The Tallis Scholars — Birthday Programme, Music of the Sistine Chapel, Darkness to Light - 52nd HKAF

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

塔利斯學者金禧巡演

The Tallis Scholars

《 慶典讚歌》 BirthdayProgramme

16.03.2024 / 7:45pm

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

《 復活之路》

DarknesstoLight

18.03.2024 / 7:30pm

循道衞理聯合教會國際禮拜堂聖堂

The Sanctuary, Methodist International Church 演出長約1小時40分鐘，包括一節中場休息

《 西斯汀聖樂瑰寶》 Musicof theSistineChapel

17.03.2024 / 4:00pm

香港大會堂音樂廳

Concert Hall, Hong Kong City Hall 演出長約1小時50分鐘，包括一節中場休息

Approximately one hour and 50 minutes including one interval

Approximately one hour and 40 minutes including one interval

※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 creative team, and does not reflect the views or opinions of the Sponsor.

本節目內容及本刊物所載之藝術家/客席撰文者言論屬於個人觀點，並不代表香港藝術 節之立場或意見。

The content of this programme and the opinions featured in this publication solely belong to the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival.

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.

© Hugo Glendinning

藝術節加料節目

工作坊 Workshop

與典藏相遇——聖經印刷導賞與釘裝體驗

Dialogue with the Collections: Bible Printing Appreciation

09.03.2024 (已舉行 Past event)

17.03.2024 (2:30pm - 4:00pm)

香港聖經公會

Hong Kong Bible Society

導賞團 Cultural Walk

步向光明——墓園導賞遊

Wandering at Dawn: Cultural Walk at Historic Cemetery

10.03.2024 (已舉行 Past event)

18.03.2024 (4:00pm-5:30pm)

香港墳場

Hong Kong Cemetery

工作坊 Workshop

彼得．菲利普斯合唱工作坊

Choral Workshop by Peter Phillips

16.03.2024 (已舉行 Past event)

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© Rodrigo Pérez

塔利斯學者

The Tallis Scholars

塔利斯學者合唱團由總監彼得．菲利普斯於1973 年成立，並透過各種錄音及現場演出，成為文藝 復興時期聖樂的領軍人物。多年來，菲利普斯與 合唱團成員合作無間，務求發展出最能展現文藝 復興時期音樂的純淨音色。而正是這種聲音之 美，令塔利斯學者聲名遠播。

塔利斯學者每年有大約八十場演出，場地不 拘世俗、宗教場所。在合唱團慶祝成立五十周年 之際，人們對於聽到合唱團演出的渴望依然不減 ——他們成立至今，已演出超過二千五百場音樂 會。

塔利斯學者過去的重點演出，包括到日本、 美國、巴黎、德累斯頓、拉韋納及赫爾辛基等地 方巡演，還有英國及歐洲的固定巡演。2022年， 合唱團為十五世紀音樂巨匠約斯昆．德培利的 500周年逝世紀念日籌辦了一個浩大的音樂會： 用四日時間，於德國柏林的布萊兹音樂廳，演唱 德培利的全套十八首彌撒曲。一年後，他們又於 荷蘭的烏得勒支演出了同一套曲目。

塔利斯學者發行的錄音歷年來獲獎無數。為 紀念德培利逝世500周年，合唱團灌錄了共九張 的德培利彌撒曲系列專輯，其中最後一張《海格 力斯彌撒曲》於2020年發行，更於翌年奪得《英 國廣播公司音樂雜誌》的年度最佳專輯獎，以及 留聲機早期音樂獎。

The Tallis Scholars were founded in 1973 by director Peter Phillips. Through their recordings and live performances, they have established themselves as the leading exponents of Renaissance sacred music throughout the world. Phillips has worked with the ensemble to develop a purity and clarity of sound which he feels best serves the Renaissance repertoire. And it is this beauty of sound for which The Tallis Scholars have become so widely renowned.

The Tallis Scholars perform in both sacred and secular venues, giving about 80 concerts each year. As they celebrate their 50th birthday, the desire to hear the group in all corners of the globe is as strong as ever. They have now performed well more than 2,500 concerts.

Their highlights include performances in Japan, the USA, Paris, Dresden, Ravenna and Helsinki; a number of appearances in London as well as their usual touring schedule in Europe and the UK. In a monumental project to mark Josquin des Prez’s 500th anniversary, The Tallis Scholars sang all 18 of the composer’s masses over the course of four days at the Pierre Boulez Saal in Berlin in 2022, and repeated the feat in Utrecht in 2023.

Recordings by The Tallis Scholars have received many awards throughout the world. Their 2020 release, Missa Hercules Dux Ferrariae, was the last of nine albums in The Tallis Scholars’ project to record and release all Josquin’s masses before the 500th anniversary of the composer’s death. It won the BBC Music Magazine’s coveted Recording of the Year Award in 2021 and the 2021 Gramophone Early Music Award.

塔利斯學者 The Tallis Scholars

女高音 Soprano

Amy Haworth

Victoria Meteyard

Lucinda Cox

Rachel Haworth

女低音 Alto

Elisabeth Paul

Rosie Parker

男高音 Tenor

Simon Wall

Tom Castle

男低音 Bass

Rob Macdonald

Greg Skidmore

總監 Director

彼得．菲利普斯 Peter Phillips彼

© Hugo Glendinning

合唱團總監、指揮 彼得．菲利普斯

多年來，彼得．菲利普斯一直致力於文藝復興時 期複調音樂的研究和演奏，並思索如何達到完美 合唱音色。

他在1973年創立塔利斯學者合唱團，至今 已在世界各地超過二千五百場音樂會中獻唱，並 錄製了六十多張唱片。基於這股熱誠，菲利普斯 和塔利斯學者一直致力讓文藝復興時期的聖樂合 唱作品，成為西方古典音樂的重要曲目，他們為 此所作的努力，比任何團體都多。

菲利普斯亦經常為其他專業合唱團擔任指 揮。目前，他正與英國廣播公司合唱團、荷蘭室內 合唱團、愛沙尼亞愛樂室樂合唱團等合作，更身兼 牛津大學墨頓學院教堂合唱團的贊助人。

除了擔當指揮之外，菲利普斯更以作家身份 而聞名，三十三年來一直定期為《旁觀者》雜誌 撰寫音樂專欄。1995年，他成為《音樂時報》的 出版人，該雜誌是世界上現存歷史最悠久的音樂 期刊。他的第一本書《英國聖樂1549-1649》於 1991年出版，而第二本書《塔利斯學者的四十 年》則於2013年問世。2018年，英國廣播公司 第三電台播出了他對文藝復興時期複調音樂的觀 點，節目長達六小時，名為《複調音樂的黃金時 代》。

2005年，菲利普斯獲法國文化部長授予法國 藝術及文學勳章。2008年，菲利普斯以牛津大學 墨頓學院博德利院士的身份，協助該學院創建教 堂唱詩班。他在2021年當選成為牛津大學聖約翰 學院的榮譽院士。

Director, Conductor Peter Phillips

Peter Phillips has dedicated his career to the research and performance of Renaissance polyphony, and to perfecting the choral sound.

In 1973 he founded The Tallis Scholars, with whom he has now appeared in more than 2,500 concerts worldwide and recorded over 60 discs. As a result of this commitment, Phillips and The Tallis Scholars have done more than any other group to establish the sacred vocal music of the Renaissance as one of the great repertoires of Western classical music.

Phillips also conducts other specialist ensembles. He is currently working with the BBC Singers, the Netherlands Chamber Choir and the Estonian Philharmonic Chamber Choir, among others. He is a patron of the Chapel Choir of Merton College, Oxford.

In addition to conducting, Phillips is well-known as a writer. For 33 years he contributed a regular music column to The Spectator. In 1995 he became the publisher of The Musical Times, the oldest continuously published music journal in the world. His first book, English Sacred Music 1549-1649, was published in 1991, while his second, What We Really Do, appeared in 2013. During 2018, BBC Radio 3 broadcast his view of Renaissance polyphony, in a series of six hour-long programmes, entitled The Glory of Polyphony.

In 2005 Phillips was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture. In 2008 Phillips helped to found the chapel choir of Merton College Oxford, where he is a Bodley Fellow; and in 2021 he was elected an Honorary Fellow of St John’s College, Oxford.

© Hugo Glendinning

奧蘭朵．杰本斯

《萬民哪，你們都要鼓掌！》

湯瑪士．塔利斯

《求祢俯聽》

尼戈．慕里

《筆記》

威廉．拜爾德

《主啊！求祢允許》

喬凡尼．帕勒斯堤納

《你是伯多祿》

約翰．律特

《為造光者獻上聖歌》

尼古拉斯．貢貝爾

《達味的哀慟》

約斯昆．德培利

《我兒阿貝沙隆》

阿霍．帕特 《…之子》

Birthday Programme 16.03.2024

Orlando Gibbons (1583-1625)

O clap your hands

Thomas Tallis (c. 1505-85)

Suscipe quaeso

Nico Muhly (b. 1981)

Rough Notes

William Byrd (1539/40-1623)

Tribue Domine

中場休息 INTERVAL

Giovanni Pierluigi da Palestrina (c. 1525-94)

Tu es Petrus

John Rutter (b. 1945)

Hymn to the Creator of Light

Nicolas Gombert (c. 1495-1560)

Lugebat David Absalon

Josquin des Prez (c. 1450-1521)

Absalon fili mi

Arvo Pärt (b. 1935)

…Which was the Son of…

《慶典讚歌》 Birthday Programme

1973年，牛津大學管風琴學人彼得・ 菲利 普斯在學期間，創辦了一個合唱小組，專攻 文藝復興時期複調音樂。經過五十年來超過 二千五百場演出後，菲利普斯和塔利斯學者 早已成了這類音樂的最重要當代演繹者，又 和當今的頂尖作曲家合作無間，成果豐碩。

今晚的節目除了是紀念合唱團成立五十周 年，向賦予合唱團名字與風格的英國作曲家 塔利斯致敬外，更含有與時並進之意。當中 涵蓋的幾位現代作曲家，均受到文藝復興時 期的獨特風格所影響。

菲利普斯在十四歲時首次接觸《萬民 哪，你們都要鼓掌！》這首歌。這是奧蘭朵． 杰本斯，一位傑出的十七世紀英國作曲家， 最直接、有力和情感充沛的作品。歌曲充滿 喜慶氣氛，可能是他為應付牛津大學音樂博 士學位的要求而寫的——參加考核的作曲家 必須寫作對位法習題，所涉聲樂更多達八個 聲部。杰本斯的作品與陳腐的學術界背道而 馳，反而充滿動感，對合唱風格也拿捏得十 分精準。

In 1973, Peter Phillips, then an undergraduate organ scholar in the University of Oxford, founded The Tallis Scholars—a group dedicated to Renaissance polyphony performance. Fifty years and well over 2,500 performances later, Phillips and The Tallis Scholars are the premier modern interpreters of this music, while also developing fruitful relationships with today’s leading composers. This programme celebrates those 50 years, honouring Thomas Tallis, the composer and the style that have (literally) made the group’s name, and several modern composers who have been inspired by the group’s distinctive sound.

Phillips first encountered O clap your hands when he was 14 years old. This anthem was composed by Orlando Gibbons (1583-1625), the masterful 17th-century English composer, at his most direct, forceful and exuberant. It was likely written to fulfil the requirements of the Oxford degree of Doctor of Music, for which composers would produce exercises in counterpoint in as many as eight vocal parts. Gibbons’ effort could not be further from dusty academia, exhibiting juggernaut-like momentum and a consummate command of choral texture.

