NTB- The Diary of One Who Disappeared | Piano Recital by Jan Bartoš | Pavel Haas Quartet - 49th HKAF by Hong Kong Arts Festival

捷克布爾諾國家歌劇院 National Theatre Brno

THE DIARY OF ONE WHO DISAPPEARED 失蹤者的日記

揚．巴托斯鋼琴獨奏會

Pavel Haas Quartet 巴維．哈斯四重奏

行政長官的話

MESSAGE FROM THE CHIEF EXECUTIVE

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。

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

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。

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 Janá ek 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

香港特別行政區行政長官

林鄭月娥

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 behindthe-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 of the arts and culture, particularly in these trying times. I wish you all an enjoyable and memorable Hong Kong Arts Festival.

Mrs Carrie Lam

Chief Executive Hong Kong Special Administrative Region

主席的話

MESSAGE FROM THE CHAIRMAN

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。我衷心感謝香港特別行政區政府透

過康樂及文化事務署提供年度撥款，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。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。

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. 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. 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

查懋成

Victor Cha

Chairman Hong Kong Arts Festival

行政總監的話

MESSAGE FROM THE EXECUTIVE DIRECTOR

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。

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

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

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. 受。今屆藝術節的不少節目亦與之 “Separate Together” acknowledges 呼應，身處各地的藝術家及觀眾， what we have all been going through, 因為藝術節的演出及活動而拉近彼 and is referenced in a number 此距離。另一方面，「遠在咫尺」亦 of productions this year. It also 點出所有優秀藝術作品擁有的奇妙 alludes to all the separate artists 力量：既能喚起最獨特、深刻的個 and audiences brought together for 人感受和回應，但同時又能讓觀者 performances and events. At the 一同分享種種奧妙、感動、啟迪 same time, “Separate Together” 和鼓舞。今屆藝術節將呈獻眾多演 describes one of the most magical 出，我衷心希望我們會一起體會藝 aspects of great art: its capacity to elicit uniquely and deeply personal 術的奇妙力量。 responses while paradoxically giving 此外，敬請留意一連串「加料節目」 us a shared moment of wonder, to be 活動，為你在演出以外打開新的觀 moved, inspired and uplifted. I hope 賞角度，令觀賞體驗更豐富。請盡 very much that we will experience this together in many performances in the 情投入！ course of the Festival. 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

何嘉坤

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

Tisa Ho

Executive Director Hong Kong Arts Festival

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 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。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。

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。

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。

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。

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. Since its launch in 1973, the 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. 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. 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,

為了培養未來的藝術家和觀眾，我們大力投資下一代的藝術教育。「青少年之友」成立 29 年來，已為逾 782,000 位本地中學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。

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。

*2021 年 1 月更新 Updated January 2021

過往節目一覽

Visit our programme archive

meet-the-artist sessions and guided backstage and cultural tours. Beyond the main Festival, the HKAF also promotes inclusivity and understanding through the arts. Its “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, strives to create an inclusive space for people with different abilities to share the joy of the arts together. 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. The 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 the HKAF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

曲目

樂曲簡介

男高音 Tenor

Programme 捷克布爾諾國家歌劇院 National Theatre Brno

失蹤者的日記

THE DIARY OF ONE WHO DISAPPEARED 12–15.03.2021 網上演出

Online Performance

演出長約 35 分鐘

Programme Notes 帕佛．布雷斯利克

Pavol Breslik

鋼琴家 Pianist

羅伯特．佩查內克

Róbert Pechanec

女中音 Mezzo-soprano

斯捷潘卡．普恰爾高娃

15 17

Št pánka Pu álková

Approx 35 minutes

捷克語演出，附中、英文字幕

Performed in Czech with Chinese and English subtitles

只限香港地區播放

Hong Kong only

香港藝術節感謝天開數碼媒體有限公司為捷克布爾諾國家歌劇院《失蹤者的日記》節目提供視頻串流技術

The HKAF thanks TFI for providing video streaming technology support for the online screening of National Theatre Brno The Diary of One Who Disappeared 藝術節加料節目

歡迎觀賞演前講座及藝術家分享短片，瀏覽連結請參閱加料節目網頁 Have a look at the pre-performance talk and artist sharing video for more interesting stories about the artist and the music. Please visit the PLUS webpage for viewing link.

請勿在網上演出途中錄影、錄音、攝影或轉播 Photography, streaming or recording of any kind is strictly prohibited 通訊、流量狀況及其他外部因素可能影響影片畫質及音質，敬請見諒 Picture stability and quality are subject to home internet speeds and bandwidth, and other external factors

失蹤者的日記

The Diary of One Who Disappeared

男高音 Tenor

帕佛．布雷斯利克

Pavol Breslik 鋼琴 Piano

羅伯特．佩查內克

Róbert Pechanec

女中音 Mezzo-soprano

斯捷潘卡．普恰爾高娃

Št pánka Pu álková 合唱 Choir

羅曼娜．古茲高娃

Romana Kružíková

克莉絲汀．高保娃

Kristína Kubová 伊凡娜．普魯

Ivana Pavl

舞台演出準備 Directorial Preparation

伊里．扎赫拉迪卡

Ji í Zahrádka

佈景統籌 Set Design Cooperation

大衛．楊諾塞克

David Janošek

歌詞中譯 Chinese Lyrics Translation

廖健邦

James Liu

曲目

Programme

曲目

PROGRAMME 楊納傑克

《失蹤者的日記》，JW V/12 〈某日邂逅吉卜賽女郎〉〈黑眼晴的吉卜賽女郎〉

Leoš Janá ek (1854–1928)

The Diary of One Who Disappeared, JW V/12 “I just passed a young gypsy” “That black gypsy”

〈暮光之中〉

“The firebugs dance along the promenade”

〈翻土之勞苦〉

“Working is so hard”

〈簷上燕子聲啾啾〉〈嘿，我的黃牛〉

〈為何犁壞掉了？〉〈牛啊，別傷心〉〈我的俏郎君〉

〈全能的神、永遠的神〉〈滿穗的粟米田中〉〈參天茂木〉

〈陽光灑落田野〉〈我的黃牛〉

〈我怎麼了？〉

〈誰能逃過宿命？〉〈一切皆無足掛齒〉〈看那鬼祟的喜鵲〉〈她懷了我的孩子〉

〈父親，你大錯特錯〉〈永別了，故鄉〉

“The young swallows” “Move, my grey oxen” “I lost a wooden pin”

“My oxen, don’t look” “Welcome, Ian”

“Immortal, far-away god”

“The smell of buckwheat flowers” “Sombre alders” “The sun climbs” “My small grey oxen” “What was I doing?”

“No one can escape his fate” “Only the evening” “There flies a magpie”

“I have a dear loved-one” “Dear father”

“Farewell, my birth country”

楊納傑克

《失蹤者的日記》，JW V/ 12

LEOŠ JANÁ EK

THE DIARY OF ONE WHO DISAPPEARED, JW V/12

楊納傑克的《失蹤者的日記》是二十世紀最出色的聯篇歌曲之一，音樂深受民族音樂影響。作品參考了當時的一些佚名詩篇，詩篇用日記的形式，講述一位年輕男孩愛上了一位吉卜賽女孩，並為了追求愛情和自由，離開了父母，犧牲本來寧靜安穩的生活。楊納傑克邂逅了卡米拉．戴娜蘇娃後，對方成為了他的靈感繆斯，激發他用兩年時間創作此曲。可是，他並不滿意創作的成果，於是把作品擱置。到了 1921 年初，鋼琴家兼指揮巴卡拉和男高音萊齊安私下向楊納傑克演出了作品的一部分，楊納傑克才再次着手修訂樂譜，並同意於 1923 年 4 月 18 日在布爾諾的瑞都塔劇院作公開演出。在籌備演出時，楊納傑克在樂譜上加上了一些舞台指示，後來卻因為技術上有執行困難，而要刪除其中一部分。巴卡拉憶述說：「楊納傑克起初想讓男高音坐在一張小書桌，像在演講廳一樣，只在與吉卜賽女孩對話的時候才會站立起來；而舞台則是昏暗的，只有燈光照耀着男高音。這樣，在他突然領悟到現實之時，就能與他的愛的宣言營造更明顯的對 12

