今晚7:00，天津茱莉亞學院與上海樂隊學院將舉辦聯(lián)合音樂會。由天津茱莉亞管弦樂表演專業(yè)總監(jiān)、天津茱莉亞管弦樂團駐團指揮林敬基執(zhí)棒，演出威爾第和柴可夫斯基的經(jīng)典作品，并與學院第二屆研究生協(xié)奏曲比賽獲勝者、大提琴學生李姈垠（Youngeun Lee）合作呈現(xiàn)肖斯塔科維奇的協(xié)奏曲。林敬基指揮特別錄制了曲目導賞，帶領大家共同走進明晚的音樂會。

本場音樂會將通過【TJS Live｜天津茱莉亞現(xiàn)場】在下列平臺進行直播：天津茱莉亞學院【官網(wǎng)】【視頻號】【微博】【bilibili】、北京音樂廣播【視頻號】【微博】【抖音】官方賬號。

演出曲目｜Program

朱塞佩·威爾第（1813-1901）

《命運之力》序曲

GIUSEPPE VERDI (1813-1901)

Overture to?La forza del destino

——

德米特里·肖斯塔科維奇（1906-1975）

降E大調(diào)第一大提琴協(xié)奏曲，作品107（1959）

????????小快板

????????中板

????????華彩樂段

????????流暢的快板

李姈垠，大提琴

DMITRI SHOSTAKOVICH (1906-1975)

Cello Concerto No. 1 in E-flat Major, Op. 107 (1959)

????????Allegretto

????????Moderato

????????Cadenza

????????Allegro con moto

Youngeun Lee, Cello

— 中場休息｜Intermission?—

彼得·伊里奇·柴可夫斯基（1840-1893）

F小調(diào)第四交響曲，作品36

????????持續(xù)的行板—生氣蓬勃的中板

????????如歌曲般的小行板

????????諧謔曲（持續(xù)拔奏）：快板

????????終曲：熱情的快板

PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Symphony No. 4 in F Minor, Op. 36

????????Andante sostenuto - Moderato con anima

????????Andantino in modo di canzona

????????Scherzo (Pizzicato ostinato): Allegro

????????Finale: Allegro con fuoco

朱塞佩·威爾第

《命運之力》序曲

GIUSEPPE VERDI

Overture to?La forza del destino

威爾第創(chuàng)作的成熟歌劇作品通常以簡短的前奏曲開場，而不是完整的序曲。《命運之力》最初也是如此，它改編自一部西班牙戲劇，由圣彼得堡帝國劇院委托創(chuàng)作，于1862年首演。在為意大利首演進行改編時，威爾第才用這個序曲取代了原本簡短的前奏曲。 雖然規(guī)模仍然相對較小，但它是威爾第唯一一部在音樂廳中表現(xiàn)強勁的管弦樂作品。

像威爾第的大多數(shù)其他序曲和前奏曲一樣（唯一例外的是《路易莎·米勒》的“奏鳴曲式”序曲），《命運之力》序曲在結構上是片段式的。然而，這部作品的天才之處在于威爾第使序曲的各個片段交織在一起，它們與同樣重復出現(xiàn)的動機一起形成復調(diào)，這是這部作品獨有的一大技巧。在序曲開端的六次槌擊齊奏之后，這一關鍵動機首先以A小調(diào)多變主題的形式出現(xiàn)。在這段音樂突然被更多的槌擊聲打斷后，一段憂郁的曲調(diào)由木管樂器奏響，這是長笛、雙簧管和單簧管齊奏的美妙組合。然而，作為這段旋律的基礎，小提琴繼續(xù)演奏前一樂節(jié)的動機。當音樂轉(zhuǎn)向關系大調(diào)，奏響祈禱般強烈的弦樂旋律時，持續(xù)不斷的動機在充滿震懾力的背景樂下繼續(xù)保持。之后，向E大調(diào)的驟然過渡奏響了充滿激情的單簧管旋律，音樂似乎終于擺脫了不變的動機，在一段尖銳的賦格曲和莊嚴的銅管眾贊歌中繼續(xù)前進，沒有留下任何痕跡。然而，之后它又突然重現(xiàn)，不斷的重復將音樂推向了高潮，也就是E大調(diào)祈禱式主題再現(xiàn)部。甚至在接下來的輕快快板中（標志著簡短的序曲很快進入結尾），同樣的動機又一次與歡快的音樂形成復調(diào)，這是對無法躲避的命運之力的音樂隱喻，也是對歌劇悲劇結局的鋪墊。

Verdi’s mature operas generally open with brief preludes rather than full-blown overtures. The same was initially true of?La Forza del Destino?(“The Force of Destiny”), an adaptation of a Spanish play written on commission from the imperial theater of St. Petersburg where it was premiered in 1862. It was only upon revising the opera for its Italian premiere that Verdi replaced its brief prelude with this overture. While still of relatively modest dimensions, it is the only orchestral work of Verdi with a robust presence in the concert hall.

