Triptych for Flute—Tsang Yat-ho in Le jardin des muses- 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)

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

繆思的庭院一——巴羅克時期 LE JARDIN DES MUSES I — THE BAROQUE PERIOD

10.03.2023 8pm

香港大會堂音樂廳

Concert Hall, Hong Kong City Hall

演出長約 1 小時 30 分鐘，包括一節中場休息

Approximately one hour and 30 minutes including one interval

繆思的庭院二——古典時期至二十世紀

LE JARDIN DES MUSES II — THE CLASSICAL PERIOD TO THE 20TH CENTURY

11.03.2023 3pm

香港大會堂音樂廳 Concert Hall, Hong Kong City Hall

演出長約 1 小時 40 分鐘，包括一節中場休息

Approximately 1 hour and 40 minutes including one interval

敬請關掉所有響鬧及發光裝置

Please switch off all sound-making and light-emitting devices

本場刊採用環保紙張印刷 This programme is printed on environmentally friendly paper

藝術節加料節目

演後藝人談 Post-Performance Meet-the-Artist 10.03.2023

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

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

曾逸豪

TSANG YAT-HO

長笛 Flute

曾逸豪為香港首位古長笛演奏 家，現時活躍於德國。逸豪受 邀參與過世界各地不同著名樂 團的演出，當中包括 Freiburger Barockorchester 及 De Nieuwe Philharmonie Utrecht。樂蹤遍 及的城市包括： 阿姆斯特丹、 巴黎、羅馬、法蘭克福、東京 及上海。

2018 年，逸豪在香港策展了他 首個標題音樂會 ——《念茲在茲 Song is Being 》，將現場音樂演 奏、詩歌及故事叙述結合於一 場完整的音樂會中。《念》備受 好評，其後兩度載譽重演，先 後於香港《棱》室樂節 2018， 以及獲得香港藝術發展局資 助，於 2019 年 2 月在日本高松 市《高松國際古樂祭》參演。

2019 年 10 月，他的第二個結合 故事叙述及音樂演奏的標題音 樂會 《原既遠亦近 All that was near is now distant 》亦於香 港《棱》室樂節 2019 首演。

2022 年，逸豪策展了他的第

三個標題音樂會——《舊夢的 回憶 Memories of old dreams 古長笛的故事》，以此完成 了他在法蘭克福音樂與藝術學

院，師承著名德國古長笛演奏 家 Karl Kaiser 和 Daniela Lieb 教 授的古長笛碩士學位，並獲授 最高等級的榮譽。逸豪畢業 於荷蘭阿姆斯特丹音樂學院， 分別獲授巴羅克長笛及現代長 笛演奏學士，師承著名荷蘭古 長笛演奏家 Marten Root 及著 名現代音樂長笛演奏家 Harrie Starreveld； 以及香港中文大學 音樂文學士學位，師承前香港 小交響樂團長笛首席 Izaskun Erdocia Uranga。他曾經參加

過 Barthold Kujiken、Michael Schneider、Marc Hantaï、Frank Theuns、Jed Wentz、Patrick Beuckels 及 Rachel Brown 等人 的大師班。

Tsang Yat-ho is the first historical flautist from Hong Kong and is now active in Germany. He has performed worldwide with different ensembles and famous orchestras such as the Freiburger Barockorchester and De Nieuwe Philharmonie Utrecht in cities such as Amsterdam, Paris, Rome, Frankfurt, Tokyo and Shanghai.

In 2018, Tsang curated his

first programme concert, Song is Being, combining live music performance, poetry and storytelling. After the success of the premiere, reruns were performed at the 2018 Prism Chamber Music Festival in Hong Kong and during the 2019 Musica Antiqua Takamatsu in Japan with support from the Hong Kong Arts Development Council. In Oct 2019, he presented his second programme concert with storytelling, All that was near is now distant, during the 2019 Prism Chamber Music Festival in Hong Kong.

In 2022, Tsang completed his Master's degree with distinction in Historical Flutes at the Frankfurt University of Music and Performing Arts after receiving Bachelor’s degrees from the Conservatorium van Amsterdam and the Chinese University of Hong Kong.

托斯丹．曼

TORSTEN MANN

鍵盤 Keyboard

托斯丹‧曼在法蘭克福音樂暨 表演藝術大學跟隨史蒂文‧策 爾修讀鋼琴後，繼續跟米高‧ 舒乃德、莎賓‧鮑爾及哈拉爾 德‧霍倫修讀古鍵琴和古鋼琴 鑑古演奏。他以古鍵琴家和鋼 琴家的身分從事音樂，在多個 音樂節中擔任練唱指導和音樂 助理，其中包括施韋青根音樂

節、維也納藝術節、萊茵斯貝 格歌劇節及巴特黑斯費爾德歌 劇節。他亦於法蘭克福音樂暨 表演藝術大學擔任練唱指導一 職。他的曲目涵蓋十六世紀到 當代音樂，更以巴羅克音樂組 合「潮汐」成員的身分於倫策 夫斯基大賽的「新音樂組合」

組別中獲頒一等獎。

After studying piano with Steven Zehr at the Frankfurt University of Music and Performing Arts, Torsten Mann went on to study historical interpretation practice on harpsichord and fortepiano with Michael Schneider, Sabine Bauer and Harald Hoeren. His musical activity as a harpsichordist and pianist led to him working as a répétiteur and musical assistant at festivals such as the Schwetzingen Festival, the Wiener Festwochen (Vienna Festival), the Rheinsberg and Bad Hersfeld opera festivals, and also a répétiteur position at his Frankfurt alma mater. His repertoire ranges from 16thcentury music to contemporary music, and as a member of the Baroque instruments ensemble Tides he was awarded first prize at the Lenczewski Competition in the category “Ensemble for New Music".

