节目单上线！天津茱莉亚管弦乐团音乐会即将奏响

11月16日，天津茱莉亚管弦乐团将呈现本乐季第三场音乐会，演绎德沃夏克和拉威尔的经典作品。

上半场，常驻教师李伟纲、于翔、李汉娜（Hanna Lee）和何思昊将带领乐团演绎德沃夏克优美质朴的《E大调弦乐小夜曲》。下半场，乐团则将在驻团指挥林敬基（Ken Lam）的执棒下呈现拉威尔的三部作品，包括纯净诗意的《鹅妈妈》组曲、色彩斑斓的《丑角的晨歌》，以及充满戏剧性的《波莱罗》。

本场音乐会对公众开放售票，观众可扫描下文中的二维码购票。购票观众可于当日14:00前往天津茱莉亚演奏厅参加由音乐理论教师王乐游带来的音乐会导赏，并可在演出前免费体验“茱莉亚幻想空间”。

天津茱莉亚管弦乐团音乐会 ‌‌Ⅲ

TIANJIN JUILLIARD ORCHESTRACONCERT ‌‌Ⅲ

林敬基，指挥

Ken Lam, Conductor

演出曲目

PROGRAM

德沃夏克（1841—1904）

E大调弦乐小夜曲，作品22

DVOŘÁK (1841-1904)

Serenade in E Major for string orchestra, Op.22

中场休息

INTERMISSION

拉威尔（1875—1937）

《鹅妈妈》组曲

RAVEL (1875-1937)

Ma Mère l'Oye

拉威尔（1875—1937）

《丑角的晨歌》

RAVEL (1875-1937)

Alborada del gracioso

拉威尔（1875—1937）

《波莱罗》

RAVEL (1875-1937)

Boléro

演出曲目以现场演奏为准

The program is subject to change

德沃夏克

E大调弦乐小夜曲，作品22

DVOŘÁK

Serenade in E Major for string orchestra, Op.22

德沃夏克是19世纪杰出的捷克作曲家，或许也是所有后继者中最卓越的一位。这样的成就不可小觑，毕竟连莫扎特等众多音乐巨匠都曾将波希米亚视为欧洲最具音乐氛围的国度。德沃夏克最初获得认可得益于勃拉姆斯的赏识——这位前辈在德沃夏克职业生涯早期接触到他的作品，便安排他赴维也纳深造。虽然德沃夏克的基本风格取向与这位前辈作曲家相似，都秉持古典主义的严谨章法，恪守传统曲式结构，但其作品中的捷克血脉仍流淌于无数微妙之处：那些和声转换、旋律走向与节奏律动始终坚定地昭示着他的民族根脉——即便承袭着可追溯至贝多芬的严谨作曲传统。

在德沃夏克的创作早期，诞生了《弦乐小夜曲》，1875年他三十三岁，写出的这部作品如春日暖阳般和煦、明媚、安然。那时正是他的黄金岁月：婚姻幸福、儿子尚小，事业与生计都展现出崭新曙光。这类合奏小夜曲源自为贵族户外晚宴谱写的怡人背景音乐，通常由情绪与速度对比鲜明的多个乐章组成。当然，莫扎特的小夜曲是此类作品的巅峰，但其他重要作曲家也曾有过探索和产出。德沃夏克的这部五乐章作品结构简单，作曲技法精妙，海量旋律引人入胜。在这里，关于曲式的学术分析——诸如“第一第二主题”、调性布局、展开部等等都显得无关紧要了，这部杰作中流淌的纯美音画与温暖情愫已然超越一切，就连小调片段的处理——尤其是第二乐章中的华尔兹——也仅是苦乐参半的，而这恰是波希米亚风韵的精髓所在。

Dvořák is the preëminent Czech composer of the nineteenth century, and perhaps of all of his successors, as well. This is no small achievement, considering the number of great musicians–Mozart, for example—who thought of Bohemia as the most musical country in Europe. Dvořák owed his initial recognition to Johannes Brahms, who encountered his music somewhat early in Dvořák’s career, and saw to it that he was enabled to spend time in Vienna for further study. While Dvořák’s fundamental stylistic orientation is similar to the older composer in its classical restraint and dedication to traditional forms and procedures, his compositions are unmistakably Czech in myriad subtle ways. Turns of harmony, melody, and rhythm firmly establish Dvořák’s ethnicity, even within a disciplined tradition of musical composition leading back to, say, Beethoven.

