Riyehee Hong Organ Recital - 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

洪儷僖管風琴獨奏會

Riyehee Hong Organ Recital 18 3 月 MAR

香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre 演出長約 1 小時 35 分鐘，包括一節中場休息 Approximately 1 hour and 35 minutes with one interval

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 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

洪儷僖

Riyehee Hong 管風琴家 Organist 管風琴家洪儷僖活躍於北美洲和歐洲，其音樂事業包括音樂會表演、舉辦大師班及授課。她曾獲邀到法國莫城五旬節音樂節和美國洛杉磯聖保羅大教堂演出，又在美國巴赫協會年度大會上完整演奏巴赫的《賦格的藝術》。此外，在紀念杜魯夫逝世一百週年而舉辦的杜魯夫管風琴作品全集音樂會上，洪儷僖是三位獲邀參與的管風琴家之一，該巡迴音樂會曾於史丹福大學紀念教堂演出。與此同時，她也是管風琴和古鍵琴室樂家，創立並領導演奏十七、十八世紀作品的合奏團，並首演新發掘的作品。此外，她在賓州約克泉一座泰萊與博迪管風琴上，灌錄了德國北部巴羅克管風琴音樂，該專輯由 Loft

Recordings 發行。洪儷僖是西班牙和法國早期管風琴音樂專家，曾獲邀到法國波爾多大學及多間美國機構演講，例如邁阿密佛羅里達國際大學和美國管風琴家協會的侯斯頓及南澤西分會。她著有關於法國後古典時期管風琴音樂的文章，她抄錄的一本十八世紀法國管風琴樂譜（至今仍未查明出處），則由 Way n e

Leupold Editions 出版。她曾擔任費城聖公會大教堂音樂及藝術總監、賓州大學訪問學者及管風琴導師、波士頓大學馬歇小教堂副管風琴師、加州馬天尼斯聖加大利納教區音樂總監及侯斯頓大學音樂史講師。此外，她分別在侯斯頓大學摩爾斯音樂學院取得音樂藝術博士、在波士頓大學取得音樂碩士、在韓國韓神大學取得神學碩士，以及在南韓延世大學取得神學學士。

Organist Riyehee Hong pursues an active and extensive musical career in North America and Europe that includes concert performances, masterclasses, and lectures. She has been invited to perform at La fête de la Pentecôte de Meaux in France; the Cathedral Centre of St. Paul in Los Angeles, and at an annual meeting of the American Bach Society, where she played the complete Art of the Fugue. Hong was one of three organists to participate in touring performances of the complete organ works of Maurice Duruflé commemorating the 100th anniversary of the composer’s birth, including performances at Stanford University Memorial Church. As a chamber musician on both organ and harpsichord, Hong has founded and directed ensembles dedicated to both 17th and 18th century repertoire, giving first performances of newly discovered works. Her recording of North German Baroque organ music, performed on Taylor & Boody’s organ in York Springs, Pennsylvania, was released by Loft Recordings. As a specialist in early Spanish and French organ music, Hong has been invited to lecture at Bordeaux University and at numerous US institutions. She has published pieces on French post-classical organ music, while her study and transcription of a hitherto unattributed 18thcentury French organ manuscript was accepted for publication by Wayne Leupold Editions. Hong has served as Director of Music and Arts at the Episcopal Cathedral of Philadelphia, Visiting Scholar and Instructor in Organ at the University of Pennsylvania, Associate Organist of Marsh Chapel, Boston University, Music Director at St. Catherine of Siena in Martinez, CA, and Lecturer of Music History at the University of Houston. Hong received her Doctor of Musical Arts from the Moores School of Music, The University of Houston; a Master of Music from Boston University; a Master of Divinity from Hanshin University and a Bachelor of Theology from Yonsei University in Seoul, Korea.

安東尼奧．索萊爾洪儷僖編曲

Antonio Soler (1729–1783) arr. Riyehee Hong

六首雙管風琴協奏曲第六首

Concerto VI from Six Concertos for Two Organs

第二樂章︰小步舞曲及變奏，「皇帝的號曲」

II. Minué and variations, “Fanfarria Imperial”

John Stanley (1712–1786)

約翰．斯坦利

《十首管風琴曲》A 小調即興曲第二首， Voluntary II in A minor, Ten Voluntaries, Op 6 作品 6

C．P．E．巴赫

Carl Philipp Emanuel Bach (1714–1788)

A 小調管風琴奏鳴曲，Wq 70/4，H85

Sonata for Organ in A minor, Wq 70/4, H85

威廉．塞爾比

William Selby (1738–1798)

《十首管風琴》A 大調即興曲第八首

Voluntary VIII in A major, Ten Voluntaries

荷西．利頓

José Lidón (1746–1827)

D 小調恬多曲

Intento in D minor

E 小調管風琴或鍵盤奏鳴曲

Sonata for Organ or Keyboard in E minor

荷西．拉拿那加

José de Larrañaga (c. 1730–1806)

G 大調管風琴或鍵盤奏鳴曲

Sonata for Organ or Keyboard in G major

約瑟．海頓

Joseph Haydn (1732–1809)

三十三首《笛鐘音樂》之第十二至十八首，Hob.XIX

Flötenuhrstücke, Hob XIX: 12-18

格羅米．萊斯科

Guillaume Lasceux (1740–1831)

《謝主辭》之〈我等信主必再降臨，施行審判〉

克勞德．鮑伯斯特《炮火曲》

Judex Crederis, verset from Te Deum

Claude Balbastre (1724–1799) Cannonade — 中場休息 Interval —

管風琴家講座及展演

Organist's Talk and Demonstration

是晚演出曲目及次序或有更改

Pieces and their order of performance are subject to change

管風琴家的樂曲介紹

Note from the Organist 查理斯．伯尼（1726-1814）是英國著名的音樂

種習慣，亦一直被其他管風琴家沿用至二十世

史學家和旅遊家。他聽過法國管風琴家鮑伯斯

紀初。今次音樂會將會演奏兩首利頓的作品。

特演奏後，發現管風琴逐漸偏離原有的宗教角色，趨向世俗化以投當代聽眾所好。

方濟各修士拉拿那加與巴斯克的皇家協會關係密切，後者大力提倡啟蒙運動，拉拿那加的作

今晚我們將會聽到這些非常創新和多元化的「萎

品亦受這種思潮影響。他的管風琴奏鳴曲風格

靡」管風琴曲目，亦正是這些樂曲為管風琴開

明朗，這首作品於 1778 年完成，恰巧是皇家教

闢了通往浪漫風格之門。

堂管風琴落成啟用的同一年。

西班牙作曲家索萊爾的「皇帝的號曲」原本是

隨着工業革命踏入高峰期，越來越流行製作能

為兩部管風琴而寫；今次演出的版本則改由一

夠發出悅耳音樂的自鳴鐘，當中包括以笛的音

部管風琴包辦。這首樂曲充分表現由管風琴所

栓構造發聲的自鳴管風琴（笛鐘），而不少作

有音管吹奏的絕美聲音。

曲家亦被委約為這件新興玩意創作樂曲。當中

英國作曲家斯坦利雖然雙目失明，但身居英皇樂隊的要職。觀眾可以聽到以管風琴演奏的即

海頓貢獻良多，他的七首作品巧妙地為聽眾製造了對笛鐘音色的想像空間。

興曲，包含三種「短號音栓」，每種在音色和

〈我等信主必再降臨，施行審判〉出自天主教

音量上皆充滿變化。

的《謝主辭》。法國後古典時期的作曲家都曾

C．P．E．巴赫的 A 小調管風琴奏鳴曲乃特別為普魯士公主安娜．亞瑪莉亞創作。樂曲反映了典型管風琴的音樂詞彙，以及十八世紀的音樂風尚。

經以此為題材，創作充滿戲劇性的作品；萊斯科正是其中一員，他在巴黎的聖斯德望堂擔任管風琴師超過半世紀。這首作品收錄在萊斯科於 1809 年出版的《管風琴藝術理論與實踐論文集》當中。