It is no surprise that the music of Thomas Tallis (c. 150585) has dominated the performance schedules of The Tallis Scholars, the group which bears his name. Tallis was a shrewd navigator of the unpredictable political currents of 16th-century England. He was also canny enough to end up with a royal monopoly on music printing from Elizabeth I—a convenient source of income at the time. Suscipe quaeso is drawn from a collection published jointly with William Byrd, thanking the queen for her patronage and celebrating this new freedom. It is a prayer for absolution, cast in seven voices, which enter slowly, building up a polyphony that is then abruptly stripped down for the word peccavi—“I have sinned”.

Rough Notes was written for The Tallis Scholars by the New York-based composer Nico Muhly (b.1981). It sets two fragments from Robert Falcon Scott’s diaries, written towards the end of his doomed journey to Antarctica. “The first part depicts the extraordinary aurora australis (the Southern Lights) in quite musical terms, with ‘arches, bands, and curtains, always in rapid movement’,” writes Muhly. “The second is a severe foreshadowing of the crew’s deaths, promising that they will ‘meet death with as great at fortitude as ever in the past’. The poetry leads to a sort of resolute but resigned conclusion, facing the inevitable but never quite reaching it in text or music. This is the first piece of secular music I’ve written for The Tallis Scholars, and tried, here, to maximise their skills as colourists and dramatic communicators.”

Whatever their private sympathies—and modern scholarship suggests they may have been closet Catholics— both Tallis and Byrd were adept at playing the game of Tudor

奧蘭朵．杰本斯

Orlando Gibbons (1583-1625)

顧名思義，塔利斯學者的演出多以湯瑪 士．塔利斯的作品為主。塔利斯在應對十六 世紀英國多變的政治氣候顯得游刃有餘，甚 至將印刷樂譜的皇家專利權拿到手——一 份名副其實的優差。《求祢俯聽》選自他與 威廉．拜爾德合夥出版的曲集。曲集之所以 能出版，女皇伊利沙伯一世的贊助可謂功不 可沒，而曲集本身也是對這種出版自由的謳 歌。《求祢俯聽》是求赦罪的禱文，以七個 聲部寫成，開端緩緩推進，漸漸形成複調合 唱，但到了「我有罪」（peccavi）這個字即赫 然黯淡下來。

《筆記》是當代紐約作曲家尼戈．慕里為 塔利斯學者寫的作品。作曲家從探險家羅伯 特．史考特的日記中選取了兩段，再譜成樂 曲。這兩段日記寫於史考特南極探險的最後 幾日——也就是他死前不久。慕里寫道：「第

一部分刻劃美麗絕倫的南極光，採用相當典 型的音樂手法，描繪『不斷移動的光弧、光 帶和光幔』。第二部分則預告探險團命不久 矣，並誓要『以前無古人的勇氣迎接死亡』。

盎然詩意過後，是既堅決又無奈的結尾：一 方面避無可避，另一方面卻又觸不可及，無 論是歌詞還是音樂都一樣。這是我為塔利斯 學者寫作的第一首世俗作品。團員音色變化 多端，也善於激盪人心，於是我在樂曲裏也 嘗試盡量發揮他們的技巧。」

無論塔利斯和拜爾德私底下的宗教傾向 如何（現代學術研究顯示，在當時排斥天主教 的英國，兩人可能暗地裏是天主教徒），兩人 都是政治遊戲的能手，深諳都鐸王朝的官場 規則。他們每人為這部作品集貢獻了十七首 作品，每首作品代表伊利沙伯女皇在位的一 年。

《主啊！求祢允許》是當中篇幅最長的經 文歌。

經文歌《你是伯多祿》的歌詞對羅馬 天主教宗座來說特別重要，因為教會的權威 來自第一任教宗聖伯多祿（彼得）的宗徒傳 承（根據聖經記載，基督稱聖伯多祿為「磐 石」，意思是耶穌要把教會建立在這塊磐石 上）。作為一位羅馬作曲家，喬凡尼．帕勒斯 堤納被要求根據這段經文創作多首樂曲。今 晚會為大家獻唱六聲部的版本。樂曲既緊湊 又圓熟，當時已相當受歡迎，作曲家還以此 為基礎創作了一首完整的彌撒曲。

約翰．律特擅長寫作旋律，而且編曲 觸動人心，讓他在英語世界內外都吸引了不 少樂迷。從《為造光者獻上聖歌》可見，即 使是難度較高的曲式，他也能應付自如。樂 曲是為格洛斯特大教堂一場演出而寫，作為

politics. They each contributed 17 pieces to the monumental collection, one for each year that Elizabeth I had been on the throne. William Byrd’s (1539/40-1623) Tribue Domine is one of the most extensive of the motets featured.

The text of the motet Tu es Petrus is vital for Rome and the Catholic Church. The text derived its authority from the lineage of St Peter, the first Pope, where Christ anoints Peter as the rock upon which he will build his church according to the scripture. As a Roman composer, Giovanni Pierluigi da Palestrina (c. 1525-94) was called on to write multiple settings of this key passage. Tonight, we hear the version in six voices—a taut and masterly setting, so popular during the composer’s time that he wrote an entire mass setting based upon it.

John Rutter’s (b. 1945) genius for melody and sympathetic arrangements has won him devotees from all over the English-speaking world and beyond. Hymn to the Creator of Light proves him equally capable in more ambitious forms. The piece was written for a special performance in Gloucester Cathedral, a special occasion dedicated to commemorate the great English composer, Herbert Howells. The piece begins in ominous unison from one choir, answered by celestial harmony from another. A more propulsive central section leads to a meditative finale that cleverly weaves the initial motif together with the melody of the chorale “Schmücke dich”.

喬凡尼．帕勒斯堤納

Giovanni Pierluigi da Palestrina (c. 1525-1594)

獻給偉大英國作曲家赫伯特．賀維斯的誌慶 樂曲。樂曲由一個合唱團的陰森齊唱拉開帷 幕，再加入另一合唱團的天堂般的和聲作回 應。推進感較強的中段過後，是恍如沉思的 終樂章，將開端主題與聖詠曲旋律《我靈， 你要披上喜樂》巧妙地交織在一起。

舊約聖經《撒慕爾紀下》記載，達味（大 衛）王得知他的兒子阿貝沙隆在戰爭中被殺 害。雖然阿貝沙隆（押沙龍）公開對父親發動 叛亂，但達味王依然為他的死而哀哭。幾百 年來，這個故事也為無數作曲家帶來靈感。

相傳《達味的哀慟》出自尼古拉斯．貢貝爾 手筆。這首經文歌的創作過程原來甚是奇特： 最初的歌詞可能含有世俗內容，後來才以宗 教歌詞取代；新的宗教歌詞是對悲痛的深刻 思索，樂曲以十聲部寫成，恍如畫在寬闊畫 布上的圖畫一樣。《我兒阿貝沙隆》可能是貢 貝爾的老師約斯昆．德培利所作，以不斷下 降的音高，刻劃陷入悲痛的過程；音高愈來 愈低，就像要查探這悲傷到底有多深似的。

常言道，好的作曲家能把電話簿譜成樂 曲，而且樂曲還能引人入勝。愛沙尼亞作曲 家阿霍．帕特《⋯之子》幾乎就是這則公理的 明證——只是將「電話簿」變成〈路加福音〉 其中一章，內容是耶穌的族譜，當中滿是密 密麻麻的奇特名字。大家可能會認為，這種 內容既難懂又平淡無奇，不過到了帕特手上 卻變得妙趣橫生。明快的節奏、切分音以及 拍子的轉換，從一開始就將樂曲高速推進至 終結——是終結，也是開始，亦即上帝。

撰文: James M. Potter

In the Old Testament Book of 2 Samuel, King David received news that one of his sons has been killed in a battle. Even though Absalom had been in open rebellion against his father, David still weeps for his loss. This moving story has inspired countless composers across the centuries; one of them was Nicholas Gombert (c. 1495-1560). His Lugebat David Absalon is a motet with a curious history. It may originally have had secular words and subsequently been given a contrafactum, or new sacred text. The motet is a profound meditation on grief, painted on a broad, 10-voice canvas. In Absalon fili mi, probably authored by Gombert’s teacher, Josquin des Prez (c. 1450-1521), the descent into grief is described in a piece which seems to constantly spiral downwards in pitch, lower and lower as it traces the depths of sorrow.

It is often said that a good composer could set the phone book to music and it would still be compelling. Estonian composer Arvo Pärt’s (b. 1935) ... Which was the Son of ... comes very close to proving this axiom—the phone book, in this case, being a chapter from Luke’s gospel listing the genealogy of Jesus. One might think it an impenetrable and entirely undramatic list of bizarre names; yet in Pärt’s hands, it is riveting. Crisp rhythms, syncopations and shifts between meters barrel the piece towards its end—which is also its beginning: God.

Text: James M. Potter

Orlando Gibbons

O clap your hands

O clap your hands together, all ye people:

O sing unto God with the voice of melody. For the Lord is high, and to be feared: he is the great King of all the earth. He shall subdue the people under us and the nations under our feet. He shall choose out a heritage for us, even the worship of Jacob, whom he loved. God is gone up with a merry noise: and the Lord with the sound of the trumpet.

O sing praises, sing praises unto our God:

O sing praises, sing praises unto the Lord our King. For God is the King of all the earth: sing ye praises with understanding. God reigneth over the heathen: God sitteth upon his holy seat. For God, which is highly exalted, doth defend the earth, as it were with a shield. Glory be to the Father, and to the Son, and to the Holy Ghost; as it was in the beginning, is now and ever shall be, world without end. Amen.

Thomas Tallis

Accept, I beseech thee O Lord

Accept, I beseech thee O Lord, the voice of him who confesses. My crimes I do not defend; I have sinned.

O God have mercy on me; I have sinned, do away my sins by thy grace. For if thou shalt remember iniquities, who could bear it?

For who is so righteous that he dare say that he is without sin?

For there is no-one pure in thy sight.

Nico Muhly

Rough Notes

PART ONE

奧蘭朵．杰本斯

《萬民哪，你們都要鼓掌！》

萬民哪，你們都要鼓掌！ 用歡呼的聲音向上帝呼喊！ 因為上主——至高者是可畏的， 他是治理全地的大君王。

他使萬民服在我們之下， 又使萬族服在我們腳下。

他為我們選擇產業， 就是他所愛之雅各的榮耀。

上帝上升，有喊聲相送；

上主上升，有角聲相送。

你們要向上帝歌頌，歌頌！ 向我們的王歌頌，歌頌！ 因為上帝是全地的王，你們要用聖詩歌頌！ 上帝作王治理列國， 上帝坐在他的聖寶座上。

因為地上的盾牌是屬上帝的，他為至高！ 但願榮耀歸於聖父、聖子、聖靈； 始初如此，現今如此，將來亦如此， 永無窮盡。阿們。

Thomas Tallis

Suscipe quaeso

Suscipe quaeso Domine, vocem confitentis. Scelera mea non defendo; peccavi. Deus miserere mei; peccavi, dele culpas meas gratia tua. Si enim iniquitates recordaberis quis sustineat?

Quis enim justus qui se dicere audeat sine peccato esse?

Nullus est enim mundus in conspectu tuo.

尼戈．慕里 《筆記》

湯瑪士．塔利斯 《求祢俯聽》

上主，我懇求祢悅納悔罪者之 禱聲。

我不為己罪辯護；我犯了罪。 天主，求你垂憐；我犯了罪， 因祢的聖寵滌除我的罪。

你若細察我的罪孽， 有誰還能站立得住？

哪裏有敢說自己沒有罪的義人呢？ 在上主眼中，沒有人是純潔的。

To-night we had a glorious auroral display— quite the most brilliant I have seen. At one time the sky from N.N.W. to S.S.E. as high as the zenith was massed with arches, bands, and curtains, always in rapid movement.

