曲目導(dǎo)賞視頻｜天津茱莉亞管弦樂團(tuán)音樂會

今晚7:00，天津茱莉亞學(xué)院2023匯聚音樂節(jié)將推出天津茱莉亞管弦樂團(tuán)音樂會，由駐團(tuán)指揮林敬基執(zhí)棒。上半場，樂團(tuán)將演出兩部21世紀(jì)音樂作品，包括美國作曲家瓊·塔娃（Joan Tower）的《美國制造》，并與竹笛演奏家唐俊喬合作呈現(xiàn)中國作曲家郭文景的《第二竹笛協(xié)奏曲“野火”》；下半場，學(xué)生們則將演繹現(xiàn)代音樂巨匠伊戈?duì)枴に固乩乃够↖gor Stravinsky）1919年版的《火鳥：組曲》。林敬基指揮特別錄制了曲目導(dǎo)賞，帶領(lǐng)大家開啟一個現(xiàn)當(dāng)代音樂之夜。

本場音樂會將通過【TJS Live｜天津茱莉亞現(xiàn)場】在下列平臺進(jìn)行直播：天津茱莉亞學(xué)院【官網(wǎng)】【視頻號】【微博】【bilibili】、北京音樂廣播【視頻號】【微博】【抖音】。其中，天津茱莉亞學(xué)院【官網(wǎng)】還將獨(dú)家開通限時回放功能，觀眾可于演出結(jié)束后的24小時內(nèi)觀看回放。

演出曲目｜Program

天津茱莉亞管弦樂團(tuán)音樂會

林敬基，指揮

瓊·塔娃（b. 1938）

美國制造（2004）

JOAN TOWER (b. 1938)

Made in America?(2004)

——

郭文景（b. 1956）

第二竹笛協(xié)奏曲“野火”（2010）

唐俊喬，竹笛獨(dú)奏

GUO WENJING (b. 1956)

Zhudi Concerto No. 2, “Ye Huo” (2010)

Tang Junqiao, Bamboo Flute Solo

— 中場休息｜Intermission?—

伊戈?duì)枴に固乩乃够?882-1971）

火鳥：組曲（1919版）

????????引子

????????火鳥之舞

????????火鳥變奏曲

????????公主之舞

????????魔王卡茨之舞

????????催眠曲

????????終曲

????????

IGOR STRAVINSKY (1882-1971)

The Firebird: Suite (1919 version)

????????Introduction

????????The Firebird and its dance

????????The Firebird's variation

????????The Princesses' KhorovodInfernal dance of King Kashchei

????????Berceuse

????????Finale

瓊·塔娃

美國制造（2004）

JOAN TOWER

Made in America?(2004)

瓊·塔娃是格萊美獲獎作曲家、鋼琴家、指揮家、教育家，同時也是美國最知名的當(dāng)代藝術(shù)家之一。六十多年來，她完成了來自世界各地的委托工作，創(chuàng)作出了無數(shù)優(yōu)秀作品，她的音樂貢獻(xiàn)不可磨滅、無人能及。瓊·塔娃近年來獲得的獎項(xiàng)包括《音樂美國》雜志2020“年度作曲家”獎、美國室內(nèi)音樂協(xié)會2020“理查德·博格莫爾尼國家服務(wù)獎”以及美國交響樂團(tuán)聯(lián)盟2019“金指揮棒”獎。這些獎項(xiàng)證明了瓊·塔娃在其傳奇的職業(yè)生涯中所取得的令人驚嘆的卓越成就。2004年，瓊·塔娃成為入選《美國制造》項(xiàng)目的首位作曲家。