Like most of Verdi’s other overtures and preludes (the notable exception being the “sonata-form” overture to?Luisa Miller) the?Forza?overture is episodic in structure. The particular stroke of genius in this work, however, is the way in which Verdi knits the overture’s various episodes together by placing them in counterpoint with the same stubbornly reoccurring motif, a technique unique to this work. After the six unison-E hammer blows of fate that open the overture, this crucial motive first appears in the form of an unsettled theme in A-minor. After this music is abruptly cut off by more hammer blows, a melancholy tune unfolds in the woodwinds (beautifully scored for flute, oboe, and clarinet in unison). Underpinning this melody, however, the violins continue to play the motif from the previous section. As the music turns to the relative major for a string melody of prayer-like intensity, the persistent motif continues unabated in the background – a menacing presence. A sudden transition to E-major brings with it a passionate clarinet melody, and the music finally seems to have escaped the stubbornly clinging motif, moving on through a bristling fugato and regal brass chorale with no trace of it. Suddenly, however, it returns, its incessant repetitions driving the music towards a climactic restatement of the prayer-like theme in E major. Even during the sparkling allegro that follows (soon bringing the brief overture to conclusion) the same motif is forced yet again into counterpoint with the otherwise exuberantly joyful music, a musical metaphor for the unavoidable power of fate and foreshadowing of the opera’s tragic denouement.

德米特里·肖斯塔科維奇

降E大調(diào)第一大提琴協(xié)奏曲，作品107（1959）

DMITRI SHOSTAKOVICH

Cello Concerto No. 1 in E-flat Major, Op. 107 (1959)

蘇聯(lián)大提琴家姆斯蒂斯拉夫·羅斯托羅波維奇的表演啟發(fā)了無數(shù)杰作的誕生。在這一方面，任何一位二十世紀演奏家都無法與他相提并論。除了肖斯塔科維奇的兩部大提琴協(xié)奏曲外，普羅科菲耶夫、杜蒂耶、盧托斯瓦夫斯基和本杰明·布里頓也紛紛為他獻曲，并由他首次演奏這些作品（僅布里頓一人就為他創(chuàng)作五部系列作品）。據(jù)說羅斯特羅波維奇在幾天內(nèi)就記住了這首協(xié)奏曲，在他第一次與肖斯塔科維奇用鋼琴演奏時，后者欣喜若狂，他們還舉杯慶祝。在肖斯塔科維奇創(chuàng)作的六首協(xié)奏曲中，這首1959年創(chuàng)作的第一部大提琴協(xié)奏曲可能是最統(tǒng)一、結構最緊密的一部作品，完美地體現(xiàn)了肖斯塔科維奇驚人的主題簡潔性和對音樂形式不可動搖的掌控力。雖然是為小型管弦樂隊譜曲，但它的“聲音世界”仍然獨具特色，這是因為各種主要音調(diào)的獨特組合，尤其是圓號獨奏、低音大管的低沉音域，以及單簧管清脆的高音都在音樂中“各顯神通”。

協(xié)奏曲的第一樂章采用奏鳴曲式結構，體現(xiàn)了作曲家對這種古老形式的獨特處理方式。第一個主題是一段基于反復出現(xiàn)的四音動機的激昂進行曲，這種動機通常被認為是“DSCH”音樂特征經(jīng)過重新編排后的變體，在肖斯塔科維奇的一些后期作品中占據(jù)突出地位。另一方面，第二個主題由管弦樂隊五拍伴奏和吟唱般的重復G調(diào)大提琴獨奏組成。接下來的發(fā)展部廣泛地應用了這兩個主題。作為典型的肖斯塔科維奇奏鳴曲式作品，再現(xiàn)部在中段悄無聲息地到來，而第二主題的再現(xiàn)采用了一種迂回巧妙的角色轉(zhuǎn)換：管弦樂隊伴奏轉(zhuǎn)換成大提琴獨奏，而圓號獨奏則取代了大提琴吟唱般的旋律。

協(xié)奏曲的第二樂章在形式上更為復雜，是這首曲子的情感核心。它以悲傷的三拍引子主題開場，將不和諧的A小調(diào)弦樂器和圓號旋律相結合。這直接引出了大提琴獨奏的延伸主題，其民謠般的調(diào)式明顯帶有著名作曲家穆索爾斯基的印記。升F調(diào)的引子主題再次出現(xiàn)，引出了一個間歇性不穩(wěn)定的發(fā)展部：細膩的內(nèi)在主題讓位于充滿激情的宣敘調(diào)和木管樂器的詠嘆旋律。所有這一切都建立在一個充滿激情的高潮之上——由定音鼓的一次擊打，再次召喚出開場主題強音，繼續(xù)升F小調(diào)。在這一爆發(fā)平息之后，A小調(diào)輕柔地再次出現(xiàn)，隨之而來的是穆索爾斯基第二主題的再現(xiàn)，呈現(xiàn)為大提琴幽靈般的和聲獨奏與孤獨的鋼片琴之間令人難忘的對話。

