Insula orchestra and accentus-Beethoven on Period Instruments-51st Hong Kong Arts Festival

第五十一屆香港藝術節隆重舉行，可 喜可賀。

逾半個世紀以來，藝術節每年均呈獻 多姿多彩的文藝節目，由古典音樂、 歌劇、戲劇，以至舞蹈、多媒體項 目等，包羅萬有，令觀眾大飽眼福。

今屆藝術節以《收音機與茱麗葉》及 《春之祭》芭蕾舞表演揭開序幕，兩 齣經典作品經由著名編舞家愛德華· 克魯格重新編排，加上斯洛文尼亞 國家歌劇院馬里博爾芭蕾舞團傾力演 出，萬眾矚目；約五星期後，歐洲頂 尖交響樂團—德國班貝格交響樂團將 登台獻技，為今年藝術節畫上圓滿句 號。其間上演的焦點節目還有： 國 際星級女高音安娜·涅翠柯與丈夫男 高音尤西夫·伊瓦佐夫聯袂表演的音 樂會；由藝術家威廉·肯特里奇精心 製作、南非木偶劇團和比利時里切卡 爾古樂團奇妙演繹的蒙特威爾第歌劇 《尤利西斯歸鄉記》；由芭蕾天后娜塔 麗亞·奧斯波娃領銜主演的芭蕾巨 星之《「世」不可擋》及傳奇舞姬之 《趾尖》；以及國際鋼琴大賽冠軍劉曉 禹的演奏會。

藝術節向來十分重視本地演藝人才， 致力讓他們一展才華。今屆藝術節亦 會上演多個粵劇節目，包括《竹林愛 傳奇》、「毛俊輝．粵劇情」、《畫皮》 (精新版)，以及「短篇粵劇—戲說 八德」； 並帶來其他本地作品，包括 《飯戲攻心》踏台版、《末戀．無愛合 約》、舞蹈歌劇《兩生花》等等，定 必精彩萬分，不容錯過。

大眾還可通過藝術節，體驗繽紛的藝 術魅力。法國食蟻獸沉浸式藝術工作 室創作的《第一步》，會邀請觀眾互 動共舞；在大館舉行的一系列免費藝 術科技節目，以及「無限亮」計劃， 亦會讓公眾參與其中。「無限亮」計 劃由本地和海外不同能力的藝術家擔 綱演出，鼓勵青少年衝破界限，探索

行政長官的話 MESSAGE FROM THE CHIEF EXECUTIVE

I would like to congratulate the Hong Kong Arts Festival on the organisation of its 51st edition.

For more than half a century now, the Arts Festival has enthralled audiences with a superb annual programme of arts and culture performances embracing classical music and opera, theatre, dance, multimedia and a great deal more.

This year’s Arts Festival programme opens with the Slovene National Theatre Maribor’s ballet performances of Radio and Juliet and Le Sacre du Printemps, two classics re-imagined by celebrated choreographer Edward Clug. It closes, nearly five weeks later, with a concert by Germany’s Bamberg Symphony, one of Europe’s greatest orchestras. Other highlights include Anna Netrebko, one of the world’s great sopranos, performing with her husband, tenor Yusif Eyvazov; artist William Kentridge’s remarkable production of Monteverdi’s opera, Il Ritorno d’Ulisse, brought to life by South Africa’s Handspring Puppet Company and Belgium’s Ricercar Consort periodinstrument ensemble; Ballet Superstars’ Force of Nature and Legendary Ballerina

新知。「香港藝術節青少年之友」計 劃同樣以豐富年輕人的體驗為目標， 籌備了多場學校巡演、演前工作坊和 特備節目。「加料節目」的創意活動 則把全港觀眾與藝術家連繫起來，讓 藝術文化遍及社區。

我感謝香港藝術節盡心竭力推廣藝術 文化，協助推動香港發展為中外文 化藝術交流中心。我亦感謝一眾贊 助商和捐款人慷慨襄助，令藝術節精 彩紛呈。

今年的藝術盛宴每場表演均可貴可 喜，大家定能盡情享受，樂在其中。

in Two Feet featuring supreme ballerina Natalia Osipova; and concerts by the international award-winning piano virtuoso Bruce Liu.

As always, the Festival shines a spotlight on standout artists from Hong Kong. This year’s Cantonese opera offerings include Love in the Bamboo Grove, Cantonese Opera Classics Circa 2023, The Painted Skin (Refined Edition) and Virtues and Morality—Four Cantonese Operas. Local productions including Table For Six on Stage, Loveless Romance and Love Streams are sure to be among this year’s Festival highlights.

Several programmes invite public participation as well, including the First Steps participatory dance performances staged by France’s Tamanoir Immersive Studio, as well as Tai Kwun’s free series of arts tech productions and the Festival’s No Limits programme, led by local and international artists of varying abilities. No Limits’ offerings emphasise youth exploration, as does the Young Friends of the Hong Kong Arts Festival with its school tours, preperformance workshops and special programming. And then there is the Festival PLUS creative activities that bring artists and audiences together in communities throughout Hong Kong.

I am grateful to the Hong Kong Arts Festival for its inspired commitment to the arts and to Hong Kong’s continuing rise as an East-meets-West centre for international cultural exchange. My thanks, as well, to the Festival’s many generous sponsors and donors.

I know you will treasure every performance, every moment, of this year’s Hong Kong Arts Festival.

John KC Lee Chief Executive Hong Kong Special Administrative Region

歡迎閣下蒞臨第 51 屆香港藝術 節。隨着香港走出疫情的陰霾，藝 術節再度匯聚本地及世界各地的頂 尖藝術家，呈獻一連串精采的現場 表演。儘管網絡世界無遠弗屆， 親身觀賞演出的體驗依然是無可取 替。今日，我很高興能夠與大家 聚首一堂，共同體驗現場表演的 震撼力。

藝術節得以順利舉辦，有賴社會各 界的慷慨支持。我在此感謝香港 特別行政區政府透過康樂及文化事 務署的年度恆常撥款，為藝術節的 長遠工作奠下根基。我亦非常感 激香港賽馬會慈善信託基金的持續 支持，以及一眾企業贊助、慈善基 金會和個人捐助者的貢獻。我更要 向參與藝術節的藝術家表達由衷謝 意，尤其是早前因疫情而無奈取消 演出、但於今屆願意再度與我們合 作的藝術家。

另外，過去三年，藝術節團隊在充 滿不確定因素的環境下努力不懈， 克服種種難關，繼續為觀眾送上線 上線下的精采節目。我在此向團隊 的每一位成員致謝。

觀眾的支持及參與對藝術節至關重 要。感謝您前來欣賞今日的演出， 希望藝術節的節目能夠為您帶來喜 悅與希望。

主席的話 MESSAGE FROM THE CHAIRMAN

I am delighted to welcome you to the 51st edition of the Hong Kong Arts Festival. As the city recovers from the disruption of the pandemic, the Festival is returning with an array of live performances featuring top-notch artists from Hong Kong and across the world. Despite the boundless possibilities offered by the internet, attending performances in person remains an irreplaceable experience. It gives me great pleasure to share this collective experience with you today.

The Festival is made possible by the generosity of our supporters.

I wish to thank the HKSAR Government, via the Leisure and Cultural Services Department, for the annual subvention which underpins our long-standing work. I am also grateful for the ongoing contributions from The Hong Kong Jockey Club Charities Trust, as well as corporate sponsors, charitable foundations and individual donors. My sincere thanks go

to the participating artists for their dedication to bringing the best to our audiences, especially those returning after previous cancellations due to the pandemic.

I also want to thank the dedicated staff of the Festival who have worked extremely hard to overcome numerous challenges during the uncertainties of the past three years. Last but not least, the Festival counts on the support and participation of each member of the audience. Thank you for joining us at today’s performance. I hope that our programmes will bring you much joy and hope for the future.

Victor Cha Chairman Hong Kong Arts Festival

香港藝術節主席 查懋成

行政總監的話

我謹代表藝術節團隊，歡迎閣下蒞 臨第 51 屆香港藝術節。

經歷了過去幾年疫情的影響，今年 藝術節以「回賞．前行」為題，表 達了我們隆重回歸舞台的決心。憑 着五十年來的努力，香港藝術節成 為了地區首屈一指的文化盛事，確 立了在國際間的重要地位。我們很 榮幸能夠繼往開來，並繼續在多方 面力求進步，與時俱進。在第 51 屆藝術節中，我們全新演繹大師傑 作、建立跨界合作、委約原創作 品，進一步發掘新的創作視野。這 些嘗試都展現了表演藝術的維度和 無限可能性，讓我們在探索的旅途 中向前邁進。

除了出色的表演，藝術節亦舉辦 了一系列「加料節目」，令觀眾對 演出作品有更深入的認識，豐富觀 賞體驗。我們亦繼續大力投資於 藝術教育，希望透過多元的外展活 動，以高質素的表演啟發香港的年 輕一代。

藝術節正式踏入第二個五十年，我 們將抱持樂觀的態度和更大的勇氣 面對未來的各種挑戰。希望您能夠 與我們同行，並喜歡藝術節為您準 備的節目。

On behalf of the Festival team, I would like to extend to you a heartfelt welcome to the 51st Hong Kong Arts Festival.

Our theme this year, “Coming Back, Moving Forward”, represents our determination to come back in full force after several years of uncertainties caused by the pandemic. After five decades of hard work and dedication, the Festival has established itself as a premier arts event in the region and an important international arts festival. We are honoured to carry this legacy forward, while advancing our multifaceted work to stay relevant in the present. In the 51st edition, we discover creative voices through new renditions of masterpieces, cross-disciplinary collaborations and commissioned productions— all of which showcase the breadth and endless possibilities of the performing arts, taking us one step

forward in this journey of exploration. Beyond exceptional performances, we are also offering a series of auxiliary PLUS programmes to enhance audience engagement and provide deeper insights into our programmes. Our strong commitment to arts education is seen in the extensive outreach activities aimed at inspiring the younger generation of Hong Kong through promoting quality arts.

The Festival steps into the second half of its first centenary with both optimism and renewed courage to bravely face the great challenges ahead. I hope you will stay close with us and be inspired by what the Festival has to offer.

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

Flora Yu

Executive Director

Hong Kong Arts Festival

MESSAGE FROM THE EXECUTIVE DIRECTOR

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 聯繫中國與世界

An International Arts Festival in Hong Kong Connecting China and the World

香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化 盛事，於每年 2、 3 月期間呈獻眾多優秀本地及國際藝術家 的演出，以及舉辦多元化的「加料」和教育活動，致力豐 富香港的文化生活。

香港藝術節 是一所非牟利機構，2022/ 23 財政年度預計收

入（包括第 51 屆香港藝術節及 2023 年「無限亮」）約港 幣一億五千萬，當中香港特區政府的年度撥款佔總收入約 18%，另外約 24%需來自票房收入，約 43%則需依賴來自 各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘 下的約 15%則來自其他收入，包括政府針對捐款和贊助收 入而提供的配對資助。

香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，

例如* ：

• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大 劇院、聖彼得堡馬林斯基劇院

• 中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍 崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團

• 古典音樂：塞西莉亞 • 芭托莉、列卡杜 • 沙爾、趙成 珍、古斯塔沃 • 杜達美、菲力普 • 格拉斯、馬友友、 丹尼斯 • 馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾 斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑 斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫 敦交響樂團、NHK交響樂團、皇家阿姆斯特丹音樂廳樂 團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也

• 爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 • 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼

• 舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約 翰．紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、 翩娜 包殊烏珀塔爾舞蹈劇場

• 戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅 柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士 比亞劇團

• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊

• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》

香港藝術節積極與本地演藝人才合作，並致力為新進藝術 家提供展示才華的平台。藝術節至今委約及製作逾 250 套 本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈 作品，不少製作更已在香港及海外多度重演。近年的藝術 節新製作包括《鼠疫》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀

The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

The HKAF is a non-profit organisation. The total estimated income for FY2022/23 (including the 51st Hong Kong Arts Festival and 2023 “No Limits”) is approximately HK$150 million. Current Government annual funding accounts for around 18% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 43% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:

• Western opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre

• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe

Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra

• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini

Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

• Large-scale special events: World of Wearable Art, Zingaro

• Outdoor events: Power Plant, Super Pool, Chorus

The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina

香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《聖荷西謀殺案》等。

香港藝術節多年來與知名海外藝術家及團體聯合製作不少 優秀作品，當中包括由香港藝術節、香港歌德學院及翩 娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫 敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、 香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風 雨》及《李察三世》、由香港藝術節及上海國際藝術節聯 合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作 的《紅樓夢》等。

香港藝術節 大力投資下一代的藝術教育。「青少年之友」

成立 30 年來，已為逾 810, 000 位本地中學生及大專生提供 藝術體驗活動。藝術節近年亦開展多項針對大、中、小學 生的藝術教育活動，包括由國際及本地藝術家主持的示範 講座及工作坊、學生展演、演前講座、公開彩排、以及欣 賞藝術節演出。同時，通過「學生票捐助計劃」，藝術節 每年提供約 10, 000 張半價學生票。

香港藝術節每年主辦一系列多元化並深入社區的「加料節 目」，例如電影放映、示範講座、大師班、工作坊、座談 會、後台參觀、展覽、藝人談、文化導賞團等，鼓勵觀眾 與藝術家互動接觸。

香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。 由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限

2019 年正式開展，透過一系列的演出及多元的 教育及社區外展節目，「無限亮」致力創造共融空間，讓不 同能力人士均可以一同欣賞、參與、擁抱藝術。

Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

The HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached over 810,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

The HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.

