Akiko Suwanai with the Festival Strings Lucerne and Daniel Dodds - 52nd Hong Kong Arts Festival

諏訪內晶子與 琉森音樂節弦樂團及 丹尼爾．多特思

演出贊助

PERFORMANCE SPONSORED BY

Akiko Suwanai with the Festival Strings Lucerne and Daniel Dodds

獻辭 MESSAGE

第五十二屆香港藝術節隆重舉行，可喜可賀。

歷經五十餘年，香港藝術節已成為享譽國際的文化盛 事。今屆藝術節續放異彩，雲集約1,400名本地及海 外藝術家，帶來逾150場不同類型的表演，由音樂、 歌劇、戲曲，以至戲劇、舞蹈、跨媒體藝術和大型特 備節目等，必定是另一場令人難忘的藝術盛宴。

今屆藝術節以李察．史特勞斯的《拿索斯島的亞莉安 妮》揭開序幕，由巴伐利亞國立歌劇院獻上這齣莊諧 並重的精妙劇作，令人期待。個多月後，上海芭蕾舞

團將呈獻中國與法國聯合製作的《花樣年華》，作為 藝術節的閉幕表演。這齣精彩絕倫、中西協作的芭蕾 舞劇，正好反映香港獨特的中西創意文化根源，並彰 顯我們作為中外文化藝術交流中心的重要地位。今年 藝術節匯聚全球各地佳作，包括別具一格的「聚焦當 代阿拉伯」系列，更形豐富多采。

我對香港的文藝創意事業前景充滿信心。政府銳意竭 盡所能，鼓勵本地藝術家奮發向上，並確保他們獲 得所需和應得的表演機會。正如我在《施政報告》所 述，新成立的文創產業發展處每年會推動60個業界考 察團、海外展覽及其他文化展演活動；「電影發展基 金」和「創意智優計劃」共獲注資43億元，以支持本 港電影業；「重點演藝項目計劃」亦即將推出，協助 本地大型表演藝術創作，以及培育代表香港的國際文 化品牌。

政府會繼續與各界攜手合作，積極推動文化藝術及創 意業界的發展。

我感謝香港藝術節團隊一直堅持不懈，為藝術奉獻心 力；並感謝各贊助商和善長鼎力支持，令藝術節異彩 紛呈。

今年藝術節會為香港帶來絢麗多姿、賞心悅目的文化 藝術世界。希望大家盡情投入，享受每個璀璨時刻。

I am pleased to congratulate the Hong Kong Arts Festival on the organisation of its 52nd edition.

Over this past half century and more, the Hong Kong Arts Festival has grown into a celebrated international cultural event. This year promises to be another memorable Festival, featuring about 1,400 overseas and local artists in more than 150 performances across multiple genres, from music, opera and Chinese opera to theatre, dance, multi-arts and large-scale special events.

This year’s Festival opens with the Bayerische Staatsoper’s presentation of Richard Strauss’ Ariadne auf Naxos, a bravura mingling of high art and comedy. It closes, more than a month later, with the Sino-French coproduction of the Shanghai Ballet’s A Sigh of Love. This inspired East-West collaboration reflects Hong Kong’s singular East-West creative and cultural roots and our growing role as an East-meets-West centre for international cultural exchange. Indeed, this year’s Festival is rife with performances from all over the world, including a special Arab Arts Focus series.

I believe in Hong Kong’s creative promise, and my Government is determined to do all it can to encourage our local artists and ensure that they have the performance access they need and deserve. As I mentioned in my Policy Address, our newly established Cultural and Creative Industries Development Agency will promote 60 industry missions, overseas exhibitions and other cultural showcases annually; a total of $4.3 billion will be injected into the Film Development Fund and the CreateSmart Initiative to support our film industry; and the Signature Performing Arts Programme Scheme will be launched to assist largescale, local performing arts productions and nurture the development of Hong Kong cultural brands internationally. The Government will continue to work hand in hand with relevant sectors to proactively promote the development of arts, culture and creative industries.

I am grateful to the Hong Kong Arts Festival for its longstanding commitment to the arts, and to the Festival’s many sponsors and donors for their generous support.

A world of arts and cultural spectacle and entertainment awaits Hong Kong. I know you will enjoy every dazzling moment of this year’s Hong Kong Arts Festival.

John KC LEE Chief Executive

Hong Kong Special Administrative Region

獻辭 MESSAGE

歡迎閣下蒞臨第52屆香港藝術節。在我們慶祝今屆全 面回歸之際，我由衷地感謝您在疫情期間及過後依舊 堅定不移地支持我們。面對着瞬息萬變的環境，我們 致力促進藝術的未來發展，為推廣及傳承藝術發掘更 多機遇。因此，我特別珍惜今天與大家聚首一堂欣賞 表演藝術的機會，並希望向所有為藝術發展作出貢獻 的人士致以崇高的敬意。

我衷心感謝香港特別行政區政府透過康樂及文化事務 署提供年度恆常撥款，為香港藝術節的長遠發展奠下 基石。此外，我亦非常感激香港賽馬會慈善信託基金 以及一眾企業贊助機構、慈善基金會和個人捐助者的 慷慨貢獻，鼓勵我們繼續為城市增添文化藝術氣息。

我向所有參與藝術節的藝術家深表謝意。香港藝術節 很榮幸能夠呈獻精采紛呈的國際頂尖演出、培育本地 人才和委約新作品。我也格外感激藝術節團隊一直以 來的默默奉獻，令藝術節得以順利進行。

最後，我再次感謝您今天前來欣賞演出。香港藝術節 非常重視每一位觀眾的支持和參與。希望這個節目能 夠為您帶來無限喜悅、共鳴和靈感。

I warmly welcome you to the 52nd Hong Kong Arts Festival. Thank you for your staunch support, especially during and after the tumultuous period brought by the pandemic. With the Festival now back in full swing, we cherish this opportunity to come together once again and appreciate the arts with you. As we celebrate the Festival’s full-scale comeback and contemplate the development of the arts in this ever-changing environment, I would like to express my gratitude to everyone who has played a critical role in nurturing and sustaining the performing arts scene.

I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, which has graciously provided an annual subvention that serves as the bedrock of our ongoing efforts. The unwavering support from The Hong Kong Jockey Club Charities Trust, as well as other corporate sponsors, charitable foundations and individual donors, has encouraged us to further our work and continue enriching the community through the arts.

My sincere thanks go to all participating artists. It is truly an honour for us to present such a diverse range of exceptional performances, nurture local talent and commission new works. I would also like to thank the Festival staff, whose dedication has been indispensable in bringing this Festival to life.

Above all, I extend my heartfelt appreciation to you for joining us at today's performance. The Festival deeply values and relies on your support and engagement. May this programme bring you immense joy, resonance and inspiration.

