陳潔思小提琴獨奏會
Justine Fang Chen Violin Recital
Justine Fang Chen,
Violin 陳潔思 小提琴
Eduard Laurel,
Piano 愛德華 羅瑞 鋼琴
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June 17, Sunday 7:30PM |
紐約台灣會館 Taiwan Center, New York |
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June 18, Monday 5:30PM |
Henry Street Settlement, 265 Henry St., New York |
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June 23, Saturday 2:30PM |
錦江演奏廳 Grand Hall of Jinjiang Hotel, Shanghai |
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June 25, Monday 7:00PM |
上海音樂學院 Shanghai Conservatory of Music, Shanghai |
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July 1, Sunday 7:30PM |
台北市社教館 Taipei Municipal Social and Educational Hall, Taipei |
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July 2, Monday 6:45PM |
Sakai City Hospital, Sakai, Osaka |
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July 3, Tuesday 6:30PM |
Yamamoto Piano Collection Hall, Sakai Osaka |
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July 4, Wednesday 6:30PM |
Sunsquare Hall, Sakai, Osaka |
曲目 Program：
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神秘奏鳴曲第一號 “天使報喜” Mystery Sonata No. 1 “The
Annunciation” |
畢貝爾(1664-1704) Heinrich Biber |
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小提琴奏鳴曲第一號 Violin Sonata No. 1 |
舒曼(1810-1856) Robert Schumann |
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士兵的故事 Histoire du Soldat Suite |
斯特拉溫斯基(1882-1971)–陳潔思(b.
1975) Igor
Stravinsky–Chen |
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休息
Intermission |
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彭巴草原之歌第一號 Pampeana No. 1, for Violin and Piano |
希納斯特拉(1916-1985) Alberto Ginastera
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小提琴與鋼琴對話 Dialogue for Violin and Piano |
馬水龍(b.
1939) Ma, Shui-Long |
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中國花鼓歌 Tambourin Chinois |
克賴斯勒(1875-1962) Fritz Kreisler |
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懷念美國”美國民歌變奏曲” Variations on Yankee Doodle |
沃東(1820-1881) Henri Vieuxtemps |
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JUSTINE FANG CHEN, VIOLINIST
AND COMPOSER
A native of Brooklyn, New
York, composer/violinist Justine Fang Chen began her musical studies at the age
of four. In 1983, she entered both the Pre-College Division of The Juilliard
School where she studied violin with Sally Thomas and Ann Setzer, and the
School of American Ballet where she studied ballet for the next ten years.
After winning Honorable Mention at the BMI Awards to Student Composers in 1984,
she began compositional studies with Dr. Andrew Thomas (currently the director
of the Pre-College Division.) In 1985 and 1986, she received two ASCAP Grants
for Young Composers, for her first two orchestral pieces. In her last year at
Pre-College, she won Juilliard’s Pre-College Student Orchestral Composition
Competition, as well as a special award at graduation for her achievements in
violin and composition.
After beginning her violin
studies in Juilliard’s College Division, she was accepted into the Composition
department as a student of David Diamond, becoming the first violin and
composition double-major in Juilliard’s history.
As violinist, she had
performed as soloist with Bolshoi Symphony Orchestra at Tchaikovsky
Concert Hall in Moscow; with Brooklyn Neighborhood Orchestra at Alice
Tully Hall in Lincoln Center; with North America EliteYouth Orchestra in Dallas,
Los Angeles, Taipei, Taichung, Kaohsiung, Beijing, Shijiachuang` and
Tienjing. She also served as concertmaster for Juilliard Orchestra at Avery
Fisher Hall in Lincoln Center; for Juilliard Opera Orchestra at
Juilliard Theater in Lincoln Center; for North America Elite Youth Orchestra on
tour in US, China and Taiwan. As recitalist and chamber musician,
she has been quite active since age 11.
"The Strad"
praised her playing as "Justine Chen performed Bernstein's Serenade with
conscientious instrumental authority, self-discipline and variable
expressivity." And the "Hardwick Gazette"
reviewed her performance as "Playing her lead instrument with unerring
fingering, flamboyance, and professional confidence, Chen showed that she
was a master violinist in every respect."