The HKAF officially launched the Hong Kong Arts Festival Foundation in 2022 to provide greater financial security and longterm sustainability for the Festival. Donations to the Foundation will help the Festival to present large-scale projects which its annual budget cannot cater for. (2023

香港藝術節為創造更穩健的財政環境以及確保藝術節的長期 可持續性，於 2022 年成立香港藝術節基金會，旨在讓藝術 節得以在未來進行年度預算以外的大型特別項目。

*有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at https://w2.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2021.html

誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。

To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.

香港藝術節協會 2022 ／ 23 年度預計收入來源（約港幣一億五千萬）

電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828 4910/11/12

網頁 Website: www.hk.artsfestival.org/en/support-us

Estimated Income Sources for Hong Kong Arts Festival Society in FY 2022/ 23 (Approximately HK$150 Million)

HONG KONG ARTS FESTIVAL

感謝 would like to thank

贊助 for sponsoring

島嶼管弦樂團及誦調合唱團

貝多芬古樂之夜

二月二十五日演出

The 25 Feb Performance of Insula orchestra and accentus Beethoven on Period Instruments

島嶼管弦樂團及誦調合唱團

Insula orchestra and accentus

貝多芬古樂之夜 BEETHOVEN ON PERIOD INSTRUMENTS

25.02.2023 8pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

演出長約 1 小時 45 分鐘，

包括一節中場休息

Approximately one hour and 45 minutes including one interval

封面照片 Cover Photograph

off all sound-making and light-emitting devices

所有作品內容均由主辦單位/創作團隊獨立製作，並不代表贊助機構之立場或意見。

島嶼管弦樂團及誦調合唱團成員乘坐第 51 屆香港藝術 節指定航空公司芬蘭航空來回香港

Members of Insula orchestra and accentus flew to and from Hong Kong on Finnair, Official Airline of the 51st Hong Kong Arts Festival

請勿擅自攝影、錄音或錄影 Unauthorised photography or recording of any kind is strictly prohibited

如不欲保留本場刊，請於完場後放入場地的回收箱

If you don't wish to keep this booklet, please return it at the admission point

The content of all works is independently produced by the organiser/creative team, and does not reflect the views or opinions of the Sponsor.

©Julien Benhamou

© Julien Benhamou

貝多芬古樂之夜

Beethoven on Period Instruments

貝多芬

《科里奧蘭》序曲，作品 62

貝多芬

降 B 大調第四交響曲，作品 60

I. 慢板—活潑的快板

II. 慢板

III. 諧謔曲—三聲中段：活潑的快板 IV. 不太快的快板

貝多芬

BEETHOVEN

Coriolan Overture, Op. 62

BEETHOVEN

Symphony No. 4 in B-flat major, Op. 60

I. Adagio – Allegro vivace

II. Adagio

III. Scherzo-trio: Allegro vivace

IV. Allegro ma non troppo

中場休息 Interval

BEETHOVEN

C 小調三十二段變奏曲，WoO 80

鋼琴 盛原

貝多芬

C 小調《合唱幻想曲》，作品 80

慢板 終曲：快板 不太快的小快板 （接近流暢的行板)

鋼琴 盛原

第一女高音 Marie Picaut

第二女高音 Émilie Husson

女低音 Geneviève Cirasse

第一男高音 Amitai Pati

第二男高音 Sean Clayton

男低音 Rafael Fíngerlos

合唱團 誦調合唱團

指揮

Conductor

洛朗絲．埃基爾貝

Laurence Equilbey

製作 A production by Pont Neuf Performing Fine Arts

鳴謝 Acknowledgment

深圳國際鋼琴博物館建辦中心借出古董鋼琴

32 Variations in C minor, WoO 80 Piano Yuan Sheng

BEETHOVEN

Choral Fantasy in C minor, Op. 80

Adagio Finale. Allegro Allegretto, ma non troppo (quasi Andante con moto)

Piano Yuan Sheng

Soprano 1 Marie Picaut

Soprano 2 Émilie Husson

Alto Geneviève Cirasse

Tenor 1 Amitai Pati

Tenor 2 Sean Clayton

Bass Rafael Fíngerlos

Choir accentus

誦調合唱團副指揮

Associate Conductor of accentus 基斯托弗．嘉柏隆

Christophe Grapperon

聯合製作 Co-produced by Festspielhaus Baden-Baden 島嶼管弦樂團 Insula orchestra

Paris and deSingel Antwerp

Antique piano lent by Shenzhen Longhua International Piano Museum Organising Centre

藝術節加料節目

盛原——古董鋼琴獨奏會

Antique Piano Recital by Yuan Sheng

19:30 - 20:55 | 27.2.2023

大館賽馬會立方

JC Cube, Tai Kwun

更多加料節目詳情

More Festival Plus

香港藝術節加料節目 x 大館 對談：「古董鋼琴與現代鋼琴」 示範講座

HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano Lecture Demonstration

17:15 - 18:15 | 27.2.2023

大館賽馬會立方

更多加料節目詳情

More Festival Plus

樂曲介紹 Programme Notes

貝多芬古樂之夜

Beethoven on Period Instruments

貝多芬:《科里奧蘭》序曲，作品 62

貝多芬

Ludwig van Beethoven (1770-1827)

貝多芬在約二十二年內共創作 十一首為不同題材和場合而寫 的序曲。當中，為柯林同名劇 作配樂的《科里奧蘭》序曲與 別不同。樂曲的創作背景時逢 音樂理論和歷史時軸的重要轉 捩點，為十九世紀和往後的演 化發展定下基調。柯林的劇本 寫於 1802 年，取材自不為人 知的莎士比亞歷史悲劇《科里 奧蘭納斯》，於維也納首演， 反應不俗。劇本以古羅馬為背 景，主角科里奧蘭將軍對自己 因漠視民意而被逐出帝都深感 憤怒，私下勾結敵邦謀反，並 率敵軍準備圍剿羅馬。科里奧 蘭的母親和妻子懇求他對自己 出生地手下留情。科里奧蘭被 迫在愛國忠義與個人榮辱、理 性判斷和滿腔憤慨之間抉擇， 進退兩難，最後選擇撤兵自 盡。首演後，柯林的劇作很快 便消失幕前。 1807 年，柯林欲 將此劇再次搬上舞台，於是委 約貝多芬為劇本創作序曲。

於是這部由柯林寫劇本、貝多 芬譜序曲的悲劇《科里奧蘭》 在貝多芬贊助人洛布科維茨親 王的宮殿再度上演，只此一 場。雖然柯林的劇作很快便沒 有了蹤影，但貝多芬的《科里 奧蘭》序曲卻開始獨立在音樂 會演出。「序曲音樂不再同時配 合劇本演出，故失去了為劇情

承先啟後的創作用途。」貝多 芬的序曲大受歡迎，並於 1807 年末出版成譜。 1807 至 1808 年 度樂季期間，作品更成為數場 音樂會的獨立演奏曲目。《科 里奧蘭》序曲之所以成為獨立 演奏曲目，到底是貝多芬的精 心設計，或是人氣高企促成的 結果，至今無從考究。

貝多芬以極富戲劇感的音樂交 織劇中兩大強烈對比元素 ： 霹 靂雷響帶出科里奧蘭強烈的復 仇決心，首次奏起的科里奧蘭 主題旋律聽起來強硬而冷酷， 反映他桀驁不馴的大將風範。 直至第二主題出現，描述科里 奧蘭的母親懇言勸退，這些粗 糙堅實的音質才漸趨柔和。柔 和樂段來到尾聲，被科里奧蘭 的暴怒怨憤所淹蓋。這股情感 爆發一直持續，並成為音樂發 展部分的主軸。來到再現部分， 貝多芬用音樂集中描摹柯母動 之以情的懇求，並將凶悍的科 里奧蘭主題稍延至結束樂段重 現。可惜，屆時的科里奧蘭主 題不再像之前般充滿勇猛的英 雄氣勢，而是靜靜分拆成零碎 音段，呈現落難英雄慢慢衰潰 的心路歷程。

© Joseph Karl Stieler

Beethoven: Coriolan Overture, Op. 62

During a period of about 22 years, Ludwig van Beethoven composed 11 overtures for a variety of occasions and under different circumstances. His “Overture” to Heinrich von Collin’s play Coriolan, however, is a special case as it stands at the cusp of a musical and historical discourse that shaped much of the narrative in the 19th century and beyond. The play is based on the rarely performed tragedy Coriolanus by William Shakespeare, which enjoyed moderate success on Viennese stages after its creation in 1802. The plot unfolds in ancient Rome. General Coriolan, angered at being banished from the capital for disregarding the people’s wishes, allies himself with Rome’s enemies. They lay siege to Rome, but both his mother and wife plead with Coriolan to spare his native city. Conflicted between love of country and desire for revenge, between reason and erupting emotions, he withdraws his army and commits suicide. Collin’s play quickly faded from view, but the author attempted to resurrect his work in 1807 by commissioning Beethoven to write a musical overture for his drama.

The theatrical play with Beethoven’s overture was staged once at the palace of Beethoven’s patron, Prince Lobkowitz. The play completely disappeared after that, but Beethoven’s overture began to be performed

independently. “The music was no longer attached to the performance of the drama, and had thus lost its original function as an introduction. " The overture became wildly popular and was issued in print at the end of 1807, and subsequently performed several times as an independent concert piece during the 1807-08 season. It is still not entirely clear if the independent concert overture was the result of the composer’s intentions or merely a byproduct of Beethoven’s rapidly growing popularity.

Beethoven weaves his musical drama from the two conflicting elements of the literary source. Coriolan’s desire for revenge is introduced by fiery lightning strikes and his theme initially unfolds with unyielding ruthlessness. These harsh sonorities give way to a fluid counterpart in the second subject, where Coriolan’s mother pleads for mercy. The concluding phrases of this tender theme are consumed by Coriolan’s rage, and his emotional outbursts dominate much of the development section as well. In the recapitulation, Beethoven decides to place the emphasis on the lyrical pleas of the mother, saving the stormy Coriolan theme for the coda. At that stage, however, the Coriolan theme is no longer bold and heroic as it quietly crumbles to reveal the psychological decay of a tortured hero.

貝多芬:降 B 大調第四交響曲，作品 60

夾在氣勢宏偉的《英雄》交響 曲和震古鑠今的第五交響曲之 間，貝多芬降 B 大調第四交響 曲的身份似乎有點尷尬，難怪 是常被忽視的冷門演奏曲目。

貝多芬過世後不久，舒曼打 了個很富詩意的比喻來形容貝 四 ：「像一名纖瘦的希臘女子站 在兩個北歐巨人中間。」白遼 士則認為第四交響曲反映貝多 芬重拾早期作品的音色追求， 並寫道 ：「貝多芬的第四交響曲 完全拚棄了頌詩和輓歌，重現 比以往較不祟高、不深沉，但 亦不比第二交響曲更簡易輕鬆 的風格。此作的整體氣氛既不 活潑生動、機警靈敏、愉快歡 欣，也沒有天籟般甜美動人。」 像這類關於風格賞析的音樂文 獻，即使出自十九世紀最偉大 的音樂賢才手筆，也敬請各位 審慎參考，原因如下。

1806 年初夏，貝多芬應邀借 宿利斯諾夫斯基親王的郊區城 堡，直至夏天結束。貝多芬視 親王為「最忠實、最極力推廣 自己音樂的朋友之一」。城堡 座落於西里西亞，路途遙遠。 貝多芬一行人長途跋涉期間又 順道拜訪奧普斯多夫伯爵。擁

有小型私人樂團的伯爵，為了 娛樂利斯諾夫斯基親王和貝多 芬，特別安排樂團即席演奏貝 多芬第二交響曲。同時，伯爵 亦出酬委約貝多芬另作一首全 新交響曲。當時手頭拮据的貝 多芬欣然接受。為完成委約新 作，貝多芬不惜打斷不懈兩年 的第五交響曲進度，更把小提

琴協奏曲和第四鋼琴協奏曲暫 擱一旁。看貝多芬於 1806 年 夏季間的忙碌程度，不難推斷 第四交響曲就是取材自另外幾 首當時較受歡迎的作品，用當 中意念拼貼湊合而成。最後， 貝多芬在 1806 年 9 月 3 日將完 成的第四交響曲手稿送到出版 商手中。 1807 年 3 月，第四交 響曲終在利斯諾夫斯基親王 維也納宮殿內一場私人音樂會 中首演。

第一樂章起首緩慢柔弱、調式 朦朧，散發出陰沉、神秘的 氣氛。音樂由平行小調開始發 展，躊躇下行的三度音程，慢 慢翻起一連串尖厲的撞音。在 小號和定音鼓的氣勢助威下， 和聲層次不斷擴展，管弦樂 一下子爆發出一段淘氣生動的 「活潑的快板」段落。第一樂章 變化多端，充滿誇張的音量對 比和樂想構思，活潑而風趣。 有樂評更直言 ：「然而，就作品 的嚴謹鋪排和緊湊節奏來看， 第四交響曲第一樂章毫不遜色 於耳熟能詳的第五交響曲開首 樂章。」

隨後的「慢板」第二樂章呈現 一段優美豁然的迴旋曲，躁 動不安的低音伴奏令人印象深 刻。樂章中段被喻為「貝多芬 筆下最天馬行空的樂段」，原本 滿腔憤怒的小調氛圍突然出奇 地幻化成溫柔細膩的小提琴二 重奏音樂。來到第三樂章，貝 多芬將「諧謔曲」大幅延長， 讓三聲中段樂段重複演奏。正 當觀眾被重複又冗長的樂段弄

得一頭霧水時，貝多芬幽默地 將第三次出現的諧謔曲腰斬。 最後奏出的第四樂章「不太快 的快板」終於洋溢雀躍歡騰、 動感無限的氣氛，並在一片熱 鬧和高昂的和聲中完滿結束。 音樂理論家杜弗認為第四交響 曲「相信是貝多芬首度展示其 高超樂章鋪排水準的作品」。

Beethoven: Symphony No. 4 in B-flat major, Op. 60

Seemingly uncomfortably sandwiched between the monumental Eroica and the thematic organicism of his Fifth Symphony, Beethoven’s B-flat major orchestral essay is frequently overlooked and underperformed. Shortly after Beethoven’s death, German composer and critic Robert Schumann poetically called the Fourth Symphony “a slender Grecian maiden between two Nordic giants”. French composer and conductor Hector Berlioz heard it as a return to an earlier sound ideal, writing: “Beethoven entirely abandons ode and elegy, in order to return to the less elevated and less sombre, but not less difficult, style of the Second Symphony. The general character of this score is either lively, alert, and gay or of a celestial sweetness.” Supporting matters of chronology based on stylistic evaluations, even when they come from some of the greatest musical minds of the 19th century, should be treated with caution, and here is why.

