Review & Media

文章發表:"NSO駐團音樂家 - 布萊特・迪恩~漂亮轉身後 更揚音樂多彩" - PAR 表演藝術 (顏名秀)

文章發表:"NSO駐團音樂家 - 布萊特・迪恩~漂亮轉身後 更揚音樂多彩" - PAR 表演藝術 (顏名秀)

文字|顏名秀

來自澳洲的布萊特.狄恩,曾是柏林愛樂中提琴手,但他卻在任職十四年後,選擇成為一位自由音樂家,走上兼及作曲、指揮的多彩音樂之路,他說:「我一直都體認我是一位演奏家,音樂不知何故觸動了我的身心靈,因此我也希望我能寫出能感動人身心靈的音樂。」應邀擔任國家交響樂團這個樂季的駐團音樂家,他除了將與NSO合作演出其最新作品,也將在一月的兩場「英雄再起」音樂會中親自參與中提琴聲部的演奏。⋯⋯

Media Profile: "NEW ON NAXOS: This Month's Highlights" (NAXOS)

...Two works, by Ming-Hsiu Yen and Matthew Tommasini, focus on Hong Kong’s landscape, whether majestically natural or manically urban...
— Naxos Newsletter

August 2016

NEW ON NAXOS: This Month's Highlights

- Naxos Newsletter (August 2016)

 

 

Naxos 8.573614-15 • 2 CDs
The Intimacy of Creativity - Five Year Retrospective
SCHOENBERG • SHENG • YEN
 • TOMMASINI • MARGETIĆ • AKIHO • ORDWAY • PÄRT


Nolan Pearson, Piano
Jing Wang, Zhao Yingna, Violins
Mariel Roberts, Richard Bamping, Cellos
Andrew Ling, Viola
Jiang Xinlai, Double Bass • Megan Sterling, Flute
Michael Wilson, Oboe • Kwan Sheung-fung, Cor anglais
Andrew Simon, Clarinet • Benjamin Moermond, Bassoon
Lin Jiang, Horn • Pius Cheung, Andy Akiho, Percussion
Hong Kong Philharmonic Orchestra • Bright Sheng, Artistic Director

 

This celebration of the 25th Anniversary of the Hong Kong University of Science and Technology features an exciting range of music, from the string orchestra version of Schönberg’s Verklärte Nacht to a sequence of invigorating contemporary scores. They provide a perfect opportunity to showcase the individual and collective talents of the distinguished principals of the Hong Kong Philharmonic Orchestra. Two works, by Ming-Hsiu Yen and Matthew Tommasini, focus on Hong Kong’s landscape, whether majestically natural or manically urban, and the selection ends with Arvo Pärt’s modern classic, Cantus in Memory of Benjamin Britten.

樂評:"油桐花的淡淡哀愁:客家音樂歌舞劇《香絲‧相思》" - 台新ARTalks (陳惠湄)

⋯⋯如此動聽又簡潔的旋律,讓歌聲配合著戲劇的進行打動人心,讓觀眾心情隨著劇情起伏感動⋯⋯
— 台新ARTalks

JULY 5, 2016

油桐花的淡淡哀愁:客家音樂歌舞劇《香絲‧相思》

- 台新ARTalks (陳惠湄)

 

⋯⋯音樂創作部份由北藝大專任作曲老師顏名秀負責。...一路受學院派訓練的嚴肅西方音樂作曲家,難得有機會接手如此大型的歌舞劇,想必花費了許多時間與精力,不只在音樂創作上,更困難的是與戲劇、舞蹈的配合。顏名秀認真地研究客家詩詞發音,不懂的就查字典、詢問,努力地配合客語詩詞的平仄音韻譜曲,使得演員演唱時字詞清楚;不過分困難的旋律,即使是非音樂專業的演員,也能演唱得自然順暢。沒有演唱、只有樂團演奏的部份,例如開場、間奏或終場段落,樂器間的配置時而顯示出分明的層次,時而展現出磅礡的交響樂聲響;西洋短笛的獨奏竟像是傳統竹管樂器的聲音;在劇中人物演唱時,樂團的部份不過份突顯,能伴奏著演員的歌唱,這些都充分展現了作曲家的配器與原創音樂的功力。作為一位現代音樂創作者,顏名秀可以寫出如此動聽又簡潔的旋律,讓歌聲配合著戲劇的進行打動人心,讓觀眾心情隨著劇情起伏感動,這一點可說是非常難能可貴,也顯示出作曲家不急著彰顯自己,而是謙虛地配合整個戲劇的心態。⋯⋯

