Cameron Carpenter - 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

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。

行政總監的話

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

香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《聖荷西謀殺案》等。

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)

金馬倫．卡彭特的巴赫

CARPENTER PLAYS BACH

14.03.2023 / 7:45pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

節目長約 1 小時 55 分鐘，包括一節中場休息

Approximately one hour 55 minutes including one interval

金馬倫．卡彭特 默片音樂《將軍號》

CARPENTER PLAYS SILENT MOVIES: THE GENERAL

16.03.2023 / 7:45pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

節目長約 1 小時 30 分鐘，不設中場休息

Approximately one hour 30 minutes with no interval

《將軍號》附英文及中文字幕

The General screened with English and Chinese subtitles

金馬倫．卡彭特 默片音樂《大都會》

CARPENTER PLAYS SILENT MOVIES: METROPOLIS

17.03.2023 / 7:45pm

香港文化中心音樂廳

Concert Hall, Hong Kong Cultural Centre

節目長約 2 小時 40 分鐘，不設中場休息

Approximately two hours 40 minutes with no interval

《大都會》(2010 年修復版) 附德文、中文及英文字幕

Metropolis (2010 restoration) screened with German, Chinese and English subtitles

封面照片 Cover Photograph

©Dovile Sermokas

©Dovile Sermokas

管風琴家 Organist

金馬倫．卡彭特 Cameron Carpenter

專訪 Interview

穿越時代 叛逆管風琴

The Enfant Terrible of the Organ

金馬倫．卡彭特的巴赫 Carpenter Plays Bach

曲目 Programme

The General Synopsis

金馬倫．卡彭特 默片音樂《大都會》

Carpenter Plays Silent Movies: Metropolis

藝術節加料節目

演前講座 Pre-Performance Talk

巴赫與我

All I Need is Bach

14.03.2023 / 6:30pm

詳情請參閲加料節目網頁

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

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。

以樂器之王為經典默片配樂

Writing Music for Silent Film

Tips from the Organist

16.03.2023 / 6:30pm

Please visit the PLUS webpage for more details

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 do not reflect the views or opinions of the Sponsor.

金馬倫‧卡彭特

CAMERON CARPENTER

管風琴家

1981 年在美 國賓夕法尼亞州泰特斯維爾市出 年在家上學。 年，就讀美國男童 合唱團學校（新澤西州普林斯 頓），並以唱詩班歌手、伴奏家 和鍵盤獨奏家的身份，在美國 1995 至 1996 年他完成在家學習後，於 1996 年，就讀北卡羅來納大 學藝術學院（高中文憑）；2000 年就讀紐約茱莉亞音樂 年獲管風琴演奏音 年，獲管風琴演 1996 年起，

他把很多管弦樂及鋼琴作品改 年憑專輯《革命 唱片公司）成爲首 位入圍格林美獎的管風琴家， 年與彼得斯樂譜出版社簽 訂出版合約，次年移居德國。 年，其首部管風琴與管 弦樂隊協奏曲《醜聞》，作品 3 號，在 2011 年科隆愛樂音樂廳 首演，由亞歷山大·雪萊指揮 不來梅德意志室內愛樂樂團演 出。自 2011 年起，他隸屬施密 德音樂經紀公司和 CAMI Music LLC 藝術家管理公司； 同年為 TED、 IdeaCity 等進行特約演 講；2012 年，於石勒蘇益格— 荷爾斯泰因音樂節獲得倫納 德·伯恩斯坦獎。2012 至 2013 樂季，他成爲柏林愛樂樂團首 位駐場管風琴手；2013 年與索 尼古典唱片公司簽訂唱片合約。

卡彭特親自設計、出資製作了 一座國際巡演管風琴，進行他 的主要演出活動（ 2014 年首次 亮相於林肯中心和維也納音樂 廳）。2014 年至 2020 年初，他

帶着國際巡演管風琴，以各種 形式（獨奏、協奏、露天、協 作、廣播等）在美國、歐洲、 俄羅斯、中國、澳洲展開全 球巡演。2014 年，在洛杉磯 首演美國作曲家特里·賴利的 管風琴協奏曲《 At The Royal Majestic 》，隨後到日內瓦和柏 林演出；2015 年，以專輯《你 若知我心》獲古典回聲大獎。

2016 年，他設計的喬治·默根 斯紀念管風琴，在美國佛羅里 達州西棕櫚灘的克拉維斯表演 藝術中心首次亮相。

2016 至 2017 年，他為拉赫曼 尼諾夫的《帕格尼尼主題狂想 曲》（作品 43 號）創作管風琴 和管弦樂團版本；2017 至 2018 樂季，任柏林音樂廳駐場藝術 家。2018 至 2019 年，以國際 巡演管風琴演奏拉赫曼尼諾夫 的《帕格尼尼》，先後與上海交 響樂團（ 2018 年上海，世界首 演）、匹茲堡交響樂團、維也納 廣播交響樂團、格拉茨愛樂樂 團、班貝格愛樂樂團、里昂國 家管弦樂團、明尼蘇達管弦樂 團等合作。2019 年，為索尼古 典唱片錄製了拉赫曼尼諾夫的 《帕格尼尼》，以國際巡演管風 琴演奏，和柏林音樂廳管弦樂 團合作，由克里斯托夫·埃申 巴赫指揮。

Cameron Carpenter was born in 1981 in Titusville, Pennsylvania, the USA He was homeschooled from 1981–92 and attended the American Boychoir School (in Princeton, New Jersey), from 1993-95, while performing in the USA and Europe as a chorister, accompanist and

keyboard soloist After being homeschooled from 1995–96, he attended the University of North Carolina School of the Arts from 1996–2000 (high school diploma), and The Juilliard School, New York, from 2000–06 (Bachelor of Music in Organ Performance, 2004; Master of Music in Organ Performance, 2006). Since 1996 he has written many arrangements and transcriptions for organ, mostly of orchestral and piano works.