In the early summer of 1806, Beethoven agreed to spend the summer at the country estate of Prince Carl von Lichnowsky, whom he called “one of my most loyal friends and promoters of my art”. The estate was located in Silesia and, during their long journey, they visited Count Franz von Oppersdorff, who maintained a small private orchestra. Clearly delighted to entertain Lichnowsky and

Beethoven, Oppersdorff arranged for a performance of Beethoven’s Second Symphony. Apparently, he also offered to commission a new symphony from Beethoven and, since the composer was a little short on cash, he agreed to take on the project. In order to fulfill the commission, Beethoven interrupted work on his Fifth Symphony, which had been ongoing for almost two years. He also momentarily put aside his Violin Concerto and the Fourth Piano Concerto. Seen within the context of Beethoven’s creative activities in the summer of 1806, it quickly becomes apparent that the Fourth Symphony is cut from the same cloth as his more popular contemporary works. Beethoven offered the Fourth Symphony to his publishers on 3 September 1806, and it was first performed at a private concert in the Lobkowitz Palace in Vienna, in March 1807.

A hushed and harmonically evasive slow introduction underscores a sense of darkness and suspense. Cast in the parallel minor key, a series of hesitating descending thirds gradually uncovers a succession of jabbing dissonances. Explosively, with the added brilliance of trumpets and timpani, the orchestral texture expands to reveal a thoroughly playful “Allegro vivace”. Full of unexpected dynamic contrasts and the occasional dramatic interjection, the movement is playful and witty throughout. “Yet in terms of economy and

tightly coiled energy,” as has been pointed out, “it is every bit the equal of the more familiar opening movement of the Fifth Symphony.”

Characterised by a restless and insistent accompaniment, the slow “Adagio” movement presents a graceful and expansive rondo. The central episode has been called “one of the most imaginative passages anywhere in Beethoven”, as the music unexpectedly transforms an angry minor-key configuration into a delicate duet for violins. Beethoven expands the “Scherzo” movement in order to bring back the trio a second time. However, before the listener can truly come to terms with the seemingly excessive number of repetitions, Beethoven humorously shortens the third statement of the scherzo. The concluding “Allegro, ma non troppo” unfurls a veritable firework of perpetual motion, and with a surge of energy and a few boisterous chords, Beethoven brings the symphony to a perfect conclusion. The Fourth Symphony, according to British pianist and musicologist Donald Francis Tovey, “is perhaps the work in which Beethoven first fully reveals his mastery of movement”.

貝多芬: C 小調三十二段變奏曲，WoO. 80

鋼琴是貝多芬最喜愛的樂器。

作為技藝超凡的鋼琴大師，他 的鍵盤作品皆「承載着挑戰音 樂基本特質和技術和表達自我 的意圖」。除出版了三十二首 絕無僅有的鋼琴奏鳴曲，以及 其他寫給不同場合的鍵盤作品 外，貝多芬亦出版了幾套題獻 他人的變奏曲作品，當中包括

寫於 1806 年末的 C 小調三十二 段變奏曲，WoO. 80。雖然作品 的實際創作背景有待考究，這 套變奏曲估計取材自貝多芬最 著名的即興曲之一。

橫跨八小節的音樂主題由左手 和聲形態建構而成，並逐漸發 展成有點像夏康舞曲的和弦進 程。左手低音和聲不斷以半 音階向下發展，飛快流暢的右 手旋律卻不停往反方向逃竄， 並以半音階不停向高音延伸， 直至洪亮的 F 小調和弦驟然響 起，掀起音樂高潮，再瞬間回 歸一片寂靜。音樂學家基斯拉 遜曾指出 ：「音樂主題呈現一段 由痛苦掙扎、深陷危機、最後 豁然開朗的戲劇歷程。這主題 將於後面三十二首變奏曲再度 重現。」

三十二首變奏曲的結構設計巧 妙，完美展現多種鍵盤技巧 和層次。頭三段變奏的節奏 完全相同，第四和第五段變 奏充滿意想不到的對比，精心 鋪排的第六段變奏無縫連接至 第七至九段，編織出豐富浪漫 的音色。第十至十一段變奏 聚焦高深的炫目技巧，直至第 十二段回歸一片寧靜莊嚴的和

弦，帶出緊接下來的五段大調 變奏，至第十七段音樂再次回 到小調。隨後四段變奏精神明 亮，與及後三段變奏稍微形成 對比。節奏活潑的第二十六和 二十七段像是陷入沉思，卻被 一連串情緒化的敲錘音色粗暴 打斷，將音樂推進至第三十一 段變奏，開首音樂主題的下行 音程和音階再次重現。最後一 段變奏，貝多芬將餘下的音樂 構思逐一交代，再低調地用開 首主題結束全曲。

The piano was Ludwig van Beethoven’s favourite instrument. He was a virtuoso on the keyboard and his compositions for piano “became a vehicle for experimenting not only with the fundamental aspects and techniques of music but also a means of self-expression”. Besides publishing 32 monumental piano sonatas and a variety of occasional pieces, Beethoven also issued a number of dedicated variation sets. This includes his 32 Variations in C minor, WoO 80, which dates from the end of 1806. While the exact circumstances of composition remain unknown, the set might well have originated during one of Beethoven’s famous improvisations.

The eight-measure theme builds on a harmonic pattern in the left hand, emulating a chaconne-like chord progression. As the left hand sternly descends by semitones, flamboyant runs in the right hand attempt to escape in the opposite direction. Inching higher

by semitone with every successive attempt, the music reaches an explosive climax on a massive F minor chord, before collapsing in a moment of stunned silence. As Donald G. Gíslason writes: “The theme presents a drama of struggle, crisis and resolution that is reproduced in each of the 32 variations that follow.”

The variations are designed to showcase a wide range of keyboard techniques and textures, and the first three variations are linked by rhythmic evenness. Variations IV and V provide surprising contrasts, while variation VI prepares for an exploration of deeply romantic sonorities in Variations VII to IX. Virtuosity becomes the centre of attention in Variations X and XI, followed by a solemn chorale in Variation XII. This marks the beginning of five variations in the major key, before the minor key is again re-established in Variations XVII. The subsequent four variations abound with limitless energy, followed by three variations that provide a light dynamic contrast. Percussive effects inform Variations XXVI and XXVII, and pensive musings, forcefully interrupted by emotional punctuations propel the set to Variation XXI and a literal return to the falling intervals and scales of the original theme. Beethoven’s final and emphatic thoughts are orated in the final variation before the set concludes with the humble ending of the original theme.

1808 年 12 月 28 日，維也納河 畔劇院舉行了一場真正盛況空 前的音樂會。這是城中最偉 大音樂家貝多芬的最後表演， 一人身兼作曲、鋼琴演奏和指 揮。這場為他而設的慈善音樂 會足足舉行了四小時，首演節 目包括剛完成的第五、第六交 響曲，和第四鋼琴協奏曲。

當時的廣告這樣描述 C 小調 《合唱幻想曲》：「作品由鋼琴即 興樂段開始，徐徐進入管弦樂 團部分，其後加入合唱團聲樂 和最後樂章」，簡稱為《合唱 幻想曲》。這場慈善音樂會舉 行當日，正值繁忙時節，很多 樂師都另有工作，無暇為貝多 芬演奏。況且，《合唱幻想曲》 僅於音樂會前不久才完成，連 綵排的時間也不夠。

綜觀而言，這場音樂會的演奏 僅屬次等水準。可惜，當晚 表演的最低潮正值《合唱幻想 曲》部分。表演期間，管弦樂 團混淆了樂章次序，於是貝多 芬只好暫停並重頭開始。在場 的指揮家和作曲家塞弗里德憶

述當時情況 ：「記得大師拿出 這份有聲樂合唱的管弦樂幻想 曲樂譜，並在彩排期間親自告 訴我，演奏第二變奏部分時不 應由頭重複。可是首演當晚， 他徹底忘掉自己的指示。當 管弦樂團奏出第二部分伴奏音 樂時，鋼琴正重複彈奏第一部 分。樂團首席桓赫夫發現演奏 出錯，驚訝地看著其他一臉茫 然的樂手，停下來無奈嘆氣 ： 『又來了！』小提琴手弗拉尼

80 茨基面露不悅，問 ：『要重複 嗎？』答曰 ：『是。』此後，表 演終於順利完成。」

後來，貝多芬承認自己當晚心 不在焉，是導致表演出錯的主 因，但仍無法挽回觀眾對音樂 會的負面評價。作曲家萊夏特 寫道 ：「我們坐在冷得要死的音 樂廳之中，由六時半一直堅持 至十時半，真正體驗到『擁有 太多美好的東西，也會令人生 厭』依然是擲地有聲的真理。

一次過聆賞了這麼多首新作， 而且每首只聽了一遍，根本不 可能憑印象對音樂作出評鑑。」

貝多芬的《合唱幻想曲》專為 這場音樂會而作，又特別委約 一位詩人為已完成的音樂配上 合適的歌詞。這位詩人到底何 方神聖，學界仍未有定論。這 首詩作的內容，大抵描寫音樂 和其他藝術如何啟發靈感、凝 聚大眾。

《合唱幻想曲》由八個環環相扣 的部分組成，以一段緩慢而悠 長的鋼琴獨奏開首。音樂帶有 即興意味，在平衡大調與小調 之間徘徊不定。樂曲進行至結 束部分，鋼琴與樂團之間方正 式展開音樂對話。鋼琴幾乎由 起首至結束都不停演奏，肩負 演繹第一音樂主題的重任。《合 唱幻想曲》的旋律，沿自貝多 芬寫於 1795 年的藝術歌曲《失 戀者的悲嘆》。逐級遞進的旋 律，加上主屬兩調交替的簡單 和聲，令人不禁想起第九交響 曲的《歡樂頌》。而後，主題 演化出幾段富有個性的變奏，

由各樂器聲部奏出，發展愈見 豐富。此時，首現於「快板」

段落的音樂主題短暫重現，示 意合唱部分即將開始。音樂主 題先由女高音和女低音唱出， 配以簡單三和弦伴奏，繼而轉 由男高音和男低音演繹。最後 樂團加入合唱聲部，並宏亮地 齊奏旋律。樂曲以一片熱鬧的 「急板」尾聲結束，更突顯這作 品的獨特風格。

撰文 裴德龍博士

貝希斯坦 C Bechstein

生產年份 ： 1862 年

產地 ： 德國柏林

類型 ： 大型三角鋼琴

Concert Grand 備注 ： 85Key,A~A L2540

序列號 ： 722

Built in Berlin, Germany, 1862

Concert Grand

85 Key, A~A, L2540

Serial No. 722

鋼琴家盛原將使用貝希斯坦古董鋼琴演奏 C 小調三十二段變奏曲，WoO80 及 C 小調 《合唱幻想曲》。

詳細資料見 P 47

Pianist Yuan Sheng will be performing the 32 Variations in C minor, WoO 80 and the Choral Fantasy in C minor on the C Bechstein antique piano

See Page 47 for more details.

貝多芬: C 小調《合唱幻想曲》，作品

Beethoven: Choral Fantasy in C minor, Op. 80

On 28 December 1808, the Theater an der Wien in Vienna experienced a concert of truly gargantuan proportions. The city’s most illustrious musical personality, Ludwig van Beethoven, made his final public appearance in the role of composer, pianist and conductor. This benefit concert for Beethoven, which lasted well more than four hours, featured the public premieres of Beethoven’s Fifth and Sixth Symphonies and the Fourth Piano Concerto The concluding selection was advertised as “an improvisation for piano with gradual entrance of the orchestra and finally a choral section and finale”, which subsequently became known as the Choral Fantasy. Since this benefit concert was scheduled at a busy time of the year, Beethoven had great difficulty in summoning adequate musical forces. In addition, he had barely finished the Choral Fantasy in time for the concert, leaving insufficient opportunity for rehearsal.