美國作曲家塞爾比是波士頓英皇教堂的管風琴師。他的即興曲寫於 1767 年，是他少數的管風琴作品之一。

音樂會將會以鮑伯斯特的作品為壓軸，他是路易十八的御用管風琴師。查理斯．伯尼的音樂遊記中就曾經提及鮑伯斯特在教堂之內演奏諸

利頓受聘於馬德里的皇家教堂，畢生創作了不少

如狩獵曲和吉格舞曲的通俗之作，但絲毫沒有

神聖及世俗的管風琴作品。利頓與皇家教堂的

驚嚇或觸怒在場觀眾。今次選演的《炮火曲》

管風琴製造者博殊份屬姻親，其祖父則原籍法

將讓我們體會鮑伯斯特作品如何突破常規，成

國；因此他可能對法國管風琴流派有一定認識，

就高超技藝。

甚至曾經讀過法國著名管風琴製造家廸塞勒修士的《管風琴藝術》指南。事實上，利頓深受法國十六世紀開始的管風琴傳統影響，經常以管風琴的相應配合法為其宗教作品命名。而這

洪儷僖

Charles Burney (1726–1814) was an English music historian and great traveller of the time. On listening to the work of French organist Claude Balbastre, Burney noted a change in the role of organ music from purely liturgical music to that for more popular tastes. Today we will listen to this decadente music for organ; both immensely innovative and versatile, it helped to open the door to romantic organ music. "Fanfarria Imperial" was originally written for two organs by the Spanish composer Antonio Soler; this arrangement is to be performed by a single organist. It is the perfect piece to showcase the brilliant sound made by all the reeds of this organ. Voluntary II in A minor is a work by the blind British composer and master of the King's Band, John Stanley. The audience will be able to hear three cornet sounds, each with different volumes and colours. Carl Philipp Emanuel Bach wrote this Sonata for Organ in A minor for Anna Amalia, Princess of Prussia, displaying both the language of the instrument and the musical tastes of the 18th century. The American composer William Selby was organist at King's Chapel in Boston, USA. This voluntary, composed in 1767, was one of the few pieces of music he wrote for organ. José Lidón, organist of the Royal Chapel of Madrid, wrote numerous works for organ, both sacred and secular. Some of his liturgical organ works have titles that coincide with different indications of organ registration, following the tradition of the French organ school from the late 16th century up to as late as the early 20th century. Two pieces following this tradition are included in this programme. Lidón was the brother-in-law of Jordi Bosch (who built the Royal Chapel’s organ) and

had a French grandfather, suggesting that Lidón may have had access to both the knowledge of the French organ school and the important organ manual by Dom Bédos de Celles, L'art du facteur dórgues. José de Larrañaga was a Franciscan monk with close links to the Royal Basque Society of The Friends of the Country, a movement that promoted Enlightenment ideas. This influenced de Larrañaga’s own compositions; he composed this cheerful organ sonata in 1778, the same year that the organ of the Royal Chapel of the Royal Palace of Madrid was installed. At the height of the industrial revolution, the building of mechanical clocks that produced picturesque sounds became fashionable. This included organ sounds, made using flute stops (Flötenuhr). With the production of these mechanical clock “organs”, many composers were commissioned to compose music for this machine. Joseph Haydn was among those who created numerous works for it. The seven pieces that the audience will hear will guide their imagination of the instrument’s sound. Judex crederis is a verse of the work Te Deum. In the post-classical period in France, many composers created dramatic music with this verse. Guillaume Lasceux, who had been organist at the SaintÉtienne-du-Mont Church in Paris for more than 50 years, included this work in his treatise Essai théorique et pratique sur l’art de l’orgue, published in 1809. The programme closes with a work by the aforementioned Claude Balbastre, organist of the future King Louis XVIII. One of Charles Burney’s reports on Balbastre tells of how the Frenchman even played hunting music and jigs as part of a church performance without surprising or offending members of the listening audience. This piece, Cannonade, will give us an indication of how he managed to achieve this feat.

Riyehee Hong

難得一聽的管風琴大師作

Rare Organ Masterworks 管風琴演奏會和一般音樂會最顯著的分別在於：大部份的樂器和合奏組合，即便是鋼琴或者大型管弦樂團都可以隨心所欲地移動，管風琴（除了小型的座式管風琴外）卻不然，觀眾必須移駕至管風琴所在地觀賞演出。因此，管風琴音樂會對觀眾來說，有別於一般音樂會的體驗。管風琴多數座落於教堂內，出席音樂會的觀眾可能是首次，甚至唯一一次踏足教堂。不過，今晚的音樂會倒是例外。管風琴本身就是音樂廳的一部份，乃屬於大眾而非教堂的樂器。然而，今次節目的選曲仍然反映了管風琴在宗教禮儀上的傳統角色。因此，管風琴演奏會往往橫跨了世俗和宗教的疆界。觀眾也許會對大部份曲目的由來比較陌生（事實上，大概只有專家才會對這些曲目瞭如指掌），但透過以下的樂曲介紹，相信各位可以更加享受這個與別不同的音樂會。今晚的演出者是十七及十八世紀西班牙（包括作曲家索萊爾、利頓、拉拿那加）及法國（萊斯科及鮑伯斯特）管風琴音樂的專家；洪儷僖尤其精通上述兩地十八世紀中葉至十九世紀初的作品，故從這段期間選出豐富曲目演出。我們亦會欣賞到其他同期作品，作曲家來自德國（C.P.E. 巴赫）、奧地利（海頓）、英國（斯坦利）及後來成為美國的英國殖民地（塞爾比）。

An organ recital is different to virtually every other sort of musical recital, and for one unique reason. Most musical instruments and ensembles, even a grand piano or the makeup of a large orchestra, can be moved around to different locations as desired. But a pipe organ, except for the smallest positives (chamber organs) cannot be moved at all. The audience must come to it, as you have tonight, rather than the instrument coming to you. And this makes the experience of an organ recital different in significant ways. Often, pipe organs are located in churches, where many members of the audience for an organ recital may be visiting for the first (and sometimes only) time. Tonight’s recital takes place, in contrast, in a concert hall on a large pipe organ which is a civic, and not a church, instrument. But the repertory played tonight nonetheless reflects in large part the role of the pipe organ as an important and traditional adjunct to various traditions of worship. In this way, organ recitals constantly cross the boundaries of civic and religious practice. An understanding of the origins of the music played (much of which, if not most, will be unfamiliar except to specialists) will enhance the enjoyment of the programme and the aesthetic experience of this very special form of music-making. Tonight’s programme is also rather specialized. Our performer is an authority on music of the 17th and 18th centuries, particularly that of Spain (Soler, Lidón, and Larrañaga) and France (Lasceux and Balbastre); the bulk of the works performed were written by composers from those countries, probably between about 1740 and the very early years of the 19th century. We will also hear works on the programme written during this period by composers from Germany (C.P.E. Bach), Austria (Haydn), England (Stanley) and, indirectly, the British colonies that became the United States (Selby).