不過，與大多數(shù)委托作品不同，《美國制造》這部作品是通過全美超過65個交響樂團(tuán)的共同努力，并由福特汽車公司基金和美國交響樂團(tuán)聯(lián)盟等組織贊助完成的。在這樣熱情的支持下，瓊·塔娃的這首室內(nèi)樂作品作為全國巡演的一部分，在美國50個州成功首演。這首曲子從一個遙遠(yuǎn)的、單一的音符開始，就仿佛是地平線上那緩緩升起的太陽。緊接著，越來越多的樂器加入進(jìn)來，純凈的三和弦音在充滿希望的期待中涌動。在上升到第一個高峰之后，和聲就消散了，曲子又重新回到了一個單一的音符。隨后，混亂的顫音以切分節(jié)奏和不協(xié)和和弦的形式出現(xiàn)，打破了原本平靜的氣氛，再接著引入了有力的銅管樂器，弦樂與打擊樂頓挫跌宕、相互交織。最終，通過再次升高的三和弦，廣為傳唱的美國愛國歌曲《美麗的阿美利加》片段第一次明顯地出現(xiàn)在這首曲子中，這也正是瓊·塔娃的靈感來源，任何熟悉《美麗的阿美利加》這首歌的人都能輕易地辨認(rèn)出來。瓊·塔娃為她的曲子編寫了一段激動人心的尾聲，將愛國主義的火熱激情表現(xiàn)得淋漓盡致。

用瓊·塔娃自己的話說：“當(dāng)我開始創(chuàng)作這支曲子時，《美麗的阿美利加》的旋律就不斷地在我腦中浮現(xiàn)，并最終成為了我的創(chuàng)作主題……我也曾考慮過換用其他更有進(jìn)取性和創(chuàng)新性的主題，但《美麗的阿美利加》以不同的形式在我心中反復(fù)出現(xiàn)，仿佛在告訴我，‘我還在這里，千變?nèi)f化，卻又始終如一?！?/p>

Grammy award-winning composer, pianist, conductor, and educator Joan Tower is one of America’s most celebrated contemporary artists. With over six decades of works and commissions from all over the world, her indelible, musical contributions have remained unmatched. Recent awards include 2020 "Composer of the Year" in?Musical America; 2020 "Richard J. Bogomolny National Service Award" in Chamber Music America, and the 2019 "Gold Baton" from the?League of American Orchestras. These awards stand testament to the awe-inspiring excellence that Tower has achieved throughout a storied career. It was only natural that she be selected as the first composer for the project?Made in America?in 2004.

Unlike most commissions, this work was made possible through collective efforts from over 65 symphonies across the United States and sponsored by organizations including Ford Motor Company Fund and the American Symphony Orchestra League. With such enthusiastic support, Tower’s work for chamber orchestra successfully premiered in all 50 states as part of a national tour. The piece opens from a distant, single note, the gentle rising of the sun on the horizon. More and more instruments join in as pure, triadic harmonies swell with hopeful anticipation. Rising just beyond its first peak, the mass of sound dissipates, returning back to a single note. Chaotic chatter in the form of syncopated rhythms and jarring dissonance thwart the once tranquil atmosphere, welcoming in a forceful march of the brass and a race between strings and percussion. Eventually, through ascending triads again, comes the first noticeable appearance of Tower's inspiration in this piece: a fragment of?America the Beautiful, clear as day to anyone who recognizes the song. The piece's thrilling coda, assembles the remaining pieces of this theme and throws it all into a gargantuan melting pot of fire and excitement.

In Tower's own words, "When I started composing this piece, the song?America the Beautiful?kept coming into my consciousness and eventually became the main theme...This theme is challenged by other more aggressive and dissonant ideas that keep interrupting, unsettling it, but?America the Beautiful?keeps resurfacing in different guises, as if to say, 'I’m still here, ever changing, but holding my own.'"

郭文景

第二竹笛協(xié)奏曲“野火”（2010）

GUO WENJING

Zhudi Concerto No. 2, “Ye Huo” (2010)

在大洋彼岸的中國當(dāng)代作曲家郭文景是一位無畏的先鋒人物。他創(chuàng)作的歌劇、電影配樂等大型體裁音樂作品備受贊譽(yù)。不僅如此，他還將中西方樂器巧妙地融合進(jìn)自己創(chuàng)作的協(xié)奏曲中，贏得了評論界的一致好評。郭文景于1978年進(jìn)入位于北京的中央音樂學(xué)院學(xué)習(xí)，他在中國完成了他所有的音樂訓(xùn)練，同時在世界各地演出自己的作品。他的音樂風(fēng)格有力地融合了中國文化的精神和西方現(xiàn)代主義的精髓。他創(chuàng)作的第二竹笛協(xié)奏曲《野火》正是對其獨(dú)特音樂風(fēng)格恰如其分的詮釋。

