​音樂會 Concert

 民間音樂一直是我的另一個重要靈感來源。我一直很著迷於，一種獨特的音樂如何從一片土地與景觀中孕育而生，以及不同文化在跨越遙遠距離彼此連結後，卻仍能孕育出無比豐富、各具地域特色的音樂色彩。因此，當臺灣成為我的第二個家，我很快就被這裡壯麗的山岳景觀與傳統音樂所吸引，尤其是原住民族的音樂。

雖然此生或許無緣親自攀登玉山，我仍希望根據相關的文字描述與影像，嘗試以音樂描繪這座崇高的山岳。玉山，不只是一座壯麗的山，也是臺灣最高峰。它也是承載著世世代代臺灣人民的記憶、聲音與故事的象徵。

我希望透過音樂，表達出玉山的壯麗與雄偉帶給我的震撼──那座如此貼近雲端、一次又一次經歷強烈且戲劇性天候變化中的高山。同時，也表達我對其精神意義的敬意。對居住於此的鄒族與布農族而言，玉山亦是祖靈棲居之所。

鄒族重要代表人物高一生（Uongʉ Yata'uyungana）所創作的《登玉山歌》，便是一首很美地捕捉了玉山這些不同面向的歌曲。我與高家有一段間接的緣分，因為我曾受藝術家暨導演陳慧齡之邀，為電影《給阿媽的一封信》創作音樂。那幾年間，我一路關注這部電影的創作過程，也在作曲期間無數次觀看這部影片。片中對高家的描繪，以及尤其高一生，這位父親與祖父所經歷的悲劇命運，尤其深深觸動了我。

高一生的專輯中也收錄了《登玉山歌》。當我聽見這首歌時，便覺得沒有任何旋律比它更適合融入我所描繪的玉山。這段旋律不時地出現，交織於管弦樂的聲響之中，也讓人不時地想起高一生。此外，音樂中也不時交織著一些典型的旋律動機，靈感來自我曾聽過的布農族歌唱。

對我而言，音樂靈感出現的時候，其實和我們所說的「白日夢」很像。在創作過程中，也在這種「白日夢」般的狀態裡，我無數次想像自己從鳥瞰的視角飛越這座山。

音樂自弦樂器極低與極高音域間細微而閃爍的聲響中浮現，逐漸拓展成一片遼闊的聲響空間，彷彿一座天然的劇場，而這座雄偉的山岳便矗立其中。這份寂靜被鐘聲與嗩吶的呼喚打破，一場繞行並飛越山岳的旅程，也就此展開。這部作品並非意在描繪什麼，而是開啟一個空間，我在其中彷彿聽見了三種不同的聲音──來自原住民傳統深沉而幽微的迴響、大自然強大而難以預測的力量，以及我自己身為一名歐洲旅人，在這片土地上尋覓與觀看的視角。

很榮幸能受臺北市立國樂團（TCO）委託，為他們創作這首作品。早在2019年，樂團便曾與我的妻子簡碧青共同演出我的《臺灣狂想曲》給大提琴與樂團，原本那首作品是為西方管弦樂團所寫的，當時由編曲家重新配器後演出。這次創作《玉山》，我想真正試著為國樂團寫一首作品。這對我來說是一項很大的挑戰。雖然數十年來，我對國樂團的聲音並不陌生，但要親自為許多自己不熟悉的樂器創作，卻是另一回事。或許，這正是鄭立彬團長當年送我那本國樂配器書時，期待我去面對的挑戰。這本由作曲家王辰威所著、內容詳盡的書，也成了我認識中國傳統樂器的重要起點。對任何想深入了解這些樂器的人來說，這是一本非常難得的書。

為國樂團創作對我來說是一項挑戰，而我的音樂對臺北市立國樂團來說，或許也是如此。畢竟，我的音樂建立在西方和聲的基礎上，對國樂團而言也是一種不太熟悉的語言。但我想，正是這樣的挑戰，才讓彼此有機會走出熟悉的範圍，發現新的可能。很感謝臺北市立國樂團委託我創作這部作品，也很珍惜這次創作帶給我的豐富經驗與啟發。

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Fabian Müller：Yushan for Symphonic Chinese Orchestra   World Premiere

As a Swiss, I am very familiar with high mountains. Since early childhood, I have felt a deep passion for spending time in alpine landscapes. When I later began composing, the mountains became—and remain to this day—an important source of inspiration. As early as 2004, I attempted to sketch the famous Swiss mountain, the Eiger, in symphonic form. Interestingly, the Eiger, at 3,967 meters above sea level, and Yushan, at 3,952 meters, are almost the same height. The music I wrote about the Eiger later evolved into my first opera, a climbing drama—and likely the only existing opera that takes place entirely on a rock face. 