報導:"不只是花布、山歌、油桐花 歌舞劇《香絲・相思》 讀客家人不知道的自己" - PAR 表演藝術 (陳淑英)

May 2016

不只是花布、山歌、油桐花

歌舞劇《香絲・相思》
讀客家人不知道的自己

- Performing Arts Review (PAR) 表演藝術 (陳淑英)

 

 

音樂融合現代與傳統

負責音樂創作的作曲家顏名秀也耗盡心思,賦予客家特色文化「八音」新意,「像電影鏡頭的特寫,抓住人物的情感。」顏名秀劇透,冬至時分,平妹與養兄結婚,儀式進行中安排八音團熱鬧。「舞台上有很多事情同時發生,有人在這裡恭喜,有人在那裡說笑,當媒人唱幾句後,馬上進八音,此時演員靜默,八音演出二十秒後,管樂進來,大家又開始說吉祥話,然後再進八音,台上任人又靜默,之後再進八音⋯⋯」顏名秀說,當八音出現時,台上同時發生的事情立刻被塊狀化,類似時間的凝聚。她很期待如此有趣的「拼貼」表現手法。

《香絲・相思》音樂底蘊融合現代與傳統客家音樂,管絃樂是最主要貫穿全場的伴奏樂器。顏名秀表示⋯⋯有幾首是擷取客家歌謠元素發揮,大多數是原創,「我不會把《香絲・相思》寫成像百老匯那樣的歌劇,希望觀眾體驗的是帶有客家文化色彩的歌舞劇。」

像是李木生只跟滿姑說自己去蓋炭窯、伐木,對事業的期待,為把立業後成家、「我有資格娶你」的話講出口,「情感很內斂,作曲時也會配合含蓄韻味。」顏名秀說,客語字音調韻不同魚國語,她仔細研究歌詞,每一個字都查字典,確認客家聲調平仄才譜寫旋律,以期觀眾聽懂演員唱的歌曲。⋯⋯
 

Review: "Taiwan Philharmonic Tours Four Chinese Cities" by American Record Guide (Gil French)

...she’s a composer to be on the lookout for.
— American Record Guide

March/April 2016 

"Taiwan Philharmonic Tours Four Chinese Cities"

by American Record Guide (Gil French)

 

...In Taiwan swallows nestling in trees in front of homes or businesses is a symbol of good fortune.  Ming-Hsiu Yen, 35, noticed nests in front of a string of restaurants near her home and followed the birds' progress from birth to the day they flew off. Thus, the title of her 15-20 minute "Flying Toward the Horizon (2012). Woodwinds twitter against light percussion strokes, swooping string lines mimic the swallows' arching flight patterns, and a seamless transition shifts the music from descriptive to atmospheric, dramatically reflecting the anxious helplessness onlookers felt seeing a dead baby bird hanging over the edge of one nest. As she said, "Flying is not a gesture only but a movement that symbolizes passion, hope, and love."

In Xiamen the clarity of her kaleidoscopic orchestration immediately drew my interest. But it was on second hearing in Hong Kong that a light celeste (an ineffectual piano was used in Xiamen), full-string portamentos in the cellos, suspended brass harmonies, and her dramatic counterpoint developed into a Shostakovich-like moment when my right arm shot up and fear gripped my chest, reflecting the circle of life of our vulnerable fellow creatures.

Yen, also an award-winning pianist, now lives in Taipei after years of study at the Eastman School of Music and University of Michigan. She keeps fresh by composing works of varying natures—for children, drama-and-light companies, symphonic ensembles, etc.  Based on the structural integrity of Flying, she's a composer to be on the lookout for....