Early in his career, in 1875, at the age of thirty-three, he composed his Serenade for Strings, as untroubled and sunny a composition as one can imagine. These were halcyon days for him: a happy marriage, a young son, and new prospects for recognition and financial security. Ensemble serenades have their origin in pleasant, background music composed for outdoor soirees of wealthy patrons, consisting of multiple movements in contrasting moods and tempos. Mozart’s are, of course, the acme of the genre, but other significant composers explored it, as well. Dvořák’s contribution is in five movements, simple in form, and carried by a skilled craftsmanship and a plethora of charming melodies. Academic considerations of form, “first and second themes,” keys, development, and the like are unimportant, here. All is transcended by the sheer beauty and good feeling engendered by this early masterpiece of the composer. Even the moments of minor key areas—especially in the waltz of the second movement—are only lightly bittersweet and thus, quintessentially Bohemian.

英文版｜English version © 2015 William E. Runyan

拉威尔

《鹅妈妈》组曲

RAVEL

Ma Mère l'Oye

尽管“鹅妈妈”这个形象在历史上已经多次迭代，其起源最早可追溯至8世纪的“拉昂的贝特拉达”——法兰克皇后，查理曼大帝之母。因足部畸形被戏称为“鹅脚皇后”的她，以终日为孩童讲述童话闻名。17世纪末，作家夏尔·佩罗出版短篇故事集《鹅妈妈的故事》，该作品迅速风靡法国，并于1729年被译成英文。不久后，英国书商约翰·纽伯瑞出版的童谣选集《摇篮里的十四行诗》，使鹅妈妈从模糊的民间传说形象转型为当今观众认知的讲故事的睿智老人。

莫里斯·拉威尔的《鹅妈妈组曲》在1911年被改编为管弦乐之前原本是写给四手联弹的钢琴组曲，作曲家将这套二重奏题献给挚友戈德布斯基和伊达的子女——咪咪与让·戈德布斯基。拉威尔常造访戈德布斯基乡间宅邸，尤其爱为孩子们讲述寓言故事，组曲中包含了《睡美人》《美女与野兽》等诸多经典童话。后来拉威尔将作品改编为完整芭蕾舞剧，新增两个乐章与过渡乐段，但管弦乐版本仍保留原钢琴组曲的乐章结构与顺序。

开篇乐章《睡美人的帕凡舞曲》以木管组缓慢庄严的摇篮曲与弦乐轻柔的拨奏为特征，描绘这位沉睡百年的公主。第二乐章《小拇指》中，拉威尔通过不断变化的节拍与弦乐持续的八分音符律动，传递小拇指汤姆在深林中迷路的彷徨感；长笛与独奏小提琴的尖锐颤音模仿鸟雀啼鸣——它们正在啄食汤姆为标记回家之路而留下的面包屑。《瓷偶女皇莱德罗内特》堪称五个乐章中最活泼的片段，长笛、竖琴和钢片琴奏响生动的五声音阶动机，展现魔法国度“瓷偶帝国”中陶瓷人偶翩翩起舞的奇景。《美女与野兽的对话》在单簧管优雅的华尔兹与低音巴松管不协和的笨拙旋律间切换，凸显两个角色的巨大反差。终章《仙境花园》再度回归第一乐章的睡美人传说，随着管弦乐奏响恢弘高潮，白马王子以真爱之吻唤醒公主，为整套组曲画上童话故事应有的辉煌句点。

While there have been many iterations of Mother Goose throughout history, her origins can be traced back as early as the eighth century to Bertrada of Laon, the mother of King Charlemagne the Great. Nicknamed “Queen Goosefoot” because of a foot deformity, she was well known for spending much of her time recounting fairytales to children. During the late 17th century, author Charles Perrault published a collection of short stories titled “Contes de ma mère l’oye” (Tales from my Mother Goose) that quickly became popular in France and was translated into English in 1729. Soon after, John Newbery published a selection of nursery rhymes titled Sonnets for the Cradle that was influential in transforming Mother Goose from a vague folklore persona into the wise, elderly storyteller that audiences know today.

