當巴赫變成了碎片：艾莉莎．薇勒絲坦╳ 李欣芸的聲音美學對話 In Conversation: Alisa Weilerstein X Cincin Lee

當巴赫變成了碎片：艾莉莎．薇勒絲坦╳ 李欣芸的聲音美學對話 — OPENTIX兩廳院文化生活

兩位站在時代前沿的女性音樂人，一場關於古典大提琴在當代劇場、電影與空間中的美學思辨。

當今樂壇的大提琴權威艾莉莎．薇勒絲坦（Alisa Weilerstein），以顛覆想像的跨界鉅作《碎片》（Fragments），將神聖的巴赫無伴奏組曲與當代前衛聲響無縫縫合，並大膽將視覺燈光與幾何裝置搬上舞台，打破了數百年來古典音樂會的聆聽框架。這樣震撼國際的創作野心，唯有同樣流淌著正統大提琴血液、卻以前瞻視野跨界驚豔台灣樂壇的跨界音樂家──李欣芸老師，能與之惺惺相惜、深度對談。

本場講座將由邀請李欣芸老師加入對談，她將以大提琴音樂人的「內行視角」，帶領觀眾一同剝開聲音在當代、在電影、在劇場中長出的各種驚豔樣貌。這不僅是一場音樂會的導聆，更是一次打破音樂疆界、實踐聲音美學的先行者對話。

邀您一同見證，經典與當代、東方與西方跨界靈魂的世紀共鳴。

大提琴 Cello | 艾莉莎．薇勒絲坦 Alisa Weilerstein

艾莉莎．薇勒絲坦是當今最重要的大提琴家之一。薇勒絲坦於 1982 年出生，兩歲半便愛上大提琴，13 歲即與克里夫蘭管弦樂團完成職業生涯協奏曲首演。她以成熟精湛的藝術表現、深刻投入的情感，以及罕見的詮釋深度享譽國際，並於 2011 年獲頒麥克阿瑟基金會「天才獎」肯定。如今，她的演出足跡遍及全球。除了持續深耕經典曲目，她也致力拓展大提琴曲目疆界，透過大量獨奏與協奏曲委託創作，讓新作品在舞台上綻放生命。她跨數個樂季策劃的無伴奏大提琴計畫——FRAGMENTS，共由六套各約一小時的節目組成，將巴赫《六首無伴奏大提琴組曲》的 36 個樂章，與 27 首全新委託創作交織編排。

2025/26 樂季，她將持續於卡內基音樂廳與聖地牙哥 Jacobs Music Hall 演出此系列，並帶來其歐洲、捷克、德國與英國首演；其中英國首演將於倫敦南岸中心舉行，並結合她於秋冬兩季的駐館計畫。薇勒絲坦也曾首演多部為她量身打造的重要協奏曲作品，合作作曲家包括 Pascal Dusapin、Matthias Pintscher、Joan Tower、Gabriela Ortiz、Thomas Larcher 與 Richard Blackford。其中特別是 Ortiz、Larcher 與 Blackford 的新作於 2024/25 樂季登場，Ortiz 與 Blackford 的作品並分別由 Platoon 與 Pentatone 發行錄音。2025/26 樂季，她將與指揮 Marin Alsop 及愛樂管弦樂團演出 Ortiz _Dzonot_英國首演，之後也將與聖地牙哥交響樂團再次演出同曲，並與委託創作該作的底特律交響樂團合作演出 Joan Tower 的大提琴協奏曲。同一樂季的重要演出還包括：與亞特蘭大交響樂團及 Nathalie Stutzmann 合作；與由其丈夫 Rafael Payare 指揮的洛杉磯愛樂演出；以及與漢堡 NDR 易北愛樂廳管弦樂團、柏林國立歌劇院管弦樂團合作，兩場皆由 Alan Gilbert 指揮，精彩可期。薇勒絲坦由 Pentatone 發行的巴赫《六首無伴奏大提琴組曲》錄音廣受好評，並入圍 2021 年《留聲機》大獎。她在 Vox YouTube 系列中解析巴赫《G大調第一號無伴奏大提琴組曲》前奏曲的影片，也已累積超過 230 萬次觀看。2022 年，她與長期合作的鋼琴家伊農．巴納坦錄製貝多芬《大提琴與鋼琴奏鳴曲全集》，並獲《留聲機》雜誌封面專題報導。她的重要錄音亦包括與捷克愛樂合作的德弗札克《大提琴協奏曲》，曾登上美國古典音樂排行榜冠軍；以及與 Daniel Barenboim、柏林國立歌劇院管弦樂團合作錄製的 Elgar 與 Elliott Carter 大提琴協奏曲，獲 BBC Music 選為 2013 年度錄音。

Alisa Weilerstein is one of the foremost cellists of our time. Born in 1982, Weilerstein discovered her love for the cello at just two and a half and made her professional concert debut at 13 with The Cleveland Orchestra. Known for her consummate artistry, emotional investment, and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today, her career is truly global in scope. While maintaining a deep engagement with the standards of the repertoire, she is also dedicated to expanding the cello literature, bringing new works to life through a wealth of solo and concerto commissions. Her multi-season solo cello project, “FRAGMENTS,” comprises six hour-long programs that weave together the 36 movements of Bach’s solo cello suites with 27 newly commissioned works. In 2025-26, she continues the series at Carnegie Hall and San Diego’s Jacobs Music Hall, as well as giving the European, Czech, German, and UK premieres, the latter at London’s Southbank Centre, where she undertakes a fall and winter artistic residency. Weilerstein has also premiered important new concertos written for her by six leading contemporary composers: Pascal Dusapin, Matthias Pintscher, Joan Tower, Gabriela Ortiz, Thomas Larcher, and Richard Blackford, the last three in the 2024–25 season, with the Ortiz and Blackford works recorded for Platoon and Pentatone respectively. In the 2025–26 season, she plays the UK premiere of Ortiz’s Dzonot with Marin Alsop and the Philharmonia Orchestra, before reprising the same work with the San Diego Symphony and performing Tower’s concerto with the commissioning Detroit Symphony. Other 2025-26 highlights include performances with the Atlanta Symphony and Nathalie Stutzmann; the Los Angeles Philharmonic led by the cellist’s husband, Rafael Payare; Hamburg’s NDR Elbphilharmonie Orchestra and the Staatskapelle Berlin, both conducted by Alan Gilbert; and many more.

