London Symphony Orchestra 2014 Guangzhou
世界十大交响乐团 伦敦交响乐团 2014 广州音乐会 指挥：丹尼尔·哈丁 钢琴独奏：王羽佳 演奏：伦敦交响乐团
丹尼尔·哈丁 Daniel Harding
王羽佳 Yuja Wang
主办：星海音乐厅
2014.03.04 8:00PM 地点：星海音乐厅交响乐演奏大厅
London Symphony Orchestra Concert
世界十大交响乐团 伦敦交响乐团 2014 广州音乐会
主办：星海音乐厅 时间：2014年3月4日 地点：星海音乐厅交响乐演奏大厅 指挥：丹尼尔·哈丁 钢琴独奏：王羽佳 演出：伦敦交响乐团 Time: 8pm. March 4th, 2014 Venue: Symphony Hall, Xinghai Concert Hall Conductor: Daniel Harding Piano: Yuja Wang Per formed by London Symphony Orchestra
指定接待酒店：
Appointed Hotel: China Hotel
鸣谢:
节 目 单 PRO GR A M
穆索尔斯基 荒山之夜 Modest Mussorgsky - Night on the Bare Mountain 拉赫玛尼诺夫 d 小调第三钢琴协奏曲 , Op. 30（独奏：王羽佳） Sergei Rachmaninoff - Piano Concerto No.3 in d minor, Op. 30 (Yuja Wang, Piano) 第一乐章 不太快的快板 I. Allegro ma non tanto 第二乐章 间奏曲：慢板 II. Intermezzo: Adagio 第三乐章 终曲 III. Finale 中场休息 Intermission
马勒 D 大调第一交响曲（巨人） Gustav Mahler - Symphony No.1 in D Major ‘Titan’ 第一乐章 缓慢而沉重 I. Langsam, schleppend 第二乐章 强有力的运动，不太快 II. Kräftig bewegt, doch nicht zu schnell 第三乐章 庄重而威严地、不缓慢 III. Feierlich und gemessen, ohne zu schleppen 第四乐章 暴风雨般的运动 IV. Stürmisch bewegt
曲目以演出当晚为准
London Symphony Orchestra
伦敦交响乐团
London Symphony Orchestra
伦敦 交响乐团是 公认的世界顶 尖管 弦 乐团之
响乐团每年都会成 功 地在 纽约林肯中心举办 驻场
一。自1904年建立以来，它一直吸引着世界各地杰
演出，它还是巴黎普莱耶尔音乐厅国际驻场乐团，
出的演奏者。伦敦交响乐团拥有诸多首屈一指的独
并定期出现在日本、远东以及欧洲各大城市的舞台
奏家和指挥家，这其中包括首席指挥瓦列里·捷杰
上。2 010 年，伦敦 交响乐团成 为艾 克 斯 普罗旺 斯
耶夫和乐团总裁科林·戴维斯爵士。
音乐节的驻场乐团。
伦敦 交响乐团是 伦敦巴比肯艺术中心的驻 场
除了在音乐厅演出之外，乐团还投身于诸多其
乐团，每年要在那里举办超过70场音乐会，此外它
它类 型 的 活 动，其中包 括一项 具有开 拓 性 的 教育
还要在世界各地巡演，呈献70多场音乐会。伦敦交
和社区计 划、一家唱片公司、一个音乐教育中心以
2014 GUANGZHOU
LSO at its home – the Barbican – with Valery Gergiev © Igor Emmerich
伦敦交响乐团在自家－伦敦巴比肯艺术中心演出，指挥捷吉耶夫。
及在数字音乐领域的前沿工作。伦敦交响乐团有别
公司中最 为成 功 的 公司，它所发 行 的 8 0多款 唱 片
于其他国际性管弦乐团的特色之处在于，它一直致
使世界各地的听众都能分享到乐团的音乐。除了唱
力于通过其“探索之旅”项目（该项目以圣 路克教
片发行，它还是最早接触互联网并提供下载的唱片
堂的瑞 银 集团和伦敦 交响乐团音乐教育中心为基
公司之一，以鼓励新生听众群聆听古典音乐。
地）开展音乐教育。该 项目已开展了2 0多年，每年 惠及6万名听众，为不同年龄 和背景的受众提 供了 一种独特的多元音乐体验。 伦敦交响乐团LSO Live唱片公司是同类唱片
London Symphony Orchestra
London Symphony Orchestra The London Symphony Orchestra performs over 120 concerts a year and was named by Gramophone as one of the top five orchestras in the world.
