斯的左手練習曲（Six Études pour la main gauche seule），以尋求技巧困難的克服。如果有人事先不知道此曲背景，光是從收音機或唱片

聽音樂，一定無法相信那只由單手演奏，因為從音

樂的豐富度、鋼琴技巧的輝煌燦爛來衡量，一點都

不亞於其他傑出的、給雙手彈奏的鋼琴協奏曲，就

如同作曲家曾經表示的：「在一個此類的作品中，

很重要的是必須製造出一種不亞於為雙手所譜寫的

聲部質感。也為了同樣原因，我所訴諸的風格顯然

比較接近傳統協奏曲裡較莊嚴的一類。」。

MAURICE RAVEL: Piano Concerto for the Left Hand

By Robert Markow (Musicologist, Canada)Ravel's Concerto for the Left Hand, in D major, is a

remarkable tour de force, providing the one hand with as much to do as two hands. The slow first section is followed by a piano passage in the nature of an improvisation, introducing a jazz element, in fact derived from the opening. Scoring is for a larger orchestra than the two-handed concerto, with three trumpets, three trombones and tuba, where the other has only one trumpet and one trombone. The complement of percussion is similar.

There is an ominous melody heard at the start, played in the depths of the woodwind section, with an accompanying repeated figure in the double basses. This slow introduction swells in volume, leading to the appearance of the piano, the solo passage ending with a fine flourish that ushers in the orchestra once more. When the piano returns, it is with material that shows more clearly the influence of jazz, although transformed by the idiosyncratic musical language of Ravel. The concerto, in one continuous movement, was given its first performance in Vienna on 27th November 1931.

李元貞（1980- ）：《間奏曲：商》為管絃樂團

撰文│李元貞

管絃樂《間奏曲：商》是寫於2010年暑期在巴黎藝術村進駐直到2011年在芝加哥大學博士班就學時的夏季。這期間我得以前去觀賞歐洲各音樂節

卓越的表演，以及在芝加哥校園所舉辦的講座和表

演。不論是藝術或者智識的呈現，其中不乏社會或

歷史的事件的探索，多特重於人的精神情態，表現

的手法包括一些非常令人不安的心理圖象以及奇特

的音響。約在同一年度，北非和中東一帶政局的動

盪，連同日本東北的震災及其稍候促成的核危機，

和台灣 — 我生長的國土 — 其死刑的存廢受到人權的發展的挑戰，都是如此地令人牽掛。整體而言，

這些事件的幅度和深度雖然駭人震驚，我個人卻無

法做有效的回應，天真地希望能以音樂來反映我的

心意。

作品分為三樂章：一、〈朝〉（Onward），二、〈心宿二〉（Intermezzo）以及三、〈新月波羅〉（Strange Shore）。第一樂章以微緩上行的音型為主要的動機，樂團接下來發展出緊湊與舒坦相

間的多重片段，並領導音樂以大三和弦結束。第二

YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra

Intermezzo: SHANG for symphonic orchestra was composed between my summer residency in Paris at the Cité des Arts in 2010, and the time I was pursuing my Ph.D. in composition at the University of Chicago ending in May, 2011. Also during this time span, I was able to attend some new music festivals in Europe as well as seminars and performances in Chicago. Importantly, many of them explored the problems of society or historical events, emphasizing the state of the human condition represented by disturbing psychological images and unique sounds. Specifically, the violence taking place in North Africa and the Middle East during the political reformations affected me, as did the crisis in east-north Japan which precipitated a nuclear crisis, and the human rights progress in Taiwan, my home country, vis a vis the abolishment of the death penalty. Overall, these events were astonishing for their scale and depth, and I was unable to effectively respond to them as an individual. However, I was optimistic that I could meaningfully reflect with my music as a composer.

The work is comprised of three movements: I. ‘Onward’ II. ‘Intermezzo’, and III. ‘Strange Shore’. The first movement begins with a mild, ascending gesture as the primary motive. Later the orchestra develops multiple sections with different degrees of tensions and leads to the major triad ending. The second movement is characterized by the strings playing a tender and harmonious chorale. Finally, the last movement re-establishes its momentum, reminiscent of the first movement, and evolves to the climax of the entire work, represented by layers of ascending scales. At the end, a chant-like melody emerges in the violas, giving way to an unsettling, whisper-like ending.

Intermezzo: SHANG was commissioned by National Chiang Kai-Shek Cultural Center. The transformation of emotion could not have been realized without the support and technical guidance of my University of Chicago music department teachers, most important Kotoka Suzuki. The revision and the preparation of the final score were immensely improved thanks to the guidance of Cliff Colnot.

左手鋼琴協奏曲的鋼琴部份雖只是單手彈，拉

威爾仍採用一般的大譜表，也可見在彈奏上，左手

將橫掃整個鋼琴大鍵盤。拉威爾對樂曲的結構，最

初表示是單樂章；後來又說可視為連續演奏的兩個

樂章。而法國音樂學者Marie-Noëlle Masson則將其當作不間斷的三段，慢-快-慢的結構。事實上，當作多段落的單樂章協奏曲是適當的，因為主題材料

的貫穿或相堆疊，是跨越樂章概念的。

樂曲一開始的緩板（Lento），深沉的低音彷彿地底的低吟，倍低音管的獨奏扣人心弦；在樂團

的呈現後，鋼琴才明顯的出現。拉威爾充分的發揮

協奏曲中獨奏樂器的不可一世，即使只由左手單手

支撐大局。快板（Allegro）樂段明顯受到美國爵士樂的影響，這要回溯捯1928年作曲家的美國之行，此行長達4個月，到處都受到熱烈的歡迎和讚賞，拉威爾也對美國處處可聞的爵士樂印象深刻。據說

鋼琴家維根斯坦一拿到樂譜試彈時，對這樣的爵士

風有點不太適應，到後來才全然接受。

這首樂曲兼具傳統協奏曲的形式、典雅氣質，

以及二十世紀複合式元素堆疊、節奏解放的特質，

當然少不了拉威爾獨特的舞曲基底。樂曲最後的裝

飾奏，獨奏者長達3分多鐘（甚至有鋼琴家超過4分鐘）的發揮，令人回味起十九世紀的傳統。曲長約

17-19分鐘，以單樂章而言，似乎有點太長，但是樂曲進行中，速度多次變化，高潮迭起；而拉威爾

卓越的配器手法，也再度爆發其精緻迷人的魅力。

12B15P0338.0N1-0N2.indd 2 2012/11/15 11:50:02 AM

1︱叛逆古典 3︱叛逆古典2︱叛逆古典

指揮│尼可拉斯‧米爾頓

澳洲出生的指揮家米爾頓於2004年至2010年擔任德國耶拿愛樂管絃樂團音樂總監，以活潑的指揮風格聞名，為他所指揮的曲目注入一股新的活力。米爾頓曾與倫敦愛樂管絃、漢諾威北德廣播愛樂、威斯巴登歌劇院管絃、斯圖加特南德廣播交響、柏林音樂廳管絃樂團、薩爾布呂肯德意志廣播愛樂等合作演出。在新樂季中，米爾頓將首度與斯圖加特愛樂管絃樂團、匈牙利MAV交響樂團（布達佩斯）、瑞士洛桑室內管絃樂團演出。米爾頓同時也致力於歌劇指揮工作，近期將會於慕尼黑演出《魔笛》、柏林喜歌劇院演出《蝙蝠》、以及維也納演出《魔笛》與《茶花女》。米爾頓同時擁有小提琴、指揮、音樂理論、哲學等碩士，及紐約市立大學音樂博士學位；亦是1999年澳洲交響樂團年度指揮家大賽首獎得主，並於瑪塔契克國際青年指揮家大賽中獲獎。