The waving curtains were especially fascinating— a wave of bright light would start at one end and run along to the other, or a patch of brighter light would spread as if to reinforce the failing light of the curtain.

第一部分 今夜有一個壯麗的極光—— 是我見過最精采的。

極光一會兒從西北偏北劃至東南偏南， 高聳入天頂， 集成光弧、光帶，又如光幔， 時常快速移動着。

波浪般的簾幕特別迷人： 一陣亮光從天這邊走到天那邊， 又像一片更亮的光正在延展， 好像在為垂簾正在減退的光線增援。

PART TWO

For four days we have been unable to leave the tent— the gale howling about us.

We are weak, writing is difficult, but for my own sake I do not regret this journey, which has shown that Englishmen can endure hardships, help one another, and meet death with as great a fortitude as ever in the past.

We took risks, we knew we took them; things have come out against us, and therefore we have no cause for complaint, but bow to the will of Providence, determined still to do our best to the last.

These rough notes and our dead bodies must tell the tale…

William Byrd

Grant, O Lord

Grant, O Lord, that while I am in this fragile body my heart may praise you, my tongue may praise you, and all my being may say: Lord, who is there like you?

You are Almighty God whom we worship and adore, three persons, and one divine essence: the Father unbegotten, the only begotten Son of the Father, the Holy Spirit who proceeds from both, yet abides in both, the holy and undivided Trinity, one God omnipotent.

I pray, beseech and entreat you: increase my faith, increase my hope, increase my charity.

By your grace make us always steadfast in our faith, and successful in our deeds, that through true faith and deeds worthy of that faith we may come, by your mercy, to eternal life.

Glory be to the Father, who created us. Glory be to the Son who redeemed us. Glory be to the Holy Spirit who sanctified us.

Glory be to the highest and undivided Trinity, whose works are inseparable, whose kingdom abides for ever. You are worthy of praise, worthy of songs of praise: all honour and blessing and glory,

第二部分

我們未能離開帳幕已經四天—— 狂風正在向我們怒號。

我們軟弱，執筆也艱難， 但為自己的緣故我並未後悔這個旅程， 為要證明英國人可以忍耐磨練， 互相幫助，並以歷代一樣、巨大的毅力去迎接死亡。 我們冒險，是的，我們知道； 命運對我們不利， 因此我們沒有原因控訴， 只能向天意低頭，但一息尚存仍奮鬥到底。

這些簡單的筆記及我們的遺骸將述說我們的故事⋯⋯

William Byrd

Tribue Domine

Tribue, Domine, ut donec in hoc fragili corpore positus sum laudet te cor meum, laudet te lingua mea, et omnia ossa mea dicant: Domine, quis similis tui? Tu es Deus omnipotens, quem trinum in personis, et unum in substantia deitatis colimus et adoramus: Patrem ingenitum, Filium de Patre unigenitum, Spiritum Sanctum de utroque procedentem et in utroque permanentem, sanctam et individuam Trinitatem, unum Deum omnipotentem.

Te deprecor, supplico et rogo, auge fidem, auge spem, auge charitatem: Fac nos per ipsam gratiam tuam semper in fide stabiles, et in opere efficaces, ut per fidem rectam, et condigna fidei opera, ad vitam, te miserante, perveniamus aeternam.

Gloria Patri, qui creavit nos, gloria Filio, qui redemit nos: gloria Spiritui Sancto, qui sanctificavit nos: gloria summae et individuae Trinitati, cuius opera inseparabilia sunt, cuius imperium sine fine manet. Te decet laus, te decet hymnus, tibi debetur omnis honor, tibi benedictio et claritas, tibi gratiarum

威廉．拜爾德 《主啊！求祢允許》

上主，當我在這脆弱身軀時， 求祢讓我的心可以讚美祢， 我的舌頭可以讚美祢， 我的骨頭可以說： 主，有誰能像祢呢？ 天主，祢是全能者， 位格有三，並唯一的天主性； 我們當稱揚祢、敬拜祢： 聖父非受生，

聖子乃聖父的獨生子， 聖神由聖父聖子共發， 並與聖父聖子同住， 神聖及不可分的聖三， 獨一全能的天主。

我懇求祢，向祢祈求，我乞求祢， 加增我的信德，加增我的望德， 加增我的愛德：

藉祢的恩寵，使我們能持守信德， 使我們的行為有效， 以致藉真實的信德 以及配得這信德的行為， 藉祢的慈悲， 我們可以達到永生。

願光榮歸於創造我們的父； 願光榮歸於拯救我們的子； 願光榮歸於聖化我們的聖神： 願光榮歸於至高及不可分的聖三， 他的工不可分割， 他的國萬世無疆。 祢配受讚美， 祢配受歌詠， 一切尊威、讚頌、光榮、 稱謝、尊威、權能和勇毅，

thanksgiving, honour, perfection and might be yours, our God, for ever and ever. Amen.

Giovanni Pierluigi da Palestrina

Thou art Peter

Thou art Peter, and on this rock will I build my church, and the gates of hell shall not prevail against them: and unto thee do I give the keys of the kingdom of heaven. Whatsoever thou bindest in earth shall be bound in heaven: and whatsoever thou loosest in earth shall be loosed in heaven; and I give thee the keys to the kingdom of heaven.

John Rutter

Hymn to the Creator of Light

actio, tibi honor, virtus et fortitudo, Deo nostro, in saecula saeculorum, Amen.

Giovanni Pierluigi da Palestrina Tu es Petrus

Tu es Petrus, et super hanc petram aedificabo ecclesiam meam, et portae inferi non praevalebunt adversus eam: et tibi dabo claves regni caelorum. Quodcumque ligaveris super terram, erit ligatum et in caelis: et quodcumque solveris super terram erit solutum et in caelis, et tibi dabo claves regni caelorum.

Glory be to thee, O lord, Creator of the visible light, The sun’s ray, the flame of fire. Creator also of the light invisible and intellectual, That which is known of God, the light invisible. Glory be to thee, O Lord, Creator of the light, for writings of the law, glory be to thee: for oracles of prophets, glory be to thee: for melody of psalms, glory be to thee: for wisdom of proverbs, glory be to thee: Experience of histories, glory be to thee: a light which never sets.

God is the Lord, who hath shewed us light.

Light, who dost my soul enlighten; Sun, who all my life dost brighten; Joy, the sweetest man e’er knoweth; Fount, whence all my being floweth.

From thy banquet let me measure, Lord, how vast and deep its treasure; Through the gifts thou here dost give us, As thy guest in heav’n receive us. Alleluia. Creator of the visible light.

全歸於祢， 我們的天主，至於無窮之世。 亞孟。

喬凡尼．帕勒斯堤納 《你是伯多祿》

你是伯多祿，在這磐石上， 我要建立我的教會， 陰間的門決不能戰勝她。 我要將天國的鑰匙交給你； 凡你在地上所束縛的， 在天上也要被束縛； 凡你在地上所釋放的， 在天上也要被釋放。

我要將天國的鑰匙交給你。

約翰．律特 《為造光者獻上聖歌》

上主，願榮耀歸與祢， 可見光明的創造主！ 那光是太陽的光線，是火焰的舌頭。 祢也是不可見與智慧之光的創造主， 那不可見之光是上帝所認識的。

上主，願榮耀歸與祢， 可見光明的創造主！ 因律法的記載，願榮耀歸與你： 因先知的預言，願榮耀歸與你： 因詩篇的旋律，願榮耀歸與你： 因箴言的智慧，願榮耀歸與你： 因歷史的經驗，願榮耀歸與你： 那永不熄滅的光！ 上帝就是光照我們的主！

輝耀我性靈的光明；光照我全生的太陽； 灌溉我身心的活水；人間最甜蜜的歡欣： 願在此番恩筵座上，仔細思量主賜奇珍； 願因此間主的賞賜，蒙主接納，作主天賓。 可見光明的創造主！

Nicolas Gombert

David mourned for Absalom

David mourned for Absalom, a pious father for his son, a sad old man for his boy: alas, my son Absalom, would God I had died for you.

King David covered his head and wept for his son: would God I had died for you, Absalom, my son.

Then the king covered his head, and cried with a great voice: O my son, Absalom.

Josquin des Prez Absalom my son

Absalom my son, would that I might die for thee, my son Absalom. Let me not live longer but descend into hell weeping. The king covered his head, and in a loud voice cried out: My son Absalom.

Arvo Pärt

…Which was the Son of…

Nicolas Gombert Lugebat David Absalon

Lugebat David Absalon, pius pater filium, tristis senex puerum: heu me fili mi Absalon, quis mihi det ut moriar, ut ego pro te, O fili mi Absalon?

Rex autem David filium cooperto flebat capite: quis mihi det ut ego moriar pro te, O fili mi?

Poro rex operuit caput suum, et clamabat voce magna: O fili mi Absalon.

Josquin des Prez Absalon fili mi

Absalon fili mi, quis det ut moriar pro te, fili mi Absalon?

Non vivam ultra, sed descendam in infernum plorans. Porro rex operuit caput sum, Et clamabat voce magna: Fili mi Absalon.

And Jesus himself began to be about thirty years of age, being (as was supposed)

the son of Joseph, which was the son of Heli, which was the son of Matthat, which was the son of Levi, which was the son of Melchi, which was the son of Janna, which was the son of Joseph, which was the son of Mattathias, which was the son of Amos, which was the son of Naum, which was the son of Esli, which was the son of Nagge, which was the son of Maath, which was the son of Mattathias, which was the son of Semei, which was the son of Joseph, which was the son of Juda, Which was the son of Joanna, which was the son of Rhesa, which was the son of Zorobabel, which was the son of Salathiel, which was the son of Neri, which was the son of Melchi, which was the son of Addi, which was the son of Cosam, which was the son of Elmodam, which was the son of Er, which was the son of Jose, which was the son of Eliezer, which was the son of Jorim, which was the son of Matthat, which was the son of Levi, which was the son of Simeon, which was the son of Juda, which was the son of Joseph, which was the son of Jonan, which was the son of Eliakim, which was the son of Melea,

尼古拉斯．貢貝爾 《達味的哀慟》

達味作為兒子的慈父、 為兒子悲哀的老人， 為阿貝沙隆痛哭說： 「 哀哉，我兒阿貝沙隆！ 巴不得我替你死了！」 達味王掩面為兒子哭泣道： 「 巴不得我替你死了！ 我兒阿貝沙隆！」

君王正在掩面，大聲哀哭說： 「 我兒阿貝沙隆！」

約斯昆．德培利 《我兒阿貝沙隆》

「 我兒阿貝沙隆！ 巴不得我替你死了！ 我兒阿貝沙隆！ 我不要我的性命， 要到陰間為你哭泣。」

君王正在掩面，大聲哀哭說： 「 我兒阿貝沙隆！」

阿霍．帕特 《⋯之子》

耶穌開始傳道，（依人看來）年紀約有三十歲。 他是約瑟的兒子，約瑟是希里的兒子， 希里是瑪塔的兒子，瑪塔是利未的兒子， 利未是麥基的兒子，麥基是雅拿的兒子， 雅拿是約瑟的兒子，約瑟是瑪他提亞的兒子， 瑪他提亞是亞摩斯的兒子，亞摩斯是拿鴻的兒子， 拿鴻是以斯利的兒子，以斯利是拿該的兒子， 拿該是瑪押的兒子，瑪押是瑪他提亞的兒子， 瑪他提亞是西美的兒子，西美是約瑟的兒子， 約瑟是猶大的兒子，猶大是約亞拿的兒子， 約亞拿是利撒的兒子，利撒是所羅巴伯的兒子， 所羅巴伯是撒拉鐵的兒子，撒拉鐵是尼利的兒子， 尼利是麥基的兒子，麥基是亞底的兒子， 亞底是哥桑的兒子，哥桑是以摩當的兒子， 以摩當是珥的兒子，珥是約細的兒子， 約細是以利以謝的兒子，以利以謝是約令的兒子， 約令是瑪塔的兒子，瑪塔是利未的兒子， 利未是西緬的兒子，西緬是猶大的兒子， 猶大是約瑟的兒子，約瑟是約南的兒子， 約南是以利亞敬的兒子，以利亞敬是米利亞的兒子， 米利亞是買南的兒子，買南是瑪達他的兒子，

which was the son of Menan, which was the son of Mattatha, which was the son of Nathan, which was the son of David, which was the son of Jesse, which was the son of Obed, which was the son of Booz, which was the son of Salmon, which was the son of Naasson, which was the son of Aminadab, which was the son of Aram, which was the son of Esrom, which was the son of Phares, which was the son of Juda, which was the son of Jacob, which was the son of Isaac, which was the son of Abraham, which was the son of Thara, which was the son of Nachor, which was the son of Saruch, which was the son of Ragau, which was the son of Phalec, which was the son of Heber, which was the son of Sala, which was the son of Cainan, which was the son of Arphaxad, which was the son of Sem, which was the son of Noe, which was the son of Lamech, which was the son of Mathusala, which was the son of Enoch, which was the son of Jared, which was the son of Maleleel, which was the son of Cainan, which was the son of Enos, which was the son of Seth, which was the son of Adam, which was the son of God.