By all accounts, the execution of the music throughout the evening was second-rate. However, the low point of the performance occurred during the Choral Fantasy. The orchestra got lost, and Beethoven had to stop and restart the piece. The conductor and composer Ignaz von Seyfried reported: “When the master brought out his orchestral Fantasia with choruses, he arranged with me in rehearsal

that the second variation should be played without repeat. In the evening, however, absorbed in his creation, he forgot all about the instructions, and repeated the first part while the orchestra accompanied the second. The Concertmaster, Unrath, noticed the mistake, looked in surprise at his lost companions, stopped playing and called out dryly: ‘Again!’ A little displeased, the violinist Anton Wranitzky asked ‘With repeats?’ ‘Yes’, came the answer, and now the thing went straight as a string.”

Beethoven eventually took personal responsibility for his absence of mind, but he could not deflect an overall negative reception. The composer Johann Friedrich Reichardt writes: “There we sat, in the most bitter cold, from half past six until half past ten, and confirmed for ourselves the maxim that one may easily have too much of a good thing, still more of a powerful one. To judge all these pieces after one hearing is downright impossible.” Since Beethoven had specifically composed the Choral Fantasy for this benefit concert, he commissioned a poet, whose identity is still disputed, to write words that would fit the already composed musical parts. The poem suggests ways that music and the arts can inspire people and bring them together.

The Choral Fantasy consists of eight interlinked sections,

opening with a slow but lengthy solo piano introduction. Improvisatory in nature, the music meanders between the parallel major and minor key, and the “Finale” proper starts with an introductory dialogue between orchestra and piano. The piano plays almost continuously throughout the entire work and it is charged with introducing the primary theme. Beethoven had used the same melody in his song Gegenliebe of 1795, and with its stepwise motion and simple tonic to dominant harmony, it also anticipates the Ode to Joy of the Ninth Symphony. Characteristic variations on that theme, assigned to various instrumental groups, become successively more elaborate. A short restatement of the theme first heard in the “Allegro” transition prepares for the entrance of the chorus. Sopranos and altos sing the main theme accompanied by simply triadic harmony. The tenors and basses then take up the theme, and eventually the orchestra joins the chorus in a forceful tutti rendition. A presto coda brings this unusual work to an exciting and emphatic conclusion.

Dr. Georg Predota

復古音響革命

The Period Sound Revolution

鑑古演奏運動將客觀的學術研究，注入原本主觀的藝術表現法裏去， 開拓了演繹法的新領域。雖然有樂評人指出這種演奏並非真的復古， 實際上完全是我們這個時代的演奏風格，可是專攻鑑古演奏的學者、 指揮家和演奏家，仍繼續將昔日的聲音與當今的藝術課題共冶一爐。

The historically informed performance movement has opened up the realm of interpretation by enriching the subjectivity of artistic expression with the objectivity of scholarly study. And while critics have suggested that such performances are not really historical but a performance style that is completely of our own time, dedicated scholars, conductors and performers continue to infuse the sounds of yesterday with the artistic concerns of today.

島嶼管弦樂團及誦調合唱團以巴 黎為根據地，創辦人是享譽國際 的洛朗絲‧埃基爾貝。在鑑古 演奏運動方面，埃基爾貝也願意 再進一步。她解釋道：「鑽研樂 曲的創作過程與表演習慣，有 助我們將作曲家原意與真正的音 樂意圖連繫起來。」埃基爾貝認 為，要追溯貝多芬創作靈感的源 頭，方法之一就是以復古樂器演 奏他的音樂。

埃基爾貝當年是在維也納隨哈農 閣學習時開始愛上復古樂器。

她說：「我得承認，莫札特、海 頓的古典風格原本會讓我昏昏 欲睡，是他（哈農閣）令我覺醒 過來的。在我看來，那是個啟 示。」埃基爾貝曾為科隆協奏曲 樂團、啟蒙時代樂團和柏林古樂 學院樂團等擔任客席指揮，之 後創辦自己的樂團，藉此繼續培 養她對十八、十九世紀音樂的熱 愛。她解釋道:「我想要一個以

復古樂器演奏的樂團。因為曲目 都很轟動。」在埃基爾貝看來， 創辦島嶼管弦樂團就是夢想成 真，也讓她「專門演奏所有古典 時期及前浪漫時期曲目，那是我 無法跟現代樂團一起演奏的。」

Laurence Equilbey, the internationally acclaimed founder of the Paris-based Insula orchestra and accentus, is willing to go even further.

"The historical study of the context of the creation of a work, and the study of the practices of execution, "she tells FestMag, "helps us to relate the original thought of the composer and his real musical intentions."

"One way of returning to the source of inspiration in Beethoven, according to Equilbey, is to perform his music on the instruments of his time.

Equilbey fell in love with period instruments during her years of study with Nikolaus Harnoncourt in Vienna. "He woke me up to the classical style of Mozart and Haydn, music that normally put me to sleep. It was a revelation for me."

"After guest appearances with the Concerto Köln, Orchestra of the Age of Enlightenment and the Akademie für Alte Musik Berlin, among many others, Equilbey founded her own orchestra to further develop her love for the musical repertoire of the 18th and 19th centuries. "I wanted an orchestra that played period instruments, "she explains,"because the repertoire is sensational. "For Equilbey, the creation of Insula orchestra was a dream come true as it allowed her to"specifically play the entire Classical and pre-Romantic repertoires, which I couldn't do with modern orchestras".

©Julien Benhamou

革命與心理學

貝多芬是個革命派，而且在革 命時代生活和工作，他的音樂 也代表了人類藝術表現法的轉 捩點。雖然他早年繼承了古 典風格傳統，按古典時期的慣 例、樂種和風格寫作，但他後 來的新嘗試，以及他非常個人 化的表現法，都讓音樂不再顯 得淺薄，也不再限於以娛樂與 炫技為務。貝多芬將音樂的表 現力推到新的意識水平，心理 學與戲劇也成了他音樂語法的 必要成分。他的音樂有着獨特 的威力，可以揭示和透露人類 狀態裡不安、有時甚至困擾的 部分； 他那年代的樂器，對於 事業貝多芬靈活多變的風格， 也十分在行。

細聽巧妙變化

聆聽以復古樂器演奏的貝多 芬，就是要體驗熟悉的聲音如 何展現嶄新面貌。埃基爾貝解 釋道：「弦樂活潑非常，某些段 落更能散發出和聲的透明感， 同時可以恢復其他樂器組別 的音響密度。」圓號和自然小 號，都與木管樂器融合得比現 代樂器更好，能發出「很有生 機的聲音」。長號管徑較小， 「大大改善了與其他樂器的平 衡，復古定音鼓的聲音也更有 氣派，更多姿多采。」然而， 對埃基爾貝來說最重要的， 是事實上「演奏復古樂器的樂 師，都對切合風格的器樂技巧 與演奏風格很熟悉。」埃基爾 貝經常以雙樂團演奏貝多芬的 作品，「也就是說，大量的弦 樂器，木管雙倍。貝多芬那個

年代，如果在較大型的廳堂演 出，有時就會這樣做，讓聲音 更強勁之餘又不失彈性。」

艱難的首演

「貝多芬古樂之夜」呈獻的節目 可謂兼收並蓄，展現出貝多芬 作品多元化的一面。在宏偉的 《英雄》與採用有組織主題演變 手法的第五交響曲之間，隔著 一首降 B 大調第四交響曲，而 且看來這首交響曲處境不妙， 不但經常被忽略，而且演出機 會也少。貝多芬逝世後不久， 舒曼曾將「第四」形容得很有 詩意：「兩個北歐巨人中間的苗 條古希臘姑娘」。為了一場大 型慈善音樂會，貝多芬特地寫 作了《合唱幻想曲》，當晚節 目還包括貝多芬三首作品的首 演： 包括「第五」、「第六」兩 首交響曲，以及第四鋼琴協奏 曲。由於這場慈善音樂會安排 在音樂界全年最忙碌的時候， 貝多芬要找到足夠的人手也十 分困難。

The Period Sound Revolution

To hear Beethoven's music performed on period instruments is to experience a familiar sonic landscape in a completely new way. As Equilbey explains, "the strings are incredibly lively and allow for certain passages to radiate harmonic transparency, while the orchestral density of other sections can be restored". Horns and natural trumpets blend much better with the woodwinds than modern instruments and produce"a very organic sound". Since trombones have a smaller bore, "the balance with the other instruments is much improved, and the period timpani produce a more dynastic and colorful sound". However, most important to Equilbey is the fact that "the musicians who play these period instruments are familiar with style-appropriate instrumental techniques and performing style". Equilbey frequently performs the music of Beethoven with a double orchestra, "meaning lots of strings and all the winds doubled, as was sometimes done in Beethoven's time in larger halls. This provides a lot of power without losing flexibility".

Listening with subtle changes

To hear Beethoven's music performed on period instruments is to experience a familiar sonic landscape in a completely new way. As Equilbey explains, "the strings are incredibly lively and allow for certain passages to radiate harmonic transparency,

while the orchestral density of other sections can be restored". Horns and natural trumpets blend much better with the woodwinds than modern instruments and produce "a very organic sound". Since trombones have a smaller bore,"the balance with the other instruments is much improved, and the period timpani produce a more dynastic and colorful sound". However, most important to Equilbey is the fact that "the musicians who play these period instruments are familiar with style-appropriate instrumental techniques and performing style". Equilbey frequently performs the music of Beethoven with a double orchestra, "meaning lots of strings and all the winds doubled, as was sometimes done in Beethoven's time in larger halls. This provides a lot of power without losing flexibility".

A difficult premiere

The 2023 Hong Kong Arts Festival programme "Beethoven on Period Instruments"presents an eclectic repertoire that showcases the diversity of Beethoven's oeuvre. Seemingly uncomfortably sandwiched between the monumental Eroica and the thematic organicism of his Fifth Symphony, Beethoven's B-flat major orchestral essay is frequently overlooked and underperformed. Shortly after Beethoven's death, Robert Schumann poetically called the Fourth Symphony "a slender

Grecian maiden between two Nordic giants". Beethoven specifically composed the Choral Fantasy for a gargantuan benefit concert that also included the premieres of his Fifth and Sixth Symphonies, and the Fourth Piano Concerto He even commissioned a poet, whose identity is still disputed, to write words that would fit the already composed musical parts. The work was advertised as "an improvisation for piano with gradual entrance of the orchestra and finally a choral section and finale". Since the benefit concert was scheduled at a busy time of the year, Beethoven had great difficulty in summoning adequate musical forces.

非常成功的新演奏 2023 年香港藝術節就沒有人手 問題了。島嶼管弦樂團和誦調 合唱團邀請了中國大陸鋼琴家 盛原合作。得獎鋼琴家盛原獲 譽為「最優秀的藝術家」，以深 圳一所博物館館藏的十九世紀 鋼琴演奏，而且這台鋼琴的特 性與貝多芬時代的鋼琴相似。

埃基爾貝的手法也很嚴謹，有 關演繹的一切都可以商榷，包 括演奏模式、音樂風格以至樂 師數目等。她說：「盡量接近作

品的真意，將我們的發現傳遞

給別人，而且人數越多越好。」

她對音樂的心理學本質，以及 聆賞音樂時的心理學本質，都 有深刻獨到的見解，這也正是 鑑古演奏的重點：「要知道音樂 的表現力與對比究竟在哪兒。」

A triumphant new performance

There are no such concerns for the HKAF performance in 2023, as Insula orchestra and accentus have enlisted the help of Mainland Chinese pianist Yuan Sheng. An award-winning pianist described as "an artist of the highest quality", Sheng performs on a 19th-century piano from a museum in Shenzhen; the piano's characteristics are close to the instruments of Beethoven's time.

Equilbey's scientific approach allows for a reflection on all

aspects of the modes of playing, musical style and the number of musicians. It is important to "get as close as possible to the true meaning of a work, and communicate our findings to as many people as possible", says Equilbey. Her probing insight into the psychological nature of music and its reception is what historically informed performance practice is all about: "learning where the expression, and contrast lives in the music."

: Dr. Georg Predota Originally published in the HKAF's 2023 FestMag

Text

Fantaisie Chorale en ut mineur, op. 80

Choral Fantasy in C minor, Op 80

Schmeichelnd hold und lieblich klingen unsres Lebens Harmonien, und dem Schönheitssinn entschwingen

Blumen sich, die ewig blühn.

Fried und Freude gleiten freundlich wie der Wellen Wechselspiel

Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl

Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht.

Äuss’re Ruhe, inn’re Wonne herrschen für den Glücklichen.

Doch der Künste Frühlingssonne

lässt aus beiden Licht entstehn

Großes, das ins Herz gedrungen, blüht dann neu und schön empor.

Hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor. Nehmt denn hin, ihr schönen Seelen, froh die Gaben schöner Kunst: Wenn sich Lieb und Kraft vermählen, ohnt den Menschen Göttergunst

Flattering meek and sound so lovely

The harmonies that are our life

Emerging from our sense of beauty

Flowers that ever bloom and thrive

Peace and joy they glide so friendly

Dancing like the waves at play

All that’s raw and rough and hostile

Transforms itself as high as may

When tones imbued with magic singing

And words give forth their woe and sigh

Then heavens soon shall take to wing

Night and storm transform to light

Display of calm to cover bliss

Shall for the blessed be on high

And yet for art spring light be kissed

Shines forth from both and fills the sky

Greatness in our hearts once buried

Arises new and pushes forth

A spirit burden deep within us

We sound for him a constant choir

So take it now, and do not tarry

The gift that all of beauty brings

When love and power at last are married

Then man the gods unites and sings

英文翻譯 English Translation : Prof. Peter Thompson

C 小調《 合唱幻想曲》，作品 80

溫柔動人的曼妙之聲 是我們生命的旋律

對美學的感悟觸覺 讓心靈像繁花盛放 和平喜悅同步邁前

如波粼嬉鬧般起舞

一切躁動、不安和憤慨 都幻變成純粹的喜悅

看奇妙歌聲將音色薰染 聽歌詞如泣傾訴哀怨 神奇美事振翅高飛

黑夜風暴驟變光明

外貌祥和與內心平靜

有幸之人笑容滿載

但如藝術輕吻春光

互照出璀璨天際的光芒 一旦偉樂感動人心

就引發更多新鮮美事

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洛朗絲．埃基爾貝

LAURENCE EQUILBEY

指揮

Conductor 洛朗絲．埃基爾貝是島嶼管弦 樂團及誦調合唱團的指揮、音 樂總監及創辦人，她領導下的 音樂演出既富藝術性且創新。

埃基爾貝曾與多個樂團合作， 包括： 英國廣播公司威爾斯國 家管弦樂團、蒙特利爾交響樂 團、倫敦愛樂樂團、蘇格蘭 室樂樂團、波士頓韓德爾與海 頓樂團、德國黑森廣播公司交 響樂團； 法國里昂、比利時列 日巿及德國萊比錫各樂團； 布 魯塞爾愛樂樂團、哥本哈根樂 團、葡萄牙古本江管弦樂團、 柏林古音樂學院樂團、科隆室 樂團、薩爾斯堡室樂團、薩爾 斯堡莫扎特管弦樂團、西班牙 巴塞隆拿及畢爾包多個樂團等。

2012 年埃基爾貝獲法國上塞納 省政府資助，成立了島嶼管弦樂 團，致力於早期樂器演奏，並 於 2017 年 4 月在法國巴黎塞納音 樂廳的開幕禮中演出，成為其藝 術駐場樂團，並參與定期演出。

埃基爾貝領導下的歌劇演出 亦不少： 曾與法國新魔法劇 團 14:20 合演韋伯的《魔彈射 手》，足跡遍佈各地，包括：

康城劇院、普羅旺斯艾克斯大 劇院、布魯塞爾藝術中心、維 也納河畔劇院、倫敦巴比肯藝 術中心、德國路德維希堡藝術 節、盧森堡大劇院及巴黎香榭 麗舍劇院； 亦曾與大衛．博貝 改編貝多芬的《費德里奧》，並 於倫敦及法國巴黎塞納音樂廳 演出； 又與麗塔．卡斯蒂諾合 作莫扎特的《路西奧．錫拉》； 與大衛．博貝合作古諾的《血 腥修女》； 以及與菲立普．德庫 弗列把莫扎特多首優美的歌劇 詠嘆調帶上舞台。

於法國巴黎塞納音樂廳駐場的 每個樂季，埃基爾貝也會與不

同背景的藝術團體，創作新穎 的舞台演出，例如： 與西班牙 加泰隆尼亞的拉夫拉前衛劇團 合作海頓的《創世紀》（曾於法 國普羅旺斯艾克斯、德國漢堡 市、維也納及紐約演出），以及 貝多芬的《田園》交響曲； 又 與法國舞蹈家尤安尼．布爾熱 瓦合作莫扎特的《安魂曲》； 與 排舞師瑪麗 - 艾格尼絲．吉約 改編芭蕾舞劇《年輕人與死》； 與帕絲卡．費弘合作莫扎特 的《 C 小調彌撒曲》等。而在

2022/2023 樂季，埃基爾貝將與 安東尼．博德瑞合演舒曼的最 後數首敍事曲，以及與麥特． 科利肖創作佛瑞的《安魂曲》。 埃基爾貝是法國普羅旺斯艾克 斯大劇院的駐團藝術家，與巴 黎愛樂樂團合作無間。

而誦調合唱團今年慶祝踏入第 30 個樂季，埃基爾貝繼續與合 唱團探索不同的精采曲目。今 年三月，她將會為觀眾帶來一 場孟德爾頌的音樂會。埃基爾 貝同時也是巴黎國立音樂學院 高級合唱團的藝術總監，致力 教育和傳承工作。

島嶼管弦樂團最近與華納古曲 唱片發行了兩張唱片，分別是 《愛拉托︰路易絲．法倫克第一 及第三交響曲》（ 2021 年 7 月） 和《莫扎特︰路西奧．錫拉》 （ 2022 年 4 月）。

埃基爾貝曾於巴黎、維也納及 倫敦修讀音樂，師承各大指揮 家，包括︰尼古拉斯．哈農庫 特、艾瑞克．艾立克森、丹妮 絲．漢姆、科林．梅特斯及約 爾瑪．帕努拉。

©Julien Benhamou

The conductor, musical director and founder of Insula orchestra and accentus, Laurence Equilbey embodies the alliance of artistic excellence and innovative, inclusive projects.

Her career in the symphonic repertoire has led her to conduct orchestras such as the BBC National Orchestra of Wales, the Montréal Symphony Orchestra, the Philharmonia in London, the Scottish Chamber Orchestra, H&H Boston, Hessischer Rundfunk, the orchestras of Lyon, Liège and Leipzig, the Brussels Philharmonic, Copenhagen, Gulbenkian, Akademie für Alte Musik Berlin, Concerto Köln, Camerata Salzburg, Mozarteumorchester Salzburg, Barcelona, Bilbao and so on.

With support from the Hautsde-Seine department, she founded Insula orchestra in 2012. The period instrument orchestra inaugurated an artistic residency at the Seine Musicale, on Seguin Island, in April 2017. It is also in charge of part of the Auditorium’s season.

On the lyric scene, Equilbey conducted Weber’s Der Freischütz staged by the new magic company 14:20 (Théâtre de Caen, Grand Théâtre de Provence, Bozar in Brussels, Theater an der Wien, Barbican centre, Ludwigsburg Festival, Grand Théâtre de Luxembourg, Théâtre des Champs-Élysées) and Beethoven’s Fidelio staged by David Bobée in London and at La Seine Musicale, along with

Mozart’s Lucio Silla with Rita Cosentino, Gounod’s Nonne Sanglante staged by David Bobée, Mozart’s most beautiful opera arias with Philippe Decouflé, and so on.

Every season at the Seine Musicale, Equilbey creates staged performances with artists from diverse backgrounds. For example, Haydn’s Die Schöpfung (performed in Aixen-Provence, Hamburg, Vienna and New York) or Beethoven’s Pastoral Symphony were created alongside the theatre company La Fura dels Baus, Mozart’s Requiem with Yoann Bourgeois, the ballet Le Jeune homme et la Mort (the Young Man and Death) with choreographer Marie-Agnès Gillot, and Mozart’s Mass in C minor with Pascal Ferran. In 2022-23, Equilbey will perform the last ballads of Robert Schumann with Antonin Baudry, and work with Mat Collishaw on Fauré’s Requiem. Equilbey is an associated artist at the Grand Théâtre d’Aix-en-Provence and enjoys a privileged relationship with the Paris Philharmonie.

With accentus, which celebrates its 30th birthday in 2022-23, she continually explores the great repertoire of vocal music. In March 2023, she will conduct a programme dedicated to Mendelssohn. Truly invested in education and the transmission of knowledge, she is the artistic and teaching director of the senior department for young singers at CRR de Paris.

Two recordings with Insula orchestra have recently been released under the label Warner Classics—Erato: Louise Farrenc’s 1st and 3rd Symphonies (July 2021) and Mozart’s Lucio Silla (April 2022).

Equilbey studied music in Paris, Vienna and London, with conductors such as Nikolaus Harnoncourt, Eric Ericson, Denise Ham, Colin Metters and Jorma Panula.

島嶼管弦樂團 INSULA ORCHESTRA

島嶼管弦樂團演出巴洛克、古 典及前浪漫主義時期的歷史音 樂，以時代樂器盡可能復原原 來的聲音、文字及曲目設計。

除經典作品外，樂團亦有演出 如露薏絲・法倫克的作品等較 罕見的曲目。

島嶼交響樂團在 2012 年在上塞 納省的支持下，由洛朗絲．埃 基爾貝創立。樂團於 2017 年為 塞納河音樂城揭幕。樂團負責 演奏廳樂季的部份節目，邀請 不同的合奏團及藝術家參演。

在 2023 年 6 月，島嶼管弦樂團

將會舉辦第一屆有關塞納河音 樂城收藏之時代樂器的學術會 議，並啟動名為「 HIP 歐洲」

的專業網絡。島嶼管弦樂團經 常在法國及世界各地頂尖場地 及音樂節表演，其中包括巴黎 愛樂廳、漢堡易北愛樂廳、倫 敦巴比肯藝術中心。

島嶼管弦樂團經常與尤安尼・布 爾熱瓦、安東寧・鮑德里、帕絲 卡・費蘭等不同藝術家合作舉行 舞台音樂會。同時亦投入如 360 度體驗和虛擬現實等數碼科技。

樂團在上塞納省推行推廣分享與 包容的多樣化、又富創新的教育 活動。在 2022 年，管弦樂團成 立了名為「島嶼文獻」的新的資

源中心，志在分享其音樂及科學 研究，以及教育及數碼資源。

島嶼管弦樂團現為 FEVIS 和 SPPF 一員，並蒙法蘭西島大 區贊助。安莉．佛利德斯特 塞特夫人和夏加爾慈善基金是 樂團的主要贊助人。樂團之友 accio 以及島嶼樂團－洛朗絲． 埃基爾貝基金亦支持樂團不同 的創作。

Insula orchestra performs historically informed music from the Baroque, Classical and preRomantic eras, performing on period instruments to match as closely as possible the original sound, text and writing design. Side by side with repertoire classics, the orchestra also performs rarer pieces, such as those by Louise Farrenc. With the Hauts-de-Seine department’s support, Insula orchestra was founded in 2012 by Laurence Equilbey. In 2017, it inaugurated the Seine Musicale venue. The orchestra partly oversees the Auditorium’s season, for which it invites numerous ensembles and artists. In June 2023, Insula orchestra will organise the first edition of a series of conferences about period instruments at La Seine Musicale and launches

the professional network HIP Europe. Insula orchestra also regularly performs in France and internationally in leading venues and festivals such as the Philharmonie de Paris, the Elbphilharmonie of Hamburg and the Barbican Centre in London.

The orchestra regularly produces staged concerts, working with artists including Yoann Bourgeois, Antonin Baudry and Pascale Ferran. It engages with digital technologies, including 360° experiences and virtual reality. A diversified and innovative education programme, striving towards sharing and inclusion, was developed throughout the Hautsde-Seine department. In 2022, a new resource centre was created to share its musical and scientific research plus educational and digital resources: Insula Documenta.

Insula orchestra, a member of FEVIS and SPPF, is sponsored by Région Île-de-France. Aline Foriel-Destezet and Chargeurs Philanthropies are its main patrons. The circle of friends accio and the Insula orchestra— Laurence Equilbey Foundation also support its projects.

©Julien Benhamou

藝術總監：洛朗絲．埃基爾貝

Artistic Director: Laurence Equilbey

塞納河音樂城駐場管弦樂團 Resident Orchestra at the Seine Musicale

誦調合唱團 ACCENTUS

誦調合唱團是洛朗絲．埃基爾 貝在 1991 年創立的室內合唱 團，精於無伴奏合唱、當代音 樂、神劇和歌劇。誦調合唱團 在 2018 年獲法國文化部選為 第一個國立聲樂藝術中心（巴 黎法蘭西島、諾曼第）。這項 殊榮鞏固長期的藝術及教育使 命同時，亦確立合唱團作為重 要國立及國際表演者的地位， 並以其銳意創新，團結及振奮 聲樂界。

誦調合唱團經常在法國及世界 各地頂尖場地和音樂節表演。

誦調合唱團是巴黎愛樂廳的主 要夥伴，並為盧昂-諾曼第歌 劇院的藝術駐場，亦是島嶼交 響樂團的主要合唱團。基斯杜 化・蓋柏隆自 2013 年起擔任誦 調合唱團的副指揮。

誦調合唱團一直與著名指揮 家、獨奏家、和交響樂團合 作，並參與不同的歌劇創作， 其中包括 2023 年 4 月於巴黎喜 歌劇院上演的《卡門》。

誦調合唱團透過不同的教育項 目，以及成立聲樂藝術資源中 心（ CEN ）(lecen.eu) 來推廣創 作、教育及資源共享。

誦調合唱團受法國文化部及法 蘭西島大區文化事務處的支 持，並受到巴黎市、法蘭西島

大區及諾曼第大區的資助。合 唱團荷蒙 SACEM 贊助。誦調 合唱團在上塞納省的表演及藝 術活動，受該省的支持。舒 萊爾・貝滕科特基金是合唱團 主要贊助人。誦調合唱團及島 嶼交響樂團的私人贊助者之友 accio，支持其藝術及教育活動。

accentus is a chamber choir founded in 1991 by Laurence Equilbey specialising in a cappella, contemporary music, oratorio and opera. accentus has been chosen by the French Ministry of Culture to take part in a national programme to promote vocal art (Paris Ile-deFrance, Normandy) in 2018. This strengthened its long-term artistic and educational mission while reaffirming its position as a key national and international player with initiative and innovation, bringing together and energising the vocal music industry.

accentus regularly performs in prominent venues and festivals in France and internationally. The choir is a prime partner of the Paris Philharmonie, continues an artistic residency at the RouenNormandie Opera, and is the prime choir of Insula orchestra. Christophe Grapperon has been Associate Conductor of accentus since 2013.

accentus collaborates with prestigious conductors, soloists and orchestras, and participates in numerous operatic productions, including Bizet’s Carmen at the Opéra Comique in April 2023.

accentus strives to produce, educate and share resources by diversifying its education programmes and creating the Cen, the resources centre for vocal art (lecen.eu).