演出者介紹

Nicholas Milton, conductor

Of Hungarian and French parentage, Australia-born Nicholas Milton enjoys a flourishing European conducting career, working with many of the continent’s most prestigious orchestras and theaters. He is renowned for his dynamic conducting style and his fresh and invigorating approach to a repertoire of unusual breadth and variety. General Music Director of the Jena Philharmonic Orchestra from 2004 to 2010, the Germany-based conductor is renowned for his charismatic stage presence and a fresh and invigorating approach to a repertoire of unusual breadth and variety. Milton’s forthcoming engagements include return visits to the NDR Radiophilharmonie Hannover, Deutsche Radio Philharmonie Saarbrucken, Staatsphilharmonie Rheinland-Pfalz, Dortmunder Philharmoniker, Orchestra della Svizzera Italiana, and the Sydney Symphony, debuts with orchestras including the Stuttgarter Philharmoniker, MAV Symphony Orchestra Budapest, Orchestre de Chambre de Lausanne, and concert tours of Japan and Switzerland.

Profiles

蘇聯的交響曲創作撰文│張皓閔（國立臺灣師範大學音樂系音樂學碩士生）

處在極權政體下的蘇聯作曲家，創作時經常受到來自政府的干預。因著文字的使用，受到最嚴厲監控的自然是聲樂作品；除此之外，像交響曲這樣的大型器樂作品，亦是當權者熱切關注的對象。各種來自官方的「建議」當中，對創作者而言，最難以忍受的，應是當權者對於樂觀正向的內容和通俗化風格的堅持。在如此嚴峻的環境下，仍有少數幾位作曲家，奮力在自我表述的衝動和宣告愛國心的要求之間，尋求平衡。

在眾多交響曲作曲家當中，蕭斯塔科維契經常擺盪在天秤的兩端。因著國際間的名聲，普羅科菲夫自1936年回到蘇聯後的交響曲創作，第五至第七號，較之其他作曲家享有更多創作自由。然而，即便是他，也逃不過1948年的大整肅。

樂曲解說

塞爾基‧普羅科菲夫（1891-1953）：《古典交響曲》

撰文│張皓閔

普羅科菲夫的第一號交響曲完成於1917年，並由作曲家本人賦予「古典」的標題。根據普氏的

自傳，這首交響曲的構想源自他就讀聖彼得堡音樂

院時，跟隨指揮教授齊爾品（Nikolai Tscherepnin, 1873-1945）學習的經驗。在齊爾品的熱心教導下，普氏熟習且熱衷於古典時期風格，《古典交響曲》

便是這份熱情的成果：一部刻意模仿海頓（Joseph Haydn, 1732-1809）的形式與幽默，並融合大量現代技法的精巧交響曲。此外，作曲家故意選在沒有

鋼琴的鄉間創作此曲，是他首部不透過鋼琴來構思

的作品。1918年4月21日，樂曲由普氏親自指揮首演。首演後不久，因俄國政局混亂，普氏轉往西方

發展，至1936年才回國定居。

鋼琴│蓋瑞‧葛拉夫曼

蓋瑞‧葛拉夫曼出生在紐約一個俄羅斯家庭，3歲開始彈奏鋼琴。他父親是一位小提琴家，並曾給了他一把兒童小提琴，但這樂器對年幼的葛拉夫曼顯得過於笨重，致使他很快對鋼琴產生熱情並表現出了極大的天賦。7歲時，葛拉夫曼被寇蒂斯音樂學院錄取，後於1949年獲得著名的「雷文特力特獎（Leventritt Award）」，使他一躍成為了音樂界舉足輕重的人物，並與世界上眾多偉大的樂團合作，在音樂會上演奏高難度的鋼琴作品。1979年，葛拉夫曼因右手受傷，轉而鑽研專為左手創作的精緻且輝煌的協奏曲。除演奏外，葛拉夫曼在1995年被任命為寇蒂斯音樂院院長，任期直至2006年。並被賓州大學和茱莉亞音樂院等眾多高等學府授予榮譽博士學位。賓州更授予其政府藝術大獎，以表彰他對寇蒂斯音樂學院的傑出貢獻以及多方面的藝術成就。

Gary Graffman, piano

Gary Graffman was born in New York, of Russian parents, and began to play the piano at age three. His father, a violinist, gave him a small fiddle, but when the instrument proved too cumbersome, he began piano lessons. The young Graffman’s affinity for the piano soon became evident, however, and at seven the Curtis Institute accepted him to study with the renowned Isabelle Vengerova. The celebrated pianist Gary Graffman has been a major figure in the music world since winning the prestigious Leventritt Award in 1949. For the next three decades he toured almost continuously, playing the most demanding works in the piano literature both in recital and with the world’s great orchestras. In 1979, however, Mr. Graffman’s performing career was curtailed by an injury to his right hand. He was appointed President of The Curtis Institute in 1995, a position he served until 2006. He has received honorary doctorates from the University of Pennsylvania and The Juilliard School, among others. He has received honors from the City of New York with its Handel Medallion, and the Commonwealth of Pennsylvania as recipient of the Governor’s Arts Award, recognizing him for his varied accomplishments, including his “leadership of Curtis.”

Program Notes

SERGEI PROKOFIEV: Classical Symphony, op.25

"In the field of instrumental or symphonic music," Prokofiev told Olin Downes of the New York Times in 1930, "I want nothing better, nothing more flexible or complete than the sonata form, which contains everything necessary for my structural purpose". The traditional rigours of symphony and sonata attracted him from childhood, many of his early sketches being usefully mined for later works. His First Symphony proper, however - the fresh, balletic D major, Op. 25 - was a later manifestation, from 1916-17. In the shorter of his two autobiographies (up to 1937, written 1941, published 1956), we read: "I spent the summer of [post-February Revolution] 1917 in the country near Petrograd all alone, reading Kant and working a great deal. I deliberately did not take my piano with me, for I wished to try composing without it. Until this time I had always composed at the piano, but I noticed that thematic material composed without the piano was often better ... I had been toying with the idea of writing a whole symphony without the piano. I believed that the orchestra would sound more natural. That is how the project for a symphony in the Haydn style came into being: I had learned a great deal about Haydn's technique from Tcherepnin, and hence felt myself on sufficiently familiar ground to venture forth on this difficult journey without the piano. It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work I called it the Classical Symphony: in the first place because that was simpler, and secondly for the fun of it, to 'tease the geese', and in the secret hope that it would prove me right if the symphony really did turn out to be a piece of classical music. I composed [it] in my head during my walks in the country ... the Gavotte had ... been written earlier, and later on, in 1916, I sketched the first and second movements. But a good deal of work still remained to be done when I returned to it in the summer of 1917. I crossed out the first version of the finale and wrote a completely new one, endeavouring, among other things, to avoid all minor chords ..." Scored for the same classical double wind / brass, string and timpani forces of Haydn's D major Clock Symphony, with a triple-time minuet-Larghetto in A major (the influence of Beethoven's Second?), the first performance was conducted by the composer in Petrograd on 21st April 1918, with members of the former Court orchestra who a decade earlier (under Glazunov's watchful eye) had rehearsed his youthful E minor effort. Some years later the popular Gavotte was re-worked for the first act of Romeo and Juliet: Prokofiev, like the baroque masters, was never one to waste a good tune.

