Denis Matsuev Piano Recital | Matsuev and Young Laureates Piano Gala - 47th Hong Kong Arts Festival by Hong Kong Arts Festival

衷心祝賀香港藝術節今年邁向第4 7屆。今屆藝術節陣容鼎盛，共有超過1700名來自香港和世界各地的藝術家傾力演出，為觀眾帶來近1 7 0 場精彩表演。今年藝術節的節目多姿多彩，當代及古典音樂、舞蹈、戲劇等不同形式的藝術表演共冶一爐。每個節目從幕後製作到台前演出，均盡顯精湛的藝術造詣和超凡的想像力。我很高興知道最近完成活化的中區警署建築群，即現在的大館古蹟及藝術館，會在兩個周末呈獻約5 0場舞蹈表演，供公眾免費入場觀賞。大家更有機會一起參與在大館的檢閱廣場、監獄操場，甚至是監獄囚室進行的表演節目。牛棚藝術村亦會打造為藝術共生創造社，首度成為藝術節發展作品的平台，場內設有不同創意領域的工作坊，觀眾並可以欣賞一些創作中的作品，感受藝術家的多元創意。除了精彩表演，藝術節亦一如以往，悉心籌備各項教育和外展活動，致力培育本地藝術人才。「香港藝術節青少年之友」計劃讓本地學生有機會觀賞世界級的表演和參與各式各樣的藝術活動。此外，藝術節亦透過後台參觀和大師班等「加料節目」，讓觀眾與國際頂尖藝術家互動接觸，了解節目的幕後製作過程。衷心感謝香港藝術節團隊一直致力推動本港的藝術發展，成績斐然。我亦感謝贊助商和捐款者的大力支持，令每年的藝術節圓滿成功，大獲好評。謹祝二零一九年香港藝術節所有觀眾、參加者和表演者可以盡情享受這次藝術之旅，留下愉快難忘的回憶。

林鄭月娥香港特別行政區行政長官

I am pleased to congratulate the Hong Kong Arts Festival, which turns 47 this year in grand fashion, with nearly 170 performances featuring more than 1,700 artists from Hong Kong and all over the world. This year, the Festival showcases a dazzling range of classic and contemporary music, dance, theatre and more, each produced, staged and performed with consummate artistry and imagination. I am also delighted to note that our newly revitalised Central Police Station Compound, now Tai Kwun, Centre for Heritage and Arts, is the venue for some 50 free dance performances over the course of two weekends. I am told that audiences will also have the opportunity to participate in the performances taking place at Tai Kwun’s Parade Ground, Prison Yard and even its prison cell blocks. For the first time, the Arts Festival will turn Cattle Depot Artist Village into a Creative Hub for showcasing workshops and works in progress from a variety of creative disciplines. Beyond its captivating performances, the Festival remains committed to its educational activities, outreach and development of local artists. The Young Friends of the Hong Kong Arts Festival enables local students to enjoy world-class performances and participate in a range of arts activities, while PLUS programmes bring audiences behind the scenes with some of the world’s greatest artists through backstage tours, masterclasses and more. I am grateful to the Hong Kong Arts Festival team for its continuing commitment and manifold contributions to the development of the arts in Hong Kong. I am grateful, too, to the many sponsors and donors who, each year, help make the Festival a resounding success. I wish audiences, participants and performers alike a delightful and memorable 2019 Hong Kong Arts Festival experience.

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region

歡迎閣下蒞臨欣賞第4 7屆香港藝術節的這場演出。感謝您與我們一起歌頌表演藝術在舞台上的不同季節和階段。我們要感謝香港特別行政區政府透過康樂及文化事務署的年度恆常撥款。這項資助對香港藝術節每年得以成功舉辦，至關重要。多謝香港賽馬會慈善信託基金持續的支持，為我們致力豐富城中文化生活，打下根基。另外要感謝眾多企業贊助商、慈善基金會以至個人捐助者。他們的慷慨捐助，讓我們能夠呈獻世界各地的優秀藝術家、發展新作、培育年青觀眾，並在國際舞台上引薦本地人才。最重要的是感謝您前來欣賞今天的表演。香港藝術節的成功，正是有賴觀眾的熱情和參與。謹祝您享受藝術節今天這場演出，渡過難忘的時光。

查懋成香港藝術節主席

I am delighted to welcome you to this performance at the 47th Hong Kong Arts Festival. Thank you for joining in our celebration of the seasons and stages of the performing arts. I would like to extend my gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention, which is vital to the continued success of the Festival. I am also grateful to the Hong Kong Jockey Club Charities Trust, whose ongoing support is a cornerstone in our efforts to enrich the cultural calendar of the city. Thanks are also due to our many corporate sponsors, charitable foundations and individual donors, whose generous support enables us to host some of the world’s leading artists, develop new works, cultivate young audiences, and promote local talent on a world stage. Above all, I offer my warm thanks to you for joining today’s performance. The enthusiasm and engagement of our audiences is the foundation of the Hong Kong Arts Festival’s success. I sincerely hope that you will find your time spent at the Festival today memorable and enjoyable.

Victor Cha Chairman, Hong Kong Arts Festival

衷心感謝閣下蒞臨欣賞第47屆香港藝術節的演出。今屆藝術節以「一步一舞台」為主題。舞台，不僅是我們呈獻新穎及經典表演的地方，更是藝術轉化向前的關鍵。頂尖藝術家及明日之星於舞台相遇，各展姿彩；透過忠實致敬及大膽改編，經典劇目得以重現觀眾眼前；嶄新作品以原創設計、技術及敍事方法，挑戰傳統舞台的極限。無論於哪個舞台表演，我們會繼續想像藝術世界的無限可能，亦期望今屆表演能為閣下帶來啟發和歡愉。另外，誠邀您參加「加料節目」的各項活動，深入了解重點表演，令藝術節體驗更全面。謹代表藝術節團隊，感謝您參與香港藝術節，支持我們的使命，為香港締造一個世界級藝術節。

It is a pleasure and a privilege to welcome you to this performance at the 47th Hong Kong Arts Festival. This year, we celebrate artists and artworks “At Every Stage”. Not only do we spotlight exhilarating programmes at stages old and new across Hong Kong, but also reflect on the stage as a process of transformation. Leading artists at the peak of their careers perform alongside the next generation of rising stars. Classic repertoire is reinvented through brave homages and boldly experimental retellings, and the original designs, technologies and storytelling modes of new works crash through the boundaries of the traditional stage. I hope that this and many other performances at the 47th HKAF will provoke, inspire and delight you, and that in the course of viewing works at every stage, we may continue to envision the myriad possibilities of the arts. As part of your Festival experience, I would also recommend you join the many PLUS performances, workshops and events that have been designed to bring insight into our core programmes. Together with the entire team, I would like to thank you for your support of the Hong Kong Arts Festival, which sustains us in our mission to bring a world-class arts festival to Hong Kong.

何嘉坤香港藝術節行政總監

Tisa Ho Executive Director, Hong Kong Arts Festival

香港藝術節扎根香港的國際藝壇盛事香港藝術節於 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，2019 年第 47 屆藝術節的年度預算約港幣一億三千六百萬，當中香港特區政府的基本撥款佔總收入的近 13%，接近 6% 來自政府新增加的五年限期額外撥款，另外約 28% 需來自票房收入，逾 33% 則需依賴來自各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘下的大約 20% 則來自其他收入，包括政府針對捐款和贊助收入而提供的配對資助。香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，例如 *： •歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大劇院、聖彼得堡馬林斯基劇院 •中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團 •古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、趙成珍、古斯塔沃．杜達美、菲力普．格拉斯、馬友友、丹尼斯．馬祖耶夫、安娜．涅翠柯、詹安德列亞．諾斯達、小澤征爾、甘拿迪．羅傑斯特汶斯基、克里斯蒂安．泰利曼、倫敦交響樂團、NHK 交響樂團、皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也納愛樂樂團 •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、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

2019 年藝術節預計收入來源（約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)

贊助和捐款 Sponsorship & Donations

over 逾

•戲劇：彼得．布祿克、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，並致力為新晉藝術家提供展示才華的平台。藝術節至今委約及製作逾 2 0 0 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，近年開始同步出版新作劇本，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粵劇《百花亭贈劍》、《香港家族》三部曲、《世紀．香港》音樂會、《論語》、《炫舞場》、《大同》、《金蘭姊妹》、《爆蛹》、《野豬》、《聖荷西謀殺案》等。香港藝術節多年來與知名海外藝術家及團體聯合製作不少優秀作品，當中包括由香港藝術節、香港歌德學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風雨》及《李察三世》、由香港藝術節及上海國際藝術節聯合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作的《紅樓夢》等。香港藝術節大力投資下一代的藝術教育。「青少年之友」成立 27 年來，已為逾 750,000 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 1 0 , 0 0 0 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。

33% around 約

20% nearly 近 6% nearly 近 13%

around 約

28%

票房收入 Box Office （2019 年 1 月更新 Updated January 2019）

其他收入（包括按捐款和贊助收入可望獲得的政府配對資助 ) Other Income (Including Possible Government Matching Grant for Sponsorship and Donation Income) 政府五年限期額外撥款 Government's Time-limited Addition Funding (for 5 years)

政府的基本撥款 Government Baseline Funding

Hong Kong Arts Festival A Major International Arts FestivaI ln, Of and For Hong Kong 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. HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western Opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch • Theatre: Peter Brook, 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 HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include the Cantonese Opera - Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong–The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few. HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera. HKAF invests heavily in arts education for young people. Over the past 27 years, our “Young Friends” scheme has reached over 750,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year. 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.

誠邀贊助或捐助第 47 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:

dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html

Presents

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital 7 3 月 MAR

演出長約 1 小時 50 分鐘，包括一節中場休息 Approximately 1 hour and 50 minutes including one interval 節目資料 p13 for programme details

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala 8 3月 MAR

演出長約 2 小時 30 分鐘，包括一節中場休息 Approximately 2 hours and 30 minutes including one interval 節目資料 p30 for programme details

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

香港藝術節感謝香港洲際酒店提供酒店住宿支持 The Hong Kong Arts Festival wishes to thank InterContinental Hong Kong for providing accommodation support for this programme.

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

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

HKartsfestival

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

www.hk.artsfestival.org

丹尼斯．馬祖耶夫

Denis Matsuev 鋼琴 Piano

馬祖耶夫自從勝出第十一屆莫斯科國際柴可夫斯

為了慶祝 2018 年拉赫曼尼諾夫誕辰一百四十五

基鋼琴大賽，便成為繼承俄羅斯鋼琴傳統的能

週年，馬祖耶夫在全球各地的藝術節演奏拉赫曼尼諾夫全套鋼琴協奏曲，包括第 46 屆香港藝術

手，是同輩中最受歡迎的鋼琴家之一。馬祖耶夫常與世界頂級樂團合作，包括紐約愛樂

節。

樂團、洛杉磯愛樂樂團、芝加哥交響樂團、柏林

2018/19 樂季，馬祖耶夫將與下列樂團同台演出：

愛樂樂團、萊比錫布業大廳樂團、法國國家管弦

紐約愛樂樂團、慕尼黑愛樂管弦樂團以及聖彼得

樂團、倫敦交響樂團、倫敦愛樂樂團、維也納愛

堡馬林斯基管弦樂團，均由格杰夫指揮；以色列

樂樂團、荷蘭皇家音樂廳管弦樂團、意大利米蘭

愛樂樂團（梅達）；柏林愛樂樂團（泰利曼）；

史卡拉愛樂樂團、聖彼得堡愛樂樂團、聖彼得堡

維也納愛樂樂團（楊遜斯）；倫敦交響樂團及芝

馬林斯基管弦樂團及俄羅斯國家樂團等。

加哥交響樂團（諾斯達）；史卡拉歌劇院樂團（沙

他亦經常與多個世界頂尖的指揮同台演出，他們包括格杰夫、特米爾卡洛夫、楊遜斯、梅達、沙爾、泰利曼、馬素爾、馬捷爾、帕佛．約菲、斯拉特金、鄭明勳、霍內克、康隆、史畢華可夫、普雷特涅夫及克里斯蒂安．約菲等。他在 2014 年第二十二屆索契冬季奧林匹克運動會的閉幕典禮上演出拉赫曼尼諾夫的鋼琴協奏曲，吸引全球數以十億計的樂迷欣賞。

爾）；柏林音樂廳管弦樂團（珊特靈）；維也納交響樂團（奧迪諾魯）；聖彼得堡愛樂樂團、倫敦愛樂管弦樂團及萊比錫布業大廳樂團（特米爾卡洛夫）、蒙特利爾交響樂團（長野健）及意大利聖卡羅大劇團（尼米．約菲）。馬祖耶夫於不同場地舉行獨奏會，包括：卡內基音樂廳、日內瓦維多利亞音樂廳、維也納音樂廳、佛羅倫斯佩哥拉劇院、都靈威爾第音樂學院、蘇黎世音樂廳、杜塞爾多夫音樂廳、柏林愛

馬祖耶夫 2016 年在莫斯科為年輕鋼琴家創辦三

樂廳、阿姆斯特丹音樂廳、巴黎香榭麗舍劇院、

角鋼琴大賽，並擔任藝術總監。他亦是俄羅斯新

哥本哈根蒂沃利音樂廳、漢堡易北愛樂廳、布拉

名字慈善基金會主席，發掘及支援有才華的兒

格史梅塔那廳、慕尼黑格斯泰格文化中心音樂

童，資助其祖國俄羅斯的兒童音樂教育。

廳、羅馬國立聖西西里亞學院、米蘭音樂學院及布魯塞爾費基音樂廳。馬祖耶夫亦參與德累斯頓

2017 年，馬祖耶夫獲頒國家榮譽勳章，並憑貝

國家管弦樂團的音樂會和巡演，為樂團本樂季的

加爾之星音樂節獲俄羅斯聯邦國家獎。他作為國

「大演奏家」。

際足總世界盃的俄羅斯大使，主辦了 2018 年於莫斯科紅場舉行的全球直播音樂會，參與音樂家包括維萊里．格杰夫、安娜．涅翠柯及杜鳴高。

Since winning the 11th International Tchaikovsky Competition, Denis Matsuev has become a virtuoso in the grandest of Russian pianistic tradition and has quickly established himself as one of the most prominent pianists of his generation.

Festival in Irkustk. As Ambassador of the FIFA World Cup Russia, Matsuev organised a globally broadcast concert featuring Valery Gergiev, Anna Netrebko, Placido Domingo and other classical music stars at Moscow’s Red Square in June 2018.