The choir receives support from the Ile-de-France Regional Directorate of Cultural Affairs and the French Ministry of Culture, and is subsidised by the city of Paris, the Ile-de-France region and the Normandy region. It is sponsored by SACEM. accentus' performing and educational activities receive support from the Hauts-de-Seine department. The Bettencourt Schueller Foundation is its primary sponsor. Accio, the circle of private donors to accentus and Insula orchestra, supports its artistic and educational endeavours.

©Julien Benhamou

盛原

YUAN SHENG

鋼琴家、古鋼琴演奏家

盛原作為音樂會鋼琴家獲得國 際注目，他的演出遍及世界

二十多個國家和地區。《紐約 時報》稱「盛原先生的聽覺有 着無可挑剔的平衡感 （他 的演奏）具完全動人心魄的吸 引力。」《紐約音樂會評論》 稱「盛原是一位最高質素的藝 術家」。

他曾在紐約卡內基音樂廳、倫 敦卡多根音樂廳、多倫多福 特演藝中心、首爾國家演藝中 心，以及北京的國家大劇院、 上海音樂廳等音樂廳演奏‧

作為獨奏家，他曾經與西班牙 泰奈利費交響樂團、羅馬尼亞 國立奧拉迪亞愛樂樂團、哈薩 克斯坦國家交響樂團、古巴國 立交響樂團、菲律賓愛樂樂團 以及中國愛樂樂團等合作。

盛原出生於北京的一個音樂家 庭，五歲開始隨母親學習鋼 琴，後在中央音樂學院師從於 李其芳、李惠莉以及周廣仁諸 教授。1991 年作為所羅門· 米考夫斯基教授的獎學金學生 赴美，在紐約曼哈頓音樂學院 深造，並獲得音樂學士和碩士 學位。

盛原現任中央音樂學院鋼琴系 教授、博士生導師、鋼琴系 主科教研室主任； 他是「音樂 光明行」盲人音樂公益項目的 創始人。

Yuan Sheng has gained international recognition through his extensive performances in more than 20 countries. The New York Times writes that “Mr. Sheng’s ear for balance is unfailing… the attraction was entirely visceral”. And the New York Concert Review proclaims that “Mr. Sheng is an artist of the highest quality".

Sheng has performed in Carnegie Hall in New York, Cadogan Hall in London, the Ford Performing Arts Center in Toronto, the Seoul National Center for the Performing Arts as well as the National Center for the Performing Arts in Beijing and the Shanghai Concert Hall in Shanghai, China.

As a soloist, Sheng has performed with the Tenerife Symphony of Spain, the Oradea State Philharmonic of Romania, the Kazakhstan

National Symphony, the National Symphony of Cuba, the National Philharmonic of the Philippines as well as the China Philharmonic.

Born to a family of musicians in Beijing, Sheng began his music studies with his mother at age five, continuing them later at the Central Conservatory with Professors Li Qifang, Li Huili and Zhou Guangren. From 1991 to 1997, Sheng was a scholarship student of Solomon Mikowsky at the Manhattan School of Music in New York City, where he completed his Bachelor and Master of Music degrees.

Sheng is a professor of piano, doctoral supervisor and director of piano major studies of the Central Conservatory of Music in Beijing. He is also the founder of Path to Brightness, a music welfare project for the visually impaired.

圖片由中山音樂堂提供

Photo provided by Forbidden City Concert Hall

Pianist and Historical Keyboardist

基斯托弗．嘉柏隆

CHRISTOPHE GRAPPERON

誦調合唱團副指揮

Associate Conductor of accentus

基斯托弗．嘉柏隆曾修讀手風 琴及音樂學，及後參加了丹尼 爾．德拉許的歌唱班，並師隨 凱瑟琳．西蒙皮特里及尼古拉 斯．布羅肖深造合唱及管弦樂 指揮技巧。

2010 年 4 月，洛朗絲．埃基爾 貝邀請他與誦調合唱團合作， 後來於 2013 年成為該合唱團的 副指揮。

嘉柏隆自 2007 年與洛伊克．布 瓦西耶成為盗賊樂團的音樂總 監，指揮家馬爾克．閔可夫斯 基更委託他於 2002-2007 年為法 國羅浮宮音樂家古樂團的合唱 指揮。嘉柏隆曾帶領誦調合唱

團演出埃爾韋的輕歌劇《偽善 的女人》，歌劇由帕拉澤托布魯 札恩音樂中心及多個法國歌劇 團共同製作。

嘉柏隆與法國巴黎喜歌劇團合 作無間，並於 2016 年 6 月為其 歌劇《歌劇院》指揮。他於同 年 9 月承繼拉希德．薩菲爾在 獨奏家 21 樂團的音樂總監之位。

此外，嘉柏隆亦曾與許多歌劇 團體合作。

他指揮過許多作曲家的作品， 包括︰雷吉斯．坎波、馬克奧利維耶．迪潘、提耶里．埃 斯凱希、弗朗索瓦．納博尼、 羅曼．迪迪埃等。嘉柏隆於 1995-2002 年在音樂家吉恩-菲 利普．沙克的巴黎專業學院及 大學音樂學院任教育總監，教 授多個合唱、管弦樂團及室樂 團課程。

After studying accordion and musicology, Christophe Grapperon joined Daniel Delarue's singing class and perfected his choral and orchestral conducting skills with Catherine Simonpietri and Nicolas Brochot.

In April 2010, Laurence Equilbey asked him to collaborate with accentus, of which he became Associate Conductor in 2013.

Since 2007, he has been the Musical Director of the company Les Brigands alongside Loïc Boissier. Marc Minkowski entrusted him with the direction of the choir of the Musiciens du Louvre-Grenoble from 2002 to 2007. He directed accentus in the operetta Mam'zelle Nitouche

by Hervé, co-produced by the Palazzeto BruZane and several opera houses in France.

He directed the 2016 project Opéraoké presented by Opéra Comique, with which he regularly collaborates. He succeeded Rachid Safir in September 2016 as Director of the ensemble Solistes XXI.

As a conductor, he conducts in many opera houses.

He has created works by Régis Campo, Marc-Olivier Dupin, Thierry Escaich, François Narboni, Romain Didier, and so on. From 1995 to 2002, he was Pedagogical Director at the Académie de Musique des Grandes Écoles et Universités de Paris, directed by Jean-Philippe Sarcos. He leads numerous courses in choral singing, orchestra and chamber music.

©Julien Benhamou

More than Great Performances!

2023 FESTIVAL PLUS PROGRAMME 藝術節加料節目

3/2

五 Fri

5/2

日 Sun

12/2

日 Sun

13/2 Mon

18/2 六 Sat

19/2 日 Sun

跨越界限——陳詠燊談劇本創作

Sunny Chan on Screenwriting and Playwriting

說說管風琴•說說巴赫

Tracing the Organ Music of Bach

廣陵情長——粵劇編寫竹林七賢傳奇

Writing Cantonese Opera for the Legendary Seven Sages of the Bamboo Grove

「禹•見」鋼琴大師

Masterclasses and Meet Bruce Liu

「短篇粵劇──戲說八德」演後藝人談

Virtues and Morality—Four Cantonese Operas

Post-Performance Meet-the-Artist

杜國威經典作品選映——《虎度門》

Hu Du Men

Collection of Raymond To’s Classics 杜國威經典作品選映——《劍雪浮生》

A Sentimental Journey Collection of Raymond To’s Classics

22/2 三 Wed 杜國威經典作品選映——《南海十三郎》

24/2 五 Fri

The Mad Phoenix Collection of Raymond To’s Classics

米歇爾．梵德阿《水之書》演後藝人談

The Book of Water Post-Performance Meet-the-Artist

香港藝術節加料節目 X 大館對談：

古董鋼琴與現代鋼琴

27/2 Mon

28/2

二 Tue

1 - 19/3

三 - 日 Wed - Sun

3/3

五 Fri

5/3

日 Sun

HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano 盛原——古董鋼琴獨奏會

Antique Piano Recital by Yuan Sheng 韓德兩地的音樂旅途

A Music Journey between Two Cultures –Esme Quartet in Korea and in Germany

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

歌劇《尤利西斯歸鄉記》製作解碼展覽

The Making before The Return Exhibition

《超真實》裝置音樂會演後藝人談 Hyperreality—an installation concert

Post-Performance Meet-the-Artist

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

「笙世界 音樂會」演後藝人談

Sheng World Music— Kevin Cheng & Friends

Post-Performance Meet-the-Artist

長笛的進化史──從巴羅克到現代時期 Evolution of Flute from the Baroque to Modern Periods

8/3 三 Wed 古鋼琴大師班

Fortepiano Masterclass 10/3 五 Fri

沉浸式歌劇《小狐狸》舞台參觀及公開彩排 Into the World of Silent Opera - Vixen Stage Tour & Open Rehearsal 「毛俊輝•粵劇情」演後藝人談

Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

「長笛三次方——曾逸豪在繆思的庭院」 演後藝人談 Triptych for Flute—Tsang Yat-ho in Le jardin des muses

Post-Performance Meet-the-Artist

演唱蒙特威爾第 About Singing Monteverdi 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

呼吸，讓木偶栩栩如生 Breathing brings Puppet to Life 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

巴赫與我 All I Need is Bach

《末戀•無愛合約》演後藝人談 Loveless Romance Post-Performance Meet-the-Artist

以樂器之王為經典默片配樂 Writing Music for Silent Film – Tips from the Organist

傑出文化領袖講座系列（10） 與班貝格交響樂團行政總裁暨 藝術總監馬庫斯•魯道夫•阿克斯對談 Distinguished Cultural Leadership Series (10)

In Conversation with Marcus Rudolf Axt Chief Executive and Artistic Director, Bamberg Symphony 《狂人派對》演後藝人談 Dance Me to the End of Night Post-Performance Meet-the-Artist

傑出文化領袖講座系列（10） 與金像獎最佳編劇杜國威對談—戲畫人生 Distinguished Cultural Leadership Series (10)

From Stage to Ink: In Conversation with Award-winning Playwright and Screenwriter Raymond To Kwok-wai

SHENZHEN LONGHUA INTERNATIONAL PIANO MUSEUM ORGANISING CENTRE

「貝多芬古樂之夜」音樂會為求 盡善盡美，除了用上不少貝多 芬時代樂器演奏外，更特意向 深圳龍華許氏——許經燕的鋼琴 博物館借出古董鋼琴來港演出， 讓觀眾現場感受真正貝多芬時期 的悠揚韻。

「深圳國際鋼琴博物館」（暫名） 由「深圳市龍華區文化廣電旅遊 體育局」和「深圳市雅星文化傳 播有限公司」合作舉辦。博物館 將展示許氏收藏的六百多台歷史 古董鋼琴和數千件相關物品，集 收藏修復、展示展演、教育研 究、娛樂體驗於一體。許經燕 所收藏的歷史古董鋼琴，無論是 數量、品類、歷史價值，當屬 世界最具規模和最為完整。

許經燕這次借出的貝希斯坦古董 鋼琴於 1862 於德國柏林製造， 編號為#722，屬已知存在世上 的同時期同款的三台鋼琴之其 一，另外編號#576 的，則是屬 於作曲家李斯特。第三台則出 產於約 1864 年，由巴伐利亞國 王路德維希二世向理查德·瓦格 納贈送，現收藏於美國耶魯大 學樂器博物館。這台#722 三角

鋼琴已經在德國按照國際標準音 440 進行完全修復，屬於存在世 上非常稀罕的大型音樂會演奏鋼 琴，也是當今已知存在的最早貝 希斯坦三角鋼琴之一。

For a perfect performance of Beethoven on Period Instruments, the show is not only performed on instruments of Beethoven’s time but also on an antique piano on loan from the Piano Museum owned by Mr Xu Jingyan from Longhua, Shenzhen. The audience will hence be able to enjoy a live performance of authentic Beethoven music.

The Shenzhen Longhua International Piano Museum

(tentative title) is jointly set up by the Culture, Radio, Television, Tourism and Sports Bureau of Shenzhen Longhua Municipality and the Shenzhen Yaxing Cultural Co. Ltd. It showcases Xu Jingyan’s collection of over 600 antique pianos and thousands of related items, while supporting activities of collection restoration, showcases and exhibitions, education and research, and

entertainment. Xu Jingyan has the largest and most complete collection of antique pianos in the world in terms of quantity, variety, and historical value.

Built in Berlin, Germany in 1862, this C. Bechstein antique piano with the serial number #722, on loan from Xu Jingyan, is one of the only three known extant pianos of the same model that originated from the same era. One of the other two, another piano with the serial number #576, once belonged to the composer Franz Liszt. The third one, a gift to Richard Wagner from King Ludwig II of Bavaria, was produced around 1864. It is now part of the Yale Collection of Musical Instruments. This #722 grand piano was restored in Germany according to the international tuning standard of 440 Hz. It is an extremely rare grand concert piano and one of the earliest known surviving C. Bechstein grand pianos.