© 2012 Naxos Digital Services Ltd.

莫里斯‧拉威爾（1875–1937）：左手鋼琴協奏曲

撰文│顏綠芬（國立台北藝術大學音樂學研究所 / 音樂系教授）

在西洋鋼琴音樂發展史上，法國作曲家拉威

爾（Maurice Ravel，1875-1937）一直扮演著重要的角色。他本身是極出色的鋼琴家，作曲方面先

是承繼了德奧理論的訓練，而更多的影響則來自

聖桑斯（Camille Saint-Saëns，1835-1921）、德布西（Claude Debussy，1862-1918）、薩替（Eerik Satie，1866-1925）等法國作曲家。他在第一次大戰前的鋼琴作品，已有許多傑作，如《小奏鳴曲》

（Sonatine，1905）、《鏡》（Miroirs，1905），《加斯帕之夜》（Gaspard de la nui，1908）、《高貴憂傷的圓舞曲》(Valses nobles et sentimentales，1911)、《庫普蘭之墓》（Le tombeau de Couperin， 1917）等，百年來，都已成了鋼琴家必彈的曲目了。

這首D大調左手鋼琴協奏曲，是一位在第一次世界大戰中失去右手的奧地利鋼琴家維根斯坦

（Paul Wittgenstein）所委託的，1930年完成，1932年元月在維也納由委託者擔任主奏首演；巴黎，則

遲至1937年才演出。拉威爾在接受委託後，他曾仔細的研究聖桑斯的左手練習曲（Six Études pour la main gauche seule），以尋求技巧困難的克服。如果有人事先不知道此曲背景，光是從收音機或唱片

聽音樂，一定無法相信那只由單手演奏，因為從音

樂的豐富度、鋼琴技巧的輝煌燦爛來衡量，一點都

不亞於其他傑出的、給雙手彈奏的鋼琴協奏曲，就

如同作曲家曾經表示的：「在一個此類的作品中，

很重要的是必須製造出一種不亞於為雙手所譜寫的

聲部質感。也為了同樣原因，我所訴諸的風格顯然

比較接近傳統協奏曲裡較莊嚴的一類。」。

MAURICE RAVEL: Piano Concerto for the Left Hand

By Robert Markow (Musicologist, Canada)Ravel's Concerto for the Left Hand, in D major, is a

remarkable tour de force, providing the one hand with as much to do as two hands. The slow first section is followed by a piano passage in the nature of an improvisation, introducing a jazz element, in fact derived from the opening. Scoring is for a larger orchestra than the two-handed concerto, with three trumpets, three trombones and tuba, where the other has only one trumpet and one trombone. The complement of percussion is similar.

There is an ominous melody heard at the start, played in the depths of the woodwind section, with an accompanying repeated figure in the double basses. This slow introduction swells in volume, leading to the appearance of the piano, the solo passage ending with a fine flourish that ushers in the orchestra once more. When the piano returns, it is with material that shows more clearly the influence of jazz, although transformed by the idiosyncratic musical language of Ravel. The concerto, in one continuous movement, was given its first performance in Vienna on 27th November 1931.

李元貞（1980- ）：《間奏曲：商》為管絃樂團

撰文│李元貞

管絃樂《間奏曲：商》是寫於2010年暑期在巴黎藝術村進駐直到2011年在芝加哥大學博士班就學時的夏季。這期間我得以前去觀賞歐洲各音樂節

卓越的表演，以及在芝加哥校園所舉辦的講座和表

演。不論是藝術或者智識的呈現，其中不乏社會或

歷史的事件的探索，多特重於人的精神情態，表現

的手法包括一些非常令人不安的心理圖象以及奇特

的音響。約在同一年度，北非和中東一帶政局的動

盪，連同日本東北的震災及其稍候促成的核危機，

和台灣 — 我生長的國土 — 其死刑的存廢受到人權的發展的挑戰，都是如此地令人牽掛。整體而言，

這些事件的幅度和深度雖然駭人震驚，我個人卻無

法做有效的回應，天真地希望能以音樂來反映我的

心意。

作品分為三樂章：一、〈朝〉（Onward），二、〈心宿二〉（Intermezzo）以及三、〈新月波羅〉（Strange Shore）。第一樂章以微緩上行的音型為主要的動機，樂團接下來發展出緊湊與舒坦相

間的多重片段，並領導音樂以大三和弦結束。第二

YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra

Intermezzo: SHANG for symphonic orchestra was composed between my summer residency in Paris at the Cité des Arts in 2010, and the time I was pursuing my Ph.D. in composition at the University of Chicago ending in May, 2011. Also during this time span, I was able to attend some new music festivals in Europe as well as seminars and performances in Chicago. Importantly, many of them explored the problems of society or historical events, emphasizing the state of the human condition represented by disturbing psychological images and unique sounds. Specifically, the violence taking place in North Africa and the Middle East during the political reformations affected me, as did the crisis in east-north Japan which precipitated a nuclear crisis, and the human rights progress in Taiwan, my home country, vis a vis the abolishment of the death penalty. Overall, these events were astonishing for their scale and depth, and I was unable to effectively respond to them as an individual. However, I was optimistic that I could meaningfully reflect with my music as a composer.

The work is comprised of three movements: I. ‘Onward’ II. ‘Intermezzo’, and III. ‘Strange Shore’. The first movement begins with a mild, ascending gesture as the primary motive. Later the orchestra develops multiple sections with different degrees of tensions and leads to the major triad ending. The second movement is characterized by the strings playing a tender and harmonious chorale. Finally, the last movement re-establishes its momentum, reminiscent of the first movement, and evolves to the climax of the entire work, represented by layers of ascending scales. At the end, a chant-like melody emerges in the violas, giving way to an unsettling, whisper-like ending.

Intermezzo: SHANG was commissioned by National Chiang Kai-Shek Cultural Center. The transformation of emotion could not have been realized without the support and technical guidance of my University of Chicago music department teachers, most important Kotoka Suzuki. The revision and the preparation of the final score were immensely improved thanks to the guidance of Cliff Colnot.

