11月16日，天津茱莉亞管弦樂團(tuán)將呈現(xiàn)本樂季第三場音樂會(huì)，演繹德沃夏克和拉威爾的經(jīng)典作品。

上半場，常駐教師李偉綱、于翔、李漢娜（Hanna Lee）和何思昊將帶領(lǐng)樂團(tuán)演繹德沃夏克優(yōu)美質(zhì)樸的《E大調(diào)弦樂小夜曲》。下半場，樂團(tuán)則將在駐團(tuán)指揮林敬基（Ken Lam）的執(zhí)棒下呈現(xiàn)拉威爾的三部作品，包括純凈詩意的《鵝媽媽》組曲、色彩斑斕的《丑角的晨歌》，以及充滿戲劇性的《波萊羅》。

本場音樂會(huì)對(duì)公眾開放售票，觀眾可掃描下文中的二維碼購票。購票觀眾可于當(dāng)日14:00前往天津茱莉亞演奏廳參加由音樂理論教師王樂游帶來的音樂會(huì)導(dǎo)賞，并可在演出前免費(fèi)體驗(yàn)“茱莉亞幻想空間”。

天津茱莉亞管弦樂團(tuán)音樂會(huì) ??Ⅲ

TIANJIN JUILLIARD ORCHESTRACONCERT ??Ⅲ

林敬基，指揮

Ken Lam, Conductor

演出曲目

PROGRAM

德沃夏克（1841—1904）

E大調(diào)弦樂小夜曲，作品22

DVO?áK (1841-1904)

Serenade in E Major for string orchestra, Op.22

中場休息

INTERMISSION

拉威爾（1875—1937）

《鵝媽媽》組曲

RAVEL (1875-1937)

Ma Mère l'Oye

拉威爾（1875—1937）

《丑角的晨歌》

RAVEL (1875-1937)

Alborada del gracioso

拉威爾（1875—1937）

《波萊羅》

RAVEL (1875-1937)

Boléro

演出曲目以現(xiàn)場演奏為準(zhǔn)

The program is subject to change

德沃夏克

E大調(diào)弦樂小夜曲，作品22

DVO?áK

Serenade in E Major for string orchestra, Op.22

德沃夏克是19世紀(jì)杰出的捷克作曲家，或許也是所有后繼者中最卓越的一位。這樣的成就不可小覷，畢竟連莫扎特等眾多音樂巨匠都曾將波希米亞視為歐洲最具音樂氛圍的國度。德沃夏克最初獲得認(rèn)可得益于勃拉姆斯的賞識(shí)——這位前輩在德沃夏克職業(yè)生涯早期接觸到他的作品，便安排他赴維也納深造。雖然德沃夏克的基本風(fēng)格取向與這位前輩作曲家相似，都秉持古典主義的嚴(yán)謹(jǐn)章法，恪守傳統(tǒng)曲式結(jié)構(gòu)，但其作品中的捷克血脈仍流淌于無數(shù)微妙之處：那些和聲轉(zhuǎn)換、旋律走向與節(jié)奏律動(dòng)始終堅(jiān)定地昭示著他的民族根脈——即便承襲著可追溯至貝多芬的嚴(yán)謹(jǐn)作曲傳統(tǒng)。

在德沃夏克的創(chuàng)作早期，誕生了《弦樂小夜曲》，1875年他三十三歲，寫出的這部作品如春日暖陽般和煦、明媚、安然。那時(shí)正是他的黃金歲月：婚姻幸福、兒子尚小，事業(yè)與生計(jì)都展現(xiàn)出嶄新曙光。這類合奏小夜曲源自為貴族戶外晚宴譜寫的怡人背景音樂，通常由情緒與速度對(duì)比鮮明的多個(gè)樂章組成。當(dāng)然，莫扎特的小夜曲是此類作品的巔峰，但其他重要作曲家也曾有過探索和產(chǎn)出。德沃夏克的這部五樂章作品結(jié)構(gòu)簡單，作曲技法精妙，海量旋律引人入勝。在這里，關(guān)于曲式的學(xué)術(shù)分析——諸如“第一第二主題”、調(diào)性布局、展開部等等都顯得無關(guān)緊要了，這部杰作中流淌的純美音畫與溫暖情愫已然超越一切，就連小調(diào)片段的處理——尤其是第二樂章中的華爾茲——也僅是苦樂參半的，而這恰是波希米亞風(fēng)韻的精髓所在。