Because of her unique
interdisciplinary background, Ms. Chen has a keen interest in artistic
collaborations. To this end, she has written incidental music for theatrical
productions of Arthur Miller’s The Crucible, Robert Louis Stevenson and Robert
E. Lee’s The Night Thoreau Spent in Jail, and Shakespeare’s Macbeth, all with
director James Glossman; and she performed solo violin improvisations for a
production of Pavel Kohout’s Poor Murderer for director Paul Murphy.
She has also collaborated
with choreographer Katarzyna Skarpetowska on a dance piece, Perpetual Flux,
which was premiered in Alice Tully Hall in January 1998, and was subsequently
programmed on Juilliard’s 1998 Summer Dance Tour of New York City Schools.
Other collaborative projects include a work with Jason Reed for the Composers
and Choreographers program (January 20th 1999, Alice Tully Hall), and another
with Iyun Harrison for the Senior Dance Production, which was performed in the
Clark Studio Theater April 15 - 17, 1999. In February 2000, this dance piece
with Mr. Harrison was re-orchestrated and performed in the Juilliard Spring
Dance Concert, by the Juilliard Dance Ensemble and the Juilliard Orchestra in
the Juilliard Theater. The New York Times praised her music as " . . .
propulsive, emotionally resonant score that choreographers tend to dream
of." Last summer, she held the Robert and Lilian Turchin Chair as
Composer-in-Residence of the Appalachian Summer Festival in Boone, North
Carolina. There she collaborated with choreographer Adam Hougland, members of
The Juilliard Dance Ensemble, and the Broyhill Chamber Ensemble in the creation
of a chamber work, Stand Nine. In December, 2000 this piece was premiered in
New York.
In spring of 2001, she will
be touring Azerbaijan and Armenia with the new music ensemble,
Continuum. At the summer of the same year, she will team up with pianist
Eduard Laurel for her violin recital concert tour to China, Taiwan and Japan.
When she received her
Bachelor’s Degree in Composition and Violin from Juilliard in 1998, she
received the Peter Mennin Prize for outstanding achievement and leadership in
music. She recently completed graduate level studies at Juilliard in
composition with Robert Beaser and in violin with Stephen Clapp. Upon graduation,
she received the William Schuman prize for outstanding achievement and
leadership in music at the graduate level. She is currently a Doctoral