Victor Cha Chairman Hong Kong Arts Festival

前言 FOREWORD

走過半世紀的香港藝術節，一直為國際與本地最優秀 的表演者搭建舞台，積極促進中外文化交流。經歷了 三年疫情的洗禮，藝術節終於在第52屆再度迎來「花 樣年華」，在全面復常的狀態下再度為本地觀眾與遊 客獻上今天和明日的經典，不單讓大家可以從眾多音 樂、舞蹈、戲劇、戲曲和多媒體作品中重新細賞遺世 瑰寶，更邀來多位重量級中外大師坐鎮，陣容鼎盛、 豐富多元，足以滿足不同觀眾群體的喜好。

今屆我們繼續支持本地藝術發展，為香港的藝術家提 供創作土壤，更連結國際及本地精英聯手開闢藝術新 境界。同時鼓勵藝術家善用創新科技融合創意，為觀 眾帶來耳目一新的體驗。

此外，香港藝術節亦繼續大力投放資源於藝術教育與 觀眾拓展，培育青少年對藝術的興趣與認識，因為我 們相信，文化藝術是一個城市生命力的最重要來源之 一。啟迪下一代，方能讓香港藝術發展生生不息，繼 續創造今明經典。

藝術節團隊與我們的藝術家同儕都會竭盡所能，為觀 眾帶來優質的藝術體驗。希望您會喜歡本屆香港藝術 節為您精心準備的這一場演出。

For more than half a century, the Hong Kong Arts Festival has provided a stage for the most outstanding local and international performers, and actively enhanced cultural exchanges between China and the rest of the world. After three years of the pandemic, we are delighted to come back in full force and present to local audiences and overseas visitors treasured classics of today and tomorrow. Our programme features an eclectic lineup of music, dance, theatre, Chinese opera and multimedia productions, with a range of Chinese and international legends set to command the stage. With such a rich and diverse programme, there is something to delight everyone.

This year, our ongoing support for the development of local artists provides opportunities for them to flex their creative muscles through collaborations with leading artists from all over the world. At the same time, we also empower artists to innovate through the power of technology and create refreshing experiences for our audiences.

What’s more, we have continued investing heavily in arts education and audience development, encouraging younger audiences to cultivate an interest in the arts. At the Festival, we believe that the arts are a vital source of life in Hong Kong’s urban landscape. By nurturing the next generation’s passion and appreciation for the arts, we can propel the city’s artistic development sustainably.

Together with all artists, the Festival team is committed to delivering exceptional artistic experiences to you. We hope that you will enjoy the programme that we have specially curated for you today.

香港藝術節資助來源：

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

Flora Yu Executive Director Hong Kong Arts Festival

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，2023/24財政年度預 計收入（包括第52屆香港藝術節及2024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12%，另外約25%需來自票房收入，約48% 則須依賴來自各大企業、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、劉曉 禹、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、班貝格交響樂團、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 納愛樂樂團

•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、 娜塔麗亞 奧斯波娃、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《飯戲攻心》踏台 版、《末戀 無愛合約》、《我們最快樂》、《鼠疫》、 《陪着你走》、《百花亭贈劍》、《香港家族》三部曲、

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 FY2023/24 (including the 52nd Hong Kong Arts Festival and 2024 “No Limits” programme) is approximately HK$150 million. Current Government annual funding accounts for around 12% of the Festival’s total income. Around 25% of the Festival’s income needs to come from the box office, and around 48% from sponsorship and donations by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching grant 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: Bayerische Staatsoper, 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, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, 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, Natalia Osipova, 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 WearableArt, 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 more than 250 local productions across various 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 Table for Six on Stage, Loveless Romance, We Are Gay, 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.

《世紀． 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》、香港 藝術節與三藩市歌劇院聯合製作的《紅樓夢》、香港 藝術節與芬蘭國家歌劇院及芭蕾舞團聯合製作的《拉 娜》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31年來，已為逾820,000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「無限亮」計劃於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。

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， 香港藝術節基金會 於2022年成立，旨在讓藝術 節在未來進行年度預算以外的大型特別項目。

（2023年12月更新 Updated December 2023）

*有關香港藝術節的過往節目，可參考以下網頁

The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer), co-produced by the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and The Tempest, produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution; Green Snake, co-commissioned with the Shanghai International Arts Festival; Dream of the Red Chamber, co-produced with the San Francisco Opera; and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.

The HKAF invests heavily in arts education for young people. During the past 31 years, our “Young Friends” scheme has reached more than 820,000 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 halfprice 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 inclusion 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.

To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future large-scale projects which its annual budget cannot cater for.

Details of past HKAF programmes can be found at https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2023.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.

電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828 4911/12

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

香港藝術節

HONG KONG ARTS FESTIVAL

感謝 would like to thank

贊助 for sponsoring 諏訪內晶子與琉森音樂節弦樂團 及丹尼爾．多特思

之演出

the Performance of Akiko Suwanai with the Festival Strings Lucerne and Daniel Dodds

諏訪內晶子與 琉森音樂節弦樂團及 丹尼爾．多特思

Akiko Suwanai with the Festival Strings Lucerne and Daniel Dodds

15.03.2024 / 7:30pm 香港大會堂音樂廳

Concert Hall, Hong Kong City Hall 演出長約1小時45分鐘，包括一節中場休息

Approximately one hour and 45 minutes including one interval

封面照片 Cover photograph

※演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光 線，影響表演者及其他觀眾

Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members ※請勿擅自攝影、錄音或錄影

Unauthorised photography or recording of any kind is strictly prohibited ※演出期間請保持安靜

Please keep noise to a minimum during the performance ※本場刊採用環保紙張印刷

This programme is printed on environmentally friendly paper ※如不欲保留本場刊，請於完場後放回演出場地入口

If you don’t wish to keep this booklet, please return it to 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

香港藝術節有權不讓任何遲到者入場。如香港藝術節允許遲到者入場，遲到者的入場 時間及方式將由香港藝術節決定。在任何情況下，除指定「遲到者進場時間」外，遲 到的觀眾有可能不獲安排入場。觀眾務請準時入座。如因遲到而無法入場，恕不退票 或換票。如有爭議，香港藝術節保留最終決定權。

The Hong Kong Arts Festival (“HKAF”) reserves the right to refuse admission of any latecomers to the event. In the event the HKAF allows the admission of latecomers, we also reserve the right to determine the time at which and the manner in which latecomers are to be admitted. In any case, latecomers shall only be admitted at designated latecomer point(s). Audience members are strongly advised to arrive punctually. No refunds or changes will be offered if the ticket holder is refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.