Carpenter was the first organist nominated for a Grammy Award for the album Revolutionary (Telarc, 2008). He signed a publishing contract with Edition Peters in 2009 and emigrated to Germany in 2010 His first concerto for organ and orchestra (The Scandal, Op 3), premiered in 2011 at Cologne Philharmonie by the Deutsche Kammerphilharmonie Bremen under Alexander Shelley In 2011,he started to be managed by Konzertdirektion Schmid and CAMI Music LLC, and the next year was a featured speaker at TED and IdeaCity, and won the Leonard Bernstein Award (at the Schleswig-Holstein Music Festival). Carpenter became the first Organist-in-Residence at the Philharmonie Berlin for the 2012/2013 season and signed a recording contract with Sony Classical in 2013

Carpenter designed, financed and converted most activities to the International Touring Organ (ITO, debuted at the Lincoln Center and Konzerthaus, Vienna, in 2014). He undertook

extensive global touring with the ITO in the USA, Europe, Russia, China and Australia from 2014–20 in a variety of formats (solo, concerto, open air, collaborative and broadcast). Also in 2014, he premiered Terry Riley’s organ concerto At The Royal Majestic in Los Angeles, Geneva and Berlin. The next year he won the ECHO Klassik award (for If You Could Read My Mind) and in 2016 he designed and debuted the George W. Mergens Memorial Organ at the Kravis Center for the Performing Arts in West Palm Beach.

From 2016-17 he created an organ and orchestra version of Rachmaninoff’s Rhapsody on a Theme of Paganini, Op 43, and in the 2017/2018 season he served as Artist-inResidence at the Konzerthaus Berlin From 2018-19 he performed Rachmaninoff’s Paganini with the ITO and the Shanghai Symphony Orchestra (world premiere in Shanghai in 2018), the Pittsburgh Symphony Orchestra, the Radio Symphony Orchestra Wien, the Graz Philharmonic, the Bamberger Philharmoniker, Orchestre National du Lyon and the Minnesota Orchestra, among others He recorded Rachmaninoff’s Paganini with the ITO and Konzerthausorchester Berlin under Christoph Eschenbach for Sony Classical in 2019

穿越時代 叛逆管風琴

The Enfant Terrible of the Organ

金馬倫．卡彭特的事業與輝煌、破格密不可分，除了親自設計劃時代的電風琴作巡演之用，2009 年 更憑獨奏專輯《革命派》，成為第一位獲提名格林美獎的管風琴家。

The American organist Cameron Carpenter has enjoyed an illustrious, boundary-breaking career—a career that includes designing and commissioning a revolutionary electronic touring organ and becoming the first organist to be nominated for a Grammy Award in 2009 for his solo album, Revolutionary

© Dovile Sermokas

卡彭特的事業不無爭議： 無論 是以另類手法詮釋標準曲目， 還是過於自由、不羈的演繹， 都備受傳統主義者批評。提及 這些批評，卡彭特跟《閱藝》 說：「我盡量準確地彈奏，讓這 些偉大的作品顯得平易近人。」

但一直以來，卡彭特都以非凡 音樂感、高超技巧以及前衛觀 點見稱。管風琴被視為最追不 上時代的樂器，但他正正在這 件樂器身上，作出革命性的壯 舉——雖然他對《閱藝》指出： 「我改變了自己，僅此而已。」

十多年前，卡彭特首次亮相香 港藝術節； 現在他再度蒞臨第

51 屆香港藝術節，並將演奏巴 赫最富感染力的管風琴音樂， 以及另外兩場默片音樂會，為 《將軍號》（ 1926 ）及《大都 會》（ 1927 ）兩齣經典默片即 興演奏配樂。

「卡彭特的巴赫」音樂會帶來清

一色的巴赫作品，包括以超高 難度聞名的《哥德堡變奏曲》。 卡彭特說：「我深受這首嚴肅又 有野心的作品吸引。」

談及為默片即興配樂，卡彭特 說：「為默片彈奏，是利用管 風琴的好方法。一切你須要知 道的，影片都會告訴你； 你只 管好好演奏，在整齣影片的時 間裏營造變化和各種效果，最 理想的情況是觀眾能忘記我在 彈奏。」

卡彭特的三場音樂會都會在文 化中心音樂廳演出，文化中心 內的管風琴由奧地利管風琴製

造師利格以人手製作。雖然卡 彭特本人的「國際巡演管風琴」

在 2014 年面世後，往後外訪 演出大多使用那台自行設計的 突破性電風琴。不過他說自己 常常獲邀以其他場地的管風琴 演出，也會盡力發揮樂器的最 佳一面。

他的「國際巡演管風琴」前後 耗時十年、斥資 140 萬美元完 成，採用了二十多台世界級管 風琴的琴音作為數碼樣本。 傳統管風琴顯然並非便攜的樂 器，但這台相對小巧的電風琴 卻讓卡彭特得以周遊列國。

他接受美國報章《 AZ Central 》 訪問時說道：「我的國際巡演管 風琴，讓演出得以超越物理層 面的限制。那些原本在管風琴 上幾乎難以想像的設計，電風 琴都能實現，亦可解決資金、

物流、存放地點等難題。」

卡彭特曾形容管風琴是無論 「暴力、粗俗、下流、高度戲劇 化、細膩與低調」都能駕馭的 樂器。今屆的香港藝術節，正 強調了管風琴這些對比鮮明的 特質，讓這位一直為管風琴開 創未來的藝術家，為大家呈獻 三場難忘的音樂會。

撰文：Adam Wright，香港藝術節編輯 原文刊登於香港藝術節 2023 年之 《閱藝》雜誌

© Dovile Sermokas

It's also a career that hasn't been without its controversies, with traditionalists criticising Carpenter for unorthodox interpretations of the standard repertoire and the dramatic liberties he often takes in articulation. When asked about this criticism, Carpenter tells FestMag: "I try to play as accurately as I can, great works, in a way which makes them clear to listeners who are not familiar with classical music."