第一樂章的開場就像一柄游刃有余的劍，劈開混沌的天日。隨著短小而沉悶的樂句，鐃鈸和鑼的敲擊聲漸強(qiáng)，竹笛也加入進(jìn)來。充滿焦慮的竹笛聲在低音區(qū)內(nèi)浮動，與連綿不斷、節(jié)奏感極強(qiáng)的管弦樂交相呼應(yīng)。在中間的華彩樂段里，竹笛聲敏捷而快速地掠過，卻足以給聽眾留下深刻的印象。在第一樂章中，竹笛聲與管弦樂始終各自為政，而在最后一小節(jié)，它們終于正面碰撞在一起。第二樂章一開始較為輕松，加入了巴松管、西洋長笛等其他獨(dú)奏樂器演奏的長樂句，竹笛聲則暫時停頓。在一串蟬鳴般的顫音之后，竹笛聲再次出現(xiàn)，好似在對月吟唱。大提琴和西洋長笛輪番與竹笛合奏，氣氛頓時活躍起來。不一會兒，蟬鳴般的顫音也消失了，樂曲聲漸漸沉寂下去。接下來的部分具有明顯的京劇風(fēng)格，用竹笛與管弦樂進(jìn)行了夸張的編排，與之前的部分形成鮮明的對比。隨著竹笛和西洋長笛齊奏，再同時沉寂，第二樂章就此終結(jié)。轟轟烈烈、野性十足的第三樂章在竹笛和管弦樂的相互沖撞中開始，以戲劇性和節(jié)奏感點(diǎn)燃了激情。短暫的停頓之后，竹笛和西洋長笛又展開了一段追逐式的對話，讓人想起了第二樂章中這兩種樂器的和鳴，而在激情迸發(fā)的第三樂章尾聲中，竹笛不停歇地奏出十六分音符，與抑揚(yáng)頓挫的管弦樂相映成趣，令人目不暇接、耳不暇聞。

Separated by an ocean's distance, contemporary Chinese composer Guo Wenjing is a fearless pioneer in his own right. In addition to his highly-regarded, large-scale genres including operas and film scores, Guo's particular expertise in the concerto medium – namely his masterful mingling of Chinese and Western instruments – has drawn critical acclaim. As part of the historic 1978 class of students who were admitted to the Central Conservatory of Music in Beijing, Guo completed all of his training in China, while traveling the world for premieres of his works. Likewise, his musical style powerfully blends the spirit of Chinese culture with the "grit" of Western modernism. Aptly so, his Second Concerto for Bamboo Flute entitled, "Wildfire", is a quintessential introduction to Guo's music.

The first movement opens like a swashbuckling sword, slicing every which way into the sky. With truncated and stifling phrases, a searing crescendo of the cymbals and gong signal the entrance of the zhudi, or bamboo flute. With great angst, the soloist flutters low into its register, giving off a venomous response to the orchestra's continuous barrage of punctuated attacks. The zhudi's speed and agility at its middle-section cadenza give the audience the impression of unmitigated flight, swift and compelling. While barely in this movement are the soloist and orchestra in agreement, they finally collide head on in the last bars. The second movement relaxes with deep breaths and longer phrases for other solo instruments like the bassoon and Western flute. After a string tremolo the likes of a swarm of cicadas, the zhudi appears again, howling at the moon. The atmosphere livens up with celli and flute taking turns dancing around the zhudi. Moments later the buzzing cicadas disappear and the piece recedes back into the darkness. A Peking Opera-like contrasting section follows with exaggerated choreography as the zhudi pleads with the orchestra. The movement ends again in darkness, as both the zhudi and Western flute howl together. Bombastic and wild, the third movement catches fire with drama and rhythm as the zhudi and the orchestra lunge at each other. The chase-like dialogue ensues after a momentary pause?–?a fleeting memory of the second movement howls?–?while the sizzling coda, featuring the zhudi's nonstop 16th-notes against the orchestra's romping and stomping, bursts into flames in the most dazzling way imaginable.

