Hong Kong Chinese Orchestra - Music about China - 49th Hong Kong Arts Festival by Hong Kong Arts Festival

衷心祝賀香港藝術節今年踏入第49屆。這一年一度的藝術盛事在新冠肺炎疫情的挑戰下，仍然辦得有聲有色，精采可期。今年藝術節帶來一連串繽紛多彩的網上及現場節目，涵蓋音樂、歌劇、戲劇、舞蹈、電影等多個藝術範疇。總體來說，藝術節會在「遠在咫尺」的主題下，呈獻合共約三百場節目、活動及表演。藝術節的亮點，包括捷克布爾諾國家歌劇院及其兩年一度「布爾諾楊納傑克節」的多場精選數碼版歌劇及音樂會。同樣引人注目的，還有兩部取材自英國劇作家尼爾．巴奈特改編劇作《鼠疫》的發人深省作品，一部為英語版，另一部為粵語版。粵語版為香港本地製作，英語版則由身處六個地區的六名演員作網上實時演出。來自蘇格蘭鄉村的魔術師史葛．蕭凡亦會在網上實時演出，他的互動作品《心靈旅程》每場只限三十位觀眾參與。此外，亦有十六部慶祝香港賽馬會當代舞蹈平台十周年的製作，包括與中國內地及英國藝術家合力創作的作品。在藝術節開幕演出中，香港中樂團會進行兩首曲目的世界首演，而廣獲讚譽的莫斯科莫伊謝耶夫舞團，則會為這國際藝壇盛會作閉幕演出。我很高興市民可於登記後免費觀賞大部分節目，當中許多節目更開放予世界各地愛好藝術的觀眾。藝術節一如以往，在學校推廣藝術教育，並透過幕後花絮影片、藝術家對談、演前及演後講座等「加料節目」，讓觀眾與藝術家互動交流。衷心感謝香港藝術節團隊努力不懈，悉心籌辦以上各項節目及活動。我亦感謝贊助商和捐款者大力支持藝術文化，與藝術文化界共渡時艱。謹祝香港藝術節圓滿成功，為大家帶來一趟精采難忘的藝術之旅。

香港特別行政區行政長官

It gives me great pleasure to congratulate the Hong Kong Arts Festival on the staging of its 49th annual celebration of the arts, and doing so in splendid fashion despite the daunting challenges of the COVID-19 pandemic. This year’s Festival features a cheering range of online and in-venue programmes showcasing music, opera, theatre, dance, film and more. In all, the Festival presents some 300 events, activities and performances under the theme “Separate Together”. Festival highlights include a dazzling digital selection of operas and concerts from the Czech Republic’s National Theatre Brno and its biennial Janácek Brno Festival. Equally notable are two piercing productions of British playwright Neil Bartlett’s adaptation of The Plague, one in English, the other in Cantonese.The Cantonese version is produced in Hong Kong, while the English version is a live online performance starring six actors in six time zones. Illusionist Scott Silven also performs online and live, from rural Scotland. His interactive production, The Journey, is limited to 30 participants per show.The Hong Kong Jockey Club Contemporary Dance Series celebrates its 10th anniversary with 16 productions, including collaborations with artists from the Chinese mainland and the United Kingdom.The Festival opens with the Hong Kong Chinese Orchestra performing two world premieres and concludes its international slate with the acclaimed Igor Moiseyev Ballet from Moscow. I find it particularly gratifying to note that the vast majority of events are available free of charge, upon registration, with many of them open to arts lovers from all over the world. The Arts Festival’s promotion of arts education in schools continues. And PLUS programmes bring together audiences and artists through behind-the-scenes videos, artist dialogues and pre- and post-performance talks. For all that, and much more, I am grateful to the inspired diligence and dedication of the Hong Kong Arts Festival team. My thanks, too, to the sponsors and donors for their generous support to arts and culture, particularly in this trying time. I wish you all an enjoyable and memorable Hong Kong Arts Festival.

Mrs Carrie Lam

林鄭月娥

Chief Executive Hong Kong Special Administrative Region

第49 屆香港藝術節思考「距離」及「聯繫」的意義，我亦希望藉此機會感謝一眾促成今天表演的支持者，這場表演為我們提供難得的機會，探索與他人聯繫的方法。

As we reflect on distance and connection in the 49th Hong Kong Arts Festival, I would like to thank everyone who has made this performance possible, giving us an invaluable opportunity to explore ways of connecting with others. I am grateful to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention; and to the Hong Kong Jockey Club Charities Trust for its staunch and ongoing support. Thanks are also due to our corporate sponsors, charitable foundations and individual donors, who continue to stand by us in these unprecedented circumstances.

我衷心感謝香港特別行政區透過康樂及文化事務署提供年度撥款，以及香港賽馬會慈善信託基金持續並堅定地支持我們，也感謝眾多企業贊助商、慈善基金會以至個人捐助者，在這前所未有的挑戰中給予我們莫大的幫助，與我們並肩同行。亦要感謝一眾富有才華的藝術家傾力演出，令今天的表演生色不少。同時也感謝觀眾的參與，令演出能圓滿成功。

Sincere thanks also go to all of the participating artists, whose talent and dedication have gone into today’s performance; and to you, the audience, without whom the show would not be complete.

希望你會在今天的演出中找到屬於自己的聯繫，並像我一樣珍視這些連結。

I hope you will find your own connection to today’s performance and will treasure it as much as I do.

香港藝術節主席

Victor Cha

查懋成

Chairman Hong Kong Arts Festival

在瞬息萬變的時代，香港中樂團始終如一地秉持著「香港文化大使」的職志，致力奉獻卓越的中樂藝術，成為香港人引以為榮的世界級樂團。面對疫情引發的重重挑戰，香港藝術節品牌節目「樂旅中國」音樂會終能重返舞台，與久違的觀眾見面。

At a time of unpredictable changes, the Hong Kong Chinese Orchestra remains committed to fulfilling its mission as “a cultural ambassador of Hong Kong”. We have continued to work hard at our goal to achieve excellence in Chinese music and to attain the status of a world-class orchestra that is the pride of the people of Hong Kong. Although we have met with many challenges because of the spread of Covid-19, we are finally able to return to the concert stage with another edition of ‘Music About China’, a signature programme marking our presence at the annual Hong Kong Arts Festival, and meet our audience again.

本人謹代表香港中樂團理事會及全體同仁感謝香港特別行政區政府、香港賽馬會、合作夥伴與一眾藝術家的支持和肯定，亦特別感謝香港藝術節15 年來一直和樂團合作無間，共同舉辦「樂旅中國」系列音樂會，讓海外及本地著名作曲家與演奏家傾力獻藝，帶來一個又一個充滿驚喜而富創意的演出，成為海內外樂迷口碑載道的品牌節目。

On behalf of the Council and all my colleagues of the Hong Kong Chinese Orchestra, I would like to thank the Hong Kong SAR Government, the Hong Kong Jockey Club, our partners and artist friends for their unwavering support. In particular, I would like to extend our special thanks to the Hong Kong Arts Festival for being our partner in presenting the ‘Music About China’ concert series for the past 15 years. By bringing renowned composers and music virtuosi from Hong Kong and other parts of the world onto the Hong Kong stage, we have created so many exciting and inspiring performances that cumulate to become a signature series celebrated worldwide.

展望未來，香港中樂團將繼續與全球觀眾並肩同行，展示中樂藝術的豐沛實力，開展中樂更高遠寬廣的旅程。

As we look into the future, we shall continue to walk in tandem with the global audience, to display the immense potentials of Chinese music, and embark on a journey that would open up an even broader vista in the genre.

香港中樂團理事會主席

Ricky W K Li

Chairman of Council Hong Kong Chinese Orchestra

李偉強 3

我連同藝術節團隊，很高興歡迎閣下觀賞第49屆香港藝術節的演出。

With all my colleagues, I am thrilled to welcome you to this performance in the 49th Hong Kong Arts Festival.

過去一年，香港以至世界情勢面臨前所未有的變化，使我們都體會到分離和孤獨的滋味。「遠在咫尺」所指的，正是我們這種共同經歷的感受。今屆藝術節的不少節目亦與之呼應，身處各地的藝術家及觀眾，因為藝術節的演出及活動而拉近彼此距離。另一方面，「遠在咫尺」亦點出所有優秀藝術作品擁有的奇妙力量：既能喚起最獨特、深刻的個人感受和回應，但同時又能讓觀者一同分享種種奧妙、感動、啟迪和鼓舞。今屆藝術節將呈獻眾多演出，我衷心希望我們會一起體會藝術的奇妙力量。

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. “Separate Together” acknowledges what we have all been going through, and is referenced in a number of productions this year. It also alludes to all the separate artists and audiences brought together for performances and events. At the same time, “Separate Together” describes one of the most magical aspects of great art: its capacity to elicit uniquely and deeply personal responses while paradoxically giving us a shared moment of wonder, to be moved, inspired and uplifted. I hope very much that we will experience this together in many performances in the course of the Festival.

此外，敬請留意一連串「加料節目」活動，為你在演出以外打開新的觀賞角度，令觀賞體驗更豐富。請盡情投入！

Please also look out for ancillary PLUS programmes and events, which are curated to provide additional dimensions to the work presented, and enrich your Festival experience. Enjoy!

香港藝術節行政總監

Tisa Ho

何嘉坤

Executive Director Hong Kong Arts Festival

香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:

香港中樂團一直秉持著「植根傳統，銳意創新；不拘一格，自成一體」的藝術方針，歷年來奉行專業的委約創作制度，鼓勵大型中樂作品的創作，廣泛委約全球不同國籍的作曲家創作各種風格及類型的作品，迄今委約或委編的作品逾 2400 首，豐厚的曲庫正是樂團不斷茁壯成長、聚焦國際目光的重要基石。今晚的「樂旅中國」音樂會呈獻由樂團委約的五位在大中華深具影響力的作曲家創作的精彩作品，帶您用耳朵遨遊神州大地。音樂會以本地著名作曲家陳培勳的《流水》揭開序幕，此曲靈感來自古琴曲《流水》，藉著描寫各種流水形態，抒發他對祖國河山的熱烈情懷。接著，香港金馬獎得主高世章創作的《藍音》，把香港人熟悉的廣東「南音」與美國黑人「藍調」巧妙結合，既有中國音樂的大俗大雅，也有百姓生活的煙火氣，堪稱雙絕。另一位本地作曲家陳明志的《打雀英雄傳》之《又見東風》，則俏皮地以麻雀、手碟等特色樂器入樂，演活麻雀耍樂的眾生相，更以文化的高度嘗試演繹「打麻雀」的傳統內涵。此外，令人期待的是樂壇神筆趙季平歷經 10 年創作，首演時由大提琴家馬友友擔任獨奏的《莊周夢》大提琴協奏曲，以音樂表現了莊子「不知周之夢為蝴蝶與？蝴蝶之夢為周與？」這深刻的哲學思想，樹立了中樂與西樂共奏的里程碑。壓軸的是中央音樂學院作曲系教授郭文景前後以 15 年時間創作的《滇西土風三首》，呈現了雲南各民族獨特的人文魅力，今次選演的第一樂章《阿佤山》將以獨特的樂韻展示佤族的原始宗教活動及「萬物有靈」的信仰。音樂是一條時間的長河，需要持續不斷地注入新作品才能生生不息。「樂旅中國」系列音樂會至今已是第十五年於香港藝術節舉辦，能夠成為樂團首屈一指的品牌音樂會節目之一，被選為今屆香港藝術節揭幕，實有賴香港藝術節多年來的支持和信任、一眾優秀的作曲家、演奏家、指揮家的共同努力，以及樂迷的熱烈支持。迄今為止，我們所邀請的作曲家共有 41 位，分別來自中國內地、香港、台灣、馬來西亞、菲律賓、盧森堡、德國、美國、南非、波蘭及比利時，作品達 49 首。我謹代表香港中樂團致上誠摯的感謝和敬意！祝各位有一個愉快、難忘的晚上！香港中樂團藝術總監兼終身指揮

閻惠昌

Starting from traditional roots, the Hong Kong Chinese Orchestra has evolved into a cutting-edge

visionary in music, open to diversity and eclectic styles, and is able to keep abreast of the times and trends of the world. Over the decades, it has commissioned over 2,400 works for Chinese orchestra from composers in various parts of the world, whether in the form of original compositions or arrangements. It therefore has a burgeoning stock repertoire that helps it move forward in strides and puts it in global focus. At the ‘Music About China’ concert tonight, we bring to you works by five highly influential composers in Greater China commissioned by the Hong Kong Chinese Orchestra. They will take you on a wondrous aural journey into the depths of China.

The concert opens with Flowing Water by Chan Pui Fang, renowned composer of Hong Kong. Inspired by the eponymous guqin classic, it describes water in its various animated forms. The music reflects the composer’s passionate love of the landscapes of his motherland. Next is Blue Notes by Leon Ko, Hong Kong composer of musical theatre and films and Golden Horse Award winner. It is an ingenious hybrid of the Cantonese nanyin (or naamyum in the Cantonese dialect) and African-American blues. It carries the earthy yet graceful sounds of Chinese traditional music as well as the weary, worldly-wise sensibilities of common folks. The mood changes with a cartoonish musical depiction of mahjong players, It’s the East Wind Again from Tale of the Mahjong Heroes, a witty piece by another composer from Hong Kong, Chan Ming-chi. By using mahjong tiles and the handpan as percussion instruments, Chan captures the many reactions of the players in the game. From a cultural level, the music is an attempt at introducing the mahjong-playing tradition to an international audience. Other items on the programme of the evening are equally exciting. Zhuang Zhou’s Dream, which took the composer, Maestro Zhao Jiping, ten years to complete, and was premiered with a solo by the world-famous cellist Yo-Yo Ma. The philosophical question “Was it Zhuang Zhou who became a butterfly in a dream, or was it a butterfly who became Zhuang Zhou in its dream?” set a milestone for joint performances of Chinese and Western music. The concert wraps up with A Va Mountain, which is the first movement of the monumental work, Three Melodies of Western Yunnan by Guo Wenjing, Professor in Music Composition at the Central Conservatory of Music. Guo spent 15 years in the composition process, creating a panoramic scroll that captures the humanism and exotic charm of the various ethnic groups of Yunnan. A Va Mountain showcases the primitive religious activities of the A Va people and their animism beliefs through the unique sounds of their indigenous music. In the river of time called ‘music’, we need to inject new compositions to give it the dynamics to flow on. Our ‘Music About China’ concert series is in its fifteenth edition as part of the programme of the Hong Kong Arts Festival. It has become one of the signature series of the HKCO and this year, it is chosen as the opening programme for the forthcoming edition. Such an achievement has been made possible thanks to the support and trust of the Hong Kong Arts Festival, the joint efforts of our highly talented composers, virtuosi and conductors, and the enthusiastic support of our music fans. We have commissioned 41 composers to date. They come from the Mainland China, Hong Kong, Taiwan, Malaysia, the Philippines, Luxembourg, Germany, the United States, South Africa, Poland and Belgium. They have added 49 works to our repertoire – and for this, I would like to express our heartfelt thanks and give kudos to them on behalf of the Hong Kong Chinese Orchestra. I wish you all an enjoyable and memorable evening of music! Yan Huichang Artistic Director and Principal Conductor for Life Hong Kong Chinese Orchestra

香港藝術節

HONG KONG ARTS FESTIVAL 扎根香港的國際藝壇盛事 A major international arts festival in, of and for Hong Kong

「藝術的創作與演出給世界帶來美麗，給人類引起鼓舞，給生命充實活力，給社會增添光輝……這是舉辦香港藝術節的崇高意義。」

“Creative and representational arts have a common mission. They bring beauty to the world, courage to mankind, vigour to life, and brilliance to society… Therein lies the noble significance of the Festival.” 香港藝術節協會永遠名譽會長邵逸夫爵士 (1907–2014) Sir Run Run Shaw, CBE, HKAF Honourary Life President (1907–2014)

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，致力豐富香港的文化生活。

The Hong Kong Arts Festival (HKAF) 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 in February and March each year.

藝術節的節目精采多元，涉獵音樂、歌劇、戲曲、實驗劇場、芭蕾舞以至街舞等林林總總的類型。過往曾獲邀在藝術節舞台表演的國際演藝名家及團體包括一流的國家歌劇院、劇團、管弦樂團，以及眾多具代表性的表演者等。我們亦經常與傑出的國際藝術家及團體攜手製作演出。

Since its launch in 1973, HKAF has presented top international artists and ensembles across multiple genres—from music, opera, Chinese opera and ballet to break dance and experimental theatre. International guests have included major state operas, established theatres, top orchestras and stars of the day. We also frequently partner with renowned international artists and institutions to produce exceptional new works.

我們亦積極與本地演藝人才合作，並致力為新進藝術家提供展示才華的平台。藝術節至今委約及製作逾 200 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，不少更已在香港及海外多次重演。

We have also collaborated with Hong Kong’s own creative talent to produce work which is now part of the local canon and to showcase emerging local artists. Over the years, the HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance—many with successful subsequent performances in Hong Kong and overseas.

為使香港的文化生活更豐富，我們每年於藝術節前及期間主辦一系列多元化並深入社區的「加料節目」，例如電影放映、大師班、展覽、藝人談、後台參觀及文化導賞團等，鼓勵觀眾與藝術家互動接觸。

As part of our enduring commitment to enriching the cultural life of the city, we organise a diverse range of Festival PLUS activities for the community before and during the Festival to enhance engagement between artists and audiences. These include film screenings, masterclasses, exhibitions,

我們亦銳意將共融藝術理念拓展到社區每一角落。由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限亮」計劃於 2019

年正式開展，透過一系列的演出及多元的教育及社區外展節目，「無限亮」致力創造共融空間，讓不同能力人士均可以一同欣賞、參與及擁抱藝術。

meet-the-artist sessions and guided backstage and cultural tours.