Matsuev performs with the world's best orchestras, such as the New York Philharmonic and Los Angeles Philharmonic Orchestras, Chicago Symphony Orchestra, Berlin Philharmonic Orchestra, Leipzig Gewandhaus Orchestra, Orchestre National de France, Vienna Philharmonic Orchestra, Royal Concertgebouw Orchestra, London Symphony Orchestra, London Philharmonic, Filarmonica della Scala, St. Petersburg Philharmonic, Mariinsky Orchestra and the Russian National Orchestra, as well as numerous others.

To celebrate the 145th anniversary of Rachmaninov's birth in 2018, Matsuev performed the composer's complete piano concerto cycles around the world, including at the 46th Hong Kong Arts Festival.

Matsuev regularly appears with the most distinguished conductors on a stage today, including Valery Gergiev, Yuri Temirkanov, Mariss Jansons, Zubin Mehta, Riccardo Chailly, Christian Thielemann, Kurt Masur, Lorin Maazel, Paavo Järvi, Antonio Pappano, Charles Dutoit, Alain Gilbert, Leonard Slatkin, Myung-Whun Chung, Semyon Bychkov, Iván Fischer, Ádám Fisher, Gianandrea Noseda, Jukka-Pekka Saraste, Manfred Honeck, James Conlon, Vladimir Spivakov, Mikhail Pletnev, Vladimir Fedoseyev, Yury Bashmet, Alexander Sladkovsky, Kristian Järvi and others. He was viewed by billions of spectators around the globe while performing Rachmaninov at the closing ceremony of the XXII Winter Olympic Games in Sochi in 2014. In 2016, Matsuev started the Grand Piano Competition for young pianists in Moscow as artistic director. Additionally, he is the president of the charitable Russian New Names Foundation that discovers and supports talented children and helps to develop music education in regions of his native Russia.

In the 2018/19 season, Matsuev performs with the New York Philharmonic, Munich Philharmonic, and Mariinsky Orchestra under the baton of Maestro Gergiev; the Israel Philharmonic with Zubin Mehta; the Berlin Philharmonic Orchestra with Christian Thielemann; the Vienna Philharmonic Orchestra with Mariss Jansons; the London Symphony and Chicago Symphony Orchestras with Gianandrea Noseda; La Scala Orchestra with Riccardo Chailly; Konzer thausorc hester Berlin with Thomas Sanderling; Vienna Symphony Orchestra with Alain Altinoglu; the St. Petersburg Philharmonic Orchestra, the Philharmonia Orchestra of London and Gewandhaus Orchestra with Yuri Temirkanov; the Montreal Symphony Orchestra with Kent Nagano; and the Orchestra of the Teatro di San Carlo with Neeme Järvi. He performs recitals at Carnegie Hall, Victoria Hall in Geneva, Vienna Konzerthaus, Pergola Theatre in Florence, G. Verdi Conservatory in Turin, Tonhalle Zürich, Tonhalle Dusseldorf, Berlin Philharmonie, Concertgebouw Amsterdam, Théâtre des ChampsÉlysées, Tivoli in Copenhagen, Elbphilharmonie in Hamburg, Smetana Hall in Prague, Gasteig in Munich, Santa Cecilia in Rome, Milan Conservatory and Flagey in Brussels. He also takes part in concerts and tours with Staatskapelle Dresden as this season’s Capel-Virtuoso.

In 2017, Matsuev was awarded with the State Order of Honour and the Prize of the Government of the Russian Federation for his Stars on the Baikal

7.3.2019

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital 柴可夫斯基

Piotr Ilyich Tchaikovsky (1840–1893)

《季節》，作品 37a

The Seasons, Op 37a At the Fireside (January) Shrovetide (February) Song of the Lark (March) Snowdrop (April) White Nights (May) Barcarolle (June) Song of the Reaper (July) The Harvest (August) The Hunt (September) Autumn Song (October) On the Troika (November) Christmastide (December)

火爐邊（一月）謝肉節（二月）雲雀之歌（三月）雪花蓮（四月）白夜（五月）船歌（六月）收割者之歌（七月）收穫（八月）狩獵（九月）秋之歌（十月）三套車上（十一月）聖誕節期（十二月）

— 中場休息 Interval —

〈沉思〉，《十八首小品》，作品 72，第五首

“Meditation”, No 5 from Eighteen Pieces, Op 72

G 大調鋼琴奏鳴曲，作品 37，「大奏鳴曲」

Piano Sonata in G major, Op 37, "Grand Sonata" Moderato e risoluto Andante non troppo quasi moderato Scherzo: Allegro giocoso Finale: Allegro vivace

中板，堅定地不太慢的行板，近似中板諧謔曲：歡樂的快板終曲：活潑的快板是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

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柴可夫斯基鋼琴獨奏作品

Tchaikovsky's Works for Solo Piano 柴可夫斯基寫下的鋼琴獨奏音樂實在不少：他這些作品為數過百，若要從頭至尾彈奏一次，大約要花上八個小時。然而，他雖寫有一首極受歡迎的鋼琴協奏曲，但其絕大多數的鋼琴獨奏作品，在俄羅斯以外的地方，至今仍然鮮為人知，遑論演奏。他自己彈得一手好琴，但他的作品卻不以創新鍵盤風格和彈奏技巧見稱。今天這些作品備受冷待，另一原因也許關乎文化更甚於音樂本身：現在它們大多都被視作為業餘音樂愛好者而寫的小品。隨着人們漸漸不再在家中或社交場合奏樂自娛，而選擇欣賞專業演奏會時，音樂愛好者對這些作品的興趣便大不如前。儘管如此，這些小品許多其實都頗為悅耳，偶爾奏之聽之亦為樂事。可不要忘記，畢竟人人喜愛的三部柴可夫斯基芭蕾舞劇，每一部都是由多首性質相若的小曲組合而成。上世紀六十年代的一件事，正好說明了這一點。當時，史圖加芭蕾舞團允准其總監格蘭高將普希金的《尤金．奧尼金》改編為大型舞劇，條件是其音樂不得取於柴可夫斯基改編自同一詩體小說而寫成的歌劇。於是，作曲家的鋼琴小品便成了此舞劇音樂的主要來源，有人因而戲稱格蘭高的作品為柴可夫斯基的「第四部」舞劇。這些小品經過全新改編，成為了管弦樂曲，其中好幾首選自他最有名的鋼琴曲集：《季節》。

Tchaikovsky was a prolific composer of music for piano solo: his compositions in this medium, which number over a hundred, would take some eight hours to perform in full. Yet, while he wrote one of the best-loved piano concertos in the repertoire, the vast majority of his solo piano works remain little known and are rarely performed outside Russia. Although a fine pianist himself, his creative output is not noted to have contributed to innovative keyboard styles and techniques. However, the present-day neglect of this œuvre is perhaps more cultural than inherently musical: it consists mostly of miniatures that are viewed as aimed at the amateur market, and, with the decline of domestic and social music-making and the concomitant rise of professional concerts, such pieces have gradually fallen out of favour with music lovers. Nonetheless, many of these miniatures are quite delightful and deserve to be played and heard. It is useful to bear in mind that, after all, Tchaikovsky’s three universally popular ballets are each essentially a potpourri of little gems of a not dissimilar nature. Indeed, when back in the 1960s the Stuttgart Ballet approved its director John Cranko’s idea of creating a full-length work based on Alexander Pushkin’s Eugene Onegin on the condition that no music from Tchaikovsky’s opera after the verse novel be used, the composer’s piano pieces became the principal source of the music for what some have dubbed the “fourth” Tchaikovsky ballet. This music included new orchestrations of several pieces from The Seasons, the most famous collection of his keyboard miniatures.

《季節》，作品 37a

The Seasons, Op 37a

柴可夫斯基原本並不視《季節》中的每首曲子

穫（八月）〉比它還要活潑，此諧謔曲表現了

為一整套作品的組成部分。1875 年 11 月，就在

秋成時農民之勞碌。這些小品大多僅營造出某

他那膾炙人口的鋼琴協奏曲首演後不久，聖彼

種氣氛情感，不過也有一些是具體描繪事物的。

得堡《小說人》音樂月刊的督印人伯納德邀請

〈雲雀之歌（三月）〉中旋律的跳音和裝飾音，

他作曲，其意念見於雜誌十二月號的封面：「我

令小鳥活現眼前；〈狩獵（九月）〉裏的號角

們傑出的作曲家柴可夫斯基，將在明年出版一

聲不出所料，但它中間有一個樂段，聽來更像

系列特為本刊而寫的鋼琴曲，其標題以至出版

個追逐場面。另外，有些人說在〈收割者之歌

月份予人的印象，都將於每曲的性格當中準確

（七月）〉裏聽到一下一下揮動鐮刀的動作。

呈現。」一月和二月的曲子於 1875 年底前寄到

這是其中一首曲式為三段體、而主題再現時又

伯納德手上，其餘十曲在翌年五月也全部完成。

加有點綴的小品，這裏的主題以三連音襯托。

樂曲如期按月刊出，每次都附有標題，更有詩句

在〈三套車上（十一月）〉的主題再現部分，

為序，取自普希金等名家之作。如是者過了一

裝飾則來自綿綿不斷的十六分音符。論者對此

年，伯納德將這些小品結集重印，題為《季節》。

詮釋不一，有說這是馬鈴聲，有說這代表飄雪。

一向為柴可夫斯基出版樂譜的余根遜，後來獲

而當〈船歌（六月）〉的憂鬱曲調再現時，一

得了曲集的版權，給它的作品編號為 37a。

個新的副旋律響起，與之作二重唱。這種高音

惱人的是此曲集也稱作品 37b 或作品 37bis，而作品編號 3 7 已經被今晚節目表上的鋼琴奏鳴曲佔用了。曲集之名亦恐怕不副其實：作品以十二

及中音聲部之間的對答，是淒清的〈秋之歌（十月）〉的基本特色，此為曲集中另一感情深刻之作。

首小品構成，每首代表一個月，而不是四組小品，每組三首代表一季。此外，要留意每曲的標題及用以為序的詩句，都是伯納德而非柴可夫斯基本人提出的。因此，無論上文所引的《小說人》通告怎麼說，置於每曲之前那些文字所表達的意思，聽者大概也不應太過費勁在音樂裏尋找。比如說，於首曲〈火爐邊（一月）〉，聽者尚可試試想像普希金筆下的情景：爐火與蠟燭皆漸漸熄滅。但要在終曲〈聖誕節期（十二月）〉裏想像到少女擲鞋問卜，則恐怕不太可能：這只是一首優雅的圓舞曲，在任何場合都似乎可以讓人起舞。這種舞蹈的節奏亦見於〈雪花蓮（四月）〉，嬌弱的花朵象徵冬天哀愁的盡頭，春天快樂的開始。〈白夜（五月）〉是一首讚美北國的夜曲。在〈謝肉節（二月）〉，聽者不難想起大齋期前喜慶活動之熱鬧，可是〈收

柴可夫斯基 Pyotr Ilyich Tchaikovsky

The composer did not originally conceive the individual pieces in The Seasons as constitutive of a single opus, however. In November 1875, not long after the premiere of his celebrated piano concerto, he was commissioned by Nikolai Bernard, publisher of the Saint Petersburg monthly music magazine Le Nouvelliste, to contribute some compositions, the idea of which was announced on the cover of the December issue: “Our illustrious composer P. I. Tchaikovsky will publish next year a series of piano pieces composed especially for our journal, whose character will precisely reflect their title and the impressions aroused by the month of their publication.” The January and February pieces were sent to Bernard by the end of 1875, and the remaining ten were all ready by the following May. After appearing in monthly instalments as planned—complete with titles and epigraphs from famous poets such as Pushkin—the pieces were reprinted in a collected edition headed The Seasons. The rights to this collection were acquired years later by Pyotr Jurgenson, Tchaikovsky’s regular publisher, who gave it the opus number 37a. Confusingly, the collection is also known as Op 37b and Op 37bis, while the opus number 37 has already been assigned to the piano sonata also on this evening’s programme. Its title is also very much a misnomer: here we have twelve pieces each representing a month, rather than four groups of three with each group representing a “time of the year”, the literal meaning of the Russian word for “season”. It is important to note, moreover, that both the titles of the pieces and the poetic epigraphs to them were suggested by Bernard and not Tchaikovsky himself, so it may not be advisable to look too hard in the music for extramusical ideas conveyed by these texts, despite what Le Nouvelliste claims in the announcement quoted above.

For instance, when listening to the first piece, “At the Fireside (January)”, one may try to picture Pushkin’s scene in which both the flame in the hearth and the candle are dying. Yet one would be hard-pressed to visualise maidens telling their own fortunes by throwing off their shoes in the last piece, “Christmastide (December)”, an elegant waltz that could have been danced to on any other occasion. The rhythm of this dance is also found in “Snowdrop (April)”, which evokes the delicate flower that here symbolises the end of wintry sorrow and the beginning of vernal happiness. “White Nights (May)” is a nocturne that gives praise to the northern land. “Shrovetide (February)” conjures up the boisterous festivities before Lent, but even livelier is “The Harvest (August)”, a scherzo suggestive of the busy activity of peasants gathering in the crops. Whereas most of these pieces create general moods, a few are plainly pictorial. “Song of the Lark (March)”, with a melody rich in staccato and grace notes, is a vivid portrayal of the eponymous bird, while “The Hunt (September)” contains not just the expected horn calls, but even what sounds like a chase sequence. Some hear repeated scything movements in “Song of the Reaper (July)”, one of the pieces in ternary form where the principal theme is embellished at its reprise. Here it is adorned with a triplet figuration, while in the corresponding section of “On the Troika (November)” the ornament is a steady stream of semiquavers, which has been variously taken as sleigh bells or snowfall. When the melancholy tune of the “Barcarolle (June)” is reprised, it forms a duet with a new countermelody. Such conversation between treble and tenor is a basic feature of the desolate “Autumn Song (October)”, also a piece of considerable emotional depth.

