音樂會 Concert
｜高雄場 Kaohsiung ｜10.05 Sun. 14:30
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。
10.05 Sun 14:30 衛武營表演廳 （場館位置）
在藝術節的開幕音樂會及高雄首場音樂會，TWICF為了這場少見的女性作曲家作品專場音樂會，特別邀請被公認為法國大提琴學派代表的大提琴家安妮‧加斯蒂內爾、炙手可熱的德國大提琴明星拉斐拉‧葛羅美斯、備受推崇的英國全能型大提琴家娜塔莉‧克萊因，與來自德國古老貴族家族的巴洛克大提琴大師克里斯汀‧馮‧德‧戈爾茨首度來臺。四位國際頂尖女大提琴家將與臺灣鋼琴家沈妤霖與廖培鈞、德國鋼琴家朱利安‧黎姆搭檔，從「她」的視角，分別為十九世紀至二十世紀女性作曲家─芬妮‧孟德爾頌、麗塔．斯特羅爾、亨麗埃特·波斯曼斯與蕾貝卡‧克拉克的傑出作品發聲，探索罕為人知的大提琴遺世瑰寶。
▌演出曲目
芬妮．孟德爾頌：G小調幻想曲
麗塔．斯特羅爾：偉大的戲劇奏鳴曲「提圖斯與貝蕾尼絲」
-中場休息 -
亨麗埃特．波斯曼斯：大提琴奏鳴曲
蕾貝卡．克拉克：大提琴奏鳴曲
*演出全長約120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、克里斯汀．馮．德．戈爾茨／鋼琴家：沈妤霖、廖培鈞、朱利安．黎姆
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.
10.05 Sun 14:30 Weiwuying Recital Hall （Venue Location）
As part of the Taiwan International Cello Festival, this rare concert celebrating women composers features an extraordinary lineup: Anne Gastinel, a leading cellist of the French school; Raphaela Gromes, a celebrated German cellist; Natalie Clein, a highly acclaimed British cellist; and Kristin von der Goltz, a distinguished German Baroque cello specialist. Their Taiwan debut will be complemented by Taiwanese pianists Yulin Shen and Pei-Chun Liao, alongside German pianist Julian Riem. From a female perspective, they will revive the exceptional works of 19th and 20th century women composers such as Fanny Mendelssohn, Rita Strohl, Henriette Bosmans, and Rebecca Clarke, shedding light on the cello's forgotten gems.
▌Program
Fanny Mendelssohn：Fantasy in G minor for Cello and Piano
Rita Strohl：Great dramatic Sonata "Titus et Bérénice" for Cello and Piano
-Intermission -
Henriette Bosmans：Sonata for Cello and Piano
Rebecca Clarke：Sonata for Cello and Piano
Duration is 120 minutes with a 15-minute intermission.
▌Artists
Cellists: Anne Gastinel, Raphaela Gromes, Natalie Clein, Kristin von der Goltz / Pianists: Yulin Shen, Pei-Chun Liao and Julian Riem
芬妮．孟德爾頌（1805–1847） G小調幻想曲
費利克斯．孟德爾頌（Felix Mendelssohn）的姐姐芬妮．孟德爾頌，是一位極具天賦的鋼琴家和作曲家，但她的創作長久以來都被掩蓋在那位著名弟弟的光芒之下。在高度重視藝術與音樂的柏林孟德爾頌家族中，她接受了全面的音樂教育。她的作曲才華自幼即已展現，但由於當時的社會規範，她無法步上公開的音樂職業生涯。其所創作的四百五十餘首作品，包括藝術歌曲、鋼琴曲與室內樂──大多在她生前未曾出版。直至近數十年，她的音樂才逐漸獲得更廣泛的重視，且作品在浪漫樂派的地位也愈加受到肯定。
除了與費利克斯，芬妮也與弟弟保羅．孟德爾頌（Paul Mendelssohn）有深厚的音樂情感連結。保羅是一位熱情的大提琴家，雖以銀行家為職業，卻經常在家族著名的「週日音樂會」中演出。芬妮特別為他寫下兩首大提琴與鋼琴作品，其中包括 《G小調幻想曲》，這首作品展現了她強烈的表現力、自由的形式處理，以及對貝多芬的孺慕之情。
本曲以 「悲傷的行板」開始，鋼琴一開始的旋律明顯令人聯想起貝多芬《第一號拉祖莫夫斯基弦樂四重奏》的慢板樂章。從這段引用展開了一個濃烈的鋼琴主題，標示為「以深刻的情感」，隨即由大提琴接續，並推向更高張力。隨後，音樂爆發進入 G大調的 「最急板」，以炫技般的推動力奔馳向前。大提琴的器樂性宣敘調打斷了這股動能，轉入如歌的樂段，接著再度引用開頭動機，引出另一段「快板」──這次是「極中庸的」）。低語般的十六分音符與輕柔的撥弦聲，讓幻想曲在一種靜謐、近乎超凡的氛圍中收束。
在這首作品中，芬妮．孟德爾頌將個人化的表現力、自由的形式，以及深厚的音樂性融為一體，為大提琴與鋼琴曲目留下了一份極具力量的貢獻。
Fanny Mendelssohn (1805–1847) – Fantasy in G minor for Cello and Piano
Fanny Mendelssohn, the elder sister of Felix Mendelssohn Bartholdy, was a highly gifted pianist and composer whose work long remained in the shadow of her famous brother. In the Mendelssohn family in Berlin, which greatly fostered art and music, she received a comprehensive musical education. Her compositional talent emerged early, but social conventions denied her a public career. Many of her more than 450 works—songs, piano pieces, and chamber music—remained unpublished during her lifetime. Only in recent decades has her oeuvre gained greater recognition, and her standing as an independent voice of Romanticism is increasingly acknowledged.