安東尼奧．索萊爾「皇帝的號曲」，取自六首雙管風琴協奏曲第六首

Antonio Soler "Fanfarria Imperial" from Concerto VI from Six Concertos for Two Organs 我們將會以巴羅克與古典風格的交匯處作為音

只有兩位演奏者。因此，這些作品其實可以理

樂會的起點。不論是氣質或職業使然，管風琴

解為雙奏鳴曲，而當中包含的兩個樂章其實正

家一般予人保守的印象，所以對比同期的世俗

朝向古典時期三樂章的奏鳴曲制式邁進（索萊

作品，大部份作品的樣式風格難免會顯得不合

爾六首雙管風琴協奏曲的第二首，就罕見地包

時宜。

含了三個樂章）。

不過，西班牙作曲家安東尼奧．索萊爾的六首

索萊爾和巴赫的兒子同屬巴羅克與古典間過渡

雙管風琴協奏曲卻是個例外，它可能會改變聽

期的作曲家，兩者的音樂均呈現洛可可的時期

眾對管風琴音樂刻板守舊的印象。

特色。研究鍵盤音樂的學者張明（音譯）認為，

索萊爾（1729 - 1783）原籍加泰隆尼亞，在出生地奧洛特附近的教會學校接受音樂訓練。索萊爾廿三歲投身教會，成為傑羅姆修士的一員。他畢生侍奉於埃斯科里亞爾修道院，為西班牙皇室服務，國王卡洛斯三世膝下的加貝爾王子是他的得意門生之一。這六首雙管風琴協奏曲就是為王子而作。

索萊爾的作品是「雙鍵盤作品中最早亦最詳盡」的例子。當中以 D 大調第六協奏曲的篇幅最長：作品中第一管風琴部分由加貝爾王子負責，所以小步舞曲又稱為「皇帝的號曲」（D 大調是小號通用的調式，而小號本身亦是象徵皇室及貴族身份的樂器）。由於皇室在慣例上並不容許在教堂內演奏如小步舞曲之類的世俗音樂，因此可以推斷這首協奏曲最初是在教堂以外的座

由於索萊爾在西班牙宮廷的地位顯赫，故此對

式管風琴上演奏。值得一提的是，巴羅克時期

同樣深受皇室器重的巴羅克作曲家杜明尼高．

對於鍵盤樂器的互換性非常寬鬆，演奏者在樂

史格拉第（1685 - 1757）的作品並不陌生。史格

器選擇上遠較十九世紀自由。索萊爾的協奏曲

拉第原籍意大利，與巴赫及韓德爾同年出生。

除了可以用座式管風琴演奏外，亦可利由古鍵

史格拉第去世前居於馬德里，受聘於西班牙皇

琴彈奏。今晚音樂會選演的「皇帝的號曲」則

室廿八年之久。部份學者認為索萊爾曾經隨史

是管風琴獨奏的改編版本。

格拉第學習，不過這並未經證實。但史格拉第的影響力卻在索萊爾的六首雙管風琴協奏曲的結構上可見一斑：索萊爾首樂章採用的二段曲式，幾乎與史格拉第單樂章的鍵盤協奏曲同出一轍，至於第二樂章則是小步舞曲及變奏。雖然索萊爾將作品定名為「協奏曲」，但實際上

Musically speaking, the works heard tonight begin at the very end of the Baroque era and stretch to the final decades of the Classical era. But organists are by temperament (and the requirements of their occupation) often of a conservative bent, and so it is not surprising that some, though not all, of the works reflect forms and genres that by the time of their composition had already passed out of fashion in the world of more secular music. This is not true, however, of the first work on the programme, the second (and final) movement of the last of Padre Antonio Soler’s Six Concertos for Two Organs. Soler (1729–1783) was of Catalan origin, and he studied music at church-run schools in the vicinity of his birthplace, Olot. At 23, he took religious vows and entered the Hieronymite order. He then spent the rest of his life at the Escorial in the service of the church and the crown of Spain. His star pupil was one of the sons of King Carlos III, the Infante Don Gabriel. For this special student, he wrote the Six Concertos for Two Organs. Through this royal connection, Soler was in a position to feel the influence of one of the greatest composers of the Baroque era, Domenico Scarlatti (1685–1757). Born in Italy in the same year as J.S. Bach and Handel, Scarlatti spent his last 28 years in Madrid at the Spanish court. Some scholars believe that Soler may even have studied with Scarlatti, although this is not certain. Scarlatti’s influence is nonetheless clear in the structure of these concertos: a binary movement (almost identical in format

to Scarlatti’s one-movement keyboard sonatas) followed in Soler’s works by a minuet with variations. Indeed, these works are only “concertos” in the sense that they are for two performers. They are better understood as duo sonatas, twomovement works on their way towards the threemovement sonata cycle familiar from the music of the next generation of Classical-era composers (only the second of Soler’s concertos has a third, opening slow movement). A contemporary of the sons of Bach, Soler belongs to the transitional period between Baroque and Classical sometimes called the Rococo era. According to keyboard scholar Frederic Ming Chang, these works are notable as “among the earliest and most extensive sets of pieces for two keyboards”. Concerto VI in D major is the most expansive of them, and the royal performer for whom the first organ part was written explains the Minuet’s subtitle, “Fanfarria Imperial”. (D major was also the common key for trumpets, in those days a royal— or at least aristocratic—musical prerogative.) The minuet, a dance-genre movement, would have precluded their use in the Royal Chapel, and so they must have been originally performed on positive organs. In the Baroque era, instrumentation was not as fixed as it became in the 19th century, and today these works are often played by the engaging duo of positive organ and harpsichord. Tonight’s performance is an arrangement of the “Fanfarria Imperial” for organ solo by the performer.

約翰．斯坦利《十首管風琴曲》A 小調即興曲第二首，作品 6

John Stanley Voluntary II in A minor, Ten Voluntaries, Op 6 十八世紀西班牙和英國的管風琴均沒有腳踏鍵

飾的音色，對應於管風琴主音風管的基音音栓

盤，因此當時大部份作品都是為手鍵盤創作。

（Principal）或裝飾音栓（Montre）。第二樂章

英國作曲家斯坦利的管風琴即興曲正是屬於這

的快板是一首「回聲曲」，是深受管風琴演奏

個類別。

者歡迎的樂種。演奏者以「短號音栓」奏出生

斯坦利（1712 - 1786）在兩歲時因為無妄之災而近乎失明，不過這位音樂神童的記憶力卻足以媲美莫扎特，可以輕易把聽過一次的樂曲絲毫無差的重彈出來。斯坦利跟隨皇室御用作曲家

氣勃勃的旋律，然後用回音的方式重覆樂句。這種演奏方式適用於管風琴的多個手鍵盤上，對話形式的樂句正好能夠突出管風琴在音域和音色上的千變萬化。

格連學習，九歲就被委任為倫敦一所教堂的副管風琴師，並在十七歲成為牛津大學最年輕的音樂學士。著名作曲家韓德爾是斯坦利的友人，經常會專程到倫敦聖殿教堂聽他演奏。韓德爾

1 7 5 9 年去世後，斯坦利接手經營他創辦的神曲樂季。斯坦利亦跟從故友步伐創作神曲、歌劇及其他作品等。「即興曲」通常是指單一樂章的短篇作品，最常用作教會儀式的引子和結尾，或獨立用於音樂會的短曲。斯坦利的即興曲正如索萊爾的協奏曲一樣，已經呈現出古典時期的風格雛型。他的作品呈多樂章（快—慢或快—慢—快）的結構，先後寫成了三套各十首的即興曲（作品編號 5 至 7），這些作品於 1748 至 1754 年間在倫敦出版。斯坦利最廣為人知的作品，要算是第五首小號即興曲，作品 6，經常在婚禮和節慶場合演奏。而今晚演出的 A 小調即興曲共有兩個樂章，同樣出自作品 6 系列。樂曲的慢板樂章標題為「主音音栓」，意指管風琴最基本、響亮但未經修

詹姆斯．馬卡德爾的約翰．斯坦利畫像，1722 年 James MacArdell. John Stanley. 1722.