But all along, Carpenter has continually made his mark with exceptional musicality, technical prowess and a pioneering attitude, producing gamechanging work on arguably one of the music world's least fashionable instruments, although he points out to FestMag: "I only changed myself."

And now, just more than a decade after he first appeared at the Hong Kong Arts Festival, Carpenter is returning for the 51st HKAF for a programme of Bach's most powerful organ music and, over another two concerts, improvised soundtracks for two classics of silent cinema, The General (1926) and Metropolis (1927).

The highlight of the all-Bach programme at the Carpenter Plays Bach recital will see the organist tackling the German composer's Goldberg Variations, long regarded as one of the most challenging compositions for keyboard."I was drawn to

it because it is serious and ambitious," Carpenter says.

And when asked about the challenges of providing live, improvised soundtracks to silent movies, Carpenter says: "Silent movies are a good use of the organ. The movie tells you everything you need to know, and you improvise appropriately. Ideally the viewer will at some level forget that I am playing, at least some of the time."

At all three HKAF programmes, Carpenter will be performing on the magnificent pipe organ at the Cultural Centre Concert Hall, hand-made by the Austrian manufacturer Rieger. Since he unveiled his International Touring Organ in 2014, many of his international performances have utilised this breakthrough electronic keyboard, but Carpenter says that he always attempts to "bring out the best in any instrument I am invited to play".

His International Touring Organ, which took 10 years to build at a cost of US$1.4 million, uses digital samples from more than two dozen world-class organs. The traditional pipe organ is obviously not the most portable of instruments, but the more compact electronic organ allows Carpenter to tour worldwide to venues that have never had an organ.

"It allows the experience of the organ to transcend its physical realm and its limitations, which allows you to assemble

propositions of design that would be all but unthinkable in a pipe organ, for reasons ranging from economy to logistics to geography of placement," he said during an interview with AZ Central.

Carpenter once described the organ as a machine capable of "violence, vulgarity, obscenity, high drama, subtlety and understatement", and his 2023 HKAF performances will place these contrasting facets of the instrument on centre-stage, presented by an artist who remains determined to continue bringing his chosen instrument into the future.

Text : Adam Wright, HKAF Editor Originally published in the HKAF's 2023 FestMag

全巴赫曲目

C 小調幻想曲及賦格曲，BWV 537

C 大調第一前奏曲及賦格曲，BWV 870 (選自：《平均律鍵盤曲集 》第二冊)

F 大調第七前奏曲及賦格曲，BWV 880 (選自：《平均律鍵盤曲集 》第二冊)

幻想曲《來吧，聖靈》，BWV 651

聖詠前奏曲《啊人們，為你的罪惡痛哭》，

BWV 622

降 E 大調前奏曲及賦格曲，「聖安妮」，BWV 552

All-Bach Programme

Fantasia and Fugue in C minor, BWV537

Prelude and Fugue No. 1 in C Major from the Well-tempered Clavier, Book 2, BWV870

Prelude and Fugue No. 7 in F Major from the Well-tempered Clavier Book 2, BWV880

Fantasia super Komm, heiliger Geist, BWV651

O Mensch, bewein sein Sünde groß, BWV622

Prelude and Fugue in E-flat Major, “St Anne” BWV552

中場休息 Interval

《哥德堡變奏曲》，BWV 988

•詠嘆調主題

第一變奏

•第二變奏

•第三變奏：齊奏卡農

•第四變奏

•第五變奏

•第六變奏：二度卡農

•第七變奏：吉格舞曲之速度

•第八變奏

•第九變奏：三度卡農

•第十變奏：小賦格曲

•第十一變奏

•第十二變奏：反行的四度卡農

•第十三變奏

•第十四變奏

•第十五變奏：五度卡農：行板

Goldberg Variations BWV988

• Aria

• Variatio 1.

• Variatio 2.

• Variatio 3. Canone all’Unisono.

• Variatio 4.

• Variatio 5.

• Variatio 6. Canone alla Seconda.

• Variatio 7. al tempo di Giga

• Variatio 8.

• Variatio 9. Canone alla Terza.

• Variatio 10. Fughetta.

• Variatio 11.

• Variatio 12. Canone alla Quarta in moto contrario

• Variatio 13.

• Variatio 14.

• Variatio 15. Canone alla Quinta.: Andante

•第十六變奏：序曲

•第十七變奏

•第十八變奏：六度卡農

•第十九變奏

•第二十變奏

•第二十一變奏：七度卡農

•第二十二變奏：二二拍子

•第二十三變奏

•第二十四變奏：八度卡農

•第二十五變奏：慢板

•第二十六變奏

•第二十七變奏：九度卡農

•第二十八變奏

•第二十九變奏

•第三十變奏：幽默雜曲

•返始詠嘆調主題

• Variatio 16. Ouverture.

• Variatio 17.

• Variatio 18. Canone alla Sesta.

• Variatio 19.

• Variatio 20.

• Variatio 21. Canone alla Settima.

• Variatio 22. alla breve

• Variatio 23.

• Variatio 24. Canone all’Ottava.

• Variatio 25. Adagio

• Variatio 26.

• Variatio 27. Canone alla Nona.

• Variatio 28.

• Variatio 29.