T he L SO has an env iable family of artists; our conductors include Valer y Gerg iev as P r incipal C onduct or, M ichael T i lson T homas a nd Da n iel Harding as Principal Guest Conductors, and André Previn as Conductor Laureate. We also have longstanding relationships with some of the leading musicians in the world – Leonidas Kavakos, AnneSophie Mutter, Mitsuko Uchida and Maria João Pires amongst others, not to mention our own talented players. The LSO is widely acclaimed by audiences and critics alike. The LSO is proud to be Resident Orchestra at the Barbican, where we perform around 70 concerts a year. The residency has enabled us to establish a truly loyal audience and to fulfil many artistic aspirations. Joint projects between the Orchestra and the Barbican place us at the heart of the Centre’s programme. The LSO also enjoys successful residencies at the Lincoln Center in New York, Salle Pleyel in Paris, Suntory Hall in Tokyo, and at the Aix-en-Provence Festival. Our tour destinations also include China, Canada, South Korea and the United States, plus many major European cities. T he L SO is set apa r t f rom other inter nationa l orchestras by the depth of its commitment to music education, reaching over 60,000 people each year. LSO Discovery enables us to offer people of all ages opportunities to get involved in music-making and to enter the extraordinary sound world of the Orchestra. One such project is LSO On T rack, a long-term investment inspired by the London 2012 Olympics with
lasting impact for young musicians in East London which saw participants performing in the Opening Ceremony of the London 2012 Olympic Games, as well as the preceding recordings for the ceremony at Abbey Road Studios, and outdoor concerts in Trafalgar Square. LSO St Luke’s, the UBS and LSO Music Education Centre, is the home of LSO Discovery and celebrated its 10th anniversary in March 2013; it also hosts chamber and solo recitals, dance, folk music and more. LSO Live is the most successful label of its kind in the world. There are now 80 LSO Live releases available globally on CD, SACD and online. Releases in 2013 included Valery Gergiev’s complete Szymanowski symphonies, the Polish composer’s Stabat Mater, and Brahm’s Symphonies Nos 1 & 2. The LSO is a world-leader in recording music for film, television and events, and was the official Orchestra of the London 2012 Olympic and Paralympic Games ceremonies. T he L SO appea red on stage in the Opening Ceremony with Rowan Atkinson as Mr Bean, conducted by Sir Simon Rattle, performing Chariots of Fire. The LSO also has recorded music for films including Pixar’s Brave, four of the Harry Potter movies including The Deathly Hallows Parts I and II, The Queen, The Ides of March, all six Star Wars movies, Superman, Thor, Nanny McPhee and hundreds more.
2014 GUANGZHOU
London Symphony Orchestra
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指挥：丹尼尔·哈丁 Conductor: Daniel Harding
英国杰出指挥家，生于牛津。他曾在伯明翰交 响 乐团担任西 蒙·拉特 的 指 挥 助理。因19 9 4年的 首次指挥获得了皇家爱乐协会的最佳首秀大奖。他 曾担任克劳迪奥·阿巴多的指挥助理。1996年，丹 尼 尔·哈丁成 为BB C 漫 步 音乐会 有史以 来 最 年 轻 的指挥。此外，他与柏林爱乐交响乐团在1996年柏 林音乐节的合作，更使其指挥艺术登峰 造极，并于 2000年成为德国不莱梅室内爱乐乐团弦乐团音乐 总监。 2003年，丹尼尔·哈丁成为马勒室内乐团首席 音乐 指导，他 之前 的职 务 包 括 挪威 特 隆 赫 姆交响 乐团首席指挥 和 瑞典诺克平交响乐团特 邀 首席指 挥。2007年至今，他担任瑞典广播交响乐团常任指 挥。丹尼尔·哈丁与伦敦交响乐团有着密不 可分的 联系，从1995年以来便与其频频合作，现在是该乐 团的首席客座指挥。 丹尼尔·哈丁多次与众多知名交响乐团合作， 包括德累斯顿国家交响乐团、莱比锡布商大厦（格 万特豪斯）管弦乐团、鹿特丹爱乐乐团、法兰克福 广播交响乐团、柏林爱乐乐团、慕尼黑爱乐乐团、 里昂国家交响乐团、奥斯陆爱乐乐团、伦敦爱乐乐 团、皇家斯德哥尔摩爱乐乐团、罗马圣西西利亚交 响 乐团、启蒙 时代 管 弦 乐团 和巴 黎 香 榭丽舍 管 弦 乐团。在北美，他 还曾指 挥过费城 管 弦乐团、洛杉 矶爱乐乐团、亚特兰大交响乐团、巴尔地摩交响乐 团、休斯敦交响乐团、多伦多交响乐团和波士顿交 响乐团。近年来，丹尼尔·哈丁指挥维也纳爱乐交响 乐团演绎和录制了《马勒第十交响曲》，还将在巴赫 的“圣诞清唱剧”巡演中与柏林古乐学会合作。 2002年，丹尼尔·哈丁获得由法国政府颁发的 “艺术及文学部级骑士勋章”
London Symphony Orchestra
Conductor: Daniel Harding “Harding's conducting was all monumentality and fire – it felt a bit superhuman” Tim Ashley, The Guardian