瑪達他是拿單的兒子，拿單是大衛的兒子， 大衛是耶西的兒子，耶西是俄備得的兒子， 俄備得是波阿斯的兒子，波阿斯是撒門的兒子， 撒門是拿順的兒子，拿順是亞米拿達的兒子， 亞米拿達是亞蘭的兒子，亞蘭是希斯崙的兒子， 希斯崙是法勒斯的兒子，法勒斯是猶大的兒子，

猶大是雅各的兒子，雅各是以撒的兒子， 以撒是亞伯拉罕的兒子，亞伯拉罕是他拉的兒子， 他拉是拿鶴的兒子，拿鶴是西鹿的兒子， 西鹿是拉吳的兒子，拉吳是法勒的兒子， 法勒是希伯的兒子，希伯是沙拉的兒子， 沙拉是該南的兒子，該南是亞法撒的兒子， 亞法撒是閃的兒子，閃是挪亞的兒子， 挪亞是拉麥的兒子，拉麥是瑪土撒拉的兒子， 瑪土撒拉是以諾的兒子，以諾是雅列的兒子， 雅列是瑪勒列的兒子，瑪勒列是該南的兒子， 該南是以挪士的兒子，以挪士是塞特的兒子， 塞特是亞當的兒子，亞當是上帝的兒子。

中文翻譯及匯編：楊欣諾

Compiled and translated by Felix Yeung

編按：本場刊因應不同作曲家及樂曲之歷史和基督宗派背景而選用不同中文譯法，如「God」一字會出現「上帝」、「天主」等翻譯。 Editor’s note: Based on the historical and denominational context of the pieces and composers, there may be different Chinese translations of the same word, such as “God”.

基斯杜貝爾．德．摩拉利斯 《聖母喜樂經》

喬凡尼．帕勒斯堤納 《馬塞祿教宗彌撒曲》

Music of the Sistine Chapel 17.03.2024

Cristóbal de Morales (c. 1500-53)

Regina caeli

Giovanni Pierluigi da Palestrina (c. 1525-94)

Missa Papae Marcelli

中場休息 INTERVAL

奎高利奧．阿雷格利 《求主垂憐》

哥斯坦佐．費斯達

《你是如此美麗》

卡朋達

《哀歌》

約斯昆．德培利 《婦女所生者》

托馬斯．域多利亞 《八聲部第一調式聖母讚主曲》

Gregorio Allegri (c. 1582-1652)

Miserere mei, Deus

Costanzo Festa (1495-1545)

Quam pulchra es

Elzéar Genet (Carpentras) (c. 1470-1548)

Lamentations

Josquin des Prez (c. 1450-1521)

Inter natos mulierum

Tomás Luis de Victoria (1548-1611)

Magnificat Primi Toni à 8

《西斯汀聖樂瑰寶》 Music of the Sistine Chapel

西斯汀小聖堂聖詠團是文藝復興時期羅馬最 優秀的合唱團，因此歐洲各地所有天主教音 樂家都十分渴望加入。我們在探索着這個 由精英組成的世界─—從約斯昆到帕勒斯堤 納，從摩拉利斯到域多利亞等多位超卓的作 曲家都在其中。曲目也包括阿雷格利的代表 作《求主垂憐》（樂譜中的高C音，從前是由 閹人歌手演唱的）。

撰文：彼得．菲利普斯

西斯汀小聖堂位於羅馬梵蒂岡核心地 帶，是舉世知名的藝術寶庫，有大量藝術珍 品傳世。但比起它的視覺藝術收藏，其音樂 瑰寶卻鮮為人知（只有一首作品例外）。這種 情況通常出於多任教皇的敬虔，為了守護神 聖的音樂，所以規定某些樂曲只可在聖堂內 流通，不得外傳。奎高利奧．阿雷格利《求 主垂憐》正是一個著名的例子。由於西斯汀 小聖堂獨佔了這首樂曲，所以要追溯其演化 過程便變得非常困難，甚至成了現時最吸引 的音樂課題之一，這首樂曲也因而充滿神秘 色彩。

今天下午的節目，能讓大家窺見全盛期 的梵蒂岡——也就是全盛期的文藝復興。當 時教皇體制無論權力與聲望都如日中天；不 久，教會就召開「脫利騰大公會議」，鼓勵教 會內的禮拜儀式權威和藝術家投身「反宗教 改革」。今天的節目也會原原本本地呈獻一首 「反改革」作品——也是多產複調音樂作曲家 帕勒斯堤納最著名的彌撒曲。

文藝復興時期的音樂家都巴不得拿到教 宗的贊助。有段時間，由於連續多任教皇都 是西班牙裔，所以自然對西班牙作曲家另眼 相看。基斯杜貝爾．德．摩拉利斯就是得益 者之一， 一生中大部分時間都受僱於西斯汀 聖詠團。他的《聖母喜樂經》根據古老的聖 母瑪利亞讚美詩譜寫而成，首演地點很有可 能便是西斯汀小聖堂。

名作《馬塞祿教宗彌撒曲》的寫作緣 起，據說是由於「特倫多大公會議」的教會 高層打算摒除繁複的複調聖樂，於是帕勒斯 堤納就寫下這首作品，證明聲樂可以既優美 又清晰易懂。曲中歌詞較多的樂章，都以 「一音節一音」為主，顯示作曲家特別重視歌

The Sistine Chapel Choir was the premier singing ensemble in Rome throughout the Renaissance period and as such the one which every Catholic musician, from anywhere in Europe, aspired to join. Here we explore the elite world of these great composers, from Josquin to Palestrina, Morales to Victoria. And including Allegri’s iconic Miserere, with its high soprano C, once sung by a castrato.

Text: Peter Phillips

The Sistine Chapel, at the heart of the Vatican in Rome, is renowned for having bequeathed a treasure trove of visual art to posterity. With one notable exception, it is rather less wellknown for the musical treasures it has held for centuries. In many cases this is due to the jealous guarding of the music by a series of popes, who would not allow certain pieces to pass beyond the walls of the chapel. Such is the case, famously, of Gregorio Allegri’s Miserere, which acquired such a mystique on account of the Sistine Chapel’s monopoly that tracing its evolution has become one of the most intriguing musical exercises of our time.

This afternoon’s programme allows us a privileged glimpse into the heyday of the Vatican during the high Renaissance. The power and prestige of the Papacy was at its apex, and before long the Council of Trent would spur liturgists and artists to the heights of the Counter-Reformation. In this spirit, the programme includes a complete performance of the most famous mass by that most prolific of polyphonists, Giovanni Pierluigi da Palestrina.

The patronage of the Papacy was keenly sought by Renaissance musicians. For a time, Spanish composers had an advantage due to a succession of Spanish popes who held them in high esteem. Cristóbal de Morales (c.1500-53) was one such beneficiary, spending a considerable part of his life in the employ of the Capella Sistina. Regina caeli, a setting of the ancient hymn to Mary, could well have been first performed here.

The story goes that Giovanni Pierluigi da Palestrina (c. 1525-94) wrote the famous Missa Papae Marcelli to prove that sacred music could be both beautiful

詞是否易於理解。不過〈羔羊頌〉更重視音 樂本身的美感，而樂章第二部分又加入第七 個模仿聲部，令樂曲更顯豐滿。

在西斯汀小聖堂的歷史當中，論名氣， 沒有一首作品能與阿雷格利的《求主垂憐》匹 敵。教宗恐怕是故意不讓此曲外傳，令這首 天籟之曲保留在梵蒂岡圍牆之內，更突顯教 廷的權力與地位。教廷的守護，加上好歌手 往往在歌曲中加入即興演唱，樂曲因而不斷遭 到篡改，所以大家今天所見的版本，大概連 作曲家本人也未必認得出來。但無論版本是 否「正宗」，這段迂迴曲折的音樂旅程，還是 為大家留下了這首絕無僅有的優美合唱曲。

奎高利奧．阿雷格利

Gregorio Allegri (c. 1582-1652)

哥斯坦佐．費斯達屬於第一批成名的意 大利複調音樂作曲家。他的聖樂作品對帕勒 斯堤納影響深遠；他的牧歌則促成了世俗音 樂新傳統的誕生。《你是如此美麗》乃為高音 聲部而寫，歌詞出自《聖經．雅歌》。費斯達 擅長寫作淺白、流麗的複調音樂，從《你是 如此美麗》即見一斑。

跟當時許多藝術家一樣，作曲家卡朋達 也花了不少功夫尋找贊助者。他在1514年成 了教宗良十世的「教宗聖堂」主管；下一任 教宗亞德六世對音樂無甚興趣，所以卡朋達 不久便離職，直到一年後教會選出另一位教 宗才回去。說來有趣，他回到西斯汀小聖堂

and intelligible, after officials at the religious Council of Trent considered banning complex polyphony. The prevalence of syllabic declamation in the “wordier” movements of the mass suggests a particular concern that the text be understood. Conversely, though, the Agnus Dei concerns itself more with sheer sonic beauty and, in its second part, creates an even richer texture by adding a seventh imitative voice.

No piece of music in the history of the Sistine Chapel is more famous than Gregorio Allegri’s (c. 1582-1652) Miserere mei, Deus. The Papacy wanted it that way: as a secret composition of such beauty that it could not be allowed beyond the walls of the Vatican, it magnified its power and status. A combination of this protectiveness, and the skilled singers’ propensity to improvise, meant that Allegri’s work was to suffer the manipulations of every age which followed. This results in the version we have today, which would be all but unrecognisable to the composer. Regardless of its authenticity, this tortuous musical journey has left us with one of the most beautiful choral pieces of all time.

Costanzo Festa (c. 1495-45) was one of the first Italian polyphonic composers to achieve fame. His sacred music was a great influence on Palestrina and his madrigals helped birth a new secular tradition. Quam pulchra es, a passage from the Song of Songs set for high voices, displays Festa’s gift for easy, flowing polyphony.