專題文章 Feature Article

西洋長笛可謂是一件歷史悠久的樂器：歐洲各地發現數萬年的骨笛，聖經《創世記》中又記載創造樂器 的猶八。無論如何，人類好像對笛子情有獨鍾，數萬年來不斷研製改良這個樂器。但是，到廿一世紀 的今天，演奏家如何透過這件樂器展現對「傳統」的詮釋呢？今屆香港藝術節帶來一位土生土長的演 奏家，以他親自構思的節目為觀眾解答這個難題。

The Western flute is an instrument with a long history: bone flutes have been discovered in ancient caves around Europe, and the Hebrew and Christian Bible tells us that these instruments were created by Jubal, a descendant of Cain. Humans have obviously had a long love affair with this instrument, as it has been refined throughout the centuries. However, how do we expect musicians today to interpret the tradition of the flute in modern times? At the Hong Kong Arts Festival, one locally born artist will attempt to answer this question during a special programme.

近年留學荷蘭及德國專攻古長 笛的香港年輕演奏家曾逸豪擁 有來自不同年代的長笛，包括 巴羅克時期、浪漫時期、波 姆長笛（ Böhm-flute ）等。 「我希望能夠用作曲家當時的 樂器，去了解他們寫作的原 因。因為不同時代的長笛無論 指法、音色等都各有特色，所 以更能展示作曲家的動機。波 姆（ Theobald Böhm ）的 D 大 調大波蘭舞曲就是一個很好的 例子。這曲的原版以古典時期 長笛演奏絕對是考驗演奏者的 技巧。是次在香港藝術節的演 出，我就要如此演奏，讓波姆 的想法再次完整地呈現在大家 面前。」正因為這個原因，逸 豪對「鑑古演奏」如此著迷。

對於鑑古演奏，他又謂：「當然 我們可以透過現代的樂器對不 同時代的樂曲有深入的理解。

但問題是： 既然我們能使用作 曲家當代的樂器，而與現代樂 器相比，它們不是更可能讓我 們在不同的可能性中（甚至限 制）發現新的理解嗎？」

在「長笛三次方——曾逸豪在繆 思的庭院」兩場音樂會，演奏

家為我們帶來為不同時代的長 笛「度身訂造」的精彩節目。 在首場音樂會中，演奏家帶來 四首不同作曲家的樂曲，但全 部都是以 B 小調寫作。他解釋 道：「這個音階在巴羅克長笛上 的指法絕對不易，但巴赫堅持 用這調寫作不少長笛音樂，所 以我深信 B 小調對當時長笛音 樂有特別的意義。」這場音樂 會將盡顯不同作曲家如何「同 曲異工」！次場音樂會逸豪將 使用古典時期長笛，帶來貝多 芬小提琴奏鳴曲、由貝多芬同 期的長笛手德魯埃改編給長笛 的版本。他亦會以波姆長笛演 奏萊恩力克的 E 小調「水妖」

奏鳴曲。逸豪特別喜愛此曲： 「浪漫時期長笛的指法讓演奏此 曲有更多可能性，所以音色上 可以有更多不同的表現。但可 惜不能在演出中途改變古鋼琴 的調音，所以將會以波姆長笛 演奏。作曲家本人亦曾與不同 長笛手演奏此曲，當中亦有用 波姆長笛演出。」兩場音樂會 曾逸豪將聯同古鍵琴及古鋼琴 演奏家托斯丹・曼，為聽眾以 音樂展示長笛的發展歷史。

這個對長笛悠久歷史「傳統」 的演繹，逸豪解釋對於歐洲觀 眾來說是習以為常：「鑑古演奏 正正是反映他們自身的歷史與 文化，人們都十分欣賞及珍惜 這些使用古樂器的演出。」這 兩場音樂會相信對香港觀眾來 說是一個耳目一新的體驗，可 以在本地音樂廳活生生地見證 人類與文化的互動與交流。

Flautist Yat-ho Tsang, who studied historical flutes in the Netherlands and Germany, owns instruments from different eras such as a Baroque flute, a Romantic flute and a Böhm flute, to name a few. Tsang says: “I want to understand the composers’ intentions with the instruments that they wrote for. Flutes from different periods have different fingerings and timbres. This makes the composers’ intentions clearer. Theobald Böhm’s Grand Polonaise in D is a perfect example: the original version, when played on a Classical flute, poses a great challenge to the performer. And I am just going to do just that at this year’s Hong Kong Arts Festival and let the audience experience Böhm’s original musical thoughts.” This is also the reason why Tsang is devoted to pursuing what is known as the historically informed performance practice. He said: “We can of course also understand the music with modern instruments to a great depth. However, the question is that if the instruments from the composer’s era are available, why don’t we use them to explore the possibilities (or constraints) that modern instruments do not possess?”

In two concerts of Triptych for Flute—Tsang Yat-ho in Le Jardin des muses, Tsang will be presenting music “tailor-made” for flutes from different eras. For the first concert of this series, Tsang has selected four works all in the key of B minor. He

explains: “The fingering for notes in B minor is a big challenge on Baroque flutes, yet J.S. Bach wrote a lot of music for the flute in this key, so I strongly believe this key has a special meaning to the instrument.” This concert will allow the audience to explore how composers expressed themselves differently with the same key. And with his Classical flute, Tsang will perform Beethoven’s Sonata in G Major, Op. 30, No. 3, arranged for flute by Beethoven’s contemporary flautist composer Louis Drouet. He will also perform Reinecke’s Flute Sonata in E minor, Op. 167, Undine on his Böhm flute. This is one of his favourite pieces in the programme, “as the Romantic flute allows many more possibilities in terms of fingering and it allows more artistic choices of timbre. Unfortunately we cannot alter the tuning of the fortepiano halfway through the concert, so I will be playing the Böhm flute instead, as Reinecke himself performed it with flautists using the same system.”