Janá ek’s The Diary of One Who Disappeared is one of the most remarkable song cycles of the 20th century and is heavily influenced by folk music. Janá ek based it on poems written by a then-unknown author. The poems related in diary form the love of a young boy for a gypsy girl, for whom he left his parents and sacrificed his quiet and secure life to seek love and freedom. The composer worked on this cycle, which was inspired by his first encounter with his muse Kamila Stösslová, for two years. However, he was not satisfied with it, and so put it aside. He didn’t return to it until early 1921, when part of the cycle was performed to him in private by the pianist and conductor B etislav Bakala with the tenor Jaroslav Lecian. Janá ek then reviewed the composition and agreed for it to be performed in public at Brno’s Reduta Hall on 18 April 1923. During preparations for the performance, Janá ek added stage directions to a copy of the score. However, he had to cut some of them as they were difficult to execute from a technical point of view, Bakala later recalled: “Janá ek initially wanted the tenor to sit at a small

樂曲介紹

楊納傑克

Leoš Janácek 出生 Born

1854 年 7 月 3 日（波希米亞王國胡克瓦爾迪） 3 July 1854 (Hukvaldy, Kingdom of Bohemia ) 逝世 Died

1928 年 8 月 12 日（捷克斯洛伐克奧斯特拉瓦） 12 August 1928 (Ostrava, Czechoslovakia)

比。對話後，男孩會再次坐下，繼續高唱那抒情的獨腳戲。可是，由於男高音唱段節奏緊湊，讓作曲家在首演前臨時放棄原有計劃，但他堅持保留其他安排，例如舞台的昏暗燈光，以及台上跟隨着男高音出入的燈光等。」遺憾的是，這些嚴格的舞台指示漸漸被人遺忘，後人只把作品看成一部傳統的聯篇歌曲來演出。在是次演出裏，我們會首次看到楊納傑克所構思的場景設定，發揮《失蹤者的日記》音樂的戲劇性，更靠近作曲家對作品的構想。

作曲 Composed 1917–1919 楊納傑克於遲暮之年遇見有夫之婦卡米拉．戴娜蘇娃，激發其創作力量。聯篇歌曲《失蹤者的日記》正是寫於這段時期，楊納傑克或許對男主角的遭遇亦感同身受，將之命名為 Janí ku，與其姓名 Janá ek 有幾分相似。

Programme Notes

desk, like in a lecture hall, on a darkened stage illuminated by light and only stand up during the dialogue with the gypsy girl. In this way, the discrepancy between the declaration and the sudden realisation of reality would be expressed even more clearly. After the dialogue, he would sit down again and finish singing the lyrical monodrama. However, the tension of the tenor part caused Janá ek to abandon the plan just before the premiere, though he insisted on all his other requirements, i.e. the dark stage, the light on the podium and the arrival and departure of the singer, being followed.” Unfortunately, these strictures have, over time, been gradually forgotten and it became normal to perform the work as a conventional song cycle. We will see Janá ek’s scenic conception for the first time at the concert, which brings The Diary of One Who Disappeared closer to the composer’s musical dramatic works.

Oblivious to the wide difference in their ages, Janá ek’s infatuation for Kamila Stösslova, a young married woman, sparked a sudden surge of creativity, including this song cycle. It is possible that because of its resonance, Janá ek named the character Janí ku, an uncanny echo of his own name.

卡米拉．戴娜蘇娃，攝於 1917 年 Kamila Stösslová. Taken in 1917 原載於 2020 年布爾諾楊納傑克節的演出場刊。獲藝團授權修訂。

Originally published in the house programme for the performance at the Janá ek Brno Festival in 2020. Edited with the company’s permission.

男高音 – 帕佛．布雷斯利克

帕佛．布雷斯利克

Pavol Breslik

男高音 Tenor

2005 年，帕佛．布雷斯利克獲《歌劇世界》雜誌被譽為年度最佳年輕聲樂家，從此展開音樂生涯。他與柏林林登大道歌劇院合作三年後，自 2006 年起開始成為自由身歌唱家，不時在歐洲的主要歌劇院、音樂節，以及紐約大都會歌劇院獻唱。他曾在維也納國家歌劇院演繹《尤金．奧尼金》的連斯基、《愛的甘醇》內莫里歐及《茶花女》的阿爾弗雷，並在巴伐利亞國立歌劇院首次演出兩個重要角色：《盧克雷齊亞．波吉亞》的詹納羅（與艾迪妲．葛貝諾娃合作），以及《拉莫美的露契亞》的埃德加（與戴安娜．丹姆勞合作）。其他曾演繹的角色包括：《賈尼．斯基基》雷諾喬、《沉默的女人》亨利．莫雷瑟斯，以及近期《被出賣的新娘》的漢斯等。布雷斯利克曾在倫敦高文花園演繹連斯基、《女人心》的法蘭度、《魔笛》的塔米諾及《唐喬望尼》的唐奧塔維奧，並在悉尼歌劇院以比才《採珠者》的納迪爾在澳洲首次亮相。布雷斯利克是著名演奏會聲樂家，曾在托馬斯．亨格爾布洛克的指揮下，於漢堡易北愛樂廳的開幕演出獻唱。

Tenor – Pavol Breslik

Pavol Breslik’s career began in 2005, when he was named young singer of the year by Opernwelt magazine. After three years at the Staatsoper Unter den Linden in Berlin he has been a freelance tenor since 2006 and sings regularly at major European opera houses and festivals as well as the Metropolitan Opera New York. At the Vienna State Opera he has sung Lenski in Eugene Onegin, Nemorino in L'elisir d'amore and Alfredo in La Traviata, while at the Bavarian State Opera he had his debuts in two major roles: Gennaro in Lucrezia Borgia alongside Edita Gruberova, and Edgardo in Lucia di Lammermoor with Diana Damrau. He also sang Rinuccio (Gianni Schicchi), Henry Morosus (Schweigsame Frau) and most recently Hans (The Bartered Bride), among others. At London’s Covent Garden he has appeared as Lenski, Ferrando in Così fan tutte, Tamino in Magic Flute and Don Ottavio in Don Giovanni. At Opera Sydney he made his Australian debut as Nadir in Bizet’s Les pêcheurs de perles. Pavol Breslik is also a renowned concert singer. Under the direction of Thomas Hengelbrock, he has sung at the opening concert of the Hamburg Elbphilharmonie.

鋼琴家 – 羅伯特．佩查內克

羅伯特．佩查內克

Róbert Pechanec

鋼琴家 Pianist

羅伯特．佩查內克在家鄉斯洛伐克茲里納的國家音樂學院學習鋼琴，其後於布拉迪斯拉瓦的音樂與表演藝術學院繼續學業，並於布麗姬．法絲班德及沃爾夫拉姆．力格爾的大師班深造。佩查內克是出色的鋼琴伴奏，曾與眾多歌手參與比賽，獲獎無數，包括：特爾納瓦米古拉．舒乃德—特爾納夫斯基國際聲樂比賽、維也納貝爾弗德雷聲樂比賽，並於德伏扎克國際聲樂比賽三次奪得最佳鋼琴伴奏獎項。佩查內克不時為藝術家伴奏，例如帕佛．布雷斯利克、阿德里安娜．庫切羅娃，以及史提凡、科坎。他曾在各地演奏會亮相，包括奧地利、捷克、丹麥、法國、德國、匈牙利、意大利、墨西哥、美國、澳洲、柬埔寨、波蘭及比利時。

2000 至 2004 年，佩查內克參與愛爾蘭韋克斯福德歌劇節的多個製作，並擔任獨唱演出指導、音樂總監及伴奏，曾合作的歌手包括布蘭登．喬瓦諾維奇、丹妮耶拉．布魯維拉和塔蒂亞娜．莫諾加羅瓦。自 1999 年起，佩查內克任教於布拉迪斯拉瓦音樂與表演藝術學院。

Pianist – Róbert Pechanec

Róbert Pechanec studied piano at the State Conservatory of his hometown Žilina in Slovakia. He continued his education at the Academy of Music and Performing Arts in Bratislava and also took part in master classes with Brigitte Fassbaender and Wolfram Rieger. He was especially successful as a piano accompanist. Pechanec has won prizes with various singers at many competitions, including the International Mikuláš Schneider-Trnavský Singing Competition, the Belvedere Singing Competition, and the Antonín Dvo ák International Singing Competition, where he was awarded best piano accompanist three times. As a song accompanist he regularly works with Pavol Breslik, Adriana Ku erová and Štefan Kocán. He has given concerts in Austria, the Czech Republic, Denmark, France, Germany, Hungary, Italy, Mexico, the USA, Australia, Cambodia, Poland and Belgium. As a répétiteur and musical director, and accompanist for soloists, including Brandon Jovanovich, Daniela Bruera, and Tatiana Monogarova, he took part in various productions at the Wexford Opera Festival in Ireland from 2000 to 2004. Since 1999, Róbert Pechanec has taught at the Academy of Music and Performing Arts in Bratislava.