Like many others at the time, the composer Carpentras (c. 1470-1548) spent considerable energy securing patronage for his artistic activity. Having been master of the papal chapel in 1514 for Pope Leo X, he made a swift exit after Leo was replaced by the rather less musical Adrian VI, only to return after a new pope was elected a year later. Intriguingly—and foreshadowing the later corruption of Allegri’s music—he returned to the Sistine Chapel to find his music still being performed, but in “bastardised versions”. He resolved to republish the works, including the Lamentations you will hear today—dedicating the collection to the new pope, Clement VII—which include many settings of the Lamentations of Jeremiah. It is no surprise that these were hugely popular at the time; passages of sonorous homophony vie in beauty with the austere Hebrew letters, which, following convention, are set to long, flowing melisma: “ritualised weeping in music”.

Many a famous composer would leave their mark on the Sistine Chapel, but Josquin des Prez’s (c. 1450-1521) considerable fame during and after his lifetime has led to the misattribution of many of his compositions, and the authorship of the motet Inter natos mulierum is now considered doubtful by scholars. All of its sources are posthumous and the style could represent a slightly later composer, perhaps another musician associated with the Vatican. Nevertheless, its rich, full texture is distinctly satisfying.

Spain’s greatest composer of polyphony also spent time in Rome. Tomás Luis de Victoria travelled to the city after receiving a grant from the Spanish King Philip II and held several positions. As a composer of renown, he would surely have known and come into contact with the musicians of the Sistine Chapel, including Palestrina.

時，發現自己的作品仍在演出，但都是「不 盡不實的版本」，和日後阿雷格利的遭遇如 出一轍。卡朋達於是決定將樂曲重新整合出 版，並把新的曲集獻給新任教宗克勉七世， 曲集收錄了多首根據《耶肋米亞哀歌》譜寫 的作品。這首《哀歌》便是其中之一。聲音 飽滿的主調樂段，與嚴肅的希伯來文文詞爭 妍鬥麗；按慣例，歌詞都譜寫成長而流麗的 單音節裝飾句，以音樂刻劃「儀式化的哭泣」 ——難怪當時這些歌曲大受歡迎。

許多著名作曲家都曾在西斯汀小聖堂 留下自己的痕跡，不過由於約斯昆生前身後 的名氣太大，因此不少作品都被誤歸到他 名下。經文歌《婦女所生者》的真正作者是 誰，現時學術界尚無定論。所有相關的資料 都出現於約斯昆逝世後，風格也接近較後期 的作曲家，所以真正的作者也許是其他與梵 蒂岡有關聯的音樂家。但無論如何，樂曲結 構豐富多彩，同樣令人賞心悅目。

西班牙最出色的複調音樂作曲家托馬 斯．域多利亞也在羅馬逗留了一段日子。他 從西班牙國王菲利普二世獲得一筆資助到羅 馬發展，在當地工作，更擔任過好幾個職 位。由於他本身已是有名的作曲家，所以肯 定與西斯汀小聖堂的音樂家（包括帕勒斯堤 納）有來往。

域多利亞寫作了不下十八首《聖母讚主 曲》，顯示《聖母讚主曲》在每天的晚禱都會 用上。其標題《八聲部第一調式聖母讚主曲》 的意思，是指樂曲根據素歌詠唱中的「第一 調式」寫成，對教會年曆中的節日來說再合 適不過。別的《聖母讚主曲》裏，複調與簡 單的素歌會交替出現；但這一首《聖母讚主 曲》卻從頭到尾採用複調，而且要求用兩個 四部合唱團演唱，而不是一個。樂曲豐富多 姿，首演也很可能是在梵蒂岡核心地帶舉行。

撰文: James M. Potter

約斯昆．德培利 Josquin des Prez (c. 1450-1521)

Tomás Luis de Victoria (1548-1611) composed no fewer than 18 settings of the Magnificat, reflecting its daily use during the evening service of Vespers. This Magnificat primi toni—meaning it is based on the “first tone” of plainchant psalmody—would have been appropriate for a high feast day. Unlike most of the other settings, in which verses set to polyphony alternate with simple plainchant, here the music is polyphonic throughout, and set for not one but two four-part choirs—an opulent work which may well have had its first performance at the heart of the Vatican.

Text: James M. Potter

Cristóbal de Morales Queen of heaven

Queen of heaven, rejoice, alleluia, For he whom thou wast worthy to bear, alleluia,

Hath risen as he said, alleluia.

Pray for us to God, alleluia.

Giovanni Pierluigi da Palestrina Pope Marcellus Mass

1. Kyrie

Lord, have mercy. Christ, have mercy. Lord, have mercy.

2. Gloria

Glory be to God on high, and in earth peace, goodwill towards men. We praise thee; we bless thee; we worship thee; we glorify thee. We give thanks to thee for thy great glory,

O Lord God, heavenly king, God the Father almighty.

O Lord the only-begotten Son, Jesu Christ;

O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us;

thou that takest away the sins of the world, receive our prayer;

thou that sittest at the right hand of God the Father, have mercy upon us. For thou only art Holy;

thou only art the Lord;

thou only art Most High, O Jesu Christ, with the Holy Ghost, in the glory of God the Father. Amen.

3. Credo

I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the only-begotten Son of God, begotten of his Father before all worlds. God of God; Light of Light; very God of very God; begotten, not made: being of one substance with the Father; by whom all things were made.

Cristóbal de Morales Regina caeli

Regina caeli laetare, alleluia, Quia quem meruisti portare, alleluia, Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia.

Giovanni Pierluigi da Palestrina Missa Papae Marcelli

1. Kyrie

Kyrie eleison. Christe eleison. Kyrie eleison.

2. Gloria

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens.

Domine Fili unigenite, Jesu Christe; Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus Sanctus; tu solus Dominus; tu solus altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen.

3. Credo

Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum, non factum; consubstantialem Patri; per quem omnia facta sunt.

基斯杜貝爾．德．摩拉利斯 《聖母喜樂經》

天上的母皇，喜樂吧！亞肋路亞。 因你所生的兒子，亞肋路亞！ 依照他的預言已復活了， 亞肋路亞！

請你為我們轉求天主，亞肋路亞！

喬凡尼．帕勒斯堤納 《馬塞祿教宗彌撒曲》

一、垂憐頌 上主，求祢垂憐。 基督，求祢垂憐。

上主，求祢垂憐。

二、光榮頌 天主在天受光榮。

主愛的人在世享平安。

我們讚美祢、稱頌祢、 朝拜祢、顯揚祢、 我們為了祢無上的光榮感謝祢—— 主、天主、天上的君王， 全能的天主聖父。

主、耶穌基督、獨生子； 主、天主、天主的羔羊， 聖父之子； 除免世罪者，求祢垂憐我們。 除免世罪者，求祢俯聽我們的 祈禱。

坐在聖父之右者，求祢垂憐我們； 因為只有祢是聖的， 只有祢是主， 只有祢是至高無上的。

耶穌基督，祢和聖神， 同享天主聖父的光榮。亞孟。

三、信經 我信唯一的天主。

全能的聖父， 天地萬物， 無論有形無形，都是他所創造的。 我信唯一的主、耶穌基督、 天主的獨生子。

他在萬世之前，由聖父所生。 他是出自天主的天主， 出自光明的光明， 出自真天主的真天主。

他是聖父所生，而非聖父所造， 與聖父同性同體，

Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Ghost of the Virgin Mary, and was made man.

And was crucified also for us under Pontius Pilate; he suffered death and was buried. And the third day he rose again according to the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end. And I believe in the Holy Ghost, the Lord, and giver of life, who proceeds from the Father and the Son; who with the Father and the Son is worshipped and glorified, who spoke by the prophets. And I believe in one holy, catholic and apostolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen.

4. Sanctus

Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee, O Lord most high.

5. Benedictus

Blessed is he that cometh in name of the Lord. Hosanna in the highest.

6. Agnus Dei

O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, grant us thy peace.

Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de Spiritu Sancto, ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et resurrexit tertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivos et mortuos; cuius regni non erit finis.

Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per prophetas; Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum.

Et exspecto resurrectionem mortuorum, et vitam venturi saeculi.

Amen.

4. Sanctus

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.

Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

5. Benedictus

Benedictus qui venit in nomine Domini. Hosanna in excelsis.

6. Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

萬物是藉着他而造成的。

他為了我們人類，

並為了我們的得救，從天降下。 他因聖神

由童貞瑪利亞取得肉軀， 而成為人。

他在般雀比拉多執政時， 為我們被釘在十字架上， 受難而被埋葬。

他正如聖經所載，第三日復活了。 他升了天，坐在聖父的右邊。 他還要光榮地降來， 審判生者死者， 他的神國萬世無疆。

我信聖神，他是主及賦予生命者， 由聖父聖子所共發。

他和聖父聖子，同受欽崇， 同享光榮， 他曾藉先知們發言。

我信唯一、至聖、至公、 從宗徒傳下來的教會。

我承認赦罪的聖洗，只有一個。 我期待死人的復活， 及來世的生命。

亞孟。

四、歡呼頌

聖、聖、聖，上主、萬有的天主， 祢的光榮充滿天地。

歡呼之聲，響徹雲霄。

五、迎主曲

奉上主之名而來的，當受讚美。 歡呼之聲，響徹雲霄。

六、羔羊頌 除免世罪的天主羔羊， 求祢垂憐我們。

除免世罪的天主羔羊， 求祢垂憐我們。

除免世罪的天主羔羊， 求祢賜給我們平安。

Gregorio Allegri

Have mercy upon me, O God

Have mercy upon me, O God, according to your great mercy and according to the abundance of your compassion blot out my transgressions.

Wash me thoroughly from my iniquity and cleanse me from my sin.

For I acknowledge my offence and my sin is ever before me.

Against you only have I sinned, and done what is evil in your sight that you may be justified in your sentence and vindicated when you judge.

Behold, in guilt was I conceived and in sin did my mother conceive me.

Behold, your delight in sincerity of heart and in my inmost being you teach me wisdom.

Cleanse me with hyssop and I shall be purified; wash me and I shall be whiter than snow.

Let me hear the sounds of joy and gladness; the bones which you have crushed shall rejoice.

Avert your face from my sins, and blot out all my iniquity.

Create in me a clean heart, O God, And renew in me a righteous spirit.

Cast me not out from your presence, and take not your Holy Spirit from me.

Give me the joy of your salvation and sustain in me a willing spirit.

I shall teach transgressors your ways, and sinners shall return to you.

Gregorio Allegri Miserere mei, Deus

Miserere mei Deus, secundum magnam misericordiam tuam. Et secundum multitudinem miserationum tuarum dele iniquitatem meam.

Amplius lava me ab iniquitate mea et a peccato meo munda me.

Quoniam iniquitatem meam ego cognosco et peccatum meum contra me est semper.

Tibi soli peccavi et malum coram te feci,

ut justificeris in sermonibus tuis et vincas cum judicaris.

Ecce enim in iniquitatibus conceptus sum et in peccatis concepit me mater mea.

Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi.

Asperges me hyssopo et mundabor; lavabis me et super nivem dealbabor.

Auditui meo dabis gaudium et laetitiam et exsultabunt ossa humiliata.

Averte faciem tuam a peccatis meis et omnes iniquitates meas dele.

Cor mundum crea in me, Deus, et spiritum rectum innova in visceribus meis.

Ne projicias me a facie tua, et spiritum sanctum tuum ne auferas a me.

Redde mihi laetitiam salutaris tui et spiritu principali confirma me.

Docebo iniquos vias tuas et impii ad te convertentur.

