拾年功表演藝術網

《西班牙》
奧斯卡・納瓦羅 作曲

在西班牙瓦倫西亞市的阿利坎特市立交響管樂團 (Banda Municipal de Alicante) 創立百年之際，作者創作了此作品獻給這個歷史悠久的團隊，以及他所尊敬的十九、二十世紀西班牙作曲家們。他們的付出都充實了西班牙音樂的內涵，傑出的音樂作品不僅連接了人們的現在、過去、以及未來，更深植在國家文化之中無遠弗屆的傳遞著。

在這個作品裡，作者向十九世紀晚近至二十世紀的國民樂派樂風致敬。加入了西班牙傳統舞曲和民謠的元素，試圖為西班牙音樂帶來新的風貌，而又不失其傳統精華。作者在這個音樂裡大量的使用響板來製造佛朗明哥舞蹈的節奏風格。它清脆而緊湊的聲響不斷引領銅管強壯的旋律前進，彷彿充滿熱情活力的瓦倫西亞人在親朋好友的環繞下率性起舞。

彙整 / 黃振瑋


Hispania
by Oscar Navarro

The author dedicated this piece to the “Municipal Band of Alicante” (Valencia,Spain) and an homage to the great Spanish composers of the late nineteenth and twentieth century. Those composers nurtured our country Culture and taken it beyond our borders. Composers who have made their music part of our lives and the Spanish National Culture before, now and forever.


With this piece, the author wanted to make a nod to the Nationalist compositional language of late nineteenth and twentieth centuries. He tries to give a fresh touch by using traditional rhythmic dances of spanish folklore in the music and prevent from losing the traditional essence. The tinkling castanets produces a flamenco style rhythm and leads the powerful brass melody, just like the vigorous dance of passionate Valencians.

《三角帽》
曼努爾・德・法雅 作曲
黃瑀萌 改編

法雅（Manuel de Falla, 1876-1946）為二十世紀西班牙最偉大的作曲家，亦是發揚西班牙音樂的最大功臣。

《三角帽》（El Sombrero de Tres Picos）是他最著名的芭蕾舞曲，該舞曲原為西班牙默劇《官吏與磨坊主人之妻》（El Corrégidor y la Molinera）而作，之後狄亞格烈夫（S. Diaghilev, 1872-1929）很欣賞法雅的音樂，才請法雅將此曲改編成芭蕾舞曲，並由馬辛（L. Massine, 1895-1979）編舞、畢卡索（Pablo Picasso, 1881-1973）進行舞台設計。

《三角帽》音樂中應用了許多西班牙舞曲形式，例如：方當戈（Fandango）、塞桂第拉（Seguidillas）、荷他（Jota）等。原管絃樂團編制極大，不時加入西班牙式的現場拍掌、響板和人聲「噢里！」之呼叫聲，本場演奏版本由黃瑀萌改編，並挑選米勒太太之舞（Fandango）樂段及終舞（Jota）演出，忠實呈現法雅混合式西班牙音樂風格。法雅大量採集及運用民族音樂元素，勇於創新，啟發了後來的西班牙民族主義音樂家，融匯岀新的音樂語言，使西班牙音樂於現代音樂中佔有一席之地。

彙整 / 陳頤萱
英譯 / 吳韋樸

El Sombrero de Tres Picos
by Manuel de Falla
arr. by Yu-Meng Huang

Manuel de Falla was one of Spain''''s most important musicians of the first half of the 20th century,who contributed a lot of bringing Spanish music to the world. Falla broadly collected and extensively applied racial factors from Spanish culture, which inspired the junior Spanish musicians on composing national music.
El Sombrero de TresPicos is the most famous ballet from Falla, which originally composed for the Spanish mime El Corrégidor y la Molinera. By listening to Falla’s dancing music, S. Diaghilev was impressed by Falla’s work and decided to invite Falla to adapt it into ballet, with choreography by L. Massine and stage designing by Pablo Picasso. El Sombrero de Tres Picos applied various formation from Spanish dancing songs such as Fandango, Seguidillas and Jota. Also, the original instrumentation of this song was extremely large, with occasional clapping, castanets and vocal.
Today’s composition was adapted by Yu-Meng Huang.

《菜單》(臺灣首演)
卡洛斯・佩意賽 作曲
西班牙音樂家佩意賽為歐洲當前作曲新銳，也同時對指揮頗有涉獵。除了管絃樂、器樂獨奏、電影配樂等作品類型外，管樂合奏曲是他作品中的大宗，也是他最大的寫作興趣。近十年來，佩意賽的作品在義大利科爾恰諾國際管樂作曲比賽(Concorso Internazionale di Composizione Originale per Banda)屢獲佳績，並多次於國際級樂團及音樂節演出發表。
近期，佩意賽計劃透過自己即將出版的新作品首演，鏈結世界各地的樂團。本次演出的《菜單》便是此一計畫的先鋒。新竹市立管樂團很榮幸獲得此次機會，為臺灣聽眾介紹這首富含趣味的作品。