Before its orchestration in 1911, The Mother Goose Suite by Maurice Ravel was originally a suite for piano four hands. Ravel dedicated this set of duets to Mimi and Jean Godebski, the children of Ida and Cyprian Godebski who were his close friends. The composer would often visit the Godebskis at their country house where he especially enjoyed telling fables and stories to the children. Many of these tales including Sleeping Beauty and Beauty and the Beast are present in the suite. Ravel would later orchestrate the piece into a full ballet, adding two additional movements and transitions. However, the orchestral version retains the same movements and their original order from the piano suite.

The opening movement of the suite, Pavane de la Belle au bois dormant (Pavane of Sleeping Beauty) is characterized by a slow, stately lullaby from the woodwinds and hushed pizzicato accompaniment from the strings, depicting a princess that has been asleep for hundreds of years. In the second movement, Petit Poucet (Tom Thumb), Ravel’s constant change of meter and continuous eighth note passages from the strings evoke a sense of uncertainty as the character of Tom is lost deep within the woods. Harsh trills from the flute and solo violin imitate the screeching of birds who have eaten the breadcrumb trail that Tom had left as a way back home. Laideronnette, impératrice des pagodes (Laideronnette, Empress of the Pagodas) is perhaps the liveliest of the five movements. The Empire of the Pagodas, a magical land inhabited by dancing porcelain figures is illustrated through animated pentatonic motives from the flute as well as the harp and celesta. Les Entretiens de la Belle et de la Bête (Conversations Between Beauty and the Beast) alternates between an elegant waltz played by the clarinet and a dissonant, clumsy melody from the contrabassoon that depicts the stark contrast between the two characters. Le jardin féerique (The Fairy Garden) once again returns to the tale of Sleeping Beauty found from the first movement. In a soaring orchestral climax, Prince Charming awakens the princess with a true love’s kiss, bringing the suite to a triumphant conclusion.

英文版由Jooahn Yoo撰写

2027届管弦乐表演专业大提琴研究生

English version by Jooahn Yoo

MM ’27, cello, Instrumental and Orchestral Studies

拉威尔

《丑角的晨歌》

RAVEL

Alborada del gracioso

《丑角的晨歌》改编自作曲家本人的钢琴组曲《镜像集》中的第四首，所谓“丑角”就是西班牙喜剧角色——这类角色常扮演滑稽的情人或者小丑，“晨歌”即晨曲或民间舞曲。此曲专为芭蕾舞创作，因此大量融入了西班牙舞蹈元素，其独特的节拍、节奏与配器，共同勾勒出一位丑角用他的歌搅扰一对恋人的故事。

乐曲始于弦乐和竖琴用力的拨弦，不到一分钟后突然迎来史无前例的喧嚣，极端的力度配合反拍上的大镲撞击声，惊醒听众。西班牙风情在作品中尽显——弦乐声部贯穿的节奏模仿吉他：弦乐的拨弦与断奏分别对应吉他的弹拨与扫弦。城镇的苏醒伴随着木管和小号窸窸窣窣的“嘈杂声”，响板与铃鼓以鲜明的弗拉明戈节奏闯入，体现这位丑角玩世不恭又爱捣乱的个性。在对比鲜明的中段，巴松管吟唱出一首关于渴望与爱的小曲，与此同时弦乐高音区的和弦簇如日光倾泻，还有竖琴拨奏和铃鼓声声闪烁其中。弦乐与木管预兆着不安，竖琴持续着紧绷的节奏；随着弦乐开始使用弓杆敲击琴弦，音乐的能量逐渐积聚，迎来首部主题的回归，紧张情绪在绚烂爆发中释放。听众得以从单簧管与大提琴的独奏中窥见这对恋人的缠绵，而当执拗的巴松管主题回归，恩爱场景就被丑角浮华的表演覆盖了。在丑角回归后，乐曲以狂欢节般的热烈气氛收尾——喧嚣的镲片与荒诞的铜管旋律营造的可笑盛况，爆炸在最后一个音符中。

