仲夏．維奧爾 Midsummer Viola da Gamba

大鍵琴與維奧爾琴的初遇

The First Encounter Between Harpsichord and Viols

維奧爾琴（Viols），源自於文藝復興西班牙比維拉琴（Vihuela）的樂器家族，可以理解為放在腿上、用弓拉奏的吉他。它是在文藝復興時期非常流行的樂器，優雅的演奏姿態深受貴族的歡迎；傳統上，紳士淑女們拿著大小音高不同的維奧爾琴圍著圓桌，合奏優美的複音音樂。

到了十七世紀末期，音樂的型態轉變，除了炫技的維奧爾琴無伴奏以及以對位著稱的維奧爾琴二重奏之外，出現了低音維奧爾琴（viola da gamba）與大鍵琴數字低音（continuo）的組合。法國維奧爾琴作曲家瑪蘭．馬雷在1686 – 1725年間出版了五集維奧爾琴組曲，其中第一集在1689年的再版中才加入了數字低音，開啟了時代的潮流。

馬雷的維奧爾琴組曲是維奧爾琴與大鍵琴曲目的經典；法國的維奧爾琴音樂也影響到法國巴洛克大鍵琴音樂的寫作方式。本場音樂會精選法國作曲家拉摩、庫普蘭、杜菲的的大鍵琴曲穿插於馬雷的維奧爾琴組曲之中，互相輝映，提供聽眾一場獨特的聽覺饗宴。

The Viols, originating from the Renaissance Spanish vihuela family, can be understood as a guitar played with a bow on one’s lap. It was a very popular instrument during the Renaissance, with its elegant playing posture highly favored by nobility. Traditionally, gentlemen and ladies would gather around a table, each holding a viola da gamba of varying sizes and pitches, to play beautiful polyphonic music together.

By the late 17th century, musical styles had shifted. Apart from the virtuosic solo viols pieces and its renowned duets, combinations of bass viola da gamba (viola da gamba) with harpsichord basso continuo began to appear. French composer Marin Marais published five books of viola da gamba suites between 1686 and 1725, with the first volume’s 1689 reprint including a basso continuo, setting a new trend.

Marais’ viola da gamba suites are classics in the repertoire for the instrument, and French viola da gamba music also influenced the writing of French Baroque harpsichord music. This concert features selected harpsichord pieces by French composers Rameau, Couperin, and Duphly, interspersed with Marais’ viola da gamba suites, providing a unique auditory feast for the audience.

楊竣元 Chun-Yuan | 維奧爾琴 Viols

許舒堯 Alice Sheu | 大鍵琴 Harpsichord

演出者簡介

楊竣元 Chun-Yuan | 維奧爾琴 Viols

楊竣元，是台灣第一位專精於古樂演奏的低音提琴演奏家。目前就讀於阿姆斯特丹音樂院，師事18世紀交響樂團低音提琴首席 Margaret Urquhart（Violone），以及著名維奧爾琴家 Mieneke van der Velden（Viola da Gamba）。曾榮獲獎學金於美國波士頓新英格蘭音樂學院就讀現代低音提琴，師事波士頓交響樂團團員Todd Seeber留歐期間曾與各著名指揮家合作，包含Ton Koopman，Philippe Herreweghe，Françios-Xavier Roth，Hans-Christoph Rademann，Jos van Veldhoven，Sigiswald Kuijken等擅長演奏各式歷史低音弦樂器以及其各種定弦法。如低音提琴四度定弦，三弦低 音提琴，維也納五弦低音提琴, 維奧爾琴, 各式八尺維奧隆琴Basse de Violon等。2022年6月畢業考以滿分10分外加『優等生（Cum laude）』榮譽學位畢業於阿姆斯特丹音樂院大學部 。2022年2月受邀加入比利時著名古樂團小樂集古樂團La Petite Bande。2022年1月受邀於國際維也納低音提琴節 https://www.viennesebassdays.org 擔任獨奏演出Hoffmeister維也納低音提琴協奏曲。2021年10月受邀至Dutch Double Bass Festival。2021獨奏演出及介紹維也納低音提琴。2021年4月考取比利時著名古樂團Collegium Vocale Gent Academy並擔任低音提琴首席。

Chun-Yuan is Taiwan’s first double bassist specializing in early music performance. Currently studying at the Amsterdam Conservatory, he is under the tutelage of Margaret Urquhart, principal double bassist of the 18th Century Orchestra (Violone), and renowned viola da gamba player Mieneke van der Velden. He has received scholarships to study modern double bass at the New England Conservatory in Boston, under Todd Seeber of the Boston Symphony Orchestra. During his studies in Europe, he has collaborated with many notable conductors, including Ton Koopman, Philippe Herreweghe, François-Xavier Roth, Hans-Christoph Rademann, Jos van Veldhoven, and Sigiswald Kuijken. He is adept at playing various historical bass string instruments and their different tunings, such as the four-string double bass, three-string double bass, Viennese five-string double bass, viola da gamba, various eight-foot violons, and Basse de Violon. In June 2022, he graduated with honors, achieving a perfect score of 10 and receiving a “cum laude” distinction from the Amsterdam Conservatory. In February 2022, he was invited to join the renowned Belgian early music ensemble La Petite Bande. In January 2022, he was invited to perform as a soloist at the International Viennese Bass Days, performing Hoffmeister’s Viennese Double Bass Concerto. In October 2021, he was invited to the Dutch Double Bass Festival for a solo performance and introduction to the Viennese double bass. In April 2021, he was appointed principal double bassist at the Collegium Vocale Gent Academy, a renowned Belgian early music ensemble.

許舒堯 Alice Sheu | 大鍵琴 Harpsichord

許舒堯，旅荷大鍵琴及歷史管風琴演奏家，專長巴洛克及文藝復興歷史鍵盤樂器。於2021年取得荷蘭海牙皇家音樂學院大鍵琴演奏碩士，同時於烏特勒支音樂學院修習管風琴歷史演奏，師承Siebe Henstra、Pieter-Jan Belder（大鍵琴），Reitze Smits（管風琴）。許舒堯為2019年佛萊明區大鍵琴協會國際大鍵琴比賽冠軍。許舒堯以對於十六世紀到十八世紀的古鍵盤樂器的鑽研聞名，並專精於文藝復興晚期，十六至十七世紀的維吉諾琴曲目。她曾受邀於安特衛普歷史悠久的1747年杜爾肯博物館Vleeshuis上演出，並受邀在南達科他州國家樂器博物館演奏1540 年製、全世界最古老可以演奏的大鍵琴演出獨奏會。並定期造訪比利時根特皇家藝術學院古樂器製造系，再由學生製作者製作的各種不同的歷史鍵盤副本上進行表演。作為一名有熱忱的研究人員，她曾在根特奧菲斯學院（Orpheaus Institute）就義大利古記譜法發表學術演講。在2020年為台灣帶來第一場「大鍵琴 — 管風琴」演奏會，演出巴赫的郭德堡變奏曲，並曾受邀於國家音樂廳以及屏東演藝廳演出巴洛克管風琴獨奏會。許舒堯同時為台大化學系學士、碩士，美國芝加哥大學化學博士，以及美國隆基音樂學院鋼琴演奏碩士。於2022年創立古鍵盤藝術，並為2023斐茲威廉大鍵琴音樂節及2024台灣國際古樂節的策展人。

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