Akiko Suwanai © Takaki Kumada

Daniel Dodds © Fabrice Umiglia

Akiko Suwanai © Takaki Kumada

Daniel Dodds and Festival Strings Lucerne © Fabrice Umiglia

琉森音樂節弦樂團 Festival Strings Lucerne

琉森音樂節弦樂團於1956年成立，隨後迅速成為 全歐洲，以至全世界最傑出的室內樂團之一。樂 團成立的同年便於琉森音樂節進行首次公演。

樂團曾演奏各類型曲目，不但在琉森文化和 會議中心舉行自家音樂會系列，更以客席樂團身 份在琉森音樂節中演出。同時，他們亦經常在歐 洲頂尖的音樂廳表演，包括漢堡易北愛樂廳、柏 林愛樂廳、荷蘭皇家音樂廳和維也納音樂協會大

琉森音樂節弦樂團原本是由維也納傳奇小提 琴家沃爾夫岡．施耐德漢，以及瑞士指揮家和小 提琴家魯道夫．鮑加特納成立的古鍵琴弦樂團， 現由丹尼爾．多特思領導。自成立起，樂團一直 致力於展現和傳承奧匈弦樂傳統高雅和溫暖的

多特思於2012年獲任命為藝術總監，延續 鮑加特納以樂團首席身份帶領樂團的傳統。多特 思擴大了樂團的規模，適切地加入更多樂手，以

樂團的曲目涵括巴羅克至當代音樂，他們更 曾為尚．法朗賽、法蘭克．馬丁及博胡斯拉夫． 馬替奴等多位著名作曲家首演逾百首新作，亦曾

The Festival Strings Lucerne was founded in 1956 and quickly established itself as one of the most distinguished chamber orchestras in Europe and around the world. It made its debut at the Lucerne Festival in the year it was formed.

The orchestra offers a wide-ranging repertoire in its own concert series at the KKL Luzern and as a guest ensemble at the Lucerne Festival, while regularly appearing at leading European concert halls such as the Elbphilharmonie Hamburg, the Berliner Philharmonie, The Royal Concertgebouw and the Vienna Musikverein.

The Festival Strings Lucerne, currently led by violinist Daniel Dodds, was established as a string orchestra with harpsichord by the Viennese violin legend Wolfgang Schneiderhan and the Swiss conductor and violinist Rudolf Baumgartner. From the start, the ensemble has been committed to developing the noble glow and warmth of the AustroHungarian string sound tradition.

Dodds, who was appointed Artistic Director in 2012, leads the orchestra from the concertmaster’s chair, continuing the example set by Baumgartner. Dodds has notably extended the scope of the ensemble, adding instruments as required, to facilitate performances of the midsize symphonic repertoire.

The orchestra’s repertoire ranges from Baroque to contemporary music, and it has premiered more than 100 works by composers such as Jean Françaix, Frank Martin and Bohuslav Martinů, while collaborating with a range of leading musicians.

© Fabrice Umiglia

丹尼爾．多特思

丹尼爾．多特思為小提琴家和導師，於2000 年獲任命為琉森音樂節弦樂團的樂團第一首 席，並自2012年起擔任樂團的藝術總監。擁 有澳洲及華裔血統的多特思以獨奏的身份， 與蘇賓．梅達、阿殊堅納西及奧莎娜．林尼 夫等指揮合作，並與琉森音樂節弦樂團、琉 森音樂節交響樂團、意大利瑞士管弦樂團、 墨爾本交響樂團和澳洲世界樂團等一同演出。

多特思隨吉納斯．拉辛斯學習小提琴， 而拉辛斯乃琉森音樂節弦樂團的前任樂團首 席；並隨綿谷恵子於荷蘭烏特勒支學習小提 琴。他亦曾參與魯道夫．鮑加特納、佛朗 哥．古里和納森．米爾斯坦的大師班。

除了表演外，多特思亦於琉森音樂學 校授課。不論是他與琉森音樂節弦樂團的作 品、其廣獲好評的獨奏專輯《超越時間》（厄 姆斯唱片），還是2022年發行的《莫扎特：哈 夫納小夜曲》，都展示了對演繹不同時期和 風格的音樂的熱愛。多特思拉奏的樂器，是 1717年製造的史特拉底瓦里哈默勒-鮑加特納 名琴，由琉森音樂節弦樂團基金會借出。

Artistic Director

Daniel Dodds

Daniel Dodds is a violinist and teacher who has served as Artistic Director of the Festival Strings Lucerne since 2012, adding to his duties as First Concertmaster of the ensemble, a post he assumed in 2000. Dodds, who is of AustralianChinese ancestry, has performed as a soloist under conductors such as Zubin Mehta, Vladimir Ashkenazy and Oksana Lyniv in collaboration with orchestras including the Festival Strings Lucerne, the Lucerne Symphony Orchestra, Orchestra della Svizzera Italiana, the Melbourne Symphony Orchestra and the Australian World Orchestra.

Dodds completed his violin studies with Gunars Larsens, his predecessor as Concertmaster of the Festival Strings Lucerne, as well with Keiko Wataya in Utrecht, the Netherlands. He has also participated in masterclasses with Rudolf Baumgartner, Franco Gulli and Nathan Milstein.

Outside of his performance schedule, Dodds currently teaches at the Lucerne School of Music. Both his work with the Festival Strings Lucerne and his critically acclaimed solo recordings, the album Time Transcending (Oehms Classics) or the 2022 release Mozart: Haffner Serenade, display his deep commitment to music of varying styles, spanning centuries. He plays the Stradivarius Hämmerle-Baumgartner from 1717, on loan from the Festival Strings Lucerne Foundation.

© Fabrice Umiglia

日本小提琴家諏訪內晶子是同年代中最炙手 可熱的音樂家之一。自1990年於國際柴可夫 斯基大賽獲勝後，她的演奏事業如日方中， 於世界各地演奏室內樂，又與國際頂尖的樂 團和指揮一同演出。

2023/2024年樂季中，諏訪內晶子與芬 蘭坦佩雷愛樂樂團合奏柴可夫斯基的小提琴 協奏曲，由塔比莎・貝 格倫德指揮。她亦將 與美國棕櫚灣交響樂團演出此曲。諏訪內晶 子以演奏多元的曲目聞名，她於2023/2024 年樂季的其他演出包括：與安特衛普交響 樂團灌錄拉爾夫．沃恩．威廉斯的《雲雀高 飛》，由她的緊密合作夥伴馬卻指揮；在立 陶宛現代音樂節再次演奏細川俊夫的《創世

她曾與不同著名樂團合作，包括英國 廣播公司交響樂團、荷蘭鹿特丹愛樂管弦樂 團、杜伊斯堡愛樂樂團和香港管弦樂團。她 曾於歷屆日本音樂節首演不同新作，包括與 不來梅德意志室內愛樂管弦樂團演奏卡羅 爾．貝法的《漂浮世界》，以及與波利斯．伯 里索夫斯基合奏藤倉大的《撲通撲通》。

諏訪內晶子演奏小提琴的核心曲目一向 廣獲世界好評。她在2022年於環球唱片發 行了專輯《巴哈：無伴奏小提琴奏鳴曲與組 曲》，然後於日本國內舉行獨奏會巡演，包括 東京及名古屋等地。她因精湛演繹冷門作品 及熱衷音樂新作而備受稱頌。

Violin Soloist Akiko Suwanai

Japanese violinist Akiko Suwanai has established herself as one of the most sought-after artists of her generation. Since winning the International Tchaikovsky Competition in 1990, she has enjoyed a flourishing career, performing chamber music worldwide and engaging at the highest level with orchestras and conductors internationally.

Suwanai began the 2023/24 season with the Tampere Philharmonic Orchestra playing Tchaikovsky’s Violin Concerto conducted by Tabita Berglund, a concerto she will reprise later for the Palm Beach Symphony. Known for her breadth of repertoire, Suwanai’s other season highlights include a recording of Ralph Vaughan Williams’ The Lark Ascending with the Antwerp Symphony Orchestra alongside conductor and close collaborator Jun Märkl, returning to Toshio Hosokawa’s music to play Genesis as part of the Gaida Festival.

