演出时间｜2011年3月8日，星期二，19:30 演出地点｜交大演艺厅(活动中心2F) (新竹市大学路1001号 国立交通大学) 演出人员｜任真慧(钢琴)、司徒雅各(电脑音乐) 曲 目｜ 强纳森．哈维: 梅湘之墓 *台湾首演 Jonathan Harvey: Tombeau de Messiaen *Taiwan premiere 任真慧: 来自梦境 *台湾首演 Chen-Hui Jen: d’un songe *Taiwan premiere 锺启荣: 时间之流 II *世界首演 Kee Yong Chong: Time flow II *World premiere 高桥悠治: 江神 *台湾首演 Yuji Takahashi: Maeander *Taiwan premiere 司徒雅各: 近乎诵祷 Jacob David Sudol: …approaching a prayet 汤浅让二: 向午夜之阳 *台湾首演 Joji Yuasa: Towards “The Midnight Sun” *Taiwan premiere 票务资讯｜ 主办单位：交大艺文中心 售票地点： 交大浩然图书馆 B1 艺文空间 (03)5712121#52666 交大活动中心 2F 华通书坊 (03)5712121#59056 诚品书店新竹店 B2 服务台 (03)5278907#254 谘询电话： (03)5712121#31953 票　　价： 学生票 100 元 / 全票 200 元 节目介绍｜ 「自然与想像的诗意空间」- 为钢琴与电声的音乐 A Poetic Space filled with the Natural and the Imagined: Music for Piano and Electronic Sound 如本场音乐会标题所示，在合作无间的演出者任真慧与司徒雅各的生活及艺术 美学中，自然与想像是最重要的两项元素：作为一种全面性的宇宙观，结合并 包含多重层次面相，而非二分为人为与自然、抑或是想像与实现的诠释。全场 节目皆为结合钢琴与电声之曲目──此二种媒材皆具有宽广的音域层次、调色、 配器等特色，组合在一起时能将作曲家乐思及想像发挥得淋漓尽致，创造出无限 可能的声响空间。譬如哈维在作品《梅湘之墓》使用不同的调律在预录的钢琴 及现场演奏的钢琴声部中，以造成神奇炫目的色彩共鸣；高桥悠治的作品《江神》 则着重於钢琴声响的形变与延伸，如走入迷宫般奇幻；汤浅让二的作品《向 午夜之阳》以各自独立却又重新结合的钢琴与预录的声响共构出一幅充满想像力的 声音风景画。在互相迥异的大师经典作品之外，在本场节目中并将演出三首 中青年作曲家之新作，带领听众走入前所未体验过的，声响的诗意空间。 Among the many elements that make up life and art, for the Chen-Hui Jen and myself there are two that resonate with particular strength – the natural and the imagined. To us the natural does not imply a division between nature and humans but rather the cosmology that encompasses both. Similarly, for us the imagined does not imply a division between imagination and reality, but rather the many points, planes, and spaces where imagination and reality meet. For our program we chose to combine the acoustic piano with electronic sounds because both on their own are extremely efficacious tools to evoke the natural and the imaged; and, when combined they provide the composer with an extremely diverse and powerful sonic orchestral palette that is both large and intimate at once. To understand the power of works for piano and electronic sounds consider, for example, the miraculous resonances of the many differently tuned pianos in Jonathan Harvey’s Tombeau de Messiaen, the live sonic transformation of an acoustic piano in Yûji Takahashi’s Meaender, or the two separate but joined sonic landscapes in Joji Yuasa’s Towards “The Midnight Sun”. By providing such a diverse collection of the works, including the three described above and three new works for this medium, we believe that this concert will guide the listener through a truly remarkable poetic space unlike one that he or she has ever encountered before. -Jacob Sudol *演出资讯可使用或不使用本模板，发文时请将本行删除 *本模板不适用板规3，请放心发文 -- 法文学得好得学文法 --

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