音樂會 Concert
｜台北場 Taipei ｜10.10 Sat. 14:30
2026第三屆「臺灣國際大提琴藝術節」將於國家兩廳院、臺中國家歌劇院及衛武營、雲林三秀園共演出六場系列音樂會，以別開生面的四套曲目大膽呈現東西方文化的交融與創新，從經典名作、現代精品到委託新作，從獨奏、與鋼琴二重奏、室內樂到協奏曲齊綻，讓臺灣樂迷有機會親炙國際大師名家演繹東 西文化交織的數百年風華，發現大提琴奇趣多彩的音樂秘境。
東西交響《絢麗篇》I
East-West Confluence "Echoes from Afar – Encounters Between Europe and Asia" I
10.10 Sat. 14:30 國家兩廳院演奏廳（場館位置）
從德布西、譚盾、普朗克、藤昌大到布列頓 親臨東西文化激盪異彩紛呈
自十九世紀以來，亞洲與歐洲之間便展開了一段深厚的文化對話，其源起可追溯至維也納（1873年）與巴黎（1889年）兩場舉世矚目的世界博覽會。在維也納這場盛會，是歐洲人首次深入接觸日本的藝術與文化，而這場邂逅也觸發了他們對亞洲文學與音樂的長久迷戀。不久，中文詩與日本俳句的譯作開始風靡西方，激發出馬勒《大地之歌》，以及策姆林斯基（Alexander von Zemlinsky）等眾多作曲家以詩譜曲的創作。
1889年的巴黎世界博覽會，對音樂發展的影響尤為深遠。正是在此，德布西初次聽見亞洲之聲─五聲音階與甘美朗音樂閃爍流動的音色質地，這些元素成為日後印象樂派的核心，也徹底改寫了西方音樂的歷史。本場音樂會中，享譽全球的中國大提琴家陳亦柏，將演出德布西《大提琴奏鳴曲》，以及譚盾取材自電影《臥虎藏龍》配樂、極富畫面感的《大提琴奏鳴曲》兩個樂章。
日本最重要作曲家之一的武滿徹，深深被德布西的聲音世界所吸引。他進一步拓展印象派語彙，結合自身深厚的日本音樂傳統，創造出獨特的聲音融合，進而深遠地影響了整整一代日本作曲家。其中包括藤倉大，他筆下的《無人之無》（Nobody's Nothings）構築出精緻而炫麗的聲響空間，將由屢獲殊榮的日本傑出青年大提琴家北村陽演繹。
1931年的巴黎殖民博覽會，讓峇里島甘美朗音樂受到巴黎樂迷的關注。其鮮明獨特的聲響，也為當時巴黎的音樂創作增添了多元文化的色彩。隔年，普朗克便在這樣的音樂氛圍中創作了《雙鋼琴協奏曲》。作品以燦爛、富有打擊感的音樂語法，以及鮮明的器樂色彩著稱。在普朗克為傳奇大提琴家皮耶・傅尼葉（Pierre Fournier）所作的大提琴奏鳴曲中，展現出的俏皮優雅與無法抗拒的魅力，堪稱大提琴曲目的瑰寶。我們很期待聽見備受讚譽的波蘭青年大提琴家克日什托夫・米哈爾斯基帶來的詮釋。
音樂會壓軸曲目，將由法國著名大提琴家朱利安．拉斐爾演出布瑞頓《大提琴奏鳴曲》。布瑞頓與民族音樂學家柯林・麥克菲（Colin McPhee）交情深厚，並因其研究而接觸到峇里島甘美朗音樂，進而將那閃爍流動的音響質感，巧妙融入奏鳴曲第二樂章。
▌演出曲目
德布西（1862-1918）： D小調大提琴奏鳴曲，L. 135
第一樂章 序幕—緩慢、持續且非常堅定地
第二樂章 小夜曲—適度活潑地
第三樂章 終曲—活潑、輕巧且激動地
譚盾（*1957）：《臥虎藏龍》大提琴奏鳴曲
第三樂章 〈永恆誓言〉
第四樂章 〈南行〉
普朗克（1899-1963）：大提琴奏鳴曲，FP 143
第一樂章 快板—進行曲速度
第二樂章 抒情短歌
第三樂章 舞曲風格
第四樂章 終曲
-中場休息–
藤倉大（*1977）：《無人之無》
布列頓（1913-1976）：C大調大提琴奏鳴曲，作品65
第一樂章 對話—快板
第二樂章 詼諧曲與撥弦—稍快板
第三樂章 輓歌—緩板
第四樂章 進行曲—有活力地
第五樂章 無窮動—急板
*演出全長約100分鐘，含中場休息15分鐘。
▌演出音樂家
大提琴家：陳亦柏、克日什托夫・米哈爾斯基、北村陽、朱利安・拉斐爾／鋼琴家：盧易之
▌音樂會購票
10.10 Sat. 14:30 National Recital Hall （Venue Location）
For more than 150 years, a rich cultural dialogue has flourished between Asia and Europe, beginning with the great World Exhibitions in Vienna (1873) and Paris (1889). In Vienna, Europeans first encountered Japanese art and culture in depth—an encounter that ignited a lasting fascination with Asian literature and music. Soon, translations of Chinese and Japanese poetry captured the imagination of the West, inspiring works such as Mahler's Das Lied von der Erde or the poetic settings of Zemlinsky and numerous other composers.