• Variatio 30. Quodlibet

• Aria da Capo

樂曲介紹 Programme Notes

巴赫 Johann Sebastian Bach (1685-1750)

巴赫

約翰 • 塞巴斯蒂安 • 巴赫在 1685 年生於出了不少職業音樂 家的巴赫大家族。他的父親是 一位弦樂演奏者，而他其中一 位叔叔則是當地教堂的管風琴 師。塞巴斯蒂安日後成為了巴 赫家族最卓越的一員，以他的 鍵盤演奏，特別是管風琴的精 湛技藝而備受推崇。然而他的 音樂的真正成就，要到 1750 年 他亡故之後才為人所了解。

對於他早年的音樂教育，我們 所知不多，但他的父親很可能 教授他演奏弦樂，而他的管風 琴師叔叔，約翰 • 克利斯托 弗，則極可能是他的管風琴啟 蒙老師。年輕的他有一把好嗓 子，也受過良好教育，但音樂 方面，主要是靠抄寫仰慕的作 曲家的音樂來自學作曲。當他 在呂訥堡的合唱團時，他聽到 法國音樂家的管弦演奏，這讓 他首度聽到法式風格的音樂。

他在 1703 年擔任管風琴師時， 曾經告了長達三個月的假，只

為徒步遠道去聽迪特里克 • 布 克斯特胡德的演奏。他對工作 隨心所欲的做派，在他一生中 一直也如是。後來當他在威瑪 受聘於熱愛管風琴音樂的威廉 公爵時，他創作了他大部份的 管風琴音樂，是晚表演曲目的 第一部份便是來自這個時期。

在威瑪之後，他在科滕留了數

年。在當地，他創作了涵括所 有音調，兩種不同音量的前奏

曲和賦格曲的《平均律鍵盤曲 集》以提倡平均律。以這個方 式調音，可以在不需再次調音 的情況下，以任何調子演奏音 樂。當時由於一般以純音程為 樂器調音，在演奏後都要再次 調音。巴赫以《鍵盤練習曲》 為名出版了他的鍵盤作品。第 一冊是他的六首組曲，第二冊 是意大利協奏曲和法國序曲， 第三冊則有 64 首聖詠前奏曲， 以「聖安妮」前奏曲和賦格曲 作為開始和結尾。《哥德堡變奏 曲》則以曲集第四冊方式刊行。

由 1723 到 1750 年，巴赫擔任 托馬斯教堂的首席樂師以及萊 比錫的民事音樂總監。他的職 責十分繁重，作為首席樂師， 他需負責四座教堂的音樂； 而 作為民事音樂總監，萊比錫的 所有音樂都是他職責所在。巴

赫對除了歌劇之外各種音樂的 擅長，令人讚嘆。在他為教會 「禮儀年」創作的清唱劇中，他 展現了澎湃的創造力，呈現出 極多不同的宗教場景與儀式主 題。他的音樂一直啟發不同作 曲家，其影響力之大，任何認 真的作曲家都不可能沒有受過 他的影響。

C 小調幻想曲及賦格曲， BWV

537

這首作品是巴赫第二次到威瑪 就任，效力於威廉公爵時所創 作（他之前曾供職於公爵的弟 弟，恩斯特）。這首 1708 年後 創作的作品，是巴赫最喜歡的 樂曲形式的傑作。6/4 拍的幻想 曲在鍵盤有自由的模仿部份。 增六和附點節奏，使作品起首 已令人印象深刻，而第二主題 以持續音開始，則由成對的八 分音符組成。兩個主題重複而 有着變化，沒有一般幻想曲有 的華彩樂段，並以屬音收結， 為引入後面的賦格曲準備。主 題有力而可唱，在全曲中容易 跟從。但中段則建基於上升的 半音階動機，由於它不以賦格 形式創作，所以不算是第二賦 格主題。在最後章節中，原來 的主題再度出現。

C 大調第一前奏曲及賦格曲， BWV 870

(選自：《平均律鍵盤曲集 》 第二冊)

在巴赫當時，即使是為特定鍵 盤樂器創作的鍵盤曲，亦經常 會用其他鍵盤樂器演奏，作曲 家有時甚至沒有指明樂曲是為 甚麼鍵盤樂器譜寫。有論者指 出，第二冊中的不少前奏曲與 賦格曲，相比起第一冊收錄的 曲目，更適合以管風琴演奏。 誠然，這首富有持續延音的 前奏曲便十分適合以管風琴演 奏。僅以二部開始，旋律音很 快形成和弦，整首作品在四部 模仿對位下發展。音樂在沒有 顯著的終點下自然推進到加入

第五部的最後數個小節，到達 最後的七部和弦。

以三部組成的賦格曲，其四小 節跳動主題則與前奏曲呈現完 全對比。起首兩小節和接下來 的兩小節有着連貫的十六分音 符，在賦格答句出現時作為對 題持續。曲風的愉悅興奮，一 直持續到最後四個小節。就如 前奏曲一樣，巴赫加上額外一 部以突顯有力的終止式。

F 大調第七前奏曲及賦格曲，

BWV 880

(選自：《平均律鍵盤曲集 》 第二冊)

正如 C 大調前奏曲一樣，這首

F 大調在八分音符樂章一直推 進下，以特定音符建構和弦。

這首 3/2 拍的作品，有四到五聲

部。在巧用模仿和模進下，樂 韻在華麗的和聲進行下推進， 直至起首的小節回歸，到達最 後裝飾和弦。賦格曲一樣有着 強烈對比，有着吉格舞曲活潑的 主題。難怪舒曼曾形容這些樂 章是「性格小品」。這首 6/16 拍 的賦格曲結尾愉悅，是巴赫其 中一首最感情充沛的作品。

幻想曲《來吧，聖靈》，

BWV 651

這首作品是巴赫最先在威瑪創 作的 18 首聖詠前奏曲的第一 首，作品後來在 1740 年至 1750 年間在萊比錫再經修訂。巴 赫經常把聖靈表現成一股強力 前進的的靈風，在這首幻想曲 中，聖詠旋律出現在持續延音 上，在這之上，模仿對位中又 出現了持續的琶音音型。作品

呼應主題，在創作中表現出豐 富力量，創造出莊嚴效果。

聖詠前奏曲《啊人們，為你的 罪惡痛哭》，BWV 622 《啊人們，為你的罪惡痛哭》， 是一首出自《管風琴小曲集》 的聖詠前奏曲。這部曲集收錄 以前奏曲開始、賦格曲作結的 作品。這些作品都是在他於威 瑪擔任管風琴師時的創作。巴 赫原先打算為教會禮儀年中的 每個節慶，一共譜寫 164 首聖 詠前奏曲。在這個宏願下，他 最後完成了 46 首聖詠前奏曲。

