高雄市交響樂團

貝多芬系列三
KSO Beethoven Series III
指 揮 Conductor 楊智欽 YANG Chih-chin
鋼 琴 Piano 吳亞欣 WU Ya-hsin
樂 團 Orchestra 高雄市交響樂團 Kaohsiung Symphony Orchestra

5.16 Sat. 19:30

演出全長約 51 分鐘
Duration is approx. 51 mins
演出曲目 Program

L. v. BEETHOVEN: Symphony No. 5 in c minor, Op.67

貝多芬：c 小調第五號交響曲《命運》，作品 67

I. Allegro con brio

有力的快板

II. Andante con moto

稍快的行板

III. Allegro

快板

IV. Allegro

快板

L. v. BEETHOVEN: Piano Concerto No. 4 in G Major, Op. 58, Movement I : Allegro Moderato

貝多芬：G 大調第四號鋼琴協奏曲，作品 58, 第一樂章，中庸的快板

曲目解說 Program Notes

貝多芬：
c 小調第五號交響曲《命運》，作品 67

1806 到 1812 年之間的六年是貝多芬創作生涯最豐盛的一段時期，雖

然為耳疾所困，但他一直都以鋼琴家的身份公開演奏。而 1808 年聖
誕節在維也納戲劇院 (Theater an der Wien) 的一場馬拉松音樂會中，
也是他最後一次公開演奏鋼琴，當場演出包含合唱幻想曲以及兩首新
交響曲的首演－第五和第六號。

整個第一樂章源於開頭的四音動機，而此三短一長的四音動機也成為
古往今來最經典的交響曲開頭。全曲一頭衝勁的直驅結尾，事件與意
念都被縮減為絕對的要素本質，整個結構充滿著不可避免性及必然
性。第二樂章稍快的行板充滿自信的歌唱與前一樂章的唐突形成有力
對比，這個樂章比較柔和、抒情，但是英雄化的性格及外觀上並不亞
於前一樂章。樂章近結束處步調加快引入神秘的氣氛，但是整個樂章
的結尾處，大膽勝利的氣氛又再度返回。第三樂章的詼諧曲，由弦樂
與木管語意不明的互相拋來拋去開始，突然四音動機由法國號大聲宣
示，全曲如割草機般勝利地切過矮樹叢。音樂在此樂章末尾止歇成耳
語，直到貝多芬慢慢的建立起一巨大的漸強，而從此一漸強之中無間
斷的出現終樂章的基礎材料，也是最終的勝利頌歌。本交響曲的結尾
是場勝利與狂喜，貝多芬在曲尾時反覆敲打勝利的和弦直到結束。
曲目解說 Program Notes

Ludwig van BEETHOVEN:

Symphony No. 5 in c minor, Op.67

The Fifth Symphony was composed during the most productive period of BEETHOVEN’s
career, between 1806-1812. The Fifth Symphony was premiered in 1808, and the concert
would be the last public performance of BEETHOVEN as a soloist on the piano as his
ear condition greatly deteriorated, just as “fate knocking on your door.”

Allegro con brio begins with the most iconic and aggressive four-note motive that is the
most recognized opening of all times. BEETHOVEN uses this distinctive rhythmic figure
of three-short-one-long notes that ties in all four movements. The motive organically
grows into the first theme by overlapping presentation. Through modulation and horns
introducing the second theme that brings the movement into a more lyrical session,
before quickly moves to an exciting climax with intensive character building and ends
with a satisfying coda.

The second movement Andante con moto, set in theme and variation, is much calmer
in contrast. BEETHOVEN uses two alternative themes, one sweet and lyrical, the other
more forceful as it resembles the opening theme of first movement. Throughout the
movement both themes went through changes in tempo, harmony and dynamics.