The 1889 Paris Exhibition proved especially influential in the realm of music. There, Claude Debussy discovered the sounds of Asia—pentatonic scales and the shimmering textures of Gamelan music—elements that would become central to Impressionism and alter the course of Western music history. In this program, the acclaimed Chinese cellist Yibai Chen performs Debussy's Cello Sonata alongside two movements from Tan Dun's evocative Cello Sonata, based on his celebrated score for Crouching Tiger, Hidden Dragon.
One of Japan's foremost composers, Toru Takemitsu, was deeply drawn to Debussy's sound world. Expanding on its impressionistic language, he fused it with the traditions of his native Japan, creating a unique synthesis that shaped an entire generation of Japanese composers. Among them is Dai Fujikura, whose brilliantly crafted piece Nobody's Nothings will be brought to life by the distinguished and award-winning young Japanese cellist Yo Kitamura.
The 1931 Paris Colonial Exhibition brought Balinese gamelan music to the attention of Parisian audiences. Its striking sonorities formed part of the cosmopolitan musical environment in which Francis Poulenc composed his Concerto for Two Pianos the following year, a work notable for its brilliant, percussive writing and vivid instrumental colors. Poulenc's Cello Sonata—written for the legendary Pierre Fournier—is a work of irresistible charm and playful elegance, a true jewel of the cello repertoire. We look forward to hearing it performed by the young and celebrated cellist Krisztof
Michalski.
The evening concludes with a performance of Benjamin Britten's Cello Sonata by the renowned french cellist Victor Julien-Laferrière. Britten, a friend of ethnomusicologist Colin McPhee, was introduced to the world of Balinese Gamelan music through McPhee's research and incorporated its shimmering textures into the second movement of this sonata.
▌ Program
Claude Debussy (1862-1918)：Cello Sonata in D Minor, L. 135
I. Prologue: Lent, sostenuto e molto risoluto
II. Sérénade: Modérément animé
III. Final: Animé, léger et nerveux
Tan Dun (*1957)：Crouching Tiger Hidden Dragon Sonata for Cello and Piano
III. Eternal Vow
IV. To the South
Francis Poulenc (1899-1963)：Cello Sonata, FP 143
I. Allegro – Tempo di Marcia
II. Cavatine
III. Ballabile
IV. Finale
- Intermission -
Dai Fujikura (*1977)：Nobody's Nothings for cello solo
Benjamin Britten (1913-1976)：Cello Sonata in C major, Op.65
I. Dialogo. Allegro
II. Scherzo–Pizzicato. Allegretto
III. Elegia. Lento
IV. Marcia. Energico
V. Moto perpetuo. Presto
Duration is 110 minutes with a 15-minute intermission.
