音樂會 Concert
｜台北場 Taipei ｜10.04 Sat. 19:30
大提琴的多重宇宙2.0
Cello in the Multiverse – Opus 2
「2025臺灣國際大提琴藝術節─大提琴的多重宇宙2.0」巡演，共規劃五場三套精彩曲目，前三場將在台北演出，最後兩場於高雄登場。演出形式從大提琴獨奏、大提琴與鋼琴二重奏，到大提琴合奏，並融入爵士樂元素，在豐富絢麗的大提琴音樂中，開啟一場壯闊的大提琴多重宇宙之旅。
10.04 Sat. 19:30 國家兩廳院演奏廳（場館位置）
在這場壓軸音樂會，TWICF將帶來令人驚豔的大提琴合奏體驗。四位在國際享負盛名的頂尖女大提琴家─安妮．加斯蒂內爾、拉斐拉．葛羅美斯、娜塔莉．克萊因，與克里斯汀．馮．德．戈爾茨，將攜手享譽國際的旅瑞大提琴家簡碧青、臺灣傑出女大提琴家歐陽伶宜、戴俐文和鄭伊晴，以及著名女指揮許瀞心、簫演奏家任重與新生代爵士女歌手羅妍婷合作，挑戰世界首演─瑞士作曲家法比安‧穆勒取材自中世紀德國傳奇女作曲家聖赫德嘉．馮．賓根《慈愛滿盈》的《對唱曲》與改編德弗札克《第八號交響曲》兩首重要作品的大提琴八重奏版、重現波蘭女作曲家格拉奇娜·巴切維一鳴驚人的代表作《大提琴四重奏》，並以經典室內樂作品致敬辭世十周年的臺灣重要作曲家馬水龍。
▌演出曲目
法比安．穆勒：《對唱曲》給人聲與大提琴八重奏，取材自聖赫德嘉．馮．賓根《慈愛滿盈》 *世界首演
格拉奇娜·巴切維：大提琴四重奏
「臺灣之聲」馬水龍：《意與象》給簫與四把大提琴
-中場休息-
德弗札克：Ｇ大調第八號交響曲 （法比安‧穆勒改編為大提琴八重奏版）*世界首演
*演出全長約110分鐘，含中場休息15分鐘。
▌演出音樂家
大提琴家：安妮．加斯蒂內爾、拉斐拉．葛羅美斯、娜塔莉．克萊因、簡碧青、克里斯汀．馮．德．戈爾茨、歐陽伶宜、戴俐文、鄭伊晴／指揮：許瀞心／簫演奏家：任重 / 爵士歌手：羅妍婷
The 2025 Taiwan International Cello Festival concert tour The Cello in the Multiverse – Opus 2 presents five performances in Taipei and Kaohsiung, spanning three programs. The diverse repertoire ranges from solo and duo pieces to cello ensembles and even jazz elements, offering audiences an immersive journey through a vibrant cello multiverse.
10.04 Sat. 19:30 National Recital Hall （Venue Location）
For this grand finale, the Taiwan International Cello Festival presents an exhilarating ensemble performance featuring four internationally renowned female cellists—Anne Gastinel, Raphaela Gromes, Natalie Clein, and Kristin von der Goltz—joined by the esteemed Switzerland-based cellist Pi-Chin Chien, outstanding Taiwanese cellists Ling-Yi Ou Yang and Leewen Dai, as well as distinguished conductor Ching-Hsin Hsu, Xiaoist Jen Chung, and rising jazz vocalist YenTing Lo. Highlights include the world premiere of a cello octet adaptation of Caritas habundat by Hildegard von Bingen and Dvořák's Symphony No. 8, a powerful rendition of Grażyna Bacewicz's Cello Quartet, and a chamber music tribute marking the 10th anniversary of Taiwanese composer Shui-long Ma's passing.