Born in Oxford, Daniel Harding began his career assisting Sir Simon Rattle at the City of Birmingham Sy mphony O r chestra , w ith wh ich he made h is professional debut in 1994. He went on to assist Claudio Abbado at the Berlin Philharmonic and made his debut with the orchestra at the 1996 Berlin Festival. He is Music Director of the Swedish Radio Symphony Orchestra, Principal Guest Conductor of the London Symphony Orchestra and Music Partner of the New Japan Philharmonic. He is Artistic Director of the Ohga Hall in Karuizawa, Japan and was recently honou r ed w it h t he l i fet i me t it le of C onduc t or Laureate of the Mahler Chamber Orchestra. His previous positions include Principal Conductor and Music Director of the MCO (2003-2011), Principal Conductor of the Trondheim Symphony (1997-2000), Principal Guest Conductor of Sweden's Norrköping Symphony (1997-2003) and Music Director of the Deutsche Kammerphilharmonie Bremen (1997-2003). He is a regular visitor to the Vienna Philharmonic, D r e s den S t a at s k ap el le ( b ot h of wh ic h he h a s c o n d u c t e d a t t h e S a l z b u r g F e s t i v a l ), R o y a l C o n c e r t g e b ouw, t he B av a r i a n R ad io , L eip z i g G e w a nd h au s a nd t he O r c he s t r a F i l a r m o n i c a della Scala. Other guest conducting engagements have included the Berlin Philharmonic, Munich Philharmonic, Orchestre National de Lyon, Oslo Ph i l ha rmon ic, L ondon Ph i l ha rmon ic, R oya l Stockholm Philharmonic, Santa Cecilia Orchestra
of Rome, Orchestra of the Age of Enlightenment, R otterdam Ph i l ha rmon ic, F ra n k f u r t R ad io Orchestras and the Orchestre des Champs-Elysées. A mong the A mer ican orchestras w ith whom he has performed are the New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, Chicago Symphony Orchestra and Boston Symphony Orchestra. In 2005 he opened the season at La Scala, Milan, c onduc t i ng a new pr o duc t ion of Idomene o. He returned in 2007 for Salome, in 2008 for a double bill of Bluebeard’s Castle and Il Prigioniero, and most recently in 2011 for Cavalleria Rusticana and I Pagliacci, for which he was awarded the prestigious Premio della Critica Musicale “ Franco Abbiati”. His operatic experience also includes Ariadne auf Naxos, Don Giovanni and Le nozze di Figaro at the Salzburg Festival with the Vienna Philharmonic, The Turn of the Screw and Wozzeck at the Royal Opera House, Covent Garden, Die Entführung aus dem Serail at the Bayerische Staatsoper, Munich, Die Zauberflöte at the Wiener Festwochen and Wozzeck at the Theater an der Wien. Closely associated with the Aix-en-Provence Festival, he has conducted new productions there of Così fan tutte, Don Giovanni, The Turn of the Screw, La Traviata, Eugene Onegin and Le nozze di Figaro. In the 2012/13 season, he returned to La Scala for Falstaff and made his debuts at both the Deutsche Staatsoper, Berlin and at the Wiener Staatsoper with Der Fliegende Holländer.
2014 GUANGZHOU
丹尼尔·哈丁（Daniel Harding）
London Symphony Orchestra
钢琴独奏：王羽佳 Piano:Yuja Wang
27岁的中国钢琴家王羽佳，以她纯熟稳定的精
沃。杜达梅尔 指挥的西蒙。玻利瓦尔交响乐 团合作
准度结合年轻人无畏的想像力让许多人为之惊艳。
录制了普罗科菲 耶夫的第二钢琴协奏曲以及拉赫
她对技巧最繁复的曲目熟稔的表现力、对音乐极有
玛尼诺夫的第三钢琴协奏曲的现场版。
深度的洞察力、对曲目充满新鲜感的诠释，以及她
2 0 0 5年，王羽佳 和平夏 斯·祖 克 曼 指 挥 的国
优雅的舞台魅力都让人赞誉有加。
家 艺 术中心乐团首 次合 作 演出。短 短 几 年 的 时间
王羽佳为DG唱片公司独家录制唱片。她的首张
内，羽佳已经同众多世界知名的交响乐团合作过。
唱片《奏鸣曲与练习曲》于2009年春季发行，《留声
在 美国，她合 作过 的 交响 乐团包 括 波士 顿 交响 乐
机》杂志评论道： “她的演奏显示出高超的技巧，她
团、芝加哥交响乐团、克里夫兰管弦乐团、达拉 斯
对诗意的诠释方法具有罕见的强烈直觉！”，这本杂
交响乐团、底特 律交响乐团、休士顿 交响乐团、洛
志也将羽佳评为2009年“年度青年艺术家”，她也
杉矶 爱乐乐团、国家交响乐团、纽约爱乐乐团、费
是《留声机》大奖史上首位单项大奖的中国籍获奖
城 管 弦 乐团、匹 兹 堡 交 响 乐团、旧 金 山交 响 乐团
者。其第二张专辑《转变》为她赢得了2011年古典回
等；她还同美国以外的交响乐团合作，包括柏林国
声大奖“年度青年艺术家”称号。2011年，王羽佳还
家管弦乐团、中国爱 乐乐团、斯 卡拉 爱 乐乐团、以
与克劳迪奥·阿巴多和马勒室内乐团合作录制了她
色列爱 乐乐团、伦敦 爱 乐乐团、巴黎管弦乐团、西
的第一张协奏曲专辑，收录了拉赫玛尼诺夫的《帕
班牙国立管弦乐团、日本东京NHK交响乐团、阿姆
格尼尼主题狂想曲》和《C小调第二钢琴协奏曲》，
斯 特丹皇 家音乐 厅 管 弦 乐团、莫扎 特 管 弦 乐团与
这张专辑赢得了格莱美奖“最佳古典乐器独奏”的
圣切契利亚管弦乐团等。
提名。她最近的一张专辑《幻想曲》收录了由阿尔贝
2 0 0 6 年，王羽 佳 首 次 和 纽 约 爱 乐在 B r avo!