In addition to Felix, Fanny also shared a close musical bond with her brother Paul Mendelssohn, a passionate cellist who, despite his professional life as a banker, performed regularly at the family's famous "Sunday musicales." For him, Fanny wrote two works for cello and piano, including the Fantasia in G minor, a piece that exemplifies her expressive power, her free approach to form, and her closeness to Beethoven.
The Fantasia opens with an Andante doloroso, its piano introduction unmistakably recalling the slow movement of Beethoven's first Razumovsky Quartet. From this quotation unfolds an intense piano theme, to be played con intimo sentimento, soon taken up and heightened by the cello. The music then bursts into a brilliant Prestissimo in G major, propelled by virtuosic drive. An instrumental recitative for the cello interrupts this momentum, leading into an arioso before another quotation from the opening returns, introducing a second Allegro—this time molto moderato. Whispering sixteenth notes (mormorando) and quiet pizzicato bring the Fantasia to a hushed, almost otherworldly close.
In this work, Fanny Mendelssohn unites personal expressivity, formal freedom, and musical depth into a powerful contribution to the cello and piano repertoire.
麗塔．斯特羅爾（1865–1941）偉大的戲劇奏鳴曲「提圖斯與貝蕾尼絲」
1. Allegro Moderato
2. Vivace - Molto Movimiento
4. Lento, Tristamente
5. Allegro molto movimiento
麗塔．斯特羅爾是一位鋼琴家、作曲家，也是她所處時代最具代表性的藝術家之一。她自幼進入巴黎音樂院受訓，少年時期便已出版首批作品，不久便進入法國音樂界的核心圈子。第一任丈夫過世後，她與年輕的勒內．比亞（René Billa）建立了情感與藝術上的連結。兩人共同孕育了一項宏大的計畫，充滿神秘主義色彩，並深受華格納影響：1912年，他們在巴黎近郊比耶夫爾（Bièvres）一座改建的穀倉中創辦了一系列音樂會，立志成為「法國的拜羅伊特」。在此，斯特羅爾原本打算演出她自己的歌劇，一個以凱爾特神話為題材的五部曲歌劇，歌劇腳本也由她親自撰寫。然而，戰爭與經濟困境使這些計畫戛然而止。她的許多作品因此漸遭遺忘──尤其是規模龐大的《大提琴奏鳴曲》，實在不應受到如此冷落。
她的奏鳴曲《提圖斯與貝蕾尼絲》取材自拉辛（Jean Racine）的同名悲劇。斯特羅爾將戲劇中的張力轉化為音樂，以雄渾的力量與寬廣的表達構築而成。這部奏鳴曲不僅是一首室內樂，更是一齣音樂化的愛情悲劇，在激情的爆發與動人的親密之間交錯流轉。斯特羅爾雖以晚期浪漫樂派的語言為基礎，卻融入了極具個人特色的風格，兼具法式優雅、戲劇張力與熱情。
最終呈現的，是一座真正的室內樂豐碑，卻長期被不公正地埋沒於陰影之中──而今，它愈加鮮明地彰顯出這位作曲家深藏的創造力。
Rita Strohl (1865–1941) –Great dramatic Sonata "Titus et Bérénice" for Cello and Piano
1. Allegro Moderato
2. Vivace - Molto Movimiento
4. Lento, Tristamente
5. Allegro molto movimiento
Rita Strohl was a pianist, composer, and one of the most remarkable artistic personalities of her time. Trained early at the Paris Conservatoire, she published her first works while still a teenager and soon moved within the circles of leading French musicians. After the death of her first husband, she formed a bond with the younger René Billa. Together they developed an ambitious project, infused with mysticism and a deep admiration for Wagner: in 1912 they founded a concert cycle in a converted barn in Bièvres, near Paris, intended as the seed of a "French Bayreuth." Here Stroh's own operas were to be performed—a Celtic-mythological cycle of five operas with libretti she wrote herself. But war and financial hardship put an end to these plans. Many of her works subsequently fell into oblivion—a loss especially in the case of her large Cello Sonata, which scarcely deserves such neglect.