女中音 – 斯捷潘卡．普恰爾高娃

斯捷潘卡．普恰爾高娃

Št pánka Pu álková

女中音 Mezzo-soprano

捷克女中音斯捷潘卡．普恰爾高娃是獨唱家，自 2018/19 樂季起加入德累斯頓森培歌劇院樂團。她曾在眾多著名音樂節及劇院演出，包括薩爾斯堡莫扎特週、薩爾斯堡音樂節、薩爾斯堡復活節音樂節、北京國際音樂節、斯洛伐克國家劇院、羅馬菲奧索佛羅倫斯劇院，以及布拉格國家歌劇院和劇院。普恰爾高娃曾在各地音樂會獻唱，包括日本、中國、挪威、丹麥、意大利、法國、奧地利、德國和捷克。曾合作的著名指揮家包括：克里斯蒂安．泰利曼、克里斯蒂娜．波斯卡，以及普拉西多．多明高。曾合作的導演包括：彼得．康維斯基、維拉．尼米洛娃，以及基夫．華納。在薩爾斯堡復活節音樂節五十週年紀念，普恰爾高娃在泰利曼的指揮下，首次演繹華格納《女武神》的齊格魯娜。2013 年，她在薩爾斯堡音樂節演出另一部華格納歌劇《紐倫堡的名歌手》的徒

弟。2019 年初，她在普拉西多．多明高的指揮下，於布拉格莊園歌劇院的莫扎特生日紀念音樂會獻唱。在德累斯頓森培歌劇院，她曾演繹《凱撒大帝》塞斯托，以及《卡門》梅賽德斯，並在荀伯格歌劇《摩西與亞倫》擔任第二獨唱。於 2020/21 樂季，她將會在德累斯頓森培歌劇院首次演出《費加羅的婚禮》齊蘭賓奴、《荷夫曼的故事》繆斯 / 尼克勞斯，以及《塞維利亞的理髮師》露西娜等角色。

Czech mezzo-soprano Št pánka Pu álková has been a soloist and member of the Semperoper ensemble in Dresden since the 2018/2019 season. She has performed at many significant festivals and theatres, such as Mozartwoche Salzburg, Salzburger Festspiele, Osterfestspiele Salzburg, the Beijing Music Festival, the Slovak National Theatre, Teatro Romano Fiesole Florence, and the State Opera and National Theatre in Prague.

Mezzo-soprano – Stepanka Pucalkova

Wagner’s Die Walküre, conducted by Christian Thielemann. In 2013, she performed at the Salzburger Festspiele festival as Lehrbube in Die Meistersinger von Nürnberg, also by Wagner. In early 2019, she performed under the baton of Maestro Plácido Domingo at Mozart’s birthday concert at the Estates Theatre in Prague. At Semperoper Dresden, she has sung as Sesto in Giulio Ceasare, Mercédes in Carmen and the second solo voice in Schönberg’s opera Moses und Aron. In the 2020/21 season, she will debut there as Cherubino in The Marriage of Figaro, as Muse/Nicklausse in The Tales of Hoffmann, as Rosina in The Barber of Seville and other roles.

Pu álková has performed

at concerts in Japan, China, Norway, Denmark, Italy, France, Austria, Germany and the Czech Republic. She has collaborated with major conductors such as Christian Thielemann, Kristiina Poska and Plácido Domingo, and directors such as Peter Konwitschny, Vera Nemirova and Keith Warner. For the 50th jubilee of the Salzburg Easter Festival she debuted as Siegrune in 17

捷克布爾諾國家歌劇院 National Theatre Brno

揚．巴托斯鋼琴獨奏會 PIANO RECITAL BY JAN BARTOŠ 15–18.03.2021

曲目

樂曲簡介

揚．巴托斯簡介

Programme

Programme Notes

About Jan Bartoš

網上演出

Online Performance

演出長約 1 小時 10 分鐘

Approx 1 hour and 10 minutes

只限香港地區播放

Hong Kong only

香港藝術節感謝天開數碼媒體有限公司為捷克布爾諾國家歌劇院揚．巴托斯鋼琴獨奏會節目提供視頻串流技術 The HKAF thanks TFI for providing video streaming technology support for the online screening of National Theatre Brno Piano Recital by Jan Bartoš 藝術節加料節目

歡迎觀賞藝術家分享短片，瀏覽連結請參閱加料節目網頁 Have a look at the artist sharing video for more interesting stories about the artist and the music. Please visit the PLUS webpage for viewing link.

曲目

Programme

曲目

PROGRAMME 楊納傑克

《1905 年 10 月 1 日》，JW VIII/19 〈預感〉：速度稍快〈死亡〉：慢板

《荒草漫佈的小徑》，JW VIII/17 系列一

〈我們的黃昏〉〈風吹葉曳〉

〈跟我們來吧！〉

〈費迪克的瑪當娜〉

〈他們像麻雀喋喋不休〉〈啞口無言！〉〈晚安！〉

〈難以言喻的悲痛〉〈聲淚俱下〉

〈猴面鷹仍未離去！〉

系列二選段行板

小快板—急板

Leoš Janá ek (1854–1928) 1. X. 1905, JW VIII/19

Presentiment: Con moto Death: Adagio

On an Overgrown Path, JW VIII/17 1st series

Our Evenings

A Blown-Away Leaf Come With Us!

The Madonna of Frydek They Chattered Like Swallows Words Fail!

Good Night!

Unutterable Anguish In Tears

The Barn Owl Has Not Flown Away!

Excerpts from 2nd series Andante

Allegretto—Presto

《變奏曲》，JW VIII/6

Thema con variazioni, JW VIII/6

《回憶》，JW VIII/32

Reminiscence, JW VIII/32

《在迷霧中》，JW VIII/22

In the Mists, JW VIII/22

行板

極慢板小行板急板

Andante

Molto adagio Andantino Presto

《 1905 年 10 月 1 日》，JW VIII/ 19 1. X. 1905, JW VIII/19

楊納傑克

Leoš Janácek 出生 Born

1854 年 7 月 3 日（波希米亞王國胡克瓦爾迪） 3 July 1854 (Hukvaldy, Kingdom of Bohemia ) 逝世 Died

1928 年 8 月 12 日（捷克斯洛伐克奧斯特拉瓦） 12 August 1928 (Ostrava, Czechoslovakia) 作曲 Composed

1905

儘管楊納傑克似乎對作品不太滿意，樂曲於 1924 年出版時，他仍然為樂曲寫下介紹：「〔帕夫利克〕只是來表達他對高等教育的期盼，卻死於冷酷無情之手。」

Although Janá ek seemed to dislike the composition, he nonetheless supplied a short note upon its publication in 1924, which reads: “[František Pavlík] only came to demonstrate his enthusiasm for higher education and was killed by cruel murderers.”