▌Artists
Cellists: Yibai Chen, Krzysztof Michalski, Yo Kitamura, Victor Julien-Laferrière / Pianist: Yi-Chih Lu
▌Ticket Purchase
德布西：D小調大提琴奏鳴曲，L. 135
《D小調大提琴奏鳴曲》創作於1915年，是德布西晚年的作品，也是他原計畫創作的六首奏鳴曲系列中的第一首，但最終，這個計畫僅完成了三首。作品寫於戰時的巴黎，音樂語言更顯清晰、簡潔而精緻，同時仍保有成熟時期德布西作品特有的和聲創意與細膩音色。
1889年巴黎世界博覽會期間，德布西接觸到爪哇甘美朗音樂，這段經驗深刻影響了他的音樂想像，也讓他對聲音、節奏與音樂時間有了全新的理解，促使他逐漸超越十九世紀歐洲傳統和聲的規範。德布西並非直接模仿非西方音樂，而是將這些影響融入自身獨特的音樂語言，讓音色、共鳴與氛圍不只是音樂的表現手段，也成為音樂結構的一部分。
全曲三個樂章連貫展開，情緒也隨之不斷轉換，將狂想式的抒情與優雅氣質，以及鮮明的炫技段落巧妙交織。大提琴與鋼琴之間展開親密而充滿表現力的對話，兩件樂器各自發揮同等重要的作用，共同構築出透明而精緻的音樂質地。作品雖承襲法國音樂傳統，卻也展現德布西始終對嶄新聲響世界的探索與著迷，使這首奏鳴曲成為二十世紀初室內樂的重要作品之一。
Claude Debussy：Sonata for Cello and Piano, L. 135
Composed in 1915, during the final years of his life, Claude Debussy's Sonata for Cello and Piano was the first of a projected cycle of six sonatas, of which only three were completed. Written in wartime Paris, the work marks a return to clarity, concision and refinement, while retaining the harmonic originality and subtle colour that define Debussy's mature style.
Debussy's musical imagination had been profoundly shaped by his encounter with the Javanese gamelan at the Exposition Universelle in Paris in 1889. The experience opened new perspectives on sonority, rhythm and musical time, encouraging him to move beyond the conventions of nineteenth-century European harmony. Rather than imitating non-Western music directly, Debussy absorbed these influences into a highly individual musical language in which colour, resonance and atmosphere became structural elements in their own right.
The three-movement sonata unfolds in a continuous flow of contrasting moods, balancing rhapsodic lyricism with elegance and moments of striking virtuosity. The cello and piano engage in an intimate and highly expressive dialogue, each instrument contributing equally to a musical texture of remarkable transparency and refinement. Though firmly rooted in the French tradition, the sonata reflects Debussy's enduring fascination with new sonic worlds, making it one of the defining chamber works of the early twentieth century.