這首對基督在十字架犧牲的意 義的沉思，是系列中最受歡迎 作品之一，曲詞來自信義宗的 基督受難聖詩。聖詠的旋律在 高音部，深具裝飾音，另外兩 部有低音延音的內聲部則較為 簡單。全曲共 12 行。在這部極 富感染力的作品中，巴赫以音 樂為每行的意義賦與生命。

降 E 大調前奏曲及賦格曲，「聖 安妮」，BWV 552

上述 46 首聖詠前奏曲集，以這 首前奏曲為始，並以這首賦格 曲收結。作品的賦格主題與威 廉 克羅夫特創作，題為「聖 安妮」的聖詩相似，因而有了 這個別名。這是巴赫作品中最 令人嘆為觀止與充滿喜樂的作 品。在前奏曲與賦格曲中，都 有不少地方呼應了基督教三位 一體，包括調號的三個降音， 前奏曲的三個主題和賦格曲的 三個部份。

前奏曲的第一個主題是莊嚴的 法國序曲，有着強力的起始

與附點節奏； 第二主題則有意 大利協奏曲的特色，其中有着 有力的對比，就如獨奏與全奏 一般； 第三個主題是德國賦格 曲，主要以連續的十六分音符 譜成。論者指出，這三個主題 分別代表聖父、聖子和聖靈。 賦格曲共有五聲部，並以三部 份組成。第一部為 4/4 拍，有 着舒緩莊嚴的感覺，或許代表 聖父；第二部為 6/4 拍，音符稍 為變快，主題的變化或許代表 了神降生為人； 最後的一部為 12/8 拍，以其高速的十六分音 符，再度表現出巴赫喜歡用來 表現聖靈的湧動靈風之感。

無論聽眾對作品中的宗教意義 有甚麼觀點，此作無疑是巴赫 作品中最富力量和生命力的作 品之一。無怪乎當時歐洲各地 的音樂家，都遠道前來聽他演 奏這些樂章。

《哥德堡變奏曲》，BWV 988

巴赫為古鍵琴師約翰 • 郭德 聶 哥德堡創作這首作品， 以解俄羅斯大使失眠之苦的傳 說，很可惜，或許不是真的。 首先，當時郭德聶只有 14 歲， 另外作品亦沒有獻辭。若果真 是俄國大使委約創作，那理應 會有獻辭。故此，巴赫為何創 作這首作品，仍然是一個謎。 作品副題為「詠嘆調及 30 個變 奏」，這是一部後無來者的作 品，只有貝多芬的《迪亞比利 變奏曲》可以望其項背。如巴 赫作品的典型一樣，變奏曲的 安排，具高度規律，由第三變 奏開始便以卡農、一些音樂類 型作品，以及拉爾夫 柯克派

翠克稱之為阿拉貝斯克的形式 創作。阿拉貝斯克一般指以需 要高速交叉手演奏的作品。第 一變奏就如庫朗特舞曲般的音 樂類型作品，第二變奏則是有 着模仿的上聲部的三部器樂曲。

卡農的音程愈來愈大，由最先 的齊奏到最後的九度，在此之 後一些音樂類型作品和阿拉貝

斯克各顯精彩。到此詠嘆調再 度重複。在無窮新意之後， 詠嘆調亦別開生面，為作品帶 來一個意味深長的結尾。曲

中每一個變奏，都是整個音樂 旅程中的美好片段，但其中一 些則以不同原因更為突出： 第 十變奏是一首小賦格、第十三 變奏像一首薩拉班德舞曲、第 十六變奏是法國序曲，至於第 二十五變奏，則以小調創作， 有豐富裝飾的旋律和豐富的和 弦。古鍵琴大師旺達 • 蘭多萊 絲卡稱之為「黑珍珠」。

作品曾為不同配搭有過不同的 編曲，其中一些編曲或許看似 奇怪，就如弦樂三重奏配上現 場電子音樂、室內管弦樂團、

兩把豎琴、兩把結他、鋼琴與 古鍵琴和弦樂四重奏等等。

不可不提的當然還有管風琴版 本。而今晚聽到的，當然是卡 彭特本人的編曲版本。無論此 作以任何方式呈現，都保留了 其獨特色彩，讓聽眾分享到巴 赫創作音樂的喜悅。

Johann Sebastian Bach

In 1685, Johann Sebastian Bach was born into a growing family of Bachs, many of whom were professional musicians. His father was a string player and one of his uncles was the organist at the local church. Sebastian became by far the most outstanding of this large clan, being admired for the virtuosity of his keyboard playing, and in particular his organ playing. The true stature of his music came to be truly understood only after his death in 1750.

Little is known about his early music education, but presumably his father would have given him instruction in string playing, and his organist uncle, Johann Christian, no doubt introduced him to the organ. He had a fine treble voice when young. He attended good schools, but was apparently largely self-taught in music, learning the art of composition through copying the music of composers he admired. In Lüneberg, where he sang in the choir, he heard the orchestral playing of a band of French musicians, introducing his ear to the French style.

He took up a position as an organist in 1703, and during this time he excused himself from his duties for as long as three months to walk a great distance to hear the playing and works of Dietrich Buxtehude. This cavalier attitude to his employers was something that was to occur again during his lifetime. Later, at Weimar when he was employed by the Duke Wilhelm, a man keen on organ music, he wrote the greater part of his

organ music, and the works in the first part of this programme come from this period.

After Weimar he spent some years at Cothen, where he wrote the Well-tempered Clavier, a set in two volumes of preludes and fugues in all of the keys. This was one way of promoting the concept of equal temperament. Tuned in this manner, it is possible to play music in any key without the need for retuning, as had been the practice before, when instruments were often tuned to the pure intervals. Bach published collections of keyboard works under the title ClavierÜbung, which means “keyboard exercise”. The first such book contained 6 Partitas, the second the Italian Concerto and the French Overture, the third 64 chorale preludes enclosed within the “St Anne” prelude at the beginning, and fugue at the end. The Goldberg Variations were published as the fourth book.