左手鋼琴協奏曲的鋼琴部份雖只是單手彈，拉

威爾仍採用一般的大譜表，也可見在彈奏上，左手

將橫掃整個鋼琴大鍵盤。拉威爾對樂曲的結構，最

初表示是單樂章；後來又說可視為連續演奏的兩個

樂章。而法國音樂學者Marie-Noëlle Masson則將其當作不間斷的三段，慢-快-慢的結構。事實上，當作多段落的單樂章協奏曲是適當的，因為主題材料

的貫穿或相堆疊，是跨越樂章概念的。

樂曲一開始的緩板（Lento），深沉的低音彷彿地底的低吟，倍低音管的獨奏扣人心弦；在樂團

的呈現後，鋼琴才明顯的出現。拉威爾充分的發揮

協奏曲中獨奏樂器的不可一世，即使只由左手單手

支撐大局。快板（Allegro）樂段明顯受到美國爵士樂的影響，這要回溯捯1928年作曲家的美國之行，此行長達4個月，到處都受到熱烈的歡迎和讚賞，拉威爾也對美國處處可聞的爵士樂印象深刻。據說

鋼琴家維根斯坦一拿到樂譜試彈時，對這樣的爵士

風有點不太適應，到後來才全然接受。

這首樂曲兼具傳統協奏曲的形式、典雅氣質，

以及二十世紀複合式元素堆疊、節奏解放的特質，

當然少不了拉威爾獨特的舞曲基底。樂曲最後的裝

飾奏，獨奏者長達3分多鐘（甚至有鋼琴家超過4分鐘）的發揮，令人回味起十九世紀的傳統。曲長約

17-19分鐘，以單樂章而言，似乎有點太長，但是樂曲進行中，速度多次變化，高潮迭起；而拉威爾

卓越的配器手法，也再度爆發其精緻迷人的魅力。

12B15P0338.0N1-0N2.indd 2 2012/11/15 11:50:02 AM

1︱叛逆古典 3︱叛逆古典2︱叛逆古典

指揮│尼可拉斯‧米爾頓

澳洲出生的指揮家米爾頓於2004年至2010年擔任德國耶拿愛樂管絃樂團音樂總監，以活潑的指揮風格聞名，為他所指揮的曲目注入一股新的活力。米爾頓曾與倫敦愛樂管絃、漢諾威北德廣播愛樂、威斯巴登歌劇院管絃、斯圖加特南德廣播交響、柏林音樂廳管絃樂團、薩爾布呂肯德意志廣播愛樂等合作演出。在新樂季中，米爾頓將首度與斯圖加特愛樂管絃樂團、匈牙利MAV交響樂團（布達佩斯）、瑞士洛桑室內管絃樂團演出。米爾頓同時也致力於歌劇指揮工作，近期將會於慕尼黑演出《魔笛》、柏林喜歌劇院演出《蝙蝠》、以及維也納演出《魔笛》與《茶花女》。米爾頓同時擁有小提琴、指揮、音樂理論、哲學等碩士，及紐約市立大學音樂博士學位；亦是1999年澳洲交響樂團年度指揮家大賽首獎得主，並於瑪塔契克國際青年指揮家大賽中獲獎。

演出者介紹

Nicholas Milton, conductor

Of Hungarian and French parentage, Australia-born Nicholas Milton enjoys a flourishing European conducting career, working with many of the continent’s most prestigious orchestras and theaters. He is renowned for his dynamic conducting style and his fresh and invigorating approach to a repertoire of unusual breadth and variety. General Music Director of the Jena Philharmonic Orchestra from 2004 to 2010, the Germany-based conductor is renowned for his charismatic stage presence and a fresh and invigorating approach to a repertoire of unusual breadth and variety. Milton’s forthcoming engagements include return visits to the NDR Radiophilharmonie Hannover, Deutsche Radio Philharmonie Saarbrucken, Staatsphilharmonie Rheinland-Pfalz, Dortmunder Philharmoniker, Orchestra della Svizzera Italiana, and the Sydney Symphony, debuts with orchestras including the Stuttgarter Philharmoniker, MAV Symphony Orchestra Budapest, Orchestre de Chambre de Lausanne, and concert tours of Japan and Switzerland.

Profiles

蘇聯的交響曲創作撰文│張皓閔（國立臺灣師範大學音樂系音樂學碩士生）

處在極權政體下的蘇聯作曲家，創作時經常受到來自政府的干預。因著文字的使用，受到最嚴厲監控的自然是聲樂作品；除此之外，像交響曲這樣的大型器樂作品，亦是當權者熱切關注的對象。各種來自官方的「建議」當中，對創作者而言，最難以忍受的，應是當權者對於樂觀正向的內容和通俗化風格的堅持。在如此嚴峻的環境下，仍有少數幾位作曲家，奮力在自我表述的衝動和宣告愛國心的要求之間，尋求平衡。

在眾多交響曲作曲家當中，蕭斯塔科維契經常擺盪在天秤的兩端。因著國際間的名聲，普羅科菲夫自1936年回到蘇聯後的交響曲創作，第五至第七號，較之其他作曲家享有更多創作自由。然而，即便是他，也逃不過1948年的大整肅。

樂曲解說

塞爾基‧普羅科菲夫（1891-1953）：《古典交響曲》

撰文│張皓閔

普羅科菲夫的第一號交響曲完成於1917年，並由作曲家本人賦予「古典」的標題。根據普氏的

自傳，這首交響曲的構想源自他就讀聖彼得堡音樂

院時，跟隨指揮教授齊爾品（Nikolai Tscherepnin, 1873-1945）學習的經驗。在齊爾品的熱心教導下，普氏熟習且熱衷於古典時期風格，《古典交響曲》

便是這份熱情的成果：一部刻意模仿海頓（Joseph Haydn, 1732-1809）的形式與幽默，並融合大量現代技法的精巧交響曲。此外，作曲家故意選在沒有

鋼琴的鄉間創作此曲，是他首部不透過鋼琴來構思

的作品。1918年4月21日，樂曲由普氏親自指揮首演。首演後不久，因俄國政局混亂，普氏轉往西方

發展，至1936年才回國定居。

鋼琴│蓋瑞‧葛拉夫曼

蓋瑞‧葛拉夫曼出生在紐約一個俄羅斯家庭，3歲開始彈奏鋼琴。他父親是一位小提琴家，並曾給了他一把兒童小提琴，但這樂器對年幼的葛拉夫曼顯得過於笨重，致使他很快對鋼琴產生熱情並表現出了極大的天賦。7歲時，葛拉夫曼被寇蒂斯音樂學院錄取，後於1949年獲得著名的「雷文特力特獎（Leventritt Award）」，使他一躍成為了音樂界舉足輕重的人物，並與世界上眾多偉大的樂團合作，在音樂會上演奏高難度的鋼琴作品。1979年，葛拉夫曼因右手受傷，轉而鑽研專為左手創作的精緻且輝煌的協奏曲。除演奏外，葛拉夫曼在1995年被任命為寇蒂斯音樂院院長，任期直至2006年。並被賓州大學和茱莉亞音樂院等眾多高等學府授予榮譽博士學位。賓州更授予其政府藝術大獎，以表彰他對寇蒂斯音樂學院的傑出貢獻以及多方面的藝術成就。

Gary Graffman, piano

Gary Graffman was born in New York, of Russian parents, and began to play the piano at age three. His father, a violinist, gave him a small fiddle, but when the instrument proved too cumbersome, he began piano lessons. The young Graffman’s affinity for the piano soon became evident, however, and at seven the Curtis Institute accepted him to study with the renowned Isabelle Vengerova. The celebrated pianist Gary Graffman has been a major figure in the music world since winning the prestigious Leventritt Award in 1949. For the next three decades he toured almost continuously, playing the most demanding works in the piano literature both in recital and with the world’s great orchestras. In 1979, however, Mr. Graffman’s performing career was curtailed by an injury to his right hand. He was appointed President of The Curtis Institute in 1995, a position he served until 2006. He has received honorary doctorates from the University of Pennsylvania and The Juilliard School, among others. He has received honors from the City of New York with its Handel Medallion, and the Commonwealth of Pennsylvania as recipient of the Governor’s Arts Award, recognizing him for his varied accomplishments, including his “leadership of Curtis.”