Tsang will later join forces with harpsichordist and fortepiano player Torsten Mann in presenting the history of flute development to the audience at the Hong Kong Arts Festival.

Regarding the interpretation of flute tradition, Tsang explains that European audiences are quite accustomed to the HIP practice. “This reflects their history and culture. So therefore people are appreciative and

cherish performances with historical instruments.” But the Hong Kong audience will be in for a new experience, as we witness the interaction and exchanges between musicians and different cultures in our own concert hall.

Text: Felix Yeung

繆思庭院的創作靈感

Inspiration of Le jardin des muses

Götter wandelten einst bei Menschen, die herrlichen Musen

Und der Jüngling, Apoll, heilend, begeisternd wie du.

Und du bist mir, wie sie, als hätte der Seligen Einer

Mich ins Leben gesandt, geh ich, es wandelt das Bild

Meiner Heldin mit mir, wo ich duld und bilde, mit Liebe

Bis in den Tod, denn dies lernt ich und hab ich von ihr.

Laß uns leben, o du, mit der ich leide, mit der ich Innig und glaubig und treu ringe nach schönerer Zeit.

Sind doch wirs! und wüßten sie noch in kommenden Jahren

Von uns beiden, wenn einst wieder der Genius gilt, Sprachen sie: es schufen sich einst die Einsamen liebend

Nur von Göttern gekannt ihre geheimere Welt.

Denn die Sterbliches nur besorgt, es empfangt sie die Erde, Aber näher zum Licht wandern, zum Aether hinauf

Sie, die inniger Liebe treu, und göttlichem Geiste

Hoffend und duldend und still über das Schicksal gesiegt.

Once gods walked among humans, The splendid Muses and youthful Apollo Inspired and healed us, just like you. And you are to me as if one of the Holy Ones Had sent me forth into life, and the image Of my beloved would go with me, And wherever I stayed and whatever I learned, I would learn and gain it from her, With a love that lasts until death.

往昔 諸神行走凡世 繆思姊妹風華卓絕 阿波羅神煥發英姿 世人鼓舞 疾苦消彌 你彷如那神祇 予我生命 顰笑音容教我繾綣

如影隨形縈繞身畔 在在處處 點滴新知 皆源於你 我的女神 那份愛 至死方渝

Then let us live, you with whom I suffer And inwardly strive towards better times In faith and loyalty. For we are the ones. And if people should remember us both In years to come, when Spirit again prevails, They'd say that these lonely ones lovingly Created a secret world, known to the gods alone. The earth will take back those concerned With impermanent things: others climb higher To ethereal Light who've been faithful To the love inside themselves, and to the spirit Of the gods. Thus they master Fate In patience, hope and quietness.

讓我們活吧 我苦苦侍奉的神 向心中追尋 那諸神恢弘時代 虔誠不二 只因天命所歸

多少年後 當神靈重返人間

世人若還記得 便會說 正是那孤獨者們

以愛築此秘境 唯諸神知之 人若沉迷無常

終將埋葬於大地 而那邁向純粹光明 忠於愛與靈性者

便能執掌命運 安然 樂觀 恬靜

腓特烈・荷爾德林

中譯：

Friedrich Hölderlin (1770-1843)

（ 1770-1843 ）

王明宇

Friedrich Hölderlin (1770-1843)

繆思的庭院一——巴羅克時期 」曲目

Le jardin des muses I—The Baroque Period Programme

奧特泰爾

B 小調組曲，作品 5/4

I. 前奏曲

II. 阿勒曼德舞曲

III. 庫朗特舞曲

IV. 迴旋曲

V. 極緩板

VI. 吉格舞曲

庫普蘭

獨特的薩拉班德舞曲，大鍵琴曲集

第二冊：第八組曲( 古鍵琴獨奏 )

泰利曼

B 小調教學奏鳴曲，TWV41:h3

I. 西西里舞曲

II. 快板

III. 不太慢，甜美的

IV. 極緩板

V. 活板

VI. 急板

韓德爾

B 小調奏鳴曲，HWV367b

I. 廣板

II. 活板

III. 急板

IV. 慢板

V. 二二拍子

VI. 行板

VII. 小步舞曲之速度

霍貝格 「對我將來死亡的冥想」 ( 古鍵琴獨奏 )

巴赫

B 小調奏鳴曲，BWV1030

I. 行板

II. 甜美的廣板

III. 急板

HOTTETERRE (1674-1763)

Suite in B minor, Op. 5 No. 4

I. Prelude

II. Allemande

III. Courante

IV. Rondeau

V. Grave

VI. Gigue

COUPERIN (1668-1733)

Sarabande L’unique, Pieces de clavecin, Livre 2: VIII (Harpsichord solo)

TELEMANN (1681-1767)

Methodical Sonata in B minor, TWV41:h3

I. Siciliana

II. Allegro

III. Dolce, ma non adagio

IV. Grave

V. Vivace

VI. Presto

中場休息 INTERVAL

HANDEL (1685-1759) Sonata in B minor, HWV367b

I. Largo

II. Vivace

III. Presto

IV. Adagio

V. Alla breve

VI. Andante

VII. A tempo di menuetto

FROBERGER (1616-1667)

Meditation faite sur ma mort future (Harpsichord solo)

BACH (1685-1750)