The third movement, Allegro, a scherzo in ABA form, is the first time a scherzo is
replacing the polite Minute in Classical symphonies. The dialogue between strings and
woodwinds are interrupted by loud and assertive horn motives. BEETHOVEN creates a
feeling of suspense and tension with the use of dynamics (pianissimo) and rhythm (quiet
tapping of timpani). The movement continue without pause onto the triumphant
finale and final movement of this symphony Allegro - Presto, where piccolo, three
trombones and contrabassoon join us for the first time. This joyous finale again uses
fate theme from the opening of the symphony, indicates the struggle is over and the
celebration of triumphant is even more apparent at the coda as the music gets louder
and faster before reaching a cadence of unison C signalling the victory of this most
famous symphonies of all times.
曲目解說 Program Notes

貝多芬：G 大調第四號鋼琴協奏曲，作品 58,

第一樂章，中庸的快板

在貝多芬奠定為維也納最著名的作曲家之前，他於十八世紀末剛抵達
該城市時，就已展示出才華洋溢的鋼琴天賦，成為名聲鵲起的鋼琴
家。在他的一生中共創作了五首鋼琴協奏曲，這些全都是展示他非凡
才能的方式。自從貝多芬在第三號交響曲獲得空前成功以後，就進
入了全盛音樂創作時期。自 1804 至 1806 年間，他創作了很多重要作
品，包括第四號交響曲、第五號交響曲和第四號鋼琴協奏曲。這三部
作品同時於 1808 年 12 月 22 日在維也納劇院首演。在他不斷退化的
聽力影響下，該場音樂會也是貝多芬作為鋼琴獨奏者的最後一次公開
演出。

第一樂章 中庸的快板

與傳統的古典鋼琴協奏曲相反，第四號鋼琴協奏曲不是由管弦樂慢慢
的展開前奏，而是由鋼琴獨奏直接揭示主題。從只有短短的五個小節
中，利用細膩的音調及柔和的和弦輕輕地引入了第一個主題。管弦樂
隨即承接著主題，演奏出相同的氛圍完整了整個樂段。一系列重複的
音符中逐漸演變出各種主題變化，並與管弦樂互相對應。善於利用不
同樂器與鋼琴獨奏之間的優美對話，讓合唱般的主題交織在一起，編
織出華麗的美感，使該樂章脫穎而出。
曲目解說 Program Notes

Ludwig van BEETHOVEN:

Piano Concerto No. 4 in G Major, Op. 58,
Movement I : Allegro Moderato
As BEETHOVEN established his status as one of the most famous composer in
Vienna, his fame in fact began with his exquisite talent as a concert pianist in 1790s.
Throughout his lifetime, he composed five piano concerti, all of which are instruments
to showcase his exceptional talent. Since his major success of Symphony No. 3 “Eroica”,
BEETHOVEN engaged into an artistic productive period. From 1804-1806 he composed
some of his major compositions including Symphony No. 4, Symphony No. 5 and his
most original Piano Concerto No. 4. All three compositions were premiered on 22nd
December 1808 at the Vienna's Theater an der Wien as part of the marathon concert.
This epic concert would be the last public performance of BEETHOVEN as a soloist on
the piano as he lost his hearing completely soon after.

Movement I : Allegro moderato

Contrary to traditional Classical concerto, Piano Concerto No. 4 begins with the soloist
opening the first movement, instead of an orchestral introduction. Albeit a short five
delicate measures, the soft dolce chord gently brings in the first theme, grows out of
a series of repeated notes, before answered by the orchestra. The beautiful dialogue
between different instruments within the orchestra and piano’s chorale-like theme
throughout the movement weaves a web of intense beauty that makes this movement
stands out among others.
 高雄市交響樂團
樂在，你也在。

—— 年輕的樂團 堅定向前行

對一個城市而言，有專屬的樂團是難得珍貴的。

高雄市交響樂團是一個年輕有活力的樂團，與國際
級指揮與名家大師們合作共鳴，勇於嘗試多元型態
的演出，古典與跨界同時是樂團發展的主軸，為樂
迷創造更多優質的音樂饗宴，也培育無數表演與欣
賞的種子，延展古典音樂創新的鴻翅。

1981 年成立，2009 年與高雄市國樂團基金會整併為

「財團法人高雄市愛樂文化藝術基金會」。2009 年
起迄今，擔任高雄春天藝術節重要演出角色，成功
打響「高雄春天藝術節草地音樂會」品牌；近十年
來，不斷地迎接國際各方的深礪與琢磨，創造出許
多與國內外名家聯演的系列音樂會；2018 年底，參
與衛武營國家藝術文化中心的啟用典禮演出，未來
在這座音樂廳中，高雄市交響樂團將扮演更多重要
的角色。

在國際舞台上，樂團不斷獲邀至多個國際城市演
出，逐步跨越城市與國界，以國際級樂團為自我提
升與成長目標，堅定向前。
Kaohsiung Symphony Orchestra
(KSO)
Wherever there is music, there is you.
—— A young orchestra which advances with determination

It is an asset for a city to have an orchestra of its own.