1905 年 10 月 1 日，布爾諾民眾爭取興建一所捷克大學，觸發一場示威慘劇。《1905 年 10 月 1日》（或稱「 1905 年 10 月 1 日在街頭」）這個作品正是楊納傑克為回應該事件而寫的。當時布爾諾政府一直致力於布爾諾建立一所捷克高等學府，並決定讓布爾諾市民就此議題自決。可是，當地的德國人擔心捷克的勢力會因而擴張，故於 10 月 1 日在布爾諾召開了集會（稱為「議會」），反對在當地建立捷克大學。布爾諾的捷克人亦不甘示弱，舉行大型的反德示威；兩個陣營在街頭打鬥起來，引致警方介入，後來軍人更奉召到場。一位名為帕夫利克的年輕捷克工人在衝突中身亡，案發地點正是位於楊納傑克工作的音樂廳附近。這場悲劇激發楊納傑克寫下《1905 年 10 月 1日》。作品原有三個樂章，但作曲家在 1906 年 1 月 27 日首演前不久把終章燒掉，而在布拉格的一次演出後，他甚至把整份手稿扔進伏爾塔瓦河裏。幸得首演的鋼琴家杜茨柯娃保存了原稿，並在 1924 年把作品公諸於世，這部音樂作品才得以留存下來。

1. X. 1905 (“From the Street, 1 October 1905”) was created spontaneously as a reaction to a tragedy which took place during demonstrations for a Czech university in Brno. After years of efforts to establish a Czech higher education institution in Brno, the government agreed that Brno citizens should be allowed to decide for themselves whether a Czech university should be created. However, the German representatives of the city were afraid of Czechs gaining greater influence and so convened a “Volkstag” in Brno on 1 October 1905 to show their opposition. In response, the Czech citizens of the city organised a large anti-German demonstration. Street fights took place between the two camps, and the police, and subsequently the army, were called in. During one of the battles, a young Czech worker named František Pavlík was killed near Besední d m, the concert hall where Janá ek worked. Inspired by this tragic event, Janá ek wrote 1. X. 1905, which was originally intended to be a three-movement composition. However, shortly before its premiere on 27 January 1906, he burned the last movement, and after another performance in Prague he even threw the whole manuscript into the Vltava River. Fortunately, the first performer of the composition, the pianist Ludmila Tu ková, kept the original copy and made it public years later, in 1924. Thanks to her, this piano piece, has been preserved.

樂曲簡介

作曲 Composed 1900–1911 在斯拉夫民間傳説中，貓頭鷹是死亡的預兆。系列一的終章題為〈猴面鷹仍未離去！〉，楊納傑克在當中便運用了象徵不祥、凶兆的動機。

In Slavic mythology, the owl was a harbinger of death. In the last piece of the first series, titled The Barn Owl Has Not Flown Away, Janá ek used a portentous motif to represent the barn owl.

Programme Notes

《荒草漫佈的小徑》，JW VIII/ 17 On an Overgrown Path, JW VIII/17 鋼琴套曲《荒草漫佈的小徑》極具詩意，是楊納傑克於 1900 至 1911 年間分階段撰寫的作品。作曲家先於 1900 年完成系列一的五支曲目，由一位老師以口琴短篇作的形式分別出版在幾部書裏，讓音樂學生演奏，書名為《斯拉夫旋律》。書籍的編輯布隆貝爾哲於 1908 年請布拉格出版商把作品出版，並大力宣傳。出版商對作品深感興趣，推動楊納傑克再次動筆，除了把此系列的作品增加到十首之外，還添上具詩意的標題。

1911 年 9 月 30 日，在《荒草漫佈的小徑》首個系列出版前不久，楊納傑克在捷克《人民日報》的小說版發佈新系列的第一支作品，當時並沒有添上具詩意的標題。系列二一共有五支作品，於今天的音樂會中，鋼琴家巴托斯將演奏首兩首作品。

The piano cycle of poetic compositions, On an Overgrown Path, was composed in stages between 1900 and 1911. Janá ek wrote the first five compositions of the first series of the cycle in 1900. They were published by a teacher as short compositions for the harmonium in several books for music students, entitled Slavonic Melodies. The editor, Jan Branberger, played a role in popularising the cycle when he arranged for the compositions to be printed by a Prague publisher in 1908. The interest of publishers in the compositions led Janá ek to compose other parts, and so the cycle grew to comprise a total of ten pieces, to which the composer assigned poetic titles. On 30 September 1911, shortly before the first series of the cycle was published, Janá ek released the first composition from a new series of the cycle in the fiction section of the Lidové noviny newspaper, this time without a poetic name. The second series comprises a total of five pieces, which Jan Bartoš, the pianist performing at today’s concert, will perform the first two pieces.

作曲 Composed

1880

《變奏曲》副題為「札德娜變奏曲」，楊納傑克將自題獻給其鋼琴學生札德娜．舒爾祖娃。 1881 年，兩人即結成夫婦。

Janá ek dedicated the Thema con variazioni to his piano student Zdenka Schulzová, and gave it the subtitle “Zdenka’s Variation”. The couple married in 1881.

《變奏曲》，JW VIII/ 6 Thema con variazioni, JW VIII/6 楊納傑克在創作《變奏曲》時極為重視這部鋼琴作品，甚至將之稱為作品 1，即使他在此前已寫下不少樂曲。作曲家在 1880 年初開始譜寫《變奏曲》，當時他還是萊比鍚音樂學院的學生。他將樂曲獻給未婚妻舒爾祖娃。這部作品對年輕的楊納傑克有着重要意味，因他藉此測試自己能否以舒曼、柴可夫斯基、李斯特或布拉姆斯的風格來寫作。

楊納傑克與札德娜，攝於 1881 年 Janá ek with his wife Zdenka. Taken in 1881

作曲 Composed

1928

楊納傑克將這首樂曲題獻給南斯拉夫作曲家米洛伊，米洛伊當時是《音樂》期刊的編輯之一，作品正正是由這本期刊委約創作。

Janá ek dedicated this short composition to Yugoslavian composer Miloj Milojevi , at the time one of the editors of Muzika, which commissioned the piece.

Janá ek greatly valued the piano composition Thema con variazioni (or Zdenka Variations) at the time of its creation, and he even labelled it Opus No 1, even though he had composed many other pieces before. The creation of the composition dates back to early 1880, i.e. when the composer was studying at the Conservatory in Leipzig. He dedicated it to his fiancée Zdenka Schulzová. For the young Janá ek, it was an important work in which he tested his ability to compose in the style of Schumann, Tchaikovsky, Liszt or Brahms.

《回憶》，JW VIII/ 32 Reminiscence, JW VIII/32 這是貝爾格萊德期刊《音樂》的委約作品，期刊於同年 7 月出版捷克專題。雖然樂曲只有一分半鐘長，但感情澎湃，開首柔和，中段充滿激情。我們只好推測樂曲緊扣着楊納傑克當時的心理狀態——他在創作《回憶》當日寫信給卡米拉，信中提及如魚離水的比喻：「牠只求得到潤澤，牠的魚鰭乾了，黏附魚身，張開嘴巴苦苦哀求着！」

Reminiscence was commissioned for the Czech issue of the Belgrade periodical Muzika and published in July that year. Though only a minute and a half long, it is full of emotion, starting softly with a stormy middle section. We can only speculate if this was connected to Janá ek’s state of mind, which he intimated in a letter to Kamila Stösslová written the same day he composed Reminiscence— he talks of a fish out of water: “it dreams only of the fresh water, its fins dried and stuck to its body, its mouth beseechingly open!”

樂曲簡介

作曲 Composed

1912

整部作品包含四個樂章，每章都以三段體譜寫。在速度及節拍上，具有相當多的變化。

The piece consists of four movements and each is written in ternary form, with frequent changes in tempo and meter.

