2019 演出曲目 Program 貝拉巴爾托克 ( ) 舞蹈組曲 I. 中板 BÉLA BARTÓK ( ) : Dance Suite I. Moderato II. 很快的快板 II. Allegro molto III. 活潑的快板 III. Allegro

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2019 演出曲目 Program 貝拉巴爾托克 (1881-1945) 舞蹈組曲 I. 中板 BÉLA BARTÓK (1881-1945) : Dance Suite I. Moderato II. 很快的快板 II. Allegro molto III. 活潑的快板 III. Allegro vivace IV. 很安靜的 IV. Molto tranquillo V. V. 舒適的 VI.

Allegro giocoso ~ 中場休息 ~ ~Intermission~ 約翰布拉姆斯 (1833-1897) 海頓主題變奏曲 JOHANNES BRAHMS (1833-1897) : Variations on a Theme of Joseph Haydn, Op.56a 奧本貝爾格 (1885-1935) 三首管絃樂作品 I.

1 2019 演出曲目 Program 貝拉巴爾托克 ( ) 舞蹈組曲 I. 中板 BÉLA BARTÓK ( ) : Dance Suite I. Moderato II. 很快的快板 II. Allegro molto III. 活潑的快板 III. Allegro vivace IV. 很安靜的 IV. Molto tranquillo V. V. 舒適的 VI. 終曲快板 Comodo VI. Finale. Allegro BÉLA BARTÓK ( ) : Violin Concerto No.1, Sz.36 貝拉巴爾托克 ( ) 第一號小提琴協奏曲 I. 持續的行板 I. II. 歡樂的快板 Andante sostenuto II. Allegro giocoso ~ 中場休息 ~ ~Intermission~ 約翰布拉姆斯 ( ) 海頓主題變奏曲 JOHANNES BRAHMS ( ) : Variations on a Theme of Joseph Haydn, Op.56a 奧本貝爾格 ( ) 三首管絃樂作品 I. 前奏曲 ALBAN BERG ( ) : 3 Pieces for Orchestra, Op.6 I. Prelude 留白部分提供觀眾打洞收藏之用 II. 圓舞 II. Round Dance III. 進行曲 III. March Universal Edition AG 演出時間 2019 年 6 月 28 日 ( 星期五 ) 7 :30 PM 演出地點國家音樂廳 National Concert Hall, Taipei 演出者指指定住宿演出長度上半場約 40 分鐘下半場約 40 分鐘 Paul Huang, violin 小提琴黃俊文國家交響樂團主辦單位 Shao-Chia Lü, conductor 揮呂紹嘉年度指定贈禮 National Symphony Orchestra (NSO) 宣傳贊助

2 璀璨雙城 2 - 奧匈霞輝演出者介紹指揮呂紹嘉 1995-1998 1998-2001 1998-2004 2001-2006 2004 5 Peter Cornelius NHK KBS 2010 8 NSO Conductor Shao-Chia Lü Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later

His training resulted in important first prizes at three renowned international conductor competitions: Besancon (France), Pedrotti (Italy) and Kondrashin (the Netherlands).

2 2 璀璨雙城 2 - 奧匈霞輝演出者介紹指揮呂紹嘉 Peter Cornelius NHK KBS NSO Conductor Shao-Chia Lü Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at Vienna's College of Music. His training resulted in important first prizes at three renowned international conductor competitions: Besancon (France), Pedrotti (Italy) and Kondrashin (the Netherlands). Shao-Chia Lü accepted positions as General Music Director of the Koblenz Theatre ( ), the Staatsorchester Rheinische Philharmonie Koblenz ( ), and the Staatsoper Hannover ( ). Shao-Chia Lü appears regularly as guest conductor at several world-renowned opera houses, including the Opera Australia in Sydney and Melbourne, Theatre de la Monnaie in Brussels, Den Norske Opera in Oslo, Komische Oper Berlin and more. 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, Orchestra Sinfonica di Santa Cecilia Rome, Royal Liverpool Philharmonic, Orchestre National de France and more. In Asia, Lü has worked with the Hong Kong Philharmonic, NHK, New Japan Philharmonic, Seoul Philharmonic, KBS Symphony Orchestra and more. Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra) since August 小提琴黃俊文 / Violin Paul Huang Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is quickly gaining attention for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center. The season will also see Mr. Huang performing in the U.S. with the Tucson Symphony, New Mexico Philharmonic, Long Beach Symphony, Brevard Symphony, and Mobile Symphony. Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelor s and Master s degrees under Hyo Kang and I-Hao Lee. He plays on the 1742 ex-wieniawski Guarneri del Gesù on loan through the generous efforts of the Stradivari Society of Chicago.