Highlights of previous seasons include performances with the BBC Symphony Orchestra, the Rotterdam Philharmonic, the Duisburg Philharmonic and the Hong Kong Philharmonic Orchestra. Appearing at the Nippon Festival in previous seasons, she has premiered new works including Karol Beffa’s A Floating World alongside The Deutsche Kammerphilharmonie Bremen and Dai Fujikura’s Pitter-Patter with Boris Berezovsky.

Universally acclaimed for her performances of the core violin repertoire, Suwanai released the recording J.S. Bach: Sonatas and Partitas for Solo Violin on Universal Music in 2022, followed by a solo recital tour across Japan, including concerts in Tokyo and Nagoya. She is recognised for her masterful interpretations of lesser-performed works and her passion for new music.

© Kiyotaka Saito

普羅科菲耶夫

D 大調第一交響曲，作品 25，「古典」 快板

間奏曲：小廣板

嘉禾舞曲：不太快的快板 終曲：非常活潑

亨利．維厄當

A 小調第五小提琴協奏曲，作品 37 不太快的快板—中板 慢板

火熱的快板

小提琴獨奏 諏訪內晶子

Sergei Prokofiev (1891-1953)

Symphony No 1 in D Major, Op 25, "Classical"

Allegro

Intermezzo: Larghetto

Gavotte: Non troppo allegro

Finale: Molto vivace

Henri Vieuxtemps (1820-1881)

Violin Concerto No 5 in A minor, Op 37

Allegro non troppo—Moderato

Adagio

Allegro con fuoco

Volin Soloist Akiko Suwanai

中場休息 INTERVAL

理查．杜布農

交響樂團的第四隨想曲，「必須如此！」

Richard Dubugnon (b. 1968)

Caprice for Orchestra No 4, "Es muss sein!"

莫扎特

Ｃ大調第四十一交響曲， K551，「朱庇特」

活潑的快板

如歌的行板

小步舞曲：小快板 甚快的快板

Wolfgang Amadeus Mozart (1756-1791)

Symphony No 41 in C Major, K551, "Jupiter"

Allegro vivace

Andante cantabile

Menuetto: Allegretto

Molto allegro

普羅科菲耶夫 D大調第一交響曲，作品25，「古典」

Sergei Prokofiev (1891-1953)

Symphony No 1 in D Major, Op 25, "Classical"

普羅科菲耶夫以一個早熟自信、懷抱大志的 新星形象登場。在動蕩的1917年，即布爾什 維克革命初年，他依然創作不輟，寫成他兩 首小提琴協奏曲的第一首，以及他的第一首 交響曲。1918年春天，在他行將離國，客旅 西方近廿載前，他發表了這首第一交響曲， 而這首樂曲更成為他最受喜愛的作品之一。

漫長的十九世紀浪漫主義創新浪潮， 以涵括萬象宇宙的交響曲鉅作而達至巔峰： 1911年逝世的馬勒，便是循此方向推至極 致。早期現代主義的一大標誌，便是反其道 而行。鍾情於「少即是美」，以及矛盾地有意 回歸古典理想的通透感，而非表現強烈情感。

普羅科菲耶夫在第一交響曲中便表現出 這重轉向，作品反映出他非常熟悉海頓和莫 扎特的風格，回歸古典時期交響樂的精簡比 例。他甚至戲稱此作為「古典」。

D大調引起了古典音樂中開明樂觀的聯 想，並透過歡快的小號和定音鼓進一步強 化。縱然大量引用古典模式，音樂素材卻完 全是普羅科菲耶夫的原創，例如他驚喜的和 聲運用，便顯示他絕非單純地複製舊作樂 曲。「古典」交響曲充滿機智、魅力和詩意， 是寫給過去的情歌，但同時又展望將來。例 如，飛快的終曲如一串燃燒中的炮杖般一往 直前，把海頓等優秀作曲家的精神轉化至新 世紀。

Sergei Prokofiev burst on the scene as a precociously confident and ambitious young artist. During the turbulent first year of the Bolshevik Revolution in 1917, he managed to produce an astonishing amount of music, including the first of his two violin concertos as well as his symphonic debut. Prokofiev introduced his Symphony No 1 in the spring of 1918—shortly before heading off to a voluntary exile in the West for nearly two decades—and it has remained among his best-loved compositions ever since.

The long 19th century of Romantic innovation reached its climax in the form of enormous symphonies that sought to encompass the entire universe: Gustav Mahler, who died in 1911, stretched this tendency to its limit. One of the hallmarks of early Modernism was an opposite (if not equal) reaction favouring the principle of “less is more” and of an ironically self-conscious return to classical ideals of transparency over emotional intensity.

Prokofiev illustrates this shift in the First Symphony, which reflects a fond knowledge of the styles of Haydn and Mozart, resuming the modest proportions of the Classical-era symphony. He even gave it the nickname “Classique”.

The key of D Major evokes Classical associations of enlightened optimism, reinforced by celebratory trumpets and timpani. Yet for all the allusion to Classical models, the musical material is entirely Prokofiev’s own invention. His use of surprising harmonies, for example, makes it clear that this music is no simple “cut-and-paste” from the past. Full of wit, charm and lyrical poise, the “Classical” symphony is a love song to the past that manages at the same time to be forward-looking. The breakneck finale, for example, rushes onward like a burning firecracker, translating the brilliant spirits of Haydn and company into a new century.

亨利．維厄當

A小調第五小提琴協奏曲，作品37

Henri Vieuxtemps (1820-1881)

Violin Concerto No 5 in A minor, Op 37

比利時小提琴大師和作曲家亨利．維厄當， 深受作曲巨匠白遼士推崇，他亦是十九世紀 小提琴發展的重要推手。維厄當成長於法 國，正值尼古洛．帕格尼尼的獨奏技巧聲名 大噪之時。當帕格尼尼的追隨者都過度強調 演奏技巧時，維厄當卻試圖在技巧展示和音 樂內涵之間取得平衡。維厄當本身亦是一位 廣獲推崇的明星小提琴家，影響遍及新一 代小提琴家，同時又因為他曾於聖彼得堡擔 任宮廷音樂家，啟導了俄國小提琴的演奏風 格。他亦大力推崇今日廣為人知，但當時被

人忽視的作品，如貝多芬的小提琴的協奏 曲。他後來因屢次中風，被迫放棄小提琴家 及教師的工作。

作曲方面，維厄當專注於創作小提琴交 響協奏曲和室內樂作品，一共寫成七首小提 琴協奏曲。於1858至1859年創作的A小調第 五小提琴協奏曲，作品37，便是佳作之一。

此作乃是應維厄當在布魯塞爾音樂學院的同 事邀約譜寫，用作學生比賽之用，需要以傑 出的小提琴技巧來演奏。作品在創作上既進 取，又敏感。維厄當捨棄了傳統三個獨立樂 章的格式，讓三個樂章一氣呵成，以華采樂 段連結起較長的首樂章與最後譜寫的慢板。

慢板引用了安德烈．格雷特里在十八世紀創 作的法國歌劇的迷人旋律。慢板接着直接過 渡至一個非常簡短但熱烈的終曲。

Earning the praise of no less an artist than Hector Berlioz, the Belgian virtuoso and composer Henry Vieuxtemps was a significant figure in the development of the violin’s profile in the 19th century. Vieuxtemps came of age in France in the wake of the spectacular kind of virtuosity made famous by Niccolò Paganini. He sought to find a balance between the merely flamboyant display of technique that had been overemphasised by Paganini’s followers and musical substance. Vieuxtemps enjoyed enormous popularity as a star violinist in his own right and influenced a new generation of players—and even the Russian school of violin playing, which he established during his years as a court musician in St Petersburg. He also championed such works as Beethoven’s Violin Concerto, now taken for granted but which at the time were neglected. A series of strokes forced him to give up his career as a virtuoso and teacher.