奎高利奧．阿雷格利 《求主垂憐》

天主，求你按照你的仁慈 憐憫我， 依你豐厚的慈愛， 消滅我的罪惡。

求你把我的過犯洗盡， 求你把我的罪惡除淨，

因為我認清了我的過犯， 我的罪惡常在我的眼前。

我得罪了你，惟獨得罪了你， 因為我作了你視為惡的事； 因此，在你的判決上，顯出你的公義， 在你的斷案上，顯出你的正直。

是的，我自出世便染上了罪惡， 我的母親在罪惡中懷孕了我。

你既然喜愛那出自內心的誠實， 求在我心的深處教我認識智慧。

求你以牛膝草灑我，使我皎潔， 求你洗滌我，使我比雪還要白。

求你賜我聽見快慰和喜樂， 使你粉碎的骨骸重新歡躍。

求你掩面別看我的罪過， 求你除掉我的一切罪惡。

天主，求你給我再造一顆 純潔的心，

求你使我心重獲堅固的精神。

求你不要從你的面前把我拋棄， 不要從我身上將你的聖神收回。

求你使我重獲你救恩的喜樂， 求你以慷慨的精神來扶持我。

我要給惡人教導你的道路， 罪人們都要回頭，向你奔赴。

Deliver me from blood-guiltiness, O God, God of my salvation, and my tongue shall exalt your justice.

O Lord, open my lips, and my mouth shall proclaim your praise.

For you are not pleased with sacrifices, else would I give them to you; neither do you delight in burnt offerings.

The sacrifice of God is a contrite heart: a broken and contrite heart, O God, you will not despise.

Be favourable and gracious, unto Sion, O Lord, build again the walls of Jerusalem.

Then you shall be pleased with the sacrifice of righteousness oblations and burnt offerings; they shall offer young bulls upon your altar.

Costanzo Festa

How beautiful you are

How beautiful and fair you are

How beautiful, my soul, my dove My beauty, come my joy Your truly sweet voice, and exceeding fair visage

Elzéar Genet (Carpentras)

Lamentations

Here begins the Lamentation of the prophet Jeremiah.

Aleph: How desolate the city lies that was once thronged with people. The one-time queen of nations has become as a widow.

Once a ruler of provinces, she is now subject to others.

Beth: By night she weeps in sorrow and tears run down her cheeks.

Of all who love her, there’s none to console her.

All her friends have spurned her and have become her foes.

Jerusalem, Jerusalem, return to the Lord your God.

Libera me de sanguinibus, Deus, Deus salutis meae, et exsultabit lingua mea justitiam tuam.

Domine labia mea aperies, et os meum annuntiabit laudem tuam.

Quoniam si voluisses sacrificium dedissem utique; holocaustis non delectaberis.

Sacrificium Deo spiritus contribulatus: cor contritum et humiliatum, Deus, non despicies.

Benigne fac, Domine, in bona voluntate tua Sion, ut aedificentur muri Jerusalem.

Tunc acceptabis sacrificium iustitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.

Costanzo Festa

Quam pulchra es

Quam pulchra es et quam decora Quam pulchra es, amica mea, columba mea Formosa mea, Veni dilecta mea Vox enim tua dulcis, et facies decora nimis

Elzéar Genet (Carpentras)

Lamentations

Incipit lamentatio Ieremiae prophetae. Aleph: Quomodo sedet sola civitas plena populo: facta est quasi vidua domina gentium: princeps provinciarum facta est sub tributo.

Beth: Plorans ploravit in nocte, et lacrimae eius in maxillis eius: non est qui consoletur eam ex omnibus caris eius: omnes amici eius spreverunt eam, et facti sunt inimici.

Jerusalem, Jerusalem, convertere ad Dominum Deum tuum.

天主，我的救主，求你免我血債， 我的舌頭必要歌頌你的慈愛。

我主，求你開啟我的口唇， 我要親口宣揚你的光榮。

因為你既然不喜悅祭獻， 我獻全燔祭，你也不喜歡。

天主，我的祭獻就是這痛悔的精神， 天主，你不輕看痛悔和謙卑的赤心。

上主，求你以慈愛恩待熙雍， 求你重修耶路撒冷城。

那時，你必悅納合法之祭， 犧牲和全燔祭獻； 那時，人們也必要把牛犢奉獻於你的 祭壇。

哥斯坦佐．費斯達 《你是如此美麗》

你是多麼美麗，多麼可愛！ 我的靈魂，我的鴿子， 你是多麼美麗！ 我的美人，我的喜樂，你來。 你的聲音柔和可愛， 你的面貌美麗動人。

卡朋達 《哀歌》

這是耶肋米亞先知哀歌的開端。 怎麼！這個人煙稠密的京都， 卻孤坐獨處！

從前是萬民的主母， 現在好像成了寡婦； 往日是諸郡的王后， 如今竟然成了奴僕！ 她夜間痛哭飲泣，眼淚流滿雙頰； 她所有的愛人，

卻沒有一個前來安慰她； 她的親友都背棄了她， 成了她的冤家！ 耶路撒冷，耶路撒冷， 你應歸向上主、你的天主。

Josquin des Prez

Among them that are born of women

Among them that are born of women there hath not risen a greater than John the Baptist, who prepared the way of the Lord in the wilderness. Alleluia. There was a man sent from God, whose name was John. Alleluia.

Tomás Luis de Victoria

Magnificat on the First Tone for Eight

My soul doth magnify the Lord: and my spirit hath rejoiced in God my Saviour.

For he hath regarded: the lowliness of his handmaiden.

For behold, henceforth, all generations shall call me blessed.

For he that is mighty hath magnified me, and holy is his name.

And his mercy is on them that fear him throughout all generations.

He hath shewed strength with his arm: he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seats and hath exalted the humble and meek.

He hath filled the hungry with good things and the rich he hath sent empty away. He remembering his mercy hath holpen his servant Israel, as he promised to our forefathers: Abraham and his seed for ever. Glory be to the Father, and to the Son, and to the Holy Ghost.

As it was in the beginning, is now, and ever shall be: world without end. Amen.

Josquin des Prez Inter natos mulierum

Inter natos mulierum non surrexit maior Ioanne Baptista

Qui viam Domino praeparavit in heremo. Alleluia.

Fuit homo missus a Deo cui nomen erat Ioannes. Alleluia.

約斯昆．德培利 《婦女所生者》

在婦女所生者中，沒有興起一位比 洗者若翰更大的； 他在曠野預備主的道路。 亞肋路亞。

曾有一人，由天主派遣來的， 名叫若翰。亞肋路亞。

Tomás Luis de Victoria Magnificat Primi Toni à 8

Magnificat anima mea Dominum. Et exultavit spiritus meus in Deo salutari meo.

Quia respexit humilitatem ancillae suae:

ecce enim ex hoc beatam me dicent omnes generationes.

Quia fecit mihi magna qui potens est: et sanctum nomen eius.

Et misericordia eius a progenie in progenies: timentibus eum.

Fecit potentiam in bracchio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede, et exaltavit humiles.

Esurientes implevit bonis: et divites dimisit inanes.

Suscepit Israel puerum suum, recordatus misericordiae suae.

Sicut locutus est ad patres nostros: Abraham et semini eius in saecula. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

托馬斯．域多利亞

《八聲部第一調式聖母讚主曲》 我的靈魂頌揚上主， 我的心神歡躍於天主， 我的救主，因為他垂顧了他婢女的 卑微，

今後萬世萬代都要稱我有福； 因全能者在我身上行了大事， 他的名字是聖的， 他的仁慈世世代代於無窮世， 賜於敬畏他的人。

他伸出了手臂施展大能， 驅散那些心高氣傲的人。

他從高座上推下權勢者， 卻舉揚了卑微貧困的人。

他曾使饑餓者飽饗美物， 反使那富有者空手而去。

他曾回憶起自己的仁慈， 扶助了他的僕人以色列， 正如他向我們的祖先所說過的 恩許，施恩於亞巴郎和他的子孫， 直到永遠。

願光榮歸於父、及子、及聖神。 起初如何，今日亦然，直到永遠。 亞孟。

中文翻譯及匯編：楊欣諾

Compiled and translated by Felix Yeung

編按：本場刊因應不同作曲家及樂曲之歷史和基督宗派背景而選用不同中文譯法，如「God」一字會出現「上帝」、「天主」等翻譯。

Editor’s note: Based on the historical and denominational context of the pieces and composers, there may be different Chinese translations of the same word, such as “God”.

羅伯特．懷特

《哀歌 II》

羅伯特．懷特

《上主垂聽 》

湯瑪士．塔利斯

《哀歌 II 》

羅伯特．柏臣斯

《至善耶穌》

羅伯特．柏臣斯

《聖母頌》

羅伯特．懷特

《聖母喜樂經》

威廉．拜爾德

《諸聖節彌撒特定經文》

Darkness to Light

Robert White (c. 1538-74) Lamentations II

Robert White Exaudiat te Dominus

Thomas Tallis (c. 1505-85) Lamentations II

中場休息 INTERVAL

Robert Parsons (c. 1535-71/2)

O bone Jesu

Robert Parsons Ave Maria

Robert White

Regina caeli

William Byrd (1539/40-1623) All Saints Propers

Darkness to Light

詩人說：「晚間雖令人哭涕，清晨卻使人歡 喜」（《聖經．聖詠集》），這句安慰人的老 話，正好用來概括這個合唱節目，標示一個 從黑暗到光明的旅程，而其中導航的，是情 感充沛、手法優雅細膩的英國都鐸王朝聖樂。

《聖經．耶肋米亞哀歌》是對猶太歷史一 件重大事件的回應：公元前586年，耶路撒冷 遭洗劫，聖殿被毀，預示猶太人被擄巴比倫 的惡運。

伊利沙伯一世在位期間，也就是都鐸王 朝晚期，大概由於當時流行「時髦的憂鬱」， 因此《哀歌》廣受歡迎。雖然按照教會禮 儀，這些經課該在聖周（即復活節前一周）之 內宣讀，不過像羅伯特．懷特和湯瑪士．塔 利斯這些配曲，更大可能是用於家中舉行的 私人祈禱會上。

《哀歌》的歌詞引起作曲家的興趣，主要 原因是文字本身的特質，因為它原本的希伯 來文是離合詩。習慣上，根據《哀歌》而寫

的複調樂曲都會保留每節歌詞開端的希伯來 文字母。這些字母本身沒有甚麼意思，因此 作曲家在譜寫樂段時，可以全然沉醉在「純 複調」的創作，即以音樂表達「儀式化的哭 泣」。今日，懷特的配曲比不上塔利斯的配曲 出名，但在當時來說，大概是極受歡迎的。

他的配曲不但收錄在當時多部聲部譜曲集裏 （包括羅伯特．道爾編寫的一套），道爾更在 頌詞中大力稱許懷特：「我們的繆思中最光榮 的，懷特 / 你消逝了，但靈感永存。」

《上主垂聽》是根據《聖經．聖詠集》第 二十篇寫成，篇幅甚長。樂曲採用拉丁文歌 詞，暗示它的演出場地是皇家禮拜堂，因為 當時仍然容許使用拉丁文這種羅馬語言的地 方少之又少，皇家禮拜堂就是其中之一。歌

詞充滿盼望，表達上帝必定垂聽忠心信徒的 禱告。不徐不疾的三重唱開端過後，是壯觀 的合唱樂段，以直接而激昂的方式誦唱。之

後，懷特採用英國作曲家常用的「聲部分割」 技巧，將每個聲部一分為二，寫出綿密精細 的二重唱和四重唱。最後，各個聲部匯聚一 起，唱出宏偉的七聲部「亞孟」。

“Weeping may endure for a night,” says the Psalmist, “but joy cometh in the morning.” This age-old consolation sums up our programme, one which charts a course from darkness to light, navigated via the emotionally charged and exquisitely crafted sacred music of Tudor England.