深圳國際鋼琴博物館建辦中心

島嶼管弦樂團 Insula orchestra

小提琴獨奏 Violin Solo

Pablo Gutiérrez Ruiz

第一小提琴 First Violins

Catherine Ambach

Roldán Bernabé Carrión

Cécile Garcia

Mojca Jerman

Martin Lissola

Laure Massoni

Martin Reimann

Enrico Tedde

第二小提琴 Second Violins

Arnaud Bassand

Aude Caulé

Nathalie Cannistraro

Asim Delibegovic

Pascal Hotellier

Cécile Kubik

Bénédicte Pernet

Byron Wallis

中提琴 Violas

Alice Teixeira Vaz

Brigitte Clément

Dahlia Adamopoulos

Brigitte Clément

Laurent Gaspar

Julien Lo Pinto

Jean-Luc Thonnérieux

大提琴 Cellos

Damien Ventula

Anne-Charlotte Dupas

Pauline Lacambra

Clotilde Lacroix

Alejandro Marias

Mátyás Virag

低音大提琴 Double Basses

Roberto Fernández De Larrinoa

Michael Chanu

Michael Greenberg

Clotilde Guyon

橫笛 Transverse Flutes

Anna Besson

Sophie Gourlet

雙簧管 Obos

Jean-Marc Philippe

Anne Chamussy

單簧管 Clarinets

Vincenzo Casale

Ana Melo

低音管 Bassoons

François Charruyer

Emmanuel Vigneron

法國號 Cors

Georg Koehler

Gilbert Cami-farras

小號 Trumpets

Serge Tizac

Jean-Baptiste Lapierre

定音鼓 Timpani

Koen Plaetinck

誦調合唱團 accentus

第一女高音 Soprano 1

Marie Picaut

第二女高音

Soprano 2

Émilie Husson

女高音

Sopranos

Céline Boucard

Sophie Boyer

Eugénie De Padirac

Laurence Favier Durand

Pauline Feracci

Émilie Husson

Louise Leterme

Marie Picaut

Charlotte Plasse

女低音 Altos

Geneviève Cirasse

Florence Barreau

Morgane Boudeville

Marie Favier

Violaine Lucas

Valérie Rio

Thi-Lien Truong

Amitaï Pati

男高音 Tenors

Camillo Angarita

Martin Candela

Sean Clayton

Stephen Collardelle

Maciej Kotlarski

Lancelot Lamotte

Mathieu Montagne

Pierre Perny

Maurizio Rossano

男低音

Basses

Rafael Fíngerlos

Pierre Corbel

Olivier Déjean

Grégoire Fohet-Duminil

Cyrille Gautreau

Jean-Christophe Jacques

Julien Neyer

Guillaume Pérault

Pierre Virly

第一男高音 Tenor 1

香港彩排琴師 Hong Kong Rehearsal Pianist

廖梓丞 Jason Liu

鳴謝

ACKNOWLEDGEMENTS

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

香港藝術節基金會贊助人

Hong Kong Arts Festival Foundation Patrons

首席創始贊助人 Lead Founding Patrons

陳俊豪先生 Mr Thomas Chan

黃廷方慈善基金 Ng Teng Fong Charitable Foundation

電訊盈科 PCCW

九龍倉集團 The Wharf Group

主要創始贊助人 Major Founding Patrons

萬通保險國際有限公司 YF Life Insurance International Ltd

眾安銀行 ZA BANK

創始贊助人 Founding Patrons

陳煒文博士, JP Dr Raymond Chan, JP

丹斯里拿督邱達昌 Tan Sri Dato’ David Chiu

曹其鋒先生 Mr Silas Chou

霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok

馮氏基金有限公司 E.M. Fung Foundation Limited

何超瓊女士, SBS , JP Ms Pansy Ho, SBS, JP

科勁國際（控股）有限公司 King’s Flair International (Holdings) Limited

梁婉玲博士 Dr Elina Leung

孫漢明博士 Dr Stephen Suen

包陪麗女士, BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari

其他贊助人 Other Patrons

羅嘉瑞基金 KS & Feili Lo Foundation

孫大倫博士, BBS , JP Dr Dennis T L Sun, BBS, JP

慶祝香港藝術節五十周年晚宴之贊助人

Sponsors of the Hong Kong Arts Festival 50th Anniversary Gala Dinner

鑽石席 – 宴桌 Diamond Table Sponsors 香港上海匯豐銀行有限公司 上海商業銀行

洪祖杭博士, GBM , GBS , JP

鄭慕智博士, GBM , GBS , JP James Houghton 先生, 黃穎灝先生及梅慶堯先生 雍景欣女士

The Hongkong and Shanghai Banking Corporation Limited

Shanghai Commercial Bank

Dr the Hon Albert Hung Chao-hong, GBM, GBS, JP

Dr the Hon Moses Mo-chi Cheng, GBM, GBS, JP

Mr James Houghton, Mr Isaac Wong & Mr Arthur Mui

Ms Jingxin Yong

鑽石席 – 宴位 Diamond Seat Sponsors 呂元祥博士及夫人

譚允芝女士, SBS , SC , JP 龐維新先生及夫人 崇光(香港)百貨有限公司

黃金席 – 宴桌 Gold Table Sponsors 鄭阮培恩女士, 吳來盛先生及夫人 中美國際集團有限公司

華國強先生夫人 太古地產有限公司 卡地亞

黃金席 – 宴位 Gold Seat Sponsors 何苗春暉女士

林梅若梅女士

鄭馮亮琪女士

Janana Suleymanli Pasha 女士 鄭惠貞女士

張利平先生

Dr and Mrs Ronald Lu

Ms Winnie Tam Wan-chi, SBS, SC, JP

Mr and Mrs Wilson Pong

Sogo Hong Kong Company Limited

Mrs Betty Cheng, Mr and Mrs Emil Ng

Chung Mei International Holdings Limited

Mr Granger and Mrs Miriam Hwa

Swire Properties Limited

Cartier

Ms Joanna Hotung

Mrs Lavina Lim

Mrs Fina Cheng

Ms Janana Suleymanli Pasha

Ms Margaret Cheng

Mr Zhang Liping

鳴謝 ACKNOWLEDGEMENTS (續 con' t)

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members

鉑金會員 Platinum Member

嘉里控股有限公司

Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

其他支持機構 Other Supporters

加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

實物支持機構 In - kind Supporters

大亞國際集團 Altaya Group

香港愉景灣酒店 Auberge Discovery Bay Hong Kong

香港君悦酒店 Grand Hyatt Hong Kong

虎豹樂圃 Haw Par Music

藝術節捐助計劃 Festival Donation Scheme

鉑金捐款者 PLATINUM DONOR

HK$140,000 或以上 OR ABOVE

孫大倫博士, BBS , JP Dr Dennis T L Sun , BBS , JP

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

瑞安集團 Shui On Group

Dr Patrick Tong

文藝女士 Ms Wen Yi

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

無名氏 Anonymous

陳求德醫生及夫人 Dr & Mrs KT Chan

Ms Leung Wai Yee Candice

馬美域女士 Ms Yvette Therese Ma

Dr Stephen Suen

楊傳亮先生, BBS , JP Mr Charles Yang , BBS , JP

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 ( 2 ) Anonymous ( 2 )

Mr & Mrs Jeffrey & Helen Chan

Mr Edmond Huang

Dr Peter and Nancy Thompson

Dr Sabrina Tsao

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

Mrs Linda Wang

Mr & Mrs YS Wong

純銀會員 Silver Members 太古集團慈善信託基金

The Swire Group Charitable Trust

上海商業銀行有限公司

Shanghai Commercial Bank Limited

荷蘭駐港總領事館

Consulate of the Kingdom of the Netherlands in Hong Kong and Macau

香港故宮文化博物館 Hong Kong Palace Museum

文陳妙蘭女士 Mrs Christina Man

信興集團 Shun Hing Group

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

無名氏( 3 ) Anonymous ( 3 )

Dr Gillian Choa

Ms Ho Man Fung Edith

Mrs Schmitt Ling Jane

文娛慈善基金 The Elementary Charitable Foundation

Ms Isabel Yiu

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏( 2 ) Anonymous ( 2 )

AWORKS DESIGN

Jose Manuel Sevilla and Julie Bisaillon

Mrs Anson Chan

鍾雅妍博士 Dr Fiona Chung

Ms Zoe Ho

Ms Li Lian Khoo

Dr Alfred Lau

Apple Lee

李芸輝博士 Dr Lee Wan Fai Walter

Savita Leung

Mr Gary Ma

Mrs Lily Ma

Dr Michael Mak

Dr & Mrs Joseph Pang

San Miguel Brewery Hong Kong Ltd .

Mr A . Smith

The Brandon Centre Limited

Mr Wong Yick Kam

姚曼儀女士 Ms Enoch Yiu

朱玉迎女士 Ms Zhu Yuying

學生票捐助計劃 Student Ticket Scheme

鉑金捐款者 PLATINUM DONORS

HK$140,000 或以上 OR ABOVE

無名氏( 2 ) Anonymous ( 2 )

馬振玉慈善基金會有限公司

CYMA Charity Fund Ltd

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

Mrs Purviz R Shroff , MH and

Late Mr Rusy M Shroff , BBS , MBE

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

Mr Roger and Mrs Lina Lui

Dr Stephen Suen

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

Dr Chung See Yuen

天智合規顧問 CompliancePlus Consulting

Mr & Mrs Kenneth & Nelly Fung

C H Mak

Mr & Mrs Kenneth Quinn

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

無名氏 ( 2 ) Anonymous ( 2 )

新作捐助計劃 New Works Scheme

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 Anonymous

劉仰澤先生 Mr Lau Yeung Chak

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

凌霄志醫生 Dr Tony Ling

區燊耀先生 Mr Au Son Yiu

Mr & Mrs Jeffrey & Helen Chan

Dr Chan Wan Tung

Mr & Mrs Norman Chui

Mrs Margaret Hamilton

Miss Jenny Hodgson

Mr Iain Bruce

麥禮和醫生 Dr Mak Lai Wo

Mr Vernon Zhang

陳穎儀與黃乃正

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 ( 3 ) Anonymous ( 3 )

Mr & Mrs Herbert Au - Yeung

Cynthia Cheng & Aaron Chan

Ms Kit Fung Cheung

Dr Alan Chiang

馮兆林先生太太 Mr & Mrs Fung Shiu Lam

Ms Maureen Leung

Ms Regina Lo

Ms Janice Ritchie

Mrs Anna Chan Sheh

Mr So Kin Man

文娛慈善基金 The Elementary Charitable Foundation

余德銘先生 Mr Desmond Yu

殷和順先生劉善萍夫人

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

Ms Judith Ling

Ms So Wing Yin

網上藝術教育捐助計劃 Digital Arts Education Scheme

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

HK CT Alumni Association

支持及協助 SUPPORT AND COOPERATION

教育局藝術教育組

Arts Education Section, Education Bureau

香港展能藝術會

Arts with the Disabled Association Hong Kong

香港愉景灣酒店

Auberge Discovery Bay Hong Kong

澳洲駐香港及澳門總領事館 Australian Consulate-General Hong Kong and Macau

奧地利駐香港總領事館 Austrian Consulate General

Hong Kong

樺利廣告有限公司 Avanny Advertising Co Ltd

宏基國際賓館 Bishop Lei International House

BRICK LANE

英國文化協會 British Council

英國駐香港總領事館 British Consulate General Hong Kong

百老匯院線 Broadway Circuit burgundy etc

CAMPSITE

粵劇發展基金 Cantonese Opera Development Fund

牛棚藝術村 Cattle Depot Artist Village

周生生集團國際有限公司

Chow Sang Sang Jewellery Co. Ltd

中信國際電訊(信息技術)有限公司

CITIC Telecom International CPC Limited

城市當代舞蹈團 City Contemporary Dance Company

城巿花園酒店 City Garden Hotel

思聯設計有限公司 CL3 Architects Ltd

比利時駐港澳總領事館

Consulate General of Belgium in Hong Kong and Macau 加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

法國駐港澳總領事館

Consulate General of France in Hong Kong and Macau

西班牙駐香港總領事館

Consulate General of Spain in Hong Kong 瑞士駐香港總領事館

Consulate General of Switzerland in Hong Kong

荷蘭駐港總領事館

Consulate General of the Kingdom of Netherlands in Hong Kong and Macau

大韓民國駐香港總領事館

Consulate General of the Republic of Korea in Hong Kong

俄羅斯駐香港總領事館

Consulate General of the Russian Federation in the Hong Kong SAR, PRC

Die Konzertisten

拔萃女書院 Diocesan Girls' School

愛普生香港有限公司 Epson Hong Kong Limited

香港港威酒店 Gateway Hotel, Hong Kong

德國駐香港總領事館

German Consulate General Hong Kong

六國酒店 Gloucester Luk Kwok Hong Kong

香港歌德學院 Goethe-Institut Hong Kong

香港君悅酒店 Grand Hyatt Hong Kong

青苗琴行 Greenery Music

香港恒生大學

Hang Seng University of Hong Kong

學生事務處 Student Affairs Office

8 度海逸酒店 Harbour Plaza 8 Degrees

快達票香港有限公司 HK Ticketing

香港文聯 HKL&A

香港藝術行政人員協會 Hong Kong Arts Administrators Association

香港藝術中心 Hong Kong Arts Centre

香港浸會大學 Hong Kong Baptist University

音樂學院 Academy of Music

拉闊文化 Cultural Literacy Programme

英國語言文學系 Department of English Language and Literature

香港大會堂 Hong Kong City Hall

香港文化中心 Hong Kong Cultural Centre

香港電影資料館 Hong Kong Film Archive

香港黃金海岸酒店 Hong Kong Gold Coast Hotel

香港管弦樂團 Hong Kong Philharmonic Orchestra

香港公共圖書館 Hong Kong Public Libraries

香港旅遊發展局 Hong Kong Tourism Board

斯洛文尼亞駐港總領事館 Honorary Consulate of Slovenia in Hong Kong

香港都會大學

Hong Kong Metropolitan University

學生事務處 Student Affairs Office

登臺 Hotel Stage

宜必思香港中上環

ibis Hong Kong Central and Sheung Wan

工銀亞洲 ICBC (Asia)