From 1723 until 1750, Bach was the Kantor at the Thomaskirche and civic director of music in Leipzig. His duties were demanding as the Kantor was responsible for the music in four churches, and as civic director of music was responsible for the music in the town. Bach’s extraordinary facility in music of all sorts, except for opera, is astounding. In his Cantatas for the church year, he shows a colossal power of invention in portraying an extremely large number of different scenes and liturgical ideas. His music has been, and still is, an inspiration to composers of all kinds. Such is the power of his music that

it is almost impossible for a serious composer not to be influenced by it in some way.

Fantasia and Fugue in C minor, BWV537

Composed in Weimar when Bach was working there for the second time, for the Duke Wilhelm (he had earlier been employed by the Duke’s younger brother, Ernst), it comes from the period after 1708, and is a great example of one of his favourite forms. His fantasia is in 6/4 time with free imitative parts on the manuals. The rising sixth and dotted rhythms make a memorable beginning to the piece, while the second subject, started in the pedals, is formed by quavers phrased in twos. The two subjects are repeated, with variations and without room for the sort of cadenza passages that many fantasias allowed, and it ends on the dominant in preparation for the following fugue. This is based on a sturdy, highly singable subject, easily followed through the length of the piece, but there is a middle section based on a striking rising chromatic motif—not a second fugue subject, since it is not subjected to fugal treatment. The original subject returns for the final section.

Prelude and Fugue No. 1 in C Major from the Well-tempered Clavier, Book 2 BWV870

In Bach’s day, works for one keyboard were often played on another, and sometimes composers did not specify which instrument the music was intended for. It has been argued that many of the pieces

in the second book of preludes and fugues are more suited to the organ than in the first book. Certainly, this prelude is perfect for performance on the organ, with its long, sustained lines, and many long, held notes. Beginning in only two parts, selected melody notes are soon being held to create chords, and the entire piece develops through imitative counterpoint in four parts. The music flows forward without any significant arrival points right through to the final bars where a fifth part joins in, leading to the final sevenpart chord.

The fugue, in three parts, is a complete contrast, with its four-bar spritely, dance-like subject. The opening two bars are followed by two containing rolling semiquavers, which continue as the countersubject as the fugue answer enters. The sense of joy and excitement is maintained throughout until the final four bars in which Bach, as he did in the prelude, adds an extra part to emphasise the forceful final cadence.

Prelude and Fugue No. 7 in F Major from the Well-tempered Clavier Book 2 BWV880

As in the C major prelude, this one in F Major builds chords through the holding of particular notes as the quaver movement moves constantly forwards. The piece is in 3/2 time and is in four—and sometime five—parts. Making splendid use of imitation and sequence, the music moves through some splendid harmonic progressions until the opening bars return, leading to

the final, decorated chord. The fugue is again a great contrast, with a lively subject sounding like a gigue. It is no wonder that Schumann described these movements as “character pieces”. The fugue, in 6/16, is one of Bach’s most exuberant, with a joyful finish.

Fantasia super Komm, heiliger Geist, BWV651

This work is the first of 18 chorale preludes that Bach originally composed while at Weimar, but revised while at Leipzig, sometime in the years 1740 to 1750. Bach always represented the Holy Ghost as a mighty, rushing wind, and in this fantasia the chorale melody appears in long notes in the pedals, above which brilliant cascades of arpeggiated and running figures appear in imitative counterpoint. As befits the subject, there’s a great sense of power and strength in the writing, creating a magnificent effect.

O Mensch, bewein sein Sünde groß, BWV622

“O Man, bemoan thy great sin” is a chorale prelude from a publication titled Orgelbüchlein, which is a collection of such pieces flanked by a prelude at the beginning and a fugue at the end. The pieces come from the years when he was an organist at Weimar, and the original intention was to have 164 chorale preludes covering every significant event in the church calendar—a huge undertaking— but in the end only 46 appear. One of the most celebrated of this collection, this work is a profound meditation on the

meaning of Christ’s sacrifice on the cross. The words are from a Lutheran Passion hymn. The melody of the chorale is in the top part, highly embellished, with two relatively simple inner parts over the bass in the pedals. There are 12 lines. Bach brings to life in music the meaning of each of the lines in one of his most expressive pieces.

Prelude and Fugue in E-flat Major, “St Anne” BWV552

This is the prelude and fugue which begins and ends the collection of 46 chorale preludes discussed above. The nickname was given to the work as the fugue subject is similar to a hymn tune by William Croft called St. Anne. This is one of Bach’s most impressive and also joyful. In both the prelude and the fugue there are references to the Trinity. The key signature of three flats is the first of these. The prelude has three themes, and the fugue has three distinct parts.

The first of the themes in the prelude is a majestic type of French overture with its strong start and dotted rhythms, while the second has the characteristics of an Italian concerto, during which there are obviously meant to be dynamic contrasts, as of solo versus tutti. The third theme is a German fugue, mainly in running semiquavers. Some have proposed that these themes represent the Father, Son and Holy Ghost. The fugue has five voices and is in three parts. The first of these, in 4/4 time, has a broad, majestic feel to it, again perhaps representing

the Father, and in the following section, in 6/4, the speed of the notes quickens, and it has been suggested that the theme is slightly disguised to represent God taking human form. The final section, in 12/8, again presents the rushing, mighty wind effect that Bach liked to create to represent the Holy Ghost, with its whirling semiquavers.

Whatever one’s views about the religious aspects of the composition, it is one of Bach’s most powerful and most life affirming. It is no wonder that musicians came from far and wide to hear him perform such music.

Goldberg Variations BWV988

The story that Bach composed this work for the harpsichordist Johann Gottlieb Goldberg to alleviate the Russian Ambassador’s insomnia is, regrettably, most likely not true. For one thing, Gottlieb was only 14 years old at the time, and for another no dedication appears, which would no doubt have been the case if the Russian Ambassador had commissioned the work. So it remains unknown why Bach wrote it. Subtitled “Aria with 30 Variations”, it is a work that has never been surpassed to this day, although Beethoven’s Diabelli Variations come close. Typically, with Bach the organisation of the variations is highly orderly, as, from the third variation onwards they follow the pattern of canon, a piece from some genre and what Ralph Kirkpatrick has called an arabesque. The arabesques are generally pieces at speed

involving a good deal of handcrossing. The first variation is like a genre piece—a courante perhaps—and the second like a three-part sinfonia with imitative upper parts.