生及大專生提供藝術體驗活動。會員可參加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等。通過「學生票捐助計劃」，藝術節每年亦提供約 10,000 張半價學生票。

To nurture the next generation of artists and audiences, the HKAF also invests heavily in yearround arts education for young people. Over the past 29 years, our “Young Friends” scheme has reached over 782,000 local secondary and tertiary school students; members can enjoy showcases, pre-performance talks, open rehearsals, Festival performances and in-school workshops led by international and local artists. Donations to the Student Ticket Scheme also make approximately 10,000 half-price student tickets available each year.

Beyond the main Festival, the HKAF also promotes inclusivity and understanding through the arts. Its “No Limits” project, co-presented with The Hong 為了培養未來的藝術家和觀眾，我們大力 Kong Jockey Club Charities Trust, strives to create 投資下一代的藝術教育。「青少年之友」 an inclusive space for people with different abilities 成立 29 年來，已為逾 782,000 位本地中學 to share the joy of the arts together.

香港藝術節是一所非牟利機構，其主要收入除了政府的恆常資助及票房外，極大一部分來自各大企業、熱心人士和慈善基金會的贊助和捐款，以及政府針對捐款和贊助收入而提供的配對資助。

HKAF is a non-profit organisation. Its principal income sources are: recurrent funding from the government, box office revenues, and sponsorship and donations made by corporations, individuals and charitable foundations which form a significant portion of total income and also enables HKAF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

*2021 年 1 月更新 Updated January 2021

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香港中樂團

Hong Kong Chinese Orchestra 香港中樂團於 1977 年成立，素有「民樂翹楚」及「香港文化大使」之美譽。樂團經常獲邀於國際著名音樂廳及藝術節演出，足跡遍及歐洲、美洲、亞洲、澳洲、北極圈等多個國家及地方，被譽為當今國際舞台上具領導地位的大型中樂團。樂團編制分拉弦、彈撥、吹管及敲擊四個樂器組別，其中包括傳統和新改革的多種樂器。樂團的拉弦聲部於 2009 年全面使用由樂團研發的環保胡琴系列。演出的形式和內容包括傳統民族音樂和近代大型作品。樂團更廣泛委約各種風格及類型的新作，迄今委約或委編的作品逾 2,400 首。樂團除了舉辦定期音樂會和藝術教育活動之外，亦秉持著與民同樂的精神，創辦「香港國際青年中樂節」及多個器樂節，與香港市民攜手締造了多個最多人同時演奏的健力士世界紀錄。樂團於 2003 年首創的香港鼓樂節已連續舉辦 17 年，成為一年一度萬眾期待的文化盛事。樂團一直為中樂傳承及發展努力耕耘，舉辦相關論壇及比賽，與盧森堡現代音樂協會合辦的「2013 國際作曲大賽」及 2017 年的「中樂無疆界 — 國際作曲大賽」等，為作曲家提供發表創作和交流的平台。樂團於 2011 年創辦全球首屆國際中樂指揮大賽，被譽為中樂發展史上的一個里程碑。此外，香港中樂團在藝術、管治管理、藝術教育、市場推廣上皆獲各界高度評價及屢獲殊榮。樂團研製的環保胡琴系列除榮獲國家「第四屆文化部創新獎」（2012）外，更獲多個機構頒發環保及創意獎項，成就屢創新高。

香港中樂團於香港文化中心音樂廳 The HKCO at Hong Kong Cultural Centre Concert Hall

「人間那得幾回聞」 “The sound they produce is out of this world”

英國《衛報》 The Guardian

Founded in 1977, the Hong Kong Chinese Orchestra has won the accolades as “a leader in Chinese ethnic music” and “a cultural ambassador of Hong Kong”. It is often invited to perform at famous venues and festivals all over the world, having covered Europe, North America, Asia, Australia and the Arctic Circle to date. It is therefore acclaimed as a leader among full-sized Chinese music ensembles in the international arena today. The Orchestra is set up in four sections: bowed-strings, plucked-strings, wind and percussion. The instruments include both the traditional and the improved, new versions: the bowed-string section has been using the Eco-Huqin series developed by the Orchestra since 2009. The HKCO performs both traditional Chinese music and contemporary, full-length works in a variety of musical formats and contents. It also explores new frontiers in music through commissioning over 2,400 new works of various types and styles, whether as original compositions or arrangements. Apart from regular concerts and activities promoting arts education, the Orchestra has initiated several instrumental festivals, including the Hong Kong International Youth Chinese Music Festival, to honour its mission statement that “Music is to be shared”. Together with the citizens of Hong Kong, the Orchestra has achieved many Guinness World Records for having the largest number of people playing musical instruments at the same time. The Hong Kong Drum Festival, which the Orchestra launched in 2003, is now into its 17th year with no interruption in between, and has become a keenly-anticipated annual cultural event. Striving to ensure the transmission and development of Chinese music, the Orchestra has organized many symposia and competitions. Notable examples in recent years are ‘The International Composition Prize 2013’ co-organized with the Luxembourg Society for Contemporary Music, and the ‘Chinese Music Without Bounds - International Composition Competition’ in 2017. They have been acclaimed as platforms for composers to publish their new works and for musical exchange. The ‘International Conducting Competition for Chinese Music’, an initiative launched by the HKCO in 2011 and the first ever in the world, has been acclaimed as a milestone in the historical development of Chinese music. Other accolades and acclaims the Orchestra has won are its achievements in the arts, governance and administration, arts education, marketing and promotion. The Eco-Huqin series which the Orchestra developed has won not only the 4th Ministry of Culture Innovation Award in 2012, but also many other awards presented by various institutions for its green and innovative concepts. They add to the remarkable and highly commendable list of achievements in the history of the Hong Kong Chinese Orchestra.

詳細資料 Details 樂團獲邀於歐洲巡演，其中匈牙利布達佩斯藝術皇宮音樂會更獲世界古典音樂最大在線平台 Medici.tv 全球同步直播。 The HKCO was invited to tour in Europe, in which, the concert held at Hungary’s Müpa Budapest was live streamed globally by Medici.tv, the world’s leading online platform for streaming classical music.

如演出曲目有兩個樂章／段落或以上，請於全首樂曲完畢後才鼓掌。 If the music contains more than one movement/section, kindly reserve your applause until the end of the work.

樂旅中國

Music about China 27.2.2021 (六 Sat)

指揮：閻惠昌 Conductor: Yan Huichang 音畫流水陳培勳曲（香港中樂團委作／於 1986 年 9 月首演） Symphonic Poem

Flowing Water

Chan Pui Fang (Commissioned by the HKCO / Premiered in September 1986)

藍音高世章曲（香港中樂團委作／世界首演）

Blue Notes Leon Ko (Commissioned by the HKCO / World Premiere)

打雀英雄傳之又見東風陳明志曲（香港中樂團委作／世界首演）

It’s the East Wind Again from Tale of the Mahjong Heroes Chan Ming-chi (Commissioned by the HKCO / World Premiere)

第一樂章：乾坤大挪移•雲外一聲「鷄」 The first movement: The Strategic Battle for the Winning Tile 尺八：孫永志 Shakuhachi: Sun Yongzhi 第二樂章：原來咁轎喺呀喺一「筒」 The second movement: When Luck Comes in Full Circle 手碟：陸健斌 Handpan: Luk Kin Bun 第三樂章：「萬」物眾生皆自得 The third movement: For the Myriad Living Things on Earth 敲擊：周展彤 Percussion: Chau Chin-tung 第四樂章：攻打四方城•筒索萬的交響 The fourth movement: A Symphony of Clattering Tiles 大提琴協奏曲莊周夢趙季平曲（香港中樂團委作／於 2008 年 11 月首演） Cello Concerto Zhuang Zhou’s Dream Zhao Jiping (Commissioned by the HKCO / Premiered in November 2008) 大提琴：鮑力卓 Cello: Richard Bamping

阿佤山（選自《滇西土風三首》第一樂章）郭文景曲（香港中樂團委作／於 1994 年 3 月首演）

A Va Mountain (Excerpt from the first movement of Three Melodies of West Yunnan) Guo Wenjing (Commissioned by the HKCO / Premiered in March 1994) 香港藝術節感謝天開數碼媒體有限公司為藝術節開幕演出提供網上直播技術 HKAF thanks TFI for providing live streaming technology support for the Festival Opening Performance 本刊內容，未經許可，不得轉載。 Reproduction in whole or in part without written permission is strictly prohibited.

同心抗疫音樂會禮儀

Staying Safe and Protecting Others at Concert Venues 香港中樂團一直把觀眾、客席演奏家、樂團藝術與行政人員的健康與安全放在首位，致力為觀眾營造安心、舒適的觀演環境。為應對新冠肺炎，請務必遵守以下防疫措施，保障自己，保護他人：

Welcome! We at the Hong Kong Chinese Orchestra always put the health and well-being of our audiences, guest artists, our musicians and administrative staff as our top priority. We are therefore striving to keep our performing environments safe and comfortable for all. In view of the Covid-19 situation, we request all those attending our concerts to observe the following safety guidelines to protect yourselves and others:

於演出場地必須全程佩戴口罩

Please wear your mask properly all the time while you are at the performing venue.

You need to take a temperature check before you are admitted to the concert hall.

入場前必須接受體溫檢測

使用酒精搓手液消毒雙手

保持安全的社交距離

閣下之座位或需配合防疫而作出調動

若閣下出現呼吸道感染病徵，或曾於過去 14 天內與新冠肺炎確診者接觸，請勿出席音樂會並盡快就醫

You are strongly advised to maintain social distancing at all times.

To meet the requirements of preventive measures, audience seating may have to be adjusted. We appreciate your cooperation.

Please use hand sanitizer to disinfect your hands.

If you develop respiratory symptoms, or if you have been in contact with persons confirmed to have contracted the Covid-19 virus, please refrain from attending the concert and seek medical advice as soon as possible.

樂韻繞樑分享當下一瞬 Share the echoing moments 歡迎觀眾於謝幕期間拍照，演奏中之相片可於香港中樂團Facebook專頁及官方網頁下載 Audience is welcomed to take photos during the curtain call, while concert photos can be downloaded from HKCO’s Facebook and website.

House Rules

場地規則

Dear Patrons,

各位觀眾：為了令大家對今次演出留下美好印象，我們希望各位切勿在場內攝影、錄音或錄影，亦請勿吸煙或飲食。在節目進行前，請關掉手提電話、其他響鬧及發光的裝置。多謝各位合作。

In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind co-operation.

如不欲保留場刊，請於完場後放回場地入口以便回收。 If you don't wish to take this printed programme home, please return it at the admission point for recycling.

觀眾問卷調查

謝謝您蒞臨觀賞香港中樂團的演出。希望閣下能花少許時間填寫這份問卷，為我們提供寶貴的資料及意見，以便樂團日後為您提供更精彩的節目。謝謝！

Audience Survey

Thank you for coming to the HKCO concert. Please tell us your opinion and suggestions by completing this survey, so that we can further improve our performance in the future. Your feedback is highly appreciated. Thank you.

香港中樂團銘感於心 Gratitude from HKCO

大音贊助 Accoiade Donors

音樂會贊助 Concert Sponsors

2017-2021

宣傳伙伴 Promotion Partners

閻惠昌藝術總監兼終身指揮 Yan Huichang

Artistic Director and Principal Conductor for Life

享譽國內外樂壇的知名中樂指揮家，自 1997 年 6 月起履任香港中樂團。 1987 年獲頒授中國首屆專業評級國家一級指揮。對文化發展的貢獻獲各地政府予以表揚，包括新加坡政府「2001 年文化獎」、香港特別行政區銀紫荊星章、台灣第五十一屆中國文藝獎章（海外文藝獎（音樂））及台灣 2018 傳藝金曲獎最佳指揮獎等。此外，指揮不同樂團的影音產品獲頒指揮獎項，包括香港中樂團、中國交響樂團及中央歌劇院合唱團、西安音樂學院民族樂隊及合唱團及臺灣國樂團。閻氏現應聘為上海音樂學院賀綠汀中國音樂高等研究院中國民族管弦樂研究中心主任及指揮系教授、香港演藝學院榮譽院士及訪問學人、西安外事學院老子學院國樂系特聘教授、碩士、博士研究生導師，並擔任多間音樂院校客席及特聘教授、中國音樂家協會及中國文聯全國委員會理事、陝西省廣播電視民族樂團榮譽音樂總監。於 2013-2017 年應邀出任臺灣國樂團首席客席指揮及音樂總監，為台灣國樂界培養指揮人才備受肯定。

閻氏帶領香港中樂團創下多個中樂發展的里程碑，不但經常獲邀到世界各地知名藝術節及音樂節獻演，其藝術成就更獲各界肯定。他全方位拓展香港中樂團，推動委約作品；積極與不同界別互動，探索交融；領導發展樂器改革，倡議香港演藝學院與香港中樂團合作並實施「專業樂團實習計劃」；倡議創立全球首個中樂樂隊學院；創辦數個主題器樂節，與香港市民共創多個健力士世界紀錄；於香港演藝學院開設中樂指揮碩士課程；倡議舉辦及主持多次中樂國際研討會及高峰論壇；創辦全球首個國際中樂指揮大賽，被中國音協主席趙季平譽為「中國音樂發展史上的里程碑」。

閻氏師從著名指揮家夏飛雲、作曲家胡登跳、何占豪等教授，於 1983 年以優異成績畢業於上海音樂學院，隨即受聘為中國中央民族樂團首席指揮兼樂隊藝術指導。除中樂指揮外，他亦曾獲邀擔任西洋交響樂團指揮，曾合作的包括中國交響樂團、北京交響樂團、上海交響樂團、深圳交響樂團、俄羅斯愛樂管弦樂團及浙江交響樂團等。閻氏亦為活躍作曲家，創作樂曲屢次獲得國家大獎。

Yan Huichang is a Chinese music conductor of world renown. He has been with the Hong Kong Chinese Orchestra since June 1997. Yan Huichang was conferred the title of National Class One Conductor at the

First Professional Accreditation of China in 1987. He has received many accolades from the governments of different lands in honour of his contribution to the development of culture, such as the ‘Cultural Medallion (Music)’ by the National Arts Council of Singapore in 2001, a Silver Bauhinia Star (SBS) by the Hong Kong SAR Government, the Overseas Award for Music at the 51st Literary and Art Works Awards in Taiwan, and Best Conductor Award at the Golden Melody Awards for Traditional Arts and Music 2018 in Taiwan. He has also won conducting awards as conductor in the audio-video recordings of the Hong Kong Chinese Orchestra, the China National Symphony Orchestra and the Chorus of China National Opera House, the Chinese Orchestra and Chorus of the Xi’an Conservatory of Music, and the National Chinese Orchestra Taiwan. He is currently Director of Chinese National Orchestra Research Center of the He Luting Advanced Research Institute for Chinese Music of the Shanghai Conservatory of Music and Professor of its Conducting Department, Honorary Fellow of The Hong Kong Academy for Performing Arts and Visiting Scholar in its School of Music, a Distinguished Professor, Supervisor on the Master’s and Doctoral degree programmes at the Department of Chinese Music, the Laozi Academy of the Xi’an International University and Visiting Professor or Adjunct Professor in many conservatories, Council Member of Chinese Musicians’ Association and National Commission of China Federation of Literary and Arts Circles, Honorary Music Director of the Shaanxi Broadcasting Chinese Orchestra. Maestro Yan was appointed Music Director and Principal Guest Conductor of the National Chinese Orchestra Taiwan in 2013 with a tenure up to 2017. His contribution to nurturing conducting talents in Chinese music in Taiwan is widely recognized.

Yan has led the Hong Kong Chinese Orchestra to set many milestones in Chinese music. He and the Orchestra have been frequently invited to perform in arts and music festivals in various parts of the world, with artistic accomplishments widely endorsed. He launched the Orchestra into omnidirectional growth, started the system of commissioning new works, actively entered into mutually beneficial partnerships with crossover disciplines, and spearheaded instrumental reform. His visionary achievements are reflected in such innovative initiatives as the Professional Orchestra Internship Scheme jointly implemented by the HKCO and The Hong Kong Academy for Performing Arts (HKAPA); establishment of the world’s first Chinese orchestral academy, The HKCO Orchestral Academy; and organizing instrumental festivals which have achieved several Guinness World Records thanks to the keen participation of the people of Hong Kong. Yan created the Master of Music in Conducting for Chinese Orchestras programme at the HKAPA. Also, he took the lead to organize international symposia and forums on Chinese music, and hosted the first ever ‘International Conducting Competition for Chinese Music’ in the world which was commended by Zhao Jiping, Chairman of the Chinese Musicians’ Association, as “a milestone in the history of development of Chinese music”.

After graduating from the Shanghai Conservatory of Music in 1983 under the

tutorship of renowned conductor Xia Feiyun, and famous composers Hu Dengtiao and He Zhanhao, Yan was appointed Principal Conductor and Artistic Director of the China National Orchestra before he joined the Hong Kong Chinese Orchestra in 1997. In addition to Chinese music conducting, Yan has also conducted Western symphony orchestras such as the China National Symphony Orchestra, Beijing Symphony Orchestra, Shanghai Symphony Orchestra, Shenzhen Symphony Orchestra, Russian Philharmonic Orchestra of Moscow and the Zhejiang Symphony Orchestra. Yan is also actively engaged in composition, and many national awards with his works.