Program Notes

SERGEI PROKOFIEV: Classical Symphony, op.25

"In the field of instrumental or symphonic music," Prokofiev told Olin Downes of the New York Times in 1930, "I want nothing better, nothing more flexible or complete than the sonata form, which contains everything necessary for my structural purpose". The traditional rigours of symphony and sonata attracted him from childhood, many of his early sketches being usefully mined for later works. His First Symphony proper, however - the fresh, balletic D major, Op. 25 - was a later manifestation, from 1916-17. In the shorter of his two autobiographies (up to 1937, written 1941, published 1956), we read: "I spent the summer of [post-February Revolution] 1917 in the country near Petrograd all alone, reading Kant and working a great deal. I deliberately did not take my piano with me, for I wished to try composing without it. Until this time I had always composed at the piano, but I noticed that thematic material composed without the piano was often better ... I had been toying with the idea of writing a whole symphony without the piano. I believed that the orchestra would sound more natural. That is how the project for a symphony in the Haydn style came into being: I had learned a great deal about Haydn's technique from Tcherepnin, and hence felt myself on sufficiently familiar ground to venture forth on this difficult journey without the piano. It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work I called it the Classical Symphony: in the first place because that was simpler, and secondly for the fun of it, to 'tease the geese', and in the secret hope that it would prove me right if the symphony really did turn out to be a piece of classical music. I composed [it] in my head during my walks in the country ... the Gavotte had ... been written earlier, and later on, in 1916, I sketched the first and second movements. But a good deal of work still remained to be done when I returned to it in the summer of 1917. I crossed out the first version of the finale and wrote a completely new one, endeavouring, among other things, to avoid all minor chords ..." Scored for the same classical double wind / brass, string and timpani forces of Haydn's D major Clock Symphony, with a triple-time minuet-Larghetto in A major (the influence of Beethoven's Second?), the first performance was conducted by the composer in Petrograd on 21st April 1918, with members of the former Court orchestra who a decade earlier (under Glazunov's watchful eye) had rehearsed his youthful E minor effort. Some years later the popular Gavotte was re-worked for the first act of Romeo and Juliet: Prokofiev, like the baroque masters, was never one to waste a good tune.

© 2012 Naxos Digital Services Ltd.

莫里斯‧拉威爾（1875–1937）：左手鋼琴協奏曲

撰文│顏綠芬（國立台北藝術大學音樂學研究所 / 音樂系教授）

在西洋鋼琴音樂發展史上，法國作曲家拉威

爾（Maurice Ravel，1875-1937）一直扮演著重要的角色。他本身是極出色的鋼琴家，作曲方面先

是承繼了德奧理論的訓練，而更多的影響則來自

聖桑斯（Camille Saint-Saëns，1835-1921）、德布西（Claude Debussy，1862-1918）、薩替（Eerik Satie，1866-1925）等法國作曲家。他在第一次大戰前的鋼琴作品，已有許多傑作，如《小奏鳴曲》

（Sonatine，1905）、《鏡》（Miroirs，1905），《加斯帕之夜》（Gaspard de la nui，1908）、《高貴憂傷的圓舞曲》(Valses nobles et sentimentales，1911)、《庫普蘭之墓》（Le tombeau de Couperin， 1917）等，百年來，都已成了鋼琴家必彈的曲目了。

這首D大調左手鋼琴協奏曲，是一位在第一次世界大戰中失去右手的奧地利鋼琴家維根斯坦

（Paul Wittgenstein）所委託的，1930年完成，1932年元月在維也納由委託者擔任主奏首演；巴黎，則

遲至1937年才演出。拉威爾在接受委託後，他曾仔細的研究聖桑斯的左手練習曲（Six Études pour la main gauche seule），以尋求技巧困難的克服。如果有人事先不知道此曲背景，光是從收音機或唱片

聽音樂，一定無法相信那只由單手演奏，因為從音

樂的豐富度、鋼琴技巧的輝煌燦爛來衡量，一點都

不亞於其他傑出的、給雙手彈奏的鋼琴協奏曲，就

如同作曲家曾經表示的：「在一個此類的作品中，

很重要的是必須製造出一種不亞於為雙手所譜寫的

聲部質感。也為了同樣原因，我所訴諸的風格顯然

比較接近傳統協奏曲裡較莊嚴的一類。」。

MAURICE RAVEL: Piano Concerto for the Left Hand

By Robert Markow (Musicologist, Canada)Ravel's Concerto for the Left Hand, in D major, is a

remarkable tour de force, providing the one hand with as much to do as two hands. The slow first section is followed by a piano passage in the nature of an improvisation, introducing a jazz element, in fact derived from the opening. Scoring is for a larger orchestra than the two-handed concerto, with three trumpets, three trombones and tuba, where the other has only one trumpet and one trombone. The complement of percussion is similar.

There is an ominous melody heard at the start, played in the depths of the woodwind section, with an accompanying repeated figure in the double basses. This slow introduction swells in volume, leading to the appearance of the piano, the solo passage ending with a fine flourish that ushers in the orchestra once more. When the piano returns, it is with material that shows more clearly the influence of jazz, although transformed by the idiosyncratic musical language of Ravel. The concerto, in one continuous movement, was given its first performance in Vienna on 27th November 1931.

李元貞（1980- ）：《間奏曲：商》為管絃樂團

撰文│李元貞

管絃樂《間奏曲：商》是寫於2010年暑期在巴黎藝術村進駐直到2011年在芝加哥大學博士班就學時的夏季。這期間我得以前去觀賞歐洲各音樂節

卓越的表演，以及在芝加哥校園所舉辦的講座和表

演。不論是藝術或者智識的呈現，其中不乏社會或

歷史的事件的探索，多特重於人的精神情態，表現

的手法包括一些非常令人不安的心理圖象以及奇特

的音響。約在同一年度，北非和中東一帶政局的動

盪，連同日本東北的震災及其稍候促成的核危機，

和台灣 — 我生長的國土 — 其死刑的存廢受到人權的發展的挑戰，都是如此地令人牽掛。整體而言，

這些事件的幅度和深度雖然駭人震驚，我個人卻無

法做有效的回應，天真地希望能以音樂來反映我的

心意。

作品分為三樂章：一、〈朝〉（Onward），二、〈心宿二〉（Intermezzo）以及三、〈新月波羅〉（Strange Shore）。第一樂章以微緩上行的音型為主要的動機，樂團接下來發展出緊湊與舒坦相

間的多重片段，並領導音樂以大三和弦結束。第二

YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra

Intermezzo: SHANG for symphonic orchestra was composed between my summer residency in Paris at the Cité des Arts in 2010, and the time I was pursuing my Ph.D. in composition at the University of Chicago ending in May, 2011. Also during this time span, I was able to attend some new music festivals in Europe as well as seminars and performances in Chicago. Importantly, many of them explored the problems of society or historical events, emphasizing the state of the human condition represented by disturbing psychological images and unique sounds. Specifically, the violence taking place in North Africa and the Middle East during the political reformations affected me, as did the crisis in east-north Japan which precipitated a nuclear crisis, and the human rights progress in Taiwan, my home country, vis a vis the abolishment of the death penalty. Overall, these events were astonishing for their scale and depth, and I was unable to effectively respond to them as an individual. However, I was optimistic that I could meaningfully reflect with my music as a composer.