candidate in composition at Juilliard as a C. V. Starr Fellow.
陳潔思 小提琴家 簡介
作曲家及小提琴家陳潔思是個土生土長的紐約市布魯克林人。當她四歲時就開始學習音樂。1983年，八歲時，陳潔思進入茱麗亞音樂院預校跟莎麗湯瑪士(Sally Thomas)及安賽塞瑟(Ann Setzer)學習小提琴。同時，她也在美國芭蕾舞學院(School of American Ballet)學習芭蕾舞持續十年之久。在她於1984年贏得了BMI學生作曲家獎的表揚之後，陳潔思開始與安德魯湯瑪斯(Andrew Thomas)博士學習作曲。在1985 及 1986年，她的兩部管弦樂處女作為她得到兩份美國作曲家、作家與出版商協會為年輕作曲家設立的獎學金。在茱麗亞音樂院預校最後一年，她贏得了學生管弦樂作曲賽，並因她在小提琴及作曲的成就得到畢業特獎。在進入茱麗亞音樂學院後，她成為作曲系大衛戴蒙(David Diamond)的學生，並創茱麗亞音樂院的歷史上是第一位以小提琴及作曲雙主修的歷史。
身為小提琴家，陳潔思曾與Bolshoi交響樂團在莫斯科的Tchaikovsky音樂廳擔任獨奏。其他獨奏還包括了與Brooklyn Neighborhood管弦樂團在林肯中心的Alice Tully 音樂廳，與北美菁英交響樂團在達拉斯、洛杉磯、臺北、臺中、高雄、北京、石家庄及天津。在林肯中心的Avery Fisher音樂廳她也擔任過茱麗亞管弦樂團的樂團首席。在茱麗亞歌劇管弦樂團在林肯中心的茱麗亞劇院亦擔任過樂團首席。於北美菁英交響樂團到美國、台灣及中國的巡迴演出也擔任過樂團首席。身為獨奏家及室內樂家，陳潔思自從11歲就相當活躍。
"The
Strad" 稱讚她的演奏為 ”陳潔思以謹慎的樂器掌控、自我的訓練及變化表達性來演出伯恩斯坦(Bernstein)的小夜曲” 。 "Hardwick Gazette"評論她的表演 ”陳潔思以她精確的指法、豔麗及專業的信心在各方面展現出小提琴大師的風範” 。
因她獨特的音樂、舞蹈訓練背景，陳潔思對藝術的結合有熱切的興趣。至今，她為導演詹姆士‧葛羅斯曼(James Glossman)的戲劇編寫配樂，其中有亞瑟‧米勒(Arthur Miller)的”考驗”(The Crucible)、 羅伯‧路易士‧史蒂文生(Robert Louis Stevenson)及羅伯‧李(Robert E. Lee)的”監獄之夜”(The Night Thoreau Spent in
Jail)及莎士比亞的馬克白。也在導演保羅‧默菲(Paul Murphy)的作品佩夫‧柯奧(Pavel Kohout)的“可憐的謀殺犯”中，演出小提琴即興獨奏。
與編舞家卡特辛納‧史卡普歐思卡(Katarzyna Skarpetowska)合作 的作品“永無休止的變遷”1998年1月首演於林肯中心Alice Tully音樂廳，接著也在茱麗亞1998年的夏季舞蹈巡迴中,演出於紐約市公立學校。其它還有與傑森‧瑞得(Jason Reed)為作曲家及編舞家的演出共同合作(1999年1月20日，Alice Tully音樂廳)。與艾揚哈里森(Iyun Harrison)在1999年4月15-17日克拉克戲院(Clark Studio Theater)演出的舞蹈作品共同合作。去年二月此作品被改編，在茱麗亞的春舞音樂會中由茱麗亞舞蹈團及茱麗亞管弦樂團於茱麗亞劇院演出。紐約時報稱讚她的音樂”…充滿感情共鳴的音符令編舞家渴望夢想。”去年夏天在北卡羅來納州的阿帕拉契夏日節慶，陳潔思與茱麗亞舞蹈團及Broyhill室內樂團的成員與編舞家Adam Hougland合作一部室內作品-- Stand Nine。這部作品在2000年12月於紐約首演。
2001年春季，她將與新樂團Continuum巡迴亞塞拜然及亞美尼亞。同年夏季，她將與鋼琴家Eduard Laurel合作演出於美國、台灣、中國及日本。
1998年陳潔思獲得茱麗亞音樂院的作曲及小提琴學士學位並因她在音樂上的傑出成就及領導才能得到“孟寧 《Peter Mennin》獎”。最近，她在茱麗亞音樂院完成了研究所的課業。其中在作曲師承Robert Beaser而小提琴則是師承Stephen Clapp。在她研究所畢業之時，她亦以在音樂上的傑出成就及領導才能得到“威廉‧舒曼《William Schuman》獎”。目前，陳潔思正在茱麗亞音樂院以研究員的身分修習作曲博士學位。
EDUARD
LAUREL, PIANIST
A native of South Texas, Eduard studied at the University of Texas at Austin with David Garvey and Gerard Souzay, and at the Manhattan School of Music with Solomon Mikowsky.
Currently, he is a free-lance accompanist in New York City and is on staff at Juilliard and Mannes. He is a member of the Easternmost Piano Quartet and a former member of the Jerusalem Trio. Eduard has accompanied for Meadowmount, Round Top Festival, the Academy of Music, the International Saxophone Congress in Maryland, and the International Tuba-Euphonium Conference in Austin, Texas.