▌ Program
Fabian Müller: "Antiphon" for Voice and Cello Octet after "Caritas abundat" by Hildegard von Bingen *world premiere
Grażyna Bacewicz：Cello Quartet
Sound of Taiwan／Shui-Long Ma：Idea and Image for Xiao and Four Violoncellos
-Intermission-
Antonín Dvořák：Symphony No.8 in G Major, Op.88（arranged for cello octet by Fabian Müller） *world premiere
Duration is 110 minutes with a 15-minute intermission.
▌Artists
Cellists: Anne Gastinel, Raphaela Gromes, Natalie Clein, Pi-Chin Chien, Kristin von der Goltz, Ling-Yi Ou Yang, Leewen Dai and Yi-Chin Cheng / Conductor: Apo Ching-Hsin Hsu/ Xiaoist: Jen Chung / Jazz Singer: Yen-Ting Lo
法比安．穆勒（*1964）《對唱曲》給人聲與大提琴八重奏，取材自聖赫德嘉．馮．賓根《慈愛滿盈》
聖赫德嘉．馮．賓根（1098–1179）是一位本篤會修女、神秘主義者、詩人，也是中世紀最重要的作曲家之一。她的創作包括充滿異象的文本、自然科學著作，以及大量神聖歌曲。她的音樂特色在於靈性光輝與旋律大膽的融合：寬廣的音程與自由流動的旋律線賦予她的聖歌即時而強烈的表現力。《慈愛滿盈》這首對唱詠歌讚頌了充滿天地的無限之愛，滲透於生命的每一個角落。
對唱詠歌是西方教會最古老的禮儀歌曲形式之一。最初，它用來框架詩篇，並賦予詩篇音樂表現的形式。這類旋律通常短小精練，突顯節日或靈性主題的特質。在聖赫德嘉的作品中，對唱詠歌尤為精巧：它們成為她神學的聲音象徵，音樂與神秘主義緊密結合，不可分離。
瑞士作曲家法比安．穆勒以聖赫德嘉的《慈愛滿盈》旋律為創作起點，為人聲與八把大提琴譜寫新作。他將旋律與自己的音樂構想交織，開展出嶄新的和聲空間，並讓人聲透過大提琴合奏的共鳴多次映照。音樂在此與過去對話，而中世聖歌的古樸特質仍然保留。古老的旋律穿越至當下，獲得新的色彩與深度，呈現出既熟悉又新穎的面貌。
這部作品並非單純的改編，而是一種當代的沉思，探究神聖音樂的力量，以及聖赫德嘉異象的持久存在感。
Fabian Müller (*1964) – Antiphon for Voice and Cello Octet, after Caritas abundat by Hildegard von Bingen
Hildegard von Bingen (1098–1179) was a Benedictine nun, mystic, poet, and one of the most important composers of the Middle Ages. Her work comprises visionary texts, writings on natural science, and a large body of sacred songs. Characteristic of her music is the fusion of spiritual radiance with melodic boldness: wide intervals and freely flowing lines give her chants an immediate expressive power. The antiphon Caritas abundat sings of the all-encompassing love that fills heaven and earth and permeates life itself.
The antiphon is one of the oldest liturgical song forms of the Western church. It originally served to frame psalms and provide them with a musical setting. Often these are short, concise melodies that highlight the character of a feast or a spiritual theme. In Hildegard's oeuvre, the antiphons stand out as particularly artful: they become sonic icons of her theology, in which music and mysticism are inseparably united.
The Swiss composer Fabian Müller takes the melody of Hildegard's Caritas abundat as the starting point for his work for voice and eight cellos. He weaves it together with his own inventions, opens it into new harmonic spaces, and lets the voice be reflected multiple times through the resonance of the cello ensemble. The music thus enters into dialogue with the past, without losing the archaic character of medieval chant. The ancient theme journeys into the present, gains new colors and depths, and appears at once familiar and new.
This work is not a mere arrangement, but rather a contemporary meditation on the power of sacred music and the enduring presence of Hildegard's vision.