The work is comprised of three movements: I. ‘Onward’ II. ‘Intermezzo’, and III. ‘Strange Shore’. The first movement begins with a mild, ascending gesture as the primary motive. Later the orchestra develops multiple sections with different degrees of tensions and leads to the major triad ending. The second movement is characterized by the strings playing a tender and harmonious chorale. Finally, the last movement re-establishes its momentum, reminiscent of the first movement, and evolves to the climax of the entire work, represented by layers of ascending scales. At the end, a chant-like melody emerges in the violas, giving way to an unsettling, whisper-like ending.

Intermezzo: SHANG was commissioned by National Chiang Kai-Shek Cultural Center. The transformation of emotion could not have been realized without the support and technical guidance of my University of Chicago music department teachers, most important Kotoka Suzuki. The revision and the preparation of the final score were immensely improved thanks to the guidance of Cliff Colnot.

左手鋼琴協奏曲的鋼琴部份雖只是單手彈，拉

威爾仍採用一般的大譜表，也可見在彈奏上，左手

將橫掃整個鋼琴大鍵盤。拉威爾對樂曲的結構，最

初表示是單樂章；後來又說可視為連續演奏的兩個

樂章。而法國音樂學者Marie-Noëlle Masson則將其當作不間斷的三段，慢-快-慢的結構。事實上，當作多段落的單樂章協奏曲是適當的，因為主題材料

的貫穿或相堆疊，是跨越樂章概念的。

樂曲一開始的緩板（Lento），深沉的低音彷彿地底的低吟，倍低音管的獨奏扣人心弦；在樂團

的呈現後，鋼琴才明顯的出現。拉威爾充分的發揮

協奏曲中獨奏樂器的不可一世，即使只由左手單手

支撐大局。快板（Allegro）樂段明顯受到美國爵士樂的影響，這要回溯捯1928年作曲家的美國之行，此行長達4個月，到處都受到熱烈的歡迎和讚賞，拉威爾也對美國處處可聞的爵士樂印象深刻。據說

鋼琴家維根斯坦一拿到樂譜試彈時，對這樣的爵士

風有點不太適應，到後來才全然接受。

這首樂曲兼具傳統協奏曲的形式、典雅氣質，

以及二十世紀複合式元素堆疊、節奏解放的特質，

當然少不了拉威爾獨特的舞曲基底。樂曲最後的裝

飾奏，獨奏者長達3分多鐘（甚至有鋼琴家超過4分鐘）的發揮，令人回味起十九世紀的傳統。曲長約

17-19分鐘，以單樂章而言，似乎有點太長，但是樂曲進行中，速度多次變化，高潮迭起；而拉威爾

卓越的配器手法，也再度爆發其精緻迷人的魅力。

12B15P0338.0N1-0N2.indd 2 2012/11/15 11:50:02 AM

4︱叛逆古典 5︱叛逆古典

演出長度│上半場約40分鐘，下半場約50分鐘

演出時間│ 2012年11月24日（星期六）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│

德米特里．蕭斯塔科維契（1906-1975）：第六號交響曲

撰文│張皓閔

蕭斯塔科維契無疑是蘇聯作曲家當中，最具天

才卻也最辛苦的一位。他的作品經常在面對自身的

悲觀內省和討好官方的樂觀簡潔之間掙扎。以他的

十五首交響曲為例，就有像是第二、三、七、十一

和十二等「符合黨國期待」的標題性作品，也有像

是第一、四、六、十、十三、十四等更為個人化的

創作。當然，亦有較難界定的作品，例如著名的第

五，雖不具有標題性，卻受到國家意識型態一定的

影響。然而，無論位在天秤的哪一端，蕭氏的交響

曲創作，總是極富創造力，具有相當高的品質。

1936年，蕭氏遭逢第一次批鬥，許多作品被勒令禁演；隔年，他完成第五號交響曲，作為「對

黨的批評的回應」，作品得到相當正面的評價，暫

時緩解了官方對他的猜疑。1938年，蕭氏宣告他的第六將是一首結合獨唱、合唱和樂團的《列寧》交

響曲；然而，隔年完成的第六，卻完全不是這麼一

回事。樂曲於同年11月21日首演，起初頗受歡迎，但批判亦隨之而來。1948年遇上第二次批鬥時，第六和之後的第八、第九同被批為「形式主義」，遭

到禁演。

樂曲只有三個樂章，從最緩板的慢速樂章開

始，後面跟著快板的詼諧曲和急板的舞曲。慢速的

第一樂章演奏時間超過全曲的一半，憂鬱陰沉的氣

氛裏，蘊含大量巴赫式對位風格的展現。詼諧曲充

滿詭怪的音效，一掃第一樂章的陰霾；之後是具有

加洛普舞曲（Galopp）風格的第三樂章，整個樂章熱鬧緊湊、一氣呵成，最後那進行曲般的歡騰尾

奏，尤其「討人喜歡」。

DMITRI SHOSTAKOVICH: Symphony No. 6, op.54, B minor

Shostakovich wrote his Sixth Symphony in 1939, starting it in April and completing the work in October. The pre-war years had brought great suffering and the death of musicians, actors, writers and poets, in Stalin's desire for political orthodoxy and the establishment of art that reflected the principles of Socialist Realism. By 1939, however, it had proved necessary to consider a non-aggression pact with Hitler's Germany, eventually signed in August 1939, on the eve of Hitler's attack on Poland. Political circumstances dictated a less rigorous control of music, which would prove to have propaganda value abroad, if couched in more conventional bourgeois terms.

The Sixth Symphony, however, written under what might be regarded in part as more favorable conditions, proved puzzling to contemporary critics. It was first performed in Leningrad on 5th November 1939 under the conductor Mravinsky at a Festival of Soviet Music which also included first performances of Prokofiev's Alexander Nevsky cantata and of Shaporin's On the Field of Kulikovo, these two works of obvious and immediate patriotic appeal. Shostakovich, perhaps as a subterfuge, had promised a symphony on the subject of Lenin. The new symphony was no such thing. Instead there was a three-movement work, starting not with a symphonic first movement but an extended brooding Largo, followed by two very much shorter movements, relatively light-hearted in vein.

The Sixth Symphony is scored for an orchestra of piccolo, pairs of flutes and oboes, cor anglais, a pair of clarinets with an additional E-flat clarinet and bass clarinet, two bassoons and double bassoon, three trumpets, four horns, three trombones and tuba, timpani, tambourine, snare drum, triangle, cymbals, bass drum, tam-tam and xylophone, harp, celesta and strings. The instrumentation provides the opportunity for wide varieties of orchestral colour, but is some way from the extravagant instrumentation of the Fourth Symphony. The opening Largo is sombre in mood, based on elements of its principal theme, announced at the beginning of the movement and a later closely related theme for cor anglais. The music leads through an extended meditative passage for two flutes to the return of aversion of the opening, proceeding, as the sound dies away, to the end of the movement. The influence of Bach has been suggested, in particular of the St. Matthew Passion, a work Shostakovich was studying with students at the St. Petersburg Conservatory, where he had recently been appointed professor of composition.