尼兹、巴赫、肖邦、拉赫玛尼诺夫、圣桑、斯克里亚
Va i l 音 乐 节 同 台 演 出，紧 接 着，她 又在 洛 林·马
宾等作曲家创作的返场曲。最近王羽佳携手古斯塔
泽尔的 指 挥 下继 续 参与了纽约爱 乐的日韩 巡演。
2014 GUANGZHOU
2 0 0 8 年 春季，她 随 奈 维 尔·马里 纳爵士指 挥 的英
尼·帕帕诺、尤里·泰密卡诺夫、迈克尔·蒂尔森·托
国Academy of St. Martin in the Fields室内乐
马斯，以及平夏斯·祖克曼。
团在美国进行 巡演。2 0 0 9年，她以 独奏家的身 份
2 012-2 013音乐季里，王羽佳 重 返以色列爱
与迈克尔·蒂尔森-托马斯执棒的You Tube交响
乐乐团与祖宾·梅塔大师合作，紧接着在美国巡回
乐团在卡内基音乐厅举办音乐会。此外，她 还与阿
演出，足 迹包括了卡耐基音乐厅与迪斯尼大 厅。之
巴多指挥的琉森音乐节管弦乐团在北京演出，并与
后，她与迈克 尔·蒂尔 森·托马斯执 棒的旧金山交
英国皇 家 爱 乐 乐团合 作 在伦敦 和 西 班 牙演出，并
响乐团在亚洲巡演三周，为澳门、中国大陆、香港、
同香港管弦乐团合作演出。
台湾与日本的乐迷们献艺。王羽佳此后再度与柏林
王羽 佳在 亚洲、欧 洲 及北 美 的许 多城 市 都 举
爱乐乐团的首席演奏家们携手，在巴黎演出一系列
办过独奏音乐会，定期参加世界各地最富盛名的音
全 勃 拉 姆斯 音乐会，之后在 柏 林爱 乐大 厅演奏 独
乐节，同时也致力于室内乐的演出。2011年3月，她
奏音乐会。2014年春天，她 重返卡耐基音乐厅，演
与柏林爱乐乐团的优秀乐手合作，在巴黎的普莱耶
奏独奏音乐会，也与旧金山交响乐团合作演出协奏
音乐厅举 行了三场室内乐系列音乐会。2 011年10
曲，此后还在日本演出一系列独奏音乐会，包括她
月，她首次以独奏会音乐家的身份登上了卡耐基音
在三得利大厅的第一次独奏音乐会。
乐厅（斯特恩厅）。
这一季, 伦敦交响乐团 ( LSO) 邀请羽佳作为
她广泛地同世界知名的指挥家合作，包括阿巴
他们特 色艺术家参与2 014年 的 LSO艺术家肖像
多、巴伦博伊姆、古斯塔沃·杜 达 梅尔、夏 尔·迪图
系列音乐会, 其中包括三种协奏曲，独奏音乐会和
瓦、丹尼尔·盖蒂、瓦莱里·捷杰耶夫、米科·弗兰克、
室内交响乐，然后,她与指挥家丹尼尔·哈丁 合作
曼弗雷德·霍内克、彼特利·恩肯能、洛林·马泽尔、
在中国巡回 演出。她 与 匈牙 利国 家 爱 乐 乐团指 挥
祖宾·梅塔、库特·马祖尔、罗杰·诺灵顿爵士、安东
Zoltan Kocsis首演巴托克的钢琴第2号协奏曲。
London Symphony Orchestra
Piano: Yuja Wang “She seems to have everything: speed, flexibility, pianistic thunder and interpretive nuance.” - The New York Times
羽 佳与小提琴 家 莱 昂尼 达 斯·卡瓦 科 斯 的夏季 频 繁的合作将包括欧 洲的多处 巡演勃拉 姆斯的小提 琴 和 钢 琴 奏 鸣曲。她 返回 到洛杉矶 爱 乐 乐团与 杜 达 梅 尔 指 挥合 作 演奏 音乐会。羽 佳 也 返回 到波士 顿 交响乐团与 安德 鲁·戴 维 斯爵士指 挥 和 克 里 夫 兰管弦乐团，吉安卡洛格雷罗进行合作。 1987年生于北京的王羽佳6岁开始学钢琴，年 幼时就开始在中国、澳大利亚及德国演出，并师从 周广仁和凌远两位老师在北京中央音乐学院学习。 1999年至2001年，她作为中方代表参加“中国—加 拿大”的艺术文化交流项目，并在卡尔加里的皇家 蒙特音乐学院完成了晨兴音乐桥暑期项目，此后， 羽佳在该音乐学院师从陈宏宽和泰玛·布莱克史东 继续学习。2002年，15岁的羽佳获得阿斯本音乐节 协奏曲比赛大奖，并只身前往美国费城就读柯蒂斯 音乐学院，拜音乐大师加里·格拉夫曼为师，2008 王羽佳（Yuja Wang）
年毕业。2006年时，羽佳曾获得Gilmore青年艺术 家奖，2010年又获得了著名的艾维里·费雪职业大 奖。王羽佳是一位斯坦威艺术家。
Twenty-seven year old pianist Yuja Wang is widely recognized as one of the most important artists of her generation. Regularly lauded for her controlled, prodigious technique, Yuja has been praised for her authority over the most complex technical demands of the repertoire, the depth of her musical insight, as
2014 GUANGZHOU
well as her fresh interpretations and charismatic stage presence. Yuja is an exclusive recording artist for Deutsche Grammophon. Following her debut recording, Sonatas & Etudes, Gramophone magazine named Yuja the Classic FM 2009 Young Artist of the Year. For her second recording, Transformation, Yuja received an Echo Klassik award as “Young Artist of the Year”. Yuja next collaborated with Maestro Claudio Abbado and the Mahler Chamber Orchestra to record her first concerto album featuring Rachmaninoff’s Rhapsody on a Theme of Paganini and his Concerto No. 2 in C minor which was nominated for a Grammy as “Best Classical Instrumental Solo.” This was followed by, Fantasia, a collection of encore pieces by Albéniz, Bach, Chopin, Rachmaninov, Saint-Saëns, Scriabin and others. Most recently, Yuja collaborated with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra in a live recording of Prokofiev's Concerto No. 2 and Rachmaninoff's Concerto No. 3. In the years since her 2005 debut with the National Arts Center Orchestra led by Pinchas Zukerman, Yuja has already performed with many of the world’s most prestig ious orchestras i nclud i ng those of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco and Washington, in the U.S., and abroad with the Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Philharmonic, Orchestre de Paris, Orquesta Nacional España, Simón Bolívar Symphony Orchestra, the NHK Symphony in Tokyo, Royal Concertgebouw Orchestra, Orchestra Mozart and Santa