Sonata in B minor, BWV1030

I. Andante

II. Largo e dolce

III. Presto

樂曲介紹 Programme Notes

Le jardin des muses I The Baroque Period

十八世紀作曲家克里斯汀．舒伯特這樣形容 B 小調：「這就像一個充滿耐性的調，平靜地等待命運的到 來，順服於神聖的旨意。」我想，這漂亮的描述應用在十八世紀初出現的巴羅克長笛上，也十分貼切。 巧合地，巴赫為長笛而寫的作品當中不少都是 B 小調的。例如，他的第二管弦樂組曲、B 小調彌撒曲中 的詠嘆調〈迎主曲〉、許多其他清唱劇的詠嘆調、以及 B 小調奏鳴曲 BWV 1030。舒伯特和巴赫啟發了 我，選用不同巴羅克作曲家的 B 小調音樂作品來展示長笛在十八世紀時的發展。

The 18th-century composer Christian Schubart described the tonality of B minor “is as it were the key to patience—of calm awaiting one’s fate and of submission to divine dispensation”. I think it is also beautiful to apply this description to the emergence of the “new” conical one-keyed flute at the start of the 18th century, which we now call the Baroque flute. Coincidentally, J.S. Bach wrote many pieces for this type of flute in the key of B minor. For example, his Orchestral Suite No. 2, Benedictus qui venit from Mass in B minor, arias from many other cantatas and the sonata in B minor, BWV 1030, were all written in this tonality. With this association in mind, I was inspired to choose music in B minor from different Baroque composers to demonstrate the development of the flute and its music throughout the 18th century.

爾（ 1674-1763 ）是家族中最著 名的成員。他是法國國王路易 十四和十五的皇家宮廷長笛手， 亦是在當時整個歐洲非常有名的 作曲家和長笛老師。奧特泰爾 不僅製造長笛及創作多份高質量 的長笛音樂作品，還在 1707 年 寫了第一本巴羅克長笛教學專用 的手冊《長笛吹奏原理》。這手 冊涵蓋了巴羅克長笛演奏的基本 知識、技巧和當時法國音樂的表 演實踐。

奧特泰爾

Jacques-Martin Hotteterre Le Romain (1674-1763)

奧特泰爾

B 小調組曲，作品 5/4

法國樂器製造商奧特泰爾家族在

大約 1700 年前奠定了巴羅克長 笛的初型

三節式的單鍵錐 型長笛。雅克．馬丁．奧特泰

奧特泰爾的兩卷組曲，作品 2 及 5，算是長笛學生應用他教學手 冊知識的最佳試驗場。組曲是 指一套由不同種類但相同調性的 舞曲所組成的曲集。阿勒曼德、 庫朗特、薩拉班德和吉格這四支 舞曲是巴羅克組曲中最常見的。 德國作曲家霍貝格被譽為是確立 這結構的人。奧特泰爾在他的 B 小調組曲中，特意棄用常規的薩 拉班德舞曲，改用一部以意大利

風格寫成的慢樂章。由於奧特泰 爾長笛的音高比巴羅克長笛要再 低半度，但古鍵琴不能隨意更改 音高，今晚我會用巴羅克長笛來 演奏這套組曲。

Jacques-Martin Hotteterre

Le Romain: Suite in B minor, Op. 5, No. 4

The French family of musical instrument makers, the Hotteterres, are said to have invented the first type of Baroque flute—a conical one-key flute with six finger holes in three parts. The most famous family member is Jacques-Martin Hotteterre, also known as “Le Romain” (1674–1763). As a flautist at the royal courts of Louis XIV and Louis XV, as well as a composer, teacher and instrument maker, he was well known throughout Europe. Not only did Hotteterre produce many musical instruments and volumes of high-quality music for

「 繆思的庭院一——巴羅克時期 」樂曲介紹

the flute, he also wrote its first teaching manual, Principes de la flûte traversière in 1707, which covers the basic knowledge of flute playing and French Baroque performance practice.

Hotteterre’s two volumes of Suites, Op. 2 and 5, are the perfect testing grounds for those learning the Baroque flute and seeking to apply the knowledge from his Principes de la flûte traversière. A suite is a set of dance music of the same tonality.

German composer Johann Jakob Froberger is usually credited as the composer who established the four dances, the Allemande, Courante, Sarabande and Gigue, as the required parts of a Baroque suite. Interestingly Hotteterre replaced the Sarabande with a slow movement of Italian style in his B minor suite. Due to the different pitch standard of a Hotteterre flute, this suite is performed tonight on the later type of Baroque flute.

拉班德舞曲來補償。這舞曲的 作曲家法蘭索瓦．庫普蘭（ 16681733 ）和奧特泰爾一樣，都是法 國國王的宮廷樂手。庫普蘭把 這薩拉班德舞曲命名為《獨特 的》。這舞曲的獨特之處在於後 半部分。當中有兩個短暫的時 刻，音樂的節奏和風格突然改 變，憂傷的舞步彷彿變成了興奮 的跳躍。這種突然的強烈風格 轉換，與一種在數十年後在柏林 興起，被稱為「感傷主義」的音 樂風格相似。

François Couperin Sarabande

L’Unique, Pièces de clavecin, Livre 2, VIII

To compensate for the missing Sarabande in Hotteterre’s suite, we then listen to a peculiar Sarabande for harpsichord solo. It was written by his colleague, François Couperin (1668–1733). Couperin named it L’Unique (“The Special One”). The uniqueness comes in the second half, which involves two brief moments of unexpected change of tempo and character, as if the slow dance turns into sprightly excitement. This sudden switch of characters reminds us of the Empfindsamkeit (sensitivity) style.