The second movement, in what might seem ironic juxtaposition, is opened by the pert E-flat clarinet, accompanied by the plucked strings of the violins. A dynamic climax, followed by the timpani, leads to are turn of an inverted version of the opening and finally to an ending marked in the wind pppp. The last movement starts in an ironic mood recalling that of Prokofiev in the Classical Symphony in a world of Mahlerian variety, with elements of the banal included in a truer reflection of the universal than Socialist Realism, with its descent into popular philistinism, could propose.

© 2012 Naxos Digital Services Ltd.

演 出 者

指　揮│尼可拉斯‧米爾頓 Nicholas Milton, conductor

鋼　琴│蓋瑞‧葛拉夫曼 Gary Graffman, piano

國家交響樂團 National Symphony Orchestra (NSO)

演出曲目 Program

塞爾基‧普羅科菲夫（1891-1953）：《古典交響曲》

I. 快板 II. 甚緩板 III. 嘉禾舞曲：不太快的 IV. 最終樂章：十分活躍的

莫里斯‧拉威爾（1875–1937）：左手鋼琴協奏曲

～中場休息～

李元貞（1980- ）：《間奏曲：商》為管絃樂團（世界首演）

I. 〈朝〉 II. 〈心宿二〉 III. 〈新月波羅〉

德米特里．蕭斯塔科維契（1906-1975）：第六號交響曲

I. 最緩板 II. 快板 III. 急板

SERGEI PROKOFIEV: Classical Symphony, op.25 I. Allegro II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace

MAURICE RAVEL: Piano Concerto for the Left Hand

～Intermission～

YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra (World Premiere)

I. 'Onward' II. 'Intermezzo' III. 'Strange Shore'

DMITRI SHOSTAKOVICH: Symphony No. 6, op.54, B minor I. Largo II. Allegro III. Presto

樂章則以絃樂奏出幽明而和諧如聖詠般的合奏。最

後，第三樂章重拾能量，不但回應第一樂章的動

感，並進一步地將樂團推動到全曲的高潮，湧出一

陣又一陣上行爬升的線條。近曲終時，中提琴流露

出如吟唱般的旋律耳語呢喃與不止的擺盪。

管絃樂《間奏曲：商》是國立中正文化中心

暨國家兩廳院陳郁秀前董事長以及邱瑗執行長任內

《樂典》系列的委託。在譜寫的各個階段中，其樂

念的情感轉化與體現，承蒙芝加哥大學音樂系的師

長們的技術指導和支持 — 特別是當時指導我的鈴木琴香教授（Kotoka Suzuki），以及芝加哥交響樂團新音樂系列首席指揮 Cliff Colnot 給與樂譜與管絃樂法的指導。

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 余琬婷✽ 紀韋瑄✽

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 朱品霖✽

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 游婉婷✽

長　　　笛 ●安德石 ◎宮崎千佳 李　浚

短　　　笛 鐘美川

雙　簧　管 ●王怡靜 ◎林麗玥 楊舒婷■

英　國　管 李明怡

單　簧　管 ●朱玫玲 ◎張凱婷 朱偉誼 孫正茸

低　音　管 ●簡凱玉 ◎陳奕秀 高靈風

倍 低 音 管 簡恩義

法　國　號 ●劉宜欣 ◎舒培特 ○黃任賢 國田朋宏 王婉如

曹予勉

小　　　號 ●宇新樂 ◎陳長伯 張景民 吳建銘

長　　　號 ●宋光清 ◎邵恆發 陳中昇

低 音 長 號 彭曉昀

低　音　號 ●宮西純

定　音　鼓 ●連雅文 ◎陳廷銓

打　擊　樂 ●陳哲輝 陳振馨 楊璧慈 王瓊燁

豎　　　琴 ●解　瑄

鍵　　　盤 許惠婷

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 陳世傑助理舞監 顏承宇譜務專員 高婉瑜行政專員 溫慧雯林和億

特約音樂諮詢 焦元溥

✽NSO樂團學苑名錄指揮 張尹芳

小提琴 玉　珊 吳宛蓁余琬婷侯亨翰 紀韋瑄 張暐姍黃思瑋駱思云 賴思伃 藍胤萱蘇品嘉

中提琴 朱品霖 袁繹晴黃亞漢劉詩珊 羅培菁

大提琴 丁莉齡 呂函涓李　茜黃瓊毅

低音提琴陳美君 游婉婷

長　　笛洪佑寧 徐鈺甄

雙簧管 胡子涵 鄭化欣

單簧管 李昱柔 楊曼君

低音管 林煜勛 簡瑜萱

法國號 陳建維 廖培佑劉佩穎鄭瑞舜

小　　號徐雲修 黃貞綸黃書啟羅　丹

長　　號田智升 楊錦龍簡晟軒

低音號 高霆翰

打擊樂 林君庭 洪詩瑜

豎　　琴劉馨澧

●首席　◎副首席　○助理首席　■留職停薪　▲樂季合約　劃底線者為本場協演　✽NSO樂團學苑

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 Günther 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 and Guangzhou.

12B15P0338.0N1-0N2.indd 1 2012/11/15 12:12:12 PM

4︱叛逆古典 5︱叛逆古典

演出長度│上半場約40分鐘，下半場約50分鐘

演出時間│ 2012年11月24日（星期六）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│

德米特里．蕭斯塔科維契（1906-1975）：第六號交響曲

撰文│張皓閔

蕭斯塔科維契無疑是蘇聯作曲家當中，最具天

才卻也最辛苦的一位。他的作品經常在面對自身的

悲觀內省和討好官方的樂觀簡潔之間掙扎。以他的

十五首交響曲為例，就有像是第二、三、七、十一

和十二等「符合黨國期待」的標題性作品，也有像

是第一、四、六、十、十三、十四等更為個人化的

創作。當然，亦有較難界定的作品，例如著名的第

五，雖不具有標題性，卻受到國家意識型態一定的

影響。然而，無論位在天秤的哪一端，蕭氏的交響

曲創作，總是極富創造力，具有相當高的品質。

1936年，蕭氏遭逢第一次批鬥，許多作品被勒令禁演；隔年，他完成第五號交響曲，作為「對

黨的批評的回應」，作品得到相當正面的評價，暫

時緩解了官方對他的猜疑。1938年，蕭氏宣告他的第六將是一首結合獨唱、合唱和樂團的《列寧》交

響曲；然而，隔年完成的第六，卻完全不是這麼一

回事。樂曲於同年11月21日首演，起初頗受歡迎，但批判亦隨之而來。1948年遇上第二次批鬥時，第六和之後的第八、第九同被批為「形式主義」，遭

到禁演。

樂曲只有三個樂章，從最緩板的慢速樂章開

始，後面跟著快板的詼諧曲和急板的舞曲。慢速的

第一樂章演奏時間超過全曲的一半，憂鬱陰沉的氣

氛裏，蘊含大量巴赫式對位風格的展現。詼諧曲充

滿詭怪的音效，一掃第一樂章的陰霾；之後是具有

加洛普舞曲（Galopp）風格的第三樂章，整個樂章熱鬧緊湊、一氣呵成，最後那進行曲般的歡騰尾

奏，尤其「討人喜歡」。

DMITRI SHOSTAKOVICH: Symphony No. 6, op.54, B minor

Shostakovich wrote his Sixth Symphony in 1939, starting it in April and completing the work in October. The pre-war years had brought great suffering and the death of musicians, actors, writers and poets, in Stalin's desire for political orthodoxy and the establishment of art that reflected the principles of Socialist Realism. By 1939, however, it had proved necessary to consider a non-aggression pact with Hitler's Germany, eventually signed in August 1939, on the eve of Hitler's attack on Poland. Political circumstances dictated a less rigorous control of music, which would prove to have propaganda value abroad, if couched in more conventional bourgeois terms.