Like the organs of Spain at this period, the pipe organs of England did not typically have a pedal division. Many works from the 18th century are in consequence for manuals (keyboard) alone (from the Latin word manus, hand). Into this category fall the voluntaries of British composer John Stanley. Stanley (1712–1786) was almost blind, the result of a freak accident at the age of two. But he had a phenomenal memory similar to Mozart, and could play a work almost without error after hearing it once. A child prodigy, Stanley studied with the composer Maurice Greene, the Master of the King’s Music, and at the age of nine held his first post as deputy organist of a London church. At 17, he became the youngest recipient on record of a Bachelor of Music from Oxford. He was a friend of Handel, who often came to hear him play at London’s Temple Church. After Handel’s death in 1759, Stanley continued the oratorio seasons which Handel had established, and also composed his own oratorios, operas and other works.

Stanley’s most popular piece to this day is surely his Trumpet Voluntary from Op 6, No 5, often heard at weddings and festive occasions. Voluntary II in A minor, also from the Op 6 set, is in two movements. It opens with a reflective Andante marked “Diapasons”, which refers to the basic organ pipe of a sonorous, somewhat bland timbre, sometimes called a Principal or Montre. The second movement, an Allegro, is composed in one of organists’ favourite genres, the echo piece. A perky melody played on the cornet (a special combination of organ stops, not related to the brass instrument called a cornet) alternates with its own echo phrases. This is possible when organs have more than one manual, and this dialogic manner of writing music can be easily performed on the organ with, nonetheless, great effect.

A voluntary is usually a single-movement work intended either for a prelude or postlude to a church service, or in some cases as a self-standing , independent work suitable for concert performance. Stanley’s voluntaries show, like Soler’s concertos, a progressive trend towards the forms (if not the content) of the Classical style. They are usually multi-movement works in a slow–fast (or fast–slow– fast) pattern. Stanley composed three sets of Ten Voluntaries for Organ or Harpsichord (Opus 5, 6 and 7) published in London between 1748 and 1754.

C．P．E．巴赫

In this transitional period (the middle third of the 18th century) another trend emerged, known as the empfindsamer Stil (sensitive, or even sentimental style). Carl Philipp Emanuel Bach (1714–1788) is one of the composers most closely associated with this movement. The second eldest of the sons of J.S. Bach, he is often known as the “Berlin Bach” due to his 28-year residence there as musical director at the court of Frederick the Great.

A 小調管風琴奏鳴曲， Wq 70/4，H85

C.P.E. Bach Sonata for Organ in A minor, Wq 70/4, H85 C．P．E．巴赫（1714 - 1788）是巴羅克至古典間過渡時期的代表人物，他是巴赫的次子，亦是泰利曼的教子。C．P．E．巴赫為普魯士的腓特烈二世擔任宮廷音樂總監達廿八年之久，所以歷史上又被稱為「柏林巴赫」。他的作品反映了十八世紀後半葉興起的「感性風格」。

C．P．E．巴赫的作品中不乏當時的新興樂種，包括交響曲、伴奏奏鳴曲及鋼琴三重奏，但當中最具代表性的，始終要數他的鍵盤獨奏曲，特別是為翼琴和古鋼琴創作的作品。這些鍵盤作品感性、激情、耐人尋味和略顯誇張，與當時主流世俗音樂的輕巧雅緻、但稍為流於膚淺的「華麗風格」形成強烈對比。其後的作曲家如海頓、莫扎特和貝多芬都對他推崇備至。

1768 年，C．P．E．巴赫離開柏林前往漢堡，繼承於前一年身故的教父泰利曼的職位。其後被委任為安娜．亞瑪莉亞公主（即腓特烈二世的妹妹）的榮譽音樂總監。然而他的六首管風琴奏鳴曲早在 1755 年寫成。這些管風琴作品都是為安娜．亞瑪莉亞名下的管風琴度身訂造。巴赫並沒有承襲其父的管風琴專長，因此他的管風琴作品仍以手鍵盤為主，並未有全面發揮腳踏鍵盤的空間，這些作品正如古典風格的奏鳴曲一樣，包含了三個快慢相間、長度相約的樂章：三拍子非常刺激的甚快板、慢板，還有結尾的快板。樂曲已經初步呈現出古典風格強調的平衡、比例及對稱的特色。莫扎特曾經如是說：「（C．P．E．）巴赫是父親，我們都是他的孩子。」

Although he composed in the new genres of symphony, accompanied sonata and piano trio, solo keyboard music—especially for the more expressive clavichord and the newly popular fortepiano—are at the heart of C.P.E. Bach’s works. Emotional, turbulent, suspenseful, rhetorical by turns, his music is a counter to the charming, somewhat vapid galant style that ruled the secular genres in the age of Rococo. Haydn, Mozart, and Beethoven all admired him. In 1768, Bach was released from his job in Berlin and moved to Hamburg to take up the post vacated by his godfather, Georg Phillip Telemann, who died the previous year. After leaving Berlin, he was named Kapellmeister (that is, personal composer) to Frederick’s sister, the princess Anna Amalia (an honorary post, but prestigious). His six Organ Sonatas, however, date to the Berlin period, from about 1755. These works were written specifically for Anna Amalia, or rather for an organ that she possessed. Bach was not an organist like his father, and these works are for manuals only, although there are obvious places where pedals might be used. To compensate, we now have the three-movement, fast–slow–fast sonata cycle of the early Classical era: an exciting triple-metre Allegro assai (very fast—extreme tempos had not previously been a big part of performance practice of the Baroque era), an Adagio, and a concluding Allegro. All three movements are just about the same length. Proportion, balance, symmetry—these are features that immediately distinguish the music of the Classical era, and they are heard here in an early form. It was of this Bach, and not J.S., that Mozart said, “Bach is the father; we are the children.”

威廉．塞爾比《十首管風琴曲》A 大調即興曲第八首

William Selby Voluntary VIII in A major, Ten Voluntaries 觀眾也許會對以下三位作曲家感到陌生。生於倫敦的威廉．塞爾比（約 1738- 1798）與斯坦利同為韓德爾的友人，不過兩者的年齡相差了四分一世紀。塞爾比在 1 7 60 至 1770 年間先後在倫敦的聖墓教堂和抹大拉的瑪利亞教堂等擔任管風琴師，其後於 1 7 7 3 年移居麻省，是美國最早期的專業教會樂師之一。他曾經出任波士頓的英皇教堂、聖三一堂及羅德島聖三一堂的管風琴師。時至今日，這三家教堂仍有舉辦紀念塞爾比的活動。塞爾比亦是美國史上重要的公眾音樂會籌辦人。他的「聖樂音樂會」標誌了 J.S. 巴赫和韓德爾的音樂於美國早期的演出。美國革命期間，大部份保皇派教會被迫關閉，塞爾比則靠經營雜貨店維持生計。塞爾比一平生僅出版了二十多首的作品。他為管風琴或古鍵琴創作的《十首管風琴曲》於 1770 年面世，正如先前介紹過的樂曲一樣，塞爾比的作品主要運用手鍵盤彈奏。其他作品還包括教會禮儀音樂、頌歌及一首管風琴協奏曲。塞爾比的 A 大調即興曲第八首在風格上傾向保守；樂曲由精簡的引子及賦格曲組成，呈現巴羅克早期常用的手法。當中厚重的強奏和弦，以及法式序曲的負點節奏音型都滲透着韓德爾的影子。賦格部份後的分解和弦伴奏和音階段落，則流露出塞爾比翼琴奏鳴曲的痕跡。塞爾比的音樂再一次呈現出過渡期的特色。不過，由於新風格尚未擺脫約定俗成的規範，所以尚未完全成型。