As a composer, Vieuxtemps focused on concertante and chamber music featuring the violin and produced seven solo concertos. Violin Concerto No 5 in A minor, Op 37, dates from 1858-59 and is among the finest of these. It demands extraordinary technique from the soloist, since Vieuxtemps was asked to write it for one of his colleagues at the Brussels Conservatoire who was seeking a new piece to use for student competitions. Yet, characteristically, the piece is also compositionally ambitious and sensitively scored. Rather than settle for the conventional format of three separate movements, Vieuxtemps has all three played without pause, using an extensive cadenza to link the longer opening movement to the adagio. The last part to be written, it quotes a beguiling melody from an 18th century French opera by André Grétry. The adagio in turn segues directly into the very brief but fiery finale.

理查．杜布農 交響樂團的第四隨想曲，「必須如此！」

Richard Dubugnon (b. 1968)

Caprice for Orchestra No 4, "Es muss sein!"

丹尼爾．多特思與琉森音樂節弦樂團，帶來 了作曲家和低音大提琴家理查．杜布農創作 的這首瑞士獻禮。杜布農於1968年生於洛 桑，在醉心音樂同時，亦對文學、視覺藝 術、電影、舞台表演等不同藝術有濃厚興 趣。他曾為巴黎歌劇院管弦樂團演奏低音大 提琴超過十年。在2017年創作的第四隨想曲 中，亦可見到他的舞台觸覺。這是杜布農一 系列的音樂會序曲中的第四首作品，為一個 全貝多芬曲目的音樂會譜寫。

隨想曲一般都兼具玩味及幻想，這正是 杜布農從貝多芬的最後一首弦樂四重奏，作 品135中提取的素材來構建的，特別是終章 謎一般的動機。貝多芬在手稿上為這個緊湊 的三音符動機寫上「Muss es sein（非得如 此？）」，又以「Es muss sein（必須如此！）」 作為肯定的回應，成為樂章的主題。在這自 問自答的謎語上，貝多芬還寫上「艱難的決 定」。

Daniel Dodds and the Festival Strings Lucerne have brought a musical gift from Switzerland with this piece by the composer and double bassist Richard Dubugnon. Born in Lausanne in 1968, Dubugnon supplements his musical life with strong interests in the other arts, including literature, the visual arts, cinema and the stage. He played double bass with the Paris Opera Orchestra for more than a decade, and a theatrical sensibility is apparent in Caprice IV (2017). This is the fourth in a series of concert openers by Dubugnon; it was commissioned to complement an all-Beethoven programme. A musical caprice suggests a playful fantasy, and that is exactly what Dubugnon constructs out of source material he has taken from the very last of Beethoven’s string quartets, the Opus 135: specifically, the enigmatic motifs in the last movement. Beethoven inscribed into his manuscript the phrases “Muss es sein” (“Must it be?”) for a terse, three-note motif and “Es muss sein” (“It must be”) for the affirmative “response” to it, which becomes the main theme. At the top of this question-and-answer riddle the composer also wrote: “The hard-won decision.”

© Laurent Dubois

莫扎特 C大調第四十一交響曲，K551，「朱庇特」

本場音樂會以一首二十世紀初重新反思古典 風格的交響曲開始，並以莫扎特最後一首交 響曲收結。丹尼爾．多特思認為，莫扎特預 視了交響曲的發展，後繼者如貝多芬以《英 雄》等交響曲作品繼續發揚光大。無人知道 甚麼驅使莫扎特譜寫C大調交響曲，「朱庇 特」的名稱也是莫扎特身故後才出現。此曲 極之珍貴，是莫扎特在個人生活艱難之時， 於1788年夏天僅用六個星期創作出的三首交 響曲之中的最後一首。

「朱庇特」是一首充滿肯定與自信的作 品，以如同雷鳴的管弦和弦開展。C大調加強 了樂章的莊嚴寬宏，莫扎特又在作品中灌注了 他對歌劇的鍾愛，其中溫暖明亮的詩意旋律， 與諧趣的片段，讓人想起他當時新近創作、充 滿喜感的歌劇《費加羅的婚禮》。第一樂章充 斥豐富樂思，架構浩大，接着是細膩如絲的弦 樂和迷人管樂的行板。小步舞曲則由一行簡單 的下行半音階而生出無窮變化，流麗的和聲與 C大調主調呈鮮明的對比。

在宏大的最後樂章中，主調穩如磐石。

令人讚嘆的是，莫扎特同時又能平添複雜的 層次，建構出如音樂宮殿般的結構。他亦向 作曲家前人致敬。在扣人心弦的最後一節， 莫扎特把五個不同的樂思燦爛地融為一體， 結合了他從巴赫和韓德爾學到的技巧以及他 個人的古典風格。這其中表現的，不單是交 響曲，更是管弦樂團和音樂力量的新境界。

撰文：湯馬士．梅

Having begun with an early 20th-century reconsideration of Classical style, our programme concludes with the last of Mozart’s symphonies, in which, as Daniel Dodds sees it, the composer looks ahead to the expansion of the genre that Beethoven would continue through such works as his “Eroica” symphony. No one can say for certain what occasioned Mozart to write this C Major symphony, which acquired the nickname “Jupiter” only after his death. It belongs to a rare vintage: the last of a trio of symphonies he composed within the incredible span of a mere six weeks or so during the summer of 1788, when Mozart was undergoing particularly difficult times personally.

Yet the “Jupiter” is a work of tremendous affirmation and confidence, beginning with orchestral chords that resound like thunderbolts. The key of C Major reinforces the majestic grandeur of this music. Mozart also pours all of his love of opera into the score, including warmly lyrical melodies and witty, comic episodes that remind us of the buoyant humour of his recent opera The Marriage of Figaro. After the profusion of ideas filling out the generously proportioned first movement, Mozart offers an andante of silken strings and enchanting woodwind song. The minuet generates variety from the simple idea of a descending chromatic line. Its slithering harmonies pose a colourful contrast to the home key of C Major.

But that tonal bedrock proves unshakeably solid in the grand final movement: what makes this so miraculous is that Mozart at the same time surprises with added layers of complexity, building a musical architecture that is the equivalent of a sonic palace. He also pays tribute to the legacy of composers who came before. In the thrilling final section, Mozart weaves five different ideas into a resplendent whole, combining techniques he learned from Bach and Handel with his own Classical language. It’s a declaration of new vistas for the symphony, for the orchestra, and for the power of music itself.