Young and energetic, the Kaohsiung Symphony Orchestra (KSO) invites world-class conductors and
masters for collaboration, and challenges itself by staging performances of diversified styles. The
development of the orchestra focuses on both classical and crossover genres; it has not only created
increasingly more high quality musical miscellanies for music enthusiasts but also planted numerous
seeds for music appreciation and performance, contributing to the innovation of classical music.

The Kaohsiung Symphony Orchestra was founded in 1981. It was merged with the Kaohsiung Chinese
Orchestra in 2009 as “Kaohsiung Philharmonic Culture and Arts Foundation”. Since 2009, the KSO
has made considerable contribution in the Kaohsiung Spring Arts Festival, successfully promoting its
grassland concerts. In the last decade, the KSO has collaborated with renowned local and international
artists and music groups and staged numerous concert series. The end of 2018 marked the grand opening
of the National Kaohsiung Center for the Arts (Weiwuying), where the KSO participated in the center’s
inauguration. KSO wishes to continue playing an important role in the center’s concert hall.

The KSO has been invited to perform on international stages regularly. Reaching beyond city and country
borders, the KSO advances steadily with the self-development goal of becoming an internationally
acclaimed orchestra.
 指揮 楊智欽

臺灣雲林人，現任高雄市交響樂團指揮。

畢業於莫斯科 Gnesin 俄羅斯國立音樂學院。曾師事 Miroslav RUSIN，陳秋盛教授，András

LIGETI，Gunther HERBIG，Michael JUROWSKI…等。曾任臺北市立交響樂團助理指揮，國
立中正文化中心兩廳院歌劇工作坊指揮。

音樂風格熱情細膩及流暢優美，結構清晰完整具有豐富的管絃色彩與感染能力，嚴謹的工
作態度與對樂譜的忠實解讀，使其演出均獲愛樂者極熱烈的迴響。演出類型曲目廣泛，風
格掌握精確。除精彩演繹經典管絃交響樂曲目之外，他對於跨界領域以及歌劇芭蕾的製作
及演出經歷也極為成功豐富；例如高雄春天藝術節大型製作「賽德克巴萊」、「影．響台
灣」、「很久沒有敬我了你」、約翰威廉斯「侏羅紀公園」、卓別林「城市之光」、日內
瓦大劇院「仲夏夜之夢」芭蕾舞劇。歌劇：比才「卡門」、莫札特「魔笛」、拉威爾「頑
童與魔法」、馬斯康尼「鄉村騎士」、胡伯定克「糖果屋」、雷史畢基「睡美人」、普契
尼「強尼史基基」… 等。

敏銳的音樂性及靈活的樂團掌握能力，讓他跟世界各地優秀獨奏家的合奏，每每激盪出精
彩火花，包括：小提琴家列賓、諏訪內晶子、葛林戈斯、林昭亮、胡乃元、格里摩、神尾
真由子；鋼琴家波哥雷里奇、加伏里洛夫、莉西特莎、瓦洛金、列夫席茲、劉孟捷；大提
琴家堤剛、利普金、蓋哈特、楊文信；小號納卡里亞可夫……等。而客席國內外交響樂團如：
俄羅斯史維特蘭諾夫交響樂團、俄羅斯沃諾尼契愛樂交響樂團、德國符騰堡愛樂交響樂團、
保加利亞布爾加斯愛樂、日本金澤管弦樂團、臺北市立交響樂團、國立臺灣交響樂團、江
蘇南京交響樂團…的合作演出也都相當愉快而精彩。2017 年應邀率高雄市交響樂團赴日本
金澤「貝多芬音樂節」演出，更獲得聽眾及樂評一致的讚賞。
Conductor
YANG Chih-chin

Principal Conductor of Kaohsiung Symphony Orchestra (KSO), Taiwan, YANG Chih-chin is a renowned conductor
in his generation in Taiwan. Born in 1969, he graduated from The Russian Academy of Gnesin, Moscow, Russia,
and studied with Miroslav RUSIN, Filex Chiu-Sheng CHEN, András LIGETI, Gunther HERBIG, Michael JUROWSKI.
Before joining KSO, YANG served as the Assistant Conductor of Taipei Symphony Orchestra, the Conductor of
Opera Studio of National Chiang Kai-Shek Cultural Center, Taiwan.