Another important source of inspiration for me has always been folk music. I have always been deeply fascinated by how a unique kind of music emerges from a landscape—and how, despite cultural connections across great distances, an immeasurable richness of local musical color develops. It is therefore no surprise that in my second home, Taiwan, I have been especially captivated by its magnificent mountain landscapes and its traditional music, particularly that of the indigenous tribes. 
 

Even though it will probably not be granted to me in this lifetime to climb Yushan myself, I nevertheless wanted to attempt to sketch this sublime mountain musically, based on descriptions and images. Yushan is far more than a magnificent mountain and the highest peak in Taiwan. It is a symbol and a bearer—across countless generations—of the memories, voices, and stories of the people of Taiwan. 
 

In my music, I sought to express the sense of wonder at the beauty and grandeur of this mountain—so close to the clouds, repeatedly immersed in powerful, dramatic weather conditions—but also the reverence for its spiritual significance as the dwelling place of ancestors for the Tsou and Bunun indigenous peoples living in the region. 

A song that beautifully captures these different aspects of Yushan is "Climbing Jade Mountain"  by Gao Yi-Sheng (Uongʉ Yat'uyungana), a respected representative of the Tsou people. I feel a connection to the Gao family—albeit an indirect one—since I had the opportunity to compose music for the film "A Letter to A'ma"by the artist and director Hui-Ling Chen. I followed the creation of this film over several years and watched it countless times during the composition process. I was particularly moved by the portrait of the Gao family and the tragic fate of Gao Yi-Sheng, the father and grandfather. 

An album of his songs also includes 'Climbing Jade Mountain.' When I heard it, nothing seemed to me more fitting than to weave this wonderfully simple melody into my musical portrait of Yushan. This quotation reappears from time to time, woven into the orchestral texture, and thus serves as a reference to Gao Yi-Sheng. And alongside this melody, typical motifs are repeatedly interwoven, inspired by the singing I have heard from the Bunun people. 

I experience the state in which musical ideas arise as not far removed from what we call daydreaming. During the compositional process, and in this "daydreaming," I have flown countless times in my imagination over this mountain from a bird's-eye perspective. 

The music begins with a quiet, shimmering sound in the lowest and highest registers of the string instruments, opening up a vast space—like a natural arena in which this majestic mountain stands. This stillness is interrupted by bell sounds and a musical call of the suona. And with that, this journey around and over the mountain begins. The music is not meant to be a depiction, but rather a space in which I believe I hear voices: the quiet, deep voice of indigenous tradition, the powerful, unpredictable voice of nature—and my own searching perspective as a European traveler. 

It was a great pleasure for me to write this work on commission from and for the Taipei Chinese Orchestra (TCO). Back in 2019, they had already performed my Taiwan Rhapsody for Violoncello and Orchestra together with my wife, Pi-Chin Chien. At that time, the work—originally written for a Western orchestra—had been reorchestrated by an arranger. This time, with Yushan, I wanted to try writing directly for a Chinese orchestra. Learning to do so was a major challenge for me. Although I have been very familiar with the sound of Chinese orchestra for decades, it is quite another matter to write for the many instruments that are unfamiliar to me. Facing this challenge was likely his intention when the artistic director, Li-Pin Cheng, once gave me a book on Chinese orchestration as a present. This detailed book (written by my fellow composer Chenwei Wang) is a true blessing for anyone wishing to engage with Chinese instruments. Just as it was a challenge for me to write for a Chinese orchestra, my music likely presents an equal challenge to the TCO, as it is based on Western harmony and is, in a sense, unfamiliar. But challenges open new doors. I am deeply grateful to the TCO for this commission and for the enriching journey that came with it. 

Fabian Müller – April 2026