Cecilia, among others. In 2006 Yuja made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the orchestra the following season under Lorin Maazel during the Philharmonic’s Japan/Korea visit. In 2008 she toured the United States with the Academy of St. Martin in the Fields led by Sir Neville Marriner, and in 2009 Yuja performed as soloist with the You Tube Symphony Orchestra led by Michael Tilson Thomas at Carnegie Hall. That summer Yuja joined Abbado at the Lucerne Music Festival performing and recording Prokofiev's Piano Concerto No. 3, and went on to perform with the Lucerne Festival Orchestra and Abbado on tour in China. Yuja regularly gives recitals in major cities throughout Asia, Europe and North America. She is a dedicated performer of chamber music appearing at summer festivals throughout the world including annual appearances at Switzerland's Verbier Festival. In March 2011 Yuja performed in a three-concert chamber series at the Salle Pleyel in Paris with principal players from the Berlin Philharmonic. She made her Carnegie
Hall recital debut at Stern Hall in October 2011. M a ny of the world's esteemed conduct ors have collaborated with Yuja including Abbado, Daniel Barenboim, Dudamel, Charles Dutoit, Daniele Gatti, Valery Gergiev, Mikko Franck, Manfred Honeck, Pietari Inkinen, Lorin Maazel, Zubin Mehta, Kurt Masur, A ntonio Pappano, Yuri Temirkanov and Michael Tilson Thomas. Last year Yuja returned to the Israel Philharmonic to work with Zubin Mehta, followed by a tour of the U.S. that included performances at Carnegie and Disney halls. She then launched into a three-week tour of Asia with the San Francisco Symphony and Tilson Thomas, traveling to Macau, China, Hong Kong, Taiwan and Japan. Yuja again joined the Berlin Philharmonic's principal players, this time with a series of all-Brahms concerts at Salle Pleyel in Paris. In spring 2013 she was presented by the Berlin Philharmonic in recital at the Philharmonie, and returned to Carnegie Hall in both recital and a concer t o appea ra nce w ith the Sa n F ra ncisco Symphony. Her season included a recital tour of Japan where she made her Suntory Hall debut. This season the London Symphony Orchestra have invited Yuja as their featured artist in the LSO Artist Portrait series for 2014 which includes performing three concertos, a recital and chamber music in London, followed by a tour of China with Daniel Harding conducting. She makes her debut with the Hungarian National Philharmonic conducted by Zoltan Kocsis performing Bartok's Piano Concerto No. 2. Yuja's frequent summer collaborations with violinist Leonidas Kavakos are extended further as they will undertake multiple tours of Europe focusing on the great violin and piano sonatas of Brahms. She returns to the Los Angeles Philharmonic for subscription concerts and on tour in the U.S. with Dudamel conducting. Yuja also returns to the Boston Symphony, Sir Andrew Davis conducting, and the Cleveland Orchestra, Giancarlo Guerrero conducting. At a young age Yuja entered the Central Conservatory of Music in Beijing to study under Ling Yuan and Zhou Guangren. From 1999 to 2001 she participated in the Morningside Music summer program at Calgary’s Mount Royal College, an artistic and cultural exchange program between Canada and China, and began studying with Hung-Kuan Chen and Tema Blackstone at the Mount Royal College Conservatory. Yuja then moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Philadelphia, where she graduated in 2008. In 2006 she received the Gilmore Young Artist Award, and in 2010 was awarded the prestigious Avery Fisher Career Grant. Yuja is a Steinway Artist.