樂評:"《翔・天際》既熟悉又陌生—評台灣愛樂香港「首演」" - 大公報(周凡夫)

十二分鐘的音樂,從開始到結束,是那樣的新鮮,恍如是從未聽過陌生一片的音樂一樣,但這卻可以說是年來所聽眾多新作品中最能觸動個人心靈,帶有正能量感情的樂曲。
— 大公報

DECEMBER 12, 2015

《翔・天際》既熟悉又陌生—評台灣愛樂香港「首演」

- 大公報(周凡夫)

 

這是一場既熟悉但又陌生的音樂會。用作開場曲,由在台北藝術大學任教的顏名秀所寫的《翔.天際》是首次在香港演出的樂曲,那確是無比陌生的音樂,陌生的不僅是樂曲奏畢,顏名秀上台謝幕時才第一次得睹這位充滿音樂才華的八十後女作曲家,還在於該作品已呈現出來的音樂本身。

觸動心靈正能量感情

樂曲開始時,有如雛燕呢喃待哺,細碎一片,至為形象化的音響。作曲家從觀察燕子家族,由孵育餵食小生命的成長,到離巢飛翔,從而獲得創作靈感的過程,都透過不同的樂器活靈活現地展露出來。大編制的交響樂團各個聲部都用上了,聽來節奏似不明確,但卻又有流暢的旋律感,持續的張力中,間中又出現有力強奏;音樂持續發展,旋律變得鮮明,節奏變得明確,氣勢逐漸增強,高潮時有如生命力爆發出充滿希望夢想及愛的力量的火花;但隨即回歸沉靜,開始時細碎一片的音樂形象簡短再現後,強力的和弦響起,隨即在一片淡雅的樂音中消散。十二分鐘的音樂,從開始到結束,是那樣的新鮮,恍如是從未聽過陌生一片的音樂一樣,但這卻可以說是年來所聽眾多新作品中最能觸動個人心靈,帶有正能量感情的樂曲。

呂紹嘉帶同台灣愛樂樂團選奏顏名秀這首作品來作為香港樂迷的見面禮,那種已和陌生感並無差別的新鮮感,確實能讓人印象難忘。其實 「台灣愛樂」展開這次「Greater China Tour」,在廈門演出後來港的香港「首演」,同樣是既陌生又熟悉。⋯⋯

聽完整場音樂會,將場刊蓋上,封面上的四個標題大字「浪漫奔騰」看來應改為「翔.天際」, 這豈非正是今日「台灣愛樂」的現實寫照,正面向天際飛翔嗎?選用該曲作為這場音樂會的開場,富有深意呢!

樂評:"首登香港 驚豔上海 - NSO二〇一五兩岸三地巡演現場" - MUZIK古典月刊 (連士堯)

雖使用當代的音樂語彙,卻不讓觀眾感到晦澀難懂。
— MUZIK古典月刊

DECEMBER 2015

首登香港 驚豔上海 - NSO二〇一五兩岸三地巡演現場 

- MUZIK古典月刊 (連士堯)

 

⋯⋯第一手開場曲,音樂總監呂紹嘉特別安排了台灣作曲家顏名秀的創作《翔・天際》,這也是繼二〇一三年歐洲巡演後,再次選擇了顏名秀的作品。比起當時委託創作《鑿貫》形容雪隧開通的崩山裂石,《翔・天際》以臺北藝術大學的燕子作為靈感,大量使用快速木管音群表達出鳥類飛行的靈活巧妙,中途以燕子逝去作為段落高潮,然而最後又展現出明日再度到來,希望仍在。顏名秀使用其一貫的風格,雖使用當代的音樂語彙,卻不讓觀眾感到晦澀難懂,而NSO與呂紹嘉也十分抓到此樂曲的敘情寫景,呈現了相當精彩的演出。⋯⋯

樂評:"兩岸三地巡演香港場" - 音樂與音響(音樂與生活62)(周凡夫)

十二分鐘的音樂,從開始到結束,是那樣的新鮮,可以說是年來所聽眾多新作品中最能觸動個人心靈的樂曲。
— 音樂與音響

DECEMBER 2015

兩岸三地巡演香港場" 

- 音樂與音響(音樂與生活62)(周凡夫)

 