The next three composers on the programme will be mostly unknown to the average concertgoer. William Selby (ca. 1738–1798) was born, like Stanley, in London, but a quarter-century after the great blind organist and friend of Handel. Although he held several posts as organist in London churches in the decade 1760–1770, including Holy Sepulchre and the chapel of Magdalen Hospital, Selby immigrated in 1773 to what was then the Province of Massachusetts Bay. He was one of the first truly professional church musicians in what was shortly to become the United States of America. Selby was particularly important as an organiser of public concerts, in addition to serving as organist at King’s Chapel and Trinity Church in Boston, and at Trinity Church, Newport, Rhode Island. All three churches still exist and celebrate the name of William Selby. Some of the earlier performances of the music of Bach and Handel in America were given by Selby at his “sacred concerts”. During the American Revolution, when most loyalist churches were closed, Selby supported himself and his family by running a grocer’s shop. Selby did not compose prolifically, and managed to publish only around two dozen works in his lifetime in England and America. His Ten Voluntaries for the Organ or Harpsichord appeared in London about 1770, just before he left to cross the Atlantic. These are, like all the other pieces heard so far, for manuals. His other compositions include liturgical pieces, anthems and an organ concerto. The shape of the Voluntary VIII in A major reflects in part the conservative turn mentioned earlier, a highly-compressed Introduction and Fugue. It borrows its rhetoric from the earlier Baroque style (especially the Handelian opening, with its granitic chords and French overture dotted rhythms, marked “Full Organ”), and much of its keyboard style, after the necessary fugal exposition is out of the way, from the clavier sonatas of Selby’s own Rococo/ Early Classical era, including appearances of the Alberti bass pattern and short scale passages. Once again, we are hearing music of a transitional period, an engaging style that has not yet quite found its way out of one period and into another.

荷西．利頓 D 小調恬多曲 E 小調管風琴或鍵盤奏鳴曲

José Lidón Intento in D minor Sonata for Organ or Keyboard in E minor 一如當地大部份管風琴師，生於古典時期的西班牙作曲家利頓（1748-1827）主要為皇室服務，先後受聘於卡洛斯三世、卡洛斯四世及費蘭度七世。利頓晚年於馬德里的皇家教堂任職音樂總監長達廿二年，同時亦是皇家童聲合唱學校的校長。利頓的創作生涯一直持續至浪漫時期，與著名浪漫主義畫家哥雅同期。受拿破崙戰爭影響，他晚年的日子動蕩不安。他的作品不尋常地糅合了古風（例如源自彌撒儀式的恬多曲）、民族風（模仿西班牙常用的小號）以及古典時期新興的曲式和風格。利頓曾經在 1780 至 1790 年間指揮海頓的管弦樂曲，因此對海頓的作品有頗深入的了解。另外又創作了超過七十首大小規模的宗教聲樂作品、管

With José Lidón (1748–1827), we move to the music of a composer who lived fully in the Classical era (he died in the same year as Beethoven, though at a much greater age). Like most organists of note in Spain, Lidón was connected throughout his career to royal chapels and institutions. He served under the rules of Carlos III, Carlos IV and Fernando VII. During the final 22 years of his life, he was director of music at the Royal Chapel in Madrid and Rector of the Royal Boys’ Choir College. His life extended almost to the Romantic era, and his final decades were enlivened, if that is the right word, by the tumult and disorder of the Napoleonic wars (1808–1814). It may help to contextualize this obscure figure by noting that he was composing at the same time that Francisco Goya was painting. Lidón’s compositions are a perplexing mix of old genres (such as the intento, or intonation), national characteristics (a fondness for the trumpet), and aspects of newer Classical-era musical styles and forms. He knew the music of Haydn intimately, as he conducted a variety of Haydn’s orchestral works for his patrons in Madrid in the 1780s and 1790s. Lidón composed over 70 pieces of vocal liturgical music in large and small forms, along with works for organ, a sonata for violin and for viola, a zarzuela and an opera seria, and a remarkable string quartet with trumpet obbligato.

風琴作品、小提琴和中提琴奏鳴曲各一；西班牙歌曲；一齣莊嚴歌劇（1792 年的英雄歌劇《加奧盧和柯里奧蘭奴》）；以及一首為弦樂四重奏及小號助奏而寫的樂曲。利頓的恬多曲秉承巴羅克前期的鍵盤樂曲風格，局部運用鮮明的主題，以及突襲式的浪漫風格和聲。恬多曲通常是單一樂章作品，以名為「點子」的主題引申出各種對位變奏。除了 D 小調恬多曲外，今晚我們還會欣賞到簡短的 E 小調奏鳴曲，一首可由大型管風琴或其他鍵盤樂器演奏的作品。樂曲呈現史格拉第常用的二段快板制式，當中包括不少打破常規的轉調樂段。

The intentos of Lidón are, for the most part, in the styles of the keyboard works of the early- to mid-Baroque eras, with occasional bold gestures and flares of Romantic harmony. Typically, they are single-movement works on a theme called a “point”, developed by a standard mix of the techniques of counterpoint. Tonight we hear the D minor Intento, as well as the brief Sonata in E minor “for full organ or other keyboard”. The sonata is even more regressive than the intento, a binary sonata of the Scarlatti type marked Allegro, and notable for a few adventurous moments of shifting keys and modes.

荷西．拉拿那加 G 大調管風琴或鍵盤奏鳴曲

José de Larrañaga Sonata for Organ or Keyboard in G major 拉拿那加修士是另一位鮮為人知的作曲家。他

他的 G 大調管風琴或鍵盤奏鳴曲寫於 1760 年

的活躍年份橫跨音樂史上三個時期（巴羅克、

代。由於考慮到一般鍵盤樂器和管風琴之間的

洛可可及古典時期），其作品亦反映出這些風

互換性，這首樂曲在後者僅限於手鍵盤彈奏（拉

格的影響和特色。拉拿那加原籍巴斯克，年少

拿那加的其中一首奏鳴曲其實已經出現腳踏鍵

時加入方濟各修會，遂以教會工作作為其事業。

盤部份）。樂曲以一個輕快的八度前奏展開，

不過，拉拿那加在此之前，曾經以世俗身份加

繼而過渡至三拍子的西班牙式舞曲。舞曲部份

入皇家巴斯克國家之友的組織。該組織因與啟

暗藏「波雷羅舞曲」節奏及響板的效果，在短

蒙運動的關係，曾經導致拉拿那加在 1790 年代

短四分鐘內濃縮地呈現奏鳴曲的輪廓。

面對教廷裁判所的審問。拉拿那加是葛路克及畢奇尼的同輩，他最初以十七世紀伊比利亞半島的傳統音樂作為事業基石，同時亦表現出對巴羅克晚期風格、歐洲作曲家（尤其是韓德爾）及洛可可時期的新興樂種的興趣。拉拿那加發表過鍵盤及聖樂聲樂作品，部份聲樂作品由混合的管弦樂器伴奏，而非管風琴。此外，他應該是西班牙首批在作品中（1 7 5 9 年的《首日哀歌》）運用單簧管的作曲家。拉拿那加的鍵盤作品，比索萊爾和利頓更接近於 C．P．E．巴赫，不論在音樂語言和手法上都流露出洛可可時期的影子，即使樂曲標題相當仿古：正如上面提過利頓的例子一樣，拉拿那加在樂曲標題上顯示了音樂的調式而非調性。雖然他的奏鳴曲僅為單一樂章，篇幅亦相對精簡，但已經呈現史格拉第作品的完整性，古典風格的三段曲式亦已經被廣泛應用。這些奏鳴曲一方面保留舊風格的分解和弦及裝飾音；另一方面則仿傚海頓鍵盤奏鳴曲中具有前瞻性的元素。不過，多樂章的奏鳴曲系列在西班牙仍然有待萌芽。