Alborada Del Gracioso, orchestrated from its original version as part of a piano suite, translates roughly to “folk dance or dawn song” of a Spanish comedy figure, known for playing a buffoon or grotesque lover, among other roles. Written for use as a ballet, the piece heavily incorporates elements from Spanish dance. Its meter, unique rhythms, and instrumentation work to conjure a story of a jester pestering a pair of lovers with his song.

The work opens with a fanfare, meant to wake and shock with its dynamic extremes and off-beat crashing cymbals. The Spanish flair of the piece is at once unmistakable, the rhythm passing throughout the strings evokes the image of the guitar: pizzicato and bowed staccato imitating plucking and strumming respectively. The town wakes with fluttering, buzzing woodwinds and trumpet, cut through with the flamenco rhythm of the castanets and tambourine, showcasing the jester’s disruptive and carefree character. In the contrasting central section, a bassoon sings a song of yearning and love, with “sunlight” bursting through with high cluster chords in the strings and the glitter of plucked harps and shaken tambourine. The strings and winds impart a sense of foreboding, while the harp plucks a tense, continuous rhythm. Tension unfolds in spectacular fashion, giving way to the return of the first theme with strings building up from a Col Legno (using the back of the bow) texture. The audience is granted a glimpse of the lovers in a swell from the solo clarinet and cello, before they are overwhelmed by the jester’s fanfare, signaled by the return of the insistent bassoon. The piece ends in carnivalesque fashion after the jester’s return: incessant, crashing cymbals and grotesque brass create a comedic flourish, closing the story on an explosive note.

英文版由蔡蕊婷撰写

2027届室内乐表演专业小提琴研究生

English version by Tiffany Tsai

MM ’27, violin, Instrumental and Chamber Music Studies

拉威尔

《波莱罗》

RAVEL

Boléro

拉威尔的《波莱罗》以其独特的曲式结构闻名，它不仅汲取了西班牙舞蹈的灵感，还受到20世纪初工业工厂发展的影响。以传统西班牙波莱罗舞曲优雅又具歌唱性的旋律，对比工业工厂机械重复的秩序，拉威尔生动记录了他当时的想象图景。这首为芭蕾舞创作的作品，描绘一位女子在拥挤酒馆中随民间小调起舞，周遭男子逐渐积聚的紧张情绪最终引发骚乱。作品发挥得最为极致的是流畅的主题旋律与刻板恒定节奏之间多元的对比效果，拉威尔绝妙地运用了乐团中不同音色的各种乐器，色彩纷呈。

乐曲伊始仅呈现两个基本要素：持续全曲、如军鼓般僵硬的恒定节奏，与游移莫测的长笛独奏旋律。为展现西班牙和阿拉伯的旋律风格，长笛声部运用弯弯绕绕的切分节奏延展每个乐汇，并融入该音乐文化特有的旋律音程；与旋律相匹配的是弦乐拨弦与小军鼓敲击的节奏素材，其几乎在模仿吉他与铃鼓的奏法，有效地奠定了整体音乐基调。另外，配器手法进一步强化了异域风情：乐团中不常见的柔音双簧管与萨克斯管，加上长号与巴松管在极端音区的演绎，为作品的声景增添了完全陌生的色彩。