Programme Notes

《在迷霧中》，JW VIII/ 22 In the Mists, JW VIII/22 楊納傑克在 1912 年 4 月完成鋼琴套曲《在迷霧中》，這是他最後一部寫給鋼琴獨奏的大型作品，創作時正處於人生低潮，自信心低落。他聽過德布西的鋼琴作品後，很快就動筆譜寫此曲，而這部憂鬱的作品，使用了印象派的音樂元素，帶有夢幻的感覺。《在迷霧中》於 1913 年 12 月 7 日由瑪莉．德伏拉可娃首演。

原載於 2020 年布爾諾楊納傑克節的演出場刊。獲藝團授權修訂。

Janá ek completed his piano cycle In the Mists in April in 1912. It was his last extensive work for solo piano and was composed when he was at a low ebb, his self-confidence broken. He worked on it shortly after listening to piano compositions by Claude Debussy, and his dreamlike melancholic work contains elements of musical Impressionism. In the Mists was played for the first time by Marie Dvo áková in Krom íž on 7 December 1913.

Originally published in the house programme for the performance at the Janá ek Brno Festival in 2020. Edited with the company’s permission.

揚．巴托斯 JAN BARTOŠ

鋼琴家 Pianist

揚．巴托斯獲國際媒體讚揚耶爾維等。他曾在紐約勝出三為歐洲最優秀的鋼琴家之一，個鋼琴比賽，包括：米耶克滋其演出被形容為細膩精緻。洛．孟茲鋼琴比賽（ 2009 ）、傳奇鋼琴大師阿爾弗雷德．斯拉夫斯基—科克協奏曲比賽布倫德爾稱他為「使我印象最（ 2008 ）及彼得．里德鋼琴比深刻、最有趣的年輕音樂夥伴賽（ 2004 ）。2006 年，他勝出之一」。巴托斯在捷克唱片公德國紐倫堡扶輪音樂推廣獎比司 Supraphon 推出的唱片廣獲賽，並於 1999 年勝出布拉格協《留聲機》、《法國音叉雜誌》、奏曲比賽。巴托斯同時榮獲享《 BBC 音樂雜誌》、《星期日泰負盛名的荷蘭魯科瓦信託獎，晤士報》及《美國唱片指南》以及德國舒密爾獎，並獲得捷等雜誌讚賞。他的楊納傑克克文化部獎學金。大碟榮獲《留聲機》雜誌編輯巴托斯曾在曼哈頓音樂學院攻星級之選獎項，並獲美國國家讀研究生，並持布拉格表演藝公共廣播電台列入「引領未來術學院博士學位。在捷克，他十年的十大古典唱片」，同時師承伊凡．莫拉韋茨、馬田．是國際音樂網站 MusicWeb 的巴利，以及米路斯拉夫．蘭 2019 年十張最佳唱片之一。巴格。在美國，他師承澤羅．托斯的雙大碟《貝多芬：鋼琴費希貝、詹姆斯．托高，以及奏鳴曲》於《 BBC 音樂雜誌》羅拔．曼。他近期在阿爾弗雷取得最高評分。德．布倫德爾及利昂．費沙爾巴托斯曾於歐洲多地、亞洲及的指導下演奏。巴托斯是布拉 2009 美國舉行演奏會。年，他格音樂表演國際音樂節和學院首次在紐約亮相，於曼哈頓愛的創辦人及總監。自 2019 年樂樂團劇院演奏貝多芬的第五起，他還擔任捷克美國春季國鋼琴協奏曲。曾合作的著名指際音樂節的藝術總監。揮家包括：伊里．貝勞拿域、 Jan Bartoš has been described in 雅庫．胡薩及克里斯蒂安．

揚．巴托斯簡介

the international media as one of the best European pianists and a sensitive and refined performer. The legendary pianist Alfred Brendel called him “one of my most impressive and interesting young colleagues”. His albums, released through Supraphon, have garnered praise from reviewers in publications such as Gramophone, Diapason, BBC Music Magazine, the Sunday Times and American Record Guide. His recording of Leoš Janá ek’s works earned a prestigious Editor’s Choice award from Gramophone magazine. National Public Radio in the US named the album one of 10 classical discs that foreshadow the coming decade, and it was ranked among the 10 best albums of 2019 by the website MusicWeb International. Bartoš’s double album, Beethoven: Piano Sonatas, received the highest rating possible in BBC Music Magazine. Jan Bartoš has given concerts in many European countries, as well as in Asia and the USA.

In 2009, he made his New York debut with Beethoven’s Piano Concerto No 5 at the Manhattan Philharmonia. He has collaborated with renowned conductors such as Ji í B lohlávek, Jakub Hr ša and Kristjan Järvi, among many others. He has won three competitions in New York— Mieczysław Munz (2009), Zaslavsky‑Koch (2008) and Peter S. Reed (2004). In 2006 he won the Rotary Musikförderpreis competition in Nuremberg, Germany, and in 1999 he won the Concertino Praga contest. He is also a recipient of the Netherlands’ prestigious Rucorva Trust Award and Germany’s Schimmel Prize, and he earned a scholarship from the Ministry of Culture of the Czech Republic.

About Jan Bartoš

Langer. In the USA, he studied under Zenon Fischbein, James Tocco and Robert Mann. His recent mentors include Alfred Brendel and Leon Fischer. He is the founder and director of the Prague Music Performance international festival and institute. He has also been the art director of the American Spring international music festival in the Czech Republic since 2019.

Jan Bartoš has undertaken postgraduate studies at the Manhattan School of Music and holds a doctorate from the Academy of Performing Arts in Prague. In the Czech Republic, his teachers were Ivan Moravec, Martin Ballý and Miroslav 29

捷克布爾諾國家歌劇院 National Theatre Brno

巴維．哈斯四重奏 PAVEL HAAS QUARTET 16–19.03.2021

曲目

樂曲簡介

四重奏團簡介

Programme

Programme Notes

About the Quartet

網上演出

Online Performance

演出長約 1 小時 15 分鐘

Approx 1 hour and 15 minutes

只限香港地區播放

Hong Kong only

香港藝術節感謝天開數碼媒體有限公司為捷克布爾諾國家歌劇院巴維．哈斯四重奏節目提供視頻串流技術 The HKAF thanks TFI for providing video streaming technology support for the online screening of National Theatre Brno Pavel Haas Quartet 藝術節加料節目

封面照片 Cover Photograph © Marco Borggreve

巴維．哈斯四重奏

Pavel Haas Quartet

第一小提琴手 First Violin

韋洛尼嘉．雅魯什科娃

Veronika Jar šková

第二小提琴手 Second Violin

馬雷克．史維貝爾

Marek Zwiebel 中提琴手 Viola

巴維．尼克爾

Pavel Nikl

客席中提琴手 Guest Viola

弗蘭蒂謝克．索克

František Sou ek 大提琴手 Cello

彼得．雅魯謝克

Peter Jar šek

曲目

Programme

曲目

PROGRAMME 馬替奴

第七弦樂四重奏，H 314，「室內協奏曲」小快板行板

活潑的快板

楊納傑克

第一弦樂四重奏，JW VII/8，「克羅采奏鳴曲」慢板—速度稍快速度稍快

速度稍快—活潑地—行板—回復原速速度稍快（慢板）—速度轉快

德伏扎克

降 E 大調第三弦樂五重奏，作品 97 不太快的快板活潑的快板小廣板

嚴格的快板

Bohuslav Martin

(1890–1959)

String Quartet No 7, H 314, “Concerto da Camera” Poco allegro Andante Allegro vivo

Leoš Janá ek (1854–1928)

String Quartet No 1, JW VII/8, “Kreutzer Sonata” Adagio–Con moto Con moto

Con moto–Vivace–Andante–Tempo primo Con moto (Adagio)–Più mosso

Antonín Dvo ák (1841–1904)

String Quintet No 3 in E-flat major, Op 97 Allegro non tanto Allegro vivo Larghetto

Finale: Allegro giusto

馬替奴

第七弦樂四重奏，H 314，「室內協奏曲」

BOHUSLAV MARTIN

STRING QUARTET NO 7, H 314, “CONCERTO DA CAMERA”

馬替奴寫有八部弦樂四重奏，而每一部都象徵着與別不同、極具創意的音樂世界，完整地描繪出作曲家音樂語言的發展。第七弦樂四重奏是三樂章曲式，因此亦稱為「室內協奏曲」，是 1947 年 6 月於紐約寫成的作品。

