如果個性也能左右創作風格的話，這場音樂會，絕對「熱力四射」！德國作曲家貝多芬的生平遭遇，再加上對於現實社會與權貴階層的叛逆態度，讓他成了他那一代的「憤青」，反映在他的音樂裡，往往是有稜有角的性格。西元1801 年發表的普羅米修斯的創造物，敘述普羅米修斯以泥土創造人類，並且賦予情感與靈性。舞劇開幕前的序曲，貝多芬寫得慷慨激昂，酣暢淋漓，相當引人入勝。相較之下，同為德國作曲家的舒曼，少了反社會個性，卻多了才情洋溢，他樂於活在自己的創作世界裡，可說是十九世紀前半的標準「文青」。1840 年代先後完成的A 小調鋼琴協奏曲以及第四號交響曲，充分展現了舒曼兼具熱情與抒情的浪漫個性。
Rico Saccani, conductor
Kun Woo Paik, piano
Ludwig van Beethoven: Prometheus Overture
Robert Schumann: Piano Concerto in A minor, Op.54
Robert Schumann: Symphony No.4 in D minor, Op.120
If composer's personalities are reflected in their work, then concert will be spirited and full of energy. The tumultuous life of the German composer Beethoven, his antisocial behavior and rebellious attitude towards nobility painted him as the “outraged youth” of his generation. His personality impressed upon his music, giving his music an acute sense of invincibility. Die Geschöpfe des Prometheus, written in 1801, depicts Prometheus’s creation of humanity from clay and his imbuement of our physical forms with emotion and soul. Beethoven’s touch lends the opening overture a robust and arresting sharpness. On the other hand, his compatriot Schumann had no quarrel with society and enjoyed the contentment brought on through creativity. He was a typical conformist of the first half of the nineteenth century. His Piano Concerto in A Minor and his Fourth Symphony, both written in the 1840s, perfectly capture Schumann’s affectionate yet passionate personality.