The Sixth Symphony, however, written under what might be regarded in part as more favorable conditions, proved puzzling to contemporary critics. It was first performed in Leningrad on 5th November 1939 under the conductor Mravinsky at a Festival of Soviet Music which also included first performances of Prokofiev's Alexander Nevsky cantata and of Shaporin's On the Field of Kulikovo, these two works of obvious and immediate patriotic appeal. Shostakovich, perhaps as a subterfuge, had promised a symphony on the subject of Lenin. The new symphony was no such thing. Instead there was a three-movement work, starting not with a symphonic first movement but an extended brooding Largo, followed by two very much shorter movements, relatively light-hearted in vein.

The Sixth Symphony is scored for an orchestra of piccolo, pairs of flutes and oboes, cor anglais, a pair of clarinets with an additional E-flat clarinet and bass clarinet, two bassoons and double bassoon, three trumpets, four horns, three trombones and tuba, timpani, tambourine, snare drum, triangle, cymbals, bass drum, tam-tam and xylophone, harp, celesta and strings. The instrumentation provides the opportunity for wide varieties of orchestral colour, but is some way from the extravagant instrumentation of the Fourth Symphony. The opening Largo is sombre in mood, based on elements of its principal theme, announced at the beginning of the movement and a later closely related theme for cor anglais. The music leads through an extended meditative passage for two flutes to the return of aversion of the opening, proceeding, as the sound dies away, to the end of the movement. The influence of Bach has been suggested, in particular of the St. Matthew Passion, a work Shostakovich was studying with students at the St. Petersburg Conservatory, where he had recently been appointed professor of composition.

The second movement, in what might seem ironic juxtaposition, is opened by the pert E-flat clarinet, accompanied by the plucked strings of the violins. A dynamic climax, followed by the timpani, leads to are turn of an inverted version of the opening and finally to an ending marked in the wind pppp. The last movement starts in an ironic mood recalling that of Prokofiev in the Classical Symphony in a world of Mahlerian variety, with elements of the banal included in a truer reflection of the universal than Socialist Realism, with its descent into popular philistinism, could propose.

© 2012 Naxos Digital Services Ltd.

演 出 者

指　揮│尼可拉斯‧米爾頓 Nicholas Milton, conductor

鋼　琴│蓋瑞‧葛拉夫曼 Gary Graffman, piano

國家交響樂團 National Symphony Orchestra (NSO)

演出曲目 Program

塞爾基‧普羅科菲夫（1891-1953）：《古典交響曲》

I. 快板 II. 甚緩板 III. 嘉禾舞曲：不太快的 IV. 最終樂章：十分活躍的

莫里斯‧拉威爾（1875–1937）：左手鋼琴協奏曲

～中場休息～

李元貞（1980- ）：《間奏曲：商》為管絃樂團（世界首演）

I. 〈朝〉 II. 〈心宿二〉 III. 〈新月波羅〉

德米特里．蕭斯塔科維契（1906-1975）：第六號交響曲

I. 最緩板 II. 快板 III. 急板

SERGEI PROKOFIEV: Classical Symphony, op.25 I. Allegro II. Larghetto III. Gavotte: Non troppo allegro IV. Finale: Molto vivace

MAURICE RAVEL: Piano Concerto for the Left Hand

～Intermission～

YUAN-CHEN LI: Intermezzo: SHANG for symphonic orchestra (World Premiere)

I. 'Onward' II. 'Intermezzo' III. 'Strange Shore'

DMITRI SHOSTAKOVICH: Symphony No. 6, op.54, B minor I. Largo II. Allegro III. Presto

樂章則以絃樂奏出幽明而和諧如聖詠般的合奏。最

後，第三樂章重拾能量，不但回應第一樂章的動

感，並進一步地將樂團推動到全曲的高潮，湧出一

陣又一陣上行爬升的線條。近曲終時，中提琴流露

出如吟唱般的旋律耳語呢喃與不止的擺盪。

管絃樂《間奏曲：商》是國立中正文化中心

暨國家兩廳院陳郁秀前董事長以及邱瑗執行長任內

《樂典》系列的委託。在譜寫的各個階段中，其樂

念的情感轉化與體現，承蒙芝加哥大學音樂系的師

長們的技術指導和支持 — 特別是當時指導我的鈴木琴香教授（Kotoka Suzuki），以及芝加哥交響樂團新音樂系列首席指揮 Cliff Colnot 給與樂譜與管絃樂法的指導。

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 余琬婷✽ 紀韋瑄✽

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 朱品霖✽

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 游婉婷✽

長　　　笛 ●安德石 ◎宮崎千佳 李　浚

短　　　笛 鐘美川

雙　簧　管 ●王怡靜 ◎林麗玥 楊舒婷■

英　國　管 李明怡

單　簧　管 ●朱玫玲 ◎張凱婷 朱偉誼 孫正茸

低　音　管 ●簡凱玉 ◎陳奕秀 高靈風

倍 低 音 管 簡恩義

法　國　號 ●劉宜欣 ◎舒培特 ○黃任賢 國田朋宏 王婉如

曹予勉

小　　　號 ●宇新樂 ◎陳長伯 張景民 吳建銘

長　　　號 ●宋光清 ◎邵恆發 陳中昇

低 音 長 號 彭曉昀

低　音　號 ●宮西純

定　音　鼓 ●連雅文 ◎陳廷銓

打　擊　樂 ●陳哲輝 陳振馨 楊璧慈 王瓊燁

豎　　　琴 ●解　瑄

鍵　　　盤 許惠婷

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 陳世傑助理舞監 顏承宇譜務專員 高婉瑜行政專員 溫慧雯林和億

特約音樂諮詢 焦元溥

✽NSO樂團學苑名錄指揮 張尹芳

小提琴 玉　珊 吳宛蓁余琬婷侯亨翰 紀韋瑄 張暐姍黃思瑋駱思云 賴思伃 藍胤萱蘇品嘉

中提琴 朱品霖 袁繹晴黃亞漢劉詩珊 羅培菁

大提琴 丁莉齡 呂函涓李　茜黃瓊毅

低音提琴陳美君 游婉婷

長　　笛洪佑寧 徐鈺甄

雙簧管 胡子涵 鄭化欣

單簧管 李昱柔 楊曼君

低音管 林煜勛 簡瑜萱

法國號 陳建維 廖培佑劉佩穎鄭瑞舜

小　　號徐雲修 黃貞綸黃書啟羅　丹

長　　號田智升 楊錦龍簡晟軒

低音號 高霆翰

打擊樂 林君庭 洪詩瑜

豎　　琴劉馨澧

●首席　◎副首席　○助理首席　■留職停薪　▲樂季合約　劃底線者為本場協演　✽NSO樂團學苑

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 Günther 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 and Guangzhou.

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