B

TWV 41:h3

在 18 世紀的當代人眼中，格奧 爾格．菲利普．泰利曼（ 16811767 ）是一位國際明星和最偉 大的作曲家。人們甚至會預早 向泰利曼訂購他仍未落筆寫作 的作品。除了他的音樂高品質 外，泰利曼的成功也許要歸功 於他抱著願意為所有人創作的 精神。其中一個很好的例子是 他的兩冊《教學奏鳴曲》。泰 利曼寫作這些奏鳴曲的目的， 是為了向音樂業餘愛好者傳授 演奏裝飾音的技巧。他在樂譜 上分別提供了慢板樂章的原版 和裝飾版。不論是業餘音樂愛 好者和專業演奏家，都能以大 師級的裝飾版來享受這些奏鳴 曲。B 小調教學奏鳴曲的第一樂 章西西里舞曲 ，正是泰利曼親 自提供的裝飾版。從泰利曼選 擇為長笛創作及出版這些奏嗚 曲，我們可以觀察到，巴羅克 長笛在業餘音樂愛好者中越來 越受歡迎。

Georg Philipp Telemann Methodical Sonata in B minor, TWV41:h3

庫普蘭 François Couperin (1668-1733)

法蘭索瓦．庫普蘭

獨特的薩拉班德舞曲，大鍵琴 曲集第二冊： 第八組曲 組曲沒有薩拉班德舞曲，確是很 不工整，所以我選了另一首薩

In the eyes of his 18th-century contemporaries, Georg Philipp Telemann (1681–1767) was an international star and the greatest composer of his times. People would subscribe to buy sheet music of his new compositions even before Telemann started composing them. Apart from his highquality music, his success was perhaps also due to his willingness to write for everyone. A good example is his two volumes of methodical sonatas. Telemann used them to teach amateurs the skill of

泰利曼 Georg Philipp Telemann (1681-1767)

格奧爾格．菲利普．泰利曼

小調教學奏鳴曲，

embellishments. He provided both an original plain version and an ornamented version of the slow movements to his learners. They are highquality pieces that can be enjoyed by both amateurs and professionals musicians. The first movement of the B minor sonata, Siciliana, is of Telemann’s own tasteful embellishment. From Telemann’s initiative of writing and publishing these sonatas for the flute, one could also observe the growing popularity of the Baroque flute among wealthy amateurs.

韓德爾的 B 小調奏鳴曲 HWV367b 改編自他另一首較早 出版，原為 D 小調、為木笛而 寫的奏鳴曲。長笛版本在 1730 年於倫敦出版。這奏鳴曲與泰 利曼的一樣，都不是尋常的教 堂奏鳴曲結構，而是組曲模式 的七樂章結構。韓德爾的意大 利寫作風格要求與泰利曼不同 風格的裝飾奏。

George Frideric Handel

Sonata in B minor, HWV367b

Telemann and George Frideric Handel (1685–1759) were the most successful composers of their era. They knew each other personally from a young age. After Handel had settled in London and Telemann in Hamburg, they kept up a longdistance friendship for half a century, frequently exchanging letters and sheet music.

霍貝格 Johann Jakob Froberger (1616-1667)

約翰．雅各．霍貝格 「對我將來死亡的冥想」

韓德爾 George Frideric Handel (1685-1759)

格奧爾格．佛烈德利赫．韓德爾 B 小調奏鳴曲，HWV367b

同時期的另一位國際明星格奧

爾格．佛烈德利赫．韓德爾 (1685-1759) 和泰利曼在年少時 就相識。即使韓德爾定居在英 國倫敦，泰利曼定居在德國漢 堡，這阻隔不了他們的友情。

直至他們的晚年，他們仍然不 時交換書信、樂譜和禮物，保

持了一段跨越半個世紀的遠距 離友情。

Sonata in B minor, HWV367b was first published in 1730 in London as part of Handel’s Op 1. Its original version is in D minor, probably written for the recorder. Like Telemann’s sonata, this sonata is also in a untraditional form and has an unusual suite-like structure of seven movements. Handel's Italian style of writing required a different style of ornamentation than Telemann's.

在聽巴赫的奏鳴曲之前，我們 需要先調整一下思緒，欣賞約 翰．雅各．霍貝格 (1616–1667) 的阿勒曼德舞曲。年輕時的巴 赫十分喜歡他的音樂，花了不 少個夜晚，瞞著他哥哥，在月 光下分寫他的樂譜。霍貝格絕 大部份的音樂都是為鍵盤樂器 而作，而且他的作品是如此個 人和富有表現力，以至他被稱 為十七世紀的蕭邦。霍貝格給 這首阿勒曼德舞曲起了一個非 常個人的副標題——「對我將來 死亡的冥想」。他在手稿中寫 道：「旅者在整個巴黎都在慶祝 春天和生命回歸的時候，思考 著自己的死亡，並在五月天把 這些想法譜在紙上。」

Johann Jakob Froberger Méditation faite sur ma mort future

In preparation for J.S. Bach’s gigantic sonata, we need to readjust our minds. Let’s first listen to a meditative Allemande composed by Johann Jakob Froberger (1616–1667), whose music the young Bach spent nights copying. Froberger wrote almost exclusively for the keyboard. His pieces are so expressive and intimate that one might consider him as the Chopin of the 17th century. Froberger gave this piece a very personal subtitle, “Meditation on My Future Death”. In the manuscript he wrote:

“The traveller commits these thoughts to paper on May Day, contemplating his death when Paris was celebrating the return of life with spring”.