入境事務處 Immigration Department

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices

Outside Hong Kong

海景嘉福洲際酒店

InterContinental Grand Stanford Hong Kong

高山劇場 Ko Shan Theatre

九龍木球會 Kowloon Cricket Club

Kubrick

葵青劇院 Kwai Tsing Theatre

駐香港韓國文化院

Korean Cultural Center in Hong Kong

康樂及文化事務署

Leisure and Cultural Services Department

牧羊少年與他的浮萍 Lemna of the alchemist

中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People's Government in the HKSAR

嶺南大學 Lingnan University

黃炳禮音樂及演藝部

Wong Bing Lai Music and Performing Arts Unit

馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

Maxibit HK/China

MCL K11 Art House

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC 循道衛理聯合教會國際禮拜堂

Methodist International Church Hong Kong Mission Production Company Ltd

李鏡輝先生 Mr Alpha Li

黃月妙小姐 Ms Kitty Wong

黃宇軒先生 Mr Sampson Wong

音樂事務處 Music Office

北區大會堂 North District Town Hall

One Minden Tapas Kitchen

橙天嘉禾娛樂集團 Orange Sky Golden Harvest

Entertainment Group

柏斯琴行 Parsons Music Limited

奧華酒店 中環 Ovolo Central

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

電訊盈科 PCCW Pixellent

犇華企業服務有限公司 Primasia Corporate Services Limited

鄭新文教授 Prof Tseng Sun-man

富豪酒店國際 Regal Hotels International

香港瑰麗酒店 Rosewood Hong Kong

皇家太平洋酒店 Royal Pacific Hotel

Russian Club in Hong Kong

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin

Secondary School

南非駐香港總領事館

South African Consulate General Hong Kong SAR & Macao SAR, PRC

Southgate Design

香港西班牙商會

Spanish Chamber of Commerce in Hong Kong

事必達推廣有限公司 Speedy Promotion Limited

春天舞台劇製作有限公司 Spring-Time Stage Productions Limited

辰衝圖書有限公司 Swindon Book Co. Ltd.

香港瑞士商會有限公司 Swiss Chamber of Commerce in Hong Kong Limited

大館 Tai Kwun

台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

藝林文具印刷有限公司 The Artland Co Ltd

香港八和會館 The Chinese Artists Association of Hong Kong

香港中文大學 The Chinese University of Hong Kong

聯合書院 United College

藝術行政主任辦公室 The Office of the Arts Administrator

文化及宗教研究系 Department of Cultural and Religious Studies

香港城市大學 The City University of Hong Kong

文化薈 Cultural Exchange Oasis

商務印書館（香港）有限公司 The Commercial Press (Hong Kong) Limited

香港教育大學 The Education University of Hong Kong

文化與創意藝術學系 Department of Cultural and Creative Arts

灣景國際 The Harbourview

梅夫人婦女會 The Helena May

香港演藝學院 The Hong Kong Academy for Performing Arts

戲曲學院 School of Chinese Opera 戲劇學院 School of Drama

音樂學院 School of Music

舞蹈學院 School of Dance

電影電視學院 School of Film and Television

學生事務處 Student Affairs Office

表演場地管理部 Venue Performance Unit

場地技術部 Venue Technical Unit

香港兒童合唱團 The Hong Kong Children’s Choir

香港理工大學 The Hong Kong Polytechnic Universit

文化及設施推廣處 Culture Promotion and Events Office

香港科技大學 The Hong Kong University of Science and Technology

藝術中心 Center for the Arts

The Swiss Chamber of Commerce in Hong Kong Limited

香港大學 The University of Hong Kong

音樂系 Department of Music

香港大學美術博物館 University Museum and Art Gallery Cultural Management Office

學生發展及資源中心 Centre of Development and Resources for Students

港青 - 香港基督教青年會

The Salisbury – YMCA of Hong Kong

通利琴行 Tom Lee Music Company Ltd

三角關係 Trinity Theatre

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

城市售票網 URBTIX

市區重建局 Urban Renewal Authority

同流黑盒劇場 WeDraman Black Box Theatre

進富印刷公司 Wealthy Step Printing Co.

西九文化區管理局

West Kowloon Cultural District Authority

粵海華美灣際酒店 Wharney Hotel

艾希妮網絡公關有限公司 X Social Group Limited

油麻地戲院 Yau Ma Tei Theatre

元朗劇院 Yuen Long Theatre

赤豚事務所 Zhu Graphizs

贊助人 李家超先生, GBM SBS PDSM PMSM

永遠名譽會長 邵逸夫爵士 (1907-2014)

執行委員會

主席 查懋成先生

副主席 盧景文教授

義務司庫 范高廉先生

委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊　光先生

節目委員會

主席 盧景文教授

委員 白諾信教授 紀大衛教授 羅志力先生 毛俊輝教授 約瑟．施力先生+ 譚榮邦先生 姚　珏女士

財務委員會

主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生 發展委員會

主席 鄭阮培恩女士

副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 文藝女士 姚祖輝先生

顧問 夏佳理先生 鮑　磊先生 陳祖澤博士 陳達文博士 霍　璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打）

核數師 羅兵咸永道 會計師事務所

PATRON

HONORARY LIFE PRESIDENT

EXECUTIVE COMMITTEE

Chairman

Vice-Chairman

Honorary Treasurer

Members

電話 TEL 2824 3555

傳真 FAX 2824 3798 / 2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 2824 2430

Programme

Enquiry Hotline

地址 ADDRESS 香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

The Hon. John KC Lee, GBM SBS PDSM PMSM

The Hon. Sir Run Run Shaw, GBM CBE (1907-2014)

Mr Victor Cha

Prof. Lo King-man, SBS MBE JP

Mr Colin Farrell

Mrs Betty Yuen Cheng

Ms Margaret Cheng

Mr Michael Fung

Ms Joanna Hotung

Mr Sebastian Shiu-wai Man

Dr Dennis T L Sun, BBS JP

Ms Miriam Yao

Mr Sunny Yeung

PROGRAMME COMMITTEE

Chairman

Members

Prof. Lo King-man, SBS MBE JP

Prof. Giorgio Biancorosso

Prof. David Gwilt, MBE

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, JP

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

Mr Colin Farrell

Ms Margaret Cheng

Mr Nelson Leong

Mrs Betty Yuen Cheng

Ms Jane Yong

Mr Michael Fung

Ms Samanta Sum-yee Pong

Mrs Helen Lin Sun

Ms Yi Wen

Mr Andrew Yao

ADVISORS

The Hon. Ronald Arculli, GBM GBS

Mr Martin Barrow, GBS CBE JP

Dr John C C Chan, GBS CBE LVO JP

Dr Darwin Chen, SBS ISO

Mr Angus H Forsyth

The Hon. Charles YK Lee, GBM GBS OBE JP

Mrs Mona Leong, SBS BBS MBE JP

Dr The Hon Sir David KP Li, GBM GBS OBE JP

HONORARY SOLICITOR

AUDITOR

Ms Gabriela Kennedy, Mayer Brown

PricewaterhouseCoopers

職員

行政總監 余潔儀

行政總監助理 何丹蓉

節目

節目總監 梁掌瑋 蘇國雲

高級節目經理 梁偉然

節目經理 陳曉彤 * 鄭佩群 * 廖國穎 * 馬筠婷 * 司徒頌欣 * 短期節目經理 游慧姿 *

副節目經理 杜以樂 *

節目統籌 林穎茵 *

藝術行政見習員 容諾行 *

行政

節目經理 (行政) 蘇雪凌

節目主任 (行政) 林穎妍 *

物流

物流及接待經理 金學忠 *

技術

製作經理 梁雅芝 *

助理製作經理 陳梓衡 *

出版

編輯 陳詠恩 * Adam Wright*

助理編輯 陳劭儀 * 李芷晴 *

外展

外展經理 林嘉敏 *

助理外展經理 李萬祺 * 潘穎詩 *

外展主任 張凱柔 *

外展助理 馬曉瑩 *

藝術行政見習員 馮樂程 *

市場推廣

市場總監 鄭尚榮

副市場總監 盧伯全

副市場經理 陳靄婷 * 張予心 * 黃頴儀 *

助理項目經理 李穎軒 * 譚懿諾 *

助理市場經理 許樂欣 * 曾諾怡 *

市場主任 林培生 *

票務

市場經理(票務) 梁彩雲

票務主任 殷嘉駿 *

發展

發展總監 黃美儀

特別發展協理 蘇啟泰 *

發展經理 林思穎 * 吳綺菁 * 譚樂瑤 發展經理（大額捐獻） 鍾雅妍 * 發展主任 鄒穎妮 * 譚尹晴 *

藝術行政見習員 梁詠熙 *

短期發展助理 潘藹怡 *

行政事務

財務總監 鄺敬婷

會計

會計經理 杜詩麗 *

會計主任 顏悅恩 *

人力資源及行政

人力資源及行政經理 楊美君 *

接待員/初級秘書 李美娟

助理 黃國愛

資訊科技

資訊科技經理 陳啟明 *

無限亮

項目總監 錢 佑 * 節目及外展經理 鍾美琼 * 何敏凝 * 節目及外展統籌 何敬堯 * 潘詠汶 *

市場經理 黃嘉欣 *

副市場經理 廖愷瀅 * 助理製作經理 張詠宜 * 高級會計主任 鍾巧明 * 香港藝術節@大館

項目經理 鄺為立 * 公關及宣傳統籌 楊佩雯 *

STAFF

Executive Director

Assistant to Executive Director

PROGRAMME

Programme Directors

Senior Programme Manager

Programme Managers

Temporary Programme Manager

Deputy Programme Manager

Programme Coordinator

Arts Administrator Trainee

ADMINISTRATION

Programme Manager (Admin)

Flora Yu

Connie Ho

Grace Lang So Kwok-wan

Ian Leung

Kristen Chan* Cathy Cheng*

Sophie Liao* Katie Ma*

Samantha Szeto*

Janet Yau*

Tobe To*

Lilian Lam*

Ryan Yung*

Shirley So

Programme Officer (Admin) Michelle Lam*

LOGISTICS

Logistics Manager

TECHNICAL

Production Manager

Assistant Production Manager

PUBLICATIONS

Editors

Assistant Editors

OUTREACH

Outreach Manager

Assistant Outreach Managers

Outreach Officer

Outreach Assistant

Arts Administrator Trainee

MARKETING

Marketing Director

Associate Marketing Director

Deputy Marketing Managers

Assistant Project Managers

Assistant Marketing Managers

Marketing Officer

TICKETING

Marketing Manager (Ticketing)

Ticketing Officer

DEVELOPMENT

Development Director

Special Development Associate

Development Managers

Development Manager (Major Gifts)

Development Officers

Arts Administrator Trainee

Temporary Development Assistant

CORPORATE SERVICES

Finance Director

ACCOUNTS

Account Manager

Accounting Officer

HR & ADMINISTRATION

HR and Admin Manager

Receptionist/Junior Secretary

General Assistant

INFORMATION TECHNOLOGY

Elvis King*

Shirley Leung*

Jacob Chan*

Eugene Chan* Adam Wright*

Shao yi Chan* Rebecca Lee*

Carman Lam*

Kelvin Li* Renee Poon*

Hazel Cheung*

Queena Ma*

Crystal Fung*

Katy Cheng

Eugene Lo

Tobie Chan* Stephanie Cheung*

Joey Wong*

Hill Li* Hades Tam*

Sally Hui* Margaret Tsang*

Billy Lin*

Eppie Leung

Cyrus Yan*

Angela Wong

Alex So*

Sharon Lam* Joey Ng*

Lorna Tam

Fiona Chung*

Chau Wing-ni* Linda Tam*

Kirstie Leung*

Carol Pun*

Teresa Kwong

Connie To*

Stephany Ngan*

Janet Yeung*

Virginia Li

Bonia Wong

Information Technology Manager Derek Chan*

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

Marketing Manager

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Carly Wong*

Deputy Marketing Manager Kaitlyn Liu*

Assistant Production Manager Jess Cheung*

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

PR and Marketing Coordinator

Catherine Chung*

Kwong Wai Lap*

Wind Yeung*

Artist

Production Officer Pang Ka Tat*

Technical

Coordinators Rachel Au*, Tony Choi*, Cherry Fung*, Mandy Lai*, Martin Lai*, Lawrence Lee*, Joyi Tsang*