The Sonata Titus et Bérénice is based on Jean Racine's tragedy of the same name. Strohl translates the dramatic tension of the play into music of great power and breadth of expression. The sonata is more than a chamber work: it shapes a gripping love drama in sound, oscillating between passionate outbursts and moving intimacy. Strohl draws on late-Romantic language but infuses it with a very personal style, shifting between French elegance, dramatic gesture, and spiritual fervor.
The result is a true monument of chamber music that has unjustly remained in the shadows—yet today reveals all the more vividly the creative force hidden in this composer.
亨麗埃特．波斯曼斯（1895–1952）大提琴奏鳴曲
1. Allegro maestoso
2. Un poco allegretto
3. Adagio
4. Allegro molto e con fuoco
亨麗埃特．博斯曼斯是鋼琴家莎拉．本尼迪克茲（Sara Benedicts）與大提琴家亨利．波斯曼斯（Henri Bosmans）的女兒，後者是阿姆斯特丹音樂院的共同創辦人。她的父親是一位充滿熱情的室內樂演奏家，但早逝──然而，大提琴卻在這位年輕作曲家的第一個創作階段留下了深刻印記。或許並非偶然，她父親的大提琴就擺放在她房間的中央，很快也成為她早期作品的核心焦點。
1919年，年僅24歲的波斯曼斯應大提琴家馬里克斯．勒文松（Marix Loevensohn）之邀，創作了一首《大提琴奏鳴曲》，並由他在個人獨奏會上首演。這首作品開啟了波斯曼斯的「大提琴時期」，其間誕生了大量為此樂器而作的作品，包括兩首大提琴協奏曲、一首《詩篇》（Poème），以及多首室內樂作品。有些靈感來自勒文松，有些則源於她的摯友、大提琴家芙莉達．貝林芳特（Frieda Belinfante）。這些作品共同構成了一個令人印象深刻的曲目集，展現了她兼具自信與細膩的才華特質。
《大提琴奏鳴曲》顯示出波斯曼斯雖仍植根於浪漫主義傳統，但已能以清晰獨特的聲音發言。作品的第一與最後樂章充滿力量，中段則展現受布拉姆斯啟發的抒情樂段，以及帶有德布西風格的印象派色彩。小範．德爾登二世（Lex van Delden Jr.）曾形容此曲「洋溢著真摯而豐饒的情感」，而這正是自波斯曼斯音樂伊始便鮮明存在的。
Henriëtte Bosmans (1895–1952) –Sonata for Cello and Piano
1. Allegro maestoso
2. Un poco allegretto
3. Adagio
4. Allegro molto e con fuoco
Henriëtte Bosmans was the daughter of pianist Sara Benedicts and cellist Henri Bosmans, co-founder of the Amsterdam Conservatory. Her father, a passionate chamber musician, died young—but the cello, in particular, left a lasting mark on the young composer's first creative phase. Perhaps not by chance, the instrument of her father stood at the center of her room and soon became the focus of her early works.
In 1919, the cellist Marix Loevensohn commissioned from the then 24-year-old Bosmans a Sonata for Cello and Piano, which he premiered in one of his recitals. With this work began Bosmans' "cellistic" period, in which numerous further pieces for the instrument emerged—including two cello concertos, a Poème, and chamber music. Some were inspired by Loevensohn, others by her close friend, the cellist Frieda Belinfante. Together they form an impressive collection bearing the hallmarks of a talent both confident and sensitive.