獨奏家介紹

Soloists' Profiles （按出場序 In order of appearance）

孫永志尺八

Sun Yongzhi Shakuhachi

香港中樂團笛子首席。1982 年畢業於西安音樂學院並留校任教，曾任該院民族器樂系管樂教研室主任。1997 年起出任香港中樂團笛子首席，並為香港演藝學院笛子導師及研究生導師、香港浸會大學笛子導師、馬來西亞藝術學院客席笛子導師、西安音樂學院客席教授及碩士研究生導師、中國音樂家協會竹笛學會副會長。

孫氏師從元修和，曾為笛子大師趙松庭弟子，對笛藝精於研習，兼收並蓄各家笛子風格流派之所長。近年來經由其表演的各類體裁經典作品有：趙季平的交響樂《東渡•鑒真大和尚》、陳明志的現代音樂作品《颳風的日子》和《聽風的歌》、笛子協奏曲有程大兆的《陝北四章》、鍾明信的《巴楚風情》、楊青的《蒼》、鄭濟民及羅偉倫的《白蛇傳》、與周煜國合作的《遐方怨》、顧冠仁的《牡丹亭》（笛箏雙協奏曲）等等，無不表現其精湛嫺熟的技術功底與追求完美的藝術境界。孫氏經常參與各類型演出與錄音，以及曾代表中國青年藝術團、陝西文化交流代表團、西安音樂家小組及香港中樂團出訪演出交流，演奏足跡遍及美、英、法、德、荷蘭、比利時、西班牙、瑞士、日本等數十個國家，發表論文《南北笛子風格》、《笛子音準談》及編寫笛子考級教材一至八冊。電影、電視及音樂作品的錄製有《心香》、《炮打雙燈》、《征服者》等。

izi Principal of the Hong Kong Chinese Orchestra, Sun Yongzhi graduated from the Xi’an Conservatory of Music in 1982 and joined the faculty. He was later appointed Head of its Teaching Resources Centre for Wind Music under the Department of Ethnic Instrumental Music. He joined the Hong Kong Chinese Orchestra in 1997 as a Dizi Principal. He is also a dizi instructor and supervisor on the postgraduate programme at The Hong Kong Academy for Performing Arts, a dizi instructor at the Hong Kong Baptist University, a visiting dizi instructor at the Malaysian Institute of Art, and Visiting Professor and supervisor on the Master’s degree programme of the Xi’an Conservatory of Music. He is the Vice President of the Bamboo Flute Society under the auspices of the Chinese Musicians’ Association. Sun trained under Yuan Xiuhe and was also a formal disciple of Maestro Zhao Songting of dizi fame. He has done meticulous research on the art of dizi, and is therefore able to integrate the outstanding features of many stylistic schools. He has performed a variety of dizi classics in recent years, such as the symphony Monk Jianzhen Sailing Eastward by Zhao Jiping; the modern music Windy Days and Song of Wind-scape by Chan Ming-chi; dizi concertos Four Movements: Northern Shaanxi by Cheng Dazhao, Facets of Sichuan by Zhong Mingxin, Wilderness by Yang Qing, The Legend of the White Snake by Law Wai-lun and Cheng Jih-min, A Wife’s Lament of Her Husband Far Away co-written by Sun and Zhou Yuguo; and the dizi and zheng double concerto, The Peony Pavilion by Gu Guanren. All of them demonstrate his technical virtuosity as well as his pursuit for artistic excellence. Sun is an active performer on the concert stage as well as in the recording studio. He has been on many overseas tours as a member of the China Youth Arts Troupe, the Shaanxi Cultural Exchange Delegation, the Xi’an Musicians’ Ensemble and the Hong Kong Chinese Orchestra for cultural exchange, covering dozens of countries in the U.S., the U.K., France, Germany, Holland, Belgium, Spain, Switzerland and Japan. His publications include the articles on The Northern and Southern Styles of the Dizi and On the Intonation of the Dizi, as well as a full set of graded teaching materials for dizi examinations (Vol.1-8). He has recorded for films and television, with titles such as The True Hearted, Red Firecracker, Green Firecracker and The Conquerors.

陸健斌手碟

Luk Kin Bun Handpan

香港中樂團敲擊首席。畢業於香港演藝學院，師隨閻學敏主修中國敲擊樂及隨龍向榮副修西洋敲擊樂，曾獲香港匯豐銀行獎學金、Bloomberg 等多項獎學金；2011 年獲香港中文大學音樂文學碩士。

1998 年四擊頭創立後，陸氏曾參與不同文化類型的藝術表演及本港專業樂團演出，並獲邀於海外巡演。任導師及指揮的多間中小學敲擊樂隊，每年於「香港鼓樂節」及「校際音樂節」中均獲佳績。陸氏近期主要的敲擊獨奏演出，包括分別於 2019 年與 2012 年 10 月香港鼓樂節「鼓王群英會」系列音樂會中獨奏敲擊協奏曲《龍年新世紀》；2016 年 7 月於 2016 首屆香港國際鼓手節中創作了鼓樂作品《四象和合》並擔任鼓樂獨奏；同年 12 月於「向大師致敬－彭修文逝世二十周年紀念音樂會」中以編鐘獨奏《梅花三弄》；2015 年 10 月香港鼓樂節「鼓王群英會 XX」音樂會中獨奏《打擊與樂隊協奏曲》（香港首演）；2013 年 5 月獲音樂事務處邀請領奏鼓樂協奏曲《龍騰虎躍》，同年 12 月於「心潮逐浪高」音樂會中獨奏敲擊樂協奏曲《倉才》；2012 年 12 月「冬至•夏歸乎」—敲擊、笙與互動裝置藝術跨媒體音樂會中擔任敲擊獨奏。編曲及作曲方面的作品包括 2020 年 6 月為「5G 同 Sync 鼓•樂澎湃」活動而創作鼓樂開場樂曲《鼓舞同行》、2013 年 9 月台灣紘采樂集委約創作的鼓樂合奏《薪》及 2012 年 10 月香港中樂團委編的鼓樂合奏《鼓舞•童心》。

Luk Kin Bun is Percussion Principal of the Hong Kong Chinese Orchestra. He graduated from The Hong

Kong Academy for Performing Arts where he majored in Chinese Percussion under Yim Hok Man and minored in Western Percussion under Lung Heung-wing. He was the recipient of the Hongkong Bank Foundation Scholarship, the Bloomberg Scholarship etc., among many others while at the Academy. In 2011, he was awarded a Master’s degree in Music by The Chinese University of Hong Kong. Luk was one of the founders of Four Gig Heads in 1998. Since then, he has been an active figure in various performing art genres. He has guest performed with many professional orchestras in Hong Kong and is often invited on their overseas tours. He is the instructor and conductor of many percussion ensembles in primary and secondary schools, and has led them to win in the annual Hong Kong Drum Festival and the Schools Music Festival of Hong Kong.

Some of his recent notable performances include the solo sections in The Age of the Dragon percussion concerto at the ‘Majestic Drums’ concert series of The Hong Kong Drum Festival in October 2019 and 2012. He wrote the drum piece, Hehe, in which he was also the drum solo player, for the first Hong Kong International Drummer Festival in July 2016 and played the drum solo. It was followed by a bianzhong solo in Three Variations on a Plum Blossom Melody, at the ‘In Tribute – The Legacy of Peng Xiuwen 20th Anniversary Memorial Concert’ in December the same year. In October 2015, he performed the solo in the Hong Kong premiere of Concerto for Percussion and Orchestra at the ‘Majestic Drums XX’ concert as part of the Hong Kong Drum Festival. Luk was lead player of the drum concerto, Flying Dragon and Leaping Tiger, in the Music Office’s concert in May 2013, and soloist in the percussion concerto, Cang Cai, at the concert ‘Surf’s Up!’ in December the same year. In December 2012, he played percussion solo at the HKCO’s multimedia concert ‘Winter Solstice • Farewell to the Sun’, an occasion that involved percussion and sheng interacting with installation art. As a composer and arranger, Luk has written many pieces, the most recent being Drum Up, Gear Up! for the ‘5G Sync X Let the Thunder of Drums Roll!’ Online Concert held in June, 2020. Other works include the drum ensemble Legacy, an original composition commissioned by the Hon-Tsai Chinese Ensemble of Taiwan in September 2013, and another drum ensemble Forever Young at Heart – A Drumming Tribute, an arrangement commissioned by the HKCO premiered in October 2012. 21

周展彤* 敲擊

Chau Chin-tung* Percussion

香港小交響樂團敲擊樂首席，畢業於香港演藝學院。曾師隨何文川先生、錢國偉先生、閻學敏先生、龍向榮博士及泰貝桑先生等。

周展彤經常獲邀參與各類文化表演活動，當中有香港中樂團由譚盾指揮之「譚盾美麗中國• 環保 2010」音樂會中擔任《臥虎藏龍》敲擊獨奏；2012 及 2004 至 2007 年香港中樂團「鼓王群英會」之演出嘉賓；2002 年香港特別行政區成立五周年的「龍聲飛躍 — 萬人青年音樂會」擔任獨奏；1999 年獲香港藝術節委約創作於音樂舞蹈劇場「打樂十八層之身體福音」。他亦經常獲邀在世界各地演出，例如：2010 年及 2004 年與香港小交響樂團在法國聖里奇音樂節、漢斯夏季音樂節為伍卓賢的《白》作南美巡迴演出及歐洲首演；2001 年在法國康城影展擔任表演嘉賓。除演出外，周展彤亦積極推動香港音樂教育，包括到多間學校舉行音樂會，亦曾於英國皇家音樂學院、香港大學、香港科技大學及香港城市大學舉行講座及工作坊，及獲邀於香港鼓樂節及澳門青年音樂比賽中擔任評判。 * 承蒙香港小交響樂團允許參與演出

rincipal Percussion of the Hong Kong Sinfonietta, Chau Chin-tung graduated from the Hong Kong Academy for Performing Arts, where he studied Chinese Percussion under Mr Ho Man-chun, Mr Chin Kwok Wai and Mr Yim Hok Man; and Western Percussion under Dr Lung Heung-wing and Mr Shaun Tilburg. Chau performs extensively in Hong Kong and recent invitations included his solo appearance for Crouching Tiger, Hidden Dragon with the Hong Kong Chinese Orchestra in ‘Tan Dun: to the Beautiful and Green 2010’ concert; the ‘Majestic Drums’ series in 2012 and from 2004 to 2007. In 2002, he performed in ‘The Music of the Dragons’ concert in celebration of the Fifth Anniversary of the Hong Kong SAR. In 1999, he was commissioned by the Hong Kong Arts Festival to contribute in the creation of Boombastic Verses. His overseas performances included the South America touring and European première performances of Ng Cheuk-yin’s White with Hong Kong Sinfonietta (HKSL) in 2010 and 2004 respectively; the guest appearance at the 2001 Cannes Film Festival. Apart from performing, Chau is also dedicated to music education and the promotion of music in Hong Kong. He has given educational concerts at many schools, and also conducted lectures and workshops at the Royal College of Music, London, the University of Hong Kong, the Hong Kong University of Science and Technology, and City University of Hong Kong. He was an adjudicator at the Hong Kong Drum Festival and Macao Young Musicians Competition.

* With kind permission of the Hong Kong Sinfonietta

鮑力卓* 大提琴

Richard Bamping* Cello

鮑力卓自 1993 年起擔任港樂的大提琴首席。他曾與多位傑出的音樂家同台表演，包

括曼紐因爵士、卡華高斯、羅斯托波維奇、朱利尼、格爾吉耶夫、伯恩斯坦、馬捷爾、戴維斯爵士和阿巴度等等。鮑力卓曾與遠東至歐洲的樂團合演過多首重要的大提琴獨奏作品，他亦熱衷於室樂作品，有機會便經常與朋友和樂團同事合奏。鮑力卓所用的大提琴由安德里亞‧瓜奈里於 1674 年在意大利克里蒙納所製，全球僅餘九把，極為罕有。 * 承蒙香港管弦樂團允許參與演出

Richard Bamping has been the Principal Cellist of the HK Phil since 1993. He has performed with many

of the finest musicians of recent history—Lord Yehudi Menuhin, Leonidas Kavakos, Mstislav Rostropovich, Carlo Maria Guilini, Valery Gergiev, Leonard Bernstein, Lorin Maazel, Sir Colin Davis and Claudio Abbado, to name but a few. Bamping has performed many of the staples of the solo cello repertoire with orchestras from Europe to the Far East. He has a great passion for playing chamber music with friends and colleagues whenever he gets the chance. Bamping's cello, dated 1674 was made in Cremona by Andrea Guarneri and is one of only nine surviving examples of his work.

* With kind permission of the Hong Kong Philharmonic Orchestra

為音樂增值 Know Your Music 哲思化樂

神遊成畫周凡夫

「樂旅中國」成為香港中樂團在一年一度的香港藝術節的品牌節目，台上台下都能在音樂中遨遊幅員廣大的中華大地，而且每年的曲目編排都有各自的特色。今年選奏的五首樂曲，全是香港中樂團委約創作的作品（包括兩首特別為這場音樂會創作的世界首演新作），一氣呵成的編排，便仿如在樂海中不停地暢游一遍，從古代的中原，到今日的香港；從原始的粗獷，到現代的活力。過程中非僅可以觀賞到豐富變化的畫面，更能體驗到各首樂曲中，作曲家在音符後面所要帶出的哲思。中國傳統不同哲思陳培勳靈感來自同名古琴曲的 1986 年作品《流水》，曲中各種流水形態的畫面，散發的是對祖國河山的熱烈情懷，但樂曲引子和結尾凝重、嚴峻和肅穆的氣氛，當可聯想到「伯牙鼓琴遇知音」的古代故事；伯牙「志在高山，仁者之樂也；志在流水，智者之樂也」的內容含意，正飽含了中國人傳統的智慧和哲學思想。趙季平的大提琴協奏曲《莊周夢》，標題已明確地顯示以先秦思想家莊子的《齊物論》之「莊周夢蝶」所展示的道家哲學觀作為內容，以西方的大提琴與中樂隊的協奏形式來道出「不知周之夢為蝴蝶與？蝴蝶之夢為周與？」以中西方樂器的相混色彩描畫出夢中的畫圖，如能帶出求道之神韻，會否亦同樣會有這兩個問號呢？道家的哲學觀是玄？還是不玄呢？相對於中國人傳統的哲學思想，道家的哲學觀，郭文景的《滇西土風三首》強烈的音樂帶出來的卻是雲南少數民族仍保持著簡樸粗獷的原始文化的生活畫面。這場音樂會祇演奏的首樂章《阿佤山》，在 1993 年完成，以山區佤族的原始宗教活動為內容，凝重沉鬱的氣氛帶出的是原始純樸信仰下的生活哲學。現代都會生活哲思這三首從中國不同傳統文化生活的哲學孕育出來的音樂，形成不同的音樂畫面，但插在這三首樂曲中世界首演的兩首香港作曲家新作，呈現的則完全是現代大都會中西文化交融下的香港生活哲學，對照便更為鮮明了。

其實，兩首香港新作品亦各有不同的取向。陳明志《打雀英雄傳》之《又見東風》，以中國博弈文化中被稱譽為「國粹」的「打麻雀」為內容發揮。這種在香港社會中很普遍的「文娛活動」，背後不僅具有深厚的文化思維，更充滿生活智慧和生活哲理。四個具有極為形象化標題的樂章，不僅活靈活現地以不同音樂畫面展示出「打麻雀」過程中不同的在地文化、不同的生活哲學和人生感悟，更可說盡現了「麻雀枱」上的「眾生相」，難怪以前有種說法，要敲定女婿人選，首先要和他打一場「麻雀」了。另一首香港作品，高世章的《藍音》，則直接從音樂文化的層面切入，將源自非洲部落，構成爵士樂重要元素的黑人「哭歌調」的「藍調」（Blues，或譯「怨曲」、「布魯斯」），和腔韻同樣悲涼滄桑的廣東說唱藝術《南音》接合，不僅曲名將「藍色的南音，南色的藍調」把藍南合一，更藉此將中西音樂文化融而為一，以此來展現今日香港人的生活哲思。這場音樂會從中國人傳統哲學思想的《流水》開始，最後則回到郭文景《阿佤山》原始部落的純樸生活哲學中結束，如此設計，箇中是否亦應有深意呢？

From Philosophy to Music – A Picture in the Mind’s Eye Chow Fan-fu

‘M

usic about China’ is a signature concert series of the Hong Kong Chinese Orchestra at the annual Hong Kong Arts Festival, where both orchestra and audience journey across the vast land of China through music, with the programming meticulously prepared to highlight unique features for each edition. The five pieces selected this year are all commissioned by the HKCO, including two new works specially created for the occasion and making their world premieres. The smooth and seamless programme allows the audience to ply the world of music from the ancient Central Plains to contemporary Hong Kong, or from primitive rusticity to modern dynamism. While listening to the music, the audience can not only visualize rich and changing scenes in the mind’s eye, but also imbibe the philosophical meaning behind the melodic notes. Different traditional Chinese philosophies Inspired by its ancient namesake piece for guqin, Flowing Water (1986) by Chan Pui Fang is an expression of the composer’s love for his motherland through the various visible forms of flowing water. The introduction and coda of the piece exude a serious, solemn and even grim ambiance, while referencing the ancient story of Boya meeting his soulmate while playing the guqin. Boya’s view that “people of selfless virtue enjoy the mountains; people of wisdom enjoy the waters” embodies the traditional wisdom and philosophy of the Chinese people. The cello concerto Zhuang Zhou’s Dream by Zhao Jiping, as indicated in the title, makes reference to Taoist philosophy as expounded in Zhuang Zhou’s Butterfly Dream from Qiwulun (The Adjustment of Controversies), by the ancient philosopher, Zhuang Zhou (circa 369 - 286 BCE). The dialogue between the cello, an instrument of the West, and the Chinese orchestra in a concerto emulates a scene from the dream – “Was it Zhuang Zhou who became a butterfly in a dream, or was it a butterfly who became Zhuang Zhou in its dream?” The East-West fusion of musical instruments paints a picture of the dream that echoes questions asked in this philosophical rhetoric. And is the Taoist philosophical viewpoint a conundrum, or is it not? As a foil to the traditional Taoist philosophy of the Chinese, Three Melodies of West Yunnan by Guo Wenjing depicts a scene of the simple and primitive culture of Yunnan ethnic minorities. Only the first movement of this piece, A Va Mountain completed in 1993, is performed in this concert. It depicts the primitive religious activities of the Va ethnic minority who inhabit the mountainous areas. The solemn and rather gloomy ambiance evokes the outlook on life for the people with a primitive faith. Philosophical outlook on life in a modern metropolis The music of the three pieces stemming from different traditional Chinese philosophies produces different musical images. But interpolated between them are two world premieres by Hong Kong composers which stand out in sharp contrast with their depiction of the Hong Kong culture, a fusion of East and West.