這部協(xié)奏曲的主要形式特點在于第三樂章——一個大提琴獨奏華彩樂段，作為之前的慢樂章和最后樂章之間的橋梁。猶豫的開端似乎仍在思索第二樂章的主題，似乎無法繼續(xù)前進。之后，音樂逐漸被注入了能量，節(jié)奏不斷加快。精彩的經(jīng)過段將音樂帶入緊隨其后的快節(jié)奏尾聲。簡短的最后樂章將密集的音樂對話濃縮成一個簡潔有力的結尾。它以G小調(diào)“非主音”開始，突出木管樂器的怪誕主題，然后以回旋曲的形式與作曲家的“猶太”舞曲交替出現(xiàn)。在新主題中，向三拍的過渡讓狂歡的氛圍更加濃郁。從始至終，定音鼓都在降B大調(diào)和F大調(diào)之間徘徊，似乎難以找到在降E大調(diào)主旋律中的位置。正當調(diào)性似乎將在一連串不和諧的和弦中瓦解，全曲主調(diào)突然重現(xiàn)，定音鼓終于找到了“回家”的路，伴隨著大提琴、木管樂器重現(xiàn)第一樂章的四音動機。隨著二拍節(jié)奏重新奏響，協(xié)奏曲回到第一樂章主題，作品以開啟協(xié)奏曲的那充滿反叛精神的循環(huán)再現(xiàn)告終。

Perhaps no other twentieth century performer can compare with the Soviet cellist Mstislav “Slava” Rostropovich in terms of the incredible roster of masterpieces inspired by his playing. In addition to both cello concerti of Shostakovich, he was the dedicatee and first performer of works by Prokofiev, Dutilleux, Lutos?awski, and Benjamin Britten (Britten alone composed a series of five works for him). Rostropovich reportedly committed this concerto to memory in a matter of days, and on his first run through with Shostakovich at the piano, the composer was so overjoyed that they drank a celebratory toast. Of Shostakovich’s six concerti, this first cello concerto of 1959 is perhaps the most unified and tightly constructed – a perfect example of the composer’s incredible thematic economy and unshakable command of musical form. While scored for small orchestra, its “sound world” is nevertheless unique due to the unusual predominance of several colors: in particular the solo horn, the growling low register of the contrabassoon, and the brittle high notes of the clarinets all have an outsize presence in the scoring.

The concerto’s first movement is in a sonata form structure typical of the composer’s unique handling of this age-old form. Its first theme is a strutting march based on a reoccurring four- note motive often heard as a reordered variant of the “DSCH” musical signature prominently featured in some of Shostakovich’s later works. The second subject, on the other hand, consists of a quintuple-meter rhythmic accompaniment in the orchestra overlaid with a chant-like melody in the solo cello that insists on a repeated G. The development section that follows treats both these themes extensively. Typical of Shostakovich’s sonata forms, the recapitulation begins subtly in midcourse, decidedly “unmarked,” while the restatement of the second subject employs a deviously inventive role reversal: the orchestra’s rhythmic accompaniment is given over to the cello alone while the solo horn takes up what was the cello’s chant melody.

The concerto’s second movement is formally more involved – the emotional core of the piece. It opens with a mournful triple-meter introductory theme for the strings and horn in a dissonantly inflected A-minor. This leads directly to an extended theme for the solo cello whose folk-like modality bears the unmistakable stamp of Mussorgsky, one of the composer’s musical heroes. A reprise of the introductory theme in F-sharp leads into a development section of fragmentary instability: a theme of exquisite inwardness gives way to an impassioned recitative and snatches of wheezing hurdy-gurdy in the woodwinds. All this builds to an impassioned climax crowned by a single timpani stroke that summons a fortissimo reprise of the opening theme, mercilessly continuing to insist on F-sharp minor. Only after this outburst subsides does the A-minor gently reappear, bringing with it with a reprise of the Mussorgskian second subject, now presented as an unforgettable dialogue between the solo cello’s ghostly harmonics and a lonely celesta.

This concerto’s chief formal idiosyncrasy is its third movement: a cadenza for cello alone that serves as an elaborate bridge between the preceding slow movement and the concerto’s finale. It begins reluctantly, mulling over the themes of the second movement as if unable to move on. Gradually however, the music picks up energy and makes a protracted accelerando. Virtuosic passagework eventually carries the music into the quick tempo of the finale, which follows directly. This brief finale condenses a surprisingly dense musical argument into a short span. It begins “off tonic” in G-minor with a woodwind theme of nose-thumbing grotesquerie that then alternates in rondo fashion with one of the composer’s “Jewish” dance tunes. A turn to triple meter for a new theme only heightens the carnivalesque atmosphere. All the while, the timpani has been harping on the same two notes, B-flat and F, seemingly unable to find their home on the dominant of E-flat major. Just as the music’s tonality threatens to disintegrate all together in a cascade of dissonant chords, the global tonic suddenly reappears and the timpani, having at last found its way home, accompanies the cello while the woodwinds reassert the first movement’s four- note motive. With duple meter restored, the thematic transformation back into the first movement’s theme is complete, and the work ends with a defiant, cyclic restatement of the music that opened the concerto.