譚盾：《臥虎藏龍》大提琴奏鳴曲
譚盾出生於中國湖南，他的音樂融合中國傳統與西方古典音樂的創作手法與形式，形成獨具特色的音樂語言。他的作品經常結合儀式性、戲劇性的動作與獨特音響，同時保有鮮明的旋律與戲劇敘事感。東西方音樂元素的交融，也使他成為同世代作曲家中最受國際樂壇矚目的一位。
《臥虎藏龍》大提琴奏鳴曲取材自譚盾為李安電影《臥虎藏龍》（2000）所創作的著名電影配樂，其中重要的大提琴部分最初由馬友友演奏。2018年，譚盾將電影配樂中的音樂重新整理，改編為一首四樂章的大提琴與鋼琴奏鳴曲，分別為〈臥虎藏龍〉、〈絲路奇遇〉、〈永恆的誓言〉與〈南行〉。
全曲中，大提琴始終扮演著極具歌唱性與戲劇張力的角色。寬廣抒情的旋律與充滿動能的節奏交替出現，並穿插打擊樂般的演奏效果與高度炫技的段落。音樂既展現電影武俠世界中含蓄內斂的美感，也捕捉其中快速流動的動態感；鋼琴則提供豐富多變的聲響背景，從營造氛圍的共鳴，到強而有力的節奏推進，與大提琴共同建構作品的音樂空間。
這首奏鳴曲展現譚盾一貫的東西交融手法。中國音樂的表現特色，包括自由伸縮的旋律線條、裝飾性的音型，以及對傳統樂器音色的模擬，與西方奏鳴曲傳統及現代大提琴豐富的表現可能彼此交織。最終形成一部具有鮮明電影感的作品，讓親密、儀式、動態與記憶彼此緊密相連。
Tan Dun：Crouching Tiger Sonata for Cello and Piano
Born in Hunan, China, Tan Dun has developed a distinctive musical language in which Chinese traditions encounter the techniques and forms of Western concert music. His works frequently combine ritual, theatrical gesture and unusual sonorities with a strong sense of melody and dramatic narrative. This synthesis of Eastern and Western influences has made him one of the most internationally recognised composers of his generation.
The Crouching Tiger Sonata is drawn from Tan Dun's celebrated score for Ang Lee's film Crouching Tiger, Hidden Dragon (2000), whose prominent cello part was originally performed by Yo-Yo Ma. In 2018, the composer reshaped music from the soundtrack into a four-movement sonata for cello and piano: Crouching Tiger, Hidden Dragon, Silk Road: Encounters, Eternal Vow and To the South.
Throughout the work, the cello assumes an intensely vocal and dramatic role. Expansive lyrical melodies alternate with energetic rhythms, percussive effects and passages of great virtuosity. The music evokes both the restrained elegance and the dynamic movement of the film's martial-arts world, while the piano provides a richly varied background ranging from atmospheric resonance to forceful rhythmic propulsion.
The sonata embodies Tan Dun's characteristic East–West confluence. Elements associated with Chinese musical expression—including flexible melodic lines, ornamental gestures and the evocation of traditional instruments—are brought into dialogue with the Western sonata tradition and the expressive possibilities of the modern cello. The result is a work of cinematic intensity in which intimacy, ritual, movement and memory are closely intertwined.
普朗克：大提琴奏鳴曲，FP 143
普朗克的《大提琴奏鳴曲》創作於1948年，題獻給大提琴家傅立葉（Pierre Fournier），是他最重要的室內樂作品之一。作品將抒情與沉思的氣質，與機智、優雅及富有戲劇張力融為一體，充分展現普朗克鮮明的音樂風格，在深刻的情感表達之外，也呈現出清晰、簡潔而精緻的特質。
這首奏鳴曲承襲法國室內樂傳統，但普朗克的音樂想像也受到非歐洲文化的啟發。1931年巴黎殖民博覽會期間，他聽到峇里島甘美朗音樂，對他的創作產生長久的影響，尤其可見於《雙鋼琴協奏曲》。和許多同世代的法國作曲家一樣，東西方之間日益頻繁的藝術交流，也成為普朗克創作靈感的一部分。
四個樂章各具不同的情緒與音樂特質，彼此形成鮮明對比；親密而抒情的段落，與充滿活力的節奏及強烈的情感表現彼此交織，形成豐富而連貫的音樂敘事。這首作品在創作過程中與傅立葉密切合作完成，至今仍是二十世紀大提琴與鋼琴作品中的經典之作。演奏這首作品不僅需要高超的技巧，也需要演奏者對音樂有深入的理解。
Francis Poulenc：Sonata for Cello and Piano, FP 143
Composed in 1948 and dedicated to the memory of Pierre Fournier, Francis Poulenc's Sonata for Cello and Piano is one of the composer's most substantial chamber works. Combining lyrical introspection with wit, elegance and moments of dramatic intensity, the sonata reflects Poulenc's unmistakable musical voice—at once deeply expressive and marked by clarity, economy and refinement.