Weilerstein’s bestselling Pentatone recording of Bach’s six suites for unaccompanied cello was nominated for a 2021 Gramophone Award, while her insights into his first G-major prelude, as captured in Vox’s YouTube series, have been viewed more than 2.3 million times. As featured in a Gramophone cover story, in 2022 she released the complete Beethoven Sonatas for Cello and Piano with frequent collaborator Inon Barnatan. Her celebrated discography also includes definitive recordings of Dvořák’s Cello Concerto with the Czech Philharmonic, which topped the U.S. classical chart, and the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music.

音樂製作人&作曲家 Music Producer & Composer | 李欣芸 CinCin Lee

畢業於東吳大學音樂系，並於美國 Berklee College of Music 研習爵士作曲與現代編曲。身兼作曲家、編曲家及製作人的李欣芸，音樂作品橫跨古典、流行與電影配樂。

在電影配樂中，李欣芸曾以電影《深海》榮獲金馬獎最佳原創電影音樂獎；以電影《少年吔，安啦！》及《渺渺》主題曲得到金馬獎最佳原創歌曲獎的提名，也以電影《海上情書》原聲帶入圍金曲獎演奏類最佳作曲人獎。

在跨界音樂中，她曾為兩廳院旗艦計畫《很久沒有敬我了妳》擔任音樂製作，首次在國家音樂廳，將交響樂與臺灣原住民古調結合。2009年發行的《故事島》系列專輯，以專輯曲目〈大稻埕〉獲得金曲獎演奏類最佳作曲人獎，並於2012年攜手台灣國樂團以多媒體跨界形式登上國家音樂廳、開展香港巡演。2016年，她遠赴保加利亞錄製個人專輯《心情電影院》，並於國家音樂廳舉辦同名影像音樂會，專輯在當年獲得金曲獎演奏類最佳專輯製作人獎。去年，她製作的跨界專輯《春城小唱》，為恆春半島民謠賦予流行現代面貌，於今年入圍傳藝金曲獎七項大獎。

在流行音樂的領域中，李欣芸曾為陳昇、陳明章、梁靜茹、蘇慧倫、滅火器、陳綺貞、鄭宜農等藝人製作專輯與編曲，其中以製作孫盛希《希遊記》專輯獲得金曲獎演唱類最佳國語專輯獎，也以何欣穗《完美小姐》專輯、光良〈爛天氣〉單曲等作品多次入圍金曲獎。

除了創作與教學，李欣芸曾擔任高雄流行音樂中心執行長，現為國立臺灣藝術大學音樂學系客座教授，以扶植音樂人才、振興流行與跨界音樂產業為職志。

Graduated from the Department of Music at Soochow University and completed advanced studies in Jazz Composition and Contemporary Arranging at Berklee College of Music, CinCin Lee is a versatile composer, arranger, and producer whose music seamlessly spans classical music, pop, and film scores.

In the realm of film scoring, she won the Golden Horse Award for Best Original Film Score for Blue Cha Cha. She also earned Golden Horse Award nominations for Best Original Film Song for her work on Dust of Angels and the theme song of Miao Miao, and was nominated for Best Instrumental Composer at the Golden Melody Awards for the Trapped at Sea, Lost in Time soundtrack.

In crossover music, she led the music production for the National Theater & Concert Hall’s (NTCH) flagship project, On the Road, marking the historic first time orchestral arrangements were integrated with traditional Taiwanese Indigenous chants at the National Concert Hall. In 2009, she released the Story Island album series; its track “Da-Daw-Cheng” won Best Instrumental Composer at the Golden Melody Awards. In 2012, she collaborated with the National Chinese Orchestra Taiwan (NCO) to bring this project to the National Concert Hall as a multimedia crossover performance, followed by a concert tour in Hong Kong. In 2016, she traveled to Bulgaria to record her solo album, CINCINEMA, which she brought to life on stage through a synchronized crossover visual concert at the National Concert Hall, winning the Golden Melody Award for Best Instrumental Album Producer that same year. Last year, she produced the crossover album Sing a Tale of the Spring Town, re-arranging traditional folk songs of the Hengchun Peninsula with modern pop elements to give them a fresh contemporary face. This album has garmented seven nominations at this year’s Golden Melody Awards for Traditional Arts and Music.

In the field of pop music, Lee has produced and arranged albums for artists, including Bobby Chen, Chen Ming-chang, Fish Leong, Tarcy Su, Fire EX., Cheer Chen, and Enno Cheng. Notably, her production on Shi Shi’s album SHI’s Journey won the Best Mandarin Album at the Golden Melody Awards. Her outstanding contributions, including her work on Ciacia Her’s album Miss Perfect and Michael Wong’s single “Bad Weather,” have also earned her multiple Golden Melody Award nominations over the years.

Beyond her creative work and teaching, Lee has served as the CEO of the Kaohsiung Music Center and is currently a Visiting Professor in the Department of Music at the National Taiwan University of Arts (NTUA). Throughout her career, she has dedicated herself to nurturing musical talent and revitalizing the pop and crossover music industries.

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