These two new compositions from Hong Kong are also markedly different. It’s the East Wind Again from Tale of the Mahjong Heroes by Chan Ming-chi has the quintessential Chinese gambling game – mahjong – as its theme. This common recreational activity among Hong Kong people is deeply entrenched in Chinese culture and is rich in everyday wisdoms and insights of life. The image-rich titles of the four movements show vividly through music different local cultures, approaches to and insights of life as seen during the process of the game. It also unravels the myriad mannerisms of the players, culminating in an age-old saying that a game of mahjong is the first and foremost character test for a prospective son-in-law. Another Hong Kong work, Blue Notes by Leon Ko, merges directly the blues and nanyin (southern tune) into one. The blues, with its origin in African tribal culture and a major element for jazz, is merged with Cantonese story-telling nanyin, an equally sad and poignant tune. Its title “Blue is the sound of the south. The blues has a southern ring to it” not only merges “blue” and “south”, it goes further to forge a fusion between East and West, an apt metaphorical representation of the philosophical outlook of Hong Kong society. This concert begins with Chan Pui Fang’s Flowing Water and ends with Guo Wenjing’s simple tribal interpretations of life in A Va Mountain - now is there a special meaning to such an arrangement, too?

曲目介紹 Programme Notes 音畫流水陳培勳曲創作本曲的靈感來自古琴曲《流水》*，作者藉著描寫各種流水形態，去抒發本身對祖國河山的熱烈情懷。全曲以滾滾流水的音型配上抒情婉轉的歌頌主題，對波濤洶湧及川流不息情景的著意描繪，是全曲的高潮。作者把情和景的描寫繁密結合在一起，銳意將山水細流及波濤滾滾的聲勢和動態藝術性概括起來，去歌頌祖國的壯麗山河。樂曲的引子和結尾的氣氛都見凝重、嚴峻和肅穆，用以顯示高山峻巔和雲霧繚繞的宏偉情景，一如詩人所說的：峨岷高萬丈，夔巫鎖西風，江流關不住，眾水盡朝東。

— 陳毅《詠三峽》

* 此曲取材於「伯牙鼓琴遇知音」的故事，相傳為伯牙所作，言其志在高山，仁者之樂也；志在流水，智者之樂也。最初《高山》、《流水》本為一曲，至唐代才分作兩曲，至宋代又分為若干段數。明清以來經不少古琴家的加工，更臻完美，可說是中國歷代古琴家的集體創作。 ** 此曲由香港中樂團委約創作，並於 1986 年 9 月香港大會堂音樂廳舉行的「和平之歌」音樂會作首演，客席指揮葉惠康。

陳培勳 (1921 - 2007) 作曲廣西合浦人，出生於香港，自幼隨叔父學習鋼琴，1936 年考入香港拔萃男書院，取得全部獎學金並跟從聖約翰大教堂管風琴名師拉福特，和史密斯學習管風琴、鋼琴、和聲、複調等作曲理論。1939 年進入上海國立音樂專科學校作曲系師從李維寧，直到 1941 年，由於時局動盪，返回香港，加入抗日歌曲救亡工作，直到香港淪陷才輾轉回到內地。抗戰期間先後在香港、曲江、重慶、上海等地的藝術院校任教。抗戰勝利後回到上海跟隨譚小麟深造亨德米特作曲技法。1949 年後，長期任中央音樂學院作曲系副教授、教授、兼配器教研室主任等職。1981 年回到香港並在香港浸會學院藝術教育系任教。陳培勳主要作品有鋼琴曲《思春》、《賣雜貨》、《旱天雷》、《雙飛蝴蝶變奏曲》、《平湖秋月》，交響詩《心潮逐浪高》、《從頭越》、音畫《流水》、《歡樂的春江花月夜》、幻想序曲《王昭君》、第一交響樂《我的祖國》、第二交響樂《清明祭》、第三交響樂《梅松贊》、小交響曲《迎春》、高胡協奏曲《廣東音樂主題》、樂隊與合唱《兒童節序曲》、小交響曲《青年》、為民族樂團寫的交響舞曲《喜慶》、樂隊敘事曲《追懷》等等。其中《從頭越》曾獲國慶 30 周年創作一等獎，《清明祭》獲第一屆全國交響樂作品比賽優秀獎。

藍音高世章曲（香港中樂團委作／世界首演）藍色的南音南色的藍調這或許是粵語懶音的最大貢獻。有說南音是中國人的藍調，那西方人又有否從南音裡聽到共鳴？藍調像苦酒，南音像煙縷。南音通常訴說長故事，而藍調普遍在 12 小節內完成。因此我覺得南音更像宣敘調，記錄著悠久的苦澀。本來這首音樂暫名為《受難曲 X》，借耶穌受難的神劇來盛載南方人的苦難，甚至用上賦格曲式。不過音樂自有靈性，在創作最後關頭腦海浮現了「藍音」這名字，正式把藍南合一。樂曲並無中西之分，都隨樂器獨有的特色去細訴哀情。 — 高世章 * 本首樂曲使用之特色樂器：椰胡（麥嘉然）

高世章作曲紐約大學音樂劇創作碩士，憑音樂劇《Heading East》獲美國 Richard Rodgers Development Award，粵語音樂劇《四川好人》、《頂頭鎚》、《一屋寶貝》、《大殉情》及《奮青樂與路》等八度獲香港戲劇協會舞台劇獎最佳音樂創作及最佳曲詞獎。2011 年為倫敦 Theatre Royal Stratford East 撰寫音樂劇《Takeaway》。兩度與葉詠詩與香港小交響樂團合作演出《一屋寶貝》音樂廳及錄音，由國際品牌 Decca 出版。2020 年策劃《我們的音樂劇》並擔任音樂總監。2021 年上演音樂劇《大狀王》。電影《如果•愛》配樂獲金馬獎、香港電影金像獎、亞太影展及香港金紫荊的最佳歌曲及音樂獎。《大上海》主題曲《定風波》獲香港電影金像獎最佳原創電影歌曲。其他電影配樂作品包括《投名狀》、《大魔術師》、《魔警》、《親愛的》及《捉妖記》等，並於 2018 年舉行香港首個香港電影作曲家專場音樂會《高世章的神奇電影畫布》。為張學友音樂劇《雪狼湖》國語版出任音樂總監，「學友光年世界巡迴演唱會」及「張學友 1／2 世紀演場會」譜寫音樂劇環節。為任白基金《帝女花》、《再世紅梅記》及《蝶影紅梨記》譜寫新音樂。2018-2019 為香港小交響樂團駐團藝術家。

打雀英雄傳之又見東風陳明志曲（香港中樂團委作／世界首演）「打麻雀」可說是中國博弈文化中最具代表性的一種文娛活動，且與華夏文化中的五行，《易經》「三」生萬物的終極思想，甚至與《奇門遁甲》等均有一定的聯繫。「麻雀牌」中的「筒、索、萬」三種基礎花色:「索子」代表乾，「筒子」代表坤，而「萬」字在佛教則是指眾生萬物，蘊含著萬千變化。「打麻雀」時，各人得講謀略、鬥智慧、比花式，打法變化多端，就如高手過招，能審時度勢，當機立斷，運籌帷幄者才能成為高手中的高高手。這樂曲共分四個樂章，每個樂章以不同的樂器為標誌音聲。如尺八等長條型竹樂代表「索子」，手碟及圓形的樂器代表「筒子」，木魚及人聲代表「萬子」，以及最後的「筒索萬」的交響。至於樂曲經常出現的 DongDongDong（冬咚東）聲，除表示「東風再起」的意思外，亦是作為樂曲裡主要調性的考量。第一樂章：乾坤大挪移•雲外一聲「鷄」一切由「打雀」開始：話說各路英雄，尤如進擊的獵人，各出奇謀，在雀枱上運轉乾坤。幽玄的尺八以其氣爆音及奮進的音聲，為故事展開了序幕。此曲借用北宋詩人梅堯臣《魯山山行》的一句詩作，展示英雄們皆以「聽鷄鳴」（叫糊）為目標，施展渾身解數。第二樂章：原來咁轎喺呀喺一「筒」故事的發展往往是情理之中，意料之外。很多時手持一副「靚牌」但上不了岸（食糊），但當山窮水盡時，卻又見柳暗花明。手碟在有限音域中沉潛蠕動，在苦無出路之際忽獲財神眷顧，這種喜悅之情就如燃起了心中的一團火。第三樂章：「萬」物眾生皆自得「打雀」之勢，在於排陣，一枚孤子，亦能拯救滿盤格局，即戰至中場，亦可換一種花色，且能奪取主動權。所謂「輸光唔使興」，循環的音型正好展示了不管牌好牌壞牌，一定要用心對待，不能急躁的「打雀」境界。第四樂章：攻打四方城•筒索萬的交響世間萬物總有其兩面性，把「打雀」當作是博彩也好，娛樂也好，其實也是人民的—種生活方式，且隱含著不同的在地文化。總而言之：我們且可玩味在「打雀」過程中帶來手腦耳目的種種愉悅，至於能否在筒索萬的交響聲中感悟人生，則可不必介懷。 — 陳明志 * 本首樂曲使用之特色樂器：手碟（陸健斌）、水鼓、巫毒鼓、種子、雀枱木鼓（周展彤）

「麻雀 Mah Jong」知多少資料由陳明志博士提供

素有國粹之稱的「麻雀」(Mah Jong，亦稱「麻將」)，可說是中國博弈文化的集大成者，在中國已有上千年的發展史；與武術、乒乓等類似，也是一種強調智慧、技巧，適合人們在茶餘飯後進行的文娛活動。歷千百年來的融合演變，在清代道光至清末期間，「麻雀」形成了一套 144 張牌和每把 13 張的定型打法。從組合設計來說，一副麻雀中的任何一張牌都有著特殊的意義和作用，具有鮮明的中華傳統文化的特點和意境。2017 年 4 月，國際智力運動聯盟更宣佈，麻雀正式成為世界智力運動的項目之一。起源說麻雀最初的圖案選取的是《水滸傳》中的 108 個好漢。這與一個名叫萬秉迢的人相關，相傳，他非常推崇施耐庵筆下的梁山好漢，就以 108 這個數字作為麻雀牌的基數，並隱喻 108 條好漢。另加「東南西北」則代表這些好漢來自四面八方；「中、發、白」則是說這些人來自不同階級，上至高官貴族，下至白丁出身。

也有人說「麻雀」源於江蘇太倉的「護糧牌」，「筒」即槍筒，圖案源於火藥槍的橫截面，幾筒則表示幾支火藥槍；「索」即「束」，是指用細繩串起來的雀鳥，表示消滅了雀患的數目；「萬」則是賞錢的單位，即最終領到賞錢的數目。麻雀與中國古代哲思中國古代哲學思想的「五行說」認為世界是由金、木、水、火、土等最基本的物質組成，與方位相配分別為：東方甲乙木、西方庚辛金、南方丙丁火、北方壬癸水、中方戊己土。而中國古人又認為宇宙形態是天圓地方，所以，麻雀牌的「白板」代表地，「發」代表天（發= 髮，在人的最頂部），「中」既代表五行中的中土，也代表「天、地、人」中的人。東、西、南、北、中和天（發）、地（白板）便共同構成了宇宙的圓。麻雀牌中的「筒、索、萬」3 種花色，分別反映了物質的存在形式，數字則代表了物質存在的數量。在中國古代思想中，3 為基數，9 為極數，所以「筒、索、萬」分別有 9 張。除了 5 和 3、9 外，12 在古代文化中也有重要的地位，在我們生活中除五行、五味、五臟、五色等和 5 有關的物質外，還有 12 生肖、12 時辰、12 個月等與 12 有關，這種思想在麻雀牌中也得到了充分的體現，144 是 12 的平方，108 也是 12 的倍數。此外，在麻雀規則中，規定每人抓 13 張牌，而 13 乘以 4 等於 52 ，這正暗合了一年有 52 個星期的規律。此外，「打麻雀」因牌都是蓋著打，可說是融入了中國第一神算《奇門遁甲》的玄機，大家都隱藏各自的元帥（甲）。根據方位、時辰，雀神將光顧誰，神鬼莫測。麻雀與博奕文化打牌時，講謀略、鬥智慧、比花樣，打法變化多端；四人兩兩相對，安坐桌前，依照順序，分別取牌，既先後有序，又機遇相等，體現了我們中華民族的優良傳統。

食糊（胡牌）時，上家先於下家，體現出先後有序的社會規則；上家可截下家，體現出「勢」的顯著作用。而下家亦可碰吃，體現出在特殊情況下「弱勢亦可戰勝強勢」的文化理念和變化莫測的世態國情，可謂博大高深。打麻雀的技法也和兵法一樣，有諸多講究：何時可吃、何時可碰、何時餵吃，何時餵碰，瞻前顧後、著眼未來、合而不同、兵無常法、棄車保帥、兵不厭詐、沉著應對；有時甚至要故意放炮餵和，以避免更大損失，看似簡單易學，實則深邃。因此，打麻雀既是對人預見力之檢驗，也是對人判斷力之考核，且兼具形、聲、色、觸等感覺之美。

樂曲取材自以民族器樂為載體，聲響生態學及文化配器為依據，進行各式「文化傳承與創新」的嘗試以來，對這種所謂「聲音景觀作曲」的方式雖積累了一定的經驗，但這次香港中樂團委託以「打麻雀」為題的創作，卻展現了非一般的困難。先是以前已有不少作曲家以真實的「劈哩啪啦」打麻雀聲入樂，有的更賦以戲劇表演，而沒有歌詞的純器樂表現民俗樣式又易流於表面。於是此曲嘗試從「打麻雀」的博弈文化入手，借助中國古代哲思及感物喻志的方式，表現人們對時間秩序和生命意義的感悟。麻雀與調性無論是創業還是人生，我們缺的不是能力、技巧與模式，而是堅持和毅力，量變才能質變，才能突破成功的臨界點，取得最後的勝利。因此，縱使四圈失利，但行至水窮處，仍可坐看風起時！因此，樂曲的主要音（D 音）取自題名《又見東風》中「東」的拼音 Dong，全曲除常現的 Dong 咚咚鼓聲外，含有 D 音五聲性音列、D 大小調、多利亞調式（Dorian mode）等均為建構樂曲調性的依據及內在聯繫。

「食糊」（胡牌）與配器若論「打麻雀」的終極關懷，自當是成功「食糊」，這得需要高度的謀略與耐得住煎熬才能有所成就，因此，此曲嘗試在不同樂章借用創業營商中的竹子定律 1、荷花定律 2及金蟬定律 3，作為樂章的配器依據。如第一樂章以傳統尺八對單音的多種處理以示竹子定律，第二樂章在有限音域中的沉潛處理（荷花定律），以及第三樂章的循環音型（金蟬定律），到第四樂章的綜合使用等，以求各樂章以不同的方式展現民族管弦樂多元的音聲傳達。

竹子定律：竹子用了四年的時間，僅僅長了三厘米。從第五年開始，以每天 30 厘米的速度瘋狂地生長，僅六周的時間便能長到 15 米。其實在前面的四年，竹子的根已在土壤裡延伸了數百平米。人生需要儲備，經得起打磨，耐得起寂寞，扛得起責任，肩負起使命，人才會有價值。同是兩根竹子，一支經歷了千刀萬剮造成了笛子，一支只挨了一刀造成了晾衣杆。 2 荷花定律：一個池塘裡的荷花，每一天都會以前一天的兩倍數量在開放。即一個月到第廿九天，時荷花還僅僅開滿了一半，直到最後一天才會全開。也就是最後一天的速度最快，等於前 29 天的總和。這其中藏著深刻的道理就是：成功需要厚積薄發，需要積累沉澱。所以說很多雀局要到最後一局才能分勝負。 3 金蟬定律：蟬（學名：Cicadidae）要先在地下暗無天日的生活最少三年甚至更久，忍受各種寂寞和孤獨，依靠樹根的汁一點點長大，然後在夏天的一個晚上，悄悄爬到樹枝上，一夜之間蛻變成蟬。待太陽升起的那一刻飛向天空、衝向自由。