一、火爐邊（一月）

No 1. At the Fireside (January)

靜謐的一隅，

A little corner of peaceful bliss The night dressed in twilight; The little fire is dying in the fireplace, And the candle has burned out. — Aleksandr Pushkin

薄暮掩然而至；微弱的爐火即將燃盡，蠟燭早已熄滅。 —阿歷山大．普希金二、謝肉節（二月）

No 2. Shrovetide (February)

喧鬧繽紛的謝肉節

At the lively Mardi Gras Soon a large feast will overflow. — Pavel Vyazemsky

將排滿盛大的筵席。 —帕維爾．維森斯基三、雲雀之歌（三月）

No 3. Song of the Lark (March)

原野繁花盛放，

The field shimmering with flowers, The stars swirling in the heavens, The song of the lark fills the blue abyss. — Apollon Maykov

星斗穿梭穹蒼，雲雀之歌在無垠的深藍中迴蕩。 —阿波隆．梅恪夫四、雪花蓮（四月）

No 4. Snowdrop (April)

純潔的藍色雪花蓮旁，

The blue, pure snowdrop-flower, And near it the last snowdrops. The last tears over past griefs, And first dreams of another happiness. — Apollon Maykov

幾朵雪滴徘徊未散。為去日悲傷滴下最後的珠淚，從頭澆灌歡愉的美夢。 —阿波隆．梅恪夫五、白夜（五月）

No 5. White Nights (May)

白夜如斯，有如仙境！

What a night! What bliss is all about! I thank my native north country! From the kingdom of ice and snow, How fresh and clean May flies in! — Afanasy Fet

我感激生我育我的北國！自漫天冰雪的國度，清新爽潔的五月飛奔而至！ —阿凡納西．費特六、船歌（六月）

No 6. Barcarolle (June)

我們到海邊去，

Let us go to the shore; There the waves will kiss our legs. With mysterious sadness The stars will shine down on us. — Aleksey Pleshcheyev

讓浪花親吻雙腿。照拂的星光，閃爍莫名的憂傷。 —阿歷基斯．普萊史契耶夫

七、收割者之歌（七月）

No 7. Song of the Reaper (July)

動動肩，抬起手！

Move the shoulders, shake the arms! And the noon wind breathes in the face! — Aleksey Koltsov

正午的風迎面撲來了！ —阿歷斯．高索夫八、收穫（八月）

No 8. The Harvest (August)

莊稼已成熟，

The harvest has grown, People in families cutting the tall rye Down to the root! Put together the haystacks, Music screeching all night From the hauling carts. — Aleksey Koltsov

家家戶戶連根收割高高的黑麥！乾草疊成堆，拖拉的卡車往來不絕，馳駛的樂聲尖銳高亢，響徹一夜。 —阿歷斯．高索夫九、狩獵（九月）

No 9. The Hunt (September)

時候到了！號角響起！

It is time! The horns are sounding! The hunters in their hunting dress Are mounted on their horses; In early dawn the borzois are jumping. — Aleksandr Pushkin

獵人們身披戎裝，英姿颯颯，在馬背上整裝待發；晨光初現，波索犬在奔逐跳躍。 —阿歷山大．普希金十、秋之歌（十月）

No 10. Autumn Song (October)

秋日降臨我們貧乏的果園，

The autumn, falling on our poor orchard, The yellow leaves are flying in the wind. — Aleksey Tolstoy

黃葉在風中漫天飄轉。 —阿歷斯．托爾斯泰十一、三套車上（十一月）

No 11. On the Troika (November)

寂寞的你，別終日癡望路途，

In your loneliness do not look at the road, And do not rush out after the troika. Suppress at once and forever The fear of longing in your heart. — Nikolay Nekrasov

別試圖追趕那踏塵而過的三套車。你要立刻壓抑，更要棄絕內心那叫人驚懼的渴望。 —尼古拉．涅克拉索夫十二、聖誕節期（十二月）

No 12. Christmastide (December)

很久以前的聖誕夜，

Once upon a Christmas night The girls were telling fortunes: Taking their slippers off their feet And throwing them out of the gate. — Vasily Zhukovsky

一群女孩卜測未來：她們脫下拖鞋，隨手將它們拋出門外。 —范西里．茹高夫斯基

〈沉思〉，《十八首小品》，作品 72，第五首 "Meditation", No 5 from Eighteen Pieces, Op 72 格蘭高《奧尼金》的其他音樂，部分來自作品編號 72 的《十八首小品》。事實上，早在 1895 年，佩蒂巴及伊凡諾夫重演《天鵝湖》時，已經將這曲集裏的幾首小品加插其中，而此版本對後世影響深遠。曲集寫於 1893 年 4 至 5 月，即作曲家去世前不過半年。整套而言，這是柴可夫斯基最大型的鋼琴作品，演出需逾一小時。作曲家的書信顯示，他寫作這些曲子是為了要賺一點快錢，情況跟《季節》差不多。然而他這次創作其最後一套鋼琴曲時，心裏想着的似乎並非只有業餘愛樂者市場及財富收入。柴可夫斯基把每一首曲子獻予一位友人或同行，而其中幾首需要的演奏技巧，絕非業餘愛樂者所能夠應付，尤其是獻給鋼琴高手那數曲。此外，受柴可夫斯基贈曲者，當中有一些曾經與他不和，故此有些人覺得曲集整體有告別的意味：作曲家不僅藉之歌頌他與朋友間的情誼，也表示欲與他關係緊張的人重修舊好。小品集的第五曲〈沉思〉，便屬於第二種情況。此曲獻給瓦西里．沙方諾夫，柴可夫斯基曾兩度幫助他，於莫斯科音樂學院謀得職位：他先成為鋼琴教授，其後更當上學院總監。但後來有一位大提琴教授逝世，沙方諾夫任命了接替人，而柴可夫斯基認為此人不如他自己所推舉者，雙方便這樣鬧翻了。這首九八拍子的「較快的行板」大致平寧，最後以悠長縹緲的顫音結束。同樣特別的，是起始的「如歌」旋律第二次奏出時，另有二連音吃力地逐級前進，彷彿與之作對。有論者說這種節奏上的不協和，表示兩人意見之分歧；後來同一旋律重現時，便再沒有那不協和了，此則表示兩人終得和解。

Another source of music for Cranko’s Onegin is the Eighteen Pieces, Op 72, which were in fact tapped for dance as early as 1895, in the revised score for the influential revival of Swan Lake by Marius Petipa and Lev Ivanov. Written in April and May 1893, just half a year before the composer’s death, this set as a whole is Tchaikovsky’s largest piano work, running over an hour in performance. As is the case with The Seasons, his correspondence indicates that he wrote these pieces to make some relatively easy money, but apparently he had more than financial gain and amateur music lovers in mind when creating this collection, which was to be his swansong for the piano. Each piece was dedicated to one of Tchaikovsky’s friends or colleagues, and the technical demands of some pieces are well beyond the reach of amateurs, as when the dedicatees are virtuoso pianists. Also among the dedicatees are persons with whom the composer had been on bad terms, a fact that has led some commentators to see Op 72 as a sort of valediction by way of not only celebrating his friendships, but also smoothing out his strained relationships. The latter is exemplified by the fifth piece of the set, "Meditation", dedicated to Vasily Safonov. Tchaikovsky had helped him secure the post of piano professor, and later that of director, at the Moscow Conservatory, but fell out with him when, upon the death of a cello faculty member, Safonov appointed a replacement whom the composer deemed less worthy of the job than his own nominee. This andante mosso in nine-eight metre is predominantly peaceful, and ends with ethereal long trills. Equally notable is the stepwise trudge of duplets against the second statement of the opening cantabile melody. It has been suggested that this rhythmic dissonance, and its absence at the later reprise of the same melody, represent respectively the differences between the two men and their eventual reconciliation.

G 大調鋼琴奏鳴曲，作品 37，「大奏鳴曲」 Piano Sonata in G major, Op 37, "Grand Sonata" 柴可夫斯基到莫斯科教書之前、仍於聖彼得堡

樂曲開始時，堅定的、進行曲似的音樂維持了

求學的時候，寫了一首四樂章的升 C 小調鋼琴

好一段時間，其結實的和弦效果儼如管弦樂。

奏鳴曲。此曲在他死後方得以出版，作品編號

在 G 小調的下一個主題，右手的附點節奏搭配

8 0，是他嘗試創作的極少數大規模獨奏鋼琴曲

左手的琶音，動作與舒曼的升 F 小調第一鋼琴

之一。除此之外，他唯一為任何樂器寫成的奏

奏鳴曲，作品 11 的引子相仿；舒曼的鋼琴音樂

鳴曲，創作於其災難性的婚姻後的康復時期；

對柴可夫斯基的影響至鉅。第三個主題引用了

這場婚姻對他的健康大有影響，第四交響曲與

安魂彌撒的素歌《震怒之日》。在這裏，它聽

《尤金．奧尼金》的創作也因而中斷。他逃離

起來並不特別陰沉，縱使它令人不禁想起作曲

莫斯科並完成這些作品後，於 1878 年 2 至 4 月

家於上一年想過自殺。E 小調的慢樂章為迴旋曲

寓居瑞士克拉倫斯，在此着手寫作 G 大調鋼琴

式，其主題彷彿欲言又止，旋律常踟躕於兩個

奏鳴曲。誰知他這趟又再遇到阻滯。3 月 5 日，

鄰音之間，低音聲部則以半音徐徐下降，這些

他「感受到那無可解釋的靈感之光」，要創作

都與蕭邦同調的二十四首前奏曲，作品 28，第

一首小提琴協奏曲，於是「我這輩子首次在手

三首如出一轍。中間「生動的中板」插段的旋

頭上作品完成之前，便已開始寫作新曲」。協

律，經過變化並重現於尾聲，似有離情依依，

奏曲於月底寫成；一個月後，奏鳴曲也脫稿了。

音樂最後標示「消逝並迷失」。短小的諧謔曲

作曲家本人稱此曲為「大奏鳴曲」；他的眾多鋼琴獨奏作品之中，於這首最可見其勃勃雄心。然而很多醉心柴可夫斯基的人，都並不覺得它怎麼樣。例如，標準參考書《新格羅夫音樂與音樂家辭典》中，羅蘭．約翰．威利在關於這位作曲家的文章裏提及此曲，說「其主題素材了無生氣、平平無奇」，而且作品大體上的「特質是有連串音符滔滔而出，索然乏味，但它卻又需要超卓的演奏技巧，充作藝術價值」。即使如此，倘若鋼琴家的修行功夫了得，它還是能夠打動人心的。柴可夫斯基回憶尼古拉．魯賓斯坦彈奏此曲而表達的感想，彷彿也就是這個意思：「他演奏這首有點枯燥和複雜的作品時，所表現出的藝術感和驚人力量，令我大為震動」。

充滿甚難駕馭的切分音，氣氛在此變得輕鬆過來。首樂章的威風姿態於絢麗多彩的終曲歸來。這裏的迴旋曲設計跟第二樂章的相差無幾，同樣有中間對比部分的主題於尾聲重現。樂曲介紹尹莫違

Before he began teaching in Moscow, Tchaikovsky produced a four-movement Piano Sonata in C-sharp minor while still a student in Saint Petersburg. This work was to be published only after his death as Op 80, and would remain one of his rare attempts at large-scale composition for solo piano. His only other sonata for any instrument was written in a period of convalescence after his disastrous marriage, which had taken a toll on his health and interrupted his work on the Fourth Symphony and Eugene Onegin. Having fled Moscow and finished these compositions, he sojourned from February to April 1878 in Clarens, Switzerland, where he began writing the Piano Sonata in G major. But this time progress was stalled again. On 5 March, he “felt that inexplicable glow of inspiration” to compose a violin concerto, and so “for the first time in my life I have begun to work at a new piece before finishing the one on hand”. He completed the concerto at the end of the month, and had the sonata fully sketched out a month thereafter. This “Grand Sonata”, as the composer himself styled it, is his most ambitious solo piano work, but many Tchaikovskians are underwhelmed by it. Roland John Wiley, for example, in his entry on the composer in The New Grove Dictionary of Music and Musicians, the standard reference work, opines that “its thematic materials are inert and undistinguished”, and that the sonata is on the whole “marked by sterile note-spinning, yet requiring a technique so commanding as to feign artistic merit”. Yet the work can make a strong overall impression at the hands of a master pianist. Tchaikovsky himself seems to say as much when he reported that, on hearing Nikolai Rubinstein perform it, “I was simply struck by the artistry and the amazing power with which he plays this somewhat dry and complicated piece”.

The work opens with insistent march-like music, where the massive chords are orchestral in their effect. The next theme, in G minor, has dotted rhythms in the right hand and arpeggios in the left, which are strongly reminiscent of those in the Introduzione of Schumann's Sonata No 1 in F-sharp minor, Op 11 whose piano music is the chief influence on Tchaikovsky’s. A third theme quotes the Dies Irae plainchant from the Requiem Mass, and though it does not sound especially sombre in this context, one cannot help recalling the composer’s suicidal thoughts in the previous year. The slow movement is a rondo in E minor, whose halting main theme, with its chromatic descent in the bass and the alternation between two adjacent notes in the melody, seems lifted from Chopin's Prelude No 3, Op 28 in the same key. Remarkably, the melody of the central Moderato con animazione section reappears transformed in the wistful coda, which ends morendo e perdendosi (dying and lost). The mood is lightened up by a brief Scherzo with tricky syncopated rhythms, before the proud gestures of the first movement come back in the dazzling Finale. The rondo design here is similar to that of the second movement, also with the theme of the contrasting middle section returning in the coda. Programme notes by Ernest Wan

三角鋼琴大賽

Grand Piano Competition

莫斯科三角鋼琴大賽於 2016 年由藝術總監馬祖耶夫在俄羅斯文化部和莫斯科國家柴可夫斯基音樂學院協助下創辦，致力尋找及孕育新一代的鋼琴人才。大賽每兩年舉辦一次，對象為十六歲或以下人士。來自世界各地的評委從眾多參賽者中挑選出十五名入圍者，以 2 0 1 8 年為例，三角鋼琴大賽收到來自二十六個國家的參賽者報名。決賽入圍者將於獨奏及最終的樂團伴奏項目中競逐冠軍。得分最高的五位參賽者會獲頒授名銜，而其餘參賽者會獲得三角鋼琴大賽證書。

2 0 1 8 年的得獎鋼琴家亦獲得一部山葉 C 3X 三角鋼琴。三角鋼琴大賽透過外展活動和大師班，鼓勵國際交流鋼琴演奏技巧、保存俄羅斯的鋼琴傳統，及在兒童音樂學校發展專業的鋼琴教育。三角鋼琴大賽致力在年青一代的文化教育中，推廣古典鋼琴音樂的重要性，同時支持年青鋼琴家開展音樂事業。

The Moscow-based Grand Piano Competition is a platform aimed at finding and nurturing the next generation of piano talents from around the globe. First launched in 2016 by Artistic Director Denis Matsuev with foundational support from the Russian Ministry of Culture and the Moscow State Tchaikovsky Conservatory, the bi-annual competition is open to young viruosi aged 16 and under. An international panel of jurors selects 15 finalists from a vast pool of applicants: in 2018, the Competition received applications from 26 countries. Finalists then go on to compete in solo recital and final orchestral accompaniment rounds. The five highest scoring contestants are awarded the title of Laureate, while the remaining participants are awarded a Diploma of the Grand Piano Competition. In 2018, the winner of the Grand Prix received an acoustic Yamaha C3X grand piano. Through the competition, its outreach activities and masterclasses, the Grand Piano Competition encourages international exchange of performing arts methods, the preservation of the Russian piano school and the development of professional piano education at children's music schools. In the process, it promotes classical piano music as an important part of the younger generation's cultural education and supports young piano talents at the outset of their careers.