YANG has worked with and conducted Svetlanov Symphony Orchestra of Russia, Voronezh Philharmonic
Orchestra, Württemberg Philharmonic Reutlingen, Bulgarian State Opera Burgas, Kanazawa Ensemble Orchestra
of Japan, Taipei Symphony Orchestra, National Taiwan Symphony Orchestra and Nanjing Jiangsu Symphony. He
has recorded with the Kaohsiung Symphony Orchestra. Highlights in recent season, 2017, YANG was invited to
Kanazawa Japan with KSO, performing in Spring Green Music Festival where they were highly acclaimed by critics
and reviews.

YANG has a wide orchestra repertoire, from classical to contemporary music; he also keeps his passion on opera
and ballet. YANG has successfully performed many classic works, including a adapted MENDELSSOHN‘s A
Midsummer Night's Dream with Ballet du Grand Théâtre de Genève; BIZET’s Carmen; MOZART's Don Giovanni,
The Magic Flute, Cosi fan tutte; HUMPERDINCK’s Hansel and Gretel ; FERRARI’s Susanna's secret; PUCCINI's Gianni
Schicchi, Manon Lescaut; OFFENBACH’s The Tales of Hoffmann; RAVEL's L’Enfant et les Sortileges; MASCAGNI’s
Rusticana Cavalleria; PROKOFIEV’s The Cinderella.

In addition to orchestra repertoire, YANG has conducted films with live orchestra, including Jurassic Park in
Concert, Our Movies and Our Songs Grassland Concert, City Lights (by CHAPLIN) in Concert, The Planet and Orbit -
an HD Odyssey, and Seediq Bale in Concert, making him a highly skillful conductor in such area.

YANG has performed with many excellent soloists including Vadim REPIN, Ivo POGORELICH, Andrei GAVRILOV,
Sergei NAKARIAKOV, SUWANAI Akiko, Valentina LISITSA, Konstantin LIFSCHITZ, Gavriel LIPKIND, Alban
GERHARDT, YANG Wen-sinn, Ilya GRINGOLTS, Alexei VOLODIN, TSUTSUMI Tsuyoshi, LIN Cho-liang, HU Nai-yuan,
LIU Meng-chieh.
 鋼琴 吳亞欣

高雄市人。畢業於臺灣師範大學音樂系，之後赴美深造取得琵琶第音樂院鋼琴
演奏碩士及馬里蘭州立大學音樂藝術博士。

返國之後活躍於臺灣樂壇。曾受邀於國家兩廳院、高雄市交響樂團 、 Taiwan
Connection 室內樂團 、 台新文化藝術基金會、新逸藝術 、台北獨奏家室內樂
基金會，雲林饗響文教協會的演出。南台灣室內樂協會發起人。現於高雄師範
大學音樂系，屏東大學音樂系及台南應用科技大學音樂系兼任助理教授。
Piano
WU Ya-hsin

A native of Kaohsiung, WU Ya-hsin studied both the piano and the violin. Having won numerous prizes on both
instruments at a young age, she received sponsorship from the Yamaha and Kawai Music Foundations for 6
straight years. Ms. WU then pursued her Masters in Music degree at the Peabody Conservatory, and later finished
her Doctor of Musical Arts degree at the University of Maryland.

During her studies in the United States, she was the recipient of the Rose Marie Milholland Award in 2002. Also
as an active competitor, she has been the finalist of the Yamaha Piano Competition in 1999 (Taiwan), semi-finalist
in the prestigious Concours Musical International de Montreal in 2004 (Canada), and prize winner in Piano Solo/
Chamber Music at the International Music Competition Premio “Citta di Padova” in Italy.

Besides an active soloist and chamber musician, she was invited to perform with numerous organizations, such
as National Performing Arts Center, Taiwan Connection Chamber Music Concert and Kaohsiung Symphony
Orchestra. She is currently teaching in several schools being part of the piano faculty of National Kaohsiung
Normal University, National Ping-Tung University and Tainan University of Technology. Also, being a chamber
music enthusiast, she is the founder and artistic director of the Southern Taiwan Chamber Music Society.
主辦 Presenter

衛武營國家藝術文化中心 National Kaohsiung Center for the Arts (Weiwuying)

高雄市政府文化局 Bureau of Cultural Affairs, Kaohsiung City Government
財團法人高雄市愛樂文化藝術基金會 Kaohsiung Philharmonic Cultural & Arts Foundation