⋯⋯當日開場曲演奏的《翔・天際》,是台灣青年作曲家顏名秀所寫,樂曲開始時,有如雛燕呢喃待哺,細碎一片,至為形象化的音響。作曲家從觀察燕子家族,由孵育餵食小生命的成長,到離巢飛翔,從而獲得創作靈感的過程,都透過不同的樂器活靈活現地展露出來。大編制的交響樂團各個聲部都用上了,聽來節奏似不明確,但卻又有流暢的旋律感,持續的張力中,間中又出現有力強奏;音樂持續發展,旋律變得鮮明,節奏變得明確,氣勢逐漸增強,高潮時有如生命力爆發出希望夢想及愛的力量的火花;但隨即回歸沈靜,開始時細碎一片的音樂形象簡短再現後,強力的和弦響起,隨即在一片淡雅的樂音中消散。十二分鐘的音樂,從開始到結束,是那樣的新鮮,可以說是年來所聽眾多新作品中最能觸動個人心靈的樂曲。⋯⋯

樂評:"世紀.李歐梵.音樂眼:浪漫奔騰 呂紹嘉的布拉姆斯" - 明報(李歐梵)

顏名秀的《翔.天際》以鳥叫為主題,開頭就展示出NSO的木管樂手的技藝,全曲聽來波濤起伏,充滿激情,值得錄成唱碟,讓我等樂迷多聽幾次。
— 明報 (Ming Pao)

November 11, 2015

"世紀.李歐梵.音樂眼:浪漫奔騰 呂紹嘉的布拉姆斯"

- 明報(李歐梵)

 

⋯⋯顏名秀的《翔.天際》以鳥叫為主題,開頭就展示出NSO的木管樂手的技藝,全曲聽來波濤起伏,充滿激情,值得錄成唱碟,讓我等樂迷多聽幾次。台灣年輕一代的音樂人才輩出,真是可喜可賀。這就是最珍貴的「軟實力」。⋯⋯

樂評:"NSO首度香港行 舉輕若重、舉重若輕" - MUZIKAIR (林采韻)

以簡馭繁的手法,既具音畫效果,輕盈中聽見樂曲層次與深度。
— MUZIK AIR

November 5, 2015

NSO首度香港行 舉輕若重、舉重若輕

- MUZIKAIR 閱讀 (林采韻)

 

⋯⋯作曲家、獨奏家、指揮、樂團,是一場交響音樂會組成的四大要素。音樂會上半場,透過顏名秀和嚴俊傑刻畫出台灣年輕世代的聲音潛能。三十出頭歲的兩人,均在西方受過完整的古典音樂訓練,在創作和詮釋語彙上完全能與西方對話,從中又能發展出屬於個人的獨特質感。

《翔‧天際》是顏名秀為北藝大30周年所做,以燕子為其發想。樂曲乍聽「保守」,因不賣弄效果,不彰顯當代感,針對樂器也沒有新穎的演奏要求。她選擇扎扎實實的經由最「樸實」的作品技法,發揮樂團各聲部的特色,在音符綿密鋪陳的過程中,「仿聲」出大自然的微妙舉動。以簡馭繁的手法,既具音畫效果,輕盈中聽見樂曲層次與深度。⋯⋯

 

報導:"交響臺灣:國臺交啟動5年作曲計畫" - 樂覽 (劉郁伶)

July 2015

交響臺灣

國臺交啟動5年作曲計畫

- Music Browser, No. 171   樂覽:第171期 (劉郁伶)

 

延續國立臺灣交響樂團對於創作的重視,國臺交提出了全新的5 年委託創作計畫「交響臺灣」。委託創作計畫之於國臺交有其淵源及傳承意涵,始自前團長史惟亮鼓勵作曲家創作臺灣古典音樂開始,經過歷任團長奮鬥,在委託創作這條道路上奔波數十年載,至今,國臺交已為臺灣這塊土地留下了為數頗豐的原創音樂作品。

與作曲家搏感情提升創作量

時間回溯至民國62 - 63 年,國立臺灣交響樂團仍是尚未改制的臺灣省立交響樂團,史惟亮先生任職第四任團長,他對臺灣管弦樂音樂創作投入大量心力,為樂團創立「研究部」,延攬作曲家賴德和、郭芝苑、張炫文等人專職創作及臺灣音樂整理收集,當時,亦受臺灣省教育廳委託,主辦「愛國歌曲徵曲比賽」,民國81 年起,一連策辦了6 屆徵曲活動,為國人創作樂曲奠定了重要的基石,多首獲選作品贏得不少佳評。