打雀英雄傳之又見東風陳明志曲（香港中樂團委作／世界首演）唸白：第三樂章：「萬」物眾生皆自得喃嘸喃嘸喃嘸喃嘸喃嘸阿彌陀大捨大得小捨小得唔捨唔得第四樂章：攻打四方城•筒索萬的交響嚟啦喂東南西北青龍白虎朱雀玄武冚棚冷返嚟清一色呀大三元大四喜呀對對糊

一條龍呀槓上花滿地開花頂呱呱十三么坎坎糊混一色門前清槓上槓九連環又開花海底撈月呵自摸爆棚哈嚦咕嚦咕哦嗚大相公呀小相公無陰功大娘子小娘子係咁鬆上下家搏晒懵亂咁郁真勢凶執咗位起個風筒索萬筒索萬東南西北中夏春秋夏春秋冬冬冬冬

English version

陳明志作曲香港土生土長的作曲家，自上世紀 80 年代初熱衷於民族管弦音樂，並矢志於民族管弦樂的傳承與發展；90 年代初獲文部省獎學金於東京藝術大學、伊麗沙白音樂大學等鑽研東亞民族管弦樂的音聲及現代音樂創作。畢業後歷任香港中樂團駐團作曲、助理指揮、研究員、臺南藝術大學副教授、上海音樂學院教授等， 2004-07 年間在上海音樂學院博士後流動站隨楊立青教授研究民族管弦樂編配及藝術與科技的探究。他的音樂語境展示了其對聲音本體、時空效應及戲劇思維與東方文化哲思的多重思考與融合。曾獲日本文化廳舞台藝術獎、聯合國音樂局年度推薦樂曲、第十四及第十七屆全國作品（合唱、室內樂）創作優秀獎、首屆世界互聯網音樂大賽獎（電子音樂組）等。2018 年獲香港藝術發展局頒發香港藝術家年獎（音樂）。現為星海音樂學院教授、碩士研究生導師（作曲／電子音樂）、聲音景觀實驗室負責人、音樂博物館研究員、廣東聲像燈光科技促進會音樂人工智能與聲音科技專業委員會主任，並致力於「文化傳承與創新」的活動，以及民族器樂與影像、肢體律動的交互、劇場的聲音設計等研究與創作。近期作品有民族管弦樂套曲《八桂情緣》、交響管樂套曲《非常珠三角• 大灣奏鳴曲》等。

大提琴協奏曲莊周夢趙季平曲音樂在夢境中馳騁 —「不知周之夢為蝴蝶與？蝴蝶之夢為周與？」作曲家採用大提琴與中樂隊的協奏形式演繹中國先秦思想家莊子的哲學觀，以求道之神韻。 — 趙季平 * 此曲大提琴協奏曲版本，由香港中樂團委作，並於 2008 年 11 月在香港文化中心音樂廳舉行的「馬友友與 HKCO — 2008 新視野藝術節」中作首演，指揮閻惠昌，大提琴獨奏馬友友。

趙季平作曲作曲家、教授、博士生導師。中國音樂家協會名譽主席、陝西省文聯主席、中國音樂著作權協會主席。歷任陝西省戲曲研究院副院長、陝西省歌舞劇院院長、西安音樂學院院長、中國音樂家協會主席。兩度獲得中國電影「金雞獎」最佳音樂獎、法國南特國際電影節最佳音樂獎、中國電視「飛天獎」優秀音樂獎、「飛天獎」突出貢獻獎；四度獲得中國電視「金鷹獎」最佳音樂獎；六次獲得中宣部「五個一工程獎」、中國金唱片「藝術成就獎」、中國音樂金鐘獎「聲樂作品大獎」、「二十世紀華人經典作品獎」、榮獲 2017 「中華之光」傳播中華文化年度人物大獎。

多年來，趙氏創作出大量優秀音樂作品，如《第一交響曲》、《第二交響曲——和平頌》；交響詩《霸王別姬》；交響音畫《太陽鳥》；交響組曲《喬家大院》；民族管弦樂《慶典序曲》、《古槐尋根》；大提琴協奏曲《莊周夢》、管子協奏曲《絲綢之路幻想組曲》、二胡協奏曲《心香》等；亦先後為多部電影及電視劇創作音樂。 2000 年，趙氏受德國柏林愛樂邀請以中國作曲家的身份參加柏林森林音樂會，第一次將中國作品展示在這個著名的世界級音樂舞台上。

阿佤佤山（選自《滇西土風三首》第一樂章）郭文景曲《滇西土風三首》這部作品的寫作時間跨度為 15 年，第一、二樂章完成於 1993 年，1994 年 3 月由香港中樂團首演，第三樂章完成於 2008 年底，2009 年 2 月作首演。這部作品的最終完成，要感謝香港中樂團總監閻惠昌先生的耐心、寬容與堅持。第一樂章：阿佤山樂曲以強烈尖銳的打擊樂器和彈撥樂指甲彈面板的特殊音響效果開始，渲染出原始的氣氛。在廣板之後，轉入沉重蒼涼的慢板，古老沉鬱的旋律在弦樂和大笛間交替出現。其後是憂鬱如歌的行板段落，樂曲在陳述與發展中一直保持著節奏的凝重質感，這一沉重的行進感從極弱推進到極強，在高潮中結束這一樂章。佤族主要分佈在雲南省西盟、滄源、孟連三縣山區，地處於瀾滄江和薩爾溫江之間，山巒重疊，平壩極少，被稱為阿佤山。佤族信仰一種萬物有靈的自然宗教，有殺雞、殺豬、剽牛祭鬼的習俗，並把木鼓作靈物崇拜，故有「砍牛尾巴」和「拉木鼓」的原始宗教活動。第二樂章：基諾舞本樂章並非輕盈歡快的舞曲，而是質樸沉穩的小快板，顯示出山民獨特的氣質。中間部分是較自由的山歌風樂段，由三支洞簫在三個不同的調性上演奏，之後又轉入小快板，並逐漸淡淡消失。基諾族主要聚居在西雙版納傣族自治州景洪市基諾區，是當地古老的原居民，從事農業為主，種茶歷史悠久，是馳名中外的普洱茶六大茶山之一。過去盛行祖先崇拜，信仰萬物有靈，亦尊奉諸葛亮，宗教活動與人們的生產、生活密切相關。第三樂章：祭祀 — 火把 — 烈酒這一樂章並不單一描寫某個民族，而是描寫雲南各民族都有的生活場景。樂曲著力表達的是那些與自然和諧相處並融為一體的人民所特有的豪放與粗獷的氣質。 — 郭文景

* 是次音樂會只演奏《滇西土風三首》第一樂章，本樂章使用之特色樂器：板胡（魏冠華、張宇慧）。 ** 《滇西土風三首》由香港中樂團委約創作，第一、二樂章於 1994 年 3 月於香港文化中心大劇院舉行的「雲南寄情」音樂會中首演，指揮福村芳一。第三樂章於 2009 年 2 月於香港大會堂音樂廳舉行的「樂旅中國 3 —郭文景的中樂世界」中作世界首演，指揮閻惠昌。

郭文景作曲中央音樂學院作曲系教授、博士生導師、中宣部首批「四個一批」人才。創作過六部歌劇、兩部芭蕾舞劇、三部戲劇配樂、八部協奏曲、六部交響曲、三首交響音詩、兩首交響序曲、兩部樂隊組曲、一首交響聲樂套曲、四部大型民族器樂曲、三部弦樂四重奏和 20 餘部室內樂重奏以及若干獨奏曲和無伴奏合唱曲等。作為教師，郭氏獲得過中國教育最高獎——「教育成果一等獎」；作為作曲家，他獲得過中國文藝最高獎——「中華藝文獎」；郭氏的專輯《野火》獲得了國家出版最高獎 ——「中國出版政府獎」。郭氏為中國國家大劇院創作的歌劇《駱駝祥子》2015 年在歌劇的故鄉意大利巡演獲得成功，成為第一部在歐洲巡迴演出的中文歌劇。意大利國家電視台也有史以來第一次全劇播出了一部非歐洲語的歌劇。他為中央芭蕾舞團創作的芭蕾舞劇《牡丹亭》曾在愛丁堡和林肯中心演出並進行美國巡演和歐洲巡演。他的交響音詩《蓮花》，是北京市給倫敦 2012 奧運會的禮物，由北京交響樂團在倫敦首演並獲讚譽。2008 年，郭氏應邀為北京奧運會開幕式中《活字印刷》的表演創作了獨具特色的音樂。此外，他亦先後為張藝謀、姜文的電影以及其他 40 多部電影和電視劇寫過音樂。

Symphonic Poem

Flowing Water Chan Pui Fang

Inspired by a guqin tune of the same title*, the composer expresses his love of his native land through a description of the various forms of water running and flowing. The eulogizing theme is vividly brought out by the recurrent motif of flowing water throughout the work. The melody reaches its climax with detailed and highly focused depiction of breakers or quietly flowing brooks and rivers. Sights, sounds and emotions are brought together in a bounteous land called China. The music opens and ends with a majestic solemnity that depicts the scaling mountain ranges enveloped by clouds and mist, as a poet conceives in the poem On the Three Gorges: Mount E and Mount Min are as high as ten thousand zhangs Gap Wu retains the west wind. But the flow of the river cannot be restrained And all streams flow towards the east. - Chen Yi * The background story to this piece was attributed to Boya of the Spring and Autumn Period. A master player of the qin, he found a soul mate in the woodcutter Zhong Ziqi. He adopted the Confucian concept that people of selfless virtue enjoy the mountains, and people of wisdom enjoy the waters. So the music actually originated as Gaoshan Liushui (High Mountains and Flowing Water) in one piece. By the Tang Dynasty, it was divided into two works. Then by the Song Dynasty, it was further divided into several sections. The qin masters of the following Ming and Qing periods had also contributed their interpretations to perfect the piece. It is therefore a collective work of qin players of numerous generations in China. ** The music was commissioned by the HKCO and premiered in September 1986 at the concert ‘Song of Peace’ in the Hong Kong City Hall Concert Hall, guest conducted by Yip Wai-hong.

Chan Pui Fang (1921 - 2007) Composer (Photo on p.30) Chan Pui Fang’s family came from Hepu, Guangxi. He was born in Hong Kong, and first received piano training under his uncle. He entered the Diocesan Boys’ School in 1936, where he was awarded a full scholarship to learn pipe organ and piano as well as music theories like harmony and polyphony at St. John’s Cathedral under Lindsay Lafford and John Reginald Martin Smith. In 1939, he entered the National Conservatory of Music of Shanghai where he studied Composition under Li Weining. With the political unrest worsening by 1941, he returned to Hong Kong where he joined the music task force supporting China in the Sino-Japanese War. When Hong Kong fell to the Japanese, he managed to go back to China against all odds. He taught in several arts institutes during the war years, with locations spanning Hong Kong, Qujiang, Chongqing, and Shanghai. After the War, he returned to Shanghai to further his studies in Composition Techniques under Tan Xiaolin, a student of Paul Hindemith. He was a long-serving faculty of the Central Conservatory of Music in Beijing after 1949, having held such positions as Associate Professor in Composition, Professor and Head of its Centre for Orchestration Studies. He returned to Hong Kong in 1981 and joined the Faculty of Arts Education of the Hong Kong Baptist College (now Hong Kong Baptist University). Chan’s composition oeuvre includes piano pieces Yearning for Spring, Selling Groceries, Thunder in a Drought, Variation on a Pair of Butterflies in Flight, and Autumn Moon on a Placid Lake; symphonic poems The Heart is Like the High Tide and Chong-Tou-Yue (By-passing); symphonic pictures Flowing Water and Happy Spring Evening; fantasia overture Wang Zhaojun; symphonic works Symphony No. 1 My Motherland, Symphony No. 2 Rites of Qingming, and Symphony No. 3 Ode to Plums and Pines; sinfonietta Welcoming Spring; gaohu concerto Themes from Cantonese Music; Children’s Day Overture for orchestra and chorus; sinfonietta Youth; symphonic dance Celebration for Chinese orchestra; and the ballad for orchestra, Ruminations. Among them, Chong-Tou-Yue received a Class One Award for Originality at the 30th National Day of China, and Rites of Qingming received an Outstanding Award at the first All China Symphonic Works Competition. 36

Blue Notes Leon Ko (Commissioned by the HKCO / World Premiere) Blue is the sound of the south. The blues has a southern ring to it. This play on words works much better in Chinese, for “blue” and “south” share the same sound except for the alliteration. Some say nanyin (sound of the south) is Chinese people’s blues. If that is the case, I wonder what sort of a connection the West has when they hear nanyin. If blues is wine drunk to melancholy, nanyin is the calming cigarette smoked after a sad story. Rarely does nanyin come in a short form, whereas a 12-bar blues is typical. I think nanyin is more akin to recitative, distilling ages of bitterness. For a while, the working title of this piece was Passio X, borrowing Passion oratorio as a vehicle for Southern Chinese music to describe the all-too-familiar hardship. Parts of it are even written in fugue. But music sometimes takes on a life of its own, and in the last minute the title Blue Notes came knocking. I made no attempt to distinguish Western music versus Chinese music in Blue Notes, but let the instruments tell stories of deep emotions. - Leon Ko * The exotic instrument used in this piece: Yehu (Mak Ka Yin)

Leon Ko Composer (Photo on p.31) Leon Ko holds a Master’s degree in Musical Theatre Writing from New York University. His musical, Heading East, won the Richard Rodgers Development Award in the US, and his musicals in Cantonese - The Good Person of Szechwan, Field of Dreams, The Passage Beyond, Our Immortal Cantata, and Sing Out – have won him eight awards for Best Original Music and Lyrics at the Hong Kong Theatre Awards. In 2011, his musical Takeaway was premiered at the Theatre Royal Stratford East in London. He collaborated twice with Hong Kong Sinfonietta on The Passage Beyond in Concert, which was made into a recording and released under the international Decca label. Ko was the curator and musical director of The Originals, a concert to celebrate 48 years of Hong Kong original musicals in 2020. In 2021, his musical The Impossible Trial will be premiered in Hong Kong. Ko’s score for the film, Perhaps Love, garnered a Golden Horse Award in Taiwan, a Hong Kong Film Award, an Asia-Pacific Film Festival Award, and a Golden Bauhinia Award for Best Film Score. His title song for the film, The Last Tycoon, won another Best Original Film Song at the 32nd Hong Kong Film Awards. Other film scores he wrote included The Warlords, The Great Magician, That Demon Within, Dearest and Monster Hunt. In 2018, he was the first composer in Hong Kong to stage a concert exclusively for his original film scores entitled The Amazing Filmphony. Ko was the Musical Director of the mandarin version of Jacky Cheung’s musical, Snow, Wolf, Lake. He also wrote the musical section of Cheung’s two world tours, ‘The Year of Jacky Cheung on Tour’ and ‘1/2 Century Tour Jacky Cheung’. Other credits include new music for the Cantonese Opera classics, Princess Chang-ping and The Reincarnation of the Red Plum. Ko was Artist Associate of Hong Kong Sinfonietta in 2018-2019.

It’s the East Wind Again from Tale of the Mahjong Heroes Chan Ming-chi (Commissioned by the HKCO / World Premiere) Mahjong is considered the quintessential recreational game in Chinese gambling culture. It makes references to the Chinese theory of the Five Elements, the ultimate concept of “Three creates all things” set out in the Book of Changes, and even divination works such as Qimen Dunjia. 37

A set of mahjong tiles has three suits: Circles, Bamboo and Characters. The bamboo suit represents heaven; the circle suit, earth; and the character suit, written using the Chinese character for “myriad”, the myriads of living beings and the potentiality for change in Buddhism. Mahjong is a game of strategy, calculation, and techniques. There are all kinds of ways to go about the game, and the competitiveness means that only players who can make quick judgments and devise winning strategies can become the best of the best. The work is in four movements, each featuring signatory sounds played by different instruments. Longitudinal, end-blown bamboo instruments such as the chiba (the Japanese shakuhachi) represent the Bamboo suit, handpans and other round-shaped instruments symbolize the Circles suit, and the muyu (wood block) and vocal chorus represent the Characters suit. The finale is a symphony of all three groups. The recurrent “dong dong dong” signify the beginning of another four-rounds, with the East Wind as the first. (The “dong” sound is a homophone for the Chinese character of “east”). Each appearance of “dong dong dong” establishes the tonic for the overall tonality of the piece. The first movement: The Strategic Battle for the Winning Tile The mahjong game starts: like hunters advancing toward their prey, the players come up with all kinds of strategies and battle it out on the mahjong table. The shakuhachi opens the movement with its explosive breath attack (muraiki) notes and aggressive, and powerful timbre. The target of all “mahjong heroes” is to assemble a hand and wait for the clamp down with the winning tile to end the game. The second movement: When Luck Comes in Full Circle Each game of mahjong proceeds in an unpredictable manner. Time and time again, players find themselves with a good hand, but struggle to take a win, just like the handpan’s droning and throbbing in its limited acoustic range. Just when it seems like there is no hope, the God of Wealth bestows his blessings, and the resulting sense of triumph burns like a fire in the soul. The third movement: For the Myriad Living Things on Earth The game of mahjong is about assembling a winning hand. A single tile can turn the tide, while players can switch to a different suit mid-game and seize the initiative. As the lyrics from the theme song of Games Gamblers Play go, “there is no need to be mad if you lose everything”, the cyclic figure suggests that be it a good hand or bad, a mahjong hero should always keep his cool. The fourth movement: A Symphony of Clattering Tiles There are two sides to all things. Whether one considers mahjong as a form of gambling or entertainment, the fact is that it is a way of life that subtly reflects the characteristics of different local cultures. At the end of the day, we are free to savour in the delights that the game brings to our hands, brain, ears and eyes. As for finding life’s meanings and wisdoms in the symphony of the clattering of tiles, it is up to the individual. - Chan Ming-chi * The exotic instruments used in this piece: Handpan (Luk Kin Bun), Shuigu (water drum), Voodoo drum, Seed rattle, Mahjong table top made up of modular cajons (wooden box drums) (Chau Chin-tung)

Chan Ming-chi Composer (Photo on p.33) Hong Kong born and bred composer Chan Ming-chi has been an active figure in ethnic orchestral music since the early 1980’s, and has made it his lifelong goal to uphold the continuum and development of the genre. Chan was awarded a scholarship by the Ministry of Education of Japan in the 1990’s to study at the Tokyo National University of Fine Arts and Music and the Elizabeth

Music University. His specialism was in the research of the sound of East Asian ethnic music and modern music composition. Upon graduation, he was, at various stage of his music career, Resident Composer, Assistant Conductor and Research Fellow at the Hong Kong Chinese Orchestra, Associate Professor at the Tainan University of the Arts, and Professor at the Shanghai Conservatory of Music. Between 2004 and 2007, Chan followed Professor Yang Liqing at the Postdoctoral Mobile Research Station of the Shanghai Conservatory of Music to conduct research in ethnic orchestral music arrangement, arts and technology. The context of Chan’s music shows his diverse perception of sounds and their attributes, reflection on the integration of various factors such as the nature of sound itself, space-time effects, dramatic thinking and philosophy of Oriental culture. He is the recipient of many prestigious awards including the Government of Japan Agency for Cultural Affairs Award for Stage Arts, Commendation of the International Music Council of UNESCO, 14th and 17th National Music Composition (Choral and Chamber Music) Excellence Award, and the first International Internet Music Competition Award (Electronic Music). The most recent was the Artist of the Year – Music award from the Hong Kong Arts Development Council in 2018. Chan is currently on the faculty of the Xinghai Conservatory of Music, a supervisor on its Master’s degree (Composition and Electronic Music) programme, Head of the Soundscape Laboratory, Researcher of the Music Museum, Chairman of the Music Artificial Intelligence and Sound Technology Council of the Guangding Sound, Visual and Lighting Association, dedicating to the “cultural heritage and innovation” activities. His academic focus is on the research and composition of ethnic instrumental music that is interactive with images and physical body movements, and theatre sound design. His recent works include the mega stage production, The Predestined Love of Guangxi sponsored by the China National Arts Fund, and the Sonata for Wind Orchestra:The Great Bay.