馬替奴與妻子夏洛特為逃避戰爭移居美國六年，到他寫最後一部弦樂四重奏時，他的人生進入了艱難的階段：1946 年，布拉格音樂學院邀請他於該校任教，馬替奴夫婦一直很想回到歐洲及捷克斯洛伐克，但他們於簽證上遇到阻礙，獲批條件是他們必須證明會返回美國。最後夏洛特獨自前往歐洲，留下馬替奴在麻省大巴靈頓一邊教學，一邊完成扎赫爾的委約──管弦樂作品《觸技曲與兩首歌謠》。可是，同年七月，馬替奴意外從大巴靈頓大宅的陽台掉下來，受了重傷。經過長時間的休養，馬替奴才能慢慢投入工作，完成《觸技曲》，當時已經是秋天了。作曲雖然令馬替奴很疲倦，但在 1947 年春天，他仍然寫信告訴夏洛特說：「我仍在工作，我想我會寫點室樂。」而這段時期其中一部室樂作 34

Bohuslav Martin was the author of eight string quartets. Each is a separate original world, forming a complete portrait of the development of the composer’s musical language. String Quartet No 7, known as “Concerto da camera”, due to its threemovement form, was created in New York in June 1947. Martin had been living in the USA for six years, he and his wife Charlotte having fled the war. The period when his last string quartet was composed was not a happy one. He had been offered a teaching position at the Prague Conservatory in 1946. The Martin s longed to go back to Europe and to Czechoslovakia; however, the situation was complicated by an issue with their visa needed for a potential return to the USA. So Charlotte travelled across the ocean alone and Martin stayed in the States, where he had teaching responsibilities in Great Barrington, Massachusetts, and a commission to finish for Paul Sacher—the orchestral composition Toccata e due canzoni. However, a terrible accident happened in July. Martin fell from the terrace of a chateau in Great Barrington and

樂曲介紹

馬替奴

Bohuslav Martinu 出生 Born

1890 年 12 月 8 日（波希米亞王國波利奇卡） 8 December 1890 (Policka, Kingdom of Bohemia)

品，就是他最後一部弦樂四重奏 —— 第七弦樂四重奏，馬替奴將之題獻給其太太。馬替奴的好友兼傳記作者沙法蘭奈克認為：「弦樂四重奏的第一樂章散發喜悅與樂觀的情緒；較慢的中段抒情、感情豐富；第三樂章活潑的快板滲透着捷克精神，可見作曲家心底裏從沒有離開過其在捷克波利奇卡的家鄉。」

逝世 Died

1959 年 8 月 28 日（瑞士利斯塔爾） 28 August 1959 (Liestal, Switzerland) 作曲 Composed

1947

馬替奴創作第五、第六和第七弦樂四重奏時，困難重重。他創作第七弦樂四重奏時，正值困擾和痛苦的恢復期，當時他身心都處於人生低谷。

Martin composed his fifth, sixth and seventh string quartets under difficult circumstances. The seventh was composed during a difficult and painful time of recovery from injury, a time when his mental and physical energies were at an all-time low.

Programme Notes

suffered a serious head injury. After a long convalescence, the composer slowly got back to work in the autumn to finish Toccata. Composing was very tiring for him, though, and in spring 1947, he wrote to Charlotte: “I am working but I think I will be writing some chamber pieces.” One of the compositions that date from this time is his last string quartet, No 7, dedicated to his wife Charlotte. Martin ’s long-time friend and biographer Miloš Šafránek wrote that “the first movement of the quartet evokes joy and optimism, whereas in the slower middle part, it is a lyric and expressive statement. The third movement, allegro vivo, is filled with fullblooded Czech spirit which shows that the composer’s heart has never truly left his hometown of Poli ka”.

馬替奴。約 1942 年攝於紐約 Bohuslav Martin in New York. Taken around 1942

楊納傑克

第一弦樂四重奏，JW VII/ 8，「克羅采奏鳴曲」

LEOŠ JANÁ EK

STRING QUARTET NO 1, JW VII/8, “KREUTZER SONATA”

楊納傑克的室樂雖然不及其歌劇或合唱作品般豐富，然而這批室樂作品是作曲家最重要的音樂遺產之一，尤其是其晚期作品。楊納傑克於 1880 年在維也納求學時首次鑽研並撰寫弦樂四重奏，但當時的作品沒有保存下來。四十三年過後，亦即 1923 年，他應邀為著名的捷克四重奏作曲，身為熱心親俄份子兼布爾諾俄羅斯同好會的合辦人，他從俄羅斯文學選取主題，以托爾斯泰的短篇小說《克羅采奏鳴曲》作為弦樂四重奏的靈感。而托爾斯泰這部文學作品，靈感則來自貝多芬獻給法國小提琴家克羅采的同名作品。

Leoš Janá ek’s chamber oeuvre is not very extensive compared with his opera or choral work, but the chamber compositions, especially from his last creative period, are among the most important parts of his legacy as a composer. Janá ek worked with the idea and later with the composition of a string quartet for the first time during his studies in Vienna in 1880, but the composition hasn’t survived. Forty-three years passed between this missing composition and String Quartet No 1, “Kreutzer Sonata”. In 1923, the composer decided to comply with a request from the famous Czech Quartet, which had asked him to write something for them. As in the case of some of his other compositions, Janá ek— an enthusiastic Russophile and co-founder of the Brno Russian Circle—chose a theme from Russian literature. The quartet was inspired by Tolstoy’s novella The Kreutzer Sonata, which the writer himself was inspired to write by Beethoven’s composition of the same name, which was in turn dedicated to the French violinist Rodolphe Kreutzer.

樂曲介紹

楊納傑克

Leoš Janácek 出生 Born

1854 年 7 月 3 日（波希米亞王國胡克瓦爾迪） 3 July 1854 (Hukvaldy, Kingdom of Bohemia ) 逝世 Died

1928 年 8 月 12 日（捷克斯洛伐克奧斯特拉瓦） 12 August 1928 (Ostrava, Czechoslovakia)

在此前，楊納傑克寫於 1908 至 1909 年、並於 1909 年在布爾諾首演的小提琴、大提琴和鋼琴三重奏，同樣是受到托爾斯泰的短篇小說所啟發，可是後來作品卻失傳。不少記載指出，這部弦樂四重奏和之前的三重奏有很密切的關係。第一弦樂四重奏於 1923 年 10 月完成， 1924 年 10 月 17 日由捷克四重奏在布拉格當代音樂協會音樂廳演出。1925 年，捷克四重奏又於威尼斯當代音樂國際協會在楊納傑克面前演出此作，翌年當作曲家前往倫敦時，又再演奏了一次。

作曲 Composed

Programme Notes

Tolstoy’s novella had already been the inspiration for Janá ek’s Trio for Violin, Cello and Piano, which was composed in 19081909 and first performed in Brno in 1909. However, it later disappeared. It is clear from various sources that there is a close relationship between the previous piano trio and the string quartet. Janá ek completed the quartet at the end of October 1923, and it was performed by the Czech Quartet in Prague on 17 October 1924 at a concert of the Society for Contemporary Music. The quartet was also performed in 1925 in Janá ek’s presence at the International Society for Contemporary Music in Venice, and again the following year in London while Janá ek was visiting.

1923

托爾斯泰的短篇小說《克羅采奏鳴曲》講述一個貴族和他的鋼琴家太太的婚姻和情殺故事。作曲家在四重奏中使用變化迅速的樂章度以及漸快板，表示不安、焦慮等強烈情緒變化。

Tolstoy’s novella The Kreutzer Sonata narrates a marriage and murder story involving an aristocrat and his pianist wife. The composer uses rapidly changing tempos and accelerando to suggest restlessness, disturbance and other intense emotions.