爾後,自民國97 年起,國臺交因緣際會承辦「行政院文化建設委員會文化創意產業第二期計畫」,以「建置音樂創作與行銷平臺」為計畫內容,再度辦理國人音樂創作徵選相關活動,主要鼓勵中生代與青年作曲家(年齡16 - 45 歲)創作。雖然,該計畫至民國100 年即終止,但國臺交卻毅然決然獨自扛起鼓勵國人音樂創作的重要使命與責任,將音樂創作納入樂團年度計畫的一部分,接續辦理該活動已進入第8 年,期間已累積68 部原創作品(含24 部管弦樂作品、44 部室內樂作品);舉辦12 場專場首演音樂會;出版原創作品樂譜22 套、有聲資料12 套;至今獲選作曲家高達41 位之多。

交響臺灣以文學入樂

除了以競賽、徵件的方式培育新世代的作曲人才,國臺交更希望藉由與作曲家的共同努力,對臺灣的文化藝術有更深層的探究、連結與開展,因此,今年特此宣告將推出為期5 年的「交響臺灣」委託創作計畫。

該計畫結合臺灣文學為創作方向,但特別的是並不是單以文字詮釋直接譜曲,而是以文學家本身或作品,帶給作曲家自身之感受和靈感,也就是使用音樂投射的力量,經由作曲家內化,將創作工具由文字轉變為旋律。創作作品以管弦樂團編制為主的管弦樂曲,曲式可為交響曲、交響詩,由作曲家自由發揮不設限。

匯集各世代作曲家聯合創作

而本次的委託創作另一特色即是匯集新生代、中生代作曲家聯手創作,第一階段邀請賴德和、錢南章、楊聰賢、潘世姬、陳士惠、黃思瑜、林京美及顏名秀等作曲家,並且,國臺交「2016 青年創作競賽」首獎得主(預計於2016 年8 月產生)也將參與此創作計畫。

⋯⋯

顏名秀X 同志文學

而本計畫也邀集了許多新生代的作曲家譜寫作品,其中顏名秀所選擇的文學題材相當特別,是同志女作家邱妙津的《鱷魚手記》與《蒙馬特遺書》。顏名秀國中時即對這位女作家有些許印象,長大後拜讀作品感觸相當之深,她雖然不是女同志,卻被邱妙津書中的細膩筆觸感到印象深刻,心靈的沉重從書頁中渲染至她的內心,因此,接到國臺交的創作邀請,她第一個便想到邱妙津,同志文學之於交響曲作品並不多見,顏名秀的大膽嘗試又為臺灣原創音樂作品增添燦爛的一頁。

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讓古典音樂貼近社會

此計畫的第一部作品將於2015 年下半年國臺交70 週年團慶系列音樂會呈現,自此每半年發表1部作品,而完成之作品除了交由樂團排練、演出之外,也將規劃跨領域相關活動,期望能深入臺灣文學之閱讀,進而讓臺灣古典音樂與社會連結。國臺交做為臺灣歷史最悠久的樂團,肩負起推動臺灣古典音樂的使命,除了演出,最重要的是鼓勵臺灣作曲家為這塊土地產製出更多屬於臺灣文化的音樂作品,在過去數十年載,馳騁委託創作的這條道路上,著重的是原創作品的寬度,如今,需更上一層樓,關注作品的廣度,藉著推展「交響臺灣」的委託創作計畫,進一步讓臺灣的作曲家與臺灣的文學家相結合,在兩相結合下所共同激盪的藝術能量勢必可觀,盼以此能開創臺灣古典音樂的新格局,讓臺灣的聲音被世界聽見!

Media Profile: "Amber Kao: Mirrors of Time" - Research & Reflections (Amber Kao)

April 13, 2014

Amber Kao: Mirrors of Time

- Research & Reflections - An online journal of Fulbright Taiwan experiences (Amber Kao)

 

...My collaborative work with Professor Yen began within weeks of my arrival in Taiwan. This allowed me to capture raw and unfiltered thoughts about the new journey I was about to embark upon this year. This work, titled Mirrors of Time, references the reflective process that occurs when one travels and lives abroad. For me, this work stands to flag the beginning of a something new: a new chapter, new lessons, and new experiences and questions to challenge what I know. With all the excitement and transitions after my arrival in Taipei, I felt the need to begin on familiar grounds for this work. Therefore, I chose to take movements from a solo I created in the States for a project set to J.S. Bach’s first violin partita. My training in music and dance thus far has been based around Western traditions and I felt “at home” dancing these movements. I rearranged the sequence of dance movements from the original solo in order to correspond with the structure of Professor Yen’s new composition for this collaboration. As I restructured the sequence, the movements began to presume a new life of their own. This choreographic process of using known material and reconstructing it into something new reflects the beginning of re-defining my identity....