格拉奇娜．巴切維（1909–1969） 大提琴四重奏
1. Narrazione
2. Riflessioni
格拉奇娜．巴切維是二十世紀最具影響力的波蘭音樂家之一。她不僅是傑出的作曲家，同時也是備受讚譽的小提琴家與鋼琴家。巴切維奇先在華沙求學，後赴巴黎深造，師從納迪亞．布朗傑（Nadia Boulanger）學習作曲，並跟隨卡爾．弗萊什（Carl Flesch）學習小提琴。她早期便融合了兩個世界：法國音樂訓練中追求的清晰古典形式，以及她強烈而個人的音樂聲音，常帶有節奏活力與尖銳的音色特質。
二戰期間，巴切維奇仍持續演出與教學；1945年後，她以作曲家的身份嶄露頭角，享譽國際。她幾乎涵蓋所有音樂類型——交響曲、協奏曲、室內樂、歌劇，並成為第一位獲任命為波蘭作曲學教授的女性。她的音樂被視為新古典主義傳統與戰後實驗思潮之間的重要橋樑。
1963年，她創作了《大提琴四重奏》。與她早期的小提琴四重奏（更偏向教學作品）不同，這部作品充分探索了這個編制的特殊魅力：大提琴深沉而共鳴的音色。她刻意避免使用通常與大提琴相關的寬廣旋律線，而是追尋新的表現方式——不尋常的演奏技巧、引人注目的節奏結構，以及豐富多彩的音色質感。兩個樂章的名稱也頗具寓意：敘事（Narrazione）與「沉思」（Riflessioni）。
這部作品既具敘事性，又富實驗性，它承載了大提琴熟悉的溫暖音色，同時突破了樂器的既有界限。1964年於華沙秋季音樂節首演時，這部作品被譽為巴切維奇創作好奇心與大膽精神的精彩呈現。
Grażyna Bacewicz (1909–1969) – Quartet for Four Cellos
1. Narrazione
2. Riflessioni
Grażyna Bacewicz ranks among the most influential Polish musicians of the 20th century. She was not only an outstanding composer, but also a celebrated violinist and pianist. After studying in Warsaw, she went to Paris, where she studied composition with Nadia Boulanger and violin with Carl Flesch. Early on she combined two worlds: the classical formal clarity of French training with a strong personal voice, often marked by rhythmic energy and sharp-edged sonorities.
During World War II, Bacewicz continued to perform and to teach; after 1945 she rose to international prominence as a composer. She wrote in virtually all genres—symphonies, concertos, chamber music, operas—and was the first Polish woman to be appointed professor of composition. Her music is regarded as a bridge between the neoclassical tradition and the experimental currents of the postwar era.
She composed the Quartet for Four Cellos in 1963. Unlike her earlier quartet for four violins, conceived more as a pedagogical piece, she here fully explored the special appeal of this ensemble: the dark, sonorous richness of the cello. She deliberately avoided the broad cantilenas usually associated with the instrument, and instead searched for new modes of expression—unusual playing techniques, striking rhythmic structures, and colorful textures. The two movements bear telling titles: Narrazione (“Narration”) and Riflessioni (“Reflections”).
The result is a work that is both narrative and experimental, one that draws on the familiar warmth of the cello while pushing beyond its boundaries. At its premiere at the 1964 Warsaw Autumn Festival, it was hailed as a bold example of Bacewicz’s creative curiosity.