London Symphony Orchestra
穆索尔斯基 Modest Pestrovich Mussorgsky
拉赫玛尼诺夫 Sergei Vassilievitch Rachmaninoff
穆索尔斯基 荒山之夜
拉赫玛尼诺夫 d小调第三钢琴协奏曲
穆 索 尔 斯 基（ M o d e s t P e s t r o v i c h
这首协 奏曲作于19 08-19 09年，1910年11月
Mussorgsky, 1839-1881），俄罗斯作曲家。原
2 8日由拉 赫 玛尼诺夫自己 主奏 钢 琴首 演，呈 献 给
为职 业军官，18 57年 在 圣彼得堡 结识巴 拉基列夫
钢琴家约瑟夫·霍夫曼。
而拜他为师，翌年辞去职务，专事创作。 此曲为 穆 索尔 斯基 的 管 弦 乐 代 表 作，实 际是
该协奏曲共分三个乐章：
里 姆斯基·科萨 科夫根 据 穆索尔斯基 未 完 成歌 剧
第一乐章 不太快的快板，d小调，自由的奏鸣
《索 洛 钦 集市》中名为《年 轻 人的梦》的合 唱、管
曲式。弦乐与低音管前引后。钢琴立即以八度音程
弦乐（只留下钢琴谱）整理改编成的管弦乐，作于
表现 第一主题，移到乐队 后，钢琴做装饰。单簧管
1886年。
和圆号出现新的动机，形成第二主题素材要素。插
此 曲 描 绘 的 是 梦 中 魔 鬼 的 盛 宴，在 里 姆 斯
人钢琴华彩后，第一主题再出现于乐队，平静之后
基·科萨科夫改编版中有文字说明： “地下传出乱哄
钢 琴右手在 左手 分 散 和 弦 之 上 呈 示第二主 题。扩
哄阴惨的声音，妖魔们纷纷从黑暗中出现，魔王切
大 抒 情 性平静后进 入 发 展部。发 展部第一主 题在
尔诺波格上场，妖魔们赞颂魔王并举行祭奠。喧闹
各种 调 性中 作 变化，在更 加 活 泼 的 部 分用新 要素
的夜宴开始，狂欢到最高潮时，远方传来教堂的钟
作发展，然后进入极快的快板的华彩。再现部极似
声，众妖魔立即四散消失，东方现出黎明。”
华彩之后的终结部。
第二乐章 间奏曲，慢板，A大调，变奏曲式， 三段体。第一段在弦乐暗示下。由双簧管表现出主 题，钢琴以三连音构成的狂想曲型乐思加入，转为 降D大调，主题作浪漫处理，中段为“更加活泼”， 钢 琴 左手展 开半音 阶 型 的 滑 奏，右手为强有力的 和弦，单簧管、低音管奏第一乐章第一主题衍生出 的旋律。转为慢板后，钢琴配合半音阶性音型如歌
2014 GUANGZHOU
曲目介绍
古斯塔夫·马勒 Gustav Mahler
Program Notes
的旋律。然后钢琴以厚重和弦奏稍快的主题，与钢
年时代，花卉、果实、荆棘。这部分分为三段：1. 春
琴发展成雄壮的乐思，钢琴奏华丽乐段，趋于平静
日天涯，包括引子与舒 适的快板，引子描写大自然
后，钢琴才以华彩终结。
从漫长的冬眠中苏醒；2 . 采花，柔板；3. 满帆，谐
第三乐章 终曲，d小调，奏鸣曲式。在乐队进
谑曲。第二部分：人间喜剧，它包括：1. 搁浅，一首
行曲节奏下钢琴有力地奏第一主题。反复几次后，
卡洛风 格 的葬 礼 进行曲，启发作 者 创 作 的 外因是
速度 更快，钢 琴以切分法向前 推移，再以G大 调奏
一幅讽刺画《猎人的送葬行列》，这是一本童话故
抒情的第二主题，反复后变为极快板快速音群，缓
事中的插图，一群森林动物给猎人送葬，作出各种
和下来后结束呈示都。发展部以降E大调谐谑地开
发笑的姿势。作者的意图是使音乐交替表现讽刺性
始，乐队奏第一主题的变 形，钢琴 装饰推进。然后
的欢乐和不可思议的阴郁。2. 来自地狱，表现一个
钢 琴 进行第一乐 章 第二主 题 精 练 后的 旋 律。钢 琴
受创伤的心灵的绝望呐喊。
单独发展，速度更快。在快速音群的演奏后转为广 板，钢琴更富表情奏第一乐章第二主题的原貌。再
这首作品后来的定稿中，变为4个乐章：
现部 按原 顺 序，第二主 题以F大 调，接 着有活泼的
第一乐章，D大调，奏鸣曲式，指示以“缓慢而
快速音群，短暂的华彩后进行D大调终结部，实为
沉 重”的序奏开始，旋律来自马勒自己《打短 工的
大型的最急板，强有力地结束。
流浪者之歌》中的第二首歌《清晨穿越草原》。 第二乐章，A大调，指示为“强有力的运动”， 布鲁克纳式的谐谑曲风格，其节奏如兰德勒舞曲。
马勒 D大调第一交响曲“巨人”
第三乐章，d小调，指示“庄重而威严地，不要 缓慢”，三段体。 第四乐章，D大调，指示“暴风雨般的运动”， 奏鸣曲式，描述从地狱到天国的过程。乐曲最后以 强有力而热情宏大的气势告终。
马勒的《第一交响曲》，标题为“巨人”，也译作 “泰坦”，是根据德国浪漫派诗人保罗的同名诗而 命名。完成于1888年，并于次年在布达佩斯首演。 马勒最早 将这部作品称 为“交响诗”，它分为 两部分,“青年时代”和“人间喜剧”。第一部分：青
London Symphony Orchestra
Modest Mussorgsky
Sergei Rachmaninoff
NIGHT ON THE BARE MOUNTAIN
PIANO CONCERTO NO.3 IN D MINOR, OP. 30
Night on the Bare Mountain refers to a series of compositions by Modest Mussorgsky (1839–1881). Inspired by Russian literary works and legend, Mussorgsky devised a ‘musical picture’ around the theme of a witches’ Sabbath occurring on St. John’s Eve, which he completed on that very night, June 23, 1867. Together with Nikolai Rimsky-Korsakov’s Sadko (1867), it is one of the first tone poems by a Russian composer.
The Piano Concerto No. 3 in d minor, Op. 30, composed in 1909 by Sergei Rachmaninoff has the reputation of being one of the most technically challenging piano concertos in the standard classical repertoire.
Although Mussorgsky was proud of his youthful effort his mentor, Mily Balakirev, refused to perform it. To salvage what he considered worthy material, Mussorgsky attempted to insert his Bald Mountain music, recast for vocal soloists, chor us , a nd or chest ra , i n t wo subsequent projects—the collaborative opera-ballet Mlada (1872), and the opera The Fair at Sorochyntsi (1880). However, Night on the Bare Mountain was never performed in any form during Mussorgsky’s lifetime. In 1886, five years after Mussorgsky’s death, Rimsky-Korsakov published an arrangement of the work, described as a “fantasy for orchestra.” Some musical scholars consider this version to be an original composition of Rimsky-Korsakov, albeit one based on Mussorgsky’s last version of the music, for The Fair at Sorochyntsi.