伊戈?duì)枴に固乩乃够?br>

火鳥：組曲（1919年版）

IGOR STRAVINSKY

The Firebird: Suite (1919 version)

接下來，將為大家?guī)斫裢淼闹仡^戲，來自伊戈?duì)枴に固乩乃够摹痘瘌B：組曲》。這部作品將斯特拉文斯基推向了國際舞臺，轟動一時。它既是斯特拉文斯基和俄羅斯芭蕾舞團(tuán)經(jīng)理兼舞劇編導(dǎo)謝爾蓋·佳吉列夫的首次合作，也是他第一次制作芭蕾舞劇。其實(shí)早在數(shù)年前，斯特拉文斯基就已經(jīng)在俄羅斯著名作曲家尼古拉·里姆斯基-科薩科夫的指導(dǎo)下，打磨自己的作曲本領(lǐng)。但直到在圣彼得堡碰巧聽到了《幻想諧謔曲》和《煙火》的首演，佳吉列夫才對這位作曲家留下深刻的印象。命運(yùn)的齒輪再次轉(zhuǎn)動，讓兩人建立了實(shí)際的聯(lián)系。1910年，佳吉列夫創(chuàng)辦的世界級芭蕾舞團(tuán)——俄羅斯芭蕾舞團(tuán)，正在為即將到來的舞蹈演出季準(zhǔn)備新項(xiàng)目《火鳥》。佳吉列夫曾偏愛里亞多夫、切列普寧、格拉祖諾夫等五位作曲家，但最終并未達(dá)成合作。最后，這個項(xiàng)目交給了斯特拉文斯基，而他在幾個月內(nèi)便完成了總譜。這次機(jī)緣巧合之下達(dá)成的合作雖然有著平淡無奇的開始，但后續(xù)卻驚喜不斷。兩位大師的合作給我們留下了許多杰作，甚至改變了我們藝術(shù)世界的歷史。今晚的演出將帶來斯特拉文斯基在1919年，為他的朋友瑞士指揮家恩奈斯特·安塞美創(chuàng)作的管弦樂組曲版本的《火鳥》。

故事的開端，主角伊萬王子徘徊于魔王凱斯齊的魔法庭園里。大提琴、低音提琴營造出陰冷可怖的氛圍，中提琴則模擬一片安靜的環(huán)境，而在那里，可聞小動物的叫聲。突然，弦樂器以一連串急促的顫音和滑音宣告迷人的火鳥即將首次亮相。雖然有賞金的激勵，但獵人們?nèi)匀粺o法抓到這敏捷、易怒的鳥兒——通過弦樂和木管的華麗演奏，這一切生動地呈現(xiàn)在觀眾眼前。輕快的節(jié)奏最終演變成輕佻的舞曲，華麗、復(fù)雜的韻律表現(xiàn)出王子折服于火鳥那威嚴(yán)之下時的神態(tài)。放走火鳥后，伊萬王子偶然發(fā)現(xiàn)了被魔王囚禁的公主們正在跳著古老的圓舞曲。一掃之前的陰郁，這段抒情旋律讓人倍感溫暖。但就在這時，管弦樂器傳來波濤洶涌的急切旋律——火鳥現(xiàn)身，跳起舞蹈抵抗魔王的“惡魔之舞”，粉碎了美麗公主們創(chuàng)造的迷人幻境。斯特拉文斯基用長號、木琴等樂器，讓整段樂曲籠罩在令人驚顫的氛圍之中。緊接著是一段催眠曲，讓怪物陷入昏迷，伊萬王子借機(jī)摧毀魔王的金蛋——一勞永逸地解決故事里的所有矛盾。這段樂曲充分展示了斯特拉文斯基嫻熟的管弦樂編曲技巧，其中豐富的色彩和細(xì)節(jié)變化令人無比陶醉。魔王被打敗了，他的王國緩慢瓦解了，勝利終于到來——樂聲逐漸增強(qiáng)，形成了一飛沖天的磅礴氣勢。響亮的銅管吹出喧鬧的顫音，火鳥最后一次出現(xiàn)，在伊萬王子和公主們的注視下，振翅高飛而去。