Dvo?ák is the pre?minent 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. Dvo?ák owed his initial recognition to Johannes Brahms, who encountered his music somewhat early in Dvo?ák’s career, and saw to it that he was enabled to spend time in Vienna for further study. While Dvo?ák’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 Dvo?ák’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. Dvo?ák’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

拉威爾

《鵝媽媽》組曲

RAVEL

Ma Mère l'Oye

盡管“鵝媽媽”這個(gè)形象在歷史上已經(jīng)多次迭代，其起源最早可追溯至8世紀(jì)的“拉昂的貝特拉達(dá)”——法蘭克皇后，查理曼大帝之母。因足部畸形被戲稱為“鵝腳皇后”的她，以終日為孩童講述童話聞名。17世紀(jì)末，作家夏爾·佩羅出版短篇故事集《鵝媽媽的故事》，該作品迅速風(fēng)靡法國，并于1729年被譯成英文。不久后，英國書商約翰·紐伯瑞出版的童謠選集《搖籃里的十四行詩》，使鵝媽媽從模糊的民間傳說形象轉(zhuǎn)型為當(dāng)今觀眾認(rèn)知的講故事的睿智老人。

莫里斯·拉威爾的《鵝媽媽組曲》在1911年被改編為管弦樂之前原本是寫給四手聯(lián)彈的鋼琴組曲，作曲家將這套二重奏題獻(xiàn)給摯友戈德布斯基和伊達(dá)的子女——咪咪與讓·戈德布斯基。拉威爾常造訪戈德布斯基鄉(xiāng)間宅邸，尤其愛為孩子們講述寓言故事，組曲中包含了《睡美人》《美女與野獸》等諸多經(jīng)典童話。后來拉威爾將作品改編為完整芭蕾舞劇，新增兩個(gè)樂章與過渡樂段，但管弦樂版本仍保留原鋼琴組曲的樂章結(jié)構(gòu)與順序。

開篇樂章《睡美人的帕凡舞曲》以木管組緩慢莊嚴(yán)的搖籃曲與弦樂輕柔的撥奏為特征，描繪這位沉睡百年的公主。第二樂章《小拇指》中，拉威爾通過不斷變化的節(jié)拍與弦樂持續(xù)的八分音符律動(dòng)，傳遞小拇指湯姆在深林中迷路的彷徨感；長笛與獨(dú)奏小提琴的尖銳顫音模仿鳥雀啼鳴——它們正在啄食湯姆為標(biāo)記回家之路而留下的面包屑。《瓷偶女皇萊德羅內(nèi)特》堪稱五個(gè)樂章中最活潑的片段，長笛、豎琴和鋼片琴奏響生動(dòng)的五聲音階動(dòng)機(jī)，展現(xiàn)魔法國度“瓷偶帝國”中陶瓷人偶翩翩起舞的奇景。《美女與野獸的對(duì)話》在單簧管優(yōu)雅的華爾茲與低音巴松管不協(xié)和的笨拙旋律間切換，凸顯兩個(gè)角色的巨大反差。終章《仙境花園》再度回歸第一樂章的睡美人傳說，隨著管弦樂奏響恢弘高潮，白馬王子以真愛之吻喚醒公主，為整套組曲畫上童話故事應(yīng)有的輝煌句點(diǎn)。

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撰寫

2027屆管弦樂表演專業(yè)大提琴研究生

English version by Jooahn Yoo

MM ’27, cello, Instrumental and Orchestral Studies

拉威爾

《丑角的晨歌》

RAVEL

Alborada del gracioso

《丑角的晨歌》改編自作曲家本人的鋼琴組曲《鏡像集》中的第四首，所謂“丑角”就是西班牙喜劇角色——這類角色常扮演滑稽的情人或者小丑，“晨歌”即晨曲或民間舞曲。此曲專為芭蕾舞創(chuàng)作，因此大量融入了西班牙舞蹈元素，其獨(dú)特的節(jié)拍、節(jié)奏與配器，共同勾勒出一位丑角用他的歌攪擾一對(duì)戀人的故事。