8.3.2019

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala 獨奏：俞易辰

Yu Yichen, soloist

舒伯特迴旋曲，選自第十七鋼琴奏鳴曲，D850

Franz Schubert (1797–1828) Rondo from Piano Sonata No 17, D850

蕭邦《幻想波蘭舞曲》，作品 61

Frédéric Chopin (1810–1849) Polonaise-fantaisie, Op 61

獨奏：伊凡．貝索諾夫

Ivan Bessonov, soloist

蕭邦降 B 小調第二鋼琴奏鳴曲，作品 35

Frédéric Chopin Piano Sonata No 2 in B-flat minor, Op 35 Grave—Doppio movimento Scherzo—Più lento Marche funèbre Finale—Presto

極緩板－速度加倍諧謔曲－稍慢的葬禮進行曲終曲－急板

— 中場休息 Interval —

獨奏：亞歷山德娜．杜夫根

Alexandra Dovgan, soloist

J．S．巴赫由凱斯改編〈耶穌始終是我喜樂之源〉合唱段，選自《心、口、行、活》，BWV147

Johann Sebastian Bach (1685–1750) arr. by M. Hess (1890–1965) “Jesus bleibet meine Freude” Chorale from Herz und Mund und Tat und Leben, BWV147

拉摩《埃及人》，選自《新大鍵琴組曲》之 G 大調組曲，RCT 6

Jean-Philippe Rameau (1683–1764) L’Égyptienne, from Suite in G major, RCT 6, Nouvelles suites de pièces de clavecin

蕭邦降 A 大調華爾茲，作品 42

Frédéric Chopin Waltz in A-flat major, Op 42

升 C 小調華爾茲，作品 64，第 2 首

Waltz No 2 in C-sharp minor, Op 64

拉赫曼尼諾夫〈雛菊〉，選自《六首浪漫曲》，作品 38，第 3 首

Sergei Rachmaninov (1873–1943) "Daisies", No 3 from Six Romances, Op 38

孟德爾頌由拉赫曼尼諾夫改編 D 小調諧謔曲，選自《仲夏夜之夢》撒仙士〈香港的繁忙時刻〉，選自《三首中國風格小品》

Felix Mendelssohn (1809–1847) arr. Sergei Rachmaninov Scherzo in D minor from A Midsummer Night's Dream Abram Chasins (1903–1987) “Rush Hour in Hong Kong” from Three Chinese Pieces

獨奏：亞歷山大．馬勞菲耶夫

Alexander Malofeev, soloist

拉赫曼尼諾夫第二鋼琴奏鳴曲，作品 36

Sergei Rachmaninov Piano Sonata No 2, Op 36

激動的快板不甚快板－緩板同樣速度－極快板

巴拉基列夫《伊斯拉美》，作品 18

Allegro agitato Non allegro—Lento L'istesso tempo—Allegro molto

Mily Balakirev (1837–1910) Islamey, Op 18

杜夫根與馬勞菲耶夫雙鋼琴演奏

Alexandra Dovgan and Alexander Malofeev Piano Duo

蕭斯達高維契為兩部鋼琴寫的 A 小調小協奏曲，作品 94

Dmitri Shostakovich (1906–1975) Concertino for Two Pianos in A minor, Op 94

杜夫根與馬祖耶夫四手聯彈

Alexandra Dovgan and Denis Matsuev Piano Four Hands

拉赫曼尼諾夫《意大利波爾卡》

馬勞菲耶夫與馬祖耶夫雙鋼琴演奏魯杜斯華夫斯基《帕格尼尼主題變奏曲》是晚演出曲目及次序或有更改

Sergei Rachmaninov Polka italienne

Alexander Malofeev and Denis Matsuev Piano Duo Witold Lutosławski (1913–1994) Variations on a Theme by Paganini Pieces and their order of performance are subject to change

俞易辰 Yichen Yu 舒伯特：迴旋曲，選自第十七鋼琴奏鳴曲，D850 Franz Schubert: Rondo from Piano Sonata No 17, D850 1 8 2 2 至 1 8 2 3 年間的冬天，文靜害羞、溫柔內斂的舒伯特呈現梅毒初期病徵。病情急速轉壞，個子小、被暱稱為「小蘑菇」的舒伯特入住維也納綜合醫院六個月，接受當時認為合適的治療，包括多次冷水浴、禁食及重劑量水銀治療，但作曲家仍強烈感到自己命不久矣。隨着他的歌劇接二連三地失敗，他意識到他的歌曲難以得到大眾認可或商業成功，於是把注意力放在「嚴肅的器樂作品」上。舒伯特聽從醫生的建議，於 1825 年 5 月前往巴特加斯坦阿爾卑斯山渡假。壯麗的景觀加上稍有改善的健康狀況，讓作曲家寫下他最有活力和樂觀的音樂，包括稱為「蓋斯坦納奏鳴曲」的 D 大調鋼琴奏鳴曲 D850，當中的終章迴旋曲是一部純樸的舞曲，反映出奧地利的鄉郊風情。主題首先與陰暗的、以對位法寫成的插段構成對比，然後以截然不同的形式再次響起。接着登場的是一段以大調寫成、像歌曲一樣的插段，充分反映了舒伯特豐富細膩的旋律與和聲語言。最後，主題再次以不同的形式出現，帶領整個樂章寧靜地完結。

During the winter of 1822/23, Franz Peter Schubert, a quiet, shy, gentle and introverted man of short stature, exhibited the first symptoms of syphilis. The disease progressed rapidly, and Schubert, affectionately called Schwammerl (a Viennese dialect word meaning “tiny mushroom”), was admitted to the Vienna General Hospital for six months, where he received the treatments considered appropriate at that time. Despite taking numerous cold baths, extensive fasting and the administration of copious amounts of mercury, Schubert clearly sensed that his life was going to be cut short. Following repeated failures of his operatic projects and perhaps recognizing that his songs would not propel him to public recognition or commercial success, he turned his attention to the composition of “serious instrumental works”. On the advice of his doctor, Schubert embarked on a journey to the Alpine resort of Bad Gastein in May 1825. Buoyed by the spectacular alpine setting and a brief period of improved health, Schubert wrote some of his most energetic and optimistic music, including the Piano Sonata in D major D850, known as the “Gasteiner Sonata”. The concluding Rondo movement is anchored by a rustic dance that mirrors the Austrian countryside. This main theme is first contrasted by an austere contrapuntal episode before it returns in greatly varied form. The richness and subtlety of Schubert’s melodic and harmonic language is beautifully reflected in a song-like episode in the major key, before a varied return of the main theme leads the movement to a hushed close.

蕭邦：《幻想波蘭舞曲》，作品 61 Frédéric Chopin: Polonaise-fantaisie, Op 61 蕭邦的降 A 大調《幻想波蘭舞曲》，作品 61，於 1 8 4 6 年寫成並出版。作曲家兒時已開始研究和發展波蘭舞曲這種曲式；他在這最後一部波蘭舞曲裏，把創意淋漓盡致地發揮出來。波蘭舞曲是波蘭最著名和最富愛國精神的舞曲，在十七世紀以法文取名。這種波蘭民族的遊行舞曲既可頌唱又可跳舞，適用於公眾儀式、節慶，尤其是婚禮上，特別受下層貴族的歡迎，很快就成為了波蘭國家精神的代表，亦是歐洲最具代表性的波蘭舞曲。蕭邦為這種簡單的舞曲添上複雜的和聲及豐富的情感，創作出細膩優雅、極具氣派、像練習曲一樣的作品。《幻想波蘭舞曲》是蕭邦為學生維蕾夫人寫的作品，樂曲並沒有立即在評論家和演奏家間流行起來。作品雖然包含了一些波蘭舞曲的旋律特色和獨有節奏，但作曲家的安排完全超越了所有民族限制。事實上，蕭邦原本只把作品稱為「幻想曲」。樂曲在形式上有不少含糊的地方，中間抒情的段落由突破傳統、令人迷惘的過渡銜接，聽眾「需要用想像力了解當中深刻的暗示」。這部樂曲確實啟發了未來的音樂，打開了華格納、李斯特以至德布西等後人的領域。

Composed and published in 1846, Frédéric Chopin’s Polonaise-fantaisie in A-flat major, Op 61, represents his final imaginative exploitation of a form he had cultivated and developed since childhood. The polonaise, Poland’s most famous and patriotic dance, took on its French name in the 17th century. Sung as well as danced, this stately processional was used during public ceremonies, festivities and specifically weddings. Popular amongst members of the lower nobility, it was soon transformed into an expression of Polish national spirit and became the most representative Polish dance throughout Europe. Imparting a level of harmonic complexity and greatly expanding the emotional range of this simple dance, Chopin essentially created highly idiomatic character studies that favoured delicate nuance and elegance. Composed for his student Madame Veyret, Op 61 was slow to gain traction amongst critics and performers. Although indebted to the polonaise in some of its melodic appeal and characteristic metre, Chopin’s setting completely transcended any kind of national limitations. In fact, he initially referred to the piece only as a “Fantasy”. Saturated with formal ambiguities, which includes unconventional and misleading transitions into and out of the lyrical inner section, the composition works on the “listener’s imagination with the deep power of suggestion”. It is music that decidedly looks forward to the music of the future and the territories to be explored by Wagner, Liszt, and eventually Debussy.

伊凡．貝索諾夫

Ivan Bessanov 蕭邦：降 B 小調第二鋼琴奏鳴曲，作品 35 Frédéric Chopin: Piano Sonata No 2 in B-flat minor, Op 35 他曾說過：「在我的音樂裏，人們可以感受到藝術家不安的心神」。蕭邦被譽為「鋼琴詩人」，他浪漫細膩的特質充分反映在其音樂裏。王爾德有一句著名的話：「彈奏完蕭邦的作品後，我彷彿曾為自己沒犯過的罪而流淚，為別人的不幸而哀傷」。

1 8 3 6 年，蕭邦深深愛上了十六歲的瑪利亞．沃金斯卡，他們識於幼時，1835 年在德累斯頓重遇時，來自波蘭的瑪利亞已經是位眼眸深邃的美人，喜歡畫畫和彈琴。蕭邦 1836 年向她求婚，並得到她父母的答允。可是，考慮到作曲家社交生活混亂，而且體弱多病，瑪利亞的雙親決定要二人等待一年才結婚。最終，他們認為蕭邦不是合適的女婿，取消婚事。蕭邦把他極度抑鬱沮喪的情緒化成寫作的動力，譜下〈葬禮進行曲〉，更慢慢發展成更大型的作品— 1839 年完成的降 B 小調第二奏鳴曲，於翌年出版。具戲劇性的極緩板簡短而緩慢，為緊接激烈的主題擔當引子。焦慮不安過後，響起溫柔地搖擺的和弦，與先前部分形成對比。這個抒情的和弦主題又帶出一段激動的發展部，促成強而有力的結尾。諧謔曲中急速重複的和弦構成緊張有力的氣氛；中段的抒情效果正好帶來一點慰藉，然後樂曲開首的緊張氣氛再次出現。葬禮進行曲一開始是大家耳熟能詳的和弦，接著音樂感和戲劇感逐漸增加，建立出莊嚴的效果；憂鬱的中段有緬懷過去的感覺，與起初的悲痛構成對比，令人不勝嚮往。終章以快速的節奏展開，教人喘不過氣來；鋼琴家阿瑟．魯賓斯坦說「像風在墓地呼嘯一樣」，實在形容得十

“In my music,” Frédéric Chopin once remarked, “one can divine the restlessness of the artist.” Frequently called the “poet of the piano”, Chopin’s romantic intensity and inner refinement is amply reflected in his music. Oscar Wilde famously wrote, “After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own.” In 1836, Chopin fell passionately and hopelessly in love with sixteen-year old Maria Wodzi ska. He had known her as a child, but when he saw her again in Dresden in 1835, she had blossomed into a dark-eyed Polish beauty who liked painting and played the piano. While on holiday in 1836, Chopin proposed to Maria and was accepted by her family. However, taking account of his whirlwind social life and his frequent ill health, Maria’s parents imposed a one-year waiting period. Eventually, the family viewed him as an unsuitable son–in-law, and the wedding was cancelled. Chopin immediately channelled his deep depression and frustration into the composition of a Marche funèbre (Funeral March). Gradually this outpouring of sorrow became part of a larger structure, and the Sonata No 2 in B-flat minor was completed in 1839 and published the following year. A brief, slow and dramatic Grave prefaces the sounding of a stormy opening theme that is soon contrasted by gently rocking chords. This lyrical chordal theme, in turn, leads to an agitated development and eventually provides the impetus for a forceful conclusion. Rapidly repeated chords imparting a great sense of intensity and energy distinguish the Scherzo movement. The central Trio provides some much needed lyric relief, before the intensity of the opening section returns. The celebrated opening chords of the Marche funèbre gradually increase in musical and dramatic intensity, providing a sense of profound solemnity. This sense of pathos is longingly contrasted by a melancholy and nostalgic middle section. The concluding Finale unfolds in breathless alacrity and has duly been described by the pianist Arthur Rubinstein as “wind howling around the gravestones”.

