詩樂絃彈~名加之友2020音樂會—取消
詩樂絃彈~名加之友2020音樂會—取消
Poetic Extravaganza_”Grand Music of Tang” for guitar solo
主辦:名加大提琴合奏團(04-23052456)
原訂2020年06月06日(六)於衛武營國家藝術文化中心表演廳演出「詩樂絃彈~名加之友2020音樂會」節目,因新冠肺炎疫情影響,中央及市府防疫規範室內活動100人以上禁止辦理,特配合規定,故取消演出,造成不便,敬請見諒。
退票方式如下:
1、現金購票者:請於2020年05月29日前持票前往兩廳院臺北、臺中、臺南、高雄服務處辦理全額退票;如不方便親自辦理退票,請於2020年05月29日前(以郵戳為憑)郵寄票券至407台中市西屯區惠來路二段101號(兩廳院售票臺中服務處李小姐收)。請務必附上存摺影本(最好是郵局帳戶),以便退款至您的帳戶。
2、刷卡購票者:不需親自至兩廳院辦理,系統將自動退刷至信用卡帳號。
3.洽主辦單位購票者,請直接洽詢主辦單位退票,電話:04-23166610蔡小姐。




「名加大提琴合奏團」秉持推廣音樂文化的信念,冀望在各項演出與活動中,將美好的樂音深植人心。每次的音樂會中均精心規劃增添不同以往既定的元素,讓觀眾能夠接觸到更多元性的音樂作品、聆賞中感受音樂之美。

2020年特別企劃《吉他獨奏音樂會》,捷克吉他演奏家-約瑟夫·梅森博士將演出臺灣作曲家-黃思瑜老師創作的《大唐樂宴》 24首吉他獨奏組曲。此組曲為2000年日本吉他大師山下和仁委託創作並於日本東京文化會館首演其中10首。今梅森博士了解其創作靈感、深入鑽研後,對此套組曲的彈奏技巧作更細膩的詮釋。組曲創作概念雖為吉他獨奏,卻蘊含中國彈撥樂器的技巧,如:琵琶的挑、撥、揉、掃絃等,樂音蘊含中國古琴的雅韻,聆聽時對吉他的音色能有更寬濶的體會與闡發。當西方絃樂器碰撞到東方唐朝的詩集與樂器的技巧時,相信將有不同以往的東方音樂之美與馳騁想像的藝術空間。



此作品共分為四大部份:

【自然】

1. 鹿柴(王維) 2. 竹里館(王維) 3. 早發白帝城(李白)

4. 秋夕(杜牧) 5. 楓橋夜泊(張繼) 6. 宿建德江(孟浩然)

7. 春夜喜雨(杜甫)



【酒&友情】

8. 月下獨酌(李白) 9. 將進酒(李白) 10. 涼州詞(王翰)

11. 渭城曲 (王維) 12. 草(白居易)



【音樂】

13. 琴歌(李頤) 14. 彈琴(劉長卿) 15. 聽箏(李端)

16. 聽蜀僧濬彈琴(李白) 17. 李憑箜篌引(李賀) 18. 吹笛(杜甫)



【情緒】

19. 相思(王維) 20. 錦瑟(李商隱) 21. 清平調(李白)
22. 瑤瑟怨(溫庭筠) 23. 望月懷遠(張九齡) 24. 無題(李商隱)



This concert is unique; it will be the first time that Ssu-Yu Huang's “Grand Music of Tang” be presented in its entirety in a single concert. The concert will be preformed by Czech guitarist, Dr. Josef Mazan. The suite was originally commissioned by the Japanese classical guitarist Kazuhito Yamashita. Ten of the 24 pieces were world-premiered by Mr. Yamashita in Tokyo, Japan on February 4, 2000. “Grand Music of Tang” represents a ground-breaking exploration of the classical guitar with an Asian genre by the Taiwanese composer Ssu-Yu Huang. Some unique performance techniques of the traditional musical instruments from the East including China and Japan invigorate the creativity. For example, the fuller sound of the guitar can be suppressed to mimic the steel-string sound of the guzheng. Glissando and percussion techniques can be used to produce effects of the ruan xian or the guqin. Each of the 24 pieces explores a specific sentiment. Although not long, each piece presents challenges to the traditional guitar playing techniques and aesthetics. Techniques derived from the Chinese plucking instruments such as “gather”, “vibrate”, “wipe”, and “pick” are exploited, further extended to extravagant syntax like “rumbling and rustling with interleaved playing”. Structured dynamics and contrasting tempos effectively bring out interesting delicacies of the music. In another respect, the music often conveys liberal and relaxing moods. This leisure sentiment is in essence closely related to the strokes in calligraphy or the flows of guqin music in terms of ”thrum”, “rub”, “accentuate”, and "linger". Thus, the music exhibits a panoramic view of traditional Chinese music performance techniques and aesthetic tastes of "left blank". These are exactly the feast and the breakthrough that this classical guitar suite has contributed to music. Because the mood created in each piece is based on a specific poem, the 24 pieces are like 24 musical paintings with the corresponding Tang poems as the underlying blueprints.





主辦單位|名加大提琴合奏團

贊助單位|財團法人陳啟川先生文教基金會
演出者|作曲\黃思瑜、吉他\Josef Mazan、舞蹈\蘇微淳
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