Cello Concerto Zhuang Zhou’s Dream Zhao Jiping Let music roam free in a dream - in the style of the famous rhetoric adage on life by Zhuang Zhou, the great philosopher of China who lived in the 4th Century BCE, “Is it but Zhuang Zhou’s dream of a butterfly? Or a butterfly’s dream of Zhuang Zhou?” This concerto for cello and Chinese orchestra seeks to give an inspiring musical interpretation of the Dao, or the ‘Way’, of Zhuang. - Zhao Jiping * The cello concerto version of this work was commissioned by the HKCO and was premiered at the concert entitled ‘Yo-Yo Ma & HKCO – 2008 New Vision Arts Festival’, held in November 2008 at the Hong Kong Cultural Centre Concert Hall, conducted by Yan Huichang, cello solo by Yo-Yo Ma.

Zhao Jiping Composer (Photo on p.33) Zhao Jiping is a composer, professor and supervisor on doctoral programmes. He is currently the Honorary Chairman of the Chinese Musicians’ Association, Chairman of the China Federation of Literary and Art Circles – Shaanxi Chapter, and President of the Music Copyright Society of China. During his illustrious career, Zhao has served as Vice President of the Shaanxi Traditional Opera Research Institute, Head of the Shaanxi Song and Dance Theater, President of the Xi ‘an Conservatory of Music, and Chairman of the Chinese Musicians’ Association. Zhao has won numerous accolades at home and abroad, including in China, twice the Golden Rooster Award for Best Music in films, four times the Golden Eagle Award for Best Music in television, and Outstanding Music and Remarkable Contribution awards at the Flying Apsaras

Awards for television; and in France, Best Music at the Festival of 3 Continents. Other accolades include the Five ‘One’ Project Award presented by the Publicity Department of the CPC Central Committee six times, the China Gold Record Award for Artistic Achievements, the Grand Prix for Vocal Music Composition at the Chinese Golden Bell Awards for Music, the 20th Century Chinese Classics Award etc. He was named ‘Leading Light of China’ in 2017 for spreading Chinese culture. A prolific composer, Zhao has created numerous notable works over the years, such as Symphony No. 1, Symphony No. 2 – Ode to Peace; the symphonic poem Farewell to My Concubine; the symphonic picture The Sunbird; the symphonic suite Qiao’s Grand Courtyard; Celebration Overture and Follow the Pagoda Tree to Trace the Roots of Our Ancestors for Chinese orchestra; the cello concerto Zhuang Zhou’s Dream; the guan concerto The Silk Road Fantasia Suite; the erhu concerto The True Hearted, and many more. He has also won fame with his scores for films and television dramas. In 2000, Zhao was invited by the Berliner Philharmoniker to represent Chinese composers at its traditional Waldbühne concert. It marked the debut of a contemporary Chinese composer on this world famous concert stage.

A Va Mountain (Excerpt from the first movement of Three Melodies of West Yunnan) Guo Wenjing

The work Three Melodies of West Yunnan has taken fifteen years to complete: the first and second movements were written in 1993 and premiered by the Hong Kong Chinese Orchestra in March 1994, with the third only completed in late 2008 and received its world premiere in February 2009. I have to thank Mr Yan Huichang, Artistic Director of the HKCO, for his patience, tolerance and persistence. The first movement: A Va Mountain The music opens with brash percussion accompanied by a special al ligno effect on the plucked-string instruments, that is, the soundboards are sounded through the flicking of fingernails on them. A primitive scene is set. Then a largo is followed by an adagio doloroso, with the ancient and grave melodic figure alternating between the dadi and the strings. A melancholic passage in andante cantabile follows. The music maintains a rhythmic yet serious texture in both the exposition and development sections. The plodding progression moves from a pianissimo to a fortissimo close, pushing the work to its climactic ending. The Va people mainly live in the mountainous regions of Yunnan, in the Ximeng, Cangyuan and Menglian prefectures between the Lancang River and the Sa’erwen River. It is a region of rugged terrain and very little flat land, and is known as A Va Mountain. The Va people practise pantheistic beliefs and a natural religion. Their customs used to include animal sacrifices of chickens, pigs and cattle to appease the ghosts. They also worship the wooden drum as spiritual objects. That is why they have such primitive religious activities as ‘chopping off the oxtail’ and ‘pulling the wooden drums’. The second movement: Jino Dance This movement is not a light-hearted and brisk dance tune, but an allegretto piece that is of a sombre and stable character. It is indicative of the special characteristics of the people who live there. The middle section is in a free, folk ballad form, performed by three dongxiao in three different modalities. The work then changes back to allegretto and gradually fades out. The Jino people mainly live in the Jino Region of Xishuang Banna in Yunnan. Being the original inhabitants of the area since time immemorial, they are an agrarian people, with tea planting their major occupation for

a very long time. Jino Mountain is one of the six major plantations of pu’er tea in China. Ancestral worship and pantheism prevailed in the past, and the people also venerated Zhuge Liang, the legendary strategist of the Three Kingdoms Period (220 - 280). Religion is linked to every aspect of their life, including production and daily living. The third movement: Sacrifice – Torches – Potent Liquors This movement does not purport to describe any particular tribe in Yunnan, but is a collective description of scenes from the lives of various tribes that inhabit the province. The movement places its emphasis on those people who live in harmony and are at one with Nature, and their robust and rough-hewn character. - Guo Wenjing * Only the first movement of Three Melodies of West Yunnan is performed in this concert. The exotic instrument used in this movement: Banhu (Ngai Kwun Wa, Zhang Yuhui). ** Three Melodies of West Yunnan was commissioned by the HKCO. The first and second movements were premiered in March 1994 at the concert ‘Yunnan Passion’ held at Hong Kong Cultural Centre Concert Hall, under the baton of Yoshikazu Fukumura. The third movement was world premiered in February 2009 at the concert ‘Music about China 3 – Guo Wenjing’s World of Chinese Music’ held at Hong Kong City Hall Concert Hall, under the baton of Yan Huichang.

Guo Wenjing Composer (Photo on p.35) Guo Wenjing is on the faculty of the Department of Composition and supervisor for doctoral candidates at the Central Conservatory of Music in China. As a composer, his oeuvre includes six operas, two ballets, music scored for three plays, eight concerti, six symphonies, three symphonic poems, two symphonic overtures, two orchestral suites, one song cycle for symphony and voice, four full-length pieces of Chinese instrumental music, three string quartets, over twenty pieces for chamber and ensemble, as well as a number of solo pieces and a cappella pieces for chorus. Guo is a high-achiever in many fields: as pedagogue, he was presented a Class One Award in Education Achievement, the highest award in education in China; as composer, he was presented the China Literary Award, the highest accolade in the culture and arts sectors of China; and his album Wild Fire was awarded The Chinese Government Award for Publishing, the highest honour in publishing recognized by the State. Guo’s opera Rickshaw Puller Camel Xiangzi – commissioned by the National Centre for the Performing Arts – was highly acclaimed in its 2015 tour in Italy, the land of the opera. Not only was it the first Chinese opera on tour in Europe, it was also the first full-length non-European language opera production ever televised on Rai (Radiotelevisione Italiana). The ballet version of Peony Pavilion, which he scored for the National Ballet of China, was staged in Edinburgh and the Lincoln Center in New York, before it was taken on tour to the United States and Europe. His symphonic poem Lotus Overture – a ‘gift’ from the City of Beijing to the City of London on the occasion of the 2012 Olympic Games – was premiered in London by the Beijing Symphony Orchestra to acclaim. In 2008, he scored for Movable-type Printing, one of the impressive segments of the Opening Ceremony of the 2008 Beijing Olympics. He has also scored for the films directed by Zhang Yimou and Jiang Wen, as well as over forty films and television dramas.

香港中樂團研發出環保胡琴系列第三代連續七年獲獎演出邁向 1500 場香港中樂團環保胡琴系列榮獲：「環保品牌大獎 2018」（2018） U Green Awards「傑出綠色貢獻大獎—文化與藝術」（2015、2016）「香港環保卓越計劃」頒發「2013 環保創意卓越獎」（2014）

2012 年榮獲國家「第四屆文化部創新獎」推薦單位：香港特別行政區政府民政事務局

環

保胡琴系列是樂團為發展民族管弦樂新型的整體音響而創製的改革樂器。設計的概念貫穿環保、承傳和創新三方面，其核心的工程包括：篩選出多種可再生的 PET 聚脂纖維膜取代蟒蛇皮，以實踐環保之目標，以科學的計算法重新設計共鳴箱，大幅提昇樂器的物理功能。高胡、二胡、中胡的改革重點，是在保留傳統樂器的音色和演奏法的基礎上，擴張其表現力。而革胡和低音革胡的改革，則從樂團的整體音響結構出發，創造適合現代民族管弦樂團使用的民族拉弦低音樂器。整套膜振弦樂器在橫跨 6 組 8 度的音域裡，音色溶成一體，音量較傳統弦樂器大三分之一以上，實現了整體音響在層次、織體、質感、厚度、響亮度上前所未有的突破。這種具典型的中國胡琴韻味音色亦具交響功能的音響，更具有豐富的表現力和藝術感染力。新的整體音響為民族音樂的發展開拓新的空間。第一代環保胡琴研發由 2005 年開始，2009 年整體完成。2014 年完成第二代，2019 年進入第三代。目前演出場次邁向 1500 場。三代環保胡琴研發之目的，為配合藝術總監的整體發展佈局。通過樂器功能的改良，擴展樂曲表現力及提高演奏水準。通過三者的循環互動為樂團帶來質的改變，全方位提高樂團的層級。環保胡琴結構性改革的靈感與突破點，均源自對現場演出的觀察，經研究室的設計、實驗後推出的試驗品。通過多場演出驗證後，調整、定型。經過藝術小組審核，最後由藝術總監拍板進入樂隊使用。經此程序誕生的三代環保胡琴具備很高的科學性與實用性，也迎來樂團水準的不斷提升。對民族音樂的熱愛令我們無悔付出更多，成果帶來的精彩讓我們自豪。在兩位總監身體力行的帶領下，我們在創造香港環保與藝術雙贏的歷史，我們將繼續完成這項偉大的工程。「天行健，君子以自強不息」。研究及發展部研究員樂器研究改革主任阮仕春 (12.2.2019)

The HKCO Eco-Huqin Series Now into the 3rd Generation - Seven-year consecutive awardee, with performances close to the 1500 mark Excellence of HKCO’s Eco-Huqin Series recognized: ‘Eco-brand Awards 2018’ (2018) U Green Awards for 'Excellence of Environmental Contributions Culture and Art' (2015, 2016) '2013 Green Innovations Award' in the 'Hong Kong Awards for Environmental Excellence' (2014) Recipient of the '4th Ministry of Culture Innovation Award' of the People's Republic of China in 2012 On the recommendation of the Home Affairs Bureau, HKSAR Government

The Eco-Huqin Series is a system of reformed (or remodelled) musical instruments developed by the Hong

Kong Chinese Orchestra motivated by the need to create a new orchestral voice. The design encapsulates a three-pronged motive, which is to address environmental concerns, uphold a musical heritage and break new ground. The engineering process involved selecting, through shortlisting, a range of renewable PET membranes to replace the python skin that was used for the original, older model in order to meet the primary goal of environmental protection, and redesigning the sound box through a scientific method of calibration to greatly enhance the physical functions of the instruments.

In remodelling the gaohu, erhu and zhonghu, the main emphasis is on the expansion of their physical capabilities while preserving their traditional timbre and mode of performance. As for the gehu and the bass gehu, it is to re-create bowed ethnic instruments suitable for use in a modern Chinese orchestra in order to achieve an overall orchestral sound. The entire set of vibrating membrane string instruments has a range of six octaves that blend well with each other, while the volume is larger by one-third when compared with the traditional model. The result is an unprecedented breakthrough in the overall orchestral voice, in terms of nuances, texture, body, depth and volume. It has the typical tonal appeal of the Chinese huqin and at the same time serves the symphonic functions as expected of an orchestra, with enhanced expressiveness and compelling qualities that open up new dimensions for Chinese music on the whole. The research and development process of the first generation of Eco-Huqins began in 2005 and achieved preliminary success in 2009. It was followed by the completion of the second generation in 2014, then moving on to the third in 2019. By now, the Eco-Huqins have been heard in almost 1500 performances. The research and development processes of the three generations of Eco-Huqins have been geared around the Artistic Director’s macro vision for the Orchestra. By reforming the functions of the instruments, musical expressiveness are expanded and performing standards enhanced.The three aspects generate cyclical, reciprocating effects which lead to fundamental changes in the Orchestra’s timbral quality, and escalate it to a higher level in every way. The structural changes of the EcoHuqins and breakthroughs start with inspirations gleaned from on-site observations of performances, designing and experimenting at the HKCO’s R&D Department, repeated empirical testing on the concert stage, adjusting, formulating and assessments by the Artistic Team before the Artistic Director put his stamp of approval of incorporating these instruments into the configuration of the orchestra.This stringent process ensures that the three generations of EcoHuqins are scientifically and pragmatically viable.We are gratified and proud to see our long-term efforts bearing fruit, as reflected in the continuous escalating of standards of the Orchestra. Led by the Artistic Director and the Executive Director, we are making history both in ecology and the arts in Hong Kong. As the Book of Changes famously states, ‘Just as the heavens have their ways of self-rejuvenation, the superior man ought never to rest in his self-improvement.’ We shall continue to work until our grand mission is complete. Yuen Shi Chun Research Fellow, Research and Development Department Research & Development Officer (Musical Instruments) 12 February, 2019

專家推介：「我相信這部書將為中樂事業再添異彩，成為現代中樂指揮發展史上的一本不可多得的文獻！」 ──趙季平

（作曲家、中國音樂家協會名譽主席）

「這書絕對是一本珍貴的讀物、教材或參考書。」 ──陳澄雄（指揮家、國際中樂指揮大賽評審委員會主席）

「我深感中樂振興的時代到來了。」 ──湯沐海

（指揮家、前瑞士蘇黎世室內樂團音樂總監）

「年輕的指揮家們，你們身上肩負着民族音樂的未來與希望！」 ──閻惠昌

（香港中樂團藝術總監兼終生指揮、國際中樂指揮大師班及國際中樂指揮大賽創辦人）

周光蓁主編定價 : HK$158 購書網站

本書是第一本全方位關於中樂指揮的論著，深入淺出介紹中樂合奏的基本知識。「培訓篇」精選 2009年大師班各專題講座，由專家剖析作品如何演 2019 年以來三屆國際中奏、演繹。「實踐篇」回顧 2011 樂指揮大賽的精華及啟示。文字以外，全書配以圖片、譜例和視像（ QR 碼），既為專業參考，亦作普及通識，冀收雅俗共賞之效。

《揮灑自如──中樂指揮培訓與實踐》

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重溫過千萬點擊率之《龍船》、《追月》、《冬日》 Watch our Chinese Music MVs with over ten million hits: Dragon Boat, Moon Chaser, Winter Days

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news headlines of HKCO have been awarded in the RTHK Top 10 MUSIC HEADLINES! 香港中樂團出版結集十年大師班和指揮大賽精華而成的《揮灑自如 – 中樂指揮培訓與實踐》，是音樂史上首部集教學與實踐的中樂指揮讀本。

香港中樂團與 3 香港組成 5G 策略聯盟，成為香港首個以 5G 技術直播音樂會及首個獲香港電訊管理局支持 5G 技術計劃的藝術團體。

香港中樂團創辦「中國鼓樂評級試」，已獲香港中文大學音樂系中國音樂研究中心資歷認可，為本地中國鼓樂發展立下重要里程碑。

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Please support HKCO with your donations 香港政府藝術發展配對資助試驗計劃每 1 元捐款將令樂團雙倍受惠*！ Hong Kong Chinese Orchestra is participating in the Art Development Matching Grants Pilot Scheme (operated by the Hong Kong Government). Every HK dollar you donate to us will be doubled*!