洪麗禧坐在馬德里皇家教堂的管風琴前 Riyehee Hong at the organ of the Royal Chapel in Madrid

In Fray José de Larrañaga (1728–1806), we have yet another obscure composer whose life straddled three eras of music history (Baroque, Rococo, and Classical), and whose works show the influence of all of them. Of Basque origin, he entered the Franciscan order in his youth and his professional life was thereafter connected primarily with the church. However, he was also a member of the Royal Basque Society of Friends of the Nation, and his membership in this secular, intellectual group led to some inquisitorial questioning in the 1790s on account of his connections with Enlightenment ideals. Although Larrañaga first emerged as a musician from the traditions of 17th century Iberian music, he was also interested in the later Baroque styles of other European composers (especially Handel) as well as in the new forms and genres of the Rococo. He can be understood as a minor Spanish contemporary of Gluck and Piccinni (he was four years older than Haydn). His compositions include keyboard works and sacred vocal music. Some of the vocal works are accompanied not by organ, but by eclectic groupings of orchestral instruments. He must have been one of the first composers in Spain to use the new-fangled clarinet (in his Lamentación del primer día, 1759).

sonata form of the Classical era is fully utilized in his music, although these “sonatas” are short, one-movement works, complete in their own right like the sonatas of Scarlatti. Some of them share elements with the earlier style, such as prominent broken chords and ornamentation. Others are more forward-looking and very similar to movements in the contemporary keyboard sonatas of Haydn. The multi-movement sonata cycle was yet to come to Spain. The Sonata for Organ or Keyboard in G major was probably written in the 1760s. That the instrumentation is not rigidly fixed was still a characteristic of this time, resulting in yet another work for manuals alone when played on the organ. (Despite this, at least one of Larrañaga’s organ sonatas does appear to have a rudimentary pedal part.) A spritely opening in octaves leads to a very Spanishsounding dance movement in triple meter. One can almost hear the castanets in the background of this “bolero” in sonata form. It is then treated to the new, standard form of exposition, development and recapitulation, resulting in a vivacious, highly compressed movement that only lasts for about four minutes.

In general, Larrañaga’s keyboard works are closer to those of C.P.E. Bach than they are to Soler or Lidón. The language and the gestures of the Rococo are all there, even if his titles are sometimes oldfashioned: like Lidón, he sometimes identified tonality by mode, rather than by key. The tripartite

約瑟．海頓三十二首《笛鐘音樂》之第十二至十八首，Hob XIX

Joseph Haydn Flötenuhrstücke, Hob XIX: 12-18 海頓（1732-1809）被同儕尊稱為「海頓爸爸」。

隨着笛鐘被重新發掘，這本樂譜在二十世紀初

他整合了洛可可時期出現的新樂種和趨勢，如

亦重新發行。海頓關於尼米錫茲的手稿更吸引

多樂章奏鳴曲、弦樂四重奏、交響曲和鋼琴奏

了學者研究。今晚的音樂會將會演出其中七首 C

鳴曲，為古典風格奠基。不過，海頓的成就並

大調的作品。開頭的兩首為二拍子樂曲，充滿

不限於集既有樂種之大成。正如莎士比亞之於

顫音和華彩樂段。第三、四首分別是堂皇的小

英語一樣，海頓為新興的曲式建立起範例，讓

步舞曲及迴旋曲。第五首是挑戰笛鐘技術性極

後來的作曲家（包括莫扎特和貝多芬等）能夠

限的三聲部賦格曲；第六首展示出典型的鐘琴

在他創建的藍本上注入個人風格。海頓這樣總

音樂。至於最後一首則是讓人屏息的極快版，

結在埃斯特哈茲宮廷服務三十年的歲月：「……

為海頓的音樂「實驗」小篇章畫下句點。

我在這裏可以進行各種音樂實驗，從觀察中得悉孰消孰長，因應增刪；我在這裏與世隔絕，可以不受外界干擾，所以我必須要倚靠自己的創意。」話雖如此，海頓亦並非完全對外界不聞不問：當其他人僅僅視莫扎特為天才時，海頓卻獨具慧眼，認定此孩子絕非池中物。要在有限的樂曲介紹篇幅之內詳列海頓的音樂「實驗」實在不可能；不過，觀眾大概可以從今晚節目中的選曲略見一二。海頓生平並沒有留下管風琴的原創作品，他寫於 1789 年及 1793 年間的三十二首《笛鐘音樂》為自鳴笛鐘創作。這件特別的樂器除了具備一般時鐘的發條外，還內置了一個由彈簧推動的滾筒。滾筒上的刺針撥動音管的閥鍵，令裝置內十六至三十條木製音管發聲。這一類樂器自十六世紀開始盛行，外貌近似昔日園遊會的氣笛風琴。埃斯特哈茲宮廷的笛鐘由尼米錫茲神父製作，他既是宮內的司鐸，又是宮廷圖書館館長，更加是海頓領導的室樂團的大提琴手。海頓為尼米錫茲製作的四個笛鐘寫了這批作品，而且這些稀有的樂曲和樂器的滾軸一直保存至今，甚至被灌錄成唱片。

海頓之畫像，由湯瑪士．哈代於 1791 年繪畫 Joseph Haydn, portrait by Thomas Hardy. 1791.

It was once common to refer to Franz Joseph Haydn (1732–1809) as “Papa Haydn”, for without him the Classical era as we know it would have been vastly different. His genius lay in organizing and codifying for posterity all the new genre developments of the Rococo era: the sonata cycle, the string quartet, the symphony, the piano sonata. All these first came to their optimum generic state in the music of Haydn. This does not mean that he was some kind of compositional encyclopaedist but rather that, as with Shakespeare and the English language, he established broad norms of common usage through his œuvre that later creators (such as Mozart and Beethoven) were able to take and inject with their own personal brand of musical Classicism. Haydn himself candidly summed all this up, saying of his 30 years in the service of the princes of Esterházy: “…I could make experiments, observe what strengthened and what weakened an effect and thereupon improve, substitute, omit and try new things; I was cut off from the world, there was no one around to mislead and harass me, and so I was forced to become original.” It bears mentioning that this most influential of composers was the first important musical figure to recognize Mozart as something other than just a mere child prodigy. To catalogue all of his “experiments” in a programme note is impossible, but this evening’s works are a good example, especially as Haydn left next to no original works for the pipe organ. The Flötenuhrstücke (Pieces for a Mechanical Clock) were composed between 1789 and 1793. These works were written specifically for the mechanical organ-clock. In this device, in addition to the

clockwork mechanism, a spring-driven barrel stuck with pins opened and closed the valves of the organ, which in turn caused wooden organ pipes (flutes)—of which there were between 16 and 30 in total—to sound. Instruments like these had been popular since the 16th century, and were similar to the later calliope of the fairgrounds of yore (which naturally dispensed with the clock). The clock-instruments in question had been built by a Father Joseph Primitivus Niemecz (1750–1806), Esterházy’s chaplain, court librarian, and a cellist in Haydn’s orchestra. Incredibly, four of Niemecz’s mechanical organ-clocks for which Haydn composed these works have survived to this day, along with their pinned barrels, and have even been recorded on compact disc. It was due to this happy accident that the Flötenuhrstücke were eventually published in the early 20th century. The later discovery of some of the manuscripts written out by Haydn for Niemecz has subsequently allowed scholars to see how these pieces were adapted for the clock-organ. This evening we hear seven of them, all in C major. The first two are lively movements of roulades and tremolos in duple meter; the third is a kind of pompous minuet; the fourth has a rondo-like theme, while the fifth is a three-part fugue, taking the clock-organ to its technical limits; the sixth reverts to the carillon effects of the first two, and the last one, a breath-taking Presto, brings this selection of “experiments” to a close.