法國畫家蘭尼—哈維爾．翩尼於 1901 年所繪的油畫《克羅采奏鳴曲》，亦是以托爾斯泰的短篇小說為題 Tolstoy's novella inspired the 1901 painting Kreutzer Sonata by the French artist René-Xavier Prinet

德伏扎克

降 E 大調第三弦樂五重奏，作品 97

ANTONÍN DVO ÁK

STRING QUINTET NO 3 IN E-FLAT MAJOR, OP 97

寫於 1893 年的降 E 大調第三弦樂四重奏是德伏扎克的室樂傑作之一，當時他已是世界聞名的作曲家。創作此曲時他正於美國渡假，同時他亦着手創作另一首更著名的 F 大調第十二弦樂四重奏（「美國四重奏」）。第三弦樂五重奏跟第十二弦樂四重奏一樣，都是隨性創作的作品，於 1893 年 6 月 26 日至 7 月 29 日之間寫成。在渡假期間，德伏扎克常常在艾奧瓦州的斯畢維里市遠足，根據他的回憶錄，他經常於當地村落碰見賣香料和藥草的印第安人，有時還會請他們根據部落習俗奏樂和跳舞。第三弦樂五重奏盛載着作曲家這段美國假期的風光及印象，並受民俗曲調及傳統美洲土著音樂啟發，風格富有新意。音樂使用了五聲音階、切分節奏和特別、明確的旋律；作品其中一個獨特的地方，是帶有「鼓的節奏」，乃源於美洲土著祭典歌曲的伴奏節奏。另外，作品使用了額外的樂器（弦樂四重奏加上中提琴），令樂聲變得更稠密、感情更豐富。

The String Quintet No 3 in E-flat major from 1893 is one of Antonín Dvo ák’s masterpieces of chamber composition—he was already world-famous at that time. Dvo ák composed the work while on holiday in America, and it was composed around about the same time as the more famous String Quartet No 12 in F major (“American Quartet”). Dvo ák went for long walks in Spillville, Iowa, where he was holidaying, and, according to his memoirs, he regularly met Native Americans selling spices and herbs in the village. At his request, they sometimes played and danced according to their tribal customs. The composition, which, like the String Quartet No 12, was created spontaneously, between 26 June and 29 July 1893. It is a very original piece, inspired by Dvo ák’s impressions of his American stay, by folk tunes and traditional Native American music. It is characterised by the use of pentatonic, syncopated rhythms and special, specific melodies. A distinctive feature of the composition is the “drum rhythm”, which is derived from the rhythmic accompaniment of native American ritual songs. At the same time, the composition

樂曲介紹

這部弦樂五重奏於 1894 年 1 月 2 日在紐約首演，由克奈澤四重奏加上扎克擔任的第二中提琴演出，並於同年 10 月 10 日由捷克四重奏及拉克納進行布拉格首演。德伏扎克

Antonín Dvorák 出生 Born

1841 年 9 月 8 日（波希米亞王國尼拉霍夫斯） 8 September 1841 (Nelahozeves, Kingdom of Bohemia )

Programme Notes

is very dense and expressively rich thanks to the extended instrumentation (a string quartet and viola). The string quintet had its premiere on 12 January 1894 in New York, performed by the Kneisl Quartet with Max Zach playing the second viola. The work was performed for the first time in Prague later the same year, on 10 October, by the Czech Quartet with Ferdinand Lachner.

逝世 Died

1904 年 5 月 1 日（波希米亞王國布拉格） 1 May 1904 (Prague, Kingdom of Bohemia) 作曲 Composed

1893

不少研究都嘗試點出這部五重奏中的美國元素，其中最明顯的是第二樂章中與印第安鼓相似的聲音。

There have been many attempts to pinpoint specifically American features in the quintet—most notably the resemblance to Native American drumbeats in the second movement.

原載於 2020 年布爾諾楊納傑克節的演出場刊。獲藝團授權修訂。

Originally published in the house programme for the performance at the Janá ek Brno Festival in 2020. Edited with the company’s permission.

巴維．哈斯四重奏

PAVEL HAAS QUARTET

四重奏團簡介

巴維．哈斯四重奏獲《留聲機》雜誌譽為世上最振奮人心的弦樂四重奏。樂團於布拉格之春比賽表現亮眼，並於 2005 年在意大利艾米利亞雷焦勝出國際弦樂四重奏比賽，迅速成為當代國際樂壇最令人期待的室內樂團。巴維．哈斯四重奏曾亮相於世界多個知名的音樂場地，並推出六張廣獲好評的大碟，得獎無數。樂團成員師承斯美塔那四重奏的傳奇小提琴家米蘭．史坎帕。2007 年，巴維．哈斯四重奏獲歐洲音樂廳聯盟挑選為「明日之星」，其後獲得更多演出機會，演奏會皆備受曯目。2007 至 2009 年，樂團被選為英國廣播公司新世代藝術家，並於 2010 年獲英國 Borletti–Buitoni 信託的古典音樂信託金。

2019/20 樂季，四重奏曾亮相於各大表演場地包括：瑞士蘇黎世音樂廳、倫敦威格摩爾音樂廳、盧森堡音樂廳、斯德哥爾摩音樂廳、米蘭四重奏劇院，以及奧地利舒伯特黨等音樂節。2020 年 1 月，巴維．哈斯四重奏回歸阿姆斯特丹音樂廳，於弦樂四重奏雙年展呈獻三場演奏會，其後首次於以色列巡迴演出，在耶路撒冷、特拉維夫和海法亮相。

The Pavel Haas Quartet has been called the world’s most exciting string quartet by Gramophone magazine. Following its victory in the Prague Spring Festival Competition and after winning the international string quartet competition Premio Paolo Borciani in Reggio Emilia, Italy in 2005, the Pavel Haas Quartet soon established itself as one of the world’s most exciting contemporary chamber ensembles. Performing at some of the world’s most renowned concert venues, the Quartet has to date recorded six critically acclaimed CDs, which have received numerous prestigious awards. The ensemble members studied with Milan Škampa, the legendary violist of the Smetana Quartet. In 2007, the European Concert Hall Organisation named the Pavel Haas Quartet one of its Rising Stars, following which the quartet was afforded the opportunity to give numerous high-profile concert appearances. Between 2007 and 2009, the Pavel Haas Quartet held the title of BBC New Generation Artist. In 2010, the ensemble was granted a classical music fellowship from the Borletti–Buitoni Trust.

About the Quartet

In the 2019/2020 season the Quartet returned to major venues including Tonhalle Zürich, Wigmore Hall London, Philharmonie Luxembourg, Stockholm Konserthuset, Società del Quartetto di Milano and festivals such as the Schubertiade. They returned to Amsterdam Muziekgebouw to perform three concerts at the String Quartet Biennale in January 2020 and embarked on their first tour to Israel with performances in Jerusalem, Tel Aviv and Haifa.

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

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The Swire Group Charitable Trust

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上海商業銀行有限公司

Shanghai Commercial Bank Limited

實物支持機構 In-kind Supporters

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Initial Fashion

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殷和順先生劉善萍女士

Star B Chan & MDB Mr Lee King Fung Mrs A.M. Peyer Mr Alex So Mrs Teresa Pong Tam Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

Ms Fung Man Yee Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Mr Jose Manuel Sevilla Mr & Mrs Ian Stone Mrs Teresa Pong Tam Yeung’s family Dr Jason Yeung

Ms Grace Chiang Mr S C Tong Ling Mrs A.M. Peyer Mrs Teresa Pong Tam

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

香港小交響樂團

Hong Kong Sinfonietta 宜必思香港中上環

ibis Hong Kong Central and Sheung Wan 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 港島太平洋酒店