Although the Sonata itself remains firmly rooted in the French chamber music tradition, Poulenc's musical imagination had also been shaped by encounters with non-European cultures. His experience of hearing a Balinese gamelan at the 1931 Paris Colonial Exposition left a lasting impression, most clearly reflected in his Concerto for Two Pianos. Like many French composers of his generation, Poulenc belonged to a musical world in which artistic exchanges between East and West had become an important source of inspiration.
The four-movement sonata unfolds as a richly contrasted musical narrative, balancing moments of intimate lyricism with rhythmic vitality and expressive intensity. Written in close collaboration with Pierre Fournier, it remains one of the twentieth century's finest works for cello and piano, demanding both virtuosity and profound musical insight from its performers.
藤倉大：《無人之無》
藤倉大出生於大阪，自15歲起定居英國，是當代音樂的重要作曲家之一。他的作品跨越文化的界線，將日本美學對音色的細膩感受，與歐洲前衛音樂的結構思維融為一體。他不是將東西方音樂傳統簡單地拼接在一起，而是從中發展出獨特的音樂語言，讓聲音本身成為最主要的表達方式。
「曾經備受讚譽、深受喜愛，最終卻消逝。作為藝術家，他們在 1920 年代登上世界各地的舞台，在柏林的孟德爾頌宮舉辦盛大的派對，也曾與當時的名人交往，對象有男有女。如今，幾乎已經沒有人知道艾蕾諾拉與弗朗切斯科・馮・孟德爾頌。」──德國藝術團體 tauchgold 如此評論，而這正是廣播劇《無人之無一孟德爾頌兄妹：弗朗切斯科與艾蕾諾拉》劇名的由來。
《無人之無》創作於2024年，原為廣播劇《無人之無—孟德爾頌兄妹：弗朗切斯科與艾蕾諾拉》的配樂。作品最初為大提琴與演員而作，後來也成為可獨立演出的單人大提琴作品；各樂章既可分開演奏，也不限定演出順序。作品透過不斷變化的音色與聲響，探索大提琴豐富的表現可能，讓演奏者能夠將每一段音樂塑造成各具特色的音樂敘事。
整部作品中，大提琴彷彿一位獨自說故事的人，在抒情沉思、細語般的聲響與充滿戲劇張力的段落之間自然轉換。豐富多變的音色、流暢的聲響變化，以及對「沉默」的細膩處理，都是藤倉大音樂創作的重要特色。在《無人之無》中，大提琴化為承載記憶與想像的聲音，帶領聽者走進一段私密而獨特的音樂旅程，也呈現出作曲家詩意而獨具個性的聲音美學。
Dai Fujikura：Nobody's Nothings for Solo Cello (2024)
Born in Osaka and based in the United Kingdom since the age of fifteen, Dai Fujikura is one of the leading voices in contemporary music. His works transcend cultural boundaries, combining the refined timbral sensitivity of Japanese aesthetics with the structural imagination of the European avant-garde. Rather than juxtaposing Eastern and Western traditions, Fujikura creates an individual musical language in which sound itself becomes the primary means of expression.
"Celebrated, loved, gone. As artists, they conquered the stages of the world in the 1920s, celebrated wild parties at the Palais Mendelssohn in Berlin-Grunewald and had affairs with the icons of the time - of all genders. Today, hardly anyone knows Eleonora and Francesco von Mendelssohn" (by tauchgold)
Nobody's Nothings was composed in 2024 as the musical score for the radio drama Nobody's Nothings – Die Geschwister Francesco und Eleonora von Mendelssohn. Conceived for cello and actors, the music also exists as an independent concert work for solo cello, with its individual movements performable separately or in any order. The score explores the expressive possibilities of the instrument through an ever-changing landscape of colour, gesture and resonance, inviting the performer to shape each episode as a distinct musical narrative.