3 3 璀璨雙城 2 - 奧匈霞輝樂曲解說貝拉巴爾托克 : 舞蹈組曲 1923 Bartók Béla, East West Schism 約翰布拉姆斯 : 海頓主題變奏曲 1870 Johannes Brahms, Chorale St. Antoni Saint Anthony Variations 貝拉巴爾托克 : 第一號小提琴協奏曲 1906 Stefi Geyer Geyer 1908 Geyer 1958 Stefi d f# a c# 奧本貝爾格 : 三首管絃樂作品 1913 Arnold Schönberg, Alban Berg, Charakterstücke 1914 Stücke großer Hammer

4 4 璀璨雙城 2 - 奧匈霞輝 pp + Walzertempo Mäßiges Marschtempo fff Program Notes BÉLA BARTÓK: Dance Suite Written in 1923 to celebrate the union of the cities of Buda and Pest into the present-day Hungarian capital, the Dance Suite immediately established itself as among the most popular of Bartók's works. Two years later, Emil Hertzka, director of the Viennese publisher Universal Edition, suggested that the composer make a 'not too difficult' piano arrangement. The resulting transcription, however, yields little in technical requirement to his original piano works. Interestingly, Bartók never included it in a recital, György Sándor giving the public première as late as March Although through-composed, the Dance Suite divides into six sections, linked by a ritornello of wistful Hungarian character. The increasingly animated first dance and impetuous second dance are also of Magyar origin, while the energetic third dance draws on Romanian traditional music from the region of Wallachia. The sensuous fourth dance has a pronounced Arabic inflection, in contrast with the primitive peasant archetype of the fifth dance. The finale draws together thematic and rhythmic characteristics of the preceding dances, in an exhilarating synthesis which aptly reflects what Bartók described as "... the brotherhood of peoples... in spite of all wars and conflicts". BÉLA BARTÓK: Violin Concerto No.1, Sz.36 A relatively youthful work, written in , Bartók's first concerto demonstrates considerable change in writing style since his earlier major work, the symphonic poem Kossuth, of His folk-music collaboration with Zoltán Kodály had begun in 1905 and by the time work began on Violin Concerto No. 1 he had already published his first Hungarian folksong settings, had started to collect folk music with an Edison phonograph, and had begun an investigation of Rumanian folk music. The influence of the music of Debussy and Reger has also been noted in the compositions of this period. One cannot discuss this work without reference to Stefi Geyer, the young violinist with whom Bartók became totally besotted. During the composition period he was clearly deeply in love with her and this work, dedicated to her, is undoubtedly the musical expression of his feelings. Geyer was later to describe the first movement as 'the young girl whom he had loved' and the second as 'the violinist whom he had admired'.