格羅米．萊斯科《謝主辭》之〈我等信主必再降臨，施行審判〉

Guillaume Lasceux Judex Crederis, verset from Te Deum 萊斯科（1740 - 1831）出生於巴赫所著的《鍵琴

哮的效果。另外，音樂裏運用了不尋常的半音

練習曲》第三、四冊出版後不久（亦即巴赫死

階，以及模仿中國銅鑼的音管來模擬風暴的場

前的十年）；卒於舒曼寫成鋼琴小品《蝴蝶》

景。樂曲隨後分為「號角響起」、「神聖進行曲」

的同年。萊斯科引人入勝的作品，與利頓和塞

及「宣敘調」三個部份。「宣敘調」的樂譜上

爾比同樣面對滄海遺珠的命運。不過，他如此

印有模擬上主的指責：「一切都完了，不懂感

長壽，相信生活和音樂方面的經歷為他帶來了

恩的人；退散吧，被詛咒的人，都到永恆的火

不少創作靈感。

焰裏去。」音樂隨即進入狂亂的 D 小調樂段（亦

萊斯科以即興演奏管風琴聞名，亦是知名的古鋼琴演奏家。他在 1 774 年獲委任為聖斯德望堂的榮譽管風琴師，是當時巴黎的顯赫職位之一。

即安魂曲中《震怒之日》常用的調號），描繪末日審判後生靈塗炭的景象。樂曲最後以「被祝福和命定者的合唱」結束。

可惜好景不常，他身處法國大革命及恐怖統治

標題式的鍵盤音樂在古典中期非常受歡迎。其

的動盪時代，當時教堂被迫關閉，萊斯科失去

他例子可見於取材時事的奏鳴曲，例如《特倫

原有的職位。直至 1 803 年，拿破崙被選為第一

頓戰役》（曉域，1792 年作品）及《瑪麗．安東尼之死》（杜錫克，1793 年作品）。而這股

執政，復立宗教機構，他始獲復職。萊斯科的音樂明顯受到十八世紀晚期超音樂性的風氣影響。他在 1 809 年寫成的〈我等信主必再降臨，施行審判〉，標題來自《謝主辭》的其中一句。也許二十年前政局變化的餘悸猶在，

以音樂描述與死亡有關的事物的風尚，造就了白遼士創作《幻想交響曲》的氛圍。如此一來，《幻想交響曲》的出現就顯得順理成章，而非想像中的離經叛道。

萊斯科在一封給同僚的信中這樣寫道：「…… （作品）應該讓聽眾想起末日審判，感受到末日的憎惡和荒蕪。我希望透過音樂表達大自然的驚愕和震懾；並且盡量呈現上主在宣判人類最終命運時的威嚴之聲。」雖然在樂曲的有限篇幅內，要表達以上種種毫不容易，但法國作曲家卻偏愛這種挑戰（梅湘於 1 9 4 1 年在二戰戰俘營中寫成的《時間終結四重奏》正是一例）。萊斯科的標題樂曲以淺薄通俗的「鈴鼓曲」展開（代表人性糜爛的一面），旋律被管風琴上越來越頻密的「風聲」打斷。演奏家把前臂壓在鍵盤上，透過腳踏和扭動多個踏板及啟動最低音管的音栓，製造出雷暴咆

杰克斯．伯塔在 1 7 9 3 年描繪出法國人民起義攻陷杜樂麗宮的情況 Jacques Bertaux. The storming of the Tuileries Palace. 1793.

The fascinating music of Guillaume Lasceux (1740–1831) is no better known than that of Lidón or Selby, but just consider his immensely long life as an indicator of all he must have heard and experienced in the world of music alone. He was born within a year of the publication of J.S. Bach’s Clavierübung III and IV (that is, ten years before Bach’s death), and he died in the same year in which Robert Schumann composed Papillons, Op 2.

that the work: “...should recall the idea of the Last Judgment. It should strike the listener with the abominations and desolation which bring on the dreadful catastrophe of the Last Day. It should express the astonishment, the stupefaction of nature...it should render, if it is possible, the august voice of the Sovereign Master of the world, who pronounces in his justice the eternal end of human destiny.”

Lasceux was an organist famed for his improvisations. As with many of the other composers heard tonight, his career was linked primarily to the church, although he was also renowned as a soloist on the fortepiano. In 1774, he was appointed titular organist of the Church of Saint-Étienne-duMont, an important Parisian post, but one that did not last as he had planned: he lived in France through the Revolution of 1789 and the ensuing Terror. During this tumultuous period, churches were closed and Lasceux lost most of his posts, which he did not regain until 1803 when religious institutions were re-established at the time that Napoleon Bonaparte was elected Consul of France.

That is a lot to express, but this has never stopped French composers from trying (as with Olivier Messiaen’s Quartet for the End of Time, written in a prison camp in 1941). Lasceux begins his programmatic work with a trivial dance tune (a tambourin, representing humanity at its most debased). This tune is increasingly interrupted by what today are called extended techniques: “wind effects” achieved by playing with the forearm on the lowest part of the keyboard, stomping and rotating on multiple pedals with the lowest reed stops drawn to simulate thunder (the grand coups de tonnerre recur multiple times), weird chromatic passages, and the suggestion of augmenting the “typhoon” (ouragan) with “the Chinese instrument known by the name of the tam-tam”. Then comes a “Summons of the Trumpet”, followed by a “Sacred March”, and a “Recitative” (for God, with His condemnatory words printed below the notes, ending with “It is finished, ungrateful ones; depart, accursèd, into eternal fire.”) This leads to a frantic movement in D minor (the key of the Dies irae) representing the “chaos of the elements”, and finally, a “Chorus of the Blessed and Predestined”.

Lasceux was influenced by the growing vogue in the late 18th century for music that was about something other than music. The 1809 Judex crederis esse venturus (We believe that thou shalt come to be our judge) takes its title from a line in the Te deum sequence. Perhaps thinking of the horrors of the previous 20 years, Lasceux wrote to a colleague

Programme music for keyboard like this was immensely popular in the middle of the Classical era. Other examples of these works, often called programmatic sonatas, took for their subjects such contemporary events as The Battle of Trenton (James Hewitt, 1792) and the death of Marie Antoinette (J.L Dussek, The Sufferings of the Queen of France, 1793). It was out of this tradition of illuminating the macabre in music that, for example, the Symphonie fantastique (1830) of Hector Berlioz came. Perhaps it should not appear as freakish as it is often still regarded.

克勞德．鮑伯斯特《炮火曲》

Claude Balbastre Cannonade 鮑伯斯特生於法國第戎。他是拉摩兄弟的門生，

1 7 5 0 年移居巴黎出任聖洛克教堂的榮譽管風琴師，當時法國普遍的管風琴才剛設有腳踏。鮑伯斯特亦有不少的慕名者。英國音樂史學家查理斯．伯尼曾經記載鮑伯斯特在教堂彌撒場合彈奏包括「小步舞曲、賦格曲、狩獵曲、吉格舞曲等各式各樣的世俗音樂，但信眾都沒有絲毫不悅或感到被冒犯。」鮑伯斯特的「雜燴式」演奏手法在十九世紀法國教堂相當普遍，直至聖樂復興運動興起才稍見歇止。與萊斯科一樣，鮑伯斯特在法國革命期間備受挫折。他後來易名復出樂壇，憑《馬賽曲》變奏再次翻身。鮑伯斯特的音樂貼近巴羅克晚期及洛可可風格，他的曲風比萊斯科更通俗。兩者的共同點可見於壓軸的 D 大調《炮火曲》。事實上，描繪戰爭的鍵盤音樂在十六世紀早有先例，萊斯科的「咆哮」技巧以及鮑伯斯特的「炮聲」，均取法於前人。鮑伯斯特的樂譜中亦常見有模擬聲效的例子，如運用延長音模仿定音鼓，以及利用上行的音階代表鼓聲。《炮火曲》的曲式近似於古典風格的迴旋曲，當中的主題與兩個對比性的樂段相間出現。樂曲輕快、抖擻的節奏，源於鮑伯斯特擅長演奏的「狩獵曲」，同時亦將這一趟十八世紀下半葉的管風琴之旅帶到尾聲。樂曲介紹余樂詩博士