Review: "Taiwan Philharmonic in Europe - Asia's Most European Orchestra" - American Record Guide (Robert Markow)

Yen’s mastery of both orchestration and formal structure underscores her studies with such leading figures as William Bolcom, Christopher Rouse, and Steven Stucky.
— American Record Guide

March/April 2014

"Taiwan Philharmonic in Europe - Asia's Most European Orchestra"

by American Record Guide (Robert Markow)

 

...Ming-Hsiu Yen (b. 1980) represented the younger generation.  Her Breaking Through, premiered last September in Taipei, is a 15-minute tone poem inspired by the ordeal of digging an eight-mile tunnel through the nearly 13,000-foot-high Snow Mountain near Taipei (higher than Japan's Mt Fuji).  Powerful rhythmic motifs from the percussion depicting the great tunnel boring machine, somber meditations on the lives lost, and turbulent passages suggestive of the inflow of water that plagued the engineers were all explicitly depicted in tone.  The best music came just after the "breakthrough" itself, not a great wall of jubilant sound but a thin sustained line in the high violins "like a beam of light peering through the darkness", according to Yen.  As the "beam of light slowly overcomes the darkness", the music is bathed in an impressionist iridescence that eventually rises to an overpowering climax.  Yen's mastery of both orchestration and formal structure underscores her studies with such leading figures as William Bolcom, Christopher Rouse, and Steven Stucky....

Review: "East meets West: The National Symphony Orchestra at the Philharmonie" - Musical America (Rebecca Schmid)

Ming-Hsiu Yen’s Breaking Through...stays true to its title with a clear dramaturgical structure.
— Musical America

 

"East meets West: The National Symphony Orchestra at the Philharmonie"

by Musical America (Rebecca Schmid)

 

...Ming-Hsiu Yen’s Breaking Through, which opened the program, stays true to its title with a clear dramaturgical structure. In the first section of the approximately 14-minute piece, after an exciting drum fanfare, various sections of the orchestra—high strings against brass, low strings against winds—are set into friction with each other, creating an immediate sense that something has to give. The second section builds out of an insistent, mourning motive in the low strings until only glassy textures and xylophone are left, only to rise again into a heroic close....

報導:"NSO柏林愛樂廳演出 樂迷評價高" - 中國時報 (邱祖胤)

這場精采的演出,以顏名秀描述雪山隧道艱困工程的《鑿貫》開場,打擊樂石破天驚的破題,震撼全場,三角鐵、沙鈴等多種樂器製造的流水聲,傳遍音樂廳每一角落。
— 中國時報

NOVEMBER 20, 2013

NSO柏林愛樂廳演出 樂迷評價高

- 中國時報 (邱祖胤)

 

⋯⋯NSO在柏林時間18日晚間,由音樂總監呂紹嘉領軍,登上全球音樂家夢寐以求的柏林愛樂廳,贏得全場近2000名觀眾的熱烈迴響,現場歡呼聲不斷。⋯⋯

這場精采的演出,以顏名秀描述雪山隧道艱困工程的《鑿貫》開場,打擊樂石破天驚的破題,震撼全場,三角鐵、沙鈴等多種樂器製造的流水聲,傳遍音樂廳每一角落。⋯⋯

報導:"NSO日內瓦演出 滿堂彩" - 中國時報 (邱祖胤)

顏名秀的作品《鑿貫》,樂團澎湃的音響令人震撼,打擊樂戲劇性的呈現,三角鐵、沙鈴等多種樂器營造流水聲響及機械開鑿的聲音,讓觀眾驚歎連連。
— 中國時報

NOVEMBER 17, 2013

NSO日內瓦演出 滿堂彩

- 中國時報 (邱祖胤)