The Cello Sonata shows Bosmans still rooted in the Romantic tradition, yet already speaking with her own unmistakable voice. Powerful outer movements frame lyrical passages inspired by Brahms and impressionistic colorations reminiscent of Debussy. Lex van Delden Jr. spoke of the "great emotional generosity" that permeates the work—a quality that characterizes Bosmans' music from the very beginning.
蕾貝卡．克拉克（1886–1979）大提琴奏鳴曲
1. Impetuoso - Poco agitato
2. Vivace
3. Adagio - Allegro
蕾貝卡．克拉克不僅是她那個時代最傑出的中提琴家之一，也是極具才華的作曲家。然而，她的人生道路卻充滿阻礙：她自幼學習小提琴，少年時期便考入倫敦皇家音樂學院（Royal Academy of Music），但因教授向她求婚，父親便迫使她退學。後來她進入皇家音樂學院（Royal College of Music），卻未能完成學業。1910年，父親突然與她斷絕關係並停止經濟支持，使她不得不自力更生。即便如此，她仍成為倫敦樂團中第一批獲得正式席位的女性之一，並展開了國際性的中提琴與室內樂演奏生涯，展現了她非凡的堅韌與才華。第二次世界大戰前，她定居於美國。
1919年，克拉克引起轟動：在美國樂壇贊助人庫莉吉（Elizabeth Sprague Coolidge）所創辦的柏克夏室內樂比賽中，她的《中提琴奏鳴曲》與布洛赫（Ernest Bloch）的作品並列第一。最終獎項頒給了布洛赫──部分原因是當時許多人無法相信這樣一部充滿力量的作品竟出自女性之手。1944年結婚後，克拉克幾乎停止創作；她生前僅約二十首作品出版，更多的樂曲則在近年才陸續被重新發現。
她的《大提琴奏鳴曲》尤為值得關注，此曲改編自她廣受讚譽的《中提琴奏鳴曲》。樂曲展開如同一齣緊湊的戲劇：第一樂章（激烈的）以一段充滿浪漫色彩、力度澎湃的大提琴華彩樂段開場，隨後進入溫暖音區的夢幻中段，最後再度回歸激情的開頭主題。接下來的 第二樂章（活潑的） 幾近於詼諧曲，以印象派色彩與高超技法令人驚喜，從弱音、撥弦效果到泛音皆有展現。接著緩慢樂章則抒情且帶有憂鬱，並直接銜接至急促而迫切的終樂章，令整部奏鳴曲在強烈的張力中結束。
除了室內樂之外，克拉克還留下了大量藝術歌曲與合唱作品。今日，她的創作終於獲得長久以來未曾擁有的關注，這份姍姍來遲的聚光，正好映照出一位非凡音樂家的耀眼光芒。
Rebecca Clarke (1886–1979) –Sonata for Cello and Piano
1. Impetuoso - Poco agitato
2. Vivace
3. Adagio - Allegro
Rebecca Clarke was not only one of the foremost violists of her time but also a remarkable composer. Her path, however, was marked by obstacles: she began violin studies early, was admitted as a teenager to the Royal Academy of Music, but her father withdrew her when a professor proposed marriage. At the Royal College of Music she could not complete her training, and in 1910, when her father abruptly disowned and financially abandoned her, she had to make her own way. That she nevertheless became one of the first women to secure a position in a London orchestra and went on to an international career as a violist and chamber musician testifies to her immense strength and talent. She eventually settled in the United States before the Second World War.
In 1919, Clarke caused a sensation: in the Berkshire Chamber Music Prize, founded by American patron Elizabeth Sprague Coolidge, her Viola Sonata tied for first place with a work by Ernest Bloch. The prize was ultimately awarded to Bloch—partly because many could not believe a woman could have composed so powerful a work. After her marriage in 1944, Clarke virtually ceased composing; only about twenty of her works were published in her lifetime, with many more rediscovered only recently.
Particular attention is owed to her Cello Sonata, an arrangement of the celebrated Viola Sonata. It unfolds a gripping dramaturgy: the first movement (Impetuoso) begins with a powerful, romantically colored cello cadenza, moves to a dreamy middle section in the instrument's warm register, before the passionate opening returns. The following Vivace, almost a scherzo, surprises with impressionistic colors and technical refinements—from muted and pizzicato effects to harmonics. A lyrical, melancholic slow movement leads directly into the breathless finale, which closes the sonata with intense urgency.
Beyond her chamber music, Clarke left numerous songs and choral works. Today her oeuvre is at last receiving the recognition it long lacked—a belated but richly deserved spotlight on an extraordinary musician.