樂曲始于弦樂和豎琴用力的撥弦，不到一分鐘后突然迎來史無前例的喧囂，極端的力度配合反拍上的大镲撞擊聲，驚醒聽眾。西班牙風(fēng)情在作品中盡顯——弦樂聲部貫穿的節(jié)奏模仿吉他：弦樂的撥弦與斷奏分別對(duì)應(yīng)吉他的彈撥與掃弦。城鎮(zhèn)的蘇醒伴隨著木管和小號(hào)窸窸窣窣的“嘈雜聲”，響板與鈴鼓以鮮明的弗拉明戈節(jié)奏闖入，體現(xiàn)這位丑角玩世不恭又愛搗亂的個(gè)性。在對(duì)比鮮明的中段，巴松管吟唱出一首關(guān)于渴望與愛的小曲，與此同時(shí)弦樂高音區(qū)的和弦簇如日光傾瀉，還有豎琴撥奏和鈴鼓聲聲閃爍其中。弦樂與木管預(yù)兆著不安，豎琴持續(xù)著緊繃的節(jié)奏；隨著弦樂開始使用弓桿敲擊琴弦，音樂的能量逐漸積聚，迎來首部主題的回歸，緊張情緒在絢爛爆發(fā)中釋放。聽眾得以從單簧管與大提琴的獨(dú)奏中窺見這對(duì)戀人的纏綿，而當(dāng)執(zhí)拗的巴松管主題回歸，恩愛場景就被丑角浮華的表演覆蓋了。在丑角回歸后，樂曲以狂歡節(jié)般的熱烈氣氛收尾——喧囂的镲片與荒誕的銅管旋律營造的可笑盛況，爆炸在最后一個(gè)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.

英文版由蔡蕊婷撰寫

2027屆室內(nèi)樂表演專業(yè)小提琴研究生

English version by Tiffany Tsai

MM ’27, violin, Instrumental and Chamber Music Studies

拉威爾

《波萊羅》

RAVEL

Boléro

拉威爾的《波萊羅》以其獨(dú)特的曲式結(jié)構(gòu)聞名，它不僅汲取了西班牙舞蹈的靈感，還受到20世紀(jì)初工業(yè)工廠發(fā)展的影響。以傳統(tǒng)西班牙波萊羅舞曲優(yōu)雅又具歌唱性的旋律，對(duì)比工業(yè)工廠機(jī)械重復(fù)的秩序，拉威爾生動(dòng)記錄了他當(dāng)時(shí)的想象圖景。這首為芭蕾舞創(chuàng)作的作品，描繪一位女子在擁擠酒館中隨民間小調(diào)起舞，周遭男子逐漸積聚的緊張情緒最終引發(fā)騷亂。作品發(fā)揮得最為極致的是流暢的主題旋律與刻板恒定節(jié)奏之間多元的對(duì)比效果，拉威爾絕妙地運(yùn)用了樂團(tuán)中不同音色的各種樂器，色彩紛呈。

樂曲伊始僅呈現(xiàn)兩個(gè)基本要素：持續(xù)全曲、如軍鼓般僵硬的恒定節(jié)奏，與游移莫測的長笛獨(dú)奏旋律。為展現(xiàn)西班牙和阿拉伯的旋律風(fēng)格，長笛聲部運(yùn)用彎彎繞繞的切分節(jié)奏延展每個(gè)樂匯，并融入該音樂文化特有的旋律音程；與旋律相匹配的是弦樂撥弦與小軍鼓敲擊的節(jié)奏素材，其幾乎在模仿吉他與鈴鼓的奏法，有效地奠定了整體音樂基調(diào)。另外，配器手法進(jìn)一步強(qiáng)化了異域風(fēng)情：樂團(tuán)中不常見的柔音雙簧管與薩克斯管，加上長號(hào)與巴松管在極端音區(qū)的演繹，為作品的聲景增添了完全陌生的色彩。

一個(gè)超長線條的漸強(qiáng)貫穿全曲，賦予音樂方向感：獨(dú)奏聲部層層疊加、接連不斷，而后逐漸被重奏和齊奏取代，像無數(shù)支流匯入大海。例如，開篇長笛獨(dú)奏在聲場中若隱若現(xiàn)，甚至與另一怪異的不協(xié)和聲部交織；隨后長笛與單簧管、雙簧管構(gòu)成一個(gè)三重唱，音樂攀升后融回整體織體。長號(hào)與弦樂等不同樂器繼續(xù)為整個(gè)音效增添著獨(dú)特色彩，帶來更豐沛的泛音與深沉綿延的音色。當(dāng)更多打擊樂手加入戰(zhàn)局，定音鼓奠定堅(jiān)實(shí)基底層，大镲撞擊聲冠壓全場。正如故事中緊張情緒的混亂終結(jié)，這些镲聲標(biāo)志著打砸桌椅玻璃的騷亂高潮，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.