一个超长线条的渐强贯穿全曲，赋予音乐方向感：独奏声部层层叠加、接连不断，而后逐渐被重奏和齐奏取代，像无数支流汇入大海。例如，开篇长笛独奏在声场中若隐若现，甚至与另一怪异的不协和声部交织；随后长笛与单簧管、双簧管构成一个三重唱，音乐攀升后融回整体织体。长号与弦乐等不同乐器继续为整个音效增添着独特色彩，带来更丰沛的泛音与深沉绵延的音色。当更多打击乐手加入战局，定音鼓奠定坚实基底层，大镲撞击声冠压全场。正如故事中紧张情绪的混乱终结，这些镲声标志着打砸桌椅玻璃的骚乱高潮，一切戛然而止。

Inspired not only by Spanish dance, but also the factories of the early 1900’s, Ravel’s Boléro is an iconic work known for its unique form. By building between the contrast of the elegant, singing melodies of the traditional Spanish bolero dance and the repetitive order of industrial factories, Ravel creates a vivid record of his imagination at the time. Created for a ballet, Boléro tells the simple story of a woman dancing in the middle of a crowded tavern to folk tunes, gradually building tension from the surrounding men until chaos breaks out. Some of the main elements that are used to great effect include the contrast between a flowing melody, and a rigid, constant rhythm, developed through the composer’s ingenious use of different voices from the orchestra.

The piece opens with the bare essentials of these two components: a stiff, almost militaristic snare drum that constantly beats the same rhythm over the duration of the entire piece, and a wandering, mysterious flute solo. To evoke the flair of Spanish-Arabian melodies, sinuous syncopations are used to extend each gesture in the flutes, in addition to the characteristic melodic intervals of those cultures. In partnership with the melody, rhythmic material such as pizzicato in the strings and the tapping snare drum are effective in setting the tone, almost imitating a tambourine and guitar in their articulations. Exoticism is further reinforced through the instrumentation – the oboe d’amore and saxophones are an unusual addition, while extreme ranges of the trombone and bassoon add an unfamiliar flavor to the piece’s soundscape. Growing through the course of the piece is a gradual crescendo that provides direction, where soloists build on top of each other and are then replaced by groups or families of instruments. The opening flute solo, for example, flits in and out of focus, even joining with another odd, dissonant voice. It is then joined by clarinet and oboe to form a choir, rising and then being swallowed back into the overall texture. Different instruments such as trombone and strings bring their own flavors to the mixture, bringing further resonance and timbral depth as they join. As more percussionists join the fray, the timpani lends a steady, grounding pulse, crowned by crashing cymbals. As a chaotic end to the story’s tension, these crashing cymbals signal the climax of a riot where glass is broken and tables are shattered, ending the piece abruptly.

英文版由蔡蕊婷撰写

2027届室内乐表演专业小提琴研究生

English version by Tiffany Tsai

MM ’27, violin, Instrumental and Chamber Music Studies

中文版由刘子华翻译

2026届合作钢琴专业研究生

Chinese version translated by Lyra Zihua Liu

MM ’26, Collaborative Piano

林敬基

KEN LAM

SCROLL UP TO READ

林敬基，现任天津茱莉亚学院管弦乐表演专业总监、天津茱莉亚管弦乐团驻团指挥，同时担任伊利诺伊州交响乐团艺术顾问、北卡罗莱纳州布里瓦德音乐中心驻场指挥以及香港和声艺术总监。

2015至2022年，林敬基任查尔斯顿交响乐团音乐总监，并于2017至2022年，担任伊利诺伊州交响乐团音乐总监。此前，他还担任过巴尔的摩交响乐团教学项目副指挥、辛辛那提交响乐团助理指挥和香港室内乐团首席指挥。