Text: Thomas May

Wolfgang Amadeus Mozart (1756-1791) Symphony No 41 in C Major, K551, "Jupiter"

中歐傳統弦樂光輝

Festival Strings Lucerne and that ‘Special Moment’

琉森音樂節弦樂團成立於1956年，在那 個年代，一個沒有指揮的小型樂團是匪夷 所思的。六十多年以來，樂團聞名遐邇， 其音樂造詣與活力，鼓舞了更多類似的音 樂團體成立。過去，這類型的音樂演出， 多數由大型管弦樂團的個別音樂家湊合擔 綱，因此，這種小規模室內樂團的蓬勃發

Founded in 1956, the Festival Strings Lucerne began building its reputation as one of the world’s leading chamber orchestras at a time when small ensembles without a conductor were rare. The quality and liveliness of its music-making inspired similar groups to form: an exciting alternative to what had been the usual practice of having a contingent of musicians from the ranks of larger orchestras perform such repertoire.

© Fabrice Umiglia

小提琴家丹尼爾．多特思自2000年起擔 任樂團首席，並於2012年開始，以藝術總監 的身份指導樂團演出。他說：「這樣的弦樂 團其實更像是一支室內樂團，你會看到團員 之間有更多非語言的交流。一般交響樂團在 演出時，團員都只集中注意指揮。雖然有時

“With an orchestra like this, it’s a lot more like chamber music,” explains violinist Daniel Dodds, who became the ensemble’s first Concertmaster in 2000 and has served as Artistic Director since 2012. “You will notice there’s a lot more non-verbal communication going on among the musicians than what you might see with a symphony

候我也擔任指揮，但更多時候我們是一個團 隊，彼此交流呼應，各司其職，讓人血脈沸 騰。」

2024年， 多特思將率領琉森音樂節弦樂 團，展開新冠疫情後的首個亞洲之旅，闊別 香港藝術節足有十年之久（樂團首度於藝術 節公演已經是1978年的事）。多特思感嘆道： 「演出被迫長時間停頓，讓我明白音樂會是何 等特殊的活動。我們習慣將音樂表演視為等 閒之事，但其實它是一場慶典。」

顧名思義，琉森音樂節弦樂團以弦樂 團的組合出道，由小提琴家魯道夫．鮑加特 納和沃爾夫岡．施耐德漢創立，旨在塑造和 傳承植根於中歐傳統的弦樂之音。樂團以閒 適恬靜的瑞士中部小城琉森為基地，此處也 是世界頂級古典音樂節琉森音樂節的場地。

根據多特思的描述，樂團由「一班瑞士音樂 家，再加上鄰近國家如意大利、德國等地的 音樂家」組成。每一年的「才藝週」，樂團 都會演出交響樂和室內樂的曲目，並藉此指 導年輕的瑞士音樂家。

多特思本身是一位出色的小提琴家，跟 他的前任一樣，他先以樂團首席的身份領導 琉森音樂節弦樂團。他形容自己的角色主要 是「尋找平衡點：一方面，指示必須清晰明 確；另一方面，也要讓每一個人的聲音自由 呼吸，暢所欲言。」自他擔任藝術總監以來， 已經將樂團的曲目由弦樂作品擴大到室內 樂，包含巴羅克時期至現代的作品。

琉森音樂節弦樂團此次來訪，會在香港 大會堂演出兩首耳熟能詳的交響樂曲，分別 於兩個不同年代譜寫；一首是普羅科菲耶夫 於年輕時所創作的風趣「古典」交響曲，另 一首是莫扎特最後一首交響曲「朱庇特」。多 特思指出，「古典」交響曲是二十世紀初作曲 家以創新的手法，回顧及重新演譯古典風格； 「朱庇特」則前瞻貝多芬規模宏偉的史詩式交 響曲目。此外，樂團還會與日本星級小提琴 家諏訪內晶子再度攜手，獻奏維厄當於1858 至1859年創作的第五小提琴協奏曲。對此， 多特思說：「一般聽眾未必熟悉這首協奏曲， 但這支樂曲非比尋常，且對小提琴手的要求 相當高。」

是次演出的曲目中，代表當代音樂的是 瑞士作曲家理查．杜布農的第四隨想曲。這 首樂曲活潑地回應貝多芬弦樂四重奏，作品 135終章更譜上對答式標題「非得如此？必須 如此！」。對多特思而言，杜布農的隨想曲是 「一首藝術與趣味兼備的交響樂，且特別適合 於香港藝術節演出，因為它非常貼近當代音 樂」。

orchestra, where the focus is on the conductor. Even though I do play that role sometimes, we’re all in this together and you can see how we function as an organism. It’s quite exciting to watch.”

Dodds and the Festival Strings Lucerne are undertakeing their first Asian tour since the COVID-19 pandemic in 2024. Their appearance at the 2024 HKAF marks a full decade since they last visited (the ensemble made its HKAF debut in 1978.) “The extended period of being forced not to perform opened my eyes to the specialness of playing concerts and how it is a celebration that we shouldn’t take for granted,” Dodds says.

As the name indicates, the Festival Strings Lucerne originated as a string ensemble, the brainchild of the violinists Rudolf Baumgartner and Wolfgang Schneiderhan, with the aim of cultivating the string sound rooted in Central European tradition. The ensemble remains based in the idyllic central Swiss city of Lucerne, home as well to the Lucerne Festival, one of the world’s leading Classical music festivals. Dodds describes the makeup of the orchestra as “a good mix of Swiss players and players who live in adjacent countries, such as Italy or Germany”. Along with its orchestral and chamber music series, The Festival Strings Lucerne coaches young Swiss musicians during the annual “Talent Week”.

Like his predecessors, Dodds leads the orchestra from his position as concertmaster. He describes his role as seeking a balance “between clarity of instruction and giving space so that the individual voices can breathe and express themselves”. Since becoming Artistic Director, Dodds has expanded the ensemble’s focus beyond the string repertoire to playing works suited for a chamber orchestra that range from the Baroque to the contemporary.

The programme to be performed at Hong Kong City Hall combines two familiar works from distinctive eras in the symphonic repertoire with two discoveries. Dodds points out that while the witty “Classical” symphony, written at a young age by Sergei Prokofiev, looks backward in an innovative way early in the 20th century, the “Jupiter”—Mozart’s final symphony—anticipates the epic scope of the Beethovenian symphony. The Festival Strings Lucerne will reunite with star violinist Akiko Suwanai for the Violin Concerto No 5 by Henri Vieuxtemps from 1858-59. “This concerto is not well known to the general public, but it’s a fantastic piece and very demanding for a violinist,” says Dodds.

Representing the role of contemporary music in the ensemble’s repertoire is Swiss composer Richard Dubugnon’s Caprice No 4. It playfully alludes to the motto of the question-and-answer riddle Beethoven famously wrote in the score of his Op 135 String Quartet: “Must it be? It must be! ” For Dodds, the result is “virtuosic and entertaining to listen to—and a good piece for the HKAF because it also has a strong connection to contemporary music”.