本曲共分為三樂章，如同菜單中的推薦套餐般，分為前菜、主菜、甜點。第一樂章〈前菜〉(L’Apéritif)簡潔並引領聽眾多姿多采的感官享受，充滿熱情。第二樂章〈主廚推薦〉(La spécialité du Chef)，融合多樣風格與特色，發展出怪奇的、如聖詠(Choral)般而富表現力的、狂暴的…等不同片段，並利用同一主題與古典手法串聯整個樂章，豐富而一貫。這樣的創作技法帶出的「異中求同」，也是「主廚」佩意賽在本曲中最主要的創作理念。第三樂章〈美國派〉(‘American pie’, le saidgrand finale)中，展現強烈的拉丁美洲風格，充滿力度的節奏如同美國派上豐富的水果，為這頓美味的餐點獻上華麗的收尾。
彙整 / 潘韻如

Menu (Taiwan Premiere)
by Carlos Pellicer

Menu is a work divided into three movements which are related to the development and "tasting" of a good gastronomic menu. The titles of these movements are closely related to the content, character and rhythm of each dish prepared for this original menu:
I. L’Apéritif, a short but intense starter , II. La spécialité du Chef, a main dish with different textures but very consistent with the same main theme and a classic context. This compositional technique and the way to develop music is the author''''s true passion and from there comes from the title of this second movement where the "Chef" refers to the author himself, cook of this original menu. And, III. “American pie", le grand finale, a good dessert with a lot of flavor and rhythm to top it off. This work can be interpreted jointly or separately each of the different movements that compose it.

《骷髏之舞》
卡米爾・聖桑 作曲
馬克・亨斯利 編曲

《骷髏之舞》又名《死之舞》，是法國作曲家聖桑 （Camille Saint-Saëns）根據法國象徵主義詩人卡薩利斯（Henry Cazalis）的一首短詩所譜寫的作品。其詩作描寫於中世紀廣泛流傳的傳說：每當萬聖節的午夜降臨，死神便會現身演奏小提琴，從墳墓中喚醒鬼魂且為它舞蹈，而這場骷髏之舞將會持續狂歡直至破曉。
全曲依照詩作的順序進行，由兩個主題的變形發展構成全曲。樂曲一開始，管鐘的十二個聲響暗示了午夜的來臨，薩克斯風首先為死神的小提琴發聲，接著長笛奏出第一段舞蹈主題，緊接著薩克斯風帶出第二主題，作曲家使用不同的配器以及賦格（Fugue）的手法不斷再現兩個主題旋律，將樂曲不斷的往上堆疊；樂曲中段加入中世紀時期教會描寫末日審判的聖詠曲《末日經》（Dies Irae），使作品更顯詭譎張狂的氣氛；作品中特別使用木琴鏗鏘清脆的音色描寫出骷髏在跳舞時互相碰撞的聲響，當狂歡至最高潮時，所有聲部嘎然而止，接著由雙簧管奏出象徵清晨到來的雞鳴聲，而骷髏們慌亂的逃回墓穴中，只剩死神的小提琴奏出無限嘆息。

彙整 / 吳旻庭

Danse Macabre
by Camille Saint-Saëns
arr. by Mark M. Hindsley

Danse Macabre, also called as Dance of Death, is a symphonic poem composed by Camille Saint-Saëns. Saint-Saëns was inspired by Henri Cazalis’s poem, which contains the rumor of the Middle Ages. It is said, when the midnight of Halloween arrives, Death calls forth the dead from their graves to dance for him while he plays his fiddle.
There are two motifs developed in the whole piece. The piece opens with a tube clock playing a single note, D, twelve times which represents the twelve strokes of midnight. Alto saxophones then play for the fiddle of Death.The first theme is heard on a solo flute,followed by the second theme, a descending scale on the saxophones.The first and second themes are then heard throughout the various sections of the band. The piece becomes more energetic and at its midpoint,there is a direct quote of the Dies Irae, a Gregorian chant from the Requiem that is melodically related to the work''''s second theme. After this section the piece returns to the first and second themes and climaxes with the full band playing very strong dynamics. Then there is an abrupt break in the texture and the coda represents the dawn breaking (a cockerel''''s crow, played by the oboe) and the skeletons finally returning to their graves.