The biblical Lamentations of Jeremiah were written in response to a defining event in the history of the Judean people: the sacking of Jerusalem and the destruction of the Temple in about 586 BCE, presaging the exile of the Jews into captivity in Babylon.

In the time of Elizabeth I, and perhaps because of the “fashionable melancholy” which pervaded late-Tudor culture, settings of the Lamentations were very popular. Though liturgically these lessons were appointed to be read during Holy Week, settings such as those by Robert White and Thomas Tallis were more likely intended for private devotional performances in the home.

Composers were drawn to the particular character of the text, which in the original Hebrew takes the form of an acrostic poem. It was customary in polyphonic musical settings to retain the Hebrew letters with which each verse begins. The setting of these letters, quite meaningless on their own, enabled composers to indulge in a sort of “pure polyphony” which has been described as “ritualised weeping in music”. Robert White’s (c. 1538-74) setting, though less well-known today than that of Tallis, must have been very popular at the time. It is included in multiple contemporary partbook collections, including those of Robert Dow, who praises White in the following encomium: “Greatest glory of our muses, White / You perish, but your muse remains for ever.”

Exaudiat te Dominus is a lengthy setting of Psalm 20, its Latin text suggesting performance in the Chapel Royal, one of the few establishments where the use of the language of Rome was still tolerated. Its hopeful text expresses a certainty that God will answer the prayers of the faithful. An unhurried trio opening gives way to an imposing chorus which declaims the text in a more direct fashion. Afterwards, each voice-part is split in two in the English technique known as gimel, allowing for closely wrought duets and quartets. Finally, the parts are brought together for a majestic seven-voice Amen.

On the face of it, Thomas Tallis’ (c. 1505-85) setting of verses from the Lamentations occupies similar territory to White’s. However, Tallis chooses a scoring for lower voices, which could position his setting later into the reign of Elizabeth.

In our second half, mourning is turned to joy as we contemplate the Easter victory of Christ over death, through works praising Him and his mother Mary. O bone Jesu is an unusual piece, a votive antiphon to Christ composed at a time when such lengthy devotional motets had become rare. Indeed, Robert Parsons (c. 1535-71/2) seems to be harking

乍看之下，塔利斯的《哀歌》與懷特的 異曲同工。不過，塔利斯選用了較低聲部， 估計樂曲成曲較晚，約在伊莉莎伯一世在位 期間。

到了下半場，哀傷變為喜樂，藉着讚美 耶穌和聖母瑪利亞的作品，我們默想基督在 復活主日戰勝死亡。非比尋常的《至善耶穌》 是向基督祈願的對唱曲，當時，這種長篇的 祈禱式經文歌已經絕無僅有。的確，羅伯 特．柏臣斯似乎有意重拾《伊頓合唱本》年 代前輩的傳統。朗讀式的開端過後，是二重 唱、三重唱及四重唱，段落之間則全體合唱 「啊」：「上主啊」、「默西亞啊」、「至聖者 啊」。在「基督啊」之後，低音聲部也採用了 「聲部分割」，聲部之間構成嚴格卡農，各聲 部以兩小節的間距，唱出相同的旋律。歌詞 取自聖伯爾納多的《聖經．聖詠集》選段， 在中世紀時期，誦讀這些選段非常盛行，時 人相信藉此能使懺悔者的靈魂得救。

《聖母頌》是柏臣斯最著名的作品，不 僅現在舉世聞名，在他生前大概也為人津津 樂道。樂曲收藏家羅伯特．道爾不但將這首 樂曲抄錄在他的聲部譜曲集裏，更因為大受 樂曲感動，在結尾寫下「Musica laetificat corda」，意思是「音樂令人心花怒放」。樂曲 的層次組合柔和地開展，簡單的高音線條每 次加入都比上一次提高，最後以一浪接一浪 的複調「亞孟」作結，十分動人。

《聖母喜樂經》是歌頌至聖童貞瑪利亞的 對唱曲，將瑪利亞尊為「天上母后」。在伊利 沙伯一世在位期間，選擇這篇歌詞相信是很

威廉．拜爾德

William Byrd (1539/40-1623)

湯瑪士

back to his forebears of the era of the Eton Choirbook. He follows a declamatory opening with a duet, trio, and quartet, each separated by fully choral “O’s”: O Adonai, O Messias, O Agios. After O Christi, the bass part bifurcates into a gimel, the voices in a strict canon, sharing the same music two bars apart. The text is a selection from scripture known as the Verses of St Bernard, popularly recited in the Middle Ages in the belief that doing so would save the soul of the penitent.

Ave Maria is Parsons’ most famous composition, not only today but probably in his own lifetime too; the collector Robert Dow, having copied it into his partbooks, was moved to write Musica laetificat corda at the end: “music rejoices the heart.” Its gently unfolding texture, in which the simple treble line rises with each new entry, concludes movingly with wave upon wave of imitative Amens

Regina caeli, an antiphon acclaiming the Blessed Virgin Mary as the “Queen of Heaven”, would have been an unusual choice of text during the reign of Queen Elizabeth, under whom the principal Marian feast of the Assumption had been removed. This could date it to an earlier period. White’s setting is constructed around a pre-existing plainchant melody in an inner voice.

塔利斯

Thomas Tallis (c. 1505-85)

不尋常的，畢竟女皇連重要的「聖母蒙召升 天節」也取消了。由此可見，樂曲的寫作年 份要較早一些。懷特將一個現成的素歌旋律 放在內聲部，再圍繞這個旋律寫成完整樂曲。

很多基督徒都相信，諸聖與基督和基督 之母一起，在天國之光裏享受永恆的福樂， 而這也是整個「從哀傷到喜樂」旅程的終點： 我們將並列諸聖之中。今晚演出的四首經文 歌《諸聖節彌撒特定經文》，是指定於11月1 日諸聖節中頌唱的，全部出自拜爾德之手， 他的《升階詠歌集》包含全套適用於天主教 年曆瞻禮日的樂曲。《諸聖節彌撒特定經文》 以五聲部寫成，風格變化多端，從熱情洋溢 的進堂詠〈讓我們歡欣〉，到不徐不疾的〈敬 畏上主〉，再到發人深省的懺悔曲〈義人的靈 魂〉，到最後的領主詠〈心裏潔淨的人是有福 的〉，其中的聲部逐一加插，象徵福氣愈來愈 豐厚。

撰文：James M. Potter

The conclusion of our journey from mourning to joy finds us among the saints, who many Christians believe enjoy eternal bliss in the light of heaven, with Christ and his mother. The four motets of All Saints Propers given here are those assigned to be sung for the Feast of All Saints on 1 November. Their author is William Byrd (1539/40-1623), whose Gradualia represents a complete cycle of music for the feast days of the Catholic year. Set for five voices, they offer great stylistic variety, from the exuberance of the introit Gaudeamus omnes and the gradual Timete Dominum, to the reflective and penitential Justorum animae, and the cumulative blessings, each one adding a further voice, of the Communion Beati mundo corde.

Text: James M. Potter

Robert White Lamentations II

Caph. All her people sigh and search for bread.

They have bartered all their precious belongings for food to revive their soul. Look, Lord, and consider; for I have become a thing despised. Lamed. All you who pass this way, look and see if there is any sorrow like my sorrow.

For the Lord has cruelly punished me, as he said he would on the day of his fierce wrath.

Mem. From on high he has cast fire onto my bones and chastised me. He has spread a net at my feet and forced me backwards.

He has made me desolate, tormented with grief all day long.

Jerusalem, Jerusalem, turn to the Lord, your God.

Robert White

May the Lord hear thee

May the Lord hear thee in the day of tribulation: may the name of the God of Jacob protect thee.

May he send thee help from the sanctuary: and defend thee out of Sion.

May he be mindful of all thy sacrifices: and may thy whole burnt offering be made fat.

May he give thee according to thy own heart: and confirm all thy counsels. We will rejoice in thy salvation; and in the name of our God we shall be exalted.

The Lord fulfil all thy petitions.

Now have I known that the Lord hath saved his anointed. He will hear him from his holy heaven: the salvation of his right hand is in powers.

Some trust in chariots, and some in horses: but we will call upon the name of the Lord, our God.

They are bound, and have fallen: but we are risen, and are set upright. O Lord, save the king: and hear us in the day that we shall call upon thee. Amen.

Robert White Lamentations II

Caph. Omnis populus eius gemens, et quaerens panem: dederunt preciosa quaeque pro cibo ad refocillandam animam, Vide, Domine, et considera, quoniam facta sum vilis.

Lamed. O vos omnes, qui transitis per viam, attendite et videte si est dolor sicut dolor meus:

quoniam vindemiavit me, ut locutus est Dominus in die irae furoris sui. Mem. De excelso misit ignem in ossibus meis et etudivit me: expandit rete pedibus meis, convertit me retrorsum, posuit me desolacionem tota die maerore confectam.

Ierusalem, Ierusalem, convertere ad Dominum Deum tuum.

Robert White

Exaudiat te Dominus

Exaudiat te Dominus in die tribulationis; protegat te nomen Dei Iacob.

Mittat tibi auxilium de sancto, et de Sion tueatur te.

Memor sit omnis sacrificii tui, et holocaustum tuum pingue fiat.

Tribuat tibi secundum cor tuum, et omne consilium tuum confirmet.

Laetabimur in salutari tuo; et in nomine Dei nostri magnificabimur.

Impleat Dominus omnes petitiones tuas;

nunc cognovi quoniam salvum fecit Dominus christum suum.

Exaudiat illum de caelo sancto suo, in potentatibus salus dexterae eius.

Hi in curribus, et hi in equis; nos autem in nomine Domini Dei nostri invocabimus.

Ipsi obligati sunt, et ceciderunt; nos autem surreximus et erecti sumus.

羅伯特．懷特 《哀歌 II》

她所有的人民都在嘆息， 搜求食糧；

而應交出珍寶，換取食物， 以維持生活。

上主，求你垂視眷顧， 我怎樣受人輕慢！

一切過路的人啊！

請你們細細觀察，看看有沒有痛苦 能像我所受的痛苦？

因為上主在他盛怒之日， 折磨了我！

他從上降下火來，深入我的骨骸； 他在我腳下設下羅網，使我陷落； 他使我終日孤寂，惆悵不已。 耶路撒冷，耶路撒冷， 你應歸向上主、你的天主。

羅伯特．懷特 《上主垂聽》

願上主在憂患之日，俯允你， 願雅各伯天主的名，保祐你！ 願他從聖所救護你， 願他由熙雍扶助你！

願他追念你的一切祭獻， 願他悅納你的全燔祭獻！ 願他滿全你心中的志願， 願他玉成你的一切籌算！ 我們要因你的勝利而歡舞， 奉我們天主的名豎立旗鼓： 你的一切請求，願上主成就！ 我深信上主必賞他的受傅者獲勝， 以無敵右手救拯， 從神聖高天俯聽。

他們或仗恃戰車， 他們或仗恃戰馬； 我們只以上主， 我們天主的名自誇。

他們必將倒地喪命。 我們卻將挺身立定。

Thomas Tallis Lamentations II

Of the lamentation of Jeremiah the prophet.

Ghimel. Judah is gone forth according to her affliction, her servitude beyond endurance. She hath lived among the heathen, and she findeth no rest.

Daleth. All her persecutors overtook her in her anguish.

All her ways do mourn, since none do come to the solemn feast days.

All her gates are brought low, her priests are lamenting, fear is upon her virgins, and she is oppressed in bitterness.

Heth. Her foes are now become overlords, and her enemies prosper over her.

For the Lord hath spoken it to her according to the multitude of her iniquities.

Her children are led captive before the face of her oppressors.

