[曲目介绍第一版,复制到ptt上面版面好像有点乱...我把档案寄到各位信箱好了.] Introduction 《1. Masaaki Hayakawa: The Four Seasons》 a.Spring--Loving the Year Round 四季红 Plum Blossom Country 桃花乡 b.Summer--Dumplings! Meat Dumplings! 卖肉粽 In the Cold Pouring Rain 西北雨直直落 c.Autumn--Moonlight Sorrow月夜愁 d.Winter-- The Rain-soaked Bird 雨中鸟 The famous violin concertos “the four seasons” made by Vivaldi describe each season of the year with one violin concerto, each including a poetry describing the seasons’ scenery. The Japanese composer Masaaki Hayakawa, a highly regarded conductor and professor among Japanese music circles, arrange twelve Taiwanese folk songs into the “Four Seasons of Formosa”, adapting the Vivaldian formation of “the four seasons.”Following six pieces are chose from this suite; the first two are from Spring, the next two are from Summer, and the fifth and sixth are from Autumn and Winter.Now we introduce every folk songs in detail. “Loving the Year Round” described the birds singing among the flowers and trees in the spring by the delicate and lively melody played by string . “Plum Blossom Country” is a quite popular folk song in Taiwan. Through reedition, this songs give audience a special different feeling. In Taiwan, the time to enjoy dumplings is on the Dragon Boat Festival, and the “Dumplings! Meat Dumplings!” destribed a poor traditional vendor who sold Chinese dumplings in the early 20th century.The other song ”In the Cold Pouring Rain” 《2. Taiwan folk song:Expecting the Spring望春风》 This song owes its special background to the early Taiwanese society. Back in the old days, free love is seldom found. Marriage between men and women should follow their parents' wishes or promote the family's financial advantages. The freewill true love of the youngsters only amounted to endless sorrow. More restrictions were imposed on young girls, especially their behaviors; they were taught not to give away their hearts. The author captured the subtle dilemma of girls and thus composed this touching song, (now brought to you). 《3. Taiwan folk song:Sunset in Danshui 淡水暮色》 Once Jyun-Lin Ye (叶俊麟) went to the harbor of Tam-sui (淡水) at sunset. Many fishing boats were returning to the harbor, women and the children crowded there waiting for their dear husbands and fathers. Meanwhile, however, Ye saw a girl gazing outward from the window of a brothel, singing softly, as if envying that everyone else could reunite with their family members except her. At that moment, a thought inspired Ye, and he squatted down under a tree, wrote down the lyrics right away. Suddenly, the bell of the Presbyterian Church (长老教会) beside Mackay hospital (马偕医馆) chimed. He walked to the slope, looking at the brick-red Gothic church (哥德式教堂), and overlooked the lightened houses at the foot of Guan-yin mountain (观音山). As the sun sets, the lyrics were also completed. Two days later, he and Yi-Feng Hong (洪一峰) discussed how to compose the most exquisite rhythm; maybe the murmur of Tam-sui river offered them endless inspiration. 《4. Taiwan folk song:The Jasmine 茉莉花》 A popular folk song in Taiwan, June Jasmine depicts a girl who thinks of the scented jasmine-flowers and seeks for her perfect man, an idea which others do not understand; the girl sighs at the thought because time passes by quietly and her efforts are in vain. The tune is simple, graceful and lyrical. 《5. Taiwan folk song:Tone of Umbrella雨伞调》 This is an ancient and widespread traditional melody of people from the Chia-nan plain, south-west of Taiwan. 吕泉生(Lyu Chyuan Sheng), the father of Taiwanese chorus music, wrote the lyrics. This edition, a concerto, was revised in 2000, for the purpose of a performance in Tai-chung solely. 《6. Taiwan folk song:Springtime Hills满山春色》 The popular folk song "Springtime Hills", written by Chen Chiu-Lin to lyrics by Chen Da-Ru, was first published in 1930, and was one of the last original Taiwanese songs of the Japanese occupation era. The song praises the lustrous colours of springtime as young men and women frolick amongst the hills and valleys. With its high-spirited melody and light rhythms, the song was unique for its time, since most songs written during Japanese rule were melancholic or sentimental in tone. 