(From left) Composer Pan Hwang-long, Taiwanese opera singer Tang Mei-yun and NTSO Director Liu Suan-yung promote the orchestra’s eclectic performances for 2011 in Taipei March 1. (Photos courtesy of NTSO)
By June Tsai
It may not be as well known today as the National Symphony Orchestra in Taipei, with which it is often confused. But Taichung-based National Taiwan Symphony Orchestra has had a far more storied history than its northern counterpart, and its best days could still be well ahead of it.
“The NSO represents our country to the world, but the NTSO has made distinctive contributions to Taiwan’s musical education and creativity,” Director Liu Suan-yung said March 1.
The NTSO’s development closely mirrors Taiwan’s political history over the last few decades.
It was founded in September 1945, one month after Japan announced its unconditional surrender in World War II.
Following Japan’s defeat, the Kuomintang government in mainland China took over Taiwan.
It was thought at the time that symphonies are a symbol of national strength, according to Hsu Li-sha, music professor of National Taichung University of Education.
Thus Chen Yi, the KMT’s point man in Taiwan, ordered the creation of the Provincial Garrison Symphony Orchestra, which would later become the NTSO.
Tsai Chi-kun, a Taiwanese descendant born in Fujian province and founder of the Fujian Music Conservatory, was put in charge of Taiwan’s first orchestra.
A conductor, Tsai succeeded in recruiting several Taiwanese musicians, many of whom were educated in Japan and had already played in private bands during the colonial era.
The garrison symphony began giving concerts in Taipei in December 1945. These performances attracted far more audience members than Taipei Zhongshan Hall, the nation’s premiere concert venue of the time, could accommodate, according to Hsu.
“Sixty years ago, musical instruments and performance centers were not as good as they are now, but back then people really loved going to concerts,” she said.
Social turmoil in the postwar era made musicians and the public alike extremely enthusiastic for classical music. “The audience hungered for the comfort and inspiration that only music can provide,” Liu added.
The white-terror rule in the 1950s put a dent on the development of the orchestra, which by now had become a civilian outfit separated from Garrison Command, and renamed Taiwan Provincial Symphony Orchestra.
Another chapter did not begin for the orchestra until the 1960s, when Dai Cui-lun, a much-remembered music educator, became its director.
Dai revamped the orchestra by securing offices and studios for its members, and gradually equipping it with a new set of musical instruments.
Just as the group was ready for takeoff, however, an administrative restructuring in 1972 resulted in the NTSO having to move to Taichung City.
The relocation dealt a blow to the NTSO, as Dai and other talented members left the group to stay in Taipei.
The most immediate task for his successor—Shih Wei-liang, a composer educated in Madrid, Vienna and Stuttgart—was to raise morale.
He set several goals for the NTSO that remain in force even today: for it to become a symphony orchestra with local characteristics; and for it to place equal emphasis on composition and performance, research, and education.
With these objectives in mind, Shih took advantage of the band’s location in central Taiwan to launch a folk music revival movement.
He also began commissioning local composers for original works. Most famously, he encouraged Lin Hwai-min, later an internationally renowned choreographer, to establish Cloud Gate Dance Troupe, with NTSO accompanying the troupe’s dance numbers with its tailor-made orchestral works.
Living composers still fondly recall Shih’s vigor and enthusiasm, even though he had to leave the orchestra after just one year.
From the 1970s to the 2000s, the NTSO followed its performance routines, while music infrastructure in Taiwan continued to improve.
During the last few decades, top concert halls have been built for the NTSO in Wufeng and Taichung, both located in central Taiwan. The orchestra also goes on numerous concert tours throughout the country.
Taiwan’s democratization brought about renewed interest in the country’s diverse cultural heritage. Since the 1990s , NTSO has paid particular emphasis on promoting local works and musicians, pursuing creative attempts with Taiwan’s aboriginal musicians, Chinese and Taiwanese opera companies, and children’s theaters.
Present director Liu, a trombonist, took the helm in March 2008. The first NTSO musician promoted from within to the post, he has inherited a staunch and open mind from his predecessors.
“As an orchestra that has Taiwan in its name, the NTSO is duty bound to make the nation’s citizens proud of it,” Liu said.
To broaden its audience base, the NTSO gives concerts and tours, and organizes competitions, music camps for young musicians and tourism-oriented festivals.
“Though music promotion has been the orchestra’s main job, we are just as concerned about keeping up the quality of our music,” Liu added.
Thus the NTSO has challenged itself by collaborating with international musicians and by working with various types of music, be they classical or contemporary, Western pieces or local productions, he said.
Some people in the orchestra were initially reluctant to embrace Liu’s brand of activism, contented as they were to carry out NTSO’s long prescribed role of performing for towns and schools. However, even the most recalcitrant members have now shaken off their lethargy to embrace their new role.
In 2011, the NTSO will offer a dazzling list of more than 60 programs of classical, contemporary and crossover music, according to Liu.
A major production of the year will see the symphony collaborate with Tang Mei Yun Taiwanese Opera Co. to perform a new piece, mixing music, dance and martial arts to present a story of Kshitigarbha Bodhisattva, the Buddhist guardian of the earth and deliverer of souls from hell.
In addition, the NTSO plans to present major works by Pan Hwang-long, its composer of the year, best known for his contemporary music.
“It takes a new set of techniques and a different sensibility for a classical music orchestra to master a contemporary work of music, and I am grateful the NTSO is willing to spend the time and energy on this task,” Pan said, noting that the NTSO has made considerable progress in recent years.
“Taiwan’s composers and musicians are surely indebted to the NTSO for its policies that aim to encourage musical creations and new talent as well,” he added.
Also, the NTSO has become an important tourist draw in central Taiwan, having held music festivals since 2008 in Sun Moon Lake Scenic Park, one of Taiwan’s most popular tourist destinations.
Liu’s marketing strategy has paid dividends. According to the NTSO, more than 120,000 people attended its concerts last year.
“We try to pay equal attention to tradition and innovation, to quality and diversity, and hope more and more people will appreciate our efforts,” he said.
This article first appeared in online Taiwan Today March 31, 2011.
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