彼得·伊里奇·柴可夫斯基

F小調(diào)第四交響曲，作品36

PYOTR ILYICH TCHAIKOVSKY

Symphony No. 4 in F Minor, Op. 36

柴可夫斯基于1878年創(chuàng)作完成的《第四交響曲》既不同于他相對罕見的早期交響曲，也不同于他最后成熟的作品，而是有著介于兩者之間的獨特風格。柴可夫斯基寫給他的筆友（同時也是他的贊助人，以及《第四交響曲》的被題獻者）梅克夫人的信件廣為流傳，而這對本首交響曲的受歡迎程度產(chǎn)生了深遠的影響。柴可夫斯基在信中勾勒出的模糊樂曲經(jīng)常在樂曲介紹（如本文）中被詳盡地引用，但作曲家在結尾段落中強調(diào)的有關語言不足以完全描述音樂內(nèi)容的部分卻經(jīng)常被忽視。同時，這一點還將他與其他作曲家聯(lián)系在一起——這些作曲家至少可以追溯到柏遼茲，盡管他們?yōu)檎麄€標題音樂做出了貢獻，但卻對此充滿復雜的感情。

信中最引人注目的部分是柴可夫斯基對《第四交響曲》第一樂章的描述。他認為該樂章描繪了永恒的命運和苦難個體之間的碰撞。這一樂章長達20多分鐘，是作曲家最雄心勃勃，或許也是最龐大的交響曲結構之一，在感情的廣度和深度上都使其他三個樂章相形見絀。雖然其采用了典型的總體結構（慢板引子緊接速度更快的“奏鳴曲式結構”），但從許多細節(jié)上看，它是柴可夫斯基最不正統(tǒng)的作品之一。引子部分，以飛揚跋扈的“命運”為主題，且聲勢浩大的樂段結束后，該樂章的第一個特質(zhì)清晰地浮現(xiàn)出來：其奏鳴曲式結構的第一主題以憂郁而節(jié)奏曖昧的華爾茲表現(xiàn)。然而，這一樂章最令人驚訝的特征只會隨著呈示部的不斷發(fā)展才能引起關注。它的第二主旋律出乎意料地設為降A小調(diào)（通常情況下為降A大調(diào)），并從此進入B大調(diào)的第三個結尾主題樂組，從而揭示出這首樂曲是圍繞李斯特式小三度連環(huán)編制的。雖然這段結尾以華爾茲主題的大調(diào)轉(zhuǎn)換開始，略顯沉悶，但它很快就由真正充滿歡樂的音符所填滿。然而，出現(xiàn)在開場的聲勢浩大的樂段再次重現(xiàn)，讓這一短暫出現(xiàn)的勝利時刻戛然而止，并從此開啟了摻雜著更多戲劇性旋律，復雜而充滿動蕩的發(fā)展部。這些充滿挑釁意味的樂段最終在D小調(diào)屬音持續(xù)音（小三度連環(huán)上的缺失音節(jié)）上重現(xiàn)了充滿痛苦的華爾茲主題，之后，再現(xiàn)部緊隨同音調(diào)第二主旋律后出現(xiàn)。再現(xiàn)部與之前的調(diào)性相同，最終在結束主題回到了F大調(diào)，完成了小三度連環(huán)，但樂章的戲劇性音樂論點卻并沒有結束。它需要留待在尾聲完成。聲勢浩大的樂段又一次出現(xiàn)，華爾茲現(xiàn)已轉(zhuǎn)變成進行曲，繼續(xù)呈現(xiàn)出戰(zhàn)斗的激昂場面。在千鈞一發(fā)之際，華爾茲主題最終被迫進入一個有節(jié)奏的增強段落，將它推向了以“無情的命運”為主題的樂段的同一水平，之后，整個樂章以充滿絕望的音符結束。

在結束了這些充滿折磨、各種感染力的復雜段落之后，《第四交響曲》三段體第二樂章“小行板”如歌般簡潔的旋律讓人不由得如釋重負。樂章以一段較長的雙簧管獨奏開場。作為柴可夫斯基一段偉大的旋律創(chuàng)作，這段曲調(diào)隨后由大提琴奏響。平行大調(diào)中注入了一段平靜樂觀的樂段。通過巧妙的重奏伴奏，小行板主題重現(xiàn)之初呈現(xiàn)出富有韻律的獨特性，隨后轉(zhuǎn)換為更可辨認的形式，最后的曲調(diào)由獨奏巴松管奏出。

《第四交響曲》第三樂章“諧謔曲”是一部關于音樂怪誕和實驗性編曲的研究，也許在柴可夫斯基古怪的管弦樂組曲中，它聽上去更讓人舒服。柴可夫斯基將樂團分為三組（弦樂組、管樂組和銅管樂組），并相應地劃分了樂章的結構。第一段為弦樂團譜寫（完全為撥奏）。另一方面，該樂章的核心“三聲中部”是粗獷的木管樂器與銅管樂器、定音鼓（隨后荒誕地加入了短笛）之間的遙相應和。在撥奏諧謔曲一如預料的那樣重現(xiàn)后，所有特征在短短的尾聲中以快速、不連貫的連續(xù)方式短暫再現(xiàn)。

