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| 位置：首頁 〉音樂 ) 國內音樂 ) 管絃樂 )) NSO狂飆日耳曼—1881年5-10月幸福旅行中 |
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NSO狂飆日耳曼—1881年5-10月幸福旅行中
Summer, 1881, A Lighthearted Traveler |
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可購票方式：1.網路 2.售票處
＊有刪除線的票價，為已經售完的票價。
＊節目分級：不分級。
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「然而音樂的製造，既是藉由個體、更要透過全體一致，才能聽見彼此真誠投入、共同回應樂譜以及整體合而為一的演出；赫比希先生似乎想讓他的演奏家們認真聆聽彼此，在最後成為更具價值、而非打了折扣的領導力。」－《紐約時報》
「寇瓦謝維契將精確性、輕快感、飽滿的音色與即刻的刺激感做了完美的結合。他的演出結構穩定，讓人忍不住聚精會神、洗耳恭聽。」－ 《每日電訊報》
布拉姆斯：降B大調第二號鋼琴協奏曲
貝多芬：A大調第七號交響曲
「我用一首小小的詼諧曲寫了一首非常迷你的鋼琴協奏曲！」－布拉姆斯
「我很懷疑你所謂的『小』…，如能演奏此曲，我就心滿意足了！」－克拉拉
為躲避粉絲干擾，興奮的布拉姆斯遁入維也納森林，世人矚目的第二號鋼琴協奏曲於焉降臨。令人莞爾：這首被濃郁幸福架構的音樂城堡，有協奏曲少見的四樂章，龐大、繁複而浪漫的曲式遊刃於南歐和煦陽光，是否意味他其實在向某位剛結識的女鋼琴家示愛或炫技？開場法國號高貴的召喚、第三樂章大提琴秋鳴般獨奏，以及管絃樂與鋼琴間親密對話…浮動「布式」的馨香甜美。大師級鋼琴巨星寇瓦謝維契闊別二十餘年終於再次來台！他所演繹的貝多芬、莫札特、舒伯特、布拉姆斯等古典與浪漫派樂章，吸納了「無法超越的崇敬」，此曲非他莫屬！
下半場貝老的第七號交響曲，開場樂章因日劇《交響情人夢》名燥一時。誠如老大師赫比希為它下的註解：第七號被喻為「舞蹈的神話」，因樂章的節拍與幽微細膩處都洋溢著快樂的舞蹈風情，鼓舞觀眾享受愉悅的聽覺饗宴。
【NSO狂飆日耳曼講座】｜楊照主講 11/28 Sun 14:00-16:00 國家音樂廳大芭蕾舞排練室
【空中導聆】｜吳逸芳主講 12/9 Wed 14:00 愛樂電台 「音樂調色盤」
【音樂會前導聆】｜余濟倫主講12/10 Thu 19:00 國家音樂廳一樓大廳
NSO陪你一起音樂旅行
凡購買NSO 0910樂季 狂飆 日耳曼系列音樂會之觀眾，就有機會獲得薇錡旅行社提供之台北—維也納來回機票兩張！1人中獎 兩人同行！（市價約新台幣100000元，名額1名！）
詳細請至http://nso.ntch.edu.tw/news/detail/id/141
“Yet the music-making, both individually and especially corporately, sounded genuinely committed and responsive - responsive both to the score and to the ensemble as a whole. Mr. Herbig seems to have his musicians listening hard to one another, and that may in the end be more valuable than cut-rate charisma.” –The New York Times
“...〔Stephen Kovaceeich〕brought precision and crispness combined with a full tone and galvanising immediacy. Structure was unshakeable; these performances really made one sit up and take note.” –Daily Telegraph
BRAHMS: Piano Concerto No.2 in B-flat major, Op.83
BEETHOVEN: Symphony No.7 in A major, Op.92
“ I composed a mini piano concerto with a little Scherzo” ~Brahms
“ I very much doubt what you meant by ‘mini.’ I’ll be content if I can play this concerto.”-Clara Schumann
In order to hide away from fans, Brahms harbored in a forest near Vienna where he completed his highly-praised Piano Concerto No. 2. One cannot help noticing that this piece is in four movements, rather than the three typical of concertos, and in a form of largeness, complicatedness and romance. Was it because he was showing off or showing his love to a recently met female pianist? This concerto is clearly characterized by the composer’s romantic style: the noble calling of the French horn in the opening, the solo cello in the third movement, and the intimate dialogue between the orchestra and the piano. After a long separation of twenty years, virtuoso Kovacevich has finally made another visit to Taiwan. As a pianist he has won unsurpassed admiration for his playing of Beethoven, Brahms, Mozart and Schubert. He is definitely the one to interpret this concerto.
Beethoven’s Symphony No.7 in A major, presented in the second part of the concert, is once again brought under the spotlight due to a Japanese drama, Nodame Cantabile. Maestro Herbig made a comment on this symphony: “Beethoven’s 7 Symphony, which was called the ‘Apotheosis of Dance’ because each movement has a feeling of dance rhythms in different tempos and shades. This is a work of overwhelming optimistic feeling which fills every listener with joy.”
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