巴赫 Johann Sebastian Bach (1685-1750)

約翰．塞巴斯蒂安．巴赫 B 小調奏鳴曲 BWV1030

B 小調奏鳴曲 BWV 1030 的創 作年份，可以追溯到 1735 年 左右。當時約翰．塞巴斯蒂

安．巴赫 ( 1685- 1750) 正在萊 比錫工作，擔任兩座萊比錫的 主要教堂及由萊比錫大學學生 所組成的音樂社團 ( Collegium Musicum) 的音樂總監。每週 五晚上，樂團都會在齊默爾曼 的咖啡館聚會，演奏音樂。B

小調長笛奏鳴曲應該就是巴赫 專為這些非常懂得欣賞音樂的 聽眾而作的。這首非凡的奏鳴 曲，充滿著複雜性、表現力和 演奏技術上的挑戰性，就好像 巴赫音樂世界的袖珍縮影。巴 赫成功地將協奏曲、卡農、三 重奏鳴曲、通奏低音奏鳴曲、 賦格曲和組曲的各種元素完整 地結合到這首奏鳴曲中。

第一樂章「行版」以協奏曲曲 式寫成。樂曲開首時，古鍵 琴以阿勒曼德舞曲般的節奏為 長笛伴奏，長笛重複兩次標示 了回復段主題後，有條不紊地 展示許多拼圖塊般的樂句。這 些拼圖塊稍後會以卡農形式，

重覆出現在兩個高音聲部中。 在一個漫長而複雜的第一樂章 之後，巴赫用一首簡單、甜 美的 D 大調西西里舞曲來清 洗聽眾的心靈。跟他好朋友泰 利曼一樣，巴赫明確寫出了長 笛聲部的裝飾奏以及古鍵琴的 通奏低音。之後的「急板」是 一首三聲部的賦格曲。這賦格 曲的主題充滿著半音和其他困 難音程，帶著一種嚴肅的宗教 色彩。出乎意料的是，巴赫 之後將這宗教賦格主題縮壓成 12/ 16 拍、狂野和世俗的吉格 舞主題。這吉格舞充滿著興奮 的切分音，以及長笛在最高音 域中喊出的歡呼聲。

這為長笛在十八世紀的發展史 帶來一個合適的總結。

Johann Sebastian Bach Sonata in B minor, BWV1030

Sonata in B minor, BWV 1030 dates from around 1735, when Johann Sebastian Bach (1685–1750) was working in Leipzig as music director of the two main churches, and of the music society for talented university students—the Collegium Musicum. Every Friday evening, the Collegium Musicum would gather and hold concerts at Zimmermann’s Coffee House. Bach probably wrote this B minor sonata especially for this sophisticated group. This extraordinary sonata, full of complexity, expressivity and technical challenges, is like a miniature of Bach’s music in general. He successfully combined many elements of concerto, canon, trio sonata, continuo sonata, fugue and dance suite into one sonata for flute and obbligato harpsichord, in which both hands play

separate individual voices. The Andante is written in a concerto ritornello form. The harpsichord opens and accompanies the flute in a rhythmic pattern that resembles an Allemande. The flute marks the ritornello theme two times, and then presents, in an orderly manner, many puzzle pieces that will be played extensively as canons between the flute and the right-hand harpsichord voice later. After the long and complex first movement, Bach rests the listeners’ minds with a simple and sweet Siciliana— Largo e dolce in D major. Like Telemann, Bach wrote out the explicit ornamentations for the flute, as well as the realisation of the continuo for the harpsichord. The long journey then continues with Presto—a fugue in three voices. The somewhat religious fugal subject is packed with jumps in difficult and chromatic intervals. Unexpectedly, the religious fugal subject is squashed into a wild secular Gigue dance theme in 12/16. The dance is filled with exciting syncopations and cheers in the highest register of the flute.

This is a fitting conclusion to the story of the flute’s development in the 18th century.

Text: Tsang Yat-ho

Le jardin des muses II—The Classical Period to the 20th Century Programme

貝多芬 (德魯埃編曲)

G 大調奏鳴曲，作品 30/3

I. 極快板

II. 小步舞曲之速度

III. 活潑的快板

莫扎特

C 大調慢板，K356/617a (古鋼琴獨奏)

貝姆

D 大調大波蘭舞曲，作品 16a (原版)

I. 引子：莊嚴的慢板

II. 波蘭舞曲

萊恩力克

E 小調長笛奏鳴曲，作品 167，《水妖》

I. 快板

II. 間奏曲：活潑的小快板

III. 安靜的行板

IV. 終曲：激動且熱情的極快板，

近乎急板

戈貝爾 《敍事曲》

I. 小行板

II. 活潑且歡樂地

BEETHOVEN (1770-1827) (arr. DROUET)

Sonata in G Major, Op. 30, No. 3

I. Allegro assai

II. Tempo di Minuetto, ma molto moderato e grazioso

III. Allegro vivace

MOZART (1756-1791) Adagio in C Major, K356/617a (Fortepiano solo)

BÖHM (1794-1881)

Grand Polonaise in D Major, Op. 16a (original version)

I. Introduction: Adagio Maestoso

II. Polonaise

REINECKE (1824-1910)

Flute Sonata in E minor, Op. 167, Undine

I. Allegro

II. Intermezzo: Allegretto vivace

III. Andante tranquillo

IV. Finale: Allegro molto agitato ed appassionato, quasi Presto

GAUBERT (1879-1941)

Ballade

I. Andantino

II. Vif et joyeux

繆思的庭院二——古典時期至二十世紀 」曲目

樂曲介紹 Programme Notes

」樂曲介紹

Le jardin des muses II —The Classical Period to the 20th Century Programme Notes

十八世紀是長笛發展的黃金時期。在之後一個世紀，長笛的發展更是急速和有趣。 無數不同種類的長 笛和貝姆長笛相繼出現。我選擇了以下的作品，讓大家淺嚐其中兩種較為重要的長笛。

We continue our story of the flute’s development after its golden age in the 18th century. The following century was certainly even more exciting and interesting. Many different kinds of conical keyed flute and Böhm flutes appeared, and competed with other. The following pieces were chosen to give a taste of two of the most important types of flute.