This piece is in three movements: 1. Allegro ma non tanto (d minor) The first movement revolves around a diatonic melody that soon develops into complex pianistic figuration. The second theme opens with quiet exchanges between the orchestra and the piano before fully diving into a slower theme in a major key. The first part of the first theme is restated before the movement is pulled into a loud development section which opens with toccata like quavers in the piano and reaches a loud chordal section. The whole development exhibits features similar to a canon, such as an eighth note passage in the piano in which the left hand and the right hand play overlapping figures. The movement reaches a number of ferocious climaxes, especially in the cadenza. Rachmaninoff wrote two versions of this cadenza: the chordal original, which is commonly notated as the ossia, and a second one with a lighter, toccata-like style. Both cadenzas lead into a quiet solo section where the f lute, clarinet and horn restate the first theme of the exposition, accompanied by delicate arpeggios in the piano. The cadenza then ends quietly, but the piano alone continues to play a quiet development of the exposition’s second theme before leading to the recapitulation, where the first theme is restated by the piano, with the orchestra accompanying, soon closing with a quiet, rippling coda reminiscent of the second theme. 2. Intermezzo: Adagio (f sharp minor/ D f lat major) The second movement is opened by the orchestra and it consists of a number of variations around
2014 GUANGZHOU
Gustav Mahler
SYMPHONY NO.1 IN D MAJOR ‘TITAN’ a single lush, heavily romantic melody following one another without a rigid scheme. The melody soon moves to the tonic major which is the second theme. After the first theme development and recapitulation of the second theme, the main melody from the first movement reappears, before the movement is closed by the orchestra in a manner similar to the introduction. Then the piano gets the last word with a short “cadenzaesque ” passage wh ich moves i nt o the last movement without pause. Many melodic thoughts of this movement allude to Rachmaninoff’s second piano concerto, third movement, noticeably the Russian-like, E-flat major melody. 3. Finale: Alla breve (d minor → D major) The third movement is quick and vigorous and contains variations on many of the themes that are used in the first movement, which unites the concerto cyclically. However, after the first and second themes it diverges from the regular sonata-allegro form. There is no conventional development; that segment is replaced by a lengthy digression using the major key of the third movement’s first theme, which leads to the two themes from the first movement. After the digression, the movement recapitulation returns to the original themes, building up to a toccata climax somewhat similar but lighter than the first movement’s ossia cadenza and accompanied by the orchestra. The movement concludes with a triumphant and passionate second theme melody in D major. The piece ends with the same four-note rhythm – claimed by some to be the composer’s musical signature – as the composer’s second concerto.
The Symphony No. 1 in D major by Gustav Mahler was mainly composed between late 1887 and March 1888, though it incorporates music Mahler had composed for previous works. It was composed while Mahler was second conductor at the Leipzig Opera, Germany. Although in his letters Mahler almost always referred to the work as a symphony, the first two performances described it as a symphonic poem or tone poem. The work was premièred at the Vigadó Concert Hall, Budapest in 1889, but was not well received. Mahler made some major revisions for the second performance, given at Hamburg in October 1893; further alterations were made in the years prior to the first publication, in late 1898. Some modern performances and recordings give the work the title Titan, despite the fact that Mahler only used this label for two early performances, and never after the work had reached its definitive fourmovement form in 1896. I n it s f i n a l for m , t he s y mphony h a s fou r movements: 1. Langsam, schleppend (Slowly, dragging) I m me r s eh r g em ä c h l i c h (ve r y r e s t r a i ne d throughout) D major 2. Kräftig bewegt, doch nicht zu schnell (Moving strongly, but not too quickly), Recht gemächlich (restrained), a Trio—a Ländler 3. Feierlich und gemessen, ohne zu schleppen (Solemnly and measured, without dragging), Sehr einfach und schlicht wie eine Volksweise (very simple, like a folk-tune), and Wieder etwas bewegter, wie im Anfang (somewhat stronger, as at the start)—afuneral march based on the children’s song “Frère Jacques” (or “ Bruder Martin”) 4. Stürmisch bewegt – Energisch (Stormily agitated – Energetic)