A protégé of the Rameau brothers (Claude and Jean-Philippe), Claude Balbastre (1724–1799) was born in Dijon, but relocated to Paris in 1750 where he became titulaire of the great Church of St. Roch. Organs in France were just beginning to have pedals at this date, and services at the church were full of people who had come merely to hear Balbastre play. As Charles Burney, the English musical journalist, recounted after a visit in 1770, Balbastre played a good deal of secular music at these services, including “minuets, fugues, imitations, and every species of music, even to hunting pieces and jigs, without surprising or offending the congregation”. This potpourri approach became a feature of organ practice in French Catholic churches up to the middle of the 19th century, when the Cecilian movement put a stop to it. Like Lasceux, Balbastre suffered during the Revolution, but he reinvented himself as Citoyen C. Balbastre, wrote variations on the Marseillaise, and survived. Balbastre’s music is somewhat more conventional than Lasceux’s, situated squarely in the late Baroque and Rococo eras. But they do share some things in common, as will be heard the final work played this evening, the Canonnade in D major. While “battle pieces” for keyboard had been popular since the 16th century, Lasceux probably borrowed some of his techniques specifically from this earlier work, such as the left forearm crashes which are marked in Balbastre’s score as Canon. Other programmatic elements in the music score are the pedal point on D (marked timbales, or timpani), and upwardrushing scales similarly marked tambour (drum). Musically, the work is a rondeau, an early example of a form (the rondo) that later become a standby of the Classical era. This consists of a principal theme and two contrasting couplets, resulting in the pattern a–b–a–c–a. With its jolly, rumpty-dumpty compound metre rhythm, perhaps this was one of Balbastre’s “hunting pieces” that so impressed Burney: a triumphant conclusion to this tour of the organ music world of the later 18th century. Programme Notes by Dr David Urrows

萊格管風琴

The Rieger Organ 的管風琴是由奧地利萊格公司以人手製造。這座管風琴有四排鍵盤、九十三個音栓和八千支音管，是東南亞最大型的機械式操作管風琴。它充分表現萊格公司機械原理設計的特色，琴鍵觸感實在，讓演奏者和樂器之間有更密切的接觸，發揮得更淋漓盡致。為了在音樂廳演奏時達至更佳效果，管風琴加強了風壓，並在 2010 年加裝電動聯軸栓系統，演奏者可隨其喜好選擇按鍵的輕重力度，大大提高了演奏的靈活性。雖然從各方面來說，管風琴都是一件現代樂器，但整座管風琴幾乎全以金屬 ( 以錫和銅為主 ) 和木材這些傳統的物料製造。一般而言，音管長短決定了音高，越長聲音越低沉。演奏者可透過樂譜上方的鏡子看到指揮的動作以配合彈奏。小的音管比原子筆更短，大的音管比人還要高。溫度及濕度的控制對管風琴而言是非常重要，所以整座管風琴內放置了多個溫度計及濕度計，以確保它能正常運作。香港文化中心的管風琴音域寬廣，音色變化多端，具有震撼人心的獨特魅力，媲美管弦樂音。摘錄自康樂及文化事務署「管風琴小知識」

The hand-made pipe organ, by the Austrian manufacturer Rieger Orgelbau, is the star of the Hong Kong Cultural Centre Concert Hall. With four manuals, 93 stops and 8,000 pipes, this four-storey pipe organ is the largest mechanically operated instrument of its kind in Southeast Asia. It features Rieger’s own mechanical action design, which allows intimate contact between player and instrument, with obvious benefits to articulation. Increased wind pressure serves to overcome the acoustics of the Concert Hall. In 2010, the organ was installed with an electrical coupler system, providing greater flexibility in switching between lighter and stronger key actions as desired by the player. Although a modern instrument in every sense of the word, it employs almost exclusively the time-honoured materials of metal (mainly tin and copper) and wood in its construction. In general, the pitch of the pipe is directly related to its length: the longer the pipe, the lower the pitch. The smallest pipe is shorter than a pen; the largest is taller than a man. A mirror enables performers to capture the conductor’s movement during a performance. Thermometers and hygrometers are placed inside the organ to ensure its normal operation, as temperature and humidity control are crucial to conserving the pipes. The Hong Kong Cultural Centre’s pipe organ is a powerful instrument that appeals to our senses in a unique way. Its enormous range of sounds, coupled with a huge variety of tone colours, creates a remarkable musical experience equivalent to that of an orchestra. Extracted from “Pipe Organ Tidbits” by the Leisure and Cultural Services Department

ÂŠ Leisure and Cultural Services Department

藝術節加料節目

《風琴遊蹤》導賞遊與管風琴獨奏會

26.1（六 Sat）（節目已舉行 Past Event）

Pipe Organ Walk & Organ Recital

洪儷僖管風琴大師班：宗教禮儀音樂

16.3（六 Sat）11:00am-1:00pm（節目已舉行 Past Event）

Riyehee Hong Organ Masterclasses: Liturgical Music 作為演繹管風琴音樂的權威，洪儷僖在這場大師班上親身向年輕樂手傳授她對宗教禮儀音樂的見解和演奏技巧。活動歡迎旁聽者

Riyehee Hong, the master organist, shares her expertise on this liturgical organ music with young organ talents in this masterclass. Observers are welcome. Sheng Kung Hui HKSKH St. Paul’s Church

香港聖公會聖保羅堂英語主講

In English

旁聽港幣 $50

Observers HK$50

洪儷僖管風琴大師班：西班牙及法國十七世紀及早期浪漫主義作品

17.3（日 Sun）4:00-5:30pm （節目已舉行 Past Event）

Riyehee Hong Organ Masterclasses: Spanish and French 17th century to Early Romantic Organ Repertoire 洪儷僖在這場大師班上親身向年輕樂手傳授她對這獨特樂器在這些作品的見解和演奏技巧。活動歡迎旁聽者

Riyehee Hong shares her expertise on repertoire for this unique instrument with young organ talents in this masterclass. Observers are welcome. Concert Hall, Hong Kong Academy for Performing Arts

香港演藝學院音樂廳英語主講

In English

旁聽港幣 $50

Observers HK$50

更多加料節目詳情 More Festival PLUS

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 •C H Mak •麥禮和醫生 Dr Mak Lai Wo •無名氏 (2) Anonymous (2) •Vernon & Karen Moore •Burger Collection •Mrs A M Peyer •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Dr Poon Yee Ling Eligina •恒生銀行 Hang Seng Bank •Mr & Mrs Kenneth Quinn 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •法國巴黎銀行 BNP Paribas •Martin Rogers & Janet Cheng •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •黃乃正教授及陳頴儀醫生 •田家炳基金會 Tin Ka Ping Foundation •Mr Wong Yick Kam •芝蘭基金會 Zhilan Foundation 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999

青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999

•林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen

•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 •Maya & Dirk 4ever •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

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 •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund

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

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!

漢堡芭蕾舞團的世界

The World of Hamburg Ballet

漢堡芭蕾舞團 — 舞蹈電影系列 Hamburg Ballet at the Cinema ��Nĳinsky 2/3 六 Sat ��J.S. Bach: Christmas Oratorio 24/3 日 Sun ��Tatiana 30/3 六 Sat 購票詳情 Ticketing details: uacinemas.com.hk

�� Artist Salon: John Neumeier 21/3 四 Thu 7:30 - 8:30pm 香港逸蘭精品酒店 Lanson Place Hotel, HK

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

h ,JSBO 8FTU

16/3 六 Sat 10:00 -11:30am (中級 Intermediate) 24/3 日 Sun 10:00 -11:30am (高級 Advanced) 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre

漢堡芭蕾舞團�� Hamburg Ballet The Nutcracker Introductory Class for Kids 17/3 日 Sun 11:30am - 12:45pm | 2:15 - 3:30pm 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre h ,JSBO 8FTU

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

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