He has performed at The National Gallery in Washington, and at Carnegie Hall, Alice Tully Hall, and the Kosciuszko Foundation in New York. His broadcasts include WQXR/NYC and NPR. Also as a recitalist, he has performed in England, Iceland, Russia, Korea, Canada, and Mexico. Eduard has accompanied master classes of music artists such as Preffler, Rampal, Baumann, Stoltzmann, Debost, Gingold, Tree, Igor Oistrakh, Shlomo Mintz, Robert Mann, Mstislav Rostropovitch, Hoelscher, Woodhans, Turkovic, and Yo Yo Ma. He has performed with such artists as Christine Walevska, Boris Belkin, Karl Kraber, Carol Wincenc, and Harvey Pittel.
Eduard has been described as a "First-Rate Chamber Musician" (THE NEW YORK TIMES) and is hailed for his "superb pianism" (THE STRAD).
愛德華。羅瑞
鋼琴家簡介
被紐約時報讚為"第一流的室內音樂家"及世界性弦樂權威雜誌
"The Strad" 讚賞為
"上乘極好的鋼琴演奏技巧"
之羅瑞先生出生於美國德州南部，鋼琴受教於奧斯汀市德州大學(University
of Texas at Austin) 師事 David Garvey 和
Gerard Souzay 以及紐約市曼哈頓音樂院(Manhattan
School of Music) Solomon Mikowsky。目前為職業伴奏家任職於茱麗亞音樂院(The
Juilliard School of Music)及曼尼斯音樂院(The
Mannes School of Music)擔任指定伴奏;同時為"Easternmost鋼琴四重奏
"之鋼琴家,曾任"Jerusalem三重奏"成員之一。
曾經擔任伴奏的音樂節季包括Meadowmount,
Round Top Festival, The Academy of Music,馬利蘭州的國際薩氏管大會(The
International Saxophone Congress in Maryland)及國際低音號-粗管上低音號會議於德州奧斯汀市(The
International Tuba-Euphonium Conference in Austin ,Texas)。並曾演出於美國首都華盛頓的國家藝術館(The
Nation Gallery in Washington)，卡內基演奏廳
(Carnegie Hall)，林肯中心愛麗絲特麗廳(Alice
Tully Hall , Lincoln Center)，其演奏被紐約時報電台WQXR及紐約市廣播電台NYC及全美公共廣播電台NPR播送，亦參與獨奏會演出於國際名音樂廳包括英國、冰島、俄羅斯、韓國、加拿大及墨西哥。
以職業伴奏鋼琴家出現於各種樂器最頂尖藝術家之大師班(Master
class)包括長笛家Rampal,
單簧管家
Stoltzmann, 小提琴家
Gingold, Igor Oistrakh, Schlomo Mintz, Robert Mann, 中提琴家
Michael Tree, 大提琴家
Mstislav Rostropovitch 及馬友友等多位各樂器之泰斗。
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Mystery Sonata No. 1
"The Annunciation" (ca. 1676) (ca. 1644-1704) 神秘奏鳴曲第一號 “天使報喜” |
Originally born in
Bohemia, Biber, the greatest German violin virtuoso of his time, eventually
gained employment as Kapellmeister in the Archbishop's court in Salzburg in
1684. Before he became Kapellmeister (the most prestigious musical
position in the court) he was originally employed as a "chamber servant"
in 1671. When he first entered this job, he dedicated a set of solo
violin sonatas to his new employer, Archbishop Maximillian Gandolph. Because
their names began with the same letters, the Archbishop felt a strong bond to
Saint Mary, the mother of Christ, had performed many special dedications in
her honor. For instance, he founded a fraternity in honor of the name
of the Virgin and the Rosary, became a member of this brotherhood himself,