第八小提琴奏鳴曲。在這封信 中，貝多芬向他的兄弟透露他 的耳聾越來越嚴重，他擔心自 己完成不了他一直追求的作曲 家命運，並考慮自殺。與這封 充滿絕望、悲傷和自我毀滅的 信相比，節奏強烈的 G 大調奏 鳴曲充滿著希望、歡樂、幽默 和活力。

貝多芬

Ludwig van Beethoven (1770-1827)

路德維希．凡．貝多芬 （德魯埃編曲）

G 大調奏鳴曲，作 品 30/3

很難相信，路德維希．凡．貝 多芬是在 1802 年左右，就在他

寫下那封著名的《海利根施塔

特遺書》不久前，寫下 G 大調

可惜貝多芬跟許多其他十九世 紀重要的作曲家一樣，都沒有 為長笛創作獨奏奏鳴曲。幸 運的是，與他同時代的晚輩路 易．德魯埃改編並出版了這首 奏鳴曲的長笛版本。我覺得這 奏鳴曲很切合十九世紀初時長 笛發展的敘事。

Ludwig van Beethoven (1770-1827) (arr. Drouet)

Sonata in G major, Op 30, No 3

It is hard to believe that Ludwig van Beethoven (1770-1827) wrote his violin Sonata No. 8 in G Major, Op. 30, No. 3 in

around 1802, shortly before he wrote the famous “Heiligenstadt Testament” (6 October 1802). In this letter, Beethoven revealed to his brothers that, due to his increasing deafness, he was struggling to reach his artistic destiny and was considering committing suicide. In contrast to this letter of despair, sadness and self-destruction, the rhythmic G Major sonata is of the fullest hope, joy, humour and life.

Beethoven, like many other important 19th-century composers, sadly didn’t write solo sonatas for the flute. Fortunately, his younger contemporary Louis Drouet arranged and published this sonata for the flute, which, I think, fits very well the narrative of the flute development in the beginning of the 19th century.

「 繆思的庭院二——古典時期至二十世紀

莫扎特 Wolfgang Amadeus Mozart (1756-1791)

沃爾夫岡．阿馬多伊斯．莫扎特 C 大調慢板，K356/617a

大約在 1700 年，除了巴羅克 長笛的出現外，巴托洛梅奧． 克里斯托弗里在佛羅倫斯亦發 明了另一種新的鍵盤樂器。與 古鍵琴不一樣，這新樂器可以 根據演奏者手指的按壓力度來 改變每個音符的音量。一直至 德國鍵盤製造商席伯曼( 16831753)在 1750 年左右完善了這 樂器的製作工藝並傳授給他的 學徒之後，古鋼琴才逐漸傳 遍歐洲。

在香港浸會大學的幫助下，今 午我們可以聽到一部屬於莫扎 特( 1756- 1791)的維也納古鋼 琴的複製品。我特意選了一首 莫扎特在離世前一年所寫的作 品—— C 大調慢板 K 356/ 617a 來 展示古鋼琴精緻的音色。這樂 章是原為玻璃琴而作的。

Wolfgang Amadeus Mozart (1756-1791) Adagio in C major, K 356/617a

In around 1700, a new keyboard instrument that could vary the loudness of

each note according to the player’s touch was invented in Florence by Bartolomeo Cristofori (1655–1731). But it was not until German keyboard maker Gottfried Silbermann (1683–1753) perfected his craft in around 1750 and passed it on to his apprentices that the fortepiano (forte means loud, and piano means soft) spread gradually across Europe.

With the generous support of Hong Kong Baptist University, this afternoon we can hear a replica of the same type of Viennese fortepiano which Wolfgang Amadeus Mozart (1756–1791) owned and used for his concerts. In contrast to the Beethoven and Böhm’s pieces, I chose a delicate piece written in the last year of Mozart’s life (originally for glass harmonica), Adagio in C Major, K.356/617a.

1831 年倫敦之行中，用簡單系

統長笛表演的作品。這趟旅程 促使貝姆在 1832 及 1847 年分別 發明環形鍵系統長笛及現代長 笛。大波蘭舞曲原版是為簡單 系統長笛和管弦樂隊而寫的， 之後應該是貝姆為了符合他當 時新發明的環形鍵系統長笛而 將它修改及縮短，並在 1842 年 再次出版。當中，有一整個在 接近尾聲的部分在後來的版本 中便被省略了，因為它在簡單 系統長笛上很難演奏，但在環 形鍵系統長笛上卻相對容易。 我們今午將會以古典時期的簡 單系統長笛和古鋼琴演奏這首 舞曲的原版。這舞曲能很好地 代表及示範十九世紀時的長笛 獨奏音樂。

Theobald Böhm (1794-1881)

Grand Polonaise in D Major, Op. 16a (original version)

Theobald Böhm’s (1794-1881)

西奧巴德．貝姆

D 大調大波蘭舞曲，作品 16a (原版)

西奧巴德．貝姆的 D 大調大波 蘭舞曲出版於 1831 年。這應 該是其中一首，他在其著名的

Grand Polonaise in D Major, Op. 16a was first published in 1831. It was probably one of the pieces he performed on his simple-system flute during his famous 1831 London tour, which changed the history of flute development. It was originally written for flute and orchestra, and arranged for flute and piano. It was then shortened and published again in 1842, possibly by Böhm himself in order for it to better suit his ring-keyed system flute. For example, a section towards the end, which is difficult to play on a simple system but easy for the ring-keyed system flute, was omitted in the later version. This afternoon, we hear this piece in its original version played on a simple system flute, which also serves as a good example of 19th-century music written for the flute.