馬水龍 （1939–2015）《意與象》給簫與四把大提琴
馬水龍出生於基隆，是二十世紀臺灣最重要的作曲家之一。經歷臺灣與德國的學習，他發展出獨具特色的音樂語言，將西方作曲技法與中國及臺灣音樂傳統元素相融合。他的創作涵蓋管弦樂、室內樂、合唱以及獨奏作品，為他贏得國際聲譽，作品曾在美國演出，包括紐約林肯中心，同時榮獲多項殊榮，包括1999年國家文藝獎以及多項國家級勳章，都彰顯了他卓越的地位。
他的作品《意與象》（Idea and Image），為簫與四把大提琴所作，創作於1989年，並於同年在臺北首演。作品標題點出概念與聲響圖像的連結：在「意」與「象」、抽象設計與感官效果之間展開互動。作品中，作曲家對比了充實與空靈、聲響與沈默──音樂圖像展現出一種靈性、近乎冥想般的美感。
Ma Shui-long (1939–2015) – Idea and Image for Xiao (Chinese bamboo flute) and Four Cellos
Ma Shui-long (1939–2015), born in Keelung, was one of the most important Taiwanese composers of the 20th century. After studies in Taiwan and Germany, he developed a distinctive voice that combined Western compositional techniques with elements of Chinese and Taiwanese musical tradition. His output—including orchestral works, chamber music, choral compositions, and solo pieces—brought him international recognition, with performances in the United States, including at New York's Lincoln Center. Numerous honors, among them the National Award for Arts in Music (1999) and high state decorations, underline his outstanding status.
His work "Idea and Image" for xiao (Chinese bamboo flute) and four cellos was composed in 1989 and premiered the same year in Taipei. The title points to the connection of concept and sonic image: the interplay of "idea" and "image," of abstract design and sensual effect. In it, Ma contrasts fullness and emptiness, sound and silence—musical images that unfold a spiritual, almost meditative beauty.
德弗札克（1841–1904） Ｇ大調第八號交響曲，作品88 （改編大提琴八重奏版）
1. Allegro con brio
2. Adagio
3. Allegretto grazioso – Molto vivace
4. Allegro, ma non troppo
德弗札克是十九世紀偉大的交響曲作曲家之一。他的音樂深植於波西米亞民間音樂，將民間旋律與節奏巧妙融入古典形式與管弦樂的華彩之中。其《G大調第八號交響曲，作品88》，創作於1889年，僅用數週完成，是他最明亮、最充滿歡愉的作品之一。德弗札克本人曾提到，此曲與他以往的交響曲皆不同，充滿大自然景象、歌唱性旋律以及舞蹈般的活力。今天，它已成為古典音樂曲目中最受喜愛的作品之一。
法比安．穆勒將此交響曲改編為大提琴八重奏版。八把大提琴承擔了整部樂譜，將原本管弦樂的豐富聲響轉化為全新而令人驚喜的維度：有時融合為接近管弦樂的厚實聲響，有時則呈現透明而室內樂般的質感。這部作品是第8號交響曲，作品88，大提琴8重奏版，為今日的世界首演賦予了特殊的象徵意義，也凸顯了其邀請觀眾重新體驗德弗札克音樂，既熟悉又耳目一新的特質。
Antonín Dvořák (1841–1904) – Symphony No. 8 in G major, Op. 88 for 8 Cellos
1. Allegro con brio
2. Adagio
3. Allegretto grazioso – Molto vivace
4. Allegro, ma non troppo
Antonín Dvořák (1841–1904) was one of the great symphonists of the 19th century. Deeply rooted in Bohemian folk music, he combined its melodies and rhythms with classical form and orchestral brilliance. His Symphony No. 8 in G major, Op. 88 was written in 1889 in just a few weeks and is among his brightest and most joyful works. Dvořák himself remarked that it differed from all his previous symphonies, filled with images of nature, song, and dance-like energy. Today it is considered one of the most beloved works in the classical repertoire.
Fabian Müller has transcribed this symphony in a remarkable version for cello octet. Eight cellos take on the entire score, transforming the orchestral richness into a new, surprising dimension: at times merging into a sonority of orchestral fullness, at times transparent and chamber-like. That this is the 8th Symphony, Op. 88, for 8 cellos lends today's world premiere a special symbolic weight and underscores its character as an invitation to experience Dvořák's music both familiar and strikingly renewed.