London Symphony Orchestra
伦敦交响乐团
London Symphony Orchestra
首席指挥 : VALERY GERGIEV 首席客席指挥 : DANIEL HARDING, MICHAEL TILSON THOMAS 荣誉指挥 : ANDRE PREVIN, KBE 合唱指挥：SIMON HALSEY
第一小提琴 FIRST VIOLINS Roman Simovic, Leader Carmine Lauri, Co-Leader Lennox Mackenzie, Sub-Leader Clare Duckworth Nigel Broadbent Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Claire Parfitt Laurent Quenelle Sylvain Vasseur Rhys Watkins Alina Petrenko Erzsebet Racz
第二小提琴 SECOND VIOLINS Evgeny Grach, Principal Thomas Norris, Co-Principal Miya Vaisanen David Ballesteros Matthew Gardner Julian Gil Rodriguez Belinda McFarlane William Melvin Iwona Muszynska
Paul Robson Naoko Keatley Hazel Mulligan Alain Petitclerc Jan Regulski
中提琴 VIOLAS Edward Vanderspar, Principal Malcolm Johnston, Sub-Principal German Clavijo Lander Echevarria Anna Green Richard Holttum Julia O'Riordan Robert Turner Jonathan Welch Michelle Bruil Fiona Dalgliesh
大提琴 CELLOS Tim Hugh, Principal Alastair Blayden, Sub-Principal Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner Hilary Jones
Minat Lyons Morwenna Del Mar Nicholas Gethin
低音大提琴 DOUBLE BASSES Joel Quarrington, Principal Colin Paris, Co-Principal Nicholas Worters, Sub-Principal Patrick Laurence Matthew Gibson Jani Pensola Benjamin Griffiths Joseph Melvin
长笛 FLUTES Gareth Davies, Principal Adam Walker, Principal Alex Jakeman
短笛 PICCOLO Sharon Williams, Principal
双簧管 OBOES Celine Moinet, Guest Principal Michael O'Donnell Joseph Sanders
2014 GUANGZHOU
英国管 COR ANGLAIS
小号 TRUMPETS
竖琴 HARPS
Christine Pendrill, Principal
Philip Cobb, Principal Nicholas Betts, Guest Principal Roderick Franks Gerald Ruddock Robin Totterdell
Bryn Lewis, Principal Karen Vaughan, Co-Principal
单簧管 CLARINETS Andrew Marriner, Principal Chris Richards, Principal Chi-Yu Mo
低音单簧管 BASS CLARINET Lorenzo Iosco, Principal
大管 BASSOONS Daniel Jemison, Principal Joost Bosdijk
低音大管 CONTRA-BASSOON Dominic Morgan, Principal
圆号 HORNS Timothy Jones, Principal Alberto Menendez Escribano, Guest Principal Angela Barnes Philip Woods Jonathan Lipton Jocelyn Lightfoot Brendan Thomas Adrian Uren
长号 TROMBONES Dudley Bright, Principal Peter Moore, Guest Principal James Maynard
低音长号 BASS TROMBONE Paul Milner, Principal
大号 TUBA Patrick Harrild, Principal
定音鼓 TIMPANI Nigel Thomas, Principal Antoine Bedewi, Co-Principal
打击乐 PERCUSSION Neil Percy, Principal David Jackson Sam Walton, Co-Principal Antoine Bedewi
钢琴 PIANO John Alley, Principal
钢片琴 CELESTE Catherine Edwards
乐队行政 LSO ADMIN Kathryn McDowell, Managing Director Sue Mallet, Director of Planning Olivia Troop, Tours Manager Jemma Bogan, Orchestra Personnel Manager Joseph R ichomme, L ibra r y Assistant Alan Goode, Stage & Transport Manager Dan Gobey, Stage Manager S u z a n a B o r o z a n , C o r p o r at e Development
Tour Management: www.askonasholt.co.uk
PRODUCTION TEAM 制作团队
总监制：刘莹 执行监制：王冬云 项目总监：于新冶 市场总监：杨震 场地总监：翁翡翎 销售统筹：魏威、蔡爱芳 节目策划：闭嘉丽、罗倩文、田一丹 市场策划：张琍红、许韬、曹之真、陈彤 媒体推广：卓玲、张行健 平面设计：周健文、何志明 影像制作：胥斌、罗彬 网络推广：邓明子、区燕华、刘余琳、吴晓丹 会员推广：许韬、罗艳、郑敏、黄璇、杜珉 技术支持：陶峰、徐志华、许建平 舞台技术：王建宏、陈耘 灯光音响：何瑞宏、聂伟翔、陈广鸿、陈嘉辉 行政统筹：郭宗威 服务统筹：杨曹威、王登升、钟卫进
General Producer: Liu Ying Executive Producer: Wang Dongyun Project Director: Yu Xinye Marketing Director: Yang Zhen Venue Director: Weng Feiling Sales Coordinators: Wei Wei, Cai Aifang Project Managers: Bi Jiali, Luo Qianwen, Tian Yidan Marketing Managers: Zhang Lihong, Xu Tao, Cao Zhizhen, Chen Tong Media Promotion Managers: Zhuo Ling, Zhang Xingjian Graphic Designers: Zhou Jianwen, He Zhiming Photo & Video Producers: Xu Bin, Luo Bin Network Promotion Specialists: Deng Mingzi, Ou Yanhua, Liu Yulin, Wu Xiaodan Member Promotion Specialists: Xu Tao, Luo Yan, Zheng Min, Huang Xuan, Du Min Technical Supporters: Tao Feng, Xu Zhihua, Xu Jianping Stage Managers: Wang Jianhong, Chen Yun Lighting & Sound Engineers: He Ruihong, Nie Weixiang, Chen Guanghong, Chen Jiahui Executive Coordinator: Guo Zongwei Service Supervisors: Yang Caowei, Wang Dengsheng, Zhong Weijin
好 音乐，就 在 星 海 音乐 厅
星 海 音 乐 厅 春 夏 演 出 季 系 列 音 乐 会
04.20 Xavier de Maistre 当代最杰出的竖琴演奏家 梅斯特独奏音乐会
04.27 Club for Five 世界上最好的人声组合 中国巡演广州站
05.17 German Brass 铜管世界之王 德国铜管乐团 2014 中国巡演
05.18 King's Singers “国王歌手”合唱团广州音乐会 六人和声堪比管弦交响
06.02 Wiener Symphoniker 维也纳交响乐团广州音乐会 全场贝多芬 贝三 + 贝七 总票房：星海音乐厅 87358735 www.concerthall.com.cn 票务总代理：广东文化票务网 400-108-8808 www.ticket-easy.cn 市场合作：87352937 场地租赁：87352791
年，
马上有票
总票房：星海音乐厅 87358735 87353869 票务总代理：广东文化票务网 400-108-8808 www.ticket-easy.cn 市场合作：87352937 场地租赁：87352791 官方网站：www.concerthall.com.cn
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