2011年，林敬基荣获孟菲斯国际指挥大赛的冠军，并于2009年在美国交响乐团联盟举办的华尔特指挥预演中指挥纳什维尔交响乐团。2008年，他与另外三位指挥被莱昂纳多·斯拉特金选中，在肯尼迪中心指挥美国国家交响乐团，这是他在美国的正式首演。近年间，他还曾指挥辛辛那提交响乐团、辛辛那提流行管弦乐团和巴尔的摩、底特律、布法罗、孟菲斯、夏威夷、布里瓦德、莫里迪恩等地的交响乐团，以及香港小交响乐团、香港管弦乐团、韩国城南市立交响乐团、贵阳交响乐团和台北市立交响乐团等。

在歌剧方面，他曾为布里瓦德音乐中心珍尼克歌剧院的多个制作执棒，并在辛辛那提歌剧院、巴尔的摩抒情歌剧院和卡斯尔顿音乐节担任助理指挥。近年来，他在美国斯波莱托艺术节、纽约林肯中心艺术节以及多伦多光影艺术节指挥过多部歌剧作品，广受赞誉。2010年，他在皮博迪音乐学院指挥马斯奈的《曼侬》，被《巴尔的摩太阳报》评为华盛顿及巴尔的摩地区十大古典音乐节目。

林敬基曾于美国皮博迪音乐学院跟随古斯塔夫·迈尔和马坎德·塔卡学习指挥、于阿斯本的美国指挥学院随大卫·津曼和穆里·西德林学习，并于美国国家指挥学院随莱昂纳多·斯拉特金学习。在成为职业指挥之前，林敬基在英国剑桥大学圣约翰学院修读经济，并当过十年执业律师，从事国际金融业务。

2015年，美国约翰·霍普金斯大学校友会为林敬基颁发全球成就奖，以表彰他对该校优良传统的传承，并肯定他为学校及其专业领域作出的卓越贡献。

Ken Lam is director of orchestral studies at The Tianjin Juilliard School and resident conductor of the Tianjin Juilliard Orchestra. He is artistic adviser of the Illinois Symphony Orchestra, resident conductor of the Brevard Music Center in North Carolina and serves as artistic director of Hong Kong Voices.

Lam was music director of the Charleston Symphony Orchestra from 2015 to 2022 and music director of Illinois Symphony Orchestra from 2017 to 2022. Previously, Lam also held positions as associate conductor for education of the Baltimore Symphony Orchestra, assistant conductor of the Cincinnati Symphony Orchestra, and principal conductor of the Hong Kong Chamber Orchestra.

In 2011, Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra's 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008, as one of four conductors selected by Leonard Slatkin. In recent seasons, he led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Buffalo, Memphis, Hawaii, Brevard and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Seongnam Philharmonic, Guiyang Symphony, and the Taipei Symphony Orchestra.

In opera, he directed numerous productions of the Janiec Opera Company at Brevard and was assistant conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival. In recent seasons, Lam led critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and at the Luminato Festival in Canada. His run of Massenet's Manon at Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington D.C/Baltimore area in 2010.

Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. He read economics at St. John's College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.

Lam is the 2015 recipient of the John Hopkins University Alumni Association’s Global Achievement Award, given to individuals who exemplify the Johns Hopkins tradition of excellence and have brought credit to the University and their profession in the international arena.

天津茱莉亚管弦乐团

TIANJIN JUILLIARD ORCHESTRA

天津茱莉亚管弦乐团在每个音乐季中献上约十场音乐会。从巴洛克时期曲目到当代作品，天津茱莉亚管弦乐团会为我们带来风格丰富的演绎，其中也包含了与中国传统乐器合作演奏的佳作。常驻教师与客座教师将指导乐队声部排练，并与他们一同练习和演出。在驻团指挥带领的音乐会之外，乐团还曾与多位著名的客座指挥合作。

The Tianjin Juilliard Orchestra presents up to 10 concerts each season, performing a diverse repertoire ranging from baroque to contemporary orchestral works, as well as pieces using traditional Chinese instruments. Resident faculty and visiting artists lead discussions, coach sectionals, and play side-by-side with students in rehearsals and performances. In addition to concerts led by the resident conductor, in recent seasons the orchestra also works with renowned guest conductors.

信息来源：天津茱莉亚学院