And here it is, tonight’s pièce de résistance from the inimitable Igor Stravinsky. The work responsible for catapulting his career onto the international stage,?l'Oiseau de feu, was as much a spectacular sensation, as it was a fateful, first collaboration between Stravinsky, famed impresario Serge Diaghilev, and the ballet genre itself. Some years before this trinity came to fruition, however, Stravinsky had been honing his craft under the tutelage of renowned Russian composer, Nikolai Rimsky-Korsakov. And, it was hearing some of Stravinsky’s first premieres,?Scherzo fantastique?Op. 3, and?Feu d’artifice?Op. 4 in St. Petersburg, that left a lasting impression on Diaghilev, who happened to be in the audience. At Fate’s next intervention, the Ballet Russe, Diaghilev’s world-class ballet troupe, was gearing up for its upcoming season with a new project,?the Firebird?in 1910. After unsuccessfully contacting five composers — among them Lyadov, Tcherepnin, and potentially Glazunov — Stravinsky was called in for action. Elated, he finished the score within a few months. This happenstance collaboration, so ordinary at the onset, proved utterly extraordinary by the end with a long list of masterpieces that changed the world. Tonight’s performance will be Stravinsky’s orchestral suite from 1919, prepared for Swiss conductor and friend, Ernest Ansermet.

The journey begins with the main character, Prince Ivan, exploring the fantastical realm of Kastchei the Immortal, the wizard-like villain of the story. The atmosphere is cool and ominous with the swirling of celli, double bass, and violas amidst the quiet awakening of small creatures. In no time at all, the illusive Firebird makes its first appearance, marked by hushed tremolos and glissandos in the strings. The hunt to capture the prized bird proves difficult as the creature flies with agility and fury, marked by rapid flourishes in the strings and woodwinds. The darting rhythms eventually erupt into a frivolous dance with a Stravinskian orchestration so ornate and intricate that the prince invariably stands in awe of the Firebird's radiance and majesty. After the spirited episode comes a moment of reprise as Prince Ivan stumbles upon Kastchei's captive princesses performing the Khorovod, an ancient circle dance symbolizing unity. As the intruments gently pass the melody back and forth, feelings of warmth and compassion replace the once, eerie surroundings. Suddenly catching ablaze, the infamous "Infernal Dance," the Firebird's magical dance to fend off Kastchei's monsters, shatters the mesmerizing beauty of the princesses as sudden blasts from the orchestra cut through waves of frenetic rhythms. Stravinsky keeps things unflinchingly thrilling with virtuosic writing everywhere from the trombone to the xylophone and more. Following the white-hot excitement is the berceuse, which lulls the monsters into a deep slumber and gives Prince Ivan enough time to destroy Kastchei's golden egg?—?the solution to all the story's conflicts. Here, Stravinsky's lush orchestration and knack for color and nuance shine with magnificence. A triumphant finale awaits as the defeated Kastchei and his realm's slow disintegration herald a dramatic and climactic crescendo towards the open skies. Making its final appearance behind resounding brass and rip-roaring tremolos, the Firebird takes flight once more as Prince Ivan and the freed princesses look to a brighter future.

曲目介紹由朱傲文博士撰寫

Program Notes by Dr.?Alvin Zhu

林敬基

Ken Lam

林敬基，現(xiàn)任天津茱莉亞學(xué)院管弦樂表演專業(yè)總監(jiān)、天津茱莉亞管弦樂團(tuán)駐團(tuán)指揮，同時擔(dān)任伊利諾伊州交響樂團(tuán)藝術(shù)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(shù)總監(jiān)。