《美女與野獸選粹》
霍華・艾許曼&艾倫・麥肯 作曲
真島俊夫 編曲

《美女與野獸》源自於法國小說家加布里埃爾－蘇珊・巴爾博特・德・維倫紐夫(Gabrielle-Suzanne Barbot de Villeneuve) 的經典童話，描述被詛咒而變成野獸的王子與心地善良的女孩兩人間從不諒解彼此到產生真摯愛情，最後破除詛咒的故事。
故事於1991年由迪士尼改編發行成動畫電影，其中作曲家艾倫・麥肯(Alan Menken)和抒情歌手霍華・艾許曼(Howard Ashman)所創作的電影原聲帶獲得奧斯卡最佳原創樂曲和最佳原創歌曲。
艾倫・麥肯在撰寫過程中吸收了法國、古典樂、百老匯音樂等流派作為創作素材，在本次音樂會演出版本收錄的《序幕》(Prologue)、《貝兒》(Belle)、《意想不到》(Something there)、《美女與野獸》(Beauty and Beast)中，都可感受到鮮明多元的樂曲風格。《序幕》的啟發即來自於法國作曲家聖桑(Camille Saint-Saëns)所作的《動物狂歡節》(Le carnaval des animaux)。《貝兒》的歌詞中搭配法語的「你好(Bonjour)」帶出輕快的旋律，演繹出法文獨特的輕盈感。而最令人耳熟能詳的主題曲《美女與野獸》，則模仿百老匯演唱的方式，透過男女主角對唱呼應來表現法國浪漫的風格；成功融合許多元素的美女與野獸不僅完美詮釋了原著，也成為電影音樂中不可抹滅的經典。

彙整 / 陶柏戎
英譯 / 吳韋樸

Beauty and the Beast Medley
by Howard Ashman & Alan Menken
arr. by Toshio Mashima

Originated from French novelist Gabrielle-Suzanne Barbot de Villeneuve’s classical tale. “Beauty and the Beast” is a story about how a monster-look prince, which caused by a curse, and an innocent princess,cultivate their love and finally break the curse.
The story had been animated by Disney in 1991. The composer, Alan Menken, and singer, Howard Ashman, won the best original score and best original songfrom The Oscars.
During his writing, Alan Menken adapted features from French, Classical, and Broadway music as the factors. In this version, we collectedvivid and exotic episodes such as Prologue, Belle, Something there and Beauty and Beast. Prologue’s creation was inspired by Camille Saint-Saëns’s The Carnival of the Animals (Le carnaval des animaux). With the French greeting “Bonjour”, Belle brings the French elegance to audience by its rhythmic melody. And the well-known Beauty and Beast, which mimics the Broadway-style male-female duets, successfully merges various factors to rewrite the original pieces, and becomes one of the typical film music.

《達夫尼與克蘿伊 第二號組曲》
莫里斯・拉威爾 作曲
侯傑・布提 編曲

此曲為法國印象樂派大師拉威爾（Maurice Ravel）於1909年受當代知名舞蹈家迪亞基列夫（Sergei Diaghilev）委託，為同名芭蕾舞劇所作，係取材於古希臘作家隆古（Longus）同名原著。
故事中的達夫尼以及克蘿伊分別為牧羊的俊男美女，相當受身邊的異性愛戴，身邊各自有其擁戴者；拉威爾用音樂描述兩人的愛情以及與其他眾人神的爭逐。
全本曲目為三幕的架構，在音樂上使用許多主導動機等技巧刻畫各個角色之性格，但在當時演出並不成功。拉威爾另將芭蕾舞劇擷取精華，改編為第一號組曲（1911）及第二號組曲（1913）。本曲亦被視為是拉威爾一生中重要的印象派傑作，拉威爾別出心裁的巧思，在本次演出的二號組曲中的〈破曉〉("Lever du jour")片段尤可看出，以長笛及單簧管的連續快速音群作為配襯，寬廣的低音聲部逐漸加入第一段的動機，描寫太陽緩緩升起，大地上一片生機勃勃，鳥語花香的景象中，克蘿伊被牧神潘恩從海盜的手中救回。第二片段〈啞劇〉(“Pantomime”)則為描寫達夫尼與克羅伊為了答謝潘恩，跳起了舞為潘神求愛，在長笛的獨奏中兩人跳起了舞，克羅伊投入了達夫尼的懷抱中。終曲〈團體舞〉(“Danse générale”)描寫眾人在狂熱的舞蹈中祝福愛情歷久而彌新。本次演出為法國禁衛軍交響管樂團將交響樂曲改編為管樂曲之版本。

彙整 / 沈汶諺
英譯 / 吳韋樸

Daphnis et Chloé Suite No.2
by Maurice Ravel
arr. by Roger Boutry

Daphnis et Chloé is a ballet in one act with three scenes by Maurice Ravel, which he began work on the score in 1909 after a commission from Sergei Diaghilev. The scenario was adapted by Michel Fokine from an eponymous romance by the Greek writer Longus.
The 3-act pieces depict the characteristics with several leitmotifs. However, it didn’t invoke positive responses as expected. Despite that, the efforts that composer made in the piece were spectacular, which can be seen in Part I “Lever du jour” (Daybreak) of Suite II especially. The music starts from a mysterious, foggy atmosphere which lead by flutes’ and clarinets’ fast scores, followed by the joining of bass sections. This episode fully presents the scene that, when the sun is rising slowly and everything is just going to start the day. Chloe has been saved from the pirates by Pan. In Episode II “Pantomime” (Pantomime), Daphnis and Chloe dance for expressing their gratitude to Pan’s savage. Within the Flute’s solo, Chloe falls into Daphnis’s arms. In the finale, “Danse générale” (General Dance) describes that everyone gives bless to the persistent love in fanatic dance to the end of the music. In this performance, we will play the version arranged by Orchestra of the Republican Guard, from Orchestra to Wind Band version