分恰當。

亞歷山德娜．杜夫根

Alexandra Dovgan 改編作品往往是引人入勝、受歡迎的獨奏會項目。傳統上，這些樂曲都是鋼琴家在加演時才演出的，後來卻逐漸變成正式的演奏曲目，現在更是獨奏會上重要和大受歡迎的作品。英國鋼琴家凱斯（1890 - 1965）是第二次世界大戰這段黑暗時期的傳奇人物。在倫敦轟炸的大規模炸彈襲擊期間，凱斯舉辦了一系列午間音樂會，這種聚會後來一直延續下去，六年間凱斯一共舉辦了一千七百場音樂會。凱斯以歡樂熱情的演出為人稱頌，她相信「偉大的音樂能為人帶來精神上的滋潤」。凱斯極具創意，擅長改編莫扎特、貝多芬和舒曼的作品，而她改編來自清唱劇

BWV147 的〈耶穌始終是我喜樂之源〉更教聽眾和演奏家深深着迷。凱斯曾對一位批評者說：「你以你的方式演奏巴赫的作品，我卻會以巴赫的方式演奏他的作品。」筆名為伏爾泰的法國啟蒙作家、歷史學家兼哲學家稱拉摩（1683 - 1764）為「法國第一位音樂家」。拉摩的作品在法國音樂歷史上有承先啟後的作用，捕捉了啟蒙時期的精神，非常獨特。拉摩一共出版了四部為鍵盤樂器而寫的曲集；1706 和 1724 年出版的是十七世紀傳統組曲，而 1728 年的第三部曲集則比較具野心，以自然和戲劇為題材，集合了描寫能力極高的作品，樂曲的標題也令人產生不少聯想，例如《等音》和《埃及

Transcriptions and arrangements are attractive and popular elements of many recital programs. Traditionally, pianists presented their re-workings during encores, but over time they migrated to the recital proper and have become an integral and hugely popular part of solo performances. Dame Julia Myra Hess (1890–1965) was a British pianist who became a legend during the dark days of World War II. During the intense bombings of the London Blitz, Hess launched a series of lunchtime concerts; in their subsequent six-year run, she organised 1700. Known for her joyful and exuberant playing, Hess was guided by the firm belief “that great music will provide spiritual nourishment for mankind”. Hess became best known for her imaginative arrangements of the works of Mozart, Beethoven, and Schumann, and it was her reworking of Bach’s “Jesus, Joy of Man’s Desiring” from the Cantata BWV147 that caught the imagination of listeners and performers alike. Responding to a hostile critic she once famously said, “You play Bach the way you want, I’ll play Bach the way he wants.” The French Enlightenment writer, historian and philosopher known by the nom de plume Voltaire called Jean-Philippe Rameau (1683–1764) “le premier musicien de France”. Simultaneously looking backward and forward over French musical history, Rameau’s compositions uniquely capture the spirit of the Enlightenment. In all, Rameau published four books of keyboard music. The collections of 1706 and 1724 present conventional 17th century dance suites, while the third volume, published around 1728, is entirely more ambitious. Finding inspiration in nature and the theatre, the collection includes highly descriptive pieces with rather evocative titles, such as L’enharmonique (The Enharmonic) and L’égyptienne (The Egyptian), short works that look forward to the harmonic and formal conventions of the early classic period.

人》，這些小型作品啟發了古典時期早期的和聲及形式習慣。眾所周知，舒曼曾指蕭邦的華爾茲「由第一個音到最後一個音都充滿貴族氣派」。蕭邦大約寫了二十五部華爾茲，當中有十八部流

Robert Schumann famously called Frédéric Chopin's waltzes “aristocratic from the first note to the last”. In all, Chopin wrote roughly 25 works in the waltz genre, of which 18 have survived. Chopin did not follow or reproduce a particular model but provided music full of elegance, charm and brilliance marked by profound

傳下來；這些華爾茲沒有跟隨或模仿特定的模式，卻非常優雅、迷人、精彩，流露豐富的情感。極受歡迎的降 A 大調華爾茲，作品 42 ，寫於 1 8 4 0 年。作品充滿炫技的段落，尾聲十分迷人，經常被認為是蕭邦最優美和最具挑戰性的華爾茲之一。至於升 C 小調華爾茲，作品 64，第 2 首，則與 1847 年的「小狗」華爾茲屬同一作品編號，卻有截然不同的美感；作品開始時速度較慢，像沉思一樣，旋律深情傷感，極度憂鬱。拉赫曼尼諾夫於 1 9 1 7 年俄國革命時被迫離開俄羅斯，不安地過着流亡生活。為了養家，他重返舞台，並立即掌握到改編作品對聽眾的吸引力。他在獨奏會裏總會演出好些改編作品，不論是流行旋律如《星條旗》，還是經典如孟德爾頌的《仲夏夜之夢》，他都改編得極具創意，而且難度極高。拉赫曼尼諾夫一直心繫祖國，掛念之情可見於兩部改編作品，是作曲家根據自己的歌曲改寫的兩部優美音樂。《丁香》源自 1902 年夏天的歌曲，描繪俄羅斯的自然美景，同時講述無法得到的幸福。〈雛菊〉取材自《六首浪漫曲》，作品 3 8，第三首，同樣是描繪自然景色，旋律情深款款，以抒情的對位法寫成，而伴奏則由流暢的半音構成。美國鋼琴家、作曲家、作家、教育家和電台主持人撒仙士（1903 - 1987）二十三歲時已獲約瑟．霍夫曼推薦於費城柯蒂斯音樂學院任教。他是一位極具風格的鋼琴家，寫過兩部鋼琴協奏曲、二十四首前奏曲和多部難度極高的雙鋼琴改編作品。他最著名的作品是《三首中國風格小品》，也是他最常獲演奏的音樂。撒仙士從沒踏足過東方；他的《香港的繁忙時刻》生動地模仿交通的聲音，這部精緻的小品吸引了不少二十世紀的鋼琴大師，如威廉．巴克豪斯、舒拿．卓卡斯基和約瑟．霍夫曼演奏。

expression. Dating from 1840, the Waltz in A-flat major, Op 42 has long been a popular favourite. Full of virtuosic passages and a mesmerizing coda, it is frequently considered one of Chopin’s finest waltzes, and one of the most challenging to play. Composed as the companion to the Minute Waltz in 1847, the Waltz No 2 in C-sharp minor, Op 64, espouses an entirely different aesthetic. Pensively unfolding in a much slower tempo, it infuses the sentimental and weeping melody with profound melancholy. Forced to flee his homeland during the Russian Revolution of 1917, Sergei Rachmaninov uneasily settled into his new life in exile. To support his family, he returned to the performing stage and quickly recognized the popular appeal of transcriptions. Invariably, his recitals included a good number of such re-workings, and we find imaginative and technically devilish arrangements of such popular tunes as The Star-Spangled Banner alongside old favourites like Mendelssohn’s A Midsummer Night’s Dream. Rachmaninov remained eternally homesick, and this chronic longing for his homeland is beautifully encoded in two transcriptions based on his own song compositions. Lilacs originated in the summer of 1902 and paints a beautiful picture of Russian nature combined with an unfulfilled search for happiness. "Daisies", No 3 from Six Romances, Op 38 is another tender nature painting, with the affectionate melody providing a lyrical counterpoint to the fluent and chromatic accompaniment. American pianist, composer, writer, educator and radio personality, Abram Chasins (1903–1987) was appointed on the recommendation of Josef Hofmann to the faculty of the Curtis Institute of Music in Philadelphia at age 23. A master piano stylist, he composed two piano concertos, 24 preludes, and various virtuoso two-piano transcriptions. Three Chinese Pieces is his best-known and most frequently performed work. Composed with all the authority of someone who has never set foot in the Orient, his Rush Hour in Hong Kong bustles with vehicular traffic, and this short gem was taken up by some of the finest pianists of the 20th century, including Wilhelm Backhaus and Shura Cherkassky.

亞歷山大．馬勞菲耶夫 Alexander Malofeev 拉赫曼尼諾夫：第二鋼琴奏鳴曲，作品 36 Sergei Rachmaninov: Piano Sonata No 2, Op 36 1940 年，霍洛維茲（1903- 1989）讓好友拉赫曼尼諾夫容許他創作改編版本的拉赫曼尼諾夫第二鋼琴奏鳴曲。這個要求聽起來有點奇怪，但事實上，拉赫曼尼諾夫不斷自我批評，經常把自己的作品修訂，以至作品會有多個版本。第二鋼琴奏鳴曲亦然，作品寫於

1912 年，並於 1913 年 12 月 3 日在聖彼得堡由作曲家親自首演。拉赫曼尼諾夫住在俄羅斯的時候，沒有認真想當個鋼琴家，並認為自己注定是個作曲家。拉赫曼尼諾夫的第一交響曲劣評如潮，著名作曲家兼樂評人凱撒．居伊說樂曲像「埃及十災，只有地獄音樂學院的人才會喜歡」，作曲家得到這樣的評價仍然繼續寫作，實在令人驚訝。

1 9 1 7 年俄國革命後，局勢動盪，拉赫曼尼諾夫大幅調整其焦點：作曲家與家人移居美國，為了維持基本生活，他不得依靠鋼琴演奏的天賦，並改編了不少自己的獨奏作品。拉赫曼尼諾夫於 1 9 3 1 年說：「回顧自己的作品，我發現有不少多餘的地方。即使是這部奏鳴曲，也有很多聲部同時進行，而且也太冗長。」有見及此，他大幅刪減原作內容，簡化第一樂章的呈示部和再現部的過渡部分，並濃縮了發展部。第二樂章的改動主要是織體上的變化。第三樂章的過渡部分變化很大，不少內容被刪減。霍洛維茲經常演奏拉赫曼尼諾夫的作品，他強烈反對 1931 年的改動。因此，在作曲家的同意之下，霍洛維茲巧妙地把原版和修訂版結合，構成一個混合版。儘管如此，今晚演奏的曲目仍會是拉赫曼尼諾夫 1931 年的修訂版本。

In 1940, Vladimir Horowitz (1903–1989) asked his close personal friend Sergei Rachmaninov for permission to create his own version of the composer’s Second Piano Sonata. At first glance, this seems a rather curious request, but we must take into account Rachmaninov’s relentless self-criticism that led him to create multiple versions and editions of his own works. And such was the case with the Second Piano Sonata, which originated in 1912 and was premiered by the composer on 3 December 1913 in St. Petersburg. While living in Russia, Rachmaninov never really wanted to be a concert pianist, but felt that it was his destiny to become a composer. Given the disastrous reception of his First Symphony, with the eminent composer and critic César Cui likening the work to a “depiction of the ten plagues of Egypt, only admired by the inmates of a music conservatory in hell”, it is surprising that the composer ever attempted another composition. His focus dramatically changed after the tumultuous times of the Russian Revolution in 1917. To support his family and make a rudimentary living in the United States, Rachmaninov was forced to rely on his remarkable gifts as a pianist, and he began to revise a great number of earlier solo works. In 1931 he said, “I look at my early works and see how much there is that is superfluous. Even in this sonata, so many voices are moving simultaneously, and it is too long.” As such, he made significant cuts to the original. In the first movement, the transitions in the exposition and recapitulation were shortened, and the development section condensed. The revisions to the second movement are primarily concerned with textural changes, but the third movement featured significant revisions in the transitions, with a good deal of material completely deleted. Horowitz frequently performed Rachmaninov’s compositions, but he strongly disagreed with this 1931 revisions. As such, with the composer’s permission he created a hybrid that skilfully combines music from the original score and the revised version. Be that as it may, tonight we will hear Rachmaninov’s revised 1931 version.

巴拉基列夫：《伊斯拉美》，作品 18 Mily Balakirev: Islamey, Op 18 出色的鋼琴家兼作曲家巴拉基列夫說：「這作品是無法彈奏的，有些段落我根本無法處理」。史克里亞賓拼命練習此曲，以致右手受傷；拉威爾稱，寫《夜之加斯巴》的目的，就是要寫一部比「巴拉基列夫的《伊斯拉美》更難的作品」。巴拉基列夫不單想寫技術高、對鋼琴家構成挑戰的作品，他於

18 6 0 年代到高加索山脈的音樂之旅也給他不少啟發──那個地方在語言和文化上都非常多元，有超過五十個族群，及至少三個該地獨有的語系。巴拉基列夫在假期時不忘工作，他從高加索山脈的民族音樂傳統得到啟發，還把原居民口耳相傳的音樂收集起來，最後交織成一個旋律，成為他最著名的鋼琴作品《伊斯拉美》（副題〈東方幻想曲〉）第一主題的基礎。巴拉基列夫在 1 8 6 9 年 8 月 21 日至 9 月 25 日期間完成《伊斯拉美》，他於短時間內完成此作，讓鋼琴家尼古拉．魯賓斯坦於

18 6 9 年 1 2 月 1 2 日在聖彼得堡舉行的獨奏會上能演奏這首震撼全場的作品。魯賓斯坦說他幾經辛苦才把樂曲練好，認為作品難度極高，「能奏的人不多」。樂曲一開始彷彿已得到「無法彈奏」這個不當的名聲。除了技術上非常講究之外，更重要的是，作品決意表露出民族音樂的風格。巴拉基列夫曾在信中解釋道：「我寫作時並沒有計劃……我對高加索山脈的深刻印象在樂曲裏反映了出來，讓作品有獨特的風味」。巴拉基列夫這部作品無疑是一份重要的音樂紀錄，見證了昔日蘇聯人民對民族音樂的意識及興趣急劇增加。

“It’s unplayable,” said the virtuoso pianist and composer Mily Balakirev. “There are passages in this work that I simply can’t manage.” Alexander Scriabin seriously damaged his right hand frantically practicing this composition, and Maurice Ravel remarked that his goal in writing Gaspard de la nuit was to compose a piece that was “more difficult than Balakirev's Islamey”. It wasn’t mere technical difficulties and pianistic challenges that inspired Balakirev, but a series of musical excursions to the Caucasus Mountains in the 1860s. Known for its extraordinary linguistic and cultural diversity, the region is home to more than 50 ethnic groups and no fewer than three language families that are unique to the area. On his working holidays, Balakirev was stimulated by the region’s rich folk music traditions, and he collected melodies transmitted orally by its indigenous populations. It was here that he stumbled upon a melody that would later serve as the basis for the first theme of his best-known piano piece, Islamey, subtitled an “Oriental Fantasy”. Balakirev finished Islamey between 21 August and 25 September 1869. He rushed completion of the score to provide the pianist Nikolai Rubinstein with a showstopper for a recital to be held on 12 December 1869 in St. Petersburg. Rubinstein claimed that he had struggled with the piece and thought it so difficult that “few would be able to master it”. From the very beginning, it seems, Islamey gained the undeserved reputation of being unplayable. Technical brilliance aside, the work was foremost a concerted effort on behalf of a national style of music. Balakirev explained in a letter, “I did not have a program in mind when I composed the piece…my deep impressions of the Caucasus reflected therein, lent my composition its distinctive flavour." Without doubt, Balakirev created a lasting musical document to accompany the burgeoning awareness and awakening of folk music in the former USSR.