音樂總監呂紹嘉領軍下,NSO國家交響樂團於日內瓦15日晚,在知名的維多利亞音樂廳演出,現場1500人座無虛席,樂團與瑞士籍台裔演奏家楊文信合作聖桑《大提琴協奏曲》,以及顏名秀描述雪山隧道艱困工程的管弦作品《鑿貫》,贏得滿堂彩。⋯⋯

呂紹嘉表示,每次在國外演出,對「音樂無國界」這句話感同深受,日內瓦演出是這次歐洲巡迴演出第4站,也是目前最滿意的一次表演。

駐日內瓦辦事處大使銜處長俞大使表示,日內瓦市徽有一行拉丁文,寫著「黑暗之後的光明」,與《鑿貫》的意境如出一轍,格外引起當地樂迷共鳴。俞大使說,日內瓦是國際能見度極高的城市,擁有30多個國際組織、250多個非政府組織、170多個各國常駐代表團,台灣表演團隊的精采演出,拉近國際與台灣的距離。

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澎湃《鑿貫》 奏雪隧工程艱辛

下半場演出顏名秀的作品《鑿貫》,樂團澎湃的音響令人震撼,打擊樂戲劇性的呈現,三角鐵、沙鈴等多種樂器營造流水聲響及機械開鑿的聲音,讓觀眾驚歎連連。顏名秀本人也在演出現場,她表示,作品的靈感來自理察‧史特勞斯的《阿爾卑斯交響曲》,對人與自然的關係有極為深刻的描繪。《鑿貫》表現雪山隧道工程的困難,以及台灣人努力突破困境、永不妥協的精神。

NSO從9日開始展開歐洲巡迴,先後在巴黎、米蘭、烏迪內、日內瓦等地演出,廣受好評,18日轉往最後一站德國柏林愛樂廳演出。

Review: ONCE (again) - Sequenza21 (Garrett Schumann)

Pianist Ming-Hsiu Yen succeeded in delivering the work in a beautifully corporeal way. Most profound was the flowing of Ming-Hsu’s arms as she ascended and descended the arpeggiated figure at the heart of the piece.
— Sequenza21

November 6, 2010

ONCE (again)

- Sequenza21 (Garrett Schumann)

 

...Robert Ashley’s Van Cao’s Meditation (1991), for piano, opened the evening. The piece was resonant, repetitive, and reminded me of Satie’s Ogives in spirit. Essentially, Van Cao’s Meditationmilled about one confined group of a few notes which covered all registers of the piano and, at the end of each phrase, settled on an octave which was not part of this more prevalent pitch collection. The piece was over half and hour long, so the music’s motion through time was made interesting by altering the dynamics and lengths of phrases.

More importantly, the performance is meant to be intensely physical – as Ashley said before the piece, the player must have the music, “in their body” – and Pianist Ming-Hsiu Yen succeeded in delivering the work in a beautifully corporeal way. Most profound was the flowing of Ming-Hsu’s arms as she ascended and descended the arpeggiated figure at the heart of the piece. Perhaps because the work’s musical landscape is so static, Ashley placed a higher premium on the physical aspects of Thursday’s performance, even going so far as to request Ming-Hsiu wear a sleeveless top in the concert. These inferences notwithstanding, Ashley’s piece, despite its epic length, was a wild success on Thursday and many people I talked to after the concert said their reaction to Van Cao’s Meditation was profoundly visceral....

Media Profile: Much to Anticipate from These 7 - TwinCities.com (Rob Hubbard)

November 7, 2008

Much to Anticipate from These 7

- TwinCities.com (Rob Hubbard) 

 

Intensity. Conflict. Urgency. If this sounds like some serious stuff, then you have a sense of what the composers who participated in this week's Composer Institute at Minneapolis' Orchestra Hall are trying to convey.

All week, seven composers have had their pieces picked apart and rehearsed by Osmo Vänskä and the Minnesota Orchestra. And, on Friday night, the Composer Institute reached its climax with a concert at Minneapolis' Orchestra Hall. It proved to be a fine display for seven promising talents, with much to recommend in each of the works performed.

...Both McManus and Ming-Hsiu Yen seem firmly rooted in the idea of music as a means toward conveying conflict. The latter's "Yun" exploded with angst before giving way to lovely interweaving lines in the woodwinds that sound like sighs of resignation. But soon a sense of dread re-emerges int the strings, making "Yun" an intriguing emotional roller coaster ride....