The canons are at progressively larger intervals, beginning with one at the unison, and working up to the last one at the ninth, after which the genre piece and the arabesque each make a brilliant effect. The aria is then repeated. After so many extraordinary excursions, the aria is heard in a new light, bringing the great work to a thoughtful close. Every variation is a delight throughout the journey, but some stand out for one reason or another. No. 10 is a fughetta, No. 13 like a sarabande, No. 16 a French overture, and No. 25, in the minor, is a wonderfully decorated melody over rich harmonies. The great harpsichordist Wanda Landowska called this the “Black Pearl”.

The work has been arranged for many combinations, some of which might seem strange, as for string trio with live electronics, chamber orchestra, two harps, two guitars, piano with harpsichord and string quartet. Of course, it has also been arranged for organ. No doubt what we hear tonight is Cameron’s own arrangement. In whatever guise the work may appear, it will always maintain its unique quality and allow us to share in Bach’s joy in making music.

Text: Prof. David Gwilt

金馬倫．卡彭特——默片音樂《將軍號》 Carpenter Plays Silent Movies: The General

《將軍號》電影故事大綱

火車司機尊尼 • 葛雷有兩大 最愛： 一是他的心上人安娜貝

拉，一是他的小火車「將軍 號」。美國南北戰爭爆發後，北 方聯軍把「將軍號」及安娜貝 拉一同劫走。尊尼為了摯愛深 入敵陣，在英雄救美之餘，還 搶回心愛的火車「將軍號」，更 誘使追逐他們的北軍火車「德 克薩斯」墮入河中，成為戰爭 英雄，最終獲軍官嘉獎成為一 名中尉。

The General Synopsis

Train driver Johnnie Gray has two loves in his life: his sweetheart, Annabelle, and his little train, the General. When the American Civil War breaks out, the General and Annabella are taken away together by the Northern Army. Johnnie goes into enemy territory to rescue his beloved train. While being pursued by the army’s locomotive, Texas, Johnnie manages to lead it into a river. In the end, Johnnie is made a lieutenant and becomes a war hero.

編導：巴士達 • 基頓、 克萊德 • 布魯克曼

電影放映配卡彭特原創音樂及現場演奏

With an original score and live performance by C Carpenter

中文字幕翻譯 Chinese Subtitles Translation

Ben Tsui

《將軍號》附英文及中文字幕

The General screened with English and Chinese subtitles

《將軍號》劇照，版權屬公園馬戲團科恩電影收藏 Film still of The General. Images courtesy of Park Circus / The Cohen Film Collection

Written and directed by : Buster Keaton and Clyde Bruckman

金馬倫．卡彭特——默片音樂《大都會》 Carpenter Plays Silent Movies: Metropolis

《大都會》電影故事大綱

故事設定於電影完成後一百年

的未來世界（ 2026 年），權貴

在奢華的大廈內享受人生，而 貧困的工薪階層居於黑暗的地 下城，日以繼夜地工作。直至 大都會統治者菲達遜的兒子法 迪愛上地下城的漂亮女子瑪利 亞，才打破這個局面。菲達 遜為鞏固自己的統治，聯同科 學家綁架瑪利亞。勞工不滿的 情緒爆發，罷工及搗毁機器， 引致水庫崩裂，洪水即將淹沒 地下城。

最終，法迪和瑪利亞充當調停 者，打破階級限制與隔膜，建 立美麗新世界。

導演：費立茲 朗

Metropolis Synopsis

The story is set in the year 2026, 100 years after the film’s completion In this fictional future, the wealthy upper class lead indulgent lives in extravagant mansions while the working poor toil ceaselessly in an underground city The situation changes only when Freder, the son of Fredersen (the ruler of Metropolis), falls in love with Maria, a beautiful girl from the underground. Fredersen and his scientists kidnap Maria in a bid to protect his regime, but this leads to an

outpouring of dissatisfaction among the labourers. The workers go on strike and destroy the machinery, causing the reservoir to leak and potentially flood the city.

Finally, under Freder and Maria’s mediation, a new world without class-based restrictions and barriers is created.

Director : Fritz Lang

電影放映配卡彭特原創音樂及現場演奏

With an original score and live performance by C Carpenter

《大都會》(2010 年修復版) 附德文、中文及英文字幕 Metropolis (2010 restoration) screened with German, Chinese and English subtitles

電影由德國威斯巴登的弗里德里希·威廉·穆瑙基金會(www murnau-stiftung de) 擁有

A Film from the holdings of the Friedrich-Wilhelm-Murnau-Stiftung (www.murnau-stiftung.de) in Wiesbaden

中文字幕翻譯 Chinese Subtitles Translation

Ben Tsui

Film still of Metropolis

©Friedrich Wilhelm Murnau Stiftung

節目簡介 Programme Notes

音樂活現默片時代

Music Brought the Silent Movie Era to Life

電影藝術在 1890 年代逐步發展，承接了歌舞雜耍和小型戲棚演出的傳統，從一開始就以音樂為其必不 可少的一環。

The art of moving pictures evolved in the 1890s, following on from vaudeville and show-booth dramas, and music was an essential part from the beginning.