Jerusalem, Jerusalem, return to the Lord thy God.

Thomas Tallis Lamentations II

De lamentatione Jeremiae prophetae. Ghimel. Migravit Judas propter afflictionem ac multitudinem servitutis; habitavit inter gentes, nec invenit requiem.

Daleth. Omnes persecutores eius apprehenderunt eam inter angustias: lugent eo quod non sunt qui veniant ad solemnitatem.

Omnes portae eius destructae, sacerdotes eius gementes, virgines eius squalidae, et ipsa oppressa amaritudine.

Heth. Facti sunt hostes eius in capite, inimici illius locupletati sunt: quia Dominus locutus est super eam propter multitudinem iniquitatum eius: parvuli eius ducti sunt captivi ante faciem tribulantis.

Jerusalem. Jerusalem, convertere ad Dominum Deum tuum.

湯瑪士．塔利斯 《哀歌 II》

取自耶肋米亞先知的哀歌。 猶大已經流亡遠去， 備受壓迫奴役； 她散居在異民中間， 再不得安息； 所有迫害她的人， 盡來相逼！ 她的街道悲慘淒涼， 因無人前來過節！ 她的城門零落蕭條， 司祭哀嘆， 處女惆悵； 她已憂苦備嘗！ 她的敵人得了優勢， 仇人獲得勝利， 都因她犯罪多端， 而遭受了上主的懲罰； 她的幼兒被擄去， 在敵人面前作囚徒。 耶路撒冷，耶路撒冷， 你應歸向上主、 你的天主。

Robert Parsons

Kind Jesus

Kind Jesus, light up my eyes as ever I fall asleep in death, so that when my enemy calls upon me I have been forewarned against him, O Adonai.

Into your hands, Lord, I commend my spirit. You have redeemed me, Lord God of truth.

O Messiah, I have spoken with my tongue: make certain for me the end, O Agios, and make certain the number of my days so that I may know what is lacking in me, O Heloi.

Lord, you have broken apart my chains: I will make a sacrifice of praise to you and I shall call upon the name of the Lord.

O Emmanuel, I have no chance of flight; there is no-one who calls upon my soul.

O Christ, I have called aloud to you, Lord. I have said that you are my hope and you take my part in the land of the living.

Our King, make me a sign for good so that those who hate me may see it and be confounded,

for you, Lord, have helped me, and you, O Rabbi, have been my comforter.

The light of your countenance, Lord, is blazoned out above us, and you have given joy to my heart. Amen.

Robert Parsons

O bone Jesu

O bone Jesu illumina oculos meos ut umquam obdormiam in morte: nequando dicat inimicus: Praevalui adversus eum, O Adonai.

In manus tuas, Domine, commendo spiritum meum, redemisti me Domine Deus veritatis.

O Messias, locutus sum in lingua mea: notum fac mihi finem meum, O Agios. Et numerum dierum meorum quis est: ut sciam quid desit mihi, O Heloi. Dirupisti Domine vincula mea: tibi sacrificabo hostiam laudis, et nomen Domini invocabo.

O Emmanuel. Periit fuga a me et non est qui requirat animam meam, O Christe, clamavi ad te Domine, dixi: tu es spes mea, portio mea in terra viventium.

O rex noster. Fac mecum signum in bonum, ut videant qui oderunt me et confundantur: quoniam tu Domine adiuvisti me et consolatus es me, O Rabbi, signatum est super nos lumen vultus tui Domine: dedisti laetitiam in corde meo. Amen.

羅伯特．柏臣斯 《至善耶穌》

仁慈耶穌啊，賜我眼目明亮， 別讓我沉睡而亡。

上主啊，免得我的仇人說： 我已勝過他！

我將我的靈魂託於你的手中， 上主，忠實的天主，你必拯救我。 默西亞啊，我的舌頭說：

上主，我懇求你讓我明白我的終期 究有幾何，至聖者啊！

又求你讓我知道我的壽數有幾何， 好使我知道我是何等脆弱， 我的天主！

上主，你將我的鎖鏈給我開釋， 我要獻給你讚美之祭， 我要呼號上主的名字。

厄瑪努耳啊！沒有一人我可投奔， 沒有一人為我操心。

基督啊！上主，我今呼號說： 你是我的避難所， 在這活人的地方， 你就是我的福爵。

我們的王啊！求你將你愛護的記號 指示給我，使惱恨我的人看到而羞 愧難過。

師傅啊！因為上主你緩助了我， 安慰了我。

上主，望你向我們顯你光輝的 儀容， 你賜給我心中的歡耀。亞孟。

Robert Parsons

Ave Maria

Hail Mary, full of grace, the Lord is with you.

Robert Parsons

Ave Maria

Ave Maria, gratia plena, Dominus tecum:

羅伯特．柏臣斯 《聖母頌》

萬福瑪利亞，妳充滿聖寵， 主與妳同在。

Blessed are you among all women

And blessed is the fruit of your womb. Amen.

Robert White

Queen of heaven

Rejoice, Queen of Heaven, alleluia; For the one whom you were worthy to bear, alleluia, He is risen as he promised, alleluia. Pray to God for us, alleluia.

Benedicta tu in mulieribus, Et benedictus fructus ventris tui. Amen.

Robert White

Regina caeli

Regina caeli laetare, alleluia, Quia quem meruisti portare, alleluia, Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia.

妳在婦女中受讚頌， 妳的親子耶穌同受讚頌。亞孟。

羅伯特．懷特

《聖母喜樂經》

天上的母皇，喜樂吧！亞肋路亞。 因你所生的兒子，亞肋路亞！ 依照他的預言已復活了， 亞肋路亞！ 請你為我們轉求天主，亞肋路亞！

William Byrd

All Saints Propers

Let us all rejoice in the Lord, celebrating a festival day in honour of all the Saints:

at whose solemnity the Angels rejoice, and give praise to the Son of God. Rejoice ye just in our Lord: praise becometh the righteous.

Glory be to the Father, and to the Son, and to the Holy Ghost,

As it was in the beginning, is now, and ever shall be, world without end. Amen.

Fear ye our Lord all ye his saints: because there is no lack to them that fear him.

They that seek after our Lord shall not be diminished of any good. Alleluia. Come ye to me all that labour, and are burdened, and I will refresh you. Alleluia.

The souls of the righteous are in the hand of God, and the torment of death shall not touch them:

In the sight of the unwise they seemed to die, but they are in peace.

William Byrd

All Saints Propers

Gaudeamus omnes in Domino diem festum celebrantes, sub honore Sanctorum omnium: de quorum solemnitate gaudent angeli, et colaudant Filium Dei.

Exultate justi in Domino: rectos decet collaudatio.

Gloria Patri, et filio, et Spiritui Sancto, Sicut erat in principio, et nunc, et semper, et in secula seculorum. Amen.

Timete Dominum omnes sancti ejus: quoniam nihil deest timentibus eum. Inquirentes autem Dominum, non deficient omni bono. Alleluia. Venite ad me omnes qui laboratis, et onerati estis: et ego reficiam vos. Alleluia.

Justorum animae in manu Dei sunt, et non tanget illos tormentum mortis: visi sunt oculis insipientium mori: illi autem sunt in pace.

威廉．拜爾德

《諸聖節彌撒特定經文》

今天我們尊敬所有聖人， 讓我們在主內歡欣； 天使也為這慶節而喜樂， 並與我們同聲讚頌天主聖子。 義人，你們應向上主踴躍歡呼， 因為正直的人，理應讚美上主。 願光榮歸於父、及子、 及聖神。

起初如何，今日亦然，直到永遠。 亞孟。

上主的聖民， 你們該敬畏上主， 因敬畏他的人不會受到窮苦。 尋求上主的人， 不缺任何福樂。

亞肋路亞。

凡勞苦和負重擔的， 你們都到我跟前來， 我要使你們安息。

亞肋路亞。

義人的靈魂在天主手裏， 痛苦不能傷害他們。

在愚人看來，他們算是死了， 其實，他們是處於安寧中。

Blessed are the clean of heart: for they shall see God.

Blessed are the peace-makers: for they shall be called the children of God. Blessed are they that suffer persecution for justice: for theirs is the kingdom of heaven.

Beati mundo corde quoniam ipsi Deum videbunt.

Beati pacifici quoniam filii Dei vocabuntur.

Beati qui persecutionem patiuntur propter justitiam quoniam ipsorum est regnum caelorum.

心裏潔淨的人是有福的， 因為他們要看見天主； 締造和平的人是有福的， 因為他們要稱為天主的子女； 為義而受迫害的人是有福的， 因為天國是他們的。

中文翻譯及匯編：楊欣諾

Compiled and translated by Felix Yeung

編按：本場刊因應不同作曲家及樂曲之歷史和基督宗派背景而選用不同中文譯法，如「God」一字會出現「上帝」、「天主」等翻譯。

Editor’s note: Based on the historical and denominational context of the pieces and composers, there may be different Chinese translations of the same word, such as “God”.

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:

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

黃金會員Gold Members

怡和集團

純銀會員Silver Member

太古地產

Kerry Holdings Limited The Jardine Matheson Group Swire Properties 上海商業銀行有限公司

Shanghai Commercial Bank Limited

其他支持機構Other Supporters

澳洲總領事館香港

Australian Consulate-General Hong Kong

荷蘭駐港總領事館

Consulate General of the Kingdom of the Netherlands in Hong Kong and Macau 荷蘭表演藝術基金

Performing Arts Fund NL

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

實物支持機構In-kind Supporters

信興集團 Shun Hing Group

通利琴行 Tom Lee Music

藝術節捐助計劃 Festival Donation Scheme

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CHIANG Lily Flavia

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Dr Stephen Suen

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See Yuen CHUNG

C H Mak

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無名氏 (2) Anonymous (2)

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黃金捐款者GOLD DONORS

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劉仰澤先生 Mr Lau Yeung Chak

凌霄志醫生 Dr Tony Ling

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Richard & Ruth Herbst

麥禮和醫生 Dr Mak Lai Wo

Karen and Vernon Moore

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Ms Wu Tseng Helen

陳穎儀與黃乃正

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無名氏（4）Anonymous（4）

區燊耀先生 Mr Au Son Yiu

Biz Office Limited

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CHEUNG KIT FUNG

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S Hon

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Mr and Mrs Rato

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蘇健文先生 Mr So Kin Man

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殷和順先生劉善萍女仕

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無名氏（2）Anonymous（2）

Tabitha Chiu

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青銅捐款者BRONZE DONORS

HK$3,000 - HK$5,999 無名氏 Anonymous

HK CT ABRSM Alumni Association

Ms Teresa Pong

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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

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主要創始贊助人 Major Founding Patrons

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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 Patron 高盛回饋慈善基金 (James Houghton 先生推薦)

Goldman Sachs Gives Annual Giving Fund (Recommended by Mr James Houghton)

支持及協助 Support and Co-operation

Acorn Design

教育局藝術教育組 Arts Education Section, Education Bureau

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香港展能藝術會 Arts with the Disabled Association Hong Kong

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樺利廣告有限公司 Avanny Advertising Co Ltd

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宏基國際賓館 Bishop Lei International House

BRICK LANE

英國文化協會 British Council

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CAMPSITE

牛棚藝術村 Cattle Depot Artist Village

城市當代舞蹈團 City Contemporary Dance Company

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法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau

以色列駐香港總領事館 Consulate General of Israel in Hong Kong & Macau

西班牙駐香港總領事館 Consulate General of Spain in Hong Kong

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

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

李敬恒博士 Dr Roger Lee

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青苗琴行 Greenery Music

香港恒生大學 Hang Seng University of Hong Kong

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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

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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 呂詠琪*、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 Officers Kate Lui*, 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