Island Pacific Hotel Hong Kong JellyBin Limited

• 文學院 Faculty of Arts

香港演藝學院

The Hong Kong Academy for Performing Arts

• 戲曲學院 School of Chinese Opera • 戲劇學院 School of Drama

• 音樂學院 School of Music

中環石板街酒店

The Pottinger Hong Kong

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

BRICK LANE

高山劇場

光華新聞文化中心

THEDO

British Consulate General Hong Kong

中央人民政府駐香港特別行政區聯絡辦公室

Tom Lee Music Company Ltd

英國駐香港總領事館

Ko Shan Theatre

Théâtre de la Feuille

Broadway Cinema

Kwang Hwa Information & Culture Center

通利琴行

CAMPSITE

Liaison Office of the Central People's Government in the HKSAR

Trinity Theatre

Cattle Depot Artist Village

Marco Polo Hongkong Hotel

百老匯院線 Broadway Circuit

三角關係

馬哥孛羅香港酒店

屯門大會堂

周生生集團國際有限公司

Maxibit HK/China

URBTIX

中信國際電訊（信息技術）有限公司

Ministry of Culture and Tourism, PRC

牛棚藝術村

Chow Sang Sang Jewellery Co. Ltd

CITIC Telecom International CPC Limited 城市當代舞蹈團

City Contemporary Dance Company 城巿花園酒店

中華人民共和國文化和旅遊部

Mission Production Company Ltd MOViE MOViE 太古城中心 MOViE MOViE Cityplaza

City Garden Hotel

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place

Consulate General of Canada in Hong Kong and Macau

Mr Alpha Li

加拿大駐香港總領事館

捷克共和國駐香港領事館

Consulate General of the Czech Republic in Hong Kong 俄羅斯駐香港總領事館

Consulate General of the Russian Federation in Hong Kong SAR, PRC 香港城市大學中文及歷史學系

Department of Chinese and History, The City University of Hong Kong 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 嶺南大學文化研究系

李鏡輝先生

前進進戲劇工作坊 On & On Theatre Workshop

One Minden Tapas Kitchen 柏斯琴行

Parsons Music Limited

沙田大會堂

Sha Tin Town Hall

Hong Kong Arts Administrators Association

上環文娛中心

Sheung Wan Civic Centre

Hong Kong Arts Centre

Shun Hing Electronic Trading Co., Ltd.

Hong Kong Baptist University

• 音樂系 Department of Music

• 拉闊文化 Cultural Literacy Programme

香港中樂團

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

Hong Kong Cultural Centre

香港八和會館

Hong Kong Gold Coast Hotel

香港中文大學

Tao Fong Shan Christian Centre The Artland Co Ltd

The Chinese Artists Association of Hong Kong The Chinese University of Hong Kong

Hong Kong Philharmonic Orchestra

• 文化及宗教研究系 Department of Cultural and Religious Studies

Hong Kong Tourism Board

• 音樂系 Department of Music

香港旅遊發展局

wine etc

事必達推廣有限公司

藝林文具印刷有限公司

香港管弦樂團

Wharney Hotel

Southgate Design

Hong Kong City Hall 香港黃金海岸酒店

粵海華美灣際酒店

信興電器貿易有限公司

道風山基督教叢林

香港文化中心

West Kowloon Cultural District Authority

Primasia Corporate Services Limited

Hong Kong Chinese Orchestra 香港大會堂

西九文化區管理局

Pixellent

Gloucester Luk Kwok Hong Kong

香港浸會大學

Wealthy Step Printing Co.

Piano Arts Service Limited

Royal Pacific Hotel

香港藝術中心

進富印刷公司

PCCW

皇家太平洋酒店

香港藝術行政人員協會

WeDraman Black Box Theatre

電訊盈科

Fringe Club 六國酒店

同流黑盒劇場

Patsville Company Ltd

犇華企業服務有限公司

藝穗會

城市售票網

卓滙達有限公司

Die Konzertisten

Department of Cultural Studies, Lingnan University

Tuen Mun Town Hall

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) Work-inProgress 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》

《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

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

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

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

The Hong Kong Jockey Club Contemporary Dance Series Elephant in the Room / Dirty

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

電話 Tel 傳真 Fax 電郵 Email 節目查詢

Programme Enquiry

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

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)

執行委員會

EXECUTIVE COMMITTEE

主席

查懋成先生

義務司庫

李錦榮先生

副主席委員

節目委員會主席委員

盧景文教授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

委員

盧景文教授

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李錦榮先生

鄭惠貞女士梁國輝先生

發展委員會主席

副主席委員

顧問

名譽法律顧問核數師

Mr Victor Cha

Vice Chairman

Prof Lo King-man, MBE, JP, SBS

Honorary Treasurer

Mr William Li

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

PROGRAMME COMMITTEE

財務委員會主席

Chairman

梁靳羽珊女士雍景欣女士

鄭阮培恩女士龐建貽先生孫林宣雅女士姚祖輝先生夏佳理先生鮑磊先生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

甘乃迪女士（孖士打）羅兵咸永道會計師事務所

* 榮譽節目顧問 Honorary Programme Advisor 46

Chairman

Prof Lo King-man, MBE, JP, SBS

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

FINANCE COMMITTEE Chairman

Mr William Li

Members

Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman

Mrs Yu-san Leong

Vice Chairman

Ms Jane Yong

Members

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

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

HONORARY SOLICITOR

Ms Gabriela Kennedy, Mayer Brown

AUDITOR PricewaterhouseCoopers

職員

STAFF

行政總監行政總監助理

何嘉坤 ** 何丹蓉

助理節目經理節目統籌藝術行政見習員物流及接待經理

梁掌瑋 ** 蘇國雲游慧姿 * 葉健鈴余瑞婷 * 譚小敏 * 黃傲軒 * 袁潔敏 * 郭笑 * 金學忠 *

節目節目總監副節目總監節目經理

行政節目經理 ( 行政 ) 節目主任 ( 行政 ) 技術製作經理助理製作經理出版編輯英文編輯助理編輯

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市場主任藝術行政見習員

票務市場經理 ( 票務 ) 票務主任

發展發展總監發展經理

助理發展經理藝術行政見習員會計財務主管會計經理會計主任

人力資源及行政行政經理接待員 / 初級秘書助理

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

蘇雪凌程鶩誼 * 梁雅芝 * 莫賦斌 * 廖健邦 * Oliver Farry* 鄭豐榮 * 黎家欣 * 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 * 劉萍 * 張予心 * 梁彩雲陳偲穎 * 鍾卓祐 * 余潔儀 ** 張慧芝 * 麥紫琴 * 譚樂瑤蘇寶蓮 * 吳樂怡 * 鄺敬婷 ** 杜詩麗 * 蘇永恆 * 譚智盈 * 李美娟黃國愛鍾雅妍 * 陸凱盈 * 林淦鈞 * 陳慧晶 * 朱穎欣 * 汪盈 * 馮顯峰 * 陳梓衡 * 彭健欣 *

* 合約職員 Contract Staff ** 無限亮指導委員會成員 No Limits Steering Committee Members

Executive Director Assistant to Executive Director PROGRAMME Programme Director Associate Programme Director Programme Managers Assistant Programme Managers Programme Coordinator Arts Administrator Trainee Logistics Manager

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

ADMINISTRATION Programme Manager (Administration) Programme Officer (Administration)

Shirley So Spaky Ching*

TECHNICAL Production Manager Assistant Production Manager

Shirley Leung* Benny Mok*

PUBLICATIONS Editor English Editor Assistant Editors

James Liu* Oliver Farry* Rain Cheng*

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 Marketing Officer Arts Administrator Trainee TICKETING Marketing Manager (Ticketing) Ticketing Officers DEVELOPMENT Development Director Development Managers

Kenneth Lee** Joe Tang* Carman Lam* Tracy Cheung* Kelvin Li*

Linda Yip Joseph Wong*

Melody Lai*

Michael Lee*

Katy Cheng** Dennis Wu** Dennis Chan* Alexia Chow Michelle Yeung* Joel Kwok* Ben Chan* Erica Lau* Stephanie Cheung* Eppie Leung Stephanie Chan*

Assistant Development Manager Arts Administrator Trainee

Flora Yu** Anna Cheung* Lorna Tam Conny Souw* Lois Ng*

ACCOUNTS Head of Finance Accounting Manager Accounting Officer

Teresa Kwong** Connie To* Peter So*

HR & ADMINISTRATION Office Manager Receptionist/Junior Secretary General Assistant

Judy Tam* Virginia Li Bonia Wong

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

Fiona Chung* Helen Luk* Lam Kam-kwan* Ainslee Chan* Wendy Chu* Wilson Fung* Jacob Chan* Janice Pang*

Chung Cheuk-yau*

Mak Tsz Kam*

Tiffany Wong*

按英文姓氏首字母排列 In alphabetical order

47 2021 年 3 月更新 Updated March 2021