Throughout the work, the cello becomes a solitary storyteller, shifting seamlessly between lyrical introspection, fragile whispers and moments of dramatic intensity. Richly varied timbres, fluid transitions and a heightened awareness of silence are hallmarks of Fujikura's compositional style. In Nobody's Nothings, the instrument is transformed into a voice of memory and imagination, creating a deeply personal musical journey that reflects the composer's uniquely poetic approach to sound.
布列頓：C大調大提琴奏鳴曲，作品65
1961年，布列頓為俄國大提琴家羅斯托波維奇寫下《C大調大提琴奏鳴曲》。羅斯托波維奇的藝術才華啟發了布列頓創作一系列重要作品，也為20世紀大提琴曲目的發展帶來深遠影響。作品由羅斯托波維奇與布列頓共同首演，布列頓親自擔任鋼琴演奏；作品兼具精湛的技巧與豐富的情感表現，兩位音樂家之間的密切合作也貫穿其中。1956年，布列頓與男高音Peter Pears前往亞洲旅行，沿途接觸到的音樂也豐富了他的創作語言。他對峇里島甘美朗與日本傳統音樂留下深刻印象，並將這些經驗融入後來的多部作品，其中最著名的例子是芭蕾舞劇《寶塔王子》（1957）。
全曲由五個風格各異的樂章組成，展現布列頓一貫清晰的曲式架構、充滿活力的節奏，以及大提琴與鋼琴之間豐富多變的互動。第二樂章〈詼諧曲與撥弦〉尤其引人注目，幾乎全曲都以撥奏演奏，使大提琴呈現出豐富的打擊樂器般音響。明亮而輕盈的聲響，加上交錯的節奏，讓人聯想到峇里島甘美朗的音樂。布列頓並未直接引用甘美朗音樂，而是將當時深深觸動他的音色與節奏活力重新轉化，融入自己的音樂之中。
最後一個樂章〈無窮動〉充滿力量，不僅將全曲推向高潮，也將作品中的機智、炫技與強烈情感發揮得淋漓盡致。如今，這首奏鳴曲已成為二十世紀室內樂的重要作品之一。這首作品也充分展現布列頓的音樂特色：結構嚴謹、手法精確，同時又有直接而深刻的情感表達。
Benjamin Britten：Sonata for Cello and Piano in C major, Op. 65
Benjamin Britten composed his Sonata for Cello and Piano in 1961 for the legendary Russian cellist Mstislav Rostropovich, whose artistry inspired a remarkable series of works that transformed the twentieth-century cello repertoire. Premiered by Rostropovich and Britten himself at the piano, the sonata combines technical brilliance with extraordinary expressive range, reflecting the close artistic partnership between the two musicians. Britten's musical language was enriched by his travels through Asia with the tenor Peter Pears in 1956. Deeply impressed by the sounds of Balinese gamelan and Japanese traditional music, he absorbed these experiences into several later works, most notably the ballet The Prince of the Pagodas (1957).
Cast in five contrasting movements, the sonata displays Britten's characteristic clarity of form, rhythmic vitality and inventive dialogue between cello and piano. The second movement, Scherzo-Pizzicato, is particularly striking: written almost entirely in pizzicato, it transforms the cello into a richly percussive instrument. Its shimmering textures and interlocking rhythmic patterns evoke the sonorous world of the Balinese gamelan—not through direct quotation, but through Britten's imaginative re-interpretation of the colours and rhythmic vitality that had so profoundly inspired him.
The sonata culminates in a powerful Moto perpetuo, bringing together the work's wit, virtuosity and emotional intensity. Today it stands as one of the landmark chamber works of the twentieth century, illustrating Britten's unique ability to unite intellectual precision with deeply communicative expression.