The Festival Strings Lucerne is not a period-instrument ensemble, but plays mostly on modern instruments and with modern bows—although Dodds performs on a 1717 Stradivarius that once belonged to Baumgartner, and the ensemble has access to several other rare string instruments from the great Italian luthiers. The ensemble incorporates

琉森音樂節弦樂團並不是一隊古樂器 音樂組合，他們大多採用現代樂器和琴弓演 奏，雖然亦會使用意大利提琴匠人所製造的 稀有弦樂器。多特思則一貫喜歡用他那一把 1717年製造的史特拉底瓦里小提琴，這把提 琴過去屬於鮑加特納。當樂團演出莫扎特和 貝多芬的樂曲時，他們會採用鑑古演奏的方 式。多特思分享道：「我們會一起討論震音的 表達，如何處理強音等問題。我們善用樂曲 提示，但不會墨守成規。」

多特思覺得自己的靈感也許來自他的出 身，因為他既有亞洲又有澳洲血統。他解釋 說：「我常常都在尋求共生。我總想將事物聯 繫起來。」最終，他的目標是「逐漸培養團員 的信心。如果我讓他們感到自己能夠發揮最 大的潛能，那樣就能成真。這種舞台上的友 愛和契合，成就了那一剎光輝」。

撰文：湯馬士．梅 原文刊登於香港藝術節2024年之《閱藝》雜誌

insights from historically informed performance movement when playing Mozart or Beethoven, according to Dodds: “We will talk about the use of vibrato, how we deal with accents and similar issues. We make use of these tools—but not as rules that have to be followed.”

Dodds explains that he is perhaps inspired by his own half-Asian, half-Australian parentage: “I’m always looking for a symbiosis. I want to connect things”. In the end, the goal is “to instill trust in my players. If I give them the feeling that they can get the best out of themselves, then they’ll do it. That camaraderie onstage becomes a special moment”.

Text: Thomas May

Originally published in the HKAF’s 2024 FestMag

© Fabrice Umiglia

琉森音樂節弦樂團 Festival Strings Lucerne

第一小提琴

First Violins

Daniel Dodds Concertmaster

Jaewon Kim Associate Concertmaster

Thomas Schrott

Regula Dodds

Yacin El Bay

Jonathan Allen

Matthias Müller

Mia Renfer

第二小提琴

Second Violins

Daniel Meller Principal

Yuka Tsuboi

Jonas Moosmann

Izabela Iwanowska

Daniel Frankenberg

Beatrice Harmon

中提琴 Violas

Dominik Fischer Principal

Katrin Burger

Marlene Züsli-Spahr

Mira Maranta

Bas Bartels

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Jonas Iten Principal

Alexander Kionke

Maurer Regula

Nayon Han

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Stephan Werner Principal

Chia-Chen Lin

長笛 Flutes

Maximilian Randlinger Principal

Isabell Weymann

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Hernando Escobar Principal

Roman Schmid

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Dimitri Ashkenazy Principal

Miquel Ramos Salvado Principal

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Thomas Eberhardt Principal

Thomas Ritschel

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Natalino Ricciardo Principal

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Wolfram Lauel Principal

Jonathan Bucka

定音鼓 Timpani

Alexander Schröder

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

埃及駐港澳總領事館 Consulate General of the Arab Republic of Egypt in Hong Kong and Macau

伊朗駐香港總領事館 Consulate General of the Islamic Republic of Iran 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

義大利駐香港總領事館 Consulate General of Italy in Hong Kong

愉景灣服務管理有限公司 Discovery Bay Services Management Limited

李敬恒博士 Dr Roger Lee

香港逸東酒店 Eaton HK

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

教與學發展中心（服務學習部）Service-Learning Section, Centre for Teaching and Learning 香港兆基創意書院 HKICC Lee Shau Kee School Of Creativity 香港兆基創意書院文化藝術中心 HKSC Arts and Culture Centre 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

電影學院 Academy of Film

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

宗教及哲學系 Department of Religion and Philosophy

香港聖經公會 Hong Kong Bible Society

香港中樂團 Hong Kong Chinese Orchestra

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 香港都會大學 Hong Kong Metropolitan University

何陳婉珍粵劇研藝中心 Ina Ho Cantonese Opera Research Centre

香港藝術館 Hong Kong Museum of Art 香港管弦樂團 Hong Kong Philharmonic Orchestra

香港話劇團 Hong Kong Repertory Theatre

香港小交響樂團 Hong Kong Sinfonietta 香港旅遊發展局 Hong Kong Tourism Board

摩納哥駐香港名譽領事館 Honorary Consulate of Monaco in Hong Kong 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 王仁曼芭蕾舞學校 Jean M. Wong School of Ballet 賽馬會創意藝術中心 Jockey Club Creative Arts Centre Kind of Brew

高山劇場 Ko Shan Theatre

Kubrick 葵青劇院 Kwai Tsing Theatre

駐香港韓國文化院 Korean Cultural Center in Hong Kong 拉脫維亞駐香港名譽領事館 Latvian Honorary Consulate 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 學生事務處 Office of Student Affairs

鄺森活圖書館 Fong Sum Wood Library

藝術科技與商業理學碩士課程 MSc in Arts Technology and Business 樂茶軒 LockCha Tea House

木的地.R Madera Residences Maxibit HK/China

循道衛理聯合教會國際禮拜堂 Methodist International Church Hong Kong

Mini Central 中環迷你酒店

Moetown Serviced Apartments

MOViE MOViE Pacific Place

Mr Alpha Li

陳朗丰先生 Mr Lazarus Chan

南蓮園池 Nan Lian Garden

荃灣西如心酒店 Nina Hotel Tsuen Wan West

北區大會堂 North District Town Hall

一桌兩椅慈善基金 One Table Two Chairs Charitable Foundation

柏斯琴行 Parsons Music Limited

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

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

鄭新文教授 Prof Tseng Sun-man

RED ZHU

富豪酒店國際 Regal Hotels International

富豪東方酒店 Regal Oriental Hotel

皇家太平洋酒店 Royal Pacific Hotel

泰國駐香港總領事館 Royal Thai Consulate General Hong Kong

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

Southgate Design

事必達推廣有限公司 Speedy Promotion Limited

聖公會聖約翰座堂 St John's Cathedral

中山紀念公園 Sun Yat Sen Memorial Park

大館—古蹟及藝術館 Tai Kwun—Centre for Heritage and Arts

香港中文大學 The Chinese University of Hong Kong

音樂系 Department of Music

聯合書院 United College

文學院 Faculty of Arts

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

邵逸夫堂 Sir Run Run Shaw Hall

香港城市大學 The City University of Hong Kong

中文及歷史學系 Department of Chinese and History

城大創意媒體學院 School of Creative Media

文化薈 Cultural Exchange Oasis

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

圖書館 Library

芬名酒店 The Fleming 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

香港理工大學 The Hong Kong Polytechnic University

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

香港復康會 The Hong Kong Society of Rehabilitation

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

藝術中心 Center for the Arts

理學院學務輔導辦公室 Office of Academic Advising and Support, School of Science

香港朗廷酒店 The Langham, Hong Kong

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

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

Cultural Management Office

志新學院 Chi Sun College

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

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

東蒲 Tung Po

城市售票網 URBTIX

西九文化區管理局 West Kowloon Cultural District Authority

Wewow House

粵海華美灣際酒店 Wharney Hotel

艾希妮控股有限公司 X Social Group Holdings Limited

油麻地戲院 Yau Ma Tei Theatre

英華書院 Ying Wa College

青年廣場 Youth Square

元朗劇院 Yuen Long Theatre

地址 ADDRESS 香港灣仔港灣道二號十二字樓1205室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong

電話 TEL （852）2824 3555

傳真 FAX （852）2824 3798、（852）2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 （852）2824 2430

贊助人 李家超先生, PATRON

The Hon. John KC Lee, GBM SBS PDSM PMSM 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

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

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

EXECUTIVE COMMITTEE

Chairman

Honorary Treasurer

Members

Programme Enquiry Hotline + 榮譽節目顧問 Honorary Programme Advisor

Mr Victor Cha

Vice-Chairman 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

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

ADVISORS

HONORARY SOLICITOR

AUDITOR

Prof. Lo King-man, SBS MBE JP

Prof. Giorgio Biancorosso

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig, OBE +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, SBS JP

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 CVO GBS OBE JP

Mr Martin Barrow, GBS CBE

Dr John CC Chan, GBS 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

Ms Gabriela Kennedy, Mayer Brown

PricewaterhouseCoopers

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、蘇雪凌、游慧姿*

節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*、伍美衡*

節目統籌 林穎茵*

藝術行政見習員 容諾行*

節目助理 鍾曉晴*

製作助理 陳娟瑜#

物流

物流及接待經理 金學忠*

技術

製作經理 梁雅芝* 副製作經理 陳梓衡*

出版

編輯經理 陳詠恩*

英文編輯 Adam Wright*

副編輯 陳劭儀*、楊紫媛*

外展

外展經理 林嘉敏*

助理外展經理 余穎彤*

外展統籌 羅凱盈*、連凱嵐*

外展主任 陳沅渟*、張凱柔*、馬曉瑩*

藝術行政見習員 吳勵宜*

市場推廣

市場總監 鄭尚榮 副市場總監 盧伯全

市場經理 陳靄婷*、張予心*

副市場經理 黃頴儀* 副市場項目經理 譚懿諾*

助理項目經理 李穎軒*

助理市場經理 許樂欣*、曾諾怡* 市場主任 梁喬正* 市場助理 陳慧琳#

票務 高級市場經理（票務） 梁彩雲 助理市場經理（票務） 陳偲穎*

發展

發展總監 黃美儀 特別發展協理 蘇啟泰* 高級發展經理 譚樂瑤 發展經理 陳世敏*、吳綺菁* 發展主任 譚尹晴* 藝術行政見習員 周翹*

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 雷晴*、潘詠汶* 市場經理 黃嘉欣* 副市場經理 陳婉怡* 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*

藝術家統籌經理 朱芷慧*

STAFF

Executive Director Flora Yu

Assistant to Executive Director Connie Ho

PROGRAMME

Programme Directors Grace Lang, So Kwok-wan

Senior Programme Managers Ian Leung, Shirley So, Janet Yau*

Programme Managers Cathy Cheng*, Crystal Chiu*, Sophie Liao*, Katie Ma*, Janet Ng*

Programme Coordinator Lilian Lam*

Arts Administrator Trainee Ryan Yung*

Programme Assistant Dorothy Chung*

Production Assistant Alice Chan#

LOGISTICS

Logistics Manager Elvis King*

TECHNICAL

Production Manager Shirley Leung*

Deputy Production Manager Jacob Chan*

PUBLICATIONS

Editorial Manager Eugene Chan*

English Editor Adam Wright*

Associate Editors Shao yi Chan*, Trista Yeung*

OUTREACH

Outreach Manager Carman Lam*

Assistant Outreach Manager Enid Yu*

Outreach Coordinators Vicgina Law*, Jade Lin*

Outreach Officers Olivia Chan*, Hazel Cheung*, Queena Ma*

Arts Administrator Trainee Nicky Ng*

MARKETING

Marketing Director Katy Cheng

Associate Marketing Director Eugene Lo

Marketing Managers Tobie Chan*, Stephanie Cheung*

Deputy Marketing Manager Joey Wong*

Deputy Project Manager Hades Tam*

Assistant Project Manager Hill Li*

Assistant Marketing Managers Sally Hui*, Margaret Tsang*

Marketing Officer Isaac Leung*

Marketing Assistant Kelly Chan#

TICKETING

Senior Marketing Manager (Ticketing) Eppie Leung

Assistant Marketing Manager (Ticketing) Stephanie Chan*

DEVELOPMENT

Development Director Angela Wong

Special Development Associate Alex So*

Senior Development Manager Lorna Tam

Development Managers Cindy Chan*, Joey Ng*

Development Officer Linda Tam*

Arts Administrator Trainee Nicole Chow*

CORPORATE SERVICES

Finance Director Teresa Kwong

ACCOUNTS

Account Manager Connie To*

Accounting Officer Stephany Ngan*

HR & ADMINISTRATION

HR and Admin Manager Janet Yeung*

Receptionist/Junior Secretary Virginia Li

General Assistant Bonia Wong

INFORMATION TECHNOLOGY

Information Technology Manager Derek Chan*

NO LIMITS

Project Director Eddy Zee*

Programme and Outreach Managers Becky Chung*, Christy Ho*

Programme and Outreach Coordinators Jade Lui*, Jasmine Poon*

Marketing Manager Carly Wong*

Deputy Marketing Manager Tiffany Chan*

Assistant Production Manager Jess Cheung*

Senior Accounting Officer Catherine Chung*

HKARTSFESTIVAL@TAIKWUN

Project Manager Kwong Wai Lap*

藝術家統籌 張素真*、張凱婷*、向怡君*、何敬堯*、黎善涵*、劉欣彤*、梁頌怡*、吳麗文*、彭慧雯*、胡肇婷*、翁蒨懃* 製作主任 黃詠詩*

技術統籌 李浩賢*、曾以德*、范文恩*、林仁健*、莊曉庭*、許肇麟*

Head of Artist Coordinators Eleanor Chu*

Artist Coordinators Susan Chang Hayden*, Becca Cheung*, Cassandra Heung*, Kelvin Ho*, Christa Lai*, Venice Lau*, Kitty Leung*, Stephenie Ng*, Jan Pang*, Blanche Wu*, Bonnie Yung*

Production Officer Bonnie Wong*

Technical Coordinators Lawrence Lee*, Joyi Tsang*, Yan Fan*, Hoi Lam*, Sai Chong*, Boolu Hui* *合約職員 *Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24由香港藝術發展局資助

# 2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2024年2月更新 Updated February 2024

is

amongst the world's

Our home base most promising.

我們位於世界最具潛力的城市之一

1899.Childe Hassam - New England Headlands