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節目一覽 FESTIVAL PROGRAMME

荀伯格合唱團 Arnold Schoenberg Choir 《節目構想》 Curating the Programme 《後浪漫主義時期的歐洲合唱音樂傳統》 The European Choral Tradition of the Late Romantic Period

粵劇《挪亞方舟》 Cantonese Opera Noah’s Ark 幕後花絮 Behind-the-scenes 《當彩瓷遇上戲曲》 Telling Images of Xiqu on Porcelain

查爾斯．理察－哈梅林音樂會 Charles Richard-Hamelin Concerts 《面對鋼琴大賽的焦慮》 Conquering Performance Anxiety in Piano Competition

多瑪倉庫劇院《盲流感》 Donmar Warehouse Blindness 香港中樂團 — 樂旅中國 Hong Kong Chinese Orchestra Music About China 俄羅斯莫伊謝耶夫舞團「特備節目」 Igor Moiseyev State Academic Ensemble of Popular Dance Igor Moiseyev Ballet Special 《繼續演出》─ 伊蓮娜．莎巴科娃從藝五十年 Without Intermission – 50 Years of Artistic Life of Elena Shcherbakova

香港小交響樂團英雄·貝多芬 Inspired by Beethoven – Hong Kong Sinfonietta．Eroica

賽馬會本地菁英創作系列《後話西遊》/《兩個女子》 Jockey Club Local Creative Talent Series Journey to the West Rewind / Women Like Us 《〈兩個女子〉：追求漫長幸福路的艱辛》 Women Like Us On the Arduous Path to Happiness 《〈後話西遊〉：如何在新常態下繼續取經》 The New Normal of Journey to the West Rewind

賽馬會本地菁英創作系列音樂劇《日新》（暫名）工作坊展演 Jockey Club Local Creative Talent Series Yat-sen (tentative title) Workin-Progress Preview 《〈日新〉創作團隊訪問》 Creative team sharing on Musical Yat-sen

馬修．伯恩芭蕾電影系列《仙履奇緣》 Matthew Bourne’s Ballet Film Series Cinderella 幕後花絮 Behind-the-scenes

馬修．伯恩芭蕾電影系列《羅密歐與茱麗葉》 Matthew Bourne’s Ballet Film Series Romeo & Juliet 幕後花絮 Behind-the-scenes

馬修．伯恩芭蕾電影系列《天鵝湖》 Matthew Bourne’s Ballet Film Series Swan Lake 幕後花絮 Behind-the-scenes

馬修．伯恩新冒險舞蹈團芭蕾電影《紅舞鞋》 A Matthew Bourne’s New Adventures production Ballet Film: The Red Shoes 捷克布爾諾國家歌劇院《耶奴法》 National Theatre Brno Jen fa 幕後花絮 Behind-the-scenes 《追尋楊納傑克的足跡》 In the Footsteps of Leoš Janá ek 《樂遊捷地》 Into the Czech Lands

捷克布爾諾國家歌劇院《狡猾的小狐狸》 National Theatre Brno The Cunning Little Vixen 幕後花絮 Behind-the-scenes

捷克布爾諾國家歌劇院《失蹤者的日記》 National Theatre Brno The Diary of One Who Disappeared 《演繹楊納傑克》 Performing Janá ek 《楊納傑克的戀戀情思》 Janá ek's Unrequited Love

巴維．哈斯四重奏 Pavel Haas Quartet 《楊納傑克與馬天奈弦樂四重奏：親暱與著迷》 Janá ek and Martin : Intimacy and Obsessions in String Quartets 《追尋楊納傑克》 Finding Your Own Janá ek

揚．巴托斯鋼琴獨奏會 Piano Recital by Jan Bartoš 《楊納傑克鋼琴作品分析》 Revealing Janá ek and His Piano Works

史葛．蕭凡《心靈旅程》 Scott Silven’s The Journey 演後藝人談 Meet-the-Artist

快刀劇場《無晴情天氣報告》 The Chop Pathetic Fallacy 香港賽馬會當代舞蹈平台《當代十年》 The Hong Kong Jockey Club Contemporary Dance Series Dance On and Off 《疫情下舞蹈家如何發展身體潛能》 Dancers at Home 《在不明確的世界中尋找眾聲起舞的意義》 Voice Out Mokita in An Uncertain World

香港賽馬會當代舞蹈平台《沒有大象》/《得體》 The Hong Kong Jockey Club Contemporary Dance Series Elephant in the Room / Dirty

《鼠疫》（粵語版） The Plague (Cantonese version) 《為鼠疫作證》 The Witnesses of The Plague

《鼠疫》（英語版） The Plague (English version) 《此時此刻，重讀卡繆〈瘟疫〉》 Seeing your own plague in Albert Camus’s The Plague

音樂 Music 舞蹈 Dance 戲劇 Theatre 歌劇 / 戲曲 Opera/Chinese Opera

加料節目藝術家分享 Artist Sharing

維也納交響樂團音樂會 Wiener Symphoniker’s Concerts 導賞講座 Guided Talk

葉氏兒童合唱團兒童歌劇《愛麗絲夢遊仙境》 Yip’s Children’s Choir Children’s Opera Alice in Wonderland

香港賽馬會當代舞蹈平台《在不明確的世界中尋找意義》 The Hong Kong Jockey Club Contemporary Dance Series Finding Meaning in an Uncertain World 香港賽馬會當代舞蹈平台《Mokita》/《眾聲起舞》 The Hong Kong Jockey Club Contemporary Dance Series Mokita / Voice Out 香港賽馬會當代舞蹈平台《火滅》/《煉金》 The Hong Kong Jockey Club Contemporary Dance Series Put Out the Flame / Hermetic Diode

幕後花絮 Behind-the-scenes 紀錄片放映 Documentary Screening 講座 Talks 網上展覽 Online Exhibition

請瀏覽香港藝術節網站，查看最新節目資訊 Please visit the HKAF website for latest programme information

www.hk.artsfestival.org

鳴謝 ACKNOWLEDGEMENTS 香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support: 贊助舍計劃會員 PATRON’S CLUB MEMBERS 鉑金會員 Platinum Member 嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member 怡和集團 The Jardine Matheson Group

純銀會員 Silver Member 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 Group 上海商業銀行有限公司 Shanghai Commercial Bank Limited

實物支持機構 IN-KIND SUPPORTERS 嘉頓有限公司 The Garden Company Limited

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HK$30,000 – HK$69,999

HK$12,000 – HK$29,999

HK$6,000 – HK$11,999

Shun Hing Group

Mr & Mrs Jeffrey & Helen Chan Mr SHN Cheng Ms Jenny Hodgson Mr Stephen Tan Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao Samuel & Amy Wang Mr Andric Yew

無名氏 (3) Anonymous (3) Mr & Mrs David S L Lin Dr Ronald Paul Ng Mrs A.M. Peyer Leland & Helen Sun Mr Wong Yick Kam Ms Isabel Yiu

新作捐助計劃 NEW WORKS SCHEME 黃金捐款者 GOLD DONOR

青銅捐款者 BRONZE DONORS

HK$12,000 – HK$29,999

HK$3,000 – HK$5,999

劉仰澤先生 Mr Lau Yeung Chak

無名氏 Anonymous Ms Grace Chiang Mrs A.M. Peyer

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

無名氏 (3) Anonymous (3) Ms Grace Chiang Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Dr Jason Yeung

支持及協助 SUPPORT AND COOPERATION

Acorn Design Alfie Leung Design 教育局藝術教育組 Arts Education Section, Education Bureau 香港展能藝術會 Arts with the Disabled Association Hong Kong 香港愉景灣酒店 Auberge Discovery Bay Hong Kong 奧地利駐香港總領事館 Austrian Consulate General Hong Kong 樺利廣告有限公司 Avanny Advertising Co Ltd

BRICK LANE 英國駐香港總領事館 British Consulate General Hong Kong

香港黃金海岸酒店 Hong Kong Gold Coast Hotel

道風山基督教叢林 Tao Fong Shan Christian Centre

香港管弦樂團 Hong Kong Philharmonic Orchestra

藝林文具印刷有限公司 The Artland Co Ltd

香港旅遊發展局 Hong Kong Tourism Board

香港八和會館 The Chinese Artists Association of Hong Kong

香港小交響樂團 Hong Kong Sinfonietta

香港中文大學 The Chinese University of Hong Kong

宜必思香港中上環 ibis Hong Kong Central and Sheung Wan

• 文化及宗教研究系 Department of Cultural and Religious Studies • 音樂系 Department of Music • 文學院 Faculty of Arts

工銀亞洲 ICBC (Asia) 香港以外地區經濟事務辦事處新聞及公共關係組 Information and Public Relations Units in Offices Outside Hong Kong

百老匯院線 Broadway Circuit

港島太平洋酒店 Island Pacific Hotel Hong Kong

CAMPSITE

JellyBin Limited

Broadway Cinema

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

港青 - 香港基督教青年會 The Salisbury – YMCA of Hong Kong

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

THEDO

馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

三角關係 Trinity Theatre

Maxibit HK/China 中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC

捷克共和國駐香港領事館 Consulate General of the Czech Republic in Hong Kong

MOViE MOViE 太古城中心 MOViE MOViE Cityplaza

香港城市大學中文及歷史學系 Department of Chinese and History,The City University of Hong Kong

Mission Production Company Ltd

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place 李鏡輝先生 Mr Alpha Li 前進進戲劇工作坊 On & On Theatre Workshop

One Minden Tapas Kitchen

香港教育大學文化與創意藝術學系 Department of Cultural and Creative Arts, Education University of Hong Kong

柏斯琴行 Parsons Music Limited

嶺南大學文化研究系 Department of Cultural Studies, Lingnan University

卓滙達有限公司 Patsville Company Ltd

Die Konzertisten

電訊盈科 PCCW

藝穗會 Fringe Club

香港藝術行政人員協會 Hong Kong Arts Administrators Association

香港浸會大學 Hong Kong Baptist University • 音樂系 Department of Music • 拉闊文化 Cultural Literacy Programme

香港中樂團 Hong Kong Chinese Orchestra 香港大會堂 Hong Kong City Hall 香港文化中心 Hong Kong Cultural Centre

通利琴行 Tom Lee Music Company Ltd

屯門大會堂 Tuen Mun Town Hall 城市售票網 URBTIX 同流黑盒劇場 WeDraman Black Box Theatre 進富印刷公司 Wealthy Step Printing Co. 西九文化區管理局 West Kowloon Cultural District Authority 粵海華美灣際酒店 Wharney Hotel

wine etc 元朗劇院 Yuen Long Theatre 赤豚事務所 Zhu Graphizs

Piano Arts Service Limited

六國酒店 Gloucester Luk Kwok Hong Kong

香港藝術中心 Hong Kong Arts Centre

綠葉劇團 Théâtre de la Feuille

光華新聞文化中心 Kwang Hwa Information & Culture Center

加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macau

俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC

• 戲曲學院 School of Chinese Opera • 戲劇學院 School of Drama • 音樂學院 School of Music

中環石板街酒店 The Pottinger Hong Kong

高山劇場 Ko Shan Theatre

牛棚藝術村 Cattle Depot Artist Village

香港演藝學院 The Hong Kong Academy for Performing Arts

Pixellent 犇華企業服務有限公司 Primasia Corporate Services Limited 皇家太平洋酒店 Royal Pacific Hotel 沙田大會堂 Sha Tin Town Hall 上環文娛中心 Sheung Wan Civic Centre 信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd.

Southgate Design 事必達推廣有限公司 Speedy Promotion Limited 台灣蘇富比國際房地產 Taiwan Sotheby's International Realty

按英文名稱首字母排列 In alphabetical order

電話 Tel 傳真 Fax 電郵 Email 節目查詢

2824 3555 2824 3798 / 2824 3722 afgen@hkaf.org 2824 2430

香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road,

Wanchai, Hong Kong

Programme Enquiry

贊助人

林鄭月娥女士

PATRON

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS

永遠名譽會長

邵逸夫爵士

HONORARY LIFE PRESIDENT

Sir Run Run Shaw, CBE (1907-2014)

EXECUTIVE COMMITTEE

執行委員會主席

查懋成先生

Chairman

Mr Victor Cha

副主席

盧景文教授

Vice Chairman

Prof Lo King-man, MBE, JP, SBS

義務司庫

李錦榮先生

Honorary Treasurer

Mr William Li

委員

鄭維新先生鄭惠貞女士梁靳羽珊女士梁卓偉教授文肇偉先生孫大倫博士姚潔莉女士楊光先生

Members

Mr Edward Cheng, GBS JP Ms Margaret Cheng Mrs Yu-san Leong Prof Gabriel Leung, GBS JP Mr Sebastian Shiu-wai Man Dr Dennis T L Sun, BBS JP Ms Miriam Yao Mr Sunny Yeung

主席

盧景文教授

Chairman

Prof Lo King-man, MBE, JP, SBS

委員

白諾信教授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

Members

Prof 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

財務委員會

FINANCE COMMITTEE

主席

李錦榮先生

Chairman

Mr William Li

委員

鄭惠貞女士梁國輝先生

Members

Ms Margaret Cheng Mr Nelson Leong

PROGRAMME COMMITTEE

節目委員會

發展委員會

DEVELOPMENT COMMITTEE

主席

梁靳羽珊女士

Chairman

Mrs Yu-san Leong

副主席

雍景欣女士

Vice Chairman

Ms Jane Yong

委員

鄭阮培恩女士龐建貽先生孫林宣雅女士姚祖輝先生

Members

Mrs Betty Yuen Cheng Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao

顧問

夏佳理先生鮑磊先生陳祖澤博士陳達文博士霍璽先生李業廣先生梁紹榮夫人李國寶博士

ADVISORS

The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Dr John C C Chan, GBS CBE LVO JP Dr Darwin Chen, SBS ISO Mr Angus H Forsyth The Hon Charles Y K Lee, GBM GBS OBE JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon Sir David K P Li, GBM GBS OBE JP

名譽法律顧問

甘乃迪女士（孖士打）

HONORARY SOLICITOR

Ms Gabriela Kennedy, Mayer Brown

核數師

羅兵咸永道會計師事務所

AUDITOR

PricewaterhouseCoopers

* 榮譽節目顧問 Honorary Programme Advisor

STAFF

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助理節目經理節目統籌物流及接待經理

何嘉坤何丹蓉梁掌瑋蘇國雲游慧姿 * 葉健鈴余瑞婷 * 譚小敏 * 黃傲軒 * 袁潔敏 * 金學忠 *

行政節目經理 ( 行政 ) 節目主任 ( 行政 )

蘇雪凌程鶩誼 *

技術製作經理助理製作經理

梁雅芝 * 莫賦斌 *

出版編輯助理編輯

廖健邦 * 鄭豐榮 * 黎家欣 *

外展高級外展經理副外展經理助理外展經理外展主任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藝術行政見習員票務市場經理 ( 票務 ) 票務主任發展發展總監發展經理

李冠輝鄧冠恆 * 林嘉敏 * 張翠騫 * 李玨熙 * 李萬祺 * 鄭尚榮胡銘堯陳志雄 * 周怡楊璞 * 郭駿成 * 陳閏霖 * 張予心 * 梁彩雲陳偲穎 * 鍾卓祐 *

助理發展經理發展主任藝術行政見習員

余潔儀張慧芝 * 麥紫琴 * 譚樂瑤蘇寶蓮 * 雲希朗 * 吳樂怡 *

會計財務主管會計經理會計主任

鄺敬婷杜詩麗 * 蘇永恆 *

人力資源及行政行政經理接待員 / 初級秘書助理

譚智盈 * 李美娟黃國愛

無限亮項目主管項目統籌節目及外展經理助理節目及外展經理助理市場經理外展統籌助理技術及製作經理高級會計主任

鍾雅妍 * 陸凱盈 * 林淦鈞 * 陳慧晶 * 朱穎欣 * 汪盈 * 馮顯峰 * 陳梓衡 * 彭健欣 *

Executive Director Assistant to Executive Director PROGRAMME

Programme Director Associate Programme Director Programme Managers Assistant Programme Managers Programme Coordinator Logistics Manager ADMINISTRATION

Programme Manager (Administration) Programme Officer (Administration) TECHNICAL

Production Manager Assistant Production Manager PUBLICATIONS

Editor Assistant Editors OUTREACH

Senior Outreach Manager Deputy Outreach Manager Assistant Outreach Manager Outreach Officers MARKETING

Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Arts Administrator Trainee TICKETING

Marketing Manager (Ticketing) Ticketing Officers DEVELOPMENT

Development Director Development Managers Assistant Development Manager Development Officer Arts Administrator Trainee ACCOUNTS