《7. Taiwan folk song: Diu-Diu-Dong 兰阳舞曲》 This piece was inspired by the original Diu-Diu-Dong, a famous folk song from I-lan county of Taiwan. Regarding the theme of Diu-Diu-Dong, the most prevalent and up-to-date story line that one may find is: Lan-Yang plain is located in the I-lan county, whose landscape is characterized by high mountain and adjacent wide open seas. In order to solve the inconvenience and isolation caused by such natural surroundings and to reach out, in 1924 a trans-mountain railway was finally completed enabling local passengers to commute from I-lan to Taipei at will. The stories went on that at the day of the new railway commencement, people old and young altogether excitedly got on board the train, humming their familiar tunes, trying to enjoy their new found convenience. When the train passed through the tunnel, the "diu diu" song of the dropping water from the tunnel top onto the train body combined with the "dong dong" sound ecohed from the train riding on the rails made such an impression on the passangers. As result, whenever people from Lan-Yang plain referes to lively and enjoyable feelings they would always refer to the "diu diu dong dong" memories passed down from such tradition. The new arrangement by Che-yi Lee is a more modern interpretation of Diu-Diu-Dong. With fresh elements using open strings, present day audiences should be easier to relate and depict how the old folks at Lang-Yan plain felt when they were riding the train of their life time. 《8. J.S.Bach:Brandenburg Concerto No.5in D Major》---(为什麽去不掉蓝底阿?) This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord). It is believed that it was written in 1719, to show off a new harpsichord by Michael Mietke which Bach had brought back from Berlin for the Cothen court. It is also thought that Bach wrote it for a competition at Dresden with the French composer and organist Louis Marchand; in the central movement, Bach uses one of Marchand's themes. Marchand fled before the competition could take place, apparently scared off in the face of Bach's great reputation of virtuosity and improvisation. The concerto is well suited throughout to showing off the qualities of a fine harpsichord and the virtuosity of its player, but especially in the lengthy solo 'cadenza' to the first movement. It seems almost certain that Bach, considered a great organ and harpsichord virtuoso, was the harpsichord soloist at the premiere. Scholars have seen in this work the origins of the solo keyboard concerto; indeed it is said to be the first-ever example. An early version, BWV 1050a, is much the same except that most of the harpsichord solo from the first movement is missing; only the fast scale passages are present without the thematic material incorporated into the later version's solo. The affettuoso is for the solo instruments alone, and the final movement is a fugue. 《9. Leroy Anderson:The Syncopated Clock》 "The syncopated clock" is composed by Leroy Anderson, who was born in Massachusetts in 1908. He began his piano and composition lessons at 10 and entered the Conservatory of music of Harvard Univeristy at 18. This song, which is one of his best-known works,remains fairly popular in America. After being personalized by Anderson, the clock (or metronome) which merely beated monotonously in tempo gained vigor and liveliness. By addition of syncopating notes, Anderson created an amusing song. 《10. W.A.Mozart:Quartet in G for Flute, Violin, Viola and Violincello》---学姐太忙了没时间XD 《11. B.Bartok:Rumanian Folk Dances》---维宸努力中 《12. F.Schubert: Trio ,op99, Mov I》 The Piano Trio in B flat major that Schubert began in the middle of 1827 marks his return to that particular ensemble after an interval of almost exactly 15 years. The sole earlier work for piano trio, also in B flat major but in just a single movement (D. 28), is a student work -- that of the 15-year old pupil of Antonio Salieri; in marked contrast, the B flat major Piano Trio of 1827, Op. 99, shows Schubert nearing the very end of both career and life, fully aware of his powers' scope. It is the first of two magnificent works in the genre with which Schubert filled the void in piano trio composition that had existed since Beethoven's "Archduke" Trio of 1811. The B flat major Piano Trio, Op.99 (D.898), is in the usual four movements, here marked Allegro moderato, Andante un poco mosso, Allegro (the scherzo), and Allegro vivace. The first movement is as happy and carefree a sonata-allegro as one might imagine; its bubbly opening theme is at first property of the strings but is soon turned over to the piano, which emulates the violin/cello octaves while the strings take over the bouncing accompaniment. A heartwarming second melody in the cello assumes an almost heroic posture when it recurs in the development. 《13. D.Shostakovich: Waltzes for piano trio》 The Four Waltzes are actually arrangements made in 1956 by Shostakovich’s friend and colleague, Lev Atovmyan, based on various film and stage scores. The two we perform – numbers 3 and 4 – are from the films The Return of Maxim (1937) and The Gadfly (1995), respectively. Waltz No.3 is originally scored for flute, clarinet and piano; Waltz No.4 originally scored for piccolo, clarinet, and piano. We modified the color palette subtly by substituting the violin for the flute and the piccolo. Both waltzes are delicate. Waltz No.4 is tinted particularly with childhood delight, which reminded one of circus music shed from a music box. --

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