在柴可夫斯基看來，《第四交響曲》的最后樂章是對開場樂章中呈現(xiàn)的復雜情感的浮夸卻稍顯不足的應和（作曲家在信中將之解釋為代表了音樂主角“從人民中走出去”的嘗試，并避免了過度內(nèi)省的悲劇含義，但并不令人信服）。除了開啟這一樂章的快速音階外，它的主題是柴可夫斯基曾經(jīng)的導師巴拉基列夫在其《三首俄羅斯民歌主題序曲》中使用過的著名俄羅斯民歌。在樂章所使用的更大的回旋曲結構中，旋律成為了“Kuchkist”式模進而不斷重復，正適應于其來源于民歌的特點。第一樂章中聲勢浩大的開場循環(huán)再現(xiàn)，使音樂停頓下來，之后它重新積聚了動力，走向充滿歡樂的尾聲。

Tchaikovsky’s Fourth Symphony of 1878 occupies a unique stylistic middle ground between the relatively infrequently heard earlier symphonies and the commanding maturity of his final two essays in the genre. Its reception has been deeply colored by a widely disseminated letter that the composer originally wrote to his pen pal (and patroness, and the symphony’s dedicatee), Nadezhda von Meck. The vague program sketched out by Tchaikovsky therein is often quoted at length it programs notes such as this one, but its closing paragraph, in which the composer emphasizes the utter inadequacy of the written word to do justice to the music’s content is often overlooked, and places him in the company of composers going back at least to Berlioz who were ambivalent about the entire project of program music even as they contributed to it.

The most compelling part of the letter is Tchaikovsky’s description of the symphony’s first movement as a depiction of the collision between implacable fate and the suffering individual. At over 20 minutes in length, this movement is one of the composer’s most ambitious if unwieldy symphonic structures, dwarfing the other three movements of the symphony in both scope and depth of expression. While its broad formal outline (slow introduction followed by a faster “sonata form”) is typical, in many of its details it is among the composer’s most unorthodox creations. After the imperious “fate” fanfare of the introduction subsides, the movement’s first idiosyncrasy comes into clear view: the first theme of its sonata form structure takes the form of a melancholic and rhythmically ambiguous waltz. The movement’s most surprising feature, however, only comes into focus as the exposition proceeds. Its phantasmagoric second subject is set in the surprising key of A-flat minor (as opposed to A-flat major, which would have been typical) and from there moves on to a third closing thematic group in the key of B-major, revealing the music to be charting a course around the Lisztian circle of minor thirds. While this closing section begins with a languorous major-mode transformation of the waltz theme, it soon grows into music of real exhilaration. This fleeting moment of triumph is, however, cut short by the first of many reappearances of the inexorable opening fanfare, setting into motion a complex and turbulent development section that features ever more histrionic intrusions of the same. These provocations finally engender an anguished reprise of the waltz theme over a dominant pedal in D minor (the missing node on the circle of minor thirds), after which the recapitulation follows directly with the second subject in the same key. Charting the same tonal course as before, the recapitulation finally arrives back in the tonic F for the closing theme, completing the circle of minor thirds but not the movement’s dramatic argument. This is left for the coda, launched on its way by yet another appearance of the fanfare theme with which the waltz, now transformed into a march, continues to do battle. At the breaking point, the waltz theme is finally forced into a rhythmic augmentation that thrusts it on the same level as the music of implacable fate, after which the movement ends on a despairing note.

After these tortured and multivalent complexities, the song-like simplicity of the symphony’s ternary second movement?Canzona?comes as a relief. The movement opens with a long oboe solo. One of Tchaikovsky’s great melodic creations, the tune is then taken up by the cellos. A quietly optimistic central section is cast in the parallel major. The beginning of the?canzona?theme’s reprise is rendered rhythmically off-kilter by an ingeniously recomposed accompaniment, after which it settles into more recognizable form, its last strains played by a solo bassoon.

The symphony’s third movement Scherzo is a study in musical grotesquerie and experimental orchestration that would have perhaps been more at home in one of the composer’s quirky orchestral suites. Tchaikovsky divides the orchestra into its three main groups (strings, winds, and brass) and partitions the structure of the movement accordingly. Its first section is scored for strings alone (played entirely pizzicato, to boot). The movement’s central “trio” on the other hand, is a conversation between rustically puffing woodwinds and distantly marching brass and timpani (later joined, absurdly, by a piccolo). After the expected reprise of the pizzicato scherzo, all these characters make a brief reappearance on stage in quick, disjointed succession during a brief coda.