and observed Rosary services very diligently. 畢貝爾生於波希米亞，是當代德國最偉大的小提琴大師，最後他於1684年在Salzburg擔任大主教教廷管弦樂隊的指揮。在這之前，他於1671從事室內樂服務的工作。當他剛進入這個工作，他獻了幾首小提琴獨奏鳴曲給他的雇主大主教 Maximillian Gandolph 。因為這幾首曲子的名字均以相同的字開頭，大主教感覺到與聖母瑪利亞強烈的連結著。例如，他發覺了向聖母瑪利亞及玫瑰經表達敬意的友愛之情，並成為弟兄會的一員，也很勤奮地遵循玫瑰經的服務態度。這”神祕奏鳴曲組(Mystery Sonatas)”，也被稱為”玫瑰經奏鳴曲組(Rosary Sonatas)”，是依據天主教玫瑰經的十五端。可以將其分為三項：歡喜五端(The Five Joyful
Mysteries)、痛苦五端(The Five Sorrowful Mysteries)、榮福五端(The Five Glorious Mysteries)。畢貝爾在這部作品使用了十五個不同的調音法(tunings)。今晚所要演奏的第一號奏鳴曲(使用一般的調音)是描述”天使報喜”的故事。內容是天使加百利告訴瑪利亞她將懷孕生下天主的兒子。 |
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Sonata No. 1, op. 105 in A
minor, for violin and piano (1851) 小提琴與鋼琴奏鳴曲第一號A小調作品第105號 |
Although
Schumann's reputation as a composer is mainly based on his piano music, he
was strongly influenced and inspired by Nicolo Paganini, the most infamous violin
virtuoso of all time. He later renounced the virtuoso style of composition
and performance, considering the style lacking in musical
integrity. Other works by Schumann written for violin include 2
other sonatas, a concerto, and a Fantasy for violin and orchestra. 以鋼琴作曲家享譽留名的舒曼曾經深受舉世最聞名之小提琴大師帕噶尼尼重大的影響及啟發並為小提琴作曲。後來他以”純為表現技藝的作品及演奏風格缺乏音樂上的完善度”而放棄技巧性的作曲。除此曲外，舒曼為小提琴創作之曲尚有兩首小提琴奏鳴曲，一首協奏曲及一首為小提琴與交響樂團而創作之幻想曲。 |
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Histoire du Soldat Suite,
for violin and piano (1919) 斯特拉溫斯基作曲 陳潔思 編曲 士兵的故事
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Histoire
du Soldat (The Soldier's Tale) is a multi-disciplinary work listed as
"To be read, played, and danced." This suite takes excerpts
from a collaborative work conceived and written by C. F. Ramuz, Swiss
novelist, and Stravinsky. The original instrumentation uses clarinet,
bassoon, trumpet, trombone, violin, double bass, and percussion. The
story, a combination of different tales, from a collection by Boris
Afanasiev, and the Faust legend, tells the story of a soldier who unwittingly
sells his soul to the devil, wins it back, then loses it in the end.
The violin plays an important part in this drama, symbolizing both the
soldier and the devil. 此曲原作包含多種表演藝術為”朗讀，演奏，及舞蹈”。本組曲摘錄自原作由瑞士文學家拉慕茲(C. F. Ramuz) 及斯特拉溫斯基共同創作，配器為單簧管、低音管、小號、長號、小提琴、低音提琴及敲擊樂器。此故事為許多不同傳統的結合，取自阿法納西夫(Boris Afanasiev)及浮士德(Faust)的傳奇故事。敘述一位士兵無意中出賣靈魂予魔鬼，奮勇奪回之後又再失去。小提琴在原作中佔重要份量，象徵士兵及魔鬼。 此音樂會演出之摘錄為三首舞曲：探戈、華爾茲及繁音拍子和魔鬼的舞蹈。頭三首為士兵以神奇的音樂力量，用他的小提琴咒唸魔法用以治療一位生病的公主。魔鬼的舞蹈是士兵的復仇及展示他對魔鬼的制伏。此兩故事說明並證釋音樂的力量。 |
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Pampeana No. 1, for violin
and piano (1947) 希納斯特拉 彭巴草原之歌第一號 |
Alberto
Ginastera, born in Buenos Aires, is a composer known for his nationalistic
spirit. His body of composition separates into three periods: I.
'Objective nationalism' (1933-47), II. 'Subjective nationalism'
(1947-57), and III.