5 5 璀璨雙城 2 - 奧匈霞輝 Bartók himself described the first movement as his 'most direct' music, 'written exclusively from the heart'. The opening D F# A C# motif is the germ of the work and is alluded to in many instances in later works, including his final work, the Viola Concerto of In its minor form, C# E G# B#, Bartók described it in a letter to Geyer of September, 1907, as 'your leitmotif'. This motif was also used, probably coincidentally, by Vernon Duke in I Can't Get Started (1935). Geyer never performed the work and in fact it remained unplayed in its original two movement form until after her death. The first performance in Basle on 30th May, 1958 featured the violinist Hans-Heinz Schneeberger and conductor Paul Sacher. Prior to this the first movement became, with minor modifications, the first of the Two Portraits, the second movement being an orchestrated version of the last of the Fourteen Bagatelles, renamed Grotesque. JOHANNES BRAHMS: Variations on a Theme of Joseph Haydn, Op.56a It was through the librarian of the Vienna Gesellschaft der Musikfreunde, Karl Ferdinand Pohl, that Brahms came across the Feldpartiten of Haydn, written for wind band. This was the immediate source of the theme of Brahms's Haydn Variations. In fact the theme was of older origin, a pilgrims' hymn, in honour of St Anthony, used by Haydn during the course of his employment in Bohemia as a musician in the house of Count Morzin. The Variations were written during the summer of 1873, which Brahms spent at Tutzing on the Starhembergersee, near Munich. The work was first performed by the Vienna Philharmonic Orchestra in November of the same year. The B flat major theme first appears in something like its original guise, scored for wind over pizzicato cellos and double basses, with the original serpent part replaced by the double bassoon. The first variation allows the violins their own embellishment of the theme, the orchestral texture darkened by double bassoon and timpani. A livelier version in B flat minor follows, almost making of it a Hungarian dance, leading to a flowing version of the melody, offered first by the oboe, then by the violins. The fourth variation returns to the minor key in a more melancholy mood, to which the fifth variation is in marked contrast, with its woodwind instruments in thirds and its colour brightened by the addition of the piccolo. The sixth version of the theme is one of emphatic energy, dominated initially by the French horns, leading to a gently pastoral seventh variation and an eighth in which muted violas and cellos are joined by the other instruments in a mysteriously hushed minor version. The Finale, after the gradual appearance of the instruments in contrapuntal imitation, leads to a grandiose restatement of the theme. ALBAN BERG: 3 Pieces for Orchestra, Op.6 Alban Berg composed 3 Pieces for Orchestra, Op. 6 in The work starts with a Präludium emerging tentatively from the depths, erupting briefly, and then building gradually to a powerful orchestral climax. The mood, poised between yearning and agitation, becomes one of troubled calm in the long coda, the music returning to the shadows whence it came. Reigen anticipates Ravel's La valse in its many-layered play on dance rhythms, against a background of ominous import. The music passes through several fractured climaxes, before arriving at a passage of sustained calm. Kaleidoscopic patterns on high brass and woodwind sound out over isolated tuba notes, concluding with a soft brass chord. Marsch is more of a fantasy on march rhythms than a clear-cut genre piece. Over soft tramping rhythms, the clarinet has the motif which will inform all stages of its complex progress. A related idea brings temporary calm, before the music surges towards its Mahlerian climax, replete with fateful hammer blows recalling the older composer's Sixth Symphony. Complete collapse is avoided as the music moves through a sequence of blurred reminiscences and strident brass responses, seeming to play itself out in a tranquil coda. The martial overtones, however, are set to prevail one last time Naxos Digital Services Ltd NSO

6 6 璀璨雙城 2 - 奧匈霞輝自信而精銳國家交響樂團 / NSO NSO NSO National Symphony Orchestra Founded in 1986, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became the resident orchestra of the National Concert Hall, and an artistic affiliate of the National Performing Arts Center in April 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. / / NSO Live (NSO) TNUA

校長的話學校自 2011 年搬到長沙灣後, 由於校舍大了, 便一直發展課外活動, 有音樂體育舞蹈學術和視藝, 可謂林林總總, 包羅萬有學校鼓勵同學一生一體或藝, 喜歡運動的, 可

校長的話學校自 2011 年搬到長沙灣後, 由於校舍大了, 便一直發展課外活動, 有音樂體育舞蹈學術和視藝, 可謂林林總總, 包羅萬有學校鼓勵同學一生一體或藝, 喜歡運動的, 可校長的話學校自 2011 年搬到長沙灣後, 由於校舍大了, 便一直發展課外活動, 有音樂體育舞蹈學術和視藝, 可謂林林總總, 包羅萬有學校鼓勵同學一生一體或藝, 喜歡運動的, 可選較活動的項目 ; 喜歡音樂的, 中西樂器均有, 可隨自己所好,

2019 演出曲目 Program 貝拉 巴爾托克 ( ) 舞蹈組曲 I. 中板 BÉLA BARTÓK ( ) : Dance Suite I. Moderato II. 很快的快板 II. Allegro molto III. 活潑的快板 III. Allegro

2019 演出曲目 Program 貝拉巴爾托克 ( ) 舞蹈組曲 I. 中板 BÉLA BARTÓK ( ) : Dance Suite I. Moderato II. 很快的快板 II. Allegro molto III. 活潑的快板 III. Allegro