The symphony’s Finale is a bombastic and, in this author’s opinion, somewhat inadequate response to the emotional complexities broached in the opening movement (unconvincingly accounted for by the composer in his letter as representing the musical protagonist’s attempt “go out among the people” and avoid the tragic implications of excessive introspection). Apart from the rapid scales that open the movement, its main theme is a well-known Russian folk song previously used by Tchaikovsky’s one-time mentor Balakirev in his “Overture on Three Russian Themes.” Here the melody is treated, in the context of the movement’s larger rondo structure, to an extensive “Kuchkist” sequence of varied repetitions befitting its folk origins. A cyclic reappearance of the first movement’s opening fanfare causes the music to grind to a halt, after which it gradually rebuilds momentum for a headlong rush to the symphony’s jubilant conclusion.

曲目介紹由尼科洛·安森博士撰寫

Program Notes by Dr.?Niccolo Athens

林敬基

Ken Lam

林敬基，現(xiàn)任天津茱莉亞學院管弦樂表演專業(yè)總監(jiān)、天津茱莉亞管弦樂團駐團指揮，同時擔任伊利諾伊州交響樂團藝術顧問、北卡羅萊納州布里瓦德音樂中心駐場指揮以及香港和聲藝術總監(jiān)。

2015至2022年，林敬基任查爾斯頓交響樂團音樂總監(jiān)；并于2017至2022年，擔任伊利諾伊州交響樂團音樂總監(jiān)。此前，他還擔任過巴爾的摩交響樂團教學項目副指揮、辛辛那提交響樂團助理指揮和香港室內(nèi)樂團首席指揮。

2011年，林敬基榮獲孟菲斯國際指揮大賽的冠軍，并于2009年在美國交響樂團聯(lián)盟舉辦的華爾特指揮預演中指揮納什維爾交響樂團。2008年，他與另外三位指揮被萊昂納多·斯拉特金選中，在肯尼迪中心指揮美國國家交響樂團，這是他在美國的正式首演。近年間，他還曾指揮辛辛那提交響樂團、辛辛那提流行管弦樂團和巴爾的摩、底特律、布法羅、孟菲斯、夏威夷、布里瓦德、莫里迪恩等地的交響樂團，以及香港小交響樂團、香港管弦樂團、韓國城南市立交響樂團、貴陽交響樂團和臺北市立交響樂團等。

在歌劇方面，他曾為布里瓦德音樂中心珍尼克歌劇院的多個制作執(zhí)棒，并在辛辛那提歌劇院、巴爾的摩抒情歌劇院和卡斯爾頓音樂節(jié)擔任助理指揮。近年來，他在美國斯波萊托藝術節(jié)、紐約林肯中心藝術節(jié)以及多倫多光影藝術節(jié)指揮過多部歌劇作品，廣受贊譽。2010年，他在皮博迪音樂學院指揮馬斯奈的《曼儂》，被《巴爾的摩太陽報》評為華盛頓及巴爾的摩地區(qū)十大古典音樂節(jié)目。

林敬基曾于美國皮博迪音樂學院跟隨古斯塔夫·邁爾和馬坎德·塔卡學習指揮、于阿斯本的美國指揮學院隨大衛(wèi)·津曼和穆里·西德林學習，并于美國國家指揮學院隨萊昂納多·斯拉特金學習。在成為職業(yè)指揮之前，林敬基在英國劍橋大學圣約翰學院修讀經(jīng)濟，并當過十年執(zhí)業(yè)律師，從事國際金融業(yè)務。

2015年，美國約翰·霍普金斯大學校友會為林敬基頒發(fā)全球成就獎，以表彰他對該校優(yōu)良傳統(tǒng)的傳承，并肯定他為學校及其專業(yè)領域作出的卓越貢獻。

Ken Lam is director of orchestral studies at The Tianjin Juilliard School and resident conductor of the Tianjin Juilliard Orchestra. He is artistic adviser of the Illinois Symphony Orchestra, resident conductor of the Brevard Music Center in North Carolina and serves as artistic director of Hong Kong Voices.?

Lam was music director of the Charleston Symphony Orchestra from 2015 to 2022 and music director of Illinois Symphony Orchestra from 2017 to 2022. Previously, Lam also held positions as associate conductor for education of the Baltimore Symphony Orchestra, assistant conductor of the Cincinnati Symphony Orchestra, and principal conductor of the Hong Kong Chamber Orchestra.

In 2011, Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra's 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008, as one of four conductors selected by Leonard Slatkin. In recent seasons, he led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Buffalo, Memphis, Hawaii, Brevard and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Seungnam Philharmonic, Guiyang Symphony, and the Taipei Symphony Orchestra.

In opera, he directed numerous productions of the Janiec Opera Company at Brevard and was assistant conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival. In recent seasons, Lam led critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and at the Luminato Festival in Canada. His run of Massenet's?Manon?at Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington D.C/Baltimore area in 2010.

Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. He read economics at St. John's College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.

Lam is the 2015 recipient of the John Hopkins University Alumni Association’s Global Achievement Award, given to individuals who exemplify the Johns Hopkins tradition of excellence and have brought credit to the University and their profession in the international arena.