貝姆 Theobald Böhm (1794-1881)

萊恩力克 Carl Reinecke (1824-1910)

卡爾．萊恩力克

E 小調長笛奏鳴曲，作品 167， 《水妖》

在貝姆發明了現代長笛後，各 種長笛共存和相爭了多過半個

世紀。萊比錫布商大廈管弦樂 團的長笛獨奏威廉．巴爾格 (1836–1925) 跟他的接班人許威

德勒 (1853–1940) 算是簡單系

統長笛的最後捍衛者。他們的 樂團音樂總監卡爾．萊恩力克 在 1882 年寫下了有四樂章結構 的奏鳴曲《水妖》，並將其獻給 巴爾格。《水妖》的靈感來自一 部同名的流行小說。這個故事 描述了水妖為了一位騎士放棄 她的力量及永恆生命，化成人 形，可惜最後愛情未果，水妖 只能傷心地回到水世界。這結 局不禁令我將水妖與十九世紀 晚期的簡單系統長笛聯繫起來。

我的初衷是用一支原版簡單系 統長笛來演奏這首奏鳴曲。

這長笛是由著名樂器製造商亨 利．弗里德里希．梅耶（ 18141897 ）於 1870 年左右在漢諾威 製造，亦是當時巴爾格會使用 的長笛類型。可惜，由於在 香港很難找到合適的浪漫時期

古鋼琴，我們只能改用另一支 木製貝姆長笛和現代施坦威鋼 琴來演奏這首奏鳴曲。有趣的 是，作曲家萊恩力克亦親自於 1884 年，在萊比錫布商大廈與 一位法國長笛家以貝姆長笛演 奏過這首奏鳴曲。今晚所用的 是一支埃米爾‧里特斯豪森

（ 1857-1923 ）在 1910 年左右 在柏林製作的原版木製貝姆長 笛。里特斯豪森曾在波姆的工 作室當過學徒，他製的長笛在 20 世紀初被受推祟。我希望將 來再有機會把原版的梅耶長笛 及更多其他種類的古長笛帶給 香港觀眾。

Carl Reinecke (1824-1910)

Flute Sonata in E minor, Op. 167, Undine

After Böhm invented the modern flute, all types of the instrument co-existed and competed for more than half a century. The Leipzig Gewandhaus Orchestra’s solo flautists, Wilhelm Barge (1836–1925) and successor Maximilian Schwedler (1853–1940), were the last simple system flute advocates. Carl Reinecke (1824-1910), music director of their orchestra, wrote the four-movement sonata Undine, Op. 167 in 1882 and dedicated it to Barge. Undine was inspired by a popular novella of the same name. The story describes the transformation of the water nymph Undine into human form, her unsuccessful quest for the love of a knight and her bitter return to the watery realm. I cannot help but relate Undine’s story to the conical flute in the late 19th century.

The original intention was to perform this sonata tonight on an original simple-system flute made in Hannover by the famous

instrument maker Heinrich Friedrich Meyer (1814–897) in around 1870. Barge would have played on and preferred this type of flute. However, due to the difficulty in finding a suitable romantic fortepiano in Hong Kong, this sonata will be performed on an original wooden Böhm flute with a modern Steinway piano instead. This wooden Böhm flute was made in Berlin in around 1910 by Emil Rittershausen (1857–1923), who had been apprenticed to Böhm’s workshop. Interestingly, Reinecke also performed the sonata himself with a French Böhm flautist at the Gewandhaus in 1884. I hope to have another chance to bring the original Meyer flute and other historical flutes to Hong Kong audiences in the future.

菲利浦．戈貝爾 《敍事曲》

巴黎音樂學院早於 1860 年便全 面採用了貝姆長笛，並從那時 起培養了許多優秀的貝姆長笛 演奏家。二十世紀初，簡單系 統長笛被現代長笛全面取代。 保羅．塔法內爾（ 1844-1908 ） 的演奏優雅、靈活和敏感，是 當時著名的貝姆長笛演奏家。 後來，菲利浦．戈貝爾跟隨他 老師的腳步，他們一起奠定了 現代法國長笛演奏和教學流派 的基礎。直至今天，他們寫的 教學法仍然被認為是長笛演奏 的標準教材。我們的長笛故事 以戈貝爾的《敍事曲》作為終 結。他將這首音樂敍事詩獻給 「我的學生 」。

Philippe Gaubert (1879-1941) Ballade

The Paris Conservatory adapted the Böhm flute in 1860 and went on to train many excellent Böhm flautists who dominated the world. By the start of the 20th century, the simple system flute had almost been replaced by the modern flute. With an emphasis

on elegance, flexibility and sensitivity in his playing, Paul Taffanel (1844–1908), became the leading Böhm flute player of his time. Later, his student, Philippe Gaubert (1879–1941) followed in Taffanel’s footsteps and together they laid the foundation of the modern French School of flute playing and teaching. Even today, their method is considered the standard for flute players to study from. Our flute story ends with Gaubert’s Ballade. He dedicated this musical poem “to my students".

Download and read "a concise story of the western flute from 1700 onward"

(English version only) 撰文：曾逸豪

Text: Tsang Yat-ho

戈貝爾 Philippe Gaubert (1879-1941)

鳴謝

ACKNOWLEDGEMENTS

香港藝術節衷心感謝下列機構及人士的慷慨支持：

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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:

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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

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》

The Mad Phoenix Collection of Raymond To’s Classics

24/2 五 Fri 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

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

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

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

《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

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

Elvis King*

Shirley Leung*

Assistant Production Manager Jacob Chan*

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 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

Information Technology Manager

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

Marketing Manager

Deputy Marketing Manager

Assistant Production Manager

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

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

Chau Wing-ni* Linda Tam*

Kirstie Leung*

Carol Pun*

Teresa Kwong

Connie To*

Stephany Ngan*

Janet Yeung*

Virginia Li

Bonia Wong

Derek Chan*

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Carly Wong*

Kaitlyn Liu*

Jess Cheung*

Catherine Chung*

Kwong Wai Lap*

PR and Marketing Coordinator Wind Yeung*

Coordinators

Production Officer Pang Ka Tat*

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