電影最初由一位鋼琴家伴奏， 為各種場景即興配樂，表現追 逐及浪漫等情節。鋼琴家常會 運用流行曲和傳統歌曲，除了 引用柴可夫斯基和華格納等早 期作曲家的作品片段，大多數 情況下還會加入 19 世紀的歌劇 段落。主角和情境也會配上某 些音樂主題，提示觀眾故事的 發展。然而，早在 1892 年，法 國導演埃米爾·雷諾的《夜光 默劇》就有作曲家加斯頓·保 林專門為之創作音樂。其後， 許多作曲家也為默片作曲，包 括卡米爾·聖桑、米哈伊爾· 伊波里托夫-伊凡諾夫、維克多 ·赫伯特、亞瑟·霍內格、大 流士·米堯等人。音樂多是由 鋼琴家、管風琴家或合奏團現 場演奏。

隨着電影越來越受歡迎，出版 商開始印製包含各種情景和情 緒的樂譜集。導演開始將帶有 詳細提示表的影片，發給要為 作品伴奏的音樂家參考，以便 他們作好準備。不久，較大 的電影院開始聘請合奏團，由 指揮安排合適的配樂。早期電 影也有用機械的樂器伴奏——

那是一種介乎於手搖風琴和鋼 琴之間的樂器，由紙捲鋼琴錄 音演奏，其中有多種音效，如 火車汽笛聲和鼓聲。這些機器 並非以音樂來伴隨情節發展， 而是借助音樂掩蓋早期放映機 的噪音。

到 1910 年，較大的電影院都 安裝了管風琴，最後美國的 Wurlitzer 公司生產了大型的 「華麗兹」劇院管風琴，可以模

仿多種管弦樂聲音，並有大量 特殊音效，例如汽車喇叭、鳥 鳴、手槍聲、電話鈴聲、馬蹄 聲以及海浪聲、雷聲和雨聲。 有些劇院則僱用了規模頗大的 管弦樂隊。

人們從一開始就承認音樂是電 影藝術的必要元素，在許多電 影的拍攝現場，鋼琴家會演奏 適合的音樂，幫助演員專心表 現某場戲所需的情緒和姿勢動

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

27/2 Mon

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

28/2

二 Tue

1 - 19/3

三 - 日 Wed - Sun

3/3

五 Fri

5/3

日 Sun

《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

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

作，通常還有助於製造及保持 故事的氣氛。

金馬倫·卡彭特為香港藝術節 放映的兩部電影即興演出， 將會重現影片首次放映時的氛 圍。有趣的是，《將軍號》和 《大都會》這兩齣戲上映時都被 視為失敗之作，但後來各自躋 身於經典傑作之列。費立茲· 朗的《大都會》實際上已有格 特弗里德·胡佩茨所譜寫的原 創音樂。

這兩部電影的風格可謂大相徑 庭：《將軍號》是冷面笑匠巴士 達·基頓的喜劇，而《大都會》 則是深具表現主義特色的科幻 電影。看看卡彭特如何面對這 兩部大作提出的挑戰，聽聽他 的即興創作如何為形形色色的 情感和動作增強效果，畫龍點 睛，使故事煥發神采，將會是 引人入勝的體驗。

Films would initially be accompanied by a pianist, who would improvise music to suit the various scenes—chases, romantic episodes and so on. Pianists would often make use of popular and traditional songs, and would quote from earlier composers such as Tchaikovsky and Wagner, and 19th-century operas generally. Musical motifs would also be used for the main characters and situations to prompt the audience as the stories unfolded. However, as early as 1892, the French director Emile Reynaud’s Pantomimes Lumineuses had music especially written for it by composer Gaston Paulin. After that, a number of composers wrote music for silent films, including Camille Saint-Saens, Mikhail Ippolitov-Ivanov, Victor Herbert, Arthur Honegger, Darius Milhaud and others. The music was mostly performed by a pianist, an organist or an ensemble.

As films became more popular, publishers started to produce anthologies of music covering all sorts of situations and moods. Directors started to send out their films with detailed cue sheets for the musicians who would be accompanying the work, so that they could be prepared. Quite soon, the larger movie houses were employing ensembles with a director who would arrange appropriate music. Movies were also accompanied in the early days by mechanical

instruments—a sort of cross between a barrel organ and a piano, which was played by piano rolls, and which featured a range of sound effects such as train whistles and drums. These machines did not follow the story in music, but rather served to drown out the noise of the early projectors.

By 1910, the larger movie houses had installed organs, and eventually the Wurlitzer company in America produced what became known as the “Mighty Wurlitzer”, a large theatre organ which could imitate many orchestral sounds and had a large number of special effects, such as car horns, bird whistles, pistol shots, ringing telephones, horses’ hooves, and the sound of surf, thunder and rain. Some theatres employed quite large orchestras.

It was acknowledged right from the start that music was a necessary part of the process, and on many film sets a pianist would play appropriate music to help the actors focus on the emotions and gestures required for particular scenes, and generally help to create and maintain the atmosphere of the story.

In improvising music for the two films being presented at the Hong Kong Arts Festival, Cameron Carpenter is reproducing the sort of atmosphere which would have been obtained when the movies

were first shown. Interestingly, both of the movies—The General and Metropolis—were seen as failures at their first showings, but both have come to be viewed as masterpieces in their own ways. Fritz Lang’s work actually had original music written for it by Gottfried Huppertz.

The contrast between the films could hardly be greater, The General being a Buster Keaton comedy and Metropolis an expressionist work of science fiction. It will be fascinating to hear how Carpenter responds

to the challenges presented by both films and how his improvisations enhance the effect of both the emotions and the actions, providing that final vital element which brings the stories fully to life.

Film still of Metropolis

©Friedrich Wilhelm Murnau Stiftung

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

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張利平先生

Dr and Mrs Ronald Lu

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Sogo Hong Kong Company Limited

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Chung Mei International Holdings Limited

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Swire Properties Limited

Cartier

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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

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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

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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

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CYMA Charity Fund Ltd

鑽石捐款者 DIAMOND DONORS

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Mrs Purviz R Shroff , MH and

Late Mr Rusy M Shroff , BBS , MBE

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翡翠捐款者 JADE DONORS

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凌霄志醫生 Dr Tony Ling

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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

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青銅捐款者 BRONZE DONORS

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無名氏 Anonymous

Ms Judith Ling

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

青銅捐款者 BRONZE DONORS

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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

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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

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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

ADVISORS

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

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*