二重奏鋼琴樂曲

Duet Works for Piano 兩位鋼琴家同時演奏一部鋼琴，除了呈現出室

據說，拉赫曼尼諾夫和女兒散步時聽到一位街

樂獨有的親密感外，還為演奏者帶來不少技術

頭手搖風琴師的演出，作曲家被旋律的新鮮感

上的挑戰。四手聯彈的曲目，除了一些比較著

和活力深深吸引，一回到酒店就把旋律寫下來，

名的作品外，大多是供演奏者於家裏彈奏的。

慢慢還發展成《意大利波爾卡》（杜夫根與馬

另一方面，雙鋼琴作品─顧名思義是由兩位鋼

祖耶夫演奏），起初是寫給鋼琴四手聯彈的。

琴家使用兩部鋼琴一同演出的音樂─在二十世

這部體現意大利風情的作品奪目耀眼、引人入

紀初於演奏廳湧現，先後在法國和俄羅斯激發

勝，其非凡的魅力、炫技的段落、鋼琴的技巧

大量不同類型的迷人樂曲。其中包括蕭斯達高

令人拍案叫絕。這部音樂珍品輕鬆愉快，流露

維契（1906 - 1975）於 1953 年為自己和十六歲

着嫻熟的鋼琴風格，絲毫不見作曲家當時在政

的兒子麥斯寫下為兩部鋼琴而寫的 A 小調小協

治和個人經歷上所遇到的困擾。

奏曲，作品 94（杜夫根與馬勞菲耶夫演奏）。音樂精彩、炫技，只有單一樂章。起初的慢板由堅定的八度齊奏和天籟般的聖詩交替；熱情洋溢的小快板以持續的機械式動力為基本素材，包含兩個討人喜歡的主題；音樂走過不同的調，音型又經常變化，充滿幽默感，並持續邁向一個燦爛的高潮。聖詩似的段落再次響起，兩個主題以原貌重現；最後，慢板短暫地出現，然後樂曲以一段高速的尾聲驚險地完結。

魯杜斯華夫斯基（1913 - 1994）的《帕格尼尼主題變奏曲》（馬勞菲耶夫與馬祖耶夫演奏）有着雷同的創作背景。作品以帕格尼尼著名的 A 小調第 24 首隨想曲為主題，發展出一系列的變奏曲，給他和作曲家朋友柏努夫尼克組成的鋼琴二重奏組合彈奏。作品寫於 1941 年，當時波蘭因戰事被佔領，生活艱苦，但作品依然璀璨奪目。魯杜斯華夫斯基在作品中保留了原作的結構，並加上新穎的和聲及鋼琴的精彩技術。

俄羅斯政局動盪，拉赫曼斯諾夫（1873 - 1943）

他曾說過，音樂「可以表達出的東西，是其他

不得不於 1906 年 2 月辭去莫斯科大劇院指揮一

途徑無法取代的。」

職，並幾乎立刻前往意大利，下榻於比薩附近。

樂曲介紹裴德龍

魯杜斯華夫斯基，1992 年，《工作室月刊》 Witold Lutoslawski in 1992, photographed for Studio magazine

Performance by two players simultaneously sharing a single piano requires not only a level of intimacy unique to chamber music, it also presents its own set of technical challenges. Despite a number of notable exceptions, the piano four hands repertoire is primarily associated with domestic music making. On the other hand, the piano duo—designating performance by two players on two instruments— surged onto the concert stage at the turn of the 20th century and spawned a highly diverse and fascinating repertoire in France and eventually in Russia. Dmitri Shostakovich (1906–1975) wrote the brilliant and virtuosic Concertino for Two Pianos in A minor, Op 94 (played by Alexandra Dovgan and Alexander Malofeev) for himself and his sixteen-year-old son Maxim in 1953. Cast as a single movement, the introductory Adagio alternates uncompromising unison octave announcements with angelic hymn-like passages. The exuberant Allegretto section builds over an incessant motoric impulse and exposes two themes of popular character. Humorously presented in a variety of keys and shifting figurations, the music relentlessly strives towards a shimmering climax. Recalling the hymn-like passage, both themes reappear in its original form and the brief return of the Adagio leads to a break-neck conclusion.

delicious tribute to Italy offers moments of genuine charm, flashes of pure virtuosity and hair-raising pianistic pyrotechnics. Carefree and masterly in its piano writing, this musical jewel carries none of the political or personal worries experienced by the composer at the time. The same is true of Witold Lutosławski’s (1913– 1994) dazzling set of variations on the famed Caprice No 24 in A minor by Paganini (played by Alexander Malofeev and Denis Matsuev). Crafted during the oppressive wartime occupation of Poland in 1941, the work was written for the piano duo he formed with his friend and fellow composer, Andrzej Panufnik. Lutosławski essentially retained the structure of the original work while adding novel harmonic interpretations and pianistic fireworks. “Music,” according to Lutosławski, “can say things which are incapable of being expressed by any other means.” Programme notes by Georg Predota

Increasing political unrest in Russia forced Sergei Rachmaninov (1873–1943) to resign his duties as conductor at Moscow's Bolshoi Opera in February 1906. Almost immediately he departed for Italy and took lodgings near the town of Pisa. According to popular lore, Rachmaninov was taking a walk with his daughter when they chanced upon an organ grinder. Fascinated by the freshness and vitality of the melody, Rachmaninov wrote down the tune as soon as he had returned to his hotel. It eventually grew into his Polka italienne (played by Alexandra Dovgan and Denis Matsuev), originally conceived for piano four hands. This sparkling and

拉赫曼尼諾夫 Sergei Rachmaninov

俞易辰

Yu Yichen 鋼琴 Piano

俞易辰 2 0 0 2 年生於中國浙江，四歲開始學習鋼琴，師從夏麗娟、桑宏、劉屹昕、張曉峰、陳巍嶺和黃亞蒙。他現時是中央音樂學院附屬中學的獎學金學生，師從邵丹。俞易辰曾在杭州、上海、北京和莫斯科的場地舉行獨奏會，包括莫斯科柴可夫斯基音樂廳、莫斯科音樂學院的拉赫曼尼諾夫音樂廳、珠海莫扎特音樂廳及寧波大劇院。他曾與薩爾斯堡室樂團和俄羅斯史維特蘭諾夫國家交響樂團同台演出。俞易辰曾參與多個比賽和音樂節。在 2018 年，他在第二屆三角鋼琴大賽獲得民選大獎。

Yu Yichen was born in 2002 in Zhejiang, China. He began his piano studies at the age of four and has since studied piano under the instruction of Xia Lijuan, Sang Hong, Liu Yixin, Zhang Xiaofeng, Chen Weiling and Huang Yameng. He is currently a Central Conservatory of Music Middle School scholarship student under the guidance of Prof. Shao Dan. Yu has performed recitals at venues in Hangzhou, Shanghai, Beijing and Moscow, including the Tchaikovsky Concert Hall, Rachmaninov Hall of the Moscow Conservatory, Zhuhai Mozart Concert Hall and the Ningbo Grand Theater. He has performed with the Camerata Salzburg and Svetlanov Symphony Orchestra. Yu has appeared in various competitions and festivals. In 2018, he was awarded the People’s Choice Award in the 2nd International Grand Piano Competition.

其他獎項包括：意大利伊莫拉國際鋼琴大賽大獎、珠海莫扎特國際青少年音樂比賽及第七十九屆施坦威初級鋼琴大賽、中央音樂學院附屬中學第四屆獎學金大賽一等獎和第十三屆星海杯全國鋼琴比賽二等獎。俞易辰是 2 0 1 6 至 2 018 年范劍青紀念獎學金的持有人。他在 2 017 年獲中央音樂學院的億陽拔尖音樂人才成長計劃的資助。

Other notable prizes include top prizes in Italy Imola International Piano Awards, Zhuhai International Mozart Competition for Young Musicians and the 79th Steinway & Sons Junior Piano Competition (China), first prize in the fourth scholarship competition of the Central Conservatory of Music Middle School, and second prize in the 13th “Xinghai Cup” National Youth Piano Competition. Yu was the recipient of a Fan Jianqing Memorial Scholarship in 2016 to 2018. He was chosen to be supported by the Yiyang Top 10 Young Musicians Development Project of the Central Conservatory of Music in 2017.

伊凡．貝索諾夫

Ivan Bessonov 鋼琴 Piano

伊凡．貝索諾夫 2 0 0 2 年生於聖彼得堡，六歲起便開始彈奏鋼琴。2015 年，他首次為電影配樂。他現時就讀莫斯科音樂學院，師隨瓦汀．盧登科。伊凡 2 0 16 年在聖彼得堡馬林斯基劇院舉行他首場獨奏會。他也曾跟韃靼斯坦共和國國家管弦樂團和聖彼得堡教堂管弦樂團同台演出，並在俄羅斯巡迴演出時參與過多個音樂節。

2 0 1 0 到 2 0 1 5 年間，他連續六次贏得聖彼得堡音樂學院的練習曲比賽。其他獎項包括：國際蕭邦青年大賽冠軍（2015 及 2016）、聖彼得堡政府「青年才華」比賽冠軍（2016）、三角鋼琴大賽的民選大獎（2 0 16），以及歐視青少年音樂家比賽的優勝者（2018）。

Born in St. Petersburg in 2002, Ivan Bessonov has been playing the piano since the age of six. In 2015, he made his debut as a film composer. At the moment, Ivan continues his studies at the Tchaikovsky State Conservatory Central Music School in Moscow under the instruction of Vadim Rudenko. In 2016, Ivan gave his first solo recital at the Mariinsky Theatre in St. Petersburg. He has also performed with the Tatarstan State Symphony Orchestra and St. Petersburg Chapel Symphony Orchestra and has taken part in various music festivals touring Russia. From 2010 to 2015, he won the Grand Prix at six consecutive Études Competitions at the St. Petersburg College of Music. In 2015 and 2016, he won the Grand Prix at the International Frédéric Chopin Youth Competition. In 2016, he was a first prize-winner at the “Young Talents” St. Petersburg Government Competition and winner of the People's Choice Award at the Grand Piano Competition. In 2018, Bessonov was announced winner of Eurovision Young Musicians 2018.

亞歷山德娜．杜夫根

Alexandra Dovgan 鋼琴 Piano

亞歷山德娜．杜夫根出生於 2007 年，五歲開始學習鋼琴。她現時在莫斯科國家柴可夫斯基音樂學院跟隨馬琴科．米拉學習。杜夫根曾勝出下列比賽：比亞爾莫薩互聯網比賽（2 0 1 4）、烏拉爾國際普羅科菲耶夫大賽（2 0 1 5）、國際薩弗諾夫青年鋼琴家比賽（2 0 15）、全俄羅斯音樂才藝互聯網大賽（2015）、國際青年音樂家大賽（2016）及《胡桃夾子》國際電視大賽（2017）。她亦在費拉迪米爾．克萊涅夫莫斯科國際鋼琴大賽（2017）和阿斯塔納國際鋼琴熱情音樂節與大賽（2017）獲得獎項。杜夫根是 2018 年三角鋼琴大賽冠軍。杜夫根參與過多個國際音樂節，並在俄羅斯及海外巡迴演出。她是弗拉德米爾．史畢華可夫基金會、新名字基金會及姆斯蒂斯拉夫．羅斯卓波維奇基金會的成員。杜夫根曾在 2 0 1 8 年聖彼得堡國際經濟論壇期間，在葉卡捷琳娜宮為俄羅斯和法國總統及日本首相演出。

Alexandra Dovgan was born in 2007 and began studying the piano at age five. She currently studies at the Central Music School of the Moscow State Tchaikovsky Conservatory under the instruction of Marchenko Mira. Dovgan was the first-prize winner of the Villahermosa Internet Competition (2014), the International Ural Prokofiev Competition (2015), the International Safonov Young Pianists Competition (2015), the All-Russian Musical Talents Internet Contest (2015), the International Competition of Young Musicians (2016), and the International Nutcracker Television Contest (2017). She has also garnered prizes at the Vladimir Krainev Moscow International Piano Competition (2017) and the International Astana Piano Passion Competition (2017). Dovgan won the Grand Prix at the 2018 Grand Piano Competition. Dovgan has participated in various international festivals and has toured in Russia and abroad. She is a fellow of the Vladimir Spivakov Foundation, the New Names Foundation, and the Mstislav Rostropovich Foundation. Dovgan performed before the Presidents of Russia and France and the Prime Minister of Japan at the Catherine Palace during the 2018 St. Petersburg International Economic Forum.

亞歷山大．馬勞菲耶夫

Alexander Malofeev 鋼琴 Piano

亞歷山大．馬勞菲耶夫 2001 年在莫斯科出生，就讀莫斯科格涅辛國家音樂學院時師從埃琳娜．巴列茲基娜。他在 2014 年獲得第八屆國際柴可夫斯基國際音樂比賽大獎後開始成名。馬勞菲耶夫曾跟多個樂團合作，包括馬林斯基劇院管弦樂團、意大利米蘭史卡拉愛樂樂團、俄羅斯國家樂團和瑞士韋爾比亞音樂節室樂團等。他也跟多個指揮合作，如格杰夫、史畢華可夫、斯拉德科夫斯基、費多塞耶夫、鄭明勳、蒂拉帕拉、克利斯蒂安．約菲等。馬勞菲耶夫獲得三角鋼琴大賽（2016）、第九屆國際拉赫曼尼諾夫青年鋼琴家比賽（2 0 1 4）、莫斯科國際「音樂鑽石」大賽（2 0 1 1、2 0 1 4）、國際「音樂藝術」青年演奏家與作曲家大賽（2013）、亞特芭列夫絲卡亞音樂節（2012）和莫扎特神童國際比賽（2011）冠軍；阿斯塔納國際鋼琴熱情大賽一等獎（2013）；以及俄羅斯德爾斐藝術大賽金牌（2015、2012）。馬勞菲耶夫是弗拉迪米爾．史畢華可夫基金會和新名字基金會的獎學金得主。在 2016 年 7 月，馬勞菲耶夫出版首部 D V D 影片，收錄他於澳洲昆士蘭音樂學院劇場的演出，

Alexander Malofeev was born in Moscow in 2001 and began his studies at the Gnessin Moscow Special School of Music under the instruction of Elena Berezkina. He came to prominence in 2014, when he was awarded the Grand Prix at the 8th International Tchaikovsky Competition. Malofeev has appeared with numerous orchestras including the Mariinsky Theatre Orchestra, Orchestra Filarmonica della Scala, the Russian National Orchestra, and the Verbier Festival Chamber Orchestra, among others, under conductors such as Valery Gergiev, Vladimir Spivakov, Alexander Sladkovsky, Vladimir Fedoseyev, Myung-Whun Chung, Alondra de la Parra, Kristjan Järvi and many more. Malofeev was awarded the Grand Prix at the Grand Piano Competition (2016), the 9th International Rachmaninov Competition for Young Pianists (2014), the “Musical Diamond” Moscow International Competition (2011, 2014), the Astana Piano Passion International Competition for Young Pianists (2013), the “Musical Art” International Competition for Young Performers and Composers (2013), the Youth Delphic Games of Russia (2015, 2012), the Artobolevskaya Festival (2012) and the Mozart Wunderkind International Competition (2011). Malofeev is a scholarship holder of the Vladimir Spivakov Charity Foundation and the New Names Charity Foundation. In July 2016, Malofeev released his debut DVD film, recorded on the Master Performers label in the Queensland Conservatorium Theatre in Australia.