2015至2022年，林敬基任查爾斯頓交響樂團(tuán)音樂總監(jiān)；并于2017至2022年，擔(dān)任伊利諾伊州交響樂團(tuán)音樂總監(jiān)。此前，他還擔(dān)任過巴爾的摩交響樂團(tuán)教學(xué)項(xiàng)目副指揮、辛辛那提交響樂團(tuán)助理指揮和香港室內(nèi)樂團(tuán)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(tuán)聯(lián)盟舉辦的華爾特指揮預(yù)演中指揮納什維爾交響樂團(tuán)。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(tuán)，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(tuán)、辛辛那提流行管弦樂團(tuán)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(tuán)，以及香港小交響樂團(tuán)、香港管弦樂團(tuán)、韓國城南市立交響樂團(tuán)、貴陽交響樂團(tuán)和臺北市立交響樂團(tuán)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?fàn)栴D音樂節(jié)擔(dān)任助理指揮。近年來，他在美國斯波萊托藝術(shù)節(jié)、紐約林肯中心藝術(shù)節(jié)以及多倫多光影藝術(shù)節(jié)指揮過多部歌劇作品，廣受贊譽(yù)。2010年，他在皮博迪音樂學(xué)院指揮馬斯奈的《曼儂》，被《巴爾的摩太陽報(bào)》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(xué)院跟隨古斯塔夫·邁爾和馬坎德·塔卡學(xué)習(xí)指揮、于阿斯本的美國指揮學(xué)院隨大衛(wèi)·津曼和穆里·西德林學(xué)習(xí)，并于美國國家指揮學(xué)院隨萊昂納多·斯拉特金學(xué)習(xí)。在成為職業(yè)指揮之前，林敬基在英國劍橋大學(xué)圣約翰學(xué)院修讀經(jīng)濟(jì)，并當(dāng)過十年執(zhí)業(yè)律師，從事國際金融業(yè)務(wù)。

2015年，美國約翰·霍普金斯大學(xué)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(xué)校及其專業(yè)領(lǐng)域作出的卓越貢獻(xiàn)。

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.

唐俊喬

Tang Junqiao

著名竹笛演奏家，上海音樂學(xué)院教授，博士生導(dǎo)師，中國音樂家協(xié)會理事，上海領(lǐng)軍人才，上音高研院中國竹笛藝術(shù)中心主任，上音竹笛樂團(tuán)團(tuán)長兼藝術(shù)總監(jiān)，上海音樂家協(xié)會竹笛專業(yè)委員會會長，中國音樂家協(xié)會竹笛學(xué)會副會長，中國民族管弦樂學(xué)會竹笛專業(yè)委員會副會長，國家藝術(shù)基金評審委員，國家教育部論文評閱中心特聘專家。

作為中國民族音樂領(lǐng)軍人物之一，她是當(dāng)代國樂領(lǐng)域標(biāo)桿式的演奏家和教育家，經(jīng)她首演的新作品24部，出版教學(xué)論著及演奏專輯27部，2018年由她主持并主演的大型國家藝術(shù)基金原創(chuàng)項(xiàng)目——民族器樂劇《笛韻天籟》其無言無詞僅用音樂表達(dá)劇情的方式，為我國器樂舞臺創(chuàng)新表演形式開創(chuàng)先河，并于全國十余城市巡演34場大獲贊譽(yù)好評，其創(chuàng)建的“上海音樂學(xué)院竹笛樂團(tuán)”也因該劇的成功演出，獲評文化旅游部“中國十大優(yōu)秀民族樂團(tuán)”。

作為演奏家她是中國唯一一位受邀帶著多部竹笛協(xié)奏曲與紐約愛樂、英國BBC、德國班貝格等世界名團(tuán)進(jìn)行常年合作演出的民樂獨(dú)奏家，并曾為三十多位國家元首演奏過中國傳統(tǒng)樂曲，演出足跡遍布世界各地。

作為教育工作者，她的教學(xué)成就令人矚目，她為上海音樂學(xué)院先后培養(yǎng)出金獎學(xué)生20余名，在權(quán)威國內(nèi)外賽事中囊獲金獎39次，業(yè)界譽(yù)之為“中國竹笛夢之隊(duì)”。2019與2020年她作為尋樂人兩度受邀電視國樂熱播節(jié)目《國樂大典》，其專業(yè)耿直的點(diǎn)評風(fēng)格深受大眾喜愛，所帶隊(duì)上音、央音、國音等音樂學(xué)府青春樂手們組建打造的“唐家軍”樂團(tuán)，也以高超的演奏技藝和多樣的音樂風(fēng)格，最終登頂《國樂大典》總冠軍寶座，成為“冠軍導(dǎo)師”吸粉無數(shù)，好評如潮。