英文版由蔡蕊婷撰寫

2027屆室內(nèi)樂表演專業(yè)小提琴研究生

English version by Tiffany Tsai

MM ’27, violin, Instrumental and Chamber Music Studies

中文版由劉子華翻譯

2026屆合作鋼琴專業(yè)研究生

Chinese version translated by Lyra Zihua Liu

MM ’26, Collaborative Piano

林敬基

KEN LAM

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林敬基，現(xiàn)任天津茱莉亞學(xué)院管弦樂表演專業(yè)總監(jiān)、天津茱莉亞管弦樂團(tuán)駐團(tuán)指揮，同時(shí)擔(dān)任伊利諾伊州交響樂團(tuán)藝術(shù)顧問、北卡羅萊納州布里瓦德音樂中心駐場指揮以及香港和聲藝術(shù)總監(jiān)。

2015至2022年，林敬基任查爾斯頓交響樂團(tuán)音樂總監(jiān)，并于2017至2022年，擔(dān)任伊利諾伊州交響樂團(tuán)音樂總監(jiān)。此前，他還擔(dān)任過巴爾的摩交響樂團(tuán)教學(xué)項(xiàng)目副指揮、辛辛那提交響樂團(tuán)助理指揮和香港室內(nèi)樂團(tuán)首席指揮。

2011年，林敬基榮獲孟菲斯國際指揮大賽的冠軍，并于2009年在美國交響樂團(tuán)聯(lián)盟舉辦的華爾特指揮預(yù)演中指揮納什維爾交響樂團(tuán)。2008年，他與另外三位指揮被萊昂納多·斯拉特金選中，在肯尼迪中心指揮美國國家交響樂團(tuán)，這是他在美國的正式首演。近年間，他還曾指揮辛辛那提交響樂團(tuán)、辛辛那提流行管弦樂團(tuán)和巴爾的摩、底特律、布法羅、孟菲斯、夏威夷、布里瓦德、莫里迪恩等地的交響樂團(tuán)，以及香港小交響樂團(tuán)、香港管弦樂團(tuán)、韓國城南市立交響樂團(tuán)、貴陽交響樂團(tuán)和臺(tái)北市立交響樂團(tuán)等。

在歌劇方面，他曾為布里瓦德音樂中心珍尼克歌劇院的多個(gè)制作執(zhí)棒，并在辛辛那提歌劇院、巴爾的摩抒情歌劇院和卡斯?fàn)栴D音樂節(jié)擔(dān)任助理指揮。近年來，他在美國斯波萊托藝術(shù)節(jié)、紐約林肯中心藝術(shù)節(jié)以及多倫多光影藝術(shù)節(jié)指揮過多部歌劇作品，廣受贊譽(yù)。2010年，他在皮博迪音樂學(xué)院指揮馬斯奈的《曼儂》，被《巴爾的摩太陽報(bào)》評(píng)為華盛頓及巴爾的摩地區(qū)十大古典音樂節(jié)目。

林敬基曾于美國皮博迪音樂學(xué)院跟隨古斯塔夫·邁爾和馬坎德·塔卡學(xué)習(xí)指揮、于阿斯本的美國指揮學(xué)院隨大衛(wèi)·津曼和穆里·西德林學(xué)習(xí)，并于美國國家指揮學(xué)院隨萊昂納多·斯拉特金學(xué)習(xí)。在成為職業(yè)指揮之前，林敬基在英國劍橋大學(xué)圣約翰學(xué)院修讀經(jīng)濟(jì)，并當(dāng)過十年執(zhí)業(yè)律師，從事國際金融業(yè)務(wù)。

2015年，美國約翰·霍普金斯大學(xué)校友會(huì)為林敬基頒發(fā)全球成就獎(jiǎng)，以表彰他對(duì)該校優(yōu)良傳統(tǒng)的傳承，并肯定他為學(xué)校及其專業(yè)領(lǐng)域作出的卓越貢獻(xiàn)。

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.

天津茱莉亞管弦樂團(tuán)

TIANJIN JUILLIARD ORCHESTRA

天津茱莉亞管弦樂團(tuán)在每個(gè)音樂季中獻(xiàn)上約十場音樂會(huì)。從巴洛克時(shí)期曲目到當(dāng)代作品，天津茱莉亞管弦樂團(tuán)會(huì)為我們帶來風(fēng)格豐富的演繹，其中也包含了與中國傳統(tǒng)樂器合作演奏的佳作。常駐教師與客座教師將指導(dǎo)樂隊(duì)聲部排練，并與他們一同練習(xí)和演出。在駐團(tuán)指揮帶領(lǐng)的音樂會(huì)之外，樂團(tuán)還曾與多位著名的客座指揮合作。

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.

信息來源：天津茱莉亞學(xué)院