由 Master Performers 唱片公司發行。

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 Members

嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

青銅會員 Bronze Members

鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited

其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council

•British Council •Canada Council for the Arts •HEED

實物支持機構 In-kind Supporters •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •香港國際機場 Hong Kong International Airport •In Technical Productions Limited

•香港德迅貨運代理有限公司 Kuehne & Nagel Limited •立信專業顧問 Lap Shun Professional Consultant •奧海城 Olympian City •信和集團 Sino Group •崇光 ( 香港 ) 百貨 SOGO Hong Kong •屯門市廣場 TMT Plaza

藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •Mrs Miriam Hwa •Lincoln & Yu-San Leong •Nine Queens Investment Limited •Yip Foundation Ltd 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •林護紀念基金有限公司 Lam Woo Foundation Limited •Martin Rogers & Janet Cheng •Mr & Mrs Stephen Suen 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •無名氏 Anonymous •Jeffrey & Helen Chan •Mrs K L Chan •陳求德醫生 Dr Chan Kow Tak •Mrs Mona Leong •Ms Leung Wai Yee Candice •林聖竤 Chris Lin •Ms Sun Tien Chen •Mr & Mrs David S Y Wong 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 (3) Anonymous (3) •Mr & Mrs S Cheng •Mr Edwin Choy •Consigliere Limited •Alex & Hanne Fung •Mr & Mrs Kenneth H C Fung •Richard & Ruth Herbst •Ms Jenny Hodgson •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Mrs A M Peyer

•Mr Stephen Tan •曹延洲醫生 Dr Tsao Yen Chow •Linda Wang •Samuel & Amy Wang •黃逸思先生夫人 Mr & Mrs Y S Wong •Mr Wong Yick Kam 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (3) Anonymous (3) •Dr York YN Chow •Ms Ka Shi Lau •Ms Lee Lai-Kuen Shelley •Mr & Mrs David S L Lin •Dr Michael Mak •Mr & Mrs Gilles Martin •Dr Poon Yee Ling Eligina •Ms Jacqueline Swain •Tsang Wing Fun •Ms Tse Chiu Ming •Ms Enoch Yiu •Ms Isabel Yiu 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (4) Anonymous (4) •AIA AGAPE A&F •Atkinson Lambert Limited •Ms Alice Au •Mrs Anson Chan •Mr Edmund Cheung •Bethan and Tim Clark •Dr David Fang •HUI Silvia •Ms Khoo Li Lian

•Legrand Jewellery •Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching

•Leland & Helen Sun •Ms Christine Tong •Mr Christopher Wong & Dr Ivo Chen •殷和順劉善萍伉儷

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund •C H Mak •無名氏 (2) Anonymous (2) •麥禮和醫生 Dr Mak Lai Wo •Burger Collection •Vernon & Karen Moore •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Mrs A M Peyer •恒生銀行 Hang Seng Bank •Dr Poon Yee Ling Eligina 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Mr & Mrs Kenneth Quinn •法國巴黎銀行 BNP Paribas •Tsang Wing Fun •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •曹延洲醫生 Dr Tsao Yen Chow •田家炳基金會 Tin Ka Ping Foundation •Martin Rogers & Janet Cheng •芝蘭基金會 Zhilan Foundation •黃乃正教授及陳頴儀醫生 •Mr Wong Yick Kam 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •Mr & Mrs Herbert Au-Yeung •Ms Margaret Cheng •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •馮兆林先生 Mr Fung Shiu Lam •Richard & Ruth Herbst •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Yvonne Cheng & Kelvin Koo •Caroline & Stefan Kracht •Mrs Carol Murray •Nathaniel Foundation Limited •Diana d'Arenberg & Jay Parmanand •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •黃逸思先生夫人 Mr & Mrs Y S Wong •Ms Wong Yuen Mee Elsa •Mrs Wu Tseng Helen 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (2) Anonymous (2) •區燊耀先生 Mr Au Son Yiu •Mr Iain Bruce •趙穎雅 Winnie W N Chiu •天智合規顧問有限公司 CompliancePlus Consulting Limited •Mr & Mrs A R Hamilton •Ms Winnie W Ho •羅偉騫先生及夫人 Andy Law & Wendy Chan

青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮

新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •Ms Sun Tien Chen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •Ms Winnie W Ho

•Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (3) Anonymous (3) •Michael and Jennifer Barth •Star B Chan & MDB •Dr Xina Lo •Mrs A M Peyer •黃逸思先生夫人 Mr & Mrs Y S Wong

支持及協助 Support and Co-operation •Acorn Design •Alfie Leung Design •AMC Pacific Place •艺鵠 Arts and Culture Outreach •香港展能藝術會 Arts with the Disabled Association Hong Kong •教育局藝術教育組 Arts Education Section, Education Bureau •香港愉景灣酒店 Auberge Discovery Bay Hong Kong •樺利廣告有限公司 Avanny Advertising Co Ltd •庇理羅士女子中學 Belilios Public School •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •中國對外文化集團公司 China Arts and Entertainment Group (CAEG) •中華基督教會公理堂 China Congregational Church •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •思聯設計有限公司 CL3 Architects Ltd •阿根廷駐港總領事館 Consulate General of Argentina in Hong Kong •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •巴西駐港總領事館 Consulate General of Brazil in Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •希臘駐港總領事館 Consulate General of Greece in Hong Kong •愛爾蘭駐港澳總領事館 Consulate General of Ireland in Hong Kong and Macau •意大利駐港總領事館 Consulate General of Italy in Hong Kong •日本國駐香港總領事館 Consulate General of Japan in Hong Kong •馬來西亞駐港澳總領事館 Consulate General of Malaysia in Hong Kong and Macau SAR •印尼駐港總領事館 Consulate General of the Republic of Indonesia in Hong Kong •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •英國駐港總領事館 Consulate General of United Kingdom in Hong Kong •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •Die Konzertisten •拔萃男書院 Diocesan Boys' School •拔萃女小學 Diocesan Girls' Junior School •拔萃女書院 Diocesan Girls' School •香港荃灣帝盛酒店 Dorsett Tsuen Wan •Edge 'n Pointe Dance Centre •港威酒店 Gateway Hotel •德國駐香港總領事館 German Consulate General Hong Kong •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •8 度海逸酒店 Harbour Plaza 8 Degrees •嘉湖海逸酒店 Harbour Plaza Resort City •快達票香港有限公司 HK Ticketing •香港聖公會聖保羅堂 HKSKH St. Paul's Church

•香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港藝術發展局 Hong Kong Arts Development Council •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme 政治及國際關係學系 Department of Government and International Studies •美國管風琴家協會香港分會 Hong Kong Chapter of the American Guild of Organists •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港文化博物館 Hong Kong Heritage Museum •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港公共圖書館 Hong Kong Public Libraries •香港唱片 Hong Kong Records •香港樹仁大學 Hong Kong Shue Yan University 圖書館 Library •香港旅遊發展局 Hong Kong Tourism Board •香港童聲合唱團 Hong Kong Treble Choir •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •富薈馬頭圍酒店 iclub Ma Tau Wai Hotel •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •益普索香港 Ipsos Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •賽馬會創意藝術中心 Jockey Club Creative Arts Centre •賽馬會官立中學 Jockey Club Government Secondary School •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Center •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 文學院 Faculty of Arts 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit 學生服務中心 Student Service Centre •香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong •La Rotisserie •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC •Mission Production Company Ltd •音樂事務處 Music Office •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •香港帝景酒店 Royal View Hotel •沙田大會堂 Sha Tin Town Hall •聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •香港西班牙商會 Spanish Chamber of Commerce in Hong Kong

•事必達推廣有限公司 Speedy Promotion Limited •聖雅各福群會 St. James' Settlement •辰衝圖書有限公司 Swindon Book Co. Ltd. •大館 Tai Kwun •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港八和會館 The Chinese Artists Association of Hong Kong •香港中文大學 The Chinese University of Hong Kong 戲曲資料中心 Chinese Opera Information Centre 音樂系 Department of Music 文學院 Faculty of Arts 和聲書院 Lee Woo Sing College 聯合書院 United College •香港城市大學 The City University of Hong Kong 中文系 Department of Chinese and History 英文系 Department of English 城大創意媒體學院 School of Creative Media •城景國際 The Cityview •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 •梅夫人婦女會 The Helena May •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港兒童合唱團 The Hong Kong Children’s Choir •香港理工大學 The Hong Kong Polytechnic University 圖書館 Library •香港科技大學 The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 人文學部 Division of Humanities 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office HKUST Music Alive! •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong Cultural Management Office 音樂系 Department of Music 通識教育部 General Education Unit 國際事務處 International Affairs Office 圖書館 Library 現代語言及文化學院 School of Modern Languages and Cultures 香港大學博物館學會 The University of Hong Kong Museum Society 香港大學美術博物館 University Museum and Art Gallery •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •通利琴行 Tom Lee Music Company Ltd •三角關係 Trinity Theatre •屯門大會堂 Tuen Mun Town Hall •UA CINEHUB •城市售票網 URBTIX •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •進富印刷公司 Wealthy Step Printing Co. •wine etc •油麻地戲院 Yau Ma Tei Theatre •葉氏兒童合唱團 Yip's Children's Choir •香港基督教青年會（港青） YMCA of Hong Kong •青年學院 Youth College •青年廣場 Youth Square •元朗劇院 Yuen Long Theatre •赤豚事務所 Zhu Graphizs

贊助人

林鄭月娥女士

PATrON

永遠名譽會長執行委員會主席副主席義務司庫委員

邵逸夫爵士

HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會主席委員

財務委員會主席委員發展委員會主席副主席委員

顧問

名譽法律顧問核數師

查懋成先生盧景文教授李錦榮先生鄭維新先生鄭惠貞女士劉鎮漢先生梁靳羽珊女士梁卓偉教授姚潔莉女士楊光先生盧景文教授白諾信先生紀大衛教授羅志力先生毛俊輝先生李義法官約瑟．施力先生 + 譚榮邦先生姚珏女士李錦榮先生鄭惠貞女士梁國輝先生梁靳羽珊女士雍景欣女士鄭阮培恩女士邱詠筠女士龐建貽先生孫林宣雅女士姚祖輝先生夏佳理先生鮑磊先生李業廣先生梁紹榮夫人李國寶博士孖士打律師行羅兵咸永道會計師事務所

香港藝術節基金會主席霍璽先生管理人陳祖澤博士陳達文先生梁紹榮夫人 +

PrOGrAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONOrArY SOLICITOr AUDITOr

Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISOrS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown PricewaterhouseCoopers

HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP

榮譽節目顧問 Honorary Programme Advisor

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430

職員行政總監行政總監助理節目節目總監副節目總監節目經理節目經理（行政）助理節目經理節目統籌節目主任（行政）物流及接待經理 •技術製作經理助理製作經理 •出版英文編輯中文編輯助理編輯 •外展高級外展經理助理外展經理外展統籌外展助理藝術行政見習員市場推廣市場總監副市場總監市場經理副市場經理助理市場經理數碼營銷專員市場主任藝術行政見習員市場經理（票務）客戶服務主任發展發展總監發展經理副發展經理助理發展經理發展統籌發展助理會計會計主管助理會計經理會計主任人力資源及行政人力資源及行政經理人力資源及行政主任接待員 / 初級秘書助理無限亮高級項目經理助理節目及製作經理助理外展經理助理技術經理市場統籌高級會計主任項目主任香港藝術節 @ 大館製作人技術統籌

STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers

何嘉坤何丹蓉梁掌瑋蘇國雲葉健鈴余瑞婷 * 蘇雪凌黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *

陳韻妍林淦鈞 * 胡鎮華 *

梁雅芝 * 莫賦斌 * 林秋美 * 廖健邦 * 林惠賢 * 李冠輝張鼎丞 * 譚曉峯 * 李玨熙 * 李萬祺 * 鄭尚榮胡銘堯周怡楊璞* 許慧儀 * 陳閏霖 * 鄭佩欣 * 鄭鈞澤 * 梁彩雲黃煒城 * 余潔儀張慧芝 * 譚樂瑤蘇寶蓮 * 莫穎哲 * 袁愷晴 *

黎家欣 *

林嘉敏 *

鍾玉如 *

張嘉麟 *

楊恆怡 *

麥紫琴 *

鄺敬婷杜詩麗 * 蘇永恆 * 馮紹昌簡凱彤 * 李美娟黃國愛楊文秀 * 陳慧晶 * 鄧冠恒 * 鄺嘉欣 * 蔡珮珊 * 彭健欣 * 雲希朗 * 羅雪芬 * 梁嘉倩 * 李菁菁 * 周怡 *