李姈垠

Youngeun Lee

大提琴家李姈垠從11歲開始在韓國藝術天才教育中心學習音樂。作為當?shù)毓芟覙穲F的一員，以及“天才個人獎學金”的獲得者之一，她在那里開啟了她的音樂之旅。在音樂生涯之初，她就經(jīng)常以獨奏家的身份與管弦樂團合作演出，以及擔任樂團大提琴首席，在美國和西班牙等國家的多個重要演出場地進行表演，包括愛麗絲塔利音樂廳、金梅爾中心、肯尼迪中心。她對室內(nèi)樂有著十分濃厚的興趣，經(jīng)常在各種不同編制的室內(nèi)樂組合和團體中演出，合作的對象不僅限于鋼琴、弦樂和管樂等標準古典樂器，還與聲樂和韓國傳統(tǒng)樂器合作。隨后，她進入SUNHWA藝術高中，繼續(xù)她在大提琴獨奏、室內(nèi)樂和樂團演奏方面的音樂教育。由于她在學校的出色表現(xiàn)，她獲得了學校頒發(fā)的優(yōu)秀獎學金。隨后，她在JoongAng、TBC、CBS、KCO、Sungjeong、音樂教育報、大邱、釜山、大田音樂協(xié)會等主辦方舉辦的一系列音樂比賽中贏得了諸多大獎，并作為獨奏家與大邱交響樂團、慶北省交響樂團和首爾國立大學交響樂團合作演出。

李姈垠對法律、美學、物理和語言（韓語和德語）等音樂以外的研究也有很多興趣。2016年，她進入韓國首爾國立大學音樂學院學習，這讓她有機會專注于大提琴演奏，并進一步深耕其他感興趣的領域。在本科學習期間，她多次擔任首爾國立大學交響樂團的大提琴首席，并以畢業(yè)生代表（優(yōu)秀畢業(yè)生）的身份畢業(yè)。在校期間，李姈垠一直專注于室內(nèi)樂學習，并與眾多樂團合作演出，包括NOVA樂團、Spirit of SNU String、SNU Tuosi、首爾管弦樂團，并在首爾藝術中心、江東藝術中心等韓國各大主要音樂廳巡演。作為現(xiàn)代音樂的擁躉，她曾加入到許多現(xiàn)代音樂合奏團體中并進行演出活動。

李姈垠目前在天津茱莉亞學院攻讀室內(nèi)樂表演碩士學位，并獲得學校提供的全額獎學金和助學金。在天津茱莉亞，她頻繁地參加天津茱莉亞學院師生室內(nèi)樂音樂會，演奏的曲目涵蓋從巴洛克到現(xiàn)代各個時期的音樂。作為三重奏組合Trio con Fuoco的聯(lián)合創(chuàng)始人和成員，她隨組在青島、武漢和天津等中國各地進行重奏巡演。在表演室內(nèi)樂的同時，她保持著極高的獨奏水準以及擴展了大量的獨奏曲目。她于2022年底贏得了第二屆天津茱莉亞協(xié)奏曲比賽的冠軍。從天津茱莉亞學院畢業(yè)后，她將于今年夏天開始進入美國密歇根大學音樂、戲劇與舞蹈學院，以全額獎學金的待遇，加入著名大提琴教育家理查德·亞倫的專業(yè)班，攻讀表演音樂藝術博士學位。

李姈垠曾接受過大提琴家理查德·亞倫、米克洛斯·佩萊尼、秦立巍、理查德·納洛維、藍漢成（中提琴家，室內(nèi)樂）、馬里奧·卡內(nèi)羅、馬賽爾·巴爾頓、愛德華·亞倫和費利佩·忒波特的指導。她的主要老師包括李晟真、申智淑、尼古拉斯·薩瓦拉斯和金兗珍。

Cellist Youngeun Lee began studying music at the Arts Gifted Education Center in Korea at the age of 11. She started her music journey as a member of the orchestra there, and was also selected as one of the recipients of the Talented Individual Scholarship. At that time, she performed frequently as a soloist with the orchestra, and served as the principal cellist performing in the Alice Tully hall, Kimmel Center, the Kennedy Center in the US, and Spain. She had an intensive interest in chamber music, performing frequently in both standard chamber groups and unique ensembles collaborating with not only piano, strings, and winds, but also voice and traditional Korean instruments. Ms. Lee then attended the Sunhwa Arts High School, furthering her musical education in cello performance, chamber music and orchestral studies. She received a merit scholarship for her performance and academic effort in the school. She then won numerous competitions and grand prizes with JoongAng, TBC, CBS, KCO, Sungjeong, Music Education Newspaper, Daegu, Busan, Daejeon Music Association, and performed as a solist with Daegu Symphony Orchestra, Gyeongbuk Province Orchestra, and Seoul National University Symphony Orchestra.

Ms. Lee also has many interest in studies other than music such as law, aesthetics, physics and languages (Korean studies/German). In 2016, she entered Seoul National University School of Music which provided her the opportunity to both focus on cello performance and further the studies in her other interests. During her undergraduate studies, performed multiple times as the principal cellist of the SNU Symphony Orchestra, and graduated as a valedictorian. Since college, Ms. Lee has been focusing her study on chamber music and has performed with numerous ensembles such as Ensemble NOVA, SSS(Spirit of Snu String), SNUTuosi, Orchestral Ensemble Seoul, and toured at venues throughout Korea such as Seoul Arts Center, Gangdong arts center. As a champion of contemporary music, she has also participated in many modern music ensembles.

Ms. Lee is currently in her masters studies at the Tianjin Juilliard School where she was awarded full scholarship and fellowship. At TJS, she participated in the Tianjin Juilliard Ensemble faculty-student side-by-side concert, performing music from baroque to contemporary. Focusing on the performing in China, she is a member and the co-founder of Trio con Fuoco, and has toured in various venues throughout China such as Qingdao, Wuhan, and Tianjin. She then won the Tianjin Juilliard Concerto Competition in November 2022. After graduating from TJS, she will attend the University of Michigan School of Music, Theatre & Dance starting this summer as a candidate for Doctoral of Musical Arts in Performance. She was awarded full scholarship and will study with Richard Aaron.

Ms. Lee has performed in international master classes with cellists Richard Aaron, Miklos Peréni, Qin LiWei, Richard Narroway, Jensen Horn-Sin Lam (Chamber), Mario Carneiro, Marcel Bardon, Edward Arron, and Philippe Tribot. Her principal teachers include Sungzhin Peter Lee, Jisuk Shin, Nick Tzavaras, and Yeonjin Kim.

天津茱莉亞管弦樂團

Tianjin Juilliard Orchestra

天津茱莉亞管弦樂團在每個音樂季中獻上約十場音樂會。從巴洛克時期曲目到當代作品，天津茱莉亞管弦樂團會為我們帶來風格豐富的演繹，其中也包含了與中國傳統(tǒng)樂器合作演奏的佳作。常駐教師與客座教師將指導樂隊聲部排練，并與他們一同練習和演出。在駐團指揮帶領的音樂會之外，樂團最近幾個樂季還與著名的客座指揮合作，其中包括陳琳、邵恩、張潔敏、林大葉、余隆、景煥和水藍。

The Tianjin Juilliard Orchestra presents up to 10 concerts each season, performing a diverse repertoire ranging from baroque to contemporary orchestral works, as well as pieces using traditional Chinese instruments. Resident faculty and visiting artists lead discussions, coach sectionals, and play side-by-side with students in rehearsals and performances. In addition to concerts led by the resident conductor, in recent seasons the orchestra has also worked with renowned guest conductors such as Chen Lin,Shao En, Rachel Zhang, Lin Daye, Yu Long, Jing Huan and Lan Shui.

上海樂隊學院

Shanghai Orchestra Academy

上海樂隊學院由上海交響樂團、紐約愛樂樂團和上海音樂學院三方合作創(chuàng)辦，是上海音樂學院的二級學院，2014年9月正式開學?，F(xiàn)任院長余隆先生為上海樂隊學院創(chuàng)辦人。

學院聘請國內(nèi)外頂尖師資團隊，結合專業(yè)基礎和實踐類課程，以上海交響樂團為實踐中心，構建國際合作交流平臺，全方位培養(yǎng)職業(yè)樂隊演奏人才。

除紐約愛樂樂團與上海交響樂團外，學院還和北德廣播易北愛樂樂團、悉尼交響樂團、新加坡交響樂團、香港管弦樂團、中國愛樂樂團、國家大劇院管弦樂團、廣州交響樂團、杭州愛樂樂團、貴陽交響樂團等建立了合作關系，提供學生職業(yè)樂團實踐演出機會。

The Shanghai Orchestra Academy (SOA) is the result of a partnership among the Shanghai Symphony Orchestra, New York Philharmonic, and Shanghai Conservatory of Music. Its inaugural class began in September 2014. Maestro Long Yu, Music Director of the Shanghai Symphony Orchestra, serves as the President of the Academy.

Designed to address the need for advanced, post-graduate orchestral training at the highest level of technique and musicianship, the SOA provides rigorous training at the Master’s degree level for talented instrumentalists. The teaching curriculum includes private lessons, chamber music coaching, repertoire classes, mock auditions and professional seminars.

An integral part of the SOA curriculum is practical training with professional orchestras. Students gain first-hand experience learning from and playing with New York Philharmonic musicians as well as performing with the Shanghai Symphony Orchestra. Other international partners have since offered practical training opportunities to SOA students, among them the NDR Elbphilharmonie Orchestra, Sydney Symphony Orchestra, Singapore Symphony Orchestra, Hong Kong Philharmonic Orchestra, China Philharmonic Orchestra, China NCPA Orchestra, Guangzhou Symphony Orchestra, Hangzhou Philharmonic Orchestra and Guiyang Symphony Orchestra.