'Neo-Expressionism' (1958-83). The difference between the first and
second periods lies in his use of folk materials. In the first period,
he used Argentine folk materials, and in the second, he absorbed the elements
of the folk materials to create his own original Argentine style. Pampeana No. 1 is one of three such titled works. The first is for violin and piano (or orchestra), the second (1950) is for cello and orchestra, and the third (1954) is for orchestra. The two solo Pampeanas incorporate the sound of pitch-centered improvisation with guitar-like accompaniment. 以民族主義精神著名的作曲家希納斯特拉出生於阿根廷的布宜諾斯艾利斯(Buenos Aires)，他的主要作品共分三個時期。1. 客觀的民族主義(1933-47) 2. 主觀的民族主義(1947-57) 3. 新表現主義(1958-85) 。其第一與第二時期之異為處理民歌材料之手法。第一時期他以阿根廷的民歌為資料作曲。第二時期他吸取民歌的特質創造出他自己的阿根廷風格。 Pampeana意為” Pampa 之歌”。在古西班牙文中，Pampa為大草原或原野無耕種及人居之曠野，又彭巴(Pampa)亦是阿根廷中部的一地區之名，它為一望無邊的草原。 希納斯特拉共創作三首名為”彭巴草原之歌”的作品。第一號為小提琴與鋼琴(或管弦樂)而作。第二號為大提琴與管弦樂合奏。第三號則純為管弦樂作曲。小提琴與大提琴獨奏的前兩首採用類似吉他以音調為主的即興伴奏。 |
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Dialog für Violine und Klavier (1975) 小提琴與鋼琴對話 |
Ma
Shui-Long is arguably the most influential figure in contemporary Taiwanese
music. His music fuses a keen understanding of classical Western
techniques, with Asian sonorities and sensitivity. Unlike many
composers who merely flaunt their cultural background as a selling point in
their music, Ma has absorbed his culture and is producing music that
represents him and his training, schooled both in Taiwan and Germany. 馬水龍為台灣現代古典音樂最具影響力的作曲家，他的作品展示出以亞洲的特有聲音亮度及靈敏性融合，其對西方古典音樂技法鋒利的熟悉和了解，與其他只以文化背景為賣點的作曲家所不同的是，馬教授，深刻理解並汲取自已的文化配上他在台灣、德國的音樂訓練和研究。 小提琴與鋼琴對話創作於他在德國雷根斯堡留學時的後期。 |
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Tambourin Chinois 中國花鼓歌 |
Kreisler, world famous
violinist at the turn of the century, was known for the elegance of his
bowing, and the grace and charm of his phrasing. He was known for the
beautiful sweet tone that he was able to produce on his violin. 曾於二十世紀初以優美的弓法，甜美的琴音及對音樂高雅及魅力的詮釋而聞名的克賴斯勒創作此曲為他到中國上海後的印象。 四歲時開始接受音樂教育，十二歲時不再拜師學琴。以其天賦七歲時以最輕的年紀考入Musikverein Konservatorium，並於十一歲時榮獲金牌獎。就讀巴黎音樂院師事威尼阿夫斯基(Wieniawski)的老師馬薩爾(J. L. Massart)。 他很少因他的作品而獲得名聲，並曾以巴羅克時期的作曲家的名義出版許多自己的創作小品。雖然以其小品著名，他亦創作歌劇 ”蘋果花”，一首弦樂四重奏及貝多芬與布拉姆斯小提琴協奏曲之裝飾樂段。 |
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Souvenir d'Amerique
"Variations on Yankee Doodle" (ca. 1845) Henri Vieuxtemps
(1820-1881) 沃東 懷念美國 ”美國民歌變奏曲” |
Belgian born violinist and composer, Vieuxtemps enjoyed great fame during his lifetime and a virtuoso violinist. For a concert her performed in Leipzig, Schumann compared him to Paganini. Known primarily for his brilliant violin works, Vieuxtemps created this jubilant theme and variations piece based on this very familiar American tune. 比利時出生的小提琴與作曲家，在世時享有小提琴藝術大師之盛名。舒曼曾於他在來比錫(Leipzig)一場音樂會後，將他與帕噶尼尼相提並論。以創作技藝高超的小提琴曲而著名，沃東創造此令人喜悅歡騰的美國民歌變奏曲。 |