Head of Finance Accounting Manager Accounting Officer HR & ADMINISTRATION

Office Manager Receptionist/Junior Secretary General Assistant NO LIMITS

Project Administrator Project Coordinator Programme and Outreach Manager Assistant Programme and Outreach Manager Assistant Marketing Managers Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

Tisa Ho Connie Ho Grace Lang So Kwok-wan Janet Yau* Susanna Yu* Tracy Tam* Loui Yuen* Elvis King*

Linda Yip Joseph Wong*

Shirley So Spaky Ching* Shirley Leung* Benny Mok* James Liu* Rain Cheng* Kenneth Lee Joe Tang* Carman Lam* Tracy Cheung* Kelvin Li*

Melody Lai*

Michael Lee*

Katy Cheng Dennis Wu Dennis Chan* Alexia Chow Michelle Yeung* Joel Kwok* Ben Chan* Stephanie Cheung* Eppie Leung Stephanie Chan* Flora Yu Anna Cheung* Lorna Tam Conny Souw* Alana Wan* Lois Ng*

Chung Cheuk-yau*

Mak Tsz Kam*

Teresa Kwong Connie To* Peter So* Judy Tam* Virginia Li Bonia Wong Fiona Chung* Helen Luk* Lam Kam-kwan* Ainslee Chan* Wendy Chu* Wilson Fung* Jacob Chan* Janice Pang*

Tiffany Wong*

按英文姓氏首字母排列 In alphabetical order

* 合約職員 Contract Staff

2021 年 1 月更新 Updated January 2021

香港中樂團

Hong Kong Chinese Orchestra

藝術總監兼終身指揮香港中樂團樂隊學院院長 Artistic Director and Principal Conductor for Life Director of The HKCO Orchestral Academy

常任指揮 Resident Conductor

閻惠昌 Yan Huichang

周熙杰 Chew Hee Chiat

環保二胡

Eco-Erhu

樂團首席 Concertmaster

張重雪 Zhang Chongxue

彭程 Peng Cheng

蕭秀嫻 Siu Sau Han

首席* Principal*

何陽 He Yang

徐慧 Xu Hui

羅永年 Law Wing Nin

Eco-Gaohu

環保高胡

林沛權 Lam Pui Kuen

黃錦沛 Wong Kam Pui

李立 Li Li

張宇慧 Zhang Yuhui

杜錫礎 To Shek Chor

蘇純賢 So Shun Yin

王家樂 Wong Ka Lok

首席 * Principal*

助理首席 * Assistant Principal*

魏冠華 Ngai Kwun Wa

麥嘉然 Mak Ka Yin

黃心浩 Wong Sum Ho

楊嘉惠 Yeung Ka Wai

施盤藏 Sze Poon Chong

萬芸安 Wan Yun-an

向旋 Xiang Xuan

Eco-Zhonghu

環保中胡

胡琴聯合首席兼中胡首席 Huqin Co-Principal and Zhonghu Principal

助理首席 Assistant Principal

毛清華 Mao Qinghua

許然 Hui Yin

何偉 He Wei

Eco-Bass Gehu

環保低音革胡

吳帆 Wu Fan

彭銳聲 Pang Yui Sing

首席 Principal

助理首席 Assistant Principal

董曉露 Tung Hiu Lo

羅浚和 Lo Chun Wo

張天進 Cheung Tin Chun

魏漢業 Ngai Hon Yip

蕭秀蘭 Siu Sau Lan

安悅 An Yue

張穎韜 Cheung Wayn Tou

首席 Principal

齊洪瑋 Qi Hongwei

陳岳華 Vonghemrat Pichan

李孟學 Lee Meng-hsueh

Xiaoruan / Liuqin

首席 Principal

陳嘉汶 Chan Ka Man

張家翔 Chang Chia-hsiang

小阮／柳琴

Yangqin

揚琴

環保革胡

Eco-Gehu 謝燦鴻 Tse Chan Hung

韓婧娜 Han Jingna

李曉丁 Li Xiaoding

黎偉 Li Wei

譚舒翹 Tam Shu Kiu

首席 Principal

葛楊 Ge Yang

邱于珊 Chiu Yu-shan

陳怡伶 Chen I-ling

中阮

首席 Principal

Zhongruan

Pipa

琵琶

邵珮儀 Shiu Pui Yee

張瑩 Zhang Ying

黃璿僑 Wong Yui Kiu

梁家洛 Leung Ka Lok

馮彥霖 Fung Yin Lam

大阮

首席 Principal

Daruan

吳曼翎 Wu Man-lin

豎琴

箏 Harp

首席 Principal

趙太生 Zhao Taisheng

李婷婷 Li Tingting

梆笛

巫致廷 Wu Chih-ting

何兆昌 Ho Siu Cheong

笛子助理首席 Dizi Assistant Principal

朱文昌 Choo Boon Chong

林育仙 Lin Yu-hsien

魏慎甫 Wei Shen-fu

林進穎 Lam Chon Weng

高音笙

笛子助理首席 Dizi Assistant Principal

陳子旭 Chan Chi Yuk

譚懷理 Tam Wai Li

Soprano Sheng

新笛／大笛

Xindi / Dadi 朱國龍 Chu Kwok Lung

Bangdi

笛子首席 Dizi Principal

孫永志 Sun Yongzhi

劉若琳 Lau Yuek-lam

吳棨熙 Ng Kai Hei

陳淑霞 Chan Shuk Har

Zheng

Sanxian / Zhongruan / Daruan

許子薇 Hsu Tzu-wei

三弦／中阮／大阮

梁惠文 Liang Wai Man

首席* Principal*

杜峰廉 To Fung Lim

低音笙／高音笙

笙首席 * Sheng Principal*

阮建熹 Yuen Kin Hei

陸儀 Lu Yi

中音嗩吶

馬瑋謙 Ma Wai Him

Tenor Suona

Percussion

敲擊

高／中／低音管

Soprano / Alto / Bass Guan

低／高音嗩吶

Bass / Soprano Suona

劉海 Liu Hai

嗩吶首席 Suona Principal

次中音嗩吶

羅行良 Law Hang Leung

胡晉僖 Wu Chun Hei

高音嗩吶

黃瀠緹 Huang Ying-ti

Alto Suona

嗩吶助理首席 Suona Assistant Principal

笙助理首席 Sheng Assistant Principal

Soprano Suona

Tenor Sheng

中音笙

Bass Sheng / Soprano Sheng

次

關樂天 Kwan Lok Tin

袁譽珈 Yuen Yu Ka

管首席 Guan Principal

任釗良 Ren Zhaoliang

盧偉良 Lo Wai Leung

敲擊首席 Percussion Principal

助理首席 Assistant Principal

陸健斌 Luk Kin Bun

王東 Wang Dong

錢國偉 Chin Kwok Wai

廖倚苹 Liao Yi-ping

秦吉濤 Qin Jitao

李芷欣 Lee Tsz Yan

Acting 署理職務 Freelance Musician 特約樂師兼教育主任 and Education Executive 休假樂師 On Leave Musician # 「藝術人才培育計劃」由香港藝術發展局資助

陳律廷 Chan Lut Ting

陳啟彥 Chan Kai Yin

The Artistic Internship Scheme is supported by the Hong Kong Arts Development Council

關凱儀 Kwan Hoi Yee

香港中樂團演奏家排名按筆劃序。弦樂組演奏家座位次序，均採用定期輪流方式（首席及助理首席除外）。 The HKCO members are listed in Chinese stroke order. The string section utilizes revolving seating on a systematic basis. Musicians (except principals and assistant principals) change seats systemically.

藝術總監兼終身指揮︱閻惠昌 Artistic Director and Principal Conductor for Life | Yan Huichang 香港中樂團樂隊學院 The HKCO Orchestral Academy

研究及發展部 Research and Development

香港中樂團樂隊學院常務副院長 Associate Director of The HKCO Orchestral Academy

研究及發展部研究員樂器研究改革主任 Research Fellow, Research and Development Department Research & Development Officer (Musical Instrument)

閻學敏 Yim Hok Man

阮仕春

Yuen Shi Chun

教育部 Education

樂器改革小組 Instrument R&D Group 組長：閻惠昌副組長：阮仕春、周熙杰、閻學敏

教育主任 Education Executive

Leader: Yan Huichang Assistant Leaders: Yuen Shi Chun, Chew Hee Chiat, Yim Hok Man

民間音樂小組 The Folk Music Ensemble

蔡雅絲

Choi Ngar Si

組長：閻學敏副組長：孫永志、盧偉良

Leader: Yim Hok Man Assistant Leaders: Sun Yongzhi, Lo Wai Leung

香港青少年中樂團

Hong Kong Young Chinese Orchestra

樂器班

Instrumental Class

Tutors

指揮

Conductor

導師

胡栢端

Rupert Woo Pak Tuen

二胡張重雪毛清華徐慧麥嘉然何陽李立李曉丁蕭秀蘭韓婧娜謝燦鴻

Erhu Zhang Chongxue Mao Qinghua Xu Hui Mak Ka Yin He Yang Li Li Li Xiaoding Siu Sau Lan Han Jingna Tse Chan Hung

大提琴吳帆張天進魏漢業

Cello Wu Fan Cheung Tin Chun Ngai Hon Yip

低音大提琴陳岳華

Double Bass Vonghemrat Pichan

揚琴李孟學

Yungqin Lee Meng-hsueh

柳琴葛楊梁惠文陳怡伶

Liuqin Ge Yang Liang Wai Man Chen I-ling Pipa Zhang Ying Shiu Pui Yee Wong Yui Kiu Ruan Lau Yuek-lam

香港青少年中樂團分聲部導師 Section Instructors of the Hong Kong Young Chinese Orchestra

二胡／高胡／中胡 Erhu / Gaohu /Zhonghu 麥嘉然 Mak Ka Yin 革胡張穎韜

Gehu Cheung Wayn Tou

低音革胡陳嘉汶

Bass Gehu Chan Ka Man

揚琴李孟學

Yangqin Lee Meng-hsueh

柳琴／阮陳怡伶

Liuqin / Ruan Chen I-ling

琵琶／三弦黃璿僑

Pipa / Sanxian Wong Yui Kiu

箏姚欣

Zheng Iu Yan

笛子陳子旭

Dizi Chan Chi Yuk

笙黃瀠緹

Sheng Huang Ying-ti

嗩吶劉海

Suona Liu Hai

琵琶張瑩邵珮儀黃璿僑

敲擊李芷欣

Percussion Lee Tsz Yan

阮劉若琳

導師三弦趙太生

Tutors

Sanxian Zhao Taisheng

箏徐美婷蔡雅絲

Zheng Chui Mei Ting Choi Ngar Si

笛子朱文昌陳子旭何兆昌巫致廷

Dizi Choo Boon Chong Chan Chi Yuk Ho Siu Cheong Wu Chih-ting

笙陸儀黃瀠緹

Sheng Lu Yi Huang Ying-ti

嗩吶馬瑋謙胡晉僖劉海羅行良

Suona Ma Wai Him Wu Chun Hei Liu Hai Law Hang Leung

管任釗良秦吉濤

Guan Ren Zhaoliang Qin Jitao

敲擊王東李芷欣李慧美梁正傑陳律廷關凱儀

Percussion Wang Dong Lee Tsz Yan Li Wai Mei Leung Ching Kit Chan Lut Ting Kwan Hoi Yee

香港皇后大道中345號上環市政大廈7樓 7/F., Sheung Wan Municipal Services Building, 345 Queen’s Road Central, Hong Kong. 電話 Tel:(852) 3185 1600 傳真 Fax:(852) 2815 5615 網址 Website:www.hkco.org 電郵 Email:inquiries@hkco.org

名譽贊助人 The Honorary Patron 香港特別行政區 The Chief Executive, HKSAR 行政長官

行政總監 Executive Director 錢敏華 Chin Man Wah, Celina 總監辦公室

林鄭月娥女士

Directors' Office

總監秘書

Secretary to Directors

節目及教育部

Programme and Education

節目、教育及巡演主管

Head of Programme, Education and Touring

助理節目經理

Programme Assistant Manager

助理經理(樂譜管理)

Assistant Manager (Score Library)

The Hon Mrs Carrie Lam Cheng Yuet-ngor GBM GBS JP

首任主席 Founding Chairman (2001-2006) 徐尉玲博士太平紳士 Dr Carlye W L Tsui BBS MBE JP 歷任主席 Former Chair 黃天祐博士太平紳士 Dr Kelvin T Y Wong JP (2006-2008)

賴顯榮律師 (2008-2009) Mr Henry H W Lai 徐尉玲博士太平紳士 Dr Carlye W L Tsui BBS MBE JP

葉沛怡 Yip Pui Yi, Billie

孫麗娟 Sun Li-chuan, Patricia 高級節目經理 Senior Programme Manager 鄧耀銘 Tang Yiu Ming 高級節目經理(舞台) Senior Programme Manager (Stage) 曾浩然 Tsang Ho Yin, Ray 高級經理(樂譜管理) Senior Manager (Score Library) 何俊東 Ho Chun Tung, Tony

Mr Ricky W K Li

陳佳言 Chan Kai Yin, Mary 古琦欣 Koo Kei Yan, Christy 區廷剛 Au Ting Kong, Matthew 陳湘瑜 Chan Sheung Yu, Renee 助理節目經理(舞台) Programme Assistant Manager (Stage) 鄧穎雯 Tang Wing Man, Terri

副主席

Vice-chairmen Dr Benjamin W K Chan Mr Henry H W Lai

吳素宜 Ng So Yi, Zoe 高級節目主任 Senior Programme Executive 黃駿彥 Wong Chun Yin, Jerry

司庫

Treasurer Ms Bonnie S Y Chan

(2009-2015)

理事會 Council 主席李偉強先生陳偉佳博士賴顯榮律師陳心愉女士

Chairman

節目主任

Programme Executive

節目主任(項目)

Programme Executive (Project)

節目主任(舞台)

Programme Executive (Stage)

王靄榆梁凱琪呂達祺徐國威彭海琦李沛盈

Honorary Secretary 義務秘書陳永華教授太平紳士 Prof Chan Wing Wah JP

理事

黃家倫先生胡勁恒先生廖錦興博士范駿華太平紳士林李婉冰女士黃舒明小姐

Members

Mr Alan K L Wong Mr Woo King Hang Dr Bobby Liu Mr Andrew Fan Chun Wah JP Mrs Nina Lam Lee Yuen Bing MH Ms Wong Shu Ming MH

關巧然

Wong Oi Yu, Fish Leung Hoi Ki, Jackie Lui Tat Ki, Ivan Chui Kwok Wai, Keith Pang Hoi Kei, Ellen Li Pui Ying, Debby

Guan Qiaoran, Cherry

麥柏光 Mak Pak Kwong 梁栢渝 Leung Pak Yue, Ramiel

節目主任(樂譜管理)

Programme Executive (Score Library)

市務及拓展部

Marketing and Development

資深理事會顧問 Senior Council Advisor 徐尉玲博士太平紳士 Dr Carlye W L Tsui BBS MBE JP

市務及拓展主管

Head of Marketing and Development

理事會顧問 Council Advisors Mr Carlson Tong SBS JP 唐家成太平紳士黃天祐博士太平紳士 Dr Kelvin Wong JP Ir Edmund K H Leung SBS OBE JP 梁廣灝太平紳士

市務及拓展經理

資深藝術顧問 Senior Artistic Advisor Mr Doming Lam 林樂培先生藝術顧問 Artistic Advisors Prof Bian Zushan 卞祖善教授 Mr Li Song 李松先生 (Ethnic & Folk Arts) (民族民間藝術) Prof John Lawrence Witzleben 韋慈朋教授 Mr Kwok Hang Kei 郭亨基先生 Prof Chen Tscheng-hsiung 陳澄雄教授 Dr Joshua Chan 陳錦標博士 Prof Qiao Jianzhong 喬建中教授 Prof Richard Tsang 曾葉發教授 Dr Cham Lai Suk Ching, Estella 湛黎淑貞博士 (Arts Education) (藝術教育) Mr Liu Xing 劉星先生 Prof Shen Cheng 沈誠教授

周頌欣

Chow Chung Yan, Florence

黃卓思 Huang Chuk Sze, Tracy 編輯 Editor 賴家瑩 Lai Ka Ying, Rainsta

Marketing and Development Manager

黃雅蕙 Wong Nga Wai, Furbi 助理市務及拓展經理

Marketing and Development Assistant Manager

市務及拓展助理

Marketing and Development Assistant

票務助理

Ticketing Assistant

陳頌欣 Chan Chung Yan, Joyce 傅嘉琳 Fu Ka Lam, Carol 馮雯詩 Fung Man Sze, Mandy 市務及拓展主任 Marketing and Development Executive 翟曉琳 Chak Hiu Lam, Nicole 林巧瑩 Lam Hau Ying, Vivien 鍾嘉雯 Chung Ka Man, Carmen 許曉容 Hui Hiu Yung 財務部

Finance

財務主管

Head of Finance

施蘊娜 Si Wan Na, Donna

助理財務經理

Assistant Finance Manager

謝貴華 Tse Kwai Wah, Ronald 會計主任 Accounting Executive 黃小敏 Wong Siu Man, Vivian 會計及行政助理 Accounting and Administration Assistant 陳竹葦 Chan Chuk Wai, Kennis

人事及行政部

Personnel and Administration

高級人事及行政經理

Senior Personnel and Administration Manager

鄭正貞 Cheng Ching Ching, Cynthia 人事及行政主任 Personnel and Administration Executive 湯詠儀 Tong Wing Yee, Candy

主要贊助 Major Sponsor

CMY