陳穎業 *

Tisa Ho Connie Ho

Grace Lang So Kwok-wan Linda Yip Vanessa Chan Susanna Yu* Lam Kam-kwan* Programme Manager (Administration) Shirley So Assistant Programme Manager Joseph Wong* Programme Coordinators Tracy Tam* Angus Wu* Programme Officer (Administration) Tracy Cheung* Logistic Manager Elvis King* • Technical Production Manager Shirley Leung* Assistant Production Manager Benny Mok* • Publications English Editor Gloria Furness* Chinese Editor James Liu* Assistant Editors Grace Lam* Melody Lai* • Outreach Senior Outreach Manager Kenneth Lee Assistant Outreach Manager Bell Cheung* Outreach Coordinators Mitch Tam* Carmen Lam* Joey Chung* Outreach Assistant Michael Lee* Arts Administrator Trainee Kelvin Li* MArKETING Marketing Director Katy Cheng Associate Marketing Director Dennis Wu Marketing Managers Alexia Chow Louis Cheung* Deputy Marketing Manager Michelle Yeung* Assistant Marketing Manager Surina Hui* Digital Marketing Specialist Ben Chan* Marketing Officer Bonnie Cheng* Arts Administrator Trainee Jeff Cheng* Marketing Manager (Ticketing) Eppie Leung Customer Service Officers Benny Wong* Hayley Yeung* DEVELOPMENT Development Director Flora Yu Development Managers Anna Cheung* Mak Tsz-kam* Deputy Development Manager Lorna Tam Assistant Development Manager Conny Souw* Development Coordinator Esther Mok* Development Assistant Antonia Yuen* ACCOUNTS Head of Accounts Department Teresa Kwong Assistant Accounting Manager Connie To* Accounting Officer Peter So* Hr & ADMINISTrATION HR & Administration Manager Calvin Fung HR & Administration Officer Vivian Kan* Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong NO LIMITS Senior Project Manager Camelia Yeung* Assistant Programme Ainslee Chan* and Production Manager Assistant Outreach Manager Joe Tang* Assistant Technical Manager Karen Kwong* Marketing Coordinator Silvia Choy* Senior Accounting Officer Janice Pang* Project Officer Alana Wan* HKAF@TAIKWUN Producers Georgina Lo* Leung Ka Sin* Chan Wing Yip* Cheryl Li* Eva Chau* Technicial Coordinators

技術統籌 * Technical Coordinators*

歐慧瑜 Rachel Au、陳佩儀 Claudia Chan、陳詠杰 Chan Wing Kit、陳家彤 Doris Chen、范文恩 Fan Man Yan、許肇麟 Boolu Hui 、黎智勇 Martin Lai、李浩賢 Lawrence Lee、羅瑞麟 Wheel Lo、蕭健邦 Leo Siu

藝術家統籌 * Artist Coordinators*

鄭瑋菁 Virginia Cheng 、竺諺民 Edwin Chuk、張素真 Susan Hayden、向怡君 Cassandra Heung 、何嘉露 Carrol Ho、洪飛鳴 Fei Hung、李仲文 Conan Lee、李海盈 Jane Li、彭慧雯 Jan Pang、樊明媚 Tess Pham、潘頴詩 Renee Poon、譚善渝 Sally Tam * 合約職員 Contract Staff

節目時間表 Programme Calendar 歌劇戲音樂 /曲 OPERA / CHINESE OPERA MUSIC

萊比錫歌劇院華格納《唐懷瑟》

CCGT

1/3 2/3

7pm 6pm

Madame White Snake by Zhou Long and Cerise Lim Jacobs

APAL

8-9/3

7:30pm

粵劇《百花亭贈劍》毛俊輝導演作品（更新版）

Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)

STTHAUD

1-2/3

8pm

粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年

Cantonese Opera - Global Traces, Local Stages YMTT - Red Cherries and a Broken Heart - Vignettes of Pak Yuk-tong’s “Three Big Trials” - Why Don’t You Return? - A Long Passion – Talk, Demonstration and Performance

9/3 10/3 11/3 15-17/3

7:30pm 2:30pm 7:30pm 7:30pm

香港小交響樂團小號巨星納卡里亞科夫

Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet

CHCH

16/2

8pm

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra

CCCH

21-22/2

8pm

Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time

CHCH

22/2

8pm

鮮于睿權鋼琴獨奏會

Yekwon Sunwoo Piano Recital

CHCH

23/2

8pm

帕佛．約菲與 NHK 交響樂團

Paavo Järvi with the NHK Symphony Orchestra, Tokyo

CCCH

28/2

8pm

法國世紀樂團：白遼士 150 指揮：麥森．帕斯高

Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

CCCH

2/3 3/3

8pm 4:30pm

萊比錫歌劇院合唱團《歌劇合唱盛會》

Chor der Oper Leipzig Opera Chorus Concert

CCCH

3/3

8:15pm

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital

CHCH

7/3

8pm

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala

CHCH

8/3

8pm

Quondam Spanish Renaissance Choral Masterpieces

CHCH

9/3 10/3

8pm 4pm

Li Biao Percussion Group - From Baroque to Tango

CCCH

15/3

8pm

P is for PERCUSSION! Family Concert by Li Biao Percussion Group

CCCH

16/3

8pm

洪儷僖管風琴獨奏會

Riyehee Hong Organ Recital

CCCH

18/3

8pm

克雷莫納弦樂四重奏

Quartetto di Cremona

CHCH

21-22/3

8pm

爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》

Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams

APAD 22/2 23/2 23/2 23/2

8pm 7:30pm 4pm 9:30pm

2-3/3 2/3 3/3

4:30pm 8pm 8pm

《白蛇傳》作曲：周龍 | 編劇：林曉英

香港中樂團《九千年的邂逅》

時光之音《西班牙文藝復興合唱代表作》李飈打擊樂團《巴羅克．探戈》《好！擊！動！》親子音樂會李飈打擊樂團

爵士樂世 / 界音樂 JAzz / WOrLD MUSIC

- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會

Oper Leipzig Wagner’s Tannhäuser

- Marco Mezquida Piano Solo - Jorge da Rocha Solo

世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》

World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go

HKAC-ST

馬祖耶夫爵士樂隊

DANCE

舞蹈

Matsuev and Friends Play Jazz

CCCH

9/3

8pm

湯瑪士．夸斯托夫四重奏《Nice 'N' Easy》

Thomas Quasthoff Quartet Nice 'N' Easy

CCCH

14/3

8pm

希薇雅．佩瑞茲．克露絲《夜妝》

Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)

CCCH

22/3

8pm

香港藝術節 @ 大館

HKartsFestival@TaiKwun

2-3/3 9-10/3

雲門舞集 45 週年林懷民舞作精選

Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works

CCGT

21-23/2 24/2

8:15pm 2pm

Euripides Laskaridis / Osmosis TITANS

APAD

26-27/2

8:15pm

歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊《泰坦 – 諸神之舞》

CCGT CCCH CCST CHCH

香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂音樂廳 Concert Hall, HK City Hall

CHT APAL APADT HKAC-ST

香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

DANCE

舞蹈

香港賽馬會當代舞蹈平台 -《舞鬥》 -《雙篇雙人舞》 -「兩地書」-《沒有大象》亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》

The Hong Kong Jockey Club Contemporary Dance Series - Dance Off

CCST

- Double Bubble

CCST

- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA

CCST

28/2, 1/3 2/3 15/3 16/3 20-21/3

8:15pm 3pm 8:15pm 2:45pm 8:15pm

KTT-BBT APA-DT

12-13/3 1-2/3

8pm 8:15pm

THEATrE

戲劇

漢堡芭蕾舞團 – 約翰．紐邁亞《胡桃夾子》

The Hamburg Ballet - John Neumeier The Nutcracker

CCGT

13-15/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《貝多芬計劃》

The Hamburg Ballet - John Neumeier Beethoven Project

CCGT

19-20/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《約翰．紐邁亞的世界》

The Hamburg Ballet - John Neumeier The World of John Neumeier

CCGT

23/3 24/3

7:30pm 2:30pm

重新劇團《追憶消逝的人生》

Theatre Re The Nature of Forgetting

CCST

21-24/2 23-24/2

8:30pm 4:30pm

瑞士默劇團《百變樂園》

Mummenschanz Reloaded

APAL YLT-AUD

21-22/2 24/2 24/2

7:30pm 1pm 5pm

倫敦燃料劇團、布里斯托爾老域劇團、愛丁堡皇家蘭心劇院與北安普敦皇家及德蓋特劇院聯合製作《攀越冰峰》

A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void

CHT

21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm

機器神製作羅伯特．利柏殊創作及演出《887》

Ex Machina Created and performed by Robert Lepage 887

APAL

27-28/2, 1-2/3 8pm 2/3 3pm

賽馬會本地菁英創作系列《陪着你走》

Jockey Club Local Creative Talents Series Always by Your Side

KTT-AUD

2,6-9/3 3,9-10/3

8pm 3pm

正點劇團《哈姆尼特─莎士比亞之子》

Dead Centre Hamnet

CCST

4-5/3

8:15pm

正點劇團《契訶夫處女作》

Dead Centre Chekhov's First Play

CCST

8-9/3 9-10/3

8:15pm 3pm

北京李六乙戲劇工作室《哈姆雷特》

Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark

CCGT

7-8/3 9/3

7:30pm 2:30pm

《九江》

Gangsters of Hong Kong

CHTH

8-9,13-16, 20-23/3 10, 17, 24/3

8pm

Ontroerend Goed 《金錢世界》( 英語版 )

Ontroerend Goed - £¥€$ (LIES) (English Version)

TK-F Hall

《金錢世界》( 粵語版 )

- £¥€$ (LIES) (Cantonese Version)

12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3

6pm 9pm 3pm 6pm 9pm 3pm

離奇作業劇團《蛙人》

curious directive Frogman

CDAV

12-15/3 12-15/3 16-17/3 16-17/3

7pm 9pm 3pm 5pm

傑夫．索貝爾《家》

Geoff Sobelle Home

APAL

14-16/3 16/3

8pm 3pm

皮普．德爾邦諾劇團《快樂大本營》

Compagnia Pippo Delbono La Gioia (Joy)

APAL

22-23/3

8pm

馬里安諾．潘恩索廸及瑪利亞劇團《三個女人搞革命》

Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night

CCST

23/3 24/3

8:15pm 5pm

3pm

資料截至 Information as of: Jan 2019

KTT-BBT KTT-AUD YLT-AUD STTH-AUD

葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 元朗劇院演藝廳 Auditorium, Yuen Long Theatre 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

YMTT TK CDAV

油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village

藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗香港藝術節「演出之外，更多精采！」 PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!

音樂大師班

M u s i c M a s t e rcla s s 李飈打擊樂團敲擊樂大師班 Li Biao Percussion Group Masterclasses 13/3 三 Wed 5:30 - 7:30pm (中西敲擊樂器 Chinese & Western Percussion Instrument) 香港演藝學院演奏廳 Recital Hall, HKAPA 14/3 四 Thu 7:30 - 9:30pm (敲擊樂隊 Percussion Ensemble) 香港文化中心 CR2 排演室 Rehearsal Room CR2, HK Cultural Centre

��樂大師班 Thomas Quasthoff Vocal Masterclass 13/3 三 Wed 7:00 - 9:00pm 香港文化中心 CR1 排演室 Rehearsal Room CR1, HK Cultural Centre

洪儷僖管風琴大師班 Riyehee Hong Organ Masterclasses 16/3 六 Sat 11:00am - 1:00pm (宗教禮儀音樂 Liturgical music) 香港聖公會聖保羅堂 HKSKH St. Paul's Church

h #FSOE #SVOEFSU

17/3 日 Sun 4:00 - 5:30pm (西班牙及法國 17 世紀及早期浪漫主義作品 Spanish and French 17th century to early romantic organ repertoire) 香港演藝學院音樂廳 Concert Hall, HKAPA

時光之音合唱與合唱指揮工作坊 Conducting and Singing Workshop with Quondam 9/3 六 Sat 2:30 - 5:00pm (合唱指揮 Choral Conducting) 11/3 一 Mon 4:00 - 6:30pm (合唱 Choral Singing) 循道衛理聯合教會國際禮拜堂 Methodist International Church

報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org

藝術節加料節目節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic

特備節目 SpecialS 25/1/2019

26/1/2019

樂與畫音樂會：《哥雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya’s World through Granados’s Goyescas 《風琴遊蹤》導賞遊與風琴獨奏會 Pipe Organ Walk & Organ Recital

20/2/2019

聖保羅交響樂團四重奏 SPSO String Quartet

22/2/2019

香港藝術節傑出文化領袖講座系列講者︰葉芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series (VI) Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Cultural and Arts Foundation)

20/2/2019

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras

22/2/2019

聖保羅交響樂團演前導賞講座 : 瑪琳．艾爾梭細說伯恩斯坦與她的指揮生涯 Sao Paulo Symphony Orchestra Pre-performance Talk: Marin Alsop on Bernstein and Her Conducting Career

22/2/2019

馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop

28/2/2019

NHK 交響樂團演前導賞講座︰細聽二十世紀改革之風 NHK Symphony Orchestra Pre-performance Talk: Listen to the Winds of Changes PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance

22/2/2019 24/2/2019

《舞城遊蹤》 Choreography Walk

26/2/2019 3/3/2019

《家常便飯》 Family Dinner

2/3/2019

《歌劇探秘同樂日》Opera Adventure Day

2/3/2019

28/2 - 3/3/ 2019

「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition

《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert

2/3/2019

《一齊玩》戲劇工作坊 We PLAY Theatre Workshop

16/3/2019

《好！擊！動！》同樂日 P is for Percussion! Family Day

2/3/2019

法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique

3/3/2019

萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig

3/3/2019

法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz

3/3/2019

萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert

21/3/2019

藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier

舞蹈 DaNce 19, 23/2/2019

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

1/3/2019

公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble

11/3/2019

藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing

13/3/2019

漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking

15/3/2019

漢堡芭蕾舞團早課參觀 Observing Company Class

15/3/2019

《胡桃夾子》後台參觀 Backstage at The Nutcracker

4/3/2019

《白蛇傳》歌劇創作講座 Madame White Snake Reimagined

9, 11/3/2019

時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell

9/3/2019

馬祖耶夫爵士樂隊演前導賞講座︰古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz

16, 24/3/2019

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

17/3/2019

漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids

13/3/2019

湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass

19/3/2019

漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project

14/3/2019

23/3/2019

漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier

湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II

13, 14/3/2019

李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group

15/3/2019

李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango

16, 17/3/2019

洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass

歌劇／戲曲 OpeRa 1, 2/3/2019

萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser

2/3/2019

萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour

12/3/2019

蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong

戲劇 THeaTRe

16/3/2019

《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition

16/3/2019

拇指琴及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance

28/2/2019

藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage

16/3/2019

9/3/2019

藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare

20/3/2019

克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration

22/3/2019

希薇雅．佩瑞茲．克露絲演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible

電影 FilM 27/2/2019 2, 24, 30/3/ 2019

《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema