2019 留白部分提供觀眾 打洞收藏之用 演出時間 2019 年 6 月 14 日 ( 星期五 ) 7 :30 PM 演出地點 國家音樂廳 National Concert Hall, Taipei 演出者 指 揮 史蒂芬 布魯尼爾 鋼 琴 尚 艾弗藍 巴佛傑 國家交響樂團 主辦單位 指定住宿 演出長度 上半場約 40 分鐘 下半場約 45 分鐘 年度指定贈禮 Stefan Blunier, conductor Jean-Efflam Bavouzet, piano National Symphony Orchestra (NSO)
2 璀璨雙城 1 - 夏日夜風 演出曲目 安東 魏本 (1883-1945) 在夏日風中 貝拉 巴爾托克 (1881-1945) 第二號鋼琴協奏曲 I. II. III. ~ 中場休息 ~ 約翰 布拉姆斯 (1833-1897) 第一號小夜曲 I. II. III. IV. I II V. VI. Program ANTON WEBERN (1883-1945) : Im Sommerwind BÉLA BARTÓK (1881-1945) : Piano Concerto No.2, Sz.95, G major I. Allegro II. Adagio Presto Adagio III. Allegro molto Più allegro ~Intermission~ JOHANNES BRAHMS (1833-1897) : Serenade No.1, Op.11, D major I. Allegro molto II. Scherzo. Allegro non troppo - Trio. Poco più moto III. Adagio non troppo IV. Menuetto 1 - Menuetto 2 V. Scherzo VI. Rondo 演出者介紹 指揮 史蒂芬 布魯尼爾 2008-2016 2010-2013 NHK BBC Conductor Stefan Blunier General Music Director of the City of Bonn from 2008-2016, Stefan Blunier served as Chief Conductor of both the Beethoven Orchestra Bonn and Bonn Opera. Under his charismatic direction a new musical awareness infused the orchestra which became increasingly in demand abroad with notable tours including highly successful visits to China and the USA. Alongside his appointment in Bonn, he was Principal Guest Conductor of the Orchestre National de Belgique (2010-2013). Blunier s guest-conducting engagements take him to nearly all the German radio symphony orchestras as well as the Leipzig Gewandhausorchester, Staatsphilharmonie Ludwigshafen, Duisburg Symphony Orchestra. Other recent highlights include the NHK Symphony Orchestra, BBC Scottish Symphony, National Symphony Orchestra of Ireland, Stuttgart Philharmonic, Orquestra Sinfónica do Porto Casa da Música, Staatsphilharmonie Rheinland-Pfalz, South Netherlands Philharmonic, Norwegian Radio and the Century Symphony Orchestra of Osaka. In the field of opera, he has conducted productions in Munich, Hamburg, Leipzig, Stuttgart, Berlin (Deutsche Oper and Komische Oper), Montpellier, Oslo, Bern, Geneva and London (ENO).
3 璀璨雙城 1 - 夏日夜風 鋼琴 尚 艾弗藍 巴佛傑 BBC NHK 2017/18 NHK BBC Piano Jean-Efflam Bavouzet Award-winning pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career and regularly works with orchestras such as The Cleveland Orchestra, San Francisco Symphony, London Philharmonic, BBC Symphony and NHK Symphony orchestras, and collaborates with conductors including Vladimir Ashkenazy, Vladimir Jurowski, Gianandrea Noseda, François-Xavier Roth, Charles Dutoit, Gábor Takács-Nagy and Sir Andrew Davis amongst others. Highlights during the 2017/18 season include returns to San Francisco Symphony, Seattle Symphony, NHK Symphony and BBC Symphony orchestras. Bavouzet will appear at the Philharmonie de Paris with Orchestre Philharmonique de Monte-Carlo and also performs with Detroit and Melbourne symphony orchestras, Orquestra Sinfônica do Estado de São Paulo, Royal Scottish National and the City of Birmingham Symphony orchestras. 樂曲解說 安東 魏本 : 在夏日風中 Anton Webern, 1883-1945 1950 Serialism 1904 1908 1908 Passacaglia für Orchester Op.1 1904 1904 Bruno Wille Offenbarungen des Wachholderbaums großes Orchester 3 5 6 1904 貝拉 巴爾托克 : 第二號鋼琴協奏曲
4 璀璨雙城 1 - 夏日夜風 Bartók Béla, 1881-1945 1931 1933 als ein in ein Adagio eingebautes Scherzo 1933 1933 1860 K.250 Op.11 D drone 90 50 Op.11 約翰 布拉姆斯 : 第一號小夜曲 1853 1833-1897 1854 1858 1858
5 璀璨雙城 1 - 夏日夜風 Program Notes ANTON WEBERN: Im Sommerwind Im Sommerwind, an "idyll" for large orchestra composed in 1904, is not the very first Anton Webern orchestral piece, as some lists of works and just as many authors seem to indicate. 1903 and 1904 saw the issue of six small items for orchestra (some for full, some just for strings, some more finished than others), items that go by the rather generic title Movement today. But Im Sommerwind was Webern's most ambitious project to date, orchestral and otherwise: except for the above-mentioned Movements, Webern's pre-1904 work consists almost wholly of short songs for voice and piano. The degree to which the ambition that fueled its composition was realized, artistically speaking, is open to some debate. Im Sommerwind was never performed during Webern's lifetime, not for lack of opportunity, but because Webern decided that it, like the rest of the pieces composed before the Passacaglia, Op.1 (1908), was not worthy of performance. The piece seems, on the other hand, to really have meant something to Webern, and as an effusive imitation of late-romantic tone-poem style it is not altogether unimpressive. Webern didn't, at any rate, destroy the manuscript, which was unearthed in the post-war years and tidied up for a world premiere performance by Eugene Ormandy and the Philadelphia Orchestra in 1962. The generic but velvety late-romantic manner of Im Sommerwind is, then, something almost unique in Webern's catalog. Most the songs written between 1899 and 1904 have significantly more "bite" to them -- an individual, if largely untrained and somewhat clumsy Webern is to be heard. By contrast, Webern is obviously standing on the shoulders of the nearest available musical giant -- Richard Strauss -- in Im Sommerwind, very probably because the lush orchestral idiom he felt called to draw upon was a fairly new and unfamiliar one to him. As it happened, the idiom would never grow more familiar to him, save through other composer's works -- when Schoenberg, with whom Webern studied from late 1904 on, began to summarily dismiss everything Strauss and Strauss-like, Webern was not far behind. Im Sommerwind, idyll though it be called, is in fact a tone poem; its model is a poem of the same name by Bruno Wille. The work lasts around 12 or 13 minutes, and is scored for a fairly sizeable orchestra: 13 woodwind players, six horns, a pair of trumpets (but no trombones), percussion, two harps, and, of course, strings. BÉLA BARTÓK: Piano Concerto No.2, Sz.95, G major The Second Piano Concerto was written between October 1930 and the autumn of 1931. It was first performed in Frankfurt in January 1933. The Frankfurt Radio Symphony Orchestra was conducted by Hans Rosbaud, with the composer as soloist. There followed performances at the ISCM Festival in Amsterdam, in London, Strasbourg, Stockholm, Vienna, Winterthur and Zürich, with a performance in Budapest in which Louis Kentner was the soloist. Of even more compelling energy than the earlier concerto, the new work is again in three movements, the third of which uses material from the first. Bartók claimed that the concerto was in contrast to the last with orchestral writing that was less demanding and with thematic material of more obvious attraction. The opening movement, without strings, has two broad subject groups, a central development and a recapitulation, including a piano cadenza. It is tightly constructed, with sequential formations that suggest the Baroque concerto form. The second movement contains in itself both a slow movement and a scherzo. It is in ternary form, with a rapid central section, with the Adagio in the mood of night music that is so often a feature of Bartók's writing. Here the piano, accompanied by percussion, offers a form of meditative recitative, interrupted by a central bout of hyperactivity. Material from the first movement, rhythmically modified, with a new principal theme framing rondo episodes derived from the first movement. JOHANNES BRAHMS: Serenade No.1, Op.11, D major The Serenade in D major, Opus 11, was written during the months Brahms spent at the court of Detmold, its period of composition overlapping with that of the Serenade in A major. Like its companion it was published in 1860, the year of its first performance in Hanover, although it seems that it had at least been played through in Detmold in its original form as an octet by players from the orchestra, led by the violinist Karl Bargheer. Clara Schumann, an influential advocate of Brahms at this early stage in his career, insisted that the Serenade should be played at a benefit concert in Vienna in 1860, if she was to take part, and urged the two Serenades on other influential conductors. In six movements, largely following earlier tradition, the Serenade owes something to Brahms's
6 璀璨雙城 1 - 夏日夜風 study of classical models. The surviving autograph suggests that the work was conceived as a symphonyserenade, and in length, at least, it is ambitious. It starts in a happy pastoral mood, to which a more ominous strain is added, in the tones of Beethoven, before becoming recognisably and unequivocally Brahms. The lilting first Scherzo, a contrast to the substantial opening Allegro, touches a rustic mood in its trio section, and is followed by a slow movement of classical contour, in which that most characteristic of all instruments used by Brahms, the French horn, has its due prominence - otherwise classical in its scoring, the Serenade calls for four French horns rather than the two horns of the earlier period. The first Minuet lightens the tranquil mood with a moment of peasant jollity, delicately scored, before the intervention of a more poignant element, against the continuing ostinato accompaniment. The French horn introduces the second Scherzo, with more than a touch of Beethoven in pastoral mood. A final Rondo brings the Serenade to an end. 2019 Naxos Digital Services Ltd NSO
7 璀璨雙城 1 - 夏日夜風 自信而精銳國家交響樂團 1986 2005 2014 4 / 2010 8 30 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 2014. 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