演出 Performers

高雄市交響樂團 KSO

執行長 CEO 大提琴 Cello 長號 Trombone

朱宏昌 CHU Hung-chang 林采霈 LIN Tsae-pey 田智升 TIEN Chih-sheng ◎
副執行長 Deputy CEO 劉彥廷 LIU Yen-ting 鄭詔駿 CHENG Chao-chun
白佩蕾 Angela PAI 陳怡靜 CHEN I-chin 林禹慈 LIN Yu-tzu
指揮 Conductor 林威廷 LIN Wei-ting
楊智欽 YANG Chih-chin 莊名媛 CHUANG Ming-yuan ▲ 低音號 Tuba
潘慈洞 PAN Tzu-tung
鋼琴 Piano 低音提琴 Double Bass
吳亞欣 WU Ya-hsin 阮晉志 JUAN Chin-chih ◎ 豎琴 Harp
趙紋孜 CHAO Wen-tzu 管伊文 KUANG Yi-wen
樂團首席 Concertmaster 曾兆瑒 TSENG Chao-yang
薛志璋 HSUEH Chih-chang 汪育萱 WANG Yu-shuan 定音鼓 Timpani
樂團副首席 Associate Concertmaster 宮岡攝 MIYAOKA Setsu ◎
葉翹任 YEH Chiau-ren 長笛 Flute
樂團助理首席 Assistant Principal 林文苑 LIN Wen-yuan 打擊 Percussion
張恆碩 CHANG Hen-shuo 葉瓊婷 YEH Chiung-ting 洪瑞辰 HUNG Jui-chen
吳建慧 WU Chien-hui
第一小提琴 First Violin 楊昱柔 YANG Yu-rou ▲
李純欣 LEE Chun-hsin
郭洹佐 KUO Huan-tso 雙簧管 Oboe
蔡宗言 TSAI Tsung-yen 王慧雯 WANG Hui-wen ◎ 聲部首席 Principal

熊書宜 HSIUNG Shu-i 聶羽萱 NIEH Yu-hsuan ▲ 協演人員 Guest Orchestra Member

范翔硯 FAN Hsiang-yen

黃郁盛 HUANG Yu-sheng 單簧管 Clarinet
陳冠甫 CHEN Guan-fu 莊維霖 CHUANG Wei-ling
韓健峰 HAN Chien-feng
第二小提琴 Second Violin
陳思圻 CHEN Szu-chi ◎ 低音管 Bassoon
蕭曼林 HSIAO Man-lin 劉君儀 LIU Chun-yi ◎
張瓊紋 CHANG Chiung-wen 鄭斐文 CHENG Fei-wen
黃俊翰 Daniel Tomas KARL 黃子宜 HUANG, Tzu-yi ▲
陳麗薰 CHEN Li-hsun
葉家銘 YEH Chia-ming 法國號 French Horn
陳人瑋 CHEN Jen-wei 薛程元 HSUEH Cheng-yuan
陳又寧 CHEN Yu-ning 黃姿菁 HUANG Tzu-ching
傅宗琦 FU Tsung-chi
中提琴 Viola 賴衍學 LAI Yen-hsueh
蕭寶羚 HSIAO Pao-ling ◎
陳曉芸 CHEN Hsiao-yun 小號 Trumpet
尤 媛 YU Yuan 唐大衛 David Melchior ARGENTA ◎
林楷訓 LIN Kai-shun 陳鏡元 CHEN Ching-Yuan
陶泓憬 TAO Hung-ching
黃文翔 HUANG Wen-hsiang ▲
導播錄影團隊 Image and transmission

總統籌 Producer
王品翰 WANG Ping-han

導播 Director
曾行宜 TSENG Hsing-i

攝影 Cameraman
溫樊海 WEN Fan-hai
葉信宏 YEN Shin-hon
劉晶元 LIU Gin-yuan
邱陵瑋 CHIO Lin-wei
闕朝詩 CHE Chao-szu

讀譜 Assistant Director
林思嘉 LIN Szu-chia

字幕 Graphics
張淑君 ZHANG Shu-jun

直播 / 工程 Engineer
吳佳駿 WU Chia-chun
詹前明 CHAN Chien-ming

成音工程團隊 Sound

成音師 Engineer
陳鐸夫 CHEN To-fu
謝秉霖 HSIEH Ping-lin

字體贊助 Fonts by
主辦單位 Presenter