由于突出的演奏與教學(xué)成果，她曾五次獲得上海市文化藝術(shù)人才優(yōu)秀教師稱號、九次榮獲賀綠汀基金獎以及上海音樂學(xué)院院長獎、國家級教育教學(xué)成果獎、國家教育部“霍英東教育基金獎”等。

Tang Junqiao is a renowned Chinese bamboo flute player. She is a professor and doctoral supervisor at the Shanghai Conservatory of Music, a member of the China Musicians Association, and a leading figure in Shanghai. Tang serves as the Director of the China Bamboo Flute Art Center of the He Lvting Advanced Research Institute for Chinese Music, the Head and Artistic Director of the Chinese Bamboo Flute Orchestra of the Shanghai Conservatory of Music, the President of the Chinese Bamboo Flute Special Committee of the Shanghai Musician Association, the Vice President of the Chinese Bamboo Flute Society of the China Musicians Association, the Vice President of the Chinese Bamboo Flute Special Committee of the China Nationalities Orchestra Society, a member of the China National Arts Fund's review committee, and a specially-invited expert of the Thesis Review Center of the Ministry of Education of the People's Republic of China.

As a leading figure in Chinese national music, Tang is a model performer and educator in contemporary Chinese music. She premiered 24 brand- new works and has published 27 teaching materials and albums. In 2018, the national musical instrumental drama Di Yun Tian Lai (Heavenly Music of Chinese Bamboo Flute), a large original project sponsored by the National Arts Fund was led and performed by her. The project is a pioneer in innovative Chinese instrumental performances as it merely adopts the music of instruments without performers' lines. Besides, it has won popularity and praise from audiences in 34 performances in over ten domestic cities. Additionally, the Chinese Bamboo Flute Orchestra of the Shanghai Conservatory of Music established by her also received the honorable title Top Ten Excellent Chinese Folk Music Orchestra from the Ministry of Culture and Tourism of the People's Republic of China after finishing its project performances nationwide.

As a performer, Tang is the only soloist of Chinese instrument who has been invited to carry out regular performances with world-famous orchestras such as New York Philharmonic, BBC Symphony Orchestra, and Bamberg Symphony for years with Chinese bamboo flute concertos. She played traditional Chinese music for over 30 leaders of different countries and has brought excellent Chinese music to the globe.

As an educator, Tang makes remarkable achievements in teaching and training students. More than 20 students from the Shanghai Conservatory of Music won gold awards 39 times in major competitions at home and abroad after her training. Thus, her team is praised as a Dream Team of Chinese Bamboo Flute in the music world. In 2019 and 2020, Tang was invited as a music mentor in two sessions of Guo Yue Da Dian (Chinese Music Ceremony), a popular TV program of Chinese folk music. In the TV program, she was popular among all for her professional and straightforward comments. Tang's team consisting of young musicians from music schools, including the Shanghai Conservatory of Music, the Central Conservatory of Music, and the China Conservatory of Music, won first place in the TV program with its outstanding performance skills and diverse styles of music. Hence, Tang became a champion mentor and was welcomed by a large number of followers with praise.

Based on her prominent achievements in performance and teaching, Tang Junqiao has been awarded the Excellent Teacher of Shanghai Culture and Art Talented Minds five times and won the He Lvting Fund Award nine times. She also received awards such as the President’s Award of the Shanghai Conservatory of Music, the National Education and Teaching Achievement Award, and the Fok Ying Tung Education Foundation Award of the Ministry of Education of the People's Republic of China.

天津茱莉亞管弦樂團(tuán)

Tianjin Juilliard Orchestra

天津茱莉亞管弦樂團(tuán)在每個音樂季中獻(xiàn)上約十場音樂會。從巴洛克時期曲目到當(dāng)代作品，天津茱莉亞管弦樂團(tuán)會為我們帶來風(fēng)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(dǎo)樂隊(duì)聲部排練，并與他們一同練習(xí)和演出。在駐團(tuán)指揮帶領(lǐng)的音樂會之外，樂團(tuán)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(lán)。

